Seattle Weekly, June 26, 2013

JUNE 26-JULY 2, 2013 I VOLUME 38 I NUMBER 26

SEATTLEWEEKLY.COM I FREE

SPYING IN SEATTLE THE NSA IS BUYING LOCAL PAGE 6 AND THE HENRY IS WATCHING YOU PAGE 18

When anyone can make a video game, life is a joystick.

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SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

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inside» June 26–July 2, 2013 VOLUME 38 | NUMBER 26

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NEWS

THE DAILY WEEKLY | Is the NSA

storing your data on Fifth Avenue? Also, Olympia’s “very successful session.”

9

FEATURE

BY DANIEL PERSON | Technology today

allows almost anyone to make a video game, from the guys at the next table at Starbucks to cons at Clallam Bay. Let the golden age of pixels begin!

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33 | REVIEWS | Every local release.

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Oak Ridge National Laboratory in Tennessee, t’s a secret, of course. But the company where the trapped NSA megadata is processed. whose high-speed computers capture Cray’s press releases detail its sales to comand crunch that phone and online megamercial customers, including universities, major data for the National Security Agency is corporations, and governmental agencies. But located in downtown Seattle. it doesn’t disclose the NSA work in releases, From its headquarters in the 41-story former company profiles, or its online corporate history.

Bank of California building, Cray Inc. sells And it’s not about to point out its clandestine commercial supercomputers that require large work to reporters. Just last week, in a Seattle buildings to house them and the electricity of a Times story recounting how Cray had become small city to power them. That’s especially true the #2 publicly traded company in the Northof Cray’s rarely discussed business dark side: its west with sales of $400 million last year, the clandestine partnership with the NSA, providNSA never came up. ing warehouse-sized megacomputers to, among It’s no secret to James Bamford, however. other things, intercept and analyze numbers, “Cray has made Seattle the spy supercomputer times, and places of calls and other private data. capital,” the bestselling author says on the It’s the classified process that whistleblower phone from his home in D.C. He’s been invesEdward Snowden has been revealing in leaks to The Guardian and The Washington Post in recent tigating and spilling NSA secrets since his first book, The Puzzle Palace, was published in 1983. weeks, leaving the White House scrambling to defend the data sweep of American citizens and In his newest, The Shadow Factory, from four years ago, he was the first to detail the megadata forcing top security officials to openly discuss collecting that is making headlines today. the secretive program.

In Shadow Factory, Bamford reports that But Cray’s not talking. A corporate spokesCray’s relationship with the NSA is much more person had no comment last week when asked than that of government contractor and agency. about the Seattle company’s 36-year history When Seattle-based Tera Computers bought with America’s spy agency. Likewise, there’s Cray Research in 2000 to became Cray Inc., little to see at Cray Inc. headquarters—an array Tera co-founder and chief scientist Burton of offices behind the doors of Suite 1000 in Smith (since departed what is now called the for Microsoft) reputedly 901 5th Avenue Buildstruck a deal with NSA. ing. Originally named PRINT IS GREAT, but if you want to read . . . how the immi“The agency was said Cray Research and gration bill could save the Olympic Peninto have played a quiet founded in 1972 by Seysula, check it out on The Daily Weekly. role” in Cray’s purchase mour Cray in Chippewa SEATTLEWEEKLY.COM/DAILYWEEKLY

by Tera, Bamford writes, Falls, Wis., the company with the idea that the furnished the NSA with two companies’ joining forces could produce the its very first supercomputer, ostensibly to break kind of state-of-the-art supercomputers NSA enemy codes. Today, anyone with a phone or needed.

Internet connection is the potential enemy of He also cites a document that details how Cray’s newest data-gobbling computers, made one of Cray’s other little-known spy customat Cray facilities in the Midwest and housed at NSA headquarters in Fort Meade, Md., and the ers, Australia’s equivalent of the NSA, uses its

[

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supercomputers to filter “all telephone conversations, fax calls, and data transmissions, including e-mail.”

This massive data digestion is made possible

by Cray’s astonishing speeds—a progression from the 1970s supercomputer limit of 320 million words-per-second to today’s petaflop speed of a thousand trillion operations-persecond. Bamford reported on the advancements in a Wired piece last year, describing the NSA’s cyber-expansion—which includes the $2 billion Utah Data Center, due to open in September, and its $3 billion addition at Fort Meade.

Under a NSA contract, Cray has upgraded its Oak Ridge operation to a warehouse-sized supercomputer called the Jaguar. It clocks in at 1.75 petaflops, officially becoming the world’s fastest computer in 2009. (The Chinese last week took that title with a supercomputer speed of 33.86 petaflops per second.)

Today, Cray is developing a supercomputer called Cascade, in part through a $250 million contract with America’s cybercop, the Defense Advanced Research Projects Agency. Cascade is expected to clock in at 10 to 20 petaflops.

Though the new Utah site may include a new top-secret Cray computer, the crunching can easily be done at Oak Ridge and elsewhere. The Utah site—one million square feet—is expected to become both a massive electronic storage center and code-breaker, aimed at deciphering encrypted financial, business, military, legal, and personal communications gathered by the NSA electronic nets around the world, including its large antenna farm on a bluff over Brewster, in Okanogan County.

NSA has also long maintained a listening post at a facility on the Army’s Yakima Firing Range, but it’s closing that shop, says Bamford.

“Yakima concentrated on satellite communications. That’s history now,” he says. “Cyberspace, and Cray, are the frontier.” From petaflops, we’re headed to exaflops, a quintillion operations a second; zettaflops, a billion trillion, and someday yottaflops, a trillion trillion. The only secrets left, Bamford says, will be those held in the government’s computers.

Olympia: The Picture of Success

C

M

Y

CM

MY

CY

CMY

K

The majority coalition was supposed to be about bipartisanship. In fact, the session is likely to go down in history as one of the most partisan ever. has been new revenue” enacted—or re-enacted.

On a technicality, the state Supreme Court had thrown out a tax legislators had previously imposed on wealthy estates, and a battle ensued over whether to pass the tax again. Democrats, who wanted to do so, won that one. Even so, Murray admits that the new revenue overall “is not as much as Democrats wanted.”

And they almost certainly would have gotten what they wanted had Tom and Sheldon not joined forces with Republicans. Democrats then would have controlled the Senate, the House, and the gubernatorial seat. A triple whammy. In this sense, you can certainly see why The Seattle Times’ Danny Westneat proclaimed Tom “the big winner of the year so far in state politics.” (Tom, as majority leader, tends to get more attention than Sheldon, whom Democrats long ago dismissed as an unfaithful member of the tribe.)

But whether the majority coalition’s win on taxes overshadows all else is an open question.

Certainly voters might not see it that way.

Sheldon says he doesn’t think the Olympia gridlock we’ve endured we’ll spark voter backlash come November. After all, a shutdown looks all but impossible at this point.

Yet the session’s partisan gamesmanship leaves a bad taste in one’s mouth. Who’s to blame depends on whom you talk to, naturally.

Each side accuses the other of refusing to negotiate in good faith.

It’s worth noting, however, that the majority coalition was supposed to be about bipartisanship, with members of both parties coming together around core ideas. Aside from the newfound love affair between Republicans and the Senate’s two dissident Democrats, that didn’t happen. In fact, the session is likely to go down in history as one of the most partisan ever. NINA SHAPIRO E

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Tim Sheldon, one of two state Senate Democrats who famously turned their back on their party this year to join Republicans and stage a coup, had this to say about his and his newfound Republican colleagues’ recent months in power: “I think we’ve had a very successful session.”

Really?

While on Monday Gov. Jay Inslee announced a “breakthrough” in budget negotiations—one he refused to provide details about—the legislature has allowed the state to come a week away from a shutdown. Even if a deal is reached, one might argue that the prolonged stasis—taking the legislature deep into a second special session—has made the year in Olympia a screaming failure.

From the point of view of the majority coalition caucus—formed by Sheldon, fellow Democrat Rodney Tom, and Senate Republicans—there’s reason for chagrin too. Many of the reforms caucus members touted as their top priorities hit a brick wall when they

got to the Democrat-controlled House. That includes initiatives aimed at making education more “accountable,” which caucus members insisted was a necessary counterbalance to giving schools more money as demanded by the McCleary court decision.

A rare exception was a bill that targeted failing schools and made it through both chambers. But the measure, which once called for a state takeover of those schools, was extensively watered down, so that now it calls merely for state-monitored improvement plans.

Sheldon’s positive spin rests upon a couple of premises. One is that the “majority coalition caucus” has beaten back the tax increases that mainstream Democrats otherwise would have pushed through. It’s pretty clear that is indeed the case.

Sen. Ed Murray, the Seattle mayoral hopeful and Senate Democrat deposed as majority leader by Tom after the coup, asserts that “there

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The coffee-shop coders and jailhouse cons who are making your next video game.

BY DANIEL PERSON

no pay in the hope that they can arouse enough interest in their concept to crowd-source funding for development (when they met with Seattle Weekly, they were coming down to the wire on an $8,000 Kickstarter campaign). Once the game is complete, they then have to market the hell out of it, trying to move enough City Quests at $8 a pop to recoup costs and perhaps make a little money for their efforts. n It’s an enormous amount of work: Nohr and Rasmussen have been developing City Quest since September; Nohr doing most of the coding while Rasmussen develops the art. They both write, crafting their madcap plot as they go (hence their uncertainty about what role those little babes will play). n Despite all that, the two have one huge advantage over developers at big game companies: creative freedom. The freedom that allows them to make what amounts to a dead-baby joke in their video game or have their bumpkin character fall into prostitution (both men, from Wisconsin, swear the game isn’t autobiographical) n City Quest is their vision, and they’re coding to it. n To borrow beer lingo, Nohr and Rasmussen are what you might call nano-developers, home-brewing their game with minimal equipment and capital. And just as tiny brewers have doggedly eaten into Budweiser’s and Miller’s share of America’s beer-swilling dollar, the past few years have shown that any developer has the potential to be a mighty competitor to even the biggest game studios.

» CONTINUED ON PAGE 11

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

O

n a breezy Starbucks patio in Redmond, Ryan Nohr and Jonathan Rasmussen huddle around a Macintosh laptop to introduce a stranger to a strange world. n The premise of the video game on the screen is this: A country bumpkin flies from the Midwest to a metropolis (maybe Seattle, maybe not) to find it’s a hard world. Buses, airplane propellers, and politicians all conspire to lead the stranger to a gory death. The graphics in City Quest hover somewhere around 8-bit, and the game play consists of chatting with characters in dialog boxes, presented in blocky font, as the player—in this case, Nohr—navigates a whimsically sinister landscape. n Our hero isn’t even out of the virtual airport when Rasmussen suggests Nohr show a reporter the baby in the vending machine. n “Oh, yeah—part of the game is going to be trying to find all the babies,” says Nohr, who wears large ear gauges and a long red beard that forks at the end. He walks the man onscreen toward the candy machine. With a few more quick keystrokes, the avatar extracts a babbling infant. Cute. n “We think there will be a part where you’re hungry,” Rasmussen notes, “and you either have to eat one of the babies or a pigeon.” A man in his 20s who tests video games for a living, he breaks a smile that manages to make him look both proud and embarrassed. n Nohr and Rasmussen are independent video-game developers. They work out of coffee shops for

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BIT PLAYERS » FROM PAGE 9

It’s a stunning reversal in the evolution of the video game: For decades, economies of scale had benefited firms that could put the most money toward the most realistic graphics and expansive game play.

Even simple games required a bullpen of coders to create anything attractive to sore-thumbed consumers.

The whiz-bang results were addictive and insanely profitable. They were also dismissed by parents and

guay has even subsidized game-development shops in the hope of bringing in big American bucks. The next blockbuster video game could come from any corner—or coffee shop—of the world.

Even a prison on the Olympic Peninsula.

U

ltimately, a video game is like any other work of art: It seeks to share a human experience, be it through realism or, much more often, fantasy.

Which is what makes what’s going on at the Clallam Bay Corrections Center near Port Angeles so exciting.There, the extension service of the nearby

Featuring more than 70 artists, the exhibit celebrates women as engines of creation and change in popular music, with iconic artifacts and nonconformist costumes such as Joan Jett’s leather jacket from the video “I Love Rock ‘n’ Roll,” Kim Gordon’s 1977 Ovation Magnum bass, and Lady GaGa’s meat dress.

Gilbert White. an inmate at Clallam Bay Corrections Center, designs a game.

“There’s certainly a potential there for a simulation of what it’s really like to be in prison.”

» CONTINUED ON PAGE 12

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guardians everywhere as cultural rubbish that may well render kids sociopaths or introverts.

However, the steady creep of technology has lowered the barrier of what it takes to create a fully realized video game, giving practically anyone with a computer, the drive, coding know-how, and a case of Mountain Dew Code Red the power to move the entire industry in a million directions. What’s resulted is an explosion of games that, while clunky on graphics, are funnier, trippier, and cleverer than the standard fare that has for years relegated video games to the cultural slums. It’s also turned the video game into a medium to tell complex stories about the society around us. Or, as one Seattle developer put it: “More [games] that are concerned with real human beings, and sometimes are even made by them.”

In many ways, the indie-game revolution has already come and gone, with games created in Scandinavian garages bringing in millions for their tiny teams. But as with anything, it’s taken time for corporations and governments to figure out what to do with coders like Nohr, and this has been a year of reckoning. Big companies, including Nintendo, have made entreaties to small game developers; the government of Uru-

Peninsula College, using outdated computers and software downloaded for free off the Internet, began to teach interested convicts how to make a video game. It’s a year-long program, which, as instructor Ray Pulsipher will tell you, can amount to a lot of hours of practice “when you have all the time that these guys have.”

For three hours a day, Pulsipher instructs the inmates in all forms of computer programing, based on each individual’s interest. He says the idea of creating a video game that others can play has caught the imagination of many: “One of the things that struck them is getting something they created shared with the outside.”

Pulsipher says that when he sat his students down to brainstorm what kind of game to make, the ideas that flowed were what you’d expect from a table of men. The group finally decided on a game about a zombie apocalypse. This being a prison and these being prisoners, there are a lot of constraints on what kind of violence they are allowed to render onscreen. For example, wasting a zombie with a sawed-off shotgun is a no-no, so they are going with more of a paintball-game motif.

Pulsipher notes that the gore is beside the point; what they’re asking the cons is this: “If you wanted to create a world, how would you do it?”

He hopes that in a year or two, the class— whose game studio is going by the name Conware Games—will be able to submit an entry into national competitions. “We want to get some of the stuff they’re doing out there,” he says.

Could the prisoners eventually use their newfound skills to teach the world about life inside the walls?

