Seattle Weekly, May 01, 2013

MAY 1-7, 2013 I VOLUME 38 I NUMBER 18

SEATTLEWEEKLY.COM I FREE

THE CURSE OF AMANDA KNOX.

PA G E 7

Eight years ago Wesley Schultz and Jeremiah Fraites started

writing songs together in New Jersey. Then they

moved to Denver, met a cellist named Neyla

Pekarek, and started a rootsy pop band X called z .

X

LUMINEERS In 2011 the trio recorded an album y

toured the country. Then

the song“Ho Hey”blew up. it went to the top x the charts and sold more than 4 million copies. Now the world this is the story of how

Seattle

s

maDE IT happen . m att dri scoll t

is listening.

2

SEATTLE WEEKLY • MAY 1 — 7, 2013

SEATTLE WEEKLY • MAY 1 — 7, 2013

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inside» May 1–7, 2013 VOLUME 38 | NUMBER 18

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up front 7

NEWS

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Airstreams make the best food trucks.

32 | A LITTLE RASKIN | The truthtelling conscience of Texas barbecue.

in back 17 THE WEEKLY WIRE 18 ARTS

18 | OPENING NIGHTS | Codgers,

swingers, and the casualties of war.

23 FILM

23 | REVIEW | Robert Downey Jr. and his

empty suits of iron.

24 | THIS WEEK’S ATTRACTIONS

Scottish whiskey thieves, Holocaust survivors, and sex traffickers.

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A mini-film fest before SIFF, a gallery’s new home, and a local comedian’s return.

Official Airline:

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offerings: hits, homeruns, or strikes?

the cottage industry of Amanda Knox obsessives on both sides of the issue.

were conceived in Brooklyn, born in Denver, and made in Seattle—where music-industry vets’ willingness to gamble made “Ho Hey” a platinum hit.

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The Butterfly Effect How the trial of Amanda Knox, half a world away, made a bunch of Americans miserable, spawned a justice league, and maybe started a scientific revolution. Maybe.

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[

KYLER MARTZ

W

hen Mark Waterbury first heard the name Amanda Knox five years ago, he didn’t read blogs, let alone write for one. A 50-something material scientist working as chief technology officer for a Seattle-area product-development in the prosecutors’ methods. “You puff yourself firm, Waterbury had long abandoned his love up, you put on your outfit, you put on this grand of writing. But reading about the case in Perushow, and you say, ‘Science says this!’ And it’s gia, Italy—where Knox, a 20-year-old exchange bullshit, absolute bullshit.” student from Seattle, had been charged with the Waterbury was scorned by the Guilters while bloody murder of another student, Meredith his blog gained notice with advocates, including Kercher—Waterbury had something to say. an early group called Friends of Amanda, which He left a comment on the trial blog of Italian raised both money for Knox’s defense and awarejournalist Frank Sfarzo, questioning the validity of ness of some doubts surrounding the accusations the forensic evidence being presented by the prosagainst her. The scientist was invited to become ecution. It was the first step of a five-year journey part of the group. At one point he gained an that would change the trajectory of his life. audience with Knox’s family. He quit his job as “I had never commented on a blog in my life,” CTO and started his own product-development the 60-year-old says, sitting in a physics lab at company, which floundered and eventually Bellevue College where he is now an adjunct failed while he spent 50 to 60 hours each week instructor. “So I made a comment or two, and researching and writing about the case. then the Guilters, this group of people who are Waterbury continued to press the case even ferociously determined that Amanda must be guilty and a horrible, evil person . . . would pounce after Knox and her Italian boyfriend Raffaele Sollecito were convicted all over the things I had of the murder. At the time written and denounce it PRINT IS GREAT, but if you an appeals trial started in and scream and shout.” want to read how we’re profitearly 2011, he self-pubRather than contend ing from the Kings staying put, check it out on The Daily Weekly. lished a book, The Monster with the anti-Knox conSEATTLEWEEKLY.COM/DAILYWEEKLY of Perugia. Along the way, tingent, Waterbury started he got a nasty case of the his own blog. He disabled shingles, from which he is still recovering. Then comments and began to parse the forensic eviwhen Knox and Sollecito were acquitted of the dence being presented by the prosecution. crime, he got out.

“Pseudoscience,” he calls it, his s’s whistling “I’ve finally posted one of the last videos, softly as he speaks. While forensic science wasn’t for me, related to this case,” he wrote in his blog Waterbury’s field—he possesses a Ph.D. in on April 21, 2012. “I have moved on to other material science from Michigan State University—his expertise allowed him to see basic flaws » CONTINUED ON PAGE 9

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news» challenges, and wish Amanda and Raffaele rich, fulfilling, and free lives.”

When Knox and Sollecito were acquitted, the ordeal appeared to be over. That contention has been dealt a blow with the Italian Supreme Court’s March decision to throw out the acquittal and retry Knox and Sollecito in absentia. Even without that late-breaking development, Knox, now 25, continues to be one of the most famous women in the world. Her renown earned the Seattleite a book deal with Harper Collins for her memoir, Waiting to Be Heard, published earlier this week. The $4 million advance turned the student into the highest-paid author currently with the University of Washington’s creative-writing program, including her professors.

Any contention that life could go back to normal for Knox, Sollecito, or the Kercher family was of course absurd. But the same can be said for a devoted clutch of bloggers and reporters like Waterbury: Whether they were convinced of Knox’s guilt or sure of her innocence, all have seen their lives transformed by the saga they observed and poured thousands of hours into. The exhausted writers were afflicted with poor heath and psychological strain. Today, some say the trial has changed them for the better. For others, they simply call what’s come over their lives a “curse.”

B

“It was really a life-changing experience; it kind of hit me in the face . . . I just assumed that everyone who was arrested, tried, and found guilty was guilty.” media, but whatever confidence I may have had is mostly gone.”

As for the upcoming retrial, Ganong has little taste for it. “I will be happy when I am able to put no time at all into this case,” she says. “Like many of the actual journalists who really covered it . . . I am tired of the whole thing.”

Fischer, though, is fired up. “As they say in The Blues Brothers, ‘We’re bringing the band back together,’ ” he says, with some glee. “It’s different now because Amanda is free; Raffaele is free. It’s a different scenario now than it was in the past.”

F

or his part, Waterbury is planning to stay away from the case. Though he might read Knox’s memoir, he says that he is more concerned with writing his own books.

“As I started to write these [blog posts], I realized that my heart wasn’t really in product development,” Waterbury says. “I wanted to do something that had more value for myself and had more value for civilization, for society.”

Waterbury is working on two popular-science books. One, Life in a Crowded Cosmos, argues that “sophisticated life” likely exists on billions of planets. The other, yet to be titled, is a treatise on the “soliton,” a type of energy wave that he sees at play in the world around us.

“I think that revolutions, addictions, habits, all kinds of social phenomenon behave like these special, unusual solitary waves,” he says. “They’re waves with a particular longevity; I call them a wave with an instinct for survival. I tend to get a little melodramatic.” E

mbaumgarten@seattleweekly.com

SEATTLE WEEKLY • MAY 1 — 7, 2013

ruce Fischer, a Chicago-area family man who manages a pair of auto retail stores, stumbled upon the case on Facebook shortly after Knox and Sollecito were convicted. He has since become a leader in the pro-Knox camp and written two books about the case.

“It does almost become a sort of obsession,” says Fischer, who estimates he spent three to four hours each night on the case, up until the acquittal. “You almost have to become obsessed with something if you want to advocate for it and stay energized to fight it.”

When Fischer entered the fray, he found that a loose network of activists, including Waterbury, had been forming. Fischer didn’t have an area of expertise, but he did have time. In early 2010 he launched Injustice in Perugia, a community website that hosted analysis from advocates, updates for the curious, and forums for supporters.

“It was really a life-changing experience; it kind of hit me in the face,” Fischer says. “I was never interested in wrongful-conviction cases in my life; I paid no attention to it at all. I just assumed that everyone who was arrested, tried, and found guilty was guilty.”

Since the acquittal, Fischer has used the resources and expertise at Injustice in Perugia to form a new organization, Injustice Anywhere, aimed “to help bring more knowledge and attention to wrongful convictions and to work to bring much needed reform.” The group is currently working to overturn convictions in five other cases.

Though Fischer views the experience as a positive one, he has watched the case take its toll on some of his cohorts. As the hours and stress mounted, health problems arose; some people lost weight; in at least one case, an advocate lost his job; and an assistant to Friends of Amanda legal counsel Anne Bremner died of melanoma.

“Almost everyone who was deeply involved in the defense effort paid a price,” Waterbury says.

“We came to call it ‘Mignini’s curse.’ ” Named for the case’s notorious prosecutor, Giuliano Mignini, it might have spread beyond Fischer’s community.

“It is a terrible, tragic story, and it took a lot out of me,” says independent author and journalist Nina Burleigh, who shed pounds and tangled with bedbugs and Internet stalkers while writing the best-selling account of the case, The Fatal Gift of Beauty. “I put a lot of effort into dissecting the superstitions of Perugia. After a year there, I came to the conclusion that although I am a skeptic and an atheist, when lots of people believe in things like black magic and witches, weird things do happen.”

It is difficult to discern whether those who believe in Knox’s guilt have been similarly afflicted, as most are anonymous. But Peggy Ganong, the moderator of the website Perugia Murder File whose identity was revealed by Knox supporters, says she at least experienced a slight shift in perspective. She credits the case for encouraging her to learn Italian while also completely destroying her trust in U.S. media, which she believes bent to a highly funded public-relations campaign on the part of Knox’s family.

“No impact on my career or the income derived from it,” says the Seattle resident who works as a freelance translator. “No impact on my health. As for my perspective on life, there has necessarily been a change. I can’t say I had a great deal of confidence in the mainstream

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tHE “HO HEY” HITMAKERS WERE CONCEIVED IN BROOKLYN, BORN IN DENVER, AND MADE IN SEATTLE BY matt driscoll

SEATTLE WEEKLY • MAY 1 — 7, 2013

On a snowy November day in 2010, Isaac Ravishankara went to see a band in One of them was “Ho Hey,” now recognized as one of the most inescapable songs of Denver at “this girl named Tracy’s house.” After hearing one song, Ravishankara the past year. v The band, of course, was the Lumineers. v That same month, was so moved by the impromptu vibe of the moment and the rapt attention of 1,200 miles away, George Ryan traveled from Seattle to Portland to work on a music the couple dozen people in attendance that he ventured to his car to retrieve video production project called The Sights of Sounds. It was then that Ryan met his video camera. v “You can just feel it sometimes,” Ravishankara says of the Wesley Schultz and Jeremiah Fraites, the Lumineers’ two founding members. He performance. “It was very spur-of-the-moment.” v The band was young, also met Neyla Pekarek, a cellist the duo had picked up in Denver via a Craigslist not long removed from the New York music scene from which it had escaped ad. v “They were just super-genuine, authentic, warmhearted individuals,” says to Denver. There was little footage of the band online. As a favor, Ravishankara Ryan, who now manages a farm in San Diego. “I just thought, ‘These guys need uploaded to his YouTube page several songs captured during the evening. v to make it.’ They had the whole package.” » CONTINUED ON PAGE 12

JIM BENNETT

The Lumineers play to the Seattle masses at Capitol Hill Block Party 2012.

11

SCARLET PAGE

The Lumineers, from left to right: Jeremiah Fraites, Neyla Pekarek, and Wesley Schultz.

12

Nearly three months later, in February 2011, Clark Smith was at the Crocodile in Belltown, probably wondering if he were about to lose his job. Then an A&R man at Seattle’s Onto Entertainment—a local music-management company and record label—Clark had been pitching Seattle bands almost exclusively, says his boss, Christen Greene. She informed him that if he didn’t bring an idea for a band to sign from outside the city, his job might be on the line. “[Smith] kept bringing in Pacific Northwest bands, and I was like, ‘No more. We’ve got Fences. We have Hey Marseilles. Lonely Forest is taken. The Head and the Heart are taken,’ ” says Greene, sitting in a corner of the 5-Point Café—which her Onto partner Dave Meinert owns—sipping straight whiskey at 4:30 p.m. on a Thursday. “The well was a little dry, you know?”

At the Croc, the night before the next Onto A&R meeting, Smith (who no longer works for Onto and declined to be interviewed for this piece) commiserated over a drink with his friend Ryan, who was working as a caterer that evening.

Ryan told Smith not to worry: Just pitch this band from Denver called the Lumineers.

It wasn’t a tough sell. Smith brought in the “Ho Hey” YouTube video from “this girl named Tracy’s house” to the meeting the next day, “and everybody was like, ‘Fuck yeah,’ ” remembers Greene.

“We were like, ‘Shit, this is killer,’ ” Meinert agrees.

“The funny thing about that video is it wasn’t planned,” says Schultz, the Lumineers’ lead singer and the song’s co-author. “If we knew how important that video was going to be, we probably would have tried a lot harder.”

Onto moved fast. Greene hopped on a plane, flew to New York to catch the Lumineers’ next show, and convinced the unknown Denver band to sign with an unknown management company from Seattle.

For the first seven weeks the album was on sale, more copies of

The Lumineers were sold in the Seattle/Tacoma market than anywhere else in the country.

Dave Meinert and Christen Greene of Seattle’s Onto Entertainment signed the Lumineers when they were an unknown Denver band.

PETER KOVAL

SEATTLE WEEKLY • MAY 1 — 7, 2013

» FROM PAGE 11

“They were sort of the first ones who talked to us,” recalls Schultz of Onto’s courtship. “We were just kind of taken aback that someone would spend money on a plane ticket to come see us.

“After the show she bought us a drink,” he continues. “Now I’m like, ‘What’s going on here?’

We’d never been treated that way.”

According to Greene and Meinert, Onto’s pitch was simple: The Seattle-based team had the experience, tenacity, connections, and business sense to take the Lumineers where they wanted to go.

“There’s a bit of a sell,” says Meinert, whose past includes co-owning and producing the Capitol Hill Block Party and managing the return of the Presidents of the United States of America.

» CONTINUED ON PAGE 14

SEATTLE WEEKLY • MAY 1 — 7, 2013

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“It’s like anything in the business.” Sitting next to Greene at the 5-Point, unshaven, he counters Greene’s whiskey with a plate of veggies and hummus.

“That hustler side of her really appealed to me,” Schultz says of Greene. “I wanted someone who had something to prove and was hungry. I like Dave because he’s the guy who has a lot of experience. You have that experience on one side and you have that ambition on the other. It’s a nice mix.”

After Greene flew across the country to meet the band, Schultz says, “We felt on top of the world.” The next night, however, a show in Portland, Maine, sealed the deal. Twenty-four hours after being propositioned by Onto, the band played to a near-empty room, and actually bought beers for folks to keep them around.

According to Schultz, it was this humbling experience that inspired the band to sign with the Seattle-based management team.

“We’d outgrown our resources,” he says.

P

roducer Ryan Hadlock is no stranger to successful records. His list of credits includes work with The Gossip, Blonde Redhead, Ra Ra Riot, Milo Green, and Brandi Carlile. Shortly after South by Southwest in 2011, Greene gave him the Lumineers’ demo. Like a handful of folks before him—and millions after—Hadlock remembers feeling an immediate emotional connection to the band’s music.

“I put it in my car and listened to it,” Hadlock says, “and it kind of blew my mind.”

A potential roadblock, however, was money. Hadlock knew he wanted the Lumineers to record at his Woodinville studio, Bear Creek, but the budget Onto and the band had

for their debut record was small—“a very indie, DIY budget,” according to Hadlock. So small, in fact, that he and his manager couldn’t see eye-toeye on the project. Hadlock sided with the band, aiming to make the situation work. He says the decision cost him a manager, but was worth it.

“I think we realized he was taking a chance on us,” says Schultz, “because straight-up we just didn’t have any money.”

Schultz says choosing Bear Creek was a pretty easy decision. A converted turn-of-thecentury barn situated amid towering trees on 10 acres just off Woodinville’s Maltby Road, the

“I put it in and I was blown away.

I couldn’t believe it.

I thought, ‘This is one of the catchier songs I have ever heard.’ ” —John Richards studio sells itself. Eric Clapton, James Brown, Lionel Richie, Soundgarden, the Foo Fighters, and countless other notables have made the trek to Woodinville to record in this quintessentially Northwest locale. Opened

by Hadlock’s parents in 1977, Bear Creek has been responsible for everything from Heart records to jingles for Rainier Beer and Ivar’s. A day’s recording accomplishments are often toasted over bonfires on chilly Snohomish County nights.

Hadlock, who took over for his “hippie” parents, runs the Bear Creek knobs with studio

14

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Producer Ryan Hadlock recorded the Lumineers’ debut record at his Bear Creek Studio in Woodinville.

