AUGUST 21-27, 2013 I VOLUME 38 I NUMBER 34
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NUDIE CUTIES ON SCREEN! PAGE 21
Tale of Two Rides
By Matt Drisc oll
Taxis and ri de battle it out -shares to pick you up .
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inside» August 21–27, 2013 VOLUME 38 | NUMBER 34
» SEATTLEWEEKLY.COM
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news&comment 6 9
NEWS
How did society lose track of Martin Duckworth, the Metro bus shooter?
TAXI V. RIDE-SHARE BY MATT DRISCOLL | App-assisted
pick-me-ups make waves while the city’s cabbies fight for their rights.
food&drink 17 BRING THE BARLEY
BY AMY HALLORAN | Americans finally learn to malt their own . Plus: Food News,
featuring a brick-and-mortar Bloom and Ice-Cream-O-Rama! 19 | TEMPERATURE CHECK 20 | THE BAR CODE
arts&culture 21 SEXPLOITATION
BY MARK RAHNER | An evening of
vintage cinematic smut, hold the pickles, please. Plus: This week’s Agenda, featuring
Italian burlesque, a Mormon sex memoir, and more.
23 ARTS
23 | PERFORMANCE LISTINGS 24 | THE FUSSY EYE | Vandals versus
artists. Plus: Visual Arts listings.
25 | THIS WEEK’S ATTRACTIONS
Crime in Texas, comedy in the Borscht Belt, and an English pub crawl is rudely interrupted. 27 | FILM CALENDAR
29 MUSIC
29 | WAXWING The brothers Votolato
return to their roots. 30 | THE SHORT LIST 31 | SEVEN NIGHTS
odds&ends 33 | TOKE SIGNALS 34 | CLASSIFIEDS
»cover credits
COVER PHOTO BY TEGRA NUESS
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, Margaret Friedman, Zach Geballe, Andrew Gospe, Megan Hill, Robert Horton, Sara D. Jones, Sandra Kurtz, Dave Lake, Beth Maxey, Duff McKagan, Terra Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser 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 Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie MARKETING Marketing Director Jen Larson Marketing Projects Manager Chesi Madej DISTRIBUTION Distibution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2013 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976. MAIN SWITCHBOARD: 206-623-050 0 CLASSIFIED ADVERTISING: 206-623-6231 RETAIL AND ONLINE ADVERTISING: 206-467-4341
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news»The Daily Weekly
The Loaded Gun
As the city parses downtown crime stats, a profile of the Metro bus shooter emerges. ELLIS E. CONKLIN
F
or years, Martin Anwar Duckworth, the man who shot a Metro Transit bus driver last week and died from a barrage of police gunfire, was a fixture in Pioneer Square. Here, in this mangy swath of downtown Seattle, he languished among a legion of fellow desperadoes, where days are spent crouched against warm brick walls in stinking sleeping bags, enduring the endless ambulance sirens and the jarring hiss of curses and threats. Street people like Duckworth Martin Anwar Duckworth was killed by police after he live in this muck, cleaning pigeon shot a bus driver downtown. droppings off mottled blankets, bumming cheap smokes on sidewalks fetch his mail, sometimes with a girlfriend in washed daily in front of the Union tow, a caseworker tells Seattle Weekly. Gospel Mission, while gingerly engaging in the “He wasn’t very talkative, but he seemed easycautious camaraderie of the homeless. going. I never saw any aggressive tendencies,” For 31-year-old Duckworth, who described adds the Compass worker, who asked that his himself on Facebook as a self-employed barber, name not be used. “I’ve known him for a long nothing seemed to work out. He was a victim time and he was never menacing to me in any himself of a random act of violence, shot by an way. unknown assailant in Pioneer Square in March. “It is obvious though that he had a substanceHe was a frequent no-show at court-ordered abuse problem because he was usually very drug rehab and mental-health therapy, both proexhausted during the day, since he was probably grams in which he enrolled but didn’t come close out all night.” On a warm sunburst Monday morning at 8:48, the 5-foot-8, 150-pound Duckworth, clad “He wasn’t very talkative, in a hood and dark-colored sweatshirt, climbed but he seemed easygoing. aboard the Route 27 Metro Transit bus on Third Avenue in front of Benaroya Hall. Eyewitnesses I never saw any aggressive say he paced back and forth, refusing the driver’s to pay his fare. tendencies.” request Then, inexplicably, Duckworth lept at the driver, 64-year-old DeLoy Dupuis, and then turned a revolver on him. He shot Dupuis at least twice, in the cheek and arm. Police chased to completing, reports Department of CorrecDuckworth down University and along Second tions spokeswoman Norah West. Avenue. They gunned him down in front of Repeated referrals to housing assistance 40 startled passengers after he entered another programs and other community resources were Metro bus at Second and Seneca. largely ignored. So, too, were the come-to-Jesus Drug-addled, homeless, with a 10th-grade admonitions from his community corrections education, Duckworth, court records show, was officers, who called him a “chronic violator” arrested 71 times over the of the conditions of his past dozen years. Most supervision. of those arrests involved “It is not unusual for PRINT IS GREAT, but if you want to see great shots from drug dealing or drug high-risk offenders to last weekend’s Hempfest, check it out buying, though in March have a large number of on The Daily Weekly. 2007, he was arrested for violations,” notes West. SEATTLEWEEKLY.COM/DAILYWEEKLY hurling a rock through It is not known from the window of a Pioneer where Duckworth got the Square nightclub and then stabbing an employee gun, police say, or where he lived his final hours. with a plastic knife. He spent 76 days in jail. He It may have been in an alleyway beneath the got another 60 days for crack cocaine possession rumble of the Viaduct near the Compass Center. in July 2007. It is the Center’s address, 77 S. Washington, that On Oct. 6, 2011, Duckworth was sentenced he gave police the last time they hauled him in, for the rock cocaine sale under the freeway nine minutes past midnight on July 29, 2011, for overpass and ordered to serve twelve months of selling three chalk-colored rocks of cocaine to an supervision and attend drug and mental health undercover cop under the I-5 freeway at South evaluation. On a dozen occasions, however, King Street. Duckworth ran afoul of conditions laid down by This is the shelter he frequented, usually to
[
news»The Daily Weekly the court and his community corrections officers. As one of his corrections officers wrote, “Mr. Duckworth failed to address both his chemical dependency and mental health issues throughout the time of his supervision.” Under the Washington Department of Corrections’ Swift and Certain program for criminals on supervision, an offender who screws up by failing to meet with his corrections officer can immediately be jailed for one to three days. After five violations offenders can face up to 30 days in jail for each subsequent violation. Because of numerous violations—which included failing to report, using drugs and tampering with his drug tests—it took Duckworth eighteen months, until April 15, 2013, to complete his DOC supervision.
Currently, there are 15,286 offenders on supervision in Washington state, two-thirds of whom are identified as “high risk to re-offend.” Duckworth was one of those. Even though Duckworth failed time and again to follow the rules laid down by his corrections officers, supervision came to end, and could not be extended—unless he was charged and found guilty of committing another crime. “He had completed his year,” said DOC’s West. “The story for us ended on April 15, 2013.” Strangely enough, in the early morning hours of March 21, Duckworth was shot in the face by an unknown person in the area of Third Avenue and South Washington Street. Shirtless and bloody, he ran through the streets, where he tried and failed to seek refuge—aboard a Metro bus.
Is Capitol Hill Dangerous for Gays? It’s a shame that steroid saturated, sexist homophobes are invading every major city in the world and their hate is spilling out into the streets. It’s happened several times in the Village in New York this year, it’s happening in Russia and it’s happening right here on Capitol Hill in Seattle.
“In the LGBT community, we get complacent ... and we sometimes forget that we still are a somewhat vulnerable population.” “I don’t think it’s the new people who are coming to the Hill, but people who need social services. People who are mentally ill,” she said. “The quantity of people who are mentally ill and are homeless are increasing, and we all pay the price for that.” And she warns that if not addressed, the trend could have a negative impact on Seattle’s economy. Her group just opened a gay and lesbian visitor center, meant to welcome LGBT travelers to the city. “Word starts to spread. There have been a number of people being assaulted,” she said.
DANIEL PERSON E
news@seattleweekly.com
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So wrote Jeromy Carpenter beneath a YouTube video showing a fight outside Q Nightclub two weekends ago. According to the video’s creators, homophobic slurs, including “fucking dykes,” were shouted just before the melee broke out. To them this proved that the fight was just the latest exhibit in what some LGBT advocates say is a troubling trend: Capitol Hill becoming dangerous for gays and lesbians. On Aug. 5, a volunteer for Sen. Ed Murray’s mayoral campaign was attacked on Capitol Hill. Jason Jacobs told police the group of three men and two women hurled homophobic slurs at him before the attack, which left him with a broken nose. In May, five men were arrested on suspicion of committing a hate crime after police found probable cause that they attacked a man on East Pike Street because of his race and sexual orientation. “I’m hearing from my staff: Be careful,” said Louise Chernin, CEO of the Greater Seattle Business Association, a trade organization that represents businesses owned by gays and lesbians. “In the LGBT community, we get complacent, especially in Seattle, and we sometimes forget that we still are a somewhat vulnerable population. All minorities are a vulnerable population.” Following the attack on his campaign worker, Murray made gay-bashing a campaign issue, saying in his primary victory speech that it’s becoming a problem in Seattle. “We can’t go back to the 1980s,” he told the crowd at the Crocodile earlier this month. After the speech, when asked whether he felt the city was being soft on gay bashing, Murray said only “it’s an issue we’ve taken our eye off of.” Facing criticism over rising street violence in the downtown business core, Mayor Mike McGinn announced last week the city would spend $400,000 to extend extra policing in the city; asked at a press conference if recent violence against gays and lesbians was part of the decision to extend the funding, McGinn said it was. However, he stopped short of agreeing with Murray that it’s a growing problem in the
city, saying instead that if you are the one who is attacked, the stats don’t matter. Michael Wells, executive director of the Capitol Hill Chamber of Commerce who joined McGinn at the press conference, also hedged on calling gay bashing a trending issue on the Hill, suggesting instead that the high profile attack on Jacobs has set off alarms. At the very least, though, he said the attack demands gays and lesbians take precautions. “The worst situation to be in on Capitol Hill is to be a gay or lesbian person, drunk, on a dark street, alone,” he said. “Nobody should do that.” But regardless of whether a trend is truly afoot, the verdict seems to be in amongst the gay community, and the question has become not “if ” but “why.” “There is talk in the community about this sort of thing being backlash for Ref-74,” one person wrote on Reddit, in response to news of Jacobs’ attack. “There are thugs coming from other locations to Capital Hill [sic] to gay bash. “What ever it is, there has been an increase of antigay violence on the Hill this last year.” Meanwhile, Chernin suggests that it’s a mental health issue.
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SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
PLAY #8 KEEP YOUR GAME ORIGINAL.
BELLEVUE SQUARE
8 seattleweekly-8-7.indd 2
8/16/13 10:03 AM
As the City considers the legality of ride-shares, frustrated cabbies are taking to the streets Taxis line the streets in front of City Hall in protest.
in protest. Are these new car services the sign of a new utopia or the end of an American dream?
O
BY
TEGRA
NUESS
» CONTINUED ON PAGE 10
SEATTLE W EE KLY • AUG UST 21 — 27, 2013
PHOTOGRAPHY
n a warm Thursday afternoon, soon-to-be 25-year-old Alicia Ortiz parks her silver hybrid Ford Escape outside the Seattle Weekly offices. She’s waiting for me. A University of Washington grad who works in liquor marketing and lives in Lower Queen Anne, Ortiz says she’s been driving for Sidecar since February. She was one of the early adopters. Looking for extra money to pay for a trip to Rio, Ortiz says she signed up as a driver and interviewed with Sidecar on her smartphone, recording answers to prerecorded questions and sending them via the magic of modern technology to the company’s San Francisco headquarters—along with her driver’s-license number and photographic proof of her personal car insurance. After the company ran a criminal background check and she answered a few questions, Ortiz was all but official. Next came a 90-minute “Sidecar U” class explaining the basics of the upstart ride-share business. Sidecar staff detailed how the company’s smartphone app connects local riders with local drivers and how the “suggested donation” payment system works, and offered a few pointers on how Ortiz could get the most action from the company’s growing community of riders. A quick ride-along with a member of Sidecar’s local staff sealed the deal. For six months, Ortiz has been turning her car into modest profit, driving a handful of nights when her schedule allows, likening the income to the cash she earned babysitting in college. Over a recent four nights of driving, she says, she pocketed roughly $140. “Sidecar is a really cool, easy way to make a little bit of extra money without even really noticing it,” she tells me. “I can always go online and do a couple rides.” Ortiz doesn’t look like someone who’s fretting, but she is a player—though a minor one—in a major confrontation looming between the city and ride-share companies. Over the last year, Sidecar, Lyft, and UberX—products of tech-savvy, deep-pocketed Californians bent on disruption—have prompted an uproar from the taxi industry. Those complaints have led to the commission of a $100,000 study by the City of Seattle to determine whether ride shares are legal, or if these companies are sidestepping regulation to steal fares from taxis. If the study favors the latter, Ortiz and her ilk could be on the outs. For now, Ortiz is enjoying the ride. She accepts her first ride request—who turns out to be a blonde Amazon employee on his way to the Showbox at the Market for a TechCrunch event—and she starts telling me about the appeal of Sidecar. “It’s a community. There’s not going to be drivers if there’s not riders. And there’s not going to be any riders if there’s nobody there to pick them up. So the idea is
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SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
we’re supporting one another,” Ortiz says. “If we really want to use resources that already exist and support ideas that make sense, I think ride-share and Sidecar should work.” Sidecar hit Seattle first, in late 2012, quickly followed by Lyft and UberX in April. While there are differences among the three San Francisco–based companies—most notably with UberX, which requires payment up front and charges a rate in line with taxis—all three operate similarly: Everyday drivers across the city offer open seats in their personal cars in the name of sustainability, community, and progressive entrepreneurialism. In the case of Sidecar and Lyft, the driver’s carrot comes in the promise of a “suggested donation”—calculated by the app using distance traveled and mapping software— with riders free to pay whatever they see fit. Both companies say they then take 20 percent off the top of that donation, the rest going to the driver. In practice, however, it can get slightly more complicated. As a Seattle Times story noted in June, Lyft has also hired drivers at $18 an hour. Exactly how many is unclear; the company says it’s a practice it employs when entering a market to make sure there are enough cars at the ready. While the Times piece makes this sound like the norm (it includes a profile of 50-year-old Lyft driver Sylvester Bush, who drove to Seattle every day from Renton to earn his $18 an hour), Lyft spokesperson Erin Simpson says that currently only 50 percent of Seattle Lyft drivers are work-
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ing at this wage. As supply balances demand, eventually, she says, that number will reach zero. UberX, meanwhile, is a spinoff of Uber (sometimes called Uber Black). The latter company entered Seattle in 2011, deploying only drivers with for-hire or chauffeur licenses, and carrying $1.05 million in insurance backing. The priciest of the new transportation options, Uber deploys a fleet of town cars and luxury SUVs, while the cheaper UberX focuses on hybrids. Some UberX drivers do have for-hire or chauffeur licenses, but it’s not required. UberX says it has a $2 million insurance policy covering drivers and passengers; Lyft and Sidecar both tout $1 million policies. All three companies say they’re finding success in Seattle, a city where many consumers seem to be tired of taxi business as usual. The Times, on the other hand, has at least twice deemed the new ride shares illegal—a contention Lyft and Sidecar deny, and one city officials currently do their best to avoid commenting on. “UberX should be the standard,” says nightlife entrepreneur Dave Meinert, who hasn’t been shy about letting city officials know where he stands. “The government-created cab monopoly has led to a lack of innovation and a bad product. Killing the competition won’t fix that.” Citing competitive reasons, Lyft and Sidecar won’t say exactly how
Alicia Ortiz earns extra cash with her ride.
many drivers they have in the Seattle area; both claim more than a hundred. So does UberX. Among Sidecar drivers, Ortiz seems to be a poster child. “Community definitely is a big piece of what we’re doing and what we’re trying to do,” says Sidecar co-founder Sunil Paul, striking many of the same notes as Ortiz. “We think it’s possible to rethink transportation into something that builds a new way of moving around that’s so convenient, so affordable, and so fun that it doesn’t compete with taxis, it competes with owning a car. . . . The idea is building around people, not around cars. That’s why community is a big part of it.”
