Seattle Weekly, May 08, 2013

MAY 8-14, 2013 I VOLUME 38 I NUMBER 19

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Washington state could soon be compensating its wrongfully convicted citizens. For the innocents who already lost much of their

FREE

BY RICK ANDERSON

FALL

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SEATTLE WEEKLY • MAY 8 — 14, 2013

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VOLUME 38 | NUMBER 19

THE REGION’S LARGEST CELEBRATION OF SCIENCE JUNE 6 –16, 2013

Join the 11-day celebration with events happening throughout Washington, including Science EXPO Day on June 8 at Seattle Center, a free, all-day event featuring more than 150 exhibits, activities and demonstrations for all ages.

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up front 7

NEWS

THE DAILY WEEKLY | Immigration-

reform advocates and the GOP try to buddy up. Also: the death of a U District hero.

11 FEATURE

BY RICK ANDERSON | As a journalist

or a private investigator, Paul Henderson spent his career exonerating the wrongfully convicted.

in back 19 THE WEEKLY WIRE 20 ARTS

20 | STAGE | Mike Daisey talks suicide.

22 | OPENING NIGHTS | Modern dance

and an operatic phone call.

25 | THE FUSSY EYE | Dresses

in distress.

Official Airline:

Alaska Airlines

26 | REVIEW | Baz Luhrmann’s 3-D

Great Gatsby.

27 | THIS WEEK’S ATTRACTIONS

Vampires, French radicals, and India’s partition.

31 FOOD

31 | REVIEW | Everett goes Hawaiian and brings Spam to life.

33 | OVER COOKED | Taking issue with Michael Pollan’s latest.

37 MUSIC

37 | CAFE RACER | Seattle’s music

community responds to gun violence.

39 | REVIEWS | This week’s releases.

41 | THE SHORT LIST | New takes on

bluegrass and the Beatles.

other stuff 24 25 28 43 45

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news»The Daily Weekly »DISPATCHES FROM OUR NEWS BLOG

GOP Dreams

State Republicans know they need to come around on immigration. So why can’t they?

KATY LESTER

A

[

SEATTLE WEEKLY • MAY 8 — 14, 2013

few months ago, Seattle’s prominent Scenes from the May Day immigrant advocacy organization immigration rally in Seattle.

OneAmerica asked itself a question, executive director Rich Stolz recalls: “How do we begin to engage more Republicans?” results came in, “what will it take?”

Amid conversations throughout the state, Had they asked just a year ago, nothing much might have come of the question. As it has pushed Vance says, “the one specific issue people focus on is immigration reform.” Changing the party’s for comprehensive immigration reform, OneAmstance on that might be “the one thing we can do erica’s usual allies are on the left: Democratic to change the image of the party—or at least to politicians, labor groups, or same-sex-marriage give us the chance to compete for Hispanic votes.” advocates. (OneAmerica endorsed the campaign So OneAmerica’s question was well-timed. to legalize same-sex marriage last fall, and those The organization began reaching out to consersupporters in turn promised to back immigrant vatives, including Vance. A little to Stolz’s surcauses.) Republicans, by and large, have been prise, he says, Vance wrote back: “I’d love to work extremely wary of reform that offers anything with you on this.” approaching amnesty for the estimated 11 million In March, OneAmerica immigrants living illegally launched an initiative in this country. called the Washington Then came the PRINT IS GREAT, but if you Compact, which constiNovember 2012 election, want to read . . . about the fate of Seattle’s greatest app, tutes a set of broad princiin which the Latino vote check it out on The Daily Weekly. ples in line with immigracontributed mightily to SEATTLEWEEKLY.COM/DAILYWEEKLY tion reform. Vance has not Barack Obama’s victory only agreed to support the over Mitt Romney. Hiscompact, he is serving as a spokesperson. Others panics’ overwhelming rejection of Romney, with willing to lend their name to the cause include his call for “self-deportation,” led the GOP to Dale Foreman and Luke Esser, both also former launch a national bout of soul-searching. state GOP chairs, as well as Joseph Castleberry, Locally, Republicans were shaken not just a conservative evangelical who heads Kirkland’s

by Romney’s loss but by that of onetime GOP golden boy and gubernatorial hopeful Rob McK- Northwest University.

The state’s newest immigration-reform advoenna. “A year ago this time, everyone thought cates are not necessarily politically motivated. that Rob McKenna would win,” says political During a Seattle Weekly interview, Castleberry consultant and former state Republican party casts the issues as a matter of “morality,” given chair Chris Vance. “Wow—if we couldn’t win that Hispanic immigrants come here to feed with Rob McKenna as a candidate,” Vance says state Republicans thought after the election » CONTINUED ON PAGE 9

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news» Daily Weekly » FROM PAGE 7

Edward McClain, perhaps better known by his alias “the Real Change guy,” passed away Friday. He was 69 years old, and had been diagnosed with lung cancer.

Anyone who’d frequented the Safeway at Brooklyn and 50th (the “Un-Safeway,” as it is known to some) was likely familiar with McClain’s booming call: “Real Change? Have a great day, ma’am, have a great day, sir. Real Change?”

Ed had made his living from his Real Change spot, squarely in front of the Safeway’s entrance, for 18 years. He built a reputation and a clientele that could count on him to be there day in and day out. He was a living legend in the U District, the reason many people bought a copy of Real Change—myself included.

He did far more than just sit outside Safeway, though: Born in Mississippi in 1943, Ed earned a B.A. in sociology and political science and had over 30 years of baking and cooking experience (which started during his 30-year excursion in Europe, after observing his French girlfriend’s father). He ultimately moved to Seattle to get in touch with his family, including a grandson whom he described as “one of the most important people in his life.”

When Real Change named him Vendor of the Year in 2009 (after a grocery-store client threatened him with a grenade), he offered readers and customers this message: “You only go around one time in this life. Live it to the fullest. When

PPGNW_Seattle Weekly_4.83"x5.54" 4C.pdf

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“When I die I want them to say he didn’t leave a rock unturned. Life is so fragile; you don’t know when it is going to end, so enjoy your life.”

I die, I don’t want them to say I didn’t do this, I didn’t do that. When I die I want them to say he didn’t leave a rock unturned. Life is so fragile; you don’t know when it is going to end, so enjoy your life. ’Cause you won’t go around twice.

Once you pass 14, you’ll never see 14 again. I wish for the whole world that they get a chance to enjoy their life. So that when they get to be 60 or 70 years old, they can say, well, I did this, I did that, I achieved this, I achieved that. That’s what I’d like to wish my customers: The very best of everything.”

McClain wasn’t homeless, a point of contention in a 2007 Seattle Weekly story examining whether longtime Real Change vendors were exploiting a system meant to serve as a stepping stone to more solid employment. “Everything you have in your house, I have in mine,” he told a reporter then.

Timothy Harris, the founding director of Real Change, defended McClain at the time.

“Ed McClain is successful,” Harris said. “He enjoys what he does, finds meaning in his work; he’s not making a lot of money, but it’s enough for him.”

A memorial service will be held Saturday, May 11, at 1 p.m. at University Temple United Methodist, 1415 N.E. 43rd St. ZOSHA MILLMAN E C

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SEATTLE WEEKLY • MAY 8 — 14, 2013

their families. What’s more, he contends: “We need these people. Yet we pretend that the fault is all on their side. That’s bearing false witness.”

Vance says he has also long believed in immigration reform. “You’ve got 11 million people already here. What are you going to do, round them up and deport them?” And besides, he says, “immigration is key to economic growth.”

In Olympia this session, immigration advocates got a surprising amount of support from House Republicans when the state version of the “Dream Act,” which would allow undocumented immigrants to receive college financial aid, passed with an astonishing 22 Republican votes.

“I would never have guessed that,” says Ricardo Sanchez, director of the Latino Educational Achievement Project, a group that lobbied for the bill. He says that at the beginning of the session, he had thought that the bill would get support from maybe three or four Republicans.

But while the House GOP support was surprising, what happened in the Senate may show how far Republicans still have to go to win the Latino vote. When the bill hit the Senate, Higher Education Chair Barbara Bailey refused to allow her committee to vote on the bill. The Oak Harbor Republican spun her opposition as simply a financial matter: The state does not have enough money for financial aid as it is, much less for a whole new set of eligible students, she said.

But there’s likely another reason. The Senate is under the command of a new so-called “majority coalition,” comprising Republicans and two dissident Democrats, all of whom agreed to narrowly focus on a few topics, the main one being the budget. The political range within the coalition is considerable. There are the Democrats and some moderate Republicans. There are also Republicans whom minority leader Ed Murray calls “the most conservative I’ve worked with in 18 years.”

As Vance observes, “All session, people have been wondering what issue will cause that fragile coalition to fall apart.” He suspects the coalition veered away from immigration lest it become that issue. Michael Baumgartner, a Republican member of the higher-education committee, suggests as much when he says in response to a question about the Dream Act: “We’re trying to concentrate on the things that unite the caucus.”

But that rationale may have little currency among the scores of voters Republicans acknowledge are vital to remaining a viable party. The fate of the Dream Act, which might still be revived in a special session, is being closely watched in the Latino community. “For the most part, it’s Republicans who decided to block this,” says Pedro Gomez, director of the Washington Latino Voters Alliance, a group that tries to get young Hispanics involved in politics.

“There will be repercussions,” says Jorge Quiroga, a spokesperson for El Comité, the group that organized Seattle’s immigration rally and march on May Day. Milling about the rally in Judkins Park last week, he muses that Latinos, generally, are more “in tune” with Republicans than Democrats. They share certain values, he says, like “being Christians” and revering the “family unit.”

But he says the immigration issue still looms largest of all. “If they are attacking our brothers and sisters without papers, we will not vote for them, period.” NINA SHAPIRO

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» CONTINUED ON PAGE 12

The Damage Done The state is poised to grant the wrongfully convicted $50,000 for each year spent behind bars. An apology, it turns out, is harder to come by. BY RICK ANDERSON

SEATTLE WEEKLY • MAY 8 — 14, 2013

hen 30-year-old Steve Titus was arrested for the rape of a teen girl in 1980, he told Port of Seattle police they had the wrong man. They did. But the seafood-sales supervisor was convicted the following year and faced a sentence of up to life in prison. Months later, the actual rapist was arrested, and Titus was vindicated. The stressful ordeal would nonetheless mete out a punishment more severe than Titus could have received in court—his sudden death five years later.

“These things just don’t happen accidentally,” Paul Henderson says, sorting through a box of legal files. “There’s always an element of misconduct.” The ex-journalist and private investigator stops to think about that, and puts down an old Titus case file. Rubbing his stubbly beard, Henderson turns and begins to pace across the inlaid deck of his boat-home, a 49-foot Grand Banks Alaskan tied up on Lake Union in Fremont.

Police, prosecutors—“They’re actually able to sleep at night knowing they’ve convicted an innocent man,” he says, voice rising to a bellow. “They rationalize it. They say ‘I didn’t convict him, the jury did!’ They said that about Titus.”

In March 1981, a King County Superior Court jury found Titus guilty of first-degree rape. While awaiting sentencing, Titus contacted Henderson, then a reporter for The Seattle Times, claiming to be innocent of the crime, the sexual assault of a 17-year-old hitchhiker near Sea-Tac Airport. Henderson was hooked by Titus’ sincerity and the fact that police never explored any of his alibi details or interviewed his witnesses. But the reporter was wary, and told Titus he’d drop the story if he caught the sales exec in a lie.

The evidence against Titus seemed solid enough: The victim identified him in court, and Port police, acting on a tip, stitched together a series of events and eyewitness testimony that linked Titus and his car to the crime scene. Henderson began looking for the kind of details he would spend the next three decades seeking in such cases—contrary evidence and testimony that police and prosecutors had missed or ignored, sometimes purposely. Within weeks, he learned that the victim’s memory of her attacker was hazy, and that she’d been steered by police to identify Titus as the perpetrator. Among other conflicts, there were clear differences between the victim’s description of the rapist’s car and Titus’ vehicle.

Henderson also learned a detective had adjusted event times on his report to counter Titus’ alibi: Running his own stopwatch checks, the reporter discovered it was impossible for Titus to have been at the crime scene at the time of the rape. This was crucial evidence, there for the cops to find had they been seeking it.

Confronted with the discoveries, then–King County Prosecutor Norm Maleng dropped the charges against Titus in June 1981. Shortly after, the man who committed the crime, a serial rapist named Edward Lee King, was tracked down.

Bearing only a slight resemblance to Titus, King was later convicted and sentenced to 30 years for four rapes, including that of the teen hitchhiker.

Henderson, a bar-crawling crime reporter who kept a six-pack in his locker at the police press room where he sometimes slept under a pile of

11

» THE DAMAGE DONE FROM PAGE 11

12

WILLIAM ANTHONY

Paul Henderson revisits his case files alongside his dog Holly in his houseboat.

Clyde “Ray” Spencer, left, with Henderson shortly after his release in 2004.

“In almost every case I worked on, those convictions could have been avoided.

There was a distinct absence of fair play.”

—Paul Henderson

Spencer, center, and his children, Kathryn Tetz and Matthew Spencer, talk to the media outside the Clark County Courthouse.

ZACHARY KAUFMAN / THE COLUMBIAN

SEATTLE WEEKLY • MAY 8 — 14, 2013

newspapers, won the Pulitzer Prize for Investigative Reporting. Bainbridge Island writer Jack Olsen ultimately captured the exoneration saga and King’s sociopathic life in a 1992 best-seller, Predator.

Titus, though, was left medically stressed and financially devastated by the wrongful conviction.

He sued the Port for damages, but a few months before the scheduled start of a 1986 civil trial, he died of a heart attack. He was 35. His parents later settled with the Port for $2 million in damages to be paid over 20 years. The year after Titus died, so did the Port detective who had helped wrongly convict him, Ronald Parker. He too suffered a heart attack. He was 43.

King County Deputy Prosecutor Christopher Washington, who had successfully prosecuted Titus, saw no need to apologize about getting it wrong. He was pleased that justice had prevailed, he said. “But I don’t make the decision on guilt or innocence. The jury does that.”

The jury does that mistakenly much too often, Henderson has since discovered. He quit the Times a month after Titus’ death and became a highly sought private investigator with a low boiling point for injustice. Today, at 74 with two marriages and two careers behind him, the teetotaling PI is semi-retired after three decades of freeing wrongly convicted felons—at least 23 by his count—across the U.S. and Canada.

“In almost every case I worked on, those convictions could have been avoided,” Henderson says in the gruff baritone that has persuaded a legion of confident eyewitnesses to change their tunes when confronted by the findings of his investigations. “There was a distinct absence of fair play.”

Unfortunately, there’s a demand for last-resort investigators like him, scouring the countryside for long-gone witnesses or accusers, knocking on the doors of old hotels in St. Louis, wandering through trailer courts outside Dallas, chasing down dead leads in a Spokane flophouse. Since 1985, Henderson has worked for New Jersey– based nonprofit Centurion Ministries, which receives 1,500 letters each year from U.S. prison-

ers claiming to have been falsely convicted.

In three decades, the organization has freed 50 wrongly imprisoned men and women.

Henderson’s last case before he retired from full-time sleuthing last year took him to 14 states. “I hate flying,” he says. But he loves a mystery. He and Centurion’s mission is to dig for new evidence in dust-covered case files.

The sleuthing almost always requires shoe leather to round up hidden or undiscovered facts—a strategy different from that of another famed exoneration group, the New York– based Innocence Project, which focuses on retesting crime-scene DNA and has helped

reverse more than 300 convictions nationally. A local arm of the project, Innocence Project Northwest, operates out of the University of Washington and has chalked up eight notable reversals.

Courts may overwhelmingly grind out fair verdicts, Henderson says, but some of those decisions are flawed or flat-out wrong, sending the legally not guilty and the plainly innocent to jail or prison. In Washington state alone, according to compilations by the National Registry of Exonerations and similar organizations, more than 50 people have been wrongly convicted of felonies over the past four decades. They include accused robbers, rapists, and child molesters who in fact did not commit the crimes (see ”The Absolved,” page 13). Released after new evidence was discovered or when advanced DNA-testing procedures confirmed they were innocent, some of the wrongly convicted have sued and received compensation for their imprisonment.

Others, such as Alan Northrop—who served 17 years after he and a second man were wrongly convicted of rape in 1993—received nothing.

Northrop has testified for three years in a row in Olympia in favor of a bill that would allow exonerated prisoners to file for compensation—$50,000 for each year of imprisonment

» CONTINUED ON PAGE 14

The Absolved

Tattoo Removal & Lightening

A few of Washington’s many wrongful-conviction cases.

John Jackson James Anderson Time served: four years

The 31-year-old Tacoma man was convicted of robbing a local Safeway in 2004. Two alleged accomplices earned lighter sentences by fingering him. But Anderson, who had a California criminal record, claimed he was in Los Angeles at the time of the robbery, visiting his probation officer.

Prosecutors said the office had no record of such a visit.

Acting as his own attorney, Anderson argued his case in Pierce County Superior Court. He was found guilty by a jury in 2005 and sentenced to 17 years. The University of Washington’s Innocence Project Northwest subsequently found the records that showed Anderson indeed had been in L.A. at the time. A state Court of Appeals granted him a new trial in 2008. Anderson was released from prison and the charges were dismissed in 2009.

Ted Bradford Time served: nine years

In 1995, the then-22-year-old Yakima lumber-mill worker admitted breaking into a home and raping a woman who had been feeding her month-old baby. Bradford claims police interrogators subjected him to withering interrogations and lied to him, saying they had his DNA from the rape scene. Relying on advanced DNA technology, Innocence Project Northwest was later able to prove that the rapist’s sample came from another, unknown male. After Bradford spent nine years in prison, an appeals court, for the first time in state history, agreed to overturn a criminal conviction based solely on DNA evidence. Yakima County prosecutors nonetheless chose to retry Bradford in 2010.

