Seattle Weekly, July 22, 2015

JULY 22-28, 2015 I VOLUME 40 I NUMBER 29

SEATTLEWEEKLY.COM I FREE

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NEWS CLEANING UP THE LEGISLATURE’S CLIMATE MESS PAGE 5 ARTS AFRICAN MASKS AT SAM PAGE 17

For one Washington company, the mission to advance humanity— and rake in profits—has just begun.

By Ellis E. Conklin Page 8

Dex on Deck

The humble MC brings his Rhymesayers roots to Capitol Hill Block Party.

By Daniel Roth Page 26

A Craft-Beer Crossroads Small breweries try to sustain growth without selling out.

By Zach Geballe Page 14

BECU

ZOOTUNES presented by Carter Subaru

TONI G

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BRUCE HORNSBY & THE NOISEMAKERS JULY 22

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featuring MAVIS

STAPLES, PATTY GRIFFIN & AMY HELM JULY 26

EMMYLOU HARRIS & RODNEY CROWELL JULY 29

Tickets Only $29* Sale starts Friday July 24 at 10 am and ends Sunday July 26 at midnight.

TRAMPLED BY TURTLES & THE DEVIL MAKES THREE AUGUST 16

PICK YOUR PERFORMANCE: SUNDAY 22

MONDAY 23

TUESDAY 24 NOV

WEDNESDAY 25

7:30 PM 29

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SEATTLE WEEKLY • JULY 22 — 28, 2015

1:30 PM

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1 DEC

7:30 PM 2

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THURSDAY 26

SATURDAY 28

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THANKSGIVING 3

7:30 PM

FRIDAY 27

2 PM 8 PM

8 PM

KENNY LOGGINS AUGUST 19

3 WAYS TO BUY:

Online: Visit www.5thavenue.org Phone: Call 206-625-1900 In Person: Visit The 5th Avenue Box Office, 1308 5th Ave *$9 Service fees per ticket apply to all online and phone orders. Some restrictions apply. All sales final.

Full priced tickets available for all performances Dec 4-Jan 3.

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2015/16 SEASON SPONSORS

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inside» July 22-28, 2015 VOLUME 40 | NUMBER 29 » SEATTLEWEEKLY.COM

UPCOMING CONCERTS Austin Jenckes

Thurs, July 23 | City Hall Plaza

Craft Spells

Fri, July 24 | Westlake Park

Andrea Peterman »17

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news&comment 5

EMISSION IMPOSSIBLE

BY CASEY JAYWORK | Seeking an alternative to Gov. Inslee’s failed carboncontrol plan. Plus: analyzing the detritus of Seattle streets. And is it too late to make the Viaduct a park?

7 | NEIGHBORHUH?

8

ROCKET MEN

BY ELLIS E. CONKLIN | A local company hopes to take asteroid-mining from sci-fi to reality.

food&drink

14 CRAFT WARNINGS

BY ZACH GEBALLE | Are beer

behemoths buying up local breweries?

14 | FOOD NEWS/THE WEEKLY DISH 16 | THE BAR CODE

arts&culture

17 PUT A MASK ON IT!

BY BRIAN MILLER | SAM’s very modern

spin on an old idiom of disguise.

17 19 20

| THE PICK LIST | PERFORMANCE | VISUAL ARTS & BOOKS

21 FILM

OPENING THIS WEEK | Adam Sandler

23 | FILM CALENDAR

25 MUSIC

BY JAKE UITTI | How bands cope

with—or get around—blackout dates.

Plus: Rapper Dex Amora draws inspiration from all over, and Grave Babies contemplates matters eschatological.

28 | THE WEEK AHEAD

odds&ends 4 29 30

| CHATTERBOX | HIGHER GROUND | CLASSIFIEDS

»cover credits

PHOTO OF ARKYD 100 SPACECRAFT COURTESY OF PLANETARY RESOURCES PHOTO ILLUSTRATION BY JOSE TRUJILLO

FREE CONCERTS ALL SUMMER LONG!

Editor-in-Chief Mark Baumgarten

SummerinSeattle.com #OTLconcerts

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

Co-Produced By

Media Partners

Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork Editorial Interns Alana Al-Hatlani, Jennifer Karami, Daniel Roth 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

The Space Needle image is a registered trademark of Space Needle LLC and is used under license.

PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Christopher Zeuthen ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants 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.

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

saves the world from ’80s nostalgia, a South Korean crime comedy, and tranny hookers run wild in L.A.

Tues, July 28 | IBM Building

3

TASTING FLIGHT FRIDAY, JULY 24 • 6:00 – 9:00 PM *

Sample the Northwest’s finest boutique wines at this after-hours, adults-only event. Enjoy live music, animal experiences and access to zoo exhibits.

TICKETS

$30 for general admission tickets $80 for VIP tickets (*VIP Entry at 5:00pm) Tickets and information available at www.zoo.org/wine

SEATTLE WEEKLY • JULY 22 — 28, 2015

Must be 21 or over, ID required for event entry. This is an after-hours and environmentally friendly fundraising event, so BYOG (Bring Your Own Glass).

4

KIDSfair presented by

JOSHUA BOULET

presented by FredMeyer and QFC

“Build affordable housing in all areas. There are ways.

Start being creative and stop being greedy.”

chatterbox the

DEATH AND DUTY

Last week, Rick Anderson took stock of lawenforcement related deaths in Washington so far this year. The tally, 19 people, all men, included both those killed by police and those who died in custody (the body count increased to 20 on Friday morning, when Seattle police killed a knife-wielding man in Ravenna). “A number of the civilian deaths reviewed by the Weekly appear justified, such as several ‘suicide-by-cop,’ in which a civilian makes a threatening move in the hope that police will pull the trigger.” But others, including the death of Antonio Zambrano-Montes, killed in Pasco after being observed throwing rocks, are more troublesome.

Readers weighed in.

are high-end have no problems finding housing.

Rebecca Lane, via Facebook

One wonders why the housing board calls our housing plan “racist” and Murray calls it “apartheid”—why do they have to fill their pronouncements with such hate-fueled words? Can’t they get a point across and govern without sinking to such a low level?

Jim Keough, via Facebook I love this plan. It uses a combination of private and public strategies, proven techniques, and innovation. Proud of my city for coming up with the plan; will be even more proud if they pass the legislation required to implement it.

Whitney Rearick, via Facebook

Pasco only has 65,000 people, but in less than a year, their police department killed five people (the fifth was an innocent man who was the Stop building homes that only rich people can victim of a high-speed police chase after a driver afford. I remember some initiative of the previwho made an illegal right ous mayor to give free reign to turn). According to the contractors so the market would Send your thoughts on Toledo Blade, Pasco Police flood and rents would come this week’s issue to Chief Robert Metzger was down. Well, if all we get are letters@seattleweekly.com apartments that cost well above a forced to resign from his three previous police chief median income, there is no hope jobs before he was hired by Pasco in 2011. for any normal family to ever find proper housing. And just moving away is not a solution. That Randy Slovic, via seattleweekly.com is a classist way to treat people. Build affordable housing in all areas. Maybe an initiative that says Shootings by police were not a problem when every building must contain a certain number of policeMEN were hired for size and expected units that is on par with smaller incomes, that only to win street fights with their hands. A female could be a black-belt whatever and every 6-foot, persons with smaller incomes can rent. There are ways. Start being creative and stop being greedy.

250-pound drunk must discover it for himself.

Nowadays cities want to hire PC psychologists Simone Pitzka Barron, via Facebook who carry pistols. These days in some jurisdictions police officers are now afraid to talk to “Economic Apartheid” is Orwellian Doublespeak. people on the streets.

There is no such thing. Only the political class can impose apartheid. The market cannot. People Bill Wald, via seattleweekly.com who cannot afford to live where they want to in Seattle should move where housing is affordable.

Um, don’t come at police with knives or guns What the political class can do to eliminate those seems to be the lesson here. We ask the police to elements of cost that are politically imposed and protect us from violence; they cannot do it withunnecessary is review and repeal land use, zoning, out using force when necessary. “green,” and other regulations that impose unnecJeremy Wayne Moore, via Facebook essary political costs on housing.

DENSE-CITY John Sullivan, via Facebook In the news section, Casey Jaywork reported on Mayor Ed Murray’s plan to increase affordable You guys hear about the new film called Soaked housing. The plan would allow denser development in Bleach? Courtney Love is trying to get it across Seattle, which Murray noted would not only blocked from being shown. make the city more affordable, but also alleviate Hugh Dismuke, via Facebook what he called “economic apartheid.” Whoa.

Uh, Hugh? Wrong thread, buddy. E Build more housing for moderate-income homeowners, and more rentals for low- and very-low Comments have been edited for length, clarity, and income people. Supply is the issue, and those who proper use of question marks?

news&comment Carbon Copy

Could the Viaduct Really Become an Elevated Park?

A backup plan emerges for the governor’s failed climate fix. But some greens are cool to it.

BY CASEY JAYWORK

T

plan that Bauman describes as the “relief pitcher” for Inslee’s cap-and-trade plan. Both proposals

A coal plant in Colstrip, Montana, supplies electricity to western Washington—with a hefty side of carbon.

would accomplish essentially the same goals.

But whereas cap-and-trade places a ceiling on the total emissions allowable to polluters, Carbon Washington’s straight tax would reduce the demand for emissions among polluters by making it more expensive, which would push companies toward greener alternatives.

“They’re kind of two ways of getting at the same thing,” says Bauman, who helped create the carbon tax that’s been in place in British Columbia since 2008. He describes cap-and-trade as “an oddly shaped carbon tax.”

The tax would be revenue-neutral, meaning that extra money raised through the carbon tax would be balanced by tax cuts elsewhere. Specifically, the carbon tax would pay for a 1 percent cut in Washington’s regressive sales tax, a tax cut to manufacturers, and a bonus check for lowerincome earners. (This last, the Working Families Tax Rebate, is a state-level tax mechanism created in 2008 but never funded. It piggybacks on the federal Earned Income Tax Credit. Both are paid by the government to the bottom 40 percent of earners via their tax returns.)

In other words, Carbon Washington would establish different taxes but not more taxes. Major polluters would pay more, and individual earners, consumers, and manufacturers would pay less.

Bauman hopes that the tax’s revenue neutrality will help it appeal to Republicans and businesses.

But that same neutrality is already opposed by some left-leaning social-justice advocates, including Puget Sound Sage’s Rebecca Saldana and One America’s Rich Stoltz. In a Crosscut editorial last month, they argued that the revenue neutrality of Carbon Washington’s proposal means it does not do enough for marginalized communities most harmed by climate change: “For example, those most likely to experience higher rates of heat-related illness in Washington state are farm workers—a group that is overwhelmingly Latino. Carbon Washington’s proposal makes no effort to address this reality because, for instance, funding Spanish-language training to help workers identify symptoms would eliminate the proposal’s revenue neutrality.”

Advocacy journalist Patrick Mazza has reported that Carbon Washington is also unpopular among established environmental groups like Climate Solutions (which Mazza co-founded) because it’s too risky politically. “The initiative could lose,” he writes, “and lose big, dragging down Jay Inslee’s 2016 re-election effort. . . . This has the inside baseball players particularly worried.”

Climate Solutions’ KC Golden responds: “This is an honest disagreement about strategy . . . A carbon tax is good climate policy. There’s no argument about that. All economists agree on it.”

But good policy means nothing, he says, unless it can win at the statehouse or the ballot. “We are not zealots about policy design,” he says. “We’re zealots about results.”

Bauman characterizes these criticisms as “letting the perfect be the enemy of the good.”

Whether Carbon Washington will be able to parlay their grassroots campaign into state law next year will depend partly on whether they can convince people like Saldana and Stoltz and players like Climate Solutions to get on board.

For Climate Solutions, Golden says he doesn’t know whether that’s possible.

For his part, Rep. Fitzgibbon says he’ll support Carbon Washington if it becomes the only serious contender for state climate policy next year.

It might be hard to get some state Democrats excited about a revenue-neutral proposal, he says, but “if Carbon Washington ends up the only proposal on the table, then I’m for that, for sure.”

Washington has already taken some small steps to promote carbon alternatives, such as creating a sales-tax exemption for small solar panels. But Fitzgibbon acknowledges that this is the policy version of rearranging deck chairs on the Titanic.

“We can do as much sector by sector as we want,” he says, “but we need a price on carbon in order to adequately reduce emissions over time.”

Hence the need for comprehensive carbon policy, says Fitzgibbon. “It’s kind of like Whack-a-Mole if you go after each sector on its own.” E

cjaywork@seattleweekly.com

T

he Alaskan Way Viaduct is on its way out, thanks to the 2001 Nisqually Earthquake and Bertha, and it seems everyone in Seattle is relieved to say goodbye and good riddance. That is, except Park My Viaduct, a group vying to turn the viaduct into an elevated park. Though the city has invested heavily in its own plans for waterfront redevelopment, park proponents say that the 360-degree view from the viaduct—the Ferris wheel, the waterfront, Mount Rainier—is one you can’t get anywhere else. On Thursday, the group announced it had received enough signatures for a ballot measure that would “harmonize” the elevated park with the city’s ongoing waterfront development.

Here’s what you need to know about it.

What it is The park would span about a mile, from near Pike and Pine Streets down to the stadiums. Of course, since the Viaduct is in pretty poor shape, keeping it intact means it would need retrofitting to withstand an earthquake. The study outlines four options, ranging from a single-deck retrofit to a complete redesign. Proponents often compare it to Manhattan’s High Line, a 1.45-mile park built on an abandoned elevated rail line.

What it costs The cost for building a

viaduct park is estimated at $165 million to $262 million, which, according to the campaign website, is about equal to what the existing waterfront-redevelopment plan would cost the city. According to Park My Viaduct, “We have the same goal as the City of Seattle’s central waterfront plan: a waterfront for all.”

The initiative seeks to have the city pause that plan and focus on this instead. However, city officials overseeing the waterfront project dispute Park My Viaduct’s account. “The cost to preserve the viaduct is hundreds of millions [in] additional expenses,” Marshall Foster of the Seattle Office of the Waterfront told KING-5 when the group started collecting signatures.

When we vote Initiative 123 could be on

the ballot as soon as this November (unless passed in advance by the City Council).

We may have thought the viaduct case was closed, but proponents say it’s been reopened due to Bertha delays. “The [city’s waterfront park] design moved forward before the world fell in love with elevated parks, which is a tragic flaw,” reads the campaign website. “But it’s not at all too late, it’s just in time to get it right.” Since the current waterfront park plan exists only on paper, they say, it’s not too late to change plans. That said, Charles Royer, cochairman of the Central Waterfront Committee, says he doubts the ballot measure would pass legal muster even if it passed. “I don’t take it very seriously,” he told us. Either way, though, you have to admire Park My Viaduct’s dedication. E

news@seattleweekly.com

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

Enter Carbon Washington with a carbon-tax

BY JENNIFER KARAMI

ANNE HEDGES/MONTANA ENVIRONMENTAL INFORMATION CENTER

his past legislative session, Washington state lawmakers brought the world just a little bit closer to environmental apocalypse when they stymied policy that would have capped the state’s carbon emissions. But in the wake of legislative failure, a grassroots citizens’ initiative is scrambling to put carbon pricing on the state ballot in November 2016.

That campaign, called Carbon Washington, is the brainchild of self-styled “stand-up economist” Yoram Bauman. His proposal is simpler and more politically moderate than state Democrats’ stalled cap-and-trade plan. Carbon Washington would institute a straight tax on carbon-producing fossil fuels, plus tax rebates for folks who need them. Right now, Carbon Washington is a long shot, but Bauman says they’re on track to gather enough signatures to make the ballot by the end of the year.

If it succeeds, Carbon Washington could become a political snowball, gathering money and support as it rolls toward Election Day 2016.

While there’s little doubt that human-driven global warming is real and substantial, its severity is still in our collective hands to decide. Whether our grandchildren will live in a Mad Max-style hellscape depends on how quickly policy-makers around the world can ratchet down the emission of greenhouse gases such as carbon dioxide (CO2) and methane.

In January, both chambers of the Washington legislature began to consider a proposal by Gov. Jay Inslee to create a “cap-and-trade” system that would have limited greenhouse emissions among major polluters like paper plants and oil refineries—anyone spewing out at least 25,000 metric tons of CO2 per year. The “cap” in the proposal would have capped the total amount of CO2 they could collectively produce; the “trade” would have allowed those major polluters to buy and sell CO2 emission rights within that overall capped volume. The intention is that companies that can easily lower their CO2 emissions will do so, and then sell their emission rights for profit to a higherpolluting company.

This approach is similar to ones in California and Quebec, according to state Rep. Joe Fitzgibbon, who sponsored the legislation in the House of Representatives. “It wasn’t going to be brand-new” but rather modeled on and compatible with existing policies, says Fitzgibbon, who represents Vashon Island, West Seattle, White Center, and Burien.

The plan ultimately went nowhere. Inslee blamed oil-monied Republicans for blocking the proposal, which is partially true. Yet some moderate rural Democrats also objected, worrying that either it would screw up negotiations over the $16.1 billion transportation package (which ultimately did pass) or that constituent businesses in their districts would suffer.

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SEATTLE WEEKLY

news&comment»

PROMOTIONS The Muckraker TICKET GIVEAWAY

MARYHILL WINERY BLUE MOON CONCERT

The dirty work that proves Seattle’s street sweepers are keeping our water clean.

BY DANIEL PERSON

Maryhill Winery Presents: The Karen Lovely Band, Sat., August 1st, Maryhill Winery. Enjoy a mix of

contemporary and old school blues performed by The Karen Lovely Band.

TICKET GIVEAWAY MOVIES AT MARYMOOR!

Epic Events presents: Movies at Marymoor!

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WIN TICKETS TO ZIGGY MARLEY

TICKET GIVEAWAY EVERETT SUMMER BREWFEST

WA Beer Commission presents: Everett Summer Brewfest, Sat., Aug., 15, Noon - 7pm, Hoyt Avenue, Downtown Everett. The 4th

SEATTLE WEEKLY • JULY 22 — 28, 2015

Annual Everett Craft Beer Festival will feature 30 Washington breweries.

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WIN TICKETS TO TRAMPLED BY TURTLES

ZooTunes presents: Trampled By Turtles, Sun., Aug., 16, 6 pm, Woodland Park Zoo. From

their beginnings on the Midwestern festival circuit, they have reached new heights with each album and the band plays to more fans than ever.

FOR MORE DETAILS AND TO ENTER TO WIN VISIT US AT:

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DANIEL PERSON

ZooTunes presents: Ziggy Marley Sun., Aug. 9, 6 pm, Woodland Park Zoo. A seven-time Grammy winner, Emmy Winner, humanitarian, singer, songwriter and producer, Ziggy Marley has gained much critical acclaim.

