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APRIL 3-9 2013 I VOLUME 38 I NUMBER 14

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A Senate coup reveals a fault line in the Democratic Party and the illusory nature of bipartisanship. BY NINA SHAPIRO P. 11

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

SEATTLE WEEKLY • APRI L 3 — 9, 2013

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THE DAILY WEEKLY | Nurses on strike,

We salute the best of the local food scene. 33 | BEST OF VORACIOUS | Dining with

a (still-) missing child, and more.

kids—someone else’s.

11 FEATURE

BY NINA SHAPIRO | When Democratic state senators Tim Sheldon and Rodney Tom broke ranks to caucus with Republicans, they shook up Olympia. Was it a courageous effort to break partisan gridlock or a selfserving power grab?

in back 21 THE WEEKLY WIRE 23 ARTS

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Gosling shows his tats, Kubrick gets obsessively analyzed, and reality TV drives a man insane. COPYRIGHT © 2013 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. • ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. • PERIODICALS POSTAGE PAID AT SEATTLE, WA • POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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At a labor rally last Thursday, several hundred f night-shift nurse Vanessa Patricelli wants workers held picket signs and chanted: “We’re here. to take a break at Harborview MediWe’re strong. We’ll fight for patients all day long!” cal Center on First Hill, she says she has A few days before the picketing, Harborto hand over all her patients to another view announced that it was willing to conduct nurse—one who already has a full load. a six-month “project” that would assign nurses Under current Harborview staffing, Patricelli “to dedicated nurse relief,” according to a statesays, nurses might thereby find themselves caring ment. The hospital was short on details, however. for up to 10 patients at a time. “I’m not sure what it will “It’s unsafe for look like,” spokesperson patients,” she says, pointTina Mankowski says of ing out that nurses PRINT IS GREAT, but if you the project, adding that dispense medication and want to read, the crap that’s the idea is not yet “fully that an error can therefore passing as a drug bust these days ... check it out on The Daily Weekly. fleshed out.” have dangerous conseSEATTLEWEEKLY.COM/DAILYWEEKLY Picketing nurses were quences. skeptical. “It is very much As 1,900 nurses and of a last-minute offer,” other healthcare worksaid nurse Kristie Dimak, who, like others, was ers lock horns with hospital management—the waiting to see what language the hospital is willworkers represented by SEIU Healthcare 1199NW have been operating without a contract ing to put in the contract. More nurses would of course require more since October 31—the staffers claim that more money, and, like many hospitals these days, than salaries are on the line. When people think of medical error, they tend Harborview has been cutting costs. Mankowski says the public hospital, run by the University of to focus on doctors, but researchers are increasWashington, trimmed its budget by $26 million ingly looking at the mistakes made by tired and last year. overburdened nurses as well. One 2011 study Yet some staffers say that Harborview has published in the New England Journal of Medibeen wasting millions of dollars on a consulting cine found a “significant association” between group that the hospital, along with other facilities nurse understaffing and increased mortality. within UW Medicine, has used for the past three In the mid-aughts, California enacted legyears. Mankowski says that the Florida-based islation that requires a certain level of nurse Studer Group is a “highly regarded, evidencestaffing, even during break times. Harborview based” organization that is helping to improve nurses want to write a similar measure into their “patient satisfaction.” contract. “We’re trying to change the culture,” Critics say the consultants are focused more Patricelli says. on “messaging than substance,” as Hufford puts Others add that even if no outright error it. For instance, the Studer Group has introduced occurs, having nurses double up on patients a standardized way of talking with patients that can create problems. Joseph Hufford, another includes having nurses introduce themselves, Harborview night-shift nurse, says that patients explain what they’re doing, and tell patients how may end up waiting 20 minutes or so to get pain long it will take. medication or to have their bed changed after It’s nothing Harborview’s nurses don’t already they’ve soiled it. “People have had to lay in their know, contends Dimak, adding that all the time feces with their wounds exposed,” he says. Or, he and money spent on consultants could instead adds, nurses are so uncomfortable with the situa“be spent on patient care.” NINA SHAPIRO tion that they end up not taking any breaks at all during a 12-hour shift. » CONTINUED ON PAGE 9

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the mother is the culprit. I don’t think it was intentional. It may have been negligence. We don’t know.” Says Metalwala: “Until I have solid proof [of his child’s demise], I am not giving up.” Bellevue police spokesman Carla Iafrate says that three detectives—two from Bellevue, one from Redmond—are still working the case. “This case is still ongoing. It is still open. It is still active,” she says. And, 17 months later, “Leads are still trickling in.” ELLIS E. CONKLIN

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As part of Gov. Jay Inslee’s first budget proposal last Thursday, he pushed for alterations to many of the state’s current tax exemptions, including a voter-approved exemption that critics consider a sweetheart deal for the state’s car dealers and their clients. Simply put, the tax code in Inslee’s sights says that if you trade in a car in for another car, you should only pay sales and use taxes on what you pay out of pocket. “So if I trade in a $5,000 used car in order to buy a $20,000 new car, I only pay taxes on the $15,000 balance,” Sightline Institute Policy Director Eric de Place—no fan of the trade-in exemption—says in describing the tax. In Inslee’s budget proposal, the adjustment to the trade-in exemption is capped at $10,000 for motor vehicles, recreational vehicles, boats, and other items. That means de Place’s example would still hold under the new law, but higher-value trade-ins would be taxed more: Inslee’s office says the change would generate $94.8 million in general fund dollars for the 2013–15 biennium. While de Place has vehemently lobbied for doing away with the trade-in exemption altogether, he tells Seattle Weekly that Inslee’s proposal is “certainly an improvement over the status quo.” In essence, de Place says, the proposal would only “eliminate the effect on the most expensive purchases.” “It would still exist for Honda Civics, but not BMWs,” he says. Eliminating the exemption altogether could generate “around $340 million,” de Place says. With that much potentially at stake, why wouldn’t a cash-strapped state like Washington simply do away with it? Not surprisingly, de Place presumes the answer is politics. The vast majority of car purchasers—and, more important, voters—won’t be affected, meaning they’re unlikely to fight it, he says. It’ll be the folks who make high-end car purchases and regularly trade in cars who’ll feel the brunt. And, perhaps more important, Inslee’s proposal doesn’t take as much away from car dealers as doing away with the entire trade-in exemption would. “Rather than clawing back $340 million from car dealership, he’s clawing back $100 million,” says de Place. “He’s not inflicting as much pain on car dealerships as he might.” Still, de Place wouldn’t be shocked to see pushback from Washington’s car dealers. “I imagine that the car dealers are not going to like the slight leveling of the playing field,” says de Place. “They’re a politically influential group.” MATT DRISCOLL E

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Seventeen months later, the mother still refuses to talk with authorities or cooperate with them in any way. Seventeen months later, Bellevue Police still decline requests for even a written statement on the status of their investigation. Seventeen months later, there seems to be nary a clue as to the whereabouts of Sky Metalwala. The strange saga burst onto front pages throughout the region on November 6, 2011. That was the day the 2-year-old’s Ukrainianborn mother, Julia Biryukova, said she’d left Sky in her stranded car as she and her daughter went to get gas, only to find Sky gone when they returned. But police say the car had plenty of gas and was in good working condition. No gas can was found in the car. Biryukova declined to take a polygraph test and invoked her 5th Amendment rights. That she and ex-husband Solomon Metalwala were in the middle of a bitter custody dispute over the children cast more suspicion on the story. Yet still no charges have been filed in connection with the boy’s disappearance. Biryukova now lives alone in Redmond. For a time she ran an ad looking for a man of means on the dating site seekingarrangement. com, which bills itself as “the elite sugar-daddy dating site for those seeking mutally beneficial relationships.” More recently, on March 21, she took to Craigslist with an ad that read “I am heartbrokenly single, hopelessly looking for a stable job. Help?” She took the ad down several days later. Meanwhile, Solomon Metalwala says he remains at a loss as to what may have happened to his son. At one point, he speculated that Sky’s disappearance might be connected to a visit from his estranged wife’s foreign father, who visited from Ukraine in spring 2011. Perhaps the grandfather brought him back to Ukraine, he thought. “But now I don’t know how that could have happened,” Metalwala told Seattle Weekly. Metalwala’s pro bono attorney Leslie Clay Terry maintains that the child was long gone before the mother told her story. Terry has nothing but unkind words for Julia Biryukova. “She concocted that . . . story, and when she realized no one believed it, she hired an attorney. She has not helped us one bit,” fumes Terry. Biryukova’s attorney, Rob Wyman, a public defender, did not return phone calls. Asked why the police have not compelled Biryukova to come to the station and submit to an interview, Terry says the police could only charge her with a minor crime, at which point “She could then have her attorney provide her with every single document and piece of evidence that police have been gathering over the past 17 months. They don’t want to do that, and we don’t want them to do that—to give her all that information. “It is not worth it. We know she’s the culprit.” As for Sky, Terry is beyond pessimistic. “I don’t think he’s alive. Solomon doesn’t like when I say that, but that’s what I think,” the Bothell-based attorney says. “Again, I think

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ressed in worn jeans, a sweatshirt, and a camouflage cap, Representative Tim Sheldon drives his beat-up pick-up truck on a winding road that leads to his house. The road cuts through 500 acres of gorgeous woods in Mason County that slope down to the southern tip of the Hood Canal. The woods constitute a tree farm that belongs to his family, passed on from a Swedish grandfather who came here as a teenager, worked for years as a logging superintendent, and finally bought his own slice of the rain forest in 1941 for $50,000. Sheldon revels in that legacy. His office off the wings of the Senate floor is lined with blackand-white pictures of his grandfather, circa the 1920s, surrounded by burly men and the giant trees they felled. Sheldon reaches a plateau overlooking the water and parks his truck a few yards from his two-story wooden house, built in the “post and beam” style that showcases the big, sturdy logs that make up its frame. Directly in front of the 65-year-old, mustachioed legislator on this February Sunday is a shed that he built himself, open-air and big enough to fit a boat and nine vehicles, including a 1974 BMW and the hulking machines that helped him send 14 loads of timber to market last year. Hanging from the roof is an American flag. Sheldon put it there on the evening of September 11, 2001, after watching TV footage of the tragedy taking place on the East Coast. The terrorist attacks had political implications for the lawmaker, who that day doubled down on his support for President George W. Bush. In the tumultuous years to come, Sheldon held firm in his support for the Republican president, resolving to vote for “the meanest son of a bitch for president that I could” when Bush came up for re-election. All that wouldn’t be notable but for one fact: Sheldon was a Democrat. His support for one of the most divisive presidents we’ve ever had caused a stir. Yet it merely set the stage for a more cataclysmic act of political heresy. As the legislative session got underway this past January, Sheldon and fellow Democrat Rodney Tom of Medina spearheaded an unprecedented coup that took control of the Senate away from their own party and delivered it to Republicans in the name of bipartisanship.

CONTINUED ON PAGE 12

Going by the numbers, the Democrats were supposed to be in charge, with Seattle’s Ed Murray already elected as majority leader. Murray and his flock had a range of issues on their agenda. The Sandy Hook Elementary School massacre in Connecticut, resulting in the violent deaths of 20 children and six adults, had put unprecedented local and national momentum behind gun control, and Murray was backing several relevant bills. Murray also put a high priority on a local version of the national DREAM Act that would help the state’s young undocumented immigrants access college financial aid. And then there was education—an issue of prime concern given the state Supreme Court’s McCleary Decision, mandating a dramatic increase in school funding. The Democrats were hinting that new taxes would be necessary to pay for that funding while at the same time plugging an expected billion-dollar-plus budget deficit. Then Sheldon and Tom announced that they were joining with Republicans to form a new “majority coalition” caucus that, by virtue of a 25-24 margin, was entitled to power. Twentythree of the 25 members of the caucus were Republican, but its two Democratic members insisted that it was bipartisan and narrowly focused on three issues of common ground: jobs, education, and a budget that in their view didn’t overspend. While there was some overlap with the Democratic agenda, especially around education, the coalition’s slant would prove considerably different. The mostly Republican caucus elected Tom as its leader and nominated Sheldon for president pro tempore, a position voted on by the entire Senate and which involves leading the chamber when the lieutenant governor is unavailable. Despite 10 protest votes from Democrats, Sheldon got the job. The new coalition structure wasn’t just untraditional. It was against the rules, which denote majority and minority caucuses—and important privileges that stem from the pecking order, like assigning committee chairs and determining which bills get heard—according to party. So on the first day of the Senate in January, the majority coalition pushed a rule change through the floor that allows for a bipartisan caucus. It was the first Senate rule change of its kind since 1907. Citing that break with tradition, Jeanne KohlWelles, a Seattle Democrat who has served in Olympia for more than two decades, calls the restructuring “really upsetting.” That was among the milder criticisms faced by Tom and Sheldon. At an Olympia meeting on February 2, state Democratic Party officials passed a resolution that formally censured the two men for their allegedly “perfidious” behavior and withdrew all party support—although both men insist that they are still Democrats. Five days later, Democratic Party chair Dwight Pelz sent out an e-mail urging supporters to “call out Tom and Sheldon for the traitors they are.” The intrigue has not stopped. Sitting in his commodious majority-leader office one day last month, Tom waxes eloquently about how he and fellow caucus members are creating a “culture of acceptance” that stresses “open debate.” Yet a building away, Sen. Karen Keiser voices a common Democratic lament: “I’ve never seen less discussion. I’ve never seen less negotiation.” As the Senate now begins grappling with the next biennial budget, the climax of the session, the real test of the majority coalition’s inten-

Rodney Tom speaks on the floor of the Senate shortly after assuming the role of majority leader for the coalition caucus.

TED S. WARREN / AP IMAGES

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

WHAT KIND OF DEMOCRAT... » FROM PAGE 11

tions and power will come. Although the state’s March revenue forecast was better than expected, a yawning deficit is still anticipated, and battle lines have already formed, with coalition members adamantly opposed to new taxes suggested by Democrats.

hile the Senate is in unchartered territory, it would be a mistake to think that the drama playing out is entirely new. It is the continuation of a decades-old fault line in the state’s Democratic Party between conservative and liberal wings, split largely according to geography. The power base of the left is in Seattle, and dominates the party’s caucus. Right-leaning Democrats hail from rural areas and the suburbs. “Every once in a while when that relationship is not managed well, the [conservative] Democrats rise up and punch back,” observes Chris Vance, a political consultant and former legislator who once served as state Republican Party chair.

laconic, with the relaxed manner and gait of a man who is in no hurry to get somewhere new, but he’s eager to talk about his surroundings: the majestic Douglas firs and maples that are more than a century old; the places where he’s thinned, letting the sun in and giving other trees room to grow; the little shed that once stored dynamite used to log the land in the early 20th century. His appreciation for the land demonstrates one of the ways Linda feels her husband, assumed to be anti-environmentalist, has been misjudged. Sheldon’s background reveals another. A graduate of Pennsylvania’s prestigious Wharton School of Business, Sheldon didn’t set himself up to make a ton of money, as did many of his classmates, among them Donald Trump. Instead, with “hair down to his ass,” as his irrepressible and wisecracking wife puts it, he went to work for a medical clinic run by the Seattle Indian Health Board. Answering a newspaper ad, he became the clinic’s business manager. His boss was the late Native American activist Bernie

“One of the criticisms I have with the party is that they talk about being a big tent, yet they are quick to criticize those of us in rural districts who have a different way of life than in Seattle.” -Brad Owen, Lieutenant Governor Indeed, the resentment runs deep, as evidenced by the sentiments of another Mason County Democrat, Lieutenant Governor and onetime senator Brad Owen. “One of the criticisms I have with the party is that they talk about being a big tent, yet they are quick to criticize those of us in rural districts who have a different way of life than in Seattle.” Of the Seattleites, Owen says, “It’s always my way or the highway.” Take environmental issues. The message Owen says he has received from urban liberals is: “You shouldn’t cut a tree . . . We’re all supposed to walk the line and put our folks out of work. After a while, we say ‘We’re not going to do that.’ ” Sheldon considers himself an environmentalist. “What we’re trying to do is practice sustainable forestry,” he says. He doesn’t clear-cut his tree farm. Instead, he derives his lumber from thinning the dense woods. His wife Linda says he’s most at home here, and he does seem to light up as he gives a tour of his farm. Sheldon can be

