Seattle Weekly, April 18, 2012 by Sound Publishing

APRIL 18–24, 2012 I VOLUME 37 I NUMBER 16

SEATTLEWEEKLY.COM I FREE

DO AS WE SAY AND AS WE DO It’s simple. Creating art for video games is our day job, teaching you is our night job. Don’t you think learning from artists who actually work in the industry is a good idea?

Seattle weekly • APRI L 18 - 24, 2012

We do.

Seatt le w eekly • APRIL 18 - 24, 2012

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inside»April 18-24, 2012 VOLUME 37 | NUMBER 16 » SEATTLEWEEKLY.COM

»37

»45

»10

up front 7

NEWS

THE DAILY WEEKLY | A First Avenue

strip club sparks a scandal in Puerto Rico, and local arrests mean trouble for a Mexican cartel.

10 FEATURE

BY PETE KOTZ | Buy a profitable

company, send in the incompetent to run it, destroy hundreds of jobs, line your pockets, and move on. Such was Bain Capital’s game plan for “creative destruction,” led by GOP presidential candidate Mitt Romney.

33 FILM

THIS WEEK’S ATTRACTIONS

The Deep Blue Sea asks: Is Rachel Weisz a slut? Plus new docs profiling David Suzuki and Bob Marley.

37 FOOD

37 | FAT HEN | Farmhouse charm

works in the flawed food’s favor. 39 | FIRST CALL | Eastside ease. 41 | A LITTLE RASKIN | Increasing interest in halal certification.

Choices...

45 MUSIC

45 | JESSE SYKES | A youth spent,

and a life changed, in record stores. 46 | REVERB | More on Record Store

in back The Cinerama launches into space, Seattle Center turns 50, and integration rears its head at the Rep.

26 ARTS

Seatt le w eekly • APRIL 18 - 24, 2012

25 THE WEEKLY WIRE

Day: in-stores to watch for, and new releases from Devo, Ryan Adams, and Of Monsters and Men. 49 | Q&A | Brother Tavis and Brother Cornel talk music, mamas, and Obama. 50 | THE SHORT LIST | Dar Williams, the Ballard Jazz Fest, and more. 55 | KARAOKE KORRESPONDENT

Working on the Night Moves.

26 | OPENING NIGHTS | Spring revels

at PNB, Broadway kitsch in Issaquah. 28 | EAR SUPPLY | Music’s hippie Santa. 32 | THE FUSSY EYE | Stick a fork in him!

»cover credit

ILLUSTRATION BY: DAN ANDREASEN COPYRIGHT © 2012 BY SEATTLE WEEKLY, LLC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SEATTLE WEEKLY, LLC. SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. • PERIODICALS POSTAGE PAID AT SEATTLE, WA • POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 1008 WESTERN AVE., STE. 300, SEATTLE, WA 98104-1006 • FOUNDED 1976. MAIN SWITCHBOARD: 206-623-0500 CLASSIFIED ADVERTISING: 206-623-6231 RETAIL AND ONLINE ADVERTISING: 206-467-4341

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news»The Daily Weekly »Dispatches from our news blog

Erection Day

A Seattle strip club’s strange role in the Puerto Rican gubernatorial race.

Eric DEvEricks

lengthy investigations that used or the past month, political informants to infiltrate a network of operatives in Puerto Rico “sub-groups” and “sub-cells” that have been asking Seattle imported dope from Mexico via Weekly for details on a First California and Arizona. Avenue strip joint. It turns out the When one of the mid-level commonwealth’s Democratic guberpushers was arrested, he allegnatorial candidate is caught up in a edly confessed to DEA agents scandal for making a purchase at that he’d come to Seattle as a club 3,700 miles north, which a 16-year-old when “They his opponent calls a “brothel.” brought me here and showed (It’s not.) me how to sell drugs.” And Under increasing pressure, after another batch of court the Democrat, Alejandro J. Gardocuments became public last cía Padilla, has admitted visiting week, we finally know “they” were the downtown strip joint—Dejà Vu a Mexican cartel. Showgirls, part of Roger Forbes’ A criminal complaint against chain—six years ago. Padilla Noe Magelleon-Miranda—a midis facing current Republican level meth and heroin dealer Gov. Luis Fortuño and a likely based in Pacific, a small third independent candidate town just south of Auburn— in a November election. says he was affiliated with Fortuno raised the issue a group that “trafficked earlier this year—a $47 purnarcotics and firearms for chase García Padilla made at high-ranking members of the club while in Seattle on the Beltrán-Leyva cartel, based an official state visit. But the out of the Gabriel Leyva Solano/ Democrat says all he did was Los Mochis area of Sinaloa, buy a gift for his wife, Wilma, Mexico.” though he hasn’t explained Magelleon-Miranda, known what it was. by the nickname “Cascaras,” Supporter Jose Garcia-Gomez was a minor cog in the vast narco says García Padilla “admitted to machine. He reported to the relathat [purchase], a statement that tive of a local capo named Victor most Puerto Ricans see as nothBerrelleza-Leal, aka “Don Victor,” ing bad.” But Fortuno’s dish on who would allegedly use cars with García Padilla has forced the hidden compartments to smuggle Democrat to go over his Seattle multiple kilos of meth and heroin up visit with Puerto Rican media. from California, with up to $400,000 Whatever he bought, he bought per shipment sent back south in with his wife’s credit card, those same compartments. The explaining to El Nuevo Día money was allegedly that he did so “because laundered into accounts she had an Advantage that once belonged to card points . . . What Print is great, but to see five potentially awesome Arturo “El Jefe de Jefes” would I be hiding, then? (and impractical) uses for Chris Hansen’s Beltrán-Leyva, formerly The bill and statement new land in SoDo, you’ll have to check it the leader of the orgawas sent to Wilma.” out on The Daily Weekly. nization allied with the Nude dancing was and SEATTLEWEEKLY.COM/DAILYWEEKLY powerful Sinaloa Cartel. is the house specialty at After a series of betrayDejà Vu, which includes als—Arturo was killed in a shootout with an adjoining video and sex-toy arcade. Hence, Mexican Marines and his brother Alfredo it was clearly possible for García Padilla to wound up in a Mexican prison—the cartel, it’s go into the club and buy a gift for his wife said, lost some of its clout. It is now led by yet without entering the stripping area. another Beltrán-Leyva brother, Hector. The only real question may be whether The Beltrán-Leyvas’ fortunes certainly García Padilla has the female vote in Puerto Rico. On that front, it was nice that he thought did not improve with the wave of Seattle arrests, which presumably crippled their to buy his wife a gift—but with her own local distribution network. At least 30 men, credit card? RICK ANDERSON including “Don Victor,” are now under federal indictment for money-laundering and for conspiracy to distribute meth and heroin. As the bust here shows, the degrees of separation Federal agents arrested more than 40 between Seattle and Sinaloa are unnervingly people around Puget Sound on March 28 few. KEEGAN HAMILTON and 29, netting 50 pounds of drugs, $190,000 cash, and 31 guns—the culmination of two » Continued on page 9

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news» The Daily Weekly » from page 7

Strapped

KEEGAN HAMILTON

Seager’s Greatest Hits Despite a start to the 2012 campaign that’s actually included a wee bit of offense, it’s already apparent that the Mariners will not be winning the World Series this year. But that’s not because Kyle Seager isn’t giving it his fucking all. Seager is an infielder out of the University of North Carolina, drafted by the Mariners in 2009—the same year the club took fellow Tar Heel Dustin Ackley with the second overall pick. While it’s very early, Seager has been impressive so far. One guy who’s not surprised is Tacoma Rainiers announcer Mike Curto, who got a brief chance to cover Seager last year during the third baseman’s time in T-Town. While Seager was only in Tacoma for a total of 24 games, his hard work, no-nonsense approach, and tiny stature (think Tom Cruise-in-person small) left an impression on the Triple-A play-by-play man: “It was kind of a whirlwind when he was here, because he could literally do no wrong in the PCL,” says Curto. “He was getting two or three hits every single day. “He’s just a baseball rat. He’s one of those guys that works really hard, and has been playing the game and working at the game his whole life, a lot like Ackley in that regard,” Curto adds, noting that Ackley and Seager have been playing with or against each other since childhood. That’s all well and good, but real fans want the inside dirt—like what Tacoma bar Seager best compares to. “He works hard. Kind of old-school. Deceptive strength. Maybe something like Harbor Lights,” offers Curto, comparing Seager to the moderately iconic Ruston Way watering hole. “I never go there, but it’s been there a long time, and they’re obviously doing something right. They’re known for their strong drinks. And he’s appealing to older people, like coaches and managers.” Kyle Seager: like a bar in Tacoma really old people like. MATT DRISCOLL E news@seattleweekly.com

Seatt le w eekly • APRIL 18 - 24, 2012

Passed by the state legislature and signed by the governor last month, House Bill 2535 is the work of Connie Ladenburg, a Democrat from Tacoma, and Norm Johnson, a Republican from Yakima. It allows individual Washington counties to establish juvenile gang courts, and sets some basic ground rules for how such programs should be operated. The inspiration is the gang court created in Yakima early last year, the first of its kind in Washington state. Harold Delia, the Yakima County Court Administrator who was one of the initial organizers of the initiative, says that, although it is still limited in scope, its impact has been extraordinary. Ten kids ages 11 to 17—all repeat offenders arrested for felonies such as burglary, carjacking, and carrying a gun in attempt of assault—have been referred to the court thus far, and all but one have managed to avoid further legal trouble. Delia says the gang courts are “really staffintensive,” but that the actual cost is minimal because it mostly utilizes services already available. Yakima plans to expand the program to 60 kids in the coming year, bringing in more first-time offenders. The Yakima gang court combines several resources—including social workers, intervention specialists, teachers, and police officers—into a comprehensive support network managed by the court. Delia explains that in the early stages, kids and their parents must appear before a judge once a week. Before each meeting, the judge is briefed on the young offender’s progress and recent behavior. “When the judge goes to meet with the parent and child, he pretty much already knows what’s going on,” Delia says. “We treat the gang problem as a family problem. A lot of what happens when we try to move kids out of a gang, their siblings or parents get threatened. We try to address the whole family.” If the kid reoffends, he or she gets slapped with the original charge. But if all goes according to plan, meetings with the judge are scaled back to once every two weeks, and finally to once a month. In the meantime, the kids are mentored by former gang members who have successfully turned their lives around. Impressed by the outcomes in Yakima, the legislature approved the gang-court bill almost unanimously. The fiscal-impact summary for the bill says the courts are “subject to the availability of funds appropriated for this purpose,” but the lawmakers did not approve a companion bill that would have allocated several million dollars to combat gang violence in

the state. The lack of funding has Ladenburg, the bill’s prime sponsor, concerned that no counties will adopt the system. “Oftentimes our policies and decisions are based on what we can do financially,” Ladenburg says. “Even if this is a great program—and I think it is—it might not be the right time to do it in certain areas because there’s not the money to do it.” The bill doesn’t officially become law until June 7, but Delia says the only Washington county that has expressed interest thus far is Pierce, Ladenburg’s home turf.

ames Sanderson had encountered a rare moment of industrial harmony.

Seattle weekly • APRI L 18 - 24, 2012

“We were doing very good,” says Sanderson, president of Steelworkers Local 7898. “The plant was making money and we had good profit-sharing checks, and everything was going well.” What he didn’t know was that it was about to end. Hundreds of miles to the north in Boston, a future presidential candidate was sizing up Georgetown’s books. At the time, Mitt Romney had been running Bain Capital since 1984, minting a reputation as a prince of private investment. A future prospectus by Deutsche Bank would reveal that by the time he left in 1999, Bain had averaged a shimmering 88 percent annual return on investment. Romney would use that success to launch his political career. His specialty was flipping companies—or what he often calls “creative destruction.” It’s the age-old theory that the new must constantly attack the old to bring efficiency to the economy, even if some are destroyed along the way. In other words, people like Romney are wolves, culling the herd of the weak and infirm. His formula was simple: Bain would purchase a firm with little money down, then begin extracting huge management fees and paying Romney and his investors enormous dividends. The result was that previously profitable companies were now burdened with debt. But much like the Enron boys, Romney’s battery of MBAs fancied themselves the smartest guys in the room. It didn’t matter if a company manufactured bicycles or contact lenses; they were certain they could run it better than anyone else. Bain would slash costs, jettison workers, reposition product lines, and merge its new companies with other firms. With luck, they’d be able to dump the firm in a few years for millions more than they’d paid for it. But the beauty of Romney’s thesis was that it really didn’t

matter if the company succeeded. Since he was yanking out cash early and often, he would profit even if his targets collapsed. Which was precisely the fate awaiting Georgetown Steel. When Bain purchased the mill, Sanderson says, change was immediate. Equipment upgrades stopped. Maintenance became an afterthought. Managers were replaced by people who knew nothing of steel. The union’s profit-sharing plan was sliced twice in the first year—then whacked altogether. “When Bain Capital took over, it seemed like everything was being neglected in our plant,” says Sanderson. “Nothing was being invested in our plant. We didn’t have the necessary time to maintain our equipment. They had people here that didn’t know what they were doing. It was like they were taking money from us and putting it somewhere else.” History would prove him correct. While Georgetown was beginning its descent to bankruptcy, Romney was helping himself to the company’s treasury.

e should have known better. The year before Romney purchased Georgetown, he mounted his career in politics, setting his sights on the biggest target in Massachusetts: the U.S. Senate seat held by Ted Kennedy. There were early signs that he might topple the Kennedy dynasty. Much like today, Romney was pitching himself as a commander of the economy, a man with the mastery to create jobs. Yet he suffered an affliction common to those atop the financial food chain: He assumed that what was good for him was good for all. Call it trickle-down blindness. In the midst of that 1994 campaign, one of Romney’s companies, American Pad & Paper, bought a plant in Marion, Indiana. At the time, it was prosperous enough to be running three shifts.

DAN ANDREASEN

It was the early 1990s, and the 750 men and women at Georgetown Steel were pumping out wire rods at peak performance. They had an abiding trust in management’s ability to run a smart company. That allegiance was rewarded with fat profit-sharing checks. In the basement-wage economy of Georgetown, South Carolina, Sanderson and his co-workers were blue-collar aristocracy.

Bain’s first move was to fire all 258 workers, then invite them to reapply for their jobs at lower wages and a 50 percent cut in health-care benefits. “They came in and said, ‘You’re all fired,’ ” employee Randy Johnson told the Los Angeles Times. “‘If you want to work for us, here’s an application.’ We had insurance until the end of the week. That was it. It was brutal.” But instead of reapplying, the workers went on strike. They also decided the good people of Massachusetts should know what kind of man wanted to be their senator. Suddenly, Indiana accents were showing up in Kennedy TV ads, offering tales of Romney’s villainy. He was sketched as a corporate Lucifer, one who wouldn’t blink at crushing little people if it meant prettifying his portfolio. Needless to say, this wasn’t a proper leading-man’s role for a labor state like Massachusetts. Romney was pounded in the election, taking just 41 percent of the vote. Meanwhile, the Marion plant closed just six months after Bain’s purchase. The jobs were shipped to Mexico. Yet Romney didn’t learn his lesson. He seemed incapable of noticing that his brand of “creative destruction” left a lot of human wreckage in its wake. Or that voters might see him as more scumbag than saint. Just a few months after being hammered by Kennedy, he set fire to another company.

he move was classic Bain. Before buying Georgetown, Romney had purchased the Armco steel mill in Kansas City, Missouri, which had been in business more than 100 years. “We were setting a lot of records for production at that time,” says employee Steve Morrow. “We were making a lot of money, because we were getting profit-sharing.” » CONTINUED ON PAGE 12

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Seattle weekly • APRI L 18 - 24, 2012

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Bain combined Armco with the mill in Georgetown and foundries in Tempe, Arizona, and Duluth, Minnesota, to form the newly christened GS Industries. Romney purchased Armco with just $8 million down, borrowing the rest of the $75 million price tag. Then he issued bonds— basically IOUs—to borrow even more to pay himself and his investors $36 million. Within a year, he’d already made four times his initial investment while barely lifting a finger. But he’d also run up a staggering $378 million in debt on GSI’s tab. Steel is an infamously cyclical business, a worldwide commodity prone to the same wild price fluctuations as oil. The Kansas City plant forged parts for equipment used in mining gold and copper, leaving it susceptible to the instability of those markets as well. Yet the smartest guys in the room thought they could run the plant better than the people setting production records. “They were getting rid of old managers and hiring new managers that didn’t have any steel experience,” says Morrow. “Some of the guys were nice guys and everything, but they didn’t have a clue what was going on.” Many of the new supervisors were exmilitary, people who believed that grown men and women are best motivated by punishment. Before Bain, says Morrow, “everybody got along.” Afterward? “They wanted to run the plant like a disciplinary environment. They wanted to discipline people for getting hurt on the job. They wanted to put us in an environment like a war, where we were always fighting with them.” Romney was charging GSI $900,000 a year in management fees to run the company. The Kansas City mill received $900,000 worth of ineptitude in return. Although Bain borrowed $97 million to retool the plant so it could also produce wire rods, it left the rest of the facility to rot. To save costs, Bain went miserly on everything from maintenance to spare parts and earplugs. Equipment deteriorated. Since the new managers didn’t know how to repair it, “they’d want to rent a new piece of equipment out instead of maintaining what we had,” says Morrow. The waste and inefficiency was breathtaking. Bain’s plan all along was to streamline the company into greater profitability, then reap the rewards with a public stock offering. But the exact opposite was happening. Even Roger

romney (center) made plenty of dough at the expense of working-class jobs.

Regelbrugge, whom Bain installed as CEO, knew the debt was crushing GSI from within, according to Reuters. If a public offering didn’t materialize, the company would collapse. Steel was about to enter a periodic downturn. Countries around the world were locked in a war of tariffs and government-subsidized production, creating a glut and driving down prices. Romney’s strategy of the flip was never meant to endure difficult times. Workers saw the end coming; they were particularly worried that Bain was badly underfunding their pension plan. So they went on strike in 1997, bringing a traditional Rust Belt flair to the festivities by littering the streets with nails and gunning bottle rockets at security guards. When it was all over, the Steelworkers’ union agreed to wage and vacation cuts in exchange for extra health and pension safeguards should the plant close. Yet GSI was now hemorrhaging money, says David Foster, the union official who negotiated the deal. He claims that Bain cursed the company by placing its own interests above those of customers or long-term stability. “Like a lot of private equity firms, Bain managed the company for financial results, not production results,” says Foster. “It didn’t invest in maintenance or immediate customer needs. All that came second to meeting monthly financial goals.” It would take a few more years of bleeding, but GSI eventually fell to bankruptcy.

The Kansas City mill closed for good; 750 people lost their jobs. Worse, Romney had shorted their pension fund by $44 million. The feds were forced to cover the difference, while workers saw their benefits slashed in bankruptcy court. The battered Georgetown plant and the foundries in Arizona and Minnesota ultimately were bought out of bankruptcy by new companies. Their workforces were halved. Still, Romney walked away unbruised. All that debt was technically GSI’s, not Bain’s. Because he’d repaid himself and his investors just months after the purchase, Romney pocketed millions for running the company into the ground. “They were clever and ruthless enough to pay their own investors back at a really high return rate,” says Foster. This was the beauty of Romney’s racket. Even if he killed a company—and he tended to kill them fairly often—he still made out, leaving others to take the hit.

n the campaign trail, Romney describes his work at Bain as resurrecting distressed companies. In this version, he’s the white knight lifting troubled firms from the precipice of failure. Not true. Private equity companies like Bain rarely buy anything but profitable firms for one very compelling reason: The patient must be healthy enough to be force-fed all that debt. So it’s something of a misnomer for Republican opponents to slur him as a “vulture capitalist.” “Romney is not a vulture capitalist, as Rick Perry says, since vultures eat dead carcasses,” notes Josh Kosman, who’s written about the private equity business for 15 years. He’s “more of a parasitic capitalist, since he destroys profitable businesses.” Judging by the title of his book—The Buyout of America: How Private Equity Is Destroying Jobs and Killing the American Economy—it’s safe to assume that Kosman’s no fan of the industry. But he concedes that the business isn’t inherently wicked. The game works like this: Big-money investors write checks to people like Romney, who pool that money to buy or invest in other companies. Internal company documents show that a year before Romney left Bain in 1999, one of his funds had reached a massive $10 billion. Though Bain requires a $1 million minimum for a seat at the table, its investors don’t come only from the wealthiest 1 percent. They also include college endowments and teachers’ pension funds.

