Seattle Weekly, May 20, 2015

MAY 20-26, 2015 I VOLUME 40 I NUMBER 20

SEATTLEWEEKLY.COM I FREE

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FILM ETHAN HAWKE WILL DRONE YOU NOW PAGE 31 MUSIC OC NOTES TAKES ON THE COPS PAGE 34

st, e w h t r o N e h t sic in u m r o o d t u o DE to I U ET, G E E H T S E T L A P E M H O C C E 9 A U N e E g V a P a . , g s t n i c a w o th kn st-see r u o m w e L v i A f V I g T n S i r E ER F featu M M U S e l g n i & every s

So Long, Little Saigon?

In the face of development, Seattle’s Vietnamese contemplate their ’hood’s future.

By Ellis E. Conklin Page 5

Trashing the Library

Why boomers (and others) are dumping their once-precious home collections.

By Roger Downey Page 24

SEATTLE WEEKLY • MAY 20 — 26, 2015

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inside» May 20–26, 2015 VOLUME 40 | NUMBER 20 » SEATTLEWEEKLY.COM

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news&comment 5

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BYGONE SAIGON?

BY ELLIS E. CONKLIN | Controversial changes are coming to a neglected corner of the ID. Plus: Construction vs. pedestrians, and lots of people want to avoid getting TPP’d.

Editor-in-Chief Mark Baumgarten EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears

OUTDOOR MUSIC ’15

Editorial Operations Manager Gavin Borchert

BY SW CRITICS AND CONTRIBUTORS

Staff Writers Ellis E. Conklin, Casey Jaywork

The bands, the venues, the festivals— all you need to know to fill your summer with music.

food&drink

21 CLEAN EATING

BY NICOLE SPRINKLE | A chat with two

pioneering organic-food restaurateurs.

21 | FOOD NEWS/THE WEEKLY DISH 22 | THE BAR CODE

arts&culture

24 THE DEATH OF THE HOME LIBRARY

BY ROGER DOWNEY | Won’t you please save my old books and music from the landfill? Anyone? Anyone . . . ?

24 | THE PICK LIST 26 | OPENING NIGHTS | Again with

Weimar, plus a homefront romance.

27 28 29

| PERFORMANCE/EAR SUPPLY | VISUAL ARTS | BOOKS

30 FILM

WEEK 2 AT SIFF | Richard Gere pees

Iran, crime on the Riviera, and Ethan Hawke deals death from aerial drones.

32 | FILM CALENDAR

34 MUSIC

BY BJÖRN | OCNotes is all about

positivity. Plus: Sax G helps Hush Hush move beyond Night Bus. 36 | THE WEEK AHEAD

Calendar Assistant Diana M. Le Editorial Interns Olivia Anderson, Kate Clark, Warren Langford 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

38 | HIGHER GROUND 39 | CLASSIFIEDS

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news&comment

Fall of Saigon

Trading Barbs Over the Super-Secret Pacific Trade Pact

After decades of neglect, plans are afoot to spruce up an exotic though seedy slice of the International District. A skeptical Vietnamese community fears displacement.

BY ELLIS E. CONKLIN

BY KATE CLARK

L

S JOANNA KRESGE

Tam Nguyen sits at his Tamarind Tree restaurant last week.

On the southern fringe of Little Saigon, at 10th Avenue and South Dearborn Street, the Nickelsville homeless encampment, sanctioned by the city last September with little input from the Vietnamese community, has taken full root. Tents and gray and pink wooden structures have sprouted along that corner across from a freeway entrance.

Merchants, many reluctant to speak on the record, bitterly complain that camp dwellers wander each day into their neighborhood, loitering on poorly lit street corners and panhandling outside their weathered shop fronts, driving away business.

“I’ve had some of them, crackheads, out in front of our store peeing all over the place. It happens all the time now, and nothing is ever done about it,” fumes Lynette Dang, whose husband’s family opened Kim Ngoc Jewelry in 1986.

That was the year Vietnamese merchants created their own commercial center east of Chinatown, earning Little Saigon its nickname. Today it caters to the 12,000 Vietnamese, Cambodians, and Laotians who live in Seattle.

To the immediate west, I-5 seems to seal off Little Saigon from the rest of the Chinatown International District, while up on a hillside to the north, Vulcan Real Estate will soon be underway on a $200 million development that will turn Yesler Terrace’s 30 acres of publicly subsidized housing into a mid-rise apartment building, with construction commencing on two more buildings in 2017 and 2018. When it’s done, there will be a new neighborhood of 5,000 residences and nearly

a million square feet of tech and medical office space. Vulcan’s Ada Healey recently predicted that within a decade, Yesler Terrace “is going to be kind of like South Lake Union.”

On a cool, cloudy morning, Tam Nguyen sips

tea at the ChuMinh Tofu & Vegetarian Deli and motions me to come sit by the window. “I want you to see the tons of people who come to Little Saigon for medical marijuana,” he says. Sure enough, soon a couple of scruffy young men, each toting backpacks, enter the dispensary at a nondescript strip mall across from the Asian Plaza. “This is the kind of thing that has been very disruptive to our community. The city says they are concerned about Little Saigon, but talk is cheap. We were the last to know about the homeless encampment coming in.”

A short, wiry man, Nguyen and his family left his native Vietnam in 1964. He was 16 when he arrived in Little Saigon. Today, Nguyen runs the elegantly appointed Tamarind Tree restaurant, which, he says, has been broken into a number of times over the past couple of years. Well-known and well-regarded in the community, he serves as president of Friends of Little Saigon. The organization is partnering with the city and the Seattle Chinatown International District Preservation and Development Authority (SCIDpda) to devise so-called “place-making” plans in hopes of forging a more attractive locale—better lighting,

ecretary of State John Kerry stopped in Renton Tuesday to promote the Trans-Pacific Partnership (TPP), an 11-country free-trade agreement that if approved would be the largest in U.S. history, with an outsized impact on cities that trade heavily with Asia—for instance, Seattle. The pact is arousing so much controversy that the AP reported there were concerns among local officials that the Shell Oil protesters might turn their ire toward Kerry (a la WTO 1999) when he arrived. Critics say the TPP would give more power to multinational corporations and hurt labor, and are also dismayed that the document’s 27 chapters, written in complete seclusion, have yet to be shared in full with the American public. With Kerry stumping in our fair city—which, as it happened, barely noticed he was here—here’s a quick primer on where people stand on this agreement.

The Obama administration In Oregon earlier this month, President Barack Obama noted that many of the TPP’s critics are from his own party, most notably liberal lion Sen. Elizabeth Warren. In response to these critics, he said simply, “My dearest friends are wrong.” “Typically they’re my friends, coming from my party, and they’re my fellow travelers on minimum wage and on job training and on clean energy.

On every progressive issue, they’re right there with me. And then on this one, they’re, like, whooping on me,” he said. In the lighthearted speech, Obama made sure to call out several Oregonian businesses to illustrate that the TPP does indeed support small businesses, contrary to anti-TPP talking points.

Our senators While not as strongly sup-

portive as Obama, both of our U.S. Senators, Democrats Maria Cantwell and Patty Murray, back the TPP because trade is an integral part of Washington state’s economy, which they say the deal would support. “Approximately one-third of Washington exports already go to countries involved in the ongoing Trans-Pacific Partnership negotiations, which could eventually knock down barriers to many important, growing markets across the globe,” Murray said during a speech at the Washington Council on International Trade (WCIT) Conference in November.

Environmental groups Local environmental

activist groups, like the Sierra Club in Seattle, have been vocal with their concerns over » CONTINUED ON PAGE 6 the TPP. The group claims the agreement would smooth the way for large-scale liquefied natural-gas exports, putting additional pressure on the U.S. to the chatterbox »Going Underground frack in order to satisfy foreign markets; give more rights to the fossil-fuel industry; and place new Last week, Daniel Person positively gushed about a grassroots campaign to build another transit tunnel downtown (“Tunnel Vision,” May 13). But limits on climate and environment regulations. as anyone who works in transpo knows, for every idea there are 100 people who think they have a better one. We heard from a few this past week: The Sierra Club calls the TPP’s failures “broad and Forget an expensive tunnel, Donald F. Padelford wrote us, “The key is to put in place bus-only lanes on major arterials and transit-express lanes.”

“I’ve actually been saying something like this for years. Except it was more using the existing regular Sounder train and tracks, and connecting it up extensive,” pleading for “a new model of trade that near where the current King Street station,” suggested user bpdtweet on our website. Facebook readers suggested that planners focus on less ambi- protects communities and the environment.” E news@seattleweekly.com tious goals. As Ryan Love put it, “This city can’t even be bothered with a traffic light at the insane intersection at 40th & the university bridge so . . . ”

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SEATTLE WEEKLY • MAY 20 — 26, 2015

ittle Saigon is in decline and has been for some time. Fewer than 300 people live here, but then this small, tightly framed district has long centered on commerce, rife with struggling Vietnamese merchants, for the most part, whose economic survival relies almost exclusively on outside traffic.

The merchants today are angry and resentful.

Most of them came to Seattle as child refugees during the height of the Vietnam War or not long after the fall of Saigon on April 30, 1975. They’ve watched their neighborhood go to seed, lacking the financial means or political clout to prevent it, and now are deeply suspicious of recent proposals to give the area a badly needed makeover—an effort driven by the upcoming installation of the First Hill Streetcar that will connect Pioneer Square to Capitol Hill via their strip of Jackson Street.

As one disgruntled expatriate, a business owner, said, stomping out a cigarette in the VietWah Supermarket parking lot, “If the streetcar was not going to be running through here, do you really think anyone would be paying any attention to us?” The question is raised at a time when “transit-oriented development” is all the rage, with its promise of dense, mixed-use projects—expensive two-bedroom condos and upscale apartments high above trendy cafes and spas—connected by high-quality public transportation. But at what cost to the modest-scale entrepreneurs who make Little Saigon tick?

The intersection of 12th Avenue and South Jackson Street comprises Little Saigon’s commercial heart, a colorful, bustling jumble of more than 100 mom-and-pop shops: nail and hair salons, jewelry stores, Vietnamese delis and restaurants, travel agencies, and pocket-sized grocery stores selling dried bean-curd sticks, guilinggao powder, and hulled millet. The walls of many of these businesses are stained with graffiti. Sidewalks are badly cracked, and vacant lots are strewn with garbage and smell of urine and pot smoke. In the past year, four massage parlors have opened in and around this storied intersection, their red neon lights aglow well past midnight. They replaced a travel agency, a couple of small eateries, and a tax service. It is a foreboding place to visit at night, merchants opine.

“As much as I love Little Saigon, I wouldn’t bring my children there. It’s not safe after dark,” observes Vietnamese-born Theresa Reyna, vice president of Friends of Little Saigon, a grassroots organization created in 2011 to promote the neighborhood’s economic development and cultural events.

5

news&comment» Fall of Saigon » FROM PAGE 5

THE SUN WILL COME OUT...

more foliage, decorative crosswalks, and incorporating cultural icons into the signage—as well as creating some multistory and mixed-use developments. (City zoning laws approved in 2007 allow for building heights up to 85 feet, or about eight stories, in Little Saigon.) There is even talk of an Asian Landmark Center that would anchor the southwest corner at 12th and Jackson.

But skeptics abound. The main worry, shared by many frustrated Vietnamese merchants, is that a significant facelift, no matter how authentic and tasteful, will drive up property values, resulting in higher rents that could force them out of Little Saigon.

GUIDE

munity, but then they dump the homeless on us, and in comes the marijuana shops, the massage parlors. Crime is going up, and we [Vietnamese residents] keep migrating south to live.”

Little Saigon has seen numerous incarnations over the last century. The neighborhood’s first residents were Jewish and African American, and its current center at 12th and Jackson was once a magnet for the city’s jazz scene. Russell “Noodles” Smith and Jimmy Woodland opened the famed Entertainers Club at this intersection in 1920. At that time, as Northwest Asian Weekly chronicled in a story from last year, “South Jackson Street also became a social hotspot for Filipino, Chinese, and Japanese residents.” Later, World War II and the defense jobs it created brought thousands of

Merchants say homelessness is driving away business.

JOANNA KRESGE

10

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“The business properties are not owned by the Vietnamese people,” explains Nguyen. “The landlords are mostly Chinese and Taiwanese.

They do not pay attention to these properties and they will raise the rents, and that could lead to displacement.”

Quynh Pham, community economic development coordinator for SCIDpda, agrees that there is a “risk of displacement,” and says that whatever development takes place must take into account Little Saigon’s existing culture and community. “Yes, there is skepticism and a feeling [among Vietnamese business people] that many property owners really don’t care about the district. There is such a disconnect with the Chinatown International District. People think we are all the same [place].”

Nothing is set in stone, and most of the planning is still on the drawing board, says Jamie Lee, program manager for IDEA Space, SCIDpda’s design and resource center. Robert Sculley, a community-development planner for the Seattle Planning Department, stresses that the city “wants to see that the mom-and-pop businesses [in Little Saigon] stay there.”

Nguyen is dubious. “This community has been neglected by the city,” he says. “We have no voice in our own community.” During construction of the streetcar line (expected to begin operation this fall), streets were closed on weekends, Nguyen recalls, and businesses suffered. “They [the city] basically told us, ‘Deal with it.’ People here tell me, ‘Tam, don’t waste your time. They will do what they want to do.’ See, because of our Vietnamese culture and because of the war, we do not trust government.”

He continues, “They keep saying they want to preserve the heritage and traditions of this com-

African Americans to Seattle—many of them moving into the homes and apartments occupied by the Japanese families who were relocated in 1942 to camps under Franklin Roosevelt’s infamous Executive Order 9066.

Taylor Hoang has seen plenty of changes since leaving Vietnam and coming to Little Saigon as a little girl in 1982. Her family has always had a business here, the venerable Huong Binh Restaurant. “Over the last 10 years, there has been constant pressure from the outside pushing in on us,” reflects Hoang, who owns Pho Cyclo Café and Lavender Jade Catering. “Vietnamese people who have moved away still come back [to Little Saigon] and they feel connected. But they come infrequently now. There are so many problems. The neighborhood is being taken over by drugs, the homelessness—and it is driving customers away. This is absolutely crazy. Without help, we are going to lose Little Saigon.”

Hoang, executive director of the Ethnic Community Coalition, says Little Saigon will not survive if the only focus is on new real-estate development. “We need assistance for the business owners to grow and attract new customers,” says Hoang. “The places are run-down. The owners need capital to fix their facades, to buy new equipment and inventory, and for general cleanup. If we are going to preserve the integrity of the neighborhood, we need to keep the momand-pop businesses here.”

Nguyen, though, says it’s difficult to be optimistic. “There has been no real change since I came here in 1980. I think it is getting worse,” he says.

“How long can a community be neglected? We need now to demand that the city help us.” E

econklin@seattleweekly.com

Walking the Line

Walking around construction sites in Seattle still sucks.

But it’s been sucking less lately.

BY DANIEL PERSON

Signs, signs, everywhere a sign.

C

maybe four times,” says Brian dePlace, director of the Street Use Division at Seattle Department of Transportation. “Each individual project was doing a good job, but in total it wasn’t working.

We saw that if we could take a step back, we could start to coordinate the impact.”

DePlace says the city began working “in earnest” in 2013 to figure out how to maintain pedestrian access around heavy construction areas, and started putting policies into place about a year ago. The keystone of that effort is creating so-called “construction hubs,” looking at clusters of construction sites and getting the developers to coordinate sidewalk closures so as to limit the impact.

He says it’s been effective. Pointing back to the issues on Pike/Pine and Fifth, he says, “You don’t have that anymore, even though there are more projects there now.”

“We are shifting to prioritizing pedestrian access,” dePlace concludes.

Quinn, who has worked with the city on this issue, says dePlace has done a commendable job, and that now one of the city’s biggest challenges is getting developers to accept a philosophy of walking access.

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Still, pedestrian advocates right now give Seat-

tle about a B-minus on the issue, with a “Shows improvement” note written in the margin.

“One of the top complaints I hear from residents and visitors getting around downtown is it is difficult to get to where you want to go without crossing the street for construction,” says Troy Heerwagen, who runs the blog Walking in Seattle.“I don’t think the city is able to keep up with the pace of construction . . . I think they’re better than what they were a few years ago, but they have a long ways to go.”

Perhaps the best vote of confidence in the city’s efforts is the sheer volume of pedestrians in South Lake Union. It’s not so bad that people are staying away. As Quinn concludes her tour, she and a reporter stand at the corner of Denny and Fairview amid a bustle of professionals. Those walking down Fairview skirt some orange cones arranged haphazardly on the sidewalk, where the ropes of a dangling window-washer swing wildly at them as they pass.

Looking up and then down the rope, Quinn can only laugh. She lets it pass without comment. E dperson@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

oming upon Republican and Fairview, Lisa Quinn needs a moment.

“Oh, wow. Now this is a problem,” she says. “Give me a second and let me take this all in.”

Before her is a sea of orange construction paraphernalia sprouting from three of the intersection’s four corners. For the time being, this intersection could be considered ground zero for the South Lake Union development boom, a boom that has caused Seattle a considerable amount of heartburn as it contemplates its once-funky soul. But Quinn’s concerns are far more pedestrian. Literally.

“Look, if you live in that building and have to get to the other side of the street, they expect you to backtrack to that crosswalk. That’s just not reality,” she says, pointing at one sidewalk closed on account of construction. Indeed, over time, several pedestrians will be observed wandering into traffic rather than taking the time to navigate the maze of neonorange pylons and lattices erected on their behalf elsewhere. “This just isn’t a pleasant place to be.”

Quinn is executive director of Feet First, a pedestrian advocacy nonprofit based in Pioneer Square. She’s agreed to walk around South Lake Union on a too-hot afternoon to assess how the city is doing for her oft-forgotten constituency as it manages the crane-fueled orgy that is Amazonia-on-Westlake. Feet First doesn’t ask for perfection, but by her group’s reckoning, heavy construction shouldn’t mean that people have to cross the street four times just to walk four blocks, or that people in wheelchairs should simply stay away.

South Lake Union challenges even those modest goals.

It’s not all bad. Quinn applauds some green space by the sidewalk at a Microsoft building on Westlake and compliments some pedestrian “walk-through scaffolding” that until recently was rare in Seattle. But much is still left to be desired.

“Look at that. You have the ‘sidewalk closed’ sign over by the dumpster,” she says, pointing to a construction site on Thomas. “That’s not going to help anyone.” Further down the street, she whips out her iPhone to take a photo of another “sidewalk closed” sign affixed to a street post with rusted craft wire, making a still-open stretch of sidewalk totally inaccessible if you’re in a wheelchair. “This is just lazy,” she clucks. “The reason why the sign is there is not supporting the reason why the sign is there.”

By the city’s own admission, Seattle is just now getting a handle on ensuring construction doesn’t have an unreasonable impact on walkers.

“If you remember in late 2013 and early 2014, in the Pike/Pine corridor or Fifth Avenue downtown, you would have had to cross the street

7

SEATTLE WEEKLY • MAY 20 — 26, 2015

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I e d i u G c i s u M r o t do u O a i d a c s a C e Th

n 1995, Portland professor Alexander Baretich designed The Doug—a green, white, and blue flag meant to represent the bioregion of Cascadia, stretching all the way from British Columbia down to Oregon. And what did he slap on it? A big ol’ tree, of course—because the Pacific Northwest is full of lusty, drool-inducing nature. If you haven’t noticed, the trees here look real good. Why else would the Pacific Northwest attract so many lumberjack types?

Summer is when all this sylvan outdoor goodness really shines. According to the Sperling’s Best Places research site, Seattle and Portland rank #1 and #2 in the nation for the most enjoyable summer, thanks to our long days, low humidity, and comfortable average highs (speaking of which, did I mention the legal weed?).

The Pacific Northwest is also an incredibly biodiverse

region, not only for its flora and fauna but also for its massive ecosystem of pop, folk, rock, hip-hop, and electronic festivals and concert series. They exist in the Cascadian wilderness in a variety of habitats: Washington’s Sasquatch lives in a giant gorge; Oregon’s What The Festival lives deep in the forest; British Columbia’s Pemberton Music Festival lives in the shadow of Mount Currie; There are probably three or four deep-sea, or even subterranean, Northwest music festivals yet to be discovered by explorers.

When it comes to outdoor music in summer, you really can’t go wrong in Cascadia. The choice isn’t which show you should go to, but how many. Throw on your hiking boots, pop a few allergy pills (it’s a pollen clustercuss up here), and get ready to rock out near or atop lots of actual scenic rocks. This is your Cascadian birthright.

