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TAKING THE LEAD

BY NINA SHAPIRO | SPD renews its

commitment to a rehabilitation program even Texans can get behind. Plus: new tent cities; how crows may be raising property values; and a new episode in the Letourneau saga.

11 RECORD STORE DAY

BY SW STAFF | Though some complain

it’s getting too corporate, one Capitol Hill store is keeping it weird. Plus our picks for in-stores and special releases.

food&drink

15 STOOL BOOM!

BY NICOLE SPRINKLE | That ubiquitous industrial-chic seating has a 80-year transatlantic backstory.

15 | FOOD NEWS/THE WEEKLY DISH

arts&culture 17 EIGHTBALL IN A BOX

BY ROGER DOWNEY | Why Daniel Clowes is the man in contemporary comix.

17 | THE PICK LIST 19 | DANCE REVIEW | Again with the

feathers at PNB. 20 20 21

| PERFORMANCE/EAR SUPPLY | VISUAL ARTS | BOOKS

22 FILM

a French muse, an FBI break-in, and James Franco on death row.

24 | FILM CALENDAR

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Plus: a chat with Blood Drugs.

28 | THE WEEK AHEAD

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29 | HIGHER GROUND 30 | CLASSIFIEDS

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Changing Fortunes

What the UW Protesters Want

Last year, LEAD was twisting in the wind. Now officials are embracing the much-lauded crime-fighting program as never before.

BY KATE CLARK

U

BY NINA SHAPIRO

niversity of Washington student activists learned a new method of bargaining last week: make the Board of Regents really uncomfortable while they eat dinner and they’ll comply. The UW raised its minimum wage for students just one day after dozens of members of Reclaim UW, a coalition of student worker groups, picketed the regent’s dinner meeting on April 9 at the UW Club. The coalition, spearheaded by UAW Local 4121, a union of 4,500 academic student employees, shouted a list of demands, one of which was to increase the minimum wage for student employees—2,600 students are now richer, with a new wage of $11 an hour retroactively effective April 1. While this was a big win for Reclaim UW, several of their other demands await a response from the UW administration. Here are three of the biggest.

A

LEAD helped Gerald Brooks, and when he lost his way, the program took him back.

tions—money which will dry up by the end of this year.

The city is pursuing other crime-busting strategies as well. O’Toole, in an interview before the press conference, said that she’s concerned about “getting gun-carrying drug dealers off the street” and that “we’re definitely doing some enforcement . . . More on that in the next couple of weeks.”

Still, the turnaround on LEAD was striking, and can be traced, in large part, to a University of Washington evaluation with startling results that began circulating a couple of months ago.

The evaluation compared the recidivism rate of approximately 200 people who participated in LEAD to that of 115 people who went through the criminal-justice system as usual. Those in LEAD were roughly 60 percent less likely to be arrested again within a period of two and a half years after the program began.

As officials cast about for ways of responding to widespread complaints about downtown

» CONTINUED ON PAGE 6

the chatterbox » Wage War In the days following its implementation, Casey Jaywork spoke with local business owners about the new $11 minimum wage (“How’s the Boss?”, April 8, 2015). In the article, he quoted local ice-cream-shop owner Molly Moon: “I’ve heard that it’s discouraging some chain companies, big-box companies, from expanding more inside Seattle city limits. I think that’s great, because that is leaving our city to local business owners.” Reader unrepentantcapitalist responded: “This shows the economic ignorance of the speaker. Local businesses cannot match the skill and operating effectiveness of chains. So if the chains find the business conditions of any area undesirable, they are likely fatal for any ‘local’ businesses. Of course for an already established business, it’s in their best interests to put up barriers to any possible competition.”

End microaggressions and structural inequalities In a letter to the Board

Lower or freeze tuition The state Sen-

$

Conform to Seattle’s minimum-wage laws While the UW did increase the

of Regents, Reclaim UW said it wants to eliminate inequality in the “broadest sense.” “We mean racial inequality in which only 3 percent of students and 1.7 percent of faculty identify as Black; economic inequality in which 12,000 campus workers sustain themselves on less than $15/hr, while over 1,700 UW employees make above $150,000 per year; and structural inequality in which binding power and authority rests with a Board of Regents.”

The letter goes on to ask for the establishment of a Racial Equity Fund to increase the number of minority faculty, among other requests. ate and House appear on board with this request since neither have proposed tuition increases—instead proposing a cut and a freeze, respectively. But Reclaim UW asks the university to do this without negatively impacting the pay of any of its custodial staff, trade workers, classified staff, or any other UW workers making less than $100,000 annually. Instead they suggest cutting tuition and easing the cost of living in UW resident halls by adjusting the pay of nearly 500 employees of the University making more than $200,000 per year (including football coach Chris Peterson, who makes more than $2.5 million).

wages of its lowest-paid workers, it has yet to announce if it will continue to augment wages in congruence with the city of Seattle. In a written response to this very question, UW Interim President Ana Mari Cauce said further increases in wages “may be more difficult to accomplish, but with continued input from our students, we will make every effort to be in sync with the city that is so much a part of our identity.” The UW has put together a task force to discuss further raises—it’s a waiting game now. E

news@seattleweekly.com

SEATTLE WEEKLY • APRIL 15 — 21, 2015

a “renewed commitment” to the program, as articulated by a press release from the mayor.

“I’ve spent my entire professional life in pursuit of justice,” said Mark Larson, chief criminal deputy for the King County Prosecutor’s Office, one of the many who waxed eloquent at the press conference. Yet, LEAD, he said, was “offering more than justice.” It was offering “redemption.”

“It is now time to take the program to the next level,” declared the mayor. He said he was taking a number of steps to grow the program “to scale.”

Currently, LEAD’s strongest base of operations is Belltown, although it officially operates throughout downtown. The mayor’s steps include engaging a nonprofit think tank to come up with expansion strategies and having SPD dedicate a lieutenant full-time to coordinating with the program.

Murray declined to identify new neighborhoods that the program might venture into, and conceded “funding is going to be an interesting issue.” At the moment, half of LEAD’s $1.5 million annual budget comes from private founda-

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KYU HAN

few months ago, Marc Levin was gushing about Seattle’s Law Enforcement Assisted Diversion, better known as LEAD, an innovative program that provides low-level criminal offenders with intensive social services rather than giving them jail time.

Levin had been part of a sizable Houston delegation that came to Seattle to see the program the preceding June. “It was really impressive,” Levin, policy director of the conservative Texas group Right on Crime, recalled. He depicted LEAD as a “bold” strategy to counter excessively high and expensive incarceration rates, which afflict his state as much as anywhere else.

LEAD has its roots in classic Seattle liberalism, so praise from a conservative like Levin is a little surprising—but only a little. Since it began in the fall of 2011, LEAD has attracted international attention and roughly 150 out-of-town visitors, according to Lisa Daugaard, a prominent public defender largely responsible for conceiving the program. Two cities, Albany, N.Y., and Santa Fe, N.M., returned home to start their own LEAD programs.

What Levin’s delegation undoubtedly didn’t know is that in Seattle—a city increasingly proclaimed by its officials as a progressive model for the rest of the country—LEAD was twisting in the wind. Beginning last spring, the Seattle Police Department had slowed referrals into the program to a trickle, and Daugaard says program leaders felt they were at a crossroads. If officers didn’t send more clients their way, the program would cease to operate.

“At no time did we say we should back away,” says Seattle Police Chief Kathleen O’Toole. She concedes that certain distractions took SPD’s energy away from LEAD, however—foremost among them “a change of leadership.” O’Toole arrived on the scene in June after a rocky period for the police department, which encompassed a discipline scandal and a changing cast of police commanders under new Mayor Ed Murray. The turmoil cast out LEAD’s biggest champion within SPD, onetime interim chief Jim Pugel. Facing a demotion, he left the department in March 2014.

Now chief deputy of the King County’s Sheriff ’s office, Pugel was in attendance at a press conference last Wednesday that revealed a remarkable change of fortune for LEAD. Not only is the program carrying on, it is being embraced as never before.

A who’s-who of local public officials gathered at the Belltown Community Center to announce

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news&comment» Changing Fortunes » FROM PAGE 5

use. He says he also thought he could stop taking the classes arranged by LEAD. That’s the place he was in when one day early this year an Auburn police officer stopped him crime, whatever doubts some harbored about LEAD largely dissipated. “As soon as the evalua- for jaywalking and discovered two old warrants. tion results became known, that was pretty much It’s a common misperception that being in LEAD exempts participants from all prosecuthe end of the debate,” Daugaard says. tion. In actuality, only an initial charge is auto“What’s really amazing is that [LEAD] actumatically deferred, although LEAD case workally works,” said county Sheriff John Urquhart ers will frequently come to court to speak on at last week’s press conference, echoing an oftbehalf of their clients. Brooks didn’t call LEAD, heard refrain. “And now we have the proof.” though. He wasn’t much in touch anyway then.

Yet LEAD’s success does not lend itself to “I rode it out,” he says. simple before-and-after stories. While He was ordered to 75 days in the UW study showed dramatically jail, but says it felt like years. “I less recidivism for LEAD parhadn’t had handcuffs around my ticipants, it also revealed that the rearms in a long time.” When he arrest rate was still high, 58 percent. got out, he went back to LEAD. “We’re dealing with individuals At this point, Brooks could be who have engaged with addiction, the considered a LEAD failure. But criminal-justice system, and homethe program doesn’t look at it like lessness for a long time,” says LEAD that. The program follows a “harm program manager Cathy Speelmon. reduction” model, which accepts “Change doesn’t happen overnight.” people where they are and encourIndeed, what may be most remarkages them, without coercion or able about LEAD is its willingness to When he volunteered judgment, toward a safer, healthier stick with people others have written for LEAD, Brooks was dealing and doing drugs. path. If they fall back into old off, even when it might seem as if all ways, they aren’t kicked out—ever. the help the program has offered has “We can always start over,” Brooks’ longtime case come to naught. worker Tina Walker used to tell him.

Walker was retired by the time Brooks “My past hunts me,” says Gerald Brooks, sipreturned to the Belltown LEAD office in Febping a caramel frappuccino at a Belltown Starruary. His new case worker, Brian Pope, says bucks. Three years ago, he had the same drink in he didn’t ask Brooks many questions about the same place as we met for the first time. Then where he’d been. But Pope says he gathered 41, he had spent most of his adult life homeless, the experience had been a turning point. addicted to crack and heroin, and intermittently Brooks appeared clean, sober, and “100 percent incarcerated on a variety of charges including engaged,” Pope recalls. drug dealing, shoplifting, and robbery.

Case workers make a distinction between the As he remembered it then, he had volunteered “contemplative phase,” when their clients mull for LEAD several months prior, becoming one a different life path, and the “changing phase,” of the program’s first participants. “Fuck, I’m when they fully commit to it. Brooks, it seems to tired,” he recalled saying to himself.

Pope, is now in the changing phase.

When we first met, he was just about to start Together, Brooks and Pope are working at methadone treatment to wean himself off heroin.

Yet his ability to change was anything but clear. He clearing the next big hurdle: finding a permanent place to live. When Brooks went back to arrived at our meeting high on heroin and pulled jail, he gave up his Auburn apartment. Pope got out two phones—”one for drug money, one for ho him a room in a Kent group house for recovermoney.” Both were for selling drugs, but he said he ing addicts, but Brooks says it’s not the same had a separate line just for selling to prostitutes. as having his own place. They’re working on an “I have one phone now,” he tells me when we meet one day last week. It has a new number, one application for a Section 8 housing voucher. he says he gives to family, his LEAD caseworker, A bigger challenge is finding a landlord who will rent to someone with criminal convictions. and hardly anyone else.

Pope, in the hands-on approach of LEAD case And another change in him is more readily workers, has been calling and visiting landlords apparent. A scrawny 130 pounds when we met in alongside Brooks.

2012, the 6´2˝ Brooks now weighs 280. “I got off At Starbucks last week, Brooks, who stopped drugs,” he explains simply and in a voice considerby the LEAD office on the way, says that Pope ably less hyper than in his addict days. He tells me has finally found a couple of possibilities in Burthat he went on methadone and participated in an ien. Brooks is cautiously hopeful. He’s also busy, addiction-treatment program LEAD enrolled him in. Then he weaned himself off that substitute drug. having re-immersed himself in classes, counselMeanwhile, with LEAD’s help, he moved into ing appointments, and support groups. A typical day, he says, starts at 5 a.m. and involves traveling the first apartment of his adult life. “I opened up from Kent to Renton to Auburn to Burien and my refrigerator every 15 minutes. When I was then back to Auburn, all by bus. cold, I turned the heat on. When I was hot, I It’s hard to know whether Brooks will stumble opened the window.” again. And yet his progress, uneven as it is, seems And then, he says, “I got bored.” He started undeniable. His past may hunt him, but it also to mind that his phone barely rang and he had reminds him of what he’s fleeing. Through a little to do but go to addiction and other support Starbucks window, he spies an old cohort from classes arranged by LEAD. “I wasn’t using, but I the streets, clad in a hoodie and sagging jeans, still had the sensation of being in the game.” In striding away from us. “I don’t want to be like fact, the game was all around him. The part of that,” he declares. His plan, he says, is “to keep Auburn he moved into, it turned out, was beset doing what I’m doing.” E by drug dealing. He jumped in again. He says he thought he could sell drugs without starting to nshapiro@seattleweekly.com

Setting Up Camp

A new rule opens city land to tent cities, but where will they go?

BY CASEY JAYWORK

CASEY JAYWORK

Nickelsville is the city’s only formal tent city, but not for long.

T

posed a similar encampments bill in 2013. “But the goal should be bigger things,” he adds.

Licata chalks up the newfound success of encampment legislation to the shifting political winds in Seattle. “I think the unrecognized partnership in this city . . . is between the mayor and Kshama Sawant,” muses Licata. “Kshama stokes the coals and Murray gets the engine running.”

While the ordinance passed unanimously, the particulars of where to allow encampments remain controversial. The ordinance keeps the three new tent cities out of residential areas, but it also directs the Department of Planning and Development to conduct an impact study on potential encampment sites across the city.

Sawant successfully added an amendment making DPD look at all residential zones, while thencouncilmember Sally Clark (who has since resigned to work at the University of Washington) unsuccessfully tried to exclude single-family residential areas (which constitute most of Seattle) from the impact study. For Sawant and homeless activists, this is a social-justice issue: They call limiting encampments to non-residential areas “redlining,” a term for discrimination that uses location of residence as a proxy for race or economic status.

For Clark, what was at issue was efficient use of resources. “For everything that you ask [DPD] to study, there’s something else that they’re not gonna study,” she said after the ordinance passed. It’s not that she opposed encampments in residential areas, she said, pointing out that the city already allowed (and has hosted) such. Rather, she didn’t think the city was likely to approve tent cities inside singlefamily neighborhoods anytime soon, so it didn’t make sense to spend resources researching their potential impacts.

Particulars aside, there’s broad consensus that encampments are not a permanent solution, and that the real problem lies in big, complex social issues like housing availability, wages, and socialservices funding. Clark, Licata, and Sawant have all proposed some kind of publicly assisted affordable housing, as do Franz and likely many of his neighbors at Tent City 3. The problem, of course, is how to get there. E

cjaywork@seattleweekly.com

SEATTLE WEEKLY • APRIL 15 — 21, 2015

hree hundred more tents means that at least 300 more people will have shelter,” says Roger Franz. The adviser to, and resident of, Tent City 3 in Shoreline is referring to the Seattle City Council’s March 31 approval of new zoning rules, proposed earlier this year by Mayor Murray, that will allow three new 100-person encampments on Seattle public land.

That’s 300 people not sleeping in doorways or under bridges; 300 people who can leave their belongings behind when they go to work or job interviews; 300 people living in “a place where society sanctions your being,” as Chris Peil, a homeless resident of an existing tent city, puts it.

“If I didn’t have [an encampment], I’d be out there like everybody else: robbing, cheating, stealing,” adds his neighbor William. “Especially from the government.”

William and Peil are residents of the only formal tent city currently inside city limits,Nickelsville. But within the larger urban sprawl are four other formal tent cities of 30 to 100 people, plus countless ad hoc encampments that ebb and flow wherever and whenever there’s space. The rules governing location, population size, and duration of stay for encampments in and around Seattle are slightly more complicated than the plot of Twin Peaks, but in general, non-religious encampments are allowed up to 100 people for anywhere from a couple months to a couple years. (Religious hosts, thanks to a broad reading of the First Amendment, can do pretty much whatever they want.)

The Council’s zoning change creates a renewable “interim-use permit” good for double the duration of the existing “temporary-use permit” for nonreligious sites, which allows six months maximum.

Because of this change, it’s expected that three more such communities, of 100 people each, will spring up on vacant or underused city land by summer’s end.

While encampments like Nickelsville offer a home of sorts, they’re not real housing as most Americans understand that term—and therefore, as anyone involved will tell you, not a permanent solution to Seattle’s homelessness crisis. Rather, encampments offer a kind of temporary BandAid—or, to use a popular metaphor, a “first step.”

Example: “You need to basically do the first step, do it well, and then build on it,” says Licata, who pro-

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news&comment»

Follow us! A Bird in the Hand instagram.com/ A new study by a University of Washington professor shows it’s worth much more than one in the bush.

BY ELLIS E. CONKLIN

L

ike any wildlife professor worth his salt, John Marzluff has eaten his share of crow.

“It tastes poignant, yet not overbearing,” deadpans the the bird-savvy University of Washington prof, a nationally renowned expert on all things crow. Nothing about these capricious corvids escapes his notice, not even the rich texture and gamy flavor of their breast meat. “It goes quite well with a nice merlot and sautéed red peppers.”

When it comes to crows and, well, pretty much any bird, Marzluff is the man. After all, he’s been bird-dogging birds for the better part of 40 years.

Last week, in fact, a CBS news crew flocked to his cluttered university office, where a “Beware of Bird Attack” placard reclines atop his floor-to-ceiling bookcase, which is abundant with bird books and wood-carved ducks and mallards.

The network is doing a feature on crow behavior, and who better to ask about their twisty ways than the guy who once published a story in Psychology Today that made the case that crows seldom forget a face? During the interview, Marzluff, who, refreshingly, eschews the usual academic jargon, cited Humphrey Bogart’s famous toast to Ingrid Bergman: “Here’s looking at you, kid.” The title of the CBS piece: “Here’s Looking at You, Bird.”

“They wanted to talk about how crows reward people with treats, and I have learned that they will,” says Marzluff. “If you feed them, they will often reward you with something. They’ll put in your bird feeder, as an exchange for food you give them, a shiny piece of glass, or maybe a charm from a necklace. I’ve heard about a man who got his false teeth back.”

Marzluff ’s latest contribution to the canon of crow is a new idea: that birds can bring more than song (or headache, as is often the case with crows) to a community. They can, he says, create economic vitality in our cities.

As a co-author of a recent study in the journal Urban Ecosystems with UW environmental economics professor Sergey Rabotyagov and Humboldt State University lecturer Barbara Clucas, Marzluff found that birds might actually increase home values. “In Seattle,” he notes, “a neighborhood with a nearby forest, or that has parks and green spaces, has residents that are more satisfied with their lives, and home values are 5 to 10 percent higher than in neighborhoods without areas that attract birds.

This report shows that our interactions with birds actually have a high economic return to the community where you live.”

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The three-year study, endearingly titled “How much is that birdie my backyard?”, focuses exclusively on two cities, Seattle and Berlin. Why Berlin? “Because it is the birthplace for urban ecology,” explains Marzluff.

The study also explored people’s perceptions and feelings about the crow, in comparison to the equally ubiquitous yet more popular finch, a small reddish-colored songbird. Researchers in both cities went door to door, asking hundreds of households in various neighborhoods—from those densely dotted with apartments to more rural enclaves—how they viewed these two bird species; how much, if anything, they spend on bird feed, nesting materials, and birdbaths; and how much they might ante up for conservation efforts.

“No one,” says Clucas, “has really looked at what people will be willing to pay for these more common species, ones that aren’t necessarily endangered or threatened. We wanted to address that because people living in urban areas don’t encounter endangered species on a daily basis.”

Unsurprisingly, on the goodwill scale, the finch fared much better than the crow, at least on this side of the Atlantic. In Berlin the crow commands a certain modicum of respect—and believe it or not, Berliners would shell out a “small amount” of euros to increase their squawking ranks, though many wouldn’t mind seeing thieving magpies (another corvid species) fly the coup. In Seattle, though, many residents, says Prof. Rabotyagov, “would pay to see the crow population reduced.”

“Our [negative] perception of the crow really goes back to the medieval days when crows would scavenge the bodies of the dead,” says Marzluff. “In other cultures, the crow is revered for carrying the spirit of the dead into the afterlife.” Elsewhere, the crow is revered on the plate. “In Tokyo, the crow breast meat is the newest delicacy in sushi,” says Marzluff.

Birds are big business in the U.S. An estimated 50 million people in America feed the birds who flutter about their neighborhoods, contributing to a $4 billion industry. In Seattle alone, estimates Rabotyagov, bird-loving residents spend $107 million annually on the care and feeding of birds, or about $70 per adult—compared to a national average of $17.

