Seattle Weekly, May 06, 2015

MAY 6-12, 2015 I VOLUME 40 I NUMBER 18

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SEATTLEWEEKLY.COM I FREE

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ARTS REMEMBERING THE FATHER OF MAD PAGE 16 NEIL DIAMOND WILL SEDUCE YOUR MOM PAGE 17

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ell served w li o H n io Darr o ted. He als c e t o r p d n a . , and stole d e p im p , dealt derson

By Rick An Page 10

Port of Stall

Shell’s Arctic rig gets hung up in the Seattle process.

By Casey Jaywork Page 5

Don’t Call It a Comeback

Sleater-Kinney on why they would rather not burn out or fade away.

By Dave Einmo Page 27

SEATTLE WEEKLY • MAY 6 — 12, 2015

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inside» May 6–12, 2015 VOLUME 40 | NUMBER 18 » SEATTLEWEEKLY.COM

ART. COMMUNITY. CELEBRATION. May 15 - 17, 2015

Join Chihuly Garden and Glass on our anniversary as we celebrate the arts in our community. Featured programming, which kicks off on Friday night, will highlight local artists and organizations!

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news&comment 5

SHELL GAME

BY CASEY JAYWORK | Is the Port of

Seattle going to cooperate with Arctic drilling? Plus: consulting help for parents of children with Asperger’s; importing Alaskan alcoholics; and the best things about Best Starts.

10 GOOD COP/BAD COP

BY RICK ANDERSON | A King County

sheriff’s double life included dealing drugs and reselling stolen ammo. Oh, and pimping his wife.

food&drink 15 HAIL ALE!

BY JACOB UITTI | A local chef’s dinner

takes beer/food pairing to the next level.

15 | FOOD NEWS/THE WEEKLY DISH

arts&culture 16 MAD MAN

BY MARK RAHNER | A local biographer recalls the founding editor of Mad magazine.

16 | THE PICK LIST 18 | OPENING NIGHTS | Mickey Mouse

Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Staff Writers Ellis E. Conklin, Casey Jaywork

Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael A. Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo

Photo Intern Joanna Kresge

BY LEENA JOSHI | Sleater-Kinney’s got a new album out. (Don’t call it a comeback). Plus: Noise-a-Tron isn’t afraid to let you wander, Myst-style.

29 | THE WEEK AHEAD

ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Cecilia Corsano-Leopizzi, Rose Monahan Peter Muller, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich Publisher Bob Baranski

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32 | HIGHER GROUND 33 | CLASSIFIEDS

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206-623-0500 COPYRIGHT © 2015 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLI SHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

SEATTLE WEEKLY • MAY 6 — 12, 2015

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ChIhULYgardenandglass.COM/ANNIvERsARY

Editorial Interns Olivia Anderson, Kate Clark, Warren Langford

20 | PERFORMANCE 21 | VISUAL ARTS/THE FUSSY EYE

26 | FILM CALENDAR

Entrance to party included with Exhibition ticket.

Calendar Assistant Diana M. Le

Graphic Designers Nate Bullis, Brennan Moring

OPENING THIS WEEK | Jack Black has a secret, Kristen Wiig is off her meds, and Diane Keaton’s avatar goes back to the ‘70s.

Every anniversary deserves a party! Get down with us in the Glasshouse with light appetizers, music and no-host bar. Live glassblowing demos and self-guided tours through the Exhibition and Garden will also be happening throughout the evening.

Editorial Operations Manager Gavin Borchert

at the opera, feral rabbits, Dust Bowl sports, and Irish romance.

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ANNIvERsARY BAsh

Friday, May 15, 2015 7 - 10 PM

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news&comment

Port of Stall

3 Quick Takes on Constantine’s Plan to Help Poor Kids

With the Arctic drilling clock ticking, the Shell rig runs into the Seattle process.

BY CASEY JAYWORK

BY KATE CLARK

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L

ast week, King County Executive Dow Constantine unveiled an ambitious new plan to improve early development among all King County children—a $65 million levy called “Best Starts for Kids.” If approved by the King County council and voters, the levy would fund early initiatives aimed at helping poor children in King County keep up with their wealthier pint-sized peers in areas from prenatal care to homelessness. With the demonstrations in Baltimore spurring a national discussion about not just police brutality but the lack of social services for poor youth, here are three things you should know about this timely local effort.

Why early development? Several studies

JOSHUA BOULET

environmental impacts of the Shell drilling rig.

But don’t think climate change isn’t on the city’s mind. It’s embarrassing, for a city that regards itself as a leader in sustainability, to find itself the repair garage for a fleet that’s endeavoring to drill, baby, drill. Counting the ongoing debate over oil and coal trains through Seattle, the Shell rig is at least the third recent fight Seattle has had with corporations hoping to use the city as a way point for the carbon economy. Accompanying DPD’s announcement on Monday, Mayor Ed Murray released a statement warning fossil fuel companies that their Seattle headaches won’t subside anytime soon. “To prevent the full force of climate change, it’s time to turn the page on things like coal trains, oil trains, and oil-drilling rigs,” Murray said.

The following day, O’Brien introduced a council resolution asking the Port to “reconsider” the lease.

In a city that is famously deliberative about everything it does, Seattle may be fighting for the climate the best way it knows how: Demanding more discussion.

The Bureau of Ocean Energy Management reckons Shell could profitably pull 4.3 billion barrels of crude oil from Alaska’s ocean shore, in part with the rigs soon to be calling port in Seattle.

Economists estimate the social cost of the carbon released when that oil is burned—the negative effects which, like a fart in an elevator, don’t have a price tag but end up hurting everyone—to be about $11.23 per burned barrel of oil. That means the rig

coming here now could cost society at large $48 billion—real-dollar impacts that stay off Shell’s books and on top of everyone else’s shoulders.

That’s the lowball cost, Greenpeace wonk John Deans says. As Greenpeace has argued in court, government estimates put the total amount of “technically recoverable” oil beneath the Chukchi Sea at 15.38 billion barrels (although it could be as high as 40 billion).For comparison, total carbon emissions for the lowball estimate would be equivalent to 12.3 years of the proposed Keystone XL pipeline pumping at full capacity; the highball estimate would be equivalent to 44 years. Not all that oil would be pumped by the rigs heading for Seattle, but Deans cautions that the Chukchi project is a kind of test run for other drilling in the Arctic, which already has 10 percent of the world’s known oil reserves and is estimated to hold another 90 billion undiscovered barrels. If the Chukchi project succeeds, Shell and other companies may decide it’s worth their while to invest in more Arctic drilling.

It’s unclear how long this city—between its kayaktivists and the infamous “Seattle process”—will be able to hold off the exploration. But if O’Brien’s head bobbing in Elliott Bay is any indication, it will be spectacle as long as it does.

“A lot of folks have said, ‘Look, this is a done deal. Like it or don’t like it, there’s not much we can do about it,’ ” says O’Brien. “There’s now something we can do about it.” E

cjaywork@seattleweekly.com

the chatterbox »Privileged Conversation Last week “Black Lives Matter” protesters at Fourth and Pike shouted, “All night, all day, we’re gonna fight for Freddie Gray!” We posted a photo of the demonstration on our Instagram page (instagram.com/seattleweekly), prompting a wide range of reactions: “All lives matter! That’s the problem, thinking like one life is more important them the other” —@jonathan6381gifford “Is the fact that white lives matter in dispute? . . .

That’s no different than the idiots that shout, ‘Straight Pride!’ or ‘White Pride!’ . . . Straight privilege and white privilege aren’t being challenged.

Black lives are!”—@mrs_gill_rocks. “The horrendous animals instigating riots in Baltimore have absolutely NO justification. —@moonshinemily “Many do not understand their own white privilege. . . . All lives are not treated equally in our system . . . ” —@watergirl253

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show how much a child’s early experiences impact them later in life. A University of Washington study released in April showed how an infant or toddler’s environment, if negative, can lead to increased stress throughout his or her life.

Eighty-five percent of the brain has developed by age 3 (the remainder develops during the teenage years), so early investment in a child will lead to the best results, according to the Best Starts website.

If successful, the $65 million levy will mean fewer children suffer from abuse, chronic disease, and disability; it should also save taxpayers money in the long run, with fewer youth involved in the criminal-justice system and fewer emergency-room visits. Best Starts also cites the Heckman Curve, developed by economist James Heckman, which shows that prenatal programs and those targeting children up to age 3 are the most important: “The earlier the investment, the greater the return.”

Why now? “The ultimate goal of Best Starts for Kids is to sever the link between incomes and outcomes—to create a King County where the circumstance of one’s birth no longer defines the course of one’s life,” Constantine said in a statement. “The sad truth in America today is that a top predictor of a child’s success in life is the income of the household in which that child is raised.” With an unemployment rate of only 4.5 percent and a median income of $69,000, King County seems to be thriving; in reality, the divide between rich and poor is significant. Kingcounty.gov reports that nearly half the population earns over $125,000, the other half less than $35,000. The so-called “middle-class” makes up only four percent of our population. This disparity will only continue to grow.

What can you do? Assuming the Metropolitan King County Council approves the Best Starts levy, voters will be asked to approve it in November. The levy would raise $58,000,000 in the first year and would cost the average citizen about $60 a year, or a little over $1 a week. Programs funded by Best Starts will address issues relating to poor health, abuse, and involvement in the criminal-justice system, and will focus investments on a child’s early development. E

news@seattleweekly.com

SEATTLE WEEKLY • MAY 6 — 12, 2015

eattle Councilmember Mike O’Brien’s head floats atop Elliott Bay like a beach ball. The rest of his body is submerged in the 50-degree water, a drysuit holding back the bay’s chill. This is his second time in the water today; after an initial embarrassing spill while launching from a rocky, gray beach in West Seattle, he’s reluctantly re-dunked himself in order to learn how to un-capsize his kayak.

“My body didn’t want to go into that water,” says O’Brien afterward, laughing. “It’s, uh, definitely refreshing.”

He’s here with maybe 25 other kayaktivists, training for a row-down showdown against Shell’s Arctic exploration fleet in mid-May (with family-friendly floating protests on May 16, and an unspecified “direct action” on May 18). The oil behemoth intends to drill exploratory wells in the Chukchi Sea off the northwest coast of Alaska, where it hopes to find “some of the most prolific, undeveloped hydrocarbon basins left in North America,” according to Shell spokesperson Curtis Smith. This would be a big, long-term project: If Shell strikes black gold in the cold north, says Smith, that oil won’t appear on the market for more than a decade.

To that end, Shell planned to use Terminal 5 of the Port of Seattle as a repair site for its exploration fleet before setting sail toward frigid, potentially lucrative northern seas. Planned, in the past tense.

Now Shell hopes to use Terminal 5, since the Seattle Department of Planning and Development concluded on Monday that the Port played a little bit too fast and loose when it quietly leased Terminal 5 to Shell proxy Foss Maritime earlier this year.

Oops: “An additional use permit is required for the proposed seasonal moorage at the Port of Seattle’s Terminal 5 facility of a drilling rig and accompanying tugboats,” the finding stated. Shell will need to get that new permit sooner rather than later if it wants to take full advantage of the Arctic drilling season, which runs from July 1 through October.

Whether or not Shell succeeds is ultimately up to the Port Commission (whose next public meeting is 1 p.m. Tues., May 12 at Pier 69 on Alaskan Way). This is the same commission that originally OK’d the Terminal 5 lease. But it’s also the commission that’s been receiving enormous pressure from the public and other elected officials to find a way to nix that lease.

Port spokesperson Peter McGraw declines to “speak for [the commissioners] or where they’re at” on the issue of a new permit until the Port’s lawyers have reviewed DPD’s finding. “Anything else would just be speculation,” he says.

The DPD’s finding is purely a technical one regarding Port policies, not touching on the

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news&comment»

The Asperger Entrepreneurs

Two Seattle men have become highly successful coaching parents on how to handle kids like them.

BY NINA SHAPIRO

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Danny Raede, left, and Hayden Mears started Asperger Experts two and a half years ago.

Asperger Experts was Raede’s idea. Speaking by phone one day last week, he explains that he saw the opportunity to make money and “do something good” at the same time. In Mears, he saw someone who could bring an emotional dimension to the business. And so the two, barely out of their teens, formed a partnership. Eventually, on something of a whim, they relocated to Seattle.

Now heading a staff of five, including themselves, Mears and Raede preach an approach that is relatively simple. It centers on something that they call “defense mode.” This, Raede explains in one of a series of free introductory videos on aspergerexperts.com, is “when you get very locked down and go very numb.” The cause, he and Mears say, is sensory overload—an acute sensitivity to sights, smells, and sounds among those with Asperger’s. They react by going into their own world. Hence the social problems that those with Asperger’s are known for.

Raede and Mears urge parents to concentrate on getting their kids out of defense mode by creating a “safe place” where kids can decompress. If their children start screaming and flailing when they go to the grocery store, get them out of there as soon as possible, they suggest.

Better yet, if this is a recurring problem, don’t take them to the grocery store in the first place.

“You’d be surprised how many parents of people with Asperger’s don’t know how to deal with their kids and just lash out,” Mears says, talking at the WeWork building, where Asperger Experts maintains two small offices, one filled with video equipment. He says a turning point for him came in high school, when his

mom stopped getting angry and began engaging him with “frequent, personal, positive, and low-risk interactions.”

This approach resonates with parents, Mears says. “We sell ourselves as people who provide solutions you can implement today. You don’t have to go to a therapy appointment or break an arm [to achieve results].”

Annette Estes, director of the University of

Washington’s Autism Center, which both offers clinical services and conducts research studies, had not heard of Asperger Experts before talking with Seattle Weekly. (After a brief review of its website last week, she said it looked “great.”)

She stresses the need for a variety of options when it comes to helping people with autism spectrum disorders (Officially, professionals in the field no longer use the term Asperger’s; patients are now assigned a severity level along an autism spectrum.) Estes cites a saying in the field: “If you’ve met one person with autism, then you’ve met one person with autism.”

“But,” she adds, “it’s really important to think about evidence-based interventions.”

Mears’ own evolution also suggests that dealing with Asperger’s can require a multitude of strategies. Like her son, Pahukoa remembers an attitude change on her part when Mears was in high school (although she describes the process as learning how to “lovingly disengage” from her son’s emotional “roller-coaster” ride and calmly guide his behavior. “Yes, I know you have Asperger’s,” she would say. “But you have choices.” )

But just as important to Mears’ development, in Pahukoa’s telling, was the moment when things reached a crisis point—Mears was getting aggressive with family members and suffering from depression—and she decided to do something “drastic.” She sent her son, then a high-school sophomore, to a locked treatment facility in Austin for a month. “It was awful,” she says, but also “incredibly powerful.” Through brain testing, the facility was able to better determine what medication he needed. And he received intensive behavioral therapy that led to him “deciding to make changes,” according to Pahukoa.

Looking at the approach promoted by Asperger Experts, she recognizes that it’s but one part of what worked for her son. Yet she feels his and Raede’s take on their experiences are valuable for parents to hear.

Even more valuable may be their function as role models. Mears says he and Raede still struggle with aspects of Asperger’s. For Mears, social anxiety persists. “I’m worried about how I come off to other people,” he says. “Even during this interview, I’m stumbling over words a lot.”

(Actually, only a little.) They are nonetheless successful entrepreneurs who make their living by communicating with people.

Asperger Experts’ office manager is Heather Patterson, whose 10-year-old son has been diagnosed with the disorder. Some days, Mears and Raede will go with her to pick up her son from school. For him, she says, these two young entrepreneurs are “total rock stars.” E

JOANNA KRESGE

SEATTLE WEEKLY • MAY 6 — 12, 2015

H

ayden Mears’ time is up in the glass-walled conference room he has booked for an hour in the frenzied hub of entrepreneurial activity that is South Lake Union’s WeWork building.

The 23-year-old, dressed in a black polo shirt and jeans, vacates the room with an affable air.

“Have a good one, dude,” he tells the guy who’s next in line.

He looks at ease as he resettles himself in an alcove of the the co-working space, and later as he walks the hallways, which offer a jumble of sights and sounds. A ping-pong game is in progress in a common room. Red lights, acting as do-not-disturb signs, glow above little solitary work booths. Larger fishbowl offices reveal clusters of people talking and staring and screens. Even the walls stimulate the senses with brightly colored pattens.

“There was a time,” Mears says, “that this would have been traumatizing to me.” That was when this young entrepreneur, diagnosed as a child with the mild form of autism commonly known as Asperger’s Syndrome, says he had acute difficulty in dealing with sensory stimulation. He acted out—hurling toys and himself into dangerous places—and had other problems as well. Like many with Asperger’s, he had trouble picking up on social cues and wrestled with sometimes profound anxiety.

When he was 3, a neurologist told his parents that their child would never have a normal relationship with them, would need to spend his school years in a special-education classroom, and might eventually have to be institutionalized, his mother, Kim Pahukoa, recalls.

The neurologist couldn’t have been more wrong. Today, Mears and another young man with Asperger’s, 24-year-old Danny Raede, run a business that they say has earned over a million dollars in revenue in its two and a half years of operation. Called Asperger Experts, it offers coaching to parents of children like them. Their motto: “Take it from us. We’ve LIVED it!”

Their main product line is a series of webinars and DVDs, but they also offer a five-hour package of phone coaching for $1,300, a sixmonth service that runs $10,000, and occasional in-person seminars.

Mears, who grew up in Oklahoma, and Raede, a California native, met at a Denver community-college program geared for people with learning disabilities. Both still struggled with issues related to Asperger’s, but were making impressive strides. Mears, who was studying journalism, had started writing film reviews for a couple of online publications. Raede, who spent much of his childhood holed up in his room playing video games, but who had found confidence and inspiration through the works of self-help financial gurus like Tony Robbins, was already showing entrepreneurial moxie.

Setting himself up as a web consultant, he sent out what he estimates were 500 e-mails to small businesses. “Hey, I’ve noticed your website could be improved. I can help,” he wrote. He scored a few clients, outsourced the work, and made a modest profit.

news@seattleweekly.com

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news&comment»

Drunken Export

Anchorage looks to ship Seattle some of its most incorrigible alcoholics. Don’t worry, they won’t be staying long.

BY ELLIS E. CONKLIN

CLARK YERRINGTON/FLICKR

Bottle art: An Anchorage street-art project highlights the city’s drinking problem.

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10-day anti-cravings regimen is completed.

It will be a pilot project, the mayor noted, costing his city about $200,000—which he hopes the nine-member Anchorage Assembly will approve, perhaps as early as this week.

Sullivan said he has not encountered any opposition to his alcoholic export plan, though he conceded, “There are some people here, local providers, who’ve said, ‘Gosh, maybe the money would better spent here,’ but we don’t have treatment facilities anywhere to do what they do there [at Schick Shadel].”

The mayor said he learned of the Burien-based

hospital from an advertorial in Alaska Airlines Magazine and was impressed by its success rate, which, according to Schick Shadel marketing director Holly Williams, is 62 to 65 percent.

