Seattle Weekly, July 03, 2013

JULY 3-9, 2013 I VOLUME 38 I NUMBER 27

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FILM: HORTON ON THE LONE RANGER, PAGE 22 | FOOD: NO-NONSENSE WINE FROM THE CITY, PAGE 27

Bridging commerce and compassion in the battle against homelessness. BY MATT DRISCOLL

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THE ARTS ARE FLOURISHING, the housing market is on the rebound, the Seahawks are in ascent, and big Bertha is boring a gateway to the land of milk and honey beneath your feet, whether you like it or not. You can get high, marry whomever you like, and then go eat a pancake on a stick. No doubt Seattle is changing and, we like to think, things are getting better. It is, dare we say, a renaissance, and we are using this year’s guide to the Best of Seattle to toast the inventiveness of our city and celebrate the vanguard of the new (while also recognizing the fixtures that are here through thick and thin). But we can’t do it without your help, which is why we are asking you, our dear reader, to tell us what you love about this city in our annual Readers' Poll.

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We would prefer you vote online at seattleweekly.com/rebirth. But if you are fond of parchment (we know the feeling), you can mail in this physical ballot. Just write in your favorite for at least five of the categories on this page, detach from the rest of the issue, and mail it to: Best of Seattle 2013, c/o Seattle Weekly, 307 Third Ave. S., Second Floor, Seattle, WA 98104. We’ll need your name, e-mail address (which will be purged upon tallying), and ZIP code to ensure authenticity. Ballots must be postmarked or submitted online by Tuesday, July 30. The winners will be announced in our August 7 issue. In the interest of starting this new beginning off on the right foot, let’s all play fair: Only vote once.

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VOLUME 38 | NUMBER 27

10 The Nowhere Men 17 Mycle Wastman 24 The Dudley Manlove Quartet 31 LeRoy Bell & His Only Friends 07 The Paperboys 14 Clinton Fearon & The Boogie Brown Band 21 Hit Explosion

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NEWS

THE DAILY WEEKLY | Does the repeal

of DOMA mean your same-sex spouse will get health insurance? Maybe.

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FEATURE

BY MATT DRISCOLL | The Center City

Initiative brings together business owners, social workers, and law enforcement to tackle the problem of downtown homelessness. Will it work?

in back 17 THE WEEKLY WIRE 18 ARTS

»33 27 FOOD

27 | URBAN WINERIES | Put those

chateaux out of your mind; there could be a winery in an industrial space near you.

28 | THE WHALE WINS | The menu at Renee Erickson’s new restaurant is like a calendar of veggie availability.

30 | FOOD NEWS | The week’s events.

33 MUSIC

33 | TICKET STUBS, R.I.P. | We used to

be able to keep souvenirs of concerts.

Now we just get e-mails.

34 | CD REVIEWS | Every local release.

35 | THE SHORT LIST | Jaill, Lemolo, Say Anything, and The News plays Sports.

other stuff 19 23 36 37

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PERFORMANCE FILM CALENDAR SEVEN NIGHTS TOKE SIGNALS

VISUAL ARTS | A Northwest survey

show at TAM.

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THIS WEEK’S ATTRACTIONS

Vampires in Britain, hijacking near Somalia, and Johnny Depp’s take on Tonto, closer to home.

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Some Do, Some DOMA

Even after the Supreme Court’s decision, local companies can still deny same-sex couples benefits (maybe).

BY MATT DRISCOLL

W

That assumption, however, may be incorrect. ith gay marriage legal in WashAccording to an advisory bulletin issued in ington and DOMA repealed, March by Seattle-based law firm Davis Wright all the major barriers to sameTremaine, a refusal to cover gay spouses could sex couples’ being treated like simply hinge on a company’s explicit statement straight couples appear to have fallen. that only opposite-sex spouses are covered, since But they haven’t, necessarily. Amid the jubilanothing in federal law mandates same-sex covertion, lawyers, tax experts, and even Washington’s age. “This approach would be inherently discrimiInsurance Commissioner’s Office have been busy natory,” Davis Wright Tremaine says in summatrying to unwrap what it all means for private tion. But possibly legal. companies that, under DOMA, were allowed to At the state Insurance Commissioner’s Office, deny benefits like health insurance to the samesex spouses of employees.

Here’s the legal fine print: In Washington, when employers buy health insurance from an insurance company, that insurance is subject to state regulations, meaning these plans are required to treat samesex and opposite-sex spouses the same. Nothing changes under the DOMA ruling.

But if an employer self-insures its health plan—i.e., the employer (or a trust the employer Marchers carry a large Pride flag at last weekend’s parade down sponsors) pays health Fourth Avenue, which came just four days after the U.S. Supreme claims—that plan is not Court struck down a federal law barring the U.S. government from governed by state regula- recognizing same-sex marriages. Despite the ruling, many hurdles tion. Instead, ERISA— remain for equal treatment of gay couples. the federal Employee Retirement Income Secucommunications manager Stephanie Marquis rity Act—becomes the guiding force. And that’s tells Seattle Weekly that more time is needed to where discrimination can come in. ERISA preprovide a definitive answer about what DOMA empts state law, and in the past has enabled selfmeans for health benefits. She quips, “Your quesinsured employers not to cover same-sex spouses. tion has caused a bit of research around here.”

Self-insured employers can choose whether “Insurance is going to be one of the things that or not to extend benefits to same-sex spouses, will touch people most directly. . . . It’s very comand many—even in Washington—choose not plicated,” says David Ward, a staff lawyer with to. According to one union lawyer speaking to Legal Voice. “It’s fair to say that people are going Seattle Weekly anonymously because ongoing talks to have to check with their HR department.” are confidential, she’s currently representing at ERISA may not be the only set of fedleast two clients sparring with “large corporate eral guidelines that come into play, according employers” that are trying to deny benefits to to ERISA expert Chuck Thulin of Seattle’s the spouses of gay employees. (The company Ekman, Bohrer & Thulin, P.S. He says other that owns Seattle Weekly, Sound Publishing, selffederal laws—like the federal employmentinsures its health plan, and prior to its acquisition discrimination law—might be applied to compel of this paper chose not to extend health and self-insured employers to welfare benefits to same-sex offer coverage to same-sex spouses. The company has PRINT IS GREAT, but if you spouses. Thulin says this since changed its policy, want to read about the new “is undoubtedly an issue and now extends benefits radio stations soon to be broadthat plaintiffs’ lawyers will to both heterosexual and casting in your neighborhood, check it out on The Daily Weekly. explore.” same-sex spouses.)

SEATTLEWEEKLY.COM/DAILYWEEKLY While the DOMA rulNow, since DOMA has ing may not end up being come down and federal law a game-changer for same-sex spouses when it no longer distinguishes between opposite-sex comes to health-care benefits, the impact will marriages and same-sex marriages, one might be more substantial in other areas. Specifically, assume that ERISA will no longer provide cover Thulin says that once the DOMA ruling takes for companies hoping to avoid extending benefits effect, retirement benefits and pension plans will to same-sex spouses.

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news»The Daily Weekly an owner of the Mazama Country Inn. He has helped organize a campaign, Move the Hut, that has circulated a petition asking Kundig and the co-owners of the cabin to “reconsider the location of the structure.” According to Pope, roughly 500 people have signed it so far.

Meanwhile, Flagg Mountain property owners, including the woman who sold Kundig the lot upon which he is now building, are suing the architect and the others involved with the project, who include high-end Seattle builder Jim Dow. The plaintiffs claim that Kundig and his partners are violating property covenants that call for any building to be erected with “special sensitivity” that minimizes its “visual impact” to those within its sight-line.

Pope maintains that the cabin can definitely be seen from the valley below. He says he looked up one day in October and there it was. Apart from any covenants it violates, Pope says the structure runs contrary to an “ethical” code in the valley that says “You don’t build on a ridgeline.”

Despite a flurry of building by wealthy Seattleites who have picked the stunning spot in the eastern

be required to treat same-sex spouses the same as opposite-sex spouses.

Again locally, such questions aren’t purely academic. As The Stranger’s Dominic Holden first reported earlier this year, during Boeing’s recent contract negotiations with the Society of Professional Engineering Employees in Aerospace, pension benefits were on the table. A union representative told The Stranger that Boeing initially balked at offering survivor pension benefits to the spouses of same-sex employees, citing federal laws that didn’t require them to. Thanks to the Supreme Court, Thulin says, “That argument is pretty much moot after the DOMA decision.” The aerospace giant later agreed to extend survivor pension benefits to same-sex spouses companywide, but not before the haggling made international headlines.

What’s the takeaway from all this? Whether or not legal wiggle room still exists in some instances to exclude same-sex spouses from self-insured health and wellness benefits—even after the DOMA ruling—those on the ground see the tide turning. Most say they hope the pressure on companies to do what’s right will be enough to persuade them.

“The Supreme Court’s action certainly sends a powerful social message that encourages equal treatment of same-sex couples,” says the ACLU of Washington’s Doug Honig. “The Court does not stand isolated from society. I think people understand that this was an historic ruling that reflected a major cultural shift toward acceptance of samesex relationships by the American public.”

“We do think they ought to be [offering benefits to same-sex spouses],” says Ward. “The momentum is clearly going that way.”

“It’s hard to think of it as doing anything else but lording it over the landscape.”

Architect’s Cabin Cause for Complaint

Tom Kundig is one of Seattle’s most celebrated architects. The recipient of numerous national awards, the subject of books that lavishly depict his inventive, modernist houses, he is known for

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the way his structures “fit serenely into the landscape,” as The New York Times put it last year.

Yet a small vacation cabin he is building in the Methow Valley for his family and two others is causing a local uproar precisely because of its interaction with the landscape. The boxy, metalroofed structure sits atop a ridge on Flagg Mountain, which rises above Mazama. The cabin—or “hut,” as it is often referred to—is positioned so far forward on the ridge that, with the help of a beam, it juts over the cliff.

“It’s hard to think of it as doing anything else but lording it over the landscape,” says Bill Pope,

BILL POPE

Kundig’s curious cabin.

Cascades for a vacation home, that code has until now not been transgressed, he says.

Kundig has built before in the Methow Valley, designing, among other projects, a group of rental “rolling huts” that are advertised as a “modern alternative to camping.” None of those projects have sparked controversy.

Reached by phone, Kundig says he’s done nothing wrong with his newest project. He declines to talk in detail given the ongoing legal proceedings, other than to say that the cabin will live “light on the land.” He elaborates: “It’s an 800-square-foot hut that’s off the grid. It harvests the sun. It harvests water.”

Dow concedes that the cabin can be seen from the valley. But he contends that photos publicized by Move the Hut use a telephoto lens that make the structure seem bigger than it is.

“We’ve had people call us and say ‘We can’t find it. Where is it?’ ” In placing the hut, Dow says, “we had a number of constraints. One of the most crucial was that there are three pieces of property on the ridge, and the other two property owners up there were very concerned they not see our cabin.” That could only happen if the cabin was built where it is, according to Dow. “So we tried to do some things to minimize [the impact],” he continues, adding that making the cabin small was one of them.

He also contends that others have built on ridgelines above the valley, although toward touristy Winthrop rather than in sleepy Mazama.

Attorneys for Dow, Kundig, and fellow defendant Ben Rand moved to have the lawsuit dismissed on the grounds that the plaintiffs don’t have standing. While striking two of the plaintiffs, an Okanogan County Superior Court judge ruled late last month that the suit can proceed.

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EVERYBODY’S

Inthe thebattle battle to to end end homelessness, In homelessness,can canthe the city andcompassion? compassion? citybalance balance commerce commerce and You’d bywho whoisissaying saying“Yes.” what.

You’dbe be surprised surprised by

NATE WATERS

BY MATT DRISCOLL

J

In Seattle, many of the low-level criminal behaviors associated with chronic homelessness—public urination, open alcohol containers, and violations of the city’s sit/lie ordinance—are civil infractions, punishable by a citation and a fine. The citation for drinking in public, which police say is the most common, carries a $27 penalty. According to Seattle Municipal Court records, in 2012 police issued 551 such citations.

Of those, 470 ended up in default—meaning the person on the receiving end never paid or responded.

In other words, the citations don’t work. John Schochet, the deputy chief of staff at the City Attorney’s Office, admits that “There tends to be a pretty low response rate.”

Enter the Center City Initiative (CCI), a city-led effort to find not just common ground between commerce and compassion, but, more important, results when dealing with street disorder, chronic homelessness, and the problems associated with all of the above. Since October, the city has hosted five volunteer roundtable CCI discussions, where roughly 45 “stakeholders”—including social workers from Evergreen Treatment Services and the Downtown Emergency Services Center; business leaders from the Pioneer Square Alliance and the Downtown Seattle Association; advocates from Real Change and the NW Immigrant Rights Project; and law-enforcement officials from the Seattle Police Department, the

Department of Corrections, and the City Attorney’s Office—all gather in a big room with the daunting directive of solving a problem that many say is getting out of control. In addition to the full-scale roundtables, a number of smaller workgroups have been created under CCI to study specific problems and report back to the group. The roundtables have been moderated by Dr. Stephen Page of the University of Washington’s Evans School of Public Affairs.

CCI is a pure reflection of Seattle’s love of process.

Of course, this isn’t the first time the problem of homelessness in Seattle and King County has been targeted. The 10-Year Plan to End Homelessness, introduced in March 2005, is currently in year eight, and despite the planners’ best efforts and the Plan’s many real accomplishments, the number of homeless people on the street has remained steady over the past few years (thanks in no small part to the Great Recession and social-services funding cuts at the state and federal level). King County’s Committee to End Homelessness estimates that, over the course of a year, more than 24,000 people in King County will experience an episode of homelessness—the bulk of them in Seattle.

» CONTINUED ON PAGE 10

SEATTLE W EE KLY • JULY 3 — 9, 2013

ay T. Morris is a 52-year-old man with a pit bull named Moose and a history of causing headaches along the Seattle waterfront.

Earlier this year, Morris and his champagne-colored four-legged friend unwittingly became the poster children for one of several new approaches launched under the Center City Initiative, a program championed by Mayor Mike McGinn as a way to solve Seattle’s problems with street disorder and reduce the number of homeless people on the street. n As police reports and Seattle Police Department’s Sgt. Paul Gracy tell it, Morris made a name on the waterfront as a chronic nuisance, sitting or lying on the sidewalk near Argosy Cruises with his unlicensed canine and a tattered collection of belongings, including blankets and signs. Local business owners came to know and loathe him. The police were called—repeatedly. For months, nothing changed. n “Basically, he blew me off,” remembers Gracy, who says he often had the unenviable task of responding to complaints about Morris. “Finally, we decided that we would have to start giving him citations. . . . He didn’t care.” n It’s not an unusual story.

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» FROM PAGE 9

Despite the scale of the problem, however, many involved express sincere hope that this effort will succeed where others have failed. And the way Morris and his pit bull have been dealt with is just one of many compromises, and tenuous agreements between business and social services, that have emerged from the CCI table.

The City Attorney’s Office, under the leadership of Pete Holmes, has historically chosen not to pursue defaulted citations, arguing that to do so would in essence criminalize an infraction considered civil, and, consequently, criminalize poverty itself. When someone fails to respond, the City Attorney has the option to issue an arrest warrant; it just isn’t done. Or wasn’t—until earlier this year, when Morris and his dog pushed the envelope.

In a departure from past procedure, and in direct response to the CCI discussions, Holmes’ office has agreed to file failure-to-respond charges on what’s described as a “case-by-case basis,” allowing for an arrest warrant to be issued when it might prove helpful in dealing with habitual offenders. Last April, Morris received the first one.

Not long after receiving the warrant, police say, Morris left the waterfront and hasn’t been back.

