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IF ANY LIQUID has epitomized Seattle in 2012, it’s champagne. It goes down smoothly and goes straight

to your head, but there’s often hell to pay the morning after. For one issue per year, however, we give you no hangover—only euphoria. That issue: Seattle Weekly’s annual Best of Seattle™ edition, where readers are given the opportunity to celebrate some of the best people, places, food, music, technology, art, nightlife, and drink that the city offers. That opportunity exists on the ballot below.

Given the convenience of modern technology, it’ll likely be easier on us all if you vote online at seattleweekly.com/bestofpoll. But if you’re committed to supporting the Postal Service at a time when it’s being threatened with substantial downsizing, be sure to declare your personal winner in at least five of the categories on this page, detach it from the rest of the issue, and mail it to: Best of Seattle 2011, c/o Seattle Weekly, 1008 Western Ave., Suite 300, Seattle, WA 98104. We’ll need your name, e-mail address (which will be purged upon tallying), and ZIP code to ensure authenticity, and ask that you only vote once.

Seattle weekly • JU N E 27 – J u ly 3, 2012

Ballots must be postmarked or submitted online by Thursday, July 19. The winners will be announced in our August 1 issue, and feted that evening at a public bash with food, performance art, and music galore on Pier 66. Tickets can be purchased at seattleweekly.com/bestofparty.

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is failing, says one local soldier, when it comes to mental-health care. Also: Darcy Burner gets a big idea and a small-town mayor gets testy.

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news»The Daily Weekly »Dispatches From our News Blog

Crying Out for an Overhaul

A

After going AWOL, one soldier says the Army’s mental-health system needs help.

Dan Carino

pretrial confinement n Iraq War veteran stationed at for going AWOL. He Joint Base Lewis-McChord also claims his consays struggles with fessions of “homicidal PTSD and a lack of thoughts” to Madigan docresponsiveness to his conditors are now being used against tion by Army doctors him in the military court system, forced him to go as he faces charges of threatening a AWOL. senior officer.

The soldier, Army spokesman Lt. Col. Gary 26-year-old Sgt. Dangerfield confirms that Lindsey Brook Thomas left the base without permission in Lindsey, met with March and returned voluntarily in members of the late June. Dangerfield media on Friday, June writes in an e-mail that 22 at Coffee Strong, a “It is never justifiable nonprofit organization headto be absent without quartered across the street from leave, even in the case JBLM that advocates for military of a medical emergency,” addmental-health treatment reform. ing that Lindsey now faces loss Lindsey recounted why he decided of rank, forfeiture of pay, up to a to leave the base without permisyear in prison, and dishonorable sion on March 26. discharge from the service. Danger“I’d go over to Madigan [Army field declined to comment on LindMedical Center], right across the sey’s claims about PTSD treatstreet, and I’d tell them, ‘I’m havment at JBLM, citing medical ing suicidal thoughts,’ ” Lindsey privacy laws. says. “They would just tell me to Lindsey says he’s willing to breathe. They’d talk me down. The own up to going AWOL, but he wants next day I’m still feeling the same way, but the world to know that the Army’s mentalthey’d return me to duty, tell my leaders everyhealth system needs a serious overhaul. “I thing was fine.” just want to get help,” Lindsey says. “I just Wearing a baseball cap and a grey shirt with want light applied to this system. I want the sleeves rolled up to reveal several skeletal, nothing monetary from the Army. I just want military-themed tattoos on his forearms, help.” Keegan Hamilton Lindsey says he enlisted at age 19 because he felt it was his patriotic duty. He says he was deployed in Iraq for 22 months, and that he was an exemplary soldier prior to his return to the military base just south of Tacoma.

After just a half-year in a job he won as But over the past year, Lindsey says, he a write-in candidate, Pacific, Wash., mayor struggled with anxiety, sleeplessness, depresCy Sun could end up with his name on a sion, and other conditions that stemmed from new ballot to write him out of office. Talk his combat experiences. He says the gung-ho of recalling the crusty, 82-year-old vet is the Army culture initially work of critics who discouraged him from claim “I’m ruining the seeking help, and when city with my crazy, Print is great, but if you he finally did, “it was stupid ways of being a want to see . . . our list of other highly unlikely risks only a topical, it wasn’t a mayor,” Sun complains. posed by a new SoDo arena, you’ll have deep solution.” Lindsey And after he unloaded to check out The Daily Weekly. says that in one instance on his detractors in SEATTLEWEEKLY.COM/DAILYWEEKLY he told doctors that he a recent newsletter, was having “homicidal wondering if they were thoughts against the chain of command,” but harming his wife’s mental health, the question the concerns were ignored. now seems to be whom townsfolk would preFeeling he had nowhere to turn, Lindsey fled fer as mayor: the stubborn budget-slasher Sun’s JBLM for upstate New York. He says he worked become, or a more even-minded charmer. odd jobs and sought spiritual guidance before Thing is, after six months at the helm, he electing to turn himself in to military police on says, he’s already saved the little burg on the Tuesday, June 19. Since then, he joined up with King/Pierce County line more than $260,000. activist organization March Forward!, which His opponents challenge that savings claim, organized his press conference. much as they’ve challenged his take-no-prisLindsey says he was moved to speak out oners style. Since January, the political novice about his situation after learning he faced » Continued on page 9

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news» The Daily Weekly » from page 7

App for That

When Washington 1st Congressional District candidate Darcy Burner delivered the June 8 keynote address at the Netroots Nation 2012 Conference in Providence, R.I., unveiling an idea for a smartphone app that would allow users to identify whether the products they buy come courtesy of companies that contribute to right-wing causes, she knew she had a decent idea on her hands. But what she didn’t realize is just how much buzz it would garner.

“It’s not uncommon for me to propose ideas,” says Burner of her address. “It is

uncommon for them to go international.”

But that’s exactly what has happened with Burner’s proposed smartphone app, which has earned headlines on both sides of the Atlantic and generated a fair amount of buzz for the three-time congressional candidate here in her home state. Designed to empower consumers with greater knowledge about where their hard-earned dollars are going— for instance, as Burner points out, the Koch brothers, long loathed by liberals, own companies responsible for a bevy of household products, from Brawny paper towels to Angel Soft toilet paper—it might not be long until Burner’s app comes to fruition.

“People are incredibly frustrated by government of, by, and paid for by large corporations,” says Burner. “The more frustrated people become, the more ingenious they’ll become trying to solve the problem.”

And so her app idea was born. While Burner, a Harvard-educated former software developer at Lotus Development and Microsoft, is quick to note that she’s probably not the first person to dream up such an idea, she may be the most high-profile, which is likely why it has received such attention.

Buoyed by coverage in publications like Forbes and The Guardian, Burner says the reaction has been “bigger than I was expecting,” with people’s opinions generally falling into one of three categories.

Not surprisingly, Burner says she’s heard from a number of conservatives who are “infuriated” by the potential app. But she also says she’s received “hundreds of e-mails” from people who want to know where to get the app or how they can help make it a reality.

Burner says the app is still in the early stages of development, and she expects to produce more detailed specs in the next few weeks. “It’s going to be a collaborative effort,” says Burner, “which is exactly how we should be solving problems at this point.”

While her Netroots keynote address “wasn’t a stump speech,” Burner says, “I certainly think the talk . . . has had some impact on the race. The fact so many people are talking about what I proposed has changed the way people look at me as a candidate for Congress.” Considering that Burner is 0-for-2 in her previous congressional bids, that might not be a bad thing. MATT DRISCOLL E news@seattleweekly.com

Seat tle weekly • JU N E 27 – J u ly 3, 2012

who promised not to “take any gruff from anybody” has fired two department heads, including the police chief, while two others quit their jobs serving the town’s 6,800 residents.

But Sun eliminated his own salary as well. After beating two-term incumbent mayor Rich Hildreth by 79 votes in November by going doorto-door to solicit write-in support, Sun announced that he’d turn back the $750 monthly mayoral paycheck and work for free.

As he slashed payroll and expenses, his fans applauded, while his critics—the city council among them—called him reckless. Councilmembers ended up passing a no-confidence vote, sparking talks of a recall movement last month.

Most recently, the back-and-forth between the mayor and other city officials turned so combative that City Clerk Jane Montgomery began locking her office door, apparently to keep the mayor at bay. She has also taken out an antiharassment order against one of the mayor’s allies.

Sun says he’s currently not commenting to the media about the Pacific battle. But he issued what is so far a one-time “newsletter” defending his decisions. As mayoral newsletters go, it’s memorable: “Give me some slack!” he tells his critics in explaining his hiring/firing philosophy. They may not like his “crazy, stupid ways of being a mayor,” but “Please don’t tell me what to do.

Let me tell ‘YOU’ what I know: “My employment folder is full of NO GOOD, REJECTED SEASONED BUREAUCRATS - MUNICIPAL LOAFERS, who were either fired or laid off by their former City employers. REJECTS who seem to migrate from one City to another.

“My definition of a Bureaucrat is a sweettalking loafer who has the talent of winning friends to hold his job and work his way up to a higher salary.”

As for the Pacific City Council’s vote of no confidence, the mayor says in his newsletter it has brought on “an agony, shame, and depression that penetrated both my wife (deeply) and I. I’m worried about my wife’s mental health.

“How long am I able to endure? Because I’m 82 and the mental (stress caused by all the political intrigues) condition of my wife, I have my reservations,” he writes. RICK ANDERSON

9

Seattle weekly • JU N E 27 – J u ly 3, 2012

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SOME FISCALLY AMBITIOUS FOOD PRODUCERS ARE MAKING ARTISAN FARE FOR THE MASSES. BUT THEN CAN THEY STILL CALL IT ARTISAN?

JOHN KEATLEY

I

although most producers agree it’s somehow intertwined with tradition and quality. But now the term is being stretched like saltwater taffy, and its limits are being closely monitored by food producers who have to make immediate decisions about if, when, and how to grow their endeavors without dishonoring the principles that first led them to the kitchen. Few artisans are vocally doctrinaire; none of the dozens interviewed for this story were willing to attach their names to the questions they raised about the legitimacy of mechanized equipment, co-packing arrangements, and corporate backing.

Perhaps because media depictions of artisans aren’t always flattering, they perpetually emphasized their support of fellow producers’ choices.

But the field remains unsettled.

When determining

“We recently bought a big chopper for our rhubarb and apples.

Does that mean I can’t say the jam is completely handcrafted anymore? I worry about the shocking exposé sometimes.”

w

the size and scope of their businesses, artisans must place such unwieldy concepts as beauty, social justice, heritage, sustainability, and taste on opposite sides of the same scale. The process has exposed a gamut of intellectual, geographic, and economic tensions in a community reluctant to acknowledge conflict.

“I just went to Japan and was totally charmed by people like the ninth-generation knife maker who makes only 70 knives a year and the eighth-generation chopstick maker who personally lathes all of the cedar chopsticks,” says Nathalie Jordi of People’s Pops, which makes ice pops and shave ice from fresh herbs and fruit. People’s Pops recently purchased a packaging machine so Jordi and her partners can spend time previously squandered hand-sealing bags on sourcing fruit and testing new flavors. “The stories are priceless, and you can’t help but feel infinite respect for people who dedicate their lives to mastering a craft,” Jordi says. “It’s a beautiful and a special thing. It just doesn’t happen to be what our goal is at People’s Pops. I’m more driven by visions of public-school kids someday eating pops made with actual fruit. To me, that’s beautiful and special, too.”

People’s Pops is based in New York City, but Jordi’s pragmatism reflects the artisan approach that’s taken hold

Seat tle weekly • JU N E 27 – J u ly 3, 2012

f a hard freeze in April hadn’t annihilated northern Michigan’s tart-cherry crop, a little boy in Beijing might have been pouring Herkner’s Original Cherry Topping over his mung-bean ice cream right now. But the fickle weather forced Lynda Herkner, 74, and her sisters to delay plans to export their siren-red dessert goo—“It tastes like a fresh cherry pie,” Herkner beams—and focus on their domestic successes. In the three years since they committed their family recipe to 16-ounce jars, the Herkners have placed their product in restaurants, specialty shops, and one of the state’s biggest grocery chains.

“It’s been a wonderful ride,” Herkner says. “We’re really going. We want to be a Smucker’s.”

The Herkners first sold their topping in 1962, when former President Eisenhower invited their father to join a delegation of farmers headed to Russia on a goodwill program.

Ozzie Herkner discarded the letter, knowing he couldn’t afford to travel halfway around the world to chat with collectivists. But after his wife, Etta, found the invitation in the trash, she insisted on opening a “Get Ozzie to Russia” stand on the edge of their cherry orchard. A photograph of the Herkner girls in shirtwaist dresses, leaning out of the booth with their double-crust pies, ran in newspapers across the country.

Lynda, Sue, and Mary Jean sold 1,000 pies, bread, cherries, and a smattering of the dessert topping concocted by their parents, owners of the second-largest cherry farm on the Old Mission Peninsula, a fertile jut of land that now gets by on wineries and weddings. The elder Herkners believed they could sell even more topping, but were stumped by scaling.

“They really wanted to market it, but they couldn’t multiply the recipe,” Herkner recalls.

Thus the topping remained a housebound treat. But when Lynda Herkner’s retirement schedule soured after 28 years in the real-estate business, her sisters decided to revisit the family recipe’s windfall potential. “They got to worrying about me,” Herkner says. After a gangbusters consultation with a chemist, the Herkners started buying up Michigan cherries and signed a contract with a co-packer. They’ve since outgrown their co-packer twice.

Despite the Smucker’s-sized aspirations and reliance on outsourcing, the Herkners consider themselves artisans. “We have an excellent product that’s all-natural and all-Michigan, except for the pure almond extract,” Herkner says. “And we started out as small as you can start.”

The word “artisan” has never had a clear definition,

» CONTINUED ON PAGE 12 11

beyond the urban centers commonly associated with thoughtful food. Herkner, for example, concedes she doesn’t look much like the stock artisan caricature, with his porkpie hat, waxed mustache, and bicep tattooed with a 19th-century etching of a pickle press. But as those earnest San Franciscans and Brooklynites scuffle over the meaning of artisanship, Herkner and her sisters are charging headlong toward the goal of changing the way their fellow Michiganders eat.

Matt Birbeck of Michigan State University’s Product Center for Food confirms that the Herkners’ confection is habitually luring shoppers away from industrially produced ice-cream sauces made with high-fructose corn syrup and red dye #40, although Herkner’s quick to mention that the sauce is equally good atop whitefish or beef. “When I got here, seven years ago, it was like value-added, ha, ha,” Birbeck says, using the industry term for a farm product that’s taken a transformational trip through a kitchen. “Now we’re on a roll. It’s suddenly taken off.”

The topping’s popularity has also reawakened interest in cherries, a crop so devalued in recent decades that a 10-acre oasis surrounding Herkner’s sister’s house is all that remains of the once-sprawling Herkner family farm. Herkner is confident that her parents’ recipe can help shield other northern Michigan farms from the same fate. “By promoting the cherry, we’re keeping the cherry in your face,” she says. “We feel we’re promoting the cherry farms here.”

w Seattle weekly • JU N E 27 – J u ly 3, 2012

“From our perspective, artisan means you adhere, as much as possible, to traditional methods of the origins of your product.

Dunkin’ Donuts has taken a position that’s immoral, deceitful, and wrong.”

12

Very few big-city artisans mess with frozen fruit and co-packers, linchpins of the Herkners’ ambitious business plan. Although small-scale producers defend their choices as quality-driven, many of them privately admit they’re fearful that other artisans will dismiss their work if they don’t personally slice their fruit and stir their pots.

“I’ve heard other jam makers say that using a co-packer ‘doesn’t feel very artisan,’ so I worry that I’ll be turned out of the artisan club if I consider that option—even though our local co-packer is pretty hands-on and I would be present,” says Rebecca Staffel, who uses the term “artisan” to market the awardwinning preserves she sells under the Deluxe Foods label. “We recently bought a big chopper for our rhubarb and apples. Does that mean I can’t say the jam is completely handcrafted anymore? I worry about the shocking exposé sometimes.”

Staffel is trying to find smart ways to grow her Seattle company. But plenty of talented chutney makers, kombucha technicians, and mustard mixers are deliberately keeping their

ERIN GROOM

Peaches and Dreams » FROM PAGE 11

businesses as tiny as the market will allow.

They painstakingly sink local asparagus spears into brine perfumed with lavender blooms, and hand-grind organic, fair-trade vanilla beans for cocktail bitters, a bottle of which sells for three times the price of a Bud Light six-pack.

