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inside» May 2–8, 2012 VOLUME 37 | NUMBER 18 » SEATTLEWEEKLY.COM MAY 2012 | SEATTLE WEEKLY’S MUSIC REVIEW

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»REVERB »8One Surviving vestige up front reverb monthly of Old All about Folklife: why it’s lasted and where SeaTTle technology is taking it. And John Roderick’s sage 7 NEWS advice THE DAILY WEEKLY | Washington’s isn’t hip,will help you fit right in. Plus reviews of dozens of local releases and a packed self-defense statute gets tested. butconcert it’s acalendar. Find it all following page 18. heLL of 8 FEATURE

BY CALEB HANNAN | At 49, a gOOd time. ex-Mariner Jamie Moyer recently 22 FILM became the oldest pitcher ever to win a major league game. But advanced age is only part of what makes him so different from other players.

in back Indie films at the Grand Illusion, comedy in Bellevue, and “Seattle Reads” brings its featured novelist to town.

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Washington Bullets

Gun-rights activists applaud a recent shooting spree.

K

friends had dropped him off in the neighborevin Fernandes is remembered hood because he was enraged and wanted to as a loving father to his young fight after a night out drinking. He reportedly daughter. Josh Henderson was banged on the doors of other homes before said to be a good man to his famthrowing a propane tank through the homeily. But both are dead because they criminally owner’s sliding glass door. entered another man’s home and were shot Police said the homeowner barricaded to death. Same for Ken Talley and Johnny himself and shouted “Leave my house! I have Sok. The four of them died, and at least three a gun! I don’t want to shoot you!” but felt he others were wounded, in eight Seattle-area had no choice. He fired at least three times shooting incidents by homeowners since after Henderson broke open the door to the January. To some in the pro-gun crowd, this room where the homeowner and girlfriend is a healthy trend. were hiding. “They’re devastated,” Interim After a retired Puyallup police officer King County Sheriff Steve Strachan said, tellshot and killed a man who was attempting ing reporters the homeowner feels he can to break into his home with three others on never return to the house again.

April 4, some commentators at Shooters Could the North Bend homeowner at least Northwest.com wished the ex-officer had been better armed. “Too bad he couldn’t have full auto, maybe he would have got the other “When you break three dirtbags,” said one. “They find any Skittles at the crime scene?” asked another, a into someone’s home, reference to Trayvon Martin, the Florida teen you take the chance who was packing only candy when he was you will be shot.” allegedly murdered by George Zimmerman, who is claiming self-defense.

Apparently there is bad gun violence and have tried to wound Henderson rather than good gun violence. Seattle police and Mayor kill him? “You do not shoot to wound,” says Mike McGinn last week raged against a spike Workman. “You fire at the center-of-mass. in deadly crime-related shootings on the You do not, under this state’s sensible selfstreet, while gun-rights activist Dave Workdefense statute, have any duty to retreat, and man thinks the recent accidental shooting there is no requirement to wait for police to deaths of several children were balanced by arrive.” The state Supreme Court has upheld the increased body count of home intruders. such standards.

The Puyallup ex-cop told police he was But not all such cases are so easily justiasleep when burglars broke in, and he fied. Last month a Marysville man, who grabbed his gun and fired. One bullet struck shot at two teen boys who’d triggered a Fernandes, 21, of Spanaway, who later died motion detector as they at a hospital where he walked by his home, was dropped off by his was himself arrested. three co-conspirators, Print is great, but if you want to see photos and …

The Associated Press all of whom were later our reporting on May Day 2012, you’ll reports that Kenneth arrested. One of them have to check it out at The Daily Weekly.

Aubry told police he’d had also been slightly SEATTLEWEEKLY.COM/DAILYWEEKLY recently been burglarwounded. ized and thought his car Fernandes played was being prowled, so he fired two shots in football and basketball and ran track at the dark. Charged with assault, Aubry has Bethel High School. In his Tacoma News pleaded not guilty.

Tribune obituary, his family said “He lived life And sometimes when a homeowner shoots with passion and truly loved his family and an intruder, it’s murder. Last July, Keira Earfriends.” hart, 39, of Arlington, was convicted of killing Pierce County Prosecutor Mark Lindquist Ryan Rzechula, 25, who broke into Earhart’s says the homeowner—who claimed Ferhome. Essentially, Earhart hunted down nandes came at him with a crowbar—acted Rzechula, shooting him in the back three in self-defense and won’t be charged. “When hours after the break-in about a quarter-mile you break into someone’s home, you take the away. It took two trials, but jurors convicted chance you will be shot,” Lindquist said in a Earhart of second-degree murder. He was statement. “One burglar is dead, and the othsentenced to 12 years in prison. ers will be held fully accountable.”

As deputy Snohomish County prosecutor That shooting came two days after a North Mara Rozzano said after Earhart’s second Bend man killed an intruder who turned out to be drunk and high on cocaine, police trial, “This is a tragedy of Mr. Earhart’s say. Henderson, 30, broke into the home just making. He elected to pull the trigger.” before midnight April 2 while the man and RICK ANDERSON E his girlfriend were sleeping. Henderson’s news@seattleweekly.com

p

Seattle weekly • M AY 2 - 8, 2012

7

T

To The long lisT of sounds associated with the first pitch of a baseball game on a beautiful spring day—birds chirping, fans murmuring, the distinct “pop” of a catcher’s

Seattle weekly • M AY 2 - 8, 2012

8

What’s funny about the pitch isn’t immediately clear. It doesn’t end up far from its intended target; in fact, it’s a strike. After the umpire has raised his arm, a significant number of the 25,860 fans who have skipped work the afternoon of April 12 to attend the Colorado Rockies’ second home game of the season clap in appreciation. But not the man standing next to me. Like a lot of those crowded into the concourse directly behind home plate, his eyes have just returned from the radar gun in the Rockies outfield that measures the speed of each pitch and indicates the type thrown. And what he’s read is something that, in a league where pitchers periodically throw balls whose speeds are measured in triple digits, may never be seen again.

“A 78-mile-per-hour fastball,” he says.

“Unbelievable.”

The source of the man’s disbelief—a slimshouldered, left-handed pitcher named Jamie Moyer—stands on the mound some 100 feet away. Between him and us are barriers, some visible—the net meant to protect fans from foul balls, a row of stands, an elderly security guard eyeing three teenagers walking up to the top step of what are arguably the best seats in Coors Field—and some not: namely, the gap between what a fan sees and how the man in the batter’s box interprets the same thing.

“Dude,” says one of the approaching teenagers to his friends, “isn’t this guy like 60 years old?”

Moyer is not 60, as the teen believes; he’s actually 49. But should he win today, he’ll still do something no other player in baseball has ever done: win a game at the end of his fifth decade on Earth.

The Rockies are well aware of this fact, and it’s prominent in their “Game Notes,” the crib sheets stacked high in the press box directly above us. Thanks to Elias Sports Bureau, the fact-checkers of organized play, the Rockies are also aware of another fact: The difference in age between Moyer and Madison Bumgarner, the San Francisco Giants’ promising 22-year-old lefty and the starting pitcher taking the mound against him today, is the thirdlargest gap in Major League Baseball history.

To the reporters on hand, the stat is irresistible. Baseball has, by far, the most games in a season—162—of any professional sport.

Beat writers who fly from city to city following their team often struggle to relay to fans what separates one game from another (usually because not much does), so when a recognizable theme—old vs. young—arrives on their doorstep not just gift-wrapped, but with a bow attached, they have little choice but to open it and share what’s inside with readers.

Ahead of today’s Moyer/Bumgarner matchup in the record books are two games,

EPA/TOM HOOD

mitt—add this one: laughter.

Moyer at Mariners spring training in 2006.

The Change-Up

how ex-Mariner JaMie Moyer worked To beCoMe baseball’s oldesT winner. By CaleB Hannan both of which featured Satchel Paige, who is to baseball what Strom Thurmond is to the Senate: the body’s all-time oldest member. A talented pitcher unlucky enough to have been born in an era when it was still considered necessary to have a league only for black players, the then-59-year-old Paige made history on September 25, 1965, when his Kansas City Athletics faced off against 29-year-old Bill Monbouquette’s Boston Red Sox. At the time, the Athletics were owned by Charlie Finley. A master marketer, Finley had a gift for attracting attention—he once replaced the Athletics’ elephant mascot with a live mule and experimented with orange baseballs during spring training—and Paige was another manifestation of that gift. Signed

by Finley for just one day, Paige reportedly spent his time between innings sitting in a rocking chair in the bullpen being served coffee by a “nurse.” Finley also rigged it so that his prize would make a grand exit: While he took the mound for the fourth inning, Paige was pulled before he could record an out.

Then the lights were dimmed, and the PA announcer led the crowd in a rendition of

“The Old Grey Mare.” (As an attempt to win the game, Paige’s start was a success: He only allowed one hit. As a publicity stunt, it was a failure: Only 9,000 fans showed up.)

Late last year, when Moyer, nearing 50 and fresh from a surgery that would have ended most careers, told teams he wanted to try to come back and pitch one more year, he was wary of being treated the way Finley had used Paige.

“All I wanted was an opportunity,” he says now. “I wanted to be taken seriously. I didn’t want to be a carnival act.”

Judging from the fans standing in the concourse behind home plate, Moyer might have been right about being treated like a novelty.

When he throws his second pitch and the electronic radar gun flashes “72 changeup,” the man next to me laughs again, and the people gathered behind him whisper the number as if playing a game of telephone. But then comes one more voice, this one with a question.

“If he throws so slow,” asks an older woman whose husband has been trying and failing to explain the curiosity that is Moyer, “how does he get anyone out?”

he list of pitchers who’ve kept playing well, and well into their 40s, is short. It’s also easily split into two groups. In the first are the hard throwers who enjoyed long careers because they were able to avoid injury while maintaining most of the velocity that first brought them success—players whose names might be familiar even to non-baseball fans: Nolan Ryan, Roger Clemens, and Randy Johnson.

The second group includes athletes like Phil Niekro, Charlie Hough, and Jack Quinn, who are less recognizable in part because they didn’t win as many games, but also because they rarely used what’s commonly referred to as “the king of pitches”: the fastball. Niekro and Hough were both knuckleballers; what they threw fluttered rather than rushed to the plate. Quinn was one of the game’s last spitballers—someone who actually applied a liberal amount of his own saliva to the ball to make it spin in unnatural ways. Although the pitch was banned in 1920, Quinn and 15 other players who primarily relied on spitballs were grandfathered in and allowed to use the illegal pitch until they retired. Quinn rode that exemption for another 13 years, becoming the oldest pitcher ever to win a major league baseball game and Moyer’s foil in his chase for the record. Collectively, these men and those like them live under a label—“junkballers”—that tells you a lot about what those inside the game think of pitchers who rarely throw fastballs. “Baseball people call them ‘trick pitches,’ ” says Rob Neyer, who, as co-author of the Neyer/James Guide to Pitchers, literally wrote the book on the subject. In baseball, if it’s thrown relatively straight and very hard, it’s considered a fair fight; if not, it’s a sucker punch.

Moyer doesn’t belong to either group.

“Moyer found a different way to win at an advanced age than anyone else has ever found,” says Neyer. “That’s what makes him unique.”

Unlike Niekro, Hough, and Quinn, Moyer throws his fastball often. According to the website Fangraphs, in 2010, the most recent year in which Moyer pitched a full season (he missed all of last year after tearing two ligaments in his throwing elbow), he threw his fastball roughly half the time. But unlike Ryan, Clemens, and Johnson, Moyer doesn’t actually throw the ball fast—that is, relative to the tiny subset of physical freaks able to throw a tightly wound sphere of yarn and twine hard enough to kill a human being. Two years ago, Moyer’s fastball averaged 80.9 miles per hour.

That same year, Cincinnati Reds reliever Aroldis Chapman threw a pitch clocked at 105 miles per hour. Most decent high-school pitchers throw harder than Moyer, some a lot harder—a fact that still amazes the man credited with discovering Moyer.

“How does a guy not throw a pitch above 80 miles per hour and get a guy out?” asks Billy Blitzer, the Chicago Cubs scout who signed Moyer. “If I were to go see a highschool kid today who threw like Jamie, I’d probably never go see him again. Now, doesn’t that sound crazy?”

Here we have a baseball mystery: A player widely understood not to have the skills necessary to succeed in the sport has not only succeeded, he’s done so in a way unique to the game.

Solving that mystery first requires seeing what Blitzer saw in Moyer some 30 years ago.

The Brooklyn-born scout had earned his job by identifying and nurturing a wiry 12-year-old

named Shawon Dunston, who would go on to become the Cubs’ shortstop for more than a decade. On Labor Day weekend 1983, at an off-season tournament in York, Pennsylvania, Blitzer got his first look at Moyer, then 20, who was playing with a handful of other major league hopefuls.

Moyer had been raised in nearby Souderton, a small town a half-hour north of Philadelphia where his mother and father ran a dry-cleaning business that had been in the family for two generations. Like a lot of boys, Moyer played catch with his father, Jim. But unlike a lot of boys’ fathers, his had been invited to two tryouts with major league teams. And though he had never made a roster, Jim Moyer taught Jamie early on how to practice like a pro and aim for a small target. “He would make it a challenge and

“As they get older and the competition gets better, just throwing hard stops working. Jamie never had that velocity in his arsenal, so he had to learn how to pitch at a much younger age.”

Courtesy of Karen Moyer

Moyer cut his teeth with the Cubs, and was swiftly declared a bust.

I

t isn’t just that the center fielder drops the ball. It’s that everyone in the stadium hears him call for it first.

It’s the top of the sixth inning, and the Rockies are playing as they’ve played in all this season’s early games—like a team indifferent to winning. In Moyer’s first start of the year, the Rockies lost to the Houston Astros, a team widely considered one of the worst in the major leagues, and scored as many runs (three) as errors committed, leading Moyer’s father to say that the whole team “looked like Little Leaguers out there.” This game against the Giants appears to be a repeat of the first, albeit with its own particular humiliations.

These include the fact that, thus far, the Rockies have yet to record a hit. The Giants

» Continued on page 10

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call strikes,” says Moyer. “He had this catcher’s mitt from his Army days. It was so small, it was like a mitten. It had no webbing, no thumb. Just this one spot where you could catch the ball.

But when you hit the spot right it would, like, POW! It would get my juices going.”

Despite throwing three straight no-hitters at Souderton High School, Moyer was recruited by only Temple and St. Joseph’s, two basketball-mad universities that didn’t have home fields for their baseball teams. Moyer chose St. Joe’s, in large part because when Temple’s coach came by for a home visit, he made the mistake of not wearing socks. “My parents are very traditional,” Moyer explains.

“As soon as he left, my mom turned to my dad and said, ‘Well, he’s not going there . . . ’ Even when we lived in Seattle, where it rained every day, the family rule was still that you didn’t show your feet; you always had to wear shoes or slippers in the house.”

When Blitzer first saw Moyer, he was impressed, but not for the conventional reasons a scout might be impressed by a college pitcher. Scouts had only recently begun using radar guns, and already the effect was noticeable. “You always looked for someone who threw hard, but before the radar gun, you never knew how hard,” says Blitzer. “Once it came around, you no longer had to guess.”

That day in York, Blitzer had his radar gun— and the numbers it generated when Moyer pitched were far from extraordinary. “He couldn’t break a pane of glass,” Blitzer recalls.

But Moyer had an ability rare in such a young player: the ability to pitch rather than just throw. “In high school, a lot of hard throwers can get guys out with their fastball because no one can catch up to it,” Blitzer explains. “As they get older and the competition gets better, just throwing hard stops working. Jamie never had that velocity in his arsenal, so he had to learn how to pitch at a much younger age.”

What Blitzer meant by “pitch” he summed up in the laudatory report he sent to his bosses at the Cubs. Moyer, he wrote, “kept hitters off balance,” “mixed his pitches,”

“varied locations,” and “changed speeds.” He may not have been able to throw the ball past someone who knew what was coming, but Moyer had something even more valuable: a talent for keeping the hitter from knowing not only what was coming, but also how fast it was coming. “Jamie’s always said the same thing,” says Blitzer. “He wants to disrupt a hitter’s timing.”

The next season, in his junior year, Moyer did everything he could to validate the faith Blitzer had placed in him by setting school records for wins, strikeouts, and earned run average. Yet despite the accomplishments, only one other team was interested in Moyer: his favorite, the Phillies. “I still thought it was going to come down to one of the two of us,” Blitzer says.

On the day of the draft, Blitzer left his home in Brooklyn and headed south. The Cubs had the third overall pick, which they were hoping to use on a “can’t-miss” high-school outfielder named Shawn Abner from Mechanicsburg, Pennsylvania. (Says Blitzer: “He missed.”)

But somewhere between New York and a pay phone off I-95 in New Jersey, the New York Mets, who had the first overall pick, selected Abner. One hundred thirty-four picks later, the Cubs took Moyer. And so it was that Blitzer drove back home, dialed Moyer’s house, and discovered his own mystery: The newest Chicago Cub, a kid who, like so many others, had dreamed his whole life of the day he would be drafted, wasn’t there to take the call.

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The Change-Up » from page 9 have managed two runs on five hits, but very few of them have been hit hard. And Moyer still looks strong when he throws his third pitch of the inning, which the Giants’ second baseman turns into a routine fly ball that center fielder Dexter Fowler calls for loudly enough to be heard clearly in the press box— “I got it!”—before dropping it.

The crowd groans. Moyer stands with his hands on his knees like a father waiting patiently for a newborn to crawl to him. Or maybe he just looks that way because he has eight children.

In the stands, Karen, Moyer’s wife of 24 years and mother of those eight children, answers her phone. On the other end is her father, Digger Phelps, the former men’s basketball coach at Notre Dame and an ESPN analyst famous for always holding a colored highlighter that matches his tie. “Did you see it?” she asks. “Uh-huh . . . Has there ever been

in existence—but it takes him only a second to remember the name. “Bill White,” he says, snapping his fingers. Bill White: a former major league first baseman, broadcaster for the New York Yankees, and, as president of the National League from 1989–94, the highest-ranking African-American executive at the time in any sport. In high school, Moyer played basketball against one of White’s sons. As he remembers it, before the game, White told his basketball coach that Moyer was too small to play in the majors— an opinion that the coach, for whatever reason, then shared with his player. “And I never forgot it,” he says.

Like other successful professional athletes, a breed that sustains itself on umbrage, Moyer readily recognizes, catalogues, and retrieves past slights. And as an undersized, soft-throwing pitcher in a game that values the opposite, he’s had more material than most to work with.

That’s part of the reason he wasn’t home that day when Billy Blitzer called. A few days

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Office o Courtesy of Karen Moyer

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a trade in April? I don’t know . . . We should go to Texas. Someplace where they’ll score runs for him. If you only give up two runs in Coors Field, you should win.”

Around Karen are more than a dozen people who have flown out for the game, all part of Team Moyer. There’s Larry Platt, editor of the Philadelphia Daily News and co-author of Moyer’s upcoming memoir; Moyer’s parents; his sister, Jill; and two members of the Moyer Foundation, the philanthropic group that Jamie and Karen founded in 2000 that funds camps around the country for children dealing with the loss of a parent or one with substance-abuse problems. Also present are six of his kids, including the two daughters he and Karen recently adopted from Guatemala, and the family’s realtor, who helped the Moyers find the $1.8 million home in Cherry Creek that they’re renting while he pursues this last chance with the Rockies.

“The story of Jamie Moyer is the story of a guy that no one believed in,” says Karen.

Sitting on a couch in that rental home a few days after the loss to the Giants, Moyer recalls the first time he can remember someone saying that he couldn’t play baseball for a living. Moyer looks tired—in the past week alone, he’s appeared on just about every morning show and evening newscast

moyer and his large family have left a lasting charitable impression on Seattle.

before the draft, he’d asked a friend for a ride to a summer league that was five hours away. The friend balked, then relented. “He asked me, ‘Why should I drive you all that way when you’re just going to get drafted and have to come right back home?’ ” says Moyer.

“He mf’d me the whole way home.” Despite Blitzer’s assurances, Moyer wasn’t entirely convinced he was going to be selected: While he’d never doubted his own ability, he had grown used to doubting the ability of others to recognize it. And for the first decade of his career, he was justified in those doubts.

After three years with the Cubs, Moyer was traded to the Texas Rangers, who released him two years later. That scenario played itself out twice more in the next two years—first with the St. Louis Cardinals, then again with the Cubs, who were so convinced of Moyer’s inability to be a major league pitcher that they offered him an assistant pitching-coach position in the low minors, an offer Moyer politely rejected. “It just didn’t feel like the right time to quit going after my dream,” he says.

» ConTinUed on page 12

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Featuring three days of discussion, readings, and workshops with: • Academy Award nominated screenwriter Scott Silver (The Fighter) • celebrated Alaska authors Deb Vanasse, John Straley, Lynn Schooler, Heather Lende, Seth Kantner, Nick Jans, and Kim Heacox.

$300 registration fee also includes WP&YR train ride & hike, musical cookout in historic Dyea, keynote banquet, and most meals….

Find out more and register online at: www.nwwriterss.com

Seattle weekly • M AY 2 - 8, 2012

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The Change-Up » from page 10 The turning point in Moyer’s career came in 1993. Karen had just delivered their first kid and was pregnant with their second. They had recently built their dream home not far from Notre Dame, but Moyer had only made $12,000 the year before, pitching in the minors for the Detroit Tigers. “Things were starting to get a little dicey,” he says. “Karen had taken a part-time job working retail so we could buy groceries. We were six months away from putting the house up for sale.” Signed by the Baltimore Orioles, Moyer started his year at the team’s Triple-A affiliate in Rochester, New York, where one of the first things he and Karen saw was a daylight shootout between police officers and a robbery suspect. “Rochester was rough,” he says. “She was saying ‘Go! Go!’ and I was wanting to watch it.”

By then Moyer had already pitched in the majors for 10 years and was a known quantity. Or, as he puts it, “I wasn’t a prospect, I was a suspect—someone they didn’t trust.”

Yet that time spent as a journeyman had also given him the chance to do something he does as well as anyone in the league: collect data. “When you’re in the big leagues, you have access to all the knowledge and all the info in the world,” says Aaron Sele, a good friend who pitched with Moyer in Boston and Seattle. “That doesn’t mean people are going to digest it. But Jamie devours it.”

