Seattle Weekly, April 30, 2014

APRIL 30-MAY 6, 2014 I VOLUME 39 I NUMBER 18

SEATTLEWEEKLY.COM I FREE

| VOX | STOP THE METRO ULTIMATE SOMETHING FOOD TRUCK HERE P.17P.9 MOD’SBINGE-WATCHING METAPHYSICAL MUSEP.19 P.30

Gerald Hankerson’s

REDEMPTION

The The Region’s region’s NAACP president has a long history of leadership. leaderhsip.

MostIt of started it wasininprison. prison

By Nina Shapiro

2

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

inside» April 30–May 6, 2014 VOLUME 39 | NUMBER 18

» SEATTLEWEEKLY.COM

FARESTART PRESENTS

Guest Chef

Enjoy tastes from 30 of the area’s most highly regarded chefs and sips from 30 of Washington’s top wineries, breweries, and distilleries.

Thursday, June 5th

»4

news&comment 4

THE EVEREST OF THE STORY

BY NINA SHAPIRO | Local connections

to a mountaineering tragedy. Plus: a game-show champ turned bookseller.

A local murderlebrity. Scheduling the Seahawks. And, please: Leave hash oil to the experts.

11 9-0 TRIUMPHANT

BY NINA SHAPIRO | Gerald Hankerson’s unlikely rise from inmate to Seattle leader.

food&drink 17 MEAT YOUR MAKER

BY PATRICK HUTCHISON

Have abattoir, will travel.

17 | FOOD NEWS/THE WEEKLY DISH 19 | THE BAR CODE

arts&culture 21 ALL RISE

BY KELTON SEARS | Why surround a vacant lot with poetry?

21 | THE PICK LIST 23 | OPENING NIGHTS | Two classics

from Albee and Shakespeare.

27 FILM

OPENING THIS WEEK | Spidey returns, Kristen Wiig makes a huge mistake, and Jim Jarmusch gets his vampire groove back.

29 | FILM CALENDAR

30 MUSIC

Getting cosmic with Vox Mod. Plus: Sub Pop enlivens Sea-Tac; a second great songwriter from Duluth.

31 | SEVEN NIGHTS

odds&ends 35 | CLASSIFIEDS

»cover credits PHOTO BY KYU HAN

Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle

at Showbox SoDo

Proceeds benefit FareStart’s culinary job training programs for homeless and disadvantaged individuals.

TICKETS ON SALE NOW Visit FareStart.org to purchase today!

GENERAL ADMISSION: A limited number of early bird tickets will be available for $70 per person. When early bird tickets sell out, the price will go up to $80 per person.

Arts Editor Brian Miller

VIP Tickets: $130. Includes access to the VIP Lounge at 5:30 p.m., exclusive tastes, early admittance to main event, and a goodie bag.

Entertainment Editor Gwendolyn Elliott

This is a 21-and-over event.

Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Thomas James, Diana Le, Laurel Rice 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

A BIG T H A N K YO U TO O U R E V E N T S P O N S O R S !

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news&comment Mountain of Doubt

The Everest disaster brings questions facing Seattle’s mountaineering industry to light.

BY NINA SHAPIRO

Mayor Ed Murray called an unusual press conference last week to announce that he has no minimum-wage plan and that his advisory committee needs more time. “Smells like an excuse for a compromise that throws too much away to be worthwhile. Please prove me wrong.” —Eldan Goldenberg, via Twitter . . . “Tip credit is still on the table, as is a phase-in plan for small businesses of 500 employees or less.” —Tips Are Wages, via Facebook . . . “$15 minimum wage is a joke. Those jobs were never meant to be career jobs. Get a clue Mr. Mayor & Seattle.” — Kell Moore, via Twitter . . . “Ed Murray’s mayorship is stuck.” —Joey Sheldon, via Twitter . . . “I miss Mayor McGinn.” —Laura, via Twitter

BY MATT DRISCOLL

T

hanks to a potency far greater than the weed you smoked out of a Mountain Dew can in high school (or was that just me?), the popularity of hash oil has exploded over the past few years.

Sometimes, unfortunately, the explosions have been literal.

Smokable sludge.

ANDRES RODRIGUEZ

4

insurance, they could ensure a significantly higher payout when a tragedy like this strikes. Life insurance has emerged as a major point of debate in Nepal since the disaster, with Sherpa demanding that the government raise the minimum payout requirement, currently at about $10,000.

A.C. Sherpa, who came to Mercer Island as a 13-year-old to join his brother, who had married an American he met in Nepal, agrees.

Speaking in his company’s small office, tucked into Alpine Ascents’ Sherpa team at Everest Base Camp before the a dentistry pracavalanche that killed five of its members. tice owned by his wife, he says that Speaking in his Queen Anne office, Alpine although insurance companies in Nepal offer Ascents program director Gordon Janow says limited maximum payouts, he takes out extra his company is open to making improvements. insurance for his Sherpa staff from an American “Sometimes, unfortunately, it takes an act of nature company. He also says he pays his Nepalese staff to make us take a harder look at the situation.” members up to $10,000 each for the season.

He points out that many Western companies charge their clients upward of $50,000—Alpine In interviews last week, Pasang Gelzen Sherpa Ascents charges $65,000, according to Janow— and Ang Chhiri “A.C.” Sherpa—who runs an and make “huge profits,” which he estimates at international guiding company out of Redmond, about $25,000 per person. The companies should one of the few such companies in the West owned cut their profits to ensure better treatment for by a Sherpa—both raised sharp concerns about tourism in their home country, despite recognizing Sherpa, he says. “Even if they make $10,000 to $15,000, they should be happy.” ways in which it has benefited them and Nepal.

It’s not just money that concerns Pasang Over tea in his Renton home, Pasang Gelzen Sherpa, a past president of the Northwest Sherpa Gelzen and A.C. Sherpa. Both feel that Everest is being overrun with tourists who, especially Association, acknowledges that Nepal’s economy in recent years, have sometimes let their egos relies heavily on tourism. At the same time, he outstrip their respect for local culture and the says, “I really feel that trekking agencies have to environment. Both suggest that the Nepalese value Sherpa life.” He begins to say his compagovernment should limit the number of visitriots are “exploited,” but then shies away from tors to the mountain—a tricky matter since the using that word. “They’re paid,” he allows. And government derives considerable revenue from its the $2,000 to $5,000 that Sherpa staff members $11,000-per-person permit fee. make during the two-month climbing season— “Everest is becoming like a marathon,” says a fraction, however, of the $20,000 to $50,000 A.C. Sherpa. “Everyone is running there.” He earned by Western guides—is several multiples recounts a brawl that broke out last year between of the average local wage. several Western climbers and roughly 100 Still, he says, if companies just spent a couple hundred dollars more per Sherpa staffer for life » CONTINUED ON PAGE 6 ALPINE ASCENTS COLLECTION

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

I

t was on a trek through the Himalayas that Pasang Gelzen Sherpa met the wealthy California businessman who would change his life. Sherpa (a name also used for both the ethnic group he belongs to and the work many of his people do on climbs and treks in Nepal) was a teenager. He had been helping to take Westerners on trips since he was 12, making a dollar a day.

The Nepalese teenager and the American businessman, a cell phone entrepreneur named Les Harris, got to talking in the mountains, a conversation they continued when Harris came back the following year, in 1988. “He asked me if I wanted to come to the U.S.,” Sherpa recalls.

The young man didn’t think much of it. A lot of grateful Western clients had made similar remarks they failed to follow up on once they got home. When Harris got back to California, however, he sent Sherpa a three-page letter demonstrating his sincerity.

At 19, Sherpa came to the U.S. to visit Harris, who by then had retired to Hawaii. The teen stayed nine months, during which time Harris hired an English tutor for him. Harris also encouraged Sherpa, who had attended school for just four years, to return to the classroom.

He followed his advice, eventually returning to the States to get a community-college degree in business studies, all the while being financially supported by Harris. “He just treated me as his kid,” Sherpa says.

Sherpa now runs a landscaping business out of his home, a pleasant rambler in Renton that he shares with his American wife, a writing instructor at the University of Washington. He says he is one of roughly 250 members of his ethnic group who live in the Northwest—many of them, like Sherpa, here because of some connection formed with Americans on expeditions in Nepal. They are a testament to the close bonds that have often bridged the divide between affluent Western adventurers and the relatively poor Sherpa who do the grueling and risky work: carrying heavy supplies back and forth to mountain camps, cooking, guiding.

Those bonds, however, have been tested by the April 18 avalanche that killed 16 Sherpa on Mount Everest, the worst disaster the fabled mountain has ever endured. Amid grieving and tense discussions in Nepal about whether this year’s climbing season will continue, questions are mounting about the treatment of Sherpa as well as about the mountaineering industry as a whole—an industry with ties to Washington state, home to several high-end expedition companies, including Seattle-based Alpine Ascents, which lost five Sherpa staff members in the avalanche.

Hash Oil Catches Fire

As KIRO TV’s Linzi Shelton noted last week, there have been no fewer than six “hash oil– related” explosions in the Puget Sound area over the past year. And DIY hash-oil makers—who use flammable solvents like butane to extract the THC-gorged goo—are mostly to blame.

The incentive is simple: There’s a market for the potent, smokable sludge. Seattle Police spokesperson Sean Whitcomb told KIRO, “It’s almost like the next meth-lab phenomenon.”

Here are three things to know: It’s strong.

While the black-market pot of yesteryear contained—maybe—eight to 10 percent THC, hash oil can pack as much as 70 or 80 percent. A 50 percent THC level in hash oil is fairly commonplace. Suffice it to say: The stuff gets you hiiiiiiiiiigh. Dabbing, as the act of smoking hash oil is often called, involves heating and smoking the sticky extract, usually on a nail with some sort of torch—which looks a lot more sinister than sparking a doob.

It’s all over the Internet.

The process of making hash oil on the fly— demonstrated by many online videos and tutorials—involves packing dried pot into a glass or steel canister and then flooding the weed with butane to extract the potent (and valuable) oil.

Unfortunately, butane is odorless and colorless, and has a tendency to collect at floor level. One ill-timed spark can lead to bad outcomes.

It’s best left to pros.

While it’s possible to make hash oil in your garage for fun and profit, the smart money leaves it to pros. Carbon dioxide extraction, which is used by a number of big-time hash-oil suppliers, is often cited as the cleanest and safest method.

The process uses a closed loop, preventing any flammable gases from escaping. Letting someone in a lab coat make it also ensures you won’t burn your face off. E

mdriscoll@settleweekly.com

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news» » FROM PAGE 4 Sherpa, when locals felt that the Westerners were using offensive language and disregarding safety precautions. He also cites the increasingly high-living ways of Western mountaineers. At the Everest base camp during an expedition in 2010, he says he saw a clients-only bar that one company had set up, serving whiskey and brandy.

“It’s almost like they’re living like the Sultans of Brunei,” he says.

All the while, trash on the mountain is piling up, from human waste to discarded equipment to abandoned dead bodies. It’s an environmental hazard for a region that supplies millions of people throughout Asia with drinking water, says Pasang Gelzen Sherpa.

The Sherpa view the mountains as deities, both Pasang Gelzen and A.C. Sherpa observe.

And they say there is a sense among their people that the Everest god caused the avalanche because of the disrespect she felt.

At the same time, Pasang Gelzen says he can’t help but wonder whether all the traffic contributed to the avalanche in a more tangible way.

Some 100 Sherpa were ferrying supplies across a perilous part of the mountain, known as the Khumbu Icefall, when the snow and ice gave way.

“Don’t you think that would put some pressure on there?” he asks.

FEB 13 THROUGH

MAY 26 1300 FIRST AVENUE SEATTLE WA 98101

In an office above the retail store and gear-check room of Alpine Ascents, Janow says he hasn’t heard anyone from Nepal offer that theory.

But he acknowledges that more people on the mountain means more people exposed to risk.

And especially in the past three years, he says, everyone has been talking about the increasing crowds. “Look at the base camp this year,” he says people will cluck.

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

Trash on the mountain is piling up, from human waste to discarded equipment to abandoned dead bodies. It’s an environmental hazard.

6

GET TICKETS AT VISITSAM.ORG/MIRO This exhibition is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Major Sponsors Christie’s Seattle Art Museum Supporters (SAMS)

The Seattle presentation of this exhibition is made possible by donors to:

Image: Woman, Bird and Star (Homage to Picasso), February 15, 1966 / April 3-8, 1973, Joan Miró, Spanish, 1893-1983, oil on canvas, 96 7/16 x 66 15/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014.

The discussion hasn’t turned to limiting the number of people on the mountain. But he says the notion “certainly might be viable.”

As for the treatment of Sherpa, he is careful to note that most Western mountaineering entrepreneurs are climbers themselves who are drawn to Nepal because of “an affinity for the culture and the Sherpa people.” Over time, they have moved wages and conditions for Sherpa “in a positive direction,” he says. Alpine Ascents also maintains an education fund for Sherpa children.

Nevertheless, when asked if companies like his should ensure that Sherpa staff have greater lifeinsurance benefits, he says, “I think that’s true.”

He also says his company might be willing to increase wages.

He says he expects those issues to come up in the talks among climbing companies that are sure to happen in the months ahead. Speaking on a day in which his company’s 12 clients and three guides are still in Nepal, preparing to go home, he says it’s too soon for such discussions.

“We’re all hurting from this tragedy.” E

nshapiro@seattleweekly.com

Beauty Queen Still ‘A Victim’

T

“Did you encourage Jim . . . ” he likelihood that no one believed “Absolutely not!” her never seemed to rattle Peggy “ . . . to murder Russ?”

Sue Thomas. Cops, prosecutors, and “Absolutely not!” most of Whidbey Island eventually “You did not participate in any way, conspire came to suspect the cinnamon-maned beauty to kill him?” queen was a co-conspirator in the point-blank “I swear on the love for my children. I swear murder of Russel Douglas a day after Christmas on my life.”

2003.

Island County Sheriff ’s Det. Mark Plumberg But swore, too, when asked if he thought Peggy she had

BY RICK ANDERSON Sue was deeply involved in the contract killing. convinced “Absolutely,” he said. herself, it seems, and that’s what mattered. Ms. But there will be no do-overs. Jim Huden saw Washington 2000 never batted a mascaraed eyeto that by going quietly, refusing to negotiate a lash or blew a well-practiced answer when it came lesser charge or take the stand to her story and sticking to it: at his eight-day trial and She had no idea her married conviction. Even if he should boyfriend had gone out one decide to speak up between day and shot the estranged now and the end of his husband of her good friend 80-year sentence, his former Brenna Douglas—a dry-eyed girlfriend, thanks to double widow who would later collect jeopardy, cannot be retried. a hefty life-insurance payoff Yet the murder case is still and express little interest in open, with at least one loose finding the killer. thread. It trails off somewhere So what if the wife of the around Brenna Douglas, shooter and a friend of the the widow who collected shooter both claim Peggy $200,000 in insurance prowas his co-conspirator? Or ceeds, and who, according that another witness recalled even to Peggy Sue, said of her Peggy saying she wished she husband, “He’s worth more to had thrown the shooter’s gun me dead than alive.” into Puget Sound the day of Reporter Van Sant—a Russ Douglas’s death?

Peggy Sue Thomas (right), Seattle native and WSU Hearsay and circumstanevening-gown champ, grad—tracked down Dougtial, Peggy Sue would calmly shown in Las Vegas in 2000. las in a parking lot after she point out to detectives, all the repeatedly refused requests while aware that the shooter, for a sit-down interview. “Hey, Brenna?” he said, Jim Huden, a lovesick, drug-addled jazz musirunning up to her with a mike. “After all this cian who played for Buck Naked and the Xhibitime, investigators still believe you were involved tionists, was going to take the rap alone. in the murder of your husband. What do you The woe-is-me defense seemed to be working have to say to that?” so well that last weekend Peggy Sue told it on “I have to say that you’re harassing me, and national television. “I fell in love with the wrong man,” she said to CBS, shaking her head ruefully. I already filed a police complaint for you guys following me.” She jumped back into her big “I have no reason to lie.” pickup and took off.

The investigators and the gossips and the media had all lined up against her after she was eventually charged and the bloody details emerged—Russel Douglas, 32, of Renton, was lured to a dead-end road and then shot between “I fell in love with the wrong the eyes. man,” Thomas told CBS. “My life became a tabloid story with headlines about ‘Drop-Dead Gorgeous,’ ” Thomas told 48 “I have no reason to lie.”

Hours reporter Peter Van Sant, referring to the title of a 2011 Seattle Weekly story that was then superimposed behind her on the TV screen. “I “She remains a suspect in my mind,” says knew I had a battle on my hands.”

And she sat there, 48 years old now, handsome Island County Prosecutor Greg Banks. He worries that his client, the victim, has not gotten a and far from her pageant playing weight, with full measure of justice. “I mean, what did Russ a confident smile crinkling the corners of her do? He was trying to do the right thing by his mouth. Just as she had won the beauty contest 14 years earlier, just as she had won the lottery by wife, trying to get back together. And for that he got a bullet in the head.” marrying and then quickly divorcing the multiBut it turns out there’s another person who millionaire racehorse owner of a Kentucky Derby thinks justice has not been served. Yes, her. winner, she had won the battle of the island “I’m also a victim in this,” Peggy Sue said on homicide.

American TV last week. “I’m actually giving up Though she was headed off to prison after the four years of my life for something I didn’t do.” interview—taped last year after her sentencing, Nothing, not an eyelash, moved. E at which she refused to discuss the killing—it would be for four years for rendering criminal randerson@seattleweekly.com assistance, rather than life for a contract killing.

Rick Anderson writes about sex, crime, money, And so now she was ready for questioning. and politics, which tend to be the same thing.

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news&comment» Planning Now for the Seahawks

S

o I’m at the Mariners game Monday before last, and they’re losing to the Astros, and it’s deathly quiet until a single syllable rings out: “SEA!” And then, across the grass of the Safeco outfield, the call is answered: “HAWKS!”

BY SETH KOLLOEN Message received, Seattle. Even at Mariner games, you’re thinking about the Seahawks. So after reviewing

SPORTSBALL

you’re going to be in a mood to celebrate. Then Friday morning you’ll probably be in a mood to lie in bed until noon with all the lights off.

Don’t corner yourself into the old “aunt’s funeral” excuse. Take the day off now and celebrate with impunity (except for the attendant liver damage).

Offer to host your family’s Thanksgiving.

The Seahawks and Niners don’t resume their rivalry until November 27—Thanksgiving night.

Game time is 5:30, just when many families sit down to dinner. But not at your house! Mitigate against disaster now with what will seem like a thoughtful gesture, but is really insurance against being trapped listening to your uncle’s annual interminable grace while Percy Harvin is returning a kickoff.

ROB KETCHERSIDE

Schedule romantic getaways for September 27–28 and November 1–2. The Hawks schedule provides

the 2014 schedule, released last week, I made a list of three important action items Seahawks fans can take right now to make the season run smoothly.

Take Friday, Sept. 5 off. The Seahawks host Green Bay in the NFL season opener Thursday, Sept. 4. Between the raising of the championship banner and the domination of the aging Packers,

two weekends when fans can ignore football and pay some attention to their significant others. The first is the Seahawks’ bye week, the second is the weekend they host whatever you want to call the team that used to be the Raiders.

If your employers, relatives, and significant others love the Seahawks as much or more than you do, I’m envious. The rest of us must plan ahead. As the Seahawks like to say: “The separation is in the preparation.” E

sportsball@seattleweekly.com

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Tom Nissley wants to go from Amazon to Jeopardy! to neighborhood bookseller.

Across the street from the future with

Tom Nissley

BY MATT DRISCOLL

T

om Nissley is exactly where he said he’d be when I arrive at Herkimer Coffee. He describes the table, straight back from the counter of the humming Phinney Ridge cafe, as “his”—one he claims early. “Was it Wild Bill Hickok who liked to be at the back so no one can shoot him?” Nissley asks with a grin. Google later confirms he’s right. Of course he is.

