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MAY 29-JUNE 4, 2013 I VOLUME 38 I NUMBER 22

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BRUCE HARRELL MAKES THE CITY AN OFFER IT CAN’T REFUSE. PAGE 6 | SIFF: 20 NEW PICKS & PANS. PAGE 21

HIV’s

New Normal

Christina Rock contracted the dreaded virus as a baby.

Now she’s a mother of two starting the holy grail of drug regimens.

BY NINA SHAPIRO

2

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

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SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

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VOLUME 38 | NUMBER 22

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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BEYOND INFINITY? THE SEARCH FOR UNDERSTANDING AT THE LIMITS OF SPACE AND TIME.

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NEWS

THE DAILY WEEKLY | Mayoral

candidate Bruce Harrell doesn’t mind if we ask him about his business.

9

FEATURE

BY NINA SHAPIRO | Contracting HIV

as a baby, Christina Rock was told she wouldn’t live past 10. She’s now 29, a mother of two and the embodiment of once-unbelievable advances in medical treatment.

»33

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news»The Daily Weekly

Does Harrell Got Cred?

Raised in the CD, the corporate lawyer-cum-councilman says he can glue Seattle back together.

BY ELLIS E. CONKLIN

I

f you’re looking for a mayor who can quote every line from The Godfather—and who isn’t?—Bruce Harrell is your man.

He revels in reciting movie lines. Get him going, and he’ll go on until the cows come home. One snippet of dialogue currently stuck in his head is from Gladiator, starring Russell Crowe. Rising last week from a conferenceroom table at his Central District campaign headquarters, Harrell gives it his best dramatic interpretation: “What we do in life echoes in eternity.”

Harrell is banking hard that what he’s done in his 54 years will make him a (ballot-) boxoffice hit come primary day on August 6. Without question, the man has a compelling life story. The only member of a racial minority in the race, Harrell is the son of a Japanese-American mother and African-American father. He grew up in the Central District just three blocks from his campaign office at 23rd and Union, a product of tough streets.

“I have more street cred than any of these guys running. I’m not some sleeper candidate.

I’ve been out doing this, working for this comHarrell: “I’m not a sleeper candidate.” munity for 30 years,” says Harrell. “I can go the Monroe Reformatory and literally see scores of $115,000, much of it trickling in, slow but steady, people I grew up with.” in small denominations. Most observers believe Garfield High School’s class of ’76 valedictorian, Harrell was accepted to Harvard and Stan- his base of support will come from the minority community (Seattle’s nonwhite population is ford, but chose the University of Washington, where he’d become an All-American linebacker. slightly more than 30 percent), though Harrell can’t be pigeonholed. He has labor support, and, Fast and aggressive, Harrell led the Huskies to having worked as a business and telecommunia Rose Bowl win over Michigan in his sophocations attorney, is getting his share of support more year. NFL scouts lined up to talk to him, from the business community. but Harrell surprised everyone—including his Don’t expect Harrell to toe the pro-bus, parents—when he declined their offers in favor pro-bike, pro-light rail line. “I care as much as of the UW School of Law. about people being able to park as I do about He married Joanne Harrell, a member of the bike trails,” he says. Harrell believes there’s a board of regents for the University of Washbacklash to high-density development, a wave ington, and became a high-powered corporate ex-councilman Peter Steinbrueck hopes to ride, lawyer for US West before opening a private “but we do need to increase our inventory—but practice. Now, in his second term as a Seattle it’s about design and review, it’s about making city councilman—the lone councilman in the race, following Tim Burgess’ hasty retreat earlier these buildings and surroundings attractive.”

The most recent poll shows him in fourth this month—Harrell believes he’s ready and place with 12 percent support, but the leader of uniquely qualified to lead the city. the pack, Mayor Mike McGinn, is sitting at just “We need someone who can talk to Steve 22 percent after nearly four years in office—just Ballmer and Bill Gates, as I have done, and also ahead of Steinbrueck and state senator Ed be able to talk to the people you see walking Murray, at 17 percent and 15 percent respecby my headquarters,” Harrell says. “I’ll be very tively—while nearly a honest with you, I don’t quarter of the electorate think anyone in this race MAYOR’S RACE 2013 remains undecided, and will work harder than me.

This is part of a series looking unlikely to break in favor No one has the energy at Seattle’s candidates for mayor. of an incumbent. for this like I do. I can SEATTLEWEEKLY.COM/DAILYWEEKLY “What we can take guarantee you that.” away from the polls is Harrell, who lives with his family in Seward Park—his daughter is a 6´1˝ that McGinn will not win. He has lost the trust of the people. He did it with the tunnel, with point guard at Cleveland High—is an eloquent calling for the takeover of the schools if things public speaker, thoughtful and often passionate, didn’t improve, and then with his squabbling particularly when the subject involves matters with the city attorney over the police issue, and of social justice. He’s performed well at candiso on,” says Harrell. date forums. Through April, he’s raised about

[

JOSHUA HUSTON

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

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news»The Daily Weekly

“We need someone who can talk to Steve Ballmer and Bill Gates, as I have done, and also be able to talk to the people you see walking by my headquarters.”

O W N

S T A R

The housing crisis may be officially over, but foreclosures continue. Two new reports make this clear, and highlight an aspect of the foreclosure wave not much discussed: Minorities have been hit especially hard.

The Rev. Lawrence Willis, president of United Black Clergy, says foreclosure is “one of the main issues” his congregation has had to deal with in recent years. To explore the trend, UBC joined the Washington Community Action Network and the Seattle King County NAACP to conduct a zip code-by-zip code analysis of foreclo-

sures in King County.

Sure enough, the findings reveal a preponderance of foreclosures in the 98118 zone, which encompasses a broad swath of South Seattle, including Rainier Valley—“an area where black folks live,” says NAACP vice-president Gerald Hankerson. According to the report, that zip code was the site of 1,179 foreclosures between 2008 and 2012.

In Tukwila and Des Moines, the 98168 and 98198 zones each saw even more foreclosures than Rainier Valley: 1,360 and 1,377, respectively, over the same time period. Both locales have a large number of minority residents, points out Washington CAN! spokesperson Rachel DeCruz.

Those south King County cities also have high levels of poverty, a point underlined by a Brookings Institute book released earlier this month, which examines the changing demographics of suburbs.

Washington CAN!, along with the NAACP and the Alliance for a Just Society, released a second report this month entitled “Wasted Wealth: The Foreclosure Epidemic, a Generational Crisis for Communities of Color.” Looking specifically at 2012 foreclosure data, that report found that in Seattle-area communities dominated by minorities, the rate of foreclosure was 11 per 1,000 households—more than twice the rate of predominantly white communities.

Of course, the housing crisis has not exactly spared whites, as the reports reveal in their discussions of homes that are “underwater” —i.e., worth less than the mortgage on them. One zip code with a high number of such homes is 98103, covering Fremont and Phinney Ridge, neither known for their racial diversity.

One third of Seattle homeowners are still underwater, according to an early-May report.

Which gets to another point its authors are trying to make. Says DeCruz: “It’s not getting better.” NINA SHAPIRO E

news@seattleweekly.com

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SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

to police accountability,” he says, “and I’m the only one pushing for it.”

As for his path to victory, Harrell says, “Getting my story disseminated, that’s key for me, and continuing to build on the hundreds of volunteers I have.” And finally, “making sure the debates are well publicized.”

Those close to the Harrell campaign say Murray is their most formidable opponent, privately complaining that the state lawmaker seldom misses a chance to take credit for the passage of Referendum 74, which legalized same-sex marriage. “We’re far ahead of most of the country on this issue. This would have happened with or without Ed Murray,” said one major donor.

Over the past couple of years, Harrell has lost a close cousin and a brother, whose daughter Monisha Harrell, a gay-rights activist, serves as his campaign manager. Harrell says their deaths have changed his outlook on life. “What it’s done is give me a sense of urgency. I don’t want to be a good mayor. I want to be a great mayor.”

Y O U R

The Dark Side of Foreclosures

W W W. Z EN I T H -WATCH ES . CO M

McGinn, he adds, is a man of small, inconsequential ideas. “He’s playing it safe now. All of his initiatives are warm and fuzzy, and have absolutely no substance to them.”

Asked what this election is most about, Harrell, who ticks off Tip O’Neill, Thurgood Marshall, and John Kennedy as his political heroes, pauses and reflects, “There is an economic divide in this city. We are a fragmented city, and if we can’t figure it out in progressive Seattle, how is the country going to figure it out?” Harrell goes on, “There are pockets of poverty and despair, while the other side of the city is going quite well. They’re making sure their kids are extremely educated. We need to build one Seattle.”

Harrell’s played a major role in a successful effort to provide 20,000 public-school students, many of them poor, with inexpensive access to computers and the Internet. As mayor, he says he’ll raise $20 million in endowment money to expand the “13th Year” program so that all graduates of Seattle public schools—not just students from Cleveland and Chief Sealth high schools—will receive, if they choose to, financial aid to attend South Seattle Community College.

He’s also pushing to overhaul the way the city uses its 25 community centers, saying their mission is outdated and should be far more involved in educational mentoring instead of installing basketball courts and ping-pong tables.

Harrell has also gained favorable attention for his public-safety initiatives, which include getting more community police officers on the streets and his call for mandatory use of body cameras on all Seattle cops. “That is the answer

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HIV’S NEW medicine. So she did.

Her dad was furious. “We never say that word,” he told Christina. “We don’t talk about it. You have a medical condition.” That became the term he always used: Christina’s “condition.”

Whatever it was, it was serious. She understood that much.

Around the same time, he told her that she was not expected to live past age 10.

Twenty-four years later, Christina Rock, very much alive, heard the news that a toddler in Mississippi had possibly been “cured” of HIV. Born with signs of onset of certain symptoms—a delayed regimen that matched the treatment guidelines in many countries overseas.

After a little under two years, researchers recorded 28 HIV transmissions between partners.

Only one came from a partner who had received immediate treatment. The conclusion: Treatment can reduce HIV transmission by an astounding 96 percent.

Scientists and public-health officials could stop debating, as they often did, whether HIV treatment or prevention was more important. The study showed that treatment is prevention.

It was supposed to continue through 2015, relates lead author Myron Cohen, a professor of medicine at the University of North Carolina.

But researchers knew they had to switch gears “as soon as we saw the results,” he says. A week later they stopped the protocol and offered all the HIV-positive participants immediate treatment.

“They were thrilled,” Cohen says. While the study had worldwide implications for treatment policies, for the couples involved it had a more personal relevance. Says Cohen: “People could have normal lives.”

NORMAL Bold words: Cutline here cutline here cutline here

C

C

» CONTINUED ON PAGE 10

Christina replied. The twins suggested that she go home and ask her father why she was taking

BY NIN A SH A PIR O

T

his development would not have been fully realized had treatment researchers been satisfied with their breakthroughs in the mid-’90s. While they stopped getting the voluminous press that had heralded the death-defying protease inhibitors, scientists plugged away at making new and ever more powerful drugs. There are now nearly 30 HIV medications.

At the same time, researchers confronted the problem of how to make the multiple-pill “cocktail” more palatable. Their solution: combining several medications into one. The research took years. Each medication had to be tested first on its own and then in combination with other medications, explains Collier. In 2006 the FDA approved the first HIV combination pill, Atripla, to be taken just once a day.

Harboview’s Celum calls this medical advance a “game-changer.” Still, a number of longtime Christina Rock herbecause they HIV patients couldn’t takewith Atripla daughter, Peyton. had developed a resistance to one or more of the medications in it during the previous decades when adherence had been such a big problem.

Christina, by then down to a handful of pills a PH Twas O the G case R AforPher.H Y B Y T day, saysO that

EGRA STONE NUESS

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

hristina Rock was 2½ years old when she first heard the word AIDS. She was playing in the sandbox at her Key West, Fla., apartment complex. A little boy was in there with her, surrounded by his toy trucks.

Other kids played nearby.

Suddenly a stream of parents appeared, snatching their children away. An older boy hovering nearby, maybe 7 or 8 years old, filled Christina in. “We can’t play with you anymore because you have AIDS,” he said.

She was far too young to know what that meant. Nor had she any idea that her mother, a gaunt heroin user, had just tested hristina Rock was 2½that yearsword old had positive for the disease, and when she first heard the word quickly leaked out at the complex, allowing AIDS. She was playing in the sandthe obvious implication to beFla., drawn about box at her Key West, apartment complex.

A little boy was in there with her, Christina’s own status. surrounded by his toy trucks. Other kids played It was 1986—the dawn of the AIDS nearby. era—anda stream the disease seemed both mysSuddenly of parents appeared, snatching away. An spreading older boy hovterioustheir andchildren unstoppable, at a ering nearby, maybe 7 or 8 years old, filled Chrisfrightening rate from lover to lover, user tina in. “We can’t play with you anymore because user, mother to child. youtohave AIDS,” he said.

SheHer was mother, far too young know what that up tearytowhen she picked meant. Nor had she any idea that her mother, a Christina up from the playground, didn’t gaunt heroin user, had just tested positive for the explain. allword the 2½-year-old knew was that disease, andSo that had quickly leaked out at theshe complex, to wasn’tallowing supposedthe toobvious play on implication the playground be drawn about Christina’s own status. anymore. She spent a lot of time indoors.

It was 1986—the dawn of the AIDS era—and Overseemed the next years, and herunstopmother the disease bothfew mysterious pable, spreading at a frightening rate from would die—although it seemed to lover Christo lover, user to user, mother to child. tina more as if the skeletal figure had just Her mother, teary when she picked up Chrisshe started takingSo a pill, tinadisappeared—and up from the playground, didn’t explain. all theAZT, 2½-year-old knew was that she wasn’t supthat sometimes left a bile-like residue posed to play on the playground anymore.

She it. in her mouth when she failed to swallow spent a lot of time indoors.

But she was 5 did would the word Over thenot nextuntil few years, her mother die—although it seemed Christina as ifby AIDS re-enter hertolife, again more spoken theneighborhood skeletal figure had just disappeared—and children.

Twin girls oneshe day started taking a pill, AZT, that sometimes left a told her she in had disease. don’t know bile-like residue herthe mouth when“Ishe failed to whatit. you’re talking about,” Christina replied. swallow But untilsuggested she was 5 that did the AIDS and Thenot twins sheword go home re-enter her life, again spoken by neighborhood ask her father children.

Twin girlswhy oneshe daywas told taking her shemedicine. had the So she did.know what you’re talking about,” disease.

“I don’t

Christina Rock contracted the dreaded virus as an infant.

Now she’s a mother of two starting the holy grail of drug regimens.

9

HIV’S NEW NORMAL

When neighbors learned Christina’s mom had AIDS, they forbade their children to play with her. Thanks to modern medicine, Christina’s own children are HIV-negative.

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

» FROM PAGE 9

10

Her dad was furious. “We never say that word,” he told Christina. “We don’t talk about it.

You have a medical condition.” That became the term he always used: Christina’s “condition.”

Whatever it was, it was serious. She understood that much. Around the same time, he told her that she was not expected to live past age 10.

Twenty-four years later, Christina Rock, very much alive, heard the news that a toddler in Mississippi had possibly been “cured” of HIV. Born with signs of the virus, the little girl had quickly been put on a regime using the latest medication, which she continued for 18 months. Then the child and her HIV-infected mother fell out of contact with their doctors. When they returned to medical care five months later, the child appeared to be free of the virus, despite the lapse in medication.

Amid the cautious optimism from scientists and the intense media interest around the world, Christina and a friend who also contacted HIV as a child decided to write an open letter to the ostensibly cured child. “Dear HIV baby,” they wrote in a blog post for the Staying Alive Foundation, an HIV-prevention initiative run by MTV. “We are hopeful that you will not have to know what it is like in the middle of the night to take HIV medications, to get kicked out of school, or have friends who will not talk to you because you have HIV,” Christina and Nina Martinez wrote. “But even if they do find that your treatment did not sufficiently make your HIV go away, we want you to know that you will still be okay.”

It was a message left out of all the breathy news coverage of a cure, which yielded the first big headlines about HIV and AIDS in years. Yet the okayness of people like Christina, contrary to every expectation when she was diagnosed, is at least as remarkable.

Today, Christina, a full-bodied woman with long brown hair, a sunny disposition, and a geeky side that finds an outlet in video games, lives with a long-term boyfriend who is HIVnegative. They have two young children, both of whom are free of the virus.

Medication has suppressed the virus in Christina’s body. And the regimen that accomplishes that—once nearly 40 pills a day—has gotten simpler and simpler. In April she started what she calls the “holy grail” of HIV drug regimens: one pill a day.

“It’s like a miracle,” says Matt Golden, director of the STD program at Public Health–Seattle & King County, marveling at the advances in HIV treatment. “There’s almost nothing in medicine that works as well as antiretroviral treatment.”

Even diabetes, to which HIV is now sometimes compared because both diseases are chronic but manageable, does not have medication as effective, Golden says. “Oral treatments of diabetes and insulin work, but the reality is that a person diagnosed with diabetes at age 35 probably does not have a normal life expectancy.”

In contrast, he says that over the past two to five years, a growing body of research has shown that people with HIV on treatment can expect a normal lifespan.

The climate could not be more different from when Christina contracted the virus. Then, researchers had no drugs at their disposal, and

On Friday, April 12, Christina took her first Stribild pill—a little nervously because she’d heard it could cause nausea or stomach problems. It didn’t.

“Now I can almost pretend like it’s a daily multivitamin.”

so little understanding of AIDS that they didn’t know it was caused by a virus. Ann Collier, who in 1986 helped found the AIDS Clinical Trial Unit at Harborview Medical Center and today directs it, says she has gone from a time “when most of my patients died to a time when my patients are living full lives—having children, moving across the country for jobs.”

It’s a reality that not everyone wants widely known, for fear that HIV and AIDS will be seen as no big deal, unworthy of taking every precaution to avoid. “I’d rather have the image out that AIDS is a terrible scourge,” says Bob Wood, Golden’s predecessor at the county

health department. As Wood points out, it is a scourge in many parts of the world, where poor access to health care and AIDS medication keeps the death toll high. Even though that is not the case in the U.S.—and implying otherwise would lead to the wrong impression about Wood himself, going strong at 70 despite having been diagnosed with HIV in 1985—he says, “I could live with that.”

Christina says she can’t. She wants people to know that people with HIV can still have a “wonderful life.” And she is part of a select group of people uniquely positioned to tell that story.

As her doctor, Harborview HIV specialist Con-

nie Celum, observes, we now have a generation of HIV babies who have grown up—“going through adolescence, becoming sexually active, making decisions about having children”—with the virus in the background the entire time.

Says Christina: “HIV is all I’ve ever known.”

C

hristina answers the door to her Bothell apartment on a late April day, her 29th birthday, wearing jeans, a ponytail, and a shirt resembling a poncho. Her 9-month-old daughter, Peyton, is taking a nap. Her blond son, Hayden, zooms around the apartment with the restless energy of

LAST WEEK TO BUY

COURTESY OF THE FAMILY

Christina and her boyfriend Rob moved to Bothell earlier this year. Rob says he is probably more likely to get in a car wreck than to contract HIV.

“Then I got kicked out,” he says. The problem, he explains: “I would go skiing every January for a week or two, and while I was skiing, I didn’t like waking up to take pills.”

It was the nausea induced by AZT that Roy Arauz, a Seattle graphic designer and head of a small theater company called Arouet, couldn’t stand. “I never threw up so much in my life,” he says. After only about a week of that, he says, he decided to stop taking the drug. “I’d rather die,” he says he thought. But both he and Wood managed to stay alive until new drugs were developed in the mid-’90s.