Founded in 1935, it is the oldest hospital in the nation devoted solely to treating substance abuse.

Its main pitch man is 81-year-old Pat O’Day, the legendary Seattle radio and TV personality who sought treatment for alcoholism at the 60-bed hospital in 1986.

In early April, Schick Shadel CEO Bruce Brandler journeyed to Anchorage and met with Sullivan, Freemon, and other city health officials.

He talked extensively about the treatment method, known as “counter-conditioning,” in which patients are exposed to alcohol in combination with chemicals that induce vomiting, with the goal of making the sight, smell, and taste of a stiff drink repellent.

Electric shocks are also part of the protocol.

Brandler said he can think of no other instance in which a city has contracted to send its chronic alcoholics to a substance-abuse treatment provider, “but it’s not all that surprising because we are already treating a lot of people who come down from Alaska.”

Rosalie Nadeau, who runs Akeela Inc., an Anchorage drug-addiction treatment center, said aversion therapy might work for highly motivated people, such as those whose drinking is jeopardizing their job, Alaska Dispatch News recently reported. “That’s somebody who is willing to spend $22,000 to go to a place and endure what amounts to torture in order to get over it,” Nadeau said.

“We do not torture our patients,” bristled Brandler. “We are a hospital. We treat people. And the electric-shock treatment is not like something you’d see in a Frankenstein movie. It’s a small, little shot [of electricity].” E

econklin@seattleweekly.com

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SEATTLE WEEKLY • MAY 6 — 12, 2015

arluk Manor caters to the desperate and downtrodden on the periphery of downtown Anchorage—about a mile away from the famed Captain Cook Hotel, where, until a few years ago, a stuffed polar bear, fangs bared, stood almost 10 feet high inside its lobby. For many years it was a Red Roof Inn, a drab, two-story affair with 46 nearly identical rooms.

In fall 2011, the state of Alaska, acutely aware of its reputation as having one of the U.S.’s highest rates of alcoholism, spent $3.5 million to buy the property, remodel the motel, and turn it into a long-term home for Anchorage’s homeless, chronic alcoholics.

Today, Karluk Manor—modeled after 1811 Eastlake, which opened in Seattle a decade ago and shelters 75 homeless men and women with extreme alcohol addiction—houses, at any given time, around 40 of the most prolific boozers in Alaska’s largest city, at an annual cost of nearly $23,000 per person. According to the city’s health director, Melinda Freemon, that’s a pretty good deal, considering that the public is on the hook for $61,000 yearly to care for each of Anchorage’s estimated 250 to 300 chronic homeless drunks.

Anchorage Mayor Dan Sullivan, like a number of mayors (including his own father) who have presided over this century-old city of 265,000 residents spread across an alluvial plain between the Chugach Mountains and the frigid waters of Cook Inlet, is alarmed by the rising price of dealing with its inebriated population.

In 2013, the Anchorage Safety Center, where those who’ve had too much are taken to sleep it off, recorded more than 26,000 admissions, according to the city attorney’s office. One frequent visitor spent 275 nights there. Last year the city of Anchorage spent close to $2 million on a year-long contract to run the safety center and a van service to haul drunks.

“So I’m thinking, maybe it’s time we do something different,” Sullivan told Seattle Weekly in a recent phone interview. Mindful that lower gas prices in oildriven Alaska have begun to have deleterious effects on the economy, Sullivan added, “It could save us millions of dollars. We just need to try something new.”

What the 63-year-old two-term mayor is considering is this: flying five to 10 serious alcoholics, now residing at Karluk Manor, to Seattle and placing them in a 10-day, $22,000 aversiontherapy treatment program at Schick Shadel Hospital. Those seeking treatment must volunteer. No one will be forced to attend, and, Sullivan stressed, they will return to Anchorage once the

WYNONNA

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BY RICK ANDERSON By day, Darrion Holiwell was an exceptional King County deputy sheriff and SWAT-team marksman. By night he was a criminal. Something had to give.

S

SEATTLE WEEKLY • MAY 6 — 12, 2015

horter than average, soft-spoken, 50-year-old Darrion Holiwell could nonetheless have a dominating presence. At 5 feet 7 inches, he weighed in at 200 pounds and looked to be all muscle. In military-style garb and helmet—his buff, elaborately tattooed frame further inflated by an armored vest— he was something of a recruiting poster for SWAT teams everywhere, including the one he belonged to: Tac 30, as the King County Sheriff ’s Office called its special weapons and tactics unit. In a skin-tight T-shirt, Holiwell’s arms bulge fiercely in the photos and videos made to promote his moonlighting business, an online gun-gear supply called Praetor Defense (“praetor” being the Roman name for a magistrate who dispenses civil justice). In one video he is impressively frightful, swathed in a commando jacket, wearing headphones and shades, his mustachioed face grim and unforgiving as he raises his weapon to blow away a bad guy.

True, his targets were often stationary, just paper. Among his duties as a King County deputy sheriff of almost 20 years was helping run the department’s shooting range and tactical training center at Ravensdale, in Maple Valley, and he regularly competed in target-shooting competitions with other law-enforcement officers.

10

Holiwell was also a firearms guru—a master in rifle, shotgun, and handgun instruction—and chief firearms instructor for the sheriff ’s department. He was an assistant SWAT team leader and a teacher of tactical methods who would also join Tac 30 teammates in kicking down the doors of drug houses or smoking out wanted felons—helping serve more than 800 high-risk warrants in a little over a decade. With overtime, he earned $100,000 annually from the county. In addition to his online gun-gear sales, he undertook security work for a software company’s executive protection unit. He was also the technical consultant for a bullet-riddled 2013 anti-terrorist film, The Marine 3: Homefront, starring pro wrestler Mike “The Miz” Mizanin. And he consulted on weapon use for a popular video game, Counter Strike, in which the shooter with the highest body count wins.

In 2013, Holiwell was featured in a Q-13 TV news report on the Tac 30 team, in which 21 deputies showed off their gear, guns, and armored vehicle, firing at imagined foes and dropping from choppers.

“Bad guys, we’re a gang too,” Holiwell warned viewers. “A wellequipped gang and a well-trained gang. As soon as they unleash us, go hide. Guaranteed, we’re coming to get you.”

It seemed a good life. He was married in 2000 to his third wife, Alicia. They had two small children and owned a handsome $500,000 home in West Seattle plus a condo in Tukwila. His wife worked fulltime as an administrative assistant for the City of Seattle.

“Clearly,” says the deputy’s former boss, Sheriff John Urquhart, “he was a good firearms trainer with a prestigious assignment on the SWAT team.

He was a long-term police officer,” liked by many.

He received a commendation for his service in 2008 from then-sheriff Sue Rahr, and on his 2013 performance appraisal he exceeded standards in five out of seven categories, including leadership and professionalism.

to others, including fellow deputies. But he found time for that, too. His need for cocaine, the club drug Molly, the erectile-dysfunction drug Cialis, and testosterone-boosting (and sometimes rageinducing) anabolic steroids was steady enough that Holiwell had his own drug supplier living rent-free in Holiwell’s Tukwila condo unit.

Then there was the work he did for his wife, whom he met when she was an exotic dancer and after he had just married his second wife. Like Darrion’s, Alicia Holiwell’s government job alone wasn’t paying enough. So in 2013 she began working nights and weekends as an escort, a prostitute. The two of them used to attend partner-swapping swinger parties, and he came to think of her as a sex fiend, she would later tell investigators. What the hell, she recalled him telling her one day, “If you’re going to have sex, you might as well get paid for it.”

And so should he, the deputy figured. He began pimping for his wife, helping her place escort ads on Backpage.com, running computer checks on her customers, and taking as much as 80 percent of her earnings off the top.

“Double life?” says Sheriff Urquhart. “You bet!”

“He was a good firearms trainer with a prestigious assignment on the SWAT team...

Yet he had this ‘other life.’ ”

“Yet,” as Urquhart says, “he had this ‘other life.’ ”

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That double life eventu-

ally caught up with him. Last June, King County prosecutors charged deputy sheriff Darrion Holiwell with pimping, theft, and drug delivery. Alicia proved to be the accidental informant for sheriff ’s investigators, who until early in 2014 had no knowledge of the lawman’s neardecade of lawbreaking.

They learned that Holiwell and Alicia had split up in May 2013, when she moved into an apartment and he and the couple’s two young boys remained at the home, aided by a drop-in nanny. Alicia would tell detectives it was seen as a temporary split so they could work on getting back together. In the meantime, she’d work as an escort, sometimes making $2,000 a weekend, with $1,600 going to her estranged husband. Among his pimping duties was to run records checks on her clients using Sheriff ’s Office computers. She would text details of the sessions and sometimes e-mail photos of driver’s licenses. “Essentially I worked all summer,” she told investigators. “I would go to my regular job [as a city worker] and then go home and work the escorting.”

Alicia often texted Darrion about how tired she was working her two jobs. But the deputy helped her by supplying drugs to keep her alert, including the prescription stimulant Adderall. She told detectives he also provided her with Molly, marijuana, and human growth hormone he obtained from the dealer he was boarding at his Tukwila condo.

Then Darrion made what turned out to be a career-ending mistake: While his 39-year-old wife was having sex with strangers, he began dating a 20-something woman. The estranged Alicia was enraged when she heard. She went to their home while Darrion was gone and slashed several couches with a knife, as she later admitted to police (though she wasn’t charged). Darrion says she also slashed his comforter and several pairs of his shoes, and later threatened him.

In October 2013, Alicia filed for divorce. The next month, Darrion strategically sought a restraining order against her, recalling in his petition that theirs had been a rocky marriage from the start. The year the Holiwells were married, he claimed, was when she “first displayed violence toward me,” upset that he came home late. “She reacted very violently,

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Few if any in the department seemed to know all about it. But Holiwell’s busy schedule turned out to be even more crowded than it appeared.

In the past seven years, besides helping operate the shooting range, serve SWAT warrants, and run his side businesses, Holiwell found time to gather and steal nearly 10 tons of brass—expended cartridges— and sell or trade the hardware for credits at local shooting ranges. He would then buy guns and other supplies for himself or SWAT team members—he, alone, had 69 handguns registered in his name.

The deputy also hauled away at least 67 cases of sheriff ’s ammunition during those years, swapping them for credits at the private ranges as well. Some of the ammo was filched while the department was suffering a bullet shortage. But Holiwell, by trading county assets for credits that he could use like cash, obtained thousands of dollars worth of guns and gear at special rates. “From what we learned and were told,” says senior deputy prosecutor Gary Ernsdorff, “Holiwell used his position to get deals on firearms and parts from private vendors. He would then turn around and resell them for a profit.”

The stolen brass and bullets were a significant financial loss. “Our best guess is in excess of $50,000,” says Urquhart, elected sheriff in November 2012. “But because of lax controls in place— or not in place—over the years, we will never know.”

Nor can we be sure how many illegal drugs and steroids the deputy used, sold, or doled out

OPENING NIGHT GALA

11

The Double Life of the Deputy » FROM PAGE 11 thrashing at me wildly with a very animalistic look in her eyes.” He claimed she was “very jealous and untrusting . . . which led to her accusing me of irrational things throughout our marriage.”

Alicia Holiwell, in her divorce action, sought a favorable split of the property, including possession of their home. Darrion fought over both the house and possession of the kids. The 20-something girlfriend also chimed in with a declaration supporting Darrion, calling him “a good man” and saying she was frightened of his wife, who’d been texting her such messages as “If I see you have tried to contact Darrion I will hunt you down wherever you may be.”

Alicia, the girlfriend said, needs therapy.

In a way, she got it. Seeking evidence that the physical abuse she was suffering at the fists of Holiwell was part of a pattern, she contacted his second wife to ask if their brief marriage in 1997 had included any acts of domestic violence. The ex-wife confirmed he’d hit her. But unbeknownst to the Holiwells, the ex-wife later spoke about Alicia’s domestic experiences to a friend who works at the sheriff ’s office. The friend told a manager, and the word went up to the sheriff ’s office. The department began to quietly investigate Holiwell’s family conflicts.

Neither of the Holiwells, with much to hide, had gone to the police. But their secret lives were about to be revealed to the world.

Armory over a seven-year period. The biggest cache of unspent ammo, 63 cases worth $13,240, was sold/ swapped at Wade’s.

Investigators determined that the money or credits went into an off-the-books slush fund that Holiwell used to buy items for him or the Tac 30 team. “This is consistent with information provided [earlier] by Alicia Holiwell,” Bartlett revealed in her affidavit. “She explained to investigators that Holiwell sold the brass and used the proceeds to fund a ‘petty account’ to use ‘pretty much any way’ including purchases for himself or his team. This was also confirmed by his partner, deputy Chris Kahrs, who worked with Holiwell at the range, and who was aware of the practice.”

Holiwell’s secret life wasn’t a total secret, it turned out. Besides his partner, other officers knew of the range thefts; some knew of the drug sales; and at least one may have tipped off Holiwell to the probe.

Detectives would later learn from a Holiwell text message—sent to un unidentified recipient—that he was on to them prior to the arrest, and was angry about it: “Shit storm is coming,” he stated. “Alicia reached out to Dana, stirring shit up. Dana’s best friend unbeknownst to me works for KCSO, does her hair. Alicia convinced Dana that I was beating her in the past. Dana told Carrie and this stupid ho believed her and told the fucking SHERIFF!!! The storm is coming, but I got something for their asses.

Hang on, it’s about to get real.”

Was Holiwell capable of creating such a storm? In the past, he reportedly had threatened his wife with a loaded gun, though no charges were filed. Prosecutor Ernsdorff, in court papers, expressed “significant concerns for the safety of the community and the many witnesses.” Firearms, he stated, “are not just a routine part of [the deputy’s] day-to-day life, they are a central part of his existence.” Though Holiwell had been relieved of his gun and badge in May, he had subsequently bought an assault rifle that, like all his other guns, was nowhere to be found, Ernsdorff added. The judge approved bail of $150,000, and the deputy was booked without incident.

In July, still in custody, Holiwell was officially fired by Urquhart for criminal conduct. Others also fell. Gun-range partner Chris Kahrs resigned in lieu of termination for being untruthful during the investigation and for buying/using steroids, according to department records. Detective Robin Cleary, suspected of tipping off Holiwell, was fired for being untruthful during the investigation (a respected detective, she is currently attempting to get her job back).

In addition, a shooting-range sergeant was not disciplined but did retire, and a Seattle police officer, Kevin McDaniel, who admitted to buying testosterone from Holiwell, was suspended 20 days without pay.

A fifth figure, longtime deputy sheriff Frank Stasiak, was given 30 days without pay for using steroids.

Urquhart notes that “Frank manned-up right from the get-go. He told the truth as soon as he was questioned, didn’t equivocate or make excuses. He said he was feeling the pressure of getting older and wanted to keep his edge while working the street.” He has agreed to talk to others in the office about misuse of steroids, and is subject to drug testing.

Urquhart doesn’t believe steroid use is rampant in his department, but it “is occurring in every police agency,” he says. “I wasn’t able to find any more folks using than the ones named. But I believe there were others.”

In August, after plea-bargain meetings between Holiwell’s attorney and prosecutors, the fired deputy who’d been irate about his arrest suddenly

SEATTLE WEEKLY • MAY 6 — 12, 2015

“His actions disgraced the sheriff’s office, and In mid-April last year, sheriff ’s the badge officers and detectives served search warrants at their own gun range he wore each and at Darrion’s West Seattle home.

Their investigation had ballooned and every day.” from a domestic-violence probe

12

into a headline-rattling corruption story about a fellow officer suspected of at least three felonies including pimping for his wife. The detectives grilled Alicia, who confessed all—her escort work, their mad marriage, and Darrion’s other life.

(She did not wish to discuss the case further, last week telling Seattle Weekly, “I’m not interested in commenting.” She was not charged with any crime.)

At the deputy’s home, investigators found illegal drugs and receipts for the sale of brass and ammo.

They also found evidence of drug customers on his iPhone, including a link to Jason, his live-in dealer.

Holiwell’s gun safe was empty, however, and other hoped-for evidence wasn’t found. Detectives suspected Holiwell had been tipped off.

Another warrant, served at Holiwell’s condo— which had gone into foreclosure—produced more drug evidence and a cooperative witness, Jason.

He told investigators he was a supplier of drugs to both Holiwells and some of their friends—and, apparently, other officers. Jason, who was armed, said Holiwell was teaching him how to shoot more accurately, allowing him to bring a date to the restricted county range after hours and providing them with county weapons and ammo. (No charging decision has yet been made regarding Jason, the prosecutor’s office says.)

But most of the detectives’ initial leads came from the cooperative soon-to-be-ex-wife, who detailed the thefts and drug dealing. King County detective Christina Bartlett said in a probable-cause statement that the discovery of sales receipts at the home led investigators “to believe that Holiwell was involved in the theft of King County Sheriff ’s property.” Records obtained from gun ranges and suppliers turned up $7,420 worth of brass sold or traded for credits by Holiwell at Rainier Arms; $8,598 worth at Wade’s Eastside Gunshop; and $12,489 at West Coast

On the up side, the Holiwell case spurred changes at the sheriff ’s department. Ammunition is now inventoried every 30 days and stored more securely, with only a limited number of officers allowed access. “Spent brass is harder to control,” Sheriff Urquhart says. “But it is collected on a regular basis and stored until it can be resold to a scrap dealer.”

The SWAT team is also no longer in charge at the Ravensdale range—now under the supervision of a new sergeant and a new team of range officers. The department also ended a so-called new-product “evaluation” program at the range in which guns or equipment were provided freely by manufacturers.

“My biggest disappointment was that no one discovered what was going on earlier,” says the sheriff. “Over the last 10 years there was one range

sergeant [now gone] but several captains, majors, and chiefs that at one time or another had the Ravensdale Range under their command. Virtually all were interviewed as part of the investigation, though not as witnesses. All were shocked—shocked!—to find out that outright theft, misappropriation of property, and inappropriate use of the shooting range was occurring right on their watch. I consider that a failure of leadership.”

Urquhart—who has fired or forced out 35 officers from his force since taking office almost three years ago—describes the post-Holiwell affect as something of a culture shift within the department. “Suddenly,” he says, “ammo started appearing at the range that had been stocked in deputy’s trunks. Nobody wanted to get caught with ammunition that hadn’t been officially checked out to them. I don’t think they were selling it on the side, just hoarding perhaps.”

Still, did Holiwell get a cop’s break from the pros-

ecutor? For his long crime spree behind a badge, he could, with good time off and credit for time served, be back on the streets by the end of this year.

Ensdorff concedes that Prosecutor Dan Satterberg’s office did not file all the charges it could have against Holiwell, who also was not required to publicly detail other crimes he may have committed. The reason? “It has long been the policy of the King County Prosecutor’s Office to file cases conservatively,” Ensdorff says, explaining that Satterberg’s predecessor, the late Norm Maleng, penned a Discussion Paper in 1987 that has become the office bible on such issues. In part, it states that under national and state standards, “prosecutors should not file all charges, rather they should file those charges which adequately label the gravamen of the defendant’s conduct”—no matter who the defendant is.

