MARCH 5-11, 2014 I VOLUME 39 I NUMBER 10
SEATTLEWEEKLY.COM I FREE
FILM: THE MOVIE THE MAYOR MUST SEE. PAGE 25 | FOOD: FINALLY, FILIPINO! PAGE 19
A Future for
The story of
ROSE Seattle’s invisible Americans BY MATT DRISCOLL
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SEATTLE WEEKLY • MARCH 5 — 11, 2014
inside» March 5–11, 2014 VOLUME 39 | NUMBER 10
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news&comment 5
FIGHT FOR LIFE
EDITORIAL
BY ELLIS E. CONKLIN | A bill to require
Senior Editor Nina Shapiro
suicide-prevention training for medical professionals has its roots in tragedy.
Food Editor Nicole Sprinkle
5 | SEATTLELAND 7 | SPORTSBALL
8
Editor-in-Chief Mark Baumgarten
CLEAR SKIES AHEAD BY MATT DRISCOLL | As Seattle’s
Native Americans—a minority among minorities—struggle for visibility, new education and cultural programs may help.
food&drink 19 MANILA, BOLDER BY NICOLE SPRINKLE | Lahi’s
innovative pop-up approach may change your mind about Filipino food. 19 | FOOD NEWS/TEMP CHECK 20 | THE BAR CODE
arts&culture
21 ELEMENTARY APPEAL
BY JOHN LONGENBAUGH | How this local Sherlockian rates Benedict Cumberbatch. 22 | PICK LIST 24 | PERFORMANCE
25 | OPENING THIS WEEK
Police brutality, Elaine Stritch, and CG-enhanced abs. 27 | FILM CALENDAR
29 MUSIC
Kultur Shock: “loud and raucous,” but raising Seattle’s consciousness. Plus: Dr. Dog strips down; Brandi Carlile invests in youth. 30 | SEVEN NIGHTS
odds&ends 33 | TOKE SIGNALS 34 | CLASSIFIEDS
»cover credits
PHOTO OF ROSE GIBBS BY JOSHUA HUSTON
Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Margery Cercado, Colleen Fontana, Imana Gunawan Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, Steve Elliott, Margaret Friedman, Zach Geballe, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Sara D. Jones, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri Photo Interns Joshua Bessex, Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executives Krickette Wozniak Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie DISTRIBUTION
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25 FILM
Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott
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news&comment
Suicide Mission
Those touched by untimely deaths fight for more medical training. But prevention legislation is getting heavy flak from the state medical and psychiatric associations.
BY ELLIS E. CONKLIN
T
The legislative battle continued. Orwall returned this year with House Bill 2315, which would have done what the Policy Committee
Jennifer Stuber with her late husband and family.
COURTESY JENNIFER STUBER
SEATTLELAND
from her seat in the Capitol chamber and spoke about how her own husband killed himself in 1993. “It was the hardest speech I ever gave,” Angel tells Seattle Weekly. “I sensed he was depressed. He went to his family doctor and was given sleeping pills. After he died, I called his mother with the bad news, and she told me that there were suicide attempts on his father’s side three times. Yes, it’s time we have this conversation about prevention.” On Feb. 27, Angel joined her six colleagues on the Senate Health Care Committee in approving the legislation and referring it to the Senate Ways and Means Committee, which on Monday night passed the bill unanimously, despite the WSMA’s continued opposition. It now goes to the Rules Committee, and then a full vote in the Senate. “It’s still in critical condition. It’s not done yet,” observes Rep. Orwall.
wanted to do two years ago. It stipulated the inclusion of six hours of suicide-prevention training among the 400 hours in “continued medical education” required over the course of eight years by the state Department of Health. The bill also included mandated training for chiropractors and naturopaths. In early February, the House passed the bill 94-3. The Senate, though, is a different story. The Washington State Medical Association (WSMA) and the Washington State Psychiatric Association (WSPA) have loosed their lobbyists. Both groups say they don’t want government telling them what kind of continued education they should take, all the while questioning the effectiveness of the prevention training. In a statement sent to Seattle Weekly, the WSMA writes, “While six hours of training is not an onerous amount of time, it’s irresponsible to mandate strategies that are not proven successful.” This from Daniel Crawford, president of the WSPA: “ . . . training in suicide risk assessment and management has not been shown to improve the ability of an individual professional to prevent suicide with an individual person.” Orwall is not impressed by the argument, citing an October 2013 report by the UW School of Nursing that surveyed more than 2,000 healthcare professionals in Washington and found that 85 percent “of responding providers believed that providers in their profession should be trained in suicide prevention.” “We are only asking for six hours,” says Orwall, who notes that 60 percent of those who take their own lives have seen their primary physician within 30 days of their suicide. “As far as how effective it is, if we can save one life from just six hours of training out of 400 hours, why wouldn’t we do that?” It was Sen. Jan Angel who, while in the state House, proved to be an important ally in getting the 2012 Adler bill passed. At one point during the debate, the Port Orchard Republican rose
However, it took a significant compromise to
cut the deal and gain passage in the 23-member Ways and Means Committee. In an amendment added to the bill by Sen. Linda Evans Parlette (R-Wenatchee) and signed off on by Health Care Committee chair Sen. Randi Becker (R-Enumclaw), the legislation was watered down so that the six-hour training would be on a one-time-only basis and not ongoing. “I don’t think doctors need continuous training,” says Sen. Becker. Asked whether the state medical association supports a one-time six-hour training period, spokeswoman Susan Callahan wrote in an e-mail, “No, we do not. The WSMA opposes mandatory CME [continuing medical education].” If it gets the legislative green light before the session ends March 13, the prevention training program, with a cost in state dollars of less than $100,000, would begin this coming fall. “We didn’t get everything we want,” says Rep. Orwall, “but still, this is a huge step forward. We’re not done yet.” E econklin@seattleweekly.com
THE WEEKLY BRIEFING | What’s going on at seattleweekly.com: Insiders talked to SW about the SPD discipline reversals,
a
W
hen Gary Locke departed China for Seattle last week after two and a half years as U.S. Ambassador, the Beijing government saluted him with a nose-thumbing. He was a “banana,” as one of the government’s news services put it, whose “yellow skin and white heart” would “inevitably start to rot.” China’s old Commie rulers ridiculed Locke’s commoner habit of carrying BY RICK ANDERSON his own luggage and flying coach. They also blamed Obama’s man in China for fouling the Asian air. “When he arrived, so did Beijing’s smog,” the news service said of the former Washington governor and King County executive. “With his departure, Beijing’s sky suddenly turned blue.” In other words, thanks for leaving. Meanwhile, Suzi LeVine, Obama’s latest ambassadorial pick from Seattleland, could be hearing a different kind of mocking once she arrives in Switzerland this year. It won’t be Did a desolation of smog because the follow Locke’s farewell? wonderland of watches, chocolate, and secret bank accounts is politically fraught; the place is famously neutral, with an army best known for its wine-opening knives. It will be because the president, who handed China to Locke as a challenge, gave Switzerland to LeVine as a gift. For much the same reason, and raising the same eyebrows, he gave Norway to hotel executive George Tsunis and Argentina to political consultant Noah Bryson Mamet. These two and LeVine are key Obama fundraisers, and the posts were rewards to the trio for “bundling” (née hustling) $3.1 million in donations from party faithful. Handing out political jobs in return for cash can get you thrown in jail. But this is the hallowed tradition of patronage, practiced by every president since Washington first handed work to those who supported that newfangled Constitution. While critical diplomatic posts go to more capable career officers, and plum spots like Paris or Rome are doled to major political allies, other locales—the Icelands and Luxembourgs—are tossed like bangles to the bundlers. The general rule is to allot 30 percent of such appointments as political gifts. But Obama has been extra-generous at 37 percent. A compilation by Slate shows that in his second term he handed ambassadorships to 24 bundlers who had raised almost $17 million. You get what you pay for, however. LeVine, still awaiting a confirmation hearing, is not giving interviews, and describes herself on Twitter
revealing “horse trading,” futile talks, and which chief did what.
•
Ride shares got capped.
•
Ryan Lewis reportedly got a big-ass house.
SEATTLE W EE KLY • MARCH 5 — 11, 2014
he depression was mild at first but then deepened, remembers Jennifer Stuber. It was the winter of 2011, and the economy remained sluggish—tough times for her husband Matt Adler, a successful Seattle corporate attorney. There were sleepless nights, severe anxiety, a crumbling loss of self-esteem. It became so unmanageable he couldn’t work and took a leave of absence. “He was treated by a psychologist and a psychiatrist. No one took the signs seriously. The psychiatrist seemed almost annoyed,” says Stuber. “There’s a lot of fear in terms of liability and so on associated with having someone on your caseload who may be suicidal.” On February 17, 2011, Adler shot himself, one of nearly 1,000 Washingtonians who kill themselves every year—a suicide rate 15 percent above the national average. Adler was 40 years old, the father of two young children. “I started to read his medical records and reached out to mental-health professionals,” Stuber recounts. “They told me they were really sorry for my loss, but that they were not surprised, because the training in suicide prevention, they said, is pretty much nonexistent.” The death of her husband led Stuber, a professor of public policy at the University of Washington’s School of Social Work, on a journey aimed at training all healthcare providers, including the state’s 140,000 doctors and nurses, how to recognize and treat a potentially suicidal person. But major obstacles—not the least being a recalcitrant state medical and psychiatric associations— still stand in the way. Rep. Tina Orwall was approached by Stuber about a year after Alder’s suicide. Stuber knew Orwall had a background in social work and might be sympathetic to her cause. “Tina gets it. She understands the issue, and she’s a fighter,” says Stuber. Two years ago, the south King County Democrat introduced and oversaw passage of the Matt Adler Suicide, Assessment, Treatment and Management Act of 2012. The measure made Washington the first state to require prevention training for mental-health professionals such as social workers and counselors. The legislation, which took effect in January, mandates six hours of training every six years in suicide assessment and treatment. Stuber says the state House Democratic Policy Committee, back in 2012, wanted to go further and include doctors, nurses, and other primary healthcare providers. But the Washington State Medical Association fought it, so this provision, which conservative lawmakers also objected to, was left out.
Our Bundling, Bungling Diplomats
» CONTINUED ON PAGE 7 5
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news&comment» Bungling Diplomats » FROM PAGE 5
randerson@seattleweekly.com
Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing.
H
ere’s a bar bet you can win: Name a six-figure-salary job you can get in Seattle with zero computer literacy. Answer? Manager of the Seattle
Mariners! I give you new M’s manager Lloyd McClendon. Recently McClendon was asked if he had a Twitter account. “Heck,” he responded, “I have to learn how to use the computer.” McClendon’s disdain for technology may be tongue-in-cheek, but it’s also a window into how he’ll manage the Mariners. McClendon won’t be crunching Excel data late into the evening to find a statistical edge; he won’t be trolling Fangraphs for the latest analytics breakBY SETH KOLLOEN through. McClendon’s information won’t come from a computer, but from his eyes and his experience. Here’s how McClendon explained his decision to assign former second baseman Dustin Ackley to left field: “Because that’s where I want him.” Ha! You won’t get Pete Carroll–esque disquisitions on personnel philosophy from McClendon, even behind closed doors. And so I have dubbed him Lloyd the Infallible. McClendon’s approach is not one I, an insufferably wellinformed child of the Information Age, would take to managing a baseball team. But then I don’t have McClendon’s experience. McClendon has played, coached, or managed McClendon thinks 4,162 professional sabermetrics is for games. If you’d watched sword-swallowers a baseball game every ... maybe. day since Obama became president, you’d be nearly halfway to McClendon’s total. Many managers have succeeded betting on experience over analysis, including the Mariners’ only decent skipper, Lou Piniella. (McClendon and Piniella also share an affinity for uprooting bases during arguments with umpires—YouTube it.) You’d rather have McClendon stick to what he knows than use stats he doesn’t. And, much to the dismay of me and other stat-loving know-it-alls, no conclusive evidence exists that modern baseball analytics provide an in-game advantage. The Pittsburgh Pirates improved their defense using unorthodox positioning last season—but that was one season. This isn’t football, where tactics are a coach’s main job. A baseball manager’s primary goal is still what it was in Casey Stengel’s day— motivating and leading players. Or as Stengel put it: “keeping the guys who hate your guts away from the guys who haven’t made up their mind.” Lloyd McClendon, a 55-year-old baseball lifer from Indiana, does not keep up with the latest trends in baseball, technology, or, probably, anything. But hopefully he can still make as good a steak in his cast-iron skillet as you can cooking it sous-vide. E
SPORTSBALL
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SEATTLE W EE KLY • MARCH 5 — 11, 2014
as “an Impact-a-holic—must make a positive difference!” Thus most of what we know about her ambassadorial cred is that she raised $1.3 million to gain it. The foremost question to be asked is whether she’s actually been to Switzerland. The U.S. has more than 130 ambassadors from Afghanistan to Zimbabwe serving “at the pleasure of the president.” Knowing the lay of the land would seem a prerequisite. But as nominee Tsunis recently told a Senate panel, he’s never been to Norway. Likewise, Mamet confessed he hasn’t stepped foot in Argentina—nor does he speak Spanish. (Even Max Baucus, the venerable ex-Montana senator Obama picked to replace Locke, blurted that “I’m no real expert on China.”) LeVine joins other memorable local nominees such as Seattle venture capitalist Cynthia Stroum, a bundler appointed by Obama in 2009 to Luxembourg, a place she’d never been either. As Jon Stewart asked on The Daily Show last week, “Is there a rule that ambassadors can’t have set foot in the country they’re going to ambassador? Would it ruin the surprise?” Stroum went on to become Luxembourg’s queen of mean, forced to step down after bringing the embassy to a state of dysfunction. Her manner was so intimidating she caused staffers to transfer to more peaceful posts—Afghanistan and Iraq. Another venture capitalist, Susan McCaw, of the pioneering Seattle cell phone family, and former King County Republican Party Chair Pat Herbold also bundled their ways overseas. George W. Bush sent McCaw to Austria and Herbold to Singapore after their money-raising efforts in 2004. They were no real experts, either. But Herbold had been to Singapore twice, and McCaw said she’d made “several trips” to Austria. Ethnic background apparently is also no barrier. The late House Speaker Tom Foley, a Spokane Irishman, was Bill Clinton’s ambassador to Japan, while ex-Seattle Mariners owner and Bush II appointee George Argyros, of Greek ancestry, was ambassador to Spain (even while his California land company was illegally evicting and overcharging Latino renters). Onetime Olympic Peninsula carpenter Joseph Wilson, however, impressed a lot of people when he became G. H.W. Bush’s ambassador to Iraq during Operation Desert Shield. He helped free 150 American hostages and was the last U.S. official to meet with Saddam Hussein before the 1990 Gulf War began. (Wilson flatly rejected Saddam’s offer of endless oil for the U.S. if he could just have Kuwait.) Wilson went on to help expose Bush II’s rush to unnecessary war in Iraq, and later was the eye of the storm over his wife’s CIA exposure in Plamegate. He told me he got his foreign career start in Seattle, inspired by a meeting with influential University of Washington public-affairs professor Brewster Denny. “I owe it all to him,” Wilson said. So our major contribution to international diplomacy may be all those bundling diplomats. But we did help clear the fog in the White House—oh, and the smog over Beijing. E
Lloyd the Infallible
7
R
Continued From Head » FROM PAGE 8
The tears were unexpected. ose Gibbs is tough. Behind a youthful face and crystal-clear brown eyes resides a person
hardened beyond her years. She’s been in foster care for the past five, citing her mother’s alcoholism as the reason she and six of her siblings landed there. At 15, she wears a San Francisco 49ers beanie and a look of unease when talking to a reporter. She says she “had to grow up too fast,” and it’s hard not to agree with her. Rose, who identifies as both Latina and a member of the First Nations Lyackson Tribe, is currently attending Ingraham High School in north Seattle. In the course of her life, including stints in Canada, Rose says she’s gone to “more than
Rose Gibbs
10, maybe 20” schools. She thinks seven of those have been in the Seattle School District, but she’s not sure. v “I guess, I don’t know. I honestly forgot,” she says. “There’s a big blank, between when I was younger and now. I really don’t remember.” v It’s an understated and understandable answer from a girl who seems accustomed to hiding vulnerability with aloof, indifferent distance. But it doesn’t take much to push past Rose’s hardened front. v “It happened in fourth grade,” she says of the moment alcohol and domestic violence collided, altering her life’s SEATTLE WEEKLY • MARCH 5 — 11, 2014
trajectory in an instant. v And then tears.
8
Rose rarely sees her mom these days, she says after a wrenching pause. Since then she’s spent time with five foster families, but hasn’t felt at home with any of them. She’s stubborn, she admits, and looks forward to her last two years “in the system.” She says she misses her siblings, and hopes one day to reunite with them. Rose started coming to the Urban Native Education Alliance’s Clear Sky Native Youth Council, where I met her, back in April. At this point she’s what UNEA Chair Sarah SenseWilson describes as a “regular,” with an “indomitable spirit” —and a good example of exactly the kind of local kid the nonprofit tries to reach. Through Clear Sky, the UNEA offers tutoring, art, a sense of cultural belonging, and—perhaps most anticipated—a solid meal to urban Native
The Invisibles
Seattle’s Native Americans are rarely seen or heard, but the statistics on the population’s health, education, and happiness speak loud and clear. By Matt Driscoll
American kids who need it. As it turns out, plenty in the Seattle area do. Rose and I are seated at a round table inside the Seattle School District’s Wilson-Pacific Building. Compared to my previous visit to Clear Sky, where I’d first met Rose three weeks ago, things are considerably more comfortable. There’s heat this time. And bathrooms that work. On my first visit, the urban Native kids who come to Clear Sky gathered in a cafeteria toward the back of the soon-to-be-razed school building. The missing tiles from the ceiling and floor, and the sign on the door reading “RESTROOMS CLOSED/NO WATER” gave the gym an air of abandonment. But tonight’s different. The meeting has
P H O T O G R A P H Y
B Y
been moved to a new room, and the upgrade is palpable. UNEA Co-Chair Mary Ann Peltier, who is from the Chippewa, Assiniboine and Sioux tribes, spills the details: They struck a deal with the school district, agreeing to pay $18.35 a night for the improved amenities. A bad building wasn’t keeping Clear Sky from working its magic, however. While jackets were sometimes required, the decrepit, muralcovered cafeteria at the back of the WilsonPacific building was enough for Peltier and Sense-Wilson, a straight-shooting member of the Oglala Sioux tribe, to roll up their sleeves and get to work in. The UNEA’s flagship program, Cleark Sky held its first meeting in 2009, and they’ve been at it every week since.