“It’s totally obnoxious, because there’s no cultural relevance,” says Joe Schroeder, who helps North Carolina farmers translate their crops into artisan products.

Still, artisans’ self-absorbed antics have succeeded in attracting outsized attention.

Portlandia and The Daily Show have loudly poked fun at hipsters’ reverence for vinegar and local quince, and a recent New York Times feature derisively quoted an artisan groupie who “doesn’t care” whether or not Koreans actually eat tacos, so long as the kimchi-salsa maker has a good story to share.

Yet while the noun “artisan” is ripe for parody, the adjective has somehow managed to acquire commercial cachet. Domino’s, Sargento, Tostitos, and Dunkin’ Donuts have lately tagged their pizzas, shredded cheese, chips, and bagels with the label, well aware that sales of specialty food products shot up 19 percent between 2009 and 2011. Empire Mayonnaise, an emblematically precious Brooklyn outfit, can only make its black-garlic spread in exceptionally limited quantities, but the desire for authentic, handcrafted excellence has clearly trickled down to those who can’t buy the mayo.

In the South and Midwest, food producers are taking full advantage of the opportunities their angst-ridden, tale-spinning brethren on the coasts have helped create. They’re salvaging generations-old recipes, buying raw ingredients from farmers desperate for new income sources, and selling the results to eaters suddenly hungry for food that isn’t assembled in a faceless factory overseas. “They’ll buy something like ours compared to something commercial any day,” Herkner says.

Far from the heated “pickle wars” that North Brooklynites swear is the creation of excitable food bloggers, the heartland’s artisans are calmly and subtly steering the nation’s food system in the direction that makers of nitrate-free chile lime jerky and vegan foie gras wish it would go.

Michigan’s Herkner sisters “want to be a Smucker’s.”

T

he notion of artisan food isn’t new.

When in 1842 Messrs. Hughes and Potter of New London, Conn., alerted People’s Advocate readers to “a superior article of root beer” which they intended to deliver “fresh and pure” by cart to subscribers, or when Mr. Kimball of New York City announced in an 1831 issue of the Evening Post that he’d produced rosewater “for imparting a flavour to conserves” that was “entirely free of any artificial compound,” they were appealing to their prospective customers’ appetites for clean, safe, individualized food. Some of the earliest artisans’ names survive on products first devised as high-quality, small-batch antidotes to perceived shabbiness in the standard food supply: Edmund McIlhenny, Jim Beam, Domingo Ghirardelli, and J.M. Smucker’s products can now be found in most grocery stores.

Yet “artisan” as a culinary come-on is a fairly new addition to the common lexicon.

“I’m trying to remember if that was a word in 2007 when I started my business,” says April McGreger, a respected pickle and preserve maker based in Hillsborough, N.C. Until the turn of the current decade, artisans were usually people who stitched leather bracelets or threw clay pots. But the term started to creep into food conversations via cheesemakers and bread bakers, who used the phrase on business cards and cookbooks as early as 2000.

Artisan food “is made by hand using traditional methods,” the San Francisco Chronicle explained in a 2009 story headlined “What is artisanal food?”

Once in circulation, the word was flypaper for publicists and book publishers, who this year plan to release The Artisan Soda Workshop, Artisan Vegan Cheese, An Essential Guide to Artisan Meat, Artisan Pasta, and The Artisan Marshmallow, among other artisanoriented titles. As nebulous food terms go, though, “artisan” is still not nearly as familiar as “organic” or “local.” A 2011 study by the National Association for the Specialty Food Trade (NASFT) found that 26 percent of specialty-food consumers seek out artisan

products, compared to the 55 percent who gravitate toward organic labels. A mere 1 percent of shoppers who don’t regularly buy specialty foods say they care whether they’re buying artisanal, and organizers of the Good Food Awards, a 2-year-old project to recognize the nation’s finest artisan foods, estimate that half of 1 percent of food purchases could be classified as artisan.

The numbers may be paltry, but NASFT’s vice-president Ron Tanner thinks they’re promising. “The people who are really driving this are people in their 20s and 30s,” Tanner says. “It’s people who grew up drinking Starbucks. If you’ve been eating good cheese, you’re not going to start eating Velveeta.”

Although older consumers may not want to spend an extra dollar or two on handmade salsa, Tanner says “artisan” evokes overwhelmingly positive associations from eaters of all ages, which helps explain why major food companies are increasingly using the word “artisan” as a synonym for “tasty.” Domino’s Chris Brandon says the pizza maker last year branded its new line of thin-crusted rectangular pies as “artisan” in a “tongue-incheek way,” but makes clear the company’s rationale wasn’t as flimsy as the transparently fake Sicilian backdrops used to advertise its $7.99 pizzas. “[We’re] getting across how special these pizzas are,” he says. “We are serious about the quality of these pizzas.”

Dunkin’ Donuts advanced a similar argument this spring when it launched its artisan bagels, a collection that includes a sun-driedtomato bagel smeared with reduced-fat spinach-and-artichoke cream cheese. According to its TV commercials, artisan is “Latin for really, really good.”

Unamused, Marc Fintz of Davidovich Bakery in Queens filed a complaint this spring with the Federal Trade Commission, which currently defines “artisan” only in relation to American Indian art and has a policy of not commenting on ongoing investigations.

“Artisan isn’t an adjective, it’s an action verb,” Fintz says. “From our perspective, artisan means you adhere, as much as possible, to traditional methods of the origins of your product. Dunkin’ Donuts has taken a position that’s immoral, deceitful, and wrong.”

Fintz’s understanding of artisanship hinges largely on scale and speed. If manufacturing equipment is moving faster than a human being can comprehend or control, the end product can’t be called artisan. He cites Wonder Bread as the ultimate not-artisan baked good. “If you took a look at every slice, it’s the same,” he says. “Let’s understand what it is: It’s a chemical product, it’s a commercial product.”

Fintz says bakers across the country have thanked him for representing their interests, but the staunchest artisans might wonder if his outrage amounts to the pot calling the bagel kettle black. Davidovich Bakery is very much a commercial operation, turning out 25,000 bagels a day. As the wholesaler picks up more of failed bagel giant H&H’s former accounts, it plans to increase production to 40,000 a day. While Davidovich uses handrolling techniques that wouldn’t fly at a Hostess factory, it also doesn’t conform to the technological restrictions that some artisans devoutly observe. “We use machinery for mixing,” Fintz says. “We don’t mix by hand.

We use ovens. We’re not firing bagels over an open fire, obviously.”

By reputation, the most rigorous artisan

» CONTINUED ON PAGE 14

Seat tle weekly • JU N E 27 – J u ly 3, 2012

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in the country is June Taylor, the legendary San Francisco marmalade maker who studied domestic science as a north London high-schooler in the 1960s. Jam makers rarely describe their methods without invoking Taylor’s name: When they confess they’re considering leaving a kitchen in a manager’s care or purchasing candied orange peel, they reflexively say that “June Taylor wouldn’t like it.”

“Everyone makes their own decisions,” Taylor allows. “I’m not sitting here in judgment. I hand-make to the highest degree. I’m in there with my knife, I’m slicing my fruit. I guess there’s a scale issue for me with artisanship: We cook a pot’s yield. We’re not using commercial pectin. We’re very personally committed to our fruit.”

For Taylor, artisanship implies intimacy.

A true artisan is present at—and, ideally, involved in—every stage of a product’s development. “I’ve just been to the city to pick up letterpress labels,” Taylor says. “It’s a key concern, paying a lot of attention to aesthetics of food and presentation.”

McGreger is slightly more flexible on matters of slicing; she’s installed a Robot Coupe in her kitchen so she can efficiently chop cabbage for her Farmer’s Daughter krauts.

But she interprets “artisan” much as Taylor does. “I’m judging and tasting, using all of my

“The whole elitist argument has never, ever resonated with me because my family is from total humble beginnings, and we always cared about food and spent money on it. Now we all spend $100 a month on cell phones. Everyone has cable.

It’s insane.”

w

senses every day,” McGreger says. “I’m using a lot of experience and intuition. I’m not just using a probe. It’s a lot more human than that.

It’s something you learn and craft over time.”

The Robot Coupe, she adds, will never process plums for her cardamon jam or figs for her preserves. “We never run fruit through it,” she says firmly. “Those shortcuts lead to a degradation of quality. Our goal is that every batch is the best batch we ever made.”

Dealing in superlatives comes with a cost, as Taylor and McGreger readily acknowledge.

“I know my work is not affordable for a lot of people,” Taylor says. “That’s a reality I had to accept and make my peace with. That’s sad, because I don’t have requirements that anyone buy from me regularly, but to be awakened to quality, that’s what’s important to me.”

Taylor charges $14 for an 8-ounce jar of marmalade, conserves, or fruit butter. She’s threatened to title her memoirs A Jar of Jam in honor of the countless exchanges at the Ferry Plaza farmers market—and, perhaps less frequently, in her Berkeley shop—that have begun with a customer exclaiming “Fourteen dollars? For a jar of jam?”

“People don’t necessarily want to put $8 jelly on their kids’ PB&J. I get that,” says McGreger, who prices her jams and preserves

at $1.50 an ounce. “But the whole elitist argument has never, ever resonated with me because my family is from total humble beginnings, and we always cared about food and spent money on it. Now we all spend $100 a month on cell phones. Everyone has cable. It’s insane.”

T

he economics of artisan food are more worrisome to Dan Rosenberg, owner of Real Pickles in western Massachusetts. Rosenberg and his wife Addie started pickling 11 years ago. “I wanted to help bring traditional pickles back into the American diet,” he explains. “When I started the business, I was a big believer in small business. My idea was ‘I’m just going to grow this until I can make a decent living.’ We’ve doubled from that, and we still need to grow a little bit more.”

On average, Real Pickles daily produces 400 jars of pickles and sauerkraut in its 12,000-square-foot kitchen. Rosenberg puts far less emphasis on the laying-on of hands that some artisans espouse: Cases of beet kvass and ginger carrots routinely get made without his help. “Addie and I are hardly ever in the kitchen at this point, and I would say we’re still artisans,” he says.

An active participant in the Occupy movement, Rosenberg believes his presence is secondary to his philosophy. “Very fancy food has its place, but my personal incentive is for artisans to bring good food to everyone. It’s really important for us to keep affordability in mind.”

That principle nearly doomed one of Rosenberg’s favorite pickled products. Dilly beans—which had a brief fling with fashionability in the early 1960s, when Manhattan cocktail-hour hostesses discovered they made fine martini garnishes—serve as a gardensurplus solution across the country, but are especially popular in New England. The recipe for dillies is so simple that it’s often taught in introductory canning classes, but the green beans were a sticking point for the Rosenbergs: The organic farmers around Greenfield, Mass., hand-picked their string beans, driving up the bushel price. When Rosenberg did the math, he realized he’d have to sell his dilly beans for $12 a jar.

“There are definitely some people who would pay for them, but it didn’t feel right to us,” Rosenberg says. “Other businesses might make that choice. For us, it would not be a match.”

The Rosenbergs recently hooked up with a nearby organic farm that mechanically harvests its beans, allowing Real Pickles to offer organic dillies fermented with Northeastgrown garlic and dill for $6. But the beans are just one chapter in an epic treatise on quality and social responsibility: Food artisans are constantly negotiating ways to source ingredients that stay true to their aesthetic and moral beliefs. As they finalize their recipes, they face the same decisions that confront ethical shoppers at the supermarket: organic or local? Should they buy the jalapeños harvested by formerly homeless veterans, or choose the most delicious peppers, regardless of who benefits from their sale?

“In our world, quality and integrity are inherently linked to each other,” says Deb Music of Seattle’s Theo Chocolate, the nation’s first organic and free-trade chocolate factory. Theo’s image as a global good guy is so ingrained that Ben Affleck partnered with the company to promote economic development

NATE WATTERS

Peaches and Dreams » FROM PAGE 12

Deb Music’s Theo Chocolates is the nation’s first organic, free-trade chocolate factory.

in the eastern Congo, while the Jane Goodall Institute and World Bicycle Relief both have branded Theo’s dark-chocolate bars.

“For us, there’s no luxury in a product that’s damaging to the environment,” Music says. “It’s even a little more nuanced: I think every product needs to be produced in a way that’s beneficial to someone or something.” She isn’t ready to require every small-scale food producer to work toward social justice, though. “Someone who wants to create something beautiful, that’s a noble effort,” she says. Whether those producers should be welcomed into the artisan fold, though, is a question that an incipient national association of food artisans—the first-ever such group—will soon be forced to answer.

H

aving to balance craft and community is a task peculiar to food artisans. While winemakers are generally fluent in sustainability and land stewardship, very few drinkers ask sommeliers to recommend something from a community-oriented vineyard to go with their duck confit. That’s because while quality is primal in the wine industry, many mustard makers and muffin bakers explicitly launched their businesses as a means of reforming an industrial food culture rife with worker abuses, animal mistreatment, and unhealthy chemicals.

“We believe in capturing the bounty of the peak growing season and bringing it to folks who might not have the knowledge to preserve food themselves,” announces the website for Suddenly Sauer, a tiny pickling operation that leads fermentation workshops for inner-city cooks. “Tapping into urban farming projects in Detroit, Suddenly Sauer uses chemical-free produce grown by farmers we know and trust.”

In their zeal to offer homespun alternatives to processed food, a few artisans have made decisions seemingly at odds with their stated goals of making everything better for Joe Q. Eater. Following the example set by bootstrap farms and restaurants, pickle makers and distillers—such as Seattle’s Firefly Kitchen and Woodinville Whiskey—regularly staff their bottling and labeling sessions with volunteers, in clear violation of labor laws intended to

w

neighbor is also farming, you know they’re not evil because they’re spraying herbicides.

They think conventional farming is the enemy, and I don’t have that perspective at all. I think anything protecting farms is doing something valuable for our future.”

McGreger, who sells alongside McKnight at the Carrboro Farmers Market, agrees: “It’s not just about a high-quality product. It’s bigger than that,” says McGreger, who worked her family’s sweet-potato fields as a girl in Varda-

“When you’re actually farming, when your neighbor is also farming, you know they’re not evil because they’re spraying herbicides. They think conventional farming is the enemy, and I don’t have that perspective at all. I think anything protecting farms is doing something valuable for our future.” man, Miss. “I feel like wildness is one of our values. Supporting local agriculture. Preserving local land, that’s a big part of it. To certain people, the things I’m saying are really political, but they’re values my grandfather had, and to him it wasn’t political.”

The Good Food Guild calls upon its members to make food that’s “an expression of tradition and culture” and to “use local ingredients whenever possible,” but doesn’t specifically ask them to agitate on behalf of farms or farmers. Torn between sensuality and advocacy—a tension spotlighted this month when Slow Food USA’s president left the organization after enduring harsh criticism from members who didn’t think the taste-centric club needed to meddle in food-policy fights—the many artisans who prize stories, vintage glassware, and gray sea salt are siding with the former. But for artisans without a built-in customer base ready to buy anything packaged in a darling burlap sack, the raging interest in high-quality heritage products represents an unparalleled opportunity for agricultural activism.

» CONTINUED ON PAGE 17

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protect workers. And it’s not uncommon for newly declared artisans to flout critical healthdepartment regulations.

“When I started this, I just started playing around,” says Anton Nocito, who makes lovage and sarsaparilla soda syrups in Brooklyn.

Martha Stewart Weddings last year suggested brides tie tags to P&H Soda Co. bottles and present them as guest favors. “It was literally an illegal market in the basement of a church,” Nocito remembers. “A lot of people there were baking cakes, but they brought them and sold them. I started thinking, I need to research how I can do this properly. I maybe think it’s not so cool to be producing out of your apartment that has a cat hanging around. There’s a lot of people who don’t follow the rules. It’s probably a lot of times they don’t know better.

It’s growing so rapidly that a lot of the information that should be out there isn’t getting out there quickly enough.”

Of the 130 artisans selected as finalists for last year’s Good Food Awards, five were disqualified for violating competition standards.

“They weren’t able to trace where their ingredients came from,” director Sarah Weiner says.

It’s unclear whether the scofflaws were so caught up in the artisan craze that they figured there was easy money in a Good Food Awards gold seal (a fundamental misunderstanding of the industry, warns Dafna Kory of San Francisco’s Inna Jam: “It’s not a get-rich-quick scheme. It’s a work-with-no-money scheme”), or if they were genuinely confused by rules governing fungicides and gestation crates.