If you know Nissley, it’s probably because of Jeopardy!. Herkimer is his local coffee house, eight blocks from his Phinney Ridge home.

Across the street is his neighborhood bookstore, Santoro’s, the reason for our meeting. Nissley, who spent a decade as a book editor at Amazon before leaving to parlay game-show success into a writing career, recently bought it.

He’s pounding out an e-mail on his mooseadorned Mac when I arrive, wearing the same brown flop of hair and Joker-like smile he did when he took home $235,000 during a 2010 Jeopardy! winning streak and $100,000 more as a runner-up on the “Tournament of Champions.”

His buttoned-up dress shirt is more wrinkled than the ones he wore facing Alex Trebek, but that’s to be forgiven. It fits the coffee-house motif.

“Everyone should do it. I highly recommend it,” Nissley says of his streak. Later he tells me that Jeopardy! indirectly led him to this point.

“It was kind of the push that broke the golden handcuffs of Amazon,” he says. “It gave me confidence to do more imaginative things with my life, I think.”

In the land of Amazon and in the wake of the eBook, perhaps it doesn’t get much more imaginative than jumping into the independentbookseller business, as Nissley rather hastily and unexpectedly decided to do last January. Though last fall he published A Reader’s Book of Days:

True Tales From the Lives and Works of Writers for Every Day of the Year, the allure of recommending books for people, as he’d been able to do at Amazon, was still strong. When he heard Santoro’s was for sale, at what he describes as “a very affordable price,” Nissley says it “felt like the universe was talking” to him.

“I love the idea of me and my whole family being at the heart of the neighborhood,” he says of Santoro’s, which he plans to rename Phinney

“It was kind of the push that broke the golden handcuffs of Amazon.”

Books and run with his wife and children. “It really is a neighborhood store.”

Some things scare him, of course, but sitting in Herkimer, his back against the wall like Wild Bill, Nissley doesn’t sound spooked—or delusional. Making “a small living” through the store, he says, “would be cause for celebration.”

“There are people—myself included—who really prefer a physical book,” Nissley promises, saying “there are, and will be, enough of those people” to make the venture work.

“A lot of people think owning a book store would be a nice gentleman’s profession, a hobby kind of job . . . I have no illusions that it’s not going to be all-consuming.”

After nine years, the store’s last day under current owner Carol Santoro will be May 3. Nissley says he plans to have Phinney Books up and running by June. E

mdriscoll@seattleweekly.com

G

Just five years ago, Gerald Hankerson was in prison. Now he’s the NAACP’s new regional president, charged with transforming his organization, influencing policy, and changing lives.

BY NINA SHAPIRO

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

PHOTOGRAPHY BY KYU HAN

erald Hankerson walked into the governor’s office with a letter in his pocket. He had been summoned by Jay Inslee that March day to talk about the state’s main contractor on the Seattle tunnel project. It had recently been exposed that Seattle Tunnel Partners had fallen woefully short of its agreed-upon goal of subcontracting 8 percent of the work to minorityowned firms. Hankerson—president of both the NAACP’s Seattle King County branch and the three-state conference overseeing Alaska, Oregon and Washington—had called on the state to fire the contractor, and the governor had taken notice.

Generally, Hankerson evinces a relaxed, unpretentious charm. Often attired in jeans and hiking boots, he’s more plainspoken than some of his predecessors in the civil-rights movement, who favored a commanding, preacherly style. Dressed up for the occasion in gray slacks, a button-down shirt, and dress shoes, he held his fire while Inslee explained that the state was moving forward with Seattle Tunnel Partners but expected the company to deliver on its minority-subcontracting goals, according to Hankerson’s recounting.

But then, Hankerson recalls, “I asked him straight up: ‘If and when they violate [Seattle Tunnel Partners’ agreement with the state] again, will you hold them accountable? Will you impose sanctions?’ The answer was ‘Yes.’ ” Hankerson left it at that.

But he wasn’t done. The 45-year-old leader had one more thing he wanted the governor to address. He stood up, pulled out the letter, and handed it to Inslee. “Explain this to me,” he said.

The governor looked at it. “Have a seat, Gerald,” Hankerson remembers him saying.

“Everybody else get out.”

The letter, dated February 7, was from the governor’s office to Hankerson. It had nothing to do with the tunnel project, and everything to do with Hankerson and how remarkable it was for him to be in this meeting with the governor—talking, of all things, about policy.

For many years, Hankerson had but one request of the governor’s office: his freedom.

Five years ago, Hankerson was in prison, where he had been sentenced to spend the rest of his life. He had been convicted of aggravated murder for his role in robbing and killing a man outside a Central District minimart. He has always maintained his innocence, denying any malicious intent, but prosecutors portrayed the then-18-year-old as an accomplice—and even briefly considered seeking the death penalty.

In 2009, after Hankerson had spent almost 23 years in prison, then-Governor Chris Gregoire granted him clemency—the result of a rare kind of leadership he had shown in prison.

But she balanced that act of mercy, always a political risk, with an unusually lengthy period of parole: 80 months. The average is about 24 months, according to Inslee’s general counsel, Nick Brown.

“Governor, I’ve given you 60 months,” Hankerson says he said to the governor on that

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March day. “Can’t you relieve me of 20 months?”

His request echoed another letter—one he’d sent the governor some months earlier. The letter Hankerson now handed Inslee contained the governor’s reply: No. “You’ve done a great job,” Hankerson recalls the governor explaining. “But we have a policy in place that we don’t alter a prior governor’s decision.”

“The reason it’s problematic for me,” Hankerson tells me a week later, “is that there’s a clause in my clemency package that if at any time there’s a violation of any [parole] condition, I’m to be returned to the Department of Corrections to finish out the sentence imposed. That’s the rest of my life.”

Hankerson is also required to check with a community corrections officer before every out-of-town vacation or work trip and is barred from certain civic rights, like voting. And yet, parole isn’t exactly holding Hankerson back.

He not only operates at a heady political level as the county’s and region’s leading NAACP figure, but he is also the lead organizer for the Seattle branch of a coalition of liberal small business owners called the Main Street Alliance.

Somebody always wants to meet with him, often somebody of stature.

One recent day, it’s 1st District Congress member Suzan DelBene. “I’m not doing it,” Hankerson says firmly to a Main Street colleague at their Georgetown office after being told that DelBene called. Hankerson explains that she wants him to participate in an event she’s staging. Although he had willingly done something similar for U.S. Senator Patty Murray, who on short notice had asked Hankerson to drum up a few small-business owners for a press conference in support of a federal increase in the minimum wage, Hankerson says of DelBene: “I don’t know her like that.”

Those he does know well include City Attorney Pete Holmes, with whom Hankerson shares an annual drink on their joint March birthday, and who considers Hankerson “an important conscience and reality check.” Then there is Seahawks coach Pete Carroll, whom Hankerson met at a Center for Children and Youth Justice fundraiser (at which Hankerson was the keynote speaker), and state Supreme Court Justice Sheryl Gordon McCloud, who while a defense lawyer represented Hankerson for many years and sat at his table at a centennial celebration for the Seattle King County NAACP in November. It was there that James Bible announced he was stepping down as president and making room for Hankerson, then vicepresident, to take his place.

Richard Mitchell, who served as general counsel to Gregoire, wonders aloud whether any other former prisoner has risen to such heights. “Think about this for a second,” Mitchell asks. “Really, think about it.” I couldn’t think of anybody, certainly not anybody who had been sentenced to life. Mitchell couldn’t either. Adding to his palpable sense of awe, Mitchell, who visited Hankerson in prison while Gregoire weighed his clemency, now finds himself sitting across the table from the NAACP leader, debating the future of the tunnel project as a special assistant to the state Attorney General representing the Department of Transportation.

“You demonstrate the power of redemption and forgiveness,” Mitchell recalls telling Hankerson recently.

Hankerson also demonstrates something else to his many supporters, particularly those in the African-American community. Mary Flowers, a longtime prison volunteer and board chair of an antiracism group called Village of Hope, puts it this way: “We’ve got many, many capable people that we lock up and throw away the key.” Many of them, she points out, are black.

Prison “is a realm where inequality is most pronounced,” Bible says. “That’s where the NAACP needs to be.” To Bible, a lawyer who championed Hankerson’s cause when he was in prison and mentored him once out, the former inmate is qualified for the NAACP post not in spite of his prison past, but because of it.

That has not stopped some people from grumbling about Hankerson’s lack of political “experience.” But even if he had the longest civic resume, Hankerson would face challenges as an NAACP leader, including a lackluster membership base. Then there is the organization’s reputation, bruised in 2005 when then-branch president Alfoster Garrett stepped down amid a series of missteps and alleged financial improprieties in his legal practice.

“Is it relevant?” Hankerson says people always ask him with regard to the NAACP. In a way, his own life story is an answer.

“He was just a little kid.” That’s how Henry

Grisby, who served a portion of his life sentence with Hankerson, recalls the then-teenager when he arrived at the Washington State Penitentiary in Walla Walla in 1988. Grisby means that literally: Hankerson, at 5´6˝, weighed just 135 pounds.

How he ended up in prison is still a matter of dispute. In his own telling, Hankerson was outside a mini-mart at 23rd Avenue and East Union Street in Seattle on the night of May 18, 1987, when he saw a young man running out of the store with a bag in his hand. He says he heard a yell for somebody to stop him. At that point, Hankerson says, he gave chase and reached out to grab the runner, causing the man to stumble.

He explains that he thought the man, 25-yearold Nai Vang Saeturn, had probably taken money from some teens to buy beer for them (a common scenario at the store, and actually the reason that Hankerson had himself come to the minimart that night) and then kept the beer.

Hankerson maintains he had no idea that when the pursuers caught up with Saeturn, who had been momentarily slowed by Hankerson, one would steal the 25-year-old’s bank card, pull out a knife, and lunge repeatedly at the victim’s throat, chest, and back.

Killer Alvin Mitchell, however, named Hankerson as a willing accomplice. Two other witnesses said they saw Hankerson not only block Saeturn’s path but hold him down and punch him.

Hankerson and Mitchell were tried together.

Despite a note from the jury indicating they questioned whether Hankerson intended to kill Saeturn, both were convicted of aggravated murder. Many years later, the two witnesses recanted, saying police had threatened to pin the murder on them if they didn’t implicate Hankerson.

Mitchell is not around to question further. He died in prison.

“We don’t have it on videotape,” says King County Prosecutor Dan Satterberg, who did not hold that position at the time of Hankerson’s prosecution. Satterberg says Hankerson’s contention that he didn’t expect Mitchell to pull out a knife “has a ring of truth to it.”

Hankerson speaking at a foreclosure town hall organized by the NAACP.

or 3 in the morning, until Grisby would get tired and exclaim, “Shut up, I’m going to bed.” The older man says he tried to steer Hankerson away from gangs and the urge to keep up a certain image. “I used to tell him all the time, all he had to do was to be Gerald,” Grisby says.

“Don’t be stupid” is the thrust of the advice as Hankerson remembers it.

A turning point for Hankerson came in the late ’90s at Monroe when he and Grisby attempted to join a prison group called the Concerned Lif-

the Black Prisoners’ Caucus. Both organizations turned into forums for inmates to interact with the wider world on issues that affected them, like criminal-justice policies and parenting from prison. A steady stream of public officials and academics came to the prison to take part.

One of the first was Mayor Ed Murray, then a state senator. Hankerson gave a presentation about the disparity in sentencing in crack and cocaine offenses and the resulting racial impact.

(Blacks are more often convicted on crack

“I don’t know when you’re getting out of here,” Ed Murray told Hankerson. “But let me know. Because I would love to have you as my campaign manager.” ers Organization. It offered certain programs that sounded interesting, like one in which a Seattle University criminal-justice professor brought in students to interact with prisoners. But the Organization was in the hands of inmates who identified with the Aryan Nations. Those leaders told Hankerson and Grisby, who is also AfricanAmerican, that they needed a member to “sponsor” them. An invitation was not forthcoming.

“That’s when I started organizing,” Hankerson says. He got a community volunteer who worked with the group to approve new membership applications, sponsor or no. Then he and Grisby stood in the prison yard, handing applications to every lifer they knew. They also put together a biracial slate of candidates to challenge the Lifers’ leadership in an upcoming election.

“Don’t come here and start shit,” Hankerson recalls some of the prison’s black veterans telling him. He did anyway. Prison guards found a cache of knives in an area frequented by the Aryan crowd. Black inmates started sharpening soup cans into potential weapons. Hankerson says prison authorities, fearing a race riot, put the National Guard on alert. Tension, but no violence, greeted election day. The results came in: By a narrow margin, the biracial slate had won.

Neither Hankerson nor Grisby were on it, but both eventually served leadership positions in the group. For a stretch, Hankerson was president of both the Concerned Lifers Organization, now fully integrated, and a large group called

offenses, whites for cocaine.) Hankerson says he held up a piece of chalk to represent crack and a bag of flour to represent cocaine. “Why does this carry 20 years and this five?” he asked.

“I don’t know when you’re getting out of here,” Murray remembers telling the inmate. “But let me know. Because I would love to have you as my campaign manager.”

When in the late aughts a group of respected African-American leaders asked Satterberg to take another look at Hankerson’s case in the hope he might support clemency, the King County prosecutor was surprised. Why this case? he recalls wondering. Why not one of the cases involving the controversial three-strikes law, which has sometimes sent people to prison for life on robbery charges alone?

But Hankerson’s case struck a nerve with people. First of all, there was the cloudy evidence, including the recanting witnesses, which led a number of people to believe in his innocence.

“He ended up being railroaded,” says the Rev. Kenneth Ransfer of the Greater Mount Baker Baptist Church, co-chair of the Free Gerald Hankerson Committee that formed.

Then there was Hankerson’s work in prison.

Not only had he spearheaded the dramatic transformation of the Concerned Lifers and led the Black Prisoners’ Caucus, but he had started a program that brought at-risk kids to Monroe to warn them off behavior that would land them in prison.

Leading any organization is an accomplishment, but one in prison—“there’s nothing out here that compares to the pressures of that,” says Flowers, the longtime prison volunteer. Richard Mitchell says that most people are “ignorant” of the “complicated dynamics that Gerald managed in prison.”

The chasm between Hankerson’s potential and his destiny was more than poignant; it was symbolic. “The system has always worked against African-American youth,” says Ransfer, stressing that Hankerson was only a teenager when he was sentenced to life. When making presentations about Hankerson’s case, Ransfer included statistics about racial disproportionality. African-Americans constitute only 3.9 percent of the state’s population, but 18.7 percent of its prison inmates.

In her influential 2010 book The New Jim Crow: Mass Incarceration in the Age of Colorblindness, Ohio State University law professor Michelle Alexander maintains that law enforcement has targeted black men through its harsh enforcement of drug and other laws, producing a new way of turning African-Americans into second-class citizens. So advocating on behalf of inmates is “not a charity thing,” Flowers clarifies. “These are our mothers, our fathers, our brothers, our sisters.”

Asked whether she herself has a relative serving time, she answers: “I’m a black woman. You’d be hard-pressed to find one who doesn’t.”

Despite moving in well-educated circles as a lawyer, Bible says that if he visited a prison, he could “look down the tiers and see everyone who lived on my block” as a child. At a certain point, one of the inmates might have been one of his brothers, whom Bible says had a troubled youth and spent 10 years behind bars on an assault charge.

Mitchell, who is African-American and educated not only as a lawyer but an architect, wrote an essay for the King County Bar Association bulletin last year entitled “Mass Incarceration, The Time to Change Is Now!” In it, the then– association president wrote about several occasions on which he’d been stopped by police. One early-’90s encounter, while a tourist in Washington, D.C., found him “face down on a car hood, spread-eagled, and recovering from a pat down that left me bruised in unusual places. I asked what was going on. The officer said, ‘Someone reported suspicious behavior.’ ” Talking about it now, Mitchell says he understands the impulse to say “Enough is enough” and respond aggressively—only to wind up in jail.

All that may not have been going through Satterberg’s head as he weighed Hankerson’s clemency request. But the prosecutor says he was impressed that Hankerson had respected people backing him, and also came to believe that Hankerson had been “aggressively charged” with aggravated murder, which carries a manda-

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

Nevertheless, Satterberg says, the jury was evidently convinced that Hankerson intended to rob Saeturn. At the time, an aggravated murder could be pinned on someone involved in a robbery that ended in a death, even if that person had no intent to kill. That changed with a 2000 state Supreme Court decision in a case that was won by McCloud, the lawyer who would later represent Hankerson.

Whatever Gerald Hankerson’s role, he was not the man he is now. Grisby, speaking by phone from the Coyote Ridge Corrections Center, where he is now housed, describes a teenager whose slightness of build belied a hellion spirit.

“He was entwined so deeply with that gang mentality,” Grisby recalls.

Hankerson says he was never an actual gang member, but ran around with some Crips he had met at the county jail, where he was held after the murder while he was awaiting trial. In prison, he explains, it’s impossible to “belong to nothing.”

He went by the moniker “9-0,” which referred to a street he once lived on in Los Angeles.

Hankerson got into fights and even tried at one point, after three years in prison, to escape.

While at the Clallam Bay Corrections Center, he climbed into a delivery truck headed out of the compound. He was caught and spent the next year in isolation.

When he got out, Hankerson was assigned to work in the prison kitchen. There he got to know a staffer named Maurgee Merritt. Although she was 20 years older, they developed a close friendship. “I could talk to her about everything,” he says. As a lifer, he says he had felt like a “walking dead man.” Merritt changed that. “Live your life to prevent yourself from becoming what others assume you to be,” she would tell him. Mitchell now has the quote inscribed on his iPad. Merritt eventually retired from the DOC, but was placed on Hankerson’s visiting list. The two grew so close that they wanted to be part of the same family. At first, Merritt suggested adopting Hankerson. When that proved difficult logistically, they decided to get married instead, although Hankerson says the relationship was never romantic and destined to be short-lived: She had by then been diagnosed with late-stage breast cancer.

Six years after their 1999 prison wedding ceremony, she died. “It was equivalent to when I first got convicted,” Hankerson says of the loss.

Hankerson credits Merritt with teaching him about unconditional love. How to conduct himself in prison—that he says he learned largely from Grisby.

Like Hankerson, Grisby had been convicted of murder and sentenced to life without parole for his purported role as an accomplice. The 1978 crime involved a drug deal that turned into a shooting melee that killed five people, including two children. He too had sworn that he’d never participated in the killing, a view his onetime prosecutor came to believe after his conviction.

(The prosecutor testified as much at a 2005 clemency hearing, but Grisby was turned down.)

In prison, Grisby had transformed, availing himself of a self-help program that he says made him realize he had something to offer. What he represented to Hankerson was a father figure— something the younger man, abandoned at birth by his drug-addicted parents, never had. “I called him Pops,” Hankerson says of the man 30 years his senior, the only inmate he knew to be universally addressed, even by the guards, with the appellation “Mister.”

The two did time together at both Walla Walla and the Monroe Correctional Complex, at one point sharing a cell. They would talk until 2

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tory life sentence. Given the change in the law now requiring an intent to kill, Hankerson would certainly be charged with a lesser crime if the case came to the prosecutor today.

Satterberg had weighed in on the matter once before, in 2006. As chief of staff to then-Prosecutor Norm Maleng, he wrote a letter to the state Clemency & Pardons Board opposing clemency.

His office believed that Hankerson hadn’t yet done enough time—just under 20 years at that point. The board unanimously voted to recommend clemency anyway. But Gregoire, vested with the final decision and citing Satterberg’s letter, turned the lifer down.

Now Satterberg was ready to offer his support.

In talks with the governor, he says, “She made me promise that if something went wrong, I would be right there.”

