Seattle Weekly, June 03, 2015

JUNE 3-9, 2015 I VOLUME 40 I NUMBER 22

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SEATTLEWEEKLY.COM I FREE

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FOOD SNAILS. THEY’RE WHAT’S FOR DINNER PAGE 13 MUSIC YOU CAN’T LOOK AWAY FROM NIGHTSPACE PAGE 27

A COMIC HISTORY OF PACIFIC NORTHWEST CULTS.

ART AND TEXT BY SETH GOODKIND PAGE 11

PREDATORS&& PROPHETS PREDATORS Going, Going, Ganja

Ed Murray gets tough on unregulated medical-marijuana dispensaries. Finally.

By Casey Jaywork Page 5

The Anti-007

No, Melissa McCarthy’s latest isn’t very good, but that isn’t why it matters.

By Brian Miller Page 21

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inside» June 3–9, 2015

NUrtUre • your • CallINg

VOLUME 40 | NUMBER 22 » SEATTLEWEEKLY.COM

learning how to use healthy “I’m food to my advantage, and how to share that knowledge. ” Terasak Roeksbutr, MS (2013)

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news&comment 5

WEED WACKER

BY CASEY JAYWORK | Mayor Murray’s

new regulations for medical-marijuana dispensaries mean a few will close.

Plus: Washington’s water woes, and a new life for the old Lusty Lady building.

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CULT CLASSICS

BY SETH GOODKIND | Six tales from

the weird history of the Northwest’s fringe religions and charismatic charlatans, in graphic-novel form.

food&drink

13 ESCAR-GOLD

BY NICOLE SPRINKLE | “Mushroomy, a little meaty, and a little vegetal,” snails are making a comeback on local menus.

13 | FOOD NEWS/THE WEEKLY DISH 14 | THE BAR CODE

arts&culture 15 SHE GOES TO THE MUSEUM

BY BRIAN MILLER | A distaff roundup

at the Henry, SAAM, and the OSP. 15 | THE PICK LIST 17 | OPENING NIGHTS | The ’90s was

a bad time to be working in Hollywood.

17 | PERFORMANCE 18 | VISUAL ARTS

19 FILM

OPENING THIS WEEK | Russell Wilson

23 | FILM CALENDAR

24 MUSIC

BY DAVID EINMO | A new (faster,

heavier) release from Kinski. Plus: Turning DJing into performance art and electro into “something with . . . a human touch.”

28 | THE WEEK AHEAD

odds&ends

29 | HIGHER GROUND 30 | CLASSIFIEDS

»cover credits

ILLUSTRATION BY SETH GOODKIND

Editor-in-Chief Mark Baumgarten

Degrees Include: • Ayurvedic Sciences • Naturopathic Medicine • Nutrition • Human Biology • Exercise Science

EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork 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 PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Joanna Kresge ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Cecilia Corsano-Leopizzi, Rose Monahan Peter Muller, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich Publisher Bob Baranski 206-623-0500

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news&comment

Going, Going, Ganja

The city finally looks poised to crack down on rogue pot dispensaries.

But is Murray’s plan more political theatrics than effective policy?

What? We’re in a Drought? In Seattle???

BY CASEY JAYWORK

BY SAMANTHA LARSON

A

since legalization. City attorney Pete Holmes described the situation this way in a January legal memo: “Initially, all of the retail stores that opened in the summer experienced severe supply shortages. Lacking legal supply sufficient to meet demand, opportunistic illegal suppliers—often thinly veiled as medical-marijuana providers—continued to flourish . . . Even when legal supply reaches adequate levels, unlicensed, unregulated, and untaxed suppliers will always have an unfair economic advantage in the absence of a clear and committed threat of enforcement against illegal activity.”

But while everyone recognized that many of the new pot shops were not what they claimed to be, no one seemed willing to do anything about it

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for more than two years, to the frustration of neighborhood activists, 502 marijuana business owners, and legitimate medical-marijuana sellers alike. This inaction seemed to be a case of no one wanting to draw first. But now that the state’s pulled its pistol, Murray has too.

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These three pot dispensaries operate within a block of each other on South Jackson Street. Seattle Caregivers (bottom left) is on a list of dispensaries the Mayor’s office says may close with new regulations, and Columbia Holistics (top) has been referred to the City Attorney’s office for other violations.

JOANNA KRESGE

fter years of transparently illegal hijinks, Seattle’s bringing down the hammer on unregulated medicalmarijuana dispensaries.

Mayor Ed Murray last week proposed legislation that would require the ubiquitous bearers of green crosses to hold special regulatory licenses within months, and bar nearly any dispensary that opened after 2012 from getting one. The mayor’s office late Friday released a preliminary list of 59 dispensaries that will probably be closed within months if the City Council approves his proposal.

Approval seems likely, as the current WildWest medical-marijuana market has few allies in elected office. Following the passage of Senate Bill 5052 last month, by summer 2016 the state will require all dispensaries to have the same I-502 license as recreational stores. In other words, dispensaries as a distinct legal entity will cease to exist; there will be only one kind of pot store, for both medical and recreational users.

Now the mayor wants to, er, pre-emptively follow the state’s new rules for medical marijuana.

The LCB currently has nine different teams hashing out exactly how that transition will work, says spokesperson Randy Simmons, but the main criteria for new licenses will be that a dispensary is paid up on its taxes and started business before legalization in 2013. That cutoff date gives the LCB a blunt method of weeding out the gold-rushers from the long-haulers. “After the passage of 502,” Simmons says, “a lot of dispensaries popped up.”

And how. According to Murray’s office, the number of dispensaries in Seattle has doubled

Last week, Casey Jaywork reported on how Seattle laws target the homeless, to little effect (“Hiding the Homeless,” May 27, 2015). As once-homeless man Kirk McClain put it, “The way to solve [homelessness] is not to pass laws that violate people’s human rights . . . You have to fix the entire system. You can’t work within the system when the system itself is broken, because there are no levers that create actual results.” User Saras Gabbery responded on seattleweekly.com: “I know, Ms.Obvious here . . . We’ve got a huge homelessness issue in Seattle, in part because many other cities in the area have more anti-homeless laws than Seattle. These other cities know what they’re doing, pushing their share on to Seattle streets.There’s a way to work all this out, we just need representatives that have the guts to say flat out what we must do as a community. That man/woman/child sleeping under a Seattle bridge or at a bus stop [are] ‘every day people,’ they are ‘citizens of Seattle.’ ”

Biggest Impacts California’s water is distributed through an extensive interconnected system, meaning it can travel more than 240 miles through aqueducts before it comes out those sprinklers on the other side. In Washington, water is much more locally sourced throughout the state, meaning different parts of the state depend upon different reservoirs. We’re unlikely to see water rationing in Seattle anytime soon, because when we turn on the taps, what comes out is stored rainwater—and meteorologists report that Washington did get close to its normal share of rain this year. However, this year’s snowpack is just 16 percent of normal. That most of this year’s snow is already melted means that throughout the summer, rivers could run increasingly dry.

Hot Days Ahead However, the Washington Department of Ecology’s decision to declare the emergency a statewide affair is less a matter of its immediate effects than of anticipation of summer and fall weather, including here in Seattle. Like last year’s, summer 2015 is expected to be hotter and drier than normal. We’ve already been seeing a lot of warm days in Seattle this spring, and we haven’t even gotten to the expected peak of higher-than-normal temps, from late June to mid-July. Should this warm spell continue into next winter, Seattleites should brace themselves for impacts like higher food prices for some local favorites such as apples and beer, since tree fruits and hops are grown within the regions most affected by the drought.

And Even Hotter Days After That No

matter what, we’re probably not in the clear for the long haul. University of Washington professor and popular weather blogger Cliff Mass has compared this year’s atypical weather patterns to what will be the norm by 2070, due to climate change. Inslee’s decision to draw heightened attention to this year’s drought conditions may be in part because such conditions could increasingly affect us in years to come. E

news@seattleweekly.com

SEATTLE W EE KLY • JUN E 3 — 9, 2015

JOANNA KRESGE

JOANNA KRESGE

the chatterbox »Freeattle, Revisited

ov. Jay Inslee’s declaration of a statewide drought emergency a few weeks ago may have left some Seattle residents perplexed. The evergreens are still lush, the views of Rainier are still often obscured by clouds, and the winter rains came down in their usual bouts. “Emergency” seems like a strong word to describe a phenomenon that most of us have hardly noticed. It is true that Washington’s water woes are (thankfully) far behind those of notoriously parched California. Unlike Los Angelenos, Seattleites aren’t likely to be called upon to stop filling their swimming pools or washing their cars anytime soon. But do we really do that stuff anyway? The ways the drought will affect us will have their own Pacific Northwest flair. Here’s a primer on how our state’s drought is playing out.

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news&comment» Going, Going, Ganja » FROM PAGE 5

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For some dispensaries, the proposed regulation is a welcome change. “The people that are really involved in the medical community . . . have really been asking for guidance and regulation for a long time,” says Maryam Mirnateghi, owner of Fusion dispensary. She’s pleased that the city and state will be bringing dispensaries into the legal fold, and says that it’s hard to play by the rules when sketchy competitors don’t. “I pay my taxes, I buy by the rules, I don’t buy cheap, outof-state product,” she says. “I pay all [the] costs of compliance, and so it’s really hard to compete with the people who are popping up everywhere that don’t.” E MORE

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It’s important to emphasize that lots of dispensaries play by the rules. Seattle Weekly attempted unauthorized buys at The Source by Occidental Park and Fusion by South Lake Union. Both dispensaries turned us away when we were unable to produce a doctor’s note. But not all medical joints are so scrupulous. After Murray announced his plan, SW was able to procure a Ziploc baggie of (rather harsh) ganja in Little Saigon at Seattle Caregivers, where staff checked neither ID nor authorization. This is a problem for anyone worried about minors buying pot or non-patients buying tax-free pot—and for nearby Vietnamese business owners, who, as SW writer Ellis E. Conklin reported last month (“Fall of Saigon,” May 20), are upset by “the tons of people who come to Little Saigon for medical marijuana.”

The new regulatory business licenses for pot stores that Murray proposed last week are similar to existing licenses for taxis and bathhouses, under Title 6 of the municipal code. It’s a somewhat redundant proposal that would establish a city license that requires a state license as a prerequisite. The city license will use the same criteria as the LCB—but because state licenses won’t become available for months, the city license includes a grace period, effectively making the prerequisite a postrequisite that won’t be required until state licenses are available. The effort is a relief to dispensaries that won’t get shut down, since I-502 incorporation amounts to full economic citizenship for stores that have long been semi-legal. At the same time, Murray can brand the changes as a strong stand for law and order.

This could just be political theatrics, passing a law that looks like bold, innovative action but isn’t.

The rationale offered by the Mayor’s office, though, is that a city-level regulation allows for better, faster, more locally informed enforcement. By requiring dispensaries to have a specific license, the city is giving itself more options for forcing compliance. From the summary of Murray’s bill: “A regulatory business license allows for the City to enact specific rules on licensed industries in order to ensure compliance”—rather than just saying “Behave yourselves!” and hoping for the best.

Longtime marijuana activist Philip Dawdy says the city should have done this at the moment of legalization. He worries that legit dispensaries that opened after 2013 will get shafted: “The city didn’t have a stop sign up that said ‘Don’t open’ ” to those dispensaries. “It’s tricky and it’s probably not fair,” but Murray’s proposed legislation, with some tweaks, is “workable,” he says. “This is a much more nuanced thing than good or bad.”

The Seven Seas building (left) is sort of an X-rated version of Ballard’s famous Up house (right).

The Lusty Lady Finally Succumbs to Developers

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t was the downtown strip club infamous for its sex acts and daily marquee quips. “Chicks Ahoy!” the theater sign out front said during Seafair. “Nude World Order” greeted WTO rioters. And on Turkey Day, the nudie girls inside wished everyone “Happy Spanksgiving!”

But the Lusty Lady began losing money, and rumors spread that the quarter-century-old First Avenue strip joint was going dark. The marquee denied it: “We’re Open Not Clothed!” it insisted.

But in 2010, the tacky theater with the sticky floor went bottoms-up.

The end came after longtime building owner Christto Tolias refused to sell the old six-story structure to a group of heavyweight developers that included former Seattle Mayor Paul Schell.

In a city where new developBY RICK ANDERSON ment effortlessly bulldozes history, Tolias passed up millions of dollars because Schell and his investors wanted to tear down the Lusty building to make room for their mammoth 21-story, $120 million Four Seasons hotel and condo tower next door at First Avenue and Union Street.

The Four Seasons was built, but the Lusty building was left standing, stubbornly scrunched between the new hotel and the hulking Harbor Steps condo development.

But today, in something of a bow to Tolias’ stand and perhaps offering a bit of revenge as well, the building is coming back to life, and in competition with the Four Seasons.

The currently vacant 24,000-square-foot brick-and-stone masonry building will become a 43-room boutique hotel set to open in 2017. The structure at 1315 First Ave. will include retail space and a rooftop deck, according to Seattle real-estate development firm Revolve.

Spokesperson Traci Paulk says the project will include a street-level restaurant on First, a speakeasy bar on Post Alley, and a large open-air rooftop bar. All in all, it seems like a happy ending, or new beginning, for the old building, having survived the wrecking ball—as, for example, Edith

SEATTLELAND

Macefield’s Ballard “Up House” did on a lesser scale. Macefield, too, turned down a reported $1 million to save her treasured abode from destruction. One difference: Macefield’s story was the basis of a PG-rated Pixar film. That’s probably not in the cards for the Lusty Lady.

There’s no indication that any of the bars will be named the Seven Seas in honor of the old seaman’s bar which long inhabited the building— along with a gay strip club—before the Lusty Lady moved in. But in a news release, Paulk refers to the property as the Seven Seas building, as do many old-timers. “Having served a variety of uses over the years, including hotel, tavern, housing, community service, and a shooting range,” Paulk says, “the building has been vacant since 1985 save for its most famous tenant, the Lusty Lady, which operated at the building from 1985 until shuttering its doors in 2010.”

Paulk says Revolve has signed a long-term ground

lease with the C.T. Tolias Family Partnership, planning to retrofit the building and add a light-and-air well extending through the center of the structure.

Most important, developers plan on “retaining the building’s character,” she says. However, the building’s characters, who used to inhabit the video and strip-stage booths, are less likely to return—such as the Guy in the Slip, whom a stripper named Roux once described to me: “The kind of guys who come here are the ones who want something that’s a little bit different than your average strip club,” she said. “There’s a guy that always comes in here in sunglasses and a hat, and he’s wearing a slip underneath, and he just wants you to watch him.” After he would enter her Private Pleasures booth, she recalled, he’d hold up his slip and be exposed from waist down. Then he’d be “wanking away while I dance for him.” Once, she said, in the middle of a dance, “He says, ‘How do you like my legs?’ I burst out laughing! Kind of ruined his mood.” E

randerson@seattleweekly.com

Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing.

His latest book is Floating Feet: Irregular Dispatches From the Emerald City.

PREDATORS &PROPHETS A COMIC HISTORY OF PACIFIC NORTHWEST CULTS.

BY SETH GOODKIND

T

Seth Goodkind is a Seattle-based illustrator, historian, and comic artist. He is a contributor to Intruder Comics, a resident of Push/Pull Gallery in Greenwood, and the host of Exterminator City: Underground Comics Market. Many thanks to Paul Bourgeoisie, Billis Helg, and Scott Grabinski for tips and leads on these stories, and to Seattle’s underground comics community for its support.

Information provided by the Community Chapel and Bible Training Center, Context Institute, It Takes a Cult (2010), Freedom of Mind Resource Center, History Link, KOMO News, Native American Netroots, Offbeat Oregon History, The Oregonian, Ramtha’s School of Enlightenment, The Seattle Times, and the Southern Poverty Law Center.

