Seattle Weekly, April 11, 2012

APRIL 11–17, 2012 I VOLUME 37 I NUMBER 15

SEATTLEWEEKLY.COM I FREE

SPRING’S CHICKEN PAGE 27 | ELECTRONIC’S FURTHER UNDERGROUND PAGE 31

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?

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Seattle weekly • APRI L 11 - 17, 2012

1962 LIVES AGAIN

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THE SEARCH BEGINS APRIL 21

50 YEARS OF HISTORY Wake up your gray matter—Seattle’s preeminent treasure hunt is back.

This time, we pay tribute to the 1962 World’s Fair and its living legacy.

Solve the clues, find the medallion, and take home the bounty valued at nearly $9,000!

GET A CLUE AT EMERALDCITYSEARCH.ORG Artwork by Howard R. Giske, 1961. Courtesy MOHAI.

Seatt le w eekly • APRIL 11 - 17, 2012

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Seattle weekly • APRI L 11 - 17, 2012

inside» April 11-17, 2012 VOLUME 37 | NUMBER 15 » SEATTLEWEEKLY.COM

»27

Find your community at Crossroads

up front 7

NEWS

THE DAILY WEEKLY | The statewide

impact of SCOTUS’ strip-search ruling and the Secure Communities program.

Plus, puzzling drug deaths.

11

FEATURE

23 FILM

THIS WEEK’S ATTRACTIONS

The Aung San Suu Kyi biopic, Jafar Panahi makes a home movie under house arrest, and that Bully movie gets all riled up about bullying.

27 FOOD

27 | MA‘ONO | Spring Hill’s Hawaiian

BY RICK ANDERSON | “A good guy.”

makeover focuses on the chicken.

“Just Joe.” “Not the kind of person who would do this,” said his co-workers. But Seattle Public Utilities engineer Chau Q. Phan allegedly managed to embezzle more than $1 million in public funds. Here’s how.

29 | FIRST CALL | A German pub has

in back BikeSnob will judge you now, the Mariners open their season, and a local scribe takes us inside a North Korean slave-labor camp.

19 ARTS

19 | VISUAL ARTS | TAM goes totally gay!

20 | EAR SUPPLY | That sinking feeling.

»cover credit

ILLUSTRATION BY: MORGAN SCHWEITZER 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

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magic...

ways of making you talk.

30 | A LITTLE RASKIN | A new ginger elixir works great in drinks—or afterward.

31 MUSIC

31 | FURTHER | At this local label, dance music gets experimental and vice versa.

33 | REVERB | McCoy Tyner on Coltrane, an ambitious neo-blues guitarist, and more.

34 | THE SHORT LIST | Quite the menagerie this week: Bear in Heaven, Foxy Shazam, Counting Crows, and more.

Magically suspended, your diamond is most brilliant Exclusively...

41 | KARAOKE KORRESPONDENT

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news»The Daily Weekly »Dispatches from our news blog

Bad News Bare

Will the Supreme Court’s strip-search ruling ripple local nipples?

T

Trunk Show April 19th, 20th and 21th

Eric DEvEricks

Currently, Hayes says King County is discussing with attorneys how to proceed given the new Supreme Court ruling, although he notes the matter isn’t the agency’s most pressing. “We have a policy in place, and we’re comfortable with it for the most part,” Hayes says.

The New York Times’ lengthy report on the Supreme Court’s ruling dropped this locally relevant gem toward the end: “Justice Kennedy said one person arrested for disorderly conduct in Washington State ‘managed to hide a lighter, tobacco, tattoo needles, and other prohibited items in his rectal cavity.’ ” “I’ve been doing this almost 28 years, and I’ve seen people bring in stuff that might shock you,” says Hayes. “It’s more about how they try to introduce the contraband into the facility and where they place it—that’s probably more shocking than the actual item itself.” MATT DRISCOLL

Whack ICE

The program with the reassuring name Secure Communities took effect last Tuesday in all 39 Washington counties, despite objections from activist groups claiming that the

» Continued on page 8

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Seatt le w eekly • APRIL 11 - 17, 2012

he United States Supreme Court voted 5–4 vote last week to allow law-enforcement officials to strip-search people arrested for any offense before admitting them to jail. The statement holds true even if officials have no reason to suspect the presence of contraband.

Reached for comment, King County Department of Adult and Juvenile Detention spokesman Cmdr. William Hayes says that while any ruling that enables lawenforcement officials to more easily restrict the amount of contraband entering King County jails is welcome, procedures are already in place that, though more restrictive than the Supreme Court’s recent ruling, seem to be doing the job just fine.

“Just because [a prisoner is] on a misdemeanor charge doesn’t mean they don’t have drugs or aren’t hiding something else on their person,” says Hayes. “When you can’t strip-search them, that limits your ability to limit the amount of contraband introduced.”

Hayes says the county’s current strip-search procedures were established by a case from the early ’80s, Grew v. King County, in which Seattle’s Shirley Grew was arrested at a 1982 Halloween party after police received a noise complaint that was later dropped. Grew, subjected to a strip-search and cavity check upon arriving at jail, later teamed with the ACLU to file suit against King County. Two other women joined Grew’s suit, and U.S. District Court Judge Donald S. Voorhees subsequently banned the strip-searching of anyone booked into King County Jail unless a court order was issued or jail security was believed to be threatened.

Calling it a “shot in the dark” estimate and “off the top of my head,” Hayes says roughly 50 percent of the inmates entering King County jails are currently strip-searched— the deciding factor being whether there’s probable cause to believe the prisoner might be harboring contraband, along with the inmate’s specific charges and conviction status. “For everybody that is strip-searched, we fill out a form explaining why and the justification behind it,” says Hayes. “We don’t just arbitrarily strip-search people. There’s a document that’s attached to the person if they are strip-searched.”

In regard to offenses deemed minor, Hayes says, “Typical misdemeanors that come in we don’t strip-search, because that’s not part of the normal process for us, unless there’s some sort of probable cause, or if there’s some behavioral issues, or we believe they may have some sort of medical condition that we need to know about.”

7

news» The Daily Weekly » from page 7

As a result, witnesses of crimes or victims of crime are really hesitant to call the police.”

In addition to breeding mistrust, Benson says Washington taxpayers are usually forced to foot the bill for detaining undocumented immigrants while ICE processes their fingerprints and sends agents to transfer offenders to federal facilities. ICE can order inmates to be held for an additional 48 hours beyond the normal period during which an individual must be charged or released, and that time frame does not include weekends—meaning that in some cases a person can be detained for up to five days before facing charges.

“It’s really gumming up the criminal-justice process,” Benson says. KEEGAN HAMILTON

effort to fingerprint and deport undocumented immigrants erodes community trust in law enforcement, costs taxpayers money, and disproportionally targets individuals guilty only of traffic violations or other minor offenses.

Secure Communities was originally introduced in 2008 by ICE (Immigrations and Customs Enforcement) and promoted as a way to rid the country of felonious illegal immigrants. It’s supposed to work like this: When people are booked into local jails, their fingerprints are submitted to an FBI database, which ICE then cross-references with their own records to check for previous immigration violations. If an offender pings in the system, ICE will ask local authorities to detain the inmate until their agents arrive Despite the warning issued last month in to transport the offender to a federal detenthe wake of seven Seattle-area needle deaths, tion center, where he or she likely will face which were followed by seven more deaths deportation. last week in the Longview/Kelso area—all 14 Initially, local law-enforcement agencies reportedly attributed to unusually potent or were allowed to “opt in” to the Secure Comlethally laced heroin—King County officials munities program. A handful of Washington say they’ve found no proof that the seven counties volunteered to take part, including deaths here were in fact due to a high-purity Yakima, Franklin, and Benton—all counties strain of the drug. with large Latino populations. The WashingIn response to Seattle Weekly’s request for ton State Patrol, however, resisted statewide an update on postmortem findings on the implementation of the program, following the seven local victims, the city/county Public lead of New York, Massachusetts, California, Health Department announced that blood and other states. ICE tests failed to show had planned to roll out potency or additives as the program nationa factor. Blood tests did Print is great, but if you ally next year, but two not indicate anything want to see shirtless . . .

Facebook photos of Travis A. Nicolaysen, weeks ago the agency unusual, says Public on the run from law enforcement since abruptly announced that Health spokesperson last week yet still finding time for status participation in Secure Hilary Karasz, which updates, check out The Daily Weekly.

Communities would be would have been the case SEATTLEWEEKLY.COM/DAILYWEEKLY mandatory statewide. if the heroin had been The move has drawn more pure than expected. sharp criticism from legal advocacy and “The heroin samples that were retrieved had immigrant-rights groups, both of which point different physical characteristics, indicating it to statistics from the Department of Homewasn’t from a common source, and there was land Security as proof that nearly 80 percent nothing that tied the individuals together that of the people deported through Secure Commight have suggested they got the heroin from munities have either never been convicted of a common source,” Karasz says. a crime or are guilty only of minor offenses.

In addition, the seven who died in King “I call it the insecure communities proCounty overdosed from a combination of gram,” says Ann Benson, directing attorney of heroin and other drugs, tests show. the Washington Defender Association. “It’s The department’s drug-bulletin alert, costing us money, it’s not making us safer, it’s warning users to beware of possible potency contributing to racial profiling, and it’s underand poisons, was issued March 6 after a mining the criminal-justice system. Those are three-day spike in heroin deaths. But as things I see daily working with criminal prosKarasz puts it, “the spike over that short ecutors and courts.” period of time may have been due to chance.”

In Washington, data from the six counties Nonetheless, she adds, “their deaths do that opted in to Secure Communities over the underscore that heroin is a dangerous drug: past three years shows that 84 percent of those Sixty-six people died from heroin overdose deported through the program either had in King County in 2011. People should refrain no criminal conviction (25 percent) or were from using heroin, but if they do, it’s critically charged or convicted with Level 2 or 3 offenses important that they never mix heroin with (59 percent), non-felonies that include speedany other drug and never shoot alone.” ing tickets and other traffic infractions. That, Narcan (naloxone), which can save a life says Toby Guevin, the senior policy and legin the event of an overdose, is available at the islative manager at Seattle-based immigrant Downtown Needle Exchange program and rights group OneAmerica, has made Latino elsewhere in the community. Also, if 911 has community members less likely to call the to be called, the state’s Good Samaritan law police when something bad happens. protects bystanders and users from pros“Secure Communities is a broad dragecution when emergency and police crews net that catches everybody,” Guevin says. respond and small amounts of drugs are “Regardless of what your crime is or why present, Karasz notes. RICK ANDERSON E you’ve been brought in, you’re fingerprinted. news@seattleweekly.com

How High?

Seattle weekly • APRI L 11 - 17, 2012

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How a workaday SPU emPloyee allegedly PUlled off tHe largeSt embezzlement of PUblic fUndS in modern Seattle HiStory.

“One Of the depOsited checks was three years Old. i didn’t think banks accepted a check as Old as that.”

Madsen, Mar, and other SPU officials were unaware, however, that “just Joe” was a millionaire. While friendly, Phan was something of a loner who revealed little about himself.

Co-workers did notice his liking for the radical politics of Lyndon LaRouche, the controversial economic theorist and fringe presidential candidate whom Phan supported with a $250 donation in 2009. Phan’s own economic beliefs seemed more traditional, however: He not only owned three homes but rented out two of them through the Seattle Housing Authority, adding another $3,000 to his monthly income.

Officials would eventually stumble onto the fact of his surprising wealth, and learn something even more shocking: The million dollars that gushed through his bank account belonged to taxpayers.

Keith Savas, a veteran Seattle Police fraud detective who would later obtain Phan’s records from Bank of America, puts the grand total at $1,091,000 and counting.

Altogether almost six dozen checks, from a few hundred to a few hundred thousand dollars, all made out to the City of Seattle, would find their way into Phan’s personal

account, dating back to 2006. At one point, 2008 through 2010, city checks were being deposited at a rate of $360,000 a year—an amount equal to twice the annual salary of Phan’s boss, SPU Director Ray Hoffman.

That discovery would lead to Phan’s arrest last month for 67 counts of first-degree theft and three counts of second-degree theft. He was jailed, unable to raise $750,000 bail after his extensive assets were frozen by the city, and faces 10 years in prison if convicted on all counts. The city also confiscated $220,800 still sitting in his bank account—the other $800,000-plus having been withdrawn over the years to buy properties and at least one car and to make large credit-card payments, Savas would tell a judge.

Phan, carrying $400 cash and his Bank of America Visa card when arrested, would confess to opening the bank account and “to taking many checks” intended for deposit in the city’s own bank, Savas would say. Seattle Police, along with other city agencies and state and federal investigators, would also quietly launch a wider probe for other possible bank accounts and any violations of U.S. income-tax and wire-transfer laws.

As additional details would show, this alleged five-year embezzlement spree was the bureaucratic version of a million-dollar heist—with no gunplay, no armored car takedown, and no dividing the loot and splitting to Mexico. The tools of this alleged crime were handmade receipts, a rubber stamp, and an ATM machine that didn’t ask questions.

Based on interviews, police records, court documents, and a review of city investigative records by Seattle Weekly, the City Hall caper appears to have been pulled off with so little effort it’s almost laughable. Police and prosecutors have created a trail of almost 1,000 documents to follow the money. Yet, says King County Prosecutor Dan Satterberg, “I was struck by how simple and easy it was, and how few questions were asked. One of the deposited checks was three years old. I didn’t think banks accepted a check as old as that.” According to Savas, Phan told him that all that had been needed to open the Bank of America account was his driver’s license.

Satterberg calls it the largest embezzlement of public funds in modern city history.

The scheme was enabled by a conspiracy of failures: a faulty government accounting system and an inattentive, if not irresponsible, big bank. Key to it all was an alleged perpetrator bold enough to dutifully carry on normally around the office while holding back a secret big enough to make most mortals blurt, “OK, I did it!!!”

Phan is blurting nothing, however. He and his attorney will say only that he is not guilty.

They’re not addressing such lingering questions as whether millionaire Joe Phantom, as some now call him, would even be sitting in jail today if he hadn’t tried to stiff the city for his monthly utility payments, too. ruce Madsen’s Monday memo to Mike Mar was moving up the food chain at SPU, landing on the desk of Human Resources director Laura Southard, when yet another questionable manual-payment entry showed up on the daily balance sheet. It was found six days after Phan’s $527 payment, and also had been punched in by him, according to his ID trail. The new entry was for $521.80 on the utilities account of a $250,000 home Phan owned and rented out on Beacon Hill. But no verifiable cash or credit payment was found.

That afternoon, October 28, 2010, Southard invited Phan and two supervisors into her office to discuss the entries. Phan could see it was serious. After he sat down, he was read what are called his “Weingarten rights,” which allow an employee to have a union rep sit in and to not participate until one arrives.

Phan said he didn’t think there was any need for that; he’d done nothing wrong.

The supervisors questioned him about the

Seatt le w eekly • APRIL 11 - 17, 2012

ate on Friday, October 22, 2010, Seattle Public Utilities auditing supervisor Bruce Madsen sat in front of his computer on the 46th floor of the Seattle Municipal Tower, matching that day’s customer payments with actual receipts. He was accustomed to dealing with large numbers: SPU generates about $800 million in city revenue each year, and that day Seattle residents had paid more than $1.8 million on their garbage, water, and sewage bills.

But it was a comparatively small number that kept bugging Madsen: As he reviewed his computer totals, the balance repeatedly came up short $527.69. He searched the electronic columns and quickly found an in-house manual cash entry for that exact amount—a payment applied to a home owned

by Chau Q. Phan on Beacon Hill.

Phan, a likable, youthful-looking man of 44 who wore glasses, a ready smile, and went by the name Joe, worked in SPU’s Project Delivery Branch on the floor below. He had bought the big four-bedroom house for $350,000 back in 2004. A Vietnamese immigrant, he’d started in the city’s water department as an intern in his 20s, worked his way up to customer service, and by 2005 had become an associate civil engineer. “A good guy,” one of his managers, Mike Mar, called him. He did his job without fanfare—he was “just Joe.” Married with two daughters, the stocky, 5-foot-9-inch Phan (pronounced “fon”) became the sole employee in charge of arranging new construction hookups to the city’s water-supply system. He consulted on the work, submitted the bill, and accepted payment. Allowing a city worker to pick up checks and carry them back to the office was frowned upon by modern accounting procedures—better to separate the functions, and have the customer just bring in, mail, or wire the payment to the department’s financial side. But Phan was a trusted employee, and when SPU was audited repeatedly by city, state, and outside auditors, no one had questioned his one-man show.

But that Friday, Madsen saw a problem with Phan’s utility payment, which the engineer had entered into the SPU system after logging on with his user ID, leaving a trail for Madsen to follow. He sent a memo the following Monday to customer-billings manager Mar, who considered Phan his “go-to guy” for wateravailability issues. “It appears,” Madsen said in his memo, “ this payment did not go through the normal City payment receipting processes and no money was received by the City.”

Not that Phan didn’t have the dough to pay his bill. He and his wife of 10 years, Tra My Thi Le, owned three four-bedroom homes as well as three undeveloped city lots. The six properties are worth an appraised $1.1 million total. He also had a personal bank account through which another $1.1 million had flowed since 2006. Not bad for an $81,000-a-year city worker.