Says Ensdorff in an e-mail: “After reviewing Holiwell’s conduct and the evidence against him,

the King County Prosecutor’s Office decided the charges initially filed, including one count of first-degree theft, complied with the abovestated policy and law. They were also sufficient to meet our goals of ensuring Holiwell went to prison as a convicted felon, will no longer be able to work in law enforcement, and is held responsible for full restitution for the changed and uncharged conduct.”

How’s that sit with Sheriff John? “Was I satisfied?” says Urquhart. “Of course not. But you rarely ever find a cop satisfied with the judge’s punishment. What Holiwell did was extremely egregious.

His actions disgraced the sheriff ’s office, and they disgraced the badge he wore each and every day. The bad news is that he’ll soon be released far earlier than he should. The good news is he’ll never wear a sheriff ’s uniform or badge again.” E

randerson@seattleweekly.com

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opted to change his plea to guilty. For promoting prostitution in the second degree, theft in the first, and delivery of drugs, Holiwell faced a standard sentencing range of more than 30 months. But he’d reached an agreement to accept 12 months and one day—the extra day meant he would have to serve the term in prison rather than jail.

He also faced a $3,000 fine and other costs, but as Kris Costello, his attorney, told the court, he was broke. “He took full responsibility right away,” she said in open court before King County Superior Judge Bruce Heller on August 4, 2014. “He caused a lot of problems for the department. He’s caused a lot of problems for people he cares very much about.

He was a well-liked officer. He loved his job and he really, really made many, many mistakes. And he’s here to take a prison sentence. He’s got a new normal. He’s lost his job, he lost everything.”

Ex-deputy Darrion Holliwell, seeming small and deflated from being held in protective isolation for two months, stepped forward. “I apologize to this court,” he said, reading from a statement. “I have embarrassed myself, my family, and my department.

I am truly sorry for my actions. I love my job.”

Judge Heller mulled over the recommended 366day sentence. He complained that it seemed “quite lenient, given the fact that as a police officer you committed these offenses.” Still, Heller noted, Holiwell had no other criminal record and had lost his job and couldn’t serve again. The fact “that you’re going to have to start life all over with a sense of shame going forward—I think is as significant as the jail time.”

Holiwell was grateful. “Upon completion of my sentence,” he said, “I intend to rejoin the community as a law-abiding citizen.”

But at that moment he’d already broken the law again. The next day, prosecutor Ernsdorff learned that the man who had “lost everything” and had been declared indigent by the court had, three weeks earlier, applied to cash out his $181,685 law-enforcement retirement account. He had not told the court he had such an asset, and not even his wife was aware of it during their divorce proceedings. A niece had been quietly helping Holiwell attempt to liquidate the account.

Ernsdorff quickly filed to vacate the ex-deputy’s sentence, claiming he committed a fraud upon the court. The motion was granted. A few weeks later, in September, Holiwell was back. This time, in a perfunctory proceeding, Holiwell was sentenced to 17 months.

The next month, on October 2, 2014, the Holiwells’ 14-year marriage was officially ended by court decree. Alicia got kitchen appliances, power tools, a lawn mower, cook books, a diary collection, a car, and the kids. This past February, the state concluded she was eligible for $92,000 from Darrion’s retirement fund. The deputy-turned-felon got the big-ticket item, the house—encumbered by two mortgages—along with a vehicle. But he owes about $45,000 in restitution—equal to about half of his remaining retirement fund.

13

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food&drink

Portland Chef/Brewer Brings Beer to Seattle Dinner

FoodNews

BY JASON PRICE

If you’re still shopping for Mom and haven’t hit paydirt yet, you may want to consider Theo Chocolate’s six-piece Honey Bee Confection box (just $12).

Each treat is made with honey from Ballard’s Urban Bee Company. And here’s the kicker: Theo is partnering with porch.com and Kohler on a giveaway—one lucky winner will receive a Kohler Moxie Showerhead Speaker and $200 worth of Theo Chocolate.

Alan Sprints believes brews are a natural fit at the sophisticated table.

BY JACOB UITTI

I

Capitol Hill’s much-anticipated Chophouse Row project had a soft opening on May 1. While the market is not yet entirely finished, two tenants opened for business: Kurt Timmermeister’s Kurt Farm Shop and home/garden shop Niche. Other tenants, such as Erica Burke’s Chop Shop Café and Bar, will open in late May/early June. Stay tuned . . .

A recent beer dinner Sprints hosted at Holdfast in Portland.

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TheWeeklyDish

ily and work nights and weekends,” he says.

Though he has a more regular workday now, Sprints continues to collaborate with chefs like Davidson “to increase their knowledge about beer and food pairing.”

Davidson, who recently traveled to Hair of the Dog to taste Sprints’ concoctions and decide on the proper flavor progressions for the Burgundian dinner, says Sprints is a “bold” presenter of food and drink. “He uses smoky and spiced flavors, and he’s not afraid to push the limits. These kinds of dinners are what being a chef is all about.”

Pears, parsley, and pomegranate at Cafe Munir.

NICOLE SPRINKLE

BY NICOLE SPRINKLE

beers—but not, he says, because local beers are inferior. “I have not had a bad Seattle beer, ever,” he says. “I have a lot of respect for Washington brewers, from the old guard to the new wave— and I may just have some in my belly that night anyway.” E food@seattleweekly.com

HAIR OF THE DOG BEER DINNER Burgundian, 2253 N. 56th St., 420-8943, burgundianbar.com. $150. 6 p.m. Wed., May 13.

There’s something very exciting about simple ingredients combined in a way you’d never imagined.

Last weekend, I enjoyed that rare discovery at Cafe Munir, Seattle’s beloved Lebanese restaurant. Half a dozen or more slices of crisp, not-too-sweet and not-too-sour pears are covered to the point of being camouflaged by fresh shredded parsley, a smattering of pomegranate, and the lightest touch of a mellow tahini. It’s so brightly flavored, straddling the line between salad and appetizer. The fruit’s contrast with the vegetal parsley is a curious combination that ultimately works, the tahini somehow marrying the sweet and the grassy. The pomegranate seeds add a flash of color and a tart pop to the palate now and then. Not only will I be back for it, but I’m adding it to my summer dinner rotation at home. After all, spring and parsley are perfect partners. E

SEATTLE WEEKLY • MAY 6 — 12, 2015

This isn’t the first sophisticated food-and-beer event Sprints has been a part of. He recently partnered with Portland’s James Beard Awardwinning Le Pigeon for an elaborate evening. “It was a thrill to be able to work with chef Gabriel Rucker and his staff to present my beers with his food,” says Sprints. “Brewing and cooking are similar in many ways, and I have always loved making things. Brewing, though, has less pressure and stress than cooking, but now I get to do both.”

On May 13 he’ll get another chance to show off his knowledge of food and drink, working with longtime friend and Burgundian owner Matt Vandenberg, no slouch himself when it comes to beer: He’s the CEO of Brouwer’s, which boasts 64 beers on tap and over 300 bottles in house. “I look forward to spending time with Matt whenever I can,” says Sprints. “And a dinner is a great way for me to tell my story about the beers and the brewery.”

Sprints will feature only Hair of the Dog

In better news for Mother Earth, Taylor Shellfish shelved their plans to spray neurotoxins over their oyster beds in Willapa Bay and Grays Harbor. The Seattle Times reported on Friday that the farm will no longer support the use of the pesticide imidacloprid.

Overwhelming public outcry against the plan was generated last week, with local chefs Renee Erickson and Matt Dillon leading the charge. E

PHOTOS BY RAWI NANAKUL

t’s a familiar image: a stormy evening in a small peasant town, men and women at a long wooden table, mugs of pilsner sloshing in their dirt-darkened hands.

It could be a recent night, or one from a thousand years ago. Indeed, beer has been around seemingly forever. But micro-craft-beer brewing is a current trend that’s taken root, especially (and thankfully) in Northwest cities like Portland and Seattle.

“I have always tried to make people think about beer in different ways,” says Portland chef-turned-master brewer Alan Sprints, who will co-host a seven-course dinner May 13 at the Burgundian in Tangletown for Seattle Beer Week. Courses will include, among other dishes, foie gras, sea scallops, and elk shank—all prepared by Burgundian chef Jeff Davidson— paired with Sprints’ Hair of the Dog beers, from a barrel-aged strong ale to a double IPA. “People have been enjoying beer and food for thousands of years,” he says. “It is instinctual, almost familiar to all of us.” Sprints, who started as a chef in fine dining and catering but transitioned to brewing in 1992 at Widmer Brewing Company, is now known particularly for his strong ales. “They have more flavor and go well with food,” he says. “They were also very unique when I started brewing, and I like being different.”

Hair of the Dog’s Fred beer, for example, one of their strong ales (10 percent alcohol by volume), was created to honor beer writer Fred Eckhardt, a well-known Portland-based beer advocate and historian as well as a brewing mentor to Sprints. It is made with rye malts and 10 different hop varieties, and will be paired with Davidson’s duck breast. Their Adam beer is another strong ale (10 percent a.b.v.), and is the first beer Hair of the Dog created. It will be paired with elk shank.

It may seem simple to pair food and beer, maybe even a little foolish to call it an art form.

Somehow the reputation of wine—its European origin, its accented foreign names—elicits more of a sense of the refined and cultured. But Sprints knows pairing beer with a meal can be just as unique and worthwhile—in part because he used to be a full-time chef himself.

“In general, beer pairs well with food because of its mild acidity and range of sweet and bitter flavors,” he says. And it’s usually cheaper than high-end wine: “Beer is also an affordable luxury—it is very easy to try different beers and learn the flavor options.”

Sprints founded Hair of the Dog in 1993, and made his first beer in 1994. He hasn’t forgone cooking altogether; he remains chef for the brewery’s tasting room. In the beginning, his love of food led him to hope he could make a living cooking, but “it’s hard to have a fam-

nsprinkle@seattleweekly.com

15

arts&culture

Mad Man

ThisWeek’s PickList

A local biographer reintroduces us to the father of Mad—and much contemporary satire.

BY MARK RAHNER

I

f you could shine a blacklight on American pop culture, you’d see Harvey Kurtzman’s DNA splattered all over it. And not just a little bit. A lot. Everywhere. (Under a microscope, it would look like Alfred E. Neuman’s face.) It’s hard to overstate how Jackson-Pollocked America’s pop culture, humor, and sensibilities are with Kurtzman (1924–1993). And yet, I’ll make you a bet: If you sample any random 10 people— not just on the street but at a comic con—you’ll be lucky if one or two light up at the name.

An impressive new biography aims to fix that, starting with the title: Harvey Kurtzman, The

THURSDAY, MAY 7

They Might Be Giants

After 33 years together, TMBG remains a quintessential cult band that never made it big (and perhaps never sought such fame). John Flansburgh and John Linnell have had flashes of commercial success, like “Birdhouse in Your Soul,” “Boss of Me” (which became the opening theme to Malcolm in the Middle), and the Austin Powers theme song “Dr. Evil,” but who needs the the mainstream? Two guys with two million quirky song ideas, Flansburgh and Linnell always been slaves to their own whimsy— rather than the marketplace. Deploying their angular, power-pop nerd-rock sound, they’ve made albums for kids, albums about concert venues, and albums about science. This year the band revived its Dial-A-Song concept, releasing one song a week via dialasong.com (rather than the old telephone-answering machine of the ’80s). Their new album, Glean, released last month, documents the first several weeks of new songs, with two more albums slated to follow. Tonight the duo will play two full sets of music, with no opening act. That means the faithful will be rewarded with both new tracks and old favorites dating back to the vinyl era when TMBG got its Brooklyn start. The Nep-

Man Who Created Mad and Revolutionized Humor in America ($34.99, Fantagraphics). This

Starbucks near his home, we wondered what Kurtzman would’ve thought of Starbucks’ hilariously tone-deaf “Race Together” misstep. A retired business analyst, Schelly spent three years researching and writing the Kurtzman book. As a shorthand way of quantifying the work that went into it, he points to the whopping six pages of acknowledgements and 27 pages of end notes.

Born in New York to a working-class, Daily Worker-reading Jewish family, Kurtzman was raised during the Great Depression. A comics prodigy, he won contests as a teenager and dropped out of college to enter the industry. At William Gaines’ EC Comics (legendary publisher of Tales From the Crypt and Vault of Horror), he notably created adventure and war titles like Two-Fisted Tales and Frontline Combat that abandoned the usual jingoistic, gung-ho propaganda of ’50s comics.

Gilbert Gottfried Kurtzman during his post-Mad career in the ’60s.

Kurtzman was pro-labor and distrustful of big business. He ridiculed authority figures of all stripes and humanized our enemies. He would’ve fucking hated FOX News, I tell Schelly, and vice versa. In fact, says Schelly, “The FBI investigated him.” And more: During his employment by EC, where he edited Mad from 1952–56, the entire comics industry was investigated by the infamous Senate Subcommittee on Juvenile Delinquency.

From that came the Comics Code Authority, though Mad was EC’s only title to survive the clamp-down. Then, just five issues after Mad went to a magazine format, Kurtzman abruptly left.

He then freelanced—including Playboy’s notorious Little Annie Fanny—and taught to the end of his life. Among the young artists he published in the ’60s were R. Crumb—thus becoming a forebear of underground comix—and Terry Gilliam (of Monty Python). “He was their god,” says Schelly. In his introduction to the book, Gilliam argues that “Harvey’s influence was the hidden epidemic that changed much of our society for the better.”

In retrospect, Kurtzman left Mad prematurely.

He’s like George Lazenby’s 007, I crack to Schelly.

More like Sean Connery’s, Schelly corrects me.

Fine, fine. But hear me out again: Lazenby planned to jump from Bond to a big action picture

with Bruce Lee—then Lee died. After a money dispute with Gaines, Kurtzman jumped from Mad to Hugh Hefner’s Trump—which lasted two issues. He died with $35,000 in the bank after watching his EC colleague Al Feldstein, who edited Mad into the ’80s, get rich off his creation.

And speaking of riches, I tell Schelly, Kurtzman wouldn’t have lined up to see Marvel corporate brand-stravaganzas like Avengers: Age of Ultron.

No, he says, Kurtzman would have considered that an obscenity: Dumb entertainment designed for profit, not art. It’s the kind of thing Mad—or at least Kurtzman’s original Mad—would’ve satirized.

Today Mad mag sneaks out six times a year with a sliver of the impact it once had. Yet Saturday Night Live, The Daily Show, The Colbert Report, and The Onion were all born of Kurtzman’s influence and bathed in his iconoclastic sensibility. Above all, says Schelly, Kurtzman was a truth-teller. “He didn’t think art should just be escapism.” E

markrahner.com

UNIVERSITY BOOK STORE 4326 University Way N.E., 634-3400, bookstore. washington.edu. Free. 7 p.m. Thurs., May 7.

(Rahner’s Special Ops podcast conversation with Schelly is available Thursday on bjgeeknation.com and iTunes.)

GILBERTGOTTFRIED.COM

SEATTLE WEEKLY • MAY 6 — 12, 2015

16

Chatting with Schelly recently at a Lake City

tune, 1303 N.E. 45th St., 877-784-4849, stg presents.org. $27 and up. 8 p.m. DAVE LAKE

FANTAGRAPHICS

642-page doorstop from award-winning comicbook historian Bill Schelly is a thorough, loving chronicle of Kurtzman’s life, struggles, art, and influence. I didn’t want to place it on the shelves alongside my beloved Mad and EC Comics archives. It made me want to take them off the shelves and sit on the floor surrounded by them, giving every page a fresh look.

Maybe Mad is like the movie John Carter— based on Edgar Rice Burroughs’ John Carter of Mars. Just hear me out: It was so widely influential, over so many decades, and so copied and appropriated, that the original doesn’t turn heads anymore.

When’s the last time you bought an issue of Mad? Founded in 1952, Mad reached a mid-’70s circulation peak of two million per issue, Schelly tells me. “Now I believe it’s around 140,000.” When I interviewed Mad editor Joe Raiola for The Seattle Times in 2009, the magazine had begun taking advertising and its print existence was uncertain.

Schelly points out that may also be part of the overall decline of print media. (Maybe you’ve heard the newspaper business is on life support.)

But what Kurtzman and Mad did was unprecedented: mocking and satirizing authority, commercials, and consumer culture—pretty much everything—with an irreverence that was thrillingly bold in the commie-paranoid, conformist, Leave It to Beaver ’50s. By the time of the Vietnam War and Nixon, it was a major cultural force.

He became famous for partly the wrong reasons: the scrunched brow, the growling joke delivery, the whining and cringing and kvetching connective material, the pure shtick of it. Emerging from the comedy clubs of the ’70s, he never aspired to be Seinfeld-smooth or Lettermanregular. He put ethnicity and idiosyncrasy in your face, daring you to like him and, eventually, finding a national audience on SNL and MTV. Yet Gottfried was then and is now a traditionalist, despite the odd delivery. He’s a product of the Borscht Belt—or rather, an inheritor of that lineage, an epigone. An antic schlemiel

Be inspired The Parlor Live, 1522 Sixth Ave., 602-1441, parlorlive.com. $25–$35. 7:30 p.m. BRIAN MILLER

The Triplets of Belleville

Who needs modern CGI animation? This charming 2003 French throwback takes its cues from the past. Sylvain Chômet’s warm, wiggy first feature boasts great line drawings with offbeat, collectible sounds and music: part Django Reinhardt, part scat-singing, part Stomp.

Blissfully, there’s no dialogue. Set in ’50s France, Triplets centers around a cyclist’s kidnapping by Mafiosi, who transport him across the ocean to Belleville, tracked by his grandmother and faithful dog in a rescue mission rather like Finding Nemo. Belleville looks suspiciously like a Frenchman’s view of Manhattan. It has a Botero-sized Statue of Liberty clutching a hamburger, an entirely overweight populace, and the Triplets— three old crones who were once music-hall stars of the ’30s. There’s never quite time enough to absorb Triplets’ decor, allusions, and sumptuous drawing, which Chômet is too cool to underline.

The result is a fabulous mélange of a movie.

(Through Tues.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7–$11. 7 p.m.

Marc Maron

Always one of our favorite comics, Maron rescued himself from post-millennial depression and career doldrums with his garage-brewed WTF podcasts—now a must-do for his comedy cohort—and his newer cable show Maron, now in its second season on IFC. You can’t separate his braininess from his self-disgust; loathing the laziness of the world, the failure to put more thought into things, is a constant in his humor.

He’s known for being cranky, if not quite a misanthrope. There’s a difference between expecting other people to let him down and being surprised by it; Maron belongs in the latter camp. You have to be an idealist before pessimism hardens your soul. Interviewed in the recent documentary Misery Loves Comedy, he told director Kevin Pollak that he got into the trade during the late ’80s

Neil Diamond

When he tells you you’ll be a woman soon, you’ll be a woman soon. When he says Caroline is sweet, you sing along in agreement. When he declares that he’s coming to America, you travel with him. His name is Diamond, but you already knew that.