Marzluff, meanwhile, set off for Burns, Ore., following our visit last Thursday. No way he’d miss the Harney County Migrating Bird Festival, which for 34 years has been a huge magnet for avid bird watchers from around the country. There promise to be plenty of waterfowl, shorebirds, cranes, and raptors to see crossing the desert skies of eastern Oregon. No crows, though. The professor might have to settle for chicken breast instead. E

econklin@seattle weekly.com

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

would. But it didn’t.” Did she feel guilty about the illegal sex? Or the unique tests she gave her student, stripping off one piece of clothing for every right answer he gave? No, she loved him, and that made it all right. Other than the sevenplus years she spent in prison, they have essentially been together since. ary Kay Letourneau always seems At one point—after becoming a father at 14, ready for her close-up. From then again at 15—Fualaau was struggling. His mocking her child-rape convicteacher was in prison and he was the babysitter tion with a “Hot for Teacher” of his own kids, who were in his mother’s cusnightclub appearance to selling (for a rumored tody. “I’m surprised I’m alive today,” he says; “it $750,000) film rights of her wedding to her was a dark time.” former grade-school student, she has brilliantly Letourneau has kept the story alive with netplayed the role of perpetrator/victim/entrepreneur. work appearances, and it appears the saga has Even the now moved to the next stage. Friday night, the husband mostly happy couple (marriage has its ups and she met

BY RICK ANDERSON downs, Fualaau conceded) introduced their teenin her age children, Audrey and Georgia Fualaau, whose Shorewood births generated headlines in the late 1990s.

Elementary classroom in Burien—he a 12-yearLetourneau’s 1997 pregnancy with now-17old student, she a 34-year-old teacher and married year-old graduating high-school senior Audrey mother of four—says he was star-struck. “She was confirmed that Letourneau and Fualaau had like a movie star,” Vili Fualaau obviously had an affair. She was recalled the other night on convicted of rape national TV. But even with and did three all the headlines, interviews, months, with books, and made-for-TV most of her senfilms that the press and tence suspended Hollywood have churned on condition she out since the kid impregstay away from the nated his teacher almost kid. But they were two decades back, there is found steaming up so much more to be told, the windows one it seems. night—$6,200 in “I don’t know if cash, baby clothes, and enough time will pass Letourneau’s passport to take away what were found in the car— the media did to our and she went back to story,” Letourneau told prison. There she made Barbara Walters in more headlines, giving her latest interview, birth behind bars to “because it was so big now-16-year-old cheerand they ran with leader Georgia. Both it so fast. There is a Letourneau’s first teens attend school in the story of us that has close-up, in 1997. same district, Highline, a life of its own, but it where Letourneau and isn’t our story.” By the way, Fualaau met. added Seattle’s best-known Though father Vili says he sex offender, she plans to ask The kids became certainly wouldn’t approve of a court to end her obligation his daughters having sex with to register as one. Then she aware of Mom and their teachers—he’d be “like will return to teaching, she thinks. And she will not have Dad’s backstory after any parent,” he says—the became aware of Mom to experience further embarGoogling it, and they kids and Dad’s backstory after rassments of registry, such as Googling it, and they support recently being barred from support them. them. Now they are becoming visiting one of her daughters players in the ever-unfolding in a local children’s hospital. tale, which will get its next airing in a new series The 53-year-old paralegal and grandmother hosted by Walters on the Investigation Discovery and her 31-year-old music-mixing husband, channel, called Scandals. Their parents thought known as DJ Headline, will have been marit best to bring the girls along for Friday’s TV ried 10 years in May. Their paths first crossed, interview because they wanted to prepare them they remember, when Fualaau was 7 and in her for what lies ahead. second-grade class. By the time he reached sixth “No matter how protective we are,” said grade, he had matured enough in Letourneau’s Letourneau, “there’s going to be a wave of intrupreying eyes to have sex with her. She recalls sion in our life right now that we can’t stop. So it’s an “emotional attraction” at first, then a bondabout doing the most responsible thing to protect ing. She ignored the kid’s interest, but claims he our girls for the inevitable.” She apparently was flat-out asked her, at age 12, “Would you ever referring to intrusions of fame, or infamy—not have an affair?” She found that uncomfortable, that there’s a difference anymore. E she says, but the student continued to seduce his teacher. When she looked deep in his eyes, randerson@seattleweekly.com she “felt something . . . Basically he said he was Rick Anderson writes about sex, crime, money, in love with me.” At the time her first marriage and politics, which tend to be the same thing. of 12 years was crumbling—and then late one His latest book is Floating Feet: Irregular night, “It didn’t stop with a kiss. I thought it Dispatches From the Emerald City.

W E E KLY

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SEATTLE WEEKLY • AP RI L 15 — 21, 2015

SATURDAY, APRIL 18 marks the eighth annual RECORD STORE DAY, when local record stores will open up their doors for in-store performances and exclusive vinyl releases and sales. Here’s our roundup of all the gossip, great shops, and giant black music discs you need to know about.

Should You Drink the Record Store Day Haterade?

Local labels and record stores say the backlash is mostly hot air, with a tiny dash of truth.

By Casey Jaywork numbers, The Wall Street Journal reports an eightfold increase since 2005, from one million records sold per year to nearly eight million.

The problem: It’s a lot easier to make new records than to make new record-making machines. The recent surge in demand for vinyl has not been matched by a corresponding industrial capacity for supply, because who knows when or if the vinyl bubble is going to pop?

Consequently, record-pressing plants are chronically overwhelmed with orders.

“The last year and a half, it’s pretty much been

nonstop,” says

Stephen Sheldon, president of Rainbo Records, a pressing plant outside L.A. “The demand has outgrown the supply at the moment. You’re dealing with old technology and you’re dealing with old presses.” Ditto at United Record Pressing, according to director of marketing Jay Millar: “We’ve been running at max capacity for probably over a year.”

With this year-round bottleneck, it’s easy to understand how some labels could see Record Store Day as the equivalent of adding a flipped fish delivery truck to an already constipated

traffic jam. “As far as the small labels,” says Josh Hansen, manager at Everyday Music on Capitol Hill, “definitely Record Store Day is the worst time of year for them, because they can’t get their stuff pressed—they can’t get it released.”

“The major labels, they just see it as a way to capitalize on a bunch of people being in the store at the same time,” says Josh Wright of Seattle label Light in the Attic. He’s not just irked that the bigger fish are making money, it’s that they’re doing it by pumping out the same tofu-flavored noise that haunts Starbucks and elevators around the globe

» CONTINUED ON PAGE 12

SEATTLE WEEKLY • APRIL 15 — 21, 2015

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ast month, British music labels Howling Owl Records and Sonic Cathedral put up a controversial blog post proclaiming that “Record Store Day Is Dying.” They uploaded their “Unofficial Official Statement” to the subtly titled recordstoredayisdying.com.

Record Store Day, for the uninformed, is exactly what it sounds like: One day a year, buyers and sellers of vinyl records (you know, those Frisbee-sized music discs your grandparents told you about) come together to celebrate their shared obsession with the anachronistic audio technology in a frenzy of exclusive vinyl releases and markdown sales that enthusiasts line up early in the morning to partake of. The event’s been around since 2007, but while it’s “a beautiful concept,” as the dissenting labels wrote in their manifesto, Record Store Day to them has become “just another event in the annual musicindustry circus . . . co-opted by major labels and used as another marketing stepping stone.” They certainly aren’t the only ones who have offered similarly worded grumblings.

So—is Record Store Day actually bullshit?

I mean, this wouldn’t be the first time that envious second-raters excused their own failures by complaining that their competitors have sold out. But on the other hand, it’s also easy to dismiss artistic integrity as mere whining. So which is it?

To dig into the merits of these accusations, I called local labels and record stores and asked for their take.

“I think that’s classic indie physics,” says Jon Rooney of Abandoned Love Records, a modest Seattle label. “We want to keep [Record Store Day] small, but it needs to get bigger at the same time.” Rooney acknowledges that major labels get a big cut of the Record Store Day pie. “But [that] doesn’t change the fact that Everyday Music is going to have a bunch of bands playing in the shop at the same time, which is the more important touch point for small labels and small bands,” he says.

This isn’t just an issue with stores, though. The real complaint from labels like Sonic Cathedral is that major labels like Rhino are hogging the vinyl production line. See, only a handful of plants in the U.S. can actually produce new vinyl records (VICE puts the number at 20). But while vinyl sales have sunk to a quivering shadow of their former, circa-1980 selves, the past decade has seen an itty-bitty renaissance. Using Nielsen

11

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RecoRd StoRe day at the Light in the attic RecoRd Shop

RATED PG-13 FOR A SUGGESTIVE COMMENT. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theatre is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theatre (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theatre, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

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every other day of the year. Really, we’re going to jam up scarce record-plant space with another reissue of Bob Marley’s Legend?

“We used to be able to get a record done in four to six weeks,” says Wright. “Now it takes 10 to 20 weeks.”

OK, sure—the recent surge of interest in black

plastic pancakes has literally jammed the presses, creating months-long backlogs. But isn’t that just business?

“It’s kind of like Christmas for us, except it’s bigger than Christmas,” says Hansen of Everyday Music. “People start lining up at, like, six o’clock in the morning. Last year it stretched all the way . . . [to] the corner.”

And the cash from that line of customers? It flows downstream. “[Record Store Day] definitely gives us more money,” Hansen says, “so we can spend more money on ordering that smaller stuff that would maybe get passed by if we didn’t have Record Store Day.” “If you know that you want to put something out around Record Store Day,” says Samuel Melancon of Debacle Records, a local label focused on experimental music, “maybe not go through the biggest manufacturers that all the major labels are going to be going through.” Or just, you know, plan ahead: Keep track of how long the wait time for vinyl production is, Melancon says, and make sure your order is in early enough.

“It’s like this inability to change” on the part of small labels, he says. “Like, ‘I want this place to be open for me, and I don’t want anybody else to use them.’

“Of course it’s stupid that everyone’s going and buying a U2 album for the 50th time,” Melancon adds. “But those people aren’t your constituents anyway, and I know for sure it’s a pretty nice day for record stores.”

And it’s not as though Record Store Day is a zero-sum game, he says. The people who buy a Paul McCartney re-release and the people clamoring for a copy of your 300-copy vinyl run of local synth droner Garek Jon Druss’ Music for the Celestial Din are two very distinct groups.

“It’s like those customers were never going to be your customers in the first place,” he says.

“Record Store Day is mostly for the guy who wants the Pinkerton white vinyl version because they love Pinkerton. They don’t love records.”

This year’s Record Store Day is just around the corner. Saturday, April 18 will see 25 Seattle shops participating in the vinyl cacophony.

But beyond music, this year’s event will hear another kind of noise: talk about music. “Conversation is something that’s very valuable,” says Emily Pothast, co-founder of local label Translinguistic Other. “Knowing that you have people in your community that just listen to records all day long” creates a kind of cultural expertise that makes deep appreciation of music possible.

And maybe that’s where Record Store Day’s real worth lies: not in the records but in the music geeks who, while chasing that new Swahili album, catch one another in a recursive dance of cultural obsession. “Just a place to have conversation and community,” says Pothast, “that’s the most valuable function of a record store.” E

cjaywork@seattleweekly.com

the end . . . community happens on its own,” Grimes says. “More or less, we only do instores for people we’ve become friends with or gotten to know or want to get to know—bands we see and just really like. We hosted [local experimental electronic band] Newaxeyes’ first show before they’d released anything. When people ask how they can play an in-store, we say ‘Well, just keep showing up. Let’s get to know each other.’ ”

The Little Record Store That Could How Spin Cycle became the living room for Capitol Hill’s “freakers, crazies, and weirdos.”

Owner Jason Grimes and store clerk Danny Noonan, keeping it weird.

Part of the shows’ success also comes from the

KELTON SEARS

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Noonan and Spin Cycle founder Grimes, both avid vinyl collectors, had worked together for seven years at the now-defunct used-CD and -DVD store Gruv, which started carrying vinyl only because the two pushed the owner to. “I was doing the bookkeeping at Gruv, and you could see how CD sales were dropping as the years went by, but the owner at the time thought CDs were it and didn’t want to deal with vinyl records,” Grimes says. “We were buying records, lots of bad records, because we had a cap on what we could pay. And one day, the pink vinyl of Boris’ Pink came in, and it’s a great record, a $40 record. I talked to the boss and said, ‘Look, we can’t pay $5 for a $40 record.’ ” When the record resold only a week later, acording to Noonan, the boss asked to see the receipt in disbelief that vinyl could go for such a high price. Noonan says she assumed someone had stolen it from the store. Grimes began hatching a plan to buy the store and fulfill his vinyl fantasies.

When Gruv unexpectedly closed on New Year’s Eve 2010, Grimes saw an opportunity to open his own record shop and bring Noonan along. Paying for almost everything with his own savings, liquidated chunks of his own record collection, and things he found digging around at estate sales, Grimes was able to secure a location and a sizable stock for what would become Spin Cycle.

The lease he scored on a small space at 321 Broadway E. started on April 1, so he and Noonan decided they were obligated to pull a prank. “We were trying to figure out, what’s the last thing people would want to open on Capitol Hill?” Noonan says, “so we put a giant sign that said BROADWAY’S BEST ONLY

KOREAN THAI PHO!! YES!! on the worstlooking printout we could get, and taped it on a huge piece of paper in the window.”

Even though the duo got a slap on the wrist from local news outlets, Grimes and Noonan’s “Whatever!” ethos take with the store is what has made Spin Cycle into the neighborhood staple it has become.

“I think a community has formed at Spin Cycle because there’s not a lot of rules at Spin Cycle,” Noonan says. “It’s like, you know what needs to get done by the end of the night, and as long as you make sure that happens . . . whatever. You can say hello and sit and chat with whoever comes in for however long you want, but at other stores, you can’t just be standing around chatting with your friends. People use our store like their living room.”

It’s something Kennedy Carda, the deranged frontman of SSDD (which is playing the shop’s anniversary show this weekend)— whom Grimes calls Spin Cycle’s “best and most frequent customer”—also backs up. “It’s way more punk than the other record stores; the way they do in-store shows and how they just hang out,” Carda says. “I once spent 10 minutes in line watching Danny convince this kid not to buy a record because it sucked. I was like, ‘This place is cool.’ Plus, they, over any other record store, support the local music scene a lot more.”

Indeed, Spin Cycle’s amazing monthly in-stores have quickly become cultural assets thanks to Grimes and Noonan’s local, community-minded booking ethos. Since the two are avid local showgoers, they often invite bands they naturally cross paths with at DIY venues like Cairo and Black Lodge, so that “in

shop’s intimacy—it’s quite a bit smaller than your average record store, roughly the size of a studio apartment (albeit with nice vaulted ceilings). Based on the smaller curated stocking model of fellow Capitol Hill record store Wall of Sound, Spin Cycle carries a very manageably sized, rapidly rotating stock of records selected according to Noonan’s and Grimes’ personal interests—a mission that has sent them all over western Washington treasurehunting at estate sales and exploring the personal collections of strangers.

“My Zipcar bills the first year were crazy,” Grimes says. “I’d drive way past Olympia, take ferries to Bainbridge and Bremerton, borrow cars and fill them up with records, just doing so much hunting for stock. We affectionately nicknamed one of our sellers ‘DJ Korean GI.’ He was a DJ in Korea post-Korean War for the U.S. Armed Forces. He would only sell a portion of his collection at a time—a ‘portion’ being like 1,000 records at a time. He had rooms and rooms of stuff. It was beautiful—we managed to buy his whole collection after about a half a year.”

This Indiana Jones approach means Spin Cycle’s selection ebbs and flows with its discoveries, sometimes comically. “One great collection changes sales for a week,” Noonan says. “If someone sells us a metal collection on Thursday, it’s almost all gone on Monday. That shit sells in two seconds. Metalheads come in, buy it all, and then immediately tell all their friends. Or, one day we’ll have no Neil Young; the next day we’ll have literally every single Neil Young record because we went to an insane estate sale and totally scored.”

Four years later, having built a healthy, steady stock of interesting records and a dedicated community of regulars, Grimes and Noonan promise Spin Cycle will be here for many years to come. Grimes just renewed the lease—and thanks to the building’s lack of ventilation, it’s not properly zoned for any would-be cookie-cutter restaurants or bars who might try to take it over.

“Honestly, with our anniversary coming up, it feels like we’re just starting to do it right,” Grimes says; “we’re going to get more life out of Broadway. This is still a residential neighborhood. It’s a community.”

“As lame as some parts of Capitol Hill have gotten, it’s still full of freakers, crazies, weirdos—just all sorts of awesome, interesting people,” Noonan says. “I’m happy our store is where they come to hang out, play shows, and smoke cigarettes out front.” E Spin Cycle will open at 5 a.m. on Sat., April 18 for Record Store Day and offer numerous RSD exclusive releases for sale.

SPIN CYCLE FOURTH ANNIVERSARY SHOW With Newaxeyes, Scriptures, Ubu Roi, SSDD. The Highline, 210 Broadway E., 328-7837, highlineseattle.com. $4.

21 and up. 9 p.m. Sun., April 19.

SEATTLE WEEKLY • APRIL 15 — 21, 2015

ate last month, a packed crowd stood in Capitol Hill’s Spin Cycle and watched local harsh noise duo #TITS elicit face-numbing waves of death from their guitar amps.

The five people immediately in front of me were all grinning with their fingers jammed as deep inside their ear canals as they could get them. The band was immediately followed by a recent New York-to-Seattle transplant, Ben Von Wildenhaus, who sang bizarre antagonistic lounge exotica into a microphone ducttaped onto a truck dolly. When he accidentally knocked over the fragile rig for the second time, he screamed into the reverb-drenched mic, “What kind of fucking establishment are you running here, Danny?!”

All eyes shifted to Danny Noonan, Spin Cycle’s most veteran store clerk, who shrugged from the front counter he was standing atop. It wasn’t his fault; the rig was probably Wildenhaus’ own contraption, since every weirdo local band who scores one of the monthly in-stores at Spin Cycle has to bring its own PA. To those who decry the downfall of Capitol Hill’s outsider culture, Spin Cycle stands as a counterargument. When the tiny little vinyl/ video game/DVD store opens at 5 a.m. this Record Store Day, it will also mark its fourth anniversary; the store opened on Record Store Day 2011 with a completely unalphabetized stock that owner Jason Grimes says was “severely underpriced.” In those four years, Spin Cycle has grown from a ramshackle hole in the wall many people initially mistook for a pop-up shop into a full-fledged cultural incubator for emerging local bands and the rabid vinyl collectors who worship them. And it all started with a Boris record.

rs

ea S n o t l e K By

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Events and Promotions Regional RSD Exclusive Regional RSD Exclusive Releases Events and Promotions sky BEATS & BOHOS, 7200 Greenwood Ave. N., 395-

4468. 20 percent off records. In-store performance from Stick Club at noon.

BOP STREET RECORDS, 5219 Ballard Ave. N.W., 297-2232, myspace.com/officialbopstreetrecords.

Open 10 a.m.–10 p.m.

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DEATH CAB FOR CUTIE/FREEDY JOHNSTON, Bad Reputation (7-inch, 4,500 copies, Atlantic Records) Features the title track two ways: as Kansas-born, New York City-based musician Freedy Johnston performed it in 1994, and Death Cab’s 2005 take.

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EVERYDAY MUSIC, 1520 10th Ave., 568-3321, everydaymusic.com. Offering RSD releases. Open 10 a.m.–11 p.m. In-store lineup features DJ Sharlese, noon; Panabrite, 1 p.m.; Mood Organ, 2 p.m.; Dude York, 3 p.m.; So Pitted, 4 p.m.; DJ Veins, 5 p.m.; Grace Love & the True Loves, 6 p.m.; RAICA, 7 p.m.; Neighbors, 9 p.m.

GEORGETOWN RECORDS, 1201 S. Vale St., 7625638, georgetownrecords.net/index.htm. Ghost World cartoonist Daniel Clowes [see preview, page 21], who has also designed album covers for Supersuckers and Thee Headcoats, will be in the store from 6 to 8 p.m.

Offering RSD releases, including Swans’ self-titled EP. HOLY COW RECORDS, 1501 Pike Place #325, 4054200. Offering RSD releases and 20 percent off vinyl.

JIVE TIME RECORDS, 3506 Fremont Ave. N., 632-5483, jivetimerecords.com. Offering RSD releases, 20 percent off all used vinyl, and 10–15 percent off new vinyl. There will be free posters available, and customers who spend $50 get a free shirt with a special RSD design. Open 10 a.m.–9 p.m.

LIGHT IN THE ATTIC RECORD SHOP, 913 N.W. 50th St., 588-0250, lightintheattic.net. Offering RSD releases and 20 percent off non-RSD titles.

Open 9 a.m.–5 p.m.

NEPTUNE MUSIC COMPANY, 4344 Brooklyn Ave. N.E., 632-0202. Open regular hours.

PORCHLIGHT COFFEE AND RECORDS, 1318 E. Pike St., 329-5461, porchlightcoffee.com. Offering RSD releases.