S
alah Mohamed is number 388. His Yellow Cab taxi-license number is painted on the front, back and side of the 2010 Prius where he says he spends 12 hours a day, seven days a week. Taxi drivers come in two forms: those who own their licenses and vehicles, and those who lease them. Mohamed is an owner/operator. Like all cabbies, he’s an independent contractor, relying on Yellow Cab for dispatch services but essentially on his own to make ends meet. Licensed to work SeaTac Airport, throughout King County, and in Seattle, Mohamed has the most lucrative setup an operator/owner can have, which helps to support his family of four. He secured this envied position by paying for it: He’s on the hook every year for his city license and county license, and says he forks over $306 every week to the Port of Seattle to work the airport—all this on top of insurance costs, fuel, and maintenance. It’s an investment many like him have made, and one even more would-be license owners wish they could make. Lately, however, Mohamed says the business isn’t what it used to be. Like a growing number of cab drivers, he feels pinched and disrespected by a system that’s supposed to protect him—a system, he notes, that employs thousands of cabbies throughout the county, and that gets a lot of his money. It’s also one the county’s nearly $5.9-billion-a-year tourism industry relies on. The local taxi industry is estimated to be a $97 million operation, delivering 5.2 million metered rides in Seattle alone in 2012 while supporting countless families. But drivers like Mohamed say they’re struggling. The competing flat-rate, for-hire drivers and an allegedly unresponsive city have received the bulk of the blame in recent years. It’s onto this contentious landscape that upstart, appbased ride-share outfits have emerged, their arrival like gasoline tossed on an already smoldering fire. Mohamed says he came to the United States in 1996, when he was 20, after four years spent in a refugee camp on the border of Kenya. He escaped war in the camp, and met his wife there. The couple arrived in the U.S. with the typical dreams of freedom and prosperity. “America,” says Mohamed, “was heaven to me.” He’s now been driving a cab in Seattle for 13 years.
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AND
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J O I N U S T O C E L E B R AT E
WINE, FOOD & TRADITION Salah Mohamed supports a family of four with his cab.
ing taxi licenses can sell on the open market for as much as $250,000, according to the city—a shocking figure that underscores the investment at stake for taxi-license owners.) More than a year after the rush ended, cabbies like Mohamed say the city is failing to enforce the restrictions against for-hires, allowing for what amounts, in longtime taxi driver Joe Blondo’s opinion, to armed robbery. “What’s the difference?” he asks, recounting a list of recent stolen fares he claims to have witnessed at the hands of for-hires. Blondo recently stepped down from the Seattle-King County Taxi Advisory Commission, an 11-member body with no regulatory authority that provides recommendations to the Seattle and King County Councils concerning issues that affect the taxi industry. Considering the circumstances, Blondo’s scenario seems plausible. As of August, the city has three inspector positions, tasked with lording over 924 taxicabs and 358 for-hires. “The difficulty is we have limited inspectors,” says Movius. She estimates the city’s three inspectors spend 70 percent of their time on the ground, running “secret shopper”–style stings in which taxis and for-hire drivers are targeted for violations. Down to a single inspector for most of 2012, in that year the city issued only 49 violations to for-hire drivers. With two additional positions added late in the year, the 2013 total is expected to rise, though no one expects all violations to be caught. “This is not fair,” says Mohamed. For-hire drivers, naturally, don’t see themselves as the villains taxi drivers make them out to be. Samtar Guled, the manager of Eastside For Hire, also calls for a “level playing field.” He sees forhires paying licensing fees and insurance costs in line with what taxi drivers pay, but restricted to a third of the business taxi operators have access to. “They have a huge advantage,” Guled says of taxi drivers. “Everybody should have an oppor-
» CONTINUED ON PAGE 12
The local taxi industry is estimated to be a $97 million operation, delivering 5.2 million metered rides in Seattle alone in 2012 while supporting countless families.
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Articulate and full of passion, the 37-year-old father of two girls, 5 and 13, has become increasingly discontent with the city’s handling of the local taxi industry. Having long ago bought in as an independent taxi owner—saying he purchased his license with the proceeds of two stints spent processing fish in Alaska—Mohamed speaks with fire about “leveling the playing field,” the American Dream, and the difficulty he and his taxi brethren are having living it. Several times during our interview he urges me to “just be fair” with this article. The backdrop of this ongoing drama is important. For several years, Mohamed says, he’s felt betrayed by the City of Seattle and its failure to enforce rules designed to regulate a flat-rate, for-hire industry that seemingly sprung from nowhere between 2011 and 2012. According to city code, meterless for-hires are restricted to prearranged trips; required to charge a flat rate; and barred from picking up hailed rides or trolling the city’s taxi stands. The license has existed for decades, but historically has been little used; in June 2007 there were seven active for-hire licensees. “People weren’t interested in them,” says Denise Movius of Seattle’s Department of Finance and Administrative Services, which oversees Seattle’s taxis and for-hires. Recently, however, that number has grown. According to records provided by the city’s Consumer Affairs Unit, the number of active for-hire licenses in Seattle tripled from 2007 to April 2010, then skyrocketed from 50 in October 2011 to 199 by the time the rush ended in February 2012. The new for-hires entered a market that already included more than 700 limousines. Predictably, everyone is feeling squeezed. City officials offer only anecdotal explanations for the run on for-hire licenses, but the fact that a new Seattle taxi license hasn’t been released in 23 years surely played a part in creating the demand. (Because of this, the most prized of the exist-
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» FROM PAGE 11 tunity to earn a living, with the same requirements. . . . [Taxi drivers] want to have their cake and eat it too.” Given the disparity, Guled says, it’s only natural that some struggling drivers would break the rules. The arrival of the ride-shares, he observes, has only increased the lawlessness. “The reason I think, frankly, is because we see the city not doing anything about Uber, SideCare, Lyft,” Guled says. One of the few things for-hires and taxi drivers seem to agree about is that ride-shares need to be regulated. “Regulate for safety, make sure cars have insurance, and let the market sort things out,” Guled suggests.
S
eattle City Council President Sally Clark is in the middle of the mess. The head of the council’s Committee on Taxi, For-Hire, and Limousine Regulations—which held its first meeting in March—she laughs and sarcastically calls herself “lucky.” Truth be told, Clark seems to enjoy wading into the murky waters of Seattle’s transportation industry, an area she describes as “probably the most complicated sector of business” in the city. Whether she enjoys the position or not, Clark is sure to make enemies by diving into the fracas. Perhaps that’s the reason others are hesitant to talk too much about the budding legal and regulatory controversy surrounding taxis, flat-rate for-hires, and the upstart ride-shares. From the mayor’s office, all spokesperson Robert Cruickshank will offer is that Mayor Mike McGinn is “looking closely at the issue of ride-share companies, for-hire vehicles, and taxi regulation and enforcement,” while waiting on the results of the demand study to guide his decision-making. As to whether ride-shares like Lyft, Sidecar, and UberX are illegal in current form, Cruickshank says, “We don’t have a comment on that question at this time.” John Schochet, the deputy chief of staff at the City Attorney’s Office, is equally vague, pointing to existing city codes that define taxis and for-hires while saying “it’s a dynamic issue” with many of the “facts in dispute.” Things are more certain when it comes to the $100,000 demand study, which is being undertaken by the Tennessee Transportation &
Logistics Foundation in association with Taxi Research Partner. The results are expected to detail the use of and demand for taxis, for-hires, ride-shares, and limousines in Seattle—broken down by submarkets like street hails, prearranged trips, and hospitality trips. The study’s findings—which ride-share policy will in theory emerge from—were originally expected by July 11. Then the due date was moved back to early August. Now, according to Clark, a further delay has pushed the study’s expected release to Sept. 3. “I don’t like it, but if the study’s not ready, there’s not much I can do,” says the council president. For Seattle to take its time and wait for the outcome of an expensive study before taking action isn’t unusual—it’s classic Seattle Process, carried out in the name of thoroughness. But that doesn’t mean Clark and others haven’t shown their hand when it comes to the fate of ride shares in Seattle. There seems to be broad agreement in City Hall that Lyft, Sidecar, and UberX fail to meet the RCW definition of “ride sharing,” which protects casual carpooling and individuals with special transportation needs using rides provided by social-service agencies or nonprofit providers. “People like [the ride-share] interface. I like this interface! I think it’s cool. The whole level of trust and trusting the patron to click, choose, and give feedback is pretty amazing,” says Clark. “The part that looks exactly like a taxi, though, is the part where you sit on the seat and close the door. It’s the same deal; it’s the exact same service at that point. My gut feeling would be that we have to deliver a message to the [ride-shares] at some point here in the near future.” Assuming Clark’s colleagues share this sentiment when the moment arrives to stop talking and cast votes—likely late this year or early next year—the question then becomes: Is there a way a regulated ride-share market can survive in Seattle? “I don’t know yet. I like to think so,” says Clark. According to Lyft co-founder and president John Zimmer and Sidecar’s Sunil Paul, it all depends. If Seattle wants to follow in the footsteps of the California Public Utilities Commission, which appears to be moving in the direction of regulating ride-share outfits for safety while creating a new classification for them—“transportation network companies”— then it could work. Under a proposal by the CPUC delivered July 30, ride-share companies would be licensed by the state and required to
Stephanie Nichols is one of more than 100 Lyft drivers.
cover drivers with $1 million in liability insurance, while drivers would be required to undergo criminal background checks, receive training, and adhere to a zero-tolerance drug policy—all benchmarks Zimmer says Lyft already meets. But if Seattle decides to regulate the burgeoning industry in line with the way it rules over taxis and for-hires—with licensing fees and insurance costs pushed onto ride-share drivers—Zimmer and Paul both say it will almost certainly spell disaster for the companies here. “[Sidecar drivers] are not taxi drivers. They are not able to accept a street hail. They don’t use a meter. They don’t use the terminology of taxis. They are not taxis, and any sort of sensible definition of the term taxi would not include them,” says Paul. “If the city tries to regulate it like a taxi, it will destroy these innovations.”
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n a dress shirt and slacks, 29-year-old John Zimmer doesn’t look completely out of place in an upscale Pioneer Square coffee shop. He blends with the throng of young professionals who buzz through the city every day. He’s well-kempt and confident. He wants to change the world. There are differences between Zimmer and the other smartphone-toting young ladderclimbers around us, however. Though you couldn’t tell it by looking at him, Zimmer’s 14-month-old company has roughly $80 million in venture funding behind it. As it has elsewhere, Lyft—which Zimmer co-founded with Logan Green, also 29—has taken off. In town in late July for a series of meetings with City of Seattle officials, Zimmer is also the guy responsible for the pink mustaches you see affixed to the front of cars; the ironic auto facial hair defines the Lyft brand. In Seattle, Zimmer’s mustaches are everywhere this summer. “You can blame me,” Zimmer says of the iconography. “There’s a company that makes these things, called Carstache. … We wanted to design happiness and joy into the full experience.” Happiness and joy aside, Zimmer knows that plenty of questions remain concerning the safety of his business. But listening to Zimmer talk, Lyft starts to feel more like a grand vision for redefining transportation than a shot at taking down the taxi industry. Sure, he knows taxi drivers are unhappy and the city council wants answers, but he plays the good guy, a harbinger of the future. “I empathize with anyone who’s negatively impacted by something, but at the same time, I strongly believe that the net of what we’re doing is very positive and very good,” says Zimmer, who left Lehman Brothers in 2008 to pursue his dream. “Things are changing. … It’s inevitable that these things are going to change, that transportation is going to change. That can be a really fantastic thing for everyone involved.” Lyft dates to 2007, when Zimmer and Green created Zimride, a ride-share service targeted at college kids. After expanding to 130 college campuses across the country, the duo decided to reimagine Zimride over three weeks in mid2012—giving themselves a fresh slate and the advances in mobile technology to work with. Lyft and its mustache-clad cars were the result. And people have bought in. The company has raised more than $80 million in venture funding thanks to the investments of Andreessen Horowitz, Founders Fund, and Mayfield Fund, with The Wall Street Journal reporting in May that Lyft has an estimated value of $275 million. San Francisco recently celebrated an official “Lyft Day” by order of the mayor.
ONE WEEK AWAY!
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» FROM PAGE 13 “We’ve grown faster,” Zimmer says when asked to compare his company to his chief competitor, Sidecar, which is backed by $10 million in venture funding. He says the two companies have similar philosophies and are “marching along that same path.” Both are built on a suggested-donation payment system. “We’d been working as a team for six years,” Zimmer says when pressed on how he has been able to attract so much money. Though cities like Seattle and states like California are still deciding what it all means, Zimmer says his company is growing; it now boasts 100 employees at its San Francisco and Oakland headquarters and operates in seven cities: San Francisco, L.A., San Diego, Chicago, Boston, Seattle, and, most recently, Washington, D.C. In its first two months in Seattle, Zimmer says, Lyft’s market grew faster than in any previous city. Though Lyft never engaged in an expensive study before deciding there was a demand for its services in Seattle, the positive response from users doesn’t seem to surprise Zimmer. “This region is very innovative and open to green cities and the future . . . so we wanted to have a presence here,” Zimmer says. “We thought there was the type of people [in Seattle] who would be into this kind of community-powered transportation.” So far, he says, “there’s been a great amount of demand.” The money and momentum behind Lyft allows Zimmer to think big. Having gradu-
On August 2 the Western Washington Taxi Cab Operators Association, with help from the Teamsters, surrounded City Hall with cabs. Outside, angry drivers served a “Citation for Inaction” to the city council, alleging the city has failed “to enforce existing laws that protect taxi drivers and their families.” Sally Clark was out of town on city business. Mohamad, however, was there, helping deliver the Association’s message. He isn’t a rookie when it comes to speaking to the media or pressuring city officials. One of 15 democratically elected members of the Association’s Leadership Council, he has recently become adept at both—made clear when he was quoted by the Times detailing the city’s alleged mistreatment. And a month earlier, when I called Teamsters 117 to get the union’s take on how ride shares have changed the game, Mohamed was called on to deliver the message. Not all taxi drivers agree with the specifics of the message, however. Joe Blondo, for instance, who’s been driving cab for a quarter-century and says he makes a comfortable living working only two days a week, questions the numbers the Teamsters-backed Association uses to describe the plight of the low-wage driver, contending that the Teamsters are advancing an agenda in the interest of only a small number of owner/ operators. Meanwhile, Dawn Gearhart, a business rep with Teamsters Local 117, says the Association’s numbers come directly from the driver/owner population, and estimates that the “majority of [drivers and owners] agree” with them. She says most start a week $1,000 or more in the hole. Removed from this bickering, Mohamed drives us to the SeaTac Airport parking lot,
SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
“There’s nothing wrong with competition, a competitive business. But the problem is when you have a certain group that’s free to do whatever they want.”
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ated from Cornell University’s Hotel School, he credits a “green cities” class during his senior year with his affection for ride-sharing. “I couldn’t comprehend a physical infrastructure that was coming after highways,” he remembers. “Our cities are built. Manhattan’s, like, 80 percent pavement . . . It’s going to be hard to escape that infrastructure.” The a-ha moment, Zimmer recalls, can be traced to his hotel and hospitality background. “The major metric we always talked about was occupancy. So I was like, ‘OK, what’s the occupancy of these [car] seats that are all flying around?’ And it’s, like, 20 percent. Eighty percent of seats at all time are all empty. So then I’m thinking, maybe the next infrastructure is actually not physical, but information, about when those seats are empty and who needs those seats. That was the vision.”