KELTON SEARS, MUSIC EDITOR

SEATTLE WEEKLY • MAY 20 — 26, 2015

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ac t s t s e w h t r o N mmer. g u in s m is o h c t d e n e a s o p t u Five you ha ve

1 I Crater

Hometown: Seattle Birth Date: 2014 Best Song: “Crater Head” Favorite Ice-Cream Flavor: Black Sesame (Kessiah) and Molly Moon’s Sasquatch (Ceci) Aqua Socks or Flip-Flops? “Aqua socks, f’sho.” #1 Summer Blockbuster of All Time: Jurassic Park Playing at: Capitol Hill Block Party Kessiah Gordon and Ceci Gomez are two moon goddesses who operate a slinky electronic group by the name of Crater. Soon they will conquer planet Earth with their industrial sampled drum lines and earworm melodies about break-up sex and the internet. Having already drawn praise from Black Constellation producer Erik Blood

2 I Moor Gang

Hometown: Seattle Birth Date: 2012 Best Song: “Asuna 哀傷” by Mackned Favorite Ice-Cream Flavor: “Cherry Garcia or mint chocolate chip” (Gifted Gab) Aqua Socks or Flip-Flops? “Flip-flops with socks.”

(Gifted Gab) #1 Summer Blockbuster of All Time: Happy Gilmore (Gifted Gab) Playing at: Northwest Folklife Festival To say Moor Gang will “break out” this summer is a little inaccurate—members of the Seattle hip-hop collective have already hit it big. Nacho Picasso has garnered national attention with his lurid rhymes and dark, Tim Burton-esque universe. Jarv Dee’s toke-happy lyrics, delivered in his

KATE POWER

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5 I Manatee Commune

Hometown: Bellingham Birth Date: 2013 Best Song: “White Smoke” Favorite Ice-Cream Flavor: Maple walnut Aqua Socks or Flip-Flops? “Aqua socks—I love the idea of having them on for an entire summer. I’d wear them all day just to see if anyone cared. Wear them in the grocery store, off at the club, strut them around a five-star restaurant.” #1 Summer Blockbuster of All Time: “Top Gun, undoubtedly. Best soundtrack ever.”

Playing at: Sasquatch, George, Wash.; What the Festival, Dufur, Ore.; Camp RAHH!, Samish Island, Wash.

To say Manatee Commune is great for outdoor listening is to taunt the gods of the obvious. The project’s sole member, Grant Eadie, after all, makes music using the outdoors as his key instrument, going so far as to claim that he is “one with the spruce.” Taking a distinctly Cascadian approach to chillwave, Eadie prominently samples birds, river streams, wind, and a forest of other natural elements, layering them on dance beats, flittering synth lines, live violin, guitar, and drums, all played by him. Watching the man perform, jumping from instrument to instrument, is like witnessing a druid feverishly concoct potions in a woodland laboratory. People are noticing, too; Eadie was a finalist in NPR’s Tiny Desk Contest (even though he didn’t win, he’s become an NPR darling), and was just invited to play at Bonnaroo in addition to three

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WHITE POPPY

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trademark nasal wheeze, have amped up countless festivals by now. Gifted Gab’s Latifah-like flow rightly has many calling her the “Queen of Seattle Hip-Hop.” But Moor Gang is a gift that keeps on giving, continuing to morph and evolve as new members are invited into the now-11-deep crew and sub-movements within the group start to blossom. Key Nyata and Mackned’s self-proclaimed “thraxxhouse” throws hip-hop for a gothic witchhouse loop, taking the music from the streets to the cemetery. SneakGuapo and Cam the Mac, two new young members of the Gang, boldly rep West Seattle with their hazy, bass-happy boom-bap. This year’s Folklife will provide a rare opportunity to see the Moor Gang super-squad fully assembled, WuTang style. Knowing how strong these artists’ powers are individually, this show should be a damned riot, asserting the crew’s position as Cascadia’s most promising hip-hop heroes of tomorrow.

4 I The Librarian

Hometown: Squamish, B.C. Birth Date: 2005 Best Song: “Horizon” Favorite Ice-Cream Flavor: Chocolate-chip cookie dough Aqua Socks or Flip-Flops? Flip-flops #1 Summer Blockbuster of All Time: “White Christmas, of course!”

Playing at: What the Festival, Dufur, Ore.; Bass Coast, Merritt, B.C. Andrea Graham has been making a name in the Pacific Northwest’s EDM scene for a decade now.

But it’s about time everybody caught on to what the DJ/producer is up to. The bass music she creates as The Librarian eschews easy dubstep drops for sophisticated rhythms that hit you just as hard in the head as in the gut. In 2013 she joined the

AUSTIN MARTIN

and The Huffington Post, which declared Crater “the next band you need to know,” the duo continues to make a big impression, so to speak, with its smattering of smart Soundcloud singles that mix trip-hop rhythms, moody guitar, electronic noise collage, and a distinct pop sensibility.

It’s nice for once to hear a band that isn’t throwing back to anything, but forging a sonic path forward that’s completely its own. In fact, the band is so futuristic, it once wrapped the entire interior of Seattle boutique/DIY venue Cairo in aluminum foil for a show. Forward-looking fans of big nod-your-head beats, sing-alongs, and, uh, aluminum foil: Crater is going to make you very, very happy this summer. Perhaps the two will wrap all of Capitol Hill in shiny reflective metal when they play at Block Party—the resulting cellular signal interference might finally get you to put your damn phone down.

Northwest fests this summer. Manatee Commune is poised for a very quick ascent up the Northwestern dance/EDM trail that his Bellingham superstar peers in ODESZA have been blazing all around the world the past two years. If you don’t believe me, check out his 2014 LP Brush and try not to vibe on all the verdant electronic overgrowth. E

ksears@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

LEA GODOY

ALESSANDRA GORDON

1

Hometown: Vancouver, B.C. Birth Date: 2012 Best Song: “Wish and Wonder” Favorite Ice-Cream Flavor: Cookies and cream Aqua Socks or Flip-Flops? “Flip-flops out of the water, but aqua-socks when fording rivers.” #1 Summer Blockbuster of All Time: “Everytime I get asked about movies I’m a deer in the headlights– I just can’t answer movie questions.”

Playing at: Levitation Fest, Vancouver, B.C. If you like your music to sound like it was recorded to a cassette tape and left out to bake in the sun for a decade or two, Crystal Dorval’s lo-fi ambient psych-pop outfit White Poppy is for you. The music created by the Canadian multiinstrumentalist, producer, and visual artist crackles and glows with a static drenched hum, buoyed by trancy vocals that sound like Enya floating through outer space (but not in a terrifying, Sandra Bullock-in-Gravity kind of way). White Poppy started making waves in 2013 with a self-titled LP that was hyped by Spin and Nylon and landed her an opportunity to tour Europe. Dorval’s follow-up full-length, Natural Phenomenon, due out this June on Not Not Fun, sounds even hazier and more blissed-out than her last, which makes sense given that it was recorded on a farm. Vancouver’s Levitation Fest—the very first Northern iteration of Austin, Texas’ ever-popular psych fest—is the perfect place to catch Dorval for the first time. White Poppy is the kind of summer music fit for blowing bubbles, watching butterflies flit by, and, appropriately enough, attempting to levitate.

West Coast Lighta! Sound crew, full of “deep bass pioneers”—a spot she’s more than earned after touring the dance-festival circuit on big tickets like Shambhala, Burning Man, and Symbiosis Gathering, even making it as far as Costa Rica. As a curator/co-founder of the Bass Coast festival, Graham has been a fundamental pillar of a Northwest dance scene that seems ready to explode any minute now as Cascadia’s all-natural-minded, granola citizens finally start to warm to electronic music and, well, dancing. You timid Northwesterners: Put on any of The Librarian’s excellent hour-plus bass mixes and you’ll be gyrating in no time.

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SEATTLE WEEKLY • MAY 20 — 26, 2015

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utdoor music-festival venues are huge, so getting lost is pretty easy. Sometimes it’s hard to find a place to eat that isn’t hawking price-gouged, slime-covered $16 teriyaki bowls. Sometimes it’s even hard figuring out how to get to the damned festival in the first place. But we here at Seattle Weekly, through our collective years of festival-going/hardcore raving, have put together a handy guide to navigate these venues. And to heighten your concert experience, we consulted Stevie Cheung, budtender at Uncle Ike’s Pot Shop (and, as Tele Fresco, DJ for JusMoni and Porter Ray of acclaimed Seattle hip-hop collective Black Constellation), to recommend a pot strain that might pair nicely with each venue’s distinct vibes.

Chateau St. Michelle Woodinville, Wash.

Gorge Amphitheatre

The Gorge is one of the most beautiful music venues in the country, a 27,500-capacity jewel right by the Columbia River, perched atop a breathtaking canyon. In 2013, a 20-year-old at the Paradiso EDM festival, likely high on molly, wandered eight miles into that canyon and wasn’t found until days after the festival. Don’t do that.

Here are some other Gorge tips.

What happens there: Sasquatch! (May 22–25), Paradiso Festival (June 26–27), Watershed Festival (July 31–Aug. 2), Dave Matthews Band (Sept. 4–6).

Where to eat: Since you’re about to be watching bands in a beautiful, dusty gorge under, most likely, a very hot sun, you might as well keep your chow rustic too. At nearby Grainery (101 E St. S.E., Quincy), a coffeeshop/restaurant, you can get caffeinated and well-fed with “On the Run Buns”: a pretzel casing filled with meat, cheese, and herbed potato (!). There are also meat pies baked

Seattle Center

Chateau Ste. Michelle

inside croissant crusts, deli sandwiches, big-ass salads, and homemade desserts like lemon bars.

What to bring: You are on top of a giant canyon with no trees to provide shade, so sunscreen is crucial, unless you want to look like a twicebaked naked mole rat by the end of the weekend.

What not to wear: Your sandals may look totally cute, but the Gorge is full of dust and densely packed drunk people who love to stomp around wearing thigh-high leather fetish boots— or, in the case of Watershed Festival, cowboy boots. Unless you want your feet to get totally dirty and crushed into bits, keep it closed-toe.

Better yet, wear combat boots. Also, please don’t wear Native American headdresses, you idiot.

How to get there: The Gorge is in central Washington, about two and a half hours from Seattle. If you don’t have a car, your best bet is finding a carpool situation, which are bountiful near festival season. If you are brave, check Craigslist. If you aren’t as brave, check out sites like ridepost.com or ridebuzz.org.

Stevie’s recommended weed strain: “The Gorge is usually a large-scale, all-day thing. For something like that I’d recommend Alice in Wonderland. Mostly sativa, this strain provides a euphoric, sensory cerebral experience. Great for outdoor activities.”

Marymoor Park Redmond, Wash.

One of King County’s oldest and biggest parks, Marymoor sits on the edge of Lake Sammamish, and is the kind of place dogs probably dream about at night. It’s all big fields and wide-open spaces. Marymoor’s concert series invites well-known acts to the park’s stage area, which is also great for picnicking.

What happens there: 107.7 The End Summer Camp (Aug. 15); Marymoor Park Concert Series, featuring Willie Nelson ( June 27), The Decemberists ( July 16), Third Eye Blind and Dashboard Confessional ( July 22), Alabama Shakes (Aug. 8), and Wilco (Aug. 11); and more.

Where to eat: You probably don’t want to deal with an authentic, drawn-out Indian meal, which is the most obvious thing to do when in Redmond. So I’d recommend a picnic lunch in this big, beautiful open space—but supplemented with a smoothie or salad from Jujubeet (10602 N.E. Ninth Pl., Bellevue), or one of their decadent sweets, like a $5 chocolate pot.

What to bring: Marymoor shows take place on a big stage in the middle of a giant field, so bringing a blanket to lie on, or some outdoor folding chairs with those neat built-in drink holders, is going to be crucial if you want your butt to be happy.

What not to wear: A tank top and nothing else. Let your mother’s stern “Wear a jacket” warnings echo through your mind before you head out to Marymoor, or you are going to get really chilly by the time the headliner comes on.

How to get there: If you don’t have a car, go to soundtransit.org, and in the Trip Planner type “Leary Way at SR520, Redmond” as your end destination—it’s the closest stop to the park, putting you within a mile walking distance. Coming from Seattle, you’ll probably take the 545 from Downtown or the 542 from the U District.

Stevie’s recommended weed strain: “I highly recommend Trinity by Trail Blazin. It’s energetic, light, and happy without any edge.”

McMenamin’s Edgefield Troutdale, Ore.

Located on an adorable 78-acre historic farm, McMenamin’s Edgefield is as quaint as they come. The buildings are all turn-of-the-century and surrounded by organic gardens. Even though it’s 20 minutes outside of Portland, it’s about as Portlandy as you can get.

What happens there: Ingrid Michaelson ( June 16), Willie Nelson ( June 26), Death Cab for Cutie ( July 8), the Decemberists ( July 10–11), Morrissey ( July 23), Pink Martini (Aug. 28–29), Ben Harper (Sept. 5), and more.

Seattle, Wash.

Even though the Space Needle lives here, Seattle’s iconic wayfinder, I still get lost wandering around Seattle Center. It always feels like I’m walking in a giant circle, mostly because the Seattle Center is a giant circle. But fear not—there are handy map kiosks throughout, which you should reference as often as you can, lest you end up at the McDonald’s across the street under the monorail.

What happens there: Northwest Folklife Festival (May 22–25), KEXP Concerts at the Mural (Fridays in August), Bumbershoot (Sept. 5–7).

Where to eat: Just a few blocks away on First Avenue is Chutney’s (519 First Ave. N.), one of my favorite Indian restaurants in Seattle, with lots of vegetarian and vegan options if that’s your thing. Pakoras filled with paneer cheese or flaky fried vegetable samosas will set you back only $6 and $5, respectively. Or make a meal of any of their hearty Indian breads ($5), like a naan stuffed with potato and peas or a kulcha filled with onions and cilantro.

What to bring: If you are a tourist, some extra cash, because Seattle Center is full of goofy Seattle-centric trinkets and keepsakes, if that’s your thing. Tons of vendors descend on the Center at festival time too, selling all sorts of great/awful things like vegan hacky sacks, blacklight posters of Kurt Cobain, and belt buckles with salmon soaring over the Space Needle.

What not to wear: Again, this is a super-touristy area, so maybe don’t wear your Space Needle shirt, since the Space Needle is right behind you.

Also, maybe don’t wear a New England Patriots shirt unless you want to get heckled.

How to get there: The #3 and #4 bus lines will take you right to Seattle Center from the main metro hub downtown—just make sure to bring $2.50 for fare.

Stevie’s recommended weed strain: “At Seattle Center, I would probably want something lucid, uplifting, and blissful like Golden Pineapple by Phat Panda. It’s a powerful sativa-dominant hybrid.”

Tom McCall Waterfront Park Portland, Ore.

Full of gorgeous cherry blossoms and with a picturesque perch on the Willamette River, Portland’s Tom McCall Waterfront Park is a dreamy destination for outdoor concerts, but also a great

SEATTLE WEEKLY • MAY 20 — 26, 2015

George, Wash.

ould you wear? h s t a h W ? re e overed. th c t e u o y t o g e ’v e W Ho w do y ou g ? oke W hat should you sm le Sprinkle d Nico

By Kelton Sears an

CHATEAU STE. MICHELLE WINERY

Easily the classiest/ritziest place on this list, this upscale winery has hosted some crazy-bigname talent like Stevie Wonder; Earth, Wind & Fire; and Crosby, Stills & Nash. If you want the summer outdoor music experience but don’t want a bunch of kids tweaked out on molly rubbing up on you, this is probably your best bet.

What happens there: Chateau St. Michelle Festival of Jazz (July 25); Wine Country Blues Fest (July 26); Chateau St. Michelle Summer Concert Series, featuring Sheryl Crow (July 8), John Fogerty (July 24), Jackson Browne (Aug. 1–2), Steve Miller Band (Aug. 7–8), Michael Franti & Spearhead (Aug. 22), Randy Newman (Aug. 29), and more.

Where to eat: You’re in wine country, which means you’re surrounded by a lot of pricey restaurants like the Herbfarm, Purple Café, and The Barking Frog. But, hallelujah, Woodinville hasn’t become another Napa yet, which means that you can still find a greasy spoon—like Ezell’s Famous Chicken (17323 140th Ave. N.E., Woodinville), the Southern fast-food chain where you can get your fried chicken original or spicy and served with baked beans, mashed potatoes, or cole slaw. Don’t forget a piece of sweet potato pie or peach cobbler.

What to bring: Chateau St. Michelle’s shows are held on a large lawn, so blankets and chairs are a very good idea.

What not to wear: An Odd Future T-shirt and ripped jeans. Chateau St. Michelle is a classy, grownup kind of place—dress like you are a grown-up.

How to get there: The Chateau is 20 miles North of Seattle. By bus, hop the 522 then transfer to the 236 in Woodinville, where you’ll have about a 20-minute walk to the venue.

Stevie’s recommended weed strain: “I recommend Purple SoCal Master Kush by Phat Panda.

This indica-dominant strain offers a euphoric body high with a light, happy cerebral buzz. Great for sitting and enjoying music in a more-still setting.”

Where to eat: If you’re passing through Portland, snag a meal near the train station when you get in. Hot Lips Pizza (various locations) offers daily specials and lets you build your own, choosing from an array of sauces, cheeses, meats, veggies, nuts, and fruits (like local pears and local mushrooms). They also have microbrews, housemade sodas, and ice-cream sandwiches. As quaint as it gets for a pizza joint, it’s a perfect choice for this precious venue that won’t make you go broke.

What to bring: This is another lawn-concertstyle venue, so blankets and chairs are key. But if you forget, you can rent chairs from the venue for $5 (with a $20 deposit).

What not to wear: Your Pavement T-shirt.

Chances are relatively high that you will be waiting in line for a porta-pottie next to notable Portlander Stephen Malkmus, and that would be awkward.

How to get there: Catch the Amtrak (while you still can!). Then from downtown Portland, take the MAX light rail east to the 82nd Avenue Transit Station, then transfer to Tri-Met Bus #77 to Edgefield’s main entrance.

Stevie’s recommended weed strain: “I recommend Dutch-47 by Trail Blazin. It’s stimulating and creative with a great piney-citrus taste.”

» CONTINUED ON PAGE 15 13

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Vital Art Lives Here NATE WATTERS

Know Your Venue » FROM PAGE 13 place for any occasion, really—romantic walks, picnics, biking, running; presidential speeches have even been given there.

What happens there: Countryfest (May 31), Great White and Slaughter ( June 5), Waterfront Blues Festival ( July 2–5), MusicfestNW (Aug. 21–23).

Where to eat: Southwest Portland is truly your oyster when you’re catching a show at this gorgeous park. But let’s keep it real and stick to our budget. Farm House Café (101 S.W. Main St., #125)slow-roasts their own meats for sandwiches (in the $8 realm), including a pulled pork, a roasted honey Dijon, a French dip, and a tuna melt. They also make soups from scratch. Don’t be put off by the big corporate building it resides in.

This little deli is popular with the locals.

What to bring: Your bicycle. It’s Portland, after all. But really—traveling through the expansive Waterfront Park on two wheels is ideal, otherwise you might get tired of hoofing it by the time your favorite band starts playing.

What not to wear: Your Sounders gear. Keep it classy, Seattle.

How to get there: Not only do the Blue, Green, Red, and Yellow MAX Light Rail lines go straight to the park, but so do multiple TriMet bus lines and the Portland streetcar. It’s hard not to end up at Waterfront Park.

Stevie’s recommended weed strain: “I recommend Gorilla Glue by Phat Panda. It’s a super-strong 60/40 sativa-dominant hybrid that provides a lucid, fun, and giggly high.”

White River Amphitheatre Auburn, Wash.

Woodland Park Zoo Seattle, Wash.

Yes, there are concerts at zoos up here in the Northwest. ZooTunes, a popular series hosted by Seattle’s Woodland Park Zoo, invites acts to play in the zoo’s North Meadow. No, unfortunately, the giraffes and penguins don’t get to join you on the lawn for the show.

What happens there: ZooTunes, featuring the B-52s (June 28), Indigo Girls (July 12), Mavis Staples and Patty Griffin (July 26), Emmylou Harris (July 29), Trampled by Turtles (Aug. 16), and more.

Where to eat: As close as you can get to the zoo without smelling the animals’ cages, The Phinney Market Pub & Eatery (5918 Phinney Ave. N.) manages to be low-key and neighborhoody, yet still kind of gourmet. Sandwiches run in the $15 range, and with spring here they’ve added a cold Vietnamese banh mi: that irresistible combination of tangy beef, pickled carrot, cucumber, and cilantro finished with a spicy sriracha aioli. Or you could go for a gut-buster like the $9 green chili-cheese fries.