Jon Burgstone, a professor at the University of California-Berkeley’s Center for Entrepreneurship & Technology, sees private equity as essential to the economy. He may be a member of President Obama’s National Finance Committee, but he’s still an admirer of Bain. “Generally, private equity companies invest in larger firms that need reorganization, or in smaller companies that need growth capital,” he says. And their management can usually benefit from “very bright Bain consultants.” That feeling is shared by Steven Kaplan, among the foremost scholars in the field. The University of Chicago finance professor says that, statistically speaking, firms like Bain improve a company’s cash flow while providing investors with a better return than the stock market. There’s no question that Romney had a gift for minting money. In 1986, he bought medical-equipment manufacturer Calumet Coach for just $1 million, later flipping it for $34 million. He made 16 times his initial investment in the Gartner Group, a technology research firm. And in what was perhaps his crowning achievement, he bought a money-losing Wesley Jessen VisionCare for $6 million in 1994. Seven years later, it was sold for a dazzling $300 million.

“They had people here that didn’t know what they were doing. It was like they were taking money from us and putting it somewhere else.” Kaplan argues that critics rarely mention these success stories, preferring to “cherrypick” deals that paint Romney as unmerciful and gluttonous. “I think it’s quite unfair,” he says. “He was extremely successful at Bain generating returns for his investors. Bain Capital had a tremendous track record. When you invest in dozens of companies, some of those deals don’t work out.” But if critics are quick to disregard Romney’s triumphs, defenders are equally swift to rationalize his catastrophes. They’ll note that for all Romney’s bankruptcies, most were rescued by new companies and survive today. It’s the final dollar tally that matters. Yet they seem strangely incurious about the ruin he’s delivered across the country.

» Continued on PAge 15

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american parasite » from page 12

“His entire management experience at Bain Capital is buying companies and loading them up with debt and then looting the balance sheet,” Foster says. “It’s the very model that drove the American economy off the cliff.”

enee Fry doesn’t recognize the tin man she sees on TV, the candidate so congenitally wooden that he makes Al Gore seem like Flavor Flav. She was Romney’s deputy chief of staff when he was governor of Massachusetts. The guy she served was warm and considerate, quick to distill data and seize the big picture. “I’m lucky because I know him from the dayto-day Mitt,” Fry says. “He liked going out and talking to people and learning from people. The Mitt I know had a real appreciation for people.” But if Romney played the friendly politician, kindness wasn’t his specialty at Bain. He was generous to ranking executives, rewarding CEOs with huge bonuses. Yet he tended to treat those below his pay grade as little more than machinery.

Lyric cabraL

Take Kansas City, for example. The Armco plant closing involved more than the torching of 750 jobs, says Morrow. Contractors and suppliers collapsed. Workers’ children and widows lost health care and pension benefits. And while Bain received millions in tax breaks— paid for by the very people left holding the bag—Romney walked away millions richer. So one might forgive everyday Americans for feeling they’re on the wrong end of a rigged game, one in which the wealthy always win—no matter how inept—and the little guy is left to hack through the debris. Bain is a private company, meaning it has no obligation to reveal its practices. It’s never made public a list of companies it’s purchased. (Nor would Bain or the Romney campaign comment for this story.) So in January, The Wall Street Journal did its best to piece together Romney’s track record, reviewing 77 investments made under his direction. It turned out that nearly one in three of the companies experienced severe financial trouble. One in five wound up in bankruptcy. The more telling figure: Of Romney’s 10 biggest moneymakers, he ultimately destroyed four of them, leaving bankruptcy judges to clean up the mess. As Foster sees it, Romney was an early pioneer of gaming the system. It would take another decade before large banks used many of the same principles to detonate the mortgage industry. “The great irony is that his entire management experience at Bain Capital is buying companies and loading them up with debt

and then looting the balance sheet,” Foster says. “It’s the very model that drove the American economy off the cliff, then left other people to manage the wreckage.”

author Kosman calls romney “a parasitic capitalist.”

Romney has repeatedly claimed to have created 100,000 jobs at Bain, and says that providing work for Americans was a primary company goal. He makes his case by citing Domino’s, Sports Authority, and Staples, companies that added jobs after Bain bought in. But Bain bought Domino’s just months before Romney left to run the Salt Lake City Olympics, meaning someone else created those jobs. And he didn’t manage Staples or Sports Authority; Bain was a minority investor in both.

By Romney’s logic, any large investor—say, the Texas teachers’ pension fund—also creates hundreds of thousands of jobs. The boast is so foolish that his campaign has since backed away from it. Even Kaplan admits that private equity firms rarely create jobs. Workers are seen as costs, and costs are the enemy. According to Kosman, Romney was in truth among the most heinous job-killers of them all. While writing his book, Kosman conducted an interview with a Bain managing partner. The man told him that when Bain was about to buy a company, its partners would hold a meeting. “He said that about half the time [they] would talk about cutting workers,” says Kosman. “They would never talk about adding workers. He said that job growth was never part of the plan.” That claim was buttressed by the Associated Press, which studied 45 companies bought by Bain during Romney’s first decade. It found that 4,000 workers lost their jobs. The real figure is likely thousands higher, since the analysis didn’t account for bankruptcies or factory or store closings. An example of Romney’s cold-blooded approach is his 1994 purchase of Dade International, an Illinois medical-equipment company. He soon merged it with two similar firms, a move that tripled sales. Once again, he couldn’t help but raid the vault, peeling away $100 million for himself and investors at the same time Dade was laying off 1,700 American workers. After Bain closed a Dade plant in Puerto Rico, human resources manager Cindy Hewitt was asked to lure a dozen of those employees

» Continued on page 17

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American Parasite » from PAge 15 to work in the company’s Miami factory. But that plant soon closed as well. Though Romney was gobbling up millions, Bain still wanted those laid-off employees to repay their moving costs. “They were treated horribly,” Hewitt told The New York Times. “There was absolutely no concern for the employees. It was truly and completely profit-focused.” Yet Bain’s molestation wasn’t complete. It was trying to sell Dade, but didn’t like the offers it received on the open market. So it created an artificial market of its own. In 1999 it forced Dade to borrow $242 million, which was used to buy back company stock from Bain, Dade executives, and their banker, Goldman Sachs. Bain was again extracting profits with borrowed money. It had pushed Dade’s debt to a bracing $2 billion. To help pay for the deal, the company laid off another 367 workers. But that debt proved too much for Dade’s shoulders to carry. Three years later, the company was bankrupt. Kosman calls it standard Romney operating procedure. To pump short-term earnings, he would essentially “starve a company,” whacking not just employees, but customer service and research-and-development funding—the very ingredients of long-term prosperity. “I think they’re one of the worst, at least during Romney’s time,” Kosman says. “They were very aggressive about dividends. They were very aggressive about borrowing the most money they could. He’s very driven to be the best he could be, and that was to be as cutthroat as he could be. But in the process, he hurt a lot of companies and cost a lot of jobs, maybe tens of thousands of jobs.” Kosman says it’s telling that Romney never cites companies he actually managed as evidence of his job-building skills. “If Romney had some stories to tell, he’d use those stories,” he says. “I think it’s very interesting that he’s not telling those stories, because I think they don’t exist.”

his greatest achievements—Steel Dynamics, where he was a minority investor—was practically launched by corporate welfare. Indiana taxpayers gave the firm $77 million to open a plant. Residents of DeKalb County actually had their income taxes raised solely to help Romney and his friends. Tad DeHaven calls it “theft and redistribution.” He’s no yammering Trotskyite; DeHaven is a former budget advisor to Republican U.S. senators Jeff Sessions of Alabama and Tom Coburn of Oklahoma. Yet he notes that firms like Bain often get governments to subsidize their raiding parties. The feds take $100 billion a year from everyday taxpayers and send it straight to companies like Romney’s, says DeHaven, who now works for the Cato Institute, a conservative think tank.

But like most good Republicans, he’s reticent to single out the candidate for criticism. “It depends on what he knew and Bain’s involvement in obtaining subsidies,” DeHaven says. “I don’t know if it makes him a hypocrite or not, but he should answer questions about it.”

hose answers won’t be forthcoming. Romney refuses to discuss most of the companies he purchased at Bain, nor will he release his tax records from those years. As a result, voters are left to make their own call on his catalogue of creative destruction—and what he might be like as president. Romney has professed his admiration for Ronald Reagan. But judging by his business history, the president he most resembles is Vladimir Putin. Romney has devoted his life

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to ensuring that every last penny rises to a few hands at the top. And like Putin, he’s never shown much concern for the countrymen he tramples along the way. “The word ‘oligarchy’ comes to mind,” says Michael Keating, when asked to envision a Romney presidency. Keating is a former business consultant and executive at Bertelsmann, a multinational investment firm that operates in 63 countries. He asserts that men like Romney “hide their antisocial actions behind a rhetoric of free-market capitalist platitudes. But in the end, it’s all about the bottom line—and only their own bottom line. “I don’t think Romney is so much dangerous as he is unimaginative,” Keating adds. “And in the world we live in, that amounts to the same thing.” E news@seattleweekly.com

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omney’s economic views were on stark parade during this year’s Michigan primary. He ripped President Obama for bailing out the auto industry, arguing that it should have been dealt with in his favorite resting place: bankruptcy court. He was particularly incensed that the president rescued workers’ pension funds before covering Wall Street’s bad loans. But his faith in the free market wobbles when his friends need rescuing. Romney just as vigorously defends the $10 billion government bailout of Goldman Sachs, his investment partner at Bain. After all, Romney frequently assumed the role of welfare queen himself. In 1988, he bought South Carolina photo-album maker Holson Burnes. In exchange for the firm’s promise to build a new factory, the people of Gaffney, South Carolina, gave Bain $5 million in bonds and $200,000 in utility upgrades. The plant closed just four years later. The 100 jobs there were later shipped to Mexico. At GSI, he dumped $44 million in pension shortfalls on the federal government. And when he bought mattress-maker Sealy in 1997, he took $600,000 in welfare to move the firm from Ohio to North Carolina. Even a company Romney cites as one of

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tial section of Greenlake, offers a discreet alternative to more public shops. Its unobtrusive signage and private location ( just watch for the house with the green garage doors) make J&K a good choice for patients who, for whatever reason, would prefer not to be seen leaving a dispensary. I was very pleased, after a brief stay in the reception area, to learn from budtenders Paul and Cameron that J&K has a straight-across-the-board $10-per-gram donation level. Patients can mix and match as many strains as they want to reach an ounce for a $240 donation, and new patients get a free pre-rolled joint (a $5 value). Moreover, patients who donate $50 or more get a free medible (also a $5 value). J&K’s menu consisted of three indicas, three sativas, and nine hybrids on the Sunday I visited. After getting lots of help and input from both budtenders, I selected an organically grown sativa, Sour Diesel, and a fat-flowered indica, Blueberry. Sour Diesel’s signature smell, a combination of overripe fruit and diesel fuel, is a lot better than it sounds on paper, especially since you’re normally looking at sticky nugs when you get a whiff of it. This powerful, energetic sativa, a descendant of ChemDog, is definite head weed. The musical equivalent to Sour D would be John Coltrane—this

BY STEVE ELLIOTT

weed’s got impressive mental chops and can change direction in an instant. Known for its penetrating taste and effectiveness in treating anxiety and PTSD, it’s also racing fuel for your mind, and if you work in the creative arts, you may find that not only are your working abilities unimpaired, they may actually be enhanced. And the fact that this particular Sour D was grown organically seems to be a big—and positive—factor in its medicinal qualities. Chemicals are popular because of their ease of use and because they enable the growth of huge buds. But, High Times centerfolds aside, it isn’t about bud size. This isn’t a monster-truck rally; it’s about the inside of your head, and ultimately your health. Organic weed makes you feel better than chemically grown weed; it’s just better medicine. Then there was the Blueberry indica: Its fatly sticky flowers produced a stout indica wallop of pain relief and a substantial body stone. J&K has both Pure Cure Rick Simpson Oil at $60 a gram and Simpson Maintenance Caps at $6 apiece. The latter are quite effective in knocking back pain and nausea long enough to get some rest. E tokesignals@seattleweekly.com

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the»weekly»wire wed/4/18 PHOTOGRAPHY

Family Duress

thurs/4/19 DANCE

Pulling the Strings

Nothing but Sun

Originally scheduled to close its three-week run on March 24, New City’s revival of Happy Days has been extended several times. And for good reason: This is a terrific production of one of Samuel Beckett’s most accessible plays. Chatty, middle-aged Winnie (Mary Ewald) is buried to her navel in a giant sand mound. Nearby, her husband Willie (Seanjohn Walsh) takes refuge from her tidal yappings in a sand hole. Though it’s not clear what got them there or how they survive, we are gradually apprised of some rules of their existence. Their waking day begins and ends with a bell. The sun is always shining.

TUES: PHOTOGRAPHY

Dancing on the Plains

We bash Paul Allen all the time, but he saved the Cinerama (now 49 years old) and recently gave it an expensive overhaul, and the Science Fiction Film Festival makes excellent use of Seattle’s best single-screen theater. Tonight, the fest launches with the most influential sci-fi flick ever made: Fritz Lang’s 1927 silent Metropolis, screened with live accompaniment by the Alloy Orchestra (with repeat shows 8 p.m. Fri. and 12:30 p.m. Sat.). Labor relations, class warfare, Oedipal conflict, mad scientists, robots, German romanticism—all combine in a dialectical struggle (and resolution) that Hegel would love. After that come futuristic pleasures including 2001: A Space Odyssey (on a new print), the original 1953 The War of the Worlds (ditto), Tron (the 1982 version with the young, beautiful Jeff Bridges unaugmented by CGI), Forbidden Planet (aka The Tempest in space), Barbarella (see Jane Fonda’s gravity-free striptease!), The Terminator, Dune, and Soylent Green (“It’s peeeeee-ple!!! Soylent Green is people!”). In all, 26 titles will be screened through May 2. Cinerama, 2100 Fourth Ave., 448-6880, cinerama.com. $30 (most regular screenings $12). 8 p.m. BRIAN MILLER

Sexy robots and live music launch the Science Fiction Film Festival.

fri/4/20

Sundries in Winnie’s shopping bag are running out. In her boredom, Winnie supplements these immutable laws with invented ones, some forcibly chipper (“Mustn’t complain!” “It is a happy day!”), some hilariously self-stinting (“Do not overdo the bag”). Directed by John Kazanjian, the play somehow expands Winnie’s life, and ours, with details that are futile and empty on one level, yet oddly, inexplicably lovable on another. Throughout the 90-minute two-act, I felt as restless as I ever have in a theater seat. Just as Beckett would have wanted. (Runs Thurs.–Sat. through May 5.) New City Theater, 1404 18th Ave., 271-4430, newcity theater.org. $15. 8 p.m. MARGARET FRIEDMAN

STAGE

helped me!” During the Crow Fair, which includes a rodeo and powwow dancing, “Everyone knew I was there as a guest.” Few of her subjects are posed, and her mostly black-and-white images depict a proud traditionalism. There’s a certain theatrical element as the Crow annually convene, put on the old beaded costumes, and break the feathered headdresses out of their storage boxes. (Some also wear NBA-branded shorts and, for the dance contest, pin-on numbers with a Pepsi logo. The rodeo contestants dress like regular cowboys.) “I wanted to do something not anthropological,” says Diallo. “We don’t need such a miserablist culture. I like to show the experience—not just photojournalism.” (Through May 12.) M.I.A Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com. Free. 10:30 a.m.–5:30 p.m. BRIAN MILLER

Color Lines

Gentrification always brings discontents, and in the Pulitzer-winning play Clybourne Park, those real-estate complaints are separated by 50 years. The first act of Bruce Norris’ drama is set in 1959, when blacks are first buying into a white suburb of Chicago, despite fierce local resistance to integration. The second act reverses the dynamic: Now whites are beginning to creep back into the transformed, distressed all-black neighborhood (the same one named in Lorraine Hansberry’s 1959 play A Raisin in the Sun, which also contributes a key

» CONTINUED ON PAGE 26

DELPHINE DIAW DIALLO

Taking pictures of Indians is a touchy business. From Edward S. Curtis on down, nobly posed ahistorical images have been the norm, and it’s hard to redeem a century’s worth of visual clichés. Beware the white man with a camera. But this wasn’t a problem for Delphine Diaw Diallo, a French photographer of Senegalese descent, when she traveled from Brooklyn to the Crow Indian Reservation in south-central Montana. A total outsider, she even had a Japanese artist as her guide, as she explained earlier this month during a visit for her show’s Seattle opening. Did her ethnicity and French accent help overcome suspicions among her subjects? “Yes,” she says cheerfully, “it totally

Starry Future

Diallo gets close to her subjects.

