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#Occupy?
A year after May Day 2012, a battered movement takes stock.
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t’s been nearly a year since thousands of peaceful protesters—and a handful of black-clad vandalizing ones—took to the streets of Seattle for May Day 2012. Since then, a police force has been repeatedly chastised for its response to the protests, a police chief has stepped down, and four local activists spent months locked up—in and out of solitary confinement, and without charges ever being filed—for refusing to cooperate with a federal grand jury in what many have described as a “political witch hunt.” But while Seattle police have said confidently that they’re ready for whatever protesters throw at them this year, the Occupy movement, a driving force behind last year’s demonstrations, stands less assured, battered by what members see as a year of unfair media attention and overzealous law enforcement. “My hope is this year it will be peaceful and safe, and there will be less political fallout. It seems like for the [past] 12 months, we’ve been facing last year’s event,” says independent journalist Mark Taylor-Canfield, who specializes in covering the Occupy movement. “It’s all about broken windows and anarchists,” Will he be back in 2013? he says of the mainstream media coverage of last year’s May Day. “The political message gets it was tackling were issues recognized by many lost in all that . . . Most of the people in Occupy Seattle definitely came down on the side of ‘Let’s different movements and political tendencies as problems that needed to be addressed. Liberal keep this peaceful and lawful. ’ [But the media] progressives, anarchists, communists, socialstill painted the occupiers with the same brush.” ists . . . all of us were under one tent organizing Taylor-Canfield also says the federal governaround the same comment’s heavy-handed monalities that were mantactics for getting ifesting in the modern information about the PRINT IS GREAT, but if you want to read what happens class warfare instigated by vandalism from the four when you pack cons in like sardines, the rich and by capitalanarchists had a chilling check it out on The Daily Weekly. ism,” he says. effect not only on the SEATTLEWEEKLY.COM/DAILYWEEKLY “In order for Occupy resistance movement, “but to have stayed together, on society in general. A it would have had to become explicitly . . . anylot of folks felt intimidated. It created all sorts of thing. Anarchist, Democrat, whatever. That was issues in terms of whether it’s safe to be involved counter to the goals of the movement, and now in the Occupy movement. . . . Regardless of your it has evolved into lots of different efforts that opinion, the jailing of activists—putting them in solitary confinement for their political beliefs—is found their roots in Westlake and are currently attacking those same societal ills on many fronts.” something we should all stand against.” Others argue the tactics just forced Occupy to adapt. “I think [the police response to May Day “It seems like for the [past] 2012 and the treatment of the grand-jury resistors] has brought a heightened sense of aware12 months, we’ve been ness as to the lengths the government will go to facing last year’s event repress political movements and radical, dissident voices,” says Ian Finkenbinder, the former press . . . It’s all about broken and Livestream coordinator for Occupy Seattle. These days Finkenbinder blogs as Ian Awesome windows and anarchists.” for a variety of publications, including Gay.net One group still going strong a year after its and his own blog, OneAngryQueer. “People are debut at May Day 2012 is Salish CIRCA, the certainly a lot more careful in their dealings with local faction of the Clandestine Insurgent Rebel law enforcement and governmental institutions Clown Army. With three main members, each in general . . . The powers that be haven’t sucwith ties to Seattle’s Occupy movement, Salish cessfully repressed Occupy; Occupy transformed CIRCA carries on the tradition of the Theatre into something else entirely.” of the Oppressed—a method of using theatriFinkenbinder says Occupy was never concal techniques to promote social and political ceived to be a long-standing organization with change, championed by Brazilian theater praccard-carrying members. “The thing to remember about the Occupy movement at large is the issues » CONTINUED ON PAGE 9
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news»The Daily Weekly titioner Augusto Boal in the 1960s. The group premiered its act during last year’s May Day, and plans to return for an encore. “I don’t think it’s fizzled out. We’re all still here,” says Salish CIRCA’s First Lewtenant Gonzo. “Occupy gave us a great chance to come together and find other people who have similar interests.” These days, he says, many who participated in Occupy Seattle remain in contact and in cooperation, while having segmented into “more specialized” and localized activism groups. What will May Day 2013 look like? The only certainty at this point seems to be that no one knows for sure. “It’s really hard to tell when it comes to these things,” says Gonzo. “It looks like we’re going to have solid numbers.” MATT DRISCOLL
Has Seattle Gone Eyman?
On April 1, protesters joined Senator and Seattle mayoral hopeful Ed Murray for a “dancein” on the steps of the Capitol to protest the socalled dance tax, which levies a sales tax on cover charges at clubs with dance floors. Swaying to jazzy swing music, dozens of people followed the Century Ballroom’s Mark Kihara in the Shim Sham to protest the tax that is expected to raise $892,000 over the next two years if it’s not repealed first. Then on Friday, brewers were marching (“We’re here, we’re beer”), again with a heavy contingent from Seattle, protesting several proposals to increase taxes on craft beer sold in the state (the House version of the tax aimed to raise $59 million). These groups have been cheered on by a supportive hometown press that hasn’t been as kind to, say, Tim Eyman, the antitax crusader whose name is whispered like Voldemort’s in many Seattle circles. Which raises the question: By messing with two sacred cows of bohemian Seattle life—live music and craft-brewed beer—have lawmakers made Seattle break antitax?
Probably not, says Andy Nicholas, senior fiscal analyst with the Washington Budget and Policy Center. Instead, he argues, the brouhaha speaks more to how broken our tax code is than to any political sea change. “What that reflects is that we have a pretty outdated tax system that doesn’t reflect the modern economy,” he says. “We don’t have a good source of revenue to go to. We don’t have it in this state. That means we need to go to these narrow excise taxes . . . and none of those are popular ways to raise revenues.” The beer and dance taxes, in fact, are just the tip of the iceberg of proposed tax increases and cuts that zero in on particular industries. The Senate budget, crafted by Republicans, cuts not only dance-club taxes but also those on some restaurants, clay-target manufacturers, and blood banks. All told, it reduces tax revenue by $11 million. The two Democratic budget proposals on the table—the House’s and Gov. Jay Inslee’s—have their own new tax breaks: The House Dems rack up a $2.2 million tab by helping beekeepers, lumber mills, and the Obamacare Health Exchange (all those exemptions also exist in the Senate plan). An important distinction, though, is that while the Senate doesn’t raise any new taxes, the House and Inslee both create more than enough new sources of cash to cover the favors doled out via the tax code. That’s bad news for bottled-water vendors and janitors, who could see their preferential tax rates eliminated by the House. Brewers were also in the cross-hairs, until Seattle called foul: House leaders Tuesday announced they were dropping the beer tax because it was too “distracting.” Asked if he’s deriving any pleasure from watching Seattle squirm under the shadow of approaching taxes, Eyman says he knew Seattle was with him all along: “In my view, the canary in the coal mine was when Seattle’s voters recently crushed that hike in car-tab fees at the ballot box,” he writes in an e-mail. “That was a pretty clear message that the continued tough economy has taken a toll on even tax-supportive Seattle voters. Everyone has a limit, and I think even Seattle voters have reached theirs.”
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THE Tweeted
Tweeted LIFE OF
FREDDY
E
Frederick Eugene Buhl came to life online. He died there as well.
BY DANIEL PERSON
Like nearly every day of his adult life, the Saturday Freddy Buhl died was laid bare for the world to
see. • LOL I got ambushed by a mob of girls! was his first tweet that day, sent just after midnight from
Fusion Ultra-Lounge in the U District, where he was being feted as special guest. • The messages continued to stream into the early morning, snapshots of a boozy night at the club that began with gunfire in the parking lot. • OMFG this party is so turnt. I’m fuxkin loaded! • Niggas shootin’ in the air. Y’all ain’t ‘bout that life • Each of Buhl’s messages went out to about 150,000 followers, most common currency in certain youth circles. Buhl had been making videos under the moniker for years, deftly channeling the brassy humor and sensibilities of the undergrad set. Buhl spent hours in front of his computer’s camera, giving hyperactive and humorous rants about everything from collections of his best bits, then tirelessly hawked the videos around the web. The pieces were so vulgar at times that his Christian, Stanford-educated parents cringed and urged restraint. He told them that he was only doing what it took to get noticed in the entertainment business. He had the swelling fan base to prove he was on to something.
» CONTINUED ON PAGE 12
PHOTOS COURTESY THE BUHL FAMILY
Obama to tattoos to YOLO. He edited each of these free-form performances into five-minute
SEATTLE WEEKLY • APRIL 24 — 30, 2013
of whom knew him as Freddy E, a wisecracking comedian whose YouTube videos had become
111
The Tweeted Life of Freddy E » FROM PAGE 11 By the time he was being mobbed by women on Northeast 45th Street, YouTube was sending checks every month—some as much as $1,000—in exchange for the hundreds of thousands of views his videos received. That money came on top of his income from freelance videography, a fledgling career that had started even before he’d graduated from Seattle Art Institute with an associate’s degree in video and digital production. He’d subsidize his nightlife by producing promotional videos for special club nights in exchange for drinks. A performer hitting his stride, Buhl was soaking it up. At the outset of the new year, he was barely sleeping. He went to bars, recorded rap tracks, and partied in downtown hotels he rented with his earnings. He turned 22 on New Year’s Day, adding to the celebratory fervor. Early on January 5, the day that began with a mob of girls, the tweets kept flowing. I’m STILL HERE BITCH. Tonight was crazy turnt. This stardom shit ain’t easy . . . As he broadcast to the world from his phone, he was amplified by followers, each tweet setting off small viral spasms across the Internet. As the hours wore on, though, his short notes took on a darker edge. Around 4:30 in the morning he wrote: At times I feel too different for this planet. Things only got worse as dawn broke. Sochitta Sal, a Toronto rapper better known as Honey Cocaine who’s an even bigger online personality with 470,000 Twitter followers, began to scorn Buhl publicly. She told him to stop flirting with her on Facebook and mentioning her in his tweets. He pleaded with her, again on Twitter for everyone to read. For two months the Internet celebrities had engaged in a public courtship of sorts. What had changed? he wondered out loud to his followers. Then he started talking about heartbreak. Around noon he tweeted:
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
It doesn’t get worse than this.
12
That afternoon, during the time investigators now know Buhl left the Renton home he shared with his mother, father, and sister Katherine to borrow a bolt-action rifle from a high-school friend, the Twitter feed never went silent for too long. He kept talking about the unbearable pain that comes with young heartbreak. Then the tweets became morbid: It’s . . . all . . . bad . . . y’all. *puts finger around trigger* Love you mom. Love you dad. Love you Katherine. I’m sorry. After that, the unstoppable chatter of Freddy E stopped. He had killed himself in the parking
On YouTube, Freddy Buhl played “The Jerk,” a straight talker unafraid of offending viewers as he parodied the world around him.
lot of his family’s apartment complex. His final message, “I’m sorry,” was retweeted more than 10,000 times. In the days that followed, national media ran tabloid-grade stories about the suicide, focusing on the macabre aspects of the death and Buhl’s connections to Honey Cocaine. For most Seattleites, including many of the city’s cultural critics, the salacious stories on E! Online and Buzzfeed were the first they’d ever heard of the 22-year-old who’d built the kind of fan base performers dream of attaining. The short story The Seattle Times ran the day after his death was the first time “Freddy E” had ever appeared in that paper. Same goes for The Stranger, in which Larry Mizell Jr. wrote a thoughtful plea for anyone feeling depressed to seek help. Until now, Buhl’s name never appeared in this paper. Instead, while Buhl was a fixture at local clubs, his greatest fame existed in online realms unmoored from a region—including WorldStarHipHop, a hugely influential website that draws 1.1 million unique visitors a day. Using that site, YouTube, and Twitter as portals, the artist won fans across the globe—most of them
women—with his singular wit and charm. But Buhl also faced demons. Some of them were personal: He could be overemotional with women, a trait that earned him a restraining order from an ex-girlfriend in 2011. Other challenges were those of young men playing tugof-war between responsibility and the follies of youth. Some troubles were due to the fact he was an African-American man from South Seattle, where the psychological trauma of witnessing a shooting is more common: Buhl witnessed, in the course of four years, the shooting deaths of two friends, including one whom he held in his arms as he bled. On January 5, the demons led one of Seattle’s most promising young artists to a deadly intersection of depression, alcohol, and readily available firearms. And his fans watched it all happen on their mobile phones.
B
uhl’s father, Frederick Douglas Buhl, is a large, bespectacled man who sports a neat pencil mustache and drives a gold Chrysler 300. Trained as a Baptist minister, he speaks emphatically in a clean tenor, a voice he says his
son inherited and used when at home and not hamming it up for the camera. He punctuates his points with gregarious bursts of laughter and draws deep, audible breaths when grasping for the words to describe his son. Frederick Buhl met Freddy’s mother, Jamie, when they were both undergraduates at Stanford. He grew up in L.A.’s Watts district, raised by a single mother who, despite her flaws, instilled in her children a deep respect for education. Jamie was raised on Beacon Hill, her father an engineer at Boeing. Freddy was born in California, but the family moved to western Washington in 1993 when the boy was 2 and a half years old. Their daughter, Katherine, came soon after. Katherine, now a student at Seattle University, says her brother was quiet as a kid, shy and caring. They lived typical childhoods on Beacon Hill, watching the Japanese cartoons that became all the rage in the 1990s at their grandparents’ house after school. “Pokémon, Dragon Ball Z, we loved all that stuff,” she recalls. At Nathan Eckstein Middle School, Freddy studied Japanese, deepening his interest in the culture.
Jamie Buhl’s parents still live in the Beacon Hill house they built upon moving here from Chicago: a tidy split-level, its walls crammed with photos of grandchildren. On their bedroom wall hangs a self-portrait Freddy drew when he was 10 years old, its careful shading indicative of a precocious artist. On a coffeetable shelf sits a bound book of the comic strip, Animal Parade, that Freddy drew as a teenager. The 85-page book speaks to the work ethic the boy brought to his crafts. With his kids growing up in a more stable home than he’d ever known as a child, a tireless Frederick Douglas Buhl was making a name for himself in the Seattle area. He continued the banking career he’d begun as a student in Stanford, and became involved in so many organizations that Times columnist Jerry Large profiled him in 1995, chronicling his rise from a troubled home in inner-city L.A. to student-body president at Stanford to serving in five civic organizations while working as a bank branch manager. Buhl was inspired, he told Large, by his two younger brothers. Both were good students like him, but they were seized by drugs and crime before they could get their lives off the ground. He saw the same pattern play out again and again with poor black kids in California and Seattle, and he wanted to do something to break the cycle.
Frederick Douglas Buhl looked at his son, Frederick Eugene. “And maybe someday there will be a brown president. Freddy, that could be you.”
T
he younger Buhl, though, had no interest in politics. It was art that captured his imagination. “He was into drawing, illustration . . . always walking around with a video camera, capturing footage,” says Ruben Martinez Wilcox, a close friend who met Buhl at orientation before their first day of school at Nathan Hale High School in Meadowbrook. Wilcox was from the Central District, but his mom didn’t want him going to high school in the neighbor-
hood. So she sent him to Nathan Hale instead. Arriving at school that day, he felt a little out of place. “There were no, uh, black people,” he says with a chuckle as he sits in a Capitol Hill cafe, “no people of diversity.” Then he saw Buhl, noticing less his race than his jacket—the exact same South Pole design Wilcox had on.
aMORE » ONLINE
To learn more about the Freddy E Center for Suicide Prevention, e-mail freddyecenter@gmail.com. For further coverage of Freddy E and to watch videos mentioned in this story, visit SEATTLEWEEKLY.COM
THE GUARDIAN ★★★★ THE SUNDAY TELEGRAPH ★★★★
They became fast friends. Through high school, the two encouraged each other’s art. Wilcox liked still photography, Buhl video. Wilcox was good at hardware— he’s now interning as an IT technician at a downtown investment center—while Buhl could teach anyone to become a whiz at Adobe Photoshop. The pair created a YouTube channel in 2006, giving Buhl the first taste of the audience the web offered. His user name was Garyosk543. It was supposed to be Garyoak543, after the Pokémon character Gary Oak, but Buhl mistyped and stuck with it.
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» CONTINUED ON PAGE 14
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“He was willing to poke fun, but his humor was coming from a place of experience and wanting to raise awareness around issues of race and culture.”