What to bring: If you actually want to see the animals in addition to the concert, you’ll need to bring money to pay for a separate ticket, as they aren’t included in the ZooTunes ticket price.

What not to wear: Unless there is a torrential downpour, Woodland Park Zoo doesn’t allow umbrellas at its ZooTunes shows.

How to get there: The #5 bus line will take you right to the Zoo’s west entrance at 5500 Phinney Avenue.

Stevie’s recommended weed strain: “I recommend the Chocolope by Avitas. This full sativa provides a super-fun dreamy, cerebral effect.” E

music@seattleweekly.com

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It’s appropriate that the White River Amphitheatre is located near Enumclaw, a town whose native Salish name translates to “thundering noise.” There are going to be lots and lots of thundering noises there, as it is a favorite tour destination for loud ’80s metal bands like Van Halen, AC/DC. and Def Leppard.

What happens there: KUBE 93 Summer Jam ( June 20), Mayhem Festival ( June 30), Van Halen ( July 5), Fall Out Boy and Wiz Khalifa (Aug. 2), Vans Warped Tour (Aug. 8), Pain in the Grass (Aug. 23), Tim McGraw (Sept. 4), and more.

Where to eat: In case you missed one recent edition of Sunset magazine (of course you did), then you don’t know that the tiny cow town of Enumclaw has gotten a bit more sophisticated.

What that means is that you can fill up on all sorts of fresh fruits, veggies, pickles, breads, and jam at Tracy’s Roadside Produce (23110 S.E. 436th St., Enumclaw). Or, if you’d rather go for something heartier, make a pit stop at The Pie Goddess (1100

Griffin Ave., Enumclaw), with more than 50 varieties of pie, including a savory shepherd’s pie.

What to bring: Little-known fact: White River Amphitheater is basically a holy pilgrimage site for allergens. Your histamines are going to go cuckoo-crazy if you pick an especially windy day to attend a concert here and have seasonal allergies, so make sure to bring your allergy medication and lots of those lotiony tissues.

What not to wear: While there is uncovered lawn seating, much of White River Amphitheatre’s seating is under cover, so really you can wear whatever you want and not worry about getting wet or cold.

How to get there: The White River Amphitheatre is about 45 minutes south of Seattle on I-5. Forget busing there from Seattle, though; it’d take you five hours. You’ll definitely need to find a car unless you love spending extended periods of time on public transportation.

Stevie’s recommended weed strain: “I recommend Cinex by Avitas. A sativa-dominant hybrid that offers a clear-headed and uplifting attitude with a positive mindset.”

SEATTLE THEATRE GROuP 2015 I 2016 SEASON

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The YWCA of Seattle|King|Snohomish seeks a Temporary Rapid Re-Housing Case Manager 40 hrs/wk TheFT, YWCA’s Housing Services$16.28/hr. supports the efforts to ensure that homeless families with multiple barriers to self-sufficiency have their basic needs met. The goal of this program is to help families overcome barriers and secure more stable housing through the provision of temporary hotel/ motel vouchers and case management services.

The Case Manager screens clients for strengths and barriers, assesses their need for services and assists them in reaching their personal and housing goals. This position runs through December 31, 2015.

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Rate $16.35/hr.

SEATTLE WEEKLY • MAY 20 — 26, 2015

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By Olivia Ande

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AFTERPARTY WITH DJ MARCO COLLINS

May 22–25 NORTHWEST FOLKLIFE

Sasquatch!

Sleater-Kinney, Lana Del Rey, Ryan Adams, St. Vincent

FESTIVAL For 44 years, this gather-

22–25 SASQUATCH! Started in

2002, this pop-oriented destination festivals hosts some of the world’s hottest acts in a breathtaking setting, filling the Gorge Amphitheatre with pop, hip-hop, EDM, comedy, and lots of people in costumes.

George, Wash.

Four-day pass, $350 (camping not included) sasquatchfestival.com Notable acts: Kendrick Lamar, Robert Plant, Modest Mouse,

29–30 VOLUME MUSIC FESTIVAL Doggedly regional,

this event—hosted by local weekly newspaper The Inlander—features up-and-comers from throughout the Northwest in clubs (and one outdoor stage) around the city. Spokane Weekend pass, $20 volume.inlander.com Notable acts: Kithkin, Shaprece, Smoke M2D6, Fauna Shade

June 5–7 CAMP RAHH! This “sum-

mer camp for grown-ups” makes its registrants turn in their phones and focus on an immersive experience that includes arts and crafts, yoga, and hiking, with a bit of music.

Sammish Island, Wash. $395, all-inclusive camprahh.com Notable acts: Zach Fleury, Suzy Sun, Manatee Commune 5–7 ELKFEST Continuing to fill

the streets of the historic Browne’s Addition neighborhood with music for

5–7 LEVITATION VANCOUVER

With a delicious blend of psychedelic, electronic, and metal acts, this jam-packed offshoot of Austin’s Psych Fest bends ears and musical boundaries. Vancouver, B.C. Weekend pass, $153 levitation-vancouver.com Notable acts: The Black Angels, Black Lips, Black Mountain, Dead Moon, Tacocat, La Luz, White Poppy 19–22 WHAT THE FESTIVAL Held on the 250-acre Wolf Run Ranch in Mt. Hood National Forest, this largescale beach party features three stages, a wading pool, an illuminated forest, and lots of electronic music.

NBC calls it “the millennial generation’s Woodstock.” But if you’re taking your tips from NBC news, this isn’t the place for you. Dufur, Ore.

JULY 10-12

SUMMIT AT SNOQUALMIE

CHINOOKFEST.COM GREAT MUSIC MEETS THE GREAT OUTDOORS

SEATTLE WEEKLY • MAY 20 — 26, 2015

ing has celebrated the music and art made by people who make the Northwest home, drawing an estimated 250,000 revelers to Seattle Center each Memorial Day weekend.

Fittingly, it remains free for anyone to attend. Seattle Free, nwfolklife.org Notable acts: Moor Gang, Clinton Fearon and Boogie Down Band, Passenger String Quartet, Eleni Mandell, Mindi Lind, Tomo Nakayama, Cahalen Morrison, Mikey Mike the Rad Scientist

more than a decade, this grassroots weekend of performances spurns sponsorship and puts truly indie acts front and center. Spokane Free wedonthaveone.com/the–elk/elkfest/ Notable acts: The Grizzled Mighty, Ayron Jones and the Way, Lyrics Born

17

CONNIE ARAMAKI (COCO FOTO)

Capitol Hil Block Partyl

The Festive All » FROM PAGE 17 Weekend pass, $250–$350 (parking and camping not included) whatthefestival.com Notable acts: Odesza, Machinesdrum, Keys N Krates, TOKiMONSTA 19–20 SOLSTICE MUSIC FESTIVAL The Fremont Solstice

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SEATTLE WEEKLY • MAY 20 — 26, 2015

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Registration: 7:30 - 10:00 a.m.

40 Mile Start: 8:30 a.m.

13 Mile Start: 10:30 a.m.

Family Fun Picnic Start: 11:30 a.m.

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Fair’s parade, and its nude cyclists, gets the most attention, but the music has become just as titillating an experience on its own—OK, almost as titillating. Seattle Two-day pass, $45 fremontfair.org Notable acts: Presidents of the United States of America, Deltron 3030 19–28 VICTORIA INTERNATIONAL JAZZ FEST

Jazz, blues, and world-beat music flood the town’s historic streets, as well as 35,000 attendees.

Victoria, B.C. Prices vary, jazzvictoria.ca Notable acts: The Bad Plus plus Joshua Redman, Lisa Fischer and Grand Baton, Pink Martini, Eliane Elias 26–27 PARADISO FESTIVAL The

largest annual EDM gathering in the Pacific Northwest regularly attracts some of the genre’s premiere DJs. George, Wash.

Two-day pass, $185 (camping not included) paradisofestival.com Notable acts: Skrillex, Armin Van Buuren, Knife Party and Alesso

July 2–5 WATERFRONT BLUES FESTIVAL The largest blues festival west of the Mississippi, this annual event benefits the Oregon Food Bank.

Portland Prices vary, waterfrontbluesfest.com Notable acts: Buddy Guy, Gregg Allman, Galactic, Macy Gray, Allen Toussaint

10–13 BASS COAST Now in its

11–12 BALLARD SEAFOOD FEST

seventh year, this relatively intimate gathering hosts emerging electronic artists on four stages two and a half hours east of Vancouver. Revelers can dance (of course), explore installations, do yoga, or play in the Coldwater River. Merritt, B.C. Weekend pass, $280 basscoast.ca Notable acts: Zebra Katz, Mat the Alien, Om Unit, Woodhead

The name might not bring to mind music, but this four-decade-strong event is a culmination of all things Ballard, which of course includes lots of songs . . . to go with your salmon.

Seattle Free, seafoodfest.org Festival lineup TBA

10–12 CHINOOK FEST SUMMIT

An offshoot of the Naches, Wash., Chinook Fest (which has now been rebranded Chinook Fest Central and is scheduled for Sept. 11–13), this newcomer promises a lineup built around high-quality regional roots and pop acts. Snoqualmie, Wash.

Weekend pass, $120 (camping not included) chinookfest.com Notable acts: Allen Stone, Barcelona, Austin Jenckes, Vicci Martinez 10–12 VANCOUVER ISLAND MUSICFEST Roots and world music are the focus here, with six stages on the banks of the Tsolum River in the Comox Valley as well as workshops and crafting opportunities.

Courtenay, B.C. Weekend passes, $99-169 (camping not included) islandmusicfest.com Notable acts: Lyle Lovett and His Large Band, Buddy Guy, Graham Nash, Leftover Salmon 10–12 WEST SEATTLE SUMMER FEST Now in its 33rd year, this com-

munity celebration’s musical offerings have become more and more impressive, with some of the region’s most powerful club acts. This year’s lineup—partially booked by KEXP DJ Troy Nelson—is no exception.

Seattle Free, wsjunction.org/summerfest Notable acts: The Thermals, The Cave Singers, Vox Mod, S, La Luz

16-19 PEMBERTON MUSIC FESTIVAL Last year New Orleans-

based Huka Entertainment revived this long-dormant four-day event set at the foot of Mount Currie in the pastoral Pemberton Valley, 25 minutes from Whistler, with a lineup that put it in league with other big-time destination festivals. It was a rough restart, hampered by organizational miscues and a death, but organizers promise a better experience this year.

Pemberton, B.C. Weekend pass, $299 (camping and shuttle not included) pembertonmucisfestival.com Notable acts: Kendrick Lamar, The Black Keys, Missy Elliott, Tiesto, The String Cheese Incident 16–18 TIMBER! OUTDOOR MUSIC FESTIVAL This earth- and

ear-friendly gathering features impressive acts from a wide variety of genres in an intimate setting with lots of foliage and canopy. A great alternative to fans unable to secure Doe Bay Fest tickets (see below).

Carnation, Wash.

Weekend pass, $65 (camping not included) timbermusicfest.com Notable acts: The Dead Milkmen, La Luz, Beat Connection, David Bazan, Jon & Josiah (of The Head and the Heart) 17–19 DARRINGTON BLUEGRASS FESTIVAL The longest-running bluegrass event of its kind in the Northwest, this 38-yearold fest has stayed true to its roots and is so esteemed that they named a park after it. Darrington, Wash.

Three-day pass, $45 (camping not included) darringtonbluegrass.com Notable Acts: The Gibson Brothers, The Gentlemen of Bluegrass, Gold Heart

around the globe to take center stage.

Victoria, B.C. Free, victoriabuskers.com Notable acts: Violinist Darth Vader, Basketball Jones, Cate Great, Chocolate Man

17–19 PROJECT PABST Jampacked with high-caliber pop artists, local food trucks, and massive unicorn statues, this beery event is a gift from the Milwaukee brewer to the city where, it says, the brand was “reborn.”

Portland Two-day pass, $75 projectpabst.com Notable acts: Blondie, Run the Jewels, Buzzcocks, Against Me!, TV on the Radio

17–19 WINTHROP RHYTHM &

FESTIVAL The artists who take the

eight stages at Jericho Park for this 37-year-old event are as likely to come from Africa as from a neighborhood away—but all uphold the folk ideal of music of the people, by the people, for the people. Vancouver, B.C. Weekend pass, $100-145 thefestival.bc.ca Notable acts: Taj Mahal, Phosphorescent, Basia Bulat, Blind Pilot, Lucius, Richard Thompson 17–16 VICTORIA INTERNATIONAL BUSKER FESTIVAL Now four years old, this

unique festival provides a venue for professional street performers from

BLUES FESTIVAL Started in 1988, this gathering brings some of the best blues artists to the Eastern slope of the Cascades. Winthrop, Wash.

Weekend pass, $90 winthropbluesfestival.com Notable acts: Elvin Bishop, Los Lonely Boys, Bobby Rush, Ayron Jones & the Way 18–19 ROCK THE SHORES Just like its name says, this fest brings rock to the beachfront just outside Victoria, a location resplendent with views of Mount Baker and the Olympics. Colwood, B.C. Two-day pass, $149.50 rocktheshores.com Notable acts: The Black Keys, Jane’s Addiction, Father John Misty, Edward Sharpe and the Magnetic Zeros, TV on the Radio 24–26 PDX POP NOW! It’s more than likely you won’t recognize many of the acts playing this entirely free, entirely all-ages celebration of one of the country’s most eclectic and energized music scenes. That’s by design— and what makes this event great.

Portland

JASON NEUERBURG

17–19 VANCOUVER FOLK MUSIC

Timber Outdoor Music Festival

Free, pdxpopnow.com Festival lineup TBA 24–26 CAPITOL HILL BLOCK PARTY Yes, it is a nightmare for

hill residents not into music—who are you? But this annual neighborhood takeover regularly features the city’s most cathartic musical moments from an array of exceedingly hip artists. And for those who don’t have the luxury of exploring club shows throughout the year, it’s a great place to discover fresh local talent. Seattle Weekend pass, $125 capitolhillblockparty.com Notable acts: RATATAT, TV on the Radio, The Kills, Built to Spill

31–AUG. 2 PICKATHON Having

long since strayed from its bluegrass moniker, this low-density, low-impact music fest features a wide variety of artists, though its heart and soul is still found in its Americana offerings.

Happy Valley, Ore. Weekend pass, $150-270 (camping included) pickathon.com Notable acts: Cloud Nothings, Alice Gerrard, Giant Sand, King Tuff, Shabazz Palaces, tUnE-yArDs, Ty Segall

August 6–9 SUMMER MELTDOWN Set in the heart of the scenic Darrington Bluegrass Music Park at the Whitehorse Mountain Amphitheater,

this fest promises a 40-acre playground for revelers to shake it.

Darrington, Wash.

Weekend pass, $55-165 (includes camping) summermeltdownfest.com Notable acts: STS9, Iration, Tycho, Greensky Bluegrass, Galactic, Sol

camping opportunities, and local beer prove it’s definitely not least.

Walla Walla, Wash.

Two-day pass, $199 (camping included) gentlemenoftheroad.com Notable acts: Foo Fighters, Mumford & Sons, Flaming Lips, Jenny Lewis

6–10 DOE BAY FEST Now in its sev-

21–23 MUSICFESTNW Two years

enth year, this festival invites top talent from the Northwest (and beyond) to an island for an intimate weekend of camping and music. It’s one of the most sought-after tickets around.

Orcas Island, Wash.

Four-person ticket packet, $650.10 doebayfest.com Notable acts: Champagne Champagne, Lee Fields & the Expressions, Bryan John Appleby, Motopony, Bhi Bhiman

after its move out of local clubs and into the city’s Waterfront Park, this festival, created by Willamette Week, focuses on big acts, though it still makes room for locals on its mainstage. Portland Weekend pass, $140 musicfestnw.com Notable acts: Modest Mouse, Beirut, The Tallest Man on Earth, Twin Shadow, Beat Connection

14-16 HELSING JUNCTION

September

SLEEPOVER With the dissolution

of Anacortes’ What the Heck Fest a couple years back, this gathering of K Records artists and friends is the best bet for those looking for put some vitamin D in their D.I.Y. Rochester, Wash.

Weekend pass, $65 (camping included) helsingfarmcsa.com/gather.php Notable acts: Malaikat Dan Singa, LAKE, Young Pioneers, Calvin Johnson, Tender Forever 14–15 STOPOVER FESTIVAL It

may be one of the last stops on the festival circuit, but the diverse lineup,

5–7 BUMBERSHOOT Seattle’s premiere celebration of the arts, this massive three-day event has undergone major changes as both its Seattle Center home and the music festival landscape have transformed. But the gathering—which also features film, comedy, and literary events—remains a touchstone for anyone who calls themselves a Seattleite. Seattle Weekend pass, $169.50 bumbershoot.org Notable acts: The Weeknd, Faith No More, Ellie Goulding, Flying Lotus, Hozier, Ben Harper, Bassnectar, Social Distortion E

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food&drink

The Organic Queens

FoodNews

BY JASON PRICE

They’re decades and coasts apart, but these two opened the first organic restaurants in the U.S.

The resurrection of Catfish Corner has commenced with a pop-up of sorts at Rainier Beach Link station.

Terrell Jackson, grandson of the original owners, is selling soul food: the famous fried catfish, hush puppies and more. Now named Jackson’s Catfish Corner, the installation will be in place for six months, when, we hope, Jackson can put together a deal to open a brick-and-mortar space.

For now, get your Southern fried-catfish fix at 348 S. Henderson St., Tuesday through Sunday.

BY NICOLE SPRINKLE

Nora, your childhood was quite different, right?

Pouillon: Yes, because we were so close to Italy, Yugoslavia, and France, I was exposed to very simple foods that relied on the integrity of the ingredients. So what I did was cook Mediterranean food.

You were way ahead of the Mediterranean diet fad then. But you faced some challenges

in getting people, particularly Washington bureaucrats, to embrace “healthy” food.

Pouillon: Yes, many of them just wanted steak. I had to show them that this wasn’t a special diet, but ingredients that are as close to clean as they can get.

I had to convince them that it’s not a “vegetarian, macramé, sprouts, and brown rice” place.

You write in your book that food critics were often hard on you. In particular, then-Washington Post critic Phyllis Richman ranted about all the zucchini you served and that Nora wants to “dill us to death.”

Pouillon: I recently found an old note from Bill Moyers which said “To hell with Phyllis.” I might have resented it more if I hadn’t been so successful, which was mostly due to Ben Bradlee [former editor-in-chief of The Washington Post] and his wife.

You were sticking to your guns about seasonal produce, which now seems like a nobrainer, saying you wouldn’t buy organic cherries from Israel if it wasn’t cherry season here.

Maria, I imagine you deal with that issue too.

Hines: Yeah, we don’t do it. We sometimes pull from California, but that’s it. It gets hard in winter, especially with pastries: It’s all apples, pears. So we use nuts, do panna cottas, crèmes brûlées. But, at the same time, there’s so many root vegetables. I call it the six-month root-vegetable season: when there’s parsnips, parsley root, kohlrabi, beets, different types of carrots. And thank God for brassicas! But I think I’m lucky because of living on the West Coast where there’s more social consciousness.

Nora, not only did you have to convince diners, but you literally had to get area farmers on board with growing organic produce. You basically promised them you’d buy all of what they grew for you, correct?

Pouillon: People didn’t understand what I was looking for. It took me time to convince farmers to become certified organic. I had verbal contracts with them: “One cow every two weeks, one lamb every three . . . ”

Besides getting farmers to take you seriously, Nora, you were also faced with the reality that no organic-certification guidelines even existed when you opened Nora. You actually helped create them?

Pouillon: I was trying to find a certification agency, and the only one I found was Oregon Tilth. But they’d never done it for a restaurant, so they had to take standards from farms, stores, and production companies and adapt them to a restaurant. It took two years. And then I had to organize bus trips for chefs to farms, a lot of Mennonite and Amish farms in Pennsylvania. I did that for three years. Most restaurants still just pick up the phone and leave a message with the vendor for what they want.

So, Maria, by the time you applied, it was much easier, I imagine. And I’m also guessing you had a lot of farmers on board.

Hines: Yes, they [Oregon Tilth] walked me through the application process. I chose them because they are one of the most rigorous certifiers in the country. At least 95 percent of everything you serve must be certified organic. The farmersmarket explosion hadn’t happened, but I took a farm tour with Charlie’s Produce (who I still use today), and it was like I’d landed inside a treasure chest. Everywhere you look here, you’re looking at your source of food. But I still had to make a lot of relationships with farmers and fishermen, people who’d never sold to restaurants before. I wanted to use cream from Fresh Breeze Cream, but they didn’t have delivery, so I was like, How can we help set them up? I also started buying cows from the Skagit Valley, and had to help those farmers understand the size of cow that chefs wanted to buy.