RAT CITY RECORDS, 9632 16th Ave. S.W., 432-9537, facebook.com/RatCityRecordsandRelics.

Open regular hours.

RECORD REVIVAL, 1708 N.W. Market St., 623-205-0832, facebook.com/recordrevivalwa.

Half-off all used vinyl.

SILVER PLATTERS, 2930 First Ave. S., 283-3472, silverplatters.com. All three locations (SoDo; Northgate, 9560 First Ave. N.E.; and Bellevue, 2616 Bellevue Way N.E.) open at 9 a.m. Offering RSD releases.

SINGLES GOING STEADY, 2219 Second Ave., 441-7396. Offering punk-rock RSD releases.

SONIC BOOM RECORDS, 2209 N.W. Market St., 297-2666, sonicboomrecords.com. DJ sets from Nick Harmer (Death Cab for Cutie) and Chris Martin (Kinski). Offering RSD releases and a sale on vinyl already on sale. Sonic Boom will also partner with other Ballard businesses to provide a 10–15 percent discount when customers show a Sonic Boom receipt on Record Store Day. Little Woody’s is creating a Sonic Boom Burger for RSD. SPIN CYCLE RECORDS, 321 Broadway Ave. E., 971-0267, facebook.com/spincycleseattle. Opens at 5 a.m. Offering RSD releases.

WALL OF SOUND, 1205 E. Pike St., #1C, 441 9880, wosound.com. Offering RSD releases.

ZION’S GATE RECORDS, 1100 E. Pike St., 5685446, zionsgate.com. Opens at 10 a.m. Offering RSD releases. E

I Love You, Honeybear (7-inch, 5,700 copies, Sub Pop Records) An acoustic version of the title track and an exclusive B-side called “Never Been a Woman,” presented with love in the form of red heart-shaped vinyl.

FOO FIGHTERS, Songs From the Laundry Room (10-inch, 4,000 copies, RCA Records) RSD Ambassador and former Nirvana drummer Dave Grohl celebrates the day with a Foo Fighters release featuring demo versions of “Alone + Easy Target” and “Big Me” off FF’s self-titled debut; a cover of “Kids in America”; and an unreleased tune called “Empty Handed.”

JIMI HENDRIX, Purple Haze/Freedom (7-inch, 4,225 copies, Legacy Recordings) Both songs were recorded live on July 4, 1970 at the Atlanta Pop Festival during the guitarist’s Cry of Love tour.

KOES BARAT, Koes Barat (LP, 2,000 copies, Sub Pop Records) 11 songs from the group, led by Alan Bishop (Sun City Girls, Alvarius B), which pays tribute to Indonesian musicians Koes Plus.

WILLIE NELSON, Teatro (two 12-inches, 5,000 copies, Modern Classics Recordings/Light in the Attic Records) This Daniel Lanois-produced collection of tunes, which Nelson recorded in an abandoned theater in California, makes its vinyl debut. Emmylou Harris is featured on several tracks. Pressed on gold vinyl and featuring a gatefold “tip-on” uncoated jacket.

VARIOUS ARTISTS, Electroconvulsive Therapy Vol. 3—Obscure Singles Circa 83–86. (LP, Medical Records) Compilation of rare A-and B-sides from international acts Tipical Me, Secession, Leidenschaft, Black Fantasy, V.U.D., and Almost Alone, all on blue and magenta vinyl.

THE WONDERLAND PHILHARMONIC, Shogun Assassin OST (LP, 4,000 copies, Cinewax/Light in the Attic Records) The film soundtrack is pressed on blood-red wax and features a gatefold “tip-on” jacket; it also includes a reproduction 27˝ x 40˝ film poster. E

food&drink

FoodNews

The Cool Stool

BY JASON PRICE

How a 1930s French design became a staple of Seattle’s restaurant scene.

Belltown haunt Bell + Whete European Kitchen is hosting a dinner with California brewer Lagunitas Brewing Company on Wednesday, April 22 at 6:30 p.m. Chef Stew Navarre will serve a four-course meal featuring Lagunitas pairings, along with Skyler Ceserone from the brewery who will discuss each beer. The evening’s highlight: Lagunitas Sucks served in brown paper bags with Dungeness crab and shrimp rolls, cheddar pork rinds with “hot sauce,” and venison corn dogs. Tickets, $55, can be reserved online.

BY NICOLE SPRINKLE

A

If you’re ready to pretend it’s summer, then head to Pennyroyal downtown, where every Sunday is Tiki Sunday. From 3 to 7 p.m. you’ll get fruity cocktails and Caribbean food specials such as flaming Spam, ceviche, and glazed pork ribs. In addition, each Sunday will feature a guest bartender from a renowned Seattle watering hole, beginning with Tommy Stearns of Rumba and Canon on April 12. So bring your ukeleles, grass skirts, and coconut-shell bikini tops.

PHOTOS BY MORGEN SCHULER

To celebrate Mariners season, SPORT Bar & Grill is holding a viewing party every Tuesday for Mariners fans. There will be a variety of ballpark favorites without Safeco Field prices, including $1 dogs, $2 pretzels, and $3 pints. During every Tuesday away game, one lucky fan will win two tickets to a future home game as part of a seventh-inningstretch drawing. E morningfoodnews@seattleweekly.com

Top: an original Tolix Marais stool at Cicchetti. Bottom left: Oddfellows’ authentic Tolix Marais “A” chairs. Bottom right: Pizzeria Gabbiano’s knock-offs in red.

would bring all kinds of interesting stuff back from France, among them these stools “in a beautiful navy blue.” He kept them in mind and found the cheaper counterparts on overstock.com, as I did, in 2009, and had seat pads custom-made for them for extra comfort. “They’re very sturdy and the design is superior,” Wilson says. “Recently we thought about doing something else [for a room they were updating]. We briefly discussed changing all the bar stools, and then said, ‘No, that’s the one.’ ”

TheWeeklyDish

Spring vegetable slaw at Manolin.

BY NICOLE SPRINKLE

Googling “Tolix chairs” brings up a list of

inspired versions (mostly made in China) from a slew of companies, identified often as “Tolixstyle,” or in one listing as “Talix.” (It’s not authentic if it doesn’t have the trademark sign.) The critical difference between a Tolix and these replicas, according to Design Within Reach’s corporate PR representative, Kimberly Phillips, is the weld. On a Tolix, “everything that holds the chair together is welded”—the foot rest to the legs, say, or the base to the seat—with signature brass solder rather than lower cost spot welding. There’s no screws holding it together, as is the case with my Tabouret stools at home, bur rather traditional rivets.

To understand how else they differ, you need to know a bit about steel. While most of the replicas cite “100 percent steel” or “Metal Steel,” a closer look at the product information will often

» CONTINUED ON PAGE 16

NICOLE SPRINKLE

Crim—refined and rugged enough to find a home even on the decks of the SS Normandie, the transatlantic ocean liner built in 1935 and known for its lavish Art Deco interiors. The chairs may have found more fans in 2011 when British lingerie company Agent Provocateur ran an ad campaign featuring an erotically clad model posed in a Tolix Marais chair. The chairs’ artful appeal goes beyond ad execs, though; a few can be found in collections at New York’s Museum of Modern Art and Paris’ Centre Pompidou.

But at $305 a pop and a need for dozens of them, it would be a stretch for most restaurants to carry the real McCoy—especially when imitations like the ones I own are all over the web and, according to many restaurant designers, hold up well. Stoneburner designer Deming Maclise says, “The look of the Tolix barstools are great because they can work in a lot of different design settings.

They are very chameleon-like in that way. They can offer a bit of an industrial look without driving the design. I like using the copies, though, because you can get a very similar look at a fraction of the price.”

That unsurprising reasoning is also what drove Mike Easton to buy knockoffs four years ago for Il Corvo, and now for Pizzeria Gabbiano (in orange!).

Where did he stumble on them? At Seattle’s Diller Room, where owner Rob Wilson says he first saw the famous stools in Australia. He had a client there, “a really cool, eccentric French guy,” who

I love spring in Seattle: Rhubarb and nettles and morels and peas all start popping up (both from the land and on menus). Manolin manages to really evoke the season with its spring vegetable slaw. Beautifully plated, the focal point of the dish is English peas still nestled lightly in their splayed bright-green pods. Among them are julienned strips of asparagus, endive, cucumber, and herbs—most prominent, dill. It’s lightly dressed (as we are with the turning of the weather) in a pea/lemon/garlic aioli and smartly topped with slivers of almond. E nsprinkle@seattleweekly.com

SEATTLE WEEKLY • APRIL 15 — 21, 2015

bout a year ago I was scouring the Internet in search of bar stools for my kitchen. I had two primary criteria: I wanted something with a retro look in a bright color. On overstock.com, up popped a pair of stools that immediately appealed to me.

Labeled “Tabouret 24-inch Tangerine Metal Counter Stools,” they had clean lines, foot rests, legs that protruded at a slight angle, and a seat with a threeinch rectangular cut-out in the center. A set of two cost $89. I bought four, they looked fabulous at my kitchen’s island, and I basically forgot about them.

Then I started seeing them at just about every stylish Seattle restaurant or bar—not in the orange I chose, but in black or gunmetal gray. Stoneburner, Tray Kitchen, Manolin, Delancey, Il Corvo, Bitterroot, Pizzeria Gabbiano: The list goes on and on. Why the sudden proliferation of this particular counter stool—and where did it come from?

A call to Atelier Drome, a local architecture firm that designs many top restaurants in town, confirmed that I wasn’t crazy. They too had been seeing the stools a lot lately. Why? “Honestly, because they’re durable,” says Michelle Linden, principal architect at the firm. She also attributes their ubiquity to “all these design magazines that, instead of making things more unique, actually result in them becoming more common. At least three or four restaurateurs have showed me their ‘inspiration’ photo, and it’s exactly the same—something Swedish-looking.” But the chairs, she told me, are in fact based on a French design from 1934: the Marais line of chairs by Tolix, including the omnipresent Marais Counter Stool.

Tolix is still around, and authentic chairs are available through Design Within Reach. When I call the company’s Seattle outpost, staffer Theresa Crim tells me that DWR has been the “exclusive U.S. retailers” of genuine Tolix chairs for a year now (though you can still get them from a handful of smaller retailers, like Sundance, as in Robert Redford’s company). DWR works directly with Tolix, a company of only 70 employees that still makes the stools at their factory in Burgundy.

(You can get the authentic stools in custom colors and even with a shimmer, starting at $305.)

Designer Xavier Pauchard’s stool became synonymous with Paris cafe culture in the ’30s. The original chair line was made in gunmetal gray— after the war, it is rumored, from the massive amount of scrap metal left over, Crim says. And those rectangular holes in the seats are more than just a design whim—or, as I thought, an easy way to pick the stool up: They allow water to drain off, since the stools were often used at outdoor cafes.

The stools are of course stackable and very durable. “You can really throw it around and they don’t look bad,” says Crim. Linden agrees, citing that metal works a lot better in restaurants because wood breaks easily. “Aside from a custom steel chair, there’s not a ton of options.”

“They also have that shabby-chic French thing, but with a refined element to them as well,” says

15

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identify it as “cold rolled steel,” the most common and affordable type—which can rust over time.

By contrast, Tolix chairs are galvanized sheet steel, meaning they’ve been coated with zinc to add rust and corrosion resistance. The company refers to the steel as “automotive,” which is extremely highstrength and allows for greater pliability. There’s also a difference in finish. For the gunmetal-gray chairs, for instance, Tolix employ a labor-intensive buffing process directly to the raw steel, while fakes tend to use gray paint to try and ape the buffed steel finish.

Crim says she knows of only one restaurant in town with authentic Tolix: Oddfellows. So go check for yourself: Just look for an embossed “Tolix” logo on it (it was started for the 2006 models, with “made in France” added in 2011). Given owner Linda Derschang’s penchant for bohemian style and her reputation as a tastemaker in Capitol Hill’s nightlife scene, I wasn’t surprised. A call to Oddfellows confirmed that they indeed have the real deal, in gunmetal gray.

Derschang saw them at a lot of cafes in France about a year after the restaurant opened, in 2010.

She says she decided to buy them for her rusticyet-chic cafe and bar because “it’s hard to find something that’s both stylish and comfortable.”

She, however, has the Marais “A” chair, with a back.

Why did she splurge on the authentic? She “loves mixing high-end and low-end together, and so we were either going to buy high-quality new Tolix chairs or look for some vintage ones rather than buying knockoffs.” She also adds that at the time, Tolix chairs were not as popular as they are now, so imitations were not as common. (She bought hers from Sundance for $295 each. They’ve replaced about half of them over the past five years.)

I couldn’t stop thinking, however, that I’d seen the originals elsewhere in Seattle. After running through my recent dining list, it finally occurred to me: Bottlehouse. Sure enough, the Madrona spot does have black and gray stools with the Tolix stamp. Owner Henri Schock, whose wife Soni does interior design for some restaurateurs, including Derschang and Maria Hines, says she bought vintage ones and refabricated them (they were beatup to the point that customers didn’t want to sit on them). However, despite their telltale logo, the reseller she bought them from couldn’t verify that they were in fact authentic.

So was Derschang the first restaurant owner to have the stools (genuine or otherwise) in Seattle?

Possibly, but maybe not. Delancey also has the real stools, as confirmed by owner Brandon Pettit, which they bought for their 2009 opening. But wait. A conversation with a friend led me finally to Susan Kaufman, owner of Serafina and Cicchetti.

Sure enough, she bought the gunmetal-gray Tolix counter stools from British retailer Terence Conran in 2008 for Cicchetti—after seeing them in France and at New York restaurant Public—two years before Derschang bought her authentics and one year before Delancey opened. Because she sourced them from Europe, she said she paid “thousands,” mostly due to shipping costs. She has not had to replace a single one, however.

And so the mystery of the stool has seemingly been solved, at least here in Seattle. How much longer will the trend continue? It’s hard to say, but based on their durability and aesthetic appeal—and the low cost of imitations—I’m betting our butts will be sitting on them for the foreseeable future. E nsprinkle@seattleweekly.com

Craft Cocktails Are Robbing You

W

hen I was living in New York in 2005, Jimmy McMillan ran for mayor on the campaign slogan “Rent Is Too Damn High!” A decade later, I’m not quite ready to announce my own candidacy here in Seattle, but if I were, I might borrow from him and declare “Drinks

BY ZACH GEBALLE Are Too Damn Expensive!” On a number of recent forays to the bars and restaurants of this great city, I’ve been astonished to learn just how much some are charging for drinks that by all rights should be the provenance of almost every citizen.

Where once most craft cocktails hovered in the $10 range, they’ve been creeping up to $15 over the past few years. Inflation is of course a sad yet unavoidable fact, and if that were the only culprit, I’d merely sigh and fork over the extra dollar or two. Unfortunately, a few different trends are combining to push cocktail prices into a range that I for one am unwilling to sample very often.

The boom in the craft-cocktail trend is the biggest reason: We’re simply more accustomed to paying $12–$15 for a drink than we were five or 10 years ago. Now I’m not going to rip craft-cocktail culture again (OK, maybe a little), but for every bar doing something truly interesting and unique, 10 others have used the trend as an excuse to bump up the prices of your basic Manhattan and martini well north of $10. That’s fine if a guest specifically wants a premium base spirit, but almost every bar should be able to offer a perfectly good house version of those drinks for right around $10.

As for premium spirits, they’re also being used to drive up the cost of your drink. Sure, ordering a “well” drink now seems about as cool as ordering a Sex on the Beach, but many bars are forcing fancy spirits into places they don’t belong. Take the $14 Last Word I saw recently: Why does a drink with so many bold flavors need an expensive gin in it? And sure, it might look impressive to have a fancy rye whiskey in your version of a Boulevardier, but since no one would be able to tell if you swapped it out for your well rye (and you just might from time to time, to keep those costs down), why add $2 to my drink?

I love great whiskey/gin/tequila/rum/brandy/ whatever, but in most cases those spirits are best enjoyed on their own, where the complexities and depth of flavor aren’t hidden behind myriad liqueurs, amaros, purées, bitters, syrups, tinctures, infusions, shrubs, or the dozen other terms sprouting up like weeds on cocktail lists citywide. You know what goes great with those? Inexpensive base spirits that are designed to be blended into drinks!

Bars are businesses, and they’ll charge what they think the market can bear. Costs throughout the industry are obviously rising (*cough* minimum wage *cough*), and that will obviously be reflected in drink prices, but as the novelty of the craftcocktail craze wears off, I find myself more and more enamored with bars that can offer a good, well-made drink at a fair price. Yes, from time to time I crave burnt orange peels and a properly created egg-white drink, but I also want those to be occasional indulgences, not the only thing I can find on a drink list . . . especially for $14. E

THEBARCODE

thebarcode@seattleweekly.com

arts&culture Time in a Box

ThisWeek’s PickList

Daniel Clowes’ Eightball collection contains more than a comic.

BY ROGER DOWNEY

Three of the four stories in the first issue of

Eightball feature white male protagonists, legally of age but of dubious maturity. One is a passive victim of nightmare realities in Like a Velvet

For me, and for many others, the apex of

Clowes’ comic art came with Ghost World, which began in Eightball #11. Unlike virtually all the other content, the series is almost relentlessly realistic. It’s the story of two adolescent girls and their intense and conflicted attachment: Enid and Rebecca don’t have much in common but their fascinated disgust with the world around them. They spend their time dishing, quarreling, making up, daring each other, confiding in each other.

I don’t know how Clowes created the dialogues between Enid and Rebecca that constitute virtually the entire text of Ghost World. They seem so real, so right-off-the-tape, that they make the dialogue in most movie and TV drama sound as artificial as Gummi Bears. Someone who “heard” that dialogue was Terry Zwigoff, whose 1994 Crumb was widely regarded as the best documentary film by far of that year. Zwigoff and Clowes later collaborated on an excellent film adaptation of Ghost World that premiered at SIFF 2001.

Given the hefty price tag Fantagraphics wants for this 560-page box set, you can always ask Clowes to autograph one of your dog-eared originals of Eightball or your Ghost World DVD. He probably won’t be offended. Just don’t ask him about those last five issues. E

books@seattleweekly.com

FANTAGRAPHICS BOOKSTORE & GALLERY 1201 S. Vale St., 658-0110, fantagraphics.com.

Free. 6–8 p.m. Sat., April 18.

WEDNESDAY, APRIL 15

Bill Plympton

Appearing at tonight’s screening of Cheatin’, the veteran animator is famous for hand-drawing every frame of his comic and generally satirical movies (Your Face, Idiots & Angels, Hair High, etc.). For this new James M. Cain-inspired tale of adultery, attempted murder, and regret, he actually employed other artists via a Kickstarter campaign—showing that it’s never too late to embrace change. His usual slapstick, sexual innuendo, and physical transmogrifications are all in evidence, but there’s also a satisfying story arc that’s rendered without benefit of dialogue.

(Cheatin’ instead uses opera snippets, sound effects, and a cabaret-style underscore by Nicole Renaud.) Bookish sex-bomb Ella and muscle-man Jake meet cute on the bumpercar ride at a carnival; their marriage carries an electric spark until a jealous store clerk frames Ella in a compromising photo that misleads grief-stricken Jake into serial afternoon affairs at the EZ Motel.

An early scene from Cheatin’.

Instead of resolving things in the electric chair, Plympton introduces a magical, sci-fi twist.

Cheatin’ is better and more romantic than his earlier work, with a particular flair for motion shots, sudden shifts in perspective, and elastic physical gags. In a bit I loved, a suburban temptress tries to lure Jake across her backyard fence with fluttering laundry set loose in the wind. Her bed sheets fly across the blue sky in an endless pattern of pure white rectangles that also suggest unsullied writing paper. At that moment, Jake’s newlywed imagination hasn’t yet been inked with doubt. (Through Tues.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$11. 8:30 p.m. BRIAN MILLER

T.C. Boyle

In a New York Times By the Book column last month, Boyle was asked, “If you were hosting a dinner party, which three authors would you invite?” He answered, “I would wait till I had a severe case of laryngitis and invite one only: Ernest Hemingway.” Fitting, considering that Big Papa defined the art of fiction as something that gave the reader emotion, excitement, and, above all else, action. Few writers today are better are penning gripping, tense, and sharp-edged action than the veteran California novelist. The Harder They Come (Ecco, $35) is his 15th novel, and what a blast of a read it is. Again, Boyle turns to the

SEATTLE WEEKLY • APRIL 15 — 21, 2015

admitting that the final five installments of the comic aren’t included. Clowes, in a prefatory note to the this collection, makes the sound point that the missing items—including David Boring, Ice Haven, and The Death Ray—are available as separate titles. He further advises that “collectors with OCD should seek treatment rather than wait for some future volume that contains these other five issues.”

Fair enough. On their own, the first 18 Eightballs provide an oeuvre so caloric that even comix gluttons are unlikely to read even a single issue straight through. But patience is rewarded.

Eightball is not just a record of one obsessive’s tussle with the comics medium, but a kind of history of that medium as it comes to maturity.

