JULY 16-22, 2014 I VOLUME 39 I NUMBER 29
SEATTLEWEEKLY.COM I FREE
THE ULTIMATE DINNER PARTY (GUILT INCLUDED) PAGE 15 CAR RACE OR CONCEPTUAL ART? PAGE 17
LEFT BEHIND When the feds take away undocumented fathers, families must fend for themselves. BY THOMAS JAMES
» PAGE 9
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news&comment 5
KIDS ON TRIAL
BY VERNAL COLEMAN | A lawsuit
attempts to mandate legal representation for underage detained immigrants. Plus: We’re havin’ a heat wave; gunning for votes in eastern Washington; and a guide to the Mariners’ wild-card competition.
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TORN APART
BY THOMAS JAMES | Deportation’s
cruelest outcome: breaking up families.
»25 Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Terrence Hill, Reut Odinak
out a new catering service (and swallows her guilt).
Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, Vernal Coleman, 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
15 | FOOD NEWS/THE WEEKLY DISH 16 | THE BAR CODE
Production Manager Sharon Adjiri
food&drink
15 RENT-A-CHEF
BY NICOLE SPRINKLE | Our critic tries
arts&culture 17 CLASH FOR CLUNKERS
BY BRIAN MILLER | Is it an auto race
or an art-car exhibit? Maybe both. 17 | THE PICK LIST 19 | OPENING NIGHTS | A Jane Eyre
musical and Shakespeare in the park. 20 | PERFORMANCE 21 | VISUAL ARTS & BOOKS
OPENING THIS WEEK | The arrest
of Whitey Bulger, an Eric Rohmer classic, and Spanish witches against the patriarchy.
25 MUSIC
The eagerly awaited returns of Tori Amos, Modest Mouse, and a legendary Spokane club. Plus a week of oldies at Chateau Ste. Michelle. 26 | THE WEEK AHEAD
odds&ends 31 | CLASSIFIEDS
Art Director Samantha Wagner Graphic Designers Jennifer Lesinski, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Anna Erickson ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Peter Muller, Erin McCutcheon Classifieds Account Executive Matt Silvie
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news&comment
Three Things We’ll Always Remember About Heat Wave 2014
Going It Alone
When unaccompanied minors are caught crossing the border, they enter a byzantine judicial process alone. Should the U.S. pay to get them lawyers? BY VERNAL COLEMAN
BY MATT DRISCOLL
Back in 2008, Congress passed an anti–human
proceedings, says that at least part of the money will be used to beef up a program that provides detainees with a basic understanding of their options under immigration law, and to help identify potential professional legal counsel. The office, which oversees two Washington state immigration courts in Seattle and Tacoma, already subcontracts with various nonprofit legal-advocacy groups to provide that service to just-detained immigrants. The rest of the funds will be used to hire additional immigration judges to help speed the adjudication process and new detention centers to house unaccompanied minor immigrants, but not for lawyers to actually represent the minor children like the ones listed in the lawsuit. This is not an adequate solution, says Barnes. “One of our big concerns is that the government is talking about expediting these hearings,” he says. “If that happens, there’s a real concern that you’re going to have kids who are in an even worse position not having legal representation in a sped-up proceeding.” E
vcoleman@seattleweekly.com
TOM HARPEL
outrage machine » WSDOT Takes Its Toll
Our blog post on the state’s plan to continue tolling on the 520 bridge during the impending I-90 closure, and the lack of communication between two state agencies that may have led to that plan, set off an Internet firestorm this week. Fingers were pointed. WSDOT got pissed. The Internet reacted. “Mismanagement & lack of responsible communication . . . not exactly a shocker!” —Wendy R., via Facebook “Oh BullS**t. You still have the power to suspend tolls; call a special meeting for crying out loud.” — Latron Smith, via seattleweekly.com “The 520 toll should be RAISED, not lowered if backups are expected.” —Scott Ogawa, via seattleweekly.com “This state couldn’t wipe its own ass w/o getting shit all over its hand.” —David A. Tige Turner V, via Facebook
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The Supermoon Holy
crap! Did you catch a look at the moon last weekend? It was freakin’ huge. And so super! Well done, moon! You almost made us forget how terribly hot it is . . . at least for a minute. The Sunset Ha! You didn’t think the sun was going to let the moon outdo it, did you? Not a chance. Judging by the reaction on our Facebook feed, Sunday night’s sunset was easily an All-Time Top Five Sunset. Meteorologists explain that we have midlevel clouds, a large amount of virga (or rainfall that doesn’t reach the ground), and some added particulates from the wildfires burning in Eastern Washington to thank for the show—a rare combination in the sky that Cliff Mass compares to “winning the Trifect at a horse race.”
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The Cat in Sunglasses
Seattle Mayor Ed Murray’s office really cares about you, and Heat Wave 2014 has made that clear. If you’re an old person, the Mayor’s Office has urged people to check on you. If you’re thirsty, the Mayor’s Office has urged you to drink plenty of fluids. If you’re a dog, child, or person “with mobility challenges,” the Mayor’s Office has urged people to avoid leaving you in parked cars. And if you’re just an average citizen sticking to a vinyl seat? Well, Ed Murray’s office has tweeted a GIF of a cat wearing sunglasses for you. Why? Because, when things get really hot, Ed Murray knows proper hydration and paying staffers to tweet cat GIFs can make all the difference. It just makes sense. E
mdriscoll@seattleweekly.com
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
trafficking law that gave new protections to children not from Canada or Mexico. It stipulated that asylum requests from those fleeing political or domestic violence in areas like Central America be adjudicated once they are detained for being in the country illegally. Six years later, the immense surge of children making the dangerous trip to the U.S. from countries like Honduras, Guatemala, and El Salvador has become a political football. President Obama last week requested $3.7 billion dollars in emergency funds to address the influx. A spokesperson for the Executive Office for Immigration, the department that oversees the system of courts that administer deportation
L
ook, we get it. People from other parts of the country think it’s stupid when Seattleites complain about the heat. And they have a point. Anytime it gets above 80 degrees in western Washington, the bitching and moaning is almost as insufferable as the temperature. Surely, to someone who’s survived summer in almost any other part of the country, the collective whining has to be downright comical. As we write this, for instance, it’s 98 degrees in Abilene, Texas. Ninety-eight degrees in Abilene, Texas, has to be as close to Hell as it gets. Still, there’s no denying it’s been crazy hot in Seattle—for an agonizingly long time. And the sweat stains haven’t been pretty. Judging by the hype, it seems certain we’ll always remember Heat Wave 2014—and the events that marked it. Such as . . .
ADAPTED FROM ICONS FROM THE NOUN PROJECT COLLECTION: “MOON” BY SEBASTIAN LANGER, “SUN” BY ADAM WHITCROFT, “CAT” BY MARTIN LEBRETON
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still the chances that they will be granted asylum are slim. ”If we’re going to bring people into a court and they’re going to stand in front of a judge—especially if they’re under 18—it’s a moral obligation that we give them the legal representation necessary to help make a defense,” Ekblad says. “The bottom line is that each of these kids qualifies for relief under the law,” says Matt Barnes, the Northwest Immigrant Rights Project’s legal director. “All they’ve maybe had is a general orientation about their rights. And then they have to represent themselves and submit a plea for relief against a trained lawyer.” Under current law, the parent or guardian of a child may represent them during deportation proceedings. But many—including kids even younger than FLB—are forced to either search for a pro bono lawyer or represent themselves, says Barnes. Pro bono attorneys are difficult to come by, says Casey Trupin, a child advocate helping with the lawsuit. “The problem is that the organizations that do that kind of work are stretched thin,” Trupin says. “It doesn’t pay. There’s no money, and you also have to have expertise in what is a very complicated area of law to do it successfully.”