Young Christina kept up the regimen, though.

She says her dad told her she was “lucky” to have medicine, that dying kids in Ethiopia would “love” to have such drugs. “At one point, it gave me a complex,” she remembers. Guilt-ridden, she thought maybe she should pack up her medicine and send it to Africa.

Plus, her dad told her he sacrificed a lot to get her the medicine. He said he left his job as a cook at a Polynesian restaurant because it didn’t offer health insurance, and the only way to afford her pills was if they were on Medicaid. (She has relied on some form of government health assistance ever since. Even now, although she is insured through her partner, she uses the state’s AIDS drug-assistance program to pay for pills that cost more than $44,000 a year.)

It wasn’t until her teenage years that Christina began to rebel against the treatment. Ironically, she was taking far more effective drugs by then.

In 1996, scientists introduced so-called “protease inhibitors” that, when taken in combination with other HIV drugs, were a major step toward controlling HIV. The anti-AIDS “cocktail” dramatically cut the death rate. By 2001, BaileyBoushay House in Madison Park, founded to serve AIDS patients with a nursing home and outpatient unit, started to see something new, according to executive director Brian Knowles: empty beds. Throughout the ’90s, by contrast, Bailey-Boushay’s 35-person nursing home typically had seen an AIDS patient die every day.

Immediately, the bed of the deceased would be filled by someone on the waiting list.

Like AZT, though, the cocktail caused side effects. Collier ticks off a few: “nausea, diarrhea, numbness of the mouth.” So, she says, AIDS

» CONTINUED ON PAGE 12

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SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

a toddler but settles down to cartoons on the TV. She seems like any stay-at-home mom, except for the spare furniture that hints at the new life she is building here. In February, Christina and her partner Rob Walker, an information systems manager at Sharp Business Systems in Redmond, moved to the area from Indianapolis for Rob’s job.

Settling into a seat at a table off the kitchen, Christina explains that her mother, Elizabeth, a onetime waitress, house-cleaner, and heroin user in Key West, probably got AIDS from a dirty needle. She goes to get some pictures of her mom. One shows a young woman in a jean jacket, her full, smiling face looking much like Christina’s. That was before AIDS. A later picture shows an ill woman with hollowed cheekbones and stringy hair.

Christina can barely remember her. A few months after Elizabeth’s AIDS diagnoses, she left for a hospice (or perhaps some other type of institution) and didn’t come back.

In the years that followed, living with her dad, Christina unwittingly began her own fight against HIV. Every few hours she had to take a dosage of AZT, even in the middle of the night. “There were always alarms going off in the house,” she recalls.

AZT came on the market as an HIV drug in 1987. In her Harborview office, the longtime AIDS researcher Collier explains what a breakthrough moment that was. “It wasn’t a cure,” Collier says. AIDS patients continued to die on AZT, she recalls, leading doubters to speculate that the drug, not the disease, was killing them.

Yet to researchers like Collier, she says, AZT “was the first sign that you could make a dent in this virus.”

Even so, scientists’ understanding of AZT was limited. In the early days, Collier explains, they didn’t have a technique for measuring how much of the drug was in a cell, and they thought—incorrectly, it turned out—that a dose of AZT lasted only about four hours. Hence the constantly ringing alarm clocks at homes like Christina’s.

The regimen proved too much for some patients—including Wood, who had recently begun to head the AIDS program at the county health department. Wood recalls that he was part of an early AZT study run by Collier’s unit.

11

HIV’S NEW NORMAL » FROM PAGE 11

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

E

12

ven while all this was going on, HIV did not define Christina’s life. For one thing, she had other problems. Beginning when she was 7, she says, she was molested by a friend of her dad who lived with them. She believes he knew she had HIV. Because her dad had lost his driver’s license at one point, the man would drive them to Christina’s medical appointments. And yet he continued abusing her until she was 12.

Not long after, she told a school nurse that she wanted to leave Florida and live with an aunt and uncle in Massachusetts. She says she didn’t talk about the molestation, instead citing her dad’s overdrinking and pot smoking. Christina got her wish. In Massachusetts, she eventually told her aunt about the sexual abuse, which led to an investigation in Florida. In 2000 the man was sentenced to life in prison.

Given what she went through, she says she was “disgusted” by guys as a teen. So she wasn’t too distraught when her aunt told her that due to HIV, she shouldn’t have sex with anyone, ever.

But like most high schoolers, she developed crushes. And at 15, a boy named Patrick let her know that he liked her too.

She waited about four months to tell him she had HIV. “We weren’t doing anything that would put him at risk,” she says. Still, she wanted him to know. So, hiking in the woods one day, she launched into what would become her standard speech of revelation, which went something like this: “You know how I said my mother died of pneumonia? Well, that’s true, but she that’s because she had AIDS.” Then she got to the bottom line: Her mother had passed HIV on to her.

“He was completely bawling,” Christina recalls. It wasn’t that he thought he might be at risk; he thought she would die. She reassured

Christina’s mother, a heroin user, died of AIDS when Christina was a toddler, leaving her father to raise her.

COURTESY OF THE FAMILY

patients often had to take more drugs to counter those effects. In the end, many patients had a staggering number of drugs to swallow. Collier says, “That was when adherence became a huge issue.”

In high school, Christina says, she was supposed to take 39 pills a day, if you counted all the smaller tablets she would make from one chalky “horse pill” of a protease inhibitor called Videx that she couldn’t swallow whole. Seventeen pills in the morning, 22 in the afternoon: “I’d literally take one after another,” she says. “It was horrible.”

The grueling regimen and the nausea weighed her down. So, starting when she was about 16, she gradually opted out. “There’d be a day I felt I needed to not be sick. I had something going on in the evening.” So she skipped her pills that day.

“I’d feel great.” Then she started to skip several days at a time, hiding the untaken medicine in baggies throughout her room.

Eventually she started to feel not so great.

Home sick one day roughly a year later, she headed to the kitchen to make herself something to eat and passed out, falling downstairs and knocking out a front tooth. At the hospital, doctors took a T-cell count—a crucial indicator of HIV’s damage to the body since T-cells are vital for immunity. A count less than 200 earns one a diagnosis of AIDS. Christina’s was 74.

him as best she could and they stayed together a couple more months. When they broke up, HIV wasn’t the cause, she says. And she quickly found another boyfriend, telling this one about her status before they started dating. It wasn’t a big issue since they didn’t have sex. They stayed together 15 months.

In other words, despite HIV, her high-school dating experience was pretty run-of-the-mill.

And that remained true even in college, when sex entered the picture.

She became a student at the University of Massachusetts at Lowell and recovered from the low T-cell count that had led to her AIDS diagnosis a few years earlier. (Unlike HIV itself, the immunodeficiency syndrome it causes can be reversed with modern medicine.) After her collapse, her medical providers had held a “come to Jesus meeting” with her, she recalls, explaining that since she’d taken her medicine only intermittently, the virus had developed a resistance to the drugs. Christina had to switch a whole new set of drugs. The upside was that the new regimen was less grueling, encompassing maybe 10 drugs a day. She took them, building her T cells back up, 10 or 20 a month, over the next few years.

Yet Christina often felt isolated at college.

Administrators, declaring her the first student with HIV at the school, decided it would be better if she had a dorm room to herself, rather than sharing one as most freshmen did. Still, she reconnected with her old boyfriend Patrick, who was going to school nearby.

“At that point, I wanted to get it over with,” she says of sex. She practiced using a condom

with a banana. He did some online reading about HIV. Otherwise, she says, “We didn’t overthink it too much.”

It would not be exactly right to say that Christina’s relatively normal dating life is typical of people with HIV. Christopher Tolfree, a psychotherapist who has worked for more than 25 years with HIV patients, much of that time at Seattle Counseling Service, says he’s heard “conflicting things” from his clients. Some tell him that potential dates, if HIV negative, “won’t have anything to do” with a person with the virus. “For others, it’s no problem,” Tolfree says.

Arauz, 45, has also seen it all. While single for a period of five or six years, the gay theater-company owner says, “I was turned down many times because I was positive.” He says he heard that when he walked into a bar, men would say “Oh yeah, he’s dirty.” He says that’s the way people talk about it: “clean” and “dirty.” “Please be clean,” ads on gay online sites will say.

Because of that kind of response, Arauz says he knows some HIV-positive people who only date others who are positive. In the early days of the virus, HIV professionals pushed so-called “serosorting” as the best way of containing it.

The Cuff, a gay club on Capitol Hill, has long hosted “POZ” nights for HIV-positive men to meet each other. Arauz rejects that mindset as “marginalizing.” And despite the rejection he sometimes faced since being diagnosed in 1992, he has had two longtime partners who are HIVnegative, including the man he has now been with for six years.

Tolfree says that of late he’s been seeing more couples with mixed HIV status at Seattle Coun-

“At that point, I wanted to get it over with,” she says of sex. She practiced using a condom with a banana.

He did some online reading about HIV. Otherwise, she says, “We didn’t overthink it too much.”

seling Service. He adds that part of what reassures them is the new research that’s come out in the past couple of years.

He’s referring to a much-heralded study published in The New England Journal of Medicine in 2011. Part of a long-term research project that is still ongoing, the study followed 1,763 couples of mixed HIV status—mostly heterosexual—in nine countries, many of them in Africa. The

SEATTLE WEEKLY HIV-positive partner in half the couples received medication right away. In the other half, the positive partner got treatment only after the onset of certain symptoms—a delayed regimen that matched the treatment guidelines in many countries overseas.

After a little under two years, researchers recorded 28 HIV transmissions between partners. Only one came from a partner who had received immediate treatment. The conclusion: Treatment can reduce HIV transmission by an astounding 96 percent. Scientists and publichealth officials could stop debating, as they often did, whether HIV treatment or prevention was more important. The study showed that treatment is prevention.

It was supposed to continue through 2015, relates lead author Myron Cohen, a professor of medicine at the University of North Carolina.

But researchers knew they had to switch gears “as soon as we saw the results,” he says. A week later they stopped the protocol and offered all the HIV-positive participants immediate treatment.

“They were thrilled,” Cohen says. While the study had worldwide implications for treatment policies, for the couples involved it had a more personal relevance. Says Cohen: “People could have normal lives.”

T

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his development would not have been fully realized had treatment researchers been satisfied with their breakthroughs in the mid-’90s. While they stopped getting the voluminous press that had heralded the death-defying protease inhibitors, scientists plugged away at making new and ever more powerful drugs. There are now nearly 30 HIV medications.

At the same time, researchers confronted the problem of how to make the multiplepill “cocktail” more palatable. Their solution: combining several medications into one. The research took years. Each medication had to be tested first on its own and then in combination with other medications, explains Collier. In 2006 the FDA approved the first HIV combination pill, Atripla, to be taken just once a day.

Harboview’s Celum calls this medical advance a “game-changer.” Still, a number of longtime HIV patients couldn’t take Atripla because they had developed a resistance to one or more of the medications in it during the previous decades when adherence had been such a big problem. Christina, by then down to a handful of pills a day, says that was the case for her.

In 2011, another once-a-day pill came out; in 2012, yet another. It’s the latest pill, Stribild, that Christina resolved to try after moving to Seattle, starting up with a new doctor and discovering she wasn’t resistant to any of the Stribild medications.

On Friday, April 12, Christina took her first Stribild pill—a little nervously because she’d heard it could cause nausea or stomach problems. It didn’t. “Now I can almost pretend like it’s a daily multivitamin,” she enthused a couple of days later.

How do you talk about these developments?

That depends, to some extent, on your generation, says psychotherapist Tolfree. “The older generation worked very hard to survive, to get people to buy into treatment,” he says. “If I’m 60 years old and I lost 80 percent of my friends

and three partners,” he continues, then the news of a once-a-day pill does not suddenly make everything “hunky-dory.” He says anybody who suggests as much may find themselves faced with “anger and rage.”

Then there are the ramifications for public health. “I think it’s really important how we spin these things,” says Wood, the former health department official. That conversation has been going on since the early days of AIDS. Wood recalls that in 1994, when there was concern about health-care workers being exposed to HIV, researchers realized that a month-long course of treatment would dramatically reduce the chance of an infection taking hold. Harborview set up a program to deliver such prophylactic treatment, one that still exists today.

“But we decided not to market it,” Wood says, explaining that health officials were afraid that people would freely take risks if they knew they could use the Harborview program as a backup.

People started to take more risks anyhow after the well-publicized arrival of protease inhibitors in the late ’90s. The county health department’s STD clinic began seeing more gay men involved with multiple partners and having unprotected anal sex. The number of new HIV and AIDS infections in the county correspondingly bumped up at times over the ensuing years: Between 1999 and 2000, for instance, confirmed cases of either HIV or AIDS in King County rose from 328 to 445. New diagnoses, as well as sexual risk-taking, have plateaued since then. The county reported 276 cases in 2011, according to the health department’s latest epidemiology report.

“Above all, you have to be honest,” says Golden, the current head of the county’s STD program. That means the message about HIV has to be “more nuanced,” he adds. Even with normalizing treatment available, he says nobody wants a disease that requires them to take medicine for the rest of their lives.

Yet, rather than scaring people with nowoutdated pictures of emaciated AIDS patients, his department is focusing advertising on encouraging people to get tested. The current “Find Your Frequency” campaign, run by the state and local health departments, including King County’s, asks people to determine how often they should get tested by considering what risk factors they might have.

Golden often meets directly with people who have tested positive, and it is then, he says, that he will stress the positive information, like the fact that they can expect a normal lifespan. “All those things you were thinking about doing, you should still think about doing,” he says he tells them.

Christina, however, says she feels that the dominant image of HIV is still overpowering, dread-inspiring negativity—one that she, unlike Wood, believes is bad for public health. She argues that if people think that HIV means they’ll never have anybody in their life again, that their life is essentially over, then they’ll be too scared to get tested.

So about 10 years ago, she started doing public speaking with an organization that seeks to portray uplifting messages about HIV, called Hope’s Voice. Only in recent years, however, has Christina’s life taken its most uplifting turn.

13

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HIV’S NEW NORMAL » FROM PAGE 13

R

ob Walker was an Air Force veteran studying for a Ph.D. in astronomy at the University of Oklahoma when he started looking for his half-sister, born after his parents had divorced and his mom had moved to Key West without him. Walker, talking over lunch one day near his office in Redmond, wearing a crisp white shirt, tie, and glasses, says he was worried about how his sister was faring in a city known for its drug and alcohol culture.

It was the beginning of the aughts, and Rob turned online to pursue his search. Through Yahoo! Messenger, he began to send inquiries about his sister to people whose profile said they lived in Key West. He came upon Christina’s. She was then living in Los Angeles and working as a technical writer, but hadn’t yet updated her profile.

Rob messaged her. She explained that she had moved, but offered to ask her dad, still in Key West, to look up Rob’s sister in the telephone directory. Rob and Christina started chatting online, and kept in touch after Christina’s dad found a number. She told Rob about living with HIV. The experience struck a chord.

“It wasn’t like I was an outcast growing up, but I wasn’t a super-popular kid,” Rob says. His mother’s departure, and what he says were her problems with alcohol and drugs, weighed on him.

Christina, who liked math and science, had always had a weakness for nerdy guys. When she said she admired the 13th-century mathematician Fibonacci, who developed a sequence of numbers mirrored in biological patterns, Walker confessed that he too was a fan. “That’s when I knew that I wanted to get to know him better,” Christina says.

Rob was interested, but held back. He says it wasn’t because she had HIV. Having done some reading and talked to a friend of his in medical school, he surmised that his risk of infection, should their relationship develop, was low if they took precautions—particularly since it’s less likely for a woman to pass HIV to a man than the other way around. What made him hesitate was their age difference: 12 years. He says he didn’t want to be the older man.

In the spring of 2009, after years of periodic on- and offline conversations, Christina decided to take a leap. A musician they both liked was playing in Indianapolis, where Rob had moved to be near an ailing grandfather. “Listen, no expectations,” she says she told him, “but if I fly in for it, do you want to go to the concert?” He did.

“It was completely awkward for about a minute,” she recalls. And then, she says, “it was awesome.”

As for HIV, Rob says, “We had talked about it so much for years. It wasn’t like it was the elephant in the room . . . Mainly I cared about her as a person, not about what disease she might have.”

They carried on a long-distance relationship for five months before Christina was laid off from her job in L.A. She moved to Indianapolis. There she and Rob faced a situation feared by every couple dealing with HIV: a condom break. Making the matter worse, Christina had been off her medication for a few months due to the move and the ensuing hassle of finding (and paying for) new medical care. She says she was so worried about infecting Rob that she’d forgotten about the more mundane potential consequences of a broken condom. But while the virus wasn’t transmitted to Rob, Christina did become pregnant.

COURTESY OF THE FAMILY

FULL SERVICE REPAIR

Rob trick-or-treating with Hayden.

Christina says she feels that the dominant image of HIV is still overpowering, dreadinspiring negativity—one that she believes is bad for public health.

She got back on medication pronto. Long before the groundbreaking study revealing treatment’s role in preventing transmission within couples, scientists had realized that HIV drugs radically reduced the likelihood of spreading the virus from mother to child. The 1994 discovery— by researchers at Seattle Children’s Hospital, among other places—has almost stopped the birth of HIV babies in the U.S. (although not completely, as the “cured” HIV baby from Mississippi shows). That’s certainly been the case at Seattle Children’s. According to infectiousdisease specialist Lisa Frenkel, the hospital has seen no cases of mother-to-child transmission in nearly 20 years.

So the chance that Christina would replicate the story of her own birth by passing on the virus her mother had given her was slim. Still, she and Rob worried. “In the back of my mind, I thought something could always go wrong,” Rob says.

Doctors tested Hayden as soon as he was born in the fall of 2011. They found that the little boy

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n May 1, Christina pushes a double stroller into a Bothell medical clinic. After Hayden, she and Rob decided to have another child,

figuring that the risk from unprotected sex was low as long as Christina was on medication. The result: 9-month-old Peyton, who up until now has checked out as free of HIV. This morning, the baby has a routine well-baby visit, her first locally.

“Any particular issues or concerns?” the young, bespectacled doctor brightly asks, scanning the paperwork Christina has filled out. Christina brings up a little congestion that blonde, cherubic Peyton has been having. They discuss whether bronchitis might be an issue.

Looking back to the forms, the doctor then asks, in the same bright but matter-of-fact voice: “Who in the family has HIV?” Christina raises her hand. “I assume you were on antiretrovirals when you were pregnant?” the doctor queries. Christina indicates she was, and fills the doctor in on the HIV tests Peyton has taken so far.

The entire HIV discussion lasts about one minute. “All right,” says the doctor, turning to the computer. “I’m going to take a peek at the growth chart here.” Then they discuss Peyton’s healthy size, her babbling, her ability to crawl and grasp at toys, and a benign pink mole on the her forehead. The doctor looks Peyton over on the exam table.

“All good, my dear,” she says, gently lifting Peyton up. “She looks great!” she reaffirms to Christina. And then, the sun blazing outside, Christina takes the kids to a playground. E

M UM

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HOUR 2013

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

did have HIV antibodies in his system, but that was normal for kids born to positive mothers.

Christina could be expected to pass on the virusfighting proteins. More important, the test found that he was free of the virus itself. To be safe, doctors gave Hayden a six-week course of AZT. They tested him again at two months and at 18 months—the last time definitively pronouncing him clear of HIV. Christina, who has blogged on and off about her experiences with HIV, posted the news online. Rob says the post set off alarm bells with his parents, who were concerned that Hayden would be isolated if Christina’s situation was known. “I was really mad,” Rob says. “I told my parents, ‘I’m not going to teach my kids to be afraid of their mother.’ ” Nor, he says, was he going to make her HIV into a “huge secret.”

