Seattle Weekly, August 19, 2015

N I L E E H » W E E R F AUGUST 19-25, 2015 I VOLUME 40 I NUMBER 33

SEATTLEWEEKLY.COM I FREE

MUSIC FROM LOCAL DIY TO ICELAND, BRIANA MARELA’S CHORAL WAVE IS CRESTING PAGE 24

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’ N I L E E H EE W

allenges h c t h g i N otorcycle M e r fi culture. k c r a e k B i . b k t n u u o DIY. P u know ab Page 8 o y k n i Inclusive. h t you Pogue n o t a e everything K r

By Trevo

Food Fetish

Chef Derek Ronspies aims to turn diners on to offal.

By Jay Friedman Page 13

Tourist Town!

A defense of summer gawkers and sidewalk-blockers.

By Alyssa Dyksterhouse Page 16

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SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

inside» August 19-25, 2015

BALLARD NOW OPEN

VOLUME 40 | NUMBER 33 » SEATTLEWEEKLY.COM

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news&comment 6

8

LOVE FOR SALE

BY CASEY JAYWORK | Should sex work be decriminalized? A call girl and her customer say yes. Plus: Amazon fallout; the Mariners roller-coaster; and privately owned public spaces as a bulwark against vagrancy.

BIKE-CURIOUS

BY TREVOR KEATON POGUE

Ballard’s Backfire Motorcycle Nights draw lovers of vintage motorcycle culture—and might just change your mind about bikers.

food&drink

13 SPARE PARTS

BY NICOLE SPRINKLE | How Derek

Ronspies became the ambassador of offal.

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

arts&culture

16 TOURIST TOWN!

BY ALYSSA DYKSTERHOUSE | An

insider’s defense of the summer invasion.

16 | THE PICK LIST 18 | OPENING NIGHTS | Seattle

Opera’s Nabucco.

20 | PERFORMANCE & BOOKS

21 FILM

OPENING THIS WEEK | Marlon Brando,

23 | FILM CALENDAR

24 MUSIC

BY KELTON SEARS | Briana Marela

wants to know what love is—and goes to Iceland to look. Plus: The Dip’s hot jams and hot sauces; interpretive dance meets power electronics.

28 | THE WEEK AHEAD

EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller

Dog Daycare • Dog Boarding Dog Grooming • Dog Shop

Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork

Downtown Seattle 206/623-5395

Editorial Interns Alana Al-Hatlani, Jennifer Karami, Daniel Roth Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael A. Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Christopher Zeuthen ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman

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UPCOMING CONCERTS V. Contreras

Thurs, August 20 | City Hall Plaza

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Fri, August 21 | Freeway Park

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Tues, August 25 | IBM Building

Senior Multimedia Consultant Krickette Wozniak

FREE CONCERTS ALL SUMMER LONG!

Multimedia Consultants Rose Monahan, Peter Muller, Matt Silvie

SummerinSeattle.com #OTLconcerts

DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich

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»cover credits PHOTO BY TODD WERNY

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Evel Knievel, and busting your cherry in 1976 San Francisco.

Editor-in-Chief Mark Baumgarten

3

JOHNNY ACURSO

“I stayed at Amazon one year and one day. The exact time required to have my golden handcuffs removed.

It was honestly the worst place I have worked in my 20 years in IT.”

chatterbox the

One simply need look at the LOCAL talent and what they think of Amazon to determine the truth.

The LOCAL talent won’t even return Amazon’s call when their recruiters come ringing.

It’s not just Amazon’s reputation via pieces like the Times—it’s second-hand knowledge of the company’s practices by survivors of the meat grinder.

I don’t even know how many Amazons and former Amazons I’ve interviewed over the last few years. The number is staggering. Every time I put out a job listing for a dev or an ops engineer, a full 60 percent of the submitted CV’s are One thing I’d like to point out (as a current from current or past Amazons.

Amazon employee) is that Every last one of them that has the misconception that we Send your thoughts on been there less than two years all get “fatty paychecks” and this week’s issue to says the reason they’re leaving are living “high on the hog” letters@seattleweekly.com is the culture, lack of work/ is an act of fiction. life balance, and the complete A good-sized facet of subjugation of oneself to the altar of Amazon. the Amazon employee pool is paid an hourly wage that equates to providing a means of living Almost every last one of them I’ve talked to that made it more than five years with the comvery close to paycheck-to-paycheck by Seattle pany displayed a personality that had become so living costs. This is why there is such an intense warped and jaded to the Amazon way of thinkpressure to perform, in hopes of moving to the ing depicted in the New York Times piece that next level in employment. This is also why so they were essentially damaged beyond repair many don’t simply quit and move on to a differand unhirable. It got to the point that I’d look at ent company (and also why many do). a CV and, if I saw five years plus at Amazon, I’d I know people are steadfast on the idea that immediately bin it.

Amazon is the reason living costs have become so high in Seattle (which is true, to an extent).

Locutus Borg, via seattleweekly.com Though I can’t help but believe that the reason property owners and managers are hiking up I stayed at Amazon one year and one day. The the rental costs (on the assumption that Amaexact time required to have my golden handzon employees can afford them) is along the cuffs removed. It was honestly the worst place I same lines of greed as mentioned in your comhave worked in my 20 years in IT. ment about the employees. If everyone decided Scott T, via seattleweekly.com that they just won’t pay those high rental costs, others will come along that will.

I spent two years at Amazon (in Kindle and AWS) before I quit due to burnout, and [the Scotty, via seattleweekly.com Times piece] is the best summary I’ve read of the work environment there. One thing I’ll The crux of Bezos’s dilemma is the use of add: A huge portion of Amazon’s workforce is the Amazon Leadership Principles. He truly immigrants, mostly from China and India, here believes employees at his company internalon H1-B visas. This isn’t a “they terk err jerbs” ize them and follow them. They don’t. Instead complaint—I’m pro-immigration. However, they pay it lip service because they believe that the H1-B is backed by an employer, so if the is what he wants to hear, and then spend their days trying to figure out how to take work off of employee quits or gets fired, they need to find a new employer willing to sponsor them, or leave their plate and put it on someone else’s. the country. What this leads to is that a sizable Why would they behave in a way that is the minority of Amazon’s employees are basically complete opposite of teamwork? Because it indentured servants. They’re afraid to push back works. Again and again the do-nothing “Big on unreasonable work expectations, or to rock Picture Thinkers” and Kabuki Theater handthe boat by suggesting major changes to the wavers in the conference room get the promoworking environment. Getting fired is equivation while the frazzled 80-hour-a-week “bitter” lent to deportation in most cases. employee is passed over because he is just too negative, darn it! rabidfurby, via Reddit E DorsalMorsel, via seattleweekly.com Comments have been edited for length and clarity.

WRECKED IN TECH

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

Over the weekend, The New York Times published a long report examining workplace culture at Amazon. As Rick Anderson wrote on our blog, Amazon’s office work environment was described as “bruising” by reporters Jodi Kantor and David Streitfeld, who interviewed 100 present and former workers for the story. Employees enduring personal crises were dealt with harshly, while others were encouraged to “diplomatically throw people under the bus” to get ahead, the Times wrote.

Readers took to our website to share their stories.

4

NINKASIBREWING.COM

#TOTALDOMINATION

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

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5 Bellevue Square LRA 9-15 One Page.indd 1

8/7/15 1:35 PM

news&comment Old Profession, New Debate

A call girl and her john on why they support Amnesty International’s call for legalization.

SeattleBriefly

Fast takes from the news desk

BY CASEY JAYWORK

I

n his 20s, Toby married the woman of his dreams.

In his 60s, she began to die. Slowly. The disease took her voice and her touch and her mind. For about five times the annual salary of the average Seattleite, he pays doctors to keep her alive, technically, one year at a time.

For the first time since he was a young man, Toby sleeps alone. His children introduced him to online dating sites as a way to meet another woman—a companion, not a replacement. For a while it seemed as if things would work out with one woman, but finally she couldn’t cope with the fact that he was still married.

That was when Toby realized that as long as his wife lived, he was unlikely to find anyone else.

“That was a very lonely discovery,” he says.

Cracking the Amazon Smile

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

after she won an amateur stripping contest. It was dignified work, in its way, with no pretense, no hedging about the role of her sex appeal in the business transaction. The guys were there to see her tits, period. She says she felt “objectified, yes, but it was on my terms, on my time, and I got paid for it.”

But she got tired of being managed. She didn’t like having her hours dictated, paying $130 every night for the privilege of dancing, or being told that she was spending too much time talking to clients. She started reading Maggie McNeill’s blog The Honest Courtesan (maggiemcneill. wordpress.com), a digest of news, commentary, and anecdotes compiled by a sex worker about her industry. It was from McNeill that Sarah learned she could sell sex and be safe doing it: how to screen clients, how to have a safe person who expects her to check in by a certain time, how to meet the client in public before their first session.

She decided to go for it, and became a freelance sex worker.

6

Sarah’s work is criminal, here and throughout

most of the globe. Sold sex is synonymous with human trafficking, the rationale goes, so legal prohibitions against slavery must prohibit prostitution too.

While there’s no doubt that sex slavery exists, a growing list of human-rights and public-health organizations are questioning its equation with prostitution. Last week, Amnesty International voted to endorse the decriminalization of sex work. Far from combating abuse and human trafficking, they say, blanket prohibitions on selling sex makes workers (mostly but not exclusively women) more vulnerable by making it impossible for them to go to the police even when they are being harmed or exploited.

Earlier this month, city attorney Pete Holmes and county prosecutor Dan Satterberg, together with researcher and activist Debra Boyer, penned a Seattle Times op-ed opposing the Amnesty vote. In it, they wrote, “Sex buying causes harm—we must have no illusions about that” and listed a series of appalling statistics describing

JOSE TRUJILLO

In her 20s, Sarah started dancing at a strip club

the violence in the trade and the youthfulness of prostituted women.

Many women involved in sex work, however, say that the image of underage girls forced into prostitution is highly distorted. They dispute a statistic cited by Holmes and Satterberg stating that the average age of entry into prostitution is about 13, pointing out that the number comes from a 2001 study that specifically targeted child prostitutes. They also highlight stories like Toby and Sarah’s, whose names Seattle Weekly has changed for security purposes, to show that sex work is more than cheap tricks in dirty hotels.

Well after midnight, Toby stared into the virtual

abyss of his laptop screen, his face and chest and bedsheets bathed in its cold light. Craving human connection, he wandered the web.

He stumbled onto a Reddit Ask Me Anything (AMA) forum in which a Seattle call girl, with occasional input from her beau, was fielding questions. To his surprise, she came off not as pitiful and sad but as articulate and graceful as she explained how this was her contribution to the world: companionship.

Toby followed the link to her website. He saw pictures of a gorgeous female body, her face obscured. He saw well-written blog posts. And he saw a calendar showing her availability.

The first time Toby stepped through the door of the apartment that Sarah uses for work, the shades were drawn, and the only light in the room came from candles and red-and-blue Christmas lights hanging from thumbtacks in the wall. The session started gently, with half an hour of chit-

chat on the couch, as Sarah does with all her clients. Later, when they were both naked and oiled, him lying on his stomach and her lying on him, he could feel the entire length of her front sliding up and down the entire length of his back.

For him, this wasn’t just sex. This was intimacy.

This was touch.

Toby has seen Sarah once a week for about a year now.

She doesn’t do “full service”—that is, intercourse. Instead she does full-body sensual massage, which comprises her doing things to him but not him doing things to her. “She’s one of the people in the world, and there’s not a lot of them, that I can just hang out with as a peer in many ways,’ ” he says. “There are very few people her age that I can say that [about].” If it were just sex, he says, it wouldn’t have lasted this long.

Toby hopes to eventually remarry. He sees himself as still faithful to his wife. She’s no longer able to communicate, but he’s confident that if she could, she’d say that what he’s doing is OK, because he needs it. He says he’s told his doctor, his counselor, some close friends, and his daughters.

While each offered advice and concerns, he says, all ultimately support his relationship with Sarah.

She is not the only working girl he sees. “The women I’ve connected best with,” says Toby, “are in long-term romantic relationships of their own . . . because they know what it’s like. I’ll be with them, holding them around, naked, and start to talk about their partner, and I see the light in their eyes—it’s wonderful. It’s the light that I know, and I know they know it.”E cjaywork@seattleweekly.com

When The New York Times on Sunday published a scathing account of the working conditions at Amazon’s South Lake Union headquarters, Jeff Bezos and his fresh-from-the-White-House spokesman Jay Carney didn’t come out and say it was wrong. Rather, the owner of The Washington Post took a more slippery, Beltway-ish tack, stating that if there are abusive labor practices at the company he founded 20 years ago, nobody told him about it. And if this were the way Amazon operated, Bezos continued, then he himself would quit. That leaves it to the general public to deduce that, since he’s not quitting, the story must have gotten it wrong. We seriously doubt that.

With its employees contractually barred from speaking about the company, Amazon has been nearly impossible for journalists to cover in any substantive way. So the fact that Times reporters Jodi Kantor and David Streitfeld were able to get more than 100 current and former employees to talk to them, period, is impressive. Since the piece came out, Seattle Weekly has spoken with one former employee who says Kantor contacted her nearly nine months ago to talk about Amazon workplace culture. The former employee says that Kantor’s questions didn’t seem leading or biased; she wanted to know what it was like to work at one of America’s most important companies, and felt readers would be extremely interested given Amazon’s famously unique and secretive corporate culture. This employee ultimately declined to go on the record, but many others did.

Sunday’s piece was clearly the result of an incredible amount of reporting—rare in today’s media landscape. The closest Bezos has come to contrition since the piece published was to encourage Amazon employees to read it. Hopefully he’ll ask his staff at the Post to do so as well.

No-Hitters

This week of Mariners baseball has proven yet again that, above all else, the universe seeks balance. Last Wednesday, starting pitcher Hisashi Iwakuma threw a no-hitter, the fifth in Mariners history. Kuma has long been a pleasure to watch, but he’s been underappreciated on account of his total lack of flair—unless you count that funny little kick in his windup that has a way of throwing off batters’ timing. The humble right-hander’s time in the spotlight was a precious moment of mirth in this largely dismal season. Then came the Boston series. In three games, the Ms gave up 45 runs. In Saturday’s game, the Red Sox’s runs, 22, equaled the Denver Broncos’ score against the Seahawks in their Friday preseason game at CenturyLink Field.

And the cosmos wasn’t done humbling the Blue.

On Monday, Fernando Rodney—the anti-Kuma, the pitcher with nothing but flair—notched his fifth loss of the season. He faced five batters in the ninth; four reached base and none got the ball out of the infield. The winning run was scored when Rodney walked former Mariner Adrian Beltre with the bases loaded. It was a no-hitter of another sort. E news@seattleweekly.com

Cures for the Commons

Seattle finds ways to dodge the huddled masses.

BY DANIEL PERSON

D

uring a recent lunch hour in Pioneer Square, men and women dressed on a scale of business-casual to touristpractical sit and take in the roaring calm of Waterfall Garden Park.

This urban oasis opened in 1978, a gift from the Annie E. Casey Foundation, an endowment whose wealth is due largely to the success of the United Parcel Service, founded where the park now sits. Today it remains owned and operated by the foundation for the benefit of Seattle residents.

There are many obvious reasons for Waterfall Garden Park’s popularity: its cascading namesake fountain; the lush, well-manicured garden. But spend a little time there, and another, subtler, element comes to the fore: By not being taxpayerfunded, park staff can be a bit pickier when it comes to who whiles away their time there—a

outside in King County broke 10,000 this year—a more illiberal dynamic may be coming into relief: the search for public spaces that aren’t quite public.