Brian Walsh, director of the extension service,

EMPMUSEUM.ORG

11

BIT PLAYERS

» FROM PAGE 11

Scenes from The Bridge.

thinks so. “There’s such a romanticization of prison life,” Walsh says, speaking by phone. “Prison games that are out there, they’re Sim City-type games.There’s certainly a potential there for a simulation of what it’s really like to be in prison.”

W

12

challenging the persistent perception of video games as a low art rampant with violence.

Take, for example, Cart Life, a so-called “empathy game” developed by Seattle’s Richard Hofmeier that seeks to help the player better understand the life of a food-cart operator in a small town called Columbia City. Far from ducking zombies or slaying Nazis (or, as one game allows, killing Nazi zombies), Cart Life’s challenges include keeping your cart open long enough to make money while still closing in time to pick your daughter up from school. In a nice touch, your character tallies the day’s wins and losses as he or she stands in the shower.

“In street vending, your business finances are inseparable from your personal expenses,” Hofmeier says of his inspiration to make the game.

“That seems both daunting and freeing to me, and these are conditions that most people I know can understand immediately.”

With the power to make a video game in so many hands, Hofmeier says, he’s seen the art-form come into its own.

“For me, it’s similar to how a book can be a

recipe book or a diary or a collection of news photos or The Brothers Karamazov or a sports star’s autobiography,” Hofmeier says. “The things we call video games aren’t always adolescent fantasy play.”

Not that fantasy is at all verboten.

Look no further than Taylor’s The Bridge, which puts people inside M.C. Escher drawings.

A 23-year-old from Ohio, Taylor spent two years designing The Bridge, inspired, he says, by what he hoped was a common fantasy: “Whenever I looked at an Escher drawing, I’d fantasize about what it would be like to walk around in them,” he says. “The only way to really experience that was to make a video game . . . I’m sure I’m not the only one to fantasize about what it would be like to be inside that drawing and feel that.”

Taylor says he was free to pursue his vision thanks to low overhead. Working during his off hours from his job at Microsoft, Taylor was able to put together a prototype of his game in just a couple of days, though it took him two and a half years to build it out. Still, with $5,000 and lots of

» CONTINUED ON PAGE 14

Ty Taylor plays his game.

JOSHUA HUSTON

SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

hat’s given the prisoners at Clallam Bay, and millions of others, the ability to render their worldviews in code is the galloping pace of technology development, which has made much programming software cheap or free.

In the vanguard of this freeware is Unity, a “game engine” that helps developers with the physics of their game. To cite just one example, Unity allows a developer to, with a few clicks of a mouse, dictate how to get his character to jump, duck, kick, or punch. Simple as that sounds, it’s incredibly complex to create in a video game, especially when it must be replicated across several characters in a number of levels. To compare it with music: It’s as if until recently, your garage band had needed to build your own guitars and drums to play a song; now you just need to know how to play an E chord and keep 4/4 time.

“Back in the day when you had to do everything by scratch, you needed a team of developers,” says Ty Taylor, a Seattle developer who released his game, The Bridge, to critical acclaim last year.

“Now you can have a game in just a few hours, or at least a small prototype.”

Just as Seattle rode the power chord to fame in 1991, few cities are embracing this new technology as enthusiastically. While raw numbers are difficult to pin down, one industry veteran put it this way: “L.A. is where people go to do the glitzy design, San Francisco is where people go to have the huge start-ups, Seattle is where people go to sit inside out of the rain and design games.”

And design they do, many of their creations

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First we’ll blow your minds.

Then we’ll travel back in time.

Don’t miss the first fireworks show in Safeco Field history after the game this Friday. Pyro Spectaculars, the guys who light up the sky on New Year’s Eve at the Space Needle, will be on hand to produce this special show.

Saturday, we roll back the hands of time more than 100 years.

The Mariners will be sporting vintage Northwest League uniforms while the Cubs will wear uniforms from the turn of the century.

Fireworks night Friday vs. Cubs – 7:10 p.m.

turn Back the Clock day saturday vs. Cubs – 4:15 p.m.

upcoming events friday

Fireworks Night

(post-game)

7:10 p.m. vs. Cubs

For tickets, (888) sea-hits, ticketmaster ticket Centers, or

WatCh the Mariners on

saturday

sunday

Turn Back the Clock Day

Youth Baseball Day

4:15 p.m. vs. Cubs

1:10 p.m. vs. Cubs

Free retro poster for the first 20,000 fans courtesy of Seattle Magazine

Free Hisashi Iwakuma poster for all kids 14 & under courtesy of Aquafina

also at Mariners downtown seattle team stores: (4th and stewart)

safeco Field alderwood Mall

Listen on the Mariners radio hoMe

july

8-11 Red Sox Series

Boston’s only visit to Safeco Field this season

Bellevue square southcenter Mall

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

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SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

SEATTLE WEEKLY PROMOTIONS

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ENTER TO WIN TICKETS TO SEE FRED ARMISEN July 7th at the SHOWBOX at the MARKET

ENTER YOUR VIDEO TO THE BITE COOKS AT HOME

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BIT PLAYERS » FROM PAGE 12

keystrokes, he developed a game unlike anything coming out of bigger studios. “I took a huge risk, basing a game off what I personally thought was interesting,” he says. “They put millions of dollars into finding out what people want.”

S

till, while indie games are making huge creative strides, their full acceptance into the video-game industry has been slower to come.

Nowhere has this been more apparent than in the ongoing fights between indie studios and major game consoles like Microsoft’s Xbox. But even these battles tell well the story of how an industry built on glitz has come around to games less polished.

Consoles like the Xbox and the Wii are much like any brick-and-mortar store. Like the GameStop on Capitol Hill, Microsoft, Sony, and Nintendo seek to create a one-stop shop for video-game customers looking to download a game, whether mass-produced or a little more hand-crafted. At its most felicitous, this relationship enables developers to deliver games that improve a console’s offering, while the console gives the developer access to millions of users.

But it’s rarely felicitous.

Like any store, consoles want to be careful not to put junk on their shelves; but without having the manpower—or, some say, incentive—to fully test every game created in the far-flung coffee shops of the world, the companies have all set up arbitrary guidelines to separate the grain from the chaff. (This isn’t the case in the world of PC and phone games, where there are few to no restrictions on publishing a game and where, admittedly, there is a lot of chaff.)

Inevitably, this has kept good games off popular consoles and instilled a David-vs.-Goliath narrative into the indie scene, with Microsoft most often playing the Biblical ogre.

Blogs that follow these battles are filled with anecdotes of indie developers breathlessly explaining how frustrating it is to try to get a game on to Xbox.

“Why do we need a publisher when we selffinance our games . . . and we’ve turned nearly two million units online?” one developer fumed to blog Eurogamer in reporting that the latest installment of his popular Oddworld series won’t be offered on Xbox’s newest console, Xbox One. “Why? What’s wrong with us?”

Ed Fries agrees that Microsoft has a strained relationship with indie developers. Before leaving the company in 2004, Fries was the company’s vice-president of game publishing during Xbox’s debut. In a brief interview during a developers’ summit held recently at EMP, Fries said that early on Microsoft supported independent game developers, but over time “put a lot of restrictions on the developers” and “made it harder to find the games.”

But Fries also notes that the last Xbox, Xbox 360, was released seven years ago, before indie game developers shook up the industry landscape.

As Microsoft ramps up for the release of the Xbox One, Fries says the gaming world is listening to whether the company is ready to start playing nice with all those rock-hurling Davids—a move Nintendo and Sony have already made. Given the explosion of indie games, Fries doesn’t seem to think Microsoft has much of a choice.

“They’ve been much more aggressive with approaching the indie community,” Fries says of the Japanese companies. “Microsoft is being much

more quiet.” Earlier this year, Nintendo drew cheers from the community when it dropped its requirement that a game maker have an office address to publish on its systems, meaning that coffee-shop coders like City Quest’s Nohr and Rassmussen now have at least a shot at reaching Nintendo’s millions of users.

Other corporations are also trying to get into the game. Earlier this month, Amazon launched with some fanfare an entire section of its website devoted to indie games. In an e-mail to Seattle Weekly, Amazon spokeswoman Lyn Hart says the new site gives developers access to “tens of thousands of customers” and gives gamers a way to “more easily discover the large and growing selection of innovative indie games.”

Gone unsaid was Amazon’s, Nintendo’s, and Sony’s interest in getting a piece of the action. The fact is, there’s too much money in indie games for the big boys to ignore them any longer. As Fries puts it: “Back in the day, you wouldn’t believe you could make a great game with two guys in a garage. Then a group in Sweden called Mojang put out a little game called Minecraft that’s caught the world on fire.”

M

inecraft could be called the Seinfeld of computer games: It’s about nothing, and fans can’t get enough.

At least there are no concrete objectives. Released in 2009, the game is based on exploring a world of blocks that can be moved and used to build shelter and otherwise stay alive. If you do, the 16-bit universe is your oyster, as players try to beat each other with what they can create (one player created a working computer within the computerized world).

Essentially created by one man, Markus Persson, at practically no cost in his garage, Minecraft

“I took a huge risk, basing a game off what I thought was interesting . . . They put millions into finding out what people want.” has been downloaded more than five million times, bringing in $80 million.While top-tier games can still best that in revenue (one installment of Call of Duty grossed $1 billion in just 15 days), Minecraft and other indie hits have forced the game community to rethink what gamers actually want from video games—especially what kind of graphics users will put up with if the game is clever enough.

Speaking at EMP, developer Chandana Ekanayake marveled at his children’s response to a game called Thomas Was Alone, a moody puzzle game in which the main character is simply a rectangle whose internal dialog is more about where he’s headed in this world than about the game.

Ekanayake doubted his race-game-loving kids would take to minimalist gameplay. But before he knew it, they were hooked.

“Indie games take risks with their stories and are willing to go farther with those stories,” says Tom Swanson, who helps organize independent gaming events in Seattle. “That’s opened this huge window that has allowed indie games to just blow up.”

“The AAAs are starting to feel the pressure,” says Kate Edwards, director of the International

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Game Developers Association, using the industry slang for major game developers. “They say, ‘We didn’t know that kind of stuff would sell.’ ” Not that the big guys play nice when they get a tip from a well-performing indie game: With games coming out at a furious pace, quick ripoffs of hit games are part of the business. “Big companies look to innovative indies as their free R&D,” says Tom Buscaglia, a Seattle lawyer who represents video-game makers. If a small game hits on iPhone, he says, huge companies can and will quickly replicate it and release it on Android phones before the small guys have a chance to.

If the big companies are smart enough, they’ll change things just enough to make it pass as original work. But sometimes they aren’t smart enough.

Last year, Kirkland-based SpryFox filed a lawsuit against the major Hong Kong–based studio 6Waves after it noticed a few similarities between its popular Facebook game Triple Town and a new game called Yeti Town. “We’re talking about tons of little details,” SpryFox CEO David Edery

T

he episode speaks to how much money is up for grabs in a world where customers are almost always within reach of a device capable of running a video game. Even governments are taking notice. Perhaps lured by the possibly huge return on investments, Uruguay has successfully fostered a booming video-game industry. As The New York Times reported in February, while the country’s heavy regulation of industry is typically seen as anathema to entrepreneurship, it used its clout to help found a successful company that makes educational games, which in turn is encouraging a $600 million softwareexport trade in the tiny nation.

To which Seattle can say: chump change. An industry study released last year by the Washington Interactive Network estimated that the state’s video-game industry—including games, software, and hardware—produced $9.7 billion in 2010, up from $4.1 billion in 2006. The number of firms in the industry doubled between 2006 and 2011, from 150 to 300.

The lion’s share of that comes from Microsoft’s many tentacles, but WIN executive director Kristina Hudson says independent developers deserve some of the credit. “The industry is going through some ebbs and flows right now, but the indie developer is here to stay,” she says.

Too, it appears that Nohr and Rasmussen are staying at their Starbucks for a little longer. It was close, but they got the $8,000 they needed to continue development of City Quest. Tasks ahead include hiring someone to compose the music and writing the remainder of the game.

Asked about two-man teams like theirs, they say these do seem to be auspicious times to be in the biz: “In five years,” Rasmussen muses, “everyone will have played an indie.” E

dperson@seattleweekly.com

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SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

Yeti Town, top, and its indie predecessor Triple Town, bottom.

fumed on his blog, “from the language in the tutorial, to many of our UI elements, to the quantities and prices of every single item in the store.” As reviews of the game noted, the only real differences were that “saplings” were called “bushes,” “houses” were called “tents,” and where there once were “bears,” “yetis” now roamed the land. The suit was settled out of court, and Yeti Town was pulled; 6Waves is still valued at $100 million.

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SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

Image: Kosuke Tsumura, Final Home coat, 1994, Collection of the Kyoto Costume Institute, Gift of Mr. Kosuke Tsumura. Photo by Takashi Hatakeyama.

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Exhibition originally conceived by the Kyoto Costume Institute and Barbican Art Gallery, London. Seattle Exhibition organized by Kyoto Costume Institute in collaboration with the Seattle Art Museum. Exhibition supported by Wacoal Corp.

Presenting Sponsor

Major Sponsor

Print Media Sponsor

Additional support provided by the Japan Foundation and the Max and Helen Gurvich Exhibition Endowment.

Retail Partner Pacific Place

Contemporary and modern art programs at SAM are supported by a generous group of donors in honor of Bagley Wright.

Future Beauty features more than 100 garments that highlight the tremendous innovation of Japanese designers who revolutionized the way we think of fashion today.

the»weekly»wire PRIDE: FILM

Something Fierce This Way Comes

When Jennie Livingston’s documentary Paris Is Burning was released in 1991, drag culture was hardly a mainstream phenomenon. Today we have RuPaul’s Drag Race on TV; back then, seeing a bunch of black and Latino drag queens camping and vogueing in Harlem ballroom competitions was a novelty at the multiplex. Outside New York or San Francisco, how many gay teens—especially those with brown skin—had any idea that such a scene existed? Long before the Internet or DVDs, Paris Is Burning became a viral VHS hit, especially in those flyover states without art-house cinemas to play it. Livingston filmed it over several years during the late ’80s, gaining the trust of her subjects during a time we came to know as the AIDS decade. With ACT-UP protests and numbing mortality statistics, that context was depressing enough, yet Livingston’s players provided a joyous blast of attitude, bitchiness, and shade-throwing. The film came at just the right time, becoming a hit with straight audiences too. Outside the frame, we know, there’s queer-bashing, homophobia, and a lurking virus—as these guys sometimes admit. But drag and self-styled celebrity are a defense against that, a source of pride, and the balls gave these men a safe place to practice their art. Central Cinema, 1411 21st

chopsuey.com. $5. 21 and over. 7:30 p.m. (and 9 p.m. Sat.) GWENDOLYN ELLIOTT PRIDE: FILM

Beautiful Boy

As gay icons go, James Dean fit the ’50s ideal of being handsome, sensitive, and attractive to the ladies, too. During his short lifetime (1931– 1955) flourished a beefcake tribe of closeted gay actors, renamed by their studios and assigned girlfriends in the tabloids, including Rock Hudson and Tab Hunter. Dean was an awkward fit with that Hollywood machinery—a little too Methody, a little too New York, a little too close to the “I’m about to have a nervous breakdown!” tremulousness of Montgomery Clift. For that reason, he’s compelling to watch as red-jacketed teen Jim Stark in Rebel Without a Cause (1955), his iconic screen role. Director Nicholas Ray wound him up for the movie’s overwrought moments (“You’re tearing me apart! ”), but he

Ave., 686-6684, central-cinema.com. $6–$8.

