Seattle Weekly, August 14, 2013

AUGUST 14-20, 2013 I VOLUME 38 I NUMBER 33

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DOES THE TIMES HAVE IT OUT FOR MCGINN? PAGE 6 | OPERA: THE BEST RING YET. PAGE 22

Art Bankruptcy THE

OF

Dine at Canlis! Keep the bling!

Retire to France!

The Mastro family shows you how.

BY RICK ANDERSON

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inside» August 14–20, 2013 VOLUME 38 | NUMBER 33

» SEATTLEWEEKLY.COM

»9

news&comment 6

NEWS

BEST OF THE DAILY WEEKLY

McGinn and the Times’ long history of dysfunction.

9

FEATURE

BY RICK ANDERSON | How do you go bankrupt but still find time to dine at Canlis and visit Switzerland? Ask the Mastros.

food&drink 17 FEATURE

17 | BY MEGAN HILL | Three openings

for Skillet maestro Josh Henderson.

17 | FOOD NEWS 18 | FOOD TRUCKS 18 | COOKBOOKS

arts&culture 21 THE WEEKLY WIRE

A memoir of karaoke and grief, interior illusions at BAM, and a water-balloon fight at Seattle Center.

22 ARTS

22 | CLASSICAL | Seattle Opera’s

best Ring ever.

23 | PERFORMANCE

25 | THIS WEEK’S ATTRACTIONS

Paul Rudd adrift in Texas, African immigrants try to reach Europe, and Mads Mikkelsen is a wanted man.

28 | FILM CALENDAR

31 MUSIC

31 | HELSING JUNCTION SLEEPOVER

Survival tips from the experts.

31 | SEVEN NIGHTS 32 | THE SHORT LIST

odds&ends 34 | CLASSIFIEDS

»cover credits

COVER PHOTO COURTESY JOHN MASTANDREA

Editor-in-Chief Mark Baumgarten EDITORIAL Managing Editor in Charge of News Daniel Person Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Justin Lester, Ning Liu, Zosha Miller, Shanel Scholz Contributing Writers Rick Anderson, Sean Axmaker, Sara Billups, Ma’Chell Duma LaVassar, Steve Elliott, Zach Geballe, Andrew Gospe, Todd Hamm, Megan Hill, Sara D. Jones, Sandra Kurtz, Dave Lake, Beth Maxey, Duff McKagan, Terra Olsen, Kevin Phinney, Keegan Prosser, Dana Sitar Margaret Friedman PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri ADVERTISING Sales Director Matthew Gaine Senior Account Executives Carol Cummins, Terri Tinker, Krickette Wozniak

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news»The Daily Weekly

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

The Mayor vs. the Morning Paper

The fight between McGinn and the Times comes to a head.

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I

t was the stolen bicycle story that cut the cord.

On February 24, 2011, Seattle Times reporter Lynn Thompson penned a comically snarkish account of how “Seattle’s most famous bike rider” Mayor Mike McGinn’s darkgreen GT Slipstream was stolen out of the City Hall parking garage.

The bike, which McGinn accidentally left unlocked, actually belonged to his wife, prompting the mayor to tweet: “Peg is pissed.”

The story, complete with the requisite “Mayor McSchwinn” reference, included anonymous e-mails from readers. One sarcastic missive, in particular, drove McGinn through the roof. After suggesting the theft was a publicity stunt by a pol seeking sympathy, the commenter meanly observed, “He has the body of Homer Simpson and apparently doesn’t own a bike himself.”

“McGinn’s still mad about that Homer Simpson thing,” recalls Thompson of the city’s sinceslimmed-down chief executive.

Not long after the article appeared, McGinn’s wife, Peg Lynch, called the Times and canceled the family’s subscription, leading Times executive editor David Boardman to wonder in a tweet: “What kind of mayor cancels his subscription to his city’s daily newspaper?”

McGinn’s antipathy toward the Times had been building long before the bike-theft piece.

Almost from the day the then-Sierra Club director announced his candidacy for mayor on March 24, 2009—a week after the reliably liberal Seattle Post-Intelligencer stopped print publication—the Times (at least its editorial board) has gone after McGinn in an almost a steady drumbeat of searing criticism.

As McGinn told Seattle Weekly in mid-June, “The Times hasn’t been kind to me.” Clearly itching for a fight with the state’s largest daily—which has endorsed his general-election opponent, Ed Murray—he raised this complaint often in the final weeks of the primary, and is sure to hit upon it again as the general election approaches.

In an interview Monday, McGinn tells Seattle Weekly that the city has changed and many more constituency groups are now involved in making decisions. “And they find that threatening that I’m listening to so many more voices at the table, because it reduces their influence.”

The mayor adds, “The Times has a point of TIA SCHMITZ

A weekly A R T Scalendar A N D E N T E R TAIN MEN T of the city’s best offerings.

BY ELLIS E. CONKLIN view. This is a paper who endorsed George Bush. This is a paper who endorsed Rob McKenna.”

Notes McGinn’s campaign manager John Wyble: “The Times has helped us. There’s a lot of people out there who say, ‘Well, if they’re against him, he must be our guy.’ He’s not their kind of guy. There’s a Chamber of Commerce boosterism at the Times. They want a mayor who likes big projects, like the tunnel, and it drove them crazy he wasn’t for it. The Times is the last bastion of the way cities used to operate, where civic leaders would gather around a table and decide on a new freeway or something.”

The rift between the Times and McGinn has become apparent to even the most casual observers.

As Maple Leaf resident Cal Folsom recently griped,“If I could vote The Seattle Times into the Puget Sound, I would. They’ve trashed him all the way.”

The Times endorsed Greg Nickels and Joe Mallahan in the 2009 primary, then Mallahan over McGinn in the general election. Once he was elected, the paper was unwilling to grant McGinn a political honeymoon. On Nov. 10, 2009, one day after his mayoral victory, they groused on the editorial page that Seattle voters “turned down the practical, stay-the-course mayoral candidate, Joe Mallahan, and opted for the anti-establishment, in-your-face change agent, Mike McGinn.”

On it went: “Mike McGinn: Seattle’s stumbling ‘unmayor’ needs to find firmer footing” —editorial columnist Joni Balter, March 24, 2010.

“Mike McGinn’s hissy fit over a tunnel-project signature” —editorial, Sept. 28, 2010.

“Mayor Mike McGinn’s clumsy move on choosing a police monitor” —editorial, Oct. 18, 2012. (Note: This was the day the Times’ Frank Blethen & co. announced that they planned to launch an independent-expenditure campaign, and would purchase $75,750 worth of ads to promote Rob McKenna’s GOP gubernatorial candidacy.)

The day after McGinn survived the August 6 primary, a Times editorial stated: “Murray ran a front-runner’s campaign based on his solid legislative record in transportation and same-sex marriage.” As for the mayor, “McGinn’s challenge is to show he is not just a mayor of Capitol Hill progressives and some union supporters.”

That same day, on page one, Times columnist Danny Westneat, referring to McGinn’s attempt

news»The Daily Weekly

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is referring to took Murray to task for making Seattle’s gender pay gap an election issue.)

Riley cited other examples of positive coverage: a Feb. 12, 2013 editorial that praised the mayor for stopping police plans to deploy drones; an October 2011 editorial that called his 2012 city budget “fairly reasonable”; and an editorial applauding his decision last year to pull city advertising from Seattle Weekly, then associated with Backpage.com, and to push for better polic-

“The issue is Mike McGinn’s leadership. And at least two current city council members who challenged the mayor and more than 70 percent of primary voters agree.” ing of escort ads.

She concludes, “As much as the McGinn campaign would like to make the Seattle Times editorial board an issue in the mayor’s race, it is not. The issue is Mike McGinn’s leadership. And at least two current city council members who challenged the mayor and more than 70 percent of primary voters agree.”

Ouch. At least Riley didn’t compare his physique to Homer Simpson’s.

W W W . Z E N I T H - W A T C H E S . C O M

to block a Whole Foods store in West Seattle, cynically mused, “Our mayor’s not always on the winning side, to say the least. But he does know his politics. He knows what drives votes. He knows how to go for the wedge.”

Says McGinn: “Early on, we raised concerns with them [the ed board]. But over time, we stopped. There didn’t seem to be any use in talking to them.”

Increasingly, McGinn’s supporters and staff are anything but reluctant to share their almost visceral dislike of the morning paper, which came to a head in mid-July when the mayor’s spokesman Aaron Pickus fumed via Facebook, “I am proud to work for Mayor McGinn. And I am embarrassed that the Seattle Times editorial writers are such a shallow, intellectually bankrupt, juvenile and stagnant herd of Greek chorus members for the conservative, privileged establishment. Our great city deserves better.”

Times editorial-page editor Kate Riley denies that her paper has any enmity for McGinn. “We did not endorse him four years ago, and we’ve disagreed on the tunnel, on the handling of the proposed arena in SoDo, and his handling of the federal probe of his police department. That said, we have written editorials in support of the mayor’s policy and, most notably, in defense of him as recently as two weeks ago in this campaign,” Riley responded last week to Seattle Weekly in an e-mail statement. (The supportive editorial she

F

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A Local Industry Reads Holder’s Pot Leaves cases is an open question. Pelley, who had not yet read the attorney general’s remarks when contacted by SW, says he’s not sure.

Steinborn, who has read the remarks, says he’s skeptical that the effect will be profound. He worries, for instance, that the firearm enhancement will stay on the books.

Still, he takes note of this phrase in Holder’s speech: “Federal prosecutors cannot—and should not—bring every case or charge every defendant who stands accused of violating federal law.

Some issues are best handled at the state or local level. “Steinborn speculates that it may signal that the feds are turning over the thorny issue of marijuana to state courts.

“That wouldn’t surprise me,” the lawyer continues. With a multimillion-dollar market on the table, he quips, marijuana has “now become a white-collar, white man’s crime.” The feds, he insinuates, might want to tackle that far more gingerly. NINA SHAPIRO E

news@seattleweekly.com

CORRECTIONS: In last week’s Best of Seattle issue, in the category “Best Food Pop-Up,” we misidentified the name and location of a bygone Seattle restaurant. The Surrogate Hostess was located on 19th and Aloha. Also, Rachael Coyle's pop-up bakery at Book Larder is on the first Saturday of every month, not the third.

Also, under "Best Philanthropist, NewSchool," we misidentified the foundation utilized by philanthropist Nick Hanauer and his wife Leslie. The couple gives their money away through their own foundation, the Nick and Leslie Hanauer foundation.

Zenith_HQ • Visual: CapWinsor • Newspaper: Seattle Weekly (US) • Language: English • Issue: 7.6.2013 • Doc size: 4.83 x 5.54 inch • Calitho #: 06-13-87133 • AOS #: ZEN_05279 • EB 4.6.2013

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U.S. Attorney General Eric Holder announced on Monday morning that he is getting rid of “draconian” mandatory minimum sentences for low-level drug crimes.

That’s big news everywhere. But his announcement was even more of a bombshell locally, given the state’s legalization of marijuana.

“Whoa!” uttered Aaron Pelley, a defense lawyer who focuses on medical-marijuana cases. “I couldn’t be happier to hear that.”

Federal drug laws have long sent a chill through suppliers of medical marijuana. And the laws loom menacingly in the background, too, for would-be entrepreneurs looking to get into the recreational market under the recently passed Initiative 502.

Until Holder’s announcement, anyone caught with more than 99 plants was looking at a mandatory five years in prison. And various sentencing enhancements, like one for the use of a gun, could add another five. Jeff Steinborn, another prominent defense lawyer active in marijuana cases, says that a pot grower who merely keeps a gun under his pillow could face a 10-year minimum. And such a grower would be especially likely to face mandatory minimums in eastern Washington, according to both Steinborn and Pelley. Federal prosecutors there have been far more eager than those in western Washington to bring marijuana cases.

Yet on this side of the mountains, too, federal prosecutors have been known to pursue pot cases.

Just a few weeks ago, DEA agents raided several dispensaries, including Seattle Cross, Tacoma Cross, and Bayside Collective in Olympia. Pelley, who represents a manager for the Seattle and Tacoma facilities, which are affiliated, says he believes a grand jury has been convened to bring charges.

How Holder’s announcement will affect those

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How to Go Bankrupt,

The Millionaire’s Way!

Dine at Canlis! Keep the bling! Retire to France! The Mastros show you how.

re you married to Michael R. Mastro?” attorney Spencer Hall asks. u “Yes, I am,” Linda S. Mastro responds. u It’s early on a March morning in 2010 at a law office in downtown Seattle, and Linda Mastro is just beginning to answer questions for a legal deposition. As she looks around the 14th-floor suite, the former Bellevue grade-school teacher turned bankrupt millionaire can see three other attorneys—hers, her husband’s, and James Rigby, a veteran Seattle lawyer

appointed as federal court trustee, assigned on behalf of creditors to recover and liquidate the assets of Linda Mastro, then 60, and her spouse, developer Mike Mastro, then 85. The group has gathered this morning in part to figure out what those assets are. But first they have to cover some basics. u Seven months earlier, the two wealthy Medina jet-setters declared what is thought to be the biggest personal bankruptcy in state history, leaving the couple owing one third of a billion dollars. The couple’s massive debt is difficult to comprehend. Most Americans worry about maxing out

PHOTOS COURTESY OF JOHN MASTANDREA

A

By Rick Anderson

credit cards. The Mastros maxed out their nearly $300 million fortune twice over. As John Mastandrea, one of Mastro’s partners, would say after he lost $114 million in the Mastros’ crash, “Greed is a disease. the law office, as the blonde socialite with big hair awaits questions, attorney Rigby watches patiently. He’s seeking leads on the whereabouts of Linda Mastro’s valuables—jewels, gold, and two diamond rings together worth $1.3 million. Rigby hopes to seize them to help pay off Mastro’s unsecured creditors, who are fated to get back no more than one cent on the dollar.

» CONTINUED ON PAGE 10

Linda and Mike Mastro left creditors hanging on hundreds of millions in loans. But did they pay for their fiduciary wrongs?

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

I suffered from it. Mike thrived on it.” u In

9

How to Go Bankrupt,

THE MILLIONAIRE’S WAY!

SEATTLE WEEKLY • AUGU ST 14 — 20, 2013

» FROM PAGE 9

10

Hall, representing Rigby, continues with his warm-up questions. “When were you born?”

In 1949, in Seattle, Linda Mastro says. She went to Roosevelt High, graduated from Central Washington University, was married for six months in 1972, and worked as a Peoples Bank loan officer when she met fellow bank worker Mike Mastro in 1974.

According to public records and interviews with friends, she was 25 at the time; he was 50, married, with a son. The natty, ebony-haired Mastro had been a Peoples branch manager before turning to real estate. Over time, Linda and Mike became friends, then began an affair.

He set her up with a home and a Jaguar. She left the bank in 1979.

“Why did you leave Peoples Bank?” Hall asks as the inquiry continues.

“I met Mr. Mastro and didn’t need to work anymore,” Linda says.

A Seattle native and WWII vet, Mike had become a successful developer and hard-money lender by the 1970s, records show. The Cleveland High grad had a ready smile and a strong handshake for visitors to his Mastro Properties headquarters in Garlic Gulch, the Rainier Valley neighborhood where he grew up in a family of Italian-Americans and where many of his investors lived. Ending their long affair, Linda and Mike were married in 1989. According to Mike’s friend and business partner Mastandrea, that was two years after Mike’s wife, Joan Mastro, died of cancer.

Hall asks Linda Mastro what she did during that decade before marrying Mike.

“Nothing.”

“You had no employment of any kind?”

“No.” “You had nothing that you did that occupied your time on a regular basis?”

“I traveled.”

Hall reaches into the stack of documents and pulls out the Mastros’ prenuptial agreement. He hands it to Mastro. It includes an itemized list of the “Separate property of L.A. Gale”—her maiden name—as of May 30, 1989, a few days before their wedding.

“And it says that your net worth at that time was $1,974,301, is that correct?”

“Yes.” She also confirms that her husband had deposited $8,000 a month into her personal bank account over the past two decades—close to $2 million total. “It was used for my pleasure,” she says.