Tonight, on Mother’s Day, the legendary crooner—74 years young—will pack the Key with a very particular demo: women from the baby boom (second husbands or boyfriends reluctantly in tow), raised on jukebox pop and AM radio, their ears transporting them back to teenhood at the first few bars of “Cherry, Cherry.”

The man got his start penning songs in the Brill Building and placed early hits on The Monkees.

He’s a part of musical and pop-cultural history, a complete egotist and ham, and utterly beloved by his fans. Lower Queen Anne will be ablaze with rhinestones tonight, and the tip jars will be full at Keys on Main during the preshow festivities. KeyArena (Seattle Center), 800-745-3000,

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keyarena.com. $61 and up. 8 p.m. T. BOND MONDAY, MAY 11

Music of Today: Harry Partch Instruments Presentation

As an aspiring composer growing up in America’s stiflingly Eurocentric classical-music world, Partch’s dissatisfactions were many. First among them were the parochial limitations of equaltemperament tuning, the standard 12-note scale you’ll find on any piano—which of course is not how the human voice works. “He wanted to find a way to accurately notate what the human voice does naturally,” says UW research associate Charles Corey, which led Partch (1901–1974) to invent his own instruments to accommodate alternate tuning systems and, ultimately, his personal vision of Greek- and Japanese-inspired music drama. Corey became the curator of that instrument collection, formerly housed at Montclair State University in New Jersey, and brought it to UW last December. Partch tinkered with the innards of a reed organ to create his microtonal Chromelodeon; other instruments of his are even more found-object-y, like an array of light bulbs played like a xylophone and gongs made from airplane nose-cones. Corey will explain and demonstrate all these and many more tonight, in preparation for two concerts of Partch’s music on May 26 and 27. Meany Hall,

UW campus, music.washington.edu. Free. 7:30 p.m. GAVIN BORCHERT E

FOR TICKETS:

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because his comedy mentors “seemed to be in control of this horrendous hurricane of bullshit that comes to us every day.” A good joke, with an intelligent point behind it, is a way of making sense of that hurricane—even if it comes from within. (Ashley Barnhill opens.) The Neptune,

a

onstage, he’s also the consummate professional, a voiceover veteran of Disney cartoons and the old Aflac duck. (He was fired from that gig for a Japanese tsunami tweet, which actually gives him more cyber-cred.) Forty years back, he might’ve seemed a novelty act—an anti-comedian, like Billy Crystal’s foul-mouthed id unleashed. Today he’s a venerable elder of stand-up. (Through Sat.)

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2—5PM 2—5PM

Centennial Lab Centennial 2000 Terry Ave. Lab

A look back to ACT’s inaugural season in 1965.

Now–May 17

Buy tickets today or see it with an ACTPass!

acttheatre.org | 206.292.7676

As a second-year playwriting minor in college, I penned a pseudo-profound drama about a mother visiting her daughter in a psych ward, complete with super-stylized dialogue. My prudent professor smoothly suggested I write scenes closer to my own humble life, less arty and pretentious. I hope someone has a similar kind talk with Keiko Green after her fanciful comedy finishes its run.

MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 389-7676. $25 AND UP. SEE SEATTLE OPERA.ORG FOR SCHEDULE. ENDS MAY 16.

Illustration by Barry Blankenship

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ANNEX THEATRE, 1100 E. PIKE ST., 728-0933, ANNEXTHEATRE.ORG. $5–$20. 8 P.M. THURS.– SAT. PLUS MON., MAY 11. ENDS MAY 16.

Ariadne auf Naxos

Friday, May 8, 5—8PM 2—7PM Friday, May 8, 5—8PM 2—7PM cornish.edu/expo cornish.edu/expo

Bunnies

Suppose you have a ticket to Ariadne auf Naxos but can only drop in for half an hour. Your best bet will be the opening of Act 2; it’s where most of the magic is concentrated in Seattle Opera’s revival of its 2004 production (directed by Chris Alexander, set by Robert Dahlstrom) of Richard Strauss’ 1916 meta-opera. Hugo von Hofmannsthal’s libretto posits that a wealthy patron has commissioned an opera on the Greek myth of the title and engaged a commedia dell’arte troupe to perform afterward as dessert; instead, the comedians invade and comment on the opera. Act 1 shows the backstage preparations for all this, with the singers jockeying for supremacy and the achingly idealistic Composer—SO favorite Kate Lindsey, ardent and soaring—agonizing over all these compromises.

Seattle Opera is selling the comedy hard, but the “serious opera,” the Ariadne scenes, is where both Strauss and Alexander do their best work. As Act 2 opens in a gallery-like setting, the singers are surrounded by pieces of art glass and the playwithin-a-play’s onstage audience. Three nymphs strike lovely, statuesque poses and ripple a stream of silky blue cloth to imitate waves (so simple a stage effect, and it never fails). The commedia players float through the scene atop a slowly rolling grand piano—pushed by very visible stagehands, which adds to the surreal charm. And there’s the long dreamlike monologue of Christiane Libor as Ariadne, the cool gleam of her soprano a glorious complement to Strauss’ radiant orchestration, her delivery palpitating with emotion.

The comic scenes that follow, however, seem endless—even though they’re capped by the opera’s showpiece coloratura aria, given to Zerbinetta, leader of the commedia troupe. Sarah Coburn is assured and vivacious in the part, though she plays coquettishness by shifting her voice into a vampy, come-hither lower gear, which robs some of her music of sparkle. The torpor is not entirely Strauss’ fault, though comedy pacing was not one of his primary theatrical gifts. Throughout the performance, the comic business contains an unforgivable level of unimaginative cliché: miming what you’re singing about (if the lyrics mention your left foot, point to your left foot) and gesturing and bouncing in time with the music. (When a film score mimics onscreen action, it’s called Mickey-Mousing; is there a term for the reverse?)

Even Ariadne’s final scene with Bacchus feels its length, though the arduous role, which asks for a Mozart tenor’s lyric elegance plus clarion Wagnerian lung power, is sung beautifully by Issachah Savage, winner of SO’s International Wagner Competition last August. (His one rough landing, on his aria’s climactic high note, was surely a one-time occurrence.) And by the opera’s end, the magic returns, meltingly, thanks to him and Libor and an impressionistic fireworks display (promised, like Chekhov’s gun, in Act 1) projected against the back wall. Codas definitely were one of Strauss’ primary theatrical gifts, and the wondrous beauty of the final tableau rises to the level of ravishment, led by Lawrence Renes, coming from the pit. GAVIN BORCHERT

The distaff chorus of Bunnies.

JOE IANO

EXPO

arts&culture»Performance

This pedantic mashup of The Bacchae and environmental armageddon—which also includes music by Jesse Smith—chronicles a crew of castoff cottontails who form a clique bent on environmental revenge against humanity.

These murderous bunnies are far less fearsome or funny than Monty Python’s Killer Rabbit of Caerbannog; in fact they draw inspiration from the pet rabbits abandoned in Woodland Park, where a huge feral warren now thrives.

Green’s ambition—undertaken via a hodgepodge of theatrical devices—is to indict the asshat pet owners who cruelly dump said rabbits in the park. Here those forlorn animals (played by eight actresses) serve as a Greek chorus—usually the province of drama, not comedy. Under the humdrum direction of Pamala Mijatov, the longeared chorus doesn’t do much hopping or exhibit other animal attributes. The boy-on-bunny bestiality merely seems a spurious shock. These raging rabbits also display diction difficulties. I couldn’t understand a single lyric of the songs (by Green and Smith). As She, the chief goddess/bunny, Yesenia Iglesias mumbles her way through an opening monologue of classically inspired language.

The human foes prove more intelligible and interesting. André Nelson, playing an array of small roles, does supply some comic relief from, er, the supposed comedy. Also showing imagination, Robin Macartney’s simple set evokes Woodland Park, right down to those old fourcolor striped park signs. Despite that trace of realism, Wanda Rodriquez’s distracting costumes reminded me of Grizabella and Rum Tum Tugger: Cats in Hammer pants.

Forgive me for saying this is a hare-raisingly horrible show. The only upside came during intermission last Friday, out on the sidewalk where we witnessed the impromptu street theater of some May Day protesters. Back indoors, Bunnies lacks catharsis, doing a disservice to both to Euripides and Dionysus. ALYSSA DYKSTERHOUSE

POutside Mullingar SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), 443-2222. $17–$102.

7:30 P.M. WED.–SUN. PLUS SOME WED. & WEEKEND MATINEES; SEE SEATTLEREP.ORG FOR SCHEDULE. ENDS MAY 17.

Nobody goes to a romantic comedy looking for surprises. We go for affirmation that, in the face of suspicious data, dubious reasoning, end-

less distractions, and daunting obstacles (real or imagined), fusion between two hesitant people can occur—even if it takes the G-force of the Large Hadron Collider to bring it about. The bristly main characters in John Patrick Shanley’s talky 2013 charmer seem a textbook illustration of Zeno’s paradox of Achilles and the tortoise, getting halfway closer, halfway closer, ad infinitum. There’s nothing the least bit edgy about Outside Mullingar, nor excessively sappy, so you can swoon at its abundant appeal and still keep your grumpus credentials in order.

In rural Ireland, the Muldoons and Reillys have owned adjacent farms since forever. Rosemary Muldoon (Emily Chisholm) has been nursing a grudge against Anthony Reilly (M.J. Sieber) for decades: At 13, he shoved her when she was 6, a comically trivial basis for her planned revenge.

She owns a strip of land that blocks his family’s property from the road—compromising a possible sale. Early on we meet one surviving parent of each lovebird (Kimberly King and Seán G. Griffin, both terrific) and get an inkling of where the weird comes from. As the romantic pursuer, however bitter, Rosemary gets more to do than Anthony. Under cover of anomie, she seethes, stews, smokes, pines, coaxes, goads, accuses, and corners. Allure, as most of us have come to think of it, is not in Rosemary’s quiver; her desire squeezes itself into the refrain, “Girl needs a chat.”

Sieber, playing an evasive depressive, is stuck in defensive mode. His Anthony declines all bids except a credulity-stretching one from his dying father. Director Wilson Milam was probably wise to guard the “secret” of Anthony’s love, but this is accomplished with a lot of head-down, eyes averted chore-doing that often strands Chisholm on her own.

Still, the 90-minute one-act flies by, the excellent performances expedited by lyrical language (spoken in proficiently non-distracting accents) and jaunty passing humor. Doubt playwright Shanley, the screenwriter of Moonstruck, knows how to be funny when he wants to be. His smart, hearty/hardy characters have a full grasp of irony. Their miserable, sodden existence—sheltered by Eugene Lee’s flimsylooking sets and alluded to by Geoff Korf ’s painterly lighting—is the only life they can imagine. Conceiving of new things is a liability around here. As Rosemary laments, “Thinking’s worse than February.” MARGARET FRIEDMAN

The Tall Girls

For all intents and purposes, the heroines of Meg Miroshnik’s The Tall Girls are not girls at all. Faced by the gravity of their sex and looming adulthood during the bleak Dust Bowl era, these athletes have to be nimble enough to forego childhood.

In rural Oklahoma, we meet five young women vying to play ball. Jean (Leah Salcido Pfenning) calls Poor Prairie her “grave town” when she arrives at its train station. Almost 16, exceptionally tall and dressed older than she should be, she’s been sent by her family to help raise cousin Almeda (Bailie Breaux). “Al,” just a year younger, clothed in dirt and overalls, is a classic wild child. Before meeting future teammates Inez, Puppy, and Lurlene, Jean encounters the slightly smarmy Haunt Johnny (Ali Mohamed el-Gasseir), returning home with a fresh basketball and a dubious past.

a pipe dream for most of these characters— unless fatalism is her point here.

On the final scoreboard, The Tall Girls boasts a powerful young cast with great onstage rapport.

The character interactions are poignant, if rushed, in an engaging drama that’s sometimes too fastpaced for its own good. (Only Jean registers as a full-fledged character, while the rest seem more like sketches.) Cameron Irwin’s simple, provocative set is complete with a basketball hoop incorporated into the drama. It’s a symbol of hope and a source of tension as these women line up to take free throws that really may determine their future beyond Poor Prairie. IRFAN SHARIFF E stage@seattleweekly.com

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under threat of being disbanded by First Lady Hoover’s “Committee on Play.” (Sports supposedly threaten the reproductive health of young women—all that jumping up and down, you see.) Director Kelly Kitchens writes in the playbill of “the cost of mortgaging your hopes for a meal ticket,” which is a little vague and a little off, because these girls’ hopes and meal tickets are one and the same. I think Miroshnik is more after the time-agnostic sense of sacrificing your hopes for duty. Yet Tall Girls seems to be about more than what’s being delivered in this production. Though more starkly realistic than Fairytale Lives, Miroshnik’s text lacks credibility: basketball is here

Al and her best friends idolize Babe’s Ballers, a local women’s basketball league. In a series of all-too-convenient coincidences, the five form a team of their own, with Johnny as their coach (and arithmetic teacher). Jean’s predilection for numbers, her height, and Johnny’s affection make her a prime candidate for point guard—and Al’s jealousy.

This is Washington Ensemble’s second production of a Miroshnik play, following 2012’s The Fairytale Lives of Russian Girls, whose protagonists hustled to survive in Putin’s harsh new kleptocracy. What’s the connection? In desolate Poor Prairie, the odds are also stacked against women; and the team is

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(5/6) Scholar in Residence Mona Akmal Scratch Night TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY 2-for-$5 Double Feature!

(5/7) Per Espen Stoknes How (Not) To Build Support for Climate Policy (5/7) Steven Quartz Kickstart the Economy By Being Cool

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(5/12) Olivier Wevers with Juan Alonso-Rodriguez Journey Into the Mind of A Choreographer (5/13) Elliott Bay Book Company: Philip Glass in conversation with Rajan Krishnaswami (5/15) UW School of Environmental and Forest Sciences presents The UW Climate Change Video Awards with Annie Leonard TOWN HALL

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COMMUNITY

(5/16) PSSO presents Spring Concert

Cooper’s play, 17-year-old Brooklyn has to deal with a paranoid, isolated mother. Cornish Playhouse, Seattle Center, machamonkey.org. $18–$20. Opens May 8. 8 p.m.

Thurs.–Sat. plus Mon., May 18. Ends May 22.

THE CHALK GARDEN A reading of Enid Bagnold’s 1955 comedy of “wild intrigue, wicked secrets, and hard-won gardening tips,” presented by the Endangered Species Project. ACT, 700 Union St., 292-7676, endangered speciesproject.org. $10–$15. 7 p.m. Mon., May 11. 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., May 7–Sun., May 10; see ontheboards.org for exact schedule.

THE DROWSY CHAPERONE A sendup of/homage to highstepping ’20s musicals. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridge performingarts.org. $19–$27. Preview May 7, opens May 8. 7:30 p.m. Fri.–Sat., 3 p.m. Sun., plus 7:30 p.m. Mon., May 18. Ends May 24.

EL HIJO PRODIGO In José Amador’s solo memoir, he returns to Puerto Rico after 22 years. West of Lenin, 203 N. 36th St., 352-1777, westoflenin.com. $10–$15. Opens May 7. 7:30 p.m. Thurs.–Sat. Ends May 16.

THE MEMORYCARE PLAYS Three poignant one-acts on the theme of coping with Alzheimer’s. Isaac Studio Theatre, 212 N. 85th St., 800-838-3006, taproottheatre.org.

7:30 p.m. Fri., May 8 ($50–$100) & Sat., May 9 ($15–$25).

MOTHER’S DAY IMPROV Moms are the topic of Unexpected Productions’ comedy show. Market Theater, 1428 Post Alley, unexpectedproductions.org. $15 ($5 for moms). 7 p.m. Sun., May 10.

(5/9) Hootenanny!

An All-Ages Sing-along Tribute to Pete Seeger

(5/11) World Science Festival Watch Party

AND, AND, AND, ISABELLA BOOTLEGS In Samantha

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

(5/8) Gene Baur and Kathryn Gillespie Ethical and Environmental Impacts of Eating Animals

(5/11) Leonard Mlodinow The Evolution of Scientific Discovery

OPENINGS & EVENTS

May 17th / Poulsbo, WA

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and Brandon O’Neill for Maggie and Brick—two examples of the superb casting in this Tennessee Williams revival, directed by Kurt Beattie—was for me a revelation, since I’d only ever seen them in musicals. O’Neill’s portrait of the multiply wounded ex-athlete is a cocktail of bitterness and dry, resigned wit, wringing an amazing amount out of few words. Yet if Brick were merely an ice-cold villain, you’d never buy that Maggie could still be so hot for him; it’s a tightrope O’Neill walks expertly.

Griffith’s Maggie and John Aylward’s breathtakingly good Big Daddy come off as fascinating mirror images, partly because of their easy physicality; they seem analogously comfortable in their skins. Only an occasional hint of caricature—which leads to laughs, which leads to a slight emotional distancing—keep Marianne Owen’s Big Mama and Morgan Rowe’s Mae, both performances full of panache, from perfection. Charles Leggett, as Mae’s husband Gooper (Brick’s older brother), is highly effective in his character’s ineffectuality. Testament to the skill of the acting is that the play’s frankness of language and subject matter became startling, even shocking, 60 years after its premiere. GAVIN BORCHERT ACT, 700 Union St., 292-7676. $15–$44. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends May 17.

OUTSIDE MULLINGAR SEE REVIEW, PAGE 18.

THE TALL GIRLS SEE REVIEW, PAGE 19.

For more Current Runs, see seattleweekly.com.

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Dance

GIRL GODS A work-in progress preview of Pat Graney’s

new show (to be premiered in October at On the Boards) which “explores the ancestry of women, individuals and family—and the idea of rage . . . influenced by Judy Chicago’s installation projects and the Earth-Body work of Ana Mendieta.” Century Ballroom/West Hall, 915 E. Pine St., patgraney.org. $7. 8 p.m. Thurs., May 7.

KALEIDOSCOPE Wade Madsen and Anna Mansbridge are among the contributors to this mixed bill. Broadway Performance Hall, 1625 Broadway, 800-838-3006, creative dance.org. $8–$35. 7:30 p.m. Fri., May 8; 2 & 7:30 p.m. Sat., May 9; 3:30 p.m. Sun., May 10.

CARMONA FLAMENCO Traditional music (with vocalist Samir Osorio) and dance. Café Solstice, 4116 University Way N.E., 932-4067, carmona2@comcast.net. $15–$20.

8 & 9:30 p.m. Sat., May 9.

NIGHTCAP AT THE TRIPLE DOOR: L’EDITION NOIRE

The debut of Lily Verlaine’s new dance company House of Verlaine, which combines classical dance (from alumni of Spectrum Dance Theatre, Whim w’Him, Coriolis Dance, and others) and sophisticated burlesque. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $25–$30. 7 & 10 p.m. Sat., May 9.