He was cleared by a jury that took only a few hours of deliberation to end his 15-year ordeal. His story was told in a Seattle Weekly report, “New DNA Methods Could Throw More Convictions Into Doubt,” Jan. 8, 2008.

Dayna Christoph Time served: five years

The mentally disabled and sexually abused Spokane teen, abandoned by her alcoholic mother and raised in foster homes, confessed under police interrogation to molesting and raping her sister 100 times over nearly three years, using her hands and a doll. She pled guilty in 1995 to first-degree rape. In 1999, lawyers from the Center for Justice in Spokane showed that she had falsely confessed under police pressure, concocting memories from her own childhood abuse. Investigators also learned her attorney had spent a mere 105 minutes on her case. A judge dismissed the conviction in 2000, calling it a “manifest injustice.”

Larry Davis and Alan Northrop Time served: 17 years each

Benjamin Harris Time served: 20 years

The sometimes-police informant was convicted in 1984 and sentenced to death for the murder of Jimmie Lee Turner, an auto mechanic found dead near his garage in Tacoma. Harris, 37, was implicated by another police informant, who said Harris had contracted with a second man, Gregory Bonds, who actually shot Turner. Harris’ attorney convinced him to testify that both he and Bonds had shot Turner, figuring that if Harris admitted to the shooting, he couldn’t be found guilty of paying Bonds to do it and thus couldn’t be convicted and sentenced to death.

But he was. As Allen Ressler, Harris’ Seattle appeals

John Jackson Time served: six years

The Grant County cab driver went to prison in 1996 for distribution of cocaine. His attorney was a public defender who was handling more than 600 cases at the time. In a 2004 series on the state’s shoddy public-defense system, The Seattle Times reported that Jackson claimed he’d been framed. Later he told a judge that his public defender never even interviewed him before going to court. During trial, the attorney presented no defense witnesses nor made mention of the mental problems of a police informant who, police admitted, had claimed in past cases to have the ability to solve crimes before they occurred. After serving his sentence, however, Jackson cleared his name when a federal judge set aside the conviction in 2001 due to the questionable testimony and the ineffective assistance of counsel. Jackson died a year later, at age 65.

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Tom Kennedy Time served: 10 years

The 32-year-old Kelso divorcé was convicted of raping his 11-year-old daughter in 2002, based on the daughter’s testimony. She made the claim just months after she’d been expelled from school for writing a letter to a teacher threatening to bring a gun to class to shoot everyone. In court, she gave detailed accounts of being raped at home in the bathroom, and used stuffed animals to illustrate what occurred.

Despite Kennedy’s claims of innocence, the jury was persuaded by the girl’s seemingly sincere testimony. Kennedy had been in prison for almost a decade when the daughter came forth last year and said she had lied. She had become a drug addict as an adult, but was recovering at a Christian addiction-treatment center. At a hearing, she said that the physical evidence of trauma to her genitals—brought up at her father’s trial—was due to sexual activity she’d had with a classmate since second grade.

She made up the rape allegation, she said, to get rid of her father because he was drinking and smoking marijuana.

A Cowlitz County judge ruled the recantation was genuine and granted Kennedy a new trial. He was released from prison, and the charges were dismissed last March.

Ross Sorrels Time served: eight years

In 1995, the director of a club for troubled youths was accused of raping a 5-year-old girl he was babysitting in Clark County. Based on accusations by the girl’s mother’s boyfriend, John Tyler, officials determined the girl had been assaulted. She required major reconstructive surgery to her genitals. At a 1995 trial, Sorrels, who ran the America for Youth Foundation, was convicted and sentenced to 10 years based on the testimony of the girl and Tyler. Seven years later, the girl, then 12, came forward with her sister to point the finger at Tyler. As it turned out, the girl had told her grandmother after the rape that it had been Tyler who had attacked her. The grandmother told the mother, who kept the information to herself. In 2003, Tyler was convicted of multiple counts of sexually abusing the sisters, receiving a 73-year sentence. Sorrels was granted a new trial, and prosecutors later dropped all charges.

Sources (and for more information on these and other Washington cases): Innocence Project Northwest; the Center on Wrongful Convictions; Forejustice.org; and the National Registry of Exonerations.

SEATTLE WEEKLY • MAY 8 — 14, 2013

In 1993 the two were accused of breaking into a home and raping a housekeeper in La Center, Clark County. Though blindfolded during the assault and able to remember only her attackers’ hair and skin color, the housekeeper picked out Northrop and Davis from a lineup.

Prosecutors charged Northrop with the rape and Davis as his accomplice, trying them separately. There was no physical evidence of either man at the crime scene, but both were convicted based mainly on the identification provided by the victim. Northrop got 23 years, Davis 20. In 2000, Innocence Project Northwest sought to obtain DNA testing, but was opposed by Clark County prosecutors.

The two sides battled for almost six years while Davis and Northrop waited behind bars. A law passed in 2005 gave judges new power to order post-conviction testing, and a consequent 2006 examination of crime-scene DNA implicated two unknown men, excluding Northrop and Davis. The convictions were finally overturned in 2010.

Prosecutors subsequently dismissed the charges and the two were exonerated.

attorney, later said, the strategy was “about as stupid as it can get.” (Bonds, represented by a different attorney, was acquitted.) In 1994, Harris was granted a new trial after an appeals court learned his lawyer had spent all of 14 hours preparing the case, and only two hours of that interviewing Harris. Forensic evidence not introduced at trial also showed that Harris had never handled the murder weapon. Retrying him proved impossible, however, since key witnesses were no longer available. The charges were dismissed in 1997, and the wrongly convicted Harris became—and remains—the only person exonerated from Washington’s Death Row. However, he was still in prison and wouldn’t go free for another seven years, after the state moved to have him civilly committed as “dangerously mentally ill” (even though prosecutors had previously—and successfully—argued he was sane enough to stand trial for the murder). In 1997, Pierce County jurors found Harris mentally ill, and he was sent to Western State hospital. He was later placed in a transitional program and released in 2004—having served 20 years in state custody.

He died at age 61 in 2008.

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» THE DAMAGE DONE FROM PAGE 12 (same as the amount given wrongly convicted federal inmates) and up to $75,000 in legal fees.

The third time was the charm, however, when the bill was approved by the legislature last month and sent to Gov. Jay Inslee for his signature. Northrop could receive more than $900,000 in compensation, which can be approved by the state Attorney General or through a court hearing where petitioners must prove “actual innocence” of the crime. Money will come from a new state liability fund, which can also provide education aid and pay past child support for those who qualify. The state estimates that at least 15 wrongly convicted former inmates are likely to file claims in the first three years, and one to two each year thereafter. The bill, sponsored by Normandy Park Democrat Tina Orwall, requires taxpayers to “redress the lost years” of those “uniquely victimized” by wrongful prosecutions.

“About time!” says Henderson. Washington will be the 28th state to adopt a compensation law.

A

t least a dozen of Washington’s wrongful-conviction cases resulted from the country-wide hysteria over alleged child-care abuses and childmolestation “rings” in the 1980s and ’90s. Most memorably, in the mid-1990s, an investigation by Wenatchee police and state child-welfare workers resulted in the arrest of 43 adults on 29,726 charges of sexually abusing 60 children. Prosecutors had no physical evidence to support the charges, and their key witness was the 13-yearold foster daughter of a Wenatchee cop. The officer, Robert Perez, drove the girl around town and had her point out the homes where she claimed she and other children had been molested.

Most suspects were falsely accused, and ended up being released. Eighteen went to prison, but all verdicts were overturned or the charges and sentences reduced. The Wenatchee Witch Hunt, as it became known, led to millions of dollars in wrongful-conviction damages against Wenatchee and Douglas County. Some of the accused are now expected to file for compensation under the new state law.

It was during that time that Ray Spencer joined the state’s legion of the wrongfully convicted. Henderson worked on his remarkable case, and thinks Spencer is Exhibit A in the way the law can be manipulated to convict anyone of a crime he or she didn’t commit. What makes his case stand out is that Spencer, in fact, was the law—a police officer in Vancouver, Wash. Today, 28 years after he was falsely imprisoned for raping his own children, and three years after all charges against him were officially dropped, he’s still in court attempting to clear his name.

“I lived. They didn’t count on that,” Spencer tells Seattle Weekly. “The people who put me away assumed that being a police officer and ‘child molester,’ I would be killed in prison. There wasn’t a day that went by that I didn’t think was my last. But I managed to survive 20 years.”

In the early 1980s, Clyde “Ray” Spencer was considered an arrogant, womanizing motorcycle cop in Vancouver. Spencer allows that he was a womanizer, at least. He was married with two young kids, but took advantage of his good looks to cheat on his wife, DeAnne. Married in 1971, the two divorced in 1981, and she moved to Sacramento with their children, Katie, 2, and Matt, 5. Two years later, Spencer remarried. New wife Shirley arrived with a 3-year-old son from an earlier marriage.

In 1984, while Katie was visiting her dad in Vancouver, Spencer recalls, the girl put her hands between her legs and told Shirley, “My brother does this, my mom does this, my dad does this.”

Spencer assumed Katie was being molested, and that “dad” was DeAnne’s boyfriend. “Katie told me, ‘Daddy does it to me,’ ” Spencer recalls.

Spencer, who lived just outside Vancouver, reported his suspicions to the local sheriff ’s office and to child-protection and police officials in Sacramento. He also told his Vancouver police superiors he’d reported the claim. California authorities found nothing to pursue, but Clark County did. Sheriff ’s Detective Sharon Krause flew to Sacramento, where she questioned the children. Eight-year-old Matt denied he was abused. But Krause reported that 5-year-old Katie gave lurid details of rape—none of which the detective recorded. Krause’s most startling discovery, reported to her superiors, was that the “dad” Katie was referring to was her own dad, officer Spencer.

“In prison, I went before the parole board five times and told them I didn’t do it.

They said if I didn’t admit it, I’d die in prison. I told them, ‘Then I’ll die in prison.’ ” —Clyde “Ray” Spencer

In January 1985, following an eight-month investigation, the man who reported the possible sexual assault of his daughter was charged with committing that assault. Spencer’s department immediately fired him, and the charges broke up his marriage. Then, more charges: While he was staying at a motel, estranged wife Shirley asked if her son—Spencer’s stepson—could spend the night with him. He obliged. Days later, Shirley told sheriff ’s detectives that her son had just been raped by Spencer. After an investigator met and interviewed the son 12 days after the stay, Spencer was charged with raping his stepson as well.

“It was a nightmare,” Spencer says today, “and a lie.” He lost it mentally and sought psychiatric counseling. He was facing altogether 11 counts of rape. Investigators alleged he forced the children to engage in sex acts with each other while he watched.

Two days before his sentencing, he underwent a “truth serum” test with a doctor in Portland— he made no admissions of assaulting his children, the doctor concluded. But Spencer says he was in a vulnerable state from the residual effects of the sodium amytal and the side effects from sedatives he was taking. Foggy-minded, and feeling that his attorney, James Rulli, had not prepared a viable defense—he had failed to interview the children until just a few weeks before the trial—Spencer opted to plead out, hoping for a lesser sentence. In court, the 37-year-old ex-cop entered an Alford Plea: In effect, he conceded the facts would convict him, but he was not admitting guilt.

Thomas Lodge, the sentencing judge, handed down the toughest term he could give—two life sentences plus 14 years. Spencer remem-

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bers almost fainting, and a guard helping him to remain standing. He went off to prison in 1985—unaware, it turned out, of many of the relevant facts of his own case.

W

Clark County authorities withheld the fact that, despite the allegations of severe, repeated sexual abuse of the children, medical reports showed no signs of physical abuse. While the children recounted that Mr. Spencer had taken photographs of the abuse, no photos were ever found . . . King County Senior Deputy Prosecuting Attorney, Rebecca Roe, a renowned specialist in child sexual abuse cases, [advised Clark County officials of ] significant problems with the case, including techniques used with Mr. Spencer’s daughter and resulting inconsistencies in her testimony . . . While denying

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SEATTLE WEEKLY • MAY 8 — 14, 2013

ord traveled fast at the state Corrections Center outside Shelton. Days after arriving, Spencer woke up to hear dozens of inmates chanting “Kill the cop in Cell 4.”

Spencer spent most of his first year in isolation.

Eventually, to distance him from his 14-year law-enforcement background—Spencer had also worked as a federal sky marshal and narcotics officer, and had a bachelor’s degree in criminal justice—the Washington Department of Corrections transferred him to the Idaho State Correctional Institution outside Boise. There, for nearly two decades, Spencer witnessed inmate rapes, beatings, and suicides. He lost teeth in fights to avoid becoming other prisoners’ sex punk. He read 3,000 books. And through a correspondence course he obtained a doctorate in clinical psychology. But his cop background stayed a secret.

“My story was, I was an air traffic controller, out on strike when Ronald Reagan fired us all [in 1981],” Spencer says. “I said I knew people in South America running drugs, and helped them smuggle drugs by boat. I got caught in a shootout and my partner shot a cop. I was convicted of being an accessory. I never wavered on details. It worked for 20 years.”

It might have had to work longer if Spencer hadn’t, after almost a decade in prison, contacted Seattle attorney Peter Camiel and convinced him to take on his appeal. Spencer’s earlier appeal attempts had failed, making it clear he needed new evidence if he was to prove his innocence, or at least show he hadn’t gotten a fair shake in the justice system.

Fortunately, Spencer had someone else who believed in him, a new wife. They had first met in 1968 on Guam when he was stationed there with the Air Force during the Vietnam War. She was a Navy nurse. They dated, but separated after returning to the States. In prison, Spencer found Norma Kohlscheen’s address in Los Angeles and wrote to her. She wrote back. On Guam, he’d asked her to marry him. She’d turned him down.

This time she didn’t. They were wed in 1986 in the Idaho prison chapel. She continued to live in L.A.—Spencer’s hometown—visiting and corresponding regularly. She also agreed to help pay Spencer’s legal fees (which would eventually reach more than $250,000). “She worked

70 hours a week at two jobs,” says Spencer. “She never doubted me.”

Attorney Camiel called in the hound, Paul Henderson. In 1999, the private investigator was working for both private clients and Centurion.

“Spencer’s was a dig-up-whatever-you-can case,” says Henderson. Over time, he dug up gold. For starters, Henderson learned medical reports existed, hidden from Spencer’s defense, that showed no indications any of the children had ever been sexually abused. Clark County Det. Sharon Krause, he also discovered, had held unorthodox meetings with the Spencer children, interviewing them in unrecorded sessions in her Sacramento hotel room and buying them gifts and candy. She told the children their father was “sick” and that they could help heal him by accusing him of the sexual crimes. He learned that Spencer’s son, who at first denied any abuse, had changed his story under months of questioning, coming up with a fantastic tale: Not only his father but a group of police officers had abused him. Henderson, suspicious about the night Spencer’s second wife Shirley brought her son to his motel room, wondered if that was a setup. He found his answer: Shirley was having an affair with Vancouver Police Sgt. Mike Davidson—the supervising detective on her husband’s case.

Camiel eventually took the new information to Gov. Gary Locke. In 2004, Locke, a onetime King County deputy prosecutor (and today Barack Obama’s ambassador to China), was moved by the findings. His office made its own inquiries to confirm the details, and Locke then commuted Spencer’s sentence. He ordered Spencer released immediately, although he placed him on community supervision for three years. It was a stunning reversal: Locke had freed the longest-ever-held sex offender in Washington state, and for good reason, as he outlined in his order:

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» THE DAMAGE DONE FROM PAGE 15 for eight months that anything had happened, Mr. Spencer’s [son] began to say that his father abused him, after being threatened with a polygraph . . . another troubling fact in the case is that one of the lead detectives investigating Mr. Spencer’s case began having an affair with his wife, Shirley Spencer, during the investigation. After Mr. Spencer’s conviction, the detective left his own wife and moved in with Mr. Spencer’s wife. This detective was also the supervisor of the primary detective [Krause] involved in interviewing the children.

T

ransferred back from Idaho, Spencer walked out the front gate of the Monroe Correctional Center on December 29, 2004, having spent 7,244 days behind bars (19 years, 10 months, and one day). Henderson was there to greet him, took him to a bank to cash his small prison-labor check, bought him a steak, and dropped him off

Clockwise from top left: Spencer’s first wife, DeAnne; Spencer with his children, Matt and Katie; and Spencer on the job.

at a motel on Aurora Avenue in Seattle. The next morning, Spencer recalls, he got up early, went out into the free world, and began to walk until he was exhausted.

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As a registered sex offender, he still could not join his wife in California, though she quickly arrived to greet him, returning regularly as they continued their long-distance relationship.

Spencer eventually would reconcile with his two children, now grown and with families of their own. The siblings eventually told Spencer they’d been coached by police. As they grew, the children had trouble remembering Spencer’s alleged abuse, but their mother had told them they were blocking the sordid memories. They now realized, they told Spencer during their meetings, there were no assaults to remember.

“In prison, I went before the parole board five times and told them I didn’t do it,” says Spencer.

“They said if I didn’t admit it, I’d die in prison. I told them, ‘Then I’ll die in prison.’ Here was the opportunity for everyone to know the truth.”

His life destroyed by the conviction, and unable to get viable work because of his record, Spencer pushed ahead with a new legal effort to overturn his conviction. At a 2009 hearing ordered by an appeals court, Katie, 30, and Matt, 33, recanted their testimony—or rather the claims of the Clark County Sheriff ’s investigators that they’d been assaulted. Under crossexamination, Matt said he, at age 9, had been pressured by his questioners to say he’d been abused. Katie said that as an adult she read over

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the police reports of the rape and found them untrue. Even as a child, “I would have remembered something that graphic, that violent.”

Spencer’s grown stepson refused to change his story, although Katie and Matt testified they never saw him abused.

Relying on the hearing testimony, the state Court of Appeals ruled that Spencer could withdraw his guilty plea, citing the recantations and “significant irregularities” by prosecutors.