GUISEPI SPADAFORA

SEATTLE WEEKLY • MAY 1 — 7, 2013

30th ANNIVERSARY!

manager Jerry Streeter. A tour reveals planks of wood that originally adorned the outside of the barn, now hanging inside and warming the sounds of the studio’s appropriately named “Wood Room.” Candid photos of past visitors, from the Strokes to the Afghan Whigs to Dave Grohl, all mugging for the camera, plaster the walls. Brandi Carlile liked recording at Bear Creek so much she named her last record after it.

“What you’ve got to remember about a studio is you’re trying to create a very natural feeling in a very unnatural setting. [Bear Creek’s] whole vibe was amazing,” says Schultz. “[Hadlock] was

just a really good producer for us. He wasn’t so much about getting it perfect as he was about fostering a vibe.”

Hadlock was one of the first Pacific Northwesterners to “get” the Lumineers. He’d be far from the last.

In June 2011, the Lumineers spent two weeks with Hadlock laying down the body of music that has since netted multiple Grammy nominations, landed the band on the cover of Billboard magazine, and become so culturally ubiquitous that Taylor Swift is even covering “Ho Hey” on her ongoing Red Tour.

A

t 4:30 a.m. on a January morning in 2012, KEXP’s John Richards was looking for something awesome. As usual, a stack of CDs sat by his desk waiting to be scoured for songs that might fit on the indie radio station’s airwaves. KEXP estimates it gets 200 CDs through the mail every week, roughly 500 songs via e-mail, and about a dozen albums hand-delivered. That morning, one of those hand-delivered CDs came from Onto.

“Every once in a while, it happens,” Richards recalls of hearing “Ho Hey” for the first time. “I put it in and I was blown away. I couldn’t believe

it. I thought, ‘This is one of the catchier songs I have ever heard, and it has the perfect formula of what’s kind of been building in the music industry.’”

A month earlier, “Ho Hey” had been featured, in its entirety, on the CW show Heart of Dixie, an exercise that led many to search the Internet for any trace of the song or the band. With aesthetically compatible artists like Mumford and Sons blowing up, the timing was perfect. But aside from Ravishankara’s video, there wasn’t much online, and very little critical assessment.

» CONTINUED ON PAGE 16

MORGEN SCHULER

The Lumineers credit KEXP’s John Richards with giving them their break.

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It was Richards’ decision to play “Ho Hey” not once, but twice—back-to-back—that morning that many mention as a turning point for the Lumineers. Richards would repeat his double play of “Ho Hey” throughout the week. “It’s maybe a few times a year you get something this tremendous,” he says. “As it’s playing I thought, ‘I’m totally playing that again.’ For some reason, it touched a nerve with people, in a good way.”

Richards says it was the first time he’d ever played a song back-to-back like that. Radio jocks and programmers—not just on rock and pop stations, but also on those that play alternative, adult-contemporary, Top-40, and even country— have had it in heavy rotation ever since.

“This is what you call a smash,” says Dwight Douglas, spokesperson for Mediabase, a company that tracks airplay.

J

ust as Richards was having his “Ho Hey” moment, Paul Roper, president of Nashville’s Dualtone Records, was having his. He officially signed the Lumineers to a rare, one-record deal the same month that Richards broke “Ho Hey.” “We were blown away by the authenticity that surrounded their music and their art,” says Roper.

“Christen and Dave are very independent-minded at heart. So I think a natural extension of how they do business was that they were kind of at home with an indie [like Dualtone]. . . . That independent spirit fueled a lot of our conversations.”

Instead of going for the quick advance and glamour of a major label, the Lumineers retained control over the record’s sound and ownership of the masters in their deal with Dualtone. They’ve been stomping and clapping to the bank ever since. The deal not only gives the band a larger share of album, touring, and merchandise profits, but it leaves them free agents who, when it’s time to release their next record, can bring to the bargaining table a resume boasting a megahit.

According to Roper, Dualtone was game to strike a one-record deal with the Lumineers because the company realized the band had something special. The idea was to set up a relationship where, if all parties involved agree, Dualtone could be involved for “the long haul.”

“We only sign a couple bands a year, and that’s by design,” says Roper. “We were willing to do that because we knew, at the end of the day, our work was going to stand on its own legs.”

That doesn’t mean the record hasn’t greatly outperformed Dualtone’s expectations. Says Roper: “We thought we would sell 20,000 albums.” Released on April 3, 2012, The Lumineers sold more than 10,000 copies its first week, hit 20,000 in three, and went platinum—selling more than a million copies—in February. As of last week, The Lumineers had sold 1.2 million copies in the U.S., “Ho Hey” more than four million—far and away Dualtone’s most successful.

Seattle fans led the charge. For the first seven weeks the album was on sale, more copies of The

SEATTLE WEEKLY • MAY 1 — 7, 2013

“I think John

16

Richards really set it off . . . putting it on twice in a row.

No one made him play it.”

—Wesley Schultz

MELISSA MADISON FULLER

The Lumineers’ “Ho Hey” went quadruple platinum last week.

Lumineers were sold in the Seattle/Tacoma market—the nation’s 13th largest—than anywhere else, outselling New York, Los Angeles, and even the band’s hometown, Denver.

“I think John Richards really set it off,” says Schultz. “It was really crazy to end up on that station, with a guy like [Richards], putting it on twice in a row. No one made him play it.” Indeed, no one did, just as no one made Onto’s Greene and Meinert take a chance on a band based on little more than a YouTube clip, and no one made Hadlock go against his manager’s advice to produce that band’s record.

“I think there are some true tastemakers in the industry there,” Schultz says of the Pacific Northwest and the way the region helped launch the band’s career. “Seattle’s sort of a kingpin.” E

mdriscoll@seattleweekly.com

The Lumineers play the sold-out Sasquatch! music festival on May 22, and will soon announce a show at Redmond’s Marymoor Park.

the»weekly»wire

FIRST THURSDAY

Animal Appeal

be 10 times easier than grabbing and shoving at the department store: Nine “Shoe Guys” will mingle and bear selected merchandise on silver platters for you to peruse. The guys are all volunteers, and one’s a demi-celeb: Doug Clerget , the sweet single dad who appeared as a contestant on the most recent season of The Bachelorette. He didn’t win, which means there’s

STACEY ROZICH/ROQ LA RUE GALLERY

Don’t wait for next week’s Belltown Art Walk to see the new show at Roq La Rue, because the gallery won’t be there. Instead, Stacey Rozich is featured this month in the gallery’s brandnew location—now a stop on the First Thursday circuit around Pioneer Square.

Within Without Me offers whimsical, colorful creatures from the local painter.

Some are half man/half beast, like figures of myth or Dr. Moreau’s science experiments gone comically wrong. There are suggestions of Greek satyrs and centaurs, Egyptian hieroglyphics, Chinese dragons, Northwest coast Indian carvings, and Mayan bird deities. If there’s mythology at work, it’s a private, artistgenerated mythology. Figures are draped in masks, pelts, and costumes that transform them, like shamans, into ambassadors from a supernatural realm.

Her patchwork creations share a kinship with those of Maurice Sendak and Miguel Calderón (he who did those funny/ frightening paintings in The Royal Tenenbaums). These demonsRozich’s When Times Was Good, at Roq La Rue. from-inside form a colorful bestiary—not exactly menacing, but more like the friendly, familiar monsters from a children’s storybook. (Rozich’s show remains more of him for us. Clerget and his cohort will on view through June 1.) Roq La Rue, 532 be wearing a uniform of black slacks and tight black T-shirts, says Crosby. “We like to make First Ave. S., 374-8977, roqlarue.com. Free. them look kind of hunky.” Four Seasons 6–9 p.m. BRIAN MILLER FASHION

Hunks Among Us

ERIN K. THOMPSON

fri/5/3 COMEDY

Hometown Pro

With many late-night TV credits and an Apatow endorsement (Knocked Up) under his belt, comedian Nick Thune returns home to his native Northwest to put the finishing touches on a new hour of material for an upcoming Comedy Central special. Thune is something of a double threat: Self-accompanying his deadpan one-liners on acoustic guitar heightens their absurd appeal. And though today based in L.A., he knows our local stages well—this is where he trained. When you walk in the door at Laughs,

mental indie band Cloud Cult , that are so precious and earnest you might think Craig Minowa had cast a spell over everyone.

The multi-instrumentalist and organic farmer is lauded by friends and fans as a genius, a visionary, a Renaissance man. In the doc, we see the long evolution of the band—best described as “Modest Mouse on lithium”—to its current eight-piece incarnaThune will probably tion (including two live paintwhip out his guitar. ers). We also learn of the death of Minowa’s young son, making 12099 124th Ave. N.E., Kirkthe film a meditation on grief, land, 425-823-6306. $15–$18. love, and resilience—not the usual subjects 8 & 10 p.m. (Repeats Sat.) DANA SITAR for a music doc. Minowa and company are currently touring behind Cloud Cult’s ninth album, unsurprisingly titled Love . For fans of the positive, life-affirming troupe, the doc is worth seeking out on Amazon and Netflix, but the live experience is preferred.

sat/5/4 FILM

Big River

Though the Seattle True Independent Film Festival (aka STIFF) begins Friday with an opening-night package of shorts at the GI (6 p.m., $8), I opted to sample a travel doc visiting a place where I once touristed: The headwaters of the Ganges River in India, where Go Ganges! filmmakers Josh Thomas and JJ Kelley also dunk themselves in the glacial torrent to be cleansed of sin. They need that holy protection, since they then follow the river some 1,300 miles to Calcutta by pedal-powered rickshaw, rowboat, and unreliable Vespa. Their DIY intent is “to travel as organically as possible,” which means both using Google Maps and not carrying a patch kit or more than one extra tube for their rickshaw tires. Each breakdown and dead end becomes a chance to meet and mingle with the locals, whose unfailing friendliness impresses the duo. By the time they start rowing, however, they realize they’re on “a river of poop,” where people also wash, swim, and dispose of their corpses. Thomas and Kelley strike a likable, casual tone that’s somewhere between Lonely Planet guidebooks and Vice (though Kelley has worked for National Geographic). If their goal is to inspire other young people to travel off the beaten path, that adventurous spirit also applies to STIFF, which offers 30 features and nearly 100 shorts through May 11. Venues also include Lucid Lounge and Wing-It Productions. Grand Illusion, 1403 N.E. 50th St., trueindependent.org. $8. 8 p.m. BRIAN MILLER

mon/5/6 MUSIC

Love and Loss

There are moments in No One Said It Would Be Easy, the new documentary about experi-

The Neptune, 1303 N.E. 45th St., 877-7844849, stgpresents.org. $17–$20. 8 p.m.

GWENDOLYN ELLIOTT

tues/5/7 CLASSICAL

Slow Fave

I can always tell right from the outset when a performance of Franz Schubert’s String Quintet is going to include the repeat (that is, play the opening section twice, as was standard practice in his day). And you can too, when you hear musicians from the Chamber Music Society of Lincoln Center play it tonight.

Listen for the way the players handle the peculiar rhetoric of the Quintet’s first minute: unchanging chords stretched like taffy, pregnant silences, demure gestures rather than songlike melodies. (Those come later, in profusion.) Do the players give all this its due? Do they sound comfortable with this generous approach—willing to yield to Schubert’s time scale, in no hurry to get anywhere but doing so gorgeously? Or do they seem nervous, perfunctory, the silences cut short, skittish about their ability to hold the audience’s attention, worried about missing their bus? If the latter, then they will not take the repeat, and the first movement will be 15 minutes long instead of 20. I have never yet guessed wrong. The term “heavenly length,” which Robert Schumann applied to Schubert’s sweeping final symphony, also applies to much of the unprecedentedly expansive chamber and piano music he wrote in his late years—“late” in his case meaning late 20s; he died at 31. Ironically, his music sounds like he has all the time in the world; the darkchocolate sound of the Quintet’s paired cellos, especially, is meant to be savored. Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$38. 7:30 p.m. GAVIN BORCHERT

SEATTLE WEEKLY • MAY 1 — 7, 2013

There’s a certain kind of Northwest woman who’s into microbrews, cut-offs, and campfires.

On the opposite end of the Seattle spectrum is the type who loves her chardonnay, stilettos, and trunk sales. If you’re one of the latter, Wine Women & Shoes, a benefit for Seattle Children’s Home, is tailor-made for you.

Four Seasons chefs prepare the food, and 10 West Coast wineries provide the drinks. What should you wear? “Dress to impress,” says SCH development manager Tiffany Crosby.

When assembling your outfit, pay particular attention to your footwear—there’ll be a contest for the “sassiest shoe.” And if your spring wardrobe needs sprucing up, Neiman Marcus will stage a runway show; their shoes will also be displayed among eight other retailers’ footwear—including swank local favorites Sway & Cake and The Finerie. And the shopping will

Hotel, 99 Union St., 298-9670, winewomen andshoes.com. $175–$2,500. 6–9 p.m.

look for the infamous Styrofoam to-go container displayed on the wall, covered with the signatures of Thune and fellow stars from a celebratory secret show that followed Bumbershoot a few years back. “He could have played anywhere in town, and he chose to play Laughs,” says the club’s co-proprietor, Angela Dennison. Especially since Thune has become a national act, she adds, “I take it as an honor that he will be here.” Laughs Comedy Spot,

NICKTHUNE.COM

thurs/5/2

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Weekly_Gin_Ad_4-30-13.pdf

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4/30/13

1:00 PM

arts»Opening Nights Assisted Living A CONTEMPORARY THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $41 AND UP. RUNS TUES.–SUN. ENDS MAY 12.

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SEATTLE WEEKLY • MAY 1 — 7, 2013

NATIONAL THEATER OF SCOTLAND

K

Dick Cheney is president. Medicare is gone. The elderly, criminalized for costing the system too much, are stored in prisonlike holding facilities and, when they die, are dumped down a floor chute in the dystopian “iPhone 12” future of Katie Forgette’s new comedy. Talk about a large, succulent buttock for hypodermic satire! The eldercare world of failing bodies, failing minds, and failed politics should breed jokes like germs in a nursery school, right?

And it does. But whether the jokes—ranging from smart to inane to forced and disgusting—land and cohere into something powerful depends on your immunity to sloppy theater. Assisted Living is rife with inconsistencies, confusing details, thinly veiled exposition about the health-care system, and cartoonish mayhem. Directed by R. Hamilton Wright (Forgette’s husband), the all-star cast painstakingly breathes pep into the flimsy plot about demoralized old folks rising up against the Power (embodied

by Julie Briskman as the tyrannical Nurse Claudia) in order to produce a Nativity play and reclaim their desire to live. As per the pharma ads, “Results may vary.”

Kurt Beattie and Marianne Owen play Joe and Judy, the most relatable, appealing, and romantically viable of the four singleton codgers we meet.

Mitzi and Wally (Laura Kenny and Jeff Steizer) share bladder issues—she has urinary accidents, he sports a catheter bag at the ankle. Wally and Mitzi exist mostly for comic purposes shoehorned into the script. (When Mitzi sits on Nurse Claudia’s chair, Claudia unbelievably berates her for impersonation rather than for imperiling the chair; moments later, Mitzi fouls the chair, as though we or Claudia wouldn’t have seen that coming a mile away.) The story too often serves the gags, not vice versa. Still, the folks around me laughed a lot.

On the upside, there are some fiercely weird moments, some provocative ones, and some touching ones. Felonious orderly Kevin (Tim Gouran) yells “Stiff! Incoming!” when he drops a body down the chute. Claudia’s Twinkie-police meltdown, about how unhealthy boomers bankrupted their descendants, duly voices the conservative side of the entitlements debate. Later, Joe and Judy’s insomniac date in the deserted rec room, gently lit by Rick Paulsen to contrast with the daylight glare, is the sweeter for broken rules and mortality. But soon it’s back to slapstick and who winds up with the tranquilizer guns.

18

MARGARET FRIEDMAN

PBlack Watch THE PARAMOUNT, 911 PINE ST., 877-784-4849, STGPRESENTS.ORG. $21.25–$55. RUNS DAILY THROUGH MAY 5.

Crackling with machismo, set on a stage where there’s no hiding from the roar of artillery fire and IEDs, Black Watch may be the first theatrical event to cause PTSD in its audience.

The Black Watch is a Scottish regiment in the British Army, steeped in traditions that date back to Robert the Bruce, and its small-town lads cling to each other like bawdy, brawling fraternity brothers. During their deployment to Iraq, though, the soldiers’ banter gives way to very real threats of death and dismemberment.

Set between two sets of risers like a miniature football stadium, Black Watch brings audiences so close to the action that the scent of explosives is always in the air, the smoke never completely clears, and we can watch the actors’ eyes scanning every corner for snipers.

Gregory Burke’s 2006 play is more economical than most tweets, and this bus-and-truck tour is also overseen by John Tiffany, the show’s original

Andrew Fraser (left) and Scott Fletcher play two of Black Watch’s soldiers in Iraq.

director at the National Theater of Scotland. It’s a brutal, insightful, and profanity-laced shove into the rabbit hole of Iraq, where the Black Watch had to keep “The Triangle of Death” from falling into the hands of insurgents.