Seatt le w eekly • APRIL 18 - 24, 2012

In Live! The Realest MC , New York choreographer Kyle Abraham starts out with Pinocchio but ends with a much more

STAGE

FILM

PARAMOUNT/UFA

What’s the primary cause of homelessness? Poverty, obviously, but financial catastrophes often result from health crises. You don’t have medical insurance, you get sick, you spend all your savings, and suddenly you’re living in your car. Such scenarios—and the “Repeal Obamacare!” chants—are brought to mind by Dan Lamont ’s photojournalism, part of the show Looking Into Light , which also includes archival images from The National Center on Family Homelessness. Lamont, a local shooter, received a Seattle University fellowship in 2010 and traveled the state to document young parents, war vets, and others who suddenly found themselves without a roof. One is a single mother living in Okanogan County. She’s raising two young sons, rides in rodeos, and is studying for a career in criminal justice. (There’s always a market for prison guards.) “Cowgirls don’t cry,” reads her neck tattoo, and she appears a tough but tender parent. Over in Issaquah, a former Marine tends his kids while living with his invalid mother. These are rural and suburban scenes, not the downtown shelters and Pioneer Square panhandlers many of us witness every day. Yes, the economy may be improving as the recession wanes, but Lamont’s focus is on the vulnerable who need not tax cuts, but direct assistance, to survive. (Through April 27.) City Hall, 600 Fourth Ave., 684-7171, seattle.gov/ arts. Free. 7 a.m.–6 p.m. BRIAN MILLER

complex version of humanity. His piece, danced by a small ensemble, explores what it means to be a “real, live boy” when you’re an out gay man in hip-hop culture. His combination of break-dancing and highpowered contemporary styles has earned serious recognition from the dance world (including a Bessie Award in 2010), but it’s his examination of fraught issues outside the performance hall, like the 2010 suicide of gay Rutgers student Tyler Clementi, that takes physical virtuosity to a larger place. The tour-deforce kinetic monologue that ends Realest MC knocked viewers’ socks off at its Pittsburgh premiere last December. Once again, OtB is offering us some of the hottest performance around. (Through Sun.) On the Boards, 100 W. Roy St., 217-9888, ontheboards. org. $25. 8 p.m. SANDRA KURTZ

sat/4/21 FESTIVALS

Nostalgia for Progress Seattle Center’s latest manifesto for the future is “The Next 50.” The idea is that half a century after our ’62 World’s Fair (which brought

T ER

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character). Yesterday’s white flight becomes today’s gentrif . . . well, you get the idea. But Norris isn’t just borrowing from the Broadway canon. As two sets of sellers are told not to sell by those of their tribe, Clybourne Park is a satire of race relations, expressed through groping language and one-sided speeches. The times may have changed from the Eisenhower to Obama administrations, but none of Norris’ characters seem able to communicate across the racial divide. Braden Abraham directs a cast deployed in double roles in Acts 1 and 2. (Previews begin tonight; opens Wed., April 25; runs through May 13.) Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $15–$74. 7:30 p.m. T. BONILLA

Elvis, the Monorail, etc.), the old grounds should again be revitalized with yet another remodel of the armory, a new Dale Chihuly gift shop (er, sorry, museum), an improved stadium, and so forth. But a funny thing has happened around the Center, much of it without direct city investment. First came Paul Allen’s EMP in 2000. Bill Gates recently planted SY E T UR his new foundation next door. CO Amazon has brought thousands of tech workers to nearby SLU, and the Mercer Street redo will make walking and biking connections, at least, that much easier. Also, despite the real-estate bust, new apartments continue to rise around the 74-acre campus and its precious open space. Today, Seattle Center launches a 50th-anniversary historical exhibition, organized by MOHAI, called Celebrating Century 21 (in the old Northwest Craft Center). Additionally, the half-centennial party includes music, food, a reunion of the Almost Live! crew (John Keister, Nancy Guppy, etc.), readings by Tom Skerritt and others from Paula Becker and Alan J. Stein’s recent fair history The Future Remembered, public art works, a new dance piece (The Chair Spectacle) from choreographer Pat Graney, an appearance by the Rat City Rollergirls, and sundry family activities. (The history exhibit and related events continue through Oct. 21, the same calendar duration as the original fair.) Seattle Center, seattlecenter. com. Free. 10 a.m.–6 p.m. BRIAN MILLER M

The Weekly Wire » FROM PAGE 25

P Apollo/Carmina Burana

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George Balanchine famously liked to tinker with his prior work, and he returned to 1928’s Apollo, one of his earliest creations for the Ballets Russes, over and over. Set to a Stravinsky score, the piece originally included opulent scenic and dramatic effects, with golden tunics and decorative wigs.

Lee’s 26-foot golden wheel may be the star of Carmina Burana.

Later, though, he kept stripping away everything he thought extraneous: Faux mountain scenery jettisoned in favor of a simple ladder; elaborate costumes became just tunics and tights. As for the story (the birth of the Greek god, his awkward first steps, his education and final apotheosis), Balanchine kept paring away at the choreography, too: The

television writer Brian Hargrove. (Barbara Anselmi composed the music; Jon Kretzu directs.) As a story about a Jewish girl (Mara Solar) marrying a Catholic boy (Timothy Wilson), it’s dowdy in song and dialogue, even though the setting is contemporary. Once the major plot turn unfolds, however, the musical wobbles dreidel-like in different but entirely predictable directions. Will the plus-sized girl with the heart of gold (Kat Ramsburg) find love at her sister’s wedding? Will that nice Jewish boy (Joshua Carter), who once dated the bride, be able to stop their wedding in time? What kinds of sexual hanky-panky will take place when the brassy mothers-in law (Leslie Law and Jayne Muirhead) aren’t looking? Such questions, and their answers, are straight out of the playwright’s primer. The stick-figure characters and anachronistic melodies are treated strictly camp- and irony-free.

JAY KOH

birth scene and early lessons were axed and the ascent to Mt. Olympus replaced with a simple walking pattern. A longer version of Apollo was last seen at PNB in 2005. Peter Boal’s new staging retains Balanchine’s fleetness and extension of neoclassical ballet, though the narrative arc is dimmed by the loss of the opening. We first meet Apollo as a young god, meaning that his tutorial relationship with the Muses is changed; the idea that he must first learn from them, then lead them, is more difficult to follow. Even so, this is still a role most male dancers covet, and the alternating leads (both debuting in the part) show different aspects of Apollo. Batkhurel Bold uses his significant control as a metaphor for godhood, making Apollo’s transformation an interior process. (He was already more than halfway there when the curtain rose.) Karel Cruz is all elegance in his opening pose, but reveals several traces of Apollo’s lanky boyhood—and these “awkward” bits emphasize the drama of his transformation. Among the Muses, Sarah Ricard Orza’s quiet poise is a good match for Bold’s rather stern demeanor. Also dancing as Terpsichore, but opposite Cruz, Laura Gilbreath takes a more active approach to divine education. The power repeatedly shifts between them during their pas de deux. At one point Cruz seems like a child, hoping that a butterfly will land on his finger. But as Apollo’s authority grows, they become more equal—as in the signature “swimming lesson,” when Terpsichore balances on his back and both seem to paddle in the water. After such a cerebral Apollo, Kent Stowell’s ever-popular take on Carmina Burana is a huge contrast, set to Carl Orff’s big, raucous score. Stowell’s faux folk dances emphasize Orff’s rhythmic drive. Beneath a huge golden wheel designed by Ming Cho Lee, the stage is packed with roiling bodies—many of them in nude unitards. It’s a zesty, fecund production, with standouts including Carrie Imler (as the Harlot during “In Taberna”) and Lucien Postlewaite and Lesley Rausch as the main romantic couple. At the end, with the onstage Seattle Choral Company singing about the fickle nature of fate, the entire cast circles endlessly, like an orgy in spring. SANDRA KURTZ

VILLAGE THEATRE, 303 FRONT ST. N., ISSAQUAH, 425-392-2202, VILLAGETHEATRE.ORG. $22–$62. 8 P.M. WED.–SAT., 2 P.M. SUN. ENDS APRIL 22. (MOVES TO EVERETT PERFORMING ARTS CENTER APRIL 27–MAY 20.)

This “new” musical comedy has been around since 2009, and it was most recently staged in New Jersey under the direction of Frasier’s David Hyde Pierce. Maybe his fusty touch would’ve worked with its antiquated plot—a shrewish Jewish mother battling her boozy shiksa nemesis for control of their children’s interfaith wedding, with a songbook that might’ve sounded fresh to Mamie Eisenhower. It seems that It Shoulda Been You is little more than a vanity project, since the book and lyrics were penned by Pierce’s husband,

If there’s fun to be had here, it’s in watching a serviceable cast try to bat around the medicine-ball songs as if they’re balloons. Several times, the performers push past their range in the big solo spots, revealing limitations that might have otherwise gone unnoticed. But at least one occasion—after the show’s big reveal at the end of Act I, the wedding couple gets a serenade from the best man (Aaron Finley) and maid of honor (Diana Huey)—suggests the mischief and mayhem the show might’ve pursued. The sets are fine and the tech work seamless, but the orchestra wades through Doug Besterman’s orchestrations like a preteen sifting through his grandma’s bloomers in a halfhearted search for anything exciting. As someone who loves show tunes, I had a whole lot more fun last week watching TV’s Smash. That show’s also set in the present day—but, unlike It Shoulda Been You, it looks back to the postwar years more knowingly, rather than simply trying to recreate the pleasures of the past. KEVIN PHINNEY E stage@seattleweekly.com

Starring Rui Ling, El Vez and Christine Deaver in a whirlwind of circus, comedy and cabaret served with a five-course feast. Directed by Ricardo Salinas of Culture Clash.

Seatt le w eekly • APRIL 18 - 24, 2012

It Shoulda Been You

Muirhead as one of the overbearing prospective mothers-in-law.

arts»Performance BY GAVIN BORCHERT

Stage OPENINGS

THE ART OF RACING IN THE RAIN Seattle author

May 3 – 20

Frank Ferrante in An EvEning with

Groucho

Garth Stein’s novel is told in the voice of Enzo the dog. Center House Theatre, Seattle Center, 216-0833. $22–$44. Previews April 18–19, opens April 20. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends May 13. THE BACCHAE A new translation of Euripides, performed outdoors. Cornish College of the Arts/Amazon Campus, 410 Terry Ave. N., cornish.edu. Free. Opens April 20. 3:30 p.m. Fri., 2 p.m. Sat., plus 2 p.m. April 22 and noon April 29. Ends April 29. CLYBOURNE PARK SEE THE WIRE, PAGE 25. DAMN YANKEES The Faust legend transposed to baseball, with Lola as the Devil’s right-hand woman. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $19 and up. Previews April 21–25, opens April 26. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends May 20. DOUBLE (XX) FEST A wealth of plays written and directed by women. Stone Soup Downstage, 4029 Stone Way, 800-838-3006. $10 and up. Readings April 18, then runs Thurs.–Sun. Ends May 6. See stonesouptheatre.org for exact schedule. EXIT, PURSUED BY A BEAR Lauren Gunderson’s worldpremiere comedy pits a long-suffering wife against her no-account husband. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. Opens April 18. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends May 13. A LANGUAGE OF THEIR OWN Chay Yew’s 1995 play looks at four gay men at the start of the AIDS crisis.

•

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

•

Directed by Dreya Weber

“See thiS Man. he iS coMic geniuS.” –Seattle Weekly

Three episodes from Rod Serling’s iconic television series brought to life by Theater Schmeater. In color!

Seattle weekly • APRI L 18 - 24, 2012

First Date Now – May 20

Short Stories Live at Town Hall April 22

Short stories brought to life with local actors. April’s theme is Parents and Children, curated by Anita Montogomery.

Go East, Young Man Lou Harrison died in 2003 at a Denny’s in Lafayette, Indiana—a mundane end for a composer who unprecedentedly opened American ears to music from the other side of the Pacific Rim, from Japan to Indonesia. Filmmaker Eva Soltes spent two decades capturing Harrison at work and in interviews, and there’s plenty of

Construction Zone April 30

Tickets Selling Fast! Don’t miss this hot new musical! A Co-Production with the 5th Avenue Theatre. Performances added May 3 and 17!

This month features When January Feels Like Summer, a new play by Cori Thomas.

The Pitmen Painters April 20 – May 20

eSe Teatro Celebrate eSe! May 5

A transforming, true story of friendship, aspiration, and the power of art from the acclaimed writer of Billy Elliot. See it early and save! Preview tickets available April 20-25.

» by gavin borchert

A Cinco de Mayo reading and party in celebration of eSe Teatro’s two-year anniversary.

See it all with an ACTPass! acttheatre.org | (206) 292-7676 | 700 Union Street, Seattle

EVA SOLTES

The Twilight Zone: Live! Now – April 28

EarSupply

American music’s jolly guru.

him in her just-finished doc Lou Harrison: A World of Music, playing this weekend at the Grand Illusion. Born in Portland in 1917, Harrison enjoyed an upper-middle-class family life until the Depression, which induced his parents to move to California. There, Henry Cowell turned the curious young musician on to non-Western music; John

Richard Hugo House, 1634 11th Ave., 364-3283, react theatre.org. $6–$15. Opens April 20. 8 p.m. Fri.–Sat. plus Mon., April 23. Ends May 12. THE PITMEN PAINTERS The true if embellished story of British miners who unlock their artistic potential. ACT Theatre, 700 Union St., 292-7676. $15–$55. Previews begin April 20, opens April 26. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends May 20. PURPLE HEART Mike Mathieu’s solo comedy/whodunit, part of the Solo Performance Fest (through April 28). Theater Off Jackson, 409 Seventh Ave. S., theatreoff jackson.org. $12–$15. 9 p.m. Thurs., April 19 & Fri., April 27. REASONS TO BE PRETTY Neil LaBute pits a woman against the boyfriend who talked about her looks behind her back. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., 242-5180, burienlittletheatre.org. $15–$20. Opens April 20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 13. ROMEO AND JULIET Shakespeare al fresco. Volunteer Park, 1247 15th Ave. E., cornish.edu. Free. Opens April 20. 3:30 p.m. Fri., 2 p.m. Sat.–Sun. Ends April 29. SEE ME NAKED Maria Glanz’s solo show about the psychological vagaries of striptease. West of Lenin, 203 N. 36th St., 800-838-3006, seemenakedshow.com. $20–$25. 8 p.m. Thurs., April 19–Fri., April 20. TEAM OF HEROES: BEHIND CLOSED DOORS The prequel to Annex’s popular superhero saga Alecto: Issue #1. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$15. Opens April 20. 8 p.m. Thurs.–Sat. Ends May 19. A WRINKLE IN TIME A stage adaptation of Madeleine L’Engle’s pathbreaking YA sci-fi novel. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $13–$17. Opens April 20. 7 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends May 6. For tons of Current Runs, see seattleweekly.com.

Dance

KYLE ABRAHAM SEE THE WIRE, PAGE 25. • PETRUCHSKA Donald Byrd’s take on the 1911 ballet •

sends us to a sadistic nightclub among heartless puppet boys and girls, with Stravinsky’s music adapted to accordions. It promises to be a very dark carnival. SANDRA KURTZ

Cage introduced him to percussion; and Arnold Schoenberg, at UCLA, instilled the doctrine of simplicity—a no-frills aesthetic in which every note in a piece tells. For Harrison, this meant melody-oriented, rhythmically infectious music of a serene, elevated exoticism, startling and liberating during those contentious years of aggressive musical modernism. Harrison ended up in New York City during and after WWII, as every artist did; then, after a nervous breakdown and a teaching stint in North Carolina, he landed back in California in 1953, in the laid-back village of Aptos on the coast south of the Bay Area, and at last made just the life he wanted: instrument-building and sound-experimenting with his partner of 33 years, William Colvig. High-profile collaborations with the San Francisco Symphony, California’s new-music-friendly Cabrillo Festival, and choreographer Mark Morris brought to wider attention the fey hippie-Santa persona the composer joyously cultivated. An out-and-proud pioneer, Harrison remarks onscreen here that “I need to leave an opera on an overtly gay theme . . . historically founded, and the real thing.” The result was the star-crossed Young Caesar, conceived first as a puppet opera, then as a choral opera (premiered by the Portland Gay Men’s Chorus), then slated for a full Lincoln Center staging—a plan kiboshed by 9/11. It was the one major disappointment in a career marked by untiring generosity and encouragement to younger composers to stay true to the needs of their own inner ear. Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema. org. 7:30 p.m. Fri., April 20–Sat., April 21 (both screenings preceded by live performances of Harrison’s music); 7 & 9 p.m. Sun., April 22; 7 p.m. Mon., April 23–Thurs., April 26.

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Seatt le w eekly • APRIL 18 - 24, 2012

S D UO GN GA E T S I TO E N D

arts»Performance Madrona/Spectrum Dance Studio, 800 Lake Washington Blvd., 325-4161, spectrumdance.org. $20–$25. 7:30 & 9 p.m. Fri.–Sat., 6:30 p.m. Sun. Ends April 22. AN INNER PLACE THAT HAS NO PLACE This performance piece examines memory and memory loss. The Piranha Shop, 1022 First Ave. S., 800-838-3006, brown papertickets.com. $8–$15. 8 p.m. Fri.–Sun. Ends April 22. PACIFIC NORTHWEST BALLET SEE REVIEW, PAGE 26. BATTLE FOR THE DANCE BELT Nine contemporary, jazz, and hip-hop troupes vie for glory, $100, and a case of PBR. Velocity Dance Center, 1621 12th Ave., 800-838-3006, facebook.com/3rdShiftDance. $5–$10. 8 p.m. Sun., April 22.

•

CORNISH.

Classical, Etc.

CONCERT SPIRITUEL Music for the rare but once-

popular combo of flute, viola, and guitar. Christ Episcopal Church, 4548 Brooklyn Ave., 633-1611, concertspirituel. org. $15–$20. 7:30 p.m. Wed., April 18. SEATTLE SYMPHONY Susanna Malkki conducts music by Ravel, Dukas, Damir Imeri, and Dutilleux (his Symphony no. 1, subject of the pre-concert lecture by SW’s Gavin Borchert). Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$110. 7:30 p.m. Thurs., April 19, 8 p.m. Sat., April 21. IL GIRELLO The Carter Family Marionettes present the oldest extant puppet opera, from 1682. Northwest Puppet Center, 9123 15th Ave. N.E., 523-2579, nwpuppet.org. 8 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends April 22. PARNASSUS PROJECT Music for violin, piano, and harp. Green Bean Coffeehouse, 8533 Greenwood Ave. N., parnassusproject.com. Free. 6 p.m. Fri., April 20. PARIS GUITAR DUO Rossini’s Barber of Seville overture, Haydn, Franck, and more. Sponsored by the Seattle Classic Guitar Society. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $25–$32. 7:30 p.m. Fri., April 20. CRAIG SHEPPARD An all-Brahms concert from this splendid pianist: the “Handel Variations,” his transcription of Bach’s Chaconne, and more. Meany Hall, UW campus, parnassusproject.com. $12–$20. 7:30 p.m. Fri., April 20. SEATTLE CHINESE ORCHESTRA Traditional and new music from this 50-member ensemble. Town Hall, 1119 Eighth Ave., townhallseattle.org. 8 p.m. Fri., April 20.

•

CHANGE YOUR EVITCEPSREP

•

ACCEPTING TRANSFER APPLICATIONS FOR FALL 2012 www.cornish.edu 800.726.ARTS admission@cornish.edu

• SEATTLE WA

• MUSIC OF REMEMBRANCE An examination of

Holocaust-era composers’ fascination with exoticism and primitivism in chamber music—a tie-in with SAM’s Gauguin exhibit. Seattle Art Museum, 1300 First Ave., musicofremembrance.org. Free. 2 p.m. Sat., April 21. BOSTON CAMERATA & DUNYA This early-music group and Turkish ensemble present “Alexander the Great: Hero, Warrior, Lover.” Town Hall, 1119 Eighth Ave., 3257066, earlymusicguild.org. $15–$40. 8 p.m. Sat., April 21. PACIFIC EXCHANGE 2012 East meets West in performances by Paul Kikuchi’s Portable Sanctuary and Oakland’s Thingamajigs Performance Group. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.blogspot.com. $5–$15. 8 p.m. Sat., April 21. SEATTLE REPERTORY JAZZ ORCHESTRA Music by Northwest musicians, like Quincy Jones. At Benaroya Hall, 200 University St., 7:30 p.m. Sat., April 21, and Kirkland Performance Center, 350 Kirkland Ave., 3 p.m. Sun., April 22. $15–$39. 523-6159, srjo.org. DZHAAN DEMENTYEVA Tchaikovsky and Rachmaninoff from this pianist. Seattle Central Library, 1000 Fourth Ave., spl.org. Free. 2 p.m. Sun., April 22. MASTER CHORUS EASTSIDE Bringing Verdi’s thunderous Requiem downtown. Benaroya Hall, 200 University St., 425-392-8446, masterchoruseastside.org. $30. 2 p.m. Sun., April 22. MUSIC NORTHWEST Debussy’s legacy, reflected in music by his aesthetic descendants: Messiaen, Milhaud, and more. Olympic Recital Hall, S. Seattle Community College, 6000 16th Ave. S.W., 937-2899, musicnorthwest. org. $16–$18. 2 p.m. Sun., April 22. SIMON TRPCESKI This pianist joins Seattle Symphony players for chamber music by Brahms, Poulenc, and others. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $35. 2 p.m. Sun., April 22. PHILHARMONIA NORTHWEST Lively dance-based music by Brahms, Dvorak, and Kodaly. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw. org. $12–$18. 2:30 p.m. Sun., April 22. HOMAYOUN SAKHI & SALAR NADER Music for rabab and tabla from these Afghan artists. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Tues., April 24.