The state Supreme Court upheld the decision, concluding, among other things, that the affair between Spencer’s wife and the detective “casts a shadow over the entire case.” Reluctantly, Clark County prosecutors, who still believed Spencer guilty, threw out the charges in 2010.

But Spencer wasn’t done. “When this case was overturned,” he says, “instead of the prosecutors saying this was a mistake, they stood down the hallway in the courthouse and gave out a press release, trying to say they didn’t do anything wrong.” At the time, Spencer says, “I told myself that someday, somebody is going to apologize.”

Today, the 65-year-old Spencer is still seeking that apology, along with legal damages. The

“Instead of the prosecutors saying this was a mistake, they stood down the hallway in the courthouse and gave out a press release, trying to say they didn’t do anything wrong.”

—Clyde “Ray” Spencer

» CONTINUED ON PAGE 18

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ex-cop, now head of security at a Los Angeles office complex, filed a lawsuit in 2011 on behalf of himself and his children against Clark County, his ex-wife Shirley, and several of the officials involved in his conviction. Among his claims, according to court records, is that Sheriff ’s Detective Krause had in fact videotaped an interview with one of the children, but it was not disclosed to the defense in 1985. Krause, in court papers, says she apparently took the tape home—mixed with other memorabilia—when she retired from the sheriff ’s office in 1995. She discovered it while cleaning her garage in 2009, and turned it over to prosecutors.

Spencer claims the video got “lost” because it suggests the child was coached. The 1984 tape shows little Katie, sitting in her mother’s lap, being questioned by Clark County Deputy Prosecutor Jim Peters. In the first part of the video, Peters is unable to elicit any claims from Katie that she’d been sexually assaulted. He shows her anatomically correct dolls and tells her, “This is your daddy and this is Katie—show me what happened last summer, OK? And we can stop all this.” Katie responds, repeatedly, “Nothing happened last summer.” After an unexplained one-hour break in the video, the prosecutor and Katie are shown lying on the floor together, in a friendly face-to-face chat. She then begins to cooperate, taking the two dolls and putting them together in a sexual position.

In his lawsuit, Spencer alleges that ex-wife

A R T I N T H E G R E AT N O R T H L E F T

17

» THE DAMAGE DONE FROM PAGE 17

I

nside his Lake Union boat home, Paul Henderson is thumbing through more files—he has dozens of boxes and thousands of pages of documents stored in a closet and a nearby locker. “Wrongful confes-

sions are one of the biggest problems in these cases, and the most difficult to overturn,” he says, recalling Barry Beach of Montana. He was 21, still living with his parents, when he was arrested in 1983 for buying beer for a minor, a misdemeanor. He wound up doing 28 years in prison for confessing to a murder—the slaying of a teen girl—he did not commit, as Henderson’s investigation helped prove. The case was one of many worked on by Henderson that were featured on national TV magazine shows, including 60 Minutes and 20/20. “He was put away by cops who talked him into it,” says Henderson.

“The first 48 Hours report on him—they did two—prompted new witnesses to come forward.

That’s how he got out.”

Filmmaker Ken Burns, whose 2012 documentary The Central Park Five detailed the wrongful convictions of five Harlem youths coerced WILLIAM ANTHONY

Shirley and Sgt. Davidson had a “sexual relationship [that] led them to attempt to frame Mr. Spencer.” He also alleges that Clark County investigators altered records to hide the medical reports, and that they falsely advised his employer, Vancouver Police, that he’d failed a polygraph test when in fact the test had been inconclusive.

Ex-county prosecutor Peters, who went on to become a federal prosecutor in Idaho and who is being defended in the civil suit by the Washington State Attorney General’s office, denies Spencer’s accusations that he hid evidence.

Peters is also immune from such civil claims, argues his attorney Patricia Fetterly, saying he

“exercised reasonable judgment and discretion as an authorized public official.” Shirley, Spencer’s ex-wife, says his accusations of a frame-up are simply untrue; she and Davidson did not become involved until after her husband’s case was concluded, she maintains. Ex-detectives Krause and Davidson deny the claims as well, insisting they acted in the best interest of the children and followed investigative procedures in use at the time. Clark County attorney E. Bronson Potter describes the investigation and prosecution as lawful and proper. A jury trial is currently set for next January.

Henderson on his houseboat.

into confessing to the 1989 rape of a New York jogger, recently said in a C-SPAN interview that “Unfortunately, [the park rape case] is not unique . . . We read in our papers of someone who has just been released from jail after 40 years or 25 years. It’s prosecutorial misconduct or ‘overenthusiasm’ or something like that. This is hap-

SEATTLE WEEKLY • MAY 8 — 14, 2013

“In the 23 exonerations I handled, some of them involved egregious misconduct, including police coercing witnesses into going along with a totally fabricated scenario of a murder.” —Paul Henderson

18

pening too frequently . . . If there is not justice for all, there is not justice for all.”

But wrongful convictions will continue, Henderson says, as long as police and prosecutors are not punished for them. “They should be held criminally responsible, in my view,” he says. “In the 23 exonerations I handled, some of them involved egregious misconduct, including police coercing witnesses into going along with a totally fabricated scenario of a murder. In a Pennsylvania case, the cops sat down like they were writing fiction and got three teenage kids to go along with the confession. But over the years not one cop or prosecutor in my cases who got caught red-handed making up stuff was ever charged with a crime. They were not even demoted.

“You remember what happened to the cop who made up evidence about Steve Titus, don’t you? A few months later, the Port of Seattle named him Officer of the Year.” E

randerson@seattleweekly.com

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It’s an idea so ripe with juicy possibilities for composers that you wonder why no one had thought of it earlier: In 1874, Modest Mussorgsky wrote a suite of vignettes for solo piano, inspired by a gallery show of paintings by his friend Viktor Hartmann, and called it Pictures at an Exhibition. Not only the artworks but the gallery-going experience itself was translated into sound: Among the paintings, Mussorgsky interspersed brief chorales in a leisurely, strolling pace, titled “Promenade.” Much more than twee album-leaves, the suite has rarely been equaled for its imaginative verve and memorable tunefulness. It also places serious demands on a pianist’s finger dexterity and command of color and sonority—especially in the sumptuous finale, “The Great Gate of Kiev,” inspired by Hartmann’s sketches for that civic amenity and ending with great fistfuls of thrillingly clanging chords. Challenge enough for any recital, you’d think, pianist Jon Kimura Parker is pairing it on tonight’s program with his own transcription of Stravinsky’s shatteringly complex evocation of ancient barbarism, The Rite of Spring. Meany

COMEDY

World Traveler

Already famous worldwide, touring from London to Dubai, Canadian comic Russell Peters is finally stepping into the spotlight he deserves in the U.S. However, to get past American comedy-club gatekeepers, Peters has had to call in favors just to set foot in them. If you can believe it, the 2,000-seat Paramount is a small venue on his current Notorious tour, which has included stops in New Zealand and Indonesia.

With his rapid-fire improv, Peters draws on his hybrid heritage (he was born in Toronto to an Indian immigrant father and Anglo mother), one reason his act plays so well internationally.

He comfortably mocks diversity slogans and ethnic stereotypes of every stripe. Once bullied on the playground, he has no problem dealing with hecklers on any stage around the world.

thurs/5/9 STAGE

Criminal Arts

Deco, something classy but trashy underneath.”

He’s got the cast, too, led by Taryn Darr as Roxie Hart. Back in 2003, she was the showstopper selling “tits and ass” in the 5th Avenue’s production of A Chorus Line. Give her another 15 minutes of fame, and she’ll get away with murder. (Through June 29; then moves to Everett Performing Arts Center, July 5–28.)

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Who is Keyser Söze? It’s not as though you’ll really know after seeing The Usual Suspects, Bryan Singer’s devious and damnably clever 1995 breakthrough. Ostensibly about five crooks brought together by happenstance for a job bigger than any of them can imagine, the film came out during a deluge of Tarantino copycats, but this one staked out its own territory. Sure, it has a ruthless rogues’ gallery of colorful thugs (Gabriel Byrne, Stephen Baldwin, Kevin Pollak, and an almost incomprehensible

Benicio Del Toro), and it revels in witty dialogue

duels—most notably the police interrogation of sniveling Kevin Spacey. But if Tarantino’s playful narrative juggling deconstructed the crime film, screenwriter Christopher McQuarrie tore up the rules and started from scratch. He and Singer put a modern twist on the old-fashioned heist film; it’s as much about storytelling as about a heist. Spacey won an Oscar, as did McQuarrie’s screenplay, and they both play the audience in ways not obvious on a first or even a second viewing. The Usual Suspects captivates you so completely with words alone that the fiction takes on a life of its own. (Rated R. Runs through Tues.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8.

Call for showtimes. SEAN AXMAKER

DANCE

Spring Awakening

True to its title, Full Tilt pulls out all the stops every year, matching local dancers and independent choreographers in a program that’s full of new. This year’s lineup includes work by Alice Gosti and Markeith Wiley, who have both been extra-busy this year. Gosti is back from an Italian tour and is gearing up for a program-length evening (later this spring), so this is the chance to see her midstream. Wiley has been cropping up on stages all over town with his visceral take on

The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $46–$61. 8 p.m. DANA SITAR

mon/5/13 FOOD/BOOKS

Words and Music (and Food)

Every guru has a saying, and Michael Pollan is unlikely to ever improve upon his “Eat food.

Not too much. Mostly plants.” But the nation’s leading advocate for wholesome eating has lately expounded upon his prescription in Cooked: A Natural History of Transformation

(Penguin, $27.95), a four-act assessment of food preparation that suggests that eating a sensible amount of raw plants is for the chimps.

Cooking, he argues, is what makes us human, by connecting its practitioners with natural narratives—just how did that translucent goop become a plate of scrambled eggs?—and forcing its partakers to gather around tables and talk. “Cooking has the power to transform more than plants and animals,” he writes. “It transforms us, too.” Pollan will recount his romp through various cooking techniques tonight.

For those craving more, on Thurs., May 16, the Bushwick Book Club will perform songs based on Pollan’s The Omnivore’s Dilemma and The Botany of Desire at The Croc. Benaroya Hall, 200 University St., 215-4747, benaroyahall.org. $24–$125. 8 p.m. HANNA RASKIN

SEATTLE WEEKLY • MAY 8 — 14, 2013

Andy Warhol gets credit for everyone’s claim to 15 minutes of fame, but Chicago Tribune reporter Maurine Dallas Watkins had a much earlier and prescient take on America’s celebrity obsession.

Transfixed as two vampy murderesses had their way with the courts and media, she turned their tale into a 1926 Broadway play. And wow, what mileage her satirical musings would get in the ensuing years. Her Chicago, best known in the 1975 Bob Fosse/Kander and Ebb musical adaptation, has also been turned into several films, including the Oscar-winning 2002 movie starring Catherine Zeta-Jones and Renée Zellweger.

But the 1996 Broadway revival of the Fosse version is still playing, thanks, ironically, to the canny use of celebrity stunt casting—it’s not only the longest-running revival in Broadway history, but the third-longest running Broadway musical ever. That revival is slick, streamlined fun for the masses, but director Steve Tomkins would like this local staging to bring back the edgy flash that the Broadway production lacks. “There’s no sense of period, of where it’s taking place,” he says. “We want to get some of the feeling of the era and the town. We want something very Art

TARA MCMULLEN

Parker will test his fingers against Pictures.

Hall, UW campus, 543-4880, uwworldseries.org. $20–$44. 7:30 p.m. GAVIN BORCHERT

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WE E KLY

MU SI C

W I N N E R O F T H E 2 010 SUSAN SMITH BL AC KBURN PRIZE

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arts»Stage

AR T S A ND ENTER TA I NM ENT

The Fall and Rise of Mike Daisey

May 17 - June 9, 2013

F IL M

H APPY H OU R

ARTS & ENTERTAINMENT NEWSLETTER Upcoming performances, exhibitions & special events.

Two years after his public disgrace, he wants us to listen to him again. Should we?

By JULI A CHO

BY MARK BAUMGARTEN

Bestock Directed by Shana

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

206-524-1300

www.seattlepublictheater.org

Eric Drexler How a Nanotechnology Revolution Will Change Civilization (5/9) Evgeny Morozov The Moral Consequences of Digital Technologies (5/12) 5/13 DOUBLE feature! Two for $5

SEATTLE WEEKLY • MAY 8 — 14, 2013

UW Science Now: Patti Carroll: The New Age of Radio Astronomy & the Search for Extraterrestrial Intelligence AND Meg Smith: Tracking Down Mars’ Strange Salt Daniel Dennett with George Dyson: Thinking About Thinking Itself

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CIVICS

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ike Daisey is a storyteller. As such, he’s always on the lookout for a narrative hook. So when he’s asked how his life has changed in the past two years (if he is, for instance, still living in the same place), he tells a story and then immediately begins to weave it into something larger.

“I am living in a different place,” says the onetime Seattleite and current Brooklyn resident. “I moved one block from Carroll Street between Court and Clinton to First Place between Court and Clinton. It was a really rough move. It was such a short move that we didn’t get movers. We thought, ‘It’s so close; we’ll just carry everything over ourselves.’ Terrible decision. Profoundly terrible decision.”

“That’s actually not a bad metaphor for the rest of it,” he continues. “A lot has changed, but not a lot has changed.”

Two years ago, Daisey was wrapping up a successful run of The Agony and the Ecstasy of Steve Jobs at the Rep. That acclaimed monologue, about his love of Apple products and the inhumane Chinese factory conditions that make those products possible, toured nationally while Jobs was terminally ill. After Jobs’ death, Daisey wrote an appreciation in The New York Times, which favorably reviewed his show. His monologue was excerpted on This American Life. Then it all fell apart. A Marketplace reporter discovered that Daisey’s monologue contained fabrications. Daisey was again featured on This American Life, this time apologizing to host Ira Glass on a segment titled “Retraction” that quickly became the program’s most-downloaded episode ever. Daisey’s career—hell, his life—seemed over.

“I feared everything would disintegrate around me, and I would never be able to tell a story again,” Daisey recalls. “And that I would be divorced and alone. I just imagined a full implosion.”

And yet here he sits before me at T.S. McHugh’s in Lower Queen Anne, fresh off the opening night of American Utopias, the first of two new monologues being seen at the Rep this month. He is, as he has intimated, largely unchanged. He does now wear a beard (referring to himself jokingly as “Evil Mike Daisey”).

But he is still engaging, thoughtful, and large.

He is also still willing to tangle with highprofile, hot-button issues, despite the inevitable scrutiny that any of his stories will bring.

“I am the artist in American theater most likely to be fact-checked,” Daisey says, much chagrined. “Even though no one else ever would be. Nor do I think they should be.”

Both of Daisey’s new shows target the same liberal-minded theater audience to which The Agony and the Ecstasy appealed. Fucking Fucking

Fucking Ayn Rand dissects the life and legend of the conservative icon and author (Atlas Shrugged, The Fountainhead ). I saw and liked American Utopias, a three-pronged travelogue anchored by the Occupy Movement, though much of its humor and heart comes from the experiences Daisey alleges he had at Burning Man and Disney World.

Daisey delivers his story clad in black, seated at a table with a pile of papers before him—the outline for his extemporaneous work—and a glass of water. Wiping his brow continuously, he sometimes swells his tale into the apoplectic; you worry he’s a few short steps from a coronary event. American Utopias is a two-and-a-halfhour, single-act performance. Two hours in, Daisey lovingly mocks us here in the audience.

“Provocative,” he says, miming a post-show espresso in his hand, “if a bit long.”

The show is entertaining and thoughtprovoking, yet bloated and not particularly polished. A joke comparing a poorly erected tent to erectile dysfunction drew groans; on second mention, it received well-earned silence. By contrast, The Agony and the Ecstasy was a welloiled and -edited empathy machine. This faster, baggier approach is by design, Daisey tells me.

Even following his public disgrace, he continued performing the Steve Jobs monologue, eventually logging more than 300 shows. But the pressure of his schedule and the scandal took its toll. “I lost my mind and got a little suicidal,” he says. “It was pretty bad. I wasn’t hospitalized, but there was a period of time where it seemed prudent to everyone that people be around me. And I think that was a really good idea.”

When he decided to return to the stage last fall at New York’s Public Theater, Daisey discarded his focused approach and adopted a volume model, performing nine new shows over a six-month span (including American Utopias and the Ayn Rand piece). It’s a pivot toward the topical, an unlikely fit for the long-lead world of American theater. Thus, he’s currently working on another show about journalism (inspired by his own scandal), and one on America’s gun culture.

In a way, Daisey’s new work has returned him to the realm of journalism, where The Agony and the Ecstasy went so wrong. But something has changed. Watching him rail against injustice onstage, it is now impossible to take his tales as the absolute truth. Good thing he’s so entertaining. E

mbaumgarten@seattleweekly.com

FUCKING FUCKING FUCKING AYN RAND Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $25.

7:30 p.m. Wed.–Sat. Ends May 11.

“America’s all-male ballet parodists proved once again they have the technique to go with the humor.”

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Nov 4 | Moore | $32.50 - $52.50

March 2 | Moore | $35 - $53.50

Nov 8 | Moore | $8.50

March 2 | Paramount | $32 - $77

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

Sister Act

Sept 27 | Moore | $34.50

Mavis Staples

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

Nov 12 -17 | Paramount | $28.75 - $78.75

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Martin Short

Jon Batiste and Stay Human

Nov 24 | Paramount | $35 - $80

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April 11 - 13 | Paramount | $24 - $61

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April 18 | Paramount | $19

Dec 31 - Jan 5 | Paramount | $28.75- $83.75

April 26 | Paramount | $23 - $41

2014

May 9 | Moore | $13

Jan 10 - 26 | Moore | $26.50 - $30.50

Jerry Springer: The Opera

Seattle Rock Orchestra performs The Beatles The White Album

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

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

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

Gregory Maqoma/ Vuyani Dance Theatre

March 1 | Moore | $19.50

Oct 30 - Nov 3 | Moore | $20.50 - $48.50

Peter and the Starcatcher

Final Week!

