Seattle Weekly, June 17, 2015

JUNE 17-23, 2015 I VOLUME 40 I NUMBER 24

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MUSIC YOUR HOT AND LOCAL 2015 SUMMER JAMS PAGE 25 FOOD CHOPHOUSE ROW READY! PAGE 14

CLUCKING AMAZING The birth of the Blue-Footed chicken, the best damn bird you’ll ever eat.

By Joe Ray PAGE 9

Better Science Through Bigfoot

How a fake creature can help you become a better field researcher.

By Samantha Larson Page 6

A Dude’s Guide to Amy Schumer

The comic’s bawdy brand of feminism has lessons for guys, too.

By Dave Lake Page 16

READER POLL

SEATTLE WEEKLY • JUNE 17 — 23, 2015

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news&comment 5

FUTILITY PAYMENTS

BY CASEY JAYWORK | A program to

assist needy households with utility bills is flailing, while discounted transit passes are a hit. Why? Plus: a police monitor’s report, a Sasquatch seeker’s guide, and the U.S. Open’s blue-collar host.

9

COQ DEALERS

BY JOE RAY | Meet the Poulet Bleu—

the French-inspired, Northwest-bred chicken that could revolutionize the industry—and the men behind it.

food&drink

14 FOOD COURT CHIC

BY ALANA AL-HATLANI | Upscale

vendors anchor a repurposed auto-parts shop at 11th & East Pike.

14 | FOOD NEWS/THE WEEKLY DISH 15 | THE BAR CODE

arts&culture 16 AMY SCHUMER, EXPLAINED

BY DAVE LAKE | A dude’s guide to our favorite comedienne.

17 | THE PICK LIST 18 | OPENING NIGHTS | Two plays about

sex, with politics and money in the mix.

19 | PERFORMANCE & BOOKS 19 | THE FUSSY EYE 20 | VISUAL ARTS

OPENING THIS WEEK | Pixar gets inside our brain, plus three standout titles from SIFF. 23 | FILM CALENDAR

24 MUSIC

BY KELTON SEARS | Nature-loving

metal bands gather at a solstice festival.

Plus: the best summer jams and the Sunset Tavern’s birthday.

27 | THE WEEK AHEAD

odds&ends

4 | CHATTERBOX 28 | HIGHER GROUND 29 | CLASSIFIEDS

»cover credits PHOTO BY JOE RAY

EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears

June 19th & 20th

Select Designers & Watches 20%-50% off in store or visit foxsseattle.com and use code SPRING20

Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork Calendar Assistant Diana M. Le Editorial Interns Alana Al-Hatlani, Daniel Roth

405 University Street Seattle, WA 98101 206.623.2528

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

SEATT LE W EEKLY • JUN E 17 — 23, 2015

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7710 SE 34th St., Mercer Island, WA 98040

“Drumming can bring a dozen hearts and souls to a dozen destinations...yet we journey together... as a community.”

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WILL THE CIRCLE BE UNBROKEN?

Last week, Daniel Person chronicled some growing tensions between a popular drum circle in Gas Works Park and a handful of neighbors who don’t appreciate the noise that drifts across Lake Union into Eastlake. Following the story’s publication, one of the drummers wrote to emphasize that they were hopeful an agreeable solution could come about.

has realized he might be a little dyslexic. Despite that, he loved Are You There God? It’s Me, Margaret and Superfudge. I can’t pinpoint exactly what parts of his personality might have been influenced by her strong-female-centered stories, but I have no doubt he is (now) a lifelong reader because of Judy Blume, and a more empathetic man in general. Also, I taught fourth and fifth grade for nine years, and have read Superfudge to dozens of children, who laughed more than with any other book I ever read them.

Rebecca Peterson, via e-mail

Ours is a community drum circle. We are a diverse group of people sharing a common experience. Our emphasis is on intuitive, improvised, and emotive rhythms and not rehearsed, formal, or traditional ones. We welcome your voice in our “group song.”

BURGESS’ BURDEN Drumming is fun. Drumming can change your On the City Council front, Ellis Conklin took note mood and connect you powerfully with others. of Seattle liberals’ continued distrust of Tim Burgess, Drumming can entrance and heal. Drumming can despite what the Council president calls a strong record provide a vehicle for expressing joy, frustration and supporting progressive Seattle causes, including writpeace. Drumming can raise energies and provide ing the city’s wage-theft law and implementing Pre-K relaxation. Whether we participate for the spiritual for all in Seattle. Some readers were still skeptical. experience, the musical experience or the community experience, drumming can bring a dozen He wrote the “wage theft” law—oh, the wage theft hearts and souls to a dozen destinations . . . yet we law that has NO enforcement ability? Not one case journey together . . . as a comhas been prosecuted because Send your thoughts on munity. I’ve been working with the law was written in a way the SPD and the Parks Departthat a perpetrator of wage theft, this week’s issue to ment off and on for two years after numerous appeals, would now. We’ve been trying to reach letters@seattleweekly.com have to tell the Washington a compromise and organize a State Supreme Court to get meeting with neighbors to work out a win-win. A bent and that they refuse to make victims whole town meeting was suggested or city council in both before they could be charged under Seattle’s wagedistricts. Nothing ever came of it, and we’ve had no theft ordinance. direct contact with any of the neighbors until last donny1020, via seattleweekly.com week. Personal threats and insults are not a neighborly way to build bridges and make peace. We are THE NAKED TRUTH a community, after all. As is our drumming circle. A And in our Summer Guide, Kelton Sears bared it community within a community. There is no oppoall to get a look at the Pacific Northwest’s fledgling sition to compromise; we encourage a healthy and nudist camp scene. “Part of the problem might be that open dialog. Compassion on both sides will show the nudist movement’s advocacy has been too successto be fruitful and bring a calm to the neighbors of ful. In Seattle, public nudity is perfectly legal as long Eastlake. as it’s not ‘indecent,’ ” Sears reports. Readers shared their own exposing experiences.

Na’tan Collins, via e-mail BLUME FOR BOYS

Meanwhile, food editor Nicole Sprinkle jumped sections and wrote in the Arts & Culture pages about the huge role writer Judy Blume played for women who came of age in the 1970s, on the occasion of Blume speaking at Town Hall. In particular, the classic Are You There, God? It’s Me, Margaret “helped millions of girls on the precipice of puberty deal with their first period and first bra—or the lack thereof among more early-maturing friends.” But as one reader informed us, Blume wasn’t just for girls.

I am fortunate to be married to a man who read Judy Blume books as a boy! He reports he was never much of a reader as a kid; as an adult, he

Interesting the article talks about Seattle, and how one can be nude here. I got 86’d off Alki beach last summer for not having my top on.

I was just sitting, minding my own business, soaking up sun, and two cops walked up to me, asked me what I was doing, and said I was causing alarm by wearing no top, and either put one on or leave. I lodged a complaint against the officer, and the office of accountability stated that he was just enforcing the law, and could tell me to leave because a female has to cover her breasts in public. Nice article, though . . .

I enjoyed the read.

Saras Gabbery, via seattleweekly.com E Comments have been edited for length and clarity.

news&comment

A Tangled Web

Seattle spends millions to get poor people signed up for cheaper utility bills.

The results have been less than electric.

Three Key Points About the Police Monitor’s Report

BY CASEY JAYWORK

BY CASEY JAYWORK

he rent is too damn high—and so are the utility bills. Fortunately, Seattle offers discounts to poor households.

Unfortunately, few are enrolled.

Although Seattle’s Utilities Discount Program (UDP) could halve the utility bills of roughly 72,000 eligible Seattle households, only about 17,600 households are enrolled in the program.

The Human Services Department handles enrollment and outreach for UDP on behalf of City Light and Seattle Public Utilities (SPU), at an annual cost of $1.5 million. Human Services managed to bump up the number of net new enrollments by a record-breaking 3,000 last year— but the lion’s share of that bump happened in early 2014. Since then, enrollment growth has slowed.

“That’s good,” says city councilmember Sally Bagshaw. “They got 3,000 [households] enrolled in a year.” Then her voice drops to a whisper: “But Metro just got 9,000 [people] done in 90 days.”

She’s referring to Metro’s infant ORCALIFT program, which made national news as a bold experiment in economic progressivism and has become the UDP’s embarrassingly successful younger sibling. LIFT discounts ORCA transit passes by more than 50 percent for poor riders. Metro contracts with Seattle/ King County Public Health for outreach and enrollment, just as SPU and City Light contract promotion of UDP to Human Services.

But where UDP’s enrollments fluttered, LIFT’s skyrocketed—it’s on track to recruit 40,000 people by the end of its first year. To be fair, UDP enrollments are counted by household, LIFT’s by individual, so a side-by-side comparison of enrollment numbers is unfair to UDP. It also means that UDP can’t easily piggyback on other programs—such as LIFT—that have already verified individuals’ income.

Still, this enrollment disparity has raised eyebrows at City Hall. At a recent meeting of the Public Utilities and Neighborhoods Committee, which Bagshaw chairs, she was briefed by city employees on UDP’s lackluster enrollment—and then by county employees on LIFT’s stellar enrollment. It was, by all appearances, a frustrating experience for the District 7 incumbent.

“We are paying, between Seattle City Light and Public Utilities, $1.5 million” per year to Human Services to do outreach and enrollment for UDP, she told county representatives during their briefing. “So you can understand that I’m over here having a small fit, thinking that you are doing what you’re doing at almost a quarter of the cost.”

n Monday, the Seattle police monitor released his fifth semi-annual report on the status of police reform in the Emerald City. The news, writes federal monitor Merrick J. Bobb, is generally good: “Although significant work on implementing and refining Consent Decree reforms remains, SPD has moved closer in the last six months to where it needs to be. There is still significant work ahead, but the SPD is positioned to be a leader in the national reform effort. While many departments are struggling with where to start, SPD is well underway.” Here is a summary of three key points in the report:

T

PHOTO ILLUSTRATION BY JOSE TRUJILLO

too much. At that same committee meeting in May, she told Metro representative Matt Hansen that “I’m looking at the comparison of the city of Seattle slide, a historical enrollment of clients in the [UDP] program which is just about flatlined, until 2015 where we’ve added some, and what you’ve done in 90 days. I mean, I hate to compare, but this is extraordinary.”

Why has UDP enrollment been so disappointing? In the middle of a city housing crisis, you’d think there would be a line out the door for any government programs offering subsidies.

One answer: Enrollment is an onerous crawl through paperwork hell. “Analysis and client feedback,” an internal review of the program published in May notes, “indicated a lack of available access and information regarding UDP, and frustration with the length of time from application to confirmation of enrollment because of the paperwork required to validate eligibility.”

By comparison, ORCA LIFT applicants can walk into a Public Health office (or an office of one of their eight agency partners), slap down their ID, and quickly get enrolled in a variety of programs. LIFT has been able to do this by using data collected during the rollout of the Affordable Care Act. If someone has already qualified for a program with comparable income requirements (say, Medicaid), then Public Health employees can deduce that their income also qualifies them for LIFT. Daphne Pie, who coordinates LIFT outreach at Public Health, says that using pre-existing databases to verify income eligibility allows Public Health to “say to the client, let us look at the existing systems first . . . and look at your eligibility there, so that we reduce that paperwork

nightmare that clients have to go through in order to get eligible for a program.”

Human Services has begun to streamline

paperwork requirements for UDP, looking for common-sense ways to make it easier for Seattleites to get into UDP and stay there. Human Services managed to hang onto 346 enrolled households by no longer making people reapply to UDP when they move to a new address, and they say they’ve managed to get the time from an application’s submission and its first lookover by staff down to less than three weeks.

“We want to find ways to [coordinate with Human Services] even more,” says Public Health’s Jerry DeGrieck. “I think that the city of Seattle and HSD and Public Health are very motivated to make improvements at UDP . . . as soon as possible”—potentially within months.

Jason Johnson, the Human Services deputy director in charge of UDP, agrees, saying that he expects an agreement with Public Health by the end of the year that will grant Human Services access to the same state and federal databases that Public Health has used to quickly verify LIFT income eligibility.

But for Bagshaw, the changes so far are just nibbling at the edge of a problem that deserves voracious mastication. The application form “really set me back on my heels,” she told the city briefers. “I don’t know if you’ve looked at this,” she told them before reading the form’s list of 10 different income categories. “If I had to provide that stuff myself, with files and Xerox copy machines available, I’m not sure how I would do that, let alone if you’re under stress of income deprivation.” E

cjaywork@seattleweekly.com

Body Cams. Now. According to Bobb, “More than four years of discussion, public engagement, and collaboration on body cameras in Seattle has now resulted in a sound policy governing body-camera use and a widely praised method for promoting privacy, transparency, accountability, and administrative efficiency.” Accordingly, Bobb strongly believes that “body cameras should be rolled out to all SPD officers on a permanent basis as rapidly as possible. If adjustments to policy, training, or internal processes are necessary in the area, they should be based on lessons learned from the field going forward.”

Is Cool Bobb is clearly ★★★★ O’Toole impressed with Chief O’Toole,

Murray’s hire. “Over the last six months,” he writes, “Chief Kathleen O’Toole has continued to lead the SPD’s efforts to become that department—and, in doing so, has validated the Mayor’s choice of her as the right person to reform the Department, encourage police proactivity, and fight crime intelligently and efficiently.”

In that vein, the report notes improvements in training (the term “de-escalation” occurs 18 times in the report’s main text) and data collection. For example, Seattle cops are now obliged to document “contacts with those in behavioral crisis.” On the other hand, the Early Intervention System (an employee performance-monitoring system) has been “a source of substantial cultural anxiety” within the Department, Bobb writes.

The Long Haul Bobb notes that depart-

mental reforms are far from complete.

For instance, the report says that some police officers have described the ongoing reforms as “temporary and sure to change once the Consent Decree is done.” Bobb also describes the Department’s Force Review Board as sometimes “mired . . . in convoluted policy and factual interpretations in order to conclude that force was ‘in policy’ or generally ‘reasonable’ ”—that is, treating reasonableness as the only criterion for use of force (like Walker: Texas Ranger), rather than one among many (like Hill Street Blues). E

cjaywork@seattleweekly.com

SEATT LE W EEKLY • JUN E 17 — 23, 2015

Bagshaw has been steadfastly Seattle Polite in discussing the programs. “This is not my effort to try to cast aspersions on any department or on the mayor,” who oversees Human Services, says Bagshaw. “I really want us to be working together, and I can’t say that loudly enough.”

But you know what they say about protesting

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news&comment» Better Science Through Sasquatch

Where’s the green?

A new book provides tips for finding Bigfoot— or at least for becoming a better naturalist.

BY SAMANTHA LARSON

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home with irrefutable proof of Bigfoot’s existence is just a side note to Gordon’s main point. “What I’m really trying to get people into is systematic observation,” he says. More than a means to an end, to Gordon the search for Sasquatch is the end itself—a tool to get people outside and learn how to observe as a naturalist does. “If I wrote a book about a citizen science project looking at snails, for example—which is actually a subject I’m interested in as well—I don’t think it would have the same immediate appeal.”

Citizen science, Gordon writes in the book, “is a win-win proposition.”

“People get training in scientifically accepted techniques for collecting, sorting, and, sometimes, analyzing data. In return, they share their insights about observable phenomena—for example, the migratory patterns of wild birds or butterflies, or the waxing and waning of local amphibian populations—natural phenomena that may be happening, quite literally, in their own backyards.”

While Gordon hasn’t come across Sasquatch evidence himself, he knows quite a few people who have, and who hold firm in their Bigfoot beliefs. But “an extraordinary claim requires extraordinary proof,” Gordon says, quoting Marcello Truzzi, a sociologist who studied skepticism. And, as audacious a thought that a Sasquatch could really be out there may be, Gordon thinks he’s got an equally audacious means of verification. “I maintain it will take no less than that—thousands of pairs of eyes and ears, collectively gathering and sharing information that can further our understanding and, ultimately, lead us to this mysterious mammal, if indeed that’s what it is.”

“If there are enough eyes and ears out there, we’ll figure it out,” Gordon tells me. But even if we don’t, the fun of the pursuit just might make getting out there worth it. E D L.

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SEATTLE WEEKLY • JUNE 17 — 23, 2015

Truth be told, however, whether or not you come

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stories out there,” Gordon says. “But what’s most interesting to me is the sort of fundamentals of science that aren’t lining up . . . I want to inspire people to be better field researchers.”

In his book, published by Mountaineers Books, Gordon first describes Sasquatch-related legends and lore from near and far. Then, should you find yourself inspired to go look for a Sasquatch, he outlines the principles of natural science for the layperson: tips for mounting a search (including the three basics—planning, persistence, and patience), for gathering evidence (from taking field notes to interpreting footprints), and for sharing your discoveries (“with other honest and ethical Sasquatch seekers in the hopes of collectively resolving the mystery of the Sasquatch once and for all”). The book’s last section provides recommendations of where to hike for the best chances of Sasquatchian scientific success.

Gordon will discuss his book at Elliott Bay Book Company Tuesday at 7 p.m.

news@seattleweekly.com

Open to All

On the eve of the U.S. Open’s tee-off outside Tacoma, here’s a toast to the blue-collar charm of Chambers Bay.

BY DANIEL PERSON

T

he banners have been unfurled.

“Pierce County welcomes the U.S. Open Championship,” reads the sign slung over Sprague Avenue in Tacoma, putting to vinyl a message few would have thought possible 10 years ago.

The Christian puns have been posted on the church reader boards. “Don’t Tee Off God,” one reads.

And a tent city for 200,000 people has been erected, glistening white sanctuaries spread out across Chambers Bay Golf Course in University Place, Washington.

When Chambers Bay, owned by Pierce County, was announced as the site of the 2015 U.S. Open—one of the premier golf tournaments in the world—it was seen as a mighty coup for a municipal course built over an old gravel pit along Puget Sound. At the time of the decision, 2008, no course built in the past 45 years had been chosen as a site for the Open; Chambers Bay had been open just eight months.

Seven years later, it still feels as if the course is punching way above its weight, in a very good way.

Chambers Bay is the third municipal golf course to be chosen to host the U.S. Open, all of them since the turn of the century. The impetus behind this trend of using publicly owned courses is simple: Golf has a public-perception problem of being exclusively—in every sense of the word—for rich, white people. That perception is largely false, or at very least overly simple, but it’s not hard to understand where it comes from.

Going into the U.S. Open, the highest paid golfer in the world is Phil Mickelson. Whenever he plays golf on camera, he wears a baseball cap bearing not the name of a golf-ball maker, but of KPMG—one of the four largest auditing firms in the world, based in Amsterdam. Its clients are, by and large, other corporations, meaning that when KPMG pays Mickelson millions to wear its hat, it’s counting on very rich people seeing that hat. Mickelson two years ago made headlines for railing against taxes on the rich, though he’s hardly alone on the links in that view. Conservative website Breitbart reported in 2013 that since 2000, professional golfers had made three times as many donations to Republicans than

to Democrats. This deep-seated Chamber-ofCommerce streak in golf is often reflected in its environment, WASPy private courses.

Chambers Bay was chosen to host the Open after members of the very exclusive Winged Foot Golf Club near New York City voted not to have the tournament there, citing concerns that it would be too disruptive. You can’t even find online how much it costs to be a member at Winged Foot. Anyway, it’s by invitation only, so presumably whoever invites you will let you know how much you’ll be coughing up. What is public is the course’s dress code, which, among other things, dictates that “hats are only to be worn with the brim facing forward.” President Obama couldn’t even land a tee time there last year.

“The perception of most people is that golf is a private sport. The reality is that 80 percent of the golf courses in the country are open to the public,” says Rand Jerris, who is in charge of the United States Golf Association’s efforts to make the sport accessible to everybody. (The USGA puts on the U.S. Open.) “If you look at the total number of rounds played, 90 percent of the rounds are played on public golf courses. The reality of what’s happening is that more golf is being played on public courses than private courses.”

Jerris says the USGA has had a mission of making golf accessible to the public since the 1920s and earlier, but that the idea of using the U.S. Open as a way to showcase public courses was much more recent. “The most visible resource we have is the U.S. Open. It has millions of views in the United States,” he says. “We realized there was a unique opportunity to take the U.S. Open to truly public golf courses in a way that we hadn’t done before.”