A few blocks away from Waterfall Garden Park is the courtyard of the King Street Center— a blocky municipal office building not technically owned by the county. Its back courtyard is open to the public with a firm right to refuse service— no sleeping, etc.—drawing rave reviews from those who lunch there.

A woman named Chris, who declines to give her last name, says she avoids public parks in the Pioneer Square area. “There’s a lot of people— I don’t know if they’re homeless, but asking you for money,” she says while munching on a sandwich in the courtyard. “I’m trying to find a nice place where you’re not always getting, you know . . . hassled.”

Artists in the Arbor Every Wednesday, August 19 to September 2, Bumbershoot artists will take over The Arbor at Collections Café for pop up performances of spoken word, comedy, dance and theater.

Drop in from 5 - 7:30 PM to enjoy this new take on happy hour with a special selection of beverages and bites, courtesy of Collections Café.

August 19

Comedy: Emmett Montgomery & friends

September 2

Literary: Battle of the Word

A newer and more unusual example of the

CHRISTOPHER ZEUTHEN

The rushing calm of Waterfall Garden Park.

We, Seattle, have affirmed again and again through public policy and discourse that when it comes to those less fortunate—those without homes, those who feel compelled to beg—compassion should be extended well before prohibition.

Five years ago, upon vetoing a bill that would have outlawed “aggressive panhandling” downtown, then-Mayor Mike McGinn put it best: “We share a vision of what our city can be. On those shared values, now is the time for us to start working together.”

As such, many public places downtown can seem, to those looking for a lunch spot, overwhelmed by needier people looking for a living room. Sometimes those two uses are compatible. Other times, not.

As the homeless population continues to inch up in Seattle—the one-night tally of people sleeping

dperson@seattleweekly.com

Jennifer Karami contributed to this story.

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SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

pickiness enforced by a watchful security guard.

At one point in this hour, the guard spots a scruffy man violating one of the park’s various rules, but this reporter doesn’t see which one is being broken. The man is quickly escorted out, pumping a few patrons for loose change as he scurries away.

Peace returns to the park.

“It’s much calmer, quieter here,” Jeffery Hixon says a little after the man is removed. Hixon adds that he tries to spend an hour in the park every day. “I’ve only seen one troublemaker. If you’re going to sit in a public park, you will always see something happen. A crazy person walking by, someone making bad comments.”

dynamic comes now from David Brewster, founder (and former owner and publisher) of this newspaper, Town Hall, and Crosscut.com. Brewster’s latest idea is to create an nonprofit library—a membership-based athenaeum called Folio, housed in the downtown YMCA. Brewster’s concept is not strictly, or even primarily, an effort to create a downtown library without a large number of homeless people—that is, the antithesis of the downtown Seattle Public Library. Rather, he wants to create a place by and for people who love to read and write.

But homelessness is certainly a factor.

“The great advantage that a public library has is public funding, and the flip side of that coin is public control,” Brewster says. “Public control has two drawbacks, as far as libraries go: They’re on a [funding] roller-coaster of feast and famine.

“The other part of that is, politicians, being politicians, they keep layering on pet projects that deal with the politics of the day, so that, for instance, libraries do a lot to deal with immigrants, deal with what schools are not doing, do a lot to deal with poor people, whether that’s providing a day shelter or free computers. These are all good things, but [at Folio] we’re building a fine collection of books, serving people who really read books, with specialized sections, which is all a smaller and smaller part of [a public] library’s mission.”

Like Waterfall Park or the King Street courtyard, Folio will be open to the public. Non-members will be able to come in and browse the shelves.

But also like those quasi-private parks, there will be some quality control when it comes to patrons.

“We have the ability, as a nonprofit, that nonmembers who want to come and use Folio need to have that in mind. They need to come and read, rather than want to come and use the bathroom or get out of the cold. You need to have a reason to come to it.”

If that seems to grate against Seattle’s official line on homelessness, that’s because it does. However, beneath the cascading roar at Waterfall Garden Park, it’s been getting whispered for some time. E

August 26

Theater: The Ballad of Luis Sojo

7

DANIEL ZETTERSTROM

Y L L A R E H T O T E M O C L E W

T E BIGGES H T E M A OTO BEC M E NTRY. IR U F K O C C A E B H GUE IN T RD’S O A D P L L IN N A K O B S T A IT HOW T-UP OF EVOR KE E R E T M Y E B L C Y MOTORC

T

he streets are roaring. At a corner near 17th Avenue Northwest and Leary Way in Ballard, bikes are rolling in—1970s Hondas, chromeplated Harleys, Italian imports, new and old Triumphs, and custom three-wheeled creations fill the parking slots along a four-block stretch.

As the low-hanging sun slowly slides toward the horizon on this late-July evening, the air fills with the smell of gasoline and beer. At the epicenter of it all is a blood-orange tent where three men are selling T-shirts off the hanger and handing pocket-sized pamphlets to anyone who shows interest as rock music plays from speakers.

The night is loud and only getting louder.

It’s been seven years since Todd Werny, Sean Westlake, and Sean Dunlap started the Backfire Motorcycle Night, and each month it has gotten bigger. Originally a gathering of 30 or so bikes, the experiment has grown to become a 500-rider spectacle, the third Wednesday of each month. The original idea was simple enough: find a place where riders and admirers of cafe racers, rat rods, and all other aspects of vintage motorcycle culture could come together, talk shop, and share stories over a

weight shift from neutral to rear, you understand, they say. There is still a liberty in the motorcycle; all it takes to unlock it is a twitch of the wrist.

Who are these new rebels that roar into Ballard each month? Well, they are often younger and hipper than what many believe a motorcycle enthusiast to be. The difference between this new bike culture and the old was what brought the whole thing together for Backfire’s founders, who intended the event for riders of cafe racers.

Cafe racers, typically lightweight with small engines that can be self-wrenched in the rider’s own garage, aren’t just motorcycles. They are statements. Originally designed as a means of getting from one British cafe to another as fast as

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DANIEL ZETTERSTROM

Bethany Maddox admires a bike (top) while a pack of bikers readies for a ride.

possible, cafe bikes today are seen as a symbol of solidarity to Seattle’s alternative communities.

“I met all my friends through motorcycles,” Werny says. “I met my wife through motorcycles.

And not just any, but vintage and modified cafe bikes.” This isn’t an uncommon tale. Contemporary cafe culture is above all a culture of socializing. It exists not for the sake of the machines, but for what the machines do for their owners, enabling them to identify and stay in contact with others like them around the city.

Entrance into this community comes with a price, though.

For Peter Sundt, a newcomer to Backfire, the cost is clear: “Motorcycles want to kill you.”

Understanding this reality is a requisite for any committed rider, but it’s the rider’s duty to do everything to make it not come true. And for vintage motorcyclists, the act of preserving the self starts with preserving the machine.

Riding a bike older than yourself is like being married to someone with amnesia: You’re familiar with your bike; you are comfortable with its temperament and preferences. But you can never

» CONTINUED ON PAGE 10

September 24-27 Schack Art Center

2921 Hoyt Ave. / Downtown Everett 425.259.5050 / schack.org

Glass pumpkin patch Make a blown glass pumpkin Activities for kids Beer & brat night, ages 21+

Made possible in part by the City of Everett Hotel/Motel Fund

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

cold pint. No vendors. No lights. No corporate influence of any kind—just a group of men and women with a common interest in the culture that comes with riding an old customized bike here in the Pacific Northwest.

The romanticized image of the rebel astride a motorcycle still weighs heavily in the American narrative. There is Marlon Brando sweeping through a small town with a gang of Wild Ones in leather jackets and welding boots and the legions of lawbreakers from Hunter S. Thompson’s Hell’s Angels, with Sons of Anarchy perpetuating the outlaw image for a new generation.

Yet in the past 30 years, this anti-establishment symbol, like so many others, has softened.

What once existed as a hallmark of hell-raising has turned into just another way of getting from Point A to Point B, a luxury item even for some to glide through a midlife crisis. Talk to the people who gather at Backfire, though, and they will quickly tell you a more complex story. Riding a motorcycle, any motorcycle, still very much represents freedom—from oneself and from others.

There’s no other way of saying it. The moment you get on a bike, turn the throttle, and feel your

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be sure just how it’s going to react to your presence on any given day. Old bikes are complicated.

They don’t follow rules. When they start in the morning, you’re elated. When they break down in the evening, you must be patient and understanding. That’s the difference between riders of vintage bikes and those who just bought them off the lot—vintage bikes have a way of teaching riders about themselves.

“You gotta learn to trust yourself ” when riding an old bike, says Dunlap. “You gotta also learn to be patient and learn to go through your routine.”

This routine is the one thing all riders who wrench their own bikes share. Sometimes it’s as simple as checking to make sure your tire pressure is on point.

Other times it’s going twice over each and every bolt to verify that the previous day’s tinkering won’t get you an overnight stay at Harborview.

The relationship between rider and vintage bike is based on mutual respect; you need the bike just as much as the bike needs you. Without one, the other not

brown leather order drinks from barmaids in earrings the size of milk jugs. Of tonight’s four participating venues, not one is in short supply of thirsty customers. At The Shelter Lounge, the party is in full swing. It’s the same story down the street at Hilliard’s Brewery. Thanks to the abundance of flowing taps, open containers don’t seem to be a problem here—coolers remain at home and whiskey bottles in the liquor cabinet.

Choosing the barstool over the sidewalk, riders and pedestrians alike happily patronize the surrounding venues throughout the evening. And with the exception of the man on the sidecar,

TODD WERNY

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only fails, it doesn’t get to live as it should. It is this aspect that the founders say they wanted to honor, creating a space for the grease-soaked home mechanic with the 1950’s Indian and the kid with the stripped-down, built-for-speed Japanese Honda CB-350—the quintessential cafe racer—to both have a place to go and share stories of life and parts.

“I didn’t want to make my dad’s motorcycle event,” says Dunlap. “I wanted to make my own.”

In its seven years, Backfire has grown well

beyond the cafe racers. These days it’s a total hodgepodge, a collection of all things motorcycle, where the aesthetic of the cafe racer is still cherished but the reality has moved far beyond this original focus. While cafe bikes continue to mold Backfire’s ethic, riders are given the freedom to show up on anything they like. As varied as the bikes are the riders themselves: old, young, male, female, black, brown, white, outlaw, yuppie, artist.

Nothing gets left behind.

As I wander through Backfire’s four motorcycle-laden city blocks, I see riders in polished

who at the end of the rally takes it upon himself to perform wheelies for us few remaining spectators, there isn’t much in the way of grandstanding. Backfire is simply a collection of people who once a month find time in their busy schedules to come out, relax, and fawn over bikes of all varieties. The scene is a patchworks inspired by a century of cultures built around the motorized bike.

What Backfire does, greater than any monolithic motorcycle event, is allow a diverse group of people with a single interest to come together and bond over what they love most. Never mind if you ride up on a brand-new cruiser, a roadworn Harley, or a bare-bones, blacked-out 1973 Yamaha XS750: Backfire will give you a spot to park and a group to share a drink with.

Rat rod or polished cruiser, alone or in a pack, it’s all the same feeling of home. But when the sun goes down and the music turns minor, they all roll out.

Kyle Petterson has been attending Backfire

since the beginning. His skin is bronzed and his muscles lean. In his professional life he works

in waste management for the City of Seattle; in his personal life he’s a husband and father. I talk to him in the courtyard of Peddler Brewing Co., one of the event’s participating venues.

He tells me it isn’t just the bikes that keep him returning to Backfire. Bikes are just bikes. Sure, they’re beautiful, and a hell of a good time to ride, and sound like a war march when you get a whole pack of them rolling down the road, but it was the instant respect that founder Westlake showed Petterson’s then-16-year-old son and his enthusiasm for vintage bikes that got the father hooked on Backfire culture.

“What they did was help my son understand different aspects of the bike,” Petterson says.

Westlake in particular showed his son that bikes didn’t have to be big, testosterone-filled wild boars that cost $15,000. Through his own cafe bikes, Westlake and others like him show that bikes can be stripped-down and lightweight, yet still as fun to ride as the expensive choppers popularized in television and film.

Westlake is like that. He has a hyperactive way of getting others excited about whatever project he is working on. Be it The Fuse Box, his shoebox-size bar on Aurora just south of Woodland Park, or the newest Backfire T-shirt design, Westlake is sure to invite you along on

largest monthly cafe-racer-focused gathering in Seattle and perhaps the country. Vendors of everything from energy drinks to leather jackets to custom seats have attempted, and failed, to carve out a space for themselves. It’s usually the same story, Werny continues: People come from out of town and don’t do much research on the event, and when told to get lost do so begrudgingly but quickly enough.

At the end of the day, Backfire is a free event on public property and people can do what they want. But as Werny reminds me, it’s probably not in a vendor’s best interest to set up shop in the middle of everything even after they’ve been asked to leave.

“If you’re that good,” he adds, “show up on your bike and hand out business cards.” Let your fellow riders be the judge.

soak it

For all the good will and community Backfire

brings to the streets of Ballard, there is also an ever-present, albeit minor, unease just below the surface. Outside what was once The 2 Bit Saloon, two dozen or so members of local Outlaw motorcycle clubs linger like wayward bees in leather jackets.

These are the types of bikers that drew scrutiny following a May shootout in Waco, Texas, between rival biker gangs that left nine bikers dead and 18 wounded. Afterward, television stations across the country—including here in Seattle—began to ask what possible menace lurked in local motorcycle culture.

They can be identified by a two-part patch stitched across their backs. The name of the club sits curved on

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TODD WERNY

his next creative undertaking whether you ask to or not. This enthusiasm is a holdover from his and the other founders’ days as members of Seattle’s underground music scene. And it’s contagious.

When Backfire first started, “We did everything you would have done to promote a show,” says Werny. This included flyering vintage bikes parked around town, stapling posters onto lampposts, and getting the word out both on MySpace and in person. From the deliberate absence of vendors to the intense focus on word-of-mouth promotion, this DIY approach has remained in the DNA Co-founder Sean Westlake models the Backfire merch. of the event, even as it has grown into the large gathering it is today. top of the jacket, while the member’s locale is “The reason a lot of other events fail is ’cause stitched onto the bottom. In the middle is usuall they are is vendors,” Werny says, referring to ally an embroidered club-specific patch of some the businesses that usually proliferate at such kind. For Outlaw clubs, the club-specific patch events. “The whole idea of Backfire is that it’s will be accompanied by both a smaller, diamondabout the bikes and the riders, not about the bike shaped MC, an abbreviation for Motorcycle stores.”

Club, as well as a patch containing “1%er”—a That’s not to say vendors haven’t tried to tap sign that the Outlaws are willing to skirt the into Backfire’s fan base. The event is, after all, the » CONTINUED ON PAGE 12

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Welcome to the Rally » FROM PAGE 11

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

Backfire founders (left to right) Sean Dunlap, Todd Werny, and Sean Westlake man the merch booth.

sionally greeting one of their own with a hug or a smile, and everyone else proceeds to have a good time with or without them. Still, their presence is instructive: Clearly—and proudly—a minority, these outliers nevertheless continue to shape the general public’s opinion of bikers.

It’s now dusk and Backfire is winding down,

the roar of bikes dwindling as taillights fade. I’m watching a tall man with a large blue-and-red Grateful Dead patch tell a story to a short man

in the crowd. The storyteller is holding a leopard-print helmet underneath his right arm. He looks to be in his late 20s. His long hair is brown and his eyes are ready for anything. Like an impatient child, he is bopping up and down in place. He puts his helmet down and, arms outstretched, begins a pantomime. The short man looks on.

Fists clenched tightly, the tall man begins a road story: He is going down the highway. He is riding fast, his motorcycle cutting the air like

DANIEL ZETTERSTROM

12

TODD WERNY

regulations and expectations of the other 99 percent of motorcycle culture and society.