Must close May 12

By William Shakespeare | Directed by Aimée Bruneau

Mar. 13–Apr. 7, 2013 Performed at the Playhouse

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

Seattle Rock Orchestra performs Michael Jackson

The Suit

I Love Lucy® Live on Stage

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

More Music @ The Moore May 10 - 11 | Moore | $19.50

Once

July 11 - 12 | Moore | $15.50

16th Annual DANCE This July 22 - Aug 10 | Paramount | $48.75 - $153.75

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Mark Morris Dance Group

Oct 24 - 27 | On the Boards | $22

Zakir Hussain and the Masters of Percussion March 25 - 31 | Seattle Rep | $35-65

A John Waters Christmas

Oct 4 | Neptune | $26

Disney’s The Lion King

Kronos Quartet with special guest Degenerate Art Ensemble Mannheim Steamroller Christmas

Oct 3 | Paramount | $37 - $61

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Seattle Rock Orchestra performs Pink Floyd Priscilla Queen of the Desert

DANCE This

TAO: Phoenix Rising

Moore Theatre Photography: Bob Cerelli

May 16-18 8pm

2013

21

arts»Opening Nights Larreta dances about grammar.

Co-LAB 5

Back in the early days of modern dance, choreographers ruled the system. Obsessed by the task of creating their own unique approach, they required dancers loyal only to them— more acolytes than independent artists.

Almost a century later, the paradigm has well and truly flipped. Coriolis Dance Collective, which is marking its fifth anniversary, began its life as a cadre of performers who wanted to choose what they were dancing, rather than the other way around.

The choices made for this program show the breadth of contemporary training, the smorgasbord of styles that is standard issue today. Indeed, in some cases the dance skills are more polished than the works used to display them. The brief excerpt from Natascha Greenwalt Murphy’s Tethered Apparitions made more sense in its original context. As a fragment, it’s a romantic tangle for Murphy and Danny Boulet, but we’re left wondering what lies beyond the interlaced partnering.

ART BRETT DOSS PHOTOGRAPHY

ERICKSON THEATRE OFF BROADWAY, 1524 HARVARD AVE., BROWNPAPERTICKETS.COM. $10–$20. 8 P.M. FRI.–SAT. ENDS MAY 11.

In contrast, Christin Call has stuffed her new The gentle abduction of Esther Williams with a toy chest full of ideas. She performs in front of a slideshow featuring twisted versions of inspirational posters, with skewed mottos attributed to film stars. (Gene Kelly advises us to “Do something wrong and see what happens.”) For the score, composer Jackie An runs through a stream-of-consciousness monologue about a time-traveling Williams seeking a life beyond synchronized-swimming movies. Amid all this hubbub, it takes some concentration to follow Call in a fluffy jacket and a fuchsia bathing cap, her prehensile locomotion making her look like an exotic bird.

Andrea Larreta takes a different approach to text in Depicting Verbs, as she tries to extend American Sign Language gestures into full-body activity. Rather than using the material to tell an actual story, as choreographers like Pat Graney have done, she seems to be working with the energy and rhythm of the original gestures.

There are three more revivals on the program: Along with Lauren Edson’s flirty Real Gone and a elegant expansion of Zoe Scofield’s when we were young II, Rainbow Fletcher’s Deciduous Urge closes the show. Fletcher often makes work for the Can Can Cabaret, where the stage is so small that her artists excel at dancing in place. Even here in a larger space, she still translates the intensity of close quarters into a disturbing world, where costumes are a combination of balaclava masks and bathing suits, her dancers disguised and exposed all at once. SANDRA KURTZ

How can a singer bring tragic grandeur to something as mundane as a phone call without turning it into camp? at Angelica’s climax—opens with Francis Poulenc’s 1959 monodrama La voix humaine (“The Human Voice”), an idea that shouldn’t work at all: Jean Cocteau’s libretto portrays one side of a 40-minute phone conversation between a woman and her unseen lover, who, we gradually gather, is breaking things off. You can’t blame him; you know the woman, identified only as “Elle” (“She”), is nuts from the way soprano Nuccia Focile neurotically strokes the phone like a pet cat, even before she admits to her lover she almost stalked him to his apartment and later took a dozen sleeping pills.

How can a singer bring tragic grandeur to something as mundane as a phone call without turning it into camp? Focile, unwaveringly focused and committed, does just

PLa Voix Humaine/ Suor Angelica

SEATTLE WEEKLY • MAY 8 — 14, 2013

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C ome on b a be . . .

Wh y don’T We pa in T T h e ToW n ?

may 9 - Jun e 2 9 For Tickets, Call: (425) 392-2202 or Visit: www.VillageTheatre.org

I am not generally a crier over theater in any form. And if I do, it’s at happy endings rather than tragic; I’ve misted up far oftener at the end of Falstaff than at La bohème. But a UW student production of Puccini’s Suor Angelica about eight years ago had me convulsing with sobs, nearly to the point of being disruptive to nearby operagoers.

The climax of Seattle Opera’s staging, which opened Saturday, is moving, if not quite the same sledgehammer blow. In this 1918 oneact, the title nun, sent to a convent seven years earlier for having a child out of wedlock, longs for word of her son’s fate; getting it drives her to suicide and a reunion with him. (I guess it could be considered a happy ending.) Maria Gavrilova brings a huge voice—a Turandot/ Brünnhilde voice—to the role. It reveals the heart throbbing under her habit, as if Gavrilova is not merely aiming her sound into the hall, but allowing it to escape on the wing the constrictions of monastic life. The bearer of the bad news, Angelica’s malevolent aunt (whom author William Berger calls “perhaps the single biggest bitch in all opera”), is sung by veteran Rosalind Plowright, who specializes in villainesses and plays her like a black-clad ice sculpture. Director Bernard Uzan’s uncluttered, by-the-book staging shows he trusts the piece, which is the only way it can work.

This all-woman double bill—the only male voices you hear are those in the backstage choir

ELISE BAKKETUN

MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 389-7676, SEATTLEOPERA.ORG. $25 AND UP. 7:30 P.M. WED. & SAT., 2 P.M. SUN. ENDS MAY 18.

She (Focile) in the midst of a nervous breakdown.

that. Poulenc’s shrewd deployment of forces intensifies her situation. His orchestra doesn’t consistently accompany the voice, work in concert with it, but usually simply underscores it cinematically. (It often remains silent while “Elle” sings, but fills the gaps between her utterances.) Occasionally it does even less, just providing decor: sensuous, Messiaenesque chords like upholstered cushions for the voice to lounge upon. Voix is less an opera for soprano and orchestra than one for soprano tellingly alone with an orchestra off on some other plane. Though there’s nothing surreal about Uzan’s staging, the sonic isolation that Poulenc engineered and Focile realizes chillingly made it seem like we were not only seeing but hearing a hallucinatory breakdown.

GAVIN BORCHERT E

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arts»Performance

H C T A U Q

SASVENGER HUNT SCA

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

Stage OPENINGS & EVENTS

BACH AT LEIPZIG Itamar Moses’ play, structured like

a fugue, examines the intrigue surrounding an open Kapellmeister post. Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $20–$40. Previews May 15–16, opens May 17. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends June 15.

CHICAGO SEE THE WIRE, PAGE 19.

A CHORUS LINE Marvin Hamlisch’s record-setting musical about the lives of Broadway gypsies. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. Preview 7:30 p.m. Thurs., May 9, opens May 10. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends May 26.

•

• FUCKING FUCKING FUCKING AYN RAND SEE PREVIEW, PAGE 20.

JUDGMENT Staged stories of Judgment Day from an all-

y

Count the Sasquatch & win tickets to the 2013

SASQUATCH

MUSIC FESTIVAL! This month’s Seattle Weekly

Reverb Music Monthly

SEATTLE WEEKLY • MAY 8 — 14, 2013

offers you the best of Seattle music as well as the chance to win tickets to this year’s

24

SOLD OUT

ages cast. King’s Chapel Seattle, 504 S. Third St., Renton, 255-4510, kingschapelseattle.org. Free. 7 p.m. Sun., May 12–Wed., May 15.

MOTHER’S DAY IMPROV “Remember when your mom embarrassed you in front of your friends in high school?

Here’s your chance to get sweet, comical revenge!”

Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $5–$10. 7 p.m.

Sun., May 12.

RUSSELL PETERS SEE THE WIRE, PAGE 19.

SEATTLE CONFIDENTIAL Ian Bell and the Central Heating Lab make theater out of your confessions. Tonight’s a best-of with excerpts from the first two seasons. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $20. 7:30 p.m. Thurs., May 9–Fri., May 10.

SINGIN’ IN THE RAIN Showtunes Theatre Company bravely, or foolishly, competes with our memories of the greatest screen musical ever. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, showtunestheatre.org. $21–$46. 8 p.m. Sat., May 11, 2 p.m. Sun., May 12.

THE TEMPERAMENTALS Jon Marans’ docudrama about Harry Hay, Rudi Gernreich, and the birth of the gay-rights movement. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, arouet.us. $12–$20. Opens May 10. 7:30 p.m. Thurs.–Sat., plus 7:30 p.m. Mon., May 13 and 2 p.m.

Sun., May 19. Ends May 25.

•

THROUGH THE LOOKING GLASS: THE BURLESQUE ALICE IN WONDERLAND Lily Verlaine and Jasper

McCann bring Lewis Carroll’s tale to life, bawdily. The Triple Door, 216 Union St., 838-4333, tripledoor.net. $30– $38. 6:30 & 9:30 p.m. Wed., May 15–Thurs., May 16, 7 & 10:30 p.m. Fri., May 17–Sat., May 18.

THE TRAVELING LADY The Endangered Species Project reads Horton Foote’s 1954 play, set on the back porch of a house in Harrison, Texas. Stage One Theater, 9600 College Way N., endangeredspeciesproject.org. Donation. 7 p.m.

Mon., May 13.

ULTIMATE GRAND SUPREME! This “Night of Burlesque Royalty” stars “Australia’s first lady of striptease” Imogen Kelly and the “Reigning King of Burlesque” Russell Bruner, among many others. Oddfellows Hall, 915 E. Pike St., 800-838-3006, brownpapertickets.com. $26–$30. 7 & 10 p.m. Thurs., May 9.

UNDRESSED TO KILL Stripped Screw Burlesque’s new show. Columbia City Theater, 4918 Rainier Ave. S., columbiacitytheater.com. $22 adv./$28 DOS. 8 p.m. Fri., May 10–Sat., May 11, 8 p.m.

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 as it unflinchingly depicts the life of 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. Steamboats and slavery may be anachronisms, but 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 use of the word nigger, that effect has been blunted or lost for decades. Once it’s restored,

Music Festival

(May 24-27, 2013)

Five winners will receive a pair of VIP tickets, camping for the weekend and access to the Kokanee Cliff House!

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

•

Twain’s timeless tale becomes more timely. KEVIN PHINNEY Center House Theatre, Seattle Center, 216-0833. $25–$45. Runs Wed.–Sun. through May 12; see for exact schedule.

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. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 26. See burienlittle theatre.org for lineup.

BOEING BOEING Everything good about this lollipop of a period piece—a tribute to the jet-age spirit of our World’s Fair—comes from the Rep. Playboy Bernard (Richard Nguyen Sloniker, radiant with charm) has a scheme to juggle three stewardess girlfriends, which 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 playwright Marc Camoletti’s stale ethnic stereotypes. 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. Allison Narver directs. GAVIN BORCHERT Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends May 19..

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

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 gun-toting sociopathic thugs.” The Kitchen

by Delicatus, 309 First Ave. S., cafenordo.com. 7:30 p.m.

Thurs. & Sat. ($70), 8 p.m. Fri.–Sat. ($80). Ends June 16.

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., twisted cabaret.com. $14–$35. 7:30 p.m. Thurs., 7:30 & 10:30 p.m.

Fri.–Sat., 3 p.m. Sun. Ends May 26.

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

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

Sat. Ends May 18.

SECRET LIFE OF BUGS Kind of like an Animal Planet doc, with puppeteering by Spyglass Theater. Northwest Puppet Center, 9123 15th Ave. N.E., 523-2579, nwpuppet. org. $8.50–$10.50. 1 & 3 p.m. Sat.–Sun. Ends May 12.

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.

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. 7:30 p.m.

Wed.–Sat., 3 p.m. Sun. Ends May 25.

WORLD’S FAIR No, not our 1962 affair: In this improvised crime thriller, a serial killer is on the loose at the Columbian Exposition of 1893. Wing-It Productions, 5510 University Way N.E., jetcityimprov.com. 8 p.m. Thurs.–Fri. Ends June 21.

•

Dance FULL TILT 2013 SEE THE WIRE, PAGE 19.

• KALEIDOSCOPE DANCE COMPANY New works by

Mary Kay Bisignano-Vadino, Anna Mansbridge, and many others. Broadway Performance Hall, 1625 Broadway, 363-7281, creativedance.org. $8–$16. 7:30 p.m. Fri., May 10, 2 & 7:30 p.m. Sat., May 11, 3:30 p.m. Sun., May 12.

SEATTLE YOUTH DANCE COLLECTIVE New collaborative work from 14 aspiring dance artists, ages 15–18, mentored by choreographers Amy O’Neal and Maya Soto.

Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter.org. $12–$18. 8 p.m. Sat., May 11.

CO-LAB 5 SEE REVIEW, AGE 22.

EZRA DICKINSON 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; he seems at home everywhere. 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 through Sun., May 19; see velocitydancecenter.org for venue info.

Classical, Etc.

Peter Vukmirovic • COMPOSER SPOTLIGHT Composer August Ruins, played by

Stevens presents his new work cellist Paige Stockley. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., May 8.

JON KIMURA PARKER SEE THE WIRE, PAGE 19.

SEATTLE OPERA SEE REVIEW, PAGE 22.

UW IVES FESTIVAL Songs and chamber music by the American iconoclast. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15.

7:30 p.m. Wed., May 8.

MUSIC OF TODAY From UW’s Center for Digital Arts and Experimental Media, an evening of improvisation.

Meany Hall, UW campus, 543-4880, music.washington. edu. $10–$15. 7:30 p.m. Thurs., May 9.

SEATTLE SYMPHONY Each night, a Tchaikovsky symphony is paired with a Mozart piano concerto; Gerard Schwarz conducts. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., May 9, 8 p.m. Sat., May 11.

DIVERSE HARMONY Seattle’s LGBTQ youth chorus.

Langston Hughes Performing Arts Center, 104 17th Ave. S., diverseharmony.org. $20. 7:30 p.m. Fri., May 10, 2 p.m.

Sun., May 12.

ANDRE FERIANTE The popular classical/crossover guitarist performs. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $25. 7:30 p.m.

Fri., May 10.

NORTHWEST SINFONIETTA Christophe Chagnard conducts Kodaly, Mendelssohn, and Bruch (the Violin Concerto no. 1 with soloist Mayuko Kamio). Benaroya Recital Hall, Third Ave. and Union St., 866-833-4747, nwsinfonietta.org. $27–$55. 7:30 p.m. Fri., May 10.

MATT INGALLS This Oakland clarinetist improvises alone and with an array of local musicians. Gallery 1412, 1412 18th Ave. E., gallery1412.org. 8 p.m. Fri., May 10.

JEFFREY MCFADDEN Bach and Berio for guitar. Frye Art Museum, 704 Terry Ave., fryemuseum.org. Free. 2 p.m.

Sat., May 11.

TEN GRANDS A trans-genre celebration of the piano.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $42 and up. 7 p.m. Sat., May 11.

OCEANA QUARTET This UW ensemble premieres a quartet by jazz composer Greg Sinibaldi, flanked by Haydn and Beethoven. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Sat., May 11.

• • • •

•

ROYAL ROOM COLLECTIVE MUSIC ENSEMBLE

Wayne Horvitz and JA Deane lead a tribute to composer/ trumpeter Butch Morris. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1839, waywardmusic.blogspot. com. $5–$15. 8 p.m. Sat., May 11.

MEDIEVAL WOMEN’S CHOIR A celebration of the music of St. Hildegard of Bingen. St. James Cathedral, 804 Ninth Ave., 264-4822, medievalwomenschoir.org. $22–$25.

8 p.m. Sat., May 11.

CAROLE TERRY Organ works by Bach, Franck, and others.

Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 6858384, music.washington.edu. $15. 2 p.m. Sun., May 12.

MUSIC OF REMEMBRANCE Music by Jake Heggie, including the premiere of his song cycle Farewell, Auschwitz! Benaroya Recital Hall, Third Ave. and Union St., musicofremembrance.org. $36. 7:30 p.m.

Tues., May 14.

METROPOLITAN OPERA AT THE MOVIES Handel’s Giulio Cesare, with David Daniels and Natalie Dessay.

(Summer encores begin June 19.) See metopera.org for participating theaters. 6:30 p.m. Wed., May 15.

•

•

arts»Q&A

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

Openings & Events

SYMBOLS OF NATURE & MAN: A JOURNEY OF 40,000 YEARS The creative team of Indonesian

•

•

•

UNDER MY SKIN: ARTISTS EXPLORE RACE IN THE 21ST CENTURY This group show is intended

to spark dialogue about how people talk about ethnicity. Opening reception, 6-8 p.m. Thurs., May 9. Wing Luke Museum, 719 S. King St., 623-5124, wingluke.org, $9.95-$12.95, Opens May 9, Tues.-Sun., 10 a.m.-5 p.m.

Through Nov. 17.

WEST SEATTLE ART WALK Several venues showcase local art every second Thursday of the month, including Youngstown Cultural Arts Center, ArtsWest, Alki Arts, and more. Details: westseattleartwalk. blogspot.com. Second Thursday of every month, 6-9 p.m.

BING WRIGHT The twilight hours and sunsets of his color photography are reflected in the shattered mirrors in Broken Mirror/Evening Sky, lending new perspectives and further brilliance to the photos. Opening reception 5:30-7:30 p.m. Weds., May 8. Also note the gallery’s new location, north of its old digs, now at Second and James. James Harris Gallery, 604 2nd Ave., 903-6220, jamesharrisgallery.com, Weds.-Sat., 11 a.m.-5 p.m. Through June 15.