Recidivism claims almost 50 percent of Washington’s ex-convicts, according to DOC figures. The pitfalls are many, including barriers to housing and jobs, addiction, and mentalhealth issues. Hankerson, though, largely managed to escape these.

As his friends note, Hankerson seems free of bitterness and psychological scars—a mystery even to him. “There are still a lot of questions I don’t have the answer to,” he says, mulling it over.

He hazards a guess that it has something to do with the young age at which he was incarcerated. Having not yet lived all that long in the world, he says he “didn’t have an opportunity to miss a whole lot.” Coming out was like being a kid again—riding a ferry for the first time, diving into Internet culture, taking a trip this past March to New Orleans for his 45th birthday.

He also had extraordinary support. When he had trouble getting financial aid to study at North Seattle Community College because he hadn’t registered for the draft at 18 (he was already incarcerated), state Sen. Adam Kline, a frequent guest of Concerned Lifers and the Black Prisoners’ Caucus, and Ari Kohn, president of the PostPrison Education Program, intervened.

At Monroe, Hankerson had developed a relationship with a woman who had come to the prison as a criminal-justice student. At first they were friends. “I was married. She had a boyfriend,” Hankerson says. Then his wife died.

“I was a mess,” he recalls. “Can I come see you?” she wrote. The relationship blossomed. When he finally won his release, he moved into her Ballard home, where they still reside.

Almost as soon as Hankerson was released, Bible, who wanted to devote more time to his law practice and new family, started grooming Hankerson to take his place at the NAACP. The onetime prisoner became branch vice-president, running meetings when Bible couldn’t and serving on various civic committees.

It was in this capacity that he took a seat on a city-convened Race and Social Justice Initiative. Serving with him was Will Pittz, executive director of the Washington Community Action Network, a social-justice advocacy group. “I was impressed with the way he operated,” says Pittz, who recalls Hankerson persuading the group to take a stand on a juvenile-justice bill in the legislature, even though the Initiative’s focus was intended to stay on city matters. “He challenged us to think about what we really stood for,” Pittz says.

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When an organizing job came up at Washington CAN! in 2011, Pittz offered it to Hankerson. “It really wasn’t a hard decision,” Pittz says. At Washington CAN!, Hankerson worked on campaigns related to corporate responsibility and foreclosure, but much of his work there has focused on organizing small businesses with sister organization Main Street Alliance, whose small Washington branch is housed in Washington CAN!’s office. At Main Street, which he now directs, he has worked on immigration reform (the coalition supports it), paid sick leave (ditto) and raising the minimum wage (still under debate by members). Sidestepping his own views on the contentious minimum-wage issue, Hankerson says, “My job is to organize and negotiate.”

His position at the NAACP allows for more fire-breathing. Even so, he sometimes sounds much more like a manager in his role there. He says he decided to challenge Oscar Eason, the longtime head of the organization’s three-state conference, in an election last September, after looking at the conference’s website and finding it “completely blank.” “The reality was a lot of people were doing nothing,” he says.

Eason insists that under him, the organization was “one of the most notable state area conferences.” It’s Hankerson, the veteran contends, who will have trouble getting up to speed given his past.

By a narrow margin, however, conference members voted for Hankerson—an upset that

EV ENT S

PR OM O T IONS

A R T S A ND ENT ER TA I NM ENT

Former NAACP president James Bible visiting Hankerson in prison.

COURTESY GERALD HANKERSON

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

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DI N I NG in Everett & Seattle

the

survived a recount request and some degree of chaos in the aftermath. Nobody even knew who was going to pay for the banquet that night, Hankerson says. “It was like they threw the keys over their shoulder.”

Hankerson says one of his first acts was to require all 11 branches under his jurisdiction to file reports on their activities. “Those that were dormant, the request was ‘Why?’ ” Then he went to Portland to visit what he said is known as a “headache” branch—“either doing nothing or doing too much”—to find out how he could help.

On a recent day, planning another trip to Portland, he says he intends to deliver this message: “Look, I can’t answer 10 e-mails a day from every branch.”

It was two months after Hankerson took the reins of the three-state conference, during the November 2 centennial gala for the Seattle King County NAACP, that Bible asked him, “Are you ready?”

“For what?” Hankerson responded.

“Tonight, the transition begins,” Bible said.

Hankerson says he was sitting at his table still puzzling over what that meant when he heard Bible announce that the branch president was stepping down and letting the vicepresident—already the organization’s regional leader—fill the role.

“I felt the shock in the room,” recalls Sakara Remmu, a former NAACP official who was there that night. While the branch’s executive committee knew the handover was coming, it didn’t know when.

By resigning midterm, Bible avoided the rancor that could have been sparked by an election.

The branch—which had experienced so much bad blood during Alfoster Garrett’s one-year tenure that he had accused an executive committee member of hiring a hit man to assault him (an accusation never proven)—had had enough of that.

The branch seemed on a much evener keel since Bible took over in 2007. He cites as big accomplishments Hankerson’s release and the organization’s role in persuading the Department of Justice to investigate the Seattle Police Department.

Still, Lacy Steele, 82, a retired Boeing manager who served as branch president from 1972 to 1998 and who still operates as branch office manager, acknowledges that membership is a fraction of what it was in his heyday, when school desegregation was on the table and memories of the civil-rights era were fresh. Approximately 5,000 people belonged then. Now about 1,000 do.

Some 20 calls a week still come into the NAACP office, located at the bottom of a Central District church, most from people who believe their civil rights have been violated and want legal help, according to Steele. “Even when you help them, you don’t hear from them again and they don’t join,” Steele says.

“We don’t only represent black people.

We represent anyone who has had their civil rights violated.”

nshapiro@seattleweekly.com

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SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

“Only time will tell” whether Hankerson will prove an effective leader, the octogenarian says, but he approvingly notes that the branch’s new leader has at the very least brought some fresh blood on the executive committee.

“The energy and passion he brings to the work is very contagious,” says one new member, Rachael DeCruz, a savvy 28-year-old communications professional who worked alongside Hankerson at Washington CAN! Hankerson’s work at Washington CAN! also informed a town hall on foreclosure that the branch hosted one March evening. Some 60 people filled an event space in Columbia City known as Southside Commons, helping themselves to Ezell’s fried chicken before taking a seat.

Hankerson made a short introduction. “All of us are struggling. We’re all part of the same fight,” he says. Then he turned over the meeting to branch economic-development director Sheley Secrest, who held forth on the impact of foreclosures on the black community and invited everyone present to introduce themselves. One by one the audience members gave impassioned speeches about what had brought them to the town hall. One has a daughter who lost her house. Another felt swindled at closing when what was supposed to be a fixed-rate mortgage suddenly turned into a riskier variable-rate mortgage. A number are worried about gentrification.

“All of a sudden, everybody loves this area,” said one middle-aged man, who cites Brooklyn’s hyper-development as a warning. “Brooklyn don’t even look like Brooklyn anymore,” he said.

“Everybody is speaking Russian. You’re going to come down here 20 years from now and everybody is going to be speaking Russian.”

“It’s the Chinese who are buying the land,” another audience member chimed in. Still another pointed toward Seward Park and ventured that the “Jewish community here, they’re not bothered by what’s about to happen.”

“My work is for black people and I don’t care who knows it,” added an older woman. “I’m not for the Africans. I’m just for the black people born in the United States.”

The speeches went on so long that Hankerson broke in after about a half-hour to implore the crowd to “speed it up” and get to a discussion of solutions. A half-hour later, with the introductions still in progress, Hankerson slipped out for the evening.

A few days later, the man who integrated Monroe’s Concerned Lifers offers a palatable spin on the anti–Russian/Chinese/Jewish/African comments. They stem from a concern that African-Americans are getting pushed out of their historic neighborhoods, he says.

But, he says, one of the main things he wants to change is the “perception of NAACP as an all-black organization. We don’t only represent black people. We represent anyone who has had their civil rights violated. The NAACP wasn’t even founded by black people. It was founded by whites.”

Later in the month, Hankerson is back in Columbia City for a weekly meeting of a group called Career Bridge, which supports disadvantaged African-American men, especially those re-entering society after serving prison time. It grew out of the work done by the Black Prisoners’ Caucus, and recently found a facilitator in the Urban League and funding in the form of a $400,000 grant from the city.

Hankerson makes it when he can. Tonight, sitting next to his branch director Secrest in a large circle spread out in the Life Enrichment Bookstore, he seems particularly loose. He introduces himself as 9-0, praises the “genius in this room,” and volunteers that “the NAACP is willing to use whatever power we have, whatever power we have” to support the group’s mission.

Career Bridge is at a critical juncture. The city grant comes with strings attached, one being a pending “evidence-based” evaluation of its effectiveness, another the hiring of a program manager (the Urban League will soon choose Secrest for the job). There’s a lot of concern in the room about bureaucrats and consultants taking over what had been a self-led group, oriented largely around peer mentoring and a sense of community.

Hankerson is one of the chief skeptics. He says he’s “sick and tired” of organizations getting paid millions of dollars “to sit in Smith Tower writing about you.” That money “should be ours,” he says, as should the control. “We got to create our own shit,” he declares. “This belongs to us.”

Sometime during the meeting, two young men come in and hang around a food table off to the side. “You guys just get out?” a man in the circle asks.

“Yeah,” says one of the newcomers, heading over to the group.

“Let’s give these brothers a hand,” someone says. Everybody applauds, and the two visibly relax, taking seats in the circle.

Hankerson cocks his head back and smiles.

“Welcome home, brothers,” he says. E

15

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

16 MAR470AM14_AIRMEXICO_Seattle_9.83x11.25.indd 1

4/9/14 5:19 PM

food&drink The Ultimate Food Truck

FoodNews

BY MEGAN HILL

How mobile slaughter units are helping small farmers locally and internationally.

Porkchop & Co. officially opened its doors last week in Ballard. Their menu looks damn tasty, with a grits-and-roasted kale breakfast bowl, daily biscuit sandwiches, and plenty of sandwiches for meat lovers and vegetarians, too. Baked goods from pop-up Parchment are also on the list.

BY PATRICK HUTCHISON

S

Taylor Shellfish’s Lower Queen Anne oyster bar has opened in the Expo Apartments at Republican and WarrTHIS ONEen. The space will be slightly larger than the Melrose Market shop, with 50 seats for slurping fresh oysters and an eventual patio for another 35.

The Fremont restaurant Hunger, at 36th and Fremont, has closed after four years in business.

Yakima’s Treveri Cellars served its phenomenal sparkling wine at the U.S. State Department dinner last week. This marks the third time Treveri has been so honored—especially impressive considering the winery has been in business only three years and change. E morningfoodnews@gmail.com

The WeeklyDish

STONEBURNER

BY NICOLE SPRINKLE

It’s rare for me to get seriously fired up about a side dish—let alone one featuring carrots. I mean, yes, carrots are great. I especially love the colorful ones that pop up at the summer farmers markets.

But the thing is, it’s really hard to deprogram myself from thinking of those that dominated my childhood: overcooked, mushy, and often served with their equally mushy counterpart, peas. They make a nice addition to a salad, sure, and their presence is welcome in a hearty beef bourguignon. But in all these instances, they’re just a part of something greater.

Not true of Stoneburner’s Heirloom Carrots with Hazelnut Dukkah Spice, Lime, and Bastille Honey. These roasted babies come alive with

Egyptian dukkah—a mixture (here housemade) of herbs, Washington hazelnuts, and spices like cumin and sesame. That zesty Middle Eastern magnificence then gets a sweet-and-sour blast from the dueling tart lime and sweet honey (harvested from the beehives on sister restaurant Bastille’s rooftop garden). When I say they almost take on a sweet-potato-fry kind of aura, I mean it in the very best comfort-food sort of way. This dish is a glorious explosion of bold flavors and a pitch-perfect sweet/sour profile that truly carries the humble carrot to center stage. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

tanding on a dirt path, alongside a neat stack of irrigation pipes, between two barns, and under an intense gray sky, the matte-gray U.S. Government vehicle looks out of place. Inside, a USDA inspector is blasting NPR. Like me, he’s waiting for the trailer. Before long, the sound of a throaty diesel engine lets us know it’s here. A 36-foot semitruck pulls in, slowing near the cattle holding pen. It’s 7:37 a.m. at Three Sisters Family Farm on Whidbey Island, and the slaughterhouse has arrived.

In the past few decades, traditional brick-and-mortar slaughterhouses, like farms themselves, have become increasingly large and centralized. For small farmers who cannot afford their own slaughterhouses, it’s never been cheap or particularly viable to haul their animals to be processed. As a result, fewer and larger farms provided a majority of the available beef. The trend was particularly hard on isolated farmers, like those in Washington’s San Juan Islands.

In 2002, an intrepid group of Lopez Island farmers decided to Left: Three Sisters farmers. Right: The mobile slaughter unit and the truck it rode in on. do something about this. After a bit of planning and design, they ports its body and head. Wierang carefully places As I walk around the back of the truck, I’m formed the Island Grown Farmers Cooperathe barrel of the bolt stunner at the center of its met with a gleaming stainless-steel interior tive (IGFC) and commissioned Bellingham head, and, with a puff of sound, a bolt is driven equipped with sinks, racks of knives, power outcustom-trailer company Trivan to make the first into the cow’s skull, stunning it instantaneously lets, winches, and hoses. A power saw capable USDA-certified mobile slaughter unit (MSU). and completely into unconsciousness. of ripping through spinal cords sits in a special Similar trailers had been built before, but they I wait for some hasty action, some aggressive holder, and on the ceiling, two hefty hooks hang were never equipped with USDA certification, a move, but none come. The load box is opened grading process that is almost universally required motionless. They start to sway as butcher Jim slowly. Wierang and Muzall work together to Wierang jumps inside. He’s changed from his by stores and restaurants that buy beef, lamb, or gently lay the motionless cow on its side, and, jeans and sweatshirt into a T-shirt, rubber boots, pork. It was a huge leap forward particularly for with quick precision, Wierang uses his long, island farmers, who were affected by the high cost and a heavy-duty rubber apron. sharpened butcher’s knife to cut the jugular and “How many we got today?” he asks. Muzall of ferrying their animals to mainland slaughterallow the cow to bleed out. The whole process thinks it’s four cows and eight hogs. Or maybe houses. Now a slaughterhouse comes directly to takes about 90 seconds. It is the most respectful, five cows, he’s not sure. “No problem,” says farms like Three Sisters, making the process more graceful process I could ever have imagined—so Wierang, attaching a heavy steel shelf to the efficient and less stressful for the animal. quiet I can hear the chirping of birds throughoutside. The trailer is innocuous—completely In the 40 steps it takes me and the inspector out, so still I can follow the last wisps of steam white on the outside with no obvious special to reach the truck, two men jump out of the cab wafting from the cow’s mouth up into the barn equipment. and immediately start modifying its appearance. rafters.

After another few minutes, Muzall steps up As if on cue, two more people arrive, Ron Muzall Wierang puts away his knife and hoists the beside me. “No, it’s four cows.” Wierang says and his daughter, Jennifer. Amid smiles and animal on the trailer’s built-in winch, where it that’s OK, loads a pistol-like bolt stunner, and jokes from the Muzalls about their seven-minute hangs for easy cleaning and skinning. As they do, waits for the first cow. tardiness, the butchers open doors, sharpen the USDA inspector steps up and starts testing For me, the initial thought of a rolling slaughknives, lower ramps, and start generators. The the meat to ensure it meets USDA standards. terhouse was terrifying, and I wondered about trailer is expanding and coming alive. It’s a fully Pigs grunt, a dog barks, and Thin Lizzy plays on my ability to witness an event that I, a raging functional slaughterhouse, retrofitted to fit inside the trailer’s radio. carnivore, obviously needed to see. If anything, a semi-trailer. It provides a sterile environment As Wierang gets down to business, Muzall the process made me more respectful. There is no and holds the necessary equipment to kill, skin, reflects on the scene we just witnessed: “If I rushing, no surge of adrenaline, no “git ’r done” clean, and refrigerate up to 8,000 pounds of had to go, that’d be the way I’d want it done.” mentality. It is quiet, peaceful, warm, and in an meat. With two well-trained butchers, the trailer Well over six feet tall, sporting a bit of a gut odd way, friendly. The 2-year-old black cow is can process as many as eight cows, 24 hogs, or 40 loaded into a custom box that isolates and supsheep in a day. » CONTINUED ON PAGE 18

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and an ash-gray beard that contrasts his cheeks, which are almost always red from laughing, the 52-year-old is the sort of man who’d make Paul Bunyan feel like a boy—the type of proud American farmer you see on truck commercials but never really expect to exist: part biologist, part businessman, part philosopher. A fourthgeneration farmer, Muzall is well known in the local farming community, and a co-founder of the IGFC that initiated creation of the USDA-certified MSUs on which his farm now depends. While it’s paying off now, it was a risk in the beginning, Muzall admits—but one worth taking in light of the recent slaughterhouse centralization.

The MSU gives small and medium-sized farmers like Muzall and his family a direct way to control their meat and its trip from farm to table.

Within 45 minutes, the cow is cleaned, skinned,

trimmed, and cut into two. The halves are then slid along hooks into the trailer’s back refrigeration area. Though not nearly as efficient as a modern slaughterhouse capable of moving hundreds of animals a day, the MSU gives small and medium-sized farmers like Muzall and his family a direct way to control their meat and its trip from farm to table. “Without the truck,” he says, “we would have had to build our own slaughterhouse, which we couldn’t have afforded.” But with the truck, Three Sisters can slaughter and butcher its own product and sell it straight to restaurants and grocery stores like PCC or out of their own family store just a few miles from the farm. But Wierang and Muzall agree: The truck has its limits.

First, the trailers certainly aren’t free. Trivan advertises the basic 36-foot model, a near-replica of the one I saw at Three Sisters, for just over 200 grand. To make it profitable, a tight cooperative of committed farmers has to ensure a trailer is operating as many days of the week as possible.

But due to the inconsistent nature of farming and the seasonality of prime slaughtering times, it does happen that days go by without the truck going anywhere.

Yet the benefits exceed the challenges. What started with one truck has now expanded across the country. Trivan has recently started selling its trailers abroad, one to Chile and one to Papua New Guinea—where it’s used to slaughter hogs at a gold-mining camp, presumably with Indiana Jones as the butcher. But the MSUs’ most tangible benefit cannot be measured in sales or the number of animals processed; it’s that it allows dedicated families like the Muzalls to finish what they start on their own farms, with their own people, with the same care and respect they’ve paid their animals since birth. MSUs allow farmers to take pride and control of what they produce, from beginning to end. E

nsprinkle@seattleweekly.com

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’m sick of IPAs. I’m sick of out-ofcontrol hoppiness, unbalanced beer, and 8 percent ABV. Northwest brewers appear to be in a perpetual arms race to up the amount of hops they can cram into a given beer, and I think all of us are suffering as a result. Sadly, given the current state of the brewing landscape, I don’t think things will be changing soon.

My primary reason for disliking IPAs is that because of their intense hop load, bitterness is amped up until the entire beer tastes out of balance. If you have too much bitterness, sweetness, acidity, spiciness, or another flavor, any subtleties or nuances are lost.

BY ZACH GEBALLE What’s worse, in my eyes, is that IPAs tend to trample any other flavors you might be trying to enjoy, like perhaps a meal.

As someone who regularly tastes a lot of wine, palate fatigue is an issue. Overly tannic reds are often the cause, but I also find the same effect with heavily hopped beers. There’s something disappointing about a swig where all you can taste is bitterness; it reduces complex and interesting beers to a single, narrow aspect of a much larger whole.

In addition to being overly bitter, IPAs tend to pack a lot of alcohol into each glass. That combination of high alcohol and high bitterness overwhelms the palate, and in double and triple IPAs, you’re looking at something like 10-plus percent ABV and 100-plus percent IBUs (International Bittering Units). At that point, we’re in the same realm as hot sauce made from ghost peppers: They’re less about flavor and taste and more about how much punishment your taste buds can take. Sure, a small sample of a beer like Pliny the Younger or other such triples can be enjoyable, but drinking 12 or more ounces? No, thank you!