» Continued on page 12 11

Joe Millionaire » froM page 11

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computer payments, but he simply denied making them. He was “puzzled” by the fake payments, he said, and had no idea who might have accessed his ID code and submitted them. Phan had a bad habit, he said, of sometimes writing his password on sticky notes and leaving them affixed to his computer. Maybe someone took advantage. He mentioned a woman he’d once hit on in the department, who’d seemed offended. He didn’t think she carried a grudge, “but you never know,” he told the supervisors. The meeting ended without resolution.

It didn’t make sense for Phan to fudge his utility payment, thought Mar. Phan was “not the kind of person who would do this,” Mar told another supervisor, and he’d vouch for Joe’s character “any day of the week.” Yet he found it difficult to reconcile Phan’s denials with the computer data.

A few days later, Phan told a supervisor he’d figured out what happened: Phan’s wife had informed him she’d made two online utility payments on the day in question, October 22, with a credit card. The system apparently failed to promptly record the payments, but the bills had been paid in a timely manner.

Sure enough, supervisors determined, there were two such entries in the system.

But they had been made on Nov. 1—nine days after the pay date in question. Most payments typically showed up in the city system within a day—four days at the latest.

Supervisors asked Phan for further proof, and he brought in what he said was a bank statement showing the payments had been made October 22. Except the statement appeared to have been doctored, supervisors

Phan landed on his feet, however, finding a senior engineering technician’s job with the City of Bothell. Officials there checked with the three SPU contacts Phan had named as references, and each said “they would rehire him without reservations,” recalls Joy Johnston, Bothell public information officer.

Apparently, however, no one Googled Phan’s name, since there had been news stories about his firing.

Phan started his new Bothell job in August 2011, making $4,766 a month. All may have seemed well again, but his bill tampering and the other dismissals had SPU supervisors double-checking to see if this was a case of a few dishonest employees among the department’s 1,450 workers, or whether something bigger and darker was at play. hortly after Phan was fired, one of his former supervisors, Mike Brennan, sat down one day in Phan’s former Muni Tower workspace and began going through the data his ex-employee had left behind. Brennan, SPU’s Plan Review Manager, studied paper and electronic documents, read messages, and reviewed project files in preparation for handing over to someone else a position that only Phan had held since 2005.

As manager of water-main extension projects, Phan would meet with developers or individual customers needing new water hookups. They’d go over plans and Phan would provide an estimate of the city’s charges, which included mostly set fees for engineering services and, if necessary, construction services.

He did his job well, in the eyes of supervisors and fellow workers. “He was nice, though it was hard to be friends with him, to be close,” said one longtime employee who

“ we felt he was a good soldier, a very efficient employee. customers liked him. he never goofed off.” thought. They became increasingly suspicious, and asked to see original documents.

Phan said he’d try. When pressed, he couldn’t come up with any.

On December 10, 2010, SPU issued its findings: Phan had made the computer entries without paying any money. He then attempted “to cover up his actions” with a bank document “most likely altered to show the payments had been made on the same date.” He was placed on paid administrative leave as the findings were discussed and checked further. In the first week of February 2011, he was fired. Phan later admitted the billing falsification in a settlement agreement with the city’s Ethics and Election Commission and paid a $1,500 fine.

The incident prompted SPU Director Ray Hoffman, appointed to his $185,000-a-year position by Mayor Mike McGinn in 2010, to form a new risk-management unit and probe further into the billing system’s vulnerability.

Investigators then began to find other workers who had violated SPU rules and tampered with their accounts, submitting false payments and readjusting due dates. Six more employees were eventually fingered in what became a small scandal within the agency.

Along with Phan, four others were fired last year. Another was suspended, and still another resigned.

asked not to be named. “But we felt he was a good soldier, a very efficient employee. Customers liked him. He never goofed off.”

A typical water-main expansion for a new structure on an existing site could cost around $10,000. About half the cost would involve construction inspection by Phan, with another $1,200 for plan review and administration.

The actual water-main connection, done by city workers, would come close to $4,000.

Once the cost was confirmed, the developer or homeowner would give a check to Phan, who would issue a signed paper from a book of receipts he had drawn up by hand, according to investigators—another factor, they say, that could allow someone to operate in the shadow of the SPU accounting system.

He would then make a copy of the check for his project file and supposedly send the original off to accounting, routing the watersystem work order to an engineering unit.

However, the check and the contract were never reconciled as corresponding entries.

There was neither a computer program nor a pair of eyes to match the two and confirm that payment actually had been received for the work to be done. Customer utility payments could be more diligently followed and mated with invoices, but water-main extension payments—part of SPU’s “secondary

» Continued on page 14

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Even though members get to decide who they meet, Great Expectations loves to play matchmaker and give suggestions of who they think their members would be compatible with.

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A Great Expectations member for a year, Ryan selected Christina—who had recently signed on as a client— and the couple clicked from the get go. They were engaged June 11, 2011, and tied the knot just last month.

Dyan and Mark also owe their success to the Great Expectations team. Dyan joined Great Expectations in October 2010 to

find a “life partner.” One of the matchmakers in the office suggested she go out with Mark, who had joined just one month prior. The pair immediately hit it off and got engaged July 2, 2011. Wedding bells tolled just two months later on September 3.

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Whether you are too busy to date, are tired of the bar scene, don’t feel comfortable placing your personal information online or can’t seem to find the type of person you are looking for, Great Expectations Seattle will meet you where you are.

Great Expectations will be there to back you up and point you in the right direction. They guide you through the process of finding your “other half,” as well as introducing you to a new, exciting social circle. In the words of a success story couple Ruth and David, “Just give it a shot.

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Seatt le w eekly • APRIL 11 - 17, 2012

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next day. A small SPU investigative team was formed that included Eileen Lawrence, a city attorney’s investigator.

So far it was a one-check case, and police were uncertain whether the three-year-old check could lead to any prosecution, due to the statute of limitations. But going through Phan’s files, the city investigators began to do something the accounting system hadn’t: attempt to match checks with contracts. They dug out dozens of check copies that appeared to have been properly sent for water-extension work before presumably winding up in the city’s account at Wells Fargo.

Lawrence entered the data into a spreadsheet, a list of 47 checks totaling more than a half-million dollars. All had gone to Phan for payment on city projects. City investigators then asked Wells Fargo for a match with the bank’s deposit records.

They were astonished at what the bank reported: Of the 47 checks, only 12 had been deposited at Wells Fargo. Thirty-five, worth a total of $455,576, had gone somewhere else.

payments” system— weren’t monitored as closely. A rogue employee aware that such revenue wasn’t being tallied and recorded at the other end could divert money without fear of detection.

SPU spokesperson Andy Ryan admits that was the way things were done on water-main jobs. “It was going on for as long as anyone can remember,” he says. “An employee was simply trusted to do the right thing.” Even under director Hoffman’s new orders to review accounting operations early last year after the billing scandal, “No one thought this was a problem because it hadn’t bubbled up to the top of our list yet.”

Then one day it did. Brennan was still going through Phan’s projects list in February 2011 when a developer called about revising an earlier water-main job. He’d taken over for another developer who’d gone bankrupt, and wanted to know if the $37,000 deposit paid earlier could be reapplied to the project. Brennan said it likely could be if the developer prout where? The copies Phan vided a copy of the check—which he did. had kept had no stamp on the But Brennan couldn’t find the original back to show where they’d check in SPU’s systems. Nor could the city’s been deposited. Investigators bank, Wells Fargo, when asked to search already had their suspicions, however, thanks deposit records. Brennan even called Phan to to that $2,000 housing authority check. On ask him about it. The ex-employee seemed January 24, police fraud investigator Savas was cooperative, and suggested a couple of ways assigned to the case. He subsequently obtained the check may have been lost in the system. a subpoena for the records of that Bank of But none of those proved fruitful.

America account.

Brennan notified Charlene MacMillanThe documents arrived on his desk FebruDavis, SPU’s Labor Relations chief , who in ary 28. Bank of America claimed it couldn’t turn contacted Guillemette Regan, director find the original signature card filled out to of the newly created Risk and Quality Assuropen the account in 2006. But it had been ance unit that was overseeing an accountingestablished in two names: Joseph Phan and systems review. They too were puzzled by the “the City of Sea.” missing check. SPU’s review of departmentIt seemed Just Joe had opened an account wide financial security was therein expanded with his employer. With that enigmatic—and to also focus on this new question: Where imaginary—co-signer, Savas concluded, Phan does a city check go when it doesn’t go into the allegedly was able to deposit check after check city’s bank account? made out to the city without raising any apparOn December 19, 2011, an ent suspicions by the bank. answer began to emerge. That “I found that 71 checks made day, Wai Leung, SPU’s accounts payable to the City of Seattle more receivable manager, became or to SPU had been deposited online aware of a $2,000 check made out So just how easy is it to this account between Januto deposit a check— to the city that had been deposary 2006 and January 2011,” any check—at Bank ited in a non-city account. The Savas says in his report. The of america? Check out rick anderson’s King County Housing Authority check amounts “ranged from exclusive report at was attempting to reconcile the $675 to $217,655 and totaled check on its books, issued in 2008 seattleweekly.com/ $1,090,762.16.” There were a few dailyweekly for an upcoming water-main smaller checks, too. And there job. (Rhonda Rosenberg, KCHA were also a couple, for a few spokesperson, says the check was partial payhundred dollars each, actually made out to the ment for hookup fees and water-main exten“City of Sea.” sions at Seola Gardens, a $70 million housing Most of the checks on the list were deposproject currently underway in White Center.) ited from January 2008 through November SPU was unable to locate any record of the 2010. The majority were in the $10,000 to payment when the housing authority asked $20,000 range, made out to the city by develabout it, so the housing authority sent a copy opers and builders. A few were in the $30,000 of the cancelled check. and $40,000 range, including one for $49,000 It was made payable to the City of Seattle, to the city from major builder Sellen ConstrucDepartment of Finance. And on the back, an tion. One for $51,000 was written by Bonus endorsement stamp read: “Pay to the Order Properties LTD. Several of these companies of Bank of America, Seattle, WA 98199, For contacted by Seattle Weekly chose not to comDeposit Only, Account #*7000.” ment. “All we know is the check went to the The county’s check, made out to the city, city and that was that,” said a spokesperson for had been deposited in what turned out to be one, who asked not to be named. someone’s personal account. And as Leung Like the county housing authority check noted in his message to supervisors, the check that had led to discovery of Phan’s account, had originally gone to Joe Phan. the one for $217,655 diverted to the account On January 5 of this year, Regan, the riskwas also from the housing authority for the management supervisor, contacted the city White Center project. It was deposited on attorney’s office before informing police the August 27, 2010, the last of five checks to go

Seattle weekly • APRI L 11 - 17, 2012

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into the account, and left investigators mindboggled over how a nearly quarter-milliondollar check from one government agency to another could have been deposited in a private account.

It’s a question the bank has yet to answer, as BofA did not respond to repeated inquiries for this story. But these deposits raise serious questions about the bank’s oversight. “I’m surprised the bank would accept checks made out to the City of Seattle,” says county prosecutor Satterberg, “when it doesn’t have a relationship with the city.”

Satterberg doesn’t know if the city can sue to recover its losses. “That would be up to the city attorney to decide,” he says. (Kimberly Mills, spokesperson for city attorney Pete Holmes, says their office is still mulling such a legal action). Last year BofA settled out of court with a Maine lawyers’ organization which sued after one of its members embezzled $166,000 using a BofA account to conceal her thefts.

What’s clear to him, the prosecutor says, is that Phan found an easy path to the depository.

“He had an official-looking little rubber stamp made up that he used to stamp the backs of the checks, and then put them through an ATM,” says Satterberg. “There was little face-to-face contact with the bank.”

According to investigators, Phan allegedly didn’t divert all the checks he handled, but could have taken as many as two-thirds of them. Court records show that of the checks in question (70 of the 71 are listed in charging papers), he’s accused of depositing more than $370,000 (26 checks) in 2008, more than $325,000 (28 checks) in 2009, and more than $390,000 (16 checks) in 2010—the year of the $217,000 housing authority debacle.

The last deposit was November 19, 2010, for $12,101. By then, Phan had come under department scrutiny for his fake billing payments. He would be sent home on leave three weeks later.

“He was beloved in the department,” says SPU spokesperson Ryan. “This comes as a real blow to the department. These are honest and dedicated public servants, and they feel betrayed.”

Though he allegedly stole contractors’ checks to the city, none of the contractors were swindled, SPU officials note, since all their paid-for work was completed. It’s SPU’s treasury that took the hit—a million-dollar loss that went unnoticed while the utility was raising rates and cutting staff. Over the past two years, SPU has eliminated 85 positions and lowered its capital expenses for a $56 million savings.

Meanwhile, water rates are expected to rise by more than 20 percent over the next three years, and SPU is exploring plans to limit now-weekly garbage pickups to every other week.

auditors to improve oversight of both SPU and Seattle City Light.

Godden says that while she was outraged that the thefts could have gone on so long without detection, she “didn’t get as many calls and e-mails from the public as I expected.” Much of the loss might be recouped through the city’s insurance policy, she says, if the city’s legal actions against Phan—and perhaps BofA—come up short.

But she has no doubt “that the public is very unhappy about this. They deserve financial accountability, they deserve answers, and they’re going to get them.” han, meanwhile, awaits his fate in King County Jail, facing both a criminal trial and a civil action. City attorney Holmes has obtained a court agreement freezing Phan’s assets, while Phan and his wife have agreed through their attorney to

“ This comes as a real blow To The deparTmenT. These are honesT and dedicaTed public servanTs, and They feel beTrayed.”

City Council member Jean Godden, chair of the utilities committee, has asked for an independent financial review of SPU by the City Auditor’s Office, and last week met with director Hoffman and city auditor David Jones to hear about new controls to improve SPU’s accounting procedures. An audit has already begun to, as one audit staffer put it, “follow the money” and look for systemic failures. The city is also hiring several additional

be put on an allowance for “reasonable living expenses” of $4,400 a month. They’ll be unable to transfer any property, and are restricted in withdrawing bank funds. The city’s retirement system is also currently enjoined from issuing any funds to Phan, and SPU has asked that he be denied a pension.

The city has already claimed the $200,000 that was sitting in Phan’s BofA account. That and the asset freeze has thus far left the accused

unable to raise bail money. His attorney, Anna Gigliotti, from the law firm of local NAACP chapter president James Bible, says they aren’t commenting on any aspect of Phan’s legal cases “at this time.” Bible’s firm will be paid a $25,000 legal retainer that the city is allowing Phan and his wife to withdraw from their other personal bank account, with Chase Bank. The city agreement also allows the Phans to pay their house mortgages from the Chase account.

Sitting in her 49th-floor Muni Tower office last week, Regan, the risk-management director, says that with the Phan probe now in police hands, she is focusing on improving SPU’s accounting systems. The problem the Phan case left the agency with, however, is not resolved. Phan’s replacement, the new watermain extension engineer, does not accept checks (payments are sent directly to accounting by the contractor), but the department’s computer system is still not programmed to square contracts with payments.

“We have a temporary fix,” says Regan.

“It will ultimately require an IT change, or redesign, to resolve it.” But there are new procedures in place, including extra provisions on access to the system, to limit future threats.

The internal billing investigation continues as well. “It didn’t end with those last cases,” Phan’s among them, she says, noting that all 147 of SPU’s billing-system employees are being checked for misuse of the payment system.

Regan’s crew is plowing through a decade’s worth of employee electronic entries. “Ten years of data,” she says. “We’re looking at the whole process.”

She doesn’t expect to find another Joe Phantom. But then, nobody ever did. E randerson@seattleweekly.com

Seatt le w eekly • APRIL 11 - 17, 2012

15

“Warms up the drab Seattle winter”

Seattle weekly • APRI L 11 - 17, 2012

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the»weekly»wire At the Paramount, Cats will not be stopped!

JOAN MARCUS

dead and Mason’s Johnny McQueen shot in the shoulder, the Irishman becomes the object of a city-wide manhunt. Everyone in Belfast knows his name and face. Some treat Johnny kindly, offering drinks and aid, but none can shelter him long for fear of the British police.

Bleeding, hallucinating, he lurches from an old bomb shelter through the cobblestone streets, avoiding the lamplight, clinging to the walls.

As the rest of his gang is shot or arrested, he’s a man totally alone, tormented by his crime, trailed by barking dogs and bounty-seekers. He’s a living ghost, halfway to the grave, and the Irish already speak of him as a near-mythic figure of the past. One mad artist seeks to paint him, seeing in Johnny’s eyes “the truth about us all. He’s doomed.” Tending to the patient, a quack doctor’s reply sums up the movie’s mood: “So are we all.” (The series continues through May 24.)

Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $53–$59 series, $8 individual. 7:30 p.m. BRIAN MILLER

wed/4/11

thurs/4/12

BOOKS/BIKES

FILM

The Cycle of Judgment Running to the Grave To follow BikeSnobNYC on Twitter or his blog, you gotta know the lingo. He’s visiting Seattle for a BRA (book-related appearance) to promote The Enlightened Cyclist: Commuter Angst, Dangerous Drivers, and Other Obstacles on the Path to Two-Wheeled Transcendence (Chronicle, $16.95). And he’ll

BASEBALL

Clean Slate

Typically, hope springs eternal at a baseball

The Real Hunger Game

Even as Myanmar/Burma shows sign of cracking, North Korea’s three-generation dictatorship remains solid and inscrutable to journalists like Blaine Harden, who covered East Asia for The Washington Post. Today based in Seattle, he found an unlikely source for his Escape From Camp 14 (Viking, $26.95): a young man named Shin Dong-hyuk, who was born in a North Korean prison camp. His parents, political prisoners, were forced into an arranged marriage. Shin was raised in a slave colony whose residents would do anything for food—lie, cheat, betray friends and family, anything to fill their bellies. Conditions are as brutal as you’d expect; in one horrific episode, young Shin watches a teacher beat a girl to death in class. (She just kneels and submits, as they’re trained to do.) Later, family members are also killed before his eyes. Barely literate, with no knowledge of the world beyond the electric fence, Shin begins to dream of escape, not out of heroic principle but desperate hunger—he craves meat.