7 & 9:30 p.m. BRIAN MILLER

sat/6/29 PRIDE: PICNICS

Invasion of the Sippy-Cups!

Sunscreen? Check. Diapers? Check. Extra Ziploc bags of Cheerios and grapes? Check and check.

Being a child-raising gay couple isn’t what it used to be. For starters, most of those couples are married now, their schedules crammed with PTA meetings, play dates, soccer games, visits to the pediatrician, and kiddie matinees. For that reason, today’s PrideFest Family Day will be an excellent chance to meet and mingle with other LGBT parents while the kids run wild. It’ll be a stroller-ific, picnicky kind of gathering where you can set up a blanket as a base of operations, then let the young’uns roam the grass, wade in the fountain, poke at the dog poo (“No! Don’t touch that!”), and beg for ice cream from the food vendors. (Other forms of roving entertainment are also expected.) Now that the kids are out of school, summer means embracing the chaos and skinned knees. (Band-Aids? Check.)

While they’re at play, you can compare notes with other parents on schools, braces, and saving for college. Cal Anderson Park, 1635 11th Ave., seattle pride.org. Free. Noon–5 p.m. BRIAN MILLER

WARNER BROS.

PRIDE: NIGHTLIFE

Working Up a Sweat

Go ahead and add talcum powder to all the shimmering accoutrements—glitter, confetti, body paint, etc.—you’ll see this Pride Weekend on the Hill. You’ll find it in the heart of the ’hood on Chop Suey’s dance floor, and it’s there to help with traction once all that body art gets sweated off during what production manager Alex Barr calls the venue’s “best dance parties.”

They’ll be using a lot of it, too. But first, tonight’s lesbian-oriented Lick Night features top-40, hiphop, and classic dance music. Saturday’s Talcum Night, presented by beloved pop-up dance party Emerald City Soul Club, has four DJs spinning sultry soul singles from divas like Dusty Springfield and Tina Turner. If cutting loose to “Proud Mary” with some of Seattle’s hottest guys doesn’t

Kylie Koyote, marching at Pride 2011.

sun/6/30 PRIDE: PARADES

Dean: Beautiful for the ages.

also has an appreciation—as does the camera— for the stillness of Dean’s sheer beauty. From the way Natalie Wood stares at him, the way Sal Mineo stares at him, Dean’s magnetism is apparent. Fifty years later, gay men have many more diverse role models, none in the closet, but few with such enduring fascination. (See James Franco’s worshipful impersonation in the 2001 TV movie James Dean.) His death wasn’t a martyrdom, but he’s still something of a queer patron saint. (Through Wed.) Central Cinema, $6–$8. 7 p.m. BRIAN MILLER

The Rainbow Congestion

There are bad traffic jams and there are good traffic jams. The former come on work days, the latter fall on celebratory weekends—like today’s annual Pride Parade, which will make Belltown impassable for two hours and keep Seattle Center crowded for the rest of the day with PrideFest. (Warning: Mercer, Denny, and Broad will be a nightmare; try the bus or monorail, walk or bike, or park far from the festivities.) Dozens of community groups will march up Fourth, with Sylvia O’Stayformore serving as the parade’s announcer at Westlake Park.

And yes, Dykes on Bikes® will be rumbling down the parade route, too. At Seattle Center, attractions

will include four music stages, food, and vendors of every description. If you need a respite from the crowds and noise, the food court at the renovated Armory is a great place to sit (or park the parents).

And if you’re looking for a little beefcake, remember that Man of Steel is playing in IMAX at the Science Center—we understand that Henry Cavill is easy on the eyes. Parade start: Fourth Ave. & Union

St., 11 a.m. Finish: Seattle Center. PrideFest: noon–8 p.m. Free, pridefest.org. BRIAN MILLER

mon/7/1 PRIDE: CLASSICAL

“Yes, Peter was queer.”

—is, I vividly recall, how one music-history book I read as a kid broached the subject of Tchaikovsky’s gayness. Naturally, composers’ sexuality, especially homo-, has been almost entirely airbrushed out of history—with this sole exception.

Biographies and textbooks can’t avoid mentioning it, if gingerly; I knew Tchaikovsky was homosexual before I knew what a homosexual was. For one thing, the fiasco of his two-and-a-half-month marriage in 1877 to the borderline-nuts Antonina Miliukova, followed by his suicide attempt, looms so large in his life that it’s unomittable. Also, mid-century American music writing followed two manly-man gods: Schoenberg if you were an avant-gardist, Wagner if you were not. Neither school had any time for the composer of the “Pathetique” Symphony and all those twee ballets, and it was easy to explain away the embarrassing hyperemotionality of Tchaikovsky’s music by talking about his . . . tendencies. Tonight the Seattle Chamber Music Society, whose summer festival runs June 29–July 26, presents his Third String Quartet—from 1876, as matters were coming to a head: Tchaikovsky’s own guilt, his romantic disappointment over a male violinist, and pressure from Miliukova, cluelessly throwing herself at him. Other gay composers represented in the festival: Britten ( July 5, 15); Tchaikovsky again (his lavish Piano Trio, July 10); Bernstein ( July 22); Copland and Barber ( July 26). And maybe Ravel ( July 3) and Saint-Saëns ( July 5, 19).

Benaroya Recital Hall, Third Ave. & Union St., 283-8710, seattlechambermusic.org. $15–$45.

8 p.m. GAVIN BORCHERT

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

fri/6/28

CATHERINE ANSTETT

wed/6/26

reel you in, stick around long enough and you’re sure to find something—or someone—worth following inside. With DJs Mathematix, Dewey Decimal, DJ Res, DJ Riff Raff, and the Hill Rats. Chop Suey, 1325 E. Madison St., 324-8005,

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arts»Visual Arts

Collecting Your Thoughts

The Henry’s new surveillance-art installation combines your face and others’ anonymous social-media updates. Yes, it’s as creepy as it sounds.

R.J. SÁNCHEZ

BY BRIAN MILLER

JU LY 12 & 13

C IR Q UE CIR QU D E LLA A SYM SY M P H ONIE W ITH T HE S E AT TL E SY MP HO N Y Stilian Kirov, conductor

SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

See Cirque de la Symphonie’s extraordinary array of contortionists, jugglers and aerial artists performing incredible feats, choreographed to classical music favorites played by a chamber-sized orchestra of Seattle Symphony musicians.

18

Ti ck et s go in g fa st !

206.215.4747 SEATTLESYMPHONY.ORG

by Doug Aitken. There, interactive sensors trigger prior scenes Aitken filmed around the Northwest. The imagery, much larger than Sanctum’s, feels dated and obsolete—not truly, immediately responsive to the environment, what’s happening in the now. And it’s presented up on the secondfloor façade above SAM’s entrance, not at eye level. Sanctum, at least, engages you as a pedestrian.

MIRROR just feels like Times Square signage: more commercial and less sophisticated. Sanctum is sneaky and insidious, but at least it tells you what it’s doing and what it’s collecting.

Big Art is watching you.

D

o you ever get the sense you’re being followed? Crossing the pedestrian bridge over 15th Avenue to the Henry Art Gallery, there isn’t a drone in the clear May sky. Nor are any of those Google Street View cars driving past. Nor do I worry that the NSA’s PRISM apparatus is tracking my cellphone calls. But Sanctum is watching.

In fact, as you walk past the Henry’s new interactive video installation, Sanctum is tracking you, calling out to you, and, if you answer that call, creating a custom-made story for you. And then it politely asks for access to your Facebook status updates, which it will then incorporate—anonymously—into demographically tailored tales for other passersby who follow.

James Coupe and Juan Pampin, the tech-savvy instructors at the University of Washington’s Center for Digital Arts and Experimental Media (aka DXARTS) who created Sanctum, want you to consider how your public behavior can be collected and analyzed. They placed their six video cameras at one of the busiest pathways on campus, where just about every passing student has a busy social-media presence. “This taps into what Google and Facebook are trying to do,” says Coupe of Sanctum’s tracking software.

The siren-like Sanctum is actively soliciting you: first by using your own image as a lure, second via directional audio, or what Pampin calls “beaming . . . these kind of sonic tentacles that try to draw people in.” On three banks of video monitors, facing south and west, Sanctum grabs your image and bounces it back when you walk over for a closer look. Hey, I’m on TV! you think. Then Sanctum begins speaking to you with a computer-generated voice that sounds like an old Laurie Anderson or Radiohead album. If you’re female, the voice rises in pitch; if you’re male, it lowers. What you’re hearing—and reading on a text ticker—is a story that Coupe calls “an individual personal narrative.

It’s composed for you, in response to you.” But it’s not about you; it’s not that creepy.

Sanctum is profiling you, classifying you by age and sex, “to give people feeling of being singled out in a crowd,” says Coupe. If that sounds ominous, making you think of London’s many CCTV cameras or the TSA body scans at the airport, “this kind of stuff is being used more by Google than the government,” he adds. The reason is money:

Sanctum is an art project employing software (some licensed, some proprietary) with tremendous commercial applications. Sanctum’s servers and software are making a hash out of others’ anonymous Facebook postings, Coupe explains, using algorithms to create targeted stories, rather than the coupons or ads that a commercial enterprise might. The story isn’t about you but people like you, who fit your demo—the sort of people you’d friend on Facebook or befriend at school or work.

Then, if you willingly sign up for the project on the designers’ website (sanctum.io), or on Facebook, or via the QR codes prominently placed— along with privacy warnings—around the Henry, Sanctum’s computers will be granted temporary access to your Facebook status updates for up to 60 days. (You can also opt out of the project’s monitoring by the same means.) The database increases its many possible story permutations with each new person who signs up. Your life becomes Sanctum’s story fodder.

H

owever, “story” isn’t really the right term here. What the software spits out is more like the old Surrealist game, Exquisite Corpse, or, more charitably, haiku: bits of random daily detritus that reminds you how useless most social-media updates truly are. “Today the bus smells like cough drops, stale popcorn, and shit,” says one vignette.

“Stopped for a scone in Kirkland,” says another.

Should we care? I certainly don’t—but I’m not on Facebook, and I’m not one to share the mundane details of my life with others. They’re boring to me, too. And I doubt even the most assiduous Facebook poster considers their journaling to be art.

Yet Sanctum draws viewers and mines ever more data. (The Henry is unable to say how many have signed up to date.) During its May beta period, many curious students were taking cell-phone pictures of the video array, creating a kind of Russian-doll mirror effect: image being captured into image, demographic profile being absorbed into narrative bits and bytes. (Many will doubtlessly post the images to Facebook, or write about Sanctum there—creating ever more story material for the two-year project.)

I don’t love the piece, but it’s preferable to Seattle Art Museum’s costlier and permanent MIRROR installation at Second and Union, created

C

oupe and Pampin acknowledge how Sanctum’s proprietary software might be monetized in the future. (The UW owns it and will license it.)

Marketers would love a technology that identifies and entices customers, calls out to them with specific offers or coupons, even without access to their private social media. Internet advertisers are already doing the same, providing you with tailored pop-up ads based on your browsing, whether you like it or not. And whatever your privacy settings on Firefox or Safari, there’s no guarantee of privacy in the public square.

A government or commercialized version of Sanctum could add many more filtering criteria, looking at your skin tone, height, weight, clothing, and so forth. Is that a turban on your head? Are you wearing a beard? Is that a Koran you’re carrying? The software wants to know.

Or imagine a scenario in which you walk into the lobby at Nordstrom, and a video kiosk greets you with a cheerful “Hey, Brian, you look fat for those pants, and you really could use a good haircut—that long hair really makes you look old. Also, you should consider updating your eyeglasses and wristwatch. And those shoes look like something a hobo might wear.” Of course I might say the same to myself in the mirror each morning, but do I want to be tracked thusly in public?

Yet as I watch young, socially networked UW students pass the Henry, many are plainly curious about Sanctum. In part, a Henry publicist tells me, the project is meant to lure younger visitors into the museum, which is a fine objective. And all their social-media updates get purged from the project, so no one’s privacy ought to be compromised.

Still, inside the lobby you find yourself staring at the ugly backsides of 18 large television sets, which block out the windows and spoil the view.

I pity the poor front-desk attendant, who used to enjoy a constant parade of pedestrians outside. In a way there’s less human interaction now, less eye contact. Then again, half the students I observe have their eyes glued to their phones, walking and texting as they pass. Some don’t even notice Sanctum, and some may not care if they’re being profiled at all. E bmiller@seattleweekly.com

HENRY ART GALLERY UW campus, 543-2280, henryart.org and sanctum.io. Through November 2015.

arts»Dance EMERALD CITY TRAPEZE ARTS, 2702 SIXTH AVE.S., 325-4161, SPECTRUMDANCE.ORG. $20–$25. 8 P.M. THURS.–SAT. ENDS JUNE 29.

Donald Byrd is still puzzled about love. Last spring the choreographer made a vertiginous set of dances (Love) that seemed to turn the topic inside out, but apparently he had more questions on the subject. He’s framed his latest inquiry in the form of an autopsy, to determine “if romantic love is dead.” Complete with a white-draped gurney and a set of lab-coated researchers, Autopsy of Love examines the emotion in a series of dances that range from giddy infatuation to obsession.

The heart of the work is a series of duets that mix and match performers. Derek Crescenti and Stacie L Williams are mutually infatuated—at one point he bounces and wags his tail like a dog while she scratches behind his ears. Ty Alexander Cheng and Shadou Mintrone are eternally attracted and angry, in a ramped-up version of the traditional Apache dance. Donald Jones Jr. and Jade Solomon Curtis start out in a fairly sedate partner dance, but it soon escalates with legs swept overhead and backs bent to the floor.

Over and over, through multiple partnerships, one person pursues while the other rejects. Blissful moments when two people are on the same wavelength are both welcome and rare. Byrd’s hightension style is more suited to ecstasy than to ease.

Autopsy links the romantic obsessions of the 19th century with contemporary excess, and its score alternates between Robert Schumann’s

52’S GO-GO’s & BJ U LY 6

& KENN

J U LY 2 8

MELISSA ETHERIDGE

AUG 18

Byrd’s dancers prepare to dissect.