Rob has taken AIDS tests himself periodically.

He admits that the first time, early in his relationship with Christina, he was “really nervous.”

He got a clear bill of health, as he has every time since. And so his worries have faded, if not entirely disappeared. “I think about my kids,” he says. “We’re a single-income family. I’d hate to have something happen to me. But you know, I could get into a car wreck. That’s probably more likely than getting HIV.”

15

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There’s something about the Web that makes everyone an expert, that levels all opinions into a babel of arguing voices. The cacophony feeds on itself; between all the comment trolls and flamewars, you just want to unplug your computer and never venture into an Internet forum again.

Then there are the few tech savants who aren’t just blowing hot air and spewing bile, those who came from the back end where code is written.

Jaron Lanier is such a guy: a computer scientist who went rogue, as it were, with his 2010 manifesto You Are Not a Gadget, which promoted “a new digital humanism” to check our heedless embrace of technology. Now he’s back with Who Owns the Future? (Simon & Schuster, $28), a book more concerned with the industry than with the consumer. In particular, he’s worried about data-mining by Facebook, Google, and others. Our every browsing and shopping choice is being monitored both with and without our consent. He calls those unseen snoops “Siren Servers,” which entice us with porn or coupons or celebrity gossip. And we willingly compromise our privacy; we go to these sites for entertainment or cheap shoes. Moreover, those doing the data-harvesting aren’t Ukrainian hackers looking for credit-card numbers. They’re big companies enmeshing themselves in the tiniest, most personal aspects of our cyber-lives. In an interview, Lanier recently worried that “the future will be narrowly owned by the people who run the biggest, best-connected computers.” Changing your browser settings may not be enough to prevent it.

JONATHAN SPRAUGE

Siren Servers

FILM

Lost and Found Footage

Making short films through what she calls the Oregon Department of Kick Ass, Vanessa Renwick is a veteran artist with a broad portfolio including documentaries, re-edits of archival footage, and purely experimental cinema. Some of her footage is new—like Trojan, an eerie,

Underrated by other critics because they haven’t had as many bicycles stolen as I have, Tim Burton’s 1985 road-trip movie Pee-Wee’s Big Adventure brought Paul Reubens’ cable-TV man-boy character to the big screen in all his adenoidal glory. Resolutely presexual, Pee-Wee lusts only after his tasseled one-speed cruiser, pursuing his purloined bike across the Southwest.

The whole thing is a kind of goof on De Sica’s Bicycle Thieves, but it’s more surrealist than neorealist—Burton makes America just as weird and plastic as his hero’s underdeveloped yet overgrown imagination. Pee-Wee’s cartoonish quest takes place in an oddly pliable world where his singleminded hunt begins to look like high principle.

(Rated PG. Runs through Thurs.) Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $6–$8. 7 p.m. BRIAN MILLER

The star of Renwick’s Trojan.

lovely profile of the doomed, decommissioned nuclear plant of that name in northern Oregon.

To an electronica score by Sam Coomes (of Quasi), we see glimpses of the cooling tower through trees, car windows, and chain-link fences. It bathes in a sunset’s glow by the Columbia, implacable, like the monolith from 2001. Then finally it’s imploded in slo-mo, and the landscape returns to its proper order. Renwick uses entirely archival footage in Britton, South Dakota, which becomes a collective portrait of the town through the chubby, innocent faces of its children, filmed by some forgotten

BRIAN MILLER

mon/6/3 POLITICS

ARTS OREGON DEPARTMENT OF KICK ASS

The Searcher

Ave., 267-5380, nwfilmforum.org. $6–$10.

8 p.m. BRIAN MILLER

Egyptian, 805 E. Pine St., 324-9996, siff.net. $10–$12. 6:30 p.m. (Also 4:30 p.m. Monday.)

Full House

Since its 2010 conversion from an old, empty federal brick-pile, the Inscape Arts Building has steadily amassed a colony of painters, sculptors, photographers, and designers. Their disciplines range from fine arts and engineering to nonprofit arts advocacy. Each summer the collective opens its doors to the public for a peek inside. At today’s Summer Arts Festival, nearly 50 craftspeople will showcase their work, including resident painter Tracy Boyd. “I have participated in all of the building’s open houses and had interesting conversations with all kinds of people,” she says. Besides art and conversation, there will be live music, a mini–film festival, and HP Smoke House’s barbecue food truck to sweeten the deal. Inscape, 815 Seattle Blvd. S., 257-3022, inscapearts.org. Free. Noon–6 p.m.

GWENDOLYN ELLIOTT

SIFF

The Mighty Middle

Robert Reich is pretty much a guaranteed

sellout when he comes to Seattle, last visiting three years ago with his book Aftershock, the

Culture Clash

Mayors aren’t typically elected or rejected based on their stance on the arts. It’s usually a matter of policing, trash pickup, and snow removal. So unless someone goes way off-script, you probably won’t see any campaigns implode when the seven remaining mayoral candidates converge tonight to discuss Seattle’s cultural community. But with millions of dollars in funding at stake, few people have a bigger impact, year by year, on Seattle arts than the big cheese in City Hall. Seattle was the first city to adopt a one-percent-for-the-arts ordinance, in 1973, to bankroll cultural advancement here. And after an early, public flap with MOHAI, incumbent Mike McGinn has been getting some of his best press on cultural initiatives: He’s put $7 million toward renovating Building 30 at Magnuson Park for offices and artists’ studios, and he just announced a $500,000 arts-education initiative. He also facilitated getting KEXP and the Chihuly Museum into Seattle Center, bolstering that city property’s cultural currency (and profitability). It will be on his serious contenders—Ed Murray, Peter Steinbrueck, and Bruce Harrell—to find chinks in the armor at Town Hall. Or maybe they’ll find a clever way to guide the conversation toward police reform.

(KUOW’s Steve Scher will moderate.)

Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. Free. RSVP recommended. 7:30 p.m. DANIEL PERSON

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

FILM

home-movie enthusiast during the ’30s. Ivan Besse’s droning organ music almost suggests church hymns; you realize most of these children are now dead or soon bound for funerals. The Portland director will attend this presentation, and the evening also provides a launch for her new three-hour DVD compilation, North South East West. Northwest Film Forum, 1515 12th

sun/6/2

Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. BRIAN MILLER

fri/5/31

Lanier wants you to watch your data.

basis for Jacob Kornbluth’s new documentary Inequality for All. The interim has given Reich more time to reflect on the 2008 subprimemortgage bubble and the 1928 stock-market crash. The prior two market peaks demarcate a data set that he repeatedly compares to a bridge (the film is full of graphics that illustrate his argument). In the long, suspended middle, the American middle class thrived, says Reich, the Berkeley prof who served as Secretary of Labor under Clinton. Tax rates were higher, unions protected our skilled manufacturing jobs, and the U.S. was relatively insulated from foreign competition. That all changed during what we now call the Reagan Era, but Reich doesn’t blame tax cuts alone for the new inequality. Tech, globalization, financial deregulation, and lack of educational investment have also eroded the middle class.

Joining Reich in his analysis, which includes a handful of recession-impacted family profiles, is Seattle entrepreneur Nick Hanauer.

Both argue for policies that would restore the middle class. “They are the job creators,” says Hanauer. “We need to replace trickledown economics with middle-out economics.”

17

arts»Visual Arts

Out of Focus

The Henry’s survey show offers many big photographers, little insight.

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

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n early March, a week after I toured the Henry’s Out [o] Fashion Photography: Embracing Beauty with its curator, NYU’s Deborah Willis, a huge Garry Winogrand retrospective opened at the San Francisco Museum of Modern Art. The too-prolific Winogrand (1928–1984) was no fashion photographer, but he had an eye for beautiful women, usually snapped on the street. The Henry owns many Winogrand prints, and Willis has selected seven images from his Women Are Beautiful series, most from the ’60s. Winogrand’s women seem to be caught unawares and unposed; there’s a “natural” snapshot aesthetic in his work that belies all the planning behind the lens. He had to stalk his subjects, then choose the right balance between naturalism and unrehearsed grace. It’s like waiting for the smile without actually saying “Smile!”

I mention this connection, three months later, because the Willis selection made me want to go see the San Fran show; but then I got too busy with SIFF, and it closes this weekend. And the frustration of Willis’ show, through packed with great images, is her thesis-driven mix of more than 50 disparate artists. You get tantalizing bits—but never enough—of Winogrand, Warhol, Nan Goldin, Imogen Cunningham, Diane Arbus, Cindy Sherman, André Kertész, Lee Friedlander, our own Edward S. Curtis (for ethnographic value) . . . the list goes on and on. The show has about 100 images from the Henry’s holdings and related UW collections.

As Willis writes in her catalog: “Using a variety of artistic and theoretical positions about beauty, I argue for a diverse reading that challenges conventional perspectives on identity, beauty, and cosmopolitanism. Through the themes of idealized beauty, the unfashionable body, the gendered image, and photography as memory, the exhibition explores the complexity of reading photographic images in the twentyfirst century.” That’s quite an agenda, and Willis actually reaches back to the 19th century to support it.

Her keywords, in person and in print, tend toward construction, diversity, and complexity.

The Native Americans whom Curtis admiringly posed in ahistorical dress and settings now appear to us in carefully constructed images: formal and dignified. There’s no less work involved for Curtis than Winogrand’s on-the-fly aesthetic of chic and casual. Cecil Beaton’s 1930 glamour portrait of Marlene Dietrich—a famous perfectionist about her image—suggests even more work, and retouching, in the studio and darkroom. It’s all an act. It’s all an art. Artifice.

No photo is ever natural, no matter how much we associate the medium with truth.

Willis seeks to “challenge conventional perspectives on beauty” with some unlikely juxta-

IRVING PENN/HENRY ART GALLERY

BY BRIAN MILLER

Fonssagrives as Penn’s knowing muse.

positions: Bruce Davidson on the Civil Rights era, Dorothea Lange on the Great Depression, some videos and non-photographic displays. But the connection seems forced, and her thematic groupings—Imagined Identities, Fashioning the Body, The Speculative Pose—are no more convincing. Her ideas don’t come through, and no one artist gets a chance to shine.

Yet in a show with so many distinguished, familiar names, there are discoveries to be made.

Here’s a portrait of collectors/donors Elaine and Joseph Monsen, so crucial to the exhibit and the Henry as a whole, by Arnold Newman.

And there’s a fascinatingly dense 1948 crowd scene, Muscle Beach, by Max Yavno, a California photographer unknown to me. It’s a giddy postwar moment full of action and faces, bodies glistening in the sun. The shutter has frozen what seems a story in motion, with kids playing, gawkers gawking, and a woman being tossed high in a joyous lift. You could say these guys are striving to be beautiful as they build their biceps and pecs, but that idea is buried in the teeming tableau.

My second favorite image is nakedly commercial yet winkingly intimate: Irving Penn’s 1950 fashion shot of the famous model Lisa Fonssagrives. Married soon after (a love match that lasted until her death), they collaborated on many a Vogue spread, and theirs was a working relationship—equal colleagues in the beauty industry. Fonssagrives (1911–1992) looks right back into the lens: at Penn, at us shoppers. The roses on her elbow may be silly; the Lafaurie wrap dress and bustle may be dated; but what I love is the partnership expressed, the acknowledgement of shared process. It’s the opposite of Winogrand’s later street grabs of anonymous, unwitting lovelies. Here we see the model’s absolute calculation, her knowing pose. She’s smarter than the show and most of the other photographs around her. E bmiller@seattleweekly.com

HENRY ART GALLERY UW campus, 543-2280, henryart.org. $6–$10. 11 a.m.–9 p.m. Thurs.–Fri., 11 a.m.–4 p.m. Wed. & Sat.–Sun. Ends Sept. 1.

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

Stage OPENINGS & EVENTS

THE A/V CLUB David Nance’s improv comedy sets high-

schoolers (as in The Breakfast Club) commenting on a bad movie (a la MST3K). Eclectic Theater, 1214 10th Ave., 800-838-3006, brownpapertickets.com. $10–$15. 10:30 p.m.

Fri., May 31–Sat., June 1.

HOMEBODY The New City Ensemble presents Tony Kushner’s play. New City Theater, 1404 18th Ave., 800-8383006, newcitytheater@comcast.net. $15–$20. Opens May 30. 8 p.m. Fri.–Sat. Ends June 22.

IN THE LAND OF RAIN & SALMON Stories and oral histories in this theatrical adaptation of the book Family of Strangers: Building a Jewish Community in Washington State. Co-produced by the Washington State Jewish Historical Society and Book-It Repertory Theatre.

Langston Hughes Performing Arts Center, 104 17th Ave. S., 774-2277, wsjhs.org. $18–$36. 2 p.m. Sun., June 2.

KING’S WISH Teatro ZinZanni’s weekend kids’ show stars Caspar Babypants and a cast of jugglers, acrobats, and more. Teatro ZinZanni, 222 Mercer St., 802-0015, dreams. zinzanni.org. $19–$24. Opens June 1. 11 a.m. Sat. & some Sun. Ends June 30.

JEN KIRKMAN Chelsea Lately ’s Kirkman has taken the road less traveled—a child-free life. This decision sparked a book: I Can Barely Take Care of Myself: Tales From a Happy Life Without Kids. Re-bar, 1114 Howell St., 233-9873, rebarseattle.com. 7:30 p.m. Fri., May 31.

MURDER ABBEY Kate Hess plays all the parts in this murder-mystery spoof of a certain popular PBS costume drama. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $10. 8 p.m. Wed., May 29.

OTHER DESERT CITIES A daughter’s frank memoir roils her conservative family in Jon Robin Baitz’s drama. ACT Theatre, 700 Union St., 292-7676. $41 and up. Previews begin May 31, opens June 6. Runs Tues.–Sun.; see act theatre.org for exact schedule. Ends June 30.

SKETCHFEST A month of comedy from a dozen or so ensembles, including the Pork Filled Players and Ubiquitous They. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, sketchfest.org. $10. Opens May 31. 7 & 8:30 p.m. Fri.–Sat. Ends June 29.

TALL SKINNY CRUEL CRUEL BOYS WET premieres Caroline V. McGraw’s tale of a professional clown, which “weav[es] fantasy, clown, and puppetry with brutal reality.” The Little Theatre, 608 19th Ave. E., 325-5105, washingtonensemble.org. $15–$25. Preview May 30, opens May 31. 7:30 p.m. Thurs.–Mon. Ends June 24.

TENNESSEE WILLIAMS ONE-ACTS Six of them, presented by the UW School of Drama. Penthouse Theatre, UW campus, 543-4880. $10–$20. Previews May 29–30, opens May 31. Runs Wed.–Sun.; see drama.washington. edu for exact schedule. Ends June 9.

THE VAUDEVILLIANS At the Cornish Playhouse at Seattle Center, Major Scales and drag queen extraordinaire Jinkx Monsoon star as Kitty Witless and Dr. Dan Von Dandy, 1920s performers frozen and then thawed back to life in this comic revue. Seattle Center, 800-838-3006, brown papertickets.com. $10–$25. 7:30 & 9:30 p.m. Sun., June 2.

role of Velma Kelly, one of the two bombshells in Kander and Ebb’s Chicago. She leads Village Theatre’s fine cast: As Roxie Hart, Taryn Darr balances trashy and adorable as adroitly as she handles Kristin Holland’s razzmatazz choreography; Timothy McCuen Piggee has plenty of serpentine moves to match his portrayal of snake-in-thegrass lawyer Billy Flynn; and Shaunyce Omar brings a dazzling vocal versatility to Mama Morton, from puma-inheat growls to a full-on Jennifer Hudson. Still startlingly cynical after all these years (and an Oscar-sweeping movie), Chicago believes in nothing—not motherhood, justice, patriotism, or religion—except showbiz, so appropriately this production seems to have poured the most money into Karen Ann Ledger’s lavish, scrumptious costumes. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $24–$63. Runs Tues.–Sun.; see villagetheatre.org for exact schedule Ends July 28.

FELA! “He was Africa’s James Brown, its Bob Marley, its John Lennon”—he is Fela Kuti, and this is the 2010 Tonywinning musical experience based on his life. Director/ choreographer Bill T. Jones puts the audience inside the Nigerian icon’s personal entertainment compound. We hear his rousing protest songs from the late ’60s right up until his death from AIDS in 1997. Part sex, part history lesson, and wall-to-wall-to-roof-raising song and dance, it’s the jukebox musical as performance art. STEVE WIECKING The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $20–$85. 7:30 p.m. Wed., May 29–Fri., May 31; 2 & 8 p.m. Sat., June 1; 1 & 6:30 p.m. Sun., June 2.

GREY GARDENS Based on the 1975 documentary about Jackie O’s relatives who lived in a decrepit Long Island mansion. Doug Wright’s book for this 2006 musical does what the Maysles brothers could not: We get to see the lofty roost from which the Beale/Bouviers fell to earth.

The music—score by Scott Frankel, lyrics by Michael Korie—is full of haunting contrasts between the frivolous then and the fallen now. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, $55–$77. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends June 2.

THE LANGUAGE ARCHIVE Julia Cho’s play explores love and communication. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattle publictheater.org. $15–$30. 7:30 p.m. Thurs.–Sat., 2 p.m.

Sun. Ends June 9.

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THE NEVERENDING STORY Journey with Atreyu in this

stage adaptation of Michael Ende’s novel. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $13–$17. 7 p.m. Fri.–Sat., 2 p.m.

Sun. Ends June 2.

TEATRO ZINZANNI: LUCKY IN LOVE The spiegeltent becomes Casino ZinZanni in this Vegas-themed show.

Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up.

Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Sept. 8.

THE TWILIGHT ZONE: LIVE! Schmeater’s annual revisit to the land of Serling, with three new stage adaptations of the original TV scripts. Theater Schmeater, 1500 Summit Ave., 800-838-3006, schmeater.org. $15–$18. 8 p.m. Thurs.– Sat. Ends June 15.

ZOOMAN AND THE SIGN Charles Fuller’s drama about a murder in an African-American neighborhood. Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 800-8383006, brownpapertickets.com. $15–$20. 7:30 p.m. Thurs., plus Fri., May 31. Ends June 6.

Dance

PACIFIC NORTHWEST BALLET Two Balanchine classics

(Agon and Diamonds) and a premiere by Christopher Wheeldon in this “Director’s Choice” program. McCaw Hall, Seattle Center, 441-2424, pnb.org. $28–$173. Opens May 31. 7:30 p.m. Thurs.–Sat., plus 2 p.m. Sat., June 1 and 1 p.m. Sun., June 9. Ends June 9.

Classical, Etc.

UW CHOIRS The University Chorale and Chamber Singers

present music by Bernstein, Tormis, and others. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Wed., May 29.

SEATTLE SYMPHONY Smetana, Beethoven (the Violin Concerto with soloist Alina Ibragimova), and Dvorak.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19–$112. 7:30 p.m. Thurs., May 30, 8 p.m.

Sat., June 1, 2 p.m. Sun., June 2.

UW BANDS Bernstein, Ives, Milhaud, and much more.

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

• BAINBRIDGE SYMPHONY A premiere by composer

Brett Kroening, plus music by Conus, Hindemith, and Weber. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $16–$19. 7:30 p.m. Fri., May 31, 3 p.m. Sun., June 2.

INTERNATIONAL MUSIC AND ORGAN FESTIVAL Five recitals of church music: not just the organ, but choirs and handbells too. May 31 at Trinity United Methodist Church; 6512 23rd Ave. N.W.; the rest at University Temple United Methodist, 1415 N.E. 43rd St. See utemple.org for full info. Donation. 7:30 p.m. Fri., May 31, Sat., June 1, Fri., June 7, Sat., June 8; 10:30 a.m. Sun., June 2.

