Seattle Weekly, June 25, 2014

JUNE 25-JULY 1, 2014 I VOLUME 39 I NUMBER 26

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PRIDE GUIDE ›› EVERY EVENT UNDER THE RAINBOW | MAMA TITS ON “THE GREAT AWAKENING”

PRIDE & PREJUDICE A LOOK BACK AT THE SUMMER OF 1974 WHEN SEATTLE CAME OUT.

BY ELLIS E. CONKLIN

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SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

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inside» June 25–July 1, 2014 VOLUME 39 | NUMBER 26

» SEATTLEWEEKLY.COM

»9

news&comment 6

MOVIN’ ON UP

BY NINA SHAPIRO | FareStart gets a

room with a view. Marshawn might make a move too. Also: three summer bummers.

9

PRIDE 2014

BY ELLIS E. CONKLIN | 40 years ago—when the risks were real—intrepid local gays came out and celebrated for the first time. Also, meet a few fabulous luminaries, and plan your weekend with our Pride Guide (starting on page 17).

food&drink

21 MYSTERY WOMAN

BY GWENDOLYN ELLIOTT | You’ve

seen her on posters all over town. But who is the gyro gal?

21 | FOOD NEWS/THE WEEKLY DISH 23 | THE BAR CODE

arts&culture 25 THROUGH A NATIVE LENS

BY BRIAN MILLER | Matika Wilbur’s

Indian portraits at TAM. 25 28 30 31

| | | |

THE PICK LIST PERFORMANCE VISUAL ARTS/THE FUSSY EYE BOOKS

OPENING THIS WEEK | Ai Weiwei

goes to jail, the Koch Brothers subvert democracy, and Tilda Swinton takes on a very strange train trip.

35 | FILM CALENDAR

37 MUSIC

Hayes Carll’s barstool wisdom; Darto emerges from tragedy; and Yngwie’s Guide to Shredders.

40 | THE WEEK AHEAD

odds&ends 42 | CLASSIFIEDS

»cover credits PHOTO OF DAVID NETH, COURTESY OF DAVID NETH

Editor-in-Chief Mark Baumgarten 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 Samantha Wagner Graphic Designers Jennifer Lesinski, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Interns Anna Erickson ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Peter Muller, Erin McCutcheon Classifieds Account Executive Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERI ODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

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»20

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news&comment

A New View

In the husk of former Amazon headquarters, FareStart found the space to expand its job-training program. Is better pay for its students far behind?

Three Things That Could Ruin Your Summer

BY NINA SHAPIRO

BY MATT DRISCOLL

areStart CEO Megan Karch is brimming with excitement as she offers a tour of the 10,000 square feet of space her nonprofit will soon occupy in Beacon Hill’s Pacific Tower, the grand Art Deco building that Amazon.com emptied in 2011. “This was a kind of needle in a haystack,” says Karch.

A 22-year-old organization that trains homeless and disadvantaged individuals for a career in food service, FareStart was looking to expand dramatically when the Pacific Tower came its way. The nonprofit’s restaurant on Seventh Avenue and Virginia Street was doing well. It had built a thriving business providing meals to child-care centers, shelters, and other community institutions. And its catering service had “exploded,” says Karch. All these services are staffed by the group’s students, currently numbering 320 a year.

With nearly 9,000 homeless people in the Seattle area, there is no end to potential students.

Yet FareStart couldn’t take any more at its Belltown location. For a year and a half, it searched for an additional site that wouldn’t cost a fortune, which in all likelihood meant one with an existing kitchen the organization could renovate.

Enter the Pacific Tower—formerly known as the PacMed Center due to the health-care clinics that have long operated in the building’s bottom floors. Amazon’s departure left a gaping hole; the majestic tower’s eerie emptiness even gave rise to ghost sightings. But the online giant also left a 4,000-square-foot kitchen, once used to service the company dining hall. Bingo.

Walking up a modern wire staircase that Amazon installed, Karch shows off the large space.

She passes industrial exhaust hoods with shafts that go up to the roof, as well as a bank of refrigerated rooms—all very pricey equipment.

“The other reason this is a major ideal scenario for us is that we’re in a tower with all these other nonprofits,” Karch says. Such is the rescue plan for Pacific Tower, dreamed up largely by legislator Frank Chopp. To avoid the tower being sold off for condos, Chopp promoted the idea of an “innovation tower” filled with health-care-oriented organizations that have a potential to work together.

Seattle Central College will be one of its biggest tenants, and will soon move its nursing and dentalhygiene programs, among others, into the building.

FareStart will serve food to Seattle Central’s staff and students, as well as others inhabiting the building, and operate two “grab and go” cafes on the first two floors. Up on the eighth floor there is a communal function space for all the nonprofits, also available for public rental, and only

ummer in Seattle is finally here. This means a little more than 60-some days to soak up the sun and good times before the city returns to its regularly scheduled weather programming (i.e., miserable). Taking advantage of the season is of the utmost importance for your year-round sanity. Research suggests one out of four fits of depression in Washington can be traced back to a squandered summer. That said, evils are lurking out there—things with the potential to ruin your summer in the blink of a sunglasses-covered eye.

We report on three of the most pressing threats below. Be warned, and be ready.

CEO Megan Karsh shows off FareStart’s future home.

FareStart will cater events there. Rimmed by windows, the room offers a drop-dead panoramic view that easily rivals the Smith Tower’s.

FareStart’s expansion plan does not come with-

out challenges: The organization is seeking not only to nearly double its number of students, but to improve their lives. Two years ago it embarked on a survey of its graduates, which revealed that only about half were making a living wage.

Their average pay was $11.26 an hour, whereas a “self-sufficiency” calculator developed by the Workforce Development Council of SeattleKing County estimates that a single parent, for example, would need close to $19 an hour.

The low wages of FareStart graduates don’t surprise Saru Jayaraman, co-director of Restaurant Opportunities Centers United, a national advocacy group for food-service workers. She calls this industry “the absolute lowest-paying.”

U.S. Bureau of Labor Statistics Data provided by her group show that the median wage for foodservice jobs in the Seattle area is $10.92 an hour.

One group of restaurant workers earns more, Jayaraman notes: fine-dining servers and bartenders, who at the very high end can earn as much as $100,000 a year. Her group works with DC Central Kitchen, a Washington, D.C., organization

similar to FareStart, to train its graduates for this higher-end work. Jayaraman says ROC, which in April opened an office in Seattle, would be interested in doing something similar with FareStart.

That also sounds good to Karch, whose organization currently trains students only for backof-the-house jobs, but has decided to venture into front-of-the-house training. FareStart tried this twice before, but found that only 20 percent of graduates looking for front-of-the-house jobs were getting them. Still, that was a while ago, and Karch says FareStart is ready to try again.

Meanwhile, Seattle’s just-enacted $15-an-hour minimum-wage law could be a boon to many FareStart graduates—although Karch says that it might also bring more competition.

Ultimately, some FareStart students might want to get out of the food business altogether, Karch recognizes. And here’s where the proposed “innovation tower” might come into play: Both Karch and Lincoln Ferris, a consultant for Seattle Central College working on the tower project, say they are thinking about exposing FareStart students to other types of classes offered by the college. In a place of sweeping vistas, a homeless student might set her sights on becoming a cook, but wind up a dental hygienist instead. E

nshapiro@seattleweekly.com

micro-editorial » Banning the Redskins’ Name Isn’t Enough Last week, The Seattle Times announced it would no longer call Washington, D.C.’s NFL team the “Redskins.” Could there be a more flaccid way for the Times to protest a slur than to just refuse to repeat it? Why doesn’t the paper treat the “R-word” like the obscenity its editors believe it is? Rather than just ignoring the offending name, the paper could include a version of it in every report, treating it as it does other offensive terms. Identifying the team in this way would recognize the Redskins ownership’s stubbornness while also actively registering the paper’s disapproval. There, across the front page of the sports section, the words—and dashes—would speak volumes: “Seahawks Trounce the Washington R-------.“ MARK BAUMGARTEN COURTESY OF WASHINGTON REDSKINS

1

Traffic. You know things are

getting out of hand when the mayor’s office takes to Twitter to urge citizens to avoid driving. And that’s exactly what happened last weekend in Seattle, when street, freeway, and road closures, along with several major events, created the perfect traffic storm. It was hyped as potentially the “worst traffic weekend in Seattle history”— which is some seriously apocalyptic stuff. We’ve been having ’Nam-style flashbacks of gridlock ever since. Might as well plan a summer that doesn’t involve getting around town in your personal vehicle. Be the future.

2

Bears. Holy crap. We

just Googled it, and there are 25,000 black bears in Washington. So far this year, more than 230 bear complaints have been lodged. Earlier this month, what’s being described as “a curious young bear” woke up a North Bend resident by tapping on a bedroom window. In Portland, a bear running through the streets had to be tranquilized. Bottom line: Bear-mageddon is upon us. Remember, if attacked by a bear, the Department of Fish and Wildlife recommends that you “fight back aggressively,” or “as a last resort . . . protect yourself by curling into a ball or lying on the ground on your stomach and playing dead.” Good luck.

3

Crows. Crows are like sky

rats. They’re disgusting and terrible. And come spring and summer, they’re having babies, teaching those babies to fly, and protecting those babies.

This means that if you happen to accidentally wander too close, Mom and Dad Crow are likely to dive-bomb the shit out of you—which can be harrowing. The Seattle Audubon Society warns, “If you must walk past a nest, wave your arms slowly overhead to keep the birds at a distance. Other protective actions include wearing a hat or helmet, or carrying an umbrella.” Now you know. E

mdriscoll@seattleweekly.com

TRAFFIC BY LAURENT CANIVET FROM, CROW DESIGNED BY TRAVIS YUNIS FROM THE NOUN PROJECT

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MORGEN SCHULER

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

have a leg up on Marshawn Lynch—unlike the Seahawks’ star running back, I know the athletic highlight of my 30s. It was Saturday, when I ran the Seattle Rock & Roll halfmarathon. Sure, three 75-year-olds ran it faster than me; and OK, I was 559th in my age group.

Still, I’m taking pride in completing my first race since I took the Presidential Physical Fitness Test.

Marshawn Lynch has enough athletic highlights to fill lifetimes, and he’s only 28. But what will his 30s hold? It’s impossible to predict; he’s not even guaranteed employment at this point.

Lynch’s contract with the Seahawks lasts through 2015, the last season he’ll play as a 20-something.

This timing may not be a coincidence: Life’s fourth decade is not kind to running

BY SETH KOLLOEN backs, especially ones as prolific as Lynch.

Having averaged 300 rushing attempts per year as a Seahawk, Lynch is on pace for 2,353 carries before age 30. That’s more than all but 12 running backs in NFL history. Of those—legendary names like Jim Brown, Barry Sanders, and Emmitt Smith—only half were still playing at age 32. The clock is ticking on Beast Mode.

Lynch knows this, and wants to earn as much as he can before the clock runs out. He reportedly considered skipping last week’s minicamp to make his point, and may yet do so once full training camp begins July 25.

Whether or not he holds out, he has to be questioning the sustainability of his style of play. Lynch’s physical running forced 75 missed tackles last year, according to Pro Football Focus—that’s 22 percent better than secondranked Adrian Peterson. If Lynch continues to recklessly fling his body at opposing defenders for the rest of his 20s, will he end up like me in his 30s, unable to outrun 75-year-olds?

And after three and a half seasons in Seattle, Lynch can’t be blind to Pete Carroll’s ruthlessness. Red Bryant and Chris Clemons got cut in the offseason—not because they weren’t productive, but because they made too much money. Zach Miller took a 50 percent pay cut to avoid unemployment. Lynch’s 2014 status isn’t in dispute, but he’s due $9M in 2015.

With young, cheap options like Robert Turbin and Christine Michael clawing for playing time, will Lynch face Miller’s fate . . . or worse, Clemons’? Obviously, whether or not you’ll make $7 million or $16 million in the next two years is a problem that you, dear reader, would kill for, but you can’t fault Lynch for wanting financial certainty beyond his 20s.

Lynch’s friend and former teammate Michael Robinson told reporters Lynch wants to be paid for being “the face of the franchise.” That’s unlikely to happen as his production wanes with age. Just like every Seahawk, Lynch will have to prove, every season, that he’s worth his salary. It’s ruthless, but it’s the Pete Carroll way. E

365 DAYS OF FUNNY

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SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

THRIFT STORES

PRIDE & PREJUDICE A look back on the summer of 1974, when Seattle’s emboldened gays and lesbians began to flee their collective closet.

T

his weekend, Seattle Gay Pride will be celebrated with picnics, parties, and reunions rife with tears and hugs, and culminate Sunday in a huge parade, the city’s largest. Pride spokesman Adam McRoberts expects in excess of 400,000 people to pack the parade route down Fourth Avenue as glittering floats make their way to Seattle Center, beginning at 11 a.m. Bands will play and nostalgic songs will be sung. More than $450,000 has been raised to finance the festivities, much of it from corporate sponsors— T-Mobile, Microsoft, Captain Morgan, Alaska Airlines, to name a few—eager to show their colors.

But what a starkly different picture it was four decades ago when a young man named David Neth, who spearheaded efforts to open the Gay Community Center in a $100-a-month run-

down house on Capitol Hill, decided the time had come to roll out the first Gay Pride Week in Seattle.

“We were ready,” says Neth. “The climate was right. I’d seen what New York, San Francisco, and L.A. had done a few years earlier, and I thought we needed to put Seattle on the map.”

The seven-day affair was staged for just $589, coming to a climactic end on June 30, 1974, when fewer than 50 happy gay individuals— including a bare-chested Neth, draped in pearls, wearing cutoffs and a white floppy hat–danced with frenzied joy around the International Fountain at the Seattle Center.

It was the early summer of 1974. Nixon would soon resign, Bundy had begun his killing spree, and Dylan was recording Blood on the Tracks.

Women wore hot pants to discotheques, the men in bell bottoms. In Seattle, Wes Uhlman was mayor, the Kingdome was still under construc-

tion, the average home fetched $125,000, and Ed Murray was 19—six years removed from coming out as a gay man—and traveling through Ireland.

All the while, antigay epithets—faggot, sodomite, pervert, queer— were hurled in fear and hate, and spewed far more frequently than today.

“If you were ‘out’ then, you were an activist, because being openly gay in the early ’70s was not for the faint of heart,” remembers Neth.

“It was all very secretive, covert. I remember in 1972. I was a park ranger then at Mount Rainier. I was maybe 22.

So I had tracked down one of the gay bars in

Pioneer Square, the 614 Club. And I remember I drove there, 70 miles from Sunrise, and I just stared at the door for 20 minutes. I couldn’t go in. It seemed so dangerous. I might be raped. It was too scary, so I got back in my truck and drove 70 miles back to Rainier.”

Neth is 66 now, a realtor with a shaved head and a wry sense of humor. He’s an engaging man, a good storyteller with a keen institutional memory of what Seattle was like for gays and lesbians those many years ago, back when one could (and did) lose everything for

“If you were ‘out’ then, you were an activist, because being openly gay in the early ’70s was not for the faint of heart.”

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

MORGEN SCHULER

BY ELLIS E. CONKLIN

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Pride & Prejudice » FROM PAGE 9 revealing one’s sexuality.

“But we were young, so we had the least to lose,” Neth says, seated at a dining-room table inside his light-drenched Capitol Hill home, old photographs of the 1974 undertaking scattered in front of him.

Neth grew up in Gettysburg, Penn., a conservative farm town in the ’50s and ’60s. A dutiful Lutheran boy, he played football and ran track.

He also had an artistic side. His mother taught him to sew, and he came to enjoy embroidery so much that his older brother nicknamed him Daisy Mae. As a teenager he messed around with a male cousin, but figured that was all part of growing up. He says he assimilated the messages early on: Being “a full-fledged homo” would lead to a miserable life, perhaps even suicide.

Neth appeared to be a straight man in 1970, nearly out of college and about to transfer from his ranger job in Gettysburg to Mount Rainier

National Park. That year he had sex with a man and realized that he himself was gay. He didn’t hide it. Ranger David came out of the closet and headed west.

He gave up the Mount Rainier post after a few years, and in 1973 landed in Seattle. “I didn’t know a soul. I had no job, nothing,” Neth recalls.

“But then I gravitated to the Seattle Counseling Service for Sexual Minorities.”

Founded in 1969 by Dr. Richard Deisher, a University of Washington physician and educator, the counseling center, known also as Dorian House, was the first public gay institution anywhere in the city. Located then at 320 Malden Ave. E., it became the epicenter of Seattle’s gay and lesbian community—a place to meet, to congregate, a sorely needed and welcome alternative to unnerving gay bars and clandestine bathhouses.

“I saw all these happy people there, effervescent people, all of them doing things,” Neth recalls, “and I felt like I belonged. That’s where I connected.”

Living with a boyfriend and squeaking by on various odd jobs—bartending, teaching, working at a metal plating factory at First and Marion—Neth immersed himself in the communes and collectives that had become encampments for the newly emerging LGBT community: the East John Street Gay Men’s Collective, The Little Red Hen, and Sherwood Forest. Neth’s collective was called The Leather Palace, a big, blue mansion at the top of John Street and 14th Avenue, which today houses a violin shop and a chiropractor.

“I don’t know how it got its name,” cracks Neth, “because there wasn’t much leather in there at all.”

Raising money to keep the fledgling Gay Community Center operating was no easy task. At one point, Neth talked co-workers at the metal shop into pledging The climactic moment of the first gay-pride event took place in the International Fountain.

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money on a dare that he would streak through downtown Seattle. With $65 on the line, Neth popped into Kress department store on the corner of Third and Pike, removed all his clothes save for his cowboy boots, and raced naked through the streets.

Neth was also able to pick up dough by placing posters and other materials soliciting donations for various organizations in many of the gay bars in Pioneer Square—places (long gone now, as are the gay collectives) like the Golden Horse-

.net

present

happened. It was fun.”

The smile vanishes as Neth recounts the arson that destroyed the Gay Community Center in 1976. “I remember that there was an old lady standing outside the building, and she said, ‘It’s too bad they all weren’t in there when it burned.’ ” Patrick Haggerty is a hell-raiser. Always has

been. Watch for him at Sunday’s parade, with his country-western minstrels, Lavender Country, reassembled, seven strong, and belting out “Cryin’ These Cocksucking Tears.”

As one old friend Rebecca Valrejean, put it, “Pat will get naked with a sign if that’s what it

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shoe, Mocambo, the Poop Deck, and a disco named Shelly’s Leg, then the city’s largest dance floor, located “at the foot of Main.” It helped that Neth had an in with the Queen City Business Guild, a group of bar owners formed to protect themselves after the Seattle police payoff scandals came to a head in the late 1960s.