I can’t help but wonder if some of this increased emphasis on hops and alcohol is based on a simple fact: The more aggressive a drink tastes, the more someone will think they’re getting for their money. A delicate, subtle summer ale might not impress like a swaggering, burly IPA does, but that doesn’t make the IPA the person you want to hang out with all night. He’ll probably get you kicked out of the bar.

Of course IPAs have their place in a beer drinker’s repertoire. There are times when an intensely aromatic, hoppy beer is welcome in my glass. That said, with warmer weather approaching, now is a good time to leave some of that winter bite behind and explore the wide range of lighter ales and lagers that local brewers are producing. Sure, they might not feel like a punch in the mouth, but for many of us that’s a good thing. Of course Seattle brewers will keep making IPAs because they sell well and you can give them all kinds of ridiculous names, but it’s long past time to give more tap handles and shelf space to a fuller range of beers. E

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arts&culture

Filling the Void

How the city temporarily ceded a future building site to local artists with a mysterious agenda.

ThisWeek’s PickList

BY KELTON SEARS

I

Eric Zener

Nagy’s blue wave.

In Lushootseed, Swedish, Norwegian, Russian, English and Greek While parents labored, laughed, carved livelihood and dignity From woods, lake and streets But first the ice Towering right here two miles thick Grinding silt from rock as it carved the belly It would lay into one day For fluid dreams and restless sleep Below the traffic of Mercer Street Today this lot is flanked by offices, apartments,

REI, The Seattle Times, convenience stores, and the Mirabella senior living home. They provide the audience for this arcane and very mutable project. The curators have made the rapid installation of new iterations of All Rise a guiding principle. Says Curator A,“With public art, there’s always that ‘Is it done yet?’ question the viewer has as they watch things get built. We want to install things quickly, so people don’t have that sense.”

Despite such would-be stealth, they’ve already been caught a couple of times. After “Here” went up, a Mirabella resident out on a stroll found one curator on a ladder. “I don’t know what you’re doing,” he told them, “but thanks for whatever this is. Please tell the poet I was really moved.”

The Mirabella then got permission to print Pihl’s poem in its monthly newsletter.

“We hope All Rise allows us to understand how impactful an empty lot is. People have a bodily reaction to their environment,” Curator A tells me as we inspect the second installation on the site.

Jenene Nagy, who specializes in draping, created a billowing ocean wave of blue construction

tarps that dangle gently from the fence. If you pass by quickly, offing might look like normal building material. But when you stop to consider its elegant shape and the fact that the tarps are tied to the outside of the fence in a long loping gesture, you realize that perhaps they have some quiet purpose.

These first two manifestations of All Rise are meant to be small, quiet, and almost subliminal.

In time it will grow. How exactly, I’m not allowed to say. But more will spring up here.

“You can’t conquer this land,” says Curator B.

“There’s so many things looming over you in the city. We don’t need more looming. Instead, we think of All Rise as more of an invitation.

Everyone in this neighborhood has a chance to build a relationship with it, if they choose to watch. This space is a stage for the neighborhood, and we hope to build layers of community interaction and set up a pattern of expectation for the people here.”

Eventually people will be allowed through the fence and things will happen inside. The curators mention dance, performance, structural pieces, sculptural pieces, and music. In this way, All Rise is very much an interstitial endeavor that indicates a place in transition. Between demolition and new construction, this parcel is on hiatus.

“This time will be a period of rest for the neighborhood, and for this land,” says Curator B. “The reason we made the poem is to have people start considering that emptiness.” E

ksears@seattleweekly.com

ALL RISE Denny Way & Pontius Avenue North, seattle.gov/arts/publicart, allriseseattle.org.

Before summer, spring. Yet there are some watery and even summery themes running through tonight’s First Thursday art walk. At Gallery4 Culture, photographer Abby Inpanbutr offers her documentary images of the working waterfronts of Salmon Bay and Lake Union, soon also to be clogged with pleasure boats. Then there are the warmer, bluer waters of San Diego artist Eric Zener, whose The Great Escape series starts with underwater photos of figures floating and lounging beneath the surfaces of pools. He then applies new layers of color and paint to give them a hyper-real aspect. These somersaulting, contorted, twisting figures aren’t exactly athletic or restful. Nor do Zener’s pool scenes specifically recall those of David Hockney, which are typically framed from the deck looking down.

They’re more like aquatic figure studies, the faces of his models turned away or obscured with bubbles, suspended like gymnasts in slo-mo as they plunge and bob. Zener will attend the opening of his first solo Seattle show. (Through May 31.) Foster White Gallery, 220 Third Ave. S., 6222833, fosterwhite.com. Free. Opening reception 6–8 p.m. BRIAN MILLER

Sci-Fi Film Festival

Paul Allen loves science fiction and he loves movies. How then to marry the two? In its second year on Seattle’s favorite big screen, this collection of three dozen space operas ranges from the ridiculous to the sublime. The fest opens with the fun, cheesy disco-relic Flash Gordon, full of campy costumes, slumming actors (Max von Sydow, Topol, etc.), and a memorable theme song by Queen. At the other end of the stellar scale are 2001: A Space Odyssey, Alien (featuring a Q&A with local actor Tom Skerritt), and E.T. Somewhere in the solid, pulpy middle are Predator, Escape From New York, and the original Tron. Pay special note to David Lynch’s Dune (9:30 p.m., Tues., May 6), since a prior failed adaptation of the same book is the subject of the acclaimed new documentary Jodorowsky’s Dune, which you really should see. Other worthwhile titles include John Carpenter’s The Thing, Planet of the Apes, The Matrix, and Close Encounters of the Third Kind. Special-effects maestro Douglas Trumbull will discuss this last movie and his work on 2001, and debut his new 3-D short UFOTOG—shot in 4K-resolution digital format at 120 frames per second. Supposedly a test for a planned feature in the super-high-res category, the 12-minute vignette has to do with a photographer seeking to document a visiting alien spaceship. For tonight’s gala opening, actor

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

The project began with a poem by Arne Pihl, some of its text writ large on the lot’s boundaries. Motorists couldn’t help noticing the words “THIS IS NOT A GENTLE POEM” blaring at them, printed in large white vinyl lettering on plinths around the site. Anybody curious enough to look more closely would find that the words were just one line of a longer poem inscribed on 11 signs hanging from the chain-link fence.

Pihl’s poem “Here” served as an apt opening for All Rise, a guerrilla reminder of the history of this valuable parcel of real estate.

It begins in the Ice Age: For ten thousand years Children napped here Learned the difference between wing and leaf

THURSDAY, MAY 1

BRIAN MILLER

’m standing in an empty lot. Two curators are with me, but they don’t want me to use their names. “Pretty FBI, eh?” they joke.

The only things here are the three of us, their two cars, and a whole lot of nothing.

It’s odd to stand in a yawning vacant lot in Seattle, where almost every buildable site is being built upon—especially here in the heart of the Cascade neighborhood, with Amazon close by.

I’m near Denny Way, standing in the middle of 90,000 square feet of nothing. It’s both unnerving and strangely meditative.

The curators and I circle the fenced expanse, gravel crunching softly beneath our feet. It’s 10 a.m. on a Saturday. The city is just beginning to wake up, and so are we. Clutching a coffee, Curator A notes the enormous construction cranes nearby. When people talk about gentrification, they often point to these cranes—emblems of our paradoxical struggle for progress and preservation.

But there aren’t any such cranes where we stand. Not long ago, this spot was a Greyhound bus maintenance depot, close to the actual Greyhound station on Stewart Street (also slated to be demolished and moved). Next year, Seattle City Light will begin building a large electrical substation here, its first in 30 years, to serve booming South Lake Union, Uptown, and the Denny Triangle.

Until then, funded by the city’s 1-percentfor-art program and sponsored by its Office of Arts & Culture, these two mystery curators have been given a chance to bring poetry and other art installations to the empty block (bounded by Denny, John Street, Pontius Avenue North, and Yale Avenue North). All Rise is a purposefully enigmatic 18-month-long endeavor that began this spring. The less you know about it, the better, the curators insist. What they want is for you—possibly during this Friday evening’s South Lake Union Art Walk—to notice the strange, wonderful things they’ll host here. Pay attention, in other words. Be on the lookout for sporadic, spontaneous happenings as you’re walking or driving past.

» CONTINUED ON PAGE 22 21

arts&culture» SCIENCE

ARTS & CULTURE

COMMUNITY

Doug Fine The Agricultural Hemp Revolution Joy Beckerman Maher Washington’s Hemp Industry

FRIDAY, MAY 2

Othello

(5/7) Paul Taylor The Millennials’ Economic Burden (5/10) Intiman presents A Savage Chat with Tony Kushner

South Lake Union Art Walk

(5/1) Shadi Hamid Illiberal Islamist Politics plus Roundtable with Ellis Goldberg: Egypt After the Arab Spring (5/2) Big Life Foundation presents Nick Brandt: The Elephants’ Last Stand (5/3) Saturday Family Concerts The Okee Dokee Brothers (5/3) LUCO presents Chamber Music Cabaret (5/5) ParentMap: Dr. John Gottman Making Love Last & Marriage Work (5/5) Jason Padgett: ‘Struck By Genius’ (5/6) Give BIG to Town Hall (5/6) King County Superior Court: Implicit Bias in Jury Selection (5/6) Sandra Tsing Loh with Marcie Sillman The Menopausal ‘Madwoman’

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

cinerama.com. $25–$35 opening night. (Most tickets $9.) 8 p.m. BRIAN MILLER

Boy, if there was ever a film that needed a full digital restoration, this is it. Orson Welles spent three years sporadically filming this 1952 Shakespearian tragedy all over Europe, picking up locations, performers, and cinematographers (five of them!) when and where he could find them. I have seen some shitty prints of this movie, with the sound and lighting levels all over the map. (Welles went back and dubbed many of the supporting roles before its 1955 U.S. release. Let’s not speak of the 1992 rehab.) The fitful filming process was driven entirely by financing, meaning the lack thereof—one reason Welles would later quip that he spent 98 percent of his career after Citizen Kane hustling for backers and 2 percent actually making movies. He tackled several Shakespearian projects during the postwar period. Chimes at Midnight is my favorite among them, but Othello is the most fully realized. In blackface, Welles plays the brilliant Moorish general driven insane with jealousy

by Iago (the excellent Micheál MacLiammóir); Suzanne Cloutier’s Desdemona is the vague but lovely soul caught between them. Harkening back to Kane, Welles shot the film in deep-focus blackand-white, often wedging his players into stark architectural compositions (sharp eyes will detect landmarks in Morocco, Venice, and Rome). It’s not just Iago’s malign whispering that drives our hero to murder; there’s a cumulative weight of masonry and history pressing upon him, crushing his will and reason. (Critics in New York say this digital redo looks great; the picture runs through Thursday.) Northwest Film

(5/1) Thom Hartmann Reversing America’s Financial Crash

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Sam Jones will be on hand to field your questions about playing Flash Gordon—and about wearing those fabulous costumes. (Through May 12.) Cinerama, 2100 Fourth Ave., 448-6880,

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» FROM PAGE 21

Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6–$11. 7 p.m. BRIAN MILLER

Most Seattle galleries are clustered in Pioneer Square, Belltown, and Capitol Hill, where monthly art walks are fairly well established. But what of Seattle’s most booming neighborhood, SLU? Amid the Amazon towers and apartment buildings for all those weary coders are actually a few galleries and several temporary exhibition spaces arranged by the city’s Storefronts Seattle program. Tonight marks the inaugural quarterly art walk in SLU, with two dozen venues including proper galleries like Winston Wächter Fine Art (featuring painter Erin Parish) and Patricia Cameron Gallery (with Milan Heger), businesses including Glazer’s Camera and Modele’s Home Furnishings, some apartment lobbies, and the eight storefront installations. A guided tour, led

by Shunpike’s Anne Blackburn, will help you find the latter. Among them, we always like the work of Evan Blackwell, who repurposes old lawn chairs, plastic forks, drinking straws, and other urban detritus to make interesting sculpture. And there’s even a concluding 8 p.m. happy hour at Row House Cafe. Maps and

info: storefrontsseattle.com and discoverslu. com. Free. Tour departs John Street and Boren Avenue North at 6 p.m. Most venues open 5–8 p.m. BRIAN MILLER

Cloutier as the doomed Desdemona.

Seattle Dance Project

Dancers Tim Lynch and Julie Tobiason founded their company in 2007 to explore life outside Pacific Northwest Ballet. Since then, they’ve presented a mix of new and new-to-them works that expanded the performers’ horizons and gave the audience a new perspective on familiar artists. Tobiason stepped away from SDP after a few seasons, and now Lynch is preparing to leave as well. He and his wife—Alexandra Dickson, another former PNB/current SDP artist—will head off to Ohio to join BalletMet in June. For what’s possibly their last hurrah, they’re drawing on a trio of local choreographers for Project 7. Iyun Ashani Harrison, Wade Madsen, and Amy O’Neal bring a diversity of styles to their work, which was the SDP Project’s initial goal. Is this an ending or a transition for the company?

Either way, it should be a satisfying benchmark.

(Through Sun.) Broadway Performance Hall,

farewell for Speight Jenkins, who steps down as SO’s general director in September. (Through May 17.) McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676, seattleopera.org. $25–$220.

7:30 p.m. GAVIN BORCHERT

SUNDAY, MAY 4

Ira Glass

Glass is so masterful at the art of storytelling that he can make the most mundane scene into a harrowing, suspense-filled tale. When I saw him live during his last local visit, he demonstrated this by telling a story just about a person waking up and going down the stairs. But damn, what a great story it was. After nearly 20 years

1625 Broadway, 800-838-3006, seattledance project.org. $20–$25. 8 p.m. SANDRA KURTZ SATURDAY, MAY 3

The Tales of Hoffmann

The second most vexing problem in staging Jacques Offenbach’s The Tales of Hoffmann is which version to use. The composer hadn’t finished the opera when he died in 1880; various orchestrations, inclusions, and omissions—even the order of the acts—all have to be sorted out.

The most vexing problem is how to cast it. As the title suggests, the piece is based on three short stories by German fantasist E.T.A. Hoffmann. The tales parallel one another; each one, plus the framing prologue/epilogue, includes a heroine, a nemesis, and a servant role, and it can be greatly effective to cast one singer in each slot—if you can find singers who can handle it.

Seattle Opera did. For their production, opening tonight, Norah Amsellem sings all four lost loves, which altogether demand an intimidating range of color and style, from high-flying coloratura to weighty tragedy. Few sopranos attempt it. (Leah Partridge sings the four roles in the alternate cast, May 4 & 16.) SO’s 2005 staging of Hoffmann cast three separate sopranos as three of the heroines, leaving one a mute walk-on role (see what I mean about various versions? You can even choose to leave out some characters). That stunning and adored production, directed by Chris Alexander, is being revived as an opulent

STUART MULLENBERG

CIVICS

CARLOTTA FILMS US

TOWN HALL

Glass will chart the future of radio.

of hosting the beloved public-radio show This American Life, Glass’ charmingly nasal voice has become synonymous with engaging storytelling and intensely personal journalism. Glass has interviewed everyone from small children with aspirations of becoming superheroes to survivors of genocides. His talk, “Reinventing Radio,” will let you see what goes into making the celebrated show and offer Glass a chance to amplify how he hopes to “push broadcast journalism” into areas it hasn’t gone before—chiefly by creating stories for real people instead of news-obsessed media junkies. If Glass has ever entranced you over the radio, know that seeing him in the flesh, chunky glasses and all, will elevate your nerdy cult-of-personality fandom to a whole new fever pitch. As it did mine. Broadway Center for the

Performing Arts, 901 Broadway (Tacoma), 253591-5890, broadwaycenter.org. $29–$75. 3 p.m.

KELTON SEARS E

» Stage

Opening Nights

Who loves me most?

Kremer and Gunn as monarch and dutiful daughter.

elevate

tonight.

King Lear CORNISH PLAYHOUSE AT SEATTLE CENTER, 733-8222, SEATTLESHAKESPEARE.ORG. $25–$48. RUNS WED.–SUN. ENDS MAY 17.

of Virginia Woolf?

SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), 443-2222, SEATTLEREP.ORG. $15–$80. RUNS WED.–SUN. ENDS MAY 18.

It’s even odds whether more entrails were strewn on the floor of Rome’s Colosseum or in the den of George and Martha’s home. Either way, the bill of fare is blood sport as entertainment, and director Braden Abraham’s production takes

SUNDAY | MAY 4 | 7PM

Edward Albee’s circular firing-squad masterwork to Olympian heights and Stygian depths.

The 1962 play is a landmark stage dissection of the American family, in which Albee demonstrates how it’s possible to rip flesh from bone and finally destroy a person with nothing more than verbal skills, a few marital secrets, and the firm conviction that your opponent is beneath contempt. Martha (Pamela Reed) and George (R. Hamilton Wright) hold each other responsible for ruining their lives. She’s a university president’s daughter who’s taken to drink; he’s the academic who’s lacked sufficient drive or charisma to move up the campus career ladder.

She calls him an unambitious eunuch. He calls her an emasculating harpy. You get the idea.

Little remains of their onetime compatibility other than drinking and a sadistic game of trust.

The question Albee keeps putting on the table is this: What will happen when I reveal your most closely guarded flaws to complete strangers? George and Martha are each daring the other to end their marriage—or raise the stakes with another toxic revelation. It’s a perverse game that can be played only if they remain in the same room, with campus couple Nick (Aaron Blakely) and Honey (Amy Hill) as their reluctant audience.

Watching Reed and Wright lay into each another for three hours (with two intermissions) resembles nothing so much as a bullfight where only two matadors show up. As Abraham strategically directs them, Reed and Wright teeter between sympathetic characters and utter churls, much to the bewilderment of their guests—who are always looking for but never finding a safe place to land. Eventually, though, Nick has his naive idealism peeled back to reveal nothing more than naked avarice, and Honey, first appearing vapid and needy, finally shows a dark, manipulative side. Both learn from their masters.

Albee’s play is an all-you-can-eat buffet for performers, and these veterans bring the necessary skill and gravitas. Matthew Smucker’s set is a winning hodgepodge of suburban detritus; but, truth be told, you could stage Who’s Afraid of Virginia Woolf? as a cage match inside a chain-link fence. Much of what you’ll see is horrifying, but it’s also completely irresistible. KEVIN PHINNEY E

stage@seattleweekly.com

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THUNDER FROM DOWN UNDER

THURSDAY | MAY 22 | 7PM FRIDAY | MAY 23 | 8PM SATURDAY | MAY 24 | 8PM

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THURSDAY | MAY 29 | 7PM

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PWho’s Afraid

CHRIS BOTTI JOHN ULMAN

In this imagining of King Lear’s famous opening scene, in which the doomed monarch inventories the relative magnitudes of his three daughters’ love for him, he rocks a peacock-hued tunic coat. Relish the fleeting sight, as it is the only dash of vibrant color you will see before the last moments of this drab production. To pay for the conceptual gambit of stripping the king’s tinct along with his title, director Sheila Daniels and costumer Melanie Burgess tax the audience with a gloomy palette of black, white, gray, and beige on a similarly depleted set (designed by Daniels and Craig Wollam). Seattle Shakespeare Company’s fine acting is in ample evidence, but this overly cerebral take on a cathartic tale made me want to run outside and gasp for the saturated hues of messy real life.

Dan Kremer’s Lear, tall and sardonic, does more with the humorous and witty situations than with the tragic ones. This ruler seems most fully engaged when ridiculing others, while the windy heath—sound design by Rob Witmer— and other adversities hardly sway him. Beneath him, the characters soon sift into two camps: supporters of nefarious sisters Goneril (Linda K. Morris) and Regan (Debra Pralle); and supporters of Lear and exiled Cordelia (Elinor Gunn).

