Seattle Weekly, February 05, 2014

FEBRUARY 5-11, 2014 I VOLUME 39 I NUMBER 6

SEATTLEWEEKLY.COM I FREE

WE WON THE SUPER BOWL! NOW WHAT? PAGE 8 | WILL BALLARD’S BEER FLOW FOREVER? PAGE 15 SPD SHAKE-UP: IS MAYOR MURRAY PUTTING UNION INTERESTS BEFORE REFORM EFFORTS? PAGE 5

I-594

e l t t a B n a i p Gu m y l O in I-591 w e n r o f d e all c a . e m t a a t b s O t n n o t ide ng i s h e r s P a r W e t o f t ra ed a v e o y m e v s i t a c h t du h o g r i p f n e u h t e , n n O ON o i t S a l s i R g e ol l DE r t N n o c A n u g K IC R Y B

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SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

inside» February 5–11, 2014 VOLUME 39 | NUMBER 6

» SEATTLEWEEKLY.COM

»15

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news&comment 5

POWER STRUGGLES

BY NINA SHAPIRO | Score-settling

and reform attempts complicate Mayor Murray’s shakeup of SPD command staff.

8 | SPORTSBALL

11 BULLET POINTS

BY RICK ANDERSON | In Olympia, the

debate over two gun initiatives draws impassioned arguments from both sides.

food&drink 15 REGION OF BOOM

BY DANIEL PERSON | Is Ballard’s explosion of microbreweries sustainable?

15 | FOOD NEWS/TEMP CHECK

arts&culture 19 JAMES FRANCO GOES CRUISING

BY STEVE WIECKING | Why are gays re-evaluating an old Al Pacino movie?

22 | THE PICK LIST 24 | OPENING NIGHTS | Implanted

memories, Hollywood queers, and Sleeping Beauty at PNB. 27 | PERFORMANCE 28 | VISUAL ARTS

OPENING THIS WEEK | George Clooney

versus Nazi art thieves, plus docs about time, technology, and Spain.

32 | FILM CALENDAR

33 MUSIC

Bobbi Rich’s ’90s-style variety show gets musicians to open up. Plus: A Tractor alumna returns home, an arena rocker mellows out, and more.

34 | SEVEN NIGHTS

odds&ends 38 | TOKE SIGNALS 39 | CLASSIFIEDS

»cover credits

COVER ILLUSTRATION BY KAREN STEICHEN

EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Margery Cercado, Colleen Fontana, Imana Gunawan Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, Steve Elliott, Margaret Friedman, Zach Geballe, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Sara D. Jones, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri Photo Interns Joshua Bessex, Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executives Krickette Wozniak Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie DISTRIBUTION Distibution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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news&comment SPD Power Plays Have the unions pulled off a coup?

BY NINA SHAPIRO

TIM SILBAUGH

findings of a pattern of excessive force within SPD. In a December report that otherwise blasted SPD leaders for resistance, both men were singled out for praise by Merrick Bobb, the court-appointed monitor of the department’s compliance with a DOJ settlement agreement.

In addition to that, Daugaard notes Pugel’s international reputation for “innovative policing practices,” especially his work on programs that address the health issues behind infractions committed by drug addicts and the mentally ill.

That work resulted in Pugel’s invitation to Poland last month to speak with officials looking to follow Seattle’s example. As for Sanford, Daugaard says he “was a consistent leader in support of

Bailey is a respected figure who carries par-

ticular clout in minority communities. Former mayor Mike McGinn hired Bailey, who is African American, to work on outreach, seeking a changing problematic police practices”—like an better relationship between those communities arguably oppressive trespass policy—even before and police. Los Angeles civil-rights lawyer ConDOJ-mandated changes. nie Rice, also brought into the reform effort by Yet days after taking office in January, Mayor McGinn, calls Bailey “enormously wise.”

Ed Murray replaced Pugel as interim chief with Yet, says another SPD source: “I knew Harry then-retired assistant chief Harry Bailey. At the would come with the unions.” Bailey is said to time, Murray said he did so to allow Pugel to be particularly close to Joe Kessler, who until last compete for the permanent chief ’s role. A search month served as vice-president of SPMA. He for a new chief is on a fast track to be completed gave up his union post when Bailey, a week after

by April. taking the SPD reins, promoted Kessler to the Pugel’s fall from grace became apparent, how- rank of assistant chief. Some go so far as to say ever, when he was removed from headquarters that it is Kessler who is now really “calling the and relegated to a basement office in an old shots,” as another police source puts it. Neither narcotics facility on Airport Way. Then, last week, Bailey nor Kessler responded to requests for Bailey called Pugel into the chief ’s office and comment. gave him the choice of retiring or accepting a » CONTINUED ON PAGE 7

THE WEEKLY BRIEFING | What’s going on at seattleweekly.com: Washington CeaseFire launched the ASK (Asking Saves Kids) campaign, urging parents to have that awkward conversation with other parents about guns in their homes. Seattle’s paid sick-leave law is under attack by Senate Republicans in Olympia. What was Gov. Inslee thinking when he proposed his doomed tax package? Kendrick Lamar wins the class war by stating that Macklemore deserved to win the Grammy for Best Rap Album. Ron Sims leads the first of seven forums where the public can tell the city what it wants in a police chief. And of course, SEAHAWKS! SUPER BOWL! PARADE! OH MY GOD! BEAST MODE! WORLD CHAMPS!

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SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

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s a crusading public defender who has long championed police reform, Lisa Daugaard is the kind of person you might think would be celebrating the purported housecleaning within the Seattle Police Department over the past month.

In fact, she is not.

“The members of the command staff who have done the most to try to fix things are now gone, and not gone in a good way—in a cloud of disfavor,” she says.

She’s referring, in large part, to the reassignment of interim chief James Pugel and the retirement of assistant chief Mike Sanford, both widely regarded as committed to the reforms ushered in by the Department of Justice’s 2011

demotion to the rank of captain. Pugel is reportedly still considering his options.

Meanwhile, Sanford suddenly retired last month at age 53. Sanford was not exactly forced out, but according to police sources it had been made clear to him that he was no longer welcome.

The official line is that these changes, as well as the dizzying array of other staffing shakeups over the past month that have resulted in a nearcomplete turnover in the command staff, demonstrate to the public “that we are serious about change,” in the words of Bruce Harrell, chair of Seattle City Council’s public safety committee.

“No one’s entitled to anything,” he says.

But a different picture emerges from interviews with multiple sources both inside and outside SPD. Many share Daugaard’s concerns, with several adding that some of the most influential forces within the department now are ones that have long resisted reform. In particular, sources cited the apparent power of the department’s two unions, the Seattle Police Officers’ Guild and Seattle Police Management Association. The unions have in the past vociferously objected to the DOJ findings. Last year, both unions sued to block aspects of the monitor’s reform plan, and SPOG in particular has criticized the DOJ findings.

Some observers now speak of a union “coup.”

“I wish I had the power that everyone thinks I do,” responds Rich O’Neill, who is retiring as guild president later this month after many years in the position. SPMA president Eric Sano calls the speculation “totally false.” Both also insist that they support reform and just want to see it carried out as quickly as possible.

Whatever the unions’ views on reform, it is likely that other, more personal, factors are also at work. One department insider, who like many interviewed for this story spoke on condition of anonymity, says people are using the current turmoil as an opportunity to “settle scores” and “get themselves and their buddies” in power, with the hope that “it will stick when a new chief comes in.”

“I feel like I’ve fallen down the rabbit hole,” says the insider.

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news&comment» SPD Power Play » FROM PAGE 5 Both SPOG and SPMA make no bones about their enthusiasm for Bailey, or for the way things are going generally. Declaring himself “excited” by the changes, SPMA’s Sano says that Bailey’s 35 years of service have given him a deep knowledge of the department.

O’Neill, of SPOG, notes that Bailey got a standing ovation at a packed membership meeting last week. In that meeting, Bailey expressed his pride in the rank-and-file and spoke about “getting back to basics,” which included wearing a clean and pressed uniform, according to O’Neill.

Union support may have something to do with why Bailey got the job in the first place.

O’Neill and Sano acknowledge that Bailey was among the names they suggested to Murray as a possible replacement for Pugel. Sano adds that

“When someone crosses over and gives a big endorsement, you got to pay that back somehow.”

Some see it as no coincidence that the losers in

SPD’s battles have run afoul of union figures.

Sean Whitcomb, the department’s longtime public-affairs director, is among those who have been sidelined of late. According to sources, he is facing several internal complaints, including one that he discriminated against a member of his staff who, at last summer’s Hempfest, didn’t want

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he and other union officials have, in meetings with the mayor, “fully vetted” planned changes.

During the mayoral campaign, Murray was endorsed by both police unions. “When someone crosses over and gives a big endorsement, you got to pay that back somehow,” observes a former city official.

Murray’s office said he was not available for comment on this story. Tina Podlodowski, the mayor’s top police adviser, does not comment directly when asked about union influence. Nor will she discuss the staffing shakeups, exactly. But she invites a comparison of SPD before and after the recent changes. “See if you think the people in charge were really trying to do reform,” she says. What shows they were not was the way they “structured” those efforts, she argues. Namely, she says, they put only four people into a unit set up to monitor compliance.

In contrast, Bailey last week announced a new Compliance and Professional Standards bureau that, according to Podlodowski, will comprise some 50 people. Also, the bureau will be headed by an assistant chief, rather than a civilian, as in the old unit. That’s “a huge difference,” Podlodowski says. “It’s also the kind of thing that doesn’t become personality-dependent.”

It’s difficult to compare the numbers because the new bureau is taking in branches of the department not previously under the umbrella of the old compliance unit. But if the change is as significant as Podlodowski says it is, that was not well communicated at a press conference last week, in which Bailey spent a good portion of the time declining to answer questions about the command-staff upheavals.

to hand out bags of Doritos bearing stickers that explained the state’s recreational marijuana law.

Whitcomb declines to comment.

The nationally reported Doritos stunt symbolized SPD’s openness to the marijuanalegalization initiative passed in 2012. Whitcomb led the charge in communicating that message, as well as recent efforts to make the department more transparent. As a result of the discrimination complaint, however, he was displaced from headquarters and assigned to work in the city’s emergency operations center.

The complaints arose only after Whitcomb himself filed a complaint against Ron Smith, SPOG’s secretary treasurer who is set to take over as president later this month. Whitcomb had reported a Facebook comment by Smith, in relation to Hempfest, which the public-affairs head viewed as threatening. Smith says “no reasonable person” would have viewed it as such, but declines to say exactly what he wrote. The Office of Professional Accountability has determined Whitcomb’s complaint to be unfounded, adds Smith, who also “definitively” denies instigating retaliatory complaints.

Another case in point: Sanford is said to be vehemently disliked by former SPMA vice-president Kessler. Well before his recent promotion to assistant chief by Bailey, Kessler was a voluble and popular SPD veteran who shone as captain of the Southwest Precinct but fell out of favor with the top brass after taking over the higher-profile West Precinct, which encompasses downtown.

There was a perception that he was foot-dragging on a number of innovations, including the Law Enforcement Assisted Division program (LEAD), which takes the kind of public-health approach Pugel has championed. Sanford broke the news to Kessler that he was being yanked from the prestigious West posting.

Shortly afterward came the infamous May Day demonstrations of 2012, during which vandals smashed windows and disrupted traffic as police looked on. Judging by a report written later by a retired L.A. deputy chief named Michael Hillman, that seemed to happen largely because of the tension between Sanford, who was in charge of planning the police response, and Kessler, the incident commander. Part of the problem was that the two men confused officers with contradictory orders. In the aftermath, Kessler wrote his own scathing report, never disclosed to the public, which reportedly pointed fingers at Sanford.

According to an insider, the sentiment inside the department after Sanford retired and Kessler became assistant chief was, “Well, I guess Joe won that one.”

Really, though, resentments toward all the commanders who were in power before Bailey took over had existed for many years. “Officers have been working under a cloud of criticism,” explains O’Neill, alluding to the DOJ investigation. Meanwhile, he says, “the command staff seems to have gotten a pass.”

There was also a feeling that the commanders had lost touch with the rank-and-file, according to O’Neill. Bailey, in contrast, said at the meeting last week with guild members that commanders from now on would be required to spend one day a week at the precincts, working alongside officers.

“Your leaders have failed you,” O’Neill says Bailey told the crowd. The interim chief got no argument from the crowd. E

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news&comment»

From Fantastic to Dynastic?

T

he first thing I did when I woke up Monday was watch the Super Bowl again to make sure it wasn’t a dream.

So much of it seemed like fantasy.

A pick-six of Peyton Manning—something I actually did dream of Saturday night? A kickoff returned for a touchdown by Percy Harvin?

43-8? Who wins a game 43-8? (In

BY SETH KOLLOEN fact, as Nate Silver pointed out on Twitter, no one ever had.)

But the game was right there on my DVR where I’d left it. As I re-watched the single greatest performance in Seattle sports history, I realized that the next few years are going to be different from anything Seattle fans have experienced before.

Also, I realized that the rest of the night must have been true, too! I really did jog down Broadway, with horn honks and joyful shouts as my workout music, giving high-fives to passengers in the cars driving the other way.

I did head-bang to “Smells Like Teen Spirit” at the impromptu dance party that broke out at 95 Slide. When I woke up, I had a bunch of Skittles in my back pocket and a vague memory of being handed them by some guy as I walked down Pike. Yes, I was in such an innocent mood, I literally did take candy from a stranger.

But back to football. A team as young as the Seahawks, with an average age of 26.4, having a season this dominant, capped off by a blowout win over one of the best teams in football, portends something Seattle has never seen: a legit sports dynasty.

I had a couple of longtime friends over to watch the game, but we didn’t call it a party. It

SPORTSBALL

was a “Seahawks support group.” The three of us are part of the generation that’s too young to remember the Sonics’ championship, and so have spent decades suffering through one of the longest major pro sport title droughts any city’s ever had. We needed each other.

So after all that losing, to say to those guys (or to you, reader, who has endured some of the same suffering) that the Seahawks are poised for several years of dominance—dominance like the ’49ers in the ’80s, the Cowboys in the ’90s, or the Patriots in the ’00s—seems crazy.

But all the elements are there. The Seahawks

When I woke up, I had a bunch of Skittles in my back pocket and a vague memory of being handed them by some guy on Pike. are the second-youngest team to play in a Super Bowl, let alone win one by 35 points. They have a strong, united coaching staff and front office.

And they aren’t dependent on a single player.

Weaknesses at any of these points have derailed franchises from dynastic destiny. We shouldn’t have to worry about it.

I hear you: “Seth, be realistic. You’re in some sort of misty championship afterglow.” Maybe that’s true. But I’m not saying anything that supposedly impartial football analysts around the country aren’t saying too. Tighten that seat belt, Seahawks fans. This ride’s just getting started. E

sportsball@seattleweekly.com

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I-594

Gun Battle in Olympia

T

his is the beginning of the dialogue we’ll have from now until November,” said Rep. Laurie Jinkins. The Tacoma Democrat had just sat down at her desk in the House hearing room to begin a meeting of the House Judiciary Committee in Olympia last week. She didn’t add that the dialogue will at times be teary-eyed emotional, statistically arguable, and borderline hysterical. It went without saying, since this dialogue will be about guns. n

You could see this as the first people approached the micro-

phones. One of them moved in an unsteady slide-step, one of

the effects of being shot in the head in a Safeway parking lot three years ago.

This was Gabby Giffords, there to push for more gun laws. She would be followed to the microphone by the gun lobbyists there to push for fewer laws.

n

Some of the gunners would make a point of saying they

were sorry about what happened to the then-U.S. Congresswoman outside the Tucson, Ariz., supermarket when a paranoid Jared Lee Loughner opened fire with a 9mm semi-automatic pistol, sporther husband’s arm, inching toward a chair at the microphone, a few audience members snickered. She was a “gun celebrity,”

BY RICK ANDERSON

someone in a row behind me said in a loud whisper. Her husband, Mark Kelly, spoke first.

n

“A madman shot my wife,

congresswoman Gabrielle Gifford, through the head, before proceeding to murder six and wound 12 others,” began the

compact and mustachioed man with a shaved head, sitting at

folks who’d come to hear or talk about the pair of dueling gun initiatives that are most likely to wind up on the

November ballot listened in the darkened hallway

and in an overflow room nearby. » CONTINUED ON PAGE 12

I-591

her side. The packed room drew quiet. At least a hundred other

SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

ing a 33-round magazine. But as Giffords steadied herself on

One unproductive year after President Obama called for new gun-control legislation, the fight has moved to Washington state.

11

I-594

her wounds as a victim in the 2006 Jewish “Here in WashingFederation shootings ton, you’ve seen mass that left one dead and shooting after mass six wounded. After 20 shooting,” the retired surgeries, including a hysterectomy, she said, “I’m astronaut continued, listing some of the bloody covered with scars and live with daily pain, but killing fields—Ravenna’s Café Racer, the JewI’m one of the lucky ones. I’m alive and speaking ish Federation offices in Seattle, a coffee shop to you today.” in Lakewood. He noted that more than 5,000 Thing is, said Judy, “along with the empathy Washingtonians died by gunfire from 2001 to One unproductive feel for these victims, I feel disappointment 2012, more than the number of U.S. soldiers yearI after President Obama thatfor these will be exploited to push killed in Afghanistan and Iraq. called newtragedies gun-control such a the far-reaching antigun agenda. Especially Initiative 594 could lower those numbers, he legislation, fight has moved an Washington agenda withstate. no relationship to either of these argued. The initiative, which would expand backto incidents. You see, in both Tucson and Seattle, ground checks to all gun sales and some transfers

BY RICK ANDERSON the shooter purchased his firearm from a licensed (effectively making private sales subject to the dealer after undergoing a background check.” requirements of licensed-dealer sales), has some This proposed expansion of the law wouldn’t heavyweight backers behind it, including former have stopped those kind of shooters, he insisted.