The deposits stopped in August 2009, Linda Mastro adds. That’s when her husband was taken into federal court by three banks and forced to declare involuntary bankruptcy.

Their assets of roughly $250 million included almost a dozen commercial properties and nearly 3,000 undeveloped residential lots. Over four decades, Mastro Properties had been involved in as much as $2 billion in office, apartment, and shopping developments from Washington to California. Now it was insolvent. The Mastros’ debt had soared to $587 million after Mike crawled out on a limb of loans in the midst of a subprime mortgage crisis. Creditors began to hear cracking sounds as Mastro juggled falling revenues with multimillion-dollar bank payments. He couldn’t

When the Mastros fled to France, they had their three shih tzus in tow. When one died after police raided the Mastros’ French villa, Linda says she “just wanted to die.”

pay his loans, nor could the developers who had borrowed from him pay Mastro back. He began turning properties over to the banks—including a North Seattle apartment site that had once been the venerable Leilani Lanes bowling alley.

He’d also lose a $30 million investment in Lake View, an office development in Fremont that went to foreclosure.

Among the hardest-hit creditors were his “Friends & Family” investment group, about 175 mostly Italian-American backers who invested

“I

t caused a divorce and led to a child-custody battle.

The guy who gave me my first piggy bank as a kid ended up ruining my life.” more than $100 million in Mastro’s projects. The funds underwrote developments as well as loans to other developers. During Mastro Properties’ boom days, F&F investors, making as much as 12 percent interest on their money, watched the returns roll ever upward, as did Mastro partners such as John Mastandrea. “I had 14 cars, including two Lamborghinis,” recalls the 55-year-old former co-investor, whose family has known the Mastros since the 1950s.

But when Mastro filed for bankruptcy, F&F investors lost everything, and Mastandrea alone watched $114 million disappear, he says—much

of it equity in Mastro developments, along with $30 million in a cash account controlled by Mastro.

“I had to sell my cars to save my house from foreclosure,” says Mastandrea. “It caused a divorce and led to a child-custody battle. The guy who gave me my first piggy bank as a kid ended up ruining my life.”

Though he grossed more than $55 million in 2007–08, Mastro was already too far underwater, and the bursting housing bubble sent the economy further down the drain. Ultimately Mastro agreed to the Chapter 7 bankruptcy and volunteered to liquidate his devalued assets, but that left little to divvy up.

“Many of us urged Mike to file Chapter 13 and reorganize,” says Mastandrea. “He was a smart man, but he always wanted to be the big cheese, throwing money around and doing it his way. He thought he could buy off Rigby. ‘What if I slip him some money, think he’ll go away?’ he said. In the end, his ego did him in.”

Or did it?

While his business went bust, the true penance paid by Mike Mastro and his wife is an open question. After they filed for bankruptcy, they continued to treat themselves to lavish meals in Seattle and trips to Europe. When trustee Rigby turned up the heat, the Mastros went from being elusive about their assets to just plain elusive, fleeing to Europe with gold and jewels.

And they weren’t the only local high-rollers seemingly getting the upper hand in the bankruptcy game following a financial crash.

Around the same time Linda was explaining how she whiled away her days as Mike Mastro’s mistress, the Mastros’ former business partner, 67-year-old Tom Hazelrigg, was going underwater, and in 2011 was also forced into bankruptcy, owing creditors (the Mastros included) $150 million. Like his business partners, Hazelrigg hasn’t been exactly forthcoming with

the courts. He claims to live in New Mexico, but has a current California driver’s license and address. Many of his financial records no longer exist, he says, allegedly destroyed by a “nasty” computer virus. He has taken the unusual step of pleading the Fifth to avoid listing his assets in court, worried he was under criminal investigation (He was, and last week he was indicted.

U.S. Attorney Jenny Durkan says Hazelrigg has failed to pay more than a half-million dollars in back taxes to the IRS. He clearly had the money to make such payments, say prosecutors, living a lavish lifestyle and spending millions gambling, buying racehorses, collecting art, and renting private jets. To hide some of his spending, prosecutors say, he used the Social Security number of his dead father, an Olympia doctor, as his own.)

Hazelrigg and the Mastros all say they’re barely getting by today, claiming their monthly Social Security checks as their only income. The trio of ex-multimillionaires owes debts totaling three quarters of a billion dollars, with barely one quarter billion in assets—although officials suspect more remain hidden.

At very least, they lived the high life for years after they went broke on paper, and have now sloughed off their losses and moved on with their downsized lives while creditors pick through the leftovers and search, perhaps in vain, for others.

None of the three are claiming victory per se, but Mike Mastro recently resorted to what sounded a bit like bragging.

He had indeed set up a “diversionary” offshore trust to hide luxury items, he recently told a reporter. He also intentionally failed to disclose a secret bank account through which passed almost a million dollars. And he quietly refinanced his 2008 Rolls-Royce and another car, pocketing the difference, to spite the court trustee. “I put large loans on [the cars] to thwart Rigby,” Mastro said.

John Mastandrea says the Mastros’ business collapse cost him $114 million and a marriage.

Linda Mastro, though, told the reporter she was clean. “I never even jaywalked,” she said.

I

B

y mid-2011, Rigby had persuaded the court to approve a series of seizures and sales. One was the Mastros’ eviction from their mansion just up Evergreen Point Road from Bill Gates’ estate. The three-story waterfront contemporary with pool and sauna was sold for a bargain-basement $9.1 million, more than $5 million less than Mastro had paid for it in cash four years earlier. Rigby also confiscated luxury cars—the Rolls and a Bentley among them—and hundreds of other items that he put up for sale or auction, right down to the clothes on the Mastros’ backs: her imported furs and his Italian suits. He also filed suit against Mastro’s son, Michael K. Mastro, who worked for his father, claiming he wrongly disbursed $340,000 from a Mastro account (which the son denied).

With essentially all the Mastros’ known assets seized, they appeared to be, as Linda had claimed earlier, insolvent. Still, where were her jewels, especially those dazzling if not garish diamonds?

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SEATTLE W EE KLY • AUG UST 14 — 20, 2013

n the law offices that morning three years ago, Linda Mastro seemed to be walking a straight line—at least through the opening round of questions about her background. Then came inquiries about the Mastros’ spending.

“Has your lifestyle changed since the petition in bankruptcy was filed?” Hall asks.

“Definitely . . . We have no income, we have no money,” says Linda Mastro.

Her husband did give her funds to exist on, she says. But she can’t remember how much.

“You have no idea what it costs you to live per month?”

“No.” “You have no idea whether it’s more or less than $10,000?”

“No.” Have they traveled since the bankruptcy? Hall asks. Well, yes, to ski at Jackson Hole, answers Mastro. Any other trips? Hall asks.

“I don’t recall.”

Switzerland?

“I don’t recall.”

“Do you think you could forget a trip to Switzerland you’ve made in the last year?”

“Possibly.”

She also said she couldn’t remember if she’d been to Italy—then later said she had. That was in November 2009, three months after the bankruptcy.

“What jewelry did you take to Italy in November 2009?”

“What I wore, two diamond rings.”

“Are those the diamond rings that have been the subject of motions in this litigation?”

“Yes.” “And you left them in Italy?”

“I don’t recall.”

“You don’t recall whether you left your diamond rings in Italy?”

“No.” And so it went. Linda Mastro was having a hazy day. She couldn’t remember who owned her own home.

“I don’t even know,” she said.

Her memory would come and go throughout the bankruptcy battle. Mike Mastro displayed a similar pattern of forgetfulness under court questioning or when filling out papers, not reporting such varied assets as a $23,000 wine collection and the transfer of $56 million in IOU’s from business partner Hazelrigg.

Then there was that bank account, linked to an offshore trust, that the Mastros quietly opened under another name just before the bankruptcy. They used it to pay for the European jaunts Linda had a hard time remembering, and for trips to New York and Palm Springs, according to records Rigby dug up. They made monthly payments totaling $8,000 on the Rolls and Bentley, and bought $99,000 worth of gold bars. A credit card, paid with funds from the account, revealed they spent a night out with friends at Seattle’s ritzy Canlis restaurant just two months after declaring bankruptcy. Final tab: almost $3,000.

They could get away with such spending by hiding it from the court. But once Rigby learned of the transactions, he moved to seize what was left. The FBI also got involved, concluding that the undisclosed account constituted bankruptcy fraud. Rigby also learned that, two weeks after stashing his assets offshore in 2007 as he faced the liquidity crisis, Mike Mastro sent a cheery message to his “Friends & Family” investors, telling them all is well. “Our organization is strong and healthy, in no small part because of the relationship we value so greatly with lenders including you, our friends and family.”

He might have added: P.S. Linda and I are keeping our French visas handy just in case.

11 SexDys - SRNW - SeaWeekly

How to Go Bankrupt,

THE MILLIONAIRE’S WAY!

» FROM PAGE 11

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The socialite likely still had possession of the 15.93-carat engagement ring worth $550,000 and a 27.8-carat heart-shaped anniversary ring that covers a third of the finger, valued at $750,000.

She seemed foggy about the rings’ exact whereabouts. But the federal court twice ruled in Rigby’s favor for seizure, and felt Linda was lying—she was “transparently vague” and “lacking veracity,” as bankruptcy Judge Marc Barreca put it in one ruling. In June 2011, Linda Mastro was told to turn over the rings or face the court’s wrath.

That’s when the plodding, two-year legal drama broke into a full sprint: Within days, the Mastros, their trio of shih tzus, and the rings, along with other jewels, disappeared. The couple had been living in a rented 4,200-square foot Palm Desert home in California. After driving up to visit a relative in Seattle, they decided to split for Europe, Linda Mastro explained in June this year to reporter Simon Goodley of The Guardian: “I said, ‘Let’s go,’ I don’t know what came over me.” In California, Mike had fallen off a stepstool in their garage and “literally died,” she said. “They resuscitated him and then he had a cranial. He was a vegetable for several months. He had to learn to walk again.”

And so they would run, triggering a civil-arrest warrant and memories of a good chase movie— an arthritic version of Steve McQueen and Ali MacGraw in The Getaway, perhaps, moving at nursing-home speed. Linda, 62, and Mike, 87 and recovering from a near-death episode, took to the road with the dogs and jewels, heading for the border—Canada rather than Mexico. They eventually wound up in Toronto, with U.S. Marshals hot on their heels bearing the contempt-of-court warrant. The Mastros ordered up an airplane.

“We had a friend in Seattle who had a plane, so we called his pilot and they started looking around for a plane for us,” Linda recalled to reporter Goodley. “We found a puddle-jumper— but it was fine, we didn’t care—that would take the dogs. We went through this private firm, and I thought the shortest distance would be to Portugal.” (No one who aided the Mastros likely faces any charges, since at that point the two were being sought on a civil, rather than criminal, matter).

They one-hopped to Greenland and landed in Lisbon, disappearing from their pursuers’ radar.

For 16 months the Mastros laid low, moving several times and winding up in a hamlet called Marceau in the French Alps, surrounded by the serenity of snowcaps and nearby Lake Annecy, five hours from Paris, 40 minutes to Geneva. They picked the location on the advice of a Seattle priest, they said, without naming him.

Her attorneys had advised them to “get out of Dodge,” Linda said. “I had a nervous breakdown.

I just wanted to get away . . . I just couldn’t take it anymore.”

The Mastros’ Seattle attorney, Jim Frush (who urged Mike Mastro to cooperate and answer questions for this story; he refused), says he recalls making the “Dodge” remark, but wasn’t urging his clients to run. He was suggesting they’d be better off if “they lower their profile and press coverage by leaving the area.” To California, say. His standard practice, he adds, is “that as an officer of the court, I have no choice but to tell [clients] to comply with all court processes.”

While the Mastros were on the run, a federal

grand jury quietly issued a sealed indictment in Seattle charging the two with criminal bankruptcy fraud and money laundering, putting the FBI on their trail. For more than a year, the international manhunt produced little, it seemed. Then two clues dropped into the agency’s lap.

One—an invoice Mike had submitted from France to his U.S. medical insurer for minor surgery on an eardrum he injured in the war— contained one of the Mastros’ recent French addresses. Investigators also came across a French registration for a Range Rover that had previously been registered in the state of Washington—and which had been shipped overseas to the Mastros.

Informants came forward with some information as well, according to authorities.

Last fall, the FBI contacted local French police, giving them the Mastros’ last known address.

“After investigating in the neighborhood,” Julien Duhamel, the judicial police chief in Annecy, near Marceau, told reporters, “we were able to pretty easily find their current address.”

On October 24, Duhamel’s forces swept into the Mastros’ apartment—their name was on the mailbox—and made the surprise arrests.

The frightened Mastros were whisked off to jail in Lyon as police and a court official searched the unit. There they found almost 300 pieces of jewelry worth at least $2 million. Later, in a safe deposit box they broke open at a nearby bank, they found Linda’s $1.3 million diamond rings.

In jail, her cell toilet was “a hole in the ground,” Linda told The Guardian, and she had to sleep on a “crummy muslin” bedcover. She was put on suicide watch, and, having heard that one of her dogs had died, said she didn’t care if she ever got out. “I just wanted to die,” she said. But after seven weeks the couple’s French attorney arranged for their release on electronic monitoring to await an extradition hearing. In Seattle, U.S. attorneys had unsealed the grand jury indictment with 43 criminal counts, and Rigby was moving in court to obtain the rings and other assets found in the Mastros’ possession.

If it wasn’t a movie, it was at least a TV show— which CNBC, the business channel, is now turning into a segment for American Greed. Filming began in Seattle last week.

I

n April last year, when Thomas Roy Hazelrigg III filed his declaration of assets to be divided up by creditors in his Chapter 7 bankruptcy case in Seattle, he reported the following: Nothing. He took the 28-page form and wrote on it that he was refusing to answer under the Fifth Amendment to the Constitution, “on grounds the response could ask for evidence that may incriminate me.”

The Mastros’ arrest was great news for their creditors, Rigby said. But there was still plenty of potential loot to be found, and Rigby hoped a lot of it could be found on Hazelrigg. According to Rigby, he owed Mastro—and therefore Mastro’s creditors—as much as $75 million. Could there possibly be blood in that aging turnip?

Hazelrigg’s declaration of “Nothing,” one of the first reponses he’d made to his –October 2011 bankruptcy, proved he wasn’t going to make answering that question easy for Rigby or anyone else interested in settling their debts with him.

That didn’t surprise those who know him. He’s a salty guy—even Linda Mastro, when asked about Hazelrigg during her 2010 deposition, piped up, “I just don’t like the man.” A onetime Olympia High and Stanford University football standout, Hazelrigg went on to a financial career of buying up debt and collecting at high dollar.

He later became a hard-money lender, like Mastro, loaning funds to high-rolling customers.

At one time the owner of hundreds of properties including homes and condos, the former Seattleite says he now lives in Albuquerque, where he claims to be in poor health (a letter from his doctor indicates he has a heart condition). He didn’t respond to inquiries from Seattle Weekly, and doesn’t like to be interviewed or photographed—issues he first made clear in one of the few newspaper pieces written about his earlier years, in 1993 in The Seattle Times. Even back then, he refused to confirm exactly where he lived (Mercer Island, as the reporter found out anyway, where he and his then-wife were raising three children).

In the 1990s, at discounted prices, he was buying debt-collection judgments from banks and other creditors who couldn’t collect, then making a solid profit by chasing down the debtors, some with deep pockets. For example, he paid $700,000 to go after two downtown developers who owed a $13 million court judgment, legally seizing both men’s houses and forcing them and their families to move out; he then sold one house and moved into the other, valued at $3 million.

His legal actions drew lawsuits in protest. One, filed by a real-estate agent, claimed that Hazelrigg underpaid her, then harassed her, threatened her, and bilked her out of $873,000, driving her into a psychiatric hospital, the Times reported.

Hazelrigg called the claim frivolous. He allowed that some folks didn’t like his style, but so what.

“I have people who find it disgusting that I would go after people’s homes,” he said at the time.

“They’re not business people, obviously.”