In no way is Chambers Bay your average municipal golf course. It cost $20 million to build, with designers taking full advantage of a still-active gravel-mining permit to dig and sculpt a dramatic, sweeping course. In summer, a round of golf will run you $209 if you live in Pierce County; if you’re from out of state, you’re looking at closer to $300. It has a dress code as well, though backwards hats seem to be kosher, and its allowance of shorts on men would probably scandalize the folks at Winged Foot.

USGA/JOHN MUMMERT

asquatch: mythical beast, elusive recluse, or something in between?

The questions linger as fascination with the thought of wild humanoids living out their secretive lives just beyond our reach refuses to die—but even after all these decades of campfire debate across the globe, the question of Bigfoot’s existence is often left at that: all speculation, no rigor.

David George Gordon, Seattle-based author of the newly released Sasquatch Seeker’s Field Manual, thinks it’s high time we change the conversation. Doesn’t an idea so deliciously outlandish deserve equally exceptional examination?

This is the question that Gordon brings to the table with his new book, which aims to arm the Bigfoot-curious with the power of citizen science.

There is no one better to lead the Sasquatchseeking brigade. The author of 20 books about nature and the environment, Gordon has become somewhat of a specialist on topics that attract ideological intrigue, wavering doubt, and steadfast skepticism. His most popular book to date is The Eat-a-Bug Cookbook, with recipes to help you include things like spiders and crickets in your diet. While, understandably, your first reaction might be no way, Gordon, who sports a white beard and round spectacles, presents his quirky fixations with such a wholesome curiosity that they become irresistible. It can be hard to tell how seriously he takes any of it; his arguments are largely sensible, but all delivered with a playful gleam in the eye.

Does Gordon himself believe in Sasquatch? “I actually say I’m a fence-sitter. I’m not going to say there isn’t a Sasquatch—because people could find one tomorrow, and I’d be wrong,” he tells me. “But the bottom line is I wouldn’t go to court with any of the evidence people have gathered so far.”

Even the most compelling evidence—the 1967 footage from Bluff Creek, Calif., which portrays a large apish creature sauntering through the wilderness—is easy to poke holes in once you go looking for flaws. “There are lots of amazing

has long prompted derision from Seattleites. Almost Live, the early-’90s sketch-comedy show that skewered everything in its sight, was particularly sharp about Tacoma. In one skit, the cast reeled off nicknames it promised never to use for Tacoma again, in a sort of mock apology: “Pondscum Corner,” “Loserville,” “Spokane on Drugs,” “The Armpit of Puget Sound,” “Blemish-Bog,” and—just in case you thought they thought Tacoma was the exception in the area—“the Jewel of Pierce County.”

“People have some misconceptions up north.

We’ve always had a strong maritime footprint here,” allows Pierce County Executive Pat McCarthy, explaining the area’s industrial feel. “There are a lot of hardworking citizens in this county.”

In that way, a stunning golf course built in a

gravel pit—gravel that had been largely used to build Seattle—strikes McCarthy as a great symbolic gesture for her county.

“I think it was brilliant to retain some the character it has,” she says.

Like Tacoma itself, Chambers Bay may be an

acquired taste, and it’s prompted some knee-jerk reactions from players who will soon be padding around on its greens. “It’s not a championship course,” Ryan Palmer said after playing a few rounds back in April. That comment came after British golfer Ian Poulter reported on Twitter that many players were calling Chambers Bay “a complete farce.” Tiger Woods, perhaps being euphemistic out of diplomacy, called it “different”

after playing a few rounds two weeks ago.

Aesthetically, the course does seems a little out of context, for one reason: In this overgrown corner of the world, it manages to have just a single tree.

“We were taking the ferry over and were wondering, ‘What is that thing?’ ” one woman commented as she stood at a course overlook, now grasping what “that thing” is.

“Funny, huh? One tree in the Evergreen State,” her husband added.

But if there ever were a case for trees being overrated, this would be it, the open landscape providing a sweeping view of Puget Sound and the Olympic Mountains. Not to mention the Wastewater Treatment Plant. E

dperson@seattleweekly.com

A SHORT TIME FROM NOW. IN A FIELD NOT FAR, FAR AWAY.

Night & Post-Game Fireworks THIS FRIDAY 7:10 P.M. VS. ASTROS

UPCOMING EVENTS WEDNESDAY

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THURSDAY

FRIDAY

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Star Wars Night & Fireworks

7:10 p.m. vs. SF

Baseball Tomorrow Equipment Fund Drive

Meet Star Wars characters & enjoy a post-game, Star Warsthemed fireworks show.

7:10 p.m. vs. HOU

7:10 p.m. vs. HOU

For tickets, (888) SEA-HITS, Ticketmaster Ticket Centers, or

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Donate new or gently used baseball or softball gear to benefit Boys & Girls Clubs of King County.

7:10 p.m. vs. SF

WATCH THE MARINERS ON

SATURDAY

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Father’s Day Mike Zunino BBQ Aprons

First 10,000 dads, courtesy of EQC.

1:10 p.m. vs. HOU

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Get a ticket, hot dog and Pepsi soft drink for one low price , presented by Safeco Insurance.

Select View Level seats for one low price, courtesy of BECU.

Also at Mariners Downtown Seattle Team Stores: (4th and Stewart)

24 Grand Slam Family Package Night

Family Night

7:10 p.m. vs. KC

JUNE

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7:10 p.m. vs. KC

Safeco Field Alderwood Mall

LISTEN ON THE MARINERS RADIO HOME

7:10 p.m. vs. KC

Bellevue Square Southcenter Mall

SEATT LE W EEKLY • JUN E 17 — 23, 2015

But what’s notable about Chambers Bay is its surroundings, which stubbornly reflect the bluecollar character of the county to which it belongs.

No stout brick walls circle the golf complex; there are no wrought-iron gates through which Mercedeses can pass. Its borders are porous, with public walking paths that cut along the fairways and link it to the sprawling park complex that surrounds it.

Just around the shoreline from the championship course is the Chambers Creek Regional Wastewater Treatment Plant, which treats sewer water from University Place, Lakewood, and unincorporated Pierce County. The facility is less than a mile’s walk down a paved pathway from the course entrance. There are also playgrounds, soccer fields, and, of course, the Pierce County Pet Cemetery. Houses in the neighborhood can be had for well under $400,000.

“You go back to the origins of the game, Scotland in the early 1400s, and look at the seminal golf course, St. Andrews—that course is built on publicly owned land,” Jerris says, linking the public use of Chambers Bay to golf ’s very long history.

“It was used for farming, it was used for grazing, people dried their laundry there. It was truly a public space that was used for many, many functions.”

As for Chambers Bay, its working-class roots date back to the mid-1800s, when Thomas McCutcheon Chambers built a lumber mill near the still-wild outlet of a small creek into Puget Sound. The mill is gone, replaced by a squat complex of storage units, but his name lives on in the golf course and the creek that runs near it, Chambers Creek.

On a hot day two weeks ago, still within walking distance of the golf course, a man and woman found respite from the heat by dipping their feet into Chambers Creek, almost perfectly channeling the Zac Brown Band’s hit “Toes”: “Ass in a lawn chair, toes in the clay, not a worry in the world, a PBR on the way.” Meanwhile, a man in a Class A Army uniform with a name badge that said RODRIGUEZ scoped out the river as a possible fishing spot, getting a little bit of mud on his spit-shined shoes.

This area of Pierce County is notably diverse, and parts of it notably poor. The city of Lakewood, which borders the Chambers Creek Regional Park on which the golf course sits, is less than 60 percent white, with sizable AfricanAmerican and Asian-American populations.

Its median household income was just $41,186 in 2012, more than $10,000 less than the state average. For years this was a regular location for episodes of COPS, which saddled the city with a reputation as a capital of seediness in the Puget Sound area, a reputation it didn’t entirely deserve.

Most of Lakewood is given to modest housing and sprawling shopping centers teeming with groups of men and women in uniform, just off Joint Base Lewis-McChord. But it has its moments. Ponder’s Corner, an infamous drag just off the Interstate that was once the site of a brothel where Jelly Roll Morton played piano, has lost most of its bite these days, but still hosts an ample number of pawnshops and flop hotels.

A little farther south is the neighborhood of Tillicum, which frequent I-5 drivers may recognize as the location of the restaurant that advertises “$1 Chinese Food” on a giant banner. University Place itself is somewhat richer and whiter, but not by much. The median income is slightly higher than the state average, and the 2012 census showed a larger black population than Seattle’s.

While it’s never phrased in terms of race or income, South Puget Sound’s working-class nature

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SEATTLE WEEKLY • JUNE 17 — 23, 2015

ANO T H ER

D KION F BIRD Supermarket chicken is bland, flabby, and an ethical nightmare.

But it’s not the only option. Meet the BlueFooted chicken.

Story and photos

by Joe Ray

M

Here in Fremont’s Stone Way Café just two

The Poulet Bleu makes its Seattle debut.

weeks ago, poultryman Riley Starks recounts my favorite chicken story, The Blue-Footed Chicken Opera.

It is the 20-year saga of a bird with a red comb, white feathers, and blue feet, just like the poulet de Bresse, and how hard it is to breed and raise an incredibly high-quality chicken.

It involves good intentions, bad karma, ques-

SEATT LE W EEKLY • JUN E 17 — 23, 2015

y second favorite chicken story is the one my Canadian friend Nicole tells about her courting days in Paris. She and her beau, Toby, had just moved to the City of Light, and it was the first time they lived together.

Wanting to make a good impression, she petitioned her local poultryman at the Marché des Ternes to let her try cooking a poulet de Bresse, the mythologized French bird so revered that its production methods and the geographical area where it can be produced are certified

by French law. It has a red comb, white feathers, steely-blue feet, and a dense flesh with so much flavor that it makes supermarket birds taste watered down by comparison. In France, it’s coveted by chefs like Paul Bocuse, who prepares it both as a fricassee with dried morels and en vessie—cooked inside a pig’s bladder—and larded with truffles under its skin.

“Non! ” Nicole’s butcher exclaimed when she asked for one. “You’re not ready.”

“It took me a while to realize he didn’t want me to have a bad experience,” Nicole says. He needed to make sure that the foreigner he came to call la Canadienne had the chops. If she was going to cook a 40-euro bird, he wanted a happy customer.

After probing the depths of her culinary knowledge over several months of her visits to the market, he pronounced himself satisfied, and wrote out detailed instructions on how to cook the chicken, going as far as inspecting the dried morels she bought for her fricassee.

» CONTINUED ON PAGE 10 9

Another Kind of Bird » FROM PAGE 9 tionable border crossings, greed, black-market dealings, money, breeding, feeding, possible “Frankenchickens,” and the deaths of two men and hundreds of birds. Eventually the bird would make its way to Carne in Bellingham, the only butcher shop on the planet that sells it, for $10 per pound. From there it would make its American debut on the menus of some of Seattle’s most revered restaurants, including The Herbfarm, Copperleaf, and Tom Douglas joints such as Lola, Etta’s, and Dahlia Lounge. And the story ends—for the time being, at least—in the trunk of Starks’ car, where right now sits a Styrofoam cooler filled with the bird in question.This is the story of the Poulet Bleu. And Starks is about to tell it to another restaurateur.

He pulls the cooler from his car and marches toward the front door of The Whale Wins, the highly regarded restaurant run by chef Renée Erickson. A miscommunication with Erickson’s team meant Starks is essentially making a cold call, but he’s confident.

“This is a fucking good bird,” he says, “and I’ll be damned if I’m not going to let them know about it.”

Starks is best known as the former owner of

The Willows Inn on Lummi Island—the man who coaxed star chef Blaine Wetzel away from Copenhagen’s top-ranked Noma to run the Inn’s kitchen in late 2010. Wetzel would become one of the region’s most celebrated chefs, racking up two James Beards Awards in the past two years, including Best Chef: Northwest.

Prior to purchasing The Willows, Starks had a history as a poultryman, running a pasta com-

pany that needed huge quantities of eggs. He bought 50 egg-laying hens in 1994, and eventually ramped up his operations to the point where he bred chickens at his Lummi Island property, The Nettles Farm, eventually selling 6,000 meat birds a year and dispatching them at his own USDA-certified processing plant.

But under Wetzel, The Willows’ growth accelerated near-exponentially. They had to hire many more kitchen, dining, and support staff, and the wheels started rattling. By 2012, the mom-andpop inn had become a mid-sized business, outgrowing Starks’ skill set. He decided to sell, left the island, and moved into a small Bellingham apartment where he could never bring himself to completely empty his boxes.

Starks did manage to unpack his Big Green Egg grill and haul it out onto his tiny apartment balcony, though. He wanted to grill some chicken for himself. Starks headed for the refrigerated case, like anyone else. He went to Trader Joe’s, Haggen, and the Community Food Co-op, and bought the best chicken each had to offer.

“Every day I cooked a different bird, and they were all crap,” says Starks. “They were Cornish Crosses, and they were all crap.”

Starks has long held that the conversation about chicken is ripe for change. The industry processes 160,000,000 birds a week in the United States—a staggering number consisting almost entirely of the Cornish Cross, a chicken that has been bred not to taste good, but to grow fast on cheap food in conditions that regularly set animal-rights groups howling.

Bernie Nash, who runs the Ephrata-based Mad Hatcher Poultry, called Starks not long after the disappointing chicken experience. The two had met 12 years prior, when Starks sold Nash some chicken-processing equipment. Nash

Nash, Starks, and Breiman with their flock.

now wanted to know if Starks was interested in raising a blue-footed chicken. The two got to talking, and Starks realized that in the 12 years since he’d left chickens, nobody had bothered trying to breed a better bird.

“Pasture-raised, organic, air-chilled? Yes. But that’s skirting the question,” says Starks, who thinks that question should be “What kind of bird is it?” “You can’t make the Cornish Cross into a good chicken. It doesn’t have the genes for it.”

Nash asked Starks if he’d like to work together to remedy the problem, using a breed based on the poulet de Bresse.

At the opposite end of the spectrum from Starks’ store-bought birds, a poulet de Bresse must meet stringent standards to earn the name, including giving it room to roam, keeping the flock size down, and feeding it a high-quality diet. As a result, Bresse birds have a depth of flavor that most Americans have, quite simply, never experienced in a chicken. As French epicure Jean Anthelme Brillat-Savarin put it, the poulet de Bresse is “the queen of poultry and the poultry of kings.” It is a completely different bird.

Starks’ reply to Nash was simple: Yes.

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The steely blue legs of the Poulet Bleu.

Immediately, Nash got on the horn with the only person who could help them, a Canadian chicken breeder named Peter Thiessen.

Back in the late 1980s or early 1990s, another flock of poultrymen sat around a table at a farm in British Columbia. A feed nutritionist slid a newspaper clipping across the table to Thiessen, who ran Thiessen Game Birds in Mount Lehman, B.C. The article was about the legendary poulet de Bresse, and the nutritionist wanted to know why there weren’t birds that good in North America. Thiessen immediately

started looking into buying some breeding stock from the French.

“They said ‘Non! Absolutely not,’ ” says Thiessen’s son, David, now owner of his own company, Thiessen Specialty Poultry, “but Dad’s thing was always breeding birds, and he loved it when someone told him he couldn’t do something.”

Unable to purchase a better bird, Peter Thiessen forged ahead to create one. Inspired by the poulet de Bresse, he began to pull the best characteristics from a pool of favorite birds. Asking his son which breeds they used is like asking the CEO of Coca-Cola for their recipe.

“That’s a secret,” says David. “They’re on a list somewhere at my mom’s house. I can tell you that there were 17 different birds crossed to make the breed. There’s a tiny Malaysian chicken bred into this bird; it has blue feet. I believe there’s some Rhode Island Red in there. You’ll have to guess the other 15.”

As important as the breeds involved are to the breeding process, know-how is just as crucial to build a new flock: creating rooster and hen lines to prevent inbreeding; creating “grandparent” stock, a pristine control group to fall back on if things go awry; and building “parent” stock, the birds that end up being sold.

Peter started with 400 chicks, pairing each of the secret breeds with another, working to form perfected hybrids he’d breed with other perfected hybrids, whittling his way toward the quintessential bird.

“Breeding is constant. Selecting is constant.

You always want to be consistent with the attributes you breed into a bird,” says David. “The Poulet Bleu chicken has a nice, plump breast. You wouldn’t want to mix in a bird without them. If a few black feathers sprout among the white ones, you don’t want that.”

Engineering the bird that he christened the Mount Lehman Chicken took Peter 11 years.

In 2004, Thiessen Game Birds, which dealt in fowl like squab in Canada and the U.S., sold breeding stock—birds that could be used to reproduce (and then be sold to restaurants and supermarkets)—to California poultryman Bob Shipley at the Squab Producers of California cooperative. Shipley had big plans for the bird, which he rechristened the Blue-Footed.

In the meantime, up in Canada, a catastrophe was unfurling. Avian flu—an influenza virus adapted to attack fowl—swept the country, killing vast numbers of birds. A week after Peter Thiessen sold the breeding stock to Shipley, the U.S./Canada border was closed to bird transport. The Canadian Food Inspection Agency, Canada’s version of the USDA, euthanized Peter’s birds, leaving Shipley with the whole kit and caboodle, the only breeding stock of the Blue-Footed.

This is where things went squirrelly.

Peter asked Shipley to sell him back some of the breeding stock so that he could continue breeding the birds in Canada. While Shipley didn’t exactly say ‘Non!’, David Thiessen claims that Shipley set a price three times higher than what he’d originally paid. Peter told him to take a flying leap. “Dad told him, ‘I bred that bird once, you think I can’t do it again?’ ” says David.

That’s exactly what Peter did, starting all over again with his 17 secret breeds. His earlier successful attempt helped him shave about four years off the process—this time it took seven years instead of 11.

Shipley completely denies that Peter ever made that call. Instead, he says, he thought Peter had secreted a few birds away and “moved

them up-country.” Until I spoke with him for this story, Shipley assumed this was how Peter started over with the breeding. David calls the “up-country” theory hogwash.

Back in California, in the mid-2000s, Shipley had a lock on the breed, and his big plans were coming together. He was in a position to change the game and lead a new conversation about chicken and what it should be in a country that was primed to go bananas for organic, local, and artisanal food. He had the chicken world by the short feathers.

He started selling his birds to top-tier New York City establishments, including Thomas Keller’s Per Se, Tom Colicchio’s Craft, and even Alain Ducasse’s Essex House, moving many of the birds through high-end New Jersey specialty-food purveyor D’Artagnan.

And then, by some accounts, he completely blew it.

David Thiessen would later hear through a veterinarian who worked with the Squab Producers of California that Shipley, at the time the cooperative’s president, had tried to refine his chickens even further in an apparent attempt to make either a fatter bird or one that would plump faster. According to the vet, the bird lost the flavor and texture that high-end chefs wanted. Instead, he created what industry folk call a Frankenchicken.

It wasn’t an insurmountable problem, but for one key detail: Shipley hadn’t kept the grandparent stock. There was nothing to fall back on—no control group.

“Things fell apart. They processed the whole flock. They killed them,” says David, who is surprisingly even-keeled about the whole affair, going as far as calling Shipley “not a bad guy,”

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

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SEATTLE WEEKLY • JUNE 17 — 23, 2015

Another Kind of Bird » FROM PAGE 11

12

which could owe a fair amount to the fact that Thiessen still does business with the Squab Producers of California.

Amazingly, David says Shipley even called his father after the mishap, asking for more birds—a call that Nash, who was visiting Peter at the time, says he overheard.

“Dad did chuckle. I think he called it karma,” says David. “But regardless, we didn’t have the birds.” Peter was only at the beginning of his seven-year rebreeding process—and, anyway, in his opinion, Shipley wasn’t entitled to more.

Shipley flatly denies all of this, abruptly ending our conversation the first time I ask him about this part of the story. Later, he calls back to offer a very different version of what happened. By his account, the Blue-Footed “wasn’t a good converter of feed,” meaning that compared to other birds, it ate a lot of expensive food before processing. In Shipley’s large-scale plant, processing a few hundred chickens a week just didn’t make sense.

