Seattle Weekly, May 21, 2014

MAY 21-27, 2014 I VOLUME 39 I NUMBER 21

SEATTLEWEEKLY.COM I FREE

IS COPPER RIVER SALMON WORTH IT? PAGE 4 | THE SEATTLE SYMPHONY TAKES MANHATTAN PAGE 21

Y O J F O N R U T E E D R I U G E C I H S U T ORIAL DAY WEEKEND M MEM

UATCH! Q S A S G N I R FEATU

FOLKLIFE

• VOLUME T S E F N I A R

VORONIN RETURNS SEATTLE WEEKLY • MAY 21 — 27, 2014

IN AN ALL-NEW SHOW

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10:30PM HTS • DOORS AT SATURDAY NIG BA R DANCING, FULL 21 & OVER • DJ, www.zinzanni.com/wakethenight

inside» May 21–27, 2014 VOLUME 39 | NUMBER 21

» SEATTLEWEEKLY.COM

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news&comment 4

SALMON SAYS

BY ELLIS E. CONKLIN | Are Copper River fish really better eatin’? Plus: what we learned from the Seahawks’ mini-camp; behind the scenes at the minimum-wage-proposal negotiations; and more.

food&drink 17 LOCA-BORES

BY CHASON GORDON | Yes, we know

that Food X was better in your hometown than it is here. Now hush up about it.

17 | FOOD NEWS/THE WEEKLY DISH 18 | THE BAR CODE

arts&culture 9

BEST OF THE FESTS

BY SW MUSIC STAFF | Where to go

and whom to hear this Memorial Day weekend, all across the state— even out in Spokanistan.

21 SSO –> NYC

BY GAVIN BORCHERT | How our orchestra took the Big Apple by storm.

24 | THE PICK LIST 26 | OPENING NIGHTS | Tom Stoppard

and scary women.

28 | BOOKS

29 FILM

THIS WEEK AT SIFF | Matt Smith’s

32 | FILM CALENDAR

33 MUSIC

33 | SEVEN NIGHTS 34 | CD REVIEWS

odds&ends 35 | CLASSIFIED

»cover credits

PHOTO OF THE MAINSTAGE AT LAST YEAR’S SASQUATCH! MUSIC FESTIVAL,

BY MORGEN SCHULER

EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Thomas James, Diana Le, Laurel Rice Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, 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, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Interns Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Peter Muller, Brett Leverett, Erin McCutcheon Classifieds Account Executive Matt Silvie

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SEATTLE WEEKLY • MAY 21 — 27, 2014

filmed monologue and some tips for week two.

30 | OPENING THIS WEEK | Jesse Eisenberg battles Jesse Eisenberg, Michael C. Hall turns to crime, and Jon Favreau turns to cooking.

Editor-in-Chief Mark Baumgarten

3 3/8/13 6:17 PM

news&comment

A Fish to Dine For

Seahawks Have Something to Fear

Is Copper River salmon overhyped, or really worth an arm and a leg?

BY ELLIS E. CONKLIN

econklin@seattleweekly.com

On Monday, Mayor Ed Murray made his pick for Seattle’s Chief of Police: Kathleen O’Toole, a former Boston Police Commissioner with an international track record. If the City Council approves the pick, O’Toole, 60, would become Seattle’s first modern female police chief (Bertha Landes held the post briefly in the ‘20s).

As is customary, the mayor’s choice delivered a few soundbites for the press, talking reform, quality of life, and coffee: “We have to acknowledge mistakes of the past.”  “Nobody dislikes rogue cops more than good cops.”  “We have to work tirelessly to restore public trust.”  “Crime and quality of life are at the top of our agenda.”  ”My style is very collaborative. I certainly don’t claim to have all the answers.”  “Prevention and intervention are more important than enforcement.”  “We need to restore department pride.”  “I think we’re on the right track.”  “I don’t drink coffee. I have sensitivity to caffeine. I’ll drink lots of decaf, I promise.”

G

et 59 guys together for a weekend of touch football: It’s both the bachelor party I’ve always dreamed of, and the format of last weekend’s Seahawks’ rookie minicamp. This was the first of six events over the next month called “offseason workouts.”

Really, they’re preseason workouts. The team that will defend Seattle’s Super Bowl championship starts forming now.

The

BY SETH KOLLOEN minicamp was for the 28 rookies already on the Seahawks’ roster and the 31 non-roster tryout players. Pads aren’t allowed, so neither is tackling. As you can imagine, this makes it difficult to draw firm conclusions about a player’s ability to succeed in the NFL—it’s like having a MLB tryout camp with wifflebats.

Still, in this first organized team practice of the 2014 season, the Seahawks Justin Britt sought the key trait that now defines the franchise: competitiveness.

Said Pete Carroll after the minicamp’s final day: “We’re always looking for that—the guys that really battle and come out busting their tail, and digging and scratching to get to the ball. We’re looking for that first.”

It’s a subtle but radical concept: Carroll rarely talks about the impact new players will have on opposing teams, but about the effect they’ll have on his own. And the effect he’s looking for is, basically, to make your teammates fear for their jobs.

Second-round pick Justin Britt will “make [incumbent right tackle] Michael Bowie stretch it, and that’s good for us.”

Rookie free agent Gerry Gilliam “looked very good at left tackle. We need the competition there.”

Rookie free agent defensive end Jackson Jeffcoat “fits in athletically with the guys that play for us, so we’re anxious to see if he can push and fight for a spot.”

The competition started last weekend, with the non-roster tryout players trying to wrench away a spot on the 90-man roster. It will continue over the next five weeks during the Hawks’ offseason training program (known as OTAs)—10 days of drills and scrimmages, all non-contact just like rookie minicamp. And even though there’s no tackling, Seahawks players can still get bruised.

The team cut nine players last year during OTAs. It all begins after a visit to the White House this week, where, presumably, “digging and scrambling” won’t be required. Although with Pete Carroll in charge, don’t be so sure. The Hawks may be the first team to arrive at the Rose Garden after a sprint from the National Mall. E

SPORTSBALL

sportsball@seattleweekly.com

CORKY TREWIN/SEAHAWKS

4

wonderful fish, but we’ve kind of put it up on a pedestal, even though we in the Northwest are surrounded by other great options in terms of salmon.”

Craig Medred, a prize-winning outdoor writer for the Anchorage Daily News and more recently the online Alaska Dispatch, is weary of all the praise Copper River salmon has garnered. As he wrote for the Dispatch two years ago, “What we’ve got here is not a taste game. What we’ve got here is a marketing game. Fishermen in Cordova have played it masterfully . . . But there’s a problem here. In blindtasting at our house, even people who profess their love for the Copper River fish have regularly picked the Kenai River fish as tastier.

“Now, granted, it might just be a strange coincidence based on the quality of the tasters. We have some friends who can’t tell a nouveau Beaujolais from a really good Oregon pinot noir. Wine’s wine, you know. Well, not quite. But salmon really is salmon.”

Why, even Rowley himself told Seattle Weekly some years ago that in a “side-by-side taste test,” Yukon River salmon was superior because its long journey—some 2,000 miles, compared to 300 on the Copper River—had made it the oilier, and thereby tastier, of the two fish.

“These guys have done some great marketing, but there’s no better fish than the Frazier River sockeye,” posits Peter Knudsen, an influential observer of the seafood industry who now teaches “Food and Politics” at Seattle Central Community College. “And yes, in reality, a salmon is just a salmon.”

As for Leslie Kelly, a veteran food writer and current editor of Zagat Seattle, she says, “I love Copper River king salmon. And I will eat it as often as I can—as long as someone else is picking up the tab.” E JON ROWLEY

SEATTLE WEEKLY • MAY 21 — 27, 2014

C

opper River salmon netted their annual redcarpet treatment when the much-heralded fish, after fighting their way 300 miles upstream against strong icy currents to their spawning grounds in south-central Alaska, touched down at Sea-Tac Airport last Friday morning. You might have thought an actual king Copper River had come a-calling. salmon at Pike Jon Rowley remembers well the Place Market. days when the Copper River king ended up frozen for export to Japan or canned, fetching mere pennies— certainly nowhere near the $65 the celebrated fish hooked Friday evening at Ray’s Boathouse. (Copper River sockeye went for $38 at the upstairs cafe.) “Oh, yes, it has all snowballed,” says Rowley, adding with a chuckle, “Now it seems like it’s too big for its britches.”

Rowley is the mastermind of the Copper River salmon boom, one of the marketing geniuses who turned this oily, fat-bellied thoroughbred into aquatic gold. A lifelong scholar of the seafood industry from harvest to table who began his career as a commercial fisherman more than 30 years ago, Rowley got the bandwagon rolling.

The year: 1983.

He’d tasted the fish years before, and knew there was something differBut is it overrated? Does the mystique of the ent, something deliciously and delicately tender, Copper River’s king and sockeye salmon live up about it. “I was working as a consultant for to their much-ballyhooed billing? four restaurants in Seattle—McCormick’s Fish “I buy into the hype,” says restaurateur Ethan House, Ray’s, Triples, and another owned by Stowell. “Is there, like, a night-and-day differ[Victor] Rossellini. ence? No. Is it a thousand times better than “I told them I was working on a project in other salmon? No. But it is the filet mignon of Alaska with a gill-netter from Cordova named salmon, and you really, because of its seasonality, Tommy Thompson that would result in bringing can’t think of the cost.” to market here the best salmon in the world.”

“I think it is awesome fish,” exclaims superThe four restaurants ordered a total of only chef Thierry Rautureau, who recently opened 400 pounds. It was all an experiment, recounts Loulay in downtown Seattle. “And all the attenRowley, now a contributing editor to Saveur. tion the Copper River gets is great for all wild “So I had it flown down on Alaska Air and had salmon. It benefits everyone.” it delivered. They put it on the menu at Ray’s, Restaurant chieftain Tom Douglas agrees. “I and I remember the waiters kept coming back love it, and I love the ceremony that surrounds to the kitchen, going, ‘My God, the customers it. It has raised the value of all other salmon. are saying they’ve never had salmon like that in In certain years, the Copper River is the best their life.’ salmon I’ve ever had.”

“The Copper River and salmon in general Still, the price can be intimidating. Walter has become more than just food around here,” Pisano, the chef at Tulio, seldom offers CopRowley says. “It has become a ritual. It marks per River. “Too spendy,” he says. “Yes, it is a the beginning of a season.”

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The Minimum Wage’s Odd Couple

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Howard: [Smiles.] I will say this: What was most important is that the two co-chairs kept a back-channel dialogue. Even at the worst—tears, F-bombs, “Hell, no!”s . . .

David: Never between us.

Howard: Seriously, he’s right. Never between us. We would text each other going home at 1 o’clock in the morning, saying, “Do you want to pick this up in the morning?”

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David: I wouldn’t say I had preconceptions.

For me, having spent a large number of years building my union, it was newer ground for me to try to manage the complex dynamics of a labor-left coalition. Sometimes managing one’s own caucus is harder then managing relationships across the table.

Instantly exchange gift cards for cash at any Coinstar Exchange kiosk.

David: Well, let me say this. There are certain businesses in and around the airport that, had they been open to a negotiation, it might have gone down a very different way.

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What were your preconceptions about working together?

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Howard: Downtown. We were at City Hall.

No!

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Where?

David: I’m trying to think about how to say this.

Howard: [Laughs.] Do you want to go off the record?

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David: I met Howard for the first time two hours before the press conference [at which the mayor announced the formation of the committee].

Howard: One of the first things we did after we met was to go out for a couple of hours together. We took a long walk.

David, any regrets about SeaTac?

On your second date.

SEATTLE WEEKLY • MAY 21 — 27, 2014

SW: Did you two know each other beforehand?

Howard: I was motivated by the way the minimum wage happened in SeaTac. I wasn’t opposed to $15 as an eventual goal. But I didn’t like the fact there was no phase-in. It became effective seven weeks after the election. That’s really challenging for businesses on many levels—everything from planning to publishing your rate sheets to budgets. I didn’t like the fact that in the hospitality industry, there was no accounting for tips. And with all due respect to my colleague, I didn’t like the fact that collectivebargaining agreements were exempted from the $15 minimum wage.

I thought, OK, there isn’t a question of if this is coming to Seattle, it’s really a question of getting out in front of it.

A

E

arlier this month, Howard Wright and David Rolf brokered a deal for raising the minimum wage in the city of Seattle to $15 an hour as cochairs of Mayor Ed Murray’s Income Inequality Advisory Committee. It was an unlikely agreement, since the two leaders represent constituencies—business and labor—usually at odds.

Wright is CEO of Seattle Hospitality Group, which is a partial owner of the Sheraton and other concerns; Rolf heads SEIU 775. As the City Council considers the agreement, the two took time from their busy schedules to sit at the Sheraton Seattle’s Fountain Wine Bar and discuss the process. While joking about wine being a lubricant for committee meetings, the two men displayed the close rapport they developed over four months of intense meetings.

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David Rolf (left) and Howard Wright hangin’ out at the Sheraton.

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Howard Wright and David Rolf talk about brokering a deal through F-bombs, tears, and “Hell, no!”s.

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Headline:

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SEATTLE WEEKLY • MAY 21 — 27, 2014

news&comment» Minimum Wage’s Odd Couple » FROM PAGE 5 Tears, F-bombs—what was that about?

Howard: Deeply held beliefs. People felt they were being asked to move off their moral center ground.

Can you give me any specifics?

Howard: Well, I can talk issues, I’m not going to talk names. It’s a very . . . David can help me out here. He and I don’t mind finishing each other sentences. We’re getting good at this. You know there are seven no-tip-credit states in the

see the inside of the mayor’s office at 1:15 a.m. and again the next morning at 7:30. What’s been referred to as the G8, the core negotiators, who were working every day, often seven-day weeks, took over a chunk of the mayor’s office. We had our two conference rooms, two caucus rooms, and free run of the place at all hours of the day, pretty much.

You asked earlier what the most difficult moment was. For me the most difficult day was Thursday the 24th of April. We had had a deal for four minutes the previous day.

Four minutes?

MORGEN SCHULER

David: Four minutes. We’d been up until 1:15 or 1:30 the night before. The mayor had already gone.

And between 11:58 and 12:02 that morning, we had a deal. It fell apart when we realized we were defining a term differently. We realized an apple had become an orange overnight.

country [Ed. note: These are states in which tipped workers are not exempt from the standard minimum wage], of which Washington is one. The employer community looked at adding tips to the floor of a minimum wage to get to a goal of 15.

For the labor movement, the tip credit is a third rail. That was a big issue.

“This is a finely constructed deal. You change one thing and, like dominoes, it changes everything else.”

What was the term?

David: How “500 employees” was defined, whether it was local or national. We had been operating on national numbers the day before. Business had thought they signaled they wanted to talk about local. We never got that memo.

That was disappointing, but it wasn’t terrible.

We were so close. The following day was the first of the press conferences, first scheduled at noon, then kicked back to 3. Between noon and about 2:30, we had a deal. And it fell apart at 2:30 because some of the business groups said they hadn’t checked with their membership and had to abstain. That cued up distrust on the labor and left. We saw 18 votes become 13 votes in the course of a half-hour.

I went home that night feeling like I had failed.

So how did you get a deal?

Why only 23?

David: One member didn’t fill it out.

Howard: You can imagine who that might be.

Can you do initials for me?

David: No. And so we asked: Would you think about exempting this group or that group? Or: What do you think about counting tuition or child care toward compensation? It became really clear we had a limited amount of sharp disagreement over a couple of concepts. Really, it came down to the length of phase-in, how it applied to different firms, and whether or not tips and health care were counted.