Much of the play is told in flashback, with an occasional assist from multimedia clips showing dissent at home—and what happens when a smart bomb finds its target.

Innumerable war stories contain that moment when combat vets sneer at a soft-as-cheese reporter asking “What’s it really like?” to be in combat. Black Watch stages that exchange again, but also answers the question with a blistering intensity. This show is louder than most rock concerts, and the sound of screaming jets and ground-support fire is not for the faint of heart (or ear). When the soldiers duck for cover, you’ll have that impulse, too.

Likely this is the closest a person can come to combat without enlisting. These practiced performances and well-lived-in characters make vividly clear the cost of war: It frays the nerves, dulls

compassion for all but your closest comrades, and makes you question the noble call to arms.

Absent a clear mission or moral imperative in Iraq, these soldiers can be loyal to only one thing: the oath to keep themselves and their mates alive. KEVIN PHINNEY

Boeing Boeing SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), 443-2222, SEATTLEREP.ORG. $15–$80. RUNS WED.–SUN. ENDS MAY 19.

Everything good about this lollipop of a period piece comes from Seattle Rep, starting with the decision to close its 50th season with this halfcentury-old play in tribute to the jet-age spirit of our World’s Fair, when an airport lounge was an epicenter of swank and an “air hostess” an archetype of feminine desirability.

(Marc Camoletti set his farce in Paris, but it hardly matters; they should have just gone ahead, taking a cue from the title, and recast it in Seattle.)

Corey Wong’s set is a Populuxe fantasy, a Jetsons bachelor pad with an Esquivel soundtrack, from the downstage-center remote-controlled bar (literally a wet bar: It contains an aquarium) to, around the perimeter, the multiple doors every farce requires. This apartment belongs to playboy Bernard (Richard Nguyen Sloniker, radiant with charm), whose scheme to juggle three stewardess girlfriends is threatened when Boeing’s improved engines shorten their flight times and muddle his precision scheduling. As those girls, Bhama Roget, Angela DiMarco, and Cheyenne Casebier pile loads of zip and personality upon Camoletti’s stale ethnic stereotypes: The American Gloria is perky, pushy, and puts ketchup on pancakes; the Italian Gabriella is a molto caldo sexpot; the German Gretchen is a sauerkraut-loving ball-buster with dance moves like a cross between Joey Heatherton and Mike Myers’ Dieter. Mark Bedard stirs the pot as Bernard’s Wally Coxian friend Robert; Anne Allgood makes the very most of the testy maid Berthe.

It’s a bubbly exercise in sheer theatrical style, as sharp and slick as Don Draper’s haircut, in the service of one of the weakest scripts I’ve ever seen on a stage—two hours of flat lines, pointless incidents, and endless expository dialogue. I watched, moment by moment, in disbelief that this was the best the playwright could have come up with. (What happens when you eat a lot of sauerkraut? Yes, Camoletti went there.) Speaking of moving the setting to Seattle: Robert and Gretchen’s bit about confusing two cities both named Aix, which is really all that anchors the play in Europe, could’ve easily been translated to the Northwest’s two Vancouvers.

You can’t argue it would be less funny.

Even the promise of the premise was lamely withheld; what finally gets the three G’s in Bernard’s apartment simultaneously is bad weather, not the title company’s technological advances.

And as for feeling cheated, don’t even ask how lazily Camoletti untangles his plot. Afterward, I went home to watch a 30 Rock and laughed every eight seconds. So I know it’s not just me.

GAVIN BORCHERT E

stage@seattleweekly.com

SEATTLE WEEKLY • MAY 1 — 7, 2013

19

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Saturday, May 11th, 2013 9am - 1pm

Build your own subscription by choosing three or more different shows below.

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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 August 20 - 25 | Paramount | $28.75 - $78.75

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Sept 27 | Moore | $34.50

Mavis Staples

Mar 11 - Apr 6 | Paramount | $25.75 - $153.75

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Martin Short

Oct 4 | Neptune | $26

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Jerry Springer: The Opera

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Feb 14 - 16 | Paramount | $25 - $61

May 27 - June 8 | Paramount | $28.75 - $83.75

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

Oct 11 - 26 | Moore | $26.50 - $30.50

Carrie: The Musical

Mark Morris Dance Group

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Oct 24 - 27 | On the Boards | $22

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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

A John Waters Christmas

Seattle Rock Orchestra performs Michael Jackson

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

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Alvin Ailey American Dance Theater Starbucks Hot Java Cool Jazz Jake Shimabukuro

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Once

July 11 - 12 | Moore | $15.50

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Kronos Quartet with special guest Degenerate Art Ensemble Mannheim Steamroller Christmas

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TAO: Phoenix Rising

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

Stage OPENINGS & EVENTS

AMERICAN UTOPIAS/F***ING F***ING F***ING AYN RAND Mike Daisey’s two new culture-dissecting mono-

logues. Utopias: 7:30 p.m. Wed., May 1–Sat., May 4. Rand: 7:30 p.m. Wed., May 8–Sat., May 11. Seattle Repertory Theatre, Seattle Center, 443-2222, seattlerep.org. $12–$25.

THE ATOMIC BOMBSHELLS A one-night-only performance from the queens of Seattle burlesque. Seattle Musical Theatre, 7400 Sand Point Way N.E. #101N, 3632809, seattlemusicaltheatre.org. $20. 8 p.m. Wed., May 1.

BILL & PEGGY HUNT PLAYWRIGHTS FESTIVAL Four weekends of new shows (one-acts and full-lengths) by Washington playwrights. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180. $10.

Opens May 3. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 26.

See burienlittletheatre.org for lineup.

CAFE NORDO: SMOKED! Their new culinary/theater experience bites off a lot, “channel[ing] the spaghetti Westerns of Sergio Leone and the oppression of Monsanto-style agribusiness with lawyers and lobbyists portrayed as guntoting sociopathic thugs.” The Kitchen by Delicatus, 309 First Ave. S., cafenordo.com. Opens May 2. 7:30 p.m. Thurs. & Sat. ($70), 8 p.m. Fri.–Sat. ($80). Ends June 16.

CINCO DE MAY-YAI-YAI-O Christine Deaver hosts Teatro ZinZanni’s late-night cabaret celebrating the culture and arts of Finland. (Just kidding! It’s Mexico!) Light bites and cocktails available. Teatro ZinZanni, 222 Mercer St., 8020015, zinzanni.org. $45–$55. 11:15 p.m. Sat., May 4.

FRANK OLIVER’S TWISTED CABARET Magic, juggling, knife-throwing, and more in this one-man vaudeville evening. Hale’s Palladium, 4301 Leary Way N.W., twistedcabaret.com. $14–$35. Opens May 2. 7:30 p.m. Thurs., 7:30 & 10:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends May 26.

GUN CONTROL THEATRE ACTION theater simple presents readings from the new anthology 24 Gun Control Plays, which includes work by Neil LaBute, Jennifer Maisel, and many others. West of Lenin, 203 N. 36th St., theatersimple.org. Donation. 7:30 p.m. Thurs., May 2.

THE HARROWING HAUNTING OF APPARITION FALLS Blood Squad and Balagan co-produce this

•

CURRENT RUNS

• ADVENTURES OF HUCKLEBERRY FINN Published

only 20 years after Lincoln freed the slaves, Mark Twain’s 1885 novel combines homespun tall tales with a seething abolitionist tone in its unflinchingly depiction of the life of

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

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THE FINAL TRIBUNAL INTO THE MYSTERIOUS DEATH OF SENOR DALI For Pony World Theatre’s

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.

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. 7:30 p.m. Fri.–Sat. plus Thurs., May 16; 2 p.m.

Sun. Ends May 19.

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 2 p.m.

Sun., 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.

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.

7 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 4.

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. Runs Wed.–Sun.; see seattleshakespeare.org for exact schedule. Ends May 12.

TEAM OF HEROES: NO MORE HEROES The finale of Alexander Harris’ superhero satire. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m.

Thurs.–Sat. plus Mon., May 13. Ends May 25.

TEATRO ZINZANNI: DINNER AT WOTAN’S It’s Ragnarok eve, aka the final battle of good vs. evil, and Wotan and the rest of the Wagnerian pantheon are ready to par-tay! Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends May 12.

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.

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Dance CIUDADES FLAMENCO Traditional music and dance from

Savannah Fuentes and her troupe. Columbia City Theater, 4918 Rainier Ave. S., 800-838-3006, savannahfuentes.com. $20–$25. 8 p.m. Thurs., May 2.

CO-LAB 5 Coriolis Dance presents works by Christin Call, Zoe Scofield, and others. Erickson Theatre Off Broadway, 1524 Harvard Ave., 587-5400, coriolisdance.com. $10–$20.

Opens May 3. 8 p.m. Fri.–Sat. Ends May 11.

PETALS OF THE LABYRINTH Part of Vanessa Skantze’s “Bonsoir Samedi” butoh series. Teatro de la Psychomachia, 1534 First Ave. S. $5-$15. 8:30 p.m., Sat., May 4.

EZRA DICKINSON There are some dancers you want to watch no matter what they’re doing, and Dickinson is one. He’s performed in an incredible variety of modes, from cabaret to ballet, with stops at experimental theater and performance art. In Mother for you I made this, he looks back on his own changeable past caring for a schizophrenic parent, showing us a collection of vignettes originally made as gifts for his mother. SANDRA KURTZ $12–$18. 7 p.m. daily Mon., May 6–Sun., May 19; see velocitydancecenter.org for venue info.

CRAZY LITTLE THING CALLED LOVE Belly dance, burlesque, Bollywood, modern dance, and more. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacity theater.com. $15–$18. 8:30 p.m. Sat., May 4.

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

Classical, Etc.

STUART ISACOFF “The American Piano,” traces the

art from C.P.E. Bach to Jerry Lee Lewis. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 7:30 p.m. Thurs., May 2.

SEATTLE SYMPHONY A Mass and a symphony by Haydn flank a horn concerto by Mozart. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$76.

7:30 p.m. Thurs., May 2, 8 p.m. Sat., May 4.

OREGON SYMPHONY Carlos Kalmar conducts Weill’s Seven Deadly Sins (with vocalist Storm Large) plus Schubert, Ravel, and a new work by Narong Prangcharoen. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Fri., May 3.

SEATTLE COMPOSERS SALON Tom Baker curates and emcees this new-music open-mike night. Chapel Performance Space, 4649 Sunnyside Ave. N., composer salon.com. $5–$15. 8 p.m. Fri., May 3.

ILLUMNI MEN’S CHORALE American music of all kinds.

Christ Episcopal Church, 4548 Brooklyn Ave., 659-5894, illumni.net. $10. 3 p.m. Sat., May 4.

BAROQUE NORTHWEST Chamber music from the court of Louis XIV and the salons of the grand siecle. Trinity Episcopal Church, 609 Eighth Ave., 920-3822, baroque northwest.com. 7:30 p.m. Sat., May 4.

KEITH EISENBREY From this pianist/composer, his own music and John Cage’s. Chapel Performance Space, 4649 Sunnyside Ave. N. $5–$15. 8 p.m. Sat., May 4.

SEATTLE OPERA Poulenc and Puccini’s one-acts La voix humaine (a woman confronts her lover over the phone) and Suor Angelica (a nun confronts, or is confronted by, her past). McCaw Hall, Seattle Center, 3897676, seattleopera.org. $25 and up. Opens May 4. 7:30 p.m.

Wed. & Sat., plus 2 p.m. Sun., May 12. Ends May 18.

SEATTLE SYMPHONY A “Beyond the Score” multimedia performance of Beethoven’s Fifth. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$84.

2 p.m. Sun., May 5.

SEATTLE WIND SYMPHONY Gerard Schwarz’s Above and Beyond. Meany Hall, UW campus, 425-442-9334, seattlewindsymphony.org. $5–$20. 3 p.m. Sun., May 5.

OCTAVA CHAMBER ORCHESTRA Closing their season with Beethoven, Rossini, and more. Maple Park Church, 17620 60th Ave. W., Lynnwood, 425-743-2288, octava chamberorchestra.org. $5–$15. 6 p.m. Sun., May 5.

GAMELAN PACIFICA Music from this Indonesian percussion orchestra. Cornish College/PONCHO Concert Hall, 710 E. Roy St. $10–$20. 7 p.m. Sun., May 5.

MEDIEVAL WOMEN’S CHOIR A celebration of the music of St. Hildegard of Bingen. On May 5 at 7 p.m., an open sing ($10); on May 11 at 8 p.m., the full choir ($22–$25). St. James Cathedral, 804 Ninth Ave., 264-4822, medievalwomenschoir.org.

UW IVES FESTIVAL Concerts and more explore the work of the American iconoclast. Mon., May 6 The UW Symphony performs Ives songs. Tues., May 7 Cristina Valdes plays the massive “Concord” Sonata. Wed., May 8 Songs and chamber music. See music.washington.edu for full schedule of additional events.

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• CHAMBER MUSIC SOCIETY OF LINCOLN CENTER SEE THE WIRE, PAGE 17.

SALISH SEA EARLY MUSIC FESTIVAL Trio sonatas by

Lully, Handel, and others. Christ Episcopal Church, 4548 Brooklyn Ave., salishseafestival.org. Donation. 7:30 p.m.

Tues., May 7.

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

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Bonneville Power Administration Columbia River Treaty Review Open House (5/2) Earshot Jazz presents: Kocani Orkestar (5/2) Mark Tercek How Business & Society Thrive

by Investing in Nature (5/3) Sister Communities Renaud Garcia-Fons (5/4) Short Stories Live ‘The Selected Letters of Willa Cather’ (5/5) Joshua E.S. Phillips & Ian Fishback Confronting Our Legacy of Torture (5/5) Tar Sands Blockade The Keystone XL Pipeline (5/6) Scott Skinner The Giant, Healing Kites of Guatemala (5/6) 5/7 DOUBLE feature! Two for $5 UW Science Now: Alan Jamison: Cooling Atoms with Blinding Hot Light AND Jared Kofron: A Brief History of the Tiny Neutrino

Lee Smolin: Time is Real ParentMap: Dr. John Gottman: Making Love Last & Marriage Work (5/7) Paul Anastas: Designing a Sustainable Tomorrow (5/8) Eric Drexler: How a Nanotechnology Revolution Will Change Civilization (5/9) TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

townhallseattle.org

SEATTLE WEEKLY • MAY 1 — 7, 2013

improvised trilogy of ghost stories. Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagantheatre.org. $10. Opens May 4. 11 p.m. Sat. Ends May 18.

THE HATS WE WEAR A night of one-acts, including Lucille Fletcher’s classic suspense tale Sorry, Wrong Number.

Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Free.

2 p.m. Sat., May 4, 7 p.m. Sun., May 5.

INDIANA BONES AND THE LIPS OF DESTINY Sara Dipity and Lila Dread present their George Lucas sendup, subtitled “A Burlesque Adventure.” Julia’s on Broadway, 300 Broadway Ave. E., 800-838-3006, lipsofdestiny.com. $15–$18. 7:30 p.m. Wed., May 1–Thurs., May 2.

SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. May’s show includes “songs of love and neurosis,” “delightfully dour musings,” and much more.

Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre. org. $5–$10. 11 p.m. Fri., May 3.

THE TABLECLOTH: A THANKSGIVING PLAY The Seattle Playwrights Collective offers a reading of John C. Davenport’s drama. Elliott Bay Book Co., 1521 10th Ave., seattleplaywrightscollective.org. 6 p.m. Sun., May 5.

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. Opens May 1. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends May 25.

NICK THUNE SEE THE WIRE, PAGE 17.

WORD PLAY A mini-festival of performances and workshops explores “recovery from a queer perspective.” See gaycity.org for schedule. Gay City Health Project, 511 E. Pike St., 860-6969. 10 a.m.–9:30 p.m. Sat., May 4.

WORLD’S FAIR No, not our 1962 bash: In this improv thriller, a serial killer menaces the Columbian Exposition of 1893.

Wing-It Productions, 5510 University Way N.E., jetcity improv.com. Opens May 2. 8 p.m. Thurs.–Fri. Ends June 21.

a runaway slave, as seen through the eyes of pubescent scamp. 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. Racism is as contemporary as the morning news or right-wing websites. Huckleberry Finn is 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 word “nigger,” that effect has been blunted for decades. KEVIN PHINNEY Center House Theatre, Seattle Center, 216-0833. $25–$45. Runs Wed.– Sun through May 12; see book-it.org for exact schedule.

ASSISTED LIVING SEE REVIEW, PAGE 18.

BLACK WATCH SEE REVIEW, PAGE 18.

BOEING BOEING SEE REVIEW, PAGE 18.

THE BOYS NEXT DOOR Tom Griffin’s play about four special-needs housemates. Richard Hugo House, 1634 11th Ave., 800-838-3006, seattlestageright.org. $15. 7:30 p.m. Thurs.–Sat. Ends May 11.

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.