From a pitching coach early in his career, Moyer had learned the trick of putting a smooth rock under his left heel when he was warming up, to ensure that he was balanced on the toe of his plant foot. “That’s still one

of the first things I do in spring training,” he says. “Go find a rock.” From a Cubs teammate he saw writing down notes after every at-bat, Moyer learned the art of tracking each batter he faced. An iPad he uses today is preloaded with thousands of at-bats. “He’s one of the only starters who asks us to do this,” says the Rockies’ video guy. From his agent, he took the suggestion to visit Harvey Dorfman, coauthor of The Mental Game of Baseball and the game’s most influential sports psychologist. “The best $2,300 I ever spent,” he says.

And from a fellow left-handed pitcher, Moyer learned the cut fastball, a pitch that breaks in on right-handed batters and acts as the perfect complement to the tailing-away changeup he’d become known for: a pitch that fools hitters by looking like a fastball but arrives at the plate slower. In Moyer’s case, sometimes much, much slower.

Moyer didn’t just track hitters, either. He studied other coaches—the Minnesota Twins’ old manager Tom Kelly, for example, who Moyer says would always try to steal a base on the first pitch after his team had just gotten a big hit late in the game—and pitchers, too.

At age 30, Moyer went 12-9 for the Orioles and, with the exception of one lone rehab start later in his career, officially ended his life as a minor league pitcher. Three years later he was traded to the Mariners, where he pitched for the next 10 years, became the club’s all-time leader in wins, made his first All-Star team, and met pitching coach Bryan Price. The night before Moyer pitched against Kevin Appier and the rival Oakland A’s—at the time, the A’s and Mariners were taking turns winning the American League West—Price and Moyer were talking about

the fact that while most pitchers liked to kick a hole in front of the rubber in order to get a strong foothold, Appier practically excavated an archaeological site. “So Jamie says, ‘You know what? I don’t want him kicking out that hole,’ ” remembers Price. “ ‘I think it’d really set him off.’ ” Moyer then went in search of the Mariners groundskeeper. Price isn’t sure what happened next—he thinks the groundskeeper applied some sort of extreme heat to the clay in front of the rubber, while Moyer insists the man simply didn’t water it the way he normally would—but remembers what he saw the following day, when Appier first went out to the mound and tried to dig his hole.

“He was kicking so hard,” says Price, “that I swear I saw sparks coming off of his cleats.”

In Seattle, Moyer finally became the pitcher he always knew he could be. He also did some things that ex-teammate Sele says he’d never seen before more or since. Like the online at-bat against David for footage of the seven best mariners Justice. At the time, commercials featuring Justice, who played Jamie moyer, go to for the Cleveland seattleweekly.com/ Indians, was one of dailyweekly the league’s premier hitters. With the Mariners holding a large lead and Justice fouling off pitch after pitch, Moyer walked halfway between the mound and home plate and yelled, “Where do you want it?” After asking Moyer’s catcher if his teammate was for real (he was), Justice held his bat up about waist-high, exactly where Moyer threw the next pitch, which Justice hit for a home run.

“One of Jamie’s key things is getting guys out in as few pitches as possible,” says Sele. “He knew

[

»

at that point in the game that a homer might hurt him less than throwing five more pitches and letting the other team get their timing.”

Years later, author Michael Lewis would witness a similar scenario while writing his blockbuster book Moneyball. Moyer once again stepped off the mound—for only the third time in his career, he insists—and asked the batter where he wanted him to throw it. To Lewis, it was a white flag, a sign of a pitcher conceding defeat. But for Moyer, who worked so hard thinking himself into the game that he’s never left, it was simply another in a long line of strategic plays. “Anything to get an edge,” he says.

Two years after being traded away from Seattle, Moyer realized two childhood dreams: playing for his hometown team and winning the World Series. Until then, he had been snakebitten when it came to the postseason. In 1997, he’d been forced to leave a playoff game against the Baltimore Orioles after only four innings because of an elbow injury. Three years later, Moyer suffered a freak kneecap fracture a day before he was to make his first start in the playoffs against the New York Yankees. (The Mariners would go on to lose both series.) It wasn’t until 2008 that Moyer, after 22 years in the major leagues, finally won his first ring. The championship meant so much that he asked the Phillies grounds crew to dig up the pitching rubber for him, a trophy he now keeps in his bedroom.

Then in 2010, Moyer’s elbow started acting up again. He had to end his season in July, and was granted free agency by the Phillies at the end of the year. Temporarily out of work and 48 years old, he accepted an invitation to start his comeback with a winter-league team

first All-Star team, and met pitching coach Bryan Price.

Seattle weekly • M AY 2 - 8, 2012

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in the Dominican Republic, where he lasted only three games before throwing the pitch that tore two ligaments in his elbow. Dick Pole, a former pitching coach who had flown from his home in Florida to watch the game, remembers that his former pupil had a lump the size of a tennis ball on the inside of his left elbow. “We’re sitting in the locker room,” says Pole, “and he asks the trainer, ‘How long is it going to take me to rehab?’ And the trainer just looks at me like, ‘Is this guy serious?’ ” After Tommy John surgery that December, Moyer says he spent a few too many months sitting on the couch. “I got fat,” he says, explaining that he weighed 200 pounds, 15 more than normal. “Karen could see I was feeling down, so she and Jim [Bronner, his agent] started working on me about coming back.”

In a reverse of how his career started 40 years ago in Souderton, Moyer began his comeback by playing catch with his kids at the family’s home in San Diego. When he felt strong enough to audition, he invited teams to watch him pitch off a mound in a friend’s backyard. The scouts who came to see him wrote to their teams reports just as glowing as Billy Blitzer had 30 years earlier.

Rockies General Manager Dan O’Dowd sent three. “All of them said the same thing: He’s still the same guy he was at 47,” says O’Dowd. On January 17, the Rockies signed Moyer to a minor-league contract. On March 24, in what may be another first, O’Dowd’s son’s Dartmouth baseball team lost to a University of California-Irvine team that featured Moyer’s oldest, sophomore infielder Dillon.

Six days later, and apparently carrying no ill will from the loss, O’Dowd informed Moyer that he had pitched well enough to make the Rockies’ starting rotation.

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Seattle weekly • M AY 2 - 8, 2012

n April 17, five days after the loss to the Giants, Moyer takes the mound against the San Diego Padres. Behind him, his defense will once again do things that winning teams don’t, like commit another two errors. But unlike in his previous two starts, the Rockies actually score runs, too. Fowler, perhaps making up for the error that might have cost Moyer his previous game, hits a two-run home run. And after star shortstop Troy Tulowitzki botches a routine ground ball, a miscue that costs Moyer two unearned runs, the team records three double plays, including one turned so smoothly that Moyer throws up both his arms in mock celebration.

In the stories written the following day, the focus is on a few amazing statistics, all featuring the number 8. That Moyer, at 49, is older than a quarter (eight) of all the managers in baseball. That because of his longevity, he’s now faced more than 8 percent of all the baseball players who’ve ever played. And perhaps most surprising to those who know little about him, that Moyer managed to win the game—dominate it, even—without throwing a ball faster than 80 miles per hour.

But the most impressive postgame stat gets barely a mention: In beating the Padres, Moyer also lowered his earned run average enough to take the team lead in the category.

Which means that the man who only wanted an opportunity—and not to be treated like a carnival act—is not just, as of April 17, the oldest pitcher ever to win a game. He’s also become something that means more to him than any record: the guy who gives his team the best chance to win. E

13

THE 2012

NEDDY

AT CORNISH

PAINTING FINALISTS: GALA BENT CYNTHIA CAMLIN JEREMY MANGAN OPEN MEDIUM FINALISTS: JAMES COUPE LEAD PENCIL STUDIO SUSIE J. LEE

CONGRATULATIONS TO STACY ROZICH AND EIRIK JOHNSON,

Seattle weekly • M AY 2 - 8, 2012

RECIPIENTS OF THE 2012 NEDDY AT CORNISH $25,000 ARTS AWARD

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NEDDY IN OPEN MEDIUM | EIRIK JOHNSON

NEDDY IN PAINTING | STACEY ROZICH

photo courtesy of the artist

photo courtesy of the artist

Please join us in celebrating the art and artists of the 2012 Neddy at Cornish award program. We will also celebrate the work and life of artist and award namesake Ned Behnke in a concurrent exhibit, Reflections, curated by Peggy Weiss.

JUNE 6 – JULY 18, 2012 OPENING RECEPTION: JUNE 6, 5–9 PM CORNISH MAIN GALLERY 1000 LENORA STREET, FLOOR 1 WWW.CORNISH.EDU/NEDDY

the»weekly»wire Written in Stone

pieter m. van Hattem

As the saying goes, funerals are for the living. A corollary: Memorials are for politicians and the special-interest groups who lobby them. Who decides what Civil War general gets commemorated in an Atlanta park? What dead Indian chief is selected for bronze immortality here in Seattle? And in New York City, soon after 9/11, what design—all submitted anonymously in a juried competition—should be built at Ground Zero? That’s the starting point for Amy Waldeman’s wildly acclaimed novel The Submission (Picador, $15), published last year and now the subject of Seattle Public Library’s “Seattle Reads” program.

A journalist who’s written for The New York Times, Waldeman clearly understands the dynamics of power in that city, how protests are organized and talk-radio tirades directed at the ears of elected leaders and their appointees. The latter include the memorial jury, where one wealthy 9/11 widow finds that other

Waldeman will make several library appearances.

Film

The Defendant

Big-screen interpretations of Joan of Arc are often ridiculous (Jean Seberg in Saint Joan, Milla Jovovich in The Messenger), occasionally epically confident (Sandrine Bonnaire in Joan the Maid), and once reached the sublime (Maria Falconetti in The Passion of Joan of Arc). In his 1962 The Trial of Joan of Arc , Robert Bresson cast Florence Delay, a 20-year-old university student, as his heroine, and she emerges as one of the most perfect of his director’s “models”: a steadfast teenage saint whose stoic countenance is punctured once, at the film’s beginning, by a burst of tears. Bresson rejected acting; he wanted his nonprofessional performers simply to be, part of his notion of film as a pure art form. The script for Joan of Arc adheres quite closely to the actual record of the trial and of the rehabilitation process 25 years later: Joan is interrogated and taken back to her cell repeatedly, the back-and-forth of the inquisition and the clang of Joan’s shackles providing the film’s rhythm. Delay, her limpid eyes frequently downcast, isn’t “unexpressive” but unsentimental; though austere, she is unwavering, resolute. She gave her director what he wanted, but gives audiences more: a new way to access and appreciate history’s most remarkable adolescent visionary. (A Bresson retrospective continues through May 10.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$10. 7 p.m. MELISSA ANDERSON

Proops is smart, not a smart-aleck.

fri/5/4 Dance

project. (Through Sun.) Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter. org. $15–$18. 8 p.m. SANDRA KURTZ

Birds and Elephants

Film

series of works about family and home. (Her Spaghetti Company is named after her usual ammunition.) But for the launch of this triple bill, the pasta should stay on the plate—or so we judge from the title of her piece, I always wanted to give you a pink elephant. The occasion is SCUBA, a project that aims to get young choreographers on the road. Its sponsors are Velocity Dance Center, ODC Theater in San Francisco, and Philadelphia Dance Projects. Alongside Gosti, Allie Hankins is also a local talent, with a new solo piece based on the life and work of dance legend Vaslav Nijinsky, called Like a Sun that Pours Forth Light but Never Warmth. Gabrielle Revlock is the out-of-towner, from Philadelphia, and her A Fork and Stick Thing, based on birds responding to hip-hop music, sounds like it could pass for an animal-behavior research

Tonight’s opening shorts program in the Seattle True Independent Film Festival (aka STIFF) is sold out, and that’s a good thing for both founder Clint Berquist and its main venue this year, the Grand Illusion. (There are also three days of programming at the Varsity and Central Cinema.) Since 2005, STIFF has been itinerant (both on the calendar and the map), with various ancillary bar-hopping events on its menu. But the GI is ideally suited for an intimate seating of 70 filmgoers, with a cafe next door to discuss the movies. Since SIFF just announced its schedule last week, here’s a chance to see more than a dozen features and docs whose directors might insist—possibly with good reason—that their movies have been unfairly overlooked. (Through May 12.) Grand Illusion, 1403 N.E. 50th St., trueindependent.org. $8 (individual), $50 (pass). 6 p.m. BRIAN MILLER

Alice Gosti has been flinging food around in a

Grand Opening

sun/5/6 cOmeDY

It’s Always His Line

At first blush, many would peg Greg Proops as a Daily Show/Colbert Report type of comic: a smart, well-read guy whose riffs lean decidedly to the left. Plus he’s been a regular panelist on Whose Line Is It Anyway?, both its English and American iterations. But he’s not just some liberal jester who mocks Tories and Republicans. For starters, Proops is never afraid to offend his audience. And while his humor is heavy on wordplay and witty pop/ sociopolitical references, he’s not condescending or gimmicky. He’s a dynamic comedian, one whose impressions go beyond mere caricature. Proops draws from his improv background, fully slipping into character when necessary. Tonight he’ll be recording an episode for his podcast, The Smartest Man in the World. Maybe he’s kidding, maybe he’s not.

Parlor Live Comedy Club, 700 Bellevue Way N.E. (Lincoln Square), 425-289-7000, parlorlive. com. $12–$20. 7:30 p.m. BRIAN J. BARR

Seattle weekly • M AY 2 - 8, 2012

grieving families don’t share her refined taste. She and the other jurors opt for a walled garden whose architect, after the votes are counted, is revealed to be a Muslim-American born in Virginia.

Though secular in every outward respect, Mohammad Khan is soon made a symbol of terrorism by The New York Post and anti-Islamic lobbying groups. The jurors, led by a retired banker, try to cling to principle but find that political support only goes so far. The public may be bigoted and unreasonable, but the public gets you elected or cast out of office. Khan becomes an indignant pinball in a politicized process, and The Submission is a fascinating, engrossing study in good intentions gone wrong. (See spl.org for Waldman’s branch library appearances on Thurs. and Sat.) Seattle Central Library, 1000 Fourth Ave., 386-4636. Free. 7 p.m. BRIAN MILLER

thurs/5/3

gregproops.com

*

Fri: Books

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arts»Opening Nights P Clybourne Park

Seattle RepeRtoRy theatRe, 155 MeRceR St. (Seattle centeR), 443-2210, SeattleRep.oRg. $15– $74. RunS Wed.–Sun. thRough May 13.

P The Pitmen Painters

Wright puts his teeth into art in The Pitmen Painters.

Beethoven had Wellington’s Victory, the Beatles Magical Mystery Tour, and the 5th Avenue Theatre, in February, an overthought, intermittently vulgar Oklahoma!, showing that even the great are fallible. But next came Fidelio, “Hey Jude,” and, opening last week, an affectionately energetic Damn Yankees, reassuring fans that the earlier missteps were flukes.

Another of the Golden Age Broadway shows that are the foundation of the 5th’s

Lee Hall’s endearing hit about English coal miners during the 1930s and ’40s who get turned on to art—a true story—is like watching an affecting, informative slide show with a few duplicate images. Not that I particularly mind. Culling a few scenes would’ve lessened the run time (nearly three hours, with intermission), but it might’ve jeopardized the sense of fraternal history you

hasn’t written a simple, cheerful Billy Elliot sequel here: Arts and education funding can be transformative, he reminds us, but those benefits, heartbreakingly, can disappear during times of austerity. Though set in the industrial past, his 2007 play is very much relevant to our current economy, too.

Chris Bennion

Seattle weekly • M AY 2 - 8, 2012

who ecstatically apes Carl’s prejudices without even realizing what she’s endorsing. (Her handicap forces others to say with their hands what they can’t or won’t say with their mouths.)

By 2009, the only character left standing is the now-ravaged house, in which a neighborhood planning meeting is underway.

(All the same performers are back, cast in double roles.) Earlier, the fraught subject was integration; now it’s gentrification. Despite the congenial mood, white neighbors—through distractions and narcissistic self-involvement with their phones and assumptions— repeatedly shut out a Younger descendant, Lena (Staunton), who has something to say about tradition. Abraham budgets the emotional escalation beautifully for maximum bang—and for maximum post-curtain reflection. What is a neighborhood? What are we not talking about? What would it mean for the past to be past? MARGARET FRIEDMAN

5th avenue theatRe, 1308 FiFth ave., 625-1900, 5thavenue.oRg. $19 and up.

RunS tueS.–Sun. thRough May 20.

AlAn AlABAstro

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Whitehead and Wood steam up the locker room in Damn Yankees.

P Damn Yankees

Clueless suburbanites: Kaminski (left) and Bouchard in Clybourne Park.

get from the reiteration. Fine actors, subtly directed by Kurt Beattie, capture the wonder of “seeing” art for the first time, and of scoffing at it, in a rich polyphony of accents coached by Alyssa Keene. (The setting is Northumberland, north of Newcastle.)

Unable to procure the class they had hoped for (economics), the adult self-improvement students ruefully tolerate passionate and patronizing art teacher Mr. Lyon (a dapper Frank Lawler). In his funniest appearance since A Confederacy of Dunces, Charles Leggett deadpans George, the union administrator, for whom everything is a violation of some rule or other. R. Hamilton Wright slays as Harry, a “dental mechanic” with socialist sensibilities.

Jason Marr has the fullest character arc as Oliver, whose talent attracts patroness Helen Sutherland (marvelous Morgan Rowe), but whose pride resists her help. But many of the most enviable lines go to Joseph P. McCarthy as thick, whiny Jimmy—whose Geordie accent (“I just come to get oot the hoose”) occasionally sounded Bronx-y to me, but my British friend bought it.

Most scenes are short, with screen captions identifying place and year. On Carey Wong’s unadorned set, the worn wood floorboards confer sepia tones to the action above; fleeting audioscapes by Brendan Patrick Hogan also help secure the historical period. Much of the art being discussed by Mr. Lyon is projected on screens for us to see—sometimes this is awesome, as when we first see the colliers’ own first creations. But it can also be didactic, as when George and Harry hold forth on 18th-century Chinese painting.

When the miners lose themselves in art and forget their class, their intelligence shines. All they need is an opportunity—a theme familiar from Hall’s Oscar-nominated script for Billy Elliot. A few forced story elements notwithstanding, this beautiful production will win your heart. But Hall

Ken JACques

Lorraine Hansberry’s iconic 1959 play A Raisin in the Sun ends with the AfricanAmerican Younger family facing an uncertain future as pioneers in the previously all-white Chicago neighborhood of Clybourne Park.

Bruce Norris’ masterfully designed Pulitzer winner has two complementary acts. The first imagines the white family whose house the Youngers bought on the eve of their departure in 1959; the second checks in 50 years later, to see how things worked out. Braden Abraham’s precise directing of a strong local cast highlights the two eras’ symmetries, which kaleidoscopically proliferate and collapse on themselves. During a half-century, Scott Bradley’s set turns from airless craftsman to airy squat house. A trunk carrying sad secrets spurs comedy, then heartbreak. A new influx of yuppier white neighbors hint at the ’hood’s imperfect transformation. Beneath it all, the spoken and unspoken notions of race and gender grind like tectonic plates.

In 1959 Francine (dignified and real Kim Staunton), the black hired help of sellers Bev and Russ (Suzanne Bouchard and Peter Crook), must endure her employers’ insensitivity and patronizing gestures as they learn that their home has been purchased by a black family (the Youngers, whom we never meet).

Bouchard is Mad Men–horrific as she offers Francine an unwanted chafing dish as though it were a jeweled crown. White neighbors, including Hansberry’s racist villain Carl Lindner (Darragh Kennan), drop by to discuss the sale as if Francine and her deliciously undiplomatic husband Albert (Teagle F. Bougere) were invisible. Then, abruptly, all these white property owners interrogate the couple as spokespeople for how black people live and think. Marya Sea Kaminski steals the scene as Carl’s deaf and pregnant wife Betsy,

mission statement, Richard Adler and Jerry Ross’ 1955 musical tells of the hapless, inept, cellar-dwelling Portland Timbers— excuse me, Washington Senators—and their Faustian quest to beat their titular archrivals: Middle-aged fan Joe Boyd (Hugh Hastings) sells his soul to be transformed into Joe Hardy, a home-run king half his age. Though the 5th’s co-production with New Jersey’s Paper Mill Playhouse lavishly oils the show (directed by Mark S. Hoebee), it still creaks.

Most obtrusively: The two Joes, weirdly, sing almost nothing but sap in a quasi-operetta style (passé for decades even back then), and Adler and Ross reused the plothalting contrivance of a variety-show-withinthe-show, which makes even less sense here than it does in their earlier hit The Pajama Game. (At least that show can boast “Steam Heat.”)

Hans Altwies plays the devil, aka Mr. Applegate, with voracious relish, if slightly strenuously. Patti Cohenour, a Seattle stage vet who can do no wrong, brings a great deal of warmth and a perfectly calibrated drop of pathos to Mrs. Boyd, who has no idea where her husband’s gone; while Nancy Anderson, as cynical (the adjective is probably superfluous) muckraker Gloria Thorpe, winningly asserts her place in the Rosalind Russell/Joan Blondell line of shrewd, snappy dames.

Strapping, cowlicked Christopher Charles Wood, as young Joe, combusts terrifically with Chryssie Whitehead, as Applegate’s agent Lola—she who gets whatever she wants—sent to distract him. With a Vargas-girl body that seems capable of moving in six directions at once, her would-be locker-room seduction is both steamy and hilarious, but the pair really lift off in their final duet, “Two Lost Souls,” performed with an ease and style that epitomizes the 5th’s smart, fresh way with these classic period pieces. GAvIN BoRchERT

act theatRe, 700 union St., 292-7676, acttheatRe.oRg. $15– $55.

RunS tueS.–Sun. thRough May 20.

MARGARET FRIEDMAN E

stage@seattleweekly.com

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ON SALE NOW! • JUNE 5-10 THE PARAMOUNT THEATRE

877-STG-4TIX • STGPRESENTS.ORG Tickets available at Tickets.com and select Ticketmaster locations

Priority seating and discounts for groups of 10 or more, call 888.214.6856

AmericanIdiotTheMusical.com AMERICAN IDIOT contains adult content and strong language. Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

TASTE THE SEASON FREE CELEBRATION

Sunday, May 6, 2012, noon – 4 PM PARAMOUNT THEATRE & Ninth Ave Celebrate STG's upcoming 2012 - 2013 season!