JOYFUL! NOISE From this choir, music from films. Seattle First Baptist Church, 1111 Harvard St., 800-838-3006, joyful noiseseattle.org. $15–$20. 8 p.m. Fri., May 31.

UW GUITAR ENSEMBLE Debussy, Franck, and more.

Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Fri., May 31.

UW MALLETHEAD SERIES Jazz takes on ‘60s faves.

Meany Studio Theater, UW campus, 543-4880, music. washington.edu. $12–$20. 7:30 p.m. Fri., May 31.

CASCADIAN CHORALE In “Far From Home,” music of travel and exile. St. Thomas Episcopal Church, 8398 N.E. 12th St., Medina, cascadianchorale.org. $12–$17. 7 p.m.

Sat., June 1.

SEATTLE MODERN ORCHESTRA From Seattle’s most ambitious group, showcasing the high-modernist music practically no one else touches, works by Kurtag, Xenakis, and co-director Jeremy Jolley. Chapel Performance Space, 4649 Sunnyside Ave. N., seattlemodernorchestra. org. $10–$20. 8 p.m. Sat., June 1.

SEATTLE PEACE CHORUS Performing Canto General, Mikis Theodorakis’ setting of poems by Pablo Neruda.

Town Hall, 1119 Eighth Ave., seattlepeacechorus.org. $18–$25. 7:30 p.m Sat., June 1 & June 8.

UW GOSPEL CHOIR 100 strong, led by Phyllis Byrdwell.

Meany Hall, UW campus, 543-4880, music.washington. edu. $10–$15. 7:30 p.m. Mon., June 3.

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• SEATTLE SYMPHONY NEW-MUSIC READINGS

First hearings of works by UW students Douglas Niemela and Jeff Bowen, followed by a panel discussion: an incomparable opportunity for developing composers., seattlesymphony.org. Benaroya Hall, 200 University St., seattlesymphony.org. Free. 3:30 p.m. Tues., June 4.

NOWING S LEA

Look at our view!

CURRENT RUNS

Moses’ 1722-set farce about the intrigue surrounding an open Kapellmeister post. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends June 15.

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.

CAPTAIN SMARTYPANTS The Seattle Men’s Chorus’ offshoot comedy troupe sends up ghost stories in “Tales from the Pants.” Erickson Theatre Off Broadway, 1524 Harvard Ave., 388-1400, captainsmartypants.org. $25.

8 p.m. Fri., 7:30 & 10 p.m. Sat. Ends June 1.

CHICAGO If you were casting a Carol Burnett biopic, it’s unlikely you could do better than Desireé Davar, who looks a lot like her and belts tunes in that same dusky alto. Not so much the CBS Saturday-night Burnett, that is, but the late-career, been-around-the-block Sondheim interpreter Burnett—which makes Davar excellent in the

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

•

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DEEP Part of the 2013 ries Se T ER NC CO ER AT W Sponsored by

SIFF Week 3»Picks and Pans Wednesday, May 29 P 7 Boxes 6 P.M., SIFF CINEMA UPTOWN

Thursday, May 30 The Summit 6:30 P.M., SIFF CINEMA UPTOWN

Terms and Conditions May Apply 6:30 P.M., PACIFIC PLACE

Taken as a whole, this Monet of a documentary leaves a terrifying impression of an odious Facebook Industrial Complex that has destroyed our privacy. It begins by parsing the fine print we all accept when setting up social-media accounts, and ends somewhere in the Utah desert at a secret government data farm. Director Cullen Hoback samples damning public statements from the gods of Silicon Valley and hops among continents to interview an eclectic set of experts, including Ender’s Game author Orson Scott Card, Wired editor Chris Anderson, and even

Moby (?!?). It’s all meant to buttress his argument that corporations and governments have used our wired (and wireless) world to destroy civil liberties.

Leavened with many pop-culture references, this must be the most interesting doc ever made about user-agreement contracts. But back to Monet. Under close examination, many of the film’s details are vague blotches, not fine points. Even the most attentive viewers may struggle to recall the exact significance of “the third-party doctrine” as it pertains to Google and the Fourth Amendment, despite all these smart people telling us it’s very important. And while the U.S. government is certainly guilty of obfuscating what liberties it takes with our data, Cullen is stronger with the allegations than the clarity. After seeing Terms and Conditions, you’ll probably find yourself thinking twice about your next Google search and Facebook status update. You just won’t know exactly why. DANIEL PERSON (Also 3:30 p.m. Fri., May 31, SIFF Cinema Uptown.)

P Computer Chess 7 P.M., SIFF CINEMA UPTOWN

Andrew Bujalski filmed Computer Chess on the same antiquated video gear that news crews used in 1980, when his film is set. The retro technology is crucial to this charming, subtle, and unexpectedly entertaining feature. Shot with modern cameras, a story about programmers wheeling their bulky computers into a hotel conference room for a computer-chess tournament would seem like hindsight, tending toward irony or parody. Rendered in black-and-white analogue video, acted with true conviction, Computer Chess is so deeply immersed in its milieu that it feels like a documentary. And like a great doc, it is at times tense and uncomfortable to watch. The stakes are high for the programmers. The winner of the competition receives $7,500—20 grand in today’s money!—and a match against Pat Henderson (Gerald Peary), a braggart chess master who hosts the annual tournament. But much more’s at stake. As the programmers talk about their work, the possibility of artificial intelligence and the very meaning of life are dis-

cussed—as are the implications of their work for the military-industrial complex. Not that it’s all serious.

Bujalski’s programmers are nerds, after all, and their idiosyncrasies are delightful. As the chess weekend wears on, a winner is crowned, but that seems beside the point. Things get weird, and the film takes a Lynchian turn that might test your patience. Even so, it still feels too real to ignore. MARK BAUMGARTEN (Also 4:30 p.m. Fri., May 31, Harvard Exit.)

P It’s All So Quiet 9:30 P.M., SIFF CINEMA UPTOWN

With spoilers just a Google search away, there are no movie secrets anymore, but still I don’t think I should say much about the main narrative thread of this Dutch drama. (Nanouk Leopold directs this adaptation of Gerbrand Bakker’s novel.) Figuring out what’s going on, decoding the details, is one of its chief pleasures. And anything as crude as a plot recounting seems disrespectful of its subtleties—a violation. Helmer runs a small dairy farm, but most of his time is taken up by caring for his bitter, bedridden father. Then other things happen. I will say the neighbor kids are adorable; the lambs even more so; the film ends the way you hope it will; and Jeroen Willems (a Dutch star who died unexpectedly in December) is terrific as Helmer. It’s not really all that quiet; thanks to him, this is a film in which the act of not talking to someone packs the emotional punch of a Puccini death scene. GAVIN BORCHERT (Also 1 p.m.

Fri., May 31.)

Friday, May 31 Full Circle 2 P.M., SIFF CINEMA UPTOWN

From Quartet to A Late Quartet to The Best Exotic Marigold Hotel, senior citizens are having their moment at the cinema. Let the youngsters watch Hulu on their smartphones; the over-60 set still prefers traditional moviegoing. Also, boomers can clearly see the future—and they don’t want to be

Full Circle: Jolly geezers await the American remake!

shipped off to the old folks’ home. It’s not so different in the China of director Zhang Yang, where a cheerful band of geezers breaks out of their institution to go on a road trip. Their goal is a televised talent show on which they hope to perform. One of their routines involves dressing up as domino tiles; another is a cute multi-mirror pantomime act. Fine, we know what we’re in for. The plucky, self-reliant seniors overcome one obstacle after another. Family rifts are healed.

A grandson tags along. There’s even a strict nurse who, yes, inevitably softens to her escaped charges.

I have a particular dislike for Zhang’s SIFF-approved sentimentality (Shower, Quitting), and his penultimate tears-at-sunrise scene is a monument in kitsch. (“I don’t want to leave this world filled with regret!”)

Still, the movie’s not much worse than our own geezer-com genre; and an American remake would be a no-brainer. What’s Wilford Brimley doing these days?

BRIAN MILLER (Also 7 p.m. Mon., June 3.)

Big Joy: The Adventures of James Broughton 6 P.M., SIFF CINEMA UPTOWN

“Follow your own weird.” “I believe in ecstasy for everyone.” “When in doubt, twirl.” These pearls of breathtaking insight and wit came from the pen of poet/filmmaker James Broughton, subject of Stephen Silha and Eric Slade’s doc. Born in Modesto, Calif., Broughton came of age in the bohemian San Francisco newly liberated by the end of World War II. Time spent in England resulted in his avant-garde short The Pleasure Garden, acclaimed at Cannes; he returned to SF to find the Beats in full flower. From there he blithely rode every zeitgeisty wave, through the Summer of Love and into the years of Gay Lib, as an elder statesfaerie. Pioneer or opportunist?

Prescient genius or one of the most adept coattailriders in American cultural history? I suspect the

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

Only a few Seattle climbers have seen the top of K2, Everest’s less-traveled little brother in Pakistan, which has a staggering 1:4 ratio of deaths to summit attempts. In 2008, as was widely reported, 11 mountaineers perished in a cascade of bad judgment and warm-weather-caused icefall on the 8,000-meter peak. Nick Ryan’s documentary uses re-enactments, fresh interviews, and some original footage to chronicle that calamity, with emphasis on Irish alpinist Gerard McDonnell. This story here is not quite Into Thin Air, and the conflicting testimony among several nationalities and expeditions is not a model of clarity.

Nobody can agree on a central narrative as the fixed lines are severed by a massive icefall (caused by global warming? No one uses the term) that strands McDonnell and others on the deadly descent. There is no central, reliable Krakauer-style narrator on the mountain. As a result, sober analysis of the incident gives way to teary testimonials—padded with the story of Italy’s first ascent of K2 in ’54—in an avalanche of sentiment. As on Everest in ’96, climbers were suckered by fair weather, then stunned by its reversal. All their costly preparations couldn’t match their harsh, lofty objective, notes the late, legendary Walter Bonatti: “Only the mountain attains perfection.”

BRIAN MILLER (Also 1 p.m. Sat., June 1, Harvard Exit.)

SIFF

This is the story of a seemingly unremarkable teen named Victor (Celso Franco) who wants to rise above his station in life, which happens to be as a delivery boy in a Paraguayan market. The first step toward fame and fortune, he believes, is acquiring an expensive camera-phone so he can make movies. The only problem is that Victor is poor; then circumstance puts a $100 payday within his reach. All he has to do is wheel the titular cargo around the marketplace. It is, of course, not that simple. Victor soon finds himself fleeing angry thugs and avoiding capture by the police. He proves elusive, inventive, and, to the film’s benefit, quite likable. Comparisons to Slumdog Millionaire are unavoidable, but 7 Boxes is much more gritty and believable than Danny Boyle’s tale of class jumping in India. The chase scenes are sometimes more gripping, too—even though most involve a wheelbarrow. Directors Juan Carlos Maneglia and Tana Schémbori succeed in creating a thriller that doesn’t need a big budget or Hollywood flash to create suspense. Will Victor get his money? And what’s in those boxes anyway? You’ll stick around to see.

MARK BAUMGARTEN (Also 4 p.m. Thurs., May 30.)

» CONTINUED ON PAGE 22 21

SIFF Week 3»Picks and Pans » FROM PAGE 21 or “fit in” the dominant culture. Instead, it’s about a young man learning to make his own way in the world. If you can’t escape, you adapt. And that takes courage too. BRIAN MILLER (Also 9:15 p.m. Mon., June 3, Pacific Place.)

latter, judging from his twee, nursery-rhyme-scented poems and dismayingly dated, emptily self-indulgent shorts. (Despite his prolificacy, the clips shown here suggest that he’ll be remembered in cinema history primarily as the father of Pauline Kael’s daughter.) He married costume designer Suzanna Hart in 1962 but left her for poet Joel Singer in 1975 after three days of sex in a hotel room in Pennsylvania, an epiphany for him but an embittering blow to Hart—curiously strong reactions both, since Broughton had already had flings with both genders for decades. From then to his death in 1999 (in Port Townsend!), his work seems to consist of little else but talking about those three days. Affectionately researched and crafted, Big Joy ’s sole but serious flaw is that it doesn’t make the case that its subject merits the attention. GAVIN BORCHERT (Also 1:30 p.m. Sat., June 1, Pacific Place.)

Putzel 5:30 P.M., KIRKLAND

AP/HBO/DEAN BLOTTO GRAY

P The Crash Reel

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

9:30 P.M., HARVARD EXIT

22

Saturday, June 1 P A Respectable Family 8:30 P.M., SIFF CINEMA UPTOWN

It’s remarkable how Iranian cinema continues to produce works of social and political commentary in the face of censorship, harassment, and worse.

A Respectable Family quite cleverly twists a dark family melodrama into a conspiracy thriller, but under the nicely turned tangles of the genre is a sour look a corrupt business culture profiting from a pose of patriotism and piety. Arash, a scholar who fled Iran after the revolution, returns as a visiting professor but avoids his estranged father (a ruthless profiteer during the Iraq War) and mercenary half-brother (now running the family business) until his father is on his

deathbed and his nephew reaches out. This isn’t about healing old wounds or coming to terms with his past, however. This is all manipulation and intimidation and power play. Expatriate Arash, a stranger to the shadows of modern Iran, is the innocent abroad.

Massoud Bakshi makes a more than respectable debut with this compelling film, appropriating the conventions of the contemporary Western psychological thriller for a bitter political critique, yet it still packs the gut-punch of a wicked crime drama. No surprise that the film has yet to play its home country.

SEAN AXMAKER (Also 4 p.m. Tues., June 4.)

Prince Avalanche 9 P.M., SIFF CINEMA UPTOWN

After his extended flirtation with Hollywood comedies, David Gordon Green gets back to the basics with this modest, warmhearted tale of two guys on a rural road crew who paint traffic lines and pound roadside posts along winding forest roads in 1988 Central Texas. (It’s a remake of the Icelandic Either Way, seen at SIFF last year.) Paul Rudd is the senior partner in this odd couple, embracing the solitude and peace of the job while professing his commitment to the girl he left behind. Emile Hirsch is the little brother of his lady love, hired as a favor—even though he’d rather be partying in the city. It’s a year after forest fires tore through the area, and there’s a ghost-story quality to the film, a sense of loss and disconnection that extends to the relationships that get talked about instead of lived. Green combines the comic warmth and buddy-film fun of Pineapple Express with the more laconic, musing quality of his early regional indies (George Washington, etc.). This is a modest, pleasant short story with two characters who provide good company. Sometimes that’s all you need for a movie. By the way, that’s our own Lynn Shelton (Touchy Feely) as the voice of Rudd’s unseen girlfriend.

SEAN AXMAKER (Also 4:30 p.m. Tues., June 4.)

Jump 9:30 P.M., HARVARD EXIT

It’s New Year’s Eve, and Greta Feeney wants to die.

Standing atop a bridge in Derry, this young, sad Irish girl (Nichola Burley) relates her troubled life: Her mother died of an OD when she was a kid, and her dad is a creep. She says she feels nothing and wants peace. Given that scant information, director Kieron J. Walsh asks us to care about Greta’s ultimate fate as Jump careens through an evening of revelry and

The Crash Reel: Pearce before his fall.

violence, following the tangled lives of a half-dozen lowlifes: Greta’s two party-girl friends, who can’t find her to celebrate the new year. Two hapless hitmen trying to retrieve some lifted loot that belongs to Greta’s dad, a local crime boss played with disgusting splendor by Lalor Roddy. And the grief-stricken Johnny (Richard Dormer), haunted by—and blackmailed for—his unintentional killing of a kid whose brother (Martin McCann) wants to avenge his death.

The film’s cavalcade of characters and overabundance of happenstance recalls the fun-but-frivolous world of a Guy Ritchie film. The problem with Jump is that Walsh wants desperately for us to empathize with his characters, yet he asks us to laugh as they’re batted about. In an attempt to serve these two masters, the film lands in limbo. MARK BAUMGARTEN (Also 3:30 p.m. Sat., June 1, and 8:45 p.m. Wed., June 5, Kirkland.)

Sunday, June 2 P La Playa, D.C. 10:30 A.M., HARVARD EXIT

SIFF is always a great chance for armchair travelers to learn about foreign cultures. Did you know there’s an Afro-Colombian population living high up in Bogotá, far from the beaches of the Caribbean?

Teenaged Tomás is one of three brothers who moved to the mountains with his mother, now remarried to a white Colombian. She has a new baby, there’s a family quarrel, and Tomás finds himself out on the street. There, too, are his brothers: drug-addict Jairo and street hustler Chaco, recently deported from the north and desperate to return. He dresses like a b-boy, identifying with black American culture.

He hates Bogotá and its racism, telling Tomás, “All these years here, and you still don’t recognize we’re the dogs?” Meanwhile, artistically inclined Tomás dreams of their lush old home on the river. He learns a trade, razoring intricate designs into the fade haircuts of his fellow Afro-Colombians. These have a folkloric tradition dating to slavery days—at least in the telling of director Juan Andrés Arango, who mostly maintains a dry, Bressonian tone in relating Tomás’ story. La Playa, D.C.—a neighborhood in Bogotá—never suggests that Tomás will prosper

SIFF

Another excellent documentary from HBO, directed

by Lucy Walker (Waste Land, Devil’s Playground), this should be required viewing for all young snowboarders—or anyone fond of extreme sports. The 2009 half-pipe accident of X Games champ Kevin Pearce was national news, coming soon before the Vancouver Olympics where his rival, Shaun White, would win a second consecutive gold. Pearce suffered a devastating head injury—the sort of TBI we now associate with NFL hits and IEDs. Almost every moment of Pearce’s sports career was documented on video; adding to that trove, Walker was granted intimate access to the Pearce family during Kevin’s long, partial rehabilitation. “You need to be prepared that the Kevin who comes back is not the same Kevin,” a brain specialist tells his father, noted glass artist Simon Pearce. (Kevin’s health insurance is never discussed, but he clearly has more resources than other young athletes met in the film.) White, who sits down for a sympathetic interview, is hardly the great nemesis here. He and Pearce were competitors pressured to take—and who profited from taking—ever-greater risks in pipes with 22-foot walls.

Corkscrewing up in the air, they’re four stories above a hard, icy surface. Physics explains the rest. Walker does sometimes tip toward the maudlin: Pearce has a brother with Down syndrome, and his family stages an intervention to stop him from snowboarding again. (He does, and even visits our Mt. Baker ski area.) But those are quibbles. The doc reminds you of Kübler-Ross’ five stages of grief: Pearce has to go through something like that to reconcile his old and new selves. BRIAN MILLER (Also 1:15 p.m. Sun., June 2, Egyptian.)

Jason Chaet’s romantic comedy shows an abiding love for the delicatessens of New York. Walter (Jack Carpenter) is the hapless yet lovable heir to his family’s smoked-fish shop in Manhattan. Putzel—“little putz” in Yiddish—isn’t the most endearing nickname, but it suits his humble vision of running the store (not to mention that he’s terrified to leave the Upper West Side). When his uncle Sid (John Pankow) agrees to sell the business to Putzel and move to Phoenix, Putzel thinks his future is secure. But when the married Sid becomes involved with the beautiful dancer Sally (Melanie Lynskey) and decides to stay put, Putzel is cast into crisis. Carpenter’s portrayal of this guilt-ridden, family-centric New York Jew is convincing, bittersweet, and (of course) peppered with self-deprecating humor. Though enriched by Pankow’s vacillating Sid and Susie Essman as Sid’s sympathetic wife Gilda, Putzel follows a predictable rom-com formula. Yet Putzel’s encounters with the mysterious Sally—with whom he becomes entangled—are surprisingly fresh. And for those of us pining for Manhattan scenery, hungry for a real New York bagel with lox, Putzel satisfies quite nicely.