Byrd is celebrating his 10th year of leading Spectrum Dance Theater. Since his arrival in Seattle, he has challenged his dancers and confronted his audiences, assuming that both will rise to the occasion. The process, like love itself, has not been painless, but the results have been most impressive. SANDRA KURTZ E

stage@seattleweekly.com

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Dichterliebe (sung live by Clayton Brainerd) and selections from Amy Winehouse. Byrd also includes poetry from Heinrich Heine. Thus the lead “researcher” (actor Andrew McGinn) compares Mintrone (lying on the gurney) to the heartless Lorelei as he conducts his final examination before autopsy. He seems to hold out little hope for love as Byrd has rendered it, saying of the stage proceedings, “As enemies they saw each other, and almost died of their love.”

NATE WATTERS

PAutopsy of Love

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arts»Performance 30 HOUR IMPROVATHON 30 hours of improv, from 6 p.m.

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

Friday to midnight Saturday, to celebrate 30 years. Drop in for $15 or come and go as you please for $20. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. Fri., June 28–Sat., June 29.

Stage

CURRENT RUNS

OPENINGS & EVENTS

ACCIO BURLESQUE See what’s really under McGonagall’s

robes in this burlesque tribute to Harry Potter. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $25–$40. 8 p.m. Fri., June 28–Sat., June 29.

THE BAD THINGS Punk cabaret with emcee Armitage Shanks, Sinner Saint Burlesque, Miss Mamie Lavona and her White Boy Band, and more. The Crocodile, 2200 Second Ave., thebadthings.com. $13. 8 p.m. Thurs., June 27.

DAVID & JONATHAN Kathya Alexander and Brownbox Theatre’s modern-day interpretation of the biblical story, set in a black church. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. Free. 7 p.m. Tues., July 2.

FREEDOM FANTASIA “A liberty-encrusted, justicesoaked, apple-pie-scented pageant of patriotism” with Ben DeLaCreme, Jinkx Monsoon, and many others.

The Triple Door, 216 Union St., 838-4333, tripledoor.net. $27–$33. 9 p.m. Wed., July 3 & Fri., July 5; 8 & 10:30 p.m.

Sat., July 6.

RAGE WITHIN/WITHOUT Theatre Machine presents an examination of the roots of women’s anger through movement, poetry, and true-life stories. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, brownpapertickets. com. $10–$12. 8 p.m. Thurs., June 27–Sat., June 29; 4:30 p.m. Sun., June 30.

THE SAMURAI WARRIOR ON THE NOH STAGE A workshop/performance led by Munenori and Fumiyuki Takeda. At ACT Theatre, 700 Union St., 2 p.m. Sat., June 29, and Bainbridge Island Museum of Art, 100 Ravine Lane N.E., 6 p.m. Sun., June 30. $35. sugoiexperiencejapan.com.

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

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ALL IN THE TIMING Experimental productions of David

Ives’ short plays. Richard Hugo House, 1634 11th Ave., 800-838-3006, seattlestageright.org. $15. 7:30 p.m. Thurs.– Sat. Ends June 29.

AN EVENING WITH GROUCHO Actor/comedian Frank Ferrante reprises his partly scripted, partly improvised tribute show to Groucho Marx. ACT Theatre, 700 Union St., 292-7676. $25–$35. Runs Wed.–Sun.; see acttheatre. org for exact schedule. Ends June 30.

CHICAGO Desireé Davar makes an excellent Velma Kelly, one of the two bombshells in Kander and Ebb’s musical She leads a 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 serpentine moves to match his portrayal of snake-in-the-grass lawyer Billy Flynn; and Shaunyce Omar brings a dazzling vocal versatility to Mama Morton, from puma-in-heat growls to a full-on Jennifer Hudson.

GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $24–$63. Runs Tues.–Sun.; see villagetheatre.org for exact schedule. Ends in Issaquah June 29; runs in Everett July 5–28.

THE FINANCIAL LIVES OF THE POETS In Jess Walter’s comic novel, adapted and directed by Myra Platt, a man struggles to stay afloat. Jones Playhouse Theatre, 4045 University Way N.E., 216-0833. $25–$45. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends June 30.

HOMEBODY The subject of Tony Kushner’s hour-long monologue is Afghan history, as told by an unnamed and very confiding London housewife; her unfulfilled personal life is the subtext constantly seeping in. Pausing for sips of tea, Homebody (Mary Ewald) attempts to summarize 3,000 years of invasion, war, and religious conflict; we’re soon immersed in her very subjective, stream-ofconsciousness chat. Directed by John Kazanjian in NCT’s kitchen-sized space, Ewald is fully in command of the

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EarSupply

» By Gavin Borchert

In the Trenches

death-defying aria, is staged as a hallucination on a windmill. And in the deeply moving finale, blasted battlefields turn magically verdant. The excellent English adaptation of the libretto is by Stephen Fry (“excellent,” in opera-translation terms, means never egregiously stupid). James Conlon conducts; René Pape as Sarastro leads the admirable cast. Two questions linger: Why did it take so long for this film to be viewable in America; and why, if you were going to film an opera, would you pick one that Ingmar Bergman turned in 1975 into one of the most beloved opera

Despite its wartime setting (WWI, from the look of the helmets), all is sunny as the overture opens in Kenneth Branagh’s lovely, imaginative 2006 film of Mozart’s The Magic Flute: handsome tommies in brilliant cornflower-blue uniforms, bunnies and butterflies, a violin-bearing phalanx of soldiers bowsynching to the soundtrack. But then rifles go off and men fall, and Branagh stirs together the light and dark of all archetypal fairy tales.

(L-R) Benjamin Jay Davis as Papageno; the title Mozart’s score instrument; and Joseph Kaiser as Tamino. is unchanged, though, among ROLF KONOW other details, hero Tamino (Joseph Kaiser) runs onscreen movies ever? Or so I wondered before I watched fleeing a cloud of mustard gas, not a dragon, Branagh’s version—enthralling and charming and the Queen of the Night (Lyubov Petrova) enough to stand deservedly alongside Bergman’s enters riding a tank. Things only get more fanciclassic. Released on DVD June 11, Revolver Entertainment, $19.98. ful from there: “Der Hölle Rache,” her big Act 2

OLYMPIC SCULPTURE PARK

SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

july 11–august 29

20

Thursdays atthePark 6 pm-8 pm

Thursday, July 11: Join us for the kick off of summer season at the Olympic Sculpture Park with a ribbon cutting at 6 pm! Enjoy the New Orleans-style brass band Tubaluba and the fusion of electric Miles Davis and Fela Kutistyle Afrobeats with the band Comfort Food. Create your own fabulous wearable pins, tour the art in the park, down-dog-it in a yoga session with 8 Limbs Yoga, and savor local wines and food truck fun with TASTE Café, BUNS, Grilled Cheese Experience and Here & There Grill.

Additional Support: Amgen, Maryanne Tagney-Jones and David Jones

seattleartmuseum.org/getout

text. In her affecting performance, she makes this loony autodidact lonely and sad, though not quite pathetic.

BRIAN MILLER New City Theater, 1404 18th Ave., 800-8383006, newcitytheater@comcast.net. $15–$20. 8 p.m. Fri.– Sat. Extended two more weekends, through July 20.

THE HORRIBLE LAMB! In Tiffany Louquet’s clumsy spoof, slacker Lyle (Caleb Stengel) discovers that the kid he once teased in school, Hal O’Luyah (get it?), is now a Christian singing sensation with his own TV show. Why, Lyle wonders? Why not him? And when you hear Hal (Ben Erickson) sing, you’ll agree. Hilarity and hijinks are meant to ensue, but the performances are flat and lifeless, and the cast stumbles through the script; hoary old gags are followed by James Nugent’s tuneless songs, augmented by a trio of angels who move the plot along when it gets stuck or murky—which is often. KEVIN PHINNEY West of Lenin, 203 N. 36th St., 800-838-3006, brownpapertickets. com. $12. 8 p.m. Fri.–Sat. Ends June 29.

THE IMPORTANCE OF BEING EARNEST SPT’s Summer Youth Program takes on Wilde’s farce. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Free. 7 p.m. Fri.–Sat.; also 2 p.m. Sun., June 23 & Sat., June 29. Ends June 29.

INTIMAN THEATRE FESTIVAL Four shows in repertory, including Stu for Silverton, a new musical about a small Oregon town’s transgender mayor. Intiman Theatre, Seattle Center. $70–$250. See intiman.org for full lineup and schedule details. Ends Sept. 15.

OTHER DESERT CITIES At the Palm Springs home of proud GOPers Lyman and Polly Wyeth, the clan gathers for Christmas. At the center is the family’s Vietnam War– era shame, which daughter Brooke (Marya Sea Kaminski) summarizes thus: “It’s about our brother, who went to war with our parents, joined a cult, disappeared, and then planted a bomb in an army recruiting station before killing himself.” If the insights in Jon Robin Baitz’s script aren’t profound, his dissection of this Reaganite clan is culturally incisive. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $41 and up. Runs Tues.–Sun.; see acttheatre. org for exact schedule. Ends June 30.

SKETCHFEST Comedy from a dozen or so ensembles. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, sketchfest.org. $10. 7 & 8:30 p.m. Fri.–Sat. Ends June 29.

For more Current Runs, see seattleweekly.com.

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ARTS & CULTURE TOWN HALL SCIENCE

KCTS 9 (6/26) ‘Coal’ Screening & Panel Discussion SNAP (6/30) Michael D’Antonio ‘Mortal Sins’ (7/1) Reclaiming Prosperity Building Stability & Security for Part-Time, Temporary, & Contract Workers

( 7/13) Aisha Tyler Heartwarming Tales of Epic Humiliation

(7/11) Susan Schneider The Science of Consequences

(7/14) Jewish Peoplehood Crisis A Call For Conversation

ARTS & CULTURE

(7/25) Manuel Pastor Reclaiming Prosperity

TOWN HALL

CityClub Seattle (7/18) Civil Discourse Moving to the Heart of the Matter

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(7/10) Joseph J. Ellis The Revolutionary Summer of 1776

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CIVICS

(6/27) Jonathan Lyons How Benjamin Franklin Enlightened America

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Featuring Edie Bri

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Mahler’s symphonies and similar late-romantic blockbusters. On June 27, Mahler’s Fifth. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E. See nwmahlerfestival.org to register. $25 session/$75 for all. 7 p.m. Thurs., June 27.

SEATTLE SYMPHONY To close their season, two favorites by Wagner plus Saint-Saens’ stirring “Organ” symphony. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., June 27, 8 p.m. Sat., June 29, 2 p.m. Sun., June 30.

ARONOFF FESTIVAL CONCERTS A summer celebration of the viola. June 28: Clarke, Khachaturian, and more.

June 29: Mozart and Berlioz. June 30: Students and faculty perform. Bastyr University Chapel, 14500 Juanita Drive N.E., Kenmore, viola.com/aronoff. $10. 7:30 p.m. Fri., June 28–Sat., June 29, 4 p.m. Sun., June 30.

SEATTLE LADIES CHOIR “We love to sing songs other choirs don’t,” says their press release. For example, Metallica. No kidding! Fremont Abbey Arts Center, 4272 Fremont Ave. N., 800-838-3006, brownpapertickets.com. $5–$12. 7:30 p.m. Fri., June 28, 2 & 7:30 p.m. Sat., June 29.

OLYMPIC MUSIC FESTIVAL Chamber music in a rustic repurposed barn, each Saturday and Sunday at 2 p.m. through Sept. 1. To open on June 29–30, Schumann’s song cycle Dichterliebe, plus music by Granados and Liszt.

Olympic Music Festival, Center Road, Quilcene, 360-7324800, olympicmusicfestival.org. $18–$33.

TURKISH CLASSICAL AND SUFI MUSIC With vocalist and ney player Timucin Cevikoglu. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $14–$19. 7:30 p.m. Sat., June 29.

SEATTLE CHAMBER MUSIC SOCIETY SEE THE WIRE, PAGE 17.

MASTER CHORUS EASTSIDE American folk music for pre-Independence Day weekend. Pickering Barn, 1730 10th Ave. N.W., Issaquah, 425-392-8446, masterchorus eastside.org. $8–$12. 3 & 7 p.m. Sun., June 30.

Call or Scan QR Code for reservations

ARTS & CULTURE

• NORTHWEST MAHLER FESTIVAL Read-throughs of

ST EV E MA RT IN AN D TH E ST EE P CA NY ON RA NG ER

Voted Best Piano Bar & Best Place to Take an Out of Town Guest.

TOWN HALL

Classical, Etc.

Out of Town guests Parent’s Night Out Quittin’ Time Reunion St. Patrick’s Day Tired of the Usual Scene Valentine’s Day Why Not? Naughty X-Rated party! (Just kidding!)

Don’t Wanna Miss Out Zany Fiends

SCIENCE

Performance Festival,” with work by Vanessa DeWolf, the Satori Group, and many more, as “performances, actions, or re-actions that last for a minimum of an hour and a maximum of 48 hours, which . . . may not require an audience at all.” July 1–15, details TBA. Hedreen Gallery, 901 12th Ave., 323-9405, seattleu.edu.

SPECTRUM DANCE THEATER SEE REVIEW, PAGE 19.

Anniversary Birthday Corporate Event Divorce Engagement Foreclosure Graduation Happy Hour Independence Day Just Because Kicking Back Looking for Fun Marriage Night On the Town

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YELLOW FISH Alice Gosti describes her “Epic Durational

You name it, We’ll celebrate it!

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ROCKIN’ PIANO SHOW

21

film»This Week’s Attractions PA Band Called Death

22

TAMMY HACKNEY/DRAFTHOUSE FILMS

Thirty-seven record-store clerks feared dead in Yo La Tengo concert disaster. I’m quoting The Onion’s famous fake headline, of course, and that’s not what happens in this doc about three forgotten Detroit punk-rockers of the early ’70s. Yet it’s a no less vinyl-centric tribute to an even more obscure band. Death was founded by African-American brothers David, Bobby, and Dannis Hackney. The Detroit trio recorded and pressed one 1976 single on spec; no label would sign them; and the 45 was relegated to usedrecord bins for more than three decades—coveted only by obsessive collectors of vintage wax (far too many of whom are interviewed here).

Then came Mike Rubin’s 2009 story in The New York Times, and Death was miraculously revived from the dead.