Classical, Etc. OPERA SEE REVIEW, PAGE 18.

• SMEATTLE MUSICAL, DIVERS, & SUNDRY • I.e.,ACHINATIONS new experimental works by UW students and alumni.

Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.org. $5–$15. 8 p.m. Thurs., May 7.

SEATTLE SYMPHONY Imogen Cooper conducts and plays two Mozart piano concertos (#17 & 24). 7. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $35–$120. 7:30 p.m. Thurs., May 7, 8 p.m. Sat., May 9.

TEN GRANDS Pianos, that is, in a multi-genre benefit concert. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $42 and up. 7 p.m. Fri., May 8.

HIROAKI TOHGI From this Chief Court Musician of the Japanese imperial household, a demo of gagaku music and dance. Seattle Asian Art Museum, 1400 E. Prospect St., seattleartmuseum.org. Free. 7:30 p.m. Fri., May 8.

SEATTLE COMPOSERS SALON A new-music openmic night, with works by Matthew James Briggs, Jessi Harvey, Ian McKnight, and Michael Owcharuk. Chapel Performance Space, 4649 Sunnyside Ave. N., composer salon.com. $5–$15. 8 p.m. Fri., May 8.

SEATTLE PRO MUSICA John Muehleisen’s Eternity Passing Over—An Arctic Requiem was commissioned in memory of the parents, killed in a 2005 bear attack, of an SPM member. Plus music by Pärt and MacMillan. St. James Cathedral, 804 Ninth Ave., 800-838-3006, seattle promusica.org. $12–$38. 8 p.m. Fri., May 8–Sat., May 9.

UW OPERA Co-producing, with Pacific MusicWorks, Mozart’s a-bit-of-everything fairy tale The Magic Flute.

Stratospheric soprano Cyndia Sieden sings the Queen of the Night. Meany Hall, UW campus, 543-4880, pacific musicworks.org. $10–$40. 7:30 p.m. Fri., May 9–Sat., May 9, 2 p.m. Sun., May 10.

SEATTLE SYMPHONY Exploring rhythm in a family concert entitled “The Orchestra Rocks.” Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $15–$20.

11 a.m. Sat., May 9.

OCTAVA CHAMBER ORCHESTRA Schumann, Respighi, and more. Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $13–$20.

7:30 p.m. Sat., May 9.

B’SHNORKESTRA “Global Concertos” is Samantha Boshnack’s name for her quintet of new works written for five musicians from diverse traditions. Langston Hughes Performing Arts Institute, 104 17th Ave. S., bshnorkestra. com. Suggested donation $5–$15. 8 p.m. Sat., May 9.

(Open dress rehearsal with Q&A, 8 p.m. Fri., May 8.)

PETER HALLOCK TRIBUTE CONCERT Music of this composer, long associated with St. Mark’s Cathedral, who died last year. 1245 10th Ave. E., 800-838-3006, saintmarks. org. $20–$25. 8 p.m. Sat., May 9.

FHTAGN An immersive experience from members of this experimental spatial-music collective. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.org. $5–$15. 8 p.m. Sat., May 9.

SEATTLE SYMPHONY CHAMBER MUSIC Prokofiev, Schumann, and Tchaikovsky from SSO musicians.

Benaroya Recital Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $39. 2 p.m. Sun., May 10.

AMERICAN STRING PROJECT Chamber music (Brahms and Mendelssohn) adapted for string orchestra.

Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 2 p.m. Sun., May 10.

SEATTLE YOUTH SYMPHONY Mahler’s Song of the Earth and bits from La traviata. Benaroya Hall, Third Ave. & Union St., 362-2300, syso.org. $15–$48. 3 p.m. Sun., May 10.

OPERA ON TAP Opera moms are saluted tonight in this informal revue. Paragon, 2125 Queen Anne Ave. N., operaontap.org. 7 p.m. Sun., May 10.

MUSIC OF REMEMBRANCE Picasso and Gertrude Stein debate art and morality in the premiere of Tom Cipullo’s chamber opera After Life. Benaroya Recital Hall, Third Ave. & Union St., 365-7770, musicofremembrance. org. $30–$40. 7:30 p.m. Mon., May 11.

DOUGLAS CLEVELAND Mozart, Rorem, and more for organ. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $20–$31. 7:30 p.m. Mon., May 11.

HARRY PARTCH INSTRUMENTARIUM SEE THE PICK LIST, PAGE 17.

WINDS OF THE RENAISSANCE Music for (self-explanatory) instruments from the (self-explanatory) era. Christ Episcopal Church, 4548 Brooklyn Ave., N.E., 633-1611, salishseafestival.org. $15–$25. 7:30 p.m. Tues., May 12.

PHILIP GLASS In conversation with cellist Rajan Krishnaswami about his memoir Words Without Music.

Town Hall, 1119 Eighth St., 624-6600, elliottbaybook. com. $37–$42 (incl. book). 7:30 p.m. Wed., May 13.

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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

» Visual Arts w/THE SILENT WAR

Openings & Events FRED BIRCHMAN AND CAROLYN KRIEG Birchman

focuses on architecture and landscape in Reclamation Projects. Krieg shows equine photos in Horses.

Opening reception, 2-4 p.m. Sat., May 9. Prographica Gallery, 3419 E. Denny Way, 322-3851. 11 a.m.-5 p.m.

Wed.-Sat. Ends June 20.

CALLIGRAPHIC ABSTRACTION A collection of 35 works from Islamic to archaic Chinese to the contemporary writing system created by artist Xu Bing.

Opens Sat., May 9. Seattle Asian Art Museum, 400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m. Thurs. Ends Oct. 4.

JIM CHUCHU Pagans is a photo/video series that reimagines African deities. Opens during First Thursday art walk. Mariane Ibrahim Gallery, 1203 Second Ave., 467-4927, marianeibrahim.com. 11 a.m.-5 p.m.

Tues.-Sat. Ends June 13.

NANCY COLEMAN In Textus, she uses painted, woven text to study the space between literal and abstract. Opening reception during First Thursday art walk. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m.

Wed.-Sat. Ends May 30.

BEN DARBY Auspicious features molds of toys and Godzilla. First Thursday opening reception, 6-8 p.m.

Foster/White Gallery, 220 Third Ave S., 622-2833. 10 a.m.-6 p.m. Tues.-Sat. Ends May 30.

JEN ERICKSON Her paintings deal with loss and decomposition. Opens during First Thursday art walk. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m.

Thurs.-Sat. Ends May 30.

EVERYTHING YOUR HEART DESIRES Five Seattle film and video artists try to answer the question, “What do you want most?” First Thursday opening reception, 6-8 p.m. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thurs.Sun. Ends May 30.

GEORGETOWN ART ATTACK Check out new exhibits at Interstitial (You Will Be Rare), Eight and Sand (I Want to Believe), Fantagraphics (Black River Art), and more! Georgetown, georgetownartattack.tumblr. com. 6-9 p.m. Sat., May 9.

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Door to the Future THEFUSSYEYE

ladles, made predominantly from clay. Opening reception: 6-8 p.m. Fri., May 8. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org. 11 a.m.-5 p.m., Tues.-Fri. Ends May 29.

TYSON GRUMM Twenty new works in The Nemesis of Prose combine surreal paintings and poetry. First Thursday opening reception, 6-8 p.m. Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Mon.-Sun. Ends June 1.

ROBERT HARDGRAVE Cullom Gallery collaborates with the host venue to present Die Kopie, a collection of large-scale collaged and toner-transfer work. Opening reception: 6-9 p.m. Sat., May 9. Studio E Gallery, 609 S. Brandon St., 762-3322, studioegallery.org. Hours by appointment. Ends June 6.

ANNE HIRONDELLE Her colorful ceramics use the vessel as metaphor. Opens during First Thursday art walk. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends May 30.

JOURNEY INTO THE OTHER A group show exploring the abstract, surreal, and experimental. Anthony Hurd, Peter Staley, Angela Fox, Celeste Byers, and others are featured. First Thursday opening reception, 5-9 p.m.

Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor. com. Noon-6 p.m. Ends May 30.

FULGENCIO LAZO Her dreamlike paintings feature images drawn from her birthplace of Oaxaca, Mexico.

Opening reception: 5-8 p.m. Wed., May 6. Baas Framing Studio, 2703 E. Madison St., 324-4742, baasframingstudio.com. 10 a.m.-6 p.m. Mon.-Sat. Ends June 20.

LENNON Nine artists (including Tim Bruckner, James Shoop, Kristine Pool, and May Pang) create celebrate the music and legacy of the legendary Beatle. Opens Saturddy during Georgetown Art Attack. Krab Jab Studio, 5628 Airport Way S., 715-8593, krabjabstudio.com. 1-5 p.m. Wed.-Sat. Ends June 6.

EMMA JANE LEVITT Centered around the sudden death of her partner, In the Presence of Absence explores loss, grief, and connection. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends May 28.

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» CONTINUED ON PAGE 22

modernist as anything Frank Lloyd Wright was doing at the time. A great example is Black Patio Door (1955), though Black Door With Red, from the same year, is even more of a knockout.

Most everything else in this worthwhile show— which includes 64 paintings and supporting materials—looks back to ancient customs and traditional subjects. Leave it to O’Keeffe, the leader, to be moving in the opposite direction.

Tacoma Art Museum, 1701 Pacific Ave., 253272-4258, tacomaartmuseum.org. $12–$14.

10 a.m.–5 p.m. Tues.–Sun. Ends June 7.

Saturday May 9, 2015 • 9am – 1pm 600 NW 40th Street • Seattle, WA 98107

Outdoor Sale • One Day Only • Rain or Shine!

Seconds and Non-standard pieces *Bring your own packing material* Individual artist’s work also available.

Cash, check and credit cards accepted No Wholesalers or Resellers, please.

Vases • Ornaments • Paperweights • Garden Torches & More!

Gifts for all occasions • Limited to stock on hand Arrive early for best selection!

SEATTLE WEEKLY • MAY 6 — 12, 2015

AMON CARTER MUSEUM OF AMERICAN ART/© 2015 GEORGIA O’KEEFFE MUSEUM

TAM has been on an Old West/frontier binge of late, what with the recent Haub bequest, and Matika Wilbur’s Native American portraits last year. And few artists are as indelibly associated with the cactus

BY BRIAN MILLER flowers and deer skulls of the desert Southwest than Georgia O’Keeffe, whose work anchors the Eloquent Objects still-life show, which opened in March. She’s the main draw, though 30 others from the Taos/Santa Fe school are featured. (There’s also a Northwest sidebar with Morris Graves, Norman Lundin, and company.) Arguably the most famous American woman artist of the 20th century, O’Keeffe (1887–1986) to me has always seemed trapped by her successful, popular image—see: cactus flowers and deer skulls—and the career orchestrations of her husband, photographer Alfred Stieglitz. He died in 1946, soon after which O’Keeffe permanently decamped to her two restored haciendas near Ghost Ranch, in northern New Mexico. During the ’50s she painted what might be called architectural studies of adobe walls and doorways: harsh sun and stark shadow creating lines more rigorous than any architect’s pencil; the old muddy solidity of these primitive walls becoming—when severely cropped, as was her fashion—as

GET THE SCOOP! This show is all about spoons and

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a&c» Visual » FROM PAGE 21 TRAVIS LOUIE AND LAUREN MARX Louie presents

new paintings in Archive of Lost Species. Marx shows new works on paper. First Thursday opening reception, 6-8 p.m. Roq La Rue, 532 First Ave. S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends May 30.

KENT LOVELACE Similitude focuses on the Northwest landscapes and native birds. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com, 443-3315. 10 a.m.- 5:30 p.m. Mon.-Sat. Ends May 31.

MADE PERSONAL Serrah Russell, Joe Rudko, and Colleen RJC Bratton used found materials to create and reference history. Opening reception: 6-9 p.m. Sat., May 9. The Alice, 6007 12th Ave. S., thealicegallery. com. Noon-5 p.m. Sat. Ends June 6.

ERIN O’KEEFE In Natural Disasters, she presents a collection of still-life photographs. First Thursday opening reception, 6-8 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery. com. 11 a.m.-5:30 p.m. Wed.-Fri. 11 a.m.-5 p.m. Sat. Ends June 27.

PHINNEYWOOD ART WALK Work from local artists Thendara Kida-Gee and Katarina Reka will be on display. 6-9 p.m. Fri., May 8. Greenwood Branch Library (and nearby venues), 8016 Greenwood Ave. N., 6844086, spl.org.

WILLEM DE ROOIJ For Bouquet XI, the Dutch artist collaborated with a local florist to create works centered around Middle Eastern flowers. Opens Sun., May 10.

Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. 11 a.m.-4 p.m. Wed., Sat.-Sun. 11 a.m.-9 p.m. Thurs.-Fri. Ends Aug. 16.

SLU ART WALK A diverse array of art is hosted by venues including Caffe Torino, Cornish College, the SLU Discovery Center, and more. Check out Javier S. Ortega’s 3-D sculptures and beautiful typography in Lynda Sherman’s Lust for Life. 5-8 p.m. Thurs., May 7.

South Lake Union, sluartwalk.com.

JENNIFER BEEDON SNOW Her semi-realistic paintings depict the suburbs, swimming pools, and objects.

First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S. 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends May 30.

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ANNE HAYDEN STEVENS AND KAZ POZNANSKI

Stevens searches for “the evocation of a place” in her landscape paintings. Poznanski looks to express nature through color. Opening reception, 5-7 p.m. Sat., May 9.

Fountainhead Gallery, 625 W. McGraw St., 285-4467, fountainheadgallery.com. 11 a.m.-6 p.m. Thurs.-Sun. Ends May 31.

FRANCESCA SUNDSTEN AND CHERYL EKSTROM

Sundsten shows new paintings in Natural History.

Setting Forth collects new scultpure from Ekstrom. First Thursday opening reception, 6-8 p.m. Hall|Spassov Gallery, 319 Third Ave. S., 453-3244. 11 a.m.-6 p.m.

Tues.-Sat. Ends May 31.

KALINDI THOMPSON AND AALIYAH GUPTA The local artists exhibit new work that both focus on nature, whether it be Thompson’s realistic depictions or Gupta’s abstract paintings. First Thursday opening reception, 6-8 p.m. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery. org. Noon-6 p.m. Wed.-Sat. Ends May 30.

Ongoing SEATTLE WEEKLY • MAY 6 — 12, 2015

• CHIHO AOSHIMA This is SAAM’s second exhibit

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by a contemporary young Japanese artist associated with Takashi Murakami. In addition to 30-plus drawings and two large “dreamscapes,” her show Rebirth of the World includes a wall-filling new animated work, Takaamanohara (or The Plain of High Heaven), dealing with wrathful Shinto deities, cycles of destruction, and rebirth. In her typically colorful paintings and sketches, ethereal kawaii sprites roam in enchanted glades where the colors are anything but natural. Long, undulating hair mixes into the undgrowth and vines, suggesting deeper connections to the planet. BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum. org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m. Thurs. Ends Oct. 4.

ILSE BING An early user of the 35mm Leica hand-held camera, the German Bing (1889-1998) is known as a pioneering woman in European photography. Henry Art Gallery, Ends Oct. 11.

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Opening ThisWeek The D Train OPENS FRI., MAY 8 AT PACIFIC PLACE, SUNDANCE, AND THORNTON PLACE. RATED R. 98 MINUTES.

Centered around a rude surprise, The D Train has some guts, and I like that in a movie. It earns points for trying. The writing/directing team of Jarrad Paul and Andrew Mogel comes from the trenches of L.A.’s comedy scene, where the improv goal is often to take an outrageous premise and normalize it. Normal is where bored Dan

bromance, but a gnawing infatuation. Why do sports fans clamor at stadium exits to touch their heroes? Why do dudes lie about being BFFs with the BMOC? What musk draws them to the alpha dog? Marsden’s comic-book handsomeness is here covered with scruff, but he colors Oliver’s allure with familiar human foibles. He’s dumb, selfish, and unreliable (though given one solid gag about lawn chairs), yet open-minded and forgiving.

If The D Train never deepens its premise the way Tom Perrotta or Alexander Payne might, if it never quite escalates to the level of, say, Entertaining Mr. Sloane, it offers a new spin on the standard theme of a teenage loser’s midlife vindication. Sometimes it takes total disgrace to earn a fresh start. BRIAN MILLER

HILARY BRONWYN GAYLE/IFC FILMS

Marsden (center) and Black (right) as dark soulmates.

Far From the Madding Crowd OPENS FRI., MAY 8 AT MERIDIAN, SUNDANCE, AND LINCOLN SQUARE. RATED PG-13. 118 MINUTES.

Along with a great novelist’s assumed ability to peer into the human soul and all that, Thomas Hardy added two key obsessions: land and time.

Hardy knew the soil of his English countryside, knew the trees and animals, and the way a footpath connects farms and destinies. He also knew how the turning of the seasons affected people, and how those same footpaths resonated with the steps of ancestors near and distant.

Thomas Vinterberg’s new version of Far From the Madding Crowd gets just about all of that wrong. And immediately, too: The film throws away the great moment when Bathsheba Everdene (Carey Mulligan)—having assured herself that no one could be watching—leans back on her horse in an unladylike manner, a gesture surreptitiously witnessed by salt-of-the-earth farmer Gabriel Oak (Belgian rising star Matthias Schoenaerts). If a movie can’t understand how that gesture shapes the futures of these characters, it won’t get much else right. Even worse is the hurry-up swiftness of David Nicholls’ screenplay, which collapses the action so the movie can trot in at 118 minutes. We’ve just established the impossible relationship between prideful-butpoor Bathsheba and sensible Gabriel when she inherits her uncle’s estate, flirts with neighboring landowner William Boldwood (Michael Sheen), and falls under the spell of caddish soldier Francis Troy (Tom Sturridge). The melodrama that has room to breathe in Hardy’s 1874 novel (and the 170-minute 1967 adaptation of the story) is so rushed here that it looks faintly ridiculous.

What can’t she do?

Mulligan even rides a horse.

Maybe that was Vinterberg’s purpose; he was one of the Danish filmmakers whose Dogma credo— as embodied in The Celebration—was supposedly against this kind of old-fashioned material.

That 1967 film may not be a classic, but it contained unforgettable sequences—a storm on the farm and an earthy, gut-piercing remedy to save swollen sheep. And it had a dazzling cast.

Mulligan, late of The Great Gatsby, is a brave lass indeed to step into the footsteps of Julie Christie.