As Seattle University professor Gary Atkins writes in Gay Seattle: Stories of Exile and Belonging, which traces the evolution of Seattle’s gay community over the past century, “Once the system was fully entrenched, it did not matter whether anything illegal was actually occurring at a particular bar.

Just by making repeated entrances, the police could harass a business operator until the solution became obvious: pay off or close.”

Some months before the 1974 Gay Pride venture unfolded, Neth signed up for a “skate-in” protest at a roller rink in Lynnwood.

As he recalls with a smile, “Some same-sex couples had gotten thrown out of there for skating together and holding hands. So we went, and we were all skating and kissing and mingling, and we’re told, ‘No, this is a couples-only skate, and that means one man and one woman.’ And a couple of police officers show up, but nothing

takes to get attention.”

Earlier this month, strolling through Pioneer Square, Haggerty, the son of a Port Angeles farmer, remembers announcing on June 29, 1969, to anyone who cared to listen, that he was gay. It had been a year since he’d visited a “creepy” gay bar in Spokane, a dark, dingy, nondescript hole in the wall where he’d come “looking for dick.”

» CONTINUED ON PAGE 14

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Pride & Prejudice » FROM PAGE 12

In May 1974, the same month the Gay Com-

“It was the day after the Stonewall riots,” says Haggerty, who then sported a beard and long, flowing hair. “That’s what did it for me, and I told everyone I knew. I was living in Missoula then. I said, ‘Fuck you, this is who I am. I am gay.’ ” Stonewall was a turning point, not just for Haggerty, but for the gay civil-rights movement.

The historic match was lit in Greenwich Village in the wee hours of June 28, 1969, when New York cops arrived at the Stonewall Inn. For years, police raids on gay bars had been routine. But on this night, fed-up gays and lesbians said “No more” and fought back.

The last straw came when a woman in handcuffs was escorted to a police wagon. She resisted, and when she complained that the cuffs were too tight, she was hit in the head with a billy club. One officer proceeded to pick her up and throw her into the back of the wagon.

Violence erupted on Christopher Street outside the bar. Beer bottles, garbage cans, rocks, and bricks were fired at the wagon.

Police were outnumbered by 600. By 4 a.m., 13 people were arrested.

Some were hospitalized. Four cops were injured.

News of the riot spread, and hundreds more gathered the next day in protest.

To this day, LGBT communities in Seattle and across the globe commemorate that “Rosa Parks moment,” as it has been called, by holding Pride parades.

Tugging at his Polynesian hat made of palm leaves, Haggerty, now 70, reflects on his life upon arriving in Seattle in August 1969. “Oh, yes, it was still a very outlandish proposition to be openly gay. I was a graduate student at the UW Department of Social Work, and I am quite sure I was the only open gay individual,” he says.

“Then in the early ’70s, we were angry and questioning who we were and how we fit in.

Most of us were still in the closet,” the longtime political and gay activist continues. “I remember going to a Vietnam War moratorium march in 1970. It was very threatening.

“We had a banner that read ‘Gays Against the War,’ but a lot of protesters didn’t want that to be seen in the march. Yeah, Seattle was a pretty liberal, Democratically controlled city even then, but still, no leftist organization was very sympathetic toward gay rights. So anyway, there were fisticuffs, but we beat ’em down and we marched with that banner.”

Haggerty’s band, Lavender Country, was formed in 1973, a time when few musicians had the guts to sing about gay rights or the virtues of homosexuality. As Dave Lake wrote for this paper several months ago, the lone album Haggerty recorded—also known as Lavender Country—“was to become widely recognized as the first gay-themed country LP ever released . . . and was eventually archived in the Country Music Hall of Fame.”

At a coffee shop near Occidental Park, with his partner of 28 years, Julius Broughton—whom he married in Canada in 2004—at his side, Haggerty observes, “In 1974, conditions in Seattle were there for the gay-rights movement to take off, to take a major leap forward. The modern-day women’s movement was in full bloom, and the civil-rights efforts underway gave us a social context, a platform.”

munity Center opened at 16th Avenue and Olive Street, David Neth and a few other organizers called a meeting at Volunteer Park for anyone interested in pulling together a Gay Pride week. A dozen or so activists attended, and events were mapped out. The venture would begin the evening of Monday, June 25, with a panel discussion sponsored by the Stonewall Recovery Center, a drug treatment program.

The following day there would be a talk about the issue of transsexuality.

On the night of June 27, says Neth, a memorial service was held at the Metropolitan Community Club to commemorate the 32 lives lost in the arson of the UpStairs Lounge, a gay bar on Chartres Street in New Orleans’ French Quarter, on June 24, 1973. Following the memorial, Rebecca Valrejean put on a one-woman show to dramatize in words and song the horror of the deadliest attacks on gay and lesbian people in U.S. history. “I called my show ‘Lavender Troubadour,’ ” says Valrejean, 64, in a phone interview from her home in the Bahamas, where she now lives and works as an art teacher.

“It makes me cry to think back to all of what we went through then [in 1974]. We had no one on our side, no one. You don’t know what we sacrificed,” she continues and begins to cry.

“I’m queer. It’s amazing that no one killed me onstage. I’m sorry I’m being so emotional.”

Saturday, June 29, was the picnic at Occidental Park. “This was very significant for us,” says Neth.

“We weren’t behind closed doors and we weren’t in a bar. We were in public space, out in the open.

We might have had 200 there that day, and we danced until midnight.”

The city, however, didn’t make it easy, he adds.

“Trying to get a use permit for the park was a pain. It was one obstacle after another. And then at the picnic, I remember, me and another guy got arrested for jaywalking, and the police called us faggots as they were taking us in.”

It was an unusually warm day in Seattle when the first Gay Pride festival reached its high point.

The mercury climbed to 86 degrees for the “GayIn” at the International Fountain that Sunday afternoon, June 30, 1974.

On a large cotton sheet, Neth spray-painted the words “Proud to be lesbian, Proud to be gay” in red and blue. “We all wore zany clothes and held hands, and we danced around the fountain, twice,” marvels Neth.

“I was dressed as a clown-faced troubadour,” regales Valrejean. “I held a sign that said ‘Love without shame.’ People stared at us, but didn’t say anything. I don’t think they knew what to say.”

Haggerty, meanwhile, says of the occasion, “It was a very nice day. I ran around the fountain and got wet. What was so great about it was that it was a celebration that at last we were being recognized for who we are.”

This Sunday, David Neth, Patrick Haggerty, and Rebecca Valrejean will be riding aboard the lead float in the parade. E

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

“It makes me cry to think back to all of what we went through then [in 1974].

We had no one on our side, no one.”

14

1019875

econklin@seattleweekly.com

David Neth and Pam Weeks, founder of Seattle’s first Lesbian Resource Center, are co-hosting a 40thanniversary Pride reunion at Neth’s home from 4 to 7 p.m. on Saturday, June 28. Early-1970s activists who want to attend should contact David at 206818-7300 or e-mail him at neth@q.com.

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

15

16

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

y l p p u S y t r a Champion P YOUR

P R I D ERS

HEADQUARTE

Your long weekend planner to all that is fabulous, glittter-covered, and rainbow-y.

BY SW STAFF

Wednesday, June 25 Write With Pride Writers and performers attend-

ing include Mattilda Bernstein Sycamore (The End of San Francisco), local poet and comic-book artist Roma Raye, activist and organizer Gunner Scott, and journalist Sarah Toce. Gay City, 517 E. Pike St., 860-6969, gaycity.org. Free. 7 p.m.

Portraits of Pride Works by Amy C. Abadilla,

Cody Blomberg, Andrew Caldwell, Dale Davis, McCade Dolan, Scott Dunn, Stephen Eaker, Juan Franco, Elise Koncsek, Nan Leiter, Mario Lemafa, Lector Morales, Grego Rachko, Brian Reindel, and Matt Wencl remain on view. Gay City, Free. 3–8 p.m. Wed.–Fri., 12:30–5 p.m.

Sat. Ends July 7.

Thursday, June 26

• Flash Gordon The unintentional camp classic

music vids, and more screened for your camp-tastic appreciation. Central Cinema, 1411 21st Ave.,

686-6684, central-cinema.com. $10–$12. 8 p.m.

• Gender Blender Attending the party will be

Ben DeLaCreme, Le1f, and Josyln Fox (RuPaul’s Drag Race).With music from Riff-Raff, Roy G Biv, and Tiffany Roth. Hosting is Tiffany Pollard.

Benefits Gay City Health Project and the Gender Justice League. Neighbours, 1509 Broadway, narkmagazine.com. $18–$70. 8 p.m.

PrideFest ’70s Kickoff Party Robbie Turner hosts, with a Cher drag contest pegged to Saturday’s concert at the Key. Music by Colby B. W Hotel, 1112 Fourth Ave., seattlepridefest.org. $10. 21 and over. 8–10 p.m.

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One of Pride’s sweeter floats.

OutDancing DJ Hallie Kuperman and MC Koop spin the hits. Century Ballroom, 915 E. Pine St., 324-7263, centuryballroom.com. $10 suggested. 21 and over. 7:30 p.m.

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Pulse: Pride Drew and Jessica Paradisco host this dance extravaganza, with an assist from Jessica Wild (RuPaul’s Drag Race). Spinning the tunes are DJs Dirty Bit and Trent Von. Neigh-

west Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$11. 6:30 p.m.

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Friday, June 27

• Trans* Pride Parade The march begins at

Seattle Central Community College, where awards will be given to Heklina and Mama Tits, and concludes at Cal Anderson Park, where CeCe McDonald will speak. Music (the

» CONTINUED ON PAGE 18

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

from 1980, based on the wonderful old serials of yore, features Max von Sydow as Ming the Merciless. Hunky Sam Jones plays Flash.

Among other actors who should’ve known better: Timothy Dalton, Topol, and Brian Blessed. The theme song, as you know, is by Queen. Hosted by Mark Mitchell and Jordan Christianson. North-

• Totally Gay Sing-Along Night Movie clips,

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» FROM PAGE 17 Nasty Habits, DJ Trinitron) and food will also be featured, along with remarks from Laverne Cox (Orange is the New Black) and author Janet Mock. Info: genderjusticeleague.org.

Parade starts at 6 p.m.

Pride Shabbat Speakers, music, prayer, and dinner. Free, but register via templebetham.org.

Temple Beth Am, 2632 N.E. 80th St., 525-0915.

6:15 p.m.

• Seattle Storm Pride Party Game We’re playing the Minnesota Lynx. Rainbow beads to the first 3,000, with music from DJ Ricki Leigh before and after the game. KeyArena (Seattle Center), wnba.com/storm. $18 and up. 7 p.m.

GLSEN Youth Pride Dance DJ Puerto Roc pro-

vides the tunes, with a makeup table manned (so to speak) by the Sisters of Perpetual Indulgence.

Belltown Community Center, 415 Bell St., seattlepride.org. Probably free. All ages. 7–11 p.m.

Hairspray John Waters’ campy, affectionate tribute

to the ’50s Baltimore teen culture of his youth, with music and hairstyles to suit. With Sonny Bono, Divine, Ric Ocasek, and Ricki Lake in her careermaking role. Not to be confused with the 2007 Travolta-starring remake (not that there’s anything wrong with it). (PG-13) Central Cinema. $6–$8.

7 p.m. Fri.–Wed., 3 p.m. Sat.–Sun.

TrannyShack Seattle Pride Edition Featuring

Heklina, Holotta Tymes, Turleen TailSpin, Sasha Stephane, and Ginger Snap. The Unicorn/ Narwhal, 1118 E. Pike St., seattlepride.org. $5.

21 and over. Doors open 8 p.m., show 10 p.m.

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Dickslap Pride Cucci Binaca hosts, with cage boys Dave Raring and Rich Kelly. The Eagle,

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Madonna: Truth or Dare Wow, has it really

been 23 years since Madge commissioned this 1991 pseudo-documentary to follow her Blond Ambition tour? Remember that? Back when she was dating Warren Beatty, after Sean Penn, before motherhood? A lot of water has passed under the bridge since then, but here we see the steely determination that keeps her an arena-filling star, two decades later. (R) Central Cinema,

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

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MOHAI Family Pride Day Winners from Pride Idol will be on hand. There are also children’s activities and bingo with Lunch Lady Mama. And note the ongoing exhibit Revealing Queer, about gay history in the Northwest, which ends July 6. Museum

of History & Industry, 860 Terry Ave. N., 3241126, mohai.org. $14–$17. 10 a.m.–5 p.m.

• PrideFest Family Day Games, food, bubbles,

and a balloon toss are just some of the fun activities planned. Cal Anderson Park, 1635 11th Ave., seattlepridefest.org. Free. 1–5 p.m.

Pride Cruise Hello, sailor! Cruise around Lake Union, with drinks, dancing, and music from DJs Trinitron and Jens Irish. The Islander, 1611 Fairview Ave. E., narkmagazine.com. $25– $75. 2–6 p.m.

PrideFest Cyndi/Cher Welcome Party Heklina and various other luminaries discuss the most

• = RECOMMENDED

BY MATT DRISCOLL

Now in its 20th year, the Dyke March has become one of Seattle Pride’s cornerstone events, billing itself as “the oldest continuous Pride event on Capitol Hill.” For many of those years, Lamar Van Dyke has emceed the march, and this year will be no different. Now 67, the onetime owner of Tattoo You on Pike Street and frequent Dykes on Bikes rider sits in a unique position to appreciate its history. So we chatted her up.

SW: Why is it important to have the Dyke March as part of Pride?

Van Dyke: It’s so easy for the dykes to get overwhelmed by the flamboyant, fabulous drag queens, and all the stuff that goes on. And historically they have. [When it started,] the Dyke March was really a nice focal point to pull all the women together and, you know, just celebrate the whole thing. . . . It was kind of a little chunk of time when it was just us.

What’s the secret to being a good Dyke March emcee?

I think the most important thing, when emceeing the Dyke March, is to keep it moving. And the gay Pride [events] too. Keeping things moving is a project because of course everybody wants to sing one more song or say one more paragraph or do one more thing. One year, many many years ago, I emceed gay Pride–the rally after the parade, when it was in Volunteer Park. And keeping that moving—oh my God—it was like swimming upstream. Because they invite all the politicians to come talk, and they will just not shut up. It’s the one day of the year where they get to come and say how happy they are that we’re all queer, and they just go on and on and on.

So you’re the Dyke March conductor, in a way?

Yeah, I’m like the conductor. . . . They just call

important concert of the weekend—if not the century. Seattle Center, PrideFest Main Stage, seattlepride.org. Free. 3–8 p.m. Sat., June 28.

(east of Cal Anderson Park), seattlepridefest. org. Free. 4 p.m.–dusk.

Seattle Dyke March Lamar Van Dyke is the emcee for this 20th annual event (see Q&A, above), which concludes with a party in Cal Anderson Park (with music from The Redwood Plan). Other featured performers include Chonie Vargas, Sistah Hail Storm, Nina Packenbush, Rainbow City Band, and Militant Child. Speakers include representatives from Trans Pride, QLaw Foundation, Northwest Network, and Emerald City Metropolitan Community Church.

Seattle Central College, Broadway & Pine St., seattledykemarch.com. Free. 5 p.m. rally, 7 p.m. march, 8 p.m. afterparty.

• Cher Almost a decade after ending her three-

year “farewell” tour, Cher’s still got it. The Goddess of Pop is currently on the D2K (that’s “Dressed to Kill”) tour in support of her 25th album, last year’s Closer to the Truth. Expect

me and ask if I’ll emcee it, and I show up. All I need is, like, 10 minutes notice. Also, I have to get to sing my song.

Your song?

Yeah, my song is “I Enjoy Being a Dyke.” In 1976 I was arrested in Toronto for singing it in a straight bar. . . . So every year at the Dyke March I tell that little story and then I sing the song. That’s my favorite part, to be able to stand up on a stage, and at the top of my lungs, in the middle of the street, basically sing “I Enjoy Being a Dyke” and not get arrested.

What makes Seattle’s Pride festival special?

I traveled a lot before I came to Seattle. I was going around and around and around in my van with a bunch of dykes—that’s how I got my name. Seattle has this kind of rugged individualism. People aren’t really big on telling other people how to do what they’re doing. Seattle is a little more accepting of all of that. And that makes it comfortable. It makes it easy for everybody. . . . I’m sure there are some lovely Christian people who want us all dead, and they show up every year at the march, but I don’t know how many of them are actually from Seattle. E

mdriscoll@seattleweekly.com

Seattle Dyke March schedule, Sat., June 28: 5 p.m., rally at the Seattle Central Community College plaza at Broadway and Pine Street on Capitol Hill; 7 p.m., march (heading east on Pine); 8 p.m. afterparty at Cal Anderson Park. seattledykemarch.com. elaborate sets, costume changes, and of course hits spanning her nearly 50-year career, including “If I Could Turn Back Time,” “Believe,” and “Woman’s World.” With Cyndi Lauper, who likely has an even bigger Pride following. GWENDOLYN ELLIOTT KeyArena, Seattle Center, 6847200, keyarena.com. $45.50 and up. 7:30 p.m.

Tryst No cover; various drink specials are offered.

Tommy Gun, 1703 E. Olive Way, 323-4866, tommygunseattle.com. Free. 21 and over. 8 p.m.

Sketch Disko Come dressed like a comic-book hero, or have one of the makeup artists make you look like one. Hosted by Tina Tokyo, with DJs Trouble and Futurewife. Kremwerk, 1809 Minor Ave., narkmagazine.com. $14. 9 p.m.

X Dance until dawn (almost) with DJs Brian Gorr and Bret Law. Neumos, 925 E. Pike St., seattle pridefest.org. $20–$25. 21 and over. 9 p.m.

Sunday, June 29

• Seattle Pride Parade Everyone wants him, but we got him! (Well, we and Columbus, Ohio.)

Grand Marshal for this year’s Seattle Pride Parade is actor/activist George Takei, America’s favorite gay grandpa, comic high priest of social

» CONTINUED ON PAGE 20

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

PrideFest Street Festival Over 20 food trucks will be featured, plus music from DJs Bret Law, Rob Hall, and Colby B. 11th Ave. & Pine St.

COURTESY LAMAR VAN DYKE

WITH LAMAR VAN DYKE

19

The Foundation For Sex Positive Culture wishes you » FROM PAGE 19

Happy Pride.