Rex Davis collects and sorts a sample for analysis. “There is a lot of fecal matter in there,” Davis says.

U

nderneath a thatch of highway in the no-man’s-land of the city maintenance yards off Airport Way, Rex Davis clambers up a large heap of muck at least twice his height with a shovel and a salad bowl.

He burrows a hole into the stinking mess, occasionally depositing a shovelful of his booty into the bowl. He does this three or four times, seemingly uncowed by the rotting stench.

When he’s finished, he climbs down, and, to complete the culinary theme, turns the mess all over with a mixing spoon as you would a bowl of kale and Swiss chard. “Doesn’t make you hungry for salad, does it?” he deadpans as he continues his mixing.

Were Seattle a living, breathing being, what Davis is working on today might be a big pile of dead skin, the stuff imperceptibly sloughed off in pursuit of more important things: Dust from brake pads, paint chips from old siding, and lots of grass. It comes to be accumulated here, beneath a bunch of highways out of sight and out of mind, by virtue of Seattle’s street sweepers.

Beyond the shout-out given by Nelly in his 2000 hit “Country Grammar,” street sweepers are a rarely celebrated fixture of civic life, more often griped about for causing traffic backup than anything else. But in Seattle, at least, they’re something like unheralded environmental saviors.

Since much of the water that runs through Seattle streets drains directly into the waters that surround the city, every speck of oil and metal that a street sweeper picks up is one less speck of pollution in Lake Washington, the Duwamish River, or Puget Sound. It’ll eventually be loaded

onto a freight train and taken to an Oregon landfill, never to imperil the Sound again.

Which explains Davis’ dirty duty. Every two weeks or so, an assistant program director for Seattle Public Utiltiies goes into the pile to find out what’s there. After his collecting and mixing (which he calls “homogenizing”), he sends it, packed into sterile jars, to a lab in Tukwila for analysis. From there, conclusions can be drawn about what stuff has been saved from polluting the water.

The results are pretty gross: in a single year, an estimated 40 pounds of copper, 80 of zinc, and 170 of phosphorus, plus carcinogenic PCBs, hydrocarbons, and trash. “Lots of garbage—hubcaps, wire, urban debris,” as Davis tells it.

No other city in the country does the kind of analysis Seattle does on its street filth—chalk it up to our introspective ways—and the results have persuaded the city to double down on its street-sweeping efforts. In June, the City Council approved a $600 million, 15-year plan to keep pollution out of local waters. Street sweeping constitutes a small fraction of that dollar figure, but the plan calls for the city to double the miles of streets that get swept every year in Seattle. The goal is to remove at least 140 tons of pollution a year from the city’s streets.

Given some of the Rube Goldberg solutions devised to mitigate pollution, street sweeping is notably intuitive; anyone who’s swept their kitchen understands the basic concept. It’s also cheap: The city claims that it’s removing pollutants from the system at a cost of $4.80 a pound; other accepted practices run between $8 and $50 a pound.

Yet Seattle is at the forefront of this fairly novel approach to water-quality protection. The

city began its current effort four years ago, when it entered into a consent decree with the U.S. Environmental Protection Agency to do more to protect its waters. The EPA allowed the city to experiment to see if street sweeping was an effective way to achieve part of its goals.

“My sense is, no one had taken a really aggressive citywide look at street sweeping,” says Rob Grandinetti, a compliance officer with EPA. Today the EPA sounds fairly convinced that the strategy is working, and the city is even more so. “The data shows, definitively, that . . . street-cleaning is a cost-effective way to protect our waters, by capturing pollutants . . . before they get into our waters,” said Shelly Basketfield, who runs the program for Seattle Public Utilities, upon announcing plans to double the street-cleaning efforts. “We are proud that Seattle is in the forefront of U.S. cities leading the way with this new approach to cleaning up storm water.”

That doesn’t mean Davis will be abandoning his job on the refuse heap anytime soon. The city intends to keep collecting data indefinitely.

Davis actually seems to enjoy getting away from his desk to collect samples. It allows for good practical jokes back at the office—bringing back stuff he finds in the pile, like an old leather bracelet, as gifts for co-workers. He once found part of a dollar; he continues to search for the rest of it.

The only bad experiences he can relate are the times his shovel gets caught on a twig, which flings the muck into his face.

“There is a lot of fecal matter in there,” he says. And he knows it. E

dperson@seattleweekly.com

NeighborHuh?

This summer we’re checking on on some of Seattle’s more obscure neighborhoods and asking: Is that really a place?

HARBOR ISLAND

S

Duwarmish Waterway

SW

11 th Ave. SW

A

SW Spokane St. West Seattle Bridge

Av e

HARBOR ISLAND

Du wa rm ish ve W ate Br id rw ge ay A

t Klick it a

Du wa rm ish ve W ate Br id rw ge ay

th

t Klick it a

16 th Ave. SW

HARBOR ISLAND

16

13 th Ave. SW

SW

Duwarmish Waterway

Av e

11 th Ave. SW

th

13 th Ave. SW

16

WEDNESDAY • JULY 29

16 th Ave. SW

The artificial island was built in 1909 when Lex Luthor threw some magic crystals in the Duwamish River, and is home to various industries that I’m unqualified to work in, including metal fabrication, lead smelting, shipbuilding, and petroleum storage.

(I can hold petroleum for people.) What’s clear is that when machines rise up against human beings, the attack will be launched from Harbor Island. (The war will end, incidentally, at China Harbor in Westlake, because it just looks like the kind of building where an Alamo-like battle would take place.)

Lest you think that no one’s having any fun on Harbor Island, know that it also contains a few gas stations, a Time Out coffee, and Mountaineers Books, a cool nonprofit that publishes books on recreation and the outdoors, though none of them have anything to do with Harbor Island, understandably.

What’s interesting about the island is that for all its businesses, you can be sure that most people are bringing their lunch to work, because there are only one or two eateries around, not counting Westway Feed Products. They make food for animals. Still, it’s an option.

Verdict: Here’s the North Seattle thing: I would guess that at least one person workGreenwood ing on Harbor Island has Ballard slept at work, and in doing Fremont so rendered Harbor Island Queen Anne a legitimate neighborArea Capitol Hill hood. There may be no of Seattle Detail houses, apartment buildings, or parklets (if you West gave Harbor Island a parSeattle klet, workers would just Georgetown stack a bunch of shipping White Center containers in it anyway), but Harbor Island is easily as big as many Seattle neighborhoods—and it was the world’s largest artificial island until Japan’s Rokko Island took the title. So out of spite, let’s just say that Harbor Island is a neighborhood, and Rokko Island is not. E

haped like the time-traveling train in Back to the Future 3, Harbor Island is arguably the most distinct area in Seattle. So far we’ve been questioning whether neighborhoods that are primarily residential qualify as neighborhoods. Harbor Island presents the opposite scenario: It’s all work and no place to go after work.

No one lives on Harbor Island, not even Wall-E. It’s completely industrial, and may be the only place in Seattle where you’ll find a sign that says “Attention: Remote control locomotives operate in this area. Locomotive cabs may be unoccupied.” Yikes!

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SE ATTLE WEEKLY • JU LY 22 — 28, 2015

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Floating through our solar system are thousands of celestial bodies bearing the precious metals and water that can fuel the evolution of humanity— and big profits for Redmond-based Planetary Resources.

By Ellis E. Conklin

COURTESY OF SPACEX

O

n October 28, 2014, a massive fireball torched the evening skies over Virginia’s eastern shore. The source of the explosion was a refurbished Aerojet engine left over from the Soviet Union’s failed moon program, retrofitted to fuel the flight of an unmanned rocket called the Antares. Just seconds after liftoff from a NASA space-flight center on Wallops Island, the mission was lost, and with it more than 5,000 pounds of food, supplies, and science experiments bound for the International Space Station. It was a particularly distressing time for the 30-plus engineers at Planetary Resources, for also on board that ill-fated spacecraft was the Arkyd 3, a telescope devised by the Pacific Northwest start-up to explore space and identify the potential riches that might one day be extracted from asteroids.

The setback was taken with a kind of steely optimism. On that evening, before the Antares exploded, Planetary tweeted: “Less than 3 minutes to launch of ARKYD A3!! We’re excited.”

After the disaster, another tweet: “Live to fly another day. Onward!”

The Redmond-based asteroid-mining company was hoping the Antares launch would be the first major step in a journey that would end on far-flung space rocks, where the company’s sophisticated 200-pound interplanetary robots would search for the precious metals and water

using laser-based optical communications. If it all works out, deep-space probes will be dispatched to mine for water and rare metals.

“It [the Arkyd 300] will tell us whether it is worth coming back,” says Chris Voorhees.

At Planetary, Voorhees is known as the space wrangler. A short, compact man with thick glasses and a wry smile, Voorhees, whose formal title is vice president of spacecraft development, leads the team that is building the Arkyd, along with the company’s other interplanetary robotic spacecraft. “These tools will answer the question of what is the nature, the composition of the asteroid,” he says. “It will tell its morphology, whether it is heterogeneous or homogeneous, whether it is one big rock or a collection of drifting materials.”

But first they need to get those tools off the ground.

And so on April 14, 2015, six months after the explosion of the Antares, the Arkyd 3 roared successfully into space, hitching a ride, at 20 times the speed of sound, aboard the SpaceX Falcon 9 as part of a crew resupply junket to the International Space Station. It was brought onto the ISS by astronauts, and last week was launched from the airlock of the Kibo science module into low-Earth orbit (about 100 to 150 miles from the surface), a “significant milestone” for the company. There it will spend the next

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The Planetary Resources team poses with the Arkyd A3R before sending it into orbit.

The SpaceX CRS-6 Falcon 9 lifts off with Planetary Resources’ first satellite.

three months testing various subsystems that later spacecraft will need to venture out into the solar system.

In December, Planetary will launch yet another satellite, the Arkyd 6, which will be equipped with infrared sensors capable of detecting various elements, minerals, and other materials on asteroids. From these ventures, Planetary will receive even more clues as to which asteroids are worth paying attention to.

The company’s main challenge, beyond the logistics of space exploration, is to keep enough money coming in until the day it actually begins to relieve space rocks of their intergalactic goodies— a feat that company founder Eric Anderson tells Seattle Weekly might be only 10 or 15 years away.

In the meantime, Planetary is making ends meet by selling its space-mining technology to government and commercial customers. It has received nearly $1.5 million in NASA research contracts since its 2012 startup, and has annual revenue of about $1.3 million. At this point, private investors are critical in maintaining solvency—and in ginning up public excitement

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that may one day enable us to travel to planets millions of miles away.

Bold stuff, no doubt, this quest to tap the universe for its cosmic treasures; but Planetary Resources—counting in its ranks such A-list investors as Google leaders Larry Page and Eric Schmidt, Virgin’s Richard Branson, and Microsoft millionaire Charles Simonyi, with Hollywood director James Cameron as an advisor—is dead-set on reigniting our fascination with space flight and exploration. Along the way, of course, the company stands to make boatloads of money.

“This is going to transform human history,” boasts Planetary’s President Chris Lewicki.

Planetary is banking hard that the satellites and telescopes they are developing—in particular the even more technologically complex Arkyd 300, the “Rendezvous Prospector”—will be able to skitter through the heavens, analyze these so-called planetoids or minor planets, calculate their size, shape, rotation, and density, and then beam that information back to Earth

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One Giant Step FROM PAGE 9

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The Arkyd 6, which Planetary Resources plans to launch in December, will bring the company one step closer to “the oil of space.”

SEATTLE WEEKLY • JULY 22 — 28, 2015

about space exploration.

The company is succeeding in turning that excitement into another income stream. To celebrate putting its first satellite in space, for instance, the company sold 20,000 T-shirts, emblazoned with the slogan “No Sleep Till Orbit,” at $20 each. And in July 2013, Planetary ran a Kickstarter campaign to offset the cost of launching the Arkyd 3, which the company hailed as the first public space telescope. Nearly 17,600 backers pledged a total of $1.5 million, and in return supporters were promised a “selfie in space.” The plan is to rig a selfie stick onto the company’s Arkyd 100 satellite to shoot pictures of a video monitor upon which the company will project photos of the lucky contributors. The launch of the selfie satellite is at least two years away.

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Inside the cement-gray building that houses Planetary Resources, a visitor can behold tiny meteorite fragments encased in glass bookshelves that adorn the company’s lobby, a rotating video screen of shiny satellites and flashy orbital telescopes, and a life-size replica of Boba Fett, the Mandalorian warrior and bounty hunter whom Darth Vader hires and brings into his devilish clutches in The Empire Strikes Back.

Star Wars, you see, figures prominently in the rise of this asteroid-harvesting enterprise.

Lewicki, searching for a name after the company was founded, brainstormed dozens of ideas before arriving at Arkyd Industries. The company would eventually change its name to the lessgeeky Planetary Resources, but would keep the name Arkyd alive, carried into orbit on its earliest satellites. Arkyd was a derivative of Arakyd Industries, the fictional company that supplied exploration droids, the most noteworthy of which was used to locate the Echo Base on the planet Hoth in Empire. A photo of that droid, the Viper, is prominently displayed in the lobby.

On the other side of the offices, past the conference room where jars are stuffed with Dove chocolates and a 10-foot-long table is scattered with palm-sized asteroid remnants that can strain

even the best-conditioned biceps, engineers, many who once worked for NASA, are silently toiling in a sterilized environment called The Clean Room. Clad in white smocks, hairnets, and masks, they are manipulating delicate steel instruments, building spacecraft no bigger than dresserdrawers that will ride reusable low-thrust rockets on journeys millions of miles into the dark void in pursuit of extraterrestrial valuables.

The drawing-board schemes being contemplated by this band of more than three dozen space miners at Planetary Resources may not trump, at least not yet, the thundering thrill of the 36-story-tall Saturn V rocket hurtling Armstrong, Aldrin, and Collins to the moon 46 summers ago. Still, it is mesmerizing to hear the engineers at the three-year-old company talk up their plans to set down 200- to 300-pound three-legged robotic snoops on distant space rocks—many of them only the size of football stadiums—and once there unleash an arsenal of prospecting tools.

Planetary insists that asteroid mining is not some hare-brained science-fiction fantasy, and that the technology will soon exist to pillage the universe of materials needed to replenish our resource-finite little blue planet, now bulging with more than 7 billion Earthlings.

As Peter Diamandis, X-Prize Foundation chairman and another co-founder of Planetary, has said, “We have the moral obligation to become an interplanetary species,” and everything critical to mankind’s survival “are literally in infinite quantities in the solar system.”

Much of that critical matter, says Eric Anderson, is in asteroids, which he calls “the lowhanging fruit of the solar system. In the same way coal moved us from an agrarian to an industrial society, asteroids will enable us to become a multi-planet species.”

Most of the solar system’s asteroids move through the main asteroid belt between Mars and Jupiter. More than 200 of them are larger than 60 miles in diameter. But it is the nearEarth asteroids which have seized the attention

Growing up in the small town of Gillett, Wisconsin, Chris Lewicki could barely get his fill of Carl Sagan’s TV series Cosmos, and was enraptured by the coverage of the first-ever flyby of Neptune by Voyager 2 on a hot late-August afternoon in 1989. So it was no small thrill to have an asteroid named after him. In 2003, the International Astronomical Union’s Minor Planet Center dubbed a distant space rock 13609 Lewicki for his work on developing a highly popular Internet site that chronicled the great comet crash of 1994, when 20 enormous fragments of the comet Shoemaker-Levy left gashes in Jupiter’s atmosphere three times the

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of Planetary. The company is most interested in exploring the “C-type” (carbonaceous) asteroids that are dark, carbon- and phosphorus-rich, and, more important, rife with water—“the oil of space,” critical for life support in any galaxyfaring civilization.

Early on, Planetary focused on excavating precious metals from asteroids, but the company has since shifted to water, the biggest prize of all. “Water in space exists in the form of ice,” explains Voorhees. “If we can apply the power of the sun, which furnishes 1,400 watts of power per square meter of space, that energy can be used to separate the hydrogen and oxygen and create fuel. Yes, we can make rocket fuel in space.

Water is imperative if you want to go to other planets. We are going to go after the water first.”

Lewicki claims that the water from an asteroid the size of a football field would contain as much fuel as was used in every one of the 135 spaceshuttle missions. “If we can refuel spacecraft without sending them back to Earth,” he says, “we could go deeper into space and we’d be creating planetary highways.”

The asteroid belt between Mars and Jupiter, shown here in an artist’s rendering, contains more than 200 large asteroids.

size of Earth in diameter. The spectacular event inspired a pair of blockbuster films a few years later, Armageddon and Deep Impact.

An aeronautical engineer who once worked at NASA’s Jet Propulsion Laboratory on rovers that explored Mars and a recipient of two NASA Exceptional Achievement Medals, the 41-year-old Lewicki says the time is ripe to begin harvesting the heavens. “There’s a phrase

I once heard, which I like to use: ‘If it’s possible, it’s inevitable.’ ” Scientists agree that asteroids contain unfathomable amounts of resources. “There is enough iron ore in the main asteroid belt [between Mars and Jupiter] to build 8,000-story skyscrapers that would cover the entire surface of planet Earth,” says Lewicki. Some have estimated that a single asteroid about 800 feet in diameter may contain

as much as 800,000 tons of precious metals worth some $50 trillion, enough to supply the world for the next 40 years.

The market is beyond comprehension. Billions of dollars, maybe even trillions, could be had by the handful of companies, such as Planetary Resources and Virginia-based Deep Space Industries, competing for ownership of these resources.

» CONTINUED ON PAGE 12

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One Giant Step FROM PAGE 11

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The market, though, was largely undefined when these companies got their start. Although mankind has been engaged in space exploration since the Soviet Union launched Sputnik in October 1957, few rules exist to provide a framework for governing this final frontier. Since the Outer Space Treaty of 1967, which bars any nation from placing weapons of mass destruction in Earth’s orbit, on the Moon, or on any other celestial body, no laws to regulate space have been created—until now. With commercial space exploration underway, it was inevitable that American lawmakers would seek to guarantee property rights for private U.S. space corporations. Under the SPACE Act of 2015, passed by the House of Representatives in May, asteroidmining businesses will be allowed to keep the riches they unearth on these floating mountains.

“I feel like we are in a space race, not between superpowers, but between companies,” says Lewicki. “Ultimately, the point of all of this is to continue our exploration of space, but to do so in a more cost-effective manner. Fundamentally, if we are going to move beyond Earth, it will be because people see an opportunity to make money from the power we will be able to generate that will enable us to seek out new places to live.”