Hazelrigg was willing to take on all comers— he collected past-due tabs from such big-name developers as Martin Selig and Eugene Horbach, the latter a partner of Mike Mastro (in 1989, Horbach and Mastro notched what was then the

H

azelrigg clearly had the money to make such payments, say prosecutors, living a lavish lifestyle and spending millions gambling, buying racehorses, collecting art, and renting private jets. second-largest real-estate transaction in local history when Boeing bought a dozen Renton buildings from the two for $211 million).

Eventually, a review of records shows, Hazelrigg and Mastro began to develop projects together, including a water amusement park and hotel in Palm Springs, an area where both have lived from time to time.

By the mid-2000s, the careers of Mastro and Hazelrigg were peaking and, like the economy, heading for a downturn. By the time both were hauled into bankruptcy court, Hazelrigg had borrowed or otherwise become indebted to Mastro for tens of millions, putting Mastro bankruptcy trustee Rigby and Hazelrigg bankruptcy trustee Robert Miller Jr. both on his trail. On behalf of their respective creditors, the trustees began

responses as “Do Not Know Which Ones May Still Exist” or “Maybe. But Think They May All Be Out Of Business.” Apparently still worried that the information could be used against him in a criminal case, he once again noted, “The debtor claims a 5th amendment privilege as to any further information.”

Last October, trustee Miller challenged Hazelrigg’s filing, objecting to “concealments” in the listing. Miller claims Hazelrigg didn’t report the transfer of unidentified assets to another entity, nor had he responded to a subpoena seeking documents on the whereabouts of identifiable assets: a $900,000 art collection and almost $500,000 worth of cars, including a Range Rover, a Mercedes, and three Bentley models. He also wanted to know what happened to roughly $83 million in property, stock, business holdings, and fees receivable that had flowed Hazelrigg’s way over the years. Miller is still awaiting answers, and the case remains open.

In the indictment last week for failing to pay $533,000 in taxes over a three-year period, Hazelrigg is further accused of hiding assets and spending extravagant amounts while avoiding his obligations. IRS Special Agent Brandon Gleason says Hazelrigg illegally funneled business income into secret accounts. He used the funds to buy a Bellevue penthouse, two Chihuly chandeliers worth $460,000, more than $1 million in chips at West Coast casinos, and $160,000 in thoroughbred horses, and to hire a butler—all the while failing to pay his back taxes.

He’ll be arraigned on the tax charges in October. And he has a new problem in his bankruptcy filing: Because of his failure to properly disclose assets, he cannot be discharged from bankruptcy, a judge has ruled. As a result, whenever the case does close, creditors could still sue if they find

searching for assets they could liquidate. Good luck, said Hazelrigg’s attorney, Marc Stern. His client wouldn’t cooperate with anyone, even him. “It is impossible for me to prepare [asset] schedules,” he told the court, adding “There is no money to pay me.” He asked to be excused as counsel, and was. He returned after the bankruptcy court ordered Hazelrigg to file a more complete list of assets.

In June 2012, the 6-foot-2 former footballer said he was living on his monthly Social Security check of $1,400. He listed $149 million in liabilities against $1.2 million in assets—most of the latter being Seattle-area condos headed for foreclosure. At his New Mexico home, he claimed to lead a Spartan existence, his only assets being kitchen utensils, glasses, two TV sets, and a twin bed with a fur bedspread, he said.

“These [asset] schedules are as complete as possible,” he wrote. “However, debtor does not have records.” Preposterous as that may seem, a statement from the widower of Hazelrigg’s accountant corroborates it to a degree. According to the widower—whose wife died of cancer the same month Hazelrigg was taken to bankruptcy court—any documents in his wife’s possession, if she’d had any, “are now destroyed.” They could have been on her old computer, he said. But it had been infected by a “nasty virus” and was thrown out.

In his court filings, Hazelrigg indicates he just isn’t sure what he had and lost. But he listed some impressive possible assets—including “10,000– 11,000 Lots in Development” in South Carolina, Arizona, Idaho, and Washington. He also listed five watches, a Chihuly painting and two glass vases, and his Stanford football rings, altogether valued at $120,000 and which he claimed as exempt from bankruptcy seizure. He was uncertain of the fate of many of his former businesses, jotting down such

» CONTINUED ON PAGE 15

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Criticizing him, Rigby says, shows “Narcissism, indeed, has no boundaries!”

The Mastros acknowledge they made misTHE MILLIONAIRE’S WAY! takes, but they are good people, they indicated in one statement, and running to another continent was their way of getting some air. “Mike has » FROM PAGE 13 always been a patriot, charitable, and loyal businessman and great husband,” they said. “We were any assets to seize. He’s appealing. not fugitives. We just tried to take a step back to Rigby told Mastro’s creditors in May not to breath[e] and think. When we left, we were not count on anything from Hazelrigg. “The primary considered criminals.” remaining claim in this [Mastro] case is the Life in France appears to be beneficial for the claim in the Hazelrigg bankruptcy proceedcouple, now 88 and 63. As they chatted in June ing,” he wrote. “Any payment out of that estate, with Goodley, the Guardian reporter, “They were however, is at a minimum several years in the very well dressed, appeared in excellent health, future. The Trustee will not likely be able to and came over as very relaxed,” Goodley tells make a distribution to creditors beyond the one Seattle Weekly. percent previously disbursed unless there is very Before moving to their hamlet apartment, significant success in the Hazelrigg bankruptcy Goodley says, the couple lived in a magnificent proceeding or other property is recovered.” home in nearby upscale Veyrier-du-Lac, paying In a recent interview, Rigby tells Seattle Weekly a monthly rent of 5,000 that the recovery of British pounds—about Linda’s jewels represents $7,700 US. They had the biggest upside for been selling their jewels Mastro’s creditors. “I’m and gold bars to pay negotiating with the their way, the couple FBI for them now,” he told him. Today, their says, moving for release n June 2011, jewels confiscated, of the evidence so it Linda Mastro was they live on a $2,000 can be sold. Besides SS pension and the diamonds, there are told to turn over the monthly donations from friends, necklaces, watches, earrings or face the they said. rings, and exotic baubles. “[Rigby] thinks to An 82-page invencourt’s wrath. this day that we have tory includes two rare much money buried brooches—a large one overseas,” Mike Mastro shaped like a running told the reporter. “We don’t have a cent in that cat and another, diamond-encrusted, formed as a respect.” They complained that Rigby has collizard with a pearl head. lected more than $20 million but distributed The jewelry has now come home. But without only about $2.5 million to unsecured creditors the Mastros. They’re staying in France, apparso far, while taking a large chunk—roughly $10 ently forever. million—for his own fees and those of accountants and attorneys. n June 5 this year, a French court barred Says Rigby: “They have stolen property which the U.S. from extraditing the Mastros belongs to the creditors, fled to France, and now due to humanitarian reasons—Linda’s seek to rile up the creditors by criticizing my mental health was in question and Mike administration of the estate.” But he takes it as a was too old and in poor health. The U.S. would backhanded compliment, he says: “If I was not not agree in advance to releasing them on being effective at my job of finding their property monitored probation should they be convicted. and taking it away from them, they would not be (Under a plea deal offered by the U.S., Mike bothered by me.” would have received a maximum two years in Once Rigby obtains the jewels, their sale prison and Linda a one-year max in exchange should generate another one percent for credifor their voluntary return.) When the U.S. tors, giving investors a two-cent return on the announced two weeks later that it would not dollar, he says. But that may be the end of it. challenge the French ruling, the Mastros were “If Michael Mastro left any evidence of other officially free. To live in France, anyway. assets,” he says, “I haven’t found it”—although Emily Langlie, spokesperson for Seattle U.S. he doubts the Mastros are living purely on their Attorney Jenny Durkan, would not speculate retirement check, and wonders which friends are on what could happen if the Mastros cross the helping out. “They already have taken over $100 French border and are stopped in another country, million from their [investor] friends, so that well nor say whether authorities in other countries are is likely dry.” on the watch for the couple. But, Langlie says, Actually, the Mastros would like to hit up “The criminal case remains active and open,” addthose investor friends one final time—for that ing: “Of course, our office encourages any accused extra penny they could earn from the jewel sale. person to voluntarily come forward at any time.”

Their French attorney, reporter Goodley says, The Mastros don’t appear to be in the voltold him they plan to appeal the Seattle federal unteering spirit for now. Since their arrest and court ruling that required Linda to turn over her release, they have issued several statements in rings and other bling. which they come off as sore winners. They deny She had already appealed the ruling. But in any criminal actions, and blame Rigby for makFebruary, a Seattle judge concluded that Linda ing them flee. “Since the Trustee did make a had no standing to ask for the assets’ return personal affair of this case,” they said, “we had to because she was a fugitive. The 9th Circuit Court hurry to find a safety exit just to survive.” of Appeals in San Francisco is likely to settle the Says Rigby: “Personal? I don’t know exactly issue now. what they were talking about. . . . I just tried to In any case, Linda Mastro wants her rings do a good job. back. Turns out diamonds aren’t something you “Now that Mastro is protected by the French forget, after all. E from the consequences of his theft and deceit, he is not satisfied boasting of his cleverness.” randerson@seattleweekly.com

How to Go Bankrupt,

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food&drink»Feature

Seattle FoodNewS

Hot Off the Skillet

A sneak peek at three of Josh Henderson’s newcomers.

BY MEGAN HILL

S

» by Sara billupS A glass of bubbly and a plate of fried oysters? Yes, please. Fat Cork at 111 W. John St. is hosting Renee Erickson’s oyster truck the Narwhal for a Champagne pairing this Friday from 5:30 to 7:30 pm. Tickets are available online.

JOSHUA HUSTON

Seattle-based social-gifting app Gratafy is rolling out version 2.0 in the L.A. market on August 21. The app that lets friends send food and drinks as gifts via Facebook launched in Seattle last fall.

Henderson at Skillet’s long counter.

which is where those new menu additions come in. But, as at the Capitol Hill location, expect things to change up every few weeks. You’d be wise not to get too attached to this menu.

Little Gull will be a 22-seat oyster bar, grocery, and boat shop, more geared toward quick bites, an afternoon beer, or for getting gear or snacks for a boat ride.

“Boaters can come in and grab a blanket and an oyster knife and charcuterie and take it back on the boat,” Henderson says. Local oyster guru David Leck will captain the bar.

Westward and Little Gull Grocery

One of this summer’s most buzzed-about openings anywhere in the city is a two-fer. Westward and Little Gull Grocery will open in midAugust in side-by-side spots on the north end of Lake Union.

Henderson calls Westward “very space- and experience-oriented.” The restaurant will take a cue from its watery surroundings, with seafood and Mediterranean-influenced dishes courtesy of chef Zoi Antonitsas, formerly of Madison Park Conservatory. Part of the focus will also be on small plates, likely prepared on the kitchen’s centerpiece, a wood-burning oven. The water will be part of the experience beyond the plate, too: Outside there’ll be a 150-foot dock for boat parking, a patio with a fire pit and Adirondack chairs, a beach area, and great views of the lake.

“It’s really going to be an experience where you can take a stroll on the dock or sit on the patio and enjoy a meal. It’s going to be a place to linger over food. It will be very of-the-place in a sense,” with every seat in the house overlooking the lake and the skyline, Henderson says. “Hopefully we can add to the lineup of the different places that people go to show off Seattle.”

Hollywood Tavern

Branching out beyond Seattle, Henderson’s Hollywood Tavern is slated to open in Woodinville in September or October. The tavern’s menu will nod to the area’s agricultural roots with farm-focused cuisine, roasted meats, fresh pastas, whiskey, and—duh—burgers. They’ll also throw in housemade ice cream in seasonal flavors.

“Inside, one piece will be a tavern—and kind of a divey Woodinville farm/agricultural tavern— that serves great cheeseburgers and whiskey, and then adjacent to that, more of the restaurant area, Shaker in design, with clean lines, focusing on

“If it’s a burger, it’s a fucking good burger. That’s really what I care about in the end.”

An architectural rendering of Hollywood Tavern.

GRAHAM BABA

rustic farm and wine-country cuisine,” Henderson says. The nearly 100-year-old building, once home of Mabel’s Tavern, sits on Woodinville Redmond Road near Cheateau Ste. Michelle and Redhook Brewery. Outside will be a patio with a fireplace and a game space with horseshoes and cornhole.

While these projects mean Henderson is moving beyond the bacon jam he’s made so popular, he still hopes for a common thread to run through each of these restaurants: good eats.

“We’re very focused on the food and the ingredients and the technique. First and foremost I consider myself a cook, and I certainly want that thread to come through,” Henderson says. “If it’s a burger, it’s a fucking good burger. That’s really what I care about in the end.” E

food@seattleweekly.com

The second annual Northwest Tequila Fest is happening outside the Phinney Neighborhood Center on Saturday, August 24. This year, more than 130 tequilas and mezcals from 40 producers will be on display, with food from vendors including Little Water Cantina and Poquitos. The event runs from 4 to 9 pm. Tickets are available online.

Local “sustainable sandwich” chainlet Homegrown opened a new shop downtown at Second Avenue and Marion Street. Hours are 7 a.m. to 6 p.m. Monday through Friday.

James Beard Best Chef NW award-winner Maria Hines is celebrating the seventh birthday of her Wallingford restaurant Tilth with a Bourbon + BBQ pop-up on Saturday, August 31. The menu includes bone marrow and tomato jam on toast and kohlrabi and cabbage slaw paired with about half a dozen bourbons.

The family-style meal lasts from 2:30 to 4:30 p.m. Call 633-0801 to reserve a spot.

Local celeb chef Matt Dillon and Marigold and Mint’s Katherine Anderson’s new wine bar/minimercantile The London Plane is open for business.

Hours (for now) are Tuesday through Friday from 11 a.m. to 4 p.m. (Dillon’s six-month-old Bar Sajor is a stone’s throw The London Plane away.) See our recent preview of The London Plane on Seattle Weekly’s Voracious blog. E foodnews@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

uddenly Josh Henderson’s name is everywhere. The Skillet founder’s stamp is on some of the season’s most anticipated restaurant openings.

Though he’s busy approving minor details like silverware and bathroom fixtures in addition to grand-scale decisions, he graciously made time to give Seattle Weekly a preview of each of his new, eagerly awaited eateries.

Bacon-jam lovers north of Capitol Hill will revel in the new Skillet Diner Ballard, just opened on the Greenfire Campus, a five-story eco-friendly apartment building. This bigger, brighter version of Henderson’s Capitol Hill Skillet might just be the start of a chain of Skillets all around Seattle, as he likes to hint. I was treated to a friends-and-family preview dinner, where plaid-clad servers dished out bite-sized samples of Skillet’s menu items. The space is decorated similarly to the Capitol Hill Skillet: lots of avocado green; those cute orange pendant lights over the bar; exposed duct work. You’ll notice the bigger space is anchored by a 40-foot counter (longer than that of the Capitol Hill location) running down the restaurant’s center, a larger patio in the front with 20 seats, and a larger bar area. For us [the counter] is the defining point of a diner,” he says.

Expect the front of your menu at Skillet Ballard to be very familiar. Breakfast is still served all day with reliable standards like the housemade biscuits with sage gravy, the pork belly-and-cornmeal waffle, and the deconstructed corned beef hash. You’ll see a nod to Ballard’s Scandinavian heritage with the addition of ebelskivers, Danish pancakes with lingonberry jam and house-made brown-sugar syrup (plus an option to add bacon jam). Under greenery, you’ll still find the kale Caesar, beet salad, and cobb salad, and you can bet the Skillet burger, slathered with bacon jam and creamy blue cheese complimented by peppery arugula, will be present.

Sandwiches like the brioche grilled cheese and fried-chicken Sammy are here, too, but the oyster po’boy with Taylor Shellfish oysters and the slowroasted pork Sammy are new. Additions to the back of the menu include Swedish meatballs with lingonberry jam, pan-seared scallops with summer corn risotto, and boneless short rib pot roast with whipped potatoes.

Henderson wants you to recognize the Skillet brand by the restaurant’s design and general concept, but is giving Skillet Ballard chef de cuisine Jon Severson room to put his mark on the place,

Oysters, & Champagne & Sustainable Sandwiches

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t’s hard to imagine improving on a summer afternoon spent sipping suds at one of Seattle’s many fine microbreweries. That is, until they brought in food trucks.