If she can’t supply the movie-star oomph, she still navigates the movie’s confused conception of her character with professionalism, and her chemistry with hunky Schoenaerts is visible. The movie’s clumsiness is so desperate that Bathsheba is given a one-time-only burst of voiceover at the beginning of the film in order to plead ignorance about her supposedly mystifying name (no one has told her the Biblical reference?), as though preparing a 21st-century audience for something unfamiliar. Even her namesake Katniss Everdeen didn’t have to stoop that low. ROBERT HORTON

5 Flights Up OPENS FRI., MAY 8 AT SUNDANCE CINEMAS. RATED PG-13. 92 MINUTES.

Completely reliant on the warmth and goodwill generated by its stars (rather than, say, its writing), this AARP-oriented dramedy strikes all the familiar chords. Retired schoolteacher Ruth (Diane Keaton) and non-selling painter Alex (Morgan Freeman) are finding it a chore to huff up the stairs of their sprawling, sun-washed corner Brooklyn apartment. Nor can their beloved old dog—the Carvers are childless—easily make the climb. The place could be worth a million after 40 years in a now-gentrified hood (Williamsburg, from the look of it). It’s time for an elevator building; time to ask, as Ruth does, “What about later?” Who will care for them?

Can they age in place? Suddenly their dog has a medical crisis, which is both a major plot point and a harbinger of their own future.

With a niece (Cynthia Nixon, from Sex and the City) acting as their broker, they put their place on the market and are present during the open house (!)—indicating how British director Richard Loncraine isn’t unduly concerned with realism here. (The movie’s adapted from Jill Ciment’s novel Heroic Measures, an Oprah Book Club pick.) The pushy-nosy apartment shoppers are predictably ridiculed, unlike the everdignified Carvers. However, 5 Flights Up does make the usual ageist jokes at Alex’s expense. (He

forgets his hearing aids! He can’t use a computer!

He holds Ruth’s iPhone wrong side to his ear!

Are you rolling in the aisles yet?) It’s hard to be annoyed by such gentle mediocrity, though I do have to wonder why Alex gets all the wise voiceovers—wasn’t this a marriage of equals?

The sick dog, real-estate haggling, and specious subplot about a fugitive Muslim terrorist— unless he’s not—all turn out to be tremendously mundane. It’s hard to see why we need a feature film about this—but for the welcome chance to enjoy Keaton and Freeman coasting in what’s essentially a TV movie. The only novelty comes from the double casting of young ’70s Ruth and Alex (the likable Claire van der Boom and Korey Jackson), who bring some energy and awareness of the difficulties in what was then called a mixed marriage. Then there’s the shock ending, guaranteed to divide audiences along generational lines.

Boomers will be furious at the Carvers’ stubborn irrationality. Those in their 70s and beyond will find reassurance. Realism can wait for the dread later of another day. BRIAN MILLER

PIris OPENS THURS., MAY 7 AT SIFF CINEMA EGYPTIAN (AND FRI. AT SUNDANCE).

RATED PG-13. 78 MINUTES.

When Albert Maysles died on March 5, it was the end of a significant phase of the documentary film. His movies, many of them made with his late brother David, helped create a new kind of nonfiction storytelling: Gimme Shelter set the standard for the rock-and-roll picture and defined the end of the ’60s; and Grey Gardens, a portrait of two crackpot relatives of Jackie Kennedy, remains a cult movie to this day. (It’s still a useful conversation piece about the place where observation and exploitation cross paths.)

What was this documentary giant working on at the end? He has at least one more film yet to be released, but among his final projects was the somewhat unexpected but very entertaining Iris.

It’s a profile of Iris Apfel, a nonagenarian fashion legend and colorful collector (and wearer) of baubles, bangles, and beads. (The soundtrack of the movie is accompanied by the clacking of Iris’ Bundt-cake-sized bracelets.) If this seems a fluffy subject for Maysles, perhaps the comparison with Grey Gardens is useful: zany ladies, full of opinions, dressed to kill. And yet the subjects of the two films don’t compare; where the Beale women of GG had long since parted ways with

SEATTLE WEEKLY • MAY 6 — 12, 2015

Landsman ( Jack Black) begins in the Pittsburgh suburbs, the petty despot of his high-school 20th-reunion committee. He’s got a wife (underused Kathryn Hahn), new baby and awkward teenage son, and a hapless boss ( Jeffrey Tambor, exuding decency and hurt) who’s presiding over the slow collapse of their consulting business.

It’s time for a shakeup, which Dan recognizes in the handsome face of a TV-commercial actor: long-lost Oliver Lawless ( James Marsden), once the high-school stud, now the possible celebrity draw for the big reunion. Dan, treated like a loser by his peers, will do anything to land this reluctant kahuna. Black’s energy in comic roles both loud (School of Rock) and quiet (Bernie) always comes from a desperate core; it’s as though there’s an interior blast furnace of inadequacy that fuels his characters’ overcompensation and misdeeds.

Thus it’s not surprising when Dan begins lying to everyone, defrauding his company, and misleading Oliver (once he flies to L.A.). He’s not being corrupted by the booze, coke, and strippers of Oliver’s Hollywood milieu—he wants it, too.

Oliver is his insouciant, fuck-it-all doppelgänger, the id to his dad-in-Dockers superego. And Oliver is certainly susceptible, like any insecure actor, to flattery and hero worship.

Back in Pennsylvania, however, Dan finds it hard to share his idol. Everyone loves Oliver—Dan’s wife, son, and committee members.

Should we be surprised that Dan, while harboring a Sunset Strip secret, becomes jealous and irrationally possessive? The casting of Chuck and Buck’s Mike White (also a producer) as one of Dan’s pals is a clue to The D Train’s comedy of male intimacy and discomfort. It’s not a broad

ALEX BAILEY/FOX SEARCHLIGHT

» Film

» CONTINUED ON PAGE 24 23

arts&culture» Film MAY ��, �� & ��

SHOWTIMES MAY 8 - 14

an irony that gets lost in the familiar showbiz arc here: early enthusiasm and creative energy, breakthrough success with Tommy, and the inevitable falling-out over success, money, and control.

The best of these showbiz docs provide a window into an era or a cultural moment, and director James D. Cooper delivers at first. He works the mod style, swinging London attitude, and jump-cut editing to capture both the period and the passion of this odd couple as they bluff their way through the music industry on instinct and impulse. Then that social backdrop is lost as the film dives into the finer points of creative conflicts and lawsuits. For committed Who-ologists, Lambert & Stamp mostly sidesteps the disagreement as to how much influence the duo really had on the band’s music in general and Tommy in particular.

Kit Lambert died in 1981, the second band casualty (after Keith Moon) of excess and addiction. Stamp, who died in 2012, lived long enough to tell Cooper his story and repair relations with Townsend and Roger Daltrey (who are also interviewed). I fear this doc is just a little too inside-baseball for anyone but fans of The Who and British music of the ’60s. It’s a good story, though not strong enough to frame the entire decade. SEAN AXMAKER

Yes, Apfel is as awesome as she dresses.

THE TRIPLETS OF BELLEVILLE

FRI - WED @ 7:00PM / SUN @ 3:00PM

HALLUCINATORY MAPS

Films & videos by Georg Koszulinski

RAD

FRIDAY - WEDNESDAY @ 9:30PM

PRINCE VS. MICHAEL JACKSON VS. JANET JACKSON

THURSDAY @ 8:00PM

MAY �� at 7pm on ��MM GR ANDILLUSIONCINEMA.ORG ���� NE ��TH STREET | ���-����

206.324.9996 siff.net 2015 Seattle International Film Festival Begins May 14 with Opening Night Film

NOW PLAYING Fri May 8 - Thu May 14 EGYPTIAN

Held over: Fri-Sun

common sense, the outrageous-looking Iris is resplendent with it. She goes to thrift stores and haggles over already-inexpensive merchandise; she shrugs at the idea of criticizing the fashion choices of others. (“Who am I to tell them how to look?”) She’s had a happy marriage—hubby Carl turns 100 during filming—and the Apfels ran a successful business for decades, manufacturing classic textile designs for clients including the White House.

Some people love Grey Gardens because the Beales remain defiantly themselves, despite their creepy existence in a decaying mansion. Iris takes up the same theme, but with a happier outcome.

Yes, Iris and Carl are eccentric—their Palm Beach home is so crammed with toys and doodads that one expects them to start feeding the raccoons in the attic—but brimming with selfpossession. We watch Iris travel, pose for magazine layouts, and then honestly describe the toll these activities take on someone in her early 90s.

Despite the gaudy accessories, this isn’t fantasyland. ROBERT HORTON

and

Lambert & Stamp

IRIS

Midnight Adrenaline | May 9

THE ROCKY HORROR PICTURE SHOW UPTOWN Academy Award Nominee

TANGERINES Best Party of the Year!

with Director Paul Feig in Person

Futuristic shocker

EX MACHINA Noah Baumbach’s

WHILE WE’RE YOUNG FILM CENTER Stage to Screen | May 8-10

NT Live: THE HARD PROBLEM

SEATTLE WEEKLY • MAY 6 — 12, 2015

Albert Maysles’ final documentary, following 93-year-old style maven Iris Apfel

24

DIOR & I

WHAT WE DO IN THE SHADOWS SIFF EDUCATION May 9

CRASH CINEMA

Special Renton Edition at CARCO Theatre Register Now!

SIFF SUMMER CAMPS

Animation Camp | Ages 8-10

Filmmaking Camp | Ages 10-13

siff.net/summercamps

MAY 8-14 | EGYPTIAN SNEAK PREVIEW THU MAY 7 SIFF CINEMA EGYPTIAN | 805 E Pine St SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center NW Rooms

» FROM PAGE 23

FESTIVAL 2015 Save the date: May 27 An evening with

KEVIN BACON

at SIFF Cinema Egyptian

OPENS FRI., MAY 8 AT SUNDANCE CINEMAS. RATED R. 117 MINUTES.

You could be forgiven for assuming that Lambert and Stamp are some forgotten folk-rock duo of the Peter & Gordon variety. Kit Lambert and Chris Stamp were part of London’s ’60s rock scene, though not as performers but as managers, promoters, producers, and mentors. They helped transform a mod-favorite club band called The High Numbers into The Who, nurtured the songwriting talents of Pete Townsend, and supported the band until its breakthrough.

They are a colorful pair with an interesting story. Lambert, the posh, Oxford-educated son of a classical-music conductor, and Stamp, a working-class bloke and younger brother of Terence Stamp, were aspiring filmmakers when they met as assistants at Shepperton Studios. They bonded over their shared passion during the age of the French nouvelle vague and hatched a plan to break into the movies: They’d mold a raw, young rock’n’-roll act into a success, chronicling the odyssey on film. The Who was merely a means to an end,

Tangerines RUNS FRI., MAY 8–WED., MAY 13 AT SIFF CINEMA UPTOWN. NOT RATED. 89 MINUTES.

Small in scale and antiwar in subject, Tangerines is the kind of story that almost always gets called a fable. Most such projects can get gooey about how we’re really all brothers under the skin, and this one is no exception—it was one of this year’s Oscar nominees for Best Foreign Language Film, after all. But even if this theme is low-hanging fruit, the movie is so well made and acted that it quietly wins the day.

Tangerines officially represented Estonia at the

SAMUEL GOLDWYN CO.

SING ALONG!

© BRUCE WEBER/MAGNOLIA PICTURES

MAY �� at 7pm

Ulfsak as the patient Ivo.

Oscars, but it is set in another part of the world: Abkhazia, a fragment of the old Soviet Union.

In 1992, civil war has broken out between Georgians seeking to keep the autonomous region under Georgia’s control and Russian-backed separatists. (It’s an old and complicated dispute.)

The area’s long-abiding Estonian population has mostly been driven out, save for Ivo (the dignified Lembit Ulfsak), a carpenter. He lives in the countryside and makes crates for his neighbor Margus (Elmo Nüganen), a tangerine grower.

A shootout in front of their houses leaves two wounded fighters to care for. Ahmed (Giorgi Nakhashidze), a Chechen mercenary, and Niko (Mikheil Meskhi), a Georgian soldier, are both taken in to Ivo’s house to recuperate. They’re seriously wounded, but Ahmed is insistent that

“RIOTOUSLY ENTERTAINING. LAMBERT AND STAMP WOULD MOLD THE WHO INTO ONE OF THE GREAT ROCK ‘N’ ROLL BANDS.” he will kill Niko the first chance he gets. Out of respect for his courtly host, Ahmed promises not to murder Niko within the walls of the house.

(It’s a measure of the movie’s civilized attitude that the smoldering Ahmed can later joke about this vow, even if he still means it.) As the four men hang around together—there are no women here—they begin to get along.

Director Zaza Urushadze follows a standard humanist line, and most of Tangerines is easy to predict. The final 15 minutes come together in a potent way, however, and the performers are grounded in their roles. Ulfsak is excellent as the Gregory Peck figure, carrying the kind of easy authority that comes after a long career (the man’s got a lot of credits, most of which have been unseen by U.S. viewers). Nakhashidze is splendid as the malcontent; he carries a life story in his world-weary facial expressions. Casting directors, take heed: This guy is a character star waiting to be noticed. ROBERT HORTON

-Jake Coyle,

a film by james

SE AT TLE

d. cooper THE WHO

4500 9TH AVE. NE • 206-633-0059

SUNDANCE CINEMAS SEATTLE STARTS fRiDAY, 4500 9th Avenue NE, Seattle Reserved Seats +21 All Shows sundancecinemas.com MAY 8 VIEW THE TRAILER AT WWW.LAmbERTAndsTAmpfILm.com

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ARE FEW BETTER WAYS RIGHT NOW TO SPEND 80 MOVIE MINUTES THAN TO SEE ‘IRIS’” .

32,000 FANS AND COUNTING

-MANOHLA DARGIS, THE NEW YORK TIMES

“A

DELIGHTFUL FILM. FABULOUSLY ENTERTAINING.” – DENNIS DERMODY, PAPER

HHHH IT’S LIKE TIME

“

SPENT WITH YOUR COOLEST, FUNNIEST AND MOST SAGE AUNT.”

Two Ways To Save At Sundance Seattle Monday is $6 ORCA Day Show Your Orca Card and ALL Seats are $6 ($7.50 for 3D).

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

Tuesday is Girls Movie Night Out!

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

FAR FROM THE MADDING CROWD AVENGERS: AGE OF ULTRON IN 2D/3D THE D TRAIN 5 FLIGHTS UP IRIS LAMBERT & STAMP EX MACHINA WHILE WE’RE YOUNG

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*Tickets available at the box office.

SUNDANCECINEMAS.COM

– JORDAN HOFFMAN, NEW YORK DAILY NEWS

“ENORMOUSLY ENTERTAINING. MOVING AND SURPRISINGLY MEMORABLE.

BY ALL MEANS CELEBRATE ALBERT MAYSLES BY SEEING ‘IRIS’” .

– KENNETH TURAN, LOS ANGELES TIMES

FROM THE DIRECTOR OF

G R E Y G A R D E N S & G I M M E S H E LT E R

A F I L M BY A L BERT M AYSL ES

m a g p i c t u re s .co m / i r i s

STARTS FRIDAY, MAY 8 SEATTLE SIFF Egyptian Theatre (206) 324-9996 SEATTLE Sundance Cinemas Seattle (206) 633-0059

SEATTLE WEEKLY WED 5/6

SEATTLE WEEKLY • MAY 6 — 12, 2015

film@seattleweekly.com

INNER

By Seattle Weekly Readers!

Thank You!!

WWW.SONYCLASSICS.COM

OPENS FRI., MAY 8 AT VARSITY. RATED R. 87 MINUTES.

ROBERT HORTON E

F

2014 W

THE UNKNOWN STORY BEHIND THE CREATION OF

Welcome to Me Beyond the valley of black comedy is a place where laughter and horror mingle freely. Here roams the original British version of The Office and the amazing Scorsese/De Niro King of Comedy (still one of Scorsese’s best, despite its low profile). It clicks only intermittently, but Welcome to Me is an attempt to inhabit this territory. I didn’t actually laugh much during this cringeinducing film, but I was often impressed by its willingness to be awkward.

That it succeeds as often as it does is largely due to Kristen Wiig, whose ability to slip from broad humor to quietly devastating insight is already well documented. She plays an unfortunate soul named Alice Klieg, whose borderlinepersonality disorder has cast her into the margins of society—until, that is, she wins the lottery, which means she can bankroll her own cableTV talk show. The show gives her a chance to air her grievances—she has many—prepare recipes, and sing. It’s a trainwreck, but she keeps throwing money at the production company and they keep pocketing it. The show’s demoralized staff includes James Marsden, Joan Cusack, and Jennifer Jason Leigh; Alice’s backstage fling is played by Wes Bentley, as an infomercial pitchman who might be as unstable as she is.

Alice’s frequent belly-flops aren’t exactly funny, in part because the movie’s too grown-up to laugh at a mentally ill person. Director Shira Piven (a longtime theater director and sister of Jeremy) is going for the crazy-Americana vibe, so the movie has novelty songs, addled characters, and campy set design. (On the latter point, Alice demands her home be arranged in color-coordinated areas.) Piven’s got a great cast and she handles it well, although it would be nice to find out more about Alice’s best friend and ex-husband, especially with ready-to-roll Linda Cardellini and Alan Tudyk playing the roles. The idea of Alice as an avatar for a collective fantasy about getting rich and famous keeps the movie interesting, but there’s something a bit off about the delivery.

When Alice, who once worked in a veterinary clinic, decides to neuter dogs on her show, the act is sure to repel not just her TV audience, but the Welcome to Me viewer as well. The result might be squirmier than anyone intended.

Voted Best Movie Theater

25

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

JAZZ ALLEY IS A SUPPER CLUB

arts&culture» Film Local & Repertory HALLUCINATORY MAPS A two-hour program of

experimental films and videos by Georg Koszulinski is screened. (NR) Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org. $5-$9. 7 p.m. Tues.

NOIR DE FRANCE Jean-Pierre Melville’s 1970 Le Cercle Rouge is a breath of bitingly crisp air, even in an atmosphere thick with smoke from too many Gauloises.

It makes its American gangster predecessors—and every faux Melville to come—seem slightly coarse and obvious compared to these elegant, trench-coated men with their inviolate codes of behavior and predestined fates. A Melville film never hurries, never raises its voice. Why would anything this cool need to?

Melville serves up three loners: Corey (Alain Delon), just released after a five-year prison stint; high-risk criminal Vogel (Gian Maria Volonté who escapes while being transported by train; and alcoholic Jansen (Yves Montand), a marksman ex-cop. Their lives will later intersect for a heist, all the while pursued by the film’s linchpin, Capt. Mattei (André Bourvil), on whose watch Vogel escaped. Yet the silent, silken robbery is almost a throwaway; watching the codes by which all the characters behave, within and above the law, is the real fascination. (NR) SHEILA BENSON Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m.

Thursdays through May 21.

RAD From 1986, this is a BMX adventure drama directed

by Hal Needham (of Smokey and the Bandit fame).

Unfortunately there is no Burt Reynolds cameo. (PG) Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $7-$9. 9:30 p.m. Fri.-Wed. ROAR Noel Marshall’s 1981 folly stars his then-wife Tippi Hedren and stepdaughter Melanie Griffith alongside a bunch of lions and tigers. Hedren was mauled on the set. No surprise that she divorced Marshall soon thereafter. See website for showtimes. (PG) Grand Illusion, $5-$9. Sun.-Thurs.