» CONTINUED ON PAGE 9

SEATTLE W EE KLY • JUN E 3 — 9, 2015

he decline and disintegration of Mars Hill Church last year may have surprised some, but to others it was predictable, and not without precedent.The Pacific Northwest has been home to numerous utopian communes and fanatical religious groups, from the radical to the deeply conservative.

Since the arrival of European Christianity and its normative pall, outsider and fringe belief has been a staple of the local culture. From Eastern philosophies to the syncretic, the Pacific Northwest has been a site of religious demagoguery for ages, and the present is no exception.

An apparent paradise of both penitent and celebratory climate, the Northwest hosts a tenacious diversity of believers willing to glom onto charismatic figures who claim to be direct or unique conduits of esoteric knowledge. In spite of disgrace, tattooedbro-Jesus preacher Mark Driscoll has recently reemerged to speak his “word” to adoring audiences, while some of the bearded figures of the Aquarian Age still reign, albeit over much-reduced kingdoms of Love.

That these characters and their communities emerge from the Pacific Northwest may not be surprising, but they still warrant consideration. Here are six stories of the most interesting among them.

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food&drink

A Snail Tale

FoodNews

BY JASON PRICE

Escargot are having a renaissance, and one Washington farmer may be the go-to guy for the freshest product out there.

What this town needs is more tasty Latin food. And sure, while I still love Paseo’s no matter what anyone says, I’d also like a few more options.

Which is why I’m pulling for Vaca Loco inside Broadway Alley on Capitol Hill. With nearly three dozen sandwiches priced at $8.50, you really can’t go wrong. Vaca Loco is open for breakfast on weekends as well as lunch, and will be serving until 9 p.m.

BY NICOLE SPRINKLE

R

When the weather starts to get warmer, there’s little better than sipping a cold glass of rosé on a balcony somewhere with a dozen oysters. And while I can’t promise that this Saturday will be sunny and 80 degrees, I can tell you that Bottlehouse Seattle is hosting Summer Rosé Days from 5–9 p.m. on June 6. Here you’ll get to taste over 25 rosés with food, live music, and more. Tickets, $22 and up, can be purchased at brownpapertickets.com.

June is a month of partnership between Yakima’s Tieton Cider Works and Capitol Cider (818 E. Pike St.). Besides several Tieton ciders on tap and in cans, there’ll be four events—including a “Tap Takeover” 8–10 p.m. on Wed., June 10. The evening will include the new limited-release Sparkling Perry served along with their wild Washington apple, apricot, cherry, and dry-hopped ciders. Additional events are an “Apples Get Paired!” chef’s collaborative dinner on June 15 and a promo night for their Rambling Route canned cider on the 24th. E morningfoodnews@seattleweekly.com

Top: Fattening it up. Bottom: Brewer with his “product”; snails served at Cassis.

he looked to a blurry graphic he found on the Internet from Poland.

Surrounding each of the five pens’ perimeters are two thin metal strips about a centimeter apart—mini-electric fences to keep the snails from jumping ship. After they’ve been jolted a few times, they generally stop trying. If they make it over the first, the second acts as a last defense. But though snails have a reputation for moving slowly, I marvel as one tries to escape. In a single, herculean thrust, its entire body seems to rise out of its shell, like a cobra suddenly rearing its head, and it clears both fences. Brewer quickly grabs it and ends its dream of freedom.

In the three years since he started the farm, Brewer has found one investor, but he desperately needs another to provide things like an automatic irrigation system (instead of hosing

» CONTINUED ON PAGE 14

BY NICOLE SPRINKLE

The popular pop-up-turned-brick-and-mortar restaurant (thanks to Tim Love’s investment via Restaurant Kickstart) Kraken Congee now resides in the former Little Uncle space in Pioneer Square. Though congee for $14 and up might sound expensive for rice porridge, it’s the ingredients enlivening the homey dish that make it worth the cost. I had perhaps the most winter-meetssummer bowl this week: nuoc chom hangar steak with shallots, blistered cherry tomatoes, cilantro, and toasted peanut. Steak with roasted tomatoes is a summer grilling favorite of mine, but paired with soupy rice, it was a belly-warming comfort on a chilly, rainy Monday. The steak, cooked perfectly rare, is pliant and flavorful—not such an easy accomplishment with a hangar cut—and the tomatoes’ zesty pop, the peanuts’ crunch, and the cilantro’s freshness bring it all pleasingly together and keep it in the Asian realm. E

nsprinkle@seattleweekly.com

SEATTLE W EE KLY • JUN E 3 — 9, 2015

helped) to find the Mediterranean species he uses, one of 50,000—of which just five or six are considered edible. He’s chosen it for its larger size, and because he says it’s more flavorful and not chewy.

So why doesn’t he just buy some from other snail farmers? The simple answer is that the USDA doesn’t allow the shipping of live snails or snail eggs between states. But even if they did, it’d hardly matter.

Besides a few very small operations—including a woman in Sonoma, Calif., who feeds her snails only basil—Brewer knows of no other snail farmers in the country. Thus he was totally on his own in figuring out how to start a snail farm. He tried reaching out to Eastern European farmers, who raise most of the 500 million snails eaten by the French each year, but “most won’t speak to me because I’m perceived as a threat.” To guide him in building his snail pens,

TheWeeklyDish

Kraken Congee’s hangar-steak congee.

NICOLE SPRINKLE

PHOTOS COURTESY OF RIC BREWER

ic Brewer has a dream—and it’s inching slowly in its own slime in a 72-cubic-foot open-roof pen. That would be a snail—or actually snails, 10,000 of them that he’s raised on his “Little Gray Farm” in Quilcene, Wash., a number he hopes to grow to a quarter-million or more per year. That’s how many he’ll need to supply the many restaurants looking for fresh gastropods, escargot, rather than canned ones from Europe that “taste like dirt,” says chef Derek Ronspies of Le Petit Cochon.

Surrounded by thousands of the shell-bearing animals in Tukwila at Brewer’s “purging” facility—essentially a warehouse where mature snails are cleaned out before sale by being fed on organic corn meal (fiber) and then only water for several days—it’s hard to imagine why anyone would choose this career path.

For starters, it’s just plain weird. But Brewer, who worked as Communications Manager for 13 years at The Woodland Park Zoo, before quitting three years ago to focus on his snails, says he’s “interested in farming and food safety in general, and where food comes from.” Eating lower on the food chain, too, is a big priority for him. He was also the North America Species Survival Coordinator for Association of Zoos & Aquariums Partula Snail Breeding Project. So his snail trail is a natural one, relatively speaking.

He pauses to “give them a bath”: hosing them down in their plastic pens with warm water. “They’re kind of little pigs when they eat,” he says, pointing to a mass of them rolling around in the corn meal they’re consuming.

Suddenly the shells come alive; gray, glutinous necks stretch languorously out, their tentacles twitching. I’m oddly reminded of sea lions, rolling and preening as they bask in the sun.

The bath “makes them frisky,” Brewer tells me.

And sure enough, I spot several on the prowl.

As one slides up to another, Brewer points out a white dot on its head. It’s a calcium “dart” that it shoots to signal it wants to mate. Seems straightforward enough—until the object of his/ her affection (snails are hermaphrodites) suddenly turns away. And herein lies the challenge Brewer faces in trying to “grow a snail industry.”

Snails are remarkably fickle, it turns out. After they finally copulate—typically an eight-to-10hour session—a snail can then retain the sperm until conditions are favorable, often for months, before it actually self-fertilizes. Then it’s a few weeks until the 20 to 30 eggs hatch, and a year until the babies fully mature to an ideal edible size, roughly equivalent to a nickel.

Brewer points to one small area where he’s segregated about 5,000 1-month-olds, of which he’ll retain about 2,000 for breeding. He also continues to forage on the Olympic peninsula for breeders, where he has another 3,000 snails. In fact, his entire snail population began with local foraging (his mom and her friends

13

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them down himself and putting them into colanders for warm baths) and special greenhouses.

Through an Indiegogo campaign he was able to buy a vacuum sealer, which brings us to his prime differentiator.

Rather than selling them frozen or canned, Brewer either cooks his mature snails lightly, shells them, vacuum-seals them, and ships them on ice overnight, or hand-delivers them live to Seattle clients, including Le Petit Cochon, Cassis, Stumbling Goat Bistro, and Damn the Weather.

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he classic lineup of summertime cocktails is pretty straightforward: the margarita; the daiquiri and its modern offshoot, the mojito; the gin and tonic; the Tom Collins. Well, there’s a new entrant to that list, and it’s taking both Seattle and summer by storm: the Negroni.

In fact, there’s a decent

BY ZACH GEBALLE chance that I’m drinking one while writing this.

The Negroni’s rapid rise is indisputable, but also a bit difficult to explain. It’s made of equal parts Campari, sweet vermouth, and gin, stirred and then typically served with an orange twist. While of course the craftcocktail scene has revived and repopularized a wide range of classics, I can’t quite figure out why the Negroni has been such a sensation. Campari and sweet vermouth both have their detractors, and plenty of people even shy away from gin. Perhaps it’s the cocktail’s undeniable lightness, even if two of the ingredients can feel a bit viscous and heavy on their own.

Or maybe there’s a simpler explanation: It’s freaking delicious. The Negroni does what all great cocktails do: blend several ingredients so that their most desirable traits are emphasized and their shortcomings masked. Campari can overwhelm with its strong bitter-orange flavor, but the sweet vermouth and gin help lessen its impact. Sweet vermouth can be a bit cloying, but chilling the drink helps dilute it.

Gin is awesome, but apparently some people find it too herbaceous; while that aspect isn’t exactly lost in a Negroni, it does take a bit of a back seat to some of the other flavors.

A cocktail this simple to make and yet complex to taste has naturally inspired a host of variants. Of the many on the market, my two favorites are the Boulevardier and the White Negroni. The Boulevardier is made with rye whiskey instead of gin. Some of the brightness and levity of the classic Negroni is lost, but in return you get a slightly richer cocktail and a wonderful spiciness from the rye, which mingles delightfully with the Campari and the sweet vermouth. The White Negroni goes in a slightly different direction, keeping the gin but replacing the Campari with Suze, a French aperitif flavored largely with gentian root, and Cocchi Americano or another Italian vermouth. You don’t get the orange flavor, but this variant is even brighter and more refreshing.

Not coincidentally, we’re smack-dab in the middle of Negroni week, and bars all over the city are highlighting and promoting this unique and summery sip. There of course will always be plenty of room for those other iconic summer cocktails, but I for one am happy to add another to the pantheon. Now who do I see about ordering another? E

E VE N T S

The inside scoop on openings, hotspots and offers.

RESTAURANT

Negronis Join the Summer Cocktail Rotation

PR OMO T ION S

AR T S AN D E N T E R TAIN ME N T H Snails A PPY with H OUR bone marrow at Le Petit Cochon.

Demand is the least of his problems. “A New York restaurant needed 5,000 a month. I can’t do that number yet, but it’s my goal.” Should he get there, at $50 a pound (which is only six to 10 servings), the profits could be considerable.

I ask Ronspies if the snails really are that good—and about diners’ reactions to them on the menu. After all, other than at traditional French restaurants that serve them with melted butter and parsley, Americans haven’t exactly embraced eating a creature that’s essentially a slug with a shell (though much less slimy, Brewer says).

“They are delicious. I was blown away, like ‘Holy shit,’ and it’s rare that I’m blown away by a product anymore. My brother [Dustin Ronspies of Art of the Table] and I tried them at a FarmerFisher-Chef Connection event. We were ready to leave, and then we were like ‘Live snails, whoa.’ ” Ronspies says that though they’re often compared to clams, they actually taste nothing like that. Instead they are “mushroomy, a little meaty, and a little vegetal. Super-tender.” He’s served them in a bone-marrow dish, and plans to use them with black cod: “People love them.”

When they’re on the menu, his waitress wears a T-shirt that Brewer sells, emblazoned with “Hail the Snail.”

Similarly, chef Eli Dahlin at Damn the Weather just got his first delivery from Brewer, and says “What’s really cool is that you can get them live. I have about three pounds moving around in my refrigerator right now,” where, he tells me, they go dormant at that low temperature. He’s also into “the neat helix shape” that’s lost when they’re canned. So far he’s served them with lamb sausage, artichoke, parsley butter, and polenta. He’s had no trouble moving the dish.

“People love snails, and the idea that it’s a local product.” He plans to make artichoke risotto with them soon—a dish he says that Bon Appetit just requested a photo of. Looks like snails may truly be the next big foodie fetish. Let’s hope that Brewer’s slow-moving (literally) operation will be ready to meet it. E

nsprinkle@seattleweekly.com

thebarcode@seattleweekly.com

arts&culture

She Goes to the Museum

ThisWeek’s PickList

Three disparate female artists in three very different shows.

BY BRIAN MILLER

THURSDAY, JUNE 4

Queer Vision 20/20

I

still think SAM’s Elles show three years back was a great and overdue idea—to give the museum entirely over to women artists, who’ve been mostly excluded from the past two millennia of Western art. That was an intentional exhibit at one institution with a big mix of women, some famous, some not. By current coincidence, you get the same effect visiting three shows around town, where one (dead) photographer has long finished her career and two young artists are just beginning theirs.

Bing’s 1936 Hippopotamus, New York City.

At the Henry (though October 18), Ilse Bing: Modern Photographer is a small exhibit culled

Ave., 267-5380, nwfilmforum.org. $6–$11. 7 p.m. happy hour, 8 p.m. movie. BRIAN MILLER

© ELSE BING/HENRY ART GALLERY

At Seattle Asian Art Museum, contemporary Japanese artist Chiho Aoshima creates candycolored, personal tableaux of animist cosmology and kawaii characters. She’s a constructor of intricate worlds whose denizens we can see in 35 small preliminary drawings—later translated by computer into a half-dozen large, glossy dreamscapes and one enormous, wall-filling animation. Played on a continuous loop, the 7-minute new Takaamanohara (or The Plain of High Heaven) depicts the destruction (by volcano and tsunami) and rebirth of a fanciful coastal city. Mischievous Shinto spirits cause the cycle (one by farting), as ruination leads to regeneration, over and over again. You have to watch it several times, ideally from different vantage points, to appreciate the enveloping detail (animated by Bruce Ferguson). I think kids will love it, too; Takaamanohara is a manageable, almost cheerful way of contemplating mortality.

Trained as an economist before joining the studio of Takashi Murakami, Aoshima delivered a few remarks last month for the opening of Rebirth of the World (running through October 4). “I’ve always liked graves and cemeteries,” she said. “I like to imagine the world after death.” And there’s nothing morbid about these funereal scenes, so full of peaceful skeletons, cloud cities, pie-eyed waifs, friendly animals, and wormy, anthropomorphic buildings. Says one little Henry Darger-style cherub in an English-language thought bubble, “Man. It was so much more fun being alive. I hate to go back to the grave.”

Inside Olympic Sculpture Park’s PACCAR Pavilion, Sam Vernon has created large swaths

of nature-patterned wall covering. SAM commissioned her to create a motif that will also be used in the entryway to the museum’s Disguise:

» CONTINUED ON PAGE 16

Jane Hammond

Back when people actually had mail and newspapers delivered to the home, every family had a crazy spinster aunt who sent you clippings— odd photos, stray headlines, random ads, etc.