[Howard leaves to take a phone call.]

Of course those issues became what we spent all of our time on in the last six weeks. We got to

David: The mayor weighed in and said, “I’m thinking it’s going to be 500 national.” He did this a couple times. He was pretty hands-off the first three months and incredibly hands-on the last.

Howard [returning]: Yeah, he was.

Are your various constituencies on board now?

Howard: Many are. There are fringes at both ends that are unhappy.

David, in the labor community, is there much controversy?

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This is a 21-and-over event.

David: Not at this point.

What about City Council? If the council tinkers with anything, what is it going to tinker with?

David: I hope the Council doesn’t tinker with much because this is a finely constructed deal.

You change one thing and, like dominoes, it changes everything else.

Howard: Yeah, this is a house of dominoes. E

nshapiro@seattleweekly.com

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 !

SEATTLE WEEKLY • MAY 21 — 27, 2014

David: That was probably the biggest. About halfway through the process, we did an anonymous online survey of [committee members].

Howard: A survey for the 24 of us.

David: Yes, and 23 of us actually filled it out.

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MEMORIALDAYWEEKEND Festival Guide

SAS

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AT LI RA CH VO IN FE FEST LU INLANDER’S

SEATTLE

MORGEN SCHULER/COURTESY OF KEXP

NEUMOS, DAN GONYEA

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GORGE AMPHITHEATER

ME SPOKANE

Welcome Back, Joy!

BY GWENDOLYN ELLIOTT

F

or so many of us, listening to music is a private thing, a sacred experience not shared lightly. That first mixed CD you share with your crush. A pair of headphones buffering out urban chaos. A song that makes you cry (that you listen to only when you’re alone).

Why, then, when the sun comes out, are we compelled to gather in throngs, throw our arms around each other, and commune with tunes? I get why we’d want to share our favorite bands with friends, but with thousands of

complete strangers?

Perhaps it’s that our short, glorious summer—which unofficially starts this weekend— inspires a sense of sister- and brotherhood that simply cannot be contained. The return of joy, as we’ve aptly called it. Sure, we’re far from the only region that celebrates music with a large festival; but considering the fact that for over half the year we scrape together an existence out of some combination of Gore-Tex, noodle soups, and Netflix, the fact that we come out at all is pretty impressive, isn’t it?

With so many festivals converging in the area over the next two weekends—Folklife, Rain Fest, Sasquatch!, and Volume Fest, in Washington’s #2 city (#1 in spirit), Spokane— there’s much to celebrate even for people like me, who like to express enthusiasm a good five yards away from the next guy (you’ll find me at Folklife, dodging drum circles at the Vera Stage’s Spaghetti Northwestern Showcase).

In recognition, we provide a window to each festival via a personality or band who we feel really exemplifies the spirit of that event.

Read on for Inly’s Mindie Lind on diversity at Folklife; Adam Zacks on the one band he wishes had never played Sasquatch!; Kent Ueland on why some folks think Terrible Buttons is shit; and Power’s Ricky Hansen on his feelings about playing a fest with his heroes.

Time to pack away those heavy parkas and boots and kick off summer in good company.

Welcome back, joy. We missed you. E

gelliott@seattleweekly.com

SEATTLE WEEKLY • MAY 21 — 27, 2014

These four fests will have you hugging strangers in no time.

9

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SEATTLE WEEKLY • MAY 21 — 27, 2014

MEMORIALDAYWEEKENDFestGuide

It’s a Folk Life, After All

From psych to roots, Folklife is all about branching out.

BY GWENDOLYN ELLIOTT

SUSAN NEWBOLD

Mindie Lind (fourth from left) and her band, Inly.

Y

ear after year, you can always count on the Northwest Folklife Festival—now in its 43rd year—to deliver something interesting. No, it’s not as trendy as Sasquatch!, as hardcore as Rain Fest, or as DIY as Spokane’s Volume Fest (which will culminate not this weekend, but on May 30–31); but Folklife, with its scarf dancers (here’s looking at you, Boe Odissey), ethnic tunes, and laid-back, family-friendly vibes offers something those fests don’t: a celebration, free for one and all, of what makes Seattle the progressive, artscentered—and yes, diverse—community we’re proud to call home.

Its roots-oriented, mixed-bill programming is what inspires Mindie Lind, of local band Inly.

Her group, a circus-folk six-piece featuring sultry, sister-close harmonies awash in wah-wah trumpet and noodly guitar, released its debut EP last month. The band plays the Vera Stage on Saturday, and Lind, who works in PR during the day, took a few moments to tell us about her thoughts on the fest, growing up in the church, and the crip-culture concept that lives in her band. (Read the full interview at seattleweekly.com/reverb.)

Lind: I’m from Georgia, where I was raised.

When I moved here I started to understand some of the politics of the South, because they weren’t saturated in the politics of the South, and I latched on to the Americana country scene out here. I grew up in the church; I was part of one of those families that went to church three times a week. I grew up in the choir, and I played French horn and was classically trained. But I spent a long time loving Jesus when actually I was falling in love with music. I sold the horn to move out here when I was 23. Now I’m 31, so it’s been about eight years.

How did you connect with your bandmates and Kate Blackstock? She complements your vocals with such close, pretty harmonies you’d think you’re related.

I love that “sister harmonies” sound. I’ve been

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You said the video for “Mississippi Misfit” says a lot about your band—what did you mean by that?

For me, I have no legs. That song was a specific reference to “crip” [i.e., crippled] culture and crip identity. I don’t really like the word disability, and I’ve been looking around for a better one, like adaptability. It’s not about what you can’t do, but how you’re going to do it. Like me on the skateboard [in the video]. The problem with the word disability is that it’s a symbol that comes from our culture of help, and we were really trying to play on that symbol, that picture, to break that apart from icons of disabilities and talk about it in a way that includes sexuality, self-sufficiency, and artistry. The video is about crip-culture creativity and how it fits in our band.

How does Folklife fit in with that ethos?

The thing about Folklife is that it features so many kinds of music that are all related, but there’s a lot of branching out. There‘s traditional folk music, psych and roots-based music, and plugged-in reverb sounds. I’m excited to see so many bands. Corespondents, my favorite band in Seattle, is playing; Colt Kraft Band; Low Hums; there’s this guy Ethan Lawton, he plays this rootsy rocksteady sound, it’s the funnest, prettiest music. I like really diverse bills, and Folklife does a good job with that. E

gelliott@seattleweekly.com

NORTHWEST FOLKLIFE FESTIVAL Seattle Center, 684-7300, nwfolklife.org/festival.

Free. Fri., May 23–Mon., May 26.

SEATTLE WEEKLY • MAY 21 — 27, 2014

SW: Tell me about yourself and your relationship to the Seattle music scene.

looking for someone to sing with who has that quality, someone told me about Kate, and I just messaged her. I think we were five minutes in, and it just worked. I love singing with Kate; she’s confident, easy, and she just knows where I’m going. Kieran [Harrison Buhlinger] is the guy behind that awesome guitar; we must have met at Cafe Racer. Kieran is in the band Corespondents, and we started talking about how we wanted to make music together. That’s how I met the other dudes in the band.

More wiggle in the wag!

11

MEMORIALDAYWEEKEND FestivalGuide 1303 NE 45TH ST

Make It Rain

Zacks on Sas

Rain Fest pours on the hardcore— and fans around the world are noticing.

Sasquatch!’s founder dishes.

BY KELTON SEARS

12

SW: What was it about Rain Fest that made you think, “Oh, we’re in a real band now?”

Hansen: I just remember people flew in from around the world for the festival, and bigger bands were playing. Not only was I like, “Wow, people are really into this,” but I realized how quickly it had gained credibility over all of two years. That’s all Brian Skiffington, Matt Weltner, and Zack Ellis [Rain Fest’s two other organizers]. I attribute it all to them.

T

Tell me about the Northwest hardcore [NWHXC] scene.

I think bands here work hard to make a name for themselves—they have to. It’s not like L.A. or New York where you can get your name out by association. You have to bust your ass out here; we’re isolated up in the Northwest.

Is that work ethic unique to the NWHXC scene?

Yeah, we do a lot of things ourselves. I respect a lot of the people from here because we put in the work. Particularly Brian [Skiffington]—he never ceases to amaze me. We’re putting together a benefit show for a friend of ours who recently passed away. Brian got all these local businesses to donate gift cards and services, and I wouldn’t even know where to begin with this stuff. He seems like a big key in the NWHXC scene; everybody knows Brian.

Power hour: Bremerton band Power.

TAYLOR NELANDER

SEATTLE WEEKLY • MAY 21 — 27, 2014

C

ome Memorial Day weekend, the skinny-jeaned mecca known as Capitol Hill thins out as everyone heads to the Gorge to eat ’shrooms and drink Budweiser in a giant field.

“When everybody leaves for Sasquatch, every direction you look down every street on Capitol Hill, there’s just this tribe of punk-rock kids,” says Brian Skiffington, one of the three main organizers of Rain Fest, a hardcore punk festival that runs the same weekend at Neumos. “It’s the most absurd-looking thing in the neighborhood.”

Born of a desire to recreate the magic of a beloved band’s farewell show—Champion, a Seattle-area hardcore band that said goodbye to its fans in 2006—Skiffington and a few friends began Rain Fest in Tacoma. Thanks to its wild success, the festival was moved to Neumos to accommodate ever-growing crowds. “We’ve had people come from South America, Australia, Japan, Korea, all over. This year we have people from New Zealand, Chile, the UK, it’s just incredible,” says Skiffington.

“One thing that I think sets us apart is that we’ve never had sponsors for our festival,” he says. “We’re not only very appreciative of everyone who shows up, we take pride in that fact that this is something we’ve all created.” That dynamic, he suspects, is the reason Rain Fest has blown up in the global hardcore community as fast as it has.

At its core, Rain Fest aims to reward the many Northwest hardcore bands—oft-considered an isolated community, far from other hardcore scenes like New York or L.A.—for their work by pairing them on insane bills with legends like Converge, Andrew W.K., and 7 Seconds, all of whom are playing this year. “We really try to honor and reward bands in the Northwest who are making that effort,” says Skiffington.

Power, a Bremerton-based hardcore group that claims it wouldn’t be a “real band” without Rain Fest, is also performing this year. We talked to bassist Ricky Hansen about the festival’s impact on his band and on the larger Northwest hardcore scene. (Read the full interview at seattleweekly.com/reverb.)

BY MORGEN SCHULER

How has Rain Fest changed over the years?

he annual Sasquatch! Music Festival has so much to offer: beautiful views, enthusiastic music fans with good vibes, and a range of tunes any fan could possibly desire over a three-day weekend. This year, those offerings were going to double, with a second Sasquatch! planned for the Fourth of July weekend. Unfortunately, that plan fell flat, and the fest pulled back to a single weekend that will feature Outkast, The National, M.I.A, Queens of the Stone Age, and many more. No doubt this year’s edition will again impress, but it’s been an unusually trying time for the big fest. We wanted to check in.

No one is better qualified to answer our questions than fest coordinator Adam Zacks, a Queen Anne resident who started his career in booking and festival organization years ago at the University of Oregon as a member of the concert board. While his alma mater was used to acts like Arlo Guthrie, his first booking was Rage Against the Machine and Public Enemy.

Already starting to shake things up, Zacks has blazed a trail in concert promotion ever since.

Though there’s plenty to keep him busy, he doesn’t spend all year working on Sasquatch!— which he launched, now in its 13th year. Zacks is also the senior director of programming at Seattle Theater Group and oversees events at the Neptune, the Paramount, and the Moore. It’s obvious that much of what Zacks does is for the love of music, but anyone ever involved in the music industry knows it can be a thankless job.

Yet when we sit down for a chat, Zacks’ passion shines as I take in the framed posters from nearly every Sasquatch! on the walls of his office. We talked about what makes his job so damn interesting—and stressful. (Read the full interview at seattleweekly.com/reverb.)

The only thing that’s changed is it’s getting bigger. The thing I like about it is that smalltown “friends at a show” vibe I get from it. That hasn’t dwindled at all. It’s not like this festival mentality you see at big fests. It’s just such a good vibe. Everybody’s friends. There’s never been a fight at Rain Fest.

SW: Why “Sasquatch!”? And what’s with the exclamation point?

It’s just sort of this feeling I get when I think about Rain Fest. It sounds corny, but it’s true.

It’s the best show we play every year—it feels like a giant party with everyone you know from hardcore all over the world coming to hang out.

Also, seeing 7 Seconds, one of the bands that got me into hardcore. I was watching going, “Oh my God, here I am seeing them, playing on a bill with them, and a guy I know booked them.” E

The vision wasn’t very strong from the onset, because it wasn’t clear whether or not it was going to work. [That first year] we were all shocked that it sold out in advance. It wasn’t until after that year that we refined what the vision is. There were bands on that lineup that would be so out-of-place now.

Is there an experience that defines Rain Fest for you?

ksears@seattleweekly.com

RAIN FEST With Converge, Andrew W.K., 7 Seconds, and more. Neumos, 925 E. Pike St., 709-9467, neumos.com. One-day pass $30, festival pass $80. All ages. 8 p.m. Fri., May 23–Sun., May 25.

Zacks: I was looking for something that was uniquely Pacific Northwest. Some people find it corny, but we try to be a little tongue-in-cheek and not take ourselves too seriously. It didn’t take long for it to catch on.

Did you start out wanting to book mostly Seattle-area bands?

Like who?

The String Cheese Incident. Can we just forget that they ever played? I don’t wanna bag any particular band, and it was part of why that first year worked, but in terms of the identity of the festival now, it couldn’t be further apart.

Speaking of identity, why try two weekends?

[It] was an attempt to serve the huge demand.

Do you think that you’re going to try it again, though maybe not on July Fourth?

I think the festival needs to take a breather and go back to its roots. One silver lining is that I was able to turn my energy from building out these two weekends to just making this upcoming Memorial Day weekend the very best it can be, and doing lots of cool things with the site that we’ve never done before.

Like what?

My wife Lynn has developed a bunch of really cool stuff over the years. We do free hearing testing backstage, available to all the artists, for custom earplugs—which are pretty expensive, but they get them for free through MusiCares [a Grammy affiliate serving “music people in time of need”]. We have AA meetings which are really invisible unless you’re in a band.

This year we have AA meetings in the front of house as well, for concertgoers.

MORGEN SCHULER

It was selling out consecutive years in a row, and even this year sold out two months in advance.

It leads you to wonder how many people are shut out who want to experience the festival.

The capacity of the Gorge is what it is; there’s a maximum to what the county can support. I didn’t want to copy what other festivals were doing because that just felt lame. So this notion of two weekends six weeks apart, rather than back-to-back, with a totally different lineup, seemed interesting and fresh and maybe a little bit ballsy. A lot of lessons were learned in that whole experience, Zacks in his office. doing that and failing. I think the most important was a reminder that Fourth of July weekend is not the best weekend to try this concept.

Do you ever see yourself starting a new festival completely separate from Sasquatch!?

I don’t think being a ball hog any more than I am in Seattle is something I want to do. That’s one thing about the second weekend that didn’t ever quite feel right. It was sucking up a lot of talent that would be serving the whole ecosystem in town here.

Again, small silver lining, but that dilemma was relieved when July went away. E

mschuler@seattleweekly.com

SASQUATCH! MUSIC FESTIVAL George, Wash., sasquatchfestival.com.

SOLD OUT. Fri., May 23–Sun., May 25.

Pump Up the Volume

Hear that, Seattle and Tacoma? It’s Spokane’s Volume Fest, rocking out hard.