•

• •

MEET THE AUTHOR! ANGELA DAVIS-GARDNER BUTTERFLY’S CHILD (The Dial Press)

MONDAY, APRIL 23 AT 7PM

When Benji is plucked from his home in Nagasaki to live with his American father, Lt. Benjamin Franklin Pinkerton, the family conceals Benji’s true identity as a child born from a liaison between an officer and a geisha. A sweeping portrait of America at the end of the nineteenth century and of a Japanese culture irrevocably altered by foreign influence, Butterfly’s Child is an epic tale that plays out as both a conclusion to and an inspiration for one of the most famous love stories ever told.

REE DRUMMOND

FRIDAY, FEBRUARY 24 AT 6:30PM

THE PIONEER WOMAN COOKS : FOOD FROM MY FRONTIER (Harper Collins)

Seattle weekly • APRI L 18 - 24, 2012

Accidental ranch wife and bestselling author Ree Drummond shares even more of her satisfying and delicious country cooking, with recipes sure to please the whole family, from meat-loving cowboys to finicky young ranch hands. And with widely available ingredients and step-bystep photos of each recipe, she makes it easy to cook new favorites. NO TICKET REQUIRED

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JIM LYNCH

TRUTH LIKE THE SUN (Knopf)

WEDNESDAY, APRIL 25 AT 7PM

A hugely entertaining political novel of Seattle during the 1962 World’s Fair and Seattle in 2001, after its transformation in the Microsoft gold rush. The story of the larger-than-life mastermind behind the fair, Roger Morgan, and the reporter tasked with investigating his past when he decides to run for mayor forty years later. Wonderfully interwoven into this tale are backroom deals, idealism and pragmatism, and all the aspirations that shape our communities and our lives.

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Seatt le w eekly • APRIL 18 - 24, 2012

arts»Visual Arts BY KAT CHOW

Openings & Events

@WeeklyEvents

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• BELLTOWN ART WALK Every third Thursday of the

month, neighborhood galleries (including Roq La Rue and others) and non-galleries (Yellow Leaf Cupcakes, Whiskey Bar, Pintxo, etc.) extend their hours to see work by local artists. See bedlamite.com/bawm for more info. Free. 6 p.m. Thurs., April 20. SHARON BUTLER The East Coast writer/artist will talk about artist involvement in communities. Cornish College, Main Campus Center, 1000 Lenora St., 726-5069, cornish. edu. Free. Fri., April 20, noon–1 p.m. CAPTURE The drawings and paintings of Kang-O’Higgins Atelier students are featured here in the Rosen Gallery. Opening reception 6–8 p.m. Fri., April 20. Gage Academy of Art, 1501 10th Ave. E., 323-4243, gageacademy.org. Mon.–Sun., 10 a.m.–6 p.m. Through May 13. MELINDA HANNIGAN AND DIXIE PEASLEE They present new oil paintings. Note opening reception 5–7 p.m. Fri., April 20. Fetherston Gallery, 818 E. Pike St., 322-9440, fetherstongallery.com. Opens April 20. Wed.– Sat., 11 a.m.–5:30 p.m. Through June 2. HENRY OPEN HOUSE The museum’s spring party offers a chance to experience Gary Hill’s big, intriguing, and interactive new exhibit in the basement. (Walk through the maze!) Newly opening is work by Andrew Dadson, winner of this year’s Brink award, who’ll be in attendance. Ongoing are the ceramics show Around the Bend and Over the Edge and a small selection of vintage photo portraits from the permanent collection. All are worth seeing. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $8–$10. Fri., April 20, 7–10 p.m. HUSKYFEST In a temporary pavilion erected in Red Square, see sculptural works by Beth Gahan, Celeste Cooning, and Hens & Chicks. UW campus, uw.edu/ huskyfest. April 19–21. IN FOCUS Faigin Atelier students demonstrate what they’ve learned about still-life paintings. Note opening reception, 6–8 p.m. Fri., April 20. Gage Academy of Art. April 21–May 10, 10 a.m.–6 p.m.

•

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

CEDRIC WATSON & BIJOU CREOLE

•

the UW-trained photographer, • EIRIK JOHNSON From Camps & Cabins is like two shows

now based in NYC, in one. Camps shows the improvised encampments of Northwest commercial mushroom hunters. Cabins shows the Iñupiat tribe’s seasonal hunting shelters. Opens April 19. First Thursday reception 6–8 p.m. Thurs., May 3. Artist talk 2 p.m. Sat., May 19. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 5874033, ggibsongallery.com. Opens April 19. Wed.–Sat., 11 a.m.–5 p.m. Through May 26. MY BROKEN LOOM In the Steele Gallery, see the paintings, collages, and other works of Brian Cypher, Robert Hardgrave, Jenny Heishman, and Kimberly Trowbridge. Note opening reception/lecture with Trowbridge 6–8 p.m. Fri., April 20. Gage Academy of Art. April 21–May 12. THE REDUCTIVIST SHOW David Brody, Steve Costie, Graham Shutt, Vannessa Tran, and Duane Zaloudek try to remove essential information from their drawings. Note opening reception 2–4 p.m. Sat., April 21. Prographica, 3419 E. Denny Way, prographicadrawings. com. Opens April 21. Wed.–Sat., 11 a.m.–5 p.m. Through May 26.

Ongoing

CONTEMPORARY • AUTHOR AND SUBJECT:Photographers include QUEER PHOTOGRAPHY

Adrain Chesser, Kelli Connell, Katie Koti, Molly Landreth, Steven Miller, Rafael Soldi, Chad States, Lorenzo Triburgo, Amelia Tovey, and Sophia Wallace. Photographic Center Northwest, 900 12th Ave., 720-7222, pcnw.org. Through April 27.

COLORS OF THE OASIS: CENTRAL ASIAN IKATS

More than 60 ultra-colorful ikats, the traditional robelike garment of Uzbekistan, are displayed, along with vintage and recent photos of the region and a few videos. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5–$7. First Wed., Fri.–Sun. of every month, 10 a.m.–5 p.m.; Thurs., 10 a.m.–8 p.m. Through Aug. 5. THEASTER GATES In The Listening Room, the Chicago artist has rearchived the albums from a defunct R&B record store as a kind of tribute to the Civil Rights era. Visitors are encouraged to browse through another trove of old vinyl on the floor, where turntables also invite your use. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum. org. $12–$15. Thurs.–Fri., 10 a.m.–9 p.m.; Wed., Sat., Sun., 10 a.m.–5 p.m. Through July 1.

TheFussyeye » by brian miller

Four-time Grammy-nominated Watson and his band bring the Bayou to Seattle.

April 28 8pm

Meany Hall on the UW Campus

206-543-4880 uwworldseries.org

Whatever happened to Earth Day? It’s this Sunday, April 22—remember? Established in 1970, in large part owing to Seattle’s Denis Hayes, the ecoawareness festival has somewhat faded in public awareness—along with roadside litter and leaded gas. Today recycling is routine, and the group show Reclaimed finds 10 local artists availing themselves of some unlikely castoffs. Bottle caps, candy wrappers, aluminum cans, scrap wood, plastic hangers, and kitchen spatulas—the trick to such cheap materials is to elevate and transform, to leave behind the mere message of repurposing. Adding to his Disposable Heroes series, Evan Blackwell’s latest bust is called, appropriately, Fork Head. You know those flimsy white utensils you get with takeout food, the kind that grow soft just from the steam from your wonton soup? He’s taken a few hundred of those forks, heated them, and globbed them together in a classical form. (A companion is made from those red plastic beer cups you may remember from college days.) Fork Head has only the barest suggestion of a face; and though it’s a new work, there’s something of a degraded aspect to it. This isn’t quite like a statue dug out of the ground, its visage long faded away, but the forks are also of ancient

BRIAN MILLER

Seattle weekly • APRI L 18 - 24, 2012

Ode to Forks

origin—old dinosaur bones and plant matter that existed millennia before the Greeks ever took chisel to stone. Those statues were meant to commemorate and honor great men (and a few women), but Fork Head is inherently anonymous. He’s no hero or statesman, just an emblem of our times. Tools in a system, we’re born to consume. And once broken (or broke), we have no further value to the market. Seattle Municipal Tower Gallery, 700 Fifth Ave., 684-7171, seattle.gov/ arts. Free. 7 a.m.–7 p.m. Ends June 1.

film»This Week’s Attractions

206.324.9996 | siff.net

PLAYING APRIL 20–26

511 Queen Anne Avenue North A film for PINA BAUSCH by WIM WENDERS

OSCAR® NOMINEE BEST DOCUMENTARY

Rachael Harris Matt O’Leary and Audience Award SXSW 2011

MAGNOLIA PICTURES

The Hunter: Dafoe amid Tasmania’s gorgeous scenery.

P The Deep Blue Sea

OPENS FRI., APRIL 20 AT SEVEN GABLES. RATED R. 98 MINUTES.

The first fiction feature in a dozen years from visionary British director Terence Davies is a film about love that in no way reassures that love conquers all. Plumbing disquieting depth, Deep Blue Sea interrogates the insoluble expectations of romantic love: that we can or will find every quality that we want in a single person. Lady Hester Collyer (Rachel Weisz) has left her husband, high court judge Sir William (Simon Russell Beale), and a postwar life of cultured conversation and posh fireside

comfort, to live in slummy sin with Freddie (Tom Hiddleston), an emotionally immature former RAF pilot who survived the Battle of Britain but never readapted to civilian life, and whose lovemaking has irreparably shaken the foundations of Hester’s existence. After a botched suicide attempt, Hester recalls the events that led her here, establishing the pattern of alternating between the presenttense drama of Hester and Freddie’s affair in its final dissolution—accompanied by the re-emergence of Sir William—and its history.

Force of Nature: The David Suzuki Movie OPENS FRI., APRIL 20 AT SIFF FILM CENTER. NOT RATED. 93 MINUTES.

Celebrity scientist and PBS fixture David Suzuki arrives late to the global-warmingdocumentary party with this combination of biography and filmed lecture—his last, according to the billing. Director Sturla Gunnarsson doesn’t bring much new to the form beyond a welcome unobtrusiveness and a few fleeting moments of visual elegance. Suzuki’s unimpeachable cred as a longtime climate-change evangelist and swooning regard for the natural world do give the conversation a convincing, if depressing, urgency, but what sets Force of Nature apart is the sweeping diversity of his life. Born in Vancouver, B.C., to secondgeneration Japanese-American parents, Suzuki was tossed into an internment camp as a child during WWII, participated in the burgeoning civil-rights and eco movements in the 1960s, and leveraged his nascent academic stardom into a durable gig as host of the CBC’s The Nature of Things, among other shows. Gunnarsson ably juxtaposes the septuagenarian geneticist’s personal reflections with scenes from the lecture, and Suzuki’s probing, bittersweet recollections provide genuine insight into his gift for making connections most of us could never conceive. Suzuki’s not obscure by a long shot, and the film indulges in more than a little of the preening egotism for which he’s known (or, by his conservative critics, reviled). That, however, doesn’t take away from the fact that he’s among the shrinking segment of public figures worth listening to. MARK HOLCOMB

The Hunter OPENS FRI., APRIL 20 AT HARVARD EXIT. RATED R. 101 MINUTES.

Drawing baths and listening to classical music, refined soldier of fortune Martin (Willem Dafoe) is sent Down Under by a military/ biotech firm that wants him to bring back a Tasmanian tiger. Although the crocodile-jawed creature was declared extinct in the 1930s, sightings have been reported, and the company wishes to exploit the animal’s toxin. For his mission, Martin pretends to be a university wildlife researcher, bunking in an off-road shack with two kids—the potty-mouthed Sass (Morgana Davies) and her mute little brother (Finn Woodlock)—and their mother, Lucy (Frances O’Connor), doped-up on Lexapro and other dolls for The Hunter’s first half. Based on the 1999 novel by Julia Leigh (the writer/helmer of last year’s maddeningly opaque Sleeping Beauty) and directed by Australian TV vet Daniel Nettheim, The Hunter is too many films in one: a man-against-nature thriller; a mystery surrounding the disappearance of Lucy’s naturalist husband, despised by the local loggers; a family drama centering on a loner’s transformation into a protective paternal figure. The graceful force amid all this unconvincing bustle and distracting plot buildup is Dafoe, present in every scene. But only when Martin waits alone for his prey in the Tasmanian woods are we happy to pass the time with him. MELISSA ANDERSON

P Lou Harrison: A World of Music SEE EAR SUPPLY, PAGE 28.

P Marley

OPENS FRI., APRIL 20 AT VARSITY. RATED PG-13. 144 MINUTES.

Thoroughly researched and packed with phenomenal archival footage, Kevin Macdonald’s documentary on the reggae and Rasta emissary, who died of cancer in 1981 at 36, avoids

» CONTINUED ON PAGE 35

Before the Hunger Games there was…

Battle royale

With kill count Bingo cards! Fri & Sat 9:30 / Thurs 8:00

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Back to the ’80s!

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Force of Nature:

The David Suzuki Movie

“The most convincing and fascinating argument yet heard on every person’s right to a clean Earth.” –Toronto Globe & Mail

Films4Families All seats only $4.00

Sharkwater Sat & Sun 12:00

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Seatt le w eekly • APRIL 18 - 24, 2012

LIAM DANIEL/MUSIC BOX FILMS

A not-brief-enough encounter: Hiddleston and Weisz in The Deep Blue Sea.

In a richly symphonic work, Davies and his cast create the rare triangular affair where every side of the triangle is drawn with equal care and sympathy, where each party’s hopes—and their disappointments—are eloquently understood. NICK PINKERTON

natural selection “A wild road-trip odd-couple romp, a pitch-perfect satire and, above all, the best sort of comedy.” –New York Magazine

“ ‘ MARLEY ’ IS SURE TO BECOME THE

DEFINITIVE DOCUMENTARY ” ON THE MUCH BELOVED KING OF REGGAE . – Jordan Mintzer, HOLLYWOOD REPORTER

“

FASCINATING.

See it in a theater, and sit on the aisle so you have plenty of room to dance”.

– Michael Calore, WIRED

“

GRADE A-. DEEPLY ENTRANCING.”

– Owen Gleiberman, ENTERTAINMENT WEEKLY

OFFICIAL SOUNDTRACK AVAILABLE NOW ON 2CD & 3LP

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Seattle weekly • APRI L 18 - 24, 2012

SEATTLE WEEKLY WED: 4/18 2 COL. (4.83”) X 5” ALL.MAR.0418.SW

4 COLOR “Sleeper of the year! Really funny. I didn’t fall asleep once.” –– Mel Mel Brooks Brooks FUSION FILM GROUP and PHOENIX BOOKS & FILM present a Red Eye Production RACHEL BLANCHARD JAMES D’ARCY in “OVERNIGHT” Starring GBENGA AKKINAGBE MAZ JOBRANI MOUSA KRAISH JOSH BRAATEN and ANTHONY LaPAGLIA as The Pilot Music by ALEX WURMAN Sound Supervisor GARY COPPOLA Production Designer NAVA Costume Designer CHRISTINE PETERS Director of Photography BRUCE DOUGLAS JOHNSON Executive Producers PAUL KLAPPER DWIGHT OPPERMAN JULIE CHRYSTYN Produced by MICHAEL GRUSKOFF DAN GRODNIK MICHAEL VINER and HOWARD ZUKER Written and Directed by VALERIE BREIMAN BEST PICTURE

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This Week’s Attractions » FROM PAGE 33 (until the closing credits) oversimplified one-love-praise-Jah sloganeering. Marley is a rousing tribute to a mesmerizing performer that forgoes blind hero worship. Macdonald interviews 60 people on three different continents, many of whom remain entranced by the singer’s talent and charisma. But a few harbor resentment: Long-reclusive Bunny Wailer, Marley’s bandmate in the Wailers from 1963–74, still bristles when recalling Bob’s willingness to go along with Island Records founder Chris Blackwell’s “exploitative” practices. Others refuse to take the bait. When Rita Marley is asked how she felt about her husband’s infidelities—Bob had 11 children from seven different relationships—she smiles and notes that she had loftier matters to consider. “It was like an evangelical campaign,” she says of touring with her spouse as a member of his all-female backup group. The film’s most fascinating talking head, Rita also has perplexing thoughts on Bob’s biracial makeup. Of the melanoma found on her husband’s toe in 1977, she avows “it was the whiteness in him” that caused it. Whiteness, in a way, did bedevil Marley, who was always puzzled by the lack of black audience members at his sold-out concerts, especially in the U.S. Yet footage of Marley performing reveals the fervor of the “evangelical campaign” Rita remembers. Onstage, Marley is transcendent, enraptured. The mood is mystical, never mellow. MELISSA ANDERSON

Overnight OPENS FRI., APRIL 20 AT MERIDIAN. RATED R. 84 MINUTES.

If you’re going to trap the leads of a romantic comedy on a red-eye flight from L.A. to New York, the script had better be pretty damn funny or the stars pretty darn charismatic. Or, ideally, both. Writer/director Valerie Breiman has surely seen Airplane! a few times and understands our expectations.

Unfortunately, in a film that barely deserves its R rating, her sensibility is closer to Garry Marshall than Zucker-Abrahams-Zucker. Jenny and Tom (Rachel Blanchard and James D’Arcy) meet cute, both on the rebound, and strike up one of those weirdly intimate and confessional in-flight relationships that I suspect exist only in movies about flying, not in the actual dismal experience of modern air travel. Around them are a few supporting players (including Anthony LaPaglia as a surly pilot) who behave in predictably unpredictable ways. Meanwhile, Jenny and Tom cycle through what she calls “a super-accelerated Twilight Zone relationship.” During its dull course (suspicion, attraction, hookup, jealousy, etc.), we keep waiting for a gremlin to attack the wing of the aircraft, as in the actual Twilight Zone. Or for a crash or a hijacking— anything, in other words, to veer our lovers off the familiar flight plan. You can’t fault Blanchard and D’Arcy (the latter recently seen as King Edward in Madonna’s folly W.E.), though when their characters briefly interrupt the airborne romance to watch an old Bob Hope/Bing Crosby Road movie on DVD, you wish you could, too. BRIAN MILLER

Surviving Progress RUNS FRI., APRIL 20–THURS., APRIL 26 AT VARSITY. NOT RATED. 89 MINUTES.

Right from the start, this documentary lets viewers know there will be no easy answers to the questions it’s posing, as the opening query, “What is progress?” leaves some of the world’s most agile minds at a loss for an answer. Co-directed by Mathieu Roy and Harold Crooks, Surviving Progress is a sort of mixtape of various red-flag documentaries released over the past several years warning of irreversible ecological damage, looming food and water crises, the malfeasance of the powers that be, and how Earth and its inhabitants are generally on the brink of catastrophe. That’s not to say that the film is pure rehash. As the filmmakers trace the evolution of the concept of debt, the ways in which technology

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both created and destroyed empires (Greek, Roman, Mayan) throughout history, and how the 1 percent have hoarded and controlled resources since we left the caves, the film trots out a who’s-who of great thinkers—Jane Goodall, Stephen Hawking, Margaret Atwood, assorted scientists and historians—who are riveting as they walk us through the question of whether we will or can survive progress. The anticapitalism prognosis is grim, and the hope offered is slim indeed. ERNEST HARDY

The Turin Horse RUNS FRI., APRIL 20–THURS., APRIL 26 AT NORTHWEST FILM FORUM. NOT RATED. 146 MINUTES.