Among the latter, Todd Jefferson Moore offers an endearingly earthy Fool, while Amy Thone’s deadpan staccato makes her Kent—here a woman disguised as a man—a glib cartoon. The most memorable performance, though, is from Eric Riedmann as evil Edmund, who narrates his intentions to the audience like a stand-up comedian and puts hilariously inappropriate moves on Regan and Goneril—as if they’re his S&M slaves.

O, would that the sad parts were this effective! After the three-hour investment, with two intermissions, we need Lear to carry dead Cordelia to us! Did Michelangelo have Mary simply stand and look at her dead son Jesus for his Pietà? Yet for some reason—a bad back, maybe?—Kremer pulls Cordelia in on a trolley cart, like luggage.

I liked that form of locomotion during Daniels’ 2009 production of Abe Lincoln in Illinois at Intiman, where the president was affectingly scooted offstage into eternity on a castered podium. Here the device eases Lear’s burden but lessens the tragic impact. In compensation, Jessica Trundy’s lighting yields a slice of hopeful pink on the horizon. But Lear-sized agony should be served dripping raw, by hand. MARGARET FRIEDMAN

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

Stage OPENINGS & EVENTS

I SAW U Unexpected Productions’ new show is inspired by

personals: What happens when a “missed connection” connects? Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $12–$15. Opens May 2. 8:30 p.m. Fri.–Sat. Ends June 21.

LOLLYVILLE In Bret Fetzer and Juliet Waller Pruzan’s new show, a ghost bent on revenge “returns to the site of his fatal heartbreak: an isolated village inhabited entirely by women.” Richard Hugo House, 1634 11th Ave., macha monkey.org. $18–$20. Opens May 2. 8 p.m. Fri.–Sat. Ends May 24.

THE LOST BOYS Ian Bell’s Brown Derby Series—stage send-ups of cult films—takes on this teen vampire classic. Re-bar, 1114 Howell St., rebarseattle.com. $20. 8 p.m.

Thurs., May 1–Sat., May 3.

MAGGIE’S DINER SPT’s Youth Program premieres Frank Garland’s play about a cafe’s plan to save itself. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. 7 p.m. Fri., May 2; 2 & 7 p.m. Sat., May 3; 2 p.m. Sun., May 4.

A NEW BRAIN William Finn’s semi-memoirish musical about a songwriter and his medical issues. Cornish Playhouse at Seattle Center, 800-838-3006, seattle stageright.org. $15–$20. Opens May 2. 7:30 p.m. Thurs.– Sat. plus Mon., May 12. Ends May 17.

PRINCE OF PEARS Jacob Schiffler’s new fairy-tale play about a prince’s quest. Hutchinson Hall, UW campus, drama.uw.edu. Donation. 8 p.m. Thurs., May 1–Sun., May 4.

RETURNING TO ALBERT JOSEPH Satori Group member Spike Friedman’s new show “drops us into a society where heroes are rational and inefficiency has been eliminated.” Inscape, 815 Seattle Blvd. S., 800-838-3006, satori–group.com. $15. Opens May 2. 8 p.m. Thurs.–Sun., plus Mon., May 12. Ends May 25.

THE SIGN IN SIDNEY BRUSTEIN’S WINDOW The Endangered Species Project reads Lorraine Hansberry’s socially conscious 1964 play. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$15. 7 p.m. Mon., May 5.

SPIN THE BOTTLE Annex Theatre’s variety show includes “buoyant banjo-plucking,” “entertaining introspection,” and much more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., May 2.

CURRENT RUNS

THE BEGGAR’S OPERA Vaclav Havel’s non-musical take

on John Gay’s 18th-century slum story (not the usual Weill/Brecht version). Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.uw.edu. $10–$20.

7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends May 4.

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

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BETHANY Laura Marks’ hasty 2013 thriller presents a fresh

set of characters in recession-afflicted America circa 2008. Crystal (Emily Chisholm) is squatting in an abandoned home in a neighborhood ravaged by foreclosures; Gary is a seemingly friendly homeless man (played dexterously by Darragh Kennan) who coaxes out her backstory. Crystal’s desperation is the engine of the drama, but also its flaw. With Bethany clocking in at 80 minutes, the players—directed by John Langs—sometimes feel in a rush to enact their doom. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676. $55 and up. Runs Tues.– Sun.; see acttheatre.org for exact schedule. Ends May 4.

CHAOS THEORY In Courtney Meaker’s new absurdist tragicomedy, the audience is dropped, mid-despair, into the living room of Frannie (Keiko Green) as she’s coping with the loss of her lover. She and her quirky friends, maleidentifying Bach (Evelyn Dehais) and goofy, dim-witted Seth (Drew Highlands), build what seems to be an alternate-reality machine, and all three have their motives for using it. The set and character asides give the eerie feeling of being stuck inside a sitcom (there’s even a laugh track), but there’s nothing funny about being trapped in a situation you can never escape. Pamala Mijatov directs.

IRFAN SHARIFF Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends May 17.

ERNEST SHACKLETON LOVES ME During most of this new pocket musical, Valerie Vigoda gets to demonstrate her chops. Yet in the show’s first half-hour, the energetic score (music and lyrics are co-credited to her and Brendan Milburn) turns her into the quiet person at a loud party. It’s an odd start to an otherwise successful show.

Kat (Vigoda) is an unsuccessful opera composer saddled with a newborn in a Brooklyn apartment after her baby daddy Bruce (Wade McCollum) departs. Somehow she finds herself receiving mysterious online romantic overtures from explorer Ernest Shackleton (also McCollum), who crosses a century and a refrigerator door to be with his lady love. Joe DiPietro’s script never attempts to hide the unreality of this time-travel romance, which is part of the show’s charm. DANIEL NASH Seattle Repertory Theatre, Seattle Center, 329-1050, balagantheatre.org. $5–$45. 7:30 p.m. Wed.–Sun., 2 p.m. Sat.–Sun. Ends May 3.

GONE WILD! The Libertinis add music, burlesque, and comedy to this zoology lesson. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri.– Sat., plus 8 p.m. Mon., May 5. Ends May 10.

HAIR The smash ’60s musical is full of hippie goodness and song. ArtsWest, 4711 California Ave. S.W., 938-0339, arts west.org. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends June 7.

IMPENETRABLE SIS Productions presents Mia McCullough’s play about women, society, and body image. West of Lenin, 203 N. 36th St., 800-838-3006. $12–$16. Runs Thurs.–Sat.; see brownpapertickets.com for exact schedule. Ends May 3.

KING LEAR SEE REVIEW, PAGE 23.

LITTLE SHOP OF HORRORS Alan Menken & Howard Ashman’s musical toys affectionately with two of America’s enduring infatuations: cheesy monster movies and jukebox pop. Appropriately, this co-production of ACT and the 5th Avenue cranks the fun dial up to 11. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676. $20–$50.

See acttheatre.org for exact schedule. Ends June 15.

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Weekly - 4/83" W x 3.64" T horizontal or 2.33" W x 7.44" T vertical. Color D

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SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

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The BIG One | May 9 + 10 | Art Up Chow Down Art Displayed in over 70 businesses from 59th to 102nd www.artupphinneywood

QUICKIES, VOL. 15 Live Girls! Theater presents short

plays on the themes of science and magic. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, lgtheater.org. $5–$20. 8 p.m. Thurs.–Sat. plus Mon., May 5. Ends May 10.

A ROOM WITH A VIEW It’s hard to imagine how E.M. Forster would feel about his 1908 novel becoming Broadway fodder. The 1985 movie is the more direct inspiration for writer Marc Acito and composer Jeffrey Stock.

Virginal heroine Lucy is traveling through Italy with her chaperone; there she’s courted by the romantic George, which threatens a potential match back in England with uptight Cecil. Whom will she choose?!? Well, you’ve seen the movie, so you know. T. BOND 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $29 and up. Runs Tues.–Sun., see 5thavenue.org for exact schedule. Ends May 11.

TRUTH LIKE THE SUN Local writer Jim Lynch set this recent novel during our 1962 World’s Fair. Now see Book– It Repertory Theatre’s stage adaptation. Center House Theatre, Seattle Center, 216-0833. $23–$45. Runs Wed.– Sun.; see book-it.org for exact schedule. Ends May 18.

WHO’S AFRAID OF VIRGINIA WOOLF? SEE REVIEW, PAGE 23.

For more stage events, see seattleweekly.com.

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Dance

ALONZO KING LINES BALLET This renowned contem-

porary ballet troupe draws inspiration from India, Turkey, and Italy, and performs to live tabla music.Meany Hall, UW campus, 543-4880, uwworldseries.org. $44–$49. 8 p.m.

Thurs., May 1–Sat., May 3.

SEATTLE DANCE PROJECT SEE PICK LIST, PAGE 22.

12 MINUTES MAX Yet another eclectic showcase for local stage talent, running the spectrum from dance to cabaret. Washington Hall, 153 14th Ave., ontheboards.org. $8. 7 p.m. Sun., May 4–Mon., May 5.

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Classical, Etc.

JOHN LILL Beethoven, Brahms, and more from this pianist.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19 and up. 7:30 p.m. Wed., April 30.

SEATTLE SYMPHONY Out-of-town-tryouts, so to speak, for the orchestra’s NYC concerts May 5–6. At 7, the show they’re taking to Carnegie Hall: Adams, Varèse

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and Debussy; at 10, their new-music concert to be heard at Poisson Rouge. Benaroya Hall, 200 University St., 2154747, seattlesymphony.org. Free. Fri., May 2.

SEATTLE COMPOSERS SALON On Seattle’s newmusic open-mike night, works by William O. Smith, Tom Baker, John Teske, and Keith Eisenbrey. Chapel Performance Space, 4649 Sunnyside Ave. N., composer salon.com. $5–$15. 8 p.m. Fri., May 2.

BAROQUE NORTHWEST Music from New Orleans’ days as the center of French high culture in North America.

Trinity Episcopal Church, 609 Eighth Ave., 276-0871, baroquenorthwest.com. $15–$30. 7:30 p.m. Sat., May 3.

LUCO CHAMBER MUSIC CABARET Music from Lake Union Civic Orchestra players. Town Hall, 1119 Eighth Ave., luco.org. Free. 7:30 p.m. Sat., May 3.

CITY CANTABILE CHOIR The festive Gloria—reorchestrated with rock guitar and drums added—anchors this all-Vivaldi program. Green Lake United Methodist Church, 6415 First Ave. N.E., 800-838-3006, brownpaper tickets.com. $15–$18. 7:30 p.m. Sat., May 3–Sun., May 4.

SEATTLE OPERA SEE PICK LIST, PAGE 22.

CIRCLE OF FRIENDS Chamber music by various Mendelssohns and Schumanns, hosted by pianist Robin McCabe. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $10. 4:30 p.m.

Sun., May 4.

OCTAVA CHAMBER ORCHESTRA A new work for trombone trio and orchestra by Michel R. Edward. Maple Park Church, 17620 60th Ave. W., Lynnwood, octava chamberorchestra.com. $5–$15. 6 p.m. Sun., May 4.

MOSCOW VIRTUOSI Vladimir Spivakov leads this string group in a not-as-interesting-as-it-could-be program: Mozart, Piazzolla, Shostakovich, and Tchaikovsky.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $47–$87. 7 p.m. Sun., May 4.

TRIO BRASILIERO Brazil’s melting-pot-ness breaks loose in the genre called choro. With Anat Cohen and Jovino Santos Neto. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 7 p.m. Sun., May 4.

QUEEN CITY MUSICIANS This theater-oriented earlymusic ensemble debuts with Charpentier’s 1684 miniopera Actéon (based on the myth of the hunter who saw the goddess Diana bathing—oops!), plus other French baroque works. Trinity Episcopal Church, 609 Eighth Ave., queencitymusicians.com. $10–$25. 7:30 p.m. Tues., May 6.

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//////////////////////////////////////AT EMP MUSEUM

FRIDAY, MAY 16 ///////7:00PM–11:00PM

FLAX FX

OK GO VIDEO RETROSPECTIVE WITH MEMBERS OF THE BAND ///// VJ S FROM SUB POP, KEXP, DECIBEL FESTIVAL /////

Research Study Looking for Volunteers Flaxseed and many nuts contain lignans. These “phytochemicals” are thought to be beneficial to health but it is not clear how they work.

Help us research how flaxseed lignans affect the colon.

STEP INTO MACKLEMORE & LEWIS’ THRIFT SHOP VIDEO ///// 80 S KARAOKE LOUNGE ///// SURPRISE PERFORMANCES, SECRET GUESTS, DANCING ///// $25 ///// $18 MEMBERS ///// $12 STUDENTS ///// ALL AGES ///// BAR WITH VALID ID ///// COSTUMES ENCOURAGED ///// TICKETS AT EMPMUSEUM.ORG /////

Who is Eligible Men and women, ages 20-45, non-smokers



Don’t eat a lot of vegetables



Not on any prescription medications (including oral contraceptives)

PARTNERS: DECIBEL FESTIVAL, GLAZER’S CAMERA, KEXP, NFFTY, SUB POP, SYNC MUSIC VIDEO FESTIVAL, VALUE VILLAGE THRIFT SUPERSTORE, AND WORLD FAMOUS

ABOUT THE EXHIBIT///////

Main Activities

The first museum exhibition to celebrate the art and history of the music video through sight and sound. See cinematic productions by acclaimed directors Michel Gondry, Chris Cunningham, and Spike Jonze and artists like Michael Jackson, Arcade Fire, Daft Punk, Madonna, David Bowie, A-Ha, Kanye West, Beyonce, Bob Dylan, Blur, Macklemore & Ryan Lewis, Radiohead, Björk, and OK Go. With legendary props, interactive experiences, and more than 300 videos, Spectacle: The Music Video traces the evolution of the genre and cements its place at the forefront of creative technology.

 Take study capsules  Blood draws, stool and urine

collections  Sigmoidoscopies  Receive $700 for participating

More at www.FlaxFX.info or call 206-667-4353 or e-mail FlaxFX @ fhcrc.org

This exhibition is made possible in part by support from the Seattle Office of Arts & Culture.

IRB approved 07/31/2012

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

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Over a period of 12 months

AN OPENING NIGHT PARTY FOR SPECTACLE: THE MUSIC VIDEO

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

AX FX Study .FlaxFX.info 6-667-4353

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arts&culture» Visual Arts B Y K E LT O N S E A R S

Openings & Events ARTISTS’ RECEPTION: TWO ARTISTS, TWO SEAS, TWO VIEWS With Eva Stina Bender and Anna

Apr. 24–May 17, 2014 |

www.seattleshakespeare.org

Johansen. Swedish Cultural Center, 1920 Dexter Ave. N., 283-1090, swedishclubnw.org, Fri., May 2, 5-7 p.m.

JANA BREVICK Intergalactic Parallax is Brevick’s ode to Jacques Lacan, with jewelry and sculpture presented in parallax. First Thursday opening reception, 5-8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Thurs.-Sat., 12-5 p.m.

Through May 31.

CYNTHIA CAMLIN Divided Earth is the latest collection of Camlin’s ecologically charged paintings, capturing the planet’s melting ice caps in their full, fleeting majesty. 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 May 31.

LAURA CASTELLANOS Featuring her trademark google-eyed grotesques, Tender Buttons presents a painted cast of strange characters with loping, squishy heads who gawk right back at you from the canvas.

First Thursday opening reception, 5-8 p.m. ArtXchange, 512 First Ave. S., 839-0377, artxchange.org, Tues.-Sat., 11 a.m.-5:30 p.m. Through June 28.

COLORS OF GRAY This themed group show of mixedmedia work plays with the concept that gray, despite its dreary connotations, is indeed a color. Opening reception Saturday, May 3, 2-4 p.m. Prographica, 3419 E. Denny Wy., 322-3851, prographicadrawings.com, Weds.-Sat. Through May 31.

DOUGLAS COOPER AND ROBERT CONNELL Two artists take on the urban and industrial landscapes of Seattle—Cooper using detailed charcoal drawing, and Connell working in sumi ink painting. 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 May 31.

CAROLE D’INVERNO She shows bright new abstract paintings in The Lure of Ore. First Thursday opening reception, 6-8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com, May 1-31.

DE ANIMA Realist painters Martin Wittfooth and Jean Labourdette show separate work with an animal theme.

First Thursday opening reception, 6-9 p.m. Roq La Rue, 532 First Ave. S., 374-8977, roqlarue.com, May 1-31.

GARY FAIGIN AND KAREN YURKOVICH In Concentrated, Faigin’s realist paintings play with perspective in scenes featuring carefully lined up subjects. Yurkovich’s Turning Landscapes deal in natural landscapes reduced to suggestive shapes and patterns. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com, 1, Tues.-Sat., 10:30 a.m.-5 p.m.

Through May 31.

FLORA & FAUNA Painters Michelle Anderst and Joe Vollan present new work in this large party/exhibition space. The festivities usually spill out into Nord Alley, where temporary artworks are typically on view. First Thursday opening reception, 5-9 p.m. AXIS Pioneer Square, 310 First Ave. S., 681-9316, axispioneersquare. com, May 1-30.

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SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

FRANKLIN HIGH SCHOOL STUDENT ART SHOW

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Also on view, depictions of the face by Dianne Bradley, Christian Gollub, and Karen Graber. Opening reception: 5-8 p.m. Saturday. Columbia City Gallery, 4864 Rainier Ave. S., 760-9834, columbiacitygallery.com, April 30-June 15.

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.

TERRY FURCHGOTT Furchgott’s Les Sauvages paints a reoccuring female subject in color filled circus-like scenes. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Mon.-Sat., 10:30 a.m.-5:30 p.m. Through June 2.

AALIYAH GUPTA AND JOHN SMITHER Gupta’s Vortex collates natural storms with personal storms through reflective painting, while Smither’s I’m Just Here to See Bigfoot: musings of an invasive species has a similarly natural bent—a multimedia exhibit based on humanity’s interaction in the wild, focusing on the Middle Fork Snoqualmie River. First Thursday opening reception, 6-9 p.m. Core Gallery, 117 Prefontaine Place S. (Tashiro Kaplan Building), 4674444, coregallery.org, Weds.-Sat., 12-6 p.m. Through May 31.

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SUBSCRIBE TODAY! ISSAQUAH (425) 392-2202 • VillageTheatre.org • EVERETT (425) 257-8600

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

•

• ABBY INPANBUTR Persistent Work, Images of

History and Industry on Salmon Bay and Lake Union collects black-and-white photos of Seattle’s maritime businesses from the past three years. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 2967580, 4culture.org, Mon.-Fri. Through May 29.

IT’S NEVER TOO LATE TO CELEBRATE A collection of Puget Sound sumi artists, a centuries-old style of Asian ink wash painting. Opening reception 2-4 p.m., Sunday, May 4. Kirsten Gallery, 5320 Roosevelt Way N.E., 5222011, kirstengallery.com, Weds.-Sun., 11 a.m.-5 p.m.

Through June 1.

• MICHAEL KENNA Kenna’s stark black-and-white photography focuses on barren landscapes and vast expanses. First Thursday opening reception, 6-8 p.m. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com, Weds.-Sat., 11 a.m.-5 p.m. Through June 7.

MICHAEL KESSLER Orchard Grafts celebrates the almighty tree through abstracted paintings of arboreal features, oftentimes utilizing real tree bits in the composition. First Thursday opening reception, 6-8 p.m.

Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, Sat., Sun., 11 a.m.-5 p.m. Through May 31.

• LAURENCE LANDOIS The visiting French artist has created a series of new works in response to the Ballard holdout home of the late Edith Macefield.

Appropriately, the show is called Home Sweet Home.