Come visit us at our booth in Fisher Plaza.

www.thefspc.org

media, and refuter of Fitzgerald’s dictum about second acts. He’ll lend his fabulous presence first to a 9 a.m. brunch at Tom Douglas’ Palace Ballroom ($57.50), then to a Westlake Park pre-show, including performances by Lavender Country, Captain Smarty Pants, and the Seattle Women’s Chorus, before the 11 a.m. parade down Fourth Avenue. Pack your lawn chairs and stake out a spot early, or splurge on reserved, unobstructedview bleacher seating at Fourth and Bell for $15, which includes a complimentary mimosa!

It’ll run two and a half hours, organizers predict, starting (unless this year is different, and why would it be?) with a long and loud contingent of Dykes on Bikes (bring earplugs).The parade ends at Seattle Center, which hosts PrideFest—just as it did 40 years ago (though not necessarily voluntarily—see feature, page 9) at the city’s very first pride celebration. GAVIN BORCHERT Westlake Park, Fourth Ave. & Pine St, seattlepride.org and seattlepridefest.org. Free. 11 a.m.

• PrideFest Three stages of entertainment and

150 or so vendors might just be enough to distract you from what’s sure to be a feast of eye candy. Be sure to cavort in the International Fountain in tribute to your courageous elders, whose pioneering 1974 celebration consisted of just that. No multinational corporate sponsors or fancy-ass closing concerts with Steve Grand and Chely Wright (Delta Stage, 7:45 p.m., $25–$30,

brownpapertickets.com) for them, kids! They only had a few dozen people getting wet, and they liked it! GB Seattle Center, seattlepride fest.org. Free. Noon–8 p.m. Sun., June 29.

Pride Day All-Day Happy Hour Drink specials will include “Man-mosas.” Hard Rock Cafe,

116 Pike St., 204-2233, hardrock.com. Free.

11 a.m.–11 p.m.

• KEXP Pride Party This event features a beer garden, drink specials, and a pig roast. El Toro, Riz, and Alex will DJ. Also note the special “GAYE-X-P” broadcast (9 p.m.–1 a.m. Wed., June 25).

Tilikum Place Park, 2701 Fifth Ave. (at Denny), kexp.org. $15. 21 and over. 10 a.m.–6 p.m.

• Silly Goose Pop-punk is the blues of this

generation, the modern outlet for confused, my-stomach-hurts-I’m-so-lonesome emotions.

Enter Seattle’s resident Blink 182 cover band Silly Goose. It’d be easy to write off the group as a novelty, but Jenn Ghetto’s (Carissa’s Wierd) breathy voice replaces Blink’s snarky sneer with earnest longing. Part of the Pride-affiliated “Queer as Fuck” showcase, this show is a chance for those struggling with their identity to embrace what Blink says are “all the small things.”

With Sashay, Chastity Belt, NEEDLECRAFT, Diversions. DUSTY HENRY Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. $7. 21 and over. 5 p.m. E

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WITH MAMA TITS

BY KELTON SEARS

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

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COURTESY MAMA TITS

The ineffable Mama Tits has become a Pride mainstay—an enchanting, vivacious queen who’s hosted the parade for five years running. Lacking none of her legendary charm, Mama answered a few of our Pride questions.

SW: Pride Parade is celebrating its 40th anniversary this year. Beyond yourself and the parade, what else gets better with age?

Tits: The best thing that gets better with age is our fight for equality. Since the birth of the queer-rights movement when Sylvia Rivera threw that first brick at Stonewall all the way to today, it amazes me the leaps and bounds we have made as a community and as a human race for equality, not only for queer rights but for people as a whole. We are much more conscious these days. The “Great Awakening,” as I like to call it, is growing exponentially, and it’s a beautiful thing. We still have a long way to go, but we are started down the right track.

The selection of Star Trek’s George Takei as this year’s celebrity grand marshal ignited the nerd lust of countless Pridegoers.

Is there anything you get particularly nerdy about?

My husband, DJ Klaudt, and I love nerding out on: horror/sci-fi films, architecture/design, and our two sweet dogs, Bruno and Disko.

What’s your proudest Pride moment?

My most personal moment was the Pride that I met my husband walking across the street after the parade—13 years ago this June. We got married in 2004 and again legally in 2012. As for hosting the parade, I would have to say the first year I was asked to host alongside Sylvia O’Stayformore was a proud year for me, to be there representing our community as one of the voices of Pride—it’s like the Olympics of hosting, and it’s a huge honor.

What sagely advice do you have to offer to those attending their first Pride?

First off, it’s always good to know why we celebrate Pride, where we have come from. Know your history so that you can help mold a better future. Second, pace yourself. Make sure you stay hydrated, and don’t forget to eat. And make sure you have friends with you. E

ksears@seattleweekly.com

food&drink Who’s That Girl?

BY MEGAN HILL

Investigating the origins and history of the world’s most famous gyro poster.

BY GWENDOLYN ELLIOTT

F

Redhook Brewery has released its lineup of summer movies. Their Moonlight Cinema series begins July 10 with lawn games, live music, bites, and beer, natch. Tickets are $5 and can be purchased at the brewery or on Brown Paper Tickets.

Damn the Weather is now open in Pioneer Square, and Eater Seattle has a look inside the stunning new bar and restaurant.

Pioneer Square has another watering hole: Intermezzo Carmine, a cicchetti and cocktail bar, open on First Avenue. It’s a project of restaurateur Carmine Smeraldo, who opened Il Terrazzo Carmine in the same building.

The Washington Brewers Festival has announced the winners of the Washington Beer Awards.

Among the local winners are Gordon Biersch Seattle, Stoup Brewing, Reuben’s Brews, Elysian Brewing Company, and Standard Brewing. For the full list of winners, see seattlebeernews.com. E morningfoodnews@gmail.com

Southern Indian Lamb in Bellevue

WAITSCM VIA FLICKR.COM

BY NICOLE SPRINKLE

The original gyro lady and the most recent incarnation.

long.” She goes on to wager they’ve been part of the decor since the restaurant opened, in “about 1998 or 1999,” she says. “It’s funny,” she says, handing over dessert. “Now I’m going to start noticing them.”

At Dino’s Gyros (126 S.W. 148th St., Burien, 838-8620), under Gyro Lady’s approving countenance, my husband inquired about the poster with Anna after she took our falafel order. “I’m not sure about that,” she said. “All I know is that it looks kinda ’80s, and it’s in practically every gyro shop there is.”

Fair enough. But Anna’s thoughts on the subject—she’s aware of her presence but never really considered it much—got me thinking.

Perhaps that’s the genius of this poster campaign. After all, isn’t the most effective brand the subliminal kind—the kind that makes you think it’s your own hunger that desires a gyro, when it’s actually the brand that desires you?

That would be the last glimmer of insight in my investigation, as Jude’s and Anna’s comments set me on a trajectory that ultimately did not pan out. I hang up my gumshoes at Main Street Gyros (301 Second Ave. S., 335-7940) when I check in with Hamza, whom I know from the neighborhood. The poster hung just below the register until a recent kitchen fire prompted a large renovation and it was removed.

“Yes, I know it,” Hamza says. He too thinks the model isn’t American. “She’s Greek, for sure,” he says, then offers to get me a poster.

When I explain that I’m actually looking for information about it, he tells me he’ll ask his supplier for me, and ushers me outside when he makes the call. When he hangs up, though I make no attempt to hide my wedding ring, he says, “I have to tell you, I do want to date you, but I have a girlfriend.”

Way to let me down easy. I text him later: “Anything from your supplier?”

“Not yet,” comes the reply.

I stop in the next Monday. “Any news?”

“He says he’s going to get back to me Thursday,” Hamza says.

I ask about the poster, still nowhere to be seen. “Doesn’t Kronos require you post it?”

“No,” he says. “Our food is so good here, we don’t need a poster to tell you that.”

Touche, Hamza. With that, I’m content to let the mystery be. Like some Mona Lisa of casual Greek cuisine, the omnipresent Gyro Gal has a story to tell somewhere within that smug, secretive expression of hers. It’s something to think about, anyhow, when you suddenly feel her eyes upon you the next time you go out for Greek. E

gelliott@seattleweekly.com

This was an epic weekend, but not because of the gorgeous weather or the Fremont Solstice Parade. Rather, I discovered the best Indian restaurant in Seattle (well, Bellevue, actually)—and southern Indian no less. Driving back from a hike at Rattlesnake Lake, I remembered a South Indian acquaintance’s recommendation of a Chettinad-style (from Chennai, India) restaurant.

Located in Overlake Village Square, Anjappar

shares a weird onefloor malllike space with another Indian restaurant, a Turkish one, and a halal butcher (where you can buy things like goat’s feet and lamb tongue). The menu was full of the region’s famous dosas and other fiery specialties. But the dish that stole my heart was the mutton sukka varuval: “fresh tender lamb marinated in crushed pepper corn fried with chopped onions and curry leaves.” The marinade was a dark paste with great depth and heat that still allowed the wonderful flavor of the small bites of lamb to resonate. The curry leaves (which are not related in any way to curry powder) made it distinctively southern Indian. They taste like a lemon that’s been buried in the earth (a good thing). Our neighboring table was feasting traditional-style, with their right hands—and by the end, so were we. E NICOLE SPRIINKLE

JOSH BENSON VIA JOSHBENSON.COM

TheWeeklyDish

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

rom Greek joints in Chicago to delis in L.A., you’ve seen her. Sometimes she’s blonde, sometimes brunette, but she’s always smiling. And holding a gyro.

I’ve long been intrigued by this series of posters, a decades-old ad campaign featuring exotic beauties wielding gloppy Greek tacos and a look that seems to say, “I know something you don’t.” My fascination has less to do with the women featured—though there is a certain mystery to them—than with their nearubiquity in casual gyro cafes across the nation.

I’m not the only one, it seems. A number of personal blogs have sounded off on the topic, dubbing the woman the “Marlboro Man of the gyro industry” (johnlarroquetteproject.com) and waxing philosophical over the ad’s message and “the real mechanism of the gyro’s appeal” (todayyourhairisverynice.blogspot.com).

Unfailingly stamped with some variation of the message “Try a Kronos gyro!”, the posters are the brainchild of Kronos Foods Inc., a Chicagobased Mediterranean-food distributor that popularized the gyro as we know it today. Founded in 1975, when the sandwich was relatively unknown, it was the proprietary Kronos gyro “cone”—that spindle of processed meat carved to order—that swiftly standardized the product.

After that, as best as I can tell, came this ad blitz.

But reaching out to Kronos for more answers about the poster’s history and culture did little to help—no one responded to my phone or e-mail inquiries. The only real tip I had to work from was a quote from a 2005 article in Crain’s Chicago Business, in which Kronos founder Chris Tomaras weighs in briefly on the matter. He picked the first—blonde—Kronos poster model.

“The idea was to not have a Greek-looking girl, but an American girl,” he said. “And it worked. It worked by Americanizing the product.”

OK, I get it. The best image to market an unfamiliar food is hardly a hairy Greek restaurateur. But that’s no mystery solved, to me.

The gyro lady has endured multiple makeovers into the 21st century. The ’70s and ’80s brought the original blonde babe—and possible John Hughes movie extra—but today’s gyro gal is an olive-toned Cindy Crawford-esque model (both pictured). Somewhere in between a more archetypally Greek-looking woman joined the party, a move that perhaps signaled the cultural acceptance of the gyro into the American diet (i.e., the “un-Americanizing” of the product).

Yet for reasons unknown, these models have had no lack of restaurant wall space upon which to shamelessly hawk their wares.

At Mediterranean Mix (205 First Ave. S., 341-9265), in fact, there’s two, one below the register and one on the opposite wall (though partially obscured by a Sounders banner). I order some baklava and ask my cashier, Jude, about them. “I don’t know,” she says. “I’ve been here for two years, and they’ve been here at least that

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SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

arts&culture

ThisWeek’s PickList

Through a Native Lens Seattle photographer Matika Wilbur’s tribal quest has taken her all across the country. Now you can see her portraits at TAM.

THURSDAY, JUNE 26

BY BRIAN MILLER

Fabrice Monteiro

I

t was with a $35,000 Kickstarter campaign two years ago that Capitol Hill photographer Matika Wilbur, a member of the Tulalip and Swinomish tribes, began driving.

And driving. And driving. Eighty thousand miles later, her quest is represented by the 50-odd portraits in her first solo museum show, Photo-

You can’t get more summery than this photo exhibit by the Belgium-born, Senegal-based photographer, called Gorean Summer. It’s named for the pleasure island of Gorée, located two miles from the bustling city of Dakar. Today a UN World Heritage Site, the tiny island was for 400 years a notorious slave-trading hub.

Hoop dancers Talon and Sky Duncan, photographed near Phoenix.

graphic Presence and Contemporary Indians: Matika Wilbur’s Project 562.

tional silver prints, with faint colors added by hand; a few are digital, with the colors dialed down to near sepia tone. Faces have precedence over place; Wilbur crops out most of the backgrounds. There aren’t any towering mesas or totem poles, though some tokens of Indian life are familiar to Northwest eyes: Here a Lummi elder poses with two carved canoes; elsewhere, a

For TAM, this exhibit is an important milestone.

It’s by a young, female artist. It carries an implicit political and socioeconomic critique of our mistreatment of Native Americans (a point also raised during President Obama’s recent visit to the Standing Rock Sioux Reservation in the Dakotas, where poverty, alcoholism, and disease are sadly pervasive). And though her show won’t overlap with the November opening of TAM’s new Haub Family Gallery, Wilbur’s exhibit feels like something of a preface, if not an inoculation, to that $15 million museum wing and collection, donated by the German industrialist collectors.

The Haubs mostly favored romantic-sentimental depictions of the Old West: Indians posed in war bonnets on horseback, situated in scenic landscapes, very much fixtures of the past (if not quite wooden Indians). Wilbur—in person and in her work—is a vivid reminder of how Indians live now, with Instagram and smartphones, listening to hip-hop or Shostakovich, going to med school, raising cattle, fighting in Afghanistan, or trying to forge a career in art.

Art museums generally favor the historical, with Indians neatly framed by the codes of yore. In this welcome incursion from the present, says Wilbur, “You will not be able to deny we’re still here.” E

bmiller@seattleweekly.com

TACOMA ART MUSEUM 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $8–$10.

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DARK SKY/MPI MEDIA

Tulalip trio wears traditionally embroidered ponchos. Most everyone’s posed outside, often gazing into the distance.

Wilbur’s portraits reflect the preferred selfimage of her subjects: If they want to wear traditional costumes, fine; if they favor golf shirts and baseball caps, that’s also fine. “I asked people to wear what they liked to wear,” she says. “They posed where they wanted to pose. I let them choose.” For that reason, no one here is portrayed in a dirty T-shirt working on the car in their driveway, or doing dishes or surfing the Internet.

Wilbur aims to capture each individual—most are photographed separately, a few in groups—at their dignified best. It’s an idealized, ennobling view that, in a 566-page book, would become repetitious. There’s a danger here of trading negative stereotypes for positive.

This small commendable show is but a preview of Wilbur’s grand project, which naturally recalls the epic North American Indian photographic series undertaken by Seattle’s Edward S. Curtis from 1907–30. (That was chronicled in Timothy Egan’s recent book Short Nights of the Shadow Catcher.) The crucial difference, of course, is that Project 562 comes from an insider’s perspective. For Curtis, though a sympathetic artist/entrepreneur, the Indian was a romantic, idealized Other, symbol of a past golden age.

For Wilbur, these tribespeople in the Southwest, Plains states, and even Hawaii are her living, breathing cousins, fellow members of the now.

She’s one of them, albeit generally a short-term visitor just driving through.

For that reason, in Monteiro’s black-and-white images, there are both somber, history-minded tourists and joyous day-trippers out for sun and fun. The past and the present mix like lovers on the strand, and you can’t really separate the two. Surf and sand are likewise intermingled, echoing Monteiro’s own background: A former model, he’s from a mixed-race marriage, and he’s explored the legacy of slavery in prior photo series. But this show is nothing but cheerful, with youngsters, dancing, preening, swimming, and surfing on the beach. Maybe it’ll inspire you to visit Alki or Golden Gardens—where the water, unfortunately, won’t be nearly so warm.

(Through July 26.) M.I.A Gallery, 1203 Second

Johnson and Gilmore in Willow Creek.

Bobcat Goldthwait

The sasquatch, and sasquatch hunters, have given rise to an entire subgenre of movies—few of them overt horror flicks. At SIFF ’11, we had Letters From the Big Man; and Harry and the Hendersons remains a fond staple of the VHS era. Now comedian-turned-director Goldthwait adds Willow Creek to the hairy canon, as two would-be filmmakers try to make a documentary about Bigfoot. Their stumbling project seems like a lark, some sort of YouTube stunt for the sasquatch-believing Jim (Bryce Johnson). His

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

Most of Wilbur’s images are made from tradi-

MATIKA WILBUR

As she explained to us journalists tailing her through the Tacoma Art Museum last month before the show’s opening, “Imagery matters, representation matters” when it comes to depicting Native Americans. She cheerfully dismisses the old “leathered and feathered” clichés, though her images are frankly meant to inspire. The question, she asks rhetorically, is “How do we lift our people up?”

Bubbly and effusive while leading our tour, Wilbur wants to comment on every portrait in the show, to tell everyone’s story. “She’s fierce,” she says of one attorney. “I didn’t realize there’s so many cool Indians out there!” she exclaims.

Everything is rad, cool, or awesome to Wilbur, and it’s impossible not to be swept along by her enthusiasm. This, too, must be how she gains her portrait-sitters’ trust; each session takes several hours of discussion, and Wilbur also conducts audio interviews with her subjects. Some of these you can hear on TAM’s loaner mp3 players, which accompany selected images. Four companion videos have also been created by Deidra Peaches, who accompanied Wilbur on some of her photo-gathering trips. (These followed a second Kickstarter campaign exceeding $200,000, with many more people betting on her success.)

Wilbur’s road trips weren’t taken according to some strict geographic plan; there are no maps here to help track her travels, and her photos aren’t grouped by region or theme. “Matika’s not a linear person,” laughs TAM’s Rock Hushka, who curated the show.

FABRICE MONTEIRO

Her ongoing goal is to portray members from each federally recognized tribe in the U.S.—now 566 of them; the number grew after she named and conceived the project, which is about onethird completed. Wilbur has secured national press recognition for her photo series (in The New York Times, NPR, and elsewhere), which is also well documented on her website, project562.com.