The City Attorney’s Office says it doesn’t anticipate filing charges often, but it will become one of law enforcement’s tools for dealing with chronic street disorder. “We’ve committed to use this model,” says Schochet, of the new approach, which provides teeth to existing city laws. “If more cases are brought to us, we’ll use it.” “[Morris would] still be down there today if we hadn’t issued the warrant,” says Gracy.

’S GO-GO’s & B-52 LY 6

SEATTLE WEEKLY • JULY 3 — 9, 2013

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MELISSA ETHERIDG1 E8 AUG

But CCI isn’t about just getting tough on street disorder or dispatching the homeless. Far from it, actually. In an exercise defined by its compromises, Morris’ case represents more a nod of acknowledgment to frustrated business owners and intimidated tourists than an indication of CCI’s philosophical bent. Somewhere, Morris— or someone much like him—is still out there and still needs help. While the concerns of business owners are being listened to and respected, CCI has provided victories for social-services advocates as well. The discussion has gone both ways.

According to Lisa Daugaard—deputy director of the public-defense agency The Defender Association and one of the most respected voices at the CCI table—the big trade-off that has guided CCI so far is straightforward, but new to Seattle: Advocates and social-service providers recognize that people sleeping in doorways, camping in parks, drinking in public, and peeing in alleys makes doing business downtown difficult, while business owners attempt to come to terms with the reality that Seattle can’t solve this multifaceted problem simply through tougher laws.

Nine months into this process—which many have called “unprecedented” for Seattle, thanks to the number of interests drawn into cooperation—CCI is just now beginning to bear tangible fruit for those living on the street and the people fighting on their behalf in City Hall.

Mayor Mike McGinn plans to request $1.5 million in funding in his next budget to expand the LEAD (Law Enforcement Assisted Diversion) program throughout the downtown core. A new “Multidisciplinary Team” of law-enforcement officials, social workers, and advocates has been created to help revamp the way the city conducts outreach to homeless and drug-addicted people, taking cues from cities like L.A., San Diego. and

director of Seattle’s Human Services Department Dannette Smith, who played an integral role in CCI before leaving her post in mid-June to become the human-services director for the city of Virginia Beach, Va. Prior to her appointment

by McGinn, Smith served in similar capacities in Georgia, North Carolina, and Chicago. From her 58th-floor corner office—a perch where a Seattleite could practically see every homeless person in the city—Smith described the city as at a “crossroads” in the way it deals with homelessness and street disorder.

“I’ve never seen anything like this,” says Real Change founder and executive director Tim Harris of CCI. “I’m pretty cynical about things, but these meetings have been very inspiring to me.”

Whether they are inspiring is beside the point.

Will they work?

Seattle Mayor Mike McGinn thinks cooperation between business and social services is the key.

T

KELTON SEARS

EVERYBODY’S BUSINESS

Philadelphia. And the city’s Office of Housing is working to free shelter bed space by getting longterm shelter users into more permanent housing.

According to most, however, CCI’s biggest accomplishment so far has been the dialogue and understanding fostered within an entangled community more accustomed to fighting than working together. No longer is the conversation purely business vs. social services. While raw frustrations remain, leaders on both sides say there’s something different about the Center City Initiative.

“In my experience, something like this would have fizzled after three meetings,” says former

he “See It, Send It” campaign launched by Visit Seattle may have been the jolt that made CCI possible.

It started with a letter sent sent by an unnamed tourist to Mayor Mike McGinn and then Police Chief John Diaz last September.

“Walking through the smell of human waste, and my 10-year-old son stepping in human feces on the sidewalk, erased the actual beauty of the market,” it read. “I can honestly say I am more afraid of walking in downtown Seattle than Chicago.”

The letter struck a chord with Visit Seattle, a nonprofit tasked with selling the Emerald City to tourists and large-scale conventions.

As the letter was getting local press attention, Visit Seattle launched “See It, Send It,” urging business owners and residents to take photos of illegal or unsavory activity downtown and deliver them to city council members and the mayor’s office.

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As far as we can tell, “Tom” has not showered in months, nor has he changed his clothes. He will urinate in his trousers several times a week; literally sitting on the ground and wetting his pants while we are talking to him. He is bright enough to figure out the nuance of what he can get away with in terms of his behavior on the street, yet he walks around wearing several months of his own urine and feces. . . . Business providers are frustrated by his presence and feel that he has a direct negative impact on their business, their staff, and their customers. . . . Opportunities for engagement have been provided to Tom roughly 100 times in the past 30 days by the MID outreach team. Tom is also well known to the service-provider community, who has attempted engagement two times per week since 2008.

M

arc Berrier, who bears a resemblance to a heavily tattooed Eddie Vedder, is a 37-year-old homeless man currently housed through the Seattle Union Gospel Mission. Originally from Pennsylvania, he describes his father as the owner of a construction company and his mother as a retired government worker. After studying business marketing and earning a bachelor’s degree from Ohio State, Berrier says he worked for Red Bull as a district manager and later as an East Coast supervisor for Snapple and Dr. Pepper.

Then drinking caught up with him.

“My job really was to take care of customers.

Take people out, show them a good time. My drinking just got real bad,” he recalls, sitting at a cafeteria table at the Union Gospel Mission Men’s Shelter. “It got to the point where I woke up in the morning and I had to drink.” Now eight months sober, Berrier rattles off a list of jobs he’s held for short periods in Seattle, all eventually thwarted by his drinking.

He’s not alone. According to the 2013 OneNight Count, 1,989 individuals were found living unsheltered outside in Seattle—equaling nearly 73 percent of King County’s shelterless population.

Of them, 194 were found under roadways, 139 in doorways, 69 in bushes or undergrowth, and 257 simply “walking around.” County-wide, 8,830 homeless individuals were identified during the One-Night Count, with 6,236 found in shelters or transitional housing. The rest were on the street.

Berrier, who sees the many misconceptions people have about those living on the street,

“If you had to be homeless anywhere, it’d be here . . .

You can eat 10 times before noon, just in this area.” says he ended up in Seattle after first becoming homeless in Las Vegas. He picked the Emerald City on a whim. “I didn’t have anything. A case worker had given me a backpack and a four-pack of Ensure,” he remembers. “I don’t really know what happened. I got pretty messed up on the bus. I woke up at Harborview. . . . They gave me a place to stay at DESC. “The next day I went and wandered around the city.”

With a college degree and a middle-class upbringing, Berrier doesn’t fit the stereotype.

But that’s just the thing, according to Union Gospel Mission Special Projects Director Mike Johnson: The conversation of homelessness is one in which we too often fail to see people for who

Marc Berrier thinks people in Seattle have misconceptions about the homeless.

they actually are. “There’s a deep level of personal brokenness, relational brokenness; people who don’t know how to work with themselves or others or the world around them. They’re adrift,” says Johnson of those living on Seattle’s streets.

“What I would hope is that we wouldn’t just find some new tools, but that we would find a better narrative. And I think CCI is a step in the right direction. “[Previous efforts to end homelessness] have all been about, ‘Let’s create all these resources,’ the narrative being ‘People need resources, and want resources, and they need help, and if you made the resources, people could access them and get better.’ . . . Now we’re realizing that it’s not just a lack of resources.”

This assessment seems backed up by Berrier’s experience, which eventually landed him in the year-long program offered by the Mission.

“If you had to be homeless anywhere, it’d be here. . . . You can eat 10 times before noon, just in this area. If you go hungry in Seattle because you’re homeless, you just want to,” he says of the Emerald City’s compassion.

“People think that the homeless aren’t trying.

Or they think that everyone’s just a drug addict that doesn’t want help,” he says. “I mean, I am an alcoholic, but I gave that up to work to try to get out. That’s a huge misconception. It’s just how the cookie crumbled for me.”

S

itting on an expensive couch inside Dania, the upscale furniture store on Western Avenue that she’s managed for eight years, Lisa Grimbly, who hasn’t been part of the official CCI discussions, looks out the window, sees the street, and thinks about the roughly 30 homeless people who once camped outside her store every night. Though she says things have improved on her block over the past several months, she still sounds skeptical—visions of used needles and the smell of human waste fresh in her mind—when discussing the city’s efforts to tackle its homeless problem.

“We’re not bashing the homeless,” she says emphatically, making sure to stress the point.

“But some of it is getting out of control. . . . My concern is that there’s not going to be any mother walking by with her children if she wants to come visit our shops.”

Like many business owners, Grimbly says she wants the homeless to get the help they need.

But she’d also like to see the city strengthen its regulation of the generally unenforced laws against sitting and lying during daytime hours, panhandling, open containers, and public urination. In essence, she’d like to see more of the constant troublemakers get the Jay T. Morris treatment, and believes the city still has a long

SEATTLE W EE KLY • JULY 3 — 9, 2013

“It opened up a dialogue. We did not want it to be a public dialogue, necessarily,” says Visit Seattle President and CEO Tom Norwalk of “See It, Send It.” “We did not want it to be a public debate pitting the hotel industry or retail industry against homelessness.

“We have issues that are complex in the city,” he adds. “How do we address it and get to a point where we do something? . . . Frustration gave birth to ‘See It, Send It.’ ” Seattle Mayor Mike McGinn has witnessed some of that frustration firsthand, receiving harsh criticism from some corners of the business community for his handling of street disorder and homelessness-related blight. “See It, Send It” was a revelation, laying bare the business community’s deep discontent.

“When the ‘See It, Send It’ campaign came our way, I can tell you my reaction was ‘Oh geez, we’re working so hard on this stuff, and the fact of the matter is we’re seeing really great economic outcomes downtown. We’re seeing a record number of hotel stays, a record number of cruise-ship boardings.’ But then I was, like, ‘OK, well, you know, we’ve got to elevate this even more, invite everyone to the table here and really focus on solutions.”

One month after the letter was sent, the first CCI roundtable was held.

Visit Seattle’s stake in the game is clear. Tourism in King County is a nearly $6-billion-a-year business, with much of that action in downtown Seattle. The city hosts 40 to 45 large-scale conventions a year—events often booked five or 10 years in advance, each pumping from $5 million to $25 million into the tourism economy in a week. Norwalk says competition for these conventions is fierce, and that several meeting planners have said that for them to return to the Emerald City, they’d need to see marked

improvement in Seattle’s downtown street disorder. Whether Seattle has ever missed out on a convention because of any of the unsightly activities that fall under the broad term “street disorder” is unclear; Visit Seattle says their agreements with meeting planners bar them from discussing the topic.

So far, however, Norwalk calls CCI “very encouraging.” The Downtown Seattle Association agrees, as does Leslie Smith of the Alliance for Pioneer Square. While not everyone is sold on the idea—it certainly has its critics—the list of businesses and neighborhood organizations that endorse CCI goes on.

NATE WATTERS

More than just photos emerged. Some images came in narrative form—for instance, the story of “Tom” (name changed), submitted by Jon Scholes, the Downtown Seattle Association’s vice president of advocacy and economic development. His account is based on an e-mail report by the supervisor of the Metropolitan Improvement District’s Safety Ambassadors—those yellow-vest-clad envoys, financed through tax assessments on downtown properties, tasked with maintaining the city’s downtown core.

Among other things, MID ambassadors are on the front lines of Seattle’s homelessness and street-disorder problem.

According to Scholes, the story of Tom “details the impacts that one individual is having on the downtown neighborhood, the challenges he’s facing, and the public cost involved.” Tom’s story was later used in an early CCI meeting to illustrate the extent of street-disorder issues downtown.

» CONTINUED ON PAGE 12 11

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way to go on this front. “I know it sounds kind of backwards, but it’s not working being so lenient,” she contends. “Actually, it’s attracting more of the people that are misplaced and homeless.”

Grimbly isn’t the only person who has called for strengthening laws aimed at reducing homelessness’ unsightly aspects. Most recently, in 2010 Seattle City Councilmember Tim Burgess proposed an aggressive panhandling bill that was eventually vetoed by McGinn. Historically, such efforts in Seattle have done little more than start arguments.

Kate Joncas, president and CEO of the Downtown Seattle Association, says CCI is helping move the conversation forward. “I think we’re just all very frustrated with what the streetdisorder conditions can be in the downtown neighborhoods,” says Joncas, who is widely credited by those in CCI with helping to hold together the business leaders involved. “For many years, we all would point fingers. . . . Instead of going that way, [with CCI] we all said, ‘Look, it’s our problem, as a neighborhood. We all share it.’

“It sounds kind of simple, but it enabled us to start having a conversation [that wasn’t happening before],” Joncas continues. “We can now admit the truth of the matter.”

That’s not to say that everyone is thrilled.

While folks like Joncas and Norwalk credit the mayor for starting the conversation and credit the city for trying a new approach to what feels like an age-old problem, in other parts of Seattle, frustration nears the boiling point. In Pioneer Square, for instance, which roughly 2,100 residents call home—1,200 of them in a shelter bed or some form of transitional housing, according to numbers provided by the Alliance for Pioneer Square—Shari Druckman-Roberts sees the people hanging out in Occidental Park and speaks with anger in her voice. Not part of the CCI discussions, the owner of From the Heart Pottery since 2006 remains skeptical of approaches to solving the homelessness problem based on offering more services. “These people should not be on the street. They should not be allowed to sleep in the street. They should not be allowed to be out in public with mental disorders, if they have them, or if they’re drug addicts, they need to go away,” she says. “People like us are going to get angrier and angrier, and without the proper police support, we’re going to start to take things into our own hands. Which means people are going to get hosed down.

“Like, if I was Dania, I’d hook up a hose and hose all [the homeless people] down in the morning,” she continues. “What kind of humanity is that?”

A native New Yorker, Druckman-Roberts says she’d like to see an approach similar to the gettough efforts on homelessness that made headlines there in the late ’90s, when Mayor Rudy Giuliani famously cracked down on street disorder by ordering all “able-bodied” homeless people to work in exchange for city-provided shelter and services—going as far as to threaten the homeless with the prospect of losing their children to foster care. While critics have debated how much credit these get-tough measures should get, if any, Druckman-Roberts points to the Toys R Us that’s now in Times Square and says a similar tactic is needed in Seattle. “I’m against a lot of the entitlements that enable people to remain victims. That’s what the problem is. Everyone wants to do good, but they’re not doing good.

They’re not helping anybody,” she says. “Seattle’s

allowing people to sleep and defecate and God only knows what else in the streets. It’s a humiliation for both sides.

“We need to hire a new mayor,” she concludes.

S

eattle Mayor Mike McGinn leans back in his chair in a windowless room in the back of his International District campaign office. Locked in a fierce re-election battle, he turns his attention to homelessness and street disorder, a topic familiar to him.

A few nights prior, at a mayoral forum sponsored by the Seattle Chamber of Commerce, McGinn had vigorously defended his record in dealing with these problems. It wasn’t the first time he’d been put on the spot. In this campaign season, the mayor has earned a reputation for holding a horn-tooting press conference for even the most trivial administration accomplishments.

Though he hasn’t yet done so for CCI, when pressed on the topic of street disorder, pointing to CCI has become his standard response. Whether that response is resonating, however, is another matter. Two weeks after the forum, citing downtown safety as one reason, the Chamber of Commerce officially endorsed one of McGinn’s many challengers, state Sen. Ed Murray.

“Other people can judge. I can tell you what we’ve done,” a reflective McGinn says of his administration’s record on homelessness and street disorder. “We have serious issues in this city right now, and we want to address those issues.”

“We’re bringing everyone together,” he says of CCI, an effort he’s largely credited with spearheading. “We have to do it in a way that doesn’t get us back to the open political warfare on the issue. Because then everyone retreats to their

“People like us are going to get angrier and angrier, and without the proper police support, we’re going to start to take things into our own hands. Which means people are going to get hosed down.” camps, and nobody is listening.”

McGinn will be counting on people like Seattle Police West Precinct Captain Jim Dermody.

The lifelong Seattleite and second-generation Emerald City cop is known for his love of data.