You’ll see these displays of tribalism stitched into either a black leather jacket or a faded blue denim vest. These signs provide the only information a person needs—or at least the only information a person is going to get, especially a reporter. Members of these clubs generally don’t talk to the press, and others at Backfire contend that the Outlaws tend to keep to themselves.

The scene at Backfire on this Wednesday is no different: a group of men drinking beer and listening to music, with, at least from the outside, little more in common than the patches on their leather jackets and an appreciation for motorcycle culture—though not cafe racers, so much.

These guys are partial to Harleys. The rest of the crowd, instead of making any noise about it and potentially ruining a good thing, chooses to just let it be. As Norton Norm, an old-timer in a weathered leather jacket, a matching pair of silver skull rings, and a perpetual cigarette between his choppy yellow fingernails, says, “They are minding their own business and not bugging anyone.”

According to Dunlap, himself the son of an Outlaw rider, Outlaw clubs have shown nothing but respect for him and other riders at the event since they started showing up. While some Backfire participants might complain to him from time to time about the lack of parking among the Outlaw bikes, or express general unease at their presence, to tell them they weren’t welcome would be no more acceptable than telling someone on a new Ducati to get lost. “I wouldn’t do that,” he says.

The seemingly remarkable Outlaws, then, are unremarkable: They keep to themselves, occa-

a bullet shot from a cold barrel. He hits that sweet speed between fear and purpose. But then his bike begins to rattle. He grabs hold of the handlebars and attempts to steady the rollercoaster, but the bike keeps bumping. The short man looks on in anticipation, a wide smile on his face. The tall man continues, steering the bike through the speed rattle and into the safety of a highway pullout.

After a few seconds, the tall man lowers his arms and laughs in relief. The short man joins him. In the end, nothing happens—just another story of a close call. The moral, however, is that

if you’re going to come out to Backfire Moto, you better bring something to offer—a story, a vintage bike, or just appreciation for the hard work of its three creators. Backfire is a culture of sharing. Without that, it’s not much more than a whole lot of crowded parking spots and a limited supply of barstools. Better come early. E The next Backfire Moto event is scheduled for Wednesday, August 19.

See backfiremoto.com for info.

food&drink Getting Offal

FoodNews

BY JASON PRICE

Derek Ronspies broadens diners’ horizons with heart. And tongue and feet.

As food trucks continue to take over the world and either delight or annoy people, Skillet has announced that it will be on hand at every Seahawks home game to serve rabid football fans letting go of their latent passiveaggression for just a few hours each week. From the north plaza at CenturyLink, the shiny Airstream will serve items created for each game—such as an Italian beef for the September 27 game against Chicago and smoked brisket at the October 18 game against Carolina—alongside a rotating menu of street-food favorites like the fried-chicken sandwich or bacon-jam burger.

BY JAY FRIEDMAN

E

Top: Ronspies prepares to break down the pig.

Bottom: the resulting butchered animal.

yeballs!” That’s the emphatic answer Derek Ronspies gives when I ask what food he’d like to serve to his customers, but can’t.

Eyeballs, Ronspies says, were the revelation that turned his life around. He was traveling in Argentina when a family invited him to join in a lamb feast. “Uncle” took him to the grill where they scooped them out to eat. Soon they were spooning brains out of the skull and devouring them too.

Fast-forward a number of years, and Ronspies says his restaurant, Le Petit Cochon, is basically built around that experience, embracing the slogan “Nose to tail. Farm to table.” He does admit that sitting down to a plate of eyeballs would be challenging even for him. “They’d be staring back at you!” he exclaims.

At Ronspies’ first “Offal Series” dinner in June, I survey the crowd and see a lot of eyeballs about to pop out as they scan the menu. One person predicts that beef-heart ragout will challenge him, while another expresses concern that she can’t eat bone-marrow croutons. Many people wonder aloud about beef tendon in the dessert.

And this was a toned-down menu. The original promised smoked pig brains and lamb testicles. Ronspies made changes upon realizing it’s hard to get enough brains and balls. (I’d soon learn that the shortage is due to state regulations and not the fault of the supplier, in this case Jones Family Farm on Lopez Island.)

Tension soon turns to temptation. Finally, with each beautifully plated course, people relax and enjoy the food. For me, the crispy sweetbreads and clams with English pea tortellini and butter lettuce is the star dish, with earth and ocean combining in perfect harmony. (Later, a tongue and cheek pozole with masa cake further demonstrates Ronspies’ culinary creativity.) By dessert, we’re actually relishing the thought of an organ meat. One originally skittish diner says, “I’m not sure how it will work, but I bet it will be delicious.”

What’s the offal scene like in Seattle?

I don’t think that as a community or as a culture we’ve embraced offal yet, and that’s what I’m trying to do here. Seattle needs something a little different in terms of food. I have a sixth sense on how to cook this stuff and make it really delicious, so I just want to serve it. Other people dabble with it. You’ll see sweetbreads on other menus, but you can barely see them on the

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TheWeeklyDish

Kimchi rice at The London Plane.

BY NICOLE SPRINKLE

finished dish. And that’s one of the more friendly things to cook. When I first opened, I put duck feet on the menu, and a few weeks later a very prominent chef in town had them on one of his menus. But that went by quickly. Yet I’m still here, cooking the stuff up.

Why are people so leery of offal?

It’s our upbringing, our childhoods, our parents, the microwave, buying a block of meat in a Styrofoam container. We never saw the offal.

Same for fish. You go to another country and you don’t get a filet of fish. You’ve got heads on every fish, and you get the whole fucking fish.

Some say texture is an issue?

They all have different textures and hold true to them. I think the whole problem is that it’s a head game. If I blindfolded you and put heart on a plate, you’d never know it’s heart. Cook it medium rare and it’s tender with a little chew and bite. It’s

not off-putting at all in terms of flavor, texture, smell, anything. Even sight. It’s beautiful on the plate. It’s just the head game of “Oh, I’m going to eat heart . . . that sounds scary to me.”

How do you convince people to give offal a try?

The best way is if I can talk to them. If I have to give it away for free, I give it away for free.

Like the pork tartare. It’s not offal, I know, but it’s a good example. I love the flavors. But people think they’re not allowed to eat raw pork. If they’re not going to order it, I might send a little of it out to get them to try. And when they taste it, they say, “Holy shit, this is delicious.” So this is a restaurant where you have to sell the food.

Otherwise they’re not going to order the offal, and I’m going to be pissed back in the kitchen.

Are there any particularly good gateway dishes?

Tongue, definitely, because Grandma cooked

» CONTINUED ON PAGE 14

The London Plane is always a no-brainer when I want a vegetable-forward, palate-cleansing lunch. But it was a nice surprise to see a hot dish on their lunch menu recently (besides the meatballs). Their kimchi rice uses kimchi subtly (who knew that was possible?), scattering it here and there among rice and two fried over-easy eggs. Also making an appearance on the plate: bits of bacon, scallions, parsley, and a lime to squeeze over it all. It would make an excellent breakfast item too. In keeping with the restaurant’s aesthetic, it manages to be light and balanced, despite the presence of bacon and eggs. E food@seattleweekly.com

13

NICOLE SPRINKLE

Derek Ronspies: It’s a problem, right? When I discovered this thing and told people I want to cook offal, they’d say “Well, that’s awful.” I think I heard that so many times that I changed it to o-fall [he puts heavy emphasis on the o] because I got so sick of the joke.

I love finding places with hidden patios, offering respite from the urban grind where you can forget about the concrete jungle you live in. St. John’s is one such place on Capitol Hill, where you can get away from it all for a few minutes and enjoy both new patio seating and an updated menu—including merguez lamb balls, campfire chicken, and the infamous Golden Girl sandwich.

Plus, the burger is quite special. Find a way to get there on a fine summer’s day and you may never leave. E

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

SW: So what’s up with the word “offal”?

PHOTOS BY RYAN SLIMAK

Afterward, I decided to check in with Ronspies about the dinners and his role as an ambassador (albeit a reluctant one) for offal. Language seemed the appropriate place to start.

If philanthropy is your thing, head to St. Cloud’s in Madrona on Wednesdays from 9 a.m.–1 p.m. to support the Homeless Cooking Project. Show up with your knives and some raw ingredients and stay as long as you can to prepare food for several Seattle projects feeding those in need. Beneficiaries include the Jubilee Women’s Center, the Cherry Street YWCA, and Tent City 3. Also check out Meatloaf Mondays for what is reputed to be one of the finest.

food&drink»

@weeklyevents

» FROM PAGE 13

FRESH FRESH

tongue. [Aside: Moms worked, but Grandmas always held true. They always cooked. Grandmas kick it in the kitchen.] You go to the taco truck and they’ve got lengua, so it’s kind of acceptable. Duck feet are really good. They’re kind of like chicken wings, and who doesn’t like chicken wings? Oh, and sweetbreads are like really tender chicken nuggets. They’re so damn delicious.

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Black cod with dilled beef-heart ragout, beet salad, horseradish yogurt, waffle fry, bonemarrow crouton, and celery vinaigrette.

So are you saying we should be eating offal?

I’m not saying all we should be eating is this.

My menu isn’t only offal—though it seems we got branded that way. This is not a “challenge restaurant.” But you have an animal that gave its entire life, so you should embrace the entire animal, and not just the cuts that society says are the best. I like a rib-eye as much as the next person, but I don’t eat a rib-eye every day. If there’s heart in the store, pick up a heart and try it. Cook it up and slice it nice and thin, then throw in some broccoli and shit. Beef heart is delicious.

At the risk of further branding this as an offal restaurant: Besides eyeballs, what else would you like to serve?

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

A U T H E N TI

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I’ll pretty much serve anything I can get. But sometimes it’s hard to get stuff in due to government regulations. I can’t find brains anywhere, yet every animal has one. In this state, farmers are not allowed to keep the brains or the blood. And I want to support my local people.

Anything you won’t eat?

Pig liver. It’s OK in things. Like in a country pâté, it’s amazing with its gaminess and funk.

But on its own? It’s so bad. It’s terrible. You cook it in a pan and it looks beautiful. You slice it up and it’s medium-rare and you think it’s going to be amazing. Then I taste it and I gag and have to spit it out. Other liver like chicken and duck is fine, but pig has the worst flavor in the world. I don’t know what it is. Also, I won’t eat at McDonald’s. I don’t agree with anything they do.

Why do you feel you’re an ambassador for offal?

I don’t want to be an ambassador! I don’t know how this happened. I started cooking offal and I wanted to let other people know that it’s delicious and we shouldn’t waste all this stuff.

Just taste it and tell your friends. That’s the goal. I think people should step outside of their comfort zone and check it out and see what we’re doing.

Seattle diners can step outside their comfort zone on September 23, when Ronspies hosts his next Offal Series dinner, this time working with Olsen Farms in Colville. See gettinpiggy.com for more info. E

food@seattleweekly.com

A Fruitful Fundraising Trifecta

F

undraising in the 21st century is a complicated thing. From the old standbys like silent auctions and seemingly ceaseless pledge drives to modern crowdfunding,

BY ZACH GEBALLE a wide range of options are available, and I’d imagine that most of you, as I am, are constantly barraged by pleas for money. The wine world is certainly not immune to these demands: Nearly every winery and winemaker is constantly being asked for donations and support, and while many are happy to help, it’s hard to offer a truly memorable contribution.

Or so I thought until I recently drank a bottle of wine that might bring a new and better way forward: the Queen Anne Farmers Market rosé, a collaboration among the Market, Kerloo Cellars, and Canlis. Kerloo makes the wine, Canlis sells it in the restaurant (as do the neighborhood’s Metropolitan Market and McCarthy & Schiering bottle shop), and the Market gets the proceeds. This is the third year that the Market has released a rosé as a fundraiser, after the Market’s organizers dreamed it up with Mark Canlis and his family one sunny afternoon.

First things first: It’s damn tasty. Mark Canlis might have told me that “rosé is simple” when I talked to him about it, but this isn’t quite your generic porch-pounder: Kerloo’s Ryan Crane is simply too talented a winemaker to churn out plonk. The depth of flavor and crisp mineral notes are both hallmarks of his style, as is the elegant finish.

What I really love about the wine isn’t how it tastes, however, but what it represents: members of a community coming together to help a local institution that needs support.

Full disclosure: I volunteered at the Queen Anne Market for several years, and took great pride in the fact that it was the city’s only truly independent, not-for-profit market. As such, though, “It’s not easy for them,” Canlis told me. “The whole idea of being an unsupported, not-for-profit market is a bit out there.” Without the financial backing of a larger institution, the Market relies in part on donations to fund it, and Canlis is blunt about this: “It’s one thing to just ask for money, it’s another to ask them to buy something that supports the market.” Especially if that something is a delicious rosé.

Being able to support a farmers market while quaffing a lovely rosé is basically every Seattleite’s dream, so it’s actually somewhat surprising that we haven’t seen more winemaker/charity collaborations. Yes, wineries often offer wines to support specific charities (and often make sizable donations), but the kind of cross-branding I’m talking about hasn’t really appeared en masse, at least in the Northwest. Granted, farmers markets and rosé seem like a natural enough fit, but there are of course many other worthy charities that could use their own bottling: After all, if we can have Seahawks-branded wine, there’s plenty of room for other options on the shelves. E

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thebarcode@seattleweekly.com

RESTAURANT

15

arts&culture

Tourist Town: A Manifesto Why Seattle needs to stop being so grumpy about its summer invaders and embrace them instead.

ThisWeek’s PickList

BY ALYSSA DYKSTERHOUSE

THURSDAY, AUG. 20

amn tourists. They interrupt our pace by strolling slowly down the sidewalk while gawking at attractions. Yet according to industry group Visit Seattle, those camera-wielding visitors contributed $6.4 billion to the local economy last year. They infuriated me until I became a tour guide for Argosy Cruises last summer and detected dollar signs dangling above their sun visors. Thus my waters’-eye perspective on the industry: Though I started a cynic in need of a paycheck, I finally found myself a cheerleader for tourism—even now that I’m out of the trade.

Being a relative newcomer to Seattle (I arrived in November 2013), I perceived locals as both proud and provincial about the region’s two main natural attractions: water and mountains. But how majestic, truly, are the lakes and Puget Sound? I grew up in Michigan, where the Great Lakes are like freshwater oceans. Manhattan also has a spectacular historic waterfront. Chicago has lakefront parks complete with iconic sculptures, locks, and a Ferris wheel.

Even Mount Rainier, the Olympics, and the Cascades may not wow your cousin from Colorado.

As I told holiday-makers what to see and do, I noticed that snobby Seattleites are unequivocally embarrassed about our most iconic tourist attractions: the Space Needle, the EMP Museum, the monorail, Hammering Man, the Underground Seattle Tour, the Duck, the fish-slingers and the “original” Starbucks at Pike Place Market. Yes, some are kitschy, even annoying, but they tempt tourists to spend.

Here’s what I learned professionally from being a tour guide: Be patient and keep smiling. Aside from sharing my growing Seattle knowledge, I answered predictable questions, such as “Where should we have dinner?”, “Does Lake Union have tides?”, and “Are we gonna see any Free Willies?”

Each gracious answer equaled growing tips.

You’ve heard of PEDs—performance-enhancing drugs. But what about PESDs—performanceenhancing straight dudes? That’s what happened during the 2008 Gay Softball World Series, held right here in Seattle, when it was scandalously revealed that certain teams had, ahem, beefed up their teams with heterosexual ringers!!! (You can all collapse on the fainting sofa right now, clutching your pearls as you fall.) It was an outrage! A travesty of a farce of an imbroglio! And the story was also catnip for local playwrights Ana Brown and Andrew Russell, who are now debuting the third new play commissioned by Intiman in as many summers. Riley Shanahan plays the suspect Baxter, with the two rival teams—the Seattle Fireflies and San Francisco Hornets—featuring a roster of familiar stage talent including Adam Standley, Charles Leggett, Reginald André Jackson, and Chris Ensweiler. Rosa Joshi directs the slow-pitch comedy. (Ends Sept.