“When we ended the program, it was a perfectly good bird. We didn’t have enough sales to justify the program. . . . We couldn’t do that amount to make it warm and fuzzy,” Shipley says. “With the price we had to charge, even the super-high-end restaurants wanted out.”

A call to D’Artagnan CEO Ariane Daugin bears some of this out. Shipping expensive birds cross-country to resell to high-end restaurants made it exceedingly difficult to get what she calls the “critical volume” to make it work.

“Their plane ticket was huge,” says Daugin, before adding that Shipley “presented them to me as the poulet de Bresse. Bob called and said he had some true poulet de Bresse eggs from France, and I got very excited. He told me he got them from a Canadian.” Sacre bleu!

This ruffles both David Thiessen’s and Shipley’s feathers. Shipley denies it outright. David doesn’t like the implication that “the bird my dad bred was [ever] anything other than the bird he bred from crossing 17 different kinds of chickens,” says Thiessen.

By the mid-2000s, Shipley had contracted out the growing of the birds (a common industry practice) to a now-defunct California outfit called Central Coast Fryers, who euthanized the birds when he decided he wanted out of the business.

Except maybe not all of them.

“I told them I wanted the birds [the carcasses] back, but they said they were already dead and gone.

Later I heard that a couple crates [of live birds] had been shipped to someone in Sacramento Valley,” Shipley says, raising the possibility that someone in California might still be hawking the red, white, and blue birds out of the back of a truck.

In any case, Shipley was finished with the Blue-Footed, saying, “It wasn’t my business anymore. I was done.”

Bernie Nash discovered the poulet de Bresse in 2009, during a meeting with then-Herbfarm chef Keith Luce. “[Luce] came to me and asked if I could come up with something like the French poulet de Bresse,” says Nash, “and I said, ‘What the hell’s that?’ ” Once he looked the bird up, he needed no further convincing. It was when Nash found out, through the poultry farmers’ grapevine, about Peter Thiessen’s second round of breeding that Nash called Starks, forming the duo that was long on chicken experience and short on funds.

“I’m not endowed with a lot of money, and genetics cost a lot,” says Nash, who liked what he saw with Peter’s birds, recognizing that, as he

Top left: Copperleaf’s Roy Breiman preparing the chicken. Top right: Plated and ready to eat.

Bottom: A roast Poulet Bleu.

“Think of all the time and the trouble . . . and there we were in the parking lot at the ARCO gas station . . . and made the transfer.” says, “Genetics are genetics. That’s what ruined Bob Shipley. He tried to improve on the wheel, but it was already round as far as genetics go.”

Three years later, Starks and Nash drove north to visit Peter—whom Starks invariably refers to as “a tough old bird himself ”—and came away with the terms for a deal that would require them to raise $350,000 to buy a small breeding flock.

No longer running The Willows, Starks was ready to get back into the game. Inspired by the $460,000 crowdfunding effort behind Seattle restaurant Luc, Starks and Nash followed suit, trying to do something similar for the Poulet Bleu.

“I thought we had a pretty good mailing list,” says Starks. “So we tried it.”

They fell $320,000 short of their goal.

Undaunted, the team—which by mid-2013 had added Luce; Roy Breiman, culinary director at Copperleaf at Cedarbrook Lodge; lawyer and businessman Jon Kobayashi; and Nash’s son Lowell to its ranks—went to Burgundy, aka poulet de Bresse central, to bond. There they happened upon Les Glorieuses de Bresse, a multiday, multitown festival dedicated to the chicken. They met farmers who butchered 200 birds a day, and visited chef/farmer Frédéric Ménager, who’d worked with iconic French chefs before becoming a farmer himself, eventually cooking elaborate meals for 24 at his farm, La Ruchotte.

More important, the trip was a glimpse of the way people came together around a bird of incredible quality, and a chance to imagine how they could make it work on a manageable, healthy scale.

One farmer they bonded with even tried to send Starks breeding eggs in the mail, actually declaring them as such on the customs label. “I got a call from a San Francisco customs agent who destroyed the eggs and reminded me that she could arrest me,” says Starks.

She didn’t, but once the Poulet Bleu team got back to Washington and there were no prospects for raising anywhere close to $350,000, the wheels officially fell off.

“We had hopes!” remembers Starks. “I can’t remember what those hopes were, but they went away. I just . . . kinda . . . gave up.”

For a while, nothing happened, but Nash kept alive the connection with Peter Thiessen. In the spring of 2014, Nash approached his own father, Lowell Nash, a dairyman who once presided over a herd of Jersey cows, and asked for a loan. Lowell, whose health was waning, realized he would die soon, and didn’t want a loan clogging the will and creating conflict between the brothers. He died the very day Bernie planned to call Peter Thiessen to bow out of the project.

Once the dust settled, Nash’s brothers helped him “get the cold, hard cash for the birds faster because they knew I needed it.” Nash and Peter struck a deal: Nash and his partners would pay half of the $350,000 up front, then, after a year, pay $3,000 per month with no interest until the second half was paid in full.

They shook hands. A short while after, Peter went into the hospital with what’s been described as “a small problem.” He died three weeks later.

In August 2014, following another border cross-

ing, and with the help of David Thiessen, who had decided to honor his father’s agreement with Nash, the Poulet Bleu team took custody of some 250 birds, which included a flock of breeding hens and about 25 roosters.

“Think of all the time and the trouble and the angst that went into making this happen,” says Starks, “and there we were in the parking lot at the ARCO gas station off Slater Road in Bellingham and made the transfer.”

Initially, the majority of the birds went to Ephrata with Nash; some went with Starks to Lummi Island, where he’d moved back to The Nettles Farm; and some stayed with Thiessen in Canada as a triple-geographic safeguard against avian flu. Later, most of the production birds would be grown by Achin-Back Farms in Castle Rock, Wash.

Now that the birds were stateside, the Poulet Bleu team needed to figure out how to feed them, and by extension how to make them taste right.

“The Cornish get corn. Soy. That’s pretty much it,” says Nash, explaining how those ingredients yield bland results. They looked at what Peter Thiessen had used, particularly the dried peas that create a pleasant sweetness in the flesh. Instead of adding milk, as the French often do, to create a mash, Nash added easier-to-use milk replacer, which he describes as “like a fatty milk powder.”

Along with the dried peas, the birds’ diet included flax, canola oil, and a bit of soy—an amazing diversity compared to standard Cornish Cross fare. Raising the Poulet Bleu for more than four months allows them to develop flavor and firms the texture of the meat, something that almost never happens with the industrialized Cornish Cross, usually processed at around five weeks.

With a nutritionist, they came up with a threestage diet: a protein-rich starter feed, a statureincreasing growing feed, and, to fatten them, a finishing feed. “If you had an infant, you’d give them formula,” explains Nash by way of analogy, “then they graduate to solid food. Then when they’re a teen, they start eating junk food and bulk up.”

But he hadn’t counted on the effects of the milk replacer. The birds were fine through their first four weeks, but once they switched to the growing feed with the milk replacer, they went bonkers. “By the time they hit 12 weeks, it was

like we’d found the recipe for Viagra for chickens,” Nash says, still sounding flabbergasted.

Here he recounts a Lord of the Flies–style raging-chicken rape scene, but goes on to explain that they were able to fix the problem by swapping out the milk replacer for dried whey and dropping the growing feed altogether.

food@seattleweekly.com

Food and travel writer Joe Ray is the co-author, with Blaine Wetzel, of the forthcoming Willows Inn cookbook and travelogue, Sea and Smoke (Running Press, $40). He spent a year living on Lummi Island writing it.

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

I tasted the birds as they developed through different feed regimens, from Thiessen’s test birds to early Poulet Bleu experiments. There was both constant progress and a clear need to understand how to cook the bird, as its dense flesh requires different treatment than a supermarket bird. This is a major issue for potential retailers, who worry about how customers will react to its differences from a Cornish Cross.

I had it roasted, I had it slow-grilled in Starks’ Big Green Egg, and I cooked it sous vide. Far better chefs than I cooked it for me.

Every time I had it, it was good—and every time I wished it was better. You could see where Starks, Nash, Luce, and Breiman were heading, but it was never quite there. But then, after a final tweak in the past few weeks, Team Poulet Bleu pronounced itself satisfied with the feeding regimen, and the birds began to appear on highly respectable Seattle restaurant menus.

Breiman got it first at the Copperleaf this May, creating a sous vide roulade with the breasts, then wrapping them in bacon. Next to it, he pushed the envelope a bit, with a quenelle of shredded meat that was like a flavor-packed rillette—a treatment that would almost certainly fail with a relatively flabby and insipid Cornish Cross.

At The Herbfarm, chef Chris Weber serves a Poulet Bleu breast from a bird cooked on the rotisserie alongside mint, peas, and fava beans. “‘Chicken is ripe to be rediscovered for its toothsome texture and flavor,” says Herbfarm owner Ron Zimmerman. “Those who have dined on the poulet de Bresse in France . . . will appreciate the Poulet Bleu. Yes, the price is and will seem high when compared to factory birds. Some will find the bird tough rather than toothsome. But just as properly handled Copper River King salmon has an exalted culinary niche over farmed fish or fish that run easy rivers, so too will the Poulet Bleu find an audience with those who favor quality over quantity, authenticity over faceless expediency.”

Still, I needed to convince myself by cooking it at home. I thought of Nicole and those classic French recipes, and—though lacking a pig’s bladder to cook my bird in—I started a fricassee with one of Starks’ birds.

The difference was huge. The raw flesh had a healthy pink color, light in the breasts and deep in the thighs. Laid out on a half-sheet pan, the eight pieces of the broken-down bird looked like pristine sushi. Within moments of putting them in the Dutch oven, they passed a viscosity on to the cooking liquid as if I’d added a full cup of chicken glaze.

The flesh was firm enough to need a paring knife. The breasts retained a slightly rosy hue, and the thighs were as dense and flavorful as those of a top-flight game bird. It tasted nothing like a supermarket chicken.

A few days later, I heated the leftover sauce and served it over rice. When I spilled half of the sauce inside a reusable Trader Joe’s bag, I scraped it off the bottom with a spatula and returned it to my bowl. When I ran out of rice, I ate it like soup. It was that good. E

13

food&drink Touring Chophouse Row

FoodNews

BY JASON PRICE

Capitol Hill’s new mixed-use space is an architectural and culinary haven.

BY ALANA AL-HATLANI

Join Cone and Steiner on Capitol Hill for Barbecue Demo Day from 11 a.m.–2 p.m. Saturday, June 20.

The gourmet grocery store at 532 19th Ave. E. will host a community barbecue, with tastings from local vendors: Black Angus beef skewers from Anderson All Natural and samples from Uncle Bud’s, Umami 33, The Toffee Tent, Seely Mint, Secret Aardvark Trading Company, and DRY Sparkling Soda Co. There’s another place to grab lunch downtown as Vespolina will commence seasonal dining in the bar and on the patio offering views of Puget Sound and the Great Wheel.

The menu includes a selection of antipasti, pasta, and mains as well as the famed meatball sandwich. E

At the Chophouse building, fine foods have taken the place of auto parts.

As for the ice cream, there are no shortage of flavors, including standards like chocolate and mint, but he also branches out with tomato jam and salted plum: The light purple confection is both sweet and tart like a ripe plum, but with the added bite of salt.

Behind the ice cream hides a small kitchen, as Timmermeister splits production between the farm and the new shop, “made half here and half there,” he says of the ice cream. “The bases are made on the farm and then flavored here.”

Across the way is the backside of Capitol Hill staple Cafe Pettirosso, which blends seamlessly into the new design. From the street, the cafe remains visibly the same, but now a door on the right side of the building opens into Chophouse’s alley. A stairwell just down from Pettirosso’s door takes visitors up to a landing where Cupcake Royale has a similar door at the back that opens into the alley. Continuing one flight up, a balcony gives way to a hallway and office space, with wide windows looking out into the plaza. The hallway ends in the foyer of Osteria la Spiga and Plum Bistro on 12th. Lining either side of the plaza from above are apartments and lofts.

The last component of Chophouse, to open in mid-July, is Amandine, a French-style bakery

by Sara Naftaly of the former Le Gourmand restaurant. It was expected to be a partnership of Naftaly’s pastry and Slate Coffee’s drinks, but the two parted ways in mid-December as each moved in different creative directions. Since January, however, Naftaly has been in business with Columbia City’s Empire Espresso to make desserts and coffee drinks meant to complement each other, perhaps creating a new bakery/coffee house model.

Naftaly transitioned from Le Gourmand to a bakery because she’s always wanted to work with sweets even though her career had taken an unexpected turn to the savory. Her real passion, as she describes it, is in creating the “perfect piece,” which in a high-end restaurant has to be finished with “all the bits and bobs”—garnishes, plating, etc.—whereas at a bakery, a cake, for example, “needs nothing else.”

Even with most of the restaurants still several weeks from opening, the building—or rather what the building has been transformed into— wowed visitors like Jennifer Chow, a neighbor whose Facebook page led her to the event. She was impressed by the “nice repurposing that completely transitioned the space.” Others marveled at what it would be like to live in one of the lofts overlooking the courtyard.

Dunn is catching her breath after dealing with a number of hiccups on the way to the opening. “We’re about six months behind our original target date,” she admitted. “I will say that it’s challenging to bolt a new building to an old one and simultaneously stack three different uses [residential, office, and retail] on top of each other, and frankly we didn’t have all the issues dialed in before we started construction.”

Dunn had to jockey for land from other developers to create the access point from the street, and building the alley and courtyard were both expensive and difficult. But the payoff came on opening night, as everyone, including Dunn, was “thrilled with how they’ve turned out.” E

food@seattleweekly.com

morningfoodnews@gmail.com

TheWeeklyDish

RoRo’s pulled pork and sweet-potato tots.

BY ALANA AL-HATLANI

ALANA AL-HATLANI

SEATTLE WEEKLY • JUNE 17 — 23, 2015

14

populating make it truly notable. Entering the alley on 11th Avenue, to your right is Chopshop

by Ericka Burke, the beloved chef and owner of Volunteer Park Cafe. Part cafe, part grab-and-go juice bar, it will open later this month, but Burke was on hand to celebrate the opening with cherry trifles and a fruity sparkling-wine cocktail.

Where Chopshop ends, Niche begins, as one shop flows into another with open entryways.

This garden store is decorated with its products: aprons, gloves, and shovels hang from the walls, and ornate copper watering cans line the stark white stand running through the center of the shop as though on exhibit.

Next door is Kurt Timmermeister, of Kurtwood Farms on Vashon Island. The cubicle-sized storefront opened May 1 and sells his famous cheese and ice cream. A bakery-style case holds a little more than half a dozen cheeses, including his popular “Dinah” camembert, found on restaurant menus throughout Seattle. The small shop will offer “only my favorites,” Timmermeister says.

Well, it’s finally here! Ethan Stowell and the Four Seasons have announced that the Goldfinch Tavern is now open in its newly designed space. Led by chef Joe Ritchie, the restaurant offers simply prepared Pacific Northwest cuisine using the finest local ingredients. Regional seafood is highlighted, from a shellfish and raw bar to garlic-crusted Alaskan halibut. Other upscale classics include the Goldfinch Tavern burger; beet and Dungeness crab salad; and wagyu eye of ribeye with watercress and porcini mushrooms.

PHOTOS BY ALANA AL-HATLANI

Besides the novelty of the building, the vendors

GEOFFREY SMITH

C

apped by entrances on either end, what remains of the former 1924 Chophouse auto-parts building at 11th Avenue and East Pike Street has been carved into a multilevel plaza and a long pedestrian alley with storefronts on both sides.

Sunlight bounces through wood beams from the open ceiling where the roof has been peeled away, exposing the metal and cement below, striping the narrow pathway of Capitol Hill’s long anticipated, new multi-use space with shadows. By removing some of the intermediate floors and exterior walls, Liz Dunn, prominent Capitol Hill developer (of Dunn & Hobbes) and creator of Melrose Market, has achieved an open space paradoxically enclosed by buildings.

A modern play on a European cobblestone alley, the new passage connecting 11th and 12th Avenues is easy to miss from the outside, but once there you’ll feel transported to the Old World. Instead of cobblestone, there are smooth cement tiles; instead of brick, refurbished wood.

Dunn unveiled her latest project last Thursday night with live music and free food and drinks from tenant vendors. “There was a master plan dating back to 2004,” she said. “What we hadn’t totally figured out, and switched gears on a couple of times, is whether we could keep the Chophouse building and literally carve this connection out of the building itself while still leaving it standing,” said Dunn, who was able to retain about 75 percent of the building.

On the plaza below the balcony, live music echoed off the patio of Matt Dillon’s Bar Ferd’nand II, expected to open this month but already furnished with open windows and outdoor seating. Dillon, swarmed with people, grilled shrimp on a barbecue—perhaps a preview of the menu to come, which is expected to feature local seafood in small bites paired with wine.

My friend, a Seattle native but currently an undergrad at the University of North Carolina, promised me barbecue the South would be proud of at RoRo’s, and while I cannot speak for the South, I was thoroughly impressed. I ordered a pulled-pork sandwich ($11.99) with a side of sweet-potato tots.

Six barbecue sauces decorated each table, from sweet to acidic, mild to spicy. I chose a sweet, mild sauce for my sandwich, although the pork was moist and tender enough without it. The tots provided a salty balance to that sauce; I found myself dipping them in it. Certainly a different type of eatery than its sleeker neighbors Joule and The Whale Wins, RoRo’s holds its own in Wallingford. E food@seattleweekly.com

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

s golfers approach the 18th hole at Chambers Bay this weekend, they’ll be hoping to put their names in the history books. That’s also where the Washington State Wine Commission has set up shop, and they too will be looking to make a name for the state’s wines. While of course it was a given that some Washington wine would be featured at such a prominent event, I’m genuinely excited at the commission’s choice of wines, and what it could mean for the industry as a whole.

It would have been easy for the selection process to rely on name recognition, reviews, or even the price a winery would be

BY ZACH GEBALLE willing to pay for placement. Yet as I’ve written before, one of the Washington wine industry’s great strengths is the sheer diversity of wine being made, across a host of price points, throughout much of the state. Reserving placement to a select few wineries would have been contrary to the spirit of the industry and to the U.S. Open, which allows almost anyone to qualify if they play well enough.

To recreate that environment for wineries, the commission tabbed Seattle master sommelier Chris Tanghe to select judges and oversee a selection process that was open to any winery in the state that cared to submit a wine (and pay a small fee). Wines were judged in four different price categories, again to ensure that a wide range of Washington wines would be featured, not merely ones with price points that would seem appropriate at a major golf tournament.

While you’ll see wines from some of the area’s major players—Chateau Ste. Michelle has quite a few selections across their various brands, as do other large-ish wineries like L’Ecole No. 41 and Long Shadows—smaller producers like Rotie Cellars and Syzygy are also getting in on the action. Though those wineries are spending only a few hundred dollars (and a few bottles of wine) to get involved, it’s a tremendous opportunity to reach a much broader audience and to expose more than just a few well-known local producers.

Similarly, a fascinating range of varietals will be featured across the tournament’s six days. Obviously there’ll be plenty of cabernet sauvignon and chardonnay, but adventurous wine lovers will be able to taste Washington’s take on picpoul, zweigelt, tempranillo, and semillon. When it comes to marketing our wines nationally and internationally, the single biggest point in Washington’s favor is our ability to make great wines across a tremendous range of styles and varietals.

So while I’ll be tuned in this weekend to see how players deal with the unique challenges of Chambers Bay, for the gorgeous shots of Puget Sound, and for a tournament with an impressive history, I’ll also be hoping for a shot or two of someone enjoying a glass of Washington wine. E

15

arts&culture The Dude’s Guide to Amy Schumer

ThisWeek’s PickList

Women love her raunchy new brand of feminism. But what does she have to teach guys?