When Dermody, who holds an executive master’s degree from UW’s Evans School, sees Seattle’s troubles with homelessness and street disorder, he looks to science to guide him. He’s been on the job in the West Precinct roughly 14 months, after being transferred downtown from the East Precinct in May 2012.

One thing that gives Dermody hope is the forthcoming effort to expand LEAD (Law Enforcement Assisted Diversion) throughout the downtown core—an idea birthed at the CCI table. With the mayor’s office preparing a budget request to put $1.5 million on the table in 2014 for the program, the expansion would allow officers throughout downtown to work with a recently formed Multidisciplinary Team of outreach workers, MID ambassadors, DOC officials, and advocates to target chronic offend-

direction,” the captain says of the trends and the impact CCI has provided.

L

isa Daugaard’s office, in the unassuming downtown home of The Defender Association, is a mess. She says she hopes to clean it someday—perhaps filing away the stacks of paperwork that occupy nearly every bit of open desk and table space—but the likelihood of that is slim. In a corner, propped against a wall, is a poster from Daugaard’s time working on homeless issues in New York. The picture of a cop in full riot gear is captioned: “RUDY GIULIANI’S IDEA OF A SOCIAL WORKER.” Given her role as an advocate for the poor and homeless, Daugaard’s response to the hardline positions of people like Druckman-Roberts

could be seen as surprising. “That pushes all the triggers. In the past, the reaction [from the social-services and advocate community] would have been, ‘That’s wrong and misguided and needs to be opposed,’ ” Daugaard says. “The CCI conversation is different,” she claims, because the sentiments of business owners who just want to see the homeless stop sleeping in front of their storefronts is “actually a pretty strong consensus view. It isn’t optimal for people to be living on the street. Very few people in the conversation really want this to be a conversation about whether people have a right to live on the sidewalk.”

That’s a new stance for folks like Daugaard— one of many fostered by CCI. “From a civilliberties standpoint, [the CCI conversations have meant] that those of us who advocate for the

» CONTINUED ON PAGE 14

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ers, offering intensive social-service outreach and intervention instead of jail stays.

LEAD is already used in Belltown, its cross-hairs on drug and prostitution offenders.

Although tweaks may be made to allow for the handling of other street-disorder-related offenses, officials believe the program has been successful enough in getting habitual offenders into services and out of the low-level criminal loop to warrant its expansion. According to Lisa Daugaard—who helped orchestrate LEAD’s rollout in Belltown via nearly $1 million in private grants, and who has also been involved in planning the program’s downtown expansion—the $1.5 million will go toward staffing and the purchase of wrap-around services like drug and alcohol treatment, mentalhealth services, and housing for as many chronic offenders as possible. She says the figure was decided upon “based on the approximate cost of providing services so far for the volume of people we’ve served in Belltown, and then expanding by that ratio for the rest of downtown.”

“Anecdotally, we know there are folks [in Belltown] receiving services through LEAD that are not out re-offending,” says Dermody, who would welcome the program’s expansion.

The newly established Multidisciplinary Team will attempt and monitor targeted outreach to a specific list of chronic offenders—an approach that’s seen success in other cities. Daugaard estimates the list will eventually include a little over 100 names, and though she admits some reservations about directing the city’s limited resources toward a group that’s targeted largely for their business-nuisance factor, she says the savings made possible by these efficiencies will allow, overall, for more of Seattle’s homeless to get the help they deserve.

On the other side of the coin, Dermody is up-front about law enforcement’s limitations in handling all the issues related to homelessness and street disorder, saying there’s no way Seattle can “arrest its way out of these problems.” He’s shared these challenges at the CCI table. “The main complaints I hear from stakeholders downtown are about the open-air drug selling and drug use and the impact of the homeless issues,” he says, noting that the bulk of King County’s social services are located in four square miles of downtown Seattle.

“Seattle is a service-rich city. We are known in some places as Free-attle,” he says. “We have that reputation.”

Dermody sees the magnitude of the problem, but that’s not to say he believes it’s insurmount-

THE SEATTLE POLICE DEPARTMENT

West Precinct Captain Jim Dermody thinks Seattle can’t arrest its way out of the problem.

able. Championing a science-based approach also launched under the CCI umbrella, targeting downtown’s crime “hot spots”—areas with established high levels of low-level criminal activity— the captain is adamant that progress can be made.

True to form, he points to data when describing the progress so far. He says that 911 calls in the downtown core are down across the board, and major crimes were down 15 percent in January– May 2013 from the same period in 2012. Property crimes dropped 15 percent in the West Precinct over the same span, with 900 fewer thefts than last year. The major crime total for May in the West Precinct was the lowest for that month in six years. There was also a 9 percent reduction in violent crimes, with a 16 percent drop in robbery and a 5 percent drop in aggravated assaults.

“The message is we’re headed in the right

13

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rights of poor people are not fighting for the right of people to live on the sidewalk. I will fight for the right for people to live undisturbed on the sidewalk unless we’re offering them an alternative; we’re saying that’s not the main conversation; we’re saying let’s have a conversation that’s the alternative,” says Daugaard. “That’s a big leap of faith.” She estimates that 80 percent of Seattle’s

“The problem with outreach, to be successful, you have to have resources to bring people to,” Hobson says. “You have to have, at least initially, an emergency shelter to bring people to; you have to have permanent housing to bring people to. We don’t have that; all of our shelters are full, because there’s not enough available permanent support of housing to bring people to. [CCI isn’t] getting into that.”

According to King County’s Committee to End Homelessness, in 2012 roughly 2,583 shelter beds were available, with 92 percent of those

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homelessness and street-disorder problems stem from a social-services and human-services gap.

But while Daugaard exudes hope, others remain skeptical—the main issue being money, for good reason.

Real Change’s Harris describes Downtown Emergency Services Center Executive Director Bill Hobson, also a key member of the CCI discussions, as an “unofficial spokesperson for

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“The permanent solution is permanent housing for this population. And I don’t see a lot of hope for that situation. I see CCI not grappling with that larger issue.” the human-services tribe.” As Harris points out, during his three-decade career Hobson has seen everything when it comes to grappling with the problems associated with homelessness in Seattle. Through repeated heavy sighs and a bit of chewing tobacco in his lower lip to take the edge off, Hobson talks about the reality of what something like CCI can accomplish, given the shortage of resources and the constantly shrinking state social-services budget (Amnon Shoenfeld of the King County Mental Health, Chemical Abuse and Dependency Services Division says state funding for mental-health and substanceabuse programs has decreased by “well over $20 million” in the past four years).

in Seattle. Seattle’s Office of Housing has been involved in the construction of more than 50 new housing projects since 2002 that support the 10-Year Plan, providing 2,229 units for formerly homeless people. In 2012, Seattle provided $32.4 million in funding for shelters and drug and alcohol treatment, despite dwindling money from the state and federal government. In the adopted budget for 2013, about $50 million is allocated for shelters, drug and alcohol treatment, and housing.

Still, Hobson says it’s far from enough. And without a much bigger investment, he argues, the outreach efforts launched under CCI will go only so far. “The permanent solution is permanent housing for this population. And I don’t see a whole lot of hope for that situation,” says Hobson. “I see CCI not grappling with that larger issue. It’s too big. It’s too onerous. And so we come down here and think we can deal with it with services. Which to a limited degree we can, but it’s only a limited degree.”

M

arc Berrier, who credits much of his drinking to “a personal sense of failure,” says he’s hopeful about his future. He’d like to get back into sales someday. Recently he climbed to the summit of Mt. Hood with a team of his Union Gospel alums; there are plans to take Rainier this summer.

As for the future, Berrier admits, “There’s no telling what’s going to happen to me once I get out of here . . . It’s something that I’m going to have to deal with for the rest of my life,” he says of his alcoholism. “And that sucks.”

When told that city and business leaders, advocates, and law-enforcement officials have been gathering for nine months to come up with a plan to help people get off the streets for good, Berrier has one simple response: “How?” That’s the million-dollar question. Only time will tell if CCI is able to provide an answer. E

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Pols & Popcorn

Asked to introduce a favorite with Ken Loach’s The Wind That Shakes the for NWFF’s weekend Barley (2006), about Irish guerrillas fightMayoral Movies series, Mike McGinn chose Field, 800 Occidental Ave. S., soundersfc.com. ing for independence from those damn Brits.

To Kill a Mockingbird . Of course he did. He’s $25–$115. 7 p.m. GAVIN BORCHERT (Murray is an Irish name, after all.) Finally, at a politician who’s gained increasing polish 8 p.m. on Monday, Peter Steinbrueck embraces late in his rocky first term. Even if his secret fave is Blue Velvet or Pulp Fiction, he’ll never the eccentric strain of politics so seldom seen admit it. Yet while the Gregory Peck–starring here with Buddy: The Rise and Fall of America’s adaptation of Harper Lee’s beloved novel is Most Notorious Mayor (2005), a doc about the a safe, square choice, the 1962 drama is still now-former mayor of Providence, R.I., Buddy an affecting and Cianci, who was BEER expertly directed (by famously indicted for Robert Mulligan) assault with a fireconsideration of law place log, resigned in versus the Southern 1984, was re-elected mob. Tomorrow at six years later, was Generally speaking, I hate beer festivals. Long the same time, Kate forced out of office lines of drunks that lead to 4-ounce sips of a second time for beer that cost a buck or more is not my idea Martin will introduce racketeering, and of a good time. But redemption for this weekthe considerably more went to jail for four end’s Seattle International Beer Festival comes cynical All the Presiyears! (Today he’s a dent’s Men (1976). from its European flavor, by way of both the popular radio host Sunday at 5 p.m., source of most of its beer and the tantalizoften encouraged to ing abundance of dirndls and lederhosen.

Bruce Harrell makes run again for mayor.)

What’s more, organizers are humane enough a more personal pick: Ex-councilmember to offer a beer garden where brew is poured Steve McQueen in Steinbrueck, while in an appropriate apportionment: the pint.

Papillon (1973), who obviously no crook, (The beer on tap is Pilsner Urquell, and those heroically refuses to can perhaps relate pints will cost $3.) In other words, if you’re accept unjust incarto Cianci’s first willing to forgo the chance to taste every posceration in a French comeback from the sible permutation of IPA, you can make this penal colony. Sunday Peck for mayor, anyone? wilderness. Certainly Oktoberfest in July. And those who do appreat 8 p.m., Ed Murray BOD_WKLY_Whiskey_6-18-13.pdf 1 6/18/13 he and the other four ciate the ability to sample a wide variety of offers12:40 a boldPMchoice

fri/7/5

Long Lines and Full Pints

The green madness awaits DC United.

candidates cannot, even in aggregate, match Cianci’s colorful political career. All of which makes me ask one question: Why do Rhode Island journalists have all the luck? Northwest

Film Forum, 1515 12th Ave., 267-5380, nwfilm forum.org. $6–$10. 8 p.m. BRIAN MILLER DANCE

Strength in Partners

Aaron Shwartzman and Aiko Kinoshita both

K

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CMY

SEATTLE W EE KLY • JULY 3 — 9, 2013

assume multiple roles in the dance community as performers, teachers, and choreographers.

But when they work together as Umami, the results are far more than the sum of their already impressive parts. Kinetically, they come from the evocative part of the modern-dance lexicon, where movement has meaning, but it’s allusive rather than didactic. Fundamentally, all their dancing is about relationships, but we’re not quite sure with whom. They’re joined by a rotating cast of local dance artists in Constellation Half Remembered , an evolving work showing at various locations around town. Tonight through Sunday, the show’s in the U District. Following are performances in West Seattle’s Jack Block Park (3 p.m. Sat., July 20) and Parallel Public Works in Burien (8 p.m. Fri., July 26–Sat., July 27). Open Flight Studio, 4205 University Way

C

M

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CM

MY

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N.E., acorndance.org and brownpapertickets. com. $12–$18. 8 p.m. SANDRA KURTZ

PR OMO TIO NS

EVENTS

arts»Visual Arts

W W W. S E AT T L E W E E K LY. C O M / S I G N U P ARTS & ENTERTAINMENT NEWSLETTER Find out about upcoming performances, exhibitions, openings and special events.

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Wed. July 17 MYCLE WASTMAN Soulful Sounds from “The Voice” Two Union Square

Fri. July 19 AYRON JONES AND THE WAY

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BY BRIAN MILLER

he Wrights and the Shirleys are renowned as Seattle’s biggest collectors, but if you take a step down the tax brackets, how many have heard of Herb and Lucy Pruzan? The Seattle couple recently promised nine works to TAM, which is in turn displaying a large slice of their art collection, called Creating the New Northwest. Over 100 pieces are on view (some also promised to SAM), which doesn’t even represent the Pruzans’ entire holdings.

The Pruzans were on a budget as a young couple in the late ’50s, but they were determined to shop local. That means their collection lacks premium names like Tobey, Callahan, or Graves, which makes this show a Northwest survey of a different sort. Not secondrate—it’s more a reminder of depth over time, proof that our postwar art scene had more than Tobey, Callahan, and Graves to offer. Regionally, culturally, we’ve always suffered from the mossy insecurity that—apart from planes, software, and coffee—we don’t create anything. This 50-year selection argues otherwise, and it’s notable that the Pruzans kept acquiring new works by emerging Northwest artists, instead of going back later to buy proven, investment-grade painters.

“All these things trace the evolution of Northwest art,” says TAM curator Rock Hushka, and most of the names here are familiar. We see works by Guy Anderson, Paul Horiuchi, Norman Lundin, Gaylen Hansen, Fay Jones, James Martin, Alden Mason, Ginny Ruffner, Whiting Tennis, Akio Takamori, and so on. There are no discoveries to be made, since the Pruzans work with established Seattle galleries— including William Traver, Greg Kucera, and James Harris. (They’re also still very much an active presence at First Thursday openings.)

The show’s grouped more by affinity than according to a strict timeline or division of styles.

But as the Pruzans’ tastes changed and evolved— from landscape paintings to glass works, for instance—you’ll see what Hushka terms “a subtle chronology as they trained their eyes.” He calls the Pruzans regionalists “who wanted to support the local culture.”

The very first painting they bought, Louis Hafermehl’s abstract Alluvion, was displayed as part of our 1962 World’s Fair Northwest art exhibit, where the Pruzans also saw work by artists they’d later collect—including Horiuchi, William Ivey, Carl Morris, and Louis Bunce (1907–1983). The latter, based in Portland (where the Pruzans regularly visited), is an interesting example of lesser-known talent that caught the Pruzans’ eye. TAM’s showpiece painting here, promised to the museum, is Bunce’s 1968 Apple, a striking red and orange still-life with bold colors that almost push it into Pop Art. It’s on the edge of abstraction, held within tradition partly

by the blue, L-shaped table edge—a relatively late canvas by an artist who started as a figurative painter in the 1930s. So, liking his later work, the Pruzans looped back and bought his 1934 Nude With Seated Woman (also a promised gift), which shares an affinity of color and softened lines. You can also see the apple’s shape echoed in the bare breasts—or vice versa, since there’s no necessity to take anything here in chronological order.

Rather, there are occasional benchmarks in time, like a 1990 Ruffner glass work (made just before her career-interrupting car accident). A

COLLECTION OF HERB AND LUCY PRUZAN

www.VillageTheatre.org

2013

The Tacoma Art Museum shows off new gifts among a half-century of Northwest art.

T

2013 -2014 SeaSon

Box Office: (425) 392-2202

Picks and Timepieces

0

12-1:3 PM

Burns’ Family Portrait.

late, lesser Horiuchi from 1981 reminds us how long and prolific his career was. A very recent Nathan DiPietro landscape of an Elwha River dam being removed is almost like journalism, an image ripped from the headlines. With some prior knowledge of career trajectories and gallery histories, you can see when various artists came into vogue, passed from early to late career, or transitioned from one medium to another.