In the first image of The Turin Horse, a coachman with the face of a Biblical patriarch (János Derzsi) drives his horse into the teeth of a gale. He arrives home to a forlorn, forgotten valley where the remainder of the film takes place. His daughter (Erika Bók) helps him unhitch the horse, undresses her father, puts him into house clothes—we notice then that one of his arms is lame—lugs well water, and prepares their dinner of one boiled potato each, which he eats with joyless animal ravening. When there is a lull in the daily chores, they take turns staring out the window and

Surviving Progress: The booming skyline of Chongqing, China.

watching the incessant tempest blow. We will watch them repeat these domestic rituals with variations in camera choreography and performance in what seems like taxing real time, through the six largely housebound days that make up The Turin Horse—six days being enough to suggest the infinite loop, the interminable, trudging, dray-horse life that has preceded what we see. A film of stark, silvery, daguerreotypic beauty, the latest from Béla Tarr, the Hungarian patron saint of slow cinema, is an experience comparable to starting down the road with an empty sack, then, over the course of the journey, having it weighed down steadily with rocks until you can’t go any farther. This cannot be considered an artistic failure, as it’s exactly what Tarr is going for. NICK PINKERTON E film@seattleweekly.com

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Seatt le w eekly • APRIL 18 - 24, 2012

THAT I COULDN’T LOOK AWAY FROM .”

film» BY BRIAN MILLER

Local Film • AMERICAN GRAFFITI Even if George Lucas had

retired after making this warm yet melancholy portrait of small-town teens, and never filmed any of the Star Wars pictures, he’d be considered an important American director. There’s an intense, jukebox-scored nostalgia for the cruising, girls, and cars of his Modesto, Calif., youth. The 1973 film takes an affectionate look back to an innocent age, with JFK in the White House, no beatniks in sight, and the Vietnam War only mentioned in a postscript. Yet, like the teenagers in The Last Picture Show, all Lucas’ characters are uneasily looking ahead. The main couple (Cindy Williams and Ron Howard) contemplates a break up after high school. The college-bound introvert (Richard Dreyfuss) reconsiders his East Coast ambitions. The nerd (Charles Martin Smith) hopes a borrowed car will land him a girl; and the local drag-strip hero (Paul Le Mat) begins to sense the small future to such dusty acclaim. Everyone’s T H I S CO D E groping toward a catastrophe TO DOWNLOAD THE FREE of sorts, whether it be war, SEATTLE WEEKLY the ‘60s, or the crushing IPHONE/ANDROID APP weight of adulthood. (Never FOR MORE FILM OR VISIT have the words “insurance seattleweekly.com agent” sounded so sad, when Howard’s fate is revealed.) “We can’t stay 17 forever,” says one kid. But for one long last summer night, Lucas lets them remain that way. (PG) BRIAN MILLER SIFF Film Center, $5, Fri., April 20, 9:30 p.m. BATTLE ROYALE OMG! Have you seen The Hunger Games? Now is a good time to trot out the 2000 Battle Royale, directed by the veteran director Kinji Fukasaku, who’s kind of like the Sam Peckinpah of Japan. Only here we have ninth graders, not cowboys, battling to the death on a remote island—yes, something like Lord of the Flies. The film’s nutty premise has these sweet-faced, uniformed schoolkids try to slay one another until only one winner remains. But unlike Hunger Games (or Rollerball or Gladiator, for that matter), entertainment isn’t the point to this carnage-ridden spectacular. There are no cameras to relay the allegiances, betrayals, and gore to a

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viewing audience. Instead, the blood sport is meant as a cautionary, punitive example against disobedient youngsters. Even if it lacks a coherent ending, the blackcomedic Battle brilliantly escalates the hair-trigger volatility of adolescent emotions. (NR) BRIAN MILLER SIFF Cinema at the Uptown, $5-$10, Fri., April 20, 9:30 p.m.; Sat., April 21, 9:30 p.m.; Thu., April 26, 8 p.m. ROBERT BREER: VISIONS IN MOTION The late avant-garde filmmaker (1926-2011) is represented with shorts made from the 1950s to the past decade. Sixteen titles include work made in stop-motion animation and found-film collage. Writing on Breer in 1965, Village Voice critic Jonas Mekas praised the filmmaker’s “cinema of happiness,” noting “we look at Breer’s work and we begin to smile.”(NR) Northwest Film Forum, $6-$10, Wed., April 18, 7 p.m. BUFFALO ‘66 Vincent Gallo showed some promise in his 1998 debut as a director. He also stars as an ex-con who kidnaps a girlfriend (Christina Ricci) to impress his parents. There are moments of unexpected humor and volatility to the film. But, apart from his Brown Bunny feud with Roger Ebert, Gallo hasn’t really merited any headlines since. Call for showtimes. (R) Central Cinema, $6, April 21-23. GHOST WORLD Comic books that inspire good movies are generally in the mold of Batman or X-Men, full of action, sex, and color. The 2001 challenge for Crumb director Terry Zwigoff was to make his first non-documentary feature out of Daniel Clowes’ comic book series, which is essentially about the inner lives of cynical, discontented teenage girls. It’s a goal imperfectly realized, one that respects its caustic but fragile characters (Thora Birch and Scarlet Johansson) but comes off wan and episodic. Absent a strong narrative, a graphic novel allows readers to dwell over the drawings; here, we chuckle with the teens about the freaks they encounter on an ugly, generic streetscape without ever feeling engaged with their wanderings. Tacky convenience stores, porn shops, and flea markets—what’s the point to ragging on such squalor? No matter how their soulless environment reflects their anomie, the girls don’t make us care. Call for showtimes. (R) BRIAN MILLER Central Cinema, $6, April 20-22.

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IMPROVISED MUSIC AND EXPERIMENTAL FILM:

Local musicians sync up their ad-lib scores to shorts by area filmmakers. (NR) Northwest Film Forum, $6-$10, Thu., April 19, 8 p.m. KING FOR TWO DAYS This hour-long recent doc chronicles a two-night stand in Minneapolis, organized by drummer Dave King, in which he anchors five ensembles playing improvised jazz. Early scenes of his home life, plus his small daughters wandering around the rehearsals, hint at biography, but we’re left knowing little about him beyond backstage banter and music. If you’re already familiar with The Bad Plus, Happy Apple, Buffalo Collision, Golden Valley Is Now, and The Dave King Trucking Company, snippets of their performances will intrigue. But King for

MARTIN SCORSESE THE CORPORATION

FROM EXECUTIVE PRODUCER & THE FILMMAKERS OF

“A thought-provoking, brilliAntly crAfted film Seattle weekly • APRI L 18 - 24, 2012

about nothing less than the history of the modern world and the fate of civilization.” -Montreal Hour

Two Days isn’t really for beginners. The music isn’t exactly inviting (without easy melodies to follow), and the players are expected to interrupt one another. Says King, “There’s no polite anything in these bands.” Musicians, he says, “need to welcome someone getting in your way.” He’s a bald, charismatic, tattooed Twin City hipster and family man, and his personality infuses the friendly rivalry of the performances. You’d like to know him better, even if you’re not certain about the music. (NR) BRIAN MILLER Grand Illusion, $5-$8, April 23-26, 9 p.m. KUNG FU GRINDHOUSE Screened in series will be The Dirtbike Kid, Battle Wizard, and The Devil’s Sword. 21 and over. (NR) Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com, Free, Mon., April 23, 7 p.m. HUGHES AFRICAN AMERICAN FILM • LANGSTONRelocating back to its titular and renovated FESTIVAL

hall, this nine-day fest includes features, docs, and a variety of short-film packages. Documentary subjects include capital punishment in Florida, black kids at a mostly white prep school, and hip-hop music in Congo. See langstonblackfilmfest.org for full schedule. (NR) Langston Hughes Performing Arts Center, 104 17th Ave. S., $5-$8 (individual), $50 (pass), Through April 22. MEGACITIES NWFF begins a Michael Glawogger retrospective with his 1998 doc about uncontrolled urban growth. He’ll attend the screening, along with Wednesday’s Working Man’s Progress (also at 8 p.m.). His latest, Whore’s Glory, we’ll review next week before its April 27 opening. (NR) Northwest Film Forum, $6-$10, Tue., April 24, 8 p.m.; Wed., April 25, 8 p.m. REPO MAN There are certainly worse ways to spend an evening than driving around with Emilio Estevez and Harry Dean Stanton in this 1984 punk comedy. Not yet a member of The Breakfast Club, Estevez is suitably blank as the L.A. teen who stumbles into the auto repossession trade, and Stanton is suitably sage as the geezer who mentors him. Englishman Alex Cox made a big impression with this shaggy satire of La-La Land losers; unfortunately, his cantankerous career really tailed off after Sid and Nancy. Despite the film’s famous tagline in Stanton’s gutter-existentialist monologue (“ . . . ordinary fucking people, I hate ’em”), Repo Man is actually quite warm in its view of humanity. That affectionate spirit is embodied, of course, by Tracey Walter’s gentle, alien-seeking soul, who alone can drive that fateful 1964 Chevy Malibu. Then there’s the soundtrack: Iggy Pop, Black Flag, Suicidal Tendencies, the Circle Jerks, and those great pioneers of punk, The Andrews Sisters. (R) BRIAN MILLER SIFF Cinema at the Uptown, $5-$10, Tue., April 24, 7 p.m. SCIENCE FICTION FILM FESTIVAL SEE THE WIRE, PAGE 25. SERENITY This 2005 sci-fi Western by Joss Whedon (The Cabin in the Woods, The Avengers) is a brainy valentine to fans of Firefly, the short-lived TV show on which it’s based. A gaggle of tough-talking, gunslinging space cowboys (and -girls) rocket through the 26th-century cosmos, pilfering cash from the sinister Alliance and sometimes swearing in Chinese. (Wanna know why? Ask a fan.) They’re led by Nathan Fillion, who’s joined by most of the original TV cast. Whedon has long excelled at elevating such material to unexpected heights, mostly through sharp casting and a droll, high-minded approach to genres still widely dismissed as lowbrow. Confused neophytes may find solace in several witty fight scenes, a Whedon trademark, in which the jabs exchanged are alternately verbal and physical. And though Serenity is a bit too cerebral for its own good, that same quality lifts it above the vast majority of sci-fi flicks. (PG-13) NEAL SCHINDLER Egyptian, $8.25, Fri., April 20, 11:59 p.m.; Sat., April 21, 11:59 p.m. SEVEN BEAUTIES From 1975, Lina Wertmüller’s WWII drama stars Giancarlo Giannini as an Italian army defector who winds up in a concentration camp. Pasqualino is a scoundrel and a crook who, in his efforts to survive, compares favorably to all those around him. (NR) SIFF Film Center, $5-$10, Wed., April 18, 7 p.m.

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NOIR

STARTS FRIDAY, APRIL 20Th ONE WEEK ONLY! More at www.FirstRunFeatures.com

Fri-Sun: 2:30, 4:30, 7:00 & 9:15PM Mon-Thurs 7:00 & 9:15PM

undeniably charming homage to old • THE ARTISTTheAnArtist might be the first silent film many

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STREET: THE BEST OF BRITISH FILM • SHADOW SAM’s noir series continues with They Made Me

A FILM BY MATHIEU ROY & HAROLD CROOKS

Ongoing

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With Margaret atWood, Jane goodall, Stephen haWking and more

photo shoot. With the help of a boozy neighborhood group that gathers to vent rage against what is apparently a local epidemic of pedophilia, the family runs the neighbor out of town. Mom then takes up with the group’s leader, who forms a bond with pretty-boy son Jamie. Jamie, of course, thinks he’s doing good by abetting this self-appointed moral vigilante. He’s not. Director Justin Kurzel’s m.o. seems to be to leave the audience in the dark regarding the depths of evil in Snowtown for as long as possible. The climate of confusion might be a way of making tangible Jamie’s mental state, which is casually revealed late in the game to be clinically awry. But this slog adds up to nothing other than the shocking truism that average people will do horrible things primarily because someone tells them to. (NR) KARINA LONGWORTH Grand Illusion, $5-$8, Fri., Sat., 11 p.m. VHS VARIETY SPECIAL Clerk/curators from Scarecrow present an evening of video oddities. (NR) Grand Illusion, $5-$8, Sat., April 21, 9:30 p.m.

a Fugitive (1947), with Trevor Howard as an ex-WWII pilot who joins a gang of smugglers, then gets famed for murder. Busting out of jail, he seeks revenge. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleart museum.org, $53-$59 series, $8 individual, Thurs., 7:30 p.m. Through May 24. SNOWBEAST This Jaws ripoff from 1977, about a bloodthirsty sasquatch terrorizing a ski town, has new dialogue ad-libbed by local comics. The screening begins a new “Dubble Feature” series of film/improv events. 21 and over. (NR) Can Can, 94 Pike St. 652-0832, thecancan.com, $5, Sun., April 22, 10 p.m. THE SNOWTOWN MURDERS Based on real crimes that occurred in Snowtown, Australia, in the late 1990s, The Snowtown Murders is a dull thriller of ultra-bleak withholding. Elizabeth goes out and leaves her three sons with a male neighbor who coaxes the boys into a nude

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Hollywood, of its viewers have ever seen. French writer-director Michel Hazanavicius’ film opens in 1927, when preening matinee idol George Valentin (Jean Dujardin) is still the top draw at Kinograph Studios. George acts as a mentor to Peppy Miller (Bérénice Bejo), a chorine with big ambitions. Borrowing heavily from A Star Is Born, The Artist tracks both Peppy’s ascent (through amusing montage) and George’s decline as he refuses to acknowledge synchronized sound as more than a passing fad. By 1932, Peppy’s attracting lines around the block for her latest, while George spends his afternoons passed out on a barroom floor, his Jack Russell terrier his sole remaining fan. Or so he thinks: Peppy has never forgotten him, and the film’s concluding act restores The Artist’s buoyancy. (PG-13) Melissa Anderson Metro JIRO DREAMS OF SUSHI Tucked away in the basement of a Tokyo office building, Sukiyabashi Jiro seats only a handful, boasts three Michelin stars, and is presided over by renowned 85-year-old sushi chef Jiro Ono. For tens of thousands of yen, you can get a taste of the craft he has been tirelessly honing since the age of 10. This is, of course, a calculus apt to explode the mind of even the most casual gourmand, and the foodie set is well taken care of in director David Gelb’s portrait. Gelb documents many of Jiro’s unorthodox methods in the kitchen, but significant screen time goes as well to Jiro’s relationship with his sons. Gelb might flit around a bit too much, but his appealing documentary always comes back to its subject’s determination (sometimes overbearing) to leave the most meaningful possible legacy to his family and his craft. (PG) Benjamin Mercer Egyptian THE KID WITH A BIKE Cyril (Thomas Doret), a scrappy 11-year-old living in an urban orphanage, flees school in an attempt to track down both his deadbeat dad (Jeremie Renier) and the bike he left at his dad’s house. On the lam, Cyril carelessly crashes into Samantha (Cecile de France), a hairdresser, and impulsively asks her to be his foster mom. In what plays within Jean-Pierre and Luc Dardenne’s understated naturalism as a shocking twist, she agrees. In placing an unformed boy in limbo between an angelic godmother and teen hooligans in the woods, The Kid becomes a fairy tale. It seems to unfold in a different world than that of previous Dardenne films, one with a wider range of spiritual and practical possibilities. It’s still a version of the filmmakers’ constant inquiry into moral consciousness, but on a new path and with a new destination—a tentative happy ending. (PG-13) Karina Longworth SIFF Cinema at the Uptown

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

Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-6365601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 2675380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema at the Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996.; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

food&drink»

Simply the Nest

The Fat Hen mimics a farmhouse, imperfections and all.

By HaNNa RaSkiN

Joshua huston

obody knows how many city dwellers are now keeping chickens in their backyards, but the consensus among feed dealers and coop builders is that the number hovers somewhere between a lot and a jillion. Backyard Poultry confidently prints 100,000 copies every other month, sharing spongecake wisdom and reassuring the occasional worried black Silkie owner that an errant swallow of leg-mite medication won’t make her hen an alcoholic recluse. Hatcheries equipped to sell upward of 1.5 million chicks a year are struggling to stay ahead of demand. “It’s not a question of are you going to get chickens, but when are you ready to get chickens,” urban-chicken advocate Owen Taylor last year told Good Morning America. Equally attractive to locavores, libertarians, and families looking to trim their grocery bills, a laying flock allows eaters to live the bottles—all appear to have been painted with agrarian dream writ minuscule. The owner of Tom Sawyer’s brush. No wall hangings or a few birds can claim the “farmer” label withother stray design elements interfere with out ever having to wear overalls, worry about the pristine Country Living look. The tidy the weather, or beg a banker for another loan. aesthetic even extends to the staffers: “I guess But the dinky size of most backyard poultry I shouldn’t wear white to work,” fretted a operations also has its drawbacks: When a server in a farmer’s-daughter blouse. farm consists of a metal coop and a garden hose, there’s typically no big house with a wraparound porch and a sunlit kitchen for he blouse made it safely through whipping up fresh-from-the-nest breakfasts. the first few hours of brunch serEnter The Fat Hen, a daytime cafe for the vice, a miracle attributable partly to the shipshape character of The Fat urban-chicken crowd. The restaurant doesn’t Hen’s weekend menu, dominated by poached actually source its eggs from neighborhood eggs, baked eggs, granola, salads, toast, and coops—its baked goods and Benedicts are jam. During the week—just Wednesday made with eggs from Costco—but the winthrough Friday—the choices are supplemented some room perfectly exemplifies the idyllic with an array of vegetable and pork-based vision of rusticity that compels Ballardites to sandwiches served on slender baguettes. study up on chicken breeds. The baguettes have more crust than chew, Nestled in a bricked storefront across the so they function well as an envelope for street from established culinary powerhouses Delancey and Honore Artisan Bakery, The Fat softer, sloppier fillings, such as squishy meatballs in tomato sauce. The polpette sandwich Hen is expansive only in name. With a quaris made with pork and Grana Padano instead tet of counter stools facing the window and of chicken and Parmigiano, but the ingredient as many tiny marble-topped tables on either swaps don’t immediately side, the restaurant’s proporregister since the pork’s tioned for munchkins, a realsaltiness overwhelms the ity that becomes apparent on » price guide LentiL saLad ............ $8.50 cheese’s subtlety, and everybusy weekends when every Bostock ............................ $9 thing’s pretty well-plastered seat’s taken. (Best to leave PoPeye ................................ $8 Pork sandwich ............ $8 with sauce. It’s a decent your newspaper at home, egg sandwich................ $9 Italian sub. and hope the folks at adjaOther sandwiches miss the cent tables do the same.) Yet mark, including a weave of sweet roasted red when crowding isn’t an issue, the scale only peppers, sliced wide as checkerboard squares, adds to the restaurant’s overall adorableness. and inexcusably dry pulled pork shoulder While previous tenant A Caprice Kitchen from which no amount of vinegar could rouse bedecked the room in dark tones, The Fat any flavor. The meat’s a joyless version of Hen is as white as a milkmaid’s laundered texture, like puffed rice in a candy bar. pinafore. The wooden floors are pretzelIf you must have something that doesn’t brown, but the paneled walls, plastic chairs, belong on a breakfast table, the better choices kitchen counter, and a freestanding bookare located in the soup-and-salad column. case—lined with glass jars and seltzer

The optimal environment for devouring eggs.

with brioche, the Bostock is supposed to feature orange syrup, almond cream, and fruit preserves. But my hard-edged serving came with a fat clown’s ruffle of piped whipped cream and a dollop of marmalade. If the dish wasn’t exactly as advertised, however, it wasn’t terrible either: The pastry’s sweet, eggy center was terrific. A few years ago, The Washington Post conducted a test of backyard eggs, and concluded that they taste exactly the same as eggs bought

The winsome room perfectly exemplifies the idyllic vision of rusticity that compels Ballardites to study up on chicken breeds. at the grocery store. But thousands of urban farmers would tell you otherwise. They’d say the eggs shimmied out from beneath their chickens are cleaner and richer. I suspect much the same phenomenon is at work at The Fat Hen. The food isn’t flawless, but the fetching farmhouse decor—and knowing the restaurant’s a product of its neighborhood— helps make everything taste slightly better. E hraskin@seattleweekly.com

Seatt le w eekly • APRIL 18 - 24, 2012

There’s always a beef stew simmering, and a second soup changes daily. Savory whitebean chowder fulfilled the promise inherent in my first fertile spoonful, brimming with onion and fatty bits of ham hock. A tad more elegant, but equally porky, was a warm salad made with sturdy gray-green French lentils, pancetta, and thin crescents of celery. Dressed with a cheeky mustard vinaigrette, the peppery salad had a sophistication that legumes can sometimes undermine. Still, the main plot is breakfast, and breakfast here means eggs. The Fat Hen serves five different baked eggs, shoehorning meats and cheeses into shallow oval dishes rushed from the broiler to the table. It took a few minutes for my Popeye—made with a shower of strength-inducing diced spinach and pools of tangy smoked mozzarella—to cool so I could eat it. But while time can make a plate cool again, it can’t restore an egg yolk: The two eggs cracked over the greens were cooked until their centers were stiff and waxy, depriving the dish of moisture it badly needed. A guest at a nearby table solved the problem with a healthy dousing of hot sauce. The egg on a straightforward Englishmuffin sandwich was equally overcooked, a rubbery counterpart to a slice of salty Canadian bacon. But the sandwich’s undoing was the homemade muffin, inexplicably dressed with far more white flour than it needed to prove its in-house origins. The distasteful blanket of flour clung to the muffin despite attempts to shake it off and scrape it away. Too often at The Fat Hen there’s the sense that the customer is the first person to scrutinize a dish. The restaurant’s been immensely popular since it opened, and the kitchen may just be too tuckered out to bother with niceties like not burning the French toast. Made

The FaT hen 1418 N.W. 70th St., 782-5422, thefathenseattle.com. 7:30 a.m.–2:30 p.m. Wed.–Fri., 5–9:30 p.m. Fri., 8 a.m.–3 p.m. Sat.–Sun. 37

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food&drink»Featured Eats

af e R idge C inne y h pe P p o s ’ m Sh M ae

$ = $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.