ILLUSTRATIONS © DANIEL CLOWES/FANTAGRAPHICS

Fantagraphics’ numbering is a sneaky way of

“Underground Comics” as a genre have surprisingly deep roots. I still remember the shock of seeing “Lena the Hyena” when she appeared in Al Capp’s Li’l Abner newspaper strip in 1946. Billed as the world’s ugliest woman, Lena offended as many people as she amused, even in those pre-feminist days. But she inspired widespread emulation among the ranks of young males occupying the back rows of junior-high classes. For at least my own pre-college years, it was stock recess entertainment to exchange, to the accompaniment of Beavis and Butthead-like snickers and snuffles, the grossest possible scrawls of classmates and imaginary gargoyles like Lena.

MAD first appeared as a color comic in 1952 and matured (is that the word?) into a blackand-white monthly in 1955, inspiring even more adolescent emulation. When the sexdrugs-rock-’n’-roll revolution hit, “underground newspapers” that celebrated the counterculture welcomed such graphics—psychedelic, political, and sometimes obscene.

Reading through Eightball today is something like re-experiencing the history of the ensuing decades: watching the idealism and enthusiasm of the antiwar and pro-drugs movements sag into apathy and cynicism; experiencing again the inward-turning and vainly questioning mood that infiltrated our increasingly commercialized and regimented popular culture.

Glove Cast in Iron; another a wise-ass pussy-chaser hexed by a rubber-novelty salesman; the third a pimply nerd taking his first steps into the hell of commercial comic-book publication. All three serve as devices Clowes in self-portrait. for self-examination.

Clowes himself is never far from the figures he uses to explore personal fetishes and nightmares, scarifying second thoughts about his own persona, and his morethan-ambivalent feelings about the work he finds himself doing.

These shape-shifting avatars and their helpless struggle to survive continue to dominate the pages of Eightball throughout its run.

Strangely, they never become predictable or tiresome. They are saturated with a kind of desperate truth. The masks they put on and take off over the years are rendered with an ever-increasing deftness of style and variety of graphic treatments: from raucous kid-comix vulgarity to Charles Burns-like gothic to the simplest line-drawn sequences. All demand to be read at a pace determined by their creator.

PLYMPTOONS.COM

W

hen Daniel Clowes’ David Boring was published in 2000, it looked for a while as if the graphic novel had finally shed the stigma of “comic book” and broken out onto the high plains of literature. Pantheon Press, a Random House imprint, cast its PR net wide, hauling in widespread raves for Clowes’ hallucinatory first-person biography of a passive, self-centered loner looking for the perfect woman while the world around him crumbles toward mundane apocalypse.

In retrospect, 2000—which also saw the publication of Chris Ware’s Jimmy Corrigan—looks like the high-water mark for serious graphic narrative in the U.S. The Japanese still consume manga by the millions, and European writers and artists still manage to sell a substantial number of graphic titles in the broader literary marketplace. But in America, the genre is still stuck with the rap that has always haunted it. Here, as Portland critic Douglas Wolk once put it, the difference between graphic novel and comic book is the binding.

Well, what the hell. David Boring is still a masterpiece, as spooky and gut-troubling as The Turn of the Screw, and Clowes, now in his mid-50s, remains the one to beat among living cartoonists. (There: I’ve said it.) With R. Crumb alive and well but living in Provence and Art Spiegelman apparently content with teaching and recycling his early work (Maus: 1991; Metamaus: 2011), Clowes is the Man. And as if to nail that title down, we now have a two-volume hardcover edition of The Complete Eightball 1–18 (Fantagraphics, $120), which originally ran from 1989–2004. It’s an early but by no means immature work, establishing Clowes as perhaps the best exemplar extant of the underground-comic sensibility of the late 20th century.

» CONTINUED ON PAGE 18 17

(4/2) Kelsey Pullar Revitalizing Youth Bicycle Programs (4/2) Scott Sampson Connecting Kids to Nature in a Technological World

arts&culture»

ACADEMY AWARD NOMINEE

» FROM PAGE 17

“A StUNNING vISUAL ODE.”

thematic ambition that has fueled much of his writing, whether in The Tortilla Curtain or When the Killing’s Done: trying to “dissect America’s love affair with violence,” as Spokane novelist Jess Walter put it so well. The Harder They Come, one of Boyle’s best creations, is a blood-raising tale that begins at a breathtaking gallop with the story of Sten Stensen, a 70-year-old former teacher and ex-Marine who, on a Central America cruise with his wife, Carolee, kills with his bare hands an armed robber holding captive a busload of tourists.

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WED 04/15

Bruce Barcott

After our 2012 vote for Initiative 502, former SW writer Barcott spent two years following the sudden gold rush toward legal pot sales, from Washington state to Colorado and beyond. His journey, related in Weed the People (Time Books, $30), brought him into contact with slick venture capitalists, dubious medical-pot merchants, naïve would-be businessmen, seriously ill people for whom THC is necessary medicine, Seattle City Attorney Pete Holmes, I-502 author Alison Holcomb, and of course Tommy Chong. Barcott is polite with the latter figure, visiting Tacoma to explore a licensing deal, but his disdain for the old hippie-countercultural cult of cannabis is clear. Though no memoir (leave that to his wife, SW alumnus Claire Dederer, of Poser), Weed the People is very much a personal odyssey that begins with Barcott’s avowed “personal loathing of marijuana.” It turns out the author toked a bit at the UW, became disgusted with his loss of focus, then applied himself rigorously to a successful writing career (which includes The Measure of a Mountain and The Last Flight of the Scarlet Macaw).

In engaging, well-reported vignettes, Barcott undergoes with the reader a kind of parallel selfeducation. Most of those incarcerated in the past for pot, he learns, were poor and people of color.

Yet he also finds that those now profiting from the weed bonanza are, like him, mostly white and privileged. (That disconnect is amusingly brought home at a Bainbridge citizens’ meeting where everyone smokes pot and wants a store on the island—just not in their backyard. The stigma of illegality and those kind of people persists.) By the end of his persuasive and surprisingly inspirational account, Barcott is again an occasional smoker who can separate his bourgeois habit from the unwashed hordes at Hempfest. Elliott Bay Book Co., 1521 10th Ave.,

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(4/15) Anne Lipton The Seven Steps to Caring for Someone withApril Dementia 23 / Meany Hall / 206-543-4880 / uwworldseries.org (4/15) Seattle DOT presents Janette Sadik-Khan Blueprints for a New Road Order

TOWN HALL

(4/15) TC Boyle ‘The Harder They Come’ CIVICS atSCIENCE ARTS & CULTURE Hotel Sorrento

Voted Best Movie Theater F

COMMUNITY

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2-for-$5 Double Feature!

(4/16) Paige Northway Improving Magnetic Measurements in Space (4/16) Cedric Villani Journey into the Mind of a Genius

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By Seattle Weekly Readers!

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(4/16) Robert Putnam America’s Opportunity Gap, Failing Today’s Youth (4/17) Joe Wenke, Gisele Alicea, & Aidan Key Gender Identity in Seattle and Beyond

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(4/19) Thalia Symphony Orchestra Beethoven’s ‘Eroica’ (4/19) Molly Wizenberg and Matthew Amster-Burton with KIRO’s Rachel Belle Spilled Milk Podcast Live (4/20) Brigid Schulte Reclaiming the American Woman’s Leisure Time (4/20) Andrew Lawler How the Chicken Dominated Society (4/21) Third Place Books: Kate Mulgrew

SCIENCE ARTS & CULTURE (4/22) Seattle Speaks Privacy Politics

CIVICS

Monday is $6 ORCA Day Show Your Orca Card and ALL Seats are $6 ($7.50 for 3D).

COMMUNITY

WWW.TOWNHALLSEATTLE.ORG (4/22) Joshua Roman A Community-Curated Concert of Cello Suites

624-6600, elliottbaybook.com. Free. (Also: Eagle Harbor Book Co., 7:30 pm. Thurs.; Town Hall, $5, 7:30 p.m. Tues.) BRIAN MILLER

Tickets Avail at Box Office Only. Not good on holidays.

Tuesday is Girls Movie Night Out!

THURSDAY, APRIL 16

2 or more ladies get $5 ($6.50 for 3D) Admission All Day. Tickets Avail at Box Office Only.

DELI MAN

WHILE WE’RE YOUNG

DESERT DANCER

BEYOND THE REACH

5 TO 7

WILD TALES

Lyon Opera Ballet

Dancers perform Sarabande.

CHILD 44

WHAT WE DO IN THE SHADOWS

MR. TURNER

(4/21) Christian Hageseth & Bruce Barcott with Dominic Corva The Changing Fate of Marijuana TOWN HALL

Two Ways To Save At Sundance Seattle

KUMIKO, THE TREASURE HUNTER KINGSMAN: THE SECRET SERVICE DANNY COLLINS

*Tickets available at the box office.

SUNDANCECINEMAS.COM

MICHEL CAVALCA

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

(4/17) Simple Measures: Simple Measures with Turtle Island Quartet

This company has always pushed the edge of what might qualify as “ballet,” performing works by some of the most groundbreaking postmodern choreographers. Through Saturday, the repertory

they’re bringing includes William Forsythe’s seminal Steptext and Sarabande by Benjamin Millepied, who went from dancing with New York City Ballet to running the Paris Opera Ballet via Hollywood, choreographing for Darren Aronofsky’s Black Swan (and marrying its star, Natalie Portman).

Meany Hall, UW campus, 543-4880, uwworld series.org. $47–$52. 8 p.m. SANDRA KURTZ FRIDAY, APRIL 17

Cornish Dance Theater

Kitty Daniels, chair of the Cornish dance department, has continually set big performance challenges for her students. Her last trick before retiring this spring is to present them in excerpts from Crystal Pite’s Dark Matters, a stunningly kinetic work. Pite’s own company knocked local audiences flat with the dance in 2011. It should be fascinating to see this group of young dancers stepping up. (Through Sat.) Broadway

Performance Hall, 1625 Broadway, cornish.edu. $5–$12. 8 p.m. SANDRA KURTZ SUNDAY, APRIL 19

Jennifer Teege

THEEXPERIMENTPUBLISHING.COM

(4/3) Juan Enriquez The Consequences of Human-Driven Evolution

“Is there such a thing as fate?” Teege asks in her first chapter of My Grandfather Would Have Shot Me (The Experiment, $25). The degree to which unlikely circumstances play in her nearly incredible memoir almost makes it sound like a work of fiction. One day, while the German-Nigerian author was browsing in a Hamburg library, she stumbled upon I Have to Love My Father, Don’t I?: The Life Story of Monika Goeth, Daughter of the Concentration Camp Commandant From Schindler’s List. Goeth was Teege’s estranged mother, who gave her up for adoption at age 7; 30 years later she abruptly learned she was the granddaughter of Amon Goeth, the sadistic Nazi SS officer played by Ralph Fiennes in Schindler’s List. Teege’s discovery first became a sensational story in the pages of Stern, then a bestseller in Germany (with journalist Nikola Sellmair as her co-author). In her book, Teege follows her grandfather’s lethal footsteps to Krakow, guiltily revisits Israel (where she studied Hebrew during her 20s), and sinks into a deep depression. Never mind fate; her message is an important one— that we have the power to decide who we are.

Elliott Bay Book Co. Free. 3 p.m. DIANA M. LE E

»Performance

SENTS E N STAT MISSION PRE O T G IN OM Y’S L WASH K BEEF C E E

Birds of a Feather

TLE T A E S

PNB’s Swan Lake is still huge, with abundant pleasures large and small.

W

BY SANDRA KURTZ

T

IN TAST

Gaining experience: Tisserand as Odette.

ANGELA STERLING

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23 RD APRIL THEATRE T T 6 PM EN N A U E C O E N PARAM EARLY ENTRA USIC BY PROM QU

PM VIP XOLOGISTS 0 1 0 3 : MI 7 S 10+

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However, Swan Lake is all about the central

couple. Three women portray Odette, the enchanted queen of swans, and Odile, her conniving doppelgänger. New to the roles, a convincing Laura Tisserand gets well beyond the steps to the nuances of performance. Her lovestruck Siegfried is the more experienced Batkhurel Bold. Together they create some beautiful moments, especially Odette’s Act 4 forgiveness for Siegfried’s betrayal. With time, Tisserand will be able to connect those individual moments into a lovely whole.

Lesley Rausch and Seth Orza are both veterans, now more comfortable in their roles.

Rausch is still more at home in the softer part of Odette, rather than as the wily Odile; she glows more than sparkles. Still, you can see her trying sharper accents for Odile, while Orza— who usually comes off as a guy rather than a prince—strikes a working balance between the two distinct female characters.

Retiring from PNB in June, Carla Körbes continues to grow in the lead part, even as she prepares to leave it. She’s always a very musical performer, yet her kinetic response to the score has become even more nuanced. She makes a rhythmic connection between the iconic swan gestures—preening and shivering, and the essential “wings”—and key moments in the music without losing the overall flow of the phrase. (Her partner is Karel Cruz: gracious with the court yet still ardent with Odette.) In this iconic role, Körbes is likely one of the best Odettes of her generation. It’s been a pleasure to see her develop during the past decade, and it’s now sad to see her go. E

dance@seattleweekly.com

MCCAW HALL 321 Mercer St. (Seattle Center), 441-2424, pnb.org. $45–$192. 7:30 p.m. Thurs.–Sat., 1 p.m. Sat.–Sun. Ends April 19.

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

here’s something about the 19thcentury ballets choreographed by Marius Petipa (1818–1910) that calls for excess. The old stories handed down to our more frugal times enchant us with their extravagant details— real silks and satins for costumes, lavish sets with elaborate special effects. There’s a legacy of real royalty in the audience and bygone opulence on stage.

(Dancers once wore their personal jewelry in performance.)

Contemporary performances don’t try to emulate such costly stagings, but they do represent another kind of wealth. Repertory classics like Swan Lake are valued as much for ticket sales as their aesthetic appeal. Pacific Northwest Ballet made a big investment with its revamped Swan Lake (coinciding with the 2003 opening of McCaw Hall), created by Kent Stowell and Francia Russell and now presented for the fifth time.

(Only Nutcracker has had more performances.)

These heritage works are often called “warhorses,” as if that were a bad thing, but the truth is that dancers still long to embrace their challenges. Part of the draw here is the safety of a well-known work, but for dancegoers Swan Lake is also a chance to track the development of a career—or of the company as a whole. Three couples rotate through the main roles of Prince Siegfried and Odette/Odile, backed by a plethora of dancers sorted into the smaller parts. Among 50 performers, there’s a certain amount of doubling.

In the challenging Act 1 pas de trois, for example, Steven Loch does an excellent job with his multiple jumps and changes of direction, which alternate with clearly controlled turns. He shows a clean classical technique as well as an engaging stage presence while leading the czárdás in Act 3, not to mention serving as one of the ubiquitous “friends” of Siegfried. Benjamin Griffiths, who shines in such difficult parts, also dances a lovely pas de trois—alongside several outings as the jester, a highly acrobatic role.

Angelica Generosa and Leta Biasucci aren’t twins, but they’re similar enough to often share roles or be paired onstage. Forming half of the notorious Four Little Swans in Act 2, they dance with linked arms in perfect unison, heads bobbing in a tick-tock beat. (It’s one of the ballet’s best-known moments.) They also do excellent work in the snappy Neapolitan dance in Act 3.

Matthew Renko and Ezra Thomson share the role of the tipsy tutor Wolfgang, who gets increasingly drunk during Act 1. When Stowell first choreographed this part, it was fairly subtle. Today, embellishment reigns: Renko’s tutor tries to clear his head by adjusting his cuffs; while Thomson’s smooths back his hair whenever the world starts spinning.

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arts&culture» Performance & Visual Arts Stage OPENINGS & EVENTS

CAT ON A HOT TIN ROOF Tennessee Williams’ dysfunc-

tional-family classic. ACT, 700 Union St., 292-7676. $15–$44.

Previews begin April 17, opens April 23. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends May 17.

THE CAUCASIAN CHALK CIRCLE Bertolt Brecht’s political allegory. (I know, that doesn’t exactly narrow it down.)

Ballard Underground, 2200 N.W. Market St., 395-5458, ghostlighttheatricals.org. $12–$15. Opens April 17. 7:30 p.m. Thurs.–Sun.; also 7:30 p.m. Mon., April 20 and 2 p.m.

Sun., April 26. Ends May 2.

COMPLEX MOVEMENTS: BEWARE OF THE DANDELIONS is an interactive “pod” performance, in

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CURRENT RUNS

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

• THE BEST OF ENEMIES In 1971 Durham, N.C., racism

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is the norm and segregation a fact of life, as confronted by two locals nominated to the federally mandated school-integration committee: a black civil-rights activist, Ann Atwater (Faith Russell), and a white KKK member, C.P. Ellis (Jeff Berryman). Enemies takes them on an inevitable journey toward reconciliation, along the way exploring notions of poverty and education that still bedevil the South today. ALYSSA DYKSTERHOUSE Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends April 25.

DINA MARTINA—TONIGHT! All-new songs, stories, and videos from the incomparable, indescribable entertaineress, with Chris Jeffries on keyboard. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets.com. $20–$25. 8 p.m. Fri–Sat., 2 p.m. Sun. Ends April 26.

FAIL BETTER: BECKETT MOVES UMO Beckett’s work is explored through UMO’s unique style of physical theater. ACT Theatre, 700 Union St., 292-7676, umo.org. $30.

8 p.m. Wed.–Sat., 2 p.m. Sun., plus other matinees; see acttheatre.org for exact schedule. Ends April 26.

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A FUNNY THING HAPPENED ON THE WAY TO THE FORUM Sondheim’s Greek-inspired farce. Seattle

Musical Theatre at Magnuson Park, 7120 62nd Ave. N.E., Building 47, 800-838-3006, seattlemusicaltheatre.org. $20–$35. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m.

Thurs., April 23. Ends April 26.

GOODNIGHT MOON Based on the bedtime book by Margaret Wise Brown and Clement Hurd, this musical debuted here in 2007. Seattle Children’s Theatre, Seattle Center, 441-3322. $20 and up. Runs Thurs.–Sun.; see sct. org for exact schedule. Ends April 26.

sented by STAGEright Theatre. Richard Hugo House, 1634 11th Ave., seattlestageright.org. $17.50–$22. 7:30 p.m. Fri., Sat., & Mon., 2 p.m. Sun. Ends April 25.

JACQUES BREL IS ALIVE AND WELL & LIVING IN PARIS Belgian crooner Jacques Brel’s songs were a

touchstone for postwar Europe, their fragililty and terror, beauty and hopefulness a reflection of his world. It’s not a bad fit in our world, either, and this production of this 1968 revue, directed by David Armstrong, tries hard to make that point. Brel’s musical punch lines are crisp, his desperation real, his anger frightening. And the cast does a fine job of bringing these songs to life. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$49. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.– Fri., 2 & 8 p.m. Sat., 2 & 7 p.m. Sun. Ends May 17.

LIVE! FROM THE LAST NIGHT OF MY LIFE In Wayne Rawley’s black comedy, a gas-station attendant vows to off himself at the end of his shift. 12th Ave Arts, 1620 12th Ave., 800-838-3006, theatre22.org. $14–$25. 8 p.m. Thurs.– Sat. Ends April 18.

LIZARD BOY One component of Justin Huertas’ new musical is a look at relationships in contemporary Seattle, centered on a lonely young gay man, Trevor (Huertas), who, though scarred, needs to get back on that horse while trying to jump the hurdle separating meaningful connection from superficial one-nighters. Trevor has a unique backstory, though: As a kindergartener he was doused in the blood of a dragon that escaped from Mt. St. Helens—hence the mysterious mental connection that draws him to damaged rock star Siren (Kirsten deLohr Helland). Here the show pivots into extravagant comicbook fantasy, including superpowers, mind control, a dragon attack, and a climactic battle—yet, ineffectively, it’s played with exactly the same earnestness as the sliceof-life stuff. GAVIN BORCHERT Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222. $17–$67. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends May 2.

THE MOST DESERVING Catherine Trieschmann’s comedy examines the snakepit that is civic arts-council grantgiving. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $22–$29. 8 p.m. Thurs.–Sat. Ends April 18.

NO WAY TO TREAT A LADY Douglas J. Cohen’s 1987 gore-free, family-friendly musical comedy was originally inspired by the Boston Strangler—according to source novelist William Goldman. Suffering a deadly devotion to his late mother, failed thespian Christopher “Kit” Gill (Nick DeSantis) dons various disguises and adopts different dialects whilst murdering women who remind him of her. The cat-and-mouse script smartly balances engaging action with witty dialogue and lyrics.

ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N. (Issaquah), 425-392-2202. $35–$67. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends April 26.

(Also runs May 1–24 in Everett.)

SECONDSTORY ORIGINALS Three local writers, three plays, three weekends. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $15.

8 p.m. Thurs.–Sat. Ends April 18.

SEX’D Handwritten Productions updates/techs up Schnitzler’s 1897 La ronde. Lab at INScape, 815 Seattle Blvd. S., handwrittenproductions.org. Pay what you will.

7:30 p.m. Thurs.–Sat. Ends April 25.