Vermont directors Jeff Howlett and Mark Covino were astonished to find that the surviving Hackney brothers, Bobby and Dannis, had been fronting a popular Burlington reggae/jam band for years. More incredible still, the next generation of Hackney kids were themselves musicians with no idea of their elders’ rock roots. (“Dad, why didn’t you tell me?!?”, one son explodes.) A Band Called Death is the irresistible, poignant tale of how the Hackneys finally got their due: three black kids who predated the MC5, the Stooges, and the Bad Brains; a band now praised by Jack White, Kid Rock (“How did I not know about this? This is bad-ass!”), and Henry Rollins. You might not want to hear their songs over and over again, unlike the easy FM melodies of Searching for Sugar Man, but their tale is no less genuine and affecting.

Rotoscoped old stills mix with new interviews; geeky white record collectors share their passion for Death; but it is the Hackneys who deservedly dominate the show. David emerges as the group’s Brian Wilson: a troubled, kooky spiritualist who declared “The ultimate trip is death” following their father’s fatal encounter with a drunk driver.

While Bobby and Dannis moved on with music and family, the alcoholic David proved less resilient. His life began and ended with Death. Giving the group’s archive to Bobby, recently reissued by Drag City Records, he insisted “The world’s gonna come looking for it one day.” How right he was.

And how sweet is his vindication. BRIAN MILLER

From left, brothers David, Bobby, and Dannis Hackney.

Scahill tries to understand how this American Taliban—officially the Joint Special Operations Command—figures in the War on Terror. His conclusion: While Obama is withdrawing troops from Iraq and Afghanistan, he’s simultaneously using the JSOC to wage war across the world, ordering strikes and raids in supposedly allied nations. Anyone who makes a legitimate threat against the U.S. (as determined by the U.S.) can become a potential target on the JSOC kill list. In this new war’s “twisted logic,” Scahill argues, even the teenage sons of Islamic radicals—children who might grow into terrorists—could be targeted.

Even those who’ve followed Obama’s honed and droned war closely will enjoy the clean cinematography and front-line journalism offered by Dirty Wars. The movie does suffer from a few too many cutaways to Scahill’s furrowed brow and baby-blue eyes. And it raises so many issues—the role of mercenary warlords in American campaigns, media complacency, the riddle of Gardez, etc.—that it would take a movie three times Dirty Wars’ length to tie up all the loose ends. But at a moment when Edward Snowden is trying to escape espionage charges in Russia and Obama’s promise to reduce drone attacks rings hollow, the film perfectly captures the sinister undertone of all that hopeful White House rhetoric. DANIEL PERSON

PDirty Wars

Evocateur: The Morton Downey Jr. Movie

OPENS FRI., JUNE 28 AT SIFF FILM CENTER. NOT RATED. 98 MINUTES.

RUNS FRI., JUNE 28–WED., JULY 3 AT GRAND ILLUSION. NOT RATED. 90 MINUTES.

Less a documentary than a meditation, Dirty Wars is a careful essay on what the War on Terror means in the Obama era. That’s not to disparage the journalism here, which is as daring as any you’ll see in a war documentary. Richard Rowley’s cameras follow Jeremy Scahill as he meets Somali warlords and travels Taliban-controlled Afghan roads to see firsthand the results of U.S. foreign policy. But the doc’s true brilliance comes when Scahill steps back from the impossibly muddled facts on the ground to ask “Where does it end?”

Dirty Wars begins in 2010 Afghanistan, at a dangerous outpost well outside the Green Zone.

Scahill visits Gardez, where an American raid left a police commander and two pregnant women dead. The village leaders tell him the troops were part of what they call “the American Taliban” on account of the beards the men wear. From there,

Today it’s easy to hate on Bill O’Reilly, Glenn Beck, and Sean Hannity, but how many remember Morton Downey Jr.? The spiteful, short-lived cable phenomenon of the late ’80s also sprang from talk radio, and this tribute film posits him as their progenitor. Downey, the son of a now-forgotten singer, is a ludicrous Reagan-era footnote to the Tea Party boiling of today, but he ought to be an object of legitimate study.

Unfortunately, this is a fan doc whose multiple directors (Seth Kramer, Daniel A. Miller, and Jeremy Newberger) haven’t got the brains to place Downey in any sort of context.

A failure as a ’50s crooner, a preppie pal of the Kennedys, Downey leapt into cable syndication by emulating ’60s TV host Joe Pyne (an even more obscure figure of the rabid right, unexplained here). If you lived in New York during the ’80s, as I

did, Downey registered as a kind of WWF raconteur—he’d say anything for shock value, spit in the face of any guest (Ron Paul, Lyndon LaRouche, and Alan Dershowitz included), but never with any more conviction than a circus geek. Put the chicken in his mouth, and he would bite. He performed for a price, and there’s a kind of Brechtian pathos here that might be better explored in opera buffa or cabaret.

Chris Elliott made Downey a figure of fun on the Letterman show, but the parody was too mild.

Here was an Irish Catholic who sneered at the steerage that followed his once-despised ancestors to the New World. He scoffed at gays, blacks, women, liberals, Muslims, and Jews. At the end of his life (1932–2001), he repented of smoking, but nothing more. And what of those he’d defamed and reviled? A good Catholic admits guilt—the absence of which, for Downey and Evocateur’s filmmakers, I can not absolve. BRIAN MILLER

certainly a legitimate argument. Still, this earnest discussion of the issues—including our nation’s shameful incarceration rate of African-Americans—is at odds with the snazzy packaging.

Cooke means to entertain us with his cheerful rogues, pitchman narrator, and movie clips (cue Scarface), but his thesis needs a more sober presentation if it’s ever gong to be mainstreamed.

Young people, baby boomers and below, are already on board with Cooke. Politicians and middle-of-the road voters are a different matter.

To persuade them, as this film will never do, you need to hear from current cops and doctors about public safety and harm reduction. (This was the approach taken by the backers of our state’s Initiative 502, subject of the new documentary Evergreen, seen at SIFF and likely to return.)

In its latter chapters, How to Make Money covers a lot of ground: from our first ’30s drug laws to Rockefeller-era mandatory minimums to DARE and Len Bias and “Just Say No.” The tone becomes scattered among so many talking heads; and it’s telling that Cooke couldn’t get anyone from the federal government to participate. (We see Gil Kerlikowske, our former police chief, in a clip before he became Obama’s drug czar.) The film too often feels in need of Adderall to focus. It takes someone like David Simon, the ex-crime reporter and creator of The Wire, to provide a calm, succinct analysis of the underlying economics: In low-income neighborhoods, he says, the drug trade “is the only factory that is hiring.” Too bad Simon didn’t direct this movie.

BRIAN MILLER

The Painting OPENS FRI., JUNE 28 AT VARSITY. NOT RATED. 78 MINUTES.

Suitable for older kids, Jean-François Laguionie’s animated French parable of class distinction takes place in a fairy-tale setting of castles, balls, and enchanted forests. There are three social castes: the colorful Alldunns, the Halfies, and the Sketchies, whose names correspond to their state of painterly completion. At the top of the How to Make Money pecking order, the smug Alldunns derive their Selling Drugs RUNS FRI., JUNE 28–THURS., JULY 4 AT authority from a divine Painter who’s departed NORTHWEST FILM FORUM. NOT RATED. the scene. Relegated to the garden are the 96 MINUTES. imperfect Halfies (kind of like mulattos), while the sad, skeletal Sketchies are banished to the One of my best friends is a reformed drug forest like savages. (“They should be tossed in dealer, though he did not achieve the subsethe trash,” sniffs one castle dweller.) Naturally quent music-career success of 50 Cent, who’s there’s a cross-class interviewed in this romance; there folinitially promising lows an Oz-like quest advocacy doc. Using through the jungle, Grand Theft Auto where giant, sentient graphics and editDr. Seuss-like flowers ing, director Mataid our heroes. (The thew Cooke starts dialogue’s dubbed satirically, as if he’s into English, so the producing a how-to story’s easy to follow.) guide for the drug But where the film trade. Ex-dealers and Cheerful former dealer turns ingenious is the ex-cops explain their Bobby Carlton. point our four fugimethods, costs and tives reach the end of distribution are disthe known world—a cussed, and the film membrane of canvas that divides them from the actually feels subversive for a while—like postPainter’s studio. ing bomb-making instructions on the Internet.

What ensues is a clever twist on The Purple Then the celebrities start creeping in: Susan Rose of Cairo and Buster Keaton’s Sherlock, Jr. The Sarandon, Woody Harrelson, Eminem, Rusmain characters escape from one painting to the sell Simmons, and company. They already have next, picking up new friends along the way and money, and what they want is for us to legalize providing an art-history survey of early-20thdrugs, or at least end the war on drugs, which is TRIBECA FILM

SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

RUNS FRI., JUNE 28–THURS., JULY 11 AT SIFF CINEMA UPTOWN. NOT RATED. 98 MINUTES.

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century styles. Post-Impressionism yields to early Cubism; there are allusions to Picasso and Modigliani; and the film’s flatly crayoned animation style even ventures into CG. (You could readily see the premise being adapted to Pixar.)

Still, The Painting ultimately runs thin on ideas, and the allegory’s a little too heavy for adult viewers. Must Ramo’s nose be so hugely Semitic? Must Lola be so conspicuously Africanfeatured? The Sketchies become all-purpose signifiers for the oppressed: like Jews during the Holocaust, Bosnians during the ’90s, or starving immigrants seeking refuge in Fortress Europe today. The fairy tale becomes a bit too freighted, and some of the charm is lost. However, the French do love a good revolution, and when the Alldunns’ chromatic fascism is finally toppled, it’s not bombs but daubs of paint that create a fair new multihued society. BRIAN MILLER

The Rambler RUNS FRI., JUNE 28–THURS., JULY 4 AT NORTHWEST FILM FORUM. NOT RATED. 97 MINUTES.

David Cronenberg shockers, and Roger Corman exploitation movies all played the same drive-in. The Rambler is like a feverish distillation of all those fixations. It’s not exactly a head-trip movie in the old LSD sense, but the Rambler himself is traveling between the zones of the real and the unreal. He could be a ghost, for all we know, or an Orpheus-like figure on an underworld quest. His motto: “My only true home is the highway.” He keeps moving, and The Rambler likewise refuses to settle into any polite, safe genre. BRIAN MILLER

The Secret Disco Revolution OPENS FRI., JUNE 28 AT VARSITY. NOT RATED. 84 MINUTES.

Do a little dance. Make a little love. Get down tonight. If you suspect that this nugget is not merely the chorus from a disco song but also philosophy to live by, you might be ready for The Secret Disco Revolution. This documentary attempts to place the glitter ball and “The Hustle” back in their proper cultural context. Or any cultural context. Director Jamie Kastner straps on his platform shoes and pukka-shell necklace and goes to bat for a much-maligned musical era, which, he argues, has more social significance than we give credit.

There was a secret agenda behind disco, Kastner suggests: The music was a Trojan horse for the advancement of gay rights, AfricanAmerican artistry, and women’s sexuality. All of a sudden, “Right Back Where We Started From” might need another listen. Kastner plays it tongue-in-cheek. To balance the erudite academics on screen, he includes vignettes of three actors, costumed as the worst Mod Squad imitators ever, who wander around carrying a disco ball while a narrator describes—in hilariously sober tones—the plan to smuggle the gay/black/ female revolution into America.

The musicians themselves, happily recalling disco’s daffy heyday for Kastner’s camera, were unaware of this revolution . . . or so they would like you to think. The engaging roster includes Gloria Gaynor, Thelma Houston, and Robert Kool Bell (of Kool & the Gang); they’re a fun group—and who knew one-hit wonder Maxine Nightingale was so right on? Only Harry Wayne Casey (that’s KC of KC and the Sunshine Band) comes off as a pompous ass—a disillusionment for those who cherish “(Shake Shake Shake) Shake Your Booty” and “I’m Your Boogie Man.”

» CONTINUED ON PAGE 24

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Formerly based in Seattle, writer/director Calvin Reeder will be introducing his new trailer-trash picaresque, which is steeped in the horror flicks and road movies of the early ’70s. Dermot Mulroney plays the nameless, enigmatic drifter who leaves jail, quits his job at the pawn shop, and forsakes his meth-head buddies in the desert. Maybe there’s a job on his brother’s ranch in Oregon, maybe he’s on a spiritual quest, or maybe it doesn’t matter. The Rambler is being tracked by UFOs or drones high in the sky, unless they’re a figment of his imagination. He never removes his dark glasses. He smokes a lot.

He plays a little guitar. He gets hustled into a hobo-fighting competition. Later he thumbs a ride with a mad scientist who keeps mummies in the back of his wagon. The scientist has a device, messily assembled from military surplus, “that records dreams to VHS.” What he doesn’t tell customers, however, is that it can also cause their heads to explode.

For Reeder, one senses, texture matters much more than story logic. This is a hallucinatory lost world of truck stops and dream girls, where Satanic rituals and apocalyptic visions abruptly pierce the dusty Americana. (You half-expect Charles Manson to show up.) With its Polaroid cameras, sun flares on the lens, and pay phones, The Rambler reaches back to a transitional time in American cinema, when Two Lane Blacktop,

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“ This Week’s Attractions » FROM PAGE 23

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Disco’s tawdrier hangover is described, too, with the usual attention paid to the nightly coke-snorting bacchanal at Studio 54 and the infamous Disco Demolition Night at Chicago’s Comiskey Field in 1979. Even then, the latter event—a crowd rioting in celebration after a box of disco records was detonated in the outfield— was written about as having racist and homophobic overtones.

The Village People have their own take on the meaning of it all: They are shocked, or at least annoyed, at Kastner’s suggestion that their songs are anything other than good-timey dance music for those who enjoy the YMCA, the Navy, or macho men. Gay subtext? They’ve never heard of such a thing.

My peers at Blanchet High School voted “Get Down Tonight” our class song, so I can hardly be objective. Whatever its flaws as a movie, or even as a history of disco (I must subtract points for the omission of George McCrae’s seminal “Rock Your Baby”), this film serves up the tangy atmosphere of a weird era—all to a maddening 4/4 beat. ROBERT HORTON

20 Feet From Stardom OPENS FRI., JUNE 28 AT GUILD 45TH. RATED PG-13. 90 MINUTES.

Who dreams of being a backup singer? Our culture is made for the star, the frontman, the diva—with or without Auto-Tune. This might be why 20 Feet From Stardom, an otherwise delightful documentary, is tinged with an air of disappointment. Meeting the full-throated likes of Merry Clayton, Claudia Lennear, and Lisa Fischer, we understand these are masters of their craft. But the question nags: If they are masters, why aren’t they stars?

20 Feet engages that question, although somehow it’s a shame we have to ask it. Why wouldn’t it be enough to make a nice living, meet interesting people, and bring beautiful song into the world? If the soulful Fischer doesn’t have the killer instinct it takes to sacrifice everything for the spotlight, maybe she’s got it figured out. The film includes some who made the leap, including

Love finally got her due, after Phil Spector, with “Christmas (Baby Please Come Home).”

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portrait shocks and amuses with equal frequency”.