There’s also a sense of family history, exemplified by one of my favorite paintings on view: Michael Burns’ 1970 portrait of the Pruzans and three young sons. Painted from a photo, Hushka explains, the work was initially rejected by the family as being “too conservative” (!)—not usually what a disappointed patron says. So Burns went back to the studio and dressed the family in bright colors and boldly patterned clothing (not what they originally wore), almost like a Warhol makeover. It’s a cheeky Pop Art redo of a traditional portrait sitting.

Naturally, the Pruzans loved it. E

bmiller@seattleweekly.com

TACOMA ART MUSEUM 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $9.

10 a.m.–5 p.m. Wed.–Sun. Ends Oct. 6.

arts»Performance Stage OPENINGS & EVENTS

FRED ARMISEN The SNL alum and Portlandia bard per-

forms. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. $25 adv./$30 DOS. 8 p.m. Sun., July 7.

DRACULA In Steven Dietz’s adaptation. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation, 7 p.m. Fri., July 5, 2 & 7 p.m. Sat., July 6, 2 p.m. Sun., July 7.

PICNIC William Inge’s play about a drifter and the small town he upsets. Richard Hugo House, 1634 11th Ave., 800838-3006, reacttheatre.org. $12–$16. Opens July 6. 8 p.m.

Fri., 2 & 8 p.m. Sat., plus 8 p.m. Mon., July 22. Ends Aug. 3.

QUICK CHANGE! Flirty Sanchez and Bella Bijoux play reminiscing octogenarians in this two-woman burlesque show. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $12–$17. 7:30 p.m. Fri., July 5–Sat., July 6.

THE REMARKABLE MR. PENNYPACKER The ESP reads Liam O’Brien’s 1952 hit comedy. Stage One Theater, 9600 College Way N., endangeredspeciesproject.org.

Donation. 7 p.m. Mon., July 8.

SPIN THE BOTTLE “Impish banshee sounds” and much more in Annex’s variety show. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., July 5.

Image: Yohji Yamamoto, wool felt dress, Autumn/Winter 1996, Collection of the Kyoto Costume Institute. Photo by Takashi Hatakeyama.

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

CURRENT RUNS

FREEDOM FANTASIA “A liberty-encrusted, justice-

soaked, apple-pie-scented pageant of patriotism” with Ben DeLaCreme, Jinkx Monsoon, and more. 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.

HOMEBODY The subject of Tony Kushner’s hour-long monologue is Afghan history, as London housewife Homebody attempts to summarize 3,000 years of invasion, war, and religious conflict. Fully in command of the text, Mary Ewald makes this loony autodidact lonely and sad, though not quite pathetic. BRIAN MILLER New City Theater, 1404 18th Ave., 800-838-3006, newcitytheater@ comcast.net. $15–$20. 8 p.m. Fri.–Sat. Ends July 20.

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.

THE MAGIC PUDDING Norman Lindsey’s tale of Bunyip Bluegum the koala, Bill Barnacle the sailor, Sam Sawnoff the penguin, and their magic pudding, Albert. Volunteer Park, schmeater.org. Free. 5 p.m. Sat.–Sun. Ends July 28.

Dance

YELLOW FISH Alice Gosti’s “Epic Durational Performance

Festival,” with work by Vanessa DeWolf, the Satori Group, and many more. Hedreen Gallery, 901 12th Ave., 323-9405, facebook.com/TheHedreenGallery. Through July 15.

UMAMI DANCE SEE THE WIRE, PAGE 17.

LA PENA FLAMENCA DE SEATTLE Traditional and modern dance and music from this troupe of 13. Center House Theatre, Seattle Center, 932-4067, carmona2@ comcast.net. $15–$20. 7:30 p.m. Sun., July 7.

•

Classical, Etc.

• SEATTLE CHAMBER MUSIC SOCIETY July 3 7 p.m.

•

•

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

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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

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SEATTLE W EE KLY • JULY 3 — 9, 2013

recital: Debussy and Ravel for piano. 8 p.m. concert: Jolivet’s Heptade and quintets by Borodin and Dvorak.

July 5 Recital: Recent piano music by John Adams, Carl Vine, and others. Concert: Bach, Britten, more Adams, and Saint-Saens’ neo-baroque Septet. July 8 Recital: an introduction to a premiere by Lawrence Dillon. Concert: Beethoven, Mozart (the expansive Divertimento for string trio), and Lawrence Dillon’s Sanctuary. Benaroya Recital Hall, Third Ave. and Union St., 283-8710, seattlechamber music.org. Single tickets $15–$45. Ends July 26.

STUART DEMPSTER & DENNIS REA A surroundsound trombone choir honors the Japanese Tanabata festival. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. $5–$15. 7 p.m. Sat., July 6.

OLYMPIC MUSIC FESTIVAL Chamber music in a rustic repurposed barn, 2 p.m. Sat.–Sun. through Sept. 1.

July 6–7 Violin showpieces by Bach, Sarasate, and more.

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

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film»This Week’s Attractions the Arctic air. To otherwise justify the 3-D, Gru and company smash through windows, battle a fierce guard-chicken (!), leap out of planes, and are pursued by a swarm of monstrous little purple demons (on this plot point, parents will detect a parallel with World War Z). All that expensive CG rendering is fun as far as it goes, but kids at the press screening laughed just as hard at the fart guns. Despicable Me 2 doesn’t aim as high as Pixar’s best efforts do, but its core idea is sound: Through this adventure, a new family will inevitably be formed. And if those family members have the skin texture of Nerf balls, they also have the same enjoyable bounce. BRIAN MILLER

The riveting Ronan, uncannily compelling in Atonement and the otherwise misfired The Lovely Bones, is out-of-sorts here. So low-key is her and Jordan’s conception of the role that she’s overshadowed by Arterton, who at least gets to exhibit the fury that most female vampires are only occasionally allowed to uncork. Arterton had already displayed her skills as a fantasy badass as Gretel in Hansel & Gretel: Witch Hunters, so maybe the casting is too on-the-nose. Imagine the actresses switching roles here, and suddenly you’ve got a crazier and more intriguing movie.

ROBERT HORTON

Despicable Me 2

Downloaded

OPENS WED., JULY 3 AT ARK LODGE AND OTHER THEATERS. RATED PG. 98 MINUTES.

PBerberian Sound Studio RUNS FRI., JULY 5–THURS., JULY 11 AT NORTHWEST FILM FORUM. NOT RATED. 92 MINUTES.

Byzantium OPENS FRI., JULY 5 AT VARSITY. RATED R. 118 MINUTES.

Carell’s Gru is grudgingly domesticated

by Lucy (Wiig) and his daughters.

Wiig, who played a different character in the first installment (surely there will be three)—is Lucy, a karate-chopping bundle of goofy adrenaline with a sharp, perky nose. She looks like a whittled-down mannequin, a cross between Wilma Flintstone (the orange hair) and Lucille Ball (the boldly miscalculating eyes). Lucy’s a sunny, comic creation, yet she’s almost elegant next to birdnosed, beleaguered Gru, a human coat rack of a hero, draped with too many cares and indignities.

Gru’s basic problem is that he’s bored now that he’s out of the thievin’ game. He and his goggle-eyed yellow minions—essentially upright Twinkies, with their babbling language supplied by directors Chris Renaud and Pierre Coffin— have vainly attempted to go legit with a basement jelly-making enterprise. Forcibly recruited by the Anti-Villain League (Lucy’s employer) to recover a stolen potion, Gru sets up shop in a local mall, where the evil perpetrator is supposedly hiding. The thief will catch a thief, and Gru is newly energized by the investigation, setting his sights on Eduardo (Benjamin Bratt), the burly proprietor of the mall’s Mexican eatery.

In its amusing first scene, as a flying sky magnet attacks a snowy Bond-villain compound, bits and pieces of this and that go flying through

RUNS FRI., JULY 5–THURS., JULY 11 AT GRAND ILLUSION. NOT RATED. 106 MINUTES.

It’s weird enough that Utah Senator Orrin Hatch and Metallica drummer Lars Ulrich found themselves across a table in a 2001 congressional hearing. The amazing thing is that the conservative politico proved hipper than the headbanging rock star. That surreal moment came during the brief initial heyday of Napster, the online music-sharing service that mightily scared record companies and music artists alike.

If you weren’t paying attention to details during the Napster affair, Downloaded is here to set some of the record straight.

And it’s true: Hatch really did seem to grasp the positive aspects of Napster, or at least he didn’t have a knee-jerk reaction against it.

Nobody else chronicled in Downloaded appears neutral on the subject, which makes it a prime candidate for an argumentative documentary.

Napster’s saga also carries an air of What Might Have Been, which lends appeal to something otherwise rooted in writing code and computer language. Director Alex Winter sees the romance in this grand failure, and seems more taken with the Napster-as-subversive-force-for-freedom narrative than with the complaints of the artists who didn’t dig their music being passed around for free. (Dr. Dre and Metallica were among Napster’s most prominent opponents.)

That debate is a legitimately interesting one, and it isn’t only Millennials who saw the exciting possibilities of online file-sharing. At that 2001 hearing, Byrds founder Roger McGuinn laconically notes that his record-company contracts brought him no royalties despite the band’s great success, but that file-sharing was beginning to bring in some actual recompense. Or, as Jon Stewart put it on The Daily Show, after the courts put a stop to Napster and restored the status quo: “It’s the record companies who hold the patent on cheating musicians out of their money.”

The story also has its share of characters, including Napster founders Shawn Fanning and Sean Parker (perhaps you recall the latter in the form of Justin Timberlake in The Social Network). Winter likes these guys, and while the movie doesn’t try to give them the exalted status pop culture bestows upon His Holiness Steve Jobs, it doesn’t push them much, either.

By the way, Winter is the dude who timetraveled with Keanu Reeves in the Bill & Ted movies; he’s mostly been directing since then.

The obvious question is whether he’d approve of his movie being shared for free across the Internet. If not, rest assured Metallica has his back. ROBERT HORTON

SEATTLE W EE KLY • JULY 3 — 9, 2013

Sixteen is a lousy age for a vampire: perpetually virginal, stuck with feelings that aren’t going anywhere, and bossed by a family member who— being undead herself—never ages either. This is the dilemma for Eleanor (Saoirse Ronan), a 200-year-old teenager who’s currently mooning about a rotting coastal town in Britain. The protective instincts of Clara (Gemma Arterton) have resulted in frustration for Eleanor and debasement for Clara, whose methods of providing run along the lines of stripping and hooking.

Admittedly, after 200 years, she’s probably gotten good at her work.

Eleanor writes down all the things she can’t say out loud about her life, and sometimes other people read these musings—usually before they are going to die, drained with great delicacy by our thoughtful heroine. The Twilight aspects come into sharper focus when vampire elders (including Sam Riley) chase down our heroines for perceived transgressions against the race, or something. Byzantium is based on a play by Moira Buffini, who also scripted, and the aim is higher than those hormonal vamps from the Stephenie Meyer universe. The fragrant seaside setting helps, and the material gets its ideal director, Neil Jordan, who put werewolves into fairy-tale motion in The Company of Wolves and set Anne Rice’s vampires into heat in Interview With the Vampire.

Alas, Jordan gives Byzantium his nocturnal mood, all blurry lights and fishy air, but he hasn’t cracked the code for bringing the situation to life. Both underdone and overcooked, the film is best in its most intimate moments—dear, sweet Eleanor patiently waiting for a victim to volunteer to be taken out of this world, so our girl can feed—and clumsy in its supernatural crescendos of blood running down hillsides in torrents.

UNIVERSAL PICTURES/ILLUMINATION ENT.

We don’t learn exactly how a fussy English bachelor gets a job as a soundman on an Italian horror movie in ’70s Rome. That’s his profession, and the evidence suggests he knows his craft. But this gig is wrong on so many levels.

The longer Berberian Sound Studio goes on, the less it matters how this ill-advised assignment came about. Because this experience unfolds more as a dream than a credible story. And the dream is a nightmare.

That’s the way it goes for Gilderoy (Toby Jones), a mild chap whose warm, loving letters from home are written not by a wife, but—as we discover when he reaches the bottom of the page—by his mother. Of course. Utterly at sea among the floridly warm-blooded Italians in this post-production studio, he’s just as uncomfortable with the content of the film he’s dubbing.

It’s a giallo, as the Italians call their style of horror, and the sadistic material onscreen is discomfiting. Though, being British, Gilderoy remains as detached as possible while actresses record their terrifying screams for his microphones.

We don’t see that movie, by the way. It’s one of the fiendishly smart touches in this fiendishly smart film that we experience this trashy flick primarily through our ears. What better way to empathize with our protagonist, whose sense of hearing is precise. This description merely provides the setting for Berberian. Actually watching the movie is quite a different thing. It doesn’t take long to notice that how we get from one scene to the next can sometimes require a great leap of imagination, and that “reality” is going to get very changeable the longer Gilderoy stays on his job.

The pompous director of the giallo insists that his sadistic production is art, not horror. In this, writer/director Peter Strickland gives us a hint (or a warning?) about his own goals; the bucketof-blood crowd will find Berberian disappointing, but that’s not what it’s about. Strickland emulates some of the slips in logic that fuel gialli, which tend to be the opposite of the tidy, well-plotted horror tales of the English tradition. By the time we get to the final act, things are trippy indeed.

Like Gilderoy, the viewer is out of place, an uncomfortable visitor to a location that doesn’t

operate in expected ways; the movie’s got some of the choked, obsessive quality of Repulsion-era Roman Polanski.

Strickland’s finishing touch is casting gnomelike Jones, who might be even better suited for this meek fellow than he was for Truman Capote in Infamous. All tweed and worried brow, Gilderoy can’t hold his sanity long in this world. And he won’t. ROBERT HORTON

IFC MIDNIGHT

Jones’ soundman unravels in the studio.

Forget the 3-D. The most important question any parent will ask about this animated sequel is, Does the theater have air conditioning? That’s the moviegoing technology that matters most this week, but it’s only the first reason for seeing this funny, good-natured family romp. Again given a Slavic villain’s voice by Steve Carell, the bald, twig-legged Gru is now a single suburban dad raising the three orphan girls he appropriated in 2010’s Despicable Me. The bespectacled eldest daughter is a texting tween just discovering boys; the other two bounce and squeal without being too annoying; none of their names matter.

New to the series—though voiced by Kristen

» CONTINUED ON PAGE 22 21

film»This Week’s Attractions

@seattleweekly

» FROM PAGE 21

PA Hijacking “FUNNY,

DISTURBING AND’ ENJOYABLY PUZZLING.’’ Chris Darke, Film Comment

“A hugely original, funny and scary oddity.”

Doris Toumarkine, Film Journal International

“A tense, teasing triumph. Exquisitely crafted.”

Guy Lodge, Variety

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Movies are good at showing horror or panic or a sudden flight into action, but what about simply stewing in helpless, bored, sweaty fear?

And what if that situation drags on for months aboard a hijacked freighter, with no dramatic rescue in sight? The achievement of this Danish procedural by Tobias Lindholm—who also wrote the forthcoming The Hunt, also seen at SIFF—lies in its matter-of-fact economy of tale. Shipping company CEO Peter (Søren Malling) takes charge of the ransom negotiations, but his sole weapon is the satellite phone.

Ship’s cook Mikkel (Pilou Asbæk) is the frightened everyman on the MV Rozen, and there’s never any question of his going Bruce Willis on his AK-47-wielding Somali captors.

Instead, this is a waiting game, a slow series of bids (beginning at $15 million), rejections, and counteroffers while the human poker chips grow sick and possibly insane.

Cutting claustrophobically between his two locations, Lindholm contrasts Peter’s cool Copenhagen office and the sweltering ship, where food runs out and goats are brought aboard for slaughter. Peter has rich-whitepeople problems: a nagging board, curious media, incompetent underlings, and a lack of fresh French-cuffed shirts from the laundry.