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“These are brilliant young people in business for themselves—selling drugs,” he told Large. “They looked for adult mentors and found men to teach them. They taught them to be criminals, taught them ‘The system doesn’t care about you. In my system, you can be a VP.’ ” Buhl says he was constantly worried that his own children would follow his brothers’ paths, and early on in his fatherhood saw how biting the world could be for a young black kid like his son. When the Times piece came out, Buhl was working at a bank in Eastgate near Bellevue. Freddy, 5, was starting kindergarten at a predominately white grade school. Driving north on Interstate 5 in his Chrysler, Buhl recalls the time Freddy came home from school crying. The children had been told to color a picture of Abraham Lincoln, he told his dad, and he’d colored the 16th president’s face brown, just like his own. “All the other kids laughed at him, told him there had never been a president who looked like that,” Buhl says, drawing a huge breath in exasperation. “I told him, ‘Look, Freddy, that’s true. But Abraham Lincoln had a friend named Frederick Douglass, who was brown. And Frederick Douglass would go to the White House and eat with Abraham Lincoln.”
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The Tweeted Life of Freddy E » FROM PAGE 13
The early shows were what you’d imagine a high-schooler’s videos would be: unedited trains of thought, largely focusing on crushes. In a few videos he had a cute female co-star, Jade, who did most of the talking while Buhl sat in the back, shy but confident. Meanwhile, Buhl produced videos for classes and drew his comics, a number of them appearing in Nathan Hale’s student newspaper, The Sentinel. While some Animal Parade strips were light vignettes in the mold of The Far Side, others were insightful reflections of a black student’s experience at Nathan Hale—for example, a strip showing a white student trying to talk hip-hop jive to a nonplussed African-American student who continues to use proper English. “They were quite sophisticated,” recalls newspaper adviser Ted Lockery. “He wasn’t shy about taking on issues of race or adult authority. . . He was willing to poke fun, but his humor was coming from a place of experience and wanting to raise awareness around issues of race and culture.”
As a teenager, Buhl developed his own comic strip, Animal Parade, which was published in the school newspaper.
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
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But while Buhl was able to find humor in racial issues, they also weighed heavily on him. He felt increasing pressure from his peers to prove his street cred, his stable home and middle-class upbringing becoming almost a burden. Buhl stopped studying Japanese after other black students at Nathan Hale teased him, according to his family, saying people of his race didn’t speak the language. He also began to speak English differently. “I’d call him multilingual,” his father says. “He began speaking like he was from the street. He wanted to reach that audience, so he learned to speak that language.” Buhl had no police record to speak of other than a string of traffic infractions, and no evidence suggests Buhl was involved in criminal activity. A post-mortem toxicology report found no drugs in his system. Yet he had repeatedly witnessed extreme acts of violence. In 2009, he was in Leschi with friend Aaron Sullivan when the latter was shot and killed by Tristan Appleberry after two groups of teenagers got in a fight over a girl. Appleberry shot Sullivan in the back of the head with an assault rifle as the victim sat in his car. Family members say Buhl was just outside the vehicle and saw the shooting. Calling the murder an “unjustified execution,” prosecutors say Appleberry didn’t even know Sullivan when he fired the shot that killed the 19-year-old, only that their groups of friends were feuding. After witnessing the murder, Buhl got a tattoo on his back—a large angel’s wing with Sullivan’s name on it, the first of two such tattoos he would get. The second came in 2012 after gunfire erupted outside Club X in SoDo. Police say a dispute broke out between two groups of people around 3:30 a.m. As Buhl’s friend Desmond Jackson stepped in to break up the fight, four shots rang out. Jackson, hit multiple times, died later at Harborview Medical Center. Police investigations found no evidence that either Sullivan or Jackson had been involved in any crimes or activities associated with gun vio-
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sor of suicide—does impact victims of urban violence. As John Rich, a doctor at Drexel University, told a Philadelphia public-radio station, “Like combat veterans who have been in military theater, these young men are jumpy, they have nightmares, they have flashbacks, they feel completely numb.”
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espite this tumult, Buhl continued to hone his skills, receiving a degree with commendations from Seattle Art Institute. Around 2010, he branded his YouTube show Jerk TV. The name evoked the character he sought to portray: a straight-talker not afraid to come off as insensitive while parodying the world around him. To portray the jerk, he shed his clean tenor for a higher-pitched, flamboyant voice he used to chatter about sex, drugs, and life as a 20-something in Seattle. “On the YouTube, it was m-f this and m-f that,” remembers his father. “I’d urge him, ‘Freddy, maybe don’t use that kind of language. Freddy, maybe don’t share so much on the Internet.’ But he said that’s what it took. I felt like Richard Pryor’s father.”
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lence when they were shot and killed. As Seattle Deputy Police Chief Nick Metz told Seattle Weekly last year, Jackson had “no indication of criminal gang activity on his part.” “I think sometimes it’s easier for the community at large that when a young African-American man is murdered, there can be an immediate assumption on some people’s part that he must have been a gang member . . . This was a good kid. No record, not even a parking ticket. He was just out with friends and having a good time.” Buhl’s family says he cradled Jackson in his arms after the man was shot, and showed signs of post-traumatic stress after the killing: He was drinking heavily—self-medication, his father says—and sleeping only three hours a night. Almost 11 months after Jackson’s death, Buhl told his family he was still struggling to get past it. “Just before he died, Freddy had a root-canal issue, and he had a keloid in his ear, and he was dealing with what I believe was PTSD from Desmond’s death,” his father says. “He went to a dentist for the tooth. He went to the doctor for the ear. He never saw anyone about his mind.” A growing body of research suggests that post-traumatic stress disorder—a known precur-
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The Tweeted Life of Freddy E » FROM PAGE 15 Wilcox says Buhl was intensely focused on finding and replicating what made other performers successful. “He’d look at the artists in the game who made the most money, then he’d focus on what they did best and try to do what they did,” he says. “He wanted to make as much money as he could for his family. He was very family-oriented.” In December he tweeted: Just filled my mom’s fridge with groceries. What did you do today?
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His video format was simple: He spoke straight into the camera and edited the footage to make his jokes come rapid-fire at the viewer, often while he was wearing wigs and costumes mimicking obnoxious women or moronic street thugs. Knowing his dad was uneasy with some of his work, Buhl urged him to watch a specific episode in which he compared Mitt Romney and Barack Obama. “That one I enjoyed,” his dad says, urging others to view it to understand that Jerk TV wasn’t all “Exes and Hoes,” as another episode was
“He’d be on the mike all
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If he was on a flyer, a lot of people would want to go and hang out.”
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
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Emily Bazelon with Dan Savage Defeating the Culture of Bullying (4/29) Eric Dinerstein Why are Rare Species Rare? (4/29) Patrick Freeny Spirit Bears of the Great Bear Rainforest (4/30) Seattle Youth Commission: The Youth Interactive: Civic Engagement for Young People (5/1) Jeremy Scahill Inside America’s Secret Wars (5/1) TOWN HALL
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titled. The Obama piece is at times hyperbolic, with quick cuts to images of Nazis marching when the topic turns to Romney. At times sharp, it includes a dead-on imitation of Obama that eluded comedians of higher stature. That Buhl does the impression while rapping makes it all the more impressive. “I need y’all to vote. Don’t vote for Barack Obama just because he’s black. That’s just plain ignorance. But don’t vote for Mitt Romney. That’s just plain stupid,” he tells his audience. With 104,000 views and 3,400 likes, it’s one of the less-popular videos he released last October. Far more popular that month was “Virgin Girls vs. Experienced Girls,” which now has 346,000 views (Jerk TV altogether tallies more than 12 million), and shows how raunchy his shtick could get. “How we going to date without you letting me hit it?” he asks the camera incredulously. “That’s like buying a car without test-driving it. Now some of you bitches are letting every nigga in the hood test-drive it. OG be doing donuts in that pussy. I need the Carfax on that ho.”
Buhl witnessed two friends’ deaths, and commemorated them with tattoos on his back.
W
ell before he was pleading with Sochitta Sal to take him back, Buhl already had a troubled history with women, well documented by two petitions for protection filed by an ex-girlfriend. The first request came in 2009, in which the woman claimed Buhl had made suicidal statements to her after they’d broken up. The petition was dropped and the two got back together for a time, only for things to fall apart again. In her second request for protection, filed in 2011, she claimed Buhl had fired a .22 caliber rifle while they were on the phone together. After the gunshot, she said, he told her he had tried to
statements he’d made about her on his YouTube channel. The protection order was granted. More than a year later, Buhl met Sal when the Toronto rapper was in town for a performance at the Belltown nightclub Tia Lou’s in November 2012. As Wilcox tells it, Buhl was shooting video of the performance—he was almost always shooting video at that point— after which Sal approached the videographer to compliment him on his T-shirt. Later on her tour, Sal flew Buhl down to Austin to travel with her, going from Texas to Louisiana, family members say. The trip was purely for pleasure, but
beyond Buhl’s attraction to Sal, the relationship had obvious implications for his career. Sal is signed to Last Kings Records, a label founded by the rapper Tyga—the artist responsible for the chart-topping track “Rack City”—and was touring with artists of even bigger repute. Sal came through Seattle again in December, this time touring with another Internet sensation, Kreayshawn (“Gucci Gucci”). Buhl and Wilcox gave Sal a ride to Neumos for the show. But apart from these jet-set meet-ups, the couple’s relationship was virtual, much of it on Twitter for fans to enjoy. By then, Buhl was
» CONTINUED ON PAGE 18
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Crass as some of these jokes may seem, more than 2,000 comments have been posted below the video, cheering his work. A typical one: “Lmao Freddy E. Is A clown yo. None other like’em. And his Smile and Laughs? P R I C E L E S S <3” If an episode really hit, he could receive checks from YouTube for $1,000, remuneration for the ads that would roll before spots. In other months, the payments were closer to $600. Buhl put hours of work into the videos, but spent an equal amount of time pimping that work across the web. As Wilcox put it, he had a “hustler’s ambition, in a legal way.” Another friend, Armando Valadez, says friends came to dub these fits of self-promotion “Freddy E moments.” “He’d come in all excited, ‘I just got a hundred more followers on Twitter!’ or whatever,” Valadez recalls with a laugh. When Buhl began freelancing for WorldStarHipHop, he quickly used his position to leverage his own work, gaining fans in the UK and beyond. Buhl was producing live video, too, going to clubs and shooting footage that could be used to promote the establishments. That led to him emceeing some shows and showing up on flyers for club nights. “He’d be on the mike all night, giving shoutouts to people, saying happy birthday,” said Juan Hernandez, a DJ who performs under the name DJ Equis and partnered with Buhl for many shows. “He was good at creating a buzz. If he was on a flyer, a lot of people would want to go and hang out. And I’d say a lot of them were females.” Indeed, he was never too busy to charm women. His Twitter feed saw a constant stream of flirtation between him and his female fans, including the Cambodian-Canadian rapper known as Honey Cocaine.
shoot himself in the head but missed. Also submitted into evidence was a stream of nasty tweets Buhl had posted about the woman—his Twitter life already coming into bloom. In court papers, Buhl denied some of the woman’s claims, but admitted to having the .22 for target practice at a Maple Valley gun range. He wrote that at the urging of his father, he’d sold the weapon. (Frederick Buhl said the restraining order was the first he knew about the gun.) Buhl also claimed that the woman, whom Seattle Weekly has chosen not to identify, had fabricated many of her claims to damage his fledgling career, retaliation for derogatory
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MAY 1–25 The Tweeted Life of Freddy E » FROM PAGE 17 sending out 50, 80, 100 micromessages a day to his growing roster of followers. Sochitta is mine. :) I’m still stuck on the fact that Sochitta thought Bambi was a reindeer lmao.
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Ain’t nothing like Sochitta’s voice to wake you up in the morning. I haven’t been back to sleep yet lol
phone, futilely pleading with the young man to say it wasn’t so. After a while, Buhl took to his son’s accounts and began to send messages. “He gathered all these people together. They’ve been waiting for him. And I have to say sorry,” he says. As the voice changed from the crass playfulness of Freddy E to a mournful Frederick Douglas Buhl, thousands of people clicked “unfollow”—the Twitter account has since lost 20,000 followers. But others messaged back about how much his son had meant to them. One young woman asked if she could call him “Dad.” Buhl’s mouth gapes in perplexity recalling that. During a recent morning service at First A.M.E. church, Frederick Buhl was invited to the pulpit to share his son’s story—his passions, the violence he’d witnessed, and the plans they are now making in the hope of preventing other young people from taking their own lives.
Likewise, when things went south on January 5, much of the fight was out in the public eye. Though Sal has deleted many of the tweets from that day, her texts to him, acquired by Seattle Weekly, suggest that she thought he Freddy Buhl’s memorial service filled First was untrustworthy AME this winter. and was using their relationship to feed his ambition. “I wish more than anything he would have come talked to us about what he was going through,” his father says, “so that I could have said, ‘Well, Freddy, would you have rather she waited until you were married with two kids to tell you this?’ ” As news spread about Buhl’s death, many fans blamed Sal for his suicide, an assertion Buhl’s family says is unfair. Still, Frederick Buhl is mystified by the way Sal has reacted to his son’s suicide. She told some media that she and Buhl were close friends who shared He intends to create a Freddy E. Buhl Center everything. But later, in an interview with MTV for the Prevention of Suicide, he told the conabout the death, Sal downplayed their relationgregation. The Center, he said, would work with ship, calling Buhl a “fan” with a small following established suicide-prevention organizations to of his own. E-mails to Sal’s representatives seek- better use social media in their efforts. ing comment were not returned. In the meantime, he, Jamie, and Katherine Buhl’s death caused such a stir in the celebhave chatted with more than 1,000 of Freddy rity-media world that Tyga too was asked about E’s fans, some of whom have contemplated it in a video. In that interview, from the floor of suicide (Buhl says his family believes they have Madison Square Garden before a Knicks game, forestalled three suicides since his son’s death). Tyga seems annoyed. He’d never met or even One fan, he said, contacted him after she’d tried heard of Freddy E until one of his artists was to hang herself in her closet and woke up in a implicated in his suicide. “I gotta start making hospital, as several of her friends had done. “She my album and it throws me off what I’m doing, was surrounded by family, social media such as trying to address little stuff like that,” he says Facebook, Twitter, e-mail, and phone calls, yet before offering condolences and encouraging the she felt very alone and lonely,” he said. “And very distraught to seek help. depressed.” Thinking about that interview and Buhl’s The experience, he says, has convinced him “Freddy E” moments, Valadez cracks a sad smile. that social media has drawn young people apart, “If Freddy were here, he’d be going crazy that deprived them of a human element of interacTyga talked about him.” tion vital for those in crisis. “They’re trying to do it through Twitter and texting, and they’re missing something. There’s something missing from oday, Frederick Douglas Buhl walks about with two cell phones—one his, our technology. “Lots of young people think just connecting the other his son’s. over the Internet is enough,” Buhl says, drawing As news spread around the Interhis breath in thought. “But is it?” E net that Freddy E had live-tweeted his suicide, tweets and text messages streamed into the dperson@seattleweekly.com
T
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With his two Oscars and worldwide brand awareness, it’s hard to remember how— between Pulp Fiction and his days as a cocky video-store clerk—Quentin Tarantino was just another unknown young indie-film talent of the early ’90s. And in outline, his 1992 debut, Reservoir Dogs , didn’t really sound that novel or promising. It’s about a botched diamond heist, which we never see, told from before and after the muddled middle. There were elements of Rashomon, graphic torture, and a long, selfindulgent speech on the meaning of Madonna’s “Like a Virgin,” delivered by the out-of-hisdepth actor Tarantino. Yet Harvey Weinstein’s Miramax put its muscle behind the newbie writer/director, a terrific cast quickly signed on (Harvey Keitel, Tim Roth, Steve Buscemi, etc.), and the film got a white-hot launch amid the snows of Sundance. Not yet 30, Tarantino would never be young and unknown again, though he always had a veteran’s confidence and a precious grasp of elliptical storytelling. Reservoir Dogs is full of flashbacks, secrets, reveals, and reversals, but you never lose the narrative thread. It’s a simpler film than Pulp Fiction, which killed at Cannes and made Tarantino a household name, and the ending is perhaps more satisfying for that reason. It all comes down to Mr. White (Keitel) protecting Mr. Orange (Roth). Beneath all that blood, there’s a tenderness and loyalty among Tarantino’s thieves and outlaws—one reason he’s surpassed and outlasted his forgotten peers from the ’90s.