First Thursday opening reception, 5-8 p.m. Room 104, 306 S. Washington St. (Tashiro Kaplan Building), 9538104, room104gallery.com, May 1-31.

MOLLY MAC Never Louder Than an Easy Hum is a multimedia exhibition exploring the artist’s developing relationship with the Grand Coulee Dam. First Thursday opening reception, 5-8 p.m. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), methodgallery.com, Fri., Sat., 12-5 p.m. Through May 10.

PAUL MARATEA AND RAY SCHUTTE Built upon the artists’ shared interest in the effect of modern technology on our environment, Maratea’s geometric paintings and Schutte’s computer-altered nature images are juxtaposed in what they are calling a “silent conversation.” 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 May 31.

MARVIN OLIVER He presents new works on paper with a Northwest coastal Indian theme. First Thursday opening reception: 6-8 p.m. Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com, May 1-31.

WILLIAM POWHIDA Unretrospective is William Powhida’s middle finger to the art world, a meta-collection of drawings of pieces of paper with lists deriding just about everything you could imagine: the global market, the value of art, financial systems, hope, etc.

Saturday opening reception: 11 a.m.-5 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com, Weds.-Fri., 11 a.m.-5 p.m. Through June 7.

SALON SEATTLE In the wonderfully restored great hall, which really ought to be used for more cultural events, dozens of decorative artists will be creating new work while you watch. Try to drop by before the First Thursday Art Walk if you can., salonseattle2014. com. Union Station, 401 S. Jackson St., 682-7275, seattleunionstation.com, Free, May 1-3, 10 a.m.-5 p.m.; Sun., May 4, 10 a.m.-3 p.m.

ANNE SIEMS Stricken by the ancient forests of the Pacific Northwest, Siems created this Old Growth series of “tree portraits”—fanciful paintings depicting old nurse logs and stumps next to a person with a personal connection to it. First Thursday reception, 6-8 p.m. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston.com, Tues.-Sat., 11 a.m.-5 p.m.

Through May 17.

• SOUTH LAKE UNION ART WALK SEE THE PICK LIST, PAGE 22.

WHOA ... GNARLY The ’90s are celebrated with this group show including two dozen locals including Gregory Attonito, Mike Bell, and Barry Blankenship.

Opening reception 7-11 p.m. Friday. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery.com, May 2-June 15.

GARY WORD The local artist presents his stringed instruments made of glass. First Thursday opening reception at Frederick Holmes & Co. (309 Occidental Ave. S., 682-0166), 5-8 p.m. Concert follows on Fri., May 9. RSVP through frederickholmesandcompany.com.

May 1-31.

WYNIA Podscape finds the artist manipulating her collection of seed pods into works through glasswork that creates a highly textured, sensual effect. 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 June 4.

• ERIC ZENER SEE THE PICK LIST, PAGE 21.

» Film

Opening ThisWeek The Amazing Spider-Man 2 OPENS FRI., MAY 2 AT ARK LODGE, MAJESTIC BAY, SUNDANCE, AND OTHER THEATERS. RATED PG-13. 140 MINUTES.

NIKO TAVERNISE/COLUMBIA PICTURES

Peter and Gwen (Garfield and Stone) on a 3-D Chinatown date.

Peter jokes with Gwen about following her to London, but why stop there? Kill the nagging Aunt May already and give that parochial kid a passport. The Eiffel Tower, pyramids, and Great Wall await. BRIAN MILLER

Decoding Annie Parker OPENS FRI., MAY 2 AT SUNDANCE. RATED R. 100 MINUTES.

From what I know of cancer treatment, observed within my own family, doctors give their patients horrible chemicals with the best intentions. They mean well, but the side effects are awful—vomiting, hair loss, chemo brain, exhaustion, wasting, the metallic ache within one’s veins. But you know that, because we’ve all had direct or indirect experience with cancer, the subject of this well-intentioned but plodding melodrama.

Yes it is inspired by actual events and two real people, one an American scientist, the other a Canadian woman with a mutation causing breast cancer throughout her family. And there is every reason to applaud the motives of director Steven Bernstein, Helen Hunt (as Berkeley’s Dr. MaryClaire King, now at the UW), and Samantha Morton (as Annie). They want to honor the 15-year quest to isolate the BRCA-1 gene, and cancer survivors in general. So do you, so do I, but that does not a good movie make.

Dr. King and Annie meet only once, in a scene divided by, well, the rest of the film. This results in one of those unfortunate parallel editing schemes where we’re supposed to feel two stories are linked—but, sorry, these two heroines have nothing in common. Hunt’s tight-lipped, no-nonsense scientist has zero color (unlike Dr. House and his fellow lab-coated TV geniuses).

Morton fares even worse as Annie, who narrates her story from ’60s childhood to the ’90s.

The clunky script forces strident jollity and ’70s fashions upon her—presumably to offset the whole miserable cancer ordeal (plus three other deaths in her family). But Bernstein, a veteran cinematographer directing his first feature, has absolutely no feel for comedy; Morton has never done comedy (Hunt’s a different story, but cast in the wrong role); and the comic relief bits are just awful. Are we supposed to pity cancer-stricken Annie more because she’s so perky and vivacious?

The genetic science is duly laid out with analogies (playing cards, road signs, etc.), at a level most high-school students could follow—or,

I suspect, already know. Annie is an extreme cancer outlier, a loser in the DNA lottery, yet her cutesy-pathetic depiction doesn’t mesh with the data- and science-driven quest of the astringent Dr. King. (Here’s a movie where I’d actually prefer more lab work and computer punch cards.)

Breaking Bad and the recent HBO series The Big C both began with cancer as an impetus, but they never succumbed to such sap. Character came first. Decoding Annie Parker tries to combine its two strands with sticky sentimentality, but the bond doesn’t hold. BRIAN MILLER

Hateship Loveship OPENS FRI., MAY 2 AT SIFF FILM CENTER. RATED R. 104 MINUTES.

A drab soul named Johanna Parry has just become convinced that, at long last, someone in the world loves her. The someone lives elsewhere, so physical affection will have to wait, but Johanna has been waiting too long already. So she stares at the bathroom mirror and then forcefully tries out some kissing on her own reflection.

With tongue. This action would be normal for a 14-year-old, but for a grown woman it takes on different shades of sad, funny, and mortifying.

The moment might defeat an ordinary actress, but Kristen Wiig is not ordinary. And she really goes for it. Her performance in Hateship Loveship doesn’t aim for comedy in the manner of Bridesmaids or her SNL sketches, but it is similarly uncompromising. The film, adapted from an Alice Munro short story, requires a delicate balance between a certain kind of realism and stylization. Wiig seems to understand this, but director Liza Johnson misses the fable-like qualities of the situation and opts for a naturalistic style, which means the characters come off as less than credible. As in a fable, the story depends on a fateful exchange of letters and a misunderstanding. Johanna is the housekeeper for a man (Nick Nolte) who has recently gotten custody of his teenage granddaughter Sabitha (Hailee Steinfeld, from True Grit). He can’t stand his son-in-law Ken (Guy Pearce, in his grunge mode), whose drunk driving caused the death of Sabitha’s mother. Happily, Ken lives in Chicago, a safe distance away.

We need not narrate more of the plot, except to say it’s a story about people believing what they want to believe—which could describe so many stories. If the film is a mixed bag, it’s an

POnly Lovers Left Alive OPENS FRI., MAY 2 AT GUILD 45TH, PACIFIC PLACE, AND MERIDIAN. RATED R. 123 MINUTES.

Given the subject matter—centuries-old vampires, decaying places, boredom with immortality—Only Lovers Left Alive might easily be a dreary slog through genre territory. Instead, Jim Jarmusch’s new film is full-bodied and sneakyfunny, a catalog of his trademark interests yet a totally fresh experience. It’s his best since Dead Man (1995), stirring evidence that the longtime indie darling is back as an expressive force.

Our two principal vampires begin the movie in different parts of the world. Eve (Tilda Swinton) is a denizen of Tangier, where she slouches around the atmospheric streets at night. Here Jarmusch creates an entire imagined city from a few well-chosen shots of plaza, wall, and a cafe called the Thousand and One Nights.

Adam (Tom Hiddleston) lives in Detroit, where he creates arty rock music and collects guitars. Adam needs Eve, so she joins him for sessions of nocturnal prowling (daylight must be avoided, so she sticks to red-eye flights).

Swinton and Hiddleston tease out just the right amount of humor from their roles, and John Hurt is briefly glorious as a certain writer whose best work happened 400 years ago. One does not expect much in the way of plot; and when Eve’s reckless sister (Mia Wasikowska) comes to town, it almost seems like an intrusion. The pace has been so languid and luxurious until then, you might actually resent this suggestion that a story is threatening to break out. Why would vampires need a storyline? They live on without much change or growth, and can’t even look forward to an ending. So Jarmusch’s dilatory style actually suits their world nicely.

The film’s gorgeous design contrasts the desolation of Detroit’s empty streets with bohemian interiors. (Adam’s pad, with its papered-over windows and cool bric-a-brac, looks inspired by Mick Jagger’s house of magic in Performance.)

The timeless vampires seem depressed about what has happened to the world; humans— Adam and Eve use the generic term “zombies” to describe the rest of us—have made a terrible botch out of such promise. All one can do is cling to culture and wait out the decline, holding tight to the books and vintage LPs and centuriesold apparel that serve as markers of a better time.

Only Lovers offers a handy metaphor for addiction, and perhaps Jarmusch was reaching for that—the protagonists live at the mercy of their suppliers, and they get really sick when blood is scarce. But that would limit the proceedings to a single meaning. This film’s decadence is much more fun than that. ROBERT HORTON

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

Every few years in China, a huge new wave of young filmgoers discovers American pop culture for the first time. They send us iPhones, steel, and washing machines; we send them disposable superheroes in return. Tobey Maguire’s Spidey is long forgotten, just as are the Batman actors before Christian Bale. The Hollywood product cycle grows ever shorter, and we’re already twothirds of the way through the Andrew Garfield era. Will anyone miss him when he’s gone?

The furrowed brow and sulking, not so much.

If Maguire was all open-faced wonder about his accidental arachnid skill set, Garfield’s more of a brooder—Peter Parker hiding in his room despite the entreaties of Aunt May (Sally Field).

He’s given a welcome few goofy grace notes with girlfriend Gwen (Emma Stone), but most of the time we’re watching his masked CG avatar swing seamlessly through Manhattan canyons, not the actual thespian. The dazzling computer effects have advanced so far from the Sam Raimi/Maguire pictures that most viewers won’t even notice the absence. Everything slowly builds after a zingy first hour to a twopart finale that’s more coded than directed.

Where are the actors? No one cares.

Neither do Garfield, Stone, their castmates, or director Marc Webb. Returning from Part I, his reputation based on the gossamer rom-com (500) Days of Summer, Webb keeps the tone light, caps the sulking, and limits the inside jokes.

The plot and dialogue are elementary—subtitles not required anywhere on the planet. There’s no sex and hardly any blood to Gwen and Peter’s adventures; these two collegians have a wholesome, early-’60s optimism that matches the Marvel origins of this teenage superhero. Both love science with an earnest, Space Age fervor.

When Gwen speaks of a prospective Oxford scholarship, she’s more excited than a girl showing off her new nail polish.

Amid this big satisfying bucket of popcorn, one appreciates the burnt kernels and flowerings of various careers. Unquestionably on their way up are Stone and Dane DeHaan (as Peter’s pal/ nemesis). On his way down is Jamie Foxx, barely recognizable as a blue-glowing electrical supervillain. Providing hidden value in small roles are Campbell Scott and Embeth Davidtz (as Peter’s parents in an extended action prologue), Chris Cooper (spot the cameo . . . ), Colm Feore (oily corporate Iago), Denis Leary (ghost) and Paul Giamatti (sure, what the hell, I’ll shave my head to play a Russian goon). Garfield’s stock is more of a hold than a buy; after 2016’s series-ender, he’ll have to tack hard in a non-Spandex direction. Given the money invested in Spidey’s aerial ballets with the camera (totally untethered, as in Gravity), it’s nice to see the budget padded with so many pros.

And a final word about value: While this enjoyable sequel is no Gravity, it’s worth the 3-D IMAX ticket price. The movie was designed for such scale, for maximum spectacle, for export.

interesting choice for Wiig, who goes the minimalist route and creates some genuinely insightful moments amid the generally overstated character studies on display. This is no small achievement, given that Johanna tends to slide toward the edges of the frame, as though doing a disappearing act on herself. The movie’s also an interesting choice for Seattle-bred producer Michael Benaroya, whose still-fledgling career has already notched some unusually literate indie properties, including Margin Call, Kill Your Darlings, and upcoming pictures from Werner Herzog and William Shakespeare. If Hateship Loveship comes up short, it’s still a worthy attempt to peer into the American margins. ROBERT HORTON

» CONTINUED ON PAGE 28 27

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YOUR TICKET TO THE ULTIMATE MOVIE & DINING EXPERIENCE.

AR T S AN D E N T E R TAIN ME N HAPPY HOUR Few of us here in the damp Pacific Northwest have cause to worry about water. Acclaimed Canadian photographer Edward Burtynsky, again collaborating with filmmaker Jennifer Baichwal (as in 2007’s Manufactured Landscapes), wants you to feel differently about that fluid.

Burtynsky specializes in oversized panoramas of environmental blight. There is both horror and beauty to his images of planetary damage, plenty of which is on view here. A Bangladeshi tannery pumps toxic red sludge into the drinking water. Chinese dams disgorge brown undulating torrents of sediment. Indian step wells run dry, leaving a yawning M.C. Escher void. The onceverdant circles of Texas pivot-irrigation farms revert to desert as the groundwater subsides.

Would we expect anything less, anything merely pretty or encouraging?

Like the photographs of crumbling Detroit, there’s a disaster-porn aesthetic here, which I wouldn’t mind if it were presented straight. The scientists drilling ice cores in Greenland I can take. “We are responsible,” says one researcher of global warming, and that’s hard to argue. But to this Watermark must add New Age flourishes. In glaciated British Columbia, a Native American solemnly pronounces, “We’re all water.” At the Kumbh Mela festival on the Ganges, some 30 million pilgrims convene to be cleansed in the shit- and corpse-contaminated river. This is confusing: Is water sacred or a cosmic toilet-flush?

Burtynsky adores yet gently deplores the perverse, unnatural patterns of agriculture and industry laid upon the Earth. These manmade impositions—including a floating Chinese colony of abalone farmers, arranged in grids like city blocks—are often photographed on high, from God’s-eye cameras controlled by drones. And if mankind’s ravaging of nature isn’t obvious enough, Baichwal underlines it twice. Yet nowhere in Watermark do you feel lectured; it’s more chiding than hectoring, a polite Canadian paraphrase of An Inconvenient Truth. BRIAN MILLER E

film@seattleweekly.com

GIRLS MOVIE NIGHT OUT

No ‘Guy Movies’ ...Laugh & Hang in the Lounge ...And perhaps a cocktail (or 2) Every Tuesday Night $5.00 Admission Per Ticket* For Groups of Two or More Ladies THE AMAZING SPIDER-MAN 2 IN 3D & 2D JODOROWSKY’S DUNE DECODING ANNIE PARKER THE LUNCHBOX UNDER THE SKIN THE OTHER WOMAN CAPTAIN AMERICA: THE WINTER SOLDIER IN 3D & 2D THE RAID 2 JOE BRICK MANSIONS

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OPENS FRI., MAY 2 AT VARSITY. RATED PG. 91 MINUTES.

*Tickets available at the box office.

SUNDANCECINEMAS.COM

SHOWTIMES

MAy 2 - 8

THE MUPPETS TAKE MANHATTAN

FriDAY - WEDNESDAY @ 7:00PM

KILL BILL: VOLUME 2

FriDAY - WEDNESDAY @ 9:30PM

SHRED NIGHT: FEATURING THRASHIN’ THURSDAY @ 8:00PM

BY BRIAN MILLER

Local & Repertory AS YOU LIKE IT This British film retrospective continues

with Our Man in Havana (1959), based on the Graham Greene novel, with Alec Guinness as a rather ineffective British spy in revolutionary Cuba. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thu., May 1, 7:30 p.m.

DOCBRUNCH The new documentary American Meat examines farming practices, the agriculture industry, and the trend toward organic and locally sourced food.

Burritos from Chipotle are included with your ticket.

(NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Sun., May 4.

GIANT MONSTERS ALL–OUT ATTACK The 1995 Godzilla vs Destoroyah begins this creature series.

Other titles include the 1954 original Godzilla (newly restored), It Came From Beneath the Sea, and the original King Kong. See SIFF website for full schedule. (NR) SIFF Cinema Uptown, $6-$11, May 2-8.

INEQUALITY FOR ALL The basis for this 2013 advocacy doc, Robert Reich’s Aftershock, was published four years ago as we were tentatively clambering out of the Great Recession, which began with the subprime-mortgage collapse of 2008. The market is up today, but we also have a jobless recovery for the middle class. Why? Reich shows how the inequality curve began climbing in the ’80s, accelerating with the deregulation of financial markets during the Clinton era. It’s a 40-year trend, with technology, globalization, outsourcing, and other causes. 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 Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., May 2, 7 p.m.

JUNK Local filmmaker Kevin Hamedani and cast members will attend this screening of their film-world satire, about a couple of slackers who go out on the festival circuit. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Thu., May 1, 8 p.m.

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LANGSTON HUGHES AFRICAN AMERICAN FILM FESTIVAL Over 50 movies and various related events

are part of this year’s fest, with special packages for women, sci-fi enthusiasts, the LGBTQ community, and kids. Highlights on the schedule include the recent acclaimed indie Mother of George, about Nigerian immigrants in New York, a documentary about black South African opera singers (Nidiphilela Ukucula: I Live to Sing), and the doc Vanishing Pearls: The Oystermen of Pointe à la Hache, about a coastal Louisiana community trying to survive after the Deepwater Horizon oil spill. Langston Hughes Performing Arts Center, 104 17th Ave. S., 684-4757, langstoninstitute.org, Most screenings $5-$10. Passes $50-$100. $25 for gala opening/closing nights, Through May 4.

THE MUPPETS TAKE MANHATTAN/KILL BILL: VOL. 2 First comes the G-rated children’s movie from 1984.

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

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Newly elected city council member Kshama Sawant has brought socialism back to the national spotlight.

Now there’s an entire film retrospective that will program titles (some still pending) looking back to our 1999 WTO protests, the great strike of 1919, and other touchstones of the left. See nwfilmforum.org for ongoing schedule. (NR) Northwest Film Forum, $6-$11, Through May 1.

SCI-FI FILM FESTIVAL SEE THE PICK LIST, PAGE 21.

SEATTLE TRUE INDEPENDENT FILM FESTIVAL Well over a dozen oddball indies, plus many shorts, will be screened at the Grand Illusion, Wing-It Productions, and Lucid Lounge. Titles on the schedule range from a documentary about a diabetic mountain climber hoping to bag a peak a day to sex (Gary Busey stars in Confessions of a Womanizer!) to zombies. Of course there will be zombies. Various parties and social events also attend the festival, which for last year’s Best of Seattle guide our discerning readers voted STIFF the Best Film Festival (Besides SIFF). And that surely counts for something. See trueindependent.org for prices, schedule, and other details. (NR) May 2-10.

“MAkes YOu WIsh thAt JOdOrOWskY hAd scrAPed tOGether the fINAL $5 MILLION Needed tO reALIze hIs dreAM.” -Jeannette catsoulis, the NeW YOrk tIMes

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AFTERNOON OF A FAUN: TANAQUIL LE CLERCQ

Joining the New York City Ballet in the early ’50s, tall and long-limbed at a time when most women in ballet were still petite and cute, Tanaquil Le Clercq was often called the prototype of the George Balanchine ballerina. The future seemed bright for his protege and future wife, but Le Clercq’s story took an O. Henry turn, as related in Nancy Buirski’s tragic new documentary.