New York City Mayor Michael Bloomberg. In Besides, criminals will ignore the law anyway, he 14 states where similar laws have passed, Kelly argued, and will continue to get their guns the said, fewer women are being shot by their mates, usual ways—through theft, black market, straw gun trafficking has dropped 48 percent, and suipurchases, and illegal sources. I-594 is merely cide by gun has been cut almost in half. a well-disguised handgun-registration plot, he Kelly and Giffords, who started their own insisted—a scheme to put more law-abiding gun-violence protection group after the Tucson handgun owners into a massive government shooting, have become advocates for gun-control database that can be used against them. The inimeasures though they are gun owners. It’s sentiative would also make it illegal to hand a gun sible to be both, he said. over to a family member, by his reckoning. Since “We have our firearms for the same reason there’d be no background check, giving his son a that millions of Americans just like us have gun would make him a criminal. guns,” he said. “To defend ourselves, to go According to the Washington Alliance for hunting, target shooting, or just to collect and Gun Responsibility, the backer of I-594 with a appreciate firearms for what they are.” But, said $1.4 million war chest, that’s a misconception.

Kelly, who as a Navy aviator was once stationed If the initiative becomes law, background checks on Whidbey Island and flew combat in Desert would not be required when a gun is 1) gifted Storm, “[gun] rights demand responsibility. to an immediate family member, 2) transferred And this right should not extend to criminals. temporarily for use in self-defense, 3) an antique It should not extend to the dangerous mentally or relic weapon, or 4) loaned for lawful hunting ill, it should not extend to abusers and to those or sporting activities. who would perpetrate violence against women.”

Phil Shave of Washington Arms Collectors Expanding background checks will help weed argued that faulty point as well. “It makes crimithem out, he said. nals of people who merely hand a gun out on a Rep. Brad Klippert, a Republican from Kenrange to another person.” Shave also seemed to newick, thought otherwise. “Do you think,” he contradict his contention that police would actuasked, “if this does pass, that criminals would in ally seek out such transgressions when he also fact register their weapon transfers?” That drew complained that “law enforcement does not have a few agreeable chuckles from the gun-rights the resources to either process the millions of crowd, none of whom seemed to be packing applications or to then proceed to enforce a law weapons, per their leadership’s recommendathat ropes this many people into the criminaltion. “Open Carry is NOT recommended at justice system.” these hearings,” read a notice at the website of What most worried Judy, the NRA rep, was Washington Arms Collectors, which has given that proponents of I-594 “are going to try to buy $250,000 to support rival Initiative 591. “The this proposed law with emotion and obfuscaMom’s Demand [Action] crowd will not only be tion.” He seemed to be saying that’s something out in force, they will be dragging every victim the NRA would never do. Well, not again, they can find to the hearings in an appeal to legislators’ sense of pity (rather than common sense). anyway. It was after all the gun lobby that used fear and misinformation to pump up record gun As a result, the chairs of BOTH the Senate and sales and a flood of donations in recent years.

House committees have requested that there be During the 2012 White House campaign, the no open carry, ‘for the sake of the victims.’ ” lobby claimed President Obama was scheming to Kelly agreed that some criminals will still confiscate guns from lawful Americans. Believers obtain weapons illegally if 594 is approved, and rushed the retail gun racks—even though in his there will of course continue to be gun violence. first four years in office, Obama signed all of two But since 1999, almost two million criminals gun bills, both of which expanded the rights of and mentally ill people have been denied guns gun users. In the year since his re-election and a because of the federal background checks currently in place, which would be expanded by 594. doomed proposal to toughen gun laws following the shootings in Newtown, Connecticut, sales “So,” he answered, “I think it goes a long way to have contined upward. In 2013 the feds perprevent most criminals from getting a firearm.” formed 21 million background checks, an eight Gun lobbyist Brian Judy, who represents percent increase over 2012.

90,000 state members of the National Rifle Association, didn’t buy a word of it. He seemed to be tasting poison when, after approaching The gun lobby delights in shooting down the microphone, he uttered the words “universal background-checks proponents who bring up handgun registration scheme.” He was certainly “irrelevant” mass murders. These are the mall sorry about what happened to Giffords, he said, and school and office shootings by gunmen who and also for Cheryl Stumbo, the leader of the skirted around background checks or may have I-594 movement, who had spoken briefly about even passed them. At a second Olympia hearing FROM PAGE 11

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the cost—not just in lives, but money. Her $1 million-plus in medical bills were paid by the state, she notes, because “luckily, I was shot at work. I would have been financially ruined if I had been shot in a movie theater or at a school or in a shopping mall or at a cafe.” Then there was the cost of trials and imprisoning, for life, Naveed Afzal Haq, the man who shot her and her coworkers, having gained entry to the secure offices by holding a gun to the head of Stumbo’s teenage niece. “Think of the economic impact alone of just that one shooting,” said Stumbo. “Multiply that by the Washingtonian killed by gunfire every 14 hours. Then add in all of those who were shot and injured but survived like me. Think about the impact of all that gun crime on our state coffers, on our communities, and your constituents.”

If expanded background checks reduced those harms by even just 10 percent, she said, over time we will save a treasury in dollars and lives.

But like all the other arguments offered during the hearing, Stumbo’s fiscal appeal is unlikely to result in action. The dialogue of emotion and statistics and entrenched opinion promises to continue, but the two proposals will inevitably head for a fall statewide vote, likely to pass through Olympia untouched by wary lawmakers, who have the political option of turning initiatives into law rather than sending them to a public vote.

Nonetheless, Gabby Giffords spoke, in a voice struggling for volume and enunciation.

“Thank you for inviting me here today,” she said in a thin, sing-song cadence after her husband introduced her. She leaned into the microphone in the near-stillness of whirring and clicking cameras. “The last few years have been hard,” she was saying when her tongue twisted. “I feach every day fulfluvful and you shan too,” is how it sounded from the 43-year-old gunshot victim who has spent the past two years relearning how to walk, talk, read, and write.

She pushed on. “Stopping gun violence takes courage, the courage to do what’s right, the courage of new ideas. I’ve seen great courage when my life was on the line. Now is the time to come together, be responsible. Democrats, Republicans, everyone, we must never stop fighting.” She shook a frail fist. “Fight fight fight,” she said just above a whisper. “Be bold, be courageous, the nation is counting on you.

Thank you.” E

randerson@seattleweekly.com

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last week, by the Senate Law and Justice Committee, where much of the previous day’s testimony was repeated, Republican Senator Steve O’Ban from University Place led Judy through a series of questions about such shootings—from Tucson to Seattle to Newtown—where background checks had no effect. His dog-and-pony show concluded, O’Ban said what’s needed is not another law but a way to be “more aggressive in identifying” these “deranged killers.”

Sen. Adam Kline, the Seattle Democrat, picked up on O’Ban’s questioning and noted that in a six-month period, 56 dangerous mentally-ill applicants were turned up in state background checks. Expanding the checks to cover more gun sales and putting more emphasis on identifying the mentally ill, he suggested, seemed like a good way to turn up those potential killers. (Indeed, Seattle Assistant Police Chief Carmen Best says the department backs I-594, feeling it will provide more information in linking guns to the more than 10,000 people with mental-health issues handled by SPD the past two years.)

Kline also queried Alan Gottlieb, campaign manager for Initiative 591, the “Protect Our Gun Rights” act that would effectively keep things as is, requiring any background checks to follow a “uniform national standard” and prohibit the confiscation of guns without due process. Gottlieb, whose Bellevue-based Citizens Committee for the Right to Keep and Bear Arms has given $280,000 to underwrite his I-591 campaign, had mentioned that background checks under I-594 wouldn’t be be 100 percent effective—far from it. Well, Kline asked, is that a reason for not trying to do this? That the proposal is not perfect? “There are just better, less intrusive ways,” contended Gottlieb, whose organization has spent millions around the U.S. resisting gun-control efforts.

But it was Bainbridge Island House Democrat Drew Hansen who caused the gun lobby to veer off its talking points during the hearing, asking Shave “my dumb question: If these background checks are so burdensome and horrible,” he said, “and they don’t do any good,” then why were Shave and other gun fanciers bothering with background checks at gun shows? Said Shave: “We do them because we want to assure the members that they are engaging in a transaction with somebody who should possess a firearm.”

Hansen smiled. That’s the point of I-594, too.

Another point, said I-594 leader Stumbo, was

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BY DANIEL PERSON

Bad Jimmy’s pours a mean habanero brew.

What was once a crowded five-brewery scene became something altogether different. ghosts. The dream bar takes cards via an iPad with a Square reader attached.

And the dream bar certainly has a coherent aesthetic—cement floors, garage doors, and, oddly, an almost universal eschewing of utility closets: Here, you can see more than just where your beer is being brewed, you can see the mop they used to clean the floor before you came in.

II. The Guest Tap

But this isn’t one big bar. It’s distinct breweries, with distinct sets of owners and investors who need to buy ingredients and make rent and still, maybe, have something left over to walk home with.

Wonderful as this is for the consumer, can it last?

Craft beer can trace part of its genesis to the section of Ballard we’re talking about, which, more or less, is bordered by Leary Avenue Northwest, 20th Avenue Northwest, and Northwest Market Street. It was here that Redhook Brewing, seeking cheap rent and industrial space, began in 1981 in the hope that it could find a market for beer that tasted better than what Budweiser was making and fresher than what was coming from Europe. It caught on, and by the late ’90s, craft brewing experienced its first bubble. Riding the first wave of American craftbrew success, 1,631 breweries were operating nationally in 1998, most of them microbreweries; but despite the roaring dot-com economy, craft breweries started to shutter their doors even as people made money off things like Pets.com.

There just wasn’t enough demand for more than 1,500 different beer labels; by 2001, the number of breweries in the United States had fallen 16 percent. Bubble or not, the number rebounded in a big way: At the end of 2013, the Brewers Association counted 2,722 breweries in the United States, an increase of 400 from 2012. Yet some stats suggest American demand for beer could be on the wane. Restaurant Sciences, an industry research group, found that restaurants sold 6 percent less craft beer on average in 2013 than they had the year before. A recent Gallup poll showed that among Americans who drink, 36 percent prefer beer compared to 35 percent for wine; in 1992, those numbers stood at 47 and 27 percent.

» CONTINUED ON PAGE 16

My Sweet Lil Cakes is passing out free hotcakes on a stick at Westlake Park on Valentine’s Day. February 14 also marks the food truck’s first birthday, and to celebrate, the first 40 customers of the day will score a sweet or savory impaled pancake of their choice starting at 11 a.m.

After serving Spanish-inspired fare in Capitol Hill’s Loveless Building for the past six years, Olivar is up for sale. The space has housed restaurants for more than eight decades, including (for a flash in the pan) Coco La Ti Da and Fork, and before that Bacchus and the Byzantian.

Cicchetti is now open for happy hour and dinner on Monday nights. In addition to a just-launched winter menu, Mediterranean street food will be offered each Monday, including falafel, crispy spiced chickpeas, and Greek salad.

Woodinville boutique winery Robert Ramsay Cellars is launching a wine-tasting room in Upper Queen Anne. The 9-year-old producer of Rhône varietals from Washington-grown grapes will serve wine flights and sell bottles in the new space. Expect a March opening.

The 10th annual Care for the Market Luncheon will feature singer/songwriter Brandi Carlile, who got her start as a busker at Pike Place Market. All proceeds from the Thursday, March 6 event benefit the Market Foundation. Tickets are available online. E food@seattleweekly.com

Temperature Check

FROM CHEF SAM CRANNELL, LLOYD MARTIN

Fast casual. Specialty chef-driven shops will open, doing one or two things really well, like sandwiches, pizza, soups and salads, burritos, pasta, all based around the Chipotle concept of letting the guest see and pick their own ingredient.

Current food pricing and the death of the entrée. I looked at a three-star menu from 2000 and then at my current menu—prices have not changed with the rate of inflation in almost 14 years. The minimum wage keeps going up, but prices are holding steady on menus. I would say that within the next few years, menu prices will rise 100–200 percent, if not more. With price reality setting in, look for small plates to become the norm, as most people won’t be willing to pay $50-plus for most entrées.

Wine by the bottle. Wine drinking has become less of a commitment as by-the-glass sales soar and the quality of wine by the glass continues to improve.

SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

Stoup Brewing

PHOTOGRAPHY BY JOSHUA BESSEX

I. IPA

March 8, 2013, was the day this thing really broke open.

That Friday, both Peddler Brewing and Populuxe opened their doors in Ballard, becoming the seventh and eighth places in a 10-block swath of warehouses (with a slice of hip Ballard Avenue) where one could order a beer brewed on site.

They joined Hale’s, Hilliard’s, Northwest Peaks, Maritime Pacific, Urban Family, and Reubens.

Another in the wings, Bad Jimmy’s, had already rented space in a former Crossfit gym and was raising money on Kickstarter to get going.

Meanwhile the folks behind Stoup Brewing— “two thirsty science nerds and a curious connoisseur”—were putting the final touches on their business plan.

In the eight months to follow, what was once a crowded five-brewery scene became something altogether different: a brewing district that borders on the absurd, where one can walk less than two miles and drink 10 beers by 10 different brewers— a kind of wine-country experience, where vats stand in former auto shops instead of chateaux.

And just as you can order an IPA—the very cornerstone of American craft brewing—at every stop, there’s a strong feeling that while each brewery is different, they’re all part of the same entity. You can think of this part of Ballard as a beer-lover’s dream bar with 10 rooms; if you tire of one, it’s no more than a three-block walk through live demonstrations of American manufacturing to the next. The dream bar has something like 70 local beers on tap. The dream bar has rules: Dogs are always welcome. The more squealing kids the merrier (really). The beer you order is sort of your beer, but everyone at the table gets a taste. Some boisterous laughter is fine, but visible drunkenness will draw passive-aggressive stares left over from Ballard’s Scandinavian

FoodNews

15

food&drink»

Stoup’s custom snack machine.

Breweries » FROM PAGE 15

SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

Yet Ballard brewers, neither on the record nor off, won’t give any hint that they are in any kind of fierce competition with the guys down the block. Not only that, but the breweries are likely to pour their competitors’ (if you can call them that) beer on one of the guest taps that are common in these parts.

Indeed, you might think the guys at Bad Jimmy’s—the last of this bunch to enter the fray, in December—would be feeling the pressure most of all. Yet co-owner Seth Mashni insists it isn’t like that. “The way we look at it is everyone’s part of a family, and it’s a good family to be a part of,” he says. “We don’t look at it as competition. It’s more on the line of, ‘What can we bring to the table and how can we help each other?’ ” When a brewer comes up short on hops, it has the others to call. Same goes for parts and advice. And from an economic point of view, it’s conceivable that when a critical mass of breweries is reached—and if Ballard’s mass isn’t critical, I don’t know what is—they as a group will begin to draw more customers.

“Chateau Ste. Michelle is a perfect example,” says David Mickelson, a founder of Redhook Brewery, referring to the first of the thriving

16

The seventh brewery to join the club.

clutch of winemakers north of Seattle. “They haven’t fought any of the wineries around them.

They knew that the Washington wine market had to grow for them to be successful.”

It was easy to see this dynamic on display on a recent tour of the Ballard breweries; not only was every place packed—the rare January blue skies and warm air allowed the breweries to throw open their garage doors for overflow crowds— but faces started to become familiar toward the end: There’s the couple from Populuxe. There’s that funny-looking kid from Stoup.

“That’s their saving grace, those folks walking the neighborhood buying beer,” says Mike Hale of Hale’s Ales, who explains that selling a keg’s worth of beer on site, one $4 pint at a time, can bring a brewer $400, whereas selling a keg to a wholesale distributor might bring only $60, and selling straight to a bar or restaurant, $110.

Kurt Stream, a local beer historian and author of Brewing in Seattle, says that as much as a third of small breweries’ sales happen in the tasting room.

Yet Stream—echoed by Mickelson—warns that a market correction could happen: if not in Ballard, then somewhere among Seattle’s 30-plus craft breweries. “Will the craft-brew bubble burst in Seattle and the Ballard area anytime soon?

It’s possible,” he says. “The local market is now becoming crowded with the sheer number of

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III. Barrel-Aged

Last year, eminent beer blogger Kendall Jones suggested naming the section of Ballard that’s sprouting breweries like weeds “the Redhook District,” in honor of the first craft brewery to put down roots in the ’hood. But though Redhook was first, it wasn’t alone for long; after Redhook came Maritime and then Hale’s. What’s happening today in Ballard is a little bit of history repeating.

Mickelson recalls that he and the other Redhook folks weren’t exactly pleased when brewers like Mike Hale showed up—which Hale attests to—but at the same time they recognized a common enemy: macrobrews and European

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imports. “At first we hated it—you don’t want to share; but really, we weren’t competing against other craft beer, we were competing against the imported product that wasn’t fresh.”

Similarly, Hale today says that Seattle breweries needn’t compete if they can focus on convincing people here to stop drinking beers made in California and Colorado: “A beer brewed in San Diego is going to taste best in San Diego.”

This sort of old Ballard brewer wisdom isn’t lost on the new guys. Mashni credits Hale as a mentor, even though Bad Jimmy’s opened right across the street from Hale’s; he hatched some of Bad Jimmy’s business plan at the tables there. Hale fields some of their brewer’s questions, and even took the owners to Olympia on a bus last year to lobby against the beer tax (which didn’t pass).

As for Redhook, based in Ballard for decades (it’s now in Woodinville), some employees recently took a tasting tour of the old ’hood to

KEGS TO GO

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food&drink» Breweries » FROM PAGE 17 see what all the fuss was about. Their last stop was Hilliard’s, which, they noticed, was brewing an ESB (Extra Special Bitter), Redhook’s specialty. They struck up a conversation with the brewers, and soon after came a partnership that produced the Joint Effort Hemp Ale, a punnedup brew celebrating the legalization of marijuana.