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This airy, split-level South Lake Union spot offers a long list of satisfying burgers and burger-substitutes (veggie, chicken, and King salmon). True hedonists will skip the main course and head straight for the onion rings: deep-fried circles of sin made with fat, slices of red onion encased in a pillowy batter. Four of these plus a creamy shake (nine flavors!) add up to a meal in itself. $ 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. $$-$$$ CUOCO 310 Terry Ave. N, 971-0710. Tom Douglas— who’s done the pizza thing at Serious Pie and perfected pretzels for Brave Horse Tavern—rolls out his pasta schtick for Cuoco, an upscale Italian restaurant that

Ice C

trusts its patrons won’t be scared off by duck gizzards or uneasy with an all-Italian wine list. Many of the pastas are stupendous, but the portions and prices are wildly out of whack. Paying for bread is a mild inconvenience when the bread’s so masterful, but it’s harder to justify paying $14 for a plate of a dozen puny gnocchi. $$$

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kids are tired, grumpy, and hungry, you need food fast. But fast food is awful. The solution? Tasty sushi on a conveyor belt. If the sweet inari sushi, delicious tamago, or rich California rolls don’t pacify the kids, the anime film loops projected on the wall will. Cream puffs or mochi ice cream finish the meal with a flourish. When it comes time to pay, the kids love dividing the different colored plates into piles to figure out your tab. Now if they could only do something about the lines of people waiting to get in . . . $ 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. $$ COSTAS OPA GREEK RESTAURANT 3400 Fremont Ave. N., 633-4141. Avgolemono (“egg-and-lemon”) soup is to Greek comfort cuisine what chicken broth is to American. Better than your average Greek restaurant at providing tangy, creamy goodness is Fremont stalwart

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tasting a little like marionberry pie. The place rotates a trio of wine kegs, stocks dozens of bottles, and offers a solid menu: Bright spots are the perfectly seasoned broccoli and pillowy flatbread with kicky sausage, mozzarella, and a pile of dandelion greens. Black Bottle Postern markets an unpretentious ambience with shareable plates and well-picked pours. While downtown Bellevue might never be able to sustain an authentically easy-breezy gastro-tavern, the smartly priced menu and accessible wine list here invite repeat visits. E food@seattleweekly.com

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Seatt le w eekly • APRIL 18 - 24, 2012

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The Watering Hole: Black Bottle Postern, 919 Bellevue Way N.E., 425-223-5143, BELLEVUE The Atmosphere: Black Bottle’s original Belltown location is moody, quaint, and sexy. Its Bellevue digs on the ground floor of Avalon Towers are polished and pretty. Fine touches fit the aesthetic of its older sibling: fresh flowers, a fireplace, rustic wood floors. But this refined Eastside locale smartly blends into downtown Bellevue, with its chain restaurants, busy mall, and J. Crew–adorned couples strolling the strip. The Barkeep: Steve Beck is fresh on this job, but an industry vet. He’s worked as a corporate trainer for more than 20 restaurants, and was most recently on the staff at Sky Ultra Lounge. A wine rep he worked with at Sky recommended the Black Bottle gig. “This is one of the best places I’ve worked,” he says. Friendly and professional, Beck took notes as we chatted, then moved through the dining room with ease, trotting between tables and the bar. The Drink: Rejecting two empty glasses after close inspections up to the light revealed spots, Beck succeeded in pouring his current favorite red, the Benton-Lane Pinot Noir from Oregon’s Willamette Valley. He likes it because it’s light, not too complex, and pairs well with seafood— especially his current dish of choice, the sevenspice shrimp. The Verdict: Sure, Black Bottle offers a dozen beers on tap and a full bar. But it would be a small crime not to opt for a couple of glasses of wine. The pinot was clean and pleasing,

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n Curtiss invites you to celebrate in style the new Volterra Drawing Room. »Featured Eats food&drink

Costas Opa. The restaurant is open for two square like it was decorated by recent college grads, and the meals on weekdays, and three on weekends, comfortmenu is still small and inspired by seasonal, local ingrediably morphing from diner to Greek restaurant and back ents (check the Web site for the list of purveyors). Typical again. $ entreés might include pappardelle ribbons with a deep EL CAMINO 607 N. 35th St., 632-7303. The yellow-walled tomato-rabbit ragu and seared salmon with glazed beets. bar of this glitzy Fremont nightspot is bright and cheery, The laid-back atmosphere is fostered by service that is staffed by jokey, genial bartenders, with a pretty, friendly and attentive without being cloying. $$ uisine romantic little patio attached. The margaritas (tart, INTERNATIONAL DISTRICT hand-shaken, generous, and $5 during happy hour, with DUK LI DIM SUM 664 S. Weller St., 340-6122. Just around premium beers at $3) are worthy of their popularity, ski the corner from the crowded dim sum powerhouse Jade but service and food might not meet expectations. Best Garden, Duk Li Dim Sum stands on its own as a quick, bets are grilled steak tacos or the salmon glazed with inexpensive, and satisfying dumpling haven. Though tamarind and served with sauteed greens. Try the abunthe menu selection might be limited, Duk Li Dim Sum dant premium tequilas in a sampler (half a shot of three ts still has all the dim sum favorites like shu mai, Chinese different tequilas). $$ ROXY’S DINER 462 N. 36th St., 632-3963. At Roxy’s, the broccoli and steamed dumplings. The fast and attentive has• enough meat for about nine of its kind, plus service—and low prices—makes this tiny restaurant 206 789 5100 7 Ballard AveReuben NW piles of kraut and just the right amount of sweet dressing even better. $ • www.volterrarestaurant.com KING’S BARBECUE HOUSE 303 12th Ave. S., 720-4715. and tangy cheese. Grab a stack of napkins, roll up your rrarestaurant.com This place is the very definition of unassuming. One sleeves, and get to eating. Roxy’s Reuben is impossible room. One counter. One sidewalk window—on the other to eat without dropping half of it on your shirt, so wear side of which glistening golden chickens and ducks something that goes well with Thousand Island. And get dangle from hooks, ready to be yanked down, hacked something to drink with that sandwich—there’s a full bar, to bits, and served over rice. That’s it. No sides, no and mimosas and peach bellinis are $2. $ distractions. Get your dessert somewhere else. $ GEORGETOWN MANEKI 304 Sixth Ave. S., 622-2631. Sometimes you love KAUAI FAMILY RESTAURANT 6324 Sixth Ave. S., a restaurant for a particular dish. Sometimes you love it 762-3469. Nobody’s serving fruity drinks with umbrellas because the fry cook is a genius or one of the bartenddown in Georgetown, because Kauai Family Restaurant ers is hot or because the kitchen always seems to make is not a Polynesian lounge. It’s where expat islanders your riblets just right. Once in a while, though, a restaucome for plate lunch: two scoops rice, one scoop rant comes along that you love because it defines an mac salad, plus down-home versions of loco moco, entire neighborhood or city. Maneki is one of those—a ginger crispy chicken, adobo, and lau lau (pork and unique place that has transcended mere goodness and butterfish wrapped in taro leaves and steamed). Ignore become a kind of culinary landmark, woven indelibly the teriyaki-style Hawaiian barbecue; the kalua pork— into the genetics of the Seattle restaurant scene. Open slow-roasted for eight hours in owner Peter Buza’s for more than a hundred years, Maneki offers certain recreation of a pit oven—comes out smoky, tender, and plates and presentations obtainable nowhere else in shredded, the closest thing to North Carolina BBQ you’ll the entire area. It’s an idiosyncratic place, and tends get in the West. Come on Saturday morning and you can to inspire strong feelings in those who either love it grab a bag of malasadas, eggy Portuguese doughnuts. $ for the weight of its history and the talent in its kitchen or hate it simply because they don’t get what the big GREENWOOD & PHINNEY RIDGE deal is about just another Japanese restaurant in a city STUMBLING GOAT BISTRO 6722 Greenwood Ave. N., bursting with them. We are firmly in the former camp, 784-3535. This unassuming little bistro has made the and can see Maneki acting like church to our heathen reputation of three sustainability-minded chefs (Crow’s asses—a place to be absolved of certain culinary Craig Serbousek, the Corson Building’s Matt Dillon, and sins by eating as close to the root of one of the world’s Emmer & Rye’s Seth Caswell), and under chef Joshua great mother cuisines as you’re going to get without a Theilen it’s poised to stay the course. The room still looks passport and a plane ticket. $

uring Happy Hour Monday - Friday 4:30-6:30pm Michelle would also like to feature the "Best of" bug/logo in the ad from 2010. (They won Best Southern Italian last year.) nks!

ALittLeRAskin » by hanna raskin

Halal Yeah!

hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

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There are nearly 100 halal restaurants around Seattle, but a spokesperson for the Islamic Food and Nutrition Council of America (IFANCA) says interest in halal certification is now percolating even in U.S. cities without significant Muslim populations. “What we are hearing overwhelmingly is that this market is so huge, and people are just beginning to appreciate the opportunities,” says IFANCA development director Asma Ahad, who recently addressed a meeting of corporate chefs and food scientists. Ahad cited Cabot Creamery Cooperative, a Vermont-based dairy best known for its cheddar, as an example of a company which proactively pursued halal certification. Partly in response to projections showing American Muslims would outnumber American Jews by 2010, Cabot obtained its certification in 2003.“They can’t exactly say what halal contributed, but they’ve seen a double-digit increase in sales since then,” Ahad says. There are nine million Muslims in the U.S., and IFANCA estimates they spend $20 billion on food annually. Globally, halal accounts for 16 percent of food purchases, or $1.2 trillion in

sales. Prisons, hospitals, and military bases are among the top buyers of halal products in the States. “It’s a newer area, but it’s grown a lot, and it’s still growing,” Ahad says. Growth in the halal sector creates a domino effect, since the increased availability of halal ingredients allows food producers to reformulate their recipes. A decade ago, producers who leaned heavily on alcoholic flavoring agents had little hope of ever meeting halal requirements. But laboratories have since manufactured alcoholfree alternatives, and introduced transgenic enzymes that can stand in for the pork enzymes popular with cheesemakers. According to Ahad, food producers intent on winning halal certification still have to carefully monitor cross-contamination risks. She adds that vigilance is appealing to consumers who worry about food safety. Halal, like kosher, is associated with cleanliness. “It’s different than kosher, though, because kosher’s already been developed,” Ahad says of the market potential. “Halal is such a growth area.” E

Celebrat

42Beer Pages

SAME GREAT BEER

got hops? Our 10th (!) Annual IPA Fest is set for

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Seattle weekly • APRI L 18 - 24, 2012

Spring's Here!

It's About BOCKING Time!!! Maritime Pacific Brewing Co. (206) 782-6181

43Beer Pages

Spring into craft beer While most of us enjoy a wide variety of beer styles, the northwest is well-known for our love of India Pale Ales (IPAs). Traditional English-style IPAs typically have the hops and malt in balance allowing both to shine equally, while American IPAs tend to have a focus on the hops. In fact, many breweries continue to increase the load of hops that go into a batch of IPA to the point that it turns off quite a few beer drinkers. But that crowd is outnumbered by the hordes of hop-heads who just can’t get enough of the bitterness and the citrus, pine, spicy, herbal, and floral hop flavors. To me, a good IPA is one who features the hop flavors prominently, but manages to have a balanced bitterness and at least a subtle malt character coming through. Two of my local favorites are the Black Raven Trickster IPA and the Fremont Interurban IPA. Both of these beers have robust hop flavors while keeping the bitterness well in check. Neither is too heavy, and they are both well-suited for downing a few. Another recent favorite of mine is the RPM IPA from Boneyard Beer Company in Bend, Ore. This one is a little higher in alcohol and has a stronger bitterness, but the amount of citrus and tropical fruit hop flavors that they pack in is pretty mind-blowing. Don’t pass this one up if you see it at a local bar.

As if we don’t have enough great places to drink beer, more venues with a focus on craft beer continue to open and you rarely hear of any closing shop. One of the most anticipated openings of the year was Pine Box, the new beer bar that took over the space vacated by Chapel at Pine and Melrose on Capitol Hill. A trio of beerloving businessmen opened the bar in late March, including former Brouwer’s Cafe bar manager and Seattle Beer Week organizer Ian Roberts. It is safe to say that you are not going to have a problem finding a great

Beer Junction opened up their bottle shop in West Seattle less than two years ago, but they’ve already moved out of their original shop and into a larger space just a couple of blocks away. The new store isn’t just larger; they’ve added eight taps of draft beer available for growler fills to take home and pints while hanging out in the store. They’ve also increased their selection of bottles to include more than 1,200 different types of beer. The only downside to the new space is that since beer is available for on-premise consumption, kids are no longer allowed. Make sure to leave the window cracked in the car. Outlander Brewery and Pub is set to join the ranks of Seattle breweries as they target an early June opening in Fremont. Outlander will be brewing on a small one-barrel brewing system, and they plan to pour their own beers as well as guest taps at their pub, depending on how quickly they go through what they brew. According to co-owner Nigel Lassiter, “We will mostly be focusing on nontraditional, experimental beers. Each month we submit a survey asking our fans to pick from three of the beers we list. The winner is brewed at the end of the month.” Nigel mentioned that a peanut butter-andchocolate beer and a chili beer are in the plans. They will be offering food at the pub, including beer-infused sausages and meals with a focus on quality organic ingredients.

the Ould Triangle HAPPY HOUR ALL DAY MON & TUES, 3-8 W T F Enjoy Spring on our Beautiful Outdoor Patio! 9736 GREENWOOD AVE N. • 206-706-7798 • SEATTLEIRISHPUBS.COM

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Handcrafted since 2001. Portland’s first certified organic brewery. Find us wherever quality craft beer is sold throughout Oregon and Washington, or visit us at one of our pub locations.

Make sure to mark your calendars for Seattle Beer Week, which is coming up from May 10 – 20 at bars, breweries, retailers, restaurants and more across the city. There will be more events to attend than you’ll be able to even think about. Visit Seattlebeerweek.com for details.

Geoff Kaiser thoroughly enjoys researching the Seattle beer scene. Visit his website at Seattlebeernews.com

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Seatt le w eekly • APRIL 18 - 24, 2012

If you love IPAs as well and are interested in exploring the different options available in Seattle, there are two events going on this month that you should not miss. Cooper’s Alehouse on Lake City Way is hosting their 10th Annual IPA Festival through April 27. They are pouring more than 60 IPAs throughout the festival. This year, Cooper’s is offering a sampler tray of blind tastings with different themes (California IPAs, Oregon IPAs, etc…) so that you can decide which ones you like without bias. Beveridge Place Pub in West Seattle also celebrates the arrival of spring each year with I.P.April. They have dedicated 12 of their taps to IPAs for the cause, and you’ll find plenty of offerings from near and far all month long.

beer to drink when you scan the available beers they have listed on two flat-screen televisions hung above the bar. They have completely gutted and transformed the old Chapel space into a welcoming, open venue that has the feel of a beer hall and includes an abundance of hand-crafted woodwork throughout. Pine Box is also the only bar that I have ever been to that has a Randall device built into the wall of taps. They can fill this contraption with hops, fruit, herbs, or anything else they can think of, and then run draft beer through it on the way to your glass. It can really change the flavor profile of a beer, and you’ll be able to taste the same beer side-by-side with and without using the Randall in order to compare.

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music» »ESSAY

Selective Exposure

Record stores can’t stock everything, but they provide a road map algorithms can’t compete with.

Even the Luddite in me must admit that exposure to music is what matters— not whether you discover it on vinyl or mp3.

n the early ’80s, the store clerk behind the glass was a rarity for a smaller town. To be honest, I’m not even sure if he existed as I see him today in my mind’s eye. He just seemed odd and out of time. Maybe I’ve embellished him in my memory’s landscape to make sense of him as an important character along my journey—one whom I needed to be there, a first witness to a part of me as a teenager that was craving to be seen and understood through my love of music, a side of myself that my parents and teachers didn’t appreciate then. Maybe the store clerk saw some virtue in my vision quest. Today there are many, many more ways for arty girls in Mt. Kisco to discover music, and I recently heard that Fox and Sutherland went out of business years ago when a Staples moved in nearby. While I still

covet the notion of a record store, even the Luddite in me must admit that exposure to and a relationship with music is what matters most—not whether you discover it on vinyl or mp3. After all, whether you meet your true love in a bar or on Match.com, in the end it is the relationship that counts. But for me, those memories of buying my first records matter too. In an era dominated by Facebook’s like-minded social enclaves and hive mentality, the world can feel so stripped of mythology, mystery, and wonder. Some feel brick-and-mortar stores are limited in that they don’t present an equal playing field, showcasing only bands that the gatekeepers deem relevant and that are in the physical-distribution pipeline. But aren’t those limitations simply a living, breathing version of any social enclave, or the gated communities many choose to occupy within the online world? To me, the online world— where an algorithm is often the gatekeeper,

recommending what to buy from an infinite collection of records—feels limited. You can only have so many records in the physical realm. But for a young person going in at the beginning of a musical love affair, maybe option anxiety isn’t such a good thing. Maybe employees’ choices, as opposed to a computer’s aggregated choices, will be what changes a life, making the experience as human as you are. Maybe limitations are fine when you have barely begun to dip your toes into the vast pool. Maybe the interaction with and the memory of the Van Halen girl and the turtlenecked guy is something you will cherish for years to come. E Jesse Sykes is the leader of the Seattle-based band Jesse Sykes and the Sweet Hereafter. music@seattleweekly.com RECORD STORE DAY Sat., April 21. Various locations. See pages 46–47 for more RSD coverage.