GWENDOLYN ELLIOTT (Also 4:30 p.m. Mon., June 3, Harvard Exit and 1 p.m. Fri., June 7, Pacific Place.)

Between Valleys: Vicente and son.

P Between Valleys 8:30 P.M., HARVARD EXIT

Split into two stories with two differently named protagonists (played by the same actor, Ângelo Antônio), Between Valleys turns out to be a unitary depiction of Brazil’s haves and have-nots. The intersection between them is a vast garbage dump where impoverished gleaners sort through the stinking mounds, searching for recyclables to sell. It’s where we meet the bedraggled Antônio and first encounter the prosperous Vicente, who’s trailed by a young son. As the movie alternates between the two men, you fully expect that director Philippe Barcinski will eventually reconcile his heroes, and he does. This isn’t a metaphysical tale like Kieslowski’s The Double Life of Veronique. Rather, it’s a simple kind of parable about how a guy—an economist, who helps finance garbage dumps—can lose it all; and about how a lost soul, scavenging at the dump, can be redeemed with a few kind human gestures. Shot by the great

TickeTs available aT www.cinerama.com

cinematographer Walter Carvalho, Between Valleys has a dreamy, wide-aperture haze to it, which suits the blurred identities of Antônio/Vicente. He’s a bit of a ghost, wandering through a purgatory of trash.

Barcinski repeatedly returns to the landfill model built

subtitles never give you a simple “mother” or “father” to track; and as teenage Xiao Yang meanders through Taipei on his scooter with various friends, you have no idea where he’s headed or why. Stick with it, though, because the movie has its

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by the father and son; there Vicente places two tiny human figures for scale. In life, too, the film reminds us how we are very, very small. BRIAN MILLER (Also 4:30 p.m. Mon., June 3, Harvard Exit.)

Monday, June 3 P Flicker 6 P.M., KIRKLAND PERFORMANCE CENTER

Together 8:30 P.M., KIRKLAND PERFORMANCE CENTER

This gentle, humanist slice of life from Taiwanese director Hsu Chao-Jen is initially quite hard to follow.

You’re not sure who’s related to whom, who’s married to whom, or whom the main story’s about. The

rewards. Chief among these is the vivacious Sonia Sui as Lily, a human tornado who astonishes everyone with the declaration that she’s about to marry Haru, a meek collector of books and old hi-fi sets.

What is she thinking? To print the wedding invitations, she turns to her old friend Bin (Kenny Bee), the married father of Xiao Yang. That impish kid is caught up in the crushes and romantic entanglements of his older sister and schoolmates, repurposing love notes among them, seemingly oblivious to the discontents of his parents. (Lieh Lee plays mother Min Min, who pals around with an exuberant tailor next to her fruit-juice stand.) Everyone here seems caught up in good-natured quarrels; and Together is full of comic misunderstandings (for us too). Yet there’s late-night melancholy as Bin plays the accordion in his printing shop. His family never eats at the same table.

And the moral to the story? Sometimes one couple has to break up for another to get together, which Hsu treats not as tragedy but as ordinary life. BRIAN MILLER (Also 3:30 p.m. Tues., June 4, Pacific Place.)

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Tuesday, June 4 Unhung Hero 6:30 P.M., PACIFIC PLACE

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During those late, lonely nights, do Internet images of Rocco Siffredi and James Deen make you feel inadequate? Have you shaved your pubes to look larger?

Have you tried pills and the pump? Whidbey Island native Patrick Moote understands your fears, and his small penis size—according to his ex-fiancée—is the starting point for this not-entirely-comic documentary. Like Morgan Spurlock or George Plimpton before him, Moote makes himself subject to first-

» CONTINUED ON PAGE 24

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The title event, a power outage that strikes the Swedish town of Backberga, takes only a few moments of screen time in Patrik Eklund’s comedy, but the effects are far-reaching. We follow the twining stories of various employees of Unicom, the company responsible: a nebbishy mid-level drone (his running gag, funnier than it ought to be, is IT problems), a phobic janitor, a smarmy exec, and the two linemen present at the power station when it blew. (Perfect casting of these two for an English-language remake: Chris O’Dowd and Simon Pegg.) One character mentions the year as being 2011, but it all looks like 1985; the computers are those ugly beige boxes. As a matter of fact, pretty much everything is beige—you could read Flicker as a satire of the drab conformity of the Swedish social-welfare state if a corporation weren’t the villain. As the story unfolds and an underground cell of guerrilla anti-electricity activists pops up, more and more serio- is added to the -comic until we’re in Coen Brothers territory (make that Cøën). One quote might exemplify the film’s sideways sense of humor: A man who loses his pet tarantula in the blackout is comforted, “I’m sure there are other spiders out there for you.” GAVIN BORCHERT (Also 9:30 p.m.

Thurs., June 6, SIFF Cinema Uptown and 9 p.m. Sun., June 9, Egyptian.)

Together: Sui in an atypically somber moment.

23

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» FROM PAGE 23

The Hunt: Mikkelsen (standing) is reviled by his townsfolk.

person indignity in the service of, well . . . is this a legitimate issue or merely a shaggy story? Regardless, the L.A.-based comic/actor subjects himself to various humiliating efforts at self-enhancement.

Trailed by director Brian Spitz, he seeks several experts and visits foreign cultures to assess why ours has come to judge male (and female) measurements so unforgivingly. This is not an agenda doc, and Moote doesn’t go deep—sorry!—into the social sciences during his quest. But he’s a good listener as Dan Savage and other experts consider our increasingly pornified culture, which makes both sexes neurotic about body image. One urologist tells him, “The average penile size is between 4–6 inches, unstretched.” Moote never shows us his member, but we can all relate to the fear of being measured.

BRIAN MILLER (Also 4 p.m. Wed., June 5.)

American Revolution. Now it’s the inspiration for her film, but the original show’s notions of American identity and modern art are fairly inaccessible here.

In a garbled fashion, Improvement Club retells the origins of Gloria’s Cause from the ensemble’s point of view. The plot loosely hangs on Hanson’s promise to the group that the show will run in New York. Already struggling with difficult material, the avant-garde performers—also playing themselves—grapple with whether or not to carry on when the deal falls through. Scenes unfold through snippets of rehearsals, performances, and after-parties, which are slightly interesting in a peripatetic, Linklater-esque way. But the more the film lurchingly attempts to weave a narrative out of its many layers, the more confounding it becomes. For all her talents, the multi-hyphenate Hanson exhibits few of them within her tale. She leaves the bulk of the action to her cast members, awkwardly confined to caricatures of themselves. In such a deliberately crafted vessel with so much heart, it’s a shame Hanson couldn’t find a cinematic form for the language she speaks so fluently onstage. GWENDOLYN ELLIOTT (Also 4 p.m.

Wed., June 5, Harvard Exit.)

P The Hunt 7 P.M., HARVARD EXIT

The title is perfectly appropriate to Thomas Vinterberg’s study of how rumors and fear create self-righteous hysteria. Mads Mikkelsen (currently playing a serial killer on TV’s Hannibal) is a committed and compassionate preschool teaching assistant under suspicion of sexual abuse after a misunderstanding. Vinterberg’s script stacks the deck by leaking what should be a quiet initial police investigation. This inflames the community, where Lucas is simply assumed to be guilty and treated like a convicted war criminal somehow free on a technicality. Vinterberg works in the same key of personal transgression and raw, inchoate emotion that made The Celebration so effective, and not just in the townsfolk. Mikkelsen’s abused innocent responds with an equally valid fury of betrayal by onetime friends and slips into a kind of martyred masochism. Even in the escalation, Vinterberg never forgets the little girl whose innocent outburst started it all. The adults won’t explain a thing, but she figures out it’s her fault. Her slide from sunny affection to anxiety, dread, and guilt are as piercing and honest as anything created by Mikkelsen. Vinterberg traffics in primal emotions. Nobody is left untouched here, least of all the audience. SEAN AXMAKER (Also 4 p.m. Thurs., June 6, SIFF Cinema Uptown.)

Improvement Club 7 P.M., SIFF CINEMA UPTOWN

Local choreographer Dayna Hanson’s 2010 production Gloria’s Cause was an interpretive vision of the

Closed Curtain 7 P.M., EGYPTIAN

Iranian director Jafar Panahi makes his second secret movie while under house arrest and being legally forbidden from producing films. Shot in his villa on the Caspian Sea, this is not an essay like This Is Not a Film. For all its ruminations and commentary, this most clearly is a film. A writer (Kamboziya Partovi, Panahi’s co-director) furtively takes refuge in a seaside villa with his dog, now outlawed under Islamic law, when a suicidal young woman suddenly joins him. She’s escaped from what sounds like the security forces of a police state swarming unseen just outside the walls. It’s all very allegorical; then the woman tears off the blackout curtains from the windows and the film goes through the looking glass as Panahi himself enters. These characters are a bit too spot-on as stand-ins for an internal debate (hole up and hide out, or open the windows wide?) and as ghosts of films unmade, even as Panahi blurs reality and fiction. But they are oddly effective as they stake out their own identities in this understated portrait of an artist who refuses to give in. They help him continue the dialogue. SEAN AXMAKER (Also 8:30 p.m.

Sun., June 9, SIFF Cinema Uptown.) E

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life are her parents: Julianne Moore plays the mother, an irresponsible singer trying to revive her career; Steve Coogan plays the father, a sarcastic art dealer.

They’re splitting up, and Maisie (Onata Aprile) is the club with which they can hammer each other. The fact that Maisie’s nanny ( Joanna Vanderham) has moved in with Dad gives Mom an excuse to retaliate with an abrupt marriage to a genial bartender (Alexander Skarsgård of True Blood) in her bohemian circle. The audience is quick to spot how these younger stepparents behave more lovingly toward the kid than her own flesh and blood does.

It is hard for Julianne Moore to do wrong; here, however, her character’s nuances are entirely expected. Coogan is excellent in an unusual role for him, as he takes his smarmy comedy persona and grounds it in real-world character. That’s McGehee and Siegel’s design: The parents are terribly selfish people who do rotten things, but time is taken to establish their genuine love for Maisie. In a better movie, this might count as complexity, but here it feels more like a blueprint carried out.

Fittingly, this drama’s urban landscape consists of a series of indistinct exteriors and generic rooms, as though we’re seeing things through Maisie’s unworldly perspective. It makes sense that the two young surrogate parents are so ideal—prettier and more fun than the real parents—if what’s onscreen is a child’s wish fulfillment about her uncertain place in the world.

What Maisie Knew contains devastating scenes, as would any movie about a child in this situation. Perhaps only later do such effects feel calculated, which is somehow more irritating in a film that strives to look uncalculated. What does Maisie know? More, probably, than this well-meaning project can acknowledge, which is finally its greatest shortcoming. ROBERT HORTON E

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“Freedom” is jaw-dropping. Most of the old TV clips are engrossing—in particular, performances RUNS FRI., MAY 31–THURS., JUNE 6. of “Thirsty Boots” by Eric Andersen, “I Ain’t NOT RATED. 92 MINUTES. Marchin’ Anymore” by Ochs, “Night in the City”

by Joni Mitchell, and “Turn Turn Turn” by Seeger Laura Archibald makes revolution look easy. In and Collins. Archibald also does a fine job the Canadian director’s paean to the counterculexplaining the folk boom, from Woody Guthrie ture that bloomed in early-’60s Greenwich Vilto Harry Smith’s Anthology of American Folk lage, the enemies are all external, the intentions Music to the hugely influential ’50s folk group of the young are all unassailable, and the polemthe Weavers. ics that flow from the mouths of the poets and The film’s pivot point is the 1961 confrontafolk singers are the natural-born truth, delivered tion in Washington Square from Mother Earth to the after the city outlawed bohemian soul via the holey singing on Sundays. Yet the soles of their worn leather scene’s internal conflicts are boots. missing here. Dylan, in parOf course, it wasn’t that ticular, gets a pass: There’s easy. As we know from more no discussion of his possible satisfying chronicles of the appropriation of other arttime—Martin Scorsese’s ists’ work, no mention of his Bob Dylan doc, No Direction tumultuous times with Joan Home, or the Phil Ochs– Baez (who’s strangely absent focused There But for Fortune, from the doc). Archibald for instance—the Village was basically ignores the comlike any other community, Seeger is among ing of rock. Only during filled with acrimony, poputhe pantheon of the the final credits do we witlated by winners and losers.

Greenwich Village ness Seeger railing against (This is the same setting for folk revival.

Dylan’s electric-guitar the Coen brothers’ acclaimed apostasy. But that’s another new Inside Llewyn Davis, due movie. MARK BAUMGARTEN in December.)

To her credit, Archibald’s scope is much wider than a portrait of any single artist. Her doc isn’t What Maisie Knew OPENS FRI., MAY 31 AT SUNDANCE CINEMAS. a revisionist history, just a reductive one that RATED R. 98 MINUTES. reflects its subjects’ self-serving memories.

Luckily, it’s an entertaining roster she has The most famous children to spring from the gathered. Pete Seeger, Kris Kristofferson, Peter pen of Henry James are the brother and sister Yarrow, the Simon sisters, Judy Collins, and from The Turn of the Screw, that celebrated many more tell anecdote after anecdote of an and oft-filmed ghost story. The young heroundeniably fascinating moment in American ine of James’ What Maisie Knew is about to culture, accompanied by grainy old footage of receive her most prominent film exposure, protests and performances. The doc’s portrait albeit in a setting the author could not have of Richie Havens, the recently deceased singer/ imagined. Directing team Scott McGehee songwriter, is alone worth the ticket price. He and David Siegel (The Deep End) place the provides one of the most succinct definitions of 1897 novel smack in the 21st-century urban folk music I have heard, and his performance of jungle. Here, the ghosts in 6-year-old Maisie’s

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film»

BY BRIAN MILLER

Local & Repertory THE FIFTH ELEMENT Luc Besson sure gives you a

lot to look at in his 1997 sci-fi tale, which stars Bruce Willis and Milla Jovovich. What it all means is a different matter. Still, Besson never fails to put the money on screen, and he also invested in a solid supporting cast that includes Ian Holm, Gary Oldman, and ... Luke Perry? Well, it was the ‘90s, after all. (PG-13) Central Cinema, $6-$8, May 31-June 5, 9:30 p.m.

GHOSTS OF PIRAMIDA This music doc follows the Danish band Efterklang to an abandoned Russian mining town, where members record ambient sounds and create new sonic textures from the rusting metal machinery. From that, they record their new album Piramida. (NR) Northwest Film Forum, $6-$10, Sun., June 2, 7 & 9 p.m.

JAVA HEAT Oh, Mickey Rourke, what are you doing? Our favorite half-deaf wrestler takes a turn as Indonesiabased terrorist in this new thriller, in which a slain politician’s daughter is kidnapped, and an American security agent (Kellan Lutz) seeks to find her. (R) Grand Illusion, $5-$8, May 31-June 2, 9 p.m.

TRUFFAUT: • JEAN-LUC GODARD AND FRANÇOIS The epitome of FRENCH NEW WAVE MASTERS

New Wave pop art romanticism, the 1965 Pierrot le Fou is as evocative of its epoch as a Warhol or a Beatles album. Pierrot was partially inspired by the script for Bonnie and Clyde, which had been sent to Jean-Luc Godard, and is almost linear—at least for J.L.G. Made in the middle of Godard’s greatest period, it’s a grand summation of everything he’d achieved since Breathless—collage structure, autonomous sound, interpolated set pieces—as well as his version of a location thriller. Shot in wide-screen and saturated primary colors, mainly in the south of France, Pierrot looks sensational—as does Godard’s thenwife, Anna Karina, who, even as she captivates and abandons co-star Jean-Paul Belmondo, is herself the movie’s documentary subject. Karina’s insouciant grace and spontaneous outbursts parallel that of the film: Culturally, Pierrot le Fou is all over the map, juxtaposing Sam Fuller (in his celebrated party scene) with Federico Garcia Lorca, the war in Vietnam, and Auguste Renoir. (“Let’s go back to our gangster movie,” Karina tells Belmondo after an idyll on the beach.) Few films have ever been more hostile to Americans and more devoted to their cars. Pierrot is hardly devoid of Godardian misogyny, but whatever personal bitterness infuses the filmmaker’s representation of Karina, the movie itself radiates joy of cinema. (NR) J. HOBERMAN Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), $8 individual, 7:30 p.m. Thurs., May 30.

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

LET YOUR LIGHT SHINE: EXPERIMENTAL ANIMATIONS BY JODIE MACK The New

Hampshire-based filmmaker will attend this screening and discuss her work. (NR) Northwest Film Forum, $6-$10, Sat., June 1, 8 p.m.

REMIX Visiting curator Joe Milutis will introduce and discuss this evening of mash-up cinema, which promises to include all manner of shorts and oddities. (NR) Northwest Film Forum, $6-$10, Tue., June 4, 8 p.m.

WITHIN REACH: Director Mandy Creighton will introduce her documentary chronicling a bicycle-powered journey she and her husband undertook, in which they crossed the U.S. to learn about sustainable development and other environmental issues. (NR) Northwest Film Forum, $6-$8, Mon., June 3, 7 p.m.

Ongoing

• FRANCES HA Co-written by and starring Greta

Gerwig, Noah Baumbach’s latest is an unabashed tribute to the actress’ distinctive (don’t you dare say “quirky”) charms. The outline of a typical indie picture is in place, as we follow 27-year-old Frances and her New York apartment-hopping over the course of a few months. Frances dreams of being a dancer, as though nobody’d told her that if you haven’t made it as a dancer by 27, your dream should probably be in the past tense. (Actually, somebody probably told her. But her go-with-the-flow optimism is undaunted by such realities.) In the early reels, we mark Frances’ closeness to her BFF Sophie (Mickey Sumner), a bond that will fray as Sophie gravitates toward her boyfriend. The appeal of Frances Ha comes from Gerwig’s pluck and

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26 •

the film’s sprightly sense of play. Many scenes last only a few seconds, and consist of the kind of overheard conversational snippets that capture the found poetry of random eavesdropping. These bits provide a sense of Frances’ life, and perhaps hint at its disconnectedness. Shot in cheap-looking black-and-white, the film also conjures up Baumbach’s love of the French New Wave, and his soundtrack is peppered with vintage ’60s music by Georges Delerue. Even as it veers into the precious, Frances Ha succeeds on its genuinely inventive rat-a-tat rhythm and Gerwig’s unpredictable delivery. It builds to an ending that is righteously nonHollywood. But it feels good just the same. (R) ROBERT HORTON Sundance Cinemas 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 world is pared down to defining details, the pace slowed to appreciate the peace and stillness within the social bustle of school and home. 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 Crest THE GREAT GATSBY In Baz Luhrmann’s lavish new 3-D adaptation of F. Scott Fitzgerald’s short, classic novel, which runs all of 142 minutes, Leonardo DiCaprio plays another golden, doomed lover. (Spoiler: He ends up face down in the pool—not quite like Titanic, but close.) Why 3-D, why Gatsby, why now? The movie feels five years too late, after the subprime bubble burst. Though we see our narrator, Nick Carraway (Tobey Maguire), making cold calls on Wall Street, this movie doesn’t look forward to the crash of 1929. The director is interested only in love, not money. And his Gatsby (DiCaprio) only uses money as glittering lure to attract his lost love Daisy (Carey Mulligan), which requires shady deals with the gangsters he fronts for.