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The adage that war is hell is not nearly enough to describe Black Watch , based on interviews with soldiers who served in that Scottish regiment of the British Army in Iraq. Now touring the U.S., the award-winning National Theatre of Scotland drama storms through nearly two hours of an intermissionless, pensive theatricality as thick and rich as the occasionally impenetrable accents. Though no musical, the show is full of song, dance, noise, and whatever else will open eyes and ears to the complexity of war. These soldiers feel boredom, bewilderment, fear, and—perhaps most of all—a generations-old national pride in answering the call of your country. Playwright Gregory
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BRIAN MILLER
STAGE
have come and gone, voluntarily or otherwise, he’s somehow weathered the storm. Armstrong’s survival, however, is an injustice. We suspect he’s persevered because, unlike in politics, the office of president is a somewhat murky one in baseball, where the general and field managers typically suffer consequences either glorious or perilous, depending on the team’s success. But the Mariners have been so bad for so long that it’s time Armstrong—the one constant—is marched to the guillotine, a fate that pales in comparison to the one endured for decades by Mariner fans. And tonight those fans will faithfully gather for the first of four games against the visiting Los Angeles Angels (through Sunday). Safeco
Field, 1250 First Ave. S., mariners.mlb.com. $15–$90. 7:10 p.m. MIKE SEELY
Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8. 7 & 9:30 p.m.
thurs/4/25
From left, Michael Madsen, Tarantino, Keitel, Chris Penn, Lawrence Tierney, Roth, and Buscemi take their Reservoir Dogs stroll.
In what sounds like a nerd-boy’s career fantasy, Charles Ross makes a living by performing his One-Man Star Wars Trilogy. The Canadian actor created the frenzied solo show—in which he performs all characters, from Yoda to Princess Leia, in a one-hour stint—with director TJ Dawe over 12 years ago. Ross has since performed the George Lucas–approved piece thousands of times across four continents. (For variety, there’s his OneMan Lord of the Rings Trilogy. Seriously.) Says Ross by phone, “I appreciate what it means to be a true geek, in the most positive sense. Someone who loves something—Star Wars, NASCAR, sewing, etc.—so unabashedly that they’re willing to wear their heart on their sleeve. Geekdom is ownership. For my own part, I’m a true geek in that I love what I love. People who come to my show are often like-minded. They have a deep love for Star Wars.” Whether or not that love will extend to Disney’s add-ons to the series remains to be seen, but Ross won’t count it out. “I’m in awe of the staying power of Star Wars.” The Triple Door,
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arts»Stage
Twain at Full Depth Book-It takes the p.c. abridgements out of Huckleberry Finn, helping to rediscover Twain’s reckless passion and righteous anger. BY KEVIN PHINNEY
Saturday, May 11th, 2013 9am - 1pm
600 NW 40TH STREET • SEATTLE, WA 96107 206.782.6548
“A
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
Steamboats and slavery may be anachronisms, but racism is as contemporary as the morning news or right-wing websites.
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an enormous paddle-wheeler headed right at you, but there’s no safe way to manage an escape. Nigger is a word that has lost none of its vulgar stench over the century and a half since Huckleberry Finn hit the shelves, and it’s with us still. Steamboats and slavery may be anachronisms, but racism is as contemporary as the morning news or right-wing websites. Huck (the puckish Christopher Morson) and runaway Jim (the sublime Geoffery Simmons ) are surrounded by Twain’s vivid gallery of townsfolk and river rapscallions, many played by Gin Hammond, Peter Jacobs, and Russell Hodgkinson. Solo moments make it clear that these actors love to shine, but their primary loyalty remains to the material. Likewise, a small live musical ensemble plays popular tunes of the day, to help finesse set and scene changes. There are edits and shortcuts in Parkin’s adaptation, but the fire in the gut of Huckleberry Finn burns more brightly for these. Director Jones makes sure that when all the talents at her command assemble, the true
ALAN ALABASTRO
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ll modern American literature comes from one book by Mark Twain called Huckleberry Finn,” Ernest Hemingway famously declared, dismissing in a stroke The Last of the Mohicans and MobyDick, to name but two members of our national library. Today, many scholars agree: Published only 20 years after Lincoln freed the slaves, Mark Twain’s 1885 novel was both a radical departure from what had gone before and a signpost of what was to come. Combining homespun tall tales with a seething abolitionist tone, it unflinchingly depicted the life of a runaway slave, as seen through the eyes of pubescent scamp. The black man’s plight was made more palatable for white readers by using one of their own as an intermediary, a narrative template to be followed again and again. Now comes Book-It’s “uncensored” new adaptation by Judd Parkin ( Jane Jones directs), which means that the word “nigger” is restored to its poisonous place at the nucleus of the story. Does that make you uncomfortable? It should. As in fog on a moonless night rolling across the Mississippi River, you sense there’s
Morson (in foreground) as Twain’s storytelling tool for hooking the reader on Jim.
nature of Twain’s subversion comes into focus: Huckleberry Finn is a Trojan Horse of a fable. It’s a kiddie yarn and coming-of-age story, sure; but though Twain clearly loves the Southern folk he writes about, his novel is unmasked as a fire-breathing antiracism manifesto. Without the use of the word nigger, that effect has been blunted or lost for decades. Once it’s restored, Twain’s timeless tale becomes more timely. I’m already well on the record about the N-word. In my book Souled American: How Black Music Transformed White Culture (a history of race relations seen through music, from 1619 to the present), I wrote that not using the term simply whitewashes history—pun intended. It does a disservice to those who fell under the lash, did work at gunpoint, and saw their children bought and sold like furniture. What happened to us as a nation and as a culture depends on remembering our history accurately, blemishes and all. And while Adventures of Huckleberry Finn still overflows with Twain’s whimsy and humor, Book-It restores the awful truth that he believed was “the point of the whole infernal enterprise.” E
stage@seattleweekly.com
BOOK-IT REPERTORY THEATRE 305 Harrison St. (Center Theater, Seattle Center), 216-0833, book-it.org. $23–$45. Runs Wed.–Sun. Ends May 12.
Weekly_Whisky_3-26-13.pdf
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Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support
Seattle Presenting Sponsor
Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English, 1727–1788, oil on canvas, 95 3/4 x 60 3/4 in., Kenwood House, English Heritage; Iveagh Bequest (88028783), Photo courtesy American Federation of Arts.
Seattle Presenting Sponsor
Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English,
SEATTLE WEEKLY • APRIL 24 — 30, 2013
Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.
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arts»Performance B Y G AV I N B O R C H E R T
Stage
SPECIAL SUBSCRIBER ADD-ON!
OPENINGS & EVENTS
ASSISTED LIVING Local playwright Katie Forgette’s new
comedy about elder care and dementia. ACT Theatre, 700 Union St., 292-7676. $41 and up. Previews through April 24, opens April 25. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends May 12. BLACK WATCH SEE THE WIRE, PAGE 19. BOEING BOEING Sure, it sounds like some leering old episode of Love, American Style: A horny American businessman, Bernard, lives in Paris during the swinging ‘60s and enjoys the affections of three separate stewardesses. Allison Narver, an expert at encouraging actors to take quantum comic leaps, directs. STEVE WIECKING Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. Opens April 24. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends May 19. THE BOYS NEXT DOOR Tom Griffin’s play about four special-needs housemates. Richard Hugo House, 1634 11th
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Ave., 800-838-3006, seattlestageright.org. $15. Opens April 26. 7:30 p.m. Thurs.–Sat. plus Mon., April 29. Ends May 11. GYPSY The Styne/Sondheim/Laurents classic about the stage mom to end all stage moms—called by some the greatest musical ever. Seattle Musical Theatre, 7400 Sand Point Way N.E. #101N, 363-2809, seattlemusicaltheatre. org. $35–$40. Opens April 26. 7:30 p.m. Fri.–Sat. plus Thurs., May 16; 2 p.m. Sun. Ends May 19. ONE-MAN STAR WARS SEE THE WIRE, PAGE 19. SALESGIRLS OF NOWHERE In Wayne Rawley’s play, a Chicago comedian gets stranded in a very odd small town. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. Opens April 26. 7 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 4. SANDBOX RADIO LIVE! Attend the taping (for podcast) of this audio-theater miscellany, with new short works by John Longenbaugh, Paul Mullin, Scot Augustson, and many others. West of Lenin, 203 N. 36th St., 800-838-3006, thesandboxac.org. $15. 8 p.m. Mon., April 29. THE TAMING OF THE SHREW Seattle Shakes resets it in a trailer park. No problem, as long as they cast men who look good in sleeveless T-shirts. Center House Theatre, Seattle Center, 733-8222. $22–$45. Previews April 24–25, opens April 26. Runs Wed.–Sun.; see seattleshakespeare. org for exact schedule. Ends May 12. TEAM OF HEROES: NO MORE HEROES The finale of Alexander Harris’ revisionist superhero satire. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. Opens April 26. 8 p.m. Thurs.–Sat. plus Mon., May 13. Ends May 25.
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Nov 4 | Moore | $32.50 - $52.50
March 2 | Moore | $35 - $53.50
Nov 8 | Moore | $8.50
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Isabella Rossellini – Green Porno
May 28 - June 2 | Paramount | $23.75 - $68.75
Fela!
Global Dance Party Nov 9 | Moore | $19.50
June 10 - June 24 | Paramount | $25.50
Trader Joe’s Silent Movie Mondays – International July 13 | Paramount | $15.50
Nov 12 -17 | Paramount | $28.75 - $78.75
March 20 | Moore | $30.50 - $36.50
DANCE This
August 20 - 25 | Paramount | $28.75 - $78.75
Sister Act
Sept 27 | Moore | $34.50
Mavis Staples
Nov 16 | Neptune | $37
Martin Short
Nov 24 | Paramount | $35 - $80
April 3 - 20 | Moore | $29.50 - $52
Dec 5 | Neptune | $31.50 - $100.50
April 11 - 13 | Paramount | $24 - $61
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April 18 | Paramount | $19
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April 26 | Paramount | $23 - $41
2014
May 9 | Moore | $13
Jan 10 - 26 | Moore | $26.50 - $30.50
Jerry Springer: The Opera
Seattle Rock Orchestra performs The Beatles The White Album
Feb 14 - 16 | Paramount | $25 - $61
May 27 - June 8 | Paramount | $28.75 - $83.75
A John Waters Christmas
Oct 4 | Neptune | $26
Jon Batiste and Stay Human
Cirque Dreams Holidaze
Oct 4 - 6| Moore | $32.50 - $48.50
John Malkovich in The Infernal Evita Comedy: Confessions of a Serial Killer Oct 9 - 13 | Paramount | $28.75 - $78.75
Andrew Lloyd Webber’s The Wizard of Oz SEATTLE WEEKLY • AP RI L 24 — 30, 2013
Oct 11 - 26 | Moore | $26.50 - $30.50
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Carrie: The Musical
Mark Morris Dance Group
Oct 24 - 27 | On the Boards | $22
Gregory Maqoma/ Vuyani Dance Theatre
March 1 | Moore | $19.50
Oct 30 - Nov 3 | Moore | $20.50 - $48.50
Peter and the Starcatcher
Zakir Hussain and the Masters of Percussion March 25 - 31 | Seattle Rep | $35-65
Mannheim Steamroller Christmas
Oct 3 | Paramount | $37 - $61
Disney’s The Lion King
Kronos Quartet with special guest Degenerate Art Ensemble
Seattle Rock Orchestra performs Michael Jackson
The Suit
I Love Lucy® Live on Stage
brought the sonata to the brink of unplayability. In fact, to realize Ives’ vision fully requires a guest violist and flutist—evoking the flute Thoreau himself played at Walden Pond—to play extra melodies he added to the score, not to mention a 14½-inch block of wood to play the black-key clusters in “Hawthorne.” (“Is it the composer’s fault that man has only 10 fingers?” Ives asked in Essays Before a Sonata, the book-length program note/apologia he wrote to accompany the piece.)
day (alongside music by Cage and Lachenmann) in a fundraiser recital for the Seattle Modern Orchestra. Then Cristina Valdes plays it May 7 as part of UW’s three-day Ives mini-festival. Chapel Performance Space, 4649 Sunnyside Ave. N., seattlemodernorchestra.org. $10– $125. 8 p.m. Mon., April 29, and Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 7:30 p.m. Tues., May 7.
Alvin Ailey American Dance Theater Starbucks Hot Java Cool Jazz Jake Shimabukuro
More Music @ The Moore May 10 - 11 | Moore | $19.50
Once
July 11 - 12 | Moore | $15.50
16th Annual DANCE This July 22 - Aug 10 | Paramount | $48.75 - $153.75
Seattle’s oldest operating theatre is being revitalized this summer for added comfort and enjoyment. New Seats and an enhanced curtaining system will welcome you back to The Moore this fall for our 2013-2014 Season.
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Charles Ives subtitled his Piano Sonata no. 2 Concord, Mass., 1840–1860, its four movements inspired by authors active there and then: “Emerson,” “Hawthorne,” “The Alcotts” (Louisa May and her father Bronson), and “Thoreau.” For Ives, translating Transcendentalism into tone meant melding uncompromising complexity and sheer Yankee cussedness, a high-minded ambition that
New England Patriot
Jazz at Lincoln Center Orchestra with Wynton Marsalis Mar 11 - Apr 6 | Paramount | $25.75 - $153.75
Priscilla Queen of the Desert
» by gavin borchert
TAO: Phoenix Rising
Seattle Rock Orchestra performs Pink Floyd
But the Concord also makes room for gentler and humbler elements—allusions to hymns, marches, and parlor songs, mingling the fantastical, the Shaker-plain, and the mistyImpressionist. (To read Ives’ digs at Debussy in Essays is to see the anxiety of influence in full flower.) The most frequent and audible quotation is the “da-da-da-dum” from Beethoven’s Fifth, a motive Ives extended into what he called a “human faith melody” woven throughout and brought to a grandiose climax in “The Alcotts.” Ives self-published the sonata in 1920, but had been chipping away at it for at least a decade prior; heard rarely since due to its difficulty, it’s miraculous that Seattle is getting the Concord twice in eight days. Stephen Drury plays it Mon-
Moore Theatre Photography: Bob Cerelli
2013
EarSupply
arts»Performance 33 VARIATIONS Moises Kaufman’s play time-leaps
between two ailing individuals: Beethoven and a modernday musicologist studying him. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. Preview April 30, opens May 1. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends May 25.
CURRENT RUNS
ADVENTURES OF HUCKLEBERRY FINN: UNCENSORED SEE REVIEW, PAGE 20. AUGUST: OSAGE COUNTY Tracy Letts’ 2008 Pulitzer
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winner is a sad, funny, horrific tale, an unblinking examination of the ties that bind and the transgressions that rip people apart, told with compassion and a ferocious commitment to honesty by Balagan Theatre director Shawn Belyea and a cast as fine as has ever trod a Seattle stage. There are laughs aplenty early on, but ultimately August: Osage County takes a heavy toll. Still, it’s the best play I’ve seen in decades, crammed full of staggering moments of surprise and performances that will haunt you for years. KEVIN PHINNEY Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050, balagantheatre.org. $20–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 27. THE DIARY OF ANNE FRANK Frances Goodrich and Albert Hackett’s classic adaptation. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater. org. $17–$22. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends April 27. DINA MARTINA: SPRING IN SEATTLE The indescribable diva in an all-new show with pianist Chris Jeffries. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets. com. $20–$25. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 5. THE FINAL TRIBUNAL INTO THE MYSTERIOUS DEATH OF SENOR DALI For Pony World Theatre’s
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TAIKO, INDIE ROCK, HIP-HOP, IRISH, AND MORE… WORKING A musical revue about the job world in all its oft-
overlooked forms, based on Studs Terkel’s book. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. $5–$10. 8 p.m. Wed., April 24–Thurs., April 25, 2 p.m. Sun., April 28.
Dance
MANDY GREER & DAYNA HANSON A multidisciplinary
collaborative work from these two Artist Trust Arts Innovators Award recipients. Seattle Art Museum, 1300 First Ave., artisttrust.org. Donation. 7 p.m. Fri., April 26. CARMONA FLAMENCO Traditional music and dance.Cafe Solstice, 4116 University Way N.E., 932-4067, carmona2@ comcast.net. $15–$20. 8 p.m. Sat., April 27. DASSDANCE Dynamic work from Daniel Wilkins and his company. Shoreline Center, 18560 First Ave. N.E., 417-4645, brownpapertickets.com. $20. 7 p.m. Sat., April 27. TERPSICHORE’S LANDING Cornish’s annual showcase of new work by student choreographers. Cornish College/ PONCHO Concert Hall, 710 E. Roy St., cornish.edu. Free. 3 & 8 p.m. Sun., April 28. 12 MINUTES MAX OTB’s performance omnibus of new work. On the Boards, 100 W. Roy St., 217-9886, onthe boards.org. $8. 7 p.m. Sun., April 28–Mon., April 29. ABOUT THAT TREE SEE THE WIRE, PAGE 19.
STG THANKS OUR SUPPORTERS FOR INVESTING IN MEANINGFUL EXPERIENCES FOR OUR COMMUNITY AND FUTURE GENRATIONS OF PERFORMING ARTISTS.
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Classical, Etc.