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INTERNATIONALLY RECOGNIZED PROGRAMS FOR PEOPLE OF ALL AGES & ABILITIES TUITION ASSISTANCE AVAILABLE

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

Openings & Events A TRIBUTE TO PAUL HAVAS Muted tones and serene

MAY 1–25

landscapes are featured in this collection of the recently deceased Puget Sound painter’s work. First Thursday opening: 5:30-8:30 p.m. Woodside Braseth Gallery, 2101 Ninth Ave., 622-7243, woodsidebrasethgallery.com, Tues.-Sat., 11 a.m.-6 p.m. Through June 1.

KATHERINE ALTUS Stream to Sea evokes the mysterious undertones of nature. Artist reception: 6-8 p.m.

Thurs., May 2. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Opens May 2, Mon.Sat., 10:30 a.m.-5:30 p.m.; Sun., 11 a.m.-5 p.m. Through June 3.

ARTY PARTY A day of family fun featuring hands-on art-making with Henry staff, an edible art workshop with Shorecrest High School Culinary Arts students, music by Caspar Babypants, and more. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, Free for children and Henry members. $10 general admission. Sun., May 5, 11:30 a.m.-3:30 p.m.

SHERI BAKES Her new show Wind Song is dedicated to a friend who passed away. In it, her paintings consider the fragile bond between nature and humanity. Foster/ White Gallery, 220 Third Ave. S., 622-2833, fosterwhite. com, Opens May 2, Tues.-Sat., 10 a.m.-6 p.m. Through May 31.

BAM’S FREE FIRST FRIDAYS Strapped for cash?

BAM offers free admission every first Friday of the month. Here’s your chance to check out the museum’s current shows, Zoom (a showcase of stylish postwar Italian photography and design), Love Me Tender (in which artists mess with money) and Maneki Neko: Japan’s Beckoning Cats–From Talisman to Pop Icon (very kawaii ceramics). Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m.

CLARE BELFRAGE Inspired by the new exhibit at Tacoma’s Museum of Glass, Links: Australian Glass and the Pacific Northwest, the Australian artist presents Threads, a collection of lacey, organic glass sculptures. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com, Opens May 2 with First Thursday reception, Tues.-Sat., 10 a.m.-6 p.m. Through May 31.

JOEL BROCK This mixed-media exhibition titled Shadows Cast embodies a unique representation of everyday objects, with layers of emotion emanating from within these abstract still lifes. First Thursday reception: 6-8 p.m. Thurs., May 2. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Opens May 2, Mon.-Sat., 10:30 a.m.-5:30 p.m.; Sun., 11 a.m.-5 p.m. Through June 3.

GUST BURNS In review studies, the composer and educator presents an installation made up of several components, including text and sound recordings that examine questions about how we “understand that which is heard by musical listening, and how we listen to language.” First Thursday pening reception 6-8 p.m.

Thurs., May 2. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org, Opens May 2, Mon.-Fri., 9 a.m.-5 p.m. Through May 31.

LARRY CALKINS The surreal subjects and scenarios in under my hat appear in magical landscapes draped in murky color; in these shadows, both image and storyline are never fully revealed. 6-8 p.m. First Thursday artist reception, 6-8 p.m. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston.com, Opens May 2, Tues., Thurs.-Sat., 11 a.m.-5 p.m. Through June 1.

CRUSADE FOR ART Jennifer Schwartz hosts this pop-up gallery out of her blue 1977 VW bus as a means to a encourage engagement with art and inspire a new wave of art collectors. Photographs by local artists will be given away for free at the event. Pike Place Market, 85 Pike St., Wed., May 1, 12-3 p.m.

STEPHANIE DODES Spangled Manner is a storefront video installation depicting two blank-faced nine-yearold girls as they undergo some unsettling makeovers.

Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org, Opens May 2, Mon.-Fri., 9 a.m.-5 p.m. Through May 31.

FREMONT ART WALK Venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. (See fremontfirstfriday. com for participating artists.) First Friday of every month, 6-9 p.m.

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33 VARIATIONS A play by MOISÉS KAUFMAN

Directed by CHRISTOPHER ZINOVITCH

SEATTLE WEEKLY • MAY 1 — 7, 2013

206-938-0339 www.ArtsWest.org

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4711 CALIFORNIA AVE. SW, SEATTLE, WA 98116

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Final Two Weeks!

Must close May 12

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By William Shakespeare | Directed by Aimée Bruneau

Apr. 25–May 12, 2013 Performed at the Playhouse

Ticket Office: 206-733-8222 www.seattleshakespeare.org

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

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TOM HOFFMANN Cool earth tones and geometric pat-

terns make up the landscapes and aggregated color fields in his Balance series. Opening reception, 5-7 p.m. Sat., May 4. Fountainhead Gallery, 625 W. McGraw St., 285-4467, fountainheadgallery.com, Opens May 2, Thurs., Fri., 11 a.m.-6 p.m.; Sat., Sun., 12-5 p.m. Through May 26.

KENT HOLLOWAY In Light, Glass, and Crows, she depicts clouds, flowers, glass, and other organic forms. First Friday Art Walk opening, 5-7 p.m. May 3.

Bainbridge Performing Arts, 200 Madison Ave. N., 8428569, bainbridgeperformingarts.org, Tues.-Fri., 10 a.m.-5 p.m. Through May 31.

DOUG JECK AND GINNY RUFFNER In separate solo exhibits, the ceramic and mixed-media artists explore themes of human physicality and genetic engineering, often to unsettling and haunting effects. First Thursday reception, 5-8 p.m. William Traver Gallery, 110 Union St., 587-6501, travergallery.com, Tues.-Fri., 10 a.m.-6 p.m.; Sat., 10 a.m.-5 p.m. Through June 2.

ELIZABETH MCELVEEN Captured in and around the artist’s home of Verona, Italy, the series of black and white photographs that make up A Tragic Love & All evoke the romance and tragedy of Shakespeare’s Romeo and Juliet. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com, Opens May 2 during the First Thursday art walk. Mon.-Fri., 6 a.m.-7 p.m.; Sat., 7 a.m.-7 p.m.; Sun., 8 a.m.-6 p.m. Through June 5.

MO·SA·IC The patchwork technique is represented through various media, from oil-dyed wood chips to metal leafing, through the work of Bui Cong Khanh, Hai and Thanh Le, Jongsook Lee, and Naoko Morisawa. First Thursday opening Reception: 5-8 p.m.

ArtXchange, 512 First Ave. S., 839-0377, artxchange. org, Opens May 2, Tues.-Sat., 11 a.m.-5:30 p.m. Through June 1.

MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65-foot-tall sculpture Wawona (salvaged from the schooner of the same name), plus new exhibits on video games and Seattle’s history at the movies. Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m.

KRIS EKSTRAND MOLESWORTH The land and seascapes, estuaries, and farmland vistas of the Samish valley are featured in Fragments of Place. Artist Reception 5-8 p.m. Sat., May 4. Smith & Vallee, 5719 Gilkey Ave. (Bow), 360-766-6230, smithandvallee.com, Opens May 4, Weds.-Sun., 11 a.m.-5 p.m. Through May 26.

MEG MURCH Presenting work from her 18-month residency, Coloring Outside the Lines features sculpture of vibrant color including busts, self-portrait masks, abstract figures, and wall pieces. Opening reception 6-8:30 p.m. Fri., May 3 (includes artist talk). Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org, Opens May 3, Tues.-Fri., 11 a.m.-5 p.m.

Through May 24.

NEW MEMBERS’ SHOW Julie Alexander, Julia Freeman, and Shaun Kardinal present work in different media on themes of memory and sensory perception, with pieces that aim to connect with the natural and everyday world. First Thursday opening reception: 6-9 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Weds.-Sat., 12-5 p.m.

Through June 1.

PATH WITH ART SPRING EXHIBIT This one-night event showcases over 50 student artworks created during the past six months. Artist presentations, 6 p.m. during the First Thursday gallery walk. Frye Hotel Apartments, 223 Yesler, 722-6848, Thu., May 2, 5-7 p.m.

STACEY ROZICH SEE THE WIRE, PAGE 17.

LIONEL SAMUELS Expressions in Haida Mythology are his new works examining the folk history of the Haida tribe. First Thursday preview before Sat., May 4 opening. (Artist reception 3 p.m. Sat., May 12.) Steinbrueck Native Gallery, 2030 Western Ave., 441-3821, steinbruecknativegallery.com, Mon.-Sat., 10 a.m.-6 p.m.; Sun., 11 a.m.-5 p.m. Through May 25.

RAVEN SKYRIVER Oceanic celebrates the diverse aquatic wildlife found in the Puget Sound. Octopuses, seals, and salmon are brought to life through colorful and detailed glasswork. First Thursday opening reception 6-8 p.m. Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com, Opens May 2, Mon.Fri., 10 a.m.-6 p.m.; Sat., 10 a.m.-5:30 p.m.; Sun., 12-5 p.m. Through May 31.

TENTACLES! A collection of pieces is dedicated to “the love of all those slimy squiggly things.” Opening reception 7-11 p.m. Sat., May 4. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery.com, Tues.-Sat., 11 a.m.-7 p.m.; Sun., 12-6 p.m. Through June 1.

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film»Review

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IRON MAN 3 Opens Fri., May 3 at Cinerama and other theaters. Rated PG-13. 129 minutes.

ARTS DIRECTORY

THEATER

VISUAL ARTS

Village Theatre. May 8 - June 29

Rembrandt, Van Dyck, Gainsborough:

CHICAGO

The longest running American musical in Broadway history, as well as an academy-award winning movie, Chicago has seduced audiences across the globe. Roxie Hart and Velma Kelly have their sights set on fame and fortune, and theyíre willing to do more than just flirt with danger to get it. 425.392.2202. $44-$63, youth and senior discounts available. www.villagetheatre.org/Chicago.php

SPT Presents Julia Cho’s

THE LANGUAGE ARCHIVE

Seattle Public Theater Preview May 16, runs May 17 to June 9

A linguist devoted to saving dying languages can’t find the words to preserve his own marriage. Language and love are the twin themes of this poetically inventive excursion into the difficulty of finding words for what lies in our hearts. 206.524.1300. $17 - $20. www.seattlepublictheater.org

THE TREASURES OF KENWOOD HOUSE, LONDON Seattle Art Museum. Closing May 19!

Don’t miss Rembrandt, Van Dyck, Gainsborough featuring a selection of approximately 50 masterpieces from the Iveagh Bequest collection donated to Great Britain by Edward Cecil Guinness, 1st Earl of Iveagh (1847–1927) and heir to the world’s most successful brewery. Among other treasures, the exhibition provides a rare opportunity to see Rembrandt’s late Portrait of the Artist (ca. 1665), which has never left Europe before. 206.654.3210. $12-$20 (free for SAM members).

www.seattleartmuseum.org

MUSICAL PERFORMANCE Ann Hampton Callaway presents

SPECIAL EVENTS THE STREISAND SONGBOOK PHINNEYWOOD ART WALK 80+ businesses in Phinney Greenwood between 59th and 87th. May 10 & 11

Art Up/ Chow Down - Enjoy a wide range of art - both visual and performing - as well as food and drink specials at 80+ businesses in Phinney and Greenwood. May 10 from 6-9 pm and May 11 from noon - 5 pm. Maps available online at and at participating businesses. 206.783.2244. Free. www.artupphinneywood.com

THE 2013 BEST OF GAGE

Student Art Exhibit, Awards & Sale Gage Academy of Art. June 14, 6-9PM

Gage student artists celebrate a year of art and artistry at the 2013 Best of Gage. Join the party as artists and art lovers alike peruse three floors of stunning work representing diverse media, subjects and individual styles.

206.323.4243. FREE! gageacademy.org/bestofgage

Edmonds Center for the Arts. May 10

Ann celebrates Barbra Streisand’s five decades in the spotlight, from her Broadway years to her film works, early pop and concept albums. Ann will weave humorous and inspiring anecdotes of her mentor and friend. 425.275.9595. $30 - $40. www.ec4arts.org

NATHAN AWEAU AND AMY HANAIALI’I

Edmonds Center for the Arts. May 4

Combining his 7-string guitar with the imagery of Hawaii’s gentle beauty, Nathan Aweau’s smooth vocals and original compositions unite American jazz, folk, and blues. Amy Hanaiali’I is a classically trained volcalist which allows her to share her love of Hawaiian culture dearly with her audience. 425.275.9595. $30 - $40. www.ec4arts.org

INTERESTED IN ADVERTISING ON THIS PAGE? EMAIL US AT GIMMECULTURE@SEATTLEWEEKLY.COM or CALL 206.467.4341

SEATTLE WEEKLY • MAY 1 — 7, 2013

bmiller@seattleweekly.com

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BY BRIAN MILLER have their revenge. Paul Bettany again voices Stark’s computer valet, Jarvis (think of him as an Etonian Siri). Don Cheadle is back as Stark’s pal Colonel Rhodes, now sheepishly piloting the red-white-and-blue “Iron Patriot.” And Ben Kingsley shows up with jihadi beard, long hair in a bun, and a Nixonian growl to threaten the world via YouTube. His performance becomes much richer and funnier in IM3’s second half; though like the others, it’s lost amid soaring steel suits, orange-glowing, DNA-enhanced villains, and dangling shipping containers that pendulum like yo-yos. (I will concede that Iron Man’s rescue of Air Force One is thrilling—and an argument against ever flying again.)

The quieter comic moments, the acting moments, must give way to the imperatives of global blockbuster-dom. (More footage will be added to the Chinese cut, but I can’t think where.) Even as the Iron Man movies have made Downey an unlikely international action star in his 40s, his role has felt diminished in each new chapter (Avengers included). He increasingly seems a cog in the endless Marvel/Disney/Paramount franchise line. The iron suit has become more valuable than the man, and those proportions are exactly wrong. Stark’s flippant yet wounded quality draws depth from Downey’s past personal and career difficulties; he, like Stark, came back from near death to joke about it. Today, looking healthy and fit, Downey has an enjoyable buddy-movie rapport with Cheadle— that being Black’s specialty in the Lethal Weapon era—when out of their metal costumes.

You want to see more of this unarmored, amusing Downey, when he’s protected only by his wits, and the same is true of his nonCGI cast members. But that’s not the movie IM3 needs to be to gross a billion bucks. From Shanghai to São Paulo, fans are paying to see more of the flying metal suits, no matter if they’re empty inside. E

Edmonds

GIMME CULTURE!

Who needs a pilot? The Iron Man franchise prepares to remove its star from the flying metal suit.

magine a flock of jet-powered metal shards in the sky, wheeling and diving like a cloud of birds, coming straight at you with lethal velocity. Any normal man would take cover, but Tony Stark is no normal man. Instead, he walks toward the missiles, welcomes them like homing pigeons. They’re his babies. He made these networked pieces of his iron attire, which adoringly congeal and click together around Stark’s frail human body.

(Well, not so frail, but more on that later.) It’s not enough for the public to love and fawn over Stark/Iron Man (“I get that a lot”); his technology must give him a daily hug. Because as we begin what’s likely the last of the Robert Downey Jr.-starring Iron Man movies, Stark is even more of a tic-ridden, neurotic head case than before. He’s neglecting his girlfriend, Pepper Potts (Gwyneth Paltrow), now moved into Stark’s swank Malibu mansion. He’s suffering PTSD from something to do with worm holes and aliens (this from The Avengers, but don’t worry if you skipped it). He’s a needy playboyinventor who’s happiest when tinkering in the lab with his robots. He commands, and they obey. Love me, he says, and they do.

Iron Man 3 does not, however, have quite such a command over its audience and story.

It’s basically a meandering, lighthearted revenge tale wrapped in a few topical, terrorist trappings. Jon Favreau is back as Stark’s chief flunky, but he’s ceded the directing duties to Shane Black, who had a lot of fun with Downey in 2005’s Kiss Kiss Bang Bang. Black’s mandate is to bring some lightness to the clang and clash, to keep the 3-D effects movie from becoming, well, Transformers. (He’s half-successful at that job.) With a confusing array of metal suits flying around like unmanned drones, the picture doesn’t give many opportunities for the performers to simply act without green screens and computer augmentation. And unlike the Transformers movies, real actors are employed here— or maybe underemployed is the better term.

In a 1999 prologue, Rebecca Hall and Guy Pearce play scientists snubbed in different ways by the arrogant Stark. A dozen years later, they’ll

University Village

23

film»This Week’s Attractions PThe Angels’ Share

attention. A project that might have emerged as either dutiful docudrama or exploitation comes to us on a measured tread that is disturbing and genuinely eerie. (Note: A panel discussion on human trafficking follows the Friday-night screening; Griffiths and others will appear Saturday night for a Q&A.) ROBERT HORTON

OPENS FRI., MAY 3 AT SIFF CINEMA UPTOWN. NOT RATED. 101 MINUTES.

SEATTLE WEEKLY • MAY 1 — 7, 2013

24

PDeceptive Practice: The Mysteries and Mentors of Ricky Jay OPENS FRI., MAY 3 AT VARSITY. NOT RATED. 89 MINUTES.