•

Museums

• ZOOM: ITALIAN DESIGN AND THE

PHOTOGRAPHY OF ALDO AND MARIROSA BALLO Postwar Milan began booming in the ’50s.

Modern factories were churning out Fiats and Ferraris, Olivetti typewriters and Pirelli tires. Plastic suddenly became a chic, colorful material. Italians were tired of old traditions. Enough with history! Basta! The Ballos were commercial photographers who took product shots, an inelegant term for often elegant telephones, chairs, and other consumer goods. They weren’t really designers, like Charles and Ray Eames, but evangelists for good design. Before Americans or Europeans could buy new creations by Ettore Sottsass or Alberto Alessi, for instance, they first saw those images in imported Italian magazines and catalogs—presented in the best possible light, which was the Ballos’ job. BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $7-$10, Tues.-Sun., 11 a.m.-5 p.m. Through June 16.

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

•

TheFussyeye

» By Brian Miller

are equally modest—depicted as structures clad in tarpaper and plain wood. They have a humble, rural dignity—the sort of structures Calkins would’ve observed during his youth in Oregon, where he briefly worked as a logger.

This haunting show gestures toward the past in several ways, including some ghostly little figures painted on the paper quilts. It’s not clear whom they represent—do dolls have souls?

Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston.com. Free. 11 a.m.– 5 p.m. Tues.–Sat. Ends June 1.

H. JON BENJAMIN is the voice behind Bob Belcher, the family patriarch on the animated TV series Bob’s Burgers, and Sterling Archer on Archer.

The Emmy-winning actor is renowned for his distinctive deadpan delivery. (His method: “Do the same voice every time.”) Benjamin is visiting Seattle to perform two live stagings of Bob’s Burgers with an impressive ensemble, including Kristen Schaal and Eugene Mirman. Here’s a condensed version of our recent phone chat. GWENDOLYN ELLIOTT How does the live tour work? Not particularly well. It’s a work in progress. It’s pretty straightforward—everybody in the show performs some comedy. There are some surprises. Then it ends. In a flurry. Of love.

What kind of surprises? Oh, you know. Unexpected events. Maybe some surprise guests? Maybe free haircuts? There’s things that will happen.

How often do you get to perform with your co-stars on the show? We don’t do [the taping] all together; it’s done predominantly in L.A. Most of the cast lives there. There’s a small minority of us that live in New York. Basically, the Jews do it in New York.

Why do you like performing in Seattle? Seattle is one of my favorite cities. I say this to everybody, not just to people in Seattle. I say this to whomever lives anywhere. I really like the weather. I like depressing weather. L.A. is very difficult for me. If the weather’s going to be the same every day, I’d rather it be cloudy, like coat weather. Now that I’m fat, coats are really important.

What will do you here after the shows? I’ll probably go to the Palace Kitchen, I like doing that.

Have you tried the goat-cheese fondue? I have had the fondue before—I’ll probably have something else. Maybe the burger. The rest of the time I’ll probably just take a Xanax and stay in my hotel room.

Do you prefer live acting or voice acting? I don’t really have a preference, but with voice acting I have a less rigorous schedule, unlike action movies or pornography.

How often do folks recognize your distinctive voice? I’ve been recognized for my voice only a couple times, though actually I’m not sure if it was for my voice. I don’t go up to people and say, “Do you recognize me? How? Is it my voice?” E BOB’S BURGERS LIVE The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.com. $26–$29. 8 p.m. May be sold out.

HERE’S HOW TO WIN:

Count the number of Kokanee Drinking Sasquatch figures throughout this issue.

y

Count ALL of them!

Enter

your guess online at

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Music Festival

SEATTLE WEEKLY • MAY 8 — 14, 2013

SABINE CALKINS

Dresses in Distress There’s a rustic, frontier-homestead quality to Larry Calkins’ new show under my hat, which mixes paintings, sculpture, and a series of flat, doll-size dresses that effectively function as both. He obsessively paints little shacks, whose rooflines echo the A-shaped, doll-sized dresses that seem to have been aged to the day of Laura Ingalls Wilder. The dress fabric, and the canvas he paints on, look to have been weathered with dirt and time, like something buried under prairie for a century. Onto those wrinkled sepia surfaces he stitches small, old family snapshots— tokens of an era when photography was new (but which now signify the opposite). Text has been hand-applied, too, like a letter written on an old paper bag. All Calkins’ materials could’ve been found in some long-dead grandmother’s attic. (In fact he shops at yard sales and occasionally digs up scraps located with a metal detector.) Other pieces are undergirded with wire, assembled from fragments, like quiltwork.

The house paintings, called Sanctuary Stations,

R E G N E V SCA

RICHARD FOREMAN/FOX

•

H C T A U SASQ HUNT

artists Agus Ismoyo and Nia Fliam (known as Isnia) presents a selection of Javanese culture, including traditional and interpretive batik textile art. Artists’ reception, 6 p.m. Fri., May 10. The Island Gallery, 400 Winslow Way E., Bainbridge Island, 780-9500, theislandgallery.net, Mon.-Fri., 11 a.m.-6 p.m.; Sat., 10 a.m.-5 p.m.; Sun., 12-4 p.m. Through May 24.

• BELLTOWN ART WALK Every second Friday of

the month, the neighborhood galleries (including Northwest Woodworkers Gallery, Form/Space Atelier, Art/Not Terminal Gallery, and others) and non-galleries extend their hours so you can check out work by local artists. See belltownartwalk.net for details. Second Friday of every month, 6 p.m.

BLITZ! CAPITOL HILL ART WALK Check out the participating galleries and stores on Pike and Pine Streets, including Vermillion, Ltd. Gallery, True Love Art Gallery, and Photo Center NW, Fetherston Gallery, and Rosebud, which will extend their hours to feature art, music, and more., blitzcapitolhill.com. Second Thursday of every month, 5-8 p.m.

CENTRAL DISTRICT ART WALK Local artists with studios along E. Cherry St. (between 23rd and 24th Aves.) invite you to come in and see what’s brewing.

Venues include Autumn Thing, Doubt Us Artwork, Miss Cline Press, Outside In Studio, and Coyote Central. See centraldistrictartwalk.com. Second Saturday of every month, 1-5 p.m.

GEORGETOWN ART ATTACK May’s showcase features pencil and ink drawings by Yakima artist Kristen Michael at All City Coffee, Matthew Hinshaw’s otherworldly sculptural works at American Pie and Bakery, collage by Sophia Wheelwright at Equinox Studios, and more. Afterward, continue the evening at any number of watering holes along Airport Way, including Jules Maes, 9 Lb. Hammer, and anyplace else you care to bend an elbow. More info at georgetownartattack.tumblr.com. Second Saturday of every month, 6-9 p.m.

KIRKLAND ART WALK: Howard/Mandville and other downtown galleries are represented at this monthly event. Second Saturday of every month, 6-9 p.m.

BROOKE SHADEN The L.A. photographer presents images captured in and around water, reflecting a fascination with submerged realms. She says, “To live under water is something that we cannot achieve, and to look at an image taken underwater is to live in that world for as long as you care to look.” Opening reception during the West Seattle Art Walk, 6 p.m. Thurs., May 9. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net, Mon., Weds.-Fri., 11 a.m.-6 p.m.; Sat., Sun., 11 a.m.-5 p.m. Through May 31.

The Burger Master

25

film»Review

SEATTLE

filtering the best of

Former Metro 10 4500 9TH AVE. NE • 206-633-0059

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is on instagram.com

Fling the Bling Baz Luhrmann showers us with 3-D confetti.

BY BRIAN MILLER

“

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PARDON OUR DUST AS WE TRANSFORM BARGAIN SHOWS

SEATTLE WEEKLY • MAY 8 — 14, 2013

ALL SHOWS BEFORE 6PM MON-FRI 1ST SHOW OF THE DAY SAT, SUN, AND HOLIDAYS

26

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M

y yellowed high-school paperShakespeare forward to South Beach. Period back of The Great Gatsby runs movies bog him down, and too much of Gatsby feels like Moulin Rouge!, his ponderous last only 182 pages. Baz Luhrmann’s success. The party scenes in Gatsby’s mansion lavish new 3-D adaptation burst with manic energy; everyone’s singing and demands 142 minutes to tell. I mention this dancing like it’s La bohème, but Fitzgerald was because school will soon be out, and not many never so frivolous. He was a Midwestern moralsummer movies are made from the requiredist, an elegist, a sad, alcoholic poet of the Jazz reading syllabus. Iron Man comics are a reprieve Age who didn’t realize how he’d burn out with from tests and coursework. F. Scott Fitzgerald is, that evanescent decade. In the movie’s quieter for most young readers, just another dead white moments (particularly the ending), Luhrmann guy writing about privileged folks with richgets that somber mood exactly right—when the people problems. I wouldn’t want to be a teacher party’s over and the pool fills with dead leaves now forcing them to read an 88-year-old novel, and broken martini glasses. He puts Fitzgerald’s and I wouldn’t want to be Luhrmann, that audatext onscreen, and it’s ciously talented Auslike the supertitles for tralian director, now a tragic opera. trying to blockbusterToo bad his cast ize the property with can’t sing. Mulligan Leonardo DiCaprio probably fares the playing another best as a miserably golden, doomed lover. giddy woman no (Spoiler: He ends man ever listens to. up face down in the (No adaptation has pool—not quite like ever dared to flip the Titanic, but close.) script and tell the Why 3-D, why story from her perGatsby, why now? spective.) As Daisy’s The movie feels Mulligan and DiCaprio. brutish, cheating five years too late, husband Tom, Joel after the subprime Edgerton gets only bubble burst. Though one fine scene, consoling the husband of a dead we see our narrator, Nick Carraway (Tobey mistress. Playing the other man who treats Daisy Maguire), making cold calls on Wall Street, this badly, DiCaprio is given a grand entrance with movie doesn’t look forward to the crash of 1929. fireworks and the pounding pulse of Gershwin.

Luhrmann makes big, gaudy pictures, but he isn’t He has a gift for portraying damaged narcisa big-picture guy. We see the proles shoveling sists, but no amount of sepia flashbacks can fully in the Valley of Ashes, but why there’s such vast explain this self-invented Horatio Alger hero. income inequality—then as now—isn’t a topic of The more the movie explains, the less interestconcern. The director is interested only in love, not money. And his Gatsby (DiCaprio) only uses ing he becomes. DiCaprio is lost in a featurelength Chanel ad. Maguire is Maguire, born to money as glittering lure to attract his lost love be a wide-eyed second banana. His Nick tells Daisy (Carey Mulligan), which requires shady the story from 1929, but you wish for a more deals with the gangsters he fronts for. seasoned postwar voice—Alec Baldwin? Kevin The 3-D seems a concession to the sumSpacey? Stanley Tucci?—to recite those classic mer audience, the kids out of school. With his passages. (Maguire is all boats, not enough tide.) cinematographer Simon Duggan, Luhrmann Fitzgerald had only a short and not-veryflings the deep-focus bling in our face. How productive career. Luhrmann has made only many champagne bottles must be uncorked and four features, beginning with 1992’s Strictly geysered? How many tons of confetti can flutter Ballroom. He, like Gatsby, is a self-created phein the air? How many times can the camera pull nomenon from the provinces, an able striver back—by CGI trickery—and speed-zoom from and social climber. He surely must understand West Egg to Manhattan? Even the view down Gatsby’s anxious showmanship, the effort it Gatsby’s pier of the elusive green light of East takes to create a swooningly glamorous illuEgg is repeated more times than I can count. sion. When his nervous hero fills Nick’s cottage Luhrmann’s devotion to the novel is admirable, with flowers for a tea date with Daisy, Gatsby but he breaks its axles with such ardor. Quoting touchingly asks, “You think it’s too much?” The often from the source text, Luhrmann both tells answer, which Nick is too polite to give, is yes. too much and shows too much. He too-muches And the tragedy is that Gatsby knows no other too much. way than excess. E The soundtrack, filled with anachronisms like Jay-Z and others, isn’t the problem here. bmiller@seattleweekly.com I wish Luhrmann had gone entirely hip-hop, casting Beyoncé and her husband as his leads THE GREAT GATSBY in modern-day Brooklyn. In what’s still probOpens Fri., May 10 at Guild 45th and other ably his best movie, Romeo + Juliet, he booted theaters. Rated PG-13. 142 minutes.

DANIEL SMITH/WARNER BROS.

ONE OF THE BOLDEST HORROR STORIES I’VE I’ VE SEEN IN A WHILE.

film»This Week’s Attractions Kiss of the Damned

Saleem (Bhabha) in transit between identities and nations.

Looking for new recruits to the community: de La Baume as Djuna.

Midnight’s Children OPENS FRI., MAY 10 AT EGYPTIAN. NOT RATED. 140 MINUTES.

PALADIN

course Paolo wants in. Djuna chains herself to the bed to protect him from her fangs, writhing ecstatically with lust. But consummation is inevitable, so that Cassavetes can continue with her sibling-rivalry soap opera.

Djuna’s bad-girl sister Mimi (Roxane Mesquida) soon appears, setting up a vampire love triangle. Meanwhile, Paolo expresses a writer’s fascination with his new deer-hunting vampire powers. (As in Twilight, these vamps can feed on animal blood.) “It was so natural,” he muses. “Everything felt so heightened.”

(Memo to vampires: Never date a writer.)

These murky, slo-mo chase scenes through the forest aren’t much to look at, but Cassavetes effectively creates a feverish mood in what is, after all, a one-location, low-budget film.

It’s like True Blood with an MFA but none of the resources. When Paolo meets Djuna’s Eurotrash friends in “the community” at a chic cocktail gathering, he’s asked, “Are you new?”

The answer applies to the movie as well: not new enough. BRIAN MILLER

Something in the Air RUNS FRI., MAY 10–THURS., MAY 16 AT NORTHWEST FILM FORUM. NOT RATED. 122 MINUTES.

What the ’60s were, and what became of the New Left movement it birthed, depends largely on your perspective. Conservatives regard the era as their crucible—that moment when Western civilization teetered on the edge of anarchy and had to be saved, even if it meant firing upon your fellow citizens. (Only

The film works best as a travelogue. Picture Anthony Bourdain as a wide-eyed young radical guiding you through the streets of Paris as protesters are beaten down; into Italian piazzas where revolutionary films are screened for donations to the Cause; and to the Near East, where kids flocked for enlightenment and cheap hashish. Assayas captures this corner of the revolution with passion and a striking breadth. Visually, the film is often gorgeous, particularly as it lingers on an idyllic French landscape or meanders with an artist’s eye over yet another sexually liberated ingénue.

But—and here’s the problem with almost every film that attempts to depict the tumult of that era—there’s a sense that Something in the Air should be accompanied by a docent who explains that this is merely one twist of one artist’s historical kaleidoscope, and that half-a-dozen other filmmakers would gladly argue the veracity of every frame.

SEATTLE WEEKLY • MAY 8 — 14, 2013

When Midnight’s Children was published in 1981, one might have assumed that its promising author would become best known as a writer of magical realism and an observer of the divide between India and Pakistan.

That’s not the way it worked out for Salman Rushdie. His 1988 novel The Satanic Verses was judged to be blasphemy against Islam by the world’s worst literary critic, the Ayatollah Khomeini, and Rushdie has lived under threat of death ever since.

Midnight’s Children predates all that, yet its absurdities depict the maelstrom out of which such chaos comes. And when the new film adaptation was in production in Sri Lanka, it encountered lingering hassles related to Rushdie’s notoriety; at one point a forced shutdown was lifted after director Deepa Mehta made nice with the president of the island nation.

The movie is a streamlined version of the novel—aren’t they all?—but the 146-minute running time conveys some level of epic sprawl. Much of the narrative springs from the precise moment India becomes an independent nation in 1947, which coincides with the birth of two boys who are switched in the hospital. Shuttled off to a wealthy Muslim family is Saleem (played as an adult by Satya Bhabha) whose life collides with the tumult of India and Pakistan over the course of 30 years or so.

Saleem is also telepathically bugged by a score of other children born on his and India’s birthday; these supernaturally gifted entities—including, of course, the kid switched at birth with Saleem—crowd and bicker and generally make trouble inside his head. For

these scenes, Mehta fuzzes up the screen and piles on the ghostly auras—which might be the worst possible approach to conjuring up magical realism.

The Canadian-Indian Mehta is best known for her trilogy about the subcontinent, Fire, Earth, and Water, and those films succeed because of her sturdy sense of social-issue melodrama. Rushdie’s world needs something else, a tricky blend of irony and flow, and except for certain episodes (a wonderful Créton and Métayer opening reel as sexy young French involving a archetypes. physician who meets his future wife when he treats her as a demure patient standing behind a sheet), the movie doesn’t sustain that feel.

It does have humor, however, and an excellent cast of veterans and newcomers, including some very amusing children. If the movie doesn’t soar, it does catch the bustle of a Rushdie canvas, and the backdrop is fascinating. And Rushdie himself narrates. His voice is calm, wry, detached. It has the sound of messy history—personal and national—refined into art.

Even if we never quite believe the young Saleem could grow into that voice, it’s the most interesting thing about Midnight’s Children. ROBERT HORTON

days ago, Kent State unveiled a memorial to the four young antiwar protesters shot to death on May 4, 1970, by National Guardsmen.)

The scene in France was strikingly similar, as Olivier Assayas’ new film tries to make clear.

But the counterculture’s rise and fall is also the Rashomon event of the baby boom. No two people remember it the same, and most lose something elemental in trying to pin it down for posterity.