Banking on the latter, Weiner’s San Francisco– based group is planning soon to roll out the Good Food Guild, an umbrella organization for the hundreds of unaffiliated artisans who yearly enter the awards competition in the hope of scoring a win and a congratulatory kiss on the cheek from award-ceremony presenter Alice Waters, the chef/owner of Chez Panisse and an acknowledged figurehead of the sustainable-food movement.

“What we’re going to do is connect and promote the whole industry,” Weiner says. Guild members will be eligible for educational programming and collaborative marketing opportunities, including a massive trade show timed to coincide with the awards celebration.

In drafting its membership criteria, the Guild has been forced to formalize its values, a few of which created regional conflicts when they first popped up in the awards process. “For example, initially we required cheesemakers to certify that organic feed and grass were the only thing their cows were eating,” Weiner says. “We received thoughtful objections on this point from the Southern Cheesemakers Guild and several Southern cheesemakers. It is much harder for them to source organic feed in the South than here in California, though many are using locally grown and certainly pushing the envelope on artisan cheesemaking in the South.”

So the word “organic” doesn’t appear in the Guild’s guiding principles—which are grouped into categories labeled “tasty,” “authentic,” and “responsible”— but members are still forbidden from using synthetic fertilizer, pesticides, or herbicides, a prohibition which strikes some producers as a California affectation.

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ellison realized there wasn’t any money in baked goods. So he switched to booze.

“There’s a lot of crazy stuff going on in the back of nowhere,” she adds, laughing.

Those projects might not have been possible without the artisan movement, Schroeder says. He points to Felix Vargas, a migrant farmworker who became a citizen and bought land in southwest North Carolina.

Vargas is developing a low-sugar passion-fruit jam for diabetic Hispanic immigrants who miss the tropical flavors of Central America.

“He doesn’t want to get big,” Schroeder says.

“Passion fruit is his niche. He wants to provide access to the food people were used to back in Mexico.”

According to Schroeder, “in terms of seeing jam save the farm, it’s a bit of a stretch,” but agricultural activities have become hugely important in economies battered by factory closings.

“

M

ichigan’s heritage was built on building cars, and we recognized we had to rethink ourselves as a state,” says Matt Birbeck. “We’ve climbed on board with agriculture. Culturally, we’ve changed to understand value-added is sexy.”

Birbeck moved to Michigan from California, where he says artisans are “more focused on cosmetics. Here, we focus on ingredients.

When you talk about ‘artisan’ in San Francisco, they’re talking about craft, whereas here it’s taste.”

In addition to the Herkners’ cherry topping, Birbeck has helped develop and market whitefish filets, cheeses, and venison sausages.

Since 2004, MSU’s Product Center claims it has officially launched 229 food businesses, creating 917 jobs statewide. Funded by the Michigan Agricultural Experiment Station and Michigan State University Extension, it offers growers and home cooks a menu of services, including market research, label design, and financial planning. Last year, more than 250 entrepreneurs signed up. The center has been so successful that on June 24–26 it hosted the National Value Added Conference in Traverse City, near the orchards where the Herkners’ cherries grow.

“If you are a person who has a recipe in

» ContinueD on Page 18

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rian Ellison, founder of Wisconsin’s Death’s Door Spirits, is often asked how he decided to work with Washington Island farmers.

But when he launched his company, there weren’t any. “Farming had died off in the 1970s,” Ellison says. “Then in 2005, I found two brothers willing to grow five acres of wheat.”

According to the original business plan, Ellison would use the wheat’s flour to make fancy artisan breads for bed-and-breakfasts in Door County. But he quickly realized there wasn’t any money in baked goods. “Frankly, a salesman doesn’t go home and say ‘I crushed it this week, let’s get the good flour.’ ” In 2007, Ellison started distilling, and “the success was immediate.” Death’s Door’s current annual production is 250,000 cases of vodka, gin, and whiskey, making Ellison the odd artisan who’s become too big to outsource. After years of distilling in Cedar Rapids, Iowa, the company this month opened Wisconsin’s biggest craft distillery. Death’s Door celebrated its grand opening with cocktails and cheese from the Wisconsin Milk Marketing Board.

“From the beginning, my belief was we could find partners for everything,” Ellison says. “It got to the point where we were growing so fast, the feeling was either we have to accept the fact that we don’t get the same quality every time or build a distillery.”

The growth has reconstructed Washington Island. The five-acre stand of hard red winter wheat that a pair of farming brothers first planted for Death’s Door has grown to 1,200 acres of organic wheat planted across the island.

“The best way to keep people farming their land is to have them farm it,” says Ellison, who pays three times the going rate for wheat, chalking up the added expense as a marketing cost. “You don’t need land trusts.”

When cheap imports and antismoking campaigns conspired to decimate North Carolina’s historic tobacco industry, the state’s farmers were left with badly depreciated tracts of land that wouldn’t yield corn or cotton. Joe Schroeder oversees a program that connects farmers with alternate income streams: The Tobacco Communities Reinvestment Project has funded a group of Hmong farmers who are growing bamboo and Chatham County dairy farmers who’ve come up with a mozzarella cheesecake.

“There are a lot of folks, particularly in the foodie, artisanal world, who have a different set of values,” Schroeder admits. “Their value system is still based on cutting every strawberry with a knife in a certain way. From our perspective, it’s all about finding the scale that gives farmers the opportunity to continue farming.”

Leslie Schaller, who works with entrepreneurs in the Appalachian region of Ohio, has a client who’s making ice treats and beer from indigenous pawpaws, a creamy, mango-like fruit sometimes called a poor man’s banana.

“He created a whole pawpaw fest, and lobbied so pawpaw is now the state fruit,” she says. “Pawpaw was really considered the garbage fruit of Appalachian Ohio. But [now] it’s an exotic fruit at Wegman’s,” the New York grocery chain so adept at sophisticated display that curatorial students tour its aisles when studying exhibit design.

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your back pocket and $5 in your other pocket, you can come to us,” Birbeck says. “I think every state has a program like this, but Michigan is really pushing it because it’s an area it can do very well.”

Doing well for Birbeck is measured in dollars, so he’s cut deals with Kroger and Meijer to dedicate shelf space to Michigan artisans.

When WDIV, Detroit’s NBC affiliate, this month covered the introduction of Kroger’s “Pure Michigan” section—“This is huge news,” the reporter raved—a marinade maker stationed alongside the display looked slightly dazed from gratitude. “It kind of just blew me away to think I have this opportunity to be in such a prestigious store,” she said.

Birbeck has little patience for the quaint and quirky. “When we can help a farmer, when we can help people who have lost their jobs, that’s what I do,” he says.

Matt Jamie of Bourbon Barrel Foods also works with corporations: Woodford Reserve, owned by liquor giant Brown-Forman, last year hired the Louisville soy-sauce maker to develop a sorghum vinaigrette salad dressing with its bourbon. Jamie recognizes that the partnership qualifies him for sellout status in certain artisanal circles.

“I want to make a lot of money,” he says.

“I don’t think there’s a problem with me remaining an artisan. When a company like Brown-Forman approaches you, it opens doors.” Jamie clarifies he didn’t have to sacrifice quality for the contract: “I was approached by QVC, and the guy was like, ‘We’ll make this in China,’ and I was like, ‘You could, but you can’t put my name on it.’ These products are my babies. We’re selling a superpremium product. I embrace that.”

Since Jamie doesn’t grow the sorghum he uses for his salad dressings and syrups, he’s not welcome at his local farmers market.

“They don’t want anything to do with me. I’m like no, I’m not growing sorghum, but I buy from one guy. It’s a single crop and he doesn’t have time to come out here and sell.

“I’m not always over the kettle,” he continues. “I’m 50 percent food artisan and 50 percent entrepreneur, maybe even 60/40. I don’t grow sorghum. I don’t have a spring on my property. But I make something artfully.”

Although sorghum once was the region’s

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dominant sweetener, it’s now largely forgotten outside isolated pockets of the mountain South. Jamie says wedding sorghum to artisan techniques and promotional strategies has helped create new markets for sorghum farmers, who are now forming a trade group.

“The sorghum farmers I buy from would never see an end product,” he says, referring to the more than 75 percent of U.S. sorghum that’s used for ethanol and livestock feed.

“So when they saw my product at WilliamsSonoma, they took a picture with it. They saw it on a menu and brought the chef out, they were so proud of what they did. I’m very proud.”

At Big Spoon Roasters in Durham, N.C., Mark Overbay, a veteran of the fair-trade coffee business, makes every batch of his locally sourced nut butters by hand. “I literally scoop the nuts by hand, and spoon the butter into every jar with a tablespoon,” he says.

A lifelong peanut-butter eater, Overbay was inspired to start Big Spoon by the ground-nut harvests he witnessed as a Peace Corps volunteer in Zimbabwe in 1999. “They would shell them and roast them in big pans, or, in one case, over the hood of a car,” he says. “People would bring containers or banana leaves, just whatever they had to take it back in. It was one of the most delicious things I’ve ever had in my life. It was a completely different food experience.”

Yet it’s one which Overbay believes can survive upsizing. “With a smallish nut roaster, I would increase my capacity by 1,000 percent, and then I would simply have to find a larger grinder and maybe a couple of stand mixers,” he muses aloud. But he’s thinking even bigger, because his passion for the exemplary flavors of great nut butter is matched by his passion for reinvigorating peanut farming in the South.

“If I want organic peanuts, the closest place I can get them is New Mexico,” Overbay says.

“There’s nothing wrong with New Mexico, but as someone who believes in supporting North Carolina, I made the decision early on to buy North Carolina peanuts. I want to grow our business so we can be a positive market force for sustainable agriculture in the Southern peanut sector. I believe—and I don’t think this is a pipe dream—there can be sustainable, organic peanut agriculture in the Southeast. I want Big Spoon to be an advocate for that.” E hraskin@seattleweekly.com

Big Spoon’s Overbay is a purist who nonetheless is thinking big.

ROCHELLE JOHNSON

Seattle weekly • JU N E 27 – J u ly 3, 2012

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Seattle weekly • JU N E 27 – J u ly 3, 2012

fri/6/29 COMEDY

Ride the Snake

I really couldn’t stand Aziz Ansari when he first appeared on my radar as an offensively xenophobic fruit vendor on Flight of the Conchords, then as the even more offensive host of the 2007 Sasquatch! Festival. (As I recall, he was booed off the stage after making one gang-rape joke too many.) Yet my irritation took a 180 thanks to Ansari’s role on my #1 favorite TV show, Parks & Recreation.

His Tom Haverford—government employee, entrepreneur, and inventor of Snake Juice liquor and Tommy Fresh cologne—has a wannabe hip-hop swagger that amusingly echoes Ansari’s real-life friendship with Kanye West.

Tom’s whiny, puppyish eagerness to please makes him impossibly hilarious and lovable.

Now that Parks is on summer hiatus, Ansari’s Twitter feed, @azizansari, is a guaranteed gut-buster. Mostly he tweets about his favorite TV shows: “Whoa. Not to be racist, but I just flipped through channels & saw an Indian dude on Modern Family & legit thought it was me for 2 secs.” He also recently started a hashtag trend #ThronesandRecreation, positing ideas for a mashup of his show and Game of Thrones. What would Tyrion Lannister make of Tom? The Paramount, 911 Pine St., 877784-4849, stgpresents.org. $33.75. 7:30 & 10:30 p.m. ERIN K. THOMPSON BOOKS

Down by the River

At the Burke, a scene from our slowly recovering Duwamish River.

CLASSICAL

lights include an all-Schubert program (July 7–8), Shostakovich’s innocuously tasty String Quartet no. 1 (July 28–29), and the premiere of a string duo by OMF pianist Michael Brown (Aug. 25–26). 7360 Center Rd., Quilcene, 360-732-4800, olympicmusicfestival. org. Single tickets: $14–$20 lawn, $18–$30 barn. Flex passes (10 admissions): $180 lawn, $270 barn. GAVIN BORCHERT

Not a Tux in Sight

PHOTOGRAPHY

sat/6/30 At first glance, the Olympic Music Festival, held outside Quilcene on what used to be a dairy farm, might look like a concert series designed by the staff of Martha Stewart Living: picnickers bring stemware and table linens, with decor provided by a vintage wagon wheel placed just so against a genteelly weathered fence. But people mainly love the OMF (starting its 29th season) for its casualness, not its preciousness. You can get close to the musicians inside the acoustically friendly barn where they play, where seating options are a hay bale or a repurposed church pew, or stretch out on the sloping lawn off to one side. Each program is played twice, Saturday and Sunday at 2 p.m., each weekend through Sept. 2. This opening weekend features music by the Mosaic Brass Quintet; upcoming high-

*

I Can Haz Habitat, Please?

Opening today with a series of panels and tours, the International Conservation Photography Awards Exhibit includes 75 images—of not just cuddly wildlife but also places threatened by pollution and development. It’s easier, perhaps because of the Internet’s endless supply of squee-worthy critter clips and photos, to focus on the big eyes and soft ears of endangered species. Habitat is a harder sell, especially when it abuts our back lawns.

Adorable bear cubs eventually grow into nuisance animals that raid your garbage cans on the Sammamish Plateau. Raccoons are cute at a distance; then they set up a den in your

FRI: FILM

The Puzzle Master

The least well-known of the New Wave founders, and easily the least prolific,

NEW YORKER FILMS

Jacques Rivette created the most mysterious and labyrinthine movies among his fellow

Unlikely detectives Labourier (left) and Berto.

critics-turned-filmmakers; they’re wonders of theater, art, conspiracy, and imagination.

Celine and Julie Go Boating, a 1974 haunted-house fantasy/literary puzzle, is his signature work, and his most imaginative. Two strangers—a cabaret magician (Juliet Berto) and a librarian (Dominique Labourier)—meet, become fast friends, swap places, and unravel the story of the haunted mansion (a veritable film within a film). Think Alice in Wonderland meets Henry James by way of Fantômas. With his stars (and screenwriter Eduardo de Gregorio), Rivette developed this multilayered story of mystery, magic, and adventure. More than three hours long, Celine and Julie is dense yet playful and entertaining, a piece of dream theater full of witty digressions and detours. The film, not available on DVD, begins NWFF’s repertory series 35mm: The Celluloid Dream (through Aug. 23) and is followed by Grand Illusion, The Graduate, The Life and Death of Colonel Blimp, The Long Day Closes, and The Devil, Probably. (Through Thurs.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $5–$10. 7 p.m. SEAN AXMAKER

Wallingford basement. Too often we go to parks in search of wildlife, feel disappointed when we see none, then drive home past feathery and furry mounds of roadkill on I-5.

Wild animals don’t recognize highway maps or park boundaries, so this ICP show can only ask for more awareness on our side of the lens. (Through Nov. 25). Burke Museum (UW campus), 543-5590, burkemuseum.org. $7.50– $10. 10 a.m.–5 p.m. BRIAN MILLER

sun/7/1 ANTIQUITIES

Still Big, Still Rich, Still Dead

Things you already know about the pharaoh Tutankhamun: He was a boy king, still in his teens when he died in the 14th century B.C. His gold-and-treasure-stuffed tomb in Egypt’s Valley of the Kings was famously discovered in 1922 by British archaeologist Howard Carter, and King Tut subsequently became the world’s most famous mummy. Things you’ll learn at the touring exhibit Tutankhamun: The Golden King and the Great Pharaohs: Tut was tiny (a woven bed and chair are nearly child-sized). He was well-accessorized (the intricately beaded necklaces and earrings are breathtakingly beautiful; a pair of Tut’s gold sandals would go nicely with a lot of my summer dresses). His multichambered tomb, containing hundreds of figures of Egyptian gods, a sarcophagus for royal cats, and canopic jars that held Tut’s inner organs, is probably bigger than your apartment (well, mine, anyway). But among the 100-plus artifacts on display, the most arresting is the 10-foot quartzite statue of Tut in the entry foyer. Tut’s actual body has never left Egypt (and likely never will), but this statue, the largest ever discovered of him, renders the tiny monarch on an appropriately grand scale. (Through Jan. 6.)

Pacific Science Center, 200 Second Ave. N., 443-2001, pacificsciencecenter.org. $15.50– $32.50. 9:45 a.m.–6 p.m. ERIN K. THOMPSON

Seat tle weekly • JU N E 27 – J u ly 3, 2012

Income inequality and our winner-take-all economy are hard to communicate on a visceral level. FOX News effectively simplifies the issues from a right-wing perspective, so leave it to lefties Chris Hedges and Joe Sacco to try a different approach. Combining journalism and cartooning, respectively, the two set out to chronicle those enduring pockets of poverty

and despair in Days of Destruction, Days of Revolt (Nation Books, $28). One such enclave is Camden, New Jersey, just across the Delaware River from more prosperous Philadelphia.