BY DANIEL PERSON

E

very time new census numbers come out, Spokane buzzes like the Grand Coulee Dam. It’s not the raw population figures residents care about, but how their city of lilacs stacks up next to its cross-state rival. Since 1991, Spokane has claimed the second largest population in Washington—though its lead over Tacoma has been so narrow at times, all it would take is a few Puyallup Whitesnake fans packing the Dome to eclipse Spokane’s #2 title.

In Seattle, it’s easy to write this off as the dubious feat of an also-ran, but it provides important insight into the city’s psychology: Think of Spokane as the middle child at the Washington dinner table, all too often ignored or forgotten out there on the eastern plains. If population data was calculated as it is on, say, a report card, Spokane has earned an honorable B: a solid grade to present to the parents and de facto validation that it is part of Washington, not Idaho.

Likewise, it’s a stated goal of Volume!, the ripping music festival in Spokane next weekend, to force Northwesterners to take notice of the vibrant music and arts those 209,000 people have come together to create. While everyone from country singer Tom T. Hall (“Spokane Motel Blues”) to our former sister paper L.A. Weekly (and once, this one) has written Spokane off as a cultural wasteland, in recent years new venues and musicians relishing the cheap industrial space Spokane has in spades have spawned a legitimate scene.

Seattleites will find plenty of familiar names on the bill this year—including Rose Windows, Wimps, and The Flavr Blue—but those great acts should be used like water wings to strike out into the uncharted seas of the Lilac City.

In that vein, we chatted up Kent Ueland of Terrible Buttons—Spokane’s best band two years running, according to its alt-weekly Inlander—about what makes Spokane, and its bands, tick. (Read the full interview at seattleweekly.com/reverb.)

SEATTLE WEEKLY • MAY 21 — 27, 2014

13

ON SALE NOW!

MAY 27 - JUNE 8 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org

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MEMORIALDAYWEEKEND FestGuide

Priority Seating & Discounts for Groups 10+ call: 888.214.6856 Tickets Available Through Tickets.com and Select Ticketmaster Locations

Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

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COMMUNITY MEETING SEATTLE WEEKLY • MAY 21 — 27, 2014

Meet the developers

14

Monday, June 2 5:30–8:30 p.m.; presentation begins at 6:00 p.m.

Broadway Performance Hall 1625 Broadway, Seattle, WA 98122

FIND OUT MORE: capitolhillchampion.org

Terrible Buttons at the altar.

SW: Driving to Spokane from Seattle, you have to pass through that part of the state that looks like Oklahoma on a bad-hair day. Any advice for powering through that last hour?

Ueland: 15 miles on either side of Ritzville, don’t go one mile over the speed limit. That is the Washington speed trap right there. I would also suggest getting comfortable with some of the [local] acts playing in Volume! this year, like Dead Serious Lovers, the best band in this town.

It’s pretty tough to find a goth rock band in this state that rivals their last record. [Album] Les is perfection, top to bottom.

Spokane has a fast-food place called Dick’s where you can get a good hamburger for cheap.

Any other places Seattleites can go if they are feeling homesick?

The Seattle-vs.-Spokane Dick’s controversy is a tale as old as time itself. Ours gets a bad rap because one time they found a dead body in the dumpster. Now all of a sudden the burgers don’t taste as good to Seattle people. I don’t get it. We do burritos right over here; Neato Burrito, which is also called the Baby Bar, hosts a lot of live music; that’s one of the best burritos I’ve ever had. A good $8 stomach bomb.

What’s the most offensive nickname for Spokane you’ve ever heard from westsiders?

“Spokompton” is the most popular one, which is funny to me because the crime rate in Seattle is astronomical compared to ours. “Spokanistan” ’s another one. That one’s probably a little more offensive since it plays to the hickish stereotype—we’re just a bunch of mountain people who just came out of the Caucasus and raped and pillaged our way to what we are now. Both of those paint us in a certain light that isn’t quite fair. We’ve got our share of problems, but so does everywhere else.

On to music: Your album cover for 2013’s Grunt shows you all camped out beside a justcut wheat field. Does the landscape of eastern Washington influence your music?

Our Dick’s [burger joint] gets a bad rap because one time they found a dead body in the dumpster.

It’s a very different vibe here than in Seattle, and that definitely goes into the music. There’s definitely a believability in the despair that isn’t in cities with better reputations. There’s a darkness that can’t be ignored, and is believable on account of the wasteland that surrounds us.

I understand that your last show as a band will be at Volume!, but in the five years Terrible Buttons has been around, how have things changed? You mentioned that Spokane is experiencing a cultural renaissance . . .

It was tough going getting started in this town.

[Within our first year of being a band], we put out a record that was produced by and engineered by Ryan Lewis and Macklemore, and it still took us two years to get our name into the local alt-weekly.

We had to fight tooth and nail to get where we are.

Now it’s like you start a band, play these awesome shows, make sure you sound good, and you can get your foot in the door. It’s just a whole new place.

Other cities have that, but the difference is . . . people think we’re a piece of shit and we work harder because of it. There’s a certain amount of pride that comes from being the retarded little brother of the city that thinks it’s the hottest shit in the world [Seattle]. There’s really something to the underdog appeal. E

music@seattleweekly.com

VOLUME! FESTIVAL 80 bands performing in eight venues in downtown Spokane; see volume.inlander.com for lineup. Two-day wristband tickets, $17.

All ages (some venues 21 and over).

Fri., May 30–Sat., May 31.

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Looking for a Bite of Everywhere Else in Seattle

FoodNews

BY MEGAN HILL

Canlis Service Director David Kim has announced his departure after 15 years on staff. Floor Manager Kyle Johnson will take Kim’s place.

Or, shut up about “New York–style” pizza.

BY CHASON GORDON

LEFT: JOSHUA BESSEX; RIGHT: KEVIN P. CASEY

A

The Canterbury Ale House is readying for its reopening on Capitol Hill later this month, and former Madison Park Conservatory chef Cormac Mahoney will head the kitchen. Come May 23, you can select from more than 30 beers on tap and try Mahoney’s revamped menu, with items like steak tartare with bone-marrow tots, fried rockfish and chips, and deep-fried cheese curd with sweet-and-sour tomato chutney. E morningfoodnews@gmail.com

TheWeeklyDish The Ugly, Delicious Tomato

I

BY NICOLE SPRINKLE ’m constantly eating out for my job as food editor, but this weekend’s stroll through the U District Farmers Market had me buying a whole salmon to grill. But that’s not what I want to tell you about. With tomatoes not yet in season, it was a stroke of luck that brought me to a stand selling a few different varieties of heirloom tomatoes. There were only a few left, but I knew the one I wanted the moment I saw its homely, knobby, “Is this a growing experiment gone awry?” beauty—deep red, with some purple in it that gave it that slightly muddied quality heirlooms so often have and a green stripe or two running down its skin. The day called for rain, but the sun was still out and the tomato made me hungry for summer.

I bought it, then went over to the Samish Bay Cheese folks and got some organic mozzarella swimming in its juices. Back home I’d just planted basil (as well as a slew of other herbs), and I picked the bright green leaves and chopped them roughly. When I cut into that tomato, it was everything I’d hoped: juicy and full of flavor.

A frog prince of tomatoes, but a prince nonetheless. I sliced it; topped it with chunks of the mozzarella, the shredded basil, and some sea salt; then drizzled it all with olive oil. Sure, it’s just a Caprese salad, but with ingredients like these, its splendor can’t be overestimated. Oh, and the salmon was good too. E

NICOLE SPRINKLE

nsprinkle@seattleweekly.com

SEATTLE WEEKLY • MAY 21 — 27, 2014

common refrain among people who move to Seattle (including myself ) is that they can never find their home food, as if every part of the country is supposed to be culinarily synched. It’s an understandable if unrealistic expectation, especially considering that not even Netflix and HBO have the same movies.

Whether it’s pizza, bagels, or barbecue, transplants use Left: smoked meats at Southern “roadhouse” Bourbon & Bones. Right: pizza at Delancey. their memories of the homeMama’s Pizza on Capitol Hill are sometimes land as a cudgel on Seattle cuisine. Restaurants Coasters are mainly happy with his pizza, even if seen wearing a T-shirt that says, “If New York is occasionally feature the person at the table who his brick-oven version is not their favorite style of so cool . . . how come you moved to Seattle???” says something like, “This isn’t pizza. If you New York pizza. “Every once in a while we’ll get a I ask Pettit if it’s silly to expect your home food want real pizza you go to New York,” and there’s Seattle person [who says] ‘This is good but this isn’t in another place. “It is silly, but not if you’re a typically no rejoinder to such a comment, unless New York pizza,’ because they had a random slice at New Yorker,” he says, chuckling, “because you somebody recently returned from Italy. a train station in New York and it’s not the same.” just assume that New York is the center of the “I grew up having good pizza in New Jersey,” He tells me about a particularly amusing universe, and just like Americans think everyone says Delancey co-owner Brandon Pettit, “and experience at Delancey: “One day there was this should speak English, New Yorkers think everythen I moved to New York after that. It didn’t woman from Brooklyn at the bar, really strong one should have pizza and bagels and pastrami, even occur to me that there were a bunch of cities accent, just quietly eating her pizza. And then this and they don’t get it.” without good pizza. I didn’t think that existed, other woman came up afterwards and was like, If chefs have an advantage over the public, and then I came out here and I was kind of ‘That was good pizza, but that wasn’t New York it’s that they can solve these issues by opening a shocked and depressed. pizza.’ The woman from Brooklyn took exception. restaurant. That’s what Matt Lewis of Roux and “I loved the city and I love the mountains and She was like, ‘Really? This isn’t New York pizza?

Where Ya At Matt did, serving New Orleans cui- Is it not like the brick-oven pizza or the electricthe water, and I didn’t want to leave here. I found sine. “I guess my frustration was lessened because myself driving down to Portland to get pizza oven pizza or the coal oven or Brooklyn pizza or because there were a couple good pizzerias there.” I could make it myself,” says Lewis, laughing. the grandma’s slice or the Sicilian?’ And she just Like Lewis, Mike Law of Bourbon & A little has changed since then. Delancey is went on with, like, 10 different types of pizza and Bones—arguably the best-named restaurant in not alone in capturing that yearned-for East kind of shut her down,” says Pettit. the city (the food’s good, too)—understood that Coast food. Italian Family Pizza downtown and Over at Italian Family Pizza, owner Steven Seattle was a different kind of place and wouldn’t Cafe da Pino in Ravenna feel like unpretentious, Calozzi gets frustrated with those expecting slices, necessarily have the food he grew up with in old-school Italian restaurants plucked from New especially “having people come in that are from the South. “I didn’t really want to search it out, York. Pettit also suggests Cafe Lago for pizza, Brooklyn or something and be like, ‘Yeah, give because I was afraid of being disappointed,” says Salumi for Italian sandwiches. me a slice. How is this Brooklyn-style pizza if you Law. “It’s just another culture; the people are a “They do a really good corned-beef sandwich don’t do slices?’ I just got tired of saying, ‘If I can different culture . . . But I think people search for at a place called Picnic in Greenwood,” Pettit name 10 spots in Brooklyn right now that don’t adds, “and there’s actually a bagel place in Belling- their thing. It’s just human nature.” do slices, can you be quiet?’ Now if they come in “I grew up in Winston-Salem, North Carolina, and ask if we do slices, my answer is just ‘No.’ Not ham [The Bagelry] that I’ve driven up to just for and the other day this guy came in who grew up a being a dick, but I just say no. I do whole pies. If bagels. It’s some guy from Jersey.”

Gastronomic grumblings are by no means lim- town over,” says Law. “And he was totally stoked. you want one, order it; if not, thank you.” ited to New Yorkers. I’ve heard Californians com- He said, ‘This is awesome. I’ve been in Seattle for One may take comfort in the hope that chefs 15 years and haven’t had something like this.’ ” plain about our Mexican food, Philadelphians moving here will keep opening personal restauLaw has endeavored to create an authentic complain about our cheesesteaks, and Canadians rants because they can’t find the food they grew Southern experience at Bourbon & Bones—“the complain about our poutine. Sometimes Seattle up with. It’s a testament to the city that so many food, the atmosphere, the music, the cocktails, all feels like a big melting pot of people whining have. And besides, adds Pettit, we do a few things of that,” he says. “A lot of Southern places have about their hyper-specific food needs. really well, not just seafood. the food there for you, and at Bourbon & Bones, I’m guilty as well. Since moving here from “In general, Seattle’s a pretty great food town,” you walk in and you can see the brisket, you can Montreal, I’ve quixotically searched for tourtière he says. “Our bread and our pastries are as good as see the ribs, you can see the andouille sausage, (meat pie), bagels, poutine, smoked-meat sandanything you can get in Paris, and our Italian reshouse-smoked bacon, and all the sides.” wiches, and everything maple. There’s been no taurants like Spinasse and Il Corvo are amazing.” attempt to find Montreal pizza in Seattle, because I don’t know any Parisians in Seattle, so I’m I don’t miss it (sorry, Montreal). just going to assume they’re perfectly fine with Of course, even when transplants encounter Seattleites are certainly aware of East Coasters’ that assertion. E respectable versions of their food, the gripes still struggles, which may be why employees of Hot occasionally come. At Delancey, Pettit says, East food@seattleweekly.com

Georgetown Brewing Company has released Bob’s Brown Ale, a limited-edition beer to benefit Seattle’s Ronald McDonald House. The goal is to raise at least $90,000—enough to fund approximately 3,000 nights of housing for seriously ill children and their families. In the past nine years, sales of Bob’s Brown Ale have raised more than $420,000 for the cause.

17

food&drink» Limeageddon!

F

or those of us who came of age during the current cocktail renaissance, it’s easy to take fresh-squeezed fruit juices for granted. After all, it’s a rare bar that still uses Rose’s Lime for anything other than attracting fruit flies. Yet the current lime shortage, due both to drought and the insidious impact of Mexican drug cartels, is forcing us to re-evaluate a slew of summertime drinks. That’s right, it’s more than just idle bar talk: We’re facing a full-on disaster here. A “limeageddon,” if you will (sorry for that one).

BY ZACH GEBALLE The problem is twofold. Limes are scarcer and thus more expensive, and the ones we’re getting are generally poorer in quality: dry and mealy, not lush and ripe.

Bars and bartenders throughout Seattle are grappling with the issue, as are cocktail drinkers.

The simplest solution is to use something other than fresh lime juice to approximate the taste.

Rose’s Lime Juice is a blend of high-fructose corn syrup and lime juice concentrate, and as such has a few strikes against it. One, high-fructose corn syrup; two, it only slightly tastes like actual limes.

Other lime-juice concentrates suffer from the same problem: The taste can’t really compare to fresh lime juice, and in drinks where lime juice is a key ingredient, the drop-off is noticeable.

There have also been a lot of substitutions of lemons for limes, and while that might be acceptable for garnishing a drink, it rarely passes muster in an actual cocktail—mostly because lemons are higher in acid and tend to be more astringent than limes, and those differences can wreak havoc with a cocktail’s balance.

For example, in that most classic of lime-based drinks, the margarita, using lemon juice would produce a nearly undrinkable beverage. Instead I like to use a combination of grapefruit and lemon juices, in a ratio of about two to one, to maintain some of the cocktail’s sweetness and depth of flavor. In general, tequila takes well to most citrus fruits, so you can play with other combinations (maybe orange juice, if you like sweeter drinks).

Rum drinks, unfortunately, are much less flexible. For whatever reason, rum tends to really work well only with lime. In particular, mojito season is going to get ugly this year, leaving bars with a very difficult choice: tinker with a muchloved drink, or make it with crappy lime juice. I wish I had a solution, but the best I can say is that if you load up on the mint, you can probably cover up some of the less-pleasant aspects of lime-juice concentrate.