How much did Nora influence you to get the certification?

Hines: She was a big deal to me. I met her when I was the executive chef of the Seattle W Hotel’s Earth and Ocean restaurant. We were both on the

» CONTINUED ON PAGE 23

Former Tom Douglas pastry chef Toby Matasar will open a cafe and bakery on 12th Avenue near Seattle U. by the end of June. Aptly named Niche, it will feature a 100 percent gluten-free menu. Gluten-free bakery Nuflours is nearby. E morningfoodnews@gmail.com

TheWeeklyDish

Bo Ssam at home.

BY NICOLE SPRINKLE

NICOLE SPRINKLE

Left: Pouillon in front of her 36-year-old restaurant. Right: Seattle’s Maria Hines.

The word is out: Ethan Stowell is about to add to his already formidable restaurant portfolio with the Goldfinch Tavern, scheduled to open at the Four Seasons Hotel downtown later this year. It will feature Pacific Northwest cuisine and some of the city’s best views of Elliott Bay.

Since I’m a food editor, my dinner guests tend to have high expectations. By far one of the most impressive dishes I’ve made was David Chang’s (of New York’s Momofuko) bo ssam. My Momofuko cookbook has sat untouched for years. Last weekend I finally took the plunge because I knew my guests were adventurous eaters. The beauty of this Korean dish is that once you get your big-ass pork butt (mine was a seven-pounder for $15 from Cash & Carry), you rub it with salt and sugar overnight, then cook it on low heat for six hours the next day, doing next to nothing to it except basting it in its own juices every hour or so. In the final 15 minutes, you rub it in salt and brown sugar and cook at 500 degrees until it gets a gorgeous caramel glaze (and maybe sets off your fire alarm). The meat, which literally just falls apart at the touch, gets eaten in bibb lettuce leaves filled also with rice and topped with three delicious condiments: kim chee, a ginger-scallion sauce that’s easy to make; and a “ssam sauce,” which is a fermented bean and chili paste. The best part about it (besides how good it is) is that it encourges passing, sharing, and making some mess— and that, to my mind, makes for a great dinner-party atmosphere. There’s so much going on that you don’t need to serve a salad or any other side dish. The recipe is on The New York Times website if you don’t want to splurge on the cookbook. E nsprinkle@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

Hines: Yeah, I grew up thinking that food came from supermarkets. Birds Eye vegetables, canned green beans. I didn’t know there was more than one kind of peach. At 18, my mentor chef took me to Rancho Santa Fe in San Diego, a little farmstand, and we walked the field and I ate a raw piece of white corn. It tasted like a candy bar! The crunchy texture, that sweet juice running down your chin. I was like, “Holy shit. This is food.”

After that, I spent a few months in France working at a one-star Michelin restaurant where the owner came in with food from the market, the fish guy came in off the boat in rubber boots, and the chef ’s sister brought vegetables she grew herself.

The carrots still had dirt on them! This was pivotal because I was used to vendors coming to us. Farmers markets didn’t exist in San Diego at that time.

FRANK HUSTER

SW: Maria, Nora writes very candidly about what drove her to the organic side. A young bride fresh from Europe in the ’60s, she was horrified when she set first foot in an American supermarket, with its anemic vegetables and canned and packaged everything. She also had a life-changing conversation with a farmer who extolled the virtues of feeding her cows corn rather than grass and pumping them up with antibiotics. Did you have an “aha” moment too?

LINDA PUGLIESE

A

t first glance, chefs Maria Hines and Nora Pouillon couldn’t seem more different. Hines is wearing jeans, a black long-sleeved T-shirt and clogs, her signature thick black braid falling efficiently down her back, her face devoid of makeup. Pouillon has on a chic fitted leather jacket over a floral dress, black tights, and a silky red scarf at her neck. Her lips are bright red, her hair perfectly coiffed. It’s a no-brainer as to who’s repping the East Coast and who’s from the West.

Their backgrounds are wildly dissimilar as well.

Hines grew up in the San Diego suburbs in the ’70s, while Pouillon is an Austrian war child. But the two women do share one extraordinary similarity: They are the first chefs in the U.S.to open certified organic restaurants—Pouillon’s Restaurant Nora in Washington, D.C., in 1979 and Hine’s Tilth in Seattle in 2006. In honor of Pouillon’s recent publication of My Organic Life: How a Pioneering Chef Helped Shape the Way We Eat Today (Knopf, $26.95), Hines hosted a dinner at Tilth last week, during which Pouillon spoke and signed copies of her memoir. As the kitchen began buzzing in preparation, I managed to get both of them in a room together for a bit to talk about their great achievements, the challenges they’ve faced along the way, and why they’re both so committed to “clean” eating.

21

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food&drink» » FROM PAGE 21

Is It Pisco’s Moment?

board of Women Chefs and Restauranteurs and we developed a rapport. In 2005, I won Best New Chef from Food & Wine magazine, so I knew if I was ever going to open my own restaurant, now was the time. So I talked to Nora: Should I do it? The biggest thing she taught me was how to keep food costs down. And that was by not using super-luxury items and by having no waste.

still remember the first time I had pisco. My sister was coming back from a year in Chile, and we were having a Chilean-themed party, even though she’d probably have preferred almost anything else.

My (OK, Wikipedia’s) cursory knowledge of Chilean drinks started and ended with Pisco sours, so that’s what we had. A perfectly tasty blend of pisco, lemon juice, sugar, and egg whites, that’s

BY ZACH GEBALLE about all anyone was doing with pisco nearly a decade ago. Yet now it’s assuming a place alongside rum, gin, and other clear spirits as the base for a wide range of cocktails.

Let’s start with what pisco is. At its simplest, it’s a brandy made from grapes or grape wine in South America, Chile and Peru specifically.

Most of it is bottled clear, and it has a relatively neutral flavor: more intense than vodka but less herbaceous than gin. As such, it’s found a home in a tremendous array of cocktails with a host of dominant flavors. I enjoy it paired with citrus and herbal liqueurs, but it also does well almost anywhere you’d use gin or brandy.

Ironically, it’s that very versatility that’s helped keep pisco fairly anonymous among most drinkers. While other spirits like rum and tequila have been positioned as both simple mixers and quality spirits well worth drinking on their own, the pisco movement has found little traction in the U.S. That doesn’t mean that a few local bartenders aren’t enamored of it. I remember being struck on my very first visit to Damn the Weather that the bar team there seemed committed to promoting lesser-known spirits, including pisco, and that focus has remained.

Not only do they always seem to have a pisco drink on the menu, but their bar staff is skilled at finding other ways to deploy it if asked.

Where pisco really hasn’t made much inroad is with the aged and complex versions that can be found in South America but are still rare here. Even as importers are finding success with other unusual aged spirits, like mezcal and sotol from Mexico, most pisco on the U.S. market is more suitable for blending than drinking on its own.

If you, like me, happen to have a bottle at home, whether from travel abroad or just a moment of curiosity at the liquor store, it’s worth playing with. One of my favorites is a Pisco Old Fashioned. I gently press a bit of lemon peel along with a half-ounce of simple syrup and two dashes of bitters. In this case I tend to eschew the more classic Angostura and go for something a bit more aromatic and gentle, either orange bitters or Peychaud’s (I know, I just ranted about the bitters craze in a recent column).Then I add two ounces of pisco and stir. Old Fashioneds are great cocktails for getting to know a spirit’s essential nature—and in pisco’s case, that’s bright, floral, vegetal, and faintly exotic. E

Right—in the book Nora talks about how she would use every single part of the cow, to the point where she had so much ground beef that she had to open another restaurant, City Café, so she could use it up in burgers, tacos, stuffed peppers, patés. What’s your memory of Maria starting down the organic path, Nora?

Pouillon: I gave a keynote speech at a conference about how women can have an enormous impact on the health of this country, about how to be more informed on how to make a balanced meal. Maria was there, and I think she heard me talk about how we as women have a lot of power. Women think more about their families; they make decisions about what’s served in their homes. There’s a saying: “The man is the head, but the woman is the neck. But the head can’t do anything without the neck.” Maria called me up and said she wanted to do organic and how do I go about it? I was so happy.

You both are also big advocates for getting healthy food to lower-income families and in school lunches, working with organizations like SNAP [Supplemental Nutrition Assistance Program]. How successful have those efforts been?

Pouillon: I initiated 11 farmers markets in D.C., and six of them have SNAP and EBT [food stamp] programs.

Hines: Yes, and there’s even a “Vegetable Prescription Program” now.

You mean a doctor literally writes you a prescription for organic produce?

Hines: Yes, exactly.

But there’s still a lot of work to be done, yes?

Nora, your book says that only one percent of American land is organic, compared to 25 percent in Europe.

Do you think Michelle Obama, who you hosted a birthday party for at your restaurant, has helped the cause?

Pouillon: She is great with her work for school lunches and getting gardens attached to schools, but, you know, she does something and they criticize her. She has to do it in a very gentle way.

Your restaurant is popular with the Clintons too, right?

Pouillon: The Clintons, the Obamas, no Republicans.

Neither former President George Bush Sr. or Jr. has eaten at your restaurant?

Pouillon: No. Only Laura Bush, once, with her daughters. Oh, and one time Nancy Reagan came to lunch with Barry Goldwater. She ate half a trout and a salad. E

nsprinkle@seattleweekly.com

THEBARCODE

thebarcode@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

Pouillon: It may be two percent now . . . People still don’t make the connection between health and food here. The average person who eats all conventionally raised food ingests 6.6 ounces of pesticides a month [according to a study by Ann Cooper, a huge advocate for healthier school lunches]. But the lobbyists in D.C. are so powerful, not like in the ’60s. The people need to tell the government that we don’t want to get slowly poisoned, to support causes like “Just Label It.”

I

23

arts&culture

The Death of the Home Library

ThisWeek’s PickList

Boomers are downsizing (and dying), and no one wants their books (or albums, or CDs, or DVDs . . . ). Has the cloud forever killed the old living-room display of knowledge and self?

BY ROGER DOWNEY

THURSDAY, MAY 21

A

or study. Which makes me sad, and this speaks to a different generation’s social habits, since being invited to someone’s home for drinks or dinner once meant perusing their favorite books and music. You could run your finger along those spines, see their tastes and preferences, and know your friends a little better (and vice versa).

Now the library’s become more private—contained within iTunes or Kindle. Friends can cite their faves on Facebook, but that’s not the same as opening a book at a dinner party to share a remarkable quote or dropping the needle on a favorite track so all can listen. A home library was not just a resource, but a proud testimony to the life and character of its owners.

But who has room for a personal shrine now?

Not me, and I’ve become less and less nostalgic about a medium that originated with the Sumerians circa 3,000 B.C. When they wanted to take permanent note of something, they used a sharpened reed to poke wedge-marks in a piece of clay, then baked the clay. This information medium had its limitations, but managed to last until about the birth of Christ.

From thence, information technology marches on: papyrus, vellum, Gutenberg . . . Bezos! Suddenly we’re in a radically different information sphere, with digital downloads, iPads, Kindles, and the cloud. Books are still marvelously efficient devices for delivering certain kinds of information, but electronic media do the same job for a fraction of the cost. Twenty years ago, pre-Amazon, we could hardly have dreamed of the searching, editing, indexing, commenting, and statistical analysis tools made possible by this form of reading and storage.

None of which you can do with a physical book. It’s no wonder that baby boomers with their cherished high-school copies of The Catcher in the Rye are now struggling with the save/ discard dilemma of downsizing into one-level condos and retirement homes.

If I’m ever moved to reread Bleak House, I’ll probably head up to the attic and bring down Dad’s copy (two volumes, gilded page edges).

But maybe not. Last year I finally got round to Jane Eyre, but I read it free, downloaded to my iPad. But then a friend loaned me a novel by one of her favorite authors, Margaret Drabble.

I was knocked out by The Peppered Moth ; what else of hers should I read? The Needle’s Eye, my friend told me, but she didn’t have a copy. So I resentfully paid my $11.99 plus tax to Amazon.

And I was thereby, like my father, though I didn’t know it yet, hooked. I might have held out, read something else by Drabble that my friend did own; but it was agreeable to get exactly what I wanted, when I wanted it. And after all, I wouldn’t think twice about spending as much on a bottle of wine for dinner, would I? The slippery slope. Soon I was one-clicking stuff that I would never have paid full price for, generic mystery or fantasy books; I used to wait years for the “mass-market” paperback editions to arrive. Once I was willing to spend $50 for the DVD edition of some obscure baroque opera production. Now I just stream it with a flat-rate subscription to Rhapsody or Rdio.

All the while, I began to feel guilty about Dickens and the other, lesser authors residing in my attic. Up there were dozens—no, hundreds— of (mostly) paperbacks moldering quietly in their cardboard cartons. What was I saving them for?

No good answer; and slowly I began to adopt the long view about media—the very long view, in fact. The more presentable ones will end up at one of the Seattle Public Library’s annual sales.

Most are destined for the free rack at a local hospital. CDs and DVDs? Value Village.

But I haven’t given up yet on the Dickens.

Anybody looking for a nice set of the almostcomplete works? (Hard Times somehow went missing sometime in the past 100 years.) E

books@seattleweekly.com

When the Egyptian-born journalist and activist was covering the 2011 Arab Spring uprising in Cairo’s Tahrir Square, she was brutally attacked and sexually assaulted by four riot policemen. With two broken arms, Eltahawy fought for her life. In the months that followed, with both her arms in casts, she used her one free finger to issue Tweets like “When my bones heal, I want to mark what happened to me.” First she wrote a 2012 essay for Foreign Policy magazine called “Why Do They Hate Us?”, which went viral. (The “they” in question referred to women in the Islamic world.)

Headscarves and Hymens: Why the Middle East Needs a Sexual Revolution (Farrar, Straus and Giroux, $25) is an expansion of that provocative piece. As a teenager transplanted from the UK to Saudi Arabia, she was “traumatised into feminism,” Eltahawy recently told The Guardian. “As a woman . . . you have one of two options. You either lose your mind—which at first happened to me, because I fell into a deep depression—or you become a feminist.” Since then, the U.S. resident has been a strong advocate for global feminism. Often we in the West speak about global feminism and ask what women of different cultures need to achieve equality. Remedies may vary from state to state, but we certainly need more women like Eltahawy to speak so frankly about their own experiences, however painful they may be. Her book is a difficult must-read. Elliott Bay

Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. Free. 7 p.m. DIANA M. LE

MONAELTAHAWY.COM

SEATTLE WEEKLY • MAY 20 — 26, 2015

Mona Eltahawy

JOSHUA BOULET

long about 100 years ago, a traveling salesman spotted a likely mark among the residents of a Butte, Montana, boarding house. You’re a fine, upstanding young fellow, he told his prospect: ambitious, bent on bettering yourself, a cut above the average; what you need is a fine oak-veneer, glass-fronted sectional bookcase to protect your reading matter.

My father was interested, but he didn’t have that many books to protect yet: the 1909 edition of The Geologist’s Handbook, a copy of Tom Paine’s Rights of Man, and the collected lectures of Ralph G. Ingersoll, Edward Bellamy’s Looking Backward . . . Not a problem, said the salesman, I just happen to have a 20-volume set of the world’s greatest books (abridged edition).

Dad was hooked. He even sprang for a deluxe set of the works of Charles Dickens with the original illustrations. Keeping up with the monthly payments on a miner’s wages wasn’t easy, but like the salesman said, it was an investment that would last a lifetime.

It did, and then some. That bookcase and its contents traveled with my father for the next 70 years or so. He read and reread the Dickens set almost until the day he died, quoting his favorite passages aloud every time he hit them. In my childhood, home—the Canadian woods, the Peruvian altiplano, suburban Spokane—centered on those books, that bookcase: You couldn’t imagine the living room without them.

I finally gave away the bookcase a year or so ago. The books I still have—up in the attic. It’s not that I am a constant reader of Dickens; I just can’t imagine throwing away 30-some beautifully bound, beautifully printed books. And throw them away I would have to do, because no one— no one I’ve asked anyway, and I’ve asked many— has any use for them. Shorn of their sentimental value, they’re just 50 pounds of stuff to take up room that no one has to spare.

I’d be willing to bet that almost anyone over the age of, say, 40 is faced with the same problem.

Books acquired in youth or inherited from family, precious for the emotions and memories they evoke but so much wastepaper to anyone else—they pile up around the house, unused, often unusable, reproaching us if we think of disposing of them, but occupying space and of no earthly use to anyone.

Just try leaving a carton of free books by the curb of your home; they’ll be mildewing in the rain for months. Donate them to Goodwill instead, if you want that fig leaf before the landfill. Second-hand bookstores are almost extinct, and the market for used CDs or DVDs is fast following the fate of VHS. Apart from vinyl collectors, millennials aren’t buying such stuff. They live on the cloud, with a few archived favorites on their laptops and phones.

And, unlike their elders (including me), they’ll likely never be able to afford a Seattle home capa24 cious enough to house what we once called a library

FRIDAY, MAY 22

ilvs strauss

In Manifesto, strauss—who favors the e.e. cummings school of orthography—manages to tell an intensely personal story about childbearing and choice, but without hyperbole or drama.

Instead she is more of a tour guide, leading us through a witty narration that combines the reproductive lives of sea cucumbers and family obligations. Throughout, Manifesto reflects on a life lived outside standard expectations, strauss being a woman who does not want children. She has a deft touch both physically and verbally, making potentially fraught ideas almost lighthearted. (Through Sat.) Velocity Dance Center, 1621 12th Ave., ilvsstrauss.brownpapertickets. com. $15–$20. 7:30 p.m. SANDRA KURTZ

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In exile, the great Russian director Andrei Tarkovsky (1932–1986) made his final film on the Swedish island of FårÖ—the home of Ingmar Bergman—with Bergman’s longtime collaborator Sven Nykvist behind the camera and Erland Josephson in front of it. The Sacrifice is set in a peaceful, austere, almost heavenly landscape, where a revelry—the birthday of an aging intellectual ( Josephson)—is interrupted by news of an impending nuclear war. The 1986 movie then plays out somewhere between the physical plane and the world of dreams and nightmares. The old man has visions of the upcoming apocalypse and offers his life as a sacrifice to save his family. The film is long, measured, and introspective, with a camera that floats through landscapes as if mapping them in careful, extended takes. Viewers may find it sublime or ponderous. It’s science fiction as philosophical and spiritual rumination, yet also a cinematic chamber drama. The sense of isolation and visual simplicity may all be in tribute to Bergman, but the filmmaking is pure Tarkovsky (Solaris, Stalker, etc.)—who himself was dying as he made the film. I can think of no other director so attentive to the physical world while in search of the ephemeral. (Through Thurs.)

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25

arts&culture»performance

Opening Nights Cabaret

CONCERTO DSCH

E W A !” “ SEATTLE WEEKLY • MAY 20 — 26, 2015

G N I R I P S IN

26

You’d never know it from Liza Minnelli’s performance in the 1972 Bob Fosse film, but Sally Bowles—one of the great female star vehicles in musical theater—is an Englishwoman. Billie Wildrick brings her a very British dash in Village Theatre’s Cabaret, adding hints of Auntie Mame and Eliza Doolittle to her ability to play both flamboyance and anguish and to sell a song—which climaxes just where it should, in her 11 o’clock number, the title tune. Yet the rest of the cast is strong enough never to risk being drowned out. As Cliff, the writer who falls for her, Brian David Earp is impressively solid in a part that gives him little more to do than react to the madness around him. Anne Allgood is powerful, without caricature, as their landlady, Fräulein Schneider, and Peter Crook’s Herr Schultz downplays the threat of the Third Reich heartbreakingly. Matthew Smucker’s decoratively cluttered set is ingenious and eye-filling, and the pit band, under Tim Symons’ direction, is the most stirring I’ve heard at Village Theatre.

All the ingredients are there, but the show nevertheless lacks atmosphere—a sense of gathering doom. For example, take “Tomorrow Belongs to Me,” the peak of sinister genius in composer John Kander’s score, a gemütlich waltz perverted into an ominous anthem of Aryan conquest; as sung by an angelic lad (Matthew Bratton and Jaryn Lasentia share the role), it is— can’t help but be—stomach-turningly creepy. But it comes out of nowhere; it’s an effective theatrical shock, but a jolting one, since it’s the first point in the performance that you’re reminded that, oh yeah, this is Germany in the ’30s.