» CONTINUED ON PAGE 26 25

arts&culture» » FROM PAGE 25

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more skeptical, reluctant girlfriend Kelly (Alexie Gilmore) is mainly trying to preserve their relationship. “We can believe in different things and still be a couple,” she says without much confidence. Their efforts to interview the locals have a certain Guffmanesque quality; once they get into the woods, however, things take a Blair Witch turn. Goldthwait and his two stars will attend the screening. Following their Q&A is Goldthwait’s OU GWorld’ H s Greatest Dad, filmed 2009THR dark comedy here in Seattle, with Robin Williams as a grieving parent who finally finds success as a writer after faking his late son’s memoir. He’s a guy, like the sasquatch hunters, undone by misplaced ambition. In both movies, a supposedly creative endeavor spins disastrously out of control. SIFF

AUG 30

Cinema Uptown, 511 Queen Anne Ave. N., 3249996, siff.net. $10–$15. 7 p.m. BRIAN MILLER FRIDAY, JUNE 27

TUESDAY, JULY 1

There are gamers who incessantly play Candy Crush on their iPhones on the bus ride home, then settle down in home entertainment dens to spend the evening with Call of Duty on massive HD screens hooked up to super-fast gaming rigs.

Then there are the gamers who, driving down a Seattle back alley, might spot some forlorn Atari 2600 console set out with a pile of rummage. Stop the car! That thing’s still got some life to it! It’s the latter contingent who’ll gather this weekend for a celebration of 8-bit gaming and other forms of outdated yet beloved technology. And if you love Pong, Tetris, Sega, panel discussions, vintage T-shirts, beer (just up the street at the Pine Box), and gaming-related trivia contests, this will be the place. In a concession to reality, however, Xbox and some newer consoles and games will also be featured. And Gameworks is just around the corner.

Carter was president. The Kingdome opened for our new football team. The Weekly was launched.

The Wilson sisters had recently returned from Vancouver, B.C.—where their draft-dodger boyfriends had fled—to their Seattle home.

Seattle Retro Gaming Expo

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

Maier in self-portrait.

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/Snocasino

The biggest discovery of 20th-century photography was made in 2007 by Chicago flea-market maven/historian John Maloof. Vivian Maier was a nanny who died soon thereafter, indigent and mentally ill, a hoarder. Maloof bought trunks of her negatives with no idea what they contained.

The revelation of those images, in a series of art shows and books, immediately placed her in the front rank of street photographers like Robert Frank, Lee Friedlander, and Garry Winogrand.

But who the hell was she? Now Maloof and

VIVIAN MAIER/MALOOF COLLECTION

26

Finding Vivian Maier

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Ann (left) and Nancy Wilson.

MONDAY, JUNE 30

DWIGHT YOAKAM

Heart

With them they brought the 1976 album Dreamboat Annie, which produced Heart’s first two hits: “Crazy on You” and “Magic Man,” instant FM-radio staples that emphatically cut against the grain of the nascent disco era.

Ann and Nancy could really sing; it was their voices and harmonies that sliced through the swirling currents of ’70s rock; and for that reason Heart eventually became their band as the other members dropped away. They’ve made a brilliant career out of unapologetic anthem rock, plus the occasional ballad, crafting singalong choruses that showcase their own voices while inviting you to join them (in the shower, car, etc.). The Wilsons’ fortunes have ebbed and surged since the ’80s; Ann was long based in L.A. with her then-husband, filmmaker Cameron Crowe, yet Heart is still very much a viable touring enterprise. (The group released its most recent album, Fanatic, two years ago.)

Tonight they’ll play boomer favorites including “Barracuda,” “What About Love,” and their 1986 chart-topper “These Dreams.” Truly, the Wilsons have nothing left to prove, having recently been inducted into the Rock and Roll Hall of Fame. And yes, they are still huge in Canada. (All ages; Michael Grimm opens.)

HEART-MUSIC.COM

SAT | JULY 5 | 7PM

SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net. $6–$11. 7 p.m.

BRIAN MILLER

Washington State Convention Center, seattleretro.org. $15–$25.

10 a.m.–6 p.m. (10 a.m.–5 p.m. Sun.) T. BOND

KOOL & THE GANG

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 (“sort of a spy,” she said), 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. (The film plays as part of SIFF’s Monday-night recent raves series, running through Aug. 25, with titles including Only Lovers Left Alive, Locke, and Chinese Puzzle.)

Marymoor Park, 6046 W. Lake Sammamish Pkwy. (Redmond), marymoorconcerts.com. $50– $75. Gates open at 6 p.m. Concert at 7:30 p.m.

T. BOND E

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

Friday, November 21, at 8pm Saturday, November 22, at 2 & 8pm

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

Stage OPENINGS & EVENTS

CARNEVIL In Blood Squad’s new show, danger lurks

behind a traveling fair. Annex Theater, 1100 E. Pike St., bloodsquad.org. $10. 8 p.m. Fri., June 27–Sat., June 28.

THE FLOWER OF ENGLAND’S FACE: WILLIAM SHAKESPEARE’S HENRY IV Freehold’s adaptation of

three history plays. Preview Luther Burbank Park, Mercer Island, 6:30 p.m. Mon., June 30. Opens Sat., July 12 at UW Penthouse Theatre, N.E. 45th St. & 17th Ave. N.E. Runs 8 p.m. July 12, 14, 16–19; 4 p.m. July 13 & 20. $15–$50. 800838-3006, freeholdtheatre.org.

FREEDOM FANTASIA BenDeLaCreme, Kitten LaRue, and Lou Henry Hoover invite you to their “liberty-encrusted, justice-soaked, apple-pie-scented pageant of patriotism,” i.e., a drag/burlesque extravaganza. The Triple Door, 216 Union St., 838-4333, tripledoor.net. $28–$35. 7:30 & 10:30 p.m. Wed., July 2–Thurs., July 3.

SERIOUS PLAY: THE 18TH SEATTLE INTERNATIONAL FESTIVAL OF IMPROV Troupes from as far afield as

Hungary and Japan gather to make it up as they go along.

Unexpected Productions’ Market Theater, 1428 Post Alley, 587-2414. Single tickets $5–$15, festival pass $30. See unexpectedproductions.org for schedule, Wed., June 25–Sat., June 28.

THE VERY SUPER SPECIAL FEELINGS SHOW Sinner Saint Burlesque members bare their souls and bodies: Readings from old diaries are accompanied by improvised strip routines. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets.com. $15. 7 p.m. Thurs., June 26.

WHO’S AFRAID OF THE BIG BAD WOLF? Little Red Riding Hood meets the Three Little Pigs in this fractured fairy tale. Volunteer Park, schmeater.org. Free. Opens June 28. 5 p.m. Sat.–Sun. Ends July 20.

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Book-It’s adaptation of Michael Chabon’s Pulitzer-winning novel arrives in one five-hour mega-serving. This production—in which two superhero-obsessed cousins encounter the harsh and exhilarating realities of the real world (1938–’50s) through a comic-book filter—brings emotional KAPOW!s aplenty. Incredibly, after four one-hour acts separated by two intermissions and a dinner break, you could even ask for more. Here we have a dream team of moxie and melancholy from David Goldstein, as Brooklynborn Sammy Clay, and Frank Boyd, as Czech-born Josef Kavalier. Boyd in particular goes from strong to extraordinary as Josef alters his ambitions to fit wartime and postwar circumstances. The third act is where the setups start to pay off in spades, so if the early acts seem slow, hang in there. MARGARET FRIEDMAN Center Theatre at the Armory, Seattle Center, 216-0833. 6 p.m. Wed.–Sat., 2 p.m. Sun. Ends July 13.

FUNNY GIRL In the starring role of this revival, directed

by Steve Tomkins, Sarah Rose Davis has to be exhaustively gawked up and geeked out by her costumers to match the song “If a Girl Isn’t Pretty.” But by the time the show reaches “I’m the Greatest Star,” Davis owns the part of the legendary stage performer Fanny Brice (1891–1951). Good, because Funny Girl is a show that lives and dies on its Brice. DANIEL NASH Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $30–$65. Runs Wed.– Sun.; see villagetheatre.org for exact schedule. Ends July 6. (Runs in Everett July 11–Aug. 3.)

THE GERSHWINS’ PORGY AND BESS The latest in a long line of pokings and proddings—is it an opera? is it a musical?—this Broadway staging of George Gershwin’s masterwork is hampered by the creators’ misconceptions about the genres. What P&B needs to make it throb and soar is the breadth, richness, and gravitas of Gershwin’s full score and original concept. What’s left is a “musical,” with all that implies of a slick surface on which nothing deeper can take hold. It’s frustrating that people seeing the show for the first time will remain unaware of what it can be. GAVIN BORCHERT 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $39.25 and up. Runs Tues.–Sun.; see 5thavenue.org. for exact schedule. Ends June 29.

THE HUNCHBACK OF SEVILLE Charise Castro Smith’s new one-act clocks in at mere 90 minutes, but runs at the pace of an interminable SNL sketch. The Miami playwright’s farce is set in the wake of Columbus’ discovery of the New World. Back in Spain, circa 1504, his patron Queen Isabella (Maria Knox) is profoundly concerned about the survival of her empire, and rightly so. For starters, she’s dying of some mysterious malady. Worse, next in line for the throne is her schizoid brat of a daughter, the Infanta Juana (Libby Barnard). Are there laughs? Yes. But Hunchback packs 10 minutes of humor into an hour and a half. KEVIN PHINNEY The Little Theatre, 608 19th Ave. E., 325-5105, washingtonensemble.org. $15–$20. 7:30 p.m.

Thurs.–Mon. Ends June 30.

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THE LISBON TRAVIATA Art imitates life in Terrence

McNally’s play about opera obsessives. Richard Hugo House, 1634 11th Ave., 800-838-3006, theatre22.org. 8 p.m.

Thurs.–Sat., plus 2:30 p.m. Sat., June 28. Ends June 28.

LOVE IN THE TIME OF ZOMBIES Damian Trasler’s play examines marriage in a post-social-media apocalypse.

Ballard Underground, 2200 Market St., vagabondalley. com. $10–$14. 10 p.m. Sat. Ends June 28.

PASSING STRANGE This local revival of the 2008 Tony winner works really well, conveying the life-altering qualities of sex, drugs, and rock & roll. Created by the musician-turned-playwright named Stew (with Heidi Rodewald and Annie Dorsen), Passing Strange is basically his life story. His journey starts in 1976 South Central L.A. before twisting through the marijuana cafes of Amsterdam and the riot-torn streets of Berlin; he narrates his path, interspersed with songs and episodes from his life (enacted by a cast of six). Stew’s shoes are remarkably filled by firsttime actor/veteran local R&B singer LeRoy Bell. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676. $20–$40. Runs Wed.–Sun., see acttheatre.org for exact schedule. Ends June 29.

TEATRO ZINZANNI: WHEN SPARKS FLY Maestro Voronin headlines this mad-scientist-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Sept. 21.

TO THE NAKED EYE Innocence or dirtiness—what does nakedness mean? A half-dozen comic shorts try to find out. Cornish Playhouse, Seattle Center, playwrightstheatre.org. $20–$25. 8 p.m. Thurs.–Sat. (Thursdays are clothing-optional.) Ends June 28.

Dance

LOS ANGELES BALLET Led by former PNB dancers

Thordal Christensen and Colleen Neary, the company is bringing a pair of works: August Bournonville’s romanticera classic La Sylphide and George Balanchine’s neoclassical masterwork Serenade. Made around 100 years apart, they are both landmark works of their moment and excellent examples of their styles. SANDRA KURTZ McCaw Hall, Seattle Center, 800-745-3000, ticketmaster. com. $45–$85. 7:30 p.m. Fri., June 27.

DACI The annual Dance and the Child International conference includes two public performances. Meany Studio Theater, UW campus. See daciusa.com for full details.

7:30 p.m. Fri., June 27–Sat., June 28.

Classical, Etc.

NORTHWEST MAHLER FESTIVAL Community-orchestra

players gather to tackle large works they don’t often get a crack at. See nwmahlerfestival.org to sign up. On Thurs., June 26, Bruckner’s 4th; Mon., June 30, Strauss’ Alpine Symphony; Wed., July 2, Berlioz’ Symphonie fantastique.

All readings 7 p.m. St. Mark’s Cathedral, 1245 10th Ave. E. BANNED REHEARSAL The local improv collective (“a continuing argument in creative musical expression“) commemorates “30 Years of Noise.” Chapel Performance Space, 4649 Sunnyside Ave., bannedrehearsal.org. $5–$15. 8 p.m. Fri., June 27.

ARONOFF FESTIVAL CONCERTS Chamber music spotlighting the underappreciated viola. 7:30 p.m. Fri., June 27: Bach, Kodaly, and more. 7:30 p.m. Sat., June 28: Hovhaness, a Mendelssohn piano quartet, and more.

4 p.m. Sun. June 29: a student/faculty recital. Bastyr University Chapel, 14500 Juanita Dr. N.E., Kenmore, viola. com/aronoff. Donation.

SEATTLE SYMPHONY Excerpts from Danny Elfman’s moody, off-kilter film scores, enhanced by visuals from director Tim Burton’s original artwork. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $19 and up. 8 p.m. Fri., June 27–Sat., June 28.

OLYMPIC MUSIC FESTIVAL Chamber-music favorites in a repurposed barn, 2 p.m. each Sat. & Sun. through Sept. 7. First up, Mozart and Rachmaninoff string sonatas and Brahms’ rousing Piano Quartet in G Minor. Quilcene, Wash., 360-732-4800, olympicmusicfestival.org. $18–$33.

MASTER CHORUS EASTSIDE An all-American program in anticipation of the Fourth. Pickering Barn, 1730 10th Ave., N.W., Issaquah, 425-392-8446, masterchorus eastside.org. $10–$15. 3 p.m. Sun., June 29.

THE ALCHEMY PROJECT New works, written for themselves, by a group of experimental-jazz composer/ performers from across the country. The Royal Room, 5000 Rainier Ave. S., samanthaboshnack.wordpress.com.

Donation. 8 p.m. Sun., June 29.

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

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

FINAL WEEK - ENDS SUNDAY

29

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

Openings & Events

ATELIER H TRUNK SHOW “Statement jewelry” created

by Pakistani artists will be on display, accompanied by a video installation from Saad Khan and Kiran Dhillon and complimentary traditional Pakistani food. m. ArtXchange, 512 1st Ave S, 839-0377, artxchange. org. Free. 1-4 p.m. Sat., June 28.

DOCOMOMO WEWA NIGHT That very confusing series

of acronyms you see there stands for ”Documentation and Conservation of the Modern Movement in Western Washington.” Tonight’s show seeks to celebrate modern architecture and design in our regions. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.com. $5. 7 p.m. Weds., June 25.

FABRICE MONTEIRO SEE THE PICK LIST, PAGE 25.

JESSE MINKERT Poet and graphic artist Minkert launches his new chapbook RAFT, which plays on his multidisciplinary background. Jack Straw Cultural Center, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. Free. 7 p.m. Thurs., June 26.

CROPPED COMPETITION Styled after the Food Network’s show Chopped, four competing artists will be given a mystery basket of materials and will have to create works from them in a variety of challenge rounds. Part of the First Friday Art Walk. Kirkland Arts Center, 620 Market St., 822-7161, kirklandartscenter.org. Free. 4-6 p.m., Fri., June 27.

PARTY IN THE PARK This classy fundraiser for SAM features a dinner from prominent local chefs, music from The Lumineers and Hey Marseilles, and fancy tables designed by local artists. Olympic Sculpture Park, 2901 Western Ave., 654-3100, seattleartmuseum.org. $350. 6 p.m. Fri., June 27.

SUMMER FIELD STUDIES Allyce Wood leads a meditation and stargazing session at Gas Works Park, 9 p.m. Fri. Daniela Molnar and Lisa Schonberg lead a tour at Discovery Park, 2 p.m. Sat. And Michelle Peñaloza leads a “Heartbreak Tour,” 11 a.m. Sun. See website for details. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. Free. Through Sept 14.

ROMSON REGARDE BUSTILLO His show Dugay na opens Saturday. The Filipino artist creates brightly colored works on paper, intricately cut and designed with patterns, some of them narrative. The title of the show translates as “no longer new” or “a long time now.”

The museum is a five-minute walk from the ferry.

Bainbridge Island Museum of Art, 550 Winslow Way E., 842.4451, biartmuseum.org. 10 a.m.-5 p.m.

On view daily through Sept. 24.

AFROPUNK BASH AND AFROTASTIC CATWALK

Coinciding with its new exhibit Afros: A Celebration of Natural Hair, the museum is hosting a party featuring an Afro fashion walk, food trucks, a raffle. Northwest African American Museum, 2300 S. Massachusetts St., 518-6000, naamnw.org. $15. 7-11:30 p.m. Sat., June 28.

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Because there’s a new documentary screening this week about the Chinese dissident and artist Ai Weiwei (see page 32), now’s a good time to consider SAAM’s new permanent installation Colored Vases, his first addition to the museum’s collection. Ai has a contentious relationship with traditional ceramics, having famously—or infamously, depending on your perspective— dropped and shattered a 2,000-year-old Han Dynasty urn for a 1995 photo series. It was a shocking and still controversial

BY BRIAN MILLER act, a rupture and repudiation of officially sanctioned history and taste, a slap at the canon and an insistence on the value of the new. (Look what we’re doing now, Ai is saying; new and important Chinese art is being made today.) That gesture had its echo two months before our Colored Vases went on view in April: A disgruntled Miami artist shattered one of Ai’s similarly overpainted Han Dynasty vases to protest the Pérez Art Museum Miami’s privileging an international art-world superstar like Ai rather than supporting local talent. There was a lot of confusion then about the monetary value of the urn, the meaning of both gestures, and the nature of the traveling show Ai Weiwei: According to What?, which sadly won’t visit Seattle. Our vases, like the broken one in Miami, aren’t inherently precious.

THEFUSSYEYE

ARTCADE Vintage arcade consoles are strewn across

the gallery floor with video game art accompanying them. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. On view through June.

AT YOUR SERVICE Ariel Brice, Gésine Hackenberg, Molly Hatch, Giselle Hicks, Garth Johnson, Niki Johnson, Sue Johnson, Emily Loehle, Caroline Slotte, and Amelia Toelke mess with crockery and other tokens of the domestic table. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $8-$10, Tues.-Sun., 11 a.m.-6 p.m.

Through Sept. 21.

RACHID BOUHAMIDI Fanfare for the Area Man collects the Los Angeles artist’s colorful, busy paintings.

Blindfold Gallery, 1718 E. Olive Way, 328-5100, blindfoldgallery.com. Through July 5.