White flight, the loss of unionized manufacturing jobs, and the collapse of its tax base have made the city a destitute dumping ground. All that’s left, Hedges writes, are drug dealing, prostitution, scrap-metal yards, and a sewagetreatment plant. He and Sacco visit a homeless camp whose de facto leader tells them, “Everybody is one paycheck away from being here.”

(Everybody except Mitt Romney, of course.)

Sacco’s black-and-white illustrations are suitably bleak—fried-chicken shacks, check-cashing joints, and abandoned factories. Hedges will appear tonight to discuss “the story of the weakest forever being crushed by the strong . . . the story of unchecked and unfettered corporate power, which has taken our government hostage.” Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. BRIAN MILLER

TOM REESE

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Jesus Hopped the A Train Now – June 30

More than 60 Programs for Artists of All Levels this Summer

Muscular and urban, Jesus Hopped the A Train takes a closer looks at what it means to be a ‘good person.’

Carrie Clark and the Lonesome Lovers June 28

Seattle weekly • JU N E 27 – J u ly 3, 2012

Part whimsical, circus-inspired folk music, part radiating, anywhere-but-here soul music.

22

The Great Soul of Russia July 10

Reading series from members of The Seagull Project: July is “The Golden Age of Russian Literature.”

The hansberry ProjecT

REPRESENT! July 17 – 22

Featuring new work by eSe Teatro, SIS Productions, Pratidhwani, and The Hansberry Project.

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arts»Opening Nights P LOVE

the pulpit would be, and the church acoustics are ideal—almost like a recital.

LOVE opens and closes with Lopez alone on stage. At the beginning, after a yearning, self-reflective solo full of elegant writhing, he finishes by embracing himself. At evening’s end, he turns away from the others, refusing their offers of connection. In Byrd’s world, love is not always requited. SANDRA KURTZ

DANIELS RECITAL HALL, 811 FIFTH AVE., 325-4161, SPECTRUMDANCE.ORG. $20–$25.

8 P.M. THURS.–SAT. THROUGH JUNE 30.

NATE WATTERS

Donald Byrd has been thinking about love. But since this choreographer generally shies away from the romantic or the lighthearted, it makes sense that when he turns to love, he explores the emotion’s more intense aspects.

After recently reviving his Petrushka, where love verges on obsession, and Miraculous Mandarin, which links salvation with lust, Byrd’s new LOVE is an essay about passion.

Byrd’s signature movement style is a kind of high-tension virtuosity. This becomes a metaphor for emotional commitment through a series of solos and ensemble dances that employ almost every kind of partnership for the large cast. Some of the movement resembles Merce Cunningham’s complicated multitasking physical patterns, yet without the dry lightness.

As ever, Byrd’s default setting is ultra-intense.

There are many exceptionally beautiful moments in LOVE: a sculptural duet for Jeroboam Bozeman and Vincent Michael Lopez; another almost playful duet for Donald Jones Jr. and Kate Monthy; and an amazing group dance for Jade Solomon Curtis and the men in the cast—who toss her around before finally raising her like a glorious bowsprit.

Relationships repeatedly form, but none remain intact. It’s a telling tableau when

LOVE: Dancers Jones Jr. and Monthy share a stage.

Amber Nicole Mayberry stands as still as an Egyptian bas-relief in the midst of great agitation—unwilling or unable to join the other dancers. She is profoundly alone.

Byrd uses this unconventional space, a former church, to his advantage, staging the dance on two adjacent platforms in the middle of the sanctuary. The dual stages further emphasize the distance and estrangement among dancers; this gives the actual moments of contact additional resonance.

The score, performed live and nearcontinuously through the 72-minute LOVE, is Benjamin Britten’s Suites for solo cello (Denise Djokic played the first weekend; Wendy Sutter performs the second). The cellist sits where

P The Producers

VILLAGE THEATRE, 303 FRONT ST. N., ISSAQUAH, 392-2202, VILLAGETHEATRE.ORG. $22–$62.

RUNS WED.–SUN. THROUGH JULY 1; MOVES TO EVERETT PERFORMING ARTS CENTER, JULY 6–29.

By now, everyone’s seen the two movies or the musical version of Mel Brooks’ The Producers, so a revival requires some degree of derangement, especially for a small company staging one of its most expensive productions. Luckily, director Steve Tomkins has exactly that degree. He starts with the artistic delusions of would-be Broadway producers Max and Leo, then adds myriad other symptoms of mental dysfunction. Despite our familiarity with the show, he manages to endow it with a crispy freshness. Like droopy vegetables snapping to life in the fridge, Max Bialystock (short, boxy Richard Gray), nerdy protege Leo Bloom (precision instrument Brian Earp), and long-drink-of-platinum Ulla (bombshell Jessica Skerritt) are made fresh again.

As you know, accountant Leo realizes that a theater producer could make more profit from a flop than a hit. Money-mad Max identifies

the world’s worst script: Springtime for Hitler, penned by Führer-worshipping Franz Liebkind (David Anthony Lewis). This demands the world’s worst director, Roger De Bris (Nick DeSantis), arrayed in a Chrysler Building tiara and near-blinding sparkles. (The amazing costumes are the William Ivey Long originals from Broadway, rented.) Meanwhile, neurotic Leo fondles his blue security blanket, even while falling for Ulla. In their number “That Face,” his hysteria steals the scene from the vacuous starlet.

When confronted, Earp thrusts his face forward like a shield while his callow body retreats. He also manages to do the conga with his eyebrows.

But Max has more pressing amorous business, servicing his legion of blue-hair investors, here wonderfully directed to “sing” (warble) as if in the death throes of geriatric orgasm while doing vulgar ballet on their walkers.

Granted, the show-within-the-show can be weak (“The Führer’s in a furor!”) and garish. Costumes and design unite to fulfill Max’s prescription that Springtime be “so crass and crude even Goebbels would have booed.”

Accordingly, Teutonic goddesses descend with broomstick hip-extenders laden with silver biersteins and coffeepots, their headdresses a parade of gigantic culinary monstrosities including pretzels and sausage. Here Julia B. Franz’s set goes into psychedelic overload.

Like The Producers as a whole, it’s a decadent, greasy, over-the-top buffet with some insanely succulent bits. MARGARET FRIEDMAN E stage@seattleweekly.com

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Seat tle weekly • JU N E 27 – J u ly 3, 2012

THURSDAY • PLAY YOUR WAY

23

THE WORD WARRIOR WED, JUNE 27

ALEX EDDINGS PRESENTS

MULATTOS OF COMEDY THRS-SAT, JUNE 28-30 OUR PICK FOR STARDOM

KORTNEY SHANE WILLIAMS PLUS JEREMY WHITMAN

SATURDAY MORNING, 6/30

A NEW TRADITION BEGINS

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OPEN MIC NIGHT

arts»Performance B Y G AV I N B O R C H E R T

Stage OPENINGS & EVENTS

AND YOU WILL KNOW ME BY THE TRAIL OF MY PURSE This three-night event combines music,

comedy, visual art, film, drag queens, cupcakes, bingo, and plenty more. Re-bar, 1114 Howell St., 233-9873, rebarseattle.com. $5–$7. Wed. & Thurs., $8–$10 Sat. AZIZ ANSARI SEE THE WIRE, PAGE 21.

GENIUS LOCI: SPIRIT AND PLACE In this minifestival, readings and short plays examine the title concepts.

Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 3230300, saintmarks.org. 7:30 p.m. Fri., June 29–Sat., June 30.

HANSEL AND GRETEL Sally Gander’s British pantostyle play looks at what happens after the witch goes into the oven. Volunteer Park, 1247 15th Ave. E., 324-5801, schmeater.org. Free. Opens June 30. 5 p.m.

Sat.–Sun. Ends Aug. 5.

KING LEAR Freehold’s Engaged Theatre takes on Shakespeare’s roiling family drama. Free, but make reservations through brownpapertickets.com. (Also runs July 12–15 at Seattle University.) Seward Park Amphitheater, 5898 Lake Washington Blvd. S., freehold theatre.org. 6:30 p.m. Mon., July 2.

•

LADIES AND GENTLEMEN, THIS IS YOUR CRISIS!

109 S. Washington St. (at Occidental)

206.628.0303

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SCAN T H I S CO D E

Musicians, dancers, aerialists, and more in this all-ages storytelling revue.

TO DOWNLOAD THE FREE Meydenbauer Center, 11100 SEATTLE WEEKLY N.E. Sixth St., Bellevue, morpheuscantare.com. $35.

IPHONE/ANDROID APP FOR MORE EVENTS OR VISIT 7:30 p.m. Sat., June 30. seattleweekly.com NINE LIVES Improv troupe Fat Kid Magic takes on nine stories in an evening.

Market Theatre, 1428 Post Alley, 587-2414, unexpected productions.org. $15. Opens June 28. 8:30 p.m. Thurs.

Ends July 19.

TOWN HALL HIGHLIGHTS 6/27 - 7/3 Thursday, 6/28 at 12 pm

CityClub: Building a Culture of Philanthropy

Carol Lewis, Akhtar Badshah, Norman Rice, Dorothy Stimpson, and Colleen Willoughby discuss how our culture of philanthropy began and how it has changed the region.

Thursday, 6/28 at 7:30 pm

Seattle weekly • JU N E 27 – J u ly 3, 2012

Pierre Desrochers: Eat Global

Food activists might think “sustainable farming” and “eating local” can solve all the problems with our modern food-supply system but Desrochers disagrees.

Friday, 6/29 at 7:30 pm

Chris Hedges: Reports from the Frontlines of American Poverty

Pulitzer Prize-winning journalist Hedges warns of a bleak near-future where neofeudalism reigns and the nation’s working and middle classes are decimated.

Monday, 7/2 at 7:30 pm

Kevin Bleyer: Me the People Our Constitution promised a More Perfect Union, but the document itself so Bleyer has written a more perfect one.

Tuesday, 7/3 at 7 pm

Clarion West Summer Reading Series: George R.R. Martin

The summer writing workshop presents Martin reading new work.

24 www.townhallseattle.org

MORPHEUS CANTARE

Adly Guirgis’ 2000 prison drama, Azeotrope has knocked it out of the park, swinging at rich and thorny material with explosive honesty and superb acting.

The story is set in the Rikers Island cellblock of bornagain serial-killer Lucius (played by charisma grenade Dumi) and lapsed Catholic Angel Cruz (Richard Nguyen Sloniker); new boy Angel accepts Lu’s kindness but not his proselytizing. The tale brims with backstory, twists, and provocative questions. Some are resolved by character monologues that break the proscenium, usually a pet peeve, but they feel like genuine conversations in the intimate Eulalie Scandiuzzi Space. As Angel’s case develops, director Desdemona Chiang gracefully avoids the formula of TV crime-show procedurals. We feel the urgency of a friend’s judicial ordeal. Guirgis asks us to consider how the right thing may not be the legal thing. And how the legal thing may be right but abhorrent. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676, azotheatre.org. $25–$30. 7:30 p.m.

Thurs.–Sat., 2 p.m. Sat.–Sun. Ends June 30.

MENU Order whatever topics you like in Unexpected Productions’ “night of a la carte improv.” Market Theatre, 1428 Post Alley, 587-2414, unexpected productions.org. 8:30 p.m. Fri.–Sat. Ends July 21.

ONE SLIGHT HITCH After 30 years of tinkering, Lewis Black’s would-be farce, set in the early ’80s, is surprisingly bland, nothing like his Daily Show rants. It’s by no means terrible, but droll when it ought to be funny and hollow when it should be heartwarming. The semiautobiographical plot unfolds around the wedding of Courtney (Kimberley Sustad) and Harper (John Ulman).

In stumbles Ryan (Shawn Telford), the bride’s jilted ex-boyfriend. Courtney’s two sisters (Katherine GrantSuttie and Kirsten Potter) comment on the ensuing hijinks. The cast’s standout is R. Hamilton Wright as the bride’s father; everyone’s at their best when working off him. From a lesser comic talent than Black, One Slight Hitch would be at worst an inoffensive little gambol. But his fame, and our expectations, work against him. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676. $15 and up. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends July 8.

THE PRODUCERS SEE REVIEW, PAGE 23.

TEATRO ZINZANNI: GANGSTERS OF LOVE The circus/ cabaret/dinner theater goes back to the ‘20s. Teatro ZinZanni, 222 Mercer St., 802-0015, zinzanni.org. $76 and up. 6:30 p.m. Wed.–Sat., 5:30 p.m. Sun. Ends Sept. 30.

•

Dance

LOVE SEE REVIEW, PAGE 23.

SAPIENCE DANCE This troupe’s new work, While We

Are Human, “explores the wilderness in the city and the animal within human nature, revealing the deeply varied nuances of human desires and the complexities of living in community.” Tashiro Kaplan Lofts, 115 Prefontaine Place S., sapiencedance.org. $12–$25. Opens June 29.

8 p.m. Fri.–Sat., 5 p.m. Sun. Ends July 15.

SALLY AND THOR SAVE THE WORLD (AT SUMMER CAMP) Balagan throws myths and fairy

tales into a blender in their new family show. Free.

Opens June 30. Plays weekends at 2 p.m. at various area parks; see balagantheatre.org for exact schedule.

Ends Aug. 11.

XANADU Making lemonade out of the lemon that was the 1980 movie musical. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$15. Opens June 27.

7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends July 15.

CURRENT RUNS

THE CURSE OF MALIBU TIDES Fantastic.Z’s

murder mystery set backstage at a soap opera.

JewelBox/Rendezvous, 2322 Second Ave., jewelbox theater.com. $15–$17. 7 p.m. Wed. Ends June 27.

DUO IMPROV SHOWCASE Unexpected Productions presents comedians two at a time. Market Theatre, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5. 8:30 p.m. Wednesdays.

FOREVER PLAID The revue that gently sends up male vocal groups. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep. org. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends July 1.

FROZEN Gesamtkunstwerk! presents Bryony Lavery’s play a clef about a pedophile serial killer. Boom!

Theater, 429 Fairview Ave. N., 888-887-3548, that gtheatre.com. $12–$18. 8 p.m. Thurs.–Sat. Ends June 29.

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

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

Runs 11 a.m. some Sat.–Sun. through July 15; see dreams.zinzanni.org for exact schedule.

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

•

Classical, Etc.

NORTHWEST MAHLER FESTIVAL Five reading

sessions (through July 12) of the orchestra’s grandest repertory; see nwmahlerfestival.org for registration info. On June 28, Eric Hanson conducts Mahler’s Fifth; on July 2, Alexei Girsh conducts Shostakovich’s imposing wartime Seventh Symphony. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E. 7 p.m.

SEATTLE SYMPHONY A screening of The Matrix with the score played live. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$90. 7:30 p.m.

Thurs., June 28, 8 p.m. Fri., June 29.

THE BOX IS EMPTY Premieres by Seattle composers and more from this alt-classical ensemble. Top-notch vocalist Maria Mannisto headlines. Century Ballroom & Cafe, 915 E. Pine St., theboxisempty.org. $10–$15.

8 p.m. Fri., June 29.

THE ESOTERICS In “AGAPE,” Eric Banks’ newmusic a cappella choir celebrates love through the music of gay and lesbian composers. At All Pilgrims Christian Church, 500 Broadway E., 8 p.m. Fri., June 29; Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 8 p.m. Sat., June 30; and First Congregational Church of Bellevue, 752 108th Ave. N.E., 3 p.m. Sun., July 1. $10–$20. theesoterics.org.

SEATTLE LADIES CHOIR An oddly prim name for a group singing Radiohead and Madonna. Fremont Abbey Arts Center, 4272 Fremont Ave. N., seattleladieschoir.org. $8–$10. 7:30 p.m. Fri., June 29, 2 p.m. Sat., June 30.

OLYMPIC MUSIC FESTIVAL SEE THE WIRE, PAGE 21.

SEATTLE SYMPHONY Music from Disney films, played live to screenings of classic clips. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$65.

2 & 7 p.m. Sat., June 30.

• •

•

• SERENDIPITY STRINGS Adventurous new works

and arrangements. Gallery 1412, 1412 18th Ave. E., 322-1533, gallery1412.org. $5–$15. 7 p.m. Sat., June 30.

OSTAD HOSSEIN OMOUMI Music and readings from the classical Persian tradition from this ney virtuoso and friends. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., June 30.