Luhrmann’s devotion to the novel is admirable, but he breaks its axles with such ardor. Quoting often from the source text, Luhrmann both tells too much and shows too much. He too-muches too much. The party scenes in Gatsby’s mansion burst with manic energy; everyone’s singing and dancing like it’s La bohème, but Fitzgerald was never so frivolous. Amid all Lurhmann’s confetti and champagne corks, DiCaprio seems lost in a feature-length Chanel ad. Only in the movie’s quieter moments (particularly the ending), does Luhrmann gets Fitzgerald’s somber mood exactly right—when the party’s over and the pool fills with dead leaves and broken martini glasses. (PG-13) BRIAN MILLER Pacific Place, Big Picture, Kirkland Parkplace, Guild 45th, Lincoln Square, others THE HANGOVER PART III Parts I and II of the Hangover series earned their R rating with unbridled debauchery, dude-bros gone wild, trying to reconstruct their misdeeds after drug-induced blackouts.

They were killing brain cells to avoid their wives and fiancées, to escape the crushing, black-hole gravity of suburbs, kids, and carpools. Not anymore. Mr. Chow (Ken Jeong) has busted out of a Thai prison.

He’s stolen some gold from a baddie named Marshall (John Goodman). Marshall then takes Doug (Justin Bartha) hostage, forcing the other three members of the pack to find Chow—or Doug dies. But nobody cares if Doug dies. He’s like Zeppo Marx, disposable.

Our three heroes are eventually sent on two not-veryinteresting exfiltration missions: 1) get the gold out of a Tijuana mansion, and 2) get Chow out of a Vegas hotel penthouse. (Back are Bradley Cooper as Phil, Ed Helms as Stu, and Zach Galifianakis as Alan—the last unmarried lone wolf in the group.) A thousand heist films have been here before, and director Todd Phillips is no student of cinema—he just quotes old movies, including his own. From Chow’s prison escape through the wolfpack’s two bungled B&E jobs, this Hangover is mainly a recycling effort. Even the final scene is a slomo reprise. A few F-bombs aside, this final Hangover is disappointingly tame. (R) BRIAN MILLER Oak Tree, Pacific Place, Cinebarre, Kirkland Parkplace, Lincoln Square, Sundance Cinemas, others THE ICEMAN Like many a true-crime tale, the story of Richard Kuklinski sounds like it would make an incredible movie. A dreary wallow in the mire, this one goes

wrong almost from the start—save for the lead casting. The Iceman is carried on the formidable back of Michael Shannon, the Frankensteinian actor from Take Shelter and Boardwalk Empire. He brings the eerie focus of a man who could smite you down just for looking at him sideways—ideal for this role, though limiting for projects that don’t require the unsettling threat of immediate death. Somehow this outwardly quiet maniac finds a wife (Winona Ryder, suitably fragile) and settles into small-town Jersey life while prospering as a hit man for a second-rate gangster (Ray Liotta).

Scattered through this grisly scenario, which goes on for decades, are stock lowlifes played by actors who clearly cannot resist the chance to slap on a vintage ’70s mustache: Chris Evans, David Schwimmer, Stephen Dorff. Everybody but James Franco, right? Oh, wait, here he is, in a 10-minute cameo. At some point Kuklinski becomes like Billy Bob Thornton’s Sling Blade guy—yes, maybe he’s a tad maladjusted, but surely we can understand his protectiveness of home and hearth.

(R) ROBERT HORTON 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).

He’s a needy playboy-inventor who’s happiest when tinkering in the lab with his robots. He commands, and they obey. Love me, he says, and they do. 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, DNA-enhanced villains, and dangling shipping containers that pendulum like yo-yos. Flippant yet wounded, 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 Woodinville, Majestic Bay, Meridian, Thornton Place, Sundance Cinemas, others KON-TIKI Thor Heyerdahl drifted across the South Pacific on a balsa-wood raft from Peru to Polynesia in 1947, then wrote a book and made a movie about his 4,300-mile journey, winning the Best Documentary prize in 1951. This new Kon-Tiki is a feature dramatization of Heyerdahl’s attempt to prove Polynesia could’ve been settled from the Americas. Most anthropologists thought him wrong, and this Heyerdahl (Pål Hagen) must scrape together funds, do his own publicity (via Morse code from the raft), and risk his neck to get the project done. (In a sense, he’s an indie filmmaker ahead of his time.) Kon-Tiki’s all-Norwegian cast shot the movie in two different languages under directors Joachim Roenning and Espen Sandberg, giving this fluent English version a charming veracity. The six actors become sunburnt, gaunt blond Vikings during their 101-day voyage, finally looking like survivors of Burning Man. Despite some tensions among the crew, the occasional lowering of Heyerdahl’s confident smile, and circling sharks, we know the outcome of their adventure. There’s not much drama, though there are a few nice moments of awe. Isolated like astronauts, alone on a calm, dark sea, the men stare up at the stars. “Maybe nature has accepted us,” Heyerdahl muses. Werner Herzog would disagree, but isn’t it nice to think that way? (PG-13) BRIAN MILLER Harvard Exit LOVE IS ALL YOU NEED Philip and Ida, who meet cute at their grown children’s wedding in Italy, are played

by Pierce Brosnan and Trine Dyrholm. She’s a cancer survivor with a cheating husband; he’s a widowed, workaholic grouch. You can see where this is going.

With kids and kin gathered for a wedding weekend at Philip’s Sorrento estate, Susanne Bier’s romantic comedy runs strictly according to plan. Hairdresser Ida begins to reveal the effects of her chemotherapy, goes swimming in the nude, and Philip politely averts his eyes. Both tolerate their boorish relations; both respond appropriately when their kids (Molly Blixt Egelind and Sebastian Jessen) begin to hesitate before the altar. If one match falters, another can be lit. (Amid this nuptial confusion of three languages, with Danish and Italian being thrown at him, Brosnan invariably answers in English—like he’s got a Google-translate chip in his brain.) Bier (Open Hearts, In a Better World ) is unapologetic about constructing this wishful midlife rom-com. And if her story is entirely predictable, it’s also filled with agreeable characters and genuine

emotions. The lemon groves and scenery also give it a travelogue aspect. If Philip’s the frustrated botanist, Ida is the tulip bulb who just needs some careful tending to bloom. (R) BRIAN MILLER Seven Gables 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.

Though a little too long and leisurely—shall we just say Southern?—for my taste, Mud is very well crafted and acted. (Look for Sam Shepard, Michael Shannon, and Joe Don Baker in significant supporting roles.) It’s a big step up from indie-dom for writer/director Jeff Nichols (Take Shelter), but it’s also a step back to the classical. 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 Varsity THE PLACE BEYOND THE PINES Luke (Ryan Gosling), a tattooed, muscled motorcycle stunt rider in a traveling circus, is a bad boy—just the way you like them.

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

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

One of Luke’s stickups is interrupted by anambitious young cop with a law degree, Avery (Bradley Cooper), who has an eye on politics. Fifteen years later, however, Avery will have to reconsider the debt he owes Luke’s family. Shot in upstate New York, Pines aims to be a small-town generational saga, in which the sins of fathers are settled by their sons. Cianfrance shows admirable seriousness about his characters, but only the early crime scenes have any spark to them. (R) BRIAN MILLER Varsity QUARTET Quartet centers on the residents of Beecham House, a baronial residence for retired musicians.

Former conductor Cedric (Michael Gambon) determines that the reunion of the foursome who shone in a long-ago production of Rigoletto will be the event’s biggest draw. Assembling the headlining act requires a few desultory scenes of encouraging Beecham’s newest addition, opera diva Jean Horton (Maggie Smith), to participate. Jean states her objections sharply: “I can’t insult the memory of who I was.” That all-too-real fear for the eminences gathered here stands as the only true pathos in the sentimental and pandering Quartet, adapted by Ronald Harwood from his own 1999 play and directed by Dustin Hoffman. “Their love of life is infectious,” says the staff doctor, holding back tears in the final minutes, belying the previous scenes of agony over hip-replacement surgery and Reginald’s stated wish to have “a dignified senility.” (PG-13) MELISSA ANDERSON Crest, Majestic Bay THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-6727501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 5233935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 3249996; Sundance Cinemas, 4500 Ninth Ave NE, 6330059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

•

food&drink»

Fruit of the Boom

An abundance of apples, locavores, and gluten allergies has Washington ripe for a cider resurgence.

BY MEGAN HILL

D

T

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

avid White did not enjoy his first taste of cider. “It took a couple of tries, but then I started to crave that stuff. Kind of like red wine, it doesn’t grab everybody at first,” says the owner of Olympia’s Whitewood Cider Company, which opened in late 2011. Now he’s betting his savings that a significant portion of Western Washingtonians have acquired a taste for cider as well.

He’s not the only one.

Capitol Cider will open soon on East Pike Street, affirming the fact that cider is gaining popularity—not just here, but across the country. New cideries are opening, and more orchard acreage is being set aside for cider apples. In the past few years, sales of U.S. hard ciders have increased tremendously, from four million gallons in 2004 to more than 17 million in 2012.

David White This growth may be new, but cider is an old drink, once more popular than beer. British colonists brought it when they settled in the “Every few weeks a new cidery is opening in the Northwest. There’s this United States, and began to proexciting sense of momentum—you can just feel the energy.” duce it as well: By 1700, the average American drank 35 gallons of hard because it’s the same process and the same alcohol industry, will bring in the customers. “Up cider each year, and New England partnering with the Northwest Agriculture Busicharacteristics, but it’s a lot harder to convert a here in the Northwest, it’s just an absurdly local produced more than 300,000 gallons of the stuff. ness Center to encourage cider apple production. wine drinker to a cider drinker than it is a beer product,” says Schilling, who uses only WashIts popularity faded with the onslaught of GerThe NABC, which runs certification courses for drinker,” he says. ington apples in his cider. “It’s very intimate, and man and Eastern European immigrants, who aspiring cider-makers, is helping recruit orchardWhite is experimenting with a cider CSA, a you can know the owners, know the growers, preferred beer, and was further suppressed by ists and connect them with cider-makers. “A lot play on the community-supported agriculture and it’s incredibly local. It’s gluten-free, so that’s Prohibition. It’s taken this long for cider to make of the cider-makers up until this point have had boxes delivered to buyers from local farms. He huge. We sell a lot of cider to people who used to a comeback. to plant orchards,” says White, who also helped hopes a creative approach to self-distribution will found the Northwest Cider Association (NCA) drink beer, and we actually have certain types of For its part, Washington produced almost help him compete. cider that are targeted to those people”—like his 200,000 gallons of cider in 2011. It makes sense, and serves as its president.

He also sees promise for his cider and for the hopped cider, which ropes in IPA lovers. given Washington’s apple production, that the There’s some public-relations work to be done, industry in general in drinkers’ growing interest Schilling wants to hang his hat on unique state would be at the forefront of this resurgence. too. “What work we have to do yet, I’ll be honin knowing where their beverages come from. ciders made from recipes he’s honed over the Yet it’s not all about the apples. Local producest, is increasing our visibility and our availability Small companies like his and other cideries are years as a hobbyist. “I’ve definitely tried some ers have their own theories on what else may be on restaurant wine lists, on tap, [and] in pubs, inherently more accessible, White says. “People weird things that I’ve dumped down the drain. contributing to the rise. and getting people to understand what cider is become fans of small companies, and it’s nice to But in the process, I’ve found some really inter“Five or six years ago, you couldn’t buy cider and what makes it special,” says Sherrye Wyatt, know the owners and have that connection.” esting things,” he says, including a ginger cider, anywhere,” says Colin Schilling, who started executive director of the NCA. an oak-aged cider with notes of scotch, a chai Schilling Cider in Seattle last year. He remembers But she sees momentum building and things cider, and a chocolate nitro cider made with seeing cider more and more often in stores two coming together in a big-picture way. “Every few he cider industry’s expansion has not Ecuadorian cocoa nibs and caramelized sugar. or three years ago, and he knew he needed to get weeks a new cidery is opening in the Northwest. been without its growing pains. One White, of Whitewood Cider Company, says a jump on the trend. Discontent at his day job (“I There’s this exciting sense of momentum—you of the biggest struggles is with sourcpretty much hated my life,” he says) and some suc- that adventurous craft-beer drinkers are leading ing; though Washington is known for can just feel the energy. My inbox is filled every the way for cider’s expansion. “This gluten-free cess making cider as a hobbyist helped too. day with people inquiring about cider in some its apple-orchard acreage, only a small percentage thing doesn’t hurt, but a lot of it’s come from the Now Schilling believes that the increasing way or another,” she says. “Everybody loves a of it is dedicated to cider apples rather than to beer drinkers and their willingness to explore. number of people with a gluten allergy or intolcomeback story.” E culinary apples like Pink Lady or Red Delicious.

We always thought it would be the wine folks, erance, and a strong locavore movement in the The NCA has taken the bull by the horns, food@seattleweekly.com

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food&drink»How To

14,500 FANS AND COUNTING

Good Enough to Eat

Pro tips for better-looking food pics.

BY SARA D. JONES

1. Decide on your camera angle and arrange food from this angle. If you’re going to the trou-

ble of fixing a perfect plate, you’ll likely want to document it, so style food at the onset from your preferred camera angle (eye level, 20 degrees, 45 degrees, overhead). Then take care not to arrange everything facing the camera straight on (potato chips, lettuce leaves, cereal flakes, etc.), or, as Custer writes, “The food will have no dimension or texture.”

2. Aim for interesting curves and shapes.

While consistency in overall size is good, unique curves and shapes are more appealing than straight ones. Consider this first when shopping (green beans that curve, apples with stems that aren’t straight), and also try new cuts for fruits and vegetables, such as cutting in wedges instead of circles and slicing on a bias. Leave the hooks on strips of bell pepper. When choosing potato chips and cereal flakes, opt for those “with character.”

3. Think of the plate as a picture frame. Don’t overcrowd it. According to Custer, a very common mistake is “too much food overlapping the edge of the plate.”

5. Watch for strong contrasts of light and dark. The camera struggles to expose for both

dark and light with foods and props. White items look “bigger and bolder on film,” so consider softening them or breaking them up. For example, you can soften white whipped cream on a dark-chocolate cake by dusting it with cocoa or cinnamon, or break it up by adding a raspberry or mint sprig.

Ready to have at it? With the above guidelines, here are five tricks to try at home (with page numbers in Custer’s book): 1. Lemon curlicue garnish (p. 161): Using a Swiss (short, wide) peeler, remove a wide strip of

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zest from the middle of the lemon. With a sharp paring knife, cut thinner strips for twists. Pin one end of a lemon strip to a straw and twist the strip around it, pinning the end in place. Cover the straw with a damp paper towel for at least 15 minutes before unpinning.

2. Condensation on a glass (p. 289): First, cover the rim of the glass to the liquid line with masking tape and the stem (if a wine glass) with aluminum foil. Pour corn syrup in a small bowl and dilute slightly with a little water. Submerge a stiff toothbrush in the mixture and spray on the glass by flicking the brush. Invest in some fake ice and you’re all set!

3. Chocolate-chip cookies (p. 266–267): Use

an appropriate-sized ice-cream scoop to make cookies of uniform size. Before baking, sort for the best chocolate chips and put them aside.

Three to five minutes into the baking time, working quickly, add a few to the tops of the cookies in a random, natural way (not too “placed” on top). Let cookies cool before shooting; when you’re ready to photograph, Custer suggests using a heat gun to add a “warm ‘just out of the oven’ look to the chips.”

4. Peanut butter on bread (p. 298): Turns out it just takes one smooth continuous stroke with a small palette knife or regular knife to make that perfect peanut butter spread like we see in Skippy ads. The single stroke is more appealing than more short, busy strokes.

5. Perfect grill marks (p. 204): If you don’t have a grill or want a more controlled look for your grill marks than the grill would deliver, fear not: A hot metal skewer works great. First heat the skewer on a gas stove or using a propane torch.

Skewers come in different sizes; large pieces of meat look better with wide marks and smaller foods (shrimp, kebabs) look best with thin marks.

If the mark is not dark enough, the skewer may not be hot enough. Try to make marks look natural—broken on uneven surfaces—the way they actually would come out on the grill.

Finally, Custer suggests another way to practice is to simply find a food photo you love, ideally with the recipe, and try to replicate it. E

food@seattleweekly.com

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4. Consider color carefully. Using complementary colors (red and green, orange and blue, yellow and purple) in a background or plate can make food stand out. For example, the red of rhubarb is heightened against a green plate or with a green patterned towel. Color also carries moods—blues, purples, and greens suggest calmness, and oranges, yellows, and reds suggest warmth and energy.

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loggers, budding chefs, and every foodie who swoons over food porn wants to make their dishes look better. Recently, after becoming interested in how professional food stylists do it for commercials and magazines, I attended a weeklong intro course led by stylist and teacher Delores Custer, the author of Food Styling: The Art of Preparing Food for the Camera. Here are five basic guidelines I gleaned to make plates more beautiful (in general, and especially for the camera), followed by five tricks to try with specific foods.

facebook.com/seattleweekly

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SeattleFoodNewS Open Market, Pastry Pop-Up, and Prom » by Sara billupS FARMERS MARKET REPORT

Salty Mess: burnt-caramel ice cream, hot fudge, sea salt, and a couple of Stumptown espresso shots. The decade-old cupcakery, which got into the ice-cream game last June, offers 14 flavors at its shops in downtown Seattle, Ballard, Capitol Hill, and Bellevue.

Over in Ballard, Bastille, at 5307 Ballard Ave. N.W., is offering weekly rooftop garden tours every Monday at 5:45 p.m. from June 3 to October 14, led by Colin McCrate and Brad Halm of Seattle Urban Farm Company. The admission fee

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The Wallingford Farmers Market returns to Meridian Park on Wednesday, May 29. New vendors in this year’s lineup include craft carbonated-beverage bottler Soda Jerk Soda Company and oyster and clam purveyor Padilla Bay Shellfish Farm. Also on opening day, Tilth chef Jason Brzozowy will present a cooking demo from 5 to 6 p.m. The market is open to the public 3:30–7 p.m. each Wednesday through Sept. 25, with a chefs-only early-bird market at 3 p.m.

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This Saturday, June 1, Coyle’s Bakeshop will pop-up inside Fremont’s Book Larder at 4252 Fremont Ave. N. from 9 a.m. to noon. Book Larder’s culinary director Rachel Coyle launched her one-day-a-month bakery in March, with reports of flaky croissants, sticky toffee pudding, and homemade caramels selling out at lightning speed. If you can’t be there this weekend, Coyle is planning pop-ups on the first Saturday of every month. Check the Coyle’s Bakeshop Facebook page for updates.

Every Sunday in June, Cupcake Royale will offer $4 signature sundaes, including the Hot

COURTESY OF RACHAEL COYLE

LloydMartin at 1525 Queen Anne Ave. N. is planning to host weekly farmers-market suppers on Thursdays all summer long. Chef/ owner Sam Crannell will shop the Queen Anne Farmers Market each Sticky Toffee Pudding week for ingredients for a threeMini Bundts course menu that will cost between $30 and $45. The official start date depends on when the market is filled with a broad-enough variety of produce and proteins, but will likely be sometime in June. Check LloydMartin’s Facebook page for updates.

of $10 per person includes a Pimm’s Cup for sipping on the roof. Call 453-5014 for reservations.