Mikkel’s ordeal is emphatically Third World: heat, hunger, and filth that make him resent the stingy suits back home. There’s even a suggestion of Stockholm syndrome when the crew catch a few fish for a communal meal. They and their captors share the only festive song they all know: “Happy Birthday.”

Lindholm makes the questionable decision not to use subtitles for the Somali pirates (their leader Omar, played by Abdihakin Asgar, speaks English), but it contributes to the crew’s fearful lack of information. Mikkel and a muscled engineer (Roland Møller) are separated from the others; gunshots are heard; what are they—and we—to think? In this sparse drama of withholding and bluffing, we never even learn what cargo the ship is carrying to India, what it’s worth, or how well it’s insured. In a trade-dependent port city such as ours, do we ever know what’s inside all those stacked shipping containers? And of any one vessel’s crew, Lindholm asks, who would miss them if they were gone? BRIAN MILLER

The Lone Ranger OPENS WED., JULY 3 AT MAJESTIC BAY AND OTHER THEATERS. RATED PG-13. 149 MINUTES.

Is there anything as surefire as the William Tell Overture? I mean, who messes that up?

Whatever the Disney people do with the new big-budget version of The Lone Ranger, at least they’ll get the famous music right, right? Well, funny story. The music—and so many other things—are all wrong about The Lone Ranger, a mechanical contraption that never decides what it wants to be. The Lone Ranger’s squeakyclean image and code of behavior are hopelessly square for the 21st century, but the movie hasn’t come up with anything viable to replace what worked in those thrilling days of yesteryear.

MAGNOLIA PICTURES

OPENS FRI., JULY 5 AT HARVARD EXIT. RATED R. 99 MINUTES.

Mikkel (Asbæk) tries to keep cool.

The casting is promising: Johnny Depp is Tonto, which means the masked man’s Indian sidekick is not a sidekick anymore. (Somewhere, Jay Silverheels is smiling—top-billed at last.)

And Armie Hammer, who played the computergenerated twins of The Social Network, has the strong jaw and straightforward manner for a credible John Reid, aka the Lone Ranger. As it happens, Hammer plays the tenderfoot card and not much else, while Depp is busy doing his actorly fiddling. We first meet Tonto in old age, recalling his past glories (this is merely the first echo of Little Big Man), but for most of the film Depp is covered in tribal makeup, fur, and a dead crow he wears atop his head; it’s hard for his impish personality to break the surface.

About that crow. It’s typical of what’s wrong with the film: We learn the bird’s meaning in a serious flashback that sets up an emotional story arc, the kind that screenwriting classes love to belabor. But the rest of the time, the crow’s a joke, a running gag with a broken beak. In a similar vein, expect to hear countless variations on “What’s with the mask?” as the film goes along.

The story’s about how businessmen and politicians get together to ruin the country with their railroads, a plot that rarely gets in the way of the one-liners and cartoonish sight gags. There are locomotive chases, horses galloping across rooftops, and characters falling from great heights and bouncing up without a scratch. Granted, Tonto is narrating the story, so maybe we chalk this up to magical realism. But it looks more like director Gore Verbinski opted to go big and broad—so, among other things, William Fichtner’s chief bad guy is as greasily repellent a varmint as you’d ever meet out West (maybe too repellent for a Disney audience that failed to note the PG-13 rating).

Verbinski and Depp made three Pirates of the Caribbean pictures together, and presumably somebody figured they’d catch the same balance of comedy and Halloween scares here. Nothing doing. A movie that ridicules its own mythology can’t expect the audience to care about the outcome. And as long as we’re laying out rules: Don’t add extra choruses to the William Tell Overture, either. ROBERT HORTON

Unfinished Song OPENS FRI., JULY 5 AT SEVEN GABLES. RATED PG-13. 93 MINUTES.

Terence Stamp has been around a long time, yet he’s paradoxically made himself scarce on

screen. A handsome star of the ’60s in Billy Budd and other pictures, he famously dropped out of the movies for a decade-long spiritual quest in India. His comeback role was General Zod in the 1978 Superman (a part now played

by Michael Shannon in Man of Steel). Since then, he’s popped up for interesting turns—The Adventures of Priscilla, Queen of the Desert; The Limey; etc.—without making a full-time commitment to his craft. There’s a kind of actorly diffidence to Stamp, rare in a profession of people-pleasers. Take it or leave it, he seems to say, and his taciturn character, Arthur Harris, is consistent in this regard. He’s a retired hard-ass living in the suburbs, dismissive of his adult son (Christopher Eccleston), doting on his adorable granddaughter, and devoted to his cancerstricken wife Marion (Vanessa Redgrave), who sings incongruous pop songs with the local geezer choir. (Gemma Arterton plays its relentlessly positive leader, Elizabeth.) Arthur scoffs at their jolly music. “You know how I feel about enjoying things,” he harrumphs. Indeed we do.

Emotional repression, cancer, family rifts, and song—you can see where this is going, right?

Writer/director Paul Andrew Williams must surely have seen the 2007 doc Young@Heart about elderly American choir singers belting out rock tunes, and his intent in casting two eminent Brits was to create one of those quality Euro tearjerkers that typically carry the Working Title, Miramax, or Weinstein brands. But in this recent genre of boomers staring down the reaper (see Quartet, A Late Quartet, The Best Exotic Marigold Hotel, etc.), the writing matters more than the casting. The short-shorn Redgrave is lively and affecting as a woman whose clock is winding down, and Stamp is suitably stern and confounded in response. (Arthur is a man who’ll cry only with the door shut tight behind him.) They’d be great doing Pinter or Beckett together, on a stage sanded clean of all Williams’ sticky sentiment.

What barely held my interest—barely—was trying to guess what Arthur’s final tribute song to his wife would be. Because he and Marion are of a pub-singing, pre-Beatles generation, there’s a rich, deep catalog of English popular song for the film to mine. (Think of Dennis Potter and The Singing Detective.) Instead, however, the choir sings mainly from the American jukebox, and Arthur finally settles on Billy Joel.

Yet Stamp sells it like a pro. He’s still above it all, like General Zod. BRIAN MILLER E

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BY BRIAN MILLER

Local & Repertory THE ELEGANT CLOCKWORK OF THE UNIVERSE

Local director Malik Isasis presents his indie suspense film about a man whose long-term girlfriend suddenly goes missing. His investigation takes him to unexpected places. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net, $6-$11, Fri., July 5, 8 p.m.; Sat., July 6, 8 p.m.

A GIRL AND A GUN Cathryne Czubek’s new documentary looks at women and the firearms they sometimes love and sometimes hate. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Sat., July 6, 5 p.m.; Sun., July 7, 5 p.m.; Mon., July 8, 7 p.m.

THE GOONIES Before he was Sam in the LOTR movies (before he could shave, for that matter), Sean Astin joined fellow child actors including Corey Feldman in the 1985 fantasy-adventure flick The Goonies, hatched by the powerful cartel of Steven Spielberg and Chris Columbus (though directed by Richard Donner). (PG) Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com, $6-$8, July 5-10, 7 p.m.

MAYORAL MOVIES SEE THE WIRE, PAGE 17.

MOVIE MONDAYS In this 2000 adaptation of the Nick Hornby novel, John Cusack winningly portrays a relationship-bumbling 30-year-old record store owner whose love and career travails should resonate widely among its intended viewers. His character is dumped by his live-in attorney girlfriend (Danish actress Iben Hjejle), and promptly begins brooding in direct address to the camera. Yet despite his self-absorption, when our hero decides to pursue his lost love, we share in his optimism. What could have been a thirtysomething batch of clichés for the Singles generation is finally a tasteful, bittersweet reward for anyone afraid of the big 3-0. 21 and over. Ticket price is your drink price. (R) KRISTY OJALA The Triple Door, 216 Union St., 838-4333, thetripledoor.net, $3, Mondays, 8 p.m. Through Aug. 19.

NICOLAS CAGE MATCH Screened in series will be Raising Arizona, Bad Lieutenant: Port of Call New Orleans, Vampire’s Kiss, Adaptation, Con Air, and The Wicker Man. Food and film introductions are part of the fun to this overacting marathon of teeth-gnashing, hair-waving, and eye-rolling. (R) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $25-$35, Sat., July 6, 11 a.m.

THE SILENCE OF THE LAMBS Jodie Foster earned an Oscar opposite Anthony Hopkins’ braniac killer in this 1991 thriller. Jonathan Demme directs the second, and likely best, of several Hannibal Lecter pictures. (R) Central Cinema, $6-$8, July 5-10, 9:30 p.m.

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• A BAND CALLED DEATH A forgotten Detroit punk-

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rock band of the early ’70s, 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 used-record 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. 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. (NR) BRIAN MILLER SIFF Cinema Uptown BEFORE MIDNIGHT Before-ophiles already know 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/off-again 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 Sundance Cinemas, Kirkland Parkplace, others THE BLING RING Sofia Coppola has made just three 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 Guild 45th, others FILL THE VOID Filmmaker Rama Burshtein is herself a member of Israel’s strict Orthodox community in which Fill the Void is set. In this isolated, unto-itself world, her film’s achievement is to suggest, with great delicacy, how an 18-year-old woman might carve out a tiny space for the unlikely possibility of getting what she wants. Sort of. Shira (the excellent Hadas Yaron) modestly hopes for a satisfactory arranged marriage to an awkward but likable boy her age. Disaster strikes as her older sister dies in childbirth, leaving behind a grieving husband (Yiftach Klein) and a baby. Custom demands he remarry soon, and Shira becomes a candidate—not so much because she or the new widower desire it, but because Shira’s mother (Irit Sheleg) can’t allow the family to break up. These practical maneuvers are as ritualized as an ancient religious ceremony or a Jane Austen plot, and they are fascinating and sometimes devastating to watch. If an outsider were giving us this story, it might play more as criticism, but Burshtein’s calm hand is showing us this community rather than telling us what to think about it. Shira gains layers of complexity because she isn’t trying to rebel against the arrangement. Instead, she’s truly concerned about what’s best for her family, her faith, and herself. (PG) ROBERT HORTON SIFF Cinema Uptown FRANCES HA Co-written by and starring Greta Gerwig, Noah Baumbach’s latest is an unabashed tribute to the actress’ distinctive (don’t you dare say “quirky”) charms. The outline of a typical indie picture is in place, as we follow 27-year-old Frances and her New York apartment-hopping over the course of a few months. Frances dreams of being a dancer, as though nobody’d told her that if you haven’t made it as a dancer by 27, your dream should probably be in the past tense. 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. Shot in cheap-looking black-and-white, the film also conjures up Baumbach’s love of the French New Wave, and his soundtrack is peppered with vintage ’60s music by Georges Delerue. Even as it veers into the precious, Frances Ha succeeds on its genuinely inventive rat-a-tat rhythm and Gerwig’s unpredictable delivery. (R) ROBERT HORTON Crest, Sundance THE KINGS OF SUMMER This movie doesn’t exist in a real world, but in the enchanted realm of a teenage summer. Director Jordan Vogt-Roberts understands this charmed mood, which is why he layers the film with dewy inserts that would not be out of place in a Terrence Malick picture. Three high-school lads build a ramshackle house of their own in a clearing in some woods outside their suburban Ohio hometown.

Joe (Seattle native Nick Robinson) has had it with his ill-equipped father (Nick Offerman); both are working through hostilities connected to the death of Joe’s mother. Joe’s friend Patrick (Gabriel Basso) is almost as disenchanted with his parents (Megan Mullally and Marc Evan Jackson), so he joins his bud for the adventure. A few weeks go by; the situation with Joe’s

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How big will THE BIG ONE be?

FULL RIP 9.0 The Next Big Earthquake in the Pacific Northwest SEATTLE WEEKLY • JULY 3 — 9, 2013

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film» crush Kelly (Erin Moriarty) becomes very complicated; and the parents search for their boys. With its tale of breaking away, the movie supplies its own metaphor as a quiet respite in the hustle and bustle of a blockbuster summer at the movies. For which, much thanks. (R) ROBERT HORTON Sundance MAN OF STEEL This Superman is dark and brooding, and the film around him barely cracks a smile. Back on planet Krypton, wise Jor-El (Russell Crowe, easily out-acting everybody else) prepares his infant son Kal-El for escape from a disintegrating world. His political rival, General Zod (Michael Shannon, malevolent but monotonous), swears an oath to find the kid. Raised on Earth by the Kents (Kevin Costner and Diane Lane), Clark (Henry Cavill) is compelled to discover the source of his unusual gifts. Unfortunately, Cavill shares no chemistry with spunky Daily Planet reporter Lois Lane (Amy Adams).

After a strong start, Zack Snyder’s film all comes down to a giant computer-generated donnybrook that looks designed to outdo The Avengers for sheer noise: bodies slammed into pavements, buildings toppled, explosions aplenty. I found Man of Steel more grueling than fun: a movie with steel in its heart and soul. (PG-13) ROBERT HORTON Alderwood 16, Sundance, Woodinville, Lincoln Square, Majestic Bay, Bainbridge, Meridian, Cinebarre, Cinerama, Thornton Place, 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. It’s a very nice house, paid for with all that Buffy and Avengers money, and it’s a plausible Italian castle in this modern-dress, black-and-white adaptation. 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 and prove their appreciation for the Bard in his original language. 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. Back in ’93, the Americans stood out for the same unfortunate reason among Kenneth Branagh’s mostly British Much Ado cast—poor command of the text. Absent that, 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. Besides the cell phones and Prada suits, more liberties should’ve been taken. (PG-13) BRIAN MILLER Sundance, Harvard Exit, others 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. Another aspect of the exam is table service, so our guys also practice with surly fake customers in what’s essentially an improv comedy exercise. 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. Heading into the test, says Brian, “It’s like the death-row walk.” After the film’s done, however, you’ll want nothing less than Champagne. (NR) BRIAN MILLER SIFF Cinema Uptown STAR TREK INTO DARKNESS This is a well-tooled and smartly made movie, but it’s so self-conscious about its place in a pre-existing mythology that I’m afraid there’s no there there. Most of the cast is back from 2009’s reboot, led by Chris Pine as Capt. James T. Kirk and Zachary Quinto as Mr. Spock. J.J. Abrams returns to the director’s chair for this one, another promising sign. And the villain is not only a favorite nemesis from the TV series and movies, but he’s played by one of the most exciting young actors around these days, Benedict Cumberbatch (from TV’s Sherlock). The opening reels are a wonderfully fast-moving ride: prologue on a primitive planet, Kirk’s demotion after his misbehavior, and a massacre at Star Fleet command that prompts the possibility of war against none other than the Klingons.

There’s even a little romance, but Abrams is so skilled at giving fans the beats they expect that his film turns into a kind of Trekkie-convention highlights reel, occasionally interrupted by plot and action. Fun, but somehow not quite a movie. Into Darkness is a big movie that plays as a giant reference to other things. Maybe the next one

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could forget the catchphrases and the hyperlinks back to Star Trek history, and just get on with creating its own five-year mission to boldly go where no one—not even previous Star Trek installments—has gone before. (PG13) ROBERT HORTON Alderwood 16, Pacific Place, Thornton Place, Cinebarre, others THIS IS THE END In a film where the cast members are all playing showbiz caricatures of themselves, some more exaggerated than others, Jay Baruchel is the first to guess what’s happening when he and Seth Rogen sneak out of James Franco’s house party to get some smokes at a convenience store. There, all hell breaks loose in what appears to be a combined earthquake/ firestorm/looting spree. The two terrified Canadian actors run back to Franco’s house where, in the movie’s best gag, all the revelers keep on partying like nothing’s happened outside. (The cast also includes a glad-handing Jonah Hill, an obnoxious Danny McBride, and a sweetly loyal Craig Robinson. ) This apocalypse comedy riffs back through two favorite film genres (one being the all-star disaster movie); it’s part spoof, partly serious. The laughs are rooted in contempt—if not quite self-contempt—for Hollywood phoniness and disloyalty. In that venal town, says Robinson of their dwindling little circle of friends, “Those assholes are all we’ve got.” (R) BRIAN MILLER Alderwood 16, SIFF Cinema Uptown, Varsity, Oak Tree, Woodinville, Lincoln Square, Bella Meridian, Cinebarre, others 20 FEET FROM STARDOM Who dreams of being a backup singer? This mostly delightful music doc is tinged with an air of disappointment. Meeting the fullthroated 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? The film includes some who made the leap, including Darlene Love and Sheryl Crow, but the focus is mostly on the folks who’ve made a career out of being in the background. (Also interviewed are figures like Mick Jagger, Bruce Springsteen, Stevie Wonder, and Sting.) 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.