She was only 14 when they met (to his 39), and he was already a towering figure in their art. Yet he began making dances with her “gawky grace” as a template for the kind of dancer he wanted to develop. When they married in 1952, it seemed an extension of their work in the studio. Then, on on a 1956 European tour, Le Clercq complained of feeling achy during a performance. The next morning, she couldn’t move. It was polio. Le Clercq spent the rest of her life (1929–2000) in a wheelchair. Luckily for us, her career was flourishing when network TV still broadcast serious cultural programming. Buirski has gathered almost every clip in the archives to illustrate the dancer’s signature style, augmented by old newsreels and poignant new interviews with her surviving peers. (NR) SANDRA KURTZ Varsity FINDING VIVIAN MAIER The biggest discovery of 20th-century photography was made in 2007 by Chicago flea-market maven/historian John Maloof.

Vivian Maier was a nanny who died soon thereafter, indigent and mentally ill, a hoarder. Maloof bought trunks of her negatives with no idea what they contained. The revelation of those images, in a series of art shows and books, immediately placed her in the front rank of street photographers like Robert Frank, Lee Friedlander, and Garry Winogrand. But who the hell was she? Now Maloof and Charlie Siskel have directed a kind of documentary detective story about the enigmatic spinster (1926–2009). It’s an irresistible quest, as Maloof interviews the now-grown kids Maier cared for, plus a few fleeting friends and acquaintances, who had no idea of her gifts. Would she have wanted her images seen by the public? Maloof conclusively answers that question. Would she have wanted his movie to be made? All her grown charges say the same: No. (NR) B.R.M. Seven Gables THE GRAND BUDAPEST HOTEL By the time of its 1968 framing story, the Grand Budapest Hotel has been robbed of its gingerbread design by a Soviet (or some similarly aesthetically challenged) occupier—the first of many comments on the importance of style in Wes Anderson’s latest film. A writer (Jude Law) gets the hotel’s story from its mysterious owner, Zero Moustafa (F. Murray Abraham, a lovely presence). Zero takes us back between world wars, when he (played now

by Tony Revolori) began as a bellhop at the elegant establishment located in the mythical European country of Zubrowka. Dominating this place is the worldly Monsieur Gustave, the fussy hotel manager (Ralph Fiennes, in absolutely glorious form). The death of one of M. Gustave’s elderly ladyfriends (Tilda Swinton) leads to a wildly convoluted tale of a missing painting, resentful heirs, a prison break, and murder. Adrien Brody, Willem Dafoe, Bill Murray, Jason Schwartzman, and Owen Wilson also serve a project so steeped in Anderson’s velvet-trimmed bric-a-brac we might not notice how rare a movie like this is: a comedy that doesn’t depend on a star turn or a high concept, but is a throwback to the sophisticated (but slapstickfriendly) work of Ernst Lubitsch and other such classical directors. (R) ROBERT HORTON Ark Lodge, Guild 45th, Lincoln Square, Bainbridge, Pacific Place, SIFF Cinema Uptown, Bainbridge, others

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Fri May 2 - Thu May 8 THE UPTOWN

GODZILLA: THE JAPANESE ORIGINAL Plus more Kaiju madness with Mothra, King Kong, It Came From Beneath the Sea, and more.

THE GRAND BUDAPEST HOTEL May 4 | DocBrunch

AMERICAN MEAT

With free Chipotle burritos!

May 7 | New York Film Critics Series

CHEF

With broadcast of Q&A with director Jon Favreau

O P E N S M AY 2-1 4 | U PTOW N

THE FILM CENTER Kristen Wiig and Guy Pierce in

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Following, though not part of a double-feature, is Quentin Tarantino’s R-rated revenge flick from 2004, memorably starring Uma Thurman. Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, May 2-7, 7 & 9:30 p.m.

NAVAJO STAR WARS It is what it purports to be: the 1977 original Star Wars, dubbed into Navajo. 21 and over. (PG) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$11, Fri., May 2, 11 p.m.; Sat., May 3, 8 & 11 p.m.

NOTHING AGAINST LIFE Local filmmaker Julio Ramírez will introduce and conduct a post-screening Q&A about his suicide-prevention drama. The event benefits for Washington State’s Youth Suicide Prevention Program. (NR) Cinerama, 2100 Fourth Ave., 448-6680, cinerama.com, $15, Wed., April 30, 6:45 p.m.

OTHELLO SEE THE PICK LIST, PAGE 22.

PAY 2 PLAY: DEMOCRACY’S HIGH STAKES Upset about the Citizens United decision? This ticketed all-day event includes the screening of a new documentary promoting a new constitutional amendment to get money out of politics. Dollaracracy author John Nichols will also appear. (NR) University Temple United Methodist Church, 1415 N.E. 43rd St., 28amend-movi.nationbuilder.com, Sat., May 3, 10 a.m.-6 p.m.

THE GREATEST SCIENCE FICTION MOVIE NEVER MADE!

RED RENEWAL: SEATTLE’S SOCIALIST SPRING

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arts&culture» Music

Confronting the Cosmos With Vox Mod

He approaches his music with a metaphysical mind.

BY KELTON SEARS

I

FRANK CORREA

t’s interesting to note that Cosmos: A Spacetime Odyssey, an educational science program that frequently challenges creationist theory and is hosted by a black man, astrophysicist Neil deGrasse Tyson, is one of the most-watched TV shows in America right now.

According to Entertainment Weekly, this past Easter Sunday the show’s ratings rose another eight percent.

Once, outwardly considering such metaphysical questions might have been stereotypical fodder for the likes of hippies and Carl Sagan (co-writer of the show’s precursor, Cosmos: A Personal Voyage), but lately the nation at large appears more interested in these questions.

What does it mean to be a tiny human in such a massive universe? What really makes up you and me? How do we transcend it all? Enter local electronic musician and animator Vox Mod, born Scot Porter, Seattle’s musical answer to the likes of Tyson and Sagan.

“A lot of times I feel like I should give up on music and become an astrophysicist,” Porter says.

“I just want to find the truth of what I’m experiencing. I want to feel like I can quantify what’s happening in the universe. I want to evolve.”

His newest album, The Great Oscillator, crafted to mimic the fractal patterns of the universe, crackles with rhythms and tones that might have emanated from a supernova. “Icycles,” an ambient track created with local producer IG88, sounds like the crystal ice moon Titan orbiting Saturn. The tone is not accidental—Porter very consciously hopes his music and accompanying tripped-out animated music videos help people start to confront these cosmic questions. To Porter, being an artist isn’t simply a career path—it’s a vital spiritual position in society.

“We’re channelers, we’re conduits,” he starts to explain. Distilling Vox Mod’s cosmic gospel into a slim article is difficult, but one of the artist’s core precepts deals with challenging the idea of the self: “I’ve always sort of felt like my voice was representative of this idea of the changing, shedding of selves.”

As a teenager, Porter developed severe vocal nodules. At one point he was medically advised to refrain from speaking for an entire month, and was given a portable white board to communicate in writing. Based on those experiences, he adopted the performing name Voicechanger. Now, after a particularly intense experience with the hallucinogenic drug DMT, he goes by Vox Mod. “I feel like there have been so many different

Treehouse Café

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

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versions of myself throughout the years . . . like I’ve lived numerous times,” Porter says. “I’m interested in that idea of getting people to tune to different frequencies of themselves they weren’t aware of yet through music.”

His previous album, SYN-ÆSTHETIC, explored similar themes, examining the homogeneity of identity in modern culture, which dictates that “you wake up, go to work, and that’s it.” It featured production by the prolific Erik Blood (THEESatisfaction, the Moondoggies, Champagne Champagne), as well as guest vocals from local heavy hitters like Shabazz Palaces’ Palaceer Lazaro.

The Great Oscillator features only female vocals by local artists—Emily Pothast of Midday Veil, Whitney Lyman of Pollens, and Adra Boo of Fly Moon Royalty, to name a few—a choice Porter hopes plays into this idea of cosmic identity shift.

“That’s another thing that tied it together for me in terms of breaking down people’s perspectives of themselves,” he says. “I wanted to break down the idea that I am 100 percent male, 100 percent this or that.”

As Sagan said, “We are made of star stuff.”

The Great Oscillator might be a techno album on the surface, but lurking beneath, Porter hopes his work can play into a collective spiritual pursuit.

“I hope in the future there will be some sort of a spiritual evolution for humans, where we realize that there are things we can metaphysically do when we’re around each other. Maybe if we all harness the same pitch, we can lift some heavy rock or something, I really do believe in that.” E

ksears@seattleweekly.com

VOX MOD RELEASE SHOW With Truckasaurus, Nordic Soul.

Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. $7 adv./$10 DOS. 21 and up.

8 p.m. Fri., May 2. The Great Oscillator is out now at voxmod.bandcamp.com.

SevenNights

1303 NE 45TH ST

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

Wednesday, April 30 DIRT NASTY Many rappers have successfully transi-

tioned into acting careers; the reverse is rare. But that’s Simon Rex’s story: After parlaying his porn career into mainstream Hollywood, his character George from Scary Movie 3 has taken on a life of its own as tongue-in-cheek rapper Dirt Nasty. With Dirtay, Billy the Fridge, Ryan Caraveo, AK Romero, DJ Gerze. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $13. MICHAEL F. BERRY

Thursday, May 1

Friday, May 2

Seattle’s PEEPING TOMBOYS are disciples of the post-punk wallow. Their debut EP, Levelheaded, is a rumbling, distorted work that moves slow so listeners can feel every aching note. Guitarist/vocalist Lara Hilgemann belts masochistic woes about regret and failure over bassist Claire Buss’ entrancing, melodic bass lines. With Heatwarmer, Webelos, Swamp Meat.

Blue Moon Tavern, 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 9 p.m. $6. 21 and over. DH Judging from the first single, “Carry On,” GRYNCH’s new album, Street Lights, sounds like something of a rebirth for the rapper. Despite numerous brushes with stardom, the King of Ballard still seems unfairly typecast by the success of 2009’s “My Volvo.” With The Bar, Dave B., Jake One. The Crocodile. 8 p.m. $12. MFB I first saw WARPAINT six years ago in a Los Angeles warehouse, just as it was starting to build a strong buzz. There Send events to music@seattleweekly.com.

See seattleweekly.com for full listings.

WED/APRIL 30 • 7:30PM

johnny clegg THU/MAY 1 • 7:30PM & FRI/MAY 2 - SAT/MAY 3 • 7PM & 10PM

rock and vaudeville featuring

geoff tate - the voice of queensryche SUN/MAY 4 • 6:30PM - CD RELEASE FOR “BIRDS IN FLIGHT” AND POST GRAMMY CELEBRATION

the teaching w/ jessie sawyers TUE/MAY 6 • 8PM

michael nesmith of the monkees!

WED/MAY 7 & THU/MAY 8 • 7PM & 9:30PM

cassandra wilson - two-time grammy winner and female jazz vocalist of the year

FRI/MAY 9 • 7:30PM STG, DEBRA HEESCH AND THE TRIPLE DOOR PRESENTS:

acoustic for oso SAT/MAY 10 • 7PM & 10PM

lowrider band

- originators of hits: lowrider, spill the wine, the cisco kid, why can’t we be friends & more! next • 5/11 wishbone ash • 5/13 grant lee phillips and howe gelb • 5/14 karla bonoff • 5/15 william fitzsimmons w/ ben sollee • 5/16 the beatniks “summer of love” • 5/17 the righteous mothers w/ christine lavin • 5/18 jon batiste and stay human • 5/20 suzanne vega w/ ari hest • 5/21 polly o’keary and the rhythm method/randy oxford • 5/22 seattle secret music showcase #14 • 5/23 mycle wastman • 5/24 bowievision • 5/25 ramblin’ jack elliott and nell robinson

happy hour every day • 4/30 trip the light • 5/1 how now brown cow • 5/2 the djangomatics / danny godinez • 5/3 daniel rapport trio • 5/4 justin k-h and friends • 5/5 crossrhythm session • 5/6 singer-songwriter showcase featuring: norman baker, simon kornelis and jake hemming • 5/7 kat koch quartet TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

Originally formed as a duo, Seattle’s post-apocalyptic noise-punk trio HAUNTED HORSES are headed out on tour and kicking it off tonight. The band’s latest record, 2013’s Watcher, is a solid indication of its ability to pull the listener into its world. While the immediate comparison to Liars is undeniable, Haunted Horses tends to veer into much darker and sometimes downright horrifying territory. With Monogamy Party, KA. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 8 p.m. $5. 21 and over. JAMES BALLINGER Considering Godspeed You! Black Emperor pioneered the modern post-rock sound, offshoot THEE SILVER MT. ZION MEMORIAL ORCHESTRA goes in a surprisingly different direction. With multiple vocalists and less abstract song structures, its music feels more akin to prog and metal. But with an album title like Fuck Off Get Free We Pour Light on Everything, bits of GY!BE are clearly still seeping through. With Jherek Bischoff.

The Crocodile, 2200 Second Ave., 441-4618, the crocodile.com. 8 p.m. $16 adv. All ages. DUSTY HENRY What’s Seattle’s best venue for a sexy make-out sesh?

Under the cover of candlelit darkness in Dimitriou’s Jazz Alley, listening to the dulcet tones of gypsyjazz quintet PEARL DJANGO (featuring vocalists Gail Pettis and Greta Matassa), “Besame Mucho” (“Kiss Me More”) isn’t just a song title, it’s a guitarstrumming, violin-plucking ticket to getting lucky. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $24.50 JENNA NAND Back in 2006, I fell in love with INGRID MICHAELSON’s music after hearing “The Way I Am” playing in an Old Navy commercial. Why? Apart from its groovy percussion and unexpected sexiness, it was the first time one of Old Navy’s asinine ads didn’t make me want to throw my shoe at my TV. That is Michaelson’s power: the ability to calm your nerves and soothe your soul. Or, failing those, to get you dancing. On her just-released Lights Out, driving pop melodies figure prominently on “Home” and “You Got Me,” and it’s hard not to notice that she does funky piano pop on the Sara Bareilles-like first single “Girls Chase Boys” better than Bareilles does. If those don’t move you, the hip-shaking, hand-clapping swagger-pop track “Time Machine” might. With Storyman, the Alternate Routes. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 7:30 p.m. $28.25. All ages. BRIAN PALMER ROCK AND VAUDEVILLE FEATURING GEOFF TATE finds the former Queensrÿche frontman presenting the history of rock & roll, from Elvis to the Beatles, Alice Cooper to grunge, with aerialists, burlesque dancers, and circus performers doing their thing alongside him.

Through Saturday. The Triple Door, 216 Union St., 8384333, thetripledoor.net. 7:30 p.m. $25–$35. DAVE LAKE

mainstage

dinner & show

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

JAZZ ALLEY IS A SUPPER CLUB

FRED HERSCH TRIO TUES, APR 29 - WED, APR 30

Grammy nominated jazz pianist and composer.

“One of the poet laureates of modern jazz piano..” - Andrea Canter, Jazz Police

PEARL DJANGO WITH SPECIAL GUESTS GAIL PETTIS AND GRETA MATASSA THURS, MAY 1 Seattle’s own songstresses with gypsy jazz favorites!

AN INTIMATE EVENING WITH WILL DOWNING FRI, MAY 2 - SUN, MAY 4 Romantic and soulful R&B singer

LAO TIZER FEATURING KAREN BRIGGS AND CHIELI MINUCCI TUES, MAY 6 - WED, MAY 7

All-Star World Jazz Rock, 2011 “Jazz Group of the Year” nominee

KENNY G THURS, MAY 8 - SUN, MAY 11

Legendary jazz saxophonist and Seattle legend returns by popular demand!

all ages | free parking full schedule at jazzalley.com

NTw.RlitYtlereMdhUenS.coICm LIVE COUww THURS MAY 1ST

STEVE FRAME & THE WESTERN REBELS (CD RELEASE PARTY) 9PM - $3 COVER

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

FRI & SAT MAY 2ND & 3RD

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QUENBY & THE WEST OF WAYLAND BAND 9PM - $5 COVER SUN MAY 4TH

THE SWEARENGENS 9PM - $3 COVER 4PM OPEN MIC ACOUSTIC JAM W/ BODACIOUS BILLY TUES MAY 6TH

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

a&c» Music was grumbling in the crowd that the group owed its rise to the fact that one member was dating a Chili Pepper (former guitarist John Frusciante), but these women have proven themselves more than pretty girls with instruments. Their songs, mesmerizing, creepy, and beautiful, improve with each album. With James Supercave.

Neumos. 8 p.m. $20 adv. DANIEL PERSON FRESH ESPRESSO The multi-talented duo has kept a rather low profile over the past year or so: A January show at Neumos was its first in Seattle in too long.

They haven’t released new material since 2012’s Jupiter EP, with the exception of December’s banging single “On!”. Fingers crossed that there’s more in the pipeline. With Ayron Jones and The Way, Duke Evers Band. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $12. MFB

Saturday, May 3

KATE LYNNE LOGAN fans, rejoice! This local singer/

songwriter will play songs from her new Animal Dreams at this album-release show. The best part? The acoustic folk-pop artist has hinted that Animal is something of a sonic departure for her. Come find out for yourself. With Sarah Gerritsen, Kitt Bender, Sammy Witness. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbia citytheater.com. 8 p.m. $10 adv./$12 DOS. 21 and over. BP South Carolina’s NILE have carved out a unique musical niche that includes Egyptology, a love of H.P. Lovecraft, and technical death metal. Its seventh LP, 2012’s At the Gate of Sethu, was its highest charter to date, cracking the Billboard Top 200 and sustaining the group through another trip to the Emerald City. With Countless the Dead, Barefoot Barnacle. El Corazon, 109 Eastlake Ave. E., 2620482. elcorazon.com. 7:30 p.m. $18 adv./$20 DOS. DL The “Cathedrals” concert series already casts an interesting snare: “Indie musicians . . . in epic old spaces.”

The upcoming CATHEDRALS VIII casts it even farther in the annual “BARE” concert, promising “no instruments . . . no sound systems” for a night of a cappella sets in the acoustically rich setting of St. Mark’s on Capitol Hill. For the gambit to work, the talent will really need to nail it. Local indie vocalists and acts like Courtney Marie Andrews, Shenandoah Davis, Erin Austin, Daniel Blue, and more promise vibrato to the rafters. With the warts-and-all exposure inherent in a cappella singing, though, this will either be swoon- or cringe-inducing. Regardless, in this era of computerized perfection, it’s hard to imagine a more charming experience than the honesty of a naked human voice leaping forth to beguile every jaded ear in the pews. St. Mark’s Cathedral, 1245 Tenth Ave. E., 323-1040, fremont abbey.org/events/cathedrals. 8 p.m. $11–$15. JN In a world where EDM tents are full of sleeveless Ts and neon typefaces, THE GLITCH MOB might be the best underground sting operation yet. Its bombastic glitch production, full of outlandish bass drops and moody breakdowns, has infiltrated the scene with fleeting moments, abstract rhythms, and glimpses of electronic art rock. With Ana Sia, Penthouse Penthouse. The Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 9 p.m. SOLD OUT. All ages. Also 8 p.m. Sun. $25. DH A last bastion of those halcyon days of ’80s hair metal, STEEL PANTHER are crude, rude, and gloriously unaware. Nominally, the act is a parody, a tongue-incheek representation of rock at its most misogynistic.