And as hard as the chorus, led by Jason Collins’ malevolent Emcee, works to bring to life the louche performers of the Kit Kat Club and make splashy fun out of the production numbers, there’s not an atom of eroticism from start to finish—and thus no way for sex and doom to play off each other, which to my mind is pretty much the point of Cabaret. Sure, there are plenty of giggly doppel-entendres in Joe Masteroff ’s book, but, as my plus-one remarked as we left, this is a PG-13 show. If you’ve been looking for a Cabaret to which you can take the kids, you’re in luck; you may have to explain a few plot points about racism, prostitution, and abortion, but, trust me, any given Teatro ZinZanni show is considerably randier. GAVIN BORCHERT

PTalley’s Folly SEATTLE PUBLIC THEATER AT THE BATHHOUSE, 7312 W. GREENLAKE DR. N., 524-1300, SEATTLEPUBLICTHEATER.ORG. $5–$32.

7:30 P.M. THURS.–SAT., 2 P.M. SUN. ENDS MAY 31.

When it comes to all-American 31-year-old “spinster” Sally Talley (Rebecca Olson), 42-yearold Jewish bachelor accountant Matt Friedman (Mike Dooly) has nothing to lose. His family’s already dead. He feels “absurd” wherever he goes (“I’m walking into an unfriendly church in my underwear here”). So he’ll have to pitch a no-

PAUL BESTOCK

VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 425-392-2202. $35–$67. RUNS THROUGH JULY 3; SEE VILLAGETHEATRE.ORG. FOR SCHEDULE. (MOVES TO EVERETT JULY 10–AUG. 2.)

Opposites attract?

Olson and Dooly.

hitter of woo at this woman who by every indication loathes everything about him.

Stalker or a romantic? Since the setting for Lanford Wilson’s Pulitzer-winning 1979 dramedy is small-town Missouri in 1944, let’s go with the latter. It’s not hard to make that leap with Matt cooing Yiddish-influenced buttercream endearments. But it’s that same friendly unction that horrifies Sally and her WASP clan. All the action takes place at the Talley family’s boathouse (the eponymous “folly,” here a dilapidated mess of dark, twisty tree trunks, broken shutters, and grandiose columns designed by Craig Wollam).

Meanwhile Sally’s uptight family is just up the nearby hill, and she periodically cries out to them for rescue from this relentless suitor.

With Dooly going full-tilt on loopy charm, including crackerjack character imitations, the thwarting falls thanklessly to Olson during the first half of the 97-minute mating dance. Olson’s very good, but Sally’s tight-lipped, cold-eyed blocking gets old fast. Something happened there at the folly the previous year—something that was great for Matt but rotten for her. Selfhating people like Sally instantly lose respect for anyone who likes them, so we share Matt’s frustration with her. But he has no boundaries and can’t take no for an answer, which raises the stalker-or-romantic question (especially when he physically obstructs her escape and stifles her screams with his hand). When Sally’s ice finally starts to melt, it becomes fun to watch her resist her own climate change. But still the flip side of the question lingers: Are we watching love or battle fatigue? (Shana Bestock directs these heartfelt hostilities.)

The play’s wartime context sets up modest expectations. With so many men gone, Sally’s marital prospects are nearly as poor as Matt’s (a Jew in St. Louis, where intermarriage is rare). Life’s not going to be smooth for these disparate two, despite their kindred unconventionality—and a dangerously neat plot turn late in the game. While Matt and Sally natter and divulge, the sallow, ebbing sunlight steals to silvery moonlight, like a sepia photograph in reverse. Although modern women might say guys like Matt are why the restraining order was invented, you can also see why Sally’s heart might undergo a late-inning reversal.

MARGARET FRIEDMAN E

stage@seattleweekly.com

Stage OPENINGS & EVENTS

FAMILY AFFAIR Jennifer Jasper’s “hilarious, twisted,

and ultimately relatable” cabaret on the theme of family. JewelBox Theater at the Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. $10. 7:30 p.m. Wed., May 20.

14/48: MIXTAPE Favorite short plays from the instanttheater festival’s 17 years, in four batches of seven each. 12th Avenue Arts, 1620 12th Ave., the1448projects.org. $20–$25. Opens May 22. 8 & 10:30 p.m.

Fri.–Sat. Ends May 30.

THE GREAT SOUL OF RUSSIA A look at Chekhov and his long-term influence. ACT, 700 Union St., 292– 7676, acttheatre.org. $10–$15. 7 p.m. Wed., May 20.

MUD Maria Irene Fornes’ play is “a delicate jewel of a play about passion and yearning; a distillation of lives mired in poverty; a balance of domestic and erotic conflict, cruelty and wit; imbued with a feminism of the most subtle order.” New City Theater, 1406 18th Ave., 271-4430, newcitytheater. org. $15–$20. Preview May 20, opens May 21. 8 p.m.

Thurs.–Sat. plus Mon., June 8. Ends June 13.

CURRENT RUNS

AND, AND, AND, ISABELLA BOOTLEGS In

Samantha Cooper’s play, 17-year-old Brooklyn has to deal with a paranoid, isolated mother. Cornish Playhouse, Seattle Center, machamonkey.org. $18–$20. 8 p.m. Thurs.–Sat. Ends May 22.

ANGRY HOUSEWIVES Watching this revival of the long-running ’80s musical, created by A.M. Collins and Chad Henry, I experienced an intense wave of Reagan-era nostalgia. Whatever the show’s original punk-feminist spirit, today it provides simple and almost wholesome entertainment, like riding the Duck. Widowed Carol (Ann Cornelius), divorced music teacher Bev (Heather Hawkins), unhappily married Jetta (Chelsea LeValley), and single bridge operator Wendi (Janet McWilliams) decide that forming a band will be more profitable than hawking pyramid-scheme cosmetics. From there we witness how adapting punk personas creates both empowerment (for them) and disapproval (from their men). Ably directed by Shawn Belyea, the entire cast provides potent performances—including the signature tune “Eat Your Fucking Cornflakes.” Though billed as a punk-rock musical, Angry Housewives features a mostly traditional score, plus some choreography (by Troy Wageman) that wouldn’t look out of place on Broadway during the ’30s. Dennis Culpepper’s set is strewn with handbills that evoke the pre-Internet era of band promotion. Also lending to the nostalgia is the heroines’ determination to “make vinyl.” Somehow mp3s and Instagram just aren’t as punk. ALYSSA

DYKSTERHOUSE ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $17–$36.50. 7:30 p.m. Wed.– Sat., 3 p.m. Sun. EXTENDED through May 31.

CABARET SEE REVIEW, PAGE 26.

THE CHILDREN’S HOUR Lillian Hellman’s period drama from the bad old days when a rumor of lesbianism, especially for teachers, could end careers and lives. The Ballard Underground, 4240 N.W. Market St., 425-298‐3852. $12–$40. 7:30 p.m. Fri.–Sat. plus some Tues., Thurs., & Sun; see arouet.us for exact schedule. Ends May 31.

CLAIM OF THRONES Add you own flourishes to every geek’s favorite TV saga. Jet City Improv, Jet City Improv, 5510 University Way N.E., jetcityimprov.org. $12–$15. 8 p.m. Thurs.–Fri. Ends May 22.

DON NORDO DEL MIDWEST Food is the focus of Café Nordo’s absurdist, comedic storylines. Actors and musicians interact and play among the audience. During the show, dinner itself becomes a kind of character. Then there’s the play: After getting fired from an “agreeably dull” steakhouse because he tried to invigorate the menu, Don Nordo sets out to hire his own sous chef, posting an ad at the local Red Lobster. (Nordo names the applicant Sancho, of course.) Wearing upside-down colanders on their heads like helmets, the two set out on a series of food-inspired adventures that in the show’s first half seem designed mostly to set up jokes about our rabid foodie culture—territory that Portlandia has already thoroughly mined, and that feels somewhat trite. During these adventures, the witty, stylistic integration of the food into the performance takes it out of straightforward dinner-theater territory.

Yet almost all of the nine courses of “Midwestern Tapas” are, in fact, bland. Even as Sancho and the Don’s relationship gains heft, lifting it out of mere allusions to Don Quixote, the food disappoints. “The proof is in the pudding,” says the narrator at the end of the show. Given the state of the meal, that line becomes truly double-edged. NICOLE SPRINKLE Nordo’s Culinarium, 109 S. Main St., cafenordo.com. $75 ($100 w/wine flight). 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends May 31.

THE DROWSY CHAPERONE A sendup/homage to high-stepping ’20s musicals. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 8428569, bainbridgeperformingarts.org. $19–$27. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends May 24.

FLAMINGO The Can Can’s all-new tropical themed cabaret. Can Can, Pike Place Market, 877-280-7831. $30–$85. Runs Wed.–Sun.; see thecancan.com for exact schedule. Ends Oct. 11.

HOT TIN STREETCAR Unexpected Productions’ improvised Tennessee Williams sendup. Market Theater, 1428 Post Alley, 587-2414, unexpected productions.org. $10. 8:30 p.m. Sun. Ends June 14.

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» CONTINUED ON PAGE 28

Pianist Envy

i e n e e S g “ is comic

He

ekly ttle We a e S e h –T STARRING

FRANK FERRANTE

EARSUPPLY

88 FILMS

Pianist Fei Fei Dong gives it her all.

engaging bunch, and Wilkinson includes generous excerpts of some brilliant playing, Virtuosity comes off as less absorbing than 2008’s similar They Came to Play, a doc covering the Van Cliburn International Amateur Piano Competition— simply because “What’s it like being a great pianist?” is a less interesting question than “How on earth can a full-time pediatrician master Chopin etudes?” Uptown, 6:30 p.m. Wed., May 20; Harvard Exit, 4:30 p.m. Thurs., May 21; Lincoln Square, 3:30 p.m. Sun., May 24.

AS

THE CAESAR

SEATTLE WEEKLY • MAY 20 — 26, 2015

Essentially a glossily produced commercial for the quadrennial Van Cliburn International Piano Competition, the only real problem with Christopher Wilkinson’s documentary Virtuosity is the problem that bedevils all docs about artists, especially classical

BY GAVIN BORCHERT musicians— the conflicting need to portray them at once as extraordinary (otherwise why are we watching?) and ordinary (to avoid the taint of elitism). Neither persona fits successful working musicians very well, and there’s no adroit way to juxtapose shots of fingers flying with stunning accuracy over the keyboard, filmed to maximize viewer amazement, and regular-Joe anecdotes (one contender collects frog figurines, another wears only blue underwear on performance days, etc.). We watch onstage and backstage highlights from the 2013 installment of the Cliburn and its (oddly unsuspenseful) winnowing of 30 competitors to 12 and then six; but though the pianists are an

. n a m s i h t us.”

27

arts&culture» performance & visual » FROM PAGE 27 JASPER IN DEADLAND The title musician embarks

SEATTLE WEEKLY • MAY 20 — 26, 2015

on underworld adventures to seek his true love in this brand-new rock musical. The 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends May 24.

JEEVES INTERVENES That paragon of butlers, creation of P.G. Wodehouse, lives again. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m.

Sat. Ends June 13.

THE PHANTOM OF THE OPERA Andrew Lloyd Webber’s touring musical features all the hit songs, plus revamped stagecraft. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $30 and up. 7:30 p.m. Tues.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat., 1 & 6:30 p.m. Sun. Ends May 24.

PINKALICIOUS THE MUSICAL Eating too many cupcakes can have unforessen consequences SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $16.

1 & 3 p.m. Sat.–Sun. Ends May 24.

PLAYWRIGHTS FESTIVAL Premieres of one-acts and full-lengths; see burienactorstheatre.org for lineup and schedule. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180. $10. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 24.

THE PRINCESS AND THE FROG Princess Minerva learns how the other half lives (in a swamp, for one thing) in this fable. Emmanuel Episcopal Church, 4400 86th Ave. S.E., Mercer Island, 232-4145 x109, youththeatre.org. $13–$15. 7 p.m. Fri., 2 p.m. Sat.– Sun. Ends May 31.

R.A.F.T. That stands for Rabbits Afloat From Thuringia in Jonah Von Spreecken and Ali el-Gasseir’s all-ages live-action cartoon series about two bunnies’ seagoing adventures (with a special adult performance 10:30 p.m. Fri., May 22). 12th Avenue Arts, 1620 12th Ave., washingtonensemble.org. $5–$10. 11 a.m. Sat.– Sun. Ends May 24.

TALLEY’S FOLLY SEE REVIEW, PAGE 26.

TAPE Gilmore Acting Studio gives Stephen Belber’s 1999 play perhaps the least informative but nevertheless intriguing plot description ever: “It follows classical unities of action, time, and space, featuring three characters in a single plot narrative regarding their differing perspectives of past events, in one unbroken period of real time, in a single motel-room set.” 2220 N.W. Market St., gilmoreactingstudio.org. $24. 7:30 p.m. Fri.–Sat. Ends May 23.

TEATRO ZINZANNI: THE HOT SPOT Only a few weeks left for TZ’s current show, starring Frank Ferrante and Dreya Weber, in which “love and magic in the digital age collide.” Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends June 7.

28

Dance

Openings & Events

RESET WET’s first dance program offers theatrical sets

BFA PHOTOGRAPHY EXHIBITION Seattle U’s graduat-

(in this case, from The Tall Girls) to choreographers to see how they reinterpret the space. 12th Avenue Arts, 1620 12th Ave., washingtonensemble.org. $10.

8 p.m. Wed., May 20, 10 p.m. Thurs., May 21.

MANIFESTO SEE THE PICK LIST, PAGE 24.

•

Classical, Etc.

UW JAZZ INNOVATIONS Two nights of originals and

standards. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5.

7:30 p.m. Wed., May 20–Thurs., May 21.

MUSIC FROM ZIMBABWE Performed by UW ethnomusicology faculty and students. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Thurs., May 21.

•

• CHAMBER MUSIC AT RICHMOND BEACH

Composer/clarinetist Sean Osborn plays his music and pieces by Karen P. Thomas and others to benefit Hopelink. Richmond Beach Congregational Church, 1512 N.W. 195th St., Shoreline, osbornmusic.com.

Donation. 7:30 p.m. Fri., May 22.

UW MALLETHEAD SERIES Celebrating the 50-year partnership of jazz duo Collier & Dean. Meany Studio Theater, UW campus, 543-4880, music.washington. edu. $12–$20. 7:30 p.m. Fri., May 22.

THE MAGI ENSEMBLE This women’s vocal nonet performs music from the Baltic region. St. Mark’s Cathedral, 1245 10th Ave. E., magiensemble.com. $10. 7 p.m. Sat., May 23.

KEVIN BALDWIN Pushing the sax in new directions via music by Berio, Scelsi, and a few locals.

Chapel Performance Space, 4649 Sunnyside Ave. N., kevinbaldwinmusic.com. $5–$15. 8 p.m. Sat., May 23.

THE MUSIC OF HARRY PARTCH Performed on the original instruments built by the American maverick composer (1901–74). Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., May 26.

PINCHAS ZUKERMAN With pianist Angela Cheng, the acclaimed violinist plays sonatas by Elgar, Franck, and more. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $31–$112. 7:30 p.m. Tues., May 26.

UW PERCUSSION ENSEMBLE With the UW Steel Drum Ensemble too! Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15.

7:30 p.m. Wed., May 27.

UW CHOIRS The Chamber Singers and University Chorale perform. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Wed., May 27.

• •

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

ing students present the portfolios they’ve spent the past year compiling. Of note is Akaila Ballard’s The F-Words: Fear, Femininity, and Feminism. Opening reception: 4:30-7:30 p.m. Thurs., May 21. Vachon Gallery, Seattle University campus, seattleu.edu.

8:30 a.m.-4:30 p.m. Mon.-Fri. Ends June 14.

GROUP SHOW New Works will be on display in the main gallery, featuring art from Saundra Fleming, Karen Graber, and Joanne Bohannon. The guest gallery will host Migration, where artists ask viewers to consider the fraught topic. Opens Wed., May 20. Columbia City Gallery, 4864 Rainier Ave. S., 760-9843, columbiacitygallery.com. 11 a.m.-7 p.m. Wed.-Sun. Ends July 5.

JANE HAMMOND In The Mind’s Eye is a collection of photographs created by compositing several found images into a new context. Opens Thurs., May 21.

Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends June 27.

SHIRLEY KLINGHOFFER The artist revisits her work dealing with a woman’s vulnerability during cancer treatment, which she began in the ’90s in CRT Revisited. Opens Sat., May 23. Museum of Glass (Tacoma), 1801 Dock St., 284-2130, museumofglass. org. 10 a.m.-5 p.m. Wed.-Sat. Noon-5 p.m. Sun. $5-$15. Ends Oct. 11.

Ongoing

• CHIHO AOSHIMA This is SAAM’s second exhibit by

a contemporary young Japanese artist associated with Takashi Murakami. (The artist known as Mr. was the guy who recently filled a gallery with tsunami detritus.)

Aoshima is a woman, however, who ought to provide a different perspective on the oppressive sexism of most anime. In addition to 30-plus drawings and two large “dreamscapes,” her show Rebirth of the World will include new animated work, Takaamanohara (or The Plain of High Heaven), dealing with Shinto deities. In her typically colorful paintings, 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. There are cityscapes, too, as in her 2005 animation City Glow, where the towers rise like wormy, human-faced figures. The corporeal, architectural, and natural realms blur together in her work. 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. Ilse Bing: Modern Photographer is a selection of her images.

Henry Art Gallery, 4100 15th Ave. N.E. (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Wed., Sat., Sun.; 11 a.m.-9 p.m. Thurs.-Fri. Ends Oct. 11.

•

FRED BIRCHMAN AND CAROLYN KRIEG Birchman

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

Prographica Gallery, 3419 E. Denny Way, 322-3851, prographicadrawings.com. 11 a.m.-5 p.m. Wed.-Sat. Ends June 20.

CALLIGRAPHIC ABSTRACTION A collection of 35 works in calligraphy, from Islamic to archaic Chinese to the contemporary writing system created by artist Xu Bing. Seattle Asian Art Museum, Ends Oct. 4.

VIVIAN CHESTERLEY Journey collects paintings that combine realistic images of flowers and more abstract landscapes. Bainbridge Performing Arts, 200 Madison Ave. N., 842-4560, bainbridgeperforming arts.org. Noon-5 p.m. Tues.-Fri. Ends May 31.

JIM CHUCHU Pagans is a photo/video series that reimagines African deities. 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. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m.

Wed.-Sat. Ends May 30.

IMOGEN CUNNINGHAM 17 photographs of Cornish, its students, and its founder Nellie Cornish, taken in 1935 by the pioneering Northwest photographer.

Cornish College of the Arts, 1000 Lenora St., 7265151, cornish.edu. 9 a.m.-5 p.m. Mon.-Fri. Ends June 30.

BEN DARBY Auspicious features dolls, toys, and Godzilla molds. Foster/White Gallery, 220 Third Ave S., 6222833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends May 30.

LINDA DAVIDSON AND SAYA MORIYASU Road Trip is a collection of new paintings by Davidson.

Moriyasu’s exhibit, Parlor, uses a variety of media to consider what might be called the inner life of her own ceramics studio. Opens Fri., April 24. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends June 6.

•

EMERGE/EVOLVE 2014: RISING TALENTS IN KILNGLASS This traveling group show from Portland’s

Bullseye Glass Company gallery features about two dozen artists pushing the boundaries of their medium.

Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m.

Tues.-Sun. Ends June 14.

JEN ERICKSON Her paintings deal with loss and decomposition. 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?” SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org.

Noon-5 p.m. Thurs.-Sun. Ends May 30.

GET THE SCOOP! This show is all about spoons and ladles, made predominantly from clay. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org. 11 a.m.-5 p.m., Tues.-Fri. Ends May 29.

33K FANS AND COUNTING

visual & literary Prose combine surreal paintings and poetry. 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 for Die Kopie, a collection of large-scale collaged and toner-transfer work. 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. 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.

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

(NR) Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. Noon-9 p.m. Mon.-Sat. Ends June 13.

JOURNEY INTO THE OTHER A group show exploring the abstract, surreal, and experimental. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com.

Noon-6 p.m. Ends May 30.

KAC ARTISTS’ EXHIBITION Hall Spassov Gallery owners Amy Spassov and Erik Hall served as the jury for this year’s exhibit. Kirkland Arts Center, 620 Market St., (425-822-7161, kirklandartscenter.org. 11 a.m.-6 p.m. Tues.-Fri. 11 a.m.-5 p.m. Sat. Ends June 20.

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

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 celebrate the music and legacy of the beloved Beatle. Krab Jab Studio, 5628 Airport Way S., 715-8593, krabjabstudio.com. 1-5 p.m. Wed.Sat. Ends June 6.

EMMA JANE LEVITT In the Presence of Absence centers on the sudden death of her partner.

Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends May 28.

TRAVIS LOUIE AND LAUREN MARX Louie presents new paintings in Archive of Lost Species; Marx shows new works on paper. 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’s landscapes and native birds. 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. The Alice, 6007 12th Ave. S., thealicegallery.com. Noon-5 p.m. Sat. Ends June 6.