North Korea’s gulag system, estimated to hold some 200,000 inmates, is like a Skinner box that stunts and shapes the mind. Before Shin’s 2005 escape to China, one of his few benefactors “explained that the world was round.” A few years later, living in the U.S., he’s giving a talk at Google. Tonight, as Harden will explain, Shin’s assimilation to the West has been difficult—one extraordinary case study from among the 24 million who might one day merge with the south. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. BRIAN MILLER

Strings Attached

Donald Byrd takes a certain delight in

making audiences uncomfortable, and in his reworking of Petruchska for Spectrum Dance Theater, he’s running true to form.

The 1911 original Ballets Russes production featured a tour de force performance by Vaslav Nijinsky as a puppet who achieves humanity only to die of a broken heart.

Byrd’s contemporary version sends us all to a sadistic nightclub in the company of heartless puppet boys and girls. Performed in and around the Madrona Dance Center, with the Stravinsky score adapted for accordions and dancers mixing among the audience, this promises to be a very dark carnival.

(Through April 22.) Madrona Dance Center, 800 Lake Washington Blvd., 325-4161, spectrumdance.org. $20–$25. 7:30 p.m. & 9 p.m. SANDRA KURTZ

» CONTINUED ON PAGE 18 MON: BOOKS

Harden first reported on Shin (pictured) three years after his 2005 escape.

Seatt le w eekly • APRIL 11 - 17, 2012

*

fri/4/13

DANCE

BLAINE HARDEN

be pedaling with fans on a group ride to the reading—departing from 20/20 Cycles at 5:30 p.m.—on his own folding bike, which is neither a Brompton nor a fixie nor made of “crabon fiber.” During that leisurely ride, the perennially nonplussed blogger also known as Eben Weiss will chat with followers, take lots of photos of bicycle infrastructure (as seen at bikesnobnyc.blogspot.com), look for unusual cockpits (the handlebars and shifters), discourage speeding among the Freds (weekend racers), perhaps consume an “epic burrito,” and decry any signs of smugness among his peloton.

Snob, as he’s sometimes called, is all about the ever-keener edge of judgment: The more minor the distinctions among cyclists (SRAM Red or Dura-Ace? Bamboo or titanium? This Schleck brother or the other Schleck brother?), the more ridiculous their debates. Because, as his satire reminds us, the only thing worse than hearing bicyclists complaining about motorists—and vice versa—is bicyclists complaining about fellow members of their tribe.

Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 7 p.m. BRIAN MILLER

Two years before director Carol Reed and cinematographer Robert Krasker turned the Vienna sewers into an inky labyrinth in The Third Man, they transformed Belfast’s back alleys into an equally ominous maze for a different fugitive. Instead of Orson Welles, it’s James Mason on the run in the 1947 Odd Man Out, being screened for SAM’s Thursday-night series “Shadow Street: The Best of British Film Noir.” After a botched IRA heist leaves a cashier

team’s home opener. Last season is a distant memory, the wins and losses aren’t yet piled high in either column, and even the most mundane match-ups feel fresh and exciting.

The Mariners, however, aren’t your typical team. These are the guys who routinely lose 90 games and haven’t made the playoffs since 2001. (As the ads used to say, “You gotta love these guys!”) It might be spring, but hope is getting hard to come by. Nevertheless, this weekend’s three-game stand against the Oakland A’s marks the return of baseball season in Seattle. Neither team is likely to hoist the World Series trophy in October, but it’s still a special occasion, because the outcome is irrelevant. What matters is the chance to visit the ballpark and watch Ichiro hit and Felix pitch for one more year. Safeco Field, 1250 First Ave. S., 346-4001, seattle.mariners.mlb.com. $20 and up. 7:10 p.m. KEEGAN HAMILTON

17

The Weekly Wire » FROM PAGE 17

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Seattle weekly • APRI L 11 - 17, 2012

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The most astonishing performance I ever heard of Tchaikovsky’s Symphony no. 4 was a recording of a Trinidadian steel band hurtling through the perpetual-motion finale from memory. (It’s customary for bands to include orchestral transcriptions in their repertory— so much for the notion that classical music has nothing to offer non-Europeans.) The carnivalesque joy of that finale is the culmination of a huge emotional journey from the opening movement—tempestuous, troubled music penned in and shouted down by intimidating fanfares. Written in the wake of Tchaikovsky’s doomed six-week marriage (he was gay, she was neurotic) in the summer of 1877, the sweepingly dramatic and colorful symphony invites speculation. Was it confession? Therapy? An escape into fanciful musical scenepainting, or an attempt to describe in sound the emotional buffeting he’d just suffered? Dig into the Fourth this afternoon as the Seattle Symphony, led by Peter Oundjian, plays it in a multimedia “Beyond the Score” presentation narrated by KING-FM’s Steve Reeder (and alongside music by Rouse and Dvorak, with no presentation, Thurs.–Sat. evenings). Benaroya Hall Third Ave. & Union St., 215-4747, seattle symphony.org. $17–$82. 2 p.m. GAVIN BORCHERT

tues/4/17 STAGE

Now and Forever and Forever . . .

While grumpy old T.S. Eliot gradually fades from the canon, with poetry of little interest to undergrads hoping to interview at Microsoft or Amazon, his enduring legacy may actually be . . . yes, Cats . You couldn’t make a Broadway musical out of The Waste Land or The Hollow Men, but his ’30s doggerel about persnickety felines? Sure, that’s exactly what Andrew Lloyd Webber did in 1981—and who needs a plot when you’ve got furry thespians yowling out songs on a stage dressed to look like a giant junkyard? Sounds crazy, but the smash hit ran for some two decades in both London and New York, and it’s been touring near-continuously since its inception. You can call Cats cheesy, but just try to get Lloyd Webber’s songs out of your head.

The lack of a plot is actually an advantage of sorts—there’s no complicated story to follow.

There’s also no linguistic or cultural barrier to entry, and, further, the costumes appeal to kids. And maybe, just maybe, when they get a little older they’ll be curious about this Eliot fellow and download mp3s of him reading his poetry—yes, there are lots—onto their iPhones. (Through Sun.) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $20–$70. 7:30 p.m. T. BOND

arts»Visual Arts »REVIEW

Over the Rainbow

First Date is still running, tickets selling fast!

I

n the creative fields, gays are—how to put this?—well-represented, from theater to dance to Hollywood. That’s no less true in the art world, so a gaycentric museum exhibit would seem redundant. Still, that didn’t stop the Smithsonian from organizing Hide/Seek last year. It’s a group show now on its West Coast tour, and the rainbow roster includes heavyweight names like Eakins, O’Keeffe, Rauschenberg, Mapplethorpe, and Warhol. There are few up-and-comers here; the exhibit is presented more like a gay pantheon. Most of the artists are dead, some felled by AIDS, so the treatment is more somber than celebratory (no disco, no camp, no Glee).

Instead of the usual Dead White Men who constitute the academy, we have mostly Dead White Gay Men (DWGM). If this is the secret sexual subtext to art history, now no longer secret, the show undersells the eros with its dry subtitle: “Difference and Desire in American Portraiture.” (Would it have killed them to try something sassier, like “Art on the Down-Low” or “Glitter-Bombing the Academy” or “150 Years of Art Fags”?)

It all sounds off-puttingly pedantic, until you actually enter the two main galleries where more than 90 works are displayed— mostly paintings and photos, plus a few videos. One chamber is postwar and the other historical, a distinction seemingly forced by

You’d like to tell poor Arnold that it gets better, but the more complicated truth is that you only exchange one set of problems for another.

isn’t overtly erotic, but the half-naked athlete’s ass faces us. This is the image that invites you in, and its placement is no accident. So why not group it with other nudes and figure studies from different eras?

Sorry, this is an historical survey, so you’ve got to circle through unrelated works by Berenice Abbott, John Singer Sargent, Cecil Beaton, Grant Wood, and other staples of the prewar era.

Among the familiar images from this period, Wood’s 1930 Arnold Comes of Age is impossible to see now as anything but a screaming case of repression. Prim, prissy, V-necked Arnold turns away from some nude male bathers in—what? Disgust, longing, selfdisgust, fear, or Protestant self-denial? Lips pursed, hair neatly combed, he’s both pitiable and ridiculous. There’s a Midwestern sadness to his not getting what he (presumably) wants in life, but are all “liberated” gay men truly happy today? I’d like to see the painting paired with one of Robert Mapplethorpe’s bullwhip-up-the-butt photos (only his tamer stuff is included in Hide/Seek), since those S&M images have never seemed particularly joyful to me. Gay or straight, we just move through the centuries from one form of constraint to the next. From gay marriage comes gay divorce; from the right to adopt, ungrateful children who expect college tuition. Even if the priapic hero of the recent film Shame was hetero, the emptiness of his sexual license must resonate in the bathhouses. You’d like to tell poor Arnold that it gets better, but the more complicated truth is that you only exchange one set of problems for another.

In the postwar room, Warhol dominates, to an almost unfair degree. Beside an enormous late-career self-portrait and two video banks of his Factory screen tests, the huge 1962 Troy Diptych overwhelms you with the pretty mug of B-movie actor Troy Donahue (not to be confused with Tab Hunter, but both of them Hollywood products all the same). The silk-screened multiples are as familiar as Marilyn, Liz, or Campbell’s Soup; there’s the same bright machine-age melancholy to these assemblyline iterations. Stripped of personality (if he had one), not talented or famous enough to be well-remembered, Troy becomes an empty vessel—not unlike Arnold, above— who can take on any meaning. Closeted gay?

Warhol’s guilty crush? An emblem of sheer,

by Lee Hall

Inspired by a book by William Feaver Directed by Kurt Beattie Go Behind the Scenes with ACT and Classical King FM 98.1 on April 24!

Look away, Arnold! Avert your eyes!

dumb sex appeal? It hardly matters which is true today: Troy is dead and his blue-eyed ’50s glamour now but a yellowed scrapbook memory, because beauty always fades.

Look over at William S. Burroughs’ photo of handsome young Allen Ginsberg (in 1953, on an East Village rooftop), and there’s the same mortal tug. Ginsberg has annotated the photo as if in a diary, to fix it in time. (His rent? $30 a month!) But art is never fixed in time. Only artists live (and die) in discreet chronological chapters. We go back and reevaluate their creations all the time, put them in new shows, new contexts.

Here, no matter the amount of interesting art to see, the problem is the context. Is it helpful to assess an abstract painting

by Jasper Johns when set near a David Wojnarowicz video? Does the Mapplethorpe illuminate the Robert Rauschenberg? Hide/ Seek means well, but it’s inherently reductive.

The show doesn’t exactly create a Fire Island ghetto of gay artists; rather, it subordinates individual achievement to group identity.

I’d much rather see a Warhol show, a Minor White show, a Marsden Hartley show than a greatest-gay-hits sampler such as this.

This is especially true of the younger and (to me) less-branded artists like Cass Bird; I’d prefer more of her large color photographs of strangers to familiar images of famous gay icons (Whitman, Susan Sontag, Gertrude Stein and Alice B. Toklas, Langston Hughes, etc.).

And if you’re going to let Annie Leibovitz in the door (shooting Ellen DeGeneres), why not Tom of Finland? E bmiller@seattleweekly.com HIDE/SEEK Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $8–$10. 10 a.m.–8 p.m. Thurs., 10 a.m.–5 p.m. Wed. & Fri.–Sun. Ends June 10.

Huge Hit in London and on Broadway The Twilight Zone: Live!

Now – April 28

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

Construction Zone April 30

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

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 Montgomery.

Frank Ferrante in An Evening with Groucho May 3 – 20

An award-winning Ferrante delivers in a fast-paced 90 minutes of hilarity.

See it all with an ACTPass! acttheatre.org | 206.292.7676 700 Union Street, Downtown Seattle

Seatt le w eekly • APRIL 11 - 17, 2012

architecture, not curators. (The Smithsonian’s David C. Ward and SUNY Buffalo’s Jonathan D. Katz made the original selection.) If you circulate along the intended old/ new path, it’s possible to construct a happy historical progression from Walt Whitman’s 19th-century freedom to the closet (and its codes) to Stonewall and AIDS and, finally, gay marriage. The problem with this kind of up-from-slavery reading of the art, as the DWGM might tell you, is that their lives and circumstances weren’t so simple. Was Andy Warhol more or less free, more or less tormented, than Thomas Eakins? Which man put more of himself into his art, imbued it with more longing or less sex?

The very first painting to greet you is by Eakins, that great student of the male form, depicting a buff boxer offering a victory salute to his admiring fans. The large 1898 Salutat

BY BRIAN MILLER

April 20 – May 20 SHELDON MUSEUM OF ART/NEBRASKA ART ASSOCIATION COLLECTION

Does gay art really need its own separate show?

This big survey doesn’t make the case.

19

arts»Performance

BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

THE ART OF RACING IN THE RAIN Seattle author

Monday - Sunday 10am to 6pm Tuesday 10am to 7pm

C

Garth Stein’s novel is told in the voice of Enzo the dog.

Center House Theatre, Seattle Center, 216-0833. $22–$44.

Previews April 17–19, opens April 20. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends May 13.

CATS SEE THE WIRE, PAGE 18.

DOUBLE (XX) FEST A wealth of plays written and directed by women. Stone Soup Downstage, 4029 Stone Way, 800-838-3006. $10 and up. Opens April 16 with readings April 16–18; then runs Thurs.–Sun. Ends May 6.

See stonesouptheatre.org for exact schedule.

HELP Dutch troupe Theatergroep Max presents, not a stage adaptation of the Beatles film farce, but the story of their early years. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Preview April 12, opens April 13. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun.; see sct.org for exact schedule. Ends May 13.

LOVE LETTERS A.R. Gurney’s epistolary two-hander traces a 50-year relationship. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., twelfthnight productions.org. $12–$15. Opens April 13. 7:30 p.m.

Fri.–Sat., plus 3 p.m. Sun., April 22. Ends April 22.

THE LUCKY CHANCE; OR, AN ALDERMAN’S BARGAIN A reading of a spicy 1686 comedy by Aphra

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Behn—heroine of Or,, now playing at Seattle Rep. PONCHO Forum, Seattle Rep, Seattle Center, endangered speciesproject.org. Free. 3:30 p.m. Sat., April 14.

SPRING AWAKENING Back by popular demand, Balagan’s staging of the Tony-winning (God help us all) rock musical.

Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, balagantheatre.org. $20 and up. Opens April 12. 8 p.m. Fri.–Sat., 2 & 8 p.m. Sat.–Sun. Ends April 21.

TITANIC: THE CONCERT A concert performance of the Maury Yeston/Peter Stone musical to commemorate the centennial of the tragedy. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $19 and up. 8 p.m. Fri., April 13, 2 & 8 p.m. Sat., April 14, 1:30 p.m. Sun., April 15.

For tons of Current Runs, see seattleweekly.com.

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

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pany is bringing its version of a Rube Goldberg machine.

In Connected, the performers build a kinetic sculpture during the performance, but the twist is that they include themselves in the mechanism. The piece feels ominous—humans may have made the machine, but might not be the ones controlling it. SANDRA KURTZ Meany Hall, UW campus. 543-4880, uwworldseries.org. $20–$39.

8 p.m. Thurs., April 12–Sat., April 14.

PACIFIC NORTHWEST BALLET Two repertory classics: George Balanchine’s Apollo and Kent Stowell’s Carmina Burana. McCaw Hall, Seattle Center, 441-2424, pnb.org. $28–$168. Opens April 13. 7:30 p.m. Thurs.–Fri., 2 & 7:30 p.m. Sat., plus 1 p.m. Sun., April 22. Ends April 22.

PETRUCHSKA SEE THE WIRE, PAGE 17.

THE CHERDONNA AND LOU SHOW This dance/performance-art duo presents out out there (A Whole Night Lost). Velocity Dance Center, 1621 12th Ave., 800-838-3006, CherdonnaLou.com. $15. 7 & 10 p.m. Fri., April 13.

• •

Classical, Etc.

SEATTLE SYMPHONY SEE THE WIRE, PAGE 18.

•ABEYA Traditional Japanese music. Benaroya Recital Hall,

Third Ave. and Union St., 215-4747, seattlesymphony.org. $10. 7:30 p.m. Fri., April 13.

LAKE UNION CIVIC ORCHESTRA Bernstein, Gershwin, and Prokofiev’s Fifth. Town Hall, 1119 Eighth Ave., luco.org. $10–$15. 7:30 p.m. Fri., April 13.

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. Opens April 13. 8 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends April 22.

THE SINKING OF THE TITANIC SEE EAR SUPPLY. CRISTINA VALDES Contemporary piano works by Latin-Americans. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., April 14.