Most Seattle microbreweries don’t have kitchens, so to help soak up the booze, they’ve partnered with some of the city’s best mobile eateries. Now you can pair craft beer with burgers, po’boys, and barbecue.

Though subject to the whims and fancies of businesses on wheels, here’s a list of almost-sure bets for food-truck/microbrewery pairings this month: Two Beers Brewing SoDo’s Two Beers is hosting food trucks every Friday through the end of August at their The Woods Tasting Room from 3 to 8 p.m. Coming up on the schedule is Caravan Crepes, A Taste of Istanbul, and Evolution Revolution. Patronize the truck of the week and get a $3 pint.

Spinnaker Bay Brewery Columbia City’s microbrewery is hosting a rotating cast of food trucks. Today is the Grilled Cheese Experience, Jemil’s Big Easy comes on Thursday, followed by ZaaTar on Friday and Maya’s on Saturday. Check spinnakerbaybrewing.com for each week’s offerings.

Black Raven Brewing Company The Eastside craft brewery hosts food trucks in its parking

The Bumper Crops of Summer » By Nicole SpriNkle

S

ummer is Fruitful. Summer is Generous. Summer is Exhausting. If you have a garden, too many things come in too fast. If you shop at a farmstand or farmers market, it’s easy to get carried away.” So begins the “Summer” section in Saving the Season: A Cook’s Guide to Home Canning, Pickling, and Preserving by Kevin

West (Knopf). It’s hard to say it any more eloquently yet frankly than that. And it’s why I’m utterly in love with this artful book that helps you get every last juicy bite out of summer.

While I have many books on home canning and preserving, none treat their ingredients with quite the same vigor. For instance, Saving the Season includes not just one recipe for pickled beets, but four—traditional; with star anise; in applecider vinegar; and golden beets with ginger.

There’s pickled purslane (something I’ve been eyeing in the markets all week) and apricot jam with honey and lemon verbena (the apricots in Seattle this year are out of sight). The berry section is a veritable love letter to the fruits we’re all enjoying right now, with blackberry

BY MEGAN HILL

lot every day of the week except Monday: HP’s Smokehouse BBQ on Tuesdays; Happy Hotdog on Wednesdays, Thursdays, and Sundays; The Box or Wiseguy on Fridays; and a rotating truck on Saturdays. Be warned by The Black Raven website’s fine print: “Food vendors are independent of Black Raven and are subject to changes and cancellations.”

Populuxe Brewing Populuxe in Ballard has hosted several food trucks this summer, including Middle Eastern fare from Fez on Wheels and New Orleans cuisine from Jemil’s Big Easy.

Check populuxebrewing.com or the brewery’s Facebook page for the latest.

Hilliard’s Beer Known for their graphically appealing beer cans, Hilliard’s occasionally has a food truck present. Rene Erickson’s rolling oyster bar, The Narwhal, made appearances this summer, as did Snout and Co. For the latest, check Hilliard’s Facebook page.

Chuck’s Hop Shop The Greenwood specialty beer shop isn’t a brewery, but they do have beer and food trucks. Trucks rotate, with recent appearances by Curb Jumper, Box Nature Sushi, and Fish Basket. They announce each day’s truck(s) on their Facebook page. E

food@seattleweekly.com

poems from Seamus Heaney and Robert Hass, an essay on foraging wild mulberries, and a gorgeous still life of blackberries by the American painter Raphaelle Peale in 1813, whose frequent muse was the fruits of the American soil. And of course there are the recipes: wildblackberry molasses, blueberry jam with gin, elderberry syrup, and more. Buy this book to use up all those figs and plums and peppers and peaches. Go back to it again and again to be romanced by the beautiful writings and illustrations.

Also just out this month:

Eat Your Vegetables: Bold Recipes for the Single Cook

(Ten Speed Press) by Joe Yonan, the food editor of The Washington Post and author of the Post’s “Weeknight Vegetarian” column. A great addition to any home-cooking shelf, this no-nonsense approach to making delicious vegetarian meals for one offers everything from sandwiches and soups and salads and dressings to baking, roasting and broiling, and entertaining. How-tos—like massaging kale, cutting corn kernels, and grinding your own chili pepper—add a plucky element for the adventurous home cook. Essays throughout, such as “The Vegetarian Restaurant Grows Up,” make for insightful reading. E

nsprinkle@seattleweekly.com

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the»weekly»wire BOOKS/KARAOKE

Total Eclipse of the Heart

With his 2007 debut Love Is a Mixtape: Life and Loss, One Song at a Time, Rob Sheffield quickly rocketed to the top of the rock-geek heap, his wiry frame resting easily alongside fellow scribes Chuck Klosterman and Simon Reynolds. But it wasn’t easy, by any stretch. A longtime cultural critic who currently contributes to Rolling Stone and appears on VH1, Sheffield applied his effortless wit and encyclopedic knowledge of pop music to a harrowing subject in Love Is a Mixtape: the tragic death of his wife. That memoir is a tribute to the true power of romantic music-sharing that makes Nick Hornby’s mixtape-inspired novel High Fidelity read like sentimental pap in comparison. In Turn Around

seattlecenter.com/happyhour. Free. 21 and over. 5–8 p.m. GWENDOLYN ELLIOTT

fri/8/16 FILM

Final Shots

Un Flic (1972), the final film from French gangster-movie godfather Jean-Pierre Melville, plays

like an abstract of his whole career. Here are the crack teams of criminal pros, the silent execution of elaborate capers, and friendship at odds when opposing forces collide. This one focuses on the cop (Alain Delon, the “Flic” of the title) investigating a bank heist masterminded by his buddy (Richard Crenna), a nightclub owner who shares both his liquor and his mistress (CathBright Eyes: The Rituals of Love and Karaoke erine Deneuve) with the dutiful police detective.

(Harper, $15.59), Sheffield picks up where he left Melville’s precise direction is let down somewhat off: in New York, still contending with the loss by an unconvincing toy train and helicopter (for of his wife, while 9/11 looms. After the planes the third-act caper) and the dubbing of Crenna hit, his life crisis deepens. Fortunately, karaoke and a pre-Hill Street Blues Michael Conrad is there to save him. Through 27 chapters, each (the gang’s taciturn wheelman). Such imperfecanchored by a classic karaoke song, Sheffield tions are glaring, if not necessarily distracting. maps the history of karaoke while telling his Melville loves the story about falling in love again and admitting sense of theater and that he can’t sing. Word is that he’ll share a few ritual—which are songs with the crowd tonight. JewelBox Theater privileged over any personal feelings—in at the Rendezvous, 2320 Second Ave., 634-3400, this social ecosysbookstore.washington.edu. Free. 21 and over. tem of cops, crooks, 7 p.m. MARK BAUMGARTEN informants, and collaborators. And HAPPY HOURS he reminds us that while death is just another act in their A year since its renovation, the Seattle Center play, to be met with Armory (formerly the old Center House) has stoic composure, it’s become a gastronome’s food court. Vegan bistro a tragedy for loved Plum and diner Skillet have replaced the likes of ones outside the Pizza Haven, elevating the tourist-filled hub to circle. Closing a door a culinary degree that actual Seattleites want to on a gunman may visit. Granted, Quincy’s Burgers and Subway are still there, but it’s easy to look past those holdouts be survival instinct, but as played by every third Thursday at Seattle’s Best Damn Melville, it becomes Happy Hour, when the remodeled space hosts an act of discrefood and drink specials (like Skillet’s housemade tion and respect pretzel with Welsh rarebit and Plum’s bucketfor a foe. (Through list-worthy mac ’n’ yease, both $5), live music, BOD_WKLY_Vodka_7-23-13.pdf 10:56 AM a raffle (you’re automatically entered with 1your7/23/13Sun.) Northwest

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With a day job designing sets and scenery for Seattle Opera, artist Rick Araluce is a specialist in illusion— making castles and palaces out of plywood and paint. In his first solo museum show, The Minutes, the Hours, the Days, he builds immersive

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sculptural environments Araluce’s The Longest with doors, keyholes, threshHours at BAM. olds, and other means of guiding the eye. Notions of viewing and voyeurism are strongly felt throughout. His creations are often Way N.E., 425-519-0770, bellevuearts.org. miniature and frequently incorporate trompe $7–$10. 11 a.m.–5 p.m. BRIAN MILLER l’oeil painting tricks. (In a recent show at Suyama Space, he cleverly turned plastic PVC pipe into weighty cast iron.) Araluce also uses lighting and sound effects to create the impression of space and perspective. His large installation The Longest Hours reads like a corridor leading to a series of doors imposMAYHEM sibly suggesting more rooms within. There’s a tantalizing possibility of According to the trivia guardians at Guinness portals to the beyond, World Records, over 11,000 Kentuckians curonly it’s confounded by rently hold the record that Seattle will attempt viewing the entire struc- to surpass at 4 this afternoon: the World’s Largture from outside. For est Water Balloon Fight, arranged by the Party this show, Araluce has Camp charity, which benefits Children’s Hospicreated five new works tal. If enough people sign up and gather today specifically for BAM, (when food trucks, live music, and a beer garden among dozens more will also provide incentive), a projected 300,000 created in the past few water balloons will be filled and hurled—though decades. He’s also got none in anger, we trust. Participants—it seems a show this month at wrong to call them fighters—are instructed William Traver Gallery, not to aim at the face. The minimum age is exhibiting smaller diora- 14, but otherwise there aren’t any rules. (Dress mas. And if you want appropriately; swimsuits and goggles may help.) to see still more of his The projected battleground will spill into the handiwork, try McCaw International Fountain and possibly beyond. If Hall, where Wagner’s 12,000 Seattleites actually convene, it’ll be almost Ring cycle is playing as crowded as Bumbershoot, only considerably this month. (Through more damp. Fisher Plaza, Seattle Center, Jan. 31.) Bellevue Arts seattlepartycamp.com. $25 to enter, free to

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Twilight of the Ring?

Before a possible Valhalla reboot, Seattle Opera delivers its best performance yet of Wagner’s epic.

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This is the beginning of the end for the gods, rather than the triumph suggested by the thundering in the pit. a virus, the first cycle, August 4-9, featured two Brünnhildes, both excellent. Alwyn Mellor, in Die Walküre, brings the punch the role requires, but at softer volume shows off her voice’ s silken surface. Understudy Lori Phillips—heard here a year ago as Puccini’s Turandot—took over heroically for Siegfried and Götterdämmerung; Friday’s performance in the latter opera was not only her first onstage of that role, but her first time ever singing it with an orchestra.

Among the returnees from past performances, Stephanie Blythe lavishes on Fricka the kind of singing that makes you forget it’s singing: not only gorgeous, vibrant, and effortless, but pure, direct emotional communication. The Ring’s conscience, Fricka can seem like a scold on paper, possessive and implacable, but Blythe’s warmth adds layers to the character and makes it clear her primary motivation is affection for her husband Wotan, the deeply flawed godking. This time around, Greer Grimsley pushes Wotan further in every direction: his power-lust more disturbing and unsympathetic, his eventual downfall more pathos-laden.

Grimsley gets fired up as Wotan.

ALAN ALABASTRO

THE COOKERS WED, AUG 14

his summer’s Seattle Opera performances of Richard Wagner’s The Ring of the Nibelung may or may not be the last go-round for the current production directed by Stephen Wadsworth—what’s been termed their “green Ring.”

Assuming the four-year rotation continues, 2017 is the next date scheduled for the company’s staging of the tetralogy (Das Rheingold, Die Walküre, Siegfried, Götterdämmerung). That’ll be early in the tenure of incoming general director Aidan Lang—perhaps too early for him to start a Ring from scratch. What’s certain is that this presentation of Wadsworth’s highly popular and acclaimed 2000 staging is the company’s strongest performance yet of the epic—more vivid, more gripping, more moving than ever.

The singers slated for the Ring’s two lead roles are new to Seattle Opera. As a friend pointed out, there was nothing to fear when tenor Stefan Vinke opened his mouth to sing Siegfried—no catches, no close calls or shakiness; it never sounded like a high-wire act. To name just one example, he was magnificent in the final scene of Siegfried, his voice wonderfully warm-toned in the quiet passages of the opening (after he’d already been singing for three hours), but he still had plenty in the tank for the fireworks of his closing love duet with Brünnhilde. Full-out loud singing, of which Wagner asks for plenty, seems to energize rather than tire him. Owing to

Richard Paul Fink’s voice is never far from a growl as Wotan’s nemesis Alberich, the vengeful scorpion who crawls through the cycle. Fink, surely one of the all-time great exponents of the role, played him to the hilt, hinting at the wounded heart beneath (far beneath) the evil.

Even the briefer roles in SO’s deep bench feature high-caliber artists like Mark Schowalter, who as fire god Loge brings a clarion voice to all his narration in Rheingold, and Andrea Silvestrelli, who somehow makes his voice— curiously colored, with a certain haunting hollowness—work wonderfully while dual-cast as both the sympathetic giant Fasolt and the brutal Hunding.

My two favorite moments in the cycle come thanks to decisions Wadsworth and the singers made, ones implicit but not directly stated in Wagner’s score or libretto. Almost immediately after the giants Fasolt and Fafner gain control of the Ring in Rheingold, its corrupting curse takes hold and the latter murders the former, with a grisly little brain-splattering stage effect. The dead body, and the brains, are left lying in plain sight at the front of the stage as the gods ascend to Valhalla to some of the cycle’s most overwhelming music—except for Fricka and Loge, who, voicing their skepticism, remain behind to worry over the corpse. It’s obvious to them, and to us, that this is the beginning of the end for the gods, rather than the triumph suggested by the thundering in the pit; the dramatic irony is deeply arresting.

The second came at the end of Act 1 of Walküre, the meeting and elopement of Siegmund and Sieglinde, fated to be Siegfried’s parents. Stuart Skelton and Margaret Jane Wray are ablaze here; their slow transformation from harried fugitive and browbeaten wife to ecstatic lovers builds to a climax of heartpounding abandon.

In the pit, conductor Asher Fisch engineers an

astonishingly skillful orchestra/voice balance, but lets the Seattle Symphony loose after the voices go quiet—for example, at the ends of scenes, driving thrillingly to blackouts. Was I just sitting in a sweet spot for the low brass, or did their stentorian blasts really sound that stunning? On top of every other achievement, this also must be one of the funnier Rings ever, with the audience appreciatively attuned to the occasional wry nuances in Jonathan Dean’s expert supertitles.

Under Peter Kaczorowski’s lighting, Thomas Lynch’s forest sets (you can practically smell the bark) provide some ravishing tableaux. (Even the curtain call for Rheingold is stunning.) A rebuke, it seems, to today’s CGI-driven film/ video game aesthetic, this is very intently a human-scaled Ring—both narratively, in its focus on affecting character interaction and the importance of Nature, and, for all its dazzlements, in its stagecraft. (The rest of it, the work’s allegorical richness, is left to us to tease out— we’re invited to think rather than told what to think.) The toad Alberich transforms into is clearly and charmingly a puppet; the Rhine Daughters float and tumble on visible wires.

These flourishes intensify, rather than distract from, the wonder. Opera has long prided itself on being the last bastion of the live, unamplified human voice in all its glory, and as a theatrical spectacle, SO’s Ring takes the same approach: Glorious as it is, you never forget that people are doing all this, not some pixel-pushing mouseclicker—and it’s happening in real time, in the same room as you. E

gborchert@seattleweekly.com

MCCAW HALL 321 Mercer St. (Seattle Center), 389-7676, seattleopera.org. $300–$1,460 per cycle.

Cycle 2 ends Aug. 17; Cycle 3 runs Aug. 20–25.

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

WAITING FOR GODOT Arts on the Waterfront takes on

Beckett in the shadow of the Great Wheel. Waterfront Park, 1300 Alaskan Way, artsonthewaterfront@gmail.com.

Donation. Opens Aug. 16. 7:30 p.m. Fri.–Sun. Ends Sept. 1.

Stage

CURRENT RUNS

OPENINGS & EVENTS

BALAGAN’S NEW WORKS SUMMER SERIES Readings

of new shows—this week, the musical Island Song.

(Manhattan is the island in question.) Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagantheatre.org.