27.) Cornish Playhouse, 201 Mercer (Seattle

16

I often worked on the “Seattle Lakes Tour,”

which took guests from Lake Union to Lake Washington’s CEO Row, then back to the shores of Amazon-land. On board my boat, the demographic mix of passengers made it challenging to craft a compelling spiel. What one group finds fascinating is not appreciated by another; however, all visitors are shocked to discover it does not rain ALL THE TIME. (Soon our warming, drying climate will result in more tourists or— worse—transplants.)

Luckily, Medina yields widespread appeal. Initially, when people asked where to sit for the best view of the Bill Gates estate, I thought, “You’re fucking crazy.” After stalking . . . er, passing his house up to three times a day, I appreciated that Lake Washington offers a voyeuristic view into the lake-facing front yards of some of the world’s wealthiest innovators—Gates, Allen, and Bezos among them. (Once as I mused about funicular trams—or “hillevators”—a passenger quipped about the palpable nonappearance of 12 flags.)

BRENNAN MORING

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

D

John Baxter Is a Switch Hitter

In the service industry, we constantly talk about

“the guest experience.” But my guests couldn’t help noticing and commenting on Seattle’s many underserved homeless, addicted, and mentally ill, especially around Pioneer Square. (But never in spotless, shiny South Lake Union—God forbid!)

If the city is to draw more favorable Yelp reviews and more wealthy tourists (as for the recent Seattle Art Fair), that shameful—for us—situation must be addressed. Cleaner parks and sidewalks make for happier guests, but that will cost some money.

Further investment also must be made in moving tourists and ourselves—more transit to bypass vehicular gridlock. Despite Bertha’s delays, one

day the viaduct will be replaced with an attractive waterfront. Trust me, I know: Through construction delays, municipal scandals, and inconvenience, I survived living in Chicago while they built Millennium Park. Though skeptical at first, I changed my urban outlook when we got worldclass performance spaces and that award-winning park by Seattle’s Gustafson Guthrie Nichol. (That firm was shortlisted but ultimately lost the Seattle waterfront-redesign competition to New York’s James Corner, who did Manhattan’s celebrated High Line.) It cost a lot, it was a pain to live through, but it was worth it in the end.

So when it comes to our own tourist appeal, Seattle needs to ditch its soggy ambivalence. Welcome sightseers and their travel budgets. Boast about our tourist traps and natural beauty. Maybe even enjoy some of it. And please try to have some compassion for those Alaskan Way cruise-ship passengers in their comfortable shoes asking for directions. The same goes for all the rail-riders wheeling their luggage up from King Street Station. Be nice to them. Would it really kill you?

Admittedly, when I started my Argosy gig, I tried to remain a snob—disdaining out-oftowners’ cheesy excitement when they spotted the bench where Tom Hanks sat in Sleepless in Seattle.

However, their sheer satisfaction in simply seeing seaplanes—which we take for granted here—easily softened my smugness. Viewing the city through their enthusiastic eyes converted us jaded tour guides. I left the gig this spring, and I’ve missed it all summer. It made me see the city differently.

As we roar out of the Great Recession, tourism is helping our thriving economy. It’s easy to roll your eyes when visitors express their desire to drive by Kurt Cobain’s suicide house or to complain when they stop dead in the middle of the sidewalk to consult their maps or take photos, but those vacationers paid for the computer on which this manifesto was written. And for that I’ll always be grateful. E

arts@seattleweekly.com

Center), 315-5838, intiman.org. $20 and up.

7:30 p.m. BRIAN MILLER

Playwright Russell is also Intiman’s Artistic Director

LARAE LOBDELL

Tourists, especially men, love infrastructure!

Approaching the new 520 bridge construction, many passengers asked questions about the pontoons and took pictures. One person’s traffic nightmare is another’s unexpected vacation wet dream. How often do you get up close and personal with the rebuild of the world’s longest floating bridge? (Weary Eastside commuters, don’t answer that hypothetical question.)

And while locals may loathe the reductionism of Seattle’s image in pop culture, tourists can’t get enough of those media clichés. Aside from the floating home made popular by Sleepless in Seattle, I recently read that Duck drivers (skippers?) are flogged with requests to see Christian Grey’s building. People also asked me about Meredith Grey’s house and Frasier’s condo. (Yet never queries about the Singles apartment building—perhaps because Gen-Xers can’t afford vacations?)

Moreover, their curiosity is not limited to fiction; the crabbers of Deadliest Catch enjoyed great celebrity among my passengers.

Tourists from the Rust Belt are also fascinated with the industrial past—and dwindling industrial present—of Lake Union. To such visitors, the transformation of an old steam plant into the home of a biotech company is genuinely exciting, an inspirational example for back home.

FRIDAY, AUG. 21

An American Dream

A story set 70 years ago counts as “contemporary” when you’re talking opera librettos, so Seattle Opera is emphasizing the personalrelatability angle in An American Dream, premiering this weekend. Drawing on one of the most dramatic and, yes, opera-worthy periods in our region’s history, it’s the tale of an interned Japanese-American family and the German Jewish refugee who moves into their forcibly vacated Puget Sound home—events within living memory of some audience members. (By contrast, Seattle Opera’s other current production, Nabucco, is set in, oh, 575 BC or so.) Set for six singers and small orchestra, Jack Perla’s score reveals a gift for delicate, imaginative orchestration; the libretto is by Jessica Murphy Moo. SO is surrounding the performances with exhibits, Q&As, and more activities; see seattleopera.org for full details.

McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676. $50 and up. 8 p.m. (Also 2:30 p.m.

Sun.) GAVIN BORCHERT

Follow us!

ALLYCE ANDREW

33K FANS & COUNTING!

Soto Style Dance, at ANF ‘13.

SAM Remix

BRIAN MILLER

SATURDAY, AUG. 22

Arts in Nature Festival

Camping doesn’t usually conjure images of dance performances or interactive sound installations, but at Camp Long this weekend you can hike while experiencing jazz and indie-rock performances along the trail. The Museum of Sound, a string of eight cabins

facebook.com/SeattleWeekly

Long, 5200 35th Ave. S.W., fest.naturec.org. $10–$16. 11 a.m.–9 p.m. (11 a.m.–6 p.m. Sun.) ALANA AL-HATLANI

Fremont Outdoor Cinema

The Coen brothers’ 1998 stoner-noir The Big Lebowski is Raymond Chandler filtered through dirty bong water, where almost every line of dialogue is a hazy, hilarious non sequitur. My favorite is when accidental P.I. Jeff Bridges (forever the Dude) is ambushed in his tub by ferret-bearing nihilists. “Hey, nice marmot,” he greets them, with his usual unflustered amiability. Nothing rattles Bridges’ Dude—not a lost rug, not a leering Tara Reid, not a lisping John Turturro, not a raving John Goodman, not a simpering Steve Buscemi, and not even shrieking performance artist Julianne Moore, who joins Bridges in a Busby Berkeley-style bowling fantasy that sums up the movie’s sweet, silly spirit. This is a 21-andover screening, with live preshow music from the Fremont Players, food trucks from Nosh and Hallava Fallafel, and a Dudefest costume competition ($500 cash prize). 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com. $5–$10. Gates open at 7 p.m., movie at dusk.

BRIAN MILLER E

1393467

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

Park, 2901 Western Ave., 654-3100, seattleart museum.org. $12–$20. 8 p.m.–midnight.

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GRAMERCY PICTURES

The last of the litter and stench of Hempfest has been removed from the waterfront, and civilization returns to the shore. The fences—necessary to protect the art from unwashed stoner hordes—are gone, too, and the sculpture park’s serenity is restored. So it’s a fine night to celebrate not only the waning days of summer but the art, music, and performance on offer at SAM’s last outdoor party of the season.

Dan Webb has been carving up a storm all summer for Break It Down; here’s your chance to see it and ask him about his process. Lucien Pellegrin, David Hytone, and Did we we mention mention the the Did others will lead costume contest? contest? costume tours through the permanent installations all night. Queen Shmooquan will be conducting some sort of shamanesque/occult ceremony, while Tariqa Waters creates fashion out of recycled materials. Michael Lewis and Jordan West Monez will create “an interactive shadow installation” that details 20,000 years of local history. For a cinematic component, projected outside, you can see the famous felines of the Walker Art Center’s Internet Cat Video Festival. And DJ Josai will be spinning the hits, along with two live bands (their identities kept secret). Olympic Sculpture

where artists take residency for the weekend, will feature multidisciplinary installations, most with a hands-on component. More than 40 performances are planned: dance, literature, theater, and several genres of music.

Unlike typical arts festivals, this one ditches vendor booths in favor of participatory activities—including open mics, writing workshops, and even juggling. Although, sticking with summer-festival tradition, there will be a beer garden hosted by Fremont Brewing and food from Full Tilt Ice Cream, Thai U Up, Athena’s Food Truck, and Luchador Taco. Camp

17

a&c» stage

The practice of Sant Mat is based on meditation on inner Light & Sound, ethical values, service to others and love for all creation.

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Spirituality Sant Mat

Sant Baljit Singh

Nabucco MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 389-7676. SEATTLEOPERA.ORG. $25 AND UP. 7:30 P.M. WED., AUG. 19 & SAT., AUG. 22.

The path of inner Light and Sound

Hurt and Barton stand out.

(Talk given by authorized speaker - Event is not sponsored by Seattle Public Library)

The goal of Sant Mat is to enable the soul to return and merge into its source; the purpose of human life described by mystics of all traditions. Admission Free

ELISE BAKKETUN

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www.santmat.net

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

See a show.

Take home a showstopper.

18

FIREWORKS NIGHT

ROBINSON CANÓ BOBBLEHEAD NIGHT

(postgame)

(first 20,000 fans)

This Friday – 7:10 p.m. vs. White Sox

This Saturday – 6:10 p.m. vs. White Sox

UPCOMING EVENTS FRIDAY

SATURDAY

21 Fireworks Night

Set to the soundtrack of the best songs of the summer, presented by Seattle City Light & MOViN 92.5

7:10 p.m. vs. CWS

22

SUNDAY

AUGUST

23

AUGUST

24

Mariners Kids Backpack Day

Robinson Canó Bobblehead Night

First 20,000 fans presented by ROOT SPORTS

6:10 p.m. vs. CWS

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

WATCH THE MARINERS ON

(all kids 14 & under) presented by Boeing

Kids Post-game Run the Bases

presented by KeyBank

1:10 p.m. vs. CWS

Family Night

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

AUGUST

Grand 25 Slam Family Package Night

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

7:10 p.m. vs. OAK

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

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LISTEN ON THE MARINERS RADIO HOME

12:40 p.m. vs. OAK Bellevue Square Southcenter Mall

The very first words you read in Jonathan Dean’s supertitles for Seattle Opera’s Nabucco turn out to be perfectly apropos: “Rip away all decoration and adornment.” Within the opera, it’s a group of Hebrews, under siege by the Babylonian army, that sings this, but it also fits director François Racine’s concept: The setless production’s only visuals (aside from Ginette Grenier’s high-camp Babylonian costumes) are none-too-attractive abstract images projected onto the back wall.

To intensify dramatic immediacy in this rather oratorio-like opera, Racine moved the orchestra onstage—a gambit unprecedented in the 20 SO seasons I’ve seen—and places the action forward onto a platform covering the orchestra pit.

On the plus side, Verdi’s 1842 score gains greatly. The subtleties of his orchestration (such as there are) are enhanced beguilingly, particularly the moments that spotlight the cellos, and Carlo Montanaro conducts with thrust and dash and without notable balance issues. Seventyodd immobile musicians annexing the center of the performance space, however, can’t help but hamper the fluidity of the blocking. The chorus, mostly tucked behind the orchestra, can do little but trickle in single-file from both sides, fan out across the back, and trickle out again. It’s brought out front, though, for Nabucco’s most popular number, Part 3’s “Va, pensiero,” which sounds glorious; it’s as impressive a choral performance, finely detailed and sonically ravishing, as I can recall from the company.

The Friday cast (also performing this Wednesday) sings uniformly strongly, with Weston Hurt in the title role and Jamie Barton as his daughter Fenena standouts for timbral beauty. Yet even with Racine’s staging innovation, moments of dramatic heat are few: Exchanges of endearments between Fenena and Russell Thomas’ Ismaele in Part 1 make a vivid impact, as do her Part 4 prayer and Nabucco’s remorseful quasi-mad scene (after he declares himself a god and consequently gets struck by lightning) to close Part 2. Raffaella Angeletti has a fairly staid stage presence as Abigaille, Nabucco’s other daughter and the plot’s driving force; for instance, she sings her Part 2 cavatina, her one moment of tenderness, with grace and ease, but seems to be examining the emotion rather than feeling it—an interesting take on a ruthlessly power-hungry character, but a subtlety that was probably not part of Verdi’s intent.

Especially in his early operas like this one, people tend to mean what they say. GAVIN BORCHERT E

gborchert@seattleweekly.com

“Matilda is the best musical since The Lion King.”

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SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

NOW PLAYING - SEPT 6

19

arts&culture» performance & literary • PIPPIN Stephen Schwartz’s 1972 tale of Charlemagne’s

Stage OPENINGS & EVENTS

ACT OPEN HOUSE What are they going to be up to in

2016? Come find out, with tours, open rehearsals, cake and Champagne, and more. 700 Union St. Free, but RSVP at 292-7676 or acttheatre.org. 1 p.m. Sat., Aug. 22.

THE CIRCUS ANIMAL Circus arts showcased in the form of a nature doc. SANCA, 674 S. Orcas St., 652-4433, sancaseattle.org. $13–$25. Opens Aug. 21. 7 p.m. Fri.–Sun. Ends Aug. 30.

EATEN VOICES Handmade masks and original music enliven this fantasia. Camp Long, 5200 35th Ave. S.W., thenewalchemists.org. Donation. 8 p.m. Sat., Aug. 22; 12:15 p.m. Sun., Aug. 23; 2 p.m. Sat., Aug. 29–Sun., Aug. 30.

IN VIVO A reading of Eric Coble’s latest. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$15. 8 p.m. Tues., Aug. 18–Wed., Aug. 19.

JOHN BAXTER IS A SWITCH HITTER SEE THE PICK LIST, PAGE 16.

THE LION IN WINTER It’s 1183 and Henry II has to choose an heir in this political/domestic drama. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. Opens Aug. 21. 8 p.m. Thurs.– Sat., plus 2 p.m. Sun., Sept. 6. Ends Sept. 6.

MATILDA THE MUSICAL The touring production of the Tony Award-winning show, based on Roald Dahl’s children’s novel about a bookish prodigy being raised in a home of, ahem, limited cultural horizons. Matilda finds a kindly mentor in her schoolteacher Miss Honey (Jennifer Blood). Since every good children’s tale requires a villain, Miss Honey and her pupils are oppressed by a horrid headmistress, Miss Trunchbull (Bryce Ryness).

5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue. org. $35 and up. Preview Aug. 19, opens Aug. 20. 7:30 p.m.

Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Sept. 6.

PAPER ANGELS Genny Lim’s play about the immigrant experience. INScape Arts Center, 815 Seattle Blvd. S., 3239443, brownpapertickets.com. $9–$16. 8 p.m. Thurs., Aug. 20–Fri., Aug. 21; 4 & 8 p.m. Sat., Aug. 22; 7 p.m. Sun., Aug. 23; 7:30 p.m. Fri., Aug. 28–Mon., Aug. 31.