And if she was particularly eccentric, she’d collage them together somehow. At a much higher level of art, Hammond also appropriates found imagery in her recombinant photo tableaux; or, in her paintings, she’ll replicate the look of old charts, board games, or diagrams from the bygone days of print. Her show In the Mind’s Eye includes sophisticated mixed-media collages that include gold leaf and butterflies, but it’s the patently fake studio photos that most appeal. Background vistas and portrait sitters with nothing in common are forced into the same frame; but then, by virtue of that juxtaposition, you begin to question—or supply—the kinship among such disparate subjects. Pirates, parks, taxidermy, pin-up girls, zoo animals, and yard-sale detritus—all fit into what Hammond calls “the elasticity of meaning.” The New York–based artist will attend First Thursday’s reception and deliver a talk at noon on Saturday. (Through June 27.) Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com.

Free. Reception, 6–8 p.m. BRIAN MILLER

SEATTLE W EE KLY • JUN E 3 — 9, 2015

from the museum’s collection. Born in Germany but a New York City resident for the second half of her life, Bing (1899–1998) is a woman whose career was neatly bisected by the catastrophe of World War II. She began as a street photographer and photo-essayist (for Harper’s Bazaar and others) in Frankfurt and Paris, rubbing shoulders with famous men who were also exploring the new freedom of the light, handheld 35mm Leica camera. She was a peer and pal of Brassaï, André Kertész, and Henri Cartier-Bresson, yet never gained the same renown. Sexism is partly to blame, but she also created a smaller body of work. Her Parisian street scenes of the ’30s are often empty and architectural, without the humanist whimsy (and commercial appeal) of HCB. Nor does she drench those vistas with Brassaï’s inky romance. She’s more a student of form, finding shapes of decay in crumbling cornices and forlorn city corners.

No stranger to New York, Bing traveled there before WWII, even showing at MOMA (yet turning down a job offer from LIFE!). She and her husband were interned in Vichy France, but escaped the Holocaust and settled in Manhattan. There she stuck with photography only until 1959—one reason for her small output and connoisseur’s reputation—before shifting to poetry.

Since an ’80s revival, says the Henry’s Sylvia Wolf (who selected the 25 images), “She’s been added to the canon of modernist photographers.”

Her New York still lifes support that notion—simple objects like pliers, wire, or a wagon wheel have a kinship to her avant-garde images of the interwar period. Even shooting a tired hippo framed by zoo bars, she’s more intent on form than personality.

SW FILE PHOTO

JOSHUA WHITE

Aoshima’s Takaamanohara is 64 feet wide.

Before there was Cabaret, or Christopher Isherwood’s Berlin Stories, there was the 1919 silent movie Anders als die Andern, a pioneering queer text of Weimar Germany later suppressed by Veidt Mr. Funny Mustache Nazi Guy. In English, the title is usually rendered as Different From the Others, referring to the unquiet attraction that arises between handsome musicians Paul and Kurt. Needless to say, the couple is persecuted for their budding love, and there’s even a blackmail plot and some conversion-therapy nonsense. Conrad Veidt, a vehement liberal later to play the Nazi baddie in Casablanca, portrays real longing as Paul, who makes a memorable final plea for the tolerance that briefly flowered during the interwar period. The movie is screened with live musical accompaniment by Jess Wamre. Following in this NWFF/Three Dollar Bill series, which runs Thursdays through June 24, are Bette Davis in the weepie melodrama Now, Voyager, Kinji Fukasaku’s berserk Tokyo crime flick Black Lizard, and Lizzie Borden’s groundbreaking 1983 feminist manifesto Born in Flames, all preceded by social hours. Northwest Film Forum, 1515 12th

» CONTINUED ON PAGE 16 15

arts&culture» Museum » FROM PAGE 15

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3 -

The only real requirement for the 16 artists and companies in this annual On the Boards series—now in its 32nd year—is that their work is indeed new. For Seattle Irish Dance Company, that means looping the percussive rhythms of their footwork into a new soundscore. For Jessica Jobaris, it’s a new bag of toys for her controlled-chaos event. For performance artists Travis Clarke and Benjamin Kamino, it’s a new view of each other: They’ll see each other for the first time on opening night, having written and rehearsed their work without ever actually meeting. And after two separate programs full of new in the first weekend, you can come back again the next weekend for two new versions of the next new thing. (Through June 15.) On the

,

Boards, 100 W. Roy St., 217-9888, ontheboards. org. $14. 8 p.m. SANDRA KURTZ

BRIAN MILLER

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Masks and Global African Art exhibit, which opens June 18. The Brooklyn native took a week-long break from her MFA studies at Yale to supervise the installation of How Ghosts Sleep (on view through February ’16), as she explained over beers at the Diller Room on a blustery Saturday evening in March.

“I always work in the gray scales,” says the friendly, vivacious Vernon. “My work deals with corporeal issues. I think of impermanence a lot.”

The absence of color is indeed stark. The charcoal silhouettes of natural forms are enlarged and repeated within more rigid, geometric tiles—almost like a mosaic. “Everything starts as a drawing,” says Vernon. “My work always has a graphic element. I’m working with the analog and the digital. Some of the drawings that are in there, I’ve been working on for years.

There’s old and new.”

Some of those newer design inspirations— later scanned into Photoshop for manipulation and enlargement—came from her first visit to Seattle in early 2014, a year after receiving the SAM commission. She recalls, “I spent hours taking in the building. That space is so big and immense; it’s very dynamic and social. And I took a lot of photos.” She also spent time in SAM’s African Art Collection and at SAAM (“Art Deco was an important point of departure”), and explored the OSP during her foot journeys through the city.

“I’m a big walker,” says Vernon. During her recent visit, she further roamed the city, marveled at the view from the Bainbridge ferry, sampled Monsoon, met her Facebook buddies (and SW columnists) Cat and Stas of THEESatisfaction, and gawked at all the cranes. “This city is under construction! I see a lot of changes in the year since I last visited.”

It’s another cycle: boom, bust, boom. Seattle is being rebuilt again, like Europe between the wars, like Aoshima’s cartoon city, like the rhythms of sleep and spring to Vernon’s suspended seasons. E

bmiller@seattleweekly.com

LINDA KALLERUS/IFC FILMS

How Ghosts Sleep (detail)

Will they keep their vow?

Brie and Sudeikis.

Sleeping With Other People

Playwright turned director Leslye Headland will visit SIFF with her excellent new romantic comedy, in which a serial cheater (Community’s Alison Brie) unexpectedly reconnects with an unrepentant Manhattan bed-hopper (SNL’s Jason Sudeikis) a dozen years after their rooftop college hookup. Naturally they vow not to sleep together again; naturally we spend the rest of the movie waiting to see if they can keep that pact. Headland turns the usual rom-com formula inside out, much as she did with the chick-flick bonding of the underseen 2012 Bachelorette (based on her play). Here, central couple Jack and Lainey are entirely hip to every rom-com cliché and convention; they’re too smart to deny their flaws and sexual self-natures, yet find in each other a simpatico soul. Together they can laugh at the torture scenes in Misery and joke about Aaron Sorkin, Game of Thrones, and Malcolm Gladwell; sleeping together would only break the spell of friendship, or so they reckon. Headland pulls off the unique trick of making her characters both raunchy and brainy, and she distributes the jokes evenly among her well-balanced cast, which also includes Adam Scott and Amanda Peet. Buy your tickets now. (The film is due for an August or September release.) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $11–$13. 9:30 p.m. (Repeats 4 p.m. Sun.) BRIAN MILLER E

»performance

A World Premiere Co-production with Portland Center Stage.

Opening Nights

OPENINGS & EVENTS

PFour Dogs and a Bone THEATER SCHMEATER, 2125 THIRD AVE., 324-5801, SCHMEATER.ORG. $22–$25.

8 P.M. THURS.–SAT. ENDS JUNE 27.

stage@seattleweekly.com

CURRENT RUNS

BOYS’ LIFE In Howard Korder’s play, three college friends

navigate their 20s. Penthouse Theatre, N.E. 45th St. & 17th Ave. N.E., UW campus, 543-4880, drama.uw.edu. $10–$20.

7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends June 7.

CABARET All the ingredients are there, starting with Billie Wildrick, who brings a very British dash to her Sally Bowles, adding hints of Auntie Mame and Eliza Doolittle.

This production nevertheless lacks atmosphere—a sense of gathering doom, not to mention sex appeal. If you’ve been looking for a PG-13 Cabaret to which you can take the kids, you’re in luck. GAVIN BORCHERT 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.)

DON NORDO DEL MIDWEST Food is the focus of Café Nordo’s absurdist, comedic storylines: 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. The two set out on a series of food-inspired adventures, during which 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.

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. EXTENDED through June 28.

FOUR DOGS AND A BONE SEE REVIEW, PAGE 17.

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

Sun. Ends June 14.

JEEVES INTERVENES In Margaret Raether’s mosaic of choice bits from P.G. Wodehouse’s Bertie-and-Jeeves novels and short stories, everyone puts much muscle and sweat into the show. (The sole exception: Chris Ensweiler’s unflappable Jeeves.) Of course comedy is hard work, but should we see it, especially in Wodehouse? All the strenuousness here is on the surface: frenetic gesturing, mugging, and blocking, and laugh line after laugh line not trusted to land on its own, but somehow goosed or tweaked. GAVIN BORCHERT 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.

MUD Only 20 lucky people get to see Mud each night, seated in an L around the small cabin set (co-designed

by Nina Moser and director John Kazanjian) encubed in gossamer fabric. This delicate shelter cocoons the play’s

•

•

» CONTINUED ON PAGE 18

By Yussef El Guindi Directed by Chris Coleman

Jun 5–28

Buy tickets today or see it with an ACTPass!

acttheatre.org | 206.292.7676

SEATTLE WEEKLY PROMOTIONS FEATURED EVENT URBAN CRAFT UPRISING

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AEG Live presents: August 6-9, Darrington, WA. Summer Meltdown Festival brings its biggest lineup yet to Darrington, WA for its 15th Anniversary! Taking place August 6-9, 2015 at Whitehorse Mountain Amphitheater.

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SEATTLE W EE KLY • JUN E 3 — 9, 2015

Last month 37-year-old Maggie Gyllenhaal trended in the Twittersphere after being advised that her advanced age prevented her from playing the love interest of an AARP-eligible actor.

But such blatant Hollywood sexism is old news to John Patrick Shanley, the Oscar-winning screenwriter (Moonstruck) and Pulitzer-winning dramatist (Doubt). It was after the PTSD-inducing experience of his famous flop Joe Versus the Volcano that he wrote this biting 1993 showbiz satire.

(When it opened in New York, famed screenwriter William Goldman declared, “Everything in Shanley’s play is certainly recognizable to anybody who’s made movies. It’s not remotely bizarre.”).

As Don “The Voice of God” LaFontaine used to say in all those movie trailers, in a world where abhorrent actions are absolutely acceptable, a producer, screenwriter, and two actresses fight over the fate of their movie. Each has their own savagely self-serving agenda. Rising young “spiritual” actress Brenda (Brenda Joyner) supposedly chants her way to success, but legs the spread by bedding both screenwriter and director (the latter we never meet). Older Collette (Elinor Gunn) meanwhile suffers the complaints of pompous screenwriter Victor (Ray Tagavilla), who muses that no one in the industry wants to give a blow job simply for the sake of sucking cock. (In their bar scene together, Tagavilla displays a Hank Moody-esque super-combo of self-loathing, artistic integrity, ethical conflict, and superiority.) Throughout, shady producer Bradley (Paul Custodio) instigates ire by oversharing his rectal and financial problems.

Under the delicious direction of Julie Beckman, this crackerjack cast fully inhabits every word and character eccentricity in Shanley’s script. By rights, these four should be caricatures, yet they’re convincing and complex. Though a minor distraction comes from the hideous early-’90s hues of KD Schill’s costume design: At the top of Act II, Collette enters in magenta pants, a green shirt, and mustardyellow shoes. It’s like she’s wearing the Gum Wall.

Some characters you love to hate, and others you just hate. These four fall into the first category. ALYSSA DYKSTERHOUSE E

Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, theedgeimprov.com. $12–$16. 7:30 p.m. Sat., June 6.

5TH AVENUE AWARDS The Tonys for Washington state high-school theater. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. Free. 7 p.m. Mon., June 8.

QUICKIES, VOLUME 16 Live Girls! Theater’s short-playsby-women festival. Annex Theatre, 1100 E. Pike St., lgtheater.org. $5–$20. Preview 7:30 p.m. June 5, opens June 6. 8 p.m. Thurs.–Sat. plus Mon., June 15. Ends June 20.

SANDBOX ONE-ACT PLAY FESTIVAL New works by Vincent Delaney, Phillip Lienau, and Carl Sander. West of Lenin, 203 N. 36th St., soapfest.org. $20. 8 p.m. Wed., June 3–Sat., June 6; 2 p.m. Sun., June 7.

SLAUGHTERHOUSE-FIVE Three actors portray Billy Pilgrim in this new adaptation of Vonnegut’s antiwar novel.

Center Theatre at the Armory, Seattle Center, 216-0833. $25. Previews June 10–11, opens June 12. Runs Tues.– Sun. see book-it.org for exact schedule. Ends July 3.

SPIN THE BOTTLE Annex Theatre’s late-night variety show.

Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre. org. $5–$10. 11 p.m. Fri., June 5.

TALES FROM HOLLYWOOD Christopher Hampton’s play imagines European emigrés (Thomas Mann, for one) trying to cope with the film industry. Read by the Endangered Species Project. ACT, 700 Union St., 292-7676, endangered speciesproject.org. $10–$15. 7 p.m. Mon., June 8.

THREESOME Two Egyptian-Americans indulge in the title activity, “raising issues of sexism, cultural identity, possession, and independence,” in Yussef El Guindi’s new play.

ACT, 700 Union St., 292-7676, acttheatre.org. $20. Previews June 5–10, opens June 11. 7:30 p.m. Tues.–Thurs., 8 p.m.

Fri.–Sat., 7 p.m. Sun., plus 2 p.m. some weekends & weekdays. Ends June 28.

WHAT IF Improv based on the Sliding Doors premise: the fateful choice that leads in two different directions. Jet City Improv, 5510 University Way N.E., jetcityimprov.org. $12–$15. Opens June 4. 8 p.m. Thurs.–Fri. Ends June 19.

Illustration by Barry Blankenship

THE EDGE Bainbridge Island’s own improv troupe.

DAVE HASTINGS

Tagavilla as tortured screenwriter.

Stage

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How to Stop Robots From Stealing Jobs (5/22) Camp Jitterbug presents Jump Session Show (5/26) Seattle Atheists: Rebecca Vitsmun Building A Humanist Disaster

33K(5/27) FANSEugenia & COUNTING! Cheng ‘How to Bake Pi’

(5/28) Richard Thaler with Nathan Myhrvold Human Error, Redefining Behavioral Economics

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(5/29) World Science Festival Live Stream Planet of the Humans: The Leap to the Top SHOWTIM ES 11

JUNE 5 - JUNE MEAN GIRLS (5/30) World Science Festival Live Stream Fri - MON & WED @ 7:00PM Wizards of Odds

(5/31) World Science Festival Live Stream Time is of the Essence...Or is It? THE DARK KNIGHT FRIDAY(6/1) - WEDNESDAY @ 9:30PM Colin Dueck ‘The Obama Doctrine’ and 2016 Elections

(6/2) Hampton Sides SHATFEST: THRILLVILLE’S TO WILLLIAM SHATNER The USSTRIBUTE Jeannette’s Trailblazing Voyage @ 8:00 PM THURSDAY BILLY MIZE AND THE BAKERSFIELD SOUND @ 7:00PM (6/3)TUESDAY SAMA presents

Kathryn Korch and Beth Meyer How to Talk to Your Kids About Drugs (6/3) Ben Stewart Fighting for the Environment Against All Odds

TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(6/4) Occupy.com presents Lawrence Lessig and Marianne Williamson ‘Killswitch’ Premiere

& New Hampshire Rebellion Fundraiser

(6/4) Sy Montgomery Examining an Octopus’ Character, Intellect (6/5) Rick Araluce with Juan Alonso-Rodriguez Journey Into the Mind of A Visual Artist

SEATTLE WEEKLY • JUNE 3 — 9, 2015

(6/6) Town Green Day of Service Lettuce Link at Marra Farm

18

(6/6) Columbia Choirs: SpringSong (6/6) Kshama Sawant Re-Election Campaign presents Chris Hedges, Kshama Sawant, and Jill Stein (6/8) Chris Hedges Defining ‘The Moral Imperative of Revolt’ (6/8) Paul Thompson Reintroducing ‘Food Ethics’ to Agriculture (6/10) Richard Haag & Thaisa Way Modern Impacts of Pacific Northwest Landscape Design TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

(6/11) Bryan Denson ‘The Spy’s Son’

» FROM PAGE 17

Openings & Events

impoverished central character Mae (infinitely expressive Mary Ewald), her socially inferior ex-lover Lloyd (Tim Gouran), and her new paramour, the slightly more worldly Henry (George Catalano). In 17 short scenes (totaling 65 minutes), three superb performers stream meticulous craft, up close and personal. Instead of a plot- or character-driven story, we see an affecting, tonally wide-ranging series of tableaux vivants that chronicle the indignities and desires of people living on the edge of subsistence.