THE ROCKY HORROR PICTURE SHOW Tim Curry and company camp it up in this 1975 cult film. (R) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12. 11:55 p.m. Sat.

•

ERIC BIBB W/MICHAEL JEROME BROWNE WED, MAY 6

“The appeal with blues troubadour Eric Bibb has always been his positive hopeful tone conveyed with a warm voice, and a pristinely picked acoustic guitar.” - Something Else

RAMSEY LEWIS QUARTET THURS, MAY 7 - SUN, MAY 10

Jazz Piano Legend who has recorded over 80 albums and received seven gold records and three Grammy Awards.

MERCER ISLAND AND BOTHELL HIGH SCHOOL JAZZ BANDS FEATURING TERELL STAFFORD

MON, MAY 11

JANE BUNNETT & MAQUEQUE $10 TUES, MAY 12 - WED, MAY 13

2015 June Jazz Album of the Year: Group!

“Jane Bunnett and Maqueque... utterly shatters the glass ceiling of Afro Cuban Jazz.” - Boston Globe

NAJEE THURS, MAY 14 - SUN, MAY 17

Iconic smooth jazz saxophonist touring in support of his new release The Morning After.

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

TRANSLATIONS: THE SEATTLE TRANSGENDER FILM FESTIVAL This year’s fest opens with the sports

NI NG

W E E K LY

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

doc Game Face, about MMA fighter Fallon Fox, who’ll appear at the screening. Also on the schedule are titles dealing with animation, identity, Seattle history, and the follies of dating. Panels and social events are also part of the fest. (NR) Northwest Film Forum, 1515 12th Ave. (plus 12th Avenue Arts Building), threedollarbillcinema.org. $8-$15 individual, $70 series.

Thurs.-Sun. 2001: A SPACE ODYSSEY British journalist Jon Ronson (So You’ve Been Publicly Shamed) was once invited to the estate of the late Stanley Kubrick (19281999), who spent the second half of his life in England.

There, at the behest of Kubrick’s widow, Ronson began searching through the director’s storage boxes for a 2008 documentary, only to discover that the boxes contained still more boxes, and the archives were such an obsessive labyrinth of notes, ephemera, and just plain weirdness, that Kubrick couldn’t be condensed or digested. (Ronson later wrote about the experience in the Guardian). All of which is a roundabout way of addressing 2001, which likewise resists synopsis or explanation. Released in 1968, Kubrick’s sci-fi quest was immediately labeled a trip movie and embraced by baby boomers, even if few actually dropped acid for the screenings. Four decades later, whether you believe Keir Dullea’s astronaut has been transmogrified to the starchild or not, 2001 is a fitting memorial to its director, as aloof and majestic as the big, black monolith standing sentinel on the moon. (NR) BRIAN MILLER Central Cinema, $7-$9. 8 p.m. Thurs.

MUSIC

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SEATTLE WEEKLY • MAY 6 — 12, 2015

F IL M

26

H A P P Y H OU R

Ongoing

ADULT BEGINNERS Nick Kroll’s His brash NYC tech

FILM NEWSLETTER The inside scoop on

upcoming films and the latest reviews.

maven Jake watches as a planned product launch goes down in flames, losing all his and his investors’ money, then retreats—a broken man, ashamed, tail between legs—to his childhood home in New Rochelle.

Lazy and late to market in the post-recession flop-com genre, Adult Beginners’ script is contrived to add skimpy notions of growth to Jake: reconciling with his married suburban sister (Rose Byrne, no damage to her career), forgiving his doofus brother-in-law (Bobby Cannavale, coasting more than he should), and bonding with their icky-sweet 3-year-old son (cue the poop jokes, please). As Jake glides easily toward self-validation in this rote, predictable dramedy, it’s the sister’s fate than haunts you after the final hugs. (Her discontents are like those of Kristen Wiig’s character

in The Skeleton Twins, compounded by the child that keeps her trapped below potential.) Jake can move on, charming and childless, while she’s stuck in New Rochelle. If there are other options for such women, Adult Beginners ends without exploring them. (R) B.R.M. Varsity AVENGERS: AGE OF ULTRON Writer/director Joss Whedon balances comedy and derring-do with dexterity, and this sequel to 2012’s top grosser doesn’t stall the franchise. Plus it’s got new characters to geek out about, villains especially. Ultron is an artificial-intelligence “murderbot” inadvertently created by billionaire Tony Stark (Robert Downey, Jr.)—also known as Iron Man, of course—and scientist Bruce Banner (Mark Ruffalo), aka the Hulk. Ultron changes robotic shape during the film, but his voice is provided by James Spader, who sounds like a tiger mellowed out on expensive brandy. He’s fun, if perhaps overly humorous for a creature who seeks to end mankind’s dominance on Earth. But Whedon, an encyclopedia of pop culture, can’t help himself—earnestness about this nonsense is for 20th-century suckers. It’s not easy to out-irony Downey, but Spader succeeds; Ultron wouldn’t be out of place as a campy Austin Powers villain. “I’m glad you asked that,” says Ultron in response to one of Stark’s questions. “Because I wanted to take this time to explain my evil plan.” He then destroys everything in sight. (PG-13) ROBERT HORTON Cinerama, Sundance, Ark Lodge, Majestic Bay, Kirkland, Bainbridge, Admiral, Meridian, Pacific Science Center IMAX, Lincoln, Square, Thornton Place, others CLOUDS OF SILS MARIA Like the clouds that garland the titular valley, Olivier Assayas’ drama of three woman laboring in showbiz has an odd, evanescent quality: Now you see it, now you don’t. Film star Maria (Juliette Binoche) arrives in Zurich to pay tribute to the eminent old playwright who launched her career.

Inconveniently, he kills himself, but a rising stage director then proposes a new adaptation of that signature project. But here’s the catch: Maria originally played the pert young seductress; now she’s being offered the role of the tragic older woman. It’s a dilemma she discusses fitfully with her personal assistant, a very competent yet unformed young woman named Valentine (Kristen Stewart, excellent). Their conversations wind along Alpine roads and hiking trails, continuing through cigarette smoke and too much late-night wine. Running lines for the play, the two drop in and out of those scenes to comment on the material. The line between art and life becomes increasingly blurred (sometimes frustrating the viewer). Youth is represented by the Lohanesque tabloid troublemaker cast as Sigrid: Jo-Ann (Chloë Grace Moretz, arriving steely and late), who fascinates Maria with her volatile TMZ meltdowns. Though Clouds has a few welcome laughs, it’s a film about time and a woman’s passages through time—and how aging forces new roles on women, despite their wishes. (R) B.R.M. Seven Gables 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. 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. Yet Pacino’s chemistry with Cannavale and Annette Bening (as his not-quitebut-getting-closer-to-age-appropriate 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 with and charm everyone he meets.

(R) SEAN AXMAKER Kirkland THE IMITATION GAME A ripping true story can survive even the Oscar-bait effect. Benedict Cumberbatch plays the brilliant English code-breaker Alan Turing as a borderline-autistic personality, a rude brainiac who during World War II fiddles with his big computing machine while his colleagues stand around scratching their heads. Turing’s homosexuality only gradually enters the picture, and even when he proposes marriage to fellow code-breaker Joan Clarke (Keira Knightley), it isn’t treated as a really big deal. Even if the movie sketches simplistic conflicts among its principal characters, the wartime world is so meticulously re-created and the stakes so compelling that it emits plenty of movie-movie sparks. But the real reason to like this movie is that it’s so diligently pro-weirdo.

Especially in Cumberbatch’s truly eccentric hands,

•

EV EN T S

Turing stays defiantly what he is: an oddball who uses rationality to solve problems. (PG-13) R.H. Crest WHAT WE DO IN THE SHADOWS The premise is ’90s-stale: 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 (and the earnest teen soap opera of Twilight), 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 neck-biters 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. Admiral, SIFF Film Center 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. With Charles Grodin, who brings welcome, sour appeal as Josh’s disapproving father-in-law. (NR) B.R.M. SIFF Cinema Uptown, Lynwood (Bainbridge) 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. There’s a nice potential irony to global insurrection being led by the family dog curled up by the hearth, but Mundruczó doesn’t have the tools or the ambitions to push beyond the symbolic Lila/Hagen dyad. (NR) B.R.M. Ark Lodge 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 the unseasoned young attorney Randy Schoenberg (forever judged against his genius forebear Arnold Schoenberg). This odd couple is obviously going to prevail. 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—depriving us of the regular pleasure of her smackdowns upon poor Randy. (PG-13) B.R.M. Guild 45th, Pacific Place, Kirkland Parkplace, others

•

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PR O M O T I ONS

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» Music

MOTOPONY

Later-Kinney

PNW legends Sleater-Kinney dish on their eight-year break and avoiding burnout.

BY DAVE EINMO

R

euniting a band after a decade-long hiatus is dangerous territory. The list of formerly critically acclaimed bands that returned as flaccid versions of their prior greatness is overwhelming. Casino ballrooms along I-5 serve as musical hospices for iconic bands reappearing as listless, graying caricatures of bygone stardom. So when word broke late last year that the hugely influential rock trio Sleater-Kinney had secretly recorded a new album eight years after the band’s final 2006 show, fan excitement was tempered with concern. Would the Olympia DIY greats who helped pioneer the’90s riot-grrrl movement still roar with the intensity that cultivated such a devout following?

Sleater-Kinney’s 2015 answer to that question, No Cities to Love, responds with an emphatic yes.

The feminist fury and power so prevalent on the band’s earlier releases returns big-time on the LP. But this is no recycling of spent ideas. This is not a comeback. No Cities is the continuation of a band that feels just as creatively vital as it did in the mid-’90s, when singer/guitarists Carrie Brownstein and Corin Tucker and drummer Janet Weiss began rehearsing together in an Olympia basement.

Weiss says the individual projects that band members explored after Sleater-Kinney’s last album, 2005’s The Woods, allowed each of them needed time to grow before the triumphant return of No Cities to Love. “Mostly, the projects have informed who we are as people, and allowed us space away from the band and the freedom to walk down some different paths and explore some parts of ourselves,”says Weiss.

“It allowed us to come back to Sleater-Kinney with that feeling of no pressure.”

In their time away, the trio kept plenty busy.

Brownstein created the hit Northwest-cultureskewering sketch-comedy show Portlandia with

Fred Armisen. Tucker ventured into website development and made solo records. Weiss toured and recorded with Stephen Malkmus and the Jicks, Bright Eyes, and Quasi.

Weiss says pressure played a key role in SleaterKinney’s extended break. The band was exhausted after 10 years of constant touring and recording, she says. “The pressure and mundanity of that took its toll on us physically and emotionally. The feeling of freshness and real desire to do this thing again, and missing it and feeling like we went and did a lot of other things, allowed us to come back with an eagerness to reconnect that might not have been there right after The Woods,” says Weiss. “We were pretty wiped out and tired. We needed to explore some different parts of our lives.”

The exploration proved fruitful, as did the timing of their break. Many bands play well past their zenith and damage their legacy by releasing timid albums that fail to meet adoring fans’ expectations. Sleater-Kinney had the foresight to stop in their prime.

“I think it worked to our advantage that we stopped playing at a high point,” says Weiss.

“We didn’t have to rev this thing back up. We didn’t make three records that weren’t very good, where we would have to reinvent after that. The Woods, for us, was a very successful, challenging, enthralling record that we were really proud of.

And to stop on that creative high point really helped us eight years later when we started playing again. Because it wasn’t like we had to resuscitate this dying thing.”

Motivated by a desire to continue the path they

had started, Sleater-Kinney returned to their small practice room in May 2012 to begin writing and rehearsing what eventually became No Cities to Love.

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SEATTLE WEEKLY • MAY 6 — 12, 2015

» FROM PAGE 27

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In a recent PBS interview, Brownstein says she had always assumed that another band would carry the torch and explore the sonic landscape blazed by Sleater-Kinney. “But that never really happened,” says Brownstein.“It felt like something was on pause for a really long time. It wasn’t so much ‘Now we have something to say.’ It was like, this has been laying dormant and it didn’t seem like anyone else was picking it up. So we did.”

The band then entered San Francisco’s Tiny Telephone Studio with their longtime producer John Goodmanson to record the bulk of the album. The recording somehow remained a secret until shortly before its January 2015 release. But the silence changed quickly. In a demonstration of the band’s confidence and their throw-cautionto-the wind attitude, Sleater-Kinney appeared on Late Night With David Letterman in January to perform live for the first time in nearly a decade.

There were no practice shows. No training wheels.

Weiss says the band practiced relentlessly prior to that first show. “We are confident. But we work hard too. It was like I was taking the LSAT exam or something,” she says with a laugh. “We really crammed for it and practiced a lot. I practiced like a crazy person.”

But Weiss says the pressure came from within.

The band never felt they had to live up to any reputation. Instead, Sleater-Kinney approached the recording of No Cities with the attitude they’d committed to their previous albums.

“We had the same internal pressure to write the best record we ever had—not even because of the break, but because that’s how we’ve always done it,” says Weiss. “That’s our lives when the three of us get together. We are very ambitious. It’s very insular. We are not thinking about the legacy or the fans even.

We are just thinking about how to make the best record we possibly can. And in this case it involved a lot of working and reworking of the songs.”

It was a long process of writing and rewriting.

If a song didn’t measure up, the band discarded it and started over. “We were really hard on ourselves and very unsatisfied with the first iterations of the songs,” says Weiss. “And we pushed further and further into more melodies, better melodies, really concise parts and statements and emotions. For me, I wanted this to be undeniably powerful. It took a lot of editing and whittling things down to the core. And I think we accomplished that.”

A series of sold-out shows on the current U.S. tour suggests fans agree. As the band prepares for three shows in Seattle this week, I asked Weiss to reflect on Sleater-Kinney’s influence on the Northwest music scene. She paused for a moment and then laughed.

“I’m not quite ready to kick my feet up in the rocking chair and think of myself in that way. Right now I’m practicing every day and getting ready to go on tour. I feel very much involved and not in that ‘looking-back’ sort of way contemplating the whole picture. Instead I’m very much looking forward, and excited for the next shows and playing the new record and the energy, and that feeling of being back in the band. It feels very vital.” E music@seattleweekly.com

SLEATER-KINNEY With THEESatisfaction. The Showbox, 1426 First Ave, 628-3151, showboxpresents.com. $30. 9 p.m. Thurs., May 7–Sat., May 9.

tractor TIMES

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In its great new album, Seattle ambient/noise/metal duo Noise-A-Tron isn’t afraid to wander.

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Noise-A-Tron

T

aren’t afraid to let you wander around aimlessly in their songs, and they are all the better for it. Case in point: Thirteen-minute album closer “Eight” opens with a great two-minute feedback riff before suddenly plopping you in a woozy, weird, ambient world for a solid seven minutes until any semblance of “song” returns. The listener is left guessing whether the windblown, shimmering landscape they’ve unexpectedly ventured into exists in a haunted sheet-metal factory, a crystal-encrusted cave, or an evil wizard’s mountaintop fortress.

Suddenly, what was once a very simple song becomes a sprawling, enveloping vista.

But when Noise-A-Tron does toss aside its dronier tendencies and go straight for the gut, it’s just as effective.

“Six Point Five” is a lean 1´42˝ of galactic space-bass riffing that lacks nothing for its straightforward structuring. It swoops in, punches you in the face, and then gets the hell out of there.

It’s a shame Noise-A-Tron doesn’t seem to have chiseled away as strong a local foothold as its two-piece doom peers in Bell Witch—they more than deserve it, and the audience for this kind of art is very clearly there. In all honesty, it might be due to the group’s gee-whiz name, which sounds like a dinky plastic children’s toy from the 1950s. Yes, I guess the band does conjure up some pretty cool noises, but a duo summoning epic tempests like this deserves a more fitting name. If Myst were named WalkAround-A-Thon, I doubt it would’ve sat at the top of the bestseller list as long as it did, if at all.

But hey—the Beatles is a pretty dorky name too, and they managed to figure it out. E

ksears@seattleweekly.com

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he classic 1993 adventure game Myst maintained its position as the best-selling PC game of all time for an astounding nine years by immersing the shizz out of the player, placing him or her in a sprawling, interconnected universe with a mysterious island as its central hub. The designers did a hell of a lot with very little—its seemingly massive cosmos was in actuality just a series of static, pre-rendered polygons with some fancy textures layered on top. Despite that, the game’s scale seemed massive.

Seattle ambient/noise/metal group Noise-A-Tron manages the same feat with its appropriately named Vast Arcane (out now on Bleeding Light Records), an album that would make an amazing soundtrack for Myst. With cryptically titled tracks that sound like hints from one of the game’s puzzle challenges (“Six,” “Six Point Five,” “Seven,” “Eight”), the record oozes mystery, intrigue, and dense atmosphere—a pretty neat trick considering there are only two people in the band. Lea Bledsoe (eight-string bass, synth, samples) and husband Jason (drums) pull it off by knowing when to temper their structured, doomy dirges with menacing, eerie soundscapes straight from The X-Files.

Their yin/yang approach to songwriting (sick riff/spooky interlude/sick riff/spooky interlude) is masterfully done—especially given that legions of instrumental post-rock-tinged metal bands out there tend to overcompensate by going the complete opposite route, writing overcomplicated, mathy monstrosities that amount to little but Guitar Hero masturbation. Noise-A-Tron stands out because it embraces the very same negative space those bands seem to fear. The Bledsoes

8PM - $12/$15 Up & Coming 5/11 SQUARE DANCE W/ THE TALLBOYS 5/12 FOUNTAINS 5/14 THE CAVE SINGERS 5/16 ZOE MUTH 5/17 SUMMER MELTDOWN SHOWDOWN 5/20 SISTER GIRLFRIEND 5/21 JEN WOOD 5/22 AARON CRAWFORD 5/23 THE WEATHERSIDE WHISKEY BAND

ROCKIN

29

JOE BONAMASSA

arts&culture» Music

TheWeekAhead

rounded by the audience—breaking down the barrier between fan and creator. Be warned: He’s also been known to instigate dance-offs at his shows—which is no problem because his music tends to inspire that fun, earnest, come-as-you-are quality in you. With Prince Rama, Ben O’Brien. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. Sold out. All ages. DML Do you ever wish The Knife would stop and rap for a while? “No, that sounds yucky!” Au contraire, KATIE KATE seems to have stumbled upon the best method to bridge these styles (synth-pop and hip-hop) and the results are not nearly as awkward as you’re imagining.

In reality, though, her tunes aren’t all just The Knife with rapping; they veer all over the place. Sometimes she’s rapping, sometimes she’s just singing, sometimes she plays guitar, and it’s all awesome anyway you slice it. With Erik Blood and Aeon Fux. Lo-Fi Performance Gallery, 529 Eastlake Ave. E., 254-2824, thelofi.net.