The place I might miss limes the most will be as a garnish in a gin and tonic; here again the choices are a bit grim, as lemons don’t do the trick.

I’d encourage you to consider a cucumber slice instead; it doesn’t have a lime’s tartness, but the cooling quality is damn pleasant on a warm summer day.

Whatever the solution, the current lime shortage is forcing bartenders and drinkers alike to confront what might become a growing issue in the bar community. Between climate change, increased transport costs, and the volatility of the global economy, being able to find fresh, inexpensive citrus year-round might not be a reality in colder climes like Seattle in the future. If so, it’ll be more than just our drinks that suffer. E

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arts&culture Ocean Voyage

When the Seattle Symphony played Carnegie Hall, it was not only proving it was one of America’s great orchestras. It was showing the others where to go next.

BY GAVIN BORCHERT

Monday, May 5 8 a.m., Benaroya Hall

JFK—leaves me just enough time to check in and drop my bag before subwaying downtown for tonight’s bonus concert.

10 p.m., Le Poisson Rouge, 158 Bleecker St. Tucked among a maze of narrow streets near Washington Square, where there’s a bar or restaurant every 15 feet and everyone is half my age, Le Poisson Rouge presents intimate new music of all kinds, with a gratifying emphasis on contemporary classical. John Zorn played here just the night before, and an upcoming piano recital pairs music by Domenico Scarlatti and John Cage. The place is tiny, packed, and dark, with black walls and columns. You can imagine Blondie performing here, or Lou and Laurie, or a fringe-theater production of Hedwig and the Angry Inch.

“I was surprised by how beautiful it was.

Within 30 seconds, the orchestra just picked me up and carried me away.”

“I

SEATTLE WEEKLY • MAY 21 — 27, 2014

Orchestra players’ careers depend on punctuality—you’re in your seat ready to go when the baton drops, or else. So it’s no surprise that the three buses lined up outside Benaroya Hall on Gerard Schwarz Place pull away at the exact scheduled time and head toward Sea-Tac Airport. Seattle Symphony music director Ludovic Morlot and a few other musicians left for New York City yesterday; the rest of the orchestra— and plenty of family members, support staff, and press, 158 bodies in all—is traveling now to meet with its leader before playing a Tuesday-night concert of music by Debussy, Varèse, and John Luther Adams at Carnegie Hall as part of the Spring for Music festival.

At the airport, cellist Efe Baltacigil totes his instrument on his back, like a guitar-playing gunslinger in an old Western. Violinist Cordula Merks and her toddler daughter Mia are dressed alike in matching red-and-white pinstriped tops.

Check-in and security lines seem to be running at prime efficiency, so as we gather at the gate to take off at about 10:30 a.m., the mood is stressfree—enhanced by the complimentary beverages

on this five-hour chartered flight, including, festively, Champagne in little plastic coupes. For lunch, orchestra members and their entourage can choose between lasagna with green beans or chicken breast with mashed potatoes. Amazingly, there are metal utensils (what is this, 1960?) and cloth napkins (who am I, Frank Sinatra?). Losing three hours while flying east means the travel takes most of the day. Dusk approaches as we board the buses at John F. Kennedy International and begin traversing the unhandsomest parts of Queens on our way to midtown.

The bus arrives at the Empire Hotel near Lincoln Center, a surprisingly Vegassy place with gold fixtures and big-cat-patterned upholstery.

Most of the orchestra is staying here, but I’ve arranged other lodgings even closer to Carnegie Hall. Our packed agenda—roughly 43 and a half hours between touchdown and takeoff at

BRANDON PATOC

Seattle supporters show their colors during the SSO’s Carnegie Hall performance.

I don’t know that any of the five other Spring for Music orchestras set up a side gig like this— an export of the SSO’s late-night “Untitled” concerts in the Benaroya Hall lobby. It’s perhaps Morlot’s most exciting new idea in the three seasons he’s been in charge, not least for the new audience members it’s drawing. The program fits even better in this space. There’s a recent notion that it’s oppressive and off-putting to expect concertgoers to actually pay attention to music; the Cincinnati Symphony, for example, has experimented with designated Twitter sections for concertgoers who can’t keep their thumbs off their phones even for half a concert. Not so here. The crowd, even in this unorthodox, supposedly more casual environment, is nearly silent by choice—the pulling of taps and the opening of cans are the only ambient sounds, and they punctuate, rather than disrupt, the music.

Of the program’s six pieces, three are by composers the orchestra will play tomorrow at Carnegie Hall. First up are Claude Debussy’s delicately chiming, jasmine-scented “Pagodes” for piano and Varèse’s Density 21.5 for solo flute, which shape-shifts back and forth between craggy drama and melancholy Debussyan lyricism.

John Cage’s Imaginary Landscape #1 follows.

Written in Seattle during the composer’s two years on the Cornish College faculty back in the late ’30s, it’s before its time: Decades prior to turntabling’s ascent as a performance art, Cage was experimenting with vinyl recordings of sine waves and other broadcast test tones, changing the records’ speeds to fluctuate their pitch, Theremin-style. For this piece he combined two turntables with a Chinese cymbal and a piano, asking the pianist to mute it by pressing a hand directly on the strings; the resulting quiet, sonorous thumps are arranged in melodic lines that obsessively stick to a two- or three-note range.

Up next is Vladimir Nikolaev’s vnik-ton experience, a beguiling collage of innocuous bubbliness, like an NPR music bumper, and theatrical glam-rock gestures both musical and visual. Its closing flute/clarinet duet strongly evokes, of all composers, Copland.

Closing the evening is Adams’ sextet The Light Within, which, cellist David Sabee remarks from the stage, is meant to evoke “the push of the Northern Lights, the groaning of the earth” with ripples of piano over steady-state washes from everyone else. But it’s a bit hard-edged, and the “light” feels like the blinding glare of noonday sun on snow. It’s a bowl-shaped piece: crepuscular in the middle, brighter at either end, brilliance shading into harshness.

Adams is not the only living composer the SSO is bringing to New York. Angelique Poteat, an alumna of the SSO’s Young Composers Workshop and today a freelance composer and clarinetist in Seattle, was invited in December to write something especially for this Poisson Rouge concert. The result, Much Difference, was inspired by, and is sort of a response to, Pearl Jam’s “Indifference.” From that iconic band, Poteat drew a measure of aggressiveness and rawness, mixing in touches, to my ears, of Samuel Barber ear-friendliness and free jazz, and giving each musician plenty of scope for solo

» CONTINUED ON PAGE 22 21

Ocean Voyage » FROM PAGE 21

© 2014 Stasia Burrington

expression. “They totally jumped on that,” she says of her rehearsal time with the SSO players.

Poteat was thrilled with the response from the Poisson Rouge audience. “Everyone said they were having so much fun,” she says of the performers’ energy.

Much Difference already has a busy future. It will be played at a SSO fundraiser at the Chihuly Boathouse on May 31—with Pearl Jam guitarist Mike McCready expected to attend to hear the music he inspired—and Poteat is expanding it into a work for full orchestra for next January’s installment of “Sonic Evolution,” the classical/ rock cross-pollination concert series that has taken flight under Morlot.

SEATTLE CENTER EXHIBITION HALL May 30, 31 & June 1, 2014

The orchestra was notified of its invitation to

Spring for Music in December 2011, and the planning for the trip began more than a year ago.

It’s not an inexpensive program. In addition to all this extra percussion, the John Luther Adams piece requires four harps (two brought, two rented). Nor is it an uncomplicated one; the three pieces the orchestra will be playing use three different seating setups. One reason the SSO gave two preview performances of the complete Carnegie program (a late-March date in Portland and a send-off concert on May 2 at Benaroya), Boston says, was to give the stage crew a chance to practice the reshufflling. “I feel like [the whole tour] went off almost flawlessly,” she tells me later. “All the work we did was worth it. I think the orchestra is energized by it.” This New York visit itself is a dry run of sorts for the orchestra’s next big trip: a tour of Asia in 2016.

The $300,000 price tag for the trip was funded by donations and sponsorships, reports vice president of communications Rosalie Contreras.

Going some way toward offsetting that is the $50,000 that Spring for Music guarantees each participating orchestra—or more, if they’re able to sell enough tickets. The Seattle Symphony’s concert will turn out to be one of the week’s suc-

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SEATTLE WEEKLY • MAY 21 — 27, 2014

22

“All we have, each one of us, is our story.”

It wasn’t easy, says Kelly Boston, the SSO’s director of operations. Because of a tight schedule, with most musicians slated to play for Seattle Opera’s Tales of Hoffmann on May 3, 4, and 8, there wasn’t enough time to get from coast to coast using the usual methods. Normally cargo for a tour like this would be trucked, and leave several days early; and cargo flights, it turned out, don’t operate Sundays and Mondays. Plan C was the charter plane, equipped with a climate-controlled cargo hold that contained 31 instrument trunks for all the large instruments and about half the smaller strings and winds (some players opted to take theirs as a carry-on), four for wardrobe, and one for sheet music, plus additional items like stools for the bass players.

Percussionist Rob Tucker tells me that Varèse’s Déserts in particular requires a huge arsenal.

Timpanist Michael Crusoe “ships his five timpani, but everything else has to be rented [in New York]—two five-octave marimbas, three bass drums.” He and the five other percussionists playing the Varèse bring only small stuff, like beaters and tambourines, in four small boxes.

Then they have to accustom themselves to all the new rented instruments in the single Tuesdayafternoon rehearsal that Carnegie Hall’s very full schedule will allow—not much more than a sound check.

BRANDON PATOC

Mikhail Shmidt warms up for the Poisson Rouge performance.

cesses; Contreras says, “We did clear the $50,000 box-office-receipt threshold by a small amount.”

Tuesday, May 6 2:10 p.m., Carnegie Hall, 881 Seventh Ave. What is usually Carnegie Hall’s imposing facade is currently masked on three sides by scaffolding. Still, the window posters for the six Spring for Music orchestras are prominent: New York, Rochester, Winnipeg, Cincinnati, Pittsburgh, and us.

The Seattle Symphony has not received top billing here, yet The New Yorker’s Alex Ross called its concert “perhaps the most anticipated offering” in Spring for Music week. No surprise; just a few weeks ago, with timing that could not have thrilled the SSO more, Adams’ Become Ocean, which was commissioned by the orchestra and will be performed tonight, won the 2014 Pulitzer Prize for Music. The anticipation will surely get a further boost from today’s lavish New York Times profile on Adams (with two huge photos) by Corinna da Fonseca-Wollheim.

The SSO has a rehearsal scheduled for 2:30.

I’d hoped to observe, but Morlot asked for no

Tonight, thanks to the hall’s legendary acoustics, Become Ocean, to my ear, teems with more surface detail than ever: the ripples of the mallet instruments, the individual bow strokes that make up the strings’ glinting sheen. In La mer, the cellos have the warm shine of copper; the low-brass growls are earthier; there’s an extra intensity to the thunderclaps in the finale, a frantic brilliance to the trumpet fanfares. After the concert I ask violinist Mikhail Shmidt what it’s like to play there. “Benaroya is a great hall, but Carnegie has one extra layer of sophistication and—air,” he says, making a “blooming” gesture. Morlot agrees. Later that week on the phone, he calls Carnegie “more forgiving—more faithful to what you get when you sit in the audience . . . it’s a great hall to realize exactly what the orchestra sounds like—I learned a lot being on that stage.”

press—even those the orchestra invited along.

Still, I hang around the stage door hoping to slip in, even though VP of Artistic Planning Elena Dubinets warns me the hall is “pretty tight on security.” Everyone else has badges and lanyards and other credentialish-looking things; it’d be too embarrassing to be caught and tossed out, so I give up.

The invitation to play at Carnegie is no small

10 p.m., Carnegie Hall

Ludovic Morlot leads his orchestra.

view performance, there were audience giggles at some of the percussion effects—the whip, the xylophone glissando—and why not? “I try to be open-minded, but . . . not my thing,” the woman next to me admits, but plenty of lusty “Whoo!”s break through the applause.

Morlot has also compared Déserts to an Ansel Adams photograph—stark contrasts of black and white—with Debussy’s La mer, the program closer, more like a Turner. But to my ear, Morlot’s approach to the latter work is cleaner than that, his rhythms more pointed, his tempo nuances unfussy—everything the score asks for, of course, but nothing more indulgent. (“Misty music, to sound misty, must be played without mist,” composer Ned Rorem once said about Debussy.) The string tone is sweetly silken rather than lush. The one passage Morlot noticeably milks is the return of the big tune in the finale, bringing it a pang of nostalgia, but even this is offset by the acid tang of the high violin harmonics.

7:15 p.m., outside Carnegie Hall

The standing ovation, of course, is robust. The loudest cheers come from Carnegie’s top tier, traditionally the cheap-seat eyrie of students— except at Spring for Music, no seat costs more than $25. And the orchestra has an encore at the ready: more Debussy, the glittering “Fêtes” from his tone-poem trilogy Nocturnes.

On the sidewalk outside the stage door, elated players greet listeners, hug family members, and snap photos. The after-party is next door at the Russian Tea Room. Its red-and-gold third-floor reception room makes Versailles look like an IKEA warehouse: six-foot-tall dancing bears in etched glass on the mirrored walls, and more bears on the three immense chandeliers which look like an explosion in an ormolu factory. Waiters pass with trays of raspberry tarts and teeny blini with caviar; the open bars hum; the buzz of exhilarated musicians and admirers reaches nearly a La mer volume level.

The critics are impressed. In the Times, Anthony

Tommasini says of the Adams, “The performance Mr. Morlot coaxed from his players was rich with shimmering colors and tremulous energy. The engagement of the musicians with this work, and with Mr. Morlot, came through in every moment,” and of the Debussy, “the unusually bright, vibrant, and muscular performance Mr. Morlot drew from the orchestra [was] a bold approach to a familiar score.” New York’s Justin Davidson praised Become Ocean as an “utterly original, totally immersive sound world.”

All this is pleasant, but in a city as statushungry as Seattle, one risks making too much of the “Now we’re somebody! ” aspect of the trip.

This would be unfair to the orchestra, clearly a splendid group with or without New York’s approval. And for Morlot, what was important about this trip was what it meant for the Seattle Symphony’s relationship with its audience here.

“The support was incredible if you think of how many people traveled from home,” he tells me later. “It means people understand where we’re at in the pattern of our growth, [and feel] a sense of accomplishment, of trust in what we’re trying to build.

“We went out there bringing some of the spirit we want to impart to our vision,” he says. Impressing New York was not the goal. Sharing—even pointing the way toward—what an orchestra can and should be in the 21st century was Morlot and the orchestra’s achievement. As Spring for Music puts it, “An orchestra’s fundamental obligation is to lead and not follow taste.” E

gborchert@seattleweekly.com

The concert can be streamed via the website of radio station WQXR at wqxr.org.

SEATTLE WEEKLY • MAY 21 — 27, 2014

“Mob scene” might be too strong a term, but there is a crush outside Carnegie’s front entrance before concert time. It’s apparently sold out; one hopeful attendee holds up an “I need a ticket” sign. I hope he got one.

I’m startled when I see a knot of SSO musicians—they’re wearing something new for the occasion. Spring for Music has specified no formal wear for the participating orchestras, and while the players are wearing black, they’re also outfitted with striking blue accessories: sashes for the women, who variously don them as belts, scarves, even headbands, and ties and pocket squares for the men. This look is the brainchild of Michael Cepress—designer, UW art instructor, and evangel for “wearable art”—and the true beauty of his concept is apparent only after the musicians take their seats onstage: The accessories were hand-dyed in shades from kingfisher to aqua and assigned to specific players, with an eye to the overall effect, depending on where each sits for Become Ocean.