• ROBIN & RACHELLE MCCABE Music for two pianos
(Ravel, Rachmaninoff, and more) from this superb duo. Meany Hall, UW campus, 543-4880, music.washington. edu. $12–$20. 7:30 p.m. Wed., April 24. IMPFEST V That’s IMP as in improvisation, in UW’s weekend of performances and workshops with guest musicians, Bill Frisell, Eric Revis, and many others. See music.washington.edu for schedule of events at UW and the Chapel Performance Space, April 24–27. ABBY ARESTY Recent work from this UW grad-student composer. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. Free. 7 p.m. Thurs., April 25. SEATTLE SYMPHONY A new work by Pascal Zavaro is flanked by Sibelius’ Violin Concerto with soloist Hilary Hahn and Beethoven’s Seventh. (Friday’s one-hour “Untuxed” concert includes Beethoven only.) Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$142. 7:30 p.m. Thurs., April 25, 7 p.m. Fri., April 26, 8 p.m. Sat., April 27. LAKE UNION CIVIC ORCHESTRA Jo Nardolillo is the soloist for the premiere of Thomas Pasatieri’s Viola Concerto; Christophe Chagnard also conducts Mussorgsky and Mendelssohn. Town Hall, 1119 Eighth Ave., 343-LUCO, luco.org. $13–$18. 7:30 p.m. Fri., April 26. SEATTLE SYMPHONY: [UNTITLED] Their successful late-night new-music series ends its season with music by SSO members. Benaroya Hall, 200 University St., 2154747, seattlesymphony.org. $17. 10 p.m. Fri., April 26. METROPOLITAN OPERA AT THE MOVIES Handel’s Giulio Cesare, with David Daniels and Natalie Dessay. (Encored May 15.) See metopera.org for participating theaters and ticket prices. 9 a.m. Sat., April 27. BAROQUE NORTHWEST Going a bit further afield with music from the Near and Far East in “The Silk Road.” Trinity Episcopal Church, 609 Eighth Ave., baroque northwest.com. $10–$25. 7:30 p.m. Sat., April 27. THE TUDOR CHOIR “Music for the Sistine Chapel” includes works by Allegri, Josquin, and others., Blessed Sacrament Church, 5050 Eighth Ave. N.E., 323-9415, tudor choir.org. $20–$30. 7:30 p.m. Sat., April 27. BENJAMIN VERDERY Spanish music and Bach (and his own compositions and arrangements) from this guitarist. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $25–$32. 7:30 p.m. Sat., April 27. AUBURN SYMPHONY There’s seemingly no end to the Rite of Spring performances in the groundbreaking ballet’s centennial year; it’s here paired with Strauss’ Death and Transfiguration. Auburn Performing Arts Center, 700 E. Main St., 253-887-7777, auburnsymphony.org. $10–$34. 7:30 p.m. Sat., April 27, 2:30 p.m. Sun., April 28. SEATTLE YOUTH SYMPHONY A 70th-anniversary concert culminates in Mussorgsky’s Pictures at an Exhibition. Benaroya Hall, 200 University St., 362-2300, syso.org. $20–$50. 3 p.m. Sun., April 28. MEDIEVAL WOMEN’S CHOIR Three concerts celebrate the music of St. Hildegard of Bingen. 8 p.m. Sun., April 28: vocal chamber music. 7 p.m. Sun., May 5: an open sing ($10). 8 p.m. Sat., May 11: the full choir. St. James Cathedral, 804 Ninth Ave., 264-4822, medieval womenschoir.org. $22–$25. STEPHEN DRURY SEE EAR SUPPLY, PAGE 22.
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NAtHAN AwEAu ANN HAmptON & Amy HANAIAlI’I CAllAwAy: Saturday | may 4 The STreiSand $30, $35 & $40, Songbook $15 youth/student Sponsored by Koenig Financial Group and Ron & michelle Clyborne/ windermere Real Estate North
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pants in the SSO’s program; composer Sam Jones is stepping down from directing the workshop after this season. Benaroya Recital Hall, Third Ave. and Union St., seattlesymphony.org. Free. 7:30 p.m. Tues., April 30.
2012–2013 SEASON presented by
SEATTLE WEEKLY • APRIL 24 — 30, 2013
new ensemble-generated show, the title is all the synopsis you need. Theater Off Jackson, 409 Seventh Ave. S., ponyworld.org. $10–$15. 8 p.m. Thurs.–Sat. Ends May 4. 42ND STREET The quintessential backstage musical. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 2324145 x109, youththeatre.org. $15–$17. 7 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 5. GREY GARDENS Based on the 1975 documentary about Jackie O’s relatives who lived in a decrepit Long Island mansion. Doug Wright’s book for this 2006 musical does what the Maysles brothers could not: We get to see the lofty roost from which the Beale/Bouviers fell to earth. 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 HAIRY APE O’Neill’s examination of the class divide aboardship: the privileged above, workers below. Ballard Underground, 2220 N.W. Market St., 395-5458, ghostlight theatricals.org. $12–$15. 7:30 p.m. Thurs.–Sat. plus 7:30 p.m. April 29 and 2 p.m. May 5. Ends May 5. JERSEY BOYS Based on actual interviews with the Four Seasons’ founders, Jersey Boys is the story of runaway egos, Catholic upbringings undone by the sexual revolution, and the singular falsetto of Frankie Valli. The book by Marshall Brickman and Rick Elice is a taut, well-told tale, and the songs and score, by original band member Bob Gaudio, are surprisingly resilient and as crisp as a new tuxedo. KEVIN PHINNEY 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29–$123. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends May 4. ONCE UPON A TIME 6X IN THE WEST An avant-musical take on myths of the old West. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.uw.edu. $10– $20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends April 28. PERICLES/MOLIERE Joint productions of Shakespeare’s adventure and two Moliere one-acts. Center House Theatre, Seattle Center. Free. See cornish.edu for exact schedule Ends April 28. THE TRIAL In Kenneth Albers’ new adaptation of the Kafka novel, bank clerk K. (Darragh Kennan), awakens to discover he’s “under arrest” by thugs who may or may not be “official.” Despite anchoring every scene, Kennan keeps his everyman modest, letting the supporting cast outsize him with adamant oddness. Paraphrasing Kafka’s notion about God, NCTC’s mood-rich production delivers the nuts, but leaves them for you to crack. MARGARET FRIEDMAN Inscape, 815 Seattle Blvd. S., wearenctc.org. $15–$30. 8 p.m. Thurs.–Sat., 7 p.m. Sun. Ends May 5. THE WHIPPING MAN This unlikely and affecting Passover drama traverses the concepts of freedom, justice, faith, and family against the backdrop of post-slavery Virginia. There, a wounded Jewish Confederate soldier returns to the remnants of his family home, to be greeted by his family’s two former slaves. Directed by Scott Nolte, Matthew Lopez’s often caustic tale contains deeply scarring family secrets, slowly and expertly unpacked by the cast of three. TERRA SULLIVAN 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.
Featuring the region’s finest young musicians mixing up popular and global sounds
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arts»Visual Arts
MEET THE AUTHOR! JENNIE SHORTRIDGE LOVE WATER MEMORY
FRIDAY, APRIL 26TH AT 6:30PM
Miracle in Milan
Who is Lucie Walker? Even Lucie herself canít answer that question after she starts to build her life through the lens of amnesia. A bittersweet masterpiece filled with longing and hope, Jennie Shortridge's novel explores the raw, tender complexities of relationships and personal identity.
How Italy learned to sell its postwar style at the newsstand. BY BRIAN MILLER
O
JOSH & JAKE HARRIS
versized glossy magazines, often imported from Europe, once offered huge photo spreads of the latest fashions, architecture, home furnishings, and design. They were look books, bibles of Continental style, full of clothing, sofas, and cars you couldn’t afford. (But a $5 magazine? Sure, why not?) But today, everything’s shrunk to a palmsized screen, and the graphic arts suffer for it. For that reason, a kind of nostalgia seeps through the Bellevue Arts Museum exhibition Zoom: Ital-
THURSDAY, MAY 2 AT 6PM CAPTAIN PHIL HARRIS : THE LEGENDARY CRAB FISHERMAN, OUR HERO, OUR DAD The electrifying behind-the-scenes story of the late Deadliest Catch star, from his own two sons. His death in 2010, at the age of fiftythree, left a hole in the hearts of millions. In this exclusive authorized biography, Philís two surviving sons, Josh and Jake Harris, team up with bestselling author Steve Springer and coauthor Blake Chavez to share the thrilling story of Philís remarkable life.
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ian Design and the Photography of Aldo and Marirosa Ballo, though the show celebrates an era
that was emphatically forward-looking.
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
Chamber Music Society of Lincoln Center
24
May 7
Jon Kimura Parker May 8
206-543-4880 | uwworldseries.org
Postwar Milan began booming in the ’50s. Modern factories were churning out Fiats and Ferraris, Olivetti typewriters and Pirelli tires. Plastic suddenly became a chic, colorful material. Italians were tired of old traditions and inherited forms. Enough with history! Basta! The Ballos were commercial photographers who took product shots, an inelegant term for often elegant telephones, chairs, and other consumer goods. They weren’t really designers, like Charles and Ray Eames, but evangelists for good design. Before Americans or Europeans could buy new creations by Ettore Sottsass or Alberto Alessi, for instance, they first saw those images in imported Italian magazines and catalogs—presented in the best possible light, which was the Ballos’ job. For a certain kind of magazine browser with a long-enough memory, their images from Casa Vogue or Domus recall the Campari-soaked ’60s and ’70s—all sex and glamour, only with all the people taken out. They provide the context, the surrounding decor, rather like movie production designers. (You half expect Monica Vitti or Claudia Cardinale to wander into their frames, which look like stills from empty film sets.) Organized by the Vitra Design Museum in Germany, and here making its only stop in the U.S., “Zoom” includes some 300 images from the Ballos, plus some of the products, posters, magazines, and other objects of their era. It’s very much a browser’s show, ranging from the ’50s through the unfortunate Memphis-studio design eruption of the ’80s, part of the mix-andmatch postmodernist moment. (Aldo died in
The Dondolo chaise lounge.
STUDIO BALLO/VITRA DESIGN MUSEUM
Marirosa and Aldo Ballo, pictured in the early ’70s.
VITRA DESIGN MUSEUM
WWW.THIRDPLACEBOOKS.COM
1994, ending their studio’s four-decade run.) But you needn’t follow any chronological pattern. It’s more interesting to make associations among the objects, these artifacts that once promised to modernize our home and office lives. The beautiful red Olivetti Valentine portable typewriter drops perfectly into its fitted satchel, a precursor of laptops today. A pea-green “living bed” has built-in phonograph, TV, and telephone—an entertainment center you can sleep on! Archizoom’s zebra-striped Safari conversation pit molds six sitters into an exact arrangement; it’s like something you’d expect to see in Sleeper or BlowUp, or in a house designed by John Lautner. The dominant aesthetic isn’t exactly mid-century modernism but something closer to a sleek, space-age futurism. The gadgets are electric, not electronic. There are adding machines and clocks with dials (some by the Milan-based German designer Richard Sapper, who later did important work for IBM). There’s a fundamental optimism to each new product line, each new sales year. What “Zoom” and the Ballos are showcasing—or selling, to be more accurate—is the Italian answer to the competing industrial designs of Braun and Sony, Germany and Japan. (Which, also following its 2011 George Nelson show,
BAM really ought to feature.) Home furnishings and office products are mundane background items, almost made invisible by their close-reach ubiquity. For that reason, too, they’re blank templates for radical reinvention. A chair is a chair is a chair until, say, Cesare Leonardi and Franca Stagi bend a sheet of Fiberglas into the Dondolo rocking chaise lounge. Would you want to sit on it today? Maybe not; but thanks to the Ballos, it still looks terrific. E
bmiller@seattleweekly.com
BELLEVUE ARTS MUSEUM 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. 11 a.m.–5 p.m. Tues.–Sun. Ends. June 16.
arts»Visual Arts B Y G W E N D O LY N E L L I O T T
SEATTLE LEAGUE OF ARTS JURIED SHOW: Work in
a variety of media is featured from Betty Bartlett, Beth Betker, Susan Bloch, Clifford Burkey, Carol Castaneda, Elaine Cohn, Lynn Kerr, and Eunice Smith. Reception during the Third Thursday Art Walk, 5-8 p.m. Thurs., April 25. Gallery North, 508 Main St. (Edmonds), 425774-0946, gallery-north.com, Mon.-Sun., 11 a.m.-5 p.m. Through April 30.
Openings & Events ASSOCIATE OF FINE ART GRADUATE SHOW
NORTHWEST WATERCOLOR SOCIETY 73RD OPEN INTERNATIONAL EXHIBITION Selected by juror
Mark Mehaffey, the show features paintings by international artists. Reception, 6-8 p.m. Thurs., April 25. Mercer View Gallery, 8236 S.E. 24th St. (Mercer Island), 275-7609, mercergov.org, Mon.-Fri., 6:30 a.m.-9 p.m. Through May 31. OPEN STUDIO NIGHT FOR TEENS Featuring artist demonstrations and activities including printmaking with Bonnie AuBuchon, collage puppets with Cynthia Gaub, and paper wall sculpture with Anna Mastronardi Nova. Schack Art Center, 2921 Hoyt Ave. (Everett), 425257-8380, schack.org, Free, Thu., April 25, 6-8 p.m. Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended
•
TheFussyeye » by brian miller
A Sense of Placement
RIK ALLEN Seeker are his sculptural works and a site-
specific installation that explore themes of space and limitless expanses. Sunday & Monday: Noon - 5pm. La Conner Museum of Northwest Art, 121 1st St. (La Conner), 360-466-4446, museumofnwart.org, $3-$8, Tues.-Sat., 10 a.m.-5 p.m.; Mon., Sun., 12-5 p.m. Through June 9. KAREN BIT VEJLE Scissors for a Brush is the Norwegian artist’s collection of intricate paper cuts. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org, $4-$6, Tues.-Sat., 10 a.m.-4 p.m.; Sun., 12-4 p.m. Through June 16. CHAMBER MUSIC/36 CHAMBERS “Most people don’t know the Frye does contemporary art,” says curator Lawrimore as we walk through his show Chamber Music, in which 36 local artists have created new works based on music based on James Joyce’s 1907 poetry collection Chamber Music. The 36 new works, mostly paintings, are hung numerically in the order of Joyce’s verses (and the album). You could, if obsessive, revolve clockwise around the room in sync to the music, but that’s not Lawrimore’s agenda. Instead, he wants visitors to sit and linger around the large, low three-armed wooden bench in the center of the room. In circular form, it’s modeled on a “gossip chair” (such as you’ll see in 36 Chambers, selections from the Frye’s permanent collection, in the adjacent gallery), but with a larger, more interactive intent. Contained within the structure, a kind of artist’s supply cabinet, are three dozen cubbyholes in which each contributor has left a little trove of documentary materials. Go ahead and touch them, Lawrimore tells me; take them out and browse. It’s a rare, interactive opportunity to sit and study in a museum; the gallery becomes like a library reading room. Or an archive, as Lawrimore also intends. BRIAN MILLER Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Tues., Weds., Fri.-Sun., 11 a.m.-5 p.m.; Thurs., 11 a.m.-7 p.m. Through May 5.
and admire it. In truth, it’s more of a whimsical, oversized dingbat than great art. It looks like a Jim Flora squiggle writ large, but I like it. And it deserves a better site—up the street by the TK Building, perhaps. Where is it written that public art can’t be moved, especially as neighborhoods
Opens Friday! By William Shakespeare | Directed by Aimée Bruneau
Apr. 25–May 12, 2013 Performed at the Playhouse
Ticket Office: 206-733-8222 www.seattleshakespeare.org
By Katie Forgette Directed by R. Hamilton Wright
Now-May 12
change? The city moves other things it owns (utilities, fire stations, seawalls, etc.). Right now, Anawog feels stranded and unappreciated, outside the circuit of the First Thursday art walk. Give it some legs. Second Avenue South & South Washington Street.
The boomer generation won’t go down without a fight! The mark ASSISTED LIVING is used with the permission of Compton & Bennett, Inc.