9 p.m. $8. 21 and over. WL

Wednesday, May 6

Paurl Walsh (X-Ray Press, Degenerate Art) and Max Stein (Wild Ones, PWRHAUS) joined forces to create the pretty robot rock that is RAINBOWS. I imagine the local band’s origin story involves Walsh and Stein pillaging Value Village for children’s drum-machine toys to build their kit, coveting ones with dying batteries for that extra added warble. Sprinkle in some humorous song titles (“Gnar Gnar Binks,” “Hungry Hungry Hemoglobin”) and you’ve got magic. With Hautahuah, Noonmoon.

Vermillion, 1508 11th Ave., 709-9797, vermillionseattle. com. 7:30 p.m. Donation. 21 and over. DIANA M. LE

MAY 14, 15 & 16

Saturday, May 9

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The Ongoing Concept, Moments, A Taste Of Daylight, The Bomb Shelter Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

30

SATURDAY MAY 9TH EL CORAZON

MOTHERSHIP

The Dirty Streets, Mother Crone, Powerhitter, Raptor Tractor Doors at 8:00PM / Show at 8:30 21+. $8 ADV / $10 DOS

MONDAY MAY 11TH FUNHOUSE

MAID MYRIAD

with The Fine Constant, Tides Of Malice, Thread The Sky, Plane Without A Pilot Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY MAY 12TH EL CORAZON

MIKE THRASHER PRESENTS:

MIKE THRASHER PRESENTS:

with Korpiklaani, Trollfest, Skelator Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $25 ADV / $28 DOS

with Team, Driver Friendly, Hydra Melody Doors at 6:00PM / Show at 7:00 ALL AGES/BAR W/ID. $15 ADV / $18 DOS

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Sunday, May 10

KELTON SEARS

The Tenfivesixty, A Clockwork Tragedy, Amsterdam, Plus Guests Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

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with Lazer/Wulf, Lesbian, Spacebag, Great Falls Doors at 8:00PM / Show at 8:30 21+. $13 ADV / $15 DOS

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SICK OF SARAH

Rainbows In third grade, my “girlfriend” brought a NEW KIDS ON THE BLOCK doll to school, and I remember becoming very, very jealous of it. I thought I was over it until I reached my teenage goth phase and saw the “You Got It (The Right Stuff)” music video. In the clip, singer Jordan Knight is wearing the sickest, gothiest Bauhaus shirt I’d ever seen. I’m still brooding with envy. Only New Kids on the Block can reawaken third-grade jealousies and make them linger into adulthood. With TLC and Nelly. Tacoma Dome, 2727 E. D St., Tacoma, tacomadome.org. 7 p.m. $55–$160 (children under 2 get in free). All ages. WARREN LANGFORD GAYTHEIST’s music video for “Stomach Pains” is LOLtra funny, maybe the funniest I’ve seen in years (teaser: It involves the band playing inside a man’s gut). These guys pack an unmatched hardcore fury. Co-headliner Baby Gurl employs samples of tweeting birds and adult men crying like infants intermittently betwixt walls of punk cacophony. It’s nothing but fun—maybe not of the “good” or remotely “clean” variety, but fun will be had, dammit. Narwhal, 118 E. Pike St., 325-6492, unicorn seattle.com. 9 p.m. $6. 21 and over. WL

El Corazon E orazon THURSDAY MAY 7TH FUNHOUSE

“Remember when you liked Sonic Youth?” asks MANDATE, the brand-new multimedia experience brought to us by local punk/video artist extraordinaire Clyde Petersen as part of Translations, the Seattle Trans Film Festival. While my interest is piqued by Petersen/the whole concept (this live musical performance is in a movie theater, mind you), invoking Sonic Youth in any era seems a bit dubious. Not for lack of trying, my Sonic Youth heyday was brief to say the least. That aside, I’m still curious—this is bound to be a spectacle. Also, it “contains adult themes and imagery,” so that’s definitely a plus. Northwest Film Forum, 1515 12th Ave., 329-2629, nwfilmforum.org. 9:30 p.m. $15. All ages. WL PLEATHER is a brand-spankin’-new band featuring Claire Nelson, a talented Seattle shredder who lent her bassplucking skills to local DIY punk lords FF, and Andrew McKibben, the long-haired founder of one of this city’s best independent record labels, Couple Skate, as well as of the Northwest lo-fi-worshipping trio M. Women.

This will be the band’s very first show, so you can say you were there when it alllll started at the future Seattle premiere of the harrowing rock-doc Montage of Pleather, out in 2035. With Chastity Belt, Mommy Long Legs. Cairo, 507 E. Mercer St., templeofcairo. com. 8 p.m. $10 (presale tickets only). All ages.

KELTON SEARS

Gaytheist

Friday, May 8 You know that plane of good but generic alt/indie rock where every band sounds like the Killers, Franz Ferdinand, and Coldplay combined? That’s where JUPE JUPE exists. There’s nothing actually wrong with the music, which probably lends it mass appeal.

It also makes for a perfect live show—it’s catchy, it’s conducive to wriggling, and they play their instruments well. With the Gods Themselves, Ssnackss, Reptilian Children. Sunset Tavern, 5433 Ballard Ave. N.W., 7844880, sunsettavern.com. 9 p.m. $8. 21 and over. DML Seeing DAN DEACON perform an electronic show live is a treat. He’s known to perform at ground level, sur-

Childbirth I love a good jokey punk band—especially if that band is CHILDBIRTH and has a serious feminist vagenda. And why can’t talking about menopause be fun? I also have a deep respect for any band who unironically enjoys and projects episodes of Pretty Little Liars behind them onstage. With Mommy Long Legs, the Dee Dees, Listen Lady. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 3 p.m. $5. 21 and over. DML Snape’s alive! Just kidding, he’s dead, but HARRY AND THE POTTERS are alive, and their musical incantations will have you J.K. LOLing and J.K. RAWKing all the way to Gringotts. Myself? I’ve read none of the books and enjoyed all but one of the movies. If you must know, it was Harry Potter and the Time-Traveling Werewolf Man. Listen, any band themed on a children’s book series featuring volumes way longer than any of the adult books I’ve ever read has my utmost support and well-wishes. Dumbledon’t miss this. With Lisa Prank. The Vera Project, Seattle Center, 956-8372, theveraproject.org. 6 p.m. $10. All ages. WL

SEATTLE WEEKLY • MAY 6 — 12, 2015

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Come Over to the Green Side

T

he most recent Pew Research Center poll shows that a majority of Americans nationwide, 53 percent, now support the legalization of cannabis. I’m actually surprised it’s that low, but then again, I’m a marijuana columnist.

But here is the most interesting stat from that poll: Of those surveyed who now support legalization but changed their minds on the issue (40 percent HIGHERGROUND of the 53

BY MICHAEL A. STUSSER percent), the main reason for the shift was self-interest. “The more that people learn about marijuana and look at the benefits of legalization,” noted Tom Angell, Chairman of the Marijuana Policy Project, “the more likely they are to support reform.”

Given this new info—and a desire to bring the 47 percent who remain prohibitionists out of the Dark Ages—I’d like to lay out some new bennies about cannabis.

Less drinking! Fewer hangovers! Weed’s been proven to help people cut back on their drinking. A study in Harm Reduction Journal showed that more and more drinkers are replacing booze, prescription drugs, and other harmful and illegal drugs with pot. Not only is marijuana safer than alcohol, it’s less likely to cause withdrawal problems, not to mention liver failure.

Game of Thrones. Imagine watching it while stoned to the BeJesus!

A catalyst for creativity. Ask Jon Stewart, Maya Angelou, Natalie Portman, Carl Sagan, Dr. Gupta, Rihanna, Bob Marley, Sergey Brin, or President Obama. Ganja has been shown to have positive creative effects— including better test results when individuals are asked to come up with new ideas. On the flip side, short-term memories tend to function worse when high.

Endocannabinoids fight brain aging. You can do the New

York Times crossword, sudoku, or smoke a fatty. It’s a no-brainer.

One word: Nugtella. It’s a delicious hazelnut cannabisinfused Nutella treat!

Verbal fluency. Cannabis can create a cacophony of creative chasms for cogent cognitive communication (man).

32

NA CA S

BRIAN

SEATTLE WEEKLY • MAY 6 — 12, 2015

HIN

S AND E N T E R TAINME N T

odds&ends»

Epileptic seizures are a downer. Almost 90 percent of Americans polled now believe that folks should have access to medical marijuana if a doc says it can help.

Vinyl. The chances of someone dusting off their record player and spinning some of the amazing vinyl records stored away in a crate somewhere increases 947 percent if the individual smokes herb.

We need the “War on Drugs” money. Fill in the blank: I’d rather spend the $41.3 billion per year on _____.

Cannabis is eco-friendly. Not only does the plant grow like a weed, but it’s able to suck up underground toxins (a process called phytore-

mediation), which makes for healthier and better farmland.

Legalization is a conservative cause. Smaller, unobtrusive government, states’ rights, individual liberties, etc.

Paying for prisoners is annoying. Half of the 1.6 million people currently in prison are serving time for drug offenses, at a cost of $25,000 a year apiece. Do the math. (It’s $40 billion.)

More time in sweatpants!

Sick of sucking up to the Saudis? Cannabis is

an alternative fuel source. Both cannabis and the hemp plant crank out what is known as biomass.

Biomass can be turned into all kinds of fuel, including biodiesel and ethanol. Not quite a solar Tesla, but close.

Add it to your smoothie. The cannabis plant is chock-full of disease-fighting, anti-inflammatory antioxidants. So even if you don’t want to get stoned, raw cannabis is a great additive to go with your wheatgrass and Super Blue Green Algae. The cannabis seed is rich in protein, fatty acids, and omega-3. And fiber! Don’t forget about fiber!

Cannabis causes job growth. Who doesn’t want more jobs (and tax revenue)? The marijuana market is filled with them: budtenders, trimmers, new cannabis-app designers, security guards, developers of seed-to-sale tracking software and weed websites, and of course cannabis columnists (thank you!).

Less familial strife. In a study of 635 couples over nine years (culminating in 2014), the journal Psychology of Addictive Behaviors found that couples who smoke weed together have lower rates of domestic violence.

Tax revenue. If we taxed marijuana at the same rate as alcohol and tobacco, it would bring in more than $8.7 billion a year nationwide. Pot can fix the potholes!

Weed makes ya skinny.

Researchers from the Harvard School of Public Health studied 4,600 adults and found that “current marijuana users had significantly smaller waist circumference than participants who had never used marijuana, even after adjusting for factors like age, sex, tobacco and alcohol use, and physical activity levels. They also had higher levels of HDL [i.e., good cholesterol].” A study from the American Journal of Epidemiology also found that peeps who smoke pot are less prone to obesity—even though they did indeed chow more calories from the munchies.

People are getting baked . . . whether it’s legal or not. Finally, for those who haven’t been

stoned since college, weed is fun. Maybe you forgot. Maybe it made you paranoid, or you were concerned the DEA might break down your dorm room door. Forget all that—it’s time to party like it’s 2099! Come on over . . . to the green side! E For more Higher Ground, visit highergroundtv.com.

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Employment Media

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1 7 th o f M a y F e s t i v a l

17

o f 17 Mthaofy May F e s tFestival ival

N or wegtian h C ons titution D ay Fes tival

17th of May Festival

JO I N U S for on e of the LNorwegian AR G E S T C E LE BConstitution R ATI O N S O UT S IDay D E of N O RWAY

th

Join us for one largest 2015 S cofhthe ed u l ecelebrations o f Eveoutside n t s of Norway

17Norwegian of May FestivalDay Constitution

MAY 16TH

DANCE - 8:30 to 11:30pm - $10 at door • Ballard Elks – 6411 Seaview Ave NW. Snacks & No-host bar.

MAY 17TH

Join usNorwegian for th one of the largest celebrations outside Constitution Dayof Norway

17 of May Festival

Bergen Place Musical Entertainment: 10:00 to 4:00pm • Bergen Place Park – 22nd Ave NW & NW Market St. Come watch and join the Singers and Dancers

Lori Ann Reinhall Presents the Following Program: Barneleker – Children’s Events: 10:00 to 2:00pm • Nordic Heritage Museum – 3014 NW 67th St.

Join us16TH for one of the largest celebrations outside of Norway MAY

1:30 Barne Jam 10:00Free Opening/Invocation Professor Grankvist & honorary marshals; museum admission all day! w/ Fjord horses, rides on electric train. Café and Gift Shop open.

Children’s all Norwegian music set w/ traditional instruments Larry Nyland, Superintendent, Schools, representing Children can enjoy free and easySeattle crafts.Public Shuttle between Museum and Central Ballard from 10 am to 3:30 pm.

2:00 Barneleikarringen DANCE - 8:30 to Ave NW. Snacks & No-host bar. the 11:30pm City of Seattle - $10 at door • Ballard Elks – 6411 Seaview MAY 16TH 10:15 Combined Choruses - National Anthem Luncheon: Noon to 2:00pm • Leif Erikson Lodge – 2245 NW 57th St.Children’s traditional dance w/ audience participation 2:30 Sing-along with Lori Join -us for alandet! traditional our Grand Marshals andNW. Honorary Marshals!

Ja, vi elsker dette DANCE - 8:30 to 11:30pm $10 at door Norwegian • BallardLunch Elkswith – 6411 Seaview Ave Snacks & No-host bar.Ann Reinhall Norwegian favorites; Aaron Otheim on piano Musical entertainment!

Luncheon tickets canfrom be purchased at Leif Erikson Hall.

10:30 Norwegian Ladies Chorus Choral music Norway Honored Norwegian Minister of Culture Bergen Place Entertainment: 10:00 4:00pm • Bergen2:50 Place Park – Guest: 22nd Ave NW & NW Market St. 11:00 Musical Norwegian Male Chorus Choral musicto from Norway

Norwegian Constitution Day

MAY Join17TH us for

MAY 17TH

one of the largest celebrations outside of Norway

Kaffestua: Noon to 2:00pm • Leif Erikson Lodge – 2245 NW 57th St. Kim Nesselquist, Thorhild Widvey in attendance Come watch and join the Singers and Dancers MAY 16TH 11:30 Leikarringen Fiddler Bill Boyd Cakewith and Coffee served beautiful •Viking maidens.

Bergen Place Musical Entertainment: 10:00 to by 4:00pm Bergen Place Park3:00 – 22nd Ave Lilla NW &Spelmanslag NW Market St. Seattle Traditional dance w/ Hardanger fiddle DANCE to 11:30pm -Information $10 door • Ballard ElksNorwegian – 6411 Seaview Ave NW. Snacks & No-host bar. available about local organizations.

Come watch- 8:30 and join the Singers andatDancers Children’s all Norwegian set of fiddle music

12:00 Matt Jorgensen Combo ”Ballard jazzes it up” Barneleker – Children’s Events: 10:00 to

2:00pm • Nordic Museum – 3014 NW 67th St. 3:30 Heritage Skandia Kapell

NordicallCafé: 4:00pm Leif Erikson Lodge – 2245 57th 1:00Free Accordionist Karl-Ivar Petersson MAYBarneleker 17TH admission day!2:00 Fjord horses,••rides on electric train.

CaféNW and GiftSt.NW Shop open.

Traditional instrumental –museum Children’s Events: 10:00 to –2:00pm Nordic Heritage Museum –Scandinavian 3014 67th St.music Nordic &4:00pm beverages available for purchase before the parade.

“Sweden salutes Norway”: Music fromfood Swedish/Norwegian border; Place Bergen Place Musical Entertainment: 10:00 to • Bergen Park – 22nd Ave NW & NW Marketfrom St. 10 am to 3:30 pm.

Free Children museum admission day!and Fjord horses, rides on electric train. Café and Gift open.Ballard can enjoyallfree easy crafts.

Shuttle between Museum andShop Central Guest artist Sweden Come watch and join thefrom Singers and Dancers

Children can enjoy free and easy crafts.

Shuttle and Central Ballard from 10 am to 3:30 pm.

17th of May between Parade: Museum 4:00 to 6:00pm

SEATTLE WEEKLY • MAY 6 — 12, 2015

Cometoearly save•your spotHeritage or Lodge better yet... us! NW Luncheon: Noon to 10:00 2:00pm •to Leif Erikson –march 2245 NW 57th St.St. Barneleker – Children’s Events: 2:00pm Nordic Museum –with 3014 67th Luncheon: Noon to 2:00pm • Leif Erikson Lodge – 2245 NW 57th St. Apply online by May 1st Free museum admission all day!

Fjord horses, rides on electric train.

Café and Gift Shop open.

(Ballard Ave and Ione) Join us for a traditional Norwegian Lunch with our Grand Marshals and Honorary Marshals!

Join can us for a traditional Norwegian Lunch with our Grandand Marshalswww.17thofmay.org and Honorary Marshals!

Children enjoy free and easy crafts. Shuttle between Museum Ballard from 10 am to 3:30 pm.

Musical entertainment!

Luncheon tickets can beCentral purchased at Leif Erikson Hall.

Musical entertainment! Luncheon tickets can be purchased at Leif Erikson Hall.

Luncheon: Noon to 2:00pm • Leif Erikson Lodge – 2245 NW 57th St.

36

Join usKaffestua: for a traditional with Erikson our Grand Marshals Honorary toLunch 2:00pm • LeifLodge Erikson Lodge –57th 2245 Kaffestua: Noon Norwegian toNoon 2:00pm • Leif –and 2245 NWMarshals!

St. NW Musical entertainment!

Luncheon tickets can be purchased at Leif Erikson Hall.

Cake and Coffee served by beautiful Viking maidens.

Cake and Coffee served by beautiful Viking maidens.

57th St.

Information available about local Norwegian organizations.

Information local Norwegian organizations.

Kaffestua: Noon to available 2:00pm • about Leif Erikson Lodge – 2245 NW 57th St.

Cake and Coffee served by beautiful Viking maidens.

Nordic Café: 2:00 – Norwegian 4:00pm Leif Erikson Lodge – 2245 NW 57th St. Information available about local Nordic Café: 2:00 –•organizations.

4:00pm • Leif Erikson Lodge – 2245

NW 57th St.

Nordic food & beverages available for purchase before the parade.

Nordic food & beverages available for purchase before the parade.

Nordic Café: 2:00 – 4:00pm • Leif Erikson Lodge – 2245 NW 57th St. Nordic foodof& May beverages available4:00 for purchase before the parade.

17th Parade: to 6:00pm

(Ballard Ave and Ione)

(Ballard Ave and Ione) (Ballard Ave and Ione)

Mayyour Parade: 4:00yet... to 6:00pm Come17th early of to save spot or better march with us!

17th of MayCome Parade: 4:00 6:00pm early to tosave your spot or better yet... march with us!

Apply online by May 1st Come early to save your spot or better yet... march with us!

Apply online Apply online

by May 1st by

May 1st www.17thofmay.org

www.17thofmay.org www.17thofmay.org

Pl e a s e vi s i t w w w.17t ho f m ay.o rg fo r m o re i n fo rm a t i o n! @17thMaySeattle

17thOfMaySeattle