Darlene Love and Sheryl Crow, but the focus is mostly on the folks who’ve made a career out of being in the background. Like the 2002 doc Standing in the Shadows of Motown, it’s got a built-in hook: all that great music, served with annotations from musicians.

The stories are good, including accounts of the night Clayton joined the Rolling Stones to add her astonishing vocal to “Gimme Shelter,” a track that still stands as the backup vocalist’s brass ring: stealing a song from the lead. Mick Jagger, interviewed here, takes it all in stride. Other luminaries weigh in: Bruce Springsteen, Stevie Wonder, Sting. But there we go again, tracking the stars when this is about the foot soldiers. And it’s their show, delightfully so, even if director Morgan Neville doesn’t organize the material in a way that feels entirely intuitive. Despite the choppiness, the prime footage from George Harrison’s 1971 Concert for Bangladesh or Jonathan Demme’s 1984 Talking Heads concert doc Stop Making Sense is exciting.

It’s all about the blend of voices, as we hear when Love reunites with her former choir-mates for impromptu vocalizing. Well, not entirely the voices: Certainly Ike Turner had more in mind when he put the Ikettes in skimpy outfits behind his wife Tina, thus ensuring that future generations of backup singers would have to shimmy as well as sing. Nostalgia isn’t the only note. Judith Hill, who sang with Michael Jackson, must make decisions: If she accepts supporting jobs now, how will people think of her as a solo artist?

It’s a long way from the Ikettes, but the stigma remains. ROBERT HORTON E

film@seattleweekly.com

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Local & Repertory CLUTCH Local director Jay Rowlands debuts his drama

about muscle-car enthusiasts at this 21-and-over event. (NR) Admiral, 2343 California Ave. S.W., 9383456, clutchthemovie.com. $10, Sat., June 29, 8 p.m.

LAURENCE ANYWAYS From the talented young gay Québécois director Xavier Dolan (I Killed My Mother), this new drama has its hero (Melvil Poupaud) declare he wants to live as a woman, which naturally upsets his girlfriend (Suzanne Clément). The film is set over several years during the ‘90s, a period perhaps less accepting of transsexuals than today. (NR) Pacific Place, 600 Pine St., 888-262-4386, amctheatres.com, Opens Fri., June 28.

LOVE FREE OR DIE Screed as part of Pride Week, this is the recent documentary about gay bishop Gene Robinson of New Hampshire, who’s won accolades for his role in the LGBT community. (NR) Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Sat., June 29, 2 p.m.

MAD MAX BEYOND THUNDERDOME The last and arguably weakest of George Miller’s post-apocalyptic Outback adventure yarns, Thunderdome is still a lot of fun. Mel Gibson had his character down: grave, taciturn, dangerous, but not yet hardened into self-parody.

Tina Turner hardly seems out of place as a despotic desert queen; she certainly looks suitably regal, and she scored a massive hit with “We Don’t Need Another Hero (Thunderdome).” Still, the first two Mad Max films were better and scruffier; and it is those two that the 2014 reboot (directed by Miller, starring Tom Hardy) will likely refer back to. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, June 28-July 3, 9:30 p.m.

MOVIE MONDAYS 1978’s most popular film cemented John Travolta’s movie superstardom—and gave Olivia Newton-John her only taste of it. Today it’s being tagged “the original high school musical.” Grease— despite the fact that everyone in the cast is obviously old enough to be running the P.T.A.—still looks like the stuff of which legends are made. When the T-Bird gang first calls out “Hey, Zuko!” and the camera zooms in to capture Travolta’s magnificent mug, you know you’re in the presence of a god. Zac Efron? As if. 21 and over. Ticket price is your drink price. (PG-13) STEVE WIECKING The Triple Door, 216 Union St., 838-4333, thetripledoor.net, $3, Mon., 8 p.m. Through Aug. 19.

PARIS IS BURNING SEE THE WIRE, PAGE 17.

RAWSTOCK Drink specials and live performances accompany this 21-and-over event. Among the short films being screened are Evan Viera’s animated Caldera, music videos by J. Tillman (one including Aubrey Plaza), and Shawn Telford’s The Last Virgin.

(NR) Columbia City Theater, 4918 Rainier Ave. S., 723-0088, rawstockmedia.com, $12-$15, Thu., June 27, 8 p.m.

REBEL WITHOUT A CAUSE SEE THE WIRE, PAGE 17.

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that Celine (Julie Delpy) and Jesse (Ethan Hawke) are now a couple and the parents of adorable twin girls. On vacation in Greece, the Paris-based family is contemplating a move to the U.S., where novelist Jesse’s teen son lives. But Celine has a career back in Paris, and she naturally takes his suggestion as an affront. From the first 10-minute take in the car ride back from the airport, kids snoozing in the rear seats, Before Midnight becomes their on-again/offagain argument about who has to sacrifice what for a relationship, what sexual spark keeps it burning, and how shared romantic history becomes both a burden and a bond. Your tolerance or enthusiasm for the third chapter of Celine and Jesse’s intermittent romance will depend on your feelings about Richard Linklater’s last two talkathons featuring the same duo: 1995’s Before Sunrise and 2004’s Before Sunset.

That’s really all the guidance you need: If you cherish the first two movies, as I do, the third installment feels necessary—a midlife tonic for all those foolish old romantic yearnings, a trilogy driven by fallible, relatable characters rather than franchise economics. (R) BRIAN MILLER Harvard Exit, Thornton Place, Sundance, others

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

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features since Lost in Translation, her 2003 breakthrough. She’s in her early 40s now, and somehow ought to be past The Bling Ring. The real-life case of teenagers who robbed the houses of L.A.’s most vacuous stars must have sounded ripe for a satirical spin around the block. The crime spree grows naturally from the friendship of sociopathic Rebecca (Katie Chang) and easily led gay kid Marc (Israel Broussard).

They execute the burglaries by Googling the busy schedules of fave celebs, which makes locating their empty houses easy enough. Their equally vapid friends, Nicki (Emma Watson), Sam (Taissa Farmiga, sister of Vera), and Chloe (Claire Julien), join the nocturnal prowls. More giggly pranks than criminal exercises, these break-ins qualify as “something to do” for idle, privileged teens. So the kids are not all right, and Coppola wants you to know that—even if it already seemed obvious from the news story itself. (R) ROBERT HORTON Pacific Place, Guild 45th, SIFF Cinema Uptown, others THE EAST Brit Marling teams once more with Sound of My Voice director Zal Batmanglij for The East, another intense piece that operates on a bigger scale. Hired by a private intelligence agency to infiltrate an eco-terrorist group called The East, Sarah (Marling) rolls into the unwashed ranks of these self-styled environmental avengers. They repay corporate atrocities by visiting similar outcomes on the offending CEOs and their families—an oil company exec might get toxic sludge dumped in his house, for instance. Sarah begins to see things from the other side, and it helps that the nouveau hippies in the crowd are charismatic (Alexander Skarsgård), devoted (Ellen Page), and attractive. Patricia Clarkson adds frost as Sarah’s boss, and her resemblance to Marling is a mirror for the younger woman’s choice: Develop a conscience or become me someday. (R) Robert Horton Sundance 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. 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 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. 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. Frances Ha succeeds on its genuinely inventive rat-a-tat rhythm and Gerwig’s unpredictable delivery. (R) ROBERT HORTON Meridian, Sundance, others MUCH ADO ABOUT NOTHING Summer is the time for Shakespeare in the park, and Joss Whedon’s enjoyably playful comedy is staged in the yard and interiors of his Hollywood home. Much Ado isn’t a vanity project, since Whedon’s cast members are all pros from television. Still, it has the feel of a weekend-home amateur theatrical, with everyone straining to put on a jolly good show. Among the large ensemble cast are Nathan Fillion, Clark Gregg, and Reed Diamond.

As quarrelsome lovers Beatrice and Benedick, Alexis Denisof and Amy Acker have a better grasp of the language, but their careful syllables don’t always match the sense of the words. There’s a lot of clowning and eye-rolling here that matches the contemporary mood.

Prone to mugging and bluster, Denisof struggles with Benedick’s soliloquies, which Whedon ought to have cut to match his movie’s breezy modern tailoring. (PG13) BRIAN MILLER Harvard Exit, Lincoln Square, Sundance SOMM Documentary director Jason Wise follows four guys preparing to take the grueling master sommelier exam, basically a cram-course Ph.D. in wine.

The candidates are Brian McClintic, Dustin Wilson, Ian Cauble, and DLynn Proctor. Brian, Dustin, and Ian are the California bros, who meet regularly to taste, spit, and describe. (DLynn lives elsewhere and gets less screen time.) In addition to being a geeky celebration of wine, SOMM offers a torrent of words as our heroes struggle to articulate what’s on their tongues. Ian is the overbearing alpha-taster of the obsessive, one-upping bunch, whose group dynamics suggest a Christopher Guest mockumentary. By the time we get to Dallas for the big exam, we’re so invested in these four funny, personable fellows that failure would be shattering for us, too. (NR) BRIAN MILLER SIFF Cinema Uptown

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food&drink»Reviews

Land of the Sweets

BY MEGAN HILL

S

eattle native Jesse Lee was looking for a good idea when he met the love of his life. He had spent much of his adulthood working as a concierge in high-end hotels, but was in the mood for an adventure when he met a woman named Sheena in the bus tunnel. Sheena intended to visit Seattle for a week, but after meeting Jesse, she never left and became his wife.

Sheena originally told Jesse she wanted to start a pancake-delivery service, but Jesse says he didn’t take it seriously; “It almost went in one ear and out the other.” The two happened to eat at Capitol Hill’s Globe, famous for its pancakes, on its last day in business.

“Then it struck me—the Hill doesn’t have any good pancakes,” Jesse recalls. “So based on that, it got my wheels turning.” Pancakes on a stick seemed like a good way to make the treat mobile.

The couple scraped together some money for a tiny trailer, found a custom waffle-maker online, and started developing recipes. This past Valentine’s Day, two years after they met, they opened My Sweet Little Cakes.

Opening on Capitol Hill made sense to Jesse, who has lived in the neighborhood for 18 years.

But he also says it’s good for business. “People on the hill know good stuff,” Jesse says. “I knew that if we created a brand, a model, and if it would fly on Capitol Hill, it would be good anywhere.”

The neighborhood’s density means lots of foot traffic, which translates into a casual customer base open to new ideas and, it seems, craving confections. My Sweet Little Cakes is part of a mini-explosion of new places to satisfy your sweet tooth—also including two bakeries and a Spanish-style cafe—each with a unique approach to sweets and a commitment to proving that they’re worthy of Capitol Hill’s attention.

Chico Madrid, the Spanish-style cafe, is not primarily a sweets spot. The combination cafe, sandwich shop, and bar opened in March on the

first floor of the BelRoy Apartments, a collaboration among Franz Gilbertson (Ballard’s Honoré Bakery), buddy Jacob Daley, and Fuel coffee owner Dani Cone. Their set-up—all-day offerings, sandwiches, the big, semicircular bar—was inspired by Daley and Gilbertson’s travels in Spain. “Neighborhood cafes and bocadillo [long Spanish-style sandwiches] were just ubiquitous,” Cone says. “What they loved about them is they’re open all times of day and night. They wanted to be open first thing in the morning for coffee and pastries too. That’s just as much a part of the culture and tradition.”

It was the pastries I was after when I visited one recent weekday morning. Chico Madrid has taken

The new bakery was six months in the making. Adding ventilation and installing a kitchen proved challenging, but Leaman made it work.

The shop also sells sandwiches, quiches, and espresso made on a Slayer machine—one of the few operating in the state. On Capitol Hill you can expect more cakes than sandwiches, so the offerings aren’t identical to West Seattle’s. Still, that line will be out the door.

With a sugar-induced coma setting in, I headed next to Guilt Free Goodness, a tiny storefront selling gluten-free and vegan treats on the second floor of Broadway Alley. Though the new bakery, which opened in April, doesn’t have a kitchen, goodies are delivered daily from the original location in Monroe.

Baker/owner Dawn Purbaugh says she’s not baking to run with fad diets or gluten-free trends; instead, she sympathizes with kids who have gluten allergies or sensitivities. Diagnosed with Celiac disease as a child, she honed her recipes every night after culinary school: poring through cookbooks, tweaking and fiddling until she had it right.

“I know how it feels when you go into a store and your mom is like, ‘No, you can’t have a sample; no, you can’t have a cookie,’ ” she says. “Going to school functions, I couldn’t have anything.

People are eating ham sandwiches, and I’m eating ham sandwiches on rice cakes. I still can’t look at rice cakes the same. But I think that people out there don’t realize it’s not a trend for me.”

The space above her shop may soon become available, and Purbaugh plans to open a small gluten-free market with pastas, bread, flour, and baking supplies—items that gluten-free shoppers have trouble finding.

I walked away with a complimentary box of samples, including banana bread, muffins, cupcakes, and cookies. I’ve stayed away from gluten-free sweets, thinking of them as dense and off-putting. But Purbaugh’s creations are pretty darn tasty; I would bet that in a blind taste test, most people wouldn’t pick them out as gluten-free and vegan. The box is nearly empty two days later. E

JOSHUA HUSTON

William Leaman at Bakery Nouveau.

a page from Honoré’s book, offering a small selection of scones and cookies made from Gilbertson’s Honoré recipes. I ordered a pinwheel cookie, a brown-and-white swirl of shortbread, and a Magdalena, a traditional Spanish muffin made with lemon and olive oil. I washed them down with a macchiato made on the shop’s fancy Bosco espresso machine, an Italian creation whose levers are the origin of the term “pulling espresso.”

Cone says the shop may expand its pastry program, bringing Capitol Hill more than just a touch of Honoré. The main goal, though, is to be laid-back and welcoming at any time of day.

“This isn’t high-brow pricey,” she says. “This is neighborhood-accessible, traditional.”

food@seattleweekly.com

A

MY SWEET LITTLE CAKES 1208 Pine St., 265-3002, mysweetlilcakes.com.

11 a.m.–7 p.m. Thurs., 11 a.m.–3 p.m. Fri.–Sat.

few days later I sat down at Bakery Nouveau amid a field of pastry-

flake debris, about to dive into an almost-too-beautiful double-baked chocolate croissant. The shop was busy; a crowd peered excitedly into the case of colorful macaroons and glistening pastries. Their selection is overwhelming: Danishes. Buns. Cakes.

Tarts. How do you choose just one? Give me everything!

The acclaimed West Seattle patisserie opened this new spot on Capitol Hill’s 15th Avenue in April. Co-owner/chef William Leaman has won a long list of awards, so you really can’t go wrong.

CHICO MADRID 711 Bellevue Ave. E., 453-3234, chicomadrid.com.