Free international foods, demonstrations and performances, spotlight on some of our local partners and community resources, music, dance, games, giveaways, and surprises! It’s a free day inside the beautiful Paramount Theatre (on our flat floor) and along 9th Avenue. Bring the whole family!

Other free weekend events at the Paramount Theatre: May 4, 5:30 - 8 PM: MILLION DOLLAR FRIDAY! with Vince Mira May 5, 10 AM: Free Paramount Theatre Tour

Seattle weekly • M AY 2 - 8, 2012

FREE FOOD TO THE FIRST 500 PEOPLE PROVIDED BY Skillet and Rancho Bravo.

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arts»Performance

BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

WITH GROUCHO Frank Ferrante has • AN EVENING down in this one-man show. ACT Theatre,

got the man 700 Union St., 292-7676. $5–$30. Opens May 3. Runs Wed. Sun.; see acttheatre.org for exact schedule. Ends May 20.

THE BOOK OF LIZ STAGEright Theatre presents Amy & David Sedaris’ picaresque about the travels of a cheeseball-maker. Freehold Theatre, 2222 Second Ave. Suite 200, 800-838-3006, seattlestageright.org. $15. Opens May 4. 8 p.m. Fri.–Sat. plus Mon., May 7. Ends May 26.

THE BROADWAY REVUES Martin Charnin compiled the songs and sketches for this nostalgic show. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $28.

8 p.m. Sat., May 5, 2 p.m. Sun., May 6.

CAFÉ NORDO’S CABINET OF CURIOSITIES Tour “The World’s Most Elusive Culinary Museum” while savoring five courses plus wine. Washington Hall, 153 14th Ave., 800-838-3006, cafenordo.com. $60–$80.

Opens May 5. Runs 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., plus 7:30 p.m. Sundays starting June 3. Ends June 17.

CELEBRATE, ESE! Performances, a season preview, and more from eSe Teatro. ACT Theatre, 700 Union St., 292-7676, eseteatro.org. $5–$15. 7 p.m. Sat., May 5.

KRISTIN CHENOWETH If you’re reading this, you know who she is, and you love her. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $31.25–$121.25.

7:30 p.m. Wed., May 9.

FIREFLIES AND CIGARETTES New Americana-flavored fairy tales by Bret Fetzer. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. $12. 8 p.m. Wed., May 2.

GAUNTLET Real-time avatars star in this interactive video-game comedy. Wing-It Productions, 5510 University Way N.E., 781-3879, wingitproductions.com. $10–$14. Opens May 3. 8 p.m. Thurs.–Fri. Ends May 18.

THE HOUSE OF BERNARDA ALBA Lorca’s play of repression and rebellion, with a cast of 15 women. The Ballard Underground, 2220 N.W. Market St., 425-2983852, arouet.us. $12–$50. Opens May 4. 7:30 p.m. Thurs.– Sat., plus Mon., May 7. Ends May 19.

IN TENTS Teatro ZinZanni’s kid-friendly spinoff cabaret.

Teatro ZinZanni, 222 Mercer St., 802-0015. $19–$22.

Opens May 5; runs 11 a.m. some Sat.–Sun. through July 15; see dreams.zinzanni.org for exact schedule.

JULIE ANDRÉE T. The Quebecois performance artist makes her U.S. debut with Rouge, a mediation on color and blood. On the Boards, 100 W. Roy St., 217-9888, on the boards.org. $12–$25. 8 p.m. Thurs., May 3–Sun., May 6.

MATER MATRIX MOTHER AND MEDIUM 2012 Near the Dupen Fountain, a performance combining dance, vocals,

•

EXTRAORDINARY MUSIC & DANCE FROM AROUND THE GLOBE

NEW!

cedar lake contemporary ballet

Choose-Your-Own Series

• nov 15-17

Curate your own season experience and save over single tickets. Select from any of our 22 events. Visit website for full schedule.

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

harp, poetry, and video. Seattle Center, matermatrixmother. wordpress.com. Free. 7 p.m. Sat., May 5–Sun., May 6.

GREG PROOPS SEE THE WIRE, PAGE 15.

SPIN THE BOTTLE Annex Theatre’s variety show includes “epistolary smut” and more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., May 4.

STORMWATER: LIFE IN THE GUTTER Stokley Towles’ one–man show traces the travels of urban rainfall.

Seattle Center. Free. Runs May 4–19, 7 p.m. Fri. & 1 p.m.

Sat., at the Stormwater Field Station (at the north end of The Next Fifty Plaza, between Center House and EMP).

•

THE VERY HUNGRY CATERPILLAR & OTHER ERIC CARLE FAVORITES Canada’s Mermaid Theatre brings

three favorites to life. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Preview May 3, opens May 4; see sct.org for schedule and availability. Ends June 14.

[TITLE OF SHOW] A musical about writing a musical.

Erickson Theatre, 1524 Harvard Ave., 800-838-3006, balagantheatre.org. $20–$25. Opens May 4. Runs 11 p.m.

Fri.–Sat., 2 & 8 p.m. Sun., 8 p.m. Mon. Ends May 14.

For many, many Current Runs, see seattleweekly.com.

Classical, Etc.

SEATTLE SYMPHONY Mozart, Schubert, and

Vieuxtemps with violinist Misha Keylin. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$74. 7:30 p.m. Thurs., May 3, 8 p.m. Sat., May 5.

JOHN TESKE, AMY DENIO, JOHN EWING Improv on bass, accordion, and percussion. Gallery 1412, 1412 18th Ave. E., gallery1412.org. $5–$15. 8 p.m. Thurs., May 3.

MARK SALMAN Celebrating Liszt’s bicentennial with the colossal Transcendental Etudes. University Christian Church, N.E. 50th St. & 15th Ave. N.E., marksalman.net. $15–$25. 7:30 p.m. Fri., May 4.

SEATTLE SYMPHONY Music by Bartok, Kodaly, and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17 and up. 7:30 p.m. Fri., May 4.

SEATTLE COMPOSERS’ SALON On this newmusic open-mike night, music by Ann Cummings, Emily Doolittle, Yvonne Hoar, and Steve Scribner.

Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., May 4.

SEATTLE OPERA Puccini’s Madama Butterfly is the SO’s shrewd choice for their first-ever free simulcast in KeyArena (May 5 only) on a 50’ x 80’ screen. McCaw Hall, Seattle Center, 389-7676. $25 and up. Opens May 5.

Runs Wed., Sat., & Sun., plus Fri., May 11; see seattle opera.org for exact schedule. Ends May 20.

WEST COAST MUSIC New works for piano, field recordings, trombones, qin (Chinese zither), and more.

Chapel Performance Space, 4649 Sunnyside Ave. N., natevansmusic.com. $5–$15. 8 p.m. Sat., May 5.

MARIA LARIONOFF & ROBIN MCCABE Violin sonatas by Mendelssohn, Ravel and Saint-Saens.

Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 2 p.m. Sun., May 6.

SEATTLE WIND SYMPHONY SEE EAR SUPPLY, BELOW. OCTAVA CHAMBER ORCHESTRA Beethoven and Schumann, plus music by Terri Ji and Emily Cochran.

Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $5–$15. 6 p.m. Sun., May 6.

• •

• • • •

18

concerto’s emotional centerpiece is the middle movement: variations, in Bach passacaglia » by gavin borchert style, on the refrain from the old Appalachian folksong “In the Pines,” which Nirvana (among others) recorded as “Where Did You Sleep Last Night?” From the tread of Abbey Road’s “I Want It’s the mood more than the You (She’s So Heavy)” to the music of the Seattle sound that’s melancholy air of a French evoked by Texas composer accordion waltz, McAllister Scott McAllister’s 1996 Concerto rings inventive changes on X for clarinet and band— these eight lamenting bars. ”heavily influenced,” he writes, Clarinetist Sean Osborn plays Concerto X on Sunday with by grunge. In the first of its three the Seattle Wind Symphony brief, beguiling movements, (alongside music by Bernstein, random restless outbursts interGershwin, and more) to close rupt a somnambular repeating the ensemble’s inaugural murmur in the low brass that season. Meany Hall, UW calls to mind the heavy-lidded campus, 800-838-3006, gaze of a thousand Kurt Cobain seattlewindsymphony.org. photos. The third is itchy and Kurt’s eight-bar blues. $5–$15. 3 p.m. Sun., May 6. angsty, but always catchy. The

Heart-Shaped Bach

Paul Taylor Dance Company October 4-6

Laurie Anderson October 20

Kathy Mattea October 27

Hélène Grimaud November 1

MICHAEL LAVINE

Seattle weekly • M AY 2 - 8, 2012

EarSupply

MAY 2012 | SEATTLE WEEKLY’S MUSIC REVIEW

SEATTLEWEEKLY.COM/REVERBMONTHLY | FREE

Folklife Festival & Lifestyle

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

One Surviving vestige of Old SeaTTle isn’t hip, but it’s a heLL of a gOOd time.

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FRI, 5/4 9:30PM ~ $10

FIDDLE & BANJO-FUELLED, BLUEGRASSIFIED CELTIC ROCK

CLUMSY LOVERS

SPOONSHINE

ALBU R E L E A SM SHOW E

SUN, 5/6 8PM ~ $10 SINGER/SONGWRITER

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TUES, 5/8 8PM ~ $7 COUNTRY-INFLECTED POP FROM PORTLAND, OR

AGESANDAGES

JOHN HEART JACKIE KEATON COLLECTIVE

SAT, 5/5 - EARLY SHOW 5PM ~ $10ADV/$12DOS CAREFREE POP-ROCK

WED, 5/9 8PM ~ $6 LOCAL INDIE FOLK

TOMMY & THE HIGH PILOTS BELLAMAINE

POCKET PANDA POMERANTZ

SAT, 5/5 9:30PM ~ $10 SIDE SADDLE PRESENTS: CHEATIN, LYIN, LEAVIN AND CRYIN FEAT.

THUR, 5/10 9PM ~ $7 BRIDGING THE GAP BETWEEN FOLK-ROCK AND ACOUSTIC MUSIC

A B & THE SEA MARK PICKEREL

KAYLEE COLE & KEVIN LARGE BRYAN JOHN APPLEBY, LUCKY LAWRENCE ROY KAY, KIM FIELD & LISA THEOBOLD

OF ZERO 7

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JACK WILSON

DAVIDSON HART KINGSBERY JACKRABBIT

TIMES LISTED ARE SHOW TIMES. DOORS OPEN 30-60 MINUTES BEFORE

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

&UCOPMING:

2

5/11 & 5/12 THE MALDIVES, THE MOONDOGGIES 5/13 GREAT LAKE SWIMMERS, COLD SPECKS 5/14 MONDAY SQUARE DANCE with THE TALLBOYS 5/15 RODINA feat. Joe Tatton of New Mastersounds w/ members of Kinetix & Giant Panda Guerilla Dub Squad, UNSINKABLE HEAVIES 5/16 BUFFALO DEATH BEAM, YARN, RED HEART ALARM 5/17 LUC AND THE LOVINGTONS, PROJECT LIONHEART, ROGERS THRIFTWAY 5/19 THE TRUE SPOKES (formerly Flowmotion), SCOTT PEMBERTON TRIO, HUCKLE 5/20 FREEDY JOHNSTON 5/22 ALAN DOYLE of Great Big Sea, DUSTIN BENTALL 5/23 MICHAEL VERMILLION, BETSY OLSON, THE BRAMBLES 5/24 NEFARIOUS JONES, QUINN, HIGH CEILING 5/25 THE DUSTY 45s, SHANE TUTMARC 5/26 THE DUDLEY MANLOVE QUARTET, THE SLACKS 5/27 AARON DANIEL & THE BLOODY KNUCKLES, THE SHIVERING DENIZENS, WHITE TRASH WHIPLASH 5/28 MONDAY SQUARE DANCE with THE TALLBOYS

opening acts »May 2012 VOLUME 2 | NUMBER 5 » SEATTLEWEEKLY.COM/REVERBMONTHLY

presents at

DIMITRIOU’S

2033 6th Avenue (206) 441-9729 j a z z a l l e y. c o m Visit us Online!

The Tierney Sutton Band

2012 Grammy Nominated “Best Jazz Vocal Album” and “Best Arrangement Accompanying a Vocal”

May 2

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Keiko Matsui

Pianist Fusing Jazz and New Age Undertones May 3 - 6

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Kenny Garrett Quartet CY

Preeminent Jazz Alto Saxophonist Returns to Acoustic Format May 8 - 9 CMY

K

»EDITOR’S LETTER

Community Service

ckornelis@seattleweekly.com

inside»

4 DIVERSIONS

BY JOHN RODERICK | Take John’s

advice, and you’ll fit right in.

BY DUFF MCKAGAN | Seattle’s long been hospitable to folk music.

6 FOLKLIFE

BY MARK D. FEFER | Courageous— and participatory—unhipness.

9 CHIPTUNE

BY MA’CHELL DUMA LAVASSAR | Folk

music comes from repurposed technology, whether it’s washboards or Atari innards.

10 REVIEWS

The latest from Cex, Says, Type, and more.

21 THE MONTH AHEAD From Kasey Anderson to Illmaculate.

»cover credit

ILLUSTRATION BY: TRAVIS BONE »reverb monthly COPYRIGHT © 2012 BY SEATTLE WEEKLY, LLC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 • REVERB IS PUBLISHED MONTHLY BY SEATTLE WEEKLY, LLC. SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. 1008 WESTERN AVE., STE. 300, SEATTLE, WA 98104. • FOUNDED 1976.

MAIN SWITCHBOARD: 206-623-050 0

Jack DeJohnette Trio featuring Chick Corea and Stanley Clarke, Celebrating Jack’s 70th Birthday!

Three Jazz Greats Performing Together for the First Time!

May 10-13

Amina Figarova Sextet

Graceful First-Rate Jazz Composer and Pianist May 14

Janiva Magness

Powerhouse Blues Singer and 2012 Contemporary Blues Female Artist of the Year Nominee May 15 - 16

ON SALE NOW FOURPLAY June 7 – 10

SPECTRUM ROAD

Cindy Blackman-Santana, Jack Bruce, John Medeski & Vernon Reid June 21 – 24

Walk-ins Always Welcome!

All Ages • Free Parking • Gift Certificates Military, Senior and Student Discounts

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

Why do you go see live music? To stand there and watch a songwriter pluck away at his guitar? To see a rapper rhyme while an mp3 keeps the beat? To drink and talk over the band you paid $25 to “see”?

I’ve been batting around these questions for several years. New York’s Nitsuh Abebe recently wrote that, for most people, the musical performance is not the draw of concerts at all. “The draw for most people with live music is the sense of the event itself,” he says, “the moment where a cultural product they love as a kind of media gets to stake out some space in the real world.” He’s got a point.

This is why people pay good money to see the Shins, even though James Mercer is wooden and boring, and voluntarily attend concerts in the WaMu Theater, even though it’s an assault on the term “theater.” It’s also why people book their summers around Sasquatch!, Folklife, and Bumbershoot—often before schedules are even announced.

Concerts—summer music festivals in particular—are a backdrop for our excuse to get out of the house and congregate with like-minded members of our community and to find a sense of identity. At Sasquatch!, that can mean dressing like Waldo and taking Friday off from work, even though you’ve never even heard Pretty Lights.

And, as former Seattle Weekly editor-in-chief Mark D. Fefer points out on page 6, at Folklife—the city’s largest music and arts festival, to which we dedicate this issue of Reverb—it means attendees can do more than “hand over money and adulation”; they can participate in any number of “ridiculously dorky, and ridiculously enjoyable” musical happenings.

Or, of course, you can stand next to me with your hands in your pockets. It’s all up to you.

—Chris Kornelis, editor, Reverb Monthly

3

distractions&diversions» ANSWERS/ADVICE

dinner & show

Surviving Folklife What to bring, how to dress, and when to watch the sky for oatmeal.

BY JOHN RODERICK

WED/MAY 2 • 8PM

kasey anderson & the honkies w/ widower

SAT/MAY 5 • 8PM

gypsy soul SUN/MAY 6 • 7PM

the 2012 bb awards show WED/MAY 9 • 7:30PM

jon auer of the posies w/ simon lynge THU/MAY 10 • 7:30PM

trace bundy

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

w/ shook twins

4

next • 5/11 the paperboys w/ kareem kandi • 5/12 the righteous mothers • 5/13 mycle wastman w/ tess henley • 5/14 uk “night after night 2012” • 5/16 matt wertz w/ lydia ramsey • 5/17 seattle secret music showcase #12 • 5/18 uncle bonsai • 5/19 lee oskar & friends • 5/20 loudon wainwright III w/ shelby earl • 5/21 rachel platten w/ madi diaz • 5/22 greg lake

• 5/2 kara hesse / tim “too slim” langford • 5/3 tubaluba presents: whifth of fiskey • 5/4 red jacket mine • 5/5 junior on the prowl • 5/6 charles mack / an exclusive movie screening of “five” • 5/7 free funk union featuring rotating drummers d’vonne lewis & adam kessler • 5/8 camila recchio TO ENSURE THE BEST EXPERIENCE

PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW ALL-AGES (BEFORE 9:30PM)

thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

Hey, John: We’ve got a few questions: How many showers (if any) should I take before playing Folklife?

—Singer/songwriter Shelby Earl and drummer Faustine Hudson.

Earl and company perform as part of the American Standard Time showcase, 1–3:45 p.m.

Sat., May 26.

Roderick: Don’t take any

more showers than usual, which I’m guessing is generally one a day for Shelby and slightly fewer for Faustine. If you normally take three showers a day, go ahead and do that. The point is: Act normally. Folklife attendees will be able to sense if you have altered your grooming habits, and you may spook them into a stampede.

While drumming at Folklife, should Faustine wear her bikini top or her tiedyed shirt—or should she just tie-dye her bikini top?

—Earl

Start with the tie-dye shirt. The audience will feel secure and will resume juggling, and you will probably see some scarf-dancing and stilt-walking. Halfway through the set, whip off the T-shirt revealing the tie-dyed bikini top.

The audience will go bananas. The juggling will intensify, there will definitely be stiltwalking and fire-dancing, and you will see a dog with a bandanna carrying his own dish.

For the last song, take off the bikini top and reveal yin/yang pasties underneath.

Pandemonium will erupt! Unicycle firejuggling will ensue, a mud bath full of dreadlocked girls with “snake eating its own tail” tattoos will spring up out of nowhere, and you might witness some yogic hopping.

If you both take off your tops for the finale, I’d be ready for it to rain oatmeal.

Is it imperative that I play a Grateful Dead cover at the Festival?

—Earl

Yes. Current Folklife rules for your set time and location require that you play all of side two of Terrapin Station, which is a brisk 16:17. These decisions are made by lottery, and there is no appeal process.

How would you feel about letting us get onstage and give you a long roastlike introduction at your Folklife performance?

—Chris Cunningham, Ravenna Woods.

Cunningham’s band is not playing Folklife, but his ubiquitous bandanna will be represented by a trio of Shelties.

Because of some conflicts having to do with “blackout dates,” and in order to elude

my omnipresent knife-wielding female stalkers, I’ll be performing Folklife in disguise this year under the alias Shenandoah Davis.

By all means, jump up onstage and give me a rambling and hilarious introduction! I’ll probably act all aghast like I don’t know what you’re doing, but that’s just for the cameras.

The whole band has been really anxious to get some resolve to this conflict we’ve been having . . . If a girl likes you, but is a little nervous about telling you because she can only speak to you through the body of a possessed male Mexican mariachi, and even if she wasn’t nervous, it would still make a relationship difficult because she is just a computer

COLUMN

FOLK’S DREAMBOAT Seattle’s longtime love affair with the softer side of rock.

BY DUFF MCKAGAN

S

pring is in the air, acoustic instruments are being tuned, beards are being grown, and the sunglasses oft-missing in the rainy season are once again donned. Yeah, man: Folklife is right around the corner!

It may seem a far stretch for some to think that a rock dude like me would be writing about or have any idea or knowledge basis regarding this idiom of “folk” music. And, yes, I fully admit I once embodied John Belushi’s guitar-smashing “Bluto” character in Animal House. We have all come a long way since then.

Seattle has become something of an epicenter for what is cool and good with new indie-folk. Of course, Fleet Foxes and their millions of records sold did a lot for this cause. But even when that band was in their developmental stages here, a burgeoning acoustic-driven scene was making noise around town (albeit lower than some of us had grown accustomed to).

How did this happen in a town well known for loud and distorted rock? A couple of things that haven’t been talked about much: 1. Heart’s Dreamboat Annie showcased a band that took Joni Mitchell-esque acoustic music to a whole new level. Yes, folk music got

chip surgically placed in the brain stem of the fellow. . . Should I join the band and learn to love what’s inside the mariachi’s cerebral fluid, take out the mad hatter in the Seattle underground responsible, or transcend the situation and grow a beard and move to Alaska? I am open to all suggestions.

—Adam Foley of The Deep Wake, which plays EMP’s Sky Church at 8:30 p.m. Sun., May 27.

Congratulations, your question reads like it came from the very center of the Folklife hive mind. I’m picturing you eating vegan chili by the International Fountain and smoking an electronic cigarette while your girlfriend/ bass player juggles one of those spinning double-toilet-plungers.

Normally my editors at the Weekly would never let a question like this through their hippie-gibberish filter, but it appears they’ve made a special dispensation due to Folklife, and I’m not going to argue because they gave me some shit a couple issues ago about my “word count.” So go ahead and pad my column with your stoner syntax and schizo-affective disorder. I live in a toadstool on a mountain, and I only hear the tweeting of tree-birds when they tickle my flapjacks! E John Roderick is a Seattle-based writer and musician. He tweets @johnroderick. askroderick@seattleweekly.com

its popular start here in the Northwest in the ’70s . . . with Heart!

2. A lot of loud rock bands write their songs on acoustic guitars. They are usually lying around the house, and you don’t need an amp.

Hey, if a song doesn’t sound good on an acoustic guitar, you can assume it won’t sound good through loud amps, accompanied by a huge drum kit. You can’t hide a bad song.