“I like to think of us as a cool uncle or a brewer’s big brother,” Redhook brand manager Karmen Olson says, perpetuating the old stereotype of hip uncles as weed hookups.

IV: Fresh-Hopped

Hiccups happen in business, but more hiccups happen in new businesses. And, with most of these breweries still in their first year, you get the sense they’re still figuring things out. On my latest visit to Bad Jimmy’s, they were out of their IPA, reducing their beer list to only three. And while I have no doubt it’s great for watching sports, the way their tables are oriented around a big-screen TV gives the taproom an acutely non-communal vibe. (That said, the music was an unimpeachable mix, as was the red ale and stunning habanero ale.)

Meanwhile, Populuxe’s 10-beer roster is so extensive with esoteric styles, ordering can feel like a crapshoot (they do offer samples). The citrusy IPA is decadent and a must-try; the English mild, while true to the style, explains why English beer stays in England (I know, I know, the English invented IPA, blah blah blah).

On a recent trip to Stoup, which seems to have a corner on the “young Ballard implant couple with 2.5 kids” crowd, a credit-card reader malfunction was wreaking serious havoc on their ability to serve. The fact that they had a custommade snack vending machine and T-shirts, yet faltered on something so basic, created a disconnect. Then again, iPads are just computers, and computers are computers.

In fact, Stoup wasn’t even on my list of breweries to hit on my latest tour, though not intentionally. It was simply an oversight.

But there it was, between Populuxe and Reuben’s, garage door open and sheet-metal siding glistening in the sun. A food truck was dishing up Hawaiian food, and from a distance the line seemed manageable. Ordinarily it’d be a nobrainer to stop in for a pint, yet a voice in the back of my mind quoted Frost: I have promises to keep, and miles to go before I sleep.

In other words, we had three breweries under our belts and four more to hit. You simply can’t do them all and emerge anywhere short of hammered (see above re Ballard brewery etiquette).

Later, Mike Hale would note the one downside to all these breweries, if you can call it that: “It can lead to overconsumption. I’ve been known to overindulge. But it’s just so darn good.”

Touché. Two paths diverged in a Ballard ’hood, and we chose the one to Stoup. I got the beer, using cash to avoid the malfunctioning machine; my wife grabbed a snack from the food truck.

She tried my beer, I hers. And while the future may remain uncertain for these small breweries, it was hard to imagine a more perfect scenario: Beer in hand, we walked past the dogs asleep on the floor and the children running among the tables, and the shadows became long during a perfectly carefree Ballard afternoon. E

food@seattleweekly.com

arts&culture

Cruising Redux

James Franco tries to do right by an infamous movie that did gays wrong.

BY STEVE WIECKING

moving into the gayborhood, where his cute new neighbor catches him tossing out piles of the extenant’s porn mags Honcho and Blueboy, which are referred to by the neighbor as “exotic tastes.”

This is like calling your older brother’s stolen Penthouse collection “mysterious.”

Pacino paints his eyebrows before heading out to a butch bar. Pacino pumps iron in front of his mirror while shouting, “YES! YES!” Pacino, still undercover, is questioned by detectives at the station along with a young man who hogtied him during a hookup—nice ass, Al, by the way— when, for reasons no sane viewer can explain, an immense black cop, wearing only a jockstrap, boots, and a cowboy hat, stomps into the interrogation room, slugs Pacino in the face, and leaves.

It’s more baffling then campy.

Pacino finally catches the culprit—after propositioning him in Central Park with the come-on “Lips or hips?”—then returns to respectable life with girlfriend Karen Allen. But, in the movie’s most infamous twist, it’s implied that he’s been irreversibly affected by the experience, and offed the likable neighbor to whom he’d begun to take a shine. What happens in Greenwich Village doesn’t stay in Greenwich Village.

Subtle Cruising ain’t. It is, after all, the product of a man whose most successful movie looks upon the satanic possession of pea soup–spouting Linda Blair with grave seriousness. But at least The Exorcist doesn’t feel like foreign territory to

THE

COMMODORES SUNDAY | FEB 16 | 7 PM

Pacino is so clearly not gay.

the director. Friedkin, who told Flavorwire he doesn’t identify as either gay or straight, displays curiosity in Cruising but no control. He’s contemplative but clueless. You get the uncomfortable feeling he’s unintentionally working through the same sexual panic he’s written into Pacino’s character—or, worse, that the film could’ve been made by the killer. (He’s later revealed to be a brooding guy, working on a thesis about American musical theater, who’s stabbing lovers at the request of his dead father. Oy.) Cruising even fetishizes the deaths: When one stud is trussed up pre-murder, naked and beautiful and begging for mercy, it seems an extension of the tough-talking foreplay.

“You made me do it,” the killer tells his victims.

And Cruising is not so sure it disagrees.

“I don’t think Friedkin went into [Cruising] with

any bad intentions or bad faith or anything,” Franco said in a recent Huffington Post interview.

“After a while, it had to have been clear to him that the juxtapositions of these murders with the gay clubs was upsetting people, because it made some unfortunate connections that . . . this lifestyle led to depravity and murder.”

Well, yes and no. “I had no agenda,” Friedkin told Flavorwire. “I do understand that clearly a lot of people in the movement felt that this would set back the movement and was not the best foot forward for the gay community. When I started the project, I had no inkling of that.” Yet

Franco likes to watch.

RABBITBANDINI PRODS./STRAND RELEASING

are sharp enough to show us what’s compelling about his mistakes. Interior. Leather Bar. embraces the fascination that Friedkin warped. Friedkin finds the gay sex frightening; Franco, calming the straight, nervous Lauren, calls the frank action they’re watching from the sidelines “beautiful.”

Friedkin ends his film with Pacino looking at himself in the mirror, undone by his new feeling for men. Franco and Mathews end theirs with affecting individual shots of each actor cruising us—and they want us to feel something for them.

So if you see Interior. Leather Bar., should you then walk over to Scarecrow and rent Cruising?

Sure. If you suppress all your critical faculties, the movie unrolls like a gonzo mix of hot guys, hot sex, and authentic New York City locations during a fabled time of gay sexual liberation. Both Friedkin and Franco like to watch. It’s crucial to consider what’s behind their stares. E

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You have to watch Cruising again to understand what an odd proposition this is, because most of what’s in that film is nothing to applaud. In a plot that plays out like a graphic gay episode of Charlie’s Angels, Pacino is tarted up in tight Ts and sent to the Village because he looks like the serial killer’s sexy prior victims. Cut to Pacino

UNITED ARTISTS/WARNER BROS.

T

o watch Al Pacino boogie onscreen in a leather bar after inhaling from a hanky soaked in amyl nitrate is to know just how homosexual he is not.

The closest comparison to the hilarious inauthenticity of Cruising would have to be Neil Diamond in The Jazz Singer, also released in 1980, convincing an African-American nightclub crowd that he’s one cool brother when he really starts to rock (in blackface, yet). William Friedkin’s controversial failure featured popper-sniffing Pacino as a cop going undercover as gay bait for a serial killer.

It caused angry gay protests while being shot in Greenwich Village. Yet the once-reviled Cruising is now often screened for gay men who see in it . . . well, what, exactly?

Witness the new “docu-fiction” movie Interior.

Leather Bar. (see review, page 29), in which codirectors James Franco and Travis Mathews ponder the 40 minutes Friedkin excised from Cruising to avoid an X rating. No DVD restoration has yet let us glimpse what Friedkin thought was too much in a movie still full of excess. So what got cut?

“Pure pornography,” Friedkin explained to Franco, as he recalled in an interview on the website Flavorwire last May. Friedkin got full access to the gay private club The Mineshaft and shot “fist-fucking and golden showers and a lot of things that remain [in the movie], but not to the extent that I filmed them.”

No elbow grease or torrential downpours are included among Interior’s sex acts. The movie hints at recreating that missing footage, but is instead an appealingly shaggy film-within-afilm about making a movie in which everyone’s boundaries are being pushed to the limit. Franco, Mathews, and actor Val Lauren (their Pacino stand-in) discuss risk and assimilation, while the rest of their ensemble (straight and gay) approximates Cruising’s sex-drenched milieu with varying degrees of discomfort. Seeing those scenes enacted becomes a kind of homage to sexual freedom in general and Friedkin’s film in particular.

Friedkin also elaborates on connections between the scene at The Mineshaft, “the undefined AIDS epidemic,” and the real-life gay killings used as the film’s inspiration, which he says were “happening, basically, in a similar environment.

That’s what attracted me [to the subject matter].”

Friedkin overreached. He was the not the right artist to be messing with gay men, murder, and an AIDS metaphor. Someone thoughtful could indeed make a dark, dangerous film out of such concerns—and in fact someone did: Alain Guiraudie, whose stunning new French thriller Stranger by the Lake features a main character having graphic unprotected sex with a man he’s sure has just drowned a guy. It’s bound to cause anger. It should—but it’s the right kind of anger.

Characters are killed or disturbingly transformed to provoke debate about intimacy, the pull of passion, and the importance of community. By contrast, Cruising’s characters are slain or turned monstrous for getting lost in their desires, and that’s the end of the discussion. (Stranger opens at SIFF Cinema Uptown on March 7.)

Interior’s Mathews, a gay filmmaker, and Franco, whose sexual orientation is anyone’s guess, want to get lost in their urges. They don’t possess Friedkin’s technical finesse, but they do know where he went wrong with his thinking—and

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SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

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ThisWeek’s PickList WEDNESDAY, FEB. 5

Willy Vlautin

The longtime leader of Americana band Richmond Fontaine, Portland’s Willy Vlautin has become a rising literary star with his hardscrabble novels. His first, The Motel Life, was recently adapted for the screen. His fourth, the new The Free (HarperPerennial, $14.99) is his latest and most accomplished book to date. It marks a major shift for Vlautin, who has previously relied on a single-character-driven narrative. Here instead he juggles three characters, while managing to provide each the space and consideration to create the deep empathy that his lowly heroes require. The Free is ostensibly about Leroy, an Iraq War vet who appears to be suffering from severe PTSD that has kept him locked up in a group home for eight years. And yet Leroy is conscious only for the first few pages, wherein he attempts suicide and is left in a coma. From there the story expands to include the struggles of the

films in which a voyeuristic camera lustily films a tree while she overdubs dirty come-ons. Last summer we talked at length about the intimacy of a potted plant hanging from a light pole across the street. More recently she explained, “As a child I talked to overlooked plants, animals, and microorganisms, and felt strangely connected to them. Specifically I remember chatting with the rows of potted plants at Walmart and the unseen colonies of germs on my fingertips. I felt how supernatural their presences seemed and, simultaneously, how ethereal my own presence was.”

Gearhart’s new site-specific installation, Chroma Key, marries her love of video and plants—tying together “green screens, green houses, and green rooms” into a single experiential environment “where plants are not plants, boulders can float, and the sun hibernates inside a drinking jar.”

A master of juxtaposition, Gearhart considers how odd it is to be a human, how odd it is to be a plant—and in doing so, kindles a strange sort of kinship between the two. (Through March 31.) A Gallery, 117 S. Main St., cargocollective.

CARLOTTA FILMS/PALM PICTURES

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com/a-gallery. Free. Opening reception: 6–10 p.m. KELTON SEARS

bon mot, like a jazz musician finding his spot.

When you’re Seinfeld-rich and Seinfeld-famous, you don’t coast so much as ride easily. And Seinfeld has a fresh Porsche to ride for every day of the year. The Paramount, 911 Pine St., 877-784-

4849, stgpresents.org. $44–$78. 7 & 9:30 p.m.

BRIAN MILLER

Sidewalk Stories

Seinfeld and his buddy Tina Fey.

SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

COMEDIANSINCARSGETTINGCOFFEE.COM

nighttime caretaker who found Leroy and the nurse who watches over Leroy in the hospital.

Vlautin also relates a lucid sci-fi tale in a dystopic dreamworld within the comatose patient’s mind.

Defying genre, the masterful novel has received praise from such disparate literary luminaries as Ann Patchett and Ursula K. Le Guin and inspired other storytellers, including Drive-By Truckers lead singer Patterson Hood, who recently penned a song based on one of The Free’s characters. Vlautin’s stage experience as a singer makes him an excellent storyteller; the opportunity to hear him read from this novel in his distinctive drawl shouldn’t be missed. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliott baybook.com. Free. 7 p.m. (Also: 7 p.m. Thurs., Third Place Books.) MARK BAUMGARTEN THURSDAY, FEB. 6

Dakota Gearhart

Gearhart has a wonderfully weird relationship

22 with nature. She makes porn about plants—short

FRIDAY, FEB. 7

Jerry Seinfeld

Bee Movie is forgotten, and Seinfeld reruns are still welcome in most American homes. Seinfeld himself hasn’t been working too hard since his prime-time days; he’s content to raise kids, collect Porsches, and do regular comedy engagements. He’s a relentless practitioner of his craft; and being a semi-retired multimillionaire allows him to focus more on that craft. As he recently told The New York Times regarding his constant refinement of everyday humor, “The smaller something is, the harder it is to make, because there’s less room for error.” To go big is too easy—that’s why he eschews gags about sex or politics or this week’s celebrity outrage on TMZ. And Seinfeld never pushes for a laugh, unlike Leno and some of his generational peers. That’s been one of the pleasures of his Internet series Comedians in Cars Getting Coffee (just pimped during the Super Bowl): simply watching him listen to his A-list guests, then lob in the right

It was 1989, the year of Sex, Lies and Videotape and Do the Right Thing. Indie film was on the rise; Steven Soderbergh and Spike Lee would go on to make many more fine movies. But who today remembers Charles Lane and his Sidewalk Stories? It was an oddball even then, critically praised, a self-conscious throwback to Chaplin and the silent era. America was then at the prosperous end of the Reagan era, yet Lane very deliberately focused on the homeless, the down-and-outs, and the starving artists of New York City. He plays an unnamed artist suddenly forced to care for a small child (played by his own daughter), and his quest to reunite the girl with her mother becomes an odyssey through a generally cold and uncaring city. Lane doesn’t play the black-and-white film entirely for pathos; there are chases and beatings and run-ins with the cops. The artist isn’t really qualified to be a surrogate parent, and he even resorts to a little shoplifting to provide for the toddler. Raising a kid is damn expensive, a lesson that applies today as well. A prize-winner at Cannes, now newly restored, Sidewalk Stories was championed by Roger Ebert and The New York Times’ Janet Maslin as a film that stood up for the underdogs. What they couldn’t have known, 25 years ago, was how it came in the middle of a widening gulf of social inequality. If Lane’s city was stratified then between the haves and the have-nots, the bottom is even lower today. (Through Thurs.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6–$11. 7 & 9 p.m. BRIAN MILLER

SATURDAY, FEB. 8

Intruder No. 9 Release Party

The Intruder is a Seattle treasure—a free quarterly newspaper chock-full of incredible local comics. Published by a collective of a dozen local artists, The Intruder gives each contributor one full page to do his or her thing. Marc Palm, the paper’s unofficial editor, draws a recurring strip featuring a man with a giant beaked head

Lane only made one more movie after Sidewalk Stories.

who wanders through surreal, grotesque scenes that begin as abruptly as they end. Darin Schuler’s impossibly intricate linework explodes from the page, journeying though fantastical landscapes inspired by Teenage Mutant Ninja Turtles and The Neverending Story. Tom VanDeusen’s Scorched Earth backpage series harkens back to ’90s alt-comix greats like Daniel Clowes, following the depressing exploits of a socially inept loser as he desperately attempts to get laid. The ninth edition of The Intruder introduces Brian Dionisi, whose wizardy drawings graced the cover of Seattle Weekly’s Halloween issue last year. To help celebrate tonight, there will be live performances by local band Funky Photo and Olympia’s Moldy Castle, a “muscle rock” band that made its own self-mythologizing comic for last year’s Short Run zine festival. Hilliard’s Beer, 550 N.W. 49th St., facebook.com/ intrudercomics. Free. 21 and over. 7–11 p.m.

KELTON SEARS

MONDAY, FEB. 10

Love Illuminated

As editor of The New York Times’ “Modern Love” column, Daniel Jones has sifted through more than 50,000 essays, memoirs, and reflections on what he calls “life’s most mystifying subject.” In Love Illuminated (HarperCollins, $26), the editor and author distills some of the keenest observations to have crossed his desk into a tome that separates the topic into 10 parts, including pursuit, destiny, vulnerability, wisdom, and more. A handful of those submissions hail from Seattle, and those authors— Nicole Hardy, Theo Pauline Nestor, and Wilson Diehl—will also read from their work tonight. Hardy, whose recent memoir Confessions of a Latter-Day Virgin began as a “Modern Love” column in 2011, is looking forward to her encounter with the Times newsman. “Can’t wait to meet Dan in person,” she says. “The day he accepted my work in ‘Modern Love’ literally changed my life. [It] feels like a drink and a personal thank-you are in order.” She’ll have no problem accomplishing that goal—the Hugo House bar will be open, and books by all readers will be available for sale. As for Love Illuminated, Hardy says, “How could it not be full of humor, hope, wisdom, and insight?” Let’s hope she scores an autograph, too. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse. org. $5. 7 p.m. GWENDOLYN ELLIOTT E

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Barefoot Divas Six women. Six distinct lives. One musical journey.

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“Walt is neither villain nor hero. His troubled past and blurry future breed no easy lessons.”—The Seattle Times

Hawkins’ horrid agent in The Little Dog Laughed.

Opening Nights Ed, Downloaded WASHINGTON ENSEMBLE THEATRE, 608 19TH AVE. E., 325-5105, WASHINGTONENSEMBLE.ORG. $15–$20. 7:30 P.M. THURS.–MON. ENDS FEB. 24.