Ricky Jay is arguably the greatest master of sleight-of-hand and legerdemain in America today, but he’s more than an old-school magician with contemporary wit. He’s an actor, sure, a familiar presence in the films of David Mamet and Paul Thomas Anderson, yet he’s also a historian of magic and showbiz oddities, a collector of stories and lore. He’s an author, raconteur, and showman who prefers to work as “a close-up magician,” as he’s called in Molly Bernstein’s admiring documentary. He is a wonder with cards, his tool of choice; and the nonchalance of his presentation makes his mastery all the more riveting.

There’s plenty of footage here of Jay and his cards, from his long-hair days performing on

No Place on Earth OPENS FRI., MAY 3 AT HARVARD EXIT. RATED PG-13. 81 MINUTES.

JOSS BARRATT/SUNDANCE SELECTS

Whisky galore: Jasmin Riggins, Gary Maitland, Brannigan, and William Ruane.

The Tonight Show (at age 20) and Don Kirshner’s the true story of Chong Kim, a victim of the U.S. Rock Concert to his one-man Broadway shows sex-trafficking trade, so horror and suspense are (directed by David Mamet). Still, don’t expect already built into it. any secrets to be spilled. A magician doesn’t Even with that backbone in place, there are reveal his illusions, and Jay is as guarded with ways to mess this up, but Eden rarely sets a his personal life as he is with his professional foot wrong. Given the potentially lurid matesecrets. Just like his act, rial, Griffiths gives the it’s a matter of misdirecfilm a sort of committion: Jay tells captivating ted austerity—which stories about the magicomes to seem more cians who mentored horrifying for its calm him and the culture of approach. magic that he loves. He’s The film’s prosuch a seductive host tagonist (played with and storyteller that we a tempered focus by get through his entire Jamie Chung) is given career without learning the name Eden when much about who he is. forced into sex slavery.

What we do get is an Within what appears to entertaining and lovbe a warehouse in the How does he do it? ing roll call of obscure American Southwest, Jay ain’t telling. figures like Cardini, Slywe witness a system in dini, Al Flosso, and “the place, a collection of greatest sleight-of-hand routines for breaking artists in the world,” Charlie Miller and Dai Verdown the women trapped inside. These include non. Jay makes you feel as if you’ve been invited not just physical cruelty but also emotional into their society, to share in their camaraderie dependence, which turns out to be the captors’ and mentorship. Even if he’s a cipher about his creepiest strategy. personal history, you learn enough about Jay’s As grueling as this portrait is, something character from the respect and affection he lavhappens to shift the narrative weight: Eden ishes upon his teachers. SEAN AXMAKER herself begins to use a system. The movie doesn’t do anything so vulgar as announce this to the audience, so we gradually sense her transition PEden OPENS FRI., MAY 3 AT SIFF CINEMA UPTOWN. from victim to calculating survivor. Much of RATED R. 98 MINUTES. the film’s suspense comes from Eden’s fraught relationship with one of her captors, Vaughan Proposed: One of the basic concerns for a sto(Matt O’Leary)—an increasingly tangled conryteller is what to put in and what to leave out. nection inventively played by the actors. (The That sounds really obvious. But it’s a huge deal, cast also includes Beau Bridges as a corrupt and deciding what should go in—as opposed to lawman.) The dead, dry locations—actually all the other stuff that might, but shouldn’t— eastern Washington—are exactly right as a setmakes the difference between a spellbinding ting for this elemental drama. experience and a nap. It matters even more in Having worked in a variety of moviemaking movies than in literature: Ten pages of dull jobs before directing her first feature (The Off writing in a 400-page novel can be forgiven, Hours), Griffiths has already gained something but 10 off-key minutes in a movie will break an like local-legend status. (She recently finished audience’s faith. shooting Lucky Them, a project Paul NewI thought about this principle while watching Eden, a harrowing film by Seattle director Megan man was working on before he died.) Eden has garnered its share of film-fest buzz, including Griffiths. Handled in middling fashion, the subawards at SIFF last year, and it deserves the ject would have some punch: Eden is based on THEO WESTENBERGER/AUTRY MUSEUM

Ken Loach, that old British leftie director, keeps up his commitment to the poor and disenfranchised with The Angels’ Share, his latest collaboration with equally socially conscious screenwriter Paul Laverty. It’s set in the familiar Loach environs of troubled youth, the unemployed, and the eternal underclass—here specifically the slums of Glasgow. But after the political dramas Route Irish and The Wind That Shakes the Barley, Loach instead builds an underdog, offbeat comedy on the scruffy camaraderie of some two-time losers.

He directs it with warmth and affection.

Robbie (Paul Brannigan) has his past carved into his face like a road map. He’s got a prison record, a history of violence, and a short temper.

But now he’s also a young father desperate for a fresh start, even while admitting he’s “stuck in the same old shite”—at least until his communityservice supervisor ( John Henshaw) introduces him to the venerable Scottish tradition of distilling whisky. Then Robbie discovers he has a nose and a knack for fine spirits.

Loach hits the social commentary hard and fast, forcing Robbie to confront his old thug life, a vengeful culture that refuses to let him go.

That soon gives way to a good-natured buddy movie. The “angels’ share” of the title is the distiller’s name for the 2 percent of whisky that evaporates in the casks during the aging process.

But you could also call it the film’s tacit approval of a particularly unconventional bit of larceny, as Robbie and his urban cohort don kilts and head to the Highlands to steal a rare, precious barrel of Malt Mill. They’re no angels, but Loach likes these kids, and he makes the whole low-tech caper their due, given the hopeless prospects they face back home.

Loach and Laverty aren’t concerned with the irony of Robbie and company resorting to crime to finance a fresh start. Loach is famed for his uncompromising politics, but here we see his whimsical side, his sympathy for his likable young performers, all first-time actors cast from the harsh streets of Scotland.

Those street accents are heavy, at times impenetrable, but don’t worry. The Angels’ Share arrives stateside with English subtitles, which lets you enjoy the musicality of the banter without missing the meaning. SEAN AXMAKER

Just as the world is sadly running out of Holocaust survivors, the movies are also running out of new documentary topics on that subject.

Directed by Janet Tobias, No Place on Earth is surely bound for The History Channel, where its reenactment scenes may cause fewer noses to wrinkle in disapproval. For me, the practice is wrong—it just feels like false dramatic padding for a story that could be told from archives and interviews in less than an hour. (Or in a National Geographic story, as it previously was.)

In brief, an extended family of some 36 Ukrainian Jews spent over 500 days underground, living in two large, uncomfortable caves, while villagers aboveground were being sent to the camps. Their survival tale is both remarkable and familiar, since survival was the exception, not the rule, during the Holocaust. Narrow escapes, Nazi roundups (“Schnell! Schnell!”), bribes and betrayals, foraging and near starvation—these are the staples of the genre, which No Place on Earth typifies. To otherwise advance the story, diaries and letters are read, newsreels excerpted, and survivors interviewed.

The livelier sections involve spelunker Chris Nicola, a garrulous New Yorker and amateur historian who over a decade connected his subterranean finds with the Stermer family descendents, now living in Canada and the U.S. (This became the 2004 National Geographic story.)

When he returns to Ukraine with a few of these octogenarians, grandkids in tow, the party revisits the caves. There they find the grindstone the Stermers used to mill flour—not an ancient artifact, but still part of living history, some 70 years later. BRIAN MILLER

The Reluctant Fundamentalist OPENS FRI., MAY 3 AT GUILD 45TH. RATED R. 128 MINUTES.

The 2010 film Four Lions is about a British cell of Islamic fundamentalists plotting to plant homemade explosive devices at—among other targets—the London marathon. It’s an uproarious comedy.

Too soon after the Boston bombings to recall this scathing movie? Maybe, but it shouldn’t be—Chris Morris’ prediction of stupid, selfstyled jihadists looks even keener and more furious than it did three years ago.

In Four Lions, Oxford-educated actor and hip-hop artist Riz Ahmed played the leader of the hapless terrorists. That movie’s a better vehicle for the wunderkind artist Ahmed than this tepid new effort from director Mira Nair, which passes glumly over distantly related turf.

Ahmed, a quick, compact performer, is the main draw here. He plays Changez, a charismatic professor in Lahore, who recounts his story to a U.S. journalist (Liev Schreiber). While the two sweat out a crisis involving a kidnapped Western academic, Changez’s past life unfolds in big blocks of flashback.

film» Having come to America at 18, Changez goes through mostly expected ups and downs: upper-class girlfriend (Kate Hudson, darkwigged for the serious material), brilliant success at Manhattan financial firm specializing in cannibalizing small companies, mentorship from tough-but-supportive boss (Kiefer Sutherland).

And September 11. You probably figured that was coming. Changez absorbs anti-Muslim anger and lets his beard grow out, eventually returning to Pakistan. If this tale has a shot at succeeding, it probably needs a better frame than the present-day kidnapping story, which feels like a tricked-up stab at suspense.

Nair is a talented image-maker, and the grainy widescreen cinematography (by Declan Quinn) is convincing. But except for the occasional zinger from Sutherland’s Wall Street shark, the clunky dialogue sets forth one issue after another, betraying a seriously tin ear for the way people actually speak. There was a time

dappled estate on the Côte d’Azur. He employs a new model, Andrée (Christa Theret), a willful redhead who suits Renoir’s vision of glowing flesh and interior mystery.

Actually we have to take the mystery on faith, because Theret doesn’t suggest much beyond a handsome surface. Andrée also falls under the gaze of Renoir’s middle son, during his return home to convalesce from a war injury; a quiet rivalry for her attention emerges between the already-awkward father and son.

The young soldier will one day be Jean Renoir, the director of Grand Illusion and The Rules of the Game and a giant of world cinema.

The filmmaker that we know from his later life—large, bearish, warm—doesn’t resemble actor Vincent Rottiers, although Rottiers does well at suggesting a certain impatience with the privileged world around him. For her part, Andrée will later become Catherine Hessling, Jean Renoir’s wife and an actress he tried to

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Renoir OPENS FRI., MAY 3 AT SIFF CINEMA UPTOWN. RATED R. 111 MINUTES.

Pretty pictures in a movie are sometimes dismissed as eye candy, the implication being that empty calories are no substitute for the sound nutrition of noble stories and thematic depth.

That may be, although it would be difficult to deny the chocolate-box allure of Renoir, a lushly photographed gloss on a real-life moment in an artistic family.

The title identifies the family; the moment is 1915. As war rages on the other side of France, Pierre-Auguste Renoir (Michel Bouquet), by now elderly and arthritic, paints at his sun-

make, without much success, into a silentmovie star. But that’s years after our perspective in Renoir, which prefers to wallow in a great deal of late-afternoon sunshine and lush trees whispering in the Mediterranean wind.

This, to return to the eye candy, is not a terrible place to wallow. Director Gilles Bourdos does his best to conjure up a warm Impressionist’s summer, and he wisely hired cinematographer Mark Ping Bing Lee (In the Mood for Love, Flowers of Shanghai) to catch both the suppleness of magic-hour light and the hardness of the painter’s ravaged hands.

Bourdos hints at the brotherly feeling between the Renoir boys and the possibly feminist glimmerings within the defiant Andrée, but nothing goes deep enough to draw blood— except perhaps Bouquet’s finely focused performance, a strong, flinty turn from an actor who began his film career in 1947. Renoir is a failure in many ways. But there are lots of reasons to see movies, and spending a couple of languid, summery hours on the Renoir estate is not an entirely contemptible one, even if the drama falls well shy of its subject. ROBERT HORTON

» CONTINUED ON PAGE 26

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when Nair could be socially conscious in her films while creating a real flow (Salaam Bombay and Mississippi Masala), but that hasn’t been true in a while.

The Reluctant Fundamentalist is adapted from Mohsin Hamid’s 2007 novel, and in almost every way it feels like a wrongheaded attempt to juice up a book. In this case, Ahmed is the real juice, and the movie around him operates on a noticeably dimmer wattage. ROBERT HORTON

QUANTRELL COLBERT

Happier days before 9/11: Hudson and Ahmed.

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THE SOURCE FAMILY

Opens Fri May 3 | Uptown

EDEN

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» FROM PAGE 25 Simon Killer RUNS FRI., MAY 3–THURS., MAY 9 AT NORTHWEST FILM FORUM. NOT RATED. 105 MINUTES.

There are interesting movie sociopaths, and there are the ones whose misbehavior is just plain dull.

I’m not talking about serial killers who paint the walls with blood. If you’re going to make a film about a petty grifter, he’d better have some charisma, because we go to the movies to get fooled along with his victims. Our being duped is part of the transaction.

In his second film (after the little-seen Afterschool), Antonio Campos introduces us to Simon (Brady Corbet) in a long-take dialogue scene that appears to be in his shrink’s office. But no, Simon is borrowing a Paris apartment from a friend of his mom’s. (She’ll later appear, worried, via Skype.) Simon seems like a smart but aimless young dude just out of college, where he claims to have studied neuroscience. But wires have been crossed in his own brain: Simon is stuck on his ex, Michelle, and we hear his constant e-mails in voiceover—both pleading and unsettling.

Soon Simon hooks up with a prostitute (Mati Diop), and the sex scenes between them require some fairly brave, raw performances. In the movie’s most implausible turn, Victoria takes a liking to Simon, and they become a couple. He comes to depend on her completely, though Campos will later complicate that dependency. Simon is nothing if not methodical, and possibly mad.

Simon Killer is all about the slow, psychological reveal, and Campos has an admirable command of mood and careful compositions. Between scenes, the Paris skyline dissolves into a red miasma—like dyed cancer cells being examined under a microscope. Simon is a malign specimen, too, but not one worth this slow character study.

He’s no Ripley, and the film never feels like more than a low-stakes con. BRIAN MILLER

PThe Source Family OPENS FRI., MAY 3 AT SIFF FILM CENTER. NOT RATED. 98 MINUTES.

We know how this story is supposed to end, and yet we’re wrong about that. The Source Family was an early-’70s cult that followed its charismatic leader from L.A. to Hawaii, where death and

diaspora followed. Yet The Source Family turns out to be an oddly affirmative and sympathetic portrait of the disciples, if not the guru, during an era when many were casting about for alternative forms of spirituality. (Maria Demopoulos and Jodi Willie directed the film.) Based on an insider’s prior written account, the doc benefits from fantastically evocative period stills, home movies, and audio recordings of Yod (aka Yahowa, aka Jim Baker), a World War II hero and restaurant entrepreneur. His health-food eatery The Source, which featured the hottest waitresses on the Sunset Strip (cult members all), catered to celebrities and inspired jokes in Annie Hall and on Saturday Night Live. Yod was himself a celebrity: tall, handsome, copiously bearded, Jesus-looking, dressed in white flowing robes. He also took 14 wives from among his gorgeous young flock—but it was the ’70s, right? Rock stars will have their due.

Yod was no Charles Manson or Jim Jones, yet those associations have dogged him—and his acolytes—in life and legacy. Those grayhaired seekers now share mixed recollections of Father Yod. “I know this sounds insane,” says one. “It was truly utopia,” says another. “We thought he was God,” another chimes in. “All these fantastic orgies? No, it wasn’t that at all,” insists another. (Their cult names are too silly to type out, so I won’t.)

You have to place the Source Family in its Nixon/Vietnam-era context. Health food and yoga were exciting and new. “Sex magic” seemed like a good idea at the time. Yod was unquestionably a dirty old man, a power-mad user, but his 140-odd followers remained loyal. He never killed anyone. There was no violence. Warren Beatty, Goldie Hawn, and Steve McQueen ate in his restaurant. And Yod’s worshippers faithfully documented him right up to his Icarus-like demise.

Their archives—and the film’s soundtrack— include psychedelic musical improv sessions now lauded by Devendra Banhart, Rick Rubin, and Billy Corgan. Neo-hippie revivalism is today a marketable trend, but Yod’s old disciples maintain a stubborn dignity outside of fashion and time.

How many today eat organic and do yoga?

How many live off the grid? The Source Family followers are both ridiculous and timely. “I don’t regret any of it,” says one. “Would I do it again?

No way.” BRIAN MILLER E

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Local & Repertory •

ALIENS “Game over, man! Game over!” With panicky

Bill Paxton and the rest of his military squad quaking in fear around her, leave it to Sigourney Weaver to again save the day in James Cameron’s flat-out brilliant 1986 sci-fi/feminist/monster movie Aliens. It’s a showdown between mothers: Weaver’s Ripley, returning to the now-colonized planet where she battled the lone alien in ‘79, versus the alien queen and her burgeoning brood of acid-fanged, rip-ya-apart, double-jawed spawn. I don’t care how big an ego Cameron may have post-Avatar; he shows top-of-the-world form here, impeccably constructing action sequences that are by turns terrifying, funny, and terrifying again. Movie screens at midnight. (R) BRIAN MILLER Egyptian, $8.25, Fri., May 3, 11:59 p.m.; Sat., May 4, 11:59 p.m.