Whitebear. “I didn’t want to work for corporations” is how Sheldon describes his unusual career choice. Inspired by President John F. Kennedy’s call to service, he went on to join VISTA, the domestic version of the Peace Corps. That took him on assignment to the Quinault Indian Nation, where he worked on grants and contracts. More jobs in Indian country followed, at one point leading him to a role as a liquor wholesaler and consultant, helping tribes set up businesses that undercut the state monopoly and earned Sheldon the enmity of state officials. Linda refers to that history as she defends her husband, which she is quick to do. When the Democratic Party chair wrote his excoriating e-mail following the formation of the coalition, Linda wrote back a long, uproarious e-mail that quickly went public. “I’m not sure exactly how you plan to censure Tim and Rodney—maybe duct tape,” she said. “And YOU have ABSOLUTELY NO RIGHT to say THEY have no

right to call themselves Democrats. My dog could be Democrat—there is no application, sign-up, litmus test. . . . ” And yet Linda recognizes her husband’s conservativeness, which contrasts with her own liberal politics—among her affiliations is the antiwar group Women in Black. The talk on this Sunday afternoon turns to a controversial bill put forward this session that would require parents to be notified when their underage daughters plan an abortion. “I’ve always voted for parental notification,” Sheldon says. Linda sighs. “It’s something that 36 other states have,” Sheldon perseveres. [Actually 38, according to the non-partisan Guttmacher Institute.] Linda can restrain herself no longer: “I had an abortion without my parent’s permission because I wouldn’t have had it otherwise.” Sheldon smiles, resigning. “It’s a dad deal,” he offers, alluding to his 20-something daughter. As much as Linda criticizes her husband for his views on this issue, she also notes that many people in Mason County agree with him. After one previous vote on a failed parental-notification bill, she says she was often stopped around town by people saying they supported him. And here’s what both Sheldons agree on: The nine-term senator represents his district. Over the next several hours, they proceed to give a crash course in Mason County. “It’s a different world out here,” says Linda, who hails from the East Coast. Nowhere else, she quips, is she “so offended by someone’s b.o. ” as she is here when going on shopping trips. Sheldon winces. “Not everyone is a hick,” Sheldon says, pointing out that Bill Gates has a compound in Mason County and Jeff Raikes, the former Microsoft executive who went on to head the Bill and Melinda Gates Foundation, bought and renovated the nearby Alderbrook Resort and Spa. At the same time, Sheldon points out that of Washington’s 39 counties, Mason is one of only six with just one city (Shelton). What that means, he says, is that the county has a “very rural populace,” one that can no longer rely on a dwindling logging industry for work. The Sheldons’ tree farm is a family affair that uses only periodic contractors when there’s a lot of thinning to do. Sheldon is worked up about a recent study that found that Shelton residents have a longer average commute—32 minutes—than those of any other city on the West Coast. The reason, he says: “There are no jobs in Shelton.” Those who don’t commute are unemployed. The latest Mason County unemployment rate stands at nearly 12 percent, more than double King County’s. The average Mason County annual income—$34,000, according to the most recent figure—stands well below the state average, the county’s poverty rate of 15.6 percent well above. Bad health is endemic. Sheldon says that another study, measuring healthy living, found that Mason County ranked almost dead-last in the state. Sheldon says that reality translates “big time” into his politics, especially when it comes to taxes, which he generally opposes. He asserts that his constituents can’t afford them. Gun rights is another area where Sheldon is in tune with his constituents. “You should be here on New Year’s Eve,” Linda says, alluding to the constant sounds of bullets firing into the air. “It’s like an Afghani wedding.” While Sheldon doesn’t participate in that, he does collect antique firearms. A 1912 Winchester shotgun stands in a corner near the front door. On this afternoon, gun-control legislation is

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still a pressing matter in the legislature. A long list of senators and representatives, almost all of them Democrats, including even Tom, have sponsored a series of bills that would require universal background checks, ban assault weapons, and establish other regulations. Sheldon is against them. His view: “Don’t penalize responsible gun owners for someone who’s a maniac.” Sheldon’s conservative politics match his district’s. He has, after all, been elected by “huge margins,” as Owen notes (winning by 24 percentage points in 2010). But they don’t match mainstream Democratic beliefs. Stalwart liberal Sen. Adam Kline of Seattle—whose enmity for his colleague is so pronounced that in one election he came to Mason County to doorbell for Sheldon’s Democratic opponent—says that the senator should just “be honest about being a Republican.” Sheldon thought about it. In 2002, mere months after he hung the flag from his shed on

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Like Sheldon, he is a man of his district, although in many ways the affluent enclaves of the Eastside couldn’t be more different from Mason County. During an interview at a Clyde Hill Tully’s on a lovely, leafy lane, Tom makes a point of revealing that he hails from relatively modest means. “I live a good life now,” he says. “But my dad was a mechanic. My mom cleaned houses.” The family lived in a 900-square-foot house in Bellevue’s Eastgate neighborhood, solidly middle-class but not quite as tony as other parts of the Eastside. “I lived there while I went to UW. That’s how we saved money. I never even flew in a plane until I was 21.” He says his 82-year-old dad still lives in the Eastgate home. Tom, however, has moved on. After getting his MBA from the University of Southern California in 1988, he went into real estate, first as a Windermere agent and then branching out into investing. He made enough money by the mid-1990s to settle into a nearly 8,000-square-foot home, now worth $5 million, overlooking Lake Washington. The 49-year-old Tom wears his wealth casually. He comes to coffee in a sweatshirt—not a worn sweatshirt like Sheldon’s, but a crisp, white

“He’s very progressive, even liberal on a lot of issues,” observes Democratic Senator KohlWelles. Tom says the same, calling himself “100 percent pro-choice” and noting that he supports gay marriage and gun control. In 2005, with the Republican Party continuing to lose its hold on the Eastside, Tom announced that he was running for the Senate as a Democrat. In an interview then with The Seattle Times, he said of the GOP: “The far right has complete control of the party.” Tom is not as open about his politics or his life as Sheldon. He schedules appointments in 15-minute increments, making a rare exception to set aside a half-hour for a second interview with Seattle Weekly. But he says this: “The Democrats have been good to me . . . They’ve always treated me in a civil manner. That wasn’t always the case with the Republicans.” Having been in both parties, he adds, “I can tell you that the Democratic tent is much larger.” A big tent, though, means plenty of dissent, and Tom has been one of the loudest internal opposing voices. A few years back he became part of “the roadkill caucus”—not actually a

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9/11, he says, “the Republicans worked very hard to get me to switch parties.” He chose not to and declared his loyalty to the Democrats in what he says was “an emotional caucus meeting.” Yet asked what about his philosophy conforms to Democratic ideals, Sheldon is short on specifics. “I believe in the common person rather than the corporation,” he says. What that means in practice is obviously open to interpretation, and it has never been more obvious that Sheldon does not hew to the party line.

om has also had problems sticking to the party line—any party line, as evidenced by his entry into politics as a Republican when he won his first seat, in the House, in 2002.

Ralph Lauren version. He’s lean and athletic, a marathon runner and mountain climber who boasts on his legislative page that he has summitted five of the state’s volcanic peaks. The Eastside was once considered a Republican stronghold, and when Tom first came to Olympia, a case could be made that the suburbs he represented still leaned conservative. But the Eastside’s brand of conservatism, in tune with the high-tech workers and immigrants who were increasingly populating the area, was far more nuanced than it used to be, and certainly more nuanced than that of legislators from east of the mountains. The same could be said of Tom, who followed the socially liberal, fiscally conservative line of politics.

separate caucus but a group of senators and representatives who felt they were being run over by politicians on both the left and the right. Then in 2010, Tom turned against a budget he himself had helped craft but which contained tax increases he ultimately decided he couldn’t live with. In 2012 Tom again went against the Democratic budget, this time joined by Sheldon and then-Senator Jim Kastama. These revolts were not unprecedented. In the mid-’80s, Jim McDermott, now a United States Representative, was a lordly Democratic state senator heading the powerful Ways and Means Committee. He attempted to push through a budget that a few Democrats—including Owen, the lieutenant governor who was also then a

KEVIN P. CASEY

Linda Sheldon often disagrees with her husband, but is quick to defend his right to think differently.

senator—didn’t like. As Owen recalls, the budget included a tax increase during a time that the state enjoyed a revenue surplus. So the rebel Democrats joined Republicans to oppose McDermott’s budget and craft a new one that didn’t raise taxes. McDermott, reportedly, was incensed. Former Republican senator Dan McDonald, then the ranking minority member on the Ways and Means Committee, recalls that McDermott at one point walked over to him on the Senate floor and “as only Jim McDermott can, took the budget book, slammed it down on my desk, and said, ‘You take it, McDonald.’ ” McDermott says he doesn’t remember that incident, or even the budget revolt. But he does recall the irritation he felt at what he calls the “whining” of Democrats from the rural parts of the state. He mimics them: “Oh, we don’t get our fair share. We don’t get our fair share . . . They always wanted more than is reasonable.” For instance, he says, these legislators would complain that they didn’t get enough money from the state gas tax. “Where do you think most of the

» CONTINUED ON PAGE 16

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gas tax is collected?” he asks. “Seattle,” he answers, pointing out that there simply are many more people, and thus gas consumers, in the state’s biggest city. And yet he says much of that money goes to build roads and bridges in the whiners’ districts. So McDermott says: “When they complained to me, I just laughed at them.” That may have been his mistake. And Senate leadership in recent years may have made a similar mistake with Tom and Sheldon. Even Pelz concedes that his party’s rebels weren’t handled as well as they might have been. “You gotta give people a back door in this business,” says the Democratic Party chair, meaning a way for dissenters to make their stands without having to make a dramatic break from the party. “You go to them, you listen to their concerns, you give them some authority.” He suggests that didn’t happen when Tom, Sheldon, and other conservative Democrats started to show signs of unrest. Pelz says the rest of the Democratic caucus “pilloried” and “labeled” the dissidents. “And so they began to glorify in that label.”

“All of a sudden Tom is a leader. He gets the coolest office in the Senate, and don’t think that doesn’t matter. He gets to be on TV . . . And he gets to negotiate with the governor. Whoa!”

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a national level has led to disastrous stalemates on the budget and other matters. The counterargument, voiced by both Kline and Vance, is that party discipline leads to efficiency, at least on the state level. “If you’re going to adjourn in 105 days [60 days in years when a new biennial budget isn’t on the agenda], you’ve got to be able to move quickly,” Vance says. “The only way to do that is to control the flow of legislation. If you let every bill get on the floor and be debated for an hour, you’d never get anything done.” “Olympia is vicious,” he adds. “Bills die constantly. People drive all the way across the state to testify for one minute.” And, he suggests, that’s the way it needs to be. Sheldon certainly seems to agree about the viciousness. Of his Democratic colleagues, he says: “They treated me horribly.” He mentions a liquor-privatization bill he had been pushing since 1998, but which party leaders never brought forward for a hearing. (Voters eventually settled the matter, approving privatization by initiative in 2011.) “So many Democrats ostracized him,” Linda adds. “They wouldn’t even eat with him.” During the budget defection of 2012, Sheldon says that he, Tom, and Kastama used to forgo the Senate dining room—an intimate basement

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Possibly more than any other Democratic senator, Sheldon has felt pilloried. His outsider status predates the budget skirmishes and relates to more than his consistently conservative views on many issues. As Sheldon himself realizes, something he often does gets under the skin of his colleagues—something that legislative insiders consider “the nuclear option,” as the Mason County senator puts it. More than any other senator, he reckons, he has called for what is known as the “ninth order of business.” This allows a bill that hasn’t made it out of committee to be pulled onto the floor, thereby undercutting the power of the committee chair and the leaders of the reigning caucus, all of whom had probably resolved to suppress the legislation. Sheldon had done this even when—especially when—his own party was in control. “We can’t talk strategy with this guy in the room,” Kline says of Sheldon. The Mason County senator once conspired with Republicans to pull a bill from Kline’s committee, according to the Seattle legislator. While Kline doesn’t remember the precise details of the bill, he says he was holding onto it as leverage to wrest votes for another bill he favored. “The way I learned it,” Kline says, “you’re free to vote your conscience on bills. That’s not the issue. But in procedural matters, you stick with your party.” Vance says he learned the exact same thing from the Republican leadership. The general public, of course, is disgusted with unquestioning party conformity, which on

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space reached via a stairwell off the legislative chamber—and grab lunch in greater Olympia. Tom’s stature within the party was somewhat higher given his mainstream Democratic views on a lot of issues and the glee many had felt when he switched parties. But his star was falling after his budget revolts. And that’s crucial to understanding what happened this year, in Vance’s estimation. “It’s not so much fun to get up every morning and come to Olympia to be a back-bencher with no power,” says Vance, the former Republican Party chair and senator. He elaborates: “Here’s the typical career path. You’re elected to the House, and at first you’re just thrilled to be there. You sit in big leather chairs, stare at the marble. When you go back to your district, you sit at the honorary table at Rotary. People open doors for you. “Then you’re elected to the Senate, like Rodney Tom was, like Tim Sheldon was. You’ve been in Olympia four, six, eight, 10 years or more. You think: ‘I’m pretty cool. Why aren’t I the chair [of a committee]?’ ” By joining with Republicans, Tom and Sheldon escaped that malaise and got an opportunity to be key players in shaping the majority agenda. “All of a sudden [Tom] is a leader,” Vance says. “He gets the coolest office in the Senate, and don’t think that doesn’t matter. He gets to be on TV . . . And he gets to negotiate with the governor. Whoa!” Tom maintains that he was asked by Republicans to be majority leader; he didn’t seek the

post. And both he and Sheldon insist that it was not power but financial responsibility they were after. “Their first option is just to raise revenue,” Tom says of the Democrats. In any case, their change in status hasn’t been so much fun for everybody else in their party. Murray, the man who would otherwise have gotten the coolest office in the Senate, says the session got off to a “poisonous start.”

its committee chairs to air issues important to them. A number of Democrats could have had the same prerogative, he points out. To prove its bipartisan bona fides, the majority caucus initially offered Democrats six committee chairs and three co-chairs. The committees offered were not the most powerful, however, and all but three Democrats turned the offer down. “We’re not afraid of the debate,” Tom continues. He cites the parental-notification bill as a case in point, noting that it got a hearing even though he, the majority leader, is ardently prochoice. (The bill ultimately died.) And yet, a bill on the other side of the abortion debate, which would require insurance companies to cover the procedure if they also cover pregnancy, languished for weeks in search of a committee chair who would agree to a hearing. “I literally spent an hour and a half

working on that today,” Tom says one day in mid-February. His efforts amounted to naught. Tom attempted to placate abortion-rights activists by saying the issue would still get a hearing in the Senate when a House version of the bill came over. (The Senate Health Care Committee finally heard the bill on April 1, but the chair immediately declared that the legislation would go no further.) Murray says the Democratic caucus staff has compiled a whole raft of bills that have not been allowed a Senate hearing. Perhaps most notable are the gun-control bills. Murray says Tom told him “the caucus wasn’t open” to the bills. With these, there aren’t House versions to fall back on. The House bill that stood the best chance of passing, requiring universal background checks, died last month in a firestorm of politicking.

» CONTINUED ON PAGE 18

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itting in his office—still in a coveted spot off the chamber’s wings if not quite as palatial as Tom’s—Murray points to a series of meetings that the Democratic caucus held shortly after the November election. Given the budget skirmishes of the past, rumors had been floating around the Democratic caucus that Tom and Sheldon might defect, so at one of the meetings, Murray says, caucus members asked Tom directly: “Are you making other plans?” Tom said no. Both he and Sheldon proceeded to vote for Murray as majority leader. Weeks later, in a phone call with Tom and Republican leader Mark Schoesler minutes before a press conference they were holding, Murray got the news that they were backing a different majority leader, Tom himself, in a newly formed caucus. “I don’t know how you can walk into a caucus and vote for one leader and then turn around and vote for another,” Murray says. “It was a voice vote,” Sheldon rationalizes of his initial vote for Murray, arguing that it was therefore nonbinding. Tom says that he didn’t say anything about other plans at the meetings because they weren’t firm yet. “You have to remember there was an election in the balance,” he says. Republican Don Benton was in a dead heat with Democratic challenger and former state Rep. Tim Probst, and the outcome would determine whether there were enough Republicans to form a majority with Tom’s and Sheldon’s support. “In politics, if you’re going to jump off the cliff, you better have 25 votes,” Tom says, referring to the number needed to form a majority in the Senate. When Benton won in a recount, Tom and Sheldon started talking in earnest to Republican leaders about a possible alliance. Sheldon explains that he and Tom didn’t want to be in the same position they’d been in the previous year, ending the session by brawling with fellow caucus members over the budget. With a whole new biennial budget needing to be crafted this year (as opposed to mere revisions on the table last year), Sheldon says he and Tom thought it better “to start from the beginning” by declaring their allegiance on crucial issues. According to Sheldon, the deal was struck at a meeting in Olympia, attended by him, Tom, and several key Republican senators, including Schoesler and Joe Fain, the current floor leader. They jotted down what they called the “governing principles” of the new caucus, which laid out the short list of issues they would focus on: jobs, education, and a “sustainable” budget, as well as “governing collaboratively” and holding state government “accountable.” “As we did so, young Joe Fain—he’s an attorney in Auburn—he said, ‘You know what, we’ve got to sign this thing,’ ” Sheldon recalls. “That was the big difference for me.” A history buff, he viewed the signatures as a John Hancock moment, formally binding all those who participated. Eventually all members of the new caucus would sign the principles. But sticking to the principles has proved another matter. Some members of the new

caucus—seemingly giddy at their unexpected ascension to power—churned out a host of polarizing bills on issues well outside the focus areas agreed upon in the document. Benton sponsored many of them, including the parental-notification bill, another that would mandate a year-long waiting period before spouses could divorce, and legislation aimed at marginalizing undocumented immigrants. Back in the Sheldon household, Linda asks her husband: “When Benton’s on a roll, do you just stay quiet?” “No,” he replies, adding that he and others will say something like “Don, that’s outside of our principles and our agenda.” Yet Benton’s bills got hearings. Tom spins the matter as a sign of the majority coalition’s “culture of acceptance” and its willingness to allow

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In denying hearings, the majority coalition isn’t doing anything that either party hasn’t done in the past, but the behavior complicates the feel-good storyline that the coalition wants to tell. The same could be said for a Ways and Means Committee hearing held on February 14. On the agenda were hearings for five bills sponsored by Democrats, including one proposing a state income tax. “These bills won’t go anywhere,” Kohl-Welles said at the time. “The Republicans will never support them.” So why had the Republican-dominated committee set aside almost the entire meeting to them? “Is it to offer Democrats an olive branch?” KohlWelles asked. To refute the notion that they’re quashing hearings and to say, “Aren’t we good? Aren’t we collaborative?” As it turns out, the majority coalition intended a sharper point. In a press release issued the next morning, Tom did use the hearings to pat the coalition, and himself, on the back. Under the old Democratic regime, he writes, “I was always suggesting to leadership that we should at least have hearings on legislation from across the aisle, but my efforts fell on deaf ears. Now that we are in the majority, we decided to treat the minority better than it’s been treated before; the hearings yesterday were proof.” But the main thrust of the two-page release is the ostensible ludicrousness of the tax bills, which he writes would hurt small-business owners and the middle class. “This is exactly why I joined the Majority Coalition Caucus,” he writes—a statement he will repeat in future releases on other issues, evidently feeling a continuing need to explain. “Too many of my fellow Democrats in Olympia have grown arrogant and out-of-touch with the people we were sent here to represent.” Kohl-Welles’ conclusion: The hearings were a “setup” so that the majority coalition could beat up on the Democrats.