CANDLELIGHT CONCERTS Chamber music for winds and strings by Beethoven and others. University Christian Church, N.E. 50th St. & 15th Ave. N.E., 800-838-3006, brownpapertickets.com. $15–$20.

7:30 p.m. Sun., July 1.

SEATTLE CHAMBER MUSIC FESTIVAL SEE EAR SUPPLY, BELOW. BAND OF THE GOLDEN WEST Sousa and more from Travis Air Force Base in California. Benaroya Hall, 200 University St. 7 p.m. Tues., July 3.

•

EarSupply

» by gavin borchert

COURTESY OF SCMS

Infinity Box Theatre Project adapts Kate Wilhelm’s 1976 short story about TV, reality, and blurred boundaries.

Ethnic Cultural Center/Theatre, 3931 Brooklyn Ave. N.E., infinitybox.org. $10–$20. Preview June 28, opens June 29. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends July 8.

LES MISÉRABLES Cosette and the gang return. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $49 and up.

Opens June 27; see 5th avenue.org for exact schedule. Ends July 8.

• JESUS HOPPED THE A TRAIN In staging Stephen

Hamelin opens the festival Monday with a couple of his own works.

A Change Is Gonna Come

The basic recipe, time-tested and crowd-pleasing, of the Seattle Chamber Music Society’s summer festival remains the same, but it’s been undergoing some tweaks over the past few years, some voluntary, some otherwise. Moving from Lakeside School to Benaroya Hall necessitated a change to the popular program of broadcasting concerts outside to picnickers on the Lakeside lawn. Now the society will be going even farther afield by beaming the performances to various city parks (Westlake, Volunteer, and South Lake Union’s Cascade Playground). Better yet, one concert (July 25, Dvorak and Tchaikovsky) will be played at Volunteer Park. (Previous Augusts saw additional SCMS concerts at Redmond’s Overlake School; not this year.) New artistic director James Ehnes is making a point to include on each of the 12 regular concerts a work new to the festival, including a premiere by Gary Kulesha (July 20) and pieces by pianist/ composers Marc-André Hamelin (July 2) and Adam Neiman (July 16 & 18). Other highlights include Astor Piazzolla’s Argentine take on Vivaldi’s “Four Seasons” (July 6); octets by Shostakovich and Mendelssohn (July 13); and John Adams’ Hallelujah Junction for two pianos (July 18). Benaroya Recital Hall, Third Avenue & Union Street, 283-8808. Single tickets $15–$45, subscription packages $180–$540. July 2–29; see seattlechamber music.org for full details.

film»This Week’s Attractions Magic Mike OPENS FRI., JUNE 29 AT VARSITY AND OTHER THEATERS. RATED R. 110 MINUTES.

KARINA LONGWORTH

GLEN WILSON/WARNER BROS.

When Channing Tatum stood up and revealed his bare ass to the camera a minute or two into Steven Soderbergh’s Magic Mike—which the actor conceived of and produced based on his own experience as a teenage dancer in an allmale exotic revue—the audience in my screening burst into a near-unanimous extended cheer. Tatum’s appeal is based on working-class humility paired with otherworldly charisma, an impossible body, and the intelligence to make his use of it seem effortless. Now, as then, he never fails to give us what we paid to see. But what is he really revealing?

The highly calculated Magic Mike is pure Hollywood self-mythology—a neoDepression musical, a wish-fulfillment fantasy for shitty times, another originof-the-star story. Tatum’s Mike is the main attraction at Xquisite, a Tampa pop-up strip club whose male dancers cater to an all-female clientele. It’s also a self-reflexive portrait of three distinct points in the Hollywood himbo life cycle: Tatum’s 30-year-old Mike mentors scrappy newbie Adam (Alex Pettyfer), a 19-year-old rebel with neither cause nor clue whom Mike brings into the Xquisite fold; Mike himself was discovered on the street by Dallas (Matthew McConaughey), the club’s manager/main hustler. An extremely conventional backstage story is occasionally enlivened by Soderbergh’s aesthetic curveballs—the halo-shaped lens flares suggesting Adam’s halcyon view of the club; a long night of debauchery with major plot consequences rendered as an experimental study in color and shadow. But the denouement, built around the hoariest of contrivances concerning the cyclical nature of stardom, squarely casts its lot against self-commodification, by extension damning the margins and endorsing the mainstream.

The photo we had to run: McConaughey as hustler in Magic Mike.

100% Off: A Recession-Era Romance RUNS TUES., JULY 3–TUES., JULY 10 AT GRAND ILLUSION. NOT RATED. 110 MINUTES.

Not yet 30, local filmmaker Shaun Scott has an unusual affinity for history and archival footage. Both are woven deeply and somewhat distractingly into the parallel stories of two struggling Seattle couples. It’s not just the present recession but perhaps deeper, structural economic forces that are pressing on Jean and Jessie (writer/director Scott and Stephanie Kim) and Kyle and Rosa (Matt Giampietro and Laurie Roberts), cash-strapped millennials all. Granted, it takes a while to tease out the players from the montage, voice-overs, and vintage jukebox score. It finally emerges that video interviews of the quartet are being

made by the INS to determine if Argentine Rosa has married slacker artist/thief Kyle for love or citizenship. Jean and Kyle are Rainierdrinking best pals who fret about hard times, but their conversations are interlaced with radio snippets, TV clips harkening back to Ronald Reagan, UW history lectures alluding to Howard Zinn, and some bookseller raving about Tao Lin’s Shoplifting From American Apparel. All of which does obscure the drama of whether our two central couples will make it or not. That could better have been one short film, and Scott might’ve packed the politics into a separate essay project. But give him credit for the two-fer. This shoestring Romance may be grainy and hard to follow, but it’s also considerably more ambitious than your average local indie. BRIAN MILLER

People Like Us OPENS FRI., JUNE 29 AT VARSITY AND OTHER THEATERS. RATED R. 115 MINUTES.

Let us now take this moment to praise Michael Bay. In a Hollywood career devoted to blowing shit up, he’s had the good sense never to make a personal movie. Unfortunately, that is a restraint not shared by Alex Kurtzman and Roberto Orci (writers of Transformers and other summer blockbusters), who wring a long, sappy melodrama out of Kurtzman’s real-life discovery of a half-sister. Sam (Chris Pine) is an indebted, fast-talking jerk of the Jerry Maguire template, estranged from his folks back in L.A. Father dies, Chris reluctantly flies west, and the lawyer hands him $150,000 in cash. Not to keep, but to deliver to an 11-year-old, the son of cocktail waitress Frankie (Elizabeth Banks), whom Chris begins to follow to AA meetings and beyond. He reveals nothing, choosing to remain a stalker/ guardian angel while deciding whether to keep the cash or not. His withholding strategy parallels the movie’s, which waits until about the 95th minute (of 115) for him to spill. It’s a four-act soap opera that actually would’ve been improved with commercials. Instead, debut director Kurtzman offers action-movie

editing—like there’s a bomb to defuse!—and montage sequences. Pine and Banks are adequate, but the real victim here is Michelle Pfeiffer as Sam’s mother (yes, a benchmark is passed). She’s assigned the menopausal trifecta of anger, deceit, and disease. People Like Us is slower than Tarkovsky; it’s like watching three James L. Brooks movies in row. Next time, please, stick to the exploding robots. It’s all Kurtzman and Orci know. BRIAN MILLER

Polisse OPENS FRI., JUNE 29 AT HARVARD EXIT. NOT RATED. 127 MINUTES.

An episodic ensemble piece based on cases handled by Paris’ Child Protection Unit, Polisse is a mutant beast: Imagine an entire season of Law & Order: SVU condensed to feature length and then spliced with DNA culled from the deadpan faux-doc institutional satire of In the Loop and the sex-on-the-job soap of Grey’s Anatomy. Co-writer/director Maïwenn co-stars as Melissa, a documentary photographer embedded within a close-knit family of investigators who spends its days interrogating victims and perps of crimes against kids. The style is extremely naturalistic, with the invisible camerawork and overlapping dialogue helping to smooth out the wild inconsistencies in the material. The intensity of the unit’s work takes its toll—countless scenes devolve into tantrums, rants, and giggle fits, and there’s ample, predictable trouble at home. Less predictable is the wide, wild range of emotional response on display: The cops will be deeply affected by one case, selfrighteously railing against bureaucracy for not being able to do more, and mock the next, sometimes even to the victim’s face. Although it suggests that these cops are not always great at their jobs, Polisse isn’t critical of the CPU officers—on the contrary, it’s extremely sympathetic to the impossible position the investigators are put in. Even when they’re ostensibly doing the “right” thing, they’re also making anxious judgment calls and

» CONTINUED ON PAGE 26

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25

film» This Week’s Attractions » FROM PAGE 25 policing the perversions and personal habits of others. Polisse is all over the place (including Maïwenn’s increasing focus on her own character’s not-terribly-interesting romantic subplot), but that’s not necessarily a bad thing: The strange, unsettling juxtapositions, even when mashing up the mawkishness and mockery, are full of life. KARINA LONGWORTH

Where Do We Go Now? OPENS FRI., JUNE 29 AT SUNDANCE CINEMAS. RATED PG-13. 100 MINUTES.

If women were in charge, there’d be peace in the Middle East—or at least that’s what’s suggested by the second film from Lebanese director and actress Nadine Labaki. Like her 2007 debut, Caramel, it’s driven by a deep faith in female friendship, though here the stakes are higher, and war lurks at the edges. The film follows the women of a remote village in Lebanon as they try to keep their menfolk from joining in the sectarian violence erupting around them by burning newspapers and sabotaging the only working television. When the refuge of blissful ignorance fails, they turn to other distractions, falsifying religious miracles and hiring a group of Russian strippers. The film’s flights of fancy (including a scattering of musical numbers) waver between being actually charming and overly cute, and don’t meld

RUDY BOU CHEBEL/SONY PICTURES CLASSICS

FREEOPENING SCREENING THIS SATURDAY NIGHT EVENT | 8PM

Oxana Chihane as one of the Russian strippers in Where Do We Go Now?

with the undercurrent of anguish that sometimes erupts—for example, in a wrenching monologue from Labaki herself, who breaks up a fight among her cafe customers by howling, “You think we’re here just to mourn you?”

Like the hashish-laced pastries the ladies make to sedate the male population, the film feels as if it’s been dosed with sugar to mask its distressingly bitter taste. ALISON WILLMORE E film@seattleweekly.com

ONLINE » SEATTLEWEEKLY.COM aMORE See reviews of The Beat Hotel, God Bless America, and Madea’s Witness Protection.

film»

BY BRIAN MILLER

Local Film • CASTLES IN THE SKY: MIYAZAKI, TAKAHATA All 15

Seattle weekly • JU N E 27 – J u ly 3, 2012

AND THE MASTERS OF STUDIO GHIBLI

26

UPCOMING JULY SCREENINGS

SINGLES - JUNE 30TH

20TH ANNIVERSARY SEATTLE | FREE SCREENING

REDZOMBIE WHITEWALK & DEAD | JULY 7TH & BLOCK PARTY

GHOSTBUSTERS | JULY 14TH OH BROTHER WHERE ART THOU | JULY 21ST SOLID GROUND FUNDRAISER TOP GUN | JULY 28TH

TIX/INFO: FREMONTOUTDOORMOVIES.COM | FREMONT STUDIOS

anime titles will be screened from 35mm prints, in both dubbed and subtitled editions. (PG) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $5-$10, Through July 5.

CELINE AND JULIE GO BOATING SEE PAGE 21.

•FANTASTIC PLANET The notion that cartoons are “just for kids” never seemed to register with the Europeans, who sent frightening acid-blasted versions of Tom & Jerry from deepest, darkest Czechoslovakia. Animators Roland Topor and René Laloux started Fantastic Planet in 1968 but it wasn’t released until 1973. In the U.S., Roger Corman knew a good thing when he saw it.

The animated feature involves the giant alien Draags enslaving the tiny human Oms and pitting them against one another in mortal combat. Call for showtimes. (NR) DAVID COTNER Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org, $5-$8, June 29-July 5.

• FREMONT OUTDOOR CINEMA Director Cameron Crowe once confided to us that the studio delayed releasing his 1992 Singles by almost a year to better capitalize on our nascent grunge rock scene—making his sweetly observant music/rom-com seem more opportunistic than prophetic. It remains a deserved Seattle favorite, even if the nifty soundtrack seems dated and most of the local music figures who made cameos have long receded from the charts. Bridget Fonda, Campbell Scott, Kyra Sedgwick, and Matt Dillon star in the roundelay. (PG-13) BRIAN MILLER Fremont Outdoor Cinema, 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com, $5, Opens June 30, Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

•

Saturdays, 7 p.m.; Fri., Aug. 17, 7 p.m. Through Aug. 25.

• GHOSTBUSTERS Who you gonna call? I think we

all know the answer: the top-grossing film of 1984, Ghostbusters! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy. Using Aykroyd as his uptight foil, with well-timed sideline zingers from the wonky Ramis (who co-wrote the script with Aykroyd), Murray is freed to embrace his inner, off-kilter leading man—he’s like Cary Grant on mescaline. Call for showtimes. (PG) BRIAN MILLER. Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com, $6-$8, June 29-July 3.

GRANDMA LO-FI This recent hour-long doc follows an Icelandic septuagenarian’s late-life explosion into music and home recording. (NR) Northwest Film Forum, 1515 12th Ave., 329-1193, nwfilmforum.org, $6-$10, Wed., June 27, 7 & 9 p.m.; Thu., June 28, 7 & 9 p.m.

THE KILLER John Woo’s stylish, violent, genre-making hit from 1989 made an international star out of Chow Yun-Fat (as the titular assassin), bringing both to the attention of Hollywood. (R) Grand Illusion, $5-$8, Fri., June 29, 11 p.m.; Sat., June 30, 11 p.m.

NEW CZECH FILMS TOUR 2012 To begin this minifest, director Radim Špacek will introduce his Walking Too Fast on Friday. The ‘80s-set thriller has a member of the secret police (in the then unified Czechoslovakia) fall for a mysterious woman. Romantically obsessed with this stranger, he then uses his badge and station for very illicit purposes. See siff.net for full schedule, which also includes Long Live the Family, Identity Card, Matchmaking Mayor, and Leaving. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net, $5-$10, Fri., June 29, 7:30 p.m.; June 30-July 1.

REACH OF RESONANCE Steve Elkins’ 2010 doc follows oddball musicians who seek (and play) improvised instruments including wire fences. (NR) Northwest Film Forum, $6-$10, Mon., July 2, 7 & 9:15 p.m.; Tue., July 3, 7 & 9:15 p.m.

TREMORS Kevin Bacon and Fred Ward star in this very enjoyable monster comedy from 1990. (PG-13) Egyptian, 805 E. Pine St., 781-5755, landmarktheatres.com, $8.25, Fri., June 29, 11:59 p.m.; Sat., June 30, 11:59 p.m.

• •

•

June 29–July 5 | 206.324.9996 | siff.net

CASTLES IN THE SKY:

Events THU, JUNE 28

Miyazaki, Takahata, and the masters of Studio Ghibli

TASTING FLIGHT

Encore! Ocean Waves | Uptown New digital restoration | June 29 4:15 subtitled

Previously unreleased in the US!

Spirited Away | Uptown June 29 6:00 dubbed, 8:30 subtitled July 3 6:00 dubbed, 8:30 subtitled July 4 2:00 dubbed, 6:30 subtitled

Events

My Neighbor Totoro | Uptown June 30 12:00 & 2:00 dubbed, 6:30 subtitled July 4 12:00pm dubbed, 4:30 subtitled

WED, JULY 4TH

Pom Poko | Uptown June 30 4:00 dubbed, 8:30 subtitled Whisper of the Heart | Uptown July 1 1:00 dubbed, 5:30 subtitled The Cat Returns | Uptown July 1 3:30 dubbed, 8:00 subtitled Previously Encore! Only Yesterday | Uptown July 1 9:45 subtitled unreleased in the US! Ponyo | Uptown July 2 6:00 dubbed, 8:30 subtitled Porco Rosso | Uptown July 5 6:00 dubbed, 8:30 subtitled Opens June 29 Uptown

Opens June 29 Uptown

God Bless America

People Like Us

FAMILY 4TH ON LAKE UNION

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New Czech Films Tour

Command Performance in HD!