ACT – A Contemporary Theatre (206) 292-7676 | 700 Union St, Seattle, WA 98101
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SEATTLE WEEKLY • APRIL 24 — 30, 2013
Since Seattle Weekly moved from Spring Street to south of Pioneer Square, a different set of public artworks marks my daily bicycle commute and lunchtime foraging. Forlorn among them is the cheerful orange Anawog, by Jan Evans, one of Seattle’s first 1-percent-for-art beneficiaries back in 1978. At that time, Pioneer Square had only recently been preserved; there were cheap artist lofts but relatively few galleries. (The Tashiro Kaplan Building wasn’t established until 2004.) Today, the tangled old blocks south of Yesler still feature several homeless shelters and soup kitchens—necessary services for a hard-luck population, but they’re not the type to buy or inspect the art. Anawog sits across Second from the Union Gospel Mission, on a little plaza fronting a pawn shop and the Double Header, a favorite tranny bar at the time the sculpture was bolted outside. The city keeps it clean of graffiti and provides new paint. Disappointingly, there’s no plaque to identify Anawog, no benches to encourage anyone to linger
Museums
BRIAN MILLER
Students show their work. Opening reception, 3:30-5 p.m. Thurs., April 25. Shoreline Community College, 16101 Greenwood Ave. N., 546-4101, shoreline. edu, Mon.-Thurs., 8 a.m.-5 p.m.; Fri., 8 a.m.-4:30 p.m. Through May 15. BEYOND TECHNIQUE Gallery artists Jacqui Beck, Mark Ditzler, Karen Graber, and Shari Kaufman show new work in a range of media. In the guest gallery: the miniature print exhibit little x little features members of Seattle Print Arts. Artists’ Reception 5-8 p.m., Sat., April 27. Columbia City Gallery, 4864 Rainier Ave. S., 7609834, columbiacitygallery.com, Weds.-Fri., 12-8 p.m.; Sat., Sun., 10 a.m.-6 p.m. Through June 9. CHERYL H. HAHN In Staccato, selections from the artist’s past two bodies of work, Molecular Memory and Winter Secrets, feature rich organic colors that attempt to mimic the feeling of being in nature. Patricia Cameron Gallery, 234 Dexter Ave. N., 343-9647, patriciacamerongallery.com, Opens April 29, Mon.-Fri., 11 a.m.-5 p.m. Through June 21. THE LANDSCAPE: DESCRIBED On view is the natureinspired work of Darlene Campbell, Kimberly Clark, Josh Dorman, Kathy Gore-Fuss, Laura Hamje, Michelle Muldrow, and Andrew Yates. Opening reception: 2-4 p.m. Sat., April 27. Prographica, 3419 E. Denny Wy., 322-3851, prographicadrawings.com, Opens April 27, Weds.-Sat., 11 a.m.-5 p.m. Through June 1.
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“The cultural provocateur who defined the creative revolution... the first photographer superstar.” -VANITY FAIR “Stern’s images from Marilyn’s ‘Last Sitting’ remain some of the most intimate celebrity portraits ever.” -TIME MAGAZINE
Bert Stern original mad man
A FILM BY SHANNAH LAUMEISTER
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
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Primary
film»This Week’s Attractions PMud
OPENS FRI., APRIL 26 AT MERIDIAN. NOT RATED. 101 MINUTES.
OPENS FRI., APRIL 26 AT MERIDIAN, SUNDANCE CINEMAS, AND THORNTON PLACE. RATED PG-13. 130 MINUTES.
Bert Stern: Original Mad Man OPENS FRI., APRIL 26 AT HARVARD EXIT. NOT RATED. 89 MINUTES.
Marilyn Monroe died a half-century ago, and I want nothing more to do with her. Yet thanks to baby boomer necrophilia, people are still making money off her corpse—including photographer Bert Stern, whose famous final session with Monroe was published in Vogue just before her 1962 OD. We get to those images by midpoint in this mediocre doc, directed by Shannah Laumeister, once a Lolita-ish model for Stern in the ’80s. (And, implicitly, then his teenaged lover. Eww.)
The first, more interesting part of Laumeister’s film evokes an era when Stern and his buddy Stanley Kubrick were ambitious young photographers in postwar New York. Stern, now a very self-satisfied 84, was an art director for various magazines (Flair, Look, etc.) and ad campaigns during the ’50s and ’60s. “He invented vodka,” says ad maven Jerry Della Femina of Stern’s work for Smirnoff. “No one drank vodka in America.” And that’s not a bad legacy to have. As legendary copywriter George Lois recalls, “The photographers were [Irving] Penn, [Richard] Avedon, and Stern in my mind.” High praise, but who would say that today? (For a better survey of the Mad Men era, see Doug Pray’s 2009 doc Art & Copy.) Stern freely confesses to being a lech who wanted to “make out with” (i.e., fuck) all his models. The inevitable montage of his portraitsitters includes Twiggy, Audrey Hepburn, Elizabeth Taylor, Sophia Loren, Candice Bergen, and a more recent Lindsay Lohan—posing as Marilyn for New York magazine. (Exhausted talent, meet exhausted talent.) Laumeister, often in frame to question “her mentor” (in his creepy estimation), deserves credit for letting Stern’s ex-wives and adult children share some fairly damning recollections. Drugs brought Stern low by the early ’70s. Broke and divorced, he began pawing through his old Monroe negatives, and a profitable second career was born. His latest Taschen photo book, a mashup with Norman Mailer’s 1973 Marilyn bio, sells for $69 on Amazon. There’s still a market, as this needless documentary also proves. BRIAN MILLER
It’s a Disaster OPENS FRI., APRIL 26 AT SIFF FILM CENTER, THEN MOVES TO SIFF CINEMA UPTOWN ON MON., APRIL 29. RATED R. 88 MINUTES.
Julia Stiles is one of those talented young actresses who burst onto the scene in the late ’90s. At 18, she glowed in the Shakespearean teen comedy 10 Things I Hate About You (1999), but since then she’s been reduced to supporting roles (Silver Linings Playbook and a couple
McConaughey (left) and Sheridan as his teen protector.
Bourne movies). So sharp, likable, and natural as an actress, she deserves better—like the role of Tracy in Todd Berger’s apocalyptic new comedy. It all starts innocuously, as Tracy, a doctor, takes her new boyfriend Glen (a surprisingly subdued David Cross) to a regular couples’ brunch at a friend’s house. Unfortunately, the ensemble cast is the real disaster here. The outing is supposedly Tracy and Glen’s third date, but Stiles and Cross have little to no chemistry. Nor do their half-dozen brunch companions show much friendship. And you can’t blame them, because they’re all extremely annoying people—for example, Lexi’s a picky, pushy vegan/musician; she and her husband, with a lightning-bolt tattoo on his bicep, boast of spending the prior evening with “the white lady.” The table’s set for a classic, tired battle of the sexes: The three girls talk about vintage purses, while the guys are clamoring to go check out the game. “Glen, you better go, it’s gonna get all vaginal in here,” says Lexi. Ugh. The afternoon’s interrupted by a power outage and then a neighbor (Berger) in a haz-mat suit, who informs them that all the major cities of the world have been bombed and that destruction is nigh. Was it aliens? Iranians? North Koreans? Berger doesn’t care. He just packs in comic details that are too clichéd to be funny: A neighbor’s offended he wasn’t invited to the party; a toilet handle needs to be jiggled; jokes about the guy who still has a landline, about Adderall, etc. Tracy is the funniest character by far, mainly because she’s so disdainful of her friends. By the time Glen finally reveals a little depth, only 10 minutes are left in the film. His Hydeto-Jekyll transformation is hilariously unexpected, and it leads to a tense, genuinely funny ending. But it’s too little, too late. For viewers, the question is less “Will they all die?” than “Would I really mind if they did?” ERIN K. THOMPSON
It takes Matthew McConaughey a whole 95 minutes to remove his shirt in Mud, which is surely some kind of record. But to his credit, the Texas hunk has been enjoying a strong midcareer resurgence with Killer Joe, The Paperboy, Bernie, and Magic Mike. Ben Affleck may have the Oscar for Argo, but McConaughey’s redemption has been no less emphatic. It helps that he’s been working with good directors, like Jeff Nichols, whose Take Shelter was one of 2011’s best movies. Mud is Nichols’ third film to be set in rural Arkansas, this time on a sleepy estuary of the Mississippi. McConaughey’s character, known only as Mud, is a ne’er-do-well native, a fugitive and teller of tall tales, hiding on a sandbar island. His improbable refuge—a boat lifted into the trees by a recent flood—is discovered by two young teens who naturally idolize this tattooed, charismatic outcast. Mud has a neat treehouse; Mud has a hot girlfriend (Reese Witherspoon) and a gun; Mud is every 14-year-old’s idea of cool, like some dude from a cigarette ad come to life. Back home, reality is more complicated for Ellis (Tye Sheridan, one of Brad Pitt’s boys in The Tree of Life). Mud is his story, not Mud’s, as Ellis watches his parents’ marriage dissolve, has his first kiss, and begins to question the story Mud is feeding him. These scenes on shore feel undeniably real, grounded in the strip malls and fishing shacks of DeWitt, Arkansas (where Nichols has kin). There’s not much money, little beauty, a sense of diminished horizons. The locals shop at Piggly Wiggly because even Walmart is too expensive. The divide between magical isle and prosaic mainland is intentional, since Nichols clearly means for Ellis’ coming-of-age to coincide with his disillusionment with Mud. Still, the domestic scenes are a bit too familiar, and McConaughey’s romantic bandit can seem like he’s in a different movie, playing for an audience of two—Ellis and his pal Neckbone ( Jacob Lofland). Though a little too long and leisurely—shall we just say Southern?—for my taste, Mud is very well crafted and acted. (Look for Sam Shepard, Michael Shannon, and Joe Don Baker in significant supporting roles.) It’s a big step up from indie-dom for Nichols, but it’s also a step back to the classical. I mean this respectfully, but Mud feels like it could’ve been made in early-’60s Hollywood, written by Horton Foote. There are traces of Huckleberry Finn and To Kill a Mockingbird—not because Nichols is borrowing, but because he’s plainly plowing that vein of Americana. What finally wins you over, though, is the naturalistic, dirt-bikin’, boat-thievin’ freedom of Ellis and Neckbone, their rapport and worship of the grandstanding outlaw Mud, and the way he feeds on their adulation—just enough, possibly, to become a better man. Snaggle-toothed and wild-eyed, Mud is drunk on his own mythology of snakes, magical shirts, and boots with crosses in their heels to ward off the devil. He’s a guy in love with his own image, but aware it’s only an act; and I can’t help but wonder if McConaughey’s new depth as an actor—at age 43— carries some of that same self-assessment. It’s not just Ellis who’s growing up here. BRIAN MILLER
SEATTLE WEEKLY • APRIL 24 — 30, 2013
The name Arthur Newman has been plucked out of thin air by an Orlando FedEx floor manager (and onetime amateur golf champ) named Wallace Avery. Nebbishy Wallace (Colin Firth) has suddenly glimpsed the opportunity to drop out of his life and start over, and “Arthur Newman” sounds like a suitably bland pseudonym. Who knows where the name comes from? A subconscious desire to be that new man? A vague recall of countless Mad magazine covers? Whatever, it drives Wallace to becomes something— anything—other than what he is now. And so we launch into Arthur Newman, a wish-fulfillment movie on the tantalizing topic of wiping the slate clean and starting over. For our hero, this means faking a suicide and hitting the road in a new convertible, leaving behind an estranged son (Lucas Hedges) and a girlfriend (Anne Heche—who, as usual, does a lot with very little). It comes as a huge disappointment that the film almost immediately introduces Arthur—we’ll call him that from now on—to a tiresome example of the manic pixie form, a girl called Mike (Emily Blunt), who shows up in a lounge chair by the pool at Arthur’s motel at midnight, tanked on cough syrup and selfloathing. His journey is thus derailed by a kook romance, as the two engage in a little harmless breaking and entering while role-playing their way through different characters. You can feel the wind leave the movie’s sails when Mike shows up, as Arthur’s open road narrows to one neurotic (and, to be sure, erotic) focus. Nothing against the resourceful Blunt, who tries hard to get something authentic into screenwriter Becky Johnston’s conception of the role, but she has an impossible task. Firth revels in the tonelessness of his American accent, which reflects his character’s blankness. The whole exercise supplies a tidy metaphor for acting, as he tests out voices for Arthur, looking for the key to this new persona he’s tackling. Director Dante Ariola has a track record in TV commercials, a history betrayed by his willingness to opt for the cutesy joke at every opportunity. The movie’s plot conjures up a faraway echo of the 1969 Francis Ford Coppola oddity The Rain People, and the comparison isn’t kind: Where Coppola went for arthouse eeriness, Ariola settles for self-satisfied vignettes. This undercuts whatever chance Firth and Blunt have at exploring the subject of personal emptiness and leads to a sentimental conclusion that resolves too much—while at the same time supposedly “leaving the door open.” The latter presumes our curiosity about what happens next, which seems unlikely in this case. ROBERT HORTON
JAMES BRIDGES/ROADSIDE ATTRACTIONS
Arthur Newman
» CONTINUED ON PAGE 28 27
film» LABYRINTH
This Week’s Attractions » FROM PAGE 27
and Buñuel; there’s a further Pirandello aspect to the boardinghouse characters, so self-aware of their place in this fictional world. Old Celso claims to be waiting for an assassin, but even a bloody shootout doesn’t put an end to Night. The victims, now ghosts, hold a cheerful séance—but who are they trying to contact? Usually it’s the living who seek the dead. But for Ruiz, those realms are parallel or even circular, rolling around like marbles.
Fri - Wed @ 7:00pm
Night Across the Street RUNS FRI., APRIL 26–THURS., MAY 2 AT NORTHWEST FILM FORUM. NOT RATED. 110 MINUTES.
HOWARD THE DUCK Fri - Wed @ 9:30pm
HIGH ADVENTURE: ESCAPE FROM NEW YORK Thursday @ 8:00pm
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“A nightmarish haze of paranoia, hysteria, and murder.” Hammer to Nail
BOX OFFICE OPENS
APRIL ��– MAY �
MAY 2, 2013
, 2013
APRIL �� at �pm APRIL �� at 11pm GR ANDILLUSIONCINEMA.ORG ���� NE ��TH STREET | ���-����
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
206.324.9996 siff.net
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NOW PLAYING: Fri Apr 26–Thu May 2 At the Uptown
Billed as the last completed film by Raúl Ruiz (1941–2011), the prolific Chilean expat who worked most of his career in France, Night Across the Street also bears the stamp of Chilean writer Hernán del Solar, who’s even less known in the U.S. In this adaptation of Solar’s stories, Celso (Sergio Hernández) is nearing retirement, an office clerk with no wife or kids. His mind drifts back to childhood scenes in which he’s sometimes a youthful participant, sometimes a grown observer, sometimes both. In the present—though temporal lines are extremely fluid—he lives in an old boardinghouse among various colorful characters. It’s a place of memories and fantasy figures; its rooms are like the chambers of Celso’s own mind, with doors leading to doors of remembrance. Old Celso’s best friend is imaginary: the Chilean writer Jean Giono, a real figure here incorporated into the fiction. He and Celso discuss “marbles of time”—how we don’t experience time as a continuous flow, which is very much Ruiz’s working method here. Old Celso is also called “an immobile voyager,” a man sailing through time from his armchair. All his alarm clocks and shipsin-bottles are tokens of time suspended (or possibly repeating itself ). In scenes from his ’50s youth, Beethoven shows up, striding across the soccer field. Young Celso (Santiago Figueroa) and a pal even take the composer to the movies, where the cowboys and Indians confound poor Beethoven. (“How tall the people are!”) There are also periodic consultations with Long John Silver, his pirate vessel seen crashing across the celluloid waves of old black-and-white Hollywood. (Ruiz not-socoincidentally directed a version of Treasure Island in 1985.) The tone is by turns whimsical and absurd, comic and morbid, slow and silly. Scenes suddenly shift in visual and metaphysical perspective. You can see the influence of Borges
Pain & Gain OPENS FRI., APRIL 26 AT MERIDIAN AND OTHER THEATERS. RATED R. 120 MINUTES.
Michael Bay has spent the past few years living in the very profitable world of Transformers, but his new film is based on an actual series of crimes in mid-’90s Miami. Daniel (an astringent Mark Wahlberg) is a personal trainer barely making ends meet, worried about “another 40 years of wearing sweatpants to work.” To avoid that fate, he corrals two of his beefiest Sun Gym coworkers: Adrian (Anthony Mackie, of 8 Mile and The Hurt Locker), whose muscular goal is to have to walk sideways through doorways; and Paul (Dwayne “The Rock” Johnson), a former cokehead and current born-again Christian fresh out of prison. The trio kidnaps one of Daniel’s clients, a smug, self-satisfied millionaire named Kershaw (Monk’s Tony Shalhoub), and forces him to sign over his assets—bank account, house, cars, everything. At first, Daniel’s frustration with his socioeconomic plight earns our sympathy, even taking into account his past history of fraud. Wahlberg is Wahlberg, Mackie is handsome and winning, and Johnson’s dopey mug has its charms. But all three performances are lost in this gaudy mess of a film. It’s packed with Bay’s usual machismo: strippers, Lamborghinis, Tasers, steroids, and ladies with fake boobs. And the violence is shockingly nonchalant. Barbells make a merry clinking sound as they smash into a man’s Adam’s apple. When a toe gets shot off, of course there’s a slo-mo closeup; ditto when someone’s skull is run over with a van. (The ease with which the gang purchases weaponry without a background
FROM THE LEGENDARY STUDIO GHIBLI CREATORS OF SPIRITED AWAY AND THE SECRET WORLD OF ARRIETTY
BREATHTAKING!”