ALLI CURTIS The Decay of an American Dream captures photos of homes and businesses after foreclosure and bankruptcy in wake of the financial crisis. A/ NT Gallery, 2045 Westlake Ave., 233-0680, antgallery.org. Through June 29.

DANISH MODERN: DESIGN FOR LIVING A survey of modern style Danish furniture from 1950-60, featuring designers like Arne Jacobsen, Niels Otto Møller, and Hans Wegner. Nordic Heritage Museum, $8, Tues.-Sun., 10 a.m.-4 p.m. Through Aug. 31.

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They’re old, yes, but Ai was able to buy these earthenware vessels in bulk because there are so many of them, because China has so much history. Our nine vases were sloppily dipped in various bright shades of inexpensive industrial paint. The new has been crudely overlaid upon the old; history is erased, and the action forces you to consider what exactly was there to begin with.

And was it in fact so valuable? Ai’s concealing is also revealing, a kind of emperor-has-no-clothes provocation. How many ordinary Chinese factory workers would want such an old, unpainted urn?

And how many Chinese billionaires, plus rich Western collectors abroad, would want one of Ai’s signature works? In February, some news reports said the broken Miami vase was worth $1 million, which Ai called “a very ridiculous number.”

(He should know, since he bought them all in the ’90s, before he was rich and famous.) Ever the shrewd appropriator of found materials, Ai is the one setting the price on objects both new and old.

Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleart museum.org. $5–$7. 10 a.m.–5 p.m. Wed.–Sun., 10 a.m.–9 p.m. Thurs.

MARY BOONE GALLERY, NEW YORK

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

Setting the Price

Ongoing

TOWN HALL

BY BRIAN MILLER

Author Events JEFFERY RENARD ALLEN He based his new novel

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SCIENCE

ARTS & CULTURE

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

Song of the Shank on the 19th century figure of Blind Tom, a piano prodigy born into slavery who later performed for Mark Twain and President James Buchanan. Northwest African American Museum, 2300 S. Massachusetts St., 518-6000, naamnw.org. $5-$7. 7 p.m. Weds., June 25.

CHRISTOPHER BARZAK His new collection of paranormal and suspense tales is Before and Afterlives.

Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m. Weds., June 25.

LILY KING Her new pre-WWII novel Euphoria is set in New Guinea. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Weds., June 25. (Also: 1 p.m. Thurs, Ravenna Third Place, 6500 20th Ave. N.E., 523-0210, ravennathirdplace.com.)

JENNIFER MURPHY Murder and romance combine in her novel I Love You More. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks. com. 7 p.m. Weds., June 25. (Also: 7:30 p.m. Thurs. at Eagle Harbor Books; and also noon, Sat. at Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com.)

KATEE ROBERT Queen of Wands: A Sanctify Novel is her new fantasy tome. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Weds., June 25.

TINA GILBERTSON Her new self-help guide is Constructive Wallowing: How to Beat Bad Feelings by Letting Yourself Have Them. University Book Store.

7 p.m. Thurs., June 26. (Also 3 p.m. Sun. at Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com.)

YUKARI IWATANI He’ll discuss his new business tome, Haunted Empire: Apple After Steve Jobs. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5.

7:30 p.m. Thurs., June 26.

SONORA JHA The Seattle U professor will discuss her debut novel, Foreign. Seattle University, 901 12th Ave., 296-6000, seattleu.edu. 7 p.m. Thurs., June 26.

JENNY KELLER The baker/author shares recipes from Eat More Dessert. University Book Store at Mill Creek Center, Bothell-Everett Highway & 153rd St. S.E., 425-385-3530, bookstore.washington.edu. 7 p.m. Thurs., June 26.

TOM ROBBINS SOLD OUT. His memoir is Tibetan Peach Pie. Town Hall. $5. 7:30 p.m. Thurs., June 26.

CHRISTINA DUDLEY Her two most recent historical romances are A Very Plain Young Man and The Naturalist. University Book Store at Mill Creek Center, Bothell-Everett Highway & 153rd St. S.E., 425-385-3530, bookstore.washington.edu. 5 p.m.

Sat., June 28.

POROCHISTA KHAKPOUR The Iranian-American writer shares from The Last Illusion. Elliott Bay. 7 p.m.

Fri., June 27.

JEAN KWOK Her new rags-to-riches novel is called Mambo in Chinatown. Elliott Bay. 7 p.m. Sat., June 28.

BILL PORTER Yellow River Odyssey is his travel account of journeying 3,000 miles up the Yellow River. Elliott Bay. 2 p.m. Sat., June 28.

BURT WEISSBOURD His eco-thriller In Velvet is set in Yellowstone National Park. Seattle Mystery Bookshop. 3 p.m. Sat., June 28.

RANA DASGUPTA The author of Capital: The Eruption of Delhi is joined by Ravi Venkatesan (Win in India, Win Everywhere: Conquering the Chaos). Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$10. 3 p.m. Sun., June 29.

TAI MOSES She’ll discuss Zoourbia: Meditations on the Wild Animals Among Us. Elliott Bay. 7 p.m. Mon., June 30.

NOVELLA CARPENTER From the noted food and farming writer, her new memoir is Gone Feral: Tracking My Dad Through the Wild. Town Hall. $5. 7:30 p.m. Tues., July 1. (Also: 7 p.m. Weds. at Third Place.)

DIANA GABALDON Written in My Own Heart’s Blood is her latest thriller. Third Place. 7 p.m. Tues., July 1.

ESTHER ALTSHUL HELFGOTT Her new poetry collection is Listening to Mozart: Poems of Alzheimer’s.

Elliott Bay. 7 p.m. Tues., July 1.

KIJ JOHNSON She collects her short fiction in At the Mouth of the River of Bees: Stories. University Book Store. 7 p.m. Tues., July 1.

CIVICS

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Ai Weiwei: The Fake Case RUNS FRI., JUNE 27–THURS., JULY 3 AT NORTHWEST FILM FORUM. NOT RATED. 86 MINUTES.

Ai (with his son) was understandably glad to get out of jail.

Citizen Koch RUNS FRI., JUNE 27–THURS., JULY 3 AT SUNDANCE CINEMAS. NOT RATED. 90 MINUTES.

I want to hate the Koch brothers. You want to hate the Koch brothers. Yet this clumsy advocacy doc makes it hard to do. Perhaps you recall reading how directors Carl Deal and Tia Lessin lost their public-TV funding for the project, then resorted to Kickstarter, because David Koch is on the board of two PBS affiliate stations. Editorial oversight may also have been lost, and one wonders how much Deal and Lessin have tailored Citizen Koch to suit their citizen financiers, in the manner of Robert Greenwald (Outfoxed, etc.).

In its tone and construction, Citizen Koch is well below PBS broadcast standards. I’ve seen better screeds stapled on telephone poles.

Evergreen: The Road to Legalization RUNS FRI., JUNE 27–THURS., JULY 3 AT SIFF FILM CENTER. NOT RATED. 86 MINUTES.

Pro-502 enthusiasts at Hempfest 2012.

A Coffee in Berlin OPENS FRI., JUNE 27 AT VARSITY. NOT RATED. 88 MINUTES.

Deal and Lessin take us into the heart of Tea Party-land.

Most damningly, it’s old news. Much of the film is set in Wisconsin, where Gov. Scott Walker seeks to break public-sector unions, then fights against a voter recall effort. He prevailed in both battles (aided by corporate money), as we know, because they took place over two years ago and were extensively covered by NPR, The New York Times, and company. Given the amount of excellent reporting done by those annals (and The New Yorker’s Jane Meyer, in particular, on the Kochs and Citizens United ), Citizen Koch’s roster of talking heads is hugely disappointing: a

Schilling as the blank young Niko.

catastrophe eventually gets turned into kitsch.

The bland central role is also an issue; although Schilling is photogenic and well cast, there’s not much to the character beyond blankness.

Niko’s reaction shots—invariably of the “How do I get out of this?” variety—constitute funny stuff, but the character’s still more of a construct than a full-blooded individual. Black-and-white cityscapes and a jazzy score indicate Gerster’s debt to Woody Allen (Allen’s reputation remains much higher in Europe than here), but even this devotion suggests the movie’s limitations. A Coffee in Berlin is a pleasant way to spend 84 minutes, but it seems like the watered-down version of something stronger. ROBERT HORTON

BRIAN MILLER

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SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

BBC/INTL. FILM CIRCUIT

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To make a good documentary, you need to have a good subject. But more important, you have to be lucky. When Alison Klayman filmed her Ai Weiwei: Never Sorry, seen here in 2012, it was still fairly shocking that the Chinese activist and artist would be kidnapped and detained by his government for 81 days. She got to cover the period of his peak outspokenness (at home) and acclaim (abroad). Then came the cataclysm of his arrest—not something she wished, but a dramatic ending to her film.

Now Andreas Johnsen picks up the story, following Ai’s June 2011 release, and luck is not on his side. Limbo is where Ai presently resides, and it is not an interesting place. He emerges from incarceration discreet and abashed, if not quite muzzled. Under house arrest, he can’t travel.

He can’t speak freely with the press. His art can only be seen abroad. He’s got his toddler son and business (called Fake Design) to protect, with employees on his payroll. By Chinese standards, he’s rich and famous—even if his name is scrupulously censored on Baidu, the state-controlled Internet search engine. And he is, now age 56, more cautious. If the government has accused Ai and Fake of tax evasion, his defense requires lawyers, money, and the tongue-biting that make it near-impossible to create art.

Yet create Ai does. We see the genus of his S.A.C.R.E.D., six boxed, half-scale dioramas of his prison experiences, currently on view in New York. (The Times’ Roberta Smith calls it “perhaps the best work of art Mr. Ai has yet made.”) He films everything, constantly monitors his own press, lives a kind of 24/7 performance-art existence, since the government is monitoring his every movement and Tweet. “I have no secrets,” he sighs—how unlike Picasso or Warhol before him. In a real sense, as with Klayman’s film, he’s orchestrating Johnsen’s documentary efforts, revealing what he wants, controlling the terms of access. In a recent interview, Johnsen said that Ai

few bloggers and activists, junior-varsity pundits, and the doomed 2012 Republican presidential candidate Buddy Roemer—the Dennis Kucinich of the right—whom they treat like an oracle.

Money corrupts politics, he says. No, really?

Their dependence on old news clips and the occasional press conference—Tim Phillips of the Koch-funded Americans for Prosperity is particularly odious—probably reflects the filmmakers’ budget constraints. Smarter, better-sourced documentaries from the likes of Alex Gibney or Charles Ferguson take time and money. It’s cheaper to harvest our easy scorn—for Sarah Palin, the John Birch Society, Samuel Alito, etc.—and set it to that ominous synthesizer drone we know from TV campaign ads. The subject here may not demand balance, but it requires deeper insight.

As with their 2008 doc Trouble the Water, about Hurricane Katrina, Deal and Lessin do better with individual stories than the big picture.

“I don’t get where regular people have become the bad guy,” says a Wisconsin prison guard about the barrage of TV ads implying his union (and others) have bankrupted the state. Well, we know where the money came from for those ads. (Gov. Walker is presently being charged by state prosecutors on that subject.) What’s more disturbing, when the filmmakers ask a Wisconsin Tea Party supporter why he believes unions are outspending corporations in that state (the opposite was true, at a ratio of roughly 8:1), is his blithe denial of the facts. He, too, is regular people. And he’s proudly voting against his economic self-interest in the name of “freedom,” just as the Kochs intended. (Note: Deal will conduct a Q&A following the 7 p.m. Sat. screening.)

You wouldn’t think it’d be hard to find a single cup of coffee in all of Berlin, but this is the kind of day Niko (Tom Schilling) is having. Nothing else is going too well either, but Niko’s foiled attempts to get some java give this film the repetitive structure of a classic frustration dream.

This running gag provides a nicely amusing through-line for this low-budget slacker picture, which scored big last year at the German boxoffice and won a batch of national film awards.

Niko’s recently split from a girlfriend and quit law school a couple of years ago (a decision that has not prevented him from accepting his father’s monthly stipend for expenses). On this particular bad day, Niko’s drifting includes a dressing-down when his dad finds out about the fraud; a few hours on the set of a melodramatic World War II film (his pal is an actor); and a strange encounter with an old schoolmate (Friederike Kempter) who’s now a performance artist. The latter provides the most comic payoff, as the formerly overweight woman cannot stop talking about her unhappy childhood or what a crush she had on Niko.

Writer/director Jan Ole Gerster reaches for significance at various moments between these skillfully executed comic sequences, and here Coffee tends to fall short. Maybe these reaches convey something culturally significant to Berliners; certainly the business about the bad WWII movie—about a Nazi officer who falls in love with a Jewish woman—suggests the exhaustion surrounding the subject, and how any

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initially rejected him, saying, “Everybody wants to make a film with me—Hollywood, Europe, everybody. I have no time.” But in the end Ai, so media-savvy and active on Twitter, consented to eight visits over four years from the Danish director.

If this documentary, mainly a portrait of endurance, isn’t so scintillating, you can bet another enterprising Western filmmaker is already working with Ai on the next chapter of his remarkable life. BRIAN MILLER

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When this doc played the film festival last year, the success of Initiative 502 was still fresh in our minds. Now, two years after our state voted to legalize pot, despite some dire warnings, the sky hasn’t fallen—stoners aren’t rolling in the gutters; the feds aren’t raiding private homes.

This very partisan film by Riley Morton and Nils Cowan emphatically celebrates the activists and organizers who brought the measure to a vote, but Evergreen’s return engagement seems belated—like a victory lap run long after the fans have left the darkened stadium. Life has moved on to mundane matters of business licensing and tax collection. Venture capitalists, seen at the film’s end, have big plans for lawful pot sold outside those sketchy old dispensaries.

Someone’s going to make a fortune becoming the Starbucks of marijuana. Evergreen hints at that conflict to come, but it mainly sticks the fake drama of a long-past election, its outcome known to all (last year as well).

On the side of the angels: philanthropist Rick Steves, city attorney Pete Holmes, and I-502 campaign director Alison Holcomb.

Fronting the greedy opposition (boo! Hiss!) are Doug Hiatt and former SW cover boy Steve Sarich, both determined to protect their profit-

PIvory Tower OPENS FRI., JUNE 27 AT SEVEN GABLES. RATED PG-13. 90 MINUTES.

Le Chef OPENS FRI., JUNE 27 AT HARVARD EXIT. RATED PG-13. 84 MINUTES.

In this French culinary comedy, the jokes are often corny and the plot twists as predictable as our hero’s classic menu. Chef Alexandre Lagarde ( Jean Reno) is on the brink of losing his third precious Michelin star because he won’t bend to the trend of molecular gastronomy. (The new owners of his bistro demand it.) Meanwhile, Jacky Bonnot (Michaël Youn) is a goofy aspiring chef and longtime Lagarde devotee who can’t seem to catch a break—until of course the hallowed chef “discovers” him.

Together Jacky and Alexandre hatch a plan to save Cargo Lagarde. That familiar narrative—protégé turns hero—has become a cliché in food films, but the subplots here make it slightly less derivative, as both men tend to their own botched personal relationships. Despite the flaws of Le Chef, directed by Daniel Cohen, foodies will still love its references to famous French dishes and poking fun at molecular cuisine— even though, like that style of cooking, Le Chef also borders on the absurd. NICOLE SPRINKLE

“...gets under the skin and stays there.”

The Hollywood Reporter

OPENS JUNE ��

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The Sacrament RUNS FRI., JUNE 27–THURS., JULY 3 AT GRAND ILLUSION. NOT RATED. 95 MINUTES.

The cult massacre-by-suicide popularly known as Jonestown took place on November 18, 1978, long before the embrace of the Internet. Over 900 died by poison and gunfire in that Guyana religious commune. Vice Media came into being—first as a Canadian magazine, now a property-for-sale valued at $1 to 2 billion—in 1994. So it’s a little curious that this slow-build fright flick by Ti West (The House of the Devil ) should now begin with the premise of a Vice film crew investigating a cult, fled from America to some unnamed tropical country, without ever mentioning Jonestown. Producer Sam (A.J. Bowen, with a beard like Vice founder Shane Smith) and cameraman Jake ( Joe Swanberg) are savvy creatures of the new mediasphere. When photographer and colleague Patrick (Kentucker Audley) says his drug-addict sister has joined said cult and has invited him to visit, Jonestown ought to be the first word in their minds. But no.

Unlike The Blair Witch Project, this skepticsout-of-water thriller doesn’t present itself as a (fake) found-footage exercise. The ersatz interviews, intertitles, and filmmaker comments are representative of a finished product. Someone has survived, or at least their memory cards and flash drives, from the slaughter we all know is coming. Yet West and producer Eli Roth (Hostel, Cabin Fever, etc.) stick to their weirdly ahistorical approach—even when the avuncular cult leader known as “Father” (Gene Jones) strides out to greet the film crew in his safari shirt and dark glasses. He’s a dead ringer for the Rev. Jim Jones (and for Powers Boothe, who played him in the

» CONTINUED ON PAGE 34

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

This documentary questions assumptions long accepted as gospel: that higher education is the key to success; that it’s worth any price; and that it’s all about ennobling students rather than racking up money and prestige. Such questioning is appropriate. As Ivory Tower points out, there’s a crisis at hand with skyrocketing tuition costs and student debt. Some graduates owe more than $100,000 after college.

“We need to really rethink what are the specific things that people are learning and why are they valuable,” says Peter Thiel, the hightech entrepreneur and flame-thrower against the education establishment.

He’s not the only plainspoken source in Ivory Tower, which avoids jargon and engages its subject in fresh, vivid ways. Director Andrew Rossi is making a specialty of capturing industries in churn, as with his excellent 2011 documentary Page One: Inside the New York Times. Here he finds drama everywhere he goes—and he goes a lot of places.

At Harvard, he introduces us to a oncehomeless African-American student determined to move beyond his insular Cleveland community. In the rugged dessert of California, Rossi finds the tiny, free, all-male Deep Springs College, whose educational philosophy is rooted in farm work as well as classroom debate. The polar opposite, Arizona State University, known for its hard-partying students, gives Rossi an opportunity to question whether big state schools are simply trying to profit from out-of-towners who pay premium tuition. We even get a prolonged sit-in— remember those?—at New York City’s privately endowed Cooper Union, which charged no fees for over 150 years. The recent decision to start charging tuition provoked shock and horror among its students.

