Seattle Weekly, May 28, 2014

MAY 28-JUNE 3, 2014 I VOLUME 39 I NUMBER 22

SEATTLEWEEKLY.COM I FREE

UW PROF PUTS VOTER ID TO THE TEST PAGE 5 | DEBACLE FEST’S FREAKS AND WEIRDOS PAGE 33

Stephanie Drury Isn’t Mark Driscoll,

But She Plays Him on

Twitter

Inside the hilarious, essential, and profitable world of 140-character make-believe.

BY MATT DRISCOLL

2

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

inside» May 28–June 3, 2014 VOLUME 39 | NUMBER 22

» SEATTLEWEEKLY.COM

Capitol Hill transit-oriented development

COMMUNITY MEETING Meet the developers »17

»9

news&comment 5

9

DE-VOTED

Editor-in-Chief Mark Baumgarten EDITORIAL

BY MATT DRISCOLL | How a UW

Senior Editor Nina Shapiro

prof’s research is helping to challenge restrictive viter I.D. laws.

Food Editor Nicole Sprinkle

SOCIAL S@TIRE

BY MATT DRISCOLL | Pursuing parodic

Twitter personae for fame and money— and even spiritual healing.

food&drink 17 TO THE MENU BORN

BY TIFFANY RAN | Chefs who work with foreign cuisines take the heat.

17 | FOOD NEWS/THE WEEKLY DISH

arts&culture 20 TORRENTS OF VIDEO

BY KELTON SEARS | An artist mines

the Internet for your secret searches.

20 | THE PICK LIST 22 | OPENING NIGHTS | A Broadway

legend and a mass murderer (in separate shows, of course).

23 | PERFORMANCE/EAR SUPPLY 25 | VISUAL ARTS/ BOOKS

THIS WEEK AT SIFF | Local director

Shawn Telford goes back to his Idaho hometown, plus tips for week three.

29 | OPENING THIS WEEK | James McAvoy as a very bad Scot; Audrey Tautou speaks Chinese.

30 | FILM CALENDAR

31 MUSIC

Joan Osborne looks at love; a showcase for the Northwest’s best freaks and weirdos; and more.

31 | SEVEN NIGHTS 34 | CD REVIEWS

»cover credits PHOTO OF STEPHANIE DRURY BY MORGEN SCHULER

Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears

Broadway Performance Hall 1625 Broadway, Seattle, WA 98122

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Editorial Interns Thomas James, Diana Le, Laurel Rice Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, 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, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Interns Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Peter Muller, Brett Leverett, Erin McCutcheon Classifieds Account Executive Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERI ODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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news&comment

Go-To Guy

To Go for It, or Not to Go for It

University of Washington professor Matt Barreto’s research has been instrumental in the national fight over voter-ID laws.

S

BY MATT DRISCOLL

T

SPORTSBALL

red-eye flights, awfully busy. Judges in Pennsylvania and Arkansas have struck down voter-ID laws this year. In January, Pennsylvania Judge Bernard L. McGinley cited research Barreto and his partner Sanchez compiled on the Keystone State in his reasoning, concluding that he “had a high degree of confidence in Professor Barreto’s survey results and that those results corroborate that hundreds of thousands of voters lack a compliant ID.” Despite the mounting evidence in Barreto’s voter-ID work and the growing interest in it, the professor is quick to point out that in each new state he’s asked to study, he lets the findings—not his assumptions—do the talking. “We never know what we’re going to find in any particular state,” Barreto says. However, he also notes that “from our academic research in general and our reading and our knowledge of history, we know that voting restrictions and requirements and regulations historically have been used to decrease the participation rates of blacks and Latinos.”

“There are differences from some jurisdictions to others, but so far we have been seeing a pretty consistent result that minorities are disproportionately impacted by these voter-ID laws,” explains Barreto, “which is consistent with the history of civil-rights and voting-rights struggles in this country.”

Trials regarding voter-ID laws are pending in North Carolina and Texas, with the Lone Star state’s Veasey v. Perry, which goes to trial in September, looming particularly large. Barreto is unable to comment on whether his research will be involved in either case, but given the way things are going, it wouldn’t be surprising. E

mdriscoll@seattleweekly.com

Around 10 a.m. Tuesday morning, a completely naked man engaged in a foot chase with Seattle Police, running to the downtown ferry terminal and jumping off the dock into the 51-degree waters of Elliott Bay. Naturally, SPD fished the man out of the water—and noted the strange occurrence on Twitter. People responded accordingly: “Have you seen Seinfeld? Do you know about shrinkage?!” —@TheBryanSuits • “Shrinkage is likely. Elliot Bay is cold.” —@temblor_sj • “Just another Tuesday on the waterfront.” —@KirstenT_21 • “Bike patrol rehearsing for Solstice Parade?” —@ShorelineTIS • “This suspect is a special kind of stupid” —@Carabear133 • “Srsly. My. City.” —@dylanw

sportsball@seattleweekly.com

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

likely to have large implications for arguments regarding the constitutionality of voter ID. In his 70-page ruling, U.S. district judge Lynn Adelman said that Barreto’s findings in Wisconsin, “when added to the other evidence in this case, support the conclusion that minorities in Wisconsin are less likely than whites to possess a qualifying ID.” By contracting with a polling firm to call well over 1,000 registered voters in Milwaukee County—including oversampling to target Latino and African Americans, as well as cellphone-only voters—Barreto and Sanchez’s report showed that 13.2 percent of African-American voters and 14.9 percent of eligible Latino voters in the area lack proper photo ID, while only 7.3 percent of white voters are in the same boat.

Adelman seemed to take careful note of all of it. Young says the federal judge’s decision—which Wisconsin has appealed and which will now head to the Seventh Circuit Court of Appeals, with a likely Supreme Court date in its future—is particularly important because of the way “the court really laid out and explained why voter-ID laws are so harmful to our democracy.” “[ Judge Adelman] just systematically dismantled the voter-fraud myth in a way that went beyond any other court decision that I have seen,” Young continues. “He said, correctly, that when it comes to election integrity, the perpetrator of the voter-fraud myth are the ones that are undermining voter confidence in the electoral process, not actual voter fraud . . . He said you can’t pass a restrictive law based on an imaginary fear.”

Wisconsin isn’t the only state where the voterID debate has had lawyers grappling, and it’s keeping Barreto, who has become no stranger to

JEREMY DWYER-LINDGREN

MORGEN SCHULER

he debate over state voter-ID laws in the lead-up to November’s elections may have gained a national audience, but the legal action has played out largely in Midwest and Southern courtrooms to this point. That’s not to say Seattle hasn’t been well-represented. University of Washington political science professor Matt Barreto has been in the middle of most of it. Or at least his research has.

The 37-year-old professor has lately been a man in demand. The research he and his colleague, New Mexico professor Gabriel Sanchez, are becoming known for has become part of the standard playbook for lawyers challenging voterID laws. Using statistically sound large-swath surveys on a state-by-state basis, Barreto’s findings have demonstrated that not only are blacks, Latinos, and minorities less likely to possess valid photo ID, they’re also less likely to have the documents necessary to obtain such ID. According to critics of voter-ID laws—which have now been pursued, in one form or another, in nearly half the states in the union—research confirms that such laws create voter disenfranchisement along racial and socioeconomic lines.

These laws have proliferated in the wake of the 2013 Supreme Court case Shelby County v.

Holder, in which the court, by a controversial 5-4 vote, struck down a section of the Voting Rights Act of 1965 requiring states to obtain federal preclearance before changing voting regulations or practices. With the federal preclearance hurdle removed, states that pass voter-ID laws can move quickly to implement them—and have, to the dismay of many, including the national legal arm of the American Civil Liberties Union.

ACLU Voting Rights Project staff attorney Sean Young says Barreto’s methodology and findings have been “critical to our success” in challenging the laws. “He’s very important to our work, and his reputation is unassailable,” Young says of Barreto. “Certainly we expect to rely on him in the future.”

Last month the effort logged its biggest victory to date when a Federal court struck down a Wisconsin law, signed by Republican Governor Scott Walker in 2011, requiring voters to show photo identification before casting a ballot. During the trial, Wisconsin Assistant Attorney General Clayton Kawski rolled out the traditional argument in favor of voter-ID laws—the prevention of voter fraud—to no avail. It marked the first successful federal court challenge to a voterID law and the first victory under Section 2 of the Voting Rights Act. If it holds, the decision is

oon the cold calls will start. “Jack Zduriencik, have I got a shortstop for you!” and “Allow me to share this incredible opportunity in designated hitters!” and “Mr. Zduriencik, it’s 10 p.m. Do you know where your bullpen is? Qualitatively?”

The Zduriencik-built

BY SETH KOLLOEN Mariners started Memorial Day near the top of the American League Wild Card standings. They have, according to the indispensable baseball-stats site Fangraphs, a 22.3% chance of making the playoffs.

Once the phone calls come, Zduriencik and his bosses will have a decision to make: Do we go for it?

Robinson Cano’s excellence, good starts from the team’s young hitters, and upgrades Miller isn’t cutting it. at defense have turned the Mariners from a bad team to a mediocre one. It’s progress! But not success. To reach the playoffs this year, the M’s must get better. And it’s pretty obvious how.

Get a designated hitter. Free-agent signing Corey Hart has been terrible. Now he’s out six weeks with a pulled hamstring, leaving the job to rookie Stefen Romero, who has hit even worse than Hart.

Get a shortstop. With Brad Miller batting .156, the job has fallen to Willie Bloomquist, who at age 36 probably doesn’t have the stamina for five months of everyday play.

Stabilize the bullpen. The Mariners’ top four relievers all average more than four walks per nine innings. It would be nice—not least for the city’s collective blood pressure—to get a reliable strike-thrower.

Zduriencik’s fellow general managers know the M’s deficiencies as well as anyone, and will helpfully recommend acquisitions to push the M’s into the postseason.

Here’s the problem. Any move Zduriencik makes to help the Mariners in 2014 probably hurts them in 2015 and beyond. Zduriencik’s bosses know this better than anyone, after greenlighting several disastrous go-for-broke trades in the mid-aughts that caused the M’s protracted postseason drought.

Brad Miller is probably still the team’s future at shortstop, but if a team offers Zduriencik a reliable veteran in exchange, who could help the M’s make the playoffs for the first time in 13 years, what should he do?

I know what I’d do: Make the trade! Of course I’d also sign Ken Griffey Jr. to a lifetime contract, and, just for fun, make the entire bullpen wear their hats like Fernando Rodney. Zduriencik is paid to make these choices rationally, which I hope he does. But I’m sure there’s a little voice looking at the 2014 Mariners and telling him “Why not us?” Or maybe that’s just Russell Wilson. E

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news&comment» Racist Ramtha Haunts JZ Knight

A

SEATTLELAND

approach. She joined an Olympia doctor, Brian Keay, in claiming Knight had urged her followers to drink lye as part of their enlightenment experience. Coverdale told Q-13 News the lye concoction was a dangerous ritual, referring to it as “Jonestown-ish.”

Knight’s stinging response was to suggest Keay was a quack, vowing to report him to the State Medical Board. On her website she attacked the duo for having an “intimate relationship.” In a Jonestown-ish comeback, Knight added that “Coverdale and Keay epitomize ignorant rumormongers in their attempts to demonize [Ramtha] with lots of scare tactics

JZKNIGHT.COM

JZ Knight can’t control Ramtha.

but no facts. And Q13 Fox drank the Kool-Aid Coverdale and Keay served up.”

Knight’s still got support from Thurston County Democrats, to whom she donated $65,000 a few months back, spurring EFF to re-distribute the vid. Party chair Roger Erskine recently told The Olympian that Knight was simply “a good Democrat” and he wasn’t returning the funds. That was opposite the tack taken by the State Democratic Party two years ago when the vid first surfaced through GOP sources.

Embarrassed Dem leader Dwight Pelz called Knight’s video comments “offensive” and ordered the party to donate $70,000 in Knight contributions to the Anti-Defamation League and others.

Some of Knight’s students were recently quoted in the Nisqually Valley News, claiming to be gay, Jewish, and Mexican and denying Knight was racist. On her website, Knight linked to the paper’s coverage, saying it “heralded the defense of JZ Knight” in her video battle. She also linked to three “terrific letters to the editor” defending her—one of them written by her. In it she took shots at Coverdale, McCarthy, and other “vigilantes” and “right-wing extremists.”

The fact is, some people just don’t get Ramtha, she said. “If you don’t like the satire of Jon Stewart or Stephen Colbert,” Knight wrote, “you would not understand Ramtha’s satire either.”

Truthiness in a trance? That joke’s got to be 35,000 years old. E randerson@seattleweekly.com

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

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mong the odd spiritual teachings of JZ Knight, the wizard of Yelm, the most telling is likely her command to go forth and create your own reality. That would seem the first order of business if, like Knight, you’re selling a 35,000-yearold product called Ramtha.

But it’s the reality of a pirated video—in which Knight, as the guttural-voiced medium who channels ancient

BY RICK ANDERSON warrior Ramtha, speaks ill of gays, Catholics, Jews, and Mexicans—that has her back in court his week.

This time she’s seeking a federal restraining order against libertarian Olympia think tank the Evergreen Freedom Foundation. It has been redistributing the vid in part to embarrass Knight, a big Obama and Democratic Party backer.

The Foundation’s DVD includes proprietary clips that first surfaced two years ago, with Knight speaking as Ramtha’s gruff medium. It’s assembled from hours of tape in which Knight makes such observations as “I’m telling you this, every goddamn Mexican family is a Catholic— they’re breeding like fucking rabbits”; “All gay men were once Catholic women”; and “Fuck God’s chosen people! I think they have earned enough cash to have paid their way out of the goddamned gas chambers by now.”

Knight says the video takes comments out of context. When she is shown in one clip saying, “Fuck you Catholics, you assholes,” for example, she’s claims she is reacting to the church’s history of allowing priests to serially abuse boys. But EFF attorney Trent England insists the vid is “the truth” and goes so far to claim that, “When it comes to sheer, unadorned racism, Donald Sterling can’t hold a candle to JZ Knight.”

Knight, now 68, says she’s been channeling the Ram since 1979, when he emerged one day in her Tacoma kitchen. That led to a multimilliondollar business called the Ramtha School of Enlightenment at the gated site of her former Thurston County horse ranch in 1988, which this year has blossomed into a globe-trotting expansion of her teachings she calls the 2014 Ramtha World Tour.

Hers is not a religion or a cult, she insists, but an “academy of the mind” that supposedly involves the latest discoveries in neuroscience and quantum physics. Her many doubters included at least one of her three husbands, the late Jeffrey Knight, who called Ramtha a fraud. Nonetheless, Knight has attracted thousands of paying faithful to Yelm, including actresses Linda Evans, Shirley MacLaine, and Salma Hayek, who have all agreed not to divulge the sect’s secrets.

But they leak out nonetheless, and the most damaging has been the video—regularly posted to YouTube and elsewhere on the web, then quickly removed after Knight’s lawyers step in.

They’ve been kept extra-busy of late. Besides the EFF action, Knight two weeks ago succeeded in stopping Ramtha critic and former student David McCarthy, filing an action in New Zealand preventing him from disseminating the video. Another longtime nemesis, ex-student Virginia Coverdale—already barred from distributing the vid—this month took another

7

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SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

I I

BY MATT DRISCOLL

Stephanie Drury is not Mark Driscoll, but she is @FakeDriscoll on Twitter.

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

» CONTINUED ON PAGE 10

Examining the comedic, financial, and therapeutic motives behind 140-character make-believe.

MORGEN SCHULER

n March, controversial Mars Hill pastor Mark Driscoll made headlines by declaring he would quit Twitter—and social media altogether.

The quick one-two punch of outrage over plagiarism allegations and the revelation that his Seattle-based megachurch had paid for his most recent book to make the New York Times Best Sellers List had the 43-year-old church leader reeling. The man revered by thousands of registered Mars Hill members, but often compared by critics to a domineering cult leader, needed a break from tweeting, he said.

Stephanie Drury, a 39-year-old mother of two, needed no such break. In fact, Driscoll’s reaction to the scandal— delivered in an apologetic letter—provided Drury with the fuel for her own twitter account, @FakeDriscoll.

“If you had any clue the number of marketing experts and PR teams behind one repentance letter, you’d think I wasn’t repentant at all!” she tweeted in response. Soon after she added:“To be clear, these are decisions I came to with my stylist, my PR firm, and the help of our senior pastor, Jesus Christ.”

Drury lives in Shoreline, where she pretends to be Mark Driscoll on Twitter for her roughly 3,800 followers. “Mars Hill Church asked me to make it clear that this account is fake,” the profile bio reads. “I told them I don’t know how much clearer it could be than being called fakedriscoll.”

Getting to know Drury, it’s a believable interaction.

On a coffee break from her nine-to-five at Harborview, where she has worked as a risk analyst for 15 years, Drury’s acerbic wit slices through our conversation like a Ginsu. “He’s just got this snake-oil-salesman vibe, couched in relevant hipness,” she says of the real-life Mark Driscoll, whom she started parodying five years ago. Many of her @FakeDriscoll tweets, she reveals, are crafted while riding the bus to and from work.

A typical barb, riffing off Driscoll’s noted misogyny, reads: “Prayers requested for the weekly Driscoll Girls’ Weigh-In today. Hoping to see an improvement in their numbers from last week.” And a typical response falls for the parody, if briefly: “I was about to tell you to fuck off & eat a dick until I saw it was from Fake Driscoll, . . . then I just laughed.”

What Drury is doing isn’t odd; in fact, it’s become a well-recognized online pastime for countless people.