J O S H U A
H U S T O N
“You donate?” Sense-Wilson drills me, nearly the moment we meet. “I’m just kidding. I know writers don’t make much money. ” Sense-Wilson smiles as she ribs me. The room is abuzz. Subway sandwiches are on the menu, along with a class called “‘Native Journalism 21st Century.” The Clear Sky mission of promoting “cultural, traditional activities and educational achievement” is alive around us. Though the UNEA also offers a basketball program and various other special events geared toward the urban Native population, the Clear Sky Youth council is the nonprofit’s gem. SenseWilson says the program provides academic support for “ensuring the success of Native
» CONTINUED ON PAGE 10
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Mary Ann Peltier (left) and Sarah Sense-Wilson help run Clear Sky Youth Council meetings every Tuesday and Thursday in the Wilson-Pacific Building.
» FROM PAGE 8 learners,” and boasts a 100 percent high-school graduation rate. Outside the walls, however, things get difficult for young urban Natives like Rose, who live off the reservation, a minority among minorities in the city. According to census data, only .8 percent of Seattle identifies as an American Indian and Alaska Native alone —a mere blip in a city named after Chief Sealth which was home to Native peoples thousands of years before a white person ever set foot here. It’s a demographic that faces a daunting set of challenges. “You can turn a corner and see someone you relate to,” Peltier tells this white reporter. “I can turn many corners, and won’t relate to anyone.” It can be lonely, and worse. And it isn’t getting better. According to information presented in the Seattle’s Race and Social Justice Initiative threeyear plan for 2012 to 2014, American Community Surveys over the last 20 years show that the poverty rate for Natives in Seattle has fluctuated, but only slightly. In 1990, 33 percent of Natives lived in poverty; in 2000, it was 29 percent; by 2009, it was back up to 30 percent. That’s higher than the poverty rate for any other ethnic group. Meanwhile, the poverty rate for white Seattleites has stayed steady at just 9 percent. For urban Native kids, the stats can look even worse. According to the “Community Health Profile” for the Seattle Indian Health Board released in December 2011, in King County 46.6 percent of American Indian and Alaska Native children under age 6 lived below the poverty line between 2005 and 2009, compared to 13.2 percent of children in the general population.
The difficulties only continue from there, and for a population as small, diverse, and historically maligned as this one, even finding a starting point from which to dig out can seem daunting. They include the pronounced education achievement gap between Native students and whites, resulting in historically low graduation rates and high dropout rates for American Indian and Native Alaskan students; numerous health concerns, from asthma to diabetes and obesity; addiction and alcoholism; domestic violence; a disproportionate rate of homelessness; and institutional neglect. And the fact that Natives, 1.5 percent of the overall population, make up 4.4 percent of Washington’s prison population. There’s also the simple fact that placing an umbrella ethnic classification like “Native American” over a group of city-dwelling people from hundreds of tribes and countless cultural traditions simply doesn’t accurately define it. As a result, the population often fades into the firmament. “Sometimes I don’t think they see us,” Rose says. It’s a common sentiment. Changing people’s fortunes—as Clear Sky aims to do—often begins with confronting this sense of aloneness, pounded into Seattle’s Natives by politics, policy, perceptions, and nearly 200 years of history. “To not have any representation that reflects who you are, or honors your cultural, your tradition, your history, it’s really a profound psychological, oppressive place to be,” Sense-Wilson says. Clear Sky is a bright spot. Looking around on this Tuesday night, there is hope to be had. There’s Rose and her improved grades and selfworth. There are the other 40 or so kids who have
» CONTINUED ON PAGE 12
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SEATTLE W EE KLY • MARCH 5 — 11, 2014
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The Invisibles » FROM PAGE 10 arrived, each equally important. There are SenseWilson, Peltier, and the other adult volunteers, filling a need for their community when no one else did. And there are smiles. You get the feeling that if the uncertain future of Seattle’s urban Native community is to be bright, it will likely start with exactly the kind of thing happening here. “When we do see each other, we know,” Peltier says of the Native community in Seattle and what happens at Clear Sky. “We know when we connect.” Call it a starting point.
SEATTLE WEEKLY • MARCH 5 — 11, 2014
It’s cold outside when the January 17 gathering
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of the state House’s Community Development, Housing & Tribal Affairs Committee comes to order—the kind of miserable weather Olympia is known for. On the docket is a work session titled “The Urban Indian Experience.” With only the very occasional yawn, the seven lawmakers who make up the committee have come together this Friday afternoon to learn about the plight of urban Native Americans. For the elected policy-makers, it’s a chance to learn. For those invited to teach them, it’s a chance to have a voice in the halls of power. Ralph Forquera, a member of the Juaneño Band of California Mission Indians and the executive director of the Seattle Indian Health Board, is first up. The semicircle of seated decisionmakers listens as he gets into specifics, trying his best to describe the 29 federally recognized tribes and six unrecognized ones that meld together, along with countless individual Native transplants from across the continent, to make up our state’s remarkably diverse urban Native population. (Nationally, there are 566 federally recognized tribes and hundreds of unrecognized ones.) It’s no easy task, which is part of the larger problem. The population is mixed, with varying ties to local, national, Canadian, and Alaska Native tribes, Forquera tells them. Some, like the 4,809 Seattle residents who identified as American Indian or Alaska Native alone in 2010, show up on the census. Many more don’t, for reasons both simple and complex. Who is an American Indian these days, and who marks the box when asked? “It’s a very difficult question to answer,” Mark Trahant, a former editor of the Seattle PostIntelligencer editorial page and current Atwood Chair of Journalism at the University of Alaska Anchorage, tells Seattle Weekly. Trahant, a member of the Shoshone-Bannock tribes and the former president of the Native American Journalists Association, has written extensively on the lack of clear data on the Native population. Some Natives have long hesitated to identify themselves for statistical purposes, Trahant says by phone from his office in Alaska. Others have unclear or mixed ethnic identities. How much of a connection must one have to identify as Native? What’s required by the tribe? Different ones have different standards, Trahant notes. And what about the growing generations of urban Natives off the reservations? How can we accurately account for them? None of these questions have easy answers, he says. “Census is not very sensitive to tribe, it’s more sensitive to race,” Forquera later adds, saying “We don’t really know” how many people of American Indian heritage live in Seattle. “There aren’t any really accurate representations of the size of the population.”
But some of the numbers are indicative enough, and Forquera confronts the harsh realities every day. Leading the Seattle Indian Health Board and the Urban Indian Health Institute, he knows the “Community Health Profile” delivered in 2011 states that Natives in King County die of “unintentional injuries” (that is, accidents) more than twice as often as anyone else, at a rate of 79.3 per 100,000 deaths (compared to 32.4 per 100,000 among the general population). They suffer from asthma more than twice as often (17.3 percent vs. 8.1 percent), and diabetes too (12.2 percent vs. 5.9 percent). They’re nearly twice as likely to be obese as the general population (36.3 percent vs. 20.1 percent). The list goes on, and Forquera knows all of it well. While his expertise is in health, this afternoon Forquera is also a history teacher. In his allotted 10 minutes, he does his best to deliver CliffsNotes on the past 160 years, providing a basis for what’s seen on the ground today. Natives inarguably have been a part of Seattle’s identity since the Denny Party’s arrival at Alki in 1851—and, of course, were the area’s identity for thousands of years before white men tied their boats to Puget Sound shores and pushed them to the side. Addressing the “Myth of the Vanishing Race”—or, that stuff about Indians being savages and naturally giving way to white guys and their civilizations—William Cronon writes in
“Perhaps in part because Indian peoples have long been associated with ‘nature,’ it has been remarkably easy not to notice their presence in . . . metropolitan areas.” his preface to Coll Thrush’s 2007 book Native Seattle: “Perhaps in part because Indian peoples have long been associated with ‘nature,’ it has been remarkably easy not to notice their presence in places marked as ‘unnatural’ in American understandings of landscape. Chief among these are urban and metropolitan areas, which for more than a century have provided homes for people of American Indian descent to a much greater degree than most people realize.” In Washington, as of the 2010 census, 74 percent of those identifying as American Indians or Alaska Natives lived in cities, up from 71 percent in 2000. Statewide, the population of urban Natives is growing. According to data provided by Leslie E. Phillips, Ph.D., the scientific director at the Urban Indian Health Institute, from 2000 to 2010 Washington’s American Indian/Alaska Native population increased 30 percent, from 113,625 to 147,371. Seattle hasn’t always been very accommodating to its Native population. As Thrush, an assistant professor of history at the University of British Columbia, describes in his book, one of the first ordinances passed in the newly incorporated Seattle back in 1865—Seattle Ordinance No. 5, to be exact—declared that “no Indian or Indians shall be permitted to reside” in the city. A complex dynamic even back then, the ordinance also mandated that those who employed Natives “provide lodgments or suitable residences . . . ” It was, from the very start according to Thrush, an “attempt to codify a middle road between segregation and integration.” The national move toward reservations goes back even further, to a series Indians Appropria-
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The impact is more than psychological. This historical push and pull yields a Seattle urban Indian population that’s difficult to define—a mix of local, regional, national, and international Native people who call the city home. Thanks to small numbers and sheer heterogeneity, they exist without much voice, and often without a tangible connection to their heritages. “It’s a very diverse cultural mix, which makes it difficult to describe who we are and why we have specific needs,” Forquera offers. “As a subset of the total community, we’re very small. There’s very little attention paid to these smaller groups.” On at least one Friday afternoon in Olympia this session, that wasn’t the case. “Be assured, we’re not just going to let this drop by the side,” Community Development, Housing and Tribal Affairs Chair Sherry Appleton (D-Poulsbo) says for the official record, before closing the meeting. “It seems like the door was opened a little bit,” Forquera would later say of the work session, “so we’re trying to stick our foot in to keep it open.” So far during the 2013 and 2014 sessions in Olympia, 40 bills relating to Native issues have been dropped; four have been passed by both chambers and signed by the governor. As Rose will tell you, the invisibility felt by Natives in the general population shows up in Seattle’s schools. But according to those who’ve been around far longer than she has, this wasn’t always the case. The District’s Indian Heritage High School, which for years found a home in the very same Wilson-Pacific building where Clear Sky now reserves a room on Tuesday and Thursday nights, was created in 1974. By the mid-’90s, the late Principal Bob Eaglestaff, a Lakota from the Cheyenne River Sioux reservation, was credited for turning the program into a national model for urban Native American education. The innovative school, which provided public education to Native students embracing cultural identity and Native American history, sought—with impressive success—to combat low graduation rates among Native students. District spokesperson Teresa Wippel points to the Seattle Public Schools history books when describing Indian Heritage, noting the 100 percent graduation rate it achieved by 1994.
» CONTINUED ON PAGE 15
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SEATTLE W EE KLY • MARCH 5 — 11, 2014
tion Acts that started in 1851 and formalized the process of relocating Natives to land set aside for them by the U.S. Government. As Trahant notes in a recent research paper, however, many of the country’s earliest Native American policies have been based on the conquering view that American Indians would one day be extinct. “The assumption had come down from the earliest of times, not always voiced, but implicit, that the native inhabitants of the New World would become extinct. The notion grew stronger as the settlers waxed in numbers and the demand for living room accelerated,” D’Arcy McNickle, a member of the Confederate Salish and Kootenai tribes, wrote in his 1973 book, Native American Tribalism. The extinction never materialized. Today, according to numbers from the United States Bureau of Indian Affairs, approximately 56.2 million acres are held in trust for Indian tribes and individuals, and there are approximately 326 Indian land areas in the U.S. The most recent numbers from the BIA indicates nearly two million enrolled tribal members. Though local and federal government has done its part to drive Natives from Seattle, it’s also worked to bring them back to the city—for better or worse. A swell created by the federal assimilation policies in the 1940s, ’50s and ’60s—like House Concurrent Resolution 108, for example, which officially terminated the federal government’s acknowledgement of tribes from New York to California—pumped Natives into cities. The idea—or the stated one—was to free Native Americans of federal supervision and provide them with the same opportunities as other citizens. The negative consequences, however, were noticeable. “An awful lot of people just ended up exchanging reservation poverty for urban Indian poverty,” Forquera tells Seattle Weekly of the assimilation movement. “It was a pretty cruel thing, actually.” Nearly 150 years later, the effects of those early injustices are still felt. According to Chris Stearns—a gregarious state gambling commissioner, attorney and member of the Navajo Nation from Auburn—Natives often don’t trust the government, and things like Seattle’s Ordinance No. 5 have historically given them good reason not to. “You can’t unwind that,” says Stearns, the former chair of Seattle’s Human Rights Commission. “We were literally kicked out. That’s the bedrock of the relationship of Seattle with its Native population.”
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The Invisibles » FROM PAGE 13 However, citing low enrollment numbers, the District transitioned the Indian Heritage High School program in 2000, making it one of its then-five middle colleges (or alternative schools) that serve students of all demographics at risk of dropping out. By 2012, the Seattle School District reported that only seven of the school’s 50 students were Native. Preparing for the demolition and replacement of the Wilson-Pacific building in 2015, this year the Indian Heritage middle college program was consolidated with one located at Northgate Mall. As Wippel admits, “The withdrawal of district support and resources resulted in the decline of the program.” Back at Clear Sky, the Seattle School District’s attempts to serve its Native population directly impact the 15-year-old sitting across from me. And with a few sharp—and obvious—exceptions, the challenges in Rose Gibbs’ life aren’t all that different from those of the children who surround us at the Clear Sky Youth Council, now beginning to line up for dinner. In school, Rose says she does well in Spanish and history, but struggles in English and science. Sometimes she has trouble getting to school on time, a trip that requires two city buses. She admits to “hanging out with the wrong people” last year, but this year at Ingraham, things have been better, she says. I ask about friends; she tells
“Everybody deserves to be impacted by the beauty of Native culture in this city. Native history is Seattle history.”
» CONTINUED ON PAGE 16
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me she has one. When I ask her whether she thinks the school district cares about her, she says, “Not really.” The picture painted by the stats for young Native students like Rose isn’t pretty. In the Seattle School District, only about one percent of the roughly 50,000 kids identify as American Indian or Alaska Native. According to the 2013 Seattle Public Schools District Profile, in 2010 and 2011 Native students had the highest drop-out rate and lowest graduation rate of any demographic. While results vary from year to year, the report notes that “The American Indian ethnic group has historically had the highest dropout rates.” A U.S. Department of Justice Indian Education grant application for the 2013–14 school year provided by the District depicts American Indian students well behind in mathematics, reading, and science. WASL scores in reading and mathematics for American Indian students are also the lowest of any ethnicity. Statewide, a 2008 report from the state Superintendent of Public Instruction’s Office detailed the achievement gap between white students and Native Americans, showing Native fourth-grade boys and girls behind white students in National Assessment of Educational Progress (NAEP) math and reading scores, among other deficiencies. In King County, the Seattle Indian Health Board “Community Health Profile” released in Dec. 2011 indicates that 18.3 percent of those 25 and older who identified as Native American or
Alaska Natives reported not having finished high school or obtained a GED—a rate more than twice that of the general population. Given these struggles, it’s no surprise that Seattle Schools Superintendent José Banda has made closing the achievement gap between Native and white students a theme of his administration. In his 2013 “State of the District” address, delivered last November, Banda said: “We still have unacceptable achievement gaps between our students of color and our white students, and we’re not making steady progress with our Native American students. We simply must and will do better.” But how? That depends on who’s answering. Many in the Native community call for more Native-specific curricula, more cultural inclusion, Native language courses, and—primarily—a return of the District’s Indian Heritage High School. This last would be a decision for the School Board, Wippel says. “Our biggest challenge and our highest priority at Seattle Public Schools is closing the achievement and opportunity gap,” says Wippel, “while at the same time raising expectations for students meeting or exceeding standards. While we truly believe it is possible to eliminate the gap, it will not happen without a focused, wellarticulated plan for providing a challenging and rigorous curriculum for each and every student.” For Native students, according to Shauna Heath, the executive director for curriculum and instruction for Seattle Public Schools, this plan includes targeting resources; utilizing federal grant funding; working to place a liaison for Native students in every school; implementing a Washington Tribal Sovereignty curriculum (which has already started in West Seattle and will continue in 2014–15); and connecting students with Native professionals and role models. The District also hired Gail Morris as its new Native American Services Manager in October. From the Ahousaht First Nation, and locally having adopted the Muckleshoot tribe, Morris’ job, among other things, is to help ensure that as many Native students as possible qualify for Title III and Title VII federal education funding. Historically, this has been an area of struggle for the District, with funding having been lost in the past and auditors on four occasions finding that Seattle Schools overrepresented the number of Native students who meet these requirements. District-wide, another area of concern has been Seattle’s special-education program, which hits Native students particularly hard. A December 4, 2013 “Native American Education Board Update” from the district indicates that 29.9 percent of Native students are identified as qualifying for special education—the highest percentage of any demographic in the district. Many of these Native families have voiced complaints. Especially troubling, says Deborah Sioux CanoLee, board president of the nonprofit Washington Indian Civil Rights Commission, are reports from Native families that their special-education students aren’t receiving the support that their student learning plans require under federal law. Sioux Cano-Lee says her agency has received at least 16 such complaints, and they’re being investigated. Unfortunately, this is hardly the first time the Seattle Public Schools’ Special Education department has faced such scrutiny. The state Office of Superintendent of Public Instruction has chastised the program, even threatening to withhold federal funding, ordering problems (the failure to update and administer student learning plans and provide consistent special-education services from school to school) to be fixed.