DAVE Local film appreciation society The 20/20 Awards screens this 1993 political comedy by Ivan Reitman.

Kevin Kline is cast in double roles, one being a naive, good-natured office drone who has to double for the ill president of the U.S., whose wife (Sigourney Weaver) is rightfully suspicious of the plan. (PG-13) Grand Illusion, $5-$8, Thu., May 2, 9 p.m.

ESCAPE FROM NEW YORK One of the undersung bad-ass screen heroes of the 1980s, Snake Plissken gave Kurt Russell an iconic role in this dystopian satire from John Carpenter. Everyone knows the plot to the 1981 escape movie, in which Snake has to break into prison (i.e. Manhattan) to rescue the same president who’s run our country into the ditch and oppressed the underclass, whose numbers certainly include Plissken and his criminal cohort. Payback is sweet, so long as you’re paid for it. (R) Central Cinema, $6-$8, Thu., May 2, 8 p.m.

FROM DUSK TILL DAWN Robert Rodriguez (as director) and Quentin Tarantino (as writer and actor) teamed up for this 1996 border-set vampire tale. Also in the mix is George Clooney, making his transition from small to big screen. The results are violent and funny, but the dusty pastiche of various movie genres eventually wears thin. Look for Harvey Keitel, Juliette Lewis, Salma Hayek, and Cheech Marin among the cast. And of course: Danny Trejo, the future Machete. (R) Central Cinema, $6-$8, May 3-7, 9:30 p.m.

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in his lot with Mao and joined the Communist Party. He would spend 34 years there, serving as a Party spokesman, marrying twice, and enduring two periods of solitary imprisonment (16 years total). It’s an amazing life story, well told through interviews, stills, and newsreels

by Irv Drasnin and Bainbridge-based Lucy Ostrander and Don Sellers. All three are veterans of public television, and it shows. Rittenberg’s ambitions and regrets are clearly laid out, with graphics, intertitles, and wonderful old Communist posters. Rittenberg is generously quoted and given considerable benefit of hindsight.

Prison and the Cultural Revolution clearly dimmed his idealism, and he left China in 1980, back home becoming a consultant to Microsoft and other companies. So why Rittenberg, why now? The Revolutionary would’ve been more timely before China’s economic boom, when the damage of the Cultural Revolution was still fresh. Of today’s Baidu-connected young Chinese, says Rittenberg regarding that history, “They don’t know.”

(NR) BRIAN MILLER SIFF Film Center, $6-$11, Fri., May 3, 6:30 p.m.; Sat., May 4, 4:15 & 6:30 p.m.; Sun., May 5, 4:15 p.m.

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as Mud, is a ne’er-do-well Arkansas 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-yearold’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. 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 writer/ director Jeff Nichols (Take Shelter). (PG-13) BRIAN MILLER Oak Tree, Meridian, Sundance THE PLACE BEYOND THE PINES Luke (Ryan Gosling), a tattooed, muscled motorcycle stunt rider in a traveling circus, is a bad boy—just the way you like them.

But then Luke discovers that a former one-night stand (Eva Mendes) has a toddler-aged son. Suddenly he turns paternal. He quits the circus, tells Romina he wants to settle down, to take care of her and the kid.

However, Luke has no job skills but motorcycle riding and, taught by a new mentor (Ben Mendelsohn), bank robbing. Pines is the second film by Derek Cianfrance to star the Gos (after Blue Valentine), but it turns out to be a much larger and longer ensemble piece, one that eventually skips 15 years forward from its initial story.

One of Luke’s stickups is interrupted by anambitious young cop with a law degree, Avery (Bradley Cooper), who has an eye on politics. Fifteen years later, however, Avery will have to reconsider the debt he owes Luke’s family. Cianfrance shows admirable seriousness about his characters, but only the early crime scenes have any spark to them. (R) BRIAN MILLER Ark Lodge, Kirkland Parkplace, Harvard Exit, Majestic Bay, Cinebarre, Thornton Place, Bainbridge, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-6727501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 5233935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 3249996; Sundance Cinemas, 4500 Ninth Ave NE, 6330059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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feature, My Life to Live (1959), is a rocket from Pandora’s Box. It’s sectioned into 12 “tableaux,” each chapter opening with an intertitle describing its contents. The framing is carefully indiscriminate; faces are backlit into murk; café clatter swallows conversation. The camera rarely cues on in-scene action, instead turning weird patterns or unmooring from the story at the whim of private authorial logic.

Star Anna Karina was in the brutal early rounds of marriage to her director, who was never more doting and egghead-condescending than in this showpiece.

She’s Nana, a northern provincial in Paris who aspires to maybe become a film actress (like Anna Karina!), but settles on making a quick franc horizontally. The suburban streets and jukebox idylls are as banal as her daydreams, though she touches loftier things—a teary commiseration with Dreyer’s Joan of Arc, a chance dialogue with philosopher Brice Parain. The purpose of this one-woman show is suggested by a child’s description of essence: “Take away the outside, the inside is left. Take away the inside, and you see a soul.” Toward this, girl-for-rent Nana is probed from every side: interrogated by the camera, her jilted beau, the police, her pimp, and the prose of Poe (all of them, really, Godard). (NR) NICK PINKERTON Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), $8 individual, Thursdays, 7:30 p.m. Through May 30.

LIKE WATER FOR CHOCOLATE A huge and deserved hit for Miramax back in 1992, Alfonso Arau’s family romance saga helped reestablish Mexico as a filmmaking power. In a way, its unlikely heirs include Amores Perros and Y Tu Mamá También. (PG-13) Central Cinema, $6-$8, May 3-7, 7 p.m.

THE REVOLUTIONARY Now 91 and living near Gig Harbor, Sidney Rittenberg was a proud young leftie learning Mandarin in the U.S. Army during World War II. But the war ended, he got attached to the U.N., and, during an assignment to revolutionary China, he threw

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food&drink»

In the Ballpark

Edgar’s joins the lineup of food vendors at Safeco Field this season. Now is a perfect time to review all the new players.

BY HANNA RASKIN

Food item: Lengua tacos, Edgar’s Player: Mike Cameron, one of four players

acquired in exchange for Ken Griffey, Jr., who never strayed far from the DL for the remainder of his career. Cameron nearly set a record for single-game homers, played in an All-Star game, and won three Golden Gloves while with the Mariners.

At Edgar’s, a hit: the lengua tacos, left. Somewhat mistreated: the chicken Milanese torta, right.

narily tender, and mesh beautifully with the sheer radish discs and salty cojita cheese sharing its pliable white-corn tortilla.

The Good-Enough

Food item: Portobello steamed buns, The

Natural

Player: Joe Saunders, whom the M’s signed in

February to replace Jason Vargas.

The lefty’s a steady slow-tosser, carne asada tacos at Edgar’s » PRICE GUIDE but with an enervated rotation, are very, very good. But TORTA .............................................$9 TACOS..............................................$9 the Mariners couldn’t hold out for spot-on beefy flavor, NACHOS..........................................$9 for a star. the best choice is the tacos STEAMED BUN .......................$6.50 VEGAN CHILI CHEESE DOG $6.50 made with tongue, an Perhaps the most inspired offbeat ingredient which addition to the Safeco lineup, seems unlikely to impress in the mushroom bun is one of two a ballpark setting. Yet the brawny bits of tongue vegan bao created in consultation with the ownfrom Painted Hills Natural Beef are extraordiers of Philadelphia’s acclaimed Vedge restaurant.

The admirably juicy

The mushrooms—marinated in black vinegar and cooked in a cast-iron pot—are deeply savory, and contrast nicely with fresh zucchini and red-pepper slivers. But the thick white bread cupped around the salad is bland, and the finishing Sriracha mayonnaise has a strange chemical flavor. While Safeco’s to be commended for accommodating its fans’ various diets, the park’s probably not the place for omnivores to experiment with cutting back on their meat consumption.

The Disappointment

Food item: Salchicha Nachos, Edgar’s Player: Richie Sexson, who hit two home runs

in his debut as a Mariner and collected another 37 homers during the first season of his four-year, $50 million contract. By 2007, Sexson’s batting average had dropped to .205. The M’s released him the fol-

lowing year, soon after he threw his batting helmet at an opposing pitcher.

Say what you want about orange nacho cheese: The processed stuff ’s knack for sneaking into every cranny of a tortilla-chip pile is a marvel of modern food science. And while the queso asadero cheese that completes all three varieties of nachos at Edgar’s may have the edge on tang, it has a tendency to clump into rubbery nuggets when it gets cold, which is what food and fans do at Safeco before August.

There’s nothing wrong with the top layer of the witty Salchicha nachos, made with salty hot-dog slices, a smoky tomato salsa, a smear of refried beans, sliced jalapenos and a scribble of crema.

But once you get past the good stuff, you’re left with a pointless bunch of dry chips. There’s a

SEATTLE WEEKLY • MAY 1 — 7, 2013

The Surprise Star

PHOTOGRAPHY BY KATY LESTER

E

ven in the era of Sabermetrics, baseball’s still a mystery. Nobody takes the field expecting to turn a triple play, or slides into second knowing he’ll have to walk with crutches for the next two weeks.

Since teams’ marketing departments can’t promise winning records and batting crowns, they’re stuck promoting the ballpark amenities they can guarantee: more comfortable seats, expanded parking lots, shinier scoreboards, and brand-new concessions.

At Safeco Field, much of the culinary buzz has centered on Edgar’s, the 21-and-up cocktail corner that’s been wedged behind the left-field wall.

The venue is named for Edgar Martinez, the former Mariners star who is now a tequila importer, and blessed by Ethan Stowell, who created the Mexish menu of tortas, tacos, and nachos.

Edgar’s isn’t exactly a restaurant, although it has a few high-top standing tables and a circulating staffer who’ll take the odd order and deliver a torta from the kitchen. Nor is it a full-fledged bar, despite the involvement of Rob Roy’s Anu Apte as drink designer. There are four signature cocktails, including a margarita and a paloma, but they’re bound to infuriate tipplers who rail against cocktail prices outside of the stadium. The bartender who poured my $12.50 michelada looked skeptically at the plastic cup, suggesting I “give that a bit of mix”: He’d apparently realized too late that he probably should have shaken the pineapple-juice base so its seasonings didn’t stand apart like boys and girls at a sixth-grade dance. (If you’re fixated on a fancy drink, the poppy, punch-pink .312—a blend of aged tequila and Campari—is your best bet.)

What Edgar’s provides mostly is a great vantage point from which to watch the game, especially if you luck into a segment of the raised counter facing the field. For fans who get hungry, though, there are a number of excellent new food options this year, both within Edgar’s and without. Here’s a guide to the most notable, accompanied by the names of the current and former players whom the snacks should have honored. While Safeco’s traditionally reserved culinary naming rights for the heaviest hitters in the franchise’s history, such as Martinez and Ichiro Suzuki, this year’s menu suggests plenty of missed tie-in opportunities:

» CONTINUED ON PAGE 30 29

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food&drink» » FROM PAGE 29 salsa bar at Edgar’s, but no amount of tomatillo can transform chips into nachos.

The Mistreated

Food item: Chicken Milanese torta, Edgar’s Player: Brandon Morrow, whom the Mariners

drafted instead of Tim Lincecum in 2006. The M’s bobbled him, sending him to various minor league teams and repositioning him as a reliever before trading him to Toronto. Last year, he pitched three shutouts for the Blue Jays.

The chicken Milanese torta, added after the success of pork and salchicha tortas last season, could have been great. But it was so badly mishandled by the folks tasked with preparing it that it never had a chance. The bun was griddled to a sooty black, and the tough strips of fried chicken tasted as though they’d been treated with too much bitter dry rub.

The Unlikable

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Food item: Chicharones, Edgar’s Player: Bobby Ayala, who landed on the DL

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Hamburg + Frites was already serving the park’s

best fries (sorry, garlic-fry vendors), so chicken tenders were an obvious addition. The hefty tenders, sporting a thick coat of dark fry, are pure crowd-pleasers, destined to be deemed decent by fans from all generations.

The Inevitable

Food item: Vegan chili cheese dog, Field Roast Player: The whole damn team

The sandwich is a mess of sautéed onions, beans, and bits of corn, and has the distinctive flavor profile of a dish served at a nucleardisarmament potluck.

after punching a window.

Chicharones de harina, or flour rinds, are hugely popular in ballparks south of the border, but traditional pork rinds make sense as a game snack too. Unfortunately, it’s almost impossible to spend much time with Edgar’s version, which are as stiff and rigid as a Louisville Slugger.

The Utility Player

Food item: Chicken tenders, Hamburg + Frites Player: Kyle Seager, who’s now stationed at

third base but is equally capable of playing a mean second base and shortstop.

Field Roast last year introduced its meatless franks to Safeco, and this year ups the ante by putting meatless chili and a squiggle of dairy-free orange cheese on top. The sandwich is a mess of sautéed onions, beans, and bits of corn, and has the distinctive flavor profile of a dish served at a nuclear-disarmament potluck. But just when you get to liking the dog, it deteriorates: After two bites, my serving fell apart irreparably. Mariners fans should love it. E

hraskin@seattleweekly.com

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Portobello steamed buns from The Natural, top left; chicken tenders from Hamburg & Frites, above; the inevitable vegan chilicheese dog from Field Roast, left.

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

These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

City of Seattle BELLTOWN

MARRAKESH 2334 Second Ave., 956-0500. Enter a room

that resembles a tent, recline on regal pillows, and watch course after luscious course emerge from the hidden kitchen. Couscous, eaten with the hands, is the humble star of Moroccan cuisine; here you can get it topped with chicken, lamb, or vegetables. The latter two choices are best, since b’steeya royale is a must: A buttery pastry (not unlike phyllo) is wrapped around delicately spiced chicken and toasted almonds. The plate is ringed with powdered sugar, begging the question: sweet or savory? $ SPUR GASTROPUB 113 Blanchard St., 728-6706. The problem with so many of today’s flailing attempts at modernist cuisine and molecular gastronomy is that, in their breathless fascination with all the goop, gear, and gadgetry involved in turning cheese into pasta and fish into foam, many chefs forget that they’re still being paid to make people dinner. That means that the food itself still has to be a recognizable part of the “dining experience” and not get completely lost amid the chemicals and lasers. This is the strength of Spur in Belltown—a kitchen where a grounding in locality, seasonality, and recognizable ingredients (hedgehog mushrooms, salmon, potatoes, leeks, bacon) balances the impulse toward abstract gastronomic modernism, always elevating the trout above the almond foam and the sockeye salmon and house-made mascarpone

BestofVoracious

By Jen Chiu

Airstream Dreams

find former baristas from Zoka and Victrola at this coffee mecca.

I am confident this Airstream is way more than just “cute” after two of RN74’s dashing sommeliers, Luke Wohlers and Chris Tanghe, tell me about its greatness. They’re studying to be master sommeliers (fewer than 200 people in the world have earned this title), which means they have superhero tasting abilities and impeccable taste. They both order an espresso “neat,” while I go with a Panamanian brew prepared through the Chemex. Everything is brewed to order, so don’t be an impatient monkey when you make a pit stop here.

Chelsea Walker tells me to expect notes of chocolate and fruit. As she hands it to me, I can smell chocolate and fruit through the lid. She invites us aboard the Airstream, pimped out with chocolate hardwood floors, and I have to admit I am smitten with the truck and its charming staff.

But as Wohlers explains, the owners of this small-batch business take their coffee seriously. Wohlers half-jokes he had his “little mind blown” after hearing about their rigorous process; for example, after roasting, you can tell which beans are good by their shape. One by one, the crew discards the ones that aren’t up to snuff. No one will be surprised to hear they use only direct-trade beans.

The crew is planning a retail space in Ballard, so stay tuned. In the meantime, you can catch Slate and its Airstream 8 a.m.–2 p.m.

Wed.–Sun. I have a love of Airstreams and all things unusual, but my bigger love is for all things that taste exceptional. Skillet and Slate have nailed both. E food@seattleweekly.com

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Ever since founder/chef Josh Henderson and Skillet hit the dining scene in a vintage 1962 Airstream mobile kitchen, the truck has been a big hit. Specializing in American classics with seasonal ingredients, Seattleites have been queuing up since 2007 to fill their bellies with the legendary burger with bacon jam and fries with poutine.

You will soon see a fleet of Skillet’s Airstreams roaming around town, in addition to its brick-andmortar diner in Capitol Hill, counter in the Seattle Center Armory, and one other permanent spot planned for Ballard this summer.

At 2011’s San Francisco Street Food Festival, amid loads of vendors cranking out standout food ranging from Scotch eggs to moth-larvae tacos, Skillet’s menu seemed subdued, but the truck got a lot of attention. I remember hearing one foodgoer gush over the Airstream: “I just loooooove that truck.”

Would Skillet be just as successful without the Airstream? Seattleites have an established love of all things retro and vintage. Henderson, a pioneer of the modern food-truck movement, may have drawn in some first-timers through the intrigue of his snazzy silver trailer, but converted many of them into regulars through his exceptional eats.