7 a.m.–10 p.m. Tues.–Thurs.; 7 a.m.– close Fri.; 8 a.m.–close Sat.; 8 a.m.–10 p.m. Sun. BAKERY NOUVEAU 1435 E. John Court, Suite 137, 858–6957, bakerynouveau.com.

6 a.m.–7 p.m. Mon.–Thurs.; 6 a.m.–9 p.m. Fri.; 7 a.m.–9 p.m. Sat., 7 a.m.–7 p.m. Sun. GUILT FREE GOODNESS 219 Broadway E., 360-794-5266, guilt-free-goodness.com. Noon–7 p.m. Wed.–Fri.; 10 a.m.–6 p.m. Sat.; 10 a.m.–5 p.m. Sun.

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

“I knew that if we created a brand, a model, and if it would fly on Capitol Hill, it would be good anywhere.”

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As a favorite vegetarian restaurant closes, I NI NG soldiersWEEK Seattle’s meatlessDscene on. LY

M US I C

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

PR OMO T ION S

BY GWENDOLYN ELLIOTT

A

at the farmers market; like Café Flora, their food is so fresh and seasonal. Seattle is a great place for vegetarians and vegans—there’s so many options.”

Makini Howell, who owns and operates vegan cafe Plum Bistro on Capitol Hill, also

FILM

that its shuttering signals a change in Seattle’s plant-based dining scene. Surprisingly, some vegetarian restaurateurs feel that change is a positive one. Café Flora owner Nat StrattonClarke says that it’s easier now to be vegetarian than ever, especially in Seattle. “The food has evolved and changed so much, and Seattle has really embraced it over the years.”

This change, he says, has much to do with the bounty of vegetarian food now available at non-vegetarian restaurants. “Poppy isn’t vegetarian, but they always have great food. I often visit with gluten-free friends, and they’re always able to make something work. La Medusa does a great job too. I always see them

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sees dining preferences evolving, with vegetarian-only restaurants becoming less relevant as the role of the vegan restaurateur evolves. “I think these days [as a restaurant owner] you have to pick a side—be vegan or be a restaurant that has a little something of everything,” she says. “I think a lot of vegans don’t go to vegetarian restaurants because they just want vegan, and a lot of meat eaters are going to vegan restaurants to experience that type of vegetarian cuisine,” she adds.

Supporting Stratton-Clarke’s claim, boutique tour company Metropologie recently launched a vegetarian and vegan culinary tour of the city.

“The interest is there,” says president Cresdan Maite, whose start-up also offers urbanhorticulture and medieval-architecture tours.

Despite the impending closure of the restaurant she has run since 1996, Neumann is optimistic about vegetarian dining in Seattle.

The space where Carmelita currently resides will house a new restaurant from Chris Navarra (Prost, The Ridge, Martinos), Chris Gerke (Nickerson Saloon, The Ridge, Martinos), and Shannon Wilkinson (Little Water Cantina).

Though that venture will incorporate “a new concept that isn’t vegetarian-focused,” she says, “I don’t think [interest in vegetarian cuisine] has waned at all. I think more and more people are eating vegetarian or are incorporating meatless meals into their lives. There are so many places that have opened up, and there are really nice options for people who are vegan and vegetarian.

It’s easier to be vegetarian or vegan in Seattle now than ever before.” E

gelliott@seattleweekly.com

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“Vegetarian food has evolved and changed so much, and Seattle has really embraced it over the years.”

H A PPY H OUR

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RESTAURANT

PHINNEYWOOD

fter 16 years in business, Carmelita, one of Seattle’s most beloved vegetarian restaurants, announced on Facebook last week that it will close in September. The news of the Greenwood restaurant’s impending end was a blow to some.

After owner Katherine Neumann, who runs the restaurant with her partner and husband Michael Hughes, posted the news, she says “Some of my regulars told me they cried when they read it.”

“It’s a decision we didn’t take lightly, but it’s something we’ve been considering for a while now,” says Neumann, who lives down the street from the restaurant with her husband and 10-year-old son.

The lengthy Facebook post that announced the closure explains, “It’s just time,” though the restaurant did partially blame the economic hardship of the Great Recession.

“We’re a small restaurant, and we don’t have investors like a lot of restaurants these days,” Neumann says, noting that increasingly small profit margins helped seal the deal. “The financial responsibility is solely on our shoulders.

The reality of it is that the margins are slim in a restaurant to begin with; you factor a downturn in business and increase in food cost, and it’s hard to stay in it for that long a period of time.”

Alongside 21-year-old Café Flora, Carmelita is one of Seattle’s most treasured and longestrunning vegetarian restaurants. There’s a sense

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Reverb»Profile

Full Nelson

The former Harvey Danger frontman returns, a little older, with an impressive full-length solo album and some rock-and-roll quandaries.

BY MARK BAUMGARTEN

D

MANDY MCGEE

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genius Harry Nilsson, after all; an artist at his best while harmonizing; and one who rocketed to international renown in 1998 with the Harvey Danger song “Flagpole Sitta,” a bouncing pop song, complete with “ba-ba-ba”s, that begins with the very un-rock, in my estimation, selfflagellating line: “I had visions, I was in them, I was looking into the mirror, to see a little bit clearer, rottenness and evil in me.”

Nelson’s music is born not of a rockist ideal of transforming the world, but a populist ideal of finding commonality. When he first cottoned to music, at the age of 17 or 18, Nelson says, it was because bands like R.E.M., the Smiths, Pavement, and Sebadoh were speaking to him.

“I felt like there was a big conversation going on, and I wanted to be in it,” Nelson says. “And not just to receive it, but I felt like singing songs was a way of participating. And you know, it took

a long time before anything I did was, sort of, recognized, or part of any conversation at all.”

Nelson has since discovered a number of ways to participate in the conversation. He has worked as a journalist (for both Seattle Weekly and, more recently, The Stranger); written a book about Joni Mitchell’s album Court and Spark; and begun writing, directing, and acting in films.

Nelson has, in all these media, revealed parts of himself. Yet he is not a confessional artist.

Rather, Nelson says, he is always acting—projecting great confidence, though he considers himself deficient in the real stuff. It is the former that makes Make Good Choices so enjoyable, but it is the latter that kept the album unfinished for so many years, its creator fearing that it was a lousy attempt. It wasn’t until he met his now-wife, fellow musician Shenandoah Davis, that Nelson seriously considered releasing the album he’d started so many years ago. As he’d earlier done for numerous friends, he played it for her and asked what she thought. “You made this,” Nelson recalls her saying. “You need to get it out there.”

As wise men do, he listened to his wife, and now he is forced to reflect on his work. Whether anyone will connect with this music, or care, or even listen, is something Nelson says he isn’t concerned with. I wonder—is he acting?

“There’s no way I ever felt that I had any responsibility to the youth or anything like that,” Nelson says, pushing his Bolognese aside. “I feel like people who think that are fools, generally.

Or they’re liars. It’s a form of believing your own bullshit that I really don’t want to engage in.”

Which is what brought us to Kanye, rock and roll, and saying stupid things.

“There’s a long tradition of that in rock,” he continues. “I remember in the ’90s you saw it a lot more in England with the Gallagher brothers [of Oasis]. They would say anything. And they were really good at it, good at being provocateurs.

But when I read somebody saying, ‘This is the best. I’m the best in the world’—there’s no way I would listen to it now, because it’s either going to be humorous or delusional. And neither one of those things are worth a ton of time to me anymore. Now I’m a lot more conscious of how finite time is.” E mbaumgarten@seattleweekly.com

SEAN NELSON Neumos, 925 E. Pike St., 709-9442, neumos.com. $15 adv. 21 and over. 8 p.m. Wed., June 26.

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

together. Despite varyid you read that interview with Kanye West in The New York Times?” ing instrumentation and It is a sunny Wednesday afternoon, a production, each song is woven into the next by few days after the publication of the Nelson’s emotive plaint, article Sean Nelson is asking about. The Seattle easy sense of melody, artist has had some time to mull the words of and the perspective of America’s most outlandish hip-hop artist, many a man consumed with of which were delivered in the third person. For the compromises and example: “The idea of Kanye and vanity are, like, synonymous. But I’ve put myself in a lot of places conflicts inherent in love and art—most notably where a vain person wouldn’t put themselves in. on standouts “Stupid and Like what’s vain about wearing a kilt?”

25,” “Kicking Me Out of Nelson—a student of music and journalism, the Band,” and “The Price as well as a creator of both—isn’t having it. of Doing Business.”

“You can’t even read the whole thing because The album begins with it’s so absurd,” Nelson says. “I mean, he’s a great a brief statement, delivmusician, but his interest as a cultural figure or ered by Nelson: “The only signifier has everything to do with the audacity real answer to the questo say stupid, senseless shit whenever there’s a tion ‘Whither rock and microphone in front of him.” roll?’ is ‘Hither,’ ” his voice Nelson, on the other hand, strives to make sense when addressing a microphone. He speaks implores indignantly.

“Some misguided people in long paragraphs that are resistant to interthink that the answer is ruption. During our hour-long conversation, I ‘Thither.’ They’re wrong— ask five questions and could have asked fewer. those theories are passé.”

Though he has certainly rehearsed many of Nelson is, of course, these ideas in his head—a head that, when we acting. The truth is that he meet, is topped by a great burl of impossibly doesn’t know where rock curled graying hair—he is clearly improvisand roll is headed. ing the conversation. Yet Nelson rarely loses “I have generated many a thread. The one time he does, he stops and Sean Nelson theses about the state of dictates, with a smile: “I’m going to end that rock and roll in my life,” thought with an ellipsis.” Most often Nelson Nelson tells me, “and I manages to come to a point that lands like a have nailed them to some doors as well. But I joke in a well-considered eulogy: deeply knownow sort of recant all of them because I don’t ing and unquestionably final. feel qualified to weigh in on the state of rock and The topic of conversation as we pick at our roll, because I don’t feel like a citizen of that state plates in a vacant Italian eatery is a common anymore.” one: the state of rock and roll. It’s a trite talking point between journalist and musician, but an apropos one, due to the release earlier this elson has put more effort into month of Nelson’s first-ever solo full-length understanding rock and roll than album, Make Good Choices. Its 13 songs feature most. A few blocks away, the guest spots by an impressive roster of musicians bookshelves in his Pioneer Square Nelson has befriended in his 20-year music loft, festooned with thick tomes of criticism and career, including R.E.M.’s Peter Buck, Death biography, stand as a testament. But he has never Cab for Cutie’s Chris Walla, and legendary proreally been that rock-and-roll. Nelson is, to my ducer Steve Fisk. The album, recorded in three mind, more of a pop guy. He’s capable of sneersessions at three locations over a decade, covers ing while a guitar growls, sure, but he’s clearly the gamut of late-20th-century pop styles, from more comfortable preening while a piano line high-energy power pop to slashing guitar rock, dances or delivering deep pathos through an piano balladry, and country & Western. It’s 1a 6/18/13 undeniable This is a man who recorded BOD_WKLY_Whiskey_6-18-13.pdf 12:40 melody.

PM potential mess, but Nelson manages to keep it an entire album of songs by the late pop-ballad

31

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Baptist Generals, Jackleg Devotional to the Heart (out now, Sub Pop, thebaptistgenerals.com): It took 10 years for Chris Flemmons and his band

MARK MORGAN/GREG WESTHOFF

Geoffrey Castle, The Deep Well Sessions (out now, Twisted Fiddle Music, geoffreycastle.com): To call this two-disc release expansive is a massive understatement.

Nearly every style and genre of music is accounted for among the album’s 19 tracks.

“In Flight” recalls the shades of despair and melancholy evoked in Clint Mansell’s masterful “Lux Aeterna,” while on “Alyeska,” Castle is somehow able to conjure an amped-up, Hendrix-like sound from his violin. In addition to original compositions, Castle performs a variety of covers across the entire spectrum of music, from Alice in Chains’ “Man in the Box” to Django Reinhardt’s “Minor Swing,” in arrangements that will simply make your brain explode. (Thurs., June 27, Kent Jazz & Art Showcase) CORBIN REIFF

to complete the follow-up to 2003’s No Silver/No Gold. The result is rich, fussed-over Americana that pairs Flemmons’ strained-voice ruminations with red-herring experimental detours (see the excellent instrumental opener “Machine En Prolepsis”). It’s slow-burning, occasionally gorgeous, and, for fans of the group, worth the wait. (Sat., July 13, Sub Pop Jubilee, Georgetown) ANDREW GOSPE Golden Gardens, Narcissus EP (out now, Neon Sigh, goldengardens.bandcamp.com): It’s no wonder Golden Gardens—the duo of Aubrey Bramble and Gregg Neville—list raindrops against a windowpane as an influence on the band’s Facebook page; its latest, this four-song EP, is essentially the musical equivalent of that sound: a soothing dream-pop lullaby. (Fri., June 28, The Josephine) AZARIA PODPLESKY Stone Gossard, Moonlander (out now, Monkey-

wrench Records, pearljam.com/moonlander): The second solo album from the Pearl Jam guitarist, Moonlander proves a cohesive sequel to 2001’s Bayleaf. While Gossard’s solo career has offered more artistic freedom (each new track is accompanied by an original piece of art) and space for punchier, more rhythmic arrangements, this collection feels delightfully strippeddown. The result is an explorative trip into more folky (“Bombs Away”) and psychedelic (“Witch Doctor”) sounds, compiled by Gossard over the past 10 years. KEEGAN PROSSER

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Reverb»The Short List

The Purrs

Defiance, Ohio

The Purrs

WEDNESDAY, JUNE 26

FRIDAY, JUNE 28

This band isn’t from its namesake city, but it is from the Midwest, and its folk-punk songs have a heartland sensibility and sincerity that is utterly charming, whether they’re about bike rides or big government. The band members flesh out their sound with banjo, upright bass, and violin, and share singing and songwriting duties like a collective. Though they haven’t issued a full-length since 2010’s Midwestern Minutes, a new EP was released on Bandcamp last year, which presumably the band will play songs from tonight. With Your Heart Breaks,

The fact that this month the Purrs are releasing their seventh full-length album might lead one to believe that the band hails from the ’90s era of psychedelic rock that gave us the Dandy Warhols, The Verve, and Brian Jonestown Massacre, and its sound—spacey dueling guitars hugging the leader’s bratty vocals—fits in nicely with that contingent. Yet the Seattle band is simply prolific; its first six titles came in a six-year span.

The Boy With Astronaut Eyes, the band’s perfectly titled latest, arrives after an unlikely three-year breather and finds the band more aggressive and powerful than in the past. That might be thanks to new mate Liz Herrin, who plays a mean rhythm guitar and adds harmonies and

Corner Kick. Vera Project, 305 Warren Ave. N., 956.8372. 7:30 p.m. $8 adv./$10 DOS. All ages.