3. Mark Lanegan’s Whiskey for the Holy Ghost, way back in 1994, became a high-water mark for this new Seattle hipster-folkie thing.

Lanegan took the volume down a notch, exposing the dark underbelly of life. It was the story of a man who lived a tough life. A people story. Another word for people is, indeed, folks. Folk music.

4. Nirvana’s MTV Unplugged made it “cool” for the masses and Seattleites alike to pick up an acoustic guitar and play Bowie songs. Exploration of old-school folk music was a natural next step from there.

But, really, softer music is blossoming here in the Northwest simply because there is a paying audience that will support it.

Beards, sweaters, and hollow instruments make dollars up in here. Solo artists, duos, and bands can actually survive and matriculate a career doing this type of music.

At least, that is, until polka becomes the next big thing. If that happens, I may just very well smash a tuba. E Duff McKagan is the founding bassist of Guns N’ Roses and the leader of Seattle’s Loaded. His column runs every Thursday at seattleweekly. com/reverb. askduff@seattleweekly.com

Thursday May 3rd (21 & Over) The Vonvettas (EP Release) Black Beast Revival • Blasting Love Caps $6 • Doors at 8:00pm • Show at 9:00pm

Monday May 14th (All Ages/Bar W/ID) Smile Empty Soul • The Veer Union • Ionia No Buffer • One Gun Shy • Silent Theory $13 ADV / $15 DOS • Doors at 7:00pm • Show at 8:00pm

Friday May 4th (21 & Over) KISW (99.9 FM) Metal Shop & El Corazon Present: That Metal Tour Jim Florentine, Don Jamieson & Eddie Trunk Live • An evening with the hosts of VH1 Classic’s That Metal Show.

That Metal Tour features live comedy performed by Don Jamieson, Jim Florentine and Eddie Trunk, hosts of VH1 Classic’s “That Metal Show.” There will a Q & A session as well as a live version of Stump the Trunk followed by live performances by Witchburn and Spellcaster. $25 • VIP Meet & Greet Tickets Available for $35 Doors at 7:00pm • Show at 8:00pm

Tuesday May 15th (All Ages/Bar W/ID) Smote • Max Wang • The Greasy Spoon $6 ADV / $8 DOS • Doors at 7:30pm • Show at 8:00pm

Saturday May 5th (All Ages/Bar W/ID) KEXP’s Seek And Destroy & Mike Thrasher Present: Dragonforce Holy Grail • Huntress • Spare Me Poseidon $18 ADV / $20 DOS • Doors at 6:30pm Show at 7:30pm

powered by

Sunday May 6th (All Ages/Bar W/ID) KISW (99.9 FM) Metal Shop & El Corazon Present: Negura Bunget Eclipse Eternal • Din Brad Sacrament Ov Impurity • Reficul $12 ADV / $15 DOS • Doors at 7:00pm • Show at 7:30pm Monday May 7th (21 & Over) The BandDroidz • Plus Guests $6 ADV / $8 DOS • Doors at 8:00pm • Show at 9:00pm Wednesday May 9th (All Ages/Bar W/ID) LOUNGE SHOW El Corazon & Mike Thrasher Present: Peelander Z Dreadful Children • The Triple Sixes • Sweet Pups • Plus Guests $12 ADV / $14 DOS • Doors at 7:30pm • Show at 8:00pm

JUST ANNOUNCED!

Thursday May 10th (21 & Over) Friends Like Enemies • Amsterdam Attack With Care • Plus Guests $7 • Doors at 7:00pm • Show at 8:00pm

Saturday May 12th (All Ages/Bar W/ID) Avenging Angel Entertainment Presents: BulletBoys • StoneBender Degree Of Disorder • Hot N’ Bothered $15 • Doors at 7:00pm • Show at 8:00pm Saturday May 12th (All Ages/Bar W/ID) LOUNGE SHOW Take Warning Presents: Survival Guide (feat. Emily Whitehurst of Tsunami Bomb/The Action Design & Jaycen Mckissick of Pipedown/The Action Design) • The Pilot Lights Mansions The Requisite • Ryan Hyde $8 ADV / $10 DOS • Doors at 7:00pm • Show at 7:30pm Sunday May 13th (All Ages/Bar W/ID) LOUNGE SHOW Mike Thrasher Presents: R5 (ft. Ross Lynch from Austin and Ally) Plus Guests $12 ADV / $15 DOS • Doors at 5:00pm • Show at 5:30pm

NEPTUNE THEATRE 1303 NE 45TH ST FOR TICKETS AND INFORMATION VISIT SHOWBOXONLINE.COM

Thursday May 17th (All Ages/Bar W/ID) Mest • Peace Mercutio • Lucky Bunny Foot Post Adolescence • Enamour $13 ADV / $15 DOS • Doors at 7:00pm • Show at 7:30pm Thursday May 17th (21 & Over) LOUNGE SHOW Late September Dogs (LSD) • Dr. Luna (feat. Glenn Cannon of Windowpane) • 23 Shades • No Ground $6 ADV / $8 DOS • Doors at 8:00pm • Show at 9:00pm Friday May 18th (21 & Over) The Real McKenzies • Civet • 13 Scars (CD Release) Sledgeback • Plus Guests $5 ADV / $12 DOS • Doors at 8:00pm • Show at 9:00pm Saturday May 19th (All Ages/Bar W/ID) 7 Horns 7 Eyes (CD Release) • Stealing Axion • IDOLS Spare Me Poseidon • Numbers $8 ADV / $10 DOS • Doors at 7:00pm • Show at 7:30pm Wednesday May 23rd (All Ages/Bar W/ID) Narrows • Retox • Great Falls • Brokaw $10 ADV / $12 DOS • Doors at 7:00pm • Show at 8:00pm Thursday May 24th (All Ages/Bar W/ID) Dylan Jakobsen • Shoreline Drive • Matt Bekker • Nic Newsham The Bard And The Liar • Step One $10 ADV / $12 DOS • Doors at 6:30pm • Show at 7:00pm Friday May 25th (All Ages/Bar W/ID) Musicwerks Seattle & El Corazon Present: Voltaire Jamie Nova • Plus Guests $15 ADV / $20 DOS • Doors at 8:00pm • Show at 9:00pm Saturday May 26th (All Ages/Bar W/ID) Mike Thrasher Presents: MxPx • Amber Pacific • Poorsport $15 ADV / $20 DOS • Doors at 7:00pm • Show at 8:00pm Wednesday May 30th (All Ages/Bar W/ID) Michael Monroe (Hanoi Rocks) Featuring: Michael Monroe (Hanoi Rocks), Sami Yaffa (Hanoi Rocks, New York Dolls), Dregen (Hellacopters, Backyard Babies), Steve Conte (New York Dolls), Karl Rockfist (Danzig, The Chelsea Smiles) Witchburn • Plus Guests $15 ADV / $20 DOS • Doors at 7:00pm • Show at 8:00pm Thursday May 31st (All Ages/Bar W/ID) Mike Thrasher Presents: The Rocket Summer The Scene • Aesthetic States $14 ADV / $16 DOS • Doors at 7:00pm • Show at 7:30pm

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Re ve r b • Seattle weekly • M AY 2 - 8, 2012

Friday May 11th (21 & Over) Mike Thrasher Presents: The Dead Milkmen • Plus Guests $20 ADV / $25 DOS • Doors at 7:00pm • Show at 8:00pm

Wednesday May 16th (All Ages/Bar W/ID) #Reclaim featuring Sean Gasperetti & Sherry Muchira w/ Guest Speaker Phil Mangenelli $8 ADV / $10 DOS • Doors at 7:30pm • Show at 8:00pm

5

folklife»

TRAVIS BONE

essay

Before the Regime Folklife reminds us of a Seattle that celebrated the strange.

By Mark d. fefer

Un.cSIomC Tw.RlittYlerM LIVE COUN he ed ww THURSDAY MAY 3RD

TEQUILA ROSE 9PM - $3 COVER

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

FRIDAY MAY 4TH & SATURDAY MAY 5TH

6

BUCKAROO BLUES

A

few years ago, a Seattle photographer published a book called The Seattle 100—portraits of people he said were “defining and driving culture in Seattle.”

Don’t be surprised if you don’t see any of them at Folklife this weekend.

The things that make Folklife such an artless good time are exactly the kind of things that anointed tastemakers tend to dislike. Folklife is unexclusive, there’s not much sense of fashion,

and the audience gets to do more than hand over money and adulation. (In fact, no money needs to change hands at all.)

Folklife used to be emblematic of Seattle culture. Now, 40 years on, it has become refreshingly out of step with many of the prevailing attitudes—and totally unlike the other big music and arts festivals in town.

No Folklife fan is going to scrutinize this year’s lineup and roll their eyes at the Bokréta Hungarian Dance Ensemble (Sunday, May 27)

being booked again. The Bokréta Hungarian Dance Ensemble was never “in”—which is why the bookers at Folklife don’t have to worry that maybe the Bokréta Hungarian Dance Ensemble was totally “over” five months ago. (Or hope that they’re so “over” they could be ironically “in.”) Folklife has become a last refuge of unself-conscious entertainment, which says something about this city’s evolution.

The range of acts that Folklife presents—in a town hardly known as an ethnic melting pot—is nothing short of amazing. West African, Celtic, Mexican, Japanese, Scandinavian, Scottish, Hawaiian, Israeli, Irish, and more. Is it all great? Definitely not. But even the lesser acts give you room to wonder at the history and worldviews that produced this sound, dress, and movement. It really is diverse, and not in the sense of people wearing lots of different thrift-store ski caps.

The other thing that’s so great about Folklife is that people aren’t just there to admire an aloof performer, but to participate.

You can walk in and join a choir, learn some capoeira. A lot of Folklifers are die-hard regulars, there to do exactly what they came for—like the social dancers who pack Fisher Pavilion for square dance, contradance, tango, and more. Ridiculously dorky, and ridiculously enjoyable.

The other day, Reverb Monthly editor Chris Kornelis and I were wondering what the “thing” will be this year at Sasquatch!, which happens the same weekend as Folklife.

(Two years ago, the “thing” was suburban kids wearing Indian headdresses.) But we can safely say there will be no “thing” at this year’s Folklife. It’ll be the same as it ever was—a place to soak up positive energy and find joy in the color of the wider world. E Mark D. Fefer is the former editor of Seattle Weekly and the founding drummer of Robespierre. music@seattleweekly.com Northwest FolkliFe Festival Seattle Center, nwfolklifefestival.org.

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Folklife Picks Northwest Stringband Throwdown These spunky, sprightly string bands could inspire even the staunchest Seattleite to hippie dancing.

With the Warren G. Hardings, Nettle Honey, Water Tower, Polecat. Fisher Green Stage, Friday, May 25, 6 to 9 p.m.

Our Indoor Campsite Celebrate the artful whims and layered, acoustic melodies of Olympia’s K Records at this unofficial showcase. With Katie and the Lichen, Kendl Winter, the Softies, the Hive Dwellers. Center House Theater, Saturday, May 26, 1:30 to 4 p.m.

American Standard Time Alt-country, Americana, and blues abound in this soulful showcase of Seattle singer/songwriters. With Shelby Earl, Kevin Barrans, Lonesome Shack, Denver. Indie Roots at Broad Street, Saturday, May 26, 1 to 3:45 p.m.

Ball of Wax Show Indie rock, jazz, hard folk, pop, soul, take your pick—this bill is a grab bag and a true ball of wax. With Tito Ramsey, Robert Deeble, the Foghorns, Heatwarmer. Indie Roots at Broad Street, Sunday, May 27, 7 to 10 p.m.

Artist Home Showcase Surf sounds, ’60s pop, and garage rock round out this bill of young, emerging Northwest artists. With Cumulus, Koko & the Sweetmeats, Dude York. Indie Roots at Broad Street, Sunday, May 27, 3 to 6 p.m.

Kindiependent Mom and Dad: Bring your favorite dancing shoes and let the boppin’ sounds

of these family faves kick off the fun. With Recess Monkey, Caspar Babypants, and the Not-Its. Fountain Lawn Stage, Monday, May 28, 11 a.m. to 3 p.m.

A Tribute to Harry Smith and The Anthology of American Folk Music Celebrating the 60th anniversary of the classic anthology that ushered in the folk revival of the ’50s and ’60s, American music history buffs should not miss this one. With the Bow Pullers, Dinas o Frain, Dale Russ and Friends, Robert Millis, Magical Strings, Coventry, the Jocelyn Pettit Band. Northwest Court, Monday, May, 28, 1 to 4 p.m.

Reggae Rising Party The weather may still be a gamble, but these reggae- and funk-driven bands pop a groove like it’s sunny and 75. With Hybrid Vibe, The Highlife, Kore Ionz, Clinton Fearon and Boogie Brown Band. Mural Amphitheatre, Monday, May 28, 6 to 8:45 p.m. Gwendolyn elliott

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folklife» PREVIEW

Atari Folk

Folklife answers the question: What do a Game Boy and a washboard have in common?

BY MA’CHELL DUMA LAVASSAR

I

t’s hard to become a Northwest institution without acquiring the clichés to go with it. For Seattleites, the name Folklife conjures roasted corn, Bob Marley tapestries, tons of tie-dye, world music, and the ever-present thumping of communal drum circles. This is why those attending the festival with such expectations may be surprised when they stumble into the Sky Church on Saturday, May 26. For the fourth year in a row, Folklife will employ EMP’s über-venue to showcase the electronic musical medium known as chiptune in “The Next 50: Chiptune and VJ Showcase.”

“Chiptune music, also sometimes referred to as 8bit, is music that is composed using retro gaming consoles and things like Game Boys or Nintendo entertainment systems,” explains Gabe Hayward of CrunchyCo, a not-for-profit organization devoted to the development of the chiptune movement in Seattle and this year’s showcase curator. “It can also be made

using computer software. Essentially, it sounds like a video game. But mostly it’s original compositions made by artists who, instead of using a guitar, use technology as instrumentation.

Chiptune music itself is not necessary a genre.

It is more a method of creation. There can be jazz chiptune music.”

Chiptune, much like early traditional folk, relies on unconventional instrumentation.

What may seem a modern musical novelty actually has more in common with the rest of Folklife’s programming than may be recognized at first. Chiptune, much like early traditional folk, relies on unconventional instrumentation. A century ago, a washboard was a household technology that someone

had the foresight to employ musically. The same can be said of chiptune and its subsets bitpop, bleep techno, Game Boy music, and Nintendocore.

The explosion of personal technology in the late ’70s and early ’80s gave birth to a plethora of systems that were outdated by the ’90s. Affordable and easy to find in thrift stores, garage sales, and online, these relics became a perfect musical medium for kids who grew up on both hip-hop and Atari.

If folk music is, as the International Folk Council declared in 1954, “the fashioning and re-fashioning of music by the community that gives it its folk character,” chiptune certainly fits the bill. Not only do chiptune artists employ a technology from their childhood to rework the ideas of traditional music, they use it to convey the sentiment of their youth, much as folk’s earliest originators utilized the evolutionary process of oral transmission.

Hayward elaborates: “Most people in their 20s and 30s today grew up with video games that used this low-bit audio, and many can recall the music from these old video games very clearly in their heads because it’s stuck with them their whole life. Modern chiptune, being created on the same hardware as retro video games, uses the same sound chips to

produce music that gives listeners that similar nostalgic sound they remember from their childhood video games, only in an original new form.”

Over the past few years, the blips and beeps of chiptune have caught on in popular music. Anyone blessed/ cursed with eardrums in 2009 can easily recall the 8bit sample that opened Ke$ha’s omnipresent “Tik Tok.” Hayward points to the success of New York City’s Anamanaguchi—whose Scott Pilgrim vs. the World: The Game—Original Videogame Soundtrack debuted at #3 on Billboard’s Heatseekers chart—as one of the acts responsible for bringing chiptune to the masses. He continues, “But as the ‘nerd culture’ has become more mainstream, I definitely have noticed a boom within the last few years of this kind of thing attracting a sizable audience.”

Locally, Hayward has experienced chiptune’s growth firsthand with his own 8bit band, Kids Get Hit by Buses, playing at this year’s showcase. He also gives props to Northwest chiptune artists like Live Animals (also featured on the bill), whom Hayward describes as “two guys who live and breathe the Seattle chiptune underground. They are some of the most raw chip talent you’ll find here.” E music@seattleweekly.com

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9

reviews»Our Take on Every Local Release*

It’s May 2012, and Seattle Sounds Like . . .

transplants tightening their ’80s new wave sound, pulling back Idle Labor’s gauzy curtain of reverb to reveal bright yet sleepy hooks somewhere between those of New Order and The Pains of Being Pure at Heart. EG (Wed., May 9, Neumos)

LOCAL RELEASES

Daega Sound/Kid Smpl, No Northwest Cycle

*

7 Horns 7 Eyes, Throes of Absolution

2 EP #3 (5/15, Car Crash Set, carcrashset.com): This EP pairs Vancouver, B.C.’s Daega Sound with Seattle’s Kid Simpl (and Keyboard Kid on the remix) for takes on dubstep (respectively) lurking like Shackleton and aqueous like Burial. EG

(out now, Century Media, facebook. com/7horns7eyes): The debut from this progressive death-metal five-piece is both bludgeoningly heavy and darkly introspective as it races across time signatures, moods, and tempos, wowing with its technical proficiency at each turn.

Ex-Nevermore shredder Jeff Loomis even shows up for a solo. DAVE LAKE (Sat., May 19, El Corazon)

*

’Em Flying (5/8, self-released, facebook. com/BrandenDanielAndTheChics): We now live in a world where the trippy soul of King Khan and the pseudo–garage rock of Kings of Leon hold court equally in a single band.

GWENDOLYN ELLIOTT (Thurs., May 17, Chop Suey)

Afraid of Figs, Safe (out now, self-released,

aofmusic.com): A paradigmatic power-pop record. Clean, simple, prominent guitar riffs and energized drums drive this album, backed by harmonious vocals. If you dig Weezer, Safe is calling you. LAURA SWARTZ

Atomic Bride, Dead Air (5/23, self-released,

atomic-bride.com): Psychedelic garage punk that’s part B-52s, part Dead Kennedys, and part Groovie Ghoulies. Particularly fun is the bouncy “Radio Recession,” anchored by a killer surfguitar riff, which shows off the dueling male/ female vocals of Astra Elane and Chris Cool. DL (Sat., May 19, Lo-Fi Performance Gallery)

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

Ayron Jones and The Way, Baptized

10

in Muddy Waters (out now, self-released, ajandtheway.com): This blues-rock trio’s debut EP is an impressive introductory vehicle for their Hendrix-influenced frontman’s gritty, soul-baring vocals and wondrously fluid electric-guitar soloing. ERIN K. THOMPSON (Thurs., May 17, Comet Tavern) Barcelona, Not Quite Yours (5/8, self-released, facebook.com/Barcelona): This record, while decent, is not nearly as good as 2007’s phenomenal Absolutes. But it’s rangier, and thus marks a successful effort to ditch local critics’ Coldplay-copycat assertions. But there’s such a thing as an overcorrection, and this may be it.

MIKE SEELY (Fri., May 18, Columbia City Theater) The Beautiful Sunsets, Coalminers &

Moonshiners (out now, Global Seepej Records, thebeautifulsunsets.com): Male/female

Yeah, every release

* JESSICA ORR

At the Spine, At the Spine (out now, Global Seepej Records, atthespine.org): The fifth LP from this Seattle indie-rock band channels the sound of their various peers from Mudhoney to Vendetta Red. At times raging, at others restrained, the band is at their best when they combine big riffs with big choruses, as on “Meteorite.” DL (Mon., May 28, Folklife)

Broken Water’s Tempest is out May 9.

pants and golf club you’re planning to send Dad for Father’s Day. MA’CHELL DUMA LAVASSAR

harmonies highlight this LP, which blends traditional folk songs and a few covers with the band’s twangy originals. The highlight is an upbeat version of Ewan MacColl’s “Dirty Old Town.” DL (Mon., May 28, Folklife)

Brite Lines, Make Shift (out now, selfreleased, britelines.bandcamp.com): Poppy folk-rock, plumped up with strings, that occasionally employs zany instrumentation a la Squirrel Nut Zippers, but which is most effective when it takes a straightforward approach and lets the songs’ emotional brevity speak for itself. MDL (Wed., May 9, Tractor Tavern)

Blood Orange Paradise, Blood Orange

Paradise (out now, self-released, bloodorange paradise.com): It’s fitting that some members of this four-piece hail from Washington, D.C.: The influence of Dischord Records and posthardcore greats like Fugazi and Jawbox figure heavily into this eight-song record, simultaneously raw and tightly wound. ANDREW GOSPE (Sat., May 5, Sunset Tavern) Sonny Bonoho, “ATTN:” (out now, self-

released, sonnybonoho.com): The lead single from SB’s upcoming The Vag project finds the singer/rapper looking within in his jumbled thought kind of way. This time, The ARE’s nicely sampled beat (and DJ Rhettmatic’s scratches) bring out the best in our wacky local hero. TODD HAMM

BRAD, United We Stand (out now, Razor & Tie,

thebandbrad.com): Full of easygoing, smooth adult-alternative jams, Stone Gossard’s Pearl Jam offshoot project is fronted by the local forefather of shaggy-white-boy soul, Shawn Smith.

The perfect disc to throw in with the cargo

*In each issue, we review every release from local bands and labels scheduled for the coming month. We fully expect a few releases to slip through the cracks. So each issue will also include anything we missed in previous issues, or that had been released in the interim. Send releases and reminders to reverbreviews@seattleweekly.com.