TRIO PARADIES Music for piano trio, and subsets thereof,

by Beethoven and Schubert. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts. org. $12–$28. 7:30 p.m. Sat., April 14, 3 p.m. Sun., April 15.

SEOUL PHILHARMONIC Music by Ravel, Unsuk Chin (a concerto for sheng, or Chinese mouth organ), and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $27–$102. 7:30 p.m. Mon., April 16.

EMERSON STRING QUARTET Mozart’s “Prussian” quartets, written for a cellist king, put that instrument in the spotlight. Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$36. 8 p.m. Tues., April 17.

• • •

•

EarSupply

» by gavin borchert

A Night to Remember

As one Titanic survivor recalled, “The way the band kept playing was a noble thing . . . the last I saw of [it], when I was floating out in the sea with my lifebelt on, it was still on deck playing . . . How they ever did it I cannot imagine.”

British composer Gavin Bryars took this reminiscence, and conjectures as to just what music was heard on deck that night, as the basis for his 1969 conceptual-art piece The Sinking of the Titanic. (Tradition has it the last hymn played was “Nearer My God to Thee,” though sources differ.) Bryars’ “score” is his pages of research notes about the event. But how do you make a performance out of these notes? The realization planned for Saturday will include improvisations on that hymn and other period music by 30 musicians scattered around the Chapel Performance Space, surrounded by field recordings, electronic processing, video projections, Victrolas playing 78s, and a recitation of the

The band played on.

YORK TIM ES

20

GREENHOUSE & LIGHT

• CHUNKY MOVE The Australian modern-dance com-

THE NEW

Seattle weekly • APRI L 11 - 17, 2012

LUCKY

Dance

names of the disaster’s 1,514 victims. Coordinating this epic collage/happening is composer and contemporary-music patron saint Steve Peters, who’s gathered an all-star lineup from Seattle’s avant-classical scene to play for three hours, roughly the time the ship took to sink after hitting the iceberg: from 11:40 p.m. April 14, 1912, to 2:20 a.m. April 15, North Atlantic time. In other words, this commemoration of the tragedy takes place one hundred years later to the hour. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, gscchapel@gmail.com. $5–$15.

7:30 p.m. Sat., April 14.

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21

arts»Visual Arts

BY KAT CHOW

•

Openings & Events CONTEMPORARY • AUTHOR AND SUBJECT:Performances by QUEER PHOTOGRAPHY

• •

Tenderfoot and Waxie Moon will attend the April 12 opening reception of this group show (6–8 p.m.).

Photographers include Adrain Chesser, Kelli Connell, and Katie Koti. Photographic Center Northwest, 900 12th Ave., 720-7222, pcnw.org. Through April 27.

BALLARD ARTWALK Every second Saturday, Ballard’s galleries stay open late for their monthly artwalk. Peek into venues including Ambach & Rice, 20Twenty, and many others. 5–9 p.m. Sat., April 14.

BLITZ! CAPITOL HILL ART WALK Check out the participating galleries and stores on Pike and Pine Streets, including Vermillion, Ltd. Gallery, True Love Art Gallery, and Photo Center NW, Fetherston Gallery, and Rosebud, which will extend their hours to feature art, music, and

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

•

Seattle weekly • APRI L 11 - 17, 2012

THE 2012

22

NEDDY

more. See blitzcapitolhill.com for more info. Second Thurs. of every month, 5–8 p.m. Thurs., April 12.

GEORGETOWN ART ATTACK The April edition features an Easter theme of sorts, with Tobi Nussbaum’s photos of Easter eggs at American Pie. Also look for woodblock prints by James C. Bassett at Calamity Jane’s, Ian Ferger’s light boxes at Nautilus Studio, and Erin Shafkind’s clay works (called Don’t You Forget About Me) at The Firm. Also be sure to visit the usual Attack venues, including Bella Vitale, the Georgetown Arts and Cultural Center, and the Georgetown Trailer Park Mall. See georgetownartattack.com for more info.

Second Sat. of every month, 6–9 p.m. Sat., April 14.

JEFF GERBER Gerber creates his work on the road and uses places like hotel rooms as his mobile studio.

Note opening reception 7–9 p.m. Wed., April 11. CoCA Belltown, 2721 First Ave., cocaseattle.org. Mon.–Fri., 10 a.m.–5 p.m. Through June 17.

MICHAEL HARRISON Harrison’s sculptures made of reclaimed or recycled wood are inspired by Native American carvings, Mexican folk art, African carvings, Gothic architecture, and Midwestern farms. Note opening reception 6–9 p.m. Thurs., April 12. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net. Opens April 12. Sat.–Sun., 10 a.m.– 6 p.m.; Mon.–Fri., 11 a.m.–7 p.m. Through May 4.

DENZIL HURLEY & ROBERT STORR The two painters

introduce separate works at an April 11 opening reception (6–8 p.m.). Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com. Tues.–Sat., 11 a.m.–5 p.m., Sun., 1–5 p.m. Through May 6.

IKEBANA Ikebana (Japanese floral arrangements) will be on view at the Cherry Blossom and Japanese Cultural Festival, held at Seattle Center. Note free demonstrations each day at 1 p.m. Fisher Pavilion, 305 Harrison St., 684-7200, seattlecenter.com. April 13–15, 10 a.m.–6 p.m.

KIRKLAND ART WALK Howard/Mandville and other downtown galleries are represented at this free monthly event. 6–9 p.m. Sat., April 14.

JESSE LINK Link presents mixed-media paintings, Fowl Fruits: not just chickens and apples. Note artist reception 6 p.m. Sat., April 14. All City Coffee, 1205 S. Vale St., 767-7146, allcitycoffee.com. Mon.–Fri., 6 a.m.–7:30 p.m.; Sat., 7 a.m.–7 p.m.; Sun., 8 a.m.–7 p.m. Through April 30.

NO CAMPBELL’S SOUP Feminism and food are addressed via this multimedia installation. Sabrina Kovacs-Storlie, Morgan LaRose, Amanda Laughtland, Amy Losch, and Shea Witzberger consider how the kitchen (and its representation) have shifted from the farm to the supermarket to the new ethos of organic and local sourcing. Note opening reception 6–9 p.m.

Thurs., April 12. Fred Wildlife Refuge, 127 Boylston Ave.

•

WWW.CORNISH.EDU/NEDDY

AT CORNISH PRESENTS 2012 NED BEHNKE ANNUAL LECTURE

HARRELL FLETCHER THE EMERGENCE OF ART AND SOCIAL PRACTICE FREE AND OPEN TO THE PUBLIC APRIL 18, 2012, 7 PM MCCAW HALL INFO: 206.714.0670

Sponsored by the Neddy at Cornish, made possible by the Behnke Foundation in memory of Robert E. (“Ned”) Behnke.

Image: Production still from ‘Blot Out The Sun’, 2003. Courtesy of the artist

E., fredwildliferefuge.com. April 13–May 5.

RE-STORE ANNUAL RECYCLED ART SHOW Sculptor

Mike Zehnder is among the artists featured at this 11th annual show, which features recycled art. Note opening reception, 6–9 p.m. Sat., April 14, coinciding with Ballard Art Walk. Blowing Sands Glass Studio, 5805 14th Ave. N.W., 783-5314, blowingsands.com. Opens April 14. Sun., noon–6 p.m.; Sat., 10 a.m.–6 p.m.; Tues.– Fri., 11 a.m.–5 p.m. Through May 9.

THE RETURN OF HEROES VIXENS & VILLAINS

Comics and stuff from 18 artists like Brenda Dunn, Levi Hastings, and others. Note opening reception 6–10 p.m.

Fri., April 13. Tasty, 7513 Greenwood Ave. N., 706-3020, shoptastyart.com. Opens April 13 Tues.–Sat., 11 a.m.– 7 p.m., Sun., noon–5 p.m. Through May 8.

JULIE SPEIDEL AND KRIS COX In two separate exhibits that both open April 17, Spiedel and Cox will show off their work. In Speidel’s case: photos of her modern totem poles in various Washington state locales. In Cox’s case: abstract paintings. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. Opens April 17. Mon.–Sat., 10 a.m.–5 p.m. Through May 30.

WEST SEATTLE ART WALK Over 60 venues showcase local art every second Thursday of the month, including Youngstown Cultural Arts Center, and ArtsWest. 6–9 p.m. Thurs., April 12.

•

film»This Week’s Attractions

THE WEINSTEIN CO.

Applause RUNS FRI., APRIL 13–THURS., APRIL 19 AT VARSITY. RATED R. 87 MINUTES.

Bully OPENS FRI., APRIL 13 AT PACIFIC PLACE AND OTHER THEATERS. NOT RATED. 94 MINUTES.

Arriving in theaters on a wave of free publicity (its distributor, the Weinstein Company, butted heads with the MPAA over the R rating; an unsuccessful PG-13-supportive online petition followed), Lee Hirsch’s Bully is something of an outlier among awareness docs: It has a clear and calm approach to

storytelling and some interest in the quality of its handheld images. Weaving together five far-flung year-in-the-life accounts, Bully affectingly lays out its worst-case scenarios.

Subjects include a middle-schooler from Sioux City, Iowa, who’s harassed mercilessly on the school bus every morning (his tormentors are not camera shy); a gay high-schooler belittled at her Oklahoma school, including by her teachers, to the point that the family mulls moving; a Mississippi teen who has been incarcerated since pulling a gun on the classmates who taunted her; and the families of two children who, fed up by the abuse of their peers, resorted to suicide. The focus here is squarely on what happens in and around the schools, with indifferent administrators coming in for particular criticism. Hirsch isn’t interested in issuing warnings that bullying is “on the rise” in any sector. (The film ends by celebrating the Web’s getting-the-word-out power while all but ignoring social media as just another venue for kicking around kids who don’t “fit in.”) Rather, he suggests that the problem, long brushed off as an inevitable part of childhood, should be approached more head-on. If Bully is a bit vague on the call to action, it’s also all but impossible to argue against, as these wrenching case studies wrap up. BENJAMIN MERCER

Free Men OPENS FRI., APRIL 13 AT SIFF FILM CENTER. NOT RATED. 90 MINUTES.

Another loosely factual gloss on a littleknown chapter from Nazi-occupied Europe, Free Men tells of a Vichy France mosque that supplied North African Jews with fraudulent Muslim identification, even as Parisian authorities bore down on the place of worship. The political awakening of Algerian immigrant Younes (A Prophet’s Tahar Rahim), tied closely to his relationship with Jewish singer Salim (Mahmoud Shalaby), provides the drama, such as it is—director/co-writer Ismaël Ferroukhi includes a smattering of close calls and double-crosses, but mostly his solidarity story consists of characters speaking in low tones while seated indoors. “You

Goon OPENS FRI., APRIL 13. AT AREA THEATERS. RATED R. 92 MINUTES.

Doug Glatt (Seann William Scott), a polite Jewish boy from fictional Orangetown, Massachusetts, is a bouncer, but his middleclass parents (Eugene Levy and Ellen David)— in denial that their son is the mental equal of Lennie from Of Mice and Men—want him to quit the bar job and find some more genteel work. Doug, however, finds his true calling at an Orangetown Assassins hockey game, when an opposing team’s enforcer, provoked by a deluge of concessions, barges into the stands looking to bust heads, only to get flattened by Doug.

Soon recruited as a “goon” enforcer by the Assassins, Doug—now nicknamed “The Thug”—climbs the minor-league ranks to the Halifax Highlanders, who need someone to stick up for sweet-skating prodigy Xavier

» CONTINUED ON PAGE 24

Seatt le w eekly • APRIL 11 - 17, 2012

Appearing in every frame of Applause, Thea Barfoed (Paprika Steen), an aging actress and recovering alcoholic trying to get her life back together, is a woman under the influence— of Gena Rowlands’ Myrtle Gordon, another aging, alcoholic actress, in John Cassavetes’ Opening Night. Danish director Martin Pieter Zandvliet, making his feature debut, co-wrote Applause expressly as a vehicle for Steen.

As besotted as Zandvliet obviously is with the combustible Cassavetes/Rowlands collaboration from 1977, his film too often relies on slack maternal-weepie material, as the drama of Thea’s offstage life revolves around her increasingly desperate demands for more involvement in the lives of her two young sons. More satisfying are the moments when Thea is thoroughly repellent. Steen, who’s 47 and is often shot in stark close-up, navigates one of the trickiest roles to play—a mercurial diva of a certain age—without relying on camp shorthand. Usually an enervating process to witness onscreen, Steen’s subtle calibrations of self-hatred and raging narcissism exhilarate. And yet this memorable, soaring performance remains tethered to the ground by Zandvliet’s frustrating literalmindedness. Whereas Opening Night delves into the alchemy of meta-acting, focusing on Rowlands/Myrtle transforming into her role within a role onstage, Applause skips the potentially mesmerizing process altogether, simply interspersing footage from Steen’s actual recent stage performance in Who’s Afraid of Virginia Woolf ? Steen has the aplomb of an actress who knows the fine distinctions between big, messy emotions and scenery-chewing. If only her director had similar confidence. MELISSA ANDERSON

Hirsch gains remarkable access on an Iowa school bus in Bully.

know why I’m here—to make my pile and go home,” says black marketeer Younes early on as he declines his cousin’s invitation to a Resistance meeting. After being hauled in by the police, Younes buys back his freedom by agreeing to spy on the comings and goings in the local mosque’s paradisiacal courtyard.

There, he first hears Salim sing, eyes a mysterious mosque worker (Lubna Azabal), and sits down with the noble resident rector (Michael Lonsdale, in a nice reversal of his role in last year’s Of Gods and Men as a French monk in Algeria). This all spins Younes around to the freedom fighters’ side. But Free Men never feels like a movie about a developing conscience, due largely to the shallowness of the protagonist as written and, by extension, Rahim’s portrayal: Younes lights up in the few moments when he watches Salim perform onstage, but otherwise hardly appears to have an inner life at all. BENJAMIN MERCER

23

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film» This Week’s Attractions » FROM PAGE 23 Laflamme (Marc-André Grondin), skittish on the ice since a concussive hit from Ross Rhea (Liev Schreiber), the long-reigning king of goons, now winding down his career. Surrounded with an able supporting cast, Scott is exemplary at playing a sweet, dumb brute without signaling his own intelligence—the true test when playing a dullard. Depicting the vocationally debauched world of second-tier hockey, Goon is not only rowdy, but also humane. NICK PINKERTON

mousy and undistinguished. The first creaks of the plot don’t bode well for the coming incongruous-matchup shtick of would-be mother and son. But Pickering finds a more natural stride once Harris’ slightly nutty loneliness and O’Leary’s wonderfully convincing skid start digging into each other, first with aggression and then with a different kind of heat. MICHELLE ORANGE

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An emancipation story that takes place mostly on the road and on the run, Natural Selection mixes elements of Transamerica and the recent Higher Ground to tell the story of how a God-fearing 40-something woman found the greatest love of all. Linda (Rachael Harris) has been living a life of quiet deprivation with pious Abe (John Diehl), who holds fast to a refusal to have sex with his barren wife. Turns out Abe has been wearing himself out at a sperm-donor clinic all those years; when he has a mid-donation stroke, Linda discovers the truth and sets out to recover one of his offspring. She locates Raymond (Matt O’Leary) in Tampa, where he’s living the extremely low life, and tries to convince him to come and meet his real father. Like Linda, writer/director Robbie Pickering’s feature debut starts out feeling a little

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and Audience Award SXSW 2011

Natural Selection

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In 2010, internationally celebrated Iranian filmmaker Jafar Panahi was arrested at his home and sentenced to six years in prison for “[participating] in a gathering and carrying out propaganda against the system.” The sentence included a 20-year ban on directing and writing films, giving press interviews, and leaving Iran. Billed as “an effort by Jafar Panahi and Mojtaba Mirtahmasb,” This Is Not a Film was shot entirely on the grounds of Panahi’s Tehran apartment in March 2011 while Panahi was under house arrest. It’s a dispatch from Panahi’s life behind closed doors. In its most thrilling sequence, we see Panahi brainstorm ways to express himself using his filmmaking talents without actually violating the ban against filmmaking itself. But after excitedly reading aloud and blocking out a screenplay’s first scene, Panahi’s enthusiasm wanes. “If we could tell a film, why make a film?” he frets. If “Why make a film?” is one question that haunts the movie, “What is film?” is the inevitable follow-up. The title is a literal description of method—shot on a video camera and iPhone, this “effort” could exist only in a digital age. This is pointedly not cinema, but it’s breathtakingly cinematic.

It’s a political statement, an act of defiance, a master class in one auteur’s body of work and process, and a document of a life unseen.