“These are performers on a stage—why is wardrobe not being used as a part of the performance?” Cepress says the next day when I ask him about his innovative design. After working

with Cepress on a 2012 holiday fundraiser, the SSO called him to devise something special for this concert. Could this finally mean the end of the tuxedo in Benaroya Hall? Excited about the possibilities of customizing looks for different SSO programs, he says, “It’s my hope that they adopt this approach.”

It’s a colorful spectacle, with Carnegie’s gold and cream interior an elegant backdrop for the touches of blue, as well as the few hundred hotpink handkerchiefs distributed to the Seattle supporters who have traveled 3,000 miles for this evening. The program mentions 673 as the official count of hometown fans, but that was at press time; later, Contreras says it’s closer to 750; on the flight home, executive director Simon Woods says more than 800. After Board of Directors chair Leslie Jackson Chihuly rouses the audience—not many of the hall’s 2,800 redvelvet seats are empty—with a pep talk, concertmaster Alexander Velinzon enters; then Morlot takes the podium and gives the downbeat.

Unable to attend last summer’s premiere for medical reasons, Adams, astonishingly, is tonight hearing his Pulitzer-winning piece live for the first time. (He even missed this afternoon’s rehearsal thanks to an iCal glitch.) Asked later if anything about his music surprised him, he says, “It sounds more or less exactly as I imagined, which rarely happens,” but then reconsiders. “I was surprised by how beautiful it was,” he says, full of praise for the players. “I was amazed— within 30 seconds, the orchestra just picked me up and carried me away.”

He tells me that when he was first discussing this commission with Morlot, he had two proposals; the other was splashier, more in the line of his visceral, lapel-grabbing percussion piece Inuksuit (still unheard in Seattle). But Morlot opted for this one—a vast arc of growth and decay in which the moment-to-moment changes are subtle rather than dramatic. “What a leap of faith,” Adams marvels. “It’s a pretty audacious prospect, but somehow it works.”

Built in 1891, threatened with demolition in 1960, but saved and restored, Carnegie Hall symbolizes in American culture the top level of musical achievement across genres. Tchaikovsky conducted on opening night; Dvorak, Stravinsky, Ives, and Britten had symphonies premiered here; Duke Ellington, the Beatles, Bob Dylan, Patsy Cline, and Judy Garland played this stage.

CHRIS LEE

honor. The orchestra was one of more than 60 that submitted proposals. In the project’s fourth and final season (unless more funding is found), Spring for Music’s goal is to provide, as its website puts it, “an idealized laboratory, free of the normal marketing and financial constraints, for an orchestra to be truly creative with programs that are interesting, provocative, and stimulating, and that reflect its beliefs, its standards, and vision.”

Morlot’s response to that mission statement—the program proposal that garnered the invitation—is built around Adams’ new piece; it includes three century-spanning works evocative of physical space, nature, and landscape, deliberately chosen to reflect Seattle’s interest in the environment.

For the 42-minute Become Ocean, which the SSO premiered last June, Adams divides the orchestra into three subgroups: strings, winds, and brass, spatially separated onstage, each joined by a handful of percussion, harps, piano, and celesta. In the top left corner of the first page of his score, where most any other composer would put a simple metronome marking or a tempo direction in Italian, Adams wrote the single word “Inexorable.” It suggests not only the work’s steady tempo, but the natural processes, outside of human control, that have inspired his approach to composition.

Captivating the audience at Benaroya Hall on May 2, just as it had the previous June, the piece opens on a foundation—like a sea bed, to extend the metaphor—of basses and bass drum. Quiet rippling in the piano, percussion, and harps keep the surface motion active; trombones and bassoons join the long-tone bottom layer of basses; the upper strings soon enter with murmuring figuration. Become Ocean’s breadth and serenity evokes, as Adams’ music often does, the spaciousness and grandeur of nature—specifically of Alaska, where he’s lived since 1978 and served as the state’s unofficial composer laureate.

Like the waves of the titular ocean, the three instrumental groups move independently, each rising and falling at its own pace, one surging while another is ebbing. Even the work’s overall shape is a wave—an immense palindrome, ending as it began with basses and bass drum. One particular sequence represents the kaleidoscopic nature of the whole: a gently piercing oboe note followed by the tinkle of four harps, rich deep growls in the brass, and the platinum gleam and shimmer of violins—each sound layered on the previous one, blending with or covering it.

About Déserts, Varèse’s homage to the American West that’s second on the Carnegie program, Morlot once said, “What I love about this music is that many people don’t love it,” adding that it is about “capturing the isolation one feels.” If the piccolos in this stringless study recall sirens, certainly nothing else in it, from the gnarled brass fanfares to the rumblings from the percussion batteries on either side of the stage, feels urban.

Déserts has its assaultive moments, but much of it evokes a sort of dusk-deepening calm; it’s music that’s indifferent to the listener rather than confrontational, like scurrying animals going about their twilight business. At the May 2 pre-

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arts&culture»

tonight.

WEDNESDAY, MAY 21

The Dune

A man is discovered one morning sleeping on a French beach, looking like washed-up driftwood; taken to the local hospital, he refuses to say anything about who he is or how/why he ended up there. What ensues is a sort of oneway-mirror mystery: We know his backstory, the broken marriage and the rest, because it constituted the first third of Yossi Aviram’s film.

Reuven, a detective from Paris’ missing-persons bureau, though, doesn’t, and it’s surprisingly absorbing watching him piece together the man’s past—and of course uncover still more about him we never suspected. On the verge of retirement, Reuven (Niels Arestrup) can’t help taking this one last case, to wash away the bitter

THUNDER FROM DOWN UNDER THUR | MAY 22 | 7PM FRI | MAY 23 | 8PM SAT | MAY 24 | 8PM

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ThisWeek’s PickList

Fonda in his famous Easy Rider jacket, with Jack Nicholson at left.

PAUL RODGERS THUR | MAY 29 | 7PM

GREAT WHITE SLAUGHTER | | THUR

JUNE 5

7PM

Amalric in The Dune.

taste of the previous one. (Mathieu Amalric, the weaselly Serge X in The Grand Budapest Hotel, is wonderful here in the tiny role of a reclusive, misanthropic writer.) The Dune’s 80 minutes are masterfully constructed and utterly fat-free, with the concentration of a short story yet spaciously paced. Plus there’s countryside footage—almost as ravishing as that of the recent Catherine Deneuve road-trip film On My Way—that’ll make you want to board the next flight to France, skip Paris, rent a car, and just drive.

MICHAEL BOLTON SEATTLE WEEKLY • MAY 21 — 27, 2014

SUN | JUNE 15 | 7PM

24

SIFF at Lincoln Square (Bellevue), 324-9996, siff.net. $10–$12. 9:30 p.m. (Also: Pacific Place, 11 a.m. Fri., May 23 & SIFF Cinema Uptown, 9:30 p.m. Wed., May 28.) GAVIN BORCHERT

DON WILLIAMS

FRIDAY, MAY 23

Easy Rider

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I miss Dennis Hopper (1936–2010). After directing this unlikely 1969 hit, the Gone With the Wind of the counterculture, his career fluctuated wildly from obscurity to go-to psycho in movies good, bad, and indifferent. Apocalypse Now rescued him from a decade in the desert, a Hollywood exile caused equally by The Last Movie and his druggy unreliability (maybe those last two points are the same). How exactly did Easy Rider capture the ’60s zeitgeist? The soundtrack, of course, which includes “Born to Be Wild,” “If Six Was Nine,” and “The Weight.” It’s a road movie, which always helps; nothing’s more American than a journey. Drugs and disillusionment also permeate the film. Hopper’s and Peter

LES FILMS DU POISSON

WITH SPECIAL GUEST

Fonda’s two travelers aren’t specifically fighting the establishment; neither one announces himself to be a rebel, but they’re cool outsiders to the system. The American flag on Fonda’s jacket is somewhat ironic, perhaps disrespectful, but it’s also a signal of a new national order. These aren’t the stars and stripes raised over Iwo Jima or draped on the caskets of soldiers returning from Vietnam. There’s a protest, but also an affirmation. Four decades later, Tea Party candidates would claim to be “taking our country back,” and I think that’s exactly the mood conveyed—in just the opposite direction—in Easy Rider. The film is a critique of a nation on the wrong track.

Fonda’s famous line, “We blew it,” captures the mood not just of the movie but of its audience. If, earlier in that decade, the times were a-changin’, Easy Rider refutes that optimism. In a way, it predicts Nixon’s second term, Watergate, Reagan, and the four-decade decline of the middle class. Hopper and Fonda would live long enough to see all that, even if their characters didn’t.

(Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$7.

7 p.m. BRIAN MILLER TUESDAY, MAY 27

Once

When it was released in 2007, Once became an unexpected international hit. It wasn’t for originality. The movie told a familiar tale: boy meets girl, boy loses girl, boy gets girl. But the story of a struggling Dublin busker and a Czech immigrant brought together by a passion for music resonated with audiences because of that music—swelling acoustic sing-song ballads woven with Glen Hansard’s husky, ascending baritone and Markéta Irglová’s plaintive alto, two voices that blended so pleasantly that it was impossible to believe that they weren’t meant for each other. It was difficult to imagine any other singers pulling off the intimate chemistry, but Once was bound for Broadway, and five years later earned a boatload of Tony Awards for a stage translation that exchanges some of that intimacy for rollicking performances, with full Irish-folk instrumentation provided by an ensemble cast.

It’s clearly a very different experience from director John Carney’s shaky close-ups and poetic tracking shots (his new musical romance, Begin Again, plays SIFF this weekend and opens in July). But the songs by Hansard and Irglová are still here, as is the simple story that, if nothing else, gives them a reason for existing. (Through June 8.) The Paramount, 911 Pine St., 877-7844849, stgpresents.org. $25–$100. 7:30 p.m.

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25

arts&culture» Stage

Opening Nights Arcadia SEATTLE PUBLIC THEATER AT THE BATHHOUSE, 7312 W. GREEN LAKE DR. N., 524-1300, SEATTLEPUBLICTHEATER.ORG. $15–$29.

7:30 P.M. THURS.–SAT., 2 P.M. SUN. ENDS JUNE 8.

Tom Stoppard’s beloved and brilliant 1993 comedy takes place in the garden-fronting room of a Derbyshire manor called Sidley Park. Scenes alternate between 1809, when the owners supposedly hosted Lord Byron while redesigning the garden, and the present, when two competing academics scavenge the grounds for evidence to bolster their esoteric, career-making theories.

Gigantic themes from math, philosophy, history,

SEATTLE WEEKLY • MAY 21 — 27, 2014

PAUL BESTOCK

Mar as the early 19th-century prodigy Thomasina.

26

and science rub up against hilarious, petty, everyday stuff in one of the most satisfying, idea-rich, pitch-perfect scripts ever: an irresistible challenge for theater companies large and small.

But transferring the magic from page to stage relies on crystalline clarity of everything: diction, relationships, logistics. Arcadia is a Swiss watch of a play, especially when the two time periods overlap. As in other multi-era dramas that take place in unique, mythical houses (Bruce Norris’ Clybourne Park, for example), Sidley Park itself is a character—which presents a challenge in the tight confines of the Bathhouse Theater. Despite Craig Wollam’s elegant Georgian-era set (mostly occupied by a gigantic library table), there’s no room for director Kelly Kitchens to choreograph the bustle and froth in suitably grand scale, nor do we have the proper seating distance to observe the complex tale’s ingenious mechanics.

Notwithstanding the spatial handicap to this spirited production, the script’s hyper-articulate charms flourish in certain performances. In the modern period, pretentious Byron-biographing blaggard Bernard benefits from Evan Whitfield’s high-energy bravado, which screwballs well with Alyson Scadron Branner’s phlegmatic Hannah (a rival author). Trick Danneker and Jocelyn Maher are also excellent as the house’s modern heirs. Kitchens pushes some roles too far into caricature, though, principally the 19th-century poet/botanist Ezra Chater (Brandon Ryan). The situations and text are plenty funny minus the ham. Case in point: a lovely moment in which landscape gardener Noakes (Mike Dooly) is commanded to comment on the horrendous

racket of a steam pump he’s implemented (a harbinger of the Industrial Revolution). Dooly’s blank look implies he hears nothing but the dulcet tones of this new kind of paradise, which is perfect . . . ’nuff said sans ham.

Trevor Young Marston makes an endearing Septimus Hodge, tutor to 13-year-old polymath Thomasina (Izabel Mar) back in the Byron era.

However, Mar’s graceful movements and charmschool smile seem odd for Thomasina (she’s usually interpreted as more of an awkward nerd, which makes her arc more poignant). We’ve got to love her for the magic of the ending to bloom.

That didn’t quite happen opening night, but who’s to say what a few more days in the hothouse might yield? MARGARET FRIEDMAN

P#UNPROTECTED ERICKSON THEATER OFF BROADWAY, 1524 HARVARD AVE., WHIMWHIM.ORG. $15–$25.

8 P.M. WED.–FRI. ENDS MAY 23.

Choreographer Olivier Wevers has made a series of smart moves since he launched his company Whim W’him in 2010, both onstage and off. With this latest program—his longest performance series to date—and dancers now on contract, he’s looking to create a permanent company rather than work with a constantly shifting pick-up group. Alongside Wevers’ own choreography, colleagues Andrew Bartee and Annabelle Lopez Ochoa now return with new works. All three have a similar background, moving from classical to contemporary dance, and this shared DNA is clear in the specificity and articulation of their movement choices. Whatever the differences in theme or mood, a basic kinetic thread runs through the evening.

The title of Ochoa’s Les Biches may refer back to Bronislava Nijinska’s work for the Ballets Russes, but this is far from that ballet of society manners. Brandishing bright red elongated finger extensions like talons or antennae that rattle when their hands vibrate, a quartet of women prowls through the space, challenging one another for dominance. If human beings are social animals, then these are their antecedents— if not female deer (biches), then some kind of fiercely rivalrous creature.

Bartee’s I’m here but it’s not the same opens with a series of simple adjustments, as dancers move slightly during a blackout to reappear in a different location when the lights come back up. They add other subtle shifts as well, changing shape or direction, all of it calm and uninflected. Gradually the random movements become disconcerting, patterns overlap, and some of the dancers interact. Bartee keeps to a minimal palette, even as the movement becomes more dense, maintaining a sense of restraint through to the end.

Wevers has done some of his best work to classical music, and Above the Cloud, set to Francis Poulenc’s Organ Concerto, is an excellent example of his musical intuition. Seven dancers in filmy white shirts have what could be described as a truly elegant pillow fight, dancing with a set of very large and very downy cushions.

They drag them through the space; they clutch them and nap on them; they use them as a stopgap trampoline and as a palanquin. The plush of the pillows is matched by the luxury of the dancers’ movement, spinning and stretching in offcenter abandon, inspiring us to go home and toss a couple pillows ourselves. SANDRA KURTZ E

stage@seattleweekly.com

SEATTLE WEEKLY • MAY 21 — 27, 2014

27

a&c»Literary Arts

SAY HELLO TO

Summer

FULL MUSIC LINEUP OUT NOW SEE IT ALL & GET TICKETS AT BUMBERSHOOT.ORG

BY DIANA LE

Author Events BLAKE BAILEY He shares from his memoir The

Splendid Things We Planned: A Family Portrait, then chats with Tom Nissley, the owner of Phinney Books.

Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org, Thu., May 22, 7 p.m.

JOAN GELFAND AND CATE CAMPBELL A discussion of poetry (The Long Blue Room is Gelfand’s new collection) and historical fiction (Hall of Secrets: A Benedict Hall Novel is Campbell’s latest). University Book Store, 4326 University Way N.E., 800-335-7323, bookstore.washington.edu, Wed., May 21, 7 p.m.

JACK STRAW WRITERS AT FOLKLIFE Claudia Castro Luna, John Mullen, Michelle Peñaloza, Raúl Sánchez, and Anastacia Tolbert will read. Felicia Gonzalez acts as emcee. Seattle Center, jackstraw.org, Sun., May 25, 2:45 p.m. author and contributor to The • JOSHUA FERRIS The New Yorker, Granta, and Tin House discusses To Rise Again at a Decent Hour. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com, Tue., May 27, 7 p.m.

JUNIE B. JONES STUPID SMELLY BUS TOUR The beloved children’s series comes to life through live theatrical performances. University Temple United Methodist Church, 1415 N.E. 43rd St., 800-335-7323, bookstore.washington.edu, Tue., May 27, 6:30 p.m.

BRIAN KING So Long, Vietnam relates the author’s experiences serving in that war. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks. com, Fri., May 23, 6:30 p.m.

MATTHEW KROENIG The Georgetown prof discusses his A Time to Attack: The Looming Iranian Nuclear Threat. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org, $5, Wed., May 28, 7:30 p.m.

DANIELLE KRYSA She shares advice from Creative Block: Get Unstuck, Discover New Ideas: Advice and Projects from 50 Successful Artists. Elliott Bay Book Co., Sat., May 24, 7 p.m.

STEVEN D. LEVITT AND STEPHEN J. DUBNER

These quants return with Think Like a Freak: The Authors of Freakonomics Offer to Retrain Your Brain.

(Sold out.) Town Hall, $5, Fri., May 23, 7:30 p.m.

JANA MOHR LONE The Philosophical Child asks the big questions, like “Why are we here?” and “What does it mean to be good?” Seattle Public Library, Douglass-Truth Branch, 2300 E. Yesler Way, 684-4704, spl.org, Thu., May 22, 6:30 p.m.

NICHOLAS P. MONEY The Amoeba in the Room is this scientist’s call for a new approach to biology education. Town Hall, $5, Wed., May 21, 7:30 p.m.

THE MOUNTAIN POEMS OF STONEHOUSE: A CELEBRATION IN TRANSLATION AND SONG

Translator Red Pine joins musicians Jessika Kenney, Eyvind Kang, and Jarrad Powell in this celebration of the 14th-century Chinese poet known as Stonehouse.

Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. $10-$15, Thurs., May 22, 7 p.m.

ANTONYA NELSON Her new story collection is Funny Once. Richard Hugo House, $8-$10. Fri., May 30, 7 p.m.

EVAN OSNOS Age of Ambition: Chasing Fortune, Truth, and Faith in the New China collects his dispatches from The New Yorker. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 6543100, seattleartmuseum.org. Free. 7 p.m. Wed., May 28.

ROGER ROFFMAN The researcher, scholar, therapist, activist, and user challenges both those for and against marijuana in Marijuana Nation. Third Place Books, Tue., May 27, 7 p.m.

SEATTLE POETRY SLAM See seattlepoetryslam.org for roster of talent. 21 and over. Re-bar, 1114 Howell St., 233-9873, rebarseattle.com, $5, Tuesdays, 8 p.m.

STEPHEN TOBIAS Outsider is a first novel, portraying the life of a reclusive artist. Third Place Books, Sat., May 24, 6:30 p.m.

ANN SCOTT TYSON She shares from American Spartan: The Promise, The Mission, and the Betrayal of Special Forces Major Jim Gant, a book begun while she was a journalist in Afghanistan. She and Gant are now married and live in Seattle. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 7:30 p.m. Thurs., May 29.

BROOKE WARNER AND SEAN HANISH Three Minus One: Parents’ Stories of Love and Loss is an anthology of stories and artwork by bereaved parents. Ravenna Third Place Books, 6504 20th Ave. N.E., 525-2347, ravennathirdplace.com, Thu., May 22, 7 p.m.

SEATTLE WEEKLY • MAY 21 — 27, 2014

•

28

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

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» Film

This Week at SIFF

SE AT TLE 4500 9TH AVE. NE • 206-633-0059

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Matt Smith takes us back to 1966, plus tips for week two.

Sheila “Ms. Denight” Triplett

BY BRIAN MILLER

All hair types are welcome!

Y

Today, nearly 50 years after the events (and confabulations) in question, East Capitol Hill has been transformed. All those big houses—built for Catholic families that could number past a dozen kids—are now overpriced trophy homes with one or two children in them.

Smith says he both does and doesn’t recognize his old stomping grounds. A postscript to the film shows him going off to college, where, he says, “Very few of my friends could tell you where they came from, in a village kind of way. I knew exactly where I grew up.”

Smith and Fetzer will appear at both SIFF screenings this week (the first is sold out): Egyptian, 6:30 p.m. Wed. & 11 a.m. Mon.

ou can’t go home again—only Matt Smith did. Twice. Raised in the old Catholic enclave on the east side of Capitol Hill, the veteran actor and monologist first performed his embellished memoir My Last Year With the Nuns in 1997.

Now it’s a movie, he explains in Cafe Victrola, a few blocks from his childhood home. After nearly a decade on Bainbridge, he says, he moved back to the ’hood to care for his 92-year-old mother—“back to the house I grew up in. It’s been a trip.”

Nuns is also a time trip for the audience, since Smith recounts his experiences as a 13-year-old in 1966–67, his final year of parochial school at St. Joseph’s before departing for the somewhat broader world of Seattle Prep. The piece was

Also shot in Seattle, though based on a Connecticut music writer’s romantic travails, Lucky Them stars Toni Collette as a journalist search-

Smith at the old newsboy shack.

JOHN JEFFCOAT

ing for her old boyfriend, presumed a suicide in Snoqualmie Falls. She needs the scoop to keep her job, and her quest teams her with a rich, oddball documentary filmmaker (Thomas Haden Church) with designs on her. It’s formulaic, with an A-list cameo at the end, but local director Megan Griffiths (Eden, The Off Hours) again shows a nice command of actors and a genuine feel for Seattle’s back-alley textures. Also, when our heroine does her research, it’s good to see her leafing through old copies of The Rocket.

(Renton: 7 p.m. Thurs. Egyptian: 9:15 p.m. Fri.) From Mongolia, Remote Control hasn’t got much plot, but I like it as a possible remake. A teenage peasant camps atop a half-built tower in booming Ulan Bator, spying on a lovely, lonely woman who’s being neglected by her artist boyfriend. With binoculars and universal remote (to control her big-screen TV), Tsogoo endeavors to cheer her up—and maybe win her love. A more benign version of Rear Window, the film is really about Mongolia’s wrenching cultural shift—as if someone suddenly changed the channel from the 14th to the 21st century. (SIFF Cinema Uptown: 6 p.m. Thurs. & 3 p.m. Sat.) Directed by Kelly Reichardt (Old Joy, Wendy & Lucy), the highly anticipated Night Moves stars Jesse Eisenberg, Peter Sarsgaard, and Dakota Fanning as three eco-terrorists determined to bomb an Oregon dam. No thriller, the movie turns out to be a slow and deeply undercharacterized study in alienation. You find yourself rooting for the dam, hoping they’ll blow themselves up instead. (Lincoln Square: 7 p.m.

Fri. SIFF Cinema Uptown: noon Mon.) For me, the week’s clear winner is the abortion comedy—there, I said it—Obvious Child, starring Jenny Slate as a knocked-up young woman unprepared for motherhood yet willing, as a stand-up comic, to joke about her condition.

Writer/director Gillian Robespierre strikes exactly the right tone with Donna and her Brooklyn cohort, all of them still striving to achieve viable personhood. When Donna finally confesses her condition to Mom, the latter blurts out, “Thank God! I thought you were moving to Los Angeles!” (SIFF Cinema Uptown: 4:30 p.m. Wed. The film opens June 20 at the Guild 45th.) E

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SEATTLE WEEKLY • MAY 21 — 27, 2014

inspired by the 25th reunion of his eighth-grade class, after which Smith interviewed his old buddies (and various parents), then reworked their anecdotes and adventures into a first-person account. His recollection isn’t meant to be truthful, he explains, but true to the time. (Also, names have been changed; so when you hear “David Shields,” it’s not the local writer David Shields.)

Nuns has been restaged and revised since ’97, says Smith, but it stays focused on a clannish, insular culture and the kids it shaped. “People think of Seattle as a tolerant, liberal place,” says Smith, “because no one’s from here.”

Natives with long memories will know what he means. The ’60s were different: Republican local government, conservative police force, and a much stricter sense of neighborhood boundaries—the Scandinavians in Ballard, the Italians in Garlic Gulch, the blacks in the Rainier Valley.

That segregation would ease with the influx of newcomers later attracted by Boeing, Starbucks, Microsoft, and so forth. For Smith and his pals, “The next corner was kind of a different neighborhood.” They mingled only with their own Catholic kind and fought with outsiders. From the parish comes “parochial,” a word that Smith and director Bret Fetzer (who also staged the original monologue) often invoke as we talk.

With maps and graphics added to the show, plus some snappy editing, Smith’s recollections become a torrent: adventures in the Interlaken Ravine and Volunteer Park; smoking in the newspaper delivery boys’ shack; sassing back to the nuns; stealing from the collection plate, etc.

The point isn’t that Smith and his young cohort are delinquents; rather, they’re typical of the time—using all the casual ethnic slurs of the day.

Back then, the Madison Valley was simply Coon Hollow, a term few would think to question.

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Opening ThisWeek PBelle OPENS FRI., MAY 23 AT GUILD 45TH, MERIDIAN, AND LINCOLN SQUARE. RATED PG. 105 MINUTES.

The rule or the exception—which story should filmmakers follow when addressing history’s great blights? Spielberg gave us the lucky few, and the little girl in the red coat, in Schindler’s List. More recently, 12 Years a Slave didn’t flinch from depict-

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ing the institution of slavery, but it was essentially a survivor’s tale with a happy ending. The English Belle, based on a true story, inspired by an 18thcentury painting of two cousins—one black, one white—never lets you doubt its heroine’s felicitous fate. Dido (Gugu Mbatha-Raw) is born with two strikes against her: She’s the mulatto daughter of a kindly English naval captain who swiftly returns to sea, never to be seen again; and she’s female, raised by aristocratic cousins in the famous Kenwood House (today a museum), meaning she can’t work for a living and must marry into society— but what white gentleman would have her?

Writer Misan Sagay and director Amma Assante have thus fused two genres—the Austen-style marriage drama and the outsider’s quest for equality—and neatly placed them under one roof. The guardians for Dido and cousin Elizabeth (Sarah Gadon) are Lady and Lord Mansfield (Emily Watson and Tom Wilkinson); the latter is England’s highest jurist who in 1783 would decide the Zong case, in which seafaring slavers dumped their human cargo to claim the insurance money. In this proper Georgian household, refined Dido speaks Latin and French, plays piano, and enjoys all the same privileges as cousin Elizabeth—until guests arrive. Then, says Dido, she’s “too high in rank to eat with the servants and too low to eat with the family.”

Yes, there are suitors for both girls; and yes, there are rash proposals, teary confidences, concerned aunts, unexpected inheritances, and significant walks in the park. Yet Dido’s slaveryequality dilemma deepens the usual courtship complications. She and Elizabeth are on display like commodities; and the latter realizes, because she has no fortune, “We are but their property,” referring both to potential husbands and the surrogate father who’ll approve those marriages.

Predictably, it’s the square-peg Dido who begins to rebel against the patriarchy, speaking her mind at breakfast, reading abolitionist pamphlets, and even smuggling Lord Mansfield’s privy papers to a handsome, liberal law student. Belle never surprises you, but it satisfyingly combines corsets and social conscience, love match and legal progress. BRIAN MILLER

Chef OPENS FRI., MAY 23 AT MAJESTIC BAY, SUNDANCE, AND LINCOLN SQUARE. RATED R. 115 MINUTES.

There is nothing wrong with food porn or the happy camaraderie of a restaurant kitchen. Nor can I fault writer/director/star Jon Favreau for making a midlife-crisis movie that lets slip his Hollywood complaints. The commercial pressures in directing formulaic blockbusters like Iron Man must surely be great, and film critics are surely all assholes. Chef is the simple though overlong story of a chef getting his culinary and family mojo back, and my only real criticism—apart from the constant Twitter plugs— is that absolutely nothing stands in the way of that progress for chef Carl (Favreau). Dustin Hoffman barely registers as a villain (as Carl’s gently greedy “play the hits” boss, who goads him into quitting); Robert Downey Jr., as the prior ex of Carl’s ex (Sofia Vergara), briefly shadows the scene—but no, he’s only there to help. And even Oliver Platt, as the churlish food critic who becomes involved in a Twitter war with Carl, turns out to be a decent guy, not an asshole at all. (Wait, what?)

So what are the obstacles here? There are none.

If you like endless scenes of chopping vegetables, salsa montages, and juicy supporting players ( John Leguizamo, Bobby Cannavale, Amy Sedaris, Scarlett Johansson), Chef is an entirely agreeable dish. It even adds a road trip—Miami to L.A.— and a wedding as extra toppings. Just expect no salt. Generous and blandly indulgent, Chef may be Favreau’s attempt to make a James L. Brooks movie, only without the character flaws and self-induced setbacks. Nobody registers here as a person besides Carl. If Favreau has a creative gift he’s waiting to unfurl, it’s depicting male insecurity, which dates back to Swingers. “It hurts!” Carl screams at the critic for a bad review, and I’m sure Favreau felt the same way after Cowboys & Aliens.

Whether as artistic statement or self-justification of craft, Chef confirms the core talent of its maker.

Comfort food, meet comfort movie. BRIAN MILLER

Cold in July OPENS FRI., MAY 23 AT SUNDANCE. NOT RATED. 109 MINUTES.

Midway through this movie, a junky old Pinto backs into a shiny red Cadillac. A fight results and a piece of plot is revealed, but the memorable thing about the moment is the collision. How did we get to the point where a pale blue, half-wrecked Pinto should occupy the same space as this gaudy, mintcondition Cadillac? That disconnect is actually at the heart of Cold in July, an uneven but densely packed new drama from a prolific young director, Jim Mickle. His previous films, Stake Land and We Are What We Are, delved into horror, but with wry detachment and flickering humor.

The genre of Cold in July is the modern-dress Western, drawn from a novel by Joe R. Lansdale.

Richard (Michael C. Hall), a mild picture-framer in a Texas town, shoots a home intruder in the opening scene. It’s the 1980s, which we know because Dexter star Hall sports a hideous mullet.

The dead man was a real bad guy, and Richard was protecting his wife (Vinessa Shaw) and child; in fact the shooting is so justified that the sheriff (screenwriter Nick Damici) is downright eager to bury the body and close the case.

Alas, the dead man’s hard-case father (Sam Shepard) shows up in menacing form—his introduction, suddenly looming within the off-kilter frame of a car window, is one of Mickle’s visual

.