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

t’s March 6, and the Senate is holding a much-anticipated “education day.” Aside from the budget, education is perhaps the most pressing issue the legislature has to deal with this session, given the McCleary ruling. Early in the session, the majority coalition staked out a position divergent from that of the Democrats, who stress the need for greater school funding. It’s not just money that is important, coalition members asserted, but reform—a sentiment in tune with a national education-reform movement popular with conservatives. As he considered his coup, Tom says he knew one thing: “If we want education reform, it’s not going to happen with Rosemary as chair.” That would be Democrat Rosemary McAuliffe, for many years the chair of the Senate’s Early Learning & K-12 Education Committee, attacked by her critics as being too close to the teachers’ union. Indeed, Tom says that he “would have done anything to avoid” McAuliffe being chair, adding that “She won’t even look me in the eye.” McAuliffe protests that she has helped enact many reforms over the years, among them the creation of state standards through a landmark bill in 1993 and a pilot program that introduced more meaningful teacher and principal

evaluations in 2010. But she agrees that there is bad blood between her and Tom. In the last session, she explains, she and Tom fought over two bills he introduced into the education committee: One proposed charter schools, a controversial subject in this state (this was before a charterschool initiative narrowly passed in November); another would have tinkered with the recently enacted evaluation process to include student test scores as a criterion, a move aimed at making the process more rigorous but opposed by teachers and considered “draconian” by McAuliffe. McAuliffe refused to hold a hearing on either bill. Whereupon, she recalls, Tom “walked out of the committee.” What’s more, she says, he took with him four allies, including three Republicans, leaving only four committee members. Tom remembers events differently, saying he didn’t literally walk out of the room. But both he and McAuliffe agree that the chair never called another committee meeting for fear the dissenters would take over. It was only about a month into the session, and no further work on K-12 education would be done. So when a Tom-headed majority coalition took over, it was no surprise that it ousted McAuliffe as committee chair and handed the job to Steve Litzow, a Republican known for his work on education. His committee heard a series of reform-minded bills, including one that would create a state district for failing schools, another that would hold third-graders back if they don’t pass the state reading test, and a third that would grade schools on an A-to-F system. Democrats quickly blasted the bills as a “distraction” from its task of meeting the McCleary mandate. As education day begins, the tensions seem to have eased. “I’d like to thank Sen. McAuliffe for her efforts and ideas,” Litzow says. McAuliffe, in turn, praises the man who took over her role as someone “who has worked diligently to help us have a nonpartisan committee.” And it’s true that the reformers have revised their bills after input from Democrats. Troubled third-grade readers would be able to attend summer school and not automatically be held back. Failing schools would be subject to state intervention—eventually closed if they do not improve—but not taken over by the state. Those bills passed with at least some Democratic support. Others, like one sponsored by Litzow that calls for alternatives to suspensions and expulsions, win even broader bipartisan support. Still, friction is apparent as the schoolgrading bill comes up for discussion. One after another, Democrats rise to bemoan the bill as a simplistic measure that would have a huge, demoralizing effect on schools populated by poor and immigrant students. Sheldon, who has traded in his jeans and sweatshirt for a brown suit, stands up. Education is not an issue he has focused on in the past, but he’s been influenced by the talk in his caucus. “This really is a moment in time when we see huge differences,” he says, meaning between Democrats and the majority coalition. The view he’s come to hold: “The grading system means accountability and responsibility.” The bill passes, following party lines almost exactly, the primary exceptions being Sheldon and Tom. Their bipartisanship dream, for the moment, seems far away. E nshapiro@seattleweekly.com

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Loves the City, Hates Herself

When Stanley Met Stephen

soon after moving up to the Pacific Northwest. New in paperback this week, Where’d You Go, Bernadette ($14.99, Back Bay) is set among that smug class of Seattleites with too much money and self-regard. It’s satirical, but “it’s kind of a love letter to Seattle,” says Semple, who came here five years ago. Her protagonist, Bernadette, is a Queen Anne housewife whose life is falling apart. “And she blames an entire city for her failures,” says Semple. “It’s not like she hates the entire city—she hates the entire world. I wanted to write about someone like myself, who’d had a personal failure.” In Bernadette’s case, that means a failed architecture career, a struggling marriage, and a rebellious daughter. So naturally she rages against our torrential rain and mudslides, refuses to make allies at her daughter’s private school, and ridicules our ubiquitous Craftsman architecture. Written in comic, epistolary form, Where’d You Go, Bernadette earned rave reviews last year and was optioned as a movie in January, with Semple an executive producer. When will it be in theaters? “The screenwriters are about to turn in a screenplay,” says Semple. “These things can take forever—or they can come together immediately.” She knows the business and is lobbying that at least some of the film be shot here. “I did ask!” she insists. “I couldn’t get it in writing. No one would make that promise.” Tonight Semple will appear with überlibrarian Nancy Pearl, read passages from her book, and take your questions. (Remember to ask about Curb Your Enthusiasm, for which she was a writer.) Town Hall, 1119 Eighth Ave., 652-4255,

townhallseattle.org. $5. 7:30 p.m. BRIAN MILLER

FILM

Les Combattants

The nouvelle vague—or French New Wave to us Yanks—burst out of a culture of young Parisian cinephiles and critics who, unable to break into the closed film industry of the ’50s, made their own movies by any means possible. François Truffaut was the first to make a splash, but his friend and colleague Jean-Luc Godard delivered the nouvelle vague’s definitive expression. His 1960 Breathless, a tribute to our B-movies and French gangster films, was a blast across the bow of international cinema—a crime movie taken apart and rebuilt from the ground up. His free-spirited street shooting, jagged editing, audacious jump-cuts, and lighthearted comic asides created a revolutionary sense of self-awareness. Breathless is as much about

its own movieness as it is about Jean-Paul Belmondo’s charming rogue of a street thug. (Spritely Jean Seberg plays his American girlfriend.) The

movie begins SAM’s nine-film series contrasting Truffaut’s polished direction and loving genre exercises (e.g., Small Change, The Bride Wore Black) with Godard’s radical deconstruction of filmmaking conventions and increasingly political themes (see Pierrot le Fou, A Woman Is a Woman). The Truffaut selection, unfortunately, overlooks his best work of the ’60s, so Godard handily comes out on top in this showdown. (Thursdays through May 30.).

Seattle Art Museum, 1300 First Ave., 654-3210, seattleartmuseum.org. $63–$68 (series), $8 individual. 7:30 p.m. SEAN AXMAKER FIRST THURSDAY

Turn the F-Stop Up to 11

Not usually a stop on downtown’s First Thursday artwalk, The Triple Door is this month hosting a group photography show called—get ready for it—Rocktographers. Down in the Musicquarium, during happy hour, you can mingle with the 20 local shooters who’ve documented bands like the Presidents of the United States of America, Jane’s Addiction, and Sleigh Bells. The photos are available for purchase, and your votes are being solicited for best in show. Among the lens artists are Greg Roth, Mat Hayward, and Suzi Pratt. Included in the event, along with food and drink specials, is a 7:30 show by My Goodness. Expect to see the flashing of many cameras. (Photos remain on view through April 30.) The Triple Door, 216 Union

St., 838-4333, thetripledoor.net. $15 (21 and over). 5–9 p.m. BRIAN MILLER

STAGE

Seasons Change

Not every Broadway crowd-pleaser can claim inspiration from a movie that features Christopher Walken blowing out his brains. OK, there’s only one: the 2006 Tony winner Jersey Boys , now back on tour after playing the 5th Avenue five years ago. Bob Gaudio, the Four Seasons singer/composer, realized his old quartet’s music could have a whole new life after watching his tune “Can’t Take My Eyes Off of You” lend a nostalgic glow to a scene in The Deer Hunter. The song gave Walken, Robert De Niro, and friends some final joy around a pool table before the hell of Vietnam. The 1978 film won the Best Picture Oscar, while Gaudio, by then producing hit records for Neil Diamond, spent decades mulling over how best to reimagine the Four Seasons’ enviable back catalogue. What finally resulted very nearly transcends the dubious jukebox musical genre. Thanks to a book co-written by Marshall Brickman (an Academy Award winner with Woody Allen for their Annie Hall screenplay), the hits of Jersey Boys propel the Four Seasons through their lives: “December, 1963 (Oh, What a Night)” celebrates Gaudio losing his virginity; “My Eyes Adored You” mourns the demise of lead singer Frankie Valli’s marriage. Sondheim it ain’t, but neither is it careless fluff. By the time these blue-collar boys fall in and out of jail and love and debt, then saunter back out for one last rousing “Who Loves You,” you’ll be out of your seat in celebration. (Through May 4.) The 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29$123. 8 p.m. STEVE WIECKING

With the new documentary Room 237 opening at SIFF today (see review, page 26), now’s the perfect time to revisit the movie it aims to deconstruct, The Shining. In the fright-flick canon, The Shining (1980) is an art-film anomaly, since director Stanley Kubrick emphasizes the long buildup so much more than Jack Nicholson’s final ax attack on his snowbound family. The swooping aerial shots, the Big Wheel pedaling down endless hallways, the dull talk of canned goods and Indian burial grounds, the thumping tennis ball—they lull you into a kind of dream state. There’s a primal, fairytale quality laced with Oedipal conflict as this household of three is fatally divided. It matters less if Nicholson’s blocked writer is demonically possessed (or Indian-cursed or evil reincarnated or whatever) than that he’s simply a bad father— rough and impatient with his young son, cruelly dismissive of his wife (Shelley Duvall), selfish in his writerly ambitions. (Stephen King is never kind to his fellow scribes.) A failure at the typewriter, his imagination turns inward, rotting inside its own topiary maze. If King’s book manifests more of that horror, Kubrick lingers upon its latency and origins. (The film runs through Tuesday; then on Wednesday, a dual projection will superimpose The Shining running in forward and reverse, in the same frame, just to blow your mind.) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $6-$11. Call for showtimes. BRIAN MILLER

sun/4/7 MUSIC

Dark and Seedy

That Nick Cave has employed a kids’ choir to record and support his latest Bad Seeds album, Push the Sky Away, has received a lot of attention. Apparently Cave, the elder statesman of post-punk, known for severe readings of the Old Testament and grotesque renderings of modern life, isn’t kid-friendly. But the kids sure are Cave-friendly, making his songs all the darker by simple contrast (via some lovely, subtle coos). The band is in fine, low-key form here—enough that multi-instrumentalist Warren Ellis often steals the emotion with his maudlin and moving violin and flute solos. Cave plays the dark balladeer, rolling out poetry that goes for the jugular and often gets it, but sometimes just hits bone. Cave’s clumsy expressionism has always been a problem. For every entrancing line like “The trees will stand like pleading hands,” there is an equally distracting

SEATTLE WEEKLY • APRI L 3 — 9, 2013

thurs/4/4

SUZI PRATT

A veteran comedy writer in Hollywood, Maria Semple had her first great success as a novelist

» CONTINUED ON PAGE 22 21

BEN KATCHOR

Katchor chronicles urban decline.

Weekly Wire » FROM PAGE 21

THE GUARDIAN ★★★★ THE SUNDAY TELEGRAPH ★★★★

cHIcAGo TRIbUNE ★★★★ THE SUNDAY TIMES ★★★★

THE ScoTSMAN ★★★★ EDINbURGH EVENING NEWS ★★★★

“I got a fetus on a leash” or “Hannah Montana does the African Savannah.” (That one was painful to type.) Without risk, though, there is no reward. This current Bad Seeds tour is rumored to be filled with carrots, many coming from the band’s back catalog. The ecstatic climax has been the title track from the band’s 1984 debut, From Her to Eternity. As the band plays tribal rhythms, Cave stalks the stage desperate and maniacal, darkly barking about drinking the tears and ravaging the diary of his upstairs neighbor before stopping to scream the chorus into the front row’s faces. All this as that chorus of children stands in the background watching silently. It’s perfectly wrong. The Para-

mount, 911 Pine St., 877-784-4849, stgpresents. org. $35.75–$75.75. MARK BAUMGARTEN

mon/4/8 SEATTLE WEEKLY • AP RI L 3 — 9, 2013

BASEBALL

BlacK watch

Cheap and Beatable

Seattle Premiere April 25 - May 5, 2013 The Paramount Theatre

by GreGory burke directed by John tiffany

Black Watch contains very strong language, loud explosions and strobe lighting. Recommended for ages 16+

Seattle Office of

Photograph by Manuel Harlan

GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

STGPRESENTS.ORG

BlackWatch_Weekly_Quarter_NO.indd 1

EST. 1928 9TH AVE & PINE ST 3/26/13 11:01 AM

The Houston Astros may be the most wayward team in all professional sports. Their entire roster pulls in $25 million a year, which is less than Alex Rodriguez and a few other choice players are due this year. They’ve lost more than 100 games in two straight years, an exceptionally rare feat in the annals of baseball loserdom. And this year they find themselves shuffled from the National League Central to the American League West, which in turn brings them to face our Seattle Mariners for opening day at Safeco Field. (Two more games are played Tuesday and Wednesday nights.) That’s great news for the M’s, who hope that a reconfigured, more hitter-friendly ballpark will reinvigorate their weary fanbase. Like a college football team that’s lined up a stinker of an opponent for homecoming weekend, the Mariners should shine as Seattle welcomes baseball back to SoDo. Safeco Field, 1250 First Ave. S., mariners. mlb.com. $15-$90. 7:10 p.m. DANIEL PERSON

tues/4/9 BOOKS

Luncheonettes and Gray Flannel

Cartoonist Ben Katchor has a thing about cities. Or rather, he has a thing about the city, New York, whose streetscapes he’s been drawing for decades, creating minidramas about intrepid real-estate photographer Julius Knipl, who seems to roam among the ghosts of Old Manhattan. Katchor’s large-format, full-color new collection, Hand-Drying in America (Pantheon, $29.95), is sadly Knipl-free, but he introduces a new gallery of urban observers and chroniclers of the mundane. Peering at the reading of other subway straphangers is one of life’s pleasures, says one such gent. An interior decorator avidly studies the wallpaper and newly exposed rooms of a tenement building whose façade has collapsed and slid away. A health inspector investigates a morbid old banquet hall, concluding “The air of gaiety has been pumped from this windowless chamber.” It’s a place where parties go to die. Also dying are the newspapers that originally published Katchor’s art; newfangled technology figures in his recent work. “When the newspaper closed, a dozen luncheonettes and bars followed,” muses one character in a strip called “SayUSaw.com” about a teenaged aggregator-in-chief whose website put The Daily Hubris out of business. His father, an unemployed ad-sales rep, is reduced to working for his layabout millionaire son, eventually wearing holes in the knees of his gray flannel trousers on account of kneeling to manage his son’s power strips and digital devices. His time is past, and Katchor’s work always has that melancholy tone. The city he loves is built atop old graves and the rubble of demolished buildings. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. Free. 7 p.m. BRIAN MILLER

arts»Opening Nights P“Master Harold” . . . and the Boys

WEST OF LENIN, 203 N. 36TH ST., 352-1777, WESTOFLENIN.COM. $12–$20. 8 P.M. THURS.–SAT., 2 P.M. SUN. ENDS APRIL 21.