This is an amazing little masterwork. Go grab one of those precious 20 seats. MARGARET FRIEDMAN New City Theater, 1406 18th Ave., 271-4430, newcitytheater.org. $15– $20. 8 p.m. Thurs.–Sat. plus Mon., June 8. Ends June 13.

TALLEY’S FOLLY When it comes to 31-year-old WASP “spinster” Sally Talley (Rebecca Olson), 42-year-old Jewish bachelor accountant Matt Friedman (Mike Dooly) has nothing to lose. Is Matt a 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. With Dooly going full-tilt on loopy charm, the thwarting falls thanklessly to Olson during the first half of the 97-minute mating dance. When Sally’s ice finally starts to melt, it’s fun to watch her resist her own climate change. But still the question lingers: Are we watching love or battle fatigue? Shana Bestock directs these heartfelt hostilities. MARGARET FRIEDMAN Seattle Public Theater at the Bathhouse, 7312 W. Greenlake Dr. N., 5241300, seattlepublictheater.org. $5–$32. 7:30 p.m. Thurs.– Sat., 2 p.m. Sun. EXTENDED through June 7.

TEATRO ZINZANNI: THE HOT SPOT It’s the final week to see Frank Ferrante and Dreya Weber in the show in which “love and magic in the digital age collide.” The superhero-themed “The Return of Chaos” runs June 11–Sept. 13. 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.

•

Dance

NORTHWEST BALLET Kent Stowell’s Carmina • PACIFICand Alexei Ratmansky’s Concerto DSCH close the

burana season. McCaw Hall, Seattle Center, 441-2424, pnb.org. $30–$184. 7:30 p.m. Thurs.–Sat. plus 2 p.m. Fri., May 29 & 1 p.m. Sun., June 7. Ends June 7.

NW NEW WORKS FESTIVAL SEE THE PICK LIST, PAGE 16.

THE MERMAID Arc School of Ballet’s year-end student showcase, based on Hans Christian Andersen. Seattle Repertory Theatre, Seattle Center, 352-0798, arcdance.org. $20–$30. 4 p.m. Sat., June 6.

PACIFIC NORTHWEST BALLET SEASON ENCORE

Highlights of the season (works by Forsythe, Duato, and more), plus a farewell to departing company members.

McCaw Hall, Seattle Center, 441-2424, pnb.org. $35–$200.

6:30 p.m. Sun., June 7.

Classical, Etc.

UW SYMPHONY & CHOIRS Verdi’s Stabat mater,

Bernstein’s Chichester Psalms, and Prokofiev’s Alexander Nevsky. Meany Hall, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Fri., June 5.

• CHRISTIAN PINCOCK/FRICTION QUARTET First, music for trombone + processing; then works by John Teske, Tom Baker, John Adams, and others. Chapel Performance Space, 4649 Sunnyside Ave. N. $10–$15.

8 p.m. Fri., June 5.

SEATTLE SYMPHONY A “Seattle Pops” tribute to Ray Charles. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $30–$95. 8 p.m. Fri., June 5–Sat., June 6, 2 p.m. Sun., June 7.

• THE ESOTERICS “Vivid choral settings of poetry in pursuit of the divine” with the Skyros String Quartet. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 8 p.m. Fri., June 5; Holy Rosary Catholic Church, 4210 S.W. Genesee St., 3 p.m. Sun., June 7. $10–$25. theesoterics.org.

FRANCES WALTON COMPETITION Sponsored by the Ladies Musical Club, for vocalists and instrumentalists.

Starts at 9 a.m.; recital at 7 p.m. Bethany Lutheran Church, 7400 Woodlawn Ave. N.E. Free. Sat., June 6.

SEATTLE SYMPHONY On this family concert, Colin Matthews’ Pied Piper. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $15–$20. 11 a.m. Sat., June 6.

• SEATTLE MODERN ORCHESTRA Soprano/composer Kate Soper performs two of her own works. Chapel Performance Space, 4649 Sunnyside Ave. N. $10–$20.

8 p.m. Sat., June 6.

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

COMMUNITY

(6/11) Seattle Arts & Lectures: WWW.TOWNHALLSEATTLE.ORG Judy Blume In Conversation with Nancy Pearl

arts&culture» performance & visual arts

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

CHRISTOPHER BUENING Hunter<Gatherer explores

memory and the process of becoming self-aware. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends June 25.

ANDREE CARTER AND LORI SWARTZ In Carter’s collages, she obsessivley overlays a grid over original images. Swartz is a New Mexico artist who works in mixed media. Opens First Thursday. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.5:30 p.m. Tues.-Sat. Ends June 27.

CELEBRATING 20 YEARS On display is work from five Vietnamese artists (Bao Ly III, Tu Duy, Bui Cong Khanh, and the Le Brothers), long associated with the gallery.

First Thursday opening reception, 5-8 p.m. ArtXchange Gallery, 512 First Ave. S., 839-0377, artxchange.org.

11 a.m.-5:30 p.m. Tues.-Sat. Ends July 31.

MICHAEL FERGUSON Life’s Little Dramas puts a whimsical and almost magical spin to small pleasures.

Opens First Thursday. 625 W. McGraw St., 285-4467, fountainheadgallery.com. 11 a.m.-6 p.m. Thurs.-Sun. Ends June 28.

BILL FINGER The local photographer specializes in tabletop tableaux scenes. Opens First Thursday. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m.

Thurs.-Sat. Ends June 27.

MICHAEL FINNEGAN Rhythm Sections and the Groove of Color is a collection of paintings that use color to express the artist’s interest in music. First Thursday opening reception, 6-8 p.m. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends July 18.

PAM GALVANI locus depicts the artist’s search to find the intersection of making art and making meaning. First Thursday opening reception, 5-8 p.m. Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends June 27.

GROUP SHOW New work from gallery artists Robin Cass, Amie McNeel, Rachel Moore, Norwood Viviano, and Kait Rhoads. First Thursday opening reception, 5-8 p.m. Traver Gallery, 110 Union St., 587-6501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m.

Sat. Ends June 27.

GAYLEN HANSEN AND RYAN WEATHERLY The veteran Eastern Washington painter typically portrays dogs, birds, and fish. Weatherly’s bold and expressionistic paintings will be displayed in the upstairs gallery. Opens First Thursday. Linda Hodges Gallery, 316 First Ave. S. 624-3034, lindahodgesgallery. com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends June 27.

VICTORIA HAVEN The local artist turns wordsmith with her woodblock prints of text messages. The starkly monochromatic show is called They all stop walking. Opens First Thursday. Greg Kucera Gallery, 212 Third Ave., 624-0770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends June 27.

MEG HOLGATE Portals is a collection of paintings that expresses both the tangible and the inexpressible.

First Thursday opening reception, 5-8 p.m. Abmeyer + Wood Fine Art, 1210 Second Ave., 628-9501, abmeyerwood.com. 11 a.m.-6 p.m. Mon.-Sat. Ends June 27.

MARK WARREN JACQUES His new paintings in Looking at You - Looking at Me combine bold geometric colors and organic elements. First Thursday opening reception, 5-9 p.m. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com. Noon-6 p.m. Wed.-Sat. Ends June 27.

MASTERS OF DISGUISE Representations of the human face are explored through masks in this group show.

Contemporary artists featured include Phil Gray, Scott Jenson, Loren White, and Courtney Lipson. First Thursday opening reception, 6-8 p.m. Stonington Gallery, 125 S. Jackson St., 405-4040, stongingtongallery.com. 10 a.m.-6 p.m. Mon.-Fri. 10 a.m.-5:30 p.m. Sat. Noon-5 p.m. Sun. Ends June 28.

RICHARD MORHOUS Night Light is the Seattle artist’s collection of paintings capturing nighttime scenes of New York and San Francisco, illuminated by artificial light. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery. com, 443-3315. 10 a.m.- 5:30 p.m. Mon.-Sat. 11 a.m.-5 p.m. Sun. Ends June 28.

QUEEN ANNE ART WALK Presented by Stacya Silverman Art & Beauty, artists will be showing their work along W. McGraw and Crockett Streets. Work from artists Edye Colello-Morton, Thomas Schworer, Ron Reeder, Anita Nowacka will be featured. Queen Anne, stacyasilverman.com. 4-7 p.m. Sat, June 6.

RHYTHM REPETITION RITUAL A group show featuring works in clay by artists Amanda Salov, Ryan

•

•

•

•

LaBar, Robin Strangfeld, and Peter Christian Johnson.

Opening reception: 6-8 p.m. Fri., June 5. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org, 11 a.m.-5 p.m., Tues.-Fri. Ends June 27.

RAY SCHUTTE layered interplay is a collection of the printmaker’s images using an inkjet printing process that builds over time. First Thursday opening reception, 6-8 p.m. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m.

Wed.-Sat. Ends June 27.

JOHN SMITHER AND ANDREA TAYLOR Wilderness Peak Trail is new work from Smither combining video and paint. Taylor displays new work that explores time and the intangible. Opens First Thursday. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery.com. Noon-6 p.m. Wed.-Sat. Ends June 27.

AMY SPASSOV The mixed-media artist’s process is extremely calculated, she says: “The development of each piece is as important as the finished work.”

Opens First Thursday. Hall|Spassov Gallery, 319 Third Ave. S., 453-3244, hallspassov.com. 11 a.m.-6 p.m.

Tues.-Sat. Ends June 27.

A STRAIGHT SHOT A group show featuring new work from photographers David Leventi, Jeffrey Milstein, Michael Wolf, and Carol Charney. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave S., 622-2833, fosterwhite.com.

10 a.m.-6 p.m. Tues.-Sat. Ends June 27.

THIS IS WHAT WE MISS IN PLATO Artists Julia Freeman, Nola Avienne, Kirk Lang, and Andy Fallat have created kinetic sculptures for the show. Molly Mac’s essay on the subject will be displayed via text, video, imgages, and QR code stickers. First Thursday opening reception, 6-8 p.m. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart. org. Noon-5 p.m. Thu.-Sun. Ends June 27.

TERRY TURRELL He honors his late wife and muse in Forever. First Thursday opening reception, 6-8 p.m.

Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Sun.-Sat. Ends June 28.

REBECCA WOODHOUSE ALLARD Her hand-carved linoleum and rubber prints use text as a visual element.

Opens Weds., June 3. Burien Arts Gallery, 826 S.W. 152nd St., 244-7808, burienarts.org. Noon-6 p.m.

Wed.-Sat. Noon-4 p.m. Sun. Ends June 28.

•

Ongoing

BFA PHOTOGRAPHY EXHIBITION Seattle U’s graduat-

ing students present their portfolios that they’ve spent the last year compiling. Of note is Akaila Ballard’s The F-Words: Fear, Femininity, and Feminism. Vachon Gallery, Seattle University campus, seattleu.edu.

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

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 spanning from Islamic to archaic Chinese to the contemporary writing system created by artist Xu Bing. 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.

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.

IMOGEN CUNNINGHAM 17 photographs of Cornish, its students, and founder Nellie Cornish, taken in 1935 by the pioneering Northwest photographer. Cornish College of the Arts, 1000 Lenora St., 726-5151, cornish.edu. 9 a.m.-5 p.m. Mon.-Fri. Ends June 30.

•

• •

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.

JANE HAMMOND In The Mind’s Eye is a collection of photographs created by compositing several found images into a new context. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. 10:30 a.m.5:30 p.m. Tues.-Sat. Ends June 27.

BY D IA NA M . LE

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

•

» film

The Connection

OPENS FRI., JUNE 5 AT SEVEN GABLES. RATED R. 135 MINUTES.

DRAFTHOUSE FILMS

Although the shorthand description of this movie is “The French Connection from the French side,” viewers may be forgiven for flashing instead on GoodFellas and even American Hustle for their reference points. The Connection comes loaded with the sideburns and wide lapels of the ’70s, embedded in a cascade of short, violent scenes syncopated to a pop soundtrack. You half expect to see Robert De Niro lurch out of the shadows. If we do think of The French Connection, it’s because the characters cite that movie’s title—in English—as shorthand for their case. The Connection begins in 1975, so its world is already aware of the 1971 Oscar-winning Best Picture. (Check out the underrated French Connection II, by the way, for a strong depiction of the French side of the story, albeit via Hollywood.)

The heroin trade is still going strong, and Marseille is awash in drug money, the corruption so pervasive a strong hand is needed to clean house.

Entourage OPENS WED., JUNE 3 AT SUNDANCE, PACIFIC PLACE, OAK TREE, KIRKLAND, LINCOLN SQUARE, CINEBARRE MOUNTLAKE, BAINBRIDGE, AND OTHERS. RATED R. 104 MINUTES.

OPENS FRI., JUNE 5 AT GUILD 45TH. RATED PG-13. 92 MINUTES.

Absolutely, Hollywood should make more movies for its most loyal customers: the gray-haired, bifocal-wearing demo. Millennials have their computer games and cellphones, but those over 50 prefer to see a motion picture properly, in a theater, provided the story doesn’t involve superheroes or giant transforming robots. As the filmgoing population ages, we’re only going to get more Best Exotic Marigold this and that, where the plots at least partly reflect the audience’s own senior experiences.

Danner’s Carol wants something more.

So it is with long-widowed Carol (Blythe Danner), once a schoolteacher, now comfortably retired, her daughter living a plane flight away from Los Angeles. She’s entirely normal and unexceptional; you could imagine her sitting near you in the theater with her bridge cronies ( June Squibb, Rhea Perlman, Mary Kay Place) at an early discount matinee. Her pals have moved to a retirement community, while Carol lives alone in her big empty house—terrorized by a rat, befriending the pool cleaner (Martin Starr), her youthful career as a singer almost forgotten.

“There’s supposed to be something more,” she frets of the third act we all inevitably face.

Carol’s gentle reawakening comes in the form of confident silver fox Bill (Sam Elliott, who else?), and I would be pleased to report that the very companionable Dreams has nothing more than post-menopausal romance on its mind.

There are scenes of awkward dating that finally lead to an awkward sleepover, and Carol’s biddies predictably comment on the action. Really, the senior matinee crowd—and this critic— would be content with a sunset marriage, yet screenwriters Marc Basch and Brett Haley (who directs) are determined to add a jolt of realism to the proceedings.

Until then, Dreams ambles along in an underwhelming fashion; the movie seems stuck in the same comfortable routine as Carol. Its big plot twist doesn’t conceal the tepid writing, and one can’t help but think how much sharper the current Netflix elder-com Grace and Frankie (with Jane Fonda and Lily Tomlin) is in addressing the same late-life concerns about love and loneliness. I could see this whole likable cast doing guest shots on the latter show.