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The Invisibles » FROM PAGE 15 “In all fairness, I’m going to have to say that [Superintendent] Banda inherited a huge mess,” offers Sioux Cano-Lee. “This didn’t start under his administration. This was an ongoing issue.” Wippel says the District is aware of complaints from Native special-education families and others. She says these concerns go “beyond any one ethnic group,” while also noting that, when it comes to the District’s Native families, Morris frequently sits in on individual education plan meetings “in an effort to ensure that those families’ concerns are being addressed.” “Our new Executive Director of Special Education, Zakiyyah McWilliams, has gone
on record as saying that the Special Education department has experienced a high degree of staff turnover during the years and that instability has contributed to these types of concerns,” Wippel continues. “She has made it her highest priority to address these issues.” As for the achievement gap, Wippel is blunt in expressing the District’s belief that closing it isn’t something it can do alone. In her words, it will require “intentional and strategic partnerships with our diverse families and community partners.” Asked to describe Clear Sky’s relationship with the Seattle School District, however, SenseWilson offers a vague but telling assessment: “It’s complicated.” “I’m from Seattle. I grew up here,” she explains. “I went to Seattle public schools, so I know that experience of going to school day in and day out and not being able to relate in the same way, and
that constant pressure of conforming and not having your identity honored or recognized.” Rose breaks it down in far simpler terms. “Since we have the lowest scores, no one really cares,” she says, making it apparent that despite the district’s recent efforts, work remains. “There’s not much to say, not much to tell,” Rose surmises. If only that were true. There are places to turn for young Natives in
Seattle. In addition to organizations like the Urban Native Education Alliance, the Clear Sky Youth Council, the Daybreak Star Indian Cultural Center and the Red Eagle Soaring Native youth theater group, nonprofits like Longhouse Media exist—at least in part—to help create a Native community within the city. Created in 2005 and
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currently run from a small office in the back of the Northwest Film Forum building on Capitol Hill, Longhouse was developed to “nurture the expression and development of Native artists,” according to Executive Director Tracy Rector. A 42-year-old who identifies as Choctaw, Seminole, African-American, French, Irish, Scottish, and Hungarian, Rector grew up in Seattle and says many of the stories her 9-year-old Nativerun nonprofit helps to tell “specialize in the urban native experience.” Since 2005, Rector says, Longhouse Media has helped make more than 360 short films and worked with 2,200 students—all of them young, all of them Native. She says over 80 percent live at or below the poverty line. “In my own experience as someone who’s mixed-race and someone who didn’t grow up on a reservation, there are unique challenges in terms of our cultural intelligence and being accepted,” Rector says. “Our self-awareness as a Native person is very unique, because we also have all these other facets of who we are, and challenges and realities. [We’re] living in a big city, and negotiating what that means.” In some ways, the role reservations have often played for rural natives in creating community and finding a voice is a void filled for urban Natives by local organizations like Longhouse. “Our people need to tell our own stories,” she offers, “and that’s what we’re committed to.” “Many of our students haven’t been to their reservations before,” Rector says. “Their connection to their people is based on their connection as being identified as urban Native.” Even with the work of her organization and many others, Rector worries about what the future holds for the small but important slice of Seattle’s population. Much like the ordinance that pushed Native people out of the city shortly after Seattle’s incorporation, she says gentrification and the disappearance of housing for low-wage or working-class Native families is doing the same, forcing them to “Federal Way and beyond.” It’s a source of growing frustration, and it angers Rector. “Everybody deserves to be impacted by the beauty of Native culture in this city,” she says. “Native history is Seattle’s history.” If Seattle’s history is Native history, then the city’s future is tied to the struggling urban Natives who call it home. As long as the city’s first peoples suffer, we suffer as a city. And for every kid at the Clear Sky Youth Council on this Tuesday night, the future is of direct consequence. For Rose Gibbs, plotting a successful course into that future isn’t about census numbers, statistics, or trends. It’s about finding a way to pass English and science and finish the 10th grade at Ingraham. It’s about graduating from high school and, she hopes, making it to college—something Rose wants, but isn’t sure will be possible. Talking about the future elicits an equal mix of defiant self-confidence and uncertainty. She’ll be fine, she promises. She’s just not sure how. One thing Rose is certain about, however, is that Clear Sky has helped. It speaks to the power of a grassroots movement and the importance of an invested community. It speaks to what people can do, even when it feels as if 98 percent of the population doesn’t see them; to resiliency and hope; to the promise of tomorrow, for Rose and others. “I feel like I got support here,” Rose says of her time at Clear Sky. “It’s helping me know what it means to be Native.” With that, she gets up and joins her friends. At this moment, in this warm room with working bathrooms, filled with people who care, Rose is anything but invisible. Call it a starting point. E
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Sadly for Ballard, Friday will be Azteca’s last day of business. The flagship location of the now-regional chain has served the neighborhood for 40 years. According to Eater Seattle, there were several reasons the restaurant is closing, but it was mostly a matter of the lease not being renewed. Azteca is throwing a closing dance party Friday with a DJ until 2 a.m. Pioneer Square continues to see new openings, with no sign of slowing. Marination owners Kamala Saxton and Roz Edison have announced plans to open Good Bar on Second Avenue and Main Street. Later in 2014, look for Josh Henderson’s Quality Athletics and Mike Easton’s Pizzeria Gabbiano. Mezcaleria Oaxaca is now open on Pine Street on Capitol Hill as of Tuesday, Feb. 25. The mezcalfocused bar and Mexican restaurant is operated by the family who runs Queen Anne’s Mezcaleria Oaxaca and Ballard’s La Carta de Oaxaca. The 3,000-square-foot space includes a rooftop deck and a wide selection of mezcals, including some so rare you won’t find them anywhere else in the U.S. E
PHOTOGRAPHY BY JOSHUA BESSEX
food@seattleweekly.com
Temperature Check FROM JOE RITCHIE, CHEF AT MKT.
Top: Irbille Donia (right) with his friend and fellow Filipino cook, Justin Legaspi. Bottom left: a yam dessert. Bottom right: a prettier take on the classic dinuguan.
going to shine a light on sinigang, traditionally a braised pork soup with tamarind paste. “But our twist is serving noodles with it, and longanisia [sweet pork sausage]. We’ll also experiment with using Spanish sherry vinegars instead of just the traditional Filipino cane vinegar.” For those who might criticize these “whiteman”-friendly versions of these dishes, Donia takes some offense. “People say ‘fusion’, but do we call Italian food fusion? I have my own interpretation, and I can take the criticisms. My hope is that people will eat this and then feel more comfortable trying more authentic things later. I grew up in the Philippines, but I’ve lived here for about 14 years. I want to share the culture shock of seeing two different worlds, of being half a generation removed from harvesting rice.” His biggest critics: his own family. “I live in a household of Filipinos. My grandmother and dad were chefs. They were like, ‘This is not Filipino food.’ But that’s the reaction I wanted from them. They don’t recognize the food at first, but then they taste it, and the flavors and the love are there. And that ends up blowing them away.” Donia also wants to show people that there’s more to Filipino food than just “street food” and what’s on steam tables. “Why can’t we
serve it fresh and have new interpretations?” He points to Revel, where he also worked, as a great example of introducing people to Korean food by “elevating” it. His biggest hero, though, is Iron Chef Morimoto. “He was always bashed for not making ‘authentic’ Japanese food,” though he ultimately did so much to get people excited about that country’s cuisine, Donia says. While he fully admits that street food can be delicious, the lack of full-service Filipino restaurants, like Ponesca’s Mahalaka in New York, bothers him. In fact, the pop-ups are a lead-in, he tells me, to his own eventual brick-and-mortar Filipino restaurant in Seattle—which he hopes will even introduce people to the tradition of eating with one’s hands and the communal style of everyone picking at the same dish. “One of my favorite memories from back home is the jackfruit trees. As soon as you cut [the jackfruit], it oozes this sticky juice. We’d grease our hands with canola oil and dig right in. It’s like a messy grapefruit breakfast, if you will.” Jackfruit, like its “cousin” durian, is also known for its offensive smell, but its starchy fruit is sweetish, with a flavor often compared to pineapple. While most people know only about this sweet part that surrounds the seed, Donia explains that jackfruit pith is used
» CONTINUED ON PAGE 20
Wood-fired cooking. It’s probably one of the easiest ways to incorporate a distinct flavor into your food, and possibly the oldest form of indirect seasoning known to man. Yet it requires some real technique, not to mention some expensive hardware. Look to see applewood phased out by dried free-range cow pies a la Mongol herdsmen.
Pickles and ferments. Another ancient practice that comes in and out of fashion constantly. There are pickled items on almost every menu in the city (including mine), but the frenzy may be subsiding.
“Urban sprawl” style plate-ups. Ultimately most restaurant patrons expect their food to taste really good and also look nice. Chefs who spread the individual components of a dish all over the plate are expending way too much effort on all the wrong things. Flavor first!
SEATTLE W EE KLY • MARCH 5 — 11, 2014
f you follow food in Seattle, you’ve either heard of—or are a devotee of—Kraken Congee, a pop-up that’s established a cult following over the past couple of years. Though Kraken’s last pop-up was almost a year ago, and they’re currently debuting it in L.A., you’re in luck. One of Kraken’s cofounders, Irbille Donia, has just started a new Filipino pop-up called Lahi (“ancestry” in Tagalog), the first of which took place on Monday night at Grub in Queen Anne. Donia is also a cook at Aragona, Jason Stratton’s new Spanish restaurant. Working alongside him at Lahi is his Filipino-American friend and fellow cook at Aragona, Justin Legaspi. I talked to Donia about his passion for Filipino food—and why it’s so underrepresented not just in Seattle, but nationally. Donia immediately tells me about a recent article on the Public Radio International website—one that stirred up a heated debate among the Filipino and greater Southeast Asian community. It posed the question: If Filipinos are the second largest Asian population in the U.S., why is it so hard to find a really good Filipino restaurant in the United States? In it, Nicole Ponesca, who runs two Filipino restaurants in New York City, posed the idea that hiya (“shame” in Tagalog) may be an underlying reason. “That’s why [some restaurants] give the ‘white-man menu’ [to customers] because they think they’re not going to like dinuguan, which is a pork-blood stew. But why have shame when the French have boudin noir and the Spanish have morcilla? It is because when you’re colonized over so many years, you don’t value your own culture, even though we have so much pride.” Like Ponesca, Donia believes that there may be some element of shame responsible for the dearth of Filipino cuisine in the mainstream, and it’s his mission to reverse that through these pop-ups, to embrace the country’s complicated history. “One thing that a lot of people miss out on is that they take a lot of the colonialism to heart and stay away from bridging those cultures. But that’s what makes food really beautiful, the infiltration of cultures. Our goal with Lahi is to bridge the gap, to bring the Spanish influence into it. I used to be a purist myself, but through my own personal journey, I’ve changed.” That journey includes working in a slew of Seattle’s Spanish restaurants, like Harvest Vine, Olivar (where he did his first Filipino pop-ups more than a year ago under the name Irbille Edibles), and now Aragona, where by learning Spanish dishes, the link between the two cuisines became so apparent to him. Adobo, a vinegary marinade that’s probably the best known Filipino-style food, is “almost like a Spanish escabèche.” For instance, Lahi will serve a revised take on dinuguan (essentially pork blood and lots of offal cooked adobo-style) with pork tongue, using a Spanish escabèche recipe and incorporating some ginger and pork blood but leaving out the liver, heart, and kidneys. Similarly, he’s
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in Filipino food as a savory element—its slightly bitter, limey flavor balancing out a jackfruit coconut curry, for instance. In fact, cooking with fruit to give a punch of sourness is inherent in the cuisine. Two commonly used fruits are kamais, a hybrid of a mango and an olive, and calamansi— “like if a tangerine and a lime got together and had a baby.” While it’s those kinds of traditions that Donia believes are obstacles to the mainstreaming of Filipino food, he also sees them as opportunities. He’s fully ready to tackle them, along with another challenge: the food’s inherent homeliness. “It gets a stereotype, that we eat cats and dogs,” he says. “And on top of it, the food isn’t pretty. A lot of it looks muddy; it’s one-pot cookery.” (It’s “Asian soul food,” says a Filipino colleague of mine. “What’s not to love?”) While Donia’s versions will aim to be more appealing aesthetically, he won’t sacrifice flavor. Again, the example of his family is apt: They may not recognize what he serves, but they’re surely going to gobble it up. In addition to many of the dishes he’s talked about, I ask about dessert, having grown up eating a sublime coconut cake made from a recipe my grandmother brought from the Philippines, where my father grew up. Donia tells me that at the pop-up they’ll have an aerated yam pound cake made à la minute (cooked at the last moment) and served with yam ice cream, burnt coconut, spiced chocolate “dirt,” and candied pistachio (this last is not a traditional ingredient, but a whimsical add-on). I’m thoroughly on board. True to his word, Donia and his crew indeed
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brought elevated Filipino food—a five-course meal for $40—to their first pop-up this week. The sinigang was prepared just as he’d described, with a little bundle of glass noodles and bites of sweet pork and corn nuts floating in the tangy tamarind broth, which was poured tableside: a very sophisticated touch. Ditto on the dinuguan: The braised pork tongue in a blood sauce was the highlight of the meal, and came with delicious accompanying bites of pickled sweet peppers, currants, and calamansi tapioca (Donia was right—calamansi does taste just like a marriage of tangerine and lime). A dish of pinkabet (traditionally mixed vegetables steamed in fish or shrimp sauce) was a deconstructed version, with garlic prawns plated beside tiny pieces of kohlrabi, bitter melon, watercress, and jicama and served with small dots of a fish-sauce reduction. That bitter, savory quality he spoke of shone through, though perhaps a little less sharply than it does in the traditional dish. Kare kare came as a ball of braised beef cheek surrounded by pieces of braised eggplant, kabocha squash, and smears of peanut sauce and shrimp gel. Dessert was the yam cake he’d promised. The meal was delicious and interesting, if perhaps a tad too beautiful and restrained. I yearned for at least one dish that wasn’t pretty, one of those onepot meals that are the essence of Filipino food. But Donia is smart in his decision to bring people in with baby steps. As the pop-ups continue (once a month at various dates at Grub), I have a hunch those steps will get bigger and bolder— but won’t sacrifice his signature twists. E
nsprinkle@seattleweekly.com
A CraftCocktail Spoof
W
e all love our craft cocktails, but there’s no denying the trend can get a bit foolish at times. Here are nine cocktails I’ve “created” that poke fun at the drinks—and we bartenders who make them. The “Locavore Overkill”: Organic, locally sourced gin; hand-squeezed heirloom lemon juice from a varietal that was BY ZACH GEBALLE thought extinct until some dedicated farmer found some seeds and raised his own crop; housemade cherry bitters made from the finest Rainier cherries we found at the farmers market; garnished with nasturtium petals from this vacant lot just a few blocks away. Seriously, let me show you the GoogleMaps coordinates, it’s practically next door! $16.
THEBARCODE
The “Our Bartender Just Got a Subscription to Imbibe”: Watch as we attempt to resurrect yet
another “pre-Prohibition” cocktail that died out because no one actually wants to drink creme de menthe any more. $13. The “From Bad to Worse”: Well tequila mixed with a combination of creme de cacao and muddled cucumber. Shaken and strained into an absinthe-rinsed glass, garnished with blue-cheese-stuffed olives. $13. The “Don’t Check the Price Tag”: It’s the finest sidecar you’ve ever tried: Kelt XO Cognac, Grand Marnier “Cuvée Spéciale Cent Cinquantenaire,” blood-orange juice, and fair-trade turbinado sugar served in a Swarovski crystal chalice. $45. The “Dealer’s Choice—Too Bad the Dealer Doesn’t Give a Shit”: We’re going to ask you a
bunch of questions about what you like to drink, and then make you whatever the hell we made for the last person who ordered this drink. $12.