THURSDAY, JUNE 18

Ezid

BY DAVE LAKE

N

SEATTLE WEEKLY • JUNE 17 — 23, 2015

After laboring in the stand-up trenches for a

decade, placing fourth on Last Comic Standing in 2007, Schumer landed her Comedy Central show two years ago. Near the same time, being interviewed on Howard Stern, she caught the ear of Judd Apatow, the writer/director/producer responsible for Bridesmaids, Knocked Up, Girls, and now Trainwreck, which he directed. (Apatow will join Schumer onstage Saturday, along with Dave Attell, Colin Quinn, Mike Birbiglia, and Vanessa Bayer, with proceeds going to Hilarity for Charity, an organization started by Seth Rogen to raise awareness of Alzheimer’s.)

It’s hard to think of another female comic who so quickly rose to top-lining a movie without first being in the farm leagues of a TV ensemble like SNL or contributing bits to The Daily Show.

Among men, Sacha Baron Cohen’s career arc seems closest: a soloist who kept pushing boundaries from 16 Da Ali G Show to Borat. Both performers establish

a kind of physical risk in their comedy; they use their bodies to provoke their enemies. With Cohen, that can mean putting his body literally in harm’s way with racists, anti-Semites, and homophobes (remember Brüno?). With Schumer, her body is often the subject of her comedy, with targets that can include sexism, fat-shaming, misogyny, and the inherited cultural mores that can make women their own worst enemies. (That last point we could also call the tyranny of being ladylike.)

Schumer scored an immediate hit with Inside Amy Schumer. Her ribald mix of sketch comedy and on-the-street interviews tackles topics both timeless and timely: sexting, female beauty regimens, the objectification of women, and ageism in Hollywood. Social codes often dictate that for women to be silent is to be beautiful. Schumer’s frank humor fights against that. Her outspoken characters are real. They cry, they struggle, they lust, they fart, and that’s beautiful, too. “Women don’t have to pretend like we’re not dirty any more or we don’t have sexual thoughts,” she told The Guardian earlier this year. “We’re not trying to fit into some little box of how a woman’s supposed to be.” Accepting a recent Peabody Award, Schumer said, “We thought we were making this secret feminist show and people weren’t going to catch on to what we were doing. And they caught on very quickly.”

All dudes should watch this show, in my view,

though Schumer herself is wary of targeting or teaching a particular demo. In Apatow’s new book of comedian interviews, Sick in the Head, she says of her stage act, “I’m appreciative of the guys that can come along for the ride and not feel alienated, because this isn’t some ‘prowomen, down with men’ thing. But the reality is, I’m speaking to the women and trying to keep the guys interested enough that they still want to come to the shows.”

Sex, or making jokes about sex, is of course a proven showbiz means of holding male audience

interest. Yet while Schumer is often tagged as being a sexual comic, she tells Apatow that reallife Amy has had only a single one-night stand ever. There’s a double standard at work: Her fellow standup-turned-TV-star Louis CK talks frankly about sex in his act, too, but he never gets tagged as being “the sex guy.” Male comics are expected to talk about sex, while for women performers it remains a taboo. “Onstage I’ll talk about how I’ve never done anal,” Schumer tells Apatow, “or no one’s ever cum in my face.

I haven’t done anything out of the ordinary. I’ve been so boring. But people don’t hear that. All they hear is that you’re talking about sex.”

Still, because of that notoriety, Schumer can poke fun at her stage/screen persona in the process. In a recent TV sketch titled “Last Fuckable Day,” she stumbles upon a group of famous middle-aged actresses having a picnic in a park. “You look familiar,” says Julia Louis-Dreyfus (playing herself ). “Are you that girl from the television who talks about her pussy all the time?” “Yes!” says a flattered, excited Schumer. “Thank you!” Part of the joke is that ditzy TV Amy is grateful to have any fame at all. On another level, Schumer is satirizing those women who mindlessly agree to sexualize themselves (whether for men, money, fame, or popularity with other women).

Today’s television landscape is so much richer for all the well-drawn female characters on display, from Jane the Virgin to Girls, Broad City to Transparent. Schumer is part of a new breed of showrunner, one who isn’t afraid to feature characters with a strong point of view, a real—and often messy—emotional life, and something honest to say. Whether on TV, the comedy stage, or in Trainwreck, that’s appealing not just to women, but to men. E

stage@seattleweekly.com

THE MOORE 1932 Second Ave., 877-784-4849, stgpresents.com. $100. 8 p.m. Sat., June 20.

John Murphy, artistic director of The Cabiri, has been combining the fantastical and the anthropological for years with performances that are like a graduate seminar in comparative religion meeting under a circus tent. Ezid, their newest work, and the middle section of their TEA Trilogy, illustrates creation tales from the eastern Mediterranean, reaching back to the era where gods walked the earth and made humans to worship them. You can follow along with the reading list if you like, or just let the theatrical effects sweep you up—the two choices together are even more powerful.

(Through Sat.) Cornish Playhouse, 201 Mercer St. (Seattle Center), 800-838-3006, cabiri.org. $20–$50. 7:30 p.m. SANDRA KURTZ

Edson Chagas’ OIKONOMOS, at SAM.

A PALAZZO GALLERY

Schumer, with Bill Hader, in the forthcoming Trainwreck.

MARY CYBULSKI/UNIVERSAL

ot too many women in show business would be brave enough to tell you how much they weigh. But Amy Schumer isn’t like most women in show business. The stand-up comic has a hit cable show (Inside Amy Schumer), stars in the muchbuzzed-about Trainwreck (arriving July 17), and headlines Saturday’s Trainwreck Comedy Tour at the Moore. “I’m probably like 160 pounds right now,” Schumer said at a recent Glamour UK awards ceremony. “And I can catch a dick whenever I want.

Like, that’s the truth. It’s not a problem!”

Her quip gets right to the heart of why Schumer has become a pop-culture phenomenon and a daring, iconoclastic feminist. She’s a fearless everywoman with a strong voice. She isn’t movie-star thin or model-pretty, which makes her seem approachable. And despite having a strong female fan base, she also resonates strongly with men.

Or at least this man. Hear me out, because this is my argument: Guys love Amy Schumer, should love Amy Schumer, not because she talks about sex, but because she speaks so openly about everything. In her stage persona, at least, there’s no guessing about her thoughts or feelings. If men—like me, yes— often have trouble figuring out what’s going on in the heads of their wives or girlfriends, Schumer’s candor serves as reassurance that women aren’t as different from men as our culture often leads us to believe. Their struggles may be different, but the emotions surrounding them are not.

Until recently, there weren’t a lot of women on TV like Schumer’s self-caricature: pro-sex, unashamed, sometimes insecure, and willing to vent freely on such topics. If Tina Fey and Amy Poehler paved the way for geeky, ambitious working female characters on television, then Schumer has laid the groundwork for another comic type: the self-effacing, likable ditz with a weakness for booze and men.

All three creations are self-empowered women, an unholy trinity of modern TV feminists.

Disguise: Masks and Global African Art

Let me immediately stop you from thinking this is a history show, with all the dull anthropology and colonial guilt that implies. Instead, this is a contemporary show featuring 10 emerging artists with roots in Kenya, Nigeria, South Africa, and even Japan. (Remember the “global” part, which extends to the U.S., too.) Several of those artists will be on hand for this week’s opening events; and not all of them are strictly mask-makers. Performance and music will be part of some installations on view, and videos document other ceremonies and masquerades of the digital age. The reference points are wide-ranging among this disparate group: contemporary politics, urban planning, Franz Kafka’s The Metamorphosis, modern animation, wandering herds of deer, and the concealment/assumption of identity that always comes with mask-wearing.

Performing live during Friday’s opening party will be Brendan Fernandes, Saya Woolfalk, Jacolby Satterwhite, and Wura-Natasha Ogunji.

(Through Sept. 7.) Seattle Art Museum, 1300

First Ave., 654-3121, seattleartmuseum.org. $19.50. 10 a.m.–9 p.m. (Night of Disguise opening party, 7–11 p.m. Fri.) BRIAN MILLER

SUE LEE/BIKEBATTLES.NET

James Longhurst

It’s summer (well, officially beginning on Sunday), which means bike season, which means more riders on the road and more conflict with cars. That, in the comments section to any Seattle Times bicycle story, causes a fresh eruption of the war-on-cars/“Bicyclists should be taxed” vitriol. But Wisconsin historian Longhurst seeks to turn down such inflammatory rhetoric, despite the bellicose title to his Bike Battles: A History of Sharing the American Road (UW Press, $39.95). In six chapters, he traces the history of what is essentially road-sharing: first horses and carts mixed with pedestrians; then trolleys and buses; then, after WWII, an overwhelming shift, funded by federal highway dollars, to the primacy of the car. Longhurst—who admits to being a nervous bicycle commuter—repeatedly returns to the notion of the commons, that we all own the public right of way.

Pavement in this sense can be understood as a scarce resource that must be allocated and regulated for the public good. That was easier when cars were a rarity, the playthings of the rich; the rest of us walked or used public transportation.

But now, any commuter will tell you, cars no longer work. In affluent, congested cities like Seattle, the wheel has turned. Bicycles, seemingly cheating their way through traffic, have become freighted with the symbolism of perpetual gridlock and made a scapegoat for such forces. (And here come Uber, Lyft, and Google’s self-driving car to disrupt things further.) Longhurst reminds us how the ’70s bike boom was partly a response to the OPEC fuel shocks.

Today, he writes of our gas-tax-supported Highway Trust Fund, “It is stunningly ironic that this source of funding is drying up just as much of the highway infrastructure is nearing the end of its life.” Ironic, yes, but also an opportunity.

the husband, who hooks up with a Latina dancer who’s anything but the spitfire cliché. Music and dancing are integral to Losing Ground, which includes a student-film-within-the-film, as Sara (Seret Scott) makes a movie with suave, grandiloquent actor Duke, played by Duane Jones, the hero of Night of the Living Dead. (Along with those two, Bill Gunn is excellent as Sara’s husband, Victor.) Sara wants ecstatic release somehow—whether through art, religion, dancing, or an affair. Yet following one’s heart, she will find, can also lead to tears. This is an overlooked little gem from the oppressively white cinema of the Reagan years. (Through Sun.) Northwest Film

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

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Center (Seattle Center), 324-9996. $7–$12. See siff.net for showtimes. BRIAN MILLER E

PUSSY RIOT: A CONVERSATION AND DOCUMENTARYSCREENING

Feb 8 - 29

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Apr 16

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cosmopolitan Francophone city. Record labels sprang up, even as the Vietnam War spilled across Cambodia’s border. Then the mood darkens, with TV clips of Nixon and Cronkite, newsreels of B-52s dropping secret bombs, and one musician recalling, “All of a sudden, it was gone.” In its later scenes, Don’t Think shows how this music-loving country became a brutal agrarian police state. During that 1975–79 period, one survivor recalls, “You could be killed for singing the wrong song.” (Through Thurs.) SIFF Film

SEATTLE ROCK ORCHESTRA PERFORMS MOTOWN

Feb 9

Oct 29

SEATTLE ROCK ORCHESTRA PERFORMS DAVID BOWIE & GLAM ROCK

Losing Ground

Mar 31 - Apr 3

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Sept 26

Considering the Khmer Rouge horrors that came in 1975, it’s easy to be nostalgic about Cambodia’s prior two decades of post-colonial freedom, even if that society was hardly democratic. The politics—and rising specter of Pol Pot—sometimes filter through the music in this very affectionate doc by John Pirozzi; anyone he interviews here survived the killing fields, so they have reason for their fond memories—they’re grateful to be alive. Yet we know that not all those musicians seen in this wonderful trove of well-edited archival footage did survive, which gives the film its poignance. There’s a brief flowering of go-go boots and miniskirts, electric guitars and choreographed dance moves, elephant parades and pool parties. The royal family were music lovers, and Phnom Penh was a hedonistic,

Mar 25

BLUE MAN GROUP MARK O’CONNOR’S AN APPALACHIAN CHRISTMAS Apr 2 AHAMEFULE OLUO Dec 29 - Jan 10 NOW I’M FINE THE BOOK OF MORMON

ANNIE

Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll

Dec 14

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Sept 20 - 26

Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6–$11. 8 p.m. BRIAN MILLER

Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks. com. Free. 7:30 p.m. (Also: Seattle Central Library, free, 3 p.m. Sat.) BRIAN MILLER

Fleetingly seen in New York, Kathleen Collins’ lost-and-found portrait of a marital meltdown is remarkable for a couple of reasons. First, the 1982 clash between a rational philosophy professor and her promiscuous, free-spirited artist husband sounds like an Albee-style screaming contest; instead, Losing Ground is a wise, seriocomic examination of strong egos that can’t be reconciled. (It’s also a love quadrangle, with two interesting personalities pulling at each spouse.)

Second, Losing Ground is likely the first feature of the indie era by an African-American woman, with a mostly black cast. Collins, who died in 1988, respects her repressed heroine’s quest for joy (“Why can’t I just let go, lose control?”). Yet, she hints, such hedonism isn’t really working for

Vital Art Lives Here

17

arts&culture» performance SUN’S OUT, CUSTOMERS OUT! Opening Large wrap around patio for drinking!

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SEATTLE WEEKLY • JUNE 17 — 23, 2015

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Dirty

ACT THEATRE, 700 UNION ST., 292-7676, WASHINGTONENSEMBLE.ORG. $15–$30.

7:30 P.M. THURS.–MON. ENDS JUNE 29.

Andrew Hinderaker’s 2012 play is certainly of the moment. Its smartly conniving characters refer to Twitter followings, Google searches, Kickstarter, online privacy, vulture capitalists, discontented yuppies (why haven’t we found a new term for those?), live cams, Amazon versus Walmart, and—above all else—the prevalence and profitability of online porn. But which is dirtier: the sex or the money? That’s the conundrum for Matt (Anthony Darnell), who abruptly quits his VC firm to launch a startup promising ethnical, non-exploitative porn, with 90 percent of the proceeds going to charity. (His pregnant wife Katie, played by LoraBeth Barr, will run their foundation: sex dollars saving sex slaves.)

Sounds crazy, can’t work—right? No one will invest in the scheme except Matt’s former boss Terry (the amusingly venal Ali Mohamed el-Gasseir, who shows a spry set of legs to punctuate one line). Money, not sex, drives Act 1, with much talk of interest rates, loan collateral, and market share. The tone rapidly shifts between comedy and desperation in all this deal making; Hinderaker hails from ever-mercantile Chicago, and in his writing you will detect more than a gleam from Mamet’s famous steak knives.

Act 2 introduces the fresh new public face (and body) of goodsex.com: Leah Salcido Pfenning’s Mikayla, whose first appearance in a formfitting red dress will cause eyes (and more) to bulge. Even then, however, Dirty is more concerned with the economic than the erotic.

Mikayla is soon put under contract. Then swoops in an unlikely corporate raider (distractedly droll John Pyburn in mink, guyliner, and golf shorts), who’s made $400 million from his data mining of porn surfers. He’s Walmart, poised to snatch up this planned Whole Foods of boutique, subscription-model smut.

Though Matt regularly breaks the proscenium to address us, the audience is never indicted.

He and Katie are unashamed porn viewers, and their response to one such video—imagined out in the bleachers where we’re sitting—is played mainly for laughs. It says something that Dirty’s best-received gag (a mis-answered phone call) is older than Neil Simon. If you stripped away the technology, Matt and Katie could as well be Paul and Corrie in Barefoot in the Park; and cyberporn could just as well be advertising. Ably performed under the direction of Michael Place, Dirty is both modern yet not modern enough. The plotting and characters are traditional, and Matt’s enthusiasm for Hendrix—regularly heard and even strummed by three hands on guitar—is bafflingly wrong for these Cobain-raised Gen-Xers.

Hinderaker has correctly identified a market, just not the product to serve it. BRIAN MILLER

Whether you see Yussef El Guindi’s Threesome as a sex play, a feminist play, an Arab-themed play, a geopolitical play, or just a play with genital-gazing opportunity, see it. Not because it’s perfect (it’s not), not because it’s funny (though it certainly is), but because it’s interesting, with more nestled strata of implication than homemade baklava has layers. The Seattle playwright’s craft has strengthened since the caricatures of his 2011 Pilgrims Musa and Sheri in the New World.

Threesome is more concentrated and impactful.

Though something has knocked the relationship of Egyptian-born Leila (Alia Attallah) and Arab-American Rashid (Karan Oberoi) off balance, it’s not exclusively the diarrhea-afflicted Doug (played with buck-naked aplomb by Quinn Franzen), who’s about to join them in bed for what Leila touts—nay, commands—will be “fun.” Full of scowls and feints on a generic-chic bedroom set, Act 1’s ambivalent sex farce is funny, but the real tension lies in the gradual uncovering of what else is amiss with the talky couple.

Attallah and Frazen as unlikely bedmates in Threesome.

With Chekhovian warmth toward his characters, El Guindi burrows down to their basic insecurities, then productively wrenches them.

Leila’s most acute torment comes not from direct trauma—she was sexually assaulted during the Tahrir Square protests—but from the way Rashid’s seemingly feminist reaction to the attack actually cloaks more traditional judgment.

Rashid’s stealth conservatism pushes her to counter with outrageous moves (like the threesome) that she realizes don’t fit her either.

Director Chris Coleman renders Leila’s exasperation—situated as she is between two weak men— with stooped posture, unkempt hair, and ambivalent physicality. Due to the script’s economy of character, Doug must implausibly relate in Act 2 a disturbing sexual adventure that makes him a caricature of harmful Western cluelessness. It’s contrived, but Franzen pulls it off. (Meanwhile, Rashid’s character is the most limited and passive of the three.)

In some ways Threesome is a more hopeful (if less disciplined) cousin of Ayad Akhtar’s Pulitzerwinning Disgraced (coming to the Rep in January), which also examines how the West’s orientalism distorts the menu of possibilities for Middle Eastern identity. But unlike Disgraced’s tragedy, Threesome’s late-blooming catharsis, under Peter Maradudin’s scathing spotlight and accompanied by Casi Pacilio’s Arab Spring soundscape, feels like nothing less than a revolution. MARGARET FRIEDMAN E stage@seattleweekly.com

PATRICK WEISHAMPEL

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Nights

ACT THEATRE, 292-7676, ACTTHEATRE.ORG. $20.

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.

» performance & literary arts Stage OPENINGS & EVENTS

DEAR DAD Dramatic readings of letters written to

fathers by JFK, Jackson Pollock, Oscar Wilde, and many more. 12th Avenue Arts, 1620 12th Ave. $20–$30.

7:30 p.m. Sat., June 20, 2 & 7 p.m. Sun., June 21.

FAMILY AFFAIR Jennifer Jasper’s “hilarious, twisted, and ultimately relatable” cabaret on the theme of family.

JewelBox Theater at the Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. $10. 7:30 p.m. Wed., June 17.

GREAT SOUL OF RUSSIA This series exploring Russian lit looks at the topic of adultery. ACT, 700 Union St., 2927676, acttheatre.org. $10–$15. 7 p.m. Wed., June 17.

INTERNATIONAL FESTIVAL OF IMPROV The 19th annual fest gathers improv troupes from Mexico, India, Austria, and elsewhere. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15; festival pass $30. 8:30 p.m. Sun., June 21, Wed., June 24, Thurs., June 25, Sun., June 28; 7, 8:30, & 10 p.m. Fri., June 26–Sat., June 27.

MASH/UP Burgundy Brixx, Bolt Action, and many others offer a burlesque celebration of cultural boundary-blurring. Rendezvous at the JewelBox, 2322 Second Ave., brownpapertickets.com. $15–$25. 7 p.m. Fri., June 19.

•

NASTY DAY: A MINI-COMIC PERFORMANCE BY KELLY FROH The third in Froh’s “The Cheapest

S.O.B.’s” mini-comic series about her stingy grandparents. On the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $5. 7:30 p.m. Tues., June 23.

OUT & IN A comedy showcase for Pride weekend with James Adomian, Nick Sahoyah, and Elicia Sanchez.

The Neptune, 1303 N.E. 45th St., 877-STG-4TIX, stg presents.org. $16.50–$18. 8 p.m. Tues., June 23.

CURRENT RUNS

ARE YOU THERE GOD? IT’S ME, KAREN CARPENTER Dean Whitlock’s Blume-esque look back

Turbo Turkey. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $10.

8 p.m. Fri.–Sat., 2 p.m. Sun. Ends June 20.

EZID SEE PICK LIST, PAGE 17.