Athol Fugard’s autobiographical drama about two middle-aged black men in 1950 South Africa and their relationship with the white child of their employer is a delicate powder keg that needs to go off. In its best airings, including this excellent revival, it does just that. Three decades after its 1982 premiere (which I happened to see and be seared by), it is capable of just as much impact, as though apartheid were still with us. AJ Epstein’s West of Lenin production, directed by M. Burke Walker (a founder of Empty Space Theater), detonates even more shatteringly than I recall the original doing, laying waste to the hopes of the audience. Sam (G. Valmont Thomas) and Willie (Kevin Warren) have worked for Harold’s mother in Port Elizabeth since Harold (or “Hally”) was a tot—lately in the family’s tea room. As graceful

tive than a hundred books on apartheid. Off goes Epstein’s galaxy of globe lights, on comes the jukebox’s pink glow—as dreamy as a future that can’t come soon enough. MARGARET FRIEDMAN

Come o n b ab e...

Smudge

W hy don ’ T W e pai n T T he ToW n ?

WASHINGTON ENSEMBLE THEATRE, 608 19TH AVE. E., 325-5105, WASHINGTONENSEMBLE.ORG. $15–$25. 7:30 P.M. THURS.–MON. ENDS APRIL 22.

m ay 9 - June 29 For Tickets, Call: (425) 392-2202 or Visit: www.VillageTheatre.org

Program includes Arrantza, Queen of the Goths, and Pass, Away.

JOHN ULLMAN

Remember the shock waves when Oprah blew the lid off the parenting myth, exposing the untold story of filth, tedium, pain, and misery associated with childbirth? To hear it from that angle, you had to wonder whether any woman in her right mind would ever have a child again—and those were ordinary births she was talking about! TV writer Rachel Axler (The Daily Show, Parks and Recreation) skips to an outlier case, attempting to put a darkly seriocomic spin on an abnormal birth—a couple delivered of a baby with one eye, no limbs, and questionable genitalia—to strangely little effect. The story unfolds (to the degree that there’s a semblance of progression) around the parents’ and relatives’ reactions to the child. Director Erin Kraft and cast make a sportsmanly effort on behalf of the flimsy, understructured 2010 text, but the tonally erratic parade of one- or two-beat scenes seldom elicits more feeling than a random episode of The Office. We first meet Smudge, aka “Cassandra,” “Cassie,” or “the Greek,” in an inutero photo, her parents squinting at it, perplexed by their kid’s amorphousness. This is one of the better moments—relatable by any parent-to-be overwhelmed by the unknowns to come. Dancing for better days ahead? Warren (left) and Thomas. When the baby arrives, Colby (Carol Thompson) rejects it emotionally, while Nick (Ash Hyman) Sam and clumsy Willie prepare to compete in tries to connect with it, a plausible dynamic. a ballroom-dance competition, late-adolescent But as he returns to work (at the U.S. Census Hally ( James Lindsay) badgers them with prebureau, cleverly nested into the picture window tentious banter between bouts of family crisis of Devin Petersen’s living-room set), leaving about his father coming home from the hosColby alone with the baby, weird poltergeistpital. Clearly the two “boys” have been his real like lights and sounds begin to suggest that the father figures, particularly Sam. But now that child (never seen outside its I.V.-bag-decorated Hally’s on the verge of adulthood himself, his bassinet) is demonic or the mom is crazy. As own repressed shame, anger, and self-loathing Colby, the likable Thompson binges, mocks the transform into vicious racism before our eyes on Catherine Cornell’s period diner set, sandwiched child, and makes flailing attempts to regain a sex life in her shapeless role. between two stands of audience seating. (Sit on Meanwhile, Census colleague Pete (Noah the near side if you can; at key junctures, only Benezra) doubles as the standard cliché of half the audience can see the cast, creating a obnoxious brother (to Nick), though he delivers visceral sense of separate-but-not-equal.) his tyrannical, sitcommy rants so quickly and Lindsay is perfect as baby-like Hally; his monotonously that it’s hard to follow them. small eyes seem needy and peevish even as his Most irritatingly, every time one of Axler’s lanky body affects the languor of privilege. As scenes stumbles upon a moment that could Thomas’ Sam subtly wrests control of the story, become interesting or consequential, it cuts to his earlier jovial subjugation hardens into a black, as though going to a commercial. She weapon; his resonant moral authority assumes won’t deal with the real work of storytelling a dangerous edge. Meanwhile, Warren’s simpler beyond snappy setups. The edgy subject matter Willie looks on in terror. By this point, several is not what’s offensive about Smudge, but rather audience members were sobbing. The final its refusal to let anything authentically human recovery of equilibrium comes at a high cost take root in it. MARGARET FRIEDMAN E to everybody, like the necessary cleanup after a bombing, and it feels more emotionally informastage@seattleweekly.com

April 11-13 at 8pm

Chamber music luminaries perform Mozart, Auerbach and Ravel on farewell tour Pianist to perform Chopin, Ravel, March Schubert, and Stravinsky

November 1, 7:30pm

April 17 at 7:30pm

Inquire about Free Youth Tickets (ages 5-17 only) available for Tokyo String Quartet.

206-543-4880 | uwworldseries.org

SEATTLE WEEKLY • APRI L 3 — 9, 2013

Tokyo String Quartet

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

Stage ROCKIN’ PIANO SHOW

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OPENINGS & EVENTS

AUGUST: OSAGE COUNTY Balagan stages Tracy Letts’

acclaimed play about a severely dysfunctional Oklahoma family. Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050, balagantheatre.org. $20–$25. Opens April 5. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 27. BEOWULF In this tour de force, Benjamin Bagby recites the epic poem in Old English, self-accompanying on medieval harp. Town Hall, 1119 Eighth Ave., 325-7066, earlymusic guild.org. $15–$40. 8 p.m. Sat., April 6. THE MUTANT DIARIES: UNZIPPING MY GENES Eva Moon’s music/comedy solo show about her survival of breast cancer. Egan’s Ballard Jam House, 1707 N.W. Market St., 800-838-3006, mutantdiaries.com. $20–$25. 9 p.m. Sat., April 6. SPIN THE BOTTLE Annex Theatre’s late-night variety show. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre. org. $5–$10. 11 p.m. Fri., April 5. THE TRAVELING LADY A reading of Horton Foote’s quiet drama. Stage One Theater, 9600 College Way N., endangeredspeciesproject.org. Donation. 7 p.m. Mon., April 8. THE TRIAL Kenneth Albers’ stage adaptation of Kafka’s nightmarish novel about powerlessness. Inscape, 815 Seattle Blvd. S., wearenctc.org. $15–$30. Preview April 4, opens April 5. 8 p.m. Thurs.–Sat., 7 p.m. Sun., plus 7 p.m. Mon., April 15. Ends April 28. UNTITLED FEMINIST SHOW Playwright Young Jean Lee explores gender identity and feminism in this “wordless comedy.” On the Boards, 100 W. Roy St., 217-9886, onthe boards.org. $12–$25. 8 p.m. Thurs., April 4–Sun., April 7.

CURRENT RUNS

ACROSS A LITTLE RED MARKER Jim Moran’s tangled

mystery. Odd Duck Studio, 1214 10th Ave., eclectictheater company.org. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 7. CEDAR & THE REDWOODS Copious Love Productions’ original play is set during a road trip through Northern California. Washington Hall, 153 14th Ave., 800-838-3006. $12–$15. Runs 7 p.m. (most) Thurs.–Sat.; see copiouslove. org for exact schedule. Ends April 6. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

EarSupply

» by Gavin borchert

By William Shakespeare Directed by Jon Kretzu

March 13–April 7 Center Theatre at Seattle Center

Final Two Weeks! Must Close April 7 Ticktets: 206-733-8222 www.seattleshakespeare.org

teens have to bring themselves up in A. Rey Pamatmat’s play. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N.,524-1300, seattlepublictheater.org. $20–$30. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 21. THE GINGERBREAD HOUSE In Mark Schultz’ dark comedy, two parents seeking some alone time sell their kids. Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends April 20. GREY GARDENS Based on the eponymous 1975 documentary about Jackie O’s relatives who lived in a decrepit Long Island mansion of the same name. Doug Wright’s book for this 2006 musical does what the Maysles brothers could not: We get to see firsthand the lofty roost from which the Beale/Bouviers fell to earth. In the first act, Wright transports viewers from the squalid cat preserve inhabited by “Little Edie” (Jessica Skerritt) and her mother “Big Edie” Beale (Patti Cohenour) back to the moment of no return, circa 1941. In Act 2, Little Edie returns (now played by Cohenour, with Suzy Hunt now playing her mother). The music—score by Scott Frankel, lyrics by Michael Korie—is full of haunting contrasts between the frivolous then and the fallen now. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, $55–$77. Runs Tues.– Sun.; see acttheatre.org for exact schedule. Ends June 2. THE HEN NIGHT EPIPHANY Arouet presents Jimmy Murphy’s play set at an Irish bachelorette party at which secrets surface. Stone Soup Downstage, 4029 Stone Way, 425-298-3852, arouet.us. $14. 7:30 p.m. Thurs.–Sat. Ends April 6. JERSEY BOYS SEE THE WIRE, PAGE 21. LOVE’S LABOUR’S LOST Shakespeare’s fratty early comedy about the King of Navarre and his buddies swearing off women to concentrate on study, only to be met in the forest by the Princess of France and her comely retinue. Director Jon Kretzu sets this well-cast, thinly plotted romp in the fabulous ’30s of tailcoats and slinky evening gowns. The abstract wordiness and slow build of Act 1 triggered a stampede to the coffee table at intermission, but Act 2 picks up speed, zaniness, and even a quorum of heart that had been absent earlier. MARGARET FRIEDMAN Center House Theatre, Seattle Center, 733-8222. $22–$45. Runs 7:30 p.m. Wed.–Sat. plus weekend matinees; see seattle shakespeare.org for exact schedule. Ends April 7. MASTER HAROLD . . . AND THE BOYS SEE REVIEW, PAGE 23. MOISTURE FESTIVAL In its 10th year, this annual variety circus offers something for everyone. At night, consenting adults can enjoy burlesque performances by familiar local acts. GWENDOLYN ELLIOTT Hale’s Palladium, Broadway Performance Hall, and SIFF Cinema Uptown; see moisturefestival.org for full schedule, venue, and performer info. $10–$22. Ends April 14.

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too, like how to celebrate the composer’s bicentennial without the expense of a staged production.) Scenes from La traviata, Rigoletto, and Don Carlo tent-pole the program, with excerpts from Nabucco and La forza del destino. Brian Garman conducts the six fledgling singers and a full orchestra and chorus. Meany Hall, UW

The operas of Verdi form a cornerstone of just about every singer’s career, but many of his best-known roles are strenuous for still-developing voices. It’s a Catch22: How can you possibly sing Violetta, Amneris, or Manrico until your voice can handle the strain, but how can you build the stamina to tackle Seattle Opera’s those roles other than by young artists. singing them? Seattle Opera’s Young Artists Program has found a campus, 389-7676, seattleopera.org. $15–$100. neat solution: a Verdi sampler, an evening of 7:30 p.m. Sat., April 6. scenes and arias. (This solves other problems,

NEXT FALL Adam and Luke fall in love in Geoffrey Nauffts’

2010 play, but there’s one problem: Adam’s an atheist, Luke a believer. ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. $10–$34.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends April 6. THE PRETTY WONDERFUL CLUB An improvised John Hughes-style ’80s movie. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends April 27. SMUDGE SEE REVIEW, PAGE 23. TRAILS In this new musical, Seth (Joshua Carter) and Mike (Dane Stokinger) are childhood friends now grown and walking the Appalachian Trail in order to put their gradually revealed past behind them. (Kirsten deLohr Helland is the strong-willed Amy, the focal point of that past.) Yet thanks to Christy Hall’s book and Eric Ankrim’s direction, all those flashbacks are masterfully paced and dramatically effective. All I found problematic about the show was Jeff Thomson’s score, which brings in only hints of the roots music you’d expect—most strongly in songs performed by longtime Seattle theater MVPs John Patrick Lowrie and Bobbi Kotula. I left wondering why a show so rooted in a specific, real place did so little to evoke it. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $22–$63. Runs Wed.–Sun., see villagetheatre.org for exact schedule. Ends April 21. (Then moves to Everett Performing Arts Center, April 26–May 19. THE WHIPPING MAN Matthew Lopez’s drama follows a Jewish Confederate soldier home from battle, where he celebrates Passover with two slaves. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends April 27. See seattleweekly.com for many more Current Runs.

• •

Dance

KALEIDOSCOPE DANCE COMPANY This troupe’s

spring omnibus. Shoreline Community College, 16101 Greenwood Ave. N., creativedance.org, shorelinearts.net. $8. 11 a.m. Sat., April 6.

Classical, Etc.

THEATER In Poulenc’s surrealist • VESPERTINELesOPERA Mamelles de Tiresias, a husband and

comic opera wife switch genders. Columbia City Theater, 4918 Rainier Ave. S., 800-838-3006, vespertineopera.com. $20–$25. 8 p.m. Thurs., April 4. BREATH OF AIRE Choral music to benefit St. Stephen’s “Terrific Tuesday Meals” program. St. Stephen the Martyr Catholic Church, 13055 S.E. 192nd St., Renton, breath ofaire.org. Freewill offering. 7 p.m. Fri., April 5. PACIFIC MUSIC WORKS From Handel, “Apollo e Dafne” and a recently discovered “Gloria.” Benaroya Recital Hall, Third Ave. and Union St., 215-4747, pacific musicworks.org. $20–$40. 8 p.m. Fri., April 5–Sat., April 6. BYRD ENSEMBLE Madrigals by Morley, Purcell, and others. Trinity Episcopal Church, 609 Eighth Ave., 397-3627, byrdensemble.com. $10–$20. 7:30 p.m. Sat., April 6. SEATTLE MEN’S CHORUS The special guest is Leslie Jordan, America’s favorite 4’11” super-campy actor. McCaw Hall, Seattle Center, 388-1400, seattlemenschorus. org. $48–$68. 8 p.m. Sat., April 6, 2 p.m. Sun., April 7. VIVA VERDI! SEE EAR SUPPLY, BELOW. SEATTLE FLUTE SOCIETY FLUTE FESTIVAL Jim Walker is the special guest for a day of performances, workshops, and vendor displays. Town Hall, 1119 Eighth Ave., seattleflutesociety.org. $5–$25. 11 a.m. Sun., April 7. THE ESOTERICS “Sirene” opens this choir’s 20th season with music inspired by Carnival, Bill Moyers, and the Iraq War. St. Columba Episcopal Church, 26715 Military Rd. S., Kent, theesoterics.org. $10–$20. 3 p.m. Sun., April 7. PACIFIC RIMS This percussion quartet plays Danish music and more (Feldman, Saariaho) as part of the Mostly Nordic Chamber Series. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $20–$25 ($45–$50 incl. smorgasbord). 4 p.m. Sun., April 7. JESSIKA KENNEY AND FRIENDS From this versatile vocalist, Javanese, Persian, and contemporary music. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. 7 p.m. Sun., April 7. TALEA ENSEMBLE This NYC new-music group plays works by Joel-Francois Durand and other UW faculty and students (Meany Studio Theater, UW campus, 7:30 p.m. Mon., April 8) and with cellist Joshua Roman (Town Hall, 1119 Eighth Ave., 7:30 p.m. Wed., April 10). 543-4880, music.washington.edu. $10–$25. SEATTLE COLLABORATIVE ORCHESTRA Music by Barber, Ravel, and Seattle composer Angelique Poteat. Roosevelt High School Auditorium, 1410 N.E. 66th St., 5278336. $15 donation. 7 p.m. Tues., April 9. DANIIL TRIFONOV This pianist/composer plays his own music plus Chopin and Rachmaninoff. Meany Hall, UW campus, 543-4880, uwworldseries.org. $35–$39. 7:30 p.m. Tues., April 9.

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• • • • •

ALAN ALABASTRO

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

Strength in Numbers

EDITH CAN SHOOT THINGS AND HIT THEM Two Filipino

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arts»Visual Arts B Y G W E N D O LY N E L L I O T T

Openings & Events RENEE ADAMS AND JUSTIN GIBBENS Based in

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

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ents Indigo, their collection of lighted sculptures inspired by the culture of the hill tribes in Northwest Vietnam. Note First Thursday opening reception 5-8 p.m. April 4. ArtXchange, 512 First Ave. S., 839-0377, artxchange.org, Tues.-Sat., 11 a.m.-5:30 p.m. Through April 27. MATTHEW HILGER The photographic images in Buffalo, buffalo explore the surface and covert nature of things. Also showing in the e4c storefront window: Thom Heileson’s Yr (For seasons), a video assembled from a year’s worth of photographs outside the artist’s previous home in Washington, DC. Note 6-8 p.m. First Thursday opening. Gallery4Culture, 101 Prefontaine Place S., 296-7580, 4culture.org, Opens April 4, Mon.Fri., 9 a.m.-5 p.m. Through April 26. KENT LOVELACE Occitania are his oil works on copper, inspired by the landscapes and age-old techniques of the eponymous region in Southern France. Note 6-8 p.m. First Thursday reception. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Opens April 4, Mon.-Sat., 10:30 a.m.-5:30 p.m.; Sun., 11 a.m.-5 p.m. Through April 29. CASEY MCGLYNN In Hang Loose, he explores the familiar hand sign he and his father, now passed, shared, a signal that reminds him to “let go of preconceptions, old paradigms and the things that stiffen me up.” Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com, Opens April 4, Tues.-Sat., 10 a.m.-6 p.m. Through April 30. MOHAI FREE FIRST THURS. The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65-foot-tall sculpture Wawona (salvaged from the schooner of the same name). Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m. ONE IN A MILLION With One Million Bones and Students Rebuild, a collaborative project of the Bezos Family Foundation, this community arts initiative invites participants to create a “bone” in a bone-making workshop, in recognition of humanitarian crises. Note 5:30-8 p.m. First Thursday opening reception. Olson Kundig Architects, 159 S. Jackson St., 624-5670, olsonkundigarchitects.com, Opens April 4, Mon.-Fri., 8 a.m.-5 p.m. Through April 28.