S E A T T L E FILM CALENDAR Eisenberg is nimble as always—particularly when his alpha-self is running rings around Simon the doormat—and Wasikowska is a much harder film-noir type than Jane Eyre or Stoker would have suggested. The film’s grimy atmosphere begins to feel put-on after a while, and Ayoade can’t generate something new out of a Twilight Zone ending. So far, Denis Villeneuve’s Enemy will remain the year’s top study of the terror of confronting one’s mirror image—which, true to literary tradition, is always really about confronting one’s self. That movie really did come up with an original ending, a whopper of a non sequitur. By comparison, The Double stays in the minor leagues. ROBERT HORTON

coups. The old man looks like he’ll be trouble, and he will, but there’s much more to the story than we’d been led to believe. The film not only adds plot twists to its roll-out, but also some alarming shifts in tone—suddenly we’re careening from suspenseful noir to buddy-movie hijinkery to solemn vengeance against the purveyors of snuff movies.

One of the bigger shifts comes with the arrival of a private detective, Jim Bob Luke; he’s the guy with the red Caddy, and he favors a 10-gallon hat and boots suitable for cow-pie kicking. Don Johnson has fun in the role, even if his good-ol’-boy routine temporarily dissipates the film’s tension. ( Johnson was slimmed-down and sassy in The Other Woman, too—could we really be witnessing a Sonny Crockett renaissance?) But based on his previous work, these radical turns seem intentional on Mickle’s part—momentarily confusing as they might be, they keep us alert and wondering what kind of movie we’re watching. Mickle might be just a couple of steps from making a masterpiece, and while Cold in July is certainly not that, “stylish and unpredictable” is not a bad foundation on which to build. ROBERT HORTON

The German Doctor OPENS FRI., MAY 23 AT SUNDANCE AND LINCOLN SQUARE. RATED PG-13. 93 MINUTES.

The Double OPENS FRI., MAY 23 AT VARSITY. RATED R. 93 MINUTES.

In some stories about doubles, the arrival of the doppelgänger sends the protagonist into a crisis.

Not so in this movie, where our hero is already decidedly cracked. Meet Simon James, played by Jesse Eisenberg, a worker drone in a dull dystopian society. Given how poorly he’s treated at work and how much he’s ignored by his dream girl Hannah (Mia Wasikowska), you might think things could not get much drearier for Simon. Well, meet James Simon, played by Jesse Eisenberg, a rakish, charming new employee—Simon’s exact physical likeness, yet an instant hit with his co-workers, boss (Wallace Shawn), and of course Hannah. Despite an initial flirtation between the two men—the look-alikes share a night on the town, and Simon uncharacteristically has a gas—the new guy cuts an increasingly sinister figure in our hero’s desperate existence.

The Double is directed by Richard Ayoade, the British actor/writer who co-starred in The Watch

last year. Ayoade’s 2010 coming-of-age film Submarine showed him to be a filmmaker with clever instincts still in search of a style of his own. (Wes Anderson was undoubtedly checking his pockets after that one.) For The Double, Ayoade and cowriter Avi Korine adapt a Dostoyevsky novella, imagining the story in a curiously mid-20th century setting: rotary gizmos, analog screens, Sovietstyle housing. They are of course free to create any kind of futuristic (or parallel-reality) hellscape they like, but this one so closely recalls previous efforts

by George Orwell and Terry Gilliam that it lacks the slap of the truly revelatory.

That’s too bad, because for at least two-thirds of its running time, The Double is funny and engaging.

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SEATTLE WEEKLY • MAY 21 — 27, 2014

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Simon, James. James, Simon.

There’s a whole genre of movies about fearless Nazi hunters, putting Nazis on trial for war crimes, and so forth. (Marathon Man and The Boys From Brazil are just two examples.) But what about Nazis proposing to finance a line of handmade dolls in 1960 Argentina? Helmut Gregor, as he calls himself, is a polite, mustachioed physician who speaks passable Spanish and looks a bit like Robert Shaw. He’s nice to children and especially considerate of pregnant women. Might you be expecting twins, mein Frau? Perhaps ve should run some tests. I might prescribe some special vitamins—for the health of die Kinder, of course.

The fugitive Nazi here is Dr. Josef Mengele, who befriends the family running an inn in Patagonia’s southern lake district (which reminds him of home, natürlich). Adapting her own novel, Lucía Puenzo frames this loosely fact-inspired account from the perspective of 12-year-old Lilith (Florencia Bado), who’s blue-eyed, blonde, and unnaturally small for her age. Naturally Dr. Gregor (Àlex Brendemühl) wants to help this little doll, which also brings him into contact with her parents Eva and Enzo—the latter also a dollmaker. (Here let’s note that undersized Lilith bears comparison to the little hermaphrodite of Puenzo’s XXY, seen at SIFF ’08; pubescence makes them both objects of scientific scrutiny.)

What Puenzo really gets right is the hermetic isolation of Bariloche, where clannish Germanspeaking immigrants created their own community and schools long before Hitler. Newcomer Lilith attends such a school, where she encounters photographer/archivist Nora (Elena Roger), whose camera keeps wandering in the direction of Dr. Gregor. Meanwhile teenagers dance to jukebox pop and Gregor drives an enormous new Pontiac; Lilith’s coming-of-age will belong to the Beatles era, and World War II seems but a distant memory here. The evils of the Old World are fading into the be-bop-a-lula of the new, and the difference between them is being forgotten, too.

The German Doctor is less successful as a thriller than for its creepy historical milieu. Mengele/ Gregor doesn’t do much besides take notes and administer injections; Nora snaps her clandestine photos; and Lilith eventually gets kissed (and has her first period). That this runty girl and this mad scientist should meet is fit for conjecture, but Puenzo’s movie feels incomplete. The greater historical curiosity is how Mengele remained free for another 20 years, unpunished and outliving Elvis. (He died of natural causes in 1979.) Lilith will survive to narrate her tale; Mengele remains forever the enigma. BRIAN MILLER E

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• FED UP Narrated by Katie Couric, Stephanie

Soechtig’s advocacy doc is slickly made, studded with food gurus (Michael Pollan, Marion Nestle, etc.), and sympathetic to the sad young teens we see struggling with obesity. Yet heredity is only part of our four-decade obesity epidemic, which the filmmakers convincingly trace back to a collision between industry and regulators. On the one hand, the FDA is supposed to keep our food healthy. On the other, the USDA’s goal is basically to sell as much food as possible—including corn; and from that, high fructose corn syrup. Which side do you suppose is winning? “It’s fair to say the U.S. government is subsidizing the obesity epidemic,” says Pollan, who then pauses a beat. “Indirectly.” Fed Up convincingly argues how the processed food industry has so successfully engineered its products since the ’70s to be addictive yet never sating. Willpower counts for little (ask any alcoholic or junkie). “We are not going to exercise our way out of this obesity problem,” says one nutritionist. Viewers will not be surprised when parallels to Big Tobacco are explicitly drawn. (PG) B.R.M. Varsity FINDING VIVIAN MAIER The biggest discovery of 20th-century photography was made in 2007 by Chicago 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. Maier was almost pathologically secretive, but all photographers hide behind the camera. 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. Varsity THE GRAND BUDAPEST HOTEL By the time of its 1968 framing story, said hotel has been robbed of its gingerbread design—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. Also on hand are Anderson veterans Adrien Brody, Willem Dafoe, Bill Murray, Jason Schwartzman, and Owen Wilson—all are in service to 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 slapstick-friendly) work of Ernst Lubitsch and other such classical directors. (R) ROBERT HORTON Cinebarre, Guild 45th LOCKE Tom Hardy is cast as a methodical Welsh structural engineer who specializes in concrete. This is a film where you will learn a lot about how that material is poured and processed. There is only one location to the movie: Locke’s BMW as he heads south through the night from Birmingham toward London—away from a critical job he is abandoning—to attend the birth of a child from a drunken one-night stand. Steven Knight’s Locke is essentially a radio play made into a movie. The camera moves up high to track Locke’s journey; there are some visual flourishes; but basically we’re listening to Hardy’s soft rumbling voice for 85 minutes. It’s a one-man dialogue, with calls to and from his wife and two sons, the hospital, his irate bosses, and a panicked Irish underling back at the job site. Locke keeps telling others, “Everything will be all right,” but he’s really trying to reassure himself against the existential void, the potential loss of job, family, and self-control. Hardy gives Locke a calm, steady self-assessment, a kind of lucid despair. He’s a guy forced to realize in one night that his life has no foundation. (R) B.R.M. Harvard Exit

AS YOU LIKE IT Only Two Can Play (1962) Features Peter

Sellers and Mai Zetterling as would-be lovers in Wales.

It’s based on the novel by Kingsley Amis. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thu., May 22, 7:30 p.m.

BEST IN SHOW From 2000, Christopher Guest turns his attention to less-pedigreed traits of human behavior attending a big dog show. Half the cast of Waiting for Guffman is on hand, including Eugene Levy, Catherine O’Hara, Parker Posey, and Fred Willard, plus Spinal Tap vet Michael McKean. They riff on Guest’s plot outline—basically a mockumentary backstage portrait of ridiculous dog owners. The result is 90 minutes of sly observational humor about how we use pets as the idealized representations of our imperfect lives, the furry, drooling, leg-humping vehicles of our hopes and dreams. Instead of broad hilarity and ridicule, there’s a subcurrent of low-key laughter running throughout the picture. For Guest, each well-coiffed canine on display is the product of a stage parent watching anxiously from the wings. He invites us to laugh at the owners’ foibles, while still rooting for their dogs—and better selves—to win. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, May 23-28, 9:30 p.m.

CAPITOL HILL Wes Hurley screens episodes from his Web series set on the titular mound, where an innocent young Portland lass tries to find her bearings. Central Cinema, $15, Thu., May 22, 8 p.m.

EASY RIDER SEE THE PICK LIST, PAGE 24.

GAME ON A panel discussion presented by Imagos Films considers the influence of video games on cinema.

Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$11, Tue., May 27, 8 p.m.

JURASSIC PARK The late writer Michael Crichton, who famously tutored President Bush on the fallacy of global warming, was no scientist. But the doctorturned-novelist, from The Andromeda Strain forward, knew how to mix popular science into exceptionally good potboiler fiction. He was a master of the in-flight novel, and Jurassic Park is one of his very best works.

Steven Spielberg’s 1993 adaptation benefits from equally from the then-new magic of CGI and our old love of dinosaurs running amok. (Long before Godzilla, silent movies were doing the same.) While Crichton warns us about the dangers of genetic engineering—in rather static debates among scientists Sam Neill, Laura Dern, and Jeff Goldblum—Spielberg keeps things moving at a wonderful pace. As in Jaws, whose DNA is strongly felt here, the hunters become the hunted.

The thud of the oncoming Tyrannosaurus rex rippling in a water cup, the heat of his breath on a car window, the swarming Velociraptors—these ancient terrors trump our high-tech inventions. (PG-13) B.R.M. Central Cinema, $6-$8, May 23-28, 7 p.m.; Sat., May 24, 3 p.m.; Sun., May 25, 3 p.m.

STAGE FRIGHT This new slasher flick, set backstage on Broadway, is apparently modeled on the final-girl thrillers of the ’80s. (R) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, Fri., May 23, 9 p.m.; Sat., May 24, 9 p.m.

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Ongoing

THE AMAZING SPIDER-MAN 2 If Tobey Maguire was

all open-faced wonder about his accidental arachnid skill set, Andrew 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 two-part 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, 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. Also worth the 3-D IMAX ticket price is the roster of supporting talent: Campbell Scott, Embeth Davidtz, Chris Cooper, Colm Feore, Denis Leary, and Paul Giamatti. 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. (PG-13) B.R.M. Cinebarre, Lincoln Square, Pacific Place, Southcenter, Thornton Place, others

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» Music

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

Wednesday, May 21

Portland electro-indie rock outfit THE HELIO SEQUENCE writes anthems. There’s a triumphant quality to its music, like a Rocky montage but with sensibilities more toward the Strokes than Survivor.

Shimmering guitars and airy synths give a feeling of optimism even when the lyrics are downers. With Rose Windows, Minden. Nectar Lounge, 412 N. 36th St., 6322020, nectarlounge.com. 8 p.m. $3 adv./$10 DOS. 21 and over. DUSTY HENRY LINDSEY STIRLING has taken the world by storm since reaching the quarterfinals of America’s Got Talent in 2010. The classically trained violinist and DIY artist frequently pairs classical music with dubstep and dances up a storm while playing. Her hauntingly electric sophomore album, Shatter Me, debuted at #2 on Billboard’s Top 200 earlier this month. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 8 p.m. $35. All ages. BRIAN PALMER

Thursday, May 22

Friday, May 23

In conjunction with Folklife, PUNK AS FOLK will offer an evening of earnest balladeers harnessing the tenacity of Black Flag. Between sets by bands like gypsy-punks the Bad Things and Chumbawumba (yes, the “Tubthumper” band), co-founder Danbert Nobacon will act as emcee. With Lone Madrone, Future Fridays, the Mongrel Jews, Strangely, Danbert Nobacon, the Bad Things. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conorbyrnepub.com. 9 p.m. $10.

21 and over. DH

HUGH LAURIE AND THE COPPER BOTTOM BAND

Face it: You’re probably going to this show to see if Dr. House can really play the piano. He can. On his second album, Didn’t it Rain, Laurie moves “deeper into the forest of American music that has enchanted me since I was a small boy,” and curates a diverse collection of Americana. The Paramount. 8 p.m. $31.25–$61.25.

MICHAEL F. BERRY Despite collaborating with some of the top names in the game—Eminem, Lil Wayne, Busta Rhymes, and Kendrick Lamar—and releasing 14 studio albums, TECH N9NE still isn’t a household name. It’s certainly not for lack of lyrical skill, diverse musical interests, or even a savvy business mind—he founded his own record label, Strange Music. With Freddie Gibbs, Krizz Kaliko, Jarren Benton, Psych Ward Druggies, Neema.

Through Sat. (Also with Knothead.) Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 9 p.m. $28.50 adv./$32.50 DOS. MFB

Saturday, May 24

I think of CHRISTINA PERRI as the tattooed minstrel of tragic love. Rough with emotion, her plaintive voice resurrects every bit of unrequited yearning we agonized through as pimply teenagers. Her lyrics occasionally cross from soulful to eye-roll-worthy— e.g., “You’re going to catch a cold from the ice inside your soul” from her early hit “Jar of Hearts.” Her contribution to the Twilight: Breaking Dawn—Part 1 soundtrack, “A Thousand Years,” was more evolved than “Jar of Hearts,” still wistful but not nauseatingly so. Perri’s latest album, Head or Heart, has a more mature (but no less lovelorn) vibe. Her newest hit, “Human,” is, no surprise, a melancholy ballad. Though Perri’s voice still has a somewhat prepubescent vibe, her range and emotive quality make up for it. There’s a reason her U.S. tour has been selling out. Bring a box of tissues. With Birdy. Through Sunday. The Neptune.

8 p.m. $30. JN

Sunday, May 25

You’d be hard-pressed to find an early rock star whom RAMBLIN’ JACK ELLIOTT didn’t influence, either directly or via Dylan, the Stones, and countless others.

At 82, he’s still on the road, still telling great stories, and still interpreting folk and blues songs in magical ways. He truly is the last of a dying breed of folk troubadours. With Nell Robinson, Jim Nunally. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20 adv./$25 DOS/$30 VIP. DJL

Tuesday, May 27

After seven mixtapes and EPs, HOODIE ALLEN, aka rapper/singer Steven Markowitz, will release his debut album independently this summer. Lead single “Show Me What You’re Made Of” blends high-energy beats with soulful crooning and rapid-fire references to Manny Pacquiao, The Fresh Prince’s Uncle Phil, and Billy Corgan. The rest of the album promises to be as musically and lyrically diverse. With Down With Webster. The Crocodile. 7 p.m. SOLD OUT. All ages.