*

HIGHLY RECOMMENDED

Branden Daniel & the Chics, Keep

*

Broken Water, Tempest (5/29, Hardly Art, facebook.com/brokenagua): Nineties-vintage Olympia indie rock, with serious shades of Sonic Youth in the deadpan male/female vocals, bursts of sludgy noise, and resilient melodic figures. ERIC GRANDY

*

Cex, Presumed Dead (out now, Automation

Records, automationrecords.bandcamp. com): This art-core indie rapper, producer, and early blogger returns with an album of ambient electronic bass music, with a low end that sounds depth-charged even on earbuds. EG William Charney, Tempestuocity (out now, self-released, williamcharney.com) This local jazz composer’s straight-ahead originals are more developed than the last time we checked in, but they still lack a sense of urgency and originality. CHRIS KORNELIS CopperWire, Earthbound (out now, Porto Franco, copperwiremusic.com): This new three-person project (which includes local good guy Gabriel Teodros) is perhaps best seen as an allegorical statement regarding life and the Ethiopian diaspora. The simpler truth is that it’s an adventurous album that sounds good on quite a few levels. TH

*

Craft Spells, Gallery (5/15, Captured

Tracks, facebook.com/CraftSpells): This four-song EP finds the Stockton-to-Seattle

Jarv Dee, Dopamine (out now, Cloud

Nice, cloudnice.com): The Cloud Nice representative kicks some highly entertaining (and intermittently comically misogynistic) rhymes that add up to another W for the southend collective. TH (Fri., May 18, Chop Suey)

*

Deadkill, Deadkill (5/22, Good to Die

Records, facebook.com/deadkillseattle): They may have a song called “5150” on their foursong debut 7-inch, but that’s where the Van Halen comparisons end. This is Black Flag-inspired punk rock from current and former members of the Absolute Monarchs, Himsa, and the Meices.

It’s raging, it’s in-your-face, and it’s all over before you know it. DL (Thurs., May 17, Barboza)

*

Demon Hunter, True Defiance (out now,

Solid State, demonhunter.net): It’s impossible to be let down by Demon Hunter. True Defiance is all over the place: fast, slow, intense, beautiful, momentous. “Tomorrow Never Ends” is a powerful track with a heartfelt message, though it’s hard to beat the furor of “God Forsaken.” JOE WILLIAMS

*

Everything Points Up, Everything Points Up EP (out now, self-released, everything pointsup.bandcamp.com): Creative, adventurous, indie electro-pop from the guys behind local rock act the Glass Notes. These “demos” are a bit rough around the edges, but that’s what helps give this EP such a warm, analog feel. The melodies here carry infinite potential. CK Fatal Lucciauno, “Big Bro (Action Jackson

Remix)”: (out now, Sportn’ Life, fatallucciauno. bandcamp.com): This track from Fatal’s recent album Respect showcases the MC’s untouchable delivery as well as any, and Fly Moon Royalty’s DJ Action Jackson bends his ’hood observations into an underworld love song. TH

Hanssen, Statement of Work (out now, Inner-

flight, soundcloud.com/hanssen): Three tracks of glossy techno, from dance-floor pulse to nightdriving cool to ambient, with three remixes that stretch the originals further in each direction. EG

*

Hotels, Cinemascope I (out now, self-released, hotelsmusic.com): This promising EP combines two of the ’80s’ most

» CONTINUED ON PAGE 14

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reviews» » FROM PAGE 10 influential musical trends—new wave and post-punk—to great effect, especially on closer “True Crime,” with its lockstep drumming and synthed-out coda. “The Reddest Rose,” which sounds like a keyboard-heavy Strokes outtake, is also a keeper. AG self-released, jeffersonroseband.blogspot.com): Their Kickstarter-funded debut LP is a chill, afro-funk summer cocktail. It’s no wonder 141 people chipped in to make this instrumental happen. CK (Fri., May 18, Nectar) The Jesus Rehab, Drunken Hillbilly Fight Bar (out now, self-released, the jesusrehab. com): Plucky indie pop with a heavy ’90s angle a la Everclear and Third Eye Blind, with a little Pavement and Weezer thrown in for credibility. While the music may seem familiar, this is a solidly produced effort with undeniable commercial viability—this band was made for KNDD. MDL (Mon., May 14, Crocodile)

*

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

Keyboard Kid, The Transition EP (5/7, Donkey Pitch, keyboardkid206. bandcamp.com): Local #based music purveyor Keyboard Kid takes some heady bass pulses on a ride through an echoey synth forest as electro-snare trees fly by and filtercrushed samples babble in the background.

TH (Sat., May 12, Crocodile)

14

*

Kingdom Crumbs, “For the Birds” (out now,

Cloud Nice, cloudnice.com): The lofty futurefunk beat fits the song’s avian subject matter well, and indulges the group’s most laid-back inklings. TH

*

Kingdom Crumbs, “Pick Both Sides of

My Brain” (out now, Cloud Nice, cloud nice.com): Upon what is perhaps Tay Sean’s most captivating instrumental, the KC MCs drop some easy-flowing, pro-grade rhymes.

Kingdom Crumbs has officially arrived. TH

Lake City Poets, Lake City Poets (out now,

self-released, myspace.com/thelakecitypoets): If you like spoken-word music touching on subjects as diverse as window washers, clinophobia, and photography, read by a guy who sounds sort of like The Dismemberment Plan’s Travis Morrison, this album might be the hottest release of the year. AG

The Last Temptations, Penny Dreadfuls

(out now, self-released, thelasttemptations. bandcamp.com): Part rockabilly, part Alkaline Trio if they were fronted by a female and only listened to Otis Redding, Penny Dreadfuls is a

smooth and delectable release full of slow rock, eerie melodies, and toylike jingles. JW

*

Legato Bebop, Jargon (out now, self-

released, legatobebop.bandcamp.com): An odd, borderless solo album that builds and drifts from ambient din to full-on grungecrunching rock to fluffy hip-hop beats to Panda Bear/Fleet Foxes–derived harmonies. EG

Longboat, Instant Classics (out now, selfreleased, facebook.com/Longboat): Longboat appeared on the map with 2011’s Greater Seattle, a sardonic take on Seattle’s many neighborhood-centric cultures. With Instant Classics, Longboat continues with eclectic Richard Cheese-meets-They Might Be Giants-esque nerd-pop about buses, mastodons, and other often-passed-over song subjects. GREGORY FRANKLIN

NoRey, NoRey (5/11, self-released,

noreymusic.com): This five-track release will make you want to quit pruning your pubes, live in a yurt, do mind-expanding drugs, and take group showers. It’s natural, it’s groovy, it’s sexy; fronted by Colombian cocksman Alejandro Garcia, No Rey might be Seattle’s most authentic, original band. MS (Fri., May 25, Crocodile)

Keyboard Kid.

BRANDON PENA

The Jefferson Rose Band, Seismic (out now,

Killing Jenny, Whatever (out now, selfreleased, reverbnation.com/killingjenny): Singer Noelle Rimestad, who fronts this pop/rock band, sounds like Pat Benatar, but unlike Benatar’s 1979 debut, Whatever lacks a “Heartbreaker.” DL

Polyrhythmics, “Pink Wasabi” (out now,

Electric Cowbell Records, soundcloud.com/ polyrhythmics): This reggae-and-soul-spiced instrumental will be a tasteful addition to your summer barbecue mix, and spark endless debates about the jazz-flute solos (which are well played here). CK (Fri., May 12, Nectar) Prom Queen, Night Sound (out now, selfreleased, facebook.com/promqueenmusic): Celene Ramadan’s ’50s-pop project utilizes sultry vocals and dreamy, slumping instrumentals to create a sound at once unique and vintage. Night Sound is a sweltering collection of original songs that wouldn’t sound out of place soundtracking a Tarantino or Lynch film. EKT

*

Ryan Purcell and The Last Round,

Pick Me Up (5/25, self-released, ryan purcellandthelastround.bandcamp.com): This album, sung by a man who sounds like an amalgam of John Cougar Mellencamp and

» CONTINUED ON PAGE 17

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Reve r b • Seat tle weekly • M AY 2 - 8, 2012

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16

reviews»

ZOOTUNES

MOUNT EERIE Clear Moon

presented by Carter Subaru

(5/22, P.W. Elverum and Sun, pwelverumandsun.com) To put it mildly, a few themes recur through Anacortes indie auteur Phil Elverum’s work as the Microphones and Mount Eerie: the moon, the universe, the natural world mythically personified or made into existential metaphor. So for his latest album to return to his old muse the moon, and open with a stereo-echoing guitar strum familiar from The Glow Pt. 2, in a sequel to “Through the Trees” from Mount Eerie’s 2009 album Wind’s Poem, is no surprise. Phil still wallows like Phil—but even as his early sense of wonder has slowly hardened over the years into something more somber and melancholy, his sonic palette has steadily expanded, taking in black metal, drone, Twin Peaks synth pads, and now spooked-out jazz (on the songs “Lone Bell” and “House Shape”) to augment his acoustic explorations. ERIC GRANDY

» FROM PAGE 14 Steven Tyler after consuming a half-case of Bud Light Platinums and a carton of Camels at a stock-car race, made me immediately pour myself a glass of bourbon—at 3 on a Tuesday afternoon. That’s the mark of a perfect countryrock album; the title track shimmers. MS (Fri., May 25, Columbia City Theater) Purty Mouth, A Night at the Opry (out now,

self-released, facebook.com/Purty-Mouth): A solid old-school effort from twang purists Purty Mouth. Featuring dueling male and female vocalists, there is no “alternative” in this band’s brand of country, as reverent to George Strait as to George Jones. MDL

Q Dot, “Indivisible 2.0” (outnow, Royalshack

Publishing, myspace.com/qdotmusic): The Tacoma artist put together a nice, gentle piano beat for the occasion, but his lyrics are disjointed and drag the song down. TH

Geoff Reed, The War Ain’t Over (out now,

Lionel Richie, Tuskegee (out now, Mercury Nashville, lionelrichie.com): The R&B legend just added the Wedgwood Broiler to his burgeoning restaurant empire, and celebrated by cutting a duets album of his greatest hits with Nashville superstars, including Darius Rucker. Listening to Shania Twain coo her way through Diana Ross’ part on “Endless Love,” you come away convinced that she was Easy (Like Sunday Morning) when the Penny Lover suggested they hang out All Night Long. MS (Fri., May 25, Shanty Tavern) River Giant, River Giant (out now, self-

released, rivergiant.bandcamp.com): This soulful three-piece takes chamber folk to the edge with lusty, rowdy riffs, bluesy jams, and low-end bass lines that liken them more to the Absolute Monarchs than the Cave Singers. GE (Sun., May 13, Columbia City Theater)

JUNE 27 JULY 3

Sampson and McDean, Low Hangin’ Men

(out now, Reedco Records, candyvan1.bandcamp.com): The kind of record that attempts to blend humor and country music (think “Grandma Got Run Over by a Reindeer”), and that you’d seek in your grandparents’ record collections for the poop jokes. MDL

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Roaming Herds of Buffalo,

Roaming Herds of Buffalo (5/3, selfreleased, roamingherdsofbuffalo.com): Forging a sound between the Shins’ melody-heavy pop and the groove rock of Doug Martsch, these eight tunes craft a catchy, quirky, up-tempo pop sound filled with perky hooks. GE (Wed., May 9, Barboza)

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Says, “Only X” (out now, self-released,

saysmusic.bandcamp.com): Sedate yet uneasy mood rock whose spaciousness, avant-jazzy and electronic touches, and general melancholy owe a great deal to Radiohead. EG

Slant Rhymes, “Hall Pass” (out now, Reedco

Records, candyvan1.bandcamp.com): This mid-’80s reissue begins with the promise of a Casio-fueled fun ride, but comes to a screeching halt when the vocals/lyrics kick in. It’s not that these guys lack musicianship—their computer-generated tunes were way ahead of their time—they just have nothing to say. MDL

Soul Senate, Good Side (out now, self-

released, soulsenate.com): This eight-piece soul orchestra brings back the funk sounds of the ’60s and ’70s in a six-song EP of original tunes and booty-shaking grooves, lead by singer’s Felicia Loud’s rich, exuberant vocals.

GE (Fri., June 8, Columbia City Theater) Spoonshine, Song of the Sockeye (5/4, self-

released, spoonshine.com): On their debut fulllength, produced by Adam Kasper (Pearl Jam, Soundgarden, Nirvana), this Anacortes-based Americana band weaves lively string instrumentation and punk rhythms into 10 jumpy, jambased folk tunes. GE (Fri., May 4, Tractor Tavern)

Station to Station, The S2S EP (Out now,

Televisionary Records, SoundCloud.com/ station-to-station-s2s): This new wave-lovin’

» CONTINUED ON PAGE 18

SEE CONCERTS.

SAVE ANIMALS.

Tickets on sale NOW at www.zoo.org with a limited number of tickets available at zoo entrances during operating hours. Prices subject to applicable ticket fees. All concerts begin at 6:00 p.m. with gates opening at 5 p.m.

All concerts rain or shine, no refunds. One child (12 and under) admitted free with each ticket purchased.

For more information, visit www.zoo.org, call 206.548.2500, or find ZooTunes on Facebook.

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

Reedco Records, candyvan1.bandcamp.com): This joke-rap EP, featuring horrendously cheesy beats and even worse lyrics (sample: “I jack off to John Denver”), has one saving grace: It’s less than six minutes long. AG

COURTESY OF THE ARTIST

*

BECU

17

reviews»

MONTHLY IC S U M B R E V E R and are Now Available Fire! le on Kindle and Kind S! EEK EE FOR TWO W FR W O N IT Y TR

» FROM PAGE 17 quartet throws in a turntable and presents an alternate ending to the mashup of rock and the DJ booth. An interesting, encouraging debut. CK Shannon Stephens, Pull It Together (5/22,

Asthmatic Kitty, facebook.com/thebreadwinner): On her third release, this Seattle songwriter and former Sufjan Stevens bandmate achieves her most gorgeous work to date. “Cold November” is a delicate and tender listen, and I’ve never heard a song manipulate phrasing as does “Faces Like Ours,” a duet with Will Oldham (who covers her song “I’ll Be Glad”). GE (Fri., June 6, Sunset Tavern)

Thaddeus David, “Jones” (out now, Mem-

bers Only, membersonly206.bandcamp.com): The State of the Artist MC exercises his sharp lyricism over five minutes of spliced, mutated Nas beats (from Nas’ classic debut, Illmatic).

The result is creative and strong enough to serve as more than mere promo. TH

*

This Providence, Brier (out now, selfreleased, thisprovidence.com): Upbeat and passionate, Brier is full of flavor. Vocalist Dan Young’s loose, fun style is similar to that of Cage the Elephant, though the band’s approach is anything but. “You’re Mine” has a classic, surfy feel, while “In or Out” is a catchy track for fans of West Coast rock. JW

Type, Bad Tattoos Vol. 1 (out now, self-released, themctype.bandcamp.com): Five songs cut from Type’s other albums (he has stated it’s because “they aren’t hilarious”), BTV.1 works with some legit production to mixed results, but as always, the guy is good for a few smiles. TH Uncle Pooch, Oneirophrenia (out now, The

IBCT, unclepooch.com): For fans of throwing up their fists and scowling, Oneirophrenia plays like a sludgy Korn cover album minus vocals.

Full of dropped tuning and gritty guitars, the progressions are repetitive, flat, and easily forgettable. JW (Fri., May 11, Sunset Tavern)

Reve r b • Seat tle weekly • M AY 2 - 8, 2012

Art Vandelay, “Hey Zeus!” (out now,

18

Unimpressive, art-vandelay.com): Producer Mack Formway comes through with another adventurous composition, but aside from a sharp chorus, Ricky Pharoe’s lyrics are too clichéd and self-referential to live up to the delightful mindfuck he’s gotten us used to. TH

Willow & the Embers, Radio Sky (out now, self-released, willowsmusic.com): West Seattle’s Willow has a haunting and ethereal voice, and her songs can take on the same traits. This preacher’s daughter makes delicate, ambient folk music, and for Radio Sky she adds a pair of musicians, Kevin Wood and Bob Congleton, who add gentle bass lines and wellplaced guitar swells to provide just the right amount of texture. DL (Fri., May 11, Skylark) Witch Gardens, R-I-P (out now, Waterwing

Records, witchgardens.bandcamp.com): The least goth record named R-I-P you will ever hear, with sprightly guitar lines and G-rated lyrics split between leisurely female harmonies and taunting sing-song chants, and an allaround easy summer vibe. EG

LOCAL LABELS’ OUT-OF-TOWN BANDS Anberlin, Dancing Between the Fibers of Time

(out now, Tooth & Nail, anberlin.com): Dancing is a hard thing to swallow for Anberlin fans. A greatest-hits album spanning the band’s three phenomenal T&N releases before they jumped into the majors, each track is a sad reminder of their glory days. JW

*

Beach House, Bloom (5/15, Sub Pop, beachhousebaltimore.com): On first listen, the esteemed Baltimore duo’s fourth full-length contains no immediate standout tracks, like Teen Dream’s “Walk in the Park” or Devotion’s “Gila.” But as a whole, Bloom is a strong album that reinstates the band’s warm and familiar dream-pop sound while venturing in a few new directions (hear the tinkly videogame-sounding keyboard tones that open “Lazuli”; Victoria Legrand stretching her vocal range on “Wild”; the ambitious and expansive closer, “Irene.”) The more listens you give it, the more it does, indeed, bloom. EKT Becoming the Archetype, Celestial Progression (out now, Solid State, facebook.com/becoming thearchetypemusic): What happens when you mix progressive death metal with Skrillex and clouds? “We Ride (Giant Robot Remix),” I think.

The music on this remixed, digital EP version of their March 29 release is honestly top-notch, if not a tad overwhelming. JW Haste the Day, Best of the Best (out now,

Solid State, hastetheday.com): That this band ever got to the point of having a greatest-hits album is remarkable, given there are almost as many former members as current members.

Newcomers will find classics like “Pressure the Hinges” alongside others like “Mad Man.” JW

The Letter Black, Hanging on by a Remix

(5/22, Tooth & Nail, theletterblack.com): Remix records can be dangerous, but The Letter Black have managed to pull one off.

Though a good bit of their hard edge is covered by the dancier, electronic feel, it’s impressive to hear the evolution of songs like “All I Want.” JW

K-Holes, Dismania (out now, Hardly Art,

facebook.com/K-Holes): K-Holes make dirge-y, ritual rock full of dirty guitars, crashing drums, squealing saxophone, and witchy moans. Probably should’ve been named after peyote instead of ketamine. EG

*

King Tuff, King Tuff (5/29, Sub Pop, subpop.com): This eclectic Vermont musician’s sophomore album falls somewhere between ’60s pop (“Keep On Movin’ ”), ’70s glam (“Anthem”), and the scuzzy beach rock of a band like Wavves (earworm single “Bad Thing”). It’s immediate, uninhibited, and catchy as hell. AG KJ-52, Dangerous (out now, BEC, kj52.com): On the whole, a letdown—Family Force 5 sans originality. The hip-hop side is really great; it’s when the kind-of-rock is added that the songs become saturated. If every song were like “They Like Me,” this wouldn’t leave my car stereo. JW

*

June 14-17, 2012

Leavenworth International Accordion Celebration

FATHER JOHN MISTY Fear Fun

Come and enjoy lively accordion concerts/competitions in the Festhalle and FREE entertainment at the Gazebo and Grange by top local, national, and international accordionists in the Bavarian getaway town of Leavenworth. Also featured are FREE introductory accordion lessons, vendor exhibitions, workshops, and the annual Accordion Parade down Front Street! Fun for all ages.

(out now, Sub Pop, fatherjohnmisty.com) Former Seattleite and ex-Fleet Foxes drummer Josh Tillman has built something of a reputation as an eccentric, hippie-hipster underachiever, enhanced by his popular Twitter account, which tells the world about things like getting stoned and sleeping through 4/20. But if Tillman is some sort of hilariously addled slacker, he beats the lazy clichés. Fear Fun, his debut as Father John Misty, is an intricately orchestrated album that incorporates careful touches of organ, mandolin, and, at least once, whistling, all tied together

by Tillman’s strong, fluid, surprisingly pretty vocals.

FJM’s freewheeling music reflects the golden ’70s of Laurel Canyon (Tillman’s current home) without being derivative. Misty keeps it all fresh by skipping from heavy psychrock (“Hollywood Forever Cemetery Song”) to easy acoustic (the lovely opener “Funtimes in Babylon”) and whimsical folk (“Well, You Can Do It Without Me”). His CSNY-style rocker, “Only Son of a Ladiesman,” is the lone track that faintly rings of Fleet Foxes.

Lyrically, the songs are reminiscent of the Beatles’ “Ballad of John and Yoko,”with verses reeling off whimsical, globe-trotting adventures. Misty’s world is colorfully populated by the gun-toting Sally Hatchet; Heidegger and Sartre sipping opium tea; John the Baptist commingling with Joseph Campbell and the Rolling Stones. And while it’s true that Fear Fun is refreshingly infused with a sense of humor that flippantly, joyfully references drugs (“I ran down the road/Pants down to my knees/Screaming, ‘Please come help me/That Canadian shaman/Gave a little too much to me!’ ”) and sex (“You said ‘Whip it out!’/And I started to shout/‘I’m in love with a woman! Again!’ ”), Tillman makes all his jokes knowingly.

Fear Fun is a storyboard of Tillman’s excessive life—the good times and California cool—but it comes with a relatable poignancy: the urgent need to capture and crystallize the current now before everything changes again. “I’ll just call this what it is: My vanity gone wild with my crisis,” he sings on “I’m Learning to Love the War”: “One day this will all repeat/I sure hope they make something useful out of me.”

ERIN K. THOMPSON (Mon., May 7, Neumos)

EMMA GARR

Location: Leavenworth, WA Time: 9am-10pm Call: 206-622-4786 Website: accordioncelebration.org

Kutless, Believer (out now, BEC, kutless. com): A solid mixture of alt-rock and hard rock, Believer’s biggest strength is its range.