MALCOLM MARTIN AND GAYNOR DOWLING The collaborators present their hand-carved vessel sculptures in Marked. Traver Gallery, 110 Union St., 5876501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m. Sat. Ends May 30.

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

Winston Wächter Fine Art, 203 Dexter Ave., 6525855, seattle.winstonwatcher.com. 10 a.m.-5 p.m.

Mon.-Sat. Ends June 27.

THE NEW FRONTIER: YOUNG DESIGNER-MAKERS IN THE PACIFIC NORTHWEST This group show runs

are displayed from the collection of the former U.S. Secretary of State. Bellevue Arts Museum. Ends June 7.

WILLEM DE ROOIJ For Bouquet XI , the Dutch artist collaborated with a local florist to create works centered on Middle Eastern flowers. 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.

the release of a new edition of his Propaganda and the Public Mind. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7 p.m. Wed., May 20.

MELISSA CISTARO She explores family and abandonment in her memoir Pieces of My Mother. ParkPlace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m. Wed., May 20.

SUE MONK KIDD New in paperback, her novel The Invention of Wings is based on the life of Sarah Grimke, an abolitionist and women’s-rights activist who came from a wealthy South Carolina slave-owning family.

University Book Store, 4326 University Way N.E., 6343400, bookstore.washington.edu. 7 p.m. Wed., May 20.

LUCAS MANN Lord Fear: A Memoir is about the life and death of his heroin-addicted brother. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m.

Wed., May 20.

CHRISTOPHER ROBINSON AND GAVIN KOVITE The two Seattle writers discuss their new consideration of the Iraq War, War of the Encyclopaedists. Elliott Bay, 7 p.m.

Wed., May 20.

MARTIN FORD He discusses a technological takeover in the workforce in Rise of the Robots: Technology and the Threat of a Jobless Future. Town Hall, $5. Thurs., May 21.

BENJAMIN SCHMIDT The UW history professor discusses Inventing Exoticism: Geography, Globalism, and Europe’s Early Modern World. University Book Store, 7 p.m. Fri., May 22.

GINNY GILDER AND DANIEL JAMES BROWN The authors discuss Course Correction: A Story of Rowing and Resistance in the Wake of Title IX and Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics. Elliott Bay, 7 p.m. Sat., May 23.

JAY RUBIN Haruki Murakami’s primary English translator discusses his own, The Sun Gods, set in Seattle on the eve of WWII with UW professor Dr. Davinder Bhowmik.

University Book Store, 6 p.m. Sat., May 23.

JAN ELLISON A Small Indiscretion is her debut novel about a woman who grows uncomfortable with the life she’s built. Elliott Bay, 7 p.m. Tues., May 26.

PETER ORULLIAN Trial of Intentions is the second in his series about science, evil, and magic.University Book Store, 7 p.m. Tues., May 26.

DANA SIMPSON Unicorn on a Roll, about an awkward fourth-grade girl, is the latest from the local cartoonist.

University Book Store, 7 p.m. Tues., May 26.

BOB SANTOS AND LARRY GOSSETT The two surviving members of Seattle’s “Gang of Four” discuss their experiences and The Gang of Four: Four Communities, Four Leaders, One Friendship. Elliott Bay, 7 p.m. Wed., May 27. (Also at Third Place Books, 6:30 p.m. Sat., May 30.)

ALEKSANDAR HEMON Author of The Question of Bruno, Nowhere Man, The Lazarus Project, Love and Obstacles, and The Book of My Lives releases his new The Making of Zombie Wars. Elliott Bay, 7 p.m. Thurs., May 28.

TASO G. LAGOS The Foreign Studies Director for Hellenic Studies at the University of Washington provides a look at the crisis in Greece from an insider’s perspective in 86 Days in Greece. University Book Store, 6:30 p.m. Thurs., May 28.

RICHARD THALER The president of the American Economic Association and author of the new Misbehaving: The Making of Behavioral Economics appears in conversation with Nathan Myhrvold, the cofounder of Intellectual Ventures. Town Hall, $5. 6:30 p.m.

Thurs., May 28.

JEROME GOLD He reads from his new In the Spider’s Web: a Nonfiction Novel and The Divers and Other Mysteries of Seattle. Elliott Bay, 7 p.m. Fri., May 29.

JAMIE TWORKOWSKI The founder of the nonprofit movement To Write Love on Her Arms discusses If You Feel Too Much: Thoughts on Things Found and Lost and Hoped For. University Book Store, 7 p.m. Fri., May 29.

MARTHA M. ERTMAN The law professor drew from her own experience raising her son as one of three gay parents to write Love’s Promises: How Formal and Informal Contracts Shape All Kinds of Families.

University Book Store, 6 p.m. Sat., May 30.

LORI HORVITZ AND CAROL GUESS Horvitz discusses her memoir The Girls of Usually; WWU professor Guess discusses Darling Endangered and How to Feel Confident With Your Special Talents. Elliott Bay, 7 p.m. Sat., May 30.

•

BY D IA NA M . LE

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

•

FRIDAY, MAY 29, 8:00PM Chapel Performance Space at the Good Shepherd Center

GEOFFREY LARSON, Music Director

BRITTEN Simple Symphony MENDELSSOHN MOZART Violin Concerto No. 3 in G major SCHUBERT Symphony No. 3 in D major

SEASON FINALE

Overture in C major for Wind Instruments “Nocturno”

QUINTON MORRIS, violin Tickets: $15 G.A., $10 Students and Seniors Available at www.BrownPaperTickets.com or 1-800-838-3006

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SUNDAY, MAY 31 10:00 am and 7:30 pm

MONDAY, JUNE 1 10:00 am Devi Bhava 7:00 pm

For more information visit: AMMA.ORG/TOURS

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SEATTLE WEEKLY • MAY 20 — 26, 2015

READ MY PINS: THE MADELEINE ALBRIGHT COLLECTION Over 200 pins and other jewelry items

DAVID BARSAMIAN He gives a talk that coincides with

t or

concurrently with Jana Brevick: This Infinity Fits in My Hand, which showcases her jewelry design. Bellevue Arts Museum. Ends Aug. 16.

ERIN O’KEEFE In Natural Disasters, she presents a collection of still-life photographs. 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.

THE PORTRAIT REFRAMED This group show features portraiture by Anita Nowacka, Davis Freeman, Jay Defehr, and others. Stacya Silverman Gallery, 614 W. McGraw St., 270-9465, stacyasilverman.com. Hours by appointment. Ends June 15.

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TYSON GRUMM Twenty new works in The Nemesis of

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Spare Some Change?

Picks, pans, and other impressions from Week Two of SIFF.

BY BRIAN MILLER

BEATS OF THE ANTONOV

Set in the Blue Nile and Nuba Mountain regions of Sudan, Beats of the Antonov celebrates South Sudan’s vibrant musical culture surviving by any means necessary in the face of their prolonged civil war.

DIRECTOR HAJOOJ KUKA SCHEDULED TO ATTEND

VINCENT

MAY 24 | 6:30PM | SIFF CINEMA UPTOWN MAY 25 | 3:30PM | SIFF CINEMA UPTOWN MAY 28 | 6:00PM | LINCOLN SQUARE

In this charming and understated mash-up of magic realism and superhero drama, a quiet drifter finds normalcy with a construction job and a friendly woman.

Everything is thrown into jeopardy when his unique powers are discovered in this wonderfully strange tale.

DIRECTOR THOMAS SALVADOR SCHEDULED TO ATTEND

SATURDAY NIGHT FILM & PARTY

PEOPLE, PLACES, THINGS SEATTLE WEEKLY • MAY 20 — 26, 2015

MAY 23 | 6:00PM | SIFF CINEMA UPTOWN MAY 24 | 1:30PM | SIFF CINEMA EGYPTIAN

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A bumbling New York comic book artist, played with awkward charm by Jemaine Clement (“Flight of the Conchords,” What We Do in the Shadows), must deal with the trials and tribulations of being a single dad to his twin six-year-old daughters.

ACTOR JEMAINE CLEMENT SCHEDULED TO ATTEND PARTY AT KASPARS FOLLOWS THE 5/23 SCREENING

BUY TICKETS ONLINE SIFF.NET PHONE 206.324.9996 IN PERSON ALL FESTIVAL VENUES

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MAY 21 | 6:30PM | SIFF CINEMA UPTOWN MAY 22 | 4:00PM | PACIFIC PLACE

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s post-recession Seattle swells with ever more wealth, inequality becomes that much more pronounced. King County’s 10-year war on homelessness has officially been pronounced a failure, and we see those tensions projected in two timely films set in New York.

But with minimal changes, they could equally well transpire in our own local parks, streets, shelters, and hospitals.

Richard Gere plays a damaged and disoriented street denizen in Time Out of Mind, his name deliberately withheld for most of this worthwhile procedural film by Oren Moverman (The Messenger, Rampart), who’s scheduled to attend SIFF. To name him would be to humanize him, but that’s not how the system works.

A few kind strangers take notice, but George is mostly ignored and shunned. His musician daughter ( Jena Malone) is ashamed of her old man, rebuffing his overtures. A talkative fellow resident at the homeless shelter (Ben Vereen) tries to get close, but George in turn rebuffs him.

Indifference makes the world go round. Everyone performs the same mental calculation: To care would cost me how much? Moverman isn’t one to drop easy pennies of sentiment into the supplicant cup. George is a drunk, he urinates in public, and he hardly cooperates with anyone inclined to help him. And yet, he’s Richard Gere.

(He’s also white, a relative rarity on the streets, as Vereen’s character notes.) Thus Time Out of Mind unsparingly illustrates a known problem by using a movie star, but it also tells us nothing new about that problem. (SIFF Cinema Uptown, 7 p.m. Fri. SIFF Cinema Egyptian, 1:30 p.m. Sat.) Heaven Knows What, directed by Benny and Josh Safdie, suffers the same defect, but it packs so much more of a punch. Its homeless, heroin-addict heroine Harley is played by formerly (we hope) homeless, heroin-addicted Arielle Holmes, whom the Safdies (Daddy Longlegs) commissioned to write a memoir they expanded into a script. It’s all gritty life-inspired vignettes; there is no story here, and most of the performers were cast from the street. We simply watch as Harley and her ilk beg, steal, score, lie to one another, quarrel, and forgive. They enact the noisy sort of street theater that causes us polite SIFFgoers to look away in embarrassment (whether on the Bowery on in Pioneer

Gere on the skids in Time Out of Mind.

Square). Those people—they can’t be helped. We’ve all had that disdainful feeling, yet the Safdies don’t let us look away. This is not an artful film, and I hate the score (Debussy paraphrased on an ’80s Atari synth). Still, when you realize Holmes’ story is mostly true, that she’s now clean and has a Hollywood agent, you realize that street performers like George and Harley can be helped after all. (Uptown, 9 p.m. Fri. & 2 p.m Sun.) By contrast, The Valley offers very little action, even less clarity, but it ratchets up the tension to an oblique, intriguing degree. A nameless bald stranger is found bleeding by the roadway in Lebanon’s notoriously lawless Bekaa Valley. He claims to have amnesia, though no one really tests this assertion. Could he be an Arabic-speaking Israeli spy, or what? It turns out that his rescuers don’t care about such politics. They’re a family of Christian drug runners, with polite table manners but no deity save the dollar. These samaritans allow their dazed houseguest to observe their intimate domestic routines, even while artillery smoke and screaming jets overhead signal the winds of regime change. (The film, directed by Ghassan Salhab, appears to be set before the rise of ISIS.) The stranger is like a phantom among the living— perhaps the willful projection of bad conscience.

Salhab layers riddles upon enigmas, including the basic constitution of the cocaine-farming clan (apparently a patriarch, two daughters, and their husbands of different faiths). Is there a lesson here? Perhaps only this: Tourists, stay away from the Bekaa Valley. (Harvard Exit, 3:30 p.m.

Fri. Uptown, 8:30 p.m. Mon.) And in briefest terms: The life-inspired, James Franco-starring I Am Michael, about a gay activist turned evangelist, cheats the ending. (Egyptian, 6:30 p.m. Fri. & 4:15 p.m. Sat.) Cranky Al Pacino gets an acting workout in David Gordon Green’s Manglehorn, but it’s more magical-realist character study than movie.

(Egyptian, 11 a.m. Sat. Renton, 5 p.m. Sun.) And the poignant doc Don’t Think I’ve Forgotten celebrates a brief flourishing of Cambodian rock music (between colonial liberation and Pol Pot), with a wealth of amazing archival footage.

(Renton, 2:15 p.m. Sat. Uptown, 9:15 p.m. Tues., June 2 & 3 p.m. Wed., June 3) E

bmiller@seattleweekly.com

PAbout Elly RUNS FRI., MAY 22–THURS., MAY 28 AT GRAND ILLUSION. NOT RATED. 118 MINUTES.

Before the international acclaim earned for The Past and A Separation, Iranian director Asghar Farhadi delivered this impressive beachside drama to SIFF 2009. Only now, however, is it getting a U.S. release, so it seems like the last in a trilogy of films dealing with the social constraints placed on women (not just Iranian women), instead of the first. The proprieties of marriage, courtship, and divorce cloud what begins as a cheerful weekend on the shore of the Caspian Sea. There are three married cou-

and antiseptic disconnect from the kill zone, the drone pilots watching the consequences of their actions on large computer monitors. Just a few miles away, the gleaming Vegas cityscape is photographed like some futuristic fantasia: Tomorrowland as the ultimate R&R distraction. When the CIA takes command of Tommy’s crew, the disembodied voice (Peter Coyote’s, of course) over the speakerphone becomes a black-ops Big Brother, coldly ordering strikes like mob hits.

Niccol’s disapproval is clear, but Good Kill isn’t prosecuting war crimes; rather, it’s about the toll taken on button-pushing soldiers fighting offthe-books wars.

Writer of The Truman Show, Niccol has long explored the distorting effect of technology on humanity. But, Gattaca aside, he’s stronger on ideas than characters or story. Hawke helps him with an alienated and internalized performance, a man turning inward so he won’t act out. Good Kill is war film as moral crucible, where death is a movie watched on a video screen. Like the drone warfare it presents, it’s a remote, chilly drama, where Niccol’s characters serve rhetorical roles in a stark morality play. SEAN AXMAKER

In the Name of My Daughter OPENS FRI., MAY 22 AT SEVEN GABLES. RATED R. 116 MINUTES.

CINEMA GUILD

Sepideh (Farahani) has her matchmaking plans go awry.

Good Kill OPENS FRI., MAY 22 AT VARSITY. RATED R. 103 MINUTES.

What does war become in the remote-control age of drone strikes and remote surveillance? That’s what Andrew Niccol ostensibly asks in Good Kill—a film we know, after watching a few minutes, is going to spin its impersonal military-speak title into bitter irony. There we see Major Tommy Egan (Ethan Hawke) destroying military targets in Afghanistan from the Nevada desert, where he mans the deadliest videogame you ever saw.

This veteran Air Force fighter pilot has been downsized to drone jockey, and Tommy wants nothing more than to get back into the cockpit, even if it means going back to Afghanistan. Or maybe especially if it means going back. It’s not just the G-forces and the rush of speed. There’s something about deployment that makes war more real. After a day of launching missiles and tallying the body count, Tommy climbs into his car, takes the freeway home, and settles in with his wife and kids in a cookie-cutter Las Vegas suburb. It’s commuter combat, where the boundaries between battlefield mentality and civilian life blur. “You just have to keep compartmentalizing,” advises Tommy’s C.O. (Bruce Greenwood). Tommy compartmentalizes himself all right, numbing his ambivalence about his mission with alcohol.

Good Kill isn’t science fiction—it claims to be “based on actual events”—but it feels like it, with its sealed, space-capsule-like remote cockpits

ROBERT HORTON

Réalité RUNS FRI., MAY 22–THURS., MAY 28 AT GRAND ILLUSION. NOT RATED. 95 MINUTES.

Heder (left) as rat.

The films of Quentin Dupieux would’ve been a smash in the late ’60s and early ’70s, crammed as they are with surreal tricks and car tires that kill people and questions about how much of what we see is real, man. After the zany shenanigans of Rubber and Wrong, Dupieux takes on the moviemaking business in Réalité, although this movie is about other things too. And possibly about nothing.

A little girl is puzzled by a VHS tape she sees tumbling out of a boar’s belly when her sportsman father cleans the dead animal. But this vignette turns out to be part of a movie being shot by a pretentious director ( John Glover), whose French producer ( Jonathan Lambert) is growing impatient with the film’s realistic style. The producer also green-lights an idioticsounding horror movie pitched by cameraman Jason Tantra (Alain Chabat), but on one condition: Tantra must record the ideal groan for the dying characters in his movie. When Tantra and his wife (Élodie Bouchez) attend a movie, he is shocked to discover that someone else has stolen his exact concept—the ultimate artist’s nightmare. But is it literally a nightmare? Dupieux regularly shows us that some incidents in the film are the characters’ dreams, a conceit that grows alarming when the people we thought existed in a fictional reality start to interact with the movie characters. Or possibly vice versa.

This leaves out a talk-show host (Napoleon Dynamite star Jon Heder) diagnosed with “eczema on the inside,” and a school principal (comedian Eric Wareheim) who dreams of dressing in women’s clothes. All of which would wear out its welcome after, oh, 40 minutes or so if Dupieux hadn’t commited so fully to his brand of reality-bending. There’s no guessing game here, no encouraging the audience to figure out who the ultimate dreamer might be. The result is a movie that isn’t really funny, although you will laugh a few times. It’s more eerie than funny, like looking into a distorted mirror and realizing there might be some truth there. Tantra’s movie idea is about TV sets that hypnotize and then finally kill the world’s population. Réalité is presumably offered as a tonic to this scenario—and yet it’s still dangerous. ROBERT HORTON E

film@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

ples, some small children, the recently divorced and Germany-based Ahmad (Shahab Hosseini), and the friendly, eligible Elly (Taraneh Alidoosti). She’s a schoolteacher of slightly lower and less cosmopolitan caste than the rest, invited along by Sepideh (Golshifteh Farahani), the group’s self-appointed matchmaker.

Sepideh knows more about Elly than she lets on; and though intending well for Ahmad and guest, her calculated deceptions have terrible consequences after a plot-swerving accident and mystery. (It’s like a Rohmer film suddenly interrupted by Antonioni.)

With the action mostly confined to a rundown beach villa, About Elly first resembles a carefree stage comedy; Farhadi deftly orchestrates both the blocking of so many characters and the delivery of steadily more damning drips of truth. Elly is there under somewhat false pretences (no one even knows her last name). There are surreptitious cellphone calls and whispered conferences. Even as we’re rooting for a new couple to form, the other marriages start to fray before our eyes.

(In one quietly well-played car scene, Ahmad tells Elly how his German wife curtly ended their marriage; but as we know from Farhadi’s other movies, nothing is so simple or final in wedded life.)

Late in the film, we meet a second suitor for the enigmatic Elly, another outsider the group deems unsophisticated (and possibly danger-

As evidenced by the success of radio’s Serial and TV’s The Jinx (like anybody consumes things on radio or TV any more, amirite?), our collective taste for true-crime stories remains boundless. If murder is on the menu, so much the better. Which means that veteran filmmaker André Téchiné (The Girl on the Train) ought to have a foolproof picture with this dramatization of a tantalizing real-life mystery.

The case is better known in Europe than in the U.S., but that shouldn’t matter much—and like The Jinx, it involves wealth, decades of unanswered questions, and a missing woman who is yet to be found.

Thing is, Téchiné’s approach feels designed to smother the breathless melodrama of Serial and The Jinx. The movie sets the hook just fine, sketching its three central characters and their 1970s Riviera world of money, the Mafia, and casinos. A directionless young woman, Agnès (Adèle Haenel), returns to the south of France to claim her inheritance from her mother, the formidable casino operator Renée Le Roux (Catherine Deneuve). Madame Le Roux is trying to ease her slick lawyer, Maurice Agnelet (Guillaume Canet), out of the business. He will not go away quietly, and this playboy finds Agnés a ripe target for his seductive talents.

Most of this plays as a backroom drama, where the machinations of the casino biz blend with charged family dynamics to create an absorbing high-stakes poker game.

Engrossing material, with a very watchable trio—as in other recent roles, Deneuve brings out the matronly side of her chic personality, and Canet (also a director, notably of Tell No One) taps into the creepy careerist hiding just beneath his amiable looks. Those two are established Euro-icons, but Haenel, an intense rising star, holds her own. The longer the film goes on, the less inclined Téchiné is to explain key events, or even include what would seem to be crucial plot points. (Information delivered in the final credits makes you wonder why these tasty-sounding scenes weren’t dramatized and

included in the film itself.) A certain amount of this elliptical storytelling is justified, as there are things about the case that nobody knows, or nobody’s talking about. The unresolved mystery seems to suit Téchiné just fine. Apparently he wants to remind us that we can’t ever know all the answers—something we have to accept, given that the case (ongoing even after the movie was completed) continues to mystify.