L
ike 500 other Yellow Cab, Farwest, and Orange Cab drivers, Salah Mohamed pays $25 a month for Teamster support. If getting heard is the goal, then it’s been money well spent.
where Yellow Cabs line up before being dispatched to the airport’s taxi line. The lot is full of drivers, many just as disillusioned as Mohamed by what they say is the city and county’s failure to protect them. Gearhart estimates Association members are 25 percent Somali, 30 percent Ethiopian, and 45 percent Indian. “It’s a real immigrant story,” says Leonard Smith, Teamsters Local 117’s director of organizing and strategic campaigns. Sitting in Mohamed’s yellow Prius, with two other angry drivers having joined us in the back seat, the focus turns to the ride shares. “Why would you pay for dispatch, why would you pay a lease, why would you have to go to the city to pay fines or fees when you can get it for free?” Mohammed says of the Sidecars and Lyfts of the world. “We need nothing but a level playing field. There’s nothing wrong with competition, a competitive business. But the problem is when you have a certain group that’s free to do whatever they want. “The way I see it, the city already deregulated everything,” he continues. “Anybody can do whatever they want, and they can get away with
At an Aug. 2 protest, cab drivers issue the city a “Citation for Inaction.”
it. . . . Instead of rewarding us, saying these people are doing the legit things—no, we’re being harmed because of that. That’s just sadness.” “It’s a bit of a wild West out there, and people’s lives are at stake,” says Smith. “We’re looking at disruptors [ride-shares] in a marketplace that has probably needed some disruption, because of the way it’s been functioning. [With taxis,] You’re dealing with technology that’s 50 years old. . . . If people want to use [ride-share services], they should have the opportunity to use them. But they should be operating under the same competitive restraints and restrictions that meter taxis operate under. Otherwise you’re essentially disenfranchising thousands of people from being able to make a living. “It’s getting pretty hot out there,” Smith says of the growing tension, which is only stoked with each day of inaction from the city.
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Aimee T.
Wife / Conditioning Queeen / Mother
“ I’m mentally and physically stronger with my family getting fit beside me. situations rare. “One guy was, like, hanging out the back of my window, and I just had to be, like, ‘Hey, man, this is still my car.’ ” There are also the natural fears that come with giving rides to strangers—something Ortiz says using the Sidecar app helps alleviate. “When you’re driving around at night—I mean, I’m a girl,” Ortiz offers. “So I usually keep my bag under my seat. And if I ever go to a neighborhood I don’t know, I’ll usually wait with the hazards on. And if I feel like I see [the rider] walking up, I’ll call them, so that they answer, so I can confirm that it’s them. … This is my car. I only do what I’m comfortable with, and I wouldn’t let someone in my car that I don’t feel safe with.” We pick up our second rider, a young professional who says she works in PR and runs a local cannabis magazine. We’ll call her Kelly. A Sidecar regular, it’s clear Kelly and Ortiz know each other. “Hey, what’s up, lady? Thanks for picking me up!” Kelly says, hopping in the front seat. She’s headed downtown, to Urban Outfitters. “It’s cheaper than a cab, and everyone’s nicer,” Kelly explains when asked why she uses Sidecar. She says this is her second Sidecar trip of the day, and that often she knows her driver. “A lot of the drivers I’ve had I’m pretty familiar with. So I feel like I’m connecting with actual people. … They’re just normal, day-to-day people doing this as a nice favor, and also making some cool cash on the side, which I think is awesome and that’s why I want to support it. “Because when I get a car, I might do it too.” E
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licia Ortiz pulls up to the corner of Boren and Thomas and we pick up John (not his real name), the Amazon employee heading for the Showbox, who says he uses Sidecar about once a week. Without hesitation, John hops in the front passenger seat and asks Ortiz how her day has been. It doesn’t feel like a taxi ride. “It’s been stressful,” Ortiz tells him. “I’ve been planning a lot of events for work.” When there’s a break in the small talk, I ask John why he likes Sidecar. “I try not to pay for rides when I can use my bus pass,” he says. “I use [Sidecar] mainly when it’s late at night, when I don’t want to get in the line for the bus, and hang out for a while. I can just sort of drop a pin [request a ride through the app] and hang out with my friends for that 10 minutes until someone rolls up, and then I’m ready to go. So it’s great. It’s really great.” After dropping off John at the Showbox, our second ride request comes quickly, from Alki. Ortiz perks up at the chance of a $22 fare. She tells me her average is closer to $15. You get the feeling this could become addictive. “Right?” Ortiz exclaims when presented with this observation. “Because it’s fun. When you start getting rides, you’re like, ‘Why would I go in now?’ ” Admittedly, however, it’s not all sunshine, rainbows, and “vibing to the radio” on the road, as Ortiz puts it. Like taxi customers, she says, at times her riders leave something to be desired. “Sometimes I pick people up when they’re drunk … I mean, they’re drunk,” she says, calling such
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American Malters Join the Craft Brew Craze
FoodNews Snoqualmie Ice Cream-O-Rama; Gluten-Free Cider
The Pacific Northwest is front and center.
BY AMY HALLORAN
N
BY SARA BILLUPS Bento box pop-up Bloom has officially gone brick-and-mortar. Chef/owner Jason Harris opened shop last week in the former Le Marche space at 5410 17th Ave. NW in Ballard. Hours are 4 p.m. to 10 p.m. seven days a week. Miniature donkeys! BBQ! Real live alpacas! Caspar Babypants! Snoqualmie Ice Cream’s 3rd Annual Ice Cream-O-Rama! is this Saturday from 11 a.m. to 3 p.m. at the Snoqualmie Ice Cream shop in Snohomish. Check online for full event details, www. snoqualmieicecream.com.
COURTESY ROGUE
another challenge to small scale malting is equipment. But the Pacific Northwest is not shy on malting resources, or goals. As an extension of its barley research, OSU has a custom micro-malter, and there’s a new malting facility in Lewis County, half-way between Portland and Seattle, as part of the new Cowlitz River Distillery. Steve Jones, director of the Washington State University Mount Vernon Station—a place for agricultural research and outreach to farmers— sees the Salish Coast, running from the Willamette Valley to British Columbia, as having the capacity to be a premier malting barley region. Mount Vernon Station serves farmers in the Skagit Valley and western Washington. Farmers in the valley already grow grains in rotation with higher value crops like tulips, potatoes and vegetable seeds. Grains help break cycles of disease and build organic matter in soil. However, the years that farmers grow grains they lose money
Gluten-free drinkers and apple-lovers rejoice: Two Beers Brewing is launching sister business Seattle Cider Company with an event at the Two Beers tasting room this Saturday from 2 p.m. to 7 p.m. Pints of new offerings will be served, including a Gin Botanical cider with a spice and herb infusion supplied by local distillery Batch 206.
Madison Valley’s Ines Patisserie announced plans to open a new location at 111 E. Union on Capitol Hill by Valentine’s Day 2014.
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SEATTLE W EE KLY • AUG UST 21 — 27, 2013
ow that the craft brewing industry has a foothold in the imaginations and walRogue Ales’ brewmaster John Maier at lets of beer lovers, brewers barley harvest. are beginning to explore the concept of locally produced malts. The key word is concept because such malts are in short supply across the country. “There’s never been a strong American specialty malting manufacturing footprint,” said Jason Parker, co-owner of Copperworks Distilling in Seattle. Parker has been intimate with malts for decades; he was the first brewer at Pike Place Brewery, and brewed at Red Hook and Pyramid, too. “Almost everything that is called specialty malt has traditionally been made in Germany or England, and we’re now starting to see some being made here.” Beer equals hops, malt, yeast and water. Malt is grain, primarily barley, that is germinated, allowed to grow a certain amount of time, and then kilned. Kilning halts the growth at a moment when enzymes in the kernels are activated flavors in malt. enough to feed the yeasts when making beer. “For some of these innovative brewers, it could Most malt is manufactured by large compapush the next horizon in beer styles,” said Hayes. nies in large quantities. These plants use barley Those flavor horizons are what gets people that’s grown and malted to meet the needs of excited about small-scale malting. dominant brewing interests, such as Anheuser“Malt is the heart of beer. It gives beer those Busch. wonderful nutty, sweet, malty, chocolate and “Their processing is directed at not introducing flavors into things,” Pat Hayes, barley breeder roasted flavors and aroma. Because we’re farmers, we also believe in taste of place, terroir,” said at Oregon State University, said of mainstream Rogue Ales Brewmaster John Maier. Rogue Ales brewers. “If you’re making Bud Light you want jumped into the custom malt game in 2010; the it to be Bud Light. You don’t want it to taste like Oregon brewer and distiller now has its own wasabi.” (Wasabi is just an arbitrary flavor note farm, and opened its Farmstead Malt House this picked to highlight what drives the curiosities of January. brewers.) These variables of barley are played up in Hayes has been working on barley for 25 the malting vats, and their potential is now on years, and is thrilled to see craft brewing jump people’s radars. But discovering the right varieties into the game. The American Malting Barley of barley to grow is just one piece of the puzzle. Association (AMBA) funds research at OSU Matching the production demands of malting and elsewhere and is expanding its interest with what farmers can grow takes communicabeyond the barleys that serve its largest customBOD_WKLY_Vodka_7-23-13.pdf 1 7/23/13 AM tion10:56 and time. ers. Additionally, a group of six craft brewers are Besides finding a steady local supply of grain, funding a grad student at OSU to explore new
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In honor of National Waffle Day this Saturday, Fremont’s Agrodolce is serving brandy maple semolina waffles for half price. The $6 waffles will be available during the brunch rush from 10 a.m. to 2:30 p.m. Correction: Seattle-based social gifting app
Gratafy is planning to introduce version 2.0 in the L.A. market on August 27, not August 21. E foodnews@seattleweekly.com
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because the crops are sold very cheaply as commodities, at prices determined by the global market. One of Jones’ big goals is to help farmers add value to their grain crops and sell them closer to home. Each year, the station tests up to 40,000 types of wheat and barley, trying to identify characteristics that are good for growing, and good for baking and malting. They look for varieties that will be good for animal feed, too. “Dairy farmers in this part of the state have a model of getting cheap grains from Canada on railcars,” said Jones. Price volatility is hitting them hard, and everyone would be better off working to meet the region’s needs. This plan to recreate a closed loop grain system in the Skagit Valley makes sense to a lot of people – farmers, eaters, and food and drink producers who want high quality grains. Skagit Valley Malting is one project born of this ambition. While would-be maltsters in upstate New York are fashioning systems from old dairy tanks, Skagit Valley Malting is fabricating brand new systems that will be run by smart
“Malt is the heart of beer. It gives beer those wonderful nutty, sweet, malty, chocolate and roasted flavors and aroma.” phones. The company even has to build its own test equipment. “All the lab equipment (available on the market) was built to meet the specs of the large brewing companies, set up to find varieties of malt barley to fit their profile,” said Wayne Carpenter, who is part of a group of retired pilots and software entrepreneurs behind the malting enterprise. This season, farmers have grown three varieties of barley for Skagit Valley to malt: Copeland, Alba and Fullpint. Carpenter is running test batches of malt on triticale, wheat and barley, and funneling them to excited bakers and brewers, like Pike Place Brewery, which is using a batch for a brew in a specialty show for chefs in early September. “When we’re in full production we’ll be making 2,500 tons a year,” said Carpenter. “Wish we could build fast enough to supply the demand.” The number of craft breweries has climbed to 2,500, said Chris Swersey of the Brewers Association. That number, plus a growing demand for local products, is creating a market for malt that did not exist: thousands of different brewers who want to make distinct, regional connections with their consumers. “Now there’s a realistic business opportunity,” said Swersey. Washington and New York states have farm brewery and distillery permits to push the use of state agricultural products in beer and spirits, so the stage is set for novel, local pints.E
food@seattleweekly.com
TemperatureCheck »from chef josh green,
ballard annex oyster house NINER BAKES
Vinegar shrubs. Even Gaucho has one on their list. However, I’ve been drinking them for years without alcohol. I make my own fruit juices to mix with unpasteurized vinegar and usually add an herbal tea to the mix for good measure.
Cake pops/cupcakes. I cannot tell you when I have had a good cake pop, or how many times the cupcake I purchased for $4 was worth it. I think they’re a lazy answer to the pastry chef ’s hardest task: making a great, simple cake.
Bacon. Yes, it’s versatile and a great practice of curing meats that is amazingly delish, but it doesn’t need to be so over-hyped that it’s on Band-Aids, duct tape and iPhone covers. Just let it be what it is—another great use of pork. Maybe I can start making rillette t-shirts to get ahead of the times.... E
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SEATTLE W EE KLY • AUG UST 21 — 27, 2013
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here’s nothing like starting a new column with a little controversy. Though I’d planned on debuting The Bar Code, Seattle Weekly’s new destination for all things beer, wine and spiritsrelated with a proper introduction and some discourse about America’s first cocktail, The Old Fashioned, that seemed, well, kind of old-fashioned. Instead, I’m coming to you with a recent “debate” I got into with Andrew Friedman, owner of Liberty on Capitol Hill, about what I wrote in my pick for Best Neighborhood Bar in our Best of Seattle® issue (the award went to Solo). One of the many places I drink without “regular” status.
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cigarettes, or bring them food, or even help them bus tables on a really crazy night. They’ll hop behind the bar to fix the carbon dioxide tank when it starts malfunctioning, and they’ll act as impromptu bouncers when someone gets belligerent. In my own experience as a drinker (rather than a bartender), sometimes I just want a quiet drink. I have my favorite bars, the ones where I’m well-known and hopefully well-liked, but that doesn’t mean those are the only bars I want to frequent. Sometimes I want a fancy cocktail at Tavern Law, or a rum concoction at Rumba, or to cozy up to a pint at Uber, and in return I understand that the staff isn’t going to be as familiar with me as they are with their regulars. But that’s perfectly OK. I’m getting my needs met just fine. Have an opinion on this topic? Questions, comments, arguments? Suggestions for columns? Marriage proposals? Email me at thebarcode@seattleweekly. com. And, by the way, I’m Zach Geballe and I’ve worked in the Seattle restaurant industry in a variety of capacities (busser, server, bartender) since 2006. Prior to that, I was a journalism major at New York University, and before that I was a teenager. The less said about that, the better. In my time in the restaurant industry I’ve had the great fortune to work with some extremely talented, knowledgeable, and instructive bartenders, sommeliers, managers, servers, and others who fostered in me a deep passion for learning about wine, spirits, and beer. To further that growth, I’m in the process of completing my second-level
SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
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Here’s what happened more or less: I advanced the idea that a good neighborhood bar by its very nature treats its regulars differently than a random stranger who walks through the door. It’s not that the stranger doesn’t get good service, but they get a different experience. They’re an unknown quantity, and while any decent bartender is going to pay attention to them and give them prompt and courteous service, they’re not going to treat them the very same way as the person who is at the bar three times a week. Friedman disagreed. To quote him from the comments: “ABSOLUTELY there should be no discernible difference in treatment between a customer that is a regular and one that needs a beer.” While I think there’s a certain charm to his request for total equality in bars, I also think he’s flat-out wrong. Regulars are often the lifeblood of an establishment, and as such they’re indulged in a way that a first-time or infrequent visitor isn’t. They’re allowed to carry a tab over from the previous night. They get a more generous pour, a better price, or a drink or two comped. Their drunken shenanigans are tolerated, their proclamations of love for the bartender are graciously ignored, and no one minds too much when they get loud. In return, they’re, well, regulars. They come in often. They spend money. Sometimes they tip well (though not as often as you’d assume), but they’re generally easy to serve. Most of all, they genuinely care about the establishment and the staff. They’ll go to the store to buy the bartender
While I think there’s a certain charm to his request for total equality in bars, I also think he’s flat-out wrong. sommelier certification (there are four levels total) through the Court of Master Sommeliers. You might hear more about that at a later date... So, anyway, Welcome to The Bar Code! Besides ranting, I’ll also be investigating trends here, and writing about events, ingredients, innovations, and oddities, as well as the various people and places that make the Seattle drinking scene so exciting. I’ll be in the same place, same time next week as I kick off Part 1 of my “Home Bar” series. Cheers! E
thebarcode@seattleweekly.com
arts&culture
Tales From a Tawdry Trade
Agenda
A chat with Mike Vraney, proud curator of vintage smut.