Outrageously high salaries for university presidents, slashed state funding, online learning companies, and an “unschooling” movement that encourages students to drop out of college and learn skills in the real world— Rossi covers all these, too. What he does not do, however, is provide answers to the questions he raises. One minute we’re thinking that the university model is irretrievably broken, the next that it just needs to stay true to its ideals. But at least we’re thinking critically, and that seems right for a movie about higher education. NINA SHAPIRO

Kitchen comrades Reno (left) and Youn.

NICOLAS SCHUL/COHEN MEDIA GROUP

profitable turf. This internecine battle is anything but mellow, and Evergreen makes clear the conflict is primarily about the Benjamins, not the hemp.

Still, even if the film is way behind the current news cycle, it’s an enduring tribute to populist politics—not just in predictably block-voting Seattle, but in our shamefully red-leaning cousin counties. As we look at the 2014 midterm elections, when Republicans will almost certainly make Obama a powerless lame duck, here’s a rare case where urban and rural interests converge. Three generations ago, Prohibition was rejected as a national joke.

Evergreen has the same bubbly spirit of democracy in action. (Note: The filmmakers and select subjects will appear at the Friday and Saturday screenings.) BRIAN MILLER

33

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Caroline (Seimetz) insists everything’s fine at Eden Parish.

1980 TV movie). This is like making a movie set in ’30s Germany and pretending we don’t recognize the guy with the funny moustache.

So if West and Roth want to pretend viewers born after 1978 have no awareness of history before 1978 (despite the Internet or even their parents’ stacks of Time issues in the attic), what are we left with? Basically a suspenseless countdown to the fateful Kool-Aid. Sam and company conduct a few unsettling interviews. Patrick’s sister Caroline (Amy Seimetz of Upstream Color and The Off Hours) exhibits some bizarre, paranoid behavior. Then finally a little mute girl—of course she’s mute—hands a plaintive note to the Vice crew: “Please help us.” They’ve got a helicopter waiting the morning after their one-day visit, and everyone wants to be on it. (It’s a Huey UH-1, just like the last choppers leaving during the 1975 fall of Saigon.)

West’s House of the Devil was a scarier and more effective ’80s recreation of a movie-thatnever-was (grim cousin to the recent comedy Ping Pong Summer); it felt authentic to the repressed codes and shocks of the Reagan era.

That film was a manufactured artifact, a fake that respected its setting. Yet by treading on but ignoring the factual domain, The Sacrament is an entirely bogus, insulting enterprise. Those Christians who perished at Jonestown believed in something, however misguided. West takes no position on that, or on the past, other than the Vice calculation that atrocity equals clicks and eyeballs. Maybe for his next film he can reenact Dennis Rodman’s visit to Kim Jong-un’s North Korea, and pretend we don’t remember the names. BRIAN MILLER

PSnowpiercer

34

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OPENS FRI., JUNE 27 AT SIFF CINEMA UPTOWN. RATED R. 124 MINUTES.

Alfred Hitchcock called them the “plausibilists”— those nitpickers who can’t suspend disbelief long enough to swallow a movie’s colorful premise and just enjoy the thing. If you are a member of this army, you might have a problem with Snowpiercer.

This futuristic picture has a whopper of a concept.

Let me state that I have no factual basis for believing that a train would be able to stay in continuous motion across a globe-girdling circuit of track for almost two decades, nor that the people on board could sustain themselves and their brutal caste system under such circumstances. But for 124 minutes of loco-motion, I had no problem buying it all. That’s because director Bong Joonho, making his first English-language film, has gone whole hog in imagining this self-contained universe. The train is going around the track because the world has been plunged into subzero temperatures, killing everything outside; the survivors are separated into different cars, with the have-nots in squalid conditions at the back of the train and the elites partying up front. The poor folk finally rebel—Captain America’s Chris Evans and Jamie Bell play their leaders—and stalk their way toward the godlike inventor of the supertrain, ensconced all the way up in the front. This heroic progress reveals food sources, a dance party, and some hilarious propaganda videos screened in a classroom. Each train car is a wacky surprise, fully designed and wittily detailed. The progression is a little like passing through the color-coded rooms of The Masque of the Red Death, but peopled by refugees from Orwell.

Those characters include a drug-addled security expert (Song Kang-ho, star of Bong’s spirited monster movie The Host), a grizzled veteran of the caboose ( John Hurt), and the elite’s uptight spokesperson, played by Tilda Swinton as part Margaret Thatcher, part Tokyo Rose. (The train might not jump the tracks, but Swinton does, gloriously.) From each bar of gelatinous peasantfood—eccch—to the intricate workings of the train’s machinery, every inch of this film is delivered with such unapologetic verve that you probably won’t worry over bizarre shifts in tone or continuity issues. And the political allegory would be ham-handed indeed if it were being served up in a more serious context, but the film’s zany pulp approach means Bong can get away with the baldness of the metaphor. Who needs plausibility anyway? ROBERT HORTON E

Swinton’s spokeswoman (center) gets overrun by the rabble.

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Local & Repertory VIVIAN MAIER SEE THE PICK LIST, PAGE 26.

• FINDING (NR) Also plays at Crest FLASH GORDON SEE PRIDE GUIDE, PAGE 17. (NR)

Northwest Film Forum

HAIRSPRAY & MADONNA: TRUTH OR DARE SEE

PRIDE GUIDE, PAGE 17. (R) Central Cinema THE MAGNIFICENT ANDERSONS This series salutes the unlikely duo of Wes Anderson and Paul Thomas Anderson. Rushmore (from Wes) plays Tuesday, followed by Boogie Nights (from Paul) on Wednesday.

Of Rushmore, our Bret Fetzer wrote all the way back in 1999, “If Jean-Luc Godard and Takeshi Kitano had collaborated on Revenge of the Nerds, they might have produced something like this. Rushmore centers around high school student Max (Jason Schwartzman), who’s been placed on academic probation for his abysmal grades. When he falls in love with Miss Cross (Olivia Williams), he prepares to build an aquarium to impress her, with financial support from one of Rushmore’s benefactors, Mr. Blume (Bill Murray). Kindred spirits Blume and Max become good friends—until Blume too falls in love with Miss Cross. From here, the story takes so many unexpected and immensely funny turns that to describe them would ruin much of the movie’s charm.”

And of Boogie Nights, our Claire Dederer wrote in 1997, “Boogie Nights begins in 1978, when the new sexuality has hardened and been commodified in the porn industry. The film follows the fortunes of Eddie (Mark Wahlberg), a dishwasher with “something wonderful in his pants.” Anderson masterfully handles Eddie’s journey through the age of entitlement, capturing the recklessness and invincibility of the coke-tinged times.

But once Dirk Diggler—as Eddie is renamed—finds his new family, he must leave them behind. In a culture that has a hard time dealing with sexual freedom, Anderson has made a film that takes an unflinching look at the business of sexuality. And what’s more, he neither punishes nor rewards his character for their experiments in liberation.” (R) SIFF Film Center (Seattle Center), 3249996, siff.net. $6-$11. 7 p.m. Tues.-Weds.

•

Ongoing •

BELLE The English Belle, based on a true story, inspired

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A TRULY HAUNTING PIECE OF HORROR. TI WEST’S DARKEST, SMARTEST AND MOST GUT-PUNCH MEMORABLE FILM TO DATE.”

“POIGNANT AND FUNNY. A LOVE-LETTER TO THE CITY OF BERLIN.”

– Scott Weinberg, FEARNET

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IT WILL BE HARD TO TOP THE PERFORMANCE OF GENE JONES IN ‘THE SACRAMENT’.”

– Clark Collis, ENTERTAINMENT WEEKLY

–STEVEN REA, THE PHILADELPHIA INQUIRER

No job. No girl.

No coffee.

LIVE AS ONE. DIE AS ONE.

A film by Jan Ole Gerster

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SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

by an 18th-century 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. Belle never surprises you, but it satisfyingly combines corsets and social conscience, love match and legal progress. (PG) BRIAN MILLER Varsity, Kirkland Parkplace, Ark Lodge CHEF 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 midlifecrisis 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. 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. Just expect no salt. (R) B.R.M. Sundance, Ark Lodge, Lynwood (Bainbridge), others COLD IN JULY The genre of Cold in July is the moderndress 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 director Jim Mickle’s visual coups. His previous films, Stake Land and We Are What We Are, delved into horror, but with wry detachment and flickering humor.

Cold in July is an uneven but densely packed drama that contains 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 (Don Johnson, whose good-ol’-boy routine temporarily dissipates the film’s tension). 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. (R) ROBERT HORTON Sundance Cinemas THE DANCE OF REALITY Bring on the legless dwarfs, cue the full-frontal nudity, and pass the peyote: Alejandro Jodorowsky has made a new movie. Born in 1929, Jodorowsky was already a veteran of wigged-out experimental theater when he devised El Topo (1970) and The Holy Mountain (1973), films that crammed together intense violence, spiritual searching, and preposterous grotesquerie—guaranteeing their success as counterculture happenings. (Jodorowsky essentially invented the midnight-movie phenomenon.)

His latest is an autobiographical look at the filmmaker’s youth in small-town Chile. There’s something almost heartwarming about the fact that this movie is—for all its zaniness—almost a normal film. Jodorowsky himself appears as the narrator, a dapper man given to trailing aphorisms in his wake. His youthful self (played by Jeremias Herskovitz) is a sensitive lad, coddled by a Rubensesque mother (Pamela Flores, whose dialogue is entirely sung) and bullied by a hard-backed Communist father (Brontis Jodorowsky, the director’s son—he was the kid in El Topo). We witness the father’s macho childrearing habits and his mission against Chile’s right-wing president, a cause that leads to a long and curious thirdact detour including dog shows and political torture.

Around this curved spine of plot, Jodorowsky brings in a carnival sideshow, sharp childhood observations, and frequent bouts of on-camera urination. Dance of Reality has its share of mystifying moments. But the overall impression is energetic and imaginative, suggesting that all his past insanity had done wonders for this octogenarian’s creative process. (NR) R.H. Grand Illusion EDGE OF TOMORROW Earth has been invaded by space aliens, and Europe is already lost. Though no combat veteran, Major Bill Cage (Tom Cruise) is thrust into a kind of second D-Day landing on the beaches of France, where he is promptly killed in battle. Yes, 15 minutes into the movie Tom Cruise is dead—but this presents no special problem for Edge of Tomorrow.

In fact it’s crucial to the plot. The sci-fi hook of this movie, adapted from a novel by Hiroshi Sakurazaka, is that during his demise Cage absorbed alien blood that makes him time-jump back to the day before the invasion. He keeps getting killed, but each time he wakes up he learns a little more about how to fight the aliens and how to keep a heroic fellow combatant (Emily Blunt) alive. The further Cage gets in his progress, the more possible outcomes we see. It must be said here that Cruise plays this exactly right: You can see his exhaustion and impatience with certain scenes even when it’s our first time viewing them. Oh, yeah—he’s been here before. There’s absurdity built into this lunatic set-up, and director Doug Liman—he did the first Bourne picture—understands the humor of a guy who repeatedly gets killed for the good of mankind. (PG-13) ROBERT HORTON Sundance, Majestic Bay, Kirkland Parkplace, Bainbridge, others THE GRAND SEDUCTION For all its super-nice intentions, attractive players, and right-thinking messages, this thing might’ve come out of a can. It is, literally, from formula: an English-language remake of the FrenchCanadian film Seducing Dr. Lewis, seen at SIFF ’04 and written by Ken Scott. A dying Canadian harbor town will see its only shot at landing a new factory shrivel away unless a full-time doctor settles there. The local fishing industry’s broken, but the movie mostly blames government regulation, not overfishing. By hook and crook, they get a young M.D. (Taylor Kitsch) to take a month’s

35

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residency; now every townsperson must connive to convince the guy this is the only place to live. I’m sorry to say that the great Brendan Gleeson is the leader of the Tickle Point conspiracy, supported by Canadian legend Gordon Pinsent (Away From Her) in the Wilford Brimley crusty-curmudgeon role. Kitsch comes off rather well; he looks far more relaxed here than in the blockbuster haze of John Carter and Battleship, perhaps because he isn’t shamelessly twinkling at every turn. The Frenchlanguage original was just as overbearing. (PG-13) R.H. Guild 45th IDA After the calamity of World War II, your family exterminated by the Nazis (or their minions), how important would it be to reclaim your Jewish identity? That’s the question for Anna, 18, who’s soon to take her vows as a Catholic nun in early-’60s Poland. Now early-’60s Poland is not a place you want to be. The Anglo-Polish director Pawel Pawlikowski (Last Resort, My Summer of Love) films his black-and-white drama in the boxy, old-fashioned Academy ratio, like some Soviet-era newsreel. Anna (Agata Trzebuchowska), she discovers, is a Jew—an orphan delivered to the church as an infant during the war, birth name Ida. Her heretofore unknown aunt Wanda (Agata Kulesza) insists they find their family homestead, and a desultory road trip ensues.

The surly peasants won’t talk to them; Wanda smashes their car; and Anna’s too shy to flirt with a handsome, hitchhiking sax player (Dawid Ogrodnik) who invites them to a gig. The usual Holocaust tales celebrate endurance or escape. Ida suggests something simpler and deeper about survival and European history in general. Pawlikowski and his co-writer, English playwright Rebecca Lenkiewicz, poke at the pit graves and pieties of the Cold War era and find an unlikely sort of strength for their heroine: the courage to turn her back. (NR) B.R.M. Sundance, SIFF Cinema Uptown JERSEY BOYS This 2005 Broadway smash is a stilltouring musical that revealed a few genuinely colorful tales lurking in the backstory of the falsetto-driven vocal group Frankie Valli and the Four Seasons. Clint Eastwood directs; and though more a jazz man, he appears to have responded to the late-’50s/early-’60s period and the ironies beneath this success story. Turns out the singers emerged from a milieu not far removed from the wiseguy world of GoodFellas. In the case of self-appointed group leader Tommy DeVito (Vincent Piazza from Boardwalk Empire), the mob connections are deep and troublesome, including the protection of a local godfather (Christopher Walken). The movie presents Frankie Valli (John Lloyd Young, a veteran of the stage show) as a much straighter arrow, but even he understands the value of having friends in the right places. It would seem natural to apply a little Scorseselike juice to this story, but Eastwood goes the other way: The film exudes a droll humor about all this, as though there really isn’t too much to get excited about. Despite some third-act blandness, Jersey Boys is quite likable overall. Eastwood’s personality comes through in the film’s relaxed portrait of the virtues of hard work and the value of a handshake agreement. This may be the least neurotic musical biopic ever made. (R) R.H. Sundance, Kirkland Parkplace, Bainbridge, others OBVIOUS CHILD Written and directed by Gillian Robespierre, this movie has already been pegged as the abortion rom-com, which is great for the posters and pull-quotes but isn’t strictly accurate. The movie doesn’t embrace abortion. It doesn’t endorse cheesy love matches between unlikely partners. What it does— winningly, amusingly, credibly—is convey how a young woman right now in Brooklyn might respond to news of an unplanned pregnancy. And this fateful information comes for Donna (SNL’s excellent Jenny Slate) after being dumped by her boyfriend, told that her bookstore day job is about to end, and rejected at her comedy club, where a drunken stand-up set of TMI implodes into self-pity and awkward audience silence. Obvious Child is foremost a comedy, and it treats accidental pregnancy—caused by an earnest, likable Vermont dork in Top Siders, played by Jake Lacy from The Office—as one of life’s organic pratfalls, like cancer, childbirth, or the death of one’s parents. But as we laugh and wince at her heroine’s behavior, Robespierre gets the tone exactly right in Obvious Child. The movie doesn’t “normalize” abortion or diminish the decision to get one.

Rather, we see how it doesn’t have to be a life-altering catastrophe, and how from the ruins of a one-night stand a new adult might be formed. (R) B.R.M. Guild 45th, Lincoln Square PALO ALTO Watching Gia Coppola’s humdrum high-school teen angst movie, I couldn’t help but wish she’d followed the route of her grandfather (Francis Ford Coppola) and chosen to cut her teeth on something less pretentious and meaningful—you know, like a down-’n’-dirty horror picture. Perhaps such a project would summon a little

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more oomph. Palo Alto is adapted from a book of short stories by the apparently inexhaustible James Franco, who also plays a supporting role in a handful of scenes as a sleepily lecherous soccer coach whose focus of attention is a confused 16-year-old named April (Emma Roberts). That’s not the center of the film, however; along with April’s issues, there are also promiscuous Emily (Zoe Levin) and diffident Teddy (Jack Kilmer, son of Val Kilmer—who cameos, daffily), a lad with poor decision-making abilities. This is California ennui born of an overabundance of privilege and living space, captured in a manner that seems weirdly pedestrian. If it weren’t for the excellence of Roberts (another scion: daughter of Eric, niece of Julia), Palo Alto would have an eerie lack of distinguishing features. (NR) R.H. Crest THE ROVER Like a Road Warrior writ small, The Rover skitters across a slightly futuristic Australia, a car chase pitched against a great void. But this doesn’t feel like an adventure movie—more like a stripped-down Western about a single-minded quest. The single mind belongs to Eric (Guy Pearce), a blasted soul whose car is stolen while he’s getting a drink at a desolate spot in the outback. His wheels have been taken by three criminals fleeing a robbery; they’ve dumped their getaway vehicle outside. Eric has to have that car. There’s no law enforcement around to set things right; the dog-eat-dog world is the result of an unexplained economic collapse, which has made people even more suspicious and corrupt than usual. Complicating the hunt is a wounded robber, Rey (Robert Pattinson, of Twilight renown), left behind by his confederates. His trajectory crosses Eric’s path at an inopportune moment, and the two men are uneasily joined in the search. The Rover is written and directed by David Michôd, whose 2010 Animal Kingdom heralded a tough new talent on the scene. Maybe because it’s so lean on the bone, The Rover is even better. Michôd is playing a tricky game here: Lean too far on the abstract nature of the quest, and the movie turns into a parody of itself. Mostly he’s gotten the mix right, and The Rover cuts a strong, bloody groove. (R) R.H. Sundance 22 JUMP STREET Jonah Hill and Channing Tatum are back, again looking too old for their class-in this case, college freshmen. Again filled with self-referential humor, 22JS is aptly timed for college grads wafting through nostalgia. As the film points out on multiple occasions, it’s the same plot as two years ago: Undercover cops Schmidt (Hill) and Jenko (Tatum) are again assigned to infiltrate the dealers and find the supplier. What’s changed from 21JS? This movie does feature more explosions, flashier police department headquarters, and more obvious physical and racial comedy. Hill and Tatum’s onscreen chemistry still works, and it still relies on the wavering hetero/ homo overtones to the Schmidt-Jenko relationship.