IFC/REALITISM FILMS

Opening ThisWeek

ous), named Alireza (Saber Abbar). Not quite a stalker, he’s a gentle-eyed, unrequited beau; and unlike the hipster-ish, red-BMW-driving Ahmad, he offers no bright prospects for Elly back in Hamburg. Though a scuffle or two breaks out and a nose is bloodied, what really frightens the vacation group is the cops being called. To secure their weekend rental, they lied to the landlord about Elly and Ahmad being newlyweds—because a single young man and a single young woman could never be permitted to travel together.

But the cops do come calling, a corpse is found, and all the blame gets dumped on poor Sepideh. Even her forbearing husband Amir (Mani Haghighi) finally turns on her, shockingly. More than love or marriage, About Elly makes you feel the dread weight of a woman’s “honor” pressing down upon on all its characters, male and female. And from that, no vacation is possible. BRIAN MILLER

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206-504-3592 Online Booking at:

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Weaving - Extensions - Color Blowouts - Keratin - Braids

FROM THE DIRECTOR OF THE OSCAR WINNING FILM, A SEPARATION

• AVANT-GARDE CINEMA FROM EX-YUGOSLAVIA

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600 Elliott Ave. W, Seattle

Weaving, Extensions & Braiding

about elly

SHOWTIM ES MAY 22 - 28

SINGLES

Fri - SAT & MON @ 7:00PM / SAT @ 3:00PM

MAY ��–�� BIG TROUBLE IN LITTLE CHINA Fri -SAT & MON-TUES @ 9:30PM

RÉALITÉ FROM THE DIRECTOR OF RUBBER & WRONG

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Before the violent ’90s breakup of that country, filmmakers under the communist rule of Tito and Milosevic made some pretty good movies, despite obvious constraints and censorship. This survey runs from the early postwar era into the ’80s. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380. $6-$11. Runs Wed., May 20-Sun., May 31. See nwfilmforum.org for schedule.

BIG TROUBLE IN LITTLE CHINA John Carpenter’s 1986 action comedy is an enjoyable mash-up of classic Westerns, Saturday-morning serials, and more Chinese wuxia than any of the Indiana Jones movies, with Kurt Russell in full bloom as Carpenter’s de rigueur harddrinkin’, hard-gamblin’, wise-crackin’ loner hero—a bowling-alley John Wayne. When I was all of eight, this seemed like just about the greatest movie ever made, and like much of Carpenter’s work, it has aged well. (PG-13) SCOTT FOUNDAS Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Sat. & Mon.-Tue. FILMS BY DEREK WEBER The avant-garde filmmaker presents an hour-long program of shorts. (R) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. 5:15 p.m. Sat. NOIR DE FRANCE Confidentially Yours is a 1983 thriller starring Fanny Ardant and Jean-Louis Trintignant as two suspects on the run from a murder investigation.

François Truffaut directs. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thurs.

SINGLES Cameron Crowe once confided to us that the studio delayed releasing his 1992 Singles by almost a year to better capitalize on our nascent grunge rock scene—making his sweetly observant music/rom-com seem more opportunistic than prophetic. It remains a deserved Seattle favorite, even if the nifty soundtrack seems dated and most of the local music figures who made cameos have long receded from the charts.

Bridget Fonda, Campbell Scott, Kyra Sedgwick, and Matt Dillon star in the roundelay. O for those slacker days of yore! (R) BRIAN MILLER Central Cinema, $7-$9. 7 p.m. Fri., 3 & 7 p.m. Sat., 7 p.m. Mon.-Tue. SLOW WEST Fresh from SIFF, this revisionist Western has a Scottish immigrant teenager (Kodi Smit-McPhee, from The Road) seeking his lost love in the dangerous frontier regions. Michael Fassbender plays a mysterious stranger who may be helpful or dangerous to the lovestruck youth. (R) Sundance Cinemas, 4500 Ninth Ave. N.E., 633-0059. Opens Fri., May 22. See sundancecinemas.com for tickets and schedule.

• MOVIECAT TRIVA NIGHT

WEDNESDAY@ 7:00 PM

HOW TO LOSE YOUR VIRGINITY - TUESDAY @ 7:00PM THE ROOM - THURSDAY @ 7:00PM

Ongoing

SEATTLE WEEKLY • MAY 20 — 26, 2015

AVENGERS: AGE OF ULTRON Writer/director Joss

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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 artificialintelligence “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. “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, others DANNY COLLINS As related in this simultaneously hackneyed and likable rock-’n’-roll redemption tale, there really was a guy who, 40 years after the fact, discovered that John Lennon had written him a letter telling him to stay true to his art. Al Pacino plays Danny as a music celebrity living high on his legacy, doing what looks like a lounge-act version of Mick Jagger on the casino circuit. He’s on showbiz autopilot, performing his greatest hits for the AARP demo. The belated arrival of the Lennon letter sends Danny to a sleepy New Jersey Hilton. From there, he hopes to finally connect with his neglected son Tom (Bobby Cannavale), born from a backstage hookup. It’s hard to get worked up over the emotional journey of a spoiled celeb who’s milked a bubblegum pop anthem into a fortune. What exactly happened to the earnest young folk singer of the prologue? We never learn. Yet such questions

fade as Danny becomes part of Tom’s family. Pacino’s chemistry with Cannavale and Annette Bening (as his not-quite-but-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 Crest FAR FROM THE MADDING CROWD Thomas Vinterberg’s new version of Thomas Hardy’s 1874 novel collapses the action so the movie can trot in at 118 minutes. We’ve just established the impossible relationship between prideful-but-poor Bathsheba Everdene (Carey Mulligan) and sensible Gabriel Oak (Belgian rising star Matthias Schoenaerts) 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 the 170-minute 1967 adaptation of the story is so rushed here that it looks faintly ridiculous. 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 oldfashioned material. 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. (PG-13) R.H. Sundance, Kirkland, Lynwood (Bainbridge), others HEAVEN ADORES YOU Director Nickolas Dylan Rossi here takes very different approach than 2009’s doc Searching for Elliott Smith, which director Gil Reyes delved deep into the darkness of its subject (19692003). Smith’s family wasn’t on board with that prior effort, so none of his music was included. And, let’s be honest, a Smith documentary without those cascading finger-picked melodies is a tough sell. However, the same can be said of a film that doesn’t delve into the darkness that fed Smith’s art. His family evidently cooperated this time, so fans will enjoy this doc for the music alone. And it’s not just the hits here. Before Rossi gets to “Waltz #2” and “Say Yes,” he traverses the efforts of a younger Smith. A montage of archival imagery and modern-day street scenes from Smith’s three artistic homes (Portland, New York, Los Angeles) provide visual cues, while old interviews with the plainspoken artist are, somewhat eerily, interwoven with commentary from nearly 30 close friends and colleagues, as well as his sister. The stories are entertaining, sometimes funny, often enlightening, and at times moving. But the darkness, which clearly informed Smith’s art and made the 2013 biography Torment Saint feel so complete, is held at bay. (NR) MARK BAUMGARTEN Northwest Film Forum HOT PURSUIT The new buddy cop flick starring Reese Witherspoon as an uptight ding-dong police officer and Sofia Vergara as a sexy drug-cartel wife is by no means capital-G good, but it’s undeniably funny. Officer Cooper (Witherspoon) jumps at the chance to leave her desk in the evidence department to escort Mrs. Riva (Vergara) and her drug-dealing husband from San Antonio to Dallas to testify against the kingpin.

After realizing the errand was a set-up, Cooper and Riva flee from all kinds of undesirables in a shiny red convertible. Anne Fletcher (Step Up, 27 Dresses, The Proposal) directs this outlandish everything-that-cango-wrong-will comedy with a very refreshing undercurrent of female friendship. Witherspoon and Vergara exude onscreen chemistry in this flimsy but fun chase vehicle, so I definitely wouldn’t say no to a sequel.

(PG-13) DIANA M. LE Guild 45th, Meridian, Lincoln Square, Oak Tree, Cinebarre Mountlake, Cinnebarre Issaquah, others IRIS Among the final projects of documentary giant Albert Maysles, who died in March, was this somewhat unexpected but very entertaining film. It’s a profile of Iris Apfel, a nonagenarian fashion legend and colorful collector (and wearer) of baubles, bangles, and beads. (The soundtrack is accompanied by the clacking of Iris’ Bundt-cake-sized bracelets.)

If this seems a fluffy subject for Maysles, recall Grey Gardens: zany ladies, full of opinions, dressed to kill.

Iris is resplendent with common sense (so absent in Grey Gardens). She goes to thrift stores and haggles over already-inexpensive merchandise; she shrugs at the idea of criticizing the fashion choices of others. 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. Yes, Iris and Carl are eccentric, but they’re also brimming with self-possession. (PG-13) R.H. Sundance

•

Voted Best Movie Theater F

2014

the • MAD MAX: FURY ROAD Tom Hardy takes Mad

title role in George Miller’s much-anticipated Max reboot. The equally impressive Charlize Theron plays a buzzcut-wearing, one-handed turncoat named Furiosa. Though this movie makes me feel like driving fast through the desert, there’s no way I’d stop to offer either of them a ride. Regardless how thrilling the action in this near-constant chase movie, Max and Furiosa haven’t got anything interesting to say. Miller and his co-writers have some sort of dense desert mythology in mind, though the internecine conflict is hard to follow. The accents and engine noise make the dialogue and exposition mostly unintelligible, and I don’t think Miller really cares. Furiosa has liberated the five nubile wives of a masked Geezer of Oz, who with his marauders sets out in pursuit of Max and company. (One of the villain’s pasty-white minions, Nux, played by Nicholas Hoult, will eventually switch sides.)

The 3-D Fury Road is masterfully kinetic and often downright berserk, with endless amounts of sand, car parts, spears, harpoons, grenades, chainsaws, and fists being flung in your face . . . I mean Max’s face.

And, frankly, the more stuff being thrown in your face, the less time you have to worry about the plot holes or rushed heap of an ending. It’s a thrilling, exhausting picture. (R) B.R.M. Majestic Bay, Ark Lodge, Pacific Place, Thornton Place, Sundance, Kirkland, Bainbridge, Lincoln Square, others PITCH PERFECT 2 Everything about this sequel is bigger. We’re talking Snoop Dogg subplot big. Green Bay Packers cameo big. Coachella-style competition big. And possibly better? Let’s just say I nearly cried.

Twice. It was comforting to come back to this world where nerdom is celebrated and young women are unapologetically being themselves—weirdos who love mainstream pop music. The film’s story is a recycled version of the 2012 hit: The disgraced Barden Bellas must come together to find their sound and regain good standing in the world of a capella. However, the film (directed by Elizabeth Banks) focuses more on the musical performances than it does story. These underdogs prove that girls really do run the world.

(Yes, they perform Beyoncé!) And to paraphrase John Michael Higgins’ ammusingly sexist announcer, “This is what happens when you send girls to college.” (PG13) D.M.L. Big Picture, Lincoln Square, Guild 45th, Kirkland, Bainbridge, Ark Lodge, Meridian, others THE SECOND BEST EXOTIC MARIGOLD HOTEL

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The Parent Child Home Visitor is responsible forFT, providing visits to families with young 40home hrs/wk $16.28/hr. children age two and three within the YWCA’s Family Housing programs which range from an extended shelter program with integrated services for homeless families to transitional housing and permanent housing. This position follows the family and continues engagement with them for a minimum of 23 weeks per year for 2 years. The focus of these visits is to model how to use books and educational toys for generating enthusiasm for learning and verbal interactions which will increase & support school readiness.

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.

MAD MAX: FURY ROAD in 3D/2D POLTERGEIST in 3D

SLOW WEST

Temporary, 25-30 hrs/wk.

Rate $14.18/hr.

FAR FROM THE MADDING CROWD EX MACHINA AVENGERS: AGE OF ULTRON in 2D/3D

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

WHILE WE’RE YOUNG IRIS

WOMAN IN GOLD

*Tickets available at the box office.

SUNDANCECINEMAS.COM

SilEnT MOViE MOnDayS

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junE 8 Featuring Christian Elliott live on the Mighty Wurlitzer Organ

ThE unhOly ThrEE

junE 15 Featuring Tedde Gibson live on the Mighty Wurlitzer Organ

junE 1-22 | ThE ParaMOunT ThEaTrE | presented by

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junE 22 Featuring Donna Parker live on the Mighty Wurlitzer Organ

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GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

STGPRESENTS.ORG

EST. 1928 9TH AVE & PINE ST

SEATTLE WEEKLY • MAY 20 — 26, 2015

The plot devices in this sequel are so stale that the movie itself loses interest in them halfway through its dawdling 122 minutes—and this is a good thing. By that time the contrivances of Ol Parker’s script have done their duty, and we can get to the element that turned the film’s 2011 predecessor into a surprise hit: hanging around with a group of witty old pros in a pleasant location. There are many worse reasons for enjoying movies. Director John Madden (Shakespeare in Love) mostly allows Maggie Smith, Judi Dench, Celia Imrie, and Penelope Wilton to float around on many years’ worth of accrued goodwill. Especially fine is the spindly Bill Nighy, whose shy Douglas is a hesitant suitor to Dench’s Evelyn, a still-active buyer of fabrics. Even when the story has him fulfilling sitcom ideas, Nighy maintains his tottering dignity and sense of fun. The languid mood is laced with an appreciation for getting to the End of Things, especially as Smith’s formerly snappish Muriel mellows into a melancholy leavetaking. (PG) R.H. Crest WELCOME TO ME Kristen Wiig’s ability to slip from broad humor to quietly devastating insight is already well documented. Here she plays an unfortunate soul named Alice Klieg, whose borderline-personality disorder has cast her into the margins of society—until, that is, she wins the lottery, which means she can bankroll her own cable-TV 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. (James Marsden, Joan Cusack, Jennifer Jason Leigh, and Wes Bentley play her befuddled coworkers.) Director Shira Piven has 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. (R) R.H. Varsity 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 neckbiters have been at it so long that they’re only imitating old vampire stereotypes. Things have gotten to the point, Vladislav admits, where they’re even cribbing from The Lost Boys. (NR) B.R.M. Crest WHILE WE’RE YOUNG In outline, this is a routine Gen-X midlife-crisis movie: documentary filmmaker Josh (Ben Stiller) and producer wife Cornelia (Naomi Watts) are stalled in careers and marriage. He can’t complete his weighty, unwatchable opus (something to do with geopolitics and a disheveled Chomskyian scholar; together they’ve IVF’d once for kids, failed, and are settling into a staid, childless rut. They need a shakeup, and it arrives in the form of a spontaneous, fun-loving Brooklyn couple half their age: would-be documentarian Jamie (Adam Driver) and wife Darby (Amanda Seyfried). Noah Baumbach’s lively, careerbest comedy sends cynical Josh into unexpected bromance, and much of the movie’s charm lies in our being swept along, too. Is Josh deluded and ridiculous? Of course he is, and yet that’s not the movie’s real source of laughter and inspiration. In denial about his fading eyesight and arthritis, Josh will discover that being foolish and confounded is good for the system, a tonic. If Jamie is a hustler, he’s also like a personal trainer—pushing his client (who forever picks up the lunch tab) into discomfort. Baumbach’s female characters aren’t so sharply drawn, though he provides nice supporting roles for Adam Horowitz (the Beastie Boys), as the only guy who can speak truth to Josh’s blind infatuation; and for Charles Grodin, who brings welcome, sour appeal as Josh’s disapproving father-inlaw. (NR) B.R.M. Sundance WILD TALES The opening sequence to Damián Szifrón’s Argentine anthology movie sets up a Twilight Zonestyle series of revelations, compressed into just a few minutes. Passengers riding on a suspiciously underfilled plane begin to realize that there might be a reason for their presence there, beyond the obvious business of getting to a destination. Szifrón wants to get his movie started with a bang, and he does—though the rest of Wild Tales doesn’t live up to the wicked curtain-raiser. But there are enough moments of irony and ingenuity to make it worthwhile. In one episode, a lone driver has a flat tire in the middle of nowhere, which allows the slowpoke he antagonized earlier to stop by and exact revenge. In another, an explosives expert becomes enraged by a parking ticket—rage that leads him to lose everything. But there’s a twist. A lot of these segments rely on a twist, a technique that doesn’t quite disguise how in-your-face the lessons are. The twists also can’t disguise the way some of the tales rely on illogical behavior to allow their plots to develop. (R) R.H. Crest 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 against the stubborn, post-Waldheim Austrian establishment. As Maria says, “If they admit to one thing, they have to admit to it all.” Were the writing better, this would’ve made a good courtroom procedural (Elizabeth McGovern and Jonathan Pryce show up as judges), but director Simon Curtis (My Week With Marilyn) 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. Pacific Place, Kirkland Parkplace, others

The YWCA of Seattle|King|Snohomish seeks a Temporary Parent Child Home Visitor

By Seattle Weekly Readers!

Thank You!!

33

arts&culture» music

Beyond Night Bus The rise and rebirth of Hush Hush Records and Sax G.

BY DUSTY HENRY

SEATTLE WEEKLY • MAY 20 — 26, 2015

34

Ruder’s story parallels Sax G’s, in that neither really anticipated their artistic pursuits. Growing up in a military family, Gregoire Sexton Brown lived in Germany, France, Wyoming, Los Angeles, and Atlanta before settling in Renton. Through all the moves, he developed an eclectic music taste, including acts from Duran Duran to Kraftwerk.

Music was hardly a priority during his teen years.

At the time, he was a star basketball player at Cleveland High School, helping the team beat Rainier Beach, then ranked #1 in the nation. But after a knee injury, Sax G had to give up basketball. Not until he was 21 did he venture into music, when he jumped into a random cypher at a barbershop.

DANIEL LINT

S

itting at a bus stop at 23rd and Jackson in the Central District, Gregoire Sexton Brown, aka producer Sax G, hands me his earbuds and asks me to listen to an unreleased track on his phone. The sun has already set, leaving only the haze of the streetlights and the headlights of passing cars. The instrumental track mixes chopped-up piano chords with screwed-down operatic vocals. There’s a classical vibe to it, yet the stuttering beats make it decidedly futuristic. Staring at the cars, I realize what I’m listening to. This is the epitome of Night Bus. “[Night Bus] is the type of music that gives you the feeling that you get when you’re riding a bus at night by yourself,” says Alex Ruder, founder of Hush Hush Records, Sax G’s label. “You’ve got your headphones on and you’re just kind of like looking out the window seeing the city go by.”

Hush Hush was conceived with this idea in mind. Since 2012, the small electronic indie label has issued nearly 40 releases. Currently Ruder runs the operation alone, splitting his time as a DJ at KEXP, where he hosts a late-night variety mix as well as the new electronic niche show Expansions.

The label started by chance. During a meeting with Seattle producer Joey Butler, aka Kid Smpl, Ruder offhandedly mentioned that Butler’s new album made him want to start a label just to put it out. Butler agreed, and suddenly the off-thecuff idea started to become a reality.

Soon artists began reaching out to Ruder. It’s a method he’s mostly stuck to, bringing in artists who come to him or are suggested by friends— local acts like Cock & Swan and DJAO. In three short years, he’s already expanded beyond Seattle, with international artists including Hykuu from Madrid or Keenya from London.

Ruder’s sonic palette for the label has focused on his initial slow-moving, cinematic concept. But despite how perfectly my moment with Sax G at the bus stop fit this template, the irony is that Sax and other recent Hush Hush signees represent a departure from the original Night Bus idea.

“I feel like if you focus too much on one thing, it can hurt you ultimately,” Ruder says. “I think it was important to start off with a focus, but I think once your focus is kind of apparent, it’s good to start branching out.” He compares the expansion to the way Sub Pop and Warp Records branched out beyond their trademark sounds. In moving past Night Bus’ trappings, Ruder is still interested in capturing a cinematic feeling with Hush Hush, but he’s more open to upbeat sounds.

“I had just one rhyme memorized and I ended up doing it there,” he says. Serendipitously, Seattle hip-hop kingpin producers DJ Topspinn and Vitamin D happened to be there. Suddenly he was getting invites to collaborations and events.

In 2011 a friend told him to send some of his songs to a mystery e-mail address, and Sax obliged. It turned out to be the address for the assistant to famed hip-hop producer 9th Wonder, one of Sax’s biggest influences. Soon after, 9th Wonder’s label Jamla Records invited him to North Carolina to work with the producer.