Netflix, are you listening? BRIAN MILLER

The Kidnapping of Michel Houellebecq RUNS FRI., JUNE 5–THURS., JUNE 11 AT GRAND ILLUSION. NOT RATED. 92 MINUTES.

The week of the Charlie Hebdo murders, the satirical magazine’s cover boy was Michel Houellebecq.

Although a stone-cold intellectual superstar in France (where “intellectual superstar” is not an oxymoron), Houellebecq’s accidental association with the massacre likely brought him even more notoriety, especially outside France. And it probably didn’t hurt sales of his new novel, Submission, which depicts France ruled by a Sharia-law-loving Muslim president. It might even have created international interest in Houellebecq’s new movie, a hugely eccentric affair that trades on the writer’s misanthropic personality.

Kidnapping assumes some knowledge of the events on display, so for the record: In 2011, instead of showing up for a book tour, Houellebecq went missing for a few days. Then he popped up again, without explaining his absence.

This vanishing act led to multiple theories about what had happened to the author, including the notion that he had been kidnapped. And so Kidnapping uses that speculation as a jumping-off point for a curious laid-back comedy. Houellebecq—playing himself—is seized by a trio of bulked-up kidnappers, whose reasons for holding him hostage in a pleasant country house are never revealed. In the course of a few days, Houellebecq makes a nuisance of himself by demanding cigarettes and wine, bloviating on literary subjects, and requesting a prostitute. Despite all this, he actually gets on well with the kidnappers, enjoying a birthday party and learning the rules of mixed martial arts. Director Guillaume Nicloux shoots the film like a documentary, apparently catching some of Houellebecq’s stray critical opinions off the cuff.

Every now and then someone will mention the ransom payments, but mostly the film just meanders through a series of mildly amusing scenes. You will find them amusing, that is, if you grow to appreciate Houellebecq as a movie character. Think Bill Murray as an art professor on tranquilizers, but trapped in a body so spindly it appears to be powered by tobacco and ego.

There’s something undeniably comic about this combination of the cultivated and the infantile.

One would suggest that Houellebecq is ripe for his own reality-TV series, but the idea is superfluous. He’s been engineering the cultural equivalent for the past 20 years. ROBERT HORTON

La Sapienza RUNS FRI., JUNE 5-THURS., JUNE 11 AT NORTHWEST FILM FORUM. NOT RATED. 100 MINUTES.

A quick synopsis of La Sapienza suggests the possibility of an eye-pleasing excursion into la dolce vita, a heaping helping of architecture and

SEATTLE W EE KLY • JUN E 3 — 9, 2015

When this HBO show ended its eight-season run in 2011, there wasn’t overwhelming demand for a movie. Sex and the City had brighter bigscreen prospects and—if not bigger stars—more clearly delineated characters. Fervent TV fans of Entourage may differ, but the Hollywood coterie of handsome actor, dumb brother, short manager, and chubby driver sometimes blurred together.

(Yes, they’re again played by Adrian Grenier, Kevin Dillon, Kevin Connolly, and Jerry Ferrara, respectively.) Only Jeremy Piven’s cutthroat agent Ari, here promoted to studio boss, really stood out from the bromantic crowd. No matter how much Vince (Grenier) and his pals were chasing tail and pursuing Tinseltown dreams, Ari—then and now—is the sole interesting, conflicted character in the franDujardin wears the ’70s well. chise. His neediness and shamelessness are so well-honed that you wonder why a cable spinoff hasn’t already been commissioned.

Still, this reunion brings a smile to your face.

Though $100 million is at risk with Vince directing and starring in a techno-apocalyptic treatment of Dr. Jekyll and Mr. Hyde, we know Entourage will end in hugs, not tears.

Enter Pierre Michel, a debonair but obsesSeries creator (now director) Doug Ellin offers sive investigator whose freewheeling approach many complications—the movie’s practically scored to justice will soon have him nicknamed “the with urgently ringing iPhones—including: two Cowboy.” He’s embodied by Jean Dujardin, and pregnancy scares, an over-budget movie, nervous here we have the key reason to navigate the film’s investors, a TMZ sex tape, a love interest for Turtle 135 minutes of standard-issue mayhem. The (the newly svelte Ferrara), and the impending gay Oscar-winning actor from The Artist is a lively marriage of Rex Lee’s beleaguered assistant Lloyd. presence; with his mock-heroic face and grace(Disappointingly, that last strand goes nowhere; and ful stride, he gives even the most clichéd scenes most of Lee’s scenes are literally phoned in.) a spark. Michel’s nemesis is drug kingpin Tany Were I to list all the insidery/celebrity camZampa (Gilles Lelouche), who doles out Scorseos here, the roster would be as long as this ese-level torture to his underlings and enjoys (à 400-word review. So I’ll content myself with la Michael Mann’s Heat) a single face-to-face one: Seahawks QB Russell Wilson at a Malibu meeting with Michel. The two actors resemble beach party, quite capably delivering his lines. each other, and director Cédric Jimenez (“Just because you’re short doesn’t mean you can’t labors to compare the ways their careers harm achieve your dreams,” he says, conspicuously their family lives. But these associations feel standing atop a rock à la Alan Ladd.) trumped-up and a little too easy.

But Vince and his knucklehead crew will be I’m being hard on the film because it doesn’t OK; if they survived Medellín, they can survive really do anything new. The corrupt officials anything. Unlike Carrie and her SATC sisters, are ridiculously easy to spot, and the women few here consider the possibility that one day are simpering stay-at-homes, despite Jimenez’s they’ll be old and alone, no longer able to depend efforts to highlight the toll of this work on on their looks. Leave it to ever-practical E (ConMichel’s domestic sphere. But as true-life crime nolly) to warn that, beyond the notion of a movie sagas go, The Connection admittedly taps out a flopping or failing to bed the pretty girl, “We’re swift, violent rhythm, and the sunny locations almost 35.” In other words, there’s still time for a conjure up a Mediterranean cesspool. There’s one sequel. BRIAN MILLER explicit homage: The tiny wave Zampa gives as

I’ll See You in My Dreams

BLEECKER STREET MEDIA

Opening ThisWeek

he exits the nifty scene he shares with Michel will remind French Connection fans of Fernando Rey’s gloriously suave ta-ta to Gene Hackman in the famous subway scene. Makes sense—Zampa probably saw that movie, and has modeled his behavior accordingly. ROBERT HORTON

» CONTINUED ON PAGE 20 19

WONDERFULLY ALIVE AND UNPREDICTABLE. PLUS IT’S FUNNY AS HELL. ‘RESULTS’ MANAGES TO REINVENT THE ROM-COM.” -BILGE EBIRI, NEW YORK MAGAZINE

AN IRRESISTABLE TALE.

“

A LOVE STORY FULL OF TWISTS AND TURNS .”

-ANDREW O’HEHIR, SALON

A TERRIFIC, VERY FUNNY NEW COMEDY.

“

WHAT’S REALLY WONDERFUL IS DIRECTOR BULJASKI’S SYMPATHY FOR HIS CHARACTERS .”

- E L L A T AY L O R , N P R

GUY

PEARCE

COBIE

SMULDERS

A FILM BY

KEVIN

CORRIGAN

ANDREW BUJALSKI

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LOVE & MERCY is a creative triumph for director Bill Pohlad.”

“HHHH RIVETING IN EVERY THRILLING MUSICAL DETAIL.

Paul Dano and John Cusack are superb as Brian Wilson.”

SEATTLE WEEKLY • JUNE 3 — 9, 2015

THE LIFE, LOVE AND GENIUS OF

20

BRIAN WILSON

“MIRACULOUS. AWE-INSPIRING.”

CO-FOUNDER OF THE BEACH BOYS

» FROM PAGE 19 Italy served with a nice Chianti. We meet a slightly uneasy middle-aged couple, Alexandre (Fabrizio Rongione, the patient husband in Two Days, One Night) and Aliénor (Christelle Prot Landman). He’s a well-known architect—brilliant, but over-rational—while she practices some hybrid of sociology and psychology. A chance encounter with teenage siblings Goffredo (Ludovico Succio) and Lavinia (Arianna Nastro) leads them to separate for a few days. Goffredo is an architecture student and accompanies Alexandre to Rome, the better to learn about the Baroque splendors of buildings designed by Borromini; Aliénor opts to stay behind in Switzerland and tend to Lavinia, whose dizzy spells are incapacitating.

There are beautiful shots of Rome, and lakeside walks, and deep discussions of Borromini’s elegant style. But if this sounds like another Great Beauty, think again. The film’s writer/ director, American-born Eugène Green, doesn’t want us to merely wallow in how pretty this all this.

He wants us to think about it. So his characters strike formal poses and deliver their lines, often directly into the camera. We’re not meant to lose ourselves, but to ponder ideas and situations. The actors are encouraged to be as expressionless as possible, stylized figures who deliver Green’s themes in an unadorned fashion.

If you can groove into this non-realistic mode, the film casts a spell. Most movies that use this sort of distancing device end up being pretty frosty, but La Sapienza (named for a Roman church designed by Borromini) is actually a very sincere film, its sentimental heart disguised by its stilted manner. Compared to Peter Greenaway’s Belly of an Architect—another Rome film about a contemporary architect obsessed with a forebear—this one is soft. Green gives the game away with the casting of Landman, an effortlessly soulful actress, and with his own cameo, which comes along at a crucial moment. Bushy of hair and mustache (think Gene Shalit as a Biblical prophet), Green turns up for a single scene, playing the last member of an ancient race who dispenses point-blank life wisdom for Aliénor. It shouldn’t work, but, like the movie overall, it eventually clicks. And it does look pretty, after all. ROBERT HORTON

PLove & Mercy OPENS FRI., JUNE 5 AT SUNDANCE, MERIDIAN, THORNTON PLACE, LINCOLN SQUARE, AND OTHERS. RATED R. 119 MINUTES.

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( John Cusack), and it manages to capture a lot of history in those few years without slipping into a portrait of heroes and villains. Though to be fair, there is a villain in Landy—Paul Giamatti in sleazy, medical-huckster mode—and a heroine in Melinda Ledbetter (Elizabeth Banks). She meets the confused but sincere older Wilson, a wounded mess of stream-of-consciousness rambling, when he goes shopping for a Cadillac, and it doesn’t take long for her to see through Landy’s pose of benevolent protection.

FRANCOIS DUHAMEL/ROADSIDE ATTRACTIONS

ENCHANTING!

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There was a time when you’d have gotten blank stares if you’d declared Brian Wilson, original Beach Boy and surf-sound hitmaker, a musical genius. That changed a couple of decades ago, about the time he was freed from the smothering control of the “radical psychotherapist” Dr. Eugene Landy, and when the 1966 album Pet Sounds was belatedly recognized as a pop-music masterpiece.

Love & Mercy is built on those two periods. It parallels the boyish enthusiasm and free-flowing creative drive of young visionary Wilson (Paul Dano) and the fragile, terrified older Wilson

Dano (center) portrays the younger Wilson.

Meanwhile, back in the ’60s, we follow the enthusiastic, boyish musical genius who, after a panic attack on a Beach Boys tour flight, returns home to obsessively craft a new album. Director Bill Pohlad gives us enjoyable glimpses into the recording process, and the generous sampling from the Beach Boys catalogue indicates full cooperation from the Wilson family. Dano radiates a state of near-bliss as Wilson creates Pet Sounds with the greatest studio musicians in L.A.—subject of the recent doc The Wrecking Crew—in a studio he treats as an artistic playroom. Dano’s baby face suits the musical wunderkind Wilson, but that guilelessness crashes into self-doubt and paranoia. Cusack doesn’t look much like Dano, but he has the same expression of sincerity and openness, trapped in the frail mind of an infantilized adult. (Landy, like Wilson’s abusive, belittling father in the ’60s, makes him a kind of psychological prisoner.)

This is dramatization, not documentary, but it’s a more nuanced portrait of Wilson than the 1995 doc I Just Wasn’t Made for These Times, which slipped into hagiography and blamed everyone else for failing him. Love & Mercy is more interested in Wilson’s own demons and drives—how his creative freedom away from the band cost him the emotional support of his brothers. Wilson wrote a song for Pet Sounds called “Hold On to Your Ego,” but wasn’t able to follow that advice in the late ’60s. Some two decades later, Love & Mercy builds to a satisfying, happy ending with a guy finally achieving harmony in his own life. SEAN AXMAKER

Results OPENS FRI., JUNE 5 AT SUNDANCE. RATED R. 104 MINUTES.

Guy Pearce burst onto the American movie scene with L.A. Confidential, flirted with studio projects (remember The Time Machine?), then declared himself burned-out—and a pothead— before embracing character roles. Is it any wonder he should end up in Austin as a very buff yet clueless gym owner who repeats inspirational slogans without any idea what to do with his life?

Trevor is lost and, well into his 40s, too old to be lost. The same can be said of his recent New

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Hart). Apart from disposable henchmen, this comedy hardly needs any dudes; yet Hollywood hedging strategies require some testosterone (cue Jason Statham, ably parodying himself).

Let me say here that I don’t particularly care if Spy is very good or not. Its acceptable core 007-inverting gag is to suppose what might happen if Miss Moneypenny went out in the field instead of James Bond. But the latent plot is this: Two decades after Thelma & Louise, close on the heels of Hot Pursuit, and two summers removed from the McCarthy/Sandra Bullock cop movie The Heat (also directed by Feig), can an unabashedly women-to-the-front comedy win at the box office and pave the way for more distaff tentpoles?

That’s all that matters: Can Spy be a hit? McCarthy has, since Feig’s Bridesmaids, broken significant ground in Hollywood at a time when dumb action franchises and comic-book movies reign supreme. Twilight and its fantasy ilk have proven that female teens are reliable ticket buyers; and Spy is now looking to reward a grown-up demo with what might be called the comedy of hidden female competence. Everyone underestimates Coop (as she’s called), herself included.

Feig wrote Spy to accommodate endless “alts,” those on-set alternative takes in which he whispers new lines to his very game cast. This not a bad thing, since the espionage template—guns, glamour, chases, private jets, double crosses, stolen nukes—is so familiar. We’ve all seen the same Bond movies, and Feig owes no reverence to those tux-and-casino antecedents. Still, the irreverence is too slapdash.

Back in Langley, where Cooper and company run their agents like remote-control drones, there’s a plague of bats and rats. Help, help! I’ve got bats in my hair! It’s funny, but it’s random. Over in Paris, Budapest, and Rome, Coop is subjected to horrid hotels and cat-lady costumes as part of her undercover mission. Her lecherous driver gropes her, and she faints regularly. The problem is that these slights and indignities never really add up to a whole character; she’s just the disrespected Spy OPENS FRI., JUNE 5 AT SUNDANCE, PACIFIC doormat out to prove herself. (On which note, PLACE, THORNTON PLACE, LINCOLN SQUARE, Janney nicely sighs an exasperated “women”— MAJESTIC BAY, BIG PICTURE, AND OTHERS. meaning all those who willingly allow themselves RATED R. 120 MINUTES. to be used by men.)