•

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son and his search for meaning, in a tour of the revival that drew raves on Broadway. The Paramount, 900 Pine St., 877-STG-4TIX, stgpresents.org. $25 and up. 6:30 p.m.

7:30 p.m. Wed., Aug. 19–Thurs., Aug 20; 8 p.m. Fri., Aug. 21; 2 & 8 p.m. Sat., Aug. 22; 1 p.m. Sun., Aug. 23.

RAIDERS OF THE LOST ARK Ian Bell’s Brown Derby Series presents “ridiculously staged readings of your favorite screenplays.” Re-bar, 1114 Howell St. $20–$25.

8 p.m. Thurs., Aug. 20–Sat., Aug. 22.

SNOW WHITE AND THE SEVEN: “EACH ONE, TEACH ONE” 80 teens update the fairy tale to explore African-

American heritage. Seattle Repertory Theatre, Seattle Center, 800-838-3006, brownpapertickets.com. $8–$10. 1 & 7 p.m. Thurs., Aug. 20–Sat., Aug. 22; 3 p.m. Sun., Aug. 23.

SPRING AWAKENING Teen angst, 1891-style. Broadway Performance Hall, 1625 Broadway, chandelierproductions. org. $20–$28. Opens Aug. 21. 8 p.m. Fri.–Sat. Ends Aug. 29.

CURRENT RUNS

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.

FIDDLER ON THE ROOF Return to Anatevka in this classic musical based on the tales of Sholom Aleichem.

Shoreline City Hall, 17500 Midvale Ave. N., Shoreline.

Free. 8 p.m. Fri.–Sat. Ends Aug. 22.

THE GREAT AMERICAN TRAILER PARK MUSICAL

A stripper on the run wreaks havoc at Armadillo Acres.

Richard Hugo House, 1634 11th Ave., seattlestageright. org. $17.50–$22. 7:30 p.m. Fri.–Sat. & Mon., plus Thurs., Aug. 27. Ends Aug. 29.

IS SHE DEAD YET? Euripides’ Alcestis gets updated as a savage satire on race in America by Brandon J. Simmons. Annex Theatre, 1100 E. Pike St., annextheatre. org. $5–$20. 8 p.m. Thurs.–Sat. Ends Aug. 22.

THE PASSION AS TOLD BY ANTÍGONA PÉREZ Luis Rafael Sanchez’s play transposes the ancient Greek tragedy into today’s hypertrophied media environment. 12th

Get your dot on the

map!

Avenue Arts, 1620 12th Ave., thrivingartists.org. $10–$15.

7:30 p.m. Thurs.–Sun. plus Mon., Aug. 24. Ends Aug. 30.

TEATRO ZINZANNI “The Return of Chaos” is a show for the Jem generation —glitzy, campy, and definitely chaotic. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Sept. 13.

THE TUMBLEWEED ZEPHYR is a train carrying the cast to adventure in Maggie Lee’s steampunk romance. 12th Avenue Arts, 1620 12th Ave., porkfilled.com. $12–$18.

8 p.m. Thurs.–Mon. Ends Aug. 29.

ZIG ZAG FESTIVAL Premieres of short works by six young female playwrights. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$10. 8 p.m. Wed. Ends Aug. 19.

•

Dance

LEELA KATHAK DANCERS North Indian classical dance

from the students in this program. Ethnic Cultural Theater, 3931 Brooklyn Ave. N.E. Free. 7 p.m. Fri., Aug. 21.

DANCE YOUR PANTS OFF! A dressy dance-party fundraiser for troupe member Lorraine O’Neal. Century Ballroom, 915 E. Pine St., centuryballroom.com. $20–$35.

7 p.m. Fri., Aug. 21.

Classical, Etc.

• NAT EVANS & SCOTT WORTHINGTON From the

latter, music for solo bass and electronics; from Evans, music made from field recordings captured during his 2014 hike of the Pacific Crest Trail. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.org. $5–$15. 8 p.m. Wed., Aug. 19.

SEATTLE OPERA: NABUCCO SEE REVIEW, PAGE 18.

SEATTLE OPERA: AN AMERICAN DREAM SEE THE PICK LIST, PAGE 16.

OLYMPIC MUSIC FESTIVAL Chamber music each Sat. & Sun. at 2 p.m. This weekend, two programs: Haydn, Suk, and Chausson on Sat.; Mozart, Schubert, Strauss, and Mendelssohn on Sun. 7360 Center Rd., Quilcene, Wash., 360-732-4800, olympicmusicfestival.org. $20–$32.

ART OF FUGUE Bach’s contemplative work in chambermusic format. First Free Methodist Church, 3200 Third Ave. W., artoffugueseattle.com. Free. 7:30 p.m. Sun., Aug. 23.

• •

SE AT TLE

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SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

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• RYAN BOUDINOT Hey, isn’t he the guy who said that not

everyone in an MFA program is a genius, and the Internet exploded? The Octopus Rises is his new story collection.

University Book Store, 4326 University Way N.E., 6343400, bookstore.washington.edu. 7 p.m. Wed., Aug. 19.

SAM FROMARTZ & KEN FORKISH The baker/authors of In Search of the Perfect Loaf: a Home Baker’s Odyssey and Flour, Water, Salt, Yeast: The Fundamentals of Artisan Bread and Pizza. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Aug. 19.

MELISSA LAIRD Her eco-thriller Messing With God’s Country is described as “a fast-paced tale of philanthropy, conservation, jazz, and violent racism.” Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplace books.com. 7 p.m. Wed., Aug. 19.

JOHN SCALZI The End of All Things is the latest in this sci-fi writer’s “Old Man’s War” series. Seattle Central Library. 7 p.m. Wed., Aug. 19.

GENDER ODYSSEY Kate Bornstein, Andrea Jenkins, and many more speak at this conference about gender nonconformism. Washington State Convention Center, 800 Convention Pl., Thurs., Aug. 20–Sun., Aug. 23. See genderodyssey.org for comlete lineup and schedule.

•

PAMELA MCCLUSKY & ERIKA DALYA MASSAQUOI

The co-curators of SAM’s ongoing exhibit “Disguise: Masks and Global African Art” talk about it. Elliott Bay. 7 p.m. Thurs., Aug. 20.

THE REJECTIONS Music and book signing with this allwriter rock band, a fundraiser for Camp Ten Trees. Elliott Bay. $5. 7 p.m. Thurs., Aug. 20.

BOOTS RILEY The hip-hop activist discusses his book Boots Riley: Tell Homeland Security—We Are the Bomb with Jesse Hagopian. Guests include Gabriel Teodros and MC Geologic. University Temple United Methodist Church, 1415 N.E. 43rd St., 634-3400, bookstore. washington.edu. 7 p.m. Thurs., Aug. 20.

WILLIAM RITTER Beastly Bones covers the further adventures of teen detective Abigail and her employer R.F. Jackaby. University Book Store, 7 p.m. Thurs., Aug. 20.

JENNIFER STEIL Her Middle East-set novel, The Ambassador’s Wife, draws on her own experiences as a journalist there. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks. com. 7:30 p.m. Thurs., Aug. 20.

NINA ANSARY She’ll discuss her book Jewels of Allah: The Untold Story of Women in Iran with Steve Gutzler and HuffPo’s Yasamin Beitollahi. University Book Store, 7 p.m. Fri., Aug. 21.

ANARCHIST BOOK FAIR Scheduled participants include Free Radical Radio, Left Bank Books, and many others.

The Vera Project, Seattle Center, seattleanarchist bookfair.net. Free. 10 a.m.–5 p.m. Sat., Aug. 22.

OTTESSA MOSHFEGH Her well-reviewed novel Eileen is a “taut, controlled noir about broken families and their proximity to violence,” saith Kirkus. Elliott Bay. 7 p.m.

Sat., Aug. 22.

KAE HAMMOND Sharing important advice in Pathways: A Guidebook for Dementia & Alzheimer’s Family Caregivers.

Eagle Harbor. 3 p.m. Sun., Aug. 23.

RAISING LILLY LEDBETTER Women Poets Occupy the Workspace is the subtitle of this anthology on women and work, which will be read from by Hugo instructors.

Richard Hugo House, 1634 11th Ave., 322-7030, hugo house.org. 4 p.m. Sun., Aug. 23.

PARNAZ FOROUTAN Her debut novel, The Girl From the Garden, tells of an Iranian Jewish family. Elliott Bay. 7 p.m. Mon., Aug. 24.

PETER J. MANOS Dear Babalu: Letters to an Advice Columnist is his book of short stories in epistolary form.

Seattle Public Library, Montlake Branch, 2401 24th Ave. E., spl.org. 6:30 p.m. Mon., Aug. 24.

ADAM JOHNSON Fortune Smiles is the new shortstory collection from the Pulitzer-winning author of The Orphan Master’s Son. Seattle Central Library. 7 p.m.

Tues., Aug. 25.

RICHARD KADREY Killing Pretty brings back antihero James “Sandman Slimm” Stark. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery. com, noon, Tues., Aug. 25; University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 6 p.m. Tues., Aug. 25.

CHRISTOPHER MOORE Secondhand Souls is the sequel to his comic novel A Dirty Job. University Book Store.

7 p.m. Tues., Aug. 25.

LOUISE PENNY The Nature of the Beast is her new Inspector Gamache novel. University Temple United Methodist Church. $27.99 includes book. 7 p.m. Tues., Aug. 25.

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» film

Opening ThisWeek

new assaults on Planned Parenthood and abortion rights. Oh, and sexting. (Or was that last year’s menace?) It seems as though there’s never been a scarier, more technologically lubricated time for young women to gain sexual knowledge.

Minnie insists that “I’m not afraid of anything.”

Only a teenager could say that, and perhaps only during that era, 40 years past. BRIAN MILLER

Knievel prepares for his jet leap across the Snake River in 1974.

Being Evel OPENS FRI., AUG. 21 AT SUNDANCE CINEMAS. NOT RATED. 102 MINUTES.

In a good way, this very frank and unrepentant ’70s coming-of-age tale will make some viewers uncomfortable—parents especially. It’s based on a 2002 graphic novel, semi-autobiographical, by Phoebe Gloeckner. Director Marielle Heller, making her accomplished feature debut, first wrote and starred in a stage adaptation of the book. Its 15-year-old heroine, Minnie, is now played by the very fresh and determined British actress Bel Powley; Kristen Wiig is her twice-divorced single

mother Charlotte, a drinker and a druggie in 1976 San Francisco. Charlotte likes to party and couldn’t care less about setting a good example for her two daughters. (Younger Gretel, the family snoop and scold, hardly figures in the plot.)

It would be easy to say, in today’s psychological parlance, that Minnie is “acting out”—first with boys and later men of inappropriate age and family proximity. She never knew her father; and her concerned stepfather (Christopher Meloni) rarely visits from New York. Minnie lives an essentially unsupervised life, intent mainly on her drawings—which often spring into animation—and the opposite sex. These passions she records faithfully in her notebooks and audio diary, meaning lots of voiceovers for us. We also know it’s only a matter of time before Charlotte discovers those damning cassette tapes.

Would Minnie be any less sexually adventurous if raised in, say, a strict, intact Midwestern Catholic household in the ’50s? I think this very sex-positive movie’s position is that a strongwilled teenager is going to discover what she wants how she wants, without shame or lasting damage. And Minnie really wants it; she’s no lazy virgin waiting to be deflowered. Diary raised some hackles at Sundance—and charges of pedophilia, owing to Minnie’s affair with her mother’s dumb, handsome boyfriend (Alexander Skarsgård), who comes across as anything but a predator. It’s Minnie who’s obsessed with punching her V-card; Monroe is more an instrument than an equal. (His vague ambition is to sell mail-order vitamins—the most ’70s job description ever!)

Like any future artist, Minnie is intent only on gathering and recording experience—consequences be damned. (Her little sister quite correctly pegs her as a narcissist.) She wants evidence of change after her first sexual experience, taking a Polaroid of herself to see the result. “Does this make me an adult?” she wonders. Further escapades, apart from Monroe, involve high-school pals and take her beyond safe bohemia. Some are comic, some are not.

That rebellious gene surely comes from Charlotte, who tells her blossoming daughter, “Put it out there.” I do wish, however, that the movie showed us more of the mother—who identifies with Patty Hearst, fellow enemy of the bourgeoisie—to balance her solipsistic daughter. Wiig isn’t given enough scenes (but then, it’s not The Diary of a Teenage Girl’s Mother), yet she’s unpredictable in consistently interesting ways. Her years of sticking to character in improv sketches are manifested in Charlotte’s tendency to flop on the nearest convenient couch (or man), her

STRAND RELEASING

OPENS FRI., AUG. 21 AT SUNDANCE, PACIFIC PLACE, AND LINCOLN SQUARE. RATED R. 101 MINUTES.

RUNS FRI., AUG. 21–THURS., AUG. 27 AT SIFF CINEMA UPTOWN. NOT RATED. 81 MINUTES.

School is looming—for younger filmgoers, at least—and with it the fears of bullying, wearing the wrong outfit, or failing to find a neutral seat in the clique-ridden cafeteria. Canadian comic Pat Mills knows those feelings well. Writing, directing, and starring in this blithe, ragged misfits’ revenge comedy, he plays the overgrown misfit David, a former television child star—as is Mills—fallen on hard times. David is also a case study in smiling denial: “I’m not gay,” he insists, “I just have a gentle voice.” His chief hobbies include nostalgia, selfaffirmation audiotapes, and box wine—preferably chugged in the tub while quietly sobbing.

Broke, unemployed, and soon to be evicted, David flagrantly lies his way into a gig as a highschool guidance counselor. (Amazing where fake eyeglasses and a corduroy blazer will get you in life.) He’s the worst possible role model, so you can see where Guidance is heading. With liquor bottles stashed in his desk, David does his best to ignore pesky colleagues and confused students. (“I don’t like honesty,” he tells the latter, his pot dealer among them.) Yet inevitably this feckless cynic must soften and take genuine interest in a few outcasts—chiefly Jabrielle (Zahra Bentham), whose hard-luck upbringing eclipses his own dark circumstances. This isn’t the kind of movie to offer its hero phony redemption, but David at least achieves a gram of empathy during his bumbling downfall.

Just a nip for Mills before school.

reflexive contrarianism and tenacious partying.

It takes work to ignore your maternal duties, and she shows the strain.

Though displaced back to the post-Pill, preAIDS decade, Diary comes at a fraught and perhaps unfavorable cultural moment. The media are in a tizzy over the Tinder/hook-up apocalypse.

Fears abound of a campus rape epidemic and— from the other side of the political spectrum—

Though it belongs to the same genre, Guidance is nowhere near so good as Young Adult (or even the Jump Street movies, come to think of it).

Slow and underwritten, it feels like a failed TV pilot; its comic escapades never reach a boil. As grown David watches VHS tapes of child David on television, nothing here is so wacky as his old show Wacky Street. BRIAN MILLER

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

PThe Diary of a Teenage Girl

Guidance

HISTORY FILMS/GRAVITAS VENTURES

Appropriately, foremost among those giving tribute to Robert “Evel” Knievel here is Johnny Knoxville. The documentary’s producer and chief commentator, he gratefully reminds us how much Jackass and the X-Games market owe to the late motorcycle daredevil (1938–2007).

Before YouTube and Monster energy drink and the whole extreme-sports racket, Knievel had network television—in particular, ABC’s Wide World of Sports. During the Nixon era and slightly beyond, Knievel’s bus- and canyon-jumping attempts beamed into millions of homes, inspiring white suburban boys like Knoxville to buy Knievel-branded lunchboxes and toys. Knievel, a hard-living former insurance salesman, was savvy about licensing and media presentation. During the same tumultuous period, Muhammad Ali was a different, dangerous sort of hero (and, well, black), while Knievel positioned himself as a TVready paladin in white leather—the antithesis of outlaw biker culture.