But above all, it’s a gripping entertainment, swinging wildly from manic highs to somber lows, every moment of levity shadowed by anxiety. KARINA LONGWORTH E

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The Lady Now is an excellent time to release a biopic of Aung San Suu Kyi, the inspiring Burmese democracy activist and Nobel laureate who was elected to Parliament only last week—just not this one. Impersonally directed by cinéma du look pioneer Luc Besson, The Lady was written by first-timer Rebecca Frayn, whose script has all the elegance and nuance of Google Translate. The film opens with a brief prologue set in 1947, when the 2-year-old Suu Kyi hears stories about Burma’s past glory from her father, a national hero who helped bring about independence from British colonial rule only to be killed by rivals that year. Four decades later, Suu Kyi (Michelle Yeoh) is happily living in Oxford with Himalayan and Tibetan studies professor Michael Aris (David Thewlis) and their two adoring sons. Suu Kyi is called home to tend to her frail mother and cannot say no when protesters against the brutal military regime ask her to finish what her father started. Yet the narrative of the political neophyte’s extraordinary courage as one of the founders of the National League for Democracy who endured house arrest for 15 years is often secondary to that of Suu Kyi as wife and mother separated from her loved ones. “Mummy’s on hunger strike” typifies the expository dialogue, which is slightly preferable to Yeoh’s slogan-speak: “Because, Mikey, the fight goes on!” MELISSA ANDERSON

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25

film» • MONTY PYTHON AND THE HOLY GRAIL Six names

BY BRIAN MILLER

Local Film • CHARADE Stanley Donen was famed as a director of

•

musicals, and this delightful 1963 Euro thriller is fittingly light on its feet. With stars Audrey Hepburn and Cary Grant, Charade is choreographed like a dance where neither partner trusts the other. Is suave but mysterious Grant a killer? Should newly widowed Hepburn trust him?

And how can she resist him? (Even when playing shady, the man is still Cary Grant.) The footwork’s dazzling, and so are the lines. She: “I already know an awful lot of people, and until one of them dies I couldn’t possibly meet anyone else.” He: “Well, if anyone goes on the critical list, let me know.” The corpses do actually pile up (deserving villains all, including James Coburn and Walter Matthau), but Charade is mostly a nimble caper-comedy, like Hitchcock without the sin and dread. (NR) BRIAN MILLER Grand Illusion, 1403 N.E. 50th St., 523-3935, $5-$8, Fri., April 13, 6:30 & 8:45 p.m.; Sat., April 14, 3:30 & 6:30 p.m.; Sun., April 15, 3:30, 6:30 & 8:45 p.m.; April 16-19, 6:30 & 8:45 p.m.

DUCK SOUP In perhaps the most lighthearted war movie ever made, 1933’s Duck Soup, Groucho Marx plays the war-crazed but cowardly leader of Freedonia, who directs an invasion for his own personal gain. Chico and Harpo are enemy spies who try to halt the plan, and everyone pivots around the great and stately Margaret Dumont, Groucho’s foil and benefactor. The dazzling 1933 comedy was made at a safe distance from WWI, the Spanish Civil War hadn’t yet begun, and WWII was only a gleam in Hitler’s eye, so the laughs came easy. (“Remember, you’re fighting for this woman’s honor, which is probably more than she ever did.”) You can make the case for Duck Soup being the Marx brothers’ greatest film; today, it’s certainly their most topical.

It also helps that the gags are so expertly arranged by director Leo McCarey.

(NR) BRIAN MILLER SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net, $4, Sat., April 14, noon; Sun., April 15, noon.

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Dennis’ Hell And Back Again seeks to document the personal experience of war FOR MORE FILM OR VISIT seattleweekly.com with extreme and sustained intimacy. The nightmarevivid combat footage Dennis shot over the so-called “Summer of Decision” in 2009, while he was embedded with a Marine battalion behind enemy lines in southern Afghanistan, is only one part of that experience. Back on the homefront, injured 25-yearold sergeant Nathan Harris becomes the nexus of an essential documentary that deploys a boldly cinematic arsenal to penetrate the indifference Dennis believes most Americans feel toward the forever wars. Dennis follows Harris home to small-town North Carolina, where he recuperates from a shattered hip and leg with the help of his quiet, watchful wife. Fragments of Harris’ struggle to recover a sense of safety—courting pill dependence, an unsettling attachment to his gun—form a coherent portrait of a conflict’s human legacy. (NR) MICHELLE ORANGE. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Sat., April 14, 2 p.m.

guaranteed to make you laugh: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Arthurian legends have never been treated with such impudent silliness as in Monty Python’s 1975 geek comedy classic, later turned a Broadway smash.

Substituting coconut shells to clip-clop in place of actual horses, playing multiple characters each, the Pythons merrily run amok through Camelot and other mythic locales. Cleese playing the French tower guard remains a highlight among highlights; don’t pretend you don’t know all the lines. As they say, “Your mother was a hamster and your father smelt of elderberries!” (PG) BRIAN MILLER Varsity, 4329 University Way N.E., 781-5755, landmarktheatres.com, $10, April 13-19, 7:15 & 9:30 p.m.

MUSIC-CRAFT In this hour-long program of performance films, Frank Zappa, Talking Heads, and The Kinks are featured in three separate performances. (NR) Northwest Film Forum, 1515 12th Ave., 329-1193, nwfilmforum.org, $6-$10, Fri., April 13, 10 p.m.

OCCUPY HOLLYWOOD Vancouver, B.C., critic and author David Spaner speaks on his recent book book Shoot It! Hollywood, Inc. and the Rising of Independent Film. Also on hand for discussion will be veteran screenwriter and proud fellow leftie Stewart Stern (Rebel Without a Cause).

SIFF Film Center, $5, Thu., April 12, 7 p.m.

RAIDERS OF THE LOST ARK Unlike the ill-advised Kingdom of the Crystal Skull, the 1981 Raiders is a movie freed from the responsibility of fatherhood, much less adulthood. Then 39, Harrison Ford was more like the embodiment of the boyish dreams of producer George Lucas and director Steven Spielberg. Sure, he makes manly eyes at Karen Allen, but the lust—like the violence, in which movie-Nazis can be killed like flies—is only as real as in the movie serials that inspired the Indy franchise. In a thoroughly satisfying, always kinetic way, this first Jones flick lives inside its own archetypes, and Ford is too disciplined an actor to wink at the artifice.

He always seems sincerely, physically invested in this iconic role, whether he’s outrunning boulders, being dragged under trucks, or recoiling from snakes. He’s a moonlighting, grave-robbing, rogue scholar, nobody’s hero. He’s a man you want to be—not the same thing as being a role model. (PG) BRIAN MILLER SIFF Cinema at the Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $5-$10, Tue., April 17, 7 p.m.

•

STREET: THE BEST OF BRITISH FILM • SHADOW SEE THE WIRE, PAGE 17.

NOIR THE SNOWTOWN MURDERS Based on real crimes that

SEATTLE WEEKLY

Seattle weekly • APRI L 11 - 17, 2012

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JOHN ZORN: TREATMENT FOR A FILM IN 15 SCENES From 2005, this musical compilation is the

result of famous NYC composer Zorn giving a “script” (actually a score) to directors Henry Hills, Lewis Klahr, Joey Izzo, and Gobolux, each of whom created a short film in response. Total program length is about 90 minutes. (NR) Grand Illusion, $5-$10, Sat., April 14, 9 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. Opening night, former NFL player Matthew A. Cherry will introduce his sports drama The Last Fall, about a pro whose NFL career is suddenly interrupted by injury. 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 and details. (NR) Langston Hughes Performing Arts Center, 104 17th Ave. S., $5-$8 (individual), $50 (pass), April 14-22.

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

•

•

occurred in Snowtown, Australia, in the late 1990s, The Snowtown Murders is a dull thriller of ultra-bleak withholding. Elizabeth (Louise Harris) goes out and leaves her three sons with a male neighbor who coaxes the boys into a nude 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, John (Daniel Henshall), who forms a bond with pretty-boy son Jamie (Lucas Pittaway). “You like getting fucked?” John asks Jamie.

When the teenage boy answers in the negative, John inducts him in his master plan (visualized through— what else?—one of those bedroom-wall schematics of photos, addresses, and cartoons of men getting stabbed) to eradicate the town of all suspected “pervs.”

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, Opens April 14, Fri., Sat., 11 p.m. Through April 21.

VERTIGO Alfred Hitchcock’s greatest work is the most emotionally resonant tragedy of his long career. Jimmy Stewart is the San Francisco cop, afraid of heights, who falls for Kim Novak, loses her, and then gradually loses his mind while trying to recreate her image with another woman (also Novak, unbeknownst to him). The 1958 psycho-thriller is less overtly Freudian than, say, Psycho, but plunges deepest into the psyche of a guy so in love with a dead woman (who claims to be a reincarnation) that his urges push a live woman—who can’t live up to his ideal—to her death. It’s eros and thanatos dancing to a classic score by Bernard Herrmann (to say nothing of the Saul Bass poster), pulling Stewart inexorably into the fatal whorl of his own passion, like the spiral curl of Novak’s blond hair, like the twisted tissues of his own cortex. Movie screens at midnight. (NR) BRIAN MILLER Egyptian, 805 E. Pine St., 781-5755, landmarktheatres. com, $8.25, Fri., April 13; Sat., April 14.

food&drink»

Refried

Now a chicken shack called Ma‘ono, Spring Hill seamlessly simplifies.

T

BY HANNA RASKIN

JOSHUA HUSTON

Some fried-chicken rue-crime stories and musical sorcerers claim comedies were more entertaindeliciousness is mystiing when people could plausibly cally transferred to slough off their identities, driftlegs and breasts from ing to another town to become a deposed a particular cast-iron crown prince after a life spent as a milkman. pan. Other cooks pin But social media have largely put a stop to their chicken successes those shape-shifting shenanigans. As college on a secret seasonstudents intent on closing out painful adoing blend, invariably lescences are apt to discover, it’s a bugger to devised by a greatmake the transition from mousy band geek great-grandmother who to outspoken libertarian rocker when 238 of vigilantly hid her recipe your high-school classmates are monitoring from marauding Union your moves on Facebook. troops. Fuller’s method Technology has made everything easier— is more straightforward: except reinvention. So it’s to chef Mark He brines the chicken Fuller’s credit that he’s found a way to in salt water for six seamlessly remake Spring Hill restaurant, hours, then soaks it in his lauded West Seattle fine-dining destinabuttermilk for another tion, as Ma‘ono Fried Chicken & Whisky, a 24. He dredges the whimsical Hawaiian fried-chicken house chicken in flour tickled built on a foundation of Monday-night with spices based on a chicken dinners so popular that customers salt mix beloved by his grandmother (where threatened tantrums when Fuller tempothere’s fried chicken, there are grandmas), rarily pulled them from the schedule. “He coats the chicken with buttermilk and egg, wanted to bring a new life to Spring Hill,” and finishes the meat with a final run through says Fuller’s wife and co-owner, Marjorie the flour. He fries the chicken twice. FriedChang Fuller. chicken purists might take exception to The restaurant’s look is mostly unchanged: Fuller’s way of frying, a sight more elaborate There are a few more seats in the bar and than preparations involving salt, pepper, and weeknights are louder, the inevitable result a paper bag. But what Fuller has produced is of diners drinking brown liquor and eating phenomenal next-day chicken. with their hands. But the Fullers haven’t To be clear, Ma‘ono’s chicken is excepmessed with the clean-lined, Danish Moderntional when it’s served hot from the kitchen, ish interior, leaving in place the ash-blond mounded atop tin trays lined with brown booths and matching wall panels that were paper (which serves a purely decorative the backdrop for thousands of fancy sweetfunction beneath greaseless chicken parts). bread and gnocchi meals over the past four The crisp, ruddy skin puffs away from the years. While Ma‘ono is trying to trumpet its magnificently tender flesh, like a Prussian downmarket detour, the restaurant’s Hawaigeneral’s decorated chest. The batter is ian leanings, conceived as an homage to peppery, and the all-natural meat—slightly Fuller’s Kauai upbringing, are confined to the more wild-tasting than a typical chicken— menu, which is constantly evolving as Fuller rings with salt. Yet it’s impossible to make it slyly brushes away Spring Hill’s fingerprints, through a Ma‘ono meal without fantasizing deleting dishes that don’t precisely reflect the about tomorrow’s lunch. restaurant’s new focus on jazzed-up Pacific Plainly seasoned chickens aren’t Rim cuisine. On a recent visit, two different always great leftover candidates. But a iterations of the menu landed on our table— chicken with so much a mixup attributed to the locked-in juice and a fresh printing of a new shield of brittle crunch is batch—with macaroni salad » PRICE GUIDE POKE ........................................ $12 the stuff of picnics, and added to the sides section.

MUSUBI.....................................$4 Ma‘ono’s double-fried Still, no matter how MACARONI SALAD ...............$4 TROUT ..................................... $19 chicken is wonderful cold, many times Fuller tinSTEAK..................................... $34 especially when it’s been WHOLE CHICKEN kers with the menu, it’s (SERVES TWO) ......... $38 anointed with one of really a formality: Most BANANA CREAM PIE ...........$7 two sauces. Diners who Ma‘ono diners come for the order the “original style” chicken. The restaurant are presented with chili oils and sauces for recommends reserving a chicken in advance, dressing up their bird, but it seems foolhardy although when we showed up on a Saturday night without prior arrangements, our server to try to replicate what the kitchen’s already concocted. There’s a pungent hot mustardtold us there were a few birds available. and-honey sauce that looks pretty slathered My advice is to not chance it, since eaton the chicken, but struck me as both ing something other than fried chicken at too mustardy and too sweet, as though a Ma‘ono is tantamount to knocking back a child had been allowed to doodle with the non-alcoholic beer.

A

lthough chicken and whiskey get equal billing in the restaurant’s subtitle, whiskey doesn’t have any more to do with Ma‘ono’s excellence than Paul McCartney had to do with writing “I Am the Walrus.” The whiskey list is a few drams longer than that of most restaurants—Ma‘ono serves six different ryes, as well as single-barrel bourbons from Blanton’s and Four Roses—but none of the spirits are put to especially good use in cocktails. The ones I tried were thin, including an off-kilter Manhattan that was the shade of ginger ale.

There were other disappointments at Ma‘ono, most of which underscored the

Young Sebastian Streets may not have appreciated Spring Hill’s menu.

importance of proactively claiming a chicken.

A whole trout with an attractive sear was miserably bland, and a dry-aged steak surrounded by knuckles of oily chicken-fried mushrooms was cooked far beyond the requested medium-rare.

Technology has made everything easier— except reinvention.

Starters that sounded fantastic on paper were less persuasive on the plate: A housemade Portuguese sausage banh mi was smeared with chicken-liver paté of an odd nutty flavor, and the sausage was burnt.

The spiced ham in a quartet of tidy musubi blocks was pink and porky, but rendered dry by too much rice.

The pre-chicken situation isn’t entirely gloomy: A jaunty tuna poke had a transporting coastal flavor, and a stack of grilled kalbi beef short ribs hit its umami quota. Yet the best strategy might be to skip the firstcourse filler and focus on dessert. The standout is a banana cream pie that summons the sweet tropical meatiness of its starring fruit.

Like the fried chicken, it is a marvel of plush and crust, and good reason to look forward to the day when Ma‘ono’s metamorphosis is complete. E hraskin@seattleweekly.com MA‘ONO FRIED CHICKEN & WHISKY 4437 California Ave. S.W., 935-1075, maonoseattle.com. 5–10 p.m. Mon.–Fri., 10 a.m.–2 p.m. & 5–10 p.m. Sat.–Sun.

Seatt le w eekly • APRIL 11 - 17, 2012

jarred condiments on a Chinese-American restaurant table.

Far better is the gochujang, a salty paste of red chili and fermented soybeans, trimmed with sliced hot peppers. When fried-chicken historian John T. Edge interviewed Sam Lee, the Seoul-born businessman who in 1988 bought Pike Place Market’s Chicken Valley, Lee told him, “I tried to serve Korean spices, but that is dangerous for a businessman in America.” It’s a real sign of progress that eaters no longer fear the sweet smack of a Korean-inspired sauce, blanketing the rolling hills of Fuller’s crystalline crust.

The gochujang chicken is the ideal counterpart to the sour kimchi that’s served with every chicken; for an additional fee, diners can add shucked oysters to the jar, creating an appealing intergenerational meeting of the youngest and oldest edibles prized by food fetishists. Other side dishes worth ordering include a pool of Anson Mills grits, rich with Beecher’s Flagship cheese, and an elegant macaroni salad, dashed with slivered carrots and sliced green onions, that probably wouldn’t answer to “mac.”