SIFF Cinema Uptown

SIFF Film Center

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Seat tle weekly • JU N E 27 – J u ly 3, 2012

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White Palace

Blanca Rodriguez gives eaters an unexpected reason to head to the strip mall.

he first rule of culinary scouting: Never be dissuaded by the tanning salon next door. Excellent restaurants, run by rookie chefs who’d rather spend money on ingredients than rent, are so frequently found in characterless strip malls that an adjoining trophy shop or 99-cent store is considered a marker of credibility. With neighbors like that, the logic goes, the place has got to be good.

But for most food obsessives, that truism only holds if the restaurant specializes in the cuisine of a country with a Peace Corps presence. A strip-mall location may herald fantastically tender tamales or crisp dosas, yet it’s rarely interpreted as a trusty oracle of finely tuned French sauces and pastas gilded with artichoke hearts and sheep’s-milk cheese. For that kind of cooking, most eaters head to in-town restaurants that don’t share parking lots with cash-advance stores.

There is an Advance America location alongside Pimienta Bistro in Federal Way, and a Brown Bear Car Wash across from it.

“I’m next to a gas station,” says chef Blanca Rodriguez, who capped her decade-long

I’m pretty sure Madeleine Peyroux’s music wasn’t playing every time I ate at Pimienta, but it seemed like the right choice whenever it came on the stereo.

breast, and strip steak. Rodriguez is adept at making comfort food for smart people.

The steak, for example, is a convincing battle cry on behalf of meat and potatoes. The plate’s only concession to fashion is an accompanying cluster of trendy cauliflower blooms, softened, buttered, and—lest eyelids droop at the sight of so much white—interspersed with neatly trimmed slivers of sweet red pepper.

A loop-handled crock burbles with a thickly cheesed, hand-cut potatoes au gratin that resembles the “before” image in healthycooking magazines that purge recipes of calories and fat. Broiler-crisped around the edges, the gratin has a sharp, rich flavor that plays off the centerpiece bow tie of beef. The remarkably juicy steak wears an ankle-deep crust of black pepper that Rodriguez would surely call her “flair.” It’s terrific.

A

lthough she wasn’t formally trained, Rodriguez grew up cooking in her family’s restaurants in Guadalajara, Mexico, where she was born, and later Miami, where her siblings were chefs. She says she forged her “fresh, local, simple” philosophy under her mother’s tutelage. “I usually take what I grew up with and make a little twist,” Rodriguez says.

Though she previously held the executivechef post at Cactus, Pimienta is the first restaurant that Rodriguez considers her own.

Rodriguez and Hector Auffant opened the restaurant as Peppercorn Bistro in 2010. It’s since been bought by Adriana Monroy, who in January re-opened it with the same menu, the same chef, and a new name. “My style is the same,” Rodriguez affirms.

The red-walled dining room is also largely unchanged. The restaurant’s done its best to drive “strip mall” from customers’ minds, but it’s stuck with a boxy layout and an all-glass storefront that’s pummeled by sunlight, wash-

ing out any notion of ambience. The room’s Rodriguez (right) fusses over accessorized with gauzy Pier 1-ish sconces her latest “work of art.” and floor-length linen curtains cinched at the middle, a day-spa look reprised in the bathroom, where the liquid hand soap has a uring my visits to Pimienta, “stress relief” label. I’m pretty sure Madeleine I didn’t encounter anything I Peyroux’s music wasn’t playing every time I wouldn’t happily order again, ate at Pimienta, but it seemed like the right except maybe a side of tough, choice whenever it came on the stereo. twiggy French fries. A stew of shrimp, Still, the room’s mood is set mostly by scallops, Portuguese sausage, and clams the bustling servers, who are attentive and is made riveting by a zesty tomato sauce properly enthusiastic. They’re often joined propped up by fennel and smoked pepper. on the floor by Rodriguez, who sometimes The burger is flat-out fantastic, thanks to makes a conversational circuit, but more ground chuck Rodriguez sources from a frequently buses plates and wipes down tables, wagyu rancher in Oregon (sadly, his operaunobtrusively keeping tabs on her staffers and tion is too small to supply Rodriguez with guests. Unlike many Seattle chefs, Rodriguez grass-fed steaks). The beef flickers with more wears a traditional white coat, buttoned from fresh fennel and paprika. top to bottom.

For dessert, there’s a spectacular brownie There’s no hint of sloppiness on her plates, made with Mexican chocolate, posed in a either. A basic spring salad, which elsewhere pool of almond dulce de leche and topped would be a tousled jumble of strawberries and with vanilla-bean ice cream. The sophistigreens, is arranged so the berry segments form cated brownie was a special when I tried a rough eight-pointed star around sprightly it a month ago, but it’s still lingering on baby spinach leaves, touched the menu. Rodriguez says with just the right amount of customers would kill her if dark-cherry vinaigrette and she rescinded it. » PRICE GUIDE PANELA FRITA ................ $9 seeded with pistachios.

Pimienta is typically SALAD................................. $7 “Every one of my dishes, jammed with customers, STRIP STEAK .................$30 MARISCADA ....................$21 I feel like it’s a work of art,” so Rodriguez has plenty of BURGER ............................ $17 Rodriguez says. “I don’t even eaters to please. The restauBROWNIE .................... $8.50 know how to explain it, I have rant has acquired lots of loyal to make it look pretty.” patrons from surrounding The kitchen’s insistent emphasis on shapes areas, who—to Rodriguez’s surprise—don’t and hues could make a cubist out of the most mind dining near a gas station. “I’m very visually stunted Pimienta customer—and a lucky,” she says. Her customers have every well-fed cubist at that. Rodriguez serves a reason to feel the same way. E perfect rectangle of spongy Mexican cheese, hraskin@seattleweekly.com coated in panko bread crumbs and fried to a crisp, flaxen finish. The cheese and four PIMIENTA BISTRO AND BAR grill-marked pita triangles are painstakingly 34029 Hoyt Rd. S.W., Suite C, Federal Way, positioned in an Easter egg-green cilantro253-838-2398, pimientabistro.com. 4–9 p.m. Tues.– and-pumpkin seed cream sauce.

Thurs.; noon–10 p.m. Fri.–Sat.; 5–9 p.m. Sun.

D

Seat tle weekly • JU N E 27 – J u ly 3, 2012

career in Nordstrom department-store kitchens by overseeing restaurant operations in five states. “It’s very different, because all my years of working have been in Seattle.” Although the scenery’s changed, Rodriguez’s standards haven’t slipped: At Pimienta, she conclusively proves that a setting usually associated with cheap, homey chow is thoroughly compatible with glamorous, glorious food.

Rodriguez didn’t just work at Nordstrom: She wrote a pair of cookbooks for the upscale chain, and has clearly internalized its tasteful aesthetic. Her color-splashed dishes are boldly seasoned, but composed on the plate with such classy reserve that I wondered whether she’d had a hand in the food styling for one of those cookbooks, Entertaining at Home (she didn’t).

The store’s reputation for service is also reflected in her menu, packed with the dishes most diners are seeking when they eat out. If you’re exhausted by the prospect of piecing together another restaurant meal of short-rib flatbread and ramp gnudi, you’ll find relief in Pimienta’s lineup of soups, salads, and intelligible entrées, including a pork chop, chicken

JOSHUA HUSTON

T

BY HANNA RASKIN

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Seattle weekly • JU N E 27 – J u ly 3, 2012

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up.

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.

DOWNTOWN

THE BROOKLYN SEAFOOD, STEAK & OYSTER HOUSE 1212 Second Ave., 224-7000. The Brooklyn’s

tripartite mission means it rarely leads the lists of Seattle’s best steak, fish and oyster houses, which are invariably headed by specialists. And the resulting insecurity sometimes shows: Most of the steaks here are draped in sauces and butters, and pristine halibut is finished with lobster bisque. But The Brooklyn doesn’t need the bells and whistles, as the customers who crowd its dining room know (nothing wrong with snagging a captain’s chair at the kitchen bar when every table’s taken.) The meat and fish are terrifically fresh, and service is excellent. The staff is admirably well-versed in oysters, which are available in paired beer and vodka flights. $$$ CAFE CAMPAGNE 1600 Post Alley, 728-2233. Several Market restaurants have T H I S CO D E more spectacular views, TO DOWNLOAD THE FREE but this double-blessing SEATTLE WEEKLY remains uniquely enchantIPHONE/ANDROID APP ing. It comprises two disFOR MORE RESTAURANTS OR VISIT tinct dining opportunities. seattleweekly.com Upstairs is the charming Marché bar, with another view (of the lone market tree). Downstairs is Café Campagne, a more fully fleshed-out French bistro noted for brunch. There’s even a third dining aspect: Through a window in the courtyard you can watch the cooks meticulously plate your dinner. $$

SCAN

Healthy, Tasty Vegan Cuisine

CHEESECAKE FACTORY 700 Pike St., 652-5400. For a

place that’s named after its desserts, it does seem odd that they offer such immense portions of their entrées; if you will want to end with cheesecake (and there are a few dozen varieties to pick from), eat a third of your entrée and take the rest home to make two lunches out of. The menu’s the size of a phone book, the food is exactly average, and there’s always a wait at this inexplicably popular chain one step up from a Perkins. $-$$ PLANET JAVA 72 S. Washington St., 340-8859. Planet Java is a true diner, with proper red-upholstered booths and shiny tabletops and a checkered floor. Other signs that this place is the real deal: Cops frequent it. Service, even at a busy lunchtime, is shockingly fast. They know what a black-and-white shake is. The hash browns are appropriately greasy and none of this home-fries bullshit. The prices are also more than fair. Now that’s how a diner should be. $

Vegan Restaurant 1226 S. Jackson St

www.LovingHut.us/Seattle

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BOOK BINDERY 198 Nickerson St., 283-2665. Book

Bindery’s nearly invisible location is attached to the Almquist Family Cellars in a boxy, office-park-looking building almost beneath the Fremont Bridge. Once you discover it, though, you’ll find yourself at one of the best, most surprising restaurants in the city. The menu offers only 15 plates—a board that is both OCD tight and as restrictive as a fatwa: two salads, one soup, two fish, one pasta, one chicken, one pork—no room for repetition, no space for weakness. And chef Shaun McCrain’s seven-Michelin-star resume-with stints at Les Élysées du Vernet in Paris, Michael Mina in San Francisco, and Thomas Keller’s Per Se in New York, from which he obviously lifted more than one trick—is the kind of thing that makes other chefs want to kill him and dress in his skin just to see how it feels to be able to make something like the autumn apple salad with pork belly, or the simple, perfect bowl of clams and sausage—both dishes that will change the way you look at food forever. $$-$$$ BUCA DI BEPPO 701 Ninth Ave. N., 244-2288. You’re surrounded by Italian kitsch at this boisterous spot, notorious for long waits (they don’t take reservations) and for

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seattle: 206.624.6248 • bellevue: 425.747.9012 renton 425.277.1635 • beaverton: 503.643.4512

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If caviar could talk.

Saloon, cutesy Snohomish’s resident Bandido bar (the Bandidos are a notorious biker gang).

The Drink: Sturgeon doesn’t fuck around when she drinks; her go-to is Jameson neat with a Sprite back. But pressed to get more creative, she puts a boozy spin on the standard Belgian ale with an orange slice, dropping a shot of Absolut Mandarin into a pint of Hoegaarden, a drink spontaneously dubbed “The Mandahoe.”

“It will get you fucked up quickly,” warns Sturgeon.

The Verdict: She’s right. It will. E mseely@seattleweekly.com

• I will not answer any questions without an attorney present.

• I do not have to do “Field Sobriety Tests” and I refuse to do them.

• I do not consent to or want to be recorded.

• I do not consent to my person, car, or other property being searched.

• I do not waive my rights.

If you want me to take a breath or blood test, I want to talk to Casey Jason at 425-223-7701, first.

Seat tle weekly • JU N E 27 – J u ly 3, 2012

• I will sign a citation, if any, then I want to leave immediately.

MIKE SEELY

The Watering Hole: The Blarney Stone, 1909 Third Ave., 448-8439, DOWNTOWN The Atmosphere: The Blarney Stone is the sort of central-casting, no-bullshit Irish pub that’s found in abundance in Manhattan—as well as in Manhattan, Kansas. There are Christmas lights even though it’s not Christmas, and random beer and sports flotsam. But there’s no Pogues or Van Morrison on the stereo; instead, it’s dominated by classic (Cars, Grateful Dead) and soft (Chicago, Player) rock.

The crowd consists mostly of regulars, many of whom are carrying on breezy, off-color conversations that never threaten obnoxiousness. There’s a joke about a zebra we can’t repeat.

The Barkeep: Girly-voiced, apple-cheeked Heather Sturgeon—”like the fish for very expensive caviar.” With penetrating blue eyes and a penetrating blue Sounders cap, she’s the type one could imagine commanding caviar from a suitor, but while working, she keeps it casual, with her hair tied back in a ponytail, a tiny stud in her right nostril, and her posterior protected by a pair of Daisy Dukes.

Sturgeon recently moved to Seattle, but she hails from Snohomish, and still pulls shifts at a wine bar there called The Repp that she describes as “an awesome date place.” Prior to that, she worked at a similarly awesome place, but maybe not so much for dates: The Oxford

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family-style service (you pass around heaping platters).

The pasta’s tasty, though nothing you can’t do yourself at home with a jar of Prego. Go for the party atmosphere and to channel your inner Guido. $$ PAZZO’S 2307 Eastlake Ave. E., 329-6558. Almost everything about Pazzo’s is no-frills. The menu, with pizzas, salads, and calzones, is as straightforward as the joint’s decor. We recommended the filling veggie calzone with fresh spinach, mushrooms, cheese, and roma tomatoes, and the caesar salad is respectable too. Loyal regulars (frat types and professionals alike) choose Pazzo’s for its sports-bar feel, and the portions will keep you fueled throughout the game you came to watch. (Heads up: It can get crowded during playoffs.) $

FREMONT

CHISO 3520 Fremont Ave. N., 632-3430. Chiso does that one

thing that most sushi bars seem to find most daunting: It excels at the basics: perfectly cooked rice, perfectly sliced fish, an evenly wrapped strip of nori and perfect, cloudy bowls of miso soup. From there, the kitchen branches out into more complex presentations. The ippin menu is Japanese small plates, and can be anything from deep-fried shrimp heads to a mixed-green salad topped with crunchy salmon skin, a plain bowl of edamame or plate of yakitori to a composed dish of barely-seared duck breast. No matter the style, everything at Chiso seems crafted with the same careful attention to detail. $$

GEORGETOWN

CALAMITY JANE’S 5701 Airport Way S., 763-3040.

La Casa Azul

Authentic Oaxaca Cuisine

Seattle weekly • JU N E 27 – J u ly 3, 2012

LIVE MUSIC SATURDAYS 7- 9PM

32

1715 N. 45th Street www.lacasaazulrestaurant.com

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1629 Eastlake Avenue E Seattle 206.322.6174 SiamThaiRestaurants.com

Calamity Jane’s is a decidedly cozier venue than some of the other well-loved hangouts along Georgetown’s Airport Way. The menu offers good, old-fashioned comfort food, spiced with black pepper and butter. The appetizer list features pulled-pork sliders with BBQ sauce, while the dinner features burgers as well as traditional shepherd’s pie: ground beef, corn, and carrots topped with mashed potatoes. $ KAUAI FAMILY RESTAURANT 6324 Sixth Ave. S., 762-3469. Nobody’s serving fruity drinks with umbrellas down in Georgetown, because Kauai Family Restaurant is not a Polynesian lounge. It’s where expat islanders come for plate lunch: two scoops rice, one scoop mac salad, plus down-home versions of loco moco, ginger crispy chicken, adobo, and lau lau (pork and

ALittLeRAskin » by hanna raskin

CSAil Away

Seattle’s Salish Sea Trading Cooperative is going to need a bigger boat. Now in its third season, the waterborne CSA is rapidly outgrowing its volunteer fleet of four sailboats, which twice a month travel between Seattle and Port Ludlow.

“We know using recreational sailboats isn’t ideal,” says cofounder and managing partner Kathy Pelish. “We’d like to get two small schooners built for us.”

In 2008, Dave Reid launched the Sail Transport Company as a way of coping with bleak fossil-fuel supply forecasts that would curtail current shipping methods. The first boats made wind-powered trips to Sequim to fetch berries from Nash’s Organic Produce Farm. “We had to race like hell,” recalls Pelish, who in 2010 recast the initial concept as a cooperative and renamed it Salish Sea Trading Cooperative.