Director Morgan Neville doesn’t organize his 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. (PG-13) ROBERT HORTON Guild 45th WORLD WAR Z There’s no slow build-up to this new zombie apocalypse. Director Marc Forster, who bungled much of the action stuff in Quantum of Solace, sets up a headlong pace and really goes for it. The planet’s suddenly overrun with zekes—movie slang for the undead—and Brad Pitt’s character is called back into service to help the U.N. fight the onslaught.

I’m a little vague on what his job description is, but he appears to be an expert in very bad situations. After the grandness of the first 90 minutes, the last section is appealingly small-scale. It’s a major change from the first cut of the long-gestating movie, an actionbased finale that was scrapped and reshot. Pitt has no real character to play, although the film is at pains to remind us of his family-man concern. The actor lends his movie-star presence, which is all that is necessary here: He carries the picture without having a character to play, because he’s Brad Pitt. However, the PG-13 rating is an absurd box-office decision that robs the film of some of its (figurative and literal) guts.

(PG-13) ROBERT HORTON Sundance, Bainbridge, Woodinville, Lincoln Square, Meridian, Thornton Place, Cinebarre, Kirkland Parkplace, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 7815755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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food&drink»Feature

Warehouse Wine

Through the alleys and garages of the city, wine flows away from the pomp, circumstance, and big bucks of beautiful estates and handsomely appointed tasting rooms.

BY ZACH GEBALLE

I

NOT ALL SEATTLE’S WINEMAKERS are quite so single-minded. Alex Manoni of Stomani Cellars has a slightly different model for his winery. Like Sorenson, he situated his winery in Seattle because “my whole life is in Seattle.

Woodinville just wouldn’t work with my life.”

Unlike Sorenson, Manoni doesn’t appear to see his winery as a sanctuary. The winery is open Saturday and Sunday afternoons for tastings, and when I visit, he’s gearing up for a busy Saturday. His passion for meeting new people and introducing them to his wine is evident.

JOSHUA HUSTON

Tim Sorensen of Fall Line at his winery.

Right: a sampling of Alex Manoni’s Stomani Cellars wines.

“I grew up in an Italian family; my father and uncles all made wine in their garages. It was just what you did.”

“I think the biggest thing I like is to be able to talk to people, to see them appreciate my wine,” Manoni explains. “Wine is a unique thing, so it’s nice to get direct feedback. I do have to

spend a lot of my time educating people, but that’s fun as well.”

Still, urban winemakers do seem to be a bit more solitary than those who choose to establish themselves in Woodinville or Walla Walla. There’s no obvious hub of the Seattle wine scene, and while several different organizations (South Seattle Artisan Wineries, Seattle Urban Wineries) have sprung up to try to remedy that, the scattered nature of Seattle’s wineries means they’ll never be able to replicate the experience of a wine tour in other parts of the state.

No matter. While beautiful estates and handsomely appointed tasting rooms can provide a striking backdrop, they’re not mandatory for producing a great wine. Manoni

ALEX MANONI

knows this from his childhood. “I grew up in an Italian family; my father and uncles all made wine in their garages. It was just what you did.”

Manoni’s space is actually home to two wineries, Stomani and Falling Rain, as well as providing custom crush work and storage for a third. In essence, it acts as one of several hubs within the city for Seattleites who want to go beyond just making a bit of wine in their garage. While I was visiting, Manoni was busy showing the space to a local couple looking to launch their own small-scale winery, an enterprise they’d probably not want to undertake in Woodinville.

Still, Seattle winemakers face many of the same challenges as those in Woodinville: They’re far removed from the vineyards of eastern Washington where their grapes are grown, limiting how much control they can have over the growing process. Picked grapes need to be trucked over the Cascades in refrigerated trucks, adding another level of cost and logistical wrangling to the already complex process of making wine.

Another challenge for the urban winemaker is, of course, construction. Stomani Cellars began as part of a co-op in SoDo, but the city forced him to vacate to facilitate work on the Alaskan Way Viaduct. “We wanted to stay in the city, but warehouse space was already at a premium,” Monani says. “We were fortunate that our landlord wanted to keep this urban space the way it was.” The change brought a slight shift in his customer base; previously, located right next to the stadiums, he’d see a lot of game-day traffic. “We used to get a lot of people walking in before games to taste, but we sell more wine in this location,” he reveals. Interestingly, he also notes that “We’d sell more wine before Sounders games than Mariners or Seahawks ones.” E

food@seattleweekly.com

SEATTLE W EE KLY • JULY 3 — 9, 2013

want to conduct a little thought experiment. Once you’ve finished reading this paragraph, close your eyes, relax, and let your imagination run free. Asked to picture a winery, what do you see?

If you’re anything like me, it’s something out of a bucolic agrarian dream: row upon row of sun-drenched vines working their way up a gently undulating hillside to an immaculate and majestic chateau. There, behind massive solid-oak doors, a high-ceilinged cathedral of vinification awaits. In an attempt to live up to this vision, wineries all over the state, including in nearby Woodinville, have poured millions of dollars into fancy new tasting rooms. It’s one reason wine-tasting tours have become popular settings for everything from bachelorette parties to corporate team-building exercises.

The winemaking scene within our city limits has perhaps never been more vibrant or diverse, but there aren’t many chateaux with magisterial showrooms awaiting teetering bridal parties here. When it comes time to explore some of the Seattle area’s best wineries, instead of tromping through freshly budded vines, an adventurous oenophile must negotiate the warehouses, factories, and semitrucks of places like South Seattle. Here, and in similar urban settings throughout the city, a counterpoint to the above imagery has emerged for reasons of convenience, peace of mind, or just to be different.

For Tim Sorenson, there was a pragmatic reason: “Logistics. I was still full-time at Seattle University [where he taught economics], so I had to find somewhere close. Woodinville was just too tough of a commute, so I started looking in Seattle. I’d already been working with Ben [Smith, owner and winemaker at Cadence Winery], so South Seattle just made sense. There were days when I had to go straight from the winery to the classroom, and I couldn’t have done that in Woodinville.”

Sorenson, who got his start as a cellar assistant to Smith for a couple of years, also sees an additional benefit: He gets to focus on making wine at his own Fall Line Winery. “Every time I used to open the winery up to the public, I had to fight the feeling that it was time I could be spending making wine,” he notes. “It’s kind of nice for me to just be able to close the doors and keep my space as a production space, not a tasting room.”

27

food&drink»In Focus

Wine & foo d pric for Live m the people ed ! usic! B u rle Can C an Gir sque! ls!

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ukewarm, vegetable-centric meals Left: filet mignon; probably don’t rank too high on most right: roasted-cauliflower salad. diners’ lists, but Renee Erickson is doing it anyway. for creativity. “I think it’s really exciting as a cook And succeeding. One of the chef ’s newest to get to always have something new come in,” ventures is The Whale Wins, occupying an airy she says. But winter keeps her on her toes. Her half of the Fremont Collective building on Stone selection is largely limited to root vegetables, Way. Erickson says serving this type of food has which can get old. “You get real tired of stuff,” been a challenge, but judging by the long waits Erickson says. for a table and the overwhelmingly positive She’ll source some citrus and avocadoes from reviews, it’s working.

California, but she gets creative with turnips, Erickson’s culinary prowess is certainly part squash, radicchio, and bitter lettuces, and she’s of that success, but she gives ample credit to the noticed the variety increasfarmers, fishers, and foraging. “The great thing is that ers who keep her stocked as the restaurant industry in with high-quality local The Whale Wins Seattle has grown, so have ingredients. the farmers.”

This spring, vegetables Still, there’s nothing like like Willowood Farms’ pea spring. “We all get real tired vines are the stars of the of parsnips by the end of menu, along with Painted winter, so when there’s a Hills filet mignon, Ballittle bit of sun and stuff lard Bee Company honey, starts to grow again, it and Hama Hama clams. I gets really exciting. Even visited recently and dove if it’s a flower or a broccoli into an indulgent roastedplant, we’re all like, ‘Yay, it’s cauliflower salad with a the best thing I’ve seen in rich, green garlic aioli, a months.’ It’s like life again. bright cilantro vinaigrette, Spring is pretty powerful,” and a six-minute egg. Next Erickson says. “By the end came the filet mignon on of summer we’re bonkers a smear of fresh horseradbecause there’s so much ish cream, next to potato stuff and you want it all. Every tomato and every wedges slathered with sauce verte. (To be clear, peach and cucumber and watermelon, and it there are lots of meat dishes on the menu, but becomes kind of like, oh my God. Especially vegetables feature heavily.) The dishes are meant because you know what’s around the bend, and to be shared, family-style, but good luck with we’re back to squash again.” that.

Erickson’s purveyors send her fresh sheets every “It definitely costs more, but for me, to have weekend, which tell her what’s available the comto hardly do anything to something to make it ing week. Then she’s able to plan the menu. She taste delicious is such a dream and so rewarding says she’s enjoyed developing relationships with as a cook,” Erickson says. “We can stick a carrot farmers, who have become her friends. She visits in our wood oven and put olive oil and salt on their farms to check out what’s growing, and has it, and it is better than any carrot I can buy in met other farmers through those connections. a grocery store and that’s great. The vegetables “The best part of the job is meeting these are fresher and have more vibrancy.” About 80 people and seeing what they do,” Erickson says. percent of her menu is locally sourced from “It’s the part I really enjoy the most. You make Oregon and Washington, with some seafood friends, and people look out for you. It’s this really from Alaska. great relationship with people that want to do the Working with local farmers means The Whale’s menu is “predominantly seasonal,” which best for you.” E Erickson sees as a challenge and an opportunity food@seattleweekly.com

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Nosh, The Food Truck, officially launched at Hilliard’s in Ballard last Wednesday with a classic-car display and pints poured by ladies from the Tilted Thunder Rail Birds roller-derby league. Owned by Josh Downey and Londoner Harvey Wolff, Nosh offers a pub-inspired menu featuring the likes of meatloaf sandwiches, chicken-and-mushroom pies, and “Seattle Fried Rabbit” (confit rabbit with cabbage, apples, and frites). Nothing is priced higher than $10.

James Weimann and Deming Maclise’s Stoneburner also opened last week on the ground floor of the new Hotel Ballard at 5214 Ballard Ave. N.W. Like the duo’s other ventures (Bastille, Poquitos, Macleod’s Scottish Pub, Von Trapp’s), Stoneburner is a looker. The 120-seat restaurant’s decor includes an antique pressedtin ceiling sourced from a former schoolhouse and an old streetlight from San Francisco. Stoneburner’s Mediterranean-inspired menu is divvied up into sections including snacks, greens, beans and grains, and mains; highlights include the spicy lamb meatball, kale and provolone pizza, and chard and sheep’s-milk-ricotta ravioli.

CLOSING

It’s the end of an era: After serving homemade Greek pastries and savories on the Ave for decades, The Continental shut its doors after dinner service last Sunday night. The owners report via Facebook that “After 40+ years of business, amazing friendships & delicious Lagosmade meals, we are bowing out so that Demetre & the fam can have some rest & relaxation with their families.”

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Since live music makes everything better, local wineries, distilleries, craft breweries, and musicians will come together for the sixth annual Wine Rocks festival at Bell Harbor on Thurs., July 11. Imbibables will be served by dozens of purveyors, including Seven Hills Winery, Sky River Mead, and broVo Spirits. Musicians working in the liquor industry will perform, like

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Seattle’S BeSt late night Kitchen

Victor Palencia from Jones of Washington and Chip McLaughlin from Vinyl Wines. Marination Mobile, Jemil’s Big Easy, and Lumpia World are scheduled to provide eats. Tickets for the event (2211 Alaskan Way, 6–10 p.m.) are available online and at the gate.

In other booze-and-music news, Conor Byrne Pub at 5140 Ballard Ave. N.W. is celebrating its 20th birthday on Sat., July 13 with traditional Irish music and drink specials all the day long. Tickets for the party, featuring performances by McSorley’s Reeks and Crumac, are on sale now.

This year’s Columbia City Chow Down is set for Tues., July 23 from 6–10 p.m. The third annual event includes tastes from several neighborhood eateries and sweet spots, including Geraldine’s Counter, Full Tilt Ice Cream, and Island Soul. The event sold out last year, but at last check, tickets were still up for grabs. All proceeds benefit the Rainier Valley Food Bank.

CORRESPONDENCE

Beth Maxey’s recent Seattle Weekly article, “How to Eat a Croissant” (June 19), has mixed it up. One reader took issue with an interviewee’s claim that croissants and sandwiches don’t mix: Dear Editor, As a lover of sandwiches and croissants, I took exception to your “rule” saying that such a fine pastry should never, ever be used for a sandwich. The very idea that there are “rules” to enjoying a pastry is ludicrous. If you prefer your croissant plain, then more power to you, but if you want to pimp it out with turkey, ham, pastrami, or other delicious meats, then I say go ahead and eat it proudly!

Best, Andrew J. Lepere, Seattle, WA E food@seattleweekly.com

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Reverb»Essay

Paper Trails

The ticket stub is disappearing, and so are your memories.

BY GWENDOLYN ELLIOTT

I

during the gig—likely during the Stone Temple Pilots’ yawn-inducing opener while Scott Weiland flitted about the stage in an orange boa—I gazed off and thought I recognized someone from high school in the crowd. Our eyes met, but as he walked toward me, I realized I did not know him. Yet somehow in the next moment he swept me up in a passionate kiss, like that famous V-J Day photograph. Woodstock it wasn’t, but that was my own little Woodstock moment.

My stub collection is housed in a old Monarch Cocoa tin. It’s safe to guess that in the natural world, Frank Black and the Catholics would have nothing to do with G. Love and Special Sauce, but the two have gotten quite cozy over

In the natural world, Frank Black and the Catholics would have nothing to do with G. Love and Special Sauce, but the two have gotten quite cozy over the years in my stockpile. the years in my stockpile. The stubs keep pretty quiet, but every time I open my tin, they scream

“We were there!” The uncontainable energy of a new band called the Black Keys at a small club in San Diego. Seeing Willie Nelson for the first time. Epic bills like Generation X (without Billy Idol) and the Ramones (with Joey).

As time passes and memories fade, my stubs have become markers of my personal attendance. Once I saved them for bragging rights, perhaps one day to show grandkids, but I’m realizing now they hold more value as tokens for jogging my memory when my recollection gets fuzzy.

A ticket collection anchors the collector to a time and place that sometimes seems like someone else’s life. It chronicles your phases and stages. “Don’t you remember,” asks a $10 ticket, “when you were 17, hanging on the stage at the beautiful Harro East in Rochester, New York, thinking Ani DiFranco was the coolest shit ever?”

“How could you forget,” a 1998 stub gently reminds me, “when Phish flipped the lyrics on ‘Burning Down the House’? They changed them to incorporate the name of the venue, Vernon Downs. It was brilliant! Oh, wait, you were high. Good thing you’ve got me to remember for you!”

With these small relics, you can retrieve your personal history any time you care to. Nowadays we’re focused on the next thing—getting there, where to eat afterward, how we’re getting home. We attend live events only to view them through our smartphones. Once we upload our photos, we’re on to the next thing. Sure, we have the documentation, but what good does it do us once it mingles with all the other information in our digital lives? We’re terrible at tracking these moments, even worse at treasuring them.