AZARIA C. PODPLESKY After suing former members touring as Flag, publicly firing their most recent singer, and issuing what is arguably their worst record, hardcore legends BLACK FLAG haven’t exactly reunited gracefully. The current lineup features sole continuous member/punk lightning rod Greg Ginn and professional skater Mike Vallely, who resumes vocal duties after a brief stint with the band in 2003. With Cinema, Cinema, The Loss. Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 8 p.m. $25 adv./$30 DOS. DJL Arizona-based acoustic-folk quintet RUN BOY RUN, two pairs of siblings plus an upright bassist, is both steeped in tradition and forging a new path in folk music. The band’s three female vocalists and jazzy touches add something new, but its lyrics call back to simpler times.

RBR’s sophomore album, Something to Someone, is slated for a September release. With North Country Bluegrass. The Royal Room, 5000 Rainier Ave. S., 9069920, theroyalroomseattle.com. 8 p.m. $7 adv./$10 DOS. All ages until 10 p.m. ACP Cultural appropriation aside, LANA DEL REY is a stunning visual artist, breathing new life into the music video, making a display of her sordid relationship with Americana. Sure, she glamorizes nostalgia, but not any more than the rest of us. WaMu Theater, 1000 Occidental Ave. S., 381-7555, ticketmaster.com. 8 p.m.

Send events to music@seattleweekly.com.

See seattleweekly.com for full listings.

JAZZ ALLEY IS A SUPPER CLUB

SPENCER DAY CD RELEASE PARTY! WED, MAY 21 “A lapsed Morman with the looks and charm of a matinee idol, Day’s vocals are breathy, sensual, and intimate.” - Huffington Post

RAMSEY LEWIS ELECTRIC BAND WITH SPECIAL GUEST PHILIP BAILEY OF EARTH, WIND AND FIRE THURS, MAY 22 - SUN, MAY 25 Longtime keyboard jazzman on his funkiest outing in years.

OZ NOY FEATURING OTEIL BURBRIDGE AND KEITH CARLOCK TUES, MAY 27 - WED, MAY 28 Trend-setting guitarist with an intoxicating blend of jazz, funk, rock, blues and R&B

JOAN OSBORNE & THE HOLMES BROTHERS THURS, MAY 29 - SUN, JUN 1 Multi-platinum selling, recording artist and seven-time Grammy nominee weaving blues, R&B, pop and soul

MOUNTLAKE TERRACE HIGH SCHOOL JAZZ BANDS MON, JUN 2

in This Bring T And ge n o p Cou Tizer e p p A one 2 oFF! For 1/

Recognized throughout the Pacific Northwest as one of the top high school jazz bands!

all ages | free parking full schedule at jazzalley.com

El Corazon www.elcorazonseattle.com

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

THURSDAY, MAY 22

EARLY MAN with Witchburn, Endino’s Earthworm and Pinned Red.

Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

FRIDAY, MAY 16

LIKE VULTURES with Confines, Groundfeeder, Destroy Louis and Built By Machines Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY, MAY 24 Just Bird Presents:

SHOWROOM: WE THE AUDIENCE (EP RELEASE)

w/Reach For The Sky, Canary, Dissimulator, A Taste Of Daylight and Autumn Tragedy LOUNGE: ASSUMING WE SURVIVE w/Behind The Fallen and When Earth Awakes. Doors at 6 / Show at 6:30PM. ALL AGES/BAR W/ID. $10ADV/$12DOS

SUNDAY, MAY 25

SYMMETRY with The Lion In Winter, If Penquins Could Fly, Eleven o7 and Midnight Atmosphere Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY, MAY 25

MILONGA with Once Minutos

Lounge Show. Doors at 8:30 / Show at 9PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, MAY 26

BLACK COBRA with The Cutthroats 9, Wizard Rifle,

Lb.!(pound) and Caligula Doors at 7 / Show at 8PM 21+. $13 ADV / $15 DOS

TUESDAY, MAY 27 Mike Thrasher Presents:

DEVILDRIVER

with Whitechapel, Carnifex, Revocation, Rivers Of Nihil and Arcanium. Doors at 5 / Show at 6PM ALL AGES/BAR W/ID. $22.50 ADV / $25 DOS

WEDNESDAY, MAY 28

TYLER WARD with Brynn Elliott, Matt Bacnis Band, Amanda Markley, Hatters For Hire, Lover Fighter and Steven Curtis Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

JUST ANNOUNCED 6/27 LOUNGE GREAT FALLS / SWAMPHEAVY (ALBUM RELEASE) 7/20 BLEEDING THROUGH 10/4 THE PRETTY RECKLESS 10/7 ELUVEITIE UP & COMING 5/28 LOUNGE THE VEER UNION 5/29 LOUNGE ISAIAH DOMINGUEZ 5/30 METALACHI 5/31 ENVISIONIST 6/1 LOUNGE WE ARE THE CITY 6/2 BANE / TRIAL 6/3 LOCAL H 6/4 THE GODDAMN GALLOWS 6/4 LOUNGE TWO CAR GARAGE 6/5 MICHALE GRAVES 6/5 LOUNGE LECHEROUS NOCTURNE 6/6 SNFU / THE MEATMEN 6/7 NICE PETER 6/7 LOUNGE OLD MAN MARKLEY 6/8 LOUNGE LIARS START FIRES 6/9 GEMINI SYNDROME 6/9 LOUNGE JESS J 6/10 A WILHELM SCREAM

Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

SEATTLE WEEKLY • MAY 21 — 27, 2014

John Lennon’s son Sean started dating fashion model Charlotte Kemp Muhl in 2006, and about a year later discovered she was also a musician. So naturally they formed a cultish psych-pop band named THE GHOST OF A SABER TOOTHED TIGER (GOASTT) that’s been churning out some of the best music of Lennon’s career. New album Midnight Sun sounds like a reincarnation of the post-LSD Beatles records. Somewhere Sgt. Pepper and John are smiling. With Syd Arthur.

Crocodile, 2200 Second Ave, 441-4618, thecrocodile. com. 8 p.m. $14. 21 and over. KELTON SEARS STEEP RAVINE is a band you should familiarize yourself with if you like up-and-coming bluegrass and folk groups. The relatively new Northern California–based quartet have already played at Outside Lands and been featured on NPR’S West Coast Live, and its 2013 debut album, Trampin’ On, is an engaging mix of earthy melodies and laid-back tales. With the Warren G. Hardings, Renegade Stringband. Nectar Lounge. 8 p.m. $6 adv./$10 DOS. 21 and over. BP If Cher from Clueless ever became a rapper, I imagine she might produce something like IGGY AZALEA’s latest hit, “Fancy,” featuring Charli XCX. The platinumblonde Aussie’s style is so strongly influenced by the dirty South that you can close your eyes and almost hear blackface when she spits her lyrics. Not for the easily offended. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 9 p.m. $25.

JENNA NAND BEAT CONNECTION (DJ SET) Over the past couple of years, Beat Connection has transformed from electronic grooves to dance music in the vein of LCD Soundsystem. Whichever identity it takes, it’s making music to move to. The band’s DJ set will be a great chance for latecomers to the band to catch a glimpse of where it started. With Heaters, Soffos, Tony Snark.

Neumos. 925 E. Pike St., 709-9467, neumos.com. 8 p.m.

No cover. 21 and over. DH Queensland, Australia’s STU LARSEN plays pretty, windblown folk songs that (without a label or management) landed him at #2 on the Australian Singer-Songwriter Chart. In July he’ll issue Vagabond, his first record backed by a label. See him now before he blows up.

With Adam Burrows. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $10. 21 and over. DAVE J. LAKE AVRIL LAVIGNE recently made waves with the release of her new single, “Hello Kitty,” and tough-girl hairdo.

But her fans are sticking by her, because she will forever be our queen of suburban teenage angst. To quote Rory Gilmore, “It’s Avril Lavigne’s world, and we’re just living in it.” Unfortunate, but true. With Backstreet Boys. WaMu Theater, 1000 Occidental Ave. S., 381-7555, ticketmaster.com. 7:30 p.m. $71.30 and up.

(Tickets going fast.) All ages. DIANA M. LE

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

33

a&c» Music LocaLReLeases V. Contreras, V. Contreras (out now, self-

mainstage

dinner & show

WED/MAY 21 • 7:30PM - DOUBLE CD RELEASE PARTY

polly o’keary and the rhythm method / randy oxford band THU/MAY 22 • 7:30PM A BENEFIT FOR CENTRUM’S PORT TOWNSEND ACOUSTIC BLUES PROGRAM

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

seattle secret music showcase #14 FRI/MAY 23 • 8PM

mycle wastman

w/ jarod lawson and sonia rao SAT/MAY 24 • 8PM

bowievision SUN/MAY 25 • 7:30PM AMERICAN STANDARD TIME PRESENTS SEEDS & STORIES TRAILS TOUR

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

206-441-5449

KEEGAN PROSSER

ramblin’ jack elliott, nell robinson & jim nunally

WED/MAY 28 • 7:30PM

the bgp w/ aijia

NTw.RlitYtlereMdhUenS.coICm LIVE COUww THURS MAY 22ND

BUCKAROOSTERS $3 COVER

THU/MAY 29 • 7PM & 10PM

an evening with vicci martinez

FRI MAY 23RD

WES JONES BAND $5 COVER

SEATTLE WEEKLY • MAY 21 — 27, 2014

SAT MAY 24TH

34

next • 5/30 gypsy soul • 5/31 johnnyswim • 6/1 throwing muses w/ guest tanya donelly • 6/4 judith owen w/ hallstrom • 6/5 siff justin kaufman trio • 6/6 flamenco de raiz • 6/7 dar williams • 6/8 amy g • 6/10 & 11 jack jones• 6/12 niyaz • 6/13 josh rouse w/ doug paisley • 6/14 bluestreet jazz voices • 6/15 johnette napolitano • 6/17 aoife o’donovan w/ kristin andreassen • 6/18-20 benise • 6/21 jay & silent bob get old live!

8 SECOND RIDE $5 COVER

SUN MAY 25TH

JUKEHOUSE HOUNDS $3 COVER

happy hour every day

TUES MAY 27TH

ROY KAY TRIO NO COVER

• 5/21 kareem kandi • 5/22 eric hullander group • 5/23 the djangomatics / cody rentas band • 5/24 tubaluba • 5/25 hwy 99 blues presents: darrius willrich • 5/26 crossrhythm session • 5/27 singer-songwriter showcase featuring: robert deeble, brent antal and jeremy burke (yucca mountain) • 5/28 science!

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

released, musicofv.com) Already known as the powerhouse vocalist behind the Seattle Rock Orchestra, V. Contreras—full name Victoria Wimer Contreras— proves she’s a lot more than that on this debut. A perfect mix of easy listening and soulful grit, her 12-track collection is unique in its blend of classic Motown sensibilities with Contreras’ edgier, more rock-leaning tendencies. Led by the punchy single “Gasoline,” Contreras’ poignant storytelling and sultry delivery is hard to forget: “I know that gaze/Your hands in the flame/ And you just beg for gasoline/ And I deny the blame for letting you fall/You love the f**king crazy in me.” Even so, Contreras is at her best on songs like “This Ain’t Love” or “Hollow,” which show a softer, more intimate side of her range.

Produced by Martin Feveyear (Brandi Carlile, Blue Scholars, Duff McKagan’s Loaded), and chock-full of soaring string and horn arrangements by Andrew Joslyn (Macklemore & Ryan Lewis), there’s no limit to the textures you’ll hear throughout V. Contreras. Ultimately, the album is unified by the journey of love in all its different shapes and forms. But it’s the unexpected turns, the endless possibilities along the route, that make the listening experience so enjoyable.

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

Lonesome Shack, More Primitive (out now, Alive Naturalsound Records, lonesomeshack. com) Bar bands around the world are pounding out bouncy riffs peppered with Southern drawl every day, and most will go unnoticed. Often the genre becomes a self-parody: overzealous guitarists playing the dirtiest and grimiest blues they’re capable of (cue Jon Spencer and Dan Auerbach).

But a great blues record embraces the genre’s subtleties. The blues are fickle. They are not triumphant. They do not provide a “feel-good” sound. That’s what makes Lonesome Shack’s fourth full-length, More Primitive, so compelling. Vocalist/guitarist Ben Todd’s playing style is dexterous and his vocals hushed—especially on tracks like “Medicine,” where he sneers, “I went to hell against my will.” The hazy, humid atmosphere created throughout by drummer Kristian Garrard and bassist Luke Bergman contributes to the album’s overall exasperated, desperate tone, and embraces the sluggish, back-road quality that permeates the catalog of legend Robert Johnson.

By the time we hear album closer “Evil,” the band sounds as if they’ve lost the will to keep going—as if they’re being forced to play somewhere in Louisiana in mid-July in the blazing noonday sun. Bergman’s bass plods along slowly and Todd’s guitar drifts in and out. Such a tone is not only appropriate but essential to their success: it’s that pain and wallowing that makes them truly live the blues. (Fri., May 23, Columbia City Theater) DUSTY HENRY

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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

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

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Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

$100 TO $1000

7 Days DINING

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ALL STAR TOWING

425-870-2899

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

FILM

Leavenworth International Accordion Celebration June 19-22, 2014

Come and enjoy lively accordion concerts/competitions in the Festhalle and FREE entertainment at the Gazebo and Grange by top local, national, and international accordionists in the Bavarian getaway town of Leavenworth. Also featured are FREE introductory accordion lessons, vendor exhibitions, workshops, and the annual Accordion Parade down Front Street! Fun for all ages.

Employment General

Attention Women!

Learn Skills to Pay the Bills.

We train women for nontraditional employment.

To find out more, Call ANEW 206.381.1384 www.anewaop.org

Employment General 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

MUSIC

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

Leavenworth, WA • 9am-10pm • 206-622-4786 • accordioncelebration.org

seeks candidates for the following position in Federal Way, WA:

SR PROJECT CONTROLS ENGINEER/SCHEDULER; MS+5 yrs exp or BS + 7 yrs exp req’d.

Travel required to unanticipated project sites throughout the US.

To apply, go to

http://www.pmsvs.com/index.php?id=5 and refer to SR PROJECT CONTROLS ENGINEER/SCHEDULER position. EOE. Principals only.

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

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

HAPPY HOUR

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

PLANNING & MANAGEMENT SERVICES, INC.

Employment Computer/Technology TECHNOLOGY Cypress Semiconductor Corporation, leading provider of highperformance, mixed-signal, programmable solutions, has openings in Lynnwood, WA for Principal Design Engr (Technical Lead) (DE02): Act as the technical lead on the Programmable Analog Subsystem and mentor engineers including peers and summer interns; and Product Engr Sr. (PE10): Support existing Cypress PSoC proprietary micro-controller products in high volume production. If interested, mail resume (must reference job code) to: Cypress Semiconductor Corp., Attn: AMMO, 198 Champion Court, M.S. 6.1, San Jose, CA 95134.

AR T S AND ENTER TAINMENT ARTS & ENTERTAINMENT NEWSLETTER

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

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

Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: •

Receptionists

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Bookkeepers

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Administrative Assistants

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Executive Assistants

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Office Support Specialists

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Legal Assistants

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Office Managers

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Accounting Assistants

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Data Entry Personnel

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Marketing Assistants

NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!

206.386.5400

Temporarily Yours Staffing

720 3rd Ave. Ste. 1420 - Seattle, WA 98104 “The friendliest and preferred agency”

Toke Signals with Steve Elliott Your source for uncut, uncensored, no-holds-barred, non-corporate-controlled cannabis news.

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