Boats from Seattle now dock in Port Ludlow, about six hours away from the city by sailboat. In addition to collecting honey, potatoes, beets, and turnips from the Olympic Peninsula for the CSA’s 30 subscribers, sailors have started delivering Seattle edibles to the Peninsula: Last November, a box of Theo Chocolates was ferried to the

butterfish wrapped in taro leaves and steamed). Ignore the teriyaki-style Hawaiian barbecue; the kalua porkslow-roasted for eight hours in owner Peter Buza’s recreation of a pit oven-comes out smoky, tender, and shredded, the closest thing to North Carolina BBQ you’ll get in the West. Come on Saturday morning and you can grab a bag of malasadas (eggy Portuguese doughnuts). $ MATT’S FAMOUS CHILI DOGS 6615 E. Marginal Way S., 768-0418. On one of the grubbiest corners of Seattle’s industrial district stands one of the city’s culinary magnets. Every weekday from 10 to 5, truckers, hipsters, and slick business types crowd elbow to elbow to chow down on hot dogs, kielbasa, Italian sausage, and tamales, all wrapped in a doughy bun and drenched in Matt’s tangy chili (except the tamale, of course). $

GREEN LAKE

ZEEK’S PIZZA 7900 E. Greenlake Ave. N., 285-8646. This

is pizza Seattle style, pillowy and chewy. You can get traditional topping combos, but Zeek’s specializes in agreeably off-the-wall items like broccoli and spinach (the Treehugger), peanut sauce (Thai One On), or heaps of feta, kalamata olives, and red onions (the Jimmie the Greek). If you like jalapeños, that’s about all you’ll be able to taste on the Dragon, though it features pepperoni and sausage as well. Check out the Web site for bargain specials Monday through Wednesday. With five locations north of downtown and one in West Seattle, Zeek’s can deliver a hot pizza with ease; you can even order online. $

GREENWOOD & PHINNEY RIDGE STUMBLING GOAT BISTRO 6722 Greenwood Ave. N.,

784-3535. This unassuming little bistro has made the reputation of three sustainability-minded chefs (Crow and Betty’s Craig Serbousek, the Corson Building’s Matt Dillon, and Emmer & Rye’s Seth Caswell), and under chef Joshua Theilen it’s poised to stay the course. The room still looks like it was decorated by recent college grads, and the menu is still small and inspired by seasonal, local ingredients (check the website for the list of purveyors). Typical entreés might include pappardelle ribbons with a deep tomato-rabbit ragu and seared salmon with glazed beets. The laid-back atmosphere is fostered by service that is friendly and attentive without being cloying. $$

Port Townsend Food Co-op. They’ve also begun carrying other items consistent with the group’s sustainable mission, such as bicycle parts.

“Port Ludlow has things we need, and Seattle has things they need,” Pelish says. “As a symbol, people find it really inspiring.”

Small-cargo transit networks are welldeveloped in Europe, which has a long history of port-to-port trading. “Short sea shipping” is established practice in the United Kingdom and the Netherlands, where loaded clipper ships race through inland waterways.

In our nation’s 20 landlocked states, carbon footprints can’t be shrunk significantly by boats. But Pelish believes short sea shipping could be an important piece of the conservation puzzle in regions like Puget Sound. The cooperative hopes to expand its routes to include Whidbey and Bainbridge Islands once it secures its own boats. The group is now applying for grant funding from various sources, including the City of Seattle.

“It’s very self-reliant,” Pelish says of the trade system she envisions. “It’s kind of an American thing to do.” E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

music» »PROFILE

Ribs & Riffs

The barbecue’s ready, the tequila’s open, and the tape is rolling. The record comes out next month.

BY MA’CHELL DUMA LAVASSAR

PHOTOS BY NIFFER CALDERWOOD

I

Basment Sessions chef and ringmaster Johnny G. fuels up before hitting the studio.

all these musicians “cutting loose” in close proximity to a recording space can be heard on The Basment Sessions Volume I, set to be released on iTunes next month and on vinyl (exclusively at Easy Street Records) in August. The musical approach to the Basment Sessions is much like the food: a one-of-a-kind potluck that can only be produced on that particular day.

“The musicians that show up are all great friends,” Johnny continues, “from old-school badasses like Tad Doyle, Jack Endino, Kim Warnick, and others I won’t mention [for contractual reasons, artists signed to labels appear uncredited on The Basment Sessions] to Mike from Brokaw, singer Ramona Allison of Dionvox, the boys from Mother’s Anger—and the list goes on and on.” The talent is not only local; touring musicians often pop in to visit, eat, and imbibe. All songs are written on the spot by whomever is present and done in a single take. They come together cohesively in their hard-rock edge, but vary in style. The tracks are built consistently around Johnny’s drumming, and are as hearty as the accompanying meals, which are built around meat. Lots of meat.

N

ot content with the current setup, Johnny has bricks for an outdoor pizza oven piling up, and this summer’s sessions are being compiled for Volume II. Featuring the track recorded during my visit, it’s slated to come out next year with a coffee-table cookbook showcasing the food (and of course drinks) that have inspired the music.

Look for some live shows soon from musicians who’ve participated in the project this summer, but until then, here are some of the tasty tracks from Volume I, with commentary from Johnny G.

Track: “Jesus Horses” Edible inspiration: Whole roasted

pig and Greek salad. “A friend was celebrating his birthday, and we got to it [in the studio] while our awesome friend Ty made the pig happen. We put the pig on at 10 a.m. and were eating and tracking by 4 p.m. It was easy and delicious. We’ve never had so many side dishes. There was also lots of Jameson and a cake.”

Track: “Working for the Man” Edible inspiration: Flank steak with onions,

pepper, and capers. “We drank a good amount of booze and decided we should get fancy with food. The song ended up being from one of our fave girls in the world, Polly Jean. We ran with it and made food to match her sweet goddess voice. It’s amazing how inspired we got watching crappy cell-phone-shot footage from her show at the Moore.”

D’s Rockin’ Soyaki Marinade

½ can of beer 2 cloves of garlic, diced fine 1 medium onion, diced fine ¼ cup capers ¼ cup soy sauce ½ cup teriyaki sauce Marinate to death in the refrigerator.

Track: “Ringtone Deaf” Edible inspiration: Smoked chicken

and ribs, with Mama Cornell’s potatoes au gratin. “We lit up the grill after five or six shots. We also made these potatoes au gratin, from a friend’s mom’s recipe.”

Mama Cornell’s Potatoes au Gratin

Preheat oven to 375.

1 cup of sharp cheddar 1½ cups of Parmesan 6 large russets 1 quart of heavy whipping cream Peel russets and slice as thinly as possible into a large bowl. Pour in cream and add potatoes, cheddar, and half the Parmesan. Salt and pepper to taste.

Grease a 9" x 13" baking dish with butter.

Pour in the potato mixture and sprinkle on the remaining Parmesan. Cook for one hour. Let cool for 15 minutes and serve.

Track: “2 Pitas” Edible inspiration: Tequila. “This is

pretty self-explanatory, as we were a bottle in when we began tracking . . . early on a Sunday morning. We had an out-of-town friend joining us for a drink, and kept this song rocking. It was superfun, super-fast, and easy.” E music@seattleweekly.com

Seat tle weekly • JU N E 27 – J u ly 3, 2012

t’s as “summer” an afternoon as one could hope for in the Northwest: partly overcast but warm, and the smell of roasting meat is wafting through the air above a nondescript mid-century home in South Seattle. Jets zoom overhead, instantly reminiscent of the speech Matt Dillon’s Cliff Poncier gives in Singles about the barbecues he’d host “down by the airport.” The Singles vibe is a hard one to shake, because if Cameron Crowe actually had filmed Cliff’s cookout, it would most likely have resembled the scene here today—not only because of the weather and planes, but because the folks participating in the weekly Sunday gatherings that have come to be known as Basment (sic) Sessions are the same ones who pop up in the film and on its soundtrack.

Conceived in the summer of 2011 in West Seattle, the Basment Sessions are devoted to “making music, eating barbecue, and fine, fine tequila,” says event co-founder Johnny G., a drummer and producer whose home studio and backyard host the event. “My wife Laura and I started messing around on Sundays doing Failure, Joan Jett, and Hater covers,” he says. “Next thing we knew, a lot of wonderful friends started coming over every Sunday, so we called it “Tekillya Sundays,” which turned into the Basment Sessions demos,” explains G. “We started making kick-ass food to go along with the good music and good booze. We are a rock-’n’-roll refugee camp for wonderful musicians to come out and relax, have some fun, eat some grub, and make some noise.

No one here is getting asked for their autograph. You can just relax and cut loose.”

Johnny, Laura, and his partner Dave have built a studio as impressive as their outdoor kitchen. Both are fully stocked with bells and whistles, making culinary and audio perfection easy to achieve. The result of

The scent of roasted flesh that greeted me on arrival did not disappoint. Throughout the day, six courses of carnivorous delights made an appearance. My first serving was a pulled-pork sandwich in an astoundingly delicious curried barbecue sauce. It was followed by two courses of uniquely seasoned ribs; a slow-cooked and marinated pork loin; chicken thighs that had spent the entire day shacked up in a smoker; and an amazing, heart-stopping sausage soaked in onions and butter. Combined with a myriad of picnic-inspired side dishes and some actual Seattle sunshine, folks were slow to put down their plates, head inside, and pick up their instruments.

Musical motivation came later, through the sessions’ third element: tequila (Cazadores Blanco, to be exact), which is shaken with ice and/or lime and served as a shot for the serious connoisseur. With nary a blender in sight, their approach to liquor is not for the faint of heart, and asking for a mixer or a back could (did) get you (me) laughed at, as “girly shots” are not rock ’n’ roll.

The day wore on; as third and fourth rounds were hoisted, guests made their way in and out of the studio. A trip to the loo and peek at the session in progress saw Brokaw frontman Mike Henderson at the board working out his lyrics and vocal strategy before attempting his only take. His professional approach was impressive, considering the day had already seen him in a condition that had him attempting handstands in the expansive, grassy yard.

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Bow Down I’m now your king (er, something).

An artist’s interpretation.

BY AARON BAGLEY

The first-ever Paradiso Festival—a celebration of electronic dance music featuring Avicii, Afrojack, and others—went down Saturday, June 23 at the Gorge. We sent illustrator Aaron Bagley to chronicle the crowd.

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

The Cookers featuring Billy Harper, Eddie Henderson, David Weiss, George Cables, Cecil McBee and Billy Hart Hard-Bop Jazz Supergroup June 27

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June 28 - July 1

Monterey Jazz Festival County All-Star Big Band and Vocal Ensemble

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July 3

Acoustic Alchemy

English Contemporary Instrumental Jazz Band Blending Acoustic and Electric Guitar July 5-7

Lisa McClowry sings Acoustic Alchemy with Special Guests Greg Carmichael and Miles Gilderdale Seattle weekly • JU N E 27 – J u ly 3, 2012

Four-Octave Range Vocalist Joins Contemporary Jazz Band

34

July 8

James Hunter with Opener Jesse Dee

British Blues and Groove Singer with Boston-based Retro-Soul Singer/Songwriter Opening July 10 – 11

An Evening with Steve Tyrell

Grammy-Winning Sinatraesque Vocalist.

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Jazz Alley is a Supper Club

BY DUFF MCKAGAN

A

s some of you may already be aware, your friend in this column (uh, me) has been named as the Seattle Seafair Grand Marshal for this year’s festival season.

I’m a pretty big deal right now, and will try to rise to the high throne of my new fiefdom in style, and with some grace and fairness to my new “subjects.” I hope not to abuse my power, but there will be a few new orders of business. As such: 1. You all must address me as “Sire” or “His Poobah-ness.”

2. I require a carriage with some horses.

3. I need some henchmen.

4. I require that we get our Sonics back, and shall immediately knight Chris Hansen.

5. Loaded’s song “Lords of Abbadon” will be the new state and city anthem.

6. Seattle Weekly shall now be dubbed McKagan Weekly. The writers here must write only glowing praise of His Poobahness, or face drawing and quartering.

7. John Roderick must report to me daily on the current state of “the hipster” in Seattle.

8. The rock band the Chasers shall be the new state band, and rock fans must be required to see them. You should anyhow, without the threat of the Poobah’s lash.

9. I require the month of June to be a sunny month.

10. Court judges and police officers must all wear Sonics jerseys, or Pearl Jam, Soundgarden, Alice in Chains, Heart, or Hendrix T-shirts.

11. Any criminal caught with a gun shall be sent immediately to the gallows.

12. I require a wizard hat, a sorting hat, and flowing robes of the finest silks and satins.

13. My daughters shall now be required to listen to me.

14. I require Alaska Airlines to use a picture of JP Patches on the tails of their planes.

15. I require that JP’s show should come back into reruns every morning on channels 4, 5, 7, and 13.

16. I require that the Mariners start to win . . . or a serious trip to the “front” will be in their future.

17. I require drivers to let other drivers in on the freeway when their blinker is on . . . on penalty of the guillotine.

18. I require Ben Gibbard to be the Public Minister of Baseball.

Oh, wait. This just in: Me being the Grand Marshal was simply a tactic so that my 11-year-old daughter, Mae, and I could ride in a parade together. Right. Forget about all that other stuff. That’ll come when I run for mayor. E Read more of Duff ’s edicts at seattleweekly.com.reverb. askduff@seattleweekly.com

Two Seattle traditions united in one spectacular celebration Wooden Boat Festival in South Lake Union

Family 4th at Lake Union in Gas Works Park

Join us for free live music featuring Pickwick and Hey Marseilles, kite-making, beer garden trivia, boat rides, a dunk tank benefiting Northwest Harvest, and the Cheshiahud Challenge, topped off by Seattle’s iconic fireworks show!

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Seat tle weekly • JU N E 27 – J u ly 3, 2012

Lake Union is THE place to be on the 4th of July!

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music»TheShortList Fugazi Live DVD Screening “This is not a Fugazi show,” says the event invitation. It’s a reference to the smirking bootleg shirts and stickers that proliferated as a result of the D.C. hardcore band’s famous policy to not make or sell merch, and in that sense it’s entirely appropriate. Tonight’s screening will be not of the (excellent) official tour documentary, Document, but rather of a bootleg recording of Fugazi’s 1999 all-ages show at the now-defunct DV8—two hours long, with material from End Hits, Red Medicine, and beyond. I was there, 18 and stupid, but whether you were or not, this screening will be, as the invitation also says, “the next best thing.”

With performances by Strong Killings, Blood Orange Paradise. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 9:30 p.m. $6. ERIC GRANDY

A Drink for the Kids THURSDAY, JUNE 28

Ooooooooh, well, if it’s for the kids! The last thing Erin K. Thompson needs is another excuse to tipple. I recently left the office for an hour and came back to the smell of vanilla vodka (to the person who left those sample bottles at the office, we now see that they were a team of Trojan horses) and a particularly chatty clubs editor. And Eric Grandy?

This SW contributor needs another drink like I need another strip of bacon on this breakfast burger. But if it’s for the kids, then how can we say no? The pair of lushes will be holding court at Linda’s tonight, where all the proceeds from the sales of Ninkasi Brewing Company beer and Fremont Mischief vodka and whiskey are going straight to the Vera Project. You don’t need another drink, but the kids need a place to rock without having to contend with tipsy critics. Linda’s Tavern, 707 E. Pine St., 325-1220. 7 p.m. Free. CHRIS KORNELIS

Queen Extravaganza

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It’s been 21 years since Freddie Mercury died, and it’ll be another couple of years before Mercury, a biopic starring Sacha Baron Cohen, will be released, but Queen fever never dies.

This year, drummer Roger Taylor personally assembled a nine-piece band called Queen Extravaganza, currently touring a grandiose stage show that includes a two-hour set of 40 Queen songs. It’s not the real Queen, but then

the real Queen is never going to happen again.

In April, the band, with Taylor and Brian May, performed “Somebody to Love” on American Idol; the lead vocalist, Nashville’s Marc Martel—who was discovered via a YouTube video of himself singing that song, which reached more than six million views— sounds chillingly like Mercury. His stunning vocals are what make Queen Extravaganza a fitting tribute to the original. Showbox SoDo, 1700 First Ave. S., 652-0444. 8:30 p.m. $29.50 adv./$35 DOS. All ages. ERIN K. THOMPSON

Truckasauras THURSDAY, JUNE 28

Truckasauras’ rough-hewn, analog electronic sound (only sometimes 8-bit) and trashAmericana image had them pigeonholed from day one, so no wonder they’re attempting to diversify in 2012. Rather than just drop their third album and play shows to support it, they’ve set up an ongoing series of live events—not just “standard” Truck shows but also DJ nights and audio/video experiments—designed to gradually tease out and release what will become an album titled 2012, as well as to screw with the divide between live shows and the studio, the artist and the audience, etc. (They’ve also collaborated on the excellent new track “Bothell Trance,” a 15-minute arc of 8-bit Steve Reichian gamelan, for the ICA Soundworks show in London.)