“
42
Jackie Robinson: the man who made the number famous
-Peter Debruge, VARIETY
VISUAL MAGIC!” “STUNNING!”
“
Final Week!
UPSTREAM COLOR
-AO Scott, THE NEW YORK TIMES
“Mind-Blowing!” –Wall Street Journal
Opening May 3
-Kenneth Turan, LOS ANGELES TIMES
EDEN
SIFF award winner from Megan Griffiths
Opens Fri April 26 | Film Center
IT’S A DISASTER
RENOIR
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check is disturbing on another, broader level.) Our heroes show no compunction about beating Kershaw, pouring alcohol down his throat, and burning his hands. If, earlier, we watch Kershaw verbally abusing his employees, Bay seems to see that as equivalent to his subsequent torture. Even if gratuitous violence is OK with you, there’s plenty else to offend: jokes about rape, Indians being confused with Native Americans, and Paul punching a man for coming on
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to him. Having been stuck in PG-13 land for the last decade, Bay too eagerly grabs at the R, embracing every stereotype and blood -platter. “No homos in this bunch, right?” Daniel asks some kids at the gym. No, and nor will there be any in the audience for Pain & Gain. Nor any women. Nor anyone with a brain. Just because Bay’s characters are a bunch of clueless meatheads doesn’t have to mean his viewers are, too. But that’s probably the way it’ll work out. ERIN K. THOMPSON
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A convincing fistfight is always a challenge to execute in the movies, so Sun Don’t Shine begins on a promising note: two people, a young man and woman, ham-handedly scrapping in the midday Florida sun. They look clumsy, stupid in their movements, and the scuffle has an authentically awkward feel. Plus, it lets us know we’re in the middle of something. The two are Crystal (Kate Lyn Sheil) and Leo (Kentucker Audley), who are driving across the Sunshine State for reasons that will dribble out only gradually. Despite the momentary fracas, they are together, in an awful sort of l’amour fou kind of way, and the gun in the glove compartment suggests that they carry a dark secret on this journey. Leo is tight-lipped and unto himself, which might explain why Crystal goes the other direction: This tiny-eyed, baby-faced dynamo is a true loose cannon. It’s hard to choose which would be the worse companion for a road trip. Sun Don’t Shine is written and directed by Amy Seimetz, whose performances in local director Megan Griffiths’ The Off Hours and Shane Carruth’s current puzzler Upstream Color have marked her as one of her generation’s more fiercely watchable actresses. She doesn’t appear in Sun Don’t Shine, but displays enough directing touch to make you curious to see more. RedfoRd bRit maRling
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The film’s most notable success comes in conjuring the humid texture of a particular place, from the Florida backroads to the tourist kitsch of the mermaid show at Weeki Wachee Springs. Gorgeously shot on 16 mm film—with cameras loaned by Northwest Film Forum—and baked in the subtropical sun, the stifling mood could explain the unhappy twosome’s obscure behavior. Sheil and Audley come from the lo-fi realm of indie film (some folks call it mumblecore), and there’s a workshopped aspect to Sun Don’t Shine that will either provide excitement or exasperation, depending on your tolerance for that vibe. I confess that Seimetz appears more fascinated by Sheil’s otherworldly spaciness than I am, but maybe that’s a matter of taste. The picture feels closer in spirit to the American cinema of the ’70s than to mumblecore, and it does steer in the direction of the more out-there efforts of Robert Altman and Monte Hellman during that era. (Occasionally I wish a young filmmaker would revisit the American cinema of the ’30s, but that doesn’t seem likely.) Here, you have to be willing to put up with the maddening match of Leo and Crystal, but the movie around them is a persuasive fever-dream. ROBERT HORTON E
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Stuck in Time
Brass Tacks’ decor is a parody of the present, but its menu signals a bright future for the Georgetown restaurant’s chef. BY HANNA RASKIN
O
haiku, one I’d nominate for dining poem of the decade: “Whole locally raised/Suckling pig, slow-roasted and/Served family style.” Ladies and gentlemen, the voice of our food generation. The birthday party of eight gathered around the pig on a recent Saturday night was dressed much as The Breadline’s Fecker might have costumed them: The men wore hoodies, woollen caps, and short-sleeve plaid shirts that looked as though they’d spent time on a secondhand-store rack. The women wore scarves. But even after the celebrants left, the dining room was rife with visual references to right now, from the bar well, stocked with Fernet Branca and Old Overholt rye, to the Mason jars of housemade booze infusions resting on shelves overhead. Brass Tacks is sparsely furnished with metallegged wooden tables, which leaves room for a shuffleboard table, a foosball table, and an upright piano. There’s also seating at the open kitchen, which is decorated with a potted tree, and in a short row of theater seats pushed up against a vintage trunk. As expected, the ceiling rafters are exposed and most of the lightbulbs are bare.
JOSHUA HUSTON
T
Chef Chris Opsata, top, prepares a pickle and bread dish, above, and a salad of split roasted artichoke stalks, thin radish discs, white beans, and a smattering of roasted garlic slivers as a disciplined homage to the season.
precisely evoked such a specific moment in time. But then, in January, Brass Tacks opened in Georgetown. Unlike The Breadline, Brass Tacks doesn’t purport to be anything but a serious restaurant and neighborhood drinking den. But its calculated scruffy-chic aesthetic is so peculiar to the Pacific Northwest in 2013 (or perhaps Brooklyn in 2011) that it’s a shame he demise of future historians can’t see The Breadline » PRICE GUIDE it. The room’s begging for a came in two PICKLES .........................................$5 few interpretive wall labels waves. First it POUTINE .......................................$9 LAMB SLIDER ............................. $12 and a tour guide to parse was sold to Rob Karlen, who ROASTED ARTICHOKE .............$9 STEAK FRITES........................... $19 early-21st-century fauxpink-slipped the septuageartisan culture. narian pie baker, modernized Of course, culinary quirks the decor, and rechristened wouldn’t become clichés if there weren’t plenty of the restaurant Johanna’s. But customers wanted their hard times back, so Fecker returned in 1980 restaurants practicing them. What vaults Brass Tacks into the realm of parody is the sheer numto varnish the fading Depression vibe. The folber of trendy elements packed into a single space, lowing year, the Seattle City Directory listed the starting with the punched metal tags mounted venue as vacant. on a block of wood secured in an oldfangled vice. With theme restaurants on the wane, it “Please seat yourself,” the tags instruct. seemed unlikely Seattleites would ever again In au courant fashion, service is highly lackahave the chance to dine in a restaurant that so
T
Still, if you order anything which could be the punch line of a Portlandia sketch, you’re probably in fine shape. daisical. Asked to identify the cured meats on a housemade charcuterie plate, a server drifted her finger around the plate: “You have the coppa, the saucisson, and the something,” she said confidently. Sorry? She skittered away for the correct name, but had forgotten it by the time she returned. On another visit, we didn’t see much of the server, but she did show up to competently explain exactly how the bar had screwed up a glass of iced tea (pouring scorching hot tea over too much ice did the trick). Servers appear to fawn more readily over guests who sign up for the $400 whole-hog supper. Surely the syllable count wasn’t intentional, but the menu description of the feast is an actual
he menu is also extraordinarily predictable: Small plates include poutine and candied bacon, and you can add an over-easy duck egg to your Painted Hills burger. Before spring arrived, there were roasted Brussels sprouts. But the food doesn’t feel anywhere near as derivative as the room. The cured meats which our server couldn’t properly introduce? They were great. The coppa was especially excellent: Tender and porky, the thin slices of pork bustled with clean white fat. The accompanying pickled vegetables, which offered a prism of sweet, briny, and bitter flavors, were just as impressive. Not every dish from chef Chris Opsata, late of Urban Enoteca, is a winner. Glazed chicken wings, which have since been replaced by jerk thighs, were floppy and sweet. French onion soup had a dreggy tar, and a tough hanger steak was underseasoned. Still, if you order anything which could be the punch line of a Portlandia sketch, you’re probably in fine shape. The lamb sliders, perched on grilled brioche buns and smeared with a tart horseradish aioli, are wonderfully juicy, and a salad of split roasted artichoke stalks, thin radish discs, white beans, and a smattering of roasted garlic slivers is a disciplined homage to the season. Campanelle noodles and white cheese, studded with patches of house-smoked brisket and grained with cumin breadcrumbs, is far better than its menu mac-’n’cheese designation lets on. As The Breadline proved, restaurants tied too closely to a particular moment are doomed to quickly become history. But the food at the otherwise ridiculous Brass Tacks suggests Opsata has a very bright future. E
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BRASS TACKS 6031 Airport Way S., 397-3821, georgetownbrass.com. 11 a.m.–2 a.m.Tues.–Sun.
SEATTLE WEEKLY • APRIL 24 — 30, 2013
f all the weird restaurants that have popped up in Pioneer Square since Doc Maynard built his cabin there, The Breadline may have been the very weirdest. From October 29, 1974, until 1978, the basement restaurant coaxed eaters into reliving the Depression, an era that typically ranks somewhere between the Mongol Invasion and the Boston Smallpox Epidemic on the list of fun-loving themes. “It’ll be the first Skidroad restaurant to really fit the area,” owner Jack Fecker promised the Post-Intelligencer’s Emmett Watson. “And here’s one more touch—we’re going to hire senior citizens as waiters and waitresses.” The oldsters were supposed to entertain customers with their recollections of darned socks and flour-sack dresses, but Seattle bookseller John Polley—who briefly worked part-time at The Breadline alongside his father, George—says the restaurant owners got a good deal when they hired 75 retirees. “They were people who were used to working hard,” Polley recalls. “I used to get tired, but my dad never complained.” Fecker outfitted his hostesses and waitresses in the flowery housecoats that signified frumpiness in the mid-1970s, when Vicki Lawrence was waddling around on CBS as the matriarch of The Carol Burnett Show’s “Family.” At the bar, Fecker’s 90-year-old father wore a vest and bow tie when he poured wine from gallon jugs into thin-necked milk bottles and Mason jars. The room was done up in period costume, too, with Hoosier pie safes, wood cookstoves, and washtubs lining its walls. While the restaurant’s prized object was a 1931 Ford truck, its centerpiece was a 36-foot-long communal table that a reviewer cited as evidence that “there has been little done to romanticize the terrible ’30s.” On most nights, Polley says, every mismatched wooden chair at the table was taken. “Oh yeah, you bet, it was quite popular,” he says. Folks liked the vittles, which were as purposely dated as the decor: The menu listed sourdough rolls, four stews, 14 soups (the house specialty was bean), and chicken-and-dumplings as a Sunday special. Fecker joked that if stagflation spiraled into something worse, the restaurant was ready to do its charitable duty. “They had a great split-pea soup, actually,” Polley says.
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Break On Through to the Eastside
Many Seattle residents don’t like to head to the Eastside for pretty much any reason. I remember talking to a longtime Seattle brewer at last year’s National Homebrew Conference, held in Bellevue, and found out that it was his first visit ever to the city in the 20-plus years he has lived in Seattle. Seriously. His comment was something along the lines of, “The beer sucks. Why the hell would I choose to come over here?” From a beer perspective, the Eastside has definitely been a bit lacking for quite a long time. Until a few years ago, Redhook, Rock Bottom Bellevue (which is much more competent than your average Rock Bottom location), and Mac & Jack’s, which does not offer on-site consumption, were the only breweries located in the heavily populated area between Issaquah and Lake Washington.
After much preparation, build-up and excitement, Bellevue’s first locally owned brewery finally opened in December. Located in the Bell-Red corridor, Bellevue Brewing is not a small start-up operation, at least as far as craft breweries go. Their 20bbl brewhouse is located next to their
Of course, more breweries are in the works. Hi-Fi Brewing is building out their 15bbl brewery and taproom, located just down the street from Black Raven in Redmond, with the expectation of opening sometime later this year. They will plan to sell most of the beer out of the taproom to start, including growler sales, and they will explore distribution as things progress. They aren’t saying much about the styles they plan to brew at this point, but they did say we can expect to see a lager and a session beer in their core lineup. These are two styles they consider under-explored here in the region, and I couldn’t agree more.
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As you can see, there are plenty of reasons to go to the Eastside. Just think, in 10 short years you will be able to take the Link Light Rail to within walking distance of Bellevue Brewing.
Head West If West Seattle is more your speed, you will be happy to hear about West Seattle Brewing. WSBC is starting off with a small 1½ bbl system so that they can get up and running, but they think they have enough room in their current location to expand to a 10 bbl system over time. They will offer their West Pale and an ESB as their two core beers to start, but they plan on rotating in many other styles as capacity allows. They hope to have their taproom open soon, but until then you can look for their beers at A Terrible Beauty and Locol in West Seattle. Once WSBC is open, expect some special beers available only in the tasting room, including barrel-aged beers and seasonal specialties. Also of note is that they have ample room for sidewalk seating, something that can be hard to come by in West Seattle. Make sure to mark your calendars for Seattle Beer Week, May 9 – 19 at bars, breweries, retailers, restaurants, and more across the city.
Geoff Kaiser thoroughly enjoys researching the Seattle beer scene. Visit his website at Seattlebeernews.com.
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Times have changed. A wave of new breweries have popped up in the area, and there is no sign of the trend slowing down. Black Raven Brewing in Redmond has become one of the state’s most indemand breweries since opening in 2009, with multiple expansions in the books and another one on the way. If you still have not made the pilgrimage to visit their taproom, you should put it on your list. Just down the road in Woodinville, no less than four breweries have joined Redhook. 12 Bar Brews, Dirty Bucket Brewing, Brickyard Brewing, and Triplehorn Brewing have made the area ripe for brewery touring, in addition to the typical wine touring. Newcomer Triplehorn is possibly the most impressive of the bunch. Their Landwink IPA is very solid, as any example in the Northwest is required to be, but they have offered quite a range of other styles, including Ol du Vin, a saison blended with Roussanne wine from their neighbor Patterson Cellars and then aged in Hungarian oak. The tiny Foggy Noggin Brewing is also located a short distance away in Bothell. Brewer Jim Jamison crafts his English-style ales on a small ½bbl brewing system (equivalent to a typical keg) located in his garage. Visiting their “taproom” is really more like going to hang out in a friend’s backyard for a day of drinking.
250-seat taproom, which has become a popular place to catch big sporting events on their projection and flat-screen TVs. Their IPA and Oatmeal Stout have impressed, and I look forward to trying some of their other seasonal and specialty releases, like a Cascadian Dark Ale and a Baltic Porter. They have a full kitchen, and they have big plans for future growth, assuming all goes well.