WEDNESDAY, AUG. 21
Burlesco DiVino
BY MARK RAHNER
S
different documentaries about exploitation movies or sex movies and whatever. Most of them all got it wrong, or they didn’t dwell on the 1920s, ’30s, ’40s and ’50s very much, because they had nothing to work with or no information. My goal for this project was to start in the late 1920s and end in the 1970s and cover every base—gay culture, nudist culture, birth-of-a-baby—everything to do with sex on film that had nothing to do with Hollywood. But Internet porn pounded a big, long, thick nail into the coffin of these movies, right? When
I first met David Friedman, he said to me, “Why would you even want these movies with the girls with big tits and giant beehive hairdos, and it
doesn’t even show anything?” They actually tried to have a story—whereas with porn they would show everything and were just wall-to-wall sex from minute one to the last frame. Those films killed the whole genre of exploitation films.
Yet there’s a charm to old sexploitation movies. They’re campy and retro, and they’re hilari-
ous. The best line in the world is, “Naked people are funny.” When you see a bunch of nudists and they’re sawing logs, that’s funny! They’re hilarious and a little cringe-inducing.
A lot of reasons they look the way they look is financial. The very best of the sexploitation movies were made in four days. I find them very hypnotic, and almost addictive. The fact that the budget is so small, and they have to do it in one take, and there’s so many mistakes, and they’re easy to spot, and they’re so much fun. And I also love the regional accents. I love sexploitation movies made in Texas, just because these girls have these amazing accents. In Bat Pussy, that girl’s accent is hilarious. One thing I’ve always wondered about nudists: Why are they obsessed with volleyball?
It’s really funny. Think about it if you’re the filmmaker. There’s only a couple of things you can show—swimming in the pool, volleyball, nature hikes—but you could only show those from the back. No “pickles and beavers.” You couldn’t show any of that.
My Bare Lady is my favorite of the dirty titles in the documentary. What’s yours? Oh god,
there’s so many. I like tag lines even better. “All women are bad. I should know. I’m a man.”
In the good old days, you had to sneak in shame to see what smut you could find. No young person today can identify with resorting to National Geographic for nudity.
Oh, no, they have no idea how hard it was to see titillation. And you’re right, National Geographic was about it. In the ’60s, my father belonged to the Playboy club, and he had the magazines around everywhere, but even that
was pretty tame when you think about it.
It might be jarring for people to see women who hadn’t been enhanced and didn’t have personal trainers? That’s another thing about
this documentary that’s wonderful. All the kids in porn [today] look like aliens. They have no hair. They have breast implants. They really look like they came from another planet. While in the sexploitation movies they’re busty and sexy and they have hips—and there’s such a nostalgia for body hair.
There’s more bush in this documentary than a Republican National Convention.
There you go. It’s also showing how much things have changed. I don’t show any beaver here.
What was the old Seattle sexploitation scene like? It was fantastic. Because we’re a
seaport town, our First Avenue had amazing arcades. They showed everything. I remember seeing a Linda Lovelace-and-a-dog film. And back then, too, the laws were different. It was amazing what was going on. They say we’re more free all the time. Baloney. When it comes to freedom it pretty much ended sometime in the ’70s. After seeing this movie, what do you want people to walk away with—other than amusement and mild arousal? Everybody from my
mother down the list of people I’ve shown this to, the first thing they say is, “I didn’t know anything about any of this.” I look at it like a history lesson. The other thing I’m very proud of is, it doesn’t feel like a dirty movie. I don’t think anybody else will ever come along and do the history of sexploitation after this documentary. First off, everybody’s dead, and I have all the clips. E
film@seattleweekly.com
SIFF CINEMA UPTOWN 511 Queen Anne Ave. N., 324-9996, siff.net and somethingweird.com. $8-$13. 10 p.m.
The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $30–$38. 8 p.m. SANDRA KURTZ FRIDAY, AUG. 23
Pasolini’s Last Words
Once a major figure in Italian letters and cinema, Pier Paolo Pasolini (1922–1975) is considerably more obscure today. His last film retrospective was six years ago in New York, which perhaps inspired artist-academic Cathy Lee Crane’s impressionistic new tribute film. It’s hardly straight biography, though it contains clips from his movies (including Accatone), old interviews, and newsreel footage with gruesome images of his mangled corpse after being murdered by a teenage rent-boy. To that Crane adds voiceover passages from his writings and new footage that vaguely illustrates his texts and echoes his movies. I won’t say it’s a successful essay film, but it certainly arouses curiosity about the man, who placed politics, art, violence, and sexuality all on the same spectrum. Looking at Pasolini’s corpse, a TV newsman calls it “the martyred body of Pier Paolo Pasolini,” and Crane definitely treats him as a martyr. Certainly, Crane’s film makes one wonder about a Pasolini retrospective in Seattle. The challenge would be to convince viewers who come for earlier, easier works like Mamma Roma to stay for the difficult, later stuff like Salò, or the 120 Days of Sodom. (Crane will appear at tonight’s screening; Pasolini’s 1966 The Hawks and the Sparrows runs tonight through Thurs.) Northwest
Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$10. 7 p.m. BRIAN MILLER
Eef Barzelay
Besides having one of the greatest names in indie rock, Eef Barzelay is also the frontman for one of the greatest unsung bands in indie rock, Clem Snide. Tonight he’ll mix songs from his band work with that of his extensive solo catalogue. He also plays terrific covers, like his sparse arrangement of Journey’s “Faithfully” for baritone ukulele, which injects new life–and heartbreak–into a song you’ve heard a million times before. Barzelay says he only reworks songs he doesn’t revere, so he can take them apart and put them back together again. But his originals are just as good: postmodern tales of outsiders and weirdos, like himself, born out of his experience as an Israeli immigrant. (With Barton Carroll Electric Band, Heligoats.) Barboza, 925 E. Pike St., 709-9951, thebarboza.com. $15. 7 p.m. DAVE LAKE
SEATTLE W EE KLY • AUG UST 21 — 27, 2013
It’s really uncomfortable watching nudists work with sawmill equipment. Can we agree on that? Absolutely, that’s why it’s there. Why did you want to make a sexploitation documentary? Over the years, there’s been many
SOMETHING WEIRD VIDEO
omeday, you’ll explain it this way to your kid: We didn’t always have it like you do. It wasn’t so easy. We couldn’t just sit at a computer keyboard to look at porn. And your son will say: No way! What did you do, Pops? And you’ll lace your fingers together and explain: We had our nudie cuties, and our roughies, and our whitecoaters … Or you’ll just show him That’s Sexploitation!, because your kid doesn’t want to listen to you. This new documentary from Seattle’s Something Weird Video is a 136-minute cavalcade of rare, forgotten, and mesmerizing sleaze from the four repressed decades leading up to 1970. In the film, host Frank Henenlotter, the cult director of Frankenhooker and Basket Case, sits us in the lap of exploitation icon David F. Friedman to hear the history of the smut industry. If you’re expecting a polished doc like The Fog of War, video footage of Friedman at home before his 2011 death might seem low-rent. But you’d be focusing on the wrong thing. The vintage clips from SWV’s vast library—arcade loops, sex-hygiene and drug-scare films, and burlesque footage—are eye-opening and often jaw-dropping. That’s Sexploitation! is currently making the rounds at film festivals and repertory theaters, and is not yet on DVD. I recently put on a raincoat and spoke with Something Weird founder Mike Vraney about his latest archival project.
From the sixth century BCE to the 1960s, Rome has been the home of excess, and Lily Verlaine and Jasper McCann’s homage to La Dolce Vita, called When in Rome, is a “party through time” featuring a cast drawn from the Seattle burlesque community. This burlesque revival from last summer mixes genres with zest, flipping from sword-and-sandals epics to urban indulgence. But whatever the costumes, togas or a miniskirts, most of them will come off before the evening is over. (Through Sat.)
Vixens from the vault of Something Wild.
» CONTINUED ON PAGE 22 21
arts&culture»Agenda » FROM PAGE 21 hosts the annual tournament. But much more’s at stake. As the programmers talk about their work, the possibility of artificial intelligence and the very meaning of life come into play—as do the implications of their work for the militaryindustrial complex. Not that it’s all serious. Bujalski’s programmers are nerds, after all, and their idiosyncrasies are delightful. (Through Thurs.)
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SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
AUG 31 - SEP 2, 2013
22
Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$8. 7 & 9 p.m. MARK BAUMGARTEN
SATURDAY, AUG. 24
Seattle Bike-In
Hardy will also read at Town Hall on October 11.
Nicole Hardy
After her 2011 essay “Single, Female, Mormon, Alone” was published in The New York Times’ Modern Love column, this Seattle writer began work on her memoir Confessions of a Latter-Day Virgin (Hyperion, $24.99), about growing up in a culture, she writes, that deems a woman’s highest achievement in life to be a wife and mother. While her friends are getting married and starting families at 20, Hardy is in the Caribbean, learning to dive; she’s in Chicago, selling hot dogs; she’s getting her MFA in Vermont. Steadily pursuing her own goals through her 20s and 30s, tenderly testing the boundaries of her religion, she struggles to reconcile faith with sexuality and personal independence. In Confessions, she carefully chronicles the slow-brewing realization that her once unshakable LDS convictions are irreconcilable with her true self. She writes, “This absence from myself, this floundering, the years of disconnection, and despair: None of it can be bringing me closer to the spirit of God.” When she eventually frees herself from the church, it’s also a huge relief for readers who feel themselves to be on the same journey with her. When Hardy finally loses her virginity at 36, the experience isn’t racked with guilt or fear; instead it holds the promise of a hard-won freedom. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse. org. Free. 6:30 p.m. GWENDOLYN ELLIOTT
Computer Chess
Returning after a week’s run at the Varsity last month, Andrew Bujalski’s latest film was shot on the same antiquated video gear that news crews used in 1980, when his film is set. The retro technology is crucial to this charming, subtle, and unexpectedly entertaining feature. Rendered in black-and-white analog video, acted with true conviction, Computer Chess is so deeply immersed in its milieu that it feels like a documentary. And like a great doc, it is at times tense and uncomfortable to watch as dorky programmers gather to compete against Pat Henderson (Gerald Peary), a braggart chess master who
The Tour de France and STP are past, Lance Armstrong is long-retired and living in disgrace, and the battle over the Burke-Gilman Trail’s “Missing Link” in Ballard enters its second decade. And yet there’s still plenty to celebrate about local cycling at tonight’s annual Seattle Bike-In. Commuter numbers are up, SDOT is deploying more of those bike corrals for parking, and whether Mayor McSchwinn remains in office next year or not, more bike lanes and improvements are coming, per the city’s Bicycle Master Plan. So expect a large peloton to converge at this evening of live music (from Tacoma’s Lo’ There Do I See My Brother), food trucks, film (Pee-Wee’s Big
KINO LORBER
Out of Town guests Parent’s Night Out Quittin’ Time Reunion St. Patrick’s Day Tired of the Usual Scene Valentine’s Day Why Not? Naughty X-Rated party! (Just kidding!) Don’t Wanna Miss Out Zany Fiends
MELISSA FENNO/NICOLEHARDY.COM
Anniversary Birthday Corporate Event Divorce Engagement Foreclosure Graduation Happy Hour Independence Day Just Because Kicking Back Looking for Fun Marriage Night On the Town
that YBB’s ska and soul sound has on the patio crowd—everyone swinging and swaying, channeling their inner island vibes. During their stint in the City of Subdued Excitement, YBB established itself as one of Bellingham’s most free-wheeling, feel-good acts, mixing sunny lyrics with big-band brass and jazz-inspired riffs. More recently, the band’s taken its talents to the road with the likes of Iron & Wine and Helio Sequence. The group has since returned to Seattle, where it’s more than prepared to continue the party. (With Victory Lap and Mile 9.) Nectar
Lounge, 412 N. 36th St., 632-2020, nectarlounge. com. $7. 8 p.m. KEEGAN PROSSER
SUNDAY, AUG. 25
Sounders Vs. Timbers
More than just another clash of the bitterest rivals in MLS, today’s Seattle-Portland match will determine, first, whether we’re finally going to get a solid foothold in playoff position after a season struggling just underneath it. (We’ve always had games in hand; however, our pointsper-game metric has looked much better.) And second, if the owners’ $5 million-per-year investment in Clint Dempsey, returning to MLS after time in England, will pay off when it counts. Since the acquisition was announced—from the initial dare-we-hope rumors to the confirmation
Wiley Wiggins (left) and Patrick Riester as code warriors in Computer Chess.
Adventure will be screened at dusk, with a new soundtrack courtesy of DJs Jon Francois and Eardrumz), games, a raffle, and costumes. New this year will be a free valet-parking system (courtesy of Bike Works in Columbia City, a great place to donate old bicycles and parts), so you don’t have to bring your big heavy lock. Cal
Anderson Park, 1635 11th Ave., nwfilmforum.org. Free. 5–11 p.m. BRIAN MILLER
Yogoman Burning Band
A former Bellingham resident, I first encountered the uniqueness of Yogoman Burning Band at Boundary Bay’s weekly Reggae Night. If you’ve ever been, you’ll know the magical effect
at the Aug. 3 home game that sent the crowd into orgasm—fan morale has never run hotter. Today the Timbers will likely find out just what a pitiless bitch goddess Hubris can be. However, Dempsey’s first home game is sold out: All of CenturyLink was opened and a crowd of 68,000 is expected (asking prices for tickets being resold at ticketsnow.com are topping $600). If you don’t have a seat, the best Plan Bs are to watch either at Collins Pub, just a few blocks north of Clink (526 Second Ave.), or at Ballard’s Kangaroo & Kiwi, named Best Soccer Bar in our recent Best of Seattle® issue (2026 N.W. Market St.). Centu-
ryLink Field, 800 Occidental Ave. S., soundersfc. com. 7 p.m. GAVIN BORCHERT
arts»Performance WORDS, SOUNDS, SILENCE Unexpected Productions’
B Y G AV I N B O R C H E R T
Stage OPENINGS & EVENTS
• BURLESCO DIVINO: WINE IN ROME SEE THE AGENDA, PAGE 21.
THE BURL-X-FILES: THE TRUTH IS DOWN THERE The
Shanghai Pearl and Jake Groshong star in this “nerdlesque” spoof of the paranormal. (Wish I’d thought of that subtitle.) Theater Off Jackson, 409 Seventh Ave. S., 800838-3006, jojostiletto.com. $20–$35. Opens Aug. 23. 8 p.m. Thurs.–Sat. Ends Aug. 31. THE COMEDY OF ERRORS SPT’s Youth Ensemble resets Shakespeare in Appalachia. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattle publictheater.org. Donation. 7 p.m. Fri., Aug. 23, 2 & 7 p.m. Sat., Aug. 24, 2 p.m. Sun., Aug. 25. THE CONSTRUCTION ZONE This reading and development series presents Ben Clawson’s The Dangers of Electric Lightning. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$20. 7 p.m. Tues., Aug. 27. FAMILY AFFAIR Jennifer Jasper hosts this performance-art cabaret on the theme of family. JewelBox/Rendezvous, 2322 Second Ave. $10. 7:30 p.m. Wed., Aug. 21. THE RAFT Rock Paper Theater’s debut stars sketch comics Ryan Sanders and Mike Mathieu as two men lost at sea and coping as best they can. TPS Theatre 4, Seattle Center, rockpapertheater.com. $10. Opens Aug. 23. 8 p.m. Fri.–Sat. Ends Sept. 14. TEN-MINUTE PLAY FESTIVAL 14 short plays chosen from 63 submissions. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, IslandTheatre.org. Donation. 7:30 p.m. Sat., Aug. 24–Sun., Aug. 25. TITANIC Ian Bell’s Brown Derby Series lampoons the movie. Re-bar, 1114 Howell St., BrownDerbySeries.com. $18. 8 p.m. Thurs., Aug. 22–Sat., Aug. 24. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
•
new improv show: “This edgy show illuminates three things present in a single moment. We often only hear the words, but it is the sounds that accompany the words that give us a chance at understanding the meaning behind what was said. It is in the silence that we truly see the impact of the message conveyed.” Unexpected Productions Market Theater, 1428 Post Alley, 800-8383006, unexpectedproductions.org. $7. Opens Aug. 22. 8:30 p.m. Thurs. Ends Sept. 26.