Twitter has 255 million active users every month, and no one—including the representatives from the company who declined comment for this story—seems to have any idea how many of these run parody accounts. But it’s a lot. Twitter is full of fakes, from @TheSoftballGuy to @KimJongNumberUn and @PharrellHat. Locally, no fewer than five parody accounts channel Bertha, the hopelessly stuck tunnel-boring machine.

While Twitter champions and protects the user creativity that makes it all possible—even going as far as to host an annual Twitter Fiction Festival—the company’s firmly established parody policy outlines what is and

9

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» FROM PAGE 9

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10

Comedian Mike Burns turned @DadBoner into a book deal.

isn’t allowed. A parody account, for instance, can’t take its subject’s name without a distinguishing word like “not,” “fake,” or “fan,” and can’t utilize the exact logo or trademark as an avatar. Twitter allows anyone who feels wronged by a parody account to file a trademark or impersonation complaint, though, as the platform’s parody policy outlines, content is removed from the social media platform only “in response to a Terms of Service violation or valid legal process.” With parody long protected under the First Amendment to the Constitution, Twitter keeps its involvement minimal, stating simply in its policy that “users are solely responsible for the content they publish and are often in the best position to resolve disputes amongst themselves.”

Drury may be far from alone in her Twitter parody pastime, but her motivation makes her unique. Some do it for laughs. Some, I found, do it for money. @FakeDriscoll, on the other hand, tweets for salvation.

“She thinks it’s ridiculous,” Dumais says. “She appreciates it, but you know . . . she’s Polish, and she’s not as interested in pop culture as I am. A lot of the jokes she’s just really not that into. . . . I don’t blame her.”

A glance at @DrunkHulk’s timeline reveals that, yes, the boozy giant’s exhortations are ridiculous.

• AMERICA TELLING RUSSIA NOT TO INVADE ANOTHER COUNTRY LIKE JUSTIN BIEBER TELLING MILEY CYRUS TO STOP ACTING FOOLISH! • HOW COME BEN AFFLECK NO SHOW HIS BIRTH CERTIFICATE!? WHAT IS HE HIDING!?

Being @DrunkHulk has been a “fun adventure,” Dumais says, describing it as a challenge that rewards

gone unnoticed: @DrunkHulk has been called a top Twitter parody or satire account by FOX News, The Huffington Post, and NPR, among others. Patton Oswalt and Time both follow him.

Dumais is American, though he lives in Wrocław, Poland. He picks up the phone just after 7 p.m. his time on a Friday night. The 39-year-old sits at home, sounding a little depressed. “I promised myself a long time ago that I wanted to live in Europe, because Hemingway did it,” the writer and university lecturer tells me. “Poland was never in my top-10 list.”

“Twitter isn’t very popular here,” Dumais says of the far-off country he’s called home since 2003.

The jokes he tells via @DrunkHulk—typically monosyllabic, inebriated, all-caps takes on pop culture or current events—don’t really land with his new countrymen, he explains. This assessment includes his wife.

gratification.

Poland, he explains, can be rough for an American abroad, and crafting jokes that work in 140 characters or less as a big, green, wasted superhero helps him connect to the outside world. Plus, whether he’s completely comfortable with it or not, @DrunkHulk is his crowning creative achievement to date. It has “opened up some nice doors” for him, he admits.

As one might expect, Dumais—who prides himself as a writer of “more serious fiction”—says @DrunkHulk was created on a whim. “From the moment I thought of [@DrunkHulk] to the moment I tweeted the first thing, it was like five minutes. . . . I didn’t expect to be doing it by the end of the week, and it turned out to be one of the most successful things I’ve done.

“If you add it up, in Around the time that Stephanie Drury the amount of time I’ve was discovering the restorative powers spent doing @DadBoner, of Twitter, Christian Dumais was doing the same. Sort of.

I would have made way It was in October 2009 that the writer and comedian first tweeted as more money working at @DrunkHulk. It was a simple introducStarbucks. I mean tion: “HULK DRUNK!” Since then he’s with pounded out more than 4,500 tweets and way more.” instant attracted roughly 193,000 followers.This hasn’t

» CONTINUED ON PAGE 13

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Darwyn Metzger has over 300 parody accounts on Twitter.

has done about as well as you can. @DadBoner is the gold standard of Twitter parody.

But that’s not to suggest the otherwise unknown comic and script writer has made any real money from it yet. “If you add it up, in the amount of time I’ve spent doing @DadBoner, I would have made way more money working at Starbucks. I mean way more,” he says.

Luckily, as Burns puts it, he’s “not a money guy.”

“It was one of those things where the only thing that could stop it was your imagination,” Burns says of @DadBoner’s beginnings. “I would buy a six-pack or a 12-pack, and play Karl.”

“There’s absolutely no shame,” Burns says of the biggest thing he’s done in his career to date, even if it amounts to playing make-believe on Twitter. “I love Karl. He’s one of my best friends. . . . I laugh my ass off when I write that thing.”

Darwyn Metzger is a money guy. Sure, at the end of

the day, he says, he creates Twitter parody accounts for entertainment—and to entertain himself—but that’s just part of it. There’s also the promise of a paycheck.

You can find out a lot about Metzger with a Google search. At 30, the L.A.-based social-media and marketing maven lives an impressive existence online. He’s been on Facebook since 2004. He relocated to California from Colorado six years ago, after going to high school in the suburbs and attending the University of Denver’s school of business. He once gave a Hangover-inspired best-man toast at a friend’s wedding (available on YouTube), and, as L.A. requires, he has headshots and TV production credits to his name.

Metzger is young, confident, and good-looking, and, as ridiculous as it may seem, he probably makes more money on Twitter than you or I do at our day jobs.

The first time we speak on the phone, Metzger tells me he’s sitting outside after enjoying “a delicious meal.” He’s people-watching, in L.A., he says.

I get the feeling he has sunglasses on as he discusses his career to this point, which includes working as a social-media and tech expert for a nationally syndicated broadcast news magazine anchored by Leeza Gibbons and playing sidekick to Tribune Broadcasting’s “Kurt the CyberGuy.” Going further back, Metzger once produced a Homeless Real World Internet spoof series that featured real-life

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

“You spend all this energy, and you think this is the story that people are going to love,” he says of his other writing, “and then you do this one thing without even thinking about it . . . ” In Los Angeles, 38-year-old writer and comedian Mike Burns also uses Twitter as a creative outlet, and also via a fictional character. But unlike Dumais, Burns rarely sounds disappointed; instead, he comes off as a man who’s created a lifelong friend.

Burns is better known for @DadBoner, the Twitter account belonging to Karl Welzein—a fictional Midwesterner with cut-off sleeves and a rather staggering alcohol problem. Welzein is a Grand Blanc, Mich., native who has used Twitter as a personal diary since 2010, even though he doesn’t really understand how it works. With over 148,000 followers, he tweets about love, loss, bold flavors, and (occasionally) redemption. It goes without saying he’s really looking forward to the weekend, you guys.

This past Mother’s Day provided a good example of the typical @DadBoner approach: • Just wanna say a special Mom’s Day ‘what’s up’ to all the thick & natural consensually erotic babes from coast to coast, you guys.

• Might have to head out. Gotta be piles of single mom lonelies out there just cravin’ the firm touch of a swagged out bad boy.

• Nothin’ gets a single mom achin’ to make another mistake like easin’ down your shades for a wink followed by a successful ’cep flex.

• Gotta respect the ladies, you guys.

The four-tweet bit sparked nearly 800 retweets, easily reaching hundreds of thousands of people.

Burns, who shares some biographical info with the character he created—like a Midwestern upbringing and a love of Bob Seger and beer—was famously outed as @DadBoner’s creator by Deadspin in 2012.

He says he thinks of Welzein’s tweeted life like a TV show, busting out strings of tweets in episodic fashion.

The approach paid off late last year when the Harper Collins imprint It! Books published a @DadBoner hardcover titled Power Möves: Livin’ the American Dream, USA Style. Much of the continuing @DadBoner humor, Burns says, is found in getting to “watch a real man’s life fall apart over simple, stupid things.” Currently Burns is working on a @DadBoner TV pilot, which he says has been ordered by a major cable network.

When it comes to parlaying fictional Twitter fame into real-world fame, in other words, Burns

homeless people shopping in upscale neighbor- described by Melendez as a 19-year-old Michigan hoods and engaging in cardboard-house-making native who runs accounts with followings in the contests, among other acts that critics derided as hundreds of thousands, reports earning two cents a exploitive. (Metzger, meanwhile, maintains that click and $25 to $60 per day, or more than enough the experience was “overwhelmingly positive” for to cover her small monthly rent check.

Discussing his reporting, Melendez stands by participants, giving them a voice and resulting in his financial figures. “It’s not very much [money] three of them getting off the street for good.)

As much as he’s done in the real world, Metzger per ad or per click, but the sheer volume starts to may have done more in the cyber realm, which is bring the money home,” he says. Melendez estithe reason for our conversation. “I’m probably a mates that there are “a few hundred people making little bit of a different profile,” he says when he decent money” this way, and at this point says there’s been a gold-rush mentality to the monetization of finds out my interest is Twitter parody.

On Twitter, Metzger is Jesus—to be exact, Twitter parody that makes it difficult for newbies @Jesus_M_Christ (the “M” stands for “Messiah”). to get in on the action.

But as Metzger tells it, what he does with social It’s an important designation to make, it turns out, media is “gold-laced filet mignon compared to that because the son of God is all over social media.

And Jesus is just the start. Metzger tells me he tripe. “ As one might expect from someone with his lords over roughly 300 parody or character Twitter shameless entrepreneurial flair, Metzger’s vision for accounts, including @ShermanRants, a Richard Phantom is far grander than well-timed social-media Sherman profile he quickly claimed in the aftermath punch lines. Phantom’s real end game, he candidly of the cornerback’s epic post-NFC Champion- explains, goes beyond pushing clicks. It’s all about ship Game outburst. Today @ShermanRants has creating “native advertisements” for clients that are about 6,000 followers, which isn’t terribly impres- “so compelling people will actually share them.” He sive until you realize Metzger’s hundreds of other says Phantom has a dozen or so clients, and what online characters have similar if not larger followings. he sells them is some next-level Don Draper action.

Describing the native-advertisement approach, @Jesus_M_Christ appears in the Twitter timeline of 461,000 people, including the verified accounts of @macklemore and @BarackObama.

As Jesus, Metzger delivers Twitter messages—like “Sorry I haven’t tweeted.

“It’s no Been smiting bitches like IDK what longer good enough for a today”—with dollar signs in his eyes. In fact, he says he has a brand to have their name on team of 20 freelance writers the peripheral of someone’s life across the country pumping . . . Social media is this atomic out 140-character editorial content for his army of parodies. bomb that, if you know how While he says he acquired the to use it right, can @Jesus_M_Christ profile from its original creator, Metzger describes be massively a creative process in which he comes powerful.”

Metzger up with the idea for a Twitter character says Phantom like @ShermanRants and then “hands it off ” dreams up social-mediato his writers—a team he says largely comprises based ad campaigns with the goal of comedians and former journalists, “some of the spreading them viral. As part of the push, best writers in the country” with a gift for crafting Metzger’s army of parody accounts, along with short and sweet messages people want to share. other social-media “influencers” (read: celebrity partWhen it comes to money and the anonymous ners Phantom works with who have substantial and tweeters he employs, Metzger declines to get specific. “Let’s just say everything is worth everyone’s engaged online followings to leverage) are used as amplifiers. If it works like it’s supposed to, the brandtime,” he says.

All this Twitter fiction falls under the umbrella of filled content Phantom produces is bounced across Metzger’s Phantom Firm, a 3-year-old startup that the Internet with the help of @Jesus_M_Christ, specializes in “engineering and seeding subversive @ShermanRants, and others, reaching far more people digital propaganda on behalf of brands, political than a traditional print ad or television commercial campaigns, TV shows, films, and celebrities.” It ever could. Often the TV, brand, or celebrity clients sounds creepy, but Metzger, Phantom’s CEO, calls who hire Phantom don’t fully comprehend how the it “the next evolution of advertising, marketing, message-spreading works, Metzger admits—but they’ve come to terms with the idea that it does. and branding.”

“It all comes down to driving organic views to Perhaps the truly creepy thing is that he’s probably right. And the fake tweeting is just part of it. whatever your client wants and doing it in a way As with most things online, making money that engages and entertains the audience,” Metzger with Twitter comes down to attracting mouse says. “It’s no longer good enough for a brand to clicks and eyeballs. For Metzger, some of have their name on the peripheral of someone’s this is simple enough: For every few jokes life. . . . Social media is this atomic bomb, that if you @Jesus_M_Christ delivers to his thousands of fol- know how to use it right can be massively powerful.

“People are becoming too sophisticated.They don’t lowers, the Twitter messiah will also send a link to a post featuring, say, celebs in yoga pants—direct- want commercials,” he continues. “They know when ing readers to content on a click-baity affiliate site you’re trying to sell them, and they’re bored with it. like ChaCha or teennewz.com. Jesus earns money What Phantom does is the future of marketing.”

While their approaches differ, Ted Murphy, the based on how many clicks the yoga-pants article 37-year-old CEO of Florida-based IZEA.com, gets from the tweet.

Even at a few cents per click, the money can which bills itself as an online marketplace that allows add up. A recent article for Vice’s Motherboard by people to get paid for creating sponsored content freelance Internet and technology journalist Steven on behalf of brands, sees the future of marketing Melendez profiled college kids doing just this sort in a similar light. He tells me he’s been developof thing with parody accounts they’ve created, some ing ways for content producers to “democratically” claiming to bring in “hundreds or thousands of monetize social media “since MySpace was cool.” dollars per month.” Shelby Laufersky, for example, » CONTINUED ON PAGE 14

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» FROM PAGE 13

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Today Murphy says a celebrity with a large, engaged following could fetch six figures for a single tweet. His company was created to help facilitate such transactions, along with much smaller ones. Murphy says IZEA works with “the full spectrum” of online content producers, from “A-list celebrities to college students and moms.”

“What’s happening is social media and marketing have become so intertwined,”Murphy says. “Those two worlds have definitely come together, and what you’ve seen over time is this movement toward sponsored content that has really started to gain steam.”

While Murphy admits that this style of marketing is still in its infancy “in terms of adoption,” he says it has “really started catching wildfire in the past six months.”

Which is exactly what profiteers like Metzger already know.

Stephanie Drury has never made a cent off @FakeDriscoll. Her payoff, she says, has been more meaningful.

She paints herself as a preacher’s kid who remembers a Texas childhood filled with church-induced guilt and manipulation—an experience she describes as “spiritual abuse.”Drury hasn’t spoken to her parents in eight years, she says, since they disowned her.

“I think from the very beginning, when they would tell me that God would be upset if I didn’t do something,” Drury says when asked when the abuse started. “Spiritual abuse is saying to people this bad thing is happening to you because you didn’t pray hard enough, making you feel like a piece of shit. . . . If I was still in communication with my parents, they would still be doing it.”

These days Drury considers herself “a Christworshipping agnostic” who teaches Sunday school at a neighborhood church, bakes bread for Eucharist, and also admits religion is something she still “wrestles with really hard.” Of the possibility of a higher power, she says, “I can’t write it off.”

“It’s been the worst thing and the best thing that could have happened to me,” she explains of being disowned. “The worst, obviously, is it’s so painful.

It’s the ultimate abandonment, I guess. I had to go through the grieving process even though they’re still alive. It was worse than an actual death.

“It’s been the best thing in the sense that I feel like it forced me to look at everything, and be able to offer hope for people.”

That hope, believe it or not, is often dispensed in 140 characters or less via @FakeDriscoll. Much of Drury’s healing—and the healing she tries to help others achieve—happens online, where she also runs the blog StuffChristianCultureLikes.com (SCCL). Both it and @FakeDriscoll, she says, are used to critique the evils of evangelical, big-box organized religion like Driscoll preaches, and both have become community-builders for those trying to escape it. (Mars Hill failed to respond to repeated requests for comment on this story.)

Often, the bro-centric parody tweets Drury fires off with @FakeDriscoll lead people to her longer blog work, she says. For some, it’s been like finding a beacon of sanity. Drury says she uses her social media and Internet presence to “help people see better.”

Especially at Mars Hill.

Asked how @FakeDriscoll got its start, Drury recalls one of the first spiritual-abuse therapy groups

she attended in Seattle and one of the women she met. “She would be shaking every time she showed up, and her story was that she was depressed,” Drury says. “She said that when she talked to the counselors at Mars Hill, they told her to pray harder and submit more to her husband. She heard about this [therapy] group, and she would come, and she was like, ‘I don’t want to tell anyone I’m going here.

They can’t know, because they’ll get really mad.’

Eventually she stopped going. I don’t know whatever happened to her. . . . That’s when I started seeing how bad it was.”

In the nutrition program, “It’s really crazy-making,” she says of her specific we learn to take a whole Twitter target, Driscoll, and the misogyny and hate she accuses him of espousing from the Mars Hill foods approach to health. pulpit. “I just want to keep showing people how Daniel Andras, MS (2013) Celebrating our New Low Prices fucked-up it is.” To this end, she’s turned Twitter New Hours: M-F 12:00 – 7:00 and New Summer Clinic Hours into her own pulpit.

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“Jon,” who asked to remain anonymous for fear of a church backlash, stopped attending Mars Hill in early 2012 and says @FakeDriscoll, along with Drury’s blog, have “radically changed [his] life for the better.

“The fact of the matter is that I owe more to Stephanie than I do to almost anyone,” he says.