Yet too many of these alt-ridden scenes degenerate into insult-spewing catfights. Is it really so hilarious to hear women repeatedly yell “Fuck you!” back and forth? A good spy, male or female, has lethal wit, and Spy disappoints in that regard. The movie is only smart enough to set up a Future frenemies? sequel for McCarthy Byrne (left) and McCarthy. and Hart, plus a vilMelissa McCarthy’s new star vehicle easily passes lainess who can easily be repurposed in a new the Bechdel Test, and that’s a welcome relief dur- summer adventure. And about Byrne (of Bridesmaids and Neighbors): She’s the only one here ing the summer blockbuster season. Once we get the male CIA agent—Jude Law’s amusingly self- deeply committed to subverting her character type. McCarthy is stuck with the simple task of ish prick—out of the way, Paul Feig’s spy spoof is vindication, while Byrne makes her Bulgarian almost entirely given over to women. McCarthy mafia princess a heartless, conniving bitch who’s plays CIA desk jockey Cooper, who has to talk unaware of her gross stupidity. For that reason, her way past a skeptical boss (Allison Janney) she’s the most enjoyable character in the movie. before she can wing it to various European cities in pursuit of a sultry Slavic baddie (Rose Byrne), aided BRIAN MILLER E by her agency sidekick (English TV star Miranda film@seattleweekly.com York transplant client, the very non-buff schlub Danny (Kevin Corrigan). Danny is directionless but loaded; his unsought, undeserved wealth allows him to rent a mansion, pay Internet taskrabbits to set up his TV, and buy new friends. Or so he imagines.

Results does eventually establish a love triangle between these two men and Type A personal trainer Kat (a very winning Cobie Smulders, from How I Met Your Mother), but writer/director Andrew Bujalski couldn’t make a formula movie if he tried. He emerged from the mumblecore movement with Funny Ha Ha, Mutual Appreciation, and Computer Chess, and Results obstinately sticks to its odd rhythms and character eccentricities. We start with Trevor and Kat, ex-lovers, keeping a professional distance. Danny by contrast knows no boundaries: He pays Kat for home training sessions mainly because he’s in love with her, and he invests in Trevor’s new gym scheme to keep them both close.

Neediness is here the human condition. Kat needs independence. Trevor needs to be honest about his feelings. And Danny—besides his sagging gut—needs to shed some old baggage, including an ex-wife (Elizabeth Berridge, Corrigan’s wife). Working out soon gives way to hanging out for these three (and Giovanni Ribisi’s hipster lawyer), plus much drinking and toking.

Conflict is beside the point in this amiable vibe movie. No one’s terribly articulate, since Bujalski isn’t one to force words or plot into the proceedings, which have a groggy stoner pacing. Rather than veering into slacker bonding (see: David Gordon Green) or suburban pathology (Todd Solondz), Results is content to be a character comedy. Three misfits come together, quarrel, and forgive. It doesn’t sound like much, but the same pattern describes most friendships. And in its small, endearing way, Results just wants to be your friend. BRIAN MILLER

ll

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Struggling to find herself in the sprawl of urban Bangladesh, middle-class actress Roya reconstructs a famous and politically minded play for modern times, reclaiming her agency and sexuality in the process.

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Watching Singles in a New York movie theater was as close as I got to Seattle’s grunge explosion. So for me, at least, this doc about DJ Marco Collins provides a fresh look at our early-’90s music scene. Those who recall how Collins helped break bands like Nirvana and Pearl Jam on 107.7 The End will probably feel more direct nostalgia in The Glamour & the Squalor (SIFF Cinema Egyptian, 7 p.m. Wed.; Harvard Exit, 4:15 Fri.). With Soundgarden also on the charts, it was a golden era for Seattle rock—and for the personable Collins. But no boom can last forever, and Collins’ downfall and tenuous recovery has an overly familiar arc; rather than being a casualty of the ’90s, he seems like a nice guy who never planned for the march of time. And hitching his story here to Referendum 74—because there has to be a happy ending, right?—is just gratuitous.

There is no happy outcome possible in The Killing Fields of Dr. Haing S. Ngor (Kirkland Performance Center, 6:30 p.m. Fri.; SIFF Cinema Uptown, 12:30 p.m. Sat.)—not only because of the horrors of Pol Pot’s Cambodia, but because of his 1996 murder in L.A. Director Arthur Dong gives us a respectful portrait of Ngor up through his Oscar for 1984’s The Killing Fields, though delivers no interviews with those who worked with Ngor on that movie. A more glaring absence—beyond the unsolved killing—is an account of Ngor’s seeming isolation in America.

Kevin Bacon produced Cop Car (Egyptian, 11:55 p.m. Sat.) and plays the bad guy—a crooked Colorado sheriff who suddenly needs to conceal his misdeeds when two curious 10-year-olds boost his squad car. Directed by Jon Watts, the film has a nice economy and specificity of action; one detects the guiding spirits of Steven Spielberg and Stephen King hovering overhead. Bacon’s flinty performance and Magnum, P.I. moustache suit the laconic mood; I don’t think he’s spoken so few lines in a movie since Animal House. Though Cop Car can feel like a short film stretched to 88 minutes, the core concept is sound and it ends correctly. A pick.

Made in Kampala, Uganda, The Boda Boda Thieves (Uptown, 6 p.m. Wed. & 3 p.m. Fri.) also ends correctly—mainly because it’s a free interpretation of The Bicycle Thief. That 1948 neorealist classic is, when you think about it, set in near-Third World conditions, so this paraphrase is apt. Here a teenager takes over his injured father’s motorcycle-taxi business, but he’s got a weakness for the bling and swagger of a local robbery crew. He wants to be cool; they want his boda boda. The story isn’t new, but the context lends a fierce urgency: Darwin meets Dickens, with a stunning final shot. Another pick.

The festival’s gala closer is a creepy, raisethe-stakes comedy about a new friendship gone awry between two L.A. couples, The Overnight (Cinerama, 6 p.m. Sun.). It’s a one-night romance between one married pair (Adam Scott and Taylor Schilling) and the other ( Jason Schwartzman and Judith Godrèche) after their young sons bond at the playground. A joint family pizza dinner leads to booze, pot, skinny-dipping, and the progressive baring of souls. I won’t say all of it works, but this awk-com amusingly explores the consequences of that dangerous phrase, “I want to loosen up.” The film opens June 26.

BRIAN MILLER E

bmiller@seattleweekly.com

Local & Repertory THE DARK KNIGHT Christopher Nolan’s 2008 Dark

Knight is the continuation of his 2005 Batman Begins.

Fair Gotham City is a modestly cleaner, better-lit place, albeit still plagued by dangerous crazies like the Joker (Heath Ledger), a committed anarchist in a dusting of floury foundation and a smear of crimson lipstick. He’s the film’s freakishly disturbing highlight. Christian Bale again plays the crime-fighting hero. (PG-13) SCOTT FOUNDAS Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Wed. • THE GODFATHER Francis Ford Coppola’s great 1972 Oscar winner needs no selling. With Marlon Brando, Al Pacino, and James Caan. (R) Central Cinema, $7-$9.

8 p.m. Thurs.

MEAN GIRLS For the first half of this 2004 teen comedy written by Tina Fey, I was slightly impressed.

But backstabbing gets old fast—almost as fast as tired high-school freaks and geeks jokes. Is it Fey’s fault—or director Mark Waters’—that Mean Girls is a watered-down, predictable take on a genre that was done way better 15 years ago when Waters’ brother, Daniel, wrote Heathers? Clueless straight-arrow student Lindsay Lohan gets plucked from the African bush where she was home-schooled by scientist parents and is dropped into the wilderness of public high school. The popular crowd that initially shelters her turns out to be the most brutal group of beasts she’s encountered. (PG-13) KATIE MILLBAUER Central Cinema, $7-$9. 7 p.m. Sun.-Wed. & 3 p.m. Sat.-Sun. AN OPEN SECRET From director Amy Berg (of Deliver Us From Evil), this is her new look at child abuse in the entertainment biz. (R) Opens Fri., June 5 at Meridian, Oak Tree, and others • SILENT MOVIE MONDAYS Christian Elliott supplies live organ accompaniment for the 1927 rom-com My Best Girl, starring Mary Pickford. (NR) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $10. 7 p.m. Thusdays through June 22.

Ongoing

ALOHA There is absolutely no pleasure in panning

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. It’s a thrilling, exhausting picture.

(R) B.R.M. Majestic Bay, Cinerama, Ark Lodge, Pacific Place, Thornton Place, Sundance, Kirkland, Bainbridge, Seattle Center IMAX, Lincoln Square, Vashon, 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.” (PG-13) DIANA M. LE Big Picture, Lincoln Square, Oak Tree, Guild 45th, Kirkland, Ark Lodge, Meridian, others TOMORROWLAND In Brad Bird’s very muddled Disneyland-ride-inspired movie, we meet precocious Casey (Britt Robertson), one of those disgustingly positive, too-smart-for-her-own-good teenagers. She’s trying to surreptitiously save a doomed NASA project that once employed her scientist father (Tim McGraw).

Then, through a bit of magical hocus-pocus, she’s invited to Tomorrowland, a futuristic utopia where she meets former boy genius Frank (George Clooney).

Encouraged by the ageless sprite Athena (Raffey Cassidy), Frank and Casey try to save humanity from, well, “human savagery.” (This in the words of Hugh Laurie’s villain). So which side will prevail in this contest between optimism and the dark forces of poverty, climate change, environmental disaster, greed, and neglect? Well, did we mention this is a Disney movie?

Bird, of The Incredibles, comes from the can-do camp; while co-writer Damon Lindelof (of Lost) is a darker sort of fellow. Tomorrowland posits that the looming end of the world—caused by our cynicism and defeatist attitude—can only be averted by our equally human capacity for dreaming and imagination. Never mind the apocalypse, in other words, it’s summer blockbuster season. (PG) D.M.L. Majestic Bay, Kirkland, Lincoln Square, others • WHILE WE’RE YOUNG Documentary filmmaker Josh (Ben Stiller) and producer wife Cornelia (Naomi Watts) are stalled in careers and marriage. 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. 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-in-law. (NR) B.R.M. Crest

BY B R IA N M I LLE R

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Cameron Crowe’s long-rumored misfire, which first drew disparaging studio commentary revealed in the great Sony hack last year. It’s a mess (though essentially a love triangle among Bradley Cooper, Emma Stone, and Rachel McAdams), but a heartfelt, genial mess. Crowe’s sunny emotional sincerity and well-intentioned characters—he doesn’t really do villains—served him well in Say Anything, Singles, and Jerry Maguire. Redemption is required for Cooper’s shady (CIA?) military contractor in Hawaii, where his ex (McAdams) has married a silent John Krasinski.

There’s a bunch of hooey about native spirits, then a subplot—really a different movie—about the privatization of space, which somehow involves Bill Murray (wasted). But the core of this badly reedited film, the only bit worth saving and savoring, is the badinage between cynical Cooper and chipper military pilot Stone. Cooper, possibly because of Crowe’s muddy script, seems to have no idea who his character is; meanwhile Stone swoops and dives with smiling focus and ferocity. This fighter jockey is such an idealist that she can’t decide whether to save or destroy him. (Somehow, for Crowe, his hero’s compromises represent the world’s compromises.) Granted, that’s only about 30 minutes of enjoyment between them.

The rest of Aloha is checking your watch and popcorn breaks. (PG-13) BRIAN MILLER Sundance, Ark Lodge, Kirkland, Lincoln Square, others 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 old-fashioned 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) ROBERT HORTON Sundance, Ark Lodge, Kirkland, others

the • MAD MAX: FURY ROAD Tom Hardy takes Mad

23

arts&culture» music

From Heavy to Heavier

Chris Martin on Kinski’s beast of a new record, 7 (or 8).

BY DAVID EINMO

E

xperimental space-rock purveyors Kinski have been producing uncompromising, tumultuous riffs for 15 years now. On its new Kill Rock Stars album, 7 (or 8), the band’s rocket ship upgrades its supersonic fuel injector, launching them into a faster and heavier galaxy. While Kinski’s earlier Sub Pop releases built slowly from sparse, atmospheric krautrock minimalism until they eventually magnified into avalanches of bombast, the new songs cut to the chase and explode right out of the launch pad.

7 (or 8) is a synthesis of all things Kinski.

The pop sensibilities of 2013’s more direct and vocal-centric Cosy Moments bubble to the top.

But under the studied songcraft is a circling great white shark. Fuzzy, post-punk guitars collide with thunderous bass and drums, producing one of Kinski’s finest records to date.

As veterans of the avant-psych rock scene, Chris Martin (guitar), Lucy Atkinson (bass), Matthew Reid-Schwartz (guitar), and Barrett Wilke (drums) are experienced enough to know all the rules, making the band better at breaking them.

NME described previous Kinski releases as “like Sabbath in a washing machine during a power surge.” On 7 (or 8), a tornado strikes the fuse box.

We asked Martin about the making of the new album, how Seattle compares to the other cities Kinski has toured, what it was like opening for Tool in arenas across the U.S., and what’s next for the band.

SW: How did recording with Phil Manley of Trans Am influence the sound of the album? 7 (or 8) is heavy—maybe the heaviest of all your albums.

24

The visceral, amplifier-torturing guitar frenzies of the Sub Pop era return on 7 (or 8). But the melody and songcraft from 2013’s Cosy Moments are also there. What was the writing process like for the new album compared to previous efforts?

It was pretty similar, really. I bring in either fairly finished songs or pieces and riffs, and the band hammers them into shape. But that was the idea for this new album—to combine the different things we’ve done in the past and make them into something pretty cohesive.

There a significant gap between 2007’s Down Below It’s Chaos and 2013’s Cosy Moments. Did the break allow the band to refresh?

SHANE WILLIAMS

SEATTLE WEEKLY • JUNE 3 — 9, 2015

Martin: Phil is an old friend, and we had wanted to work with him for a while. We did demos in our space for the new record, and we basically produced this album ourselves. But Phil is a great engineer, and we knew he would be on the same page with us, influence- and reference-wise. He has a new studio in San Fran [El Studio] that had all the gear we needed, and we laid it down in a week and a half or so. Phil was great at capturing our live sound, which was one of the goals of the record.

Yeah, we never stopped playing, but we slowed down quite a bit due to some personal issues. We had an album of songs written and took them on tour on some dates with Acid Mothers down the West Coast. We realized that the songs weren’t really working, and we scrapped the whole thing and started over again.

We always want to try and head in a new direction, and sometimes you find yourself in a cul-de-sac. But with Cosy Moments we had an idea of a direction we wanted to head towards, and I think the new album is the fruition of that idea. The next album will probably be a bit more jammy and a little more laid-back. The new songs seem to be going that way.

So you guys are already at work on the next record? No rest, huh?

We play new songs out live for a while before we record them, so I always like to be thinking about the next record. We’ve got about four new pieces in the works, and are playing one new one live right now. Gotta keep moving forward!

How does the experimental-rock scene in Seattle compare to that of other cities you’ve toured?

I don’t think Seattle’s ever been the most experimental town. I haven’t seen tons of bands I’m crazy about lately, but I don’t go out as much as I used to either. As far as noisy, I like MTNS quite a bit. And as far as new bands, I thought VHS were really great when I saw them last month.

Has touring with influential bands such as Acid Mothers Temple, Mission of Burma, and Comets on Fire impacted Kinski’s approach to writing music?

The main things we’ve learned from those bands is how laid-back yet focused they all are.

The best bands are always comprised of cool, nice people. As soon as you feel attitude, you know it’s amateur hour.

How did arena crowds respond to Kinski when you opened for Tool? Were there blank stares of confusion?

The tickets for the Tool shows just said “Tool, 8 p.m.” So all the shows were completely packed at 8 p.m. Totally packed. The lights would go down, the crowd would go nuts, we’d walk out, they’d see it wasn’t Tool, and a hush would come over the arena. Every night. It got to be funny after a while. But we would launch into our set without any breaks and play 30 minutes. And by the end there would be cheers and we had won a pretty good portion of the crowd over. Then we’d have some nerve medicine on ice.

What’s next for Kinski after you release the new album?

We’re doing a few dates down the West Coast, and then in the fall we hope to either hit the East Coast or Europe. We’re looking for a new booking agent, so if anyone’s interested . . .

What are you looking forward to most in Kinski’s future?