One day when the two were in the studio, 9th Wonder asked for a rapper to hop on the track he was working on and looked over at Sax G. Sax compares it to the look from a coach who wants him to get in the game—but Sax turned away, so 9th Wonder had someone else jump in. Rather than use the opportunity to up his rap game, Sax furthered his production career, venturing into more ambient and avant-garde realms.

“The whole time I was down there I was making beats. 9th Wonder, he don’t care about my beats,” Sax says. “They’re all dusty, chopped samples at Jamla. I make ambient Brian Eno-, Band of Horses-type shit, and that don’t work over there.”

Those beats and his drive led to Tu Me Manques, a self-released solo debut that features minimal rapping, focusing instead on Sax G’s moody and eclectic beats. Though not opposed to rapping more, the original appeal of grabbing the mic has waned for the artist. “Being an MC used to be like being a Jedi, bro,” he says. “It was really . . . specialized or something. Now it’s just like everyone does it. It’s lost its flair.”

Not long after the album dropped, he got a call from Ruder asking him if he’d be interested

in doing a remix. Though the remix didn’t pan out, Ruder connected Sax G with Cock & Swan, starting a kinship between the two acts that extended to C&S’s live performances. Later, Sax G reached out to Ruder to release a new project with C&S’ Johnny Goss on board to mix.

The EP, Lullaby of the Forbidden Dancer, came out earlier this week. In many ways it’s a culmination of the spirit of Hush Hush Records, the aesthetic of Night Bus meeting the label’s new openness to upbeat vibes and the familial collaboration that Ruder has helped foster within his once-modest project. It’s also deeply personal.

While sonically focusing on bass lines, thematically it draws from a series of short stories Sax G wrote recently that deal with loss.

“I had several different versions of yearning for an entity that’s aware that you want it, yet refuses to let you have it,” he says of the stories.

“It became this idea of, like, a beautiful death.”

He says the tracks on the EP were composed to bring a conclusion to these stories, noting that some stories can’t be told with words.

Despite the death themes on the EP release,

the label couldn’t be more alive. Ruder says that he’s sitting on 10 more releases, and is in talks with an unnamed video-game company to soundtrack a virtual-reality game with Hush Hush artists. “I think I basically have a release every two weeks almost through the end of the year already,” he laughs.

For Sax, the EP is just the first step in a master plan. He hopes to release his second fulllength later this year through Hush Hush. The stories on Lullaby may have a conclusion, but Sax’s and Ruder’s are still ongoing. E

music@seattleweekly.com

SEATTLE WEEKLY • MAY 20 — 26, 2015

35

TIMES

DOORS OPEN 30-60 MIN. BEFORE.

LISTED ARE

SHOW TIMES.

THURS,

MAY 21 st

INDIE NEO FOLK

JEN WOOD, VERLAINE, EACH & ALL FRI,

MAY 22

9PM - $10

nd

LOCAL COUNTRY

AARON CRAWFORD, MARLIN JAMES BAND, ANDY SHOFNER BAND 9PM - $10 SAT,

MAY 23 rd 

ALBUM REALEASE PARTY

THE WEATHERSIDE WHISKEY BAND

WARREN G HARDINGS, RENEGADE 9PM - $8 STRINGBAND TUES,

MAY 26 TH 

KBCS & KEXP’S THE ROADHOUSE PRESENT

FRAZEY FORD

EDMUND WAYNE WED,

8PM - $15/$17

MAY 27 TH  NY SINGER/SONGWRITER

JESSE MARCHANT

HEATHER WOODS BRODERICK GHOSTS I’VE MET 8:00PM - $10/$12 Up & Coming

5/20 SISTER GIRLFRIEND, 5/25 SQUARE DANCE W/ THE TALLBOYS, 5/28 STAR ANNA, 5/29 CODY BEEBE, 5/30 BOB SCHNEIDER, 5/31 THE SHOW PONIES, 6/1 PALMA VIOLETS, 6/2 JOSH ROUSE, 6/5 HAMILTON LEITHAUSER, 6/6 JAMES MCMURTRY, 6/7 HOWIE DAY, 6/11 EILEN JEWELL, 6/15 RHETT MILLER 5213 BALLARD AVE. NW  789-3599

www.tractortavern.com

ROCKIN

arts&culture» music

PIANO SHOW TheWeekAhead YOU NAME IT WE’LL CELEBRATE IT!

ANNIVERSARY BIRTHDAY CORPORATE EVENT DIVORCE ENGAGEMENT FORECLOSURE GRADUATION HAPPY HOUR INDEPENDENCE DAY JUST BECAUSE KICKING BACK LOOKING FOR FUN MARRIAGE NIGHT ON THE TOWN

OUT OF TOWN GUESTS PARENT’S NIGHT OUT QUITTIN’ TIME REUNION ST. PATRICK’S DAY TIRED OF THE USUAL SCENE VALENTINE’S DAY WHY NOT? NAUGHTY X-RATED PARTY

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DON’T WANNA MISS OUT ZANY FRIENDS

VOTED BEST PIANO BAR & BEST PLACE TO TAKE AN OUT OF TOWN GUEST

N BRING IPON U O C S THI ONE AND GETIZER T APPE OFF! FOR 1/2

Wednesday, May 20

What’s VHS ÜBER ALLIES PRESENTS: CLASS OF 1999 doing on the music calendar, you say? You’d be hard-pressed to find a film with this high a magnitude of punk. Not actual punk-rock music, but Hollywood’s interpretation of punk—you know, mohawks, spikes, chains hanging from everything. The movie is set in Seattle in the future (16 years ago). High schoolers have become so punk that frightened adults build terminator-esque teachers (that of course go murderously haywire) to get a handle on the overwhelmingly punk-rock futuristic teenage hoodlums. “Presented in VHS”—as if there were any other way. The Highline, 210 Broadway E., 328-7837, highlineseattle.com. Free.

7 p.m. 21 and over. WL Ah, RAIN FEST: The Gathering of the Nodruggalos.

J/k, please don’t hurt me. It’s Seattle’s best DIY hardcore/punk/metal (mostly straight-edge) alternative to Sasquatch! Sunday’s headliner is legendary New York hardcore band Judge. Legend has it that when the drummer of Youth of Today, Mike “Judge” Ferraro, got sick of people calling them “too militant,” he set out to form the most overtly militant band of all. And Judge was born. But are they militant enough? Go to the show and you be the judge of Judge. Neumos, 925 E. Pike St., 709-9442, neumos.com. 6 p.m. Three-day passes $90. All ages.

Fri.–Sun. WL

If you want to hear “the bad intentions and poor decisions” of four friends, check out BAD MOTIVATORS. They really milk the whole moody, doom-and-gloom surf-rock thing. On an earlier demo you could find song titles such as “Dark Art,” “See You Cry,” “Lonely Ghost,” and “We All Are Ghosts.” On its latest, EP-3PO, the band has given up capital letters like many Tumblr teens. Aside from the opener “i was knockin on your door (last night),” in which the protagonist is a little too whiny, it’s pretty good. With Wolfgang Fuck, BrainDrain.

Funhouse, 109 Eastlake Ave. E., 262-0482, elcorazon seattle.com. 8 p.m. $7. 21 and over. DIANA M. LE

Thursday, May 21

Armed to the teeth with bodacious hip-hop dance anthems, DOUBLE DUCHESS offers an armada of pump-up jammers you can dance to in each dazzling moment of your fancy night on the town. One of the duo’s videos features Kelly Osbourne farting purple smoke and, true to the band name, jumping rope with a gargantuan Rapunzel weave. So it’s that kind of party!

With Glitterbang, Gaymous, and DJ Mister Sister.

Kremwerk, 1909 Minor Ave., 682-2935. kremwerk.com.

8 p.m. No cover. 21 and over. WARREN LANGFORD

Friday, May 22

SEATTLE, WA • 206.839.1300 WWW.ILOVE88KEYS.COM 315 2nd Ave South

thank you major sponsors:

Olympia-born African folk band MAZIGAZI emphasizes co-existence in its work, and it knows something about the subject; after starting as a family band, the outfit has grown to include nine members. With a blend of Swahili and English lyrics, the music is pretty light and upbeat, and can be almost overwhelming in its positivity. With Corespondents, Hijos de Agueybana. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle. wordpress.com. 9 p.m. $5. 21 and over. DML Every year Seattle kicks off the summer fun season, full of events like the Fremont Solstice Fair, the Bite of Seattle, Seafair, the Capitol Hill Block Party, etc., with NORTHWEST FOLKLIFE FESTIVAL. It’s a beautiful gathering of art, cultural exchange, and of course music. This year’s lineup looks particularly solid, featuring a lot of local sweethearts: Moor Gang, Prom Queen, Ravenna Woods, Tomo Nakayama, Lori Goldston, and Gabriel Teodros, plus DJ sets by KEXP’s Larry Mizell Jr. and Sharlese. You also can’t beat free. Seattle Center, nwfolklife.org. Free. All ages. Fri.–Sun. DML

Monday, May 25

COURTESY OF THE ARTIST

tractor

Like many good bands, LISTEN LADY is named after a Simpsons reference. On its self-titled 7-inch, released last July, the punk band performs songs about a range of topics, from being in love, or limerence, or whatever (“Rain it Down,” “Little Mouse”) to what it’s like to have guys aggressively hitting on you at bars/parties even after you tell them you’re not interested (“Hey Listen”). Come to the show and buy some new Simpsons-themed merch the band just released. With Spokenest, Mommy Long Legs, Slow Code. Victory Lounge, 433 Eastlake Ave. E., 382-4467, victorylounge.com. 9 p.m. $6. 21 and over.

DML

Tuesday, May 26

ble at a l i a v a s tickectketswest.com ti and the r heate liberotxy otffice b

After releasing its fourth studio album, You Are My Sunshine (2008), Christian/alternative rock band COPELAND broke up in 2010. The band reunited in 2014 to record and release Ixora, which reached #93 on the U.S. charts. Not bad for a band that’d been out of commission for six years. Paramore even invited them on tour. It’s the least that that hugely popular band could do; its very first show ever was opening for Copeland years ago. With The Weather, Valise. Neumos, 925 E. Pike St., 709-9442, neumos. com. 7 p.m. $20 adv. All ages. DML

4 DAYS OF ACTIVITIES IN ASTORIA AND CANNON BEA

4 DAYS OF ACTIVITIES IN ASTORIA AND CANNON BEACH, OREGON

concert and movie at warren field, as seen in the goonies • seek the rich stuff on the one-eyed willy treasure hunt with geocaching • meet up with other fans at ’80s night out • truffle shuffle 5k fun run gear up at ’80s con with exclusive 30th-anniversary products, original art, memorabilia and more THEGOONDOCKS.ORG • FACEBOOK.COM/GOONIESDAY • TWITTER.COM/ASTORIAGOONIE

Astoria Warrenton Area Chamber of Commerce: (503) 325-6311 or (800) 875-6807 • Event Headquarters at Astoria Armory: 1636 Exchange St. Dark Horse Comics and the Dark Horse Logo are trademarks of Dark Horse Comics, Inc. THE GOONIES and all related characters and elements are trademarks of and (c) Warner Bros. Entertainment. The Geocaching Logo is a registered trademark of Groundspeak, Inc. Used with permission.

Grave Babies For the day drinkers among you hardy enough to survive a 9 p.m. hangover: GRAVE BABIES headlines this week’s installment of the Chop Suey $1 beer day party: Kill the Keg. Grave Babies’ glitch-krieg goth can be almost hilariously earnest and grandiose.

The band started as an inside joke, but upon discovering that it was actually really good at that kind of beat-driven goth rock, it blossomed into a brooding, pierced, and leather-bound butterfly. With So Pitted, Briana Marela, Red Liquid. Chop Suey, 1325 E. Madison St., 538-0556, chopsuey.com. 3 p.m. $5.

21 and over. WL

ELEANOR PETRY

SEATTLE WEEKLY • MAY 20 — 26, 2015

Sunday, May 24

36

Listen Lady

Wednesday, May 27

BARRY MANILOW’s worst-kept secret is that he was a

prolific jingle writer. Who could forget “Like a good neighbor, State Farm is there?” Or “I am stuck on Band-Aid brand, ’cause Band-Aid’s stuck on me.”

Or my all-time favorite, “Give your face . . . something to smile about . . . With Stridex!” Something tells me we won’t be seeing him perform these diabolical earworms. He’s dubbed this “The Farewell Tour,” so come feast your ears on “Mandy” and “Copacabana” one last time. With Dave Koz. Key Arena, Seattle Center, keyarena.com. 7:30 p.m. $17.75–$125.75. All ages. WL

Leavenworth International Accordion Celebration

NEON TREES

June 18-21, 2015

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

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

facebook.com/SeattleWeekly The YWCA

of Seattle|King|Snohomish seeks a

Rapid Rehousing for Single Adults Employment Navigator

The Employment Navigator will assist participants in obtaining permanent unsubsidized employment in a chosen career pathway leading to a living wage. Additional goals will be employment retention and wage progression. The Employment Navigator will work closely with the Housing Case Manager to coordinate key service areas, including workforce development and housing. The Employment Navigator will also collaborate with Department of Social and Health Services (DSHS) for clients receiving food stamps; community and technical colleges, for clients needing short term training; and other workforce development programs and area employers to connect participants to job opportunities.

THE WATERBOYS with CONNOR KENNEDY

5/21

JJ GREY + MOFRO WALK OFF THE EARTH

5/28

with ETHAN TUCKER BAND

WITH SCOTT HELMAN

with BULLY

6/4

with ABACABA, Six 2 Midnight, Plus Guests Doors at 8:00PM / Show at 8:30 21+. $6 ADV / $8 DOS

FRIDAY MAY 22ND FUNHOUSE EP RELEASE SHOW

DIAMANTI

SATURDAY MAY 23RD EL CORAZON

INTO THE FLOOD with Sisyphean Conscience, Prometheus, Projections, A Crime Of Passion, Ashes Of Existence Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY MAY 23RD FUNHOUSE BRIAN FOSS PRESENTS:

SICK WARD

with The Nervous (DENVER, CO), Line Traps (VANCOUVER, BC), HellBat, Plus Guests Doors at 8:00PM / Show at 9:00. 21+. $7

MUSICWERKS SEATTLE & EL CORAZON PRESENT:

AN EVENING WITH LAIBACH Doors at 7:00PM / Show at 8:00 21+. $18 ADV / $20 DOS

with ART OF DYING

8/7

RISE AGAINST

ERIC GALES

w/Nolan Garrett, South Jackson, Plus Guests Doors at 7:30PM / Show at 8:30 21+. $15 ADV / $20 DOS

WEDNESDAY MAY 27TH FUNHOUSE

KILLER BEE

JUST ANNOUNCED 6/10 - TSUNAMI - “WETTER, SET, GO” 6/19 FUNHOUSE - DTCV 7/28 - COLISEUM 8/9 - MOONSHINE BANDITS 8/9 FUNHOUSE - KING RAAM 8/10 - SEAN DANIELSEN (FROM SMILE EMPTY SOUL) 8/19 FUNHOUSE - CASTLE 9/6 FUNHOUSE - DRAG THE RIVER UP & COMING 5/28 - CHUNK!, NO CAPTAIN CHUNK! 5/28 FUNHOUSE - MICROWAVE 5/29 - PRESTIGE (FINAL SHOW) 5/30 FUNHOUSE - LUCKY MACHETE 5/31 FUNHOUSE - CHARMING LIARS 6/2 FUNHOUSE NEGATIVE HOLE 6/3 FUNHOUSE - BOY HITS CAR 6/4 FUNHOUSE - HUGH CORNWELL 6/5 FUNHOUSE - LEAST OF THESE 6/6 - TEENAGE BOTTLEROCKET 6/7 - BLACK SKY 6/7 FUNHOUSE - EIKTHYRNIR 6/8 FUNHOUSE - SAPIENT 6/9 - CROWBAR

9/3

12/15

with KILLSWITCH ENGAGE + LETLIVE.

SCOTT BRADLEE’S POSTMODERN JUKEBOX

THE FUNHOUSE BAR IS OPEN FROM 3:00PM TO 2:00AM DAILY AND HAPPY HOUR IS FROM 3:00PM UNTIL 6:00PM. Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

8:30 PM

9PM

8:30 PM

SHOWBOX AND KISW PRESENT

TUESDAY MAY 26TH EL CORAZON

(featuring Paul Chapman of UFO) Doors at 9:00PM / Show at 11:00 21+. FREE!

9PM

with PENNYWISE + CANCER BATS

7/28

DJ’s Brian Damage & Donnie Dorko (Punk, Glam, Power Pop & Other Surprises) Doors at 3:00PM. 21+. FREE!

WEDNESDAY MAY 27TH EL CORAZON

8PM

7;30 PM

DANZIG

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ANA JU

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L MARI GA

What We Should Ban in Seattle Parks Instead of Smoking

A

nytime I go to a dive bar or pool hall or rock-’n’-roll show, in the back of my mind it feels like there’s something missing. It’s not the booze or long-lost jukeboxes, it’s not the condom vending machines, filthy bathrooms, or obnoxious, aging, bandana-wearing Axl Rose doppelgängers. So what exactly is it?

Smoke! I’m missing the damn cigarette smoke that for so long provided a hazy backdrop of second-hand nostalgia.

I’ve never actually smoked—tobacco, anyway.

But in certain places it seems par for the course.

NeverHIGHERGROUND theless,

BY MICHAEL A. STUSSER society banned the practice of cigar and cigarette smoking—and it’s a done deal. Hell, once the Italians banned smoking in restaurants and bars, it was clear there was no turning back.

Recently, in addition to the indoor smoking ban and a ban on smoking in public spaces, our mayor and the parks department have proposed fully eliminating smoking in each and every Seattle city park. What’s next?! Banning adults using the swing sets, or not letting you piss in the kiddie pool? (Wait.)

Look, we all want our parks to be beautiful.

Which is why it’s illegal to litter there (including leaving cigarette butts, fast-food wrappers, or RedBulls strewn on the grass). And no one wants to have smoke blown into their children’s faces while picnicking at Gas Works or playing catch at Lincoln Park. Which is why the Seattle parks department banned smoking, chewing, and any tobacco use within 25 feet of other peeps at all beaches, parks, and playgrounds. (Not one citation has been issued by park rangers for this order since it went into effect in 2010, by the way.)

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(and lung cancer) and increasing healthy environments does hold some water, this total park ban seems a spot overly intrusive, and may actually be a smoke screen over messing with the homeless.

“Is this ban really about public health, or is it about discriminating against homeless people?” posed Sharon Jones, a Real Change vendor, at a recent public hearing on the matter.

“Being homeless is hard enough—a smoking ban will give the police a reason to harass the poor . . . Homelessness is not a crime.”

The ACLU agrees. “What we think would happen in practice is this would get disproportionately enforced against people who are vulnerable populations,” noted spokesman Doug Honig, “and potentially they can be banned from parks—which are an important place for them to spend time—or even arrested.”

Almost 1,000 cities, including the Big Apple and San Fran, have total or partial bans on firing up in parks, rather than the 25-foot rule we’ve adopted. (So does Portland, but they’re just trying to stay relevant in any way possible.)

The complete bans are obviously more straightforward and easier to enforce and communicate to the public. But why stop there?

Wanna ban some stuff in our city parks? How about frisbees? It’s extremely hard to relax when discs are zooming nearby—one wrong ring-toss away from destroying my latte. And how about forbidding all big-ass boom boxes—as well as super-loud people? I’d also like to eliminate wide-legged manspreaders on park benches, public nail-clippers, and studs in really good shape who take their shirts off! (Not to mention slovenly slackers who should not be taking their shirts off under any circumstances.)

Ban Boot Camp fitness classes on public land, Tai Chi types, and yoginis too! And nix non-sharing birthday-cake partiers!

38

The Board of Park Commissioners will make a final recommendation to the superintendent on the proposed blanket smoking ban in Seattle parks on May 28. (In case you’re wondering, the proposed rule doesn’t specifically apply to vape pens—or electronic cigarettes—so regardless of how the wind blows, I’m in a win/win scenario here! The increasingly common smell of wafting ganja in parks is far more enjoyable than tobacco smoke anyway.) Smoking is already banned in all public spaces and workplaces (enacted in 2005). While the argument for reducing second-hand smoke

I also loathe those skateboard punks, who you know are violating the smoking ban when no one’s looking! Hell, if I was calling the shots, we’d ban screaming KIDS from all city parks—talk about a buzz-kill! And while we’re at it, let’s forbid digital devices: I’m sick of seeing people more engaged with their iPhones than with the incredible views smack-dab in front of them. Maybe a giant waft of stinky smoke is just what the doctor ordered to get them to look up from their screens and into the bright light of day!

Put that in your park and smoke it. E For more Higher Ground, visit highergroundtv.com.

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