n court documents, he’s referred to only as “FLB.” Son of what his advocates say was an abusive father, he dropped out of school to work and support his family. In 2013 he left his home in Guatemala to look for employment elsewhere. Eventually, FLB attempted to cross into the United States, where he was found near the border, detained, and eventually released into the custody of a family friend near Seattle. He was 14 at the time. One year later, FLB is still not old enough to obtain a driver’s license. And yet, over the next few months, he’ll have to navigate the byzantine system of immigration law. If not for the help he is getting from immigration advocates, he would have to do so without legal representation. That help is rare, but FLB’s situation is not. Earlier this month, former Seattle Police Department chief Gil Kerlikowske—currently an advisor to President Barack Obama—testified to Congress that 57,000 unaccompanied child immigrants have been apprehended and detained by U.S. officials since October 2013. President Obama has called the surge of minors crossing our borders—many of them, like FLB, from Central American countries—a “humanitarian crisis.” As it stands, the federal government does not have an apparatus for providing lawyers to represent those children, humanitarian crisis or no. And the law does not require it to. Immigrant advocates are trying to change that. Last week, a coalition of groups, including the Washington state–based Northwest Immigrant Rights Project, filed a federal lawsuit on behalf of FLB and seven other minor children facing deportation, challenging that not providing the children legal representation violates the U.S. Constitution. Four of those plaintiffs, including FLB, are currently living in Seattle after being released to guardians or family members. Bob Ekblad, the director of Tierra Nueva, an immigrant advocacy group operating out of Burlington, Wash., is standing in as guardian for a handful of the plaintiffs. The other three are from El Salvador. Their father was killed after he renounced his gang ties and established a rehabilitation center for youth who wanted to do the same, says Ekblad. Their mother, having been “greenlit” for assassination, fled to the U.S. Last year, the children, ages 10 to 15, attempted to cross the Mexico border to the United States to join her. Ekblad says that the children are some of the lucky few who have pro bono representation. But
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news&comment» Where Even Democrats Are Gunning for Votes
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Didier doesn’t much like the press—he was the only candidate who refused to show for an interview at the Yakima Herald-Republic—so he is getting his message out at public forums and through social media. Most recently he tweeted an endorsement from ex-Rep. Ron Paul, as well as his own views on a hot-button Supreme Court case: “Obama considers executive action after #HobbyLobby ruling. Another illegal act to buy votes when women can buy pills for just $10.” That kind of talk can get you elected in a congressional district where, since its formation in 1915, six of nine Congress members have been Republican. The last Democrat to hold the seat was now-Gov. Jay Inslee, beaten after one term by Hastings 20 years ago, forcing Inslee to move back to Seattle where he was born and run, successfully, in the 1st District.
SEATTLELAND
Still, it’s a crowded field, and other than raffling off guns and shooting elephants, what do you have to say to get elected in the far-out 4th? Dan Newhouse, a Republican state legislator and former state agriculture commissioner, has all the Right credentials: pro-lifer, pro-gunner, Obama critic, and NRA member. He also leads Didier in initial fundraising, $162,000 to $133,000. But his greatest press coverage was generated by Didier’s accusation that Newhouse had used state resources in his campaign (which Newhouse denied, saying Didier was “flinging mud everywhere”).
© CLINT DIDIER
TASTING FLIGHT
T
he communists in Seattle—as other parts of the state think of us—would likely have an easy time picking their candidate if they could vote in the 4th Congressional District. It would be the Democrat without the gun. Most of the rest of the crowd hoping to replace retiring 10-term U.S. Rep Doc Hastings of Pasco consists of Republicans vowing to junk Obamacare, impeach the president, repeal Roe v. Wade, restore gun rights, fight gay marriage, abide by their Godly beliefs, and oppose Seattlethink. This is the campaign in which one Republican, former Washington Redskins tight end Clint Didier, gave away BY RICK ANDERSON two handguns and an AR-15 semi-automatic rifle with a 30-round magazine to supporters at a July 4 sweepstakes. It got him so much positive press, he’s confidently thinking of holding a second raffle after the three-time Super Bowler wins the August 5 primary, he says. Even one of the two Democrats in the 12-candidate race, Estakio Beltran, a onetime aide to Sen. Maria Cantwell, is resorting to weapons as a campaign tactic. In an online video, Beltran is shown aiming at a stuffed elephant—the GOP symbol—with a shotgun and saying “They call me a long shot. They say I can’t win in this district. But what happens to an elephant when it stands around, doing nothing, for too long?” Boom! He withdrew the vid last week after former Democrat Rep. Gabrielle Giffords, the gunshot survivor from Arizona who promotes responsible gun ownership, issued a statement calling the ad “irresponsible and offensive.” The district’s Obama-loathing primary— mail ballots go out this week—is a reminder of our state’s great political divide: Red where the sun rises, Blue where it sets. And the 4th District constitutes its Far Red reaches, from central to southeast Washington—Adams, Benton, Douglas, Franklin, Grant, Okanogan, Walla Walla, and Yakima counties. It’s where a recent poll showed almost 70 percent of respondents opposed Obamacare. Sarah (“The many impeachable offenses of Barack Obama can no longer be ignored”) Palin is big there—the parents of the world’s most famous failed candidate and gubernatorial quitter are from the Tri-Cities. She endorsed Didier in an earlier run for the U.S. Senate, and he was more recently endorsed by Tea Party leader Amy Kremer. His polling shows he’s leading the race, although the Eltopia farmer is getting strong challenges from two conservative Republicans, Kennewick attorney George Cicotte and Moses Lake state Sen. Janéa Holmquist. But if anyone represents the us-versus-them, Blue-Red divide, it’s Didier. “Don’t allow Seattle and west-side power brokers to dictate who we elect here in our district,” he tells prospective voters. “We need to follow our founders’ plan for limited government. I’ve pledged in writing to never vote for new or increases in existing taxes, nor to support any budget that grows the federal government even one dollar—regardless of party”—unlike that Seattle pinko Jim McDermott.
Clint Didier
Republican Glen Stockwell, an ex-Ritzville city councilman, may siphon off Tea Party votes from Didier, promising not only to impeach Obama but imprison him. But Didier is positioned as the chief redneck in Red country, opposed to all things liberal. “I’m a farmer as were many of #FoundingFathers,” he recently tweeted. He didn’t mention that he took socialist welfare—a reported $273,000 in subsidy crop insurance—for 15 years. But he did give that up four years ago— after he started running for public office. “I do not want to be on the hook and beholding to government,” he says. He just wants to get elected to it. E
randerson@seattleweekly.com
Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing.
The Mariners’ New Competition
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ith Oakland so far ahead of the Mariners, winning the American League’s Western Division isn’t very likely. So the Mariners’ competition isn’t among their division anymore. Instead, they are one of seven American League teams vying for two wildcard spots— the “MAY I, BRO?” BY SETH KOLLOEN division: the Mariners, Angels, Yankees, Indians, Blue Jays, Royals, and Orioles. You know the good-pitching, poor-hitting M’s. Let’s see what they’re up against as the season’s second half begins. The Los Angeles Angels are back with the relentless offense of their heyday. Mike Trout and a rejuvenated Albert Pujols lead the charge. But those dangerous Angels teams of the mid-2000s also had a terrific bullpen. This team doesn’t, relying on veteran set-up man Joe Smith to close after his predecessor was so bad they traded him. Remaining games vs. Mariners: 10. Mariano Rivera finally retires, and who leads the AL in saves? Again, the New York Yankees. Their weak rotation needs buttressing from the bullpen, and new closer David Robertson shoulders the load. Unfortunately the Yankees’ lineup of superannuated superstars can barely shoulder their bats. Derek Jeter and Ichiro combined have fewer extra base hits than Robinson Cano has doubles. RGVM: 0. The Cleveland Indians’ Lonnie Chisenhall (age 25) and Michael Brantley (27) have been among the league’s top hitters, striking for both average and power. But high-priced veterans are letting the team down; Nick Swisher (33) and Michael Bourn (31) have been awful. RGVM: 3. The Toronto Blue Jays are best in the AL in hitting home runs, with Edwin Encarnacion’s 26 leading the way. Five other Jays are in double-figures. They aren’t so good at staying healthy. Three of the Jays’ four starting infielders are on the DL, with Encarnacion the latest to get hurt. RGVM: 0. The Kansas City Royals have the AL’s fewest strikeouts and fewest walks; they put the ball in play and make you try to field it. Maybe they’ve taken it too far, as they also have by far the fewest homers in the AL. They’re on a pace to hit just 96, which would be the worst total for an American League team since 1992. RGVM: 0. One of the hottest topics of the Mariners’ offseason was whether they should sign Nelson Cruz. Many M’s fans were horrified by the thought, seeing him as an aging slugger in the mold of recent signees Mike Morse, Raúl Ibañez, and Jack Cust. Happily (then), the Baltimore Orioles signed Cruz, who unhappily (now) has singlehandedly kept the Orioles in contention with 29 first-half homers. Cruz’s bat has obscured the Orioles’ many other deficiencies, especially their poor starting pitching. RGVM: 7. E
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Taking the
Fathers When the federal government deports an undocumented
immigrant, it’s usually a man. And often he has a family. So what happens to the ones he leaves behind? BY THOMAS JAMES
THOMAS JAMES
The Valdez family, minus father Rafael.