I just want to keep making records that we’re happy with. We’re not able to tour like we used to, but it’s always fun to play live, too. But making records is where it’s at! E

music@seattleweekly.com

KINSKI RECORD RELEASE SHOW With Fungal Abyss, Gold Fronts.

Chop Suey, 1325 E. Madison St., 538-0556, chopsuey.com. $8 adv./$10 DOS. 21 and over. 8 p.m. Thurs., June 4.

Organic, Electronic Warmth Veteran producer Lusine assesses Seattle’s burgeoning electro scene.

BY DAVID EINMO

COURTESY OF THE ARTIST

E

Comparing each city’s music scenes, McIlwain says “The Seattle music scene is a lot more focused and supportive than the L.A. music scene was when I lived there. It was really just a symptom of the size and sprawl of the city. It was so disparate and much harder to bring people together down there . . . Seattle has a lot of things in common with Austin, but I think the electronic-music scene has been a lot healthier up here for quite a while.”

Much of that health comes from events like the electronic-focused Decibel Festival, says McIlwain: “Decibel Festival has been great for Seattle, not only in bringing attention to our city, but bringing awareness to the people that live here that the scene is incredibly varied and nonhomogeneous.” More than 1,000 electronic artists from 40 different countries have performed at the annual festival since it started in 2004, attracting an average of 25,000 attendees each year. The festival continues to sponsor events throughout the spring, summer, winter, and fall. McIlwain says that helps attract even more touring musicians, which influences the local music scene. “Artists from out of town really want to play here,” he says. “Because there are so many of them that have played the festival over the past 10 years, they come back through when they tour.”

McIlwain also attributes the recent growth of Seattle’s electronic scene to a combination of the city’s art and tech-centric focus and its size.

“In places like New York and L.A., you have so many shows on any given night that there just isn’t always enough focus on any particular event,” he says. “The really super-mainstream EDM acts that get the most attention in those bigger cities might not always come through Seattle, and this leaves room for some of the better, more interesting artists to come through the Northwest. Since there is already a very high appreciation for the

arts here, the crowds are really receptive to all types of music. So it’s easy to break in new genres and styles in a city like this.”

Seattle’s openness to embracing new styles is particularly attractive to McIlwain, who has experimented with various forms of IDM, ambient, and abstract electronic music since his debut self-titled album, Lusine, was released on Isophlux in 1999. Yet despite his diverse output, McIlwain’s distinct fingerprints are present on each of his 11 albums, EPs, or singles. Crackling samples spark like burning embers, teasing and building tension.

Pulsating analog synths engulf his textures, growing into visceral melodies. McIlwain is a master at finding what he calls “beauty in strange places” and “warmth under the surface.”

“I like to start with something that might not seem particularly inviting, but something creeps out of the layers which makes it into something else entirely—something with a bit more warmth and a human touch,” he explains.

As McIlwain describes his process for making music, the sun shines into his studio window, illuminating a guitar resting in the corner.

It’s a reminder of McIlwain’s approach of combining organic instruments into an electronic landscape—something he’ll be showcasing at his upcoming Crocodile show by incorporating a live drummer, Seattle’s Trent Moorman, into the performance. “This isn’t an idea that just came to me a couple years ago. I think my music has been a constant evolution of this kind of vague idea.” E

music@seattleweekly.com

LUSINE With Rone and 214 (J. Alvarez). The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. $15. 21 and over. 9 p.m. Sat., June 6.

SEATTLE W EE KLY • JUN E 3 — 9, 2015

lectronic producer Jeff McIlwain, aka Lusine, sits in the center of his Seattle studio, surrounded by analog synthesizers and various effects bolted to vertical racks.

A drum machine plugged into a number of wires and cables rests on his desk below three computer screens and a collection of speakers. Beats scatter like a slow-motion pinball through layers of effects manipulated by spinning knobs and blinking, beeping LED bumpers. This is the operating room of a surgeon, cutting up sounds and stitching them together into something new.

For more than a decade, McIlwain has used this surgical approach to seduce listeners with his airy, warm synths spiraling over glitched-out beats. On his most recent release, Arterial (released by renowned electronic label Ghostly International), Lusine’s rich textures grow even deeper. McIlwain’s masterful chopping and resampling of vocal treatments percolate throughout Arterial’s lush rhythms, resulting in one of 2014’s most exciting electronic releases.

But it’s McIlwain’s penchant for mixing warm, acoustic sounds that separates him from his peers. It’s also likely what attracts so many labels, artists, and film producers to his music.

McIlwain has contributed to remixes and compilations released by Mute, !K7, Kompakt, Asthmatic Kitty, and Shitkatapult. He’s scored films such as David Gordon Green’s Joe (Nicholas Cage, Tye Sheridan, 2013) and the upcoming Our Brand Is Crisis (Billy Bob Thornton, Sandra Bullock), as well as Snow Angels (Kate Beckinsale, Sam Rockwell, 2007), and The Sitter ( Jonah Hill, 2011).

His recording experiences and tours of Europe, Japan, and Australia give McIlwain a more global perspective on the Seattle electronic-music scene. Originally recording in his hometown of Austin, McIlwain moved to Los Angeles before relocating to Seattle in 2002.

25

JURASSIC 5

7/10

BEST COAST with BULLY

6/4

NEON TREES with YES YOU ARE ALEX WINSTON

6/6

9PM

with CHANT + BLACK DECEMBER

8PM

with FOUR YEAR STRONG + TERROR + SOUVENIRS

9PM

THE PSYCHEDELIC FURS + THE CHURCH

8:30 PM

9/3 7:30 PM

MOTOPONY 6/27

KMFDM 7/18

THE STORY SO FAR 6/10

8PM

with TRISTEN + BIG HARP

9PM

SHOWBOX AND KGRG PRESENT

YELLOWCARD + NEW FOUND GLORY 11/13

with TIGERS JAWS

8PM

SHOWBOX SODO

TYLER, THE CREATOR with TACO

7/1

9PM

CHARLI AND JACK DO AMERICA

CHARLI XCX +ø BLEACHERS with B RNS

7/25

SEATTLE WEEKLY • JUNE 3 — 9, 2015

MARYMOOR PARK

26

7:30 PM

TOUR DE COMPADRES

NEEDTOBREATHE + SWITCHFOOT

7/18

with DREW HOLCOMB AND THE NEIGHBORS + COLONY HOUSE

6PM

MARYMOOR PARK

EMPIRE OF THE SUN

9/15

with ST. LUCIA + HOLY GHOST!

SHOWBOXPRESENTS.COM

6:30 PM

arts&culture» music

tractor

The Art and Incongruity of Bailey Skye

TIMES LISTED ARE

SHOW TIMES.

Nightspace’s arresting ‘performance electronica.’

FRI,

BY CATE MCGEHEE

ROCKIN

PIANO SHOW

DOORS OPEN 30-60 MIN. BEFORE.

YOU NAME IT WE’LL CELEBRATE IT!

JUNE 5 TH 

VINTAGE POP ROCK

HAMILTON LEITHAUSER JACK & ELIZA

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

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SUN,

JUNE 7 TH 

EAST COAT SINGER/SONGWRITER

HOWIE DAY

8PM - $15/$18

LIZ BRENNAN

TUES,

JUNE 9 TH 

NORTH CAROLINA COUNTRYGRASS

MANDOLIN ORANGE DAVID WAX MUSEUM WEDS,

8PM - $10/$12

JUNE 10 TH 

BROOKLYN INDIE ROCK

THE DAMNWELLS

MATT JAFFE & THE DISTRACTIONS, THE NATIVE SIBLING 8PM - $12/$14 CATE MCGEHEE

T

20 minutes as emotional songs, or to be able to bring together feminine looks and aggression, to make myself look more like a fragile person and still be able to roll around on the ground and bash the generalization that if you look feminine, you’re not going to do aggressive stuff.”

Skye, now 20, started Nightspace before he was a senior in high school. In a way it’s another incongruity that someone from a generation so immersed in technology doesn’t use a computer in his production or recording, instead making all his beats, sounds, and samples by hand.

Skye describes the dominant paradigm of contemporary electronica as “people with their computer, just standing there. It’s not as much of a performance, and you’re just listening to this recording that they made, like, a week before or a few months before. It’s always going to be the same, and there’s less audience interaction.”

Asked how his sound resembles ’80s synthbased British New Wave, Skye says he’s never even really listened to that—instead considering his influences “recent-classic” bands like Crystal Castles or The Knife. Skye uses hardware to search for a sound inspired by computers that winds up sounding nostalgic, which is the opposite of how electronic-music production usually works.

All Nightspace’s contradictions and tensions

contribute to an act of self-erasure. “I try to seem like not even a person when I play live,” Skye says. “It doesn’t even feel like it’s actually happening, it’s like I’m outside looking at what I’m doing, thinking ‘That looks really good . . . ’ I like the aspect of being a-gender or not even human, like a weird alien thing just up there doing it.”

The result, Skye says, is “not necessarily political, but kind of like a protest . . . You can just do it, and some people will understand. People who are against those norms and societal standards will understand.” The immersive, challenging performance of Nightspace, Skye says, is for “pushing the boundaries for myself and the people who hear it and witness it.” E

music@seattleweekly.com

NIGHTSPACE BIG BLDG BASH Music Festival, The Big Building, 3600 E. Marginal Way S., bigbldgbash.com. $15–$20. All ages. 3 p.m. Sat., June 6.

JUNE 13

ALT ROCK/NEW WAVE TRIBUTE

THIS CHARMING BAND MORRISSEY /THE SMITHS

FOR THE MASSES DEPECHE MODE

LOVE VIGILANTES NEW ORDER

9PM - $12 Up & Coming 6/3 SAN JUAN 6/4 THE OWL PARLIAMENT 6/6 JAMES MCMURTRY 6/8 SQUARE DANCE W/ THE TALLBOYS 6/11 EILEN JEWELL 6/12 STUBBORN SON 6/15 RHETT MILLER 6/17 SAN CISCO 6/18 SUPERSUCKERS 6/19 BLAKE NOBLE 6/20 THE MAMA RAGS 6/21 SAM OUTLAW

(JUST KIDDING!)

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

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El Corazon E orazon www.elcorazonseattle.com

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

THURSDAY JUNE 4TH FUNHOUSE

HUGH CORNWELL

w/Vaporland, The Tom Price Desert Classic, F-Holes Doors at 7:00PM / Show at 8:00 21+. $12 ADV / $15 DOS

FRIDAY JUNE 5TH FUNHOUSE

LEAST OF THESE

with Hearts Like Lions, Redeem The Exile, Aurora, Plus Guests Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY JUNE 6TH EL CORAZON

TEENAGE BOTTLEROCKET with The Copyrights, Loud Eyes, Coyote Bred, Plus Guests Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $12 ADV / $14 DOS

SUNDAY JUNE 7TH EL CORAZON

BLACK SKY

with City Of The Weak, Divides, Valadares, Plus Guests Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY JUNE 7TH FUNHOUSE

EIKTHYRNIR w/Ghost Blood, Xoth, Paralyzer, Necrosomnium Doors 7:00PM / Show 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS MONDAY JUNE 8TH FUNHOUSE

SAPIENT w/Coolzey, J. Rawls, Void Pedal Doors 8:00PM / Show 9:00 ALL AGES/BAR W/ID. $15 ADV / $20 DOS

TUESDAY JUNE 9TH EL CORAZON

KISW (99.9 FM) METAL SHOP, MIKE THRASHER & EL CORAZON PRESENT:

CROWBAR w/Battlecross, Lord Dying, Devils Hunt Me Down, Three Chord Killer Doors 7:00PM / Show 7:30 ALL AGES/BAR W/ID. $18 ADV / $20 DOS

THE CROWBAR AFTER SHOW PARTY 21+ FUNHOUSE

STONED EVERGREEN TRAVELERS

FREE. Begins immediately after the conclusion of the Crowbar show.

WEDNESDAY JUNE 10TH EL CORAZON

TSUNAMI - “WETTER, SET, GO” FEATURING Catch 24, DJ Yup, Alika, Donovan, Dion Park, R&D, Plus Guests Doors 7:00PM / Show 8:00 18+. $20 ADV / $25 DOS

WEDNESDAY JUNE 10TH FUNHOUSE

MOBINA GALORE w/T.S.G. (The Surgeon

Generals), Baby And The Nobodies, The Eiffels, Sunset Flip Doors 8:00PM / Show 9:00 21+. $8 ADV / $10 DOS

JUST ANNOUNCED 7/3 FUNHOUSE - VOICE OF ADDICTION 7/9 FUNHOUSE - JESSE LAWSON (EX-SLEEPING WITH SIRENS) 7/18 - MY BODY SINGS ELECTRIC7/22 - FOREVER CAME CALLING 7/27 FUNHOUSE - BRICK + MORTAR 8/3 FUNHOUSE - DEVIANCE 8/10 FUNHOUSE - JEFF ROSENSTOCK 8/16 FUNHOUSE - MRS. SKANNOTTO 8/22 - THE FREEZE 8/27 FUNHOUSE - TOARN / KRIMINALS UP & COMING 6/11 - MISCHIEF BREW 6/11 FUNHOUSE - THE BURNZ 6/12 FUNHOUSE - AWAKEN, ANTAGONIST 6/13 - DR. KNOW 6/13 FUNHOUSE - THE HOLLOWPOINTS 6/15 FUNHOUSE - NIGHT CLUB 6/16 - UK SUBS 6/17 FUNHOUSE - ALKI JONES 6/18 - CHOPPA CLIQUE 6/18 FUNHOUSE - THE PINIELLAS 6/19 - COCKNEY REJECTS / ANGRY SAMOANS 6/19 FUNHOUSE - DTCV 6/20 - SUBJECT TO DOWNFALL 6/20 FUNHOUSE - FERNANDO VICICONTE 6/21 - RED 6/21 FUNHOUSE - SHADY ELDERS

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

SEATTLE W EE KLY • JUN E 3 — 9, 2015

he first time I saw Nightspace, the darkwave electronica project of Seattle’s Bailey Skye, was at the monthly craft fair ArtAche last February in the Central District’s small Gallery 1412. It was mid-afternoon, and probably only 10 or 15 people were in the room, almost all of them vendors sitting at their booths. I didn’t even realize there was going to be a show until I heard the music begin.

When Skye got onstage, dressed like a space-goth geisha with a keyboard draped in black mesh, he made the bright room feel like the belly of a dark club. I’d never seen a performer with such spectacular transformative power over the indifference of a small, listless crowd. Skye didn’t even seem to notice how few people were there. His howls, croons, contortions, stares, and voguing over murky industrial beats were completely engrossing.

Skye sounds like a multitude. He uses a keyboard and a drum machine to make moody beats he dubs “dreamcore,” and he’s able to sing in both very high and low registers and self-harmonize with his samples, which had me looking for a second band member. Nightspace’s sound is somehow both languid and frenzied—his performance a carefully choreographed series of movements and expressions that involve his entire body.

The immersive experience of a Nightspace show is calculated. Skye’s mission is to “evoke feeling in a performance-art way, not just a musical kind of way,” which he hopes will make his shows resonate for audiences who don’t even necessarily like the music. “I really plan out my shows and the theatrics of them so it has a different momentum throughout,” he says, “and I like to use myself as a moving performance piece with the music on top.” Skye aims to make each show “more than just a set,” but “one consecutive art piece.”

Part of that art piece is Skye’s appearance and stage presence, which are defined by contradiction. His look is glamorous, prim, and meticulous, while also evoking something gritty, tough, and punk. There is androgyny in his dress, manner, and vocal range. He is emotional and vulnerable while simultaneously inspiring almost a kind of fear. He’s playful, but also darkly serious.