Thing is, I don’t miss hanging on the phone with Ticketmaster. I don’t miss waiting in line at a venue twice—once to buy tickets, then to queue for the show. Or worrying if the tickets will get lost in the mail.

I miss the paper, the notes in the margin, the memorabilia. Something for the scrapbook.

Something to hold on to when so many memories are evaporating into the digital cloud. E

gelliott@seattleweekly.com

SEATTLE W EE KLY • JULY 3 — 9, 2013

buy my concert tickets online, like most people do these days. It’s not the most personal or memorable consumer experience, but it’s convenient, brings instant gratification, and in the end has no effect on the show one way or another.

No effect, that is, until I forget the concert entirely.

When I saw Ryan Bingham last month in Portland, I was surprised to be issued a pair of paper tickets at will-call. I’m so accustomed to having my name crossed off a list before stepping into a club that at first the gesture seemed redundant.

But at show’s end, I had the memory of the concert and a ticket for a keepsake. A souvenir. A memento.

Somehow, collecting those “purchase confirmation” e-mails in a digital folder doesn’t have the same cachet.

Nostalgia isn’t the only consideration with tickets, of course. There are environmental benefits to going paperless—though for safety’s sake, you print those e-mails and bring them with you, right?

There’s the “problem” of scalping, but essentially that has been turned over to corporations like StubHub and Ticketmaster’s own TicketsNow. Then there’s the benefit of having everything waiting for your party at the gate—but that’s really a hassle, since it requires getting all members of your group present at the gate when you show your credit card as proof of purchase.

It’s the memories I miss. Like a photo in an album or a scent that triggers an emotional memory, an old stub resurrects a world of the past. Looking at a yellowing Lucinda Williams ticket, I remember becoming an Americorps volunteer. It was a volunteer job and I was poor, training with other broke volunteers outside Salt Lake City. We heard Williams was playing a nearby venue, and to save money we drove there in a van packed so tightly we got pulled over on the way home. (We got off with a warning; the cop didn’t find three of us hidden in the back.)

Then there was that Red Hot Chili Peppers show—the Californication tour. Sometime

33

Reverb»Reviews EVERY LOCAL RELEASE

WED/JULY 3 & FRI/JULY 5 • 9PM SAT/JULY 6 • 8PM & 10:30PM - DELOURUE PRESENTS

freedom fantasia SUN/JULY 7 • 7:30PM

hannalee w/ damien jurado MON/JULY 8 • 8PM

movie mondays: high fidelity TUE/JULY 9 • 7:30PM - HOUSE OF BOURBON PRESENTS

saints & sinners w/ son jack jr’s delta

hothouse, ian siegal & guests total experience gospel choir WED/JULY 10 & THU/JULY 11 • 7:30PM

the fixx

FRI/JULY 12 • 8PM

ian mclagan

*

KRISTINA COULTER/LANCE LOBUZZETTA/ ANNA LISA NOTTER

mainstage

dinner & show

Hannalee, Morchella (out now, selfreleased, hannaleesong.bandcamp.com): The third in folk trio Hannalee’s four-part, seasoninspired EP series, Morchella is spring in every detail.

Michael Harley (of SHIM); his wife, Fidelia Rowe; and Anna-Lisa Notter effortlessly translate the brightness of the season, singing in three-part harmony about sunny activities like dancing outdoors (“Can’t Believe It”), spring weddings (“The Wedding Song”), and taking in the view at the top of a mountain (“Asleep in the Attic”). Hannalee releases Fragaria, its fourth and final seasonal EP, this Sunday—stay tuned for the review. (Sun., July 7, The Triple Door) AZARIA PODPLESKY Half Light, Things to Figure Out (out now,

Knick Knack Records, knickknackrecords. com): “Mesa,” the album’s intro track, sets the stage for this psych-pop release with a steady drumbeat that trails off into the gentle vocals

SEATTLE WEEKLY • JULY 3 — 9, 2013

commander cody

34

next • 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 • 8/8 cahalen and eli w/ pharis & jason romero • 8/10 jr cadillac • 8/12 movie mondays - the blues brothers • 8/13 david ryan harris

happy hour every day • 7/3 first wednesday art opening w/ jason tang / paul benoit • 7/4 closed for the holiday • 7/5 the true romans / roy kay trio • 7/6 charles mack • 7/7 fawcett symons & fogg • 7/9 singer-songwriter showcase w/ by the way, mozo and brad loomis • 7/10 jed skenandore / the warren g. hardings TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

Polecat, Fathoms (out now, self-released, polecat bluegrass.com): Since jumping onto the scene in 2010, this Bellingham-based act has built a loyal following of whiskey-sipping, boot-stomping bluegrass fans across the Northwest. On the band’s second full-length release they slow it down a bit, trading boisterous, Celtic-infused dance tunes for more technical jam-based arrangements. While the Irish tradition remains, this collection includes sonic inspiration from all around the globe. (Sat., July 6, Nectar Lounge) KEEGAN PROSSER

Purr Gato, Heart Beat (out now, self-released, purrgato.com): A collection of 11 retro-leaning New Wave songs built around Katrina Kope’s blustery vocals. Slower dance-music tempos and dark, vibe-y synths sound like a stab at trip-hop, but without that genre’s spacious production aesthetic. ANDREW GOSPE The Swearengens, Waiting on the Sunrise (out now, self-released, swearengens.bandcamp.com): As country as country comes. Factor in Fredd Luongo’s deep drawl, a heaping helpful of bluesy riffs, and just a sprinkle of heartache, you can practically hear the tumbleweeds rolling by. AP

El Corazon www.elcorazonseattle.com

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

FRIDAY, JULY 5

SAT/JULY 13 • 8PM

of Dayna Loeffler and Brian Ackley. Moments of emotion are revealed by dark yet thoughtful lyrics that sail a sea of layered guitars, drums, and cello. PADMA NOLT

TYRANNY THEORY

with Gunslinger, Captain Algebra, plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE with Dads, Pity Sex,

Special Explosion and District Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY, JULY 6 KISW (99.9 FM) Metal Shop & El Corazon Present:

SANCTUARY Sanction VIII, Kill

Closet, Last Bastion and Bleed Together Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $18 ADV / $20 DOS

SUNDAY, JULY 7

D-WHY FEATURING DJ ETRAYN with Sam Lachow featuring Raz Simone, PhilHarmonic, Garlic Man & Chikn, plus guests. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SUNDAY, JULY 7

THE RESIGNATORS

(Melbourne Australia’s premiere ska/punk/rockabilly band)

with Moustache Bandits, plus guests Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, JULY 8

CASKET OF CASSANDRA with Kinetik, Betrayed By Weakness, For The Likes Of You, and Castles Of Glass Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

KEPI GHOULIE

with Dog Party, Dreadful Children, and Big Eyes Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, JULY 9

SUBURBAN LEGENDS with Natalie Wouldn’t, Beneath The Spin Light, Ryan Hyde, plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

JUST ANNOUNCED 7/14 CIRCUIT VINE 7/20 MONSTERS SCARE YOU 8/4 MC CHRIS 8/5 LOUNGE RAT PATH 8/10 MY TICKET HOME 8/20 GOLDEN SUN 8/24 THE BLASTERS 8/27 BETRAYAL / KING CONQUER 9/2 THE PROTOMEN 9/9 VADER / VITAL REMAINS 9/13 CHARLOTTE SOMETIMES 9/13 LOUNGE STOLAS 9/26 THE QUEERS 9/27 POWERMAN 5000 9/29 TWIZTID 10/8 YOU ME AT SIX 11/22 AARON CARTER UP & COMING 7/9 LAUREN MANN & THE FAIRLY ODD FOLK 7/10 VEELA 7/10 LOUNGE SHANNON MCNALLY 7/11 LOUNGE FAN FICTION 7/12 DEAFHEAVEN 7/12 LOUNGE MIXTAPES 7/13 IDOLS 7/14 LOUNGE TWO HEADS IS TWICE AS MANY TEETH 7/15 GUNSAFE 7/16 SEIZE THE SUN 7/16 LOUNGE HOOKERS MADE OUT OF COCAINE Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

Reverb»The Short List If Animal Collective signs you to its label, you are probably the cream of the crop when it comes to being weird. Prince Rama—the product of Paw Tracks Records’ resident psych siblings, Taraka and Nimai Larson—certainly fits that bill. Not only will the sisters play a live set at the Rendezvous tonight, but they will also screen their new epileptic-seizure-causing film, Never Forever. According to the band, “If Alejandro Jodorowsky was reborn in 2127 and crashed his motorcycle into the decayed set of Thriller, it still wouldn’t come close to the terror that is Never Forever.” The film promises post-apocalyptic gym queens and robot pop stars. Coming off last year’s ’80s-tastic dance record Top Ten Hits of the End of the World, Prince Rama will make you shake what your cosmic mother gave you. Local psychonauts Ecstatic Cosmic Union will be jumping on the bill as well. The group pairs lowkey synths and electric drums with spaced-out vocals, creating something Steve Zissou might listen to while tripping acid in his submarine.

With Dionvox. Rendezvous, 2322 Second Ave., 441-5823. 9 p.m. $7. 21 and over. KELTON SEARS

Crypts FRIDAY, JULY 5

Every time I’ve seen Crypts, lead man Steve Snere is usually doing something with his crotch. He’s up in the rafters, humping the ceiling. Maybe he’s sliding his hand down in there. Or he’s gyrating to the pulse of a giant skull projected behind him. Reason being, Crypts’ music is made for some dark crotch-rocking. If Dracula and the Bride of Frankenstein wanted to escape to a club to grind up on each other, Crypts would be the house music. I guess that’s why they call it “Witch House.” Fans of Salem and Crystal Castles will dig the heavy, gothic dance vibes and demon-possessed vocals. The night will kick off Crypts’ West Coast tour, on which they will be joined for the first time by Mark Gajadhar, ex-drummer of the Blood Brothers (R.I.P.). Joining Crypts will be Seattle hiphop-producing wunderkind Keyboard Kid. As his name suggests, he creates all his beats using only the keyboard on his laptop. He similarly steers toward the gothy end of the spectrum, making tonight a must for anyone who owns and loves both The Cure’s Pornography and T.I.’s Trap Muzik. With Blvck Ceiling, Ozma

Otacava. Chop Suey, 1325 E. Madison St., 3248005. 9 p.m. $7. 21 and over. KELTON SEARS

FRIDAY, JULY 5

After more than a decade together, indie-rock six-piece Say Anything has amassed quite the catalogue, much of which the band hasn’t played in years. Rather than let those songs remain by the wayside, Say Anything is brushing them off and incorporating them in their set on the Rarities and More tour. Though half the show is made up of songs from official releases, including ones from the band’s upcoming album, the other half is full of rare gems from releases like its debut album, 2001’s Baseball (when the band was called Sayanything), and early EPs like 2002’s Menorah/Majora. For newer SA fans, the show will be a chance to hear how the band has grown; for tenured fans, an opportunity to remember the melodies and oh-so-relatable lyrics that hooked

EDITOR’S PICK

SATURDAY, JULY 6

This is the type of event that comes about when a handful of super-creative—and extremely talented—people get together to do something that pushes boundaries in the best way. It all started a year ago when a dancer/choreographer from Tacoma heard Lemolo’s full-length debut, Kaleidoscope, and thought “I can do something beautiful with this.” The result? The Kaleidoscope Dance, a one-nightonly performance featuring Meagan Grandall and Kendra Cox playing the album in its entirety alongside live ballet performances by The BareFoot Collective and MLK Ballet. Oh, and it’s all happening inside a historic Gothic Revival church.

Urban Grace Church, 902 Market St., Tacoma, 253-272-2184. $18.

7 p.m. All ages. KEEGAN PROSSER

them in the first place. With Eisley, H RV RD, I

the Mighty. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $17 adv./$20 DOS. All ages/bar with ID. AZARIA

PODPLESKY

The Tripwires FRIDAY, JULY 5

They haven’t put out an album since 2009’s House to House, but it’s not as though this Seattle group’s been sitting around twiddling its thumbs.

So many of the band’s bright pop melodies, like frontman John Ramberg’s gorgeous gem “Big Electric Light” from 2007’s Makes You Look Around, sound like the Replacements meets Young Fresh Fellows, and that’s not by accident.

That polished sheen is helped by guitarist Johnny Sangster, who’s engineered acts like Mudhoney and the Posies, and on bass is his brother Jim, who by no coincidence also plays in Fellows (now based in Portland). Filling things out is drummer Mark Pickerel, who you’ll remember from Screaming Trees and, like, 10 other bands around town. Suffice it to say it’s not often these guys get together, but when they do, it’s a special treat. With Cute Lepers, the Pynnacles. Sunset Tavern, 5433 Ballard Ave. S.W., 784-4880.

10 p.m. $8. GWENDOLYN ELLIOTT

Jaill SUNDAY, JULY 7

Where many other bands with less (or too much) vision might unnecessarily dress up a catchy hook with lavish effects and a sparkly build-up, this Milwaukee band simply says what it wants to in a gentle greaserpop-mixed-with-light-tropicalia kind of way, and gets out of your face. At least that’s what it wants you to think. Listen to the band’s brandnew sophomore Sub Pop album Traps a second

THIS FRI! JULY 5

ROBERT RANDOLPH & THE FAMILY BAND SAT JULY 20

SUPER GEEK LEAGUE: PANDAMONIUM! JULY 22 AT COLUMBIA CITY THEATER

JOLIE HOLLAND & MARK OLSON OF THE JAYHAWKS

JULY 24

SON VOLT W COLONEL FORD FEAT. MEMBERS OF SON VOLT

SAT AUG 3

HAVE A SUMMAH COMEDY TOUR

time, and you’ll hear a little delay here, a hidden backing vocal there—and what the hell is this awesome trippy “Million Times” song?! But the album’s simple-pleasure feel is still its driving force, and the band’s happy-go-lucky demeanor is the icing on its smile-cake. With Cosmonauts, Dude York, Chastity Belt. Heartland. 5306 Roosevelt Way N.E., hrtlnd.org. 8 p.m. $7–$10.

All ages. TODD HAMM

Huey Lewis and The News SUNDAY, JULY 7

In 1983, Huey Lewis and The News’ Sports found moderate success, hitting #6 on the charts.

But as the band informed us in its first hit single, the band members weren’t above working for a living. So they hit the road on a grueling tour (even coming to Helena, Mont., my hometown, helping my Uncle Rich prove to his disbelieving bar buddies that he actually was friends with one of the band members, who hooked him up with backstage passes). By 1985, the album had sold 10 million copies and catapulted Huey and The News into the top tier of 1980s rock. This year Sports turns 30, and Huey and the gang are pimping their remastered re-issue the only way they know how: a 32-city tour. Which is good, because Sports really should be heard live. The doo-wop and blue-eyed soul sounds like it was written for a Saturday-night house gig: simple enough to sound good regardless of acoustics (or aging vocal cords), with Jaill enough solo breakout fireworks to wow the crowd. If the weather cooperates, Woodland Park Zoo should act as a fine stand-in for a smoky bar.

As for the house band, you can be sure they’ll be working their asses off onstage. With Alice Stuart. Woodland Park Zoo. 5 p.m. SOLD OUT.