27

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BALMAR 5449 Ballard Ave. N.W., 297-0500. The stylish

BalMar is housed in an airy, two-story space whose walls, floors, and ductwork are exposed for all to admire. Dishes like grilled lamb sliders or risotto cakes with lingonberries show flair, but sometimes the highlight of the evening is the BalMar fries served with Patron Tequila fry sauce. $$ CAFE BESALU 5909 24th Ave. N.W., 789-1463. Is there a better quiche in Seattle T H I S CO D E than at this hole-in-the-wall TO DOWNLOAD THE FREE on a leafy street? If you need SEATTLE WEEKLY incentives to drag yourself out IPHONE/ANDROID APP of bed (and wait in line outside FOR MORE RESTAURANTS OR VISIT the door), you won’t find many seattleweekly.com better than this. Baker James Miller’s apple Danishes and pains au chocolat are good— and his croissants and brioches are outstanding. $

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APRIL 11-17 2012

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kitchen. Couscous, eaten with the hands, is the humble star of Moroccan cuisine, topped with chicken, lamb, or vegetables. The latter two choices are best, since b’steeya royale is a must: A buttery pastry (not unlike phyllo) is wrapped around delicately spiced chicken and toasted almonds. The plate is ringed with powdered sugar, begging the question: sweet or savory? $ WANN JAPANESE IZAKAYA 2020 Second Ave., 441-5637. A gastronomic spectacle wrought in tiny plates, Wann reinterprets the traditional bar-snack fare of Japanese izakayas with pink seaweed and spunsugar garnishes. The place is gorgeous, especially if you’re in one of the booths that appear to be floating over a rock garden. The food is gorgeous, too—from bowls of green beans covered in sesame paste and feathery bonito flakes to cast-iron hot pots you cook at the table. However, quality is erratic (greasy tempura, nonsensical East/West combinations like fried chicken smothered in tartar sauce), making every meal resemble a Spielberg film: sometimes good, sometimes bad, always compelling. However, you can’t go wrong with a cocktail called the Pink Godzilla. $$

CAPITOL HILL

GLO’S 1621 E. Olive Way, 324-2577. This greasy spoon

is conspicuous only because it’s the spot with all the people loitering outside. (Be warned: the wait can stretch to an hour on weekend mornings; so can the wait for your food.) Those who find their way into Glo’s heart—a motley lot of Seattle’s late-risers, the hungover, and brunch connoisseurs—have lots to chat about: Not one component’s less than excellent in the eggs-hash browns-and-bacon plate, while the toasted oatmeal accompanied by a heap of fruit will delight people who don’t want to walk out with extra pounds. $

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» by kat chow

Collins’ Mix

KAT CHOW

The face of German beer.

why it’s more accurately described as a slap in the face—even for folks who order four-star curry or eat wings so hot they come with waivers. It’s like drinking liquid fire. The vodka, infused with serrano peppers and black peppercorns, is the boldest flavor, but is balanced by the honey liqueur for a truly spicy-and-sweet experience.

The cucumber, while slight, helps quell the jalapeño heat.

If you’re hoping to alleviate that nose-burning, be careful if you reach for one of Die Bierstube’s soft Bavarian pretzels. They’re the perfect bar snack, but the mustard will definitely make you question your spice threshold. Die Bierstube shouldn’t take much heat, though. It’s a comfortable space—clearly a hot spot for people who live in Roosevelt or attend UW—that offers decent German lagers and great liquid antidotes for Seattle’s sudden weather changes. E food@seattleweekly.com

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Seatt le w eekly • APRIL 11 - 17, 2012

The Watering Hole: Die Bierstube, 6106 Roosevelt Ave. N.E., 527-7019, ROOSEVELT The Atmosphere: With its large tables, old beer advertisements, and oversized illuminated posters of German women, horses, and kegs, Die Bierstube is exactly what you’d imagine a German pub to be. It’s not unusual for patrons to sidle up to already-occupied tables and ask to take a seat. If this happens, let said strangers join—and not just because you don’t want to be seen as a Level 1 table hoarder. Do it because it’s good to keep with the friendly neighborhood vibe that owner Chris Navarra, proprietor of likeminded establishments Prost! and Feierabend, tries so hard to uphold. Die Bierstube is the type of bar that melts away some of the Seattle freeze, encouraging talk over beer and bratwurst.

The Barkeep: Mary Collins, the sunniest biertender around. Collins has been here for about five years, on and off. She says that Die Bierstube’s manager always went to the coffee shop she used to work at. She asked him for a job, but he told her to wait until she turned 21. She did, and the rest is history. Now Collins spends her time biertending and traveling, and even recently visited a friend in Berlin.

The Drink: “I’m just gonna call that a ‘Sudden Weather Change,’ ” she says, in what can only be a dedication to the week’s crazy weather.

(Earlier today it went from hail to sunshine in a few hours.) It’s made of Hussong’s tequila, house-infused jalapeño vodka, and Bärenjäger honey liqueur, garnished with a sliver of cucumber and a slice of lime.

The Verdict: To say a Sudden Weather Change has a kick is an understatement. That’s

29

food&drink»Featured Eats HANA RESTAURANT 219 Broadway Ave. E., 328-1187.

Urbanspoon lists well over 200 sushi joints in Seattle and the surrounding ‘burbs. With so much competition, these restaurants tend to microspecialize. One has the best salmon nigiri, but the tuna leaves something to be desired. Another might feature inventive appetizers, but serve bland rolls. Hana, however, is the best all-around achiever. The salmon is tender, the tuna fresh and fatty, and the rolls filled with flavor. It’s not the absolute best at any individual sushi item, but being solid across the board is important, especially when you’re eating out with friends and their varied tastes. Add to that Hana’s well-deserved reputation for outstanding service and affordability, and you’ve found yourself sushi heaven. $$ JAMJUREE 509 15th Ave. E., 323-4255. Named after a little pink flower that symbolizes the most famous university in Thailand, the immaculate Jamjuree serves a broad variety of Thai standards with a few twists.

The ginger pork is supremely delicious, and the sweet, hot curries are not to be missed—especially the “special chicken” and Thai red curry. $

COLUMBIA CITY

COLUMBIA CITY ALE HOUSE 4914 Rainier Ave. S.,

723-5123. The south end outpost of Jeff Eagan’s chain of good-food-with-good-beer establishments. Expect fine domestic and imported microbrews on draft and simple, hearty food made from fresh seasonal local ingredients. Menu changes weekly. $ COLUMBIA CITY BAKERY 4865 Rainier Ave. S., 723-6023. This airy bakery offers the perfect croissant: flaky, buttery and served with raspberry jam on the side. There are chocolate and almond varieties, as well as an array of cookies, breads and seasonal specials like Valentine’s Day chocolate truffles. Come after school lets out, or on weekend mornings, and you will find half of the neighborhood here with their kids. $ GERALDINE’S COUNTER 4872 Rainier Ave. S., 723-2080. This colorful corner restaurant is where Columbia City assembles for brunch, and where the rest of us wait for a table or spot at the counter.

Despite the fact that you can order chicken-fried steak and eggs or a baked hash-brown-and-sausage

casserole for breakfast, the meal transcends the greasy-spoon genre with a hint of class. Lunch and dinner follows the same format, with classics like chili, chicken pot pie, and beef stroganoff. $ LA MEDUSA 4857 Rainier Ave. S., 723-2192. La Medusa smartly manages to respectfully serve food from a far-off place—here, the working idiom is Sicilian— and clearly reflect its neighborhood. The sardines, anchovies, fennel and mint are surrounded by a friendly, earnest vibe that might reach its apex on summer Wednesdays, when the kitchen crafts a prix-fixe menu around whatever looked best at the nearby Columbia City Farmers Market earlier in the day. But freshness and excellence aren’t confined to mid-week suppers: La Medusa turns out wonderful housemade pastas, lovingly cooked meats and seafoods, and delicate greens every night of the year. $$

DOWNTOWN

BLUE WATER TACO GRILL 1001 Fourth Ave., 386-7301.

Quick takeout Mexican in the heart of downtown is the game plan for this outlet of the local mini-chain, started by the same guy who ran the Todo Loco wrap shops in the ’90s. Burritos are solid, especially at breakfast, and can even be pretty healthy, if you customize them right. (Whole wheat tortilla? Right on.) $ CHOCOLATE BOX 108 Pine St., 443-3900. Tourists usually aren’t too thick at downtown Seattle’s premier emporium of imported candies, teas, and cocoa mixes, so when you’re done ringing up your $12 ultra-bittersweet bar and tin of cherry-vanilla tea, sit down with a scoop of gelato, a petit four, a lemon bar, or something else yummy from their dessert case. $ DAILY GRILL 629 Pike St., 624-8400. You can tell the Daily Grill is a chain from the shiny edges of the insta-retro decor and the massive menu, which means to please all the people all the time. But it falls on the class end of the spectrum one step down from McCormick & Schmick’s and five steps up from the Cheesecake Factory. The grill’s classic Americana bent comes through in its dark wood booths and checkered floor, as well as its steaks, salads, and seafood. The polished service provides the executive ego with everything it needs to stay aloft. $$

ALittLeRAskin » by hanna raskin

A G-Thing

Although Elixir G’s inventor is promoting his mix of pressed ginger root, lemon juice, and cane sugar as a cocktail enhancer, the liquid might be more useful after a drinking session.

Bill Tocantins of Santa Monica, Calif., sent me a bottle of Elixir G because the product was just picked up by Metropolitan Market.

While I don’t typically fuss with the samples sent my way, the bottle was on my desk after a weekend during which I had two out-of-town guests—and lots of whiskey to celebrate their visits. Remembering the candied ginger that was my companion for a painful month-long schooner voyage during which my seasickness never improved, I wondered if a swig of Elixir G would soothe my hangover symptoms.

While the results didn’t send me scrambling for my sextant, I felt much better post-quaff.

Tocantins says he’s heard of other imbibers busting out Elixir G in the morning. “They use it for ginger tea,” he says. But Tocantins would rather use his heady ginger mix for Cosmos and improvised ginger beer. “The main use is for cocktails,” he says. “I’m trying to zoom in on which is most popular.”

The mix was first concocted by Indian restaurant owners who lost their lease. When

they moved to a new location, they inherited a liquor license and asked Tocantins to devise cocktails for the bar. He used a soda syrup they’d developed to flavor a ginger margarita. “People went ‘Wow,’ ” he recalls. “A couple of people actually got out of their seats. I’d never seen that with a merlot or a vodka tonic.” The restaurant owners weren’t interested in marketing the mix, so “the greatest ginger adventure was born,” Tocantins says.

Elixir G is made with Hawaiian ginger, which is cleaner than what comes from China, cheaper than what comes from India, and more consistent than Brazilian ginger.

It was introduced three years ago in Los Angeles bars, and recently released for retail sale. Tocantins says the mix sold out when he sampled it at Met Market, which he hopes will be the first of many stores to carry Elixir G. “Getting distributors interested in a new product is like Columbus telling people the world is round,” he concedes.

My advice is to play the hangover-recovery card. But that’s not very creative compared to what other Elixir G fans have dreamed up, such as “a woman in Mammoth [Calif.] likes to scoop snow into a coffee cup, add Elixir G to it, and then sit in her hot tub.” E hraskin@seattleweekly.com

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Further Downstream

A Seattle label has quietly established itself as a major player in the electronic underground.

T

he mediasphere is abuzz over America’s embrace of electronic dance music. The signs are all around us. Nü-metal lunkheads rage to brostep. Billboard dance pop sounds like Euro-trance. Snoop’s SoundCloud page even boasts a track titled “Tekno Euro Mixx.”

If you’re a trend gawker, these stories make for great pop-culture gossip.

But the music associated with them is, to paraphrase those great polemicists the Gnostics, a waterless canal. I mean, have you heard Skrillex?

Nevertheless, our country’s current fascination with EDM is very real. Numerous are the musicians who nowadays have their ears tilted toward techno, house, and beyond. But to find its truly interesting outgrowths, it’s best to navigate away from the mainstream and poke around its myriad feeder streams and concealed tributaries—where the bandwagon vagaries of commercial pop give way to more sustainable visions of genre fusion and cross-pollination.

One of the more vital examples is based right here in Seattle: Further Records, established in 2009 by Eastsiders Chloe Harris and Mark Cul. Not unlike fellow imprints Spectrum Spools and Type, the Further aesthetic mirrors its founders’ disparate roots in everything from techno and house to post-punk and industrial music. For them, label curation is a means of erasing borders and transcending boundaries. Consequently,

they don’t totally subscribe to the “EDM is conquering America” meme; it’s too onesided. “I think people are just more eager and ready to explore different sounds than they are used to,” Harris counters. “It definitely helps that scenes are colliding, with musicians coming from all sorts of backgrounds.”

A longtime DJ (often under the moniker Raica), Harris used to spin on Groovetech, the now-defunct local Internet radio station.

Visiting London in the early 2000s, she met Cul, a hard-core record nerd obsessed with the dub techno styles of Basic Channel, Chain Reaction, and Rhythm & Sound.

BY JUSTIN F. FARRAR

Visit us Online!

Curtis Salgado Big Band

The label’s album art is as adventurous as its music.

Soul-Filled R&B Singer and Blues Harpist April 11

McCoy Tyner with Special Guest Saxophonist Gary Bartz

Transcendant Jazz Pianist, Legend Among Legends April 12 – 15

Jon Cleary’s Philthy Phew

A triple threat combining soulful vocals, masterful piano skill and a knack for composing infectious grooves with melodic hooks and sharp lyrics.

Shortly after relocating to Seattle, Cul had a chance encounter with drone metal that cracked open his skull. “I was in Zion’s Gate Records in 2003,” he explains in a thick English accent suffused with enthusiasm.

“They were playing Sunn O))), with those extra-low frequencies. I was like, ‘Holy fuck, what is this?’ So I started to get into that stuff.

Then I saw the way Brad Rose at Digitalis Recordings would allow noise and weird electronic musicians to express themselves in the tape realm. That kind of freedom didn’t seem to happen much in house and techno.

There wasn’t that sort of avenue. At the time, things were much more regimented by BPM and the dance floor.”

The aftershocks of Cul’s epiphany ripple through the Further Records catalog, a swiftly expanding mishmash of wax, cassettes, and compact discs that serves as a bridge linking the raw and freewheeling nature of American experimental music with the tightly focused propulsion endemic to cutting-edge techno.

Hieroglyphic Being’s The Urantia Project and Ekoplekz’s Live at Dubloaded, released last year, are telling reflections of this trajectory: The former’s radical throb falls between the jarring technoise of Container and Detroit badass Omar-S, while the latter melts postdubstep something-or-other into nihilistically squelching goop.

Another excellent example is Donato Dozzy’s K. Cul and Harris approached the Italian techno producer to create a record that specifically embodied their label’s aesthetic.

What they got was an arresting fusion of dubby beats and reverb-soaked atmospherics—softly purring ambient meditations that can be enjoyed by both fans of club music and the post-Emeralds synthesizer movement.

Further accentuating this sublime synthesis is the cleverly sympathetic packaging. The cover, fax-like smears of green and black, resembles the kind of DIY abstractions usually associated with noise cassettes (K was, naturally, released in that format as well). The couple applied the same aesthetic to John Daly’s Sea Level: Though released on vinyl only, its outer sleeve of garishly psychedelic neon totally flies in the face of techno’s love for ultra-tidy modern design.

“We sit down and think about how we can make it not look like a dance-music cover,” admits Harris. “With John Daly’s trance record, we wanted just that—something you’d look at and find a hypnotic element to space out to while stoned. And I definitely think the hand-screen-printed covers add to the idea that it feels more indie and punk.”

Arguably Further’s highest-profile release to date is Live ’72, a lovely double-LP gatefold compilation of early recordings of the late Conrad Schnitzler (who sadly passed away last August). At first blush, an archival document from one of the pioneers of Kosmische Musik and ambient music might seem like an oddity for a label so intensely focused on present sounds. Yet it’s quite fitting. If the numerous permutations of EDM and America’s underground electronic scene have a common ancestor, it surely is Schnitzler and the krautrock tradition he belongs to.

“Conrad was one of the most inspiring people we’ve ever encountered, and his passion for tape was unparalleled,” says Harris. “If there is anyone out there techno people and everyone else should listen to, it’s him. He was wise beyond what we could dream, and he did it before all of us.” E music@seattleweekly.com

April 16

Tuck and Patti Husband-and-wife acoustic jazz duo April 17 – 18

An Intimate Evening with Lalah Hathaway First Daughter of Soul

April 19 – 22

Bettye LaVette

Emotionally and Energetically Charged Soul Singing Maven April 24 – 25

ON SALE NOW Kenny G April 26 – 29

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featuring Chick Corea & Stanley Clarke

May 10 – 13

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

Seatt le w eekly • APRIL 11 - 17, 2012

The Further aesthetic mirrors its founders’ disparate roots in everything from techno and house to post-punk and industrial music.

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

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Seattle weekly • APRI L 11 - 17, 2012

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»THROUGH @ 2

»QUESTIONS/ANSWERS

Dream Weaver

Supreme Leader

Ayron Jones believes he can reach the stars tonight.

Why McCoy Tyner keeps looking forward.

BY ERIN K. THOMPSON

BY CHRIS KORNELIS

I

THE SITUATION It’s Blues Jam night at Pioneer Square’s 88 Keys, a band called Hot Damn Scandal is onstage, their standup bassist is wearing a pirate outfit, and I’m sitting down with 25-year-old guitarist Ayron Jones, who leads local rock-and-blues trio The Way. Five or six people stop by our table to greet Jones, including the bar’s owner Dino Duran, whom Jones credits with giving The Way their start, hiring them to play their first gig in January 2010.

HOW HE GOT HERE Talking with Jones is like talking to The Secret personified—he speaks earnestly about his purpose as a musician, his confidence in becoming a success. It doesn’t come off as arrogance; he just actually believes in the power of positive thinking.

Last fall Jones (who has a bronze and a gold medal from playing in two Ultimate Frisbee world championships) got his wife’s approval and quit his job as a

f you can only name three jazz records, chances are one is Kind of Blue and another is A Love Supreme.

At 73, pianist McCoy Tyner is the last living member of the venerable John Coltrane Quartet, responsible for the latter, one of a run of records—Impressions, Crescent, etc.—that are among the most hallowed in jazz.

“He gave me a lot of freedom,” Tyner said of Coltrane over the phone recently. “He was very, very confident in terms of what he wanted to do. So I would give him freedom to do what he wanted. And then he would look at me, and that means ‘Come on in.’ ” A prolific bandleader and solo artist in his own right, Tyner brings his quartet to Jazz Alley for a run of shows this week. Here he talks about his old boss, his new music, and why you won’t hear him play “A Love Supreme.”

dinner & show

WED/APRIL 11 • 7:30PM

freddypink

SW: Did you learn anything from Coltrane as a bandleader that you bring to your work today?