In an interview earlier this month with Seattle Weekly, Dr. Martin Elvis of the Harvard-Smithsonian Center for Astrophysics in Cambridge, Mass., cautions that some of the exultant boasts about the economic potential of asteroid-mining may be overstated. “There are really only 10 near-Earth asteroids suitable for mining platinum,” he says—in opposition to the estimate by Planetary’s Eric Anderson, who

Co-founder and CEO Eric Anderson (left) gets chummy with gaming giant Richard Garriott de Cayeux (center), chief engineer Chris Lewicki (right), and the Arkyd 200.

believes there are at least 10 times more.

“I’m bullish on this,” adds Elvis, “but we need to be realistic. For one, there is no market for water out there since we are not doing any [manned] deep-space exploration. Now, if NASA moves in the direction of creating intergalactic gas stations, things could change.”

The world has known about asteroids for two

centuries, since at least January 1, 1801, when Giuseppe Piazzi of Palermo, Italy, pointed his telescope into the heavens and saw a bright dot of light. He thought he’d discovered another planet, or “new star,” as he called it. Instead, he found Ceres, the granddaddy of the estimated

150 million asteroids swirling through the inner solar system. Located in the main asteroid belt between Mars and Jupiter, this so-called “dwarf planet” composed of rock and ice is roughly 600 miles across at its equator—about the distance from Seattle to Carson City, Nevada.

But only in the past 25 years, thanks largely to bigger and more sophisticated electronic telescopes capable of detecting space rocks smaller than 100 yards in diameter, have the vast majority of discoveries been made. In fact, nine of 10 near-Earth asteroids (NEAs), the ones that cross Earth’s orbit around the sun, have been discovered since 2000. It wasn’t until 1991 that we even had a photograph of

an asteroid—a case of sheer serendipity when Galileo, on its mission to Jupiter, just happened to cross the path of the asteroid Gaspra.

Nine years later, on February 14, 2000, an unmanned U.S. spacecraft—the Near Earth Asteroid Rendezvous-Shoemaker, or NEAR Shoemaker—became the first craft to orbit an asteroid (Eros, discovered in 1898) and the first to land on the surface of a space rock. Later, in 2005, the Japanese spaceship Hayabusa touched down on the asteroid Itokawa and brought samples back to Earth in June 2010, another huge milestone.

More recently, in mid-June, Philae, the landing module of the space probe Rosetta, emerged from hibernation atop Comet 67P and “spoke” to mission managers at the European Space Agency for 85 seconds. Led by ESA with a consortium of partners including NASA, scientists on the Rosetta comet-chasing mission hope to learn more about the composition of comets (which, unlike asteroids, tend to have more chemical components that vaporize when heated) and how they interact with the solar wind—highenergy particles blasted into space by the sun.

To date, says Lewicki, some 11,000 NEAs have been identified. “Of those 11,000, a good chunk of them, 4,000 or so, are easier to get to than landing on the moon. Our goal is to find the best nearEarth asteroid, to land on it, measure it and probe for water, and to be the first to set up a space extraction facility and then be the first to mine that asteroid.” Lewicki notes that in April, NASA gave the go-ahead on a crucial mission scheduled to launch in 2016. The spacecraft OSIRIS-REx will rendezvous with a water-abundant asteroid called Bennu in 2018 and bring back samples for scientific study.

“The OSIRIS-REx [mission] is going to cost $1 billion. Our goal is to be able to do that [same kind of mission] for $50 million, or 1/20 the cost.”

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In 15 to 20 years, asteroid excavation like this could become a reality.

Lewicki compares the prospect of traversing the universe to hunt down harvestable asteroids to the Lewis and Clark expedition. “They knew something was out there and they needed to find out what it was,” he says. “This is about taking the next step, to be able to expand into space, in the same way Lewis and Clark enabled us to expand to the West.”

As Rachel Riederer correctly noted in a May 2014 story in The New Republic, “Allusions to the Wild West abound in the literature of spacemining companies. For these entrepreneurs, space is not a distant emptiness. Beyond the frontier, they envision a business-place . . . This is what Manifest Destiny must have felt and sounded like. Wealth beyond your wildest dreams—and it’s there for the taking. You just have to get there first.”

Lewicki marvels at the speed at which space exploration has advanced: the launch of Explorer 1, the first American satellite, in 1958; the Mariner missions to Mars, Venus, and Mercury in the 1960s; Voyager’s glimpses of Jupiter and Saturn a decade later; the Viking spacecraft that beamed back pictures of Uranus and Neptune in the 1980s; and the recent communication from NASA’s New Horizons probe, which flew by Pluto, beaming photos of the dwarf planet and expanding humanity’s understanding of the solar system.

The lesson from mankind’s experience in space, Lewicki maintains, is that one generation’s achievement serves as paving stones for the next generation. “Asteroids,” he says, “could be the lily pads for human expansion into the solar system.”

Or, putting it in a more practical context, Eric Anderson notes, “You don’t build a mine in Alaska without building railroads to get there first.”

econklin@seattleweekly.com

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On July 21, 2011, the shuttle Atlantis soared down in a predawn sky onto the tarmac of NASA’s Kennedy Space Center, bringing to an end the nation’s 30-year-old space-shuttle program. The following April, when the shuttle Discovery became part of the permanent collection of the National Air and Space Museum, John Glenn, then 90, spoke at the ceremony: “Perhaps it started with pioneers who first lived in this new land, but Americans have always had a curious, questing nature that has served us well.”

Margaret Lazarus Dean, in her insightful 2015 book Leaving Orbit: Notes From the Last Days of American Spaceflight, a wistful first-person glimpse of the last three shuttle missions, wrote of some of the pioneering astronaut’s other illuminative remarks. Glenn, she wrote, pointed out that the “wagon trains that took settlers west in the 19th century considered 10 miles to be a good day’s trip. Discovery, the spacecraft upon

The book, which won a Pulitzer Prize in 1990, extensively covers a significant turning point in industrial history—January 10, 1901, the day a well at Spindletop, a salt-dome oil field in Beaumont, Texas, sent a towering gush of black, sticky oil some 125 feet into the clear winter air, a strike that would change the oil industry forever.

Before long the new oil field was pumping out more than 100,000 barrels a day, and, notes Lewicki, made the world aware of just how plentiful oil was. “I think we are going to see the same things as we explore and mine asteroids.

And with the technology we are creating, we’ll be able to tell other companies where that asteroid is, how much [water or minerals] there is there, and where to drill.”

With a smile, Lewicki concludes, “If I could name an asteroid, I’d name it Spindletop.” E

which he became the oldest astronaut in history at age 77, could cover the distance in less than two seconds. He reminds us that only 23 years after railroads replaced wagon trains, the Wright Brothers flew their first plane at Kitty Hawk.

Only 59 years after that, John Glenn became the first American to orbit Earth. Seven years later, Neil and Buzz walked on the moon.”

At the Discovery ceremony, Glenn concluded his remarks by saying, “We recently celebrated a 50th anniversary of our first orbital flight. In a speech to Congress following that flight, I closed with a statement that I would repeat today: ‘As our knowledge of the universe in which we live increases, may God grant us the wisdom and guidance to use it wisely.’ ” Lewicki, meanwhile, says he’s been spending his leisure time reading Daniel Yergin’s The Prize: The Epic Quest for Oil, Money & Power.

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food&drink

A Craft-Beer Crossroads

FoodNews

BY JASON PRICE

Did the sale of Elysian Brewing to Anheuser-Busch signal a trend for growing local breweries?

Most Seattle denizens know that this upcoming weekend is the Capitol Hill Block Party. Which means thousands of jubilant partygoers will invade the streets in celebration. But if you want some respite (and air conditioning) from the crowds, check out Capitol Cider’s Under the Block Party in their downstairs lounge. They’ll have no-cover live music all weekend, featuring artists such as Falon Sierra and Holy Pistola.

BY ZACH GEBALLE

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COURTESY CAPITOL CIDER

Chocolate aficionados, mark your calendars for the eighth annual Seattle Luxury Chocolate Salon this Sunday, July 26, 11 a.m.–5 p.m., presenting artisan, gourmet, and premium chocolate (are those three things mutually exclusive?) at the Embassy Suites Hotel in Bellevue. For $20 (in advance) you’ll taste a selection of confections from Amano Artisan Chocolate, Forte Chocolates, Gusto Chocolates, Volta Chocolate, William Dean Chocolates, and others.

WIKIMEDIA COMMONS

Elysian’s Capitol Hill location.

can redirect a brewery’s focus from making the best beer to making the most money.

For Cody Morris of Epic Ales, opening a second space (Mollusk, in South Lake Union) meant bringing on investors. With that came a new degree of accountability. “We had to nix an expensive ceiling design because we realized we couldn’t spend $50,000 that way,” Morris says. “It’s definitely different when you’re spending someone else’s money.” Epic Ales is taking a different approach from some expansions: Its SoDo space will continue to produce the farmhouse-style ales and sours it’s made its name with, while Mollusk will focus more on the robust styles that most Seattleites gravitate to.

Also, scaling up recipes can be difficult, as it’s not simply a matter of increasing all ingredients by the same ratio; there’s plenty of frustrating trial and error—and the cost of those errors is higher. “The hard part is that we can’t be as nimble anymore,” Lincecum admits. “When you’re making 2,000 barrels, it’s pretty simple to change a recipe. At 20,000 it’s not.”

Growth is happening for breweries far smaller than Fremont as well. Ballard-based Reuben’s Brews recently expanded into a new facility and taproom, tripling its production capacity and providing guests a larger space to enjoy its beers. It’s the dominant trend for small breweries for good reason. It enables them to earn more: They can sell their beer in cans, bottles, pints, and growlers direct to consumers, which often can mean earning two, three, even four times as much per barrel than by selling wholesale to a distributor.

It also gives the customer a different beer experience. “Beer, at its very root, is about community and conversation and socializing,” states Adam

Robbings, co-founder and head brewer of Reuben’s Brews. “If you start with that premise, it’s particularly important how that beer got to the glass.”This belief, shared by brewers like Lincecum and Morris despite the difference in their size, is inimical to selling shares to Anheuser-Busch or Miller-Coors or whomever. That’s not to say that no other local breweries will sell, or even that the current level of growth can be sustained (nationally, craft beer is growing by about 18 percent per year), but simply that while some breweries are started with profit in mind, most are labors of love.

Yet the major challenge facing craft breweries that want to remain craft breweries is what happens when a founder wants out. Undeniably, part of the motivation behind Elysian’s sale was that one founder wanted to retire, and selling enabled that.

Craft breweries in other states have explored different options: New Belgium sold shares back to employees when a founder left, while others have been passed to the next generation. Robbings told me his goal is to be around long enough for his young son, Reuben, to actually make the beer.

Craft beer is here to stay, it cannot be argued.

I’m hopeful that many of Seattle’s great craft breweries are also here to stay, especially as independent and locally owned enterprises, no matter how big they grow. So while the sale of Elysian was a dramatic, perhaps traumatic, moment in Seattle craft-beer history, it also galvanized forces throughout the industry to ensure that the next wave of craft breweries can grow while remaining locally owned and supported, much to the relief of brewers and beer drinkers alike. E

thebarcode@seattleweekly.com

The Auction of Washington Wines series of summer events throughout the state entices guests to indulge in Washington’s premier wines. Funds raised go toward uncompensated care, cancer clinical trials, and autism research at Seattle Children’s Hospital and viticulture and enology research at Washington State. One highlight is the Picnic & Barrel Auction on Thursday, Aug. 13 at Chateau Ste. Michelle Winery in Woodinville, where guests can bid on some of Washington’s most coveted limited-release wines. Tickets are $150 per person. E morningfoodnews@gmail.com

TheWeeklyDish

Fried pork shank at Radiator Whiskey.

BY NICOLE SPRINKLE

NICOLE SPRINKLE

SEATTLE WEEKLY • JULY 22 — 28, 2015

T

he end of January and the beginning of February were tumultuous times in Seattle, at least if you made or enjoyed craft beer.

On January 23, Anheuser-Busch rocked the industry with the announcement that it was purchasing Elysian Brewing, an early pioneer with 20 years of history and four bars. It was just the latest in a series of purchases by the brewing giant, who previously had snapped up Oregon’s 10 Barrel, Chicago’s Goose Island, and New York’s Blue Point.

The timing ended up being particularly galling, as Budweiser (the most prominent Anheuser-Busch brand) aired a commercial during the Super Bowl decrying craft beer, complete with shots of bearded men in flannel sipping from goblets. That Anheuser-Busch was bashing craft beer just days after buying one of Washington’s largest craft breweries didn’t sit well with most locals.

As with the sale of Redhook just over a decade prior, the transaction led to accusations that Elysian had sold out, with the immediate assumption that quality would dip as AB ramped up production. A certain claim was oft-repeated: If you wanted to grow beyond a certain point, the only real option was to sell at least part of your business to a major company.

The exact point of no return was never named, but perhaps it’s instructive to note that at the time of the sale Elysian was making around 50,000 barrels of beer a year, as are the other largest craft brewers in the state (Georgetown, and Mac and Jacks).

Yet I refused to believe the cynicism that this was a glass ceiling for craft beer. I wanted to talk to brewers, especially the newer breed that has helped drive a period of tremendous growth in the industry not just locally but nationally. In the two decades since Elysian opened, craft beer has gone from a tiny fraction of the industry to a fast-growing sector, cutting a small but ever-increasing chunk out of a business once dominated by a few companies.

“There’s a certain fatalism among some,” says Matt Lincecum, owner and founder of Fremont Brewing. “The expectation is that you get to 50,000 barrels and then sell out.” Lincecum is an example of a newer generation of brewer: one that desperately wants to disprove that notion.

Given that he and his team have grown from brewing about 3,600 barrels of beer in 2011 to a projected 27,500 or so this year, with a new facility in the works, it’s clear that he wants to push the boundaries well past that mark.

Yet growth, of course, brings challenges.

Securing financing can be tricky, even in the middle of a boom. Nearly every brewer I talked to expressed frustration over how hard it was to raise money, especially from more traditional sources. Banks have tended to be skeptical of breweries, while taking on partners or investors

There are plenty of places around town to pursue the primal—some say masculine—pursuit of meat and booze. But few take it as seriously as Radiator Whiskey; it’s a place, after all, where you can literally order an entire pig’s head. Alas, that’s not what I went in for this week, opting instead for their fried pork shank served with an herb aioli and Mama Lil’s pickled goat horn peppers from the Yakima Valley. It’s worth noting that this approximately pound-and-a-half bone-in shank isn’t overly fried (read: greasy). It’s more like it’s been slow-cooked, with the skin then crisped up.

I loved how juicy it was, without being too fatty, and the aioli and peppers helped cut the decadence of the pork as acidic items so often do. E nsprinkle@seattleweekly.com

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et’s face it, summer in Seattle offers what can only be called an embarrassment of riches: gorgeous long summer days; an almost-endless number of trails to explore; a music festival seemingly every weekend. Yet for me the real highlight is when local fruits start arriving at farmers markets and grocery stores—

BY ZACH GEBALLE not so much because I want to eat them (though I do), but because to me nothing says summer quite like combining booze and fruit. Consider this part “how-to” and part “why-do.”

None of these ideas are totally unheard of, but I’m also trying to avoid obvious choices. You don’t need me to tell you that a fresh strawberry margarita is delicious: every mediocre Mexican restaurant in the U.S. has been flogging that idea for years. Instead, here are two of my favorite unorthodox pairings.

Grilled Apricot Sidecar Picking a favorite fruit is a fool’s errand, but I have to say that combining stone fruits like apricots and peaches with a grill unlocks a set of flavors I just love. If I can avoid the temptation to eat all the apricots straight off the grill, I purée them with a pinch of nutmeg and allspice and let that cool in the fridge. Once the apricot mixture is chilled, I combine an ounce of it with two ounces of French brandy and a half-ounce of lemon juice.

Add ice, shake vigorously for 20 to 30 seconds, and then double-strain (both through a cocktail strainer and a finer mesh strainer) into a tumbler full of fresh ice. If you’re feeling real fancy, you could set aside a couple of apricots, cut them into thin rounds, and garnish.

Blackberry Old Fashioned Blackberries are perhaps our region’s most delicious fruit (even if apples and cherries will always be more famous), and given how universal they are in the latter parts of summer, you can throw them into almost any cocktail and be pretty happy. I thought long and hard about a blackberry daiquiri, but in the end there’s something magical about the combination of whiskey and blackberries that I just couldn’t resist. Here you have two different approaches: Either cook the blackberries gently on the stove with a little bit of cinnamon, orange peel, and vanilla until you have a syrup, or muddle them into the drink as you make it. For the former, add a half-ounce of the syrup to two ounces of rye whiskey and three dashes of Angostura bitters, add ice, stir, and serve. If you want to use fresh berries, muddle three good-sized berries with a generous piece of orange peel and three dashes of Angostura bitters. Once you’ve pressed the berries pretty thoroughly, add two ounces of rye whiskey, ice, and stir. Garnish with a fresh blackberry.

The beauty of these drinks is that they’re just a starting point: You could swap out peaches or nectarines for the apricots if you want a slightly sweeter sidecar, and blueberries pair almost as well with whiskey as blackberries. When it comes to fruit, most people tend to stick with white spirits like vodka, gin, and rum, but hopefully these recipes will show you that brown spirits can be just as enjoyable with our summer bounty. E

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arts&culture

Put a Mask on It

ThisWeek’s PickList

Two dozen artists update an old tradition with 21st-century spin.

BY BRIAN MILLER

FRIDAY, JULY 24

BAM ARTSfair

If you think Seattle is booming, visit Bellevue.

Cranes are everywhere, and there’s a huge new pit for Kemper Freeman’s Lincoln Square expansion south of Bellevue Arts Museum, which will soon be dwarfed by towers on both sides. Since there are few galleries in Bellevue (Open Satellite is dearly missed), BAM is the best game in town, yet the annual ARTSfair actually predates the museum by 28 years. (It was established in 1947 inside a restaurant in the original open-air mall built by Freeman’s father.) This weekend’s festivities are many: museum admission is free; some 300 artists and craft makers will be vending their wares (glass, prints, clothing, ceramics, you name it) on both sides of Bellevue Way; and families will find the usual food booths, activity centers, face-painting, live music, etc. Inside BAM proper, be sure to see Nathan Vincent’s crochet-covered, scaled-up toy soldiers in Let’s Play War!, and there are also some elegant furniture ideas in the group show The New Frontier: Young Designer-Makers in the Pacific Northwest (which is something like visiting the DWR showroom, only with more wooden bowls). And if the cultural hubbub gets to be too much, there are always movies and shopping, connected by a skybridge to the parking garage. (Through Sun.) Bellevue Arts Museum (and environs), 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org.