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ALittLeRAskin » by hanna raskin
Leave the Smoke Alone It’s far too early to assess the quality of the barbecue at Drunky’s Two Shoe BBQ, scheduled to open this summer in Fremont, but an Eater interview with owner Nate Rezac is likely to make smoked-meat connoisseurs lower their expectations a notch or two. “So we’re going to have a 6½-foottall by 8-foot-wide steel smoker that’s right in the center of the restaurant,” Rezac told Eater editor Julien Perry, who got the scoop on the restaurant’s debut. “We will be opening that smoker every so often and rotating the meat, checking the meat in front of everybody so they can really see the process.” That would be the process of ruining good meat, according to most pitmasters. As the barbecue saying goes, “If you’re looking, you’re not cooking.” Pitmasters are constantly tending flames to make sure the pit doesn’t get too warm or too cool. “Everyone asks for me to pose for pictures holding a knife, but I’d say my primary tool is a shovel,” Will Fleischman of Dallas’ Lockhart Smokehouse told me last year when I interviewed him for a Southern Living barbecue package. Professional pitmasters base their temperature and timing decisions on experience and gut instinct. That’s because swinging open a smoker’s doors causes the collected warm air to whoosh out, severely disrupting the cooking. Time’s Josh Ozersky has likened the stop-and-peek style to “trying to
BestofVoracious » by beth maxey
Pot in the Pot
do your taxes and having to stop every 15 minutes to answer stupid questions about domestic issues like where the scissors are.” “Beginning barbecuers are often tempted to check in often on their meat, to make sure it’s still there,” Ozersky counseled in a 2010 list of tips for hobbyists. “Don’t worry. It’s not going anywhere.” But Fleischman is sympathetic to the anxieties that a closed pit breeds. “The hardest part of watching the pit is not developing insecurity,” he says. “Because you want the wood to speak to you, and it sits in mute defiance. The age-old question of ‘How do you know when it’s done’ is where insecurity lies.” There is no recipe for great barbecue, because the unique shape, size, and fat content of each cut determines how long it needs to cook. Fleischman says a timetable for smoking brisket is about as trustworthy as “a generalization about all redheads.” Still, timetables and stolen glances bring some comfort to beginners who fear their meat will be bloody or charred. “Home smokers develop insecurity, sitting in their easy chairs, wishing the smoke would give them a signal,” he says. Fleischman first opens his pit’s doors about eight hours into the 10-plus-hour cook. And even then, he’s not looking, he’s feeling. As he explained in a segment of our interview that didn’t make the Southern Living cut, “It’s the amount of jiggle versus the amount of firmness.” E
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leaves. Last year the Los Angeles Times’ Jonathan Gold wrote about a nine-course marijuana tasting menu in which the herb appeared as part of the cocktails, infused in sesame oil, and pureéd under monkfish. At another secret weedthemed dinner last summer for the writers of GQ, a diner described a dish with Meyer-lemon zest, sea salt, crushed fennel, and weed: “This dish immediately revealed the true potential of pot as a cooking herb. The flavor was smoky and sort of exotic and mixed perfectly with the notoriously oily bluefish, softening its inherent fishiness with just the right amount of garden notes.” Marijuana has long been a culinary ingredient in Southeast Asia. Which led me to James Beard Award–winning chef Jerry Traunfeld, author of The Herbfarm Cookbook and owner of the Southeast Asian–inspired Poppy on Capitol Hill. Traunfeld is familiar with cannabis as a culinary herb, but confessed that he has not yet experimented with it in the kitchen. Despite last year’s legalization, he pointed out, pot still can’t be used legally in restaurant cooking. Besides that, he said: “I don’t think anyone is growing strains for flavor rather than potency. If you used what is sold these days for smoking, as a seasoning, you’d be flying after a few bites.” Still, he said, “I’d love to play around with the flavor if culinary strains were available. I can taste it in my mind in carrot soup, maybe with orange and coriander.” E food@seattleweekly.com
TREAT YOUR MOTHER R IG H T
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All You Can Dr ink M imosas www.local360.org
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206.441.9360
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SEATTLE WEEKLY • APRIL 24 — 30, 2013
In 1954 the world gained The Alice B. Toklas Cookbook, the original source of “pot brownies.” I looked up the recipe, which is actually for “Haschich Fudge.” I noticed first that there’s no chocolate in sight—the ingredients are brown sugar, butter, almonds, dates, figs, cinnamon, nutmeg, peppercorns, and Cannabis sativa leaves. To me, Toklas’ “fudge” sounds spicy, sweet, herbal, and delicious. I can imagine the grassy sweetness of the cannabis playing off the nutmeg and peppercorns—not hiding under them but adding to the flavor of the fudge. Chocolate is known as an effective mask for marijuana, a thick flavor to sneak pot under when the goal is to get high. But what if masking the flavor and getting high is not the point? Washington’s legalization of marijuana could be a boon for foodies too. Maybe what we have here is a new gourmet ingredient. In 2004, Jeremiah Towers, formerly of Chez Panisse, published a recipe for consommé of marijuana, a simple clear highbrow soup designed to highlight the herb’s flavors. The recipe calls for cannabis leaves steeped in organic chicken stock and covered with a delicate chiffonade of nasturtium flowers and basil
14,500 FANS AND COUNTING
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
Reverb» »REVIEW
The Emperor’s New Jams
Everyone loves Prince, but we deserved better at the Showbox. BY JOHN RODERICK
W
KEVIN MAZUR
For Prince, playing a rock club was an act of throwing down the gauntlet.
artist who won’t play his hits. It’s not edgy, it’s a trope. We came prepared for it. We expected to see him stretch out, play new jams, go crazy. He had us chanting “I’m your driver, you’re my screw,” as though it scratched our itch just to sing some salacious words he’d written. Prince is the only artist in the world that could get a crowd to sing lyrics that terrible, because we were all
Prince’s showmanship has always redeemed him. But without creativity, showmanship and vanity are mundane. thinking, “What’s he up to? What subtext am I not getting?” There was none. Even Madonna would have been embarrassed. After the show I had many questions, so I waited for the crowd to clear and examined the stage, thinking maybe I would find evidence of too much modern “tech” guitar gear that would explain the weird cut-and-paste mix. But the vintage effects pedals and amps were above the haughtiest reproach. I talked to the Showbox tech guys, the Blackjeans and Maglights: Did they think the sound was wack? No way! Everybody loved it! Turns out Prince mixed the show himself. He literally ran the soundboard during soundcheck and made all the
mixing decisions personally. I asked my friends—people who’ve seen 10,000 rock concerts, people who know the room and know live sound—what they thought. They loved it too. Was I crazy? I needed to see it again. Maybe I was too burdened by my own aesthetic, by an unrealistic desire to see Prince play a simple rock show—just some great musicians and their instruments, no smoke machines, no Christmas lights, no Guitar Center video presentation. Of course he had over-the-top production and sound. That’s what the man does. I needed to see it again.
I
returned to the Showbox on Friday night for the last of his four shows, fully prepared for what Prince wanted to give me, rather than what I wanted from Prince. The second show was better, more polished, more up-tempo, but suffered from all the same problems of sound and conception. The band was great, proficient in every aspect of jazz, rock, and funk, but the show was a bombastic slog. Prince’s showmanship has always redeemed him, even when indulging a vanity unmatched by despots, because his creativity was the bedrock. But without creativity, showmanship and vanity are mundane. A telling moment in the second show encapsulated this decline. Prince is one of those guitarists who, in the middle of a fiery guitar solo, will reach up and make microadjustments to one of his tuning pegs. It’s a good bit of rock theater that played out multiple times during both shows. I have no doubt that his ear
is refined enough to hear tuning vagaries that need immediate adjustment, and I thought it a suave move every time. But at one point Friday night, he strutted over to his bassist—one of my favorite musicians I’ve seen in the past year—and made a micro-adjustment to her A string. I just about jumped out of my clothes. This is a bold move of James Brown–level audacity. You don’t touch a musician’s instrument in the middle of a song. Not only did Prince do it, he got it wrong. He pulled the A string a little sharp. It’s not a disaster. It’s just a hair sharp. But she had a smile on her face that could cook an egg. She made no attempt to avoid the string. She just played sharp, as if to say “O.K., motherfucker, if that’s where you want it.” Prince micromanaged every aspect of his show. There’s no reason to think that he didn’t personally film the background videos of spinning guitars and silhouettes of girls dancing that made me feel like I was at an Art Institute freshman orientation. He clearly wanted his guitars to sound like slugs farting in shaving cream for half the show. For all his genius, all his unmistakable talent, Prince needs an editor. His fans will pay $250 to watch him peel onions—that much is clear—but he’s too gifted an artist to coast like this. To play small clubs, he needs to step out of his echo chamber and show us something special. E
music@seattleweekly.com
John Roderick is the singer and songwriter responsible for the Long Winters. He tweets @johnroderick.
SEATTLE WEEKLY • APRIL 24 — 30, 2013
aiting for Prince to take the stage at the Showbox last Thursday evening for the first of four shows in two days, the crowd was buzzing with the kind of anticipation of a shared peak experience normally reserved for natural disasters. Everyone was smiling, antsy. Strangers greeted each other like old friends. Prince is one of our favorite musicians. No one doesn’t like Prince, he’s too good at too many things. The excitement of seeing Prince in such an intimate venue, of being teased and strung along by an undisputed master, of being made to dance, was public foreplay that had us flush. The Showbox felt like the perfect venue for Prince to do something nasty to us, to start an orgy of 40-somethings, to turn us into slaves. When Paul Simon played the Showbox two years and one day earlier, the venue’s intimacy provoked an extraordinary performance from the band, vastly transcending its run through the same set list at the much-larger WaMu Theater two nights prior. But while Simon was inspired by the smallness of the space, personally handing us each song wrapped in tissue, Prince overfilled it, misusing the space and relying on our physical proximity to simulate closeness. It worked as a spectacle, but not as a show. The problems began almost immediately. The mix was haywire: too loud, too much fuzz on the bass, drums too quiet and muffled, guitars over the top of everything like fudge cannons, vocals like broadswords. It was the opposite of intimate. Prince corralled 1,200 people into an enclosed space and directed the volume and energy of a full stadium show at us, like he was experimenting with a less-humane method of killing livestock: by octave pedal. There was smoke. There were wailing guitar solos upon wailing guitar solos. There was a bass solo. There was a wall of video screens playing what looked like Windows 95 screen savers. And that was just the first song. The effect was like that of a giant Celebrity cruise ship pulling into a small Caribbean port town and unloading 2,000 tourists for a half-day excursion. From the perspective of those aboard the ship (which is to say, from within Prince’s mind), gaudy volume and epileptic lights seem like normal party fun, but to the people on shore it reads as an invasion of vulgarity. Put another way: We climbed into bed with a very attractive and sexy person and all of a sudden he started making all these sex faces and wolf noises, humping us and shit. Playing the Showbox was an act of throwing down the gauntlet. Prince was coming home to the clubs to demonstrate something, to show us “how it’s done,” to school us in one of the thousand dark arts that only he has unlocked. But he didn’t take real risks, didn’t challenge himself or us. Instead he hoped to content us with the appearance of risk-taking in the form of a set heavy on new songs, as though failing to satisfy us with “the hits” was a kind of rebellion. We’re all well-versed by now in the legacy
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Reverb»Reviews »EVERY LOCAL RELEASE*
LOCAL BANDS
mainstage
dinner & show
WED/APRIL 24 • 7PM - 91.3 KBCS WELCOMES
shuggie otis w/ jesca hoop THU/APRIL 25 • 8PM
SAT/APRIL 27 • 7PM & 10PM - SQUARE PEG PRESENTS
one-man star wars trilogy written & performed by: charles ross SUN/APRIL 28 • 7:30PM
sarah elizabeth charles quartet MON/APRIL 29 • 7:30PM
bob schneider w/ max gomez TUE/APRIL 30 • 7:30PM
k’s choice (acoustic trio) w/ a fragile tomorrow
WED/MAY 1 • 7:30PM - 91.3 KBCS WELCOMES
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
chico pinheiro
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next • 5/2 shemekia copeland w/ charles mack • 5/3 v contreras • 5/4 uncle bonsai • 5/5 hapa • 5/7 holly williams w/ lydia ramsey • 5/8 os mutantes w/ capsula • 5/9 seattle secret music showcase #13 • 5/10 paula cole • 5/11 lee oskar and friends orchestra • 5/12 in dreams: a live tribute to roy orbison • 5/13 david knopfler w/ harry bogdanvos • 5/15 - 5/18 through the looking glass: the burlesque alice in wonderland • 5/21 lady rizo • 5/23 black stax • 5/24 bill payne w/ dennis mcnally • 5/25 duffy bishop covers etta james • 5/26 tony furtado w/ danny barnes • 5/29 sara gazarek • 5/30 patterson and david hood • 5/31 bonzo’s celebration day • 6/1 sinatra at the sands • 6/2 coyote grace • 6/3 mice parade w/ ghost of kyle bradford • 6/5 andré mehmari • 6/6 blvd park & yogoman burning band • 6/7 blvd • 6/8 blue street jazz voices
happy hour every day • 4/24 the monday after / the true romans • 4/25 monkey bat / smoking bill • 4/26 nite wave • 4/27 soul senate • 4/28 kareem kandi • 4/29 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 4/30 singer-songwriter showcase with chelsea crabtree, tazlyn gue and jimmie herrod • 5/1 melody walker & jacob groopman / billy brandt TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
thetripledoor.net
216 UNION STREET, SEATTLE · 206.838.4333
(out now, self-released, chuckberrywhitehouse.bandcamp.com): Every now and then we get a release—or a pair of band-branded tightie-whities—that make us pause and say, “Just what in the Goddamn hell is going on here?” Illuminating the point is Chuckberrywhitehouse, the pseudonym of one-man band Jeffrey Smith, who, on this hand-cobbled, jangly home recording, makes Daniel Johnston sound like Raffi. Tracks are not so much songs as they are spoken-word ramblings like Patti Smith on acid, or what sounds like Stevie Ray Vaughn solos overdubbed by Throbbing Gristle. Avant garde would be putting it The strange sounds of mildly--this is some crazy-ass shit. Chuckberrywhitehouse are streaming now.
JEFFREY SMITH
john keister & brooks mcbeth
Chuckberrywhitehouse, * All One Word: The Demos
GWENDOLYN ELLIOTT
Goldbar, Lonesome Highway (out now, selfreleased, myspace.com/goldbartheband): Comforting classic rock with a folksy twist. These upbeat songs paint a picture of travelers amid a long, outstretched road while thoughtfully commenting on the continual march of time. (Fri., May 10, White Rabbit) PADMA NOLT Stone Gossard, “I Need Something Different”
(out now, Monkeywrench Records, pearljam. com/moonlander): It’s ironic that the first song released from Moonlander, the Pearl Jam guitarist’s first solo outing in a dozen years, is called “I Need Something Different”—the song is anchored by a classic, dirty grunge riff, a chromatic punk groover that pulls its power from repetition. Gossard sings: “There’s something in my past/That I can’t run away from/It keeps me hanging on/I keep waiting for things to change.” The album (out June 25) is a pastiche of the old turned inside out, comprising pieces that didn’t get used on previous PJ or Brad records, but “Different” takes you further back in time, channeling MC5 and the Stooges, especially in the fuzzed-out guitar solo. Were it not for the space-age synths and modern production, the song could be straight out of 1970. DAVE LAKE
*
Gun Outfit, Hard Coming Down (out now, Post Present Medium Records, postpresentmedium.com/gun_outfit): This gritty garage album channels a raw energy reminiscent of Dinosaur Jr., Hole, and Sonic Youth. The bass line sets a melancholy tone while haunting vocals and stretched-out drumming send the listener into a somber trance. PN
*
Dylan Jakobsen, Statelines EP (out now, self-released, dylanjakobsen.com): Even folks who listen to “anything but country” can get into Jakobsen’s brand of upbeat Americana on this four-track EP, especially the sing-along “na-na-na-na” chorus in “All Night Long.” (Tues., April 30, El Corazon) AZARIA PODPLESKY
Jeremy Serwer, Down With People (out now, self-released, jeremyserwer.bandcamp.com): Serwer touched up several previously released songs and added two new tunes, the title track and “Woodland Bark,” to round out a solid Americana/folk album. (Wed., May 8, Nectar Lounge) AP The Springboards, While You’re Out . . . (4/26, self-released, facebook.com/The.Springboards. music): Guitar-heavy tracks provide steady backing for Alicia Romero and Seth Swift, who share the vocal spotlight. Romero’s belting voice and Swift’s cool tone intertwine on the chorus of “Melatonin” soothingly, like the eponymous sleep-aiding compound. (Fri., April 26, Comet Tavern) ASHLEY ROE Telekinesis, Dormarion (out now, Merge Records, telekinesismusic.com): Telekinesis’ mastermind/drummer Michael Benjamin Lerner went into the studio with producer/Spoon drummer Jim Eno to make his third and most infectious collection of pop songs yet. Opener “Power Lines” starts with a charming strum, a nod to Lerner’s lo-fi beginnings, before exploding into a muscular guitar riff. The album doesn’t look back from there, delivering hook after undeniable hook. MARK BAUMGARTEN Yevtushenko, Do EP (out now, self-released, yevtushenko.bandcamp.com): Mixing up-tempo alternative rock and slower indie-esque melodies, this diverse album shows a band versatile enough to cross genres while still keeping a beat. (Sat. April 27, Olympia Ballroom) AR
*Yeah, every release
It is our intention to review every release issued by Seattle bands and local labels. We try to run reviews as close to release dates as possible. If your LP, EP, single, or mixtape has slipped through the cracks— or you wish to alert us to an upcoming release—please e-mail reverbreviews@ seattleweekly.com.
1303 NE 45TH ST
SEATTLE WEEKLY • APRIL 24 — 30, 2013
39
Reverb»The Short List Philly’s Dr. Dog rolls into the Showbox on Friday night.