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labored on farms and orchards. The Roques’ was not a wealthy life, but it was the life of a family. Piece by piece, in a foreign land, the pair built a new normal that lasted a decade: a rhythm of work, school, and milestones, including the births of two more children. A month later, I talked with Oscar over a scratchy telephone line from the Tacoma detention center, where he’d been held since his arrest. Meeting him there in person would take time to arrange, so after our phone conversation I arranged to meet Martha and his children. Only a few days later I’m sitting in the Roques’ tidy living room, explaining my plan to interview Oscar, when Martha looks at me quizzically. “He’s in Texas,” she says. It’s the second-to-last step in deporting a person—shipping them to a hub like the federal detention center in El Paso, where they will wait for a flight across the border. It means the appeals process is over, and the wheels have begun to turn. “Oscar can’t come back.” Oscar’s role as a father likely was not a factor in the decision of the agents who arrested him that day in March. Yet, through a confluence of policy and demography, the act of removing fathers is for ICE so routine as to almost be policy itself. Overwhelmingly, ICE arrests and deports men. In April, according to agency spokesman Andrew Muñoz, the Tacoma detention center held just over 1,200 men, but fewer than 200 women. In the past two years, according to federal documents provided to researchers at Syra-
cuse University, more than 90 percent of deportees were men. Yet according to the Pew Research Center, men make up only about 60 percent of the adult undocumented population. And at a rate four times the national average, those undocumented men are fathers, living at home, raising one or more children with another person, according to a Seattle Weekly examination of data from the Pew Center and the U.S. Census. Among the undocumented population, about four in 10 men live with a partner and children. Among the U.S. population as a whole, only one in 10 do. In total, among undocumented immigrants, nearly half of all households are couples living with children, compared to one in five among non-immigrants. The result is a punishment that carries a particular weight. Losing a father takes a unique emotional toll, and for families clinging to stability in a foreign land—and living close to the poverty line—losing half a household’s earning power is also a blow. “You’re depriving them of their main source of support,” says Jorge Barón, director of the Northwest Immigrant Rights Project. “And many times, that has massive, cascading effects.” “A family that maybe they weren’t wealthy, but they’re making do—all of a sudden based on this one incident, [they are] in a very dire situation.” In 2011, ICE’s director issued a set of enforce-
ment priorities that included instructions to officials to avoid taking in immigrants who were
primary caretakers of children. But the document makes no mention of family status, or avoiding splitting families, or the removal of a family’s primary economic support. While the agency refused to make a representative available for an in-person interview, ICE spokesman Muñoz wrote via e-mail that most of the people arrested by the agency are caught crossing the border or after being arrested for a crime, and that men do both more often than women. Pressed for details as to how a population with a 2/1 gender split ends up with a deportation ratio of nine men for every one woman, Muñoz wrote back that it was “an interesting question that I imagine requires a quantitative study” to determine the cause. Even more than in other families, in immigrant families fathers play a crucial economic and social role, Barón says. Often it is they who cross the border first, making a beachhead of sorts before sending for their wives and children. When their families arrive, the father is not only the head of the household, but the one who speaks the most English, has worked here longest, and best understands the patterns and institutions of American life. While Barón is quick to emphasize that women in immigrant households play vital roles, he also acknowledges that “traditional gender roles” are common, with men often taking on more of the work of economic support. Statistics bear out his statement. While undocumented
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
alking down the steps of the Yakima County Courthouse, a decade after coming to the United States, Oscar Roque thought he’d finished his business with the law for the day. It was March, and Oscar had traveled to the city to settle up after a missed court date. He parked a few blocks away, and his wife and four children waited while he went inside. It was going to be a quick stop. But in another car, agents from Immigration and Customs Enforcement were waiting. When Oscar came back out, they walked from their vehicle to his and knocked on the window. Thinking something had been forgotten in the courthouse, Oscar asked if he needed to go back inside. “No,” one of the officers said. “We’re from ICE.” When he understood what was happening, Oscar asked the agents not to arrest him in front of his children, but to take him around the corner. Instead they pushed him across the hood of his van. Because of course in the eyes of the government, Oscar’s presence in the country was a piece of unfinished business. Ten years before, with his young family, he had entered the United States illegally. Weary of the poverty and violent drug crime that dogged their native Mexico, Oscar, his wife, Martha, and their two children had crossed into the U.S. in 2004, hoping to start a new life. Following what work they could find, the pair eventually settled outside of Yakima, where they
» CONTINUED ON PAGE 11 9
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Taking the Fathers » FROM PAGE 9
Oscar missed one, and a warrant was automatically issued for his arrest. So, on a Friday, Oscar brought records to the court that explained why he had missed the check-in. The court accepted his explanation. All settled, he walked outside, crossed the street, and got into the van. That’s when the ICE agents knocked on his window.
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SE ATTLE WEEKLY • JU LY 16 — 22, 2014
immigrant men have the highest workforce participation rate of any citizenship status, including U.S.-born, undocumented women have the lowest—chiefly, the Pew report found, because 30 percent of undocumented women care for children instead of working outside the home. All this means that homes tend to be balanced As a form of state violence, the removal of precariously on the shoulders of fathers—and have a father from a family is not new, either in the the most to lose if those fathers are taken away. U.S. or elsewhere. In the West, where corporal And when fathers are deported, says Sandra Agupunishment has largely been abandoned, the ila-Salinas, a kindergarten teacher who works with forced dislocation of a person is the primary many immigrant students every year in the Highmeans of physical domination exercised by the line School District, “it’s like a domino effect.” government. If you rob the corner store or mug When students in her class lose a father to somebody, they take you away. deportation, she says, the results often fit an all-tooYet for immigrants the punishment is unique. familiar pattern. Because the mothers often don’t Under current law it is often more permatell their youngest exactly what’s going on, Aguilanent—immigrants deported after being caught Salinas usually hears that a father “is going back to entering illegally must wait 10 years to apply Mexico.” When she talks to the mothers, though, for legal citizenship, even if their family is here the explanation is almost always deportation. the whole time. While prisoners have visitaNext, she watches as students’ home lives are tion rights and the chance of parole, deportees turned upside down, and sees them struggle to are sent to virtual exile—especially if they are adjust to a mother suddenly stressed and absent, returned to a country farther away than Mexico, looking for work after losing the father’s income. or if the remaining parent is also illegal and so Then the effect of less time with parents in gencannot leave the U.S. to visit his or her spouse. eral begins to show: less help with homework The punishment is also handed out seemand the absence of a strong disciplinary figure. ingly arbitrarily. With ICE agents targeting not “Kids start acting out,” says Aguila-Salinas, only those who interact with the court system, “and then I find out, ‘Oh, the father’s not there but also people doing nothing more than drivanymore.’ ” ing down the road or stopping for gas—as in Finally, she says, with one—if not the only— highly publicized cases in Arizona and on the breadwinner in the family suddenly gone, many north end of Washington’s own Olympic Penstudents struggle with insula—exile lurks at homelessness. BouncAccording to our laws, the other end of even ing from family memthe most mundane the wholeness of the ber to family member, errands. Despite recent family is a price worth statistics showing that some end up living in paying for the punishment 59 percent of deportees their cars, while others move and switch had been convicted of of the man. schools abruptly. a crime, a closer look “It’s very, very hard on the kids,” she says. shows that roughly a third of those had only a “Their whole life is crumpling down because of single misdemeanor, and another quarter had the fact they don’t have a stable place to be.” committed two misdemeanors. Among the crimes counted, of course, is the crime of having been caught trying to enter the United States For the Roques, the events that flowed from illegally. that March day were especially bitter, coming Almost inevitably, the debate around immigrajust as the family seemed on the verge of recovertion in this country is framed as an issue of protecing from another cataclysm. tion: from the crimes immigrants might commit, On the morning of New Year’s Day, Oscar lost from the dependents and dependencies they might control of his pickup outside of Sunnyside, Wash., bring, and especially from the work they might with the family packed into the cab. Veering into do in our economy, their presence threatening the median, the truck flipped, rolled, and came to the livelihoods of those already here. But for the rest on its wheels. Martha walked away from the children of undocumented immigrants—many accident, but the children and Oscar were hospiof them legal U.S. citizens—federal intervention talized. For 7-year-old Diego, a helicopter came, leaves them vulnerable, collateral damage of