Something in the Air is what Assayas calls an “extension” of his 1994 Cold Water, and it returns two character names from that film, Gilles and Christine, like archetypes of the radicalized young French left. Gilles (Clément Métayer) is an aspiring high-school artist of Banksy stripe, studying the human form by day and sloganeering with spray paint by night. It’s 1972, and his art is visceral, unabashedly political, and roaring for attention. His muse Christine (Lola Créton) is a coquettish nymph, all sex in sun-drenched rooms; her elliptical smiles bespeak affection without commitment. Their paths quickly diverge and intertwine again as Assayas’ script explores the restless wanderlust of leftists who come to realize, through a haze of pot smoke and random acts of vandalism, that they’re risking their lives for a cause that’s collapsing under the weight of its own aspirations.

MK2/SUNDANCE SELECTS

Some vampires are new (Twilight), some vampires are old (Nosferatu), and some borrow from a movie tradition that lies in the VHS middle. Director Xan Cassavetes—yes, from the famous film dynasty—has made a hybrid vampire thriller: present-set in a spooky lakeside Connecticut mansion, yet steeped in the erotic hauteur of vintage European cinema.

Ridley Scott’s 1983 The Hunger is perhaps the best-known example of such glamorous bloodsucking, but sexy, ennui-ridden Continental vampires run back through the ’70s and ’60s. Titles like Roger Vadim’s Blood and Roses or Jean Rollin’s Le Viol du Vampire were once aired on the old L.A. cable outlet Channel Z (the subject of Cassavetes’ 2004 doc of the same name). If you’re a fan, as the director is, her Kiss of the Damned will have genre appeal.

Most viewers, however, will find the movie tedious and hermetic, as screenwriter Paolo (Milo Ventimiglia) falls for the sexy French Djuna ( Joséphine de La Baume), who doesn’t go out during daylight because “I have a skin condition.” Yeah, right; we’ve heard that before.

Their romance is set to a retro synth score suggesting Giorgio Moroder. Their first frenzied kiss is through the bolted door to her house; of

MAGNOLIA PICTURES

OPENS FRI., MAY 10 AT HARVARD EXIT. RATED R. 97 MINUTES.

film@seattleweekly.com

27

KEVIN PHINNEY E

film»

BY BRIAN MILLER

Local & Repertory FUNNY BUSINESS Local film appreciation group The

Sprocket Society presents various silent-era comedies starring Laurel & Hardy, Out Gang, and even cartoon heroes like Felix the Cat. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Tue., May 14, 8 p.m.

GOLDENEYE Neither the best nor the worst of the Pierce Brosnan 007 movies, this 1995 installment has Bond battling baddies who hope to launch a rogue nuke into space. The supporting roster of talent is pretty good, including Judi Dench as M, Alan Cumming as a computer whiz, and Famke Janssen and Izabella Scorupco as, ahem, the Bond girls. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com, $6-$8, May 10-14, 9:30 p.m.

TRUFFAUT: • JEAN-LUC GODARD AND FRANÇOIS From 1976, FRENCH NEW WAVE MASTERS

Truffaut’s Small Change is an exquisite portrait of childhood, assembled from the daily doings of several kids--and some concerned adults, too. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), $8 individual, Thursdays, 7:30 p.m. Through May 30.

SAMURAI COP American lawmen resort to the martial arts in order to fight the invading Yakuza in this violent 1989 exploitation flick. (NR) Egyptian, 805 E. Pine St., 720-4560, landmarktheatres.com, $8.25, Fri., May 10, 11:59 p.m.; Sat., May 11, 11:59 p.m.

SEATTLE TRUE INDEPENDENT FILM FESTIVAL

STIFF offers 30 features and nearly 100 shorts through May 11. Venues also include Lucid Lounge and Wing-It Productions. See trueindependent.org for full schedule and details. (NR) Grand Illusion, $8, Through May 11.

E XC LUSI V E E NGAGE M E N T

STA RT S FRI DAY!

LANDMARK THEATRES Egyptian Theatre 801 East Pine St. 206.720.4560

TRANSLATIONS: THE SEATTLE TRANSGENDER FILM FESTIVAL This weekend mini-festival runs at

the Harvard Exit, Northwest Film Forum, and other venues, featuring a dozen-odd titles, plus related events.

Of special note is Turning (2 p.m. Sat., NWFF), a tour doc following Antony Hegarty and transgender performing artists around Europe. About it, our Gwendolyn Elliott recently wrote, “On stage and off, these 13 performers are deeply interesting; and like the themes of androgyny and mortality running through Hegarty’s songs, their backgrounds are shrouded in mystery.

Through concert footage, intimate backstage scenes, and the slog of touring, an all-encompassing portrait of femininity emerges.” Full schedule and details: threedollarbillcinema.org. (NR) Harvard Exit, 807 E. Roy St., $10-$60, May 9-12.

THE USUAL SUSPECTS SEE THE WIRE, PAGE 19.

TICKETS AVAILABLE AT WWW.CINERAMA.COM

•

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

•

Ongoing • THE ANGELS’ SHARE Ken Loach, that old British

leftie director, keeps up his commitment to the poor and disenfranchised with this underdog, offbeat comedy. He directs it with warmth and affection. In the slums of Glasgow, Robbie (Paul Brannigan) has a prison record, a history of violence, and a short temper. But now he’s also a young father desperate for a fresh start. Then his community-service supervisor introduces him to the venerable Scottish tradition of distilling whisky. Robbie discovers he has a nose and a knack for fine spirits. 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. (NR) SEAN AXMAKER SIFF Cinema Uptown, Sundance Cinemas THE COMPANY YOU KEEP Directing himself in this workmanlike political drama, Robert Redford plays a widowed lawyer whose comfy life in Albany is scrambled by revelations about former members of the Weather Underground who’ve been living in hiding for 30 years. He’s one of them. Some half-hearted on-the-run material follows, as Redford goes incognito, searching for his old radical cohorts (Julie Christie, Susan Sarandon, Nick Nolte, etc.) to exonerate himself. The feds are in pursuit, and a dogged newspaper reporter (Shia LaBeouf) is also on the case. LaBeouf brings his usual jumped-up nerviness to the reporter, even if his character’s journalistic methods are less than credible, and Sarandon carries off a strong jailhouse interrogation scene before she disappears from the picture. Her scene turns out to be an early indicator of the film’s general method, which is to set two characters to argue over the past actions of the violent wing of the counterculture and whether it was all, you know, worth it. (R) ROBERT HORTON Oak Tree, Sundance, Kirkland Parkplace, Lynwood (Bainbridge), others MYSTERIES AND • DECEPTIVE PRACTICES: THE Ricky Jay is an author, MENTORS OF RICKY JAY

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 The Tonight Show (at age 20) and Don Kirshner’s Rock Concert to his one-man Broadway shows. Jay is as guarded with his personal life as he is with his professional secrets. He tells captivating stories about the magicians who mentored him and the culture of magic. He’s such a seductive host that we get through his entire career without learning much about who he is. (NR) SEAN AXMAKER Varsity

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film» • EDEN Directed by Seattle’s Megan Griffiths, Eden is

based on the true story of Chong Kim, a victim of the U.S. sex-trafficking trade, so horror and suspense are already built into it. The film’s protagonist (played with a tempered focus by Jamie Chung) is given the name Eden when forced into sex slavery. Within what appears to be a warehouse in the American Southwest, we witness a system in place, a collection of routines for breaking down the women trapped inside. Much of the film’s suspense comes from Eden’s fraught relationship with one of her captors, Vaughan (Matt O’Leary)—an increasingly tangled connection inventively played by the actors. (The cast also includes Beau Bridges as a lawman.) Eden rarely sets a foot wrong. Given the potentially lurid material, Griffiths gives the film a sort of committed austerity—which comes to seem more horrifying for its calm approach. (R) ROBERT HORTON SIFF Cinema Uptown FROM UP ON POPPY HILL Produced and co-scripted

by Hayao Miyazaki and directed by his son Goro Miyazaki, this is a gentle, somewhat slight story of student life and young love in early-’60s Japan. As the country looks to bury its wartime history and show the world a modern new face at the 1964 Tokyo Olympics, these students are determined to hold on to the past by saving their old, neglected clubhouse (known as The Latin Quarter) from demolition. Nothing like a cause to spark a sweet, utterly chaste high-school romance between sunny young Umi, a teenage girl who’s running her family boarding house and looking after her siblings, and student leader Shun, until unexpected complications halt their blossoming relationship. The

English-dubbed cast, which includes Anton Yelchin, Gillian Anderson, Christina Hendricks, Aubrey Plaza, and Bruce Dern, is appropriately understated. But behind the idealized, picaresque coastal village of Yokohama is a postwar culture of absent parents, self-sufficient kids, and adults uncomfortable acknowledging (let alone discussing) the past. (NR) SEAN AXMAKER Varsity IRON MAN 3 As we begin what’s likely the last of the Robert Downey Jr.-starring Iron Man movies, Tony 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). 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 have their revenge.

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, DNAenhanced villains, and dangling shipping containers.

Downey 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. (PG-13) BRIAN MILLER Ark Lodge Cinemas, Cinebarre, Kirkland Parkplace, Lincoln Square, Majestic Bay, Meridian, Thornton Place, Sundance, Vashon, Bainbridge, others

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• MUD Matthew McConaughey’s character, known only

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-year-old’s idea of cool, like some dude from a cigarette ad come to life. Back home, reality is more complicated for Ellis (Tye Sheridan, one of Brad Pitt’s boys in The Tree of Life). Mud is his story, not Mud’s, as Ellis watches his parents’ marriage dissolve, has his first kiss, and begins to question the story Mud is feeding him. 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). There are traces of Huckleberry Finn and To Kill a Mockingbird— not because Nichols is borrowing, but because he’s plainly plowing that vein of Americana. (PG-13) BRIAN MILLER Sundance, Oak Tree, Meridian, others THE PLACE BEYOND THE PINES Luke (Ryan Gosling), a tattooed, muscled motorcycle stunt rider in a traveling circus, is a bad boy. But then Luke discovers that a former one-night stand (Eva Mendes) has a toddleraged son. 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, 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. Pines aims to be a small-town generational saga, in which the sins of fathers are settled by their sons. But only the early crime scenes have any spark to them. (R) BRIAN MILLER Harvard Exit, Cinebarre, others THE RELUCTANT FUNDAMENTALIST The Oxfordeducated actor and hip-hop artist Riz Ahmed 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. Having come to America at 18, Changez goes through mostly expected ups and downs: upper-class girlfriend (Kate Hudson), brilliant success on Wall Street. Then comes 9/11. 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. Director Mira Nair is a talented image-maker, and the grainy widescreen cinematography (by Declan Quinn) is convincing.

But except for the occasional zinger from Kiefer 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. (R) ROBERT HORTON Seven Gables RENOIR The title identifies the family; the moment is 1915. As war rages on the other side of France, PierreAuguste Renoir (Michel Bouquet), by now elderly and arthritic, paints at his sun-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. Andrée also falls under the gaze of Renoir’s middle son, during his return home to convalesce from a war injury. 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. 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(R) ROBERT HORTON SIFF Cinema Uptown THE SOURCE FAMILY 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. 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. Yod also took 14 wives from among his gorgeous young flock—but it was the ’70s, right? Neo-hippie revivalism is today a marketable trend, but Yod’s old disciples maintain a stubborn dignity outside of fashion and time.

(NR) BRIAN MILLER SIFF Film Center

•

food&drink»

The Power of the Grindz

Kama’aina Grindz reimagines Hawaiian cuisine in Everett, even bringing Spam to life.

BY HANNA RASKIN

T

I

PHOTOGRAPHY BY JOSHUA HUSTON

What distinguishes the musubi is the rice, perfectly cooked and dabbed with the sugared soy sauce in which the Spam gets seared.

“I brought Spam to life, I guess,” Shinagawa says. “It was one thing I had to put on, because at the casino, I could never put that on a menu.”

Not every fetching starter at Kama’aina is so classically Hawaiian.

Cleanly fried fish tacos with crisp cabbage slaw owe more to Southern California beach culture than to island cooking traditions, and Shinagawa admits he had to forcefully twist a grilled cheese-and-tomato soup preparation so it would fit the restaurant’s tropical theme.

The combination plate, featuring sandwich planks balanced atop white ramekins of ruddy soup, got its start as a pile of tomato scraps. Shinagawa planned to boil tomato skins with garlic, onions, basil, and ketchup for a soup special, but then realized he’d have to buy a new set of teaspoons so customers could eat it. He decided to forgo the utensils and serve pestotopped finger sandwiches instead, which left just one problem unsolved.

“I was, like, ‘How do I make it Hawaiian?’ ” Shinagawa says. “So I threw kalua pork in the sandwich, Right: Owner Dean Shinagawa sits in his lightly adorned Everett restraurant. and I threw macadamias in the Left, from top: loco moco; Spam musubi; ramen. pesto.” restaurant’s soaring ambitions is a $4 order of The resulting dish is a near-perfect Shinagawa recalls. But Shinagawa devised a tastedamame hummus, the nubbly, mint-green dip lunch, although the sandwiches would benefit ing for his bosses that changed their minds. neatly scooped into a ramekin that matches the from a more generous helping of pesto. Shi“They said ‘Keep doing what you’re doing,’ ” oblong bamboo-print charger beneath it. The nagawa says he considered smearing the snappy he says. “They pretty much gave me free rein. f you’ve traveled to Hawaii, unless you hummus is surrounded by puffy tortilla chips pesto over the bronzed bread, but “it would have I had to have salmon, because it’s a Native took every meal in a high-end hotel, you’ll dappled with green seaweed flakes; two chips are been green, and the color would have been off. likely be struck by the subtlety, refinement, American casino, but I did incorporate Hawaiian planted upright in the dip, clearly marking the And I thought if people didn’t like it, they could flavors.” and calculated elegance of Shinagawa’s art of presentation as Shinagawa’s territory. take it off.”

Shinagawa carried those flavors to Kama’aina cooking. He’s clearly more interested in exalting Beyond the small plates, there are salads, sandGrindz (the name’s Hawaithe island’s quintessential wiches, a gussied-up loco moco finished with a ian slang for “where folks flavors than in precisely reche hummus needs a hit of chilired-wine roux, and a trio of noodle soups. The who left or love Hawaii reating the plate lunches that pepper water, but flavor runs long » PRICE GUIDE MUSUBI�����������������������������������������������$5 chicken “island-style” pho is faux, with a straighteat”), but his new resdisplaced Hawaiians miss, on most of the other small plates, GRILLED CHEESE ���������������������������� $7 forward coconut broth reminiscent of tom kha taurant’s shorn of all the RAMEN ������������������������������������������������$8 which he admits has been a including a miniaturized musubi LOCO MOCO ������������������������������������ $16 gai, but a miso ramen studded with shiitake hoity-toity touches that source of some contention. that elevates the iconic convenience-store snack mushrooms is a lovely study in umami. gamblers who’ve pulled “A lot of people say ‘Where’s to heights that would impress the most righteous Since dessert’s still on the horizon, triple cherries on the slot the lau lau, where’s the mac Kama’aina Grindz is a tribute Shinagawa began presenting commachines demand. It’s little wonder unschooled salad?’ ” says Shinagawa. He’s heard from plenty pineapple sherbet at the diners envision being ballasted with white rice of Everett diners who haven’t gotten over the to Shinagawa’s beloved home plimentary close of each meal. Lately, though, and poi: The brick-walled dining room is exceedhomegrown Bobby’s, which once flaunted its ingly plain, with nothing on the standard-issue authenticity for Guy Fieri, decamping to Lynstate, but the dishes emerging he’s switched to chocolate-covered macadamia nuts. “People are kind of wooden tables but bottles of soy sauce and Shinwood. from its tiny kitchen reflect an upset,” Shinagawa says. “They looked nagawa’s chili-pepper water, which he devised The customers who don’t ask are the customto that refreshing last bite.” after realizing the mass-produced version most ers who know the owner’s resume. Shinagawa, exaggeratedly dreamy Hawaii. forward Shinagawa’s too fond of change popular in Hawaii is made with MSG. Other 47, completed a culinary-school exchange in to revert to the sherbet. But as he than the slack-key soundtrack and an Art DecoCanada, moving to Seattle in 1996 to take a sous well knows, nothing’s more beautiful, more ish print of a hula dancer greeting an ocean liner, chef position at Piatti. The following year, he surfer. It’s a testament to the undercurrent of perfect, or more compelling than an experience the condiments are the only indication that jumped to a new Roy’s at the Westin, becoming fanciness at Kama’aina that the musubi were first remembered. E something Hawaiian’s going on. head chef in 1998. “After six years, I kind of got, developed for golf outings: “I used to wrap them And it’s not just the decor that coos “casual not bored, but I needed to move on,” he explains. in Saran Wrap and put them in the cooler,” Shilunch”: The servers wear navy-blue T-shirts with He spent a year at the Edgewater before landing nagawa explains. Now the Spam-and-seaweed KAMA’AINA GRINDZ Kama’aina’s logo emblazoned on their backs, at Tulalip. bundles sit four to a plate, crowned with a tangle 2933 Colby Ave., Everett, 425-322-5280, and the restaurant closes by 8 p.m. on weekend “[Tulalip] wanted steaks: filets, New York of crispy rice noodles which satisfies the chef ’s kamaainagrindz.com. 11 a.m.–7 p.m. nights. For many customers, the first hint of the strips, rib eyes. They really wanted a steakhouse,” perpetual craving for crunch.

Mon.–Thurs., 11 a.m.–8 p.m. Fri.–Sat.

he 1930s developer who chopped residential lots out of a southeastern Michigan cow pasture, hilly by Midwestern standards, probably figured future home-buyers would appreciate the neighborhood’s ruffled topography. He presumably didn’t think much about how the inclines would look to a little girl on a bike with 10-pound training wheels. Every summer I whined incessantly about having to pedal up the hill I sledded down in the winter.

“That’s not a hill,” my father insisted. “You should see the hill I had to climb when I was a kid.”

Eventually I wanted to see the hill that daunted my dad. So on our next family trip to Chicago, we went looking for it, criss-crossing Budlong Woods in our Cutlass Ciera. Weirdly, though, every street was as flat as a ping-pong table. Either someone had moved the mountain, or a slight grade increase had grown steeper, fiercer, and more devilish in my dad’s mind. In deference to his ego, I’ll let you decide what happened.