For many more Current Runs, see seattleweekly.com.

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Dance

• PACIFIC NORTHWEST BALLET: SWAN LAKE SEE REVIEW, PAGE 19.

DANCE Natascha Greenwalt and Christin • CORIOLIS Unfixed Arias promises “sardonically vamped-up

Call’s alien women of sci-fi camp, the detached forces of mass, charge, and rotation that create black holes, and wili-like preying mantis women.” Open Flight Studio, 4205 University Way N.E., 800-838-3006, coriolisdance. com. $20–$25. 7:30 p.m. Thurs.–Sun. Ends April 19.

LYON OPERA BALLET SEE THE PICK LIST, PAGE 18.

MONICA BILL BARNES & COMPANY Happy Hour is billed as the “first-ever cocktail party dance show.”

Velocity Founders Theater, 1621 12th Ave., 325-8773, velocitydancecenter.org. $12–$20. 7:30 p.m. Thurs., April 16.

CORNISH DANCE THEATER SEE THE PICK LIST, PAGE 18.

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Classical, Etc.

• SEATTLE SYMPHONY Shostakovich’s massive

Seventh Symphony (1942) is a requiem for Leningrad—as destroyed by Stalin or by Hitler, take your pick. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony. org. $35–$120. 7:30 p.m. Thurs., April 16; noon Fri., April 17; 8 p.m. Sat., April 18.

BENJAMIN VERDERY This recital is the highlight of Cornish’s Northwest Guitar Festival, Fri.–Sun. PONCHO Recital Hall, Cornish College, 710 E. Roy St., cornish.edu. $15–$25. 8 p.m. Fri., April 17.

R. ANDREW LEE On Friday, this pianist premieres Nat

Evans’ Desert Ornamentation, which incorporates field recordings of buzzing power lines made in southern California; on Saturday, he’ll play Randy Gibson‘s The Four Pillars . . . , which promises more than three hours of “immersive drone experience.” Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.org. $5–$15. 8 p.m. Fri., April 17, 7 p.m. Sat., April 18.

SIMPLE MEASURES Classical (Dvorak, Shostakovich, Milhaud) meets jazz with the Turtle Island String Quartet.

At Town Hall, 1119 Eighth Ave., 7:30 p.m. Fri., April 17; and Mt. Baker Community Club, 2811 Mt. Rainier Dr. S., 2 p.m.

Sun., April 19. $15–$30. 853-5672, simplemeasures.org

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ORCHESTRA SEATTLE/SEATTLE CHAMBER SINGERS

Roupen Shakarian guest-conducts Handel’s Israel in Egypt. First Free Methodist Church, 3200 Third Ave. W., osscs.org. $10–$25. 7:30 p.m. Sat., April 18.

THALIA SYMPHONY Beethoven’s Third, plus Tchaikovsky, Verdi, and Weber. Town Hall, 1119 Eighth Ave., thalia symphony.org. $15–$20. 2 p.m. Sun., April 19.

MICHAEL PARTINGTON This guitarist plays Boccherini’s “Fandango” quintet (in which the cellist doubles on castanets) alongide a Mozart quartet and a few solo works.

Queen Anne Christian Church, 1316 Third Ave. W., 7266088, galleryconcerts.org. $15–$30. 3 p.m. Sun., April 19.

MUSIC NORTHWEST Two Beethoven piano trios. Olympic Recital Hall, 6000 16th Ave. S.W., 937-2899, music northwest.org. $16–$18. 3 p.m. Sun., April 19.

BYRON SCHENKMAN & FRIENDS From this keyboardist, chamber and solo pieces by Handel and Telemann.

Benaroya Recital Hall, Third Ave. & Union St., 215-4747, byronschenkman.com. $10–$42. 7 p.m. Sun., April 19.

UW BANDS The Wind Ensemble and Symphony Band play (among other things) Andrew Rindfleisch’s American Scripture. Meany Hall, UW campus, 543-34880, music. washington.edu. $10–$15. 7:30 p.m. Mon., April 20.

EMERSON STRING QUARTET SEE EAR SUPPLY, BELOW.

Openings & Events DAN LOEWENSTEIN He presents new prints and

sculpture in The Boys, which opens Friday, April 17.

Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends May 30.

ETHAN MURROW Jurassic is a show about the overwhelming vastness of the Northwest landscape.

Opening reception, 5-7 p.m. Tues., April 20. Winston Wächter Fine Art, 203 Dexter Ave., 652-5855, seattle.winstonwatcher.com. 10 a.m.-5 p.m. Mon.Sat. Ends June 27.

• THE NEW FRONTIER: YOUNG DESIGNER-Opening MAKERS IN THE PACIFIC NORTHWEST

Friday, this group show runs concurrently with Jana Brevick: This Infinity Fits in My Hand. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$12. 11 a.m.-6 p.m. Tues.-Sun. Ends Aug. 16.

ERIC SALISBURY His paintings are all about evoking positivity. Opening reception, 4-7 p.m. Fri., April 17. C Art Gallery, 855 Hiawatha Pl S., 322-9374, cartgallery.net. Hours and end date TBD.

Ongoing

• IMOGEN CUNNINGHAM 17 photographs of Cornish,

its students, and founder Nellie Cornish, taken in 1935 by the pioneering Northwest photographer. Cornish College of the Arts, 1000 Lenora St., 726-5151, cornish.edu. 9 a.m.-5 p.m.

HENRY HORNSTEIN He presents black-and-white photos taken at horse tracks around the coutry, with images dating back to the early ’70s, in Racing Days.

Photo Center NW, 900 12th Ave., 720-7222, pcnw.org.

Noon-9 p.m. Mon.-Sat. Ends June 13.

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BY D IA NA M . LE

B Y G AV I N B O R C H E R T

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com

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

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Practice, Practice, Practice For musicians, the rewards of bringing a new piece into the world have to be reconciled with the extra rehearsal time it will take to learn it from scratch—

BY GAVIN BORCHERT which can be a challenge if you’re a chamber ensemble as busy as the Emerson String Quartet. Curious about the effort required to midwife Lowell Lieberman’s String Quartet no. 5—which they premiered in September and will play here Tuesday—I corresponded with ESQ violinist Eugene Drucker.

Liebermann delivered the work (meeting the requested deadline) early last summer, and the ESQ members began individual study: “We all have to prepare before the first rehearsal of any piece, particularly a contemporary work that nobody has played before,” Drucker says.

“I’d estimate that I spent two or three hours practicing [the quartet], putting in bowings and fingerings, before we first rehearsed it,” which was in July. From there, how long did it take to get it performance-ready? “In general this quartet is somewhat easier than many that we have premiered,” Drucker says, though one fugal passage in 5/16 meter proved “tricky to organize in the early stages . . . I would guess that we needed a total of eight to 10 hours.” Just a few of those were spent with the composer, “about three weeks before the premiere,” Drucker says. Tempos were the main issue: “Some of the fast sections seemed either unplayably fast

EARSUPPLY

Drucker, right, with Lawrence Dutton, Paul Watkins, and Philip Setzer.

or at least unrealistic in terms of projecting the lines with clarity in a concert hall, and Mr. Liebermann was very flexible about modifying [his metronome marks] . . . In discussing each section of the piece with him, we gained a greater understanding of the atmosphere he wanted, and of which lines should stand out in relief from the overall texture.”

This was the ESQ’s first encounter with the music of Liebermann, one of today’s busiest and most-often-performed composers, and Drucker admires the quartet’s “mysterious atmosphere, lyricism, rhythmic energy, and contrapuntal treatment of material. There is a perceptible narrative arc, a sense of having come full circle by the time the opening material is evoked . . . Judging from the many comments I have received, audiences seem to find the work accessible, meaningful, and moving. That is no small achievement in today’s varied musical landscape.” Meany Hall, UW campus, 543-4880, uwworldseries.org. $40–$45. 7:30 p.m. Tues., April 21.

LISA-MARIE MAZZUCCO

which small audiences (limit 35) become survivors in a post-apocalyptic community. On the Boards, 100 W. Roy St., 217-9886. $12–$23. Runs Thurs.–Sun. April 16–19 & May 7–10; see ontheboards.org for exact schedule.

CRADLE WILL ROCK Marc Blitzstein’s political musical made waves in the ’30s when the Federal Theater Project backed it. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. Free. 8 p.m. Tues., April 21, Thurs., April 23, Sat., April 25; 2 p.m. Sun., April 26.

DON NORDO DEL MIDWEST The “deconstructionist dinner theatre” takes residence with a new show in the former Elliott Bay Book Company space in Pioneer Square. Nordo’s Culinarium, 109 S. Main St., cafenordo. com. $75 ($100 w/wine flight). Opens Thurs., April 16. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends May 31.

FLAMINGO The Can Can’s all-new tropical themed cabaret.

Can Can, Pike Place Market, 877-280-7831. Preview April 16, opens April 17. $30–$85. Runs Wed.–Sun.; see thecan can.com for exact schedule. Ends Oct. 11.

PICASSO AT THE LAPIN AGILE The artist meets Einstein in Steve Martin’s absurdist comedy. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, brownpapertickets.com. $15–$18. Opens April 17. 7:30 p.m.

Fri.–Sat., 3 p.m. Sun. Ends April 26.

ROBIN HOOD The evergreen adventure tale promises not to be too intense. But will it turn your kids to socialists with all that talk of robbing from the rich? Seattle Children’s Theatre, Seattle Center, 441-3322, sct.org. $20 and up. Opens April 16. 7 p.m. Thurs.–Fri.; 2 & 5:30 p.m.

Sat.; 11 a.m. & 2:30 p.m. Sun. Ends May 17.

SATURDAY MORNING CARTOONS Kids’ play ideas are brought to life by adult playwrights and actors. Pocket Theatre, 8312 Greenwood Ave. N., the1448projects.org. $5–$14. Opens April 18. 10:30 a.m. Sat. Ends May 9.

TEN-MINUTE PLAY FESTIVAL New work by Cornish students. Cornish Playhouse Studio. Seattle Center, cornish. edu. Free. Opens April 18. 7:30 p.m. Sat.–Sun. Ends April 26.

TWELFTH NIGHT Cornish juniors take on Shakespeare.

Cornish Playhouse Studio at Seattle Center, cornish.edu.

Free. Opens April 17. 2 p.m. Fri.–Sun. Ends April 26.

YER CHEATIN’ HEART Theater/burlesque troupe the Libertinis take us to the dusty, dying hamlet of Hope Springs, where it decidedly doesn’t. TPS Blackbox, Seattle Center Armory, thelibertinis.com. $20–$30.

7:30 & 10 p.m. Fri., April 17–Sat., April 18.

INTO THE WOODS Sondheim’s dark fairy-tale mashup, pre-

» Literary Author Events ATTICUS LISH Paul Constant talks to him about his

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Third Place, 7 p.m. Wed., April 22.

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Elliott Bay Book Company Get in Trouble

by Kelly Link

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debut novel, Preparation for the Next Life. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., April 15.

SHAWN LAWRENCE OTTO Sins of Our Fathers is a new novel from the screenwriter of House of Sand and Fog. Ravenna Third Place Books, 6500 20th Ave. N.E., 523-0210, thirdplacebooks.com. 7:30 p.m. Wed., April 15.

MICHAEL SCHEIN His new book John Surratt: The Lincoln Assassin Who Got Away explores the life of John Wilkes Booth’s closest associate. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org.

7 p.m. Wed., April 15.

PETER COYOTE The Rainman’s Third Cure: An Irregular Education is the actor’s memoir. Seattle Central Library, 7 p.m. Thurs., April 16.

JEANNINE HALL GAILEY Her new fantasy book, The Robot Scientist’s Daughter, comments on the nuclear family. Jack Straw Cultural Center, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. 7 p.m. Thurs., April 16.

DAVID KANNAS Still Life With Badge is a new series inspired by the author’s career in law enforcement.

University Book Store, 7 p.m. Thurs., April 16.

ROBIN OLIVEIRA I Always Loved You is a historical novel about two artists in Paris. Parkplace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m. Thurs., April 16.

ROBERT D. PUTNAM The author of Bowling Alone and American Grace discusses his latest book, Our Kids: The American Dream in Crisis. Town Hall, $5.

7:30 p.m. Thurs., April 16.

DAVID SHIELDS He discusses the concept of collage in his co-written book, Life Is Short—Art Is Shorter. Richard Hugo House, 1634 11th Ave., 3227030, hugohouse.org. $12. 7 p.m. Thurs., April 16.

CÉDRIC VILLANI Birth of a Theorem is about mathematical discovery. Town Hall, $5. 7:30 p.m. Thurs., April 16.

NEIL GAIMAN Fantasy author of Coraline, Sandman, Stardust, etc., he discusses his work and career. UW Campus, 634-3400, bookstore.washington.edu. $18$35. 7 p.m. Fri., April 17.

MARA GRUNBAUM WTF, Evolution?! is a new book from the funny science writer, raised here in the Northwest. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 6:30 p.m. Fri., April 17.

MARIAN PALAIA Her new novel The Given World takes readers to Montana, San Francisco, and Vietnam.

Elliott Bay, 7 p.m. Fri., April 17.

JOE WENKE He is joined by guests to discuss The Human Agenda: Conversations about Sexual Orientation and Gender Identity, which started out as a podcast. Town Hall, $5. 7:30 p.m. Fri., April 17.

ANTHONY ALVARADO The author offers his advice to creatives in D.I.Y. Magic: a Strange and Whimsical Guide to Creativity. Elliott Bay, 7 p.m. Sat., April 18.

KATE DYER-SEELEY She signs her new book Slayed on the Slopes. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com. Noon. Sat., April 18.

SARAH LACHANCE ADAMS Maternal love is explored in Mad Mothers, Bad Mothers, and What a “Good” Mother Would Do. University Book Store, 7 p.m.

Mon., April 20.

RUTH KIRK The writer and photographer offers an account of the Makah whaling village excavation in Ozette: Excavating a Makah Whaling Village. Seattle Central Libray, 2 p.m. Sun., April 19.

VIET THANH NGUYEN His debut novel, The Sympathizer, is told through the voice of a double agent in 1970s America amongst Vietnamese refugees.

University Book Store, 7 p.m. Tues., April 21.

ANN PACKER She discusses her new novel, The Children’s Crusade, which follows a California family over five decades. In conversation with Nancy Pearl.

Elliott Bay, 7 p.m. Tues., April 21.

AMBER TAMBLYN The Actress (Sisterhood of the Traveling Pants) and poet reads from her new poetry collection, Dark Sparkler, with artwork commissioned from David Lynch, Marilyn Manson, and others. Elliott Bay, 7 p.m. Mon., April 20.

CAROLINE ALLEN Earth is the first in a four-part book series about Pearl Swinton, a young girl who experiences mystical visions in a rural town in the 1970s.

GOOD BOOKSTORES

21

arts&culture» Film Director Victor Levin, a producer on Mad Men and a veteran TV writer, doesn’t seem to agree with film’s “Show, don’t tell” rule. 5 to 7 ’s dialogue is clunky and copious. Coupled with static camera work, the film is trying to be Gilmore Girls trying to be a Woody Allen movie.

I had high hopes for Yelchin after his stellar performance in the indie romance Like Crazy.

Unfortunately, he and Marlohe—while both very attractive—have no chemistry. But, as Brian says, “Progress is not linear.” DIANA M. LE

Opening ThisWeek Backcountry

22

Beyond the Reach OPENS FRI., APRIL 17 AT SUNDANCE CINEMAS. RATED R. 95 MINUTES.

Gordon Gekko in the desert Southwest.

There’s really no other way to describe this sparse but ultimately rather silly B-movie thriller. Michael Douglas rolls into town in a monstrous Mercedes-Benz SUV equipped with a stove, a wet bar, and an espresso maker.

PThe Hunting Ground RUNS FRI., APRIL 17–THURS., APRIL 23 AT SIFF CINEMA EGYPTIAN. RATED PG-13. 90 MINUTES. LINDSAY SARAZIN/IFC MIDNIGHT

See, this is why I don’t go camping. In its opening half-hour (the film saves its explicit violence, including quite a bit of gore, for its final 30 minutes), Backcountry conjures a series of terrors about being in the middle of nowhere—in this case, a Canadian forest. Is the aggressive stranger with the survivalist knife following you? Are those sounds at night really acorns falling from trees? Has that deer carcass been slaughtered by an animal with large claws? And what exactly lurks outside the circle of light afforded by your campfire at night?

These wilderness anxieties are enhanced by the transparently empty bravado of Alex ( Jeff Roop), who is dragging girlfriend Jenn (Missy Peregrym) in the direction of a remote lake, a place fondly (but not too exactly) remembered from his childhood. When the script establishes that Alex is a struggling gardener while Jenn is a lawyer, it explains his tendency to overcompensate and his reluctance to be outmachoed by the rugged park ranger (Eric Balfour) who stops by their camp during their first night out.

Even though this movie struck me as a mostly hollow exercise, I will testify to the effectiveness of director Adam MacDonald’s tricks.

(One comes at the beginning, with a claim that the film is based on a true story—evidently the film has a casual similarity to a real case of people attacked in a forest, but that’s about it.)

The ability to maintain a vague sense of unease is no small achievement, although MacDonald can’t avoid the letdown when the terror is made physical. The film also benefits from the determined presence of Peregrym, a Hilary Swankalike who seemed a cinch for Hollywood stardom after Stick It (2006) but who’s labored in Canadian TV ever since. Not that there’s anything wrong with that. This performance should put her on the map.

A map would’ve been useful for the characters in Backcountry; but then again, the film’s plot is dependent on bad decision-making.

That may be lazy screenwriting, yet part of the movie’s point is 21st-century cluelessness about nature—Alex’s overconfidence, Jenn’s reliance on her smart phone—so of course these two would do dumb things. Backcountry doesn’t reach the giddy heights of the masculine competition games of the David Mamet-scripted The Edge, but at least it isn’t as pretentious as Wild. Sometimes you eat the bear, sometimes the bear eats you, as the philosopher Sam Elliott said. Backcountry succeeds by not straying far from that core belief. ROBERT HORTON

Peregrym, in Backcountry, is bound for better things.

It’s the only one in the U.S. and it cost a halfmillion bucks, brags his financier John Madec.

The locals are more impressed with the smaller denominations of cash Madec hands out as bribes. He’s here in Navajo country, without a permit, to shoot a bighorn sheep. This arrogant trophy hunter also totes an Austrian rifle worth more than the mobile home and pickup truck of his orphaned young guide, Ben ( Jeremy Irvine, the farmboy turned soldier in War Horse). Yet class resentment isn’t really explored in Beyond the Reach.

Madec is the flashy, enjoyably evil role here, and producer Douglas certainly relishes the part, wearing yellow ’70s aviator shades and barking Mandarin business instructions into his sat-phone. (Madec is in the process of outsourcing . . . ahem, I mean selling a company to China for $120 million.) There are no cracks in his confident, leathery façade—a lean 70-year-old cancer survivor, Douglas now strikingly resembles his father Kirk—until a hunting mishap turns client against guide.

It’s not a fair contest: Douglas can act, while Irvine just furrows his brow in consternation.

(Special-effects makeup soon has Ben blistered and red while he’s pursued barefoot and shirtless through the Mojave.) Moreover, despite the Gekko shadings, this is not an Oliver Stone-level script. Once the cat-and-mouse stuff begins, Madec doesn’t have anything interesting or funny to say in this dire situation. All Douglas can do is shout at the kid to stop hiding—so he can follow him some more.

This is one of those movies where the villain won’t simply shoot the good guy because the plot demands still more delay. (Fun fact: Andy Griffith played the malign hunter in the 1974 television adaptation of Robb White’s 1972 YA novel Deathwatch, itself essentially a Four Corners rehash of The Most Dangerous Game.)

And it gets worse. French director JeanBaptiste Léonetti keeps interrupting what ought to be a taut two-hander with flabby flashbacks. (Ben has a girlfriend, yawn, away in college.) The two-part surprise ending doubles down on stupidity to such an extent that even Douglas-Gekko-Madec seems incredulous.

Like him, we’d rather be doing deals in China.

BRIAN MILLER

5 to 7 OPENS FRI., APRIL 17 AT SUNDANCE CINEMAS. NOT RATED. 97 MINUTES.

The Manic Pixie Dream Girl label has become a tired, overused trope in a tired, overused genre in which a one-dimensional female character exists solely to help a lost young man shake up his life and reach full potential. (What about her happiness?

Who cares?) Think Elizabethtown, Garden State, or 500 Days of Summer. In 5 to 7, our Lost Boy is Brian (Anton Yelchin), an unpublished 24-year-old writer who papers the walls of his nice Manhattan apartment with rejection letters, completely unaware of his privilege. (Brooklyn we could maybe believe.)

He soon meets Arielle (Bérénice Marlohe), a beautiful 33-year-old Parisian, and is instantly infatuated with this Manic Pixie Dream Woman. The two begin a flirtation intended to be cute and charming, but which comes off as flat and contrived.

WALTER THOMSON/IFC FILMS

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

RUNS FRI., APRIL 17–THURS., APRIL 23 AT GRAND ILLUSION. NOT RATED. 92 MINUTES.