CURRENT RUNS
BEAUTY OF THE FATHER In Nilo Cruz’s play, the ghost of
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. 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. 8:30 p.m. Fri.–Sat. Ends Sept. 21. THE HALF BROTHERS BRAND OLD-TIME VARIETY SHOW Annex’s “pairing of neo-bluegrass and 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. Ends Aug. 30. ICICLE CREEK THEATER FESTIVAL A reading of Sarah Saltwick’s A Perfect Robot. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $12. 7 p.m. Wed., Aug. 21. 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. Would an antiwar play like Lysistrata even be allowed on an Army base? MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for exact schedule. Ends Sept. 12.
•
MEN OF ACTION Jet City’s improv takeoff of adventure
movies and their intrepid heroes. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Sept. 20. 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. 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. Wed., Aug. 21–Thurs., Aug. 22; 8 p.m. Fri., Aug. 23; 2 & 8 p.m. Sat., Aug. 24; 1 & 6:30 p.m. Sun., Aug. 25. 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. TEATRO ZINZANNI: LUCKY IN LOVE The spiegeltent becomes Casino ZinZanni in their new Vegas-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Sept. 8. 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 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. 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. 7:30 p.m. Fri.–Sun. Ends Sept. 1.
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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.
Dance
MUSIC + MOTION Relay Dance Collective combines ballet
and hip-hop dance, hoping to startle fans of both.Dance Fremont!, 4015 Stone Way N., 800-838-3006, relaydance. org. $15. 3:30 & 7:30 p.m. Sat., Aug. 24–Sun., Aug. 25.
Classical, Etc.
• SEATTLE OPERA This production of Wagner’s Ring is,
all told, SO’s best yet—more vivid, more gripping, more moving. McCaw Hall, Seattle Center, 389-7676, seattle opera.org. $300–$1,460 per cycle. Ends Aug. 25. MARK HILLIARD WILSON Bach, Piazzolla, Schubert, and more on this guitarist’s annual summer recital. St. James Cathedral, 804 Ninth Ave., stjames-cathedral.org. $15. 7:30 p.m. Fri., Aug. 23. OLYMPIC MUSIC FESTIVAL Chamber music in a rustic repurposed barn, each Saturday and Sunday at 2 p.m. through Sept. 1. This weekend, Chopin, Dvorak, Faure, Martinu. Olympic Music Festival, Center Road, Quilcene, 360-732-4800, olympicmusicfestival.org. $18–$33. MUSIC NORTHWEST Opening the season with British art songs from Dowland to Britten. Olympic Recital Hall, S. Seattle Community College, 6000 16th Ave. S.W., 937-2899, musicnorthwest.org. $16–$18. 7:30 p.m. Sat., Aug. 24.
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RUSSIAN CHAMBER MUSIC FOUNDATION OF SEATTLE Borodin, Rachmaninoff, and more al fresco.,
Luther Burbank Park, 2040 84th Ave. S.E., Mercer Island, russianchambermusic.org. Free. 3 p.m. Sun., Aug. 25.
OLYMPIC SCULPTURE PARK
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6 pm-8 pm
Sponsors:
Supporters: Amgen, Maryanne Tagney-Jones and David Jones
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SEATTLE W EE KLY • AUG UST 21 — 27, 2013
Thursdays atthePark
Thursday, August 22: Come out for a performance from the high-energy, ‘80s-themed band Rewind. Join in on the Kirigami (Japanese cut paper) fun with teaching artist Celeste Cooning as you cut and fold paper to grow a collaborative paper wall garden. Take a tour of the park with Randy Engstrom, Director of Seattle’s Office of Arts and Cultural Affairs. Savor local wines and food truck fun with TASTE Café, Charlie’s Buns, Maximus Minimus and Wise Guy Italian Street Food. And end your evening at the park with a 7 pm performance of Romeo and Juliet, presented by Seattle Shakespeare Company in collaboration with SAM and Friends of Waterfront Seattle.
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arts»Visual Arts B Y K E LT O N S E A R S
Museums
You know you want me.
• RICK ARALUCE With a day job designing sets and
T:2.69”
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 sculptural environments with doors, keyholes, thresholds, and other means of guiding the eye. Notions of viewing and voyeurism are strongly felt throughout. His creations are often miniature and frequently incorporate trompe l’oeil painting tricks. BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425519-0770, bellevuearts.org, $7-$10, Tues.-Sun., 11 a.m.-5 p.m. Through Jan. 31. B:2.69”
3
S:2.19”
Fun, playful, sexy, and smart. You’re looking for someone like me. I do it all, and I’m into just about anything. I bet you can turn me on. I’ll let you push my buttons. You’ve never had a relationship quite like this. I promise to treat you right and listen to your every need. Call me now, let me show you the world and more. You won’t regret it. 206-428-1974
CREATING THE NEW NORTHWEST: SELECTIONS FROM THE HERB AND LUCY PRUZAN COLLECTION The Seattle couple recently promised
nine works to TAM, which is in turn displaying a large slice of their art collection. Over 100 pieces are on view, which doesn’t even represent the Pruzans’ entire holdings. The Pruzans were on a budget as a young couple in the late ’50s, but they were determined to shop local. That means their collection lacks premium names like Tobey, Callahan, or Graves, which makes this show a Northwest survey of a different sort. Not second-rate—it’s more a reminder of depth over time. BRIAN MILLER Tacoma Art Museum, through Oct. 6.
Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended
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FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION Given the subject, apart from a few videos
(among 100 costumes), Future Beauty is a surprisingly static show. There are no models or catwalks, though all dresses look better on actual, moving women than on mannequins arrayed on pedestals. Turns out it’s not a relaxed, summery show at all. You have to set your sights accordingly and accept that it won’t be like flipping through old issues of Vogue at the hair salon. Instead, the frocks in four themed galleries demand to be studied and admired. Most don’t look like they’d be comfortable or practical to wear. The most novel works—like the paper dresses by OhYa, which fold and expand from books!—look like they’d be destroyed by actual use. (And laundering? Forget about it.) Truly, they do belong in a museum, not at a party. Knowledgeable visitors may be able to follow the evolution of the silhouette from Issey Miyake to Rei Kawakubo to Yohji Yamamoto. Some may come to SAM already knowing those names and the European codes they were working against. What was this old Continental tyranny of waists and décolletage and showing some leg? Must the female hourglass always refer back to classical statuary? Japanese designers shook up such assumptions, draping and pleating and obscuring the “natural” female form (or received notions of such). Mounted on SAM’s gallery walls, a few flattened dresses read like collapsed tents or pressed flowers. The female form has been crushed out of them. All you’re left with is color and texture, not depth. At that point, they’re more like tapestries—something meant to be hung on a wall, not worn. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $11-$17, Thurs., 10 a.m.-9 p.m.; Weds., Fri.-Sun., 10 a.m.-5 p.m. Through Sept. 8.
BRIAN MILLER
Tickets: (425) 392-2202 • Sept 12 - Oct 20 • www.VillageTheatre.org
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SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
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Place of Peril For the past five years, it feels like I’ve written the exact same sentence about the outdoor Heaven & Earth shows organized by the Center on Contemporary Art: Get there early before the art is vandalized or stolen. So it goes this year again. A city anti-graffiti crew removed some of the faces painted on trees—using natural pigments—by Richard Metz. Of the installations by 14 artists arranged along the ravine park’s walking trails (about three miles), most remain intact. For now. This year’s theme is “Acclimatized,” meaning the works are meant to withstand what CoCA calls “the intensity of scrutiny.” (Funny, but I never destroyed anything by looking at it.) Last year there was arson and theft, and the city’s overzealous cleaning crews have also previously carted away sculptures, mistaking them for junk. But then, humble materials are appropriate to a
temporary outdoor show, and most of the pieces here are made of modest wood scraps, small stones, yellow police “Do Not Cross” tape, and even plastic yard signs (Elizabeth Gahan’s hivelike Tree Pods, some of which have been stolen). I think that CoCA and the artists have pretty much accepted the peril—now part of the drama of the exhibition, which opened last month. A subsequent CoCA press release advised visitors to go “before it’s TOO LATE.” Alan Fulle’s kid-enticing Spiritual Play Tower (basically a wooden fort) has meanwhile been deemed too dangerous to enter. Again, more drama. I think size is the best guarantee of security: Make something large or substantial enough that it can’t be carted away or torched in the night. For now, for that reason, in the field next to the visitors’ center, Suzanne Tidwell’s Half Court of Croquet . . . Anyone? has been unmolested. Kids can push inflatable beach balls through the colorful hoops (planted securely in the turf), and who really wants to steal a 10-foot croquet mallet? What would you use it for at home? Carkeek Park, 950 N.W. Carkeek Park Rd., heavenandearthexhibition. org. Free. 6 a.m.–10 p.m. daily. Ends Oct. 20.
film»This Week’s Attractions
TickeTs available aT www.cinerama.com Ruth (Mara) reads her letters from the jailhouse.
STEVE DIETL/IFC FILMS
OPENS FRI., AUG. 23 AT GUILD 45TH. NOT RATED. 105 MINUTES.
OPENS FRI., AUG. 23 AT SUNDANCE AND OTHER THEATERS. RATED R. 93 MINUTES.
There are many things to admire about Ain’t Them Bodies Saints, from its controlled mood to its fine cast to its folkie-fiddle musical score. A great deal of care, and a lot of affection for movie history, went into this low-key Sundance success. So why am I unconvinced? Maybe everything’s just a little too right, a little too calculated in writer-director David Lowery’s neo-Westernnoir. This movie always knows exactly what it’s doing, and that gets a little suffocating. The ingenious opening reels introduce us to a desperate couple, Ruth (Rooney Mara) and Bob (Casey Affleck). Their criminal history is mostly left offscreen, but we witness a showdown with Texas cops that results in Bob taking the blame for a shot fired by the pregnant Ruth. Bob is hustled off to the pokey and four years pass, but the bullet remains lodged in the storyline: Small-town policeman Patrick (Ben Foster), the very officer wounded by Ruth’s gun, is now hanging around her and the baby. Patrick is a nice man, clearly lovestruck, and he’s probably better for her than callow Bob—but such niceties hardly matter in a doomy scenario like this. Bob has escaped from jail, and we know where his path leads. Lowery misses few pictorial possibilities with the Texas locations, and his movie has an old-time feel despite being set in the 1970s. Yet the location and the period should have quotation marks, because Ain’t Them Bodies Saints takes place exclusively in a movie universe, aspiring to the tradition of Nicholas Ray’s They Live by Night and Terrence Malick’s Badlands. And speaking of Malick: As pretty as Bradford Young’s cinematography is here, we might need to call a moratorium on close-ups of waving wheat backlit by “magic hour” sunsets, because these imitations of the Tree of Life director are getting out of hand. The people onscreen matter, however. Mara, the girl with the dragon tattoo herself, continues to be a novel presence; and she and Affleck are masters of the art of hushed, uninflected vocal delivery. Affleck doesn’t do anything new here, but Foster does: This incorrigible over-actor (see Alpha Dog or 3:10 to Yuma) has tamped things down to give a gentle performance of great feeling. All of which is admirable—there’s that word again—and consistently interesting to watch. But maybe the film needs less saintliness, and more sinning. ROBERT HORTON
There’s a real basis for the title and guiding spirit to Lake Bell’s winning little showbiz comedy. The basso-voiced phrase “In a world…” began many a movie trailer written and delivered by Don LaFontaine (19402008), whose death here inspires a mad scramble for work among Hollywood’s lesser vocal talent. They all want to inherit LaFontaine’s mantle, presently worn by Sam Solomon (Fred Melamed), whose daughter Carol (Bell) is a less successful practitioner of the family trade. Carol is a voice nerd, fascinated by the accents she covertly tapes with her everpresent Dictaphone, yet her career is confined to voice coaching, not movie work. When the widowed Sam kicks Carol out of the house to make way for a young new girlfriend (Alexandra Holden), he condescendingly tells his 31-year-old daughter, “I’m going to support you by not supporting you.” Implicit in his rebuke is that women, with their higher voices, have no place in his manly profession, where his friendly rival is the jocular trust-funder Gustav (Ken Marino). Then the couch-surfing Carol catches a break at a recording studio run by amiable Louis (Demetri Martin, becoming too typecast as nice). Everything that transpires among Lake’s players is predictable, but in a pleasant, breezy way. In a World… plays like an overstuffed sitcom, with Carol’s wacky friends and neighbors dropping in for brief, effective bits (these include Nick Offerman, Rob Corddry, and Tig Notaro). It’s a knowing industry satire, but not a mean industry satire. (Eva Longoria shows up to make sport of herself, and a bigger star later appears in the trailer for the ludicrous epic The Amazon Games.) Bell doesn’t write the conflicts, easily resolved, or characters any deeper than they need be—save for the imperious yet fragile Sam. (Some may recall the wonderful Melamed, an actual voiceover artist, from the Coen brothers’ A Serious Man.) And Lake wisely places a sour little cherry on Carol’s cake with the final caution of a female studio executive (Geena Davis): One small triumph over sexism won’t change an industry. Women still live in a world… Well, you complete the sentence. BRIAN MILLER
» CONTINUED ON PAGE 26
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If the name Shecky Greene does not ring a bell, you might not be the target audience for this new documentary. But there was once a time when someone with this unlikely name roamed the Earth, and this film chronicles the prehistoric, pre-TV age in which such comedians flourished. The doc proposes New York’s Catskill Mountains as the cradle of a couple of generations of comedy, and it is hard to argue with the assertion. A vast parade of stand-up comics, mostly Jewish, passed through the vacation resorts of the Borscht Belt, as the circuit was called. During the mid-20th century, the Catskills hummed with holiday-makers seeking escape from New York, in search of all-youcan-eat buffets and the latest variation on the mother-in-law joke. This was the testing ground for Danny Kaye, Sid Caesar, Jackie Mason, and the king of the one-liners, Henny Youngman. Jerry Lewis was a busboy at a Catskills hotel before he wangled his way onstage. The place was also significant in American Jewish culture, as a collection of genial, elderly interviewees attest. One of them is ex-CNN talker Larry King, who shares both an appreciation of the comedy kings and his recollection of losing his virginity to a married vacationer at home plate on a Catskills ballfield (he was a resort waiter at the time). Directors Mevlut Akkaya and Ron Frank manage to get Lewis, Caesar, Mort Sahl, and Jerry Stiller to reminisce about the era; Robert Klein—who also had first-hand experiences in the Catskills—is the doc’s agreeable host. Problem is, this rich subject is presented in a scattered way that eventually becomes irritating enough to detract from the funny stuff. A vintage Youngman joke is followed by a vague anecdote is followed by windy generalizing about social conditions in the 1960s. The movie settles for nice nostalgia when you really want to know more about how this system worked, and more about the personalities involved. And you want more stand-up. The snippets we hear bring back an era that seemed utterly Squaresville by the time Richard Pryor and George Carlin began riding high, yet today they sound quaint and historic and genuinely funny—and are delivered with crack timing, too. The film clocks in at 77 minutes, leaving plenty of room for more jokes. No Catskills dining room would get away with serving such small portions. ROBERT HORTON
The World’s End OPENS FRI., AUG. 23 AT SUNDANCE AND OTHER THEATERS. RATED. 109 MINUTES.
The trailers and ads for this third Edgar WrightSimon Pegg-Nick Frost collaboration clearly warn that it isn’t a straight English pub-crawl comedy, yet the studio wants its precious secrets kept. It’s a tiresome publicity game, but I’ll play along. Wright previously directed Pegg and Frost in Shaun of the Dead and Hot Fuzz, movies that inspired much love among lads with too many DVDs and action figures on the shelves of their basement bachelor apartments. These modest English bromances are quirkier and more regional than their Apatowian cousins across the
LAURIE SPARHAM/FOCUS FEATURES
NOT RATED. 77 MINUTES.