Donation. 8 p.m. Mon., Aug. 19.

BREAK-UP SONGS Unexpected Productions takes your tales of romantic trauma and turns them into theater.

Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $12–$15. Opens Aug. 16. 8:30 p.m. Fri.–Sat. Ends Sept. 21.

BURLESCO DIVINO: WINE IN ROME Lily Verlaine and Jasper McCann salute The Eternal City in ancient times and the swingin’ ‘60s. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $30–$38. 8 p.m. Wed., Aug. 21; 7 & 10 p.m.

Thurs., Aug. 22; 7 & 10:30 p.m. Fri., Aug. 23–Sat., Aug. 24.

ICICLE CREEK THEATER FESTIVAL Readings of new work: Cory Finley’s The Private Sector on Tues., Sarah Saltwick’s A Perfect Robot on Wed. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $12 ($20 for both).

7 p.m. Tues., Aug. 20–Wed., Aug. 21.

KEYS TO FAME A new musical created by students in the LHPAI Summer Academy., Langston Hughes Performing Arts Center, 104 17th Ave. S., 684-4758, langstoninstitute. org. $4–$12. 11 a.m. Thurs., Aug. 15; 7 p.m. Fri., Aug. 16; 2 & 7 p.m. Sat., Aug. 17–Sun., Aug. 18.

SISTER ACT All singing! All dancing! All nuns! It’s the Whoopi Goldberg vehicle musicalized. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $25–$85.

7:30 p.m. Tues., Aug. 20–Thurs., Aug. 22; 8 p.m. Fri., Aug. 23; 2 & 8 p.m. Sat., Aug. 24; 1 & 6:30 p.m. Sun., Aug. 25.

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

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BEAUTY OF THE FATHER In Nilo Cruz’s play, the ghost of

clueless narcissism, and Daniel Stoltenberg adds some pathos to the put-upon Malvolio, deftly played midway between Sheldon Cooper and Niles Crane. What almost never does is Mills’ lite-pop score. GAVIN BORCHERT Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre. org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m.

Sat. EXTENDED through Aug. 17.

LYSISTRATA Setting Aristophanes’ salacious tale—about a coalition of Athenian and Spartan women who unite in a sex strike against their warrior husbands to end the Peloponnesian War—as a play within a play performed at a U.S. camp in Afghanistan, makes more urgent the heroines’ crusade to kill the war. This topical Lysistrata, directed by Sheila Daniels, is a forcible reminder of bloody wars still being fought on the other side of the globe.

When warfare breaks the suspension of disbelief, it really breaks it. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for exact schedule. Ends Sept. 12.

PRECIOUS LITTLE Madeleine George’s “carefully drawn story of one woman’s experiences: her work, her passions, her desire to be a parent, and her coming to terms with life’s inadequacies.” Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20 (Thurs. pay what you can). 8 p.m. Thurs.–Sat. Ends Aug. 31.

SHREK THE MUSICAL The big green guy sings. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 2324145 x109, youththeatre.org. $13–$15. 2 p.m. Wed.–Thurs. & Sat.–Sun.; 7 p.m. Fri.–Sat.; plus 2 p.m. Tues., Aug. 20.

Ends Aug. 24.

STU FOR SILVERTON This new musical, part of Intiman’s summer season, tells the absolutely true story of a small Oregon town and its transgender mayor. Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 15.

TROUBLE IN MIND Alice Childress’ 1955 Obie winner catalogs the charades and compromises (i.e., sellingsout) demanded of “negro” stage professionals trying to make it on Broadway. Wiletta Mayer (Tracy Michelle Hughes) arrives for her first day of Broadway rehearsal, where she and other black cast members are confounded by the destructively narrow vision of producer/director Al Manners (Tim Gouran). In a play about a lynching, he wants Southern dialect and old stereotypes; his

Spanish playwright Federico Garcia Lorca converses with the living. Presented by Latino Theatre Projects in English.

Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, latinotheatreprojects.org. $17–$20.

8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 25.

CAMP DEATH Blood Squad sends up the summer-campslasher genre. Balagan Theatre, 1117 E. Pike St., 800-8383006, balagantheatre.org. $10. 11 p.m. Sat. Ends Aug. 17.

DAS BARBECÜ Scott Warrender and Jim Luigs’ translation of Wagner’s Ring to Texas, billed as “1/4 of the epic for 1/40th the price!” West of Lenin, 203 N. 36th St., 800-8383006, westoflenin.com. $20. 7:30 p.m. Wed., Aug. 14.

GAME SHOW Jeffrey Finn & Bob Walton’s dark look at the genre—and you can win actual prizes! Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $18–$23. 8 p.m. Fri.–Sat. Ends Aug. 17.

GREENSTAGE A Midsummer Night’s Dream and King Lear, plus Twelfth Night and The Merry Wives of Windsor in scaled-down productions, in various outdoor venues, all free. Runs Thurs.–Sun. through Aug. 18; see greenstage.org for complete date and venue info.

GUYS AND DOLLS Frank Loesser’s classic musical pits a gambler against a missionary. Presented by Twelfth Night Productions. West Seattle High School Theater, 3000 California Ave. S.W., 800-838-3006, brownpapertickets. com. $16–$19. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 18.

•

corporate sponsorship” sends up both folky entertainment and consumer culture. Annex Theatre, 1100 E. Pike St., 728- 0933, annextheatre.org. $5–$10. 11 p.m. Fri.–Sat. plus 8 p.m. Mon., Aug. 19. Ends Aug. 30.

ILLYRIA What’s best about Illyria (by some distance) is Pete Mills’ book, a nimble distillation of Shakespeare’s dreamy love-triangle farce Twelfth Night. The cast, directed by Karen Lund, provides a bit of this magic too: Mark Tyler Miller as Orsino brings out the romance in his adorably

•

THE HALF BROTHERS BRAND OLD-TIME VARIETY SHOW Annex’s “late-night pairing of neo-bluegrass and

performers are uncomfortable, but they also want the job. Intiman’s splendid rendering marries beautiful acting to the powerful architecture of a laser-sharp script that ricochets between hope and heartache. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 15.

WE WON’T PAY! WE WON’T PAY! Dario Fo’s 1974 farce about life in an exploitive, inflationary economy is an intelligently ridiculous examination of whether looting is justified under a corrupt regime—timely in our era of unprecedented income inequality. Director Jane Nichols deftly articulates the quick beats that can be so easily muddled in farce. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 14.

THE WILD PARTY Andrew Lippa’s Roaring 20s-set musical. Center House Theatre, Seattle Center, 800-838-3006, soundtheatrecompany.org. $15–$25. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 25.

YOU CAN’T TAKE IT WITH YOU Seattle Public Theater’s Youth Ensemble revives those wacky Sycamores. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. 7 p.m.

Fri.–Sat., also 2 p.m. Sat., Aug. 17. Ends Aug. 17.

•

Classical, Etc. • COMPOSER SPOTLIGHT Amy Denio discusses

her work, including her participation in the Immersion Composition Society. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., Aug. 14.

SEATTLE OPERA SEE REVIEW, PAGE 22.

JHEREK BISCHOFF This Seattle avant-musician’s burst into national prominence recently (praise in The New Yorker, collaborations with the Kronos Quartet).

With local friends, he’ll play music from his recent album Composed. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $20. 7:30 p.m. Fri., Aug. 16.

OLYMPIC MUSIC FESTIVAL This weekend, allSchubert for violin and piano. Olympic Music Festival, Center Road, Quilcene, 360-732-4800, olympicmusic festival.org. $18–$33. 2 p.m. Sat., Aug. 17–Sun., Aug. 18.

• •

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OLYMPIC SCULPTURE PARK

july 11–august 29

6 pm-8 pm

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

seattleartmuseum.org/getout

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

Thursdays atthePark

Thursday, August 15, 6-8 pm: Join us for a performance from Tacocat, which entertains with their classic pop/punk sound and playful lyrics. Get creative alongside teaching artist Romson Bustillo with a house and home collage activity inspired by Heather Hart’s summer installation, The Western Oracle.

Take a tour of the park with SAM Conservation Technician Tim Marsden. And savor local wines and food truck fun with TASTE Café, Hallava Falafel, Here & There Grill and Off the Rez. Then stick around for an incredible performance from the “New Orleans jazz institution” Rebirth Brass Band from 8:30-11 pm, presented in collaboration with Friends of Waterfront Seattle.

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film»This Week’s Attractions PThe Hunt

old Western. Here is the stoic leader of the wagon train, full of optimistic migrants, trying to maintain order despite various secrets, lies, and factions among the voyagers. Baye Laye has a GPS in his pocket and two outboard engines for power, but equally important are the talismans and fetishes adorning the boat and its passengers (one even has a lucky chicken whose fate you can guess). This is very much a voyage of faith, and some confusing flashbacks among the passengers play like ecstatic visions. They’re caught between realms in an unforgiving purgatory, and none of them can swim. BRIAN MILLER

RUNS FRI., AUG. 16–THURS., AUG. 22 AT GRAND ILLUSION. NOT RATED. 83 MINUTES.

Don’t make a masterpiece. Or at least don’t set out to make a masterpiece. That’s one of the lessons of this compulsively watchable documentary about celebrated animator Richard Williams and how he never finished his designated magnum opus.

Williams is a Canadian, now 80, who ran a profitable animation studio in London for decades. Expert at turning out brilliant short films and TV commercials, Williams began on his real work—the labor of love that all the other stuff was paying for—in the early ’60s.

His original concept for the feature involved tales of the folkloric Middle Eastern character Nasrudin; and although the concept veered away from that character, the colorful

OPENS FRI., AUG. 16 AT VARSITY. RATED R. 94 MINUTES.

Mikkelsen as object of scorn.

pirogue) full of fellow asylum-seekers toward the Canary Islands. In Terraferma (see below), still more impoverished Africans are washing onto the beach of a Sicilian island. During SIFF over the past decade, we’ve seen several similar movies from France, Holland, England, even Switzerland, yet American filmmakers rarely consider our own southern border.

(Maria Full of Grace and A Better Life are two recent notable exceptions.) Inside Fortress Europe and across the Mediterranean, artists are more willing than governments to consider the cost of maintaining barriers against the relentless tide of refugees.

Director Moussa Touré begins his compact, affecting drama at a raucous wrestling match full of folk rituals and religious blessings. It’s an exuberant scene with the athletes in traditional costumes, invested with centuries of animist meaning. Yet the spectators mostly wear Western clothing, and some have eyes glued to their cellphones. Among them is Baye Laye (Souleymane Seye Ndiaye), who’s being pressured by a smuggler to sail a small boat seven days north to the Canary Islands, controlled by Spain, which might grant his clients refugee status. With a wife and son to support, Baye Laye is eventually persuaded; his layabout brother, a would-be musician, joins the other 30 aboard the open-topped pirogue.

As Baye Laye sets his fee, selects his crew, and says goodbye to his family (possibly for years), The Pirogue takes on the aspect of an

ROBERT HORTON

The Pirogue RUNS FRI., AUG. 16–THURS., AUG. 22 AT NORTHWEST FILM FORUM. NOT RATED. 87 MINUTES.

Where’s Matt Damon when you need him? So soon after Elysium, in which poor, desperate migrants risk their lives to reach the prosperous shore (well, space station), we have two films this week on the same subject. Here, a Senegalese fisherman pilots his boat (or

ARTMATTAN PRODS.

PPersistence of Vision

Arabian Nights theme persisted throughout the decades. Yes, decades: The project lost backers, missed deadlines, underwent rewrites, and outlived some of its original animators.

Williams dawdled so long that he was forced to endure the success of Disney’s 1992 Aladdin, which bore a suspicious resemblance to his own work-in-progress. At one point in the process, Williams won two Oscars for his boundary-pushing work on Who Framed Roger Rabbit and snagged big-studio backing for his masterpiece, now titled The Thief and the Cobbler. And this is where it becomes clear that money wasn’t the main issue with completing the picture—Williams was.

Persistence director Kevin Schreck assembles a big group of Williams’ former employees to weigh in on the heartbreaking arc of this project. He does not, however, have Williams himself—the animator refuses to discuss The Thief and the Cobbler these days—but we hear a lot from Williams anyway, thanks to sizable clips of him talking about the film in various phases of its development. He isn’t shy about the word “masterpiece,” nor about wondering what Rembrandt would do in his position. Williams emerges as a recognizable cracked-genius stereotype: exacting in his methods, specific in his vision, and rough on subordinates who don’t see working 80 hours a week as normal. The completed segments of his dream film show astonishing, hallucinatory images, but his associates acknowledge that Williams never really had the overall storyline plotted out, even after he’d spent millions of dollars on it.

Stories about doomed crusades have a builtin appeal, especially when there’s a grand, visionary angle. Persistence of Vision has all that, and even if you know how the train wreck is going to end, the spectacle is hard to resist.

Prince Avalanche

Ndiaye at the helm.

What makes Prince Avalanche a summer movie?

Maybe it’s the aimlessness of its wandering story line, even more than the literal backdrop for the thing: two guys on a summer job sprucing up a lonely road in West Texas. A recent fire has burned the surrounding countryside, which gives the setting a pleasant, haven’t-quite-seenthis-before-in-a-movie quality.

The guys are Alvin (Paul Rudd) and Lance (Emile Hirsch), and they really don’t get on.

Alvin wears a mustache of self-satisfaction, as befits a man with a secure collection of platitudes and a condescending air to match. Lance is the brother of Alvin’s girlfriend (Seattle’s own Lynn Shelton, heard only on the phone), and Alvin tries manfully to impose his standards of behavior on his younger cohort. They putter along the blasted landscape, painting new yellow lines on the road and arguing about what constitutes mature behavior.

It’s to director David Gordon Green’s credit that the eventual revelation that Alvin’s life is not as together as he’d like to think is treated not as gotcha irony but as a natural piece of confused masculine existence. And even that plot point, though important, is folded into the film’s casual approach—in fact “plot” might be too strong a word to describe the odd, slightly stoned rhythm Green gets going here.

The movie’s set in 1988 and adapted from an Icelandic movie called Either Way (seen at SIFF last year). It’s a good fit for Green, whose recent bro-centric films Pineapple Express and Your Highness were very different in tone from early beauties such as All the Real Girls. Along with some bull’s-eye observations about male posturing, Prince Avalanche summons up a handful of quasi-supernatural moments, as though resisting easy pigeonholing. And the actors are well up to the movie’s oddball challenges: Rudd has always been able to suggest the human presence behind his nonpareil comic talents, and Hirsch, who’s beefed up since wasting away in Into the Wild, contributes a portrait of arrested adolescence without distancing himself from the role.

The striking music is by Explosions in the Sky and Green’s usual composer, David Wingo, another gorgeous plus. If only all these admirably unexpected elements didn’t steer quite so inevitably to a sentimental wind-up. It seems that a premise like this can lead only to the fellows going on a drunken toot and finding their way to mutual understanding. Alas. Despite its soft center, though, Prince Avalanche gets a director back on track and succeeds as a quiet summer doodle. ROBERT HORTON

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

Mads Mikkelsen plays a serial killer on TV’s Hannibal, but in Thomas Vinterberg’s study of rumors and self-righteous hysteria in a Danish village, he’s a compassionate preschool teacher who falls under wrongful suspicion of child sexual abuse. Adorable little Klara (Annika Wedderkopp) lives under a cloud of anxiety at home, where the verbal scuffles of a troubled marriage makes her shrink in dread. Mikkelsen’s Lucas, a trusted friend of the family, is the most stable and comforting adult in her life, and she clings to him like a lifeline.

When Klara pours out a confused but alarming string of inappropriate phrases she heard spoken by teenage boys, mixed with misguided anger toward Lucas, alarm bells go off. The police investigation is leaked to the public before it’s even begun, then suspicion about Lucas spreads like a virus through the community. Everyone assumes he’s guilty.

Vinterberg works in the same key of personal transgression and raw, inchoate emotion that made his 1998 The Celebration so effective.