“All Yours” is a slower, inspirational track that builds upon itself, while “If It Ends Today” is a punchier track with impressive guitar work akin to Anberlin’s. JW

as Ramona Falls shows him brightening his sound since his sweet but melancholy 2009 debut, Intuit. His new songs pop with layers of harmonic vocals, pretty piano melodies, and the occasional jolting guitar riff. The lively “Sqworm” is a standout. EKT (Thurs., May 17, Sunset Tavern)

Manafest, Fighter (out now, BEC, manafest. ca): Think Linkin Park with more hip-hop and better morals: Fighter meshes rap and hard rock into a decent musical conglomerate that’s a tad niche-y for the average person. JW

Rocky Loves Emily, Secrets Don’t Make

Nobunny, “La La La La Love You” (5/8,

*

Obits, “Let Me Dream if I Want To”

b/w “City Is Dead” (5/15, Sub Pop, obitsurl.com): How a bunch of grown men can sound so angrily bitter toward the world is beyond me, but Obits manage to pull off cranked-up codger better than anyone. On their newest Sub Pop single, they cover Mink DeVille and the Kids, adding their own dank, garage twist to the songs. GF

*

Tara Jane ONeil, “Sirena” b/w

“Rainbow Connection” (5/22, K Records, tarajaneoneil.com): The Portland artist’s new “Sirena” is a wholly peaceful lullaby composed of warmly strummed guitars and brushed drumbeats; “Rainbow Connection” chirps and bobs with a similar sense of magic. EKT Ramona Falls, Prophet (out now, Barsuk,

ramonafalls.com): Brent Knopf’s second album

To Speak of Wolves, Find Your Worth,

Come Home (5/22, Solid State, facebook.com/ tospeakofwolves): If garage-core were a genre, TSOW would be the godfathers. As a whole, this album is a bit spastic, opting for long stretches of screeching guitar and haphazard yelling instead of legitimate breakdowns. Still, there’s a lot to love. JW

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Cinco De Mayo at Vibe $3 Coronas $5 Strawberry or Mango Margaritas $6 shots of Patron $4 Jose Quervo shots $5 Nacho Plates Dancing all Night 9pm til’ 2am

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mixin in the back

Tuesday Bracelet Night $12 Bracelet purchase gets you $1 drinks all night

Karaoke starts at 9pm

Various artists, X 2012 (4/10, BEC, becrecordings.com): A melting pot of Christian artists across all genres, X 2012 pulls out the big guns with bands like Demon Hunter, Hawk Nelson, and Family Force 5. With 20 tracks ranging from metalcore to crunk rock, there’s literally something for everyone. JW

*

Wax Idols, “Schadenfreude” (5/8,

Suicide Squeeze, suicidesqueeze.net): Female-fronted punk rock from San Francisco, all sharp-angled guitars, pelvic-thrusting bass pulses, and Elastica-like attitude for days (but significantly less of a Wire rip-off ). EG E music@seattleweekly.com

Vibe Bar and Grill 226 1st Ave S - Kent www.thevibebarandgrill.com

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

Suicide Squeeze, suicidesqueeze.net): Sadly, it’s not a cover of the like-named Pixies song, but an adenoidal garage-pop throwback on the front with a pretty, leisurely toy-piano serenade on the B-side. EG

Friends (out now, Tooth & Nail, rockyloves emily.net): Though this band is signed to T&N, Rocky Loves Emily is closer to the Jonas Brothers than to Emery. Middle-school girls will find hundreds of hours of quality material, no doubt, but I suspect this album was written exclusively to play in Journeys. JW

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the»month»ahead Gauntlet Hair hits Barboza on May 6.

Best Coast

Joe Pug

TUESDAY, MAY 22

SATURDAY, MAY 5

This month, Bethany Cosentino and co. will release the follow-up to their wildly popular 2010 debut Crazy for You, the Jon Brion– produced, California-loving The Only Place, followed by an extensive summer tour across the U.S. and Europe. With JEFF the Brotherhood.

On his recently released third album The Great Despiser, Pug’s country-folk melodies and artful songwriting recall John Prine’s offbeat style and Bob Dylan’s tender folk years. With Baliff,

The Neptune, 1303 N.E. 45th St., 877-7844849. 8 p.m. $18 adv./$20 DOS. All ages.

Xiu Xiu SUNDAY, MAY 27

Jamie Stewart’s latest Xiu Xiu album, March’s acrimonious Always, is jaggedly intense and occasionally violent, and has earned the band some of the best reviews of its prolific career.

With Yamantaka, Father Murphy. Barboza, 925 E. Pike St., 709-9951. 8 p.m. $10.

KEVIN HOTH

BY ERIN K. THOMPSON

Ty Segall SATURDAY, MAY 5

One of the Bay Area’s finest psych-rockers, Segall plans to follow up his acclaimed LP Goodbye Bread with three records this year— the first of which, out next month, is a collaboration with his touring band, titled Slaughterhouse. With White Fence, The

Pharmacy, Tea Cozies. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $10.

Gauntlet Hair SUNDAY, MAY 6

With Dana Buoy, IG-88. Barboza, 925 E. Pike St., 709-9951. 8 p.m. $10.

The Black Keys TUESDAY, MAY 8

Dan Auerbach and Pat Carney’s seventh record, last year’s El Camino, made them rock superstars; in a decade the duo’s gone from being University of Akron dropouts to Billboard charters, Grammy winners, and one of the few musical acts in the country able to sell out Madison Square Garden. With Arctic

Monkeys. KeyArena, 305 Harrison St., 684-7200. 7:30 p.m. $50–$65. All ages.

Beach Fossils THURSDAY, MAY 10

Pensive Brooklyn songwriter Dustin Payseur went through 12 drummers and three guitarists before settling on his current Beach Fossils lineup; the quixotic guitar-pop quartet is prepping their second LP for release on

Mean Jeans FRIDAY, MAY 11

This gloriously fun Portland power-punk trio write headbanging, party-ready, rip-roaring tunes with titles like “R U Mental?” and “Let’s Pogo B4 U Gogo”—sort of a Ramones for the texting generation. With Juvenile Hall, Shakes, Sweet Pups, DJ Ken Dirtnap.

Funhouse, 206 Fifth Ave. N., 374-8400.

9:30 p.m. $7.

Ramona Falls THURSDAY, MAY 17

Since leaving Menomena in early 2011, Portland’s Brent Knopf has been devoting all his attention to his solo project; Barsuk released Ramona Falls’ energetic second album Prophet this month. With Land of Pines, Natural Selection. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 9 p.m. $12.

Big-ass music fest at Seattle Center that’s the subject of this month’s Reverb Monthly.

Seattle Center. Free (suggested donation $10/$20 for families).

Sasquatch!

FRIDAY, MAY 25–MONDAY, MAY 28

Big-ass music fest at the Gorge featuring Beck, Jack White, and Bon Iver. The Gorge. sold out.

country

BY GWENDOLYN ELLIOTT

Kasey Anderson & the Honkies WEDNESDAY, MAY 2

Anderson’s gravel-coated voice and alt-country heartland sounds draw comparisons to Ryan Adams and Bruce Springsteen; he’ll sound even twangier tonight when locals Jeff Fielder and Star Anna sit in as “guest honkies.” With

Widower. Triple Door, 216 Union St., 8384333. 8 p.m. $12 adv./$15 DOS. All ages.

The ladies of Side Saddle.

Deep Sea Diver

Vince Mira TUESDAY, MAY 8

If you’ve never seen the “Johnny Cash Kid” perform his spot-on tribute to the Man in Black, he’s a bit older now, but his act is as polished as ever.

Can Can, 94 Pike St., 652-0832. 9 p.m. $7.

Judd Lewis & the Loose Cannons FRIDAY, MAY 18

This local country-rock four-piece has a honky-tonking, loose-feeling twang in their step, with easy-rolling harmonies that round out the act. With Weatherside Whiskey Band,

the Outlaws. High Dive, 513 N. 36th St., 632-0212. 9:30 p.m. $7.

Bullet Creek SATURDAY, MAY 19

For a fix of modern country pop, check out the upbeat rock of this Snohomish band who’ve opened for the likes of Brooks & Dunn, Billy Ray Cyrus, and Bo Diddley. Hard Rock Cafe, 116

Pike St., 204-2233. 9 p.m. $8 adv./$12 DOS.

Fred Eaglesmith SATURDAY, MAY 19

With the release of his 19th album 6 Volts, Canada’s alt-country cult hero is as tireless in the studio as on the road, logging around 200 shows a year. Treehouse Cafe, 4569

Lynwood Center Rd. N.E., Bainbridge Island, 842-2814. 8 p.m. $24.

Jack Wilson FRIDAY, MAY 25

Wilson’s plaintive vocals sound a bit like Adam Duritz, but his lush and mellow country rock, alive with pedal steel guitar and rich harmonies, sure ain’t the Counting Crows. Wth Low Land

High, The Lusitania. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 10 p.m. $8.

Rockabilly Throwdown

FRIDAY, MAY 18

SATURDAY, MAY 26

For now, local musician Jessica Dobson is best known as the Shins’ lead guitarist. Her own band Deep Sea Diver’s strong debut LP History Speaks is impressive enough to change that.

As any fan of KEXP’s Shake the Shack will tell you, few things kick off a weekend like a good rockabilly showcase; with the saucy addition of live burlesque, you needn’t be anywhere else tonight. With Raygun Cowboys, the Twang-

With Ravenna Woods. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $10.

Lindsey Buckingham

Cheatin’, Lyin’, Leavin’, and Cryin’

SATURDAY, MAY 19

SATURDAY, MAY 5

Seeing the iconic Fleetwood Mac lead singer, who released his sixth solo album last fall, playing a venue as intimate as the Neptune is almost as exciting as his self-mocking 2011 appearance on SNL’s “What Up With That?” The Neptune, 1303 N.E. 45th St.,

Country gals Side Saddle present an evening of music dedicated to the genre’s biggest and best cliché—the no-good, double-crossin’, cheatin’ heart. With Mark Pickerel, Kaylee Cole & Kevin

877-784-4849. 9 p.m. $49.50. All ages.

Large, Brian John Appleby, Lucky Lawrence, Roy Kay, Kim Field & Lisa Theobold. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9 p.m. $10.

shifters, Little Ray & the Uppercuts, Dragstrip Riot. Highway 99 Blues Club, 1414 Alaskan Way, 382-2171. 8 p.m. $15.

Ray Willie Hubbard THURSDAY, MAY 31

Cited by the Tractor’s website as a “leading figure of the progressive country movement of the ’70s,” Hubbard quit recording for nearly 20 years, but his recent albums, including his

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

The Denver duo of Andy R. and Craig Nice have been garnering attention for their inscrutable band name and their glassy, minimalist noisepop, as heard on their 2011 self-titled debut.

With Marc DeMarco, Seapony. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $12.

FRIDAY, MAY 25–MONDAY, MAY 28

STEPHEN RUSK

pop/rock

Captured Tracks sometime this summer.

Folklife

Ben Fisher. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10.

» CONTINUED ON PAGE 22 21

themonthahead» » FROM PAGE 21 latest, The Grifter’s Hymnal, anchor the songwriter as an integral part of the evolving genre.

Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $15.

BEST SUSHI hip-hop

SATURDAY, MAY 5

The release show for the debut project of a new MC/producer combo. Expect to hear the wealth of their album, The Cigar Room, as well as some solo work. With Thaddeus David, Th3rdz, AD, DJ

Two producers who mess around in the dimly lit edges between bass music and house, where they find, respectively, footwork and garageflavored dance-floor fuel. Deep Down Lounge,

Hoodie Allen SUNDAY, MAY 13

With a name so cheaply pilfered from the national pop consciousness, it’s no surprise this New York rapper is basically a rhythmic cliché-spitting machine. He’s garnered a bit of hype, though, so perhaps he can prove this salty old penman wrong in a live setting. With

BY TODD HAMM

Grieves & Budo FRIDAY, MAY 4

NOW ON ANDROID & IPHONE

Addison Groove & Doc Daneeka

SATURDAY, MAY 12

Swervewon. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. All ages.

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Neema & Keyboard Kid

The Seattle-based indie hip-hop duo takes the stage for one last stateside show before pushing off to Europe with Brother Ali. With Prof, the

BreakLites, Fundo. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $12. All ages.

Shelton Harris. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $14. All ages.

Schoolboy Q SUNDAY, MAY 20

With A-list collaborators on either coast (druggy New Yorker A$AP Rocky and fellow L.A. torchbearer Kendrick Lamar), Schoolboy Q is sitting pretty at the moment. With Ab

Candy Basket Comedy Showcase Wednesday, May 16th @ 8pm

NO COVER!

Soul. Neumos, 925 E. Pike St., 709-9442.

8 p.m. $15. All ages.

TOP 40 SATURDAYS

Illmaculate

w/ DJ Edis & DJ Paycheck

THURSDAY, MAY 31

Grieves & Budo.

9pm / No Cover Happy Hour all Night Long

JET SET MONDAYS

with DJ Swervewon and DJ 100 Proof 10pm/ No Cover

LEVEL UP! COMEDY SHOW THURSDAYS 8pm/No Cover

CAPITOL CLUB Reve r b • Seat tle weekly • M AY 2 - 8, 2012

414 EAST PINE STREET www.thecapitolclub.net 206.325.2149

22

RHYMESAYERS

ISLAND STYLE SUNDAYS

Best Reggae Night with DJ Bookem and DJ Fentar

Tech N9ne FRIDAY, MAY 4—SATURDAY, MAY 5

The face-painted adrenaline-rap of Tech N9ne tops this crowded bill. Things will probably get wild/weird. With Machine Gun Kelly, Krizz Kaliko,

Mayday, Prozak, Stevie Stone, Neema. Showbox SoDo, 1700 First Ave. S, 652-0444. 8:30 p.m. $30 adv./$35 DOS. All ages.

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Black Moth Super Rainbow TUESDAY, MAY 8

The full band of weirdo electronic producer Tobacco, BMSR takes a less beat-oriented, but similarly stoned, analog approach to their slowly melting psych grooves. With Lumerians,

Pictorials. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $13.

Jacques Renault THURSDAY, MAY 10

A smooth pusher of nu-disco grooves, solo and with duo Runaway, for labels including DFA, Wurst Edits, and RVNG Intl., expect Renault to warm nicely to the Woods’ loft-party vibe. With

Sean Majors, Blueeyedsoul, Nark. The Woods, 1512 11th Ave., Level 3, 324-7467. 10 p.m.

Light Asylum FRIDAY, MAY 11

Shannon Funchess—ex-Seattle funk rocker (with Imij) and more recent member of !!!—taps into darker synth-rock veins with Light Asylum. It’s gloomy, dramatic stuff, well-suited for this second night of Actual Pain/Second Sight’s “Psychic Circle” event. With Litanic Mask,

tar, 412 N. 36th St., 632-2020. 8 p.m. $7.

Second Sight DJs. Electric Tea Garden, 1402 E. Pike St., 568-3972. 10 p.m. $10.

Bo$$ Fam

Demdike Stare

THURSDAY, MAY 31

SATURDAY, MAY 12

The oddball local rap collective fronted by large, puffy-haired personality Duranged Pitt hugs traditional West Coast rap aesthetics close but stays on a mission to keep the party going. With Awall, Peta Tosh, Boombox,

A record-collector DJ and a techno producer teamed up to make dark, ambient hiss with only the faintest hints of sampled beats or melodies. With Tropic of Cancer, A Story of Rats,

Second Family, DJ Peg. High Dive, 513 N. 36th St., 632-0212. 9 p.m. $8.

S4NTA_MU3RTE. Black Lodge. 9 p.m. $10.

Bassnectar

WEDNESDAY, MAY 9

SATURDAY, MAY 12

The soft-voiced L.A. rapper/singer has won over fans during the past decade or so through his thoughtfully written songs, which can be just as touching as they are goofy. With Tanya

Pitchfork was making fun of Bassnectar’s witless drops when Skrillex was still in screamo-band Pampers; Ghostland Observatory makes electronic music for people who’d prefer a Led Zep laser show. Of course their show’s at a 5,600-capacity venue. With VibeSquaD, Mr.

Morgan, Cookbook, Playdough, City Hall. Nectar, 412 N. 36th St., 632-2020. 8 p.m. $10.

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm

The prolific battle rapper (2011’s Red Bull EmSee Seattle champion) brings his muchseasoned mike skills to Nectar with fellow Portlander Cool Nutz. With Only One. Nec-

126 S. Jackson St., 682-3242. 9:30 p.m. $12.

dj/electronic

BY ERIC GRANDY

Curren$y

DJ Assault

THURSDAY, MAY 10

FRIDAY, MAY 4

Though his record-contract history tells the tale of a worn veteran, the New Orleans rapper has truly come into his own over the past few years, and is making the best music of his career. His new album, Stoned Immaculate, hits stores June 5. With Styles P and the Jets, Smoke DZA,

Shameless DJ Recess celebrates his birthday by bringing out Detroit ghetto-tech godfather DJ Assault (“Ass and Titties,” “Who’s Fucking Tonite,” etc.) to headline this sureto-be-banging “booty bass carnival.” With

Projectile. WaMu Theater, 800 Occidental Ave. S., 381-7555. 7 p.m. $35. All ages.

Monster Planet MONDAY, MAY 14

An evening of live ambient improvisation and B-monster-movie projections at the Pike Place Market cabaret, headlined by serious sound engineer Vance Galloway. Have a cocktail or three and zone out. With The Googly, Justin

Fiend 4 Da Money, Corner Boy P, Trademark, Young Roddy. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. $20. All ages.

DJ Recess, Lisa Dank & DJ Nark, Blondzie, Sh6rl6s6, Kadeejah Streets vs. Adlib, J Business & the Wild Card. Electric Tea Garden, 1402 E. Pike St., 568-3972. 9 p.m. $10.

Byrnes, Albatronics, Brian Oblivion. Can Can, 94 Pike St., 652-0832. 9 p.m. Free.

AyO

Fred-P & Anthony Parasole

Agaric & [A]ppendics Shuffle

SATURDAY, MAY 12

SATURDAY, MAY 5

FRIDAY, MAY 18

This Nigerian-born, Seattle-area MC has little recorded material to base an opinion on, so tonight’s a chance to be surprised by a relatively unknown local artist. With Saturday

Low-profile promotions crew High & Tight make a public debut with this evening of outstanding deep house in the reclaimed brick-and-beam basement of Melrose Market.

Two producers of smart foot-shuffling and finger-snapping house tunes headline Sweatbox and Innreflight’s latest Drop monthly at Lo-Fi. Expect an exceptionally warm and friendly dance floor. Lo-Fi Performance Gallery,

Morning Cartoon, The Rush Project. High Dive, 513 N. 36th St., 632-0212. 9:30. $7.

Melrose Market Studio, 1532 Minor Ave., 661-7979. 11 p.m. $12.

429 Eastlake Ave., 254-2824. 9 p.m. $13.

Deadkill

the heavies

THURSDAY, MAY 17

BY DAVE LAKE

DragonForce SATURDAY, MAY 5

Like Iron Maiden on Four Loko, DragonForce loves dexterous guitar solos as much as Xbox, and their frenetic, high-fructose power metal receives as many cheers as jeers from critics.

They’re touring in support of their fifth album, The Power Within, the first featuring new vocalist Marc Hudson. With Holy Grail, Huntress, Spare

Featuring former and current members of Absolute Monarchs!, Himsa, and the Meices, Deadkill puts on an incendiary live show. They’re also the latest signees to Good to Die Records, and their brand of in-your-face old-school punk rock fits right in at the label. With Grenades, Battle Stations, Strap Straps. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $8.

celebrate the release of their debut album Throes of Absolution before touring the West Coast with labelmates Stealing Axion. You can marvel at the band’s technical virtuosity on record, but it’s best experienced live at ear-pummeling volumes.

With IDOLS, Spare Me Poseidon, Numbers.

El Corazon, 109 Eastlake Ave. E., 381-3094.

8 p.m. $8 adv./$10 DOS. All ages.

The Avengers TUESDAY, MAY 22

7 Horns 7 Eyes SATURDAY, MAY 19

This progressive death-metal five-piece will

San Francisco’s legendary punk band, one of the first fronted by a woman, celebrates the rerelease of their long-out-of-print self-titled 1983

debut, better known as The Pink Album. Queer punks Pansy Division also are on the bill. With

Industry People. Funhouse, 206 Fifth Ave. N., 374-8400. 9:30 p.m. $10 adv./$12 DOS.

Destruction WEDNESDAY, MAY 30

These German thrash-metal vets celebrate 30 years together with a stop in Seattle, where they’ll support their 11th album, last year’s Day of Reckoning. With Warbringer, Vital Remains,

Pathology, Coven, Beneath All Kaos. Studio Seven, 110 S. Horton St., 286-1312. 6:30 p.m. $17 adv./$20 DOS. All ages.

Me Poseidon. El Corazon, 109 Eastlake Ave. E., 381-3094. 6:30 p.m. $18 adv./$20 DOS.

Van Halen SATURDAY, MAY 5

David Lee Roth rejoins Van Halen for a celebration of their early, most-loved material, which you’ll get to hear so long as you don’t mind sitting through a bunch of songs from their recent A Different Kind of Truth. No Sammy songs, and no Michael Anthony either, but you do get Kool & the Gang opening. Tacoma Dome,

2727 E. D St., 253-272-3663. 7:30 p.m. $49.50–$149.50. All ages.

Meshuggah WEDNESDAY, MAY 9

The Swedish band with a Yiddish name has been playing heavy music since 1987, most recently incorporating jazz influences and complicated polyrhythms into their brand of extreme metal.

Plus, they use guitars with eight strings, which is, like, two strings heavier than most other metal bands. With Baroness, Decapitated. Showbox

One of the highest-grossing bands of all time, these headbangin’ Australians in short pants and schoolboy caps paved the way for heavy

EM P ON

metal with blues-based riffs, power-driven performances, and tons of onstage antics.

SATURDAY, MAY 12

Celebrating 35 years as a band, X will play Seattle with their original lineup before heading overseas to support Pearl Jam. Their debut Los Angeles still sounds just as urgent and important as it did at its 1980 release. With the

Suicide Notes. Showbox at the Market, 1426 First Ave., 628-3151. $25.

AC/DC: Australia’s Family Jewels was developed by the Arts Centre Melbourne and the Western Australian Museum in association with AC/DC, Albert Music, and Sony Music.

PHOTO: Angus

Young performing “Baby

Please Don’t Go” on the floor of the Hard Rock Café, Melbourne, May 1975. ©Andrew Wittner

TI

M

Y BU

E.

AT M

X

VE

381-3094. 8 p.m. $20 adv./$25 DOS.

ON

VE

325 5th Avenue N At Seattle Center

NO EY W .S A

EMP MUSEUM

OP EN SA

Jangly, sarcastic, and straight outta Philly, Dead Milkmen found brief success in the ’80s on the back of “Punk Rock Girl,” one of the decade’s great singles, but they’ve always had one foot firmly planted in the underground.