Pegg’s Gary demands that everyone drink.
pond, and The World’s End—named for a fateful pub—transpires in the sleepy suburb whence our five heroes gladly escaped after a failed 1990 pub crawl. Decades later, black sheep Gary (Pegg) is the least successful of the bunch (how much so is gradually revealed). The rest of them—played by Frost, Paddy Considine, Martin Freeman, and Eddie Marsan—have accepted boring bourgeois adulthood as their due. They don’t want to leave their comfortable London lives when Gary demands they complete their drinkathon. I wasn’t sure if I wanted to join them either. Pegg’s made the calculated decision here to ratchet up his screen persona from bossily conscientious to full-blown obnoxious, from control freak to out-of-control freak. We know from the first minutes that Gary’s stuck in the past, but The World’s End flogs that point into the ground (same ’90s wardrobe, car, and cassette mix tapes, etc.). His four mates are soon ready to abandon him in Newton Haven, and so was I. At that point, 40 minutes in, the movie isn’t going anywhere beyond the predictable pitfall of alcoholic nostalgia. Yet I remained in my seat when The World’s End suddenly and enjoyably shifted genres (that being Plot Turn A). The film gets a needed jolt of energy: clumsy, comic fight scenes, panicked chases from pub to pub, and lines like, “Pop her head off like an aspirin bottle!” This works fine for a while—until, like the first section, it runs out of ideas. In their screenplay, Pegg and Frost again return to their love of cheesy old movie genres and the vicissitudes of male friendship. Before, in Shaun of the Dead and Hot Fuzz, a pair of movie lovers essentially found themselves in real-life movie plots. But no one wants to watch Pegg and Frost’s characters—Gary and teetotaling attorney Andy—muddle through their mid-life crises à la The Big Chill, and they know it. Yet flipping the script doubles the stakes: They’ve got to write a unified ending for both disparate halves of the movie, and they don’t. Instead they cough up Plot Turn B, an epilogue that should’ve been kept for the DVD extras. For all the prior goodwill generated by the Wright-Pegg-Frost combine, The World’s End plays like three different sketches from their early days in English TV. When Frost says, “We are not teenagers anymore; you should grow up, mate,” it sounds like a note from the writers’ room. BRIAN MILLER E
film@seattleweekly.com
film» BY BRIAN MILLER
Local & Repertory CENTRO HISTORICO This four-part anthology film
• •
•
•
Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended
•
HHHHH A PERFECT MOVIE!
Reiner’s charming adaptation of the classic William Goldman children’s tale The Princess Bride is sweet, funny, and well played down the line for both parents and kids. Cary Elwes and Robin Wright Penn are the handsome, occasionally quarrelsome lovers; Wallace from the writers of (500) Days of summer Shawn, Mandy Patinkin, and the late André the Giant aid them through amusing adventures. 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. MOVIES AT MARYMOOR The late writer Michael Crichton, who famously tutored President Bush on the fallacy of global warming, was no scientist. But the doctor-turned-novelist, from The Andromeda Strain forward, knew how to mix popular science into exceptionally good potboiler fiction. He was a master of the in-flight novel, and Jurassic Park is one of his very best works. Steven Spielberg’s 1993 adaptation benefits from equally from the then-new magic of CGI and our old love of dinosaurs running amok. While Crichton warns us about the dangers of genetic engineering—in rather static debates among scientists Sam Neill, Laura Dern, and Jeff Goldblum—Spielberg keeps © 2013 TSN VENTURES, LLC. ALL RIGHTS RESERVED. things moving at a wonderful pace. As in Jaws, whose DNA is strongly felt here, the hunters become the Bellevue Seattle Seattle Lincoln Square Cinemas 16 & IMAX Landmark’s Harvard Exit Theatre Sundance Cinemas Seattle hunted. Outdoor movie screens at dusk. (PG-13) BRIAN (425) 454-7400 (206) 323-0587 sundancecinemas.com MILLER Marymoor Park, 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com, $5, Wednesdays, 7 p.m. Through Aug. 28. PASOLINI’S LAST WORDS SEE THE WIRE, PAGE 21. REAR WINDOW Hitchcock’s 1954 masterwork posits Sally Michael Peter Alec Cate LouisSEATTLEBobby WEEKLY Andrew Jimmy Stewart’s character as a voyeur, cooped up in Hawkins Cannavale Dice Clay Stuhlbarg Blanchett Sarsgaard Baldwin C.K. his New York City apartment with a broken leg, staring WEDNESDAY 08/21 through his neighbors’ windows, just as we do at the movie screen. But Rear Window is also a love story. 2 COL. ( 4.83” ) X 3” FS (Highest Rating) Stewart rebuffs his girlfriend (Grace Kelly) with casual -Owen Gleiberman, ENTERTAINMENT WEEKLY ALL.SPN.0821.SW disdain, saying she’s “too perfect” for him. Fortunately our heroine is more than a match for her recalcitrant beau. She does the legwork for his amateur sleuthing, while he just watches. Kelly remakes herself into a woman of action, thereby increasing her allure—and subverting Stewart’s view of her. In Rear Window, Written and Directed by Woody Allen all the neighbors’ courtyard stories-within-a-story are greatly enhanced, and all comment both on the www.sonyclassics.com love story and the expertly made thriller. (PG) BRIAN MILLER Central Cinema, $6-$8, Aug. 23-28, 7 p.m. REgAL AUBURN STAdIUM 17 RENT In this 2005 adaptation of 1996 Broadway smash, 1101 Super Mall Way, Auburn Rent becomes less a cri de coeur and more of an (800) FANDANGO 399# AMC LOEWS WOOdINVILLE 12 kIRkLANd PARk PLACE CINEMA 6 REgAL BELLA BOTTEgA 11 CINEMAS upbeat, Fame-like raveup. Most of the original cast is 8890 NE 161st Ave., Redmond 17640 138th Place N., 404 Park Place, Kirkland back, including Anthony Rapp’s quasi-narrator, a four(800) FANDANGO 422# Woodinville (888) AMC-4FUN (425) 827-9000 eyed documentary filmmaker among the singing East REgAL CINEMAS THORNTON PLACE ARk LOdgE CINEMAS LANdMARk’S HARVARd ExIT Village bohemians. The tunes are certainly timeless, STAdIUM 14 4816 Ranier Ave., Seattle 807 East Roy, Seattle from the thrilling, opening-scene faux-gospel “Seasons 301 NE 103rd Street, (800) FANDANGO 1311# (206) 721-3156 (206) 323-0587 of Love,” performed on a bare stage à la A Chorus REgAL PARkWAy PLAzA 12 CENTURy FEdERAL WAy LINCOLN SqUARE CINEMAS Line, to the barbaric yawp of “La Vie Boheme.” Rent 5910 South 180th Street, Tukwila The Commons at Federal Way, 700 Bellevue Way NE, Bellevue (800) FANDANGO 429# Federal Way (800) FANDANGO (425) 454-7400 works best as a centaur creation: half-movie, half-play, FIREHOUSE THEATRE REgAL ALdERWOOd STAdIUM 7 SUNdANCE CINEMAS SEATTLE plunging into theater-world in all its mindless, cheesy, 4500 9th Avenue NE,Seattle 11171 NE State Hwy 104 in Kingston 3501 184th Street SW, Lynnwood sentimental splendor. (PG-13) TIM APPELO Central sundancecinemas.com (360) 297-4849 (800) FANDANGO 413# Cinema, $6-$8, Aug. 24-28, 9:45 p.m. SHARKNADO If you missed it on Syfy, here’s a second VIEW THE TRAILER AT WWW.BLUEJASMINEFILM.COM chance to see airborne sharks battling Ian Ziering, Tara Reid, and John Heard. We’re rooting for the sharks. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Sat., Aug. 24, 10 p.m. SLAPSTICK SAVANTS This retrospective of early ‘‘ screen comedy includes silent classics like Chaplin’s .” The Gold Rush, Harold Lloyd’s Safety Last!, talkies -Andrew O’Hehir, Salon from The Three Stooges and Laurel and Hardy, and The Marx Brothers’ anarchic features Duck Soup and ‘‘ Animal Crackers. See siff.net for full schedule. (NR) .’’ SIFF Cinema Uptown, $6-$11, Aug. 23-29. -Time Out New York (circle one:) (circle one:) AE: Artist: ART APPROVED VHS MONTH The 1984 direct-to-video action flick ‘‘A GRAND, DOOMED Furious is screened Friday and Saturday. More to Angela Maria Josh Heather Staci Freelance 2 AE APPROVED recommend is the Sunday matinee of The Hunt for LOVE STORY.’’ Red October (1990), an effective Tom Clancy subma-Screen International Tim McCool Emmett Steve Philip CLIENT APPROVED rine yarn starring Sean Connery, whose birthday is ‘‘MARA AND AFFLECK ARE also Sunday. Remember that beer and wine are now served, but screening is open to all ages. (PG-13)Confirmation VIBRANTLY ALIVE. FOSTER Deadline: #: Scarecrow Video, 5030 Roosevelt Way N.E., 524”. -Rolling Stone IS BRILLIANT 8554, scarecrow.com, Free, Fri., Aug. 23, 8 p.m.; Sat., ‘‘AN EXCEPTIONAL Aug. 24, 8 p.m.; Sun., Aug. 25, 1 p.m.
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“Grade A. Powerful and Enthralling.” #5
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WED 08/21
sEattlE WEEkly AMERICAN OF DUE FILM MON 6PM
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ffff! BEAUTIFUL
Ongoing
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around the 2010 death of Dawn Brancheau, a SeaWorld trainer killed by Tilikum, a 12,000-pound whale. Director Gabriela Cowperthwaite also looks into prior incidents involving Tilikum, which brought about the sale of the unfortunate whale to SeaWorld. If Blackfish outrages people, so much the better. The case is closed, and whales and dolphins are too high on the evolutionary scale to keep captive. (PG-13) ROBERT HORTON Seven Gables
WINNER
best cinematography
-Slash Film
ACADEMY AWARD® NOMINEE
CASEY AFFLECK
AINTTHEMBODIESSAINTS.COM
EXCLUSIVE ENGAGEMENT
BEN FOSTER
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SEATTLE W EE KLY • AUG UST 21 — 27, 2013
features episodes directed by Aki Kaurismäki, Pedro Costa, Víctor Erice, and Manoel de Oliveira. All were shot in Portugal. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10, Aug. 26-29, 7 & 9 p.m. COMPUTER CHESS SEE THE WIRE, PAGE 21. FREMONT OUTDOOR MOVIES The Coen brothers’ 1998 stoner-noir The Big Lebowski is Raymond Chandler filtered through dirty bong water, where almost every line of dialogue is a hazy, hilarious non sequitur. My favorite is when accidental P.I. Jeff Bridges (forever the Dude) is ambushed in his tub by nihilists bearing a ferret. “Hey, nice marmot,” he greets them, with his usual unflustered amiability. Outdoor movie screens at dusk. (R) BRIAN MILLER 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies. com, $5, Sat., Aug. 24, 7:30 p.m. THE FUGITIVE Local film appreciation society The 20/20 Awards screens this suspenseful 1993 take on the old TV show, directed by Andrew Davis and starring Harrison Ford as the doctor trying to clear his name from charges of murder. (PG-13) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Thu., Aug. 22, 6:30 p.m. THE GITS Today being the birthday of slain local musician Mia Zapata (1965-1993), this 2007 doc by Kerri O’Kane celebrates both her legacy and that of the pioneering local grunge-era band. (NR) Northwest Film Forum, $6-$10, Sun., Aug. 25, 7 p.m. HOUSE Cult movies should be mistakes, not intentional. In his 1977 feature debut, there’s no indication that Nobuhiko Obayahshi meant for House to appear—three decades later, to non-Japanese viewers—completely insane. But it is: batshit, Technicolor, fairy-tale-meets-softcore-porn insane. Seven teenage schoolgirls visit the creepy old mansion inhabited by the spinster aunt of heroine Gorgeous (all the girls are similarly type-named); there they begin to disappear Ten Little Indians-style. But who’s killing whom, and why, are the least interesting questions about this effects-saturated dreamscape. Gorgeous is in love with her dashing father and despises his evil fiancée (whose hair and dress are permanently aflutter with a wind machine). Her schoolmates have a crush on their teacher, and her aunt is still pining for a soldier who died in WWII. All that thwarted love leads to flying heads, flashbacks, severed limbs, a ravenous piano, demonic cat, and tidal wave of blood. (NR) BRIAN MILLER Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $8.25, Sat., Aug. 24, 11:59 p.m. MOHAI MOVIES IN THE PARK Matthew Broderick tries to save the world from nuclear annihilation in the 1983 computer hacker drama War Games, effectively directed by John Badham. Thirty years later, it’s a time capsule from the Cold War era. Outdoor screening begins at dusk. (PG) BRIAN MILLER Lake Union Park, 860 Terry Ave. N., mohai.org, Free, Saturdays. Sat., Aug. 24. MOONLIGHT CINEMA There’s nothing more cinematic than a ticking bomb and the life-or-death deadline to defuse it. Which wire do you cut—red or blue? In 2009’s Oscar-winning The Hurt Locker, Jeremy Renner plays the reckless but methodical leader of an elite Army bomb squad patrolling Baghdad, where every trash heap (or corpse) could contain an IED. There are no antiwar lectures, just intricate process and male ego gone amok. (Anthony Mackie plays Renner’s disapproving, more by-the-book comrade.) When a blast occurs, director Kathryn Bigelow shows us the shudder of rust being shaken from old auto bodies, the slo-mo surge of the shock wave beneath the sand. What it does to human bodies, and minds, is even worse. Bigelow has generally been known for stylized action flicks, often with gonzo male leads (see that timeless testosterone opera, Point Break). But The Hurt Locker is a career best for her: tense, compressed, and often wordless for page after page of action. A sudden, extended sniper attack, midway through the movie, is the best combat sequence put to film this decade. 21 and over Outdoor screening begins at dusk. (R) BRIAN MILLER 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 From 1987, Rob
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film» BLUE JASMINE There’s nothing comic about the
NTw.RlittleYreMdhUenS.coIC LIVE COUww m THURSDAY AUGUST 22ND
JUKEHOUSE HOUNDS 9PM - $3 COVER
FRIDAY AUGUST 23RD
TRAINWRECK 9PM - $5 COVER
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TRAINWRECK 9PM - $5 COVER
Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm
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AARON CRAWFORD BAND 9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BODACIOUS BILLY
RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!
TUESDAY AUGUST 27TH
T & D REVUE 9PM - NO COVER
MONDAY AND WEDNESDAY
KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER
FREE COUNTRY DANCE LESSONS WITH OUR HOST MARY ANN AT 8PM; SUN, MON, TUES
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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
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“the most entertaining movie of the year!” new York magazIne
“the action is rip-roaring! it’s hilarious!” gQ magazIne
SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
“HHHH!”
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slant magazIne
PETER jaCKSON
RObERT dOwNEy, jR.
“My favorite of the three. funny and highly original. I loved It.”
“Best movIe I’ve seen all summer. Besides Mine of course.”