Some of these events are better than others, but a “sausage party” featuring punked Truck alias

El-P’s discovered Cancer 4 Cure.

Dingus and the Buttfucks promises a good ol’ time. With Lord Chillum, Fab Rick. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $5. ERIC GRANDY

El-P SUNDAY, JULY 1

Absolutely no one should have been surprised by the delicious heap of rap that El-P served listeners last month: his most recent solo album, Cancer 4 Cure, and Killer Mike’s entirely El-P–produced R.A.P. Music. Each record the Brooklyn MC/producer has painstakingly chiseled from his radioactive brainspace over the past decade and a half has given hip-hop at large a well-placed jolt at a time when many had found themselves tired of what they were being fed or apathetic about the scene altogether. The material on both C4C and RM is a shot in the arm in the form of amped-up electro-rap instrumentals and deranged storytelling/political criticism, which will act as the caffeine boost you’ll need to get hyped as fuck at a show that will probably only vaguely resemble the rap shows you’re used to seeing. With Killer Mike, Mr. Muthafuckin eXquire, Despot. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $18.50. TODD HAMM

Rockstar Energy Drink Mayhem Festival TUESDAY, JULY 3

*

EDITOR’S PICK

THE CIGARETTE BUMS THURSDAY, JUNE 28

This raw, road-loving quintet could be categorized alongside garage-punk Burger Records bands like Pangea, Mean Jeans, and Seattle’s own Night Beats, but the Cigarette Bums separate themselves with the folksy, rollicking quality of their songs. Their latest is a three-song release called Rough Cuts, available on their Bandcamp page for free download, featuring the frisky, fast-riffing, and entirely pleasurable standout track “Boots.” And though the Cigarette Bums hail from Los Angeles, they’ve already cemented the Northwest’s place in their history by releasing a record called Live in Tacoma: Nothing but the Hits, recorded at the New Frontier Lounge late last year. With Pony Time, Silicon Girls, So Pitted. Funhouse, 206 Fifth Ave. N., 374-8400. 9:30 p.m. $6.

(The Cigarette Bums also play the Comet Tavern on Sunday, July 1.) ERIN K. THOMPSON

COURTESY OF THE ARTIST

Seattle weekly • JU N E 27 – J u ly 3, 2012

THURSDAY, JUNE 28

TIMOTHY SACCENTI

WEDNESDAY, JUNE 27

What does Independence mean to you? Does it mean knocking off work after lunch and getting shitfaced in a heavy-metal parking lot in Auburn? Does it mean going shirtless with jeans and black boots? Does it mean flashing your tits at Lemmy when Motörhead takes the stage?

Does it mean bearing witness to half of the Big Four? Does it mean hopping aboard a bullet train to Cold One City? Does it mean wearing a hockey mask when it’s not Halloween? Does it mean waking up in a cow pasture at 3 a.m. with an empty handle of Jack in your hand? This concert portends all those definitions, and is therefore the essence of freedom. With Anthrax, Slayer, Motörhead, Slipknot, The Devil Wears Prada, As I Lay Dying, Asking Alexandria, White Chapel, High on Fire. White River Amphitheatre, 40601 Auburn-Enumclaw Rd., Auburn, 360-8256200. 1:30 p.m. $30–$85. All ages. MIKE SEELY

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seven»nights better) by mainstream artists like Drake, but this ticket is worth buying to catch rising Tacoma star Clemm Rishad open. With Pries Gkhan, Rookie Snow, Fame. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $18. All ages.

MATES OF STATE This husband-and-wife duo doles out sweetly melodic indie pop on last year’s Mountaintops, their seventh album. With the Stepkids. Tractor Tavern.

9 p.m. $16 adv./$18 DOS. (Also Friday, June 29.)

Wednesday, June 27 BLACK HILLS This new band features Erin Tate of Minus

the Bear and members of The Lonely Forest, the Quiet Ones, and Argo; their first track, “Messengers of the North,” is twangy acoustic rock, breezy but with an ominous undercurrent. With Hustle & Drone, Ships.

Barboza, 925 E. Pike St., 709-9467, thebarboza.com.

8 p.m. $5.

HAWTHORNE HEIGHTS Currently at work on a trilogy of EPs, these mid-’00s emo stalwarts are still going strong.

With Forever Came Calling, Failsafe, Moneta, Striking Back. Vera Project, 305 Harrison St., 956-8372, thevera project.org. 6:30 p.m. $10 adv./$12 DOS. All ages.

OUT ON THE STREETS On April’s We Buy Gold EP, this local group plays energetic, punk-inflected dance rock.

Tonight’s show is a benefit for the families of the Cafe Racer shooting victims. With Rat City Ruckus, Warning: Danger, Klondike Kate. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7.

RADIO MOSCOW This psychedelic blues trio’s most recent release was 2011’s The Great Escape of Leslie Magnafuzz. With the Dirty Streets, Ancient Warlocks, Antique Scream. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $12.

Friday, June 29 THE ARZELIA JONES EXPERIENCE Former American

GLYNIS ARBAN

Thursday, June 28 BALKAN BEAT BOX This gypsy-punk group’s sound

(and energetic live show) bears a resemblance to the bands its members used to play in, Gogol Bordello and Firewater. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $20.

BASS DRUM OF DEATH This fairly pummeling garagerock duo out of Oxford, Miss., is signed to Fat Possum; as with any good pummeling, though, you might not Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

remember much about them afterward. With DZ Deathrays, The Grizzled Mighty. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9:30 p.m. $8 adv./$10 DOS. JAMES APOLLO To record his latest album, the baroquepop-leaning Little War, Little Less, Apollo ventured to an old barn in the Cascade Mountains and enlisted Damien Jurado as a producer. With Autumn Electric, Pocket

Mates of State plays the Tractor on June 28.

Idol contestant Jones teams with soul-and-funk revue Soul Provider for a whirlwind tour of the ’60s and ’70s.

Triple Door, 216 Union St., 838-4333, thetripledoor.net.

8 p.m. $17 adv./$20 DOS. JAK’S TEAM ABSOLUTE MUSICFEST The ’80s skate gang known as the Jaks are throwing a music festival to celebrate their 25th anniversary—essentially a good excuse to get together, catch up, and party like in the old days. With AFC, Class of 1984, the Skate Drunks, the Burns, Sledgeback. Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com. 9:30 p.m. $6.

(Through July 4.)

QUINN DEVEAUX This Bay Area songwriter/guitarist leads a six-piece band that plays New Orleans jazz and early blues. With Dillon Warnek. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $5.

YOUNG EMPIRES This Toronto band specializes in gofor-broke indie rock that’s unapologetically grandiose, if somewhat generic. With HUMANS. Vera Project. 7:30 p.m. $11 adv./$13 DOS. All ages.

Saturday, June 30 AN AMIABLE MEDLEY Lo-fi and confessional, AAM

Panda. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $10.

KID INK Los Angeles’ young, tattoo-clad rapper clumsily follows the Auto-Tuned rap/sing blueprint laid down (much

is a project of songwriter Thor Brinsfield, who will celebrate his 21st birthday at this show. With Bright White Lightning, A Locket, Charms. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m. $5.

» CONTINUED ON PAGE 41

Seat tle weekly • JU N E 27 – J u ly 3, 2012

39

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Seattle weekly • JU N E 27 – J u ly 3, 2012

THE DIRTY STREETS

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7/8 KEVIN KINNEY of Drivin’ n’ Cryin’ 7/9 MONDAY SQUARE DANCE with THE TALLBOYS 7/10 ROAMING HERDS OF BUFFALO, ELBA, THE JESUS REHAB 7/11 CHATHAM COUNTY LINE 7/13 BLACK WHALES, THE WEST, POSSE 7/14 Take Warning presents THE PIETASTERS, THE GEORGETOWN ORBITS, SKABLINS 7/15 DRUNKEN PRAYER, CASEY RUFF & THE MAYORS OF BALLARD, THORNTON CREEK 7/16 STEVE POLTZ 7/18 THE FAREWELL DRIFTERS, THE WEATHERSIDE WHISKEY BAND, CREEPING TIME 7/19 PANAMA GOLD, TICKTOCKMAN, THE MOTHERSHIP 7/20 LOST DOGMA album release show, WHISKEY SYNDICATE, THE BIG MEDICINE 7/21 DIEGO’S UMBRELLA, JONNY SONIC, ETERNAL FAIR 7/23 MONDAY SQUARE DANCE with THE TALLBOYS

seven»nights Seven Nights » FROM PAGE 39 DISCO COWBOYS This local cover band takes ’70s

dinner & show

FRI/JUNE 29 • 8PM

the arzelia jones experience

disco staples and turns them into swing-danceable country songs. With John Hamhock and the Rooster Run. Skylark. 8 p.m. $5.

LEMOLO The local dream-pop two-piece has a new album, The Kaleidoscope, and a coveted spot in the ultra-hip Doe Bay Fest lineup. With Radiation City, Kaylee Cole, Yet. Columbia City Theater. 9 p.m. $10 adv.

TUBALUBA On its self-titled album, this local brass band melds funk and New Orleans jazz. With Philly’s Phunkestra, Fruition. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $7 adv./$10 DOS.

featuring soul provider

COURTESY OF THE ARTIST

SAT/JUNE 30 • 8PM

kim virant, susan ruth robkin, brian marshall, jeff fielder TUE/JULY 3, FRI/JULY 6 & SAT/JULY 7 • 7:30PM & 10:30PM DELOURUE PRESENTS:

freedom fantasia

James Apollo is at the Columbia City Theater on June 28.

KIM VIRANT Local singer/songwriter Virant’s electro-

tinged folk-pop recalls Fiona Apple’s. With Susan Ruth Robkin, Brian Marshall, Jeff Fielder. Triple Door. 8 p.m. $15. All ages.

Sunday, July 1 THE COUNTRY LIPS This self-described “outlaw

country” group’s songs are requisitely twangy and, due to its eight members, surprisingly textured. With This Blinding Light, the Lonesome Billies, DJ Alicia Amiri. The Crocodile. 8 p.m. $5 adv.

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Scottish harpist Gilchrist will be joined by fiddler Duncan Wickel for this rare West Coast performance. With Aruvius Thud. Rendezvous.

T H I S CO D E 7 p.m. $5 adv.

TO DOWNLOAD THE FREE SUPER NATURAL This SEATTLE WEEKLY occasionally political San IPHONE/ANDROID APP Francisco quartet blends folk FOR MORE CONCERTS OR VISIT with ’60s rock. With Olivia seattleweekly.com Mancini, Monokino, Sweet Secrets. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6.

SCAN

Monday, July 2 • 6/27 montana skies / levi fuller & the library w/ mike dumovich • 6/28 flip and fly / grant schroff trio • 6/29 paul benoit with special guest sean divine / vunt foom • 6/30 fly moon royalty • 7/1 sarah christine ensemble • 7/2 free funk union featuring rotating hosts: d’vonne lewis and adam kessler • 7/3 singer-songwriter showcase TO ENSURE THE BEST EXPERIENCE

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BLESSED CURSE These Northern California heavy-metal

bros released their self-titled debut album in April. With Apothesary. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7:30 p.m. $8 adv./$10 DOS. All ages.

BOTTLECAP BOYS This Portland-based quartet plays bluegrass-inflected, harmony-laden folk. With Jasper Tollefson, Horsefly. Comet Tavern. 9 p.m. $5.

Tuesday, July 3 JOAN JETT AND THE BLACKHEARTS Best known

for her cover-turned-karaoke classic “I Love Rock ’n’ Roll,” Jett hasn’t released an album since 2006’s Sinner. Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino.com.

7 p.m. $25–$125.

WIL CAMPA Y SU GRAN UNION Thanks to the Obama administration’s more relaxed travel restrictions, Cuban bandleader Campa was able to tour the U.S. for the first time last year. With DJ Baracoa.

Nectar Lounge. 9 p.m. $15.

Seat tle weekly • JU N E 27 – J u ly 3, 2012

next • 7/12 tish hinojosa w/ stephanie schneiderman • 7/13 & 14 irma thomas • 7/19 geoffrey castle • 7/20 school of rock - dark side of the moon • 7/21 michael kaeshammer • 7/22 the bobs • 7/23 owl city w/ jayme dee • 7/25 j. wong’s singer songwriter showcase • 7/26 paul thorn w/ grant peeples • 7/28 & 7/29 ottmar liebert & luna negra • 7/30 sarah jarosz • 8/1 & 8/2 maceo parker • 8/3 & 8/4 the kinsey sicks - electile dysfunction • 8/5 kasey chambers

MAEVE GILCHRIST

41

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hen I visited Best Buds, a medical-marijuana access point in Magnolia, on a recent Sunday, I was disappointed at the selection. Budtender Jaron told me that a lady patient had just come in and severely depleted their stock—a story backed up by empty and almostempty bud jars. The sparse remaining selection consisted of two sale strains, Orange Kush and Sour Diesel, available for a donation of $25 for an eighth-ounce, and four mostly empty jars containing dribs and drabs of $12 flowers.

New patients get a free gram, so I selected the last gram of Jillybean in the house. This potent indica-dominant was a satisfying and tasty pain and depression reliever; too bad only a gram was available.

I did something I don’t usually do—let my guard down. Seeing the two strains on special, I told Jaron I wanted an eighth of

Its musty taste made it seem as if it had been grown by your Uncle Harold, who has no idea how to cure weed. each without asking to look at and smell the flowers. A big part of the reason I didn’t was because the selection was so limited—it’s not as if there were a lot of other choices anyway.

The first of the two sale strains, Orange Kush, had been harvested about 10 days to two weeks too early, judging by the slightly underformed calyxes, but nonetheless did provide some slightly sleepy pain relief.

x

And then there was the strain labeled as Sour Diesel. It had not even a hint of the signature fuel-ish bouquet and distinctive taste associated with the name, although perhaps it could be argued that’s why it cost only $25 an eighth, and it wasn’t worth even that. Its musty, hay-like taste and smell made it seem as if it had been grown by your Uncle Harold, who has no idea how to cure weed.

I was concerned to see, upon crumbling the weed to roll a joint, little smoke-like puffs of a white dusty substance emanating from the flowers. I’m not talking about the little shower of trichomes that falls down onto the paper when you’re crumbling buds; this powdery stuff just floated away. I got a sinking feeling that this weed may have been infected with powdery mildew.

After rolling a joint of this nasty-smelling stuff, wishing to avoid dereliction of duty, I foolishly lit it up and tentatively tried to start smoking. There was a burning sensation at the back of my throat, and after a few tokes, I got a headache in my temples; my sinuses hated this stuff. I put the joint out and haven’t smoked any of this strain since.

That means I still have between 2.5 and 3 grams left of my eighth of “Sour Diesel,” if any local cannabis lab wants to test the stuff for powdery mildew. Whether or not that’s the problem, I can authoritatively say this garbage has no place on the shelves of a reputable medical-marijuana dispensary. Last time I checked Best Buds’ menu, the “Sour Diesel” was gone; let’s hope it won’t be back.

Don’t count on their online Leafly menu, as it hasn’t been updated for three months. E

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Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor.

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Seat tle weekly • JU N E 27 – J u ly 3, 2012

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There aren’t enough orgasms in the world to make up for that kind of douchebaggery. (At least I don’t think so . . . ) E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets @DailyDategirl, visit dategirl.net, or buy her new book, The Official Book of Sex, Drugs and Rock ’n’ Roll Lists.

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* Seattle Weekly does not accept ads promoting or soliciting illegal conduct. * It is the responsibility of the advertiser to conform its business activity to applicable law. * Seattle Weekly will accept no adult entertainment ads from anyone other than the person being represented in the advertisement. * Seattle Weekly requires a valid photo ID from the person placing the ad confirming they are 18 years of age or older as well as a signed photo/model release form. * All first time advertisers must physically come to the SW offices to place their ad so visual comparison to ID can be confirmed.

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Seat tle weekly • JU N E 27 – J u ly 3, 2012

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Seattle weekly • JU N E 27 – J u ly 3, 2012

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Seattle weekly • JU N E 27 – J u ly 3, 2012

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