Onetime friends suddenly treat Lucas like a convicted war criminal somehow free on a technicality; it’s open season for vigilantism without consequences. That a community of hunters should treat Lucas as their prey is a powerful metaphor, even if the portrait of official conduct is well short of realism. (The citizenry, school, and government all seem bound in a malign knot of indifference or gross negligence.) I can’t help reflecting on the far more ambiguous and complicated reality of Andrew Jarecki’s 2003 documentary Capturing the Friedmans, which appears to be a direct influence on Vinterberg and his co-writer, Tobias Lindholm.

But those are quibbles compared to the heat, rage, and fear of the main performances. The gentleness in Lucas hardens under abuse, burns with the helpless fury of betrayal, and slips into a kind of martyred masochism. Meanwhile, his furiously loyal son (Lasse Fogelstrøm) feels like the world has turned on his father. And even as the town is torn apart, Vinterberg never forgets Klara. The adults won’t explain a thing, but she figures out it’s her fault. Wedderkopp’s nervous slide from sunny affection to anxiety, dread, and guilt are as piercing and honest as anything created by Mikkelsen. Vinterberg traffics in primal emotions. Nobody is left untouched here, least of all the audience. SEAN AXMAKER

CHARLOTTE BRUUS-CHRISTENSE/MAGNOLIA PICTURES

OPENS FRI., AUG. 16 AT GUILD 45TH. RATED R. 111 MINUTES.

» CONTINUED ON PAGE 27 25

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film»This Week’s Attractions » FROM PAGE 25 Sign Painters

The Spectacular Now

This adaptation of a 2008 young-adult novel

by Tim Tharp plays like one of those cautionary old TV after-school specials. You know— Jenny has an eating disorder, or Jimmy is smoking too much pot, or Jeremy needs to tell someone the gym teacher is touching him in inappropriate places. Here our fatherless teen protagonist is Sutter (Miles Teller), who lives a wildly unsupervised life of partying and blown-off homework. He wakes up on a lawn, unsure where he left the car, which introduces him to smart-girl Aimee (Shailene Woodley, one of Clooney’s kids in The Descendants). They’re total opposites, and The Spectacular Now is the story of their unlikely yet plausible romance.

Oh, and Sutter is plainly an alcoholic, though that term is curiously omitted from The Spectacular Now, because that would be too . . . no,

Terraferma OPENS FRI., AUG. 16 AT VARSITY. RATED R. 88 MINUTES.

The setting is a remote volcanic island off Sicily that looks like a lot of other harshly beautiful locales in Italian neorealist cinema.

The family isn’t destitute, but the old fishing trade is dying, and they could make more money renting their house to summer tourists, then move to shore. And the 20-year-old son, Filippo (Filippo Pucillo), has no prospects and little education—he can’t even speak proper Italian without a dialect, his widowed mother (Donatella Finocchiaro) frets. These people in the southernmost outpost of Europe are lagging far behind the affluent north; yet their island is a gateway for boats full of migrants who have it even worse in Africa.

Out fishing with his stubborn, leonine grandfather (Mimmo Cuticchio), Filippo spots a stranded raft. Before the coast guard arrives, they’ve impulsively rescued a few swimmers.

The men flee on shore, leaving them with a pregnant Ethiopian woman (a non-professional and former refugee billed only as Timnit T.) and her young son. Harboring migrants is illegal, and the local police are unyielding sticklers, so what should they do?

Director Emanuele Crialese previously addressed the immigrant experience in Golden Door, with Sicilian peasants arriving at Ellis Island, there to be confounded by a strange new land. By contrast, Terraferma is confined to the shoreline: One wave of immigrants is arriving at a place where the natives yearn to leave. Crialese leaves the irony implicit, while mostly dwelling on the textures and traditions of the ancient, unforgiving island (actually Lampedusa, closer to Africa than Sicily).

Still, Crialese’s characters never get beyond type, and Pucillo is a woefully broad and callow young actor, given to incessant mugging. Terraferma sketches a drama of situation, if not depth or subtlety. You wish Gedeck’s heroine is Crialese had developed trapped in a bubble. his topical themes further—or that someone else had done it for him.

Filippo and his family get no help from their place in the universe. The film has a few strands government, and they naturally feel solidarity of dialogue, but mostly we’re in tune with her with these poor, oppressed newcomers. In a real voice-over narration, which Gedeck speaks in sense, they’re all in the same boat. BRIAN MILLER English for this export version (a wise move, given the torrent of words on the soundtrack).

The cliché that movie narration is a weakness is PThe Wall RUNS FRI., AUG. 16–THURS., AUG. 22 AT SIFF nicely rebuked by Gedeck’s voice, and her genCINEMA UPTOWN. NOT RATED. 108 MINUTES. uinely thoughtful observations fall as gently as the first snow of the Austrian winter. This sort Everybody bumps into an existential block now of movie requires a delicate touch, and Gedeck and again. They just don’t generally experience and Pölsler have found it. ROBERT HORTON E the literal THUNK encountered by the protagonist of The Wall. The unnamed character, film@seattleweekly.com

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

OPENS FRI., AUG. 16 AT HARVARD EXIT, LINCOLN SQUARE, AND SUNDANCE CINEMAS. RATED R. 95 MINUTES.

wait a minute, what American family isn’t familiar with that term? And how could college-bound Aimee not be not brainy enough to detect Sutter’s constant drinking? You’re telling me these things aren’t discussed, particularly by his mom ( Jennifer Jason Leigh), after her alkie ex abandoned them? Today’s teens, and audiences, are smarter than that.

Still, director James Ponsoldt’s young duo behaves with a likable, naturalistic ease. There are no Hughesian quips or ridiculously hunky/ beautiful high-schoolers here. This is suburban Georgia, not The O.C. Ponsoldt had his indie breakthrough with Smashed (whose star, Mary Elizabeth Winstead, shows up as Sutter’s sister). Here again he shows a nice touch with the uncharmed lives of ordinary characters unaware how one misstep could lead to disaster. Both these kids are from families close to slipping out of the middle class, shadowed by the recession. In response to such stresses (absent fathers, etc.), Sutter’s credo is “Live in the now,” while ever-striving Aimee’s goals are to own a horse farm and work for NASA. They’re both living in a bubble, but such is first love.

Reality intrudes in The Spectacular Now’s clunky third act, as a road trip to find Sutter’s father (a fine Kyle Chandler) yields predictable results. The storytelling here surpasses the story (adapted by Michael Weber and Scott Neustadter). Every generation needs its new Say Anything. This isn’t that movie, but it earns points for trying. BRIAN MILLER

One of Sign Painters’ unidentified subjects practicing his craft.

MUSIC BOX FILMS

The more I type, the worse my handwriting gets. And forget about drawing something.

Even architects have mostly traded pencil for computer. Yet this new documentary by Faythe Levine and Sam Macon celebrates a pre-digital enclave of the design trade: commercial sign painters. Their handiwork is what you see revealed on a brick wall when an old building is torn down, or at antique markets and yard sales. Yet a few practitioners continue their craft today. “It’s not fine art,” says one (the doc is terrible about identifying its sources). “Be decorative and informative at the same time.”

Once a union trade, we learn, sign painting has eroded to something more like day labor or an artisanal sideline for graphic artists.

(We watch one woman hand-painting elegant address numbers on expensive L.A. houses.)

Old-timers speak nostalgically about their boar’s-hair brush bristles and the intricacies of hand-lettering back in an era when fonts weren’t carefully copyrighted by Adobe. The drying time of paint is considered, as is the use of a maulstick. Then there’s the lost art of gold leaf (and you thought toner was expensive).

A few younger sign painters claim to have graduated from graffiti, but neither seems a viable career path these days. For better or worse, the cursor has replaced the brush. Most of the graying experts here are too old to be working on their feet all day, outside in the elements. The doc ought to have been screened during NWFF’s ByDesign festival last month, when desk-bound design professionals would’ve marveled at their forebears ability to keep a steady hand while standing on a ladder.

Levine and Macon have also published a companion book that makes it easier to study and appreciate these fading craftsmen and their legacy. And here’s one last bit of professional wisdom, which probably also applies to other fields: “Never use pink without asking the customer first.” (Note: The directors will appear at Monday’s screenings.) BRIAN MILLER

SIGNPAINTERMOVIE.BLOGSPOT.COM

RUNS MON., AUG. 19–THURS., AUG. 22 AT NORTHWEST FILM FORUM. NOT RATED. 80 MINUTES.

played by Martina Gedeck, wakes up in her friends’ Alpine hunting cabin, only to discover the friends still absent from a hike the previous day. Accompanied by their dog, she walks along a pretty lakeside road and abruptly face-plants into a transparent, all-encompassing force field. She can’t go farther.

Don’t expect a sci-fi explanation for her roadblock. What we have here instead is pure, abject isolation, as Gedeck discovers her enclosed world includes a large swath of nature, a bevy of animals, but no other humans—and no way out. After her initial adjustment, she learns how to manage her food supply, hunt for deer, and shed her fierce I-ness in favor of a newly conscious connection to the world.

If that description makes the movie’s theme sound as transparent as the all-encompassing wall, fair enough—but the execution is suitably lyrical. This setup predates Stephen King’s book and TV series Under the Dome by a long chalk: The Wall is adapted from a well-regarded 1963 novel by Austrian writer Marlen Haushofer.

That’s the era of The Twilight Zone and The Incredible Shrinking Man, works that bear some resemblance to its single-premise study of how catastrophe might force an awareness of what it really means to be human. On that score, The Wall is absorbing, as Gedeck passes through the changing seasons and stupendously pretty Alpine scenery.

Director Julian Pölsler rests the concept on the strapping shoulders of Gedeck, the star of Mostly Martha and The Lives of Others. Completely deglamorized here, Gedeck makes a thoroughly believable transition from awkward egotist to focused deerslayer, albeit one with profound, conflicted musings on her lonely

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Local & Repertory Judy Holliday • AMERICAN COMEDY CLASSICS The Solid Gold Cadillac,

stars in the 1956 comedy adapted from the hit Broadway show, about a small investor (Holiday) who discovers Wall Street and Washington, DC are hopelessly corrupt. Time for a remake? (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $42–$45 series, $8 individual, Thursdays, 7:30 p.m. Through Aug. 15.

ANACONDA Don’t get out of the boat! The same adage applies to the snake-tastic 1997 jungle adventure flick starring Ice Cube, J-Lo, Eric Stoltz, and Owen Wilson.

(PG-13) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Thu., Aug. 15, 7 p.m.

BACK TO THE BEACH Well past their teenage years, a very game Frankie Avalon and Annette Funicello appear in this affectionate 1987 tribute to their string of hit beach comedies of the early ‘60s. (PG) Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com, $6-$8, Thu., Aug. 15, 8 p.m.

BREAKFAST AT TIFFANY’S A certain kind of classic for a certain kind of viewer. Audrey Hepburn stars in the 1961 adaptation of the Truman Capote novel. And, boy, does she star in Breakfast at Tiffany’s. George Peppard barely registers more than the wallpaper as the kept man/aspiring writer—actually gay in the novel—who hopes to win Holly Golightly’s hand.

Mickey Rooney stoops to racist caricature as her Japanese neighbor upstairs, but at least Patricia Neal keeps dignity intact as Peppard’s lusty employer. An Oscar went to the Henry Mancini-Johnny Mercer standard-to-be, “Moon River,” famously written to suit Hepburn’s one-octave singing voice. (PG) BRIAN MILLER Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $8.25, Sat., Aug. 17, midnight.

FREMONT OUTDOOR MOVIES “I love scotch.

Scotchy, scotch, scotch. Here it goes down, down into my belly... ” Oh! Is the camera rolling? Well, then, let the broadcaster finish his drink before delivering the news. Which he does, on camera, without shame—and that’s the way Will Ferrell tears up the rest of Anchorman: The Legend of Ron Burgundy. The stupidity of Burgundy and his posse (including Steve Carell, Paul Rudd, David Koechner, and Fred Willard) is undiminished. In 1970s San Diego, the arrival of a hot, blonde, and actually capable woman (the very game Christina Applegate) is more than a threat to this cologne-addled crew—it’s downright emasculating.

First the women take our jobs, then they make us give up our free-loving, jazz-fluting freedom! The sequel arrives Dec. 20. Outdoor movie screens at dusk. (PG13) BRIAN MILLER. 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com, $5, Sat., Aug. 17, 7:30 p.m.

GLACIAL BALANCE Local filmmaker Ethan Steinman travels from Colombia to Argentina to document the effect of global warming upon the planet’s glaciers, the decline of which will profoundly impact water supplies in vulnerable parts of South America. Steinman will attend and introduce the screening. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum. org, $10, Sat., Aug. 17, 2 p.m.

MOHAI MOVIES IN THE PARK John Cusack as romantic lead? It didn’t seem likely, but that’s exactly what happened with the alchemy of Cameron Crowe’s lovely 1989 rom-com Say Anything, his directorial debut. Ione Skye is the girl, and John Mahoney her disapproving father. Cusack was just graduating from teen fodder when Crowe gifted him with the role of a decade. Set in Seattle, the film has Cusack’s kid from the wrong side of the tracks fall hard for a collegebound high achiever. Though something of a shambling oaf, whose only goal in life is to become a pro kickboxer, he somehow locates his own inner Cary Grant to woo her. Two decades later, there are plenty of women in their 30s and 40s who are, perhaps after a divorce or two, still looking for their Lloyd Dobler. Outdoor screening begins at dusk. (R) BRIAN MILLER Lake Union Park, 860 Terry Ave. N., mohai.org, Free, Saturdays.

Through Aug. 24.

MOONLIGHT CINEMA In 2008’s Pineapple Express, process server Dale Denton (Seth Rogen) scores some primo dope off his lonely dealer Saul (James Franco), then Dale witnesses a murder committed by a dealer (Gary Cole, in league with Rosie Perez. In short order, the dopes are on the run, dodging bullets, wrecking

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cars, and falling in love with each other. But the film’s greatest achievements lie in the details likely to be lost in a torrent of delighted audience squeals. Much credit must be given to director David Gordon Green, a heretofore beloved arthouse craftsman who transforms PE from the inevitable into the unexpected. 21 and over Outdoor screening begins at dusk. (R) ROBERT WILONSKY Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com, $5, Thursdays, 6 p.m. Through Aug. 29.

MOVIES AT MAGNUSON PARK In the 1981 Raiders of the Lost Ark, Harrison Ford is more like the embodiment of the boyish dreams of producer George Lucas and director Steven Spielberg. Sure, he makes manly eyes at Karen Allen, but the lust—like the violence, in which movie-Nazis can be killed like flies—is only as real as in the movie serials that inspired the Indy franchise. In a thoroughly satisfying, always kinetic way, this first Jones flick lives inside its own archetypes, and Ford is too disciplined an actor to wink at the artifice. He always seems sincerely, physically invested in this iconic role, whether he’s outrunning boulders, being dragged under trucks, or recoiling from snakes.

He’s a moonlighting, grave-robbing, rogue scholar, nobody’s hero. He’s a man you want to be—not the same thing as being a role model. Outdoor movie screens at dusk. (PG) BRIAN MILLER Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com, $5, Thursdays, 7 p.m. Through Aug. 29.

A PLACE AT THE TABLE This well-intentioned doc by Kristi Jacobson and Lori Silverbush is really best suited for the children of Seattle’s overeducated foodies, something that ought to be screened in middle school.

With subjects including food deserts, corn-syrup subsidies, and the obesity/poverty paradox, Table attempts to enliven the talking heads (Marion Nestle, etc.) with real-life vignettes featuring sympathetic poor folk from Philadelphia to rural Colorado to the Mississippi Delta. As you’d expect, there are no Whole Foods from which to purchase fruits and veggies; more to the point, they couldn’t afford such healthy fare even if it were convenient. Among other non-surprises here are the thwarted efforts in Washington, D.C., to increase the purchasing power of food stamps and decrease the lobbying power of big agribusiness. (PG) BRIAN MILLER Seattle First Baptist Church, 1111 Harvard St., 325-6051, Free, Sat., Aug. 17, 4 p.m.

THREE DOLLAR BILL OUTDOOR CINEMA Conan the Destroyer (1984) is the tamer of two Conan movies made by Arnold Schwarzenegger. Besides his glorious body, look for some funny supporting work by Tracey Walter, Wilt Chamberlain, and Grace Jones. Outdoor movie screens at dusk. (PG) Cal Anderson Park, 1635 11th Ave., threedollarbillcinema.org, Free, Fri., Aug. 16.