It may sound nuts, because we’re talking about a woman with a parody Twitter account with fewer than 4,000 followers. But maybe it’s not. Andrew, another former Mars Hill member who found himself at the center of a church-discipline uproar first detailed by well-known religion blogger Matthew Paul Turner in early 2012, also credits Drury for helping him see the light. “I didn’t quit because of SCCL or @FakeDriscoll, but both of those have helped in my journey since leaving Mars Hill,” he says.

“When someone takes the same ideas that are presented by the person that hurt you and turns them into a parody,” Jon explains via e-mail of Drury’s impact, “it allows you to see the abuser for what he/she/it is.”

“One of the fears I have had is that I could get sucked back in, that I could be manipulated into believing again, that if I listen to [Driscoll] in person or • 24-hour fitness center • Generously sized studio, one even a recording that I’ll be convinced I was wrong to and two bedroom apartments • Rooftop plaza with water leave, maybe I am sinful and evil, maybe I do deserve hell, maybe I should go back and repent,”he continues. views, grilling and al fresco • Located in the exclusive @FakeDriscoll, he says, is one way “to face those eating areas Harvard-Belmont Historic District fears, and so many others, from a safe distance.”

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Chefs Bite Back at ‘Authenticity’ Why isn’t everyone allowed to cook ethnic cuisine?

BY MEGAN HILL

Chef John Sundstrom is relocating Lark and opening two new restaurants in the Central Agency Building on Capitol Hill. The main floor will hold the new Lark, with an expanded menu. On the mezzanine above, Bitter/Raw will serve oysters and other shellfish, crudos, sashimi, charcuterie, and aperitifs. Slab Sandwich + Pie will sit off the main entrance to the building, and will serve sandwiches and picnic items.

BY TIFFANY RAN

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The Seattle Center now has food trucks! There’s room for only two at Fifth and John, but the lineup is great: Marination, Off the Rez, Hallava Falafel, and Ezell’s Express are in the rotation.

West Seattle’s Fresh Bistro is celebrating its fifth birthday from May 22–June 5. Guests can order from a throwback menu from the restaurant’s opening.

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NICOLE SPRINKLE

Top: Wiley Frank at Little Uncle.

Bottom: Malaysian food stand Kedai Makan.

As at Little Uncle and Kedai Makan, which

started as pop-ups, Aaron Strauss takes a similar approach at his Hummus Pop-Up, ditching the usual formula of a hummusia (a restaurant featuring hummus, handmade pitas with small plates of traditional toppings, and salads) and crafting the menu to suit his tastes using local produce.

» CONTINUED ON PAGE 18

nsprinkle@seattleweekly.com

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

Ming-Tsai Cherng. El Pollo Loco, regarded by some as offering a diluted version of Mexicanstyle grilled chicken, began as a Mexican chain.

Teriyaki, a fast-food mainstay in Seattle, is hardly Japanese and is rarely prepared by Japanese cooks. And even through the windows of its open kitchen in Bellevue, one can see that Taiwanese chain Din Tai Fung has both Asian and Latino cooks making its internationally lauded xiao long bao. As food lovers and immigrants come to regard cuisine as a representation of home, family, mothers, and motherland, the bar is set for Western chefs like Burzell and Frank much higher than for most.

On average, Yelpers reviewing Little Uncle and Kedai Makan have used “authentic” 10 to 15 times in every 15 reviews, both positive and negative. Some cite their lineage as a source of authority, while others refer to travel, living abroad, and family recipes. The definition—and in turn the authority to judge—remains ambiguous. Reading certain reviews from patrons more hung up on the cooks’ appearances rather than the food led Frank to quit Yelp cold turkey.

“Sometimes it seems like the general public views cooking as an innate talent—like making delicious food is magic, or a Japanese person can naturally make sushi, or a New Englander can naturally make clam chowder,” he says. “The truth is that like any profession, cooking is a skill that takes years of repetition and hard work to hone. Honing that skill makes it easier to approach other cuisines.”

In lieu of “authenticity,” Frank and Burzell cite similar goals for their menu: to offer dishes they enjoy eating, that fit into the restaurant’s format, and that can be produced efficiently in their kitchens.

“For a lot of people, authenticity comes with Mom’s cooking, Grandma’s cooking, and a lot of people think that that’s the only way it is. And that’s a high standard that no food vendor could ever live up to,” says Burzell. “We don’t say we’ll cater to this group or that group. We kind of just cater to us. We’ll make dishes we feel like we’re 100 percent happy with. Sales will dictate over time. If something is too foreign or spicy, it’ll either phase itself out or it’ll sell phenomenally. We’ve seen both—where something really authentic will sell great or horribly.”

About a month ago, David Varley at RN74 called to tell me about some great Puget Sound uni he’d gotten his hands on. He was doing all kinds of experiments with it, including a geoduck uni dish, and asked me to stop by sometime and try it. He wasn’t sure how much longer the local uni would be available.

I didn’t get there until last week, and though local uni was indeed over, he was getting the product from Santa Barbara, Calif. While he was still serving it with geoduck (local) crudo, he was more excited about his latest trial, which he’d just debuted as a special the night we came in. When he began telling me about it and the word “tofu” came out of his mouth, my heart sank.

I’m no tofu fan; the only kind I’ve ever managed to enjoy was in a Chinese dish called mapo doufu, a homey tofu stew with chili, fermented black-bean sauce, and sometimes minced pork. Varley continued excitedly about how he’d made his own tofu (it’s all about the soy milk, he said, which should consist only of soybeans and water). To this he added Wagyu beef tips (essentially just fat from the meat) as well as the uni. I nodded, smiled, and pretended to be excited about his new dish.

And then it arrived in a pretty white cup meant to resemble a uni shell, and I dipped my spoon into something truly delectable and inspired. Varley had layered his warm tofu—the silkiest I’ve ever had, like panna-cotta smooth—on the bottom of the shell. To it he’d added housemade kimchi (not overly spicy) and the Wagyu beef tip. The result was a savory stew balanced in flavor by the sweet elements, a manila clam and the uni, and all topped by several jewels of salmon roe for a final briny blast. It was an exquisite dish— even for this tofu-phobic diner. Get in soon if you want to try it, as uni availability is unpredictable. E

NICOLE SPRINKLE

hen Wiley Frank and his wife Poncharee Kounpungchart (PK) opened Little Uncle, their first Thai food stand, on Capitol Hill in 2011, “authentic” was the buzzword food-media writers used to describe ethnic food.

Despite objections from writers like Anthony Bourdain who question the value of the word, and the resistance of Korean-American chefs like David Chang and Roy Choi to be labeled as such, the A word persists in the era of ethnic food, even as Kevin Burzell and Alysson Wilson opened their Malaysian food stall Kedai Makan two years later in Seattle.

The pendulum had swung away from fusion, and chefs instead began to vie for food as close to the source as possible. But who or where is the source, and what is “authentic”? This rabbit hole of a word raised a more contentious question: Could a Western chef make “authentic” ethnic food?

Frank answers, “I do not see why not, especially if the food tastes delicious.” The question annoys him, and he adds, “I was trained in a lot of ethnic cuisines: French, Italian, Spanish, Japanese, Korean, or whatever. I am not genetically part of any of those cultures. In fact, I bet if you go into any French restaurant in Seattle, it will be hard to find any French people.”

Last year, Seattle sushi chef and Mashiko’s owner Hajime Sato addressed the question in an angered post on the restaurant’s blog, asking “Would you refuse service at an Irish pub if your server didn’t speak with a fanciful brogue?”

Defending Mashiko’s female, Caucasian sushi chef, Sato wrote, “Should you refuse her fare based on her gender or race, you are an absolute fool.”

None of the cooks or staff at Kedai Makan are Malaysian, and of the 16 Little Uncle employees in the past few years who prepare and serve food, only two have been of Thai descent, one being co-owner PK. Both menus are shaped by the owners’ travels and experiences in Malaysia and Thailand and crafted with the experience of many years in the restaurant industry. Both upon opening knew that despite their commitment to the cuisine, they, ironically, had more to prove than any Korean-owned teriyaki spot, California-roll-touting Japanese restaurant, or Chinese place with an American menu.

“When we first opened, we had Malaysians come up and they mocked us. [They’d] come up, not even eat anything, and say, ‘You guys are phonies, you don’t know what you’re doing. We would never serve it like that,’ ” says Burzell. “We [now] have a lot of Malaysian customers that come every week or a few times a week, and then we’ll have some who come once, hate us, and never come back.”

In comparison, Panda Express—the epitome of what some might see as “inauthentic” Chinese cuisine—was founded by Andrew Cherng, based on the Chinese cooking of his father, master chef

FoodNews

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“My concept was that the toppings and dips would be authentic, but the salads would be more Northwest,” he says. “I added more bulgar to the tabbouleh, because it is what I think people here would be more used to and how I prefer to have it.”

Strauss attended Jewish school in his youth, but gained a greater understanding of the cuisine after studying in Haifa, Israel, while attending the UW. There he talked with store owners, visited markets, and ate at many restaurants, including one called Abu Shaker, which inspired his pop-up that pays homage to hummusias.

“So much of [Middle Eastern] culture is about hospitality, and so much of that is communicated through food,” he says. “It’s about maintaining the integrity of the culture, using a lot of traditional ingredients but also interpreting it towards my taste and towards what we have available.”

Strauss, currently planning his second popup, intends to return to Israel in September. He hopes to reach out to Israeli and other communities through the help of some friends, but admits that earning the respect and patronage of ethnic communities may be a challenge. “So much of it is that nationality and ethnicity is so important in that part of the world. So many people would take issue with making this food, but for me, I want to pay homage to it, but change it a little bit to make it my own and make it good for the market.

“Thinking about it, I really want to transcend politics and regions,” he adds. “It is such a sensitive issue that if I said it was an Israeli restaurant, some people would be immediately turned off. It seems like food is a pretty easy way to transcend borders.” At Strauss’ inaugural pop-up at Brimmer & Heeltap this month, his menu offered a pickle jar inspired by the pickle bar found at falafel stands; an Egyptian-style fūl reminiscent of the few days he spent in Cairo; housemade pita made from locally grown chickpeas, favas, and flour; and Northwest salads using locally farmed produce.

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“Part of the fun in cooking to me is not being held back by restrictions . . . Because I didn’t grow up eating [wonton mee] or my grandma doesn’t make [it] a certain way, I can take every wonton mee I’ve ever had and make it how I want it. I think that gives us an edge,” says Burzell.

He notes that even his favorite curry mee stall in Penang, Malaysia, has its naysayers, with some blogs stating that the soup is made differently from the traditional Penang style. Burzell has researched many of these blogs, articles, and cookbooks, which turn up various ways to make a single dish, but he asserts that embracing these differences is itself authentic. “Nobody cares that it has to be one way. It’s silly for anybody ever to say, ‘The roti canai is only done like this, Penang laksa is only like this.’ Every vendor is different.

It’s those differences that make it unique and make one vendor OK, one horrible, and one exceptional.”

The unending variants means there’s more for Burzell and Wilson to learn: many more trips to Malaysia, more dishes to try in their small space, and more research to accompany those dishes. Dishes at Little Uncle also continue to evolve, including a khao mun gai now served with a sprinkling of crispy fried chicken skin, a non-traditional garnish. Frank credits their cook Rose (Caucasian, if you must know), who sought a creative way to use the skins left over from preparing the dish. Who’s to say no vendor in Thailand has done the same? E

arts&culture

Step Inside the Internet Visiting French digital artist Nicolas Maigret creates a real-time video collage from BitTorrent files.

FRIDAY, MAY 30

BY KELTON SEARS

20

Generally, Pacific Northwest Ballet’s Peter Boal chooses repertory with an eye to new developments in the art form, but when he looks backwards, he looks all the way—the company’s production of the 19th-century classic Giselle draws from multiple original sources to create as authentic a performance as a 21st-century company can manage. This year they’re adding new sets and costumes by Jérôme Kaplan, also drawn from the original period, so that Albrecht, the noble cad, is dressed as a dandy from the 1830s. These new designs, in a vintage style, add another layer of resonance to a beautiful production. (Through June 8.) McCaw Hall, 321 Mercer St. (Seattle Kaori Nakamura returns as Giselle, seen in PNB’s 2011 staging.

ksears@seattleweekly.com

NORTHWEST FILM FORUM 1515 12th Ave., 267-5380, nwfilmforum.org. $12–$15. 8 p.m. Thurs., May 29–Sat., May 31.

ANGELA STERLING

wondered what that digital highway of peer-to-peer networks might look like, so he opened the Internet and stepped inside.

“The sensation is like being at the corner of a big highway,” he says over Skype. “It’s a Maigret in performance. lot like the cyberpunk fantasies of the ’80s, ferable chunks. Thus, if a computer is transferring where people would be one second of video (plus audio) from a highly inside this flow of information. When you read requested file of The Avengers at the moment something like Neuromancer, you imagine someThe Pirate Cinema is active, you’ll see that second thing like this.” of The Avengers on screen. Or maybe Iron Man, The result of Maigret’s curiosity is The Pirate arm outstretched, with the sound of a laser beam Cinema, a video installation receiving its U.S. blasting through the speakers, only to be replaced premiere in Seattle, which places you inside a

by Macklemore popping tags in his music video peer-to-peer network in real time for a brief, a second later, and Samuel L. Jackson yelling at pixilated moment. What does that look like?

John Travolta about foot massages a second after Well, in preview form, it’s like Taylor Swift, that. When you have three screens doing this Bruce Willis, Dr. Who, and a healthy heaping of simultaneously, things get crazy. orgasms all thrown into a blender. Chopped into In addition, graphics on each screen indicate fragmented, schizophrenic, millisecond increthe files’ origin and destination. Watching a ments, the images come at you all at once in a preview of the piece, in one three-second burst laggy maelstrom.

I saw files from Italy, Greece, Hungary, India, How it works is surprisingly simple. Maigret Indonesia, the United Arab Emirates, Nigeria, enlisted a developer friend, Brendan Howell, and Argentina transport fleeting clips of The to create a program based on technology that Rock wielding machine guns and Daft Punk some businesses use to spy on peer-to-peer with Pharrell trying to get lucky. All Maigret has networks. Maigret explains,“A lot of [music] to do is start the software and the piece drives publishers like Universal will hire companies itself. (The program, different each evening, runs to monitor downloads, like who got the latest about 55 minutes.)

Rihanna or something, and they’ll send them “More and more,” says Maigret, “I’m pushing to court. These are totally tricks that are availinto stuff that is playing with leaving the frame able; you can program them without crazy open, not deciding all the rhythms of the project. skills. I was super-interested in using this same My work is, you could say, setting up the structechnique, this same sort of mechanism, for tures to reveal dynamics.” the opposite purpose—just to show what is happening on these networks, the vitality and dynamism of these networks, the collages they The Pirate Cinema has been exhibited in difproduce. I want to expose the geographic netferent form in Canada, Europe, and China. works they create as well. It’s really a shift for Commissioned by Northwest Film Forum to our generation, the super-globalist scale of the bring the piece here, Maigret says that audience exchange.” reception varies with each country. “The interacIndeed, if The Pirate Cinema reveals one thing, tion in China was super-interesting,” he recalls. it’s the massive scale of file-sharing culture.

“People didn’t really understand what the project Maigret’s three screens show snippets of video was about. There’s not something like piracy from the 100 most-requested files being pirated over there, because you can just buy the copied that moment via BitTorrent, a popular program DVD, movie, or game on the next street. The that allows people to share files from their comconcept of copyright is not a hot topic there like puters by breaking them into small, easily transit is here.”

Seattle’s incarnation of the project will be different from prior versions, which Maigret didn’t personally orchestrate. This weekend he’ll attend each performance—with audience discussion to follow—while actively “composing” the files to explore different niches and subcultures within the larger sharing/pirating culture. Structuring The Pirate Cinema in acts, Maigret will explore blockbusters, porn, music, and more by tracking the flow of those specific files.

While peer-topeer file-sharing of copyrighted materials is controversial (particularly for struggling musicians and filmmakers who find their intellectual property being given away royalty-free), Maigret isn’t interested in that debate. He simply accepts file-sharing culture for what it is, as do mashup artists like Girl Talk and Christian Marclay. He says The Pirate Cinema is “totally a commentary on this sort of omnipresent surveillance”—referencing the NSA’s notorious PRISM data-mining program, which also spied on peer-to-peer networks. “You can reveal it as something illegal, or as a culture that’s very vibrant and rich and interesting. I don’t impose a specific understanding or moral or vision of it.”

The people Maigret effectively spies on without their permission aren’t the owners of the content underlying The Pirate Cinema. Rather, they—meaning you and I—are the users or traffickers of that copyrighted content. He’s not out to bust us, but to monitor us. “People are honestly not scared when they see that I have this technology,” he says. “They are more just surprised and intrigued that we can actually watch the content of these information packets being passed back and forth in real time.”

In the end, ethics aside, The Pirate Cinema is certainly never dull. If you consider the Internet a place, what a kaleidoscopic landscape it is.

Watching the Ying Yang Twins, Hannibal Lecter, and Batman scrambled around with blurry clips of blow jobs is as strange as anything you’d see in real life. As Maigret and the NSA monitor our searches, 99 percent of the time they’ll probably just find Sasha Grey queries, unless Edward Snowden has anything to say about it. E NICOLAS MAIGRET/NWFF

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

Nicolas Maigret

Giselle

Center), 441-2424, pnb.org. $28–$184. 7:30 p.m.

Fri. May 30. SANDRA KURTZ

The Price

First performed in 1968, this Arthur Miller drama may not have the stature of his famous earlier works, though it proved his biggest Broadway hit since Death of a Salesman. The Price is, most simply, a play about patrimony: Two long-estranged adult brothers argue about the wrecking-ball-bound brownstone—and its possibly valuable furniture—once owned by their late father. One brother (Charles Leggett) is a humble cop, the other (Peter Lohnes) a prosperous surgeon. Then there’s an elderly, wily antiques dealer (Peter Silbert) who tries to moderate their rivalries and resentments—all with an eye toward making a deal, of course. At 53, the playwright knew something about rising and plummeting fortunes. His affluent family was wiped out by the Crash of ’29, just like the Franz family here.