I thought about the shape-shifting powers of memory while lunching at Kama’aina Grindz, the 3-month-old Everett restaurant from Dean Shinagawa, who recently completed a nearly decade-long tenure as head chef of Tulalip Casino’s signature dining room. Kama’aina Grindz is a tribute to Shinagawa’s beloved home state, but the dishes emerging from its tiny kitchen—so tiny that Shinagawa doesn’t have the refrigeration capacity to make stocks or desserts—reflect an exaggeratedly dreamy Hawaii, where every plate’s completed with just-plucked herbs and even the Spam’s not too salty.

SEATTLE WEEKLY • MAY 8 — 14, 2013

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Over Cooked What’s wrong with Michael Pollan’s latest.

BY HANNA RASKIN

C

ooked, the latest culinary concerto from good-food advocate Michael Pollan, grandly proposes that American society could take a giant step forward if its members would just step back into the kitchen. Home cooks, he argues, are thinner, healthier, happier (because their meals taste better and their conversational opportunities are more bountiful), and connected to

a thoroughly contemporary quirk. He refers to the present day as “the precise historical moment when Americans [are] abandoning the kitchen,” and waxes sentimental about the cooking mores of his parents’ generation.

“Most of us have happy memories of watching our mothers in the kitchen,” he asserts.

Pollan’s already taken flack for ignoring the many mothers who weren’t blessed with a

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R IG H T kitchen or enough food to cook in it, but his argument’s equally nonsensical in a middleclass context. For much of American history, servants did the cooking.

In the 1860s, “one woman who managed without a cook for just one week found herself

In the years before labor was legislated and taxed, a startling number of Americans could afford to hire a young girl, recent immigrant, or African-American woman to handle kitchen chores. ‘broken down, sick & in bed,’ ” Daniel Sutherland wrote in his groundbreaking 1981 history of domestic service, Americans and Their Servants.

That image tracks with notions of upperclass living advanced by Downton Abbey, but

» CONTINUED ON PAGE 35

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SEATTLE WEEKLY • MAY 8 — 14, 2013

the land in ways that elude eaters who fill up on fast-food cheeseburgers.

As critics have pointed out, Pollan’s thesis reflects a staunchly upper-class perspective: “How blessed to be able to say, ‘I feel like making six-hour slow barbecued shoulder of pork today,’ ” Bee Wilson wrote in her eloquent review for The New York Times Book Review, which also takes issue with Pollan’s fuzzy nostalgia. “Not because you’re pressed to cook by your status or household budget. Just because, as Pollan argues, it makes your world ‘literally more wonderful.’ ” And while Pollan makes clear his siren song is directed at both genders, some women who cherish their hard-won freedom from the stove are understandably skeptical of the life-affirming qualities Pollan attributes to culinary labor. Pickling and preserving don’t strike the “I Hate to Cook” set as the panacea Pollan promises.

But what’s been largely overlooked in critiques of Cooked is that its central storyline is based on flimsy history. Pollan is adamant that the nation’s loss of interest in cooking is

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Domestic Workers in the South, 1865–1960, Rebecca Sharpless quotes the cook’s telling of this story, recorded in dialect by a there’s no indication that the 19th-century white worker from the North: “My ole misletter-writer quoted by Sutherland was wowsus . . . hel’ out her han’s and say, ‘General, dese ing anyone with her wealth. As Sutherland han’s never was in dough—I never made a cake writes, “Nearly everybody who could afford o’ dough in my life.’ ” a servant employed one during the 19th According to Sharpless, it wasn’t unusual for century.” And in the years before labor was women to distance themlegislated and taxed, a starselves so completely from tling number of Americans cooking. Before the advent could afford to hire a young of the electrical stove, girl, recent immigrant, or kitchens were dirty, smelly, African-American woman and dangerous, which to handle kitchen chores. is why they were comScholars haven’t been monly located where their able to determine precisely beneficiaries didn’t have how many Americans to see them, whether in employed servants, but rural outbuildings or urban Sutherland estimates there basements. But even after was one servant for every technology made cooking eight American families more comfortable, women between 1800 and 1920. who could afford servants Later researchers have sugtended to avoid the realities gested an ever smaller ratio, of meal-making. since census-based calcula“Richmond housewife tions take the entire U.S. Martha Branch set the population into account, Michael Pollan menu each morning with and it’s highly unlikely her cook, but she herself maids employed other never cooked,” Sharpless maids. Domestic service was writes. “Fellow Richmondite also more widespread in cities: Martha Valentine Cronly remembered that her In San Francisco in 1870, there was one sermother ‘ “gave out” the provisions each day from vant for every four families. the pantry; then they were put on the “dumb Although 1870 represented the pinnacle of the domestic-service industry, as measured by the waiter” and pulled by a rope to the kitchen, which was in the basement.’ ” percentage of working women employed by it, the national reliance on hired help hadn’t faded decades later. In Domesticity and Dirt: Housewives he American habit of hiring cooks and Domestic Servants in the United States, 1920– flagged in the early 20th century, 1945, Phyllis Palmer cites a 1937 Fortune survey a victim of Depression economics, showing “70 percent of the rich, 42 percent of growing privacy concerns, the modthe upper middle class, 14 percent of the lower ernized “servantless kitchen,” and Progressive middle class, and 6 percent of the poor reported” politics. The Seattle YWCA in 1936 released hiring help. In other words, one out of every 16 a study showing that working girls routinely impoverished Americans paid someone to wash worked 16 hours a day, fueling a fight which their dirty clothes or make dinner. culminated with the passage of a state law limiting work weeks to 60 hours, a schedule incompatible with the live-in servant model.

Yet domestic service persisted in the South, There’s nothing new about where a lack of labor legislation and scant Americans relying on an opportunities for black women conspired prop up the family-cook tradition. In the industry to shield them to 1940s, Southern households could hire a cook from the rigors—and, for about $5 a week, which is why many of Pollan’s white peers who grew up below the in Pollan’s view, rewards— Mason-Dixon don’t remember “watching mothers in the kitchen.” They rememof food preparation. [their] ber watching someone else’s mother in the kitchen.

While servants were assigned various tasks Pollan may be exactly right when he says depending on their employers’ needs, preparing cooking is an inherently worthwhile activity. food was nearly always on the to-do list. As John But he’s wrong when he writes, “What is new T. Edge wrote in his history of Mrs. Wilkes’ is the great number of people now relying for Dining Room, a Savannah boardinghouse where the preponderance of their meals on an industry tourists line up for iconic Southern dishes, “The willing to do everything for them save the heattasks of frying chicken, punching our biscuit ing and the eating.” Processed foods may be a dough, stripping collard leaves, and peeling potarelatively recent invention. But there’s nothing toes have long been assigned to black women.” new about Americans relying on an industry to Southern whites were so dependent on their shield them from the rigors—and, in Pollan’s servants’ culinary skills that at least one woman view, rewards—of food preparation. E showed up at a Union refugee camp to beg hraskin@seattleweekly.com Ulysses Grant for the return of her enslaved Michael Pollan will appear at Benaroya Hall on cook. In Cooking in Other Women’s Kitchens: Monday, May 13.

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Reverb»

Come Together

What if the solution to gun violence didn’t hinge on policy, but creativity?

BY GWENDOLYN ELLIOTT

A

kid-empowerment message.

“I can’t relate it directly, but I think there is one,” she says. “We’re not talking about Newtown at our shows, or advocating for any legislation. But I think kids can feel powerless about expressing their energy, and we want them to know their energy is power—power that can be

I don’t remember it at all—I never recorded it.

But I feel like it was just something I had to do for myself, and it did help.”

Despite the comfort that song may have provided Cahoone and her listeners, examining the issue through the lens of music won’t stop “things like this from happening again,” says Icasiano.

used for good. With the ‘Kidquake’ movement, we’re showcasing kids who are doing good in their communities and beyond,” she says.

On its Facebook page and in its live show, the band recognizes the charitable work of young people—like a little girl with cancer who sends care packages to other hospital-bound youngsters—which often inspires their young fans.

“We’re putting something positive in the world for kids in a way that, hopefully, energizes and empowers them at a time when there are some dark things going on,” Shannon says.

But he doesn’t want to be a victim, either. “I don‘t want to be afraid of coming to my favorite place in Seattle because I’m afraid of something like that happening. What I have in my control is in terms of what I do, and I have music. I’m going to do what I do to make it better.”

A creative response like those of Icasiano, Cahoone, and Shannon might be just what we need right now. With music’s potential to heal and inspire change, a lasting solution could hinge less on regulation than on our ability to create nurturing communities.

In an op-ed piece for The Seattle Times written a week after the Racer shooting, Andrew J. Swanson, founding member of the Racer Sessions, bolsters this thought. “I encourage everyone to get out and engage in the vibrant artistic community we have here in Seattle, wherever you may find it. Throw one back with the oddballs and see what happens.” E

JAKE KNAPP

see it. Instead of being defeated, we just had to s the first anniversary of the Cafe embrace what we had, which was each other and Racer shootings nears, seemingly music and this community.” little has changed to stem the tide It’s natural to turn to music when things go of gun violence in America. News wrong. A New York Times account of the Newof the U.S. Senate’s consideration and then town shootings tells of a teacher, Carol Wexler, rejection of legislation requiring background leading a sing-along “amid the whiz of bullets” checks for gun buyers has shared column inches with grim headlines; in the Seattle area in just the past month, an apartment shooting killed five. In the year since the Cafe Racer The Racer Sessions crew shooting, the nation has witperforming Constellation, a nessed the unthinkable horror piece inspired by the shooting. of the killing spree in Newtown, Conn., and the Aurora, Colo., mass shooting—an event that, eerily, occurred on July 20, the day Cafe Racer reopened its doors after its own tragedy.

Unlike that barrage of gun violence, the Cafe Racer shooting claimed a very specific group of victims: four artists (three musicians and an aspiring actress) who orbited the venue’s highly nurturing music scene. Though Racer gunman Ian Stawicki was kicked out of the cafe occasionally, time and again he returned—and was tolerated, if not always welcomed back— seeking to be part of the communal feeling of the place.

That such an event happened at the cafe is tragic, yet ultimately it could be telling. as a way to quiet and soothe her students. “The Something about the accepting nature of children whispered along,” the article reads. creative communities—a nature that taps into “ ‘Jingle Bells.’ ‘Silent Night.’ ‘I Have a Little originality, positive energy, and the artistic Dreidel.’ They did not pause when they heard response—offers a new perspective on gun shots or screams.” control, one focused on the healing power of Sarah Shannon, vocalist for the Seattle kids’ music. rock group the Not-Its!, believes a relationship “The community here at Racer is special exists between the power music can provide and because there are so many walks of life that come through here, so many different kinds of music, so many different kinds of artists,” says Chris“We’re not talking about topher Icasiano, a drummer and member of the Racer Sessions, the cafe’s weekly improv music Newtown at our shows, series. “This space is welcoming for all of that.” or advocating for any Following the shooting, the group grappled with whether or not to hold the usual Sundaylegislation. But I think kids night session. “Ultimately we decided that there’s no way in hell we’d cancel it,” says Icacan feel powerless about siano. “On a Sunday night, there’s nothing we expressing their energy, and would rather be doing than hanging out and playing music at Racer. We just figured we do we want them to know their music, so we should do that to help.”

The group gathered in an adjacent alley (the energy is power.” cafe was still shuttered after the shooting the the sense of powerlessness we so often experience previous Wednesday) and performed an original after an act of extreme gun violence. She and piece called Constellation. “Hundreds of people her group began tapping into the creative power came that night,” Icasiano recalls. “The piece was of their audience after their power-pop anthem entirely inspired by what happened, and was an “Kidquake” gained momentum for its positive, emotional response to it. That’s how we had to

gelliott@seattleweekly.com

The Constellation performance was recorded and became a short film.

DVDs are available for purchase, with all proceeds going to the families of the shooting victims, at caferacerconstellation.com.

SEATTLE WEEKLY • MAY 8 — 14, 2013

T

he experience of local singer/songwriter Sera Cahoone offers more perspective on how music can illuminate that darkness. The musician graduated from Columbine High School and moved to Seattle five months before the infamous April 20, 1999, shooting that killed 15—12 students, a teacher, and both perpetrators.

“I still have a really hard time driving by the school,” she says. “I went home a week after it happened. All the kids’ cars were still in the parking lot.”

The artist wrote a song about it and performed the tune at a friend’s coffee shop shortly after the massacre. “It was very moving to have everyone there listening,” Cahoone recalls. “Unfortunately,

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Reverb»Reviews »EVERY LOCAL RELEASE*

In Cahoots’ Boxed Wine Country drops this week.

LOCAL BANDS The Cellar Door, Flightlessness (5/28, self-released, findthecellardoor.org): Lush harmonies, simple orchestration, and themes of spirituality fill out this EP, the up-and-coming Seattle sextet’s debut. Staying true to the chamber-pop feel established on its two-song sampler Spring, this release showcases more adventurous compositions and braver vocal arrangements, but retains the distinctive innocence and longing in the band’s sound. “Residence in Rome” and “Silent Avenue” are the type of piano-driven, folkinspired ballads romance is made of. KEEGAN PROSSER (Thurs., May 23, The Crocodile) In Cahoots, Boxed Wine Country (5/9, Critical Sun Recordings, incahootsband.com): Frontwoman Christina Cramer—a former vocal coach at Seattle’s Rock School—has a big, bursting rock voice that’s more Carrie Akre than Courtney Love, but the six songs on In Cahoots’ latest LP play like a mix of both put together: part indie, part radio rock. DAVE LAKE (Fri., May 24, Barboza)

*Yeah, every release

Bradford Loomis, Into the Great Unknown (5/18, self-released, bradfordloomis.com): Loomis sings with all the grit of the Americana musicians of yesteryear. But don’t let his Southern drawl confuse you; the bluesy musician was born right here in Seattle. AZARIA PODPLESKY (Sun., May 19, High Dive)

Supersonic Parachute,

Supersonic Parachute (out now, Boscology, music.boscology. com/album/supersonicparachute): Vocalist Whitney Lyman’s jazzy pop vocals and composer/guitarist Andrew Boscardin’s R&B grooves combine to create an original sound that’s both modern and reminiscent of the ’70s. AP

Maiah Manser, “Little Child,” “Currency,” “One”

(out now, self-released, maiahmanser.bandcamp. com): Manser can really belt a tune. On these three tracks, she pulls out some unlikely combinations by pairing her exquisite voice with unique backtracks—for instance, a jazzy ballad with a hint of electro. ASHLEY ROE

Monkey Bat, Springtime Love (out now, selfreleased, monkeybat.net): This instrumental trio plays funky, jazz-influenced acoustic rock, the kind of thing musician nerds will eat up. If you think six-string basses are rad, you will probably think the same of Monkey Bat. DL (Fri., May 10, The Mix)

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.

Vigilante Santos, Illuminate in the Dark (out now, selfreleased, artistecard.com/ ORIGINAL IMAGE: SYLVIA JI, SYLVIAJI.COM; CHALK ART: MELINDA GALLANT vigilantesantos): Colleen Thomas and Christine Hager formed this group four years ago, and have OCnotes, Alive With Pleasure (5/14, self-released, developed a dramatic sound that fills this debut ocnotes.bandcamp.com): Vibey, bass-heavy album. Piano-driven ballads are layered with beats dominate this release from the genrecrisp but not high-strung classical vocal delivbending Seattle producer/singer/MC/multiery. MARTHA TESEMA (Wed., May 29, Comet) instrumentalist. (Sun., May 26, Sasquatch!) KP Postmadonna, POSTMADONNA (out now, self-released, postmadonna.bandcamp.com): If you’re looking for an introduction to math rock, this debut LP, partially recorded at the Vera Project, features all the unusual tempo changes, layered guitars, and erratic vocals you’ll need to embark on a nerd-rock quest. AP

Yours, Yours, EP (out now, self-released, yours comma.bandcamp.com): Infectious rhythms are packed into this three-song release. Despite some slow-building strings and harmonious echoes, standout track “Lovercraft” has a tight pace that carries the debut, grounding Yours, in the present with electric, driving sounds. MT

SEATTLE WEEKLY • MAY 8 — 14, 2013

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Reverb»The Short List

Of Monsters and Men plays the Paramount on Tuesday night.