Not everything that Washington Ensemble Theatre touches is flawless; but, as with many a fine jewel, imperfections can fascinate as well. That said, Michael Mitnick’s Ed, Downloaded is really more a sketch than a fully realized play, with some Bertha-sized credibility gaps. Director Ali el-Gasseir has his hands full with this strangely earnest fantasy, which never decides if it’s broad comedy or pointed satire.

Mitnick’s sci-fi premise is clever enough: Terminally ill geologist Ed (Noah Benezra) will have his mind stored in a box, and after his death it’ll relive a loop of 10 favorite memories for the rest of eternity. This apparatus comes courtesy of his girlfriend Selene (Gin Hammond), who works for a biotech company. Problem is, before his death (which ends the first act), Ed had been straying from the smotheringly protective harpy Selene and falling for the spontaneous, pixie-like street performer Ruby (Adria LaMorticella).

Selene cannot bear that the man she nursed from illness to the grave would prefer to remember the happy-go-lucky Ruby. So which of Ed’s memories should be preserved—those of Ruby or Selene? That’s the conflict to be resolved in Act II. Like HAL in 2001, Ed is now but a disembodied voice as Selene tries to replace his fond memories of Ruby with her own reconstructions—starring herself. The disconnect between his “organic” recollections and the newly implanted data leads to an inevitable meltdown, both inside the Ed box and between his rival lovers, paticularly when Ruby shows up to argue for keeping Ed’s memories intact. It’s a catfight over the rights to Ed’s intellectual property—now well corrupted by Selene.

Unfortunately, it makes little to no sense that Ruby could gain access to a high-tech laboratory to confront Selene. Nor does Mitnick explain how Ruby is certain that Selene is tinkering with Ed’s memories—since she doesn’t even know he’s dead. And in a lab full of glowing memory

boxes, Ruby is somehow able to discern which is Ed’s. Mitnick sets up a clash between his heroines, then shrinks from its resolution—a defect I’ve never seen before at WET. This is doubly frustrating when the show looks great, thanks to Cameron Irwin’s set design and the film components that bring Ed’s memories vividly back to life. (Here we see just how low Selene will stoop to erase Ruby from Ed’s cyber-cerebellum.) That the playwright couldn’t figure out a way to pull his plot together seems lazy, beneath WET’s always crisp acting and presentation.

Just as Ed-in-a-box is able to tell what’s real from what’s faked or forced, theatergoers will find Ed, Downloaded to be mostly bogus.

KEVIN PHINNEY

PThe Little Dog Laughed ARTSWEST, 4711 CALIFORNIA AVE. S.W., 9380339, ARTSWEST.ORG. $15–$34.50. RUNS 7:30 P.M. WED.–SAT. 3 P.M. SUN. ENDS. FEB. 16.

Remember last year when Jodie Foster came out during the Golden Globes, confirming what everyone knew? Her announcement would’ve been impossible back in the days of Rock Hudson living in the closet; and it would’ve been unlikely still in 2006, when Douglas Carter Beane’s The Little Dog Laughed had its New York premiere.

Mitchell Green (Alex Garnett) is a movie star who would have it all if he didn’t have that tiny trouble of keeping his “slightly recurring case of homosexuality under wraps.” He develops tender feelings for rent boy Alex ( Jeff Orton), much to the chagrin of Diane (Heather Hawkins), a Hollywood agent who makes Californication’s Charlie Runkle seem compassionate. Mitchell’s honesty about his sexuality would threaten both their careers, and Diane is determined to keep him in the closet—there’s your plot.

As a dialogue junkie, I want to mainline Beane’s script. Stylistically, it reminds me of my favorite living playwright, John Guare, as Little Dog tests the cast with intense monologues about the human condition that still advance the Hollywood satire. The cast of four—all characters deplorable enough to be expanded into their own Showtime series—dazzlingly delivers Beane’s droll writing. Orton acutely animates lines that could be careless clichés, such as “Let me guess— you are straight but curious.” (EmilyRose Frasca plays Ellen, Alex’s naive girlfriend.)

at TOWN HALL

John Allbritton’s low-budget costumes are the only hitch in this production, well directed

by Annie Lareau. In her opening monologue, Diane dons a dress supposedly worn to a prior awards ceremony, but it looks more like Nordstrom Rack. Was she really wearing a navy wrap with a black frock and—for the love of all things sacred—bone shoes? Luckily, Hawkins’ stage presence stopped me from being too distracted by the sub-Hollywood wardrobe. On which subject, I’ll be more interested next month to see what the stars are wearing at the Oscars than hearing which are gay. ALYSSA DYKSTERHOUSE

PThe Sleeping Beauty MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28–$179. 7 P.M. THURS.–SAT., 1 P.M. SAT.–SUN. ENDS FEB. 9.

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BRIAN STOKES MITCHELL WITH THE SEATTLE SYMPHONY FEBRUARY 6–9

Brian Stokes Mitchell, known for his Tony Award–winning work on Broadway and his guest-starring role on Glee, returns to Benaroya Hall for a weekend of beloved ballads and romantic music. This is a concert not to be missed.

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In some ways, a dance company is just like any other workplace—there are always people who are close to retirement, people who are moving up in the organization, and people who are just starting. Last weekend Pacific Northwest Ballet opened The Sleeping Beauty with the title role shared among four dancers, each at a different place in the arc of her career.

Kaori Nakamura came to PNB from the Royal Winnipeg Ballet in 1997, and has made herself almost indispensable. She is not exclusively any one thing, but has danced an incredible variety of roles, from dramatic to abstract, all with clarity and authority. It’s unusual that a performer who excels at a big-scale tragic role, as in Jean-Christophe Maillot’s Roméo et Juliette, would be equally skilled at George Balanchine’s abstract neoclassical style or the exacting classicism of Marius Petipa in Sleeping Beauty, yet Nakamura has mastered all these and more. She recently announced her retirement at the end of this season, so her opening-night appearance as Aurora was especially sweet.

Lesley Rausch and Rachel Foster are both in mid-career. Rausch dances Aurora as if she’s been working on the part her whole life, which in a way she has; she danced myriad friend and fairy characters in Sleeping Beauty before debuting in the main role four years ago. On Saturday night she took a big step beyond that debut with a truly radiant performance. Foster has distinguished herself in more contemporary repertory—her performances in Crystal Pite’s Emergence earlier this season were a tour de force of animal behaviors—which makes her Aurora, arguably the purest of the classical roles, all the more impressive. She achieves a level of calm clarity that will serve her as she grows in the part.

Leta Biasucci has only been in Seattle since 2011, but she’s already had several choice roles, including the lead in George Balanchine’s comedic Coppélia. Still, Sleeping Beauty is a daunting challenge, where fidelity to classical skills becomes a metaphor for youthful purity. There isn’t really any place to hide or many opportunities to fudge—luckily for Biasucci, she doesn’t seem to need any wiggle room. Her Aurora was thoroughly charming—a culmination of everything that’s come before, and a tantalizing suggestion of what might happen in the future.

All four women will appear next weekend, alongside a stageful of artists whose work is exceptionally skilled, in a production that is a test of their skills and the strength of the company as a whole. SANDRA KURTZ E

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Stage OPENINGS & EVENTS

BATTLE OF THE BARDS VIII Ghost Light Theatricals’

annual fundraiser presents scenes from three shows under consideration for their 2014-15 season—and you get to pick which they’ll do. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals. org. $10. 8 p.m. Fri., Feb. 7–Sat., Feb. 8.

BOY MEETS GIRL In Taproot’s comedy improv show, you determine how this romance plays out. Isaac Studio Theatre, 208 N. 85th St., 781-9707, taproottheatre.org. $10–$12. 8 p.m. Fri., Feb. 7, Sat., Feb. 8 & 15.

COMEDYSPORTZ Seattle Comedy Group moves their improv show to the former Empty Space. The Atlas Theater, 3509 Fremont Ave. N., seattlecomedygroup.com. $14. 8 & 10 p.m. Fri.–Sat. CORNISH WINTER NEW WORKS FESTIVAL Staged readings of three brand-new plays by Cornish seniors Drew Combs (Feb. 7–8), Grace Carmack (Feb. 14–15), and Xochitl Portillo-Moody (Feb. 21–22). Cornish Playhouse at Seattle Center, cornish.edu. Free. 8 p.m. Fri.–Sat. I HATE CHILDREN Paul Nathan’s ironically titled family magic show. Hale’s Palladium, 4301 Leary Way N.W., strangertickets.com. $15–$35. Opens Feb. 8. 1:30 & 3 p.m.

Sat., 1 p.m. Sun. Ends Feb. 23.

MARISOL The Collision Project debuts with Jose Rivera’s surreal comedy. Inscape, 815 Seattle Blvd. S., collision theater.org. $20–$25 ($10 Mon.) Preview Feb. 6, opens Feb. 7. 8 p.m. Thurs.–Sat. & Mon. Ends Feb. 22.

NIWA GEKIDAN PENINO This troupe performs Kuro Tanino’s “bizarre, psycho-erotic fever dream straight out of Tokyo.” On the Boards, 100 W. Roy St., 217-9886, onthe boards.org. $12–$25. 8 p.m. Thurs., Feb. 6 & Sun., Feb. 9; 8 & 10 p.m. Fri., Feb. 7–Sat., Feb. 8.

FRANK OLIVIER His Valentine-themed “Twisted Cabaret” includes “a ballet performed entirely on a unicycle” and more. Hale’s Palladium, 4301 Leary Way N.W., twisted cabaret.com. $17–$60. Opens Feb. 6. 7:30 p.m. Thurs.–Sat. plus 10:30 p.m. Fri. & 3 p.m. Sun. Ends Feb. 23.

JERRY SEINFELD SEE THE PICK LIST, PAGE 22.

SPIN THE BOTTLE In this monthly variety show, “candyinspired dance,” “droney garage-band ballads,” “reptilian smut,” and much more. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$10. 11 p.m. Fri., Feb. 7.

VENUS IN FUR David Ives’ kinky Tony-winning comedy.

Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. Previews begin Feb. 7, opens Feb. 12. 7:30 p.m.

Wed.–Sun. plus 2 p.m. some Wed., Sat., & Sun.; see seattlerep.org for exact schedule. Ends March 9.

VIRTUAL SOLITAIRE Dawson Nichols’ solo show. Stage One Theater, 9600 College Way N., 800-838-3006, brown papertickets.com. $10. 7:30 p.m. Fri., Feb. 7.

WICKED WIZ OF OZ A 45-minute mashup of Oz musicals, part of the “Mimosas With Mama” drag brunch. Narwhal, 1118 E. Pike St., strangertickets.com, mimosaswithmama. com. $15–$20. Opens Feb. 9. 1:30 p.m. Sun.

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CURRENT RUNS

AMERICAN WEE-PIE Lisa Dillman’s comedy, set in a cup-

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

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Dance

BALLET: THE SLEEPING • PACIFIC NORTHWEST SEE REVIEW, PAGE 25.

BEAUTY

Classical, Etc.

JOSHUA BELL The popular violinist plays Bach, Stravinsky,

and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $41 and up. 7:30 p.m. Wed., Feb. 5.

SEATTLE SYMPHONY Brian Stokes Mitchell sings Broadway ballads on this Seattle Pops concert. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$95. 7:30 p.m. Thurs., Feb. 6; 8 p.m. Fri., Feb. 7; 2 & 8 p.m. Sat., Feb. 8; 2 p.m. Sun., Feb. 9.

SEATTLE WOMEN’S CHORUS Music from the swing era to salute women in the WWII work force. Cornish Playhouse, Seattle Center, 388-1400, seattlewomens chorus.org. $25–$60. 7:30 p.m. Thurs., Feb. 6; 8 p.m. Fri., Feb. 7; 2 & 8 p.m. Sat., Feb. 8; 2 p.m. Sun., Feb. 9.

SEATTLE IMPROVISED MUSIC FESTIVAL Musicians from across America and overseas perform with Seattle’s out-music elite. Chapel Performance Space, 4649 Sunnyside Ave. N., seattleimprovisedmusic.us/simf. $10–$25. 8 p.m. Thurs., Feb. 6–Sat., Feb. 8.

TOM COLLIER AND FRIENDS Jazz from this UW faculty musician and colleagues. Meany Studio Theater, UW campus, music.washington.edu. $12–$20. 7:30 p.m. Fri., Feb. 7.

ORCHESTRA SEATTLE Stilian Kirov conducts Liadov, Mendelssohn, and Mussorgsky. First Free Methodist Church, 3200 Third Ave. W., 800-838-3006, osscs.org. $10–$25. 7:30 p.m. Sat., Feb. 8.

THALIA SYMPHONY Chausson, Rossini, Sibelius, and more. Town Hall, 1119 Eighth Ave., 800-838-3006, thaliasymphony.org. $15–$20. 2 p.m. Sun., Feb. 9.

CANZONETTA 600 years of choral music from this ensemble. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. 7 p.m. Sun., Feb. 9.

TRIO PARDALOTE Shostakovich’s Ninth Quartet, plus music by Schulhoff, Ysaye, and Wayne Horvitz. The Royal Room, 5000 Rainier Ave. S., triopardalote.com. $10–$20.

7:30 p.m. Sun., Feb. 9.

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SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

cake boutique. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublic theater.org. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 16.

BLACK LIKE US Rachel Atkins’ play about an AfricanAmerican woman who passes for white in 1958. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m. Thurs.–Sat. plus Mon., Feb. 10. Ends March 1.

ED, DOWNLOADED SEE REVIEW, PAGE 24.

THE EQUATION Theatre9/12 presents Charles S. Waxberg’s Depression-set “examination of a capitalistic economy and what it does to humanity.” Trinity Episcopal Church, 609 Eighth Ave., 332-7908. Pay what you can. 8 p.m. Fri.– Sat., plus some weekend matinees; see theatre912.com for exact schedule. Ends Feb. 15.

THE FOREIGNER Larry Shue’s 1984 comedy is adored across America, yet this revival is a waste of a reliably risible text and a capable local cast. In brief: Meek British proofreader Charlie (Erik Gratton) pretends not to speak English while vacationing at a Georgia fishing lodge, then wacky complications ensue among the red-state yokels.

Brian Yorkey’s half-dozen players are directed at lessthan-farcical speed; the prolonged, stagy silences are more suited to Harold Pinter. ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $34–$65. 7:30 p.m. Wed.–Thurs. (plus

some Tues.); 8 p.m. Fri.; 2 & 8 p.m. Sat.; 2 & 7 p.m. Sun. Ends March 2. (Then plays in Everett March 7–30.)

A GREAT WILDERNESS In Samuel D. Hunter’s uncomfortable work, Walt (Michael Winters), an aging “conversion therapist,” is contracted to cure a gay high schooler of homosexuality through scripture and friendly bonding at his Idaho camp. Within a few minutes Daniel (Jack Taylor) is gone. Who is this crumbling, frustrated guy, and what did he do with Daniel? These are the twin engines that propel us into the depressing world of evangelism and homophobia. MARGARET FRIEDMAN Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$65. 7:30 p.m.

Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends Feb. 16.

THE ICELANDIC ILLUMINATION RANGERS To find the missing Aurora Borealis, “the Rangers will have to dance around magnetic poles, navigate the Reykjavik synth-pop scene, and learn what it really means to be friends.” It sounds like a kids’ show—but there are also adults-only “blue” performances (10:30 p.m. Feb. 7 & 21). WET, 608 19th Ave. E., 325-5105, washingtonensemble.org. $5–$10.

10 a.m. Sat.–Sun. Ends Feb. 23.

THE LITTLE DOG LAUGHED SEE REVIEW, PAGE 24.

MR. PIM PASSES BY A.A. Milne’s Edwardian comedy.

Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre. org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m.

Sat. Ends March 1.

THE NORMAL HEART Larry Kramer’s groundbreaking 1985 AIDS drama. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, strawshop.org. $18–$36. 7:30 p.m. Thurs.–Sat. Ends Feb. 15.

READING TO VEGETABLES E.M. Lewis’ thriller about a pre-med intern who participates in a chilling experiment.

Penthouse Theatre, UW campus, 543-4880, drama.uw.edu. $10–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Feb. 9.

SPAMALOT This musical’s skeleton is Monty Python and the Holy Grail, stuffed with parodies of other musicals, beloved bits from the Python TV series, and metacommentary. The casting for this local production is as good as it gets, full of actors you’ve loved elsewhere if you’ve seen a musical anywhere in King County in the past decade. GAVIN BORCHERT 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $39 and up. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends March 2.

STORY & SONG Bret Fetzer’s fairy tales get choral backing. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$10. 8 p.m. Tues.–Wed. Ends Feb. 26.

TEATRO ZINZANNI: ON THE AIR Their new radiothemed show features the return of emcee Kevin Kent.

Teatro ZinZanni, 222 Mercer St., 802-0015. $108 and up.

Runs Wed.–Sun.; see dreams.zinzanni.org for exact schedule. Ends June 1.

For many more Current Runs, see seattleweekly.com.

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arts&culture» Visual Arts

PROMOTIONS

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

B Y K E LT O N S E A R S

February 18

KAREN GOMYO and PABLO ZIEGLER

Openings & Events

feat. the Pablo Ziegler Tango Quartet

A R T S A N D E N T E R TA I N M E N T

ARTS & ENTERTAINMENT NEWSLETTER

“[Gomyo is] a first-rate artist of real musical command, vitality, brilliance, and intensity,” - Chicago Tribune

Find out about upcoming

performances, exhibitions,

openings and special events.

SCIENCE

TOWN HALL

ARTS & CULTURE

cash? Here’s your chance to check out Isabelle de Borchgrave’s paper recreations of vintage Fortuny fashions and the group show Crafting a Continuum.

Bellevue Arts Museum, 510 Bellevue Way N.E., 425519-0770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m.

CAROLINE COOLEY BROWNE Browne’s “vessels” are constructed and woven out of fabric, paper, wood, and tape. Opening reception, 6-8 p.m. Fri., Feb. 7. Bainbridge Arts and Crafts, 151 Winslow Way E., 842-3132, bacart. org, Mon.-Sun., 10 a.m.-6 p.m. Through March 3.