FLAMINGO The Can Can’s all-new tropical-themed cabaret. Can Can, Pike Place Market, 877-280-7831. $30–$85.

Runs Wed.–Sun.; see thecancan.com for exact schedule. Ends Oct. 11.

FOUR DOGS AND A BONE John Patrick Shanley wrote this biting 1993 showbiz satire soon after his famous flop Joe Versus the Volcano. No surprise, then, that he sees Hollywood as a world where abhorrent actions are absolutely acceptable. A producer (Paul Custodio), screenwriter (Ray Tagavilla), and two actresses (Brenda Joyner and Elinor Gunn) are fighting over the fate of their movie. Each has their own savagely self-serving agenda. (The director, of course, is unseen and irrelevant.) 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. Some characters you love to hate, and others you just hate. These four fall into the first category. ALYSSA DYKSTERHOUSE Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $22–$25.

8 p.m. Thurs.–Sat. Ends June 27.

THE ILLUSIONISTS Seven magicians gather for a spectacle-filled show. 5th Avenue Theatre, 1308 5th Ave., 625-1900, 5thavenue.org. $24 and up. 7:30 p.m. Wed., June 17–Thurs., June 18; 8 p.m. Fri., June 19; 2 & 8 p.m.

Sat., June 20; 2 & 7 p.m. Sun., June 21.

NOISES OFF This intricately constructed farce sends up mediocre provincial theater troupes and worse sex comedies. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $22–$27.

8 p.m. Thurs.–Sat. plus 2 p.m. Sun. starting June 28.

Ends July 5.

QUICKIES, VOLUME 16 Live Girls! Theater’s periodic short-plays-by-women festival. Annex Theatre, 1100 E. Pike St., lgtheater.org. $5–$20. 8 p.m. Thurs.–Sat. Ends June 20.

• •

SEATTLE REP WRITERS GROUP SHOWCASE

Readings of eight works in progress. Seattle Repertory Theatre, Seattle Center, seattlerep.org. Free. 7:30 p.m.

Fri.–Sat., 4 p.m. Sat.–Sun. Ends June 21.

SLAUGHTERHOUSE-FIVE Three actors portray Billy Pilgrim in this new adaptation of Kurt Vonnegut’s antiwar novel. Center Theatre at the Armory, Seattle Center, 216-0833. $25. Runs Tues.–Sun. see book-it.org for exact schedule. Ends July 3.

TEATRO ZINZANNI: THE RETURN OF CHAOS The superheroes of Puget Sound protect Seattle’s greatest landmarks. Favorite performers Anki Albertsson, Kevin Kent, Duo Madrona, and Vita Radionova return. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Sept. 13.

THREESOME SEE REVIEW, PAGE 18.

WHAT IF Improv based on the Sliding Doors notion of the fateful choice that leads in two very different directions. Jet City Improv, 5510 University Way N.E., jetcity improv.org. $12–$15. 8 p.m. Thurs.–Fri. Ends June 19.

•

Dance

• MOUTH TO MOUTH Performer and choreographer

Classical, Etc.

• SEATTLE SYMPHONY Restoring Gerard Schwarz’

tradition of ending the concert season with Mahler, specifically his immense concert-length Symphony no. 3. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $40–$125. 7:30 p.m. Thurs., June 18, 8 p.m. Sat., June 20.

JULIO LOPEZ New works for mixed ensembles and for solo violin and electronics. Chapel Performance Space, 4649 Sunnyside Ave., waywardmusic.org. $5–$15.

8 p.m. Thurs., June 18.

SALISH SEA EARLY MUSIC FESTIVAL Concertos and chamber music for flute (Jeffrey Cohan). Christ Episcopal Church, 4548 Brooklyn Ave. N.E., 633-1611, salishseafestival.org. $15–$25. 7:30 p.m. Fri., June 19.

series exploring the piano one note at a time. Chapel Performance Space, 4649 Sunnyside Ave., wayward music.org. $5–$15. 8 p.m. Fri., June 19.

SEATTLE MEN’S CHORUS Celebrating the music of Queen. McCaw Hall, Seattle Center, 388-1400, flying house.org. $25–$75. 8 p.m. Sat., June 20, 2 p.m. Sun., June 21. Plus, at 2 p.m. Saturday, their annual free joint family concert with the Seattle Women’s Chorus.

EAST-WEST TRIO Bach, Mozart, and traditional Chinese music for violin, flute, and piano. Seattle Central Library, 1000 Fourth Ave., spl.org. Free. 3 p.m. Sat., June 20.

LAKE UNION CIVIC ORCHESTRA Closing its 20th season with the Rach 3 (and pianist Joel Fan), plus a new work by conductor Christophe Chagnard. Meany Hall, UW campus, 343-LUCO, luco.org. $13–$18. 7:30 p.m. Sat., June 20.

SEATTLE REPERTORY JAZZ ORCHESTRA Music from Charles Mingus’ 1972 album Let My Children Hear Music. At Benaroya Recital Hall, Third Ave. & Union St., 7:30 p.m. Sat., June 20; and Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 2 p.m. Sun., June 21. $15–$47. 523-6159, srjo.org.

MEG BRENNAND Closing her series of Beethoven’s works for cello and piano with the sonatas in G minor and D. With pianist David White. First Church Seattle, 180 Denny Way, 800-838-3006, brownpapertickets.com. $10–$25. 5 p.m. Sun., June 21.

CLUB SHOSTAKOVICH The penultimate concert in Trio Pardalote’s series of Shostakovich quartets surrounds his 14th with music by Berio, Francaix, and Kodaly.

Kenyon Hall, 7904 35th Ave. S.W., triopardalote.com. $5–$14. 7:30 p.m. Sun., June 21.

NORTHWEST MAHLER FESTIVAL Four play-along reading sessions (through July 1) of large-scale romantic orchestral works, starting with Eric Hanson leading Rachmaninoff’s Symphonic Dances. See nwmahlerf estival.org for registration info and venues. Donation.

7 p.m. Tues., June 23.

SEATTLE SYMPHONY Music by John Williams at Marymoor Park, 6046 W. Lake Sammamish Pkwy., Redmond, 205-3661, seattlesymphony.org. $39.50– $69.50. 7:30 p.m. Wed., June 24.

Author Events SANDY BOUCHER She Appears!: Encounters with Kwan

Yin, Goddess of Compassion collects her art. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., June 17. of Farming With • ERIC LEE-MÄDER The author Native Beneficial Insects discusses the benefits of honeybees, bumble bees, and monarch butterflies.

Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Wed., June 17.

VIDA The founding editor of The Believer • VENDELA discusses her new novel The Diver’s Clothes Lie Empty. Elliott Bay Book Co., 1521 10th Ave., 6246600, elliottbaybook.com. 7 p.m. Thurs., June 18.

• STEPHANIE KALLOS Language Arts is the latest from the Seattle author about a dedicated English teacher.Elliott Bay, 7 p.m. Fri., June 19. (Also at ParkPlace Books in Kirkland, 7 p.m. Wed., June 24.)

SHERRI SCHETTLER Spiritual Blackmail: My Journey Through a Catholic Cult is her new memoir. University Book Store, 7 p.m. Fri., June 19.

DEBORAH FEINGOLD Music is her new collection of her photographs of musicians including Pharrell Williams, Joey Ramone, Mick Jagger, and REM. Elliott Bay, 7 p.m. Sat., June 20.

E.C. MURRAY She recounts her time on a remote mountain farm in France herding goats in her new memoir, A Long Way From Paris. Eagle Harbor Book Co., 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 3 p.m. Sun., June 21. (Also at University Book Store, 7 p.m. Thurs., June 25.)

CHRISTOPHER ROBINSON & GAVIN KOVITE

The two authors discuss their book War of the Encyclopaedists. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m.

Mon., June 22.

ANDY DUNCAN Wakulla Springs is his his new sci-fi novel. University Book Store, 7 p.m. Tues., June 23.

BRIAN J. ROBERTSON He discusses Holacracy: The New Management System for a Rapidly Changing World. University Book Store, 7 p.m. Tues., June 23.

JAY RUBIN The translator, known for his renditions of Haruki Murakami, discusses his own novel, The Sun Gods. Third Place, 7 p.m. Tues., June 23.

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

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

BY D IA NA M . LE

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

•

Waves of Wood I am usually the one to complain first and loudest about the lack of identification on public artworks, especially those of short-term duration.

“Where’s the plaque?” I demand indignantly.

“What the fuck is

BY BRIAN MILLER this QR code? Can’t somebody provide the artist’s name and statement in plain English?” Fortunately, in the case of SHIFT, I was able to get the info from the brewery fronting the pleasing wooden sidewalk gazebo/archway structure. SHIFT was originally deployed in Occidental Park during the Seattle Design Festival for one week last September. Somehow I missed it, but I’m glad it’s back. The cedar slats receive low western light during the hour that the adjacent beer garden is full of customers, creating constantly varying contours of shadows. Walk through or bike past, and there’s a stroboscopic effect. Designers Rob Deane, Chloe Csadenyi-Benson, Dylan Fuller, Veronica Park, Steven Lazen, and David Witte call the structure “a rhythmic portal,” and my only complaint is that SHIFT doesn’t extend for the entire block. The wood invites your touch, and its undulating pattern actually engages your ear. How? The 144 slats were cut in a wave pat-

THEFUSSYEYE

tern “derived from sound, the frequency of notes in an ascending and descending major scale,” according to the makers. (What key and scale they don’t specify.) So there’s a kind of topo-map texture to the thing—an aural analogue, if you will. No word how much longer it’ll be on view, so if you’ve got space in your yard and it shows up on eBay, buy it! Fremont Brewing Co., 1050 N. 34th St., gallery2014.getopenwater.com/ AiaSeattle/details?id=4409

SEATT LE W EEKLY • JUN E 17 — 23, 2015

Danielle Agami slid through Seattle a couple of summers ago, presented a fascinating work that dissected a long-term relationship, and taught a series of popular workshops on improvisational technique. But then she was off to L.A. to develop her work and her company Ate9. She’s now back for a visit, and has brought her dancers. She’ll share a slice of her program with local dance maker Matt Drews—both of them specialize in highly kinetic work. SANDRA KURTZ Velocity Founders Theater, 1621 12th Ave., velocitydancecenter.org. $12–$50. 7 p.m. Fri., June 19–Sun., June 21.

GRADUS FOR FUX, TESLA, AND MILO THE WRESTLER Another in Neal Kosaly-Meyer’s ongoing

BRIAN MILLER

at 1973 and the tragic pop star. Richard Hugo House, 1634 11th Ave., seattlestageright.org. $17.50–$22. 7:30 p.m. Thurs.–Sat. & Mon. Ends June 27.

THE BOY FRIEND This musical offers a 1920s pastiche score and a French Riviera setting. Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, rentoncivictheatre.org. $20–$25. 7:30 p.m. Thurs., 8 p.m.

Fri.–Sat., 2 p.m. Sun. Ends June 27.

CABARET Billie Wildrick brings a very British dash to her Sally Bowles, adding hints of Auntie Mame and Eliza Doolittle to her ability to play both flamboyance and anguish and to sell a song—which climaxes just where it should, in her 11 o’clock number, the title tune. Yet the rest of the cast is strong enough never to risk being drowned out. As Cliff, the writer who falls for her, Brian David Earp is impressively solid in a part that gives him little more to do than react to the madness around him. Anne Allgood is powerful, without caricature, as their landlady, Fräulein Schneider, and Peter Crook’s Herr Schultz downplays the threat of the Third Reich heartbreakingly. Matthew Smucker’s decoratively cluttered set is ingenious and eye-filling, and the pit band, under Tim Symons’ direction, is the most stirring I’ve heard at VT. All the ingredients are there, but the show nevertheless lacks atmosphere—a sense of gathering doom. This is a PG-13 show. If you’ve been looking for a Cabaret to which you can take the kids, you’re in luck. 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.)

DIRTY SEE REVIEW, PAGE 18.

DON NORDO DEL MIDWEST Food is the focus of Café Nordo’s absurdist, comedic storylines. During the show, dinner itself becomes a kind of character. Then there’s the play: After getting fired from an “agreeably dull” steakhouse because he tried to invigorate the menu, Don Nordo sets out to hire his own sous chef. (Nordo names the applicant Sancho, of course.) Wearing upside-down colanders on their heads like helmets, the two set out on a series of food-inspired adventures that in the show’s first half seem designed mostly to set up jokes about our rabid foodie culture—territory Portlandia has already thoroughly mined. During these adventures, the witty, stylistic integration of the food into the performance takes it out of straightforward dinner-theater territory. Yet almost all of the nine courses of “Midwestern Tapas” are, in fact, bland. Even as Sancho and the Don’s relationship gains heft, lifting it out of mere allusions to Don Quixote, the food disappoints. “The proof is in the pudding,” says the narrator at the end of the show. Given the state of the meal, that line becomes truly double-edged. NICOLE SPRINKLE Nordo’s Culinarium, 109 S. Main St., cafenordo.com. $75 ($100 w/wine flight). 7:30 p.m. Thurs. & Sun., 8 p.m.

Fri.–Sat. EXTENDED through June 28.

ELECTRIC MAN A superhero spoof from comedy troupe

19

arts&culture» visual arts Openings & Events

SHOWTIM ES

JUNE 19 - 25

HOWL’S MOVING CASTLE

MARTIN CREED Opening Saturday, his Work No. 360:

FRI - Mon @ 7:00PM / SAT-SUN @ 3:00PM

THE SECRET HISTORY OF SOVIET SPACE-AGE ELECTRONIC MUSIC

JUNE ��–��

THE FIFTH ELEMENT FRI - MON & WED @ 10:00PM

Half the air in a given space will have viewers navigate through a sea of silver balloons while asked to consider the location and physical construct of art. Henry Art Gallery, 4100 15th Ave. N.E. (UW campus), 5432280, henryart.org. $6-$10. 11 a.m.-4 p.m. Wed., Sat., Sun. 11 a.m.-9 p.m. Thurs.-Fri. Ends Sept. 27.

DWELL Opening Friday, this group show features architectural Gala Bent, Julie Blackmon, Susanna Bluhm, and Linda Connor, and ohters. G. Gibson Gallery, 300 S. Washington St., 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Aug. 15.

ROGER SHIMOMURA An American Knockoff features 53 paintings and prints from Seattle-native artist (now based in Kansas), who combines Pop and comicbook imagery with his own biographical experiences, including life in an internment camp during WWII. Opens Sat., June 20. Tacoma Art Museum, 1701 Pacific Ave., (253) 272-4258, tacomaartmuseum.org. $12-$14. 10 a.m.-5 p.m. Tues.-Sun. Ends Sept. 13.

SUYAMA SPACE GARAGE SALE This fundraising event is back after a two-year hiatus. Shop collectibles such as vintage items, designer furniture, clothing, and art to help benefit the excellent Belltown gallery. Suyama Space, 2324 Second Ave., 256-0809, suyamaspace.org. 10 a.m.-4 p.m. Sat., June 20 & Sun., June 21.

• SEX AND THE CITY TRIVIA!

WEDNESDAY @ 7:00PM

PRIDE FEST KICK OFF FEATURING PRIDE - TUESDAY @ 7:00PM

JUNE �� & ��

THE TOTALLY GAY SING ALONG! - THURSDAY @ 8:00PM

GR ANDILLUSIONCINEMA.ORG ���� NE ��TH STREET | ���-����

cinema

NOW PLAYING

FRI JUNE 19 - THU JUNE 25

•

Ongoing

REBECCA WOODHOUSE ALLARD Her hand-carved

linoleum and rubber prints use text as a visual element.

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.

CHIHO AOSHIMA This is SAAM’s second exhibit by a contemporary young Japanese artist associated with Takashi Murakami. (The artist known as Mr. was the guy who recently filled a gallery with tsunami detritus.)

Aoshima is a woman, however, who ought to provide a different perspective on the oppressive sexism of most anime. In addition to 30-plus drawings and two large “dreamscapes,” her show Rebirth of the World will include new animated work, Takaamanohara (or The Plain of High Heaven), dealing with Shinto deities. In her typically colorful paintings, ethereal kawaii sprites roam in enchanted glades where the colors are anything but natural. Long, undulating hair mixes into the undgrowth and vines, suggesting deeper connections to the planet. There are cityscapes, too, as in her 2005 animation City Glow, where the towers rise like wormy, human-faced figures. The corporeal, architectural, and natural realms blur together in her work. Aoshima is a syncretist whose diverse subjects grow from the same spiritual undercurrent. BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m. Thurs.

Ends Oct. 4.

CHRISTOPHER BUENING Hunter<Gatherer explores memory and the process of becoming self-aware.

Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends June 25.

ILSE BING An early user of the 35mm Leica hand-held camera, the German Bing (1889-1998) is known as a pioneering woman in European photography, whose career continued in the U.S. following WWII. Ilse Bing: Modern Photographer is a selection of her images, spanning the 1920s through 1950s. Henry Art Gallery, Ends Oct. 11.

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, Ends Oct. 4.

ANDREE CARTER AND LORI SWARTZ In Carter’s collages, she obsessivley overlays a grid over original images. Swartz is a New Mexico artist who work in mixed media. Gallery I|M|A, 123 S. Jackson St., 6250055, 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.

ArtXchange Gallery, 512 First Ave. S., 839-0377, artxchange.org. 11 a.m.-5:30 p.m. Tues.-Sat. Ends July 31.

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.

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EGYPTIAN

UPTOWN

FILM CENTER

The Wolfpack

Dope

I Am Big Bird

OPENS JUNE 18 A fresh and funky comedy! Three “nerdz n the hood” head down a riotous rabbit hole after finding a backpack of designer party drugs.

OPENS JUNE 19 Meet Caroll Spinney, the man behind beloved Muppets Big Bird and Oscar the Grouch.

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OPENS JUNE 19 A riveting doc about six brothers who grew up isolated in a NYC apartment and somehow managed to learn everything about life through Resevoir Dogs and other movies.

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Horror of Dracula TRIBUTE TO CHRISTOPHER LEE FRI JUNE 19

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6/26 · Paris Is Burning

6/26 · Me and Earl and the Dying Girl 7/4 · Grey Gardens

6/27 · John Waters’ Hairspray

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Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll

OPENS JUNE 19

SIFF EDUCATION

Crash Kids

JUNE 27 | AGES 9-12 A non-competitive movie production challenge.

Steal That Shot 3 SUNDAYS | 8/9, 8/23, 8/30 High school students will learn from the masters as they are challenged to re-create scenes from classic films.

Check Movie Times and Buy Tickets · SIFF.net · 206.324.9996

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who break • KATRINA DEL MAR She explores women Feral Women.

convention and do their own thing in Twilight Gallery, 4306 S.W. Alaska St., 933-2444, twilightart.net. 11 a.m.-7 p.m. Mon.-Fri. 11 a.m.-6 p.m. Sat. 11 a.m.-5 p.m. Sun. Ends July 25.

MICHAEL FERGUSON Life’s Little Dramas puts a whimsical and almost magical spin to small pleasures. 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. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 6211945, 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. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 2238505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends July 18.

ARI FISH KOAN COMPOSITES is the fourth installment in her SPEAK AND SPELL series, where she explores the line between blame/confession, choice/mandate, life/death. The Alice, 6007 12th Ave. S., thealicegallery.com. Noon-5 p.m. Sat. Ends July 18.

PAM GALVANI locus depicts the artist’s search to find the intersection of making art and making meaning.

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. Traver Gallery, 110 Union St., 5876501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m. Sat. Ends June 27.

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, the New York-based 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. BRIAN MILLER Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. 10:30 a.m.5:30 p.m. Tues.-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. 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 monochromatic woodblock prints of text messages. Greg Kucera Gallery, 212 Third Ave., 6240770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.Sat. Ends June 27.

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

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. 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.

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

PLUS 1 GROUP SHOW This exhibition features gallery artists and their invited guests. Artist and guest pairings include Stacey Rozich/Matt Craven, Travis Louie/ Dorian Vallejo, and Amanda Manitach/Adam Mars. Roq La Rue Gallery, 532 First Ave. S., 374-8977, roqlarue. com. Noon-5 p.m. Wed.-Sat. Ends July 2.