Seatt le w eekly • APRIL 18 - 24, 2012

I’m often intimidated by the people who work there. My best efforts to trace this anxiety suggest some pathological tweak that happened back in the ’80s when music was just starting to become personal for me. I grew up in and around Mt. Kisco, N.Y., and before I could drive, I had two options for buying records. One was in a small mall, and was better suited for purchasing posters and ’80s paraphernalia than albums. One of the meanest girls in high school worked there. Danetta—that’s what we’ll call her here—with her huge, blown-out ’80s hair, was the quintessential back-seat-of-a-Camaro, hell-raising Van Halen girl. I was a hippie art chick who wore her hair straight and thought I was a little badass. She and her crew used to gang up on me in the smoking area at school, threatening to kick my ass for supposedly looking at their boyfriends. I was terrified of her, and during her (mercifully brief ) tenure at the record store, I mostly avoided the place. Fortunately, the other record store, although intimidating in its own way, was a safe haven from the Danetta types. Fox and Sutherland became my ground zero during high school. It was one of those amazing mom-and-pop department stores with everything from toys and art supplies to camera equipment, stationery, books, and, yes, records. The LP selection was quite small—just a few short rows—but meticulously curated by a fellow who always sat behind a glass booth lined with vinyl. He sported a black turtle-

neck and had a full head of frizzy dark hair. He seemed so avant-garde, so knowledgeable about music. I felt like a newbie and a pest. Despite the limited space in the shop, he stocked just enough obscure rock, killer jazz, and off-the-radar blues to sustain my fascination with music through high school. For a teenage girl obsessed with the ’60s, it was my Mecca. I wasn’t hunting for any cutting-edge underground music then anyway. (I would find that later, after going off to art school.) My friends and I subsisted primarily on classic rock, folk, stoner rock, and trash metal, and didn’t have much interest in the underground music scene thriving just 60 miles away in New York. In some ways it pains me to think that I missed out on some incredible musical experiences, but my friends and I chose to hang out in the woods in place of “training” it into Manhattan. Looking back, being insulated in the sticks enabled a slow-burning exposure to influences which over the years manifested into a personal vision. MIKE SHULTZ

fter playing in Seattle-based bands for two decades, I have a different relationship with record stores than most shoppers do. Local record stores have been kind to our band, and I know a lot of the good folks who work in them and own them. I’ve seen many come and go, and many stand proudly to this day. As a music lover, I cherish record stores much as I do libraries or bookstores—they are places of reverence, shrines with rows of monuments lying dormant, ready to be received, alive with the power to animate. But the truth is, 30-plus years after I bought my first album, walking into a record store is still a bit scary for me. Funny as it might seem,

BY JESSE SYKES

music»Reverb »Tell me abouT ThaT album

Devo’s Live in Seattle 1981 Gerald V. Casale brings the Seattle Center Arena back for Record Store Day. By Dave Lake

46-REVERB-1

lot of great releases are on tap for this year’s Record Store Day, from a wide-ranging list of artists. Whether you’re into the Grateful Dead, Metallica, or Miles Davis, there’s something for pretty much every kind of music fan. But few selections will send collector nerds racing to the bins as quickly as Devo’s contribution, Live in Seattle 1981, a double LP recorded on their New Traditionalists tour that was pressed from a recently unearthed recording buried in a box by the band’s longtime archivist. The release, limited to 2,000 copies, was recorded at Seattle Center Arena, which became Mercer Arena in 1995.

»CapiTalism

Hey! It’s Record Store Day! CliffsNotes for the biggest shopping day this side of Christmas. By GwenDoLyn eLLiott On Saturday, crate-diggers and music lovers will once again celebrate their own unofficial holiday, Record Store Day. Hundreds of bands— from Eddie Vedder and Death Cab to Shabazz Palaces and Star Anna—will issue special releases sold only at the nation’s independent record stores. And to keep patrons hopping from one shop to the next, they’ve lined up a full day of in-store performances. Some highlights:

Seattle weekly • APRI L 18 - 24, 2012

Easy Street (Lower Queen Anne): Dierks Bentley, 1 p.m.

Everyday Music: Brian John Appleby, 10 a.m. Dr. Troy Wadsworth (DJ set), 11 a.m. DJ El Toro, 1 p.m. DJ Sureshot, 2 p.m. Naomi Punk, 3 p.m. Dave Segal, 4 p.m. Seapony, 5 p.m. Hotels, 6 p.m. TacocaT, 7 p.m. The Horde and the Harem, 8 p.m. Silver Platters (Lower Queen Anne): Will Hoge, noon. Gravel Road, 1 p.m. Dar Williams, 2 p.m. Caveman, 3:30 p.m. Perfume Genius, 5 p.m. Sonic Boom: Star Anna, 4 p.m. Wall of Sound: Jherek Bischoff, 7 p.m. Remember, not every release will be available at your favorite store, nor are you guaranteed entry to an in-store show if it’s reached capacity. Your best bet is to call ahead with any questions, and show up early if there’s a band you really want to see. Good luck! E For a complete list of participating stores and releases, visit recordstoreday.com. gelliott@seattleweekly.com

We were lucky enough to get Devo’s Gerald V. Casale on the phone to discuss the record, the 1981 music scene, and why the band shied away from opening acts. SW: What prompted you to want to release something for Record Store Day? Casale: For me, personally, I think it’s quaint.

I find it antithetical to the culture, and that I like. And I grew up buying records. The most important musical events in my life center around vinyl, when an artist actually did a body of work and you’d listen to the whole album beginning to end and took it seriously. All that stuff is gone. Even the seriousness of the artists who create content now is lacking on that level.

Do you have any sense of what Seattle’s music scene was like in 1981, or if there even was one?

It seemed like the whole Pacific Northwest—San Francisco, Portland, Seattle, Vancouver—had fantastic audiences. There was a really strong demographic of people who liked the new music, and they were great crowds. So your sense is that it was more regional?

The way people behaved region to region was very different back then, probably because there was still regional control of radio-station playlists, independent record stores, independent film houses. Some towns had more of their own character. Now it’s like Walmart. No matter where you go, you see the same 10 hits in stores and the same playlist controlled by some central robot force. Do you remember if anyone else was on the bill that night?

I doubt it. Back then, since we had a certain degree of respect and clout, we billed ourselves as an evening with Devo. We didn’t really like opening acts. If we had to, we always tried to get an opening act that was not a typical band. We didn’t want somebody onstage making as much noise as we were about to make, burning out the crowd’s ears. We had interesting, weird stuff. We even tried comedians and weird acrobatic acts, things that the crowd would boo at. We did have a four-piece chamber group play classical versions of our songs—that was great fun. People liked that. But our show was, like, an hour and a half long. It had a lot of lighting and set changes and costume changes. It was a very theatrical production, so we really didn’t need anything else. Your stage outfits on the New Traditionalists tour included a Ronald Reagan–style hairpiece and what you guys called Utopian Boy Scout Uniforms, which Wikipedia describes as a gray button-down shirt, gray slacks, and black patent-leather shoes.

I designed those Reagan pompadours. We were trying to make fun of the right-wing political hairdo. Every politician seemed to have the same hairdo. We had just come back from

Mention “Seattle Weekly” and We'll Pay Your Sales Tax on Record Store Day! Japan, and we’d come across this ultra-rightwing group there called The New Traditionalists, and they sold pins in stores. Satirically, we bought a couple of those pins. As we were writing those songs, we just decided to graft the Japanese right-wing name onto those records. We became The New Traditionalists, but turned it on its ear. We appropriated the idea of that, meaning we were going to provide you with new traditions to forget about the old ones. What are your feelings about the New Traditionalists record now as it pertains to the rest of your catalog?

I love the New Traditionalists record. I’m just sorry we had so many problems during the recording of it. There were problems with the actual two-inch tape that we were sold on by these engineers: “You gotta use this new 3M stuff.” By the time we were laying down vocals, the edge tracks were disintegrating on all the two-inch tape. We were losing everything we were spending a lot of money and time on. We had to transfer everything to the then-brand-new format of digital reel-to-reel tape and try to save what we did, because we didn’t have enough money to start over. Then we had to finish the record using digital technology back in L.A. at the Record Plant. Are there any live records that are important to you? Do you like them?

I like them when they’re good. [Finding the bootleg] was a real surprise because on that particular tour, no professional recording was ever made. The one time we tried to record the show, it was because a seven-camera crew was shooting and their lighting generator got crossed with our stage-light generator and they blew out both sets of lights—the film lights and the stage lights. It was a disaster. And part of the insurance settlement was that all audio and video from that show had to be destroyed because they were claiming a loss. Do you know who made the bootleg?

Somebody on the crew back then had plugged into the board and made a recording right out of the board. But luckily there was an audience mike. E music@seattleweekly.com

»RING MY BELLE

Ryan Adams Blesses Us With “Heartbreak”

BY RACHEL BELLE

Two things about Ryan Adams: 1) He’s kind of a mess. 2) I love him anyway. I liked him before 2006, but I’ve loved him ever since. That was the year he blessed me. I was sitting in the very last row at the Moore Theater while Adams chain-smoked and guzzled beer, struggling to get through his own set. Lyrics were forgotten, songs halted halfway though (“I already played this? Oh man, I wish I remembered that . . . I really like this song”), and at one point he stumbled offstage to “get an injection.” But then I sneezed. I sneezed from way, way back in the allthe-way-in-the-back last row, and somehow, through his alcohol, injection, and cigarette haze, he heard me. He immediately stopped singing and in the sincerest of tones said “Bless you.” Adams claims to be squeaky-clean and sober these days, so I don’t know if the Bob Mould tribute show Adams did last fall at Los Angeles’ Walt Disney Concert Hall was as tumultuous or blessed, but it was recorded: 2,500 copies of “Heartbreak a Stranger” and “Black Sheets of Rain” will be available on vinyl Saturday—Record Store Day—at the nation’s independent retailers. If you love Ryan Adams, this is truly a blessing. E Rachel Belle contributes the “Ring My Belle” segment to 97.3 KIRO FM’s Ron and Don Show.

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»TELL ME ABOUT THAT SONG

Singer/guitarist Nanna Bryndís Hilmarsdóttir on the Icelandic indie-folk band’s Record Store Day release. SW: What was your inspiration for writing the song? Hilmarsdóttir: Some-

times . . . well, most of the time, we like to come up with some kind of story behind the songs, and we were sitting around and thinking about the story of this sinking man. A man that was drowning, pretty much. And he was in the ocean, and he’s floating there, and he’s seeing all these things, you know? He’s a bit calm and it’s probably a weird feeling. But

we came up with this whole story that he was in love with the wrong girl, and the Mafia came and threw him in the ocean. That was our story. We didn’t do it literally, but it was kind of the story we thought was fun for this song. JOE WILLIAMS E

“Sinking Man,” previously unreleased to anyone outside Iceland, can be found on Of Monsters and Men’s 10-inch EP Into the Woods, released Saturday for Record Store Day.

Seatt le w eekly • APRIL 18 - 24, 2012

Of Monsters and Men’s “Sinking Man”

Seattle weekly • APRI L 18 - 24, 2012

music» »QUESTIONS/ANSWERS

Hunger Strike Talking music, politics, and poverty with Smiley & West. BY CHRIS KORNELIS Before Tavis Smiley and Dr. Cornel West support their new book, The Rich and the Rest of Us: A Poverty Manifest, at the Neptune, the hosts of the public-radio show Smiley & West took a few minutes to chat with us about music and politics. A longer version of this conversation is available at seattleweekly.com/reverb.

going to put people in office who pay off the bankers and let the school system fail, etc. Dr. West, you didn’t challenge him on that point. Mr. Smiley, you came on and said, “What an amazing conversation that was.” Is that the right message to send to teens, if what we need to fight poverty is a leader: to not vote?

West: No, but what I think Brother Tavis is telling you, though, brother, is that it’s topdown and bottom-up. Top-down is, of course, to have a president who cares about working and poor people. Bottom-up is to create a movement that puts pressure on the president. And you have to have both. Lupe comes

out of the Occupy movement, he comes from bottom-up. Tavis and I embrace both. Lupe saying he doesn’t vote—well, no, we disagree with that. But his major point was that the political system is broken. So for him that’s not a major priority. He’s got a right to that opinion. Last question: If you could hear one last song before you died, what would it be?

West: I don’t think I’d want to hear a song, actually. I’d want to hear a voice of a loved one. Smiley: I was about to say I’d want to hear my mama’s voice. Hearing my mother’s voice is like music to my ears. If my mama could just say “I love you” one more time, that

NEXt WEEK!

MUSiC SOCiEtY

In the introduction to your new book, you say that the new poor are the former middle Tavis Smiley class. You’ve both been (top) and Dr. critical of President Cornel West. Obama for not saying words like “poor” or “poverty” enough. He spent a great deal of political capital to get health care for everybody—helping people who didn’t have health-care coverage from going bankrupt. Wasn’t that a huge policy move and risk for the President, working against poverty?

You say that what we need most is a leader who’ll make this a priority. You said Obama would do a much better job than Romney. Dr. West, you interviewed Lupe Fiasco at the teen leadership conference that UCLA organized with the Tavis Smiley Foundation. He told the kids there: I don’t vote, I’m not

TAVIS SMILEY, DR. CORNEL WEST The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $30. 7 p.m. Tues., April 24.

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Smiley: The argument that we make in the book is not that President Obama has done nothing. The argument that we make in the book is not that he has had an antipathy toward the poor, which Mr. Romney seems to have. We make it very clear that if the choice is Obama or Romney, we believe that Obama is a better choice. That’s not a debate; we don’t even waste time talking about that. The larger question is whether or not there has been in this country any sort of real, authentic, sustained effort with the President using his bully pulpit to talk about the indifference toward the poor. Have we had a sustained effort in that regard since Lyndon Johnson? The answer is clearly no. The book closes with a poverty manifesto of a dozen things that we think can, must, [and] ought to be done if we’re going to reduce and eradicate poverty in this country. And it starts with a leader saying, “I am going to make lifting poor people up my legacy.”

ckornelis@seattleweekly.com

WANDA JACKSON

SW: Are you listening to any good music these days?

West: Well, shoot, I like Bruce [Springsteen]’s Wrecking Ball, man. He’s coming out strong, swinging, man, good God Almighty. Lord, lord, lord. But, no, I’m oldschool, man. I listen to a lot of Curtis Mayfield, Temptations, and the Dramatics, every day.

would be . . . “I love you, I’m proud of you,” you know, “I don’t regret having you.” I think men, period, but certainly black men, have a unique relationship with their mother. Having your mother’s affirmation is like music to your ears. I’ve never heard a song sweeter than my mother telling me “I love you and I’m proud of you.” That’s the sweetest music I’ve ever heard. E

music»TheShortList Ballard Jazz Fest WEDNESDAY, APRIL 18–SATURDAY, APRIL 21

dinner & show

WED/APRIL 18 • 7:30PM

the moondoggies w/ case studies

THU/APRIL 19 & FRI/APR 20 • 8PM 91.3 KBCS PRESENTS

todd snider w/ reed foehl

SAT/APRIL 21 • 7PM TRUE WEST PRESENTS

dar williams w/ alex dezen of the damnwells

The annual event includes a set from Brotherhood of the Drum (Wednesday), a Guitar Summit (Thursday), and a pancake breakfast (Saturday). Regulars of Seattle Weekly’s Reverb Festival will find the format of Friday night’s jazz walk familiar: 22 artists (the Spin Quartet, Todd Bishop, etc.) perform at a dozen venues (Salmon Bay Eagles, Egan’s, etc.) around the neighborhood. Various times and prices; check ballardjazzfestival.com. CHRIS KORNELIS

A Tribute to Full Toilet THURSDAY, APRIL 19

With only a 7-inch to his name, it’s surely too early in Don Sheets’ career for a tribute to his sludgy brand of speed-punk. But according to his label, Sub Pop, Sheets is dead of a “DUST OD,” and among the many odd features of tonight’s tribute show, “there will be a bucket of his ashes to piss into for $25 a head.” There’s more than a hint of irony to this bill, stemming from the author of such songs as “Pist Office” and “Keys, Wallet, Phone, Gun.” With performances by Brent Amaker, Kasey Anderson, and Shelby Earl (in another weird twist, all decidedly non-punk country artists), attendees might just be treated to a spectacle that surpasses Sheets’ own reputation for mayhem. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 9:30 p.m. $7. GWENDOLYN ELLIOTT

PillowTalk

inti-illimani WED/APR 25 & THU/APR 26 • 7:30PM

matthew sweet girlfriend tour w/ the summer twins

This electronic trio from San Francisco came together through decidedly organic means: a late-night living-room jam session on guitar and piano. From such casual beginnings, the group’s gone on to hone a sleekly funky sound combining house grooves, jazzy electric pianos, and live R&B vocals. It seems like a particularly Bay Area take on vocal house: loose, laid-back, and maybe just a little bit too indulgent, depending on your tolerance for vocal schmaltz. It’s a setup that should make for a fine live show, though, in which both vocal and instrumental passages could be jammed out on as needed. With the Architects, Xan Lucero vs OFDM, Recess. Electric Tea Garden, 1402 E. Pike St., 568-3972. 10 p.m. $15. ERIC GRANDY

Colleen Green SATURDAY, APRIL 21

• 4/18 susy sundborg / sam marshall trio • 4/19 owuor arunga group / thione diop (senegal) • 4/20 julia massey & the five finger discount / roots rock fridays w/ selecta’s element & matsui • 4/21 irukandji physics of fusion w/ spyn reset • 4/22 the iou’s • 4/23 free funk union • 4/24 whitney monge w/ james coates

This 27-year-old California songwriter is sort of the ultimate chiller. Her Twitter handle is @colleengreen420, her Facebook page

TO ENSURE THE BEST EXPERIENCE

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Dar Williams SATURDAY, APRIL 21

declaims “It’s really fucking easy being green,” and she spends her spare time kicking it in L.A. and penning a comic strip called “Real Shit Daily” that depicts fun fantasy experiences like buying bags of grass from Robin Williams. Green’s lo-fi fuzz-punk tunes, as heard on her debut LP Milo Goes to Compton (which includes a lyrically twerked Ramones cover called “I Wanna Be Degraded”), do a great job of reflecting her mellowed-out vibe. It’s music that’s sure to get your head buzzing, pleasantly. With Seapony, Witch Gardens, Corals. JewelBox/Rendezvous, 2322 Second Ave., 441-5823. 10 p.m. $7. ERIN K. THOMPSON

If you were to send one American artist to an Adirondack peak to shout the phrase “I am a female folksinger from the Northeastern United States!” and really mean it, that artist would be Dar Williams. She makes music that should send you immediately to your bedroom for a sweater (never silk) and to the kitchen for tea (never tequila). Given these parameters, it’s too bad she’s playing on a Saturday, but rest assured she’ll deliver exactly what’s expected of her. With Alex Dezen. At Silver Platters, 701 Fifth Ave. N., 283-3472, 2 p.m., NC, all ages, and The Triple Door, 216 Union St., 838-4333, 7 p.m., $35, all ages. MIKE SEELY

EDITOR’S PICK

THURSDAY, APRIL 19

PLEASE ARRIVE EARLY

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PERFUME GENIUS

ANGEL CEBALLOS

Seattle weekly • APRI L 18 - 24, 2012

next • 4/27 portland cello project • 4/28 the touré-raichel collective • 4/28 michelle shocked • 5/2 kasey anderson & the honkies • 5/5 gypsy soul • 5/6 the 2012 bb awards • 5/10 trace bundy w/ shook twins • 5/11 the paperboys w/ kareem kandi • 5/12 the righteous mothers • 5/13 mycle wastman w/ tess henley • 5/14 uk “night after night 2012” • 5/16 matt wertz w/ lydia ramsey