These two often ask whether or not “it should be done a second time,” then decide the second time is never as good. 22JS is not as good as 21JS, and the movie’s self-awareness suggests that the filmmakers knew this. (The team of Phil Lord and Christopher Miller, of The Lego Movie, directs.) This sequel just about having fun, backsliding into old habits, and disparaging the value of liberal arts degrees. (Jobless grads may share the feeling.) Movie franchises by nature stay in a state of arrested development; we wouldn’t expect anything less of Schmidt and Jenko. (R) DIANA M. LE Varsity, Bainbridge, Big Picture, others WORDS AND PICTURES This is a pretty hip high school.

Not only do they employ a once-promising, now boozy, crushingly charismatic author as an English teacher, they’ve just hired an acclaimed painter—also loaded with charisma—whose career has been derailed by rheumatoid arthritis. Because of a trumped-up antipathy between these reluctant academics, this private school is about to witness a battle between, as the title puts it, Words and Pictures. Clive Owen and Juliette Binoche play wordsmith and picture-maker, respectively. The casting is a source of both appeal and disappointment in this one-note movie; the roles are large, but the material thin. Owen’s character, Jack Marcus, is about to get tossed from the faculty for his hungover manners and his declining commitment. Dina Delsanto (Binoche) is soured by her illness and suffering from creative block. That’s about it for those two, and the idea of the schoolkids choosing sides in the words-versus-pictures debate is also sketchily handled. That the film moves at all is due to veteran Aussie director Fred Schepisi’s ability to get a flow going. Schepisi is able to make the movie look good, and the interiors are always interesting. But all this effort is in the service of ideas that just feel so, so tired. (PG-13) R.H. Harvard Exit

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El Corazon

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Happy Hours

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

Hayes Carll on his singular brand of barstool wisdom.

THURSDAY, JUNE 26

GRAHAM LINDSEY with Billy Cook, Hopeless Jack & The Handsome Devil

BY GWENDOLYN ELLIOTT

and The Crossroads Exchange Doors at 8 / Show at 8:30PM 21+. $8 ADV / $10 DOS

THURSDAY, JUNE 26

FALLSTREAK with Hessler, White City Graves, Amanda Hardy and 1967 Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, JUNE 27

TO THE WIND with Taker (EP Release), Prestige,

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

FRIDAY, JUNE 27

SWAMPHEAVY (ALBUM RELEASE) with Great Falls, Wounded Giant, Lb.!(pound) and Un Lounge Show. Doors at 8 / Show at 9PM 21+. $6 ADV / $8 DOS COURTESY OF THE ARTIST

W

you know. People’s occupations, lifestyles, the way they deal with hardships—a lot of that’s universal. I think the details, as in how I’m writing about them, tend to color those songs.

Things like the cities those folks are from, the bars they go to.”

WITCHBURN with Wild Throne, Ape Machine, Tatarus, plus guests Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, JUNE 28

KEPI GHOULIE (ELECTRIC) with Dog Party, PETS, Bottlenose Koffins

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

SUNDAY, JUNE 29

SHOWTIME with Destroy Louis, Stories

Away, Galactic Pegasus, Confines, The Lion In Winter and Haster Doors at 5 / Show at 5:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY, JUNE 29

DISTRICT with Lover Fighter, Wonder, Dames,

Crossbows And Catapults Lounge Show. Doors at 6 / Show at 6:30PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS

JUST ANNOUNCED 7/15 LOUNGE KIGHT 7/17 FILTER / HELMET 7/19 LOUNGE BAREFOOT BARNACLE 8/3 SKA REVIVAL TOUR FEAT. THE LAST SLICE 8/9 YOB 9/8 PARADISE FEARS 9/9 NOTHING MORE 10/10 LOUNGE HAIL THE SUN UP & COMING 7/1 LOUNGE LAKODA 7/2 WATSON

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“Every now and then I’d turn around and see a lion, just sitting behind me.”

Carll’s most recent album, KMAG YOYO & Other American Stories (whose title refers to the army-derived acronym for “Kiss My Ass Guys, You’re On Your Own”), was the artist’s highestrated release, reaching #1 on the Americana charts while topping year-end lists from American Songwriter, Spin, and Rolling Stone. On it, as on his previous two recordings, Little Rock and Trouble in Mind, Carll’s knack for compelling songcraft is undeniable, a mix of barstool wisdom and wry commentary rendered in a dusty Texas drawl. Everything from the guy next door (“Grand Parade”) to the party-down ethos of what some folks do to get by (“Stomp and Holler”) gets the treatment.

“On [that] record, I wrote a lot about America, the economy, the war, and the political divide [because] that was specific to the times,” Carll says. “I’ve spent a lot of time in bars, in different places, places you can’t even find on the map,” he says. “That was just what I was seeing.”

Those observations come through in the music, and echo the nation’s polarized politics with real pathos that goes beyond the cover art of Carll in an ill-fitting American flag-patterned sweater. Two songs, in fact, mention the

» CONTINUED ON PAGE 38

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

hen singer/songwriter Hayes Carll returned to his Crystal Beach, Texas, home in 2008 following a tour of the UK, he found his house destroyed, along with 90 percent of the surrounding buildings, all caught in the path of Hurricane Ike. Somehow, miraculously, his friend’s pet lion survived.

“There were a lot of colorful characters in town,” Carll says, offering the backstory. “This one guy I knew had an illegal zoo, and sometimes he would drive his lion down to the bar where I was performing and park right behind the stage, where there was a window. Every now and then I’d turn around and see a lion, just sitting behind me.”

The lion, turns out, found sanctuary, quite literally, in one of the island’s last-standing buildings: a Baptist church. The animal weathered the storm locked in the sanctuary while its owner and a few other refugees waited it out in a separate area. Carll laughs. “That’s a redneck Life of Pi story right there.”

With a tale like that, it’s no wonder Carll has risen to the top of the alt-country music scene, filled as it is with great storytellers. Now living in Austin, the songwriter has four well-received albums to his name and co-writing credits with everyone from Ray Wylie Hubbard to fellow Texas troubadour Mary Gauthier (who also performs at the Triple Door this week). He was also the inspiration for fledgling country songwriter Beau Hutton in 2010’s Nashville biopic Country Strong. Carll, 38, has been touted as Spin’s “Next Big Thing” and next in line to the likes of Guy Clark (whom he’s also collaborated with) and Townes Van Zandt. It’s a distinctly American role for the songwriter, albeit a semiaccidental one.

“When I first started singing, I don’t know if it was [intentionally] American-specific or not,

SATURDAY, JUNE 28

37

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next • 7/5 commander cody • 7/7 movie mondays :: muscle shoals • 7/9 frank fairfield • 7/10 kobo town • 7/11 the paperboys • 7/12 freddypink • 7/13 dark divas • 7/14 & 15 the fixx: by request • 7/16 henry kapono • 7/17 susan ruth robkin • 7/18 roy rogers & the delta rhythm kings • 7/19 sinatra at the sands • 7/21 the polyphonic spree w/ sarah jaffe • 7/22 noura mint seymali • 7/23 dervish • 7/24 - 26 the buckaroos • 7/27 matt wertz • 7/30 & 31 x full band acoustic show

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Taliban. The first, “KMAG YOYO,” concerns a young army recruit “standin’ in the desert with a gun” who “thought of going AWOL but I’m too afraid to run,” and is set to the rollicking tempo of Bob Dylan’s “Subterranean Homesick Blues,” his ramshackle ’60s counterculture anthem.

The other is “Another Like You,” a duet with Cary Ann Hearst (of Shovels and Rope) about a bar hookup between a liberal and a conservative, both three sheets to the wind. It’s a fitting scene for Carll’s mythology; he cut his teeth performing in bars, and still spends hundreds of days a year on the road performing live (though now he’s booking bigger venues). And of course, so many Texas singer/songwriters—Van Zandt, Waylon Jennings, Kris Kristofferson, Steve Earle—have turned to drink not only for lucidity but to buffer the more complicated realities of life.

He’s heard the comparisons. “I’m always flattered to be compared to great writers, but it’s a double-edged sword,” Carll says. When he listens to those artists, “I can only hear their music with certain expectations. The most that I can hope for is to have a distinct voice, to be Hayes Carll. I just want to be me, and unique at that.”

By most accounts, he’s succeeding, though not

without a little help from his friends. Carll has a strong oeuvre of collaborative material—songs like the hilarious “Bible on the Dash,” written with Corb Lund and Todd Snider, about pulling out the Holy Book when you get pulled over to dodge the ticket—and he’s just as willing to share his talents onstage, as he did last year as part of Todd Snider’s Traveling Folk Show. He’s co-headlining his current tour—The World’s Greatest Living Songwriters of All Time Tour—with Austin singer/songwriter Bob Schneider.

“We’re going to tell some stories, sing some songs,” he says of the show, which features a 75-minute solo performance from each artist.

Both songwriters have distinct audiences, he says. “It’s been fun to see what Bob’s fans think of me, and how my fans react to him.” He also mentions that on stage, the two “may collaborate on something.”

More collaborations will likely result in September, when Hayes heads back into the studio for a new album. The new material will issue via his own imprint, Highway 87, and “will hopefully be out in the spring.”

“One Bed, Two Girls, Three Bottles of Wine,” for instance, a song he co-wrote with Bobby Bare Jr., has yet to be included on an official release.

“It’s fun sometimes, to get out of your head,” he says. “There’s something about having someone there with a different perspective, and a different line on things. A lot of the songs I cowrote I could never have written myself.” Especially writing and collaborating with mentors like Guy Clark and Darrell Scott, he says, which gave him “an incredible education. It shows you a way of doing things you hadn’t thought of before.”

Plus, he adds, “it’s just a really good hang.” E

gelliott@seattleweekly.com

HAYES CARLL With Bob Schneider. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $25–$35. 7:30 p.m. Thurs., June 26 (selling fast)—Fri., June 27 (sold out).

Casting a Hex

NTw.RlitYtlereMdhUenS.coICm LIVE COUww

Despite a curse, Darto’s spirit soars on its new EP.

HIGHWAY 9

BY KELTON SEARS

THURS JUNE 26 9PM - $3 COVER

FRI JUNE 27 & SAT JUNE 28

$5 FINE 9PM - $5 COVER SUN JUNE 29

BUCKAROOSTERS 9PM - $3 COVER

KELTON SEARS

D

Naturally, the group’s upcoming EP, Hex, is preoccupied with the spiritual realm. Its cover features a procession Harter witnessed on a trip to Peru: Catholics in traditional white pointed hoods called capirote during Semana Santa, or holy week, one of the holiest events in Latin Catholic communities.

But the image has stirred up controversy.

“We’re fully aware of what it looks like,” says Merz. “People immediately write it off as something it’s not without really looking into it, which is a really interesting parallel with how people treat spirituality, I think.”

Harter says she chose the cover because the spiritual moment it captures fits nicely with the album’s themes, but the objections some have to it has only deepened the album’s meaning for the band. “People are so afraid of it,” Harter says, “I think it’s interesting how this symbolism has been taken and changed into something else.

I think everybody is spiritual, but it’s a loaded word, like this imagery is.”

Hex is even fiercer than in difference. The forceful wave of lead track “Warrening” pummels before diving into the clattering, drum-driven barrage of “Duvall Days,” showcasing Ryan’s industrial precision while Harter and Merz do what they do best—summoning strange, incredible noises from their guitars.

This EP release is special, timed to coincide with the 20th anniversary of Bellevue’s Ground Zero Teen Center, which became a refuge from culture-starved Duvall while the siblings were in high school. Merz, now 27, spent five and a half years as the Center’s music director; Harter, also 27, leads its teen wilderness-immersion hikes.

But even in a band plagued by death, the siblings are finding, or at least hoping, a brighter future awaits by planting seeds here and now.

“That place means a lot to us,” Merz says. “All of our recordings were recorded there. Our first show was there. We only do all-ages shows because that place made us realize how important that is.” E

ksears@seattleweekly.com

DARTO Ground Zero 20th anniversary celebration, Fri, June 27–Sat., June 28. Record release show with La Luz, Iron Lung, Special Explosion, Dreamdecay, and more, 3 p.m. Sat., June 28.

Ground Zero, 15228 Lake Hills Blvd., Bellevue, 425-429-3203, gz.bgcbellevue.org. $8–$12. All ages.

T & D REVUE 9PM - NO COVER

MONDAY AND WEDNESDAY

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

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARY ANN

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

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

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

arto is a band plagued by death. In fact, they were born out of it.

Candace Harter and Nick Merz, two soft-spoken half-siblings who grew up in Duvall, have played in bands since they were 18. One, called Pregnant, they formed with their best friend Jared Sletager, whom they thought of as an older brother.

In 2009, they headed down to Portland to play a show. “Jared said goodnight to us after we loaded out to head to his girlfriend’s house,” Merz remembers.

Sletager was hit by a drunk driver later that night. He entered a coma and passed away a month later. “I didn’t know if I was going to be able to play music again,” Merz says. “It was just so intense.”

For a year, the siblings didn’t play at all. During that time, they inherited Sletager’s baritone guitar from his mother.

Now living in Seattle, their new outfit, Darto—named after their shared father’s nickname—emerged from that dark period, a strange sort of family band that’s been steadily producing some of the city’s best music on the DIY scene.

Driven by the specter of their “older brother,” his baritone guitar in tow (played by both Harter and Merz), and backed by the drumming of their real-life younger brother, Ryan Merz, the siblings make haunted spellsongs inspired by the creepy woods and rural farmland of their native Duvall.

Lynchian paranoia seeps into Darto’s menacing longform epics. “Highrise,” from the band’s first LP in difference, lurches along ominously like the unyielding march of progress that’s begun to transform their once-sleepy hometown.

But as if cursed, the album incurred another casualty—a tragic accident at family-run, Kentucky-based record manufacturer Palomino during the pressing of in difference. “The boiler that boils down the wax for the records blew up and killed the husband [owner Tom Dillander] while our record was being worked on,” Merz says. “It was really sad.” (The song “Boiler,” from their forthcoming EP, was written in response.)

In spite of this string of tragedies, Darto doesn’t profess to be a dark band. “I promise we aren’t goths,” Harter laughs. But when you see the band perform, you can feel the weight of their past. They play as if possessed—the Merz brothers strangling their instruments to eke out all the manna they have, while Harter sighs like a distant ghost.

TUES JULY 1ST

39

arts&culture» Music 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!

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

SEATTLE WEEKLY • JUNE 25 — JULY 1, 2014

JAZZ ALLEY IS A SUPPER CLUB

40

JEFF HAMILTON TRIO FT. TAMIR HENDELMAN AND CHRISTOPH LUTY WED, JUN 25 “One of the most celebrate jazz drummers of our time.” - Edward Blanco, eJazzNews

BRIAN MCKNIGHT THUR, JUN 26 - SUN, JUN 29

R&B Multi-Instrumentalist singer/songwriter

GREG ADAMS AND EAST BAY SOUL TUES, JUL 1 - THUR, JUL 3 Tower of Power founding members blend of funk jazz, R&B and soul

PLAYING FOR CHANGE SAT, JUL 5 - SUN, JUL 6

Inspiring, connecting and bringing peace to the world through music

ASLEEP AT THE WHEEL MON, JUL 7

9-Time Grammy Winning Kings of Western Swing

all ages | free parking full schedule at jazzalley.com

TheWeekAhead Wednesday, June 25

As far as West Coast black metal goes, Arcata, Calif.’s ASH BORER is right there at the cream of the crust-covered crop. Ever since its early demos in 2009 and its now-legendary self-titled split LP with fellow metal band Fell Voices, Ash Borer has relentlessly pummeled listeners with a uniquely raw take on the genre that instills a more visceral, scrappy feel than many of its counterparts—largely due to the lo-fi tape recording quality and the decision to eschew extensive post-production, which have become trademarks of the group’s sound. Relentless cymbals wash with warm tape hiss atop soaring, windswept melodies that summon images of cloaked heroes charging up mountains before plunging into the utter darkness of the caverns below. The band’s first proper album, Ash Borer, is a modern classic of the form, alternately atmospheric and brutally kinetic with riffs that stick in your head through all the grit and terror layered atop it—a feat the group pulled off with a slightly icier feel than in its latest, Bloodlands. As for terror, nobody invokes a sense of impending doom better than the show’s main support, Hell, whose sludgy, eardrum-bursting funeral music will make you want to crawl into your grave to hide from the encroaching demons. With Bell Witch. Highline, 210 Broadway, 328-7837, highline seattle.com. 9 p.m. $10. 21 and up. KELTON SEARS Don’t expect to “whip it good” at this DEVO show.

Instead, be prepared to hear a collection of the New Wave legends’ earliest tracks: basement demos circa 1974–77 that were released on 1990’s Hardcore Devo: Volume One. In memory of former guitarist Bob Casale, who died suddenly in February, a portion of all tour proceeds will go to his family. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents. org/neptune. 8 p.m. SOLD OUT. 21 and over. AZARIA C. PODPLESKY KING KHAN & THE SHRINES is all about the experience. Sure, the music is lively and ornate, but it’s only a device that fuels the band for its manic and spastic performances. Frontman Arish “King” Khan himself embodies the bold persona of a soul singer, and his shimmering outfits and bellowing voice give him command over a crowd, which he is known to jump into headlong. Listening to the band’s records home alone—like the recent digital reissue of What Is? and the latest, Idle No More—can be fun enough, but dancing with sweaty strangers while marveling at the soul-titan that is Khan is the best way to understand what the band’s all about. With Red Mass, Night Beats. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $15 adv. 21 and over.

DUSTY HENRY There are only eight songs on MARY GAUTHIER’s latest, Trouble & Love, but the 52-year-old songwriter packs in enough emotion to fill a double LP. No Depression called it “the breakup album to end all breakup albums” and it finds Gauthier trying to make sense of the wreckage of a tumultuous relationship. Though the songs are intensely personal, they were a collaborative effort, with Gauthier inviting a handful of her Nashville songwriting friends to help her grieve by listening to her story and then trying to capture it musically. If all this sounds a bit unorthodox, well, that’s the norm for Gauthier, who didn’t write her first song until age 35 after quitting a successful career as a chef and restaurateur.

She works outside the Nashville mainstream, but also manages to infiltrate it on her own terms; she releases her own albums, but has had her songs recorded by Blake Shelton and Tim McGraw and featured on ABC’s country-music drama Nashville.