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

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» film From left, Revolori, Clemons, Moore are on the run from Bloods.

RACHEL MORRISON/OPEN ROAD FILMS

PDope OPENS FRI., JUNE 19 AT SIFF CINEMA UPTOWN, ARK LODGE, SUNDANCE, AND OTHERS. RATED R. 103 MINUTES.

France’s answer to The Miracle Worker, Marie’s Story is also based on real events, and it is just as much the story of the girl’s resolute teacher—like Helen Keller’s Annie Sullivan.

The sweet, spirited young Sister Marguerite (Isabelle Carré) makes a brief connection when fearful Marie (Ariana Rivoire) hides from the nuns in a tree. Frail and in ill-health, Marguerite is actually a gardener, not a teacher. Yet despite opposition from the Mother Superior (they’ve never had a student both deaf and blind), Marguerite makes the case that Marie has an intelligence to be freed, that she wants to connect. Marie may not be a sign from God, but she becomes Marguerite’s holy mission.

For those who’ve seen The Miracle Worker on stage or screen, the journey here is familiar, though different in detail. Director Jean-Pierre Améris brings a sensual quality to scenes of Marie’s tactile engagement with the world and her wordless communication and sharing with her teacher. We sense the pleasures of her feeling her way through a grassy field, the cool splash of a lazy brook, the warmth of sun on skin, the affirmation of human touch, and the smooth familiarity of a pocket knife, her favorite object. Meanwhile, the inner lives of these two women remain hidden.

Marie’s Story is lovely and sweet, sad and uplifting in all the expected ways, with nary a villain in sight. Carré is petite and sunny, like a French Amy Adams scrubbed of Hollywood makeup. Rivoire, a deaf actress in her film debut, is strong and spirited as Marie. If the film never transcends the conventions of the inspirational true-life story, it satisfies them nicely with vivid performances, beautiful imagery, and compassionate direction. SEAN AXMAKER

Inside Out OPENS FRI., JUNE 19 AT ARK LODGE, MAJESTIC BAY, VARSITY, ADMIRAL, BAINBRIDGE, PACIFIC PLACE, THORNTON PLACE, AND OTHERS. RATED PG. 106 MINUTES.

The ancients once explained human psychology with four bodily humors: blood, phlegm, and two colors of bile. Eeew, gross! Pixar has now updated the mapping of our minds with a much broader palette, using the very latest technology and even consulting neuroscientists. The fanciful animated result is a combo of Oz-style quest and bright-hued PET scan. Orbs containing the memories of 11-year-old girl Riley careen down ramps and tubes like a pachinko machine devised

by Rube Goldberg for the digital age. Their routing, deployment, and storage is managed by five rival/collaborative emotions who run the central control board within Riley’s cartoon cranium.

An only child, she moves with her parents from hockey-loving suburban Minnesota to a creaky old rowhouse in San Francisco (don’t ask the price), whereupon chaos soon ensues.

Now owned by Disney, Pixar has never made a truly bad movie. (Clunkers like Cars are hardly offensive.) At its best (Toy Story, WALL•E, Up, etc.), the company seamlessly weaves dazzling computer animation with genuine feeling and wit. Yet the vaunted enterprise—here led by director Pete Docter—sometimes strays too far in the direction of industrial self-love. Inside Out ’s squabbling characters of Joy, Sadness, Fear, Anger, and Disgust are like film directors vying for control of a runaway project called Riley. The movie-memory analogue is repeated in a variety of scenarios—the manufacture of dreams, the projection of Rosebud-like primal childhood

Carré (left) and Rivoire as teacher and student.

Marie’s Story

PMe and Earl and the Dying Girl

OPENS FRI., JUNE 19 AT SUNDANCE CINEMAS. NOT RATED. 94 MINUTES.

OPENS FRI., JUNE 19 AT PACIFIC PLACE, GUILD 45TH, AND LINCOLN SQUARE. RATED PG-13. 104 MINUTES.

Marie Heurtin was born deaf and blind to loving but overworked parents in 19th-century rural France. Kept at home because no institution but the asylum would take her in, she lived in sensory isolation, loved but untutored and unrestrained.

The stubborn girl refused to change her clothes, wear shoes, or bathe. When her father brings her to a convent school for deaf girls, we see her arms and legs are covered in scratches from crawling across the floor and through the underbrush.

She’s part infant in a teenager’s body, part wild child: loving and willful, yet completely resistant to any attempts to steer her behavior.

Twilight aside, you certainly can’t say that YA fiction is ducking life’s real and major issues. In The Fault in Our Stars, it was death; in The Spectacular Now, teen alcoholism. And now with this Sundance favorite, high-school filmmaking?

No, wait, let’s read the title again. Said dying girl is Rachel (Olivia Cooke), a Pittsburgh classmate—but not friend—of senior Greg (Thomas Mann), a movie obsessive who wants nothing more to be the next Wes Anderson (or Scorsese or Spielberg or Kurosawa or Herzog . . . it’s a

SEATT LE W EEKLY • JUN E 17 — 23, 2015

The cycles of nostalgia just keep getting shorter and shorter. YouTube and shows like I Love the ’90s grant ever-speedier historical access to kids who wonder about times before they were born and tastes unlike their parents’. So it is with 18-year-old Malcolm (Shameik Moore), a brainy nerd from the poor Inglewood section of L.A., who’s possessed of a profound love for high flattop haircuts, acid-washed jeans, BMX bikes, Air Jordans, and A Tribe Called Quest. At the same time, despite his savoring of vintage handheld Nintendo games, Malcolm is very much a creature of the iPhone present, conversant in Bitcoin and Silk Road. He’s an in-betweener, a clique-straddler: smart enough to be collegebound (provided he can ace the SAT, revise the ghetto clichés out of his admission essay, and impress a Harvard alumni interviewer), yet also savvy enough to recognize an opportunity when a bag of MDMA drops into his hands. So which path is more promising—the thug life or the Ivy League? That’s Malcolm’s comic dilemma.

Written and directed by Rick Famuyiwa (a Nigerian-American with four prior features to his credit), Dope starts with the irresistible, cheerful energy of its central trio. Originally having met in marching band—nerd alert!—are earnest Malcolm, wry Diggy (Kiersey Clemons), and irrepressible Jib (Tony Revolori, from The Grand Budapest Hotel ). Together they play in a mathrock trio called Awreooh (pronounced “Oreo”), with songs actually crafted by producer Pharrell Williams. These three aren’t dealers, but the mislaid bag of Molly puts them on the run from gun-waving Bloods and other gangs.

Thus, Dope works best in chase-comedy mode, as our heroes blunder from one hazard to the next, constantly switching codes among different classes and milieus. One minute shots are being fired at a donut shop; the next Malcolm is recording tracks in a posh West Side mansion with some spoiled bourgeois kids (one halfnaked and tripping on Molly—a video of which then goes viral). Malcolm also acts as intermedi-

FILM MOVEMENT

Opening ThisWeek

ary between the scary/friendly dealer Dom (rapper A$AP Rocky)—who dubs him “McFly”— and neighborhood beauty Nakia (Zoë Kravitz), who’s conveniently studying for her GED. Both need Malcolm’s help, even while he’s sorting out his own identity.

Dope’s tone veers abruptly from comic to serious, perhaps because Famuyiwa is suggesting that humor is the only way Malcolm and company can deal with everyday injustice and brutality. For that reason, you don’t mind the odd edits and plot leaps in this fun, larky picaresque. It’s both smart and—in its latter third, especially— a little sloppy. A final bit of stand-and-deliver didacticism doesn’t bother me either. I’m not sure Dope offers anything more than a good time, but it offers a very good time. BRIAN MILLER

scenes, a theme park called Imagination Land, and the insistence that messy human experience can be bow-tied into a happy end.

As a result, Inside Out is more serious than expected, less silly and slapstick in tone than prior Pixar efforts. For parents, the movie will be an occasion to talk with their kids about sadness—or Sadness, the blue-haired party-pooper who seems to ruin every memory orb she touches. At first she appears the underminer of the piece (“I’m awful!”), pitted against chipper Joy (voiced by Amy Poehler), but these two emotions must inevitably be reconciled, like yin and yang. And there is death: the tragic self-sacrifice of Riley’s imaginary friend Bing Bong (a plaintive Richard Kind), made of cotton candy and cast-off animal parts, who cries candy tears (wrapped, oddly). There is no room in Riley’s soon-to-be-tween cortex for poor Bing Bong—alas, we knew him well. Part of the pathos here is how much of childhood must be forgotten to reach puberty and adulthood. Our puny RAM can only hold so much.

What works best in the movie? There’s a lovely, poetic moment when Joy skates a duet with Riley’s projected memory from an ice pond.

(But why no Randy Newman ballad?) The biggest laughs come during the end credits, when we peer inside the cranial control rooms of various adults, pizza-making hipsters, dogs, and cats.

Also, “I liked Anger,” said one of my companions, age 9. This volcanic red fireplug of id (Lewis Black, of course) is always looking for a potential tantrum or grievance. His rage erupts like a safety valve, just as Sadness must vent dolorous steam puffs. For all its visual delights and wonderful plasticity of character, Inside Out gives us factory-made catharsis. BRIAN MILLER

» CONTINUED ON PAGE 22 21

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

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

Tuesday is Girls Movie Night Out!

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

JURASSIC WORLD in 3D / 2D DOPE MARIE’S STORY

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long list of influences). Greg is the Me, Earl (RJ Cyler) is his filmmaking buddy, and together they’re a misfit duo of auteurs in a chaotic, teeming public school full of bullies and jocks, cliques and castes.

Their only respite is in the calm, accepting office of a tattooed history teacher (Jon Bernthal, so memorable as the tank yokel in Fury, so different here).

Rachel doesn’t initially figure in the story, adapted by Jesse Andrews from his 2013 book and directed with a light, sure hand by Alfonso GomezRejon. The latter has helmed several episodes of

(6/18) Christopher Mitchell and Hollis Wong-Wear Exploring a City-Owned Internet (6/18) Juan Alonso-Rodriguez and Mona Akmal In Residence: Findings

get groceries. Sometimes you hear strange things going on. What are they doing in there?

Well, keep your camera handy, because behind those cardboarded-over windows might be a documentary film waiting to blossom. One such household is thrown open in The Wolfpack, the chronicle of six brothers raised inside a shabby New York apartment and only rarely allowed to go outside. The Angulo boys were home-schooled by their long-suffering mother, Susanne; father Oscar believed the outside world was dangerous and so kept everybody shut in. For years. This strategy held until one brother, Mukunda (they all have

(6/20) Saturday Family Concerts Recess Monkey ‘Hot Air’ Album Release (6/22) Kentaro Toyama with Wier Harman Invest in People (Not Technology) To Change the World (6/23) Tony Hey Engaging The Next Generation in Computer Science (6/24) Stephen Witt The Music Industry’s Perilous Future TOWN HALL

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(6/25) Henry Paulson WWW.TOWNHALLSEATTLE.ORG with Satya Nadella Challenges to China’s Economic Future

(6/27) Town Music John Adams’ ‘Shaker Loops’ and original work, commissioned by Town Hall from Timo Andres (6/29) WA Environmental Council presents Port of Seattle Candidate Forum Creating a Working Waterfront SEATTLE WEEKLY • JUNE 17 — 23, 2015

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(6/17) Eric Lee-Mäder Saving Farms, Cities with Pollinator Conservation

(6/25) Fred Pearce How Invasive Species Will Save the World

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(6/16) Short Stories Live Bloomsday Celebration TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY

(6/29) Max Blumenthal Gaza, and the Future of Israeli Politics (7/3) Drikung Seattle presents Garchen Rinpoche Living a Meaningful Life (7/9) Michael Fertik Making the Most of Your Digital Reputation (7/14) Nuala O’Connor How Technology Impacts Civil Liberties (7/15) Roger Shimomura with Gary Faigin Pop Goes the Melting Pot (7/16) August Cole

MAGNOLIA PICTURES

Voted Best Movie Theater

From left, brothers Krsna, Jagadisa, and Mukunda Angulo.

Glee, and it’s fair to assume that he and Andrews still have all the slights and indignities of high school seared into their brains. Their movie first immerses you in the outcast texture of Greg and Earl’s school and home lives. Greg, our narrator, resides in the comfortable book-stuffed row house of his liberal parents (the effortlessly warm Connie Britton and Nick Offerman, the latter a kimonowearing academic and enthusiastic eater of Bourdain-style oddities). Earl comes from the other side of the tracks—and I will confess that, compared to the characters of Dope (above), his speech and mannerisms are uncomfortably close to tokenism. He’s smart enough, but a subordinate character; this is ultimately the story of Greg and Rachel.

Before we get there, however, via an unusual twoact structure and major misdirection ploy, the movie’s first half is an utterly delightful spin on the usual mopey YA themes. It’s impossible to stop smiling at Greg and Earl’s series of arthouse movie remakes (their own private Criterion Collection), including My Dinner With Andre the Giant, Eyes Wide Butt, Pooping Tom, and A Sockwork Orange (enacted by sock puppets, natch). I’m guessing Andrews saw Be Kind Rewind more than a few times.

But there must be leukemia, Greg’s growing attachment to Rachel (whom he’s ordered by his parents to visit and cheer up), prom, and finally a college-admissions crisis that the film doesn’t really need. (Nor does Dope, come to think of it.) Seeing this movie during SIFF more than a month ago, I didn’t like the ending: too selfvalidating in its regard for art, specifically cinema, as a bulwark against life’s cruel brevity. I like it better now—perhaps because, decades after high school, you remember the laughter more than the tears. BRIAN MILLER

PThe Wolfpack OPENS FRI., JUNE 19 AT SEVEN GABLES AND SIFF CINEMA EGYPTIAN. RATED R. 89 MINUTES.

You know your weird neighbors? They seem to be a big family, but nobody ever sees them, except when the angry-looking father goes out to

Sanskrit names), decided to venture out and look around the Lower East Side while his father was away on an errand. He wore a homemade mask— modeled on the killer in Halloween—in case he ran into Dad, and the police picked him up for looking scary, which is how the family finally came to the attention of New York authorities. Shortly thereafter, filmmaker Crystal Moselle discovered the brothers, running into the six of them taking a tentative prowl around the streets while dressed as characters from Reservoir Dogs.

So, yeah—Reservoir Dogs. This is where Moselle’s film gets fascinating. The Wolfpack interviews the family members, observes them in their cramped surroundings, and shows how engaging (if naïve and gawky) the Angulo boys are. What saved them, apparently, was the movies. For some reason, Oscar amassed a library of hundreds of films, which the brothers memorized. Over the years they created costumes and props from their humble possessions, typed out screenplays, and absorbed speech patterns from Al Pacino and Robert De Niro. Trapped in their cave, the shadows they watched on the walls were shaped like the Godfather pictures and Pulp Fiction. (And Blue Velvet; one really wants to know what the Angulos think the world is like, although the sympathetic Moselle is too discreet to ask hard questions.)

The memorized dialogue and roleplaying put the brothers not far from Geek Nation at large, but for many such teenagers those activities are an escape from the world; for the Angulos, they’re a connection to it. The Wolfpack reminds us, in extreme terms, that watching movies might be a way of learning how to live. In the image of one brother (it’s a challenge to tell them apart) standing in a homemade Batman costume and gazing out the window to the narrow strip of city he’s looked at for years, we have a poignant illustration of modeling behavior through art. Like Batman, the Angulo brothers can watch, wait, and be ready for their chance to make things right. ROBERT HORTON E

film@seattleweekly.com

Local & Repertory ANGST This Austrian slasher flick from 1983 is apparently

a favorite of Gaspar Noé (Irréversible, Enter the Void), which means the life-inspired account of serial killer Werner Kniesek is made of strong stuff. The title translates as “fear.” (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-9.

9 p.m. Sat. CHRISTIANIA: 40 YEARS OF OCCUPATION Danish squatters form a viable commune. Documentary filmmakers Robert Lawson and Richard Jackman will introduce their film. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$11. 7 p.m. Sat. EARTH, A NEW WILD: OCEANS Discussion follows the screening of this new eco-doc. (NR) Keystone Church, 5019 Keystone Pl. N., 632-6021, meaningfulmovies. org. Free. 7 p.m. Fri. ELEKTRO MOSKVA This recent doc from Austria celebrates the old tube-and-switch electronic musical instruments of the Soviet era, and their present-day revivalists. If you love vintage Moogs and Casio keyboards, this should be a treat. A second music-related doc, Industrial Soundtrack for the Urban Decay, is also playing Fri.-Sat. with live DJ and higher ticket price.

(NR) Grand Illusion. $5-9. Runs Fri.-Thurs. See grandillusioncinema.org for showtimes.

THE FIFTH ELEMENT Luc Besson sure gives you a lot to look at in his 1997 sci-fi tale, which stars Bruce Willis and Milla Jovovich. What it all means is a different matter. Still, Besson never fails to put the money on screen, and he also invested in a solid supporting cast that includes Ian Holm, Gary Oldman, and ... Luke Perry? Well, it was the ’90s, after all. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com. $7-$9. 10 p.m. Fri.-Mon. & Wed. FIELD NIGGAS Via Skype, street photographer and documentary director Khalik Allah will introduce his hourlong filed study of Harlem after dark. (NR) Northwest Film Forum, $6–$11. 7:30 p.m. Mon. HOWL’S MOVING CASTLE Hayao Miyazaki only took over direction of this 2005 anime feature after concluding the director he’d hired wasn’t up to Studio Ghibli standard. It’s good animated fun, with many sequences of ineffable beauty that only Miyazaki could have conceived, but it still feels like a job-of-work, not a necessary unity. Howl takes place in a world powered by steam but magic-laced: a Dutch-decorous townscape surrounded by witch-haunted wastelands, prowled, among others, by the mysterious Howl, the shape-shifting master of a lurching assemblage of rusty hardware that moves through the mountain mists on chicken feet, powered by a hearth-demon. Heroine Sophie is another in the long line of sweet-natured but tough young women from Nausicaä to Mie. Still, the movie is essential viewing for lovers of Miyazaki. Motifs from his earlier films recur almost half-consciously, making the movie feel a bit Tempest-like, a summing up of a long career as a magician, and a half-welcoming, halfreluctant farewell to the role of enchanter. (PG) ROGER DOWNEY Central Cinema, $7-$9. 7 p.m. Fri.-Mon. & 3 p.m. Sat.-Sun.

• QUEER VISION 20/20 What’s not to like about a

transvestite jewel thief in swinging ’60s Tokyo? Giddy, garish, and silly, Black Lizard is a good introduction to the works of Kinji Fukasaku. Its dialogue, décor, and art direction are a hoot as the eponymous Black Lizard is pursued by a tough gumshoe trying to free a virginal kidnapped teen, but don’t worry too much about the plot. The 1968 picture is a lot less decadent than it purports to be, although Miss Lizard Thing provides a lot of campy fun with the villainous diva act. Look for crazy nationalist novelist Yukio Mishima as one of her hunky boy-toys. (NR) B.R.M. Northwest Film Forum, $6–$11.

7 p.m. happy hour, 8 p.m. movie. Thurs.

THE ROCKY HORROR PICTURE SHOW Tim Curry and company do their time-warp thing. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12.

Midnight, Sat.

Ongoing

JURASSIC WORLD With cruise ships dumping off

thousands of tourists weekly, with a shopping mall (Starbucks included) at the center of dinosaur theme park, InGen scientists and executives need a profitable new 2.0. “More teeth” is the mandate, yielding a recombinant dino dubbed Indominus rex, made of secret DNA parts from disparate beasts. After 30 minutes of setup, director Colin Trevorrow (Safety Not Guaranteed) speeds through the sticky Spielbergian moments of family bonding. The rhythm is simply chase, devour, repeat. When the movie does pause, it’s to remind us that these cold-blooded “assets” are also animals that should be treated with respect, even awe.