JACK CHEVALIER & KATE VRIJMOET This exhibition showcases the work of two local artists whose paintings feature thick, caked-on oil and latex paint to create dripping and cracked images. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com, Tues.Sun., 10:30 a.m.-5 p.m. Through March 1.

ALLEN COX & DELOSS WEBBER As mixed-media as you can be, this show features Cox working in oil and wax on canvas. Webber uses stone and fiber to create environmentally charged pieces that play to his strength in weaving. First Thursday opening reception, 6-8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, Mon.-Sun., 11 a.m.-5 p.m.

Through March 2.

PETER DE LORY In Tenuous Remnants, the Seattle photographer’s black-and-white nature images create stark scenes of emptiness and expansiveness.

First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery. com, Mon.-Sun., 10:30 a.m.-5:30 p.m. Through March 3.

BILL FINGER In Icarus, Finger creates an ode to human exploration with a photo series about a protagonist that “looks to space and longs to break free.”

First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org, Thurs.-Sat., 12-5 p.m. Through March 1.

FREMONT ART WALK Fremont’s First Friday artwalk venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. See fremontfirstfriday.com for participating artists. First Friday of every month, 6-9 p.m.

GEORGETOWN ART ATTACK This month’s shindig features a Fantagraphics exhibition on Virgil Partch, a “faerie” themed show at Krab Jab, and Garret Holloway’s wonderfully grotesque illustrations. See georgetownartattack.com for more info. Free, Second Saturday of every month, 6-9 p.m.

GROUP EXHIBITION National artists Deth P. Sun, Morgaine Faye, Katy Horan, Michael C. Hsiung and Melissa Moss show their illustrated work. First Thursday opening reception, 5-9 p.m. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com, Weds.-Sat., 12-6 p.m. Through Feb. 28.

GROUP SHOW Gallery artists including Rachel Brumer, Larry Calkins, Joe Max Emminger, James Lavadour, and Francesta Sundsten convene for this sad farewell show before the gallery’s impending closure. First Thursday opening reception, 6-8 p.m. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston. com, Mon.-Sat., 11 a.m.-5 p.m. Through March 1.

STEPHEN HILYARD Manipulating the ridiculously gorgeous landscape of Iceland, Mountain creates impossibly symmetrical mountain shapes by Photoshopping images of lava cone formations. First Thursday opening reception, 6-8 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com, Weds.-Sat., 11 a.m.-5:30 p.m.

Through March 22.

ESTUKO ICHIKAWA Echo at Satsop flips the artist’s trip to an old nuclear cooling tower in into a poignant film reflecting on the Japanese tsunami in 2011 that resulted in Fukushima’s nuclear meltdown. Opening reception, 7 p.m. Fri., Feb. 7. Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org, Opens Feb. 10, Mon.-Fri., 10 a.m.-6 p.m. Through Feb. 11.

INTRUDER NO. 9 LAUNCH PARTY SEE THE PICK LIST, PAGE 22.

MARK KANG-O’HIGGINS In Intense, huge oil-oncanvas portraits capture the artist’s close friends and family at “watershed moments” in their lives in an attempt to “universalize them as character.” First Thursday opening reception 6-8 p.m. Gallery4Culture,

• COMMUNITY

CIVICS

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SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

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

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101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org, Mon.-Fri., 9 a.m.-5 p.m. Through Feb. 27.

NATE KNODEL The Jack Daniels Project is a collection of six paintings ruminating on depression and darkness.

First Thursday opening reception, 5-7 p.m. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee. com, Mon.-Sun., 6 a.m.-7 p.m. Through March 5.

WALTER LIEBERMAN Lieberman, a renowned glass painter, will present a lecture on the history of glass making in Nordic countries. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org, Thu., Feb. 6, 7 p.m.

LOUDER THAN WORDS Thirty metalsmiths exhibit their contemporary jewelry art. Opening reception: 4-7 p.m.

Weds., Feb. 5. Facere Jewelry Art Gallery, 1420 Fifth Ave., 624-6768, facerejewelryart.com, Mon.-Sun., 10 a.m.-6 p.m. Through March 5.

KATIE METZ In Grounded Stories, she takes acrylic paintings of Seattle and carves into them with a razor blade in an attempt to represent the grit of urban life.

First Thursday opening reception, 6-8 p.m. Abmeyer + Wood Fine Art, 1210 Second Ave., 628-9501, abmeyerwood.com, Mon.-Sat., 11 a.m.-5 p.m. Through Feb. 28.

MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65-foot-tall sculpture Wawona (salvaged from the schooner of the same name), plus ongoing exhibits on local history. Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m.

NEW MEMBERS EXHIBIT Work from Soil’s new members, including an animated allegory of purgatory, flight themed metal sculptures, and more. First Thursday opening reception, 6-8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Thurs.-Sun., 12-5 p.m. Through March 1.

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WENDY ORVILLE, FREIDENSREICH HUNDERTWASSER & ROBERT ERNST MARX Bainbridge

Island’s Orville creates monotypes that render Northwest landscapes. Austrian graphic artist Hundertwasser’s vibrant prints react to different lighting, thanks to phosphorescent colors and metal imprints. Marx’s oil paintings portray frightening figures in an effort to comment on what it means to be “human in an inhuman age.” First Thursday opening reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-1324, davidsongalleries.com, Tues.-Sat., 10 a.m.5:30 p.m. Through March 1.

MARK REDISKE Panorama collects Rediske’s encaustics, which look like ancient carvings and drawings on cave walls by early humans. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com, Tues.-Sat., 10 a.m.-6 p.m.

Through Feb. 28.

THINKING OF RAVEN A mixed-media group exhibition explores the raven character from Northwest Indian mythology. First Thursday opening reception, 6-8 p.m.

Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com, Mon.-Sun., 10 a.m.-6 p.m. Through Feb. 28.

TRADITION UNWRAPPED: KOREAN BOJAGI AND JOOMCHI NOW Korean arts and crafts get a spot-

light in this exhibit, featuring Chunghie Lee’s Bojagi a form of traditional textile art, and Jiyoung Chung’s Joomchi, a gorgeous style of paper art. First Thursday opening reception, 5-8 p.m. Also note Chung’s lecture and artist reception (1 p.m. Sat.) and Lee’s talk (1 p.m.

Sun., Burke Museum). ArtXchange, 512 First Ave. S., 839-0377, artxchange.org, Tues.-Sat., 11 a.m.-5:30 p.m.

Through Feb. 28.

TRANSIENT MOMENTS In this juried exhibition, 10 artists riff on the theme of everyday rituals and materials, their works created as an ode to the fleetingness of those quiet moments we all return to day in and day out.

First Thursday opening reception, 6-8 p.m. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com, Weds.-Sat., 12-5 p.m. Through March 1.

C.L. UTLEY & DAVID BERRIDGE Utley’s abstract, geometric, cartoonish paintings contrast with Berridge’s loose, rustic pastel paintings in this show. First Thursday opening reception, 6-8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com, Tues.-Sat., 10:30 a.m.-5:30 p.m. Through March 1.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org for full roster of attractions. First Wednesday of every month, 6-9 p.m.

HELENE WILDER An exhibition of the artist’s “imaginary portraits” from her “private collection of people,” featuring drawings and paintings of figures with piercing, colorless eyes. Artist reception, 6-8 p.m. Fri., Feb. 7.

Roby King Galleries, 176 Winslow Way E. (Bainbridge Island), 842-2063, robykinggalleries.com, Opens Feb. 7, Thurs.-Sat., 10 a.m.-5 p.m. Through March 1.

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arts&culture» Film

Opening ThisWeek

Inside the CERN atom smasher.

The End of Time RUNS FRI., FEB. 7–THURS., FEB. 13 AT GRAND ILLUSION. NOT RATED. 114 MINUTES.

FIRST RUN FEATURES

A Field in England RUNS FRI., FEB. 7–THURS., FEB. 13 AT SIFF FILM CENTER AND SIFF CINEMA UPTOWN. NOT RATED. 90 MINUTES.

Anyone innocently wandering into A Field in England can be forgiven for thinking they’ve stepped through a time portal to the late ’60s.

Along with its arty approach and unexplained allegorical premise, the movie explodes into

Strange events unfold in the field.

DRAFTHOUSE FILMS

Peter Mettler’s inquisitive doc clocks in at a nontedious 114 minutes of philosophy, but there are other units of temporal measurement. In the bowls of the CERN particle accelerator in Switzerland, this film would be considered an eternity, since its scientists are studying sub-atomic bits of the most ephemeral nature. In a Hawaiian suburb gradually being overrun by lava flows, The End of Time wouldn’t even register as a blink—it’s as geologically insignificant as Mettler or the moviegoer or all recorded human history. In crumbling Detroit, which Mettler also visits, no one would even have time to watch such a ruminative doc—it’s unclear if any art-house cinemas are even left there.

So there are different ways of thinking about time, and Mettler sets some lovely images to his musings (“The Earth will heal itself; humans will be gone”) and borrowed aphorisms (“In many languages, time and weather is the same word”).

The effect of this rambling essay film is like a TED talk crossed with Coachella: educational, but reaching toward the ecstatic—a loss of awareness of time. Mettler also visits Bodhgaya, India, to watch meditation sessions and corpses being burned. “If you have a beginning, there is always a problem,” says one Buddhist sage. Cut to time-lapse skies with a lulling electronica score. Dude, whoa.

With prior documentary titles including Gambling, Gods and LSD, Mettler is working somewhere in the trip-film continuum traced from 2001 to Koyaanisqatsi. He’s not a scientist, more of a cosmic speculator or aggregator. If time is a subjective notion, that means it can be defined in myriad ways, and no one—not even the director— gets the final word on the subject. The chalkboard fills up, until the director’s aged mother renders her verdict on the meaning of time. She rejects a conceptual framework, saying instead, “We have to make the most of [time]. Enjoy everything possible.” Yes, but there are other ways of enjoying 114 minutes. BRIAN MILLER

full-on psychedelia after a certain stage—all the weirder for being in black-and-white. One wants to summon a few reference points, but even this is challenging. The movie’s a little Waiting for Godot and a little Magical Mystery Tour, with Vincent Price’s character from Witchfinder General hanging around. We should invoke Monty Python, too, for the film’s grubbiness and catch-all social criticism. (Had they been younger, the surviving

PGloria OPENS FRI., FEB. 7 AT SUNDANCE AND MERIDIAN. RATED R. 110 MINUTES.

ROADSIDE ATTRACTIONS

García’s Gloria remains very much her own woman.

Gloria sings along to oldies on the car radio.

Everybody does—especially in movies—but for Gloria, a divorced lady nearing 60, singing along seems like an especially cherished private celebration. The rest of her life is less well-ordered than those well-crafted pop songs: Her grown kids are kind but aloof; her new romantic relationship is mystifying; and this hairless cat keeps showing up in her apartment. Gloria, Chile’s

Interior. Leather Bar. 10 P.M. FRI. & SAT.; 8:45 P.M. THURS. FEB. 13; 10 P.M. SAT., FEB. 15 AT GRAND ILLUSION. NOT RATED. 70 MINUTES.

Co-directors James Franco and Travis Mathews, learning that 40 minutes had been censored from William Friedkin’s incendiary 1980 film Cruising, decided to remake/reimagine them. We see some of those completed scenes, but basically this is a making-of doc—in other words, we are watching Franco’s footage of Mathews filming actor Val Lauren playing Al Pacino playing undercover cop Steve Burns playing gay. To recreate the discomfort Pacino’s character (and presumably Pacino himself ) felt while shooting the original steamy S&M-bar scenes, they naturally had to cast a straight actor in the role. (After we see Lauren and his fellow thespians receive a lesson on how to cruise, it becomes amusingly clear they needn’t have bothered—the attitude and body language of a gay man on the prowl in a club is identical to an actor’s habitual, perpetual how-do-I-look self-consciousness.)

For a working actor, Lauren’s surprisingly unworldly, and consequently Interior. Leather Bar. is primarily an exploration of his personal conflict over all this scary gay stuff. On the phone with Lauren, we hear his agent’s harangues, warning him of the damage to his reputation that’ll be done by “Franco’s faggot project.”

SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

Pythons might’ve made a fine cast for this.)

The actual setting has nothing to do with Swinging London; the film’s summary says it’s set in the mid-17th century, so that’s what we’ll go with. All of the action takes place in featureless fields, where a small group of soldiers trudges along after fleeing a battle. The most talkative of them, Whitehead (Reece Shearsmith), is actually no soldier, but a scholarly servant out doing the bidding of his unseen “master.” He and his filthy fellow deserters fall under the sway of an Irishman named O’Neil (Michael Smiley), who claims to be an alchemist and says that if they begin digging holes in the field, they will find gold. This goal, clearly absurd, is enough to define this temporary five-man social experiment.

Director Ben Wheatley (Down Terrace, Sightseers), working with screenwriter and frequent collaborator Amy Jump, creates a distinctive world, that’s certain. Like many British artists, Wheatley is obsessed with the subject of Englishness, and he leaves no class or type unscathed. So the movie probably has more sock for UK viewers, to say nothing of the fact—for this hearing-impaired Yank, at least—that maybe a third of the dialogue is unintelligible.

(At least the trippiest stroboscopic parts, however migraine-inducing, are without dialogue.)

Speaking of the psychedelics, it’s typical of this film’s puzzling storytelling that we can’t be quite sure when things go off the even keel. The fellows ingest their first stewed mushrooms fairly early on, which could explain the curious arrival of O’Neil—tied up at the end of a thick rope attached to a tribal-looking post?—and other such happenings. The maddening thing is that for all the film’s doodling, occasional moments are genuinely funny or haunting. Whitehead’s slow-motion stumble out of O’Neil’s pitched tent, where something unspeakable has just happened, is A Field in England at its best: arresting, druggy, and mystifying. ROBERT HORTON

official submission to the Academy Awards (it didn’t get nominated), is the film that comes out of this very specific character, and it succeeds because of its well-chosen vignettes and a remarkable lead performance.

Paulina García—a veteran of Chilean television—plays the title role, and she builds a small masterpiece out of Gloria’s behavioral tics. García understands this woman from the heels up: the guarded smile at social dances, conveying her interest in meeting someone but also her wariness at getting duped; the habit of idly cleaning crumbs from the table of her son’s home; the forced casualness of ordering a drink at a bar when she suspects she might have been abandoned there by her date. Gloria has a couple of purely sexual encounters during the film (the movie is admirably nonchalant about suggesting that people over 50 might enjoy a fling or two, and unembarrassed about depicting such flings), but her main romantic interest is a recently divorced ex-Navy retiree, Rodolfo (Sergio Hernández). He’s boyishly delighted by Gloria’s sense of fun, but his adherence to a certain code of machismo has him hopelessly at the beck and call of his ex-wife and two adult daughters.

Formerly tubby, Rodolfo has had gastric bypass surgery and is just beginning to try out his life as a chick magnet. Maybe he misses his protective layer, or he still lacks willpower; whatever it is, he keeps disappointing Gloria.

Director Sebastián Lelio fills Gloria with colorful detail, to the point of occasional pushiness. We didn’t need to see Gloria encounter a peacock at a garden party to infer that she herself might be ready to bloom, for instance. But he and García have created a character so richly imperfect and fully inhabited that her trajectory remains engaging despite the occasional overstatement. By the end, she’s earned her own song (for ’80s pop-music fans, the choice is obvious but still exhilarating); and this time everybody else gets to sing along, too. ROBERT HORTON

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(Because of course after Cruising, Pacino’s career tanked.) Since Franco’s stated motivation for this exercise was a demand for the freedom to explore sexuality on film, and since the unseen agent’s homophobia thus lies at the crux of the issue, it’s odd that these conversations are the scenes that ring falsest; and when we later see Lauren sitting against the wall of a parking lot, his script in his lap, reading aloud the stage direction “Val sits against the wall of the parking lot. The script is in his lap. He reads to himself,” you suspect the entire thing—in yet another layer of meta—is a fully scripted put-on. (What’s not simulated is the close-up fellatio; take this either as warning or encouragement.) Also see Steve Wiecking’s take on both movies, page 19. GAVIN BORCHERT

The Monuments Men OPENS FRI., FEB. 7 AT ARK LODGE AND OTHER THEATERS. RATED PG-13. 112 MINUTES.

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Start reading about the Allied military unit charged with finding and securing the stolen artworks of World War II, and you will happily disappear into fascinating stories of heroism in the face of Nazi treachery. The 2006 documentary The Rape of Europa stirringly recounts part of the saga, and is a good starting point for further inquiry. George Clooney’s movie, inspired by the unit, is a sincere if unwieldy plea for art as a vital human resource, but The Monuments Men can’t quite do justice to the tale.

Clooney first appears as Danny Ocean with professorial beard: Frank Stokes, a museum curator with FDR’s approval to assemble a crack team of art experts for active duty. As a filmmaker (he co-wrote with frequent partner Grant Heslov), Clooney knows he can’t entirely escape the air of the Ocean’s Eleven pictures, so he doesn’t try; the all-star assembly this time returns Matt Damon to the ranks, with new enlistees Bill Murray, Jean Dujardin (the Oscar winner for The Artist), Bob Balaban, and John Goodman. On the theory that professors and art experts are probably less colorful than jewel thieves, Clooney sprints through the recruitment process, getting the Monuments Men to the front lines where they can hunt for hidden masterpieces and crack a few jokes. The old-fashioned humor includes some kidding-in-the-faceof-possible-death, suggesting that Clooney has recently enjoyed a few Howard Hawks pictures.

Meanwhile, a subplot involving Hugh (Downton Abbey) Bonneville’s disgraced British curator has an agreeable old-Hollywood simplicity—

Clooney could be trying to make a movie that really might’ve been produced in the 1940s.