The “Named After a Celebrity, So You’re Going to Order It Without Reading the Description and Then Complain About It”: Seriously, this text
is utterly meaningless. You just think Channing Tatum is hot. $12. The “Bacon Is Still Popular, Right?”:
Why the hell are we putting bacon-infused vodka into a drink? Because BACON! $13. The “Homemade Vodka Soda”: Apparently owning a SodaStream allows us to charge $12 for this. Who knew? The “Lack of Creativity”: It’s a beer and a shot of whiskey. Yeah, you should probably try one of those other drinks, but they have all kinds of fancy names and ingredients, and I think one of them has egg whites in it. A can of PBR and a shot of Old Crow sounds just fine. $9. E
thebarcode@seattleweekly.com
arts&culture Elementary Appeal Benedict Cumberbatch and Jonny Lee Miller have made Sherlock Holmes sexy and modern. How does a local expert respond? BY JOHN LONGENBAUGH
I
Sherlock comes in big, meaty 90-minute epi-
Doctor Who, and they enliven this show with fancy edits, wipes, fades, and freezes that demonstrate Holmes’ mental processes. His mental observations—a worn collar cuff, a bit of dog hair, too much makeup—even appear on the screen in neat little white script. Graphics show us maps and diagrams as Holmes races through his “mind palace” in search of the correct clue. They also stuff each episode with references to the original Conan Doyle stories. In one repeating trope, a series of clients present their cases to Holmes in a flowing montage, with him providing solutions at lightning speed. Granted, the show does make occasional missteps, puffing up its protagonist past superhuman and into superhero: Holmes surveys London from a rooftop as if he’s just been summoned by the Sherlock Signal; he leaps on a motorbike like James Bond. The greatest pleasure to Sherlock is the perfect casting of Cumberbatch as the detective and Martin Freeman as Dr. John Watson; both are clearly having the time of their lives in these iconic roles. Cumberbatch is an actor built to play gods and demons (see: Star Trek Into Darkness). He’s angular and not quite handsome, with
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a searing intelligence and patrician air. Like the two other great screen Holmeses, Basil Rathbone and Jeremy Brett, there’s a thin, quivering element to his performance that shimmers with impatience. Unlike those earlier actors, however, Cumberbatch embraces Sherlock’s least likable elements. When a policewoman calls him a psychopath, he replies, “I’m a high-functioning sociopath. Do your research.” Freeman, on the other hand, has cornered the market on honorable everymen, from Arthur Dent in The Hitchhiker’s Guide to the Galaxy to his current run as Bilbo Baggins in the Hobbit movies (where Cumberbatch gives voice to the dragon Smaug). His Watson is the appropriate heart to Sherlock’s head, as well as being the perfect audience stand-in—merely bright in contrast to Holmes’ brilliance. Now you might assume that dyed-in-the-wool Sherlockians—who famously refused to let Conan Doyle kill his hero—might hate a TV series that transports our beloved Holmes from a London of hansom cabs and telegrams to the modern era of motorcycles and cell phones, and even ditches the famous deerstalker. Tradition
Unlike those earlier actors, however, Cumberbatch embraces Sherlock’s least likable elements. By the concluding Episode 3, even Sherlock has a girlfriend, apparently settling the debate about his lack of sexuality—though their relationship is, predictably enough, not what it seems. Cumberbatch and Freeman have already signed up for two more seasons of Sherlock, and the series now seems comfortable enough to play with the weight of inherited houndstooth tradition. Some moments are even meta, as when Holmes heads to a press conference, unironically wearing the once-maligned deerstalker and declaring, “Anyway, time to go be Sherlock Holmes.” Three years in, there’s a consensus among both newbies and my fellow Sherlockians: Just as Freeman is a definitive Watson, Cumberbatch is this generation’s choice for the Great Detective. E
arts@seattleweekly.com
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SEATTLE W EE KLY • MARCH 5 — 11, 2014
sodes that feel like feature films, free of commercial breaks and the drawn-out storylines that plague American TV. While Sherlock’s London is contemporary, we still detect the underlying Victorian metropolis—the gristle and grit of the wonderful old city. The third season of Sherlock is, I would argue, the best yet, as it focuses on the subtleties of the very human friendship of its two central characters. (Here let’s stipulate that the pedestrian, New York–set Elementary comes across as a pale copy of Monk or House ; Miller is mostly wasted playing yet another eccentric detective with a hohum drug habit; he’s not helped by Lucy Liu’s female yet otherwise unremarkable Watson; and the scripts are utterly mundane.) Why is Sherlock so good? I am forced to concede that the show’s creators, Mark Gatiss and Stephen Moffat, are even bigger Sherlock nerds than I. They previously helped reboot
Holmes (Cumberbatch) briefly dons the deerstalker, only to mock it later. At right, Dr. Watson (Freeman) withholds comment.
ROBERT VIGLASKY/HARTSWOOD FILMS/BBC
’m a Sherlockian, hardcore. It’s like being the guy who puts on Vulcan ears to watch his favorite Star Trek episodes. I’ve written a much-produced play, Sherlock Holmes and the Case of the Christmas Carol, which debuted at Taproot in 2010, and a yet-unpublished Holmes novel. I even own—though seldom wear—a deerstalker cap. And once a month I meet with like-minded fanatics at The Sound of the Baskervilles gatherings (more on that later), where both Arthur Conan Doyle’s original texts and the new Sherlock Holmes TV shows are avidly discussed. Suddenly, thanks to those shows, casual Sherlock fans are everywhere—latecomers, we purists scoff. There have never been more high-profile adaptations of Sherlock Holmes than today. Robert Downey Jr. and Jude Law have starred in two recent Holmes action movies, with a third in the works. On television we have Elementary on CBS, starring Jonny Lee Miller, and the BBC’s Sherlock, starring Benedict Cumberbatch. Both update Holmes to the contemporary world, though it’s the British version—which just streamed its third season on Netflix—that’s drawn the most critical approval, mine included.
reigns at our Sound of the Baskervilles group, a scion chapter of the Baker Street Irregulars, who’ve been meeting in New York since 1934. (The SOBs, as we’re known, first convened in 1980.) Yet just the opposite. For all the reasons cited above—the writing and performances, the respectful treatment of Holmes and Watson—we love the new Sherlock. But there are downsides for us Sherlockians when suddenly forced to share our ardor. As a panelist at Sherlock Seattle, a convention held each fall on Capitol Hill, I was bemused to find myself sharing space with fans of the new BBC show who knew little of Conan Doyle’s old writings. A large number were women ranging from adolescence to middle age who love Cumberbatch’s Sherlock. They particularly love reading and writing fan fiction that features characters in a variety of erotic combinations (Sherlock/John, Sherlock/Moriarty, Sherlock/Lestrade, etc.). Yet I did find them remarkably open to learn more about Conan Doyle’s original stories. And Sherlock’s third season does affectionately acknowledge such fan desires—we’re teased with a fantasy involving Moriarty and Sherlock heading for a kiss—without letting them run the show. Instead of heading into the gay, Season Three brings a fiancée for Watson, and their wedding occupies the lion’s share of Episode 2. This culminates in an astonishing set piece where Holmes delivers the absolutely worst, and most wonderful, best-man speech ever.
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ThisWeek’s PickList WEDNESDAY, MARCH 5
Jenifer Ringer
We’re living in a very first-person world right now—from the blog to the selfie, it’s all about ourselves. Some of the most interesting sentences we can read right now start with “I,” and several of them are in Ringer’s memoir of her life as a ballerina with the New York City Ballet, Dancing Through It (Viking, $27.95). That title is a term dancers often use to talk about performing while in pain, just as any athlete will talk about playing through an injury, and Ringer does discuss setbacks (including one notorious 2010 run-in with New York Times critic Alastair Macaulay over a comment about weight). But there’s plenty of joy as well—both should be in evidence when she talks with Pacific Northwest Ballet director Peter Boal about her book and her 23-year NYCB career, set to end this spring. Town Hall, 1119
Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. SANDRA KURTZ THURSDAY, MARCH 6
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The Seattle Experimental Animation Team (or SEAT) is ravenously hungry for new ways to animate. The group has animated cartoons by drawing on everything from glass panes to
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SEATTLE WEEKLY • MARCH 5 — 11, 2014
SEAT & Spin
mural walls to sand. But in this group show, the team is wrenching its forward-looking tendencies back to the past, to the very origins of animation. With roots as far back as 180 A.D. in China, a zoetrope is a cylindrical device with a strip of drawings on the inside and slits on the
Ringer in The Nutracker.
outside. By looking through the slits when the zoetrope is spun, the drawings create the illusion of motion—a precursor to the movies, since both rely on persistence of vision. Popular in Victorian England, the zoetrope will make a comeback tonight. In SEAT & Spin, member artists including Webster Crowell, Stefan Gruber, Salise Hughes, Tess Martin, and Clyde Petersen will animate their work in a large zoetrope that can accommodate six-inch-tall drawings. The results will inevitably be as charming and squiggly as SEAT’s work always is. (Through March 27.) Gallery4Culture, 101 Prefontaine Pl.
S. (Tashiro Kaplan Building), 296-7580, 4culture. org. Free. First Thursday opening reception: 6–8 p.m. KELTON SEARS
Seattle Symphony
Some tricky rhythms and an opening tune played by the timpani are about the only jokey aspects of Richard Strauss’ 1886 Burleske for piano and orchestra, despite its title. Glenn Gould, no fan of virtuoso piano display, seemed to explain away his affection for this dashing Strauss as arch-romantic a young man. showpiece by calling it a “parodistic concerto-commentary.” What he primarily admired in Strauss, as do I, is the composer’s remaining true to his own voice over his very long career. His dates, 1864–1949, bracket a period of immense change in music history, and by not following fashion, Strauss’ reputation paid dearly; simply by calmly sticking to his last, he went from being one of the most notorious avant-garde firebrands in Europe to the fogiest of old fogies. (Looked at another way: When he was born, Rossini and Berlioz were still alive; when he died, the Beatles were schoolboys.) Gerard Schwarz, whose Strauss performances have always been some of his most thrilling, offers an overview of the composer’s career this weekend; in addition to the Burleske (with soloist William Wolfram), there’s Don Juan (one of those electrifying early firebrand SW FILE PHOTO
PAUL KOLNIK/NEW YORK CITY BALLET
arts&culture»
works); a Divertimento based on harpsichord pieces by French composer François Couperin; and Schwarz’s own selection of favorite orchestral moments from the opera Der Rosenkavalier. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. (Repeats Sat. at 8 p.m.) GAVIN BORCHERT FRIDAY, MARCH 7
Cousin Jules
St., 523-3935, grandillusioncinema.org. $5–$7. 7 p.m. BRIAN MILLER SATURDAY, MARCH 8
Sounders vs. Kansas City
Little Shop of Horrors
I’m not sure I buy the old adage about musicals being the gateway drug to serious theater. With a pop-culture confection like this, based on the old Roger Corman B-movie, turned into a hit musical, and filmed in 1986 with Steve Martin and
MARCH 20 I 8:00 PM I THE MOORE THEATRE Seymour (Carter) and his hungry houseplant.
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Bill Murray, I do not believe that school fieldtrip groups will convert to die-hard Ibsenites. Here the pleasures are those of nostalgia, camp, and jukebox melodies that wink at Little Shop’s retro setting. The unbeatable team of composer Alan Menken and writer Howard Ashman were, in 1982, fondly lampooning a 1960 movie they must’ve seen on television thousands of times during childhood; their show is an unabashed celebration of cheesy horror and Motown harmonies—joyous kitsch, in other words. After ACT’s prior musical collaboration with the 5th Avenue Theatre, 2012’s First Date, this co-production boasts a long roster of Northwest stage talent, with leads Joshua Carter (as the lovelorn Seymour) and Jessica Skerritt (as his ditsy crush Audrey), directed by Bill Berry. As for Seymour’s carnivorous plant from outer space, that’ll be a giant puppet, given voice by Ekello J. Harrid, Jr. (Previews begin tonight; opens March 13; runs through June 15). A Contemporary Theatre, 700
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Union St., 292-7676, acttheatre.org. $20–$50. 8 p.m. BRIAN MILLER E
CINEMA GUILD
Jules Guiteaux takes a rest in Cousin Jules.
GAVIN BORCHERT
March 6-9 | March 13-16 Curtain at 7:30pm (Sundays at 2:00pm) Theater 4 - 4th FL. ARMoRy Seattle Center House
Directed by Tony DoupÉ Tickets available at www.irishheritageplayers.org
SEATTLE W EE KLY • MARCH 5 — 11, 2014
Every Sounders season that doesn’t end with an MLS Cup (i.e., all of them so far) is reckoned a disappointment, but never have fans been hungrier for vengeance than after the lateseason collapse of 2013 (we only just backed into the playoffs, and then were knocked out by Puh . . . Puh . . . oh, don’t make me type it). Considerable roster turnover, too, has left us curious about all the new players. The team opens its season at home against—as luck would have it—last year’s Cup winners, Sporting Kansas City: no greater challenge, but also no better
800-745-3000, soundersfc.com. $30–$100. Noon.
MARK KITAOKAT
Newly restored and finally released in the U.S., this 1973 French documentary could almost have been made in 1873. Director Dominique Benicheti spent five years following an old rural blacksmith and his wife, shooting in CinemaScope, lovingly preserving on film a way of life that was already fast disappearing in France. There is no score, Jules and Félicie rarely speak, and the viewer should be prepared for many scenes of carrot-slicing, iron-pounding, chicken-feeding, and floor-sweeping. Still, I love it—Cousin Jules is like a portal into the past, everything frivolous stripped away, its central couple (both born in 1891) running their small farmstead in a way we would now call sustainable and organic. (That they are locavores almost goes without saying.) We see one truck on the road, delivering a few groceries, and the farm does now have electricity, but everything otherwise is 19th-century. These octogenarians monitor their energy output, eat sensibly, nap regularly, and manage their inevitable decline. (When Jules begins setting his table for one, we can guess why.) Cousin Jules is equally a portrait of place and a profile of marriage. The modern phrase we might apply is “aging in place,” but I think dignity is the operative word here. Benicheti spent his later career teaching at Harvard, then died in 2011 during the film’s restoration; his colleagues and students completed the job using the latest digital tools. What they’ve preserved feels handmade, too, like iron wrought in Jules’ forge. (Through Thurs.) Grand Illusion, 1403 N.E. 50th
morale builder when we win. Let the healing begin! CenturyLink Field, 800 Occidental Ave. S.,
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arts&culture» Performance Classical, Etc.
B Y G AV I N B O R C H E R T
SEATTLE OPERA Menotti’s The Consul is an opera osten-
Stage OPENINGS & EVENTS
BLACK VENGEANCE Now they’ve gone and made Othello
into a punk opera. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals.org. $12–$15. Opens March 7. 7:30 p.m. Thurs.–Sat., plus Mon., March 10 and 2 p.m. Sun., March 16. Ends March 22. THE BOY AT THE EDGE OF EVERYTHING A bored 12-year-old meets his doppelgänger—in space! Seattle Children’s Theatre, Seattle Center, 443-0807. $15–$36. Opens March 6. Runs Thurs.–Sun., see sct.org for exact schedule. Ends April 6. THE ELEPHANT MAN The tale of Joseph Merrick, a severely disfigured man rescued from life in a sideshow to become a Victorian celebrity. Inscape, 815 Seattle Blvd. S., 800-838-3006, seattlestageright.org. $15–$20. Opens March 7. 7:30 p.m. Thurs.–Sat. & Mon. Ends March 22. LITTLE SHOP OF HORRORS SEE PICK LIST, PAGE 23. PRETTY FIRE Tracy Michelle Hughes stars in Charlayne Woodard’s solo show about motherhood. Isaac Studio Theatre, 208 N. 85th St., 781-9707, taproottheatre.org. $15–$25. Opens March 6. 7:30 p.m. Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 22. A ROSE FOR DANNY The Irish Heritage Club presents this memoiry domestic drama by Seattle playwright Kevin Moriarty. TPS Theatre 4, Seattle Center, Center House, 4th flr., irishheritageplayers.org. $15–$20. Opens March 6. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends March 16. SPIN THE BOTTLE Annex Theatre’s late-night variety show includes “forthright hip-hop,” “tales of a misspent youth,” and much more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., March 7. THIRD A professor is pitted against her student in Wendy Wasserstein’s campus drama. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $45. Opens March 5. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends March 22. WORST TRIP EVER IN ALL CAPS!!1! Online travel reviews become theater. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. Opens March 6. 8 p.m. Thurs.–Fri. Ends March 21. YOUNG PLAYWRIGHTS FESTIVAL New work by students. See acttheatre.org for lineup. ACT Theatre, 700 Union St., 292-7676. $5–$10. 7:30 p.m. Thurs., March 6–Fri., March 7, 1 & 4 p.m. Sat., March 8. For Current Runs and much more, see seattleweekly.com.
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JENIFER RINGER SEE PICK LIST, PAGE 22. • CLOUD GATE DANCE THEATRE OF TAIWAN The first
contemporary-dance company in a Chinese-speaking community makes its Seattle debut with 3.5 tons of shimmering golden grains of rice. Meany Hall, UW campus, 543-4880, uwworldseries.org. $43–$48. 8 p.m. Thurs., March 6–Sat., March 8.
MIGUEL GUTIERREZ AND THE POWERFUL PEOPLE
SEATTLE WEEKLY • MARCH 5 — 11, 2014
The NYC avant-dance troupe performs And lose the name of action. On the Boards, 100 W. Roy St., 217-9886, onthe boards.org. $25. 8 p.m. Thurs., March 6–Sun., March 9.
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sibly about the horrors of dehumanization in which the empty characters exist only to be manipulated for his ulterior motives. That’s one hell of a sick irony. Not even SO’s solid and handsome production, and not even the grandly committed performance of soprano Marcy Stonikas, could persuade me otherwise. GAVIN BORCHERT McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. 7:30 p.m. Wed., March 5 & Fri., March 7. EN CHORDAIS Byzantine and Greek folk music from this visiting ensemble. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, benaroyahall.org. $30. 7:30 p.m. Thurs., March 6. COREY HAMM Contemporary works (Ligeti, Brett Dean, and more) from this UBC pianist. Brechemin Auditorium, School of Music, UW campus, 685-8384, music. washington.edu. $15. 7:30 p.m. Thurs., March 6.