SIMON PEGG
NICK FROST
FROM THE CREaTORS OF aNd
in theatres everywhere starting friday, august 23 check local listings for theatre locations and showtimes
SETTLE WEEKLY
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. 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, Ark Lodge, Sundance Cinemas, Kirkland Parkplace, Lynwood (Bainbridge) 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. 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. Less successful are Wagner Moura and Sharlto Copley in supporting roles. Elysium qualifies as satisfying old-school science fiction. (R) ROBERT HORTON Alderwood 16, Cinebarre, Cinerama, Kirkland Parkplace, Majestic Bay, Bainbridge, Meridian, Thornton Place, others EUROPA REPORT This thrifty little sci-fi picture is both topical and deeply underwhelming. A private European space consortium has launched a probe to Europa, one of Jupiter’s moons, where there’s ice, heat, and the possibility of life. En route, communication is lost, and the astronauts are feared dead. Europa Report gets the look and tedium right for more than 20 months of claustrophobic space travel; then you realize Europa Report is one of those fake found-footage exercises like The Blair Witch Project. Something bad has happened on the journey, and the movie delays those revelations for as long as possible. Europa Report starts with a pleasing modesty, but it’s ruined by its gimmicky, withholding editing scheme. (PG-13) BRIAN MILLER Varsity 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 (played by Michael B. Jordan), a 22-year-old black man shot to death by overzealous transit cops on an Oakland BART platform in 2009. Fruitvale Station leads up to that incident with a day-in-the-life format. Grant goes out of his way to do favors for everyone he encounters. He’s respectful of his mother (The Help’s Oscar-winning Octavia Spencer), kind to dogs, loving to his girlfriend (Melonie Diaz) and 5-year-old daughter. Coogler spends a relaxed hour humanizing Grant; then comes the grim rush of docudrama that loops us back to the fateful railway platform. (R) BRIAN MILLER Oak Tree, Ark Lodge, Meridian, others THE HUNT 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) pours out a confused but alarming string of inappropriate phrases she overheard, and alarm bells go off. The police investigation is leaked to the public before it’s even begun. Everyone assumes Lucas is 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 war criminal somehow free on a technicality; it’s open season for vigilantism without consequences. (R) SEAN AXMAKER Guild 45th PRINCE AVALANCHE It’s 1988, and two guys are 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, and Alvin tries manfully to impose his standards of behavior on his younger cohort. They putter along the blasted landscape, painting new yellow
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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. 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. (R) ROBERT HORTON Varsity THE SPECTACULAR NOW In this agreeable adaptation of a 2008 young-adult novel by Tim Tharp, teen protagonist Sutter (Miles Teller) leads 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 here.) Director James Ponsoldt’s young duo behaves with a likable, naturalistic ease. 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 a clunky third act, as a road trip to find Sutter’s father (Kyle Chandler) yields predictable results. (R) BRIAN MILLER Harvard Exit, Sundance 20 FEET FROM STARDOM Who dreams of being a backup singer? This mostly delightful music doc is tinged with an air of disappointment. Meeting the fullthroated likes of Merry Clayton, Claudia Lennear, and Lisa Fischer, we understand these are masters of their craft. But the question nags: If they are masters, why aren’t they stars? The film includes some who made the leap, including Darlene Love and Sheryl Crow, but the focus is mostly on the folks who’ve made a career out of being in the background. (Also interviewed are figures like Mick Jagger, Bruce Springsteen, Stevie Wonder, and Sting.) Like the 2002 doc Standing in the Shadows of Motown, it’s got a built-in hook: all that great music, served with annotations from musicians. Director Morgan Neville doesn’t organize his material in a way that feels entirely intuitive. Despite the choppiness, the prime footage from George Harrison’s 1971 Concert for Bangladesh or Jonathan Demme’s 1984 Talking Heads concert doc Stop Making Sense is exciting. (PG-13) ROBERT HORTON Ark Lodge THE WAY, WAY BACK Fourteen-year-old Duncan (Liam James) and his divorced mother Pam (Toni Colette) are dragged to a Massachusetts beach rental by her overbearing new bf Trent (Steve Carell). Trent. There is no way we are going to like a guy named that (and a car salesman, of course), and Duncan emphatically dislikes the bullying Trent. In this awfully broad and familiar tale, unhappy Duncan finds a sympathetic mentor in Owen (Sam Rockwell), the flippant king of the local water park where Duncan lands a summer job. Owen is the anti-Trent: goofy and fun-loving, spitting out nicknames and bald lies, treating his staff with affectionate sarcasm, and harboring a not-so-secret thing for his boss (Maya Rudolph). While the drunken adults enjoy “spring break for adults” (per Duncan’s glum crush object, played by AnnaSophia Robb), Duncan finds new pals and self-confidence. We’ve seen this story a thousand times. But what are its incidental pleasures? Rockwell, Rockwell, and Rockwell. (PG-13) BRIAN MILLER Alderwood 16, Kirkland Parkplace, Guild 45th, Bainbridge, Vashon, Meridian, Thornton Place, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 7815755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.
Reverb»Feature
Return to the Nest
Waxwing dissolved after its members took flight. Now the punk band is back, better than ever. BY MARK BAUMGARTEN
A
a short list of musicians who might be interested, including former At the Drive-In bass player Paul Hinojos. But the prospect of launching a new project was daunting and ultimately unappealing for Rocky, who was resolute in continuing his solo career. So he began to think about getting the band back together. He reached out to his old bandmates a few times, but schedules were always conflicting. Then late last year, Rocky took Cody along for a tour of Germany during an uncharacteristic lull in the younger brother’s schedule. For fun, they added three Waxwing songs to the set list—“All of My Prophets,” “Kill the Messenger” and “Where Did the Time Go.” The songs were well-received, and, more importantly, they felt good to play. When the Votolato brothers returned to the U.S., they reconnected with their old bandmates and, perhaps more insistent than before, managed to make the schedules work. “We decided to organize a practice,” Rocky recalls. “If it goes well, we’ll go down this road. If not, we’ll talk to some other guys.” The rehearsal, which started with a rusty rendition of “All of My Prophets,” went well, feeling a lot like the early days of the band. “The only real difference was that we were all a little better at our instruments,” Cody says. “The energy was very similar to what it was like when we were in our prime.” Since that rehearsal, the bandmates have been squeezing in practices and making plans, not only for the reunion show that will take place this weekend at the Vera Project, but for a slew of new songs and even a new album. While finally giving life to all those new rock songs, Rocky has also been re-examining Waxwing’s four albums. “I do very much resonate with the songs,” Rocky says. “If I didn’t, I wouldn’t be able to do the band. It would be just like trying to relive a dream. It doesn’t feel that way at all; it feels very fresh and vital and new. I always felt that there was a hopeful idealism in what Waxwing was doing and as I listen to the songs, I am surprised that those old songs had this voice that really resonated with who I am now, again.” E
mbaumgarten@seattleweekly.com
VERA PROJECT 305 Warren Ave. N., theveraproject.org, 9568372. 7:30 p.m. $13 adv. All ages. Sat., Aug. 24.
SEATTLE W EE KLY • AUG UST 21 — 27, 2013
few years ago, Rocky Votolato found himself in a frustrating, and familiar, creative space. A solo artist known for his earnest balladry, the thirty-something Seattle musician was penning songs that didn’t fit into the milieu of the acoustic-guitar-toting songwriter. “I would have ideas come out and I would think, This isn’t going to sound cool on a Rocky record,” he recalls. “I was really just getting the feeling that I wanted to do something louder and more aggressive.” Fortunately, Rocky had a history with louder, more aggressive fare. As the lead singer for punk quartet Waxwing in the late ‘90s and early ‘00s, he established himself as an angsty, impassioned performer, leading a raw and powerful band that featured his kid brother Cody on second guitar and childhood friends Andrew Hartley and Rudy Gajadhar locking down the rhythm section. It was while in Waxwing that Rocky first struggled with creative constraints. But back then it was the opposite problem. Rocky found himself writing contemplative songs that wanted more to be crooned than shouted, songs that weren’t going to sound cool on a Waxwing record. In order to give those songs a home, Rocky decided to begin a solo career. That turned out to be a fantastic decision. Since 1999, Rocky has released eight full-length solo albums, building a loyal fanbase while managing to quiet his angst through metaphysical discovery, a journey chronicled in his last two records, 2010’s True Devotion and 2012’s Television of Saints. But as Rocky’s solo career and Cody’s new band, the artfully punky Blood Brothers, began to take off, Waxwing was left behind. Performances dwindled until they were an annual affair. Then, in 2005, the band decided to hang it up. “Rather than letting the band fizzle and die, we thought that we should just put a cap on it and go out on a good note,” Cody recalls. “There was no drama; there just wasn’t a lot of time available for it and we didn’t want to half-ass it. … I think at that point in time, we really thought that was going to be it.” It almost was, until Rocky started having his songwriting problem again. In need of an aggressive outfit through which he could channel his edgier material, he first considered starting a new band. He called up Cody and the two put together
PEREN VOTOLATO
Rocky Votolato, left, with Andrew Hartley, brother Cody and Rudy Gajadhar.
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tractor
Reverb»The Short List
Times listed are show times. Doors open 30-60 minutes before
Wed, Aug 21 • 9pm ~ $10 indie alt-country from LA
EVEREST
(FEAT. mEmBERS OF mINUS THE BEAR AND THE LONELy FOREST)
AARON LEE TASJAN
Fri, Aug 23 • 9:30pm ~ $15 good-time, honky tonkin’ band
THE GOURDS
ROSE’S PAWN SHOP Wed, Aug 28 • 9pm ~ $10adv/$12dos Chicago-based singer-songwriter
ANDREW BELLE GRIZFOLK
Up & Coming • 8/22 BIG SANDy & HIS FLy-RITE BOyS, THE RAINIEROS • 8/24 RED ELVISES • 8/26 mONDAy SQUARE DANCE with THE TALLBOyS • 8/27 DUKE EVERS BAND, THE REQUISITE, PUDDLE CITy POSSUmS • 8/29 ROBBIE WALDEN & THE GUNSLINGERS, PERRy ACKER • 8/30 Jerry Garcia Celebration feat. ANDy COE BAND, KULI LOACH
5213 BALLARD AVE. NW www.tractortavern.com 2033 6th Avenue (206) 441-9729 jazzalley.com
SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
JAZZ ALLEY IS A SUPPER CLUB
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LEE RITENOUR WITH LARRY GOLDINGS AND PETER ERSKINE TUES, AUG 20 - SUN, AUG 25 Distinguished crossover music masters
MARCIA BALL TUES, AUG 27 - WED, AUG 28 “A sensational, saucy singer and superb pianist... where Texas stomp-rock and Louisiana blues-swamp meet.” - USA Today
KEIKO MATSUI 25TH ANNIVERSARY TOUR & SOUL QUEST CD RELEASE PARTY THUR, AUG 29 - SUN, SEPT 1 Leading innovator of contemporary fusion jazz
JON CLEARY TUE, SEPT 3 - WED SEPT, 4 New Orleans based funk and soul singer, songwriter and pianist
all ages | free parking full schedule at jazzalley.com
COURTESY OF THE ARTIST
HAND OF THE HILLS
Lee Ritenour WEDNESDAY, AUGUST 21—SUNDAY, AUGUST 25
Guitarist Lee Ritenour has become a contemporary jazz institution unto himself. To date he has managed to amass 17 Grammy awards while charting 35 times. Ritenour got his start working as a session guitar player in the 1960s and all told is said to have performed on about 3,000 different recordings with artists as diverse as Pink Floyd, Joni Mitchell, Frank Sinatra and Dizzy Gillespie. For as diverse as his session career has been, his true love is and always has been jazz, and he plays his brand of the genre with a technicality and skill that is nearly unrivaled by his peers. Wednesday won’t be the first time Ritenour has played Jazz Alley, but it’s a stage and an environment that is entirely suited to his style.
Jazz Alley, 2033 6th Avenue, 441-9729. 7:30 p.m. (Additional 9:30 p.m. performance Friday and Saturday.) $26.50. CORBIN REIFF
Atlas Sound WEDNESDAY, AUGUST 21
For Deerhunter fans, frontman Bradford Cox’s solo project Atlas Sound is an invitation to the back of the workshop, a place where Cox’s eerie inventions sit in various states of completion or disrepair. Some ideas don’t pan out; others possess a pure, raw charm that makes you think you’re listening in on a prodigious middleschooler stuck in Georgia with a song in his head and a karaoke machine in his room (Cox created Atlas Sound when he was in sixth grade under these very conditions). While Deerhunter’s catalog is more fully realized, that band’s only upcoming visit to Seattle will be as a small part of the sprawling Bumbershoot festival, making Atlas Sound the Cox performance to see. His bizarre stage banter and antics are the stuff of legend. Last year in Minneapolis he led Atlas Sound in an HOUR-LONG cover of “My Sharona” to teach a heckler to be careful what he asks for. Seattle audiences are too passive and polite to bring that upon themselves, but that doesn’t mean Cox will behave himself. And why should he? You’re in his workshop. With Pony
and Pollens. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $12. DANIEL PERSON
Brandi Carlile THURSDAY, AUGUST 22—FRIDAY, AUGUST 23
Though it’s been almost a decade since she broke into the music business, blowing everyone away with her self-titled debut album, not much has changed for this folk rock singer-songwriter and local gal. She’s still performing with twin brothers Tim and Phil Hanseroth, the duo she played Seattle clubs with before signing to Columbia Records in 2004. She’s still using her platform to help others, donating a portion of ticket sales to
Black Sabbath
the Looking Out Foundation, the organization she created in 2008 to support humanitarian outreach efforts through music. And, perhaps most notably, she’s still infusing each and every lyric with an incredible amount of emotion, her bluesy vocals often cracking slightly as the song peaks. From that 2005 debut to last year’s Bear Creek, Carlile has proven that sticking to what you know is sometimes all you need to have an enduring impact and a lasting career. Woodland
Park Zoo’s North Meadow. 601 N. 59th St., 5482500. 6 p.m. SOLD OUT. AZARIA PODPLESKY
Black Sabbath SATURDAY, AUGUST 24
Tony Iommi isn’t quite the household name Ozzy Osborne is, but the guitarist who launched a thousand metal riffs certainly is the star of the current Black Sabbath tour. Fittingly, it’s a simple show. Iommi and Osborne, alongside fellow founding member, bassist Geezer Butler, and drummer Tommy Clufetos from Ozzy’s solo act, just play their songs in front of a big screen. Ozzy is good for a maniacal laugh and wild glare here and there, but you probably already know his voice and presence have diminished in power. Not so with Butler and Iommi, whose musicianship now exceeds the recordings of the band’s early ‘70s classics and shines on tunes from their June release, 13. Donning shades and dressed all in black, content yet imposing on stage, Iommi embodies the spirit of the band and the often misunderstood but not ignoble genre it summoned to this world. With Andrew W.K. (DJ set).
Gorge Amphitheatre, 754 Silica Road, Quincy, WA. 7:30 p.m. $60 - $150. JASON SIMMS
Pinback MONDAY, AUGUST 26
For all its surface beauty, a darkness lurks in San Diego. When I lived there, I found the city’s hyper social culture and constant sun so oppressive I fled to the Pacific Northwest, where the weather and attitudes are a bit more moody. There’s a sense that Rob Crow and Zach Smith, the two mainstays of SoCal alt-rock group Pinback, totally understand the feeling. Over the course of now five albums—their latest being last year’s Information Retrieved—they’ve mined a style of well-crafted, somber pop like Modest Mouse or Built to Spill, with Crow and Smith alternating tough-and-tender vocals that add muscle to the mix. Smith’s murky basslines alongside the dirgy tempo of a song like “Charborg,” from the excellent self-titled debut, make it sound like tracks have been melting on the dash in a heat wave, warping into something beautiful, but far from perfect. With Survival
Knife. Showbox at the Market, 1426 1st Ave., 628-3151. 8 p.m. $18.50-$22. GWENDOLYN ELLIOTT
Reverb» Seven Nights
COURTESY OF THE ARTIST
Lusine EDITED BY ANDREW GOSPE
Wednesday, Aug. 21 SELAH SUE Belgian soul/pop/reggae singer and guitarist
Selah Sue is a big deal in Europe, where she’s opened for Prince on the strength of her eponymous debut album. With Bushwalla. Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $14 adv./$15 DOS.
Thursday, Aug. 22
AIRPORT Jayson Kochan is the bassist in Midday Veil,
•
one of the best psychedelic rock bands in Seattle right now, and the thumping techno he makes as Airport occupies a similarly spaced-out dimension. With Brain Fruit, Youryoungbody, Lou Lou Hernandez. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8. DOG SHREDDER This Good to Die–signed Bellingham metal-prog band headlines a showcase of heavy music. With Great Falls, Heiress. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $8.
Friday, Aug. 23
LES CLAYPOOL’S DUO DE TWANG The Primus mas-
•
termind’s latest endeavor is this bluegrass-influenced project, which finds him performing his highly technical slapping technique on a bass banjo. With Reformed Whores. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 8 p.m. $29.50 adv./$34 DOS. All ages. LUSINE Seattle’s Jeff McIlwain’s builds his tracks on gradually evolving synth textures and metronomic beats, a formula he explores to great effect on February’s The Waiting Room. Mural Ampitheatre, 305 Harrison St, 684-7200, seattlecenter.com/concertsatthemural. 5:30 p.m. Free. All ages.
Saturday, Aug. 24 •
LINDA’S FEST Linda’s celebrates the end of summer
Monday, Aug. 26
• IAMSU! Over the past two years, collaborations with
E-40, Wiz Khalifa, and John Hart have raised this young rapper from another Bay Area oddity to one of hiphop’s rising young stars. With Louis V, Rassan Heist, Fano, Jay Morrison, Tre Ross. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. All ages.
Tuesday, Aug. 27
DUKE EVERS BAND This local trio plays some pretty
meat-and-potatoes indie rock, but with stronger songwriting chops than most. With The Requisite, Puddle City, Possums. Tractor Tavern. 9 p.m. $6.
Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.
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www.elcorazonseattle.com
109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
THURSDAY, AUGUST 22
HAPPY LEVIATHAN
with Foreclosure Notice, Alex Enger, and Cameron Ferguson Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
FRIDAY, AUGUST 23
MEN WITHOUT HATS
with The Scarves (members of Silicon Girls, Mt. St. Helens Vietnam Band, Natalie Portman’s Shaved Head), COLOR, and Crooked Veils Lounge Show. Doors at 7 / Show at 8PM 21+. $15 ADV / $18 DOS
BANNER PILOT
with Success!, Murmurs, and Poke Da Squid Lounge Show. Doors at 8 / Show at 8:30PM 21+. $10 ADV / $12 DOS
SATURDAY, AUGUST 24
THE BLASTERS with The Chop Tops, Hard Money Saints, Dead Man, and Dog Bite Harris Doors at 8 / Show at 9PM 21+. $15 ADV / $17 DOS
SUNDAY, AUGUST 25
MR. FEELGOOD AND THE FIRM BELIEVERS
with Fringe Shift, and Pawnbroker Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
MONDAY, AUGUST 26 Take Warning Presents:
RIVERBOAT GAMBLERS
with Blacklist Royals, and The Hollowpoints
Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
TUESDAY, AUGUST 27 The Beaches, Babes and Breakdowns Tour featuring:
BETRAYAL
, King Conquer, Aegaeon, Seeker, To Each His Own, and IDOLS Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
WEDNESDAY, AUGUST 28
DUANE PETERS GUNFIGHT
with Dime Runner, Shakin’ Michael J (CD Release), and The Greengoes Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
TUESDAY, OCTOBER 22 Inked Magazine & Mike Thrasher Present:
On Sale Sat 8/24
SUICIDE GIRLS: BLACKHEART BURLESQUE
Doors at 8 / Show at 8:15PM. 18 & OVER. $10 ADV / $12 DOS. VIP Table: $45 ADV / $50 DOS
JUST ANNOUNCED 9/25 LOUNGE KONGOS 10/14 LOUNGE THE MAXIES 10/22 SUICIDE GIRLS: BLACKHEART BURLESQUE 11/14 THE FLESHTONES 12/7 WILLIAM CONTROL UP & COMING 8/29 HATRIOT (FEATURING STEVE “ZETRO” SOUZA OF EXODUS/TESTAMENT) 8/29 LOUNGE SHAUN PEACE BAND 8/30 D.O.A. (SEATTLE FAREWELL SHOW) / THE FASTBACKS 8/31 EMERALD CITY ROCK PARTY 2013 FEAT MONSTERS SCARE YOU 9/1 KINGMAKER 9/2 THE PROTOMEN / MC FRONTALOT
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
SEATTLE W EE KLY • AUG UST 21 — 27, 2013
with this free block party, featuring art-rapper Katie Kate and afro-surf punk band Iska Dhaaf. This show also marks the final performance from hard-rock act Absolute Monarchs. With Constant Lovers, Tilson XOXO, Big Eyes. Linda’s Tavern, 707 E. Pine St., 3251220, lindastavern.com. 5 p.m. Free.Sunday, Aug. 25 OTTMAR LIEBERT & LUNA Negra Liebert is one of the world’s most successful Latin guitarists: his new agey instrumental stylings have led to five Grammys and a double-platinum album, 1990’s Nouveau Flamenco. Triple Door, 216 Union St., 838-4333, thetripledoor.com. 6 p.m., 9 p.m. $20–$40. All ages.
El Corazon
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SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
Best Dispensary
32
column»Toke Signals
S.A.M. COLLE
Was This Strain Developed at UW? I Don’t Know, But It Works.
T
S.A.M. COLLECTIVE
BY STEVE ELLIOTT
he first time I visited Pacific NW Medical, a marijuana dispensary
on Aurora in Shoreline, it had only been open eight weeks. Now the shop has become a fixture on the Seattle medical cannabis scene, and on August 1, new management took the helm. Just two weeks into their tenure, the new managers seem to have a good take on the kind of customer service needed when dealing with medical marijuana patients. There are lots of nice touches; for instance, if you buy a strain you really love at Pacific NW Medical but can’t, for life of you, remember its name (a distinctly possible scenario after sampling some of these strains), they can look up what you bought on their database. Voila! Budtender Hooks was fairly new at the job but very conscientious. If he didn’t know the answer to my genetics questions, he’d look it up, and he had copious and accurate notes. Hooks helped me select Purple Diesel, a sativa dominant hybrid; The Black, an indica-dominant; and Purple Arrow, a pure indica, based upon my criteria (he’s more of a sativa guy himself, while I need indicas at night for pain control). Purple Diesel had faint traces of the signature Sour Diesel bouquet, from the sativa side of the family, along with the added body oomph of Purple Kush from the indica side. It comes on great guns with the heady, energetic sativa rush, but if you’re going to do the dusting, hurry up. Continued smoking quickly reveals more of its indolent indica characteris-
MEDICINE MAN MEDICINE MAN WELLNESS CENTER Walk-ins Welcome WELLNESS CENTER On-Line Verification Available Providing Authorizations in Accordance with RCW 69.51A $99 includes Authorization and Card
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(206) 632-40
tokesignals@seattleweekly.com
Steve Elliott edits Toke Signals, tokesignals.com, an irreverent, independent blog of cannabis news, views, and information.
PACIFIC NW MEDICAL
19926 Aurora Ave. N., Shoreline (206) 542-2334 www.pacificnorthwestmedical.com Mon.-Fri. 10 a.m. -10 p.m.; Sat.-Sun. noon-8 p.m.
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SEATTLE W EE KLY • AUG UST 21 — 27, 2013
BLOG ON » POT xTOKESIGNALS.COM
tics, so the burst of energy doesn’t last long. The Black is, according to Hooks, a variant of the fabled UW Med strain that’s been a legend on the local scene since at least the late 1980s. The strain was developed, the story goes, by medical students at the University of WashCelebrating our New Low Prices ington, specifically bred for its ability to control New Hours: M-F 12:00 – 7:00 and New Summer Clinic Hours pain and nausea. “Made by local patients for Saturday 10:00 – 5:00 local patients,” Hooks told me. ** Starting June 28, 2011 ** Sunday 12:00 – 5:00 Celebrating our New Low Prices I don’t know how heavily I New Clinic Times: Tues 4–6 Fri 12-2 Bring this ad for an extra 10% off buy into that story – though Sat **starting JULY Clinic 2ND ** 10–2 and New Summer Hours For weekly specials, follow us on Facebook it’s way cool if it’s true – but Bring thisJune ad and even if it’s apocryphal, the 4023 Aurora Ave. N. Seattle, WA 98103 ** Starting 28,receive 2011 ** weed works. This is a hybrid an additional $25.00 OFF www.samcollective.org strain, but it’s definitely tilted New Clinic Times: Tues 4–6 Fri 12-2 (206) 632-4023 4021 Aurora Ave N. Seattle, WA 98103 in the indica direction: smoke A non-profit organization in accordance with chapter RCW 69.51A 206-632-4021 • seattlealt@yahoo.com Sat **starting JULY 2ND ** 10–2 more than a few tokes and your For weekly specials, follow u stoned daydreams may turn into the kind accompanied by snoring. 4023 Aurora Ave. N. Seatt Purple Arrow is a full-on indica with all the www.samcollectiv possibilities of 4021 Aurora Ave N. Seattle, WA 98103 couchlock that implies. Get this strain if you A non-profit organization in accordance wi have serious pain or insomnia issues. It’s Now accepting all major a good bedtime smoke and credit/debit cards! can be a great aid to relax and unwind at the end of a stressful or painful day. All the strains at Pacific NW Medical Biker Sunday 1/2 off door are $10 a gram. They also have competiHappy Hour Monday 1/2 off door 11pm-4pm tively priced concentrates and medibles. As an 2,4,1 Tuesday 2 for the price of 1 @ the door added bonus, you get to ogle, through glass, Boeing Recognition Wednesday 1/2 off door some beautiful plants growing right behind I.d. required your budtender as he or she serves you. If you Microsoft Recognition Thursday 1/2 off door grow at home, ready-to-flower plants are availI.d required able for $50 to $500, depending on size. E Military Friday 1/2 off door I.d. required
33
Learn Piano For * FREE
*
In 2½ Hours!
Even if you’re 40 or 80 yrs old, a total beginner or a frustrated player. You’ll be playing your favorite songs like Unchained Melody, Amazing Grace, Moon River or Let it Be with both hands (you read that right!) in record time with my powerful & easy system! “It is so nice to be able to find a piano at a friend’s house and be able to sit down and play rich full sounding popular songs without any sheet music. Thank you for finally giving me the gift of music!”----- Gord Hopkins, age 61
Play Beautiful Music Without YEARS of Expensive & Frustrating Lessons At last, your AGE doesn't matter! Most of my students are 40 to 80 years old with the average age 55. You can learn how to play REAL music on the piano or keyboards fast and easy with virtually NO FRUSTRATION. Sounds too good to be true? Thousands upon thousands of adults all over North America have already discovered the 2½ hours you invest in this amazing workshop will start your lifetime of playing pleasure! Play Dozens of Songs Right Away! Like most piano wannabes, I endured years of boring and mind-numbing “traditional” lessons. Not fun! Later I also learned how to play chords. Not only did I finally begin enjoying the piano, I discovered
The Amazing Chord Power System®, I have successfully taught thousands of middle aged and older adults in the USA and Canada. Have you ever asked yourself, "Is there still hope for me to play the piano?" Check out this amazing workshop and you will see with your own eyes that the answer is...YES, YES, YES!!!
Finally a Method for ADULTS…Even Older Adults, That Absolutely Works!
2013 is Your Year GUARANTEED!
Now this is not the same as other chord methods you may have tried in the past. Those methods still have you memorizing chords note-for-note and then work on learning how to play them. I discovered and developed rich sounding chord patterns that even total beginners can play right away with both hands. You'll be playing all your favourite songs before you know it! Since creating
Skeptical Husband Brings Along Conservatory Trained Wife! "I was assuming I was from Missouri so you had to show me, and you did! Even my Royal Conservatory trained wife was impressed."---Gary Cameron, 45 Her Piano Playing Brings Joy to Her Family! "My elderly father loves to listen to my `private concerts' and it makes his day!" --- Jeannette Andrews, 52 Retired Lady Finally Finds Success! "I have tried traditional lessons and even chord courses and THIS beats them all by far!" ----Maria Oostenbrink, 73 An Enjoyable Way to Relieve Stress! "This has given me an enjoyable pursuit, mental alertness and a stress reliever!" --- Emma Villanueva, 57
Plus Receive All These FREE at this Amazing 2½ Hour Workshop!
SEATTLE WEEKLY • AUGU ST 21 — 27, 2013
The only method in the world successfully teaching piano with a focus on adult students (even retirees!).
you could do lots of fun things like playing in parties or jamming with friends. Playing in church for example (where one has to learn new material often) became easy! You see, unlike the traditional method where you worked on ONE music piece for a long time, with chords, you can play lots of songs right away!
What others across North America are saying!
34
Join Paul Neill LIVE, Creator of The Amazing Chord Power System®
♫ Over 2 Hours of FREE hands on, face to face personal instruction from method creator Paul Neill himself! ♫ A FREE Workshop Keyboard (yours to keep!) so you can apply what you’ve learned right away! ♫ A FREE CD: “Beautiful Piano Music” if you preregister by calling 877-524-6737 or 403-279-7529 (Priority 1st Seating Included) ♫ HUNDRED$ of DOLLAR$ of Exclusive Workshop Participant Reward Bonuses!
Ever imagine yourself playing the piano to relax & relieve stress? Entertain your family & friends? Play for church or bible study? Jam with a band? You’ve waited long enough! You’ve sacrificed for the kids and everybody else. Why not enrich your remaining years with the unbelievable JOY of playing your own music? Yes, now it’s YOUR TURN! Just bring your DESIRE to PLAY… I’ll do the rest!
Just Look at All You Will Learn! ♫
Amazingly easy chord patterns that almost anybody can do right away yet will make practically any song not only easier to play but sound rich & full!
♫
Keyboard Embellishments that will make you sound like a pro fast!
♫
How my original chord system can give you the ability to play Rock, Gospel, Standards, Hymns, Broadway, R&B, Jazz, Folk, Country, Classical... any kind of music fast and easy!
♫
How to play accompaniment so you can play and sing or play while others sing!
♫
How to practice just a few minutes a day with great results!
♫
About a system for playing any chord instantly without a "cheat sheet"!
*
Just help us pay for the rental of the hotel meeting room
*
To bring this amazing event to you, all we ask is a small contribution of $20 (that’s it total!) per participant to help cover meeting room rental costs. Cash only please at the door to avoid delays at the registration table. We cannot accept $50 or $100 bills so please have correct change ready. ♫ We encourage everybody to call and pre-register to help us arrange the meeting room for the best workshop atmosphere. Everybody that pre-registers st gets a FREE CD of Beautiful Piano Music PLUS Priority 1 Seating. ♫ COUPLES’ SPECIAL!!! – Bring along your spouse or partner for free. (Pay only for yourself at the door and show proof of same address for free entry). We recommend that you come at least 15 minutes before session start time. Once the workshop begins, we will close the doors for entry. It is unfair to interrupt the workshop for latecomers. Please come on time.
THIS IS AN ADULT WORKSHOP, NO CHILDREN (MINORS) PLEASE!
PAUL IS DOING A 5 YEAR TOUR OF SELECT CITIES IN THE USA. IF YOU SEE THIS ANNOUNCEMENT IN YOUR AREA DON’T MISS ATTENDING THIS AMAZING EVENT. THIS IS IT! IT’S NOT COMING THIS WAY AGAIN FOR A LONG TIME! Very Limited Seating, please do not book a time where you have to leave early or cannot attend the entire workshop. You must complete the session!
3 SESSIONS OVER 2 DAYS ONLY! --- Book only ONE 2 ½ hr Session. Each one is a COMPLETE workshop.
Mon Sep 2 - 6:30pm - 9:00pm OR Tue Sep 3: 10:00am - 12:30pm OR Tue Sep 3: 2:00pm - 4:30pm
PLEASE DO NOT WEAR STRONG PERFUME (on your clothes or skin) PAUL IS ALLERGIC (and others may be too!). We appreciate your understanding
QUALITY INN & SUITES - 618 John Street - SEATTLE WA
CALL 1-877-524-6737 (Toll Free) or 1-403-279-7529 www.chordpower.com (For Pre-registration Information)
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Technical Support Engineer: Provide technical support and post-sales installation, configuration and set-up for enterprise customers on company’s server and core server products. Reqs Bach or foreign equiv deg in EE, Comp Sci or rltd + 2 yrs exp: providing tech sup & trblshtng for comm & ent end user s/w apps, util rel dtbs incl Oracle & SQL; pfmg nwking, srvr set-up & admin, tblshtng & sup for net arch, firewalls, proxy servers & web svrs; analyzing log files, rpdcng issue spec to env & pblm slvng; writing queries and pfmg scripts util JavaScript, SQL, UNIX, Java SDKs & SQL Server. Position at Tableau Software in Seattle, WA. To apply, e-mail resume & cov ltr to jobstableau@ tableausoftware.com
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