Another Airstream that recently hit the scene is Slate Coffee, parked in Piecora’s Capitol Hill parking lot. Slate is owned by Chelsea Walker, her brother Keenan, and their mom. This trio’s story and love of coffee couldn’t be cuter if they played the harpsichord and sang. You will also

above pure gimmickry. Because Spur’s crew can manage this (at prices considerably lower than those at many of the country’s other temples of molecular gastronomy), dinner here can be an event and an eyeopening indulgence without ever slipping over the line into a piece of egotistical performance art staged by cooks solely for their own enjoyment. $$$ TAVOLATA 2323 Second Ave., 838-8008. With its rawcement walls and ultralate hours, entrées for two, and crowd of bargoers waiting for seats, Tavolata is the party place in party town. Those willing to dive in to the experience will find that Tavolata delivers much of what it promises: honest, well-prepared Italian food; a reasonable check; and good odds of chatting up whomever the host seats next to you at the 30-person communal table. Chef Ethan Stowell’s handmade pastas are supple and golden, soaking up flavor from the sauce but still leaving you something to chew on.

The octopus salad is fantastic, as is his grilled fish, seasoned only with lemon and smoke, perfectly Italian in its minimalism. $$ UMI SAKE HOUSE 2230 First Ave., 374-8717. Heads up, sushi-craving fashionistas. This sophisticated sushi joint serves maki late into the night, and its atmosphere is decidedly clubby. Umi offers both traditional and innovative sushi rolls, along more substantial fare, from udon soup to teriyaki. True to its name, the sake house provides more than 45 varieties of rice wine, as well as specialty cocktails like the shisojito, made with the Japanese herb shiso instead of mint. $$ WANN JAPANESE IZAKAYA 2020 Second Ave., 4415637. A gastronomic spectacle wrought in tiny plates, Wann reinterprets the traditional bar-snack fare of Japanese izakayas with pink seaweed and spun-sugar garnishes. The place is gorgeous, especially if you’re sitting in one of the booths that appear to be floating over a rock garden. The food is gorgeous, too, and ranges from bowls of green beans covered in sesame

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food&drink»Featured Eats paste and feathery bonito flakes to cast-iron hot pots that you cook at the table. However, quality is erratic (greasy tempura, nonsensical East-West combinations like fried chicken smothered in tartar sauce), making every meal resemble a Spielberg film: sometimes good, sometimes bad, always compelling. However, you can’t go wrong with a cocktail called the Pink Godzilla. $$

CAPITOL HILL

DINETTE 1514 E. Olive Way, 328-2282. Dinette’s menu has

a whole section devoted to toast. Theirs is made on Columbia City Bakery’s bread; though toppings change weekly or so with the rest of the menu, they usually include a spreadable cheese, a smoked or cured fish or meat, and some sort of seasonal herb or vegetable.

The rest of the menu is similarly rustic, comfortably at home between homey and haute, and missteps are rare. Service and atmosphere are both top-notch, making this a can’t-miss spot for Hillsters and visiting foodies. (Get on the mailing list and you can vie for a seat at the restaurant’s monthly, family-style Monday Night Dinners.) $$

DOM POLSKI ZAPRASZA/POLISH HOME ASSOCIATION 1714 18th Ave., 322-3020. On Friday

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ALittLeRAskin » by hanna raskin

On the Barbecue Trail

food he finds (although he’s quick to challenge a counterman who trims the tasty fat off his brisket). But he’s unforgiving in his descriptions of food that disappoints.

When Vaughn pulled up to a barbecue trailer in Jasper, the owner insisted on joining him for lunch. “I went from one meat to the next looking for something positive to say,” he writes. “The brisket was overcooked. It had the texture of roast beef . . . The ribs, which were the owner’s favorite, were my least favorite. Their surface was gummy from a powdery rub that didn’t have enough salt.”

How many other food writers could so deftly resist romanticizing a two-picnic-table barbecue joint in rural east Texas? Most writers would surely get caught up in owner Michael Larkin’s stories about splitting red-oak logs on his property and making his own sausage links. Eating at Larkin’s Bar-B-Que & Catering is the sort of experience that begs to be documented on Instagram or recalled at a big-city party where guests are trading stories about memorable smoked-meat meals.

Vaughn, though, doesn’t pull punches. He’s not interested in sticking to the established backroads narrative, in which every eccentric is a genius and every slice of brisket is impossibly tender. He wants only to protect and celebrate the legacy of Texas barbecue, one of the nation’s greatest homegrown cuisines. His impressive first book elegantly explains why.

The Prophets of Smoked Meat releases on May 14. And while you’re marking up your calendar, draw a pair of longhorns on May 9, when Vaughn will be in town for a smoked-meat bonanza and book signing sponsored by The Seattle Brisket Experience. Check out sbx5. eventbrite.com for more information and tickets, which were selling fast at press time. E hraskin@seattleweekly.com

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I count Texas Monthly ’s barbecue editor Daniel Vaughn as a friend, so I have no business reviewing his book, which goes on sale next month. But I don’t think it violates any ethical standards to say what I like best about The Prophets of Smoked Meat: A Journey Through Texas Barbecue.

Vaughn’s tenacity and unfussy writing are admirable, of course. According to the book’s back cover, he logged 10,000 Texan miles researching the dozens of featured barbecue joints, helpfully organized by regional styles. (Texas isn’t all brisket and beef ribs: The state cherishes pork spareribs and steamed cow’s heads too.) Yet what makes the book valuable to barbecue devotees, fellow Texas travelers, and food writers everywhere is Vaughn’s refreshing willingness to show his color when he’s served charred meat with lousy sauce and cold onion rings.

If there’s a barbecue purveyor that Vaughn can’t stand, it’s Dickey’s, the Dallas-based behemoth that he routinely accuses of besmirching his beloved culinary tradition. But picking on the big guys is easy in the world of food blogging, which is where Vaughn toiled before he was discovered by D Magazine, The Dallas Morning News (uncredited), Anthony Bourdain, and Texas Monthly. Talking smack about the handiwork of little old ladies who wake up early to bake pies according to their mommas’ recipes and kindly black men who thank the Lord for blessing them with a pit is much, much harder.

To be clear: Vaughn is not a jerk. To the contrary, when folks talk about him behind his back, they usually use the phrase “nicest guy.” There’s not a mean word in his book about the wellintentioned pitmasters responsible for the faulty

a one-day pass) crowd into the facility’s gymnasium/ theater for a rollicking, cheap meal. Skinny girls with lip piercings wait at the bar for a table next to stout men in tucked-in sweaters. The beers are cheap (and wickedly potent), the pickle soup is simultaneously tangy and creamy, and the pierogis come drenched in melted butter. Dom Polski’s cult dish is the foot-long ham hock, braised until the skin and fat pull away with the push of a fork, unveiling a half-pound of pink, succulent meat. $-$$ FUEL COFFEE 610 19th Ave. E., 329-4700. This scrappy little Capitol Hill coffee shop’s patrons are as loyal as the atmosphere is laid-back. Fuel represents the middle ground in Seattle coffee culture: It’s a place for folks who are neither Stumptown nor Starbucks, aficionado or layman. But if ever a roast tastes familiar, it’s because Fuel buys its beans from local roaster Caffe Vita. $ QUINN’S PUB 1001 E. Pike St., 325-7711. Quinn’s Pub has some of the best bar food in Seattle—the frites with fontina fondue and demi-glace (read: poutine) are particularly savory. It should also be a destination for any whiskey lover—they’ve got about 20 variations on their menu, as well as a wide range of eclectic Belgian ales and a full bar. Perfect for nights when you want to grab a beer and still feel classy.

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The Year’s Best (So Far) We’re not even halfway done, and, musically, 2013 is already better than 2012.

The Best Performance of a Song Soundgarden, “Jesus Christ Pose,” The Paramount

It took barely three songs for all the awkwardness of Soundgarden’s reunion to be forgotten. Then they brought in “Jesus Christ

But I was skeptical of my own emotions. It’s easy to get carried away when a favorite band nails it.

After some affirmation, I’m not sure I was wrong.

On Twitter, friend and fellow music blogger Travis Hay told me: “Right after ‘Jesus Christ Pose,’ I told [my friend] we could leave because I

COURTESY FORCE FIELD

BY CHRIS KORNELIS

The Best Album Youth Lagoon’s Wondrous Bughouse is the best thing I’ve heard in 2013—or 2012.

DAVE LAKE

Pose” to bat cleanup.

It’s an athletic, technically demanding song that sits perfectly in Soundgarden’s sweet spot, calling for musical dexterity and melodic accessibility that roars toward its finish. As drummer Matt Cameron and bassist Ben Shepherd locked into their complicated dance, I turned to a friend and said, “This may be the best performance of a song I’ve ever heard.”

was more than satisfied.”

The next morning I saw Presidents of the United States of America frontman Chris Ballew, and before I could say hello I informed him that I was still recovering from the previous night’s Soundgarden set, which had been of a caliber I’d rarely encountered. “Oh, I know,” Ballew said. “I was so overcome during ‘Jesus Christ Pose’ that I had to sit down.” E

The Best Tracks

Pop debut, The Sun Dogs (out June 25), is the emissary for what’ll be one of the summer’s—if not the year’s—best local releases. If it’s been a few years since you were glad to hear a cello on a record, you’ll welcome this track.

Rose Windows Track: “Native Dreams” Label: Sub Pop

Metal, psychedelia, and folk have intermingled around the country and in Seattle for years. But the elements are converging in Rose Windows in a way we haven’t heard before.

“Native Dreams,” the first single from the band’s Sub

Pickwick Track: “Well, Well” Label: Small Press

It’s short—just two minutes and 43 seconds. It could have been tinkered with to death. It could have been hitched onto the end of another chorus. Instead “Well, Well” was left alone, a simple little ditty that neatly captures Pickwick’s full-length debut, Can’t Talk Medicine: rock and roll in the age of indie from a band that has run through the neo-soul sprinkler. Its casual momentum makes it easy to toss on repeat. And you’ll want to. E

The Best News Safeco Field Is Open for Concerts

Almost 14 years to the day after Safeco Field hosted the Mariners for the first time, Paul McCartney will play the first-ever concert in the house that Griffey built when he takes the stage in center field on July 19. “It was the artist’s wish to play something new and unique that has never been done before,” says Live Nation Seattle president Jeff Trisler. “That was the major appeal to it.”

You’ll hear no complaints from me about Macca being the one to pop Safeco’s cherry. But I always thought it would be Pearl Jam—and rumor has it they’ve tried. Now that that seal has been broken, should we look for PJ in the on-deck circle? “I have no comment about any possible ventures with Pearl Jam,” Trisler says, “on any level.”

Fair enough. E

ckornelis@seattleweekly.com

SEATTLE WEEKLY • MAY 1 — 7, 2013

The brightest spots on Cave Singers’ latest, Naomi, are when the band is looking forward.

On “It’s a Crime,” the group that was in on the ground floor of Seattle indie-folk indulges its riff-rock tendencies and ends up in arena-folk territory. It’s the best thing they’ve done since “Beach House.” More of this, please.

MJ KIM

Cave Singers Track: “It’s a Crime” Label: Jagjaguwar

When Trevor Powers committed to writing the follow-up to Youth Lagoon’s critically lauded self-titled debut, he told himself he wasn’t writing a record, he was only writing songs. It wasn’t until he was finished writing and took a step back that he saw what he’d done.

Wondrous Bughouse is a singular piece of music.

Its songs aren’t album installments, they’re movements in an opus—more likes scenes within acts of a play than episodes in a TV series. After several spins, it’s impossible to imagine one song without the other.

“My conscious mind over-evaluates things,” Powers says from the road, at a pit stop in San Bernardino, Calif. “I wanted things to just flow and come out. A lot [of the writing process] was

eliminating filters on this record and trying to see what would happen.”

The instrumentation is standard rock-band fare—drums, guitar, bass, and vocals, among a number of accessories—but the application of these tools is more closely aligned to that of a string quartet buried under an ocean of distortion. The melodies don’t feel like the collaborations of a group of musicians, but the holistic visions—the articulation of a specific sound— elicited by a composer and conductor.

“I wanted it to sound like one foot in reality and one foot in the metaphysical,” Powers says. “Some things you can relate to and sound human, and some things sound very foreign.”

It’s true, Powers didn’t write a record. He created a masterpiece. E Youth Lagoon plays Seattle University’s Quadstock on May 18 and Sasquatch! on May 24.

35

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LOCAL BANDS

*Daily Benson, Daily Benson

MARTHA TESEMA

Arrington de Dionyso’s Malaikat dan Singa,

Open the Crown (out now, K Records, krecs.com): Hearing de Dionyso’s throat singing for the first time can be a bit jarring, but added to the yelps and chants over this trancy world music, the whole album starts to make sense. AZARIA PODPLESKY Fox and the Law, Sleep With the Lights On (out

Magnetic Circus, “Evil” (out The Shivas. now, self-released, magneticcircus.bandcamp.com): If “Evil” is any inclination of how Magnetic Circus’ soon-tobe-released EP will sound, then listeners can expect a ton of psychedelic guitar, thumping percussion, and plenty of melodic garage-rock vocals. (Sat., May 4, White Rabbit) AP

*Yeah, every release

Midnight Salvage Co., Neon Lights (May 10, self-released, midnightsalvageco.com): A tidy package of catchy folk/pop/blues numbers marked by self-reflecting lyrics and extraordinarily tight playing from the band. The highlight of the record, however, is Bryan Kiehl’s guitar, which he expertly, effortlessly weaves throughout each track. CORBIN REIFF (Fri., May 10, Jazzbones, Tacoma)

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The Shivas, Whiteout (out now, K Records, krecs.

com): The members of this Portland-based quartet are so spot-on with their pretty harmonies and undeniably catchy, psychedelic beats, you’d swear they still have their ticket stubs from Woodstock. In reality, these four can’t yet grab a beer after a show. AP Swamp Meat, Elephant Graveyard (out now, selfreleased, swampmeat. bandcamp.com): A new take on ’60s psychedelic pop, Graveyard is all at once expansive and controlled. The first track, “Snake Eat Self,” is reminiscent of some of Hendrix’s trippier soundscapes like “1983 . . . (A Merman I Should Turn to Be),” while the following number, “Katie’s Farm,” is more of an upbeat rendering of the classic-pop mold. CR

Vaudeville Etiquette, Debutantes (out now, self-released, vaudevilleetiquette. com): Led by twangy vocals and a thumping upright bass, this tightly arranged newgrass sampler is a cocktail of rock, jazz, and blues—steeped in SoCo. (Wed., May 22, Tractor) KEEGAN PROSSER

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.

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SEATTLE WEEKLY • MAY 1 — 7, 2013

Le Wrens, Don’t Forget Me EP (May 3, self-released, lewrens. bandcamp.com): Despite having Seattle folk darling Noah Gundersen (brother of threefifths of the band) as producer, Le Wrens is distinct in its own youthful fury. Elizabeth Gundersen’s vocals turn heartwrenching lyrics into honey as she croons on the title track: “We will never be together/ But we will always love each other.” Throw in ethereal harmonies, and you’ve got four stirring examples of how pretty angst can sound. MT (Fri., May 3, Fremont Abbey Arts Center)

ADAM BLACKMAN

now, self-released, foxandthelaw.bandcamp.com): Distorted vocals and big, bluesy riffs reign supreme on this three-song EP as garage-rockers FATL somehow make Sleep With the Lights On as energetic as their live show. AP

DARLA RAE BARRY BENSON/DAILY BENSON

(out now, self-released, dailybenson.bandcamp. com): It’s spring, which means senior projects at Roosevelt High are being completed. Daily Benson’s comes in the form of an EP recorded and produced in her family studio. Forgoing help from musician/dad Robb Benson, Daily recorded and produced these four songs herself, simple acoustic melodies laced with lyrics like “Maybe you’re in love with a ghost” on “Anyway,” hinting at the angst so indicative of her age. Yet she shows more maturity on “How to Write a Song”: “After every song I write/I learn to write again,” proving you might actually learn something useful in high school.