TREMORS The Irish director of the recent creaturecom Grabbers freely admitted to the influence of another movie about yokels battling voracious monsters, Ron Underwood’s very enjoyable 1990 Tremors.

The plot couldn’t be more B-movie: In a small, isolated Nevada desert town, the locals are menaced by giant worm-like beasts (which prowl like sharks, only underground). A plucky few survivors are terrorized by the man-eating slugs, and they have only themselves to rely upon. Kevin Bacon and Fred Ward play the uncouth local handymen who first discern the subterranean danger. Reba McEntire and Michael Gross are well cast as a couple of gun-loving survivalists who help lead the resistance to unseen threat. (PG-13) BRIAN MILLER Central Cinema, $6-$8, Aug. 16-21, 7 p.m.

UN FLIC SEE THE WIRE, PAGE 21.

VHS MONTH Friday brings Tales of the Quadead Zone (1987), followed by Saturday’s tribute to Don Johnson and Mr. T. On Sunday there’s a matinee of the classic 1940 screwball comedy The Philadelphia Story, starring Cary Grant and Katharine Hepburn; that same evening follows the Viva VHS! compendium program.

Remember that beer and wine are now served, but screening open to all ages. (NR) Scarecrow Video, 5030 Roosevelt Way N.E., 524-8554, scarecrow.com, Free, Fri., Aug. 16, 6 & 8 p.m.; Sat., Aug. 17, 8 p.m.; Sun., Aug. 18, 1 p.m.

WILD AT HEART Not David Lynch’s best film, but by no means his worst, this twisted 1990 road-trip romance made a star out of Chris Isaak, whose haunting “Wicked Game” appears on the soundtrack. Co-stars Laura Dern and Nicolas Cage march grimly but gamely through the thicket of Wizard of Oz references, but it’s more fun just to count the number of loopy supporting turns, including Diane Ladd, Crispin Glover, Willem Dafoe, Isabella Rossellini, Sherilyn Fenn (she of the loose brain matter), Harry Dean Stanton, and an uncredited Val Kilmer (as Elvis). (R) BRIAN MILLER Central Cinema, $6-$8, Aug. 16-21, 9:30 p.m.

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Ongoing • BLACKFISH Blackfish should be the final word on the

subject of keeping orcas in places like SeaWorld, even if it probably won’t be. This relentless documentary circles around the 2010 death of Dawn Brancheau, a supremely experienced SeaWorld trainer who was killed in a performing tank by Tilikum, a 12,000-pound whale. But that death is the starting point for a film that makes a couple of general thrusts: Killer whales should not be kept in captivity, and the sea parks that own them have done a suspiciously incomplete job of informing their trainers and the public about how they operate their businesses. Interviews with former SeaWorld trainers paint a sad picture of a happy-face culture that sugar-coated the containment of giant wild animals; because of the industry’s expert PR spin, the trainers themselves would hear only vague rumors about injuries in marine parks. If Blackfish outrages people, so much the better. (PG-13) ROBERT HORTON Seven Gables BLUE JASMINE There’s nothing comic about the downfall of Blanche DuBois in A Streetcar Named Desire, the inspiration for Woody Allen’s miscalculated seriocom. Blue Jasmine is an awkward mismatch of pathos and ridicule, less fusion than simple borrowing. Grafted onto the story of delusional trophy wife Jasmine (Cate Blanchett) is a Madoff-like fable of the recent financial crisis. In flashback, we see her husband (Alec Baldwin) buying her consent with luxury while he swindles the Montauk set. In the present timeframe, Jasmine is broke and living with her sister Ginger (Sally Hawkins) in a shabby San Francisco apartment.

Jasmine is a snob who needs to be brought low, a task relished by Ginger, her boyfriend (Bobby Cannavale), and her ex (a surprisingly sympathetic Andrew Dice Clay). As with Baz Luhrmann’s recent The Great Gatsby, you sense that Allen wants to say something about our present culture of inequality and fraud, but he only dabbles, never probes. (PG-13) BRIAN MILLER Harvard Exit, Lincoln Square, Sundance Cinemas DRUG WAR Action master Johnny To trades the overcrowding and overheated capitalism of Hong Kong for the open plains and lonely highways of Tianjin, yet Drug War is still a classic cop procedural. His trademark police squad is lead by the tough, serious, unflinching Inspector Zhang (Chinese star Sun Honglei, all humorless efficiency), whose team executes his every order without hesitation. A police stakeout yields a once-in-a-lifetime shot at the crime kingpins thanks to a remarkably accommodating informant named Choi (To regular Louis Koo, sweaty with mercenary self-interest). Zhang proves a crack mimic as he goes undercover on a minute’s notice, and his team fights exhaustion as the mission stretches through long days and sleepless nights. To keeps track of all the moving parts with remarkable clarity, even when Zhang’s plan spins violently out of control. (NR) SEAN AXMAKER SIFF Cinema Uptown ELYSIUM Elysium hangs in orbit, a giant spinning space station of deluxe McMansions and WASPy country clubs; it’s a brief supersonic ride from the filthy, overpopulated Earth of 2154. Down below, Max (Matt Damon) is a worker-drone who must find a way to get to Elysium and fix his decaying body after radiation accident at the factory. Already you can see the outlines of Neill Blomkamp’s allegory, a world divided between the haves and the have-nots (such a remarkably consistent vision in futuristic fiction). The orbital Elysium is so brilliantly visualized, Blomkamp might’ve benefited from exploiting it more—at least for satirical points. Most of the time we’re on Earth, in a Los Angeles that resembles Mexico City. Damon knows exactly how to lock Max into focus; Jodie Foster (leading with clenched jaw) is on point as the Elysium security chief; and William Fichtner is scrupulous as a corporate jerk. If this movie lacks the startling originality of Blomkamp’s 2009 District 9, it’s still workable enough to qualify as satisfying old-school science fiction.

(R) ROBERT HORTON Alderwood 16, Southcenter, Cinerama, Kirkland Parkplace, Lincoln Square, Majestic Bay, Bainbridge, Meridian, Thornton Place, Sundance, others FRUITVALE STATION By an accident of timing, if not craft, Ryan Coogler has made one of the most important movies of the year. His docudrama chronicles the last 24 hours in the life of Oscar Grant (Michael B. Jordan), a 22-year-old black man shot to death by overzealous Oakland transit cops in 2009. Fruitvale Station leads up to that incident with a day-in-the-life format.

After showing us the actual cellphone video of Grant’s shooting, Coogler spends an hour humanizing Grant; then loops back to the fateful railway platform. (R) BRIAN MILLER Ark Lodge, Oak Tree, Meridian

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Kamping 101

How to properly soak in the sun and the sounds at the Helsing Junction Sleepover.

BY AZARIA PODPLESKY

A

THURSDAY AUGUST 15TH

BUCKAROOSTERS 9PM - $3 COVER

FRIDAY AUGUST 16TH

$5 FINE

9PM - $5 COVER SATURDAY AUGUST 17TH

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SARAH CASS

DAVANOS

Calvin Johnson

and anything that her dad wanted to do,” he says.

“She’s since warmed up to listening to live music.”

DO pick a camping spot carefully. The apple orchard is a popular spot, though several Sleepover pros suggest bringing ear plugs, just in case your neighbors turn out to be party animals.

De Dionyso recommends finding an area with lots of shade so you aren’t woken by the sun in the morning, and Eriksson suggests camping in a field just past the stage. “There is a second field that is slightly more peaceful [than] the orchard,” she says. “It’s further from the music if you need a break. Also, there’s more opportunities for a shady location for your tent.”

DO eat up. “The food is amazing! Healthy, delicious, and cheap!” says Cleveland. But . . .

DON’T wait too long. The dinner line has a tendency to get really long, so Cleveland recommends attendees get in line as soon as they see dinner being served. “The food lines are the craziest thing about Helsing,” she says, “but the food is so good that it’s totally worth it.”

DO get in touch with nature. The Helsing Junction Farm is right next to the Chehalis River and offers 30 acres of land to wander.

“Walk upstream from the swimming hole until your feet can’t handle the rocks anymore,” Cleveland says, “then walk out into the middle of the river and float back.”

“One may experience the kind of relaxation that a garden gives,” Blau says about spending time at the Farm. “The river is constantly beckoning a visit.”

And finally, as at any festival: DON’T keep to yourself. “Meet people you don’t know and talk to them,” says de Dionyso.

Now while all these tips can certainly make your time at Helsing easier, Johnson warns that the only way to truly understand the Sleepover is to simply experience it for yourself.

“No words can really prepare anyone for the emotional and creative burst of excitement that will greet them, not just from the stage but from other attendees,” he says. “I don’t want to say you have to brace yourself, but you should just get it, let go and let it happen, enjoy the experience. It may not be for everyone, but it’s definitely for anyone.” E

music@seattleweekly.com

HELSING JUNCTION SLEEPOVER 12013 Independence Rd, Rochester, WA, krecs. com/helsingjunction. $50. Fri, Aug. 16-18, 2013.

9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BODACIOUS BILLY TUESDAY AUGUST 20TH

ROY KAY TRIO 9PM - NO COVER

MONDAY AND WEDNESDAY

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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 Times listed are show times.

Doors open 30-60 minutes before

thur, aug 15 • 9pm ~ $8 New Orleans-style jazz, swing, klezmer, vaudeville & more!

MISS MAMIE LAVONA THE EXOTIC MuLATTA AND HER WHITE BOY BAND LONE MADRONE PuDDLE STOMPERS

Fri & Sat Aug 16 & 17 • 9:30pm ~ $15 two nights with local rootsy folk-rockers

THE MOONDOGGIES ALBuM RELEASE SHOW

COuNTRY LIPS & THE QuIET ONES OPEN FRIDAY NIGHT GOLD LEAVES & KEVIN LARGE (WIDOWER) OPEN SATuRDAY NIGHT Tues, Aug 20 • 9pm ~ $15 British singer/songwriter with roots in americana & folk

BOBBY LONG

MICHAEL BERNARD FITZGERALD up & Coming

• 8/14 RAFE PEARLMAN WITH DuST & GOLD, ROBB BENSON & THE SHELK, ZARNI DE WET • 8/17 The Tractor presents at The Sunset TRuTH AND SALVAGE CO • 8/19 TWO-STEP DANCE NIGHT with THE HONKY TONKERS

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

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

nnie Salafsky and Susan Ujcic were bored. Fortunately for the founders of the Helsing Junction Farm a half-hour southwest of Olympia, they had a strong Community Supported Agriculture (CSA) program, which counted K Records founder Calvin Johnson as a member.

When Johnson heard they were interested in doing something a little more fun, he stepped in, and the Helsing Junction Sleepover was born.

Johnson, who has performed at the festival as a solo artist and with his band, the Hive Dwellers, says no one was sure what to expect the first year. “We were just, like, ‘Let’s have a party, and if people show up, great,’ ” he recalls. “ ‘If they don’t, we’re still going to have fun.’ ” People showed up, and the Sleepover has been an annual tradition ever since, attracting more than 300 attendees each year. Now in its ninth year, the three-day musical extravaganza features a lineup filled with K-affiliated bands, organic food available for purchase, and a serene pastoral setting—all for $50, which includes all events this Friday, Saturday, and Sunday and camping on Friday and Saturday nights.

To help newcomers navigate the multipleday festival, we polled some Sleepover pros for advice: Johnson, Karl Blau (Lovers Without Borders), Shana Cleveland (Shana Cleveland and the Sandcastles, La Luz), Arrington de Dionyso (Old Time Relijun, Arrington de Dionyso’s Malaikat dan Singa), and LAKE’s Ashley Eriksson and Elijah Moore.

DO examine the roster. De Dionyso suggests checking out Jeffrey Jerusalem, and says he’s excited to see more dance-oriented groups at the festival. Cleveland is excited for the Shivas and Ruby Fray, while Blau recommends Angelo Spencer and Lois. Moore is ready for Pets and the Hive Dwellers, while Eriksson mentions that the Shivas and Lovers Without Borders are fun to dance to. Johnson is excited for Jamie Barrier of the Pine Hill Haints, who will be playing his first solo set at Helsing this year.

DO prepare for the weather. Eriksson and Johnson suggest sun hats, though de Dionyso cautions that there might be rain, recalling one year where performances were moved into a barn because it was coming down so hard.

“Whatever the weather is like, you are in it,” Eriksson says.

DON’T forget the essentials. According to our panel, Sleepover must-haves include a flashlight, a bathing suit, water socks, money for food, a beach blanket, and a tarp to put under your tent in case of rain. And even though it’s still summer, nighttime can be chilly, so de Dionyso suggests bringing blankets, wool sweaters, and a warm sleeping bag.

DO make it a family affair . . . maybe. Several pros called the Helsing Junction Sleepover a kidfriendly, family-oriented festival. Blau, though, has had mixed experiences with his daughter. “The worst time at Helsing? That’s hard to measure, but it would probably have something to do with trying to parent a child who was protesting shows

NTw.RlittleYreMdhUenS.coIC LIVE COUww m

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Reverb»The Short List Kady Z Pop act Kady Z has been performing since age 3, no doubt inheriting a love of performance from her actress/singer mom, Pia Zadora. But where Mama leaned ’80s girl rock, Kady Z takes inspiration from the likes of Robyn and Gwen Stefani. On the surface, Z’s debut, Ordinary Girl, is a collection of sparkly, club-ready dance cuts with a Disney disposition, but digging deeper, you find a soulfulness in her voice that makes her music compelling. Is she for tweens? The party girls who first heard her music on the finale of Jersey Shore? Or someone else? This intimate lounge show is the perfect opportunity to decide for yourself. With Amanda Markley, Lover Fighter,

ROCKIN’ PIANO SHOW

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and guests. El Corazon, 109 Eastlake Ave. E., 381-3094. 8 p.m. $8 adv./ $10 DOS. KEEGAN

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FRIDAY, AUGUST 16

SEATTLE WEEKLY • AUGU ST 14 — 20, 2013

DAN VAPID & THE CHEATS

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with The Piniellas, Bad Tats, Phasers On Kill, and Jaguar Paw Lounge Show. Doors at 7:30 / Show at 8PM 21+. $8 ADV / $10 DOS

THE DREAD CREW OF ODDWOOD with Bog Hoppers,

Thunders Of Wrath and The Fun Police Doors at 8 / Show at 8:30PM 21+. $10 ADV / $12 DOS

SATURDAY, AUGUST 17

The Hempfest After Party presented by “HWY 1 Records” and MUSICA Entertainment featuring:

RAPPIN 4-TAY AND THE INTERCEPTORZ

FEATURING DITCH with Cito The CEO (CD Release Party), GoodHood (Washington D.C.), Millz (Fort Worth, TX), Kloak (Wichita, KS), Mal Rayshawn & Woo, Spade and DJ Too Quick.

Doors at 8 / Show at 9PM. 21+. $10 ADV/$12 DOS

key Shivers. Fremont Abbey, 4272 Fremont Ave. N., 414-8325. 8 p.m. $9 adv./$12 DOS. All ages.