The problems come when Clooney tries to weave his jocular mood together with intimations of the Holocaust and periodic speeches— there are at least two too many—in which we hear about how the art saved by the Monuments Men really was worth the effort and expense. (I wish the movie didn’t feel the need to apologize and explain—sadly, it knows it does.) The clunkiness of the connecting scenes keeps the film from truly getting underway—it moves like a jeep on a dirt road—although a couple of well-written conversations keep the interest going. One involves Stokes, a pack of cigarettes, and a Nazi POW; the other has Damon’s art restorer passing an evening in Paris with his contact, a museum employee (Cate Blanchett) who watched the Germans move hundreds of artworks out of the city under her careful, wary gaze. (Her character is based on one of the most amazing true stories to come out of the Monuments Men effort.) For a moment, Damon and Blanchett get a palpably human connection going amid the historical do-goodery. There’s a movie that might be made from that moment, but The Monuments Men is too dutiful for that. ROBERT HORTON

PThe Past OPENS FRI., FEB. 7 AT GUILD 45TH. RATED PG-13. 130 MINUTES.

More than one separation is at the heart of The Past, Asghar Farhadi’s first film made outside his native Iran. In a country where cinematic talent exists in inverse proportion to artistic freedom, Farhadi emerged as a major figure when his fifth feature, A Separation, wowed festival audiences and eventually won the Best Foreign Language Film Oscar last year. Although the Iranian powersthat-be tend to convey ambivalence about their filmmakers’ success overseas (do we take a moment for nationalistic chest-thumping, or condemn the Western devils and their corrupting influence?), something about A Separation earned Farhadi the right to journey to France to make his next picture.

With one exception, The Past is much like A Separation: deliberate, full of feeling, scrupulously made. It begins after a four-year separation.

Ahmad (Ali Mosaffa) has come from Iran to Paris to finalize his divorce from Marie (saucer-eyed Bérénice Bejo, from The Artist), who is anxious to get on with her life with new beau Samir (Tahar Rahim, A Prophet). At least she seems anxious, although she keeps finding reasons for Ahmad to stay around her house. But the situation is much more complicated than that. Part of the drama

revolves around Marie’s teenage daughter from a previous relationship, Lucie (Pauline Burlet), who still needs Ahmad’s fatherly advice after having carried around a guilty secret for a long time. This secret provides the film with its plottiest device, a melodramatic thread that keeps The Past from reaching the delicate achievement of A Separation. It’s like a 45-minute whodunit that suddenly sprouts inside a character study.

Still, the movie shows a deep empathy for its people and a strong sense of place—not a sense of France, perhaps, but a feeling for a humble neighborhood (this is not romantic Paris), the surrounding streets, a workaday dry-cleaning shop. We could be almost anywhere. It builds to a sequence in a similarly humble hospital, where one storyline in this drama has been dragging on for months.

The sequence lasts a few minutes but consists of a single shot, an approach that allows Farhadi to convey the importance of time (the film is called The Past for a reason) as both torture and consolation. The longer the shot goes on, the closer we watch for the tiny clues that will indicate how a number of lives will be affected by what happens here. And if we’re paying close-enough attention, we’ll see something that rounds off this sad film with a fitting farewell. ROBERT HORTON We’re all turning into robots, Reggio implies.

CINEDIGM

Visitors OPENS FRI., FEB. 7 AT CINERAMA. NOT RATED. 87 MINUTES.

Walking the Camino: Six Ways to Santiago RUNS FRI., FEB. 7–THURS., FEB. 13 AT SIFF CINEMA UPTOWN AND SIFF FILM CENTER. NOT RATED. 84 MINUTES.

Martin Sheen has already starred in a gentle comedy about pilgrimage paths in Northern Spain (2010’s The Way, directed by his son Emilio Estevez), so this new doc feels slightly out of sequence. Usually it’s the other way around: first the sober nonfiction chronicle, then the cutesy Hollywood version. And if anything, in its international, uplifting cutesiness, Lydia Smith’s film may actually be more genial than its predecessor. A few priests explain the history of the pilgrimage paths to Santiago, where St. James is supposedly buried.

At 500 miles from Saint-Jean-Pied-de-Port in southwestern France, the Camino is a strenuous walk on both paved roads and pastoral trails, a trek that takes a month for most walkers. (A series of hostels en route provides bunks and grub.)

Not all of these half-dozen trekkers are strictly religious. For one young Portuguese businessman, the Camino is a personal challenge. A cheerful, sturdy Danish woman wants the time alone—then falls in step with a handsome Canadian. Annie, the lone American, is a New Agey but engagingly candid woman of a certain age; she says nothing about her life back home, but you suspect that her kids are in college and she’s possibly divorced. Then there’s the British-accented Samantha, a brash Brazilian who says she’s lost her job, boyfriend, and apartment back in London. She stops for regular smoking breaks, flirts shamelessly, and would be a far better heroine than Julia Roberts in the Eat Pray Love/Under the Tuscan Sun memoir category.

This cheerful travelogue could well have been produced by the Spanish National Tourist Board. I’m not saying it’s an informercial, but the fellowship among these travelers is enormously appealing. The scenery is gorgeous and often medieval, so much so that you can forgive the platitudes—“Every day is a journey,” “The baggage you carry is your fears,” etc.

A better summation comes from a Canadian cleric, who simply calls their 30-day journey “a luxury of time.” BRIAN MILLER E film@seattleweekly.com

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Shot in super-high-def black-and-white digital video, this is the latest state-of-the world doc from Godfrey Reggio (Koyaanisqatsi, etc.), and he doesn’t like what he’s seeing. He also doesn’t like how we’re seeing the world, which increasingly means small, flat screens held in our hands and laps. Where’s the grandeur, the awe, the majesty? Has all the numinous wonder of nature been replaced by Facebook and Twitter? And another thing—you damn kids get off my lawn!

You would call Visitors a film of ideas if it had any. Absent any narration, as usual for Reggio, the film presents a succession of somber images that eventually settles into cliché: a gorilla’s face, an abandoned amusement park, a giant hand manipulating a computer mouse, sports fans watching a game in slo-mo, a mangrove swamp, an albino posed between two black people (yes, really), the lunar surface, a New Orleans cemetery, and so on.

(Also s usual for Reggio, Philip Glass supplies the score.) But how many times must we watch timelapse shadows crawl across a building’s façade?

(That edifice’s Latin inscription, Novus Ordo Seclo-

rum, translates as “new order of the ages”—which you’ll also find on the dollar bill, beneath the all-seeing Illuminati pyramid eye. Make of that what you will.) We study the faces of mankind individually, like Martin Schoeller portraits, then in teeming crowds. It’s like scrutinizing strangers on the bus. To fight boredom, you keep hoping you’ll recognize someone you know.

Visitors moves in a structure along with Glass’ three symphonic movements, and I prefer the music. The score is often Coplandesque in its thrumming harmonies, full of woodwind drones and plangent timpani clusters; oboes erupt in unison, interrupted by pizzicato strings. In a film that’s intentionally repetitious, full of echt profundity and audience implication, Glass at least escapes Reggio’s banal image sequencing. If Visitors argues for a more authentic, unmediated way of seeing the world, the music allows us to imagine an unseen world. Close your eyes, and it’s like Reggio forgot to take off the lens cap. BRIAN MILLER

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Local & Repertory last year’s professor Robert Reich shows how the inequality curve began climbing in the ’80s, accelerating with the deregulation of financial markets during the Clinton era (when he worked in the White House). It’s a 40-year trend, with technology, globalization, outsourcing, and other causes. To counter that trend, Reich advocates federal stimulus and other policies to grow the middle class and get it spending again, to raise that median income (essentially flat since the pre-OPEC ’70s, measured in constant dollars). Reich would raise taxes on carbon and the elite (particularly capital gains), and he encourages federal spending in areas like bridge repair and infrastructure that create middle-class jobs.

Meanwhile, Republican rhetoric about an “opportunity society” has become a cruel irony: Social mobility is heading in the wrong direction, making the country ever more polarized. And that is why, despite Reich’s ebullience, this is such an important, dismaying film.

(PG) BRIAN MILLER SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Sun., Feb. 9, 2 p.m.

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Jim Carrey plays Joel, an office-worker drone so stifled by his routine that the last two years of his cartoon journal/diary are blank. Kate Winslet plays Clementine, a flighty, mercurial bookstore-clerk drone from the same LIE exit. They meet cute at the beach.

So, is this movie a simple opposites-attract formula job? Not at all; the Oscar-winning 2004 collaboration between French director Michel Gondry and screenwriter Charlie Kaufman is a heart-trip and a head-trip all at the same time. Joel opts to have the memory of Clementine removed from his brain by some shady operators (Mark Ruffalo, Elijah Wood, and Kirsten Dunst among them). Naturally the low-tech procedure goes very, very wrong. As love, memory, reality, and temporality are scrambled together, though, Eternal Sunshine does just about everything right. (R) B.R.M. Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com, $6-$8, Feb. 7-11, 9:30 p.m.

THE GOLDEN AGE OF ITALIAN CINEMA Directed by Michelangelo Antonioni, the 1955 Le Amiche (or The Girlfriends), a young roman woman (Eleonora Rossi Drago) finds decadence and intrigue up north in Turin.

(NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), Thursdays, 7:30 p.m. Through March 13.

MUSIC CRAFT: LOU REED The late music icon is captured in a series of short films, with Nico and the Velvet Underground appearing among them. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$11, Thu., Feb. 6, 8 p.m.

POST ALLEY FILM FESTIVAL Short films are screened in various packages until 7 p.m., followed by a reception and fundraiser for the fest. (NR) SIFF Film Center (Seattle Center), postalleyfilmfestival.com, $10-$15, Sat., Feb. 8, 11:30 a.m.

SAY ANYTHING John Cusack as romantic lead? It didn’t seem likely, but that’s exactly what happened with the alchemy of Cameron Crowe’s lovely 1989 romcom (his directorial debut). Ione Skye is the girl, and John Mahoney her disapproving father. Cusack was just graduating from teen fodder when Crowe gifted him with the role of a decade. Set in Seattle, the film has Cusack’s kid from the wrong side of the tracks fall hard for a college-bound high achiever. Though something of a shambling oaf, whose only goal in life is to become a pro kick-boxer, he somehow locates his own inner Cary Grant to woo her. Well, a Cary Grant for the grunge era, since Crowe’s soundtrack includes Mother Love Bone, Soundgarden, and The Replacements.

(Look for Lili Taylor and Eric Stoltz, Crowe’s good-luck charm, in nice supporting roles.) Two decades later, there are plenty of women in their 30s and 40s who are, perhaps after a divorce or two, still looking for their Lloyd Dobler. (R) B.R.M. Central Cinema, $6-$8, Feb. 7-11, 7 p.m.

SEATTLE ASIAN AMERICAN FILM FESTIVAL Over two dozen features and shorts are screened, with subjects including gang-bangers in Pomona, California, the “Linsanity” surrounding NBA star Jeremy Lin, and marriage equality. See seattleaaff.org for ticket info and full schedule. (NR) Ark Lodge, 4816 Rainier Ave. S., 721-3156, arklodgecinemas.com, Feb. 6-9.

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THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES The 1949 serial Batman & Robin will be

screened in weekly installments. February’s surprise features will have a “tough guys” theme. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8 individual, $35-$56 pass, Saturdays, 2 p.m. Through March 29.

STEALING AFRICA Discussion follows this doc about copper mining and corruption in Zambia. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Feb. 7, 7 p.m.

THESE BIRDS WALK A Pakistani runaway tries to survive on the streets of Karachi in this new documentary.

(NR) SIFF Film Center, $6-$11, Feb. 7-9, 7:30 p.m.; Sun., Feb. 9, 3 p.m.

THIRD CONTACT A shrink goes off the rails, and becomes obsessed with a mysterious female patient, in this new English thriller. (NR) SIFF Film Center, $6-$11, Thu., Feb. 6, 8:30 p.m.

THE TRIALS OF MUHAMMAD ALI The most famous athlete of the 20th century, his every fight and utterance covered by international media from 1960–81 (his boxing career), Muhammad Ali has left a mountain of archives for authors and filmmakers to mine. But here’s the catch: They’d better find something new to say after so many prior books and documentaries.

Bill Siegel succeeds in pulling up only a few nuggets here, like Ali performing in the Broadway musical Buck White during his ban from boxing. That period, 1967– 71, should’ve been framed to much tighter and more dramatic effect, yet Siegel falls into the trap of giving us the whole of the GOAT, which cannot be done in 92 minutes. I doubt many millennials watch boxing today, and for some this footage may be fresh. The sport is in such decline, its brain-injury stats so damning, that the tale of Ali’s conscientious-objector lawsuit—to avoid being drafted into the Army during the Vietnam War—feels as distant as the Civil War. Siegel punches it up with some fresh interviews, but his sources are too fawning. Ali is great enough without being lionized yet again. His famously repeated quote “I ain’t got no quarrel with them Vietcong” is certainly true and courageous, but Siegel never digs deeper into Ali’s resentment about his loss of vocation—the millions he couldn’t earn while serving safely in a National Guard unit, far from the front lines. (NR) B.R.M. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Sat., Feb. 8, noon.

24 EXPOSURES From Joe Swanberg (Drinking Buddies, Hannah Takes the Stairs), this new drama takes a nod back to European art-house and softcore movies of the 1960s, with murder and fetish models in the mix. (NR) Grand Illusion, $5-$8, Thu., Feb. 6, 9 p.m.

THE VISITOR This 1979 Italian cult film is reportedly a pastiche of sci-fi and Satanism, with an odd variety of American talent earning easy paydays abroad.

Appearing in the cast are John Huston, Shelley Winters, Glenn Ford, Lance Henriksen, Franco Nero and Sam Peckinpah. 21 and over. (NR) Northwest Film Forum, $6-$11, Fri., Feb. 7, 11 p.m.; Sat., Feb. 8, 11 p.m.

WADJDA SIFF continues its Monday night “Recent Raves!” series with Saudi Arabian writer/director Haifaa Al-Mansour debut feature, also the first film made by a Saudi woman. She shot some of the exterior scenes from the inside of a van, because a woman working with men in public is not looked on with favor in Riyadh. Her struggles are more than good journalistic copy; they explain the controlled ferocity of the movie’s storytelling, which is a coded version of the making of the film itself. Desperate to own a bicycle, Wadjda energizes the movie. She’s a smart and innately rebellious 10-year-old—a stock character, perhaps, but not in Waad Mohammed’s performance.

Her insolent body language and exasperated eyerolling mark Wadjda as a hilariously recognizable 21stcentury child, even if the society around her seems more 16th-century. Wadjda’s father has left their home because her mother (Reem Abdullah) is unable to supply more children, which means no male heir.

Al-Mansour makes her points without caricaturing her characters; the father (Sultan al-Assaf), for instance, is warm and kind, if weak. Her film could not exist if it were a screed, but even the casual depiction of inequality is infuriating. Yet Al-Mansour plays it careful even during the expected happy ending. (PG) ROBERT HORTON SIFF Film Center, $6-$11, Mon., 7 p.m.

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provide live accompaniment for Buster Keaton’s great Civil War railroad chase movie The General, which features some astonishing stunts and gags. It’s a classic. (NR) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org, $5-$10, Mon., 7 p.m.

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arts&culture» Music

On a Boat

Bobbi Rich, the host of the ’90s-style music variety show Hangin Tuff, takes her guests out to sea.

mainstage

dinner & show

BY KELTON SEARS

WED/FEBRUARY 5 • 7:30PM

patty larkin Co-hosts Anna Urband, left, and Lisa Gallo, right, float along with host Bobbi Rich.

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B

with them. She often interrupts the program for “Boating Safety 101” announcements with advice like “The probability of being involved in a boating accident doubles when alcohol is involved.” (Note the irony here: Liquor is liberally used on the show.)

Through her floating, booze-filled Q&As, Rich uncovers some interesting facts about her subjects. Did you know Jarv Dee tap-danced as a kid? (Once with Gregory Hines, even!)

Or that La Luz named its album It’s Alive after a creepy person meowed like a cat at lead singer Shana Cleveland from the darkness at a Ravenna Park bus stop?

“I just want to make bands more relatable and get those little pieces of their humanity, instead of having them go ‘Oh, this is our next single, it’s coming out soon, blah blah blah blah,’ ” says Rich. “I miss getting to see a band’s personality.”

The show’s five-episode first season features La Luz, Jarv Dee, Fly Moon Royalty, HalfBreed, and Don’t Talk to the Cops. For the second season, Rich wants to continue to focus on Seattle, but would eventually like to expand the show nationally, plopping down the hottub boat wherever it finds open water and willing musicians.

Rich hopes that Hangin Tuff will draw exposure for Easy Bake Coven, who helped produce the show. She also hopes one day the program will be one of the many “channels” you can tune into on the larger Easy Bake Coven website.

“I’m going for gold here,” Rich says. “I’d love to get [the show] on Netflix. I have dreams of bringing it to MTV one day and saying, ‘Hey, guys, you can bring the music back. It doesn’t have to be pregnant teenagers anymore.’ ” E

ksears@seattleweekly.com

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lisa koch birthday bash

w/ vickie shaw, roxanna ward and guests MON/FEBRUARY 10 • 7:30PM

an evening with duncan sheik SAT/FEBRUARY 15 • 7PM & 10PM

the atomic bombshells:

j’adore! a burlesque valentine next • 2/16 the presidents of the united states of america (acoustic) • 2/17 an evening with greg laswell • 2/18 & 2/19 sweet honey in the rock • 2/20 hot tuna (acoustic) w/ david lindley • 2/21 tony furtado w/ lydia ramsey • 2/23 david wilcox w/ justin farren • 2/24 jon mclaughlin w/ dwayne shivers • 2/26 throwing muses • 2/27 mason jennings (solo) w/ rebecca pidgeon • 2/28 the united states of football (film) • 3/1 nicki bluhm & the gramblers (at neumos) • 3/3 korby lenker w/ carrie clark • 3/6 sea wolf

happy hour every day • 2/5 the winterlings • 2/6 si limon • 2/7 supersones / cody rentas band • 2/8 rai • 2/9 hwy 99 blues presents: justin froese • 2/10 crossrhythm session • 2/11 singer-songwriter showcase featuring: pepper proud, the royal oui and aaron zig • 2/12 fawcett, symons and fogg TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

HANGIN TUFF: SEASON ONE PREMIERE Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7. 21 and over.