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OUT OF THE SILENCE, AN EXHIBIT TO END LGBTQ BULLYING This calligraphic art exhibit that “cel-

ebrates diversity, love, and understanding” features the donated work of 39 calligraphers from across the U.S. and Canada that address the issues. Note 5-7:30 p.m. opening reception Tues., April 9. Through May 31. William H. Gates Hall, UW School of Law, UW campus, 543-4551, law.washington.edu, Opens April 9, Mon.-Fri., 9 a.m.-5 p.m. Through May 31. KAREN RIEGER In Flourish, she uses color as a sign of sensuality, influenced by the works of Klimt, Matisse and Modigliani; the paintings in Jim Matthew’s concurrent show, Between the Lines, express a need to connect with the “random ebb and flow of the world around us.” Note opening reception 5-7 p.m. Sat., April 6. Fountainhead Gallery, 625 W. McGraw St., 285-4467, fountainheadgallery.com, Opens April 4, Thurs., Fri., 11 a.m.-6 p.m.; Sat., Sun., 12-5 p.m. Through April 28. STEPHEN ROCK He shows pieces from two bodies of work: acrylic paintings inspired by a trip to Paris, and digital collages based on deconstructed newspaper components. First Thursday reception, 5:30-7:30 p.m. Jeffrey Moose Gallery, 1333 Fifth Ave., 467-6951, jeffreymoosegallery.com, Mon.-Fri., 10 a.m.-6 p.m.; Sat., 12:30-5 p.m. Through June 15.

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SPINNING YARNS: PHOTOGRAPHIC STORYTELLERS Yarns collects the work of 23 pho-

tographic storytellers. Note exhibiting artist Grace Weston’s artist lecture, The Lie That Tells the Truth, 6:30 p.m., and artists’ reception 6-8 p.m. Thurs., April 11. Photo Center NW, 900 12th Ave., 720-7222, pcnw. org, Lecture Tickets $8-$10, Opens April 4, Mon.-Thurs., 11 a.m.-10 p.m.; Fri.-Sun., 12-8 p.m. Through May 28. HENRY OPEN HOUSE Explore the museum’s current exhibits with drinks, food, live music, and more. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, $10-$15, Fri., April 5, 5-10 p.m. DIRK STASCHKE In Sated, Staschke shows his surrealist ceramic sculptures. Also on view: Tony Scherman’s portraits of solemn, brooding subjects and still lifes of flowers and foliage. Opening reception 5:30-7:30 p.m., Tues. April 9. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com, Opens April 9, Mon.-Sat., 10 a.m.-5 p.m. Through May 17. WALLINGFORD ART WALK Participating venues include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org First Wednesday of every month, 6-9 p.m.

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APRIL 6 & 7, 2013 McCaw Hall SeattleMensChorus.org | 206.388.1400

SEATTLE WEEKLY • APRI L 3 — 9, 2013

Thorp, the two artists consider Darwin, evolution, and the natural world in their combined show Are we not drawn onward to new erA (note the palindrome). Their paintings were also inspired by a recent trip to the Galápagos Islands. First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org, Opens April 4, Thurs.-Sat., 12-5 p.m. Through April 27. APRIL SHOW In the Sub-T Room: Photography from Mike Monaghan and Easton Richmond; upstairs, featured artists in a range of media. Note 6-10 p.m. opening reception Sat., April 6. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org, Mon.Sat., 11 a.m.-6 p.m.; Sun., 12-6 p.m. Through April 28. ART WITH HEART Hosted by Philanthro Seattle, this silent auction features live music and painting and the work of up and coming local artists for purchase. The proceeds will go to projects that nurture the creativity of traumatized children. Vermillion, 1508 11th Ave., 7099797, vermillionseattle.com, $5, Sun., April 7, 6-9 p.m. BAM’S FREE FIRST FRIDAY Strapped for cash? BAM offers free admission every first Friday of the month. Here’s your chance to check out the museum’s current shows, Love Me Tender and Maneki Neko: Japan’s Beckoning Cats–From Talisman to Pop Icon. Bellevue Arts Museum, 510 Bellevue Way N.E., 425519-0770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m. BOLINGER & BURGERT Respectively, New Work features the artist’s colorful, geometric patterns, and Monochrome examines structure, grids, and singular color. Anna McKee’s Ice Structures monoprints on view on the Upstairs Gallery. Note opening reception 2-4 p.m. Sun., April 7. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com, Opens April 7, Sun., 1-5 p.m.; Tues.-Sat., 11 a.m.-5 p.m. Through May 5. ALISON BRAUN This photographic show features images of the Los Angeles punk rock scene from 19811990. Note 5-9 p.m. First Thursday opening. Weekday hours by appointment. Design Commission Gallery, 121 Prefontaine Place S., 223-7709, designcommission.com, Thu., April 4, 5-9 p.m. DAVID BYRD In Introduction: A Life of Observation, the 86-year-old New York--who has never before shown his work in a gallery--presents selections of his life’s work. He paints landscapes and scenes from everyday life; more introspective subjects include solitary craftspeople, hospital patients loitering in corridors, and a man leaps to his death in Suicide. First Thursday opening reception, 6-8 p.m. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com, Opens April 4, Tues.-Sat., 10:30 a.m.-5:30 p.m. Through May 18. SHAUN DOLL & BILL WHIPPLE Library and Relatively Recent Work show the two artists’ mixed-media, totemic sculpture. Note 5-8 p.m. First Thursday opening. Room 104, 306 S. Washington St. (Tashiro Kaplan Building), 953-8104, room104gallery.com, Opens April 4, Weds.-Sat., 10:30 a.m.-5 p.m. Through May 11. RON EHRLICH Bold, mythic horses, thick paint, and glazed finishes dominate his Drunken Horses series. First Thursday reception, 5-8 p.m. Abmeyer + Wood Fine Art, 1210 2nd Ave., 628-9501, Tues.-Sat., 11 a.m.5:30 p.m.; Sun., 12-5 p.m. Through April 25. FREMONT ART WALK Venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. (See fremontfirstfriday. com for participating artists.). First Friday of every month, 6-9 p.m. GROUP SHOW Luciana Almeida, Cynthia Linet, Alex Ramsey, and Linda Wilcox show pieces in ink and watercolor, oil on canvas, cinematic photography, and mixed media. Note 6-8 p.m. First Saturday reception. Local Color, 1606 Pike Place, 285-2014, localcolorseattle.com, Opens April 6, Sat., 8 a.m.-7 p.m.; Mon.-Thurs., Sun., 8 a.m.-6 p.m. Through April 30. JULIA HAACK New Work is her collection of geometric sculpture, paper works, and wall constructions painted on salvaged wood. Note 6-8 p.m. First Thursday opening. Zeitgeist Art and Coffee, 171 S. Jackson St., 5830497, zeitgeistcoffee.com, Opens April 4, Mon.-Fri., 6 a.m.-7 p.m.; Sat., 7 a.m.-7 p.m.; First Sunday of every month, 8 a.m.-6 p.m. Through May 2.

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film»This Week’s Attractions Leviathan RUNS FRI. APRIL 5–THURS. APRIL 11 AT NORTHWEST FILM FORUM. NOT RATED. 87 MINUTES.

Luke (Gosling) tries to do the right thing.

Pines is the second film by Derek Cianfrance to star the Gos (after Blue Valentine), but it turns out to be a much larger and longer ensemble piece, one that eventually skips 15 years forward from its initial story. One of Luke’s stickups is interrupted by an idealistic, ambitious young cop with a law degree. Avery (Bradley Cooper) has his eye on politics, and self-described “psycho” Luke turns out to be a useful stepping stone to that career. Fifteen years later, however, Avery will have to reconsider the debt he owes Luke’s family. Shot in upstate New York, Pines aims to be a small-town generational saga, in which the sins of fathers are settled by their sons. Cianfrance shows admirable seriousness about his characters, but only the early crime scenes have any spark to them. Mentored by a sleepy car mechanic (Australian actor Ben Mendelsohn, of Animal Kingdom), Luke loves the rush of terrifying

ATSUSHI NISHIJIMA/FOCUS FEATURES

Directed by Lucien Castaing-Taylor and Véréna Paravel, Leviathan presents itself as a radical rethink of documentary form. There’s no narrator, no context, no thesis or conventional A-B-C scene logic. Nor is there any explanation—until you read the lengthy end credits—as to what fishing vessel we’re watching, or who are its crew. Leviathan is seemingly not “about” anything besides the messy, noisy process of commercial fishing. The camera pivots wildly to and fro, forcing us into its POV; many scenes are shot at night, adding to the murk; and the ship’s grunting crewmen barely utter an intelligible word. Unlike on the reality TV show Deadliest Catch, these guys aren’t given personalities or backstories. They’re just cogs in the manual-industrial business of putting seafood on our plates. You could argue, of course, that documentary director Frederick Wiseman has been here before; only in a film like his 2009 Le Danse, there’s the appeal of watching graceful performers rehearse at the Paris Opera Ballet. What Castaing-Taylor and Paravel give us instead are fish heads and guts sloshing across the deck, the endless whining of the winches, nets dumping their haul, churning diesel engines, boredom in the break room, and a squadron of seabirds trailing the trawler, their wings lit white against the night by its lights. The camera even lunges overboard, where bloody entrails plummet down like red rain. Leviathan is certainly not after beauty, which may be its entire point. Instead of seeking soaring tuna or glistening salmon, these Massachusetts fishermen drag their nets for ugly bottom fish, also pulling up crabs, rays, and bulging-eyed beasts that would never be served in any fine restaurant. This is the kind of catch that gets chopped up into bits, then reassembled into something that looks like seafood. Or maybe it ends up as cat food, who knows? Leviathan is a chore to sit through, but it gives you room to think about what you’re seeing. Beyond its stunt opacity, it is just another food doc—like Sushi: The Global Catch, Food, Inc., Food Fight, or Our Daily Bread—only without the talking heads and agenda. This makes it both familiar and completely ineffective. There’s a lack of substance hiding behind a lack of form. BRIAN MILLER

PReality OPENS FRI. APRIL 5 AT MERIDIAN. RATED R. 115 MINUTES.

Judging from Italian movies about Italian television, that nation’s TV shows consist of nothing but T&A and shameful exhibitionism. Everything that Italian intellectuals loathe about broadcasting can be summed up in two words: Silvio Berlusconi. In Reality, Neapolitan fishmonger Luciano (Aniello Arena) becomes obsessed with the TV show Big Brother. The process is gradual, like a virus infecting its host. Luciano has nice kids and a loving wife (Loredana Simioli); his working-class family lives in a crumbling old apartment complex surrounded by various colorful cousins. Really, he has nothing to complain about. Life is good . . . until that virus infects his brain. Director Matteo Garrone broke into world

PRoom 237 OPENS FRI. APRIL 5 AT SIFF CINEMA UPTOWN. NOT RATED. 104 MINUTES.

OPENS FRI. APRIL 5 AT HARVARD EXIT. RATED R. 141 MINUTES.

bank tellers and blasting his bike through traffic, the cops on his tail. It’s better than any circus act—for us, too. The domestic scenes don’t play nearly as well, and the movie’s second two acts are essentially soap opera: bad marriages, dirty cops (Ray Liotta plays Ray Liotta), neglected wives, guilty politicians, errant teens, and teary confrontations. Cianfrance’s seriousness becomes smothering and his plotting claustrophobic, like the motorcycles racing inside the cage, never going anywhere. BRIAN MILLER

cinema with his 2008 adaptation of the truecrime tale Gomorrah, also set around Naples. That film was a transfixing fresco of heady images and primal violence. Sleek mob killers operated by medieval codes of vengeance and loyalty. It was both ancient and modern. Reality is also thus divided. Luciano plies an honorable, traditional trade, but he and his wife are also dabbling in a computer-age scam, taking kickbacks on what they call “robots,” an unreliable all-in-one kitchen appliance. Their apartment is from the

CINEMA GUILD

Leviathan: The birds! Not the birds!

Sometimes a cigar is just a cigar. So goes the quote so often attributed to Freud, but it’s hard to make that case for coincidence and happenstance in the films of Stanley Kubrick. You can’t completely remove chance from cinema, with all its actors and technicians and moving parts, but the detail-oriented, notorious micromanager Kubrick came close. What appears to be a continuity error may in fact be a carefully placed clue for the observant viewer. That argument is made in Rodney Ascher’s documentary, which explores five uniquely different and obsessively catalogued perspectives on Kubrick’s 1980 The Shining. (See the Wire, page 21.) It’s about the genocide of the American Indian, argues Bill Blakemore, pointing to the prominence of Native American art (and Calumet baking powder) in certain frames. Geoffrey Cocks sees it as a metaphor for the Holocaust. According to Jay Weidner, it’s Kubrick’s surreptitious confession about faking the moon landing. (2001 was supposedly his “research and development project for the Apollo footage.”) That last theory is easily dismissed, but that’s part of Ascher’s design. He doesn’t make fun of his Shinologists, who lay out their theses in voice-over (no talking heads here), or the five detailed, obsessively catalogued exegeses under consideration. Each obsessive interpreter is granted their own area of expertise in the Kubrickian details. Ascher mostly plays it straight, illustrating the commentary with film clips and using slow motion, step frames, split screens, and visual

SEATTLE WEEKLY • APRI L 3 — 9, 2013

The Place Beyond the Pines Hey, girl. Your imaginary boyfriend, Ryan Gosling, got all muscled and tattooed for his new movie. He’s shirtless in the very first scene, an ultra-long take that leads from the dressing room at a two-bit traveling circus to a round cage full of snarling motorcycles. There he does 360-degree orbits with his crew. His character, Luke, is a bad boy—just the way you like them. But then Luke discovers that a former onenight stand (Eva Mendes) has a toddler-aged son. Suddenly he turns paternal. He quits the circus, tells Romina he wants to settle down to take care of her and the kid. Luke is now both the bad boy and the tender father—the perfect guy, except that he has no job skills but motorcycle-riding and, taught by a new mentor, bank-robbing.

19th century but inside they’re enthralled by the lurid modern hook-ups of Grande Fratello on TV. Luciano’s kids beg him to audition for the show; he does, then delusion sets in. If he gets on reality TV, he reasons, “We’re set for life. All our problems are solved!” Are the talent scouts secretly monitoring him? Luciano is a natural performer, introduced doing a drag act at a lavish fantasia wedding in a rental palace. Before, he could go home and wash off the makeup. But now he succumbs to the agony of constant media self-consciousness, trapped in performance mode. He makes extravagant gestures, gives the family’s furniture away to the poor. Patrons at his fish stall or random passersby prompt paranoid speculation. Are they actually TV executives? Acting becomes his permanent new reality. In one of the film’s most comic and bizarre moments, Luciano engages in a staring contest with a cricket, as if it’s a hidden camera watching him. Watching him. Watching him with those tiny antennae. Reality may be a bit too weird and uneven for American tastes. It’s rich with native textures that defy translation. (Could we explain Honey Boo Boo to Italians?) The TV love/ hate dynamic is far stronger in Italy, where the Internet is weak. But the remarkable Arena—a convicted killer allowed to leave prison to act in this movie—gives humanity to Luciano’s improbable quest toward a garish, televised Oz. His triumph is to become intimate with all that Reality despises, and somehow we share in his victory. BRIAN MILLER

» CONTINUED ON PAGE 28 27

This Week’s Attractions » FROM PAGE 27

NOW PLAYING: Fri AprUptown 5–Thu Apr 11 At the One week only! LORE Final week QUARTET SEARCHING FOR SUGAR MAN GINGER & ROSA At the Film Center

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effects to render the evidence under consideration. He’s particularly taken with Juli Kearns’ reading of the film’s mazes and “impossible” architecture, laid out in gorgeous maps that he matches to Kubrick’s mesmerizing tracking shots. But then he adds his own commentary using clips from other Kubrick films—a generous collection that suggests at least tacit approval from the Kubrick estate— for counterpoint or comic effect. Ultimately, The Shining can’t be reduced to any one theory, no matter the critical observations and obsessive replaying and deconstruction of key clips and images. It’s a magnificent and complex film layered in doubles and symbols and references. Ascher respects these five obsessive fans/scholars because The Shining allows them to find meanings within Kubrick’s labyrinth. Whether Kubrick intended those interpretations seems beside the point to such passionate readings. SEAN AXMAKER JOSEPH CULTICE/IFC MIDNIGHT

206.324.9996 siff.net

Wrong RUNS FRI., APRIL 5–THURS., APRIL 18 AT GRAND ILLUSION. NOT RATED. 94 MINUTES.