a puntaking him to the airport, where he was whisked ishment we have collectively deemed necessary. by plane over the mountains to Seattle Children’s In the end, the math is simple. Because Diego’s Hospital, where he remained in a coma. father was not born in this country, he does not Oscar and Martha followed, quickly moving deserve to be here. Because Diego’s father broke the entire family first to a hospital apartment, the law in coming here anyway, Diego’s father then to a neat apartment in South Seattle. While must be punished. Because part of Diego’s childMartha took care of Diego and the other kids, hood is attached to his father, part of Diego’s Oscar found a new job at a grocery store. childhood must be sacrificed. According to our On February 27, almost two months after the accident, Diego left the hospital. His coma had laws, the wholeness of the family is a price worth lasted 27 days, and he still couldn’t walk long paying for the punishment of the man. distances. But weekly trips to a physical therapist For Martha, Oscar’s absence means poverty. replaced the hospital bed, and the family could The Roques were never rich, but now the famfinally begin to heal. They had a home, with a ily barely scrapes by. Martha has been going jungle gym outside for the kids and a bus stop to a local food bank. Still recovering from an nearby, and they had each other. injury suffered in the accident and unable to Only, during the mad rush from Yakima, do heavy work, she sells tamales, cooked cactus, Oscar had made a mistake. Following a domesand horchata at farmers’ markets and church tic dispute when the couple lived in Yakima, a gatherings—a livelihood to which a tower of judge had required Oscar to complete a series fresh cactus leaves in the family dining room of check-ins with the court. After the accident, » CONTINUED ON PAGE 13
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bears witness. She’d like to get a cheaper apartment, she says, but Oscar signed the lease when he was still supporting the family, and it’s written for a year. In the meantime, the family goes to the food bank every week, and she has another month before she can go back to physical work. Diego also still needs therapy that wouldn’t be available to his family in Mexico. Instead of the cautious hopes made possible by a couple sharing the work of providing for a family, there is only uncertainty, living day by day. “Vivimos muy limitados,” says Martha. ‘We live very limitedly.’ Oscar’s family members aren’t the only ones paying for his absence. If the Roques’ poverty continues or worsens, it could cost the state of Washington money. A family suddenly forced to survive on a single income can easily end up below the poverty line. On top of the cost of deporting a person, which ICE last year estimated at around $13,200, if the remaining Roques end up on food stamps, it would cost the state more than $700 per month in benefits alone, or almost $9,000 per year. If Martha Roque’s worst fears are realized and she too is deported, her two U.S.-born children would likely enter foster care—a tremendously expensive option. According to the Department
FAMILY MATTERS 1 in 12: number of babies born in the U.S. today who have at least one undocumented parent (Pew)
$13,200: cost to the federal government of deporting a single immigrant (AP) 1 in 2: number of undocumented immigrants who live as part of a nuclear family (Pew) 6:1: ratio of male to female deportees
(ICE)
$4,164: cost of food stamps for a family of two (WSDSHS) $36,000: median income of
undocumented-immigrant households (Pew)
of Social and Human Services, a foster child costs the state $36,000 a year. For Damien, 5, and Diego, the cost of providing a combined 24 years of foster care would total close to a million dollars. Of course, ideally those children might stay with another family member, or Martha or Oscar could apply for visas for them to move to Mexico. And while ICE guidelines technically instruct the agency not to deport primary caregivers, it still happens, say Barón and other immigrant advocates. Barring some fresh rupture, however, the Roque family simply waits. With hundreds of thousands of illegal crossings each year, Oscar’s place in the ranks of the undocumented, to say nothing of the economy, was likely filled before he even arrived in Texas. The hole left by the departure of Oscar the father, however, remains. “It’s hard for the kids,” Martha says. “They don’t understand . . . My girl still says, ‘Why did they take Papa?’ ” “There’s nothing we can do,” she continues. “He can’t come back. Right now the only thing I can do is to try to arrange for Diego, and so that if something happens to me, with the immigration, they won’t separate the kids.” For Joy and Rafael Valdez, the same stark dilemma presented itself last year—but led to a different solution. Rafael, a Mexican citizen like Oscar, first illegally crossed the border in 1996, at age 19. Later he returned to Mexico, then crossed to the U.S. again. On that crossing, the Border Patrol caught him and sent him back, but he tried a third time and was successful. Working in a Kirkland restaurant as a dishwasher, Rafael met Joy, a waitress there. After dating for seven years, the couple married in 2006. The same year, they bought a house and had their first daughter, Maya, followed by their second, Catalina, in 2011. “When we met, I didn’t know he was illegal, but when we started dating he told me,” says Joy. “I didn’t know about all that, but I learned.” One thing she learned was that because Rafael had previously been caught trying to enter the U.S. illegally, he was an immigration criminal. Because of that status, even after the pair were married he was ineligible to become a legal resident. “I called a ton of different lawyers,” Joy says. “And they all said . . . we would just have to wait for the laws to change.”
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most of her life . . . It’s excruciating the thought of They didn’t change in time for Rafael. In 2011, not being a mom, because I am a mom.” on a dads’ camping trip near Ellensburg, he was On the last words, her voice deepens. Then it arrested for driving drunk. He didn’t cause an breaks. accident, so was sentenced only to community “But if you don’t have your kids, does that still service—but during the process, someone asked if make you a mom?” he was in the U.S. legally. He told the truth and was transferred to the Tacoma detention center. Rafael paid a bond to get out of detenThe plight of the Valdez family also illuminates tion, and fought deportation for two years, but a paradox in U.S. immigration policy. Namely, ultimately lost. At a judge’s order, the couple although each Valdez has a citizenship of his bought a single one-way ticket to Mexico, and or her own, their citizenships do not match, last September, Rafael and because of this as a boarded his flight. family they technically Each member of the After Rafael exist—at least not family has a citizenship cannot landed in Mexico, together, not now. of his of her own, the couple bought The same goes for the another pair of onebut their citizenships Roques: Oscar, Martha, way tickets, for their Carla, and Oscar Jr. are do not match. daughters. On a Satall Mexican citizens, but urday, Joy flew down with the kids. Sunday she Diego and Damien were born here, legally as dropped them off and headed back, to be ready American as apple pie. In this also the families for work on Monday. are typical—more than half of undocumented “It was an impossible decision,” says Joy, “but adults live with children who are U.S. citizens. we wanted what was best for the kids.” Theoretically, their relationships entitle them Facing the same situation as the Roques, the to apply for special visas, but in practice the couple chose to send the children with Rafael process is long and not always successful. And to be near his family. With the cost of child care shy of the Shenandoah that is legal residency, in Washington what it is, Joy would have had to what awaits is limbo. work two jobs. What penciled out was a picture The irony of the immigration debate is that of the two girls raised alone—no father, a mother in some ways the lives of undocumented immiable only to drive them from school to day care, grants like the Roques resemble the American and only strangers to watch over them. ideal more closely than those of non-immigrants. “They could still be with their daddy,” says Statistically they are prone not only to start Joy. “We wanted them to be with a parent. families, but to work hard and to push their kids Someone to put them to bed at night. That was through the schooling they themselves often did just the realization.” not receive. If you squint—past the Pew Center She still works two jobs—it keeps her busy, report’s note that for an outsized portion, home she says. ownership never materializes; past the articles In lieu of the hoped-for change to the laws, about the college-graduation gap between poor Joy is petitioning U.S. senators to sponsor a and wealthy students; past the heartache—you humanitarian visa for Rafael—a rare result, but can almost see the American Dream. one that would reunite the family right away. In Sitting in the Roques’ living room in south mid-May, the girls arrived to spend the summer Seattle, her husband already thousands of miles with their mother. away, there is little hesitation in Martha’s answer At the airport Maya, the eldest, walks along to whether she would do it all again, if staying carrying her small backpack, talking to passersby, in Mexico would have saved her family its trials. and now and then stopping simply to stare. Talking about her fears for her children, of her Catalina clings to Joy, baby-talking in Spanish. own possible seizure, and the potential rending Having left the U.S. before her 1st birthday, it is of the family along the fault line separating the the only language she speaks. eldest and youngest children, she pauses. Remembering the separation, Joy says, “I was still “Every dream has a price.” E nursing the baby, I had been at home with Maya for news@seattleweekly.com
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food&drink
The Delinquent Host
Hire a private chef for less than you’d expect, clean-up and guilt included. BY NICOLE SPRINKLE
M
BY MEGAN HILL
July 6 was the last day in business for Louie’s Cuisine of China, which had been open in Ballard for 37 years. BALLANTINE BOOKS
Kitchensurfing chef Tom Rhyneer plates while chatting with the kids.
Local writer and naturalist Langdon Cook has scored a 2014 Book Award from the Pacific Northwest Booksellers Association for The Mushroom Hunters: On the Trail of an Underground America. The book explores the secretive world of West Coast mushroom foragers.