8 p.m. Thurs., Feb. 6.

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

obbi Rich is a true product of the ’80s and ’90s: The Seattle DJ hosts a ’90s night at Havana on Capitol Hill. She grew up watching classic MTV programming like Yo! MTV Raps and Headbangers Ball. She obsessed over the hyperactive charm of Pee-Wee’s Playhouse. And it was her love for that era’s irreverent aesthetic that inspired her, along with her all-female film and art collective, Easy Bake Coven, to create Hangin Tuff, a new webbased variety show with a wonderfully nautical premise: Take Seattle musicians out on a hot-tub boat on South Lake Union for the most chilledout interviews ever.

“We just don’t want to take things so seriously or seem like we’re über-super-cool,” says Rich.

“I’d just much rather get a laid-back version of these bands.”

Back when MTV still aired music videos, Kurt Cobain appeared on Headbangers Ball in a yellow banana suit. Those were the days when bands took themselves a little less seriously, and Alice Cooper appeared on The Muppet Show. That’s the point of Hangin Tuff, Rich says, who fell in love with bands back then because it seemed like they were fun.

“On Pee-Wee you would have Grace Jones on the Christmas special appearing out of a box that was delivered to the Playhouse,” she says.

“Then she would jump out and perform. I loved that kind of stuff. [Those things] got me so jazzed on a band. It made me feel like I could be their friend.”

Hangin Tuff (named loosely after the New Kids song: “I was brainwashed as a kid growing up in Massachussetts [when] NKB was all the rage,” she says), captures the zany, fast, and loose style of music coverage in the ’80s and ’90s. With her co-hosts Anna Urband and Lisa Gallo, the show features characters like a drunken mermaid and a science-obsessed kraken, lots of cheeky vintage video clips, and Rich, who conducts interviews with the band while in the hot tub

FRI/FEBRUARY 7 • 7PM

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

arts&culture» Music

1303 NE 45TH ST JAZZ ALLEY IS A SUPPER CLUB

SevenNights E D I T E D B Y G W E N D O LY N E L L I O T T

Wednesday, Feb. 5 SECRET CHIEFS 3 Originally formed in the mid-’90s

TOWER OF POWER THURS, FEB 6 - SUN, FEB 9 JOHN ABERCROMBIE BAND W/ MARC COPLAND, DREW GRESS & JOEY BARON TUES, FEB 11 - WED, FEB 12 American jazz guitarist steeped in jazz fusion and post bop

MINDI ABAIR THURS, FEB 13 - SUN, FEB 16

Valentine’s Celebration Friday, February 14th Chart-topping contemporary sax sensation.

“Mindi Abair is #1 for her original sound, perfect melodies, grooves and overall sense of fun.” - Jazziz Magazine

DOUBLE BILL: KENNY WERNER TRIO/CECILE MCLORIN SALVANT TUES, FEB 18 - WED, FEB 19

World Class pianist/composer and up and coming versatile vocalist/winner of the 2010 Thelonious Monk International Jazz Competition

TERENCE BLANCHARD SEXTET THURS, FEB 20 - SUN, FEB 23

Five-time Grammy winning trumpeter and renowned film-score and soundtrack composer touring in support of his new release Magnetic

all ages | free parking full schedule at jazzalley.com

www.facebook.com/takewarningpresents twitter @takewarningsea

tickets @ ticketfly.com *Wednesday*

Feb. 5 @ barboza

GENTLEMEN HALL / BASIC VACATION HarPs

21+ onLY - 8:00 pm. tiX @ thebarboza.com *next Week*

by Mr. Bungle founding member Trey Spruance, the Secret Chiefs 3 lineup has assumed several different shapes over the years. With an almost endless musical genre palette, the avant-garde group jumps seamlessly from Middle Eastern to surf-rock to jazz without batting an eye. With Atomic Ape. Neumos, 925 E. Pike St., 7099442, neumos.com. 8 p.m. $16 adv. 21 and over. JAMES BALLINGER TERRIBLE BUTTONS There’s a dark vibe to Runt, this Spokane-based folk/blues septet’s debut album. Kent Ueland’s gruff voice sounds like that of a man who’s been beaten down more times than he’d like to remember—especially on “Everybody Knows Everybody”— and Sarah Berentson’s bluesy voice becomes haunting on several songs. Even when the music is upbeat, there’s a spooky underbelly to it all. With Roaming Herds of Buffalo, Charms. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $8.

21 and over. AZARIA C. PODPLESKY While writing her 13th studio album, last year’s Still Green, folk singer/songwriter PATTY LARKIN found inspiration in the work of award-winning poet Kay Ryan—a fact Larkin notes on “My Baby” with the lyric “All the poems janglin’ in my head.” Larkin’s lyrics themselves read like poetry—a series of image-evoking phrases about hope, joy, and the strength that comes after grief. Triple Door, 216 Union St., 838-4333, thetripledoor. net. 7:30 p.m. $20 adv./$23 DOS/$30 VIP. All ages. ACP

Thursday, Feb. 6

There have been more than 60 musicians in TOWER OF POWER over the band’s 44-year history, but the group is still led by founder Emilio Castillo, who anchors the incredible horn section: one of the best, and certainly funkiest, of all time. The band will play eight shows over four nights, and showcase new vocalist Ray Greene. Jazz Alley, 2033 Sixth Ave., 441-9729. 7:30 & 9:30 through Feb. 9. $44.50. DAVE LAKE Though one of the newer bands on the heavy-music scene, Seattle’s WITCH RIPPER has already received a fair amount of attention, and for good reason. It absolutely crushes live, playing a blend of High on Fireand Mastodon-influenced metal. Keep an eye on this band, as it gets better and better with each set. With Sailor Mouth, Gladiators Eat Fire, Skies Below. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern. com. 9 p.m. $6 adv. 21 and over. JB With just a hint of twang, Americana singer JOY MILLS (formerly of the Starlings) brings a bit of Southern sweetness to the Northwest. As the Joy Mills Band’s frontwoman, she released Trick of the Eye, a collection of songs with a lot of down-home soul, in 2012. She’s playing

34

BLACK UHURU

IndubIous, GIGantor (LynvaL GoLdInG oF tHe sPecIaLs)

21+ onLY - 8:00 pm. tiX @ nectarLounge.com tHursday Feb. 13 @ cHoP suey

MAD CADDIES

ILLscarLett, PosItIve rIsInG

aLL ages (bar w/ id) - 7:00 pm tiX @ chopsueY.com

FrIday Feb. 28tH @ eL corazon

T.J. MILLER

nIck vatterott, emmett montGomery

21+ onLY - 9:30 pm. tiX @ eLcorazonseattLe.com

U&C: 2/20 peter bradLeY adams @ high dive, 2/22 major League @ eL corazon, 4/1 La dispute @ eL corazon, 4/8 i am the avaLanche @ vera project

COURTESY OF THE ARTIST

SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

Wednesday, Feb. 12 @ nectar

Patty Larkin

solo tonight, but a new Joy Mills Band record is in the works. With the Believers. Treehouse Cafe, 4569 Lynwood Center Rd. N.E., Bainbridge Island, 842-2814, treehouse bainbridge.com. 8 p.m. $12–$16. 21 and over. ACP

Friday, Feb. 7

AAN started a few years back as just another Portland

folk band, but, infected by its hometown’s askew-pop bug, it’s the latest in a long line of PDX experimentalists like Menomena, Binary Dolls, and 31 Knots. On its justreleased debut full-length, Amor Ad Nauseum, the band can be heard starting, stopping, buzzing, and harmonizing amid impossibly catchy pop hooks while Bud Wilson sings in a high register, usually landing somewhere between sweet Jeff Buckley and tortured Jason Molina.

It’s all kind of baffling. With Desert Noises. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $8 adv./ $10 DOS. 21 and over. MARK BAUMGARTEN Seattle’s ANCIENT WARLOCKS are straight-up, smoked-out stoner-rock goodness. On 2013’s selftitled release, the band delivers all the big riffs and amplifier worship it can muster, drenched in the bluesinfluenced, fuzzed-out sludge found in some of the best stoner rock of days past. That’s pure rock ’n’ roll, folks.

With Mos Generator, Argonaut, Cody Foster Army.

Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. 8:30 p.m. $8 adv./$10 DOS. 21 and over. JB GRAYSKUL W/KIMYA DAWSON Seattle hip-hop outfit Grayskul has crafted forward-thinking lyricism and beats to much acclaim, leading to working with the likes of Wu-Tang Clan’s Raekwon. Sharing the stage is forever folk experimentalist Kimya Dawson (who collaborated with Aesop Rock in the group The Uncluded)—a seemingly odd combination, but a brilliant testament to both groups’ boldness to challenge musical norms. With the Chicharones, Triceracorn, Vold Pedal, DJ Graves 33. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $7 adv./ $10 DOS. 21 and over. DUSTY HENRY AUGUSTINES Having spent this past fall touring with Scottish indie-rock act Frightened Rabbit, this now-Seattle-based band (formerly known as We Are Augustines) will deliver a batch of ambitious, roof-raising indie cuts from their new self-titled release (out Feb. 4). Think rowdy, shout-along rock with feelings—and a freshly realized Northwest sensibility. With My Goodness.

Neumos. 8 p.m. $18. All ages. KEEGAN PROSSER

Saturday, Feb. 8

SPEKULATION has a knack for mashing up unusual,

incongruous sounds and turning them into something very compelling. Most recently, he remixed a Marshawn Lynch interview; before that, he mixed Nas with Industrial Revelation; and he once created a track consisting entirely of didgeridoo and Aboriginal vocal samples. He takes the stage with a nine-piece live band after a six-month hiatus. With Julie C, Perry Porter, and others. Columbia City Theater. 8 p.m. $8 adv./$10 DOS. MICHAEL F. BERRY

Sera Cahoone

Saturday, February 8

I

HILLARY HARRIS

n the early days of Sera Cahoone’s solo career, the Colorado native frequented a few notable Seattle haunts: the famous—and sadly defunct—OK Hotel; the open-mike night at Capitol Hill’s Hopvine Pub; and the Tractor Tavern. “I feel like I really came into my own here in Seattle,” she says. “I played a lot of my first shows at the Tractor. [It] will always have a very special place in my heart.” And Cahoone has fond memories of being off the stage at the Tractor as well, saying alt-country band Freakwater of Louisville, Ky., was “one of the best shows I’ve ever seen.”

Cahoone will return the favor when she and her band headline the second of the Tractor’s three shows (over three consecutive weekends) celebrating its 20th anniversary.

“People always remember where they see a great show,” the soft-spoken singer/songwriter says.

“The Tractor, in particular, has been a home for the Seattle country/ folk music scene. Also, as Ballard grows and changes, the Tractor is a staple of old Ballard—what made Ballard so great in the first place.”

Cahoone recalls her first Tractor gig: “I believe it was the last night you were able to smoke in a bar.

I remember smoking a cigarette onstage, saying something like ‘What am I doing? I don’t smoke.’

It just seemed like the right thing to do at the time.” But the most memo-

rable event at the Tractor, Cahoone says, was the time she came out for an encore and found a pair of Denver Broncos underwear on her mike: “It was the best.”

This show comes during a busy time for Cahoone, who has been touring and playing consistently since releasing her third record, Deer Creek Canyon, back in 2012. Can we expect another in the near future? “Yes,” she says. “I have been working hard at writing some new stuff. I’m getting there, but still have a lot of work to do.” Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9 p.m. $15 adv. JESSIE MCKENNA

El Corazon www.elcorazonseattle.com

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

THURSDAY, FEBRUARY 6

MONDAY, FEBRUARY 10

Mike Thrasher Presents:

Mike Thrasher Presents:

With Their Heads and Broadway Calls Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS

Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $16 ADV / $18 DOS

THE MENZINGERS with Off

DANCING ON THE VALENTINE Celebrating its

ered soundscapes and dissections of pop culture. The upcoming Crooked Kisses—out March 3, but likely on the set list tonight—picks up where those left off with swells of haunting synthesizers, spooky vocals, craggy guitars, and thundering electronic beats. With Atomic Bride, Black Nite Crash. Sunset Tavern. 10 p.m. $8.

21 and over. KEEGAN PROSSER BLIND BOY PAXTON The blues has always been a genre steeped in mystery and intrigue—two characteristics Paxton has in spades. His recorded output is practically nil, so if you want to see and hear him play, your best bet outside of YouTube is on Saturday night.

With Laura Sheehan. Phinney Neighborhood Center, 6532 Phinney Ave. N., 528-8546, seattlefolklore.org.

7 p.m. $17. CR

Sunday, Feb. 9

Through his work with British group UFO and later with the Scorpions, MICHAEL SCHENKER has firmly solidified his place among heavy-metal guitar greats.

His latest record, 2013’s Bridge the Gapfinds, finds the “Mad Axeman” carrying forth the metal tradition he helped pioneer so many years ago. With Gundriver, Zero Down, guests. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. 8 p.m. $20 adv./ $25 DOS/$75 VIP. CORBIN REIFF The headlines have been kind to SHELBY EARL these days; her latest, Swift Arrows, topped many a “Best of 2013” list, and she’s been profiled in scores of online rags from Rollingstone.com and NPR to Paste and No Depression. Tonight she’ll add another bullet point to her resume: animal lover, taking the stage to benefit the pet-advocacy nonprofit PAWS, the

FRIDAY, FEBRUARY 7

ICARUS THE OWL with Stars At Your Feet, Lover Fighter, plus guests Lounge Show. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, FEBRUARY 8

SUPER GEEK LEAGUE with Jonny Sonic and Chaotic Noise Marching Corp Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SUNDAY, FEBRUARY 9

MICHAEL SCHENKER with Gundriver, Zero Down and Palooka Doors at 8 / Show at 8:30PM 21+. $20 ADV / $25 DOS / $75 VIP

TUESDAY, FEBRUARY 11 Mike Thrasher Presents:

FALLING IN REVERSE with Escape The Fate, Chelsea Grin and

Survive This **SOLD OUT - THANK YOU!** Doors at 6 / Show at 7PM ALL AGES/BAR W/ID. $20 ADV / $23 DOS

WEDNESDAY, FEBRUARY 12

MICHAEL DEAN DAMRON with Blacktop Deceivers, Billy Dwayne And The Creepers, Mark Huff and Bryan McPherson Lounge Show. Doors at 8 / Show at 8:30PM 21+. $5 ADV / $7 DOS THURSDAY, FEBRUARY 13 Mike Thrasher Presents:

REHAB

(FAREWELL TOUR) with Jaded Mary, Angels Cut and Tyranny Theory Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS

JUST ANNOUNCED 3/15 MONSTERS SCARE YOU (FINAL SHOW) 3/24 EAST OF THE WALL 4/5 BLACK N’ BLUE 6/4 TWO COW GARAGE UP & COMING 2/14 ABIGAIL WILLIAMS 2/15 LAKEVIEW DRIVE 2/15 LOUNGE THE EPILOGUES / NIGHT RIOTS 2/17 ARLISS NANCY 2/17 LOUNGE TIME AND DISTANCE 2/18 DARK TRANQUILITY 2/19 LYNCH MOB (FEAT. GEORGE LYNCH FROM DOKKEN) 2/20 THE LAWRENCE ARMS 2/22 PENTAGRAM 2/22 LOUNGE MAJOR LEAGUE 2/23 LOUNGE RINGO DEATHSTARR 2/25 LOUNGE DAVE HAUSE 2/26 CHILDREN OF BODOM / DEATH ANGEL 2/27 T. MILLS 2/27 LOUNGE SAUL 2/28 T.J. MILLER 2/28 LOUNGE WE BUTTER THE BREAD WITH BUTTER Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

ninth year, this annual benefit for the Leukemia and Lymphoma Society, which comes together through producer Jenny George (who herself beat leukemia at age 16 after being given less than 30 days to live), is so packed with local talent you might forget that the tribute theme this year is Madonna. You’ll no doubt remember when, say, alt-country group the Swearengens cranks out a twangy cover of “Like a Virgin” or XVIII Eyes cottons its brand of psychedelic shoegaze to “Like a Prayer.” With Adra Boo, The Redwood Plan, the Young Evils, Fox and the Law, XVIII Eyes, Lazer Kitty, Gibraltar, Three Beats Two, Hotels, the Swearengens, Magic Matches, DJ Doc Blammer.

Hosted by Dana of Three Imaginary Girls. Neumos.

8 p.m. $15. 21 and over. GWENDOLYN ELLIOTT TOAD THE WET SPROCKET was about the weirdest band handle anyone had ever heard in 1991, but it soon became a common household name (it’s actually a Monty Python reference). Songs like “Walk on the Ocean” and “All I Want” appealed to kids and their parents alike, giving teenagers reason to question whether their parents had secretly always been just a little bit cool. After a 16-year break with only sporadic performances, TTWS is back with a new album, a greatest-hits compilation, and a tour to boot. With Jonathan Kingham. The Showbox, 1426 First Ave., 6283151, showboxpresents.com. 8 p.m. $27.50 adv./ $30 DOS. 21 and over. JESSIE MCKENNA JUPE JUPE Composed of My Young on vocals and synthesizer, Bryan Manzo and Patrick Partington on guitar, and drummer Jarrod Arbini, Jupe Jupe has already released two albums, Invaders and Reduction in Drag, that have garnered the band attention for its sleek, lay-

BREATHE CAROLINA with Mod Sun, Ghost Town and lionfight

35

arts&culture» Music

Eddie Money

Sunday, February 9

I

SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

36

Progressive Animal Welfare Society. The Manor House, 4611 Woodson Lane, Bainbridge, 842-8439, pawsbink.org. 4–7 p.m. $65–$120 with drinks and hors d’oeuvres. GE Jeremy Bolm of Los Angeles hardcore act TOUCHÉ AMORÉ may shout his message instead of sing it, but he’s got a lot to say on the band’s third album, Is Survived By—such as his advice to Andy Hull of Manchester Orchestra: “Expose what hurts you the worst/The exchange deals a handsome return.”