The band reunited last year to issue The King in Yellow, their first album in 16 years, and tonight’s show is one of only three on the West Coast. El Corazon, 109 Eastlake Ave. E.,

LIN

FRIDAY, MAY 11

E.

G

.O R

LET THERE BE ROCK.

Re ve r b • Seattle weekly • M AY 2 - 8, 2012

The Dead Milkmen

MICKE SANDSTRÖM

Meshuggah.

M US EM EU PM US M EU M

at the Market, 1426 First Ave., 628-3151. $25 adv./$28 DOS. All ages.

23

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arts»Visual Arts by kat chow

Openings & Events After Dinner PArty Sculpture, video, digital collage,

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Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended

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now based in NYC, in one. Camps shows the improvised encampments of Northwest commercial mushroom hunters. Cabins shows the Iñupiat tribe’s seasonal hunting shelters. First Thursday reception 6–8 p.m. Thurs., May 3. Artist talk 2 p.m. Sat., May 19. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery. com. Wed.–Sat., 11 a.m.–5 p.m. Through May 26. kAthleen A. Johnson Crows, Owls, Hummingbirds, and Trees features the work of the self–described “crow lady,” who explores her love of birds and nature in a series of acrylic paintings. Note artist reception Sun., May 6; and Edmonds Art Walk Thurs., May 17.

Gallery North, 508 Main St., Edmonds, 425-774-0946, gallery–north.com. Mon.–Fri., 11 a.m.–6 p.m.; every third Thursday, noon–8 p.m.; Sat., 10 a.m.–6 p.m.; Sun., noon–6 p.m. Through June 1. ellen lAke & chris green Artist Lake and scientist Green collaborate with sculpture and video considering love, loss, and urban landscapes. First Thursday reception 6–8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org. Opens May 4. Mon.–Fri., 9 a.m.–5 p.m. Through June 1.

Molly MAgAi Artificial Landscapes features oil paintings by artist Molly Magai. Note artist reception and First Thursday opening 6–8 p.m. May 3. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeist coffee.com. Opens May 3. Mon.–Sun., 6 a.m.–7 p.m.

Through June 6. scott MAnsfielD Triggered Out features his new sculpture. Note opening 6–8 p.m. Thurs., May 3 and artist reception 5–7 p.m. Sat., May 12. Core Gallery, 117 Prefontaine Place S. (Tashiro Kaplan Building), 467-4444, coregallery.org. Opens May 3. Wed.–Sat., noon–6 p.m. Through June 2.

Jo Moniz The Modern Landscape features geometric forms, color fields, and layers of lines inspired by memories of flights across the country. Note opening reception First Thursday, 5–8 p.m. Gallery open weekends and by appointment. Shift Collaborative Studio, 306 S. Washington St. (Tashiro Kaplan Building), 547-1215, shiftstudio.org. Opens May 4. Fri.–Sat., noon–5 p.m. Through June 2. night wAtch Vija Celmins, Richard Misrach, and Anna Von Mertens render the sky at night. First Thursday opening reception at 6 p.m. James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com.

Opens May 3. Thurs.–Sat., 11 a.m.–5 p.m. Through June 3. reclAMAtion This group show and silent auction will feature more than 30 artists who have transformed cast–off objects. Proceeds benefit Art for Animals’ Sake. Radar Hair & Records, 2724 First Ave. S., Ste. A, 402-4549. $10. Sat., May 5, 8–11 p.m. the reDuctivist show David Brody, Steve Costie, Graham Shutt, Vannessa Tran, and Duane Zaloudek try to remove essential information from their drawings.

Note lecture by critic Jim Demetre 7 p.m. Thurs., May 10. Prographica, 3419 E. Denny Way, prographica drawings.com. Wed.–Sat., 11 a.m.–5 p.m. Through May 26.

ADAM sorenson In his Honey from the Sky, Yogurt from the Mountaintop, the Portland artist reflects on modern man’s relationship with the natural world.

Note First Thursday opening reception. James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com. Opens May 3. Thurs.–Sat., 11 a.m.–5 p.m.

Through June 2. sPirits in wooD AnD glAss Hib Sabin and Peter Wright present wood carvings and glass works, respectively. Note First Thursday opening reception, 6–8 p.m.. Stonington Gallery, 119 S. Jackson St., 4054040, stoningtongallery.com. Opens May 3. Mon.–Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.–5:30 p.m.; First Sunday of every month, noon–5 p.m. Through May 26. text eDitor In this group show, local artists interpret nonsensical language and text (plus computer programming codes) in a variety of media. Among those featured: Erin Frost, Troy Gua, Jason Hirata, and Erin Shafkind. Opening reception on First Thursday, 6–9 p.m.

Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Opens May 4. Wed.–Sat., noon– 5 p.m. Through June 2. wAllingforD Art wAlk Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingford artwalk.org for full roster of attractions. Various locations. 6–9 p.m. Wed., May 2. roBert yoDer DILF! features oil paintings and collage dealing with desire, addiction, and shame. Note First Thursday opening reception at 6 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. Wed.–Fri., 11 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Through June 16.

•

Your Sister's Sister

CENTERPIECE GALA | The Chef CLOSING NIGHT | Grassroots ACTRESS

TRIBUTES

Sissy Spacek

(Badlands, Carrie, Coal Miner’s Daughter)

DIRECTOR

William Friedkin

(The Exorcist, The French Connection, Killer Joe)

Single Tickets Go On Sale Thursday, May 3!

206.324.9996 | siff.net Pick up your FREE Guide at participating Starbucks stores and other convenient locations around town.

Seattle weekly • M AY 2 - 8, 2012

installation, drawing, and painting in this group show explores the role of the clitoris. Note First Thursday opening May 3 at Vandenbrink Community Room in the Tashiro Kaplan Building, 5–9 p.m. Corridor Gallery, 306 S. Washington St., 856-7037, tklofts.com. Opens May 4.

Fri.–Sat., noon–5 p.m. Through June 2.

BAM’s free first friDAy Strapped for cash?

BAM offers free admission every first Friday of the month. Here’s your chance to check out the museum’s current exhibits, including Mary Lee Hu’s jewelry and Push Play: The 2012 NCECA Invitational. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, 425-5190770, bellevuearts.org. Free. 11 a.m.–5 p.m. Fri., May 4.

Jennifer BeeDon snow She exhibits her paintings of suburban spaces. Note First Thursday opening 6–8 p.m. Thurs., May 3. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Opens May 3. Tues.–Fri., 10:30 a.m.–5 p.m.; Sat., 11 a.m.–5 p.m.

Through June 2. evAn BlAckwell Blackwell’s BOOM–BUST, Where Do We Go From Here? found and recycled materials that explore the natural environment and the constructed world. Typical materials include plastic forks, lawn chairs, and other consumer detritus. Note First Thursday opening reception. Foster/ White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com.

Opens May 4. Tues.–Sat., 10 a.m.–6 p.m. Through May 26.

John De wit Introspectus fuses the Seattle artist’s love t h i S co d e of ceramics with his glass to download the FRee art. Note First Thursday Seattle weekly opening reception, 6–8 iPhone/andRoid aPP p.m. Thurs., May 3. Call for FoR moRe eventS oR viSit regular hours. Foster/White seattleweekly.com Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com.

Opens May 3. Tues.–Sat.. Through May 26.

JAcoB forAn The artist presents new ceramic heads and torsos, some covered in gold leaf. Note First Thursday reception, 6–8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 2967580, 4culture.org. Opens May 4. Mon.–Fri., 9 a.m.– 5 p.m. Through June 1. freMont Art wAlk Venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffé Vita, and Fremont Abbey. (See fremontfirstfriday. com for participating artists.) 6–9 p.m. Fri., May 4. terry furchgott Inside|Outside includes his new figurative paintings. Note First Thursday reception with the artist, 6–8 p.m. Thurs., May 3. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery. com. Opens May 3. Mon.–Sat., 10:30 a.m.–5:30 p.m.; Sun., 11 a.m.–4 p.m. Through June 11. tyson gruMM In his collection of 15 new works, called Bespokelore, he depicts fantastical scenes of dodos and whimsy. Note First Thursday artist reception, 6–8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com. May 4–31. 11 a.m.–5 p.m. hey geek girl! This all–female show celebrates famous ladies and female icons who have influenced and defined women in modern pop culture. Artists include Jessika Addams, Kari–Lise Alexander, and Stephanie Buscema.

Opening reception Sat., May 5 at 7 p.m. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery.com. Opens May 5.

Tues.–Sun., 11 a.m.–7 p.m. Through June 10. historic freMont To commemorate National Preservation Month, the Fremont Historical Society presents a collection of current and historic photographs. Reception Sat., May 5 at noon. Seattle Public Library, Fremont Branch, 731 N. 35th St., 684-4084, spl. org. Opens May 5. Sat., 11 a.m.–6 p.m.; Mon.–Tues., 1–8 p.m.; Wed.–Thurs., 11 a.m.–6 p.m. Through May 31. iD x iD: new iDentities Working in photography, video, painting, and sculpture, local artists include Adrain Chesser, Timothy White Eagle, and Kat Larson.

First Thursday opening reception begins at 5 p.m.

IDEA Odyssey Gallery, 666 S. Jackson St., idea odysseygallery.blogspot.com. Opens May 4. Fri.–Sat., noon–6 p.m.; Thurs., 2–8 p.m. Through June 28.

the UW–trained photographer, • eirik Johnson From Camps & Cabins is like two shows

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PLAYING MAY 4–10

206.324.9996 | siff.net

511 Queen Anne Avenue North

The Island President

“A MARVELOUSLY CONCEIVED COMING-OF-AGE TRAGEDY, MARKED

BY TERRIFIC PERFORMANCES.” –Vulture

Plus

SNEAK

PREVIEW of SIFF 2012 Films4Families programs

HELD OVER! Wim Wenders’ 35mm 2D presentation

pina

The Cabinet of Dr. Caligari Sat 10:00 With live soundtrack from DJ Nicfit

Seattle Center Northwest Rooms

HELD OVER!

Indie Game: The Movie Fri–Sun Water Calling Free

Seattle weekly • M AY 2 - 8, 2012

Admission!

Athina Rachel Tsangari’s disarming second feature—Greece’s unsuccessful submission for a Best Foreign Oscar nomination one year after Giorgos Lanthimos’ Dogtooth surprisingly made the final five—is a cracked coming-of-age tale set in a fading Greek seaside town. Ariane Labed (who won the Best Actress prize at the 2010 Venice Film Festival) stars as Marina, a 23-year-old virgin who tiptoes into sexual initiation—largely via a visitor played by Lanthimos—while nursing her single father and close confidant through his battle with cancer. Taking its title from a lost-in-translation mangling of Sir Richard Attenborough’s name (Marina’s obsession with his nature documentaries dovetails with her growing awareness of animal instinct in her own life), the film is an episodic sketch of a young woman’s awakening to the agony, ecstasy, and awkwardness of the human body: so much potential for pleasure, plus the inevitability of decay and death. The film swings from dry comedy to allegorical musical numbers to unabashed sentimentality, soundtracked to French chanteuse pop and Suicide, while long, stunning wide shots describe the environment’s uneasy mixture of serene natural beauty and industrial intrusion. Tsangari, who produced Dogtooth, revisits tropes from that sensational provocation—including belated sexual awakening, wordplay, and dancing as a loaded social ritual—but she’s after something different here. Where Dogtooth was entirely hypothetical, Attenberg, for all its playfulness in tone and form, takes place in a decidedly recognizable world of organic human feelings, percolating under the real cloud of a nation’s decline. KARINA LONGWORTH

WILSON WEBB/SONY PICTURES CLASSICS

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Marina (Labed) receives kissing lessons (from Evangelia Randou at right) in Attenberg.

HAOS FILMS/STRAND RELEASING

Death of a Superhero

Weds 7:00

P Attenberg

RUNS FRI., MAY 4–THURS., MAY 10 AT NORTHWEST FILM FORUM. NOT RATED. 95 MINUTES.

To save his country, he has to save our planet!

The Wizard of Oz Sat 12:00

film»This Week’s Attractions

Keaton with her canine costar (real name: Kasey) in Darling Companion.

Darling Companion OPENS FRI., MAY 4 AT GUILD 45TH. RATED R. 103 MINUTES.

Seattle Center | Northwest Rooms

“Animals are such agreeable friends—they ask no questions, they pass no criticisms,” George Eliot once wrote. That’s certainly the appeal of Freeway, a stray mutt rescued by Beth Winter (Diane Keaton), unhappily married to overweening, distant surgeon Joseph (Kevin Kline) in Darling Companion. The handsome pooch is also the only appealing aspect of the latest tale of privileged boomer pulse-taking from Lawrence Kasdan, who co-wrote the script

with his wife, Meg (they last collaborated on 1991’s Grand Canyon). When, early on, the dog goes missing at the Winters’ Colorado vacation home—where they have just hosted the wedding of their younger daughter, Grace (Elisabeth Moss)—his absence cues frequently unendurable scenes of recriminations. Beth blames the hound’s disappearance on her husband, who was distracted by a work phone call while walking Freeway, and he accuses her of neurosis and not loving him enough.

Added to the marital-woes cacophony is the mumbo-jumbo uttered by resort caretaker Carmen (Ayelet Zurer), a Roma psychic who often begins sentences with, “My people have a saying . . . ” The Winters form a search party with wedding guests who stayed behind, including Joseph’s sister (Dianne Wiest), her boyfriend (Richard Jenkins), and her son (Mark Duplass).

In their healing treks through the woods, feelings are processed, snobbery leveled, and happiness restored. MELISSA ANDERSON

Death of a Superhero OPENS FRI., MAY 4 AT SIFF CINEMA AT THE UPTOWN. NOT RATED. 99 MINUTES.

Adapting his 2006 young-adult novel, Anthony McCarten doesn’t mishandle the material—the story of a 15-year-old Dublin kid hoping to lose his cherry before dying of brain cancer—but he doesn’t improve it either.

Directed with sensitivity by Ian FitzGibbon, Thomas Brodie-Sangster plays hairless young Donald, whose obsessive comic-book sketches come to life in animated interludes. His nameless, mute alter ego is a superhero—and also a virgin pursued by death, a ghoul known as “The Glove,” who has scalpels and syringes for fingers. But a tearjerker is still a tearjerker, and the film quickly becomes familiar (including the animation, very much in the style of Frank Miller). In his daily life, Donald has loving parents, a crush at school (Aisling Loftus), and a rumpled, sympathetic shrink (Andy Serkis). The teen yearning and medical scenes are well played, but Death of a Superhero gradually succumbs to formula. FitzGibbon keeps

punctuating the weepie scenes with seascapes and sunsets—as if we didn’t get the idea of life’s seasons. Serkis, out of his green motioncapture suit for once, can be an interesting, curmudgeonly actor. (Where’s his House?)

In one amusing scene, he coaches Donald on how to externalize pain with shrieks and grimacing. It’s like a house call from Dr. Gollum. BRIAN MILLER

Elles RUNS FRI., MAY 4–THURS., MAY 10 AT VARSITY. NOT RATED. 96 MINUTES.

As she prepares for a dinner party and fields rude dismissals from her two spoiled sons, journalist Anne (Juliette Binoche) thinks back on her probing interviews for a just-filed French Elle profile of two student/prostitutes who cater to a rich “bored husband” clientele.

That entering this line of work was a conscious decision for the two cash-poor young women, both dead set on upward mobility, couldn’t be more explicit: At one point, freckled Charlotte (Anaïs Demoustier) says she fears you can smell it on her—not her last liaison, she clarifies, but the housing projects where she has just visited her parents. And when asked about her classes, Polish immigrant Alicja (Joanna Kulig) replies that she’s been studying neoliberal economist Greg Mankiw. Elles tracks Anne’s evolving feelings about her subjects’ line of work: shock at their casual attitude toward it, titillation at their descriptions of it, disgust at the depravity of the class she belongs to, and total revulsion at the realization that the indignities inherent in her haute housewifery are perhaps not so different from the ones Charlotte and Alicja face.

It’s entirely too much for co-writer/director Malgoska Szumowska to coherently flesh out in an hour and a half, especially with so much time dedicated just to the state of arousal. Getting hot and bothered by her flashbacks, Anne smells her hand after deshelling a scallop, and later vigorously masturbates while lying on the bathroom floor, trying to keep quiet so her kid doesn’t hear. BENJAMIN MERCER

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film»This Week’s Attractions P The Island President

OPENS FRI., MAY 4 AT SIFF CINEMA AT THE UPTOWN. RATED PG. 101 MINUTES.

Blessed—or maybe cursed—with fortuitous timing, Jon Shenk’s lionizing documentary of Mohamed Nasheed, the first democratically elected leader of the Republic of Maldives, an Indian Ocean archipelago nation consisting of 1,200 tiny islands, closely follows the charming president from 2008 to 2009, his first year in office. The film, a hopeful portrait of a crusader, is now inadvertently a record of a bygone era: Nasheed was forced to leave office February 7 in a coup by loyalists to Nasheed’s predecessor, dictator Maumoon Abdul Gayoom. As Nasheed wryly points out, the beaches where celebrities and aristos have romped were also—quite literally—the same spots where the torture sanctioned by Gayoom, who ruled from 1978 to 2008, occurred. And Nasheed should know: Born in 1967, he was imprisoned 12 times and tortured twice for his criticism of the autocrat’s regime; he formed the Maldivian Democratic Party while in exile and returned to the capital, Malé, in 2005. The Island President uses as its throughline the months leading up to the U.N. Climate Change Conference in Copenhagen in December 2009. Positioning himself as an ecoactivist and declaring that his country will be

media. (C’mon, Tucker, Dancing With the Stars ain’t so bad!) Director Phillip Montgomery also deploys much archival footage of JFK, MLK, RFK, etc., to advance his argument that millennials can rise to the level of the WWII and boomer generations. What’s stopping apathetic Generation Xbox from achieving greatness? The film rapidly loses focus as various causes are cited: alienation from nature, the distraction engine of the Internet, poor schools, a rigged political system, and so forth. (Ryan Gosling narrates.) Minneapolis teens, a suburban couple, and earnest Atlanta jam band Sound Tribe Sector 9 also lend their muddled opinions.

One of the latter musicians laments that “All of us care, but we just don’t know what to do about it.” Dude—make a movie! And Montgomery indeed follows STS9 all the way to an outdoor show at the famous Red Rocks Amphitheatre, where another band once . . . well, let’s not make that comparison. #ReGENERATION merely intends to inspire high schoolers (if they’ll look up from their smartphones long enough), but its vagueness and lack of critical-thinking skills will have adults wondering if Montgomery has ever seen a documentary by Charles Ferguson, who can rile you up to act with just the facts.

BRIAN MILLER

Sound of My Voice OPENS FRI., MAY 4 AT GUILD 45TH. RATED R. 86 MINUTES.

ACTUAL/SAMUEL GOLDWYN FILMS

The Island President: Nasheed in a publicity photo before his arrest.

MELISSA ANDERSON

#ReGENERATION OPENS FRI., MAY 4, AT SIFF FILM CENTER. NOT RATED. 81 MINUTES.

After making the festival circuit in 2010, this youth-oriented call to activism has been tweaked to include Occupy Wall Street, but it otherwise feels hopelessly behind the times.

Tired old talking heads include Howard Zinn, Noam Chomsky, and Amy Goodman—plus a weird clip of Tucker Carlson indicting the

KARINA LONGWORTH E

film@seattleweekly.com

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AT THE UPTOWN

DAILY: 4:45, 7:00, 9:15PM 511 QUEEN ANNE AVENUE NORTH (206) 324-9996 SEATTLE ADD’L 2:45PM ON SATURDAY

D E A T H O F A S U P E R H E R O - F I L M . C O M

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Seattle weekly • M AY 2 - 8, 2012

the first to go carbon-neutral, Nasheed reveals his gifts for quippy doomsaying: “It won’t be any good to have a democracy if we don’t have a country.” The thoughts Nasheed shared with Shenk post-Copenhagen now ring as foreboding: “Coming back to Maldives, you realize how impossible the whole situation is.”

Twenty-something Silver Lake couple Peter (Christopher Denham) and Lorna (Nicole Vicius) talk their way into an unnamed cult that meets to follow the teachings of the enigmatic Maggie (Brit Marling). A glowing blonde dressed in white shrouds with a respirator as an accessory, Maggie claims to have been born in 2030 and mysteriously transported to the present to prepare a chosen few for an endtimes civil war 45 years in the future. Lorna and Peter, both in search of direction, think they’ve found it in surreptitiously making a documentary exposing Maggie as a fraud.

Co-written by director Zal Batmanglij and star Marling, Sound of My Voice has the hallmarks of the uninspired microbudget calling card: The bland, jittery visual “realism” can’t counteract overheated performances of tin-eared dialogue, which strain for pulp but often land at soap. Still, an unusual ambition shines through: The film is interwoven with low-key, almost subliminal jokes about life in Los Angeles— particularly in the shadows of the entertainment industry, populated by those whose main “talents” are a willingness to deceive and to believe. The 86-minute feature was originally conceived as a Web serial, which seems like a more natural format for Voice’s episodic withhold/reward structure and lo-fi aesthetics.

In the realm of Web video, Voice would be so much richer than its competition. But barely cinematic enough to fill the space of the big screen, the film ultimately feels like a teaser prologue for something that doesn’t yet exist.

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film»

BY BRIAN MILLER

Local Film BLACK ROCK HORSE: Director/participant Todd Darling

will introduce his half-hour doc made at Burning Man 2011, where a giant wooden Trojan Horse was dragged across the desert by recalcitrant “slaves.” (NR) Grand Illusion, $5-$8, Thu., May 3, 7, 8 & 9 p.m.

DR. STRANGELOVE The 1964 Dr. Strangelove is now closer to the onset of the Cold War (the 1948 Berlin blockade) than we are today from its 1989 demise, when the Berlin Wall came down. The antic black comedy

by Stanley Kubrick, co-written with Terry Southern, is a keepsake from an age when nuclear annihilation threatened to arrive each day with the morning papers.