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EDITOR’S PICK

Benefit for Rain City Rock Camp for Girls

34

As we celebrate the female pioneers of rock at EMP’s Women Who Rock exhibit, it’s worth remembering that those journeys to stardom didn’t happen overnight. Inside every diva, from Joan Jett to Lady Gaga, is a young girl with a hairbrush singing her heart out in front of the mirror, and somewhere along the line, someone or something motivated that girl to exchange that brush for a mike. This isn’t the word-for-word mission of nonprofit Rain City Rock Camp for Girls, but it’s damn near close. The camp is, more exactly, “dedicated to building positive self-esteem in girls and encouraging creative expression through music.” It nurtures such rock-’n’-roll aspirations via a week-long camp (two are planned this summer) that culminates in a showcase where the girls get to perform their original song at a local venue. The women giving back tonight at the camp’s Gigs4Good benefit may not have attended the program, but they all have much to share about the process of becoming a professional musician. I mean, you don’t become Beck’s guitar player, as Deep Sea Diver’s Jessica Dobson knows, without a little positive encouragement.

With Sera Cahoone, Deep Sea Diver, The Redwood Plan, Cumulus, the Local Strangers, Naomi Wachira, Betsy Olson, and Kaylee Cole. Chop Suey, 1325 E. Madison St., 3248005. 7:30 p.m. $20. GWENDOLYN ELLIOTT

Sera Cahoone

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SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

THURSDAY, JUNE 27

some back-and-forth vocals to those of guitarist Jason Milne and bassist Jima—or maybe it’s just because the band’s angst has been building over those three interminable years. With Shake

Some Action! and Daydream Machine. Barboza, 925 E. Pike St., 709-9951, thebarboza.com.

7 p.m. $8 adv. MARK BAUMGARTEN

Sole SATURDAY, JUNE 29

If you can weather the preachy, snob-drenched life-critique verses that populate Sole’s more recent albums, you’ll catch some heavy home-cooked production and snappy end-rhymes. “God don’t like ugly, God hates flags/God hates cops, and is a mass-murdering sociopath,” he spits on “I Think I’m Emma Goldman” (from his newest, No Wising Up No Settling Down)—a line that shows off his best traits, cultural referentiality and fiery leftism, with a rare smoothness of cadence. His subject matter is consistently pertinent and his perspective informed, but most of his other work is weighed down painfully by the messages he’s so eager to convey, making it flat-out tough to listen to. I think at this point I’d rather listen to him guest-lecture a poli-sci class of some sort, but hit the Comet if it’s your bag. Onry Ozzborn’s on the list of openers, which is always a night-saver. With Moodie Black, The Kelu Band, Masta X-Kid, Tre Angle. Comet Tavern, 922 E. Pike St., 322-9272, comettavern. com. 9 p.m. $10. 21 and over. TODD HAMM

Buckcherry SATURDAY, JUNE 29

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SATURDAY, JUNE 29 KISW 99.9 FM & El Corazon Present:

BUCKCHERRY with Girl On Fire, Witchburn, and Jaded Mary

Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $28 ADV / $30 DOS / $100 VIP

SUNDAY, JUNE 30

CENTURY MEDIA RECORDS HAPPY HOUR! Come Party With Some Of The Century Media Records Staff And Their Bands. Hear The Latest And

Greatest From Century Media Records, Plus many Other Surprises

Lounge Party. Doors at 8PM. 21+. FREE

MONDAY, JULY 1

BIG COUNTRY

with Danny Newcomb (Goodness), The Jilly Rizzo, and The Halyards Doors at 7 / Show at 8PM 21+. $20 ADV / $25 DOS

TUESDAY, JULY 2

SMP with Stiff Valentine, Dark Matter Noise, Grasp Logic, and XY Beautiful Doors at 8:30 / Show at 9PM 21+. $8 ADV / $10 DOS

SCORPIOS with Joey Cape, Jon

Snodgrass, Sundowner (Chris McCaughan of The Lawrence Arms), plus guests.

Lounge Show. Doors at 8 / Show at 8:30PM 21+. $10 ADV / $12 DOS

JUST ANNOUNCED 7/14 LOUNGE TWO HEADS IS TWICE AS MANY TEETH 7/20 MONSTERS SCARE YOU 8/4 MC CHRIS 9/8 SAVES THE DAY 9/9 VADER / VITAL REMAINS 9/27 POWERMAN 5000 10/4 BETWEEN THE BURIED AND ME 11/21 FINNTROLL 7/3 JUPITER 7/3 LOUNGE BRET MOSLEY 7/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE 7/6 SANCTUARY 7/7 D-WHY / SAM LACHOW 7/7 LOUNGE THE RESIGNATORS 7/8 CASKET OF CASSANDRA 7/8 LOUNGE KEPI GHOULIE 7/9 SUBURBAN LEGENDS 7/9 LOUNGE LAUREN MANN & THE FAIRLY ODD FOLK 7/10 VELLA 7/10 LOUNGE SHANNON MCNALLY 7/11 THE ROYALTY

UP & COMING

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

Confessions, the sixth LP from L.A.’s Buckcherry, uses the seven deadly sins as the framework for an extended romp through singer Josh Todd’s fuckedup childhood and grown-up complexes. “I got this need to be broken and I’m taking you on this ride,” he sings on “Wrath” early in the record. “I got this need to be broken and I keep all my wrath inside.”

This isn’t new ground for the Los Angeles band, but it’s a nice diversion for a group best known for sleazy hard-rock anthems. Live, however, the band comes alive most—especially in a settling like El Corazon, where the Marshall stacks will be painfully loud and a shirtless Josh Todd will slither from one side of the tiny stage to the other.

With Girl on Fire, Witchburn, Jaded Mary.

El Corazon, 109 Eastlake Ave. E., 262-0482.

8 p.m. $28 adv./$30 DOS/$100 VIP. DAVE LAKE

It’s not often that a rock band incorporates marimba and violin with more traditional instruments like guitar, bass, and drums. That extra something adds an artsy, theatrical vibe to Denver-based six-piece The Raven & The Writing Desk. Fronted by vocalist/pianist Julia LiBassi, TR&TWD sounds a bit like the music one might hear while riding a haunted carousel—lots of expressive guitar riffs, dramatic crescendos, and, at times, melancholy group vocals. Having recently released its latest EP, Scavenger (a mix of three new songs with three the band wrote after the release of 2011’s Bonedale—and in pretty spectacular packaging, I might add), TR&TWD is ready to set its ghostly musical carnival in motion again with a full West Coast tour. With

SE ATTLE WEEKLY • JU N E 26 — JULY 2, 2013

AZARIA PODPLESKY

35

The Raven & The Writing Desk MONDAY, JULY 1

Whitney Monge, Mts. & Tunnels. The Royal Room, 5000 Rainier Ave. S., 906-9920. All ages until 10 p.m. Free, donations accepted. 8 p.m.

RICK OLIVIER

Reverb»Seven Nights

Irma Thomas

EDITED BY ANDREW GOSPE

nset, Tractor & Hattie’s Hat presen u S e t Th

LOT PARTy

Join us in Hattie’s parking lot for music and drinks!

Sat, June 29 $20adv/$25dos ~ 21+ ~

SEATTLE WEEKLY • JUNE 26 — JULY 2, 2013

2:30pm ~ RICHIE

36

ALDENTE 4pm ~ ORKESTAR ZIRKONIUM 5pm ~ ELDRIDGE GRAVY & THE COURT SUPREME 6pm ~ REBIRTH BRASS BAND

Sun, June 30 $10adv/$12dos ~ 21+ ~

4pm ~ DAVIDSON

HART KINGSBERY 5:30pm ~ AMY LaVERE 7pm ~ MARK PICKEREL AND HIS PRAYING HANDS and special guests

Party Food: Hamburgers Veggie Burgers Sausage Dogs Oaxacan Tacos French Fries

For more info please visit tractortavern.com Advance tickets available at the Tractor, Sonic Boom Records and TicketWeb.com

Wednesday, June 26 • GIRAFFAGE An electronic musician from San

Francisco, Charlie Yin composes songs with a keen understanding of structure, using pitch-shifted vocal samples (like just about every electronic musician these days) in melodically interesting ways. Get there early for similarly inventive down-tempo producer Mister Lies. Beat Connection DJs. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 9 p.m. $12 adv.

RED BARAAT This eight-piece “dhol ’n’ bass” collective reimagines funk music through the lens of North Indian bhangra music. The Neptune, 1303 N.E. 45th St., 7844849, stgpresents.org. 7 p.m. $15 adv./$18 DOS. All ages.

REVOLT REVOLT The alternative rock of the early ’90s is still alive for this Boise band, which appropriately has toured with its neighbors in Built to Spill. With Jumping Sharks, Encourager, The Awfully Sudden Death of Martha G. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $6 adv./$8 DOS.

Thursday, June 27

ALBARE Globetrotting jazz guitarist Albert Dadon is touring

behind The Road Ahead, released earlier this month.

Triple Door, 216 Union St., 838-4333, thetripledoor.net.

7:30 p.m. $15 adv./$17 DOS. All ages.

CHRISTIAN GRINDS This local producer, singer, and songwriter deals in raunchy, party-ready electro. With Striking Back, Sky Pilot, Netty. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $10 adv.

THE HUNTING CLUB This is a record-release show for these ragged garage rockers’ debut 10” EP, Holiday Beach. With Swamp Meat, Ephrata. Vermillion, 1508 11th Ave., 709-7979, vermillionseattle.com. 9 p.m.

Friday, June 28

• INDIAN WARS are from Vancouver, but based on the

band’s ramshackle blend of bluesy, vaguely countrified rock, it’s easy to mistake it for a group of wizened dive-bar vets from the Southwest. With Fuzzy Cloaks, Wimps, So Pitted. Comet Tavern, 922 E. Pike St., 3229272, comettavern.com. 9 p.m. $8.

MARK FARINA is known for both his prodigious DJ sets and the unique style, dubbed “mushroom jazz,” that he forged in the early ’90s: a mixture of Chicago house and acid jazz with the laid-back grooves of West Coast hip-hop. With DJ Riz Rollins, Wesley Holmes.

Neumos. 8 p.m. $15 adv.

TWISTA Famous for his verbal acuity and his earlyaughts collaborations with Kanye West, this Chicago rapper, now pushing 40, has lost none of his trademark speed. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 8 p.m. $36.50. All ages.

•

Saturday, June 29

AIRPORT WAY This group’s reggae-derived pop-rock

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

•

could soundtrack both a Golden Gardens barbecue and a fraternity pool party. With Buzz Brump, Sebastian and the Deep Blue. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $8.

CHINO Y NACHO Self-proclaimed “kings of urban music,” former boy-band members Jesús Perez and Miguel Mendoza are astronomically more popular in their native Venezuela than in the U.S., but their clubready, reggaeton-indebted tracks don’t sound radically different from most of what’s on KUBE 93. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com.

8 p.m. $41.50 adv./$51.50 DOS. All ages.

SEAPROG The committee that runs this two-day festival sees prog as an idea more than a musical genre, and that’s reflected in a diverse lineup that includes rock, jazz, chamber music, math rock, and more. The festival also comprises a free Friday-night show at The Royal Room. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 2 p.m. $60 both days/$35 one day/$20 headliner-only.

Sunday, June 30

• IRMA THOMAS Though she never saw the main-

stream success of her soul-music contemporaries like Aretha Franklin or Gladys Knight, Thomas owns a voice no less commanding and graceful. In 2007, well into her decades-long career, she finally won a Grammy.

Triple Door. 7 p.m., all ages; 9:30 p.m., 21 and over. $25–$45.

MARK PICKEREL AND HIS PRAYING HANDS

The former Screaming Trees drummer fronts this Americana band with his drawling baritone and knotty lyrics. With Amy LaVere, Davidson Hart Kingsbery.

Tractor Tavern (Hattie’s Hat Parking Lot). 1 p.m. $10 adv./$12 DOS. All ages.

NEW LUNGS On December’s Lanterns EP, this local fourpiece deals in muscular, brainy songs that straddle math rock and pop punk. With Post Madonna, Special Explosion, Heavy Petting. Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 7 p.m. $5 DOS.

Monday, July 1

THE CONFETTI KIDS This workmanlike rock band

recently recorded its debut EP. With Radio Telescope, Encourager. Sunset Tavern. 7:30 p.m. $6.

HURRY UP AND DIE is too punk to put any music online, but in lieu of recordings, the band’s Facebook page claims it makes music for people who “are into the Fear, drinking, fighting, and talking shit.” So if you’re looking for trouble on a Monday night, this is probably a good bet. With Negative Hole, Triple Sixes, HillTalks. Crocodile. 8 p.m. $5 DOS.

Tuesday, July 2

ABOLISHMENT OF FLESH This show is part of the

Brutal Alliance Tour, featuring metal acts from the Southwest and headlined by this West Texas band’s lightning-speed, old-school thrash metal. With Fields of Elysium, Psychiatric Regurgitation, Altar of Abomination. 2 Bit Saloon, 4818 17th Ave. N.W., 7086917, the2bitsaloon.com. $8.

FRIENDS & FAMILY On its recent fussed-over debut album, Happy, Good-Looking, and In Love, this local septet spins elaborately orchestrated, borderlinetwee indie-pop tunes. With Night Cadet, Rin Tin Tiger, Edmund Wayne. Chop Suey. 8 p.m. $5 adv./$7 DOS.

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

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

D I N ING

W E E K LY

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next • 7/8 movie mondays - high fidelity • 7/9 saints and sinners w/ delta hothouse/son jack jr • 7/10 & 7/11 the fixx • 7/12 ian mclagen • 7/13 commander cody • 7/14 kirby krackle cd release w/ the doubleclicks • 7/15 movie mondays - searching for sugar man • 7/16 emily asher’s garden party • 7/17 sister sparrow & the dirty birds w/ jelly bread • 7/18 bodeans w/ clarence bucaro • 7/19 debo band • 7/20 melissa ferrick • 7/21 michael kaeshammer • 7/22 movie mondays: sound city • 7/23 raul midon w/ adam miller • 7/24 fanfare ciocarlia w/ orkestar zirkonium • 7/25 - 27 buckaroos • 7/28 the brian nova all star big band • 7/29 movie mondays - almost famous • 7/30 shye ben tzur and the radjasthan gypsies • 7/31 les nubians • 8/1 the songs of neko case • 8/2 heart by heart • 8/5 movie mondays - this is spinal tap

37

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OF THE

38

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Miscellaneous Legal Notices Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to add antennas on the facade of a building located at 33616 21st Avenue Southwest, Federal Way, WA 98023. 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.

Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to perform antenna modifications on the rooftop of a building located at 1910 Fairview Avenue East, Seattle, WA 98102. Public comments regarding potential effects from this site on historic properties may be submitted within 30days 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.

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