ANNA ERICKSON
There’s a lot to look forward to if you live, work, or just eat on Capitol Hill. A whopping 27 bars, restaurants, and cafes are still slated to open this year, reports Capitol Hill Seattle, which has a full list. Serious Pie is coming, Starbucks is opening a roastery, Lark is moving, and Monsoon is expanding, among lots of other goings-on. E morningfoodnews@seattleweekly.com
surprised that Tom has surreptitiously tucked a lovely printed menu under each guest’s napkin. He serves the first course, a sea scallop over a bowl of truffle corn chowder and sweet-potato hash, after a perfectly brief and informal explanation of it. It’s got just the right touch of truffle oil. Everyone oohs and ahhs, then conversations ensue. As we talk about everything from gun control to legalized marijuana, part of me is conscious of the fact that Tom is hearing all of this. The hostess in me wonders whether any of our spirited talks might offend him. He is, after all, a stranger. We’re not stay-away-from-politics-and-religion kind of people, but we’re typically surrounded by those who are simpatico with us on most touchy topics. I urge myself to chill out. I mean, the whole point of using a service like this is to relax and not have to play hostess. But old habits die hard . . . I am ultimately my mother’s daughter, and my relationship to hostessing is one of rampant neurosis mixed with joyous exhilaration. There’s about a 20-minute pause between the first course and the main dish; Tom later tells me he felt it was too long, but to me—bearing no responsibility for the meal’s pacing and finally giving in to the hedonism of being fully present in the conversations, as I would as someone else’s dinner guest—it flew by. When the lamb chops arrive, three for each of us, served over butternut ravioli with a bright pop of arugula pistou and lamb jus, I’m on my third glass of wine, since I have no obligations, no dishes to whisk away, no water glasses to refill. And, even better, when everyone leaves I’ll just be climbing the stairs to my bedroom, not hopping into a car. It’s ridiculously thrilling. I can be that effortless hostess I’ve always envied. The one who calmly chats with her guests while chopping vegetables. It’s time for dessert; I call the kids in from their outdoor reverie for molten brownies with vanilla
ice cream. (Would they like the brownies warm? The ice cream on the side or sandwiched into the middle of the brownie? Does this guy also babysit?!) As they dig into desserts bigger than their heads, Tom furiously whips a sabayon and my hostess guilt is back. I’m the usually the one doing that, exhausted at the end of the night, beating with fierce intensity to get just the right consistency without making the guests wait a second too long. The maple sabayon is served with peaches and cherries. In July, what could be better? It’s nearing 10 o’clock, and I’m feeling the
awkwardness around what is actually one of the incredible perks of this service: clean-up. Tom leaves my kitchen spotless: all plates and flatware in the quietly humming dishwasher, all surfaces shining, the usual crumb-fest from the kids absent. Yet that nagging inner hostess feels the need to talk to Tom while he disassembles, to treat him like a guest in my house—even though I’m paying for his time. But it’s OK: We have kids in common, and I’m happy to chat about his son. It’s actually calming—since I have nothing left to do except kiss my guests’ cheeks on their way out. It’s been five hours, with six “gourmet” dishes for about $45 a person ($20 each for the kids)— way less than we’d have spent on a comparable restaurant dinner, especially since we supply our own wine and there’s no tipping or registration fee. And unlike a typical dinner party, this had an air of exclusivity, which, while I wouldn’t want all the time, was a great dalliance. Prices range from about $40–$125 per person, based on the chef ’s experience and cost of ingredients. While you won’t find Seattle’s best-known restaurant chefs here, most of them have been trained at culinary schools and/or worked for restaurants, hotels, and catering companies. E nsprinkle@seattleweekly.com
TheWeeklyDish A Glass of Water
BY NICOLE SPRINKLE Considering the heat wave we’ve been experiencing—particularly lengthy and early in the summer for Seattle—I just couldn’t think of anything that really hit the spot better than a glass of ice water. It’s been so hot that they’ve not only provided necessary cooling and hydration, but have actually tasted like something. I can’t pinpoint what that something is, other than not like plain old water. And, really, when else do we actually get to discuss the wonder of water (bikers, marathoners, and other extreme sporters excluded)? It’s so delicious that I don’t even bother with a slice of lemon. I fortunately get water automatically delivered from my refrigerator, so cold that I don’t generally need ice cubes. But in this heat, I’ve added them anyway, because they’ll melt fast and otherwise water turns tepid quickly. My freezer makes the cylindrical kind, but if you’re having ice water at a restaurant or bar, you’ll likely get options ranging from crushed to cube to the ice du jour, a big, smooth, round ball (seen most frequently in craft cocktails). This doesn’t mean I don’t want a margarita or a gin and tonic or some other summery drink, but I’ll still drink a glass of water between cocktails, because in this sultry air, you just can’t have too much. E
nsprinkle@seattleweekly.com
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y table is set for six. Flowers are in their vase and wine is chilling. I’ve arranged the chairs on the deck. I’m doing my usual dinner-party regimen—until I hear a ring at the door. A tall man with sandy brown hair introduces himself and brings in a couple duffel-sized bags. I’ve met “Chef Tom” online, but now he’s here in the flesh, ready to take over my kitchen for the night as part of a new venture called Kitchensurfing, which debuted yesterday in Seattle but is already running in five major markets. It’s a service that matches you with local chefs (20 in Seattle at press time) who come to your house and prepare, serve, and clean up a meal for as few as two and as many as 50. I’ve agreed to test-pilot it, at regular price. As we await our guests, I give Tom a quick rundown on our kitchen, though he’s brought his own equipment and told me ahead of time what sort of tableware is needed for the various courses, all via the Kitchensurfing online platform (which also lets you send your guests invitations that showcase the menu and the chef ’s profile page). As he gets to work prepping, we hover a little awkwardly around our island making small talk. Tom is so friendly and easygoing that I’m having a bit of an internal dilemma as to whether to keep up the conversation or leave him alone to do his thing. Finally we decide to recede to the living room and sit down with a glass of wine, where we can still talk to Tom without being all up in his grill. I’m trying to relax because, well, there’s simply nothing for me to do. But that’s not so easy, considering I’m used to throwing my own dinner parties and being harried until the moment before the guests arrive. Tom apologetically tells us he’s forgotten the two eggs he needs, but we have plenty. Considering he’s a one-man show for a multicourse meal in a stranger’s home, I don’t hold it against him. We’re all new to this. When people roll in, I do my usual greeting. Then, instead of bustling from kitchen to dining room or deck, I refill my wine glass and take a seat outside, the sun still shining brightly at 6 p.m. When a platter of coffee-crusted fillet with red-onion jam, blue-cheese crostini, and tiny poached purple potatoes topped with smokedsalmon mousse is set before us, I eat and laugh and continue to talk—with no thought of rushing back to the kitchen to check on a roast or stir a pot of risotto. It’s kind of surreal. I guess this is what it feels like to be rich—though I still have the tiniest tremor of angst thinking about Tom alone in a foreign kitchen, under the gun to deliver a great experience to a Seattle food critic. A half hour in, he quietly asks me when I’d like to begin the sit-down dinner. We take care of the kids first—10 minutes later they’re seated on stools at the island with a Yakima-cherry yogurt parfait and slices of herb-roasted chicken with tomatoes and penne pasta before them. A dad of a 7-year-old, Tom is doing a smashing job of keeping their attention, an unexpected perk. Then the adults are seated, and I’m pleasantly
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here’s probably a certain irony in the fact that even as I was exploring the beauty and novelty of Colombia, I found myself longing for the comfort and familiarity of Seattle. While of course my trip was full of interesting people, spectacular scenery, great food, and my best friend’s wedding (the real thing, not the crappy Julia Roberts rom-com), it wasn’t the most amazing trip for the drinks writer in me—well, except for a wedding recepBY ZACH GEBALLE tion spent drinking copious amounts of aguardiente, which is most definitely not something you should try at home. Travel always makes me think in clichés, and “There’s no place like home” has rarely felt so true. I found myself missing the incomparable joys Seattle offers: a glass of cava and a plate of oysters at Taylor Shellfish; debating the merits of various vermouths at LloydMartin; pondering which obscure European white I’ll enjoy at The Whale Wins; or deciding just how many jalapeño margaritas I can safely drink on the patio at Little Water Cantina. Add the vast array of ways you can drink on the water—by ferry, paddleboat, or just sneaking beers into Lake Washington—and the appeal grows. Celebrating Seattle’s drinking culture is marveling at the beer choices at Safeco Field (and the fact that the Mariners are actually good) while not thinking too much about how much they cost. It’s trying to figure out which bar is the best place to watch the World Cup, and then finding out it was packed two hours before kickoff. It’s recognizing innovative and creative producers like Epic Ales, Captive Spirits, and Syncline Winery, who are pushing the boundaries of what you can put in a glass. Then of course there are the great bars like Rob Roy and Liberty, where creativity and tradition coexist in a way that’s hard to find elsewhere. Plus, after being subjected to a veritable avalanche of overly sweet drinks (that’s what I get for being an American tourist in the tropics, I guess), it’s a pleasure to return to a land where all my tastebuds get a workout, not only the sweet ones. Most of all, I found myself missing the sheer bevy of choices in Seattle. While I might have decried some of that in a previous column, there’s a certain comfort in having more than three beers to choose from or a wine list more than one page long. Not that I expected that in Colombia, but sometimes we in Seattle take this confluence of brewing, winemaking, and even distilling currents for granted. There’s room for growth, and the challenges of privatization and a higher minimum wage might damage the industry, but for now I’m still content to click my heels together and wish for home three times. E
THEBARCODE
thebarcode@seattleweekly.com
arts&culture
Clash for Clunkers
Going fastest or farthest isn’t really the point to the 24 Hours of LeMons (which doesn’t last for 24 hours, either).