COURTESY ANTI-
Rodriguez THURSDAY, APRIL 25
His story is too wild to be fiction: A Detroit singer/songwriter makes a pair of critically acclaimed records in the early ’70s, then toils in complete obscurity for 30 years until a journalist tracks him down and informs him that he’s bigger than Elvis in South Africa where his songs have served as anti-apartheid anthems for an entire generation. But such is the life of Sixto Rodriguez, whose fairy-tale journey was chronicled in the Oscar-winning documentary Searching for Sugar Man, and whose second act is being written gig-by-gig by people who have seen the movie, heard one of his reissued albums from Seattle’s
*
SEATTLE WEEKLY • AP RI L 24 — 30, 2013
KILLING JOKE
40
TUESDAY, APRIL 30
British post-punk band Killing Joke has been playing on and off for more than three decades, celebrating their 35th anniversary this year with a best-of record, The Singles Collection: 1979–2012, and a world tour to support it. Though they never got as big as most of the heavy bands they influenced, their devoted following is a testament to the enduring appeal of their dark, thoughtful output and consistent reinvention, with 2012’s MMXII earning the band some of the best reviews of their long career. With
Czar. Neumos, 925 E. Pike St., 7099467. 8 p.m. $25. DAVE LAKE
Light in the Attic Records, and are flocking to the live show. Redemption may have come late to Rodriguez, but at least it finally came. With Jenny O. The Neptune, 1303 N.E. 45th St., 877-7844849. 8 p.m. Sold out. DAVE LAKE
infused sound remains intact. And it’s that grit— the fuzzy production, the bearish harmonies, the raw live feel—that makes us eager to hear tracks like “How Long Must I Wait” and “Over Here, Over There” in the flesh. With Dawes. Showbox
at the Market, 1426 First Ave., 628-3151. 7 p.m. $25–$30. All ages/bar with ID. KEEGAN PROSSER
Dr. Dog FRIDAY, APRIL 26
This Philadelphia crew has built a career by making salty, ’60s-style indie rock in the comfort of their homes. That’s why their most recent release, 2012’s Be the Void, seems like such a departure. The sextet’s first album made in a formal recording studio shows immense growth, with more polish and instrumental depth. Still, their homegrown, folk-
EDITOR’S PICK
Aesop Rock
soupy, gray clay beneath the “golden” Ballard sand and the deep, echoey trenches that lie just offshore. Among the sleepy-tempoed ballads of last year’s How Brave the Hunted Wolves, you’ll find Aubrey Rachel Violet Bramble’s pure soprano slathered with—but not quite buried by—Gregg Alexander Joseph Neville’s melodramatic guitar chords and various treatments, creating an echoey soundspace to carry you out with the tide. With Snowdrift, Nostalgist, the Echo Echo Echoes. Sunset,
SUNDAY, APRIL 28
Aesop Rock may be too often confused with 5433 Ballard Ave. N.W., 784-4880. 7:30 p.m. $6. A$AP Rocky—the young buck out of NYC who’s 21 and over. TODD HAMM independently dope in his own right—but the Rubik’s-tongued, S.F.-dwelling indie-rap legend “Weird Al” Yankovic SUNDAY, APRIL 28 is going as strong as ever. (He actually went too strong before his tour in January, and had to cancel “Weird Al” has sold 12 million albums in his his Seattle show on account of a broken rib.) His career, and I’d be willing to bet that a million of fantastical acid raps are still framed by his strained those were sold to first-time record buyers. Not tenor, his new beats still have depth, and he’s still first-time “Weird Al”-record buyers, mind. First got one foot planted in the album, period. For a certain grimy basement studio. Last white, suburban/rural, male summer’s Skelethon was a demographic I know all Tune in to 97.3 KIRO FM truckload of elevated weirdo too well, Yankovic provided every Sunday at 5 p.m. to hear music editor Chris Kornelis rap, not only adding to his water wings for the pool on Seattle Sounds. one-of-a-kind legacy but lurthat is pop music—keeping rap’s stingy mainstream ing the meat (or at least crowd several inchest further the lettuce) of songs that left than it’s been in ages. With Rob Sonic, DJ wouldn’t make it past the crucifix Mom hung in the foyer and sticking it between two fat slices of Big Wiz, Busdriver, Grayskul. Neumos, 925 nerdy white bread. And, fuck, the humor of that E. Pike St., 709-9467. 8 p.m. $20 adv. All ages. early work still stands up. His most recent work TODD HAMM doesn’t. The title on his latest, 2011’s Alpocalypse, speaks to how flat the act has gotten in the past Golden Gardens SUNDAY, APRIL 28 30 years: “Whatever You Like (Parody of ‘Whatever You Like’ by T.I.).” But it doesn’t matter. His Grimes, Beach House—you could throw out the fans now have kids, and we’ll be damned if we’re names of more than a few established nationaltaking them to some godless Lady Gaga concert. scale favorites that approximate the sound of Seattle duo Golden Gardens (heck, I just did), but they Pantages Theatre, 901 Broadway, Tacoma, really play their own brand of sedated electronic 253-591-5890, pantages-theater.com. 7:30 baseball. Lo-fi, beat-savvy gothgaze, they’re the p.m. $36–$68. DANIEL PERSON
e
SEATTLE WEEKLY • APRIL 24 — 30, 2013
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El Corazon www.elcorazonseattle.com
109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
WEDNESDAY, APRIL 24
MIDNIGHT ATMOSPHERE with Verdant Mile, Gardenhead, and Box Lounge Show. Doors at 7 PM / Show at 7:30 PM. ALL AGES/BAR W/ID $8 ADV / $10 DOS
THURSDAY, APRIL 25
MIKE THRASHER PRESENTS:
SENSES FAIL with Such Gold, Real Friends and
Major League Doors at 7 PM / Show at 8 PM. ALL AGES/BAR W/ID. $15 ADV / $18 DOS
FRIDAY, APRIL 26
VENDETTA RED (DOUBLE EP RELEASE SHOW)
with Moneta, The Female Friends, and Curse of the North Doors at 7 PM / Show at 8 PM. ALL AGES/BAR W/ID. $10 ADV / $12 DOS
SATURDAY, APRIL 27
FOR ALL I AM with I The Mighty, The Ongoing Concept,
Stories Away, A Taste of Daylight, and Says The Snake Doors at 6:30 PM / Show at 7 PM. ALL AGES/ BAR W/ID. $10 ADV / $12 DOS
SATURDAY, APRIL 27
THE MAENSION
with True Holland, Digital Chemistry, plus Guests Lounge Show. Doors at 7:30 / Show at 8 PM ALL AGES/BAR W/ID, $10 ADV / $12 DOS
MONDAY, APRIL 29
AS DEATH COMES CALLING with Aenimus, Blood and Thunder, Onset The Shores, and Among the Mayans Doors at 7 PM / Show at 7:30 PM ALL AGES/ BAR W/ID. $8 ADV / $10 DOS
TUESDAY, APRIL 30 MIKE THRASHER PRESENTS:
HE IS WE with Matt Bacnis, The Bard and The Liar,
and A Leaf Doors at 7 PM / Show at 8 PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS
THURSDAY, MAY 2
SANTEE
with Paperhaus, Scrumptious and The Backbeat plus Guests Lounge Show. Doors at 7 / Show at 7:30 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
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6/29 BUCKCHERRY 7/1 BIG COUNTRY 7/21 THE DIRTY HEADS / THE EXPENDABLES 7/28 DROWNING POOL 8/26 GAMA BOMB 8/30 D.O.A. (SEATTLE FAREWELL SHOW!) / FASTBACKS UP & COMING 5/4 KVELERTAK 5/5 SLINGSHOT DALOTA 5/7 JACKIE CHAIN 5/8 ABRIEL 5/8 LOUNGE LIVING WITH LIONS 5/9 OF US GIANTS 5/10 LOUNGE ANCHORESS 5/11 MONSTERS SCARE YOU Tickets now available at cascadetickets.com - No per order fees for online purchases Our on-site Box Office is open 1pm-5pm weekdays in our office - $2 service charge per ticket! Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge
The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
SATURDAY MAY 4 • SHOWBOX AT THE MARKET
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THEwithCAVE SINGERS BLEEDING RAINBOW SHOWBOX AT THE MARKET 1426 1ST AVE | SHOWBOXPRESENTS.COM
Reverb»Seven Nights
EDITED BY ANDREW GOSPE
Crystal Castles plays the Moore on Tuesday night. COURTESY HIGH RISE
Wednesday, April 24 BEN OTTEWELL The husky-voiced Gomez singer’s lone
Thursday, April 25
CONSTANT LOVERS signed in February with the well-
curated heavy-rock label Good to Die, a perfect fit for their hard-charging sound. With Kithkin, Pleasure Boaters, Edie Sedgwick. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $8 adv. All ages. SEACATS have been writing hooky power-pop songs since 2009, and this year their music finally gets a formal release: they dropped the Burger 7” on Record Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.
•
The Thermals play Neumos on Thursday. THOMAS OLIVER
THE THERMALS For their sixth LP, Desperate Ground,
Portland’s punk elder statesmen teamed with former Dinosaur Jr. and Sonic Youth producer John Agnello, attempting to return to the rougher-edged sound of their early music. With Wimps, La Luz. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. All ages.
Friday, April 26
CHAD VALLEY Young Hunger, producer and vocalist
Hugo Manuel’s debut as Chad Valley, is full of guest appearances (Glasser, El Perro Del Mar), but the most appropriate is Twin Shadow, as Manuel’s strain of retro-leaning electro-pop bears a significant, if not
» CONTINUED ON PAGE 45
SEATTLE WEEKLY • APRIL 24 — 30, 2013
solo output, 2011’s Shapes & Shadows, is a collection of Nick Drake–esque open-tuned guitar ruminations. With Buddy. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $13 adv./$15 DOS. KURLY SOMETHING Most of the time (especially in hyperbole-prone ReverbNation band bios), a group describing itself as an “audio experience” is worthy of derision. But this local duo’s live shows reportedly live up to that tag, augmenting their weirdo space-prog jams with a cast of papier-mâché-costumed performers. With the Resets, Abductee. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10:30 p.m. $5. PURITY RING When indie artists cover hip-hop, there are justified accusations of appropriation—and the idea that mainstream music can only be taken seriously when it’s reimagined in a different aesthetic. Purity Ring’s production style is heavily indebted to hiphop (especially Southern rap), which is what makes their version of Soulja Boy’s “Grammy” so interesting. Aside from Megan James’ pixie-ish vocals, it’s a refreshingly straight-up take on a hip-hop song, a relative rarity in a world of YouTube ukulele covers. With Blue Hawaii. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $21.50. All ages.
Store Day, and a full-length is in the works for later this year. With Week of Wonders, Detective Agency. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $7 adv./$8 DOS. SPACESHIPS This Los Angeles duo’s garage-pop is lo-fi and fuzzed-out, though it stands to reason that their shows are higher-fidelity than their recordings. With Prism Tats. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m.
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SEATTLE WEEKLY • AP RI L 24 — 30, 2013
tractor
Seven Nights » FROM PAGE 43
2033 6th Avenue (206) 441-9729 jazzalley.com
Times listed are show times. Doors open 30-60 minutes before
striking, resemblance to George Lewis Jr.’s work. With Ski Lodge, IG88. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 7 p.m. $10 adv. MASSENGER This Southern California band is touring behind a self-titled cassette tape on the reliable punk label Burger Records. With Chastity Belt, the Memories, Street Gnar. Rendezvous. 10 p.m. $7. PRETTY BROKEN THINGS This folk quintet will release their debut full-length Let It Come & Let It Pass at this show. With the Comettes, Lonely Companion. Columbia City Theater. 9 p.m. $10 adv./$12 DOS.
Thur, April 25 • 9pm ~ $10
Jazz Alley is a Supper Club
indie singer/songwriter
LINDSAY FULLER & KAIA WILSON GREGORY PAUL partially seated show
Martin Taylor and Mimi Fox
Fri, April 26 • 9pm ~ $10 Giddy Up!: Folklife pre-festival party with
COUNTRY LIPS
Saturday, April 27
Multi-Award Winning Jazz Guitarists Collaborate - A Sonic Delight!
OLE TINDER THE SUMNER BROTHERS
GHOST B.C. Notoriously secretive Swedish metal band
Ghost (the “B.C.” is a stateside addition) recently participated in a Reddit “Ask Me Anything” session that focused on how the anonymous band members protect their identities in a privacy-averse digital age. Live, five of the six don robes and hoods, while the frontman wears a skull mask and a pope costume. With Ides of Gemini, Lord Dying. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $20 adv./$23 DOS. All ages. NOMEANSNO Built around the prodigious technical chops of brothers Rob and John Wright (bass and drums, respectfully), Nomeansno’s scorched-earth tunes are as instrumentally complex as punk can get before it becomes metal. With Ford Pier, Trash Fire. The Crocodile, 2200 Second Ave., 441-7416, the crocodile.com. 8 p.m. $15. All ages. PREZIDENT BROWN This reggae bandleader and dancehall DJ is touring behind last year’s I Sound Is From Creation. With the Reggae Angels, Crucialites, ZJ Redman. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $15 adv./$20 DOS. TRANSIT plays a sweetly melodic brand of emo (think Relient K rather than The Used) on Young New England, their fourth record. With Seahaven, Young Statues. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7 p.m. $12 adv./$14 DOS. All ages.
Bobby Caldwell Acclaimed vocal soul-stylist and in-demand songwriter “What You Won’t Do for Love”
April 24
April 25 - 28
Brad Mehldau Trio
Chick Corea and The Vigil
plus square dancing at 8:30pm
Sat, April 27 • 9pm ~ $8 The Tractor & NWCZ Radio present
THE BIG WHEEL STUNT SHOW
MYSTERY SHIP ENDINO’S EARTHWORM THE MAGIC MIRRORS
Cerebral, Complex and Exploratory Jazz Piano Trio
April 30 - May 1
From sublime acoustic to brilliant electric, music master Chick Corea reinvents himself again
May 2 - 5
Mon, April 29 • 8pm ~ $10 ZIIBRA Presents
WE GOT ROBBED a fundraiser for Kris Orlowski and Band
Cyrille Aimée
and Diego Figueiredo
feat performances by ALLEN STONE, JOHN RODERICK, MEAGAN GRANDALL of Lemolo, SHELBY EARL, WAYFARER, MATTY & MIKEY GERVAIS of Curtains For You, JACOB JAMES of Lashes and Ships, DANIEL BLUE of Motopony, RYAN DEVLIN of Smokey Brights
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May 7 - 8
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Sunday, April 28
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SAMOTHRACE This local doom-metal act has gotten
Monday, April 29
ALEX CLARE Diplo produced Alex Clare’s The Lateness
Tuesday, April 30
CRYSTAL CASTLES Alice Glass and Ethan Kath are
on tour following their third album, (III), their darkest collection of dystopian electronica. With Pictureplane. Moore Theatre, 1931 Second Ave., 467-5510, stg presents.com. 6:30 p.m. $32.50. All ages. K’S CHOICE These ’90s folk-rock heroes, best known outside their native Belgium for “Not an Addict,” will play acoustic at this show. With A Fragile Tomorrow. Triple Door. 7:30 p.m. $20. All ages. NATALY DAWN Pomplamoose, Dawn’s original band, was best known for parlaying twee YouTube covers of mainstream pop songs into even twee-er appearances in Hyundai Christmas commercials played ad nauseam in 2010. Fortunately, Dawn’s solo material doesn’t need gimmicks: It’s smart, surprisingly restrained folk-pop that doesn’t suffer from Pomplamoose’s cloying cuteness. With Ryan Lerman.Tractor Tavern. 8 p.m. $10 adv./$12 DOS.
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of the Hour, a move that’s proved a boon to Clare’s career, differentiating him from myriad other dudes with golden voices. The apex of their collaboration? “Too Close,” the dubstep/sensitive-pop-singer mashup that graced those ubiquitous Internet Explorer 9 ads. With the Knocks. Showbox at the Market. 7 p.m. $18.50 adv./$20 DOS. All ages. LOCAL NATIVES On January’s Hummingbird, Local Natives continues to carve a niche for itself among other NPR-wave indie groups: prominent tenor vocal harmonies; rich production from The National’s Aaron Dessner; multilayered percussion paired with chiming guitars. It’s professional, straight-laced folk rock for a world without Fleet Foxes. With Superhumanoids. The Neptune. 8 p.m. $20.50 adv./$23.50 DOS. All ages.
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national music-mag recognition for its lengthy, ambience-laced compositions. They kick off a monthlong European tour after this show. With Bell Witch, Braeg Noefa. Comet Tavern. 9 p.m. $8. SARAH ELIZABETH CHARLES QUARTET This is the first West Coast performance by the acclaimed New York City jazz vocalist and composer, whose elastic voice provides a unique focal point for jazz standards. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20 adv./$25. All ages.
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Employment Technical Cisco Systems, Inc. is accepting resumes for the following position in Seattle, WA: Software Engineer (Ref# SEA1): Responsible for the definition, design, development, test, debugging, release, enhancement or maintenance of networking software. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE. www.cisco.com
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For the last 9 years, the Seattle True Independent Film Festival has highlighted emerging filmmakers who have gone on to screen at SIFF, Sundance, SXSW and other top festivals, as well as established filmmakers looking to bring their newest projects to an intimate audience. Join us for 9 days of film, social events and parties. The all access pass gets you full access: Tinyurl.com/c7jvsug
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