Its latest record, All You Can Eat, continues the joke with tracks like “You’re Beautiful When You Don’t Talk” and “Gangbang at the Old Folks’ Home.” With Future Villains. Showbox SoDo, 1700 First Ave. S., 628-3151, showboxpresents.com. 8 p.m. $23. CORBIN REIFF ZOE MUTH AND THE LOST HIGH ROLLERS She’ll always be Seattle’s country sweetheart, but you’ll hear yet more twang in Muth’s third release, World of Strangers. It’s not the tone, necessarily—as ever, her vocals are rich and willowy—but the way little bits of the Southwest seep into these 10 new songs since she moved to Texas last year and collaborated with some of Austin’s finest. Tracks like “Mama Needs a Margarita” and its subject’s wistful dream for “A pretty red dress, and a new pair of dancing shoes” go hand in hand with “A Texas roadhouse/And a band to play the blues.” With Massy Ferguson. Tractor Tavern. 9 p.m. $12. GWENDOLYN ELLIOTT THE PAINS OF BEING PURE AT HEART’s new album, Days of Abandon, doesn’t come out until May 13, but the first single suggests it’ll stick to the band’s standard formula: swelling overtures about angsty love. “I’ve never stopped losing you,” Kip Berman and Peggy Wang sing over and over again in tight harmonies, backed by such a huge sound it’s a wonder there are only four people in the band. In other words, more of the good stuff. With Fear of Men, Ablebody. The Vera Project, 305 Harrison St., 956-8372, theveraproject.org.

7:30 p.m. $12 adv. All ages. DP

Sunday, May 4 When you think of stoner rock, FU MANCHU should be one of the first names that come to mind. Since 1990, it’s churned out 10 records of groove-based, fuzzed-out heaviness. Now in its 24th year, the band is supporting Gigantoid, its first in five years, self-released on its own At the Dojo Records. With Electric Citizen, Ancient Warlocks. El Corazon. 8 p.m. $15 adv. 21 and over. JB SAINTS OF VALORY’s bassist/lead singer Gavin Jasper sounds like a kissing cousin, vocally, of Imagine Dragons’ Dan Reynolds, and the band’s infectious alternative pop is in the vein of American Authors, so there is much to like on its debut EP, Possibilities, which features the hit single “Neon Eyes.” With Eric Hutchinson. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 8 p.m. $17.50 adv./$20 DOS. All ages. BP Chris Carrabba was working on a Dashboard Confessional record when the hard drive he was saving it on crashed and the album was lost. He took it as a sign. “I felt good about the songs,” he says, “but I felt like the parameters in which I could write were really narrow.” After years of success with Dashboard, Carrabba took a bold leap by scrapping the record—and the band. He studied Travis picking, a guitar playing style favored by Chet Atkins in which the strumming hand plays two patterns simultaneously, one with the thumb and one with the other fingers. He eventually re-emerged with his new project, TWIN FORKS, an Americana band that issued its self-titled debut in February. The album falls somewhere between his former acoustic emo and the Lumineers, complete with mandolins, hoots, hollers, handclaps, and foot stomps. But it does feel like evolution, with more mature lyrics and a grown-up sound. In

Sub Pop Retail Store Grand Opening Thursday, May 1

Y

public-service announcements while bands like the Winterlings, Fly Moon Royalty, and Naomi Wachira perform live throughout the terminals.

Sea-Tac will soon enjoy more Northwest rock flavor with the addition of the Sub Pop Records retail store. Because of TSA regulations, however, you’ll have to wait for your next trip out of town to check it out—the 1,768-square-foot store

Monday, May 5

Southern California’s NAILS play an abrasive brand of crust-fueled hardcore beyond the boundaries of traditional metal. On last year’s Abandon All Life, the band packs so much sheer violence into the 17-minute punch-out of a record that anything longer would have you begging for mercy. Gluttons for punishment, be prepared. With Iron Lung, Bone Sickness, Skinfather, Gag. El Corazon. 7:30 p.m. $10 adv. All ages. JB

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

Tuesday, May 6

Canadian country vocalist CORB LUND rides the line between roots musician and radio-ready crooner.

While his guitar playing may be too gruff to go against Kenny Chesney or Keith Urban, there’s an undeniable charm in his voice. Half the battle with country music is selling the artist as the genuine article; Lund is about as home-cooked as they come. With the Deep Dark Woods, Frontier Ruckus. Tractor Tavern. 8:30 p.m. $13.

21 and over. DUSTY HENRY

is located in the central terminal, accessible only to travelers.

Nonetheless, there will be an official ribboncutting ceremony, with label co-founder Jonathan Poneman on hand plus a performance from a Sub Pop band TBA. The store will offer music from Sub Pop and Northwest artists, apparel, books, and items from KEXP and the Vera Project. Other products include Sub Pop coffee and Sub Pop–branded travel items. Former Sonic Boom general manager Julie Butterfield will manage the store, and veteran rocker Mark Pickerel, a former Sub Pop employee, will act as senior assistant manager.

The shop began to take shape last year, when SP Vice President Megan Jasper, who sits on the Seattle Music Commission, reached out to Tami Kuiken, Sea-Tac’s music program manager.

“There were discussions about bringing in a kiosk,” Kuiken says. “But their concept was so fabulous; we wanted to get them into an in-line store.”

The store was both an exciting and daunting task for the label, which has opened a second warehouse for airport inventory, implemented a new point-of-sale system, and hired designers to bring the Sub Pop spirit to Sea-Tac. Deanna Zachrisson, the airport’s dining and retail business manager, says the store is leased for an 18-month trial period. “This is an opportunity to try the airport environment, 6 a.m. to 10 p.m., 365 days a year, and see how that works for them and how it resonates with passengers,” she says.

Despite the unique retail environment Sea-Tac offers, everyone involved has high hopes. “We knew if we did it right, it could be a very exciting undertaking,” Jasper says. “We decided that whatever the challenges, we were going to fucking go for it.” Sea-Tac International Airport, 17801 International Blvd., 787-5388, portseattle.org/Sea-Tac. 10 a.m. AZARIA C. PODPLESKY

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

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SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

COURTESY OF SUB POP

ou can’t miss the tunes at Sea-Tac. Because of the recently launched Sea-Tac Airport Music Initiative—a collaboration by the Port of Seattle, the Office of Film and Music, the Seattle Music Commission, and PlayNetwork, a local provider of in-store entertainment—Northwest artists like Brandi Carlile and Macklemore deliver

other words, the risk paid off. With Augustana. Neumos.

8 p.m. $18. DAVE LAKE With their new album, Setting Out to Sea, Seattle natives THE ONLIES offer more of their acclaimed fiddle music. If you aren’t encouraged to get up and start dancing to the upbeat tracks, accompanied by the trio’s soft vocals, you will undoubtedly find yourself tapping your foot to the playful rhythms that seem to be perpetually moving forward. With Jacob Cummings, Sarah Pasillas. Skylark Cafe, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 4 p.m. $5. All ages. LAUREL RICE

33

arts&culture» Music David Dondero Sunday, May 4

COURTESY OF THE ARTIST

S

inger/songwriter David Dondero was born in Duluth, Minn., just like Bob Dylan. In a recent e-mail to Seattle Weekly, Dondero writes that furthermore, both were born in the same hospital, St. Mary’s. It’s a distinction he describes with humor.

“I don’t think the doctor fed me the same articulation pills that Bob must have gotten,” he wrote.

Yet in 2006, on an NPR list ranking the “Best Living Songwriters”—on which Dylan, unsurprisingly, came in first—Dondero edged out competition like Joni Mitchell, Jolie Holland, Carole King, Leonard Cohen, Billy Bragg, Nick Cave, and plenty of other renowned masters of song to join the list at #10.

These days Dondero continues to refine a catalog that explores the folk tradition, much as Dylan and Woody Guthrie (whom Dondero cites as an influence) did, culling stories from endless travels throughout the states and a deep love of American culture. Though the songwriter’s career was launched through well-respected indie labels like Ghostmeat, Future Farmer, and Team Love (whose co-founder Conor Oberst in turn cites Dondero as an influence), his latest, This Guitar, was crowd-financed.

“The Kickstarter campaign was a really great experience,” he writes. “It was a lot of work. More so than I anticipated, but well worth it. . . . The old record-label model . . . was basically a loan that could never be paid off. This Kickstarter model flips it over. It’s all paid for in

advance. I don’t want to go into the past with the labels. I never really sold enough records to make it worthwhile for either party.”

A quick listen through Dondero’s back pages, like the road songs “Ashes on the Highway” and “The Stars Are My Chandelier,” show that convention is of little interest to him. Of his music, and the unrelenting wanderlust that inspires it, he writes that he always labors to “just keep trying new things.” To wit, Dondero currently lives off the grid at a farm in northern California, doing carpentry and odd jobs in exchange for room and board. “You get used to shitting in a bucket and covering it with sawdust,” he writes.

Bringing his tour to Seattle’s all-ages venue is no accident, either. “A few years ago I played for my friend’s class in Cleveland . . . One kid asked me, ‘Why don’t you play good music like rap?’ . . . At the end he asked if he could strum the guitar through the amp really loud. He liked that. Maybe it opened up his mind to another form of music.” The Vera Project, 305 Harrison St., 956-8372, veraproject.org. 7:30 p.m. $8 adv./$10 DOS. All ages. GWENDOLYN ELLIOTT

El Corazon www.elcorazonseattle.com

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

THURSDAY, MAY 1

VERDANT MILE

with The Daily Grind, 90 mph Sleep, Static, Joyfield and Surviving Yesterday.

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

FRIDAY, MAY 2

SEATTLE WEEKLY • AP RI L 30 — M AY 6, 2014

KISW (99.9 FM) Metal Shop & El Corazon Present:

34

NILE

with Countless The Dead, Barefoot Barnacle, plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $18 ADV / $20 DOS

SATURDAY, MAY 3

DREADFUL CHILDREN

with Hurry Up And Die, Wolfhammer and The Post Alley Hoodlums Lounge Show. Doors at 9 / Show at 9:30PM 21+. $5

SUNDAY, MAY 4 Mike Thrasher Presents:

FU MANCHU

with Electric Citizen and Ancient Warlocks Doors at 7:30 / Show at 8PM 21+. $15

MONDAY, MAY 5 KGRG (89.9 FM) & El Corazon Present:

NAILS with Iron Lung, Bone Sickness, Skinfather and Gag Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10

MONDAY, MAY 5

SURVAY SAYS!

with Poke Da Squid, The Waywards, Theories Of Flight and Ryan Hyde Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, MAY 6 Mike Thrasher Presents:

ICED EARTH with Sabaton and Revamp

Doors at 6:30 / Show at 7:30PM ALL AGES/BAR W/ID. $24 ADV / $26 DOS

WEDNESDAY, MAY 7

TOTAL CHAOS with Act Of Sabotage, plus guests

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

JUST ANNOUNCED 6/7 LOUNGE OLD MAN MARKLEY 6/9 GEMINI SYNDROME / EYES SET TO KILL 6/11 TRUTH UNDER ATTACK 6/14 LOUNGE FAREWELL MY LOVE 6/29 SHOWTIME 7/31 LOUNGE MOBILE DEATHCAMP 9/21 YOU ME AT SIX 11/8 THE PANCAKES & BOOZE ART SHOW UP & COMING 5/7 SIIINES 5/9 PAGANFEST FEAT. KORPIKLAANI 5/10 PRIMAL FEAR 5/11 CHIODOS 5/12 LOUNGE TRAPDOOR SOCIAL 5/13 ONE WAY SYSTEM 5/14 LOUNGE CHRYSALIS 5/15 MIKE TRAMP (WHITE LION) 5/16 ARISEN FROM NOTHING 5/16 LOUNGE EVERYONE DIES IN UTAH 5/17 LOUNGE THE HOONS 5/18 NEW YOUNG PONY CLUB (NYPC) 5/19 LOUNGE THE FRONT 5/20 ARCHITECTS / LETLIVE 5/22 LOUNGE EARLY MAN 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

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Employment General CREATIVE SERVICES MANAGER Seattle Weekly, part of the Sound Publishing group, is looking for a dynamic candidate to manage creative services operations. This is a FT, Salaried position and the 40 hour per week schedule will vary, Mon-Fri. The position oversees the process that insures all display ads run when and as ordered; and that ad proofs are delivered/transmitted to customers and sales consultants as requested. Would coordinate with the Editor for page production and assist the Publisher with any marketing tasks/projects.

Position requires knowledge of Macintosh computers and Adobe CS3 applications (InDesign, Photoshop, Illustrator, Acrobat.) Also requires working knowledge of basic and advanced design concepts, attention to detail and followthrough, excellent communications and customer service skills; and the ability to work well under deadline pressure.

Newspaper or other media experience is preferred.

Sound Publishing offers competitive salaries and benefits including healthcare, 401K, paid holidays, vacation and sick time.

Qualified applicants should send a resume, cover letter, and a few samples of your work to: hreast@soundpublishing.com or mail to: Sound Publishing, Inc., 19426 68th Avenue S., Kent, WA 98032 ATTN: HR/CSMSEA Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Visit our website at: www.soundpublishing.com to find out more about us!

Classified Ads Get Results!

Employment General ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader.

Drop off resume in person & book list to: 1530 1st Ave (serious inquiries only) MARKET DEVELOPMENT COORDINATOR Sound Publishing, Inc. is seeking a Marketing Development Coordinator to research, plan and implement market programs throughout the organization. This position acts as a consultant and resource to Sound Publishing’s National/Regional Advertising Sales team and senior-level management; and is responsible for developing and implementing brand, market, and account specific sales and marketing presentations. The successful candidate will bring extensive marketing/advertising experience in the print and/or digital media industry. Must be proficient in InDesign, Photoshop, Illustrator, Acrobat Pro, Microsoft Word, Excel, PowerPoint and html5; have the ability to communicate effectively; possess excellent presentation skills as well as basic math and English skills. Candidate will also be a problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. Position requires a Bachelor’s degree in Marketing or related field and three to five years of marketing/brand experience.

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.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com NO PHONE CALLS PLEASE.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com MARKETING COORDINATOR 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.)

If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

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

Must live in Seattle area.

Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

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

Employment Computer/Technology Business Intelligence/Datawarehouse Engineer sought by Zulily in Seattle, WA. Work w/ leadership team, Mktng, Finc, Sply Chain & tech teams to undrstd biz & rprtng reqmts. MS in CS, Info Tech, or rltd + 2 yrs exp in dbs dvlp & rprtng OR BS in CS, Info Tech, or rltd + 5 yrs exp in dbs dvlp & rprtng. 2 yrs exp w/ BI rprtng frmwrk incl rprt dvlp, data dplymt & admn; strng exp & advncd prfcincy in wrtng cmplx SQL queries & stord procs; exp in dsgnng & dplyng prodn sppted dimnl modls, star schemas, &or data marts; know & exp in “big-data” techs.

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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 agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx

Appliances AMANA RANGE Deluxe 30” Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept.

206-244-6966

KENMORE FREEZER

Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,

interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293.

Credit Dept. 206-244-6966

KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept.

206-244-6966

NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd.

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SE ATTLE WEEKLY • APRI L 30 — MAY 6, 2014

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Sleeping rooms in clean and sober house. $130 a week w/no deposit!

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206-762-2757.

HomeWell Senior Care Franchising is growing!

Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

WWW.KIRKLANDGOLDBUYER.COM Seasonal Allergies? Are you allergic to Pollen, Weeds, Food or have other allergies?

Earn $100 for each qualified plasma donation. Call Today! 425-258-3653

$100 TO $1000

7 Days * 24 Hours Licensed + Insured

www.plasmalab.com

Singing Lessons

ALL STAR TOWING

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

425-870-2899

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

facebook.com/seattleweekly

If you or your child are 12 or older, and on a stable does of an inhaled corticosteroid or any long-acting bronchodilator combination for at least 4 weeks, you or your child may qualitfy for our asthma research study of an investigational inhaled medication.

ASTHMA Inc Clinical Research Cente

ASTHMA Inc Clinical Research Center Inc Clinical Research Center ASTHMA ASTHMA Inc Clinical Research Center Located Near Northgate ASTHMA Inc Clinical Research Center

LocatedNear Near Northgate Located Northgate 206-525-5520 or studies@asthmainc.org Located Near Northgate Located Northgate ASTHMA Inc Clinical Research Center 206-525-5520 orNear studies@asthmainc.org ASTHMA Inc Clinical Research Center

206-525-5520 or www.asthmainc.org 206-525-5520 or studies@asthmainc.org 206-525-5520 orstudies@asthmainc.org studies@asthmainc.org www.asthmainc.org

Located Near Northgate

Located Near Northgate www.asthmainc.org www.asthmainc.org ASTHMA Incwww.asthmainc.org Clinical Research Center Auto Events/ Auto Events/

206-525-5520 or206-525-5520 studies@asthmainc.org or studies@asthmainc.org Located Near Northgate ABANDONED AM-PM BLACKBERRY www.asthmainc.org 206-525-5520 or studies@asthmainc.org www.asthmainc.org VEHICLE AUCTION TOWING INC

Appliances

REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available

Yard and Garden

UNDER WARRANTY!

4BACKHOE & 4BOBCAT WORK 4Lot Clearing HConcrete, Asphalt Removal HStump Removal HSmall Bldg Demolition HLandscaping Services

Residential/Light Comm STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles.

Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month

%206-244-6966% Miscellaneous

BUY JUNK CARS WE PAY CASH & MORE THAN OTHERS! PICKUP RIGHT AT YOUR FRONT DOOR PAY FROM $250 RUNNING OR NOT! 206-355-4243 and 206-941-1857

Auctions

Auctions

& BRUSH

REMOVEL 4HAULING www.asthmainc.org 4EXCAVATION

was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo.

Credit Dept. 206-244-6966

253-261-0438

lic#garricl956cq,bonded,ins

Bazaars/Craft Fairs

Tuesday 5/6/14 Preview 9:00AM Auction 10:00AM A-Seattle Towing, LLC 13226 1st Ave S. Burien 206-856-1388 www.towseattle.com

Classified Ads Get Results!

Abandoned Vehicle AUCTION!!!

05/02/14 @ 11AM 3 Vehicles

1997 HONDA ACCORD AOE1386 2002 CHEVY ASTRO AIB7829 1979 CHEVY PU B22420L

Preview 10-11AM 14315 Aurora Ave N.

LATVIAN SPRING RUMMAGE SALE 2014 First time offered: collectibles, furniture, household items, clothes, books, electronics, tools, plants, ethnic items, jewelry and much more. Must Come to see. Coffee bar & ethnic snacks.

Thurs, 5/1, 9:30 am-7:00 pm (Numbers assigned starting at 8:00 am); Fri, 5/2, 9:30 am - 7:00 pm; Sat., 5/3, 9:30 am 5:00 pm Sun., 5/4, 12:00 pm - 4:00 pm Seattle Latvian* Center, 11710 - 3rd Ave NE, Seattle. North of Northgate, East of I-5, West on 117th Ave NE off 5th Ave NE

Lead Generator for The Tree Industry Work Outdoors In high end neighborhoods setting Free Estimate Appointments with Homeowners.

Help create awareness about proper trimming and maintenance of Trees & Shrubs to keep them safe and healthy.

Set your own schedule. Most reps work 25-35 hours a week.

Average Reps are earning $500-$750/ week and Top Reps are earning up to $1,500/ week setting appointments.

Training, Flyers and Company Apparel Provided.

ASTHMA Inc Clinical Research Center Travel, Medical and Cell Phone Allowances Available.

ASTHMA Inc Clinical Research Located Near Northgate Must have Vehicle, Driver’s License & Cell Phone to be considered.

ASTHMA Inc Clinical Center Research Center ASTHMA Inc Clinical Research Center ASTHMA Inc Clinical Research Center LocatedNear Near Northgate 206-525-5520 or studies@asthmainc.org Corporate Office: 509-227-7410 ext. 3304 or 3308 Located Near Northgate Located Northgate Located Near Northgate 206-525-5520 or studies@asthmainc.org www.asthmainc.org 206-525-5520 or studies@asthmainc.org 206-525-5520 or studies@asthmainc.org Apply online at www.tlc4homesnw.com www.asthmainc.org

206-525-5520 or studies@asthmainc.org www.asthmainc.org www.asthmainc.org

www.asthmainc.org