FRIDAY, JULY 18
BY BRIAN MILLER
Repo Man
C
“As the saying goes, ‘It’s where Halloween meets gasoline,’ ” says Issaquah’s Matt Adair, who leads Petty Cash Racing. His theme is loosely Richard Petty—iconic stock-car driver of the ’70s—and a cash-to-drive scheme that the former automotive journalist has actually turned into a business. (“I’m not really a NASCAR fan,” he explains. “The pun was more important.”) His vehicle of choice is a 1987
Jeep Cherokee, no one’s idea of fast, with a Chevy V-8 swapped in; now it can reach speeds up to 130 miles per hour. (Here let’s note that safety equipment is allowed over the $500 threshold: a roll cage, new brakes, fresh tires.) “It’s very much a grassroots team,” says Adair, who’s partnered with a Bellevue friend in his business. Their paying co-drivers, or clients, are “a lot of engineers and geeks. We’ve got a lot of nerds.” The same applies to 24LM nationwide: It’s a tight-knit, jokey crowd of DIY/tech folk who communicate regularly online. (The racing series, founded in 2006, was first associated with the automotive website Jalopnik; now it’s aligned with Car & Driver.) Why the humble Cherokee? “They’re inexpensive and very robust,” says Adair. Also, since his background was in off-roading, “I’d never had the opportunity to do track racing, and LeMons came around, and I thought, ‘Great!’ ” The Cherokee was what he had, and the Cherokee was what he knew how to fix. Since 2009, he continues, “I’ve done 24 races total.” Now he also works for 24LM, competing on the West Coast and judging at East Coast events. (Good-natured cheating and arbitrary, whimsical penalties are part of the game.) “It’s enabled me not to have a real job,” he adds. “We have created a formula that works.” Adair’s Cherokee—he actually races two of them—won its division in one race; then there’s the Heroic Fix trophy, “which we have won several times.” He estimates that at any given point during the race, 20 to 30 percent of the field is broken. At some California events, where the 24LM series is most popular, the field can include nearly 200 cars. At Shelton he expects to see around 70, with a dozen teams from the Puget Sound area. “At most tracks, it’s the biggest event they have all year,” says Adair.
Yes, racers at one recent event gave their Mini a Monty Python Spamalot theme. Again, that’s largely because the barrier to
entry is so low, and because the nature of the competition isn’t so cutthroat. “It’s an affordable sort of motor sport,” says Adair. “You can be as competitive or as lackadaisical as you want. You can do as much or as little as you want. Some teams take a break for lunch.” The slowest and most lighthearted (and most themed) teams are in the C division, from which Adair has long since graduated. There you’ll find Chrysler K cars from the ’80s and three-stroke Saabs from the ’60s, everything falling into Adair’s category of “old, slow, but awesome cars.” It’s there that he eventually hopes to expand his fleet (which also includes a BMW): “I long for the day when I can get a 1977 Chrysler Cordoba with a landau roof and rich Corinthian leather and do a Ricardo Montalban Wrath of Khan theme.” Beyond the $1,100 entry fee, teams at each 24LM event “could easily spend two to three thousand on beer and gas,” says Adair. The gas bill—which also includes repair parts—is an obvious cost. The beer includes the entertainment budget for each Saturday night’s blowout party in the paddock, where all competitors engage in competitive tailgating and the costumes come out. “There’s kind of a food festival. It normally goes to the wee hours of the dawn.” This may be the most important reason that most 24LM events aren’t actually 24 hours long. Of these full-length contests, says Adair, “They’re just miserable. And more to the point, there’s no time to party.” E
bmiller@seattleweekly.com
THE RIDGE MOTORSPORTS PARK 1060 W. Eells Hill Rd., Shelton, 24hoursoflemons.com. $30 (cash only, under 16 free). 7 a.m.–7 p.m. Sat., July 19, 9 a.m.–5 p.m. Sun., July 20.
EDGE CITY/UNIVERSAL
COURTESY 24 HOURS OF LEMONS
There are certainly worse ways to spend an evening than driving around with Emilio Estevez and Harry Dean Stanton in this 1984 punk comedy, a memorable instance of Hollywood pushback during the Reagan era. Not yet a member of The Breakfast Club (or the Brat Pack), Estevez is suitably blank as the L.A. teen who stumbles into the auto-repossession trade, and Stanton is suitably sage as the geezer who mentors him. Englishman Alex Cox made a big impression
Estevez as Otto.
with this shaggy satire of La-La Land losers; unfortunately, his cantankerous career really tailed off after Sid and Nancy. Despite the film’s famous tagline in Stanton’s gutter-existentialist monologue (“Ordinary fucking people, I hate ’em”), Repo Man is actually quite warm in its view of humanity. That affectionate spirit is embodied, of course, by Tracey Walter’s gentle, alien-seeking soul, who alone can drive that fateful 1964 Chevy Malibu. Then there’s the soundtrack: Iggy Pop, Black Flag, Suicidal Tendencies, the Circle Jerks, and those pioneers of punk: the Andrews Sisters. (Through Tues.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8. 9:30 p.m.
BRIAN MILLER
Bite of Seattle
Three events on the Seattle Center calendar bring Lower Queen Anne to gridlock and turn Mercer and Denny into fuming ribbons of steel. Summer begins, of course, with Northwest Folklife and ends with Bumbershoot. At midpoint, this weekend’s Bite of Seattle is no less popular, with over 400,000 expected to attend if the weather stays clear. Inside the grounds you’ll find the usual huge array of food vendors, beer gardens, wine-tasting areas, celebrity-chef cookoffs and demos, a Nintendo gaming area inside the Armory (air-conditioned, let’s note), live music on five stages, craft vendors, and more. You don’t have to gorge on food, of course, but what else would be the point of going? And you’ll have the rest of summer to work off the calories. Also note the 8:30 p.m. screening of Back to the Future at the Mural Amphitheatre— not a bad way to wait out the traffic and let the temperature cool. (Through Sun.) Seattle Center, biteofseattle.com. Free. 11 a.m.–9 p.m.
T. BOND
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
ar racing, like yacht racing and horse racing, is the province of the rich. Or the corporate-sponsored; there’s a reason NASCAR drivers and their cars are covered with all those logos and ads. Things are different, however, for the weekend warriors of the 24 Hours of LeMons. Everything about the national series of endurance races, which visits Shelton this weekend, is something of a joke. The name refers to the 24 Hours of Le Mans, the famed French endurance race in which million-dollar Ferraris and Porsches compete. But at LeMons, you’re only going to see lemons—old junkers that, by competition rules, cost their owners no more than $500. Thus, circling the track this weekend will be various clunkers and castoffs—rusted-out Alfa Romeos, former taxicabs, family station wagons from the ’80s—given new identities and paint schemes. For some vehicles, grouped into three classes, the object is to cover the most distance in 15 hours of racing (divided into two days with driving teams of four). For the majority, however, the event is more like Burning Man for petrol-heads, a gathering of souped-up art cars that have been elaborately decorated according to various themes—the sillier the better. Hence, you might expect to see an old Mustang painted pink and given a giant nose and wings to, yes, fly; an old Mercedes Benz with a Corona Beer paint scheme and a giant lime wedge on the roof; a Prius (yes, really) covered with liberal bumper stickers; a green ersatz recreation of Homer Simpson’s dream car; a Winnebago; a Star Trek rig with a giant U.S.S. Enterprise mounted on the roof; or a creation that encloses the car in what appears to be a runaway trailer, with a propane tank mounted on its nose (empty, we hope). The Dukes of Hazzard, Animal House, and The Blues Brothers are perennial inspirations. Famous old color schemes (“livery”) are deliberately misapplied: like the blue-and-orange of Steve McQueen’s 917 in Le Mans put on a 1971 VW Beetle. Ridiculously large and ineffective rear wings are a particular favorite, sometimes consisting of park benches or snow shovels. Elaborate costumes are integral to the show. If, as at past races, a car has an Elvis theme, the crew will have spangled jumpsuits. Drivers have dressed as astronauts for their NASA-themed racer. For an orange tropical Toyota, the men wear grass skirts and coconut bras.