Black Breath THURSDAY, MAY 9

See one of Seattle’s heaviest acts before it heads to France to play for thousands at next month’s massive Hellfest. Black Breath mixes a variety of metal styles with hardcore and an HM-2 guitar pedal in an intimate environment. The band is playing tonight with Finnish grindcore band Rotten Sound, which is celebrating 20 years of musical brutality with a world tour as well as its recent Species at War EP. Bring your neck muscles (for headbanging, duh) and

prepare to have your senses assaulted. With Heiress, Baptists. The Highline, 210 Broadway Ave. E., 328-7837. 9:30 p.m. $12. DAVE LAKE

Infamous Stringdusters SATURDAY, MAY 11

This Nashville quintet combines the instrumentation of a bluegrass act with the sensibility of a jam band. You’re just as likely to hear a Police or U2 cover in the band’s set as something from its latest album, Silver Sky (produced by Billy Hume, best known for working with Nas and Ludacris). But that’s the beauty

Kurt Vile & the Violators

EDITOR’S PICK

SUNDAY, MAY 12

8 p.m. $16 adv. 21 and over. KEEGAN PROSSER

SHAWN BRACKBILL

Though singer/songwriter Kurt Vile has made a name from his solo catalog—heavy on angsty, lo-fi indie-rock cuts—this time around he’s bringing a full band. The irony? The album he’s supporting, Wakin on a Pretty Daze, may be his mellowest yet. Honing in on the “I’m hella stoned and feeling super-deep” vibes characteristic of his earlier releases, Wakin’s country-tinged title track has Vile talking about “living on the straight line” while hinting all along that that might not be the case. In true Vile tradition, convention is not the goal (dude announced his album via a mural), which shows in the six-minute-plus songs that pop up throughout the album. It’s this looseness, this knack for sprawling guitars and room for spontaneity, that allows Vile to explore—and explode—onstage. With the Fresh & Onlys, Steve Gunn. Neumos, 925 E. Pike St., 709-9442.

of the Infamous Stringdusters: They’re a nontraditional band stretching the boundaries of a classic American style, and their live show is the best way to experience what they do. But don’t worry—if you miss the show, you can always check it out on the band’s website, which archives full sets for streaming. With BigE of Sugarcane. The Neptune, 1303 N.E. 45th St. 682-1414. 9 p.m. $18 adv./$20 DOS. DAVE LAKE

Seattle Rock Orchestra performs the Beatles SATURDAY, MAY 11–SUNDAY, MAY 12

It has been a harrowing couple weeks for the Seattle Rock Orchestra. While preparing for this, the most highly anticipated of its ongoing series exploring the Beatles’ catalog, orchestra director and founder Scott Teske came home to find both of his upright basses missing. For five days Teske fretted over the fretless instruments while an impressive Facebook campaign got the word out. Then police discovered the massive instruments in the back of the thieves’ cracked-up SUV—along with some meth and guns—after a fence-crashing chase. A dramatic prelude to what will likely be an inspired performance of the Beatles’ most pivotal works, Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour, featuring vocalists John Roderick and Sean Nelson, among many others. The Moore, 1932 Second Ave., 877-

784-4849. 8 p.m. Sat., 2 p.m. Sun. $20 adv.

MARK BAUMGARTEN

Karaokegrass TUESDAY, MAY 14

Karaoke backed by a live band has been done before. Karaoke backed by a live bluegrass band isn’t totally novel. What’s new at Nectar

Lounge is the bar’s bet on Seattle’s appetite for twangy karaoke, upping Karaokegrass’s standing engagement to two nights a month starting this month. “We’ve had so many fingers come up and we couldn’t get to everybody in a night,” says Tammy Haugen, the group’s “karaokeretary.” As The Gourd’s cover of Snoop Dogg’s “Gin and Juice” proved, there’s something magnetic about bluegrass treatments of top-40 hits, and Haugen says it has a way of warming people up to karaoke, too: “We get fans of bluegrass and fans of karaoke, and people who don’t like either tend to like this,” she says. For the record, Karaokegrass does offer “Gin and Juice” as a song option, though Haugen says they typically stay away from hip-hop (“They’re just two-chord songs!”). Also for the record, the band will not play “Call Me Maybe.” So don’t ask. Nectar Lounge, 412 N. 36th St., 632-2020. 8–11 p.m., second and fourth Tuesdays. 21 and over. Free. DANIEL PERSON

Of Monsters and Men TUESDAY, MAY 14

Seattle music aficionados caught on to this Icelandic sextet early on, when KEXP started playing its super-infectious breakout single, “Little Talks.” The band has since released a full-length album, 2012’s My Head Is an Animal, and taken the world by storm, playing every major festival and sharing its collaborative folk-pop with the masses. As festival darlings with Nordic roots, the band’s tunes often sound best backed by wind and doused in sunshine. Even so, it’s safe to say the explosive instrumentation and monstrous choruses will sound just as lovely and full of enthusiasm on a proper stage. The Paramount, 911 Pine St., 682-1414. $35 (plus fees).

8 p.m. All ages. KEEGAN PROSSER

SEATTLE WEEKLY • MAY 8 — 14, 2013

*

COURTESY OF THE ARTIST

41

El Corazon www.elcorazonseattle.com

109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482

WEDNESDAY, MAY 8

ABRIEL

with Living With Lions, Elude, No Choice, and The Kari Ehli Band Doors at 7 / Show at 7:30 PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

THURSDAY MAY 9

OF US GIANTS

with Skyline Divine, Leadership By Assault, Not An Airplane, and guests Lounge Show. Doors at 8 / Show at 9 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, MAY 10

THE BITTER ROOTS

with Late September Dogs, The Circus In Your Town, Eagles & Aliens, and The Willow Collective. Doors at 8 / Show at 8:30 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

ANCHORESS

with Rat Path and guests Lounge Show. Doors at 7:30 / Show at 8 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

Fri, May 10 • 9:30pm ~ $12adv/$14adv Monqui presents

SATURDAY, MAY 11

MONSTERS SCARE YOU

with Pink Bead, Reach For The Sky (CD Release), We The Audience, and Until This Sunrise. Doors at 6:30 / Show at 7 PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS El Corazon Presents The Monsters Scare You Aftershow Party. Featuring Live Music From Topless. Lounge Show. 21+. FREE

SUNDAY, MAY 12 HARD TIMES featuring The Loss, Apathy Cycle (LA), On The Ground, Ryan Davidson, and DJ A-WAY Lounge Show. Doors at 4 / Show at 6 PM. 21+. FREE

MONDAY, MAY 13

CADAVER DOGS

with Just Like Vinyl, Jori & The Push, and guests.

Lounge Show. Doors at 7:30 / Show at 8 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, MAY 14

DR. DRUG AND THE POSSIBLE SIDE EFFECTS with The Waywards,

Savage Henrys, Benedict Awesome, and guests. Lounge Show. Doors at 7 / Show at 7:30 PM. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

6/29 BUCKCHERRY 7/7 D-WHY / SAM LACHOW 7/8 CASKET OF CASSANDRA 7/10 VEELA 7/28 DROWNING POOL 7/29 LOUNGE JAYKE ORVIS AND THE BROKEN BAND 7/30 HE ALLSTARS TOUR FEAT. EVERY TIME I DIE 8/23 LOUNGE BANNER PILOT UP & COMING 5/15 R5 5/17 REHAB 5/18 HURT 5/19 CANNIBAL CORPSE / NAPALM DEATH 5/20 HANZEL UND GRETYL Tickets now available at cascadetickets.com - No per order fees for online purchases Our on-site Box Office is open 1pm-5pm weekdays in our office - $2 service charge per ticket!

Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

SEATTLE WEEKLY • MAY 8 — 14, 2013

Times listed are show times.

Doors open 30-60 minutes before

TOM ODELL

JUST ANNOUNCED 5/27 LOUNGE INTERVALS 6/15 ANCIENT WARLOCKS 6/22 LOUNGE THE GALLERY / DYLAN JAKOBSEN

42

tractor

2033 6th Avenue (206) 441-9729 jazzalley.com

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EILEN JEWELL

and Diego Figueiredo

JOY MILLS BAND

Smooth and smoky vocalist with Brazil’s leading jazz guitarist

Sun, May 12 • 8pm ~ $10

May 8

May 9 - 12

Ballard High School Jazz Bands/Vocal Jazz Performance

John Hammond

May 13

May 14 - 15

Cyrille Aimée

Lalah Hathaway Soul-filled jazzy R&B singer

indie roots rock

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POKEY LAFARGE JD HOBSON

Consummate Blues Musician - 2011 Blues Hall of Fame Inductee and 2011 Blues Recently recognized as one of Music Award Winner for the best jazz band and vocal Acoustic Artist of the Year jazz programs in the nation!

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The Greyboy Allstars Gerald Clayton Trio with San Diego Boogaloo jazz greats return to Seattle for four nights in support of their new release - Inland Emperor

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May 21- 22

Walk-ins always welcome!

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

Reverb»Seven Nights Richard Thompson plays with his Electric Trio at Showbox at the Market on Sunday.

PAMELA LITTKY

Wednesday, May 8 GRINDLINE This skate-punk band shares a name with

a skate-park construction company, and its songs wouldn’t sound out of place on a Nintendo 64 edition of Tony Hawk Pro Skater. Tonight’s show, by the way, commemorates the 2 Bit’s third anniversary. With Last American Badass, Situation Normal, Ten Pole Drunk, Omega Moo, Isotopes. 2 Bit Saloon, 4818 17th Ave. N.W., 708-6917, the2bitsaloon.com. 7 p.m. $5.

THE LAURELS These Australians have toured with many great bands, including the Black Angels, Low, and countrymen Tame Impala; they share the latter’s fondness for wide-eyed psychedelia. With Wooden Indian Burial Ground, Ecstatic Cosmic Union. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $6.

OS MUTANTES Conceived in the midst of tropicália, a Dadaesque Brazilian cultural movement that took root in the ’60s, Os Mutantes remain kaleidoscopic.

The group—part psychedelic, part prog, part protest music—has influenced worldly musicians from David Byrne to Beck, whose 1998 album Mutations is a tribute to the band. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 6:30 p.m. $28 adv./$35 DOS. All ages.

•

Thursday, May 9

JAVELIN This Luaka Bop–signed Brooklyn duo makes

Friday, May 10

CAHALEN MORRISON On his latest album, Our Lady of

the Tall Trees (a collaboration with guitarist Eli West), Morrison weaves old-timey tales with tight harmonies and nimble banjo work. With Mighty Squirrel. Fremont Abbey, 4272 Fremont Ave. N., 414-8325, fremontabbey. com. 9 p.m. $8 adv./$10 DOS. All ages.

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

•

ist Mike McCready leads a tribute band celebrating ’70s metal group UFO, but it’s for a good cause: This is Flight to Mars’ 11th annual benefit concert for CCFA Camp Oasis and Advocacy for Patients with Chronic Illness. With Poor Moon, Mike McCready & Friends Acoustic Medley. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $20 adv./$25 DOS. THE SAM BOSHNACK QUINTET Led by trumpet player Samantha Boshnack, this jazz combo isn’t afraid to take liberties with standards, blending rock, world, and experimental music into its sound. With the Jefferson Rose Band. Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle.com. 8:30 p.m.

No cover.

Saturday, May 11

• BORN RUFFIANS Seattle fans of this Toronto art-

rock band are in luck: This show is the last scheduled date the group will play, after inexplicably and prematurely cutting short its tour for its recent album Birthmarks. With Moon King. Barboza. 7 p.m. $12 adv.

THE BRAZILLIONAIRES Zak Borden (mandolin), Simon Lucas (percussion), and Peter Fung (guitar) play traditional Brazilian choro music. Empty Sea Studios, 6300 Phinney Ave. N., 228-2483, emptysea. com. 7:30 p.m. $12 adv./$15 DOS. All ages.

EILEN JEWELL A skilled songwriter, Jewell pens demurely conversational tunes that are smooth and bluesy but still forceful. With Joy Mills Band. Tractor Tavern. 9:30 p.m. $15.

Sunday, May 12

• THE APPLESEED CAST This band is frequently

tagged as post-rock, but its songs scan better as extended, muscular jams from the formative days of “emo” (i.e., Sunny Day Real Estate) than as guitarled microsymphonies. The band is touring behind April’s Illumination Ritual, its first release since 2009.

With Hospital Ships, Wild Arms. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $12 adv.

RICHARD THOMPSON ELECTRIC TRIO The “electric” in the name is more revealing for Thompson than for most. Known as one of folk’s best acousticguitar players, he’s currently touring with a group that plays raw, straight-up rock tunes, fully pluggedin. Showbox at the Market. 7 p.m. $36.50 adv./$38.50 DOS.

Monday, May 13

ARK OF THE COVENANT There’s nothing melodic

about this Connecticut five-piece’s strain of hardcore,

» CONTINUED ON PAGE 44

SEATTLE WEEKLY • MAY 8 — 14, 2013

unpredictable sample-based electronic music, veering from undulating electro-pop to poly rhythmic dance grooves. With Helado Negro, Jamaican Queens. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $12 adv.

JOE BUDDEN Best known for his Kool & the Gang– sampling jock jam “Pump It Up,” Budden released No Love Lost, his fifth album in 10 years, last month.

With Neema, Feezable the Germ, JKey, Aquino, DJ Swervewon. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $17.50 adv.

THE SEBASTIANS OF BREMEN This five-piece plays ornamented folk-pop with trumpet, cello, and glockenspiel accoutrements. With Cloud Person, Solvents.

Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $6.

FLIGHT TO MARS Yes, it is odd that Pearl Jam guitar-

43

Reverb»Seven Nights » FROM PAGE 43 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!

Tuesday, May 14

which borders on metal with its grinding guitar tones and brutally efficient drumming. With Those Who Fear, Rat Path. Chop Suey. 6 p.m. $10 adv. All ages.

Cahalen Morrison, center, plays the Fremont Abbey on Friday.

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DRU HILL This group launched Sisqó’s career with

DAVID KNOPFLER This former Dire Strait has had a

long and robust solo career in addition to his time in the band. He’s touring with Harry Bogdanovs, whom he heavily featured on his last album, 2011’s Acoustic. With Jenn Grinels. Triple Door. 6:30 p.m. $20 adv./$25 DOS. All ages.

MAIAH MANSER Her songs—like “Currency,” a relatively traditional piano-led pop number, and “Little Child,” a more experimental track that, a la tUnE-yArDs, leans on jazzy looped vocal patterns— show a songwriter not afraid to take artistic risks.

With Tangerine, Shogun Barbie. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $5.

All ages.

II Men. Newest member Antwuan “Tao” Simpson won a spot in the group in 2008 via a contest called “Dru Idol.” With Tiffany Wilson, Audiosuite, Blakksoul.

Neumos. 8 p.m. $25 adv.

MOBB DEEP Progenitors of grimy, ear-to-the-streets East Coast hip-hop, Havoc and Prodigy are back touring after a brief spat last year temporarily disbanded the partnership. With Fatal Lucciauno, Porter Ray, DJ TopSpin. The Crocodile. 8 p.m. $18–$65.

WESTERN RED PENGUINS These locals take a simple approach to songwriting, penning staid, bluestinged folk-rock numbers with sing-songy melodies.

With French Letters, Basement Baby. Sunset Tavern.

8:30 p.m. $6.

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column»Toke Signals Getting Lucky on Alki Beach

S.A.M

BY STEVE ELLIOTT

I

t’s relaxing and fun to visit Lucky LadyZ, a newish medical-marijuana access point on Alki Avenue, right across the road from Alki Beach. The staff is unpretentious and engaging, the prices are reasonable, and the vibe is friendly. (Behind the receptionist’s desk, an inscription on the wall reads “Believe in the importance of imagination. Dreams can change the course of history.”)

The only downside is the extremely competitive state of parking in Alki, but that is somewhat ameliorated by the presence of a couple of parking spaces directly in front of the shop—spaces in which I was afraid to park, but which budtender/coproprietor Felicia told me were meant for Lucky customers to use.

I enjoyed crusing the comely flower selection: about half a dozen each of indicas and sativas, with a few hybrid strains thrown in for good measure. Most strains go for a $10 donation, with occasional $8, $9, and $11 strains.

With some expert guidance from Felicia (who seems to have personal knowledge of every strain in the place), I selected a $9 indica, Alien Dawg; a $10 indica, Critical Sensi Star; and an alluringly fuzzy $10 sativa, Iced Grapefruit.

I decided on the Alien Dawg after Felicia told me that despite its less-than-beautiful appearance (scraggly popcorn buds), this Dawg had some bite, testing at more than 20 percent THC. She was right: You can’t always judge a book by its cover, and Alien Dawg

BLOG ON » POT TOKESIGNALS.COM

x

is some good (ugly) weed, affording effective pain and stress relief. Let this be a lesson to you, Shallow Hal: The true measure of cannabis flowers is only taken when tokin’.

Critical Sensi Star is pungent, fruity, sweet, and musky. It’s so fruity, in fact, that I doublechecked the container to make sure I wasn’t toking the Iced Grapefruit (it shares some of the same citrusy limonene terpenes). It’s quite energetic for an indica-dominant strain, but also has the strong, painrelieving body stone associated with its genetic heritage. If you like Super Lemon Haze or other lemon strains, you owe it to yourself to check out Critical Sensi.

Iced Grapefruit, the sativa, was the most visually stunning of the three strains, with light-green, trichomeencrusted flowers smelling pleasantly of its namesake. These particular flowers looked to have been harvested perhaps a week before I would have done so, but nonetheless they offered an energetic, zingy high well-suited for morning medication. My advice with Iced Grapefruit is to use a pipe, bong, or vaporizer rather than joints to toke it; it burns much better in a bowl, avoiding wastage.

Medible Mondays feature buy-one/getone-free offers on all house medibles (limit, three free). If you check out Lucky LadyZ on a Tuesday, you can get strains which normally go for $11 or $12 for just $10 a gram; Wednesdays are Happy Hump Days, with 10 percent off concentrates (hash and hash oil) and glass accessories. E

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Jim Woodringâ&#x20AC;&#x2122;s Oddland Peppercorn Saison Tapping Party Thursday May 16th

Join Fantagraphics and Elysian Brewing in celebrating Oddland Peppercorn Saison - the first beer release in the Oddland Series - a creative venture from the warped minds of Elysian Brewing and Seattle cartoonist, Jim Woodring.

Start with an Elysian brewery tour and continue to CoCA Georgetown Gallery for beer, bites and art, including handpicked works from Woodring, also in attendance.

4-5PM - Brewery tours at Elysian Airport Way: 5510 Airport Way S., 98108 5:30-9PM - Art, Beer and Bites at CoCA Gallery Georgetown: 5701 6th Ave. S., 98108 Oddland Saison is a Belgian farmhouse-style ale brewed with four varieties of peppercorns: The fire of black and green, the sparkle of white and the pungent fruitiness of pink create a playful landscape of taste and aromatics.

Brewed with Pale, Munich, Cara-Munich and wheat malts, bittered with German Northern Brewer and finished with Czech Saaz hops. 7% ABV so donâ&#x20AC;&#x2122;t forget to eat.

The ODDLAND SERIES is a journey through the strange ingredients and imaginations of Elysian brewers and Seattle cartoonist, Jim Woodring. Fantagraphics.com

Psychic Reader and Advisor Palm and Tarot Card Readings Help in all matters of life $10 readings. 601 S. King Street.

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New! Increased Compensation For Egg Donors!

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