As anyone unlucky enough to have eaten out on a recent weekend at a restaurant overpopulated by high-school seniors can attest, it’s prom season again. If this time of year makes you nostalgic, you’ll probably want to check out “Enchantment Under the Sea: A Linda’s Tavern Prom” on June 5. Conjuring the Olive Garden spirit, soup, salad, and breadsticks will be on the menu, alongside plenty of stiff drinks. The event at 707 E. Pine St. starts at 8 p.m., with the night’s soundtrack provided by DJ Hank Rock and DJ Cuts Like a Knife. E food@seattleweekly.com

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LIGHTS thursday june 13 the neptune theatre

1303 Northeast 45th st · seattle , Wa · 8:00pm shoW · all ages tickets availaBle from tickets.com charge By phoNe 1-800-225-2277

Wednesday july 10 tra tor traC tavern

5213 Ballard aave NW · seattle, W Wa · 9:00pm shoW · 21 aNd over tickets at a ticketmaster · charge By phoNe 1-800-745-3000

all female triBUte to led ZeppeliN

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5213 Ballard ave NW · seattle, Wa · 21 aNd over early 7:30pm shoW · late 11:00pm shoW tickets at ticketmaster · charge By phoNe 1-800-745-3000

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SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

friday september 20 illsley ball nordstrom reCital hall at benaroya hall

31

El Corazon www.elcorazonseattle.com

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

mainstage

dinner & show

WED/MAY 29 • 7:30PM & 9:30PM

sara gazarek

THURSDAY MAY 30

BLACK PLASTIC CLOUDS with The Accountants, plus guests.

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

FRIDAY, MAY 31 Mike Thrasher Presents:

MIKE PINTO

with Natural Vibrations, Three Legged Fox, and Valley Green. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

FRIDAY, MAY 31

THU/MAY 30 • 7PM - SIFF ‘FACE THE MUSIC’ AND HOTHOUSE PRESENT

patterson and david hood w/ jeff fielder and friends

SPACEWASTER (CD Release) with Metameric, Weld and Muscle Beach Wrecking Crew Lounge Show. Doors at 8:30 / Show at 9PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY JUNE 1

FRI/MAY 31 • 8PM

bonzo’s celebration day - nw

drummers play tribute to john henry bonham

SAT/JUNE 1 • 7:30PM

sinatra at the sands SUN/JUNE 2 • 7:30PM

coyote grace MON/JUNE 3 • 8PM

mice parade

w/ ghost of kyle bradford WED/JUNE 5 • 7:30PM

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

andré mehmari

32

next • 6/6 yogoman burning band & blvd park • 6/7 the maldives live score to the wind • 6/8 blue street jazz voices • 6/8 LATE! nightcap at the triple door • 6/9 school of rock presents pink floyd’s the wall • 6/11 indigenous • 6/12 peter tork • 6/13 the local strangers & the passenger string quartet • 6/14 alice smith • 6/15 geoffrey castle • 6/16 the staves w/ musikanto • 6/17 joseph arthur • 6/18 josh rouse w/ field report • 6/20 & 6/21 noah gundersen w/ david ramirez (6/20) & daniel blue (6/21) • 6/22 grant lee phillips w/ gerald collier • 6/24 movie mondays - hype! • 6/23 bernhoft • 6/26 pavlo • 6/27 albare • 6/28 wendy ho • 6/29 & 6/30 irma thomas • 7/3, 7/5 & 7/6 freedom fantasia • 7/9 “house of bourbon” w/ delta hothouse/son jack jr • 7/12 ian mclagen • 7/13 commander cody • 7/16 emily asher’s garden party • 7/17 sister sparrow & the dirty birds w/ jelly bread

happy hour every day • 5/29 katy bourne with tim kennedy / eric hullander group • 5/30 joe doria / brad gibson / shiftless layabout • 5/31 aaron zig / organik time machine •6/1spynreset•6/2dirtyrice•6/3freefunkunionw/rotatinghosts: d’vonnelewisand adamkessler•6/4singer-songwritershowcasefeaturingtripledooremployeenight TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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Tastemaker Live & Sean Healy Presents: King Remembered In Time West Coast Tour w/Smoke DZA, John Crown & Jasper T, Skywalker; Hosted by Neema, Beats By DJ Cutz

BIG K.R.I.T.

Doors at 8 / Show at 8:30PM. ALL AGES/ BAR W/ID. $24 ADV / $25 DOS / $35 VIP

SUNDAY JUNE 2

PROJECT 86

with Peace Mercutio, December In Red, IANA, and Cold Kiss Casino Doors at 7 / Show at 7:30PM ALL AGES/ BAR W/ID. $10 ADV / $12 DOS / $25 VIP

SUNDAY JUNE 2

THE CITY COMES ALIVE with Ghost Animals, Animals In Cars, Absent and Ephrata. Lounge Show.

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

MONDAY JUNE 3 Take Warning Presents:

TIGERS JAW

with Pianos Become The Teeth, Sainthood Reps and District. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $12 ADV / $14 DOS

WEDNESDAY JUNE 5

oOoOO with Groundislava, Partman Parthorse, Smigonut and WaMu. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

JUST ANNOUNCED 6/7 BLICKY 6/15 ANGEL STEEL (DVD FILMING) 6/21 BIG JAY OAKERSON 6/27 ARMED FOR APOCALYPSE 6/27 LOUNGE KORIBORI 6/29 BUCKCHERRY 7/3 JUPITER 7/9 SUBURBAN LEGENDS 7/25 SHOOTER JENNINGS / SCOTT H. BIRAM 8/16 THE DREAD CREW OF ODDWOOD 8/23 MEN WITHOUT HATS 8/29 SHAUN PEACE 9/25 GUTTERMOUTH / AGENT ORANGE 9/28 PANCAKES & BOOZE ART SHOW UP & COMING 6/6 RED LINE CHEMISTRY 6/8 COLD HARD CASH 6/9 LOUNGE NO TIDE 6/11 THE MAINE 6/12 LOUNGE ASCEND FROM SILENCE 6/13 LOUNGE 2HUNDRED WEST 6/14 NEKROMANTIX 6/15 LOUNGE ANCIENT WARLOCKS 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 and all nights we are open in the club - $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

Reverb»Profile

Hold Me Close Now, Blistering Rockers

Portland’s Gaytheist gleefully rocks the I-5 corridor, fueled by Karp, Ben Folds Five, and Seattle love.

BY TODD HAMM

Gaytheist is (left to right) Tim Hoff, Jason Rivera, and Nick Parks.

S

rate reflection of the multidimensional human personality.

“You don’t just have to be a comedy band, or you don’t just have to be a serious, emotional band,” explains Rivera, the band’s primary songwriter. “You can do both because that’s what people really are, and there’s no reason bands can’t be a reflection of that.”

Rivera has witnessed firsthand the conflict that occurs when complexity clashes with conformity in music. He remembers attending shows at Portland’s now-defunct Satyricon and witnessing outright arguments between several bands and their audiences. A band member would announce his support of gay rights, and it would become “a really big issue.” Growing up gay in the testosterone-fueled, largely homophobic hard-rock scene, Rivera says he’s thankful that things have improved. “This was, again, in the ’80s where everything was like, ‘We’re not gay, bro!’ So it’s been nice seeing things change.”

He continues: “Bands that I like to go see [now], it’s not such an issue.”

This kind of discord with the mainstream mind-set has very directly affected Rivera’s attitude toward songwriting. As he drifted away from well-known bands like Anthrax, who would sing about not “be[ing] a faggot,” he turned instead to groups like Tumwater jokesters Karp and occasionally humorous piano-rock band Ben Folds Five for lyrical inspiration—bands that could be inclusive, fun, and, in the case of Karp, even retain their punishing sonic elements.

“Karp is a super-heavy, badass band, and totally hilarious. All their lyrics are tongue-

in-cheek, and theiy’re just having fun,” Rivera explains. “Then Ben Folds Five was the first thing I could think of that wasn’t heavy music.

It’s serious piano music, but it’s not. Half the time he’s just singing about ridiculous bullshit.”

Gaytheist recently played the inaugural ’MoWave festival, Seattle’s new queer music and arts festival that sets out “to showcase queers as tastemakers and rule-breakers in modern society.” The band’s wildly successful set shared a bill with a collection of acts more diverse than any it’s played with since gradually streamlining its sound. “Now that we’re more focused on being heavy and loud and fast at all times . . . we’re constantly getting put on shows with all these heavy bands, and I actually kind of miss the variety,” Rivera says. “So ’Mo-Wave was awesome . . . Not only did they put together all these bands and performers that had at least one member that was openly gay, but they were all super-stellar examples of their styles of music . . . Then when we played, there was this giant mosh pit, but it wasn’t violent, it was just everyone dancing.”

Whether the band will be able to sustain this overlap of the creative queer scene and the traditionally misogynistic and homophobic hardcore scene remains to be seen. Says Rivera: “I still think we’re pretty new.”

That doesn’t mean the band hasn’t evolved.

Gaytheist’s uncommon combination of playfulness and grit has been amped up over time rather than watered down. By design, each of the Portland trio’s releases has turned out to be more of a foot race than its predecessor, thanks to the intense tightness of drummer Nick Parks

(a “thunderfuckstorm on the drums,” says Good to Die founder Nik Christofferson) and the increasingly feverish riffage of Rivera and bassist Tim Hoff.

The band will hit the area a number of times in the coming months: the New Frontier in Tacoma on June 1; the Black Lodge for a release show with label mates Monogamy Party on June 7; and the Capitol Hill Block Party at the end of July. Seattle has treated the band well, Rivera says—in fact, we may have caught on before their home city did. “For whatever reasons . . . I noticed we’d sell a lot more of our CDs in Seattle,” says Rivera. “We’d sell more CDs at one show in Seattle than we would at, like, five shows in Portland.”

The past few months have seen notable growth at home, however; their Good to Die approval plus a series of notable bookings (including The Portland Mercury’s Malt Ball festival) have earned Gaytheist a solid Rose City following. “All of our shows have been doing really well,” says Rivera.

“Portland was napping before Stealth Beats came out,” adds Christofferson. “But some key shows [and] great local press . . . has made a huge difference, and now Portland loves Gaytheist too.” E

music@seattleweekly.com

GAYTHEIST New Frontier, 301 E 25th St., Tacoma, 253-572-4020. All ages. 9 p.m. Sat., June 1.

Black Lodge, location undisclosed.

All ages. 9 p.m. Fri., June 7.

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

peed and volume are the punch and pie at Gaytheist’s metaphorical audio fiesta. The Portland trio hits its listener in the mouth on its fourth fulllength, Hold Me . . . But Not So Tight, released earlier this month on Seattle’s premier heavyrock label Good to Die. An example? The band crams 25 measures of melodic punk into the 35 seconds of opener “Starring in ‘The Idiot.’ ” But ask any fan in the know—or the band’s lead singer—and they’ll tell you Gaytheist’s true charm is its willingness to play silly.

“We can take things serious enough to write the occasional serious song, and get shit done that needs to get done,” says guitarist/vocalist Jason Rivera. “But for the most part, it’s just fun party time.”

Pentagrams Are Super! shouts the title of the band’s 2011 self-released debut, an album anchored by the hard-rocking and well-titled track “Taking Back Sunday From [mainstream emo band] Taking Back Sunday.” Rainbows Have Nothing to Hide, muses the follow-up. The band’s third album (and Good to Die debut) Stealth Beats leads with “Stampede of Savings,” an obscenity-laden song complete with a reference to cult-horror schlock film The Human Centipede.

The new album contains sing-along songs about defecating into a volcano’s magma chamber (“Poocano”) and getting duped into buying useless gadgets while paying too-high rent (“60 Easy Payments”). The band plays lighthearted, heavyass music that doesn’t so much push against the notion that hard rock should be serious as push for the notion that it can be a much more accu-

JAMES REXROAD

33

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

Jazz Alley is a Supper Club

tractor Times listed are show times.

Doors open 30-60 minutes before

»EVERY LOCAL RELEASE*

Thur, May 30 • 9pm ~ $10

LOCAL BANDS

americana, alt-country & roots

DEAD WINTER CARPENTERS THE WASHOVER FANS Fri, May 31 • 9:30pm ~ $10 Anthony Wilson, Julian Lage, Chico Pinheiro & Larry Koonse

- Seasons Guitar Quartet Four sublime guitarists - a modern jazz/ chamber ensemble

May 29

Spanish Harlem Orchestra

KEXP 90.3 welcomes one of the most formidable and authentic, Grammy-winning, 13-piece Latin jazz combos of present day

May 30 - June 2

blues-driven indie folk

TOM EDDY

HEATWARMER POLLENS

Sun, June 2 • 8:30pm ~ $8 jangle-rich breed of rock ‘n roll

DESERT NOISES

THE PARSON RED HEADS WAYFINDERS

Mon, June 3 • 8:30pm ~ $8 Stunningly Impeccable Jazz Guitar Virtuosos

June 4 - 5

Groove for Thought Seven-member vocalese group perform classic tunes with a swinging jazz infused style

June 11 - 12

Jane Monheit

Critically-acclaimed and Grammy-nominated jazz vocalist

June 6 - 9

Ricky Skaggs

& Kentucky Thunder

14-time Grammy winning reigning father of bluegrass

June 13

Walk-ins always welcome!

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original rock & roll and traditional american music

THE AMERICANS

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*Ever So Android, Ever So Android EP (out now, self-released, eversoandroid. bandcamp.com): However implausible a self-description like “the illegitimate love child of the Black Keys and Deadmau5” may sound, it’s apt. The music is heavy, smothered in grit with distorted guitars and unnerving synth lines driving the melodies forward. Singer Hope Simpson’s vocals are still fully capable of cutting through the mix and shining at the forefront, and the track “40 Seconds” stands out for its dynamic juxtaposition of singer and music. A compact but alarmingly well-put-together self-titled debut. (Mon., June 1, Neumos) CORBIN REIFF

Alex’s Hand, An Albatross Around the Neck ( June

1, self-released, alexshand.bandcamp.com): Talk about sensory overload. This Steve Fisk–mixed, Rick Fisher–mastered offering, the latest from the jazz/rock collective, is chock-full of genrehopping songs, some more melodic than others, with multiple voices making their presence known through monologues, conversations, distorted singing, and yelps. Is that a cat walking across a piano on album-opener “PunctuationAfterthought”? (Sat., June 1, The Wherehouse)

AZARIA PODPLESKY

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

GreenhornBluehorn, GreenhornBluehorn EP (out now, self-released, greenhornbluehorn.com/ songs.html): The debut EP from this quartet of city-dwelling brothers and friends is heavy on pretty acoustic tunes in the tradition of Jeff Tweedy. Think lush harmonies, warm melodies, and ’60s-esque folk sure to bring out your campfire-singing romantic side. (Fri., May 31, Conor Byrne) KEEGAN PROSSER

34

Ian McFeron, Time Will Take You (out now, selfreleased, ianmcferon.com): McFeron’s saving grace is his lyrical ability: “Everybody’s talkin’ ’bout jaw lines/And hard times/Well it’s enough to get you blue,” he sings on “Down the Road,” a tune as serviceable as his run-of-the-millstrumming/piano-tickling/twang-heavy accompaniment. Recorded in Nashville, TWTY sounds as if its only ambition is to sound like just that.

TODD HAMM

Logan Mohr, Transitions (out now, self-released, loganmohr.bandcamp.com): Mohr’s intricate finger-picking is showcased throughout each track. From the melodic ambience woven in “Phosphor” to the strumming fury of “Slow Dance,” this album is perfect for relaxing.

MARTHA TESEMA

*Yeah, every release

STARHEADBOY

An Evening with Frank Vignola and Vinny Raniolo

Reverb»Reviews

Ever So Android’s self-titled EP is out now.

Solar Amaranth, Casting No Shadow (out now, self-released, solaramaranth.com): When Greg Weber and Michael Padilla aren’t working as a banker and lawyer, respectively, they’re combining dream pop and psychedelic grooves, with just a touch of Britpop, as Solar Amaranth. On their latest album, the duo gets a little help from Sunnie Larsen (Bone Poets Orchestra, Gaia Consort). AP Still Corners, Strange Pleasures (out now, Sub Pop Records, stillcorners.tumblr.com): On its sophomore record, this duo maps the languid dreampop of its debut onto more-straightforward electro fare. It’s probably a conscious move (there’s a song called “Beatcity,” for Christ’s sake), and the faster tempos and preponderance of hooks make for a more varied listen, even if their sonic evolution isn’t particularly distinctive. ANDREW GOSPE Suntonio Bandanaz, American Gangster Nerd (out

now, Fresh Chopped Beats/MADK Productions, samsquad.com/american-gangster-nerd.html): Bandanaz’s years as a lyricist, performer, and cohost of Seattle’s popular b-boy night, “Stop Biting,” are evident as soon as the title track begins to play. His rapping cadence has a bit of Snoop to it—with a smooth-’n’-lazy quality—but these 16 tracks are smart, polished, and often hilarious.

Check the lyrics to “We Come in Peace”: “You probably know that it rains here/We got gangs here/Kurt Cobain and his brain here/Graff kids and b-boys is the same here/A lot of women and their pimps do their thing here.” AP

Verbal Tip, Stiffed (out now, Testerqua Records, facebook.com/verbaltip): This catchy five-song EP’s simple pleasures of keyboard beats and synthy melodies are somewhat effective, though the lyrics and vocal delivery occasionally take on a cheesed-up B-52s flavor that wears on your patience. TH

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.

Reverb»The Short List 1303 NE 45TH ST

Foals FRIDAY, MAY 31–SATURDAY, JUNE 1

These English rockers broke out in 2008 with the hit “Big Big Love (Fig.2)” from Sub Pop debut Antidotes, and haven’t looked back since.

Their friendly big-band sound, laced with light funk, electronic elements, and wiggly guitar flutters, grabbed hold of listeners in the midst of the last indie revival—though their output has grown somewhat less captivating, and even less identifiable, as they’ve gotten mopier. The band has parted with tastemaking friends Sub Pop for its third album, Holy Fire, yet the allure has not left town; as of this writing, the first of Foals’ two nights at the Neptune has sold out, so if you dig, you better act fast. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. 9 p.m. Friday SOLD OUT, Saturday $21 adv. TODD HAMM

Juicy J

at the Market, 1426 First Ave., 628-3151, showboxonline.com. 9 p.m. $23.50 adv./$27 DOS. All ages. TODD HAMM

Head Like a Kite SATURDAY, JUNE 1

Crocodile, 2200 Second Ave., 441-4618. $10 adv.

8 p.m. 21 and over. AZARIA PODPLESKY

New Found Glory SUNDAY, JUNE 2

This pop-punk act ruled the airwaves in the early aughts with angsty tunes that spoke to moody teenagers struggling with the trials of life in suburbia. After 16 years and 11 albums, the band is still going strong. The five-piece is celebrating the 10th anniversary of its third full-length, Sticks and Stones, which it will play in its entirety. It’ll be like middle school all over again. Except this time your hair probably

won’t be pink, and your band T and Chucks will cost twice as much. With Cartel, State

Champs. Showbox SoDo, 1700 First Ave. S., 652-0444. 7:30 p.m. $24 DOS. KEEGAN PROSSER

Robyn Hitchcock & The Venus 3 TUESDAY, JUNE 4

After more than four decades in the music industry, British singer/songwriter Robyn Hitchcock has done it all. Beginning his career in the late ’70s as a member of the Soft Boys, Hitchcock later released a few solo albums before founding the Egyptians, best known for the

*

songs “Balloon Man” and “So You Think You’re in Love.” Almost two dozen studio albums later (solo and as a member of several projects), he’s still at it. Listening to Love From London, his latest solo album, it’s obvious he hasn’t forgotten where he came from. He incorporates the psychedelic/folk pop long-term fans know and love with modern touches that new fans will gravitate toward. Though the album was just released in March, odds are Hitchcock is already brainstorming his next project. With Peter Buck. The Neptune, 1303 N.E. 45th St., 682-1414. 8 p.m. $20. All ages/bar with ID. AZARIA PODPLESKY

The Grizzled Mighty, The Flavr Blue, the Comettes

EDITOR’S PICK

THURSDAY, MAY 30

Three really big reasons you should not miss this Locals Only show, presented by Capitol Hill Block Party and 107.7 The End: 1) The Grizzled Mighty’s drummer, Whitney Petty, is an absolute beast behind the kit. 2) The Flavr The Flavr Blue Blue’s genre-bending, vibe-y electro-pop is one of the freshest, most danceable things coming out of Seattle at the moment. 3) The Comettes make romantic indie-rock tracks that can only really be understood when they’re washing over you in a live venue. Like this one.