During his titanic career, Miller experienced both highs (Salesman, Marilyn) and lows

JOHN CORNICELLO

E

very day on the Web, movies, music, apps, and porn fly through the air around us. People around the world are silently sharing millions of files with one another.

ThisWeek’s PickList

Silbert as the wily antiques dealer.

from Burning Man after all. When he quizzes a fighter jock about flying his multimilliondollar weapon, the pilot speaks of night sorties where “it’s like flying through space. You see stars that you never though you’d see before.”

Dyer compares him to Saint-Exupéry, living in “a realm of poetry accessible only to those whose world-view is based on technology” and having “the kind of transcendent experience craved by mystics, shamans, seekers, and acidheads.” Seattle Central Library, 1000 Fourth

(Marilyn, The Misfits). Loss is a subject in all his plays. In an essay written three decades after The Price’s premiere, Miller said he created the play in response both to absurdist theater and the absurd carnage of Vietnam.

“Reason itself had become unaesthetic, something art must at any cost avoid,” he wrote.

“The Price grew out of a need to reconfirm the power of the past, the seedbed of current reality, and the way to possibly reaffirm cause and effect in an insane world.” In other words, it’s not just a play about furniture. (Previews begin tonight; opens June 5; runs through June 22.)

elevate

tonight.

Ave., 386-4636, spl.org. Free. 7 p.m. BRIAN MILLER

ACT Theatre, 600 University St., 292-7676, acttheatre.org. $44 and up. 8 p.m. BRIAN MILLER

PAUL RODGERS

Seattle Butoh Festival

The stereotype of butoh includes naked bodies dusted with rice flour performing tiny increments of movement with incredible intensity.

And sometimes this is true. But sometimes it’s not. The Seattle Butoh Festival presents as many different iterations of the genre as there are dancers involved in the performances, coming from multiple countries and backgrounds and bringing a wide variety of experience. The commonality is their fidelity to the deeply personal nature of the art form and its kinetic expression of humanity. Taoist Studies Institute, 225 N. 70th St.,

MONDAY, JUNE 2

Geoff Dyer

After Alain de Botton wrote a book in an airport (a two-week residency, not a layover), he decided to start a series of similarly reported stays in unlikely locations. So he asked English writer Dyer, now based in California, where he’d like to fill his notebooks. On an aircraft carrier, said Dyer, never thinking he’d get the gig. He did, and the unlikely result is Another Great Day at Sea (Pantheon, $24.95).

I say unlikely, because Dyer’s a somewhat louche, digressive stylist who tends to follow private obsessions like D.H. Lawrence, Burning Man, or the movie Stalker. There would be no drugs aboard the USS George H.W. Bush,

GREAT WHITE

WITH SPECIAL GUEST

SLAUGHTER | | THUR MARK OSTOW/BLUE HILL FARM

729-2054, daipanbutoh.com. $12–$15. 7:30 p.m.

(Repeats Sat.) SANDRA KURTZ

THUR | MAY 29 | 7PM

Dyer on the flight deck.

TUESDAY, JUNE 3

Dan Barber

The executive chef at Manhattan’s award-winning Blue Hill restaurant, Barber has written what’s quite possibly the most revolutionary book on agriculture, cooking, and eating to date: The Third Plate: Field Notes on the Future of Food (Penguin, $29.95). While Blue Hill was one of the first restaurants labeled “farmto-table,” Barber now challenges that term and the philosophy behind it, concluding that our seemingly improved way of eating actually contributes to our broken food system.

Though we have access to fresher, healthier, more locally sourced ingredients than ever, Barber asserts that this “cherry-picking” by chefs—and by extension, farmers—creates unsustainability by exerting control over nature rather than “growing nature.” At the core of the problem is the long tradition of a plate that celebrates a large portion of protein and small servings of vegetables and grains.

In this enlightening, myth-dispelling tome that will appeal to Michael Pollan fans, Barber presents an entire redesign of the food system, “the third plate,” which calls on chefs and farmers as arbiters of the change. In doing so, he takes us all over the world—including our own backyard in Skagit Valley, where a cutting-edge “closed loop” grain cycle is currently underway—highlighting farmers, foragers, fishermen, seedsmen, scientists, millers, bakers, and anyone who’s dedicated to the radical transformation of our food chain. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. NICOLE SPRINKLE E

7PM

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MICHAEL BOLTON SUN | JUNE 15 | 7PM

DON WILLIAMS TUE | JUNE 17 | 7PM

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CHRIS STEELE-PERKINS

no sex, no alcohol, no disrespecting his hosts.

Yet surprisingly they agreed to accommodate Dyer in what’s essentially a floating city of 5,000 men and women. It’s a distillation of American values, finds Dyer: racially mixed but conservative; tattooed kids barely out of high school ruled by buzz-cut men in their 40s; a strict hierarchy of class and protocol (officers over enlisted sailors) that nonetheless insists on mutual politeness and respect.

Though he complains about the food and marvels at the noise (jets crashing down to the flight deck overhead, tail-hooks clawing at lethal cables), Dyer finds himself in a kind of enforced, regimented utopia, not so far

Barber indicts his own kind.

JUNE 5

21

arts&culture» Stage

Opening Nights

yet you never buy the love story in this Funny Girl. Davis and Benedict have talent but no chemistry—perhaps because they and everyone else are so busy rushing from one number to the next. Fortunately, it’s those musical destinations—songs by Jule Styne, lyrics by Bob Merrill—that truly matter. And if it’s romance you want, you can always rent the movie with Streisand and Omar Sharif. DANIEL NASH

PFunny Girl VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 425-392-2202, VILLAGETHEATRE. ORG. $30–$65. RUNS WED.–SUN. THROUGH JULY 6. (MOVES TO EVERETT JULY 11–AUG. 3.)

Terre Haute

When the musical Funny Girl was being cast for its 1964 Broadway premiere, producer Ray Stark searched far and wide for an actress capable of playing the legendary stage per-

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

22

PNB.ORG

ONLY AT

M c C AW HALL

former Fanny Brice (1891–1951), whose talent famously surpassed her looks. He chose Barbra Streisand, and a new star was born, confident in her unconventional beauty.

In the starring role of this revival, directed

by Steve Tomkins, Sarah Rose Davis has to be exhaustively gawked up and geeked out by her costumers to match the song “If a Girl Isn’t Pretty.” But by the time the show reaches “I’m the Greatest Star,” Davis owns the part, bouncing from pushy to pleading to soulful to catty, bratty, soulful, and back again. The first-time lead, raised in Bellevue, demonstrates a remarkable agility of performance and comic timing.

Good, because Funny Girl is a show that lives and dies on its Brice. Even the primary plot points of the vaudevillian’s fictionalized biography are mere vehicles to truck the audience toward the next song-and-dance spectacular. And of those there are many in this three-hour show (with intermission), with Davis wonderfully supported by the large ensemble. Everyone speaks (and sings) in honking Brooklynese—that peculiar old dialect that sounds so exaggerated we don’t care if it’s real or not.

The fleet-footed John David Scott is a standout as Eddie, the puppyish friend and man-in-waiting to Brice. His tap-dance routine early in the show is nimble and engaging; it leaves you wanting more.

However, the one dull spot in this practically Technicolor production is the central romance between Brice and the hit-and-miss gambler Nick Arnstein (Logan Benedict). Tall, dark, handsome, and mustachioed, Benedict certainly looks the part of a dashing 1920s gentleman. His deep, resonant voice would fit perfectly in one of the evening radio dramas of yore. He never falters, wavers, or stumbles in his performance. All the pieces are there,

MARK KITAOKA/VILLAGE THEATRE

Davis as Brice.

ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $15–$25. RUNS THURS.–SAT., PLUS SUN. & MON. ENDS JUNE 15.

The most important item onstage in the Bridges Stage Company’s debut production is an inch-thick pane of glass that separates its two main players.

Situated in the interview room of the United States Penitentiary in the titular town, the two men have plenty separating them already in Edmund White’s 2006 drama.

Prisoner Harrison (Robert Bergin) is a young, self-educated “redneck” who served in the first Gulf War. Interviewer James (Norman Newkirk) is an aging intellectual blue-blood expat who lives in Paris. Yet they do have a commonality: Both believe the U.S. is heading in the wrong direction. Harrison expressed his displeasure with “fascist federal fucking bullshit” by bombing a government building, while James seeks to protect “the American republic from American empire” by penning lengthy didactic essays, one of which caught the attention of Harrison. This leads first to an exchange of letters and eventually to the interview we’re watching.

These characters are obvious stand-ins for two very real historical figures: the mass murderer Timothy McVeigh and the intellectual Gore Vidal. Terre Haute is an imaginative exercise by White, who was intrigued by the fact that McVeigh had invited Vidal to his 2001 execution after reading the latter’s Vanity Fair essay “The War at Home,” which railed against the erosion of the Bill of Rights. Vidal stayed away, but White brought their surrogates together in his only play. (The prolific writer is best known for The Joy of Gay Sex and novels including A Boy’s Own Story.)

And yet White could only bring them so close. The pane of glass remains, splitting a striking, perfectly sterile set by Rick Araluce.

This barrier allows each character to look closely into the other’s eyes, yet it keeps them far enough away to protect themselves—and, conversely, to expose themselves without fear.

Directed by Aaron Levin in an intermissionless 90 minutes, this is an uneven play, which sometimes devolves into a pissing match between two cranks spouting off theories about Western decline. But in its most intimate moments—where the characters are exploring their rage, their regret, and their sexuality— Terre Haute makes good on the promise of the set. Then we get insight into the minds of two idiosyncratic characters, and some moving performances. Newkirk is particularly good as the patrician James is slowly unpeeled by Harrison, revealing the vulnerability beneath his learned mannerisms and the humanity that, at its core, this still Tea Party–topical play is actually all about. MARK BAUMGARTEN E stage@seattleweekly.com

»Performance

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

Stage OPENINGS & EVENTS

DOG SEES GOD “After his dog dies from rabies, CB

begins to question the existence of an afterlife” in Bert V. Royal’s extremely loosely Peanuts-based play.

Cabaret Theatre, Hutchinson Hall, UW campus depts. washington.edu/uwdrama. $5–$10. Opens May 29.

8 p.m. Wed.–Sun. Ends June 8.

FUSSY CLOUD PUPPET SLAM, VOLUME 8 Several puppeteers gather for this maybe-not-so-familyfriendly revue. Theatre4 Armory, Seattle Center, 800838-3006, brownpapertickets.com. $10. 8 p.m. Sat., May 31.

JERRY MANNING MEMORIAL Remembering the Rep’s artistic director, who passed away April 30. Seattle Repertory Theatre, Seattle Center, 443-2222, seattlerep. org. 6:30 p.m. Mon., June 2.

NORTHSHORTS New work by students of Seattle Colleges, with help from The 14/48 Projects. North Seattle College, 9600 College Way N., 1448projects.org.

Pay what you will. 7:30 p.m. Fri., May 30 & Sat., May 31; 2 p.m. Wed., June 4.

PETER PAN He still won’t grow up! Studio East, 11730 118th Ave. N.E., Kirkland. $12–$18. Opens May 30.

Runs Fri.–Sun.; see studio-east.org for exact schedule. Ends June 22.

THE PRICE SEE THE PICK LIST, PAGE 20.

A SMALL FIRE Adam Bock’s play about a tragically stressed marriage. New City Theatre, 1404 18th Ave., 800-838-3006, soundtheatrecompany.org. $15–$25.

Preview May 29, opens May 30. 8 p.m. Thurs.–Sat. plus Mon., June 9 & 16. Ends June 21.

THE WORKROOM Jean-Claude Grumberg’s study of WWII survivors in Paris. Hughes Penthouse Theatre, UW campus, 543-4880, uwdrama.edu. $10–$20.

Previews May 28–29, opens May 30. 7:30 p.m. Wed.– Sat., 2 p.m. Sun. Ends June 8.

CURRENT RUNS

ARCADIA Tom Stoppard’s beloved and brilliant 1993

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JAZZ ALLEY IS A SUPPER CLUB

OZ NOY FEATURING OTEIL BURBRIDGE AND KEITH CARLOCK WED, MAY 28 Trend-setting guitarist with an intoxicating blend of jazz, funk, rock, blues and R&B

JOAN OSBORNE & THE HOLMES BROTHERS THURS, MAY 29 - SUN, JUN 1 Multi-platinum selling, recording artist and seven-time Grammy nominee weaving blues, R&B, pop and soul

MOUNTLAKE TERRACE HIGH SCHOOL JAZZ BANDS MON, JUN 2

Recognized throughout the Pacific Northwest as one of the top high school jazz bands!

ERNIE WATTS AND THE MARC SEALES TRIO TUES, JUN 3 - WED, JUN 4

“He is one of the greatest living tenor saxophonists, at the top of his game.” - All About Jazz

JUAN DE MARCOS AND THE AFROCUBAN ALLSTARS THURS, JUN 5 - SUN, JUN 8

in This Bring T And ge n o p Cou Tizer e p p A one 2 oFF! For 1/

17-piece dream team of Cuba’s hottest musicians

all ages | free parking full schedule at jazzalley.com

“All we have, each one of us, is our story.”

May 15–Jun 15

Buy tickets today or see it with an ACTPass!

(206) 292-7676•acttheatre.org

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

comedy takes place in the garden-fronting room of a Derbyshire manor called Sidley Park. Scenes alternate between 1809, when the owners supposedly hosted Lord Byron while redesigning the garden, and the present, when two competing academics scavenge the grounds for evidence to bolster their esoteric, careermaking theories. Arcadia is a Swiss watch of a play, especially when the two time periods overlap. Despite Craig Wollam’s elegant Georgian-era set, there’s no room in the cramped Bathhouse Theater for director Kelly Kitchens to choreograph the bustle and froth in suitably grand scale, nor do we have the proper seating distance to observe the complex tale’s ingenious mechanics. Notwithstanding the spatial handicap to this spirited production, the script’s hyper-articulate charms flourish in certain performances. In the modern period, pretentious Byron-biographing blaggard Bernard benefits from Evan Whitfield’s high-energy bravado, which screwballs well with Alyson Scadron Branner’s phlegmatic Hannah (a rival author). Trevor Young Marston makes an endearing Septimus Hodge, tutor to 13-year-old polymath Thomasina (Izabel Mar) back in the Byron era. We’ve got to love Thomasina for the magic of the ending to bloom. That didn’t quite happen opening night, but who’s to say what a few more days in the hothouse might yield? MARGARET FRIEDMAN Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $10–$30. Runs Thurs.–Sun.; see seattlepublictheater.org for exact schedule. Ends June 8.

THE CHERRY ORCHARD Seattle Public Theater’s Youth Program presents Anton Chekhov’s dramedy. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 523-1300, seattlepublictheater.org. Donation.

2 p.m. Sat., May 31; 7 p.m. Sun., June 1. Ends June 1.

CREEPS In David Freeman’s 1972 play, five men with cerebral palsy in a men’s room talk frankly about their lives. Seattle Subversive Theatre is staging this in, yes, an actual men’s room. The Ballard Underground, 2220 N.W. Market St., 395-5458, ghostlighttheatricals.org. $25. 7:30 p.m. Fri.–Sat. Ends May 31.

DIANA OF DOBSON’S Cicely Hamilton’s 1908 English comedy about a class-jumping young heroine during the Edwardian period. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$40. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends June 14.

DON JUAN IN CHICAGO Arouet presents David Ives’ play about the classic womanizer, updated. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, arouet.us. $12–$20. 7:30 p.m. Thurs.–Sat. Ends May 31.

END DAYS In Deborah Zoe Laufer’s comedy, “16-yearold Rachel Stein is having a bad year. Her father

won’t get dressed, her mother is newly born again, her Elvis impersonator neighbor has fallen for her, and Jesus has moved in with the family. Plus the Apocalypse is coming Wednesday. Her only hope is Stephen Hawking will save the day.” Burien Little Theater, S.W. 146th St. & Fourth Ave. S.W., Des Moines, 242-5180, burienlittletheatre.org. $7–$20.

8 p.m. Fri.–Sat., 2 p.m. Sun. Ends June 1.

FUNNY GIRL SEE REVIEW, PAGE 22. The popular 1960s musical, forever associated with Barbra Streisand, uses Jule Styne’s memorable score to relate the life of vaudeville legend Fanny Brice. Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $30–$65. Runs Wed.–Sun.; see villagetheatre.org for exact schedule.

Ends July 6. (Runs in Everett July 11–Aug. 3.)

GREASE Return to Rydell High with Broadway Bound Children’s Theatre. Shoreline Center, 18560 First Ave. N.E., 800-838-3006, broadwaybound.org. $17.50. 7 p.m.

Fri.; noon and 5 p.m. Sat.; 2 p.m. Sun. Ends June 8.

HAIR The smash ’60s musical is full of hippie goodness and song. ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends June 7.

LITTLE SHOP OF HORRORS Created in 1982 by composer Alan Menken and his lyricist partner, the late Howard Ashman, Little Shop is simple, overstuffed with hummable melodies, and toys affectionately with two of America’s enduring infatuations: cheesy monster movies and jukebox pop. Appropriately, this ACT/5th Avenue co-production cranks the fun dial up to 11 with a string of spectacular performances. These include the Spectoresque Greek chorus of Ronnette, Chiffon, and Crystal (Nicole Rashida Prothro, Alexandria Henderson, and Naomi Morgan, respectively); floral-shop owner Mr. Mushnik (Jeff Steitzer, long my favorite Scrooge in ACT’s A Christmas Carol); and his star-crossed lovebird employees, Audrey and Seymour (Jessica Skerritt and Joshua Carter). It’s easy to see why Ashman and Menken’s work has stood the test of time: They make story and song interdependent. Every song in Little Shop—the tale of a man-eating plant come to conquer Earth by devouring every last man, woman, and child—either advances character or plot. Often they do both. Here, director Bill Berry lets all his cast members cut loose, and none shrink from the opportunity.

During both solo and ensemble tunes (arranged and conducted by R.J. Tancioco), there’s a palpable glee in watching confident performers nail each number with sharpshooter precision. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676. $20–$50. See acttheatre.org for exact schedule. Ends June 15.

ONCE When it was released in 2007, Once became an unexpected international hit. It wasn’t for originality.

The movie told a familiar tale: boy meets girl, boy loses girl, boy gets girl. But the story of a struggling Dublin busker and a Czech immigrant brought together by a passion for music resonated with audiences because of that music—swelling acoustic sing-song ballads woven with Glen Hansard’s husky, ascending baritone and Markéta Irglová’s plaintive alto, two voices that blended so pleasantly that it was impossible to believe that they weren’t meant for each other. It was difficult to imagine any other singers pulling off the intimate chemistry, but Once was bound for Broadway and, five years later, earned a boatload of Tony Awards for a stage translation that exchanges some of that intimacy for rollicking performances, with full Irishfolk instrumentation provided by an ensemble cast.

It’s clearly a very different experience from director John Carney’s shaky close-ups and poetic tracking shots (his new musical romance, Begin Again, plays SIFF this weekend and opens in July). But the songs written by Hansard and Irglová are still here, as is the simple story that, if nothing else, gives them a reason for existing. MARK BAUMGARTEN The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $25–$100. 7:30 p.m. Tues.–Thurs.; 8 p.m. Fri.; 2 & 8 p.m. Sat.; 1 & 6:30 p.m. Sun. Ends June 8.

QUEERSPAWN Mallery Avidon’s play looks at smalltown bullying and coping mechanisms. Presented by Fantastic.Z. Eclectic Theater, 1214 10th Ave., 679-3271, eclectictheatercompany.org. $15–$20. 8 p.m. Thurs.– Sat. Ends June 7.

TEATRO ZINZANNI: ON THE AIR Their new radiothemed show features the return of emcee Kevin Kent and stars Anki Andersson. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Wed.–Sun.; see zinzanni.com/seattle for exact schedule. Ends June 1.

TERRE HAUTE SEE REVIEW, PAGE 22. Bridges Stage Company presents Edmund White’s prison drama based on the actual letters between Gore Vidal and homegrown domestic terrorist Timothy McVeigh. ACT Theatre, 700 Union St., 292-7676. $15–$25. Runs Thurs.– Sat., plus Sun. starting June 1, plus Mon., June 9; see acttheatre.org for exact schedule.

© Ian Johnston

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

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arts&culture» Performance 25,000 POSTS Jim Lapan’s solo show explores what

exactly constitutes “the American dream” these days.

West of Lenin, 203 N. 36th St., 800-838-3006, james lapan.com. $20. 8 p.m. Fri.–Sat., 2 p.m. Sun., plus 8 p.m.

Thurs., May 29. Ends May 31.

Dance

• PAT GRANEY COMPANY Graney is best known for

her big, metaphor-rich dance-theater works, the fruit of a long creative process, but she does still pop up with pure movement dances, with Orange the latest example. She’s taken a set of classroom phrases from Jody Kuehner and turned them inside-out, using her postmodern tool kit. This time out she’s sharing the evening with a handful of other dancemakers, including Shannon Stewart, Jenny Peterson, Kaitlin McCarthy, and Amelia Reeber. Velocity Dance Center, 1621 12th Ave., 351-3238, velocitydancecenter.org. $12–$15. 7 & 9 p.m. Thurs., May 29–Fri., May 30.

ROBERT MOSES’ KIN Three works from this Bay Area company making its Seattle debut. Meany Hall, UW campus, 543-4880, uwworldseries.org. $25 8 p.m.

Thurs., May 29–Sat., May 31.

PACIFIC NORTHWEST BALLET: GISELLE SEE THE PICK LIST, PAGE TK. SEATTLE BUTOH FESTIVAL 2014 The stereotype of butoh includes naked bodies dusted with rice flour performing tiny increments of movement with incredible intensity. And sometimes this is true.

But sometimes it’s not. The Seattle Butoh Festival presents as many different iterations of the genre as there are dancers involved in the performances, coming from multiple countries and backgrounds and bringing a wide variety of experience. The commonality is their fidelity to the deeply personal nature of the art form and its kinetic expression of humanity. SANDRA KURTZ Taoist Studies Institute.

225 N. 70th St., daipanbutoh.com $12–$15 ($25 for both). 7:30 p.m. Fri., May 30–Sat., May 31.

CARMONA FLAMENCO Traditional music and dance.

Café Solstice, 4116 University Way N.E., 932-4067. $15–$20. 8 p.m. Sat., May 31.

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SSO Meets MP3 EARSUPPLY

JUNE 6-7, 2014

!

Y L N O D N E K E ONE WE e screen, now see her LIVE!

to Copland in swing style on this Seattle Pops concert. Benaroya Hall, Third Ave. & Union St., 2154747, seattlesymphony.org. $19 and up. 7:30 p.m.

Thurs., May 29, 8 p.m. Fri., May 30, 2 & 8 p.m. Sat., May 31, 2 p.m. Sun., June 1.

THE GUNDECHA BROTHERS From this trio, Indian classical music in the dhrupad tradition. Cornish Playhouse, Seattle Center, 800-838-3006. brown papertickets.com. $20–$45. 7 p.m. Fri., May 30.

MUSIC CENTER OF THE NORTHWEST OPEN HOUSE Music classes to sample, plus barbecue

and Mozart. See mcnw.org for full schedule of events. Music Center of the Northwest, 901 N. 96th St. Free. Sat., May 31.

BAINBRIDGE SYMPHONY The Seattle Symphony’s Emma McGrath is the violin soloist in this concert of Spanish and Latin music. Bainbridge Performing Arts, 200 Madison Ave N., Bainbridge Island, 8428569, bainbridgeperformingarts.org. $16–$19. 7:30 p.m. Sat., May 31.

SEATTLE PEACE CHORUS Music and dance from the Balkans, with the Dunava Balkan Women’s Chorus and other guests. Town Hall, 1119 Eighth Ave., 800-838-3006, brownpapertickets.com. $18–$25.

7:30 p.m. Sat., May 31.

MOSTLY NORDIC CHAMBER MUSIC SERIES To close their season, Icelandic music plus a Brahms piano quartet (the mellow one in A major). Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $22–$27 ($47–$55 w/smorgasbord). 4 p.m. Sun., June 1.

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Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

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well they play, but Morlot’s programming priorities and interest in contemporary music. Both are in evidence on a luminous disc of the music of Morlot’s compatriot Henri Dutilleux (1916–2013). A combination of Saint-Saëns’ “Organ” Symphony and Ravel showpieces is a sonic wonder; a boisterous American disc includes (with Ives and Carter) the performance of Gershwin’s An American in Paris that dazzlingly announced the Morlot era at the opening concerts of his first season in 2011. Future recording plans include more Dutilleux and some of the orchestra’s recent commissions. (FYI: John Luther Adams’ Pulitzer Prize–winning Become Ocean, which they took to Carnegie Hall this month, will be released in the fall on Cantaloupe Music.) recordings.seattlesymphony.org/Recordings

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SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

You’ve seen her on th

It’s getting to be a

BY GAVIN BORCHERT challenge to keep up with the Seattle Symphony’s new initiatives since Ludovic Morlot arrived. Under Gerard Schwarz, the orchestra had recorded prolifically for the Naxos label, mostly Russian and American music. But now they’re launching their own, Seattle Symphony Media; April 29 was the physical release date for the first three CDs (already available on iTunes, Amazon, and through the SSO website). The label will release both studio and live concert recordings, with repertory chosen to show off not only how

Classical, Etc.

» Literary & Visual Arts

BY DIANA LE

B Y K E LT O N S E A R S

Author Events

Museums

MATTHEW KROENIG The Georgetown prof discusses

AT YOUR SERVICE Ariel Brice, Gésine Hackenberg,

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Molly Hatch, Giselle Hicks, Garth Johnson, Niki Johnson, Sue Johnson, Emily Loehle, Caroline Slotte, and Amelia Toelke mess with crockery and other tokens of the domestic table. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $8-$10, Tues.-Sun., 11 a.m.-6 p.m. Through Sept. 21.

DANISH MODERN: DESIGN FOR LIVING A survey of modern style Danish furniture from 1950-60. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, 7895707, nordicmuseum.org, $8, Tues.-Sun., 10 a.m.-4 p.m.

Through Aug. 31.

DECO JAPAN This is a somewhat unusual traveling show in that it comes from a single private collection: that of Florida’s Robert and Mary Levenson.

The specificity and period (1920–1945) are also unusual. Among the roughly 200 items on view— prints, furniture, jewelry, etc.—we won’t be seeing the usual quaint cherry-blossom references to Japan’s hermetic past. By the ’20s, there was in the big cities a full awareness of Hollywood movies, European fashions, and streamlined design trends.

Even if women didn’t vote, they knew about Louise Brooks and her fellow flappers. For an urbane class of pleasure-seekers, necessarily moneyed, these were boom times. The luxe life meant imitating the West to a degree, yet there are also many traces of Japan’s ancient culture within these modern accessories. Think of the sybarites during the Edo period, for instance, and the women depicted here look more familiar—even if they wear cocktail dresses instead of kimonos. BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, 654-3100, seattleartmuseum.org, $5-$7, Weds.-Sun., 10 a.m.-5 p.m. Through Oct. 19.

ANNE FENTON Recent winner of the Brink Award, the local artist shows two new videos, stencil art, and handmade fibrous objects. Henry Art Gallery, 4100 15th Ave. N.E., Seattle, 543-2280, henryart.org, $6-$10, Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m. Through June 15.

ALEX BARANOWSKI Musica Universalis (North American Premiere) ROSE MCINTOSH, violin

BINNA KIM

The Letting Go (World Premiere)

GEOFFREY LARSON, Music Director

TYLER KLINE

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FOLDING PAPER: THE INFINITE POSSIBILITIES OF ORIGAMI An exhibit that examines the evolution of

origami as an art form around the globe from its origins all the way up to today. Bellevue Arts Museum, Through Sept. 21.

LATOYA RUBY FRAZIER Born in the declining Rust Belt town of Braddock, Pennsylvania, Frazier’s images have mostly been black-and-white studies of her kin, lending dignity to loved ones struggling with underemployment, disease, and fractured families. She began taking photographs as a teenager during the ’90s, in part as a rebuttal of the historical images of Braddock that showed only its white faces. Born by a River comprises two sections and eras. In the hallway leading to the Knight/Lawrence Gallery, we see about two dozen black-and-white images of her family, often with Frazier posing among them. Look at us, Frazier is saying; this is how we live. The main gallery contains seven large color aerial views of Braddock, taken last year from a helicopter hovering over The Bottom, the poor, flood-prone, and polluted neighborhood where Frazier was raised. There’s a startling micro/macro effect as we pull up high to these impersonal views.

Frazier’s family, and others like it, disappear. All we see are scrapped lots and empty fields; rusty old freight cars sitting empty; and the old Carnegie steel mill. The people are conspicuously missing. BRIAN MILLER Seattle Art Museum, 1300 First Ave., Seattle, 654-3100, seattleartmuseum.org, $12.50-$19.50, Weds., Fri.-Sun., 10 a.m.-5 p.m. Through June 22.

LIU XIAODONG Having achieved success in Beijing, Liu went back to his emptied-out old village after three decades away, finding stagnation and defeat among his former cronies. The young people have fled to the coast, where the money is. Back in Jincheng, prospects and hopes are things of the past. There he took photos and made sketches for the paintings of Hometown Boy. There’s nothing explicitly political here, yet the paintings read like a socioeconomic portrait of China’s old inland Rust Belt. These are somewhat sad, desultory scenes. Liu isn’t a political artist like Ai Weiwei. He works within the system but is certainly aware of its constraints and discontents, which surely swirl into Hometown Boy’s palette of oils. BRIAN MILLER Seattle Asian Art Museum, Through June 29.

Sinfonietta (International Composition Competition Winner - World Premiere)

SATURDAY, JUNE 7, 2:00 PM Chapel Performance Space at the Good Shepherd Center Tickets: $15 General Admission, $10 Students and Seniors Available now at www.BrownPaperTickets.com

ALAN HOVHANESS Symphony No. 6 “Celestial Gate”

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Spheres (West Coast Premiere) ROSE MCINTOSH, violin

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SEASON FINALE

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

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ISSAQUAH (425) 392-2202 • VillageTheatre.org • EVERETT (425) 257-8600

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

his Time to Attack: The Looming Iranian Nuclear Threat.

Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Weds., May 28.

EVAN OSNOS Covering China for The New Yorker is a plumb beat. Osnos spent five years reporting there, a depth of experience that informs Age of Ambition: Chasing Fortune, Truth, and Faith in the New China (Farrar, Straus & Giroux, $27). The booming country is, to put it mildly, full of news: cozening up to Russia recently for natural gas; hacking into U.S. businesses to steal trade secrets; and producing seemingly all of our electronics and consumer goods. What is China importing from us? Our culture. As Osnos noted recently, while political protests are taboo, there was an unlikely outcry last month when the TV show The Big Bang Theory— hugely popular online—was banned for “content that violates China’s constitution, endangers the country’s sovereignty and territorial integrity, provokes troubles in society, promotes illegal religion and triggers ethnic hatred,” per the Chinese government. The pronouncement was mocked online, Osnos reports, by precisely the kind of brainy, Web-savvy youth that both countries depend on, a kindred transnational class of knowledge workers. And on that side of the Pacific, as Age of Ambition relates, a young generation of Internetconnected, urban Chinese is growing discontented with what Osnos calls a new Gilded Age. Corruption, income inequality, and pollution are far worse than we have it here. And soon they may begin protesting more than cancelled TV shows. BRIAN MILLER Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. Free. 7 p.m.

Weds., May 28.

ELIZABETH WARREN US Senator from Massachusetts, rising star in the Democratic party, her latest book is A Fighting Chance. University Temple United Methodist Church, 1415 N.E. 43rd St., 6343400, bookstore.washington.edu. Free. 7 p.m. Thurs., May 29.

ANTONYA NELSON Funny Once collects her new stories. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. $8-$10. 7 p.m. Fri., May 30.

DANIEL JAMES BROWN His acclaimed sports history book The Boys in the Boat, new in paperback, follows the UW crew team to the 1936 Olympics in Berlin. About it, our Daniel Person wrote last year, “With the story of gold-medal rower Joe Rantz (1914–2007), Brown has found in the annals of Northwest history a hero of Potteresque proportions. As Brown relates in, Rantz is all but an orphan when he leaves Sequim to enroll at the UW, just as the Great Depression sets in. He’s far from the campus’ privileged elite, but there’s one place where all that matters is your grit and determination: the Quidditch field . . . er, Lake Washington. During the ’30s, the UW and Berkeley became staunch rivals of Ivy League oarsmen. Rantz’s eight-man team celebrates its victories in Hogwarts fashion, with ‘mountains of ice cream, as much as they could eat.’ Then the rowers set their eyes upon that most evil of opponents: Voldemort . . . er, Hitler.” (Also: University Book Store in Bellevue, 6 p.m. Mon., June 2.) University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. Free. 6 p.m. Sat., May 31.

JANET NORMAN KNOX She reads from her fantasy novel The Immortal Crown: An Age of X Novel. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. Free. 6:30 p.m. Sat., May 31.

MAYA LANG The ex-local resident returns with a debut novel, The Sixteenth of June. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 3 p.m. Sun., June 1 BRIAN DOYLE The ex-local resident returns with a debut novel, The Sixteenth of June. University Book Store, Free, 7 p.m. Mon., June 2.

KARL OVE KNAUSGAARD The Swedish writer shares selections from his maximalist series of novels, My Struggle. Elliott Bay, Free, 7 p.m. Mon., June 2.

ROZ CHAST Longtime genius cartoonist for The New Yorker, her graphic memoir Can’t We Talk About Something More Pleasant concerns the death of her parents. Elliott Bay, Free, 7 p.m. Tues., June 3.

BRIAN KOMEI DEMPSTER He’s joined by fellow poets Alan Lau, Arlene Kim, and Sharon Hashimoto in a tribute to the late San Francisco poet Kim-An Lieberm.

(Dempster also appears with poet Janet Norman Knox at Eagle Harbor Books: 3 p.m. Sun., June 1.) University Book Store, Free, 6:30 p.m. Tues., June 3.

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SEATTLE THEATRE GROUP 2014 I 2015 SEASON 2014

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DR. SEUSS’ HOW THE GRINCH SEATTLE ROCK ORCHESTRA STOLE CHRISTMAS! PERFORMS BECK

Mar 14 | Moore TRADER JOE’S SILENT MOVIE Dec 9 | Neptune A JOHN WATERS CHRISTMAS 2CELLOS MONDAYS SIGNIFICANT SILENTS OF 1928 Mar 20 | Paramount STARBUCKS HOT JAVA July 11 - 12 | Moore COOL JAZZ 16TH ANNUAL DANCE THIS Jan 15 - 18 | Moore Mar 20 | Moore Sep 13 | Paramount DAME EDNA & ZAKIR HUSSAIN’S BRIAN REGAN BARRY HUMPHRIES’ Oct 11 | Moore THE FINAL FAREWELL TOUR CELTIC CONNECTIONS: THE PULSE OF THE WORLD WHOSE LIVE ANYWAY? Jan 20 - Feb 1 | Paramount Mar 24 - 29 | Paramount Oct 12 | Moore DIRTY DANCING MAMMA MIA! WORDLESS! ART SPIEGELMAN Feb 5 - 8 | Moore Apr 11 | Paramount AND PHILLIP JOHNSTON CIRCUS OZ THREE ACTS, TWO DANCERS, Oct 21 - 26 | Paramount Feb 14 | Paramount ONE RADIO HOST: IRA GLASS, NETworks presents Jim Henson’s MONICA BILL BARNES DISNEY’S BEAUTY Dinosaur Train Live! & ANNA BASS AND THE BEAST BUDDY’S BIG ADVENTURE

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MAY 30 - JUNE 5

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

Shawn Telford goes back to Idaho, plus tips for week three.

BY BRIAN MILLER

Y

Absent parents and errant teens also figure in Hellion, set in southeast Texas, which almost

Telford says his next script will have nothing to do with Idaho.

serves as a companion piece to B.F.E. It’s a drama more focused on one particular family, in which two brothers are separated by their erratic, widowed father (Aaron Paul, from Breaking Bad) and a well-meaning aunt ( Juliette Lewis). If sex, drugs, boredom, and alcohol are the drivers of B.F.E., here our 13-year-old delinquent hero ( Josh Wiggins) is motivated by anger, motorcycles, and grief for his dead mother. You hope he can escape his demons, but writer/director Kat Candler isn’t one to provide easy salvation for her characters. (Pacific Place: 9:45 p.m. Fri. & 3:30 p.m. Sat.) Michel Gondry is famed for his inventive, handcrafted movies, like Be Kind Rewind and Eternal Sunshine of the Spotless Mind. In his new Mood Indigo, starring Audrey Tautou and Romain Duris as a new couple in love, there is a wealth of whimsical machinery. A piano makes cocktails to suit the music; our lovers float over Paris in an amusement-park-ride capsule suspended from a giant construction crane; and a picnic is divided in split-screen between sunshine and rain, yet no one seems to mind the difference.

Everything is giddy and full of storybook caprice until the movie takes a darker turn (it actually shifts to black-and-white). Gondry builds his enchanted playhouse, then burns it to the ground.

(Harvard Exit: 7 p.m. Wed. SIFF Cinema Uptown: 11 a.m. Sat. The movie opens here Aug. 1.)

From Finland, the dark comedy A Patriotic Man is studded with ’80s kitsch, from fuchsia jogging suits to Frankie Goes to Hollywood. Yet the droll laughs accompany what’s actually a serious satire of corruption on the Finnish national cross-country ski team, which is cheating like mad to compete with the doped-up Russians. A recently fired press operator with naturally high hemoglobin levels is recruited to help coach the skiers—and by “coach” we mean hook up an IV from his veins to that of a lovely blond racer.

The chain-smoking, hard-drinking Toivo gets to share in the glory of Aino’s victories on the snow while also becoming a guilt-ridden, portable “fuel tank.” His shame is the nation’s shame, and director Arto Halonen does not go easy on his countrymen. It’s my pick of the week. (Egyptian: 9:30 p.m. Thurs. Pacific Place: 4 p.m. Fri.) E

bmiller@seattleweekly.com

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best known as the kindly security guard in Kelly Reichardt’s Wendy and Lucy).

What does “B.F.E.” stand for, I ask? “Bum Fuck, Egypt,” says Telford, “The end of the line.”

That’s the way he felt about growing up in the Idaho panhandle town of Post Falls, population 6,900, before he left as a teenager in the ’90s.

(Today a Ballard resident, he’s been settled here since 1997, where he also earned an MFA in acting at the UW.) In the film, one of his teens declares, “Everyone who lives here is trapped,” and his grandfather (Dalton) tells the kid to “Get out of this hellhole and don’t look back.”

That was Telford’s own view at the same age: “I had to get out,” he says, though he’s kinder about Post Falls today. “I came to peace with it. I’ve totally changed; now I romanticize it.”

Indeed, shot in lovely widescreen by Ty Migota, B.F.E. puts you in mind of The Last Picture Show and Dazed and Confused—looks back at youth that are by turns bitter, nostalgic, angry, and

DIRTY HARRY

wondering. The kids are mostly unsupervised (or party with their irresponsible parents); the specter of meth hangs overhead; and teenage pregnancy is a fact of life. None of the misbehavior depicted is autobiographical; rather, says Telford, “It reflects the sense of the place, the wildness.

The setting of the film is a character in itself.”

Telford is very much a SIFF-trained filmmaker, he says, reflecting back to 2009, when “the Fly Filmmaking program was my film school.”

After its March premiere at the Sarasota Film Festival and following its local debut, Telford hopes to tour B.F.E. on the festival circuit, then show it at one of our indie cinemas. He and many cast members will attend both SIFF screenings.

(Harvard Exit: 9 p.m. Mon. & 4 p.m. Tues.)

ou may recall seeing a short film at SIFF ’12 called The Last Virgin, about a drunken teenage party in rural Idaho that led to a potentially dicey situation with the comatose mom of one of those teens. Writer/director Shawn Telford, a local stage performer of note, was so jazzed by the experience that he kept right on filming in his old hometown of Post Falls, Idaho, to complete his first feature, called B.F.E. “We went back the last three summers” to film, he explains, sitting down for coffee recently at Zeitgeist. After The Last Virgin, he immediately began expanding its core episode into one part of a triptych, to fill in the backstories of his teenage characters. “I wanted to know more about them,” says Telford.

He kept all the same young Last Virgin performers, most of them from Seattle, where Telford also works for a casting agency. (Funding came from Kickstarter, a private investor, and “all my credit cards.”) In the two new vignettes, he added some local professionals he knew from our theater scene (Hans Altwies and Montana von Fliss), plus local TV-writer-turned-actor Wally Dalton (also seen at SIFF in Lucky Them,

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Beneath the Harvest Sky OPENS FRI., MAY 30 AT SUNDANCE CINEMAS. NOT RATED. 116 MINUTES.

PChinese Puzzle OPENS FRI., MAY 30 AT SEVEN GABLES. RATED R. 117 MINUTES.

In three agreeable films covering about a dozen years for his main quartet of characters, now 40-ish, Cédric Klapisch has also grown up as a director. He still embraces the messy, multilingual, bed-hopping, city-jumping complexity of life, which began in Barcelona with 2002’s L’Auberge Espagnole and continued to St. Petersburg and beyond with 2005’s Russian Dolls. Here Klapisch keeps the comedy, street chases, and indecisive-

Martine and Xavier (Tautou and Duris) connect again, this time in NYC.

ness that plague his novelist hero Xavier (Romain Duris), but I think Chinese Puzzle is the best of the three pictures—largely because it rests on the foundation of the prior two, much like Richard Linklater’s Before Sunrise trilogy.

The self-absorbed but not exactly selfish Xavier is forced to decamp from Paris to New York, following his ex, Wendy (Kelly Reilly), mother of their two children, who’s found a new man in the Big Apple. With limited English and a half-completed manuscript (essentially the film we’re watching), Xavier crashes in the Brooklyn loft of Isabelle (Cécile de France) and her lesbian partner, who previously asked him to father a baby for them. Later in the film, unattached Martine (Audrey Tautou) arrives with her two kids, bringing the number of children to five, divided among three improvised families (or four, if you count a green-card marriage).

Think back to L’Auberge Espagnole and you’ll recall a sense of life improvised on the fly among those impressionable, transnational students.

Now adults, constantly communicating by text, e-mail, and Skype, they seem equally unmoored from any country or ideology beyond shared experience. That sense of community—including infidelities and rivalries—is what keeps our foursome connected despite their travels. For them, culture shock is a permanent condition; and their emblem seems to be the rolling suitcase that careens down the sidewalk of each strange new city. That Klapisch gives Xavier a job as a bicycle messenger seems a little too ’80s, but that’s when the director attended NYU. And the gig is all about route-finding, appropriate to Xavier’s everspinning compass needle. With animated subway maps, Craigslist ads, and Google Street View to assist him, Xavier writes an ode to the impossibly meandering West 11th Street. “I’ve got a problem with Point B,” he sighs.

Xavier’s editor pleads, “Could you knock out something a little more linear?” To that, both Xavier and his creator offer a polite shrug to the contrary. If life pushes you in the wrong direction, it’s probably the right direction. BRIAN MILLER

Documented RUNS FRI., MAY 30–THURS., JUNE 5 AT GRAND ILLUSION. NOT RATED. 95 MINUTES.

Good journalists don’t necessarily become good filmmakers, even if they’ve got a great story to report. Jose Antonio Vargas wrote that story for The New York Times Magazine in 2011, about how he—brought to the U.S. from the Philippines at age 12—was both a successful, taxpaying journalist and an undocumented immigrant.

(That’s “illegal alien” for you FOX News fans.)

As we see here, Vargas planned this movie and a lobbying campaign (DefineAmerican.com) before he wrote the story. We watch as he first

endures one long day of panic attacks and paranoia? Ray Liotta’s gangster collapses in his own excess, and looks appalling during the spiral: redeyed, sweaty, his skin a whiter shade of pale.

Absent the bravura check-out-my-tour-deforce style of Martin Scorsese, that sequence is recalled during the entirety of Filth. In this badbehavior wallow, James McAvoy looks as bad as Liotta during his crash, and the movie itself aims for unrelenting misery. Which it largely achieves.

Based on the 1998 novel by Trainspotting author Irvine Welsh, Filth cruises through the seedier crannies of Edinburgh at the hip of a corrupt, multiply addicted detective named Bruce Robertson. Any echo in that moniker of the noble Scots hero Robert the Bruce is surely meant to index the degraded world that Welsh and director/screenwriter Jon S. Baird so gleefully paint.

Bruce is alcoholic, drug-addicted, and sexually indiscriminate. He thinks little of sabotaging his colleagues for the sake of an upcoming promo-

Poots, as the lone female cop on the Filth squad, and McAvoy.

his home life in New York. (Does he have a boyfriend? Could he gay-marry for citizenship?

Those are pertinent questions, as Vargas the journalist surely knows.)

Vargas certainly personalizes an important issue, but never punches it home as an experienced advocacy filmmaker might. (One wishes Michael Moore had called back in 2011.)

There’s a tendency here toward self-validation and sympathetic audiences that works against Documented. When not turning the camera on himself and his family, Vargas gets better results out on the road. In Alabama, a drunk white contractor complains (I’m paraphrasing), I got no problem with you, Mr. Fancy-Pants Writer. It’s the Mexicans who’ll do my job for less than 10 bucks an hour. And he does have a point: He could never do Vargas’ job, just as Vargas would never have to stoop to his. There is justice to consider here, but also race-to-the-bottom economics.

The exchange is more meaningful than Vargas’ heartfelt Senate testimony. For his next project, I hope he goes back into the field for more such reporting. BRIAN MILLER

Filth OPENS FRI., MAY 30 AT VARSITY. RATED R. 97 MINUTES.

Remember the great cocaine breakdown sequence from GoodFellas, in which the central character

tion, or of making lewd phone calls to the lonely wife (Shirley Henderson) of his meek, trusting friend (Eddie Marsan). An unsolved murder case provides a (very flimsy) spine for this character study, but the police-procedural aspect drifts into the background, as though Bruce’s easily distracted, coke-addled personality were in charge of the movie as well as the investigation. A fine cast of supporting actors—including Kate Dickie (Red Road ), Jamie Bell, Jim Broadbent, and Imogen Poots—nearly makes this tawdry carousel bearable. Watch closely for the cameo by David Soul, just to add to the surreal atmosphere.

Having served up all this stomach-churning detail (a contributor to IMDb helpfully notes that McAvoy can regurgitate at will, thus the vomit on display in the movie is authentic), Filth begins to reveal its very sentimental backstory.

And here’s where it gets indefensible: All this grinding in the audience’s face has been in the service of a very conventional narrative device.

Kudos to native Scotsman McAvoy, who also suffers an existential crisis in X-Men: Days of Future Past. This is the kind of role actors take to prove themselves more than a pretty face, and—beyond his skills with bodily functions— McAvoy’s convincing in the part. That the movie leaves him exposed on the tightrope isn’t his fault. ROBERT HORTON E

film@seattleweekly.com

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

The potato harvest of Maine—in this depiction, at least—digs up blue and purple spuds. We see these colorful tubers in the most interesting scenes of the preciously titled Beneath the Harvest Sky, scenes that focus on how a crop comes out of the land and what old rituals attend the annual process; the harvest carries not only expectations of work and commerce but also transitory romance, which will neatly serve this coming-ofage tale. The movie doesn’t want to be conventional about any of that, and it tries hard to shirk the Hollywood cocktail of teen angst mixed with love. Despite the effort, the results here are oddly business-as-usual.

The key romance is not between boy and girl but between hetero buds. These friends play out the classical form of Sal Paradise and Dean Moriarty from On the Road: the calm observer type who can’t quit palling around with his irresponsible life-force chum. Dominic (Callan McAuliffe) is the level-headed one, Casper (Emory Cohen) the wild man; they’ll head off for Boston together after summer runs its course. The complications include Dominic’s new interest in Emma (Sarah Sutherland—Kiefer’s daughter), a girl he meets during harvest work, who is intent on college and can’t fathom why Dominic would want to bum around Boston with his lunkhead friend. There’s also the fact that Casper’s girlfriend (Zoe Levin) has just informed him she’s pregnant. More generally troubling is Casper’s tendency to get in fights and disappoint the people around him. Dominic’s gotten used to people asking him “Why do you hang around with this guy?”, and he has a stock answer about Casper being the antithesis of the small-town boredom that prevails.

Co-writers/directors Aron Gaudet and Gita Pullapilly go for a raw texture that shuns the well-scrubbed edges of the average teen picture; some scenes aim for a quasi-documentary style, others look partly improvised. The filmmakers haven’t been able to avoid certain hallmarks of the genre, including third-act revelations and scenes of teachers offering subtext through literary analysis (S.E. Hinton’s The Outsiders, in this case). Cohen’s performance dominates the film; the young actor from The Place Beyond the Pines is a rangy kid, quick to ignite. His authentic explosiveness, a welcome break from the overall funk, can’t lift this one out of the category of a well-intended nice try. ROBERT HORTON

discloses his secret to student journalists at the California high school he once attended. Are you scared of being deported? one girl asks. Yes, says Vargas, “This is definitely the riskiest thing I’ve ever done.” That he should share his feelings so forthrightly is one more reason to like him.

As this commendable doc wears on, however, through speeches, Senate hearings, and a polite protest at a Romney campaign rally in Iowa, you get the sense that Vargas—now apparently a freelancer—doesn’t really know what to do next, professionally and personally. Having shared in a Pulitzer at The Washington Post, he’s now tipped over into activism-land. Almost 30 when the film begins, he hasn’t seen his mother in 18 years because he can’t travel back the Philippines, lacking a passport for re-entry. He’s in limbo, too, being gay despite a conservative Catholic family. And perhaps because his emphasis here is on immigration reform and the Dream Act (still stalled in Congress), he’s a little coy about

NEIL DAVIDSON/MAGNOLIA PICTURES

Opening ThisWeek

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arts&culture» Film

BY BRIAN MILLER

Local & Repertory AS YOU LIKE IT Tom Courtenay and Julie Christie star

mainstage

dinner & show

WED/MAY 28 • 7:30PM

the bgp w/ aijia

in 1963’s Billy Liar, about a clerk whose imagination gets the better of him, sensitively directed by John Schlesinger. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thurs., 7:30 p.m.

DIRTY HARRY Directed by Don Siegel, this 1971 bad-cop flick made Pauline Kael and liberals everywhere hate the now-revered Clint Eastwood. Who, let’s remember, didn’t write that iconic role, and whose mature films as director have since shown all the ambiguities of violence and revenge (see Mystic River especially). It’s a brutal, quotable benchmark of the Nixon era. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6-$8. 9:30 p.m. Fri.-Weds.

GODARD DOES HIMSELF With his Cannes-selected Goodbye to Language possibly marking Jean-Luc Godard’s farewell to cinema (he being 83), here’s a chance to sample three of his classics: Alphaville (1965), Le Petit Soldat (1963), and Contempt. In the latter, of course, the fateful decision of an ambitious screenwriter (Michel Piccoli) to let his young wife (Brigitte Bardot) ride in a red Alfa with a lecherous movie producer (Jack Palance) bodes poorly for their marriage. Godard’s 1963 film is about many things: moviemaking satire, Homer’s Odyssey, lost idealism, and the interrelationship between art and life (with cinema always the valance between). But through the Mediterranean colors and CinemaScope lenses, it’s the gradual, ineluctable dissolution of marital trust that haunts you. See nwfilmforum.org for exact schedule.

(NR) B.R.M. Northwest Film Forum, 1515 12th Ave., 267-5380. $6-$11. Fri.-Thurs.

THE NEW BLACK Yoruba Richen’s recent documentary follows Delaware’s 2012 ballot referendum Question 6, which asked voters to uphold or affirm the Democratic legislature’s new marriage-equality law. As with our Referendum 74 and California’s Proposition 8, out-of-state money and the religious right invested in a local fight; but what makes Richen’s film so valuable is its focus on the black faith community. She treats both sides non-judgmentally: Pastors fret about the rise from slavery to respectability being tainted by scandalous sex talk; activists patiently doorbell households that are inclusive inside, but Scripture-spouting on the stoop.

Propriety is important. The topic is still fraught for African-Americans—“dual oppression” versus “black first,” says one advocate. Even a preacher who’s come around to the pro-equality camp can joke of the traditional black church’s view of homosexuality as “a white man’s disease.” Panel discussion follows. (NR) B.R.M. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. Noon. Sunday.

VERTIGO Alfred Hitchcock’s 1958 masterpiece recently bumped Citizen Kane off the top of the decadal Sight & Sound poll. No, I didn’t vote, but I rank the film as the the most emotionally resonant tragedy of Hitchcock’s long career. Jimmy Stewart is the San Francisco cop, afraid of heights, who falls for Kim Novak, loses her, and then gradually loses his mind while trying to recreate her image with another woman (also Novak, unbeknownst to him). The psycho-thriller is less overtly Freudian than, say, Psycho, but plunges deepest into the psyche of a guy so in love with a dead woman (who claims to be a reincarnation) that his urges push a live woman—who can’t live up to his ideal—to her death. Also note Saturday and Sunday matinees at 3 p.m. (NR) B.R.M. Central Cinema, $6-$8.

7 p.m. Fri.-Weds.

• THU/MAY 29 • 7PM & 10PM

an evening with vicci martinez FRI/MAY 30 • 8PM

gypsy soul SAT/MAY 31 • 8PM & 11PM - SQUARE PEG PRESENTS

johnnyswim SUN/JUNE 1 • 7:30PM

throwing muses w/ special guest tanya donelly

MON/JUNE 2 • 8PM - SCARECROW VIDEO PRESENTS

movie mondays :: searching for sugar man WED/JUNE 4 • 7:30PM - FREE SHOW!

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

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next • 6/5 siff justin kaufman trio • 6/6 flamenco de raiz • 6/7 dar williams • 6/8 amy g • 6/9 movie mondays: big star: nothing can hurt me • 6/10 & 11 jack jones• 6/12 niyaz • 6/13 josh rouse w/ doug paisley • 6/14 bluestreet jazz voices • 6/15 johnette napolitano • 6/17 aoife o’donovan w/ kristin andreassen • 6/18-20 benise • 6/21 jay & silent bob get old live! • 6/21 kevin smith presents edumacation

happy hour every day • 5/28 science! • 5/29 smoke and honey • 5/30 the djangomatics / money jungle • 5/31 closed for a private event from 7pm until 11pm • 6/1 charles mack • 6/2 crossrhythm session • 6/3 singer-songwriter showcase featuring: the royaloui,willow&theembersandjeremyserwer•6/4fawcettsymons&fogg 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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Ongoing

• BELLE The English Belle, based on a true story,

inspired by an 18th-century painting of two cousins— one black, one white—never lets you doubt its heroine’s felicitous fate. Dido (Gugu Mbatha-Raw) is born with two strikes against her: She’s the mulatto daughter of a kindly English naval captain who swiftly returns to sea, never to be seen again; and she’s female, raised by aristocratic cousins in the famous Kenwood House (today a museum), meaning she can’t work for a living and must marry into society—but what white gentleman would have her? Writer Misan Sagay and director Amma Assante have thus fused two genres—the Austen-style marriage drama and the outsider’s quest for equality—and neatly placed them under one roof.

The guardians for Dido and cousin Elizabeth (Sarah Gadon) are Lady and Lord Mansfield (Emily Watson and Tom Wilkinson); the latter is England’s highest jurist who in 1783 would decide the Zong case, in which seafaring slavers dumped their human cargo to claim the

insurance money. Yes, there are suitors for both girls; and yes, there are rash proposals, teary confidences, concerned aunts, unexpected inheritances, and significant walks in the park. Yet Dido’s slavery-equality dilemma deepens the usual courtship complications.

Belle never surprises you, but it satisfyingly combines corsets and social conscience, love match and legal progress. (PG) B.R.M. Guild 45th, Lincoln Square, Pacific Place COLD IN JULY The genre of Cold in July is the moderndress Western, drawn from a novel by Joe R. Lansdale.

Richard (Michael C. Hall), a mild picture-framer in a Texas town, shoots a home intruder in the opening scene. It’s the 1980s, which we know because Dexter star Hall sports a hideous mullet. The dead man was a real bad guy, and Richard was protecting his wife (Vinessa Shaw) and child; in fact the shooting is so justified that the sheriff (screenwriter Nick Damici) is downright eager to bury the body and close the case.

Alas, the dead man’s hard-case father (Sam Shepard) shows up in menacing form—his introduction, suddenly looming within the off-kilter frame of a car window, is one of director Jim Mickle’s visual coups.

His previous films, Stake Land and We Are What We Are, delved into horror, but with wry detachment and flickering humor. Cold in July is an uneven but densely packed drama that also contains some alarming shifts in tone—suddenly we’re careening from suspenseful noir to buddy-movie hijinkery to solemn vengeance against the purveyors of snuff movies. One of the bigger shifts comes with the arrival of a private detective (Don Johnson, whose good-ol’-boy routine temporarily dissipates the film’s tension). Based on his previous work, these radical turns seem intentional on Mickle’s part—momentarily confusing as they might be, they keep us alert and wondering what kind of movie we’re watching. Mickle might be just a couple of steps from making a masterpiece, and while Cold in July is certainly not that, “stylish and unpredictable” is not a bad foundation on which to build. (R) ROBERT HORTON Sundance FED UP Narrated by Katie Couric, Stephanie Soechtig’s advocacy doc is slickly made, studded with food gurus (Michael Pollan, Marion Nestle, etc.), and sympathetic to the sad young teens we see struggling with obesity. Yet heredity is only part of our four-decade obesity epidemic, which the filmmakers convincingly trace back to a collision between industry and regulators. On the one hand, the FDA is supposed to keep our food healthy. On the other, the USDA’s goal is basically to sell as much food as possible—including corn; and from that, high fructose corn syrup. Which side do you suppose is winning? “It’s fair to say the U.S. government is subsidizing the obesity epidemic,” says Pollan, who then pauses a beat. “Indirectly.” Fed Up convincingly argues how the processed food industry has so successfully engineered its products since the ’70s to be addictive yet never sating. Willpower counts for little (ask any alcoholic or junkie). “We are not going to exercise our way out of this obesity problem,” says one nutritionist. Viewers will not be surprised when parallels to Big Tobacco are explicitly drawn. (PG) B.R.M. Varsity THE GRAND BUDAPEST HOTEL By the time of its 1968 framing story, said hotel has been robbed of its gingerbread design—the first of many comments on the importance of style in Wes Anderson’s latest film.

A writer (Jude Law) gets the hotel’s story from its mysterious owner, Zero Moustafa (F. Murray Abraham, a lovely presence). Zero takes us back between world wars, when he (played now by Tony Revolori) began as a bellhop at the elegant establishment located in the mythical European country of Zubrowka. Dominating this place is the worldly Monsieur Gustave, the fussy hotel manager (Ralph Fiennes, in absolutely glorious form). The death of one of M. Gustave’s elderly ladyfriends (Tilda Swinton) leads to a wildly convoluted tale of a missing painting, resentful heirs, a prison break, and murder. Also on hand are Anderson veterans Adrien Brody, Willem Dafoe, Bill Murray, Jason Schwartzman, and Owen Wilson—all are in service to a project so steeped in Anderson’s velvet-trimmed bric-a-brac we might not notice how rare a movie like this is: a comedy that doesn’t depend on a star turn or a high concept, but is a throwback to the sophisticated (but slapstick-friendly) work of Ernst Lubitsch and other such classical directors. (R) R.H Cinebarre, Guild 45th

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» Music

The Space Between Love and Hate

SevenNights E D I T E D B Y G W E N D O LY N E L L I O T T

On her latest, Joan Osborne considers relationships in a new light.

BY BRIAN PALMER

I

t is inevitable that for some people, Joan Osborne will always be known as the singer/songwriter who asked us to consider what life would be like if God were “One of Us,” the alternative smash hit from her 1995 major-label debut Relish. But in the two decades since, Osborne has built an impressive discography and proven that a bluesy, soulful voice like hers only gets better with time, even if it no longer produces mega-hit singles.

Her eighth studio album, Love & Hate, is her most ambitious project yet as it examines the emotional landscape that fills the space between falling in and out of love, instead of zeroing in on either of those two bookends. Osborne recently spoke with Seattle Weekly about this long-in-the-works labor of love, what inspired her to take on such largely underserved subject matter, and how it never hurts to have amazing musicians and singers as friends.

“We’re not in our 20s anymore, so if something goes wrong in a relationship, you can’t just move on or dump somebody.”

Thursday, May 29

PETE YORN has gained most notoriety recently for his

CHASTITY BELT (not to be confused with emo band The

partnerships—including Break Up, his overrated 2009 album with Scarlett Johannsen, and last year’s underrated album with fellow L.A. songwriter J.D. King, as the Olms. This tour, though, sees the veteran songwriter alone with a couple of acoustic guitars, reprising his You & Me series of acoustic shows in record stores back in 2006. What songs he’ll play is anyone’s guess. Yorn hasn’t released a solo album since 2010, and though he’s said he’s been boning up on his back catalog, he also has no idea what will come out once he hits the stage. It’s a little frightening, but definitely intriguing for those who recall the breakout release of “Life on a Chain” in 2001 and Yorn’s subsequent emergence as a more camera-friendly Jay Farrar. This is the perfect setting to revisit the songwriter, and perhaps an great setting for him to revisit his deeper talents. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile. com. 8 p.m. $35 adv. MARK BAUMGARTEN “What does dj set mean?” wonders the sole commenter, Alex Rodriguez, on the ANIMAL COLLECTIVE DJ SET event page at Neumos.com. It’s a good question—what does a DJ set look like by a group better known for its singular brand of experimental psych rock and explosive, freak-out vocals? For such a band, perhaps it’s better to ponder the mystery; in fact, we might all get used to the idea. In the past month alone, Lil Jon, Purity Ring, and Beat Connection have all rolled through town pimping DJ sets of their own, and tonight kicks not one but two nights behind the turntables for AC—that’s Avey Tare, Panda Bear, Deakin, and Geologist. But if you must know, Alex, we’ve learned that three-fourths of the band will be on hand (minus Panda Bear, who’s currently on a solo tour) and that they will indeed be spinning records. With Veins + DJ Explorateur. Neumos, 925 E. Pike St., 709-9442, neumos. com. 8 p.m. $10. Through Thurs. (8 p.m., SOLD OUT) GWENDOLYN ELLIOTT Love or hate her, it’s hard to deny that LADY GAGA is captivating. Since releasing The Fame in 2008, she’s held the world’s attention with meat dresses, questionable collaborations, controversial keynotes, and even a male alter ego. With a seemingly endless supply of

You have a lot of great help on this record— Jack, Wilco’s Nels Cline, Spin Doctors’ Aaron Comess, Amy Helm, and others. How did this affect the creative dynamic of the album?

There are amazing players on the record who I also work with live a lot, so there’s a level of comfort there, having your friends in the studio. We all know each other’s strengths, so there was great communication. It was nice to be able to call up friends of mine who also happen to be staggeringly talented. It’s like you’re just calling friends to come over and do music with you. E

music@seattleweekly.com

JOAN OSBORNE With The Holmes Brothers. Dimitriou’s Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. $34.50. All ages. 7:30 p.m. Thurs., May 29– Sun., June 1; also 9:30 p.m. Fri.–Sat.

CRAIG CAMERON OLSON

How much did you draw from autobiographical experiences, and how much was just backing up the lens and examining the world around you?

It’s both. I think this is an interesting time to think about love and relationships because myself, my friends, and my family, we’re not in our 20s anymore, so if something goes wrong in a relationship, you can’t just move on or dump somebody. You’re committed to people at this point in your life. You have children, you have homes, you’ve built a life together, so there’s much more at stake and you can’t just walk away from things so easily. You have to get into the mess and the muck and work it out, and that is a very interesting terrain to explore, definitely as a person, but also as a writer.

Wednesday, May 28

Pete Yorn plays an acoustic set Wednesday at the Crocodile.

Promise Ring) offers the perfect blend of dreaminess, moodiness, and humor. The band adopts a youthful, punk, devil-may-care attitude with its intentionally misspelled debut, No Regerts. For example: songs like “Nip Slip,” “Giant (Vagina),” and “Pussy Weed Beer.” With S, Jon Atkins. Barboza, 925 E. Pike St., 709-9442, thebarboza.com. 8 p.m. $8 adv. 21 and over. DIANA M. LE Though they’ll be best remembered for 1985’s nonsensical college-radio hit “Take the Skinheads Bowling,” CAMPER VAN BEETHOVEN was influential in the era’s burgeoning college-rock scene, a smart-alecky antidote to R.E.M., U2, and the Smiths. “All our peers were writing songs that were full of meaning,” singer David Lowery wrote of the band’s signature song on his blog. “It was our way of rebelling.” After a handful of critically acclaimed albums, the band imploded, and Lowery found some commercial success fronting Cracker in the ’90s. Fast-forward 20 years and both bands are active, with CVB busier than ever. Last year’s La Costa Perdida, a concept album about Northern California, will be followed by June’s El Camino Real, focused instead on Southern California. “On La Costa Perdida, the ocean is calm, benevolent and feminine,” Lowery said recently. “On El Camino Real, the sea is filled with darkness, secrets and chemicals.” With Miller and Sasser. Chop Suey, 1325 E. Madison St., 3248005, chopsuey.com. 7 p.m. $18 adv./$20 DOS. 21 and over. DAVE LAKE You’ve got to give it to Seattle quartet SAN JUAN; the band knows how to package its music. With a name derived—it seems—from the nearby island chain and a debut release called Horizons with rippling waters on the cover, you expect mellow island music. That’s pretty much what the band delivers: six luminous songs that rarely outpace a mid-tempo stroll and largely showcase the pleasant harmonizing duet of Kyle R. Andrews and Amie Rippeteau. Like the ripples on the water, though, there is subtle agitation here, from brief, bluesy electric-guitar solos on “Braves” (a song about the baseball team) and “Out There” (which also includes a rare bit of blues shouting from the duo) to the darker Elliott Smith–like instrumentals that open

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

Osborne: When my co-producer, Jack Petruzzelli, and I started working on it about six years ago, we actually had something different in mind. As sometimes happens, you start something and then you realize in the middle of it that it wants to be something other than what you thought it was going to be.

We wanted to make a lush, atmospheric record like Van Morrison’s Astral Weeks or Nick Drake’s Pink Moon. But as the songs came together, it seemed that the record wanted to be about romantic love.

The thing I have noticed with romantic songs in popular culture is you tend to get either a song about the beginnings of a relationship when you’re falling in love with somebody and singing their praises, or about the end where you’re done and you’re kicking them to the curb, or they’ve kicked you to the curb and you’re blue and miserable. There’s not that much out there about that difficult terrain in between those two points, about just being in love with someone and trying to navigate that territory. So I wanted to write songs about those different aspects of love.

We think we know what love is, but in a way it’s like a beam of white light: If you shine it through a prism, you see that it’s made up of all these different colors. Love has all these different aspects and ingredients—passion, wonder, spirituality, power struggles, jealousy, hate, anger.

JEFF FASANO

SW: What was your mindset like heading into the making of Love & Hate?

creativity—or is that don’t-give-a-fuck ’tude?—Gaga’s most unconventional concepts are surely still ahead of her. Key Arena, 305 Harrison St., 684-7200, keyarena. com. 7:30 p.m. $42 and up. All ages. AZARIA C. PODPLESKY

31

COURTESY OF THE ARTIST

arts&culture» Music

Lady Gaga brings the ARTPOP ball to the Key on Wednesday.

“Six of Us” and closer “Obstacles.” A longer album might feel somewhat adrift—like a Jack Johnson affair—but these six songs serve as a nice introduction, showing a band capable of more, if it is willing to venture into darker waters. With The Bluebird, Smoke Perkins and the Filthy Falcons. Columbia City Theater, 4918 Rainier Ave. S., 722-3009, columbiacitytheater. com. 8 p.m. $8 adv./$10 DOS. MARK BAUMGARTEN For anyone who grew up in the ’80s, the brooding piano in “Still Knocking at the Door” off Life Among the Savages, the lastest from Jason Quever, aka PAPERCUTS, will instantly recall Tears for Fears’ iconic solo in “Head Over Heels.” Intentional or not, these things happen; just ask Louis C.K. about the jokes Dane Cook stole from him: “They just snuck in there.”

But Quever, like Brian Wilson on morphine, can count his imitators too. Locals Tomtem, which opens tonight, recorded its latest, The Farewell Party—forthcoming this August on Versicolor—with the songwriter. Yet both groups have a slightly different edge: Tomtem leans more upbeat, a la Sufjan Stevens, while Papercuts is more mopey, like Midlake, Bill Callahan, or Cass McCombs. Baroque pop, they call it (and we all know who invented that genre). With EDJ of the Fruitbats. Tractor Tavern, 5213 Ballard Ave N.W., 7893599. 8 p.m. $12. GE

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

Friday, May 30

32

Boy/girl alt-rock duo BLOOD RED SHOES play noisy guitar rock that oozes cool and was perfect for the Scott Pilgrim vs. the World soundtrack. The pair cites Sonic Youth as one of its main influences, which is perfect because they totally look like the offspring of Kim Gordon and Thurston Moore. With Radkey, the Mad Caps. Barboza. 7 p.m. $10 adv. 21 and over. DML METALACHI, a mariachi group that covers classic metal tracks, may sound like a gimmick at first. Hearing Ozzy Osbourne’s “Crazy Train” performed with horns and melodramatic baritone vocals can seem like a stretch.

But maybe there isn’t that big a difference between the genres: Metal doesn’t have the same cultural reverence, but is steeped in its own history and lore.

Traditionally, mariachi is meant for dancing and playing at special occasions like weddings, baptisms, and funerals. While you likely won’t hear Metallica at someone’s wake, there’s still a celebratory and theatrical aesthetic to the music. Slayer’s pivotal 1986 record Reign in Blood is track after track of adrenaline-inducing riffs. When Metalachi takes on “Raining Blood,” the intensity remains, but the thematic lyric “Now I shall reign in blood” becomes a cause for partying instead of self-deprecation. Metalachi’s reinterpretation, intentional or not, sheds light on some of the subtleties in metal hidden behind all the distortion. With Stay Tuned, The Jilly Rizzo. El Corazon. 109 Eastlake Ave. E., 3813094, elcorazonseattle.com. 8 p.m. $12 adv/$15 DOS. 21 and over. DUSTY HENRY

Saturday, May 31 SEAN NELSON On July 29, Harvey Danger’s Where

Have All the Merrymakers Gone? will get a massive vinyl reissue. Often on such occasions, bands and critics take the time to reflect on their legacy (and surely in this case, somewhere a thinkpiece on hit single “Flagpole Sitta” will emerge). But that would do a disservice to what frontman Sean Nelson has built since the band’s split. Last year the songwriter released Make Good Choices, his first solo record, which shows his evolution from pop-punk front man to bona fide pop songwriter. He hasn’t abandoned raucous guitars altogether (hear the album’s title track), but his quiet moments at the piano exemplify his knack for melody and poetry, and short vignettes like “Ski Lift Incident,” in which a Christian woman asks him when life begins, shine light on Nelson’s wit and charm.

We saw glimpses of this on Merrymakers in tracks like “Wrecking Ball,” but the years spent perfecting his craft since then have been fruitful. With Anthonie Tonnon, The Colt Kraft Band. Columbia City Theater.

8 p.m. $10 adv./$12 DOS. 21 and over. DH

Monday, June 2

PIGEON JOHN came up in the Good Life scene, honing

his skills among some of Los Angeles’ most experimental rappers. His sixth studio album, Encino Man, juxtaposes his typically positive, upbeat—some even say Christian—lyrics with a darker, more blues-influenced chronicle of his divorce. With Grayskul, Rafael Vigilantics, A.S.H.E.S. the Chosen, Larry Hawkins, Brutha. Chop Suey. 8 p.m. $12 adv./$14 DOS. MICHAEL F. BERRY

Tuesday, June 3

Forming in Illinois in 1990, guitar/drum duo LOCAL H got its major break in 1996 when alternative-rock radio picked up the tracks “Bound for the Floor” and “Eddie Vedder” from the record As Good as Dead. While the band would never replicate that success, several lineup changes and releases—most recently 2012’s Hallelujah! I’m a Bum—have tried. With Bad Veins.

El Corazon. 8 p.m. $13 adv./$15 DOS. 21 and over.

JAMES BALLINGER VICTOR WOOTEN’s day job is playing bass for Bela Fleck and the Flecktones, but the five-time Grammy winner has made nearly as many records as a solo act. Though you couldn’t describe many bass players as “shredders,” Wooten is nothing short of that, without being short on soul as well. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. 8 p.m. $26.50 adv./$30 DOS. DL Send events to music@seattleweekly.com.

See seattleweekly.com for full listings.

Organized Chaos

1303 NE 45TH ST

(5/29) After McCleary Opportunity and Funding in Washington’s Education System

Debacle Fest is the picture of Northwest weird.

BY KELTON SEARS

I

n her words, Rachel LeBlanc is the official “lieutenant” of Seattle underground experimental label Debacle Records. The first time she interacted with the imprint was when she unknowingly attended a Debaclesponsored show at the Josephine.

of the rare times they play is at Debacle.”

According to LeBlanc, most the bands at Debacle Fest rarely play out, making the weekend something of a treasure trove for adventurous music-lovers looking for something they couldn’t see otherwise.

The festival this year will feature a record-label fair, at the Black Lodge during the day before the performances start, where a slew of Seattle’s colorful underground record imprints will have a chance to sell all their wonderful and bizarre releases. Translinguistic Other’s catalog of ritualistic Jungian music, Hanged Man’s crust-covered cassette collection, and Eiderdown’s melting, psychedelic soundscapes are just a few of the labels who’ll peddle their hard-to-find goods.

But you won’t find just records at the bazaar. “I just got contacted by a guy who makes his own noisemakers that harsh noise guys use,” LeBlanc says about a potential vendor. “One is this plaster skull that he drilled holes into so that the knobs come out of the top.”

Following the fair, a maelstrom of weirdness will be unleashed upon Eastlake, where 23 bands will glob into three stages scattered over Lo-Fi, Victory Lounge, and Black Lodge to blow everyone’s minds from the furthest of left field.

“It’s $10 for 23 bands you probably won’t see anywhere else, all in one place,” LeBlanc says.

“You really can’t beat that.” E

(5/30) Camp Jitterbug presents Jump Session Show (5/31) Seattle Peace Chorus: Origins: Balkan Song and Dance

© CCC/D. Greyo

(6/2) Lissa Ongman Saving Chimpanzees (6/3) Dan Barber with Nancy Leson The Future of Sustainable Food (6/4) Washington Policy Center: Introducing New Washington Charter Schools (6/4) David Sax Tastemaking Food Trends (6/5) PZ Myers An Atheist’s Insight (6/5) Seattle Arts & Lectures: Rebecca Solnit (6/7) Seattle Girls’ Choir: All-Choir Spring Concert (6/7) Hempfest presents: ‘Bringing it Home’ and Hemp Roundtable (6/7) Seattle Atheists: Peter Boghossian Street Epistemology (6/9) Josh Cowgill Just Garden Project

ksears@seattleweekly.com

DEBACLE FEST See debaclefest.com for Eastlake venues. $10. 1 p.m. Sat., May 31.

Opening ceremony with Danny Paul Grody, Spectrum Control, Chris Davis, and more at Cairo, 507 E. Mercer St., templeofcairo.com. $5. All ages. 7 p.m. Fri., May 30.

(6/9) Yoram Bauman Climate Change Humor & CULTURE COMMUNITY (6/9)SCIENCE JackARTS Devine with Mark Wright WWW.TOWNHALLSEATTLE.ORG Inside the CIA TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY TOWN HALL

CIVICS

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

“This band called Forest Friends were playing a packed room. One guy in the band is . . . picking up one of those little-kid boom boxes with the microphones attached, and suddenly he disappears,” she says. “He reappears in the crowd a second later wearing a fuzzy stuffed bear hat, a furry vest, [playing] a kazoo, and he starts parading around and going ‘doot-doo-doot-doo-doo’ in everyone’s face. I was like, ‘What the fuck is this? This is blowing my mind right now.’ ” Welcome to Debacle Fest.

Now seven years strong, Debacle Fest is a showcase of the Pacific Northwest’s best musical freaks and weirdos—one magical weekend when the noise-loopers crawl out from their bedrooms, the warbling, guitar-strumming psychonauts scurry out from the woodwork, and the dronemakers finally get to pummel other people with the jagged sine waves they’ve summoned from their analog modular synths.

“The genres are all over the place,” LeBlanc says. “Which is hard for branding sometimes.”

True, the roster of Debacle Records is hard to put your finger on. But that’s part of its charm. It was founded by Samuel Melancon, who began with a simple idea—“Here is my taste, small unknown people I want everybody to know about and share”—and its talent veers all over the place from the foresty Northwest punk of Zephyrs to the Haitian-inspired, jazz-infused drum liturgies of King Tears Bat Trip (who’ll release its debut LP on a picture disc at this year’s festival).

Debacle Fest is a chance for Melancon and LeBlanc, Melancon’s second-in-command, to release these underdogs to the world lest they spend their whole existence in a garage in a suburb.

“Take L.A. Lungs,” LeBlanc says, referring to a Seattle-based New Age project—with an album called Cryptic Snuggling—that’s played the fest

each year. “Here’s a married couple who have been working hard on the underground Northwest scene. The guy in the band actually ran the Olympia Experimental Music festival for a couple of years and they have great connections, but hardly anybody knows about their wonderful music. One

COURTESY OF DEBACLE FEST

Debacle band Sutekh Hexen.

(5/28) Matthew Kroenig The Case for Attacking Iran TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY

33

arts&culture» Music NTw.RlitYtlereMdhUenS.coICm LIVE COUww THURS MAY 29TH

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WEDNESDAY, MAY 28

TYLER WARD with Brynn Elliott, Matt Bacnis Band, Amanda Markley, Hatters For Hire, Lover Fighter and Steven Curtis. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

SEATTLE WEEKLY • MAY 28 — JU NE 3, 2014

WEDNESDAY, MAY 28

34

THE VEER UNION with Blacklite District, Righteous Vendetta, The Skins and The Heyfields Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

THURSDAY, MAY 29

ISAIAH DOMINGUEZ with Brooks Carlston, Moongrass,

Good As New and Greasy Spoon Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS

FRIDAY, MAY 30

METALACHI (THE WORLD’S FIRST

AND ONLY HEAVY METAL MARIACHI BAND) with Stay Tuned and The Jilly Rizzo Doors at 8 / Show at 9PM 21+. $12 ADV / $15 DOS

SATURDAY, MAY 31

ENVISIONIST with Heiress, Prestige, Creature Of The Deep, Never Met A Dead

Man, Navigator, Among The Mayans and Taker. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS Afterparty with Brothanature & Crimewave

SUNDAY, JUNE 1

WE ARE THE CITY with Jordan Klassen, The Experience

and Precious Little Darlings Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, JUNE 2 Take Warning Presents:

BANE with Trial, Turnstile and Take Offense. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $12 ADV / $14 DOS

TUESDAY, JUNE 3 Mike Thrasher Presents:

LOCAL H with Bad Veins and Jaded Mary Doors at 7 / Show at 8PM 21+. $13 ADV / $15 DOS

JUST ANNOUNCED 6/28 WILD THRONE / WITCHBURN 7/18 LOUNGE SEAWAY 7/23 LOUNGE SHARKMUFFIN 8/1 SET IT OFF 9/1 LOUNGE PIÑATA PROTEST 9/30 AMON AMARTH UP & COMING 6/4 THE GODDAMN GALLOWS 6/4 LOUNGE TWO CAR GARAGE 6/5 MICHALE GRAVES 6/5 LOUNGE LECHEOUS NOCTURNE 6/6 THE MEATMEN / SNFU 6/7 NICE PETER (EPIC RAP BATTLES OF HISTORY) 6/7 LOUNGE OLD MAN MARKLEY 6/8 LOUNGE LIARS START FIRES 6/9 GEMINI SYNDROME 6/9 LOUNGE JESS J 6/10 A WILHELM SCREAM 6/11 TRUTH UNDER ATTACK 6/11 LOUNGE CITYCOP 6/12 LOUNGE VISITORS 6/13 RATS IN THE WALL 6/14 MONETA 6/14 LOUNGE FAREWELL MY LOVE 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

LocaLReLeases Kairos, Kairos EP (out now, Fin Records, finrecords.com) Trained in classical clarinet, Lena Simon (Pollens, Tomten, Throw Me the Statue, and most recently La Luz) is nothing if not teasingly diverse. Kairos is the 24-yearold Cornish grad’s solo project, showcasing her talents as a multi-instrumentalist and vocalist. Simon performs almost every instrument on this six-track EP, resulting in a carefully curated labor of love—one that elects not to include two tracks she dropped in advance of its release, “That Which Does Not” and “Undermine.”

Instead, she opens with the down-tempo “Casanova,” marked by dreamy, wistful vocals that immediately envelop you in a warm, comfortable sadness. “Dirt & Grit” stands out as the most instrumentally elaborate, taking us on a wonderful and strange spacy journey guided by Simon’s lush, silvery voice. The record ends with its first single, “Can/Cannot,” a song about the ache of holding on and letting go. From a new solo artist who has certainly proven her promise, these 23 minutes are well worth your time. DIANA M. LE

Other upcoming local releases: Soundgarden, 20th Anniversary Superunknown

Reissue, A & M, 6/3

Wheedle’s Groove, Seattle Funk, Modern Soul &

Boogie Vol. II CD & 2xLP, Light in the Attic, 6/3

Rose Windows, There is a Light 7”, Sub Pop, 6/10 Darto, Hex, Mother Image, 6/28

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NO PHONE CALLS PLEASE. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department.

Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.)

If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

Attention Women!

Learn Skills to Pay the Bills.

We train women for nontraditional employment.

To find out more, Call ANEW 206.381.1384 www.anewaop.org Real Estate for Sale King County

Carnation Regal Residence! Luxury 2 Story! 4 Bdrms 3 Baths, 3492sqft, Huge Garage.

FHA & 203K Eligible. $410,504.

425-7667370; Realty West 206650-3908 Splendid Lake WA View!

Leshi! $549,900 3 Bedrooms, 2 Baths, 2240sqft + Garage. Totally Renewed.

425-766-7370 Realty West 206-6503908 Real Estate for Sale San Juan County EASTSOUND

3.98 ACRES FSBO Well, septic (3BR/2BA) and garage. $200,000 Call Harriet 360-3175745.

Real Estate for Rent Snohomish County ARLINGTON

COZY & PRIVATE 2 BR cottage. New carpet and laminate wood floors. Wooded setting with deck and off street parking. Easy bus & freeway access.

No smoke / pets. $890 mo, deposits, credit check, references req.

Call evenings 425348-5001.

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 Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

U-DISTRICT $450-$550 All Utilities Included!

Call Peir for more info (206) 458-0169

Announcements

NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180 Yard and Garden

BLACKBERRY

& BRUSH REMOVEL 4HAULING 4EXCAVATION 4BACKHOE & 4BOBCAT WORK 4Lot Clearing HConcrete, Asphalt Removal HStump Removal HSmall Bldg Demolition HLandscaping Services

Residential/Light Comm

253-261-0438

lic#garricl956cq,bonded,ins

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

Lead Generator for The Tree Industry Flexible Hours - Outdoor Position

Our Reps Average $20/ hour with Top Reps earning up to $50/ hour Do you have a Vehicle, Driver’s License & Smart phone? Apply today!

Set Your Own Hours.

Travel Allowance, Cell Phone Incentive & Medical Allowances Available.

Paid Orientation, Marketing Materials & Company Apparel Provided.

Our employees love working outdoors!

$500 Incentive Available after 60 days of Employment Apply at www.tlc4homesnw.com OR, Call our Corporate Office at 855-720-3102 Ext. 3304 or 3308

SEATTLE WE EKLY • MAY 28 — JU NE 3, 2014

Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to collocate antennas (existing location modification) on a 31-foot building rooftop located at 13033 NE 70th Place, Kirkland, WA 98033. Public comments regarding potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com.

Sound Publishing, Inc. is seeking a Marketing Development Coordinator to research, plan and implement market programs throughout the organization. This position acts as a consultant and resource to Sound Publishing’s National/Regional Advertising Sales team and senior-level management; and is responsible for developing and implementing brand, market, and account specific sales and marketing presentations. The successful candidate will bring extensive marketing/advertising experience in the print and/or digital media industry. Must be proficient in InDesign, Photoshop, Illustrator, Acrobat Pro, Microsoft Word, Excel, PowerPoint and html5; have the ability to communicate effectively; possess excellent presentation skills as well as basic math and English skills. Candidate will also be a problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. Position requires a Bachelor’s degree in Marketing or related field and three to five years of marketing/brand experience.

We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com

Employment General

35

Appliances

Appliances

Appliances

KENMORE FREEZER

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

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

Firewood, Fuel & Stoves

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

Classified

Call

@ 206-623-6231, to place an ad #1 INTERNET OPPORTUNITY Adult Ent. Website. (Recession proof business) Join the Billion $$ Industry. Everyone approved.

E-commerce incl. Make over $100K + this year.

CALL NOW: 888-682-2305

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

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

WWW.KIRKLANDGOLDBUYER.COM 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

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

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

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

$100 TO $1000

7 Days * 24 Hours Licensed + Insured

ALL STAR TOWING

425-870-2899

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

facebook.com/seattleweekly

filtering the best of

THE NORTHWEST!

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

Receptionists

•

Bookkeepers

•

Administrative Assistants

•

Executive Assistants

•

Office Support Specialists

•

Legal Assistants

•

Office Managers

•

Accounting Assistants

•

Data Entry Personnel

•

Marketing Assistants

%206-244-6966% 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

Auto Events/ Auctions

FFFFFFFF

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

Triple J Towing DBA Smitty’s Towing #5081 will sell to the highest bidder select onsite vehicles on

05/30/14 @ 8:00am

Prior inspection will be from 7:00am - 8:00am.

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

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

TODD’S TOWING

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

425-888-3414 Public Auction

starts @ 10am on 5/31/14 Viewing Time 1 HR before Auction Automobiles Volvo 1991 VOLVO 4 dr Sedan,130K, white, good condition, too small, Must sell. $3000. 206819-7813

agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx

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

Pickup Trucks Ford

Auto Events/ Auctions

AM-PM TOWING INC

Abandoned Vehicle AUCTION!!!

206.386.5400

06/06/14 @ 11AM

Temporarily Yours Staffing

2000 HONDA CIVIC 450WGQ

1 Vehicle

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

Preview 10-11AM

“The friendliest and preferred agency”

14315 Aurora Ave N.

‘96 F250 XLT 4WD EXT CAB sleek glossy black!

Ready to roll for summer Pristine mechanical & cosmetic condition! Full tow pkg. Line-X Bed Liner. Non smoking. 94,000 miles. $10,995. 253-3355919.

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

D I N I NG

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