ThisWeek’s PickList
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arts&culture» » FROM PAGE 17 An Evening of One Acts S N O Q U A L M I E C A S I N O | M O U N TA I N V I E W P L A Z A
SUMMER
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Summer is the dead season for theater. It’s sunny outside, so who wants to be indoors? And with so many activities scheduled, it can be hard to concentrate on, say, four hours of Tony Kushner. For that reason, ACT is staging three short works by boldface names, all directed by R. Hamilton Wright. From 1995, Steve Martin’s Patter for the Floating Lady has a lovelorn magician (David THR Gback H his former assisstant Foubert) tryOU to win ( Jessica Skerritt) by levitating her (kind of a gentler form of hostage-taking). How they’ll work this stage trick remains to be seen. Woody Allen’s Riverside Drive is one of those appropriations of a prior text of which the Woodman has grown too fond in recent years (recall Blue Jasmine/A Streetcar Named Desire). In this 2003 work, he
AUG 30
first major work? With a taste for genre fiction like many men his age since, it’s no surprise the 17-year-old composer chose this grim Grimm tale, setting it for for chorus, four soloists, and huge orchestra. The vast forces and medieval setting are Wagnerian; a low, primordial-sounding alto narrator looks back to the Ring’s earth goddess Erda—but also ahead to his own “Urlicht” from his Second Symphony. The score’s somber marches and hyperecstatic fanfares, though, are unmistakably Mahler’s own, with echoes in nearly all his later works—not to mention any number of film scores. On the Northwest Mahler Festival’s culminating concert, Das klagende Lied is coupled, appropriately, with Wagner’s prelude to Parsifal; between the two of them, they established a lingua franca for evocations of chivalry and adventure that no composer since has been able to avoid. Mahler’s lyrical, meadow-scented Symphony no. 4 rounds out the program; Nikolas Caoile conducts. First Presbyterian Church of Seattle, 1013 Eighth Ave., nwmahlerfestival.org. $15–$18. 7:30 p.m. GAVIN BORCHERT
TUESDAY, JULY 22
The Book of Mormon TIM DURKAN
Skerritt will be levitated, apparently.
MULTI-PLATINUM VOICE OF POISON
BRET MICHAELS THUR | JULY 24 | 7PM
“WORKING FOR THE WEEKEND”
LOVERBOY
SUN | JULY 27 | 7PM
paraphrases Edward Albee’s The Zoo Story, with a nut case (Eric Ray Anderson) accosting a meek screenwriter (Chris Ensweiler) seated on a park bench and accusing him of having stolen his ideas. (Of course the two have never met.) Last is an early work by a true playwright: Sam Shepard. His 1969 The Unseen Hand is a somewhat uncategorizable sci-fi parable, with three outlaw brothers from the Old West reunited in modern times by an alien overlord. There’s talk of revolution and robbing trains, only there are no more trains left to rob. The sibling dynamics and lament for better, prior times will likely remind you of True West and other, later Shepard dramas. (Previews begin tonight. Opens July 24. Runs through Aug. 17) ACT Theatre, 700 Union St., 292-7676, act theatre.org. $44. and up. 8 p.m. BRIAN MILLER
SATURDAY, JULY 19
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“SMOKE ON THE WATER”
DEEP PURPLE
SUN | AUG 10 | 7PM
A dark forest, a royal castle, a fratricide, an interrupted wedding celebration: Who wouldn’t think of Game of Thrones upon hearing the story told in Das klagende Lied (1880), Gustav Mahler’s
Pine St., 877-784-4849, stgpresents.org. $48 and up. 7:30 p.m. GAVIN BORCHERT E
Mormon’s original Broadway cast featured, from left, Rema Webb, Andrew Rannells, and Josh Gad.
TICKETS: SNOCASINO.COM/SUMMERSERIES SEATTLE’S CLOSEST CASINO | I-90 E, EXIT 27
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JOAN MARCUS
SEATTLE WEEKLY • JULY 16 — 22, 2014
Northwest Mahler Festival
Tickets went fast when this show toured through town in January of last year, and you’ll have to be quick on the mouse to book a seat for this return engagement. Things this hit show’s creators—Trey Parker, Matt Stone, and Robert Lopez—hate: received wisdom, Disney plasticity, Johnnie Cochran, and condescension from anyone anywhere on the politico-religious spectrum. Things they love: production numbers. Their Tony-winning musical follows two fresh-faced Mormons, dorky, porky Elder Cunningham and square-jawed, self-adoring Elder Price, on their first mission to Uganda. Discovering that his confabulated Mormon myths draw converts even more effectively than the ones in his titular Book, Cunningham wreaks havoc in the village. For most of the evening, the combination of perky tunes (by Lopez), jazz hands, and verbal atrocities keeps the show bouncing along expertly. Then Book takes off to a new, exhilarating, hilariously profane dimension when the Ugandans reinterpret, in a show-within-a-show, all that Cunningham has taught them. Credit goes to Parker, Lopez, and Stone for creating a big, glitzy fun-fest that will be absolutely untouchable by any highschool drama department. Oh, and if the shows are already sold out or the tickets too dear, take heart that a movie adaptation is supposedly in the works. (Through Aug. 10) The Paramount, 911
arts&culture» Stage
FESTIVAL OF THE PEOPLE
Opening Nights
ROCK THE PARK 2014
But when alone, Spencer’s Jane seizes the stage and, if briefly, brings the focus back to our heroine. During the song “Painting Her Portrait” in particular, Spencer gives a jaw-dropping performance, the seeds sown during Jane’s abusive childhood coming to fruition. It is a moving and frightening episode of self-doubt, an integral part of Jane’s transformation in this impressive telling of Brontë’s timeless tale. MARK BAUMGARTEN
PJane Eyre TAPROOT THEATRE, 204 N. 85TH ST., 781-9707, TAPROOTTHEATRE.ORG. $20–$40. RUNS WED.–SAT. ENDS AUG. 16.
The Two Gentlemen of Verona
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ERIK STUHAUG
Rochester (Anderson) sees something special in Jane (Spencer).
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SE ATTLE WEEKLY • JU LY 16 — 22, 2014
Ellie Greenwood Photo: David Clifford
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A World Feast www.aworldfeast.com
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Musical theater has had some success with neglected orphans (Annie or Oliver!, anyone?), so an adaptation of Jane Eyre was probably inevitable. Charlotte Brontë’s 1847 novel is, after all, one of the earliest female coming-of-age tales ever told, set decades prior during the Georgian period. The show premiered on Broadway 14 years ago, and it might sound like a slog. Quite the opposite. Directed by Karen Lund, this production moves quickly and seamlessly through Jane’s early tale of woe. The abridgement is a necessary evil in turning 400 pages into two and one-half hours (with a 15-minute intermission); something must be lost. So instead of tedious ragamuffin reprises, Jane Eyre focuses on our heroine’s middle period. The audience is early on introduced to the soap opera at Thornfield Hall, the massive Yorkshire estate where Jane is hired to work as a governess at the pleasure of apparent bachelor Edward Fairfax Rochester. While Jane’s moral and spiritual progress is still present, it’s her relationship with Rochester that constitutes the heart of the show (created by Paul Gordon and John Caird). This shortcut is of particular benefit to this compact production, because Art Anderson’s Rochester is a manifold pleasure to behold. He sings well, commands the stage, and mugs for the audience with assurance. Rochester’s vanity and pride are comic, but his tenderness is also clear (especially in duets with Jane). Even as he shares his backstory—including his darkest secrets—it’s easy to imagine Jane falling in love with him. The audience is likely to feel the same. Unfortunately the same cannot be said for Jessica Spencer, who turns in an uneven performance as the grown Jane. (Abi Brittle plays defiant 10-year-old Jane.) Too often her Jane seems bewildered and lost in her moral and spiritual upheaval; it’s difficult to see the spark that draws Rochester near. In the company of others, Jane becomes a supporting player in a comedy of manners, her lowly governess providing grist for Rochester’s courtly company (to riotous effect by an excellent and elastic ensemble cast, it should be noted).
In 1954, Joseph Papp produced the first “Shakespeare in the Park” festival in Lower Manhattan. Today, those who wish to attend the New York City Shakespeare Festival might arrive as early as 6 a.m. to ensure seats for an evening performance in Central Park. Cities across the globe have adopted this model, bringing free classic theater to the masses. Now in its 10th season, Wooden O—Seattle Shakespeare Company’s outdoor performance arm—is doing the same in parks around Puget Sound. In The Two Gentlemen of Verona, director David Quicksall creates a milieu defined by greaser youths in denim and leather, jukeboxes, Coca-Cola, bowling, and anything that fits the tastes of mid-century America. You know you’re in Verona when you see the giant billboard that declares your location. You know you’ve met the two gents when you see their Brando-esque slicked-back hair, white T-shirts under leather jackets, and motorcycle-revving. Verona is their Coney Island. Doo-wop and rock are their soundtrack. (No, really, there is a live soundtrack sung by the cast: It interjects and, at times, informs the plot.) Proteus ( Jason Marr) and Valentine (Conner Neddersen) are best buds who spend their days joyriding through Verona. Proteus is in love with hula hoop-skirted Julia (Angelica Duncan)—and here the cast sings the Monotones’ “Book of Love.” Fate splits the two friends as Valentine goes to serve in the court of the Duke of Milan ( Jim Gall) and falls for his daughter Silvia (Carolyn Marie Monroe); this prompts “Duke of Earl.” Proteus’ father then splits Proteus from Julia and dispatches him to join Valentine in Milan. Love is flippant—and Proteus quickly makes unwanted advances on Silvia. What ensues is a comedy of plotting, conniving, scheming, and cross-dressing (cue sing-along to “Walk Like a Man”), plus a clownish servant and his stoic dog. It’s a quirky, retro take on what some consider to be Shakespeare’s first play— and perhaps his weakest. Thematically, Two Gents touches on notions that are seen in many of the Bard’s later, greater works—mistaken identities, love, friendship, betrayal, femininity, and the equivocal nature of words versus action. Call it an experiment or rough draft; regardless, it’s still enjoyable. Like every other Shakespearean comedy, it cutely—even if not tidily— ties up the loose ends. All qualms, quarrels, and plot complications are brushed under the proverbial rug. The blandness of this play reflects the writing, not the production. Wooden O stages popular performances that rival anything confined by a proscenium arch. (An all-female Julius Caesar is running concurrently on a different schedule.) Two Gents needs some spice, and it gets it here. IRFAN SHARIFF E
Darrington Renewal Project
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arts&culture» Performance
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Stage OPENINGS & EVENTS
ACT ONE-ACTS SEE THE PICK LIST, PAGE 18. THE ARABIAN NIGHTS Seattle Public Theater’s Youth
Program presents Mary Zimmerman’s modern take on the epic myths. Bathhouse Theater on Green Lake, 7312 W. Green Lake Dr. N., 524-1300, seattlepublictheater. org. Donation. Opens July 18. 7 p.m. Fri.–Sat., 2 p.m. Sun., plus 2 p.m. Sat., July 26. Ends July 26.