Ah, yes, the campus rape movie that none of us wants to see. Credit the excellent muckracking documentarian Kirby Dick for pursuing such difficult topics. In 2012’s The Invisible War, he and producer Amy Ziering addressed sexual assault in the military; now their attention turns to the academic institution, which operates by its own inflexible set of rules (many of them unwritten). Will you be surprised to learn that fundraising and sports teams count for more than young women’s safety?

Despite the relatively mild rating (CNN has the broadcast rights), this is not an easy sit. The Hunting Ground walks us through a variety of campus crimes—none at the UW or state colleges, I’ll tell you now—as described by their candid victims. All are named, as are a very few suspects and perpetrators, the most prominent being Heisman-winning quarterback Jameis Winston of Florida State. A few collegiate men also describe their assaults, but the pattern here is overwhelmingly male on female, and it works like this: 1) Ask a freshman girl to a party and get her drunk; 2) isolate her from friends; 3) rape or sodomize her; 4) act like nothing happened; 5) repeat.

This would all be too terribly depressing if Dick and Ziering didn’t structure their movie around two brave young women, North Carolina’s Annie

Older muse, younger scribe: Marlohe and Yelchin in 5 to 7.

Arielle tells Brian that she’s got a husband and two children, but maintains an open marriage between the hours of 5 and 7 p.m. every weekday. And of course she’s the one who initiates the affair, after Brian hesitates for just one honorable nanosecond. 5 to 7 is pure male fantasy, predicated on familiar types. Arielle is one of those effortlessly beautiful Frenchwomen, and Brian will be inspired by her muse. Sample voiceover: “She made me a writer. She made me a man.” Excuse me while I go vomit.

E. Clark and Andrea Pino, who after being raped founded EROC, or End Rape on Campus. (It uses the federal Title IX law, originally intended to equally fund women’s sports teams on campus, to sue for inadequate and unequal protection of female students from sexual assault.) And though their troubling yet inspiring stories are part of a larger chorus of victims, The Hunting Ground is well and widely sourced and reported. Damning statistics abound, with footnotes: 16–20 percent of women on campus experience sexual assault; 88 percent of

like the skeleton of ages past. The spare dialogue gives way to a symphony of insects and lonely wind. Alonso often holds his long, leisurely shots after characters have left the frame—as if contemplating the transience of life. Some may find the device pretentious; I find it beautiful and haunting. Alonso grounds his film in the physical experiences of his characters and the texture of the moment, but in the final minutes the physical gives way to the metaphysical. Dinesen’s odyssey transforms into something closer to a dream or legend dredged up from the subconscious. For Alonso, it’s all part of the same story—more poem than frontier thriller, one that lingers long after the credits end. SEAN AXMAKER

such assaults go unreported; of those 12 percent reported, only 25 percent result in arrests; of those arrested, 20 percent go to trial.

Why are the stats so stacked against women?

Universities don’t want to alienate donors by expelling their sons or passing complaints to the cops.

“It’s a deeply powerful industry,” says The Atlantic’s Caitlin Flanagan. Another source adds,“Universities are protecting their brand. They’re selling a product.” And finally, says an ex-UNC administrator, the school’s goal is to “keep your numbers low.”

Even so, The Hunting Ground manages to summon some hope for change (cue the Lady Gaga ballad). To date, the EROC has helped students file 24 Title IX complaints, while 95 schools are under current federal investigation. It’s not the numbers here you’ll remember, of course, but the stories. A montage of students relating how they called their parents, post-rape, is the saddest thing you’ll see on screen this year. BRIAN MILLER

P1971 RUNS FRI., APRIL 17–THURS., APRIL 23 AT GRAND ILLUSION. NOT RATED. 79 MINUTES.

PJauja RUNS FRI., APRIL 17–THURS., APRIL 23 AT NORTHWEST FILM FORUM. NOT RATED. 108 MINUTES.

CINEMA GUILD

Mortensen as lost father.

» CONTINUED ON PAGE 24

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

Back in 2009, Argentine filmmaker Lisandro Alonso came to Seattle for a retrospective of his still-young career, including his new film Liverpool, which NWFF subsequently distributed in the U.S. Jauja is his first feature since that critical breakout, and his most commercial to date—though still with plenty of space for Alonso-ian mysteries.

The title, pronounced “How-ha,” refers to a legendary city of riches and happiness, but this is no treasure hunt. Set in the late 19th century, Jauja is a period piece that ostensibly takes on the genocide of Argentina’s colonial past, when soldiers were sent to exterminate the primitive “coconut heads.” Yet Alonso’s films are as much about men moving through the landscape, leaving behind the rules of civilization to become lost in the wilderness.

“We don’t belong here,” says the rueful Gunnar Dinesen (Viggo Mortensen), a Danish engineer working for the Argentine army. He’s not just talking about the wilds of Patagonia. More civilian than soldier, Dinesen is accompanied by his 15-year-old daughter Ingeborg (Viilbjørk Malling Agger), who becomes the object of unwanted attention from an insistent lieutenant. When she runs off with a young soldier into “enemy territory”—the vast, barren inland country where a guerrilla leader has become as much myth as adversary—Dinesen follows without waiting for a military escort. He’s awkward and out of place in this terrain, no less uncomfortable in the company of crude soldiers, showing the weariness of age in his graying beard and unhurried pace. It’s a physical vulnerability we don’t often see in Mortensen (now 56), and it is powerful.

Alonso isn’t one for exposition. Jauja leaves the coast for a grassy pampas where rocky nubs and spiky mountains punch through the earth

Even if you have an allergic reaction to dramatic re-enactments in documentary films—and I confess I get itchy during them—1971 provides an exciting, non-hokey account of a remarkable true story. The March ’71 break-in at an FBI office in Media, Penn., has not enjoyed the lingering prominence of the Pentagon Papers or other high-profile leaks. Maybe that’s because the culprits were never found. Most of the participants were recently outed in onetime Washington Post reporter Betty Medsger’s book about the case, The Burglary. Medsger is an interviewee in the documentary, as are the former burglars willing to go on camera.

The portraits that emerge are familiar but vivid. The burglars (who dubbed themselves the Citizens’ Commission to Investigate the FBI) included professors, parents, and protest-minded college students. Under the leadership of the late Haverford College physics teacher Bill Davidon, they targeted the FBI because they sensed J. Edgar Hoover’s organization was spying on the protest movement and installing its agents as undercover agitators. At the time, Hoover was also gathering documentation on participants in the women’s liberation movement and checking up on subversive cabals such as the Boy Scouts of America. All this, and quite a bit more, was contained in the documents stolen from the FBI office.

Johanna Hamilton’s film has plenty of angles.

There’s the suspense of the break-in itself, which was meticulously planned: Innocent-looking mom Bonnie Raines pretended to be a Swarthmore student to get inside the FBI office and case the joint, and the break-in took place on the night of the epic Ali/Frazier prizefight, in the hope that security guards would be otherwise occupied. Even the re-enactments can’t blunt that stuff. Then there’s the content of the files themselves, which revealed the FBI’s blatant overreach. One stray reference, the acronym COINTELPRO, would eventually expose Hoover’s shockingly nasty domestic counter-intelligence program. Its hijinks included the anonymous blackmail letter to Martin Luther King, Jr., implying that King should kill himself before he was awarded the Nobel Peace Prize.

Then there are the contemporary parallels, which the movie doesn’t overdo. (Laura Poitras, Oscar winner for the Edward Snowden doc Citizenfour, is an executive producer here.) The film doesn’t need to hit those parallels hard, because no contemporary viewer will see this as a period piece—not with Snowden and Julian Assange being debated as heroes or scoundrels. 1971 is firmly on the side of disobedience. ROBERT HORTON

23

arts&culture» Film » FROM PAGE 23 The Salt of the Earth OPENS FRI., APRIL 17 AT CINERAMA, SEVEN GABLES, & LINCOLN SQUARE. RATED PG-13.

109 MINUTES.

Much as you and I will want to admire the great Brazilian humanist photographer Sebastião Salgado, such creatures have a way of remaining elusive, using their lens as a shield. Compounding matters more, this is an unwieldy documentary portrait with two authors: Wim Wenders (Wings of Desire, etc.), a professed fan who provides voiceover praise; and Juliano Salgado, the artist’s elder son, who’s part of the family enterprise. As he’s done since transitioning from Paris-based economist to globetrotting photographer in the early ’70s, Salgado Sr. is calling the shots here. Stacked with stunning images (almost like a pedestal), this overlong doc can feel like a promo reel for his ongoing Genesis photo series. No outside voices or critics dare interrupt the master or his tribute.

While alternating between its two sources (Wenders’ mostly being black-and-white, like

Salgado’s images), Salt of the Earth lays out a life in chronological fashion: early days on the family farm, education in the city, marriage, and further study in Europe. Acclaim came in the ’70s and ’80s, as Salgado began haunting war zones, sites of famine and displacement, and scenes of brutal, back-breaking labor in the Third World. I have to say now that such stoic scenes of human misery and endurance have become commonplace, but that’s the legacy of Salgado’s success. He’s perhaps the most recognizable name-brand photographer in the world today, though lately transitioned from human suffering to environmental splendor. (Has he gone soft? He’s earned that privilege.)

Salgado Jr.’s footage doesn’t provide anything we haven’t seen in National Geographic specials. Family matriarch Lélia serves as her husband’s editor and book packager, but learning of the family’s reforestation efforts back in Brazil—her pet project—is routine green. Salt of the Earth is a self-serving and very family-sanctioned project, though not quite a chore to watch. (Be prepared, however, for many emaciated corpses and miserable refugee camps, which lead Salgado into a predictable pattern of aesthetic response.) Salgado himself speaks in con-

A TRUE CRIME THRILLER “FASCINATING AND UNSETTLING.”

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

– Kate Erbland, FILMSCHOOLREJECTS.COM

24

LANGUAGE AND SOME DISTURBING MATERIAL

STARTS FRIDAY, APRIL 17 IN THEATRES EVERYWHERE Check Local Listings For Theatres & Showtimes

tented aphorisms—sometimes sounding like Bono, so secure in his compassion for the world’s poor and downtrodden, all of whom remain voiceless within his expensive, expressive frames. BRIAN MILLER

True Story

Local & Repertory BRINGING IT HOME Discussion follows this hour-long

doc about hemp growing. (NR) Keystone Church, 5019 Keystone Pl. N., 632-6021, meaningfulmovies.org.

Free. 7 p.m. Fri.

DROP DEAD GORGEOUS/ THE LAST STARFIGHTER

OPENS FRI., APRIL 17 AT GUILD 45TH AND OTHER THEATERS. RATED R. 104 MINUTES.

No one is harder on the press, and less forgiving of ethical transgressions, than the press itself. Fabricating journalists like Jayson Blair and Stephen Glass were swiftly booted from their profession in disgrace, and it takes little time in this somber, fact-based account for Mike Finkel (Jonah Hill) to experience the same fate. His recent New York Times Magazine cover story about African plantation workers relied on composite characters (though he’ll barely admit it), and jobless Mike is soon back in snowy Montana with his girlfriend (Felicity Jones, from The Theory of Everything). No editor will take Mike’s calls. His career is seemingly over.

Then, deliverance. News comes that a Newport, Oregon, man named Christian Longo (James Franco) has been arrested for killing his wife and three kids. Mike doesn’t care about that; domestic murders are a dime a dozen. But here’s the hook: Chris was arrested in Mexico while impersonating Mike—he’s a fan! Now that’s a story—and, Mike hopes, a chance to redeem himself. Finkel’s book True Story was published in 2005; Longo is still on death row; and the facts of the 2001 crime were well-reported at the time. What further shock or surprise can be wrung from the matter? True Story mostly situates itself within Mike’s troubled conscience—which is certainly more accessible than Chris’ (if he has any), yet dramas of journalistic practice are seldom compelling. (All the President’s Men is the exception that proves the rule.)

Regardless of novelty or viewer interest, what really matters here—to Franco and Hill, at least—is the commitment to Serious Cinema.

The stars and British director Rupert Goold are sure that Mike’s ingratiating himself with Chris, who has an agenda of his own, must mean something. Their character flaws and parallels will pay off, right? Hill has a knack for portraying earnest, sweaty, awkward characters lacking self-awareness (common to both The Wolf of Wall Street and the Jump Street movies). Even as Mike lectures Chris (who’s granting exclusive access in return for writing lessons), “I lost my obligation to the truth; don’t make the same mistake I did,” the phrase feels empty. Again and again, Mike falls back on the secondhand tropes and templates of a desperate journalist on deadline. The language feels right, but it isn’t original to him. “We’re not so different,” Mike tells Chris during one of their many (too many) intimate jailhouse interviews— but wait, is that just something he remembers from The Silence of the Lambs? (Meanwhile Franco gives the superior, quieter performance— free of his recent tics and mannerisms.)

As this rather pat and schematic movie drags toward Chris’ trial and inevitable betrayal of Mike, it does remind you of Bennett Miller’s far superior Capote—only Truman Capote used In Cold Blood to build his journalistic reputation, not to restore it. While Mike keeps insisting on his “second chance,” you wish the movie weren’t so aligned with that goal. Finkel recently wrote in Esquire of Longo, “The one thing he could never do was admit to his wife that he was anything less than a success.” But as usual, he’s really talking about himself. BRIAN MILLER E

film@seattleweekly.com

From 1999 and 1984, respectively, these two old chestnuts celebrate beauty pageants and space adventure.

(R) Central Cinema, 1411 21st Ave., 686-6684. $7-$9.

Fri.-Tues. See central-cinema.com for showtimes.

KUNG FU GRINDHOUSE This long-running series calls it quits after 10 years. On the bill for a final chopsocky blowout celebration are Millionaire’s Express, Forbidden Zone, and Boxer’s Omen. (NR) Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. Free. 21 and over. 6 p.m. Mon.

HUGHES AFRICAN AMERICAN FILM • LANGSTONNineteen features and some two-dozen FESTIVAL

shorts are featured during the fest. Highlights include An American Ascent (about black climbers on Denali), the nuptial rom-com Christmas Wedding Baby, Oscar Micheaux’s 1920 silent film Within Our Gates, and the new doc Cincinnati Goddam, about race and politics in that city. Various panel discussions are also planned; see website for full festival schedule. (NR) Langston Hughes Performing Arts Institute, 104 17th Ave. S., langstoninstitute.org. $7-$12 individual, $50-$150 series. Ends Sun., April 19.

• MARIA TALLCHIEF Sandy Osawa will introduce her bio-doc about the pioneering Native American ballerina (1925-2013), who married George Balanchine and danced all the great roles for New York City Ballet.

(NR) Northwest Film Forum, 1515 12th Ave., 2675380, nwfilmforum.org. $6-$11. 6 & 9 p.m.

NEWAXEYES PLAYS ALIEN The local band performs a live score to Ridley’s Scott’s 1979 sci-fi classic. (R) Northwest Film Forum, $12-$15. 8 p.m. Mon. Louis Malle’s Elevator to the • NOIR DE, a FRANCE Gallows fairly tight and ingenious little noir from 1958, has Jeanne Moreau tempt former paratrooper Maurice Ronet into murdering her war-profiteering husband. It’s the perfect crime—until it’s not. Ronet gets stuck in the elevator; a pair of teens steal his car and become involved in another crime; and Moreau is left to walk the rainy Paris streets, wondering if she’s been double-crossed by her lover. (These scenes are made doubly evocative by Miles Davis’ score.) There’s plenty of James M. Cain and Billy Wilder at work here; Malle is making something of an homage to his American forebears, like a lot of other crime flicks from the early nouvelle vague. But it’s also a crisp and uncompromising moral vision in black-and-white. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thursdays through May 21.

KELLY SEARS The visiting filmmaker shows samples from her work. (NR) Northwest Film Forum, $6-$11.

4:30 p.m. Sun. SWEET 16 See early 16 mm effort shorts by locals including Lynn Shelton, Dayna Hanson, Jon Behrens, Reed O’Beirne, and Web Crowell. Some directors will attend.

(NR) Northwest Film Forum, $6-$11. 7 p.m. Sat. • TIMBUKTU This acclaimed drama by Abderrahmane Sissako has Malian citizens trying to cope with the Muslim fundamentalists who’ve overrun their ancient metropolis. (PG-13) SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. 7 p.m. Mon.

Ongoing

DANNY COLLINS As related in this simultaneously

hackneyed and likable rock-’n’-roll redemption tale, there really was a guy who, 40 years after the fact, discovered that John Lennon had written him a letter telling him to stay true to his art. Al Pacino plays Danny as a music celebrity living high on his legacy, doing what looks like a lounge-act version of Mick Jagger on the casino circuit. He’s on showbiz autopilot, performing his greatest hits for the AARP demo. The belated arrival of the Lennon letter sends Danny to a sleepy New Jersey Hilton. From there, he hopes to finally connect with his neglected son Tom (Bobby Cannavale), born from a backstage hookup. It’s hard to get worked up over the emotional journey of a spoiled celeb who’s milked a bubblegum pop anthem into a fortune. What exactly happened to the earnest young folk singer of the prologue? We never learn. Yet such questions fade as Danny becomes part of Tom’s family. Pacino’s chemistry with Cannavale and Annette Bening (as his love interest) overrides the plot contrivances. Like Danny, Pacino has also been a showman verging on—if not spilling over into—self-parody in recent decades, but he turns Danny’s showmanship into a character trait, a reflexive instinct to connect. (R) SEAN AXMAKER Sundance, others

GETT: THE TRIAL OF VIVIANE AMSALEM A woman

•

•

•

WHITE GOD Hungarian director Kornél Mundruczó

begins White God with a promising, eerie prologue on the bad-dog side of the fence: an empty city with a small 13-year-old girl riding her bike through the desolate streets. Behind her, a marauding pack of feral dogs slowly grows in size, numbering into the hundreds, until they finally, deliberately pursue her. Lili (Zsófia Psotta) pumps her legs madly, totemic trumpet in her backpack, until she’s finally overtaken. Rendered in slo-mo, it’s a strikingly good sequence, a nightmare. Then the movie loops back to the start of its story, revealing the snarling future pack leader to be Lili’s beloved gentle pet. How did good dog Hagen turn bad? I wish, after that auspicious opening, the answer were more magical and enchanting. White God initially suggests fairy tale or fable, then splits into familiar, parallel accounts of two rebels brutalized by the cruel system. (NR) B.R.M. SIFF Cinema Uptown & Film Center WILD TALES The opening sequence to Damián Szifrón’s Argentine anthology movie sets up a Twilight Zonestyle series of revelations. Passengers riding on a suspiciously underfilled plane begin to realize that there might be a reason for their presence there, beyond the obvious business of getting to a destination. The rest of Wild Tales doesn’t live up to the wicked curtain-raiser.

But there are enough moments of irony and ingenuity to make it worthwhile. In one episode, a lone driver has a flat tire in the middle of nowhere, which allows the slowpoke he antagonized earlier to stop by and exact revenge. In another, an explosives expert becomes enraged by a parking ticket—rage that leads him to lose everything. But there’s a twist. A lot of these segments rely on a twist, a technique that doesn’t quite disguise how in-your-face the lessons are. (R) R.H. Sundance, Ark Lodge WHILE WE’RE YOUNG In outline, this is a routine Gen-X midlife-crisis movie: documentary filmmaker Josh (Ben Stiller) and producer wife Cornelia (Naomi Watts) are stalled in careers and marriage. He can’t complete his weighty, unwatchable opus (something to do with geopolitics and a disheveled Chomskyian scholar; together they’ve IVF’d once for kids, failed, and are settling into a staid, childless rut. They need a shakeup, and it arrives in the form of a spontaneous, fun-loving Brooklyn couple half their age: would-be documentarian Jamie (Adam Driver) and wife Darby (Amanda Seyfried). Noah Baumbach’s lively, careerbest comedy sends cynical Josh into unexpected bromance, and much of the movie’s charm lies in our being swept along, too. Is Josh deluded and ridiculous? Of course he is, and yet that’s not the movie’s real source of laughter and inspiration. In denial about his fading eyesight and arthritis, Josh will discover that being foolish and confounded is good for the system, a tonic. If Jamie is a hustler, he’s also like a personal trainer—pushing his client (who forever picks up the lunch tab) into discomfort. Baumbach’s female characters aren’t so sharply drawn, though he provides nice supporting roles for Adam Horowitz (of the Beastie Boys), as the only guy who can speak truth to Josh’s blind infatuation; and for Charles Grodin, who brings welcome, sour appeal as Josh’s disapproving father-inlaw. (NR) B.R.M. Sundance, Pacific Place, Thornton Place, Lincoln Square, Ark Lodge, Kirkland, others WOMAN IN GOLD The last time Helen Mirren went up against the Nazis, in The Debt, it was really no contest.

So you will not be surprised to learn that the Austrian art thieves of the Third Reich fare no better against her Holocaust refugee Maria Altmann. Woman in Gold takes its title from the alternate, Nazi-supplied moniker for Gustav Klimt’s 1907 Portrait of Adele Bloch-Bauer.