Quentin Dupieux, a prominent French electronic musician who goes by the stage name Mr. Oizo, made his mark as a filmmaker in 2010 with Rubber, a comedy about a car tire that murders people using telekinesis. Dupieux’s second film takes a similarly absurdist bent. Jack Plotnick, best known for Buffy the Vampire Slayer and Reno 911!, plays a suburbanite named Dolph Springer who awakens one morning to a series of strange happenings. His alarm clock clicks from 7:59 to 7:60 instead of 8:00; his neighbor is acting fishy and getting ready to skip town; and a traffic cop is unnecessarily rude to him. Most troublingly, his boon companion, a dog named Paul, has disappeared without a trace. Dupieux describes Wrong as “an homage to this special love between people and dogs,” and while there are traces of that sentiment—Dolph drives around the neighborhood holding a squeaky toy out the window, hoping to attract

Director Ascher treats all his Shinologists equally.

Paul—it’s not an accurate description of the film at all. A dog doesn’t even appear onscreen until the last few minutes. The bulk of the movie follows Dolph’s puzzling, beleaguered life; he’s like some sort of suffering Job, who keeps running into people even weirder than he is. His gardener is trying to figure out how a palm tree in the backyard turned into a pine. A very forward pizza-parlor employee named Emma has an insistent crush on him. He hires a pet detective (Eastbound & Down’s Steve Little), who shows up with a Polaroid camera and starts tasting Paul’s dog food. And then arrives a mysterious man, with a half-burnt face and a long pigtail, named Master Chang (a very un-Asian William Fichtner), who drops maddeningly incomplete hints as to Paul’s whereabouts. Surreal tableaux are interspersed throughout Dolph’s meandering story. A crew of firemen ignore a van smoldering on fire; one is texting, another pulls down his pants, squats on the street, and opens a newspaper. At Dolph’s old office, the fire sprinklers are always raining, but the dripping-wet employees keep typing, drinking coffee, and answering phones. These scenes are memorable, but contribute nothing to the narrative. Wrong’s one right is Plotnick’s performance. His Dolph is convincingly dazed and bewildered, just as confused by the nonsensical plot as filmgoers will be. ERIN K. THOMPSON E

film@seattleweekly.com

“Groundhog Day remade by Buñuel.”

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

Indiewire

selena vanessa asHleYY RaCHel el JaMes GOMeZ eZ HUDGens ens BensOn On KORIne ne FRanCO

SHOWTIMES April 5 - 11

THE BIG LEBOWSKI Fri - Tues 7:00pm & 9:30pm GRID Presents

Silent Film set to LIVE music! Wed @ 7:00pm

a FIlM BY HaRMOnY KORIne

NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

THE ROOM In HeckleVision Thurs @ 8:00pm

SEATTLE WEEKLY • APRI L 3 — 9, 2013

film»

filtering the best of

THE NORTHWEST! BY BRIAN MILLER

Local & Repertory

is on instagram.com

• THE BIG LEBOWSKI The Coen brothers’ 1998 stoner-

FULLY G.” AININ RK TIMES EMaNnoThlaEDRargTis, THE NEW YO NCE.” – PINEMRENITEWEEKLY X E G N I Z A “AN AGleMibeArman, E NTE RT – O we n RY.” A N I D R O “EXTROA‘Hehir, SALON Andrew “WONDER

–

H E SH y into t‘Ts ir u q in n in 9 par Being a

INING’

THIS FILM IS NOT APPROVED OR ENDORSED BY, NOR IS IT IN ANY WAY ASSOCIATED WITH, THE KUBRICK FAMILY, WARNER BROS., OR THE SHINING FILMMAKERS, NOR DO THE VIEWS AND OPINIONS EXPRESSED IN IT REFLECT THE VIEWS OF STANLEY KUBRICK OR THE SHINING FILMMAKERS.

EXCLUSIVE ENGAGEMENT STARTS FRIDAY APRIL 5TH SIFF CINEMA AT THE UPTOWN 511 QUEEN ANNE AVENUE NORTH (206) 324-9996 SEATTLE R O O M 2 37 M OV I E . C O M

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

SEATTLE WEEKLY 1x4 NEWS STAND DATE WED 4/3

noir is Raymond Chandler filtered through dirty bong water, where almost every line of dialogue is a hazy, hilarious non sequitur. My favorite is when accidental P.I. Jeff Bridges (forever the Dude) is ambushed in his tub by nihilists bearing a ferret. “Hey, nice marmot,” he greets them, with his usual unflustered amiability. Nothing rattles Bridges’ Dude, not a lost rug, not a leering Tara Reid, not a lisping John Turturro, and not even shrieking performance artist Julianne Moore, who joins Bridges in a Busby Berkeley-style bowling fantasy that sums up the movie’s sweet, silly spirit. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 6866684, central-cinema.com, $6-$8, April 5-8, 7 & 9:30 p.m.; Wed., April 10, 9:30 p.m. DON’T TELL MOM THE BABYSITTER’S DEAD This is a pajama party screening, intended for female fans of Christina Applegate, here playing a teenager suddenly promoted to head of household. (PG-13) Central Cinema, $6-$8, Thu., April 4, 8 p.m. HANCOCK, SHORTER, HOLLAND, BLADE Jazz cats Herbie Hancock, Wayne Shorter, Dave Holland, and Brian Blade are captured in a 2004 concert in Germany. (NR) Northwest Film Forum, 1515 12th Ave., 8297863, nwfilmforum.org, $6-$10, Thu., April 4, 8 p.m. TRUFFAUT: • JEAN-LUC GODARD AND FRANÇOIS SEE THE WIRE, FRENCH NEW WAVE MASTERS

PAGE 21.

JOSHUA TREE, 1951 A PORTRAIT OF JAMES DEAN: Director Matthew Mishory will introduce

Friday and Saturday’s screenings of his celebrity fantasia (seen at SIFF last year), which takes considerable homoerotic liberties with the late screen icon

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

•

(portrayed by James Preston). As a sidebar to the film, Rebel Without a Cause (Fri.-Sun.) and East of Eden (Sat.) will also be screened. See siff.net for schedule. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, $6-$11, Fri., April 5, 7 p.m.; Sat., April 6, 5 & 7 p.m.; Sun., April 7, 3, 5 & 7 p.m.

MADE IN SEATTLE: HOMEGROWN DOCUMENTARIES Community organization SEED

Arts is organizing this weekend fest, notably beginning (7 p.m. Fri.) with Eliaichi Kimaro’s fascinating documentary about her Tanzanian-Korean heritage, A Lot Like You. She’ll introduce the film, which was a standout at SIFF ‘11, when she told SW, “Here, I’m black. When I go back [to Tanzania], people think I’m Chinese.” See seedseattle.org for full schedule and details. (NR) Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 725-7517, $5-$15, Fri., April 5; Sat., April 6. THE MANSON FAMILY From 2003, this bloody docudrama chronicles the notorious cult leader and his band of LSD-besotted followers on their late-’60s crime spree. It’s accompanied by a new short from director Jim Van Bebber, Gator Green. (R) Egyptian, 805 E. Pine St., 720-4560, landmarktheatres.com, $8.25, Fri., April 5, 11:59 p.m.; Sat., April 6, 11:59 p.m. MOVIE NIGHT DJs Jon Francois and Nik Gilmore set music to silent movies. Tonight they tackle the 1931 Polynesian-set romance Tabu, by F.W. Murnau and Robert J. Flaherty. (NR) Northwest Film Forum, $5, Tue., April 9, 8 p.m.; Fri., May 24, 8 p.m. MY AMITYVILLE HORROR Previously the subject of an unlikely hit suspense flick from 1979, “based on a true story,” this new documentary interviews surviving family members who resided there. (NR) Grand Illusion, $5-$8, Fri., April 5, 11 p.m.; Sat., April 6, 11 p.m.; Fri., April 12, 11 p.m.; Sat., April 13, 11 p.m.; Mon., April 15, 9 p.m. THE SHINING SEE THE WIRE, PAGE 21. STUCK Prospective parents trying to navigate the complicated rules for foreign adoption are followed in this new documentary, currently touring around the country. See bothendsburning.org for more info. (NR) Varsity, 4329 University Way N.E., 632-6412, $15, Thu., April 4, 7 p.m.

•

SUFFERING OF THE GRASSES Discussion with Syrian

activist Rita Zawaideh follows this hour-long doc about the ongoing civil war in that country. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, Free, Fri., April 5, 7 p.m. TRUE ROMANCE The late Tony Scott directs this very colorful, wish-fulfillment crime caper about a comic-book store clerk (Christian Slater) who falls for a lovely hooker (Patricia Arquette) while falling even deeper into the company of drug dealers and killers. Written by Quentin Tarantino, the famously self-educated former video store clerk, the 1993 True Romance is full of long monologues, pop-culture references, and some fairly delicious acting. Look for Dennis Hopper, Gary Oldman, Christopher Walken, Samuel J. Jackson, and Brad Pitt among the eccentric and highly entertaining criminal crew. The film is presented by the 20/20 Awards. (R) Grand Illusion, $5-$8, Thu., April 4, 6:45 p.m.

•

Ongoing

ADMISSION Based on a 2009 campus novel by Jean

Hanff Korelitz, Admission contains a clutch of topical issues that Tina Fey might’ve expanded much further and funnier. (Unfortunately, she’s only acting here, not writing.) Fey plays Portia, an admissions officer at Princeton locked into a childless long-term relationship with a feckless academic (smug weakling Michael Sheen, too short on screen time). Seemingly bound for a thin envelope is shy, brainy senior Jeremiah (Nat Wolff), a scholarship student at an artsy-fartsy prep school. His teacher John (Paul Rudd) is pushing him toward Princeton, but with an ulterior motive. In swift succession, Portia becomes a very biased booster for Jeremiah, a flustered crush object for John, and a maternal figure to the latter’s son, a precocious 11-year-old orphan adopted by his single father. Fey could probably pen an entire sitcom season from these elements, but Portia feels like more of a paycheck role for her. (PG-13) BRIAN MILLER Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, Thornton Place, Bainbridge, others

food&drink»

Tomorrow night Seattle Weekly hosts its annual Voracious Tasting, a bonanza of eating, drinking, and food-trucking that’s big by every measure: Hundreds of partygoers will consume thousands of inspired sips and snacks from a few dozen of the city’s most talented chefs, bartenders, and food artisans. But the event also celebrates big ideas and the local culinary visionaries who came up with them. Here is our introduction to the very deserving recipients of the 2013 Voracious Tasting Awards.

By Truck or By Sea Introducing the 2013 Voracious Tasting Award Winners. BY HANNA RASKIN

2 013 I N N OVAT I O N A W A R D

Off the Rez

2 013 S U S TA I N A B I L I T Y AW A R D

Salish Sea Trading Cooperative

“If I need to get something from Ballard to Bainbridge, why would I send a truck? Sure, sail will take an extra day, but it doesn’t pollute.”

mother grew up on the tribe’s reservation in Browning, Mont., and he paid plenty of childhood visits to relatives who schooled him in Native traditions. Yet McConnell says the interrogations are only partly intended to establish his right to serve frybread, the dish most closely associated with contemporary Native American culture: The curious eaters are also intrigued by his commercial success. “There aren’t a lot of Native American–owned businesses,” McConnell explains. With the opening of Off the Rez in late 2011, McConnell and partner Cecilia Rikard—assisted by Donovan MacInnis, a longtime friend who assumed chef duties—proved that Native-owned businesses can thrive far from reservations. And they made their point with frybread, a puffy round of fried dough that’s still unknown in much of white America. With every other food-trucker

Off the Rez is now plotting its first permanent location on Capitol Hill. Although the team hasn’t yet found a venue, the plan’s already raising another question that restaurants without Native ties don’t have to field: Will it serve liquor? McConnell says yes, with plans to offer “really good food and really good drinks.” “It’s hard to say how the Native community will take that,” McConnell says, acknowledging the knotty relationship between Native Americans and alcohol. Figuring out how to handle liquor in a restaurant specializing in “Nativeinspired” dishes is critical to the genre’s future, since restaurants rely heavily on profits from alcohol sales. “It’s kind of an emerging cuisine,” McConnell says. And it’s emerging with Off the Rez’s help. E

hraskin@seattleweekly.com

SEATTLE WEEKLY • APRI L 3 — 9, 2013

operational by 2015. Having recently qualified for 501(c)4 status, Salish Sea Trading is now shopping for insurance and dedicated schooners. Still, Pelish says sail transport will always be a small-scale effort: The cooperative is ultimately more interested in mobilizing people than produce. “The idea is not to become commander of the fleet,” she says. “The idea is to become more mainstream.” Pelish compares moving goods by sail to other initiatives that have fundamentally changed the ways their participants understand and address transportation needs, such as Zipcar. “It’s not socialistic, it’s realistic,” Pelish says. “We know we have to come up with a response to climate change. If I need to get something from Ballard to Bainbridge, why would I send a truck? Sure, sail will take an extra day, but it doesn’t pollute, and it’s something positive in this stretch of negativity.”

Off the Rez owner Mark McConnell, right, stands by his truck with chef Donovan MacInnis, center, and partner Cecilia Rikard.

JOSHUA HUSTON CREDIT

Georgie Smith, a fourth-generation Whidbey Islander, grows pumpkins, kohlrabi, and fava beans on the land her forebears began farming in the late 19th century. After she harvests her crops, she sells them at markets and specialty grocery shops on Whidbey, since her long work weeks at Willowood Farm don’t leave her much time to pile vegetables into a truck and barrel up State Route 20 to the mainland. So when Salish Sea Trading Cooperative’s Kathy Pelish this spring outlined her group’s mission at a Women in Agriculture conference, Smith was one of the attendees who gasped in excitement. “Her grandfather used to bring things to the wharf in Coupeville,” Pelish explains. And if Salish Sea Trading Cooperative succeeds, Smith will soon be able to do the same, shipping her goods to Seattle for sale. “It was happy astonishment,” Pelish says of the mood that seized the room. “They probably thought it was bold in a crazy way. Whidbey Island is an island, and if you’re an island community, water is never far from your consciousness.” For the cooperative, water represents a way to inject a new measure of sustainability into the food system. Its mission is to move goods by sail power, eliminating the need to burn fossil fuels. The Salish Sea Trading Cooperative didn’t invent the notion of harnessing wind power to shuffle local food via waterways, but it’s at the forefront of the movement in the Pacific Northwest. “We’re one of the first to actually do it,” Pelish says, adding that projects have sprung up around Lake Champlain and the Great Lakes since Dave Reid in 2008 launched the Sail Transport Company, coordinating wind-powered trips to Sequim to fetch berries from Nash’s Organic Produce Farm. Two years later, the program was recast as a cooperative.

Salish Sea Trading is now entering its fourth season of experimentation, relying on volunteer sailors and recreational craft to make good on its fledgling CSA’s promises; the group’s 30 subscribers have collected honey, potatoes, beets, and turnips from the Olympic Peninsula. More recently, boats have begun carrying artisan edibles from Seattle across the Sound. The first ceremonial delivery was a box of Theo Chocolates ferried to the Port Townsend Food Co-op. This season, the 15-member co-op is planning a series of trial round trips from Ballard to Bainbridge Island, with Coupeville trips also in the works. Pelish believes the project will be fully

CAM PENNELL

Kathy Pelish, center, relies on collaborators like Frank Calma, left, and Mark Hulscher to make Salish Sea Trading go.

Staffers manning the window of Off the Rez’s turquoise truck, with an airbrushed silhouette of a man in a feather headdress splayed along its panels and a peace-pipe smoker pictured on its rear doors, are accustomed to hearing the questions that are asked of nearly every truck operator: Are you always here on Tuesdays? Can I buy a T-shirt? Is this gluten-free? But owner Mark McConnell is also often asked a question that never surfaces when the menu board lists gyros or waffles. “We get hit up with ‘Is this Native-owned?’ all the time,” McConnell says. “It’s kind of a protective thing in a way. They’re trying to verify you, asking which tribe.” For the record, McConnell is Blackfeet. His

looking halfway around the globe for inspiration, McConnell chose to showcase a genuinely indigenous dish, tapping into a cuisine that ritzy locavore restaurants have long ignored. “It was obvious once I thought about it,” McConnell says. “Frybread is a really good vehicle for flavor combinations.” Once McConnell and McInnis settled on a frybread recipe that “kept the authenticity with the dough, but did something different with it,” they devised a range of sweet and savory toppings, including lemon curd and pulled pork. “Some people call them fancy because they’ve got pickled onions instead of salsa,” McConnell says of the open-faced sandwiches typically described as “Indian tacos.” McConnell assumed the menu would change seasonally, but each preparation has so many devoted fans that he can’t pull an item without risking an uproar.