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BOOKS/COMPLETE • EMPTY WORDS/SONG Another in Neal Kosaly-Meyer’s series of HUMAN
the text/performance pieces of John Cage. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.blogspot.com. $5–$15. 8 p.m. Thurs., March 6. SEATTLE SYMPHONY SEE THE PICK LIST, PAGE 22. SEATTLE COMPOSERS SALON A new-music openmike night, hosted by Tom Baker. This month, music by Clement Reid, Coreena, Aaron Keyt, and Jay Hamilton. Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., March 7. THE ESOTERICS Music evoking the seas opens this a cappella choir’s nature-inspired season. At St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 8 p.m. Fri., March 7; St. Joseph’s Catholic Church, 732 18th Ave. E., 8 p.m. Sat., March 8; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 2 p.m. Sun., March 9. theesoterics.org. $10–$20. TUDOR CHOIR Devotional music from their namesake era. Blessed Sacrament Church, 5050 Eighth Ave. N.E., 3239415, tudorchoir.org. $20–$30. 7:30 p.m. Sat., March 8. GALLERY CONCERTS Baroque chamber music for gamba, recorder, and harpsichord. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts.org. $20–$35. 7:30 p.m. Sat., March 8, 3 p.m. Sun., March 9. SEATTLE PRO MUSICA Choral music for Lent, including David Lang’s modern reworking of a medieval mystery play. St. James Cathedral, 804 Ninth Ave., seattlepro musica.org. 8 p.m. Sat., March 8–Sun., March 9. SEATTLE SYMPHONY CHAMBER MUSIC Britten, Shostakovich, and more from SSO musicians. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, seattle symphony.org. $39. 2 p.m. Sun., March 9. SEATTLE BACH CHOIR Bach’s “Actus tragicus” and more. Trinity Episcopal Church, 609 Eighth Ave., seattle bachchoir.org. $15–$18. 3 p.m. Sun., March 9. LAKE WASHINGTON SYMPHONY The rebirth, in a way, of the Bellevue Philharmonic, with several BPO emeriti. Michael Miropolsky conducts. Lake Washington High School, 12033 N.E. 80th St., Kirkland, 800-838-3006, lwso.org. $15–$25. 3 p.m. Sun., March 9. CIRCLE OF FRIENDS Piano and chamber music by Brahms, Mendelssohn, and Schumann. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $10. 4:30 p.m. Sun., March 9. ONYX CHAMBER PLAYERS All Beethoven: The “Archduke” Trio and more. First Church Seattle, 190 Queen Anne Ave. N., 800-838-3006, onyxchamberplayers. com. $10–$25. 5 p.m. Sun., March 9. UW BANDS Bach, Hindemith, and more from the Wind Ensemble and Symphonic Band. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., March 11.
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pianist
MARCH 20
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Something happened on a dark road outside Bucharest, and a boy is dead. We will not learn the details, because that’s not the point of Child’s Pose. The point is watching how
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Elaine Stritch, the legend in winter.
PElaine Stritch: Shoot Me RUNS FRI., MARCH 7–THURS., MARCH 13 AT SUNDANCE CINEMAS. NOT RATED. 80 MINUTES.
character, class, and family dynamics twist the aftermath of a tragic event. There are no scenes of screeching wheels, because this Romanian movie is a series of scenes of people talking in rooms—a tough sell for a publicist, but a compelling experience when the stakes are high and the portrait of human nature is clear-eyed. As it is here. The dead adolescent, a kid from a peasant family, was running across the road when a car driven by Barbu (Bogdan Dumitrache) hit him. Barbu was trying to pass another car and probably speeding. Under ordinary circumstances he’d be a sure bet for prison, but ordinary circumstances do not include his mother Cornelia (Luminita Gheorghiu), an elegant but ferocious upper-class woman determined to control this situation—just as she’s controlled every other aspect of her grown son’s life. In a simpler film, Cornelia would be a wicked witch strangling Barbu with apron strings (let’s cast Jane Fonda there) or a mama bear fighting for her child against all odds (Sally Field). In Child’s Pose, she is both. Cornelia sashays into the police station the night of the accident, still wearing fur from an evening out, and promptly takes over the investigation. She reeks of clueless entitlement (her conversation with her maid is a small gem of generosity laced with manipulation), yet you’d want her on your side in a street fight. For his part, Barbu is anything but sympathetic, a cowardly sluggard who might be better off going to the clink. Gheorgiu’s performance (she’s been in a bunch of the best movies of the ongoing Romanian New Wave, including The Death of Mr. Lazarescu and 4 Months, 3 Weeks and 2 Days) captures Cornelia with brittle, I’m-stillstanding exactitude. Child’s Post is directed by Calin Peter Netzer, who uses the house style of recent Romanian film: long scenes rendered in something close to real time and deadpan treatment of bureaucracy and social conventions. As we reach the long final sequence, the ending is not at all predictable. After all the talk, it will come down to a conversation we don’t hear—but witness nonetheless—to suggest a resolution. That’s precisely how to do it. ROBERT HORTON
The core audience for this showbiz documentary is self-selecting: If you’ve heard of the Broadway legend, age 87 at the time of filming, then you will go see the movie and be entirely delighted. Produced by Alec Baldwin, an admirer who played Stritch’s son on 30 Rock, this is emphatically a tribute to old-school musical-theater prowess. Caustic, profane, and generally averse to self-pity, Stritch is a woman whose fame never reached far beyond the Hudson. Her cabaret residencies at the Carlyle and interpretations of Sondheim endeared her to a certain kind of fan; and those fans are fading along with their alcoholic, diabetic doyenne. Still, it’s not all sadness and nostalgia as Stritch prepares for a new show (all Sondheim, natch), grudgingly tolerates the camera of director Chiemi Karasawa, and collects praise from her Broadway epigones (Baldwin, Tina Fey, Nathan Lane, James Gandolfini, etc.). She wears her legend blithely, but never lets you forget she’s a legend. Her photo albums and polished stories are suitably glamorous ( JFK tries and fails to seduce her), yet this is equally a portrait of aging—of working to the end, of the structure and dignity that work provides. We see this trouper’s slips in rehearsal and watch her tell the audience, “If I forget my lyrics, fuck it!” Now 89, Stritch has no children; her assistants, AA buddies, and band compose her family. There can be no larger-than-life stars without such patient devotion. In this affectionate profile of a wonderfully cranky old broad, Karasawa is careful to veer her camera toward those just outside the spotlight. Stritch’s music director, Rob Bowman, for instance, vamps at the piano while she grasps for a lyric—mugging quite effectively to the audience, it must be said—and later gets the satisfaction of reading Stephen Holden’s review in the Times. Not all of us can make showbiz history, but some can still be a part of it. BRIAN MILLER
Stranger by the Lake RUNS FRI., MARCH 7–THURS., MARCH 20 AT SIFF CINEMA UPTOWN. NOT RATED. 97 MINUTES.
How well do you know this guy? The same question applies to straight weddings in proper Episcopalian churches and gay cruising encounters in the woods. It’s in the latter milieu, a hothouse monoculture, that Stranger takes place.
» CONTINUED ON PAGE 26
TIM’S VERMEER DALLAS BUYER’S CLUB ELAINE STRITCH: SHOOT ME AMERICAN HUSTLE 300: RISE OF AN EMPIRE IN 3D HER OMAR THE WOLF OF WALL STREET GLORIA THE MONUMENTS MEN MISSING WILLIAM FOR SHOWTIMES VISIT:
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(3/5) Seattle City Council: Public Hearing on Minimum Wage (3/5) Jenifer Ringer with Peter Boal A Ballerina’s Journey (3/8) Gustafer Yellowgold (3/9) Urban Poverty Forum The Sounds of Hope and Change (3/9) Book Larder presents Ferran Adria: Inside elBulli *SOLD OUT* (3/10) University Book Store: Sonia Sotomayor‘My Beloved World’ *SOLD OUT/STANDBY ONLY* (3/11) Haroon Ullah ‘A Family’s Day of Reckoning in Lahore’ (3/11) University Book Store: Dave Barry ‘You Can Date Boys When You’re Forty’ (3/12) Peter Stark with Feliks Banel The Forgotten Empire of the Pacific Northwest (3/12) Seattle: City of Literature TOWN HALL
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PAlien Boy: The Life and Death of James Chasse Seen during last fall’s Local Sightings Film Festival, this Portland documentary was my top pick—and the jury-award winner, hence its return engagement. The 2006 death in police custody of homeless schizophrenic James Chasse will inevitably remind viewers of our own SPD shooting of John T. Williams in 2010. It also has echoes in last fall’s fatal stabbing of a Sounders fan in Pioneer Square by Donnell D. Jackson, evidently also a schizophrenic failed by the system. Is there a culture of aggro cops, both here in Portland, that Mayor Ed Murray and our next police chief need to address? Alien Boy strongly suggests so. In Portland’s trendy Pearl District, the frail 42-year-old Chasse is football-tackled to the pavement by a cop for peeing in public. A dozen ribs are broken, a lung is punctured, Chasse is hogtied and taken to the station, and he soon dies of respiratory arrest. At the time, Chasse was a shy, fearful man living in assisted housing who loved coffee shops and the library. Friends and family tenderly recall an avid music fan during the punk-rock ’80s who published a zine, then succumbed to schizophrenia as a teenager. Director Brian Lindstrom spent a half-dozen years following public demands for police accountability and the ensuing lawsuit against the city. Depositions and station-house videos are damning, though Lindstrom grants a policeunion rep space to respond. Incoming mayor Sam Adams eventually fires the old police chief; but as in Seattle, street-level cops are maddeningly untouchable—they have all the protections and benefits that Chasse was denied in his unhappy life. Eight years later in a different city, our new mayor can’t seem to get a handle on police discipline. Alien Boy is a film that Ed Murray and his next police chief should be required to be see. It ought to be mandatory viewing for all Seattle cops, veterans and rookies alike. Peeing in public is a nuisance, not a crime. And as this city grows ever richer yet more stratified between Amazon workers and those seeking shelter bunks (or sleeping beneath the viaduct); as taxpayers seem unwilling to fund needed mental-health services for the homeless, our sidewalks will increasingly be shared with the indigent, the mentally ill, and those committing illegal acts both large and small. James Chasse was a sad casualty of that economic conflict, a small, weak man whom the authorities deliberately chose not to protect or serve. BRIAN MILLER
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Written and directed by Alain Guiraudie, this slow, quietly disturbing French film is no thriller. Don’t expect echoes of Hitchcock or Chabrol. The killer’s identity is obvious; the guy who falls for him is handsome and kind; and the film’s sole voice of reason is a sad, chubby closet case who observes the cruising rituals from his lonely, pebbled peninsula. Here, sex is for the taut young bodies who dare dive into the lake, not for the timid old nellies who observe from the shore. There is a lot of cock on display in Stranger— mostly flaccid, sometimes erect, occasionally spewing—but not a lot of moral passion. Franck (Pierre Deladonchamps) witnesses a murder-bydrowning, but reports nothing to the authorities. Neither do his cruising cohort say anything about the beach blanket and car that remain unclaimed for days afterward. Franck has a crush on the sinister, mustachioed hunk Michel (Christophe Paou); to go the cops would be to hurt his chances with him. But inevitably the police come calling. “One of your own was murdered, and you don’t even care?” asks the fidgety inspector. The movie, like Franck, answers the question with a shrug, and that may be its greatest—and only—discomfiting quality. Michel is the shark in a pool into which men knowingly throw themselves. Whether he’s an AIDS metaphor is up to you, though this eerie complacency among the cruisers makes me think of that old ’80s slogan: “Silence equals death.” Franck and company don’t want their idyll interrupted, so they evade most of the cop’s queries. Consequences, like the outside world, don’t figure here. Guiraudie’s drama never leaves the lake, and there are only a few passing references to jobs and dinner dates in town. Franck may speak of love and the desire for a companion back home, yet he keeps coming back to the woods, where a man waits with a knife. BRIAN MILLER
300: Rise of an Empire OPENS FRI., MARCH 7 AT SUNDANCE AND OTHER THEATERS. RATED R. 102 MINUTES.
Showing Daily at SEATTLE WEEKLY • MARCH 5 — 11, 2014
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The weather in Greece always looks so nice— sunny skies, white-sand beaches cooled by gentle zephyrs. Which means either climate change has messed with Greek weather in the past 2,500 years, or the makers of the 300 movies are taking artistic license: As befits a graphic-novel adaptation heavy on blood-spilling and war-mongering, the computer-generated skies of this world are perpetually roiling with black clouds and gloomy foreboding. 300: Rise of an Empire is based on Frank Miller’s Xerxes, and it provides a sequel to the 2006 hit 300. Or not quite a sequel, exactly: This is a rare instance in serial-making in which the action actually takes place at the same time as the events of the first film. 300 was devoted to the battle of Thermopylae, the fabled 480 B.C. fracas in which a small contingent of Spartan warriors sacrificed themselves to hold back the invading Persian army. Rise of an Empire shifts the action to sea, where the Athenian general Themistokles (Sullivan Stapleton) leads his ships into battle against the Greek turncoat Artemisia (Eva Green, from Casino Royale), who has allied herself with the Persians. Many bone-crushing battles ensue. Director Noam Murro, a TV-commercial veteran, apes the style of the first 300, with its geysers of digital blood splashing across the lens and its hiccuping slow-motion—sometimes in mid-decapitation, to savor the effect. These are
tiresome, and one waits impatiently for Green’s imperious, kohl-eyed she-devil to stride into the scene and devour men whole. She doesn’t literally do that, of course, but the effect is the same. There’s also Lena Headey, returning from the first movie and as full of bravado as before. (We see a couple of glimpses of her character’s hubby, played by Gerard Butler, in old footage.) In fact, despite the overwhelming—and perhaps overcompensating—masculinity that dominates these films, the appeal here is almost entirely thanks to the two women. The promise of a showdown between them is sadly unfulfilled—and would of course be historically inaccurate, if you’re still clinging to such old-timey notions. Meanwhile, the array of six-pack abs that brought the first film a certain level of popculture notoriety is still in place, pumped up for 3-D in some theaters. The brave few at Thermopylae did not die in vain. ROBERT HORTON
Tim’s Vermeer OPENS FRI., MARCH 7 AT SUNDANCE AND LINCOLN SQUARE. RATED PG-13. 80 MINUTES.
How did Vermeer do it? This question is apparently important to some people, including a Texas millionaire named Tim Jenison, the founder of NewTek. Jenison decided to prove that the 17th-century Dutch master must’ve had help from special lenses and mathematical devices to create his luminous canvases, so he sets out to replicate the hypothetical methods by which Vermeer might have turned the trick. The word “trick” is key here, for Tim’s Vermeer is by magicians Penn and Teller (offscreen friends of Jenison). Teller directs, and Penn Jillette acts as producer and—of course—garrulous narrator. Entertainingly, the movie tracks the months Jenison spent on his quest: first researching Vermeer’s techniques, then sitting down to try to paint a Vermeer. He arranges a room with vintage brica-brac and northern light; he creates the kinds of paint that Vermeer would have used in the 1600s; he grinds the kind of lenses he thinks Vermeer might have employed to enable his paintings’ near-photographic precision. Jenison’s geekiness is likable, and he makes an affable companion for this process. (He admits at one point that the job is so painstaking he probably would have given up if not for the documentary being made.) The film’s premise isn’t revolutionary—more than a decade ago, David Hockney popularized the idea that some of the great realist painters must have used a camera obscura or other optical devices to achieve their uncanny masterpieces. (Hockney appears in the film, intrigued by Jenison’s new wrinkle.) Tim’s Vermeer has the same attitude, as though Penn and Teller—sleightof-hand artists to the core—need to expose Vermeer’s cheat. Magicians, of all people, know there’s no actual magic, just the execution of a trick. So of course Penn and Teller would be flummoxed by genius. This kind of historical inquiry is interesting, but the impetus behind it feels a little like the persistent efforts to demonstrate that Shakespeare didn’t write the works of Shakespeare. There’s something undemocratic about the idea of genius, so the debunkers must disprove the romantic idea of the artist holding his thumb in front of his eye and miraculously solving the problems of perspective and light. When Jenison finishes his meticulous task, what he has is a trick. It’s a pretty object, cleverly executed—but it isn’t a Vermeer. ROBERT HORTON E
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Local & Repertory AS THE PALACES BURN This new crime documentary
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THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES The 1949 serial Batman & Robin will be
screened in weekly installments. March’s surprise features will have a B-movie monster theme. (NR) Grand Illusion, 1403 N$5-$8 individual, $35-$56 pass, Saturdays, 2 p.m. Through March 29. STREETS OF FIRE From 1984, Walter Hill’s somewhat gonzo MTV-meets-biker-mythology picture scored radio hits including Dan Hartman’s “I Can Dream About You.” Look for Diane Lane and Willem Dafoe among the cast. 21 and over. (R) Northwest Film Forum, $6-$11, Fri., March 7, 11 p.m.; Sat., March 8, 11 p.m. THREE AMIGOS Steve Martin, Chevy Chase, and Martin Short star in this inside-Hollywood trifle from 1986. (PG-13) Central Cinema, $6-$8, March 7-11, 7 p.m.