Free. 9:30 a.m.–9:30 p.m. BRIAN MILLER

Subir Banerjee as young Apu.

The Apu Trilogy

In 1955, a young graphic artist in the advertising industry released his debut feature, a labor of love made independently over two years. Satyajit Ray’s landmark Pather Panchali (aka Song of the Little Road ) is a portrait of life in a small, impoverished village in rural India, rendered with the texture and grace of a painting. Seen through the eyes of young Apu, its story follows three generations of women in his home: elder Auntie, protective Mother, and bright-eyed older sister Durga. Pather Panchali was Ray’s direct response to neorealism, but it was also made under conditions similar to those of postwar Italy: little money, non-professional actors, and an unknown director trying to capture a world that hadn’t been seen on screen. It was followed by Aparajito (The Unvanquished, 1957), which takes the now-

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

on Canal Street in New York (center of the designer-knockoff and fake-watch trades). The effect is more than a little comic, almost a New Yorker cartoon, though menacing Masai spears are painted on the walls. It’s as if the disguised herd is saying “Nope, no deer here! No one but us Masai warriors!”

Introducing his work to the press last month, Fernandes spoke of his Kenyan father’s work in the tourist industry— itself a very choreographed kind of display, with viewers in bus convoys and lions yawning at their designated feeding spots.

Neo Primitivism 2 plays with “the souvenir object and the notion of hybridity,” says Fernandes. “Two inauthentic objects are merged, and it just doesn’t work, except to show we keep the fake idea of the primitive alive.” He also repeats the mask motif in neon; other computer-display kiosks pulse in Morse code. Part of Fernandes’ hybridity is traditional: “No deer here!” the self/other dichotomy of Fernandes’ Neo mask-wearing. The more novel Primitivism 2. aspect, which we see throughout Disguise, is the overlay of new That dynamic is demonstrated in the videos of media upon that older African practice.

Wura-Natasha Ogunji, who sends women into Japanese-born Saya Woolfalk, something the streets of Lagos wearing bizarre costumes like Satterwhite, invents whole new environand masks. Using a cellphone, she then films the ments—though on a larger scale and outside the crowd’s response to these cheerful processions. computer. Her playful fantasy universe includes There’s an outlandishness that makes everyone a tribe called the Empathics, who populate her a gawker (or a critic-in-the-street, searching for large ChimaTEK tableau. Dancers will periodimeaning); these proud filmed marches remind cally perform at this installation (there are other you of Mardi Gras parades—an influence live events throughout Disguise, some announced, Dwight also mentions. some not), which is like a Zen altar you might find in the basement of a dance club. Bright Nintendo colors meet feathered deities suggesting In such a large exhibit, containing costumes, the Mayan pantheon. photos, videos, textiles, and even a few drawings, There’s a strongly syncretist aspect to Woolit’s easy to lose focus. (But that’s the rap against falk’s work, a fluidity among traditions one any group show.) Everything’s worth seeing, yet might variously describe as Buddhist, Hindu, or you almost need a lunch break or intermission— animist African. The Greek notion of a chimera and a reprieve from DJ Ogboh—before studying suits her philosophy, though it’s a little hard to some works anew. Among my favorites are the follow in her wall-text credo (something to do several bag-head photos by Edson Chagas; Nanwith an Institute of Empathy). In the catalogue dipha Mntambo’s meditations on bullfighting she writes of avatars, “the shifting of clear idenand the female minotaur goddess Europa; and tity,” and the female initiation rituals of Sierra Steven Cohen’s self-portrait Golgotha, posing on Leone. As befits the show’s broader nature, high heels made of human skulls (a strong Matmeaning always remains tantalizingly elusive: thew Barney vibe here). Still, two room-filling half-concealed and half-emergent. E installations dominate your attention.

Brendan Fernandes is a Canadian who trained bmiller@seattleweekly.com as a dancer before transitioning to visual arts.

His Neo Primitivism 2 was sourced entirely from SEATTLE ART MUSEUM cheap novelty stores and hunting-supply shops: 1300 First Ave., 654-3121, seattleartmuseum.org.

It’s a herd of plastic deer decoys wearing white $19.50. 10 a.m.–5 p.m. Wed.–Sun. African masks, of the sort Fernandes used to see (open to 9 p.m. Thurs.) Ends Sept. 7.

JANUS/CRITERION

© BRENDAN FERNANDES/COURTESY OF ARTIST

B

efore screen names, virtual avatars, catfishing, and bogus profiles on online dating sites, there were simple masks. All cultures have them, dating back millennia for political, religious, and cultural purposes. They signify authority, deity, or just some ass chasing Titania around the stage in A Midsummer Night’s Dream. We see just about every application and iteration in SAM’s wonderful ongoing show Disguise: Masks and Global African Art , whose title seems wordy and yet not wordy enough for so many diverse and fascinating objects—by no means restricted to simple masks.

The majority of works (about 94) are recent, by contemporary artists of African nationality or heritage. Ten artists are featured, most with new commissions from SAM. (One, Sam Vernon, also has her geometric wall patterns on display at the Olympic Sculpture Park.) In the show’s smaller end galleries, proceeding clockwise, are tertiary works from 14 other artists.

One’s first impression on entering the exhibit is aural, not visual: a thumping modern EDMstyle soundtrack assembled by Nigerian artist Emeka Ogboh. Both traditional Igbo instrumentation and the pulse of modern Lagos are in it—like being in the middle of a traffic jam with a hundred car radios blaring. It’s thrilling at first, but I found myself wanting to mute the volume as I ventured deeper inside. Most of what follows requires quieter concentration.

In her catalog essay, SAM curator Pamela McClusky naturally refers to Picasso’s appropriation of African masks in his famous 1907 Les Demoiselles d’Avignon. The dominant white Western culture used the “primitive” to define 20th-century modern art. In a sense, this show argues that 21st-century African artists are now taking back those masks, reappropriating them for entirely new purposes.

Jakob Dwight, for instance, uses a digital feedback effect to distort old masks photographed from SAM’s collection into prismatic, colorful abstractions. The technique is born out of a software glitch, he says, which gives the patterns a kind of randomness: not deliberate, but like watching a brain scan of consciousness in real time. It’s the kind of interior activity a mask would ordinarily hide.

Also in the modern camp is Jacolby Satterwhite, whose 3-D animations are constantly shifting and mutating. There’s a whimsical sci-fi aspect to his teeming, immersive little worlds.

Identity is ever in flux. And should we be surprised that he cites the childhood influence of Tomb Raider, The Legend of Zelda, and Resident Evil ? All those games depend on concealment, shifting identities, and strategies for deception and display. Satterwhite’s work can’t be fixed in any one defined position. Its multiplicity is its disguise; you never know what you’ll see next.

Though they conceal, masks also attract our gaze. We immediately stare at anyone wearing a mask in public. (Bank robber, cosplayer, or what?)

» CONTINUED ON PAGE 18 17

Directed by Jessica Kubzansky

Jul 17–Aug 16

Buy tickets today or see it with an ACTPass!

acttheatre.org | 206.292.7676

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SEATTLE WEEKLY • JULY 22 — 28, 2015

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People with disabilities and homeless seniors are welcome.

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MIRAMAX

» FROM PAGE 17 teenage Apu and his family to the city of Benares; and Apure Sansar (The World of Apu, 1959), a powerful story of love and tragedy for the adult Apu. The trilogy heralded the arrival of one of the great humanist directors of modern cinema; for decades Ray’s classic films represented South Asian cinema in American arthouses and campus programs. The original negatives were lost in a fire 20 years ago. These new 4K digital restorations, reconstructed from the best surviving materials by Janus/Criterion, premiered to raves at Cannes in May and recently played to packed houses during SIFF. Don’t miss them now. (Through Thurs.) SIFF

Cinema Uptown, 511 Queen Anne Ave. N., 324-9996. $7–$12. See siff. net for schedule.

SEAN AXMAKER

Strictly Seattle

This annual workshop is like summer camp for grown-up dancers, but the performances are far from a campfire skit. Students come here from all over the country. After studying with some of the best dance artists Seattle has to offer and presenting new work by those choreographers, many of them choose to stay here, making up part of the new generation. This year’s choreographic roster includes Anna Connor, Pat Graney, Zoe Scofield, and Kate Wallich, all of whom have major works coming out next season. See them all now, and then. Broadway Performance Hall, 1625 Broadway, velocitydancecenter.org. $12–$20.

8 p.m. (Also 2 & 8 p.m. Sat.) SANDRA KURTZ

Pulp Fiction

Just as there’s a famously samizdat shot-for-shot remake of Raiders of the Lost Ark (made in the late ’80s by a movie-besotted gang of Mississippi

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teens, occasionally screened at Northwest Film Forum), Quentin Tarantino’s 1994 smash hit has inspired a fresh generation of cineastes. I’m not just talking about professional indie filmmakers who aped Pulp Fiction’s elliptical structure and long-winded speechifying over the following decade. (These wannabes glutted the market and ill-served their master, and “Tarantinoesque” became negative critical shorthand.) Even today, YouTube is full of amateur Pulp Fiction parody and tribute scenes; it’s one of the most quotable movies of the indie era, so I expect someone somewhere, from Jakarta to Johannesburg, is now filming a feature-length paraphrase. Or several. None will be so good as the original, but all will imbibe the same movie love that Tarantino and his co-writer, Roger Avary, both former videostore clerks, brought to their scrambled-up heist flick. For all its violent laughs and jolts, it’s a fundamentally affirmative picture. There aren’t really any bad guys (save for the pawn-shop rapists), and QT made the movie a mash note to his favorite actors: chiefly John Travolta, closely followed by Samuel L. Jackson, Tim Roth, Bruce Willis, Christopher Walken, Amanda Plummer, and Harvey Keitel. It’s hard to imagine that such a sterling cast will ever be assembled again. (And no, Marvel movies don’t count.) The movie runs through Wednesday. Central Cinema, 1411 21st

Ave., 686-6684, central-cinema.com. $7–$9.

9:30 p.m. BRIAN MILLER

TELLEM GRODY PUBLIC RELATIONS

By Jeanne Sakata

Illustration by Barry Blankenship

arts&culture»

MONDAY, JULY 27

Anthony Bourdain

The kitchen veteran doesn’t mince his words— or garlic for that matter (he prefers to slice it like they do in GoodFellas). Bourdain will tonight share stories from Close to the Bone about his life on the road, related in the frank, bawdy style of his famed 2000 Kitchen Confidential. Having traveled the world on TV in No Reservations and now globetrotting with his CNN series Parts Unknown, he goes beyond the gritty details of kitchen life to offer political and cultural insight into worlds very different than our own, from conflict zones in the Middle East to urban life in the Bronx. (The premium tickets include Tom Douglas hors d’oeuvres, a meet-and-greet reception, and other perks.) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $55–$247.

7:30 p.m. ALANA AL-HATLANI E

» performance DANCE LIKE A MAN In Mahesh Dattani’s play, Lata strug-

gles between tradition and rebellion as her parents are about to meet the man she wants to marry. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$44. Opens July 24. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 9.

EMBOLDENED Reginald André Jackson’s play about jazz pioneer Buddy Bolden. Theatre Off Jackson, 409 Seventh Ave. S., theatreoffjackson.org. Pay what you can. Opens 7 p.m. Thurs., July 23. 7 p.m. Fri.–Sat. plus Mon., Aug. 3; 5 p.m. Sun. Ends Aug. 3.

GRUESOME PLAYGROUND INJURIES Rajiv Joseph’s play brings (together) Kayleen and Doug through adversity. Eclectic Theater, 1214 10th Ave., brownpapertickets. com. $15. 8 p.m. Fri., July 24–Sun., July 26.

THE HISTORY OF WAKING UP Shadow theater by Alisa Javits and Adam Lipsky “in the spirit of Ingmar Bergman.”

The Ballard Underground, 2220 N.W. Market St., 395-5458, ghostlighttheatricals.org. $10–$12. 6 & 9 p.m. Sun., July 26.

HOLD THESE TRUTHS A UW student challenges the WWII internment of Japanese-Americans in Jeanne Sakata’s solo show. ACT Theatre, 700 Union St., 292-7676. $15–$44. Preview July 22, opens July 23. Runs Tues.–Sat.; see acttheatre.org for exact schedule. Ends Aug. 16.

PETER PAN Think lovely thoughts during Village Theatre KIDSTAGE’s production. Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $18–$20. Opens July 25. 7:30 p.m. Wed.–Sat., 2 p.m. Sat.–Sun. Ends Aug. 2.

SEATTLE PLAYWRIGHTS STUDIO SHOWCASE Staged readings of new short works by locals. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burien actorstheatre.org. $6. 7:30 p.m. Fri., July 24–Sat., July 25, 2 p.m. Sun., July 26.

UHH YEAH DUDE This comedy podcast covers news, current events, and culture “through the eyes of two American Americans,” namely Seth Romatelli and Jonathan Larroquette. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $23.50. 9 p.m. Fri., July 24.

CURRENT RUNS

AFTER HOURS ArtsWest artistic director Mathew Wright

•

WIZZER PIZZER: GETTING OVER THE RAINBOW!

Amy Wheeler’s comedy about hijinks at a gay reparativetherapy clinic really ought to rethink its title. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, theatre22.org. $14–$25.

8 p.m. Thurs.–Sat. plus 2 p.m. Sun., July 26. Ends Aug. 1.

WOODEN O/SHAKESPEARE IN THE PARK Free outdoor productions of As You Like It and Henry IV, Part 1 in area parks. Runs Wed.–Sun.; see seattleshakespeare.org for complete venue & schedule info. Ends Aug. 9.

Dance

• YELLOW FISH EPIC DURATIONAL Producer Alice Gosti sets PERFORMANCE FESTIVAL

very few rules for this festival: Work should last at least an hour but less than two days, and audience members are free to come and go as they wish. Beyond that, it’s all up in the air. SANDRA KURTZ Hedreen Gallery, 901 12th Ave. Runs through Aug. 5; see facebook.com/yellowfish festival for schedule.

STRICTLY SEATTLE SEE THE PICK LIST, PAGE 18.

SEATTLE FESTIVAL OF DANCE IMPROVISATION

Presentations and discussions, free and open to all, starting July 28, plus performances July 30 & Aug. 1.

See velocitydancecenter.org for schedule.

Classical, Etc.

MUSIC FESTIVAL Recitals at 7 • SEATTLE CHAMBER July 22 Recital: a curious pairing for

p.m., concerts at 8. violin and piano: Part and Saint-Saens. Concert: Mozart, Poulenc, Brahms. July 24 Recital: Barber and Franck from pianist Inon Barnatan. Concert: A piano trio by Arno Babajanian (1921–83) and a string-trio arrangement of Bach’s “Goldberg” Variations. July 27 Recital: SCMF director James Ehnes plays a Bach sonata. Concert: Ravel, Mendelssohn, Dvorak. Benaroya Recital Hall, Third Ave. & Union St., 283-8808, seattlechambermusic.org. $48.

THE MET: LIVE IN HD SUMMER ENCORES On July 22, Renee Fleming in The Merry Widow; July 29, a 2012 Aida with Roberto Alagna. See fathomevents.com for participating theaters. 7 p.m.

SEATTLE GILBERT AND SULLIVAN SOCIETY Their smart and zesty production of The Pirates of Penzance probably won’t generate the same controversy that The Mikado did last summer; still, the presence of no actual Cornish people in the cast is troubling. Seattle Rep, Seattle Center, 800-838-3006, pattersong.org. $16–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends July 25.

OLYMPIC MUSIC FESTIVAL Chamber music each Sat. & Sun. at 2 p.m. through Sept. 13. This weekend, Mozart, Piazzolla, and more from the Anderson & Roe Piano Duo. 7360 Center Rd., Quilcene, Wash., 360-732-4800, olympic musicfestival.org. $20–$32.

OCTAVA CHAMBER ORCHESTRA New works for small ensembles. Maple Park Church, 17620 60th Ave. W., Lynwood, octavachamberorchestra.com. $15–$20. 7:30 p.m. Sat., July 25.

OPERA ON TAP An informal evening of Verdi, Gounod, and more. Paragon, 2125 Queen Anne Ave. N., operaontap. org. 7 p.m. Sun., July 26.

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

verdi

VERDI’S MONUMENTAL EPIC Ancient Babylon is the backdrop for this timeless tale of a proud king, a deceitful daughter, a nationless people, and a pair of star-crossed lovers. Seattle Opera Premiere!

With English Subtitles.

Evenings 7:30 p.m. – Sunday 2:00 p.m.

Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.

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SE ATTLE WEEKLY • JU LY 22 — 28, 2015

chats with five local actresses in a cabaret/interview hybrid; this week, Jessica Skerritt. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. Single tickets $25–$75. 7:30 p.m. Mon. Ends Aug. 17.

AND JESUS MOONWALKS THE MISSISSIPPI Marcus Gardley resets the myth of Persephone in the Civil War. Center Theatre at the Armory, Seattle Center. $15–$25. 7:30 p.m. Thurs.–Sat. plus Mon., July 27; 2 p.m. Sun. Ends Aug. 2.

CAFÉ NORDO “Summer Nights at the Culinarium” includes literary and performance events practically every night: Maria Glanz’ solo show Being Naked Mon.; “Out to Eat” on Tues.; “Wine Wednesdays”; “Drinkers & Thinkers” on Thurs.; Chef/Artist dinners Fri.–Sat.; “Readers & Eaters” on Sun.; and more. Nordo’s Culinarium, 109 S. Main St., brownpapertickets.com. Full info at cafenordo.com.

THE EPIC OF GILGAMESH Schmeater’s family show about the mythical figure and “first superhero.” Volunteer Park, schmeater.org. Free. 5 p.m. Sat.–Sun. Ends Aug. 16.

GAME NIGHT GONE BAD Game-inspired sketches reveal the truth behind chess, Hungry Hungry Hippos, and more.

Pocket Theater, 8312 Greenwood Ave. N., thepocket.org. $10–$14. 8:30 p.m. Fri.–Sat. Ends July 25.

GODSPELL Stephen (Wicked) Schwartz’s gospel musical is reset in Pike Place Market. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Aug. 15.

GREASE It’s the one that you want. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Aug. 2.

GREENSTAGE The Two Noble Kinsmen and Much Ado About Nothing free in area parks, plus stripped-down versions of Macbeth and The Two Gentlemen of Verona in smaller venues. Runs Thurs.–Sun.; see greenstage.org for complete venue & schedule info. Ends Aug. 15.