RALPH GAYLE JR

ethompson@seattleweekly.com AYRON JONES AND THE WAY With Vince Mira. Can Can, 94 Pike St., 652-0832. $7. 8 p.m. Tues., April 17.

Tyner: I learned a lot from that man. I think he was the kind of person who learned a lot from us as well. But he was definitely a true leader, and he had conviction. He used to practice all the time. I mean, we’d stay in the hotel, and I could hear John down the hall practicing. He was always working on things, had something he was thinking about.

And so [he] practiced a lot. He was a devout bandleader and artist.

How do you practice today?

I don’t really practice. I compose. When I play, that’s a form of practicing in a way.

Because, you know, you try things. I try things when I’m onstage. I don’t have a real practice schedule. I work a lot. Sometimes I just rest and think.

THU/APRIL 12 • 7:30PM

hayes carll (solo) w/ zoe muth

What music are you putting in your set lists these days?

I play stuff that I really like. “Fly With the Wind” [from 1976], I still play that. “African Village,” I recorded that years ago [1968].

Duke Ellington was like that. He wrote a lot of music, but he played it all. But, also, it’s good to compose new music. I keep writing, and it builds my catalog.

FRI/APRIL 13 • 8PM

I’ll bet you get a lot of people asking you to play “A Love Supreme,” though?

SUN/APRIL 15 • 7:30PM

Yeah, but I don’t play that. I do mostly my own material. “A Love Supreme” is really something that, without him, it wouldn’t be the same. But I do [Coltrane’s] “Moment’s Notice” [and others]. But there are some things that are really suitable only if John was there. E ckornelis@seattleweekly.com MCCOY TYNER QUARTET Jazz Alley, 2033 Sixth Ave., 441-9729. $32.50. Thurs., April 12–Sun., April 15; see jazzalley.com for showtimes.

»RING MY BELLE

Rollin’ Down the Street, Eatin’ Endo . . .

BY RACHEL BELLE

Dude. Cheetos-encrusted fried chicken. Fried in THC oil.

It’s a real thing! And the recipe can be found between the stoney pages of the new High Times Cannabis Cookbook, along with several other super-irie pot-infused dishes like Tom Yum Ganja and Wake and Bake Eggnog French Toast.

But if you’re looking for a doja-tinged dish to pair with your gin and juice, look no further than the “Stoner Celebrity Favorite,” Lil’ Snoop Hot Doggy Doggs. With so much drama in the LBC, you deserve a cheese-stuffed, bacon-wrapped, deep-fried hot dog, served on a toasted bun smeared with cannabis-infused butter. No stranger to the stove, Snoop has paired with Martha Stewart to make brownies (“Why not bake ’em at 420 degrees?”), mashed potatoes (he adds cognac), and, consequently, the only truly hilarious daytime-talk-show cooking segment in existence.

Not into rap? Page 64’s recipe is for Texas Cannabis Chili, a la Willie Nelson. E Rachel Belle contributes the “Ring My Belle” segment to 97.3 KIRO FM’s Ron and Don Show, weekdays at 4:37 and 6:37 p.m., Saturdays at 1 p.m., and Sundays at 11 a.m. music@seattleweekly.com

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w/ jonathan kingham

cahalen morrison and eli west w/ joy mills TUE/APRIL 17 • 7:30PM - 17+

showgirls!

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• 4/11 larry murante • 4/12 the side project / re-run band • 4/13 fortune dwellers / down north • 4/14 country mice (brooklyn ny) • 4/15 yaamba marimba • 4/16 free funk union • 4/17 kane mathis TO ENSURE THE BEST EXPERIENCE

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Seatt le w eekly • APRIL 11 - 17, 2012

security guard to devote himself to music full-time.

Right around then, he got a phone call from Janelle Monáe’s people at Wondaland Arts Society; the label’s Afro-punk band Deep Cotton needed a guitarist.

Within weeks, Jones was on tour with Deep Cotton, opening for Monáe. “That made me realize I could do so much more in this industry than what I’m doing right now,” he says. “Why am I limiting myself?”

SHOP TALK Jones speaks so fast, he could be a great rapper. “Rapping’s not my thing, man!” he laughs. He brands The Way’s music as “neo-blues”; their justreleased first EP, Baptized in Muddy Waters, features Jones’ bluesy guitar and gritty, soul-tugging vocals. He says he doesn’t consider himself much of a vocalist.

“But neither was Jimi Hendrix,” Jones says. “He wasn’t really a singer, but what would Jimi’s music be without his voice?” His confidence kicks back in. “Maybe people will say ‘Well, he’s not the best singer, but he can play guitar.’ No, I can do it all, actually, because I said I can. I said I can.”

BTW: The Way recently won the Seattle stage of the Hard Rock Rising competition. They’re now competing with 86 other acts from around the world in the Hard Rock’s Global Battle of the Bands—the winner of which will open for Bruce Springsteen at London’s Hyde Park this July. “I can see us there. I can feel it in my soul,” says Jones. “I believe we can win it. In my heart, I believe I can.” He knows he’s counting on people to go online and vote for him, though. “It’s gonna take our city to support us.

We want to make Seattle proud.” E

w/ the main attraction

JOHN ABBOTT

music»Reverb »

33

music»TheShortList Odd Future Wolf Gang Kill Them All WEDNESDAY, APRIL 11

Odd Future have endured some awkward growing pains over the past couple of years: the long-absent Earl Sweatshirt’s exile (at a Samoan boarding school, it turned out); a disappointing solo debut from de facto crew leader Tyler; a media all too willing to be predictably shocked by the group’s obvious shock-tactic trolling. They’ve emerged into relative (in Earl’s case, literal) adulthood in 2012 with the Loiter Squad TV show (aka “Something for Jasper and Taco to Do”), the well-received new O.F. Tape, Vol. 2, and its jubilant 10-minute posse-cut video for “Oldie.” Oh, and free Earl. Expect tonight to be a cartoonishly offensive celebration. Showbox SoDo, 1700 First Ave. S., 652-0444. 8 p.m. $30 adv./$35 DOS. All ages. ERIC GRANDY

THURSDAY, APRIL 12

Champagne Champagne’s new EP Private Party opens with a tremolo guitar shimmer and a live-band backbeat before MCs Pearl Dragon and Thomas Gray take to the mikes to rap about the apocalypse as a metaphorical motivation for carpeing each and every diem. It’s an odd sentiment for a band as seemingly indestructible as Champagne Champagne, but then the trio (rounded out by producer/multi-instrumentalist Mark Gajadhar) has always followed its own odd muse to unpredictable ends, from party rap to electro to some real borderline rap-rock. Speaking of indestructible, Pearl recently survived second- and third-degree burns in a house fire in his apartment; as they say in Westeros, fire cannot kill the Dragon. With Deadkill, DJ Radjaw. Neumos, 925 E. Pike St., 709-9467.

8 p.m. $12. ERIC GRANDY

SHAWN BRACKBILL

Champagne Champagne

Elvis Costello & the Imposters THURSDAY, APRIL 12

It could be argued that there’s no more versatile veteran performer in popular music than Elvis Costello. He can steer an entire show purely toward the pensive, punk, or podunk, depending on his mood.

But when he announces he’ll be touring with a Wheel of Fortune–style apparatus that lets audience members spin for songs, as he and his band will do tonight, attendees are sure to appreciate the spectacular breadth of this living legend’s talent. Indoor fireworks, even. The Paramount, 911 Pine

*

EDITOR’S PICK

JEFF MANGUM

34

CORY GREENWELL

Seattle weekly • APRI L 11 - 17, 2012

MONDAY, APRIL 16–TUESDAY, APRIL 17

We may never know what caused Jeff Mangum to resurface in the public eye after years and years of ducking under the radar, refusing interviews, and releasing next to no new music. The infamous recluse’s second coming began a little over a year ago with a few shows on the East Coast (including a surprise appearance in October at Zuccotti Park) and the release of some Neutral Milk Hotel rarities and a vinyl-only box set; this year he’s even embarking on a lengthy U.S. and European tour. Altogether he’s fit more activities into one year than he had into the past 10 combined. But when miracles happen, we don’t question them. In this case, there’s no time to—when we blink next, he might be gone again. The Moore, 1932 Second Ave., 467-5510.

8 p.m. $32.50. All ages. ERIN K. THOMPSON

St., 467-5510. 8 p.m. $35.75– $75.75. All ages. MIKE SEELY

It’s cool to love them: Bear in Heaven.

Bear in Heaven

trying to be anything but themselves—like in 1993, when they owned grunge-dominated radio with a straight-ahead, Americanabased rock record called August and Everything After. With Mean Creek. Showbox

FRIDAY, APRIL 13

Last winter the Brooklyn electro-psych-rock trio discovered the most annoying way possible to preview their new record—stretching the songs over a 2,709-hour stream. Now that those four months are up, I Love You, It’s Cool—the follow-up to 2009’s excellent Beast Rest Forth Mouth—has hit the airwaves in its true form, sounding about a thousand times more pleasing than the preview. That little joke, though, may fit with the tone of the new record, which sounds lighter and giddier than the band’s previous material, thanks to its quickened tempos, blissful walls of synth, and upbeat, skyward vocals. With Doldrums, Blouse. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. ERIN K. THOMPSON

Counting Crows FRIDAY, APRIL 13

SoDo, 1700 First Ave. S., 652-0444. 8:30 p.m.

Sold out. CHRIS KORNELIS

Foxy Shazam SATURDAY, APRIL 14

Cincinnati funk rockers Foxy Shazam have clear retro influences—musicians like Queen and Meat Loaf—but they take their wildchild attitude and razor-sharp lyric writing from a more contemporary school of spastic rockers like At the Drive-In and Man Man. Their latest album, this year’s The Church of Rock and Roll, continues to ride their amped-up shtick all the way to the bank with rocking-ass songs that beg to be ripped up live. With Maniac, Cadaver Dogs, Just

Covers albums, and live albums re-creating Like Vinyl. Vera Project, 305 Harrison St., a band’s biggest record, aren’t typically 956-8372. 7 p.m. $12. All ages. TODD HAMM made by artists who are peaking creatively.

And that’s exactly the netherland where Metal Monday MONDAY, APRIL 16 Counting Crows has found itself, having released August and Everything After—Live Metal Monday is the 2 Bit Saloon’s weekly at Town Hall last year, celebration of black and a covers record, leather, cheap beer, and Underwater Sunshine, tunes that kill. This Tune in to 97.3 KIRO FM every Sunday at 3 p.m. on Tuesday. Somewhere week’s installment is a to hear music editor Chris Kornelis between 1999’s This Desreal doozy. Local favorites on Seattle Sounds. ert Life and 2002’s Hard Scorched-Earth, DivinoCandy, the band lost its rum, and Cemetery Lust way and tried to fit in among the shallow are prepared for battle, all well-equipped radio-pop offerings of the day. They cut a with the growling and wailing vocals, roaring dreadful cover of Joni Mitchell’s “Big Yellow guitars, and thunderous bass and drums that Taxi” with Vanessa Carlton, and even hit the make this regular night a magnet for Seattle’s road with John Mayer and a then-unknown headbanging metalheads. For only $5, how band called Maroon 5. Counting Crows could one resist? 2 Bit Saloon, 4818 17th Ave. were always at their best when they weren’t N.W., 708-6917. 9 p.m. $5. LAURA SWARTZ

e

Seatt le w eekly • APRIL 11 - 17, 2012

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seven»nights

Swedish sisters First Aid Kit.

NEIL KRUG

Wednesday, April 11

Friday, April 13

THOMAS DOLBY Widely regarded as a one-hit wonder

BAKELITE 78 In her review of Bakelite 78’s new album,

for 1982’s “She Blinded Me With Science,” this British synth-pop pioneer’s most recent project is an online multiplayer video game complete with a self-composed three-part soundtrack. With Aaron Jonah Lewis, Ben Belcher. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7 p.m. $20 adv./$25 DOS. All ages.

FIRST AID KIT Harmonizing Swedish sisters Johanna and Klara Söderberg first garnered attention for their YouTube cover of Fleet Foxes’ “Tiger Mountain Peasant Song”; they’re now touring in support of their second record, the highly acclaimed, Mike Mogis–produced The Lion’s Roar. With Peggy Sue. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. Sold out.

MADNESS BECOMES METHOD On record, these cheesed-up punk rockers mix lighthearted and strangely adventurous tunes with witty lyricism, and one would expect nothing less in concert. With SuperProjection, Br’er Sun, Circus Boys. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7 p.m. Free. All ages.

OLIVER These EDM-leaning beat-makers recently played the Miami leg of Hard, a tastemaking electronic-music festival. With Sean Majors vs. Gene Lee, Blondzie.

Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 9 p.m. $10.

WINDOW VIEW This Los Angeles band boasts a slickly produced, Switchfoot-esque pop-rock sound. With Natalie Closner, Chris Crawford. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6.

Thursday, April 12 BRADLEY WIK & THE CHARLATANS The Portland-

Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

Saturday, April 14 DOM KENNEDY This Los Angeles rapper is touring in sup-

port of his forthcoming sophomore full-length, The Yellow Album. With Rich Hill, POLY, State of the Artist. Showbox at the Market. 8 p.m. $18.50 adv./$22 DOS. All ages.

RACHEL MAE Country and soul sound like strange bedfellows on paper, but that notion was put to bed at least by 1962, when Ray Charles released Modern Sounds in Country and Western Music (not to mention the historically overlooked Vol. II, released later that year). Before decamping for Austin, Texas, country siren Rachel Mae continues the genre-bending tradition when she pays tribute to the music of recently departed soul singer Etta James. With David Brewer and an “all-star blues revue.” Columbia City Theater.

9 p.m. $10 adv./$15 DOS.

Seatt le w eekly • APRIL 11 - 17, 2012

based Wik twangs it up like Ryan Adams with a brand of rootsy heartland rock that pairs well with Springsteen and Whiskeytown. With The Fentons, Barley Bandits.

High Dive. 9 p.m. $6.

BEI MAEJOR A Grammy-winning producer and songwriter, Maejor’s latest endeavor is to launch a solo career while sounding a lot like Drake. With Kevin McCall, SJB. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $20. All ages.

SAMPLES Bass-heavy, hip-hop-influenced instrumentals are a staple for this Denver-based DJ. With Antiserum, Ill-Esha. Chop Suey. 7:30 p.m. $10. All ages.

SANDY CITY Hailing from the Washington coast, this fourpiece has a distinctly scuzzy take on surf rock. With The Royal Sea, Chastity Belt. Rendezvous/JewelBox, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10 p.m. $5.

SONS OF WARREN OATES A more economically outfitted incarnation of Jason Dodson’s beloved local altcountry big band, the Maldives. Expect plenty of beards, ten-gallon hats, ball-bustin’ boots, and shit-kickin’ choruses. With OK Sweetheart, Pretty Broken Things.

Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. 8 p.m. $8 adv./$10 DOS. TOMTEN Seattle’s favorite ’60s-pop revivalists are set to release their new EP, Ta Ta Dana, at this show. With Eighteen Individual Eyes, Ruler. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $8.

What the Moon Has Done, SW’s Katherine McKeon said the band’s “ . . . jazzy scats, Dixie guitar plucks, accordion and trumpet pairings, and the occasional duet . . . woo even the most prudish listeners into smirking smiles.” They’ll be raising a glass to the new record tonight. Columbia City Theater. 9:30 p.m. $10 adv./$15 DOS. BOAT Last year’s Dress Like Your Idols finds this longtime Seattle band doubling down on its jumbled indie-pop sound. With Bottomless Pit, Police Teeth, The Bismarck.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunset tavern.com. 9 p.m. $8 adv./$10 DOS. GRAIG MARKEL When he’s not playing ruminative folk music, Markel owns and operates The Recovery Room, the studio where he’s done production work for Band of Horses, Blue Scholars, and Tiny Vipers. With Barton Carroll, Michael Serpe. Rendezvous/Jewelbox. 10 p.m. $7.

PAPER DIAMOND The alias of producer Alex B, an affiliate of Colorado hippie/burner rave crew Pretty Lights, who makes well-polished, head-nodding “bass music” without much urgency or surprise. With Minnesota, Flarelight. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $12.

PUBLISH THE QUEST This seven-piece’s sound ranges from hip-hop to blues to ska; its latest album, Then What?, features Nigerian bandleader Femi Kuti. With Project Lionheart, the Blue Tracks. Nectar, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $7.

LEA SALONGA This Filipino actress was the singing voice of Disney princesses Jasmine (Aladdin) and Mulan; she recently released a powerful live record called The Journey So Far. The Moore, 1932 Second Ave., 467-5510, stgpresents.org. 8 p.m. $32.50–$97.50. All ages.

SEPULTURA & DEATH ANGEL These fathers of death metal are taking up arms with Krisiun and up-and-comers Havok for an unholy rapture. With Psychonaut Deathtrip, Primarch. Studio Seven, 110 S. Horton St., 268-1312, studioseven.us. 6:30 p.m. $22 adv./$25 DOS. All ages.

SOCIAL DISTORTION Mike Ness has battled drugs, the law, and the death of longtime guitarist Dennis Danell, but he’s still going strong. Tonight he’ll belt out his anthemic tales of hard luck with Social D, who are touring behind 2011’s Hard Times and Nursery Rhymes, their highest-charting record ever. With the Toadies, Lindi Ortega. The Paramount, 911 Pine St., 467-5510, stgpresents.org. 7 p.m. $26.25 adv./$31.25 DOS. All ages.