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Texas homophobe the hero of a film about the ’80s ���� NE ��TH STREET | ���-���� AIDS crisis doesn’t seem right. It’s inappropriate, exceptional, possibly even crass. All those qualities are reflected in Matthew McConaughey’s ornery, emaciated portrayal of Ron Woodroof, a rodeo rider and rough liver who contracted HIV in 1985. Fond of strippers, regularly swigging from his pocket flask, doing lines of coke when he can afford them, betting on the bulls he rides, Ron has tons of Texas-sized character. The unruly Dallas Buyers Club goes easy on the sinner-to-saint conversion story. McConaughey and the filmmakers know that once Ron gets religion, so to speak, their tale risks tedium. As Ron desperately bribes and steals a path to off-label meds, his allies and adversaries do read like fictional composites. Best among them is the transvestite Rayon, who becomes Ron’s right-hand woman (Jared Leto). They’re both fellow gamblers who delight in beating the house. (R) B.R.M. Sundance, Big Picture, others NON-STOP Neesploitation. The Full Neeson. Release An inventor tries to solve one of the gre greAtest Atest mysteries of Art A the Neeson. After Bronson and Eastwood, is there any more satisfying expression of cranky white codgerhood than the resurgent Liam Neeson? His latest, aka Neeson on a Plane, is a hokey but effective thriller -Peter travers, rolling stone encapsulated by our hero’s throwaway line: “I hate flying.” And yet flying is what this alcoholic federal air marshal does for a job. Bill Marks is a familiar distillation of Neeson’s prior roles in The Grey, Taken, and Unknown—a mournful pessimist who only bothers with life out of habit, loyalty, or revenge. Who’s sending him WWW.SONYCLASSICS.COM text messages on a London-bound flight, threatening to kill a passenger every 20 minutes for a ransom of $150 SUNDANCE CINEMAS SEATTLE million? The plot mechanics don’t really add up, but ChECk thEAtRE 4500 9th Avenue NE, Seattle the constant indignity and annoyance of post-9/11 air diRECtoRiES oR CAll Reserved Seats +21 All Shows foR ShowtimES travel are what rings true here. Marks trusts no one on sundancecinemas.com his plane, and his fellow flyers have cause to distrust VIEW THE TRAILER AT WWW.TIMSVERMEER.COM him, too. (Julianne Moore, Michelle Dockery, Scott McNairy, and recent Oscar winner Lupita Nyong’o are also on board.) Everyone’s a suspect, and every FREE 206.324.9996 4.81" X 2" WED 3/5 passenger’s petty complaint signals the breakdown PARKIN G of community. That Neeson plays a loner here is a siff.net SEATTLE WEEKLY given. What’s darkest about Non-Stop is how isolated DuE MON 5PM and suspicious his seat-mates are of one another. It’s like a journey … Into the Neeson, as it were. (PG-13) Fri Feb 14 - Thu Feb 20 B.R.M. SIFF Cinema Uptown, Kirkland Parkplace, AT THE UPTOWN Bainbridge, iPic, others BY THE 5th Smash Week! 12 YEARS A SLAVE Made by English director Steve AE: (circle one:) Artist: (circle one:) McQueen, this harrowing historical drama is based ART APPROVED on a memoir by Solomon Northup (Chiwetel Ejiofor), Angela Maria RECALLING Josh Heather Staci A TANTALIZING GAY EROTIC THRILLER AE APPROVED a free man from Saratoga, New York, who was kidTHE MASTERWORKS OF HITCHCOCK Held over! Tim Jane napped and sold into slavery in 1841. Solomon passes Emmett Steve Philip CLIENT APPROVED through the possession of a series of Southern plantaOPENS MARCH 7 | UPTOWN tion owners. One sensitive slave owner (Benedict Deadline: Liam Neeson at 20,000 feet! Confirmation #: Cumberbatch) gives Solomon—a musician by trade—a fiddle. Then he’s sold to the cruel cotton farmer Edwin Sat Mar 8 | Encore! Epps (Michael Fassbender), who also owns the furiously hard-working Patsey (Lupita Nyong’o). Patsey, like Solomon, is caught inside the terror of not knowSun Mar 9 | DocBrunch ing how to play this hand. Do they keep their heads GIRL RISING down and try to survive, or do they resist? Instead of With cupcakes! taking on the history of the “peculiar institution,” the Mon Mar 10 | Recent Raves film narrows itself to a single story, Solomon’s daily THE PAST routine, his few possessions. The film’s and-then-thisThu Mar 13 happened quality is appropriate for a memoir written in MAN WITH A the stunned aftermath of a nightmare. Along the way, MOVIE CAMERA McQueen includes idyllic nature shots of Louisiana, Live score by DJ James Whetzel as though to contrast that unspoiled world with what men have done in it. The contrast is lacerating. (R) R.H. SIFF CINEMA UPTOWN | 511 Queen Anne Ave N Guild 45th, Bainbridge, Ark Lodge, others SIFF FILM CENTER | Seattle Center
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
FILM
NEWSLETTER
F I LM
The inside scoop on upcoming films and the latest reviews.
HA PPY HO UR
“A stimulAting Ating detective story A thAt At holds you in thrAll!” A
Tim’s Vermeer A Penn & Teller Film
STARTS FRIDAY, MARCH 7
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STRANGER LAKE
NOW PLAYING WALKING THE CAMINO MAIDENTRIP NON-STOP NT LIVE: CORIOLANUS
SEATTLE W EE KLY • MARCH 5 — 11, 2014
follows singer Randy Blythe, of the band Lamb of God, who is charged with the death of a young fan in the Czech Republic. 21 and over. (NR) The Showbox, 1426 First Ave., 628-3151, showboxonline.com, $12, Thu., March 6, 8 p.m. BIG TROUBLE IN LITTLE CHINA John Carpenter’s Big Trouble in Little China (1986) is an enjoyable mash-up of classic Westerns, Saturday-morning serials, and more Chinese wuxia than any of the Indiana Jones movies, with Kurt Russell in full bloom as Carpenter’s de rigueur hard-drinkin’, hard-gamblin’, wise-crackin’ loner hero—a bowling-alley John Wayne. When I was all of eight, this seemed like just about the greatest movie ever made, and like much of Carpenter’s work, it has aged well. (PG-13) SCOTT FOUNDAS Central Cinema, 1411 21st Ave.,686-6684, central-cinema. com, $6-$8, March 7-11, 9:30 p.m. COUSIN JULES SEE THE PICK LIST, PAGE 23. DOCBRUNCH Richard Robbins’ recent Girl Rising looks at nine case studies of education and empowerment around the globe. Segments are narrated by actresses including Meryl Streep, Cate Blanchett, Anne Hathaway, and Kerry Washington. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Sun., March 9, noon; Sun., March 23; Sun., March 30. EUROCRIME! The subtitle to this new doc tells it all: “The Italian Cop and Gangster Films That Ruled the ’70s.” (NR) Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org, $5-$8, Thu., March 6, 7 p.m. THE GOLDEN AGE OF ITALIAN CINEMA Federico Fellini’s first color film, Juliet of the Spirits offers both a starring role for his wife (Giulietta Masina) and a snapshot into his overheated imagination, circa 1965. It’s a surreal mid-life crisis flick in which Masina’s pampered, childless doormat housewife confronts her husband’s philandering. Buxom neighbor Sandra Milo offers a licentious portal to a world of flashbacks and fantasies, while our heroine is visited by voices from the beyond. Should she take a lover in revenge? (Try Prozac!) “Love is a religion,” a freaky oracle tells her, although Fellini won’t permit Juliet to participate in the decadent orgies around her—if they’re real at all. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $8 (individual), $63$68 (series), Thursdays, 7:30 p.m. Through March 13. MUSIC CRAFT: ROXY MUSIC Bryan Ferry and company perform at the 1973 Montreux Jazz Festival and other venues in this BBC documentary. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$11, Thu., March 6, 8 p.m. THE PAST Playing as part of SIFF’s Recent Raves! series, The Past is Asghar Farhadi’s first film made outside his native Iran. With one exception, The Past is much like his A Separation: deliberate, full of feeling, scrupulously made. It begins after a four-year separation. Ahmad (Ali Mosaffa) has come from Iran to Paris to finalize his divorce from Marie (saucer-eyed Bérénice Bejo, from The Artist), who is anxious to get on with her life with new beau Samir (Tahar Rahim, A Prophet). Part of the drama revolves around Marie’s teenage daughter from a previous relationship, Lucie (Pauline Burlet), who still needs Ahmad’s fatherly advice after having carried around a guilty secret for a long time. This secret provides the film with its plottiest device, a melodramatic thread that keeps The Past from reaching the delicate achievement of A Separation. It’s like a 45-minute whodunit that suddenly sprouts inside a character study. Still, the movie shows a deep empathy for its people and a strong sense of place. (PG-13) ROBERT HORTON SIFF Cinema Uptown, $6-$11, Mondays, 7:30 p.m. Continues through March 31. SEATTLE JEWISH FILM FESTIVAL In the fest’s second week are documentaries about Neil Diamond, Jews in Iran, and the notorious Anti-Semite Richard Wagner. The latter, Wagner’s Jews, shows how some amazingly talented Jewish pianists, violinists, conductors, and concert promoters were willing to help the cranky, egotistical composer. What’s more, he depended on them and—according to biographers and music historians interviewed here—had conflicted feelings about them. No less an authority than Leon Botstein insists you can’t draw a straight line from
Wagner to Hitler. Seattle Opera’s Speight Jenkins will give a talk following the screening, which ought to be fascinating. See seattlejewishfilmfestival.org for full schedule and details; venues also include the Stroum Jewish Community Center on Mercer Island. SIFF Cinema Uptown, $9-$12 individual, $100-$250 series, Through March 9.
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mainstage
dinner & show
THU/MARCH 6 • 7:30PM
sea wolf w/ kevin long SAT/MARCH 8 • 8PM
john gorka w/ antje duvekot SUN/MARCH 9 • 7PM
tayla lynn w/ jessica lynne WED/MARCH 12 - SAT/MARCH 15 • 7PM & 10PM SUN/MARCH 16 • 5PM & 8PM
house of thee unholy TUE/MARCH 18 • 7PM & 10PM
nils frahm w/ douglas dare WED/MARCH 19 • 7:30PM AN EVENING WITH
paula cole
FRI/MARCH 21 • 8PM
SEATTLE WEEKLY • MARCH 5 — 11, 2014
massy ferguson w/ sassparilla
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next • 3/23 carrie rodriguez w/ honey noble • 3/25 wanting w/ dawen wang • 3/26 trace bundy with special guest sungha jung • 3/27 cahalen and eli w/ john reischman and greg spatz • 3/28 ian mcferon w/ mozo • 3/29 pat rothfuss and paul & storm • 3/30 zucchero • 3/31 meklit hadero • 4/1 battlefield band • 4/2 tommy castro • 4/3 tyrone wells • 4/4 left hand smoke • 4/5 joe ely w/ david ramirez • 4/6 stanley jordan • 4/7 little bill 75th birthday tribute show
happy hour every day • 3/5 jargon • 3/6 smoke and honey • 3/7 closed for a private event until 7pm / jelly rollers • 3/8 elektrapod • 3/9 closed for a private event until 6pm • 3/10 crossrhythm session • 3/11 singer-songwriter showcase featuring: whiskey n’ rye, paula boggs band and chris klimecky band • 3/12 eric hullander group TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
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arts&culture» Music
Where the Ladies At?
SevenNights E D I T E D B Y G W E N D O LY N E L L I O T T
Wednesday, March 5
BY GWENDOLYN ELLIOTT Hurley and Jevdjevic in Bulgaria.
KRK NORDENSTROM
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not commonly observed in America: March 8, International Women’s Day, which recognizes women’s economic, political, and social achievements. Unlike Mother’s Day, Jevdjevic says the holiday is a celebration of the whole woman, “not just the parts we find useful, like motherhood and cooking. You shouldn’t have to be a mom to be celebrated,” he says. “It’s more about taking a person for who they really are: a person.” “I had never heard of International Women’s Day when Gino told me about it,” says Hurley, originally from Tucson. “After some research, I discovered the holiday originated in the areas that we’re traveling to. In my work with Kultur Shock and as an artist, I’m working to expand the definition of what it means to be a woman by just being who I am. . . . To have a platform that calls for a celebration of women—the real range, depth, and multifacetedness of who we are, what those who came before us have done, the work that still needs to be done, and who we want to be—in conjunction with this vehicle [Kultur Shock], feels incredibly powerful.” Both Hurley and clarinetist Amy Denio— unlike their four male bandmates—have no children and are unmarried. This distinct flip of the script—women are usually the family types in a band—is fitting for a group whose members span genders, orientations, generations, ethnicities, and nationalities from Bulgaria to Indonesia. That’s the whole point of the band’s upcoming appearance at Chop Suey, says Jevdjevic. “With this show, we would love to raise awareness not only about Women’s Day, but about your place in the world,” he says. “You have to get real, and see what the rest of the world is all about.” E gelliott@seattleweekly.com
KULTUR SHOCK With Bucharest Drinking Team. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. $12 adv./$14 DOS. 9 p.m. Sat., March 8.
Send events to music@seattleweekly.com. See seattleweekly.com for full listings.
Dr. Dog
Wednesday, March 5
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or the guys in Philadelphia-based indie-rock group Dr. Dog, the only constant is change, even if it’s gradual. After adding new drummer Eric Slick and multi-instrumentalist Dmitri Manos, the band grew closer and more committed to developing its sound. “If you’d stopped and asked us five years ago if we saw ourselves as a band that took playing live seriously, we would have said yes,” says guitarist and vocalist Scott McMicken. “But it wasn’t truly until we got those guys that we realized how much room there was to grow.” The band members have had several years to get familiar with one another onstage and in the studio, but they are indeed still growing. While McMicken and bassist Toby Leaman have been Dr. Dog’s primary songwriters since it formed more than a decade ago, its most recent release, 2013’s B-Room, more fully utilized the other members’ talents. “There were way more shared credits on this record than any Dr. Dog record before it,” McMicken says. “The result is pretty much this Frankenstein of everyone’s ideas, and for Toby and I it was cool to open up the writing process and be less insular and lonely about it.” It’s likely this new collaborative songwriting approach is what has been pushing the band’s sonic evolution. Its early releases were influ-
Thursday, March 6
HOBOSEXUAL manages to make the most of little things.
The lo-fi, no-holds-barred guitar/drum duo channels
enced by ’60s pop as well as punk, and 2012’s Be the Void embraced an alternative-rock aesthetic which sought to replicate the band’s electric live shows. But B-Room strips things down, showcasing a band seeking to explore new territory. Tracks like “The Truth” and “Mind the Usher” give off a laid-back Motown soul vibe, and “Too Weak to Ramble” gently taps into McMicken and Leaman’s established songwriting connection, featuring nothing more than vocals and acoustic guitar—another first for the band.
“This was Dr. Dog saying, ‘Can we make a strong piece of music with just two people?’ ” McMicken says. “‘Obviously we aren’t the first people to do that, but can we? We both love it, and I feel a strong emotional connection to that tune.” Taking musical left turns each time out, Dr. Dog keeps things interesting—something McMicken says fans can continue to expect, inter-band collaboration, too. “I foresee that continuing through our future albums.” With Saint Rich. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/ neptune. 8 p.m. $25. All ages. BRIAN PALMER
SEATTLE W EE KLY • MARCH 5 — 11, 2014
uring the nearly four-year siege of Sarajevo, 1992–95, Gino Jevdjevic, a Bosnian pop star with a law degree, decided to direct a play: Hair. He dodged bullets—and often, the mortally wounded—every day to get to work. In a 2009 column for Seattle Weekly, his friend Krist Novoselic wrote that he “put on the show every night as a protest/statement to the world about the terrible assault on humanity.” “I was my most creative during that time,” Jevdjevic says of his time during the war. “That’s how I met Joan Baez and came to the States.” Through his involvement with Baez, who was visiting the region on a humanitarian mission, Jevdjevic was invited to the States to produce his own play about the experience, Sarajevo, Behind God’s Back. When its run ended, he stayed in the U.S. after forming a new venture: his now-17-year-old Seattlebased band Kultur Shock. The six-piece tours infrequently in the U.S. but extensively in Europe, especially in the Balkans, where its “Roma-Balkan-Middle Eastern sound mixed with thrash metal and speed punk” particularly resonates with fans. Its Seattle reception has been lukewarm, however. Jevdjevic muses that Seattleites are too comfortable to get pumped up over it: “They take away your basketball team and you don’t even cry.” One of the band’s two female members, violinist Paris Hurley, attributes her band’s presence in Seattle to a certain progressive bubble. “I don’t mean to insult Seattleites, but there’s a shoegazery culture here. Something that’s loud and raucous, I feel, can scare a lot of people.” She adds proof: “Hardly any of my Seattle friends come to Kultur Shock shows.” She says things are different in Eastern Europe—a part of the world no stranger to conflict—where the band draws crowds in the thousands. Europe also celebrates a holiday
Festivals often provide a weekend escape, a time to forget the world and live a brief rock fantasy. With MAGMA FEST, Hollow Earth Radio forgoes that notion—it spans all of March. Venues throughout Seattle will present bills even more varied than the station’s own DIY programming: There’s Geneva Jacuzzi, an underground electro-pop artist with a knack for ’80s synth production and Lady Gaga theatrics; surf-gazers Lures and math-rock experimentalists Scarves bringing their guitar escapades; and Moon Joe, a “3-year-old percussionist extraordinaire” (yes, a child). While other festivals might present expected favorites with a few surprises, Magma Fest is primarily surprises— a chance to discover something new and weird that pushes musical taste out of its comfort zone. Costs vary; some age restrictions; see hollowearthradio.org/ magma for complete details. Through March 30. DUSTY HENRY FIONA DAWN effortlessly switches between English and Mandarin lyrics in songs that infuse conventional pop-song structures with traces of music from all around the world. Her most recent album, Tricks of the Trade, features ukulele, zheng, and sounds that evoke West African and Balinese music. With Susy Sun, PhilHarmonic, DJ HoJo. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $7 adv./$10 DOS. MICHAEL F. BERRY DALE EARNHARDT JR. JR. OK, be honest: An album title like The Speed of Things makes you think it’s going to be an energetic ride, right? That’s why Dale
NICKY DIVINE
International Women’s Day is celebrated around the world; Seattle band Kultur Shock wants to bring the party to the States.