Indeed. With mewithoutYou. Neumos. 8 p.m. $15. DL

Monday, Feb. 10

SHENANDOAH DAVIS’ virtuoso piano playing wavers

somewhere between gothic and musical theater: Menacing melodies hiss over complex and immediate piano lines, and Davis’ vocals haunt each track with their stunning operatic timbre. Many of her songs could find themselves at home in a haunted house or an abandoned saloon or even a Broadway stage. With Quilt. Barboza. 8 p.m. $8 adv. 21 and over.

DUSTY HENRY DUNCAN SHEIK has had an interesting career, weathering his one-hit-wonder status (1996’s “Barely Breathing”) to become a respected singer/songwriter and a Tony-winning composer. His most recent project is a stage adaptation of Bret Easton Ellis’ American Psycho, and this gig will showcase songs from both facets of his career. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $28–$36. DL

COURTESY OF THE ARTIST

t’s not very rock ’n’ roll to be up before 9 a.m. and doing interviews, but at age 64, Eddie Money’s lifestyle is much more subdued than it was in the late ’70s, when he toured with the Stones and The Who. “I’d be up at about 1:30 or 2 o’clock having a few bloody marys and trying to cop,” he says. Since Money sobered up in 2001, drugs have been replaced by golf, and the Brooklyn-born singer was up early playing a round in Southern California with friends before our chat. “I just shot an eight,” he says with a laugh. “I’m miserable.”

Money, a former NYPD officer, quit the force to pursue rock stardom in California. After meeting legendary concert promoter Bill Graham, Money landed a record deal and eventually achieved a string of anthemic arena-rock hits, including “Two Tickets to Paradise” and “Take Me Home Tonight.” Though he hasn’t issued an album of new material since 1999, Money’s live show is focused on his sizable catalog of hits—from his 1977 debut to the early ’90s— which, all told, yielded sales in excess of 25 million copies. Money says that playing the songs just as they sound on his albums, and as the fans remember them from the radio and MTV, is what still gets him excited about the live show. “We put ‘Endless Nights’ back in the set,” he tells me excitedly, “for all

my ladies from the ’80s.”

Throughout much of his career, Money struggled with addiction, and later, ironically, money.

“The government is just driving me crazy with these back taxes,” he says. “It’s a struggle, but I don’t have cancer, I don’t have diabetes. I should have saved the money,” he offers. “Who knew?”

Later this month, Money will hit the high seas for the Rock Legends Cruise, alongside Blue Öyster Cult, the Doobie Brothers, and fellow golfer Alice Cooper. When I ask if there’s a chance the pair might take in a round while in port, he laughs.

“He’s a great golfer,” he says. “But I play golf more like Ray Charles.” Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, 425888-1234, snocasino.com. 7 p.m. $15–$40. 21 and over. DAVE LAKE

Tuesday, Feb. 11 DELOREAN’s danceable dream-pop feels far away

from darkness or anguish. Yet this past October, the band found itself kidnapped while on tour in Mexico City and subjected to 30 hours of psychological torture.

In the wake of tragedy, the sweetness and enthusiasm of the band’s catalog has even greater potential for a celebration of life. With Until the Ribbon Breaks.

Barboza. 8 p.m. $14 adv. 21 and over. DH FALLING IN REVERSE Touring in support of its most recent release, Fashionably Late, the post-hardcore quintet has changed its tune a bit in the past year, trading darker, metal-leaning traditions for a more upbeat and accessible take on pop-rock. Even when it’s cheesy, the music is enjoyable (see: “Champion” and “Rolling Stone”). And onstage, the band’s sure to be explosive. With Escape the Fate, Chelsea Grin, Survive This. El Corazon. 7 p.m. SOLD OUT. KP IMAGINE DRAGONS Coming off its universally lauded performance of “Radioactive” and “M.A.A.D. City” with rap phenom Kendrick Lamar at this year’s Grammy’s, the Dragons continue its Into the Night Tour here. It’s been a whirlwind two years for the band following the release of its debut, Night Visions, which solidified its place as one of the most popular pure-rock groups operating today. With the Naked and Famous, X Ambassadors. KeyArena, Seattle Center, 684-7200, keyarena.com. 7 p.m. SOLD OUT. CR

LocaLReLeases Ben Fisher, Charleston (out now, self-released, benfisher.bandcamp.com) Ben Fisher has once again proven that he is beyond his 22 years.

Following his promising Roanoke EP from 2012—a beautiful fourtrack teaser of what the young songwriter is capable of—Fisher’s first fulllength proves that the years he has spent playing his predecessors’ songs to passersby on Seattle’s sidewalks have gifted him with a preternaturally mature lyrical mind.

Fisher has been a local busker since his family moved here from Atlanta when he was still in high school. His singing often has an Actual Tigers–era Tim Seely quality, subtle and half-spoken rather than sung in the traditional sense. His brand of “wordy-folk,” as he calls it, is reminiscent of that of country greats like Townes Van Zandt, whose work highlighted story above all else.

When Fisher’s typically mellow tunes pick up the pace, they take on a more traditional folk-pop quality—as in Charleston’s title track, which could be a radio-pop number, with Fisher’s voice taking on Tom Petty’s deep, guttural line-finishers.

Aided by producer (and fellow Seattle singer/ songwriter) Noah Gundersen, Fisher has created in a masterpiece of simplicity—a collection of stripped-down, tastefully arranged gems that sneak into the heart and sing the listener to a quiet place.

(Fri., Feb. 7, Fremont Abbey) JESSIE MCKENNA

Helms Alee, Sleepwalking Sailors (Feb. 11, Sargent House sargenthouse.com) In September 2012, Helms Alee’s label at the time, HydraHead Records, announced that as of the following December it would cease to release any new records. While maintaining its 20-year back catalog would be HydraHead’s focus, many bands were left without a home. Without a label, Helms Alee’s new material continued to stack up. So after two records on HydraHead (2008’s Night Terror and 2011’s Weatherhead), the band chose to crowd-fund its third, Sleepwalking Sailors, initially planning a selfrelease. But after demos were recorded, the songs attracted the folks over at Sargent House.

With the help of engineer Chris Common (These Arms Are Snakes, Pelican, Chelsea Wolfe), Sleepwalking Sailors was recorded on tape, the band choosing to embrace the limitations of analog rather than refining every detail through a modern Pro Tools setup. It was a wise decision. The song arrangements are tighter, and sound colossal. Sailors is more aggressive than Helms Alee’s previous records, but the band has retained the ability to shift dynamics from beautiful to brutal; one minute you’re being pummeled by riffs, the next you’re hit with three-part vocal harmony from bassist Dana James, drummer Hozoji Matheson-Margullis, and guitarist Ben Verellen. While all three members shine here, it’s Matheson-Margullis’ drumming that really stands out. Tracks like “Dangling Modifiers” showcase her ability to play fast and heavy or restrained as needed.

Essentially, the essence of Helms Alee is perfected on Sleepwalking Sailors. It’s a masterpiece.

THURS FEBRUARY 6TH

HIGHWAY 20 BAND 9PM - $3 COVER

FRI & SAT FEBRUARY 7TH & 8TH

OVER-DRIVE 9PM - $5 COVER

SUN FEBRUARY 9TH

DAVANOS

9PM - $3 COVER NO OPEN MIC 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS TUES FEBRUARY 11TH

TEQUILA ROSE 9PM - NO COVER

MONDAY AND WEDNESDAY

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

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

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

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

JAMES BALLINGER

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op, Fair prices.

sh Good selection, Fun

We pay more for your vinyl Lots of punk, wave and alt Closed Monday • Tue-Fri 1-8 • Sat 11-8 • Sun 11-7 9632 16th Ave SW, White Center, WA

In beautiful downtown White Center

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SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

Noah Gundersen, Ledges (Feb. 11, self-released, noahgundersenmusic.com) Though his voice bears a striking resemblance to Ryan Adams’, Gunderson shares other traits with the North Carolina–born alternative-country star. For instance, both led bands before issuing impressive solo full-lengths: Adams with Heartbreaker and Gundersen here with Ledges. The former singer for The Courage, Gundersen imbues his songs with a wisdom that belies his 24 years. “I was never much younger,” he sings on “Poor Man’s Son,” the opener, “but I feel twice as old”—and it shows. The first half of the song is a cappella, establishing the record’s

intimate mood. As a kid, the Centralia-born musician was forbidden from hearing secular music, and there’s a hymnal quality to Ledges, which is heavy on religious imagery but feels more spiritual than religious, even if it boasts a song called “Isaiah.” It’s a beautiful, delicate, and introspective record, sparsely produced by Gundersen and his sister Abby, with each of the instruments played by a Gundersen, either Noah himself or one his multitalented siblings. A confident debut. DAVE LAKE

37

arts&culture» S.A.M. COLLECTIVE S.A.M. COLLECTIVE RMMCconsulting.com (206) 395-8280

MEDICINE MAN WELLNESS CENTER

MEDICINE MAN Walk-ins Welcome WELLNESS CENTER Celebrating our New Low Prices and New Summer Clinic Hours ** Starting June 28, 2011 ** New Clinic Times: Tues 4–6 Fri 12-2 Sat **starting JULY 2ND ** 10–2

BUSINESSS DEVELOPMENT OPERATIONAL DEVELOPMENT CANNABIS CULTIVATION

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Providing solutions and opportunity for business Saturday 5:00 patients professionals and 10:00 medical– cannabis

Keepin’ It Casual

I

’ve often mused about the two divergent modes of medical-marijuana dispensary operation: Under one paradigm, the patient experience is akin to visiting a pharmacy or medical office; under the other are the more-informal shops that feel more like visiting a friend. The Harlee Cooperative, located in a detached garage in a residential section of what could be described as either

BY STEVE ELLIOTT North Lynnwood or South Everett, falls decidedly in the latter category.

The minute I walked into THC (see what they did there?), I felt at ease. Budtender Cody’s disarming smile and relaxed vibe were in wel-

TOKESIGNALS Sunday 12:00 – 5:00 On-Line Verification Available Celebrating our New Low Prices New Hours: M-F 12:00 – 7:00 Bring this ad for an extra 10% off and New Summer Clinic Hours Providing Authorizations in - For weeklyFollow specials, follow us onSaturday Facebook 10:00 – 5:00 us Bring thisJune ad and receive with RCW 69.51A** 4023 Aurora Ave. N. Seattle, WA 98103 **Accordance Starting 28, 2011 an additional $25.00 OFF www.samcollective.orgSunday 12:00 – 5:00 on Twitter Fri 12-2 New4021 Clinic Times: Tues 4–6 $99 includes (206) 632-4023 Aurora Ave N. Seattle, WA 98103 Bring this ad for an extra 10% off Authorization and ** Card seattlealt@yahoo.com Sat206-632-4021 **starting •JULY 2ND 10–2 A non-profit organization in accordance with chapter RCW 69.51A Doctors available Tuesday 2 - 6,

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

SEATTLE WEEKLY • FEBRUARY 5 — 11, 2014

Now accepting all major credit/debit cards!

38

For weekly specials, follow us on Facebook

4023 Aurora Ave. N. Seattle, WA 98103 www.samcollective.org Reportedly developed (206) 632-4023 right here in Washington, A non-profit organization in accordance with chapter RCW 69.51A PermaFrost gets its name from the thick coating of @seattleweekly sticky trichomes, with the appearance of ice crystals, on its flowers.

come contrast to the hipper-than-thou weirdness found in some shops.

It’s entertaining to watch Cody’s presentation.

There are only about a dozen strains, but they are all in unlabeled jars, and Cody seems to know exactly what’s in every one.

The cooperative was down to just one sativa strain on the day I visited; fortunately this wasn’t a problem, as I was mostly looking for indicas.

I selected the hybrid and local favorite PermaFrost and the indica-dominant Dutch Melon, a cross between Dutch Treat and Watermelon Kush that is so new its name isn’t even official yet.

(Cody told me that he and the grower were using “Dutch Melon” as a working name in the meantime.)

Cody was accurate when he said Dutch Melon has the taste of Dutch Treat and the wallop of Watermelon Kush. The flowers smell and taste of the sweetly dank Dutch strain, yet produce the

Kush’s mesmerizing couchlock. Quite useful for nausea and pain, Dutch Melon makes a good evening smoke, as it can produce sleepiness if you take more than a few tokes.

PermaFrost enjoys a special place in the pantheon of Pacific Northwest cannabis strains.

Reportedly developed right here in Washington, this hybrid gets its name from the thick coating of sticky trichomes, with the appearance of ice crystals, on its flowers.

The Frost is some mighty good medicine; kudos to the grower. Just a few tokes in, I got that portentous feeling associated only with the comeon of high-potency marijuana, and the strain lived up to that early promise with a heavily medicated two-hour high, during which both pain and nausea (both of which had been quite prevalent beforehand) became practically indiscernible.

All flowers are $10 a gram at The Harlee Cooperative; the shop also has a small selection of medibles, including some gummy treats that you don’t want to miss. There are several different kinds of EdiPure gummy candies; I can pass along Cody’s recommendation of the Peach Tarts, since I tried them to good effect (one of the best nights’ rest in a while). The treats come either 10 to a pack with 10 mg of THC each or four to a pack with 25 mg each; either way you get a total of 100 mg of THC for $10, and it’s well worth it. E

tokesignals.seattleweekly.com

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

THE HARLEE COOPERATIVE 14031 52nd Ave. W., Edmonds, 360-393-9064, harleecooperative.com.

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The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department.

Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.)

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Employment Computer/Technology WatchGuard Technologies sks Staff S/Ware Eng. for Seattle, WA to perform product design & dvlpmt. Bachelor’s or equiv. degree in Comp. Sci. or EE & 5 yrs. progressive s/ware dev. exp. or Master’s or equiv. degree in Comp. Sci. or EE & 3 yrs. progressive s/ware dev. exp. Exp. w/ C/C++, boot ldrs., Linux krnl. & drvrs. Travel to CA and/or China, as needed.

Submit resumes to http://ch.tbe.taleo.net/ CH11/ats/careers/requisition. jsp?org=WATCHGUARD &cws=1&rid=408

Employment Finance Financial Analyst: Forecasting, PNL development, & capital acquisition strategy for craft brewery expansion efforts; up to 50% travel outside US. Requires MBA in Finance or Management, or FDE + 1 yr financial analysis/business dev for craft brewery operations operating internationally. FT with Odin Brewing, Seattle, WA. For complete description and requirements & to apply, go to: http://odinbrewing.wordpress .com/home/team-odin/jobs/

Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience.

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Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance.

Financial Aid avail for those who qualify 1.800.321.0298

Real Estate for Rent King County

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

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DIAZ KARATE 3 BEDROOM Rambler.

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WA Misc. Rentals Condos/Townhomes

Home Services Lawn/Garden Service

BURIEN LARGE 1 Bedroom Condo. All appliance including washer/ dryer. Fireplace, on busline, close to shopping. 15 minutes from Seattle. $750 per month. 206-816-0422

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Help us Keep Trees Safe & Beautiful! The Tree Industry can provide you steady year round work.

As a Marketing Rep for TLC4Homes Northwest Inc. you will help Generate Leads for Arborists employed by Evergreen Tree Care Inc. Our Arborists Provide Home Owners Free Estimates and Free Safety & Health Inspections for Tree & Shrub Trimming, Pruning & Removal Services. We Provide Paid Orientation, Marketing Materials, Areas to Work and Company Apparel.

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SEATTLE W EE KLY • FEBRUARY 5 — 11, 2014

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39

Firewood, Fuel & Stoves

Announcements

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Fantagraphics Bookstore & Gallery is privileged to host an exhibition by Virgil Partch, one of mid-century America’s most influential humorists. A new book, Vip: The Mad World of Virgil Partch celebrates the legacy of this notorious cartoonist. An exhibition of art and artifacts from the book opens Saturday, February 8th from 6-9PM. 1201 S. Vale Street Seattle 98108 (206) 658-0110 Fantagraphics.com

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HomeWell Senior Care Franchising is growing!

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MISSING DOG - LOGAN. Missing since August 10th from Auburn area. Sightings in Kent and Bellevue. Mini Blue Merle Australian Shepherd. Very scared and skittish.

Please call Diane at 253-486-4351 if you see him. REWARD OFFERED. Firewood, Fuel & Stoves

NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood.

When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle.

The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet.

Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension.

To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx

Miscellaneous

CASH FOR CARS Running or Not We pay the most!

Pickup right away!

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Dry & Custom-Split Alder, Maple & Douglas Fir

Speedy Delivery & Best Prices!

425-312-5489

Home Furnishings

Auto Events/ Auctions Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 2/12/14 Gates Open 9AM, Auction 12 PM 206-767-4848

Abandoned Vehicle AUCTION!!!

2/14/14 @ 11AM 1992 Honda Accord 121WJL 1978 GMC VAN 888LNB

Preview 10-11AM 14315 Aurora Ave N. Sport Utility Vehicles Suzuki

WANTED: SUZUKI Samuri, soft or hard top.

4WD, 5 speed, any condition!

Private buyer.

Cash in hand! Dan, 360304-1199, brennan.dan44@gmail.com

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UPHOLSTERY SHOP Closed. Everything On Sale! Sewing Machine, Tools, Fabric, Air Compressor and More. $4,500 Takes All! 206660-7770

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A+ SEASONED FIREWOOD

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