Adele was Maria’s beloved aunt, and Maria became the plaintiff in a long-fought art-restitution case, begun in 1998, against the Austrian government. As Maria’s sidekick in this true-life-inspired tale, Ryan Reynolds plays unseasoned attorney Randy Schoenberg (forever judged against his genius forebear Arnold Schoenberg). This odd couple is obviously going to prevail against the stubborn, post-Waldheim Austrian establishment. As Maria says, “If they admit to one thing, they have to admit to it all.” Were the writing better, this would’ve made a good courtroom procedural, but director Simon Curtis instead chooses to add copious flashbacks to the Anschluss era and Maria’s narrow escape from the Nazis. So while this is a serviceable star vehicle that depends on Mirren’s reliably purring V-12 engine, two other actresses play Maria at different ages. (PG-13) B.R.M. Guild 45th, Pacific Place, Ark Lodge, Lynwood (Bainbridge), others

SHOWTIM ES

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THE ROCKY HORROR PICTURE SHOW Opens Apr 23

KURT COBAIN: MONTAGE OF HECK UPTOWN Held over!

WHITE GOD GETT • OPENS APR 17 •

Opening Night Q&A with producer Amy Herdy Director Kirby Dick’s startling exposé of sexual assaults on U.S. college campuses

ONE WEEK ONLY EXCLUSIVE PRESENTATIONS AT THE EGYPTIAN

WHAT WE DO IN THE SHADOWS IT FOLLOWS

Recent Raves | Apr 20

TIMBUKTU

with SIFF 2015 African Pictures program announcement Apr 22

THE LONG NIGHT

Free screening and discussion presented by The Seattle Times

FILM CENTER

Stage to Screen | Apr 17-19

NT LIVE: A VIEW FROM THE BRIDGE Starring Mark Strong

SIFF EDUCATION Register Now!

SIFF SUMMER CAMPS

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• OPENS APR 23 •

Opening night with director Brett Morgen in person

SIFF CINEMA EGYPTIAN | 805 E Pine St SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center NW Rooms

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

(Ronit Elkabetz) files suit for divorce against her estranged husband, which takes years to untangle.

Why would it take years? Because the courtroom in Gett is not a civil one, but a religious one. The scenario feels like it was dreamed up by Franz Kafka on a grouchy day, but it’s one that is unfortunately still possible in Israel. Each grueling stage is enacted in the same cramped, dreary room, with much of the action played out across Elkabetz’s extraordinarily grave face (she was a memorable presence in the excellent 2001 Israeli film Late Marriage). She has to give a great performance with her face and body, because Viviane only occasionally has a voice—this matter is for the men to talk about and decide. The movie’s not entirely grim—there are colorful supporting characters and moments of comedy—but the experience is absolutely nerve-wracking. The star’s brother, Shlomi and Elkabetz, directs this unbearably claustrophobic drama.

(NR) ROBERT HORTON SIFF Cinema Uptown IT FOLLOWS David Robert Mitchell’s suburban thriller creates constant anxiety. The premise itself is simple, if faintly absurd. A teenager, Jay (Maika Monroe, excellent in The Guest), sleeps with her handsome new crush; he then informs her that she is now the target of a relentless, shape-shifting ghoul, which will pursue her to death. Her only escape is to have sex with someone else, who will then become the target.

Mitchell canny about using the camera to evoke mystery. Every time someone drifts into the background of a shot, we have to wonder: Is that just a random passerby, or is that, you know, “It”? There’s also a wild musical score by Disasterpeace that provides an aggressive—at times maybe too aggressive—accompaniment to the film’s eerie mood. If the use of teen sex as a horror convention seems tired, rest assured that Mitchell seems less interested in a morality play than in sketching the in-between world of suburban adolescence. (R) R.H. SIFF Cinema Uptown KUMIKO, THE TREASURE HUNTER The setup here might promise routine road comedy: A sad and lonely Japanese woman, who somehow believes the 1996 Coen brothers movie Fargo is a documentary, ventures from Japan to the frozen Midwest to find the cash Steve Buscemi buried in the featureless snow. Yet filmmakers David and Nathan Zellner have no interest in obvious gags. Half their movie is scene-setting in Tokyo, where dejected office drone Kumiko (Rinko Kikuchi, from Babel) is a Eleanor Rigby-like loner. More than shyness or defeat, an ever-widening distance separates her from the world beyond her imagination.

Kindly strangers, including a widowed Minnesota farm wife and a sympathetic cop (David Zellner), barely register. Unseen in Seattle, the Zellners’ prior two features, Kid-Thing and Goliath, also dealt with alienated loners. The well-crafted Kumiko can likewise be seen as a character study; though, like her supposed treasure, it’s not certain if that character actually exists. A stubborn obstinacy lies at Kumiko’s core, but also delusion. (NR) B.R.M. Sundance OF HORSES AND MEN This supremely droll movie weaves together a collection of equine-related anecdotes. Like the human population of that northerly island, the horses of Iceland come out of a limited gene pool. They don’t look quite like other horses, with their short legs and jumpy gallop—a visual joke that director Benedikt Erlingsson uses for repeated effect. His characters include a local drunkard who “rides” his horse out to a Russian cargo ship in search of vodka; an immigrant who gets lost in the snow with only his horse as shelter; and a crank whose habit of cutting through barbed wire to exert his right-of-way catches up with him in a grotesque manner. (Plays 3:45 p.m.

Sat.-Sun.) (NR) R.H. Grand Illusion WHAT WE DO IN THE SHADOWS The premise is basically MTV’s The Real World cast with vampires, presented as direct-address documentary. This droll comedy comes from the brain trust behind 2007’s Eagle Vs. Shark: Jemaine Clement (Flight of the Conchords) and Taika Waititi, who play neck-biters Vladislav and Viago, respectively. Our three main vamps are a hapless lot. They can’t get invited into any of the good clubs or discos—ending up forlorn in an all-night Chinese diner instead. After all the aestheticized languor of Only Lovers Left Alive, the silly deadpan tone is quite welcome. Clement and Waititi know this is a sketch writ large (forget about plot), so they never pause long between sneaky gags. The amsuing and essential conflict here is between age-old vampire traditions and today’s hook-up customs. These neckbiters have been at it so long that they’re only imitating old vampire stereotypes. Things have gotten to the point, Vladislav admits, where they’re even cribbing from The Lost Boys. (NR) B.R.M. Sundance, SIFF Cinema Uptown, Majestic Bay

25

ROCKIN

arts&culture» Music

YOU NAME IT WE’LL CELEBRATE IT!

Bosnia’s This Is America is an ugly, nauseating mirror for the straight white male.

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all ages | free parking | full schedule at jazzalley.com

American Horror Story

BY KELTON SEARS

W

hen Ian Kurtis Crist becomes fully immersed in his performances, his shoulders hunch all the way up to his ears. Between these two bony wings, his head begins to bobble back and forth in what looks like an uncontrollable fit—somewhere between a head-bang and a seizure. It’s a kinetic, eerie sight that’s hard to look away from, especially given how motionless his eyes remain, staring out from behind his perpetually darkened lids. Whether in his prolific local DIY punk trio Health Problems or his solo noise project Bat, his stage presence is so tightly wound, it’s hard not to feel that primal fightor-flight instinct creep up. Crist’s newest album, This Is America, the sophomore release from his solo punk project Bosnia (out April 17 on Casino Trash Records), is purposefully designed to be his most direct challenge to audiences yet—a horrific, cultural caricature that’s easily his most compelling artistic achievement thus far.

“When I was conceiving the idea for this thing, I was working in kitchens and bars 60 hours a week, and it’s very common to hear a lot of misogyny and male dominant behavior,” Crist says. “Scraping the slop off of shitty fryers for shitty food that shitty people were eating and personally proliferating that garbage—and then hearing people I worked with coming into the kitchen and talking about ‘what hole they’re gonna fuck next’—that’s some real America.

This misogyny, this homophobia, this transphobia, this racism—this really, really exists at every restaurant you go to eat at, and probably every DIY show you go to. I feel like that ignorance is totally still in people and carried out in these supposedly ‘safe’ spaces in Seattle, even though it’s quieted. No scene is really safe. Rape and misogyny still go on. That’s what I think is really disheartening and sad and very real, and I want to bring attention to that with Bosnia, even though it’s an incredibly uncomfortable thing to do.”

What makes This Is America transcend tired political punk tradition is the approach Crist takes to addressing these issues. Rather than “obviously yelling out about these things that on paper or Facebook everybody would agree with,” as Crist puts it, he chose to write a record in which he embodies the very evil he hates, which makes for an incredibly difficult listen. Every single song on the album is written from the perspective of a repulsive, violently macho straight white male—a dark character that lurches into the spotlight in the album’s searing first track and “thesis statement,” “I, America,” delivered in Crist’s trademark intense guttural sneer: “I can do whatever I want / I am America / I am a man with the hard cock of privilege / Fuck any crack that pass me by / It’s the land of the free / I am America / Home of the brave / Not afraid to dominate / Not afraid to discriminate / I am the rapist of the modern world / I am judgment / I am God.” To amplify the effect, Crist produced the record to sound “ultracompressed and nauseatingly in-your-face the whole time— as nauseatingly as these social issues are in real life.” It’s by far the meanest, rawest record I’ve heard this year, full of pulverizing, white-hot riffs and sinister,

KELTON SEARS

PIANO SHOW

Bosnia’s Ian Kurtis Crist

blown-out cymbals that relentlessly beat the listener over the head.

Initially, Crist intended to present the album devoid of any context, under the impression it might be more powerful that way. “Instead of people standing around at a show and hearing me sing about why these things are bad and go ‘Oh yeah, I get it, I agree’ and then go on apathetically drinking beer with their friends or whatever—which is essentially the same as just hitting ‘Like’ on a political Facebook post and doing nothing—I wanted someone to walk into this scenario with me performing this live and go ‘What the fuck is this? This is wrong.’ By feeling that, to me that means your morals are in the right place. If it scared anyone, I’d hope they’d ask me about it and we’d grab a cup of coffee and have a discussion, and if you embraced it, then that’s your own fault. But as I sat on it for a few months, I realized presenting something really shocking without substance isn’t something I want to do—I want to make clear that I’m not someone who gets off on unsubstantial shock value. I don’t make music if it doesn’t have meaning behind it.”

The episode that truly drove this home came

when Crist played an early version of the recordings for a close female friend. While praising his slurred, drunken-sounding delivery of the line “Come on, baby” on the anti-rape track of that name, she suddenly froze when the following line, “Let me slip it in,” came through the speakers.

“She stopped dead in her tracks and told me ‘That’s really, really fucked-up,’ ” Crist tells me wide-eyed. “She elaborated with personal experiences and experiences of her friends, and just asked about the proliferation of messages like this.” After giving her his “disclaimer,” she understood, but was still left uneasy—which in the end, Crist says, is his ultimate goal with the record. But given how deeply his friend had

been hurt by something that Crist had “created with a lot of passion and was very serious about,” he decided to accompany the record with a detailed manifesto, outlining his intent and goals and including a track-by-track explanation of his message.

“I hope this record challenges men, religious fanatics, and the blanketed, unaware, careless American,” Crist wrote in the missive. This Is America is essentially a mirror, one that the straight white male can choose to pick up and be repulsed by, or, tragically, identify with and celebrate. It’s a risky gambit that Crist fully acknowledges.

“The biggest fear I could have with releasing something like this is stupid men—if they were to hear it and be like ‘Yeah! Fuck yeah!’ and totally embrace this,” Crist says, briefly mentioning the “blatant ignorance, redneck behavior, and stark conservatism” of the people he knew in his native home of Alaska who might react as such. But even that reaction, he says, would be an interesting sociological play. It’s something Curtis learned from one of his favorite directors, Harmony Korine, whose films paint similarly stark, disgustingly overamplified scenes of American depravity and decadence that ultimately have roots in reality.

“I think [Korine’s film] Spring Breakers is genius because a lot of people were like ‘Hell yeah, naked women, Gucci Mane and guns and shit!’, when in reality he was totally calling that culture out. I thought that was a really interesting effect,” Crist says. “There’s no conclusion at the end of the film, really. You’re left with a very nasty portrait of real human life that really does exist, and it’s up to you to do with it what you will, but at least you’re made aware of it. I feel like if Bosnia was this project where I just went ‘Fuck all these men! Dun-nuh-nuh-nuh-nuh,’ people would just go ‘Oh, OK, I get it.’ That’s not effective anymore.” E

ksears@seattleweekly.com

Of Dogs & Drugs

A sausageside chat with Good to Die’s Blood Drugs.

BY JAMES BALLINGER

MIKI SODOS

S

Alee), Blood Drugs is a blast of noisy punk rock, but not in the traditional sense of the genre; it’s more influenced by bands like Jawbreaker and the vocal delivery of Hot Snakes. But make no mistake—aggression is still apparent, even when the record veers into unexpected territory. “I’d always wanted to do some kind of electronic or dub remix,” Kock says, so the band closes the album with exactly that—an electro take on opening track “Leaves.”

Lyrically, Bradford belts out dark stories that sound like lurid transcriptions of his night terrors.

“For me I grew up playing punk music—that’s how I learned to play the guitar,” he says. “I remember the first poetry I ever started to write was right after I started reading Henry Rollins’ poetry—it was so bad.” Bradford took Rollins’ terrible lyrics as a personal challenge, knowing deep down that he could write better words than the Black Flag singer.

“I got into bands like Jawbreaker that put a little more emphasis on the actual meanings of the songs and being a little more slick or witty with the lyrics,” Bradford says. “That kind of drew me away from punk into more folk stuff, because I could pay more attention to the storytelling aspect of it.”

Even though Blood Drugs’ songs do tell stories, so to speak, Bradford’s approach with the band is less narrative and more an act of personal exorcism.

“It was an extremely difficult time for me; coming into the band, I was at the lowest I’ve ever been,” Bradford says. “I was disappointed in everything. Relationships never worked out.

Family stuff never worked out. The government is ridiculous. It’s embarrassing to be an American. I think religion is a joke. All the things that make the world the way it is make no sense to me whatsoever—so that was pretty much what I was focusing on when I was writing the record. But writing about it this last year has been helpful.”

Thankfully, Bradford’s personal demons sound great on record. Out this Tuesday, Blood Drugs fits perfectly with Good to Die’s already outstanding roster of releases.

Oh, and the seagull? Just as it swooped down to snatch up a hot-dog morsel that had rolled into the street, a big car came tearing up. But just like Bradford, the gull pulled though the rough moment like a champ and managed to fly away—vegan dog in beak and all. E

music@seattleweekly.com

El Corazon E orazon www.elcorazonseattle.com

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

THURSDAY APRIL 16TH FUNHOUSE

SUNDAY APRIL 19TH EL CORAZON

MIKE THRASHER PRESENTS:

MIKE THRASHER PRESENTS:

with The Fun Police, Warning: Danger!

Doors at 8:00PM / Show at 9:00 21+. $12 ADV / $15 DOS

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DARIUS KOSKI

with Ryan Davidson, Rev (of Success!), Shadow Cats Doors at 8:00PM / Show at 9:00 21+. $10 ADV / $12 DOS

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KINGS OF CAVALIER CD Release with Hell Camano, Mother Crone, Year Of The Cobra, Substratum Doors at 8:00PM / Show at 9:00 21+. $8 ADV / $10 DOS

SATURDAY APRIL 18TH FUNHOUSE BRIAN FOSS PRESENTS:

BITCH SCHOOL

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RUINES OV ABADDON

with The Devils Of Loudun, Ghostblood, Eukaryst Doors at 8:00PM / Show at 8:30 21+. $5 ADV / $7 DOS

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with Dime Runner, The People Now, Piston Ready, Smania Doors at 7:30PM / Show at 8:30 21+. $13 ADV / $15 DOS

JUST ANNOUNCED 5/15 - EMERY 5/20 FUNHOUSE - BAD MOTIVATORS 5/28 FUNHOUSE - MICROWAVE 5/31 FUNHOUSE - CHARMING LIARS 6/2 FUNHOUSE - VAMPIRATES 6/3 FUNHOUSE - BOY HITS CAR 7/1 FUNHOUSE - KRISTEEN YOUNG 8/14 - MAC SABBATH UP & COMING 4/23 FUNHOUSE BLEACHBEAR 4/24 FUNHOUSE - DAIKAIJU 4/25 FUNHOUSE - CHEMICALS 4/26 FUNHOUSE - ROMAN CITIZEN 4/27 FUNHOUSE - PRAWN / FRAMEWORKS 4/28 - ORGY 4/28 FUNHOUSE - AMERICAN STANDARDS 4/29 - WAYNE THE TRAIN HANCOCK 4/29 FUNHOUSE - LAGO 4/30 FUNHOUSE - LAS ROBERTAS 5/2 - JAKE E. LEE’S RED DRAGON CARTEL THE FUNHOUSE BAR IS OPEN FROM 3:00PM TO 2:00AM DAILY AND HAPPY HOUR IS FROM 3:00PM UNTIL 6:00PM. Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

even p.m. tomorrow. Pettirosso elevator.”

That’s the ominous text message I receive from the owner of local label Good to Die, Nik Christofferson, signifying my interview with Blood Drugs is a go. I didn’t know the small Capitol Hill cafe had an elevator.

When I arrive, I’m immediately greeted by guitarist Shawn Kock, who says the band has a surprise for me. So we chat for a second, wait for everyone else to show, then head upstairs to the freight elevator, where a spread fit for a king is laid out: Champagne on ice and hot dogs on a silver platter—eight meat, eight vegan—one of which will subsequently cause a seagull to get hit by a car, but more on the seagull later.

Formed in 2013, Blood Drugs was born from the ashes of another Good to Die band, Absolute Monarchs. Monarchs drummer Michael Stubz wanted to start another project, so he reached out to Kyle Bradford to be a part of the yet-unnamed group. “[Kock] was going to play guitar, and he wanted me to sing and play bass. But I didn’t have one, so he was like ‘You can play guitar,’ and I didn’t have a guitar either.”

Bradford did have a guitar, actually, but only an acoustic one. His fit within Blood Drugs’ noisy, abrasive universe might seem odd given his recent history performing as a folk singer/songwriter under the name The Ghost of Kyle Bradford. “I didn’t know if I could do the punk thing again,” he says, “but I grew up listening to it, and it was the best thing that could have happened.” Bradford quickly took to his (borrowed) electric guitar, and suddenly his punk roots came flooding back.

Shortly after, as fate would have it, Stubz quit the band, so Thomas Burke was called in to replace him on drums. The missing piece was bassist Gwen Stubbs, who joined the band later that year to participate in recording its debut LP, but, unfortunately, needed to step down earlier this year to focus on other projects. Her replacement, Kerry Zettel, already had some history with the group. “Shawn, Tom, and I played in a band called Das Llamas before Monarchs,” Zettel says. “It’s pretty familial. It’s like having the family back together,” adds Kock.

After perfecting a set list and performing gigs all over town, the band set its sights on recording its debut full-length. Recorded in three days last July by Matt Bayles (Mastodon, Isis, Helms

27

arts&culture» Music

JJ GREY + MOFRO 5/28

BLUE OCTOBER with HARVARD OF THE SOUTH

+ ASHLEIGH STONE

4/17

7:30 PM

KAISER CHIEFS with PRIORY

4/22

9PM

4/24

4/30

with GREAT DANE

WALK OFF THE EARTH with HOLYCHILD

RICHARD CHEESE & LOUNGE AGAINST THE MACHINE

8PM

7;30 PM

BEST COAST with BULLY

6/4

9PM

Thursday, April 17

9PM

NEON TREES with ALEX WINSTON

6/6

+ YES YOU ARE

8PM

THE GREAT IMPRESSION TOUR

with “IPOD ON A CHAIR”

9PM

with THE INTERRUPTERS

8PM

SCOTT BRADLEE SHOWBOX & KGRG PRESENT REEL BIG FISH + + POSTMODERN LESS THAN JAKE 6/16 JUKEBOX

5/13

8PM

THE

5/21

WATERBOYS

KGRG AND SHOWBOX PRESENT

SAY ANYTHING with MODERN BASEBALL +

8:30 PM

7/23

CYMBALS EAT GUITARS +HARD GIRLS

8PM

SHOWBOX SODO

TYLER,

KALIN + MYLES with ANJALI + DEREK KING

4/18

7:30 PM

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

SHOWBOX AND KNITTING FACTORY PRESENT

28

9PM

RISE AGAINST with KILLSWITCH ENGAGE + LETLIVE. ON SALE FRIDAY AT NOON

8:30 PM

UNCLE SNOOP’S ARMY, KUBE93, THE STRANGER, & SHOWBOX PRESENT: SNOOP’S 2ND ANNUAL WELLNESS RETREAT

WAMU THEATER

SNOOP DOGG

with G-EAZY, + TY DOLLA $IGN + E-40 + 2REPS 4/19

THE CREATOR with TACO KISW AND SHOWBOX PRESENT

TECH N9NE

with KRIZZ KALIKO + CHRIS WEBBY + MURS + KING 810 + ZUSE + NEEMA 4/24

7/1

8PM

8/7

8:30 PM

PARAMOUNT THEATRE

GEORGE EZRA 8/11

8PM

Look who’s back: It’s Red Hot Chili Peppers’ simultaneously more- and less-mature slap-bass brethren, FAITH NO MORE, fronted by He-of-a-GodzillionOther-Bands-and-Also-the-Greatest-Vocal-Range-inRock: Mike Patton. This should rule. Hey, did y’all know that the goldfish flopping on the floor at the end of the “Epic” music video was a gift to the band’s keyboardist from Björk? Berserk-hop act CHRISTEENE opens with the first of its two shows this evening. Think of the visual aesthetic of Marilyn Manson circa Smells Like Children—complete with the smeared lipstick, the skimpy outfits consisting primarily of torn panty hose, and the crazy contact lenses. Now mush that into a suicide slushy with erotic, messy dance rap. These two should be quite the pairing—a generational passing of the sacrilege-shock-rock torch, if you will. The Paramount, 911 Pine St., 682-1414, stgpresents.org. 7 p.m. $41.25 adv./$46.25 DOS. All ages. WARREN LANGFORD Irony is still in, right? If that’s your shtick, then The Royal Room’s THIRD EYE BLIND TRIBUTE is the place to be. The very-’90s rock band’s self-titled debut album will be performed in its entirety by the house band, fronted by various Seattle vocalists. Of note are TJ Grant, whose singing drips with “RAW EMOTION”; altcountry rocker Nick Foster; and “earnest songwriter” Jazmarae Beebe. Make a drinking game out of it: Take a shot every time someone says, “Wait, they’re not the ones who sing ‘It’s Been Awhile’?” The Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle. com. 9 p.m. Donation. 21 and over. DIANA M. LE Look at CHRISTEENE, clocking in a double tonight— headlining this show after opening for Faith No More at the Paramount (see above for the skinny on Christeene). But what I’m most jazzercized about for this show is the elusive CRYPTS. Last time I saw the local group, it was also at Chop Suey, where the band most triumphantly goth-industrial’d the dickens out of a friend’s wedding reception (at the request of the bride and groom, because my friends are cool). Singer Steve Snere (These Arms are Snakes/Kill Sadie) will almost certainly climb on top of something, manically swing around a strobe light, or, you know, roughhouse. These dudes seem to play only quarterly, so get down on it while you can. With Sashay, DJ Mister Sister. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com.