Earnhardt Jr. Jr.’s sophomore effort is so beautifully subversive. Technically, it delivers on your expectations, with a pleasing array of synth-pop numbers that will get any retro-oriented party started, but there’s more going on here. The seemingly ebullient track “Run” is actually about sexual deviance and abuse, while hit dance single “If You Didn’t See Me (Then You Weren’t on the Dance Floor)” is based on the band’s own experiences getting lost in touring and becoming numb to the world around them. The title is actually a meditation on our culture’s warp-speed nature and our seeming inability to slow the hell down (and a nod to the race-car driver who inspired the band’s name). This duo gives you exactly what you want, and then subtly pulls the rug out from beneath you. With Chad Valley. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $15. 21 and over. BRIAN PALMER Part blues poet, part rock-and-roll messenger from God, part thought-provoking folk troubadour, JOSHUA POWELL loves turning your expectations inside out. 2013’s Man is Born for Trouble includes songs named after Kerouac, Whitman, and Tolstoy, but “Parable from Calcutta” ’s spiritual bent succinctly captures the many defining characteristics of his discography. With Jake Nannery. The Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle.com. 8 p.m. No cover. All ages. BP THE SOFT HILLS While this show will be headlined by the excellent boy/girl harmonies of Ephrata, the band in the second slot, the Soft Hills, are the star attraction. Led by Garret Hobba, it’ll celebrate the release of Departure, a lightly psychedelic pop record that manages to be both melancholy and magical, delightfully rolling along like soft hills beneath strange purple skies. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $8 adv. 21 and over. MARK BAUMGARTEN
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arts&culture» Music THIS THURS! MAR 6
UMPHREY’S McGEE
W THE CALIFORNIA HONEYDROPS MAR 16 THE MUSEUM OF CONSCIOUSNESS TOUR
SHPONGLE
W DESERT DWELLERS VOKAB COMPANY FRI MAR 21 AN EVENING WITH
MIKE GORDON SAT MAR 22
MAZ JOBRANI MAR 25
AGAINST ME!
W LAURA STEVENSON A CHEAP GIRLS FRI MAR 28
THE WAR ON DRUGS W WHITE LACES SAT MAR 29
HARI KONDABOLU APR 1
ZZ WARD
W GRIZFOLK APR 2
KID INK
W KING LOS A BIZZY CROOK ON SALE NOW APR 3
ttt (CROSSES) APR 5 AN EVENING WITH
BRUCE COCKBURN APR 10 | SHOWbOx MARkET
YONDER MOUNTAIN STRING BAND W THE BROTHERS COMATOSE SAT APR 12
STEPHEN MALKMUS & THE JICKS W SPEEDY ORTIZ APR 17
THE INFAMOUS STRINGDUSTERS W THE BOSTON BOYS MAY 4 ONES TO WATCH
SEATTLE WEEKLY • MARCH 5 — 11, 2014
ERIC HUTCHINSON
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W SAINTS OF VALORY ON SALE FRIDAY AT 10AM MAY 15
O.A.R.
ON SALE FRIDAY AT 10AM SAT MAY 31 | THE CROCODILE
MARGOT & THE NUCLEAR SO AND SO’s ON SALE FRIDAY AT 10AM JUNE 23 | COLUMbIA CITY THEATER
ROBYN HITCHCOCK
the best and worst of the 1980s on its second album, Hobosexual II. If you miss the group this week, you can party with it Memorial Day weekend at Sasquatch. With the Spinning Whips, A Breakthrough in Field Studies, DJ/MC Matt Brown. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $8. MFB THE CALIFORNIA HONEYDROPS have more flair than The Nature Boy. Whether putting together funky jams, giving you a taste of New Orleans–style second-line music, or playing the kind of ragtime jazz that will make you dance yourself silly, this band aims to please on its latest, Like You Mean It. With Umphrey’s McGee. The Neptune, 1303 N.E. 45th St., 441-9729, stgpresents.org/ neptune. 8 p.m. $25. All ages. BP REAL ESTATE There’s an airy, summertime feel to “Talking Backwards” and “Crime,” the first two songs released from Atlas, the third album from this New Jersey–based surf-rock quintet that features Ducktails’ Matt Mondanile. Based on those two songs, Atlas maintains the jangly-pop vibe of Real Estate’s previous release, 2011’s Days, but presents a cleaner, more precise version of the band. With the Shilohs. Neumos. 8 p.m. $20 adv. 21 and over. AZARIA C. PODPLESKY PAUL REVERE & THE RAIDERS One might think that at 76, Paul Revere would be more interested in a lateafternoon dinner buffet than a midnight ride. But he and his Raiders have perfected their slapstick show over 50 years, still wearing their trademark colonial costumes and playing the hits that made them a cornerstone of the early Pacific Northwest music scene. Snoqualmie Casino, 37500 S.E North Bend Way, 425888-1234, snocasino.com. 7 p.m. $19/$41. MFB To make 2012’s Old World Romance more melody-based, Alex Brown Church, frontman of Los Angeles–based indie-rock quintet SEA WOLF, recorded every song idea he had, reviewed a handful every week, and focused on the standouts. The result highlights Church’s thoughtful musicality, yet doesn’t throw his introspective lyrics by the wayside. With Kevin Long. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $15 adv./$18 DOS/$25 VIP. All ages. ACP KING DUDE crosses genres from track to track on his latest album, Tonight’s Special Death, but one concept remains intact: Everything is eerie. He can frighten listeners with chugging acoustic guitar chords (“Born In Blood”) or distorted slow burners (“No One Is Here”), and the lo-fi production only heightens his music’s paranormal sensibilities. With J.C. Satan, Grave Babies. Chop Suey. 1325 E. Madison St., 324-8005, chopsuey.com. $7 adv./$10 DOS. 8 p.m. 21 and over. DH
Friday, March 7
really appreciate that Brandi uses her talent and compassion to showcase the often taboo subjects of depression and self-harm,” says YES executive director Patti Skelton-McGougan. “Brandi’s willingness to share her experience with us will help bring our community together to work on strategies to stop this alarming trend.” Carlile joins other bands, like The Fray (“How to Save a Life”), Gnarls Barkley (“Just a Thought”), and Cold War Kids (“Golden Gate Jumper”), who have recently written about the issue.
2014 Invest in Youth Breakfast With Brandi Carlile Wednesday, March 12
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t’s not the most uplifting topic, but it’s a good thing some people are talking openly about suicide in Washington. According to a Washington state Department of Health report updated in April 2013, it’s the eighth leading cause of death among Washington residents, and in 2011 was the second leading cause among youth aged 15 to 24. In Bellevue, a recent Healthy Youth Survey shows that “one in four Eastside teens reported feeling depressed, and more than one in six high-school seniors said they had seriously considered suicide in the previous year.” For Ravensdale-born singer/songwriter Brandi Carlile, losing a high-school friend to suicide hit close to home, inspiring the song “That Year” from her 2009 album Give Up the Ghost. “You should have taken a long break/Instead of a long drop from a high place,” she sings. “Ten years I never spoke your name/Now it feels good to say it/You’re my friend again.” In a 2012 interview with Headbutler.com, Carlile says she spoke with her friend’s family after the song came out. “The guy that I’m singing about in the second verse, the “bigger man,” contacted me last year and told me that it made him cry. He said that it was healing for him,” she says. Recognizing the incredible uplifting power of song, Bellevue nonprofit Youth Eastside Services (YES) chose the singer as the keynote speaker at its upcoming Invest in Youth Breakfast. “We
COURTESY OF THE ARTIST
1303 NE 45TH ST
As a co-founder of the Fight the Fear Campaign, a violence-prevention initiative, Carlile offers an answer to Rascal Flatts’ song “Why?”: “Who told you life wasn’t worth the fight?” For youth facing tough social and emotional pressures, she says the effort “isn’t about fighting other people, it’s about respecting the fact that you yourself are worth fighting for.” Hyatt Regency Bellevue, 900 Bellevue Way N.E., 462-1234, bellevue.hyatt. com. 7:30 a.m. $150 minimum suggested donation. All ages. AZARIA C. PODPLESKY
ANGEL OLSEN may not yet be a household name, but
for fans it’s clear that the Missouri-born, Chicago-bred roots-rock artist is having her moment (or is about to). Having already worked with a number of American indie-rock champions, including Tim Kinsella of Cap’n Jazz and LeRoy Bach of Wilco, it’s apparent there’s something special about Olsen. And with four fulllength albums under her belt, she continues to build a reputation as an emotive performer whose rich vocals prove the perfect catalyst for her brave, engaging songs. It’s for these reasons, among others, that her newest release, Burn Your Fire for No Witness, is such a gem. It’s Olsen’s most personal work to date—a collection of stories she brings to life with the help of a full backing band that spans the gamut of emotions, from sad and thoughtful ballads to bold and expressive rock cuts. Onstage, the songs, and Olsen herself, are sure to be both captivating and cathartic. With Cian Nugent and Shenandoah Davis. Barboza. 7 p.m. $12 adv. 21 and over. KEEGAN PROSSER It’s tempting to dismiss anything happening at the Hard Rock Cafe as corp-rock garbage, and I usually do, but HARD ROCK RISING is perhaps the exception. Billed as a “global battle of the bands,” each cafe holds a series of live competitions, then forwards the best band to nationals. Tonight’s show is round two. I was a judge in a preliminary round last year, and was happily reminded that whenever you get a teenager and an electric guitar in the same room, a whole lot of crotch action isn’t far behind. There was something organic and unpretentious about the entire show that is hard to find not just in Hard Rock Cafes but on Capitol Hill as well. The wrong band won my round, but I left satisfied nonetheless. Bands TBA. Hard Rock Cafe, 116 Pike St., 204-2233, hardrock.com/cafes/seattle. 8 p.m. Free. DANIEL PERSON SXSW SEND OFF SXSW, meet the PNW. Three local favorites—alternative synth-pop trio The Flavr Blue, featuring “White Walls” singer Hollis; soul/hip-hop chanteuse Shaprece; and James Apollo, who leads a group of bluesy indie-rock musicians—will make their way to the annual Austin, Texas festival. But before they hit the road to the land of endless barbecue,
they’ll show us exactly what makes them SXSW material. Neumos. 8 p.m. $5 adv. 21 and over. ACP G-EAZY, the so-called “James Dean of hip-hop,” best known for his reimagining of the 1960s hit “Runaround Sue,” releases his next album, These Things Happen, soon. With Rockie Fresh and Kyle. The Showbox, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. SOLD OUT. MFB
Saturday, March 8
The seventh event in Fremont Abbey’s Cathedrals Concerts series features Danish songstress/pianist AGNES OBEL, accompanied by cellist Anne Müeller and Timber Timbre’s Mika Posen on viola, performing songs from Obel’s sophomore album Aventine. Its sparseness, a result of minimal instrumentation and Obel’s smoky, jazzy vocals, should be magnified by the cathedral’s resonant acoustics. With Bryan John Appleby. St. Mark’s Cathedral, 1245 10th Ave. E., 3230300, fremontabbey.org. 8 p.m. $17–$19. All ages. ACP OCNOTES defies most hip-hop trends. While many producers are moving toward dubstep samples and brutal bass drops, OCnotes is forging his own genre he calls “AlienBassBooty,” which he says is based on a foundation of freedom and artistic expression. It incorporates psychedelic guitar lines and woozy synth runs, and he’s creating danceable beats in new, innovative ways. With WD4D, Chef Jerm. Lucid, 5241 University Way N.E., 402-3042, lucidseattle.com. Free. 21 and over. DH COMMON KINGS touts itself as an assorted-genre band, with influences from pop, rock, R&B, reggae, and soul that it blends into its own type of “island music.” With members of Hawaiian, Samoan, Tongan, and Fijian origins and inspiration from artists from Led Zeppelin and D’Angelo to Jim Croce and the King of Pop himself, the California-based quartet has found a formula that creates a perfect harmony from its own backgrounds and musical journeys. Pair lead singer Sasualei “Junyer King” Maliga’s soulful vocals with the
vibrant beats created by his band mates Ivan, Mata, and Rome, and you’ve got a smooth sound with an island twist that makes you feel good inside. Popular single “Wade in Your Water” and tracks from the August 2013 EP Summer Anthems, Common Kings whisk listeners away to a place of sun, sand, and “good vibes” all around. With Island Bound and Tribal Order. The Showbox. 9 p.m. SOLD OUT. All ages. MARGERY CERCADO There have been big developments in the world of CAMPFIRE OK. Frontman Mychal Cohen got married. Congrats, Mychal. May your unending joy not impinge on your ability to write arresting lyrics like “orphan life I lead on a bridge to nowhere,” which appears on your latest collection When You Have Arrived. And if it does, who cares? You still have that incredible sense of melody, knack for dramatic pop compositions, and a crack band behind you. With Tango Alpha Tango, the Green Pajamas. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $7 adv. 21 and over. MARK BAUMGARTEN
Sunday, March 9
Countless musical trends have come and gone, but BIG BAD VOODOO DADDY and its blend of jazz, swing, and rock have persevered. The septet, which celebrated its 20th anniversary last year and released its eighth album, Rattle Them Bones, in 2012, shows no signs of stopping anytime soon. Snoqualmie Casino. 7 p.m. $19–$47. 21 and over. ACP
Tuesday, March 11
Good grief, is LAKE STREET DIVE a sexy band. Its hypnotic fusion of old-time jazz, soul, R&B, and blues swings like nobody’s business. Its debut full-length album, Bad Self Portraits, is a blast, and its recent performance on The Colbert Report proves it knows how to knock ’em dead live. With The Congress. The Neptune. 8 p.m. $18 adv./$20 DOS. All ages. BP
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Gary Burton Seven Songs For Quartet and Chamber Music All items on sale for $13.99 and available on LP. Seattle
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Bryce Dessner: St. Carolyn By The Sea; Jonny Greenwood: Suite From “There Will Be Blood’’ “Never before have classical and rock converged in such an organic, compelling and sensual way as they do in the three short orchestral works written by and featuring The National guitarist Bryce Dessner on his new release St. Carolyn by the Sea.”
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109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
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SEATTLE WEEKLY • MARCH 5 — 11, 2014
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and The City Comes Alive Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
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WE ARE IN THE CROWD with William Beckett, Set It Off, State Champs and Candy Hearts Doors at 6 / Show at 6:30PM ALL AGES/BAR W/ID. $15 ADV / $17 DOS
arts&culture» Music LocaLReLeases Jupe Jupe, Crooked Kisses (out now, self-released,
jupejupemusic.com) I’ve been waiting for a solid, moody glam-pop album pretty much since the hoopla for the Killers’ Hot Fuss died down. And while Brandon Flowers’ 2010 solo effort, Flamingo, came close, it wasn’t exactly what I was looking for. Thankfully, the newest release from this Seattle quartet helps to fill that niche. Composed of My Young on vocals and synthesizer, Bryan Manzo and Patrick Partington on guitar, and drummer Jarrod Arbini, Jupe Jupe’s previous two releases, Invaders and Reduction in Drag, garnered the band attention for sleek, layered soundscapes and dissections of pop culture. With swells of haunting synthesizers, spooky vocals, craggy guitars, and thundering electronic beats, Kisses picks up where those left off. In truth, this version of Jupe Jupe proves to be a mix of the Killers and the Kaiser Chiefs (circa We Are The Angry Mob) even if Young’s vocals don’t match the standout tones of either of those acts. Yet Young’s melancholic drawl paired with a stunning mix of glam and goth results in a unique take on electro-pop that’s equally tragic and danceable. The band also channels British new-age classics on the latter half of the album, specifically in the Cure-esque delivery of tracks like “Hollow” and “New Stars in the Sky.” But it’s standouts “Love to Watch You Fall” and “All The Things We Made” that keep the 10-track collection interesting. It’s in their glittery, pulsing arrangements that Crooked Kisses’ themes of love, lust, and heartache fully breathe. (3/11, El Corazon)
KEEGAN PROSSER
SATURDAY, MARCH 8
SOLE with Pat The Bunny (Ramshackle Glory) and Handwritings Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
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SUNNY LEDFURD with The Shivering Denizens, Darci Carlson and Devilwood Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
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HEARTS ARE THUGS with Purr Gato, Jupe Jupe, plus guests
Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
WEDNESDAY, MARCH 12
THE SKINS
with Gliceryn, Blood And Bourbon, plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
JUST ANNOUNCED 3/23 NO BUFFER 3/29 ROCKARAOKE 4/4 LOUNGE POKE DA SQUID 4/17 DIRECT DIVIDE (CD RELEASE) 4/27 YOU ME AT SIX 4/29 LOUNGE TINY MOVING PARTS 5/7 SIIINES 5/7 LOUNGE TOTAL CHAOS 5/28 TYLER WARD 5/29 JOHN CORABI (MOTLEY CRUE, RATT & THE SCREAM) 6/18 TWISTED INSANE 6/24 LOUNGE CUT YOUR LOSSES 7/14 SAVING ABEL UP & COMING 3/14 BAYSIDE 3/15 MONSTERS SCARE YOU (FINAL SHOW) 3/19 THE WONDER YEARS 3/21 JAR OF FLIES 3/21 LOUNGE DENNIS IS DEAD 3/22 SPIRIT CARAVAN 3/23 LOUNGE KOLDUN 3/24 EAST OF THE WALL 3/25 ANIMALS AS LEADERS 3/26 TOADIES / SUPERSUCKERS 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: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com
Pillar Point, Pillar Point (out now, Polyvinyl Records, pillarpointmusic.com) Literary scholars often use the phrase “laughter through tears” to describe the work of 19thcentury Russian author Nikolai Gogol, a master of satire who wrote surreal stories about people’s noses running away from their faces and strange men collecting the spirits of dead serfs by going door-to-door and convincing landowners of the tax benefits of his soul-reaping. The stories are funny, but undergirding them is a distinct sadness—a critique of the fallacies of Russia’s ailing social structure dressed up in fun. Pillar Point’s Scott Reitherman is no stranger to Russian literature; his biggest hit to date, “Lolita,” from his previous band Throw Me the Statue, references Vladimir Nabokov’s controversial masterpiece. Nabokov, who once called Gogol “the greatest artist that Russia has yet produced,” might also dig Reitherman if he were alive to hear his work. On the surface, Pillar Point is a glossy, fun dance record full of the kind of pitched-up 8-bit synths that propelled Passion
Pit to stardom. But underneath all the fun pop structures are plenty of tears. “My parents got divorced,” Reitherman told me last October. “I also had a separation with my girlfriend. Most of the songs deal with that, and the project was kind of born out of that . . . I hope it makes people shake their butts, for sure, and work something out emotionally at the same time.” Teary-eyed butt-shaking is what makes the LP so interesting. On album standout “Black Hole,” a fun rim-click drumbeat rides Zelda-esque video-game bleeps while Reitherman laments, “Baby’s got a black hole between the eyes/And for a little I can’t tell she’s crying.” While Reitherman may have embraced electronics on this album, inherent in the sonic shift from Throw Me the Statue is a subversive critique of digital culture. On “Curious of You,” he coos, “Let it all fall to pieces/ When you’re hugging a cell phone/Limp on the bathroom floor” as one of his trademark chintzy Casio beats clatters along underneath ebullient synth chords. Pillar Point’s tension between the dancing and the crying makes for some clever cognitive dissonance—elevating what would otherwise be a straightforward electro-pop record to something much more compelling. (March 5, Vermillion) KELTON SEARS Various artists, Suicide Squeeze Records Pres-
ents: Forever Singles (out now, Suicide Squeeze, suicidesqueeze. bigcartel.com) The 7˝ single format has a special place in punk and garage-rock history. Trading singles and discovering new bands helped forge a community, not to mention gave vinyl collectors with rarities and “holy grails” to seek out. Seattle’s Suicide Squeeze continued the dream with its Forever Singles series, releasing limited-run split singles from trending fuzzed-out groups like King Tuff and JEFF the Brotherhood. For this release, all those tracks have been compiled into one limited-edition LP for a fast and ferocious ride. In some ways, compiling these tracks takes away from the allure and thrill of finding that perfect single, but it makes sense. For those who haven’t been following the recent garage-rock resurgence, this collection is a solid recap that succinctly captures the genre’s varying styles. Meat Market’s “Too Tired” represents furious guitar freakouts and gang vocals, while La Luz’ “T.V. Dream” takes to surf melodies and copious amounts of reverb. The more obscure tracks are really the heart and soul of the album and of the Forever Singles concept. The new-wave beat and crunchy guitars of Davila 666’s “No Crees Que Ya Cansa” feels like a forgotten but fantastic 45 found at the bottom of a stack of dusty records—the type of track collectors hope to stumble upon—while Nü Sensae’s goth-tinged “Throw” feels troubled and menacing and perfectly satisfying for youngadult angst. Forever Singles may take the thrill out of the vinyl hunt, but it’s for the greater good. DUSTY HENRY
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Rep. Eileen Cody doesn’t like “yellers and smellers.”