“I like pulling together conflicting feelings and pushing them into one thing,” says Skye. “I like being able to change myself per song. I want to be versatile, to play aggressive songs in the same

SAT,

TH 

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

27

a&c» music

TheWeekAhead Wednesday, June 3

WHITE LUNG consists of four Canadians who play a

faster, buzzier twist on X-style L.A. punk. White Lung takes that Hollywood monster-of-the week/Elvira aesthetic and perfumes it with the distinctive aroma of early Hole. Remember how teens would plaster their bedroom walls with the glossy pages of Kerrang! magazine? If it was 20 years ago, White Lung would’ve been all over mine. With So Pitted and And And And. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com 8 p.m. $10. 21 and over. WARREN LANGFORD

Thursday, June 4

Like Wire and Monochrome Set, the Stranglers proved that post-punk could, and did, go everywhere. People are most familiar with the band’s “Golden Brown,” a baroque harpsichord number wherein singer HUGH CORNWELL croons on the subject of heroin by way of Greek mythology. It’s appropriate because in the late ’70s and early ’80s, the Stranglers were adventurers. Led by Cornwell’s lush baritone and peculiarly enchanting lyrics, each song boldly mounted an expedition to the edge of the known musical atlas. Tonight Cornwell performs Stranglers hits and solo work alike. With Vaporland, The Tom Price Desert Classic, and F-Holes. Funhouse Lounge at El Corazón, 109 Eastlake Ave. E., 262-0482, elcorazonseattle. com. $12 adv./$15 DOS. 7 p.m. 21 and over. WL In Seattle, if your roommates have their door closed and NEUTRAL MILK HOTEL blaring, that usually signifies that they’re “doin’ it.” NMH totally deserves this honor. Frontman/ reclusive mysterioso Jeff Mangum writes songs as forlorn and sturdy as the log cabin in the Yukon where I imagine he lives. It’s got that sexy-sadness appeal, just like Seattle.

Take note: Jeremy Barnes, NMH’s drummer, has a band called Hawk and a Hacksaw, whose live show is the best I’ve ever seen. It seems a shame to stifle that much talent behind a drum kit, but that’s just how good NMH’s babymakin’ music is. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $30.25–$32.75. 8 p.m. All ages. WL

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

JAZZ ALLEY IS A SUPPER CLUB

Friday, June 5

Motor and secondnature, two Seattle techno/electronic collectives, have joined forces to present the SHIFTED–ALL NIGHT PARTY. Shifted is a producer/DJ from the UK who has not only found a unique voice within the revolving soundscape of techno, but also founded multiple labels including Avian and Mira. Put away your Uber and Lyft apps because by the time the party lets out (4 a.m.), the buses will be running again. With Black Hat, Fugal, Josef Gaard, and more. Kremwerk, 1809 Minor Ave., 682-2935, kremwerk.com. 9 p.m. $10 adv./$15 DOS. 21 and over. DML

Saturday, June 6

BENNY GREEN TRIO WED, JUN 3

SEATTLE WEEKLY • JUNE 3 — 9, 2015

Hard-bop jazz pianist extraordinaire

28

SPYRO GYRA THURS, JUN 4 - SUN, JUN 7

12x Grammy-nominated American jazz fusion guru’s blending R&B, funk and pop

EDMONDS-WOODWAY HIGH SCHOOL JAZZ ENSEMBLES MON, JUN 8 JUSTIN KAUFLIN QUARTET TUES, JUN 9 - WED, JUN 10

He’s a monster on the piano and one of the greatest people I know.” - Clark Terry

ARTURO SANDOVAL THURS, JUN 11 - SUN, JUN 14

Presidential Medal of Freedom recipient, 10x Grammy award winner and Emmy award winner, Mr. Sandoval is a Cuban jazz trumpeter, pianist and composer extraordinaire!

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

Have you ever wanted to go to a huge house party in a big industrial warehouse building? That’s the atmosphere you’ll get at BIG BLDG BASH, a music festival in its second year. Over 50 bands—including Airport, Newaxeyes, Fauna Shade, Nightspace (see page 27), and SW darlings Kithkin—will perform across five stages within the same building. Food trucks and local beer on tap are available to keep the party going until 3 a.m. All proceeds go to Rain City Rock Camp for Girls and Colectiva Legal del Pueblo.

The Big Building, 3600 E. Marginal Way S., bigbldgbash. com. 3 p.m. $15 adv./$20 DOS. All ages. DML Are you looking for songs about taking your dog’s tranquilizers? Are hot-dog T-shirts your aesthetic? WIMPS has both! For a loosey-goosey party band, it’s also got a killer work ethic. In the past few months, the band’s played almost a show a week. Like any band with so much star factor, Wimps has recently appeared in high-profile media outlets such as a game show (The Future is 0) and a podcast (Accidents on Purpose). This is an Audioasis benefit show, and proceeds will go to Futurewise. With Bread & Butter, Jackson Boone.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $7. 21 and over. DML

Monday, June 8

Damon McMahon’s project AMEN DUNES is like a teenager in high school, constantly trying on and discarding different identities. Its releases have ranged from gloomy Ethiopian covers to spoken word to bedroom music. His latest album, Love, is warm, nostalgic, and sentimental. McMahon, known for working with a rotating cast of musicians, recorded this album with longtime collaborators Jordi Wheeler and Parker Kindred, among others. With Ryley Walker, Xander Duell. Barboza, 925 E. Pike St., 709-9442, thebarboza.com. 8 p.m. $12 adv. 21 and over. DML

Smoked Salmon, a Minor Setback, and Hope

SMOKED SALMON

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WE LEGALIZED IT— AND WE LIKE IT

Even with bumps in the rasta road, surveys from Public Policy Polling show that in the two states that legalized cannabis, the people like the law—even more than when they voted it in. Fifty-six percent of us here in Washington approve of the recreational weed law, and 37 percent dislike it. In the 2012 referendum, the same percentage of folks approved, but 44 percent voted against the intiative. Better still, 77 percent of voters say the new laws have either had a positive effect or no effect at all. In Colorado, a different poll confirmed the trend.

Sixty-two percent of voters there support the new ganja laws, an increase of seven percentage points from the vote tally in 2012.

Survey says: It’s all good.

CLEMENCY

Finally, in a bit of good news related to a previous column (“Prisoners for Pot,” May 13), the governor of Missouri commuted the sentence of a man serving a life term for marijuana. Gov. Jay Nixon’s commutation makes Jeff Mizanskey, 61, eligible for parole after being jailed for 22 years under Missouri’s three-strikes law. Part of the reason for the governor’s move? Four hundred thousand people had signed a change. org petition requesting clemency. Mizanskey’s not free yet, but he’ll plead his very strong case before a parole board this summer. A nonviolent offender, Mizanskey has been a model prisoner—and has served a longer term than many rapists, child-molesters, and murderers. (Parole accepted!) E For more Higher Ground, visit highergroundtv.com.

SEATTLE W EE KLY • JUN E 3 — 9, 2015

In addition to the weed-news deluge, a plethora of cannabis culture stories make me want to roll things back to the days of Reefer Madness. Take marijuana-infused salmon.

Please.

The owner of Rosenberg’s Bagels in Denver created a seriously smoked salmon when he recently infused the fish with cannabis. The process involved introducing marijuana into Everclear (which extracts the THC, the psychoactive element in ganja), then spreading the tincture over the fish for 72 hours before cold-smoking it (in the traditional way).

“The flavor is really great, not that weed-brownie flavor that you try to cover up with chocolate,” noted general manager Nicholas Bruno.“The dill, lemon, and cannabis—everything melds perfectly with the fish.” While the deli may have made a news splash, they’re ruining a perfectly wonderful fish, as well as some damn fine weed. (The lox/cannabis combo was more stunt than serious sales effort, as all marijuana edibles in Colorado must be clearly labeled and packaged in single doses of 10 mg or less.) I’ll say this much: Don’t even think about ruining our Copper River salmon by infusing it with pot. (Though Copper River Chronic does have a nice ring to it . . . ) Point is, not everything has to be infused with cannabis. Yoga classes are being combined with getting high, for example. Not necessary.

Your yogic bliss should be enough for mind, body, and soul, so that it doesn’t require taking bong hits during bandhasana. A company introduced cannabis K-cups last week (Catapult coffee pods retail for $10 each), infusing your morning by truly waking and baking. How ’bout ya don’t!? Moderation, people.

Board just busted four of the 22 recreationalmarijuana stores they tested for selling to underage shoppers, which is—without a doubt—a serious screw-up. (As a point of comparison, Colorado did this kind of check last June after their retailers had been open six months, and all 20 passed the test.) The biggest reason these failures are so outrageous is that the board had announced to all recreational shops a month before that they would be doing compliance checks. Many journalists are calling the busts a major setback for marijuana (including Seattle Weekly’s own Daniel Person, declaring “Recreational Pot Is Having Its First PR Fiasco”). In fact, I think it’s just the opposite: A legal system, with due diligence, probing for violations and nailing those not in compliance sounds like a well-reasoned plan that moves in the right direction. (And indeed, idiots selling to underage kids should lose their licenses.) The rest of the stoned state gets a second chance— as every one of the 138 retail operations in the Evergreen State will be checked for compliance by the end of June. #getittogetherpeople

md car

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ever thought I’d say this, but there’s almost too much marijuana in the news as of late. With cover stories this month in both Time (by local journalist and former Seattle Weekly scribe Bruce Barcott) and National Geographic (“The New HIGHERGROUND Science

BY MICHAEL A. STUSSER of Marijuana”), you can’t walk by a newsstand or go online without getting a contact high. Of course it’s great that mainstream publications are finally treating the subject of cannabis in a more mature manner, rather than continuing to deliver cliched jokes about smokescreens and . . . contact highs. Still, I wish Time and Nat. Geo had saved some for later. Like good ganja, ya gotta space the hits out.

L MARI GA

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WA Misc. Rentals Rooms for Rent

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Announcements

GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services Lawn/Garden Service

OPEN 7 DAYS A WEEK 10am - 10pm 1084 KIRKLAND AVE NE RENTON, WA 98056

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206.877.0877 SEATTLE WEEKLY • JUNE 3 — 9, 2015

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Housekeeping Job Fair June 9th & 10th from 12pm-2pm

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NOTICE OF PUBLIC SALE NOTICE IS HEREBY GIVEN that RIVERS EDGE BUSINESS PARK CORPORATION, a Washington corporation (“Landlord”) shall hold a public sale of the Property described below, and will sell the Property to the highest qualified bidder at the sale. The Property is the subject of a lien, pursuant to Chapter 60.72 RCW, held by Landlord in the Property used or kept on the Premises (as defined below) by Won Kyun Shin and Sun Hee Shin, husband and wife (“Tenant”).

The public sale of Tenant’s Property will be held at the premises leased by Landlord to Tenant (the “Premises”), which Premises are commonly known as 20038 68th Ave, Suite 107, Kent, WA 98032.

The public sale of the Tenant’s Property will be held at the Premises on Wednesday, June 10, 2015 at 12:00 noon. The Property to be sold consists of the following assets: Tenant’s personal property abandoned by Tenant at the Premises and/or personal property used or kept by Tenant at the Premises following Tenant’s default under its lease with Landlord.

The purchase price is payable in lawful money of the United States at the time of sale. The Property will be sold “as is, where is,” with NO warranties of any kind or nature, including without limitation warranties of title, possession, quiet enjoyment, or the like. For further information about this sale, please contact Michael R. Garner of Stokes Lawrence, P.S., 1420 Fifth Avenue, Suite 3000, Seattle, WA 98101-2393, (206) 626-6000.

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

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Tools

MISC: Band saw, 17” 2 blades, fence with foot brake. $600. Bowl lathe will turn up to 72”, with tools and accessories. $5,000. Burl Planer, any size burls. $2,000.

(360)457-7129 Yard and Garden

BLACKBERRY & BRUSH REMOVEL

KENMORE FREEZER

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

Credit Dept. 206-244-6966

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

206-244-6966

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

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

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

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

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

By: Michael R. Garner Attorney-in-Fact for Rivers Edge Business Park Corporation

$3000. 2003 BUICK PARK AVE ULTRA.

SOUP DADDY SOUPS Monday through Friday.

Cashier and line help w/ catering and dishwasher.

206-682-7202

Employment Services

Robust car; great on long road trips and traveling over the mountains. Roomy.

Get-up ‘n go supercharged engine. Sleek

Employment Computer/Technology Member of Technical Staff at Seattle, WA: Resp for architect, design & develop software for a converged computing + storage platform for the software defined data center. Mail resume to Nutanix, Inc, 1740 Technology Drive, Suite 400, San Jose, CA 95110.

Attn: HR Job#2015-1075.

Residential/Light Comm

253-261-0438

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Software Engineer in Test [Req#95YVJA] - Splunk Inc. (Seattle, WA): SW design, analysis, & development of SW testing tools to improve computer sys. Refer to Req# & mail resume to Splunk Inc., ATTN: J. Aldax, 250 Brannan Street, San Francisco CA 94107. Individuals seeking employment at Splunk are considered without regards to race, religion, color, national origin, ancestry, sex, gender, gender identity, gender expression, sexual orientation, marital status, age, physical or mental disability or medical condition (except where physical fitness is a valid occupational qualification), genetic information, veteran status, or any other consideration made unlawful by federal, state or local laws. To review US DOL’s EEO is The Law notice please visit: https://careers.jobvite.com/ Splunk/EEO_poster.pdf.

To review Splunk’s EEO Policy Statement please visit: http://careers.jobvite.com/ Careers/Splunk/EEO-PolicyStatement.pdf.

BIG D TOWING Abandoned Vehicle Auction Friday 06/12/15 @ 11AM. 1 Vehicle Preview 10-11am.

1540 Leary Way NW, Seattle 98107 BIG D TOWING Abandoned Vehicle Auction Monday 06/08/15 @ 11AM. 4 Vehicles Preview 10-11am.

1540 Leary Way NW, Seattle 98107

Employment General

TODD’S TOWING

Abandoned Vehicle Auction 1410 E North Bend Way North Bend, WA

425-888-3414 Public Auction

starts @ 10am on 06/06/15 Viewing Time 1 HR before Auction

Appointment Setter Help keep trees Safe and Healthy by generating Appointments for Tree & Shrub Maintenance. Set your Own Schedule. Paid orientation, marketing materials and company apparel.

-Travel allowance -Monthly Cell phone Allowance -Monthly Medical Allowance Vehicle, DL, Cell Phone & Internet Req. Email resume to recruiting@tlc4homesnw.com 855-720-3102 ext. 3304 Tree Climber/Arborist Full Time- Year Round Work performing tree work! We are Licensed, Bonded & Insured.

Must have prior Tree Climbing & Trimming Exp. Company Sponsored Medical Avail.

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Email work experience to recruiting@ treeservicesnw.com.

Call 1-800-684-8733 ext. 3434

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4HAULING 4EXCAVATION 4BACKHOE & 4BOBCAT WORK 4Lot Clearing HConcrete & Asphalt Removal HStump Removal HSmall Bldg Demolition HNo Job Too Small

Auto Events/ Auctions

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

Automobiles Buick

WANTS TO purchase minerals and other oil & gas interests.

Send details to P.O. Box 13557, Denver, Co 80201

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

Must live in Seattle area.

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

Employment Transportation/Drivers

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

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

Apply online at www.premiertrans portation.com “Recruiting.” EOE Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance.

Financial Aid avail for those who qualify 1.800.321.0298

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MEDICINE MAN WELLNESS CENTER Providing Authorizations in Accordance with RCW 69.51A

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Also Open Sunday 12 - 4 Now accepting all major credit/debit cards!

SEATTLE W EE KLY • JUN E 3 — 9, 2015

Walk-ins Welcome

On-Line Verification Available

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SEATTLE WEEKLY • JUNE 3 — 9, 2015