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up. These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

City of Seattle GEORGETOWN

HANGAR CAFE 6261 13th Ave. S., 762-0204. In a nonde-

script house on the edge of Georgetown sits the Hangar Cafe, run on a simple concept: Make good crepes. And they do. But for all the care put into ensuring that the fillings, both savory and sweet, are fresh, the folks behind the place know that success depends on the tastiness of the crepe itself. And they are light without being insubstantial, sweet without being cloying. $ KAUAI FAMILY RESTAURANT 6324 Sixth Ave. S., 7623469. Nobody’s serving fruity drinks with umbrellas down in Georgetown, because Kauai Family Restaurant is not a Polynesian lounge. It’s where expat islanders come for plate lunch: two scoops rice, one scoop mac salad, plus down-home versions of loco moco, ginger crispy chicken, adobo, and lau lau (pork and butterfish wrapped in taro leaves and steamed). Ignore the teriyaki-style Hawaiian barbecue; the kalua pork— slow-roasted for eight hours in owner Peter Buza’s re-

BestofVoracious » by Sara billupS

A Pritty Good Time

creation of a pit oven—comes out smoky, tender, and shredded, the closest thing to North Carolina BBQ you’ll get in the West. Come on Saturday morning and grab a bag of malasadas (eggy Portuguese doughnuts). $

GREENWOOD & PHINNEY RIDGE

MARINATION MOBILE Seattle’s office workers, food-

istas, and drunks all love this roving Korean-Hawaiian taco truck. The kalbi (beef short rib) and pork tacos— soft corn tortillas loaded with tender grilled meat soaked in classic Korean marinades, frilly cabbagecarrot-sesame-cilantro slaw, and a smear of sriracha mayonnaise—may be the best street food to hit Seattle since the taco buses rolled into town. Not far behind the tacos is the Aloha slider, a tiny sweet-roll bun with smoky, oven-roasted kalua pork offset by the bright crunch of the slaw. And no bar food soaks up the last two beers quite like Marination’s kimchi fried rice with a sunny-side-up egg on top. $

INTERNATIONAL DISTRICT

MANEKI 304 Sixth Ave. S., 622-2631. Sometimes you

love a restaurant for a particular dish; because the fry cook is a genius, or one of the bartenders is hot, or because the kitchen always seems to make your riblets just right. Once in a while, though, a restaurant comes along that you love because it defines an entire

food@seattleweekly.com

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There are some bright spots here—in addition to the main dining room, an adjoining “game lounge” geared toward older kids and tweens is open during the dinner rush. That’s a good idea in a town where more than enough restaurants feature only toddler play areas. Also, the dining room’s cheeky nods to pizza parlors from the ’70s and ’80s bring the right amount of nostalgia, from the red vinyl booths to the novelty vending machines filled with slime balls and plastic doodads. The East Coast–style pizza at Pritty Boys is nothing fancy, but it’s made with quality ingredients and is consistent and filling. The crust holds the right balance of crisp and chew, and is topped with plenty of cheese. Pies are sauce-heavy, with the “Lean & Green” featuring a nice marriage of meat and veggies. Diners with diet sensitivities will find options, too: Pizzas can be made with vegan cheese and the kid’s menu includes gluten-free mac and cheese. Should you eat here? It depends. If you dine at Pritty Boys and are on the fence about making babies, the chance that you’ll be eager to conceive after your meal is close to zero. But if you have kids and have built a thick skin when it comes to their antics, then give it a shot. I’d venture to say you’ll be more than ready for a pint of Manny’s by the time you place your order. But since your kids will be well occupied, you might actually get a chance to have an uninterrupted conversation with the other adults at the table. E SARA BILLUPS

Right around the time you hit your mid-30s, it becomes clear that some of the friends you might have imagined ending up with kids have officially opted out of the wild world of parenting. And when you think about lost luxuries, like late-night dinners and regularly scheduled happy hours, who can blame them? Parenting makes a lot more sense in practice than in theory, and if you don’t have kids, it’s easy to watch the slow, steady social decline of some of the people in your life who do. To keep up relationships with friends after their little ones arrive, you might have to agree to meet for meals at places you probably wouldn’t otherwise pick—for instance, Madrona’s Pritty Boys Family Pizzeria. Last weekend, a rogue toy shopping cart parked by the front door greeted diners before a server did. To say it nicely, the enclosed play area filling a corner of the dining room is “wellloved.” In contrast to Phinney Market Cafe or Vios in Ravenna, both of which maintain substantial dining-room play areas that are organized and weave into the space, the Pritty Boys kid station is a clusterfuck of crazy. When I asked a really friendly server—and former summer-camp counselor—how he navigates the kidsanity, he explains his technique: He stops walking when kids are about to run into him. Then he just stands there and waits for it to happen.

ime Restauran FamilyiTn t o Cui

food&drink»Featured Eats

105 Mercer St, Seattle 206.284.4618

neighborhood or city. Maneki is one—a unique place that has transcended mere goodness to become a kind of culinary landmark, woven indelibly into the Seattle restaurant scene. Open for more than a hundred years, Maneki offers certain plates and presentations obtainable nowhere else in the area. An idiosyncratic place, it tends to inspire strong feelings in those who either love it for the weight of its history and the talent in its kitchen or hate it simply because they don’t get what the big deal is about just another Japanese restaurant in a city bursting with them. We are firmly in the former camp, and can see Maneki acting like church—a place to be absolved of certain culinary sins by eating as close to the root of one of the world’s great cuisines as you can get without a passport and a plane ticket. $-$$ SEA GARDEN SEAFOOD RESTAURANT 509 Seventh Ave. S., 623-2100. The barbecued duck with rice is just right, served with baby bok choy so crispy they seem fried and so clean they seem steamed. Sea Garden is the kind of tight, cheery place where you can eavesdrop on six tables at once, and most of them seem to be raving about their food. If your wallet and your dry-cleaning bill can take it, the simply superb crab with black-bean sauce is the dish to order, so tuck that napkin in and hang in there till the finger bowls come. Otherwise, take advantage of the rest of the menu’s wonderfully sauced seafood selections. $ SICHUANESE CUISINE RESTAURANT 1048 S. Jackson St., 720-1690. The food here is pleasantly spicy in the tradition of this region of China, renowned for its

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» by hanna raskin

Manning Up on Eating Disorders Since opening in 1991, The Moore Center for Eating Disorders has witnessed a tenfold increase in the number of male clients it serves, with men now accounting for 10 percent of the Bellevue clinic’s patients. But specialists there believe the population will continue to grow, partly as a result of the wars in Iraq and Afghanistan. “I don’t think I’ve seen any veterans yet, but as more people are coming back from the Middle East, they’re going to cope with [the trauma)]by establishing eating disorders,” says Neeru Bakshi, a Moore Center psychiatrist. Although both male and female veterans are susceptible to restricting their diets as a means of asserting control over chaotic personal circumstances, Bakshi says a gradually improving understanding of eating disorders could result in a spate of new diagnoses involving men. For example, the forthcoming edition of the Diagnostic and Statistical Manual of Mental Health Disorders (DSM) will no longer list cessation of menstruation as a diagnostic criterion for anorexia. “That was very limiting,” Bakshi says of the old definition. “Hopefully, by changing the criteria, it will open up providers’ eyes to the problem.” According to recent estimates, 20 percent of anorexics are men. Although it’s not clear why the number’s on the rise, specialists say men aren’t immune to the social pressures that make some women want to reshape their bodies. “You hear about how Barbies are bad,” Bakshi says. “G.I. Joes are kind of the same thing. You need to look chiseled.”

hot peppers and fiery, independent tempers. There’s no fusion here, just modest, homestyle Chinese food, oil and all (the same could be said of the decor). Kung pao shrimp and fish with pickled peppers are favorites. Diners who want to pass a few leisurely hours should order the Sichuan hot pot (tip: Pay extra for the lamb). There are two sides to the dented pot you’ll be simmering your selection of raw meats and veggies in: a hearty but mild beef broth bubbles away in one, while in the other a layer of bright red chile oil promises something more exciting. $

LESCHI & MADRONA

BISTRO TURKUAZ 1114 34th Ave., 324-3039. A long, yel-

low breadbox ending in a blood-red wall, behind which is a magical kitchen that produces some of the area’s most nuanced Turkish cuisine. Hummus, pita, and grape leaves might be considered casual Mediterranean staples, but not here. The pace is slow, the mood mellow, and the dishes very thoughtfully prepared. Your waitress might razz you and her mother, the chef, may cast an approving smile at your appetite, but the biggest characters can be found on your plate. A meze platter is decked out with hummus and baba ghanouj, triangles of pita, and tightly rolled grape leaves, all flavors very nicely balanced. Make sure to try the acuka, a blend of red peppers and walnuts, rich with garlic and lemon. The entrées include kebabs, but the best dishes are the appetizers. Dessert should be a piece of baklava, stuffed with pistachios and housemade chocolate. $$

Getting proper treatment for eating disorders is a difficult task, since in-patient treatment centers are so scarce that the Moore Center—now undergoing expansion to accommodate an additional 60 patients a week—routinely serves clients from across the Pacific Northwest. Although the Mental Health Parity Act has made treatment much more affordable, it’s still not numerically feasible for every Washingtonian dealing with an eating disorder to enroll in a residential program. As Washington’s only in-patient facility, the Moore Center currently serves 100 clients. “There’s need and demand, and it’s really sad,” says Liz Dill, director of operations. But difficulties are compounded for male anorexics, since fewer than half of residential treatment facilities are open to men. “Most men with eating disorders are living with them quietly and painfully,” Mark Warren, founder of the Cleveland Center for Eating Disorders, was quoted as saying in a lengthy GQ story about the issue. “I would guess at least three-quarters of them don’t get any treatment. They’re suffering without help.” The Moore Center has always admitted men, although Bakshi says only a small fraction of male anorexics actively seek help. “Men don’t go into the doctor until they have a limb falling off,” she says. To make the Moore Center more welcoming to men, therapy group leaders use gender-neutral language and acknowledge male perspectives. “Women may think ‘I’m dissatisfied with my butt or my breasts,’ ” Bakshi says. “Men look at things more globally. We try to have equal discussions.” E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

Reverb» »PROFILE

Dick and the Dude

When Jeff Bridges plays Seattle, Richard Peterson comes along. BY GWENDOLYN ELLIOTT

MARY ELLEN MARK/NEW ZIV PICTURES

Peterson (right) with Son of Sea Hunt.

The two met after Peterson sought him out while the actor was in Seattle in 1991 filming scenes for American Heart (in which, coincidentally, he plays a busker). That night at Chateau Ste. Michelle, Bridges recalled their first meeting: “I’m getting ready to go to work and I hear out my window a trumpet of some sort. I look out there and see this guy smiling up at me. I had no idea who he is, and I go down there and get in my ride, and Richard comes up to me and says, ‘Lloyd Bridges’ son, son of Sea Hunt?’ ” “I grew up on Sea Hunt,” replied Peterson, who taught himself trumpet and piano based on audio cues from the 1958–61 television series that starred Lloyd Bridges. “This guy is the greatest expert and authority on Sea Hunt music I have ever met in my entire life,” Bridges adds. Scott McCaughey of R.E.M. and Young Fresh Fellows can speak to that, too. “We invited him to play trumpet on a song called ‘TV

Dream.’ The song has all these mentions of ’50s, ’60s, and ’70s TV shows, and I knew that Richard was really into TV music. As we were playing, somehow he had figured out a way to play the theme from Sea Hunt in the introduction to the song. It actually became the theme of the song.” John Maynard, co-host of the Robin and Maynard Show, is another fan of Peterson’s singular vision. “People regard his musical ability because they recognize his real talent. His whole repertoire, all those Sea Hunt cues: When Richard Peterson plays piano he sees mountain peaks; he plays music that reminds him of a ’57 Chevy Impala steering wheel. It’s amazing to see that mind at work, and I think that Bridges has a appreciation for that level of awareness.” “Richard is a great musician,” said Bridges in a recent phone call. “He’s a real piano man, and he’ll tell you that. He shouldn’t go back to the streets.” Pressed for his thoughts on Bridges’ music, Peterson is cagier. “He plays country music” was

his flat reply. Asked again for his specific opinion, he says, simply, “I like Sea Hunt !” Though Bridges is currently touring with his band, the Abiders, and promoting his new film about hunger in America, A Place at the Table, he’s working “to get Big City Dick [currently languishing in distribution limbo] straightened out,” and makes time for his old friend in other ways, too. Last summer, Peterson hitchhiked from Seattle to Montana and unexpectedly showed up on Bridges’ doorstep. “I was kind of upset with him because he didn’t even give me a jingle,” Bridges says. “You know, I love Richard, but just like any old friend, you want them to call you before they drop in.” He couldn’t have been that upset: They immediately launched a jam session in excess of three hours. Richard Peterson opens for Jeff Bridges and the Abiders at the Moore on Friday, April 5, and is available for clubs, weddings, and parties at 325-5271. E gelliott@seattleweekly.com

SEATTLE WEEKLY • APRI L 3 — 9, 2013

efore Jeff Bridges took the stage for his 2011 show at Chateau Ste. Michelle, the actor approached the mike to welcome the night’s opening act. “I get to introduce somebody who’s a dear friend of mine—he’s probably a dear friend of about half of you guys, if not more.” He stopped for a second, then asked, “You know who I’m talking about?” When Seattle busker Richard Peterson joined him a few seconds later, a few voices in the crowd squealed. “Richaaaard!” yelped a fan. Alongside street acts like Ed “the Tuba Man” McMichael (brutally murdered in 2008), Peterson made a name for himself in the early ’90s playing an iconic trumpet solo outside sporting events at the Kingdome and the Coliseum (now KeyArena). If you ever attended a game during those years, you couldn’t help noticing the man with a balding dome as round as his heavyset frame,and that unmistakable, bell-clear trumpet. Peterson’s gift for composition—he’s released six albums and recorded with the likes of Stone Temple Pilots and Young Fresh Fellows—counteracts his more offbeat qualities. “Emotionally impaired” and “savant” are often used to describe the musician—his sharp mind, for instance, is a steel trap with dates and numbers. He’s obsessed with media figures and can rattle off the exact number of times he’s encountered KOMO anchor Dan Lewis, or every date, town, and venue in which he saw Johnny Mathis during a Canadian tour. Many folks within the music community, like Paul Uhlir of rock band Sweetwater, are charmed by his eccentric ways. He befriended the artist 20 years ago when Peterson held down his only regular job, playing piano once a week at Moe’s (now Neumos). “I don’t think of him as having a disability,” he says. “Sometimes he’ll call my house 10 times a day, but I just tell him to tone it down and he does,” noting that in their conversations Peterson often inquires about work. “He just really wants to perform more.” Though his connections have yielded guest appearances on local sketch-comedy show Almost Live!, talk radio’s Robin and Maynard Show, and even a documentary (Big City Dick: Richard Peterson’s First Movie), finding a steady gig has never been easy for Peterson. And since Tuba Man—an eccentric tubist known to sometimes play Peterson’s own tunes—was killed, he’s busked only a handful of times out of fear he’ll incur a similar fate. “I’ll get murdered if I go back out there,” he says. Without a computer or the Internet—technologies that don’t interest him—he relies on word-of-mouth and a perennial ad in The Stranger for the few gigs he does get. It reads: “Pianist Available. Clubs, Weddings, Parties. I’m Richard Peterson, 64-year-old composer, arranger, and pianist. I’m available to play parties, weddings, clubs, shows, etc. $200/gig. Covers and originals. Please call: 206-325-5271. Thank You! CD available.” Yet Peterson’s enduring friendship with Bridges has proven to have professional benefits.

Reverb»Reviews »EVERY LOCAL RELEASE

bombast, this EP is a sneak peek at the band’s impending full-length debut, Icarus Iterations. Electric riffs, tinny percussion, and jazz horns give simple songs a funky, groovy twist. (Sat., April 27, Madison Pub, Everett) KEEGAN

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Corvx de Timor, “Always Rain” (out now, Automation Records, soundcloud.com/ corvxdetimor): This Sacramento “dark electronic” producer supplies the most recent addition to Automation Records’ monthly singles series with this brooding down-tempo track, featuring a descending minor-key piano loop, a minimal drum-machine beat, and a recurring sample that, appropriately, sounds a lot like rain.

PROSSER

Antoine Martel, “Coughdrops in Autumn” (out now, self-released, antoinemartel.bandcamp. com): It’s hard to tell that singer/songwriter Martel had sinus issues before recording this album; throughout his voice maintains a strong, smooth tone that matches perfectly the breezy, acoustic backing band. AZARIA PODPLESKY

ANDREW GOSPE

Dead Ship Sailing, Dead Ship Sailing (out now, self-released, deadshipsailing.com): The duo continues their tradition of straightforward rock ’n’ roll with their first full-length release of electro-infused garage-rock tracks. Think Crystal Castles without all the gothic undertones; this collection is not refined, it’s messy and urgent.