Jurassic World’s storytelling DNA is old-school, never clever. Two bland brothers of 16 and 11 are forever in danger, much to the consternation of their workaholic aunt Claire (Bryce Dallas Howard), who runs the theme park. Her romantic foil is the hunky dinosaur whisperer Owen (Lake Stevens’ Chris Pratt, his comedic looseness straightjacketed by the role). Yet despite the dim writing and stock characters, this reboot is a satisfying blockbuster. (PG-13) B.R.M. Cinerama, Admiral, Ark Lodge, Lincoln Square, Pacific Science Center IMAX, Sundance, Majestic Bay, Cinebarre, others LOVE & MERCY During discreet periods in the ’60s and ’80s, the Beach Boys’ Brian Wilson is portrayed as a young visionary (Paul Dano) and a fragile, terrified older man (John Cusack). Yet somehow Bill Pohlad’s biopic manages to capture a lot of history in those few years. 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.

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. Paul Giamatti’s sleazy, abusive shrink makes this Wilson a kind of psychological prisoner. But, thankfully, the film does have a kind of heroine: Melinda Ledbetter (Elizabeth Banks), who helps rescue the older Wilson from Dr. Landy and his many meds. Love & Mercy shows Wilson’s demons and drives—how his creative freedom away from the band cost him the emotional support of his brothers. All of which makes the final harmony that much sweeter.

(R) SEAN AXMAKER Sundance, Kirkland, Ark Lodge, Lynwood (Bainbridge), others MAD MAX: FURY ROAD Tom Hardy takes the title role in George Miller’s much-anticipated Mad 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.

The 3-D Fury Road is masterfully kinetic and often downright berserk, with endless amounts of sand, car parts, spears, harpoons, grenades, chainsaws, and fists being flung in your face . . . I mean Max’s face. This is a thrilling, exhausting picture. (R) B.R.M. Pacific Place, Thornton Place, Sundance, Lincoln Square, others

•

– Peter Travers, ROLLING STONE

“Grade: A. Sparkling With Smart Humor And Constant Visual Surprises, ‘Me And Earl’ Holds A Unique Appeal That’s Certain To Last.”

– Anisha Jhaveri, INDIEWIRE.COM

•

• I AM BIG BIRD: THE CAROLL SPINNEY STORY

•

BY B R IA N M I LLE R

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

•

EXCLUSIVE ENGAGEMENTS START FRIDAY, JUNE 19

BELLEVUE Cinemark SEATTLE SEATTLE Landmark’s Lincoln Square Cinemas AMC Pacific Place 11 Guild 45th Theatre (425) 450-9100 amctheatres.com (206) 547-2127

Seattle Weekly

SEATT LE W EEKLY • JUN E 17 — 23, 2015

Fondly remembered from SIFF ’14, this affectionate doc takes you behind the scenes of Sesame Street. (NR) SIFF Film Center (Seattle Center), 324-9996. $7-$12.

Runs Fri.-Thurs. See siff.net for schedule.

JAWS Let us revisit the greatest summer movie ever made: Jaws, which became the top-grossing film of all time (not allowing for inflation) after its June release, 40 years ago. When pitched Peter Benchley’s novel, 28-year-old Steven Spielberg realized, “This is kind of a sequel to Duel!” In place of the marauding big rig, a marauding shark. In place of the small car piloted by Dennis Weaver, we have the famously too-small boat containing Robert Shaw, Roy Scheider, and Richard Dreyfuss. The constant, of course, is the fear of a larger, more powerful adversary whose elusive presence is more felt—thanks to John Williams’ rumbling ostinato—than seen. Filming off Martha’s Vineyard was protracted and delayed by the malfunctioning mechanical sharks, but this ultimately worked in Spielberg’s favor. He shot around the missing fish, concentrating on scenes where his three heroes are frantically searching for it. Everyone’s vainly scanning the horizon in Jaws, staring into the water and looking through binoculars. Spielberg may be a master of spectacle, but its opposite is the terrifying lack of visual information, the malevolent unseen. As for the plot, Captain Quint takes his crew on a boat trip they’ll never forget. Buy yourself a ticket for the ride. Like Shaw says, “For that you get the head, the tail, the whole damn thing.” (PG) BRIAN MILLER Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $8-$10.25. 2 p.m. Sun. & 7 p.m. Wed., June 24.

“Deserves To Be The Summer’s Sleeper Hit. It’s That Sharply Funny, Touching and Vital.”

23

arts&culture» music

Forget Darkness; the Sun Is Totally Metal The region’s best metal/neofolk bands are congregating in the forest to honor the summer solstice.

BY KELTON SEARS

B

etween the region’s towering trees and enormous mountains, it’s no surprise that Pacific Northwesterners tend to be a bit more reverential toward nature than your typical American.

Starting last year, a new solstice tradition, one harkening back to the pagan solstice holiday Litha, quietly emerged in the small Washington ghost town of Walville.

Bryan Souder, with cohorts Si MattaDarkwood and Tristan Emmerick, booked a star-studded lineup of regional metal and neofolk bands, built some shrines, and invited whoever was interested to the 32-acre Red Hawk Avalon homestead to ritualistically praise the return of the sun for the forested music festival Thirst for The festival encourages attendees to honor their ancestors and the land while enjoying some of the region’s best “Cascadian” groups—a broad term that typically denotes Northwest bands whose lyrics muse on ecologically charged spiritual themes. In its second year, Thirst for Light’s lineup is stronger than before, featuring Boise chamber-metal powerhouses Wolvserpent, the legendary dark ambience of Xasthur (who will perform solo acoustic work), and Tacoma’s Cascadian black-metal all-stars Alda, in addition to 30-plus other standout groups who will perform over four days of camping and cavorting. We spoke to festival founder Bryan Souder about how this unique festival came to be, its philosophical and spiritual underpinnings, and why “Cascadian metal” is so controversial.

SW: Tell me about Red Hawk Avalon, the land this festival takes place on. Do you live there?

SEATTLE WEEKLY • JUNE 17 — 23, 2015

Souder: I do live at Red Hawk Avalon now; my wife and I moved to the land from Portland not long after Thirst for Light last year. Living out here has brought us closer to nature and closer to spirit. The land was once inhabited by over 700 people until the town collapsed in 1936. There is still evidence of old Walville around if you look hard enough, and when you stand out in the woods alone at night, the forest whispers back.

What prompted you to start Thirst for Light?

Was there a spiritual component for you?

It was a culmination of a few things that brought me to start up Thirst for Light. I had been thinking about the idea for a while because there were always metal fests in Portland that took place in either one or multiple venues in the city, with no intimacy involved. They just felt like every other show.

We wanted to destroy those barriers that keep people from experiencing magic together, and allow people a place to openly express themselves without judgment. My grandmother passed away in January of 2014 and left me with just enough funds for the initial investment needed to make a fest of this size happen. Our ancestors always carry us, in life and in death; they watch over us and live through us. Thirst for Light is my way of commemorating the life and love of my Grandma, and I hope it can serve as such for 24 others to honor their loved ones too.

NATE LORE

Light: Cascadian Summer Solstice.

A ritual offering from last year’s Thirst for Light.

This year the Northwest is in danger of our beautiful forests and sacred springs being ravaged

by Nestle. It is all of our duty to protect such sacred spaces from devastation, so this year the emphasis has shifted from building community/ family to seeing what that community can do to help save what bit of beauty the world has left to offer. We feel there is a great need to heal our wounds, to mend broken bonds, to relinquish our egos and work together towards things of greater importance, and to open our hearts to one another and learn to listen and feel and communicate in more subtle, natural ways.

The lineup is very heavy on what some might call “Cascadian” metal and neofolk. It’s interesting how much backlash the term “Cascadian metal” has received in the larger metal community. Why do you think this music has become so controversial?

The term evolved in the same way one would call metal from Norway “Norwegian black metal.” It comes back to designation of place, and over time [that place] becomes its own sound. For some metal-head communities, not being “satanic enough” or “trve/kvlt” will stir that backlash. A lot of lyrics from the region are about nature, spirituality, or even have what some could deem punk undertones. Perhaps the larger metal community finds it too hippydippy or not brutal enough?

Could you tell me what is happening in this picture of this animal head from your website [above]? I read that there will be “several shrines tucked away in spots throughout the forest for offerings to be left for ancestors.”

Is this one of them?

This is not one of the shrines mentioned, but is the funeral pyre from the fire-lighting ceremony on solstice night. We had made an offering to the Sun; this picture was taken just before that offering went up in flames.

I see the event has an opening and closing ritual—what do these look like?

These rituals are not contrived; there are no scripts, there is no memorization needed; these rituals are the divine spark of inspiration, liberation, and self-expression that shines through all of us. There are no priests nor priestesses.

We all stand as equals in this celebration of the Sun which shines over the whole world. There will be libations poured, offerings cast into the fire, drums beating, and voices howling. We encourage each individual to take this time to honor their families and friends who have departed, to give tribute to those who came before and laid this path for us to walk.

The concept of “place” seems to be very important to this festival. It’s a theme I see reoccurring in a lot of the music as well. Why is reckoning with “place” important to you?

Place plays a role in shaping each of us; whether you grew up in the heavy rains and lush forests, dry, arid deserts, or snowy mountain peaks, that climate and region will make an imprint on whoever spends enough time with it. Not only our bodies, but our minds adjust to that difference of place.

A wise friend once told me that most humans have a tendency to run on a higher frequency, always caught up in the rat race of modern urbanized living. If we allow ourselves to slow things down and listen to those lower, chthonic frequencies that permeate all throughout the world, we can begin to communicate more with the spirit of place.

It is the land which provides, and it is important to recognize and honor that with respect for the place in which you dwell. E

ksears@seattleweekly.com

THIRST FOR LIGHT: CASCADIAN SUMMER SOLSTICE With Wolvserpent, Xasthur, Johanna Warren, Muscle and Marrow, Thunder Grey Pilgrim, Exquisite Corpse, With the End in Mind, Alda, Blood of Kvasir, and many more.

Red Hawk Avalon, Walville, Wash. (address provided upon ticket purchase), thirstforlight.com.

Single-day pass, $30; all four days, $80.

All ages. Thurs., June 18–Sun., June 21.

ROCKIN

Your Hot, Sweaty, and Totally Local 2015

PIANO SHOW

YOU NAME IT WE’LL CELEBRATE IT!

From Seattle to Tacoma to Vancouver, B.C., our list of the best PNW bangers to blare out your car stereo in the sunshine.

BY KELTON SEARS AND DUSTY HENRY

Midday Veil: “Babel”

Mackned raps in his trademark, infinitely chill delivery. Crystals are so in this summer. KS

You know what’s even better than going on a synth-voyage? Going on a synth-voyage with an incredibly sick dance beat underneath it. When Midday Veil debuted some new material at last summer’s Vibrations Festival in Volunteer Park, an ecstatic, glow-stick-laden happy pit broke out of nowhere—everyone suddenly started shakin’ it hard. “Babel,” the first taste of the band’s discoready new record The Wilderness (due out Aug. 28), makes good on the promise we saw at Vibrations, delivering a soaring, conga-riffic blissfest that will make your soul emit sunbeams. KELTON SEARS

Hibou: “Dissolve”

Sick Sad World: “Skateboarding Girl”

I first heard this at a sweaty U District basement show earlier this year, and have not stopped humming it since. My girlfriend has been giving me some deserved side-eye lately because it’s been months and I honestly cannot stop. “Oh how I love yoooou my skateboarding girrrrl . . . mumble mumble mumble . . . cuz’ we’re droppin’ in and droppin’ out!” It’s like the Beach Boys for hesh kids. This is the song that plays as you share the coveted first sip of a 7-Eleven Slurpee™ with that special someone just as the sun starts to set. It is the song of true 21st-century summertime romance. KS Mackned: “Asuna 哀哀”

Your Heart Breaks: “Coast to Coast”

Your Heart Break’s latest album, America, is an ode to the open road. On “Coast to Coast,” vocalist Clyde Peterson finds himself doling out some classic California idealism. In an age with too many songs about the disappointment of the Golden State (like Death Cab for Cutie’s “Why You’d Want to Live Here” or X’s “Los Angeles”), hearing Peterson wax poetic about sleeping in the back of a car on the 101 and the smell of marijuana is refreshing. The joyful horns and melodic bass lines don’t hurt either. DH Mommy Long Legs: “Slumber Party”

Seattle’s “brat punk/fartcore/fashioncore” power quartet wrote the best all-caps chorus of the season with this one: “SLUMBER PARTY AT MY

HOUSE TONIGHT/SLUMBER PARTY WE’LL HAVE A FUCKING PILLOW FIGHT.” Presented in the style of a miniature theater production, the ladies of Mommy Long Legs take turns singing as various characters at a sleepover, asking each other if they saw Amanda’s dorky skort and who their crushes are and who just farted. Put the band’s Life Rips cassette in your dashboard stereo and scream the words to this as you drive to Walgreens to buy popcorn and rent Redbox DVDs before your big summer sleepover. KS ILLFIGHTYOU: “Flash”

The patron saints of Tacoma, ILLFIGHTYOU, continued their merciless hiphop onslaught last month with the bubbling, fermented menace of “Flash.” The song is as sticky as a sun-baked Tootsie Roll thanks to a catchy, clever flip of A Tribe Called Quest lyric, “Do dat do dat DON’T do dat dat dat.”

There are a lot of great MCs in the Northwest, but KHRIS P and UGLYFRANK sound like they are having more fun than all of them, effortlessly juking through rhymes about alopecia, minivans, and cheese like a game of lyrical double dutch. KS

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tractor TIMES

Pender Street Steppers: “The Glass City”

DOORS 30-60

OPEN

LISTED ARE

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If you’ve ever been to Vancouver, B.C., you’ve probably noticed all the futuristic steel and glass buildings. This chill-as-ice, featherlight dance track from Vancity’s Pender Street Steppers pays homage to the Canadian architecture with a beat that practically begs you to put a white suit on and strut around with a mirrored cane in one hand and a transluscent coconut popsicle in the other. The duo are at the forefront of Vancouver’s Mood Hut collective, a group of producers making waves in the Northwest’s emerging house scene, so keep an eye on these Canucks. E

music@seattle weekly.com

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MOTHXR

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THE MAMA RAGS (EP RELEASE) HOBOSEXUAL, HAND OF THE HILLS SUN,

9PM - $10

JUNE 21

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

After doing some research, I discovered that this song was named after a character from an anime series called Sword Art Online about people trapped in an MMORPG video game world. Also, those Chinese characters in the title translate as “sad.”

Paradoxically, this song makes me feel happy and want to go outside. Mackned’s subwooferbusting J-Pop beat is perfect for slow-motion rolling down Alki as you switch on the hydraulics in your modified Cadillac. “Crystals in my aura if you strike I raise ’em up,”

Dizzying guitar lines spiral like the twisting ropes on a tire swing. Hibou mastermind Peter Michel’s vocals are hazy messages soaked in reverb, disorienting as a sun-drunk summer day. A totally unhinged guitar solo near the end thrusts this slow-paced dream-pop ditty into rapid-fire madness. You know when you’ve twisted the tire-swing ropes as tight as you can and then let go, sending you into a stomach-churning tiretornado? “Dissolve” plays out exactly like that.

You’ll want to do it again and again until someone makes you stop. DUSTY HENRY

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

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

25

a&c» music A Solar Quinceañera The Sunset Tavern looks back at 15 years of local music.

DUSTY HENRY

BY DUSTY HENRY

El Corazon E orazon www.elcorazonseattle.com

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

THURSDAY JUNE 18TH EL CORAZON UNMASKED ENTERTAINMENT PRESENTS

THE MURDER MUSICK MASSACRE TOUR FEATURING: w/Steelo, Ztavre And Gh0st, Homegrown Psychotherapy, Da JNX, B-Low The Beast, Deadly Poets, The Droman, KST Blunt Trauma, Enasnimi, Con-Crete, Illizm Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $12 ADV / $15 DOS

CHAPPA CLIQUE

THURSDAY JUNE 18TH FUNHOUSE

SEATTLE WEEKLY • JUNE 17 — 23, 2015

BRIAN FOSS PRESENTS

26

SATURDAY JUNE 20TH EL CORAZON HIDDEN HISTORY ALBUM RELEASE PARTY FEATURING:

SUBJECT TO DOWNFALL (SINGLE RELEASE)

w/Hidden History (CD RELEASE), Life As Cinema, Beneath The Spin Light, DJ Marco Collins Doors 7:00PM / Show 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY JUNE 20TH FUNHOUSE

FERNANDO VICICONTE w/The Dead Volts, Michael Dean Damron Doors 8:00PM / Show 8:30 21+. $8 ADV / $10 DOS

THE PINIELLAS

SUNDAY JUNE 21ST EL CORAZON

FRIDAY JUNE 19TH EL CORAZON

SUNDAY JUNE 21ST FUNHOUSE

with The Two Tens, Turbulent Hearts, The Heels Doors at 8:30PM / Show at 9:30 21+. $8

COCKNEY REJECTS with Angry Samoans, 13 Scars, Noxious Fumes, The Bloodclots Doors at 7:30PM / Show at 8:30 21+. $12 ADV / $15 DOS

FRIDAY JUNE 19TH FUNHOUSE

DTCV

with Medicine Bows, The Requisite, Split Atom, Shark The Herald Doors at 8:00PM / Show at 9:00 21+. $8 ADV / $10 DOS

MIKE THRASHER PRESENTS

RED w/Adelitas Way, Bad Seed Rising, McClinton, Jaded Mary Doors 7:00PM / Show 8:00. ALL AGES/BAR W/ID. $18 ADV / $20 DOS SHADY ELDERS w/Wood Knot, Deer Park, Plus Guests Doors 8:00PM / Show 8:30 21+. $8 ADV / $10 DOS MONDAY JUNE 22ND EL CORAZON

7 MINUTES IN HEAVEN Plus Guests Doors 7:00PM / Show 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY JUNE 22ND FUNHOUSE

KAUSTIK w/Stranded By Choice, Downglow,

Twisting Fate, Alert The Legion Doors 8:00PM / Show 8:30. 21+. $6 ADV / $8 DOS

JUST ANNOUNCED 6/28 FUNHOUSE - JOSALEIGH POLLETT 7/7 FUNHOUSE - WICKED HIPPIE 7/14 FUNHOUSE - THE HARMLESS DOVES 7/21 - YOUNG DUBLINERS 8/1 FUNHOUSE - GAYTHIEST 8/9 FUNHOUSE - A SHARK AMONG US 8/13 FUNHOUSE - THE LEECHES 8/21 - AMSTERDAM (CD RELEASE) 9/22 - HUM / MINERAL 9/26 - UNCLE ACID & THE DEADBEATS 11/7 - MY LIFE WITH THE THRILL KILL KULT 11/21 - AARON CARTER UP & COMING 6/23 FUNHOUSE - MERIDIAN LIGHTS 6/24 FUNHOUSE MAUDLIN STRANGERS 6/25 - JANTSEN & DIRT MONKEY 6/25 FUNHOUSE - DOLLY SHOCK AND THE DEATH KATS 6/26 FUNHOUSE - NEUTRALBOY 6/27 - TYSEN 6/27 FUNHOUSE - MITSKI 6/29 FUNHOUSE - FINDING COMMON GROUND 6/30 FUNHOUSE - GARDENHEAD 7/1 - PLAGUE VENDOR 7/1 LOUNGE - KRISTEEN YOUNG

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

A

sked about their favorite moments over the past 15 years, most of the Sunset Tavern’s veteran employees immediately name-checked the Green River reunion in 2008—a fitting reference point for its scrappy, local-heavy history.

This weekend, the beloved, boozy Ballard music venue honors its 15th birthday with a special party featuring a stellar local lineup—La Luz, Gazebos, and Tierra Magos. With all the rampant nostalgia of the occasion, the Sunset staff shared some favorite memories.

Max Genereaux (co-owner): fondly remembers John Doe, frontman of X, as one of the first big acts to come through the Sunset. It was also the venue’s first show with a guaranteed payout for the artist . . . and a total bomb with low turnout. However, thanks to the punk legend’s grace, things turned out OK. “I went to write him a check for $1,500,” Genereaux says. “[Doe] comes up to me and says, ‘Hey, man, just write it for $750.’ Un-fucking-believable.”

Joe Howe (accountant and bartender, former general manager): “We used to have this booker

named Kwob . . . one time he came up with this competition for the shittiest band in Seattle.