Oh, and it’s FREE. I guess that’s four reasons.

Don’t ask questions— just be there. Neumos, 925 E. Pike St., 7099442. 8 p.m. 21 and over. KEEGAN PROSSER

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

Head Like a Kite, aka Dave Einmo, is a jack of all trades, writing catchy pop lyrics and backing them up with recorded instrumentation he plays himself. And that’s just the beginning. Once Einmo has built this foundation, he switches into DJ mode and samples the instrumental tracks he’s just created with guest vocals from the likes of Asy Saavedra (Chaos Chaos) and Tilson (The Saturday Nights).

Head Like a Kite makes truly unique dance music, a mash of homegrown indie rock and hip-hop with all the synth/electronic elements you’d expect to hear in a club. Fly Moon Royalty and Nissim (formerly D. Black) also headline; all three will share the stage and bounce songs back and forth the entire night. The

Robyn Hitchcock

COURTESY OF THE ARTIST

As a founding member of Memphis, Tenn.’s Three 6 Mafia, Juicy J helped define the rough Dirty South sound of the ’90s, which tended to share more with the West Coast gangsta of the time (bargain keyboard beats and echoey synth melodies) than with more Easterly loopand-rhyme outfits, but which was seasoned with an explosive “crunk”-ness that set it apart.

Since then, Juicy has won an Oscar for Three 6’s work on the Hustle & Flow soundtrack, and moved on to Wiz Khalifa’s Taylor Gang label as a solo artist, assuring his relevance in the pop rap market. As a solo artist, he hasn’t reached the catchy heights of “Sippin’ on Some Syrup” or “Poppin’ My Collar,” but his fan base is pretty well solidified, and they still like to get wild. With A$AP Ferg, Jarv Dee. Showbox

COURTESY OF THE ARTIST

FRIDAY, MAY 31

35

PHOTO COURTESY OF THE ARTIST

Reverb»Seven Nights

Desert Noises

Wednesday, May 29

Saturday, June 1

BOLT THROWER Fans of this British death-metal outfit

DEAD SHIP SAILING The latest project from veteran

should jump at the opportunity to catch it live: The current “Return to Chaos” tour is its first appearance in the U.S. since 1994. With Benediction.

Neumos, 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $20 adv.

INC. Brothers Andrew and Daniel Aged make the sort of sparse, slow-burning R&B that’s currently in fashion, especially on music blogs. Fellow L.A. group Rhye is a good point of comparison, but No World, the duo’s debut full-length on 4AD, owes a lot to the breathy vocals and spacious production of slow-jam legend Sade. With Kelela, DJ Total Freedom, Beat Connection DJ set. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com.

THE MONGREL JEWS This local trio plays theatrical, rough-and-tumble folk that draws from bluegrass, klezmer, and Celtic traditions. With L’Orchestre D’Incroyable, Sweet Lou’s Sour Mash. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractor tavern.com. 9 p.m. $6.

•

Thursday, May 30

GRAVES33 This local MC and producer may not be as

FRI JUN 21 • MARKET

SEATTLE WEEKLY • MAY 29 — JU NE 4, 2013

PERFORMING 13 TALES FROM URBAN BOHEMIA IN ITS ENTIRETY

36

SAT JUN 22 • MARKET

prolific as, say, Lil B, but he has released 15 albums and mixtapes since late 2009, all showcasing a shadowy, electronic-tinged production style. With Stoop Kidd, Black Magic Noize, Julie C, Shark Dentures.

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

8 p.m. $8 adv.

JEWEL The adult-contemporary megastar released her (probably overdue) first greatest-hits album earlier this year, and this show is sure to be packed with audience favorites like “Foolish Games” and “Who Will Save Your Soul.” With Steve Poltz, Atz Lee. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 6:30 p.m. $22.50–$92.50. All ages.

TAINA ASILI Y LA BANDA REBELDE Led by Asili’s emboldened multilingual vocals, which often focus on social justice, this Albany, N.Y.–based band deals in a worldly fusion of reggae, soul, Latin, and hiphop. With Unite-One, Comfort Food. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 9 p.m. $7 adv./$10 DOS.

Friday, May 31

BIG WHEEL STUNT SHOW An unabashedly classicist

band that approximates ’70s arena-rock bombast with workmanlike devotion. With The Fame Riot, SHiPS. High Dive, 513 N. 36th St., 632-0212, highdiveseattle. com. 9:30 p.m. $8.

DAVIDSON HART KINGSBERY A Fin Records– signed songwriter, Kingsbery has a life story worthy of the tales he weaves. Raised in a Christian Scientist household, he eventually abandoned religion for music, then found it again. His plaintive country songs deal with that cycle of damnation and redemption. With Ganges River Band, Tall Smoke, Giant Spiders. Comet Tavern, 922 E. Pike St., 3229272, comettavern.com. 9 p.m. $7.

FIJI A cult star in his native Hawaii, Fiji, and elsewhere in the Pacific, George “Fiji” Veikoso mixes rap, reggae, and traditional Hawaiian music. With Drew Deezy.

Showbox SoDo, 1700 First Ave. S., 652-0444, showbox online.com. 8 p.m. $30 adv./$35 DOS. All ages.

•

CAMERA OBSCURA and MARISSA NADLER

SHOWBOX AT THE MARKET 1426 1ST AVE | SHOWBOX SODO 1700 1ST AVE S. | SHOWBOXPRESENTS.COM

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

•

producer Graig Markel, a collaboration with vocalist/ guitarist/songwriter Zera Marvel, finds the duo writing blown-out electro-blues songs that wouldn’t sound out of place on a Kills album. With Panama Gold, Shake Some Action!. Barboza. 7 p.m. $7 adv.

THE PHARMACY The hard-touring garage-pop band headlines a showcase for the artwork of local cartoonist and graphic artist Darin Shuler, who has designed art for all the bands on this bill. With the Quiet Ones, Roaming Herds of Buffalo. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacity theater.com. 8 p.m. $8 adv./$10 DOS. STOIC FB This Seattle-by-way-of-Hawaii four-piece plays nu-metal replete with angsty vocals and chunky riffage. With DXL, Rocinante. The Mix, 6006 12th Ave. S., 767-0280, themixseattle.com. 9 p.m. $6.

Sunday, June 2

THE BOXER REBELLION These Brits are touring

behind Promises, their fourth album of melancholy, art-damaged modern rock. With Fossil Collective. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org.

7 p.m. $16.50 adv./$18 DOS. All ages.

COYOTE GRACE This rootsy Americana trio switches among a variety of acoustic instruments during live performances. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $12 adv./$15 DOS. All ages.

DESERT NOISES Last year’s I Won’t See You EP, a streamlined troika of electric guitar–driven Americana, is the most recent release from this Utah rock band, which has shared stages with The Head and the Heart and Local Natives. With the Parson Redheads, Wayfinders. Tractor Tavern.

8:30 p.m. $8.

•

Monday, June 3

COOL GHOULS This San Francisco band’s penchant for

ramshackle, psychedelic garage rock is evident on its self-titled debut, released in April. With Prism Tats, Love in Mind, the Monarchies. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $5 adv.

SAM AMIDON Like Sufjan Stevens or Andrew Bird, Amidon decorates his folk tunes with complex orchestral arrangements (strings, brass, keyboards, percussion, electronics), which are buoyed by his conversational singing voice. With Alessi’s Ark. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 7:30 p.m. $10.

Tuesday, June 4

BANDOLIER The most recent release from this local

neo-soul group is 2011’s Yellow EP, whose three tracks resemble the work of fellow Motown fetishists Pickwick. With Chyeah Chyeah, Zebra Mirrors, Letters. Comet Tavern. 9 p.m. $6.

CURSE OF THE NORTH Christiaan Morris (vocals/ guitar) and Patrick Taylor (drums) make a lot of noise for just two dudes, but this configuration also results in stripped-down metal that’s occasionally quite melodic. With Sailor Mouth, the Chasers, Old Blue.

Chop Suey. 8 p.m. $6.

FEVER CHARM The Oakland teenagers in this band are touring behind the literally titled West Coast Rock and Roll, a record whose polished surf-pop contrasts with much of the rougher garage rock (Thee Oh Sees, Ty Segall, et al.) coming out of the Bay Area today.

With the Blind Photographers. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m.

•

column»Toke Signals Big Budda’s Bears Watching

BY STEVE ELLIOTT

A

few weeks ago I celebrated my first-ever visit to a Kitsap County dispensary, in the unincorporated community of Gorst, between Bremerton and Port Orchard. Now I’ve found another excellent, safe access point there, and I’m thinking suddenly there’s a way better reason to visit Gorst than the go-go bars.

Big Budda’s Collective Meds , located on an out-of-theway back street—you absolutely have to be looking for the place to find it— has been in operation for eight months, according to budtender Dawn (who’s very good at her job). And, perhaps tellingly, they are very popular. When I remarked on how busy the shop was on a Thursday morning, Dawn told me “It’s this way every day.”

Obviously, Big Budda’s is doing something right. One thing is their across-theboard $10 grams; not having to stress about whether this strain is $12 or that one $14, but rather being able to concentrate on picking the absolute best flowers, zeroing in on the strains that best alleviate your symptoms, is a great luxury to have. That’s the beauty of flat $10 pricing.

Dawn’s easy rapport with all patients—I saw no fewer than six cycle through during my stay of no more than 25 minutes—is another thing Big Budda’s does right. Normally I wouldn’t be crazy about being called “Dad” by someone I didn’t know, but somehow Dawn’s friendliness disarmed me.

With around 20 strains in the display case, one of the first to catch my eye was labeled

x

tokesignals@seattleweekly.com

Steve Elliott edits Toke Signals, tokesignals.com, an irreverent, independent blog of cannabis news, views, and information.

BIG BUDDA’S COLLECTIVE MEDS 4231 Olympic Dr., Bremerton, 360-265-0236, ak_akamai@yahoo.com. 10 a.m.–7 p.m. daily.

SEATTLE WE EKLY • MAY 29 — JU NE 4, 2013

BLOG ON » POT TOKESIGNALS.COM

“Gooie.” When Dawn got out the jar for me to inspect, I remarked that it smelled and looked exactly like the hybrid strain that would be called “Afgooey” in most shops, and she confirmed what my nose and eyes were already telling me: This is that strain.

Gooie’s sweet taste and smell—and above all its sheer kick-ass potency—have made it a personal favorite strain, and this was an excellently grown and cured example. On the drive home, I found myself not only enjoying a CD of local band C-Leb & The Kettle Black (catch them when you can; Soundgarden meets Zeppelin), but, moments later, realizing that the severe abdominal pain which had tormented me for days was down to a tolerable level—relegated to the status of a footnote, even. That’s good medicine.

(I was of course well below the legal threshold—5 nanograms per milliliter—at all times behind the wheel.)

When I asked Dawn about the best indica she had, she pulled a jar labeled “P.D.S.” from the display case. “It’s Purple Dog Shit,” she answered, seeing my questioning glance. Yes, that’s really what it’s called; it’s a cross between some unknown purple strain and the Dog Shit strain I’ve seen at a few shops around town. Perhaps thankfully, the strain’s bouquet leans more to the unknown purple than to the Dog Shit—not that I wouldn’t have smoked it anyway, considering its powerfully soporific, pain-relieving effects. E

37

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Professional Services Professional CASH FOR CARS. Any make, model and year! Free pick-up or tow. Call us 800-318-9942 and get an offer TODAY!

Apartments for Rent King County COLUMBIA CITY Starting in the $900s NEW 1 & 2 bedroom apartments, walk to Light Rail!

Roof Deck, Res Lounge, P-Patches, Parking.

888-553-5621 GreenHouse-Apts.com University District 1, 2 and 3 bedroom apts available for pre-leasing.

206-441-4922 9amâ&#x20AC;&#x201C;2pm

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms â&#x20AC;˘ Please call Anna between 10am & 8pm â&#x20AC;˘ 206-790-5342

U-DISTRICT $425-$500 All Utilities Included!

Call Peir for more info (206) 551-7472

Nightlife Reporter Seattle Weekly is looking for a reporter to join its team of talented writers and help shape its weekly newspaper and daily website while continuing the publicationâ&#x20AC;&#x2122;s legacy of award-winning journalism.

The ideal candidate will be passionate about local news and politics while also possessing the ability to write about Seattleâ&#x20AC;&#x2122;s nightlife, including coverage of music, crime, the arts, bars and all other after-dark activities. The Nightlife Reporter will be adept at story generation and development, for both longform narrative work and daily blogging. The right candidate will work exceptionally well with words and people.

Seattle Weekly offers competitive salaries and benefits. Qualified applicants should send a resume and a substantive letter explaining why the Seattle Weekly needs you now, including up to 10 recent clips, if you have them to:

EVENTS

Miscellaneous Autos **************** DONATE YOUR CAR! Tax Write-off/Fast Pickup Running or not.

Cancer Fund Of America.

(888) 269-6482

Employment General Need someone with knowledge of tobacco products for weekly job. Involves counting tobacco products, getting selling prices, deliveries and calculating sales.

Call Josh at M&M Market Management 1-800-995-7494 for more details.

P R O MO TIO NS

hreast@soundpublishing.com

or mail to: Sound Publishing, 19426 68th Ave. S., Kent, WA 98032 ATTN:SEAREP

Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace.

Visit our website at: www.soundpublishing.com to find out more about us!

Simply Schedule Appointments!

AR T S AND ENTER TAINMENT H APPY H OUR P R O M O T I O NS EV ENT S

W W W. S E AT T L E W E E K LY. C O M / S I G N U P

OF THE

Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to replace existing antennas and add new antennas on the rooftop of a building located at 1334 Alaskan Way, Seattle, WA 98101. Public comments regarding potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com.

Employment Computer/Technology

a weekly list of the top drink specials right in your area.

You will offer FREE, NO OBLIGATION estimates for Trimming, Pruning or Removals of Trees or Shrubs. Our Outdoor Marketing position offers: r 4FU ZPVS PXO 4DIFEVMF 1BSU 5JNF PS 'VMM 5JNF

r +PC 4FDVSJUZ r 8PSL 0VUEPPST r 5SBJOJOH .BSLFUJOH .BUFSJBMT $PNQBOZ "QQBSFM QSPWJEFE r $FMM 5SBWFM .FEJDBM "MMPXBODFT "WBJMBCMF r 3FQT BWFSBHF L ZFBS 3FRVJSFNFOUT 7BMJE %SJWFS T -JDFOTF 3FMJBCMF 5SBOTQPSUBUJPO $FMM 1IPOF BOE *OUFSOFU "DDFTT 5IJT JT OPU B PS $POUSBDU QPTJUJPO JG IJSFE ZPV XJMM CF BO FNQMPZFF PG PVS DPNQBOZ Apply 1 of 3 ways: $PNQMFUF UIF 0SEFS (FOFSBUPS "QQMJDBUJPO BU XXX FWFSHSFFOUMD DPN 4VCNJU B 3FTVNF UP SFDSVJUJOH!FWFSHSFFOUMD DPN $BMM PS 3FDSVJUJOH 5FBN +BTNJOF &YU PS )FBUIFS &YU

A R T S A ND ENT ER TA I NM ENT

SEATTLE WE EKLY â&#x20AC;˘ MAY 29 â&#x20AC;&#x201D; JU NE 4, 2013

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Classified @ 206-623-6231, to place an ad

Call

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ARE YOU LONELY?

Classified

Call

@ 206-623-6231, to place an ad

*ADOPT:* Active, Energetic, Professional Couple yearns for 1st baby. Sports, Playful pup, Beaches await!

Joyce *1-800-243-1658* Expenses paid

HAPPYHAULER.com Debris Removal • 206-784-0313 • Credit Cards Accepted!

HOT GAY, BI, & LESBIAN LOCALS Listen to ads & Reply FREE! 206-877-0877 Use FREE code 5912, 18+ Leavenworth International Accordion Celebration June 20-23 www.accordioncelebration.org

Psychic, Palm & Tarot Card Readings $15 Special. 425-789-1974

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

WWW.KIRKLANDGOLDBUYER.COM Singing Lessons FreeTheVoiceWithin.com Janet Kidder 206-781-5062

Beautiful Czech Women Looking for U.S. Men For Lasting Relationships.

Queen Ann-Seatac $48.00, Seattle-Seatac $45.00, Bellevue-Seatac $48.00!

Enjoy a Night Out for as little as $30/trip!

Party bus booking 30% off!

Any time, anywhere: let us do the driving for you!

Check out more at http://www.seattlechauffeur4u.com

SUMMER JOBS $1,570-$2,420/Month

No Visa Required. www.easterneuropewomen.com

(360) 791-9999

SPRING SPECIALS FROM SEATTLE EVERGREEN TRANSPORTATION

Work with Grassroots Campaigns to protect reproductive rights. Some of our objectives: - Keep Birth Control Affordable - Oppose Attacks on Women’s Health - Ensure Healthcare Access for All Call Casey: (206) 329-4416 Or apply at: www.grassrootscampaigns.com/seattle

SINGLE? 206-432-1169 WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

S.A.M

facebook.com/seattleweekly WANT TO KNOW ABOUT UPCOMING EVENTS, CONTESTS OR LOCAL PROMOTIONS? SIGN UP FOR SEATTLE WEEKLY’S PROMOTIONS NEWSLETTER. Go to: seattleweekly.com/signup

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THE NORTHWEST!

MEDICINE MAN MEDICINE MAN WELLNESS CENTER Walk-ins Welcome WELLNESS CENTER Celebrating our New Low Prices and New Summer Clinic Hours ** Starting June 28, 2011 ** New Clinic Times: Tues 4–6 Fri 12-2 Sat **starting JULY 2ND ** 10–2

On-Line Verification Available Celebrating our New Low Prices Bring th and New Summer Clinic Hours Providing Authorizations in - For week Bring thisJune ad and receive with RCW 69.51A** 4023 Aur **Accordance Starting 28, 2011 an additional $25.00 OFF w Fri 12-2 New4021 Clinic Times: Tues 4–6 $99 includes Aurora Ave N. Seattle, WA 98103 Authorization and ** Card seattlealt#yahoo.com Sat206-632-4021 **starting •JULY 2ND 10–2 A non-profit org Doctors available Tuesday 2 - 6,

BringThursday this ad 11 - 3,and Fridayreceive 11 - 6 Also Open Sunday 12 - OFF 4 an additional $25.00 4021 Aurora Ave N. Seattle, WA 98103 4021 Aurora Ave N. Seattle, WA 98103 206-632-4021 www.medicinemanwellness.com 206-632-4021 • seattlealt#yahoo.com Now accepting all major credit/debit cards!

instagram.com/

New S

206.767.8082 GRAND OPEN SALES 30% to 50% 9100 E MARGINAL WAY S We Match All Prices. Best Prices in Town, Guaranteed!

SEATTLE, WA 98108 Extra 10% OFF if our Price is Higher 1000W LIGHT PACKAGE REG $359.95 NOW ONLY $129.95