37

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TABLE OF CONTENTS This local band lives up to its

name with its literary indie pop. With Go Kart Mozart, Felsen. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 3 p.m. $5.

TOTIMOSHI This veteran Bay Area metal band hasn’t released an album since 2008, but has a reputation for brutally heavy live shows. With Android Hero, Brokaw, Serial Hawk. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8.

Sunday, April 15 AKRISH Though the Eastside isn’t exactly famous for

hip-hop, this Bellevue MC’s beats would fit right in with the likes of Grynch or Sol. With Knucklehead, Carl Roe, Stephano Theo. Nectar. 8 p.m. Free.

GOD-DES & SHE Since getting their start on the Showtime series The L Word, G&S have brought their retro soul and hip-hop sound to clubs and Pride festivals across the country. With Clutch Douglass. Skylark.

4 p.m. $10 adv./$12 DOS. All ages.

THE LITTLE BLACK BOTTLES Local rockers with a bent for the supernatural (and a ukulele player), LBB has songs about zombies, werewolves, and Stephen King.

With Luminol, Moya. Sunset Tavern. 9 p.m. $6.

DEBBIE MILLER This local singer/songwriter with an affinity for chamber pop (I know, that really narrows it down) is celebrating the release of her earnest new EP, Measures + Waits. Columbia City Theater. 8 p.m. $6.

CAHALEN MORRISON & ELI WEST After an extended European tour and some love from the BBC, this Seattle-based mandolin/banjo/guitar-playing and harmonizing pair are getting the attention their roots-fused, old-timey Americana deserves. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $12. All ages.

PAGANFEST AMERICA PART III The nationally touring cluster of folk metal known as PaganFest makes its annual stop at Studio 7. This year’s installment includes Turisas, Alestorm, and Akrona, Huntress, along with local concerns Reficul and Phalgeron. Studio Seven.

7 p.m. $20 adv./$23 DOS. All ages.

Seattle weekly • APRI L 11 - 17, 2012

Monday, April 16

38

DEATH’S THREE DAUGHTERS This rock trio recalls

Sleater-Kinney, both in its ragged, grunge-leaning sound and its all-female lineup. With Dolly Rottens, Gargleblasters. Comet Tavern. 9 p.m. $5.

JON CLEARY’S PHILTHY PHEW Pianist Cleary and his power trio mix R&B, funk, soul, and New Orleans jazz.

Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com.

6 p.m. $18.50.

Tuesday, April 17 ABSOLUTE MONARCHS This in-store performance by

the garage-punk band coincides with the release of its debut album, the efficiently hard-hitting 1. Easy Street Records, 20 Mercer St., 691-3279, easystreetonline.com.

7 p.m. Free. All ages.

ACID MOTHERS TEMPLE This Japanese psychedelic group is the best-known component of the musicmaking collective of the same name, which includes nine other experimental rock bands. With The Phantom Family Halo. Tractor Tavern. 9 p.m. $12.

FALLING STILL If Franz Ferdinand time-traveled to 1991 Seattle and started a grunge band, it might sound like this Los Angeles three-piece. With Horse Bodies, Alex’s Hand. High Dive. 8 p.m. $6.

tractor www.tractortavern.com

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Seatt le w eekly • APRIL 11 - 17, 2012

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39

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Seattle weekly • APRI L 11 - 17, 2012

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music»Karaoke KaraoKe Korrespondent » by jeff roman

Out-Thundered

karaoke@seattleweekly.com KATHY’S 930 N. 130th St., 829-9251, BITTER LAKE

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

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

BOXCAR ALEHOUSE 3407 Gilman Ave. W., 286-6000.

NC. Thursdays & Saturdays, 9 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.

DUBLINER PUB 3517 Fremont Ave. N., 548-1508, dublinerseattle.com. NC. Mondays & Tuesdays, 9 p.m.

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.

INDUSTRY LOUNGE 6601 E. Marginal Way S., 762-3453, myspace.com/206industrylounge. NC. Sundays, 9 p.m.

KATE’S PUB 309 N.E. 45th St., 547-6832. NC. Wednesdays, 10 p.m.

MARCO POLO BAR & GRILL 5613 Fourth Ave. S., 762-3964, marcopolopub.com. NC. Fridays– Saturdays, 9 p.m.

MOLLY MAGUIRE’S 610 N.W. 65th St., 789-9643, seattleirishpubs.com/mollys/index.htm. NC. Thursdays, 9 p.m.

OHANA BELLTOWN 2207 First Ave., 956-9329, ohanabelltown.com. NC. Sundays, 10 p.m.

R PLACE 619 E. Pine St., 322-8828, rplaceseattle.com.

NC. Mondays, Tuesdays, Sundays, 9 p.m.

ROOSEVELT ALE HOUSE 8824 Roosevelt Way,

527-5480, rooseveltalehouse.com. Free.

Thursdays, 9 p.m.

SCARLET TREE 801 N.E. 65th St. C, 523-8888, scarlet-tree.com. NC. Tuesdays, 9:30 p.m.

SPECTATOR 529 Queen Anne Ave. N., 599-4263, thespectatorsports.com. NC. Thursdays–Saturdays, 9:30 p.m.

TALARICO’S 4718 California Ave. S.W., 937-3463, talaricoswest.com. NC. Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m.

TIM’S TAVERN 602 N. 105th St., 789-9005. NC. Tuesdays–Thursdays, 9 p.m.

WHITE RABBIT 513 N. 36th St., 588-0155, fremontwhiterabbit.com. NC. Wednesdays, 9 p.m.

MUSiC SOCiEtY

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Seatt le w eekly • APRIL 11 - 17, 2012

As many are aware, Rickshaw, arguably the most popular karaoke bar in North Seattle, is under repair after a grease fire on March 24, around 11 p.m., in the middle of Joel Harvey’s perennially slammed Saturdaynight show. No one was injured, and firefighters were able to contain the damage to theKARAOKE; kitchen, but it 2.333 may bein; up 8.4 to two in;months Black; -; before they can reopen.

KARAOKE Fans of Joel and his equally beloved associate, Patty, need not despair. It took barely a week for nearby venues to capitalize on their temporary availability. Kathy’s in Bitter Lake snatched them up for Wednesdays and Fridays, and the Baranof added Thursday and Sunday nights to their schedule to try to draw their loyal fan base. Joel already has an established Fridaynight gig at the Ould Triangle five blocks from Rickshaw, so they’ve barely skipped a beat.

I attended a special event Patty hosted last Monday at Kathy’s, where a large group of staff and friends from the Century Ballroom (who regularly gather to sing at Rickshaw) were celebrating a birthday that night. This sports bar used to be a diner called Mr. Bill’s, and before that it was a Farrell’s. I have fond memories of my folks taking me here when I was a little kid. The big TV room with the glassblock windows where they have the stage set still resembles the old ice-cream parlor.

I was one of about three stragglers not among the 35 or so people who took over one side of the room. Patty was set up in a designated DJ nook at the entrance to the room. Singers performed at that end, with many monitors to read the lyrics from.

Everyone from that crew who sang appeared as though they had an extensive theater background, and most of them sounded vocally trained. They all had such great stage presence that it made me realize how much of a stiff I am up there. I felt like I’d been ambushed by a bunch of ringers.

They turned the simplest songs into something special to watch. I witnessed the best performances I’d ever seen of the Eagles’ “Heartache Tonight,” Bryan Adams’ “(Everything I Do) I Do It for You,” and “Don’t Cry” by Guns N’ Roses. Even a semi-botched duet of “Under the Boardwalk” came off sounding awesome. I delivered a decent rendition of Springsteen’s “Thunder Road,” but it wasn’t good enough to make me feel I was able to hang with these folks. E

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Karaoke Listings

41

TOKE OF THE TOWN

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Seattle weekly • APRI L 11 - 17, 2012

S.A.M. COLLECTIVE

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column»Toke Signals

Berry Good

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ut Loose Collective opened just

over six weeks ago in South Park, and it’s off to a good start. “This is a substantial establishment,” I thought as soon as I entered the reception area, noting the tasteful painting of a 1930s-era jazz band on the wall. Another idiosyncratic touch of class is the stained glass that serves as a reception window under which patients poke their medicalmarijuana authorizations and Washington I.D.s.

One other patient was ahead of me as I waited for admittance to the bud room, but she was quick to make her selections; after only 10 or 15 minutes, budtender Dave showed me to the back, where 24 strains of cannabis flowers, along with a small selection of medibles and a single bottle of tincture, were available.

Since I’m fascinated by both high- and low-end strains of cannabis, I selected from both ends of the spectrum. My first choice was the indica-dominant Frankenberry at $12 a gram, followed by Northern Berry, on sale for just $8 the day I visited (it’s normally a $10 strain). I followed those with two $5 strains, Pine Bud and Kindy Kush.

Dave assured me that Frankenberry would serve me well as a late-night painkiller and sleep aid, and he was right on both counts. There was nothing monstrous about this strain, mild in smell and taste but effective at pain control and relaxation. Still, Frankenberry felt more like a $10 strain to me, partly because the effects tailed off a little more quickly than expected.

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Blueberry)—as I like to call it, “Blue Lights”— was both harder-hitting and longer-lasting than Frankenberry, despite its lower price.

This may be the best $8 pot I’ve smoked all year, and had a much stronger bouquet than its cousin, too. An indica/sativa hybrid great for appetite, stress, and mild pain, Northern Berry works well as a daytime medicine for those who don’t want to become incapacitated, yet still need the relief that herbal medication brings.

Then there were the $5 strains. Pine Bud’s terpenes were indeed reminiscent of its tree namesake, with its slightly loose flowers being just a tad overdry. Unfortunately, the toke test only made it seem more like a cutrate strain, as the high, while passable, was evanescent and fleeting, leaving one needing to medicate again (preferably with something stronger) 60 to 90 minutes later.

Kindy Kush, the other $5 indica, had a subtle minty aroma mixed with what

This may be the best $8 pot I’ve smoked all year. seemed like the smell of commercial schwag weed. It became immediately obvious that Kindy was quite effective as a sleep aid. In fact, at $5, it put the sleep-inducing abilities of the $12 Frankenberry to shame. E tokesignals@seattleweekly.com

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

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Family photos (they have three kids, shared custody) line the mantel, and he’s perfectly content with the way things are. I’m known for having exquisite taste, and a pumpkin-colored dining room is not my idea of appetizing. Even the bed we sleep in was theirs!

I’m not worried that they’ll get back together, but I’m bothered by living in her shadow. While he’s agreed in theory to redecorating, he’s very reluctant when it comes down to it. This is NOT a money issue for us, either. We’re lucky enough to be doing fine in this economy. He just doesn’t want to change things that he feels work.

So I’m uncomfortable, and he thinks I’m crazy for wanting to change what he sees as a perfectly good home. I don’t want to be the insecure crazy lady. Do I need to just get over this?

—Throwing Up Over Throw Pillows

Screw being the “cool” girlfriend. That’s merely code for doormat. A long-ago ex had a photo of his ex-girlfriend hanging over his bed for months, but I was reluctant to seem insecure even though it was making me mental. Eventually I mentioned that it was kind of unnerving that she watched us have sex. He agreed it had to go. It stayed.

So I meekly mentioned it again a few weeks later, saying I didn’t think I was being unreasonable. He agreed and promised to

get rid of it. Months passed. I quietly grew angrier until one day my head exploded.

“FUCK YOUR EX-GIRLFRIEND AND FUCK YOOOOOOOUUUUUUU!!!!” I screamed as my head spun around and pea soup blew out my mouth. He clearly thought I was overreacting, but he did take it down immediately.

Don’t let it get to that point. However, you do realize you should’ve figured all this out before you packed your first box, right? I mean, you’re moving in with a guy who has kids and an ex-wife. That’s a lot of baggage, but unless he’s a real jerk, I’m sure that once you explain how miserable you are, he’ll be more amenable to change.

The best way to start off this home makeover is with the offspring. What kid wouldn’t want a new flat-screen or a bed shaped like a race car? Sure, this has a tinge of bribery to it, but I can live with that if you can.

Then it’s time to choose your battles and draw up a plan. I agree that pumpkin (or as we lay people call it, orange) is not a color you want on your walls. Screwing on the same bed he and his wife made their babies on—yuck.

At least spring for a new mattress and sheets.

Basements are perfect places for ex-wives’ wedding gear, and when the painters come, those pictures lining the mantle are going to be put away anyway, so maybe be a little more selective about what goes back up after they’re done. Resist the urge to include one of you and your ex, even though it might be tempting to give him a bite of the poo sandwich you’ve been eating for the past few months. 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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EARN $75 - $200 HOUR. (Now 25% Off ) Media Makeup & Airbrush Training. For Ads, TV, Film, Fashion. 1 wk class. Learn & build portfolio.

AwardMakeUpSchool.com 310-364-0665

2011 Federal Postal Positions. $13.00-$36.50+/hr., Full Benefits plus Paid Training. No Experience plus Job Security. Call Today! 1-866-477-4953 Ext .152.

48 NOW HIRING!

Quality Carpentry & Painting

20 years experience. Reasonable rates. Local references.

James 206-328-1852 kitsuch@hotmail.com

SUN-YA MASSAGE Kirkland (425) 894-8949

Ruffles & Rust Vintage Market to Inspire Saturday May 12th 9am-4pm. Evergreen State Fair-

grounds Monroe Washington. $7 entry fee. Enjoy a day of shopping with more than 80 of the best vintage-inspired and handcrafted vendors in the Pacific Northwest. "First Choice" early shopping on Friday May 11th 5pm-9pm Limited number of tickets on sale now $20. Tickets available at the door for $30. Rufflesandrustsquare.com

ACTORS/MOVIE EXTRAS Needed immediately for upcoming roles $150-$300/day depending on job requirements. No experience, all looks.

1-800-560-8672 A-109. For casting times/locations.

South Sea Massage Open 10am-11pm 7 days a week (425)922-9271 Cannabinoid Therapy for Chronic Pain Customized Treatment From a Cannabis Expert www.CascadiaNaturalHealth.com; 425-486-1858

Singing Lessons FreeTheVoiceWithin.com Janet Kidder 206-781-5062

Shop and earn $275 - $380/wk. This is a freelance job which will not disturb your present job if you have any.

JOB REQUIREMENTS: *Good business skills *Honest, responsible and industrious *PC, e-mail and internet skills *No starting fee required. For further info contact: debrapletchersh@gmail.com

Support Big Brothers Big Sisters of Puget Sound FREE PICK UP OF MOST USED VEHICLES Tax Deductible. (206) 248-5982

Debt relief agency for bankruptcy. 206-625-0460

Near Crossroads Mall Bellevue.

425-746-1240

HAPPYHAULER.com

Debris Removal • 206-784-0313 • Credit Cards Accepted!

Free

Get paid for giving infertile couples the chance to have a baby. Women 21-31 and in good health are encouraged to apply. Compensation up to $4,500.

Email Amy.Smith@integramed.com or Call 206-301-5000

BANKRUPTCY from $299

Only $49.00 for an hour all day.

TRY FOR

New! Increased compensation for 1st time egg donors!

DIVORCE from $229

Bew Ann Thai Massage

Real hook ups, real fast.

The Hama Hama Oyster Company welcomes visitors onto their tideland farm to celebrate oyster culture.

Oyster Rama highlights include tideflat tours, u-pick, oyster sports competitions, oyster and wine tastings, live music, beer garden, and kid's activities. Tickets $10/ person, food and drink extra. Free admission under 15.

Proceeds benefit the Hood Canal Education Foundation.

Buy tickets at the Ballard & U-District Farmers Markets www.hamahamastore.com 888-877-5844

Butler Investigations 206-257-0552

will feature competitive paddle racing for kayaks, canoes and stand up paddle boards. Taking place at the Skansie Brothers Park and Jerisich Dock in the heart of historic downtown Gig Harbor. www.gigharborpaddlerscup.com.

Make a weekend of it in Gig Harbor with paddling, dining, shopping and more. www.gigharborguide.com

Guaranteed Income! FREE Supplies!

No experience required.

Start Immediately! www.homemailerprogram.net

Donate Your Car, Truck or Motorcycle!

Private Investigator

Inaugural Gig Harbor Paddlers Cup April 28 & 29 The Inaugural Gig Harbor Paddlers Cup and Expo

Mailing brochures from home!

AAAA** Donation. Donate Your Car, Boat or Real Estate.

IRS Tax Deductible. Free Pick-Up/Tow. Any Model/ Condition. Help Under Privileged Children Outreach Center 1-800-419-7474.

Saturday May 5th 11am-6pm

Deep tissue, Relaxing,Chinese healing massage. 425-747-2288 10Am-10Pm www.annamedicalhealthspa.com 1550 140th Avenue NE, Suite 200 Bellevue

Paid In Advance!

Make $1000 a Week

MONTHLY IC S U M B R E V E R d an are Now Available Fire! le d in K d n a le d in K on TRY IT NOW FREE FOR TWO WEEKS!

Hama Hama Oyster Rama

ANNA'S MED HEALTH SPA-

Now with Photo Sharing!

206.576.2411 Local #s: 1.800.926.6000 Ahora en Español 18+

www.livelinks.com

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