FRIDAY, APRIL 20 COLLEEN GREEN

SUN/APRIL 22 • 7PM

Mike Hadreas kicked off the year with controversy when YouTube blocked an ad for his new music video, which featured Hadreas in his underwear being cradled in the arms of a hairy Hungarian porn star. Luckily, all that silly hoo-ha ended up being only a momentary distraction from the brilliance of Hadreas’ second album as Perfume Genius, February’s Put Your Back N 2 It. Hadreas’ new songs continue the starkly reflective style he first established on 2010’s critically acclaimed Learning; his willingness to address such themes as sexuality, suicide, and, yes, pornography—not only that, but to transform them into moments of eloquent musical beauty—brand him as Seattle’s bravest songwriter. With Parenthetical Girls. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. ERIN K. THOMPSON

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4/27 FIVE ALARM FUNK, YELLOW DUBMARINE performing all of Abbey Road in a dub reggae style 4/28 REWIND 4/29 JONATHAN WILSON, KAYLEE COLE 4/30 STUART DAVIS art + comedy cd release show 5/1 LAMBCHOP, ALINA HARDIN 5/3 BIG SUR, DENVER, ANNIE FORD BAND 5/4 CLUMSY LOVERS, SPOONSHINE album release party 5/5-early A B & THE SEA, TOMMY & THE HIGH PILOTS, BELLAMAINE 5/5 Side Saddle presents: Cheatin’, Lyin’, Leavin’ and Cryin’ feat. MARK PICKEREL, KAYLEE COLE & KEVIN LARGE, BRYAN JOHN APPLEBY, LUCKY LAWRENCE, ROY KAY, KIM FIELD & LISA THEOBOLD 5/6 SOPHIE BARKER of Zero 7, TINY MESSENGERS 5/8 AGES AND AGES, KEATON COLLECTIVE 5/9 BRITE LINES, POCKET PANDA, POMERANTZ 5/10 JACK WILSON, DAVIDSON HART KINGSBERY, JACKRABBIT 5/12 THE MALDIVES 5/13 GREAT LAKE SWIMMERS, COLD SPECKS

Seatt le w eekly • APRIL 18 - 24, 2012

seven»nights EIGHTY4 FLY This rapper’s laid-back flow and surplus of weedreferencing lyrics recall fellow local MC Nacho Picasso’s; perhaps not coincidentally, he appeared on the Nacho track “100 G’s.” With Choklate, Vitamin D, Bobby Hustle. Nectar, 412 N. 36th St., 632-2020, nectar lounge.com. 8 p.m. $10. ELDRIDGE GRAVY & THE COURT SUPREME

PATRICK ERNST

Gravy and his 12-piece band play vintage funk tunes that are especially kinetic live. With The Brown Edition, Philly’s Phunkestra. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractor tavern.com. 9:30 p.m. $10 adv./$12 DOS. LITTLE BIG SHOW The latest installment of the Starbucks-backed Little Big Show series benefits Coyote Central—a nonprofit that puts creative professions together with aspiring students—and features sets from Real Estate and Poor Moon, the Fleet Foxes offshoot that just released its debut EP, Illusion, on Sub Pop. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 9 p.m. $15. All ages. LOUIS LOGIC This underground rapper’s brutally honest style recalls that of Slug from Atmosphere. With Sadistik, Griff J., Sarx. The Rogue & Peasant. 9 p.m. $7. STENSKOGEN Tonight’s bill showcases an assortment of Seattle’s more out-there sound artists: ambient synth soloist Panabrite; sludge-metal rockers Noise-a-Tron; Particle Being Ensemble, a new collaboration among members of sometimes kosmiche/sometimes noise outfit Brain Fruit and cultic psych ensemble Rose Windows; and headliners Stenskogen, a new trio featuring Portable Shrines’ Aubrey Nehring, Midday Veil’s David Golightly, and Garek J. Druss. Comet Tavern. 8 p.m. $8. SUPER GEEK LEAGUE This local punk nine-piece is known for elaborately choreographed and outlandishly costumed live performances. With Lacero, Esitu, The Purpose Being. Showbox at the Market. 7 p.m. $12 adv./$14 DOS. All ages.

BROTHERHOOD OF THE DRUM Four jazz drummers

Thursday, April 19 DJ QUIK A pioneer of West Coast hip-hop both as a pro-

PONTIAK

Seattle weekly • APRI L 18 - 24, 2012

and their bands will participate in the Ballard Jazz Festival’s opening showcase. With Kobie Watkins, Eric Eagle, Todd Bishop, King Tears Bat Trip. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conorbyrnepub.com. 8 p.m. $13 adv./$15 DOS. THE PLASTIC REVOLUTION This Southern California pop-punk band’s sound harkens back to the glory days of bands like Blink-182 or Sum 41. With Underwater Tiger, The Whoopsie Daisies. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6. PONTIAK These Virginia psych-rock brothers hit the Comet with like-minded local support from thirdeye openers Midday Veil, desert drone seekers Scriptures, and odd electronic duo The Midget. Comet Tavern, 922 E. Pike St., 322-9272, comettavern. com. 9 p.m. $10.

The brothers Pontiak. SCREAMING FEMALES This New Jersey punk trio,

fronted by yowling vocalist Marissa Paternoster, are touring in support of their twisting, heavy-riffing, Steve Albini–engineered fifth LP, Ugly. With Neighbors, So Pitted, Silicon Girls. JewelBox/Rendezvous, 2322 Second Ave., 441-5823. 9 p.m. $7. TUCK AND PATTI This husband-and-wife vocals/guitar duo plays subdued acoustic jazz. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $24.50. All ages. Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

ducer and MC, Quik continues to refine and experiment with his distinctive production style on 2011’s The Book of David. With Dyme Def, Fatal Lucciauno, DJ 100Proof. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20. EVE 6 Since putting the nation’s hearts in a blender with “Inside Out” in 1998, these pop-rockers have disbanded and reunited, and are set to release Speak in Code, their first album in eight years. With The Audition, NameSake. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 8 p.m. $16 adv./$20 DOS. All ages. GREENSKY BLUEGRASS This veteran five-piece bluegrass act deals in twangy harmonies and intricately arranged originals. With the Blackberry Bushes, Kris Orlowski. Showbox at the Market, 1426 First Ave., 6283151, showboxonline.com. 7:30 p.m. $18 adv./$20 DOS. DAVID GUILBAULT This local songwriter’s gentle folk-rock wouldn’t have sounded out of place on ’70s AM radio. With Vacant Stairs, Matahey. The Rogue & Peasant, 3601 Fremont Ave. N., 588-0891, therogueand peasant.com. 9 p.m. $5. THE PARLOUR SUITE This Minneapolis band could easily be mistaken for indie darlings Tennis: Both are husband/wife duos, and both write breezy pop tunes. With Clutch Douglass, White Metal Rabbit. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $8. TODD SNIDER While both are acoustic artists playing the Triple Door this week, Todd Snider and Dar Williams are as different as Austin and Boston. For instance, Snider has a penis, has probably taken a bong rip in his lifetime, and knows how to sing a joke. With Reed Foehl. The Triple Door, 216 Union St., 838-4333. 7 p.m. $25–$35. All ages. THREE BAD JACKS Can anyone complain about a night of great rock ’n’ roll and burlesque? Didn’t think so. Three Bad Jacks and Dragstrip Riot are taking over the Funhouse along with the sexy ladies of Vavoom Room Burlesque, who are ready to show you the goods. Or are they? Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com. 9:30 p.m. $10.

Friday, April 20 BEHEMOTH Polish death-metal band Behemoth are back

from the grave many metalheads thought they would be enveloped by after vocalist/guitarist Nergal was diagnosed with leukemia in 2010. What better way to celebrate his replenished health than a tour with Watain? With The Devil’s Blood, In Solitude, Samothrace. El Corazon. 6:30 p.m. $22 adv./$25 DOS. All ages.

DEATHRAID A combination of blistering hardcore punk

and a distinct thrash-metal influence, Deathraid’s music is loud, fast, and angry. With Countdown to Armageddon. Chop Suey. 7 p.m. $7. DELHI 2 DUBLIN This worldly Vancouver, B.C., band mixes acoustic instruments with beat-heavy Bhangra music. With Anjali & The Incredible Kid. Neumos. 8 p.m. $15. THE INFAMOUS STRINGDUSTERS The Stringdusters play country-tinged bluegrass (with some serious technical chops), and are touring behind March’s Silver Sky. Tractor Tavern. 9 p.m. $18 adv./$20 DOS.

Monday, April 23 PAPADOSIO This five-piece classifies itself as “mind-

expanding dance music,” but “electronic music with a jam-band aesthetic and light-jazz synthesizer noodling” would be a more accurate genre tag. With Nefarious Jones. Nectar. 8 p.m. $6 adv./$8 DOS. PETER WOLF CRIER These indie-rockers have a new album, Garden of Arms, and a string of tour dates with Damien Jurado. With Post Madonna. High Dive. 8 p.m. $7. SCHOOL OF SEVEN BELLS This dream-pop outfit, guitarist Benjamin Curtis and vocalist Alejandra Deheza, recently released their minimalist third record (their first as a duo), the cool and haunting Ghostory. With Exitmusic. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $13.

Saturday, April 21 BALLARD’S GOT SOUL Local DJs spin classic ’60s

soul records at this monthly dance party. With DJ Sad Bastard, DJ Nitty Gritty, DJ Kristoffer K. Conor Byrne. 9 p.m. ENTER SHIKARI This British band’s latest album, A Flash Flood of Colour, combines hardcore with electronic elements that vaguely resemble dubstep. With Letlive, At the Skylines. El Corazon. 8 p.m. $12.50 adv./$15 DOS. All ages. SOUL SENATE This vibey nine-piece soul orchestra brings back the funk-inflected sounds of the ’60s and ’70s with soulful vocals and booty-shaking grooves. It’s a double-CD-release show with Haiku-Chi. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern. com. $8. $10 p.m. SWEATBOX FOURTH ANNIVERSARY Sweatbox celebrates with 12 hours of deep and heavy techno, headlined by Berlin-via-Minneapolis marathon DJ Derek Plaslaiko and backed by a crew of equally hardpartying locals. With Jonny Romero & Ctrl_Alt_Dlt, Sh6rl6s6, Roddimus, and Eugene Fauntleroy. Electric Tea Garden, 1402 E. Pike St., 568-3972, electrictea garden.com. 10 p.m. $10. UW HUSKYFEST The University of Washington is celebrating 150 years of purple and gold with three days of music in Red Square. Saturday’s acts include local up-andcomers Stephanie (1:30), dance/soul regulars Fly Moon Royalty (3:15), and a set from the Portland Cello Project at 5 (if you can stomach such a thing). The Pavilion on Red Square, UW campus. 10 a.m. Free. All ages. YONDER MOUNTAIN STRING BAND A jam band with a progressive approach to roots music, YMSB melds the genre’s traditional instrumentation with rock arrangements. With Brown Bird. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 7:30 p.m. $25. All ages.

CAMERON WITTIG

New Jersey’s Screaming Females.

Wednesday, April 18

Sunday, April 22

Midwest duo Peter Wolf Crier.

Tuesday, April 24 BETTYE LAVETTE This Grammy-nominated soul singer’s

most recent album, 2010’s Interpretations, featured covers of songs by British rock greats like Paul McCartney, Pink Floyd, and Elton John. Jazz Alley. 7:30 p.m. $26.50. All ages. THE NAKED AND FAMOUS Arguably New Zealand’s biggest band right now (sorry, Flight of the Conchords), TNaF’s electro-pop has stadium-sized ambitions reminiscent of MGMT and The Big Pink. With Vacationer; Now, Now. Showbox SoDo. 7 p.m. $25 adv./$28 DOS. All ages. ESPERANZA SPALDING The most overrated artist of her time is supporting her new kinda-jazz, kinda-soul record, Radio Music Society. It’s her first since she robbed Justin Bieber—and, considering her chops, every other budding talent—of the Best New Artist trophy at the 2011 Grammys. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. 8 p.m. $30–$42. All ages.

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music»Karaoke Karaoke Listings BUDDHA BELLTOWN 2222 Second Ave., 441-4449,

buddhabelltown.com. Free. Saturdays, noon–2 a.m.

88 KEYS 315 Second Ave. S., 839-1300, ilove88keys.

com. Free. Mondays, Tuesdays, 8 p.m.–2 a.m.

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amore.com. NC. Tuesdays, 7 p.m.

BUSH GARDEN 614 Maynard Ave. S., 682-6830,

bushgarden.net. NC. Sundays, 5 p.m.; Mondays– Thursdays, Saturdays, 9:30 p.m. CHANGES BAR & GRILL 2103 N. 45th St., 545-8363, changesinwallingford.com. NC. Wednesdays, Thursdays, Sundays, 9 p.m. CITRUS 1001 Fairview Ave. N., 402-6364, citrus lakeunion.com. NC. Mondays, 10 p.m. CRESCENT LOUNGE 1413 E. Olive Way, 324-5358. Free. Daily, 9 p.m. DUBLINER PUB 3517 Fremont Ave. N., 548-1508, dublinerseattle.com. NC. Mondays, Tuesdays, 9 p.m. EL NORTE 13717 Lake City Way N.E., 954-1349, NC. Thursdays, 9 p.m. FOUR SEAS RESTAURANT 714 S. King St., 682-4900, fourseasrestaurant.com. NC. Thursdays–Saturdays, 9 p.m. FOURNO’S GREEK RESTAURANT 4733 University Way N.E., 729-5195. NC. Tuesdays, 10 p.m. HIGHLINER PUB AND GRILL 3909 18th Ave. W., 283-2233. NC. Fridays, 8 p.m. Send events to karaoke@seattleweekly.com

LITTLE RED HEN 7115 Woodlawn Ave. N.E., 522-1168,

littleredhen.com. Free. Mondays, Wednesdays, 9 p.m. MARCO POLO BAR & GRILL 5613 Fourth Ave. S., 762-3964, marcopolopub.com. NC. Fridays, Saturdays, 9 p.m. MONKEY PUB 5305 Roosevelt Way N.E., 523-6457, myspace.com/monkeypub. Sundays, 6:30 p.m. OHANA BELLTOWN 2207 First Ave., 956-9329, ohana belltown.com. NC. Sundays, 10 p.m. OULD TRIANGLE 9736 Greenwood Ave. N., 706-7798, seattleirishpubs.com/triangle/index.htm. Wednesdays, 9 p.m. ROOSEVELT ALE HOUSE 8824 Roosevelt Way, 527-5480, rooseveltalehouse.com. Free. Thursdays, 9 p.m. SPECTATOR 529 Queen Anne Ave. N., 599-4263, thespectatorsports.com. NC. Thursdays–Saturdays, 9:30 p.m. T-BIRD TAVERN 7515 15th Ave. N.W., 706-4973. NC. Saturdays, 9 p.m. TALARICO’S 4718 California Ave. S.W., 937-3463, talaricoswest.com. NC. Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m. THE CUFF 1533 13th Ave., 323-1525, cuffcomplex.com. NC. Thursdays, 8 p.m. WATERWHEEL LOUNGE 7034 15th Ave. N.W., 784-5701, thewaterwheellounge.com. NC. Tuesdays, Fridays, Saturdays, 8:30 p.m. WHITE RABBIT 513 N. 36th St., 588-0155, fremont whiterabbit.com. NC. Wednesdays, 9 p.m.

KaraoKeKorrespondent » by jeff roman

Trilling at Tim’s

taken down a couple tallboys at my house, and switched it up to gin drinks and tequila shots upon arrival. Only four other patrons were there at first, but they all turned in slips. Katy opened the night with a silky-sweet rendition of Cass Elliot’s “Dream a Little Dream of Me.” She was followed by another female singer who did “Take It to the Limit,” an Eagles song I never hear performed enough. It wasn’t long after the show started that the bar began to fill up. A solid rotation of eight singers anchored the night. The best was Kevin Smith, a black guy in a fluorescentyellow utility jacket. He delivered awesome performances of Marvin Gaye’s “I Heard It Through the Grapevine,” “Don’t Let the Sun Go Down on Me” by Elton John, and Player’s soft-rock classic “Baby Come Back,” also the evening’s most random selection. We hung out until 11 p.m. My buddy Mochi and I each got to sing four times. He entertained with a dirty version of Neil Diamond’s “Love on the Rocks” (subbing “my cocks” for “the rocks”) but really came through with the Grateful Dead’s “Touch of Grey.” I know I’m good and loose when I can pull off Bob Seger’s “Night Moves.” I still didn’t hit the notes I never can hit, but I felt like I killed it. K. Smith sat right below me as I sang it, and the pleased look on his face made me know I was totally on my game. Tim’s will soon expand into the old barbershop next door. It will continue to have at least three karaoke nights a week once the Rickshaw reopens, but eventually plans to turn into more of a live-music venue. E karaoke@seattleweekly.com TIM’S TAVERN 602 N. 105th St., 789-9005, GREENWOOD

Seatt le w eekly • APRIL 18 - 24, 2012

Last Tuesday, a couple friends and I hit Tim’s Tavern in Greenwood to check out the fastestgrowing karaoke show in town. Back in January, Tim Arnot, the new owner of what used to be Van’s 105 Tavern, brought in Katy Burk of Katybelle Productions to KJ on Tuesdays and Thursdays—a bold move, considering Tim’s sits just two blocks from the 365-night-a-year karaoke juggernaut known as the Rickshaw. Arnot’s intention was not to compete with the Rickshaw. He figured his establishment could provide a nice spillover option for singers when rotations over there grew too long. But the immediate success of those nights provided enough evidence that they could coexist with their massively popular neighbor, so he quickly added Wednesdays. Then when a kitchen fire last month closed the Rickshaw for two months, it was almost his duty to add Fridays and Saturdays to aid the neighborhood’s displaced crooners. We arrived around 8:30 p.m., a half-hour before the show started. It’s a cozy little room with an L-shaped bar that stretches down the left-hand side. Katy’s KJ station was already set up on the corner to the left of the entrance. We bellied up right in front of her. I can’t remember exactly where, but I have seen her sing at one of the other Greenwood venues. Tim told me the first place Katy ever sang karaoke was years ago at the Rickshaw with their host Patty. As often happens, she was hooked instantly. Even before the first singer took the mike, I enjoyed the show. Katy played great laid-back classic rock, and that genre makes me feel like drinking more than any other. We’d already

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had access to many dark secrets and confessions. What would drive an ordinarily faithful guy to stray, and what can us ladies do to keep our men happy and coming home? —The Boy Is Mine

Blow jobs. Blow jobs, blow jobs, and more blow jobs. Offered by a stranger or cute co-worker (I’m talking to you, Mindy in accounting), they’ll cause a guy to stray. Regularly served at home, they’ll keep a guy happy. Compliments are also fairly effective at refocusing wandering eyeballs. Anything from “Damn, you smell good” to “Nice ass, hot stuff” will work on either gender. Avoiding conversation starters like “You always do . . . ” or “We need to talk” go a long way toward keeping the peace and thus keeping your piece at home. Other advice that goes for both partners: Don’t fall into the sweatpant trap. Bathe regularly. Cycle out the skidmarked/period-stained underpants every couple of months. And try to keep a little mystery when it comes to pooping and plucking wayward hairs. My accountant Harvey advised me to always let my man think he’s smarter than me, even if he isn’t. I forget how this came up, but for the first time in 10 years I don’t owe the IRS any dough, so the guy knows what he’s talking about. I can’t say I’ve particularly mastered this last one, but I do see the value in showing my appreciation regularly. With blow jobs. E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets @DailyDategirl, or visit dategirl.net.

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