In part, however, the task for Knoxville and director Daniel Junge is to debunk some of Knievel’s carefully crafted legend. There’s a wealth of clips here—the crashes still make you gasp—and testimonials from Tony Hawk, Frank Gifford, and even George Hamilton! (Surely you haven’t forgotten the Hamilton-starring 1971 biopic.) Family members paint a darker portrait.

Knievel emerges as a mean, hard-bitten SOB—a drinker and a cheater who only revealed his true self to the media during hostile press conferences.

(This was never more true than at his Snake River Canyon pay-per-view debacle, which one journalist calls “the evil twin of Woodstock.”

Over on WWS, Jim McKay termed it “the great rip-off of 1974.”)

Variously cribbing his image from Elvis, James Brown, and Liberace, Knievel becomes a recognizable huckster and all-American showman.

He’s a minor figure of his times who even today elicits nostalgia in men of Knoxville’s age (44) who should know better. Being Evel feels like a family-authorized endeavor, but it stops short of full-blown hero worship. However unpleasant the man, he inspires fond boyhood memories of building scrap-wood ramps in the driveway, practicing endless leaps on Schwinn Sting-Rays, emulating heroic Evel—until called safe inside for dinner. BRIAN MILLER

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His parents were Midwestern Gothic: the father a bitter drunk who settled things with violence, the mother a poetic type who couldn’t lay off the booze.

Yet in the way of strange, sad American stories, these two souls created a combination of DNA and childhood trauma that birthed one of the definitive actors—why not say artists?—of the mid-20th century. The son got his father’s name, Marlon Brando, an ideal moniker for an icon of bigger-than-life coolness and rebellious disdain. If you’re already up on Brando lore, and especially if you’ve read his oddball autobiography, this new documentary won’t uncover much that’s new. But it’s a pleasure to watch, serving up Brando as a model for other artists who aspire to sincerity and honesty in their work.

PASSION PICTURES/SHOWTIME

The

In the post-Pokémon era in which we all reside, one is accustomed to battles between bizarre mutant cartoon characters. So there isn’t much surprising about the creatures that pop out of the backpacks of the grade-school students in Jellyfish Eyes ; the children themselves take it mostly as a matter of course that, by virtue of being Japanese in the 21st century, they will at some point be visited by tiny creatures with superpowers. The movie is not a cartoon but live action with digital beasties, and it looks so bad you wish it were all animated.

The story The actor as a young, is about a opinionated man. boy, Masashi (Takuto Sueoka), who is befriended by a pale jellyfish-like thing just large enough to fit into a bookbag. At first Masashi assumes this is a singular phenomenon, but then his classmates reveal that not only do they have their own pets, they control them with their smartphones.

There’s more: All this is being watched over by a cadre of teen scientist-wizards working for a large agency. They seek to harness the negative energy of adolescents, which is apparently the most powerful energy source in the world. It is important that the creatures fight each other for this energy to be released.

Jellyfish Eyes is the brainchild of one of the world’s most profitable visual artists, Takashi Murakami, the guru of the “Superflat” theory of Japanese pop art, which has been featured at recent shows at the Henry and Seattle Asian Art Museum. (Along with his exhibition work, he’s also designed for Louis Vuitton and Kanye West.) So it rates more than a passing glance, and you can certainly see ideas straining to make themselves known beneath the bubblegum surface. As a director, Murakami plays around with the disaster imagery that has run through Japanese film since Godzilla first soaked up nuclear energy (Masashi’s father died in the Fukushima tsunami, a flashback sequence that delivers some isolated chills), and there’s a constant critique of the kind of commercial movie that Jellyfish Eyes seems to embody. That might have something to do with why this film flopped in Japan in 2013, as audiences have a tendency to get turned off by movies critical of their own existence.

Whatever theories Murakami has perfected in his visual art, he’s miscalculated in his featurefilmmaking dabble. The drabness of the video image wouldn’t pass muster on public-access TV, and there’s no way a pro would let something like this run on for 101 minutes. Pikachu was never so long-winded. ROBERT HORTON

PListen to Me Marlon

Directed by Stevan Riley, the film is in Brando’s speaking voice, sometimes drawn from interviews, but mostly taken from his own self-recorded thoughts. It’s illustrated with photographs and film clips (not many of the latter—some great Brando performances are entirely left out). The movie’s not about the career, and it offers no outside analysis of why Brando changed movie acting; it’s about the interior life of an actor. And Brando had plenty of interior life. He was nothing if not thoughtful, even if it quickly becomes clear that Brando’s ideas rarely went past the level of a bright young man fumbling through the meaning of it all. What impresses you, though, is how Brando never lost his curiosity. All those dud performances in blah movies toward the end of his life—they were paychecks so he could continue thinking about things and lending his support to causes he believed in.

You hear about his sex life, and his island in Tahiti, and his children’s troubles. You also see him replicated as a computer program; before he died, he was digitized, and we watch his ghostly head reciting Shakespeare. One of the most intriguing threads here is how much Brando intended to change acting. He had very specific complaints about the kind of movie acting that dominated Hollywood before he came along, the canned delivery that made everything easy to predict.

Brando couldn’t do it—he already knew the price of “acting,” of participating in the charade of a happy family that was anything but. So he blew it up, and not just in the movies. (Clips from TV appearances show how he could disconcert his interviewers, with honesty or unbridled lust.) He was an open wound, a child, a hungry observer of people. He was one of the movies’ great holy fools, and we could use more like him. ROBERT HORTON E

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Local & Repertory Crowe’s genial, • ALMOST FAMOUS In Cameron Almost Famous (2000), his

1980’s Caddyshack. (R) Pyramid Alehouse, 1201 First Ave. S., 682-3377, pyramidbrew.com. $5. 21 and over.

Mmovie at dusk. Fridays through Sept. 11.

SUNSET BOULEVARD Billy Wilder’s 1950 classic shows just how well he adjusted to the vernacular of his adopted country, boasting more great lines than an average year-ful of movies. The film is a black, venomously funny take on Hollywood—its dreams, delusions, and deceits—and probably the best movie ever made about that industry town. In it, jaded screenwriter William Holden becomes the gigolo to former silent era star Gloria Swanson, who embodies Hollywood’s faded glory. Though filled with memorable quotes, some of the movie’s best bits are wordless—like Holden’s look of disgust as he beds Swanson, and his corpse floating in the pool. (R) B.R.M. Central Cinema, $7-$9. 7 p.m.

Fri.-Tues. & 3 p.m. Sat.-Sun. THREE BY BRANDO Pegged to the new documentary Listen to Me Marlon (see review, page 22) are The Wild One (noon, Sat.), On the Waterfront (2 p.m. Sat.), and The Godfather (2:45 p.m. Sun.). (NR) SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12.

THREE DOLLAR BILL OUTDOOR CINEMA Johnny Depp made the most of the opportunity given him by Tim Burton in the dark suburban fairy tale Edward Scissorhands. In their first collaboration, Depp plays a gentle, misunderstood monster literally stitched together by mad scientist Vincent Price, whom Burton revered and here gives a lovely career coda. Diane Wiest is the woman who rescues Edward, and Winona Ryder the girl who loves him. In all, the 1990 film represents Burton’s first fully realized personal and grownup feature. (PG-13) B.R.M. Cal Anderson Park, 11th Ave. & E. Pine St., 323-4274, threedollarbillcinema. org. Free. Screens at dusk. Fridays through Aug. 28.

WEST SEATTLE MOVIES ON THE WALL Tim Curry and company do their time-warp thing, aka The Rocky Horror Picture Show. (G) 4410 California Ave. S.W., westseattlemovies.blogspot.com. Free. Screens at dusk. Saturdays through Aug. 22.

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• BEST OF ENEMIES It’s 1968, time to cover the two

party conventions. New and struggling ABC needed something cheap and controversial, so it hired Gore Vidal and William F. Buckley to pummel each other on camera. It worked better than anyone—including the two antagonists—could’ve predicted. So does this film by Robert Gordon and Morgan Neville. They dug up and carefully edited together the debate highlights, well supported with background on the two men (not household names today, as they once were). Best of Enemies also includes a chorus of contemporary experts (Frank Rich, Dick Cavett, Christopher Hitchens, etc.), who both admired the combatants and make connections to today’s TV punditry biz—Stewart, Colbert, O’Reilly, and company. Vidal and Buckley were the rare intellectuals of their day who embraced television without shame. And while Vidal’s politics—and proud candor about his homosexuality—will naturally appeal in Seattle, it’s the shark-smiling Buckley who more influenced today’s political climate. Without Buckley, no Reagan; and no heirs of Reagan. Buckley and Vidal’s arrogance is irresistible. (R) B.R.M. Seven Gables THE GIFT Jason Bateman has a genius for ambivalent line readings, most often employed to comic effect (see: Arrested Development). He doesn’t get enough dramatic showcases for the same gift, but his Simon—a smug tech-industry sales maven newly returned to L.A.—is a fine example. We side entirely with him and his fragile, empathetic wife Robyn (Rebecca Hall) when his creepy old high-school acquaintance (Australian writer/director Joel Edgerton) intrudes upon their posh, serene life. What does Gordo want? Something more than friendship, maybe an apology. Robyn’s curious while Simon’s increasingly impatient. We expect The Gift to erupt into one of those deranged stalker thrillers, but it’s a cut well above genre. Edgerton, better known as an actor (The Great Gatsby, Zero Dark Thirty, etc.), is interested in marital breakdown and distrust. How well does Robyn know her ambitious, career-obsessed husband? He insists, “It’s really important to not look back.” Meanwhile the passive-aggressive Gordo represents the return of the repressed. As Simon ridicules him, denying the same emotional weakness shown by his wife, we gradually realize that sarcasm has hardened into sociopathy. (R) B.R.M. Pacific Place, Lincoln Square, others

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“I love it...as good as it gets!”

- A.O. Scott, New York Times MIDNIGHT THC!

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SATURDAY, AUG 22 Alien marijuana in the Olympic Mountains leads to an out-of-thisworld-high.

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From the director of Amelie comes the magical tale of a 10-year-old science genius who is unknowingly awarded a top prize from the Smithsonian. 2D and 3D versions.

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EXCLUSIVE PRESENTATION In this comedically incorrect indie, an immature man masquerades as a high school guidance counselor, providing the worst, or possibly the best, advice to troubled teens.

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“A haunting, morbidly romantic melodrama with obvious links to Vertigo.” – New York Magazine

COMING AUG 28 · 7 Chinese Brothers · · Call Me Lucky · Turbo Kid ·

SEATTLE CENTER · NW ROOMS

Listen to Me Marlon

Using clips from his previously unheard audio archives, Marlon Brando narrates his incredible life and career in his own words.

Plus: Brando’s Best!

Sat 12:00 - The Wild One Sat 2:00 - On the Waterfront Sun 2:45 - The Godfather

SIFF EDUCATION

Feminist Imaginations MONDAYS, SEP 14 - OCT 5

This hands-on video production workshop complements the SIFF Women in Cinema Festival.

Explore ways in which film, video, and performance art can radically re-imagine time, space and narrative. Beginners welcome.

Cinema Dissection

Jaws (SEP 19) Night of the Living Dead (OCT 31) Dig deeper into the films you love, analyzing them scene-by-scene.

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SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

heartfelt, autobiographical protagonist (Patrick Fugit) departs 1973 San Diego to pursue his destiny as a music journalist and escape his amusingly overprotective mother (the excellent Frances McDormand). Almost Famous is a fondly nostalgic and generally comic memoir—albeit fictionalized—that’s content to illustrate, not explain. Mentored by real-life rock critic Lester Bangs (grouchy, puckish Philip Seymour Hoffman), our Candide-like hero soon assembles an improvised family on the tour bus of up-and-coming band Stillwater. Members include Jason Lee, Billy Crudup, and Kate Hudson—all united

by Crowe’s simple, idealistic love for music. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Tues.

BIKE-IN NWFF has changed this annual event to a preview ride from the Cap Hill cinema up to Greenwood, where it’ll screen short films and samplings from the fall season, including the Local Sightings Film Festival.

(NR) Naked City Brewery, 8564 Greenwood Ave. N., 838-6299, nwfilmforum.org. Free. 9 p.m. Sat. KUMU HINA This new drama (we think) has a transgender teacher trying to transmit ancient Hawaiian culture and traditions to her students. (NR) Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $10. 7:30 p.m. Thurs.

MOONLIGHT CINEMA In Peter Berg’s grueling 2013 war drama Lone Survivor. Mark Wahlberg plays Navy SEAL Marcus Luttrell, who participated in a 2005 raid in Afghanistan that went terribly wrong. Politics don’t figure in this patriotic story, and you get the feeling the raid would’ve ended badly no matter who occupied the White House. However, it takes a tough constitution to endure Berg’s long central firefight, which seems to go on forever. Using occasional bursts of slo-mo for emphasis, Berg may glorify these brave SEALs, but he doesn’t romanticize combat. It’s a nasty business of ducking fire, retreating down cliffs, and packing gunshot wounds with dirt. There have been several other military-approved combat movies since 9/11, but this one—to its credit—hardly plays like a recruitment ad. (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 Give thanks to the Marvel gods for Guardians of the Galaxy. If you’ve ever had to suppress a giggle at the sight of Thor’s mighty hammer, this movie will provide a refreshing palate-cleanser.

First, understand that the Guardians of the Galaxy tag is something of a joke here; this is a painfully fallible batch of outer-space quasi-heroes. Their leader is an Earthling, Peter Quill (Chris Pratt), who calls himself “Star-Lord” even though nobody else does. In order to retrieve a powerful matter-dissolving gizmo, he has to align himself with a selection of Marvel Comics castoffs, who will—in their own zany way—end up guarding the galaxy. Director James Gunn (Super) understands that getting character right—and keeping the story’s goals simple—can create a momentum machine, the kind of movie in which one scene keeps tipping giddily over into the next. (PG-13) ROBERT HORTON 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 2010 animated kid flick Tangled is screened, with Rapunzel transformed into can-do heroine. (PG) 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 Cue the irony that the classic Sondheim musical Into the Woods has been taken up

by Disney, history’s busiest purveyors of the happy ending. Its fairy-tale happy ending comes halfway through the action, then Cinderella and company must decide what to do next. Into the Woods presents a crowded roster, with Meryl Streep earning top billing as the Witch, the blue-haired crank who sets things in motion with a curse. (James Corden and Emily Blunt play the baker and wife who want a child; also on hand are Anna Kendrick, Chris Pine, Tracey Ullman, and Johnny Depp as various familiar fairy-tale characters.)

The blend of rustic locations and studio-built woods is eye-filling, especially when the characters cross the border from the realistic realm to the enchanted forest. In general, though, director Rob Marshall brings his usual clunky touch. The singing tends toward the Broadway-brassy, although Blunt and Corden—working in a more casual style—are completely charming.

(PG-13) R.H. Seattle Center Mural Amphitheatre, 684-7200, seattlecenter.com. Free. Outdoor movie begins at dusk. Saturdays through Aug. 22.

SODO OUTDOOR MOVIE NIGHT Bill Murray stars in

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After years of small local performances, Seattle’s Briana Marela is poised to make international waves.

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BEATS ANTIQUE

B

riana Marela is so soft-spoken, it’s hard to hear her over the waves lapping at the dock we’re sitting at in Magnuson Park. The loudest she gets during our interview is when she excitedly points out a huge white bird that suddenly swoops in over our heads.