community reacted strongly to its elimination of dispensaries, drastic reduction of patient possession limits (from 24 ounces to just 3), establishment of a patient registry, and elimination of arrest protection. According to one Olympia insider, Cody had been willing to wait to see what came from the Senate before pushing her own legislation. But, according to this source, after the patient outcry she dug in her heels and decided to teach the “yellers and smellers” (as patients are reputedly called by some members of the legislature) a lesson. That’s why HB 2149 is now wending its way through Olympia. But even if that bill doesn’t survive Ways and Means, another piece of bad legislation—SB 5887—stands ready to take its place. SB 5887, currently in the Senate Ways and Means, would also reduce patient possession limits, eliminate dispensaries, and put the Liquor Control Board in charge of medical marijuana. Should both 2149 and 5887 fall by the wayside, remember that the legislature has that other measure for us: SB 6524. That bill would establish the aforementioned governorappointed marijuana commission, which, ironically, seems almost certain to be hostile to cannabis. This is far from over. E
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and bureaucrats from Inslee on down tell it, massive federal raids are imminent unless we shut down those “unregulated” dispensaries. (The reason they’re still relatively “unregulated,” by the way, is that ex-Gov. Chris Gregoire line-item-vetoed almost all the useful parts of a bill, SB 5073, which would have regulated them.) When Rep. Eileen Cody filed House Bill 2149 back on January 6, the medical-marijuana
OFFICE OF REP. EILEEN CODY (D-34TH DISTRICT)
L
ast Thursday, Sensible Washington took to Facebook to proclaim the death of the medical–marijuanakilling bill that I wrote about last week (“You’re Taking Everything Away,” Feb. 26, 2014), upon seeing that the Health Care Committee hearing had been canceled. Unfortunately, it isn’t so cut-and-dried. At every public hearing on 2149 and the other bills which would eviscerate Washington’s medicalmarijuana law, plenty BY STEVE ELLIOTT of patients and advocates have shown up to testify, pointing out the bills’ shortcomings and generally highlighting what a bad idea it is to take medicine from sick people. So lawmakers, eager to avoid yet another dramatic public hearing, canceled the scheduled hearing on HB 2149 during a Thursdaymorning executive session of the Senate Health Care Committee. They instead cynically used a procedural loophole through which they sent the bill on to Ways and Means “with no recommendation,” avoiding the public hearing entirely. Voila! The messy requirement of taking actual public input from those impacted by bad legislation has been neatly and cynically sidestepped. There was still a medical-marijuana-threatening hearing, though. It was on Monday, March 3, before the Ways and Means Committee— with just three hours’ notice—and the hearing was on a different piece of legislation, SB 6542, which would establish a marijuana commission appointed by Gov. Jay Inslee. Included on the commission would be “stakeholders,” including cities and counties—many of which, by the way, plan to ban all marijuana sales—and members of the Liquor Control Board, which seems singularly intent on completely dismantling medical marijuana in the state. The Washington legislature has been oddly attitudinal this session when it comes to cannabis. Unfortunately, the medical-marijuana community—started back in 1998, when state voters approved RCW 69.51a—seems at best an afterthought and at worst an inconvenience to state policymakers. You see, state officials have publicly admitted they’re afraid that patient collective gardens, popularly known as medical-marijuana dispensaries, will be too much competition for the highly taxed recreational-marijuana stores scheduled to open later this year as legalization measure I-502 is implemented. What that means in their rhetoric is that the “threat of federal raids,” which has been present for the entire 16-year life of Washington’s medical-marijuana law, has suddenly become a crisis-level issue. To hear politicians
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Employment Professional Product Manager in Seattle, WA. Responsible for utilizing metrics-driven decision making to plan and oversee a mobile application game, taking it through the entire product lifecycle from conception to live operations for play. Experience required. Email resume to jobs@z2.com or mail to Z2Live, Inc., 1601 2nd Ave., Suite 800, Seattle, WA 98101. Z2 is an equal opportunity employer.
Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298
Cisco Systems, Inc. is accepting resumes for the following position in Seattle, WA: Software Engineer (Ref# SEA1): Responsible for the definition, design, development, test, debugging, release, enhancement or maintenance of networking software. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE. www.cisco.com Cisco Systems, Inc. is accepting resumes for the following positions in Bellevue, WA: Network Consulting Engineer (Ref#: BEL1): Responsible for the support and delivery of Advanced Services to company’s major accounts. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE. www.cisco.com Engineering Philips Electronics North America Corporation has the following job opportunity available in Bothell, WA: Engineering Manager (PA77-WA) – Manage and coordinate resources and processes to deliver software releases and acoustic monitoring. Provide vision for software architecture and infrastructure for systems operations. Submit resume by mail to: Philips People Services, International Mobility, 200 Minuteman Rd, MS 5302, Andover, MA 01810. Must reference job title and job code PA77-WA. HortonWorks, Inc. has openings for Software Engineer (Programmer) positions in Seattle, WA. Job duties include: Scale performance and scheduling in Apache Hadoop MapReduce. Utilize experience with: large-scale, distributed systems design and development; data structures, algorithms, and programming practices. To apply, e-mail resume to tdeblauwe@hortonworks.com, indicate job reference #6755.27. HortonWorks, Inc. has openings for Software Engineer positions in Seattle, WA. Job duties include: Work under Director of Engineering in Core Team, R&D. Utilize experience in large-scale, distributed systems to drive further development of HadoopMapReduce. To apply, e-mail resume to tdeblauwe@hortonworks.com, indicate job reference #6755.33. $2500 tidy 2bd/2ba crftman Home, Madrona view, finish Bsmt w/full BA could be BR Or rec rm call (253)670-8357 theamooregroup@gmail.com
Real Estate for Sale King County
BANK OWNED HOUSES Free List With Pictures www.Seattle BankOwned.net HUD HOMES For Sale Save $$$! Renton: 4 BR, 2 BA, 1,783 SF, $198,000, ext. 287. Seattle: 2 BR, 1 BA, 1,079 SF, $123,200, ext. 210. Snoqualmie: 3 BR, 1.5 BA, 1,416 SF, $220,000, ext. 206. Bellevue: 2 BR, 1 BA, 900 SF, $185,000, ext. 515. Woodinville: 3 BR, 2.5 BA, 1,949 SF, $430,000, ext. 516. Chris Cross, KWR 800-711-9189, enter ext for 24-hr rec msg. www.WA-REO.com
Real Estate for Sale King County
Lost
LESCHI View Home Only $604,900 3 Bedrooms, 2 Baths, 2240sqft + Garage. Like New Condition. Realty West 206-570-7672
2
BR: MOUNT RAINIER View duplex! Features garage, fresh paint, refurbished & all new appliances! Near Supermall & Freeway. $1,000 per month, first, last & damage dep. No pets. Asking $219,950. Call 253-293-8817. Apartments for Rent King County Commercial space avail perfect for office. 880sqft. Rent $1,760 + NNN. Call (206) 441-4922 Daniel University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm
WA Misc. Rentals Condos/Townhomes MERCER ISLAND
CLEAN, QUIET, Spacious Studio. Fireplace, New Carpet. Near Downtown. Parking, Cabana. No Pets. $820 Includes Utilities. Call 425985-3373 or 425-7477169 WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342
Appliances
KENMORE FREEZER
Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,
interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293. Credit Dept. 206-244-6966
Real Estate for Rent King County ALGONA
Appliances
MISSING DOG - LOGAN. Missing since August 10th from Auburn area. Sightings in Kent and Bellevue. Mini Blue Merle Australian Shepherd. Very scared and skittish. Please call Diane at 253-486-4351 if you see him. REWARD OFFERED. Firewood, Fuel & Stoves
NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx
KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept. 206-244-6966
NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966
STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles. Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month
UNDER WARRANTY!
was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo. Credit Dept. 206-244-6966
Auto Events/ Auctions
DIAZ KARATE
ABANDONED VEHICLE AUCTION
%206-244-6966% Flea Market
Body~Mind~Spirit
3 DRAWER DRESSER with mirror. 1943. Excellent condition! $150. Bellevue 425-641-0643.
www.diazkarateschool.com
BEAUTIFUL VANITY Table with large beveled mirror in excellent cond. $150. Bellevue 425-6410643. Free Items Recycler
REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available
Professional Services Instruction/Classes
FREE TABLE SAW, Craftsman, mounted on large table. Working order. Edmonds You take. Call 10 am to 8 pm 425582-7602.
Saturday 3/8/14 Preview 9:00AM Auction 10:00AM A-Seattle Towing, LLC 13226 1st Ave S. Burien 206-856-1388 www.towseattle.com
ALL AGES
206-250-0590 Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942
Home Services Grounds Maintenance
LOCATING INC. is hiring Utility Line Locators. Apply at www.locating inc.com. Locating Inc. is an EOE
is on instagram.com
WE ARE SCHEDULING INTERVIEWS FOR DIRECT MARKETING REPS
Help us Keep Trees Safe & Beautiful! The Tree Industry can provide you steady year round work. As a Marketing Rep for TLC4Homes Northwest Inc. you will help Generate Leads for Arborists employed by Evergreen Tree Care Inc. Our Arborists Provide Home Owners Free Estimates and Free Safety & Health Inspections for Tree & Shrub Trimming, Pruning & Removal Services. We Provide Paid Orientation, Marketing Materials, Areas to Work and Company Apparel.
Reps AVERAGE $30,000-$60,000/ YEAR Generating Leads for Tree Work. Work Outdoors- Year Round Work. Set your own schedule- Work Part time or Full time. Travel, Cell Phone, Medical Allowance Available. We do require a Vehicle, Driver’s License, Cell Phone & Internet Access in order to be considered for our Position.
FILL OUT OUR ONLINE APPLICATION AT: WWW.TLC4HOMESNW.COM
OR EMAIL RESUME TO RECRUITING@TLC4HOMESNW.COM CORPORATE RECRUITING DEPT. FOR SNOHOMISH, KING, PIERCE, KITSAP & THURSTON COUNTY 855-720-3102 EXT. 3304 OR 3308
agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx
U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169
WA Misc. Rentals Want to Share TUKWILA
$550 MONTH. Your own private living room, bedroom, bath. Private Entrance. Sink, fridge and counter area plus free TV. Also available: $460 studio with kitchen and bath. Both units come with view, off street parking. Own parking place. Laundry on-site. Large quality home. Employed with steady income. References and deposit required. No Smoking, No Pets. 1 Adult Only. 206246-4700 or 206-2434171 Evenings. Announcements
NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180
A+ SEASONED
FIREWOOD
Dry & CustomSplit Alder, Maple & Douglas Fir Speedy Delivery & Best Prices!
425-312-5489 Appliances
AMANA RANGE Deluxe 30” Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept. 206-244-6966
EARN UP TO $12.00
PER HOUR
NOW HIRING IN BELLEVUE
STAFF MANAGEMENT | SMX IS HIRING IMMEDIATE WAREHOUSE ASSOCIATES FOR THE AMAZON FULFILLMENT CENTER
JOIN OUR TEAM!
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DAY & NIGHT SHIFTS, FULL-TIME POSITIONS
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MEDIA CODE: W09 JOB CODE: 704S
SEATTLE W EE KLY • MARCH 5 — 11, 2014
VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601
Employment Computer/Technology
35
Do you have PTSD and alcohol problems?
Housekeeping Job Fair
Classified
Call
@ 206-623-6231, to place an ad Explore Your Options! Get career-focused training. Day and evening schedules. Call Everest: 1-888-443-5804 www.StartEverest.com
HAPPYHAULER.com Debris Removal • 206-784-0313 • Credit Cards Accepted! HomeWell Senior Care Franchising is growing! Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz March 8: Tony Millionaire @Fantagraphics Bookstore Join us on Saturday, March 8th 6-9PM as we celebrate the publication of Tony Millionaire’s Sock Monkey Treasury with an art exhibition, book signing and live music performed by Ashley Eriksson. 1201 S. Vale Street in Georgetown. (206)658-0110
MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385
WWW.KIRKLANDGOLDBUYER.COM
Psychic, Palm & Tarot Card Readings $15 Special. 425-789-1974 WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
Seasonal Allergies? Are you allergic to Pollen, Weeds, Food or have other allergies? Earn $100 for each qualified plasma donation. Call Today! 425-258-3653
www.plasmalab.com
Singing Lessons
FreeTheVoiceWithin.com Janet Kidder 206-781-5062
ARAMARK @ SAFECO FIELD Mon-Tues March 10 & 11, 10am-1pm
Seeking free treatment?
ACTIVIST JOBS for Reproductive Rights!
ADOPTION
Paid research opportunity. Call the APT Study at 206-764-2458.
Ellis Pavillion located on 1st Ave. next to the Mariner’s Home Plate Entrance. Seasonal PT Housekeeping Positions EOE
Devoted, nurturing, loving gay couple in Seattle, looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support.
Work with Grassroots Campaigns to: - Keep Birth Control Affordable - Defend a Woman’s Right to Choose - Oppose Attacks on Healthcare Access - Expand Global Reproductive Rights
Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com
Earn $1,600 - $2,400 per month Full-time / Part-time / Career. Call Aaron at 206-329-4416
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
$ TOP CASH $
PAID FOR UNWANTED CARS & TRUCKS
$100 TO $1000
7 Days * 24 Hours Licensed + Insured DINING
ALL STAR TOWING
425-870-2899
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Ad #: P31 Deadline T First Run: Publicatio Section: C Specs: 4.8
AR T S AND ENTE
Health Care!
CALL TODAY!
Proof Due
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Visit us online at www.StartEverest.com
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>> tokesignals.com - Activism - Culture - Dispensaries - Legalization - Legislation - Medical - News - Products & More
Programs and schedules vary by campus. For more information about our graduation rates, the median debt of students who completed the program and other important information, please visit our website at www.everest.edu/disclosures.
10338 Aurora Ave N, Seattle
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HAPPY HOUR MONDAY p ½ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY p½ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p ½ OFF DOOR* MILITARY FRIDAY p½ OFF DOOR* *I.D. Required American Liberty Adult Store
Select from a variety of DVDs, Mags, and Toys. Buy, Sell, Trade!!!! Ask Clerk for details about how you can save $$$ on your next purchase.
www.seadancingbare.com OPEN MON-SAT: 11AM - 2:30AM & SUN 2PM - 2:30AM