She also teaches three-day songwriting workshops for almost $1,000 a pop, but for a lot less you can get a lesson of sorts at one of her two Seattle-area shows—just make sure you bring a hankie for the songs from the new record. (She’s also appearing at the Treehouse Café on Bainbridge Island tomorrow.)

With Lynn Miles, Eliza Gilkyson. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $22 adv./$25 DOS. DAVE LAKE

Thursday, June 26

Having spent most of his career as the voice behind some of the most swoon-worthy R&B songs, BRIAN MCKNIGHT surprised fans and critics alike with plans for an “adult mixtape” in 2012. But backlash over somewhat crude lyrics cut those plans short,

and the “Back at One” crooner returned to his romantic roots, releasing More Than Words last year.

Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com.

7:30 & 9:30 p.m. through Sunday. $54. All ages. ACP Swedish dance/pop darling ROBYN—of recent hits “Dancing on My Own” and “Call Your Girlfriend” fame—shares the stage with Norwegian electronic duo Röyksopp on a world tour promoting their recent collaborative five-track mini-album, Do It Again. The trio joined forces in 2009 on Röyksopp’s “The Girl and the Robot,” a remix of which received a Grammy nod, and again in 2010 on Robyn’s “None of Dem” on her 2010 Body Talk Pt. 1. Tour performances feature sets from the artists separately and combined. With Zhala. Marymoor Park, 6046 W. Lake Sammamish Pkwy., 205-3661, marymoorconcerts.com. 7 p.m. $39.50 adv. All ages. JESSIE MCKENNA A recent article on HotNewHipHop.com credited ASHER ROTH with pioneering “weirdo rap” in the wake of his 2009 debut, Asleep in the Bread Aisle.

“Weirdo rap” indicates that rap has a center to be left of, and this has not been true since its origins. It also seems to stigmatize experimentation and diversity, which Roth’s long-awaited second studio album, RetroHash (an anagram of his name), has in droves.

Roth continues to distance himself from his “I Love College” days, trying to find his voice on an album that’s eclectic almost to a fault, but more laid-back than previous releases. With Chuck Inglish, Brothers From Another, Irukandji Physics of Fusion. Neumos.

8 p.m. $15 ($35 meet and greet). MICHAEL F. BERRY

Friday, June 27

Since releasing their sophomore album, More Than Just a Dream, last year, soul-fueled pop sextet FITZ AND THE TANTRUMS has ruled the airwaves. For good reason, too; the band has substance to back up its style. Singles “Out of My League” and “The Walker” boast shout-out-loud choruses, spunky vocalists Michael Fitzpatrick and Noelle Scaggs, groovy bass lines, and a heavy dose of saxophone.

With Max Frost and HOLYCHILD. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxpresents.com.

9 p.m. $29.99 adv./$35 DOS. All ages. ACP In 1988, the Industrial Revolution of rock & roll brought forth the “Satanic” and sexploding act MY LIFE WITH THE THRILL KILL KULT (TKK for short), a group that began as a film project and soon turned into an experimental dance/rock outfit. (It just as quickly made the infamous Parents Music Resource Center’s list, deemed “dangerous” and “obscene” for young audiences.) Spooky Tricks, the band’s 13th studio release, hit the shelves in May, but the band promises to bring classic TKK tracks to the stage.

“Sex on Wheelz,” anyone? With DJ Toxic Rainbow, Murder Weapons, This Soil Is Diseased, Pill Brigade.

Studio Seven, 110 S. Horton St., 286-1312, studio seven.us. 8 p.m. $15 adv./$17 DOS. 21 and over. JM

Saturday, June 28

JANSPORT SESSIONS That company that’s made

every backpack you’ve ever owned since elementary school is coming to Seattle to showcase two of our glossiest indie acts alongside U.S./New Zealand’s Unknown Mortal Orchestra. First off is La Luz, Hardly Art’s surf-rock darlings who have hung ten into the hearts of the nation thanks to their eerie, Quentin Tarantino’d take on the typically sunshiny genre—which makes sense given that Washington is a very cloudy place to be surfing in the first place.

It’s Alive, the group’s latest record, pairs ooh-ahh Shangri-La harmonies with Link Wray’s reverbed-out greaser-gang menace. On the other end of the bill are part-time Seattleites Craft Spells. Casting woozy, romantic magic with their shimmering guitars, the band is somewhere between the chillwave of the 2000s and the lovey-dovey sheen of 1986, like the soundtrack to a John Hughes film that was never made. This is sad prom music, for swaying your puffy-dress/turquoise-tux-wearing date forlornly to and fro as your bangs gently bob up and down.

Nausea, the group’s new LP, is even more languid, a slightly jauntier take on The Cure’s pop gloom.

Hilliard’s Brewery, 1550 N.W. 49th St., 257-4486, hilliardsbeer.com. 6 p.m. Free with RSVP to jansport bonfiresessions.noisey.com. 21 and up. KS TRASHIES If you like your rock & roll covered in a thick layer of disgusting filth, the Rendezvous is the only dumpster you should be diving in tonight. That’s because both Trashies and Trash Fire share the bill, two of Seattle’s finest trashcore bands who proudly peddle their junk-punk to the lowest bidder. With about 80 percent of its discography clocking in at

Tuesday, July 1

Andrew Hung and Benjamin Power of FUCK BUTTONS don’t want you to be comfortable. This London-based duo creates hypnotic electronic soundscapes that explore the grislier side of things.

From production to making their own knobs and instruments, the pair has a hand in every aspect of their albums, and each detail is intentional. Their most recent album, Slow Focus, throbs with dense compositions that balance beauty and brutality. In every song, harsh synthesizers build upon driving beats, crescendoing into a symphony of distorted bliss, moving with great dynamism. Arrangements

evoke images of an expansive tundra, cold yet full of space and solace. As the album settles in, you start to relax in the discomfort; to hear the brilliant subtleties within every moment of feedback; to relish this different kind of harmony. Hung and Power don’t want you to be comfortable, and this is good. Like most things, there is no progress without moments of dissonance; excitement and exhilaration are often on the other side of the coin. With Total Life. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile. com. 8 p.m. $18. All ages. STIRLING MYLES Everything about KRAFTWERK is exacting. Founded in 1970, the troupe included four players, then halved; Ralf Hütter and Florian Schneider continued to execute lean electronic music through 2008, when Schneider retired (presumably he needed an oil change) and the group halved again. Hütter enlisted a new trio of performers to flesh out the group again to four and fill out his electronic dream, complete with a new vision to render Kraftwerk’s eight albums (several early efforts have been disavowed) alongside 3-D projections. With a new album reportedly in the works—that’s nine total—expect that Hütter’s not quite done yet; he’ll likely produce a 10th, just to round it off. The Paramount, 911 Pine St., 902-5500, stgpresents.org/paramount. 7:30 p.m. $33.75–$65.75.

DAVE CANTOR Bon Iver’s S. CAREY is carving out a solid solo career for himself. His just-released sophomore album, Range of Light, is a follow-up to 2010’s All We Grow, and continues to demonstrate his skill with subtlety and layers. “Fire-scene” is a perfect example of what the S. Carey experience is like, with folk and jazz rhythms augmented by classical piano strains as he repeatedly, hypnotically, sings lines like “On and on/All I want is honesty.” Adding oomph to the song is its accompanying video, which plays like a vivid, chillingly beautiful call for tourists to come to the northeast in the dead of winter. Gorgeous stuff.

With the Pines. The Triple Door. 7:30 p.m. $16. All ages.

BRIAN PALMER Send events to music@seattleweekly.com.

See seattleweekly.com for full listings.

Club Shred

Yngwie Malmsteen on guitar.

BY DAVE LAKE

much. I do play guitar when I’m at home, but I don’t practice.

Have you reached your peak in terms of technical abilities?

There’s never a peak. Technique goes to a point, and after that it’s what you do with it. It’s all about what notes come out and how they sound.

Let’s run through some guitar gods, and you can weigh in on each. Slash?

EKATERINA MEZHEKOVA

under 2 minutes a song, Trashies’ body of work is a veritable field guide to true-blue punk life. Songs about incest and bad ink decisions like “Taz Tattoo,” tunes about culinary fare like “Corndogs and Ranch,” “Chicken Sandwich,” or “I Ate the Trash,” and the aural middle finger of “I’m High So What” are a glance into what it’s really like sporting a rattail and not giving a rat’s ass on a day-to-day basis.

Trash Fire (featuring Schoolyard Heroes’ Jonah Bergman) plays its own brand of punk, veering more toward the Ramones’ classic ’50s-infused doo-wop punk-pop, with choruses that will have everyone sloshing beer on one another’s leather jackets as they scream along about wasting time and living the trash life. With Bad Motivators, the Everymen.

Rendezvous, 2322 Second Ave, 441-5823, jewelbox theater.com. 10 p.m. $8. 21 and up. KS Following 2011’s Ninth, former Bauhaus lead singer PETER MURPHY is back with Lion. The album, Murphy’s 10th solo release, plays like a rock opera, with intense orchestral instruments pairing with arena-ready guitar riffs and thundering percussion while Murphy’s baritone weaves a tale that’s both romantic and deeply emotional. Think David Bowie’s performance in Labyrinth, only without the odd Jennifer Connelly plotline. With Ringo Deathstarr.

The Showbox, 1426 First Ave., 628-3151, showbox presents.com. 8 p.m. $22 adv./$25 DOS. 21 and over.

ACP

He’s great. Quintessential rock-&-roll guy.

Brian May?

Oh my god, he’s one of my favorites. I love him.

He’s an amazing guitar player.

B.B. King?

I love him.

S

wedish guitar virtuoso Yngwie Malmsteen rose to fame in the 1980s by combining classical music with heavy metal while outplaying virtually all his contemporaries in the process. When we caught up with him to chat about his current Guitar Gods tour, which pairs him with Gary Hoey and Guns N’ Roses’ Bumblefoot, he was a man of few words—he always lets his guitar do most of the talking, anyway.

SW: Have you ever had any injuries from shredding too hard?

Malmsteen: I had a little bout of tendinitis when I was, like, 20 years old, but it just went away.

Are your fingers just as dexterous at 50 as they were at 15?

No doubt about that.

Do you still practice a lot?

I don’t really have to because I have to play so

The Edge?

He doesn’t stand out as a guitar player per se, but I think what he does with [U2] is very, very good.

George Harrison?

Great songwriter and great band.

Dave Mustaine?

He has a great ethic.

Wes Montgomery?

I don’t know him.

He’s a jazz guy. Do you listen to jazz?

Not really, no.

Eddie Van Halen?

I’ll never forget when I heard him for the first time. I still think he’s fucking incredible. E

music@seattleweekly.com

YNGWIE MALMSTEEN With Gary Douglas Band. Showbox, 1426 First Ave., 628-3151, showboxpresents.com. $31.50 adv./$36.50 DOS. 8 p.m. Thurs., June 26.

SE ATTLE WEEKLY • JU N E 25 — JULY 1, 2014

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KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7906-01 TAKE NOTICE: That Sound Transit: Northgate Link extension - Roosevelt Station - Phase 2, located at 6600 Roosevelt Way NE, Seattle, WA 98115 has filed an application for an industrial waste discharge permit to discharge industrial waste into the West Point Treatment Plant from its construction dewatering operation in the amount of 626,400 gallons per day following treatment, in compliance with rules and regulation of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency.

The approximate point of discharge is 6600 Roosevelt Way NE, Seattle, WA 98115.

Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on this application, should notify the King County Industrial Waste Program at 130 Nickerson Street, Suite 200, Seattle, WA 98109, in writing, of their interest within 30 days of the last date of publication of this notice. Publication dates of this notice are: June 18, 2014 June 25, 2014

NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180 Employment General ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader.

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To find out more, Call ANEW 206.381.1384 www.anewaop.org MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department.

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

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

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

Employment General

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Seattle Be a part of the largest community news organization in Washington! *Do you have a proven track record of success in sales and enjoy managing your own territory? *Are you competitive and thrive in an energetic environment? *Do you desire to work in an environment which offers uncapped earning opportunities? *Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions?

If you answered YES to the above, then we are looking for you! Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, results-driven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients.

As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service.

This position receives a base salary of $24k plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient. If you have these skills, and enjoy playing a pro-active part in impacting your local businesses’ financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com, ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us!

Employment Professional RECEPTIONIST/ ACCOUNT ASSOCIATE Servco Pacific Insurance is a rapidly growing insurance brokerage agency with offices in Seattle, Tacoma and Oregon.

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Sr Operations SW Engineer (Lead) Aptimus, Inc., an Apollo Education Group co has an opening in Seattle, WA. Job code 6172014, Sr Operations SW Engineer (Lead): formulate/define specs, plan & modify/maintain apps.

Email resume to: Recruitment@apollo.edu & include job code & title + recruitment source in subject line. EOE Application Developer – Capital One ShareBuilder, Inc in Seattle, WA; Mult pos avail: Participate in tech design, dvlpmnt, modification, & implementation of comp apps using existing & emerging tech platforms. Requires Bachelor’s or higher or foreign equiv in CS/Engineering/CIS/rel tech field, 2 yrs exp in job offered or app dvlpmnt; and following skills through edu or work exp: .NET (C#); ASP.NET; HTML; CSS; JavaScript; OO Design/Programming for Windows Server and IIS platform. Must pass company’s assessment.

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Experience to include MS Sales & Mercury, SharePoint administration and development, financial system auditing and reporting, Microsoft SSRS and SSIS, Business Intelligence (Cube) and SQL Database. Mail resume to: K. Richardson, Rylem LLC, 316 Occidental Ave S, Suite 101, Seattle, WA 98104.

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ENGINEERING Cisco Systems, Inc. is accepting resumes for the following position in Seattle, WA: Software Engineer (Ref# SEA1): Responsible for the definition, design, development, test, debugging, release, enhancement or maintenance of networking software. Network Consulting Engineer (Ref# SEA6): Responsible for the support and delivery of Advanced Services to company’s major accounts.

Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship.

EOE. www.cisco.com

Commercial space avail perfect for office. 880sqft.

Rent $1,760 + NNN. Call (206) 441-4922 Daniel University District 3 bedroom apts available for rent.

206-441-4922 9am–2pm

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

WA Misc. Rentals Rooms for Rent U-DISTRICT $450-$550 All Utilities Included!

Call Peir for more info (206) 458-0169

WA Misc. Rentals Want to Share

Vehicles Wanted

Appliances

SM. DIESAL PICKUP wanted. Prefer Toyota but will consider other makes. All conditions considered, running or not. Have cash & will pay a fair price. 503-8052684.

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

206-244-6966

TUKWILA / BURIEN

$490 HOME SHARE IN quality neighborhood.

One adult only. Your own private living room, bedroom, bath, sink, fridge, counter area plus free TV. Private entrance. Private off street parking place. Laundry on-site. Lg quality home.

Employed with steady income, references & deposit req. No smoking/ pets. Call evenings 206246-4700, 206-2434171.

Bazaars/Craft Fairs

CRAFTERS/ VENDORS APPLY NOW FOR VASHON’S ALL ISLAND Bazaar Early bird special $35; 6’ rectangular table / chairs. After 8/15/14 registration is $40. Held Sat 11/22, 10-4, McMurray Middle School. Applications email Holly Daze Registrar Diane Kajca at r.kajca@gmail.com Diane 253-579-4683.

Molly 206-329-4708.

Signe 206-353-6232. www.stjohnvianneyvashon.com

Firewood, Fuel & Stoves

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

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

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

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

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

Appliances

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

206-244-6966

KENMORE FREEZER

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

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

Credit Dept. 206-244-6966

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

206-244-6966

Classified Ads Get Results!

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

UNDER WARRANTY!

WARNING HOT GUYS!

Classified Ads Get Results!

Seattle

206.877.0877

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

Credit Dept. 206-244-6966

STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles.

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

%206-244-6966%

SUMMER JOBS

to Protect Our Civil Liberties Pay $4800-$8000 for Summer Work with Grassroots Campaigns, Inc. on behalf of the č 1 Ì w } Ì v À / À } ÌÃ] protect a woman’s right to choose > ` w } Ì Û ÌiÀ ` ÃVÀ >Ì ° Full-time/ career.

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Housekeeping Job Fair Fri. June, 30th - July 1st from 10am-12pm • Detail Workers • Event Worker • Post Event Workers • PT Housekeeping Positions

Come to the NE VIP located on the north side of the stadium.

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Lead Generator for The Tree Industry Flexible Hours - Outdoor Position

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Work for the NW Largest Residential Tree Preservation Company.

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

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@ 206-623-6231, to place an ad #1 INTERNET OPPORTUNITY Adult Ent. Website. (Recession proof business) Join the Billion $$ Industry. Everyone approved.

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

Boxing/kick Boxing and Thai Boxing.

Basics and advanced techniques for all genders Self-Defence 750 N 34th street Fremont WA, 98103 206 778-7698

$ TOP CASH $

ARTS & ENTERTAINMENT

$100 TO $1000

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

FILM

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PAID FOR UNWANTED CARS & TRUCKS

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HomeWell Senior Care Franchising is growing!

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

facebook.com/seattleweekly

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

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

ADDITIONAL QUALIFICATIONS: Q Participants must be 12 or older.

Q Participants must be able to make 6 office visits combined with one follow-up phone call.

Q The study lasts up to 16 weeks. Q 2 Inhaled investigational study medications must be taken twice a day from 2 separate investigational devices during this research study period and symptoms must be monitored daily.

Participants may be reimbursed for time and travel.

Call for more information.

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

Help us research how flaxseed lignans affect the colon.

Who is Eligible f

Men and women, ages 20-45, non-smokers

f

Don’t eat a lot of vegetables

f

Not on any prescription medications (including oral contraceptives)

This is an important research study of an investigational, inhaled medication that requires on inhaled dose, twice a day, from a single investigational devise. You don’t need medical insurance and time & travel may be reimbursed.

Main Activities Over a period of 12 months

f Take study capsules f Blood draws, stool and urine

You or your child: Q Must have persistent asthma Q Must be on a stable, low-dose inhaled corti-costerioid and/or long-acting bronchodiator or a stable dose of a non-corticosteroid therapy for at least 4 weeks. Q Must be able to make 6 office visits and make one follow-up phone call. Q This research study will last up to 16 weeks. There will be no blood draws and the research medication we give you or your child must be taken twice daily from one device and daily progress must be monitored. Participants may be reimbursed for time & travel. Call us about other details of this research study.

collections f Sigmoidoscopies f Receive $700 for participating

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

We’re here to help. Call for more study information.

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

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

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

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

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

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

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

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

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

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

IRB approved 07/31/2012

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