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“Agatha Christie meets Roger Corman” in this mystery sendup, set on a movie set in 1958. Theater Schmeater, 2125 Third Ave., 800-838-3006, schmeater.org. $18–$25. Opens July 18. 8 p.m. Thurs.–Sat. Ends Aug. 16. THE BIG BROADCAST REUNION Arne Zaslove directs this salute to radio of yesteryear. Century Ballroom, 915 E. Pine St., 800-838-3006, brownpapertickets.com. $45. 8 p.m. Fri., July 18. THE BOOK OF MORMON SEE THE PICK LIST, PAGE 18. THE DANGER ZONE This burlesque Archer takeoff may be as close as you’ll ever get to seeing Jessica Walter naked. Don’t even pretend you’re not curious. Theatre Off Jackson, 409 Seventh Ave. S., sailorstclaire.com. $20–$30. 8 p.m. Thurs., July 17–Sat., July 19. FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and ultimately relatable” monthly cabaret on the theme of family. JewelBox/Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. $10. 7:30 p.m. Wed., July 16. STAGE TO SCREEN Theater in high-def: from The Royal Shakespeare Company, Henry IV Part 2 (6:30 p.m. July 18 & 21, 3:30 p.m. July 19–20); from London’s National Theatre, Alan Ayckbourn’s A Small Family Business (noon & 7:30 p.m. July 19–20). SIFF Cinema Uptown, 511 Queen Anne Ave. N., siff.net. $15–$20.
CURRENT RUNS
SEATTLE WEEKLY • JULY 16 — 22, 2014
BARN SHOW Creepy farm tales, invented by Blood
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Ensemble and staged in an actual Marysville barn. (They’ll bus you there; see bloodensemble.org for details.) $30–$35. 8 p.m. July 18–19 & Aug. 2–3. BIG TOP ROCK Teatro Zinzanni’s rock-concert-themed family cirque show stars the band Dream On. Teatro ZinZanni, 222 Mercer St., 802-0015. $19–$22. See zinzanni.com for schedule of weekend shows. Ends July 20. DISNEY’S THE JUNGLE BOOK KIDS A stage version of the Kipling-based animated musical. Emmanuel Episcopal Church, 4400 86th Ave. S.E., Mercer Island. $13–$15. 7 p.m. Fri–Sat., 2 p.m. Sun., plus some weekday morning matinees; see youththeatre.org for exact schedule. Ends July 27. GREENSTAGE Othello, Love’s Labours Lost, All’s Well That Ends Well, and The Comedy of Errors in various area parks through Aug. 16, all free. See greenstage. org for full schedule. HANDS SOLO: PIANOMAN You may know him as that Nordstrom’s pianist: longtime cabaret musician Victor Janusz recounts his career in this memoir with songs. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $25. 7:30 p.m. Fri., July 18–Sun., July 20. JANE EYRE—THE MUSICAL SEE REVIEW, PAGE 19. TEATRO ZINZANNI: WHEN SPARKS FLY Maestro Voronin headlines this mad-scientist-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Sept. 21. TWELFE NIGHT, OR WHAT YOU WILL Cross-dressed love tangles in Illyria, via Bainbridge Performing Arts. Bloedel Reserve, 7571 N.E. Dolphin Dr., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. 7 p.m. Thurs–Sun. Ends July 26. WHO’S AFRAID OF THE BIG BAD WOLF? Little Red Riding Hood meets the Three Little Pigs in this fractured fairy tale. Volunteer Park, schmeater.org. Free. 5 p.m. Sat.–Sun. Ends July 20. WISE GUYS Jet City Improv’s salute to mob movies. Historic University Theater, 5510 University Way N.E., jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Aug. 22. WOODEN O Again Seattle Shakespeare Company is committed to free outdoor productions of the Bard, and this summer’s offerings are The Two Gentlemen of Verona (SEE REVIEW, PAGE 19) and Julius Caesar in an all-female production directed by Vanessa Miller, with Therese Diekhans as the doomed overreaching tyrant, Suzanne Bouchard as Brutus, and Amy Thone as Cassius. BRIAN MILLER Performance locations through Aug. 10 include Volunteer Park, Seattle Center, Lynnwood, Sammamish, Edmonds, and Des Moines; see seattleshakespeare.org for full schedule.
Dance •YELLOW FISH A performance that lasts at least an hour, but not longer than two days—these are the only real criteria for this collection of time-based artworks. The rest is up to a rotating cast (including Gender Tender, Mark Haim, Babette Pendleton McGeady, and Molly Sides), who will come and go for almost a month. Alice Gosti directs. SANDRA KURTZ See facebook.com/ yellowfishfestival for full schedule through Aug. 2. SUMMER DANCE AT THE CENTER ARC Dance Company’s summer show includes new works by Gerard Theoret, artistic director Marie Chong, and others. Seattle Repertory Theater, Seattle Center, 800838-3006, arcballet.org. $15–$35. 8 p.m. Thurs., July 17–Sat., July 19. 127TH ST. DANCE COMPANY This Seattle troupe’s new show is “a dance performance to unite the community and ignite discussion of the triumphs and traumas of our shared experience.” Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org, 127thstdance.org. $15–$25. 8 p.m. Fri., July 18–Sat., July 19. WANDERING AND WONDERING Dance and music dispersed throughout Kubota Garden, Renton Ave. S. & 55th Ave. S., kubotagarden.org. Free w/admission ($4–$6). Noon Sun., July 20.
Classical, Etc.
“Live in HD” •THE MET SUMMER ENCORESTheFavorite Enchanted Island is
broadcasts from past seasons. the Met’s Shakespeare/baroque pastiche with music by Vivaldi, Rameau, and others, 7 p.m. Wed., July 17. See metopera.org for participating theaters. SEATTLE CHAMBER MUSIC SOCIETY Recitals at 7 p.m., concerts at 8. Benaroya Recital Hall, Third Ave. & Union St., 283-8808, seattlechambermusic.org. Single tickets $48. Wed., July 16 Recital: Pianist Orion Weiss plays Debussy’s La boîte à joujoux. Concert: Haydn, Sibelius, Vaughan-Williams, and Brahms. Fri., July 18 Recital: Schumann lieder and piano works. Concert: A Ravel string duo and vocal music by Shostakovich and Vaughan-Williams. Mon., July 21 Recital: A performance by this year’s young winners of the Monika Meyer Clowes Memorial Award. Concert: Brahms, Schumann, and Haydn’s “Emperor” Quartet, so named for its breathtaking slow-movement variations.
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Pianist Max Levinson plays Brahms and Bartok this week at Benaroya Recital Hall.
COURTESY OF SCMS
REGISTER NOW AT
Wed., July 23 Recital: Pianist Max Levinson plays Bartok’s Out of Doors suite. Concert: Schubert, Mendelssohn, and lots more songs. SEATTLE GILBERT & SULLIVAN SOCIETY
Celebrating its 60th anniversary with a new look at The Mikado, the show that inaugurated the company’s not-so-brief career in 1954. Seattle Repertory Theatre, Seattle Center, 800-838-3006, pattersong.org. $16–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends July 26. OLYMPIC MUSIC FESTIVAL Chamber-music favorites in a repurposed barn, 2 p.m. each Sat. & Sun. through Sept. 7. Next up, early-, middle-, and late-Beethoven string quartets. