Seattle Weekly, August 28, 2013

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AUGUST 28-SEPTEMBER 3, 2013 I VOLUME 38 I NUMBER 35

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inside» August 28–September 3, 2013 VOLUME 38 | NUMBER 35

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NEWS

John Towery, government spy. Plus: how Sounders fans deduced Dempsey was coming.

BUMBERSHOOT 2013

BY SW STAFF | Whom to see, what to

eat, and more assistance for the decisionimpaired. Plus: Fantagraphics’ future, Kris Orlowski’s mustache, Reggie Watts’ homecoming, and much more.

food&drink 31 ROUX AWAKENING

BY MEGAN HILL | Food-truck master Matt Lewis puts down roots . Plus: Food

News, and our tips for a great farewellto-summer feast.

31 | TEMPERATURE CHECK 34 | THE BAR CODE

arts&culture 36 PAX PRIME

BY TERRA CLARKE OLSEN | Finding

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38 ARTS

38 | PERFORMANCE 40 | THE FUSSY EYE | Sunrise, sunset,

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41 FILM

41 | THIS WEEK’S ATTRACTIONS

Keri Russell gets her Austen on, Rebecca Hall defends a terrorist, and Zhang Ziyi does mad, beautiful kung fu.

43 | FILM CALENDAR

46 MUSIC

46 | THE SHORT LIST 47 | SEVEN NIGHTS

odds&ends 48 | DATEGIRL 49 | TOKE SIGNALS 50 | CLASSIFIEDS

»cover credits

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As Chelsea Manning gets sentenced, more information surfaces about the JBLM spy who informed on U.S. citizens.

BY RICK ANDERSON

T

here’s probably no comparison.

Pfc. Chelsea Manning last week got 35 years in prison for leaking government secrets to the public.

Military spy John Towery, who infiltrated a public protest movement, remains free.

Manning’s violation was enormous—he gave 700,000 government files to WikiLeaks, though some were secret only because the military didn’t want the country to know what was being done in its name, such as killing the wrong people.

Comparatively, Towery’s transgressions were minor. A civilian employee of the Army using a false name and persona, he joined a western Washington antiwar group protesting U.S. actions in Iraq and Afghanistan.

The important distinction is that the government decided its employee Manning broke the law, while its employee Towery did not. In sending one to prison and allowing the other to go uncharged, they could argue that Manning was not under orders to spy on his country, while Towery was under orders to Pentagon and the government, the people who spy on his. bring criminal charges. Otherwise, officials might The Army hasn’t necessarily admitted that be tempted to drum this up into a much bigger Towery was spying for them. But that seemed all but confirmed last Wednesday with the release of case. As Seattle Weekly reported in 2010, Towery new documents from a civil lawsuit the protesters was part of a government cabal that trumped up have brought against Towery, the Army, and local charges against antiwar demonstrators, leading to their false arrests. police agencies. The documents include e-mails and assorted reports showing that Towery was on the Joint Base Lewis-McChord payroll while he was spying on protesters in Olympia and Tacoma It likely helps Towery’s case from 2007 until his cover was blown in 2009. that he, unlike Manning, The Army had all along denied he was their paid agent provocateur, inserted to mislead and deter is pro-war, as are the people protesters from forming protest lines around the movement of military equipment from the ports who bring criminal charges. of Tacoma and Olympia.

The Army had no comment on the newly In one case involving Seattle’s Fusion Center, released documents obtained during pretrial the super-secret state intelligence hub housed discovery, including one showing that a JBLM on Third Avenue below the FBI’s Seattle Field official had approved overtime pay for Towery.

Office, officials issued information that was used But Larry Hildes, a National Lawyers Guild by the state patrol to pull over a protester, Phil attorney from Bellingham who brought the Chinn of Olympia, and charge him with DUI. lawsuit, says, “The evidence is now incontrovertThe concerted, multi-agency ruse was designed ible that the military worked in concert with the by military and police agents simply to harass police to suppress nonviolent antiwar protests Chinn and prevent him and others in his car over a period of years.” from attending a protest at the Port of Grays No criminal charges have been brought in the Harbor. The patrol, the city of Aberdeen, and Towery case—except for those against protesters Grays Harbor County ended up paying $418,000 (among the charges they face: the future crime to Chinn for damages and attorney fees. of “attempted” disorderly conduct, arrested for “When you consider how many agencies are planning to block military vehicles—something involved in watching and they’d told their masquerinfiltrating—federal, state, ading fellow protester county, local—you have Towery they were going more spies than organizers,” to do, which he quickly PRINT IS GREAT, but if you attorney Hildes told us. relayed to police and miliwant to see . . . what happens when painters and In the Towery case, tary officers). naked people get together at Neumos, Hildes has assumed what It likely helps Towery’s check it out on The Daily Weekly. seemingly should be the case that he, unlike ManSEATTLEWEEKLY.COM/DAILYWEEKLY government’s job, invesning, is pro-war, as are the ANA BENAROYA

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tigating the agencies and the military for violations. He is using civil law to unearth records, such as those he produced this week. He plans to go to trial next June. He feels he has the evidence to prove the military violated the federal Posse

Comitatus Act by spying on civilians.

So no, there is no comparing Towery’s case to Manning’s. The one who informed us is going to prison. The one who informed on us is home free.

Dempsey Becoming a Sounder: Step by Orgasmic Step

M

author, who is now embarrassed to admit that he thought he saw Dempsey downtown on Friday morning, and should have kept his mouth shut about it. But if that wasn’t him, it was someone who could make a good living as his celebrity double), and media reports came in from all sides. At 3:17 p.m., SaH’s Jeremiah Oshan tweeted “Nothing official from team, but getting multiple indications that the Dempsey reports are legit.” What had seemed preposterous 24 hours earlier, drawing derisive skepticism from other teams’ fans, was truly, unbelievably happening—as if the collective brainwaves of hundreds of giddy, obsessed supporters had simply willed fantasy into reality.

Though the Sounders didn’t make the official statement until Saturday the 3rd, that meant the unveiling could take place in public at the Dallas game; and when Dempsey unzipped his hoodie at CenturyLink to reveal a ravegreen jersey, the screams were orgasmic. As it happened, Dempsey’s first home game, after away matches in Toronto and Houston, wasn’t until Sunday—but it was arguably the biggest of the year, against loathed rivals the Portland Timbers. An audience of 67,385 (the largest ever, it’s said, for a soccer match of any kind in the Northwest) were on hand for the crazily celebratory atmosphere; the dazzling 37,000-square-foot tifo (banner display), engineered by the Emerald City Supporters, that filled the entire south end of the stadium; and the Sounders’ 1-0 victory on a goal by Eddie Johnson—not the humiliation we’d hoped to dole out, but of course richly satisfying nonetheless. The win moved the team into playoff position after a season spent hovering just outside it; the Sounders are now ranked third in MLS in points per game. An MLS season that began shakily, with no win until the sixth match in the seventh week, has turned into the most thrilling one yet for Sounders fans.

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It started with an August 1 announcement out of left field—or out of the midfield, rather: The Seattle Sounders had renegotiated Shalrie Joseph’s designated-player contract so as to allow the team a major player acquisition. Any such announcement would spark speculation about roster changes, but this one was different. After a couple of tweeted photographs, a pipe dream combusted into a rumor and then, miraculously, a reality, which culminated Sunday evening in the first home appearance as a Sounder for soccer legend, and current captain of the U.S. men’s national team, Clint Dempsey.

That same day, Aug. 1, one fan spotted and snapped Dempsey (who had been playing almost a year for English club Tottenham, but was reported to be looking elsewhere) at Heathrow; a second, at 6:57 p.m., caught him in San Francisco. Knowledgeable fan site Sounder at Heart overflowed with speculation: Why is he traveling out of England, and why to America?

It couldn’t possibly have any connection to the Sounders’ announcement about Joseph, could it?

No, that’s ridiculous . . . isn’t it? On a radio talk show that afternoon, Sounders head coach Sigi Schmid had neither confirmed nor denied, but SaH commenters scoured flight schedules from SF to Seattle.

The hashtag #dempseywatch trended wildly.

On SaH, there was much to discuss. Commenters argued whether the acquisition was legal, given MLS’s arcane rules. Dempsey had been impressed by the supporter atmosphere, it was well known, when the men’s national team played in Seattle June 11. But on the other hand, since Dallas FC was in town to play the Sounders on Aug. 3, and since Dempsey grew up in Texas, could he be in Seattle to meet with them? Another analyst guessed that British team Everton, in L.A. for a friendly, was Dempsey’s travel target.

But at 8:56 p.m. a third fan tweeted, “I am on UA Flight 1621 to Seattle right now. just boarded.

100% sure he is on this flight.” Excitement soared.

Yet a group of fans who rushed to stake out Seatac Airport failed to spot him. (It later transpired that Dempsey had been met on the tarmac by a van and spirited away—and that the deal had been in the works since mid-July.) A hardy group at SaH—dubbed, in a nod to Game of Thrones, the Night’s Watch—stayed up all night waiting for media reports from Britain.

Rumors coalesced throughout Friday, Aug. 2 (fueled by this

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The Guide to Good Decisions KeyArena.....................Page 10 Fantagraphics................Page 12 Kris Orlowski................Page 15 Death Cab for Cutie.......Page 16 Redd Kross...................Page 18 Reggie Watts................Page 20 Judah Friedlander..........Page 21 Baroness......................Page 22 The Decisive Guide.......Page 23 Schedule......................Page 25 Map.............................Page 28

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

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wo years ago, Bumbershoot was at a crossroads: Facing declining attendance and running in the red, did the homegrown nonprofit festival want to keep trying to compete on a national stage with huge festivals like Bonnaroo and Coachella—to which it had been compared in the press—or was it time for a managed retreat?

“We were being told ‘You guys are on a roll.

Go for it,’ ” Reel One Executive Director Jon Stone says of the bigger-is-better logic that had driven the festival in flusher times. “We thought for a while that that was where we ought to go.”

But to swim with the big boys, organizers of the 42-year-old festival knew they would need to keep bringing in A-list talent—performers who could be relied upon to attract 20,000 people to Memorial Stadium—and in turn keep raising ticket prices to pay for it.

“We had to ask ourselves, do we want to go for it, or do we want to be a truly local, regional art festival?” Stone says.

By the way he frames that question, you can guess which direction organizers chose.

While the changes instituted in 2011 were many, none drew as much attention as moving the festival’s mainstage from the “20,000 and change” capacity Memorial Stadium to the 11,000-capacity KeyArena.

The generous spin on this move was that using the smaller venue took pressure off organizers to spend a huge amount to convert the stadium into a temporary rock venue, and then more to hire major acts to fill it. Not only did the freed-up cash help keep ticket prices to the once-free festival in check, this generous view goes, but it also allowed Bumbershoot to bring in a wider variety of quality acts that better reflects the balkanization of post-MTV music fandom.

The less generous spin is that the move represented the concession by organizers that the festival would never again see the attendance levels of the heady ’90s. “Memorial Stadium became a full-on mainstage at a time when the attendance was at its peak,” Stone says. “It was insane back then; you needed a place to put all those people. . . . The world has become a very different place since then.”

Attendance dropped every year between 2008 and 2011; the festival operated at a loss in 2009

and 2010. In 2011 it “nearly broke even,” according to Aubrey Bergauer, senior director of community engagement.

But Bumbershoot 2012 saw a 10 percent increase in audience size (115,000 attended) and operated in the black. This year has seen the strongest advance sales of the last five years. All this is being read by organizers as a sign that the public approves of the change in mainstages, and everything else that came with it.

“It’s clear to us now that we have reconnected and re-established a conversation with our audience,” Stone says. “We know who our audience is.”

KeyArena is a finicky venue, to put it kindly.

Sunny rockers Best Coast sounded godawful in the cavernous, dark arena during their afternoon set last year; Skrillex’s sensory-overloading dubcircus, on the other hand, was mind-blowing.

The limited floor capacity can make it appear as though there’s plenty of room for more fans, if only the security guards would lighten up and let people down there. This harebrained logic led a very stupid group of M83 fans to rush the floor last year, putting themselves and security guards in real danger (nobody got hurt). But then again, teenagers stormed the floor at Memorial Stadium too.

“KeyArena is not a perfect venue. Memorial Stadium was not a perfect venue,” Stone says.

“When we were using Memorial Stadium, our number-one complaint was the mainstage: ‘The sound quality is bad.’ ‘You can’t see the band.’

Now our number-one complaint is KeyArena.”

Stone says the festival is working with Arena staff (it’s a city-owned property, so the City of Seattle gets to determine who those staff are) to improve customer service there, and he says the lines will be better managed. He’s also looking forward to the day that a new Seattle Center concert venue is constructed under the Century 21 Master Plan, which would sit where Memorial Stadium now is and finally provide Bumbershoot with a large concert space actually built for music.

But for now, he says, given all the factors, the festival is happy to use what it’s got. “KeyArena has its strengths and its flaws,” he says, “but KeyArena is the best option.” E

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BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS

Crisis? What Crisis?

After the death of a co-owner, Fantagraphics faces midlife with a shrug. And a party.

BY BRIAN MILLER

T

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

12

Fantagraphics was founded in 1976 to launch

The Comics Journal, a very opinionated annal of the trade that made Groth and Thompson high-profile critics of their industry. As both editors and writers for the Journal, the two young men had an outsize impact on a moribund business, often disrespecting their elders and picking up many enemies along the way.

Then in 1981, Fantagraphics joined the industry it so often criticized. The gadflies became insiders. How did that happen? “It was partly happenstance, partly a logical progression,” says Groth. “The Comics Journal was championing a vague but real aesthetic direction for comics, and we slowly realized we could put those theories into practice. The Hernandez brothers’ self-published Love & Rockets was a revelation because it suggested what I had envi-

sioned, in my mind’s eye, the kind of comics I wanted to see. Little did I know that they would mature and in short order create work that was almost the embodiment of what I had hoped to see.”

While continuing with the Journal, Fantagraphics gradually added famous—or soon-tobe-famous—names to its roster. These would grow to include Gilbert and Jaime Hernandez, R. Crumb, Joe Sacco, Chris Ware, and Dan Clowes, along with locals like Jim Woodring, Peter Bagge, and Ellen Forney. But the company didn’t really gain momentum until after moving to Seattle.

And how exactly did that move come about?

“I wanted to get the fuck out of L.A., which was too expensive and culturally derelict,” says Groth. “Pete Bagge, who was living here at the time, talked up Seattle; I visited for the first time, took a tour with Pete and his wife Joanne, and liked the vibes. I flew back to L.A. and announced we were moving.”

That move turned out to be extraordinary welltimed, says Larry Reid, the longtime Seattle

FENNELL

“We all circle around Fantagraphics,” says Forney.

“It has a certain pedigree.”

JACOB PETER

here are only a handful of Northwest companies with a national reputation, few of which are named for their founders. Nordstrom, Boeing, and Weyerhaeuser are the exceptions. In a generation or two, Microsoft, Starbucks, and Amazon will have different identities than the men who established them. A successful brand must necessarily outlive its founders, which is why not all of us can name the graybeards pictured in old company histories and annual reports.

Some CEOs refuse to retire and die in office, like Edison and Jobs. Others gradually step away, like Gates and Allen. On a smaller cultural scale, Sub Pop’s Bruce Pavitt departed 17 years ago, while Jonathan Poneman has recently been slowed by Parkinson’s. The baby boomers are inevitably fading, and succession must be considered.

That’s the situation for another iconic Seattle company, Fantagraphics, whose vice president and co-publisher Kim Thompson died of lung cancer in June, after more than three decades of partnership with company president Gary Groth.

Since moving their business to Seattle in 1989, the two men built a niche publishing empire, transforming comics from pulp to prestige. The company is now Groth’s alone to run.

How has Fantagraphics evolved over the decades?

Says Groth, “If I could distill my goal in, say, the early ’80s into one that is more coherent than it actually was, it would be that I wanted to see the perception of comics among the general public as nothing but superheroes and their ilk recede, and a readership for artistically ambitious comics to grow.

In retrospect, that was a fantasy, of course, and what eventually happened was far messier.”

Above: Bagg e’s band. Left: Ellen Forney .

Right: Bagge at work.

art-world curator and promoter who now runs the Fantagraphics Bookstore & Gallery in Georgetown.

“I was a voracious consumer when Fantagraphics moved here,” he recalls. “Peter [Bagge] had a party for them at his house, and I immediately pestered Gary and Kim to have a comics show at the Center on Contemporary Art.” Two years later that show became Misfit Lit, Fantagraphics published the catalog, and Reid took it on tour around the country—all of which helped cement the grunge/comics/ Seattle alliance in the national consciousness.

“Music, graphics, and comics all came together” in the early ’90s, says Reid. From that convergence, Fantagraphics “became a part of our cultural heritage.”

That heritage will be celebrated at Bumbershoot this weekend at an event called the Fantagraphics Follies, convened and hosted by Reid.

Rather than have artists simply talk their way through PowerPoint presentations, he says, “I wanted to do something more entertaining, to mimic the form of a TV talk show. We’re going to have a couch and a desk and a bandstand.”

To that end, with Bagge’s rock group Can You Imagine? performing as house band and Reid serving as Lettermanesque host, guests will include Woodring, Forney, Eroyn Franklin, Kelly Froh, and Danny Bland. Franklin will perform a shadow-puppet show.

Woodring will be wielding a giant 7-foot pen to create a work on the floor. And Froh will perform “something more akin to stand-up comedy,” says Reid. Bland, whose forthcoming Fantagraphics novel (not a graphic novel) In Case We Die is based on his grunge-era experiences, will read beatnik-style while Steve Fisk plays piano. (The pairing is an homage to Jack Kerouac reading On the Road to Steve Allen’s piano.) Music producer Fisk, famed for his work with Nirvana, Soundgarden, and other groups, also plays with Bagge’s band.

By an accident of timing, Reid admits, this Fantagraphics celebration is tinged

by Thompson’s death, still mourned within Seattle’s tightknit comics community. “There’s no replacing Kim,” says Reid. “He was my boss, but more important, he was my friend and colleague.

He lent a degree of sophistication to the whole line.”

Forney, who moved to Seattle largely because of Fantagraphics’ presence here, shares the sentiment. “Kim’s death has affected a lot of us here. Kim was much more behind-the-scenes [than Groth].

But artists knew who he was. He was a major part of Fantagraphics. I miss him terribly.”

Still, after the tears are shed, books still have to be printed and sold. Business is business, and Groth is looking forward. “Over the last decade, Kim spent more and more of his time working on European books,” he says. “So the most concrete and tangible consequence of his death will be to cut back—but by no means eliminate— our European line. We will continue publishing a number of authors, including Jacques Tardi, Jason, and many artists of the following generation [such as Uli Lust].”

Beyond that, Groth is mostly mute on the state of his company, declining to answer many questions on its place in a fast-changing industry. The Internet, Kindle, and iPad have profoundly altered the economics of publishing over the past decade. In response, Fantagraphics has a sophisticated website that encourages interaction with readers. And its Georgetown book-

TK»TK A R T I N T H E G R E AT N O R T H L E F T

store, which opened in 2006, gives the company a bricks-and-mortar presence at a time when many traditional book retailers are closing.

Groth appears unruffled by such market changes. He notes that the company is venturing beyond comics, writing that “Over the last five years, we’ve published a number of prose novels by a variety of writers, some established, some new—Alexander Theroux, Stephen Dixon, Danny Bland, and Monte Schulz. We recently published Kipp Friedman’s memoir, Barracuda in the Attic; and next year we’ll be publishing a history of 20th-century comedy by Ben Schwartz. Last year, we published The Last Vispo, a collection of Visual Poetry, as well as Pat Thomas’ Listen, Whitey, a coffee-table book tracking the intersection between pop culture and the black-power movement.”

While Fantagraphics is offering some titles in digital format, handsome hardbound reissues of the classics—Charles Schulz, Mickey Mouse, Steve Ditko, Donald Duck, etc.—have been instrumental to the company’s survival.

Costing up to $50, such volumes are priced for collectors, not kids, but that speaks to the baby-boomer nostalgia market. It’s a far cry from comics’ pulpy old origins. The industry has matured, in no small part owing to Fantagraphics—once a ’70s upstart, now an established Seattle company. E

AUGUST 31 – SEPTEMBER 2, 2013 AT AT SE SEATTLE ATTLE CENTER

THIS WEEKEND!

bmiller@seattleweekly.com

Fantagraphics Follies plays Saturday at 6 p.m. at the Seattle Rep.

DECISIONS, DECISIONS Lincoln Barr (Red Jacket Mine)

Red Jacket Mine plays Monday at 1:30 p.m. on the Plaza Stage.

BEST

WORST

Purchasing a copy of Quickbooks and convincing myself it had anything at all to do with being in a rock band.

SUNDAY

MONDAY

HEART • KENDRICK LAMAR CRYSTAL CASTLES GARY NUMAN JASON BONHAM’S LED ZEPPELIN EXPERIENCE MACEO PARKER • !!!

ICONA POP • JOEY BADA$$ WASHED OUT CHARLES BRADLEY AND HIS EXTRAORDINAIRES THAO & THE GET DOWN STAY DOWN WATSKY • ZZ WARD DIAMOND RINGS THE PHYSICS SALLIE FORD & THE SOUND OUTSIDE

DEATH CAB FOR CUTIE PLAYS TRANSATLANTICISM FUN. • TEGAN AND SARA MATT AND KIM • RA RA RIOT THE BREEDERS • THE ZOMBIES BEATS ANTIQUE VINTAGE TROUBLE VICCI MARTINEZ ERIC BURDON & THE ANIMALS BOB MOULD • DAVID BAZAN THE DUKE ROBILLARD BAND MATES OF STATE SOL • CHARLI XCX THE MOWGLI’S • FIDLAR TAMARYN • NIKKI HILL

BASSNECTAR • MGMT ALLEN STONE • ALT-J THE JOY FORMIDABLE TRAMPLED BY TURTLES DEERHUNTER JUSTIN TOWNES EARLE KINKY • BARONESS DELTA RAE • SUPERCHUNK RED BARAAT • LISSIE REDD KROSS • THE MEN IVAN & ALYOSHA THE SHEEPDOGS THE LONE BELLOW • GTA THE MALDIVES KOPECKY FAMILY BAND AURELIO & GARIFUNA SOUL

MAKE YOUR LABOR DAY WEEKEND AWESOME. GET YOUR TICKETS AT BUMBERSHOOT.ORG OR FEE-FREE AT RUDY’S

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

Exposing myself to failure. Whether it’s marrying my wife or sharing my music with key allies like Christian from Fin Records or our producer Johnny Sangster, the most fruitful partnerships in my life could’ve just as easily ended in rejection.

Boy, would that have been a drag! To wit: Answering Red Jacket Mine’s “frontman wanted” ad on Craigslist has to be the best decision I’ve ever made. They had the songs, the babes, and best of all, wads of cash!

Life’s been gravy ever since.

SATURDAY

13

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Sisters to the Front Bucking a disturbing trend, Bumbershoot has filled its festival stages with women.

Sister acts lead the way.

BY MA’CHELL DUMA LAVASSAR

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SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

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14

B

umbershoot gives our city its fair share to boast about, and we can add gender equity to that list. Our homegrown festival’s lineup of musical artists is almost 40 percent female, making it one of the most gender-equitable in the country. For those who’ve noted that’s still less than half, here’s a statistic to put it in perspective: Buzzfeed reported in April that “Women musicians have always been severely underrepresented at Coachella. Since its inception in 1999, the average of female-driven acts at Coachella represents about 16 percent of the total bill, and throughout the festival’s history on the whole, there has never been a year with more than a 25 percent female lineup.”

Not only are women prominent at this year’s ’Shoot, sister acts, all of whom established their popularity in different eras—Heart, the Breeders, and Tegan and Sara—anchor the festival lineup.

Since its inception, sister acts have been a popular-music mainstay. Country music has given us two extreme examples: the seminal, angelic purity of the Carter Sisters, whose imprint can still be felt in modern country, and the sheer novelty of the Mandrell Sisters, whose early-’80s variety show featured the famous Barbara, her hardworking brunette doppelganger Louise, and little sister Irlene, who had a voice much like her figure—really thin—and proved to be better suited for her role as a hot-pantsed Hee Haw Honey than an actual singer.

Few would argue there is a time in music history before and after Veronica Bennett—aka Ronnie Spector—her older sister Estelle, and cousin Nedra Talley formed the Ronettes and asked us to “Be My Baby,” or that music was forever impacted by the Shangri-Las, whose influential “Leader of the Pack” vocals were due to dual sister duos, Mary and Betty Weiss and twins Marge and Mary Ann Ganser. Familial vocal similarities served as an essential aspect of the “Wall of Sound” era, when doubling vocals was an intricate process; Motown’s roster employed several female-relative voices essential to the label’s signature sound. In our digital era, the youthful harmonies created by Stockholm-based sisters Johanna and Klara Söderburg of First Aid Kit seem like a feat of production mastery, but experienced live they create a spine-tingling resonance that again reminds us again why sister acts have proven so appealing.

The ladies of R&B have a history of keeping it in the family, from the Sisters Pointer to Sledge, whose most memorable hit, “We Are Family,” literally expounds its virtues. But as in all “relative” situations, familial dynamics are bound to rear their ugly head. In an industry that encourages female competition, the extra static generated by sparking sibling rivalry puts sister acts in a position to which

Not only are women prominent at this year’s ’Shoot, sister acts nchor the festival lineup. their male counterparts are seldom subject. In the ’80s, male record executives tried to deem Anne Wilson “the face” of Heart and Nancy Wilson “the body.” It’s hard to imagine such monikers being assigned to male sibling acts like Oasis’ Noel and Liam Gallagher, as evidenced by the fact that no one at their record company ever saw fit to hand either of them a pair of tweezers. Yet Heart’s career has now weathered its fourth decade and the personal road bumps that made them the basis for the infamous airplane-crash confessional scene in Almost Famous—a testament to the Wilson sisters’ bond.

The ties that bind have also served Kim and Kelley Deal well. The Ohio twins’ collaboration on Last Splash brought the Breeders their biggest brush with success, and their relationship still serves as a touchstone in their respective struggles with sobriety. Another set of twins, Tegan and Sara, seem to have avoided altogether the sister-act pitfalls. Working with someone with whom you share a derivation, you don’t have a Bowie-esque ability to indulge in artistic egotism. Yet with only their haircut to separate them, the Canadian duo managed a radical musical transformation from heartfelt indie-pop kids to commercially viable yet emotionally weighted dance queens with an ear for a hard hook—a leap of faith you’d have to trust someone like a sister to make. E music@seattleweekly.com

Heart plays Saturday at 9:45 p.m. on the Mainstage. The Breeders play Sunday at 8 p.m. on the TuneIn Stage. Tegan & Sara play Sunday at 2 p.m. on the Mainstage.

The Nice Guy Kris Orlowski and his band put it all in the hands of their fans, including grooming decisions.

BY KEEGAN PROSSER

F

buy.sell.trade a difference—and connect with people. Through his relatable lyrics, charming personality, and electric stage presence, they’re doing just that.

It’s Orlowski’s accessibility—the genuine goodguy vibe he gives off—that last April brought together some of Seattle’s best and brightest musicians. The concert, which featured friends including Allen Stone, John Roderick (The Long Winters), and Daniel Blue (Motopony), came about after the band’s gear was stolen between tours. When the gear showed up around the city days before the fundraiser, the show went on anyway—and Orlowski and his band donated all proceeds to the musician health and help nonprofit MusiCares. It was a natural move for a musician hoping to get more involved with social-justice issues through his music. “I kind of miss that aspect of my life,” says Orlowski, who volunteered with a program called Arts Aftercare while in college.

Keeping this in mind, the band recently partnered with Invisible Children, a San Diego–based nonprofit that works to inform people about child slavery in Third World countries. “To me, that’s a really important issue,” Orlowski says. “Kids have this level of innocence, and when you take that away from them, that’s one of the worst things I’ve ever seen happen. That’s so fucked up.”

Music is still Orlowski’s main focus. He believes the new material he and the band are writing and recording has the potential to make some waves, and he has set lofty expectations for 2014. He wants to continue to tour the country, sell 20,000 records—and see himself on the cover of Rolling Stone next to Macklemore. (“I’m just kidding about that last part,” he says.) Orlowski is excited about his new material, a batch of which he’ll debut at Bumbershoot. He says there’s more electric guitar, and it’s got a sort of ’80s rock vibe while still retaining some folky elements. That said, Orlowski insists the new tunes are “still him.”

“Bumbershoot is basically going to be our coming-out party in Seattle again,” Orlowski says.

He will give his fans a show, but also ask for their help as he continues to campaign for his new album, with a sneak peek at what they have helped make happen so far. As for the fate of that mustache?

As those in the crowd will see, it’s gone. From Kris Orlowski, the fans get what the fans want. E

For Orlowski, songwriting has always been more

Kris Orlowski plays Saturday at 8 p.m. on the Plaza Stage.

than just making music; he wants his songs to make

music@seattleweekly.com

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SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

or the past month, Kris Orlowski has been growing a mustache. It’s not a regal thing—the sort of facial hair Tom Selleck or John Oates rocked circa 1985. Rather, it’s shadowed and wispy—a little “pervy,” the Seattlebased musician will tell you. “One day, on a Monday morning, I was like, ‘I’m not gonna shave. It’s Mustache Monday.’ ” When it became a polarizing point of discussion among friends, he decided to do something the 31-year-old artist is becoming known for: He let his fans decide. Pledge to support the album he’s currently recording with his band, and you get to help choose the fate of the ’stache.

Orlowski has long considered his relationship with his fans as central to his art. It’s why he queried them—4,807 friends on Facebook, 15,633 followers on Twitter—about what covers he should incorporate into the set list for his next tour. It’s also why he and his band decided to launch a Pledge Music Campaign to fund their current project. And while he’s not the only artist doing this, he may be the most genuinely cheerful about it.

“As a musician who is trying to make a career in music, it’s important to me to connect with fans, it’s something they’re a part of,” says Orlowski. “And at the end of the day, it’s just a lot more fun that way.”

In the past 12 months Kris Orlowski, the band, has made a conscious effort to take its music to “the next level.” The front man says this decision came about around this time last year, when he and his band—Mark Isakson, Tyler Carroll, Torry Anderson, and Greg Garcia—were in the midst of recording their Pieces We Are EP. “We really wanted to make it special,” Orlowski says of the collection of intricately arranged orchestral folk songs that showcase his smooth, booming baritone.

They’ve since had songs featured on Grey’s Anatomy and Private Practice; the album climbed the iTunes singer/songwriter charts; and the band sold out the Showbox at the Market alongside friends Ivan and Alyosha. “That record really helped catapult us,” Orlowski says. The release also landed the band a deal with New York-based The Agency Group and a licensing company to shop its tunes.

“That was big for me,” says Orlowski. “Because I remember when Macklemore signed with The Agency Group for booking. It was huge.”

15

BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS when recording Transatlanticism?

Something Old, Something New A decade later, Death Cab for Cutie considers Transatlanticism, in its entirety, for the first time.

W

hen Death Cab for Cutie takes the Bumbershoot Mainstage for its Sunday-night headlining performance, the band will be playing old material, revisiting its decade-old indie classic Transatlanticism. But there’s something new about this concert as well. Death Cab has

never before played an album in order, from top to bottom. Chris Walla, the band’s guitarist and a noted producer, talks about what makes Transatlanticism different from the band’s earlier efforts, and why it’s the perfect album to play in its entirety.

What was the biggest decision you made

DANNY CLINCH

BY MARK BAUMGARTEN

I think that album marked the moment that we knew we were really a band and that we wanted to keep doing it. So much of that had to do with the change in chemistry when [drummer Jason McGerr] joined the band. After having a half-dozen drummers in the band for the first, like, four or five years of our existence, Jason provided a gravity and a grounding for us. Ben and Nick and I all love one another and we always have, but man, trio dynamics are so weird. I think they’re weird for anybody. We’re all strong personalities and we’re all very vocal and we all have different perspectives, and I think that’s part of what makes us a decent rock-’n’roll band, but Jason’s confidence and his experience and his sort of Zen fly-fisherman outlook on everything was absolutely necessary for us at that moment.

Is there any point on the album that really shows Jason’s influence?

I think the arrangement for “The New Year” is a good example of that. It was kind of like, “All right, fuckers, here’s what we’re doing.”

What I think is remarkable about the album is its sequencing. It feels perfect. How do you decide the order of the songs?

I’ve always liked found objects. I’ve always enjoyed putting together bits of paper and string and paper clips and bailing wire and nuts and bolts and whatever else is around to try and make something beautiful. Likewise, rather than force round songs into a square hole song by song as you make a record, and compromise how those songs feel and what they’re doing individually, it’s fun to let the songs be what they are, and then take stock in the end and go, “OK, where’s the album?”

With 11 songs, there are a lot of different combinations you can come up with. It’s pretty easy to find the bookends, though. Like we always knew that “A Lack of Color” was going to be the closer, and it became clear pretty quickly that “The New Year” would be the opener. But for everything in between, we wrote all the song titles on a piece of notebook paper, cut them out, and put them in a little envelope in the control room. Whenever someone was bored, they would pull them out and make a new running order.

And eventually you get attached to little blocks of songs. Like the “Tiny Vessels”/“Transatlanticism”/“Passenger Seat” grouping felt really great as a unit pretty early on. But it’s a lot of shuffling the pieces around, literally.

Have you ever played this album in order live before?

No, we’ve never done that before for any album. As close as we ever got was a few years ago when we played the first five songs from Something About Airplanes in a row, and people were super-confused. I’m really excited to play this album from top to bottom. I feel like it’s the only one of our albums that really would work like that. E

mbaumgarten@seattleweekly.com

Death Cab for Cutie plays Sunday at 9:45 p.m. on the Mainstage.

DECISIONS, DECISIONS Justo (The Physics)

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

The Physics play Sunday at 5:15 p.m. on the Fountain Lawn Stage.

16

BEST

To let the dogs out. Once the dogs were out, the world just made more sense, and we were able to separate the “ego” from what we now know as our “true selves.”

Everyone wondered who let them out, but we felt free and liberated from the bondage of worldly judgment.

WORST

To let the dogs out. Indoor dogs live longer, healthier lives and are less prone to foreign pathogens and diseases.

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17

SEATTLE WEEKLY PROMOTIONS

BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS

WIN TICKETS TO CIdER SuMMIT!

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Having weathered many styles and eras, it seems you’ve almost staked your career on change. What would you say were the major turning points for Redd Kross? There have been

tons of them. We started as children. Our very first record became a hit on [L.A. radio station] KROQ, and that was the early days of punk rock and there weren’t very many records out. We were one of the first dozen groups to have a record out and get recognized. After that, we just stopped. We became more interested in seeing bands and not really performing. It took us another two or three years, until maybe 1981, and that also was very transitional because between our first EP and our first full-length, the whole suburban-hardcore thing happened. We came from the Ramones school and then Orange County hardcore happened, and it wasn’t really our thing. Our roots were the Beatles and the Stones, and that wasn’t where most of our peer group was coming from. We were on our own island when we did our first album.

You signed to the majors in the late ’80s as alternative rock was becoming mainstream.

Were you hoping for a hit? Would you have been OK with becoming one-hit wonders? We

never had any commercial aspirations. No, that wouldn’t be OK. We wouldn’t be talking now if that had happened. In the late ’80s in L.A., it was like us and the Chili Peppers and Jane’s Addiction and even Guns N’ Roses, and we really had no connection to each other besides being the bands that were selling out the clubs in Los Angeles. I always wonder what it would have been like if we’d done, like, a big Desmond Child single or something.

Did those kinds of opportunities present themselves? Being on Atlantic Records in 1988,

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we could have easily made that happen. The way it worked then, on a label like that, they were really into the Las Vegas mentality where you’re just a chip and they throw it against the wall, and if it takes off right away, they go with it, and if not, you

get dropped. That was the one time we could have worked with Desmond Child and had a hit single, but then we’d be playing these oldies shows at state fairs. E

music@seattleweekly.com

Redd Kross plays Monday at 3:30 p.m. on the Fountain Lawn Stage.

DECISIONS, DECISIONS Mark Pickerel

Mark Pickerel and His Praying Hands play Monday at 6 p.m. on the Plaza Stage.

BEST

Five years ago I agreed to participate in life’s most beautiful cycle, and am now the proud parent of a little girl. I’m proud of my ability to balance my own career and creative ambitions with my commitment to her happiness and health. It’s a hell of a lot to try and juggle, but I feel like it’s all working out beautifully, and I find that the more I include her in all of my adventures, the closer we become. It’s such a thrill to build so many unique memories with her that her and I will share over the years; I know that she’ll reflect on her childhood with great nostalgia.

She’ll almost certainly be at Bumbershoot for my performance, dancing and singing along, much less self-conscious than the man onstage. That’s how you should live when you are young.

JOE MABEL

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

Explore the Coolest Modern Homes in Seattle, Sept. 7. From Bainbridge Island to Lake Sammamish, take a peek inside 8 awe-inspiring modern homes across the Puget Sound during the 2013 Seattle Modern Home Tour!

L

os Angeles band Redd Kross, led by brothers Jeff and Steve McDonald, has had a long and storied career, releasing its first EP in 1980 and then albums slowly but steadily through 1997. After 15 years away from the studio, the band came roaring back in 2012 with Researching the Blues, a cracking rock-’n’roll record that earned Redd Kross some of its best reviews yet. Guitarist/singer Jeff McDonald weighs in on the twists and turns of the band’s existence.

WARD ROBINSON

WIN 2 TICKETS TO SEE SECONdhANd LIONS!

Twenty-five years ago, Redd Kross might have had a hit single. Fortunately, that never happened. BY DAVE LAKE

WORST

I should have taken my shirt off more often when I was young, too self-conscious to go naked in the sun—I should have been skinny-dipping in public places, with reckless abandon, pausing only to enjoy the looks on their faces! That’s how you should live when you are young.

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SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

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19

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From Montana to Seattle to New York, comedian Reggie Watts stays in the middle of things.

BY GWENDOLYN ELLIOTT

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f you’re a jive turkey, or someone who cares about the environment, then please leave a message. Remember: Only you can prevent forest fires.”

So begins the voice mail of funnyman Reggie Watts, who I’m slated to interview this very moment. I try him again, get the same message—delivered in his famous, shape-shifting voice, often incorrectly reported to range 10 octaves—and reschedule with his publicist.

It’s a strange little message, but what’s even more funny is that I’m dialing a Seattle area code. The comedian/musician has lived in New York City for nearly a decade, and now resides in Brooklyn. When I finally reach him, Watts is not in either locale, but in Great Falls, Montana.

“I grew up here,” says Watts, who’s visiting his mother and some friends. “It’s a nice, very simple, relatively mellow place.”

In the Emerald City, however, Watts is remembered as a onetime Seattleite, living here from the ’90s into the aughts and a frequent Bumbershoot performer with his soul-funk band Maktub. For cred, he rattles off a list of his former ’hoods: “All over downtown, 98th and Aurora, Queen Anne, Madison Valley, Rainier Valley, all over the place.”

The slower pace in Montana, though, miles away from urban bustle, must be a welcome change for the genre-crossing performer, who at 41 has amassed multiple studio albums with various bands, racked up years behind the mike on the comedy-festival circuit, and can deftly distill rap’s biggest cliches into wry observational satire, as on “Fuck Shit Stack” from his 2010 stand-up special Why Shit So Crazy? He currently stars in IFC’s zany comedy showcase Comedy Bang!

Bang! as the musical accompanist to host Scott Aukerman (Mr. Show, Between Two Ferns).

“Comedy gang bang,” says Watts, “is a fun thing that is mostly written by Scott and his evil henchman. Scott contacted me because I had worked with him before on Upright Citizens Brigade. It’s a mixed bag.” The show, born out of an eponymous podcast, features a talk show-like format that delves into the awkward and surreal as Aukerman interviews guests like Andy Samberg, Paul Rudd, and Ed Helms. “It’s heavily scripted, but we go off book a lot,” says Watts, who brings what he calls a “interstitial levity” to

the show’s spacey soundtrack. With Aukerman at Bumbershoot this year, Watts will present an episode from the new season of Comedy Bang!

Bang! followed by a Q & A. Nowadays, even in remote Montana, Watts and his ’fro are hard to miss. “It wasn’t always like this,” says Watts. “But this whole thing called the Internet changed all that. I was hiking in Glacier National Park recently, and these guys, probably about 19, 20 years old, recognized me. It’s funny, too. They were from Seattle.” E

gelliott@seattleweekly.com

Reggie Watts plays Monday at 2:45 p.m. at the Playhouse.

DECISIONS, DECISIONS Benjamin Doerr (St. Paul De Vence)

St. Paul De Vence plays Monday at 3 p.m. on the Plaza Stage.

BEST

Letting the gut decide. Or the heart.

Whatever, we know it’s not an organ, it’s a mystery. But it tends to be a mystery worth embracing. I’ve made a few decisions I would put in the “best” box. All of them included some kind of unknown and a leap of some proportion into that unknown.

WORST

Allowing anger to be the leading emotion. It’s an important emotion, no doubt, but when it leads, things are out of balance and shit’s bound to get ugly .

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From the Beginning, Again

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After seven years of 30 Rock, Judah Friedlander can finally do everything he should have done.

BY DAVE LAKE PHIL PROVENCIO

W

ith his slogan-bearing trucker hats, his oversized glasses, and a career that has balanced a rigorous standup schedule with steady acting work, Judah Friedlander is the hardest-working weirdo in Hollywood. The Ping-Pong-loving author of How to Beat Up Anybody recently wrapped up a seven-year run as Frank Rossitano on 30 Rock, which raised the comic’s profile considerably. That concluded, the self-proclaimed “outsider among outsiders” has returned fullforce to stand-up, playing dates in Europe before returning to the States for Bumbershoot (as well as Bellevue’s Parlor Live Comedy Club on August 29–31).

Any show-business career is bound to have plenty of ups and downs, but I imagine the conclusion of 30 Rock must have been a big transition for you? I was on 30 Rock for seven

I’m sure you’ve heard of Heart—they’re playing. I know Heart, yeah. Death Cab for Cutie I

know. The Breeders, I’ve heard of them. Deerhunter, I know the movie, not the band.

What was the last concert you went to as a fan? I can only think of two. One was Tom Jones

and the other was Barry Manilow. They were fucking great. E

music@seattleweekly.com

The World Champion Judah Friedlander performs Sunday at 6:15 p.m and Monday at 1 p.m., both at the Playhouse.

DECISIONS, DECISIONS The WorkoUT

Nacho Picasso

Nacho Picasso plays Saturday at 1:15 p.m. on the TuneIn Stage.

BEST

To put that condom on! All the women I’ve been with . . . But the best decision with my music career was to make music that I wanted to hear instead of making music that I thought other people wanted to hear.

Are you planning to focus on acting as well? Stand-up has always been my main focus

and what’s most important to me creatively. On an acting level, I’m in a big transition period. I used to do a lot of movies. I’ve done my share of shitty movies, but I’ve done a lot of very acclaimed movies too, like American Splendor. USA Today named me Best Supporting Actor of the year. I’ve had some movies where I had a little part, like The Wrestler, which is completely different from what I did on 30 Rock. And now I’m at a point where I think many of the people behind the scenes in show business—casting directors, producers, directors—I think a lot of them know me from 30 Rock, but I think they have forgotten that I used to do completely different kinds of things. It’s almost like starting from the beginning again for a film acting career. Instead of them not knowing you, they think they know you.

Do you keep up with music? Are there any acts at Bumbershoot you’re looking forward to seeing? If it’s something hip and cool and

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To take that condom off! But musically?

I haven’t really made a bad decision with music that I can think of. Worst decision I ever made? Jeez, I don’t know, man. Oh, I got it: bringing sand to the beach, meaning bringing chicks to the club. That’s it.

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years, and that took up a lot of my life. It was a very busy schedule and demanding. Now I have all these projects in mind that I want to do that should have been done years ago multiple times. And by that I mean I should have had at least five albums and comedy specials out at this point in my career. But I have zero out. So now I theoretically have time to do these projects I want to do.

involves music, I’ve not heard of it.

21

BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS

Past the Crash Baroness soldiers on a year after the crash that could have ended its heavy-metal act.

BY DAVE LAKE

P

erhaps more than any other band at Bumbershoot this year, Savannah, Ga.’s boundary-pushing metal act Baroness finds itself in transition. After the band’s tour bus skidded off the road near Bath, England, last year, nine members of the group and its crew were injured, several seriously, and the band spent nearly a year recuperating. Singer/guitarist John Baizley, whose arm required titanium plates, 20 screws, and a foot and a half of wire to rebuild, talks about the decision to reconvene.

It can’t be a stretch to call the bus crash a turning point for Baroness, correct? A turning

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

point not just for the band, but for everybody involved. It was the kind of experience that creates both an ending and a beginning chapter in your life. We’ve got Baroness before August 15, and you’ve got Baroness after August 15.

22

Do you think your resiliency comes at all from the struggles most young rock bands encounter on their way to success? There aren’t a lot of overnight sensations or reality-TV contest winners in metal. We certainly learned

over the course of 10 years of nonstop touring how to handle the ups and downs and the blows dealt. While what we went through came with a very severe amount of pain and trauma, we just have to accept that unpleasant things are going to happen in our lives. We are the type of people that define ourselves by the way we get through them. The things that some people might use as an excuse to wallow in pain or frustration or self-pity are the very things that we have to use to slingshot ourselves forward.

Was it hard to get back onto a tour bus? It’s been OK. Pete [Adams] and I have had to tell the story so many times that I think we’ve come to terms with it. And while it’s not my favorite thing to be doing crash-related press all the time, it’s highly therapeutic, and it’s allowed me to circumnavigate the waters of weirdness and anxiety in an interesting and probably more efficient way than someone who’s not constantly forced to remind themselves what happened. E

music@seattleweekly.com

Baroness plays Monday at 5:15 p.m. on the Fountain Lawn Stage.

DECISIONS, DECISIONS Jason Dodson (the Maldives)

The Maldives play Monday at 1 p.m. on the Starbucks Stage.

BEST

Tie: Going to college and starting a record collection. College was great! I got to meet cool people, have fun learning, and party without hangovers. And records are sweet! Vinyl is the real deal. Like collecting big picture books that play your favorite music.

Did any other bands that had dealt with a similar experience reach out with words of wisdom? I’m thinking specifically of Lamb of God or Metallica, with whom you share management. We were going through recov-

ery while Randy [Blythe from Lamb of God] was in prison, and he’s a friend of ours. A lot of other musicians from a lot of other bands, they all called, they all wrote e-mails, they all got in touch. As a musician, you’ve got four or five things that you hope don’t happen, like a bus crash or an airplane crash. Every touring musician thinks about it. Everybody else who’s a part of it welcomed us to that bizarre club that you don’t really want to be in. And that helped us.

WORST

Tie: Going to college and starting a record collection. I’m in debt because of student loans, and I’m a musician, which means I’m broke. So now when all my cool friends get to take fancy vacations, I get to stay home and listen to records.

BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS

We Decide

For those who just can’t make up their mind, we offer the perfect Bumbershoot schedule.

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Saturday

The Flavr Blue 11:45 a.m., TuneIn Stage The first decision you will face is when to arrive at Bumbershoot. Might we suggest “as early as possible.” Though its festival brethren have expanded their fests to extra days, Bumbershoot has thankfully given everyone Friday night to rest up, which means there is no reason you can’t catch the electro-hip-hop act Flavr Blue. The group is on the come-up in the Seattle

DECISIONS, DECISIONS Duane Goad

Duane Goad performs as part of the Podaholics Comedy Stand on Sunday at 3 p.m. at the Vera Project.

Dave B Noon, Fountain Lawn Stage It’s always good to witness an artist who really earned his or her way onto the bill. That’s the situation with Dave B, a young MC who won EMP Museum’s underage battle of the bands, Sound Off!, to earn the right to perform.

Mike Vecchione & Marc Maron 1 p.m., Comedy at the Playhouse The toughest ticket all weekend long will be the comedy stage, which every year draws a snaking line of festgoers who try hard to not think about everything else they’re missing. If comedy is on your to-do list but you aren’t partial to the personalities onstage, this is your best bet to get in early and take in two very talented comics.

Nacho Picasso 1:15 p.m., TuneIn Stage It should be noted that Joey Bada$$ takes the KeyArena mainstage at 2:45 p.m. without an album to his name, but with much hype for his work as a member of the A$AP Mob. But he’s not the only up-and-coming artist with “I saw him when” written all over his raps. Give Nacho Picasso a chance to set the bar. A conversely playful and sinister MC with a syrupy delivery and a proclivity for blunts and surrealistic imagery, Picasso might not be the best choice for folks on the family plan, but is otherwise a should-see.

Why Froyo? Why YOLO? Why Now? 2 p.m., Words and Ideas Stage The segue from Nacho Picasso’s edgy death-defying poetics to this discussion of acronymized catchphrase “You Only Live Once” is perfect. How frozen yogurt plays in is less clear, but since this, the first of three “Why Now?” panel discussions, features the owners of Zoeyogurt—along with webcomic creator Joel Watson—we’re guessing there will be samples. And if not, feel free to start a riot. YOLO!

WORST

That’s a hard one to answer, but I sure as hell hope it wasn’t writing that line about my wife providing me with a lot of material . . . no, seriously . . . A LOT.

Kendrick Lamar 4 p.m., Mainstage A quick-lipped young MC with an impressive pedigree, Lamar will serve as the hip-hop headliner of Bumbershoot. His 2012 major-label debut, good kid, m.A.A.d city, is not the stuff of daytime drama. Rather, it delves into the dark recesses and excesses of his Compton youth, where Lamar swam in metaphorical pools of booze. Stick around; his music is deeper than those pools.

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SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

BEST

Not to sound corny, but I’d have to say marrying my wife. Besides being a supporting and loving partner, best friend, and mother to my child, marrying her gave me a lot of material . . . no, seriously . . . I mean A LOT of material

scene, usually leading late-night dance parties, but there is no reason to believe that the party will not extend into this morning set. Frontwoman Hollis WongWear is probably the hardest working 20-something in the business. And her job this a.m. will be to get you moving.

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BUMBERSHOOT 2013 THE GUIDE TO GOOD DECISIONS 1303 NE 45TH ST

Thriller Flashmob 4:30 p.m., Festival Grounds Throughout Bumbershoot, you’ll witness roving zombies, courtesy of the folks from Seattle Thrillers and Nightmare at Beaver Lake. These dead-eyed hordes can easily be confused with the line for the comedy stage (hint: The zombies have blood around their mouths, rather than powdered sugar, and they are actually moving). Before the zombies become commonplace, witness an organized performance of their native dance to Michael Jackson’s “Thriller.” !!!

6:15 p.m., TuneIn Stage Leader Nic Offer will wow you. He also might take his pants off and dance with you while screaming in your face.

Charles Bradley & His Extraordinaires 8 p.m., Starbucks Stage A former James Brown impersonator whose personal story of struggle and redemption has been immortalized in a recent and riveting documentary, soul singer Bradley promises an entertaining and likely emotionally revelatory experience. At Sasquatch! last spring, he wept at the end of his set. He wasn’t the only one.

Sallie Ford and the Sound Outside 9:30 p.m., Plaza Stage Nobody has a voice like Sallie Ford. Nobody. Backed by a tight Portland combo that can swing like Ali, Ford’s sour sass will move you in unexpected ways.

Heart 9:45 p.m., Mainstage See “Sisters to the Front,” page 14.

Cookie Monsta 11 p.m., EDM at EMP So you’ve gone the entire day without entering the EMP, where the Electronic Dance Music doth play. It’s time to remedy that with this late-night set by Cookie Monsta, the UK purveyor of dubstep whose creations are both juvenile and sinister, as his moniker portends.

It’s an acquired taste, but if you don’t like it, you can always leave knowing that there really was nowhere else to go.

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

Sunday

24

Visual Arts in Fisher Pavillion Fisher Pavillion, opens at 11 a.m.

If you arrive today with a dub hangover, it’s a good idea to start your second day at Bumbershoot with a little contemplation at the Visual Arts exhibit at the Pavilion (one of two VA locales), where machinery is the focus.

Take in the kinetic sculptures of Jonathan Schipper in Detritus We Value or a larger artistic overview of the relationship between machinery and art in The Enigma Machine.

15 Years of Barsuk Records Noon, Words & Ideas Stage Today, Seattle’s Barsuk Records kicks off its 15th anniversary with a slew of performances from its roster, which will culminate with Death Cab for Cutie’s performance of its final Barsuk release, Transatlanticism, in full on the Mainstage. Before taking in all the music the label has helped make possible, find out what makes the label possible by attending this roundtable discussion with co-founder Josh Rosenfeld and a few of Barsuk’s very witty and thoughtful artists, including host Sean Nelson, the Long Winters’ John Roderick, and David Bazan.

Heart

Tegan and Sara 2 p.m., Mainstage See “Sisters to the Front,” page 14.

Best of SIFF: Audience Award Winners 4:30 p.m., 1 Reel Film Festival Here, at the halfway point, is about the time this ambitious schedule will begin to weigh heavily on your feet. The idea of sitting in a dark room and staring at a screen may feel like something you could have done at home without springing for a festival ticket, but this is a show you should catch: a beautiful and melancholy collection of three shorts, jury award winners from last spring’s Seattle International Film Festival.

Eric Burdon & the Animals 4:45 p.m., Starbucks Stage You are not going to catch this entire set, but you should cruise past after the movie lets out and pause for a moment, as there is a good chance that you will catch a classic sung by one of the greatest R&B voices of the ’60s. It might be “House of the Rising Sun,” it might

DECISIONS, DECISIONS Ayron Jones

Ayron Jones & The Way plays Sunday at noon on the Starbucks Stage.

BEST

Putting aside my ego and admitting that I couldn’t succeed without help. Once I did that, I was able to find the people I need to help push towards the same goal.

Kyle Dunnigan & Doug Benson 1 p.m., Comedy at the Playhouse You can only do one of these comedy things a day.

Benson is a Bumbershoot mainstay. He knows what the funnel cake-fed crowds want.

The Round 100 1:45 p.m., Plaza Stage The Fremont Abbey started the Round a little over eight years ago, and every month since has brought at least three different musicians to the stage to share a song, maybe tell a story, and then pass the mike to the songwriter on his or her left. That each month brings worthy acts to the stage is a testament to the musical talent Seattle holds. That this will be the 100th edition is a testament to the fact that organizer Nathan Marion is a bit of a nut. This, the first of four centennial Round celebrations this month, will feature Le Wrens and the always-entertaining Shelby Earl.

WORST

Working jobs that took me away from my passion and slowed the growth of my career and my craft. When I quit working a regular job, yes, it was hard, but it got much easier when I started to treat my art like I treated my job. Now I’m a businessman and an artist. Once you have those two things, no one can tell you what you are worth.

be “We Gotta Get Outta This Place,” but it will be memorable.

Audrey & Nelson: A Puppet Sex Musical 5:15 p.m., Theatre Puget Sound Stage This is a musical about puppets having sex and then talking about having sex with music written by Dude York’s Peter Richards. Did we mention the puppet sex?

The Breeders 8 p.m., TuneIn Stage See “Sisters to the Front,” page 14.

Beats Antique 8:45 p.m., Fountain Lawn Stage There are a few acts this year with which you can enjoy the essential Bumbershoot experience of dancing to world rhythms. But if you are only going to pad barefoot in the grass to one group, Beats Antique is it.

The band’s brand of electro-acoustic tribal fusion will make for some unexpected twists in your step, and the timing—sunset—will make it feel like a ritual, which it kind of is.

Death Cab for Cutie 9:45 p.m., Mainstage See “Something Old, Something New,” page 16.

Matt and Kim 10 p.m., TuneIn Stage If Death Cab leaves you a worthless puddle of tears and you must reconstitute your beating heart and rebuild your spine, you have to catch Matt and Kim, whose tireless hipster optimism will give you life again before you call it a night.

Monday

Cascadia ’10 11:45 a.m., TuneIn Stage Hot Bodies in Motion 11:45 a.m., Fisher Pavilion Monday is always a tough one for the full-ticket Bumbershoot attendee. It’s difficult to get up and get going after two solid days of festing. The organizers know this, and so they’ve scheduled two different acts to start the blood flowing. From the entrance, head to the TuneIn Stage just north of the Fisher Pavilion for the Pac Northwest Afro-beat ensemble Cascadia ’10. If their horns don’t get your heart pumping, you might be dead. But to make sure, head south to the Starbucks stage, where Hot Bodies in Motion will be executing their titular mission with an updated old-school R&B sound.

Films4Families 3 12 p.m., 1 Reel Film Festival Maybe you accidentally took your kids to the puppet-sex show the day before and are looking to redeem yourself in the eyes of society. This is your ticket, a series of brilliant shorts for short attention spans featuring lots of animals and colors and songs to sing along with.

BellaMaine 12:15 p.m., Fountain Lawn Stage The small port town of Anacortes, just a few clicks north, has been experiencing a pop movement of late, with both The Lonely Forest and Cumulus earning buzz in the Seattle scene and beyond. Something is in the water up there, and this band drinks deep, creating shimmering, dreamy pop anchored by the harmonies of husband-and-wife duo Nick and Julianne Thompson.

2013

BUMBERSHOOT

The Guide to Good Decisions

SATURDAY August31,31, 2013 SATURDAY August 2013

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Montgomery

8:00 –– 9:00 9:00 8:00

Charles Bradley and Charles Bradley His Extraordinaires Jason Bonham’s Led His and Jason Bonham’s Zeppelin Experience Extraordinaires Led Zeppelin Experience

8:30 –– 9:15 9:15 8:30

8:00 –– 9:00 9:00 8:00

8:00 8:00 – – 9:00 9:00

Gary Numan Gary Numan

Kris KrisOrlowski Orlowski

9:00 –– 10:00 10:00 9:00

8:00 8:00 –– 9:00 9:00

Sean Majors Sean Majors

Hyperfunk Hyperfunk 9:30 9:30 –– 10:30 10:30

9:45 –– 11:15 11:15 9:45

Heart Heart

9:45 –– 11:00 11:00 9:45

Maceo Parker Maceo Parker

10:00 – 10:00 – 11:15 11:15

Crystal Castles Crystal Castles

8:00 8:00 –– 9:00 9:00

8:00 8:00––9:30 9:30

Jerrod Carmichael Jerrod Todd Barry Carmichael Todd Barry

MUSIC: JAZZ

Films4Adults: Films4Adults: ToTo thethe Extreme Extreme

9:00 9:00 – – 10:00 10:00

Washed OutOut Washed

9:30 9:30 10:00 10:00

6:30 6:30 –– 7:30 7:30 7:00 –– 8:00 8:00 7:00

KJR 95.7 presents KJR 95.7 presents

8:00 8:00 8:30 8:30

Total Experience Total Experience Gospel Choir Gospel Choir

Mike Drucker Mike Drucker 6:30 6:30––7:30 7:30 Morgan Murphy Morgan Murphy Laff Presents LaffHole Hole Joe Mande Joe Mande Fresh Faces Presents Fresh Faces

Sallie FordFord & The& Sallie Sound The Outside Sound Outside

10:00 10:00 –– 11:00 11:00

Dannic Dannic

11:00 11:00––12:00 12:00

Cookie Monsta Cookie Monsta

MUSIC: EDM

All indoorvenues, venues, including the Mainstage in KeyArena, have limited All indoor including the Mainstage in KeyArena, have limited capacity andcapacity and admission a first-come, first-served basis.

Seeand Platinum and Gold admission is is onon a first-come, first-served basis. See Platinum Gold benefits for benefits for exceptions.

Comedy Passes are recommended secure a seat in comedy exceptions. Comedy Passes are recommended to secureto a seat in comedy performances.

A limited quantity free Comedy are available each day at the performances. A limited quantity of freeof Comedy Passes arePasses available each day at the Comedy Pass distribution booth.

Comedy Pass distribution booth.

KEY KEY

7:30 7:30

6:30 –– 7:15 7:15 6:30

NERDprov NERDprov

5:15 5:15– –6:15 6:15

6:15 6:15– –7:15 7:15

LEGEND MUSIC

3:30 3:30––4:30 4:30

6:00 6:00 –– 7:15 7:15 6:15 –– 7:15 6:15 7:15

!!! (Chk ChkChk Chk) Chk) !!!

(Chk

2:00 2:00––3:00 3:00

Tales of Science Tales of Science Owl & Pussycat Owl & Pussycat Fiction Fiction

Seattle ArtsArts & & Seattle Lectures: The The Lectures: Lunchbox Podcast Lunchbox Podcast

6:00 6:00 6:30 6:30

Zombie Attack Zombie Attack

2:15 2:15– –3:15 3:15

Best of Tacoma Best of Tacoma Comedy ClubClub Comedy

4:30 4:30 –– 5:30 5:30

5:15 ––6:15 5:15 6:15

2:00 2:00––3:00 3:00

4:00 4:00 –– 5:00 5:00

Matt Besser Matt Besser Natasha Leggero Natasha Leggero

1:00– –1:30 1:30 1:00

1:45 1:45– –2:15 2:15

3:45 3:45––4:45 4:45

4:45 4:45 –– 5:45 5:45

ZZ Ward ZZ Ward

Music Music VideoVideo Madness Madness

3:00 3:00 –– 4:00 4:00

Davidson HartHart Davidson Kingsbery Kingsbery

Icona PopPop Icona

5:30 5:30

Kyle Dunnigan Kyle Dunnigan Doug Benson Doug Benson

3:30 3:30 –– 4:30 4:30

4:30 – 5:30 4:45 – 5:45 4:45

AUGUST 31

Customize your schedule at sched.bumbershoot.org

1 Films4Families Films4Families 1 1 1:00– –2:00 2:00 1:00

Why Froyo?

Why Why Froyo?

YOLO? Now? WhyWhy YOLO? Why Now?

2:30 2:30 –– 3:00 3:00

5:00 5:00

7:00 7:00

11:30 – 12:00 11:30 – 12:00 12:00– –1:00 1:00 12:00

SATURDAY

12:45– –1:15 1:15 12:45

Mike Vecchione 1:15 Mike Vecchione 1:15 – 2:15 – 2:15 Marc Maron Marc Maron NW Comedy NorthWest Comedy Fest’s Canadians of Fest’s Canadians Comedy of Comedy

1:15 2:00 1:15 ––2:00

2:00 – 2:45

3:30 3:30 4:00 4:00

HOUSE THEATRE SIFF FILM CENTER FESTIVAL GROUNDS SIFFCENTER FILM CENTER FESTIVAL GROUNDS

11:30 – 12:00 11:30 – 12:00

1:00––2:00 2:00 1:00 1:15 2:45 1:15 ––2:45

2:30 2:30 3:00 3:00

SPECTACLES SPECTACLES

KUOW 94.9 KUOW 94.9

12:00– –1:00 1:00 12:00

The Better The Better Bombshell Bombshell

12:30– –1:00 1:00 12:30

12:30 1:15 12:30 ––1:15

Human Spirit Human Spirit

1:00 1:00

2:00 2:00

LEOHOUSE K. THEATRE CENTER THEATRE

REEL FILM 11REEL FILM FESTIVAL FESTIVAL

11:45 12:30 11:45 ––12:30

NOON NOON

1:30 1:30

THEATRE THEATRE PUGET PUGET SOUND SOUND STAGE STAGE

Customizeyour yourschedule schedule Customize atsched.bumbershoot.org sched.bumbershoot.org at

10:00 10:00– –10:30 10:30

Zombie WalkWalk Zombie

Music

Words & Ideas

Film

Music: Jazz

Comedy

Theatre

Spectacles

Music: EDM

12:00 12:00

SEATTLE WE EKLY • AU G UST 28 — SE PT EM BER 3, 2013

25

September 1, 2013 SUNDAY SUNDAY September 1, 2013

!

BUMBERSHOOT 2013 SCHEDULE MAINSTAGE MAINSTAGE Q13 FOX Q13 FOX/ / JOEtv JOEtv

STARBUCKS STARBUCKS STAGE STAGE

TUNEIN TUNEIN STAGE STAGE

Seattle Magazine Seattle Magazine KPLU 88.5 KPLU 88.5

KEXP 90.3 KEXP 90.3

KEYARENA KEYARENA

11:30 11:30

12:30 12:30 1:00 1:00

2:30 2:30

4:00 4:00

EDM AT EDM AT EMP EMP

Seattle Weekly Seattle Weekly

KISS 106.1 KISS 106.1 Culture Magazine Culture Magazine

FISHER GREEN FOUNTAIN LAWN

LAWN SKY CHURCH NEXTFOUNTAIN 50 PLAZA

BAGLEY ATAT COMEDY COMEDY BAGLEY WRIGHT THE BAGLEY WRIGHT THE BAGLEY THEATRE THEATRE Seattlepi.com Seattlepi.com IFC IFC KUOW 94.9, KUOW 94.9, Seattlepi.com Seattlepi.com

The Mowglis The Mowglis

Nikki Nikki Hill Hill

The Redwood The Redwood Plan Plan

Seattlepi.com Seattlepi.com

KUOW 94.9 KUOW 94.9 Seattle Times Seattle Times

THE VERA PROJECT LEO K. THEATRE

Kyle Kyle Dunnigan Dunnigan Doug Benson Doug Benson

1:45––3:00 3:00 1:45

The Round The Round 100 100 2:45––3:45 3:45 2:45

FIDLAR FIDLAR

3:00 –– 4:00 4:00 3:00 3:30 –– 4:30 4:30 3:30

David David BazanBazan

Improv4Improv4Humans Humans

3:30 ––4:30 4:30 3:30

Midday Midday Veil Veil

Emily Emily HellerHeller Jerrod Jerrod Carmichael Carmichael Todd Barry Todd Barry

Charli Charli XCX XCX

Eric Burdon & Eric Burdon & the Animals the Animals

5:30 5:30

4:45 –– 5:45 5:45 4:45

WTF? WTF? Live Live w/ Marc w/ Marc Maron Maron

5:00 –– 6:00 6:00 5:00

The Comettes The Comettes

5:15– –6:15 6:15 5:15

Mates of State Mates of State

6:30 –– 7:30 7:30 6:30 6:45 –– 8:15 8:15 6:45

Bob Mould Bob Mould

Vintage Vintage Trouble Trouble

6:30 –– 7:30 7:30 6:30

The Grizzled The Grizzled Mighty Mighty

7:00 –– 8:00 8:00 7:00

Barsuk Barsuk Records Anniversary Records Anniversary

Tamaryn Tamaryn

Mike Drucker Mike Drucker Morgan Morgan Murphy Murphy Joe Mande Joe Mande

2:00 –– 3:15 3:15 2:00

My Year My LastLast Year with the Nuns with the Nuns

RaRaRa Ra Riot Riot

EDMat atEMP EMP EDM 7:00 –– 7:45 7:45 7:00

Phase DJDJ Phase 8:00 –– 9:00 9:00 8:00

8:00 –– 9:00 9:00 8:00 8:15––9:15 9:15 8:15

Trinity Trinity Nightclub Nightclub presents presents

8:15– –9:15 9:15 8:15

The Breeders The Breeders

BRONCHO BRONCHO

The Zombies The Zombies

Rise Rise OverOver Run Run 8:15– –9:00 9:00 8:15

Supreme Supreme La Rock La Rock

8:45––10:00 10:00 8:45

9:00 9:00

Beats Antique Beats Antique

1:00––1:30 1:30 1:00

Dance, Zombie Dance, Dance,Dance, Dance Zombie AttackAttack Dance

4:45––5:45 5:45 4:45

Competitive Competitive Erotic Erotic Fan Fiction Fan w/ BryanFiction Cook w/ Bryan Cook

Impromptu Impromptu

Seattle Seattle Arts &Arts & Lectures Lectures Presents Presents Allie Brosh Allie Brosh

2:00 –– 3:00 3:00 2:00

MUSIC

Love...In Love...

In the the Afternoon Afternoon

COMEDY

5:15– –6:15 6:15 5:15

Audrey & Audrey & Nelson Nelson

Writing Writing Staff ofStaff NBC’s Parks & Recreation of NBC’s Matt Besser Matt Besser 6:30––7:30 7:30 6:30 Natasha Parks & Rec. Natasha Leggero Laff Laff HoleHole Presents Leggero Judah Friedlander Idiot Brotherz The Presents Judah Friedlander The Idiot Brotherz

Best of Jury SIFF: Best of SIFF: Award JuryWinners Award Winners 4:30––5:30 5:30 4:30

Best of SIFF: Best of SIFF: Audience Audience Award Award Winners Winners

4:30––5:00 5:00 4:30

Patton Patton Oswalt &Oswalt Friends & Friends

7:00 –– 8:00 8:00 7:00

Owl & Owl & Pussycat Pussycat

WORDS & IDEAS

Zombie Flashmob Zombie Flashmob

THEATRE

5:30––6:30 6:30 5:30

SIFF Fly 2013 Films SIFF Fly Films 2013

FILM

6:15– –7:15 7:15 6:15

6:30 –– 7:30 7:30 6:30

9:30 –– 10:30 10:30 9:30

Matt Matt PondPond

9:45 –– 11:15 11:15 9:45

10:00 –– 11:15 11:15 10:00

10:00 ––11:15 11:15 10:00

10:00––10:45 10:45 10:00

Vicci Martinez Matt Matt Vicci Martinez and and Kim Kim

GUY GUY

7:00 –– 8:00 8:00 7:00

Best of the Best of the Northwest Northwest

7:00––7:30 7:30 7:00

Zombie Zombie AttackAttack

SPECTACLES

8:00 –– 9:00 9:00 8:00

MUSIC: JAZZ

8:00 –– 9:30 9:30 8:00

Mike Mike Vecchione Vecchione Marc Maron Marc Maron

Films4Adults: Films4Adults: Neither Here nor There Neither Here nor There

All indoor including the Mainstage in KeyArena, have limited capacity andcapacity and All indoorvenues, venues, including the Mainstage in KeyArena, have limited admission isis onon a first-come, first-served basis. See Platinum Gold benefits for benefits for admission a first-come, first-served basis.

Seeand Platinum and Gold exceptions. Comedy Passes are recommended to secureto a seat in comedy exceptions.

Comedy Passes are recommended secure a seat in comedy performances. A limited quantity of freeof Comedy Passes arePasses available each day at the performances.

A limited quantity free Comedy are available each day at the Comedy Pass distribution booth.

Comedy Pass distribution booth.

MUSIC: EDM 10:00––10:30 10:30 10:00

Zombie Zombie Walk Walk

White DJDJ White Shadow Shadow

11:30 11:30

KEY

10:45––12:00 12:00 10:45

11:00 11:00

Music

Words & Ideas

Film

Music: Blues

Comedy

Theatre

Spectacles

Music: EDM

12:00 12:00

SEATTLE WEEKLY • AU GUST 28 — SEPTEMBE R 3, 2013

FESTIVAL GROUNDS

LEGEND

3:30––4:30 4:30 3:30 3:45––4:45 4:45 3:45

9:00 –– 10:00 10:00 9:00

6 DJDJ GirlGirl 6

9:30 9:30 Death Cab Death Cab for Cutiefor Cutie

SIFF FILM CENTER

7:45––8:15 8:15 7:45

8:00 8:00

10:30 10:30

Why Why Fan Fan Fiction?

Fiction?

Why YA? Why Now? Why YA? Why Now?

6:00 –– 7:00 7:00 6:00

6:15––7:15 7:15 6:15

6:30 6:30

10:00 10:00

2:00 –– 3:00 3:00 2:00

SEPTEMBER 1 Customize your schedule at sched.bumbershoot.org

Films4- 2 Films4Families Families 2

1:30– –2:00 2:00 1:30

Podaholics Podaholics Comedy Comedy Stand Stand

6:00 6:00

8:30 8:30

12:00––1:00 1:00 12:00

SUNDAY

3:00 –– 4:00 4:00 3:00

4:30 –– 5:30 5:30 4:30

4:30 –– 5:30 5:30 4:30 4:45 –– 5:45 5:45 4:45

5:00 5:00

7:30 7:30

12:00––1:00 1:00 12:00

4:00 –– 5:00 5:00 4:00

4:30 4:30

7:00 7:00

11:30 – 12:00 11:30 – 12:00

1:00––2:00 2:00 1:00

NW Comedy NorthWest Comedy Fest’s Fest’s Canadians of Canadians of Comedy Comedy

SPECTACLES SPECTACLES

KUOW 94.9 KUOW 94.9

11:30– 12:00 – 12:00 11:30

1:15 – 2:15 1:15 – 2:15

2:30––3:00 3:00 2:30

The Duke The Duke Robillard Robillard Band Band

REEL FILM 11REEL FILM FESTIVAL FESTIVAL

LEO K. THEATRE THEATRE CENTER HOUSE THEATRE SIFF FILM CENTER CENTER HOUSE FESTIVAL GROUNDS

1:00––2:00 2:00 1:00

Ramona Ramona Falls Falls

3:00 –– 4:00 4:00 3:00

THEATRE THEATRE PUGET PUGET SOUND SOUND STAGE STAGE

Years of 1515 Years of Barsuk Records Barsuk Records

12:45– –1:15 1:15 12:45

2:45––3:45 3:45 2:45

fun. fun.

WORDS & & WORDS IDEAS IDEAS STAGE STAGE

THE VERA COMEDY ATAT COMEDY THE VERA PROJECT VERA PROJECT VERA

12:30– –1:00 1:00 12:30

Barsuk Records Barsuk Records Anniversary Anniversary

Tegan and Tegan and Sara Sara

3:30 –– 4:45 4:45 3:30

Seattlepi.com Seattlepi.com Seattlepi.com

12:15 – 1:00 12:15 – 1:00

1:45––2:45 2:45 1:45 2:00 –– 3:00 3:00 2:00

INTIMAN COMEDY COMEDY INTIMAN THEATRE AT THE THEATRE AT THE PLAYHOUSE PLAYHOUSE Seattlepi.com

BAGLEY THE PLAYHOUSE NEXT 50 BAGLEY PLAZA CHURCH WRIGHTWRIGHT SKY THE PLAYHOUSE THE VERA PROJECT

1:00––2:00 2:00 1:00 1:15– –2:15 2:15 1:15

3:00 3:00 3:30 3:30

MURAL AMPHITHEATRE MURAL AMPHITHEATRE FISHER GREEN

12:45––2:00 2:00 12:45

1:30 1:30 2:00 2:00

PLAZA PLAZA STAGE STAGE

KEXP 90.3 KEXP 90.3 Seattle Weekly Seattle Weekly

Highway 99 Blues Highway 99 Blues Club presents 11:45 11:45– –12:30 12:30 Club presents Kithkin Kithkin 12:00––12:45 12:45 12:00 Ayron Ayron JonesJones & the Way the & Way

NOON NOON

FOUNTAIN FOUNTAIN LAWN LAWN STAGE STAGE

Customize your your schedule schedule Customize at sched.bumbershoot.org sched.bumbershoot.org at

NEDDY

SEPT. 4 –OCT. 19

2013 EXHIBITION

www.cornish.edu/neddy

THE

Opening Reception: Sept. 12, 5–8 p.m.

Cornish Main Gallery 1000 Lenora St., Floor 1 Gallery Hours: Tues–Fri Noon–5 p.m. Sat Noon–4 p.m.

AT CORNISH

EMILY GHERARD

ANDREA HEIMER

MATTHEW OFFENBACHER

ROBERT YODER

JULIE ALPERT

JACK DAWS

VICTORIA HAVEN

DAN WEBB

26

$5.00

50% OFF

OFF

SELF-SERVE GROOMING

ANY PURCHASE OF $30 OR MORE

Not valid with other offers. Expires 9/15/13.

Not valid with other offers. Expires 9/15/13.

September 2, 2013 MONDAY !!

MONDAY September 2, 2013

Q13 FOX / JOEtv Q13 FOX / JOEtv

KEYARENA KEYARENA

STARBUCKS STARBUCKS STAGE STAGE

TUNEIN TUNEIN STAGE STAGE

Seattle Magazine Seattle Magazine KPLU 88.5 KPLU 88.5

KEXP 90.3 KEXP 90.3

MURAL AMPHITHEATRE MURAL AMPHITHEATRE FISHER GREEN

FOUNTAIN FOUNTAIN LAWN LAWN STAGE STAGE KEXP 90.3 KEXP 90.3 Seattle Weekly Seattle Weekly

FISHER GREEN FOUNTAIN LAWN

PLAZA PLAZA STAGE STAGE

COMEDY ATAT COMEDY THE BAGLEY THE BAGLEY

Seattle Weekly Seattle Weekly

Seattlepi.com Seattlepi.com IFC IFC

COMEDY COMEDY AT THE AT THE PLAYHOUSE PLAYHOUSE Seattlepi.com Seattlepi.com

COMEDY ATAT COMEDY VERA VERA

WORDS & & WORDS IDEAS STAGE IDEAS STAGE

Seattlepi.com Seattlepi.com

KUOW 94.9 KUOW 94.9 Seattle Times Seattle Times

11:45 – 12:30 11:45 – 12:30

Hot Bodies Hot Bodies in Motionin Motion

12:30 12:30 1:00 1:00

2:00 2:00 2:30 2:30

3:30 3:30 4:00 4:00

Cascadia Cascadia ‘10 ‘10

The Maldives The Maldives

1:00 – 2:00 1:00 – 2:00

1:00 – 1:30 1:00 – 1:30

Aurelio Aurelio

1:45 – 2:45 1:45 – 2:45

The The MenMen

2:00 – 3:00 2:00 – 3:00

alt-J alt-J

2:45 – 3:45 2:45 – 3:45

Lissie Lissie

2:45 – 3:45 2:45 – 3:45

Red Baraat Red Baraat

3:30 – 4:45 3:30 – 4:45

MGMT MGMT

The The Sheepdogs Sheepdogs

4:30 – 5:30 4:30 – 5:30

1:30 – 2:30 1:30 – 2:30

The Comedy The Comedy Bang!

Bang!

Bang!

Bang!

Experience Experience

12:00 – 1:00 12:00 – 1:00

Kinky Kinky

Kopecky Kopecky Family Band Family Band

3:15 – 4:15 3:15 – 4:15

Improv4Improv4Humans Humans

Matt Besser Matt Besser Natasha Leggero Natasha Leggero Judah Judah Friedlander Friedlander

Mike Drucker Mike Drucker Joe Mande Joe Mande Reggie Reggie WattsWatts

6:15 – 7:15 6:15 – 7:15

Delta Delta Rae Rae

GTA GTA

9:00 9:00

Mark Pickerel Mark Pickerel and His and His Praying Hands Praying Hands

Sol Sol

7:00 – 8:00 7:00 – 8:00

107.7 The End 107.7 The End presents presents

Superchunk Superchunk 7:30 – 8:30 7:30 – 8:30 8:00 – 9:00 8:00 – 9:00

Justin Justin Townes Earle Townes Earle

1:00 – 2:00 1:00 – 2:00

Face Face thethe Music Music

1:15 – 2:15 1:15 – 2:15

Vancouver Vancouver Comedy Comedy Fest’s Illegal Aliens Fest’s Illegal Aliens

2:00 – 3:00 2:00 – 3:00

Why Board Why Board Games?

Games?

Why Zombies?

Why Zombies?

Why Now? Why Now?

Trampled By Trampled

By Turtles Turtles

Patton Patton Oswalt &Oswalt Friends & Friends

2:15 – 3:15 2:15 – 3:15

Impromptu Impromptu

9:00 – 10:00 9:00 – 10:00

The Lone The Lone Bellow Bellow

10:00 – 11:15 10:00 – 11:15

The The JoyJoy Formidable Formidable

Comedy Comedy Jam Jam Preserves Preserves

2:00 – 3:00 2:00 – 3:00

Zoology Zoology

4:45 – 5:45 4:45 – 5:45

Hot Comedy Hot Comedy w/ w/Spicy TheNews The Spicy News

COMEDY

4:00 – 5:00 4:00 – 5:00

Seattle & Owl & Seattle Arts Arts & Owl & Pussycat Lectures Presents Pussycat Lectures Presents Compounded: Compounded: WITS WITS

5:30 – 6:30 5:30 – 6:30 6:00 – 7:00 6:00 – 7:00

Best of SIFF: Best of SIFF: Jury Jury Award Award Winners Winners 4:30 – 5:30 4:30 – 5:30

Best of SIFF: Best of SIFF: Audience Audience Award Award Winners Winners

4:30 – 5:00 4:30 – 5:00

THEATRE

Show Me the Show Me the World World

FILM

The The Marijuana Marijuana Chronicles Chronicles

6:30 – 7:30 6:30 – 7:30

Laff Hole Laff Hole Presents Presents Funny Over Funny Over Everything Everything

7:00 – 8:00 7:00 – 8:00

Audrey & Audrey & Nelson Nelson

7:00 – 8:00 7:00 – 8:00

Make Me Make Me Laugh Laugh

7:00 – 7:30 7:00 – 7:30

Zombie Zombie AttackAttack

8:00 – 9:30 8:00 – 9:30

SPECTACLES MUSIC: JAZZ

Films4Adults: Films4Adults: Thrill Thrill Me Me

KEY KEY

WORDS & IDEAS

Zombie Flashmob Zombie Flashmob

5:30 – 6:30 5:30 – 6:30

MUSIC: EDM

All indoor venues, including the Mainstage in KeyArena, have limited capacity and All indoor venues, including the Mainstage in KeyArena, have limited capacity and admission is on a first-come, first-served basis. See Platinum and Gold benefits for admission is on a first-come, first-served basis. See Platinum and Gold benefits for exceptions. Comedy Passes are recommended to secure a seat in comedy exceptions. Comedy Passes are recommended to secure a seat in comedy performances. A limited quantity of free Comedy Passes are available each day at the performances. A limited quantity of free Comedy Passes are available each day at the Comedy Pass distribution booth.

Comedy Pass distribution booth.

11:30 11:30

LEGEND MUSIC

3:30 – 4:30 3:30 – 4:30

8:00 – 9:00 8:00 – 9:00

11:00 11:00

Zombie Zombie AttackAttack

3:00 – 4:00 3:00 – 4:00

NERDprov NERDprov Jerrod Jerrod Carmichael Carmichael Todd Barry Todd Barry

1:00 – 1:30 1:00 – 1:30

1:45 – 2:15 1:45 – 2:15

Emily Heller Emily Heller Doug Benson Doug Benson

Deerhunter Deerhunter 9:45 – 11:00 9:45 – 11:00

6:45 – 7:45 6:45 – 7:45

Allen Stone Allen Stone

9:00 – 10:00 9:00 – 10:00

BASSNECTAR BASSNECTAR

Mike Mike Vecchione Vecchione Kyle Dunnigan Kyle Dunnigan

6:15 – 7:15 6:15 – 7:15

Ivan & Ivan & Alyosha Alyosha

8:00 – 9:15 8:00 – 9:15

9:30 9:30 9:45 – 11:15 9:45 – 11:15

5:00 – 6:00 5:00 – 6:00

6:00 – 7:00 6:00 – 7:00

6:15 – 7:15 6:15 – 7:15

6:45 – 8:15 6:45 – 8:15

4:30 – 5:30 4:30 – 5:30

Doug Doug LovesLoves Movies Movies w/ Benson w/Doug Doug Benson

Baroness Baroness

8:15 – 9:15 8:15 – 9:15

SEPTEMBER 2 Customize your schedule at sched.bumbershoot.org

Films4Films4Families 3 Families 3

1:00 – 2:00 1:00 – 2:00

2:45 – 3:45 2:45 – 3:45

4:30 – 5:30 4:30 – 5:30

5:15 – 6:15 5:15 – 6:15

8:00 8:00

10:30 10:30

12:00 – 1:00 12:00 – 1:00

4:00 – 5:00 4:00 – 5:00

4:30 – 5:30 4:30 – 5:30

6:30 6:30

10:00 10:00

St.Paul Paul de St. de Vence Vence

Redd Redd KrossKross

6:00 6:00

8:30 8:30

Red Jacket Red Jacket Mine Mine

3:00 – 4:00 3:00 – 4:00 3:30 – 4:30 3:30 – 4:30

5:30 5:30

7:30 7:30

12:30 – 1:00 12:30 – 1:00

1:30 – 2:30 1:30 – 2:30

5:00 5:00

7:00 7:00

11:30 12:00 11:30 ––12:00

MONDAY

12:45 – 1:15 12:45 – 1:15 1:00 – 2:00 1:00 – 2:00

4:30 4:30

SPECTACLES SPECTACLES

KUOW 94.9 KUOW 94.9

11:30 12:00 11:30 ––12:00

Put It on All Put It All theon Table the Table

12:15 – 1:15 12:15 – 1:15

BellaMaine BellaMaine

3:00 3:00

1 FILM 1 REEL REEL FILM FESTIVAL FESTIVAL

11:45 – 12:30 11:45 – 12:30

12:45 – 2:00 12:45 – 2:00

1:30 1:30

THEATRE THEATRE PUGET PUGET SOUND SOUND STAGE STAGE

THE PLAYHOUSE BAGLEY LAWN BAGLEY WRIGHT NEXT 50 PLAZA THE VERA WRIGHT PROJECT LEO K. THEATRE CENTER SIFF GROUNDS NEXTFOUNTAIN 50 PLAZA THE PLAYHOUSE THE VERA PROJECT LEO K. THEATRE CENTER HOUSE HOUSE THEATRE THEATRE SIFF FILMFILM CENTER CENTER FESTIVAL FESTIVAL GROUNDS

11:30 11:30 NOON NOON

114 N 3 6TH ST | F REMONT 206.632.4567 Monday-Friday 10am-9pm Saturday 10am-8pm Sunday 11am-6pm

Customize Customize your your schedule schedule at at sched.bumbershoot.org sched.bumbershoot.org

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BUMBERSHOOT

Tips for a Better Bumbershoot Ten expert ways to forget your FOMO and make the most of your weekend.

BY ISAAC KAPLAN-WOOLNER So you’ve got your Bumbershoot tickets and you’re poring over the packed schedule in eager anticipation. If you’ve been to Seattle’s premiere urban festival before, you know the lines and crowds can get pretty ridiculous. Your fear of missing out, aka FOMO, will kick into high gear if you’re stuck in an endless line of jabbering teens waiting to get into KeyArena while a half-dozen other great bands are playing. And if you burn out early and join the zonkedout zombies aimlessly hanging out at the fountain, you will regret it. So here are a few tips from a seasoned festival veteran to help you maximize your Bumbershoot experience and minimize your desire to fight with strangers.

Tip 1: Skip the headliners. This can be a bitter pill to swallow, but it will make your Bumbershoot better, trust me. In the past, lines for KeyArena have stretched for up to two hours, time that could have been spent catching some three to five other acts. Think of KeyArena as a sort of holding pen for the festival’s less-informed attendees.

Tip 2: Don’t skip anything else. Bumbershoot is one of the more varied festivals around, with a great mix of big and small acts, local and international, new and old. Consider letting set time and distance between venues determine what act to see next, instead of picking only the few bands you already know and love.

Tip 3: Do your research. You will be inundated with music, art, and spectacle galore at Bumbershoot, and after a full day, it can start to get a little fuzzy.

So do your YouTube homework beforehand and read the artist bios provided by the festival app or online at bumbershoot.org.

Tip 4: Time your attack. If you absolutely, positively need to see a particular hit by a particular band, you may well have to hang out through an entire set. But more often than not I’ve found that bands open with their latest single and close with their biggest breakthrough hit. This is of course not always the case.

Tip 5: Take a break. I know this one sounds obvious, but I find it is important to pick a time to sit down, eat something real, rehydrate, and just chill for a bit.

SEATTLE WEEKLY • AU GUST 28 — SEPTEMBE R 3, 2013

Tip 6: Don’t drink too much booze. At the risk of sounding like a teetotaling finger-wagger, I would caution against partying too hard. Of course at any given festival there will be scores of wasteoids, some of whom may appear to be having a great time. But you came to actually experience the fest and see the acts, right? Drinks are pricey, and frequent bathroom stops will cut into your front-and-center show time.

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Tip 7: Sell your soul to corporate coffee. The Starbucks Lounge offers a few very nice perks: free caffeinated beverages, comfy seats near a stage, and bathrooms with reasonable lines. You have to become a My Starbucks Rewards member at starbucks.com before the fest to gain access to the Lounge.

Tip 8: Redeem your soul with community radio. The KEXP Music Lounge is one of the great, if not well-kept, secrets of Bumbershoot. Held in a small black-box theater, these stripped-down five-song sets are just about the only shows at the whole festival where everyone in the audience is listening attentively. You have to RSVP at kexp.org ahead of time to get in, so you are probably out of luck at this point. But make a note for next year.

Tip 9: Wear earplugs. Yes, another curmudgeonly old-person tip, but one that will up your enjoyment and longevity immensely. You want to be about onethird of the way back from the stage, between the speakers where the sound is optimal. If you stand there for every show—and you should—your ears will take a beating. Protect ‘em.

Tip 10: Don’t talk during a concert. If you must communicate in the midst of the music, get right next to your friend’s ear—like lobe-nuzzlingly close—and use a hushed tone. You will be better heard than if you try to shout over the music, and you won’t ruin that tasty jam for those around you.

Oh yes, and one more thing: HAVE FUN! Dance, let your hair down, and allow that Seattle freeze to thaw for the last few summery days before the inevitable return to soul-crushing darkness. E music@seattleweekly.com

Eat Well

Sure, Bumbershoot’s about the music and the comedy and the arts. But you gotta eat, right? While you’ll find plenty of the usual festival suspects (all things deep fried or on a stick), I can’t in good faith really recommend those—though no judgment here if that’s what you end up with.

Assuming that you care even a sliver about your meal or snack, here are my top three picks on what to eat between sets. NICOLE SPRINKLE

1. Stumbling Goat Bistro from Phinney Ridge: Serving pork-belly BLTs, soup, salad, and spritzers on Fisher Rooftop. When you need a full meal.

2. Pel’Meni, aka “The Dumpling Tzar”: Beef or potato Russian dumplings on Fisher Green. When you just need something tasty to help soak up the booze.

3. Biringer Farm: Strawberry shortcake, brownies, and smoothies on Key Roadway. When you want something sweet (from a real farm) that hasn’t been drenched in oil or coated with chocolate then popped on a stick.

The Guide to Good Decisions

BUMBERSHOOT 2013 MAP

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food&drink

Where Ya At Matt?

In his new Fremont restaurant, of course.

W

BY MEGAN HILL

Free Burgers, Kimchi Fries, Slushy Cocktails

BY SARA BILLUPS

Li’l Woody’s is passing out free burgers from 2–5 p.m. on Labor Day. Expect lines to form early at Li’l Woody’s Capitol Hill and Ballard locations.

KAREN STEICHEN / BUILDING IMAGE: ROUX

Roux will be open morning,

noon, and night, serving a mix of New Orleans and Southern staples. For lunch, you’ll find much of the same fare as the food truck offers: gaping po’boys stuffed with fried shrimp; oysters or housecured andouille sausage; meaty, salty muffulettas, a sandwich invented in New Orleans; thick gumbo over rice with okra and more of that andouille; and spicy, creamy jambalaya.

But dinner will be a different story. “You’re going to see anything from wild game to what we call yard bird—which is chicken, but I’ve always called it that. It’ll be done really well, the crispy skin and the juicy meat. Just that Southern style. We’ll have frog legs, oysters on the half shell that we’ll rotate through . . . snacks, small plates, and then entrées,” Lewis says.

He plans to draw from Northwest farms and purveyors as much as possible, so you may see a spicy Dungeness crab dish or local shrimp in your shrimp-and-grits. He also plans to have a steak on the menu for about $20, but that will be the most expensive item. Chicory (a root that New Orleanians used as a coffee substitute whem embargoes prevented them from importing coffee during the Civil War) will also make an appearance in cocktails and in a beer crafted with Dick Cantwell of Elysian Brewing. And, of course, Roux will offer New Orleans and Southern classics like Pimm’s Cups, Sazeracs, and mint juleps. E

food@seattleweekly.com

Ba Bar installed its new slushy machine in the nick of time—the 12th Avenue Vietnamese restaurant and bar is pouring two new boozy, icy end-ofsummer drinks starting Friday. Labor Day weekend’s featured frozen cocktails include Poivre Punch with prosecco and the Old Country with Amaro CioCiaro and blackberry liqueur. Remember to sip rather than gulp to avoid a tipsy brain freeze.

Josh Henderson’s waterfront restaurant, Westward, and neighboring oyster bar/market, Little Gull Grocery, open this Tuesday, Sept. 3, on North Lake Union. Come by foot, bike, car, or vessel: The aquaticthemed eateries include boat parking.

Kimchi fries, anyone? Kimchi House opens today on 24th Avenue Northwest in the former O’Shan Sushi space. Don’t forget to stop at the ATM along the way—the Korean deli will be cash only. E foodnews@seattleweekly.com

Temperature Check »from chefs Tyler Palagi and charlie garrison, radiaTor Whiskey

Meat—pigs’ heads, beef lips, you name it. The funkier the cut, the better.

Food trucks.

Chef coats. It’s all about the statement T-shirt. E

food@seattleweekly.com

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

hen you consistently sell out of food at pop-up events; when your food truck regularly attracts long lines of customers; and when your truck hits #9 on The Daily Meal’s list of the 101 Best Food Trucks in America, it’s probably safe to say you’ve earned a place in a bona fide brick-and-mortar establishment. Which is exactly where Matt Lewis is about to be, when he opens Roux any day now.

The New Orleans–born chef, who’s wooed Seattle eaters with his Where Ya At Matt food truck since 2010, has worked in the restaurant industry for 14 years and says he’s always dreamed of owning his own restaurant. After graduating from the Culinary Institute of America in Hyde Park, N.Y., Matt “threw a dart at a map” and ended up in Seattle, working at the Four Seasons, Restaurant Zoë, Canlis, and Toulouse Chef Matt Lewis in Petit before opening his food truck. soon-to-open Roux.

To him, Roux is the next step in a natural trajectory he’s been on since he started cooking with his mother and looking forward to the grandmother back in New Orleans. “I operational side of things think once we saw the response that we’ve gotbecause I feel like it will be ten from the truck as far as social media and easier,” Lewis says. Lewis is everything,” he says, “I kind of knew that if we also stoked to have a roomier went towards the restaurant, we could make it kitchen and more storage. “My happen.” walk-in at the restaurant is the Last March, Lewis first announced he was same size as my entire truck,” he taking over the former Buckaroo Tavern space says. in Fremont, and then set to work on the financFood trucks, by law, must complete all prep ing of Roux. “That’s a whole other job in itself. work at a designated commissary outside of the A whole other animal to deal with. It’s a lot of truck. “If you forget something in your commismoney to put together to open a restaurant and sary kitchen on the truck, you’re out for the day. a lot of different personalities from banks to priThere’s no walk-in, let-me-grab-it. Just the logisvate investors to deal with, so [that] always takes tics can drive you nuts if you’re not organized,” longer than what you think. I definitely got some Lewis says. new gray hairs in,” Lewis says.

Still, Lewis remains realistic about the chalRoux is financed in part through commulenges of starting a restaurant. The biggest thing nity contributions in a project he dubbed “The with the restaurant is getting people in your Louisiana Purchase”: Supporters buy into the doors and feeding them,” he says. “I’ve seen a lot restaurant and receive a gift card worth 125% of of good restaurants not make it for that reason, their donation, with other perks depending on whether they chose the wrong location or they the donation level. just weren’t good about marketing or getting Despite those gray hairs, Lewis says many aspects of running a restaurant will be easier than that break. There’s a little bit of luck involved in everything we do in this business.” operating a food truck. For starters, restaurants But Lewis certainly has more than luck can’t break down. Earlier this month, the truck going for him. On a recent sunny afternoon in had some mechanical issues and had to cancel Georgetown, Seattle Weekly’s food editor walked several appearances; a tow truck delivered it to

by The Mix, a bar/music venue that also serves the Seattle Street Food Festival. Food trucks also Cajun food. A couple guys were sitting outside depend on catering events and festivals, whereas eating bowls of jambalaya; one was from New restaurants have a steadier clientele.

Orleans, the other from Mississippi. When she “There’s so much work that goes into a asked them about the food, they shrugged their truck . . . I think anyone you talk to that goes shoulders and pronounced it “so-so, not the real from a truck to a restaurant always says a resthing.” For the real thing, they unequivocally taurant is easier in a lot of aspects. So although agreed, “you gotta go to Matt.” trucks are less expensive then a restaurant, I’m

FoodNews

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food&drink»Feature

End-of-Summer BBQ Blowout

Squeeze the last juicy bits from the season.

O

BY NICOLE SPRINKLE, SARA BILLUPS, AND MA’CHELL DUMA LAVASSAR ur fingers are crossed for an Indian summer—but if Labor Day weekend is your finale feast, we’ve got you covered for food, drinks, music, and decorating. It’s all delicious, simple, and (mostly) portable. Blaze on!

GRILLER’S BLOCK

Dead tired of rib-eye or trying to grill more than a few steaks to everyone’s taste? To keep it easy but still give your guests their main meat, try these tasty alternatives: Pork Chuck Loin: Basically the last six inches of the pork loin, where the loin intersects the shoulder, giving good marbling (aka fat). A good butcher will know what you’re talking about; grab a few for a group of eight. Chef Ethan Stowell, who serves it at Staple & Fancy, brines it overnight in salted water with thyme, garlic, and rosemary. Then dress it with olive oil, lightly salt, and pepper heavily.

Since it’s shoulder, it needs to cook slow and low—about four minutes per side (there are four sides) at 140 degrees. Let it rest for at least 10 minutes.

Thin-Cut Short Ribs: Marinate overnight in any of your favorite grilling sauces. You can pack a dozen or so on the grill and start flipping ’em after you’ve laid down the last one. Easy and finger-lickin’ good.

Fruit Sausage Pastries: In Queen Anne, I love A&J Meat & Seafoods Inc.’s take on pigs in a blanket: blueberry and apricot pork sausages wrapped in pastry that you can pop in the oven.

SUPER SIDES

A no-stress recipe for the perfect end-of-summer salad starring best-of-theseason peaches and tomatoes, from Nate Crave of TanakaSan:

CMY

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

Sweet Corn Salad with Heirloom Tomatoes, Pence Peaches, Toasted Quinoa, and Champagne Vinaigrette (serves 4)

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Ingredients 1 cup quinoa 2 cup vegetable stock or water 2 ears yellow corn (cut off cob about 2 cups) ¼ cup Walla Walla sweet onion (small-diced) 1 medium heirloom tomato (medium-size chunks) ¼ cup summer squash (small-diced) 1 each Pence or other sweet peach (mediumsize chunks) ½ cup extra-virgin olive oil ¼ cup champagne vinegar 1 tablespoon Dijon mustard 1 tablespoon honey Salt to taste Directions Toast quinoa in a small saucepan until light brown. Add vegetable stock and bring to a boil.

Reduce heat to low, cover, and cook for about 20 minutes. Once cooked, lay flat in a pan and cool.

While quinoa is cooking, cut corn off the cob.

Dice tomato, sweet onion, squash, and peach.

Make vinaigrette by whisking vinegar, Dijon, and honey together and slowly adding the olive oil to emulsify ingredients together. Salt to taste.

1 6/4/13 Mix the BOD_WKLY_Gin_6-4-13.pdf vegetables and quinoa together.

Add

the vinaigrette and adjust seasonings with a little salt.

Traditional potato salad gets a wildly flavorful boost (sans mayo) in this recipe from downtown Asian-fusion restaurant Wild Ginger: Burmese Potato Salad (serves 4 to 6)

Salad ingredients 1 pound Yukon gold potatoes 2 ounces white onion, chopped 2 green chilies, seeded and finely minced 1 tablespoon shallots, fried until golden in 4 tablespoons of oil ½ cup mint, roughly chopped 2 slices bacon, cooked and minced Dressing ingredients 4 tablespoons oil (use the oil you fried the shallots in) 4 tablespoons tamarind juice ½ teaspoon shrimp paste 3 tablespoons fish sauce 1 tablespoon sesame seeds, toasted and pounded Directions Prepare dressing in jar and shake.

Steam or boil potatoes until tender; let cool slightly. Peel and cube while still warm. Toss warm potatoes with dressing and all other ingredients. Serve immediately as part of a multicourse event.

BIG OL’ BATCH OF COCKTAILS

You don’t have to rely on just beer and wine when you’re serving a large group or going to a 2:17 PM barbecue. Batched cocktails require one prepara-

tion, and are portable to boot. Nik Virrey, bartender at Capitol Hill’s Liberty Bar, provided this end-of-summer cocktail that he calls, “delicious, simple, and refreshing as hell.”

June Up Here (serves 12) Ingredients 24 ounces gin (Oola/Sun Liquor/Batch 206/ Big Gin) 9 ounces fresh lime juice 6 ounces ginger syrup (use 110 grams of fresh diced ginger per 8 ounces of 1:1 simple syrup) Peel of 10 lemons 6 cucumbers Ginger beer

Directions Pour all ingredients except cucumber in a glass container and keep refrigerated. When ready to serve, slice and muddle half a cucumber at the bottom of a serving glass and fill with ice. Pour mixture into glass and top with ginger beer (better yet, let your guests do it themselves!). Garnish with cucumber slice (optional).

THE SOUNDS

Any barbecue worth its sauce serves sultry summer tunes with the food. These picks from local musicians, DJs, and foodies will ensure your beats are as good as your eats: “Peach,” Prince: Any song that starts with

the phrase “Here she comes/She got them gold hot pants on again” deserves summer-jam recognition. One of Prince’s most underrated and best.

—MA’CHELL DUMA LAVASSAR, CRITIC/TEQUILA

LOVER

“Sister Golden Hair,” America: I grew up in Southern California, and this song evokes the smell of citrus and eucalyptus. It’s the reason for my love of AM gold/yacht rock.

“Moving in Stereo,” the Cars: Duh. Phoebe Cates . . . total end-of-summer (boner) jam.

“Slow Ride,” Foghat: No other song represents summer better than this one. I don’t care who you are, you hear this and you want to punch the air and eat barbecue.

—MS. MICHAEL STEVENS, AKA DJ MIKE STEVE, PRIVATE-EVENT DJ

“Summertime Sadness,” Lana Del Rey:

Anything by Lana Del Rey makes me think of California. California makes me think of summer. I love this record.

Pair this music with banana cream pie. The crust and the pudding must be made from scratch. I use the Crisco recipe for pie crust. Yeah, I know that Crisco is bad for you.

But it makes the best pie crust . . . and it ain’t gonna kill you.

“Let’s Make Love and Listen to Death From Above,” CSS: Any great barbecue starts early and

ends late. Firepits are a must at the end of the night. There is nothing better than sitting around the fire and drinking with friends once the sun goes down. For those who find themselves paired off in a corner, some CSS might provide inspiration for the next step. This song pairs well with chocolate. Brownies might be best.

—BRENT AMAKER (OF BRENT AMAKER AND THE RODEO), MUSICIAN/FOODIE

“Boys on the Radio,” Hole: Disregard everything you don’t like about Courtney Love and just listen to this song. It sounds like a crappy American car with the windows rolled down on an endless Midwest summer night.

—MATT ASHWORTH, HIGH POTENTATE, NADAMUCHO.COM

“Take My Bones Away,” Baroness: Unfortunately, sometimes the grill can be an unruly beast.

This track is a superb compliment to help digest the items left on the heat a bit too long.

“Feel-Good Hit of the Summer,” Queens of the Stone Age: This song is not about “Get(ting)

Lucky” or “Blurred Lines.”

—MICHAEL WELKE, DRUMMER, THE NOT-ITS

OUTDOOR DECOR

No need to be fussy when it comes to a barbecue, but a little stylin’ will bring everything together and make it feel like a real event. * Go retro and use old vinyl records as placemats or serving trays (ones you won’t mind getting potentially ruined, of course). * For a pretty seasonal effect, grab a bunch of dahlias (in one color or many) while they’re still blooming and “garnish” each napkin or plate with a single stem. E

nsprinkle@seattleweekly.com

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food&drink»The Bar Code

The Home Bar, Part 1: Stocking the Spirits

BY ZACH GEBALLE

I

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

t’s a moment most of us have fantasized about: An alluring guest makes his or her way into our home, and instead of just a can of beer or two-day-old bottle of wine, we offer a mixed drink. At their assent, we sidle over to our bar, and with equal parts prestidigitation and alchemy (you know, James Bond–style), a near-magical elixir is conjured. Or perhaps the dream is to throw a swanky cocktail party swimming in elegance, class, and decadence. Or, you know, you could just want to be able to make yourself a drink after work.

Whatever your ultimate intent, creating and developing a home bar requires a bit of thought and planning and a trip or two to a liquor store.

Over four columns, I’m going to guide you through the process. Part One will cover the basics: the ingredients you need to make the most classic cocktails. Part Two (next week) will cover making those drinks, and a few different ways to improvise. Part Three (Sept. 11) will cover bar tools, glassware, garnishes, and techniques, while Part Four (Sept. 18) will highlight a few other spirits and mixers that will expand your possibilities greatly.

So let’s jump right in. While there’s plenty of

34

room for debate, I’d say that the cocktails any self-respecting home bartender needs to be prepared to make include these classics: the martini, the Manhattan, the Old Fashioned, the margarita, the mojito, the sidecar, the lemon drop, and the French 75. These cocktails require at least one of the major classes of spirits—gin, vodka, whiskey, tequila, rum, brandy—and minimal other mixers (dry and sweet vermouth, bitters, orange liqueur, sparkling wine), yet they make delicious cocktails that will impress your friends.

So what spirits should you buy? The answer depends somewhat on your budget and personal tastes, but generally speaking you’ll get more bang for your buck in some areas than others.

Unless you’re a die-hard vodka drinker, this is a good place to skimp: As long as you’re not buying utter trash, you’ll be fine. I like Monopolowa, an inexpensive Austrian potato vodka. Gin is trickier, and worth more of a splurge; Beefeater, though, is reasonably priced and works well in most cocktails, while Plymouth is similar but more refined if you’d like something classier.

When it comes to whiskey, you’ll want to have a bourbon and a rye (ryes are lighter, leaner, and spicier, which means you can mix them with

sweeter ingredients without making the drink too sweet). Elijah Craig and Buffalo Trace are good and affordable bourbons, and the locally made Oola bourbon is a quality spirit, too. For rye, Old Overholt or Rittenhouse are straightforward and easy to integrate into a cocktail, while Woodinville Whiskey Co.’s rye can lend a wonderful spicy note to Manhattans and Old Fashioneds.

I like to stock slightly aged tequilas and rums, since they’re more versatile than very young and very old ones. Cazadores or Hornitos Reposado are nice tequilas, but there are tons of relatively inexpensive rums to be found. A white rum is also a good choice (if you feel like having two), especially if you’re going to be making summery drinks like mojitos a lot. I like Ronrico. As for brandy, I tend to prefer French brandies for cocktails due to their smoothness and affordability: Jacques Cardin is the right price and is mixing-friendly.

Regarding mixers, don’t go super-cheap on vermouth. I love Dolin’s sweet and dry vermouths, and fortunately they’re sold in 375-milliliter bottles, so you don’t have to worry as much about waste. (Vermouth should always be refrigerated,

since it’s essentially slightly fortified white wine.)

For orange liqueur, triple sec is inexpensive, but I prefer Cointreau in almost all applications. If you’ve got the extra $20, the more natural orange flavor and slightly muted sweetness will make a difference in that margarita. Angostura bitters are the only real must-have, though picking up others is a fun and relatively affordable way to expand your bar, as we’ll touch on later.

Finally, a few notes on ingredients and techniques. Fresh citrus juice is essential to making a quality cocktail, and you should take it seriously.

If you’re making only one or two drinks, squeeze it to order. Otherwise, squeeze ahead of time; it’ll keep for a day or two in the fridge. (Always make sure to strain out the pulp and seeds.) Simple syrup will make your life much easier when it comes to adding sweetness to drinks. It’s incredibly, well, simple to make: Start with two parts sugar to one part water and heat it gently until the sugar dissolves. Let it sit over low-medium heat for a couple of minutes, stirring occasionally, then let it cool. It’ll keep for a couple of weeks in the fridge in a tightly sealed container.

Next week: the drinks! E

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PLAY #4 ALWAYS BE ICONIC.

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

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arts&culture

Inside the Nerdstorm

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

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BY TERRA CLARKE OLSEN

And there is a lot of action: a PC area, a

© JERRY HOLKINS/MIKE KRAHULIK/PENNY-ARCADE.COM

or its three-decade existence, the world of the video gamer has been defined by mainstream culture as a land of introverts and shut-ins. In the 1980s, arcades were venues for hooligans, and playing Dungeons & Dragons was the first step toward devil worship. Then in the 1990s, news stories portrayed the Columbine shooters as violent, video-game-playing loners.

Even into the new millennium, the stigma continues. The line for the Xbox is long, the ads tell us, but it’s made up of uncomfortable isolated geeks eager to return to their screen-lit cocoons.

It’s a narrative perpetrated by outsiders who have no real sense of the kinship and creativity that exists in the gaming community. And it’s a narrative that can be easily dispelled after one day at the Penny Arcade eXpo, the wildly popular video-game convention to be held this weekend at the Washington State Convention Center.

There have been many nerd conventions over the years, but PAX Prime, as it is now known, was the first to make gaming its sole focus.

Started in 2004 by Mike Krahulik and Jerry Holkins—aka Gabe and Tycho, creators of the webcomic Penny Arcade—the event was intended to be an all-encompassing gaming celebration.

Gabe and Tycho hoped that if they built it, the gamers would come, and they were right.

Of course local gamers attended the con, but so did non-Washington gamers. Tristan Stanley describes flying in from Iowa for the first PAX, and then riding in a cramped van from Seatac to Bellevue, where the convention was then held. Only after a fellow passenger took a cellphone call and confirmed that he was going to PAX did everyone in the van suddenly realize they were all headed to the same destination.

Imagine, a full van of out-of-staters in town for the first PAX. Beautiful. But why? Why travel hundreds if not thousands of miles to attend a gaming convention?

Let’s start with the cool factor, or rather the uncool factor. For its first couple decades, gaming was definitely not cool. This did two things.

In a way it isolated players by their passion, but, like any counterculture activity, it also gave them something to bond over when they encountered like-minded individuals. When you met another gamer in your town’s small gaming store, there was an instant connection. Other people might not have understood your hobby, and might even have tormented you endlessly for your passions, but when you met other gamers, they got it. They understood this world and understood you. And it was freakin’ awesome.

With the explosion of the Internet (I know, I’m going way back), people could connect beyond the local game store. Gamer magazines, forums, gamer gear, and gamer music (nerdcore) were created out of the love for gaming. Gam-

WEDNESDAY, AUG. 28

PAX Prime founders Mike Krahulik (left) and Jerry Holkins.

ers were finding their voice and their people simultaneously. Their voice was echoed through Penny Arcade, which started in 1998; Gabe and Tycho’s comic focused on gaming and general nerd debauchery.

I discovered it in 2001 from one of my best friends, Alex Brogger. We met in school and became fast friends once it was established we were both huge nerds and both gamers. Long hours on AIM consisted of exchanging links to our favorite comics. Stanley, with whom I currently work at indie game studio Zhurosoft, discovered Penny Arcade through a LAN party in 1998, and, like most gamers, became instantly hooked. This was the usual pattern— gamer-to-gamer sharing, instant fandom.

As Chris Hagen, a software engineer with a degree from Redmond’s DigiPen Institute of Technology, notes, he “worshipped” the comic, as did every other DigiPen grad (Brogger and Stanley both went to DigiPen as well). Penny Arcade spread like wildfire within the community. In Tycho and Gabe, gamers had found their leaders. So when the duo announced the first Penny Arcade eXpo, naturally gamers couldn’t wait to be a part of the action.

tabletop area, a handheld area, a massive console area, and an exhibit hall where the industry can show off its latest products. And of course there is Omegathon, the gaming tournament populated by randomly selected attendees. At PAX, you can play games to your heart’s desire, or take in one of the many nerdcore concerts and then head over to watch a tournament. You can participate in testing or stand on the sidelines as a spectator. PAX allows all types of gamers to come together and participate within their comfort zone.

But PAX doesn’t just provide a place to game, it also gives developers a way to better craft their games and perfect their art. The industry can check the pulse of its target audience and vice versa. Developers can get instant feedback from players and watch for trends.

PAX also gives companies an open environment to work together and share ideas. This is especially true for indie gaming companies, which can present a problem to the community and listen for solutions; share war stories to help one another; or even find new partners for creating the next great indie game. PAX is a place for gamers to help each other make games better.

A real community, a family of sorts, is created through the PAX experience. Yet PAX grows every year. This weekend’s event was long ago sold out, and PAX Prime is nearing an annual attendance of 100,000. Due to demand, there are now two other annual PAX conventions, one on the East Coast and another in Australia. With that increased size comes mainstream attention, and with it possibilities for more crass commercialism. I wonder—how big can a community grow and still hold on to its roots?

I suppose we’ll find out soon. As gaming continues to become more mainstream and threatens to shed its loner reputation, the number of first-time PAX attendees will increase. And who can blame them? Not my co-worker Stanley, who recalls that van ride with all those strangers who so quickly found a connection through PAX: “For the first time I was able to easily engage strangers with a shared interest I knew a great deal about.” E

geeklyreport@seattleweekly.com

Beginning next week, Terra Clarke Olsen will contribute her thoughts on all things geek in a new Seattle Weekly column, the Geekly Report.

Find it in print and, of course, online.

PAX PRIME Washington State Convention Center, Eighth Avenue and Pike Street, paxsite.com.

SOLD OUT. Fri., Aug. 30–Mon., Sept. 2.

Animal Crackers/Duck Soup

SIFF’s Slapstick Savants retrospective features a Marx brothers double bill today, with Duck Soup sandwiched between two screenings of Animal Crackers. Like most of their comedies, the two films were road-tested as stage shows—appropriately, since it was in vaudeville that Groucho, Chico, Harpo, and Zeppo got their start in showbiz. Their ears were attuned to live audiences, and the timing of their gags eliminated potential dead spots. If one bit doesn’t logically lead to the next, you don’t have time to complain. In 1930’s Animal Crackers, Capt. Spaulding (Groucho) makes a mockery of high society—embodied, of course, by Margaret Dumont. (A sample exchange: “Captain, this leaves me speechless.”

“Well, see that you remain that way.”) In 1933’s Duck Soup, perhaps the most lighthearted war movie ever made, Groucho plays the war-crazed but cowardly leader of Freedonia, who directs an invasion for his own personal gain. Chico and Harpo are enemy spies who try to halt the plan.

Directed by Leo McCarey, the dazzling comedy

PARAMOUNT

PAX Prime started 10 years ago as a gathering of outsiders.

Now it’s one of the biggest games in town. How’d that happen?

Agenda

Groucho shows some leg.

was made at a safe distance from World War I, the Spanish Civil War hadn’t yet begun, and World War II was only a gleam in Hitler’s eye, so the laughs came easy. You can make the case for Duck Soup being the Marx brothers’ greatest film, and it’s still certainly their most topical. Also note that Groucho’s grandson Steve Marx will attend the screenings and answer questions about his famous clan. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $6–$11. 4:30, 7, & 8:30 p.m. BRIAN MILLER

FRIDAY, AUG. 30

Middletown

As if to honor the Seattle Freeze—which maintains we all be near-acquaintances, or sort-of strangers, no matter the temperature—ACT is staging one of the heralded works of Will Eno. With his penchant for bursts of dialogue and low-impact despair, the Boston playwright is something like Aaron Sorkin if you replaced the bravado with ennui. An absurdist take on Thornton Wilder’s classic Our Town, Middletown tells the story of two neighbors, newcomer Mary (Alex Tavares) and long-time resident John (Eric Reidmann), and their attempts to connect. Of course, true connection is never achieved. (Is it ever?)

The premise is a downer, and Eno isn’t shy about

arts&culture»Agenda

D I N I NG

W EEK LY

and even within, the Sisyphean task of getting to know your neighbor. John Langs directs the production. (Previews begin tonight; opens Sept. 5; ends Sept. 29.) ACT Theatre, 700 Union St., actthe-

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atre.org. $41 and up. 8 p.m. MARK BAUMGARTEN

Russell Brand

He’s on heroin. He’s off heroin. He’s married to Katy Perry. He’s divorced from Katy Perry. And then he’s tweeting about his divorce from Katy Perry. The wonder of it is that Russell Brand still has time for comedy as he toggles between the tabloids and Hollywood (with occasional detours to attack paparazzi and MSNBC hosts). Since breaking out of the Edinburgh Fringe Festival a decade ago, then reaching the U.S. via MTV and Forgetting Sarah Marshall, Brand has globalized his irreverent, bad-boy persona yet retained a gift for self-mockery. He jokes about his own megalomania and past excesses because those are the qualities that most define the celebrity-industrial complex.

Appropriately, his new tour is called Messiah Complex, in which he considers Che Guevara, Gandhi, Malcolm X, Hitler, and other charismatic leaders.

(Into which category he might also include himself?) Penance is also a big part of Brand’s act, as he’s written about drug laws and treatment for English newspapers and in his in memoir (My Booky Wook). He next appears in the movie Paradise (the directing debut of Juno writer Diablo Cody), slated for release next year, playing—what else?—a corruptor of youthful innocence, even if those days are well behind him. The Neptune,

FILM

LARAE LOBDELL

Reidmann and Tavares as wouldbe Middletown lovers.

reminding you. “I never thought I’d have a lonely life,” says John. “I do, it turns out. Like, medically lonely. Like I’ve got sad genes.” If, as I do, you think that sounds like a jolly good night of entertainment, Eno is for you. Yet his succinct, poetic dialogue— also exchanged among umpteen other village folk— does manage to find some hope and humor around,

1303 N.E. 45th St., 877-784-4849, stgpresents. org. $39.50. 8 p.m. BRIAN MILLER E

AR T S AND E NT E R TAI NM E NT

H A P P Y H OU R

(9/26) Peter Bagge with Cienna Madrid ‘Woman Rebel: The Margaret Sanger Story’ Media sponsor: TOWN HALL

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ARTS & ENTERTAINMENT NEWSLETTER

Find out about upcoming

performances, exhibitions,

openings and special events.

OLYMPIC SCULPTURE PARK

Thursdays atthePark 6 pm-8 pm

Thursday, August 29: Bring your dancing shoes and experience social dancing with the Valse Café Orchestra, a real dance floor and free, professional lessons with Dancing til Dusk, co-presented with Seattle Parks and Recreation from 6-9 pm. Make eco-friendly fashion accessories wih teaching artist Carina A. del Rosario, and take a tour of the park with Vashon Island-based artist Mike Leavitt. Savor local wines and food truck fun with TASTE Café, Charlie’s Buns, Hallava Falafel and Jemil’s Big Easy. And don’t miss soul singer Felicia Loud as she ignites the rooftop of The Western Oracle at 7:45.

Sponsors:

Supporters: Amgen, Maryanne Tagney-Jones and David Jones

seattleartmuseum.org/getout

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

july 11–august 29

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

CHRIS BENNION

Two of Lysistrata’s sex boycotters: Kamaria Hallums-Harris and Shontina Vernon.

the wacky (and raunchy!) world of Harmony Arnold’s glam-gross costumes and Jennifer Zeyl’s orificial set, fully invested in the gender wars. Seldom does combat intercede, but this topical Lysistrata is a forcible reminder of bloody wars still being fought on the other side of the globe.The conclave of women convoked

by Lysistrata (intelligently played by Shontina Vernon) suggests how sensuality and personal expression are prized in the barracks: Mohawks, bare thighs and midriffs, push-ups, goosing, and butt-wagging accompany copious sex talk and innuendo. It’s no easy task to convince these lusty ladies to forego sex, as evidenced by their demonstration of beloved positions including the “she-lion and the cheese grater” (it’s in the original text). But their sexual privation pales next to that of the bellicose men, evoked by hilarious priapic contraptions ranging from tiny kettle spouts to flashlights to lengthy plastic proboscises operated like trombones. Ensconced deep like a cervix in the vulval tent hanging over the stage, a machine-like glory box flashes to songs by Pink and Destiny’s Child.

In response to this teasing barrage, the horny guys pound out their frustration on electric guitars. When warfare breaks the suspension of disbelief (conveyed by Andrew D. Smith’s flashing lights and Matt Starritt’s unnerving audio design, guided by military consultants), it really breaks it. The pure comedy is quickly forgotten, and the tenor shifts to the macabre.

(Destiny’s Child’s prior refrain, “I’ve bought it” from “Independent Woman,” takes on much darker meaning.) A political chorus, rendered zombie-style at the end, seems a bit heavy-handed—is Daniels suggesting that soldiers, including those “drafted by poverty,” are zombies? Would an antiwar play like Lysistrata even be allowed on an Army base? Maybe it’s better not to approach this powerful, provocative piece too literally; just let it hit you. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20– $50. See intiman.org for exact schedule. Ends Sept. 12.

Stage OPENINGS & EVENTS

RUSSELL BRAND SEE AGENDA, PAGE 38.

• FALLING UPWARD SANCA’s ‘30s-themed staff show

FOR SPECIAL BENEFIT SEATING, VISIT WWW.BONNIERAITT.COM

promises “acrobatics, trick-roping, tight-wire, juggling, Chinese pole, hand balancing, aerial acts, and more.” School of Acrobatics and New Circus Arts (SANCA), 674 S. Orcas St., 800-838-3006, brownpaper tickets.com. $13–$20. Opens Aug. 31. 7 p.m. Fri.–Mon. Ends Sept. 8.

MIDDLETOWN SEE AGENDA, PAGE 37.

THE REALM OF WHISPERING GHOSTS Subtitled “If Truman Met Einstein,” Arne Zaslove’s Noh-inspired new play explores the legacy of the Hiroshima bombing. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 800-838-3006, brownpapertickets. com. $15–$27. Preview Aug. 29, opens Aug. 30. 7:30 p.m. Thurs.–Sat., 2 & 7:30 p.m. Sun. Ends Sept. 15.

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SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

Wed. August 28 SPENCER DAY

38

Wed. September 11 STEPHEN KELLOGG

Pop Jazz Vocalist Wells Fargo Center

Impassioned Singer Songwriter Federal Courthouse

Fri. August 30 CLINTON FEARON

Fri. September 13 HEY MARSEILLES

Roots Reggae Occidental Square

Orchestral Folk Freeway Park

Wed. September 4 BASKERY Alt/Country/Punk from Sweden Waterfront Park

Fri. September 6 FREMONT ABBEY

presents PEPPER PROUD AND FRIENDS

New Acoustic Sounds Bank of America Fifth Avenue Plaza

TTLE N SEA

NTOW DOW

YS FRIDA & S Y ESDA WEDN 12-1:30PM

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EPT 2

10 - S JULY

YES! !

FREE

Wed. September 18 MANGO SON Latin Salsa Federal Courthouse

Fri. September 20 MARCHFOURTH MARCHING BAND

CURRENT RUNS

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 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., 800-838-3006, jojostiletto.com. $20–$35. 8 p.m. Thurs.– Sat. Ends Aug. 31.

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

and corporate sponsorship” sends up both folky entertainment and consumer culture, with Troy Mink leading a cooking segment as Grandma Half. Annex Theatre, 1100 E. Pike St., 728- 0933, annextheatre.org. $5–$10.

11 p.m. Fri.–Sat. Ends Aug. 30.

LYSISTRATA The mixing of moods in theater was a no-no in classical times, but luckily director Sheila Daniels’ take on Aristophanes’ antiwar comedy flouts such prude genre segregation. Setting the 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 by soldiers for fellow soldiers at a U.S. camp in Afghanistan, makes more urgent the heroines’ crusade to kill the war. Throughout most of the 85-minute one-act, we’re immersed in

•

Kaleidoscope of Musical and Visual Energy Westlake Park

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

•

A sampling of Harmony Arnold’s “glam-gross costumes” for Lysistrata.

CHRIS BENNION

2013

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.

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 (1916–1994), the author of A Hero Ain’t Nothin’ but a Sandwich, was also a playwright who won an Obie for her 1955 Trouble in Mind. Plans for a transfer to Broadway didn’t work out, perhaps because white producers didn’t like her depiction of their world. Now director Valerie Curtis-Newton is determined to redress Childress’ relative obscurity. Skillfully, movingly, entertainingly, shatteringly, Trouble catalogs the charades and compromises (i.e., sellings-out) demanded of “negro” stage professionals trying to make it on Broadway. Intiman’s splendid rendering marries beautiful acting to the powerful architecture of a masterly, laser-sharp script that ricochets between hope and heartache. 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. Wiletta’s desire to change one tiny element of the script becomes a do-or-die compulsion (professionally, at least), forcing a well-earned dramatic standoff with Manners. Mainly what is felt here is Childress’ indignation over the waste of black talent. An actress with the American Negro Theater during the ‘40s, Childress later became a best-selling novelist. Intiman successfully argues that she left an important stage legacy, too. 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.

WE WON’T PAY! WE WON’T PAY! Pruned and repositioned after its own financial crisis, Intiman opens its second summer festival with We Won’t Pay! We Won’t Pay!, Dario Fo’s farce about life in an exploitive, inflationary economy. His intelligently ridiculous 1974 examination of whether looting is justified under a corrupt regime feels timely in our era of unprecedented income inequality. Two housewives stagger in the door dripping with groceries that one of them, Antonia (the delightful Tracy Michelle Hughes) “donated” to herself during a customer-declared free-for-all at the supermarket. Antonia drags her B-52-haired friend Margherita (Kylee Rouselot) into the coverup plot, which involves concealing the loot in a fake pregnancy. Soon their law-abiding but equally loony husbands Giovanni (Burton Curtis) and Luiggi (G. Valmont Thomas) smell trouble about the suspicious impending birth. Director Jane Nichols deftly articulates the quick beats that can be so easily muddled in farce. It’s exciting to see the cost-cutting festival launch with such a high degree of professionalism and coherence.

MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 14.

WORDS, SOUNDS, SILENCE Unexpected Productions’ 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 between the lines of verbal language.” Unexpected Productions Market Theater, 1428 Post Alley, 800-8383006, unexpectedproductions.org. $7. 8:30 p.m. Thurs.

Ends Sept. 26.

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Image: Junya Watanabe Comme des Garçons, washed denim dress and pants, Spring/Summer 2002, Collections of the Kyoto Costume Institute, Photo: Takashi Hatakeyama

PRECIOUS LITTLE Madeleine George’s “carefully drawn

E C N A H C 8 T R S E B A M L E T P E S ENDS

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• OLYMPIC MUSIC FESTIVAL Chamber music in a

rustic repurposed barn, each Saturday and Sunday at 2 p.m. through Sept. 1. For the final weekend, music of the “Three Bs.” Olympic Music Festival, Center Road, Quilcene, 360-732-4800, olympicmusicfestival. org. $18–$33.

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

Presenting Sponsor

Major Sponsor

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SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

Classical, Etc.

39

E FR E!

FALL OPEN HOUSE

SATURDAY, SEPT 7, 2013 6-9PM

PAULA COOPER GALLERY

WWW.PRATT.ORG

TheFussyeye » by brian miller

Endless Summer If you want a reprieve from the heat, holiday traffic, and Bumbershoot throngs, the Frye offers a calming, Zen-like video for 20 minutes of contemplation. This is the final weekend to see Morning After the Deluge, by New York artist Paul Pfeiffer, a digital composite of a sunrise and sunset with the same wavering orange orb fixed in the middle of the frame, the horizon slowly shifting behind it. Time, in a sense, is suspended from the natural order. Earth and sun are on hiatus from their usual orbital dispute.

Sunrises and sunsets are the original, ancient metaphors for birth, death, and the cycles of life, yet it’s by the latest technological means that Pfeiffer puts them into pause—as if pointing a remote control at the heavens. And at summer’s end, who doesn’t want to halt the cosmos? The kids crave more vacation before school begins; we hope for an Indian summer next month; but the shortening days spell gloom for us all. Opposite the video, the Frye has positioned 14 paintings aligned on the same fixed horizon line, with all the seasons represented. Here come fall and winter; I prefer to stare at Pfeiffer’s sun.

Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.–5 p.m. Wed.– Sun. (Open until 7 p.m. Thurs.) Ends Sept. 1.

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

WATCH THE WORLD GO BY

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Join FILM FORWARD and SAM for all-day screenings and discussions of independent films selected to stimulate cross-cultural conversations.

Saturday, September 7, 10:30 am–6:30 pm Valley of Saints · The Loving Story · Under the Same Moon · Chasing Ice · Town of Runners (Q&A with filmmaker) · The Light in Her Eyes (Q&A with filmmaker) · Bones Brigade: An Autobiography · Beasts of the Southern Wild

FILM FORWARD is an international touring program that offers film screenings, workshops and discussions with filmmakers, designed to foster dialogue and greater cultural understanding.

FILM FORWARD is an initiative of the Sundance Institute and the President’s Committee on the Arts and humanities in partnership with the National Endowment for the Arts, the National Endowment for Humanities, and the Institute of Museum and Library Services.

Seattle Art Museum Downtown 1st Avenue & Union Street

Wrap party and a conversation to follow the final screening.

FREE and open to the public

Image: Chasing Ice (2012), directed by Jeff Orlowski. Image Courtesy of Sundance Institute.

arts&culture»This Week’s Attractions Austenland

ROBERT HORTON

Closed Circuit OPENS WED., AUG. 28 AT SUNDANCE AND OTHER THEATERS. RATED R. 96 MINUTES.

Woefully ill-equipped to compete with breaking news about Edward Snowden and Chelsea (née Bradley) Manning, Closed Circuit seems especially tired right now. Even if it functions for a while as a serviceable paranoid thriller, its premise is far too generic to compare with current headlines. Even the title’s misleading: This isn’t so much about the surveillance state as about government overreach for the sake of oldfashioned backside-covering.

The legalistic scenario rarely rises above the level of a British TV movie. We’re in the aftermath of a terrorist bombing in London, for which a single alleged Islamic radical is held for trial. A quirk of British law—probably an intriguing point in real life, not so intriguing in the movie—stipulates the suspect be represented by two lawyers, one for open court, a second for

The Shinoharas near their Brooklyn home.

closed proceedings involving top-secret issues of national security. Both attorneys serve the accused man, but are prohibited from speaking to each other during the process.

Screenwriter Steven Knight, who has authored some respectable scripts in his time (Dirty Pretty Things, Eastern Promises), lays a heavy burden on this one: Seems the two barristers, Martin (Eric Bana, late of Hanna) and Claudia (Rebecca Hall), had a fling in the past. After lying to the judge about this shared history, they prove spectacularly incapable of sticking to the no-contact rule as the case unravels—to be fair, this has less to do with the need to get the actors into kissyface than with the increasingly sinister web of connections coming to light about the accused.

Those complications are easy to guess, and director John Crowley (Boy A) can’t hide the mechanical grinding of the movie’s stumble into its trumped-up final act. Ordinarily one could take refuge in the excellent cast, but here it just reminds you of the wasted talent. Bana isn’t exactly right (the role appears written for a Hugh Grant type), but Jim Broadbent and Ciarán Hinds nail their stock older-generation parts, and Riz Ahmed (from the dazzling Four Lions) threatens to juice up the movie as Claudia’s government helper, who might be secret service.

Hall, from Vicky Cristina Barcelona, The Town, and TV’s Parade’s End, adds more evidence to the argument that she is the next great movie star. I think the argument is settled in her favor, but she might check with her agent about putting this kind of role behind her. ROBERT HORTON

PCutie and the Boxer OPENS FRI., AUG. 30 AT SEVEN GABLES. NOT RATED. 82 MINUTES.

Granted remarkable access to the lives of struggling Japanese artists Ushio and Noriko Shinohara in this poignant documentary, debut director Zachary Heinzerling follows the couple through the most mundane details of their marriage and art. The very spry Ushio, now 81, spends half the movie shirtless as he brushes his teeth, cooks, pounds paint onto canvas with boxing gloves, and kvetches in their cluttered Brooklyn loft about his lack of commercial success. He emigrated in 1969 and still seems stuck in the rut of Pop Art: big, splotchy boxing paintings and motorcycle sculptures made of cardboard and other found materials. A successful sales trip to Japan yields all

of three grand. When a politely skeptical Guggenheim curator asks about purchasing one particular work, his wife Noriko explains that Ushio gave it away to a friend while drunk.

But now, after decades of alcoholism, Ushio is sober—unlike the couple’s adult son, briefly glimpsed—and Noriko is determined to escape his artistic shadow. Two decades younger, she craves a room of her own (here she quotes Virginia Woolf ). With Ushio away in Japan, she goes to dance class and works in her notebooks.

“I feel so free when you’re not around,” she later tells him. Yet her complaints are delivered with bittersweet acceptance. After four decades of marriage, she and Ushio are two flowers in one pot, she says, for better and worse. Ushio meanwhile scoffs, “She is just an assistant. The average one has to support the genius.” How much of that sexism is specifically Japanese or the posturing of a macho, mediocre artist is hard to guess.

But he clearly can’t live without her.