For her lucky first-time audiences, Marela’s initial quietude is all part of the bait-and-switch of her performances. She’ll often begin with a simple “Thank you” and a nod before she starts, eliciting a few carefully formed “oh”s and “ah”s into the microphone. Utilizing a custom looping/ sampling program she designed using the Max/ MSP coding language (picked up during her stint in Evergreen University’s electronic-music classes), those utterances and fleeting melodies begin to pile on top of each other in preordained intervals. Bit by bit, Marela’s hushed intonations weave a breathing, pulsing tapestry, spinning over the course of a minute or so into a bubbling choral swell before the song really starts, suddenly

floating onward atop it all. What begins as a few whispers crests into a warm harmonic tidal wave.

“I just really love singing with other people and being in choirs, which is a funny thing to say given that I play on my own a lot,” Marela chuckles.

This week, Marela’s intricately crafted onewoman choral work is about to flood out of the intimate Seattle/Olympia DIY and house-show scene it’s been percolating in for the better part of seven years. All Around Us, her third full-length LP, is coming out August 21 on the prestigious Jagjaguwar label, home to heavyweights like Angel Olsen, Bon Iver, and Dinosaur Jr. Marela will join Cave Singers as the only Seattle-based artists on the roster. After that, she’s heading out to perform in Europe before supporting critically acclaimed Norwegian songwriter Jenny Hval on a North American tour. (They’ll appear at Barboza on Saturday, Aug. 29.) It’s all a bit of a whirlwind right now, but just like her music, this sudden peak was preceded by a lot of quiet.

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

Speak From Your Heart, Marela’s previous After recording demos of the songs she wrote record, came out in 2012, a year before college in reaction to this period of reflection and solicame to an end. Suddenly her Evergreen comtude over at The Unknown in Anacortes (Phil munity disappeared. One by one they all moved Elverum’s cathedral-turned-studio), a chance to different parts of the country to start the next encounter dramatically changed the fate of All steps of their lives.

Around Us. During her first U.S. tour, an artist “Just getting out of college, I was like, ‘What at a gallery she performed at in Rhode Island the hell am I doing?’ ” Marela says. “I was just bought one of Marela’s tapes. He ended up casutrying to be, like, ‘How do I keep doing this ally playing it for his best friend—Alex Somers, art that I love? Can I keep making music and the Reykjavík-based producer and visual artist find sucknown for cess on my his musical own? And collaborathe answer, tions with which ended longtime up being the boyfriend first song Jónsi Birgis“When frequencies are in phase, their on the new son of Sigur album—I amplitudes double [...] but when they are out Rós. Taken answered

by Marela’s myself: ‘Yes. of phase, they actually diminish each other. I music, he You can.’ ” think when you are in love, you are in phase.” reached out The and offered result, to produce “Follow the album.

It,” which Suddenly opens All Marela Around Us, found serves as a telling blueprint for her unique herself in Iceland, tinkering with Somers’ array style—aside from her trademark layered choral of unusual noise-making toys, Sigur Rós’ piano, work, it shows off her unusually straightforand collaborating with her heroes in Amiina—an ward lyrical approach. As the title Speak From internationally renowned, Reykjavík-based neoYour Heart might suggest, Marela isn’t one for classical group known for their haunting string obfuscation or cryptic metaphor. She tells you compositions that incorporate bowed saws, glass exactly what’s going on in each of her songs. harps, and zithers. “I fangirled so hard working “If you see another way, follow it wherever you with them,” Marela says. “I’d instruct them how are,” she sings very frankly at the climax of to play in my own strange way, like ‘Play this part “Follow It.” That disarming clarity plays to her kind of ghost-like?’, and they went ‘Oh yeah, like advantage, given her interest in one of the most this,’ and did exactly what I’d imagined. They historically overwrought and mystified topics were insanely good at improvising.” in art history: love.

With Somers’ distinct production style, “One of my goals in life is to understand Amiina’s string contributions, and the clattering what love is and what relationships really percussion of Samuli Kosminen (the Finnish mean,” Marela says—a search that took on drummer of múm), Marela’s album has that new urgency after her friends left Olympia, unmistakable Icelandic feel—one fans of Sigur a romantic relationship came to an end, and Rós (or any Icelandic band, for that matter) will Marela spent an isolating year living back at her pick up on instantly. Unplaceable ambient rattles mother’s house in Shoreline before moving to and whizzes, created largely with feedback from a Seattle. “I dunno . . . it sounds super-cheesy, but Fisher Price toy microphone/stereo set, apparate I really think love is one of the main reasons for in and out of the record. Liberal use of vari-speed living,” she says. “I think it’s important to try studio techniques warp vocal lines and melodies, and fully understand what that means and my creating the sensation of time bending forward songs are an attempt at attaining that higher and back. Songs build and build and build until knowledge, if you want to call it that.” they reach epic, volcanic moments. But despite In “I Don’t Belong to You,” one of the her Icelandic adventure, her upcoming Jagjagualbum’s whirring, oceanic ballads, Marela comes war debut, and her high-profile national tour, out and explicitly states her working definition Marela hasn’t forgotten her local roots. Those of love, one clearly influenced by her academic relationships lie at the core of not only her music, musical study: “What does love mean in this but her identity. day and age? To me it’s a moment where we “My biggest goal with recognition is just being resonate, two frequencies close in phase. And able to go ‘Listen to all this great music from if we stay in tune or drift away, why does that the Northwest,’ ” she says, “It’s so rad. I wouldn’t matter today?” be making the music I do if it weren’t for the “That’s actually one of my favorite lines I’ve community here and the relationships I’ve made ever written,” Marela tells me when I ask about here—my friends and loved ones influencing the strikingly candid lyric. “That so accurately and supporting me. I love playing small, intimate describes to me what love is. When frequenshows for people here, and I hope I don’t ever cies are in phase, their amplitudes are greatest. have to stop doing that.” E They double. But when they are out of phase, ksears@seattleweekly.com they are so much quieter, you can’t quite hear them—they actually diminish each other. Like BRIANA MARELA waveforms, I think when you are in love, you are With Jenny Hval. Barboza, 925 E. Pike St., in phase. But I don’t think you can be in phase 709-9467, thebarboza.com. $10. 21 and up. with someone forever.”

7 p.m. Sat., Aug. 29.

25

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SEATTLE WEEKLY PRESENTS R&B REVIVALIST

NICK WATERHOUSE

BRANDEN DANIEL & THE CHICS, DJ COOKY PARKER 9PM - $15 THURS,

AUGUST 20 TH 

arts&culture» music

Servin’ It Up, Yeah Buddy The Dip’s got some spicy soul flavor.

BY ALEXA PETERS

PDX BLUES ROCK

Blues singer/guitarist/banjoist and visionary roots musician Otis Taylor and band are touring in support of their new release “Hey Joe Opus/Red Meat”

THE STANLEY CLARKE BAND THURS, AUG 20 - SUN, AUG 23

Grammy-winning bassist delivers a virtuosic smorgasbord of old-school fusion, classical jazz, modern-day funk and introspective collaborations.

LEE RITENOUR AND DAVE GRUSIN TUES, AUG 25 - SUN, AUG 30

Grammy-winning genre-melding guitarist and pianist

GRANDMOTHERS OF INVENTION TUES, SEPT 1 - WED, SEPT 2 The only Frank Zappa/Mothers of Invention alumni who have been consistently performing the music of the maestro since 2003.

TERENCE BLANCHARD FEATURING THE E-COLLECTIVE THURS, SEPT 3 - SUN, SEPT 6

Multi-Grammy Winning top-tier jazz trumpeter, bandleader, composer, arranger, and film score composer

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

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

26

FAUNA SHADE, DANIEL BLUE (OF MOTOPONY) FRI,

AUGUST 21

9PM - $8 ST 

HOCKEY TALKTER ROCKTERS

DANNY NEWCOMB & THE SUGARMAKERS (ALBUM RELEASE)

MASSY FERGUSON, STRONG SUIT TUES,

AUGUST 25

9PM - $8 TH 

INDIE FOLK/POP

MEIKO

STEFAN PAUL GEORGE SAT,

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REBIRTH BRASS BAND 8PM & 10PM $25/$30 TWO SHOWS - $40

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8/27 ACID TONGUE 8/28 THE BLACKBERRY BUSHES STRINGBAND 8/29 TUBALUBA 9/1 COURTNEY MARIE ANDREWS 9/2 SPECTERS 9/3 PLANES ON PAPER 5213 BALLARD AVE. NW  789-3599

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COURTESY OF THE ARTIST

OTIS TAYLOR BAND WED, AUG 19

TANGO ALPHA TANGO

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ocal funk group The Dip specializes in making smokin’ soul sounds, loyal fans, and cleverly enough, homemade hot sauces to sell alongside its delicious new self-titled record.

The Dip was born out of the house-party scene at UW, where most of the seven-piece band majored in jazz studies. “We were just trying to form a group that could play some house parties, get into that vibe, and have fun,” drummer Jarred Katz says. “We were so busy with music at school . . . [we wanted] to have something extracurricular, an outlet.”

That outlet soon grew into a bigger project, especially as the group honed their sound and added a vocalist, Tom Eddy from Beat Connection (of which Katz is also a member). “[Eddy] was a natural fit, he made it more than just a jam party thing . . . something you really can sink your teeth into,” Katz says.

With a solid underlying groove and tightly arranged background horns, The Dip pays due respect to the R&B tradition, but has a sound all its own, attaching pop, rock, and jazz influences to the soul train.

Their popular track “Stateline” is a perfect example, with Eddy’s crooner-esque vocals, a rock-’n’-roll guitar break, and a tenor sax sound reminiscent of Michael Brecker’s. Think Blood, Sweat and Tears, but with some special sauce.

On that note, The Dip has been

known to play up their name’s association with food. “We have played a lot of foodoriented music festivals, like the Ballard Seafood Festival,” Katz says, “[and] we did have a special barbecue sauce that we put our own label on that was the cover of our first EP.” More recently, the band members made their own homemade hot sauce to sell at

The band’s custom hot sauce.

their album-release party in April. Eddy said a song they played when they started out planted the seed. “There was a line in the song that went ‘Servin’ it up, yeah buddy,’ ” Eddy says, “People at our shows learned the line and would yell it out.

So when the record release came, me and Jacob, our guitar player, went and got 12 pounds of jalapeños and roasted them in my backyard. [The hot sauce] is really good! We didn’t sell it all, so I still put it on my eggs some mornings to remind myself to stay spicy.”

Along with the band’s affinity for barbecue and churning out “saucy” grooves, Katz says their name comes from the way the audience looks when they’re dancing. “It’s like, ‘dipping your hips’ . . . and it’s not about tobacco,” he says with a laugh. “It’s also a homage to Sharon Jones and the Dap Kings; we’re really inspired by them.”

You can’t listen to The Dip without shaking your tail, and that is exactly what’s earned them such a reputation. “They are super-fun—I saw them one time at a random house party and [loved] the vibe that they gave off, you couldn’t help but start moving. Five minutes in, I knew I had to have them at my own house parties,” says UW graduate and friend Ayala-View Goldstein, who’s hired The Dip many times.

As of now, The Dip is writing new tunes and working hard toward releasing an all-instrumental EP in the fall. This group thrives on double dipping, so they’re giving fans plenty of opportunity to come back for more. As Eddy said, “I feel like no one should fault you for putting more dip on your chip.

Go get it if you need it.” E music@seattleweekly.com

THE DIP With Tuatara. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. $10. 21 and over.

8 p.m. Fri., Aug. 21.

Testing Your Comfort Levels With LIMITS The noisy performance duo will invade your personal space over and over again.

BY MEAGAN ANGUS

33K FANS & COUNTING! COURTESY OF THE ARTIST

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that could move beyond creating experiences solely based in abstract sound—that would add in textual elements and conceptual approaches.”

Growing out from her background in dance, filmmaking, and movement-inspired design, Befort found an easy partner in Anderson.

Mutually, the two began working to engender a tense, unsettling mood, with insistent, pulsating noisescapes, recurrent movements, harsh and monotonous lighting, and uncomfortably close proximity to their audiences. LIMITS’ active manipulation of the space between audience and performer, and its liberal repetition of both sound and movement, make its performances feel like anxiety-riddled clockwork: the constant swing of an arm, an oscillating audio loop, a persistent step backwards. The audience’s memory corrodes and warps these gestures as they replay in our mind’s eye.

“We find it’s like trying to describe dreams,” says Befort. “We’re improvising upon a distinct yet disintegrating structure.”

Eschewing overtly autobiographical work, LIMITS hopes its noise/dance performances might spark discussion of the alienating, pedantic rhythms of modern life—the drilling repetition of cycling traffic lights, bus schedules, and time clocks. “Initially [we] perform something that is mostly improvised,” says Anderson. “We then mine and recraft the piece—discovered in part through fortune and accident—and create another ‘iteration’ of the raw work.”

Anderson is also known for his independent record label Gift Tapes. Heavily influential, Gift Tapes has released works from such world-class noise acts like Merzbow, Golden Retriever, and Spare Death Icon, and hosted shows featuring the likes of Expo 70, Pulse Emitter, and Bee Mask. Gift Tapes has been ‘at rest’ for a few years, but Anderson hints, “I produced this [upcoming] show under the GT name as a bit of foreshadowing of what may emerge.” E music@seattleweekly.com

GIFT TAPES/WAYWARD MUSIC SERIES With MSHR, Million Mists, LIMITS, & RM Francis. Chapel Performance Space, 4649 Sunnyside Ave. N., 547-8127, waywardmusic.org. Suggested donation $5–$15.

All ages. 8 p.m. Fri., Aug. 21.

IN STORES OCTOBER 9, 2015

FRIDAY OCTOBER 23 THE PARAMOUNT

TICKETS ON SALE FRIDAY AT 10AM

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

IMITS, the boundary-crossing multidisciplinary duo of dancer Corrie Befort and musician Jason E. Anderson, is comfortable on the outlands of performance art. The two recently took part in the Yellow Fish Epic Durational Performance Festival hosted at Seattle University’s Hedreen Gallery. Their performance lasted over four hours. “[It] felt like nothing, actually,” says Befort.

“There’s something about being active in that kind of way that makes time fly by.”

In a piece entitled Dream Cargo, Three Nights of Alternative Listening in the Cisco Morris Biodiversity Garden, the two physically nestled themselves among the garden’s plants and structures. “The garden and architecture of the space became characters, and the overall setup allowed for an interesting audience/performer dynamic,” Befort explains. “Performing amongst strictly musical acts, an unfamiliar audience isn’t expecting a dancer/performer to emerge. It can be fairly unsettling, that blurring of the line between ‘stage’ and audience area/comfort zone.”

Part of LIMITS is strictly musical—Anderson uses intense drone and power electronics in the show, and has a long history in the noise scene.

But combined with Befort’s modern interpretive dance, the two create something that transcends disciplinary boundaries—performances that explore time, perception, and memory.

Utilizing what Befort describes as “disruptions that specifically address the venue’s space and how it is being used within other artists’ sets in the evening,” the two hope to foster an environment that is confrontationally intimate, forcing the audience “to pretty dramatically recalibrate and reconsider how they are paying attention to what they see and hear simultaneously.”

“Our sets feel like suddenly finding yourself inside a shoot for a film that’s well along already in its storyline,” Anderson says. “I think that’s due to how we invent scenarios and present them with full commitment, as if they’ve already been in progress for a while. In live work, we feel this dynamic encourages a kind of audience interaction and deduction that is lively, expansive, and quite personal.”