AZARIA PODPLESKY

The Moondoggies

THURSDAY, AUGUST 15

KIRKO BANGZ with Cla$$ic, J-Key, Rookie Snow, Liqwid & S-Dot, Cut Boyz, and Prince Rich. Hosted By Natalie Nunn & Neema Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $28 ADV / $30 DOS / $75 VIP

“I think it’s my new cooking and dreaming music,” says a YouTube commenter. “So beautiful. Like a day dream.” They’re referring to Pillow Talk, the debut album from indie-folk seven-piece Wild Child. Alexander Beggins and Kelsey Wilson split lead vocals, creating melodic conversations between themselves that draw comparisons to the harmonies of boy/girl vocal teams like She & Him. Yet there’s a darker feel to this group. The strings (ukulele, violin, cello, banjo, and bass), plus Evan Magers on keys and Carey McGraw on drums, add a brightness to love songs whose lyrics aren’t always so shimmering. The band’s second album, the Ben Kweller– produced The Runaround, is set for an October release and promises to be as dreamy and introspective as its debut. With Ian Cooke and Whis-

with Dead Sea Symphony, Open Mind, plus guests Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY, AUGUST 18

DOGSTRUM with Verdant Mile,

The Electric Revival, Marshland, and Zigtebra Lounge Show. Doors at 8 / Show at 8:30PM 21+. $6 ADV / $8 DOS

TUESDAY, AUGUST 20

GOLDEN SUN with Polytype, District, Blackburn, and Stain Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

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NIGHT RIOTS plus guests

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

JUST ANNOUNCED 8/31 EMERALD CITY ROCK PARTY 2013 FEAT. MONSTERS SCARE YOU 9/6 LOUNGE SINGLE MOTHERS 9/21 LOUNGE THE VIBRATORS 10/12 ZEKE (20TH ANNIV SHOW) 10/31 TRAPT 11/1 DWARVES / POISON IDEA 11/2 THE STORY SO FAR 1/18 D.R.I. UP & COMING 8/22 LOUNGE HAPPY LEVIATHAN 8/23 MEN WITHOUT HATS 8/23 LOUNGE BANNER PILOT 8/24 THE BLASTERS / THE CHOP TOPS 8/25 MR. FEELGOOD AND THE FIRM BELIEVERS 8/26 LOUNGE RIVERBOAT GAMBLERS 8/27 BETRAYAL 8/28 BLACKBURNER 8/28 LOUNGE DUANE PETERS GUNFIGHT 8/29 HATRIOT (FEATURING STEVE “ZETRO” SOUZA OF EXODUS/TESTAMENT) 8/29 LOUNGE SHAUN PEACE BAND 8/30 D.O.A. / FASTBACKS 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

FRIDAY, AUGUST 16–SATURDAY, AUGUST 17

With Adios, I’m a Ghost, the Moondoggies have created a classic-caliber album by holding onto the good and heaping “even better” on top. The harmonies and meandering guitar parts that recall the core influences of The Band and the Grateful Dead remain, as does that roiling, humming Rhodes. But songwriter Kevin Murphy has taken his craft to the next level, minting some iconic lyrical turns set against songs that are both more intricate and relaxed—courtesy, one would guess, of the addition of multi-instrumentalist Jon Pontrello. The players possess just the right part for the moment and the knowledge of when exactly that moment is, resulting in an album that rewards patience with a big breakdown (as in the anthemic, rumbling “One More Chance”) or a cleansing meditation (as in the long jam “Stop Sign”). But patience is easy given the band’s generous tempo and undeniable groove, which in a live setting gets the willing to dance at a rate currently unmatched by any other Northwest band. With Country Lips and the Quiet Ones (Fri.) and Gold Leaves and Kevin Large (Sat.). Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $15. MARK BAUMGARTEN

The Melvins FRIDAY, AUGUST 16–SATURDAY, AUGUST 17

Listening to the Melvins is an important part of being a Pacific Northwest music fan. It gets your

HILARY HARRIS

WEDNESDAY, AUGUST 14

The Moondoggies

blood pumping while reminding you it’s sunny here only a few months of the year—a reality that forces you back into the basement where you belong. Starting off as prickly ruffians the industry was forced to embrace, Buzz, Dale, and co. have kept at it roughly 30 years, a longevity that flies in the face of the die-or-get-boring grungeband archetype. Through it all, they’ve delivered truckloads of beefy sludge metal, influenced the likes of Nirvana, and toured like maniacs. Last year they released the grisly sounds of Freak Puke, which sounds like a wild hair that’s been growing on Buzz’s head since ’86. They’ve spent a healthy amount of their career in California, but still rock like they never left our little corner of the country, and they don’t want you to forget it.

With Honky. Neumos, 925 E. Pike St., 709-9442.

8 p.m. $22. 21 and over. TODD HAMM

Royce the Choice SUNDAY, AUGUST 18

Seattle punch-liner Royce the Choice headlines this local cast of slick talkers. Choice’s newest offering, the Talk Ain’t Cheap EP, is a spacious five-song collection with fistfuls of quips (like “I used to sell green like the produce section/Now it’s mean 16s on the Pro Tools sessions”) exhaled effortlessly in his husky tenor. More than just a pile of one-liners, his songwriting has developed a real catchiness, making his tracks prime candidates for mainstream radio rotation. The undeniable star of the bill is golden-voiced MC Porter Ray, whose debut Blk Gld LP is outstanding. His lyrics jog through pristine jazz loops, easing you into his world, telling stories with an artful flair.

Hit Neumos early—this dude should not be missed. With Spac3man, Cam the Mac, Porter Ray, Ye’D. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $10. 21 and over. TH

The Honky Tonkers MONDAY, AUGUST 19

In case you haven’t noticed, there’s a country revival happening in Ballard, a ’hood whose stages and dance floors in recent years have seen more Tony Lamas than a Texas roadside honky tonk. Thing about those honky tonks and the dancers that fill ’em—they didn’t learn those moves overnight (keeping time on your feet to a 2/4 beat is harder than it looks). Tonight, under instructor Sean Donovan’s direction, you’ll have a chance to learn the steps that make the boots scoot—without stepping on any toes. Accompanied by the Honky Tonkers’ West Coast twang— think Lefty Frizzell and Buck Owens—you’ll be two-stepping in no time. Just take it easy on the beer, cowpokes. You’ll want to remember how to do it next time. Tractor Tavern, 5213 Ballard Ave.

N.W., 789-3599. 8 p.m. $5. GWENDOLYN ELLIOTT

Reverb»Seven Nights

SEATTLE WEEKLY’S

BUmBER

SHOOT





GUIDE be bumping. With Hibou, Cashpony, Frozen Folk, Bone Cave Ballet. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7.

EDITED BY ANDREW GOSPE

• GRUM Scottish producer Graeme Shepherd’s tracks,

Saturday, August 17

which exist at the intersection of deep house and new disco, would make Discovery-era Daft Punk proud.

New single “Everytime” is the sort of club banger that will assuredly fill the floor. With Jameson Just, Blacklist. Barboza, 925 E. Pike St., 709-9951, the barboza.com. 9 p.m. $10 adv.

RAFE PEARLMAN The latest from this America’s Got Talent songwriter is March’s Dust & Gold, a collection of meditative folk songs in collaboration with guitarist/ producer Jonathan Plum. With Robb Benson & the Shelk, Zarni de Wet. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $10.

ULRICH SCHNAUSS This German keyboardist, DJ, and producer’s down-tempo electronica would be ideal for public transportation—his songs are fluid, delicately textured, and often extend well past seven or eight minutes. Perfect for your next light-rail ride. With Secret Colors. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20 adv.

• ERIK BLOOD, one of Seattle’s most prolific produc-

FILASTINE Fans of Bassnectar and Thievery Corporation

COCO MONTOYA Guitar-heads and novices alike can

Thursday, August 15

can find common ground in this Barcelona-raised electronic musician, whose compositions blend dubstep’s death-rattle bass with acoustic samples of “world music” instruments. With Truckasaurus, BizZaRa x Penny Wide Pupils. Barboza. 9 p.m. $10 adv.

THE POLYPHONIC SPREE Tim DeLaughter’s symphonic psych-pop collective never reached the heights of the bands it most resembles—Sufjan Stevens, Arcade Fire, and post-Yoshimi Flaming Lips. The group continues to make music 11 years after its debut, however, releasing fifth album Yes, It’s True earlier this month. With Harper Simon, Friends and Family. Neumos. 8 p.m. $19 adv.

STEELY DAN Donald Fagen and Walter Becker still lead this iconic jazz-rock band, currently in the midst of its massive Mood Swings tour. Marymoor Park, 6046 West Lake Sammamish Pkwy N.E., 628-0888, concerts atmarymoor.com. 5:30 p.m. $55–$115. All ages.

HORNET LEG These Portlanders are musically nomadic;

their K Records bio claims they’ve been “a solo acoustic guitar project, electro dance project, [and] a crushing two-person art-noise assault.” The current incarnation plays rough-edged garage rock, jibing nicely with the rest of this bill. With Grave Babies, Posse, Zebra Hunt. Heartland. 8 p.m. All ages.

MUDHONEY The third of KEXP’s Concerts at the Mural is headlined by Seattle’s grunge godfathers, who will be supported by some of the town’s best young rock talent. With The Grizzled Mighty, Dude York. Mural Amphitheatre, Seattle Center, 684-7200, seattlecenter. com/concertsatthemural. 5:30 p.m. Free. All ages.

SMITH WESTERNS After reaching near-burnout on the hype that came with 2011’s Dye It Blonde, this young Chicago band (formed in high school) rebounded with Soft Will this past June, its ’70s glam-rock sensibilities firmly intact. With Wampire, the Hoot Hoots.

Crocodile, 2200 Second Ave., 441-7416, thecrocodile. com. 8 p.m. $13 adv. All ages.

USF is the work of some of Seattle’s best purveyors of chilled-out electronic pop, so naturally this show is at the Comet. Regardless of venue, the beats will still

ers, is also a noteworthy musician, responsible for the kraut-rocky, pornography-themed Touch Screens, one of last year’s best local albums. Opening are folk-rock shoegazers Western Haunts. With Jason Dodson. Vera Project, 305 Harrison St., 956-8372, theveraproject.org.

7:30 p.m. $11. All ages.

TRUTH AND SALVAGE CO. This rootsy L.A. sextet is touring behind Pick Me Up—released, oddly, on metal label Megaforce Records. With Legendary Oaks, Wes Crawford. Sunset Tavern, 5433 Ballard Ave. N.W., 7844880, sunsettavern.com. 9:30 p.m. $10 adv./$12 DOS. VANFEST For those willing to journey to Maple Valley, this outdoor music mini-fest (a benefit for the Alliance of Eating Disorders Awareness) features a varied lineup of up-and-coming Seattle talent: Chastity Belt, Kung Foo Grip, Fly Moon Royalty. Royal Arch Park, 20821 Renton Maple Valley Rd. S.E., vanfest.bpt.me.

Noon. $10 adv./$15 DOS. All ages.

•

Sunday, August 18

appreciate Montoya’s skill; with a practiced, seasoned approach to blues and soul, he’s the kind of technical musician who gets reviewed by guitar magazines and industry rags. Triple Door, 216 Union St., 838-4333, thetripledoor.com. 6:30 p.m. $20 adv./$23 DOS. All ages.

THE HEALTHY DOSE This Portland “groove-based experimental group” draws from jazz, funk, and psychrock. With Quinn, Grant Sabin, Monkey Bat. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com.

7 p.m. $5 adv./$7 DOS.

Monday, August 19

THE DILLINGER ESCAPE PLAN This constantly tour-

ing New Jersey hardcore band is known for its gofor-broke live performances. Whether you want to sit through all nine (!) opening bands depends on whether you’re free in the mid-afternoon on a Monday. With Animals as Leaders, Periphery, Norma Jean, Cattle Decapitation, The Ocean, Revocation, AEON, Rings of Saturn, Thy Art Is Murder. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 3 p.m. $29.50 adv./$34 DOS. All ages.

REVERTER This Vancouver, B.C., three-piece (two guitarists and a drummer) plays tightly wound indie rock with a slight mathy streak. With Red Forman, The Mercury Tree. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoon seattle.wordpress.com. 9 p.m. $5.

Tuesday, August 20 BOBBY LONG The only thing that gives Bobby Long

•

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

•

•

away as British is his singing voice, where his accent occasionally peeks through. His music, on the other hand, is standard bluesy, overdriven Americana that could come from any town between the West Coast and the Mississippi. With Michael Bernard Fitzgerald.

Tractor Tavern. 9 p.m. $15.

MAJICAL CLOUDZ Devon Welsh gave this project an undeniably silly name, but it only underscores the music’s seriousness. On debut LP Impersonator, he sings about uncertainty, loss, and fear in his resonant baritone voice over collaborator Matthew Otto’s barren synth programming. The music’s urgency helps it rise above self-parody, and Welsh’s fervid intensity prevents his live show from becoming a pity party. With Moon King. Barboza. 8 p.m. $10.

SEATTLE W EE KLY • AUG UST 14 — 20, 2013

Friday, August 16

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Application Developer â&#x20AC;&#x201C; Capital One ShareBuilder, Inc in Seattle, WA; Mult pos avail: Participate in tech design, dvlpmnt, modification, & implementation of comp apps using existing & emerging tech platforms. Requires Bachelorâ&#x20AC;&#x2122;s or higher or foreign equiv in CS/Engineering/CIS/rel tech field, 2 yrs app dvlpmnt exp; and following skills through formal edu or work exp: .NET (C#); ASP.NET; HTML; CSS; JavaScript; OO Design/ Programming for Windows Server and IIS platform. Must pass companyâ&#x20AC;&#x2122;s assessment.

To apply, visit www.capitalone.com/careers, then search keyword â&#x20AC;&#x153;Application Developerâ&#x20AC;? or requisition ID 741114

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Activism // Culture // Dispensaries // Legalization // Legislation // Medical // & More

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MERCER ISLAND BIG Yard Sale! Great stuff! Lots and lots of new and used items, ready to go. School stuff, new scarves, jewelry, lamps, rugs, vases, planters, furniture, leather massage chair, kitchen appliances / gadgets, bike, shoes, clothes, ski items, toys, lots of books, household items, collectibles, and so much more! All of our stuff is in good condition!

Friends and neighbors are planning to add stuff to our SALE. Saturday, August 17th: 9 am - 5 pm, 5016 84th Ave SE, Mercer Island, off of West Mercer Way, ~ 1 mile south of West Mercer Elementary.

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Find out about upcoming performances, exhibitions, openings and special events.

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VA seeks adults with schizophrenia and adults without schizophrenia for a research study investigating how genetics may affect the development of schizophrenia.

Participants should be age 18-65 with no current drug or alcohol problems.

Participants will be paid $15/hour for their time and provided lunch.

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@ 206-623-6231, to place an ad DONATE YOUR CAR! Tax Write-off/Fast Pickup Running or not. Cancer Fund Of America. (888) 269-6482

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Research Study Looking for Volunteers Flaxseed and many nuts contain lignans. These â&#x20AC;&#x153;phytochemicalsâ&#x20AC;? are thought to be beneficial to health but it is not clear how they work.

Help us research how flaxseed lignans affect the colon.

Celebrating our New Low Prices and New Summer Clinic Hours ** Starting June 28, 2011 ** New Clinic Times: Tues 4â&#x20AC;&#x201C;6 Fri 12-2 Sat **starting JULY 2ND ** 10â&#x20AC;&#x201C;2

Who is Eligible f

Men and women, ages 20-45, non-smokers

f

Donâ&#x20AC;&#x2122;t eat a lot of vegetables

f

Not on any prescription medications (including oral contraceptives)

New S

On-Line VeriďŹ cation Available Celebrating our New Low Prices Bring th and New Summer Clinic Hours Providing Authorizations in - For week Bring thisJune ad and receive with RCW 69.51A** 4023 Aur **Accordance Starting 28, 2011 an additional $25.00 OFF w Fri 12-2 New4021 Clinic Times: Tues 4â&#x20AC;&#x201C;6 $99 includes Aurora Ave N. Seattle, WA 98103 Authorization and ** Card seattlealt#yahoo.com Sat206-632-4021 **starting â&#x20AC;˘JULY 2ND 10â&#x20AC;&#x201C;2 A non-profit org

Main Activities Over a period of 12 months

MEDICINE MAN MEDICINE MAN WELLNESS CENTER Walk-ins Welcome WELLNESS CENTER

f Take study capsules f Blood draws, stool and urine

Doctors available Tuesday 2 - 6,

BringThursday this ad 11 - 3,and Fridayreceive 11 - 6 Also Open Sunday 12 4 an additional $25.00- OFF 4021 Aurora Ave N. Seattle, WA 98103 4021 Aurora Ave N. Seattle, WA 98103 206-632-4021 www.medicinemanwellness.com 206-632-4021 â&#x20AC;˘ seattlealt#yahoo.com

collections f Sigmoidoscopies f Receive $700 for participating

More at www.FlaxFX.info or call 206-667-4353 or e-mail FlaxFX @ fhcrc.org IRB approved 07/31/2012

Now accepting all major credit/debit cards!