Art Vandelay, Eye 8 the Crow (4/2, self-released, artvandelay206.bandcamp. com): A big step forward for the MC/producer duo Ricky Pharoe and Mack Formway, E8TC perfectly captures Pharoe’s rap persona(entirely loathing pop culture), and Formway’s production has only gotten bigger and better. TODD HAMM

KEEGAN PROSSER

Kinski, Cosy Moments (4/2, Kill Rock

Stars, killrockstars.com/artists/kinski): On their first new album in six years, Kinski has found a fantastic mesh point between pop-savvy melody and their classic psychedelic progressions. (Fri., April 5, Sunset) TODD HAMM Letters From Traffic, Icarus Advance EP (out now, self-released, www.lettersfromtraffic.com): Gritty Americana vocals laid over big-band

S.A.M. COLLECTIVE

Vox Mod, SYN-ÆSTHETIC (out now, self-released, voxmod.com): There’s a good chance this ends up being producer Scot Porter’s breakout. It’s got local star power (contributions from Ishmael Butler and Erik Blood), infinite-sounding instrumental synth workouts (“Quetzalcoatlus,” “Filament (Incantation)”), and most important, a unified aesthetic that makes the many guest appearances mesh with his singular production style. ANDREW GOSPE

INVITES YOU AND A GUEST TO AN ADVANCE SCREENING OF

S.A.M. COLLECTIVE

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THIS FILM IS RATED PG-13 for thematic elements including language. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit two passes per person. Each pass admits one. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

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SEATTLE WEEKLY • APRI L 3 — 9, 2013

Reverb»The Short List Rihanna & A$AP Rocky

Jazz Alley is a Supper Club

WEDNESDAY, APRIL 3

Pop superstar Rihanna and Harlem-bred rapper A$AP Rocky may not appear to have a lot in common, but they do have this: controversy. For the former it’s scandalous duds, a thing for bad boys, and over-the-top sexuality. The latter: a daring sense of fashion, run-ins with the law, and presidential tendencies (did you see his turn as JFK in Lana del Rey’s video for “National Anthem”?). They’re also both at the top of their respective genres: Rihanna as the reigning Princess of Pop, A$AP as the up-and-coming go-to MC . . . Er, maybe they have more in common than we thought. KeyArena, 305 Harrison St.,

Fatoumata Diawara Breakout Malian singer/ songwriter mixing elements of jazz, pop and funk along with her ancestral Wassoulou tradition

Brian Culbertson R&B Contemporary Jazz

April 4 - 7

April 3

Spencer Day

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THE GYPSY ALLSTARS

CD Release Party featuring Modern day jazz singer and The Gipsy Kings Family songwriter touring in Indo-Gypsy fusion as Gipsy support of his fourth release Kings rumba meets flamenco “The Mystery of You” and Indian Alap

April 9 - 10

Rocktographers THURSDAY, APRIL 4

See the Wire, page 21.

April 11 - 14

Molly Ringwald

Kirk Stauffer shoots Serena Ryder, part of a group show at the Triple Door.

Sugar Blue

CD Release Party

Critically-acclaimed actress, author and singer signs to Concord Records and launches world tour!

April 15

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Phosphorescent TUESDAY, APRIL 9

Listening to Phosphorescent’s latest, Muchacho, you might get the impression that songwriter/ primary member Matthew Houck simply had Merle Haggard FRIDAY, APRIL 5 a few glasses of whiskey in his New York jam space and accidentally let his Alabama roots seep With the Americana revival in full swing, a into his songs. But those who know better know running debate has emerged within the circuit: Houck has been working the dark-liquor river Who’s the better singer, Waylon Jennings or for half a dozen albums. Tempoed like a lateMerle Haggard? Both helped to popularize afternoon lope down a dusty trail on a stoned old their country sub-genres—Jennings in the outpack mule, Muchacho may have an old-country law category, Haggard for contributions to the Bakersfield sound—both garnered dedicated fans soul, but packs the immaculate digital mastering of a hip Brooklyn studio. far and wide, and the lives of Whether or not that’s how each showman, lined with it all went down (Houck failed marriages, drug abuse, Tune in to 97.3 KIRO FM actually wrote the bulk of and barroom brawls, are every Sunday at 5 p.m. to hear music editor Chris Kornelis the record on sabbatical in inextricably linked to their on Seattle Sounds. Mexico), the geographical music. But on pure vocal imagery he evokes plays talent, I’ve gotta go with the with your perceptions throughout the album Hag. Jennings was an entertainer, but his pipes and makes a unique canvas for his emotional were never as clean as Haggard’s. Now 75, his wanderings. With Strand of Oaks. Neumos, 925 2011 release, Working in Tennessee—which features his current wife Theresa and their two chilE. Pike St., 709-9467. 8 p.m. $13 adv. 21 and over. dren—reveals a voice that crackles with age but TODD HAMM

One of Seattle’s long-running rock favorites, Kinski tonight releases Cosy Moments, their first new album in six years. While their first on storied Olympia/Portland indie imprint Kill Rock Stars still veers into edgy psych territory, CM is also an infectious pop record with fuzzy surf riffs and melodic vocal (!) hooks sung by guitar man Chris Martin. The quartet’s songs have always been well-thought-out burners, but it takes a different kind of aptitude to make their trademark

LOW

EDITOR’S PICK

SATURDAY, APRIL 6

It’s a year of anniversaries over at Sub Pop HQ. Both the local label and one of its proudest (or most rancid, depending on your perspective) sons, Mudhoney, turns 25 this year. Low, the label’s longtime “slowcore” (sorry) concern out of Duluth, Minn., marks 20 years in the biz with the release of The Invisible Way, which features the knob-twisting of Wilco’s Jeff Tweedy. “People who are more individual are the ones you can kinda sink your teeth into,” Low frontman Alan Sparhawk recently told me in regard to Tweedy. “It’s a little more interesting to let them sink their teeth into you. I’m curious to see what we sound like through other filters.” The result—sparse, gorgeous slow burns—shouldn’t shock longtime fans. And there’s nothing wrong with that. After 20 years, they know what they’re good at. With Thalia Zedek. The Croc-

odile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $18. All ages. CHRIS KORNELIS

ZORAN ORLIC

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

SUNDAY APRIL 7TH

can still kick out a croon. Emerald Queen Casino,

TODD HAMM

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THURSDAY APRIL 4TH

Kinski releases its KRS debut Friday night at the Sunset.

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SEATTLE WEEKLY • APRI L 3 — 9, 2013

THIS SUNDAY!

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WED/APRIL 3 • 7:30PM BOB RIVERS SHOW AND 95.7 KJR PRESENTS

heart by heart

WEDNESDAY, APRIL 3 KISW (99.9 FM) Metal Shop & El Corazon Present:

SOILWORK

with Jeff Loomis, Blackguard, Bonded By Blood, Hatchet, and Sins Of A Bullet Doors at 7 PM / Show at 7:15 PM. ALL AGES/ BAR W/ID. $23 ADV / $25 DOS El Corazon Presents:

The Soilwork Aftershow Party Featuring Live Music From:

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Immediately after the Soilwork show. Lounge Show. 21+. FREE

THURSDAY, APRIL 4

THU/APRIL 4 • 7:30PM

my goodness w/ the comettes FRI/APRIL 5 • 7:30PM - TRUE WEST PRESENTS AND 91.3 KBCS WELCOMES

steep canyon rangers w/ the blackberry bushes SAT/APRIL 6 • 8PM

janis ian w/ diana jones

El Corazon Present:

STEVE HOFSTETTER Comedy Without Apology

plus Guests Doors at 6:30 PM / Show at 7 PM. 21+ $10 Standing / $20 Seated

2ND SHOW ADDED! Doors at 9 PM / Show at 9:30 PM. 21+ $10 Standing / $20 Seated

FRIDAY, APRIL 5

UPWELL

with Rocket Surgery and Hellephant Doors at 8 PM / Show at 9 PM Lounge Show. 21+ $6

SATURDAY, APRIL 6 KGRG’s “Zorch Radio”& El Corazon Present:

BOB WAYNE & THE OUTLAW CARNIES

with The Load Levelers, The Dolly Rottens, Boxcar Babies, and T. Junior Doors at 8 PM / Show at 9 PM. 21+ $8 ADV / $10 DOS

SUNDAY, APRIL 7

FALLSTAR - SECOND TO LAST with Capture The Flag, Encourager, Rookie Town, and Ryan Hyde (acoustic) Doors at 6 PM / Show at 6.30. ALL AGES/ BAR W/ID. $8 ADV / $10 DOS

TUESDAY APRIL 9 Mike Thrasher Presents:

THE ROCKET SUMMER

with The Classic Crime, Joe Brooks, and William Beckett Doors at 6:30 PM / Shoe at 7 PM. ALL AGES/ BAR W/ID. $14 ADV / $16 DOS

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SUN/APRIL 7 • 7:30PM

crystal bowersox acoustic duo FRI/APRIL 12 • 7:30PM ROSETA PRODUCTIONS PRESENTS

super jam plays squeeze SAT/APRIL 13 • 8PM

SEATTLE WEEKLY • AP RI L 3 — 9, 2013

massy ferguson w/ the bgp

next • 4/14 portland cello project • 4/16 zach fleury w/ courtney marie andrews • 4/17 trace bundy • 4/18 simone dinnerstein and tift merritt in night • 4/19 blame sally w/ erin corday • 4/23 & 4/24 shuggie otis w/ jesca hoop • 4/25 john keister & brooks mcbeth • 4/27 one-man star wars trilogy • 4/28 sarah elizabeth charles / swojo • 4/30 k’s choice (acoustic trio) w/ a fragile tomorrow • 5/1 chico pinheiro • 5/2 shemekia copeland w/ charles mack • 5/3 v contreras • 5/4 uncle bonsai • 5/5 hapa • 5/8 os mutantes w/ capsula • 5/9 seattle secret music showcase #13 • 5/10 paula cole • 5/11 lee oskar and friends orchestra • 5/13 david knopfler • 5/15 - 5/18 through the looking glass: the burlesque alice in wonderland • 5/21 lady rizo

happy hour every day • 4/3 trio shi / eckaman & super mokako band • 4/4 first thursday art opening w/ rocktographers / a benefit show for sexual assault awareness month w/ kore ionz • 4/5 danny godinez / the honky tonk sweethearts • 4/6 spyn reset • 4/7 grant schroff trio • 4/8 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 4/9 bobcat ransom, josh radigan and ariel storm • 4/10 flip and fly / lushy TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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Reverb»Seven Nights R.E.M. is not playing the High Dive on Saturday, but the band’s appreciators are.

1303 NE 45TH ST

COURTESY CBS

Wednesday, April 3 BILLY BRAGG Though he’s softened considerably since

36th St., 632-0212, highdiveseattle.com. 8:30 p.m. $8.

CHAMBER ROCK This show finds the typically volumi-

Thursday, April 4

KAREN MCBRIDE

nous Seattle Rock Orchestra slimming down to accomhis stridently political early years as a folk protest modate both a smallish venue and several smallersinger, Bragg proves on March’s Tooth & Nail that he’s than-they’d-usually-play-with local bands, including still a thoughtful, lyrically gifted songwriter. With Kim Kithkin and Pollens. With Matt and Mike Gervais, Led Churchill. Neptune Theatre, 1303 N.E. 45th St., 784-4849, to Sea. Columbia City Theater, 4918 Rainier Ave. S., 723stgpresents.org. 8 p.m. $36.50. All ages. 0088, columbiacitytheater.com. 9 p.m. $12 adv./$15 DOS. BOMBA ESTEREO This KEY NYATA Distilling ’90s West Colombian band blends traCoast rap with the chopped-andditional cumbia music with screwed gothic tendencies of electronic pop. They’re touring SpaceGhostPurrp’s Raider Klan behind Elegancia Tropical, their collective, Nyata is a singular third album. With Theoretics. figure in the local hip-hop scene. Tractor Tavern, 5231 Ballard He’s set to release The Shadowed Diamond at this show. The Ave. N.W., 789-3599, tractorCrocodile, 2200 Second Ave., 441tavern.com. 9 p.m. $17 adv./$20 7416, thecrocodile.com. With Skull DOS. LORD HURON Ben Schneider’s x Bones, ILLFIGHTYOU, Gorgeous five-piece act overlays rustic Children. 8 p.m. $10 adv./$12 DOS. folk songwriting with dense All ages. polyrhythmic arrangements and ample harmonies. With Papa. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. Billy Bragg brings Tooth $15 adv. & Nail to the Neptune

Saturday, April 6

on Wednesday.

BRIAN CULBERTSON This composer and keyboardist

Friday, April 5

AN APPRECIATION OF R.E.M. Local group Eighteen

Individual Eyes headlines this tribute show, where they’ll intersperse classics by Michael Stipe and co. with their own originals. The Way We Were in 1989, Werebearcat, Patrick Galactic, HMS Thunderchild. The High Dive, 513 N.

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

•

Comprising four local-musicscene veterans, this group’s nofrills rock sound bears the influence of first-wave SoCal punk. With the Randy Hicks Band, Motrecraft. Cafe Racer, 5828 Roosevelt Way N.E., 523-5282, caferacerseattle.com. 7:30 p.m. Free. ORCHESTRAL MANOEUVRES IN THE DARK These British synth-pop progenitors are touring behind English Electric, the band’s second full-length since reforming in the mid-2000s. With Diamond Rings. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 9 p.m. $28.50 adv./$31 DOS. HOW TO DRESS WELL’s Tom Krell is probably the figure most responsible for birthing “indie R&B,” a microgenre that encompasses acts like Rhye, Inc., and Autre Ne Veut, both of whom have released well-received albums in 2013. But unlike other music-critic-abetted niche trends (witch house, chillwave, et al.), the musicianship behind Krell’s unintentional creation is obvious: Though no one will confuse him for R. Kelly, he can certainly sing, and his production style is stark and innovative. With Sky Ferreira, High Highs. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 7 p.m. $12 adv.

Sunday, April 7

AFROCOP Since leaving their cozy Stepping Stone

confines, where they played a well-regarded monthly for almost four years, the band has branched out both geographically and musically, and appear to have a fruitful career in front of them. With Wiscon, Screens.

Monday, April 8

THE AIRBORNE TOXIC EVENT This orchestral-minded

Los Angeles rock group is set to release its third album, Such Hot Blood, on April 16. Showbox at the Market. 9 p.m. $22 adv./$24 DOS. All ages. SPIRITUALIZED Jason Pierce’s long-running project remains surprisingly creative, especially for a group with such a considerable debt to classic rock. Last year’s Sweet Heart Sweet Light contains wide-open rockers (“Hey Jane”), sweeping symphonic pop songs (“Too Late”), and smart-guy blues-rock (Dr. John collab “I Am What I Am”). The Neptune. 9 p.m. $22.50 adv./$25 DOS. All ages. TALEA ENSEMBLE This New York–based contemporary classical ensemble, whose mission is to perform new, unheralded music, will play works by UW faculty composer Joël-François Durand and UW music students. Meany Studio Theater, UW campus, 543-4880, meany. org. 7:30 p.m. $20. All ages.

Tuesday, April 9

EPROM This Portland producer’s overcaffeinated beats-

’n’-bass instrumental cuts occupy the space between glitched-out trap-style hip-hop and mainstream dubstep. With Novatron, Jameson Just, Ah Karu. Barboza. 8 p.m. $10 adv. JESSIE WARE After getting her start as a guest vocalist on tracks by British electronic musicians like SBTRKT and Joker, Ware made her full-length debut last year with the R&B-influenced Devotion. The Crocodile. 9 p.m. $15. All ages.

SEATTLE WEEKLY • APRI L 3 — 9, 2013

combines smooth jazz with adult-contemporary R&B. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $28.50. TOMMY DORSEY ORCHESTRA This 17-piece ensemble pays tribute to songs by the legendary big-band composer who helped kickstart Frank Sinatra’s career in the 1930s. Benaroya Hall, 200 University St., 2154747, seattlesymphony.org. 7:30 p.m. $19–$91. All ages. TRUE HOLLAND On their Facebook page, these Gig Harbor dudes boast to have “never required a backing track,” a claim bolstered by their staunchly by-thebook modern-rock songs. With Ribbons, Elude, Medic Medic. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. 7 adv.

THE INDUSTRY PEOPLE

Sunset, 5433 Ballard Ave. N.W., 784-4880. 7:30 p.m. $6. 21 and over. NICK CAVE & THE BAD SEEDS Never one to pull punches, Cave seems downright restrained on his latest, Push the Sky Away, a record that’s far more meditative than 2008’s Dig!!! Lazarus Dig!!! Compared to his raucous work as Grinderman, it’s practically atmospheric. With Sharon Van Etten. Paramount Theatre, 911 Pine St., 467-5520, stgpresents.org. 8 p.m. $35.75–$75.75. All ages. PARENTHETICAL GIRLS Led by vocalist Zac Pennington, PG’s experimental pop songs are insular and a bit off-putting, thanks in part to dense instrumental arrangements by Jherek Bischoff, who opens this show. With Bandolier. Chop Suey. 8 p.m. $8 adv. THE PARLOTONES One of South Africa’s best-known rock bands (they opened two shows in their home country for Coldplay in 2011), this quartet’s outsized pop-rock will be an odd fit for the Tractor. With Dinner and a Suit. Tractor Tavern. 8 p.m. $12. SPACEGHOSTPURRP Black-clad Miami rapper/producer SpaceGhostPurrp comes to town with his Raider Klan (Rvdxr Klvn) gang, which includes homegrown talent Key Nyata. With Raider Klan. Neumos, 925 E. Pike St., 709-9467. 7 p.m. $13 adv. All ages.

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Help us research how flaxseed lignans affect the colon.

Who is Eligible ď‚„

Men and women, ages 20-45, non-smokers

ď‚„

Donâ€™t eat a lot of vegetables

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ď‚„

Main Activities Over a period of 12 months

AR T S AND ENT ER TAI NMENT

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