8 p.m. $13 adv/$15 DOS. 21 and up. WL

Friday, April 18

Olympia’s NUDITY is a rocking oddity. Its sound is a strange but perfect combination of those of other wellloved bands: Judas Priest, Saxon, Devo, and Girlschool.

This is probably due to Nudity’s eclectic makeup of members of other local bands: Hysterics, The Need, Sex/ Vid, Broken Water, etc. Its new album, Astronomicon— which, first of all, is an amazing name for a record—was just released last week. These lords and ladies can seriously rock and/or roll. With Once and Future Band.

Rendezvous, 2322 Second Ave., 441-5823, jewelbox theater.com. 9 p.m. $8 adv. 21 and over. DML KIND OF LIKE SPITTING was the first emo band I saw who I felt fully utilized the stem word from which the genre drew its name. It was around 2000, and my band opened. Singer/guitarist Ben Barnett shushed the chatty audience when we played a quieter song—a sweetheart maneuver that earned them a place in my heart before I’d even heard a note of their music. The album the band was touring on at the time was Nothing Makes Sense Without It, and, whoa nelly, is it EMO. The songs embody all your most brutal adolescent tragedies. Barnett basically scream-cries, but as terrible as that sounds, it comes off more like a courageous display of vulnerability than whining—as though he’s put his heart on a table in front of a ravenous pack of high-school bullies and ex-girlfriends. The result is a record that to this day consistently produces a lump in my throat from start to finish. Kind of Like Spitting broke up in 2006, reunited four years ago, and then, I’m ashamed to say, I lost track of them. Now is as good a time as any to catch up, especially within the intimate, cozy confines of Barboza. I’ll be the guy quietly sobbing in the corner. With Lee Corey Oswald. Barboza, 925 E. Pike St., 709-9442, thebarboza.com. 7 p.m. $10.

21 and over. WL

Saturday, April 19 SHOWBOXPRESENTS.COM

Seattle’s GREAT FALLS gets up in your grill with its “noise/ metal/fuck”-ness. Accidents Grotesque is the band’s first record since the duo of Demian Johnston and Shane Mehling were joined by Phil Petrocelli and became Great

Falls. The album, recorded by Jeffery McNulty at the Vera Project, certainly isn’t to everyone’s taste, and may rub some the wrong way. But the band has carved its space in the city’s metal scene and enjoys a nice following. Come to this special third-anniversary show for the local metal/heavy-music zine Seattle Passive Aggressive if your want your face melted off. With Theories, Tacos!, Old Iron. Chop Suey, 1325 E. Madison St., 324-8005, chop suey.com. 3 p.m. $5. 21 and over. DML Dream team SNOOP DOGG and Pharrell are in the crib.

Pharrell is producing Snoop’s entire new album, Bush, as in bushes of kush. It’s due out May 12, and judging by their past collaborations on “Beautiful” and “Drop It Like It’s Hot,” anything the two do together will be ~*~magic~*~. Snoop is also, like, a huge movie star now. This holiday, I suggest Netflixing Mac & Devin Go to High School, a so-bad-it’s-good buddy stoner flick starring Snoop Dogg as a 15th-year high-school senior and Wiz Khalifa as the li’l nerd who has to help him graduate. A 4/20 mixtape 4 U: “Stoner’s Anthem” by Snoop Dogg x15.

With G-Eazy, Ty Dolla $ign, E-40. WaMu Theater, 800 Occidental Ave. S., 6280888, wamu theater seattle.com.

7 p.m. $50+ adv./$60+ DOS. All ages. DML

BOB BEKIAN

GRAMATIK

5/30

with ETHAN TUCKER BAND

TheWeekAhead

Sunday, April 20

The ’90s band SLEEP is known lovingly as the biggest stoner-metal band ever. It seems to derive great mystical power from The Cannabis. After being signed to London Records (the Rolling Stones’ label) and blowing the advance on weed, Sleep began working on its monsterpiece: one 52-minute song, “Jerusalem,” that was finally released as the modern-day metal classic Dopesmoker.

The band members claim that they would go into a state of hypnosis while playing the song. Many Sleep fans also claim that the band induces hypnotic states in themselves. Or that could just be all the pot. With Bell Witch.

The Showbox, 1426 First Ave., 628-3151, showbox presents.com. 9 p.m. SOLD OUT. 21 and over. DML Pitchfork describes COLLEEN GREEN’s sound/aesthetic as “stoner bubblegum,” and they’re not wrong. The 30-year-old’s latest record, I Want to Grow Up, screams 30, flirty, and not thriving. It tackles tuff stuff like being an actual Lost Girl and the anxieties of navigating adulthood, all delivered in her signature pretty packaging. She’s also known for sending out good stoner vibes on Twitter (@ colleengreen420): “Weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed weed fuck you.” With Upset, Chastity Belt, Listen Lady. Black Lodge. 9 p.m. Ask a punk for directions. DML If you haven’t already made plans to see Snoop Dogg, Sleep, or Colleen Green in celebration of 4/20, let me heartily suggest you get your baked ass down to Northwest Film Forum to watch one of the best new bands in town, NEWAXEYES, perform a live score to a screening of the sci-fi horror classic Alien. I can’t think of a band more perfectly suited to soundtrack phallic, fetal extraterrestrials erupting from the chests of their human hosts than Newaxeyes, whose menacing, mournful techno-dread already sounds as if it was written aboard a doomed spacecraft. Northwest Film Forum, 1515 12th Ave., 3292629, nwfilmforum.org. 8 p.m. $15. All ages. KELTON SEARS

Tuesday, April 21

Surrender to the phantom, semi-saccharine aural fluid of NAVVI. Seriously, get thee to Sunset and let this engulf your very being, because Seattle electro-pop doesn’t get any smoother. Subdued yet spastic beats punctuate the band’s tidal synths, all of which perfectly complement the meandering, ethereal tones of singer Kristen Henry. The tunes have no real hooks to speak of, just flow—a sultry synthesized river of consciousness. This is some clear your mind, close your eyes, sway side to side, and bliss out tuneage. With MRCH and Cold Water Theater, Ballard’s own Jigsaw Puzzle Glue rounds out the line up. The sibling rug-shredders announced via Facebook that this is their last show as a duo, so that’s one more reason to get the folk out to Ballard for it.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunset tavern.com. 8 p.m. $8. 21 and up. WL Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

odds&ends» 4/20/20 Vision

A

s I write this on April 20, 2020, I’m impressed by how far the legalization movement has come since Washington and Colorado first voted to legalize recreational marijuana in 2012. I am still alarmed we’ve not yet overturned prohibition at the federal level, but let’s take a look at how far we’ve come.

STATES

Seventeen states have now legalized cannabis, including Minnesota, Florida, and, surprisingly, Arizona. The third time was a charm for California, HIGHERGROUND which

BY MICHAEL A. STUSSER finally legalized weed after ballot initiatives were defeated in both 2010 and 2016. (In each of those elections, competing ballot measures confused and divided the already-stoned masses.)

Of the 17 states to fully legalize, tax, and regulate cannabis, only Hawaii and Massachusetts passed their laws through the legislative process.

Aloha State Gov. David Ige said it best: “Sure, we could have had a ballot initiative, but we’re trying to save paper.” In 2018, Oregon became the first state to repeal legal cannabis, overturning the measure it passed in 2014. (Make up your mind, Dank Ducks!)

ECONOMY

IA BR

Marijuana is now a $26-billion-a-year industry, successfully eclipsing organic food, cosmetics, and the NFL in sales. It has also garnered more than $9 billion a year in tax revenue, funding roads, infrastructure, drug education, and the nationwide Green Electric Train system. New A Jersey has shown the most dramatic CA SH IN turnaround, from bankruptcy in 2017 to a huge surplus after turning its Jersey Shore boardwalk back into a smoky, lowbrow bacchanal.

NN

GANJAPRENEURS

MEDICAL

As of today (4/20/20), 42 states have now passed medical-marijuana laws, leaving only eight without any form of medicinal-cannabis law on the books.

(We love you, Oklahoma, but rally yer wagons: Even gay marriage is fully legal in your state now.)

Perhaps Obama’s defining moment was not his (overturned, then re-implemented) Affordable Care Act, but his last-minute 2016 Executive Order that took marijuana off the Schedule 1 list of the Controlled Substances Act and downgraded it to Schedule 2. Although Schedule 2 drugs are still deemed to have high potential for abuse, cannabis is now clearly recognized for its medical benefits, and available for prescriptions.

This controversial move by a “What the Hell Have I Got to Lose” president has allowed clinical research roadblocks to be removed, delivering conclusive proof that cannabinoids are effective on chronic seizures, shrinking brain tumors, slowing Crohn’s disease, Parkinson’s, Alzheimer’s, and even helping with erectile dysfunction (who knew?).

THE WAR ON DRUGS

The U.S. Supreme Court’s landmark ruling, Black Guy vs. DEA, stunned the nation by allowing states that have legalized marijuana to release and expunge records for individuals who had been convicted of nonviolent marijuana-related crimes. This ruling opened the floodgates for hundreds of thousands of (mostly African-American) men who had been incarcerated for crimes which are now minor infractions or fully legal. The case has redirected an estimated $50 billion a year that had been previously spent on the War on Drugs to address more serious crimes.

Writing for the majority, Supreme Court Chief Justice John Roberts commented, “In this particular case, it pains me to be consistent with my own values of states rights, individual liberties, unobtrusive government, and the pursuit of happiness.”

ACTIVIST NETWORKS AND THE MOVEMENT

Like MLK, Rosa Parks, Gandhi, and Harvey Milk before them, new activists are launching a marijuana movement involving personal rights, legal justice, and public involvement. These “Green Raiders” include Sen. Alison Holcomb (a key player with the ACLU and Initiative 502); New York Stock Exchange President Troy Dayton (previously of the ArcView Group); “Fuckit I Quit” Governor Charlo Greene (AK); U.S. Cannabis Ambassador Rick Steves; and newly appointed Hemp Czar Vivian McPeak (previously of Seattle Hempfest). This green group of pot evangelists is leading the way on organic standards for the industry, living wages ($25 an hour), thriving community unions, carbonneutral chronic, and, most important, citizen empowerment on a host of vital issues.

Overall, legalization in 2020—as a (still) relatively new public experiment—is going swimmingly. With 20/20 vision, it’s clear the end of prohibition is in sight. E For more Higher Ground, visit highergroundtv.com.

SEATTLE WEEKLY • APRIL 15 — 21, 2015

The Green Rush has led to products and services no one could have imagined back in 2012, including the word’s first digital vape phone (iStoned), Tesla’s HempRoadster, CannaAspirin (a Privateer Holdings and Bayer joint venture), and Virgin’s Flying HotBox Airline. WeedTourism is also booming with Bud ’n’ Breakfasts, guided Ganja Artwalks, and Stoned Symphony Nights. Mergers and acquisitions have been fast and furious in Internet marijuana businesses (which, unlike the plant, can cross state lines): Leafly was purchased by Yelp, WeedHire by Monster, Weedmaps by Groupon, and Higher Ground by Time/Warner.

Edibles currently make up 55 percent of the market, CBD oils and concentrates another 15 percent, and elixirs 23 percent, leaving flower (buds) to make up only 7 percent of marijuana sales.

SCHEDULE 2

29

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Announcements

Real Estate for Sale King County

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FEDERAL WAY

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

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$1000 REWARD FOR INFO LEADING TO the recovery of guns and ammo taken from my Lynnwood Storage Unit on 4/2/15. Please call 425-923-5449.

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Employment Media

Employment General

BIG D TOWING Abandoned Vehicle Auction Tuesday 04/21/15 @ 11AM. 2 Vehicles Preview 10-11am.

1540 Leary Way NW, Seattle 98107

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DRIVERS

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

Must live in Seattle area.

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

Employment Media

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

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 REPORTER The award-winning newspaper Journal of the San Juans is seeking an energetic, detailedoriented reporter to write articles and features. Experience in photography and Adobe InDesign preferred. Applicants must be able to work in a team-oriented, deadlinedriven environment, possess excellent writing skills, have a knowledge of community news and be able to write about multiple topics. Must relocate to Friday Harbor, WA. This is a full-time position that includes excellent benefits: medical, dental, life insurance, 401k, paid vacation, sick and holidays. EOE . No calls please. Send resume with cover letter, three or more non-returnable clips in PDF or Text format and references to hr@soundpublishing.com or mail to: HR/GARJSJ Sound Publishing, Inc. 11323 Commando Rd W, Main Unit Everett, WA 98204 Employment Computer/Technology ENGINEERING Alcatel-Lucent USA, Inc. in Redmond, WA seeks Validation Test Engineer. Designs, devs, + implements cost-effective methods of testing + trbleshooting sys + equipment for all phases of prod dev + manufacturing. Will work at a customer site in the Redmond, WA area, reports to Alcatel-Lucent office in Redmond, WA, any incurred business travel fully reimbursed by employer. Reqs incl. MS or foreign equiv in EE, Telecomm or related + 2 yrs exp. Mail resume to Alcatel-Lucent USA Inc., Attn: HR, 600 Mountain Ave.,6D-401E, Murray Hill, NJ 07974. Include job code 73219 in reply. EOE.

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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Premier Transportation is seeking Tractor-Trailer Drivers for newly added dedicated runs making store deliveries MondayFriday in WA, OR, ID. MUST have a Class-A CDL and 2 years tractortrailer driving experience.

• Home on a daily basis • $.41 per mile plus stop off and unloading pay • $200/day minimum pay • Health & prescription insurance • Family dental, life, disability insurance • Company match 401K, Vacation & holiday pay • $1,000 longevity bonus after each year • Assigned trucks • Direct deposit For application information, call Paul Proctor at Premier Transportation: 866-223-8050.

Apply online at www.premiertrans portation.com “Recruiting.” EOE

As the world leader in next generation mobile technologies, Qualcomm is focused on accelerating mobility around the world.

Qualcomm Technologies, Inc., a wholly owned subsidiary of Qualcomm, has the following position available in Bellevue, WA: • Senior Software Engineer/ Windows Phone: Proficiency in C or C++; and Mobile Phone Operating Systems req’d (FR-JB34-P) Mail resume w/job code to QUALCOMM, P.O. Box 919013, San Diego, CA, 92191-9013. EEO employer: including race, gender, disability & veterans status

DIRECTV is currently recruiting for the following position in Lynnwood: Warehouse Assistant If you are not able to access our website, DIRECTV.com, mail your resume and salary requirements to: DIRECTV, Attn: Talent Acquisition, 161 Inverness Drive West, Englewood, CO 80112. To apply online, visit: www.directv.com/careers.

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USIC LOCATE TECHNICIAN

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Daytime, full-time Locate Technician positions available!

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Employment Services WANTS TO purchase minerals and other oil & gas interests.

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

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This Case Manager will work closely with individuals and families residing in Seattle who are at risk of losing their rental housing, while assisting homeless persons obtain and sustain permanent residence. This will require establishing effective case management relationships with currently housed and homeless persons, building relationships with property managers and Seattle Housing Authority and working in coordination with the Program Manager. This position assists in connecting program participants to supportive services to help ensure success in permanent housing. This position will be expected to respond to crisis situations which could result in loss of permanent housing if not resolved. This position has a caseload of individuals and families seeking housing as well as individuals and families experiencing difficulty in maintaining housing.

Part time, 25 hrs/wk. Rate $16.35/hr.

Respond to dmhiring@ywcaworks.org Details @ www.ywcaworks.org

The YWCA of Seattle|King|Snohomish seeks a Temporary City Late Night Housing Case Manager This program supports the efforts of the City of Seattle to ensure that homeless families with multiple barriers to self-sufficiency have their basic needs met. The goal of this program is to help families overcome barriers and secure more stable housing through the provision of temporary hotel/motel vouchers and case management services. The Case Manager screens clients for strengths and barriers, assesses their need for services and assists them in reaching their personal and housing goals.

Temporary, 40 hrs/wk. Rate 16.35/hr.

Respond to dmhiring@ywcaworks.org.

Details @ www.ywcaworks.org

The choice is yours ... ... choose to succeed!

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If you want to change your life for the better, choose career training from Everest College!

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SEATTLE WEEKLY • APRIL 15 — 21, 2015

EDITOR Sound Publishing has an immediate opening for Editor of the Port Orchard Independent. This is not an entry-level position. Requires a handson leader with a minimum of three years newspaper experience including writing, editing, pagination, photography, and InDesign skills. editing and monitoring social media including Twitter, FaceBook, etc. The successful candidate: Has a demonstrated interest in local political and cultural affairs. Possesses excellent writing and verbal skills, and can provide representative clips from one or more professional publications. Has experience editing reporters’ copy and submitted materials for content and style. Is proficient in designing and building pages with Adobe InDesign.

Is experienced managing a Forum page, writing cogent and stylistically interesting commentaries, and editing a reader letters column. Has experience with social media and newspaper website content management and understands the value of the web to report news on a daily basis. Has proven interpersonal skills representing a newspaper or other organization at civic functions and public venues.

Understands how to lead, motivate, and mentor a small news staff.

Must develop knowledge of local arts, business, and government. Must be visible in the community. Must possess reliable, insured, motor vehicle and a valid Washington State driver’s license. We offer a competitive compensation and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you are interested in joining the team at the Port Orchard Independent, email us your cover letter, resume, and up to 5 samples of your work to: hr@soundpublishing.com Please be sure to note: ATTN: EDPOI in the subject line.

The North Kitsap Herald is seeking a competent & enthusiastic FT news reporter to cover local government and community news.

InDesign, page layout and photography skills preferred.

We offer a competitive compensation and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you are interested in joining the team at the North Kitsap Herald, email us your cover letter, resume, and up to 5 samples of your work to: hr@soundpublishing.com Please be sure to note: ATTN: REPNKH in the subject line.

Employment General

Proof Due

Ad #: 121 Deadline T Publicatio Section: B Specs: 4.8

T Appro T Appro T Revis

Initial ___

31

Classified

Call

@ 206-623-6231, to place an ad

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there’s more to

than depression.

SEATTLE WEEKLY • AP RI L 15 — 21, 2015

When symptoms persist, there may be more you can do.

32

Are you a woman aged 18 or older?

Have you had symptoms for more than 6 months?

You may be eligible to participate in a Female Stress Urinary Incontinence Clinical Research Study.

Call 855-344-1032 to speak with a study representative for further information about the study.

CAUTION: Investigational product.

Limited by FDA regulations to investigational use only.

If feelings such as depressed mood or lack of energy are keeping you from the things that matter to you, you may be eligible for this research study. It’s evaluating an investigational drug designed to work with antidepressants to see if it can help address unresolved symptoms of depression.

All eligible study participants will receive at no cost: Consultation with study doctor

Study drugs

Study-related care and visits

TO LEARN MORE:

Summit Research Network (Seattle) LLC 206.315.1065 Whether or not you are currently taking an antidepressant, you may be eligible to participate.

ResearchSUI.com