Bands had to submit some sort of a demo, and also had to include an up-to-250-word essay on why their band was the shittiest in Seattle. We made a big night of it. . . . We had an all-star panel of judges . . . Basically 10 bands got to play 10 minutes each and the shittiest band won. You could not intentionally play bad. You got points deducted if you tried to play bad.”

Kylie Waibel and Alex Ayala (bartenders):

“That Red Fang show, man,” Waibel says.

“Before they blew up, they did Bumbershoot and did a secret show here a night after that,” Ayala explains. “It was sold out, there was crowdsurfing, people drinking, having a good time.”

“Oh my God, oh my God,” Waibel gleefully keeps repeating as Ayala describes the night.

Shay Roth (general manager): “I remember seeing Band of Horses when they first started playing, and Fleet Foxes as well. I remember initially right away going, ‘Oh yeah, this band is gonna be huge. They’re amazing.’ ” E

music@seattleweekly.com

SUNSET TAVERN 15TH ANNIVERSARY SHOW Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. $12. 21 and over. 9 p.m. Thurs., June 18.

TheWeekAhead Thursday, June 18

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

SHOWBOX AND TAKE WARNING PRESENT

TREVOR HALL

JAZZ ALLEY IS A SUPPER CLUB

9/18 – ON SALE FRIDAY AT 10AM

SHOWBOX AND KEXP PRESENT

MOTOPONY STEPHANIE DOWNES

Eastern Souvenirs Brian Fisher’s “electro-organic pop” project, EASTERN SOUVENIRS, debuted its self-titled EP on June 15. “Begin Again,” the first single, is about rediscovering where you belong after your friends have moved away—something I think a lot of 20-somethings can relate to. (Which is why I watched Frances Ha five times in two weeks after I discovered the movie.) The light, catchy melodies will go perfectly with the summer energy we long for all year, and the melancholy subject matter accurately captures the season’s bittersweet, nostalgic tinge. With Vacationeer, Winnebago, Arlo Indigo. Vermillion, 1508 11th Ave., 709-9797, vermillion seattle.com. 8 p.m. Free. 21 and over. DIANA M. LE

6/27

FRED HERSCH TRIO WED, JUN 17

8x Grammy-nominated jazz pianist “...the most arrestingly innovative pianist in jazz over the last decade of so.” - Vanity Fair

THE BAD PLUS JOSHUA REDMAN THURS, JUN 18 - SUN, JUN 21

Powerhouse Trio with jazz sax master touring as four-part collective.

9/2 – ON SALE FRIDAY AT 10AM

Sunday, June 21

The name CHARMS sounds twee, but this band is anything but—Eleazer Tolentino, Josh McCormick, and Ray McCoy play blown-out post-punk/noise. They currently only have one song up on their Bandcamp, “Separator,” but promise that new recordings are coming. Charms’ sound blends a bit of dance groove with a touch of metal and a whole lotta noise. It’s got a strange . . . charm. With Eight Bells, X SUNS, Panther Attack. Narwhal, 1118 E. Pike St., 325-6492, unicorn seattle.com. 9 p.m. $7. 21 and over. DML

FREE COMMUNITY CONCERT Bring your Family & Friends!

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TYLER, THE CREATOR with TACO

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with PENNYWISE + CANCER BATS

8:30 PM

SHOWBOX AND KISW PRESENT

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SUNDAY

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RISE AGAINST 8/7

with KILLSWITCH ENGAGE + LETLIVE.

MIGUEL 8/23 – ON SALE FRIDAY AT 10AM

with DOROTHY

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MORE INFO & UPDATES www.facebook.com/upbeatonjackson

8:30 PM

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8PM

SEATT LE W EEKLY • JUN E 17 — 23, 2015

If you’re one of those weird people who yearn for the days of classic rock, you will love the MAMA RAGS. The sound is somewhere between psychedelic and hard rock, and the band’s outfits look like early Judas Priest: bell sleeves, paisley, fringe. Lead singer TJ Kelly has been compared to Mick Jagger on more than one occasion. With Hobosexual, Hand of the Hills. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. 21 and over. DML

ZOE RAIN

Saturday, June 20

on

LUCERO

11/17 – ON SALE FRIDAY AT 10AM

SHOWBOX SODO

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

If you ever need a fun party game, try playing Six Degrees of Lena Simon. Chances are somebody who knows somebody who knows somebody who’s been in a band with her; she’s associated with Pollens, Tomten, Throw Me the Statue, La Luz, and Thunderpussy. KAIROS is Simon’s electronic solo project. Primarily recorded by her, it showcases the multi-instrumentalist’s many talents, including her lush, dulcet vocals. Her self-titled EP, beautiful and moody, would pair very well with a Sofia Coppola film. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 9 p.m. $7 adv. 21 and over. DML If you haven’t already heard the legend of Mamma Casserole, she worked at the Comet Tavern from 2004–13 as their talent buyer. She is currently booking shows at the LoFi and curating DJ nights on Saturdays at the Comet. Come give Mamma some birthday love at MAMMA’S ROCK AND ROLL CIRCUS. An amazing group of bands, including Paul Collins Beat, WEEED, Gang Cult, and the Navins, will be performing across three venues—the LoFi, Black Lodge, and Victory Lounge. LoFi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. 8 p.m. Individual shows: $7–$12.

Wristbands: $12 adv./$15 DOS. 21 and over. DML

8PM

SHOWBOX AND SAILOR JERRY PRESENT AN EVENING WITH

EAGLES OF DEATH METAL

4x Grammy Award winner, considered by many critics and musicians alike as one of the most prominent drummers, bandleaders, and composers of his generation. Crafted the award-winning film score to Birdman.

Kairos

with CASS MCCOMBS + HERON OBLIVION

8PM

7/18 with CHANT + BLACK DECEMBER

KURT VILE AND THE VIOLATORS 10/18 – ON SALE FRIDAY AT 10AM

KMFDM

Pushing the limits of acoustic guitar & embracing a spectrum of musical styles ranging from straightahead jazz to folk to rock to world music & beyond.

ANTONIO SANCHEZ & MIGRATION TUES, JUN 30 - WED, JULY 1

9PM

7/10

ACOUSTIC ALCHEMY CELEBRATING 25 YEARS! THURS, JUN 25 - SUN, JUN 28

Friday, June 19

+ THE OWL PARLIAMENT

JURASSIC 5

TUCK AND PATTI TUES, JUN 23 - WED, JUN 24

Unique vocal/guitar jazz duo has cast its passionate musical spell worldwide, capturing the hearts of the lovers, the respect of jazz buffs, and the jaw-dropping awe of guitarists.

with TRISTEN + BIG HARP

8PM

27

odds&ends» Call Me Cannabis

B

SEATTLE WEEKLY • JUNE 17 — 23, 2015

28

Sadly, anyone in the LGBT community is butting up against conservative moralists, gender assumptions, and entrenched cultural ideals on a daily basis. The process of cannabis’ conversion has been similarly dramatic and life-altering— going from the tyranny of the War on Drugs to only recently being accepted and fully legalized in four states. It’s as if the subject has lived two entirely separate lives.

As with one’s sexuality, your use of cannabis doesn’t affect anyone else. It’s a private matter

IN

instagram.com/

SH BRIANNA CA

Follow us!

efore I launch into this analogy, I would like to say that I understand how many will find it inappropriate, and that I came up with the notion while stoned out of my mind.

I’m starting to think about cannabis as having a similar journey and backstory to Olympic gold medalist and transgender reality star Caitlyn HIGHERGROUND Jenner.

BY MICHAEL A. STUSSER Until recently, like Jenner, trailblazers on the weed front have organized in secret closets and basements, hoping one day to live safely, truthfully, and freely in the great wide open. And, like Jenner, marijuana—aka Mary Jane—has been an accomplished, harmless, and friendly sexpot all along . . . but has recently undergone a full makeover and is beginning to dress things up with PR campaigns, professional packaging, couture oils, and all-important accessories.

Let’s start with the name. Bruce took the name Caitlyn (notice her refusal to use the letter K—as in Kris, Khloe, Kourtney, Kendall, and Kimye) to reflect her change (and independence). Marijuana, on the other hand, has reverted back to cannabis, after being identified first as marihuana, then bad-mouthed with slurs such as loco weed, grass, pot, killer bud, the Devil’s weed, dope, schwagg, even shit (as in “THE shit”). Antidrug propaganda created “marihuana” in the 1930s—a sad attempt to scare the public with a “new” and terrifying substance (used by jazz musicians!), even though the plant had been sold in pharmacies for over a half-century in America. Marihuana sounded “foreign” (read: Hispanic), and Reefer Madness was used to incite fear, round up immigrants (especially during the Great Depression), and scare the masses to outlaw it. (By 1931, cannabis was illegal in 29 states, and in 1937 it was criminalized through the Marijuana Tax Act.) The legal documents for the new Ms. Jenner’s identity will be challenging. It can take months for name- and gender-change applications to be approved (what I wouldn’t give to be in the DMV line that day), and these ID docs—often requiring background checks—affect everything from bank accounts to Social Security cards, to say nothing of her Twitter handle. Similarly, those in the cannabis community have had challenges of their own: States requiring medical-marijuana patients to sign a registry (including Washington) are forcing them to admit to a felony at the federal level, clearly in violation of HIPAA laws.

For canna-businesses, both dispensaries and recreational stores have been unable to utilize banking and insurance services for fear of criminal investigations, while at the same time navigating massive tax payments to the IRS.

(that is, until I Am Cait airs on E! in August), and one your employer, and the government, should have no say or stake in. While it’s been argued otherwise (as in Elinor Burkett’s New York Times article “What Makes a Woman”), Jenner’s transition doesn’t undermine feminism or women’s identities, it doesn’t challenge masculinity, it is not immoral, and it doesn’t hurt others.

Correspondingly, ganja doesn’t hurt others—that is, unless you’re hot-boxing or too stoned to drive (or, in Jenner’s case, haven’t had experience driving in high heels and crash while avoiding paparazzi).

Pot also doesn’t undermine the other legal drugs you may be drinking, smoking, or popping.

Fighting gender stereotypes and stoner stereotypes, of course, are not the same. Being a pothead is a choice, while Jenner’s identity is baked in, so to speak, a part of her biology (though surgery, plastic or otherwise, is not a requirement).

But just as transitioning individuals must be taken seriously and their choices respected, those who partake of cannabis need their rights recognized. Sadly, many parents have their children taken from them for marijuana use (including medicinal), while others lose their jobs; veterans with PTSD cannot access it for relief; and over 650,000 citizens a year lose their freedom when arrested for marijuana-related offenses.

The opposition to Jenner has been fierce, phobic, and ridiculous. (A campaign is underway to take away Jenner’s 1976 Olympic Gold medal in the men’s decathlon.) When a man becomes a woman, it’s a complex issue that may take some explanation, patience, and, above all, tolerance and compassion. The legalization movement is also locked in debate, full of nuances, ignorant tirades, continuing arrests, and Washington’s own version of medal takeaways: Despite legalization’s convincing statewide victory, hundreds of city councils are banning marijuana in their jurisdictions.

Times are changing. Just as Jenner went from Wheaties cover boy to Vanity Fair cover girl, cannabis has gone from “The Marihuana Menace: Assassin of Youth” to this month’s scientific centerfold in National Geographic. In the end, both Caitlyn and cannabis are elevating the dialogue—about personal truths, the right to choose your own path and be legally recognized and protected, and what it means to be free. E For more Higher Ground, visit highergroundtv.com.

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AR T S AND ENTE

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QGM J= FGL L@= GFDQ ;MJAGMK GF=

HAPPY HOUR

29

IN THE JUVENILE COURT OF MEMPHIS AND SHELBY COUNTY, TENNESSEE Docket No. AA8515

STATE OF TENNESSEE DEPARTMENT OF CHILDREN’S SERVICES Petitioner, vs.

CRYSTAL GERALDS, ANDREW WILLIAMS, DEMARKO TERRELL MULLINS, and KIMBERLY FARMER, Respondents.

IN THE MATTER OF: ANAIYA WILLIAMS, DOB: 03/12/2005 DEMARKO T. MULLINS, JR., DOB: 12/13/2007 DEMARION MULLINS, DOB: 03/18/2009 CHILDREN UNDER THE AGE OF EIGHTEEN (18) YEARS. ORDER OF PUBLICATION In this cause, it appearing to the Court from the allegations of the petition filed, and duly sworn to, that the residence of the Respondent, Andrew Williams, is unknown and cannot be ascertained by diligent search and inquiry; and that the whereabouts of the Respondent cannot be found or the post office address of said parent cannot be ascertained, and therefore, the ordinary process of law cannot be served upon said parent, it is ordered that Andrew Williams, enter their appearance herein on the second Tuesday in August the date being August 11, 2015, at 9:00 a.m. and plead or answer to the petition filed herein, a copy of which may be obtained from the clerk of Court. JUDGMENT BY DEFAULT will be taken against you should you fail to appear and answer, and that a copy of this order be published for four consecutive weeks in Seattle Journal of Commerce, a newspaper published in Seattle, Washington.

JOY TOULIATOS, Clerk of Court by___________________________D.C.

KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7920-01

TAKE NOTICE:

That Sound Transit - Northgate Link Extension - Roosevelt Station (Phase 2) located at 6600 Roosevelt Way NE, Seattle, Washington has filed an application for an industrial waste discharge permit to discharge construction dewatering wastewater into West Point Treatment Plant from its construction dewatering operation in the amount of 1,900,000 gallons per day following treatment and in-plant control and in compliance with rules and regulations of the King County Department of Natural Resources and Parks, Washington State Department of Ecology, and the U.S. Environmental Protection Agency.

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

Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on this application, should notify the King County Industrial Waste Program at 201 South Jackson Street, Suite 513, Seattle, WA 98104 in writing, of their interest within 30 days of the last date of publication of this notice.

Publication dates of this notice are:

June 10th, 2015

Bill to: Tennessee Department of Children’s Services 40 S. Main Street, 6th Floor Memphis, TN 38103 Attn: Vivian Pyatt, Attorney at Law

June 17th, 2015

Clinical Research Opportunity for Women Do you suffer from uterine fibroids?

DO YOU EXPERIENCE?

UTERINE FIBROIDS

• Heavy or abnormal periods

• Negatively impact your quality of life

• Abdominal pain and pressure • Increased need to urinate with

SEATTLE WEEKLY • JUNE 17 — 23, 2015

your periods

30

• Doctors in your area are looking for women to participate in a clinical research study.

• All investigational medication and study-related care is provided at no cost. Compensation for time and travel may be available.

To see if you qualify, visit

www.VenusResearchStudy.com

Call Eastern Wa. Lots & Acreage TONASKET

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Classified @ 206-623-6231, to place an ad Home Services Lawn/Garden Service

Henning Gardening Plant, Prune, Weed, Bark, Mow/Remove Debris Call Geoff Now

Appliances

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

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

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.

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BLACKBERRY & BRUSH REMOVEL

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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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Dogs

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

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“MUSTANG” SURVIVAL SUIT includes pants and jacket. Little used, good condition. Coast Guard approved.

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The Stream House 8405 East Mercer Way South end Mercer Island home with unique and special landscaping having a mountain fed spring that meanders between kitchen and garage. Very clean and ready for move in. Perfect home for young children. 3 bedrooms, garage loft for storage. 3 min walk to Beach Club and 15 min walk to Lakeridge Elementary School, 20 minutes to the Middle School and ball fields. $995,000. For Sale by Owner: 206.419.0657 or mscero@comcast.net

Open House June 6th & 7th 1pm to 4pm

Contact Person: Mike Cero Phone: 206.419.0657 E-Mail: mscero@comcast.net https://www.facebook.com/8405EastMercerWay

CHIHUAHUA Puppies, call for pricing. Financing Available. Adult Adoptions Also, $100 Each.

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Drain, Oregon. Vic and Mary Kasser, 541-4595951 Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Wednesday 06/24/15 @ 11AM. 3 Vehicles Preview 10-11am.

1540 Leary Way NW, Seattle 98107 Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 06/24/15 Gates Open 9AM, Auction 12 PM 206-767-4848

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EEKLY

M

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@ 206-623-6231, to place an ad Auto Events/ Auctions

Motorcycles

In accordance with the Revised Code of Washington (RCW 46.55.130),

1993 XL883 Hugger Harley-Davidson. 27,160 miles, Many Extras. $3500 OBO. (360)7702547 or (360)825-5826

Triple J Towing & Recovery #5081

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06/18/15 @ 9:00am

Prior inspection will be from 8:00am - 9:00am.

This company can be contacted at 425-888-1180 for questions regarding this Auction.

The Sale Location Is: 14112 452nd Ave SE North Bend Automobiles Buick

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Robust car; great on long road trips/traveling over mountains.

A/C. Get-up ‘n go supercharged engine.

185K HWY miles

Auto Service/Parts/ Accessories

TRUCK CANOPY Silver Custom. Carpeted. Always stored, in excellent shape. Includes clamps & locking. 8 1/2’ length x 3’ height. $400 OBO. Cash. Seattle 206-2461422 206-909-3962.

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

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

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

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

Financial Aid avail for those who qualify 1.800.321.0298

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ALL STAR TOWING

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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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Do you have PTSD and alcohol problems?

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Paid research opportunity.

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SEATT LE W EEKLY • JUN E 17 — 23, 2015

Big Data Hadoop Engineers sought by zulily, Inc in Seattle, WA. Bld core set of hgh dmnd data servs. BS in Comp Sci or rltd + 4 yrs exp w/web srvc or mid tier dvlpmt of data drvn apps. Exp w/ “big-data” tchnlgs eg Hadoop; trnsltng biz reqs into cd; data drvn apprch & ablty to meas imp of proj; exp w/ & ablty to demnstrt adv prfvncy wrtg cmplx SQL queris & strd procs. Reqs trvl to othr US facs.

Reqs Perm US work auth. Aply @ www.jobpostingtoday.com #2197

D I N I NG

1979 FLH Harley-Davidson. 17,373 miles, All Original, Many Extras. $7500 OBO. (360)7702547 or (360)825-5826

Employment General

Employment Services

Employment Computer/Technology

HAPPY HOUR

Motorcycles

COMPUTERS...

Sr. Software Engr’s in Seattle, WA. Perform code dvlpmnt, JUnit & integration testing, & config mgmt. Dvlp new software dsgns. Reqs: Bachelor’s + 5 yrs exp. Apply: Walt Disney Parks and Resorts Online, Attn: A. Lam, Job ID#SSE125, P.O. Box 6992, Burbank, CA 915106992.

DRIVERS

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360-471-8613 Kitsap

Employment Computer/Technology

31

COLT FORD AFTER THE RODEO FRI SEPT 11

MANDATORY WORLD TOUR

DAN + SHAY AFTER THE RODEO SAT SEPT 12

“WEIRD AL” YANKOVIC

MUSIC=LOVE TOUR 2015

THE VOICE OF ENTERTAINMENT

KEITH URBAN

HEART

TUE SEPT 15

MON SEPT 14

O N SA LE

SAT

FIFTH HARMONY BEA MILLER WED SEPT 16

CRYSTAL GAYLE/ LEE GREENWOOD

TERRY FATOR

SAT SEPT 19

FRI SEPT 18

THU SEPT 17

O N SA LE

SEATTLE WEEKLY • JUNE 17 — 23, 2015

FRI

32

CHRIS TOMLIN & TOBYMAC

WITH THE TACOMA SYMPHONY

SUN SEPT 20

MON SEPT 21

JAKE OWEN

KOOL & THE GANG

A THOUSAND HORSES THU SEPT 24

PATTI LABELLE

EN VOGUE

IGGY AZALEA

DURAN DURAN

TINASHE / ELIJAH BLAKE

CHIC feat. NILE RODGERS

JASON DERULO

PITBULL

TUE SEPT 22

SAT SEPT 26

FRI SEPT 25

WED SEPT 23

SUN SEPT 27

PARTY BIG WASHINGTON CONCERT INFO & TICKETS AVAILABLE AT WASHINGTON STATE FAIR BOX OFFICE, 888-559-FAIR (3247).

ADVANCE TICKETS INCLUDE FAIR GATE ADMISSION, A $12.50 VALUE.

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