(So, too, is LBJ’s nuclear countdown “Daisy” ad from the same year.) Potential armageddon was just another daily fact of life. Today, 48 years later, no one worries about a rogue American general (cue Sterling Hayden) commandeering some A-bombs. And Putin’s Russia only cares about wealth, not kilotons and megadeaths. All our modern worries come from small, smeared spots on the map—not like the majestic, high-tech clarity of the B-52 paths charted in Kubrick’s war room. With Peter Sellers playing three roles in the film, Dr. Strangelove reads almost like a farce from the dinosaur age: Were the planes really that big? Did we really employ former Nazis? Were women just playthings? And were we really that insane? The answer on all counts is yes. Movie screens at midnight. (PG) BRIAN MILLER Egyptian, $8.25, Fri., May 4; Sat., May 5.

HAPPY GILMORE/CADDYSHACK Adam Sandler and Rodney Dangerfield bring the laughs. Call for showtimes.

(PG-13) Central Cinema, $6-$8, May 4-8.

•

Events

SAT. MAY 5

FIESTA 5K VOLUNTEER PARK

Free Stuff

Events

SAT. MAY 5

MAY 4-12

LEAVENWORTH

STIFF

FILM FORUM BLACK & WHITE • NORTHWEST Nancy Guppy and Tom Skerritt host this annual BALL

fundraiser. With music and refreshments. Georgetown Ballroom, 5623 Airport Way S. RSVP at nwfilmforum.org. $100, Fri., May 4, 6 p.m.

THE FILMS • NOTES ON THE CINEMATOGRAPHER: OF ROBERT BRESSON SEE THE WIRE, PAGE 15.

• OSCAR-NOMINATED SHORT FILMS Cocktail

TICKETS AVAILABLE AT WWW.CINERAMA.COM

reception follows at Volterra. Proceeds benefit The Film School summer film program. (NR) Majestic Bay Theatres, $20-$30, Thu., May 3, 7 p.m.

SEATTLE TRUE INDEPENDENT FILM FESTIVAL SEE THE WIRE, PAGE 15.

SHADOW STREET: THE BEST OF BRITISH FILM NOIR

From 1961, Taste of Fear (aka Scream of Fear) has a paraplegic young woman (Susan Strasberg) return to the Riviera, where she believes her father was murdered.

(NR) Seattle Art Museum, 654-3100, $53-$59 series, $8 individual, Thurs., 7:30 p.m. Through May 24.

TRANSLATIONS: THE SEATTLE TRANSGENDER FILM FESTIVAL First up is the documentary The Ballad

Seattle weekly • M AY 2 - 8, 2012

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of Genesis and Lady Jaye, followed by an after-party at nearby Solo Bar. Two dozen more films are screened; see threedollarbillcinema.org for full schedule and details. Presented by Three Dollar Bill Cinema. (NR) SIFF Cinema at the Uptown, $9-$11, Thu., May 3, 7:15 p.m.; May 4-6.

UCLA FESTIVAL OF PRESERVATION Titles in the series include Robert Altman’s Come Back to the Five and Dime Jimmy Dean, Jimmy Dean (May 5) and a dozen other repertory picks. See nwfilmforum.org for full schedule and details. (NR) Northwest Film Forum, $6-$10, Sat., May 5, 5 p.m.; May 6-27.

Ongoing

• DAMSELS IN DISTRESS Back with his first film in 14

years, Whit Stillman still operates in a world of his own. On her first day at Seven Oaks College, transfer student Lily (Analeigh Tipton) is scooped up by a trio of prepossessed coeds who school her on campus culture and their own oddly refined sensibilities. Ringleader Violet (Greta Gerwig), prim Rose (Megalyn Echikunwoke), and petite Heather (Carrie MacLemore) preach the virtues of good hygiene, dating down to less intelligent boys, and suicide prevention via the restorative potential of the old soft-shoe. Lily serves as our disoriented guide, but it’s anachronistic, hopelessly romantic, impeccably mannered Violet who prevails as Stillman’s heroine. Four features in, Whit Stillman’s cinematic sensibility is both plain as day and hard to pin down. Dancing breaks out in all of his films, and usually just because. All the cardigans and brass-buttoned blazers in the world can’t cloak that kind of eccentricity. (PG-13) Eric Hynes Harvard Exit

NOW SHOWING MON-THU 1:30 4:15 7:00 9:45 FRI 8/31 - SUN 10:45 1:30 4:15 7:00 9:45 Logos

PRESENTED IN STUNNING 4K TECHNOLOGY SEATTLE’S WIDEST SCREEN SUPERIOR TECHNOLOGY Fresh Chocolate Popcorn, Cupcake Royale, Theo Choc & so much more

2100 4TH AVENUE, SEATTLE WA • (206) 448-6680

Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

•

• THE DEEP BLUE SEA Terence Davies’ adaptation of

the Terence Rattigan play is a film about love that in no way reassures that love conquers all. Lady Hester Collyer (Rachel Weisz) has left her husband, high court judge Sir William (Simon Russell Beale)—and a postwar life of cultured conversation and posh fireside comfort— to live in slummy sin with Freddie (Tom Hiddleston), an emotionally immature former RAF pilot who survived the Battle of Britain but never readapted to civilian life, and whose lovemaking has irreparably shaken up the foundations of Hester’s existence. Hester recalls the events that have led her here, establishing the pattern of alternating between the present-tense drama of the affair’s dissolution and history. In a richly symphonic work, Davies and his cast create the rare triangular affair where every side of the triangle is drawn with equal care and sympathy, where each party’s hopes— and their disappointments—are eloquently understood.

(R) Nick Pinkerton Seven Gables THE FIVE-YEAR ENGAGEMENT Chef Tom (Jason Segel) and Violet (Emily Blunt) meet cute in San Francisco. They postpone the wedding so that they can get settled at the University of Michigan, where Violet has just been accepted to do postdoc research.

While he makes Reubens at Zingerman’s deli, Violet thrives under the academic mentorship of Welsh charmer Winton (Rhys Ifans). When her postdoc is extended, Tom’s deepening misery at being stuck in the Wolverine State culminates in extracurricular drunken kisses, an amputated big toe, and the couple’s decision to call it quits—with about 45 minutes to fill before the preordained conclusion. (R) Melissa Anderson Cinebarre, iPic Theaters, Issaquah, Kirkland Parkplace, Lincoln Square, Majestic Bay Theatres, Oak Tree, Pacific Place INDIE GAME: THE MOVIE Seattle is home to legions of pallid, sleep-deprived programmers, and Microsoft’s Xbox gaming platform is central to this insightful new geek documentary. Well-directed by first-timers Lisanne Pajot and James Swirsky, Indie Game ought then to be a perfect fit for this market, but it fails in one crucial respect. There is a bright line, likely determined by age, between those who game and those who don’t, and the film makes no concessions to the latter camp.

The doc gains remarkable access to three groups of designers, one of whom hopes to recreate “that experience of playing games before the Internet existed.”

They’re obsessed, incredibly overstressed as they try to meet the deadlines imposed by cruel Microsoft, and more than a little sad. Though Indie Game doesn’t pretend all its subjects will prosper, it tells us nothing about the broader vid-game market (worth more than $40 billion) or a youth culture that’s been profoundly changed by gaming. It’s like writing about McDonald’s without mentioning the obesity epidemic. (NR) Brian Miller SIFF Cinema at the Film Center JIRO DREAMS OF SUSHI Tucked away in the basement of a Tokyo office building, Sukiyabashi Jiro seats only a handful, boasts three Michelin stars, and is presided over by renowned 85-year-old sushi chef Jiro Ono. For tens of thousands of yen, you can get a taste of the craft he has been tirelessly honing since the age of 10. This is, of course, a calculus apt to explode the mind of even the most casual gourmand, and the foodie set is well taken care of in director David Gelb’s portrait.

Gelb documents many of Jiro’s unorthodox methods in the kitchen, but significant screen time goes as well to Jiro’s relationship with his sons. Gelb might flit around a bit too much, but his appealing documentary always comes back to its subject’s determination (sometimes overbearing) to leave the most meaningful possible legacy to his family and his craft. (PG) Benjamin Mercer Harvard Exit, Lynwood Theater

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THEATERS: Admiral, 2343 California Ave. SW, 938-3456;

Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-6365601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema at the Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996.; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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food&drink»

Unforgettable

One of the nation’s first Alzheimer’s cafes helps people connect on Phinney Ridge. throughout Europe, where the concept originated. (America’s first was in Santa Fe, N.M., in 2008, and subsequent cafes have formed in California, Colorado, and Florida.)

Trainer recounts the difficulties she faced when her husband, Leo, started to show signs of memory loss. “It became progressively difficult to be in social settings, when people would say, ‘Oh, the Seahawks lost last week,’ and he couldn’t remember that, and he couldn’t keep up with the conversation. He tended to get rather distressed when we were in those settings.”

A former pilot for TWA, Leo was diagnosed with Alzheimer’s three years ago. “At this point it’s slow,” Trainer says.

“It’s not one of the fast-progressing diseases.

But some days are better than others. The evenings are worse than the mornings. Some days you wouldn’t even know.”

She says the cafe has rejuvenated the couple’s social life. “It’s added something to look forward to. He smiles when he’s there.

The number-one thing is you’re getting out and doing something positive. And this is the two of us doing something together.”

JOSHUA HUSTON

W

ith its signature antiques— some loosely dairy-themed, others simply random—Mae’s Phinney Ridge Cafe drips with nostalgia, its cluttered ambience inspiring a variety of memories customers can connect to. Thus, it’s perfect for a monthly Alzheimer’s cafe—an informal support group for people living with the disease and the loved ones who serve as their caretakers.

Every month, Inge Hesse brings her husband, Wolfgang, famous among the cafe’s regulars for his sweet tooth. Both are so comfortable at Mae’s, it’s hard to tell that Wolfgang is the one afflicted.

“It’s a friendly place,” she says. Wolfgang interrupts: “This place! It’s got the best ice cream!” She smiles. “He loves the vanilla, but he’ll often eat strawberry too.”

Mae’s normally closes at 2 p.m., but keeps its doors open on the second Tuesday of every month to host one of the nation’s first Alzheimer’s cafes. Marie Trainer, a Mae’s regular, got the idea to found one here while visiting family in England, where she was told about the many Alzheimer’s cafes

BY KATHERINE MCKEON

Greenwood Senior Center volunteers sing along with cafe attendees.

A

lmond-crusted coffee cake and fresh cherry pie are some of the treats that Mae’s owner Jeanne Barwick serves attendees.

Transformed into a welcoming neighborhood joint in 1988, the venue was previously the

faded Phinney Ridge Cafe, founded in 1920.

An undeniably prominent member of the Phinney-Greenwood community, Barwick is also the self-described “sailor-mouthed” DJ at the Greenwood Senior Center’s oft-soldout Karaoke Bingo Night.

“When they started talking about this cafe, the obvious person was me,” Barwick says. “People feel like they can kick back,

» CONTINUED ON PAGE 26

Seattle weekly • M AY 2 - 8, 2012

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Check out our MOOVELICIOUS MENU! Visit us at: www.maescafe.com With worn wood floors, rickety chairs, and dusty boxing gloves hanging from the ceiling, Mae’s offers an attractive, informal WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER environment for first-timers. Volunteers from the Greenwood Senior Center bring a guitar and banjo to serenade the 10 or so couples present with “Let It Be” and “This Land Is Your Land.” Lyric sheets are passed out, and - Thursday 5-10pm, Friday - Saturday 5-12am, Sunday 5-9pm almostMonday everyone sings along.

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“It’s added something to look forward to.

He smiles when he’s there.”

Voorhies believes the cafes also greatly benefit those not suffering from Alzheimer’s, but who accompany someone who is. “Knowing other people who are going through the same thing: It’s certainly an important step for the caregivers’ mental health.”

Ralph Moser has been bringing his wife, Nancy, to Mae’s for several months now. He says the cafe is “an excuse to be social with other people in a non-structured setting.

It’s nice to just be here, with other normal people.”

“Most of the people come in with a spouse, and others come in with their adult daughters,” says Carin Mack, a social worker for the Greenwood Senior Center.

Having run the gathering for a little over a year, Mack is familiar with various types of Alzheimer’s support groups. She believes the cafe fills a niche, and expects others to pop up in neighboring communities soon.

Mack says they chose Mae’s in part because the restaurant closes to the public after lunch, giving the Alzheimer’s cafe group privacy. “We wanted a place that was cozy, and not somewhere sterile,” she says. “An upscale Seattle restaurant was not at all what we were looking for.”

Phil Stoa started bringing his sister, Martha, a bit before Christmas. “The food is good, it’s a change of pace, and it’s nice to be seeing the same folks here,” he says.

“Every Tuesday afternoon, she and I will go somewhere, like a walk at a park, so this just seemed like a natural fit.” E kmckeon@seattleweekly.com MAE’S PHINNEY RIDGE CAFE 6412 Phinney Ave. N., 782-1222, maescafe.com.

For more info about the Alzheimer’s cafe, call the Greenwood Senior Center at 297-0875.

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These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

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highlight regional delicacies: spicy masalas of the central region (the fish variety is super) and flavorful vindaloos of southern Goa. The bready onion kulcha is a surefire side-dish winner, filled with sautéed onions, mango, and mint. $ scooter’s Burgers and shakes 5802 24th Ave. N.W., 782-2966. A Ballard alternative to the Arches, this burger joint serves mountainous burgers, crispy fries, and more than a dozen different shakes. Like the legendary joints of the 1950s and ‘60s, the service is quick and friendly, and the prices reasonable. The blue-cheese chicken sandwich and mushroom veggie burger are scrumptious. $

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get all your favorite tacos and tostadas here—and they’ll be good and cheap. What distinguishes the Beacon Hill favorite, perhaps Seattle’s only taqueria specializing in Mexico City-style street food, are its overstuffed tortas (sandwiches) and the huarache gigante, a sort of Mexican pizza that all but defies explanation. The chicken quesadilla isn’t a greasy flour tortilla dripping with melted cheese, it’s a

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FirstCall

» by julien perry

Rosé on a Warm(ish) Day

The Watering Hole: Bar Ferd’nand, 1531 Melrose Ave., 623-5882, CAPITOL HILL The Atmosphere: Located inside Melrose Market, Bar Ferd’nand feels a lot like a warehouse assembled from vendors who were too high-end to be at Pike Place Market. Shops like Rain Shadow Meats, The Calf & Kid, and Homegrown surround the open-air drinking-man’s hitching post. It’s the brainchild of Sitka & Spruce chef/owner Matt Dillon, who owns Ferd’nand with Corson Building sommelier Marc Papineau. Wood-top tables, barstools, and flower-filled vases punctuate the wine bar; it and the adjoining bottle shop are a calming oasis in the bustling market.

The Barkeep: It seems like everyone who’s ever wined or dined at a Jim Droughman bistro knows Heather Mercier, manager of Bar Ferd’nand.

She’s adorable, charming, and makes you want to drink whatever she recommends. She’s worked at Bar Ferd’nand since it opened in July 2010. The owners plucked her from downtown wine bar 106 Pine. “I was friends with one of the owners [of Bar Ferd’nand], and he wanted someone to back him up and help him when they first opened, and I was like, ‘Heck, yeah! That sounds great!’,” says Mercier, who at the time had just returned from a nearly three-month wine tour of France.

Before she left for Europe, she worked at Le Pichet for about eight years, honing her passion for grapes. “I learned from Joanne [Herron], who co-owns Pichet. She’s been a great mentor. After Pichet, I went to Café Presse and was the assistant manager there for a while, and did the wine list there and educated the staff. And then I left to do the France trip.”

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hoagie-sized turnover stuffed with smoky chipotlebraised meat and a smattering of queso fresco. At this friendly, family-run place, kids are definitely welcome. $ kusIna FIlIpIna 3201 Beacon Ave. S., 322-9433.

Part mini-mart and bakery, part restaurant, this restaurant boasts a steam table filled with traditional dishes. Slide your tray along and pile on lumpia, rice, and stews such as pork ribs in yellow curry, pork in shrimp paste, and chicken adobo. Meals rarely run over $6, so you’ll have enough left for a lemon custard flan. $

You’ll love whatever Mercier likes.

Mercier is now learning from her new boss.

“Marc Papineau is one of the owners, and he chooses all of the wine. He has a great palate, and he’s one of those guys who can look at a wine and smell it and taste it and tell you what it is. But if there’s something I’m particularly passionate about, then he’ll let me buy it. If I love something, I can sell it.”

The Drink: It’s one of those rare days when the temperature is pushing 60 degrees, so something cold is definitely in order. Mercier picks out Domaine de Couron, a rosé from the Rhône region (Ardèche). “It’s all grenache, and it’s just nice, easy drinking . . . Today I was sampling it, and everybody loved it. In fact, everybody who sampled it bought a bottle and left with it,” says the barkeep.

The Verdict: A very lovely wine, perfect for the warm(ish) conditions outside. I had two glasses and went home with a bottle—not Domaine de Couron, but an affordable red Mercier recommended after I told her I loved gamay and other friendly red wines. It didn’t disappoint. E jperry@seattleweekly.com

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column»Toke Signals

The Dope Cup

Q

uite a few folks within the medicalmarijuana community were unable to get past the name of the Dope Cup Medical Cannabis Awards, held April 21 at the beautiful venue Within Sodo and sponsored by Seattle’s own Dope magazine. Never mind that DOPE is an acronym for “Defending Our Patients Everywhere;” some patients feel they’ve fought too hard and too long to lose any ground in their eternal quest for respectability and inclusion.

I’m not bothered by the name for a number of reasons, chief among them the fact that I don’t get emotional over any of the supposedly pejorative words applied to cannabis. Marijuana? That’s fine, even kind of pretty—and its racist connotations are rapidly fading into the past. Weed, pot, ganja . . . you name it: As a word person, I think having more descriptors is a good thing, and certainly not worthy of getting upset about.

To a certain mindset, “dope” seems a little scarier than the other terms.

But to a certain mindset, “dope” seems a little scarier than the other terms, particularly threatening to folks who fall on the “straight” side of the marijuana divide—i.e., those who don’t indulge. That brings me to another of the reasons “dope” doesn’t bother me: It’s not my function in life to keep straights (or apologist patients) from feeling uncomfortable. I’m not running for public office.

In any event, the atmosphere was friendly and collegial, and as my fellow judge, Hempfest founder Vivian McPeak, mentioned, such

BY STEVE ELLIOTT

well-run, drama-free events can only improve the cannabis community’s reputation and standing in Seattle. According to organizer Nate Johnson, Seattle city officials and law enforcement gave positive feedback regarding the event.

One thing I liked about the Dope Cup was that two of the four Cups were awarded on the basis of lab testing. There’s nothing like hard scientific numbers to overcome the perception that such contests are necessarily subjective endeavors.

Highest THC and Highest CBD were awarded to the top percentage in each category.

Raskal’s OG, a strain specifically bred for elevated levels of anti-inflammatory cannabidiol, easily took the Highest CBD award.

Raskal’s level of about 8 percent CBD far outstripped its competitors, all of which were well under 1 percent, with most hovering around 0.2 or 0.3 percent.

White Dawg, at just over 20 percent, took the Highest THC award. Its tasty, frosted flowers delivered a quick wallop with the very first toke, and each additional puff underlined that first impression.

In contrast to the two lab test–based awards, the other two Cups, the People’s Choice and the Judges’ Choice, were based on votes. Everyone attending the event (approximately 200 people) who bought a judges’ pass got to vote for the People’s Choice; the event’s most popular strain was Blueberry Cheesecake, which understandably stood out among the crowd of 10 strains with its unique flavor and quick onset (although it also had a quicker fade).

The Judges’ Choice came from the three “celebrity judges”: McPeak, Dope art director Brandon Palma, and myself. We agreed that Ice Cream was our favorite strain of the night, both for its spectacular high and its agreeably sweet taste. E

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My Ex Was a Philandering Meth-Head Dear Dategirl, For two years I was madly in love with someone who eventually broke my heart.

We split up about six months ago, and since then I’ve been hearing a slow trickle of horrifying information from our mutual friends. For example, I had no idea that when he spent nights at his place to “clear his head,” he was actually binging on crystal meth and fucking anything with a dick.

Not only was he screwing around on me, he was sleeping with several friends of friends— people I/we socialized with! Now I know why our sex life had gone to hell. I thought it was me, but speed-fueled orgies are tiring, especially for a 50-year-old guy! I’ve since done a little digging and have discovered a personal ad, indicating his preference for barebacking (he’s HIV+) and golden showers. There’s more, but the worst is our friends. Every time I talk to one of them, I find out something more awful than the last thing I heard!

I’m furious and I feel like an idiot. I can’t believe people kept me in the dark. It’s bad enough that all this new information keeps reopening wounds; I feel like I’ve not only lost my love, I also feel utterly betrayed by most of my so-called friends. How do I get past this?

—Dork in the Dark

Finding out only after you’ve broken up that your ex was even more of a fuckstick than you could’ve imagined is one of the most frustrating things in the world. It’s like coming up with the perfect retort an hour after you’ve been insulted. But worse. Way worse!

One thing you shouldn’t do is fall into the self-pity trap that I landed in after finding out (post-breakup) that an ex had been cheating on me. That was only one person and no methamphetamine, and I was apoplectic.

Instead of sobbing along to Morrissey, I’d suggest you take up kickboxing or some other extremely violent, cathartic sport. You need to work this out of your system, and boxing will give you the added bonus of hot new muscles—not to mention you’ll be surrounded by sweaty menfolk.

Once you’ve tired yourself out in the boxing ring, quit online-stalking him. Yes, it’s evil that he wants to put other people at risk, but what can you do? We should all assume everyone we meet has some kind of cooties, and protect ourselves accordingly. Hopefully, the men he’s meeting are doing so.

I also agree that your friends were giant nattering wimps not to tell you what he was up to, but maybe they figured you knew or that you were in an open relationship. It’s also likely they’ve been burned by ratting out other friends. A lot of people are afraid the aggrieved will shoot the messenger, which has been known to happen. So keep a little distance until you’re fully recovered, but if they’re otherwise good friends, try to forgive them. Trust me, they don’t think you’re an idiot.

And please note that while you might think it will make you feel better, tracking the ex down to yell and scream (or worse) will only make you look mental. Silence is, if not golden, preferable to looking like a lunatic. E dategirl@seattleweekly.com Want more?

Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets @DailyDategirl, or visit dategirl.net.

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