DANIEL PERSON

AUG 8 & 9

GOGOL BORDELLO AUGUST 11

THE HEAVY

W THE SILENT COMEDY

AUGUST 28

MODERAT SEPT 5

CODY CHESNUTT SEPT 7

BONNIE ‘PRINCE’ BILLY W MOUNT EERIE

NIGHTS AT THE NEPTUNE (FREE EVENTS)

JULY 18

SEATTLE LATINO FILM FESTIVAL

JULY 23

THE PLATFORM: PLAYWRIGHTS FESTIVAL

AUG 15

WARD OF THE STATE

AUG 20

PEACE FOR TIBET

AUG 22

RAIN CITY ROCK CAMP FOR GIRLS

SEPT 17

SPLINTER EFFECT: A DIVERSITY DANCE THROWBACK

SEATTLE W EE KLY • JULY 3 — 9, 2013

Say Anything

*

Lemolo & The Kaleidoscope Dance

GENEVIEVE PIERSON

WEDNESDAY, JULY 3

RENATE WINTER

Prince Rama

35

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Reverb»Seven Nights EDITED BY ANDREW GOSPE

Juan Maclean plays Barboza tonight.

Evening and Weekend Appointments Available!

THURSDAY JULY 4TH

CLOSED FOR THE HOLIDAY

MOLASSES The self-described “real OG funk [band] of the Seattle music scene” was active mostly during the grunge era.

Today, retro funk and soul are back in fashion (Allen Stone, Pickwick, etc.), providing the perfect rationale for a reunion show.

With the Braxmatics, the Fabulous Party Boys. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $8.

THE NEW FUTURES recently released their debut EP Radioactive, a collection of grungy mainstream rock songs. With Jessica Hernandez & the Deltas, The Duke Evers Band. All ages. Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com.

8 p.m. $10 adv.

Call 206.682.3015 for an appointment www.choicewellnesswa.com

FRIDAY AND SATURDAY JULY 5TH AND 6TH

TEQUILA ROSE 9PM - $5 COVER

SUNDAY JULY 7TH

DAVANOS

9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS

Saturday, July 6

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm

BROTHERS FROM ANOTHER Asher

Roth, of “I Love College” infamy, is the special surprise guest on BFA’s new single “Groov,” off their Tacos on Broadway EP. Luckily, Roth’s frat boy-isms have toned down considerably since 2009, and Tiglo and Cole’s performance on the track renders him an afterthought. With Fearce Vill, Bean One, Dave B. All ages. Neumos, 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $8 adv.

TIMOTHY ROBERT GRAHAM Much like fellow triple-named songwriter Bryan John Appleby, Graham plays his folk-rock compositions with a full band. His graceful The Hidden Rose was released earlier this year. With Lonely Mountain Lovers, A Leaf.

Crocodile. 8 p.m. $8.

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

TUESDAY JULY 9TH

JERKELS 9PM

MONDAY AND WEDNESDAY

KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI

WELL DRINKS & DOMESTIC BOTTLED BEER $2 16 OZ. MICROS $3.50 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168

tractor

2222 2ND AVENUE • SEATTLE

206-441-5449

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

Times listed are show times.

Doors open 30-60 minutes before

Fri, July 5 • 9:30pm ~ $8 funk, soul & rock

JAZZ ALLEY IS A SUPPER CLUB

MOLASSES REuNION SHOW!!!

THE BRAXMATICS

THE FABuLOuS PARTY BOYS

HEELS TO THE HARDWOOD MEALFROG LANFORD BLACK

Sun, July 7 • 8:30pm ~ $8

SEATTLE WEEKLY • JULY 3 — 9, 2013

afro-folk-pop

36

THE MELODIC

SONG PRESERVATION SOCIETY TBA up & Coming • 7/3 HONEY.MOON.TREE., INTISAAR JuBRAN, MAIAH MANSER • 7/8 MONDAY SQuARE DANCE with THE TALLBOYS • 7/9 YEVTuSHENKO, BORN OF GHOSTS, DEAD SEA SYMPHONY • 7/10 The Tractor, Square Peg Concerts & Take Warning present THE DAVID MAYFIELD PARADE, KITE REPAIR ep release show, WITHEROW • 7/11 Square Peg Concerts presents JOSH ABBOTT BAND, WILLIAM CLARK GREEN

5213 BALLARD AVE. NW www.tractortavern.com

•

Wednesday, July 3 • ELZHI Hailing from Detroit’s hip-hop underground,

this underrated rapper, ex-Slum Village member, and former J. Dilla collaborator lays down lyrically adroit, multisyllabic verses over soul-leaning beats. With Luke Rain, Black Magic Noize, Task1Ne, Ro Knew, Tai the 13th, Spends Quality. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $8 adv./$12 DOS. MORAL CRUX Though they’ve operated out of the central Washington hamlet of Ephrata since 1983, the members of Moral Crux play Seattle fairly regularly, and their fervent, time-honed pop-punk reportedly slays live. With The Botherations, Grave Matters, Communist Eyes. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $7.

JUAN MACLEAN Neumos recently booked DFA/LCD Soundsystem founder James Murphy for a September DJ set. Fans looking for something to tide them over until then would be wise to check out this set from Murphy’s associate, who has a similarly advanced dance-music vocabulary. With J-Justice, Introcut.

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

8 p.m. $13 adv.

•

Sat, July 6 • 9:30pm ~ $6 soulful americana

Sunday, July 7

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

ACOUSTIC ALCHEMY WED, JUL 3 & 5 - 7 (CLOSED JUL 4) Contemporary instrumental jazz band embracing a spectrum of musical styles

OLIVER MTUKUDZI and the BLACK SPIRITS TUE, JUL 9 - WED, JUL 10 91.3 KBCS welcomes - Zimbabwean afro-beat roots music against oppression

Thursday, July 4

• YOURYOUNGBODY For those more interested

in dive-bar shows than fireworks, this diverse bill is the best option. The main draw here is probably Youryoungbody, an electronic duo whose abrasive synth-pop can work seamlessly into a rock lineup like this one. With Airport, Leatherdaddy, Imperials. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com.

9 p.m. $6.

JON MAYALL THUR, JUL 11 - SUN, JUL 14 The Godfather of British Blues

ALBERT LEE MON, JUL 15 Grammy Award-winning British Guitarist Multiple recipient of Guitar Player magazine’s “Best Country Guitarist”

THE GRANDMOTHERS OF INVENTION TUE, JUL 16 & WED, JUL 17 Performing Zappa’s landmark 1975 album, “One Size Fits All”, in its entirety, featuring pivotal musicians behind the Zappa legacy

2033 6th Ave. | 206.441.9729 all ages | free parking full schedule at jazzalley.com

Friday, July 5

ATOMIC BRIDE On last year’s Dead Air, this local band

plays fuzzy punk that’s loosely psychedelic and surfy, with traded-off male/female vocals. With Fox and the Law, Erik Blood. Chop Suey. 8 p.m. $7 adv./$10 DOS. THE BOG HOPPERS This six-piece plays high-energy, Celtic-inspired folk-punk. With Jip Sea Party, Nu Klezmer Army, Hoist the Colors. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 9 p.m. $8.

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

•

BOB LOG III is the consummate “best seen live” musician. On record, his Deltablues tunes are good, but nothing distinctive. Onstage, though, he’s a weirdo one-man band, playing slide guitar with his hands and drums with his feet and singing through a telephone receiver wired into a motorcycle helmet. Crocodile. 8 p.m. $15 adv.

THE MELODIC This aptly named London quartet takes cues from modern indie folk (they sound a bit like Seattle’s favorite softies The Head and the Heart) and Afropop to make its breezy, lightweight pop songs. With Song Preservation Society. Tractor Tavern. 8:30 p.m. $8.

Monday, July 8

CASKET OF CASSANDRA This Concord, Calif.,

metalcore band is touring behind last year’s Embracing the Void. With Kinetik, Betrayed by Weakness, For the Likes of You. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 6:30 p.m. $8 adv./$10 DOS. All ages.

SEACATS, who sound like they have a copy of Weezer’s Blue Album on permanent rotation, headline an evening with some of Seattle’s most creative young indie-pop bands. With Superprojection, Tangerine, Lures. Heartland, 5306 Roosevelt Way N.E., hrtlnd.org.

8 p.m. All ages.

TAE PHOENIX This local singer/songwriter’s pianodriven pop balladry bears the influence of musical theater. With Direct Divide, the Dazzling Dooms, Lust for Glory. Comet Tavern. 9 p.m. $6.

•

Tuesday, July 9

BIGFOOT WALLACE & HIS WICKED SONS Wallace

and his three-piece backing band play swampy, early– Black Keys–lite blues-rock that’s refreshingly grimy and rhythmic. With The Holy, Dead Bars, Spirit Treader.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8 p.m. $8.

CAVALERIE Inner Stellar Grooves From the Fifth Dimension, this group’s debut EP, is a messy melange of slap bass, wah-wah guitar, jazz keys, and rapping.

With Grizzly, Joey Beats Brady. High Dive. 8 p.m. $6.

NEW KIDS ON THE BLOCK It’s not surprising that the “Hangin’ Tough” crew isn’t as popular as it used to be; April 10 saw the single “Remix (I Like The)” peak at #38 on the Adult Pop chart. Adulthood (or by now, middle age) tends to do that to boy bands, but this show is a chance to relive NKOTB’s rat-tails-and-acidwashed-jeans glory days. With 98 Degrees, Boyz II Men. All ages. Tacoma Dome, 2727 E. D St., 272-3663, tacomadome.org. 7:30 p.m. $27.50–$89.50.

column»Toke Signals

So youS.A.M. think you COLLE wanna get into the marijuana business...

S.A.M. COLLECTIVE ADVERTORIAL

Take the MMJ Universe Express

You’re gonna need an operating plan...and a mastermind group.

BY STEVE ELLIOTT

B

By David Belzer

lack Diamond–based medicalmarijuana farmers market MMJ Universe has some of the most indemand booth spaces around. You don’t just rent a booth at this market; you get on a waiting list. Vendors offer a wide selection of cannabis flowers, concentrates, medibles, topicals, and smoking accessories.

Now the market is experimenting with a great new innovation—the MMJ Universe Express, a $10 shuttle bus that takes patients from Seattle to Black Diamond, with pick-up points at the Greenlake Park & Ride and the Seattle Central Library downtown. The inaugural ride was on Saturday, June 22, with more planned, according to owner Deidre Finley.

Deidre tells me that patients can register their interest in riding the MMJ Universe Express by e-mailing MMJUniverse@gmail.com.

When enough patients sign on (the bus’s capacity is 45), another shuttle will be scheduled and those who have signed on will be notified.

Saturday’s bus left the Library just before 11 a.m.; the drive to the market was relaxing. It was nice to leave the driving to someone else and just take in the gorgeous scenery down Green Valley Road.

Once we arrived at MMJ Universe (formerly the location of a greenhouse) after a drive of less than an hour, there was plenty to keep me occupied for the roughly two-hour stay. There are so many great-looking cannabis flowers and concentrates, the only limiting factor to your shopping spree will be the weight of your wallet.

BLOG ON » POT xTOKESIGNALS.COM

First to attract my eye was the table of market regulars Emerald Lotus, run by an engaging mother/son team, Ruth and Brett. Every flower on their table looked alluring; all had obviously been treated gently and respectfully, and all went for $10 a gram. I selected the strain WMD, Celebrating our New Low Prices a beautiful and tasty hybrid of Sour Diesel x and New Summer Clinic Hours Afghani Kush.

Make no mistake, this blend of a very sativa ** Starting June 28, 2011 ** Celebrating our New Low Prices strain (Sour D) with a very indica one (Kush) New Clinic Times: Tues 4–6 Fri 12-2 yields spectacular results. These sticky flowers Sat **starting JULY Clinic 2ND ** 10–2 and New Summer Hours carry more of a Kush scent than a Bring this ad and receive Diesel one, and are absolutely ** Starting June 28, 2011 ** encrusted with trichomes. The an additional $25.00 OFF New4021 Clinic Times: Tues 4–6 Fri 12-2 abundant sugar leaves are just Aurora Ave N. Seattle, WA 98103 fuzzy with them. I found a lone 206-632-4021 • seattlealt@yahoo.com seed in one WMD flower—likely Sat **starting JULY 2ND ** 10–2 the result of an isolated self-pollination, making it a sure bet to be a female plant—and put it aside for future use.

Next to catch my eye was some of the ever-popular Blue 4021 Aurora Ave N. Seattle, WA 98103 Dream on the Advanced Healing Collective table. Also $10 a gram, this sativadominant strain is a Now accepting all major favorite among many patients credit/debit cards! for combining effective pain and stress relief with an upbeat, daytimeappropriate high that lends itself to creative tasks and, well, housework. Advanced Healing operates out of Puyallup (17512 66th Ave., Court E., 253-507-4652), and is open 10 a.m. to midnight daily.

Whether you decide to book a seat on the MMJ Universe Express or make the drive yourself, make sure to check out the available authentic Southern cooking. Barbecue and catfish plates are recommended. E Steve Elliott edits Toke Signals, tokesignals.com, an irreverent, independent blog of cannabis news, views, and information.

The application to start a marijuana business must include information regarding product…

• Security, • Traceability, • Transportation, and • Waste destruction.

The application must also include descriptions of: • New Growing operations; Hours: M-F 12:00 – 7:00 • Products to be processed; Saturday 10:00 – 5:00 • Employee qualifications and training, and Sunday 12:00 – 5:00 • Testing procedures and protocols.

Th e application financial Bring this admust foralso aninclude extraa10% off proposal and business plan.

For weekly specials, follow us on Facebook Once you start to write the narratives for each of thoseAurora categories, realizeWA you98103 need more 4023 Ave.you N. will Seattle, expertise than you possess. This is when you need to www.samcollective.org form a MASTERMIND GROUP. (206) 632-4023 A mastermind group is a group of people from A diff non-profi t organization in accordance with chapter RCW 69.51A erent backgrounds, who gather together to apply their minds to one purpose.

The Forparticular weekly specials, follow u intelligence from the different backgrounds is augmented by the other minds in the group.

For instance, in our mastermind group, our single purpose is to serve marijuana entrepreneurs by providing business expertise. Members of our group include: David Belzer, Accountant and Enrolled Representative. Mr. Belzer has 37 years experience in accounting and tax preparation, inventory in accordance wi A non-profi t organization control, cash and sales accounting; tax planning and representation. dave@cannatax.com 206.224.3545.

David Kerr, an experienced business attorney who emphasizes the marijuana business in his practice. david@dkerrlaw.com 206.234.5819.

Jeffrey Steinborn. a seasoned criminal defense attorney specializing in marijuana cases. js@surlaw.com 206.622.5117.

Jon Hofer. a marijuana operations consultant.

A former grower / dispensary owner, Jon possesses detailed hands-on operations experience. jon.hofer@rmmcconsulting.com 206-395-8280.

Jerry Gray, a real estate broker who specializes in cannabis properties. jerrygray78@yahoo.com 425.828.9828.

Dexter Mitchell, a merchant services account executive who specializes in cannabis businesses.

Dexter also provides ATM’s for cannabis locations. dexter@merchantgateway.com 206.499.5887.

And so, to the entrepreneur: Find and surround yourself with people who have the information you need. Get them together in a meeting where all members of the group will focus their attention on your particular purpose.

Have your group members assist you in the preparation of your operating plan document.

Have them focus their attention on that purpose.

It may take several meetings.

The result will be a cohesive, all-inclusive plan that will include the required broad expertise.

Your mastermind group may be comprised of experts in marketing, finance, law, growing, processing, food preparation, retail, or operations.

Once these diverse minds are applied to your operating plan, you will have a proposal that explains your concept to the liquor board, to partners, and to investors.

Also this will clarify your plan for yourself, and give you guidance for future actions to achieve a profitable marijuana business.

For consultation in preparing a marijuana business operating plan or application, contact Dave Belzer at 206.224.3545, or see mjlicensing.org.

If you would like to form or become part of a marijuana industry master mind group, contact Dave Belzer at 206.224.3545 or at dave@cannatax.com.

Medical patients who want or need home delivery of alcohol-extracted, concentrated cannabis oil may contact the Stacy Oil Association at 206.376.4604, or at stacyoil4med@gmail.com.

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