Heinzerling plainly loves both his subjects, but it’s impossible for him and the viewer not to love long-suffering Noriko more. Her son is a disappointment, her husband is well past his days of partying with Warhol and Rauschenberg, and she channels her discontent into a series of biographical drawings full of quarrelsome cherubic figures, called Cutie and Bullie, that Heinzerling spins into lovely animation sequences. He structures the doc to end with the Shinoharas’ joint show in 2010, presented as Noriko’s belated coming-out as an artist. Her 60-foot mural is impressive, but her real genius is a stoic dignity. I think many women— even if married only a few years—will see themselves in Noriko. BRIAN MILLER

The Grandmaster OPENS FRI., AUG. 30 AT VARSITY AND OTHER THEATERS. RATED PG-13. 108 MINUTES.

The housekeeping part first: A film by a major international director is being released in the U.S. in a version that strongly differs from its original cut. We are told that scissor-happy producer Harvey Weinstein is not behind this particular reduction; Wong Kar-wai himself has fiddled with The Grandmaster, already having crafted different cuts of his film for the Asian and European markets.

That’s their story, and maybe it’s true. It would be consistent with Wong’s tendency to fuss over his projects—he’s on record as saying that if it weren’t for the deadlines imposed by major

film festivals, he might never finish his movies.

Whatever peculiar cultural emphasis the U.S. cut of The Grandmaster has, it is one odd picture, with too much kung fu for discriminating arthouse audiences and too many dreamy pauses for the grindhouse crowd.

This is the often-filmed life of Ip Man (1893–1972), the celebrated martial-arts master who redefined kung fu and eventually tutored an eager young Bruce Lee. He’s played by Tony Leung, the ridiculously cool star of Wong’s In the Mood for Love, whose serene half-smile is as powerful a weapon as his fighting moves. Ip Man’s first triumph comes in the rivalry between martial artists in the north and south of China— far more graceful than the feud between East Coast and West Coast rap, though apparently just as geographically nonsensical.

A fair amount of 20th-century Chinese history is alluded to, including the Japanese invasion preceding World War II, but mostly as backdrop.

More compelling is a long-burning attraction between Master Ip and the alluring Gong Er (Zhang Ziyi, who played opposite Leung in Wong’s 2046), which culminates in something dreamy and romantic in the final reels. Even when Gong Er is deploying the mysterious “64 Hands” technique in battle with Ip Man, the two of them are clearly gaga for each other. (The fights are choreographed by the well-traveled Yuen Wo-ping, whose fists of fury have punched up The Matrix as well as many a Hong Kong action picture.)

Even the movie’s felicities, including the fluttery slow-motion fight scenes and the swoony movie-star glamour of Leung and Zhang, are tossed up like shards of a much grander design that doesn’t actually exist (or only exists on the cutting-room floor). The 2008 Ip Man, starring the engaging Donnie Yen, is better at the biopic stuff. You sense that Wong would rather be photographing furtive glances and cigarette smoke; by comparison, staging action and telling a story are unwanted—if beautifully executed—distractions. ROBERT HORTON

I Declare War RUNS FRI., AUG. 30–THURS., SEPT. 5 AT SIFF CINEMA UPTOWN. NOT RATED. 94 MINUTES.

This Canadian-made indie, about kids playing capture-the-flag in the woods, apparently wants to say something about the nature of war. The sticks and water balloons wielded by the boys and one girl—most looking to be about 12—are magically transformed during their play to real weaponry, in their imagination and our eyes. In place of the usual “Bang, you’re dead” with finger as pistol, these guns look and sound entirely genuine. The wounded have to count to 10 before returning to the game, unless they’re hit with red-paint-filled balloons (called grenades); then the dead are sent home to watch TV. No adults are present, so when one kid begins to exhibit some sadistic behavior, “torturing” a prisoner, we naturally think things will go Lord of the Flies—the games become real. We also think of Columbine and Paducah and other school shootings, of the bullied and the bullies who raid their parents’ gun closet. Yet the movie never takes a dark, plausible turn into Stephen King land. Only the resentful bully Skinner (Michael Friend) seems like he could run with the Stand

by Me gang. “Even the retards are more popular

SEATTLE WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

The premise sounds ripe for Christopher Guest: Let’s follow a naive young woman on her dream vacation to an immersive, role-playing theme park that brings alive the world of Jane Austen novels. Here be proud young men, haughty dowagers, and drawing rooms with tea—a ComicCon for BBC addicts. But Guest isn’t doing this kind of projects anymore, and the actual execution of Austenland falls along much more conventional lines. Our heroine is Jane (the role’s a blank, but Keri Russell does her best with it), whose life-size cardboard cut-out of Colin Firth as Mr. Darcy just isn’t enough to fill her Pride and Prejudice fantasy. She arrives at Austenland at the same time as a rich lady called Elizabeth Charming—the visitors all have vaguely Austenish names—played by the irrepressible Jennifer Coolidge, a veteran of Guest’s comedy troupe. I am grateful nobody repressed Coolidge, because her blowsy vocal delivery and unfiltered oneliners give Austenland its main source of oomph.

Once she begins mingling with the hired roleplayers, Jane is vaguely torn between Darcy-like Mr. Nobley ( J.J. Feild) and rough-hewn stablehand Martin (Bret McKenzie, of Flight of the Conchords), but the film is too slack to generate even the rudimentary suspense that comedy needs. I did laugh, mostly at Coolidge and the spectacle of Austenland’s puffy-sleeved actors relaxing in their downtime. But overall the movie disappoints; even the topic of fiction fans who take their enthusiasm a little too seriously—recall William Shatner’s immortal words to the Trekkie faithful, “Get a life”—is only mildly touched on.

Austenland is adapted from a novel by Shannon Hale and directed by Jerusha Hess, making her helming debut after co-writing her husband Jared’s films Napoleon Dynamite and Gentlemen Broncos. A comparison is instructive: The crisp comic timing and sharply composed frames of Napoleon Dynamite have a lot to do with why that film is regularly hilarious, while the casual rhythm and loose visuals of Austenland are partly to blame for the movie’s inability to land all its punches. A useful concept and a game cast aren’t enough to make classic comedy, even if you’re deploying Coolidge in full loudmouth mode.

RADIUS/TWC

OPENS FRI., AUG. 30 AT GUILD 45TH, PACIFIC PLACE, AND LINCOLN SQUARE. RATED PG-13. 97 MINUTES.

» CONTINUED ON PAGE 42 41

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than me,” he complains. However, this pariah’s revenge is easily defused—like the rest of the scant tension developed by filmmakers Jason Lapeyre and Robert Wilson.

Without cell phones or talk of Facebook, there’s a timeless quality to this forest warfare. I Declare War could be set in the Spielbergian ’70s or ’80s.

Because the smartest soldier here is a girl, Jess (Mackenzie Munro, the film’s most accomplished performer), Wendy and her Lost Boys also come to mind. Yet the enchantment of these juvenile antics never takes hold. When one of the young combatants protests “You can’t stop a war for juice!”, Jess just shrugs. She can and she will. BRIAN MILLER

Museum Hours RUNS FRI., AUG. 30–THURS., SEPT. 5 AT NORTHWEST FILM FORUM. NOT RATED. 106 MINUTES.

AM

All those nudes #1hanging on the walls of museums. All those clothed people standing around staring. Wouldn’t it be interesting if the spectators were naked as they looked upon the ample flesh hanging coyly on the walls?

Maybe you’ve had that daydream while wandering through a room of unabashed Titians. So, apparently, has writer/director Jem Cohen, whose Museum Hours contains such a scene, amusingly staged. The remainder of the film is quite chaste, as Cohen takes a wisp of plot and arranges it around two lonely strangers who meet at the Kunsthistorisches Museum in Vienna, a stately repository of art. Johann (Bobby Sommer) is a museum guard, now calm and gray but once a rock musician. Anne (Mary Margaret O’Hara) is visiting from Canada, called to Austria because a cousin has gone into a coma and Anne is her only surviving relative.

Visiting someone in a coma leaves plenty of time for hanging around a museum, and solitary Johann is available to guide Anne through drizzly Vienna. Johann’s single stray mention of a past male partner is enough to cancel any expectation of romance here, and indeed such a conventional plot turn would be too much for this quiet little study, which plays like Lost in Translation half asleep. To convey a sense of just how undramatic the action is, the movie snaps into life when a docent delivers a 10-minute talk in the Brueghel room. (Her viewing lesson applies to the movie: Look at the overall design, not the hero’s journey.)

It sounds as though Cohen—a veteran documentarian directing his first feature—is approximating a conversational Richard Linklater vibe, but Museum Hours isn’t going there, either. I liked the setup and I wanted to slip into the contemplative zone the film creates, but too often the movie’s rejection of drama is rendered as plain old flatness.

It might have helped if the two performers, who appear to be improvising some of their dialogue, were allowed to shine more. At first it looks and sounds as though the great SCTV comedian Catherine O’Hara is playing Anne as a parody of a slightly dotty denizen of the Great White North, but no—it’s Catherine’s sister, a muchloved Canadian cult singer. She and Sommer come across as very nice people, which is another way of saying that a fascinating idea—what happens when a person ponders art and time—climbs only partway out of this movie. ROBERT HORTON

Rewind This!

RUNS FRI., AUG. 30–THURS., SEPT. 5 AT GRAND ILLUSION. NOT RATED. 94 MINUTES.

Beyond irony, kitsch, or nostalgia, Austin director Josh Johnson argues in his new documentary that there’s an actual aesthetic to VHS, and I’m not so sure he’s wrong. Just as the format is disappearing, just as my own office VCR appears to have died (and was last used when?), Johnson canvasses the experts, collectors, and eccentrics who are trying to preserve a medium that had its heyday in the ’80s. Among them are locals Mike Vraney of Something Weird Video and Zack Carlson of Scarecrow Video, who even has a VHS tattoo to show his love for magnetic tape.

REWINDTHISMOVIE.COM

“

ALAMO DRAFTHOUSE

“ A pURE gEM… gRAcED WITH SPARkLING AcTINg.”

And about that tape: VHS wasn’t intended to last. The cheap, consumer-grade format was first marketed in the U.S. in 1976, soon beating out Sony’s Betamax because a standard twohour tape could run an entire movie. Or most of a football game or plenty of porn, as Rewind This! acknowledges. We also learn that 2005’s A History of Violence was the last studio movie committed to VHS. Before the advent of DVD (now endangered by streaming and Netflix), tape enjoyed a quarter-century’s ascendancy, represented here by a funny, cheesy selection of VHS clips—Elvira, Frankenhooker, Jane Fonda workout videos, Basket Case, porn, etc.

How big was the VHS market? Johnson is less concerned with business history than with a survey of like-minded video connoisseurs and obsessives who glean flea markets and eBay for discarded gems. Most are VHS babies, they admit, who developed a love for movies through the family VCR. Johnson’s cheerful and informative oral history clearly places him in the same generation. Some of his fellow tribesmen also explain how tapes gained currency with the physical traces of their use: Blurred lines would announce where a tape had been frequently paused and rewound for boobs, exploding heads, or a particularly good joke. Only the cognoscenti would know, as if by a secret code. In that regard, given its poor and everdeteriorating picture quality, VHS could be said to have a sensibility, if not an aesthetic. Note: Johnson will appear to introduce this weekend’s screenings. BRIAN MILLER E

film@seattleweekly.com

Carlson and his home collection.

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• BEFORE MIDNIGHT Before-ophiles already know

that Celine (Julie Delpy) and Jesse (Ethan Hawke) are now a couple and the parents of adorable twin girls.

On vacation in Greece, the Paris-based family is contemplating a move to the U.S., where novelist Jesse’s teen son lives. But Celine has a career back in Paris, and she naturally takes his suggestion as an affront.

From the first 10-minute take in the car ride back from the airport, kids snoozing in the rear seats, Before Midnight becomes their on-again/off-again argument about who has to sacrifice what for a relationship, what sexual spark keeps it burning, and how shared romantic history becomes both a burden and a bond.

Your tolerance or enthusiasm for the third chapter of Celine and Jesse’s intermittent romance will depend on your feelings about Richard Linklater’s last two talkathons featuring the same duo. That’s really all the guidance you need: If you cherish the first two movies, as I do, the third installment feels necessary—a midlife tonic for all those foolish old romantic yearnings, a trilogy driven by fallible, relatable characters rather than franchise economics. (R) BRIAN MILLER Crest

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noir become a slow-creeping classic, gradually accruing cultural weight via DVD, the Lebowski Fest gatherings, frequent art-house revivals, and even books on its live-and-let-live philosophy (including one by its star, Jeff Bridges, forever the Dude). As the Dude seeks his stolen rug, his quest is like Raymond Chandler filtered through dirty bong water, with almost every line of dialogue a hazy, hilarious non sequitur. The Coens are engaged in a genre mash-up, but also a clash of decades: The aimless and amiable Dude embodies the holdout spirit of the ’60s, but he’s surrounded by the crass achievers of the late Reagan era. And though he hates The Eagles, the Dude’s mantra of “Take it easy” gives an ethical foundation to the comedy. When the lies are exposed and the paraplegic Big Lebowski (David Huddleston) is sprawled on the floor of his mansion, the Dude takes pity. Help me get him back in the wheelchair, he tells John Goodman’s Walter. In a moral sense, it’s big of him. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com, $6-$8, Aug. 30-Sept. 4, 7 & 9:30 p.m.

CODE OF THE WEST This well-rounded political doc closely follows the Montana State Legislature’s 2011 effort to repeal the prior legalization of medical marijuana. Taking a heartfelt but objective approach, director Rebecca Richman Cohen interviews those on both sides of the heated debate, including activists, community leaders, state senators, marijuana growers, and medical patients. The sweeping new law runs against the political tide felt in Colorado and Washington State (via Initiative 502) the following year.

As Montana legislators grapple with the issue, Code of the West also invites viewers to reconsider their own views about marijuana as a legal business or contraband. Still, those on both sides of the issue stick to their scripts, neither faction presenting much factual evidence to support their arguments. For example, the worrying problem of teens increasingly using marijuana isn’t investigated here; and nor do we hear from teenagers themselves. Code of the West is a little bit like the documentary version of Steven Soderbergh’s Oscar-winning Traffic, as it bounces among the different parties affected by the proposed legislation. (No spoilers here as to whether it passes or not.) Cohen certainly shows the divide between different states on drug policies; and through that divide we also see how different legal systems work. But the doc would be more powerful had it delved into the everyday lives of citizens affected by the lawmakers and lobbyists above them. Note: discussion with local legalization activists follows the screenings. (NR) NING LIU Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum. org, $6-$10, Fri., Aug. 30, 7 & 9 p.m.

ESCAPE FROM NEW YORK/THEY LIVE! One of the undersung screen heroes of the 1980s, Snake Plissken gave Kurt Russell an iconic role in John Carpenter’s dystopian 1981 satire Escape From New York. Everyone knows the plot, in which Snake has to break into prison (i.e. Manhattan) to rescue the same president who’s run our country into the ditch and oppressed the underclass, whose numbers certainly include Plissken and his criminal cohort. Payback is sweet, so long as you’re paid for it. Following is Carpenter’s 1988 They Live!, in which aliens have taken over the planet and conspired with yuppies to keep the working man—championed by wrestler Roddy Piper—in his place. Mind control is achieved through coded TV and advertising that Piper can discern, along with the aliens, thanks to magical eyeglasses. But it’s also the economic structure that has him living in a crowded Hooverville. (R) BRIAN MILLER SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Tue., Sept. 3, 7 & 9:30 p.m.

MOONLIGHT CINEMA Remember high school, when your teacher moonlighted as a stripper, your best friend stole police cars and got away with it, your girlfriend (or boyfriend) wooed you in a whipped cream bikini? If that was your experience, seeing Varsity Blues (1999) will be a trip down memory lane. The negligible plot concerns five football team members (including James Van Der Beek, Paul Walker, and Scott Caan) who enjoy being small town sports heroes but are pretty bummed about the demands placed on them by their despotic, embittered coach, played by

Jon Voight in the movie’s one compelling performance.

Under the leadership of Van Der Beek’s character, a quarterback who’s been accepted to Brown (you can tell he’s Ivy League material because he studies a book on football maneuvers while on the bench) the boys decide to overthrow their crusty boss and bring their own fresh perspective to coaching the team. 21 and over Outdoor screening begins at dusk. (R) CATHERINE TARPLEY Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com, $5, Thurs. 6 p.m.

MOVIES AT MAGNUSON PARK From 1987, Rob 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 Shawn, Mandy Patinkin, and the late André the Giant help get them together after many amusing adventures.

Outdoor movie screens at dusk. (PG) BRIAN MILLER Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com, $5, Thurs. 7 p.m.

ROAD HOUSE “You’ve got a degree from NYU. What in?” “Philosophy.” “Any particular discipline?” “No, not really. Man’s search for faith. That sort of shit.” Care to guess who that philosopher is, and in what 1989 movie he kicks ass, trades quips with Sam Elliott (long before the Coen brothers got the idea), defeats Ben Gazzara, and wins Kelly Lynch? There can be only one man, one answer: Patrick Swayze in Road House. The 1989 movie finds Swayze in a contemplative mood. He’s a man of peace, yet not one afraid to fight. But the true fight, my friend, lies within one’s own mind. And the calm Swayze seeks through his mastery of martial arts is a deeply spiritual quest. But men—bad men, ruffians and rednecks—are drawn to his calm. They’re unbalanced and volatile; they flow like water to the serene Zen center that is Swayze, so that he, the sensei, can instruct them. Because he has a Ph.D in ass-whooping.

And each beating is a lesson. (R) BRIAN MILLER Central Cinema, $6-$8, Thu., Aug. 29, 8 p.m.

SCOTT PILGRIM VS. THE WORLD For all of Scott Pilgrim’s adherence to the graphic novels upon which it’s based, it goes even deeper, conveying the ache pulsating between the lines in Bryan Lee O’Malley’s original comic. Edgar Wright’s 2010 film version is still essentially The Oldest Story in the Book: Boy meets girl and has to fight to keep her. And the boy—Michael Cera—is a stunted mess stranded in deep-freeze Canada. He’s got himself a high school girlfriend named Knives (Ellen Wong), plays bass in a decentbut-never-gonna-make-it pop-punk trio called Sex Bob-Omb, and shares an apartment and bed with gay roomie Wallace Wells (Kieran Culkin). At first, Scott’s but another in a looooong line of mopey, tousled kidults played by Cera, who seems to have a range from A to A. But as soon as Scott meets Ramona Flowers (Mary Elizabeth Winstead), the kid sprouts some fuzz on his peaches. (PG-13) ROBERT WILONSKY Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres. com, $8.25, Saturdays, 11:59 p.m. Continues through Sept. 14.

SLAPSTICK SAVANTS SEE THE AGENDA, PAGE 36.

VIDEODROME Pegged to the new documentary Rewind This! (about the rise and fall of VHS), also playing the GI this week, David Cronenberg’s 1983 fright flick has James Woods get entirely too close to his video machinery. Debbie Harry co-stars. (R) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema. org, $5-$8, Fri., Aug. 30, 10 p.m.; Sat., Aug. 31, 10 p.m.

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arts&culture»Film • BLACKFISH This relentless documentary circles

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

Jasmine is more foolish than evil, but there’s nothing funny about her final punishment. (PG-13) BRIAN MILLER Ark Lodge, Kirkland Parkplace, Harvard Exit, Lincoln Square, Lynwood (Bainbridge), Thornton Place, Sundance 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. If this movie lacks the startling originality of Blomkamp’s 2009 District 9, it’s still workable enough to qualify as satisfying old-school science fiction. (R) ROBERT HORTON Ark Lodge, Bainbridge, Cinebarre, Cinerama, Kirkland Parkplace, Lincoln Square, Majestic Bay, Meridian, Thornton Place 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. His killing was actually witnessed and filmed on cellphones by New Year’s revelers returning home on the same BART train from which he was dragged by the cops. Fruitvale Station leads up to that incident with a day-in-the-life format. It’s overly sentimental and possibly too soft on Grant, who goes out of his way to do favors for everyone he encounters. After showing us the actual cellphone video before the credits, 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 Meridian, Sundance, others IN A WORLD... Carol Solomon (writer-director Lake Bell) is a voice nerd, fascinated by the accents she covertly tapes with her ever-present Dictaphone, yet her career is confined to voice coaching, not doing voiceovers for movie trailers, her family trade. When her widowed father Sam (Fred Melamed) kicks her out of the house to make way for a young new girlfriend (Alexandra Holden), he condescendingly tells Carol, “I’m going to support you by not supporting you.” Then the couch-surfing Carol catches a break at a recording studio run by amiable Louis (Demetri Martin). 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. Bell doesn’t write the conflicts, easily resolved, or characters any

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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. His Sam is sexist, sure, but also a wounded bundle of pride whom Carol must somehow nudge off his voiceover throne. (R) BRIAN MILLER Lincoln Square, Meridian, Sundance 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. There are no Hughesian quips or ridiculously hunky/beautiful highschoolers here. Both these kids are 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. Every generation needs its new Say Anything. This isn’t that movie, but it earns points for trying. (R) BRIAN MILLER Harvard Exit, Lincoln Square, Thornton Place, Sundance, others 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 Kirkland Parkplace, Guild 45th, Meridian, Thornton Place, othrs WHEN COMEDY WENT TO SCHOOL 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. 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. 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. The film clocks in at 77 minutes, leaving plenty of room for more jokes. (NR) ROBERT HORTON Varsity THE WORLD’S END In this this third Edgar WrightSimon Pegg-Nick Frost collaboration, five grown Englishmen try to reprise a failed 1990 pub crawl.

Decades later, the obnoxious black sheep Gary (Pegg) is the least successful of the bunch, still stuck in the past. The rest of them—played by Frost, Paddy Considine, Martin Freeman, and Eddie Marsan—don’t want to leave their comfortable London lives for the leafy suburb of Newton Haven, which seems quite changed upon their return. There, however, The World’s End suddenly and enjoyably shifts 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 (see Hot Fuzz and Shaun of the Dead). But here 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. (R) BRIAN MILLER Cinebarre, Lincoln Square, Meridian, Thornton Place, SIFF Cinema Uptown, Sundance, others

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arts&culture»The Short List

dinner & show

mainstage lisa marie presley w/ the black lillies

THU/AUGUST 29 & FRI/AUGUST 30 • 8PM A DAMMIT LIZ PRODUCTION

chainsawsuit live: two iron thrones tour - kris straub & mikey neumann SAT/AUGUST 31 • 8PM

the main attraction SUN/SEPTEMBER 1 • 6:30PM - A DAMMIT LIZ PRODUCTION

cards against humanity live THU/SEPTEMBER 5 • 7:30PM

the baseball project FRI/SEPTEMBER 6 • 8PM

SEATTLE WEEKLY • AUGU ST 28 — SEPTEM BER 3, 2013

2013 raise the roof w/ brandi carlile

46

SUN/SEPTEMBER 8 • 6:30PM & 9PM - STG PRESENTS

sweet dreams: the music of patsy cline

next • 9/10 grouplove (acoustic) w/ the rubens • 9/11 beth orton • 9/12 swamp dogg w/ brother james & the soul-vation • 9/13 vagabond opera • 9/14 burlesque royale • 9/16 megan & liz with kalin and myles • 9/18 matt wertz w/ elenowen • 9/19 dougie maclean • 9/20 & 21 an evening with aaron neville • 9/22 moshe kasher • 9/23 allen toussaint • 9/25 billy cobham • 9/26 sonny landreth w/ cindy cashdollar • 9/27 robert cray • 9/28 optical 3 - night vessel w/ zola jesus, jg thirlwell, margaret chardiet aka pharmakon

happy hour every day • 8/28 tekla waterfield (blvd park) • 8/29 tina vernon • 8/30 danny godinez band • 8/31 jargon • 9/1 letters from traffic • 9/2 closed for the holiday • 9/4 leftover cuties w/ vaudeville etiquette • 9/5 tony holiday band • 9/6 forever growing • 9/7 closed for a private event • 9/8 scott and dani

COURTESY CALI GIRAFFES

WED/AUGUST 28 • 7:30PM

Danzig with Doyle WEDNESDAY, AUGUST 28

Glenn Danzig is probably the Internet’s favorite hard rocker. Whether it’s the ancient (by Web standards) viral video of him being punched out by a rival rocker backstage, pictures of the muscled metal man carrying a giant box of kitty litter through a supermarket parking lot, or the cavalcade of press for the satirical comic book Henry & Glenn Forever, which imagines a gay romance between him and Henry Rollins, Danzig’s apparent lack of humor and self-importance make him an easy target for ridicule. But his music is no joke; the former Misfits frontman is a punk icon who’s celebrating 25 years with his namesake band this tour, featuring former Misfits guitarist Doyle Wolfgang von Frankenstein. And since a Misfits reunion isn’t likely to materialize anytime soon, the set of Misfits songs you’ll hear tonight—alongside Danzig classics like “Mother” and “Twist of Cain”—may be as close as you ever get to that sacred devil-locked reunion. With Scar the Martyr, Huntress. Show-

box SoDo, 1700 First Ave. S., 652-0444. 7:30 p.m. $35 adv./$39 DOS. All ages. DAVE LAKE

Mary Lambert WEDNESDAY, AUGUST 28

Seattle’s favorite red-headed chanteuse has been a featured artist for a while now, as in “Macklemore & Ryan Lewis featuring Mary Lambert.” But after listeners fell in love with her soulful voice and heartfelt contribution on the duo’s “Same Love,” Lambert is breaking out on her own, headlining her biggest local show to date and prepping to open for Tegan & Sara at the end of the month.

She hasn’t left behind the song that’s made her a household name, though, recently releasing a spinoff called “She Keeps Me Warm.” Plus, there was that recent performance of “Same Love” at a little thing called the MTV Video Music Awards.

Lambert (accompanied tonight by the Passenger String Quartet) appears poised and ready for a global takeover of her own. With Daniel Blue and

Wishbeard. Neumos, 925 E. Pike St., 709-9467.

8 p.m. 21 and over. AZARIA PODPLESKY

Cali Giraffes THURSDAY, AUGUST 29

TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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216 UNION STREET, SEATTLE · 206.838.4333

Despite having not yet released a full-length, Cali Giraffes have racked up lots of press and headlining status in record time. This is no doubt a by-product of their musical pedigree (the group includes Kim Warnick of the Fastbacks and Mikey Davis of Alien Crime Syndicate) and the

Cali Giraffes play Chop Suey Thursday.

band’s formation by Evan Dando of the Lemonheads—who hand-picked its members, named the band, then promptly left (due to geographical differences, not musical ones), allowing Seattle vet Thane Mitchell of Furniture Girls to step in. Tonight’s Chop Suey gig will showcase some of the material that will eventually become the band’s debut LP—three-minute pop blasts with male/female vocals that will delight Fastbacks and Lemonheads fans with their bouncy buoyancy and sunny refrains. It’s the perfect gig to say sayonara to summer. With Spaceneedles, Silly

Goose. Chop Suey, 1325 E. Madison St., 3248005. 8 p.m. $5 adv./$8 DOS. DAVE LAKE

Snoop Dogg aka Snoop Lion THURSDAY, AUGUST 29

“My life is in stages,” Snoop says at the beginning of the documentary Reincarnation. “Whether it’s me performing live onstage or me going through stages in life . . . that’s what my life has always been based on.” With his conversion to Rastafarianism last year, the 41-year-old rapper has entered a new stage in life, reborn as reggae artist Snoop Lion.

The reincarnation of Bob Marley he is not, but his new music is a contemporary commingling of Jamaican and African-American cultures—much like the conditions that gave rise to hip-hop some 40 years ago. This concert will feature classic tracks from every stage of his career; and, although he claims to have renounced the persona, there are rumors of one last rap album in the works. With Jarv Dee and ILLFIGHTYOU. Showbox SoDo, 1700 First Ave. S., 652-0444. 9 p.m. $39.95 adv./$45 DOS. All ages. MICHAEL BERRY

Animals in Cars FRIDAY, AUGUST 30

Though their second album is called Tourist, this alt-rock quartet is content to stay home with their genre of choice: grunge-inflected, ’90s-style guitar rock. The trippy, collage-style cover art is a little deceiving, too: You might think something more like Animal Collective lurks within, but not so. Even though the group exhibits a range of styles on this six-track follow up to 2012’s Motion Blur—and opts to go acoustic for album closer “Future Ain’t Perfect,” a standout track—it leans heavily toward distorted guitar and droning, bellowing vocals, inspired by the likes of Pavement and Sonic Youth. If ’90s-influenced alt-rock is your thing, Animals in Cars is your band. With Sleepy Pilot and Death by Stars.

High Dive, 513 N. 36th St., 632-0212. $8. 9:30 p.m. 21 and over. AZARIA PODPLESKY

arts&culture»Seven Nights EDITED BY ANDREW GOSPE

Wednesday, Aug. 28 ANDREW BELLE This Chicago-based

songwriter’s widescreen, synth-laced folk rock deigns to be played at the Tractor—his is a surprisingly big sound that’s more Coldplay than country. With Grizfolk. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com.

9 p.m. $10 adv./$12 DOS. D33J Djavan Santos is immersed in the burgeoning L.A. electronic scene (he’s acquainted with producers like Shlohmo and Ryan Hemsworth), but his nocturnal, synth-pad–heavy music is more contemplative than that of his bass-crazy contemporaries.

He wouldn’t sound out of place on a Seattle label like Hush Hush or Dropping Gems, where mood wins out over beats. With Beat Connection DJs. Barboza, 925 E. Pike St., 7099951, thebarboza.com. 9 p.m. $10 adv.

MODERAT Berlin electronic acts Apparat and Modeselektor recently released their second collaborative LP, the creatively titled II, marrying once again the former’s cerebral electro-pop with the latter’s clubfriendlier IDM. The Neptune, 1303 N.E. 45th St., 7844849, stgpresents.org. 7 p.m. $26.50. All ages.

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• DESTRUCTION UNIT Space rock and hardcore punk

Friday, Aug. 30

ANDY COE BAND Though local guitar hero Andy Coe

originally formed this five-piece as an homage to Jerry Garcia, it has evolved to become a powerful jam band with a sound of its own. At this show, the eighth observance of Jerry Garcia Celebration, Coe and friends circle back to pay tribute to their original inspiration.

With Kuli Loach. Tractor Tavern. 9:30 p.m. $10.

CRYING SHAME On January’s New Rock, Crying Shame is more rough-edged than the typical Seattle folk-rock act, a stylistic choice that imbues their songs with some necessary energy. With Dirty Cello, Safeword Sasquatch. Conor Byrne, 5140 Ballard Ave. N.W., 7843640, conorbyrnepub.com. 9 p.m. $8.

D.O.A. Always stridently political, D.O.A. frontman Joe Keithley recently ran for a New Democratic Party MLA position (roughly equivalent to a state representative) in his native British Columbia. He didn’t win, but that gives him time for his trailblazing hardcore band’s 35thanniversary farewell tour. With Fastbacks, Dreadful Children, Sledgeback, Loud Eyes. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com.

8 p.m. $10 adv./$12 DOS. All ages.

Saturday, Aug. 31

• COLD CAVE Wesley Eisold’s dark new-wave project Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended

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Sunday, Sept. 1

WHITNEY BALLEN This local songwriter, guitarist, and

Joanna Newsom sound-alike plays a free show on the Fremont Bridge as part of the Bummershoot Festival, a multi-day, multi-venue event put on by the DIY community. With Slashed Tires. Fremont Bridge. 7 p.m.

Free. All ages.

GIMMICKS This indie band has only two songs to their name, both featuring lots of sedate piano playing, reverb- and echo-heavy guitar figures, and diffident vocals. One of them, “Dark Figures,” also boasts a pretty solid groove. With Brian James, Jef Shocki and The Workforce, Rafael Tranquilino & Brooke Lizotte.

High Dive, 513 N. 36th St., 632-0212, highdiveseattle. com. 8 p.m. $6.

Monday, Sept. 2

THE PROTOMEN This mysterious and theatrical synth-

rock band tours heavily, writes concept albums based on Mega Man video games, and has an avid Internet fan base. Not the most traditional way to spend your Labor Day, but it’s sure to be a spectacle. With MC Frontalot, Area of Defect, Abducted by Sharks, Gloom.

El Corazon. 8 p.m. $15 adv./$17 DOS. All ages.

Tuesday, Sept. 3

GOLD FIELDS These Australian synth-rockers, touring

behind debut album Black Sun, are going for a sound similar to that of countrymen Cut Copy. Catch them at this show or on a festival stage somewhere next summer. With Rush Midnight, Airport. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $12 adv./$15 DOS. MARS AND THE MASSACRE “We have travelled from Mars to fuck your eardrums,” boasts this Los Angeles trio’s website, but their loosely psychedelic rock focuses on having a good time (sample song title: “Four Loko Blues”) rather than making noise. With Verdant Mile, The Duke Evers Band. Comet Tavern. 9 p.m. $5.

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

206-441-5449

El Corazon www.elcorazonseattle.com

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

THURSDAY, AUGUST 29

SHAUN PEACE BAND with Tommy Cook Trio, plus guests Lounge Show. Doors at 8 / Show at 9PM 21+. $8 ADV / $10 DOS

FRIDAY, AUGUST 30

D.O.A. (Seattle Farewell Show!)

Fastbacks, Dreadful Children,

Sledgeback, and Loud Eyes (CD Release Show) Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY, AUGUST 31 Emerald City Rock Party 2013 featuring:

MONSTERS SCARE YOU

with Sky Pilot, To The Wind, Prestige, Reach For The Sky, Witchburn, Says The Snake, Home Alone, Showtime, Cowardice, Heiress, Lo’ There Do I See My Brother, The Home Team, Jumping Fences, Topless, A Midnight Drive, and A_Rival 2 STAGES! Doors at 4 / Show at 4:30PM ALL AGES/BAR W/ID. $10 ADV / $13 DOS

SUNDAY, SEPTEMBER 1

KINGMAKER

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

JUST ANNOUNCED 9/12 LOUNGE BEND SINISTER 9/16 DEAP VALLY 10/3 LISA DANK 10/14 STEPDAD 10/28 OUTLAW NATION 11/4 LOUNGE THE MOTORLEAGUE 11/20 PROTEST THE HERO 2/18 DARK TRANQUILITY

MONDAY, SEPTEMBER 2

THE PROTOMEN

with MC Frontalot, Area Of Defect, Abducted

By Sharks, Glooms (formerly Turtlesaur) Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $17 DOS

TUESDAY, SEPTEMBER 3

BENEATH THE SPIN LIGHT

(CD RELEASE) with The Waywards, The Forum Walters, Image Control, plus guests Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

WEDNESDAY, SEPTEMBER 4 Mike Thrasher Presents:

THE ACACIA STRAIN with Within The

Ruins, Fit For An Autopsy, American Me, and Prestige. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

THURSDAY, SEPTEMBER 5 KISW (99.9 FM) Metal Shop & El Corazon Present:

DOWNFALL OF GAIA with Black Table, A

God Or An Other, Chasma, and Into The Storm Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

UP & COMING 9/6 LOUNGE SINGLE MOTHERS 9/7 SCHOOL OF ROCK:

RAGE AGAINST THE MACHINE 9/8 SAVES THE DAY 9/9 VADER 9/10 VISTA CHINO (KYUSS) 9/11 LOUNGE PHAVIAN 9/13 CHARLOTTE SOMETIMES 9/13 LOUNGE STOLAS 9/14 MOVING UNITS 9/14 LOUNGE EASY BIG FELLA 9/15 LOUNGE WE BUTTER THE BREAD WITH BUTTER 9/16 LOUNGE THE GRAHAMS 9/17 KAMELOT 9/19 ESCAPE THE FATE

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 WE EKLY • AUG UST 28 — SEP TE MBER 3, 2013

are unlikely bedfellows, but that’s the combo served up by former Jay Reatard collaborator Ryan Rousseau, who fronts this new band. With Dream Decay, the Lindseys. Barboza. 8 p.m. $10 adv.

GREGORY ALAN ISAKOV Colorado-by-way-of-South Africa musician Isakov is a capital-S songwriter—the type of guy with a rustic-looking website (where you can read his lyrics but not listen to his songs) and gentle, lilting folk songs that emphasize what he’s saying more than how he’s saying it. With Sera Cahoone.

Crocodile, 2200 Second Ave., 441-7416, thecrocodile. com. 8 p.m. SOLD OUT. All ages.

KEIKO MATSUI Currently in the midst of her 25thanniversary tour, pianist Matsui is one of instrumental music’s biggest international stars. In the smooth-jazz realm, she has all the staid safety of a Kenny G, but thankfully none of the schmaltz. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 5:30 p.m. $25.50.

MTNS Austin Hund and Daniel Enders’ scorched-earth noise rock is well-known in these parts (at least among those who read Seattle music blogs). With them and Haunted Horses, this show features two of the town’s loudest bands. With Elephant Rider, Big Trughk. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7.

is in a period of transition between 2011’s Cherish the Light Years, the former hardcore artist’s most accessible (even pop-oriented) work to date, and his forthcoming material, for which he distanced himself from his former collaborators. Get there early for the industrial synth-punk of Portland openers Vice Device.

With Nightmare Fortress. Neumos. 8 p.m. $10 adv.

DAUGHTERS OF THE DEAD SEA This grunge-leaning West Seattle punk trio’s final show before going on an extended hiatus. With Hobosexual. Easy Street Records, 4559 California Ave. S.W., 938-3279, easy streetonline.com. 8 p.m. All ages. Free.

FERAL CHILDREN’s strange strain of primal, experimental folk rock is best experienced live. Same goes for the left-field, laptop-free electronic music of opener Dada Trash Collage. With PonyHomie. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9:30 p.m. $8.

HIBOU On their Dunes EP, this local act deals in reverb-drenched, darker-than-usual surf-pop that would, as the name implies, be the ideal soundtrack for a beach trip, particularly to one of those Washington beaches where it’s perpetually too cold to swim. With Blooper, Punishment. Heartland. 2 p.m. All ages.

COURTESYWHITNEYBALLEN

Thursday, Aug. 29

Whitney Ballen plays the Fremont Bridge this Sunday.

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

47

dategirl»By Judy McGuire

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

JAZZ ALLEY IS A SUPPER CLUB

Dategirl Gets NTw.RlittleYreMdhUenS.coIC LIVE COUww m Dumped THURSDAY AUGUST 29TH

SAMMY STEELE 9PM - $3 COVER

FRIDAY AUGUST 30TH

SAMMY STEELE 9PM - $5 COVER

KEIKO MATSUI 25TH ANNIVERSARY TOUR & SOUL QUEST CD RELEASE PARTY THUR, AUG 29 - SUN, SEPT 1

MARLIN JAMES BAND

Leading innovator of contemporary fusion jazz

SUNDAY SEPTEMEBER 1ST

JON CLEARY TUE, SEPT 3 - WED, SEPT 4 New Orleans based funk and soul singer, songwriter and pianist

LARRY CORYELL AND THE ELEVENTH HOUSE REUNION BAND THUR, SEPT 5 - SUN, SEPT 8 Limited Engagement Reunion Concert!

SATURDAY AUGUST 31ST

9PM - $5 COVER

DAVANOS

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

JERKELS 9PM - NO COVER

MONDAY AND WEDNESDAY

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

NELLIE MCKAY TUE, SEPT 10 - WED, SEPT 11 Witty singer, pianist and songwriter touring in support of her new release, Home Sweet Mobile Home

all ages | free parking full schedule at jazzalley.com

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TomTEN

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Dear Dategirl, I just heard from a friend of a friend that this is your last column. Is this true? How can this be? Where will I go for advice?

I’m a chubby bisexual woman— that other Seattle advice columnist hates people like me!

What will I do when my boyfriend wants to put a finger up my butt or I catch my girlfriend going through my text messages? How will I ever get laid without your guidance!?!

—Lost Without You!

Yes, it’s true. Just call me Judy McFired.

It happened last week, and I should’ve known it was coming when the editorin-chief sent me an e-mail saying we needed to “chat.” The last time an editor told me we needed to talk, it was two days after I had a minor cancer surgery, and I figured she wanted to check up on me. Nope.

The reality was that she was calling to can me (I guess she was waiting to see if I survived).

It’s like when your girlfriend or boyfriend says “Honey, we need to talk.” Once those words are uttered, you can be certain heartbreak’s on the horizon.

So I had a an inkling it wasn’t going to be to discuss a 500 percent raise or a marble statue Seattle Weekly would be erecting in my honor.

And while yes, the Weekly broke up with me, unlike most of my breakups, this is an ami-

FIND DATEGIRL » ARCHIVES ONLINE AT

a

SEATTLEWEEKLY.COM

cable one. I’ve worked here for 13 years—and since columnist years are measured like dog years, it’s really more like 4,000 years. If Dategirl were my female child, she would already have its period.

Mark couldn’t have been nicer about handling the heave-ho, giving me the employer equivalent of “It’s not you, it’s us.” And unlike times when men have told me this in the past, I’m going to choose to believe him. Sure, maybe I’ll be replaced with a 23-year-old yoga aficionado in weeks to come, but at least I was able to maintain my dignity on the phone with him. I didn’t yell, beg, or even cry until we hung up. Then I cried a little.

OK, kind of a lot.

I’m not going to lie— I’m really sad to be leaving the Weekly. I’ve written Dategirl for a bunch of other venues over the years, but Seattle has always been its home, even though I live far away in Brooklyn. And now when I visit, I won’t be able to write it off as a business expense.

I’ve been blessed with a series of talented editors over my time here: Richard Martin (who hired me way back in 2000), Bethany Jean Clement, Andrea Reyer Cooney, Mike Seely, and most recently Gavin Borchert.

They’ve turned my sometimes rambling verbal diarrhea into brilliantly polished turds for your reading enjoyment.

You can still find my writing online at various outlets. If you want to keep in touch, I’m on Facebook, Twitter, or you can look at my blog, dategirl.net.

Thank you for being an amazing readership, and I wish you all much luck in love. You’re going to need it. E

dategirl@seattleweekly.com

Want more? Listen to Judy on The Mike & Judy Show, follow her tweets @HitOrMissJudy, or visit dategirl.net.

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column»Toke Signals I Bought Weed at Hempfest During the “No Weed Sales” Speech

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Main Stage (because I’m a dedicated reporter, not because I’m a scofflaw) got me respectably high; neither seemed to be adultered with mold, mites, or any of the other scary things we were repeatedly warned about from the stage.

This wasn’t shocking, as most marijuana sold in Washington state, whether on the black market or through medical-marijuana dispensaries, isn’t molded, mite-infested, or adulterated.

What leaves me slightly mystified is the belief—evidently held by lots of Hempfest staff—that they can eradicate street cannabis sales from the festival. Prohibition doesn’t work as long as there is demand for a product.

Shouldn’t the Hempfest folks know this better than anyone?

It’s called “learning from history.”

Marijuana prohibition doesn’t work on the national, state, or city level— why should it suddenly, magically work to make the rule “No pot sales at Hempfest?”

Making the quest to eradicate marijuana sales at Hempfest particularly quixotic is the fact that lots of people—myself decidedly not included—come there to buy weed. Yes, these are overwhelmingly young people without medical-marijuana authorizations. But anyone with a passing familiarity with market forces knows that people with money who want a product can find people to sell it to them.

It’s almost certainly the case that, for PR and legal reasons, Hempfest staff are forced to officially disavow the copious cannabis sales happening right under their noses (public consumption is tolerated; sales are not). That doesn’t make the experience any less surreal—or any less a microcosm of the “problem.” E

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

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e’re collaborating with the police,” Seattle Hempfest executive director Vivian McPeak was saying from the stage. “There will be no marijuana sales tolerated at Seattle Hempfest.”

While that first sentence wasn’t one I ever particularly expected McPeak to utter, the other part, about no sales, represented no change from past years’ Hempfest policy.

You could always get ejected from the festival for selling weed, and last fall’s approval of the limited “legalization” measure I-502 by Washington voters certainly didn’t have any impact on that.

Still, it was just a tad surreal to hear Vivian’s speech from the Main Stage even as two different weed vendors offered their wares to me and other members of the crowd. There was the guy with a green Mohawk wig selling “dime bags” and cannabis lozenges; there was the young lady walking around openly selling eighths and quarters directly in front of the Main Stage (when no black shirts—Hempfest security staff— were around) even as McPeak’s words echoed through Myrtle Edwards Park.

The Super Silver Haze offered by the young lady for $30 an eighth was a respectable sativa, and appeared to be only slightly short of 3.5 grams, but I didn’t get an opportunity to weigh the stuff before smoking some of it right there in front of the Main Stage. The $10 “dime bag” from Green Mohawk Guy turned out to weigh .7 grams instead of a full gram, but then that’s street-weed buying for you.

Both weed samples bought at Hempfest’s

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