INTIMAN THEATRE FESTIVAL Tennessee Williams’ 1957 Orpheus Descending receives a novel staging

by The Williams Project from Providence, R.I. Director Ryan Purcell’s version features unconventional casting and a blurring of stage and audience, the mechanics of storytelling laid bare. It’s a heady mess that literal-minded viewers might loathe, but I loved glimpsing this lovecrazed psyche. MARGARET FRIEDMAN Following in the festival are John Baxter Is a Switch Hitter, Aug. 18–Sept.

27; Lillian Hellman’s The Children’s Hour, Sept. 9–27; and Bootycandy, Sept. 17–Oct. 3. 12th Avenue Arts & Cornish Playhouse. See intiman.org for complete schedule.

A MAZE Theatre Battery presents Rob Handel’s play, for which “you have to allow things not to make sense and trust that all will be revealed.” Theatre Battery @ Kent Station, 438 Ramsay Way, Suite 103, Kent, facebook.com/ theatrebattery. $15–$25. 8 p.m. Thurs.–Sat. Ends Aug. 1.

summer, see Spock get all horned up in “Amok Time.”

Blanche Lavizzo Park, 2100 S. Jackson St. Free. 7 p.m.

Sat., 2 p.m. Sun. Ends Aug. 9.

PEANUTTY GOODNESS Scott Warrender is workshopping his new musical, but he’ll need the audience’s help, Mad-Libs-style, with a few of the details. Theater Schmeater, 2125 Third Ave., 800-838-3006, brownpaper tickets.com. $20. 8 p.m. Thurs.–Sat. & Mon. Ends July 27.

SEATTLE AFTER HOURS Six “hot and lusty plays exploring the seedier side of Seattle.” Erickson Theatre, 1524 Harvard Ave., seattletheatreworks.org. $10. 10 p.m. Fri.– Sat. Ends July 25.

SIDEWINDERS An “existential transgender wild Western.”

Hugo House, 1634 11th Ave., 800-838-3006, fantasticz.org. $10–$15. 8 p.m. Thurs.–Sat. Ends Aug. 1.

SIX CHARACTERS IN SEARCH OF AN AUTHOR A Seattle-centric rethinking of Pirandello’s 1921 metatheater classic. Erickson Theatre, 1524 Harvard Ave., seattletheatreworks.org. $25. 7:30 p.m. Fri.–Sat. plus 2 p.m.

Sun., July 19 & 7:30 p.m. Thurs., July 23. Ends July 25.

THE TWO-CHARACTER PLAY Sibling actors are forced to perform in Tennessee Williams’ meta-play. New City Theater, 1404 Eighth Ave., civicrep.org. $20–$30. 7:30 p.m.

Wed.–Sat., 2 p.m. Sun. Ends Aug. 1.

WICKED With Alyssa Fox as Elphaba and Carrie St. Louis as Glinda. The Paramount, 911 Pine St., 877-784-4849, stg presents.org. $30 and up. 7:30 p.m. Tues.–Thurs., 8 p.m.

Fri., 2 & 8 p.m. Sat., 1 & 6:30 p.m. Sun. Ends Aug. 2.

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OPENINGS & EVENTS

• OUTDOOR TREK Star Trek episodes performed live. This

Photo © Philip Newton

Stage

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arts&culture» visual & literary arts Openings & Events ANDY BEHRLE He updates and reconstructs old radio

cabinets in his sonic sculpture show through static.

Opens Friday. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery. com. Noon-5 p.m. Fri.-Sat. Ends Sept. 12.

I COME TO YOU IN PIECES From Booklyn, Maria Walker joins locals Rachel Meginnes and Guy Merrill in a group show promising to grapple with “aging, imperfection, and death.” Opening reception, 6-8 p.m. Sat. The Alice, 6007 12th Ave. S., thealicegallery.com.

Noon-5 p.m. Sat. Ends Sept. 5.

Ongoing

JULIE ALPERT Come watch the artist direct a crew of

volunteers to create a large assemblage work (made of

“wood, paint, vinyl, paper, tape, cardboard, and found objects”) called Backdrop. MadArt, 325 Westlake Ave., N., 623-1180, madartseattle.com. Free. 11 a.m.–5 p.m. Wed. & Fri.–Sat., 11 a.m.–7 p.m. Thurs.

Ends Sept. 3.

CHIHO AOSHIMA In addition to 30-plus drawings and two large “dreamscapes,” her show Rebirth of the World includes anew 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. The corporeal, architectural, and natural realms blur together in her work. 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.

LEO SAUL BERK From childhood trauma, art? That’s often the way it works, especially for actors and writ-

ers, though Berk isn’t re-enacting any primal scenes or revenging himself on his parents for moving the family from England to rural Illinois in 1980. Leo was only 6 then; and as he notes in the wall text to Structure and Ornament, the next six years of living in a leaky, impractical quonset-like cluster of three domed structures (by architect Bruce Goff) ended their marriage.

Berk seems haunted by the place, and some of his images have a ghostly quality—forms and shapes half-remembered, echoed and translated into new sculptures and videos. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.-5 p.m.

Tues.-Sun. (Open to 7 p.m. Thursdays.) Ends Sept. 6.

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BY B R IA N M I LLE R

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

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Author Events SHARON DOBIE 36 doctors recall their most meaningful

interactions with patients in Heart Murmurs. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., July 22.

BOB SANTOS AND LARRY GOSSETT The story of ethnic activism in Seattle is told in The Gang of Four: Four Leaders, Four Communities, One Friendship, written by Santos (with Gary Iwamoto). Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m.

Wed., July 22.

CYNTHIA BOND Her novel Ruby is being compared to Toni Morrison and acclaimed by Oprah. Northwest African American Museum, 2300 S. Massachusetts St., 518-6000, naamnw.org. 7 p.m. Thurs., July 23.

NANCY PEARL & STEVE SCHER A taping of their podcast That Stack of Books. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. 7:30 p.m. $5.

Thurs., July 23.

GO SET A WATCHMAN A celebration of the release of Harper Lee’s rediscovered novel, with copies for sale. Redmond Regional Library, 15990 N.E. 85th St., 425-885-1861, kcls.org. 2 p.m. Fri., July 24.

JENNIFER ADLER Diet advice from the author of Passionate Nutrition. Bellevue Regional Library, 1111 110th Ave. N.E., 425-450-1765, bookstore.washington. edu. 2 p.m. Sat., July 25.

NEIL HANSON The author of Pilgrim Wheels: Reflections of a Cyclist Crossing America undertook the journey at age 57. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com.

6:30 p.m. Sat., July 25.

JAMES B. MOORE Spirit Unchained: The Autobiography of the Soul collects 40 years of his writing. Ravenna Third Place, 6500 20th Ave. N.E., 523-0210, ravenna thirdplace.com. 7 p.m. Sat., July 25.

JESSICA JACKLEY A co-founder of Kiva—a pioneering online microlending platform for working poor around the world—shares Clay Water Brick: Finding Inspiration From Entrepreneurs Who Do the Most With the Least. Elliott Bay Book Co., 1521 10th Ave., 6246600, elliottbaybook.com. 7 p.m. Mon., July 27.

JOHN LIEBERT New perspectives on mass murders in Psychiatric Criminology: A Roadmap for Rapid Assessment. University Book Store. 7 p.m. Mon., July 27.

EUGENE M. BABB Grit & Roses is his debut story collection. Third Place. 7 p.m. Tues., July 28.

RINKER BUCK For his The Oregon Trail: A New American Journey, he actually traveled it, by mule.

Elliott Bay. 7 p.m. Tues., July 28.

JIMMY CARTER A special visit from the 39th president to sign A Full Life: Reflections at Ninety. (Sold out.) Third Place. 7 p.m. Tues., July 28.

CORY DOCTOROW A chat with this sci-fi writer.

University Temple United Methodist Church, 1415 N.E. 43rd St., 634-3400, bookstore.washington.edu. $10. 7 p.m. Tues., July 28.

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NATSU MATSURI O U T D O O R S U M M E R F E S T I VA L

SEATTLE WEEKLY • JULY 22 — 28, 2015

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Brought to you by: Wismettac Asian Foods

• •

THE MOMS: STORIES OF SORROW AND COURAGE

Survivors of the death of a child come together.

Parkplace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m.

Tues., July 28.

DAVID NEIWERT’s latest explores Of Orcas and Men: What Killer Whales Can Teach Us. University Book Store. 7 p.m. Wed., July 29.

KEVIN O’BRIEN signs his latest, No One Needs to Know.

Elliott Ba, 7 p.m. Wed., July 29; Seattle Mystery Bookshop. 117 Cherry St., 587-5737, seattlemystery. com, Noon Sat., Aug. 1.

KELLI ESTES Her Orcas Island-set Girl Who Wrote in Silk looks back on a dark chapter in Seattle history.

Parkplace Books. 7 p.m. Thurs., July 30.

JENNY MILCHMAN As Night Falls is the latest mystery from this young writer. Seattle Mystery Bookshop, Noon Thurs., July 30.

JOSHUA MOHR A mass suicide on the Golden Gate Bridge is the tragedy that launches his novel All This Life. Elliott Bay. 7 p.m. Thurs., July 30.

PATRICIA S. ROGERS Nana’s Little Stories compiles tales she wrote for her grandkids. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 11 a.m. Thurs., July 30.

DEB CALETTI The Secrets She Keeps examines three marriages. Third Place. 6:30 p.m. Fri., July 31.

GROUP READING Six contributors to Blended: Writers on the Stepfamily Experience share their perspectives.

Elliott Bay. 7 p.m. Fri., July 31.

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

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

•

» film inexplicably reappears for a hand-to-hand fight in the final act. It feels exactly like an executive’s suggestion for one more big action scene before the end, and it’s much less clever than the rest of the picture. That aside, there’s plenty of healthy pulp here for fans to chew on. ROBERT HORTON

ish light cannon. (A royalty check is also surely due the King of Kong team.) It’s silly, bloodless fun—unlike Call of Duty or Grand Theft Auto, as Sam paternally lectures the young son of his military love interest (Michelle Monaghan, doing a lot with a little).

Much money and programming power have been devoted to making modern CG approximate old ’80s arcade icons, and the effect is blocky, nostalgic, and not a little charming— right down to the retro arcade sounds. (Yes, the 3-D is worth it, though less for the games that the smashing sight of Serena Williams in an azure ballroom gown.) It’s near-impossible to be frightened by a giant Pac-Man gobbling up Manhattan; so much so that its Japanese creator makes the mistake of trying to tame the rogue beast (a lift, surely, from Young Frankenstein). If there’s good to be found in that avaricious yellow creature, so, too, can Sandler earn validation in his baggy orange cargo shorts. BRIAN MILLER

Pixels OPENS FRI., JULY 24 AT MERIDIAN, THORNTON PLACE, LINCOLN SQUARE, AND OTHERS. RATED PG-13. 100 MINUTES.

Opening ThisWeek Do I Sound Gay? RUNS FRI., JULY 24–THURS., JULY 30 AT NORTHWEST FILM FORUM. NOT RATED. 77 MINUTES.

a through-line. The comments from showbiz speech therapists, about why people over-enunciate or draw out their s’s, are actually interesting.

Why such therapists exist has to do with their clients’ self-esteem issues and societal demands to fit in. Which reminds us of the subtext of this movie: Same-sex couples can get married, but some of them still feel pressured to deepen their voices when they say “I do.” ROBERT HORTON

A Hard Day RUNS FRI., JULY 24–THURS., JULY 30 AT GRAND ILLUSION. NOT RATED. 111 MINUTES.

OPENS FRI., JULY 24 AT SIFF CINEMA EGYPTIAN. NOT RATED. 89 MINUTES.

Dinklage brings welcome wit as Eddie, a fallen ‘80s gamer.

The premise and effects matter more than the casting, anyway. Earth is being invaded by “intelligent energy” that models its attacks on the 1982 video games NASA sent on a space probe (never mind why). Thus we see London, Guam, Agra, New York, and D.C. under assault

by Pac-Man, Donkey Kong, Galaga, Centipede, and Space Invaders. The sky lights up with colorful pixelated foes, and even the game scores, as Sam and ’80s-uniformed company—including the impressively committed Josh Gad and Peter Dinklage—blast away with very Ghostbusters-

I have never understood why anybody (outside of professionals in the biz) would care how a movie was shot or how much it cost. What matters is what’s up there onscreen, yes? Kudos to low-budget geniuses who work magic on a shoestring, but what does that have to do with how we watch the movie? So knowing that Sean Baker shot Tangerine entirely with iPhones may be worth a chummy “Cool story, bro,” but it’s not exactly news that anybody with a device can make a movie. More important is that Tangerine bristles with zany energy and unexpected humor, and that Baker has a fine eye for dynamic, on-the-fly angles in fast-food joints and inner-city streets.

In a rough L.A. neighborhood, transgender prostitute Sin-Dee (Kitana Kiki Rodriguez) shares a donut with her best friend Alexandra (Mya Taylor) on Christmas Eve morning.

Alexandra lets slip that Sin-Dee’s boyfriend/ pimp Chester ( James Ransone, excellent) has been messing around with someone else during Sin-Dee’s just-completed month in jail.

This leads to Sin-Dee’s day-long search for the other woman—nobody can remember her name exactly; it begins with a D—Destry? Desiree?

Anyway, Mickey O’Hagan plays the role like Laraine Newman drained of blood. Meanwhile, an Armenian cab driver, Razmik (Karren Karagulian), will soon hook up with the central odyssey. The film has uproarious moments, a few poignant ones, and some grubby references to the industry of sex. That’s where Tangerine—as in A Clockwork Orange, there’s no explanation of the citrusy title—steers into its diciest territory.

If Baker’s goal was to humanize people who aren’t often represented in movies by creating a performance-driven piece of slapstick, he has succeeded. On the other hand, we might legitimately feel queasy about the sunny depiction of a world that contains much real-life misery.

What tips the scales in justifying the movie’s screwball-comedy approach is the sheer human vitality of the people on screen, especially Rodriguez and Taylor. They come on like hectic refugees from Andy Warhol’s Factory, all-consumed by the theater of their own lives, defined but not limited by their transgender status. Five minutes after the movie starts, with Sin-Dee in full rampage, the more reflective Alexandra looks on

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

He hit someone while driving, and he should report it. But our morally swampy protagonist has a few drinks under his belt and a lot to lose, and besides, nobody is around this lonely crossroads. Anyway, he’s a South Korean police detective—he can handle this. From such fatal misjudgments, many entertaining movies have come, and A Hard Day is an entertaining movie. Plot holes and unlikely incidents will be glimpsed only in the rearview mirror, because director Kim Seong-hoon is moving too fast for us to work out the logic. The cop is Geon-soo (played by the believably crafty Lee Sun-kyun—you can see ideas crashing like waves across his face), a brash young homicide detective whose mother has just died. He concocts a brilliant/insane idea to hide the victim of his vehicular incident inside Mom’s coffin, a scheme that leads to a suitably crazy sequence at the morgue.

That’s a bravura sequence, but it’s only the beginning. Every time Geon-soo thinks he’s fixed the cover-up, another crack appears in his plan. Then a witness turns up, in the imposing form of a taunting fellow ( Jo Jin-woo) who has his own complicated agenda. The action becomes so supersized (you should be careful about standing too long underneath elevated freeways) that A Hard Day takes on the quality of a nightmare, which is probably the best way to experience it. There’s no way the threats against Geon-soo could be this constant or this huge, but it certainly is fun to watch them rain down on his head.

And, of course, to watch him try to solve each problem. That’s a big part of the appeal of movies like this (the Norwegian Headhunters was a recent example): We might not normally be on the side of the criminal impulse, but the spectacle of a desperate man trying to think his way out of a corner is hard to resist. A Hard Day finally offers one whopper too many, as a character

PTangerine

GEORGE KRAYCHYK/SONY/COLUMBIA

David Thorpe tells us he got the idea for his documentary when he was riding a train from his home in New York to Fire Island. Surrounded by gay men, Thorpe was struck by the sound of the voices he heard around him. Being gay himself, he wondered: “Do I really sound like that?” He quickly found the answer to be “yes,” and then decided the idea of a “gay voice”—how and why such a thing exists—might make a good subject for a personal-essay film. There’s an irony here, which is that so many practitioners of the firstperson documentary, from Michael Moore to Morgan Spurlock, seem to be in love with the sound of their own voices. Thorpe insists he isn’t happy with his. But he sure does talk a lot.

Do I Sound Gay? divides its 77-minute running time between tracking Thorpe’s own voicerelated worries and an examination of how the “gay voice” might have come into existence. On the latter point, Thorpe interviews researchers who have studied this phenomenon; they offer theories that sound just a little speculative. There are also clips of lisping movie characters, done without much depth (demerits for showing the ending of Laura, by the way). We also note ’60s TV personalities like Paul Lynde and Charles Nelson Reilly, whose waspish delivery made them stand out from straight comedians. Along with the academics, Thorpe is canny enough to seek celebrities to provide sound bites for his theme: Margaret Cho, George Takei, Dan Savage, etc. Some of the most thoughtful comments come from writer David Sedaris, whose one-liners—he notes that a grade-school speech-therapy class he took could have been called “Future Homosexuals of America”—don’t obscure his serious thoughts about what happens to kids who sound different.

There are enough amusing observations and anecdotes to make the film diverting. Thorpe’s own adventure in speech therapy—he practices methods to de-gay his delivery—is less convincing, and looks suspiciously like something a documentary filmmaker would do to give his movie

KINO LORBER

Lee’s cop wonders who’s in the coffin.

I can’t think of the last Adam Sandler movie I enjoyed, much less admired. (Punch-Drunk Love, obviously.) But what makes Pixels an enjoyable ’80s nostalgia ride is that it’s not, in its primitive 8-bit code, an Adam Sandler movie. Rather, the filmmakers are adapting a clever short film (by Patrick Jean, all two and a half wordless minutes of which you can find on Vimeo). So while Sandler is typecast as Sam—former ’80s arcade-game champ; now a tech-support drone in need of redemption—Pixels doesn’t feel like his usual angry man-child vehicle. The chip on his shoulder isn’t so large, and Sam’s childhood pal Will grows up to be less Kevin James-ey than expected (though still played by Kevin James).

Hold on—am I actually giving this movie a positive review? Critics generally hate Sandler and James; only their director, Chris Columbus, is a comedy pro who counts among his credits Mrs. Doubtfire, two Harry Potter movies, and Home Alone. He’s not from the Sandler combine, though Sandler (as producer) and his writers have infused the cheerful family comedy with familiar shadings of class resentment and triumphant mensch-hood.

» CONTINUED ON PAGE 22 21

arts&culture» film » FROM PAGE 21

SHOWTIMES

JULY 24 - 30th th

WILLY WONKA & THE CHOCOLATE FACTORY

and says, “This is too much drama.” She doesn’t actually believe that—this is all part of the performance, and without the performance, these formidable ladies would be just like anybody else.

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

ROBERT HORTON

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SEATTLE WEEKLY • JULY 22 — 28, 2015

“Uproarious. A must-see. Explodes with vitality!” - New York Times

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NOW PLAYING

FRI JULY 24 - THU JULY 30

EGYPTIAN

OPENS JULY 24 | EXCLUSIVE This refreshingly hilarious and raunchy comedy follows scrappy transgender besties on a Christmas Eve in L.A.

SIFF EDUCATION Crash Filmmaking for Youth AUG 8 & 22 | AGES 9 + Create a cohesive film in just 8 hours!

Steal That Shot Workshop SUNDAYS, AUG 9, 23, & 30 | AGE 13-18 Re-create scenes from classic films.

September Class

Feminist Imaginations Filmmaking Workshop

Cinema Dissection Fall dissections announced: Jaws, Night of the Living Dead, and Aguirre!

OPENS FRI., JULY 24 AT SUNDANCE CINEMAS. RATED R. 85 MINUTES.

511 QUEEN ANNE AVE N

OPENS JULY 24 Jake Gyllenhaal, Rachel McAdams, and Forest Whitaker star in this powerful boxing drama from director Antoine Fuqua (Training Day).

Satyajit Ray’s Apu Trilogy JULY 24 - 30 Gorgeous new 4K restorations on the giant screen!

SEATTLE CENTER · NW ROOMS

OPENS JULY 24 | EXCLUSIVE This riveting Sundance prizewinner unravels the prejudices and contradictions behind a 2012 shooting at a Florida gas station, when an interaction between a white middleaged man and a black teenager led to devastating consequences.

COMING SOON 7/31 ·

HELD OVER!

Cartel Land The stunning documentary follows two modern-day vigilante groups battling a shared enemy – the murderous Mexican drug cartels.

HELD OVER!

Gemma Bovary Gemma Arterton stars in this sexy and lighthearted re-imagining of Flaubert’s literary classic.

I Am Chris Farley

One Week Only | Exclusive Engagement

7/31 ·

Our Man in Tehran

One Week Only | Exclusive Engagement

7/31 ·

Boulevard

Robin Williams in his final roll.

7/31 ·

End of the Tour Jesse Eisenberg & Jason Segel

8/7 ·

Kurt Cobain: Montage of Heck

Return engagement with bonus songs.

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

It is the rare contemporary crime documentary that can outpace current events.

Such is the speed of reporting—whether print, TV, or online—that no tabloid trial or gross injustice goes unnoticed these days. I wish therefore that this doc had started with the conviction of white Florida man Michael Dunn for the first-degree murder of black 17-year-old Jordan Davis at a Jacksonville mini-mart, Smulders as knocked-up then looped back to explain. The notoriscience teacher. ous 2012 “stand your ground” shooting and its two trials were extensively covered, yet the An argument is being made—and I wish it were approach taken by filmmakers Minette Nelson true—in The New York Times and elsewhere and Marc Silver is narrow and essentially chronthat this is the summer when women are takological. They alternate between courtroom foot- ing over Hollywood. Think about it: Mad Max: age (mostly from the first trial) and background Fury Road (as much Charlize Theron’s picture as material with Davis’ family and friends. It’s well Tom Hardy’s), Pitch Perfect 2, Spy, Inside Out, and edited, and the scenes with Davis’ parents are Trainwreck. To that number can be added Kris predictably wrenching. (Of his suburban son, says Swanberg’s mild little indie, which wouldn’t be grieving father Ron, “It wasn’t like he was in a out of place on Lifetime. The cussing is rare and bad neighborhood.”) the sex discreet; there’s very little misbehavior What Nelson and Silver bring to their story in the rowdy but cheerful classroom of Chicago is access and empathy, salted with regular bursts high-school teacher Samantha (Cobie Smulders, of talk radio and TV news coverage (not the same of Results). As she and her star 12th-grade pupil thing as context). No matter what’s being said Jasmine (Gail Bean) bond over their unplanned about “thug music,” Davis and his buddies are pregnancies, men fade into the background. In presented as loud but completely normal mallrats, a neat if unintended reversal of most movies, it’s obsessed with girls, basketball, and music videos. the male characters who lack depth.

Weirdly, it’s Dunn who’s the most creepily Abortion is discussed, however briefly, so give compelling figure here. Divorced—the filmmakcredit to Swanberg—a former teacher—for that ers never say why—and avowedly successful in note of realism. Sam’s school is to be closed, life and career (more info, please?), he’s a case and she’d like to pursue a museum job despite study in white male victimology. Whatever forces her pregnancy. (Bland husband John, played by shaped him before the slaying are a mystery, a Anders Holm, would be happy to support her as real failure here. (The media are currently doing a a stay-at-home mom.) Jasmine has fewer options, much better job with Charleston shooter Dylann and here Swanberg might’ve delved deeper into Roof.) He exists only in courtroom testimony, issues of sociology and class. Sam’s track will police interview footage, and a chilling series of always be the easier one: Her husband has a job calls made to his pitiful fiancée. In conversations (never defined); she’s got a college degree; and from the jailhouse (recorded, as he knew), Dunn the only disapproval comes from her mother, fumes that he’s the victim, not Davis, “and now who wanted to plan a big wedding instead of a I’m being punished for it!” He goes on to blame courthouse quickie. (A nice irony: She’s played by baggy pants, absent fathers, and MTV for such Elizabeth McGovern, who faced similar qualms in supposedly dangerous and disrespectful black John Hughes’ 1988 She’s Having a Baby.) youths. “I’m not racist,” he insists. “They’re racist.”

Jasmine’s obstacles are much greater, and During these chats, you can hear his fiancée Unexpected deploys them late to teary, obvious recoiling in horror, which may explain the first effect. College is an idea that overeager Sam is trial’s most damning and dramatic testimony. In possibly forcing upon her. Yet that clash with her that courtroom, speaking of his alleged attackkind but clueless teacher is greased for easy recers, Dunn’s cognitive dissonance and unwitting onciliation, and both pregnancies proceed apace self-indictment are staggering. “Where is all that without complication. (I thought we were past hostility coming from?” he muses. Gee, I wonder. the pregnant-lady-likes-funny-food trope, but That white male hostility and privilege don’t no.) Swanberg, whose adorable young son starred get much examination, though the filmmakers in her husband Joe’s recent Happy Christmas, tries do follow Davis’ poised, pious mother to Capitol to be fair to all parties, which smothers the conHill. There, Senators Ted Cruz and Lindsey flict with a warm blanket. Of a woman’s balance Graham are palpably indifferent to her testimony between motherhood and career, Sam’s mom is against stand-your-ground laws. “Self-defense frank: “It’s a sacrifice either way.” While hardly is a bedrock liberty . . . ” Cruz begins his pompan original notion, it suits the box-office trend ous lecture, and the filmmakers simply cut right now. Or so I have read. BRIAN MILLER E away. Whatever the movie’s postscript, he and film@seattleweekly.com

FILM ARCADE

���� NE ��TH STREET | ���-����

805 E PINE ST

Unexpected

RUNS FRI., JULY 24–THURS., JULY 30 AT SIFF FILM CENTER. NOT RATED. 98 MINUTES.

JULY ��–��

THE ROOM

the other Republican presidential candidates continue to tailor their message to the Michael Dunns of the primary states. And in Florida today, Jordan Davis is just another young black man rendered ineligible to vote. BRIAN MILLER

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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).

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AMY

ANT-MAN in 3D / 2D JURASSIC WORLD in 2D / 3D CARTEL LAND

INFINITELY POLAR BEAR

LOVE & MERCY

THE THIRD MAN

MINIONS in 3D / 2D *Tickets available at the box office.

SUNDANCECINEMAS.COM

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» CONTINUED ON PAGE 24

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

the brain that music stimulates, where our deepest memories and feelings reside. This scientific material is offered here to buttress the rather remarkable anecdotal evidence we see for ourselves onscreen, as the power of music is used to revive the personalities of people with dementia and Alzheimer’s disease.

Filmmaker Michael Rossato-Bennett tags along with music-therapy proselytizer Dan Cohen as he travels to facilities for people living with dementia. He approaches people whose memory loss has put them in a dulled or lethargic state and invites them to listen to music from an iPod shuffle. When a song begins, the change is almost immediate: Eyes light up, limbs begin twisting, and stories pour out. If it isn’t a definitive argument in favor of using music as a therapeutic tool, it’s certainly dramatic. (NR) ROBERT HORTON Keystone Church, 5019 Keystone Pl. N., 632-6021.

Free. 7 p.m. Fri. (See meaningfulmovies.org for other screenings around town.)

THE CLEARING Karl Lind, from Portland, shows a collection of shorts. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. 7 p.m.

Tues.

COTTON ROAD Director Laura Kissel will introduce her doc about the global textile trade, ranging from South Carolina to China. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$11. 7:30 p.m. Tues.

DEMONWARP Trivial and other fun attend the screening of this 1988 horror flick, which could involve Bigfoot, aliens, or both. With George Kennedy. (R) Grand Illusion, $2. 9 p.m. Sat. FREMONT OUTDOOR MOVIES Arnold Schwarzenegger stars in the 1987 Predator, flanked by a well-muscled cast (Carl Weathers, Jesse Ventura, etc.) that nudges the movie toward ’80s action camp.

This is a 21-and-over screening. (R) B.R.M. 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies. com. $5-$10. Movie at dusk. Fri., July 24.

GIRLS OF SUMMER John Cassavetes’ directorial debut, the 1959 Shadows, follows interracial romance and more through the streets of Manhattan, with a score by Charles Mingus. Although dated, the excitement and energy of real locations and Method-school improv make this one of the most important and influential post-war American films. (NR) B.R.M. Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $10.25. 7:30 p.m. Tuesdays through Aug. 11.

HEAVEN ADORES YOU Near the end of Nickolas Dylan Rossi’s documentary about Elliott Smith, the late artist’s former collaborator Sean Croghan offers a hope: “Maybe we can just get past the drama and start to focus on what he created.” It’s a coda that affirms the artistry of Smith, the balladeer beloved by his fans for raw, emotional lyricism buoyed by an otherworldly sense of melody. Smith’s family evidently cooperated this time, so fans will enjoy this doc for the music alone. Between songs, Rossi traces Smith’s life through his discography. A montage of archival imagery and modern-day street scenes from Smith’s three artistic homes (Portland, New York, Los Angeles) provide visual cues, while old interviews with the plainspoken artist are, somewhat eerily, interwoven with commentary from nearly 30 close friends and colleagues, as well as his sister. (NR) MARK BAUMGARTEN Northwest Film Forum, $6-$11. 4 p.m. Sun. MADCAP GENIUS This Preston Sturges retrospective continues with the 1941 Depression-era picaresque Sullivan’s Travels, arguably the best his string of hit comedies. Joel McCrea plays the Hollywood golden boy director who wants to make serious fare (his vanity project is called O Brother, Where Art Thou?, as later referenced by the Coen brothers), then he goes out in the real world, finding real hardship, Veronica Lake, and a place on a chain gang. Laughter, he sensibly decides, is more important, and Sturges certainly knows how to supply those laughs. A classic.

(NR) B.R.M. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $42–$45 series, $8 individual. 7:30 p.m. Thursdays through Aug. 13.

MOONLIGHT CINEMA It’s 1976 all over again in Richard Linklater’s 1993 pot-hazed high-school confidential Dazed and Confused. Yet beneath the cannabis clouds there’s surprising insight into the inner lives of slackers, stoners, and jocks. Throughout, Linklater’s laid-back observational style reveals all the longing, languor, and half-understood notions of self that define what it means to be 18. And you can’t beat Aerosmith’s “Sweet Emotion.” Keep your (red) eyes peeled for Parker Posey, Ben Affleck, and Matthew McConaughey, whose muscle-car Romeo memorably declares, “That’s what I like about these high school

girls: I keep getting older; they stay the same age.”

Somehow Linklater almost makes that seem poignant.

(R) B.R.M. Redhook Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com. $5. 21 and over. Movie at dusk. Thursdays through Aug. 27.

MOVIES AT MAGNUSON The recent animated kid flick Big Hero 6, about an inflatable robot friend, is screened. (PG) 7400 Sand Point Way N.E., moviesatmagnuson.com. $5. Activities begin at 7 p.m., movie at dusk. Thursdays through Aug. 27.

MOVIES AT MARYMOOR The 1981 Raiders of the Lost Ark is a movie freed from the responsibility of fatherhood, much less adulthood. Then 39, Harrison Ford was more like the embodiment of the boyish dreams of producer George Lucas and director Steven Spielberg. Sure, he makes manly eyes at Karen Allen, but the lust—like the violence, in which movie-Nazis can be killed like flies—is only as real as in the movie serials that inspired the Indy franchise. In a thoroughly satisfying, always kinetic way, this first Jones flick lives inside its own archetypes, and Ford is too disciplined an actor to wink at the artifice. He always seems sincerely, physically invested in this iconic role, whether he’s outrunning boulders, being dragged under trucks, or recoiling from snakes. Here is Indy as we remember him: cocky, an improviser, irresponsible, but true to his course. He’s a man you want to be—not the same thing as being a role model (PG) B.R.M. 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com. $5. Seating at 7 p.m., movie at dusk.

Wednesdays through Aug. 26.

MOVIES AT THE MURAL Sean Astin joined fellow child actors including Corey Feldman in the 1985 fantasyadventure flick The Goonies, hatched by the powerful cartel of Steven Spielberg and Chris Columbus. (PG) Seattle Center Mural Amphitheatre, 684-7200, seattlecenter.com. Free. Outdoor movie begins at dusk.

Saturdays through Aug. 22.

MY LIFE IN GOOGLE Director Adam Sekuler, long associated with NWFF, creates a short film using Google Earth, Google Street View, and Google Maps. Live elements will be added, and the screening leads to an interactive walk around Cap Hill; viewers are encouraged to “come armed with memories to map and construction sites to plunder.” (NR) Northwest Film Forum, $6-$11. 8 p.m. Mon. POLK COUNTY POT PLANE Presented by Scarecrow Video, this 1977 crime flick was also known as In Hot Pursuit and likely made for the Southern drive-in circuit. It’s a contest between Georgia pot smugglers and the cops; we’re guessing that sympathies lie with the former camp. (PG) Northwest Film Forum, $6-$11. 9 p.m. Wed. SHAKE THE DUST This new doc by Adam Sjöberg follows hip-hop dancing around the globe, with stops including Colombia, Yemen, Uganda, and Cambodia.

The rapper Nas provides music (and produced the picture). (NR) SIFF Film Center (Seattle Center), 3249996, siff.net. $7-$12. 7 p.m. Thurs.

THE THIRD MAN Orson Welles stars in Carol Reed’s wonderfully atmospheric 1949 adaptation of the Graham Greene novel, newly restored in 4K digital.

Some people say that Welles exerted his influence on the picture over director Reed, but that’s unfair to the British pro. His use of skewed camera angles, Vienna’s labyrinthine sewers (shot on location), and a great zither score (by Anton Karas) makes Welles’ Harry Lime only one part of a dark canvas of corruption. Joseph Cotten plays the innocent Yank who can’t believe his old pal is involved in underworld drug-dealing and murder. (NR) B.R.M. Continues at Sundance Cinemas, 4500 Ninth Ave. N.E., 633-0059. See sundancecinemas.com for tickets and showtimes.

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

Bridget Fonda, Campbell Scott, Kyra Sedgwick, and Matt Dillon star in the roundelay. O for those slacker days of yore! (PG-13) B.R.M. 4410 California Ave. S.W., westseattlemovies.blogspot.com. Free.

Screens at dusk. Saturdays through Aug. 22.

WILLY WONKA & THE CHOCOLATE FACTORY The 1971 adaptation of Roald Dahl’s novel stars Gene Wilder as the flamboyant candy-preneur. Something of an artifact of its time, the movie packs in a lot of trippy period humor and visuals. Everyone hiss Veruca Salt!

(G) B.R.M. Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 7 p.m. Fri.-Mon. & Wed. plus 3 p.m. Sat.-Sun.

Voted Best Movie Theater

23

arts&culture» film » FROM PAGE 23

• INFINITELY POLAR BEAR If you’re going to be

raised in a chaotic, divided family by a bipolar father in 1978 Cambridge, let that father be Mark Ruffalo. In a fond and richly detailed account based on her own girlhood, Maya Forbes doesn’t offer much plot, but maybe she doesn’t need to. A brief prologue/montage of home movies shows a loving family before Cam (Ruffalo) enters a manic phase that lands him in the hospital. Despite the old money in his clan, Maggie (Zoe Saldana) and her two daughters are living in lowincome housing. Later, supposedly on his meds, the gentle dilemma is whether Cam—with Maggie away for an MBA at Columbia—can hold it together mentally while Mr. Mom-ing two headstrong girls. The singleparent routine is good for Cam, Maggie keeps saying (partly to convince herself), therapeutic; and the painful separation only furthers her determination to have her own money and career. Forbes doesn’t force the drama in this warm, mostly comic account. Life is messy and inconclusive, though a postscript shows us which way the girls are headed. (R) B.R.M. Sundance, Pacific Place, 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. 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. All of which makes the final harmony that much sweeter. (R) SEAN AXMAKER Sundance, others

Ongoing • AMY One of the year’s best films, Asif Kapadia’s docu-

mentary makes us cringe at its clickbait horror. Maybe we didn’t chase singer Amy Winehouse (1983–2011) down Camden streets with the paparazzi mob, maybe we didn’t introduce her to crack and heroin, but most of us surely clicked a few times on the lurid headlines about her spectacular fall into bulimia, booze, and drugs. Amy is mostly composed of archival montage augmented with new interviews. The early passages are unexpectedly cheerful as we meet a jazz-besotted teen fingering complex chords on her guitar and writing preternaturally sophisticated lyrics. There’s no omniscient narrator or script, but instead a chorus of voices and opinions from those who knew Winehouse: managers, fellow musicians, and old friends. Her father and husband speak with infuriating, selfish denial. (R) B.R.M. Sundance, Pacific Place, others CARTEL LAND Matthew Heineman’s doc follows two charismatic leaders of armed citizen militias standing up to drug gangs—one on the Arizona border, the second 1,000 miles south in Mexico. Neither man is quite what he first seems; and the longer Heineman follows them, the more fully we appreciate the deep and corrupting hold the drug trade has in Mexico. It’s a dispiriting and well-reported doc. And Heineman is brave enough to visit one gang, where a masked trafficker admits with a resigned shrug, “We know the harm we cause up there . . . but we come from poverty.” They’re trapped in the same cycle as the militia leaders. (NR) B.R.M. Sundance, SIFF Cinema Uptown

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TRIUMPHANT!

SEATTLE WEEKLY • JULY 22 — 28, 2015

“

24

”*

JAKE

FOREST

WHITAKER

GYLLENHAAL

RACHEL

AND

McADAMS

FROM THE DIRECTOR OF TRAINING DAY AND THE EQUALIZER FEATURING ORIGINAL NEW MUSIC FROM EMINEM *JOBLO

WRITTEN BY

KURT SUTTER

DIRECTED BY

ANTOINE FUQUA

STARTS FRIDAY, JULY 24 AT THEATERS EVERYWHERE CHECK DIRECTORIES FOR SHOWTIMES - NO PASSES ACCEPTED

Seattle Weekly

• ME AND EARL AND THE DYING GIRL Said dying

girl is Rachel (Olivia Cooke), a Pittsburgh classmate— but not friend—of high school senior Greg (Thomas Mann), a movie obsessive who wants nothing more to be the next Wes Anderson. Greg and Earl (RJ Cyler) are a misfit duo of filmmaking buddies in a chaotic, teeming public school. Director Alfonso GomezRejon helmed several episodes of Glee, and it’s fair to assume that he and screenwriter/source novelist Jesse Andrews still have all the slights and indignities of high school seared into their brains. 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, including My Dinner With Andre the Gian. However, in this unusual two-act structure, following a major misdirection ploy, there must be leukemia, Greg’s growing attachment to Rachel, prom, and finally a college-admissions crisis that the film doesn’t really need. (PG-13) B.R.M. Guild 45th, Lynwood (Bainbridge), others MR. HOLMES Now 93 and long retired to the countryside, Sherlock Holmes (Ian McKellen) has a pressing dilemma: His mind is fading. As he loses his memory, he tries to put down in writing what happened in his last case, some 30 years ago. He’s forgotten the details, but he knows that something went terribly wrong. In Bill Condon’s adaptation of Mitch Cullin’s 2005 novel A Slight Trick of the Mind, scenes from the old case reel through Holmes’ mind, as he recalls a mystery woman (Hattie Morahan) he was hired to observe.

More recently, the detective’s trip to post-WWII Japan, and his visit with a local admirer (Hiroyuki Sanada), become more significant as the film goes on. Adding to the mix are a plain-talking housekeeper (Laura Linney) and a naïve admirer—in this case, the housekeeper’s young son (Milo Parker), who helps Holmes with

beekeeping. There’s a lot of charm in the situation, although the detective story isn’t actually that compelling by itself. But Mr. Holmes is sneaky, because as it rounds to its purpose, it reveals a wonderful idea at its core: Sherlock Holmes, who disdains the romance of Watson’s short stories and prefers to deal only in facts, must learn how to accept the need for fiction. (PG) R.H. Guild 45th, Pacific Place, Thornton Place, Ark Lodge, others

ON A BRANCH REFLECTING ON • A PIGEON SAT Director of the gloomily hilarious 2007 EXISTENCE

You, the Living, Sweden’s Roy Andersson now follows a pair of salesman as they peddle fake vampire teeth and other novelty items. A note of philosophy is repeated: “We just want to help people have fun,” these grimfaced Willy Lomans insist. You’re not sure whether this line is used to sell novelties or let them cling to their last remaining threads of humanity. Other sequences present strange episodes of frustration and heartlessness, even though everybody keeps saying, “I’m glad to hear you’re fine.” Andersson composes every shot in the same meticulous way, as people move in and out of pale, tired rooms, interrupted by events both mundane and life-altering. The fact that Andersson never breaks his deadpan gaze—even during a horrifying dream sequence that touches on slavery and genocide—conveys the gist of his attitude about all this. You watch the movie, and you have the choice to scream at the dire state of existence or to laugh at it. (NR) R.H. Northwest Film Forum

BY B R IA N M I LLE R

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» music

How the contractual fine print of festival season limits local bands and bookers.

G

BY JAKE UITTI

KELTON SEARS

from another larger blackout,” he says, “so what we have is pared down. We bargained down all the blackout arrangements so that we could have time playing Seattle after our tour. But to be honest, the blackout has been relatively useful for us as a group. We went from playing shows nonstop all the time to having an excuse to sit down and work on new material and releases. Not that people don’t ignore their blackouts all the time . . . but it seemed prudent to use the time they expected us to be quiet well.”

But the problem is: Shouldn’t bands themselves be making that decision, not contractual black-out dates? Evan Flory-Barnes of local instrumental jazz group Industrial Revelation explains that the proximity restrictions associated with CHBP prevented his band from playing Sasquatch and opening for well-known jazz pianist Robert Glasper.

“I think blackout dates are from the same era as ‘pay to play’ and the era of playing for ‘exposure,’ ” Flory-Barnes says. “No one limits the opportunity for club owners and talent buyers to do their thing, but when it comes to a musician being entrepreneurial, it’s a different story.

Blackout dates represent an old model established when there was fewer people in the city and fewer people listening to music.”

Blackout dates aren’t controversial only in the Northwest. In 2010, Illinois launched an antitrust investigation into Lollapalooza’s stringent radius clauses, which restricted artists from playing within 300 miles of Chicago for six months before and three months after the festival.

I asked talent buyers for the big festivals—Tim-

ber!, Bumbershoot, and others—when blackout dates came into existence here in Seattle. No one knew. Chris Porter, who until this year was

the head talent buyer for Bumbershoot, said that when he came to work with One Reel in 1997, blackout dates existed only for national touring acts. “I don’t recall having a blackout period for club-level local acts until around 1999—and back then it was only one week on either side of the festival,” he says. Now, though, these restrictions have ballooned. The average blackout for larger festivals like CHBP is about 90 days prior to the gig and 45 days after, with a 150-mile radius. “All this for a 30-minute set,” says one prominent local band’s frontman who wishes to remain anonymous.

Chad Queirolo, vice president of AEG Live PNW, who has also booked the Showbox for 15 years and currently books the Marymoor Park Concert Series, says he thinks blackout dates have been around since the ’60s and ’70s. He finds them useful to create “excitement” when building a show, but acknowledged that they are problematic.

“It’s not just the local bands, it’s the touring bands too, bands like Built to Spill who are playing Block Party,” he says. “I lose them every few years because they’re playing festivals. It’s made it tough. Ever since Sasquatch got started and got popular—that was the first time I thought, ‘Oh man, this could be real trouble for the Showbox.’

This was about 10 years ago. Festivals certainly take bands out of the market. It does hurt clubs.”

Recently, punk bands playing in the Pacific Northwest have made a habit of flouting blackout-date restrictions. Two years ago, the band FIDLAR played a show at The Black Lodge the same night they played Bumbershoot and the heavy rock group Red Fang snuck in a secret show at the Sunset the day after they played the festival. Ty Segall’s band, Fuzz, played a secret set at a house in the U District the night before the band’s Sasquatch performance this year.

For Queirolo, conversation is paramount.

“We ask in our offers and in our contracts with bands playing Bumbershoot that you don’t book in Washington state without a conversation,” he says. “That conversation is generally me saying I don’t want another weekend show in Washington state unless it’s announced post-show.” But if a conversation is had, he says, then “it’s probably rare that I’m just going to say no.”

Artist Home’s Kevin Sur, who books the Timber! summer and winter music festivals, says he intentionally shares his contracts with local club talent buyers to make sure they find the blackout dates equitable. “Jodi at Chop Suey proofread it for me,” he says. “She said it looked awesome.” Sur notes that his main intention with blackout dates is to keep his festival lineups unique. “The last thing anyone wants is to have two festivals with a very similar lineup.”

In the end it seems problematic to impose limits on artists like Flory-Barnes who are popular, in demand, and worth seeing. He believes the market should work it out, not dated contracts. “If a band is killing it and has the attraction for three festivals, so what?” he wonders. “Why should an artist be limited? Why should they be penalized for being awesome? Blackout dates play into the idea of ‘scene,’ ” he says, “not community.” E

music@seattleweekly.com

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

etting booked to play a summer festival like Timber!, Sasquatch, or the Capitol Hill Block Party brings a band a certain prestige. Once lineups are announced, participants are often quick to promote the fact. But the increasing number of summer festivals also means something many music fans may not know about: blackout dates.

For most, the term “blackout date” refers to credit cards and airline miles. But in the music community, it means a specific duration before and after a show date during which bands contractually can’t play within a certain radius of a gig. It’s a type of non-compete clause.

This agreement has many ripple affects. It’s meant to discourage festival bill crossover and oversaturation of a band in a given market, as well as increase excitement for exclusive festival gigs. But it also limits a band’s moneymaking opportunities locally, and can tie the hands of club owners trying to bring in summer audiences.

“It’s rough on the whole music community,” says Jodi Ecklund, talent buyer at Chop Suey.

“Festivals attract a bunch of bridge-and-tunnel folks. They sell out prior to even announcing their lineup. It doesn’t really matter who’s on the bill. I have bands that cannot play again until October due to Sasquatch, Block Party, and Bumbershoot.”

Don Strasburg, co-president and senior talent buyer for AEG Live Rocky Mountains and AEG Live Northwest, the outfit that took over production of Bumbershoot this year, says he and his group look for a “certain level of exclusivity.”As Strasburg puts it, “overplaying is generally not going to help create desire. I’m not saying local artists should play once a year—but two months is not that long a time.”

Jason Lajeunesse, talent buyer for CHBP and booker for Neumos and Barboza, says his festival is “pretty flexible” with local bands. While the blackout dates vary for local versus national bands, he says, there is at least a 100-mileradius restriction with a 30–90 day blackout in advance of a show. “And, generally speaking,” he says, “as soon as the performance is over, it’s OK for bands to advertise their upcoming show.”

But here’s his hard line: “If we’re guaranteeing an artist up-front money to play, you can’t be playing the market multiple times.”

But therein lies the issue: Local bands aren’t making gobs of money from festivals—certainly not enough to make blacking out all these dates and venues financially worthwhile. Sometimes bands make as little as $200 per festival gig.

Split four ways, that’s hardly worth the time.

“If you’re an artist,” says Lajeunesse, “and want to build your career, you don’t want to be overplaying and saturating your market, as a rule. I don’t believe a band should be playing every three weeks if they want to make those shows special.”

Many might agree with this sentiment.

According to Daniel Chesney of local powerpop surf group Snuff Redux, the band’s CHBP contractual blackout dates for this year totaled “90 days, 45 before and 45 after (with a 120 mile radius). But we negotiated them down

25

arts&culture» music

Dex on Deck

A humble, rising rap star on the anime, boom-bap, and bus rides that inspire him.

BY DANIEL ROTH

those cats as a young cat. My pops used to have shows and I would be onstage, rocking with them.”

Despite his early exposure to hip-hop, Amora didn’t take rap seriously until he was 17 (“My parents always pushed college tough”). Surprisingly, it was his long interest in Japanese culture that inspired him to give a career in hip-hop a chance: Amora discovered the Japanese hip-hop producer Nujabes through the soundtrack to the anime series Samurai Champloo, and its impact was immediate. “It’s impossible to avidly listen to an artist like Nujabes and not have his music affect your consciousness and soul,” Amora says.

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Amora deftly handles tongue-twisting wordplay: “straight cut, no Neosporin, injecting neo soul spores straight into the core, rearranged decorum, while we’re speaking in forum, I am in rare form.”

Lesser MCs might have trouble being so verbose, but Amora handles it with ease. After all, hiphop is basically programmed into Amora’s genetic code: His mother and grandfather were both poets, and his father, sometimes known as Crowd Rocka or Funky Toez, was part of the Minnesota hip-hop collective-turned-record label Rhymesayers.

“I grew up in the cypher with Slug [of Atmosphere] and Brother Ali,” Amora says. “I grew up seeing

COUR

SEATTLE WEEKLY • JULY 22 — 28, 2015

F

or all his accomplishments, Dex Amora is remarkably humble. The 21-year-old MC, born Mika’il Atiq, is rising in the Seattle rap scene, readying to play his biggest show yet—Capitol Hill Block Party. But when I meet Amora for a late breakfast at Glo’s on Capitol Hill, talking over blueberry pancakes and eggs, he makes sure to tell me of the importance of his day job: “I feel like it’s something I need.

Not necessarily serving tables, but being of service to people,” Amora says. “ ’Cause a lot of cats, once they start getting up in the rap shit, or anything for that matter, they start believing that they’re better than others.”

When he’s not waiting tables, Amora is making chilled-out, classically minded hip-hop. On the mic, Amora’s lyrics are adept, his flow impeccable.

He attributes his ability to carry a rhythm to eight years spent playing the drums. Tellingly, Amora’s two favorite MCs are CL Smooth and Tajai of Souls of Mischief; he favors the same type of jazzy, sample-heavy production and the deft, lyrically dense flows that defined much of their work back in the day.

Amora spent most of his formative years in Minneapolis, going back and forth to Seattle to see his mom over winter breaks and summers. He didn’t officially move here until 2012, when he transferred to Garfield halfway through his senior year. He happened upon the nearby Garfield Teen Life Center, where he recorded his first two projects, Emergence EP and HerbsPenSoul. Amora credits DJ Surreal, aka George Yasutake, a recreation leader there, with helping him find his voice as a rapper. “I was just trying to find a style up until HerbsPenSoul,” Amora says. “[DJ Surreal] gave me the comfort and power in myself. He helped me open myself to the level of MC that I was.”

It’s plain to hear Amora finding himself on HerbsPenSoul, released in January 2014.

Standout track “Who I Be” is essentially an artist statement, a self-introduction. Rapping with a cautious but determined optimism, Amora admits his influences outright, name-dropping both CL Smooth and boom-bap, the production style that defines his work. Herbs is a point of pride for Amora—he still considers it his best work.

Herbs was followed by Aura EP last November.

As its title might suggest, Aura embraced the spiritual and the psychedelic, playing with more introspective and spaced-out ideas. On “manym00ns,”

Dex still draws inspiration from unlikely places: Seattle public transit, for example, has become part of his creative process. “I don’t like writing in the booth. I like writing on the Metro, actually. It’s kind of habit now. When I first got out here, that’s what I was doing, so it kind of stuck with me. I’m more comfortable on the back of the Link with my headphones on, writing something.”

In 2013, Amora started working at a restaurant

downtown, where he first met creative partner J’Von. Noticing they both sported throwback hightop fades, they hit it off immediately. The two work closely; J’Von partially produced, mixed, and mastered Aura and serves as Amora’s main DJ at shows.

Amora and J’Von are part of a larger group of artists, sometimes called Dex Dynamite Saga, that includes frequent collaborators Zuke Saga, E. Grady, and others. “Dex is the golden egg.

And I don’t just say that because I DJ’d a set for him and there were free burritos in the green room,” J’Von says.

“But he’s the only one out of the crew who could make music for a sunny day. He’s the only who could rock a set outside and have people moving.”

Though the rest of the group sees Amora as the frontman, he seems reluctant to take center stage. He’d prefer to share the spotlight and use his success to get the other members their due. “It works because, with us being in this group together, everybody, once they hear me, they see J’Von too, or they’ve heard of Zuke, and they’re like ‘Yo, let me check those cats out.’ And they’re like the backbone of the group,” Amora says. “And then [people] start to see those cats are really talented. Everybody in this group really spits. We’re all akin to each other.”

Amora plans to go back to school in the winter, to study Japanese at Seattle Central. He wants to keep experimenting, working outside the boom-bap that has come to define his sound.

His next project, Ai Level, is due in September.

The EP’s title ties back to his taste for Japanese culture. “It’s simple,” he says.”Amora is love; love equals ‘ai’ in Japanese.” It’ll be his first record in almost a year, but he isn’t rushing anything.

When I ask Amora’s camp about their aspirations, J’Von’s goals are lofty; he says he wants to be legendary. Amora, on the other hand, keeps a more level head, saying he can’t expect that for himself.

But if it comes, he says, he’ll be grateful. E

music@seattleweekly.com

DEX AMORA Capitol Hill Block Party, between Broadway and 12th Ave., Barboza Stage. Single-day pass $50.

21 and over. 3:45 p.m. Sat., July 25.

Grave Outlook

DJANGO DJANGO

Contemplating the End of Days with Grave Babies’ Danny Wahlfeldt.

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ksears@seattleweekly.com

GRAVE BABIES ALBUM RELEASE SHOW Everyday Music, 1520 10th Ave., 568-3321, everyday music.com.

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SE ATTLE WEEKLY • JU LY 22 — 28, 2015

phy he claims led him to enlightenment out of teenage depression) is rooted in an unflinching realism—a reasoned response to the world we find ourselves in in 2015. When The Guardian posts sincere, scientifically backed headlines like “The Earth stands on the brink of its sixth mass extinction and the fault is ours,” and politicians seem bent on reinforcing the broken systems that have lead us here, it’s hard not to succumb to the darkness. But Wahlfeldt and Grave Babies bassist Bryce Brown find solace in the idea that truth is a construct.

“It’s all very alarmist and everyone reads these articles and goes ‘We’re all going to die,’ ” Brown says, “but nobody really knows that. Humans can’t really know anything, I’ll be the first to admit it.”

“We all know things about stuff,” Wahlfeldt concedes, “but when we attempt to create a sustainable world for ourselves, it’s like, what do you even mean? How can we even know what that looks like?”

UW climate scientist Lara Whitely Binder once broke down in tears during an interview I conducted with her on this very topic—assessing what Seattle’s landscape might look like in the year 2100 based on the scientific literature’s projected climate impacts. “But I refuse to live with this cloud hanging over me,” she later wrote to me in a follow-up letter. “I see tremendous opportunity to make the world a truly better place in the solutions put forth regarding clean energy and sustainability. We can do this. Now I just need several billion people to think the same way.”

I ask Wahlfeldt about Binder’s outlook—whether she, and all the other humans confronting impending apocalypse with hope, are just fooling themselves. “Maybe the point is, you can do whatever you want, just don’t be a selfish animal moron,” he says.

“Just understand that you can’t just drive around, go to the mall, and eat at Taco Bell. But you can still be happy. Everyone is like ‘Oh you’re being negative,’ but it’s like, what’s so fucking positive about going to the mall?”

Fair enough. E ELEANOR PETRY

t Woodstock ’94, a shirtless Perry Farrell takes a moment during his performance of Porno for Pyros’ “Pets” to deliver a strange monologue. “Watch for the millennium!” he cries.

“In the year 2000, when the aliens introduce themselves to us! When you go to bed tonight, when you pray for your mother, when you pray for your father, pray that the aliens come and teach us how to live right.” He then leads the crowd in a round of the Billboard-topping song’s chorus, “We’ll make great pets!” It’s a strikingly dissonant moment—a massive crowd of humans ecstatically chanting about how we’ve irreversibly ruined our planet. How when the aliens take over, we’ll make great pets for our new overlords.

“When I heard that,” Grave Babies’ frontman/songwriter Danny Wahlfeldt tells me over a beer, “I was like, ‘Hey, that dude from Jane’s Addiction has a good point.’ That’s kind of what the new record is about. You’re a person. You’re a fucking animal. You don’t understand your place anymore as an animal, and I think we need to put some perspective on that.”

According to Wahlfeldt, Grave Babies’new album, Holographic Violence (out July 24 on Hardly Art), was written as “a last cry for sanity going into our dystopian future.” As that thesis might suggest, the Seattle band’s third LP—full of Yamaha drum machines, cold synths, driving melodic bass lines, and mournful lamentations—certainly references the all-black palette of ’80s darkwave and goth groups. But unlike the plethora of modern bands putting on that era’s trendy doom-andgloom get-ups, Wahlfeldt’s woe is real.

In the record’s frost-covered lead track, “Eternal (On & On),”Wahlfeldt stares headlong into the seemingly infinite cycle of human ambivalence and destruction from a distance. “On and on and on it goes,” he repeats ad infinitum over chugging synthetic tom and snare hits. “Wait and see is not an option/This is a matter of our time.”

“Not to contradict my own song,” Wahlfeldt says when I ask him about the tune’s chilling forecast, “but eventually, everything is going to crash and burn.

Any animal would do what we are doing in our situation. ‘Oh, I’m going to eat all this shit, I’m going to knock all this stuff over, we can kill all these predators off, not have to hunt to eat, and spend our time watching TV? Holy shit, let’s just order a burrito on the Internet.’ If we were watching any other animal do that, we’d tell them they are

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KGRG & SHOWBOX PRESENT

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w/You Me And Everyone We Know, Seasons Change, Like Pacific, Islvnd Doors 6:00PM / Show

6:30. ALL AGES/BAR W/ID. $10 ADV / $12 DOS

WEDNESDAY JULY 22ND FUNHOUSE

HOUR 24

w/Racing On The Sun, Drew N The Sea, Stiff Other Lip, Darkmysticwoods Doors 7:00PM / Show

7:30. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SEATTLE WEEKLY • JULY 22 — 28, 2015

THURSDAY JULY 23RD FUNHOUSE

28

NITROGEN LION SOCIETY w/Empty Vessel, Ice Teeth, MVRROW

Doors 8:00PM / Show 8:30.

21+. $6 ADV / $8 DOS

FRIDAY JULY 24TH EL CORAZON

It says something about the state of Capitol Hill Block Party that competing “block party alternative” events are going on the same weekend. COCK BLOCK PARTY is one of these, conveniently located at Unicorn within sneering distance of the big festival. Cock Block doesn’t have big names, but it does have air conditioning and the shows are inside, so you might have a chance of actually hearing the bands over the crowd noise. With Dræmhouse, Bottlenose Koffins, Black Wizards, Paralyzer, and more. The Unicorn, 1118 E. Pike St., 325-6492, unicornseattle.com. Free. All ages.

Through Sunday. DANIEL ROTH

Saturday, July 25

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

STIFF LITTLE FINGERS w/Dreadful Children, Kids On Fire

Doors at 7:00PM / Show at 8:00.

21+. $20 ADV / $25 DOS

SATURDAY JULY 25TH FUNHOUSE PUNK ROCK CIRCUS FEATURING:

THE BLOODCLOTS

w/Wreckless Freeks, Spiderface, Poop Attack, BURLESQUE BY Medusa’s Maidens

Doors 8:30PM / Show 9:00. $10

SUNDAY JULY 26TH EL CORAZON

THE CASUALTIES

w/Dayglo Abortions, Go Like Hell, White City Graves, Raw Dogs

Doors 7:00PM / Show 8:00.

ALL AGES/BAR W/ID. $13 ADV / $15 DOS

MONDAY JULY 27TH FUNHOUSE

BRICK + MORTAR

Doors 7:30PM / Show 8:00.

ALL AGES/BAR W/ID. $10 ADV / $13 DOS

w/Afterwords, Emily Castle, Plus Guests

TUESDAYJULY 28TH EL CORAZON

CHARLIE OVERBEY & THE BROKEN ARROWS

SEATTLE WEEKLY PRESENTS:

Doors 8:00PM / Show 9:00.

ALL AGES/BAR W/ID. $8 ADV / $10 DOS

Lo’ There Do I See My Brother

w/Dead Man, The Folsoms, Plus Guests

Friday, July 24

MIKE THRASHER PRESENTS:

Doors 6:00PM / Show 6:30.

ALL AGES/BAR W/ID. $10 ADV / $12 DOS

FRIDAY JULY 24TH FUNHOUSE

New Zealand-born, New York-based songstress TAMARYN’s first two albums were filled with the kind of daydreamy shoegaze that makes you feel sad and just a bit depressed—in a good way. But if her new single “Hands All Over Me” is any indication, she’s primed to emerge from that sadness cocoon as a Day-Glo, ’80s synth-pop butterfly. Come watch the metamorphosis unfold in real time. With Midday Veil, Youryoungbody. Sunset Tavern, 5433 Ballard Ave., 784-4880, sunsettavern.com. 9 p.m. $10. 21 and over.

DANIEL ROTH The video for SONG SPARROW RESEARCH’s newest tune, “Even Today,” features a stone-faced young man dressed in a couple of tacky suits, gyrating to the music. It’s pretty creeptastic, but SSR’s lush, intricate melodies and resonant harmonic vocals are too good to stop listening. Check out the band’s new record, Sympathetic Buzz, at tonight’s release show: maybe the creepy gyrating suit-man will show up. With Tofte, Honey Noble. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $5.

All ages. DANIEL ROTH

SATURDAY JULY 25TH EL CORAZON

VALADARES w/The New Tribe, Stereotype Nation, CON, Northern Shakedown

Wednesday, July 22

HELMS ALEE w/Coliseum, Arctic Flowers, Doors at 7:00PM / Show at 7:30. $12 ADV / $15 DOS

JUST ANNOUNCED 8/7 - A CRIME OF PASSION (CD RELEASE) 8/18 FUNHOUSE - LOST IN THE CITY 8/20 FUNHOUSE - THORAZINE 8/28 - TOXIC HOLOCAUST 9/15 - PUNK ROCK KARAOKE 9/16 - THE MAENSION 9/30 - STRAY FROM THE PATH 10/15 - THE BLACK DAHLIA MURDER 10/26 FUNHOUSE - SEAN NICHOLAS SAVAGE UP & COMING 7/29 FUNHOUSE - QUIET COMPANY 7/30 FUNHOUSE - GRAAAR! 7/31 - JOE KING CARRASCO 7/31 FUNHOUSE - ANTHONY RANERI 8/1 - ABSTINENCE DEVICE 8/1 FUNHOUSE - GAYTHIEST 8/2 - JOE MANDE 8/2 FUNHOUSE - JUNKYARD AMY LEE 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

CATHERINE RUSSELL WED, JUL 22

Award winning jazz, blues, soul and swing vocalist described as, gorgeously wistful, a true treasure, and an exceptional pleasure on tour in support of her new release Bring it Back.

JOHN PIZZARELLI QUARTET THURS, JUL 23 - SUN, JUL 26

World-renowned artist known for his sophisticated style of encompassing classic pop, jazz and swing, while setting the standard for stylish modern jazz

NEARLY DAN WED, JUL 29

This 11-member collection of the most highly skilled, career musicians brings the richness and complexity of Steely Dan compositions to life.

PONCHO SANCHEZ LATIN JAZZ BAND THURS, JUL 30 - SUN, AUG 2 Grammy-Award winning Master conguero and percussionist. A Latin-jazz superstar!

HALIE LOREN MON, AUG 3

Touring in support of her new release, Butterfly Blue

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

KELTON SEARS

FOREVER CAME CALLING

TheWeekAhead

JAZZ ALLEY IS A SUPPER CLUB

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

WEDNESDAY JULY 22ND EL CORAZON

a&c» music

SIC ILL

If you are one of those jackasses who thinks rap isn’t “real music” and video games aren’t “real art,” you should stay the hell away from tonight’s SIC ILL show. Meanwhile, the rest of us will be having the time of our lives listening to the Tacoma rapper’s brilliant lovelorn rhymes layered atop songs from the Sonic the Hedgehog soundtrack. Last time we talked, the self-proclaimed “nerdcore rapper” said he’s got an album on the way inspired by the songs of Castlevania. WHIP CRACK! With Dræmhouse, Is/ Is, Goldfronts. Hollow Earth Radio, 2018 E. Union St., 617-1683, hollowearthradio.org. 8 p.m. $5–$10. All ages. KELTON SEARS

Monday, July 27

Fresh off his performance at Capitol Hill Block Party, FATHER JOHN MISTY will be doing an intimate solo acoustic set. Space is limited and it’s pricey, but the event will benefit KEXP’s new home, so it’s for a good cause. Plus, when are you going to get this chance again? Better snatch up those tickets quick, kids. Columbia City Theater, 4916 Rainier Ave. S., columbiacitytheater.com. 3 p.m. $100. All ages.

DANIEL ROTH Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

Washington’s Pot Experiment, Year One

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he numbers for the first year of legal sold more than 22,000 pounds of cannabis in the first 12 months, as well as 700,000 maricannabis sales in Washington are in, juana-infused cookies and elixirs and suckers and it’s a bong-half-full situation. and taffy. The harvest was six million square Headlines about the tax revenue feet of plant canopy, producing almost 60,000 from HIGHERGROUND weed pounds. And that’s just the legal stuff—which experts estimate is only 10 to 15 percent of

BY MICHAEL A. STUSSER have what’s actually grown. (Damn black marranged ket . . . we just can’t quit you.) from “Rakes in Millions” to “predicted bonanza Another factor has been the tax strucnot materializing.” The fact is, sales brought ture—previously a brutal three-tiered excise$70 million dollars to the state’s coffers (off tax sandwich that hit farmers, processors, $260 million in sales, through June), which, and retailers with a 25 percent tax for each while perhaps not what analysts had hoped for, transaction, making it hard for any of them isn’t a poke in the eye with a sharp stick, either.

Fact is, legalization in the Evergreen State is to make a profit (especially after Uncle Sam takes his cut at the federal level, while still a ground-breaking experiment, with absolutely claiming that drug money is a felony). no prior information on what the hell retail The legislature just changed the law marijuana looks like. “Forecasters” (including to a still-high-but-notcampaigners originally hyping Initiative 502) deadly 37 percent tax made predictions because lawmakers and the upon purchase, public wanted some idea of what we were which takes getting into. Estimates ranged from $75 to effect this $500 million in sales, and the state’s original month. cannabis tax revenue forecast was $35 million for the first year—which we doubled. If ya had your allowance or salary doubled, you’d be jumping for joy. Here’s what we do know: With It took the Liquor Control Board a the cushelluva long time to begin licenstomer paying ing stores, and even longer to get the entire tax, its own name right (now the stores get a break Liquor and Cannabis Board). by not having to claim While 161 recreational revenue as income on fedstores are now open, eral filings. that’s less than half the number that should be The true tale of legalization, though, operational isn’t illustrated by dollars and cents, but by N I SH the public’s well-being. According to a survey by now.

CA NA N of more than 25,000 students, teen drug use IA BR did not rise in 2014, nor did the number of The teens killed in car crashes. Violent crime is licensed down (at a 40-year low). Arrests in pot cases retailers that are are plummeting (down 98 percent!), because open also had comit’s legal (duh) and—more important—possespetition from medical sion bookings aren’t taking cops off the beat dispensaries—though the legislature or their eyes off more serious crimes. We’re recently wiped out that competition with also saving a boatload that used to go toward the ignorant and oppressive Bill 5052. Firstweed prosecutions. Oh, and we like the new year sales also weren’t helped by hundreds of law: While the same percentage that voted right-wing local jurisdictions that put morafor legalization support it after a year (56 pertoriums and overly restrictive zoning rules on cent), only 37 percent now oppose the idea—a our legally approved pot businesses. decrease of seven points since the election.

What has been proven is that, once we Seventy-seven percent of us think marijuana’s know where to buy our legal herb, we head legalization has had no impact or a positive there in droves and buy the place out. The first one. In other words: It’s all good (man). month of legal pot, July 2014, saw $3.3 milThe Federal government did not crash the lion in sales and $840,000 in taxes; by June party. The sky did not fall—it revealed a green 2015, we had $43 million ringing into the rainbow which grew into the fastest-growing cash registers (average $1.5 million a day), industry in the entire country. Our citizens and $10.8 mil in taxes. In the end, Washingweren’t running around “hopped up on dope,” ton collected $20 million more in taxes from and legalization didn’t ruin lives or the econour rec weed than Colorado did in its first omy, which may be part of the reason Oregon, year. Green. Rush.

Alaska, and D.C. have since followed our lead The price of (legal) marijuana has also and legalized ganja themselves. jumped all over the board. At first, there Given 100 years of reefer madness and was barely any supply (go figure, the weed fear-mongering on the subject, the headlines needed to grow before we could smoke it), so should have read “First Year of Legal Devil’s prices were sky high, hitting $30 a gram. As Weed Leads to Zero Deaths and Minimal expected, as more retailers got the green light Mayhem or Drug-Crazed Abandon.” Maybe and more ganja hit the shelves, prices dropped we’ll get to all that in Year Two. E significantly, to about $13 a gram. Businesses For more Higher Ground, visit highergroundtv.com.

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A R T S A N D E N T E R TA I N M E N T

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

EOE. 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.

Vehicle and DL Required.

Email work experience to recruiting@ treeservicesnw.com.

Call 1-800-684-8733 ext. 3434

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

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

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

Must live in Seattle area.

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

Employment 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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Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: •

Receptionists

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Bookkeepers

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Administrative Assistants

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Executive Assistants

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Office Support Specialists

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That Sound Transit - Northgate Link Extension N125 Cross Passage Dewatering located at Maple Leaf Portal To UW Station, Seattle,WA 98115 has filed an application for an industrial waste discharge permit to discharge groundwater into West Point from its construction dewatering operation in the amount of 5.2 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.

There are multiple proposed discharge points along the alignment of the future Sound Transit Northgate Link Extension tunnel running from the Maple Leaf Portal, located at 9560 First Avenue NE to the University of Washington station, located at 3720 Montlake Boulevard NE, Seattle, WA 98115.

Temporarily Yours Staffing

Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parksí action on this application, should notify the King County Industrial Waste Program at 201 S. Jackson Street, Suite 513, Seattle, WA 98104-3855, in writing, of their interest within 30 days of the last date of publication of this notice.

“The friendliest and preferred agency”

Publication dates of this notice are: July 22, 2015 & July 29, 2015

NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!

206.386.5400

720 3rd Ave. Ste. 1420 - Seattle, WA 98104

My one reason?

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Earn money To II care To show show care about my community while saving lives about my community You only need one reason to donate plasma. by a plasma Youbecoming only need one reason todonor. donate plasma.

Find out how becoming a plasma donor can make a difference for patients and Find aa plasma help out you how earnbecoming extra money.

Find out how becoming plasma donor donor can can make make aa difference difference for for patients patients and and help help you you earn earn extra extra money. money.

As a new donor you can earn up to $65 this month. Donate today at: You earn $300 your month. today at:today at: As acan new donor you canin earn upfirst toSeattle $65 thisDonate month.

Donate Biomat USA - over 7726 15th Ave. N.W., (206) 782-6675 Biomat USA Biomat USA -- 7726 7726 15th 15th Ave. Ave. N.W., N.W., Seattle Seattle (206) (206) 782-6675 782-6675 In addition to meeting the donation criteria, you must provide a valid photo I.D., proof of your current address and your Social or immigration card I.D., to In addition to meeting the donation criteria, youSecurity must provide a valid photo donate. be 18 years of age years of Security age in Alabama) or older to donate.

In addition to meeting the donation criteria, you must provide a valid photo I.D., proof of Must your current address and(19 your Social or immigration card to proof of Must your be current address and(19 youryears Socialof Security or immigration to donate.

18 years of age age in Alabama) or oldercard to donate. donate. Must be 18 years of age (19 years of age in Alabama) or older to donate.

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just $9 per line per week (or less if running long term) Contact 206-623-6231 classifieds@seattleweekly.com

SE ATTLE WEEKLY • JU LY 22 — 28, 2015

TECHNOLOGY TIBCO has openings for Seattle, WA: Architect, PGS [Ref SWA6] Understanding of TIBCO Master Data management & other various TIBCO products suites; Architect/Principal Engineer, QA [Ref SWA7] Software developer in test (SDET) position in the areas of Web services. Mail resume to TIBCO Software Inc., C. Ramirez, 3307 Hillview Ave., Palo Alto, CA 94304. Must include Ref# to be considered and have unrestricted U.S. work authorization.

No phone calls, pls.

NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7921-01

EVENTS

MUSIC

HUGE MOVING SALE July 24th-25th 9am-5pm Moving and must sell everything! Furniture, household items, man tools, sports gear, lawn/ garden tools, toys, linens, clothing, books and much more.

Large doll collection and baseball card set for sale by appointment. Also have complete set of GE kitchen appliances and washer/ dryer for sale in new house near Olympia! Contact owner at 425-488-3463 for info.

Please no early birds 14810 119th Place NE.

KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS

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

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

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Call

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@ 206-623-6231, to place an ad

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

$100 TO $1000

7 Days * 24 Hours Licensed + Insured

ALL STAR TOWING

425-870-2899

HAPPYHAULER.com

Debris Removal • 206-784-0313 • Credit Cards Accepted!

SEATTLE WEEKLY • JULY 22 — 28, 2015

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Pacific Galleries Antique Mall Please join us for our yearly Parking Lot Flea Market Sale. All spaces are sold out so there will be lots to choose from. We are located at 241 South Lander Street in the Sodo Area. Saturday, July 25 8:30-3:00.

(206) 292-3999 Plenty of parking! We have rented the lot across the street for your convience!

Severe Allergies? Autoimmune Disease?

Earn $185 per plasma donation - Your plasma helps advance medical research! plasmalab.com 425-258-3653

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062 WE PAY CA$H FOR OLD VIDEO GAMES! New Store Now Open in Bellevue!

GAME OVER VIDEOGAMES Crossroads Mall (by movie theater) ------- 425-746-GAME ------www.gameovervideogames.com

Do you have PTSD and alcohol problems?

Seeking free treatment?

Paid research opportunity.

Call the APT Study at

206-543-0584.