Evolving from a background of experimentation with field recordings and improvisation, Anderson found himself wanting “a new project

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SEATTLE WEEKLY

PROMOTIONS

a&c» music

TheWeekAhead Friday, Aug. 21

TICKET GIVEAWAY

BUMBERSHOOT 2015

AEG Live presents: Bumbershoot 2015, Labor Day Weekend, Sept. 5-7 Seattle Center. A Party for Seattle – 45 years as Seattle’s celebration of Music, Arts and Creativity. FULL LINEUP at www.bumbershoot.com

116 PIKE STREET SEATTLE, WA 98101 206-204-2233

AUGUST 21ST

BODY RAMPANT(LA) THIRD VISION (LA) SIMPLE GRAVITY(SEA) (All Ages)

8PM

TICKET GIVEAWAY MOVIES AT MARYMOOR!

Epic Events presents: Movies at Marymoor!

July 8 - Aug., 26, 7 pm, Marymoor

Park. Movies are projected onto a 40’ inflatable movie screen that turns Marymoor Park into a spectacular outdoor cinema. A tradition of outdoor cinema events in the Pacific Northwest.

WIN TICKETS TO AMERICAN IDOL LIVE!

STG presents: American Idol Live! Tues. Aug. 25 7:30 pm, McCaw Hall. The most successful music competition show in television history, returns this summer with an unprecedented 14th consecutive national tour.

AUGUST 22ND

BLACK BEAST REVIVAL (PNW)

MAUSIKI (VAN) IAN HALE & THE LEGACY (SEA)

SEATTLE WEEKLY • AUGU ST 19 — 25, 2015

9PM

SUN, SEPT 20TH ArtAche Market

MUSIC + MAKER SHOWCASE FEAT.

SONG SPARROW RESEARCH 1pm-6pm / FREE / All Ages #supportlocal

Shows 21+ in the Cavern

TICKETS at HRC & TicketWeb.com HAPPY HOUR Sun. - Fri. 3pm-7pm

/HRCSEA HARDROCK.COM/CAFES/SEATTLE

Saturday, Aug. 22

TICKET GIVEAWAY SEATTLE OUTDOOR MOVIES!

Epic Events presents: Seattle Outdoor Movies! July 9 August 27, 7 pm. Seattle Outdoor Movies at Magnuson Park summer events feature big screen flicks, live entertainment, triva and Seattle’s best food trucks.

TICKET GIVEAWAY MODEST MOUSE

STG presents: Modest Mouse Mon., August 24, 7:30 pm, Paramount Theatre. You could win a pair of tickets to see local indie rock heroes Modest Mouse!

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

www.seattleweekly. com/promo/freestuff

ANNA ERICKSON

SEATTLE

28

Oakland’s THE COUP mixes rap, funk, and punk rock while critiquing capitalism, American politics, and hiphop culture itself. What’s more impressive is that they make it all feel like a big party where everybody’s dancing. Who would have thought communist hip-hop could be so fun? With Pillar Point and SassyBlack. The Mural Amphitheater, Seattle Center, seattlecenter.com/concerts atthemural. 5:30 p.m. Free. All ages. DANIEL ROTH

Summit Block Party The Summit Inn may be gone, but SUMMIT BLOCK PARTY lives on (for this year at least). In four short years, it’s grown from a neighborhood gathering to an event known citywide. This year’s will be the biggest yet, with 17 bands across three stages. Shouts out to Adam Way; without his efforts, this beautiful celebration of Seattle arts may never have returned for a victory lap. With iji, Song Sparrow Research, Sick Sad World, The Beach Boy, Koda Sequoia, and more.

Between East Olive Way and East Howell Street, summitblockparty.com. Noon–10 p.m. Donation.

All ages. DR THE WEATHER is hosting a record-release party for its third LP, but you might be confused: Where are the first and second? Turns out the band was formerly known as Campfire OK—The Weather is something of a follow-up/evolution. The group traded folky twang for more dance-friendly indie pop, but hey, whatever works. With Black Whales and Navvi. Neumos, 925 E. Pike St., neumos.com. 8 p.m. $12. 21 and over. DR

Sunday, Aug. 23

Continuing this week’s theme of bands that start with ‘The,’ we have THE WEST. And coincidentally, The West are also quite danceable (weird how that worked out). They manage to capture the vibes of what made ’80s new wave so fun without all the glitter, neon colors, and leg warmers. This show is a part of a monthlong residency that The West has hosted every week at The Crocodile. And hey, it’s free. With Dirty Dirty.

The Crocodile, 2200 Second Ave., thecrocodile.com.

6:30 p.m. All ages. DR

Tuesday, Aug. 25

This week, on a very special installment of Stop Biting— the more-than-a-decade-old one-stop shop for b-boys, b-girls, and hip-hop culture in Seattle—is a STOP BITING BEATMAKERS SHOWCASE celebrating the folks behind the decks that keep people on their feet.

Don’t worry if you miss this one, though—Stop Biting happens every Tuesday. With Phreewil, Ear Dr.Umz, Graves 33, Diogenes, and more. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., thelofi.net. 9 p.m. $5.

21 and over. DR Thanks to a couple of key co-signs from Chance the Rapper and more recently Kanye West, VIC MENSA is one of the most buzzed-about young rappers out there. Now he’s signed to Jay Z’s Roc Nation imprint and has a song with Skrillex, of all people. But all that is just noise. The real question is: Does he have what it takes to put on a great live show? Your move, Vic. With Towkio. The Neptune, 1303 N.E. 45th St., stgpresents. org. 8:30 p.m. $23.50. All ages. DR Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

odds&ends» Doo-bie or Not Doo-bie . . . What Was the Question?

NNA

CASH

IN

Given his place and time, you couldn’t really blame the brilliant Bard for craving a little pick-me-up during his famous 18-hour writing binges. Tea, coffee, espresso, and RedBull were unavailable then, and everyone, including the Sweet Swan of Avon, has a vice. In fact, Brits had been hitting the pipe for centuries, as well as using hemp for paper. (Pope Innocent VIII put a damper on open use when he singled out cannabis as an unholy sacrament of the Satanic mass. #ReeferMadness) In fact, in 1563 Queen Elizabeth I issued a formal decree forcing land owners of 60 acres or more to grow cannabis or be smacked with her cane (and a £5 fine).

It is of course possible that this is much ado about nothing, and that someone else was smoking ganja out of the Bard’s bud-pipes.

Nevertheless, I have decided to throw some scientific evidence of my own (read cockamamy hearsay) into the marijuana mix, proving once and for all that Shakes was a sacred stoner: It’s said that Shakespeare coined over 2,000 words in his lifetime, including eyeball, gossip, gnarled (gnarly, dude!), unreal (Bro!), dwindle, puking, laughable, rant, hobnob, buzzer, besmirch, beached, bedazzled, cold-blooded, zany, addiction, archvillain, new-fangled, swagger, and drugged!

Heigh-ho and Great Tilly-Valley, that’s buzzed brainstorming at its best!

And more obvious evidence—his inspired insults! No poet could come up with linguistic gymnastics such as beslubbering, clapper-clawed, beef-witted, loggerheaded, flap-mouthed, bumbailey, unmuzzled, onion-eyed, and miscreant without being high as a pox-marked pignut!

BRIA

W

To inhale or not inhale, that is the question. A

report from Psychology Today notes that cannabis can evoke psychotomimetic symptoms, or what’s known as “peak consciousness,” allowing users to break free from pedestrian associations and connect seemingly unrelated concepts—a key element in creative thinking.

Whether or not Shakespeare smoked salvia or imbibed indica, I bid you adieu with wondrous and trippy words from The Tempest, Act III, Scene 2—evidence he’s high on life, or weed, or the wings of angels.

At thy request, monster, I will do reason, any reason.— Come on, Trinculo, let us sing. (sings) Flout ’em and scout ’em, And scout ’em and flout ’em.

Thought is free. E For more Higher Ground, visit highergroundtv.com.

This product has intoxicating effects and may be habit forming. Marijuana can impair concentration, coordination and judgement. Do not operate a vehicle or machinery under the influence of this drug. There may be health risks associated with consumption of this product. For use by adults twenty-one and older. Keep out of the reach of children.

Prices accurate as of August 17, 2015. Specials available while supplies last.

El Corazon E orazon www.elcorazonseattle.com

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

THURSDAY AUGUST 20TH EL CORAZON

WEDNESDAY SATURDAY AUGUST JULY 22ND 22NDELFUNHOUSE CORAZON

PACIFIC DRIVE

BRIAN FOSS PRESENTS: BRIAN FOSS PRESENTS:

Doors 7:30PM / Show 8:00.

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

Show at 9:30.

21+. $7 Doors 8:30PM / Show at 9:30.

21+. $12 ADV / $15 DOS

w/Leo Bishop ft. Young Gunna, Arlo

THURSDAY AUGUST 20TH FUNHOUSE

THRASHERS CORNER w/Burlington MOBERLYS REUNION SHOW Coat Felony, Upwell, Hell Raisers Doors 9:00PM / w/F-Holes, Sellwood, Plus Guests

SUNDAY AUGUST 23RD FUNHOUSE EARLY SHOW!

THORAZINE

BRIAN FOSS PRESENTS:

Doors at 8:00PM / Show at 8:30.

21+. $6 ADV / $8 DOS

Doors at 3:30PM / Show at 4:00.

21+. $8

w/The Lion In Winter, ND22, Skates, Anomic

FRIDAY AUGUST 21ST EL CORAZON

AMSTERDAM (CD RELEASE)

w/Jaguar Paw, Amberfield, Stereotype Nation, Plus Guests Doors 7:00PM / Show 7:30.

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

FRIDAY AUGUST 21ST FUNHOUSE

STOLAS w/Artifex Pereo, Edola, From The Future, A Taste Of Daylight

Doors 7:30PM / Show 8:00.

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

SATURDAY AUGUST 22ND EL CORAZON

SON OF MAN REUNION SHOW w/Fatal Butterfly, Shame (Italy)

SUNDAY AUGUST 23RD FUNHOUSE BRIAN FOSS PRESENTS:

THE SNUBS

w/Sky Penis, Pink Muscles

Doors at 8:00PM / Show at 9:00.

21+. $7

MONDAY AUGUST 24TH EL CORAZON KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:

INSOMNIUM

w/Omnium Gatherum, The Devils Of Loudun, Rhine, Thread The Sky

Doors 7:00PM / Show 7:30.

ALL AGES/BAR W/ID. $20 ADV / $23 DOS / $55 VIP

TUESDAY AUGUST 25TH FUNHOUSE

THE FREEZE

ROSEDALE w/Something Strange, Static,

Doors at 8:00PM / Show at 9:00.

21+. $10 ADV / $12 DOS

Doors at 7:00PM / Show at 7:30.

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

w/13 Scars, Millhous, Babylon, The Glaring

Quick Story Short, Kathleen Parrish

JUST ANNOUNCED 9/11 - THE MONEY PIT 9/20 FUNHOUSE - JOHN UNDERWOOD (OF DIRTY KID DISCOUNT) 9/21 FUNHOUSE AUTHOR & PUNISHER 10/24 FUNHOUSE - THE FUCKING EAGLES 11/3 - THE ALGORITHM 11/10 - THOR 11/15 FUNHOUSE - THE YAWPERS 1/15 - ANDY KINDLER UP & COMING 8/27 - NEKROGOBLIKON 8/27 FUNHOUSE - TOARN 8/28 - TOXIC HOLOCAUST 8/28 FUNHOUSE - SIOUX CITY PETE & THE BEGGARS 8/29 - EMERALD CITY ROCK PARTY FEAT. WE THE AUDIENCE 8/30 FUNHOUSE - GRAZ 8/31 - THE PROTOMEN 9/1 FUNHOUSE - BITERS 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

SE ATTLE WEEKLY • AU GU ST 19 — 25, 2015

anna know how William Shakespeare was so far ahead of his time in regard to wondrous wordplay and wildly imaginative scenes and sonnets? Well, it could be that the HIGHERGROUND loquaBY MICHAEL A. STUSSER cious Bard was hitting the bong! According to a recent report in The Independent, forensic analysis of 400-year-old fragments found cannabis residue on pipes and stems scattered on Shakespeare’s property.

A team from the Institute of Evolutionary Studies in South Africa conducted a chemical analysis of the 17thcentury artifacts, excavated in 2001, from Stratford-onAvon, and found marijuana on eight of 24 clay samples on the grounds, including four pot-positive pipes from his own garden.

Lead researcher Professor Francis Thackeray (University of Witwatersrand) thinks weed may have helped inspire history’s greatest playwright, pointing out a line from Sonnet 76.

“In Sonnet 76 he writes about ‘invention in a noted weed.’ This can be interpreted to mean that Shakespeare was willing to use ‘weed’ (cannabis) for creative writing (‘invention’),” Thackeray went out on a limb to explain. “In the same sonnet it appears that he would prefer not to be associated with ‘compounds strange,’ which can be interpreted, at least potentially, to mean ‘strange drugs’ (possibly cocaine). Sonnet 76 may relate to complex wordplay relating in part to drugs, and in part to a style of writing associated with clothing (‘weeds’) or literary compounds.”

Two additional pipes from the excavation area did indeed test positive for cocaine—or coca leaves—said to have been brought back from Peru in the late 1500s by Sir Francis “VacuumCleaner” Drake. While these coca-contraptions were near Shakespeare’s domicile, they weren’t actually on his property, so it’s doubtful Bill was hitting the crack pipe.

Plenty of stuffy scholars are scoffing at the notion Shakespeare used cannabis (while probably themselves scraping dusty ancient snuffboxes for residue). “I suppose it’s remotely possible that Shakespeare and his family were getting a buzz from what they were smoking,” harrumphed Harvard professor Stephen Greenblatt, “but I very much doubt that it played any meaningful role in his life.” Not willing to give up his own afternoon hot toddys, the English prof continued, saying, “Alcohol is a much more likely stimulant for Shakespeare’s imagination, and even that is probably unimportant.” Uh, FYI, Prof, #MarijuanaIsSafer.

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KING COUNTY DEPT. OF PERMITTING & ENVIRONMENTAL REVIEW (DPER) 35030 SE Douglas St., Ste. 210, Snoqualmie WA 98065-9266 RE-ISSUED COMBINED NOTICE OF PERMIT APPLICATIONS

REQUESTS: Shoreline Substantial Development Permit (SHOR) & Clearing & Grading Permit (GRDE) File(s): SHOR14-0024 & GRDE14-0065 Applicant: Port of Seattle Attn: Jon Sloan 206-787-3675 Site Location: 8700 Dallas Ave S Seattle Proposal: Habitat restoration on site 23 & 25 & waterfront community space Project Manager: Ramon Locsin 206-477-0299 COMMENT PROCEDURES: DPER will issue a decision on this application following a 30 day comment period ending on September 21, 2015, written comments and additional information can be obtained by contacting the Project Manager listed above.

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Employment Computer/Technology Moravia IT, LLC: vacancy for Localization Engineer, Seattle, WA. Work with cross-functional teams to resolve localization engineering related projects and/or process problems, and perform technical tasks on projects per project plan instructions to ensure high quality, and on-time deliveries. Min rqmt: Bachelor’s in Computer Engineering or Electronic Engineering, (or equivalent foreign degree), and 2 yrs work exper with Microsoft developed Localization processes and tools; and background in Software Localization, International Testing Coordination, Bug Fixing, and Build Management. For full job description or to apply, contact or send resumes via Email to ApplyHR_US@moravia.com.

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UNIVERSITY OF WASHINGTON RESEARCH STUDY Department of Medicine Male Contraceptive Study

Men are needed to participate in an investigational drug study using a hormone pill to help develop a new form of male contraception. This study will be conducted at the University of Washington, Seattle. The study involves 15 visits over a period of 2 ½-3 months, including two 26 hour weekday visits.

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COLT FORD AFTER THE RODEO FRI SEPT 11

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