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Seattle Weekly 05-01-13_06-26-13.indd 1

4/15/13 11:12 AM

Reverb»The Short List Allen Stone THURSDAY, MAY 2–FRIDAY, MAY 3

Stone has been touring the world for two years, sharing his blue-eyed, greasy soul with the masses. But if we’ve learned anything about the Chewelah-born, Seattle-bred crooner, it’s that he doesn’t stray too far from home for long. After wrapping two weekends at Coachella, these “prom”-themed shows in Seattle are sure to bring the party; they’ll also serve as the official lineup-announcement party for Bumbershoot (which means Stone will be playing the Labor Day weekend festival, no?). In addition to lots of retro prom looks (sequins, shoulder pads, baby-blue suits), expect a number of Stone standards, baby-making Marvin Gaye covers, and lots of sweaty soul. Crocodile, 2200 Second Ave., 441-

4618. 8 p.m. SOLD OUT. All ages/bar with ID. KEEGAN PROSSER

Beck’s Song Reader

Rainier Ave. S., 906-9920. 7 & 9:30 p.m. $12 adv./$15 DOS. GWENDOLYN ELLIOTT

METZ

SEATTLE WEEKLY • MAY 1 — 7, 2013

SATURDAY, MAY 4

38

The last time this Toronto trio came through town, they opened for The Men downstairs at Barboza, so they’re, like, literally moving up in the world, playing the building’s larger, aboveground club, Neumos. At Barboza, they blasted through some viscous grunge-inspired numbers from an album that wasn’t even out yet (which we now know as their killer self-titled Sub Pop debut), popping eyes and eardrums along the way. They absolutely ripped shit up, and introduced themselves to their new record label’s home city with authority. Their raw-throated, drumstick-fracturing blasts of distortion are proof that good, loud, aggressive rock never goes out of style. Now with a little time under their belt since hitting the international spotlight, they should be ready to tear it down on an even bigger stage. With No Joy, Eighteen Individual

Eyes. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $13 adv. 21 and over. TODD HAMM

Rachel Harrington SUNDAY, MAY 5

Since Zoe Muth moved to Austin, Seattle can now boast Rachel Harrington as our twangiest

country singer. She recently returned from a 32-date stop across the Atlantic, where American bluegrass, roots, and country music— along with Seattle artists like Muth and Cahalen Morrison and Eli West—have become increasingly popular. On her fourth album, Makin’ Our House a Honky Tonk, you can see why: Superbly penned originals from the fiery eponymous anthem to country tunes with vintage flair like the Loretta Lynn–esque “Wedding Ring Vacation” hearken back to a time when the genre was unfiltered and full

of innuendo and female vocalists belted out clean, confident notes like the pop divas of today. With Rebecca Pronsky. Empty Sea

Studios, 6300 Phinney Ave. N., 228-2483.

7 p.m. $15 adv./$18 DOS. GWENDOLYN ELLIOTT

Rndm SUNDAY, MAY 5

A RNDM show is at least interesting for the names that make up the headlining act. Surely you’re curious to hear what a Jeff Ament (Pearl Jam’s bassist)/Joseph Arthur (journeyman

*

EDITOR’S PICK

That 1 Guy FRIDAY, MAY 3

His name is Mike Silverman and he’s a classically trained bassist, but you won’t see much of that during his gig at the Tractor. Instead you’ll see him perform as a one-man band alongside his musical creation, the Magic Pipe: a 7-foot-tall harp-shaped set of electronic tubes that he can bow, pluck, or slap. He also plays an electric cowboy boot (no joke!) as well as a modified saw. Musically it’s a hodgepodge of funky, Zappa-influenced weirdness, but it’s a live experience unlike any other. And for an extra $35 you can score a ticket to his pre-concert close-up magic show, reserved for no more than 10 people (no joke!). With Captain Ahab’s Motorcycle Club. The Tractor, 5213 Ballard Ave. N.W., 789-3599.

9:30 p.m. $15. DAVE LAKE

Sub Pop’s METZ plays Neumos on Saturday night.

singer/songwriter/guitarist)/Richard Stuverud (drummer-about-town for bands like the Fastbacks, among others) collaboration sounds like.

Arthur’s sing-alongs are as dominant as you’d expect; Ament has fun on the bass, jumping up and down the neck to make the most of his spot; Stuverud keeps things splashy and gets the pace running when it feels right. With the exception of the boring lyrical sections and occasional overdone harmony, their music is mainly inoffensive adult-contemporary rock; it “gets the job done” in providing sounds that will give people’s ears something to do at a concert venue. They aren’t breaking new ground, but maybe that’s not something their audience is looking for them to do. Tractor,

5213 Ballard Ave. N.W., 789-3599. 9 p.m. $20.

21 and over. TODD HAMM

Acid Mother’s Temple TUESDAY, MAY 7

OLIVIER OSWALD

Late last year, Beck released yet another work into his canon of pop gems and oddities: a book of sheet music called Song Reader. The idea is to have tracks brought to life by artists in their own style; where Beck might utilize synths and a vocoder, Joe Smith may employ a sax, and so on. Several local artists, including the Seattle Rock Orchestra, have accepted the challenge—and tonight artists like Robb Benson (Dept of Energy, the Glass Notes), Hann Benn (Pollens), Carla Torgerson (the Walkabouts), Rachel DeShon, Robin Holcomb, Katie Jacobson (Honey Noble), and others will present an interpretation of one of Reader’s 20 tunes. Considering the venue’s penchant for improvisational jazz, the versions may stray far from the sonic template of what Beck might ever have imagined, though with titles like “Fluffy Ruffles” and “Ev’ry Morning I Bring Her Chicken,” there’s no mistaking the songwriter’s blueprint. The Royal Room, 5000

ROBBY REIS

SATURDAY, MAY 4

If you’re not going to drop acid, you’ll at least want to get rip-roaring stoned (it’s legal, after all) before heading out to see this experimental Japanese psychedelic collective led by guitarist Kawabata Makoto, who views himself less as a songwriter and more as a conduit for all the sounds of the cosmos. The group’s songs move from walls of noisy guitars to ambient synths, and lack any kind of traditional structure. It’s abstract art, to be sure; if you can open your third eye, you’ll probably have a much better time taking it all in. With Master Musicians of Bukkake, Tjutjuna. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $12 adv./$15 DOS.

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Reverb»Seven Nights 1303 NE 45TH ST

Wednesday, May 1

Caitlin Rose brings The Stand-In to the Tractor on Monday night.

BONOBO Simon Green’s electronic music is smooth and

meditative; his productions lack the warped eccentricities and sharp edges that characterize many bass music– or trip-hop–influenced producers. Live, he employs a full band to play his down-tempo compositions. With El Ten Eleven, Kid Hops. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com.

7 p.m. Sold out. All ages.

CYHI THE PRYNCE Signed to Kanye West’s G.O.O.D. Music, this Georgia rapper has yet to release a fulllength album, though his fifth mixtape, Ivy League: Kick Back, dropped earlier this year. With KnowMads, Thaddeus David, Bruce LeRoy, DJ Swervewon.

Barboza, 925 E. Pike St., 709-9951, thebarboza.com.

8 p.m. $15 adv.

NEW BUILD Most talk about New Build focuses on the group’s pedigree, and with good reason. It’s hard to think of a better lineup for a dance-leaning electronic group than this one featuring Hot Chip members Felix Martin and Al Doyle, the latter of whom also played with LCD Soundsystem. With No Ceremony, Anomie Bell. Neumos, 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $15 adv.

Thursday, May 2

genre’s up-tempo and cheery side rather than its slow and dirty one. With Mike Giacolino, The Heavy Half.

Blue Moon, 712 N.E. 45th St., 206-675-9116, bluemoon seattle.wordpress.com. 9 p.m. $5.

KOCANI ORKESTAR Plenty of groups in recent years have indie-fied traditional Balkan folk music (Beirut and DeVotchKa are the most notable examples), but this Macedonian group presents an opportunity to witness the horn and percussion acrobatics undistilled.

Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle. org. 8 p.m. $12–$22. All ages.

SMILE BRIGADE This long-running rock group’s music ranges from the placid ’60s pop of their most recent album, 2011’s Do You Come Here Often, to abrasive punk. With Touche, Little Penguins, Gems. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com.

9 p.m. $7.

Friday, May 3

DEBACLE FEST Not to be confused with Decibel, the

40

Saturday, May 4

THE CAVE SINGERS Compared to most Seattle folk

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ment of the group’s buoyant indie pop. With Special Explosion, Iji, Peeping Tomboys. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $9. All ages.

STEREO TOTAL The duo of Françoise Cactus and Brezel Göring has been crafting multilingual electro-pop since the early ’90s, when the pair met in Berlin. Their latest is the playful Cactus versus Brezel. With the Blind Photographers. Barboza. 7 p.m. $12 adv.

Sunday, May 5

HAPA Barry Flanagan and Ron Kuala’au blend Hawaiian

instrumentation (slack-key guitar, ukulele) and musical traditions with contemporary folk. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7 p.m. $25 adv./$30 DOS. All ages.

SEATTLE WIND SYMPHONY Conductor Gerard Schwarz leads the SWS in the West Coast premiere of his Above and Beyond, first performed by the United States Marine Band. Meany Hall, UW campus, 543-4880, meany.org. 3 p.m. $20. All ages.

Monday, May 6

CAITLIN ROSE The golden-voiced country bandleader

and Nashville resident is touring behind February’s The Stand-In. With Daniel Romano, Cahalen Morrison Country Band. Tractor Tavern. 8:30 p.m. $10 adv./ $12 DOS.

groups (especially a certain ultra-smooth sextet named for two parts of the human anatomy), the Cave Singers’ rough and ramshackle tendencies are a welcome anomaly. They recently released Naomi, their second album on Jagjaguwar and fourth overall. With Bleeding Rainbow. Showbox at the Market. 8 p.m. $20.

FUNHOUSE DOCUMENTARY BENEFIT Scuzzy synthpunk act the Cripples reunites to headline this show, which will help fund a documentary about beloved (and dearly missed) punk venue The Funhouse.

Primate 5, the Fabulous Downey Brothers, Sex Drug, DJ Brian Foss. The Comet. 9 p.m. $8.

LAND OF PINES This is a release show for LoP’s The Long Defeat EP, which, if last year’s “Dead Feathers” single is any indication, will show continued refineSend events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

Smokey Brights play the Columbia City Theatre on Friday.

JEREMY WARD

SEATTLE WEEKLY • MAY 1 — 7, 2013

world-class electronic-music festival, Debacle Fest is a three-day showcase of experimental outsider music that most festivals overlook. Curated by Sam Melancon, it features artists on the fringes of drone, electronic, psychedelic, and metal. Expect a noisy, perception-altering time. Various artists. FRED Wildlife Refuge, 127 Boylston Ave. E., debaclefest.com. 8 p.m. $15 adv./$20 DOS (daily), $40 adv. (three-day pass).

All ages.

LE WRENS Centralia’s Gunderson family crafts reliably pretty, harmony-led folk music that will fit right in at the Fremont Abbey. This is a release show for their Don’t Forget Me EP. With St. Paul de Vence, Ben Fisher.

Fremont Abbey, 4272 Fremont Ave. N., 414-8325, fremontabbey.com. 7 p.m. $10. All ages.

SMOKEY BRIGHTS This quintet cranks out old-school AM-radio fodder, slices of Americana that are organic if not original. With Red Jacket Mine, the Glass Notes.

Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 9 p.m. $8 adv./$10 DOS.

MELISSA MADISON FULLER

THE DIRTY DEALS These local blues rockers favor the

CLOUD CULT Since their beginnings nearly 20 years ago

as Craig Minowa’s solo studio project, this Minnesota band has expanded both in personnel and musical ambition: Their sound is an expansive hybrid of atmospheric rock, string-led folk reveries, and electronic textures. With JBM. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $17 adv./$20 DOS. All ages.

JAD FAIR is the founder of DIY punk duo Half Japanese, and he headlines an eccentric lineup of mostly solo acts, including rustic folk musician Kimya Dawson, chamber-pop auteur Iji, and collaborative music project Yr Heart Breaks. With Slashed Tires. The Vera Project. 7:30 p.m. $9 adv./$11 DOS. All ages.

Tuesday, May 7

ALICE RUSSELL This Brighton, UK–based vocalist melds

retro-leaning soul songs with spacious, electronicsladen contemporary production. With Dice and the High Rollers, Mycle Wastman, J-Justice. Neumos. $13 adv. 8 p.m.

SECRET CHIEFS 3 The musical output of Trey Spruance’s ever-shifting instrumental rock group (there have been dozens of members since its 1995 inception) plays like a music-nerd fever dream, combining elements of Middle Eastern and Indian music, surf rock, and death metal. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

8 p.m. $20.

column»Toke Signals Finally, a Storefront in Kitsap

S.A.M

BY STEVE ELLIOTT

M

edical-marijuana dispensaries have until now been elusive in Kitsap County. While a couple of delivery services are available, actual brick-and-mortar storefronts have been a different matter. From time to time I’d hear of one in Silverdale or another in Bremerton, but by the time I called, they were already gone. I felt as if I were chasing flying saucers or Bigfoot.

With that kind of track record, I was expecting the same result when I called Herbal Healing Safe Access, a dispensary, located in Gorst (between Bremerton and Port Orchard), that I located on Weed Maps. But, happily, they actually answered the phone, and better yet they were open, so I was off to Gorst to buy my very first Kitsap storefront weed.

I was pleased to note, as budtender Sam (she’s very helpful) showed me through the menu of about 15 strains (there are separate cases for indicas, hybrids, and sativas), that all flowers have a donation of $10 a gram across the board.

As I noted in last week’s column, some shops without any nearby competition engage in price-gouging; it speaks well of Herbal Healing that they don’t succumb to that unhealthy temptation.

I selected two indica-dominants, Plush Berry and Ace of Spades, and two sativas, Maui Wowie and Green Crack (I disapprove of that strain name, by the way—no marijuana strain should ever be named after hard drugs). Plush Berry’s beautiful, light-green, trichome-encrusted flowers are the result of a cross between Black Cherry Soda and Space Queen by TGA Subcool. The scent and flavor

BLOG ON » POT TOKESIGNALS.COM

x

are berry-sweet; Subcool himself described Plush Berry as the best-smelling plant he’s ever grown. The strain is excellent for pain relief and relaxation; it produces a preternatural calmness great for stress relief.

Ace of Spades (Black Cherry Soda x Jack the Ripper) is another TGA Subcool indica; this one combines lemon and berry for a delightful sweetand-sour taste in its thick, heavy flowers. These buds are a darker green than Plush Berry’s, but just as thickly covered with sticky resin glands. Toking reveals a smooth taste with hints of sandalwood.

It’s a fast-acting strain; the 30 percent sativa in its genetic heritage hits first with a giddy onset, then the 70 percent indica asserts itself with a potent body stone.

Green Crack, as I mentioned above, should be called something else, as marijuana—even the most energetic sativa— is nothing like crack cocaine. Having said that, these fuzzy flowers—which, unlike all the others, appeared to have been possibly kiefed, or at least tumbled—make good daytime medicine in that you can use it and continue your daily activities without getting couchlocked.

On the downside, the effects of Green Crack, while quick in onset, are also quick to fade.

Maui Wowie’s crystal-covered sativa-dominant flowers are redolent of pine and citrus and taste pleasantly hashish-like. It produces an active, uplifting buzz that also effectively addresses pain. E

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Those are a couple of desperate ladies if they’d rather sex up an ugly guy than just go to the sperm bank and plop down a credit card.

Don’t they have any foxy gay friends who’d be willing to spill a little seed on their behalf? Or a sane straight guy who isn’t so desperate to fill his spank bank that he’d just let them have a vial? If the number of soiled socks, sticky T-shirts, and Kleenex clumps I’ve encountered over my years of dealing with men are any indicator, I’d guess that most men have a surplus of baby batter that mainly SEEKING TO ADOPT just goes waste.

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You were right to lose this guy, because, yes, he’s a manipulative jerk, and yes, again—unless it’s part of your kink—you don’t bring up other people you’re schtupping with someone who’s still in an underpants-free zone. E

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Brian (206) BFA/MM 434-1942 with her and her girlfriend. Brian Oates Oates (206) 434-1942 First of all, I knew we were both seeing other < < < < < < < < < < < < < < < < < MASSAGE < < < < < < < Caregivers Needed people, but mentioning < < NORTHEND Caregivers Needed NORTHEND MASSAGE FOR YOUR F/T & P/T, â&#x20AC;&#x153;Live Inâ&#x20AC;? & Hourly. < < FOR YOUR HEALTH other sex partners WHEN HEALTH F/T & P/T, â&#x20AC;&#x153;Live Inâ&#x20AC;? & Hourly.

Must be CNA. < LAURIE LMP, < Must be CNA. Iâ&#x20AC;&#x2122;M NAKED is wrong. Also,< LAURIE LMP, < Competive Wages!

Competive Wages! < 206-919-2180 < (206)440-5500 these women are not casual < < < < 206-919-2180 < < < < < < < < < (206)440-5500 dabblers in lesbianism; he< < < < < < < < < < < said he really had to argue with them to go for the threesome idea. What kind of person manipulates lesbians into a threesome by holding his sperm hostage?

Gross. He totes didnâ&#x20AC;&#x2122;t know how nasty he was, either. Just laid there, all inflated by his giant ego, proud that he was going to have a threesome the next night. I donâ&#x20AC;&#x2122;t even know why they want his sperm, because heâ&#x20AC;&#x2122;s short, pudgy, and hairy, yet bald. (I have a thing for that type.) I wish he had told me before weâ&#x20AC;&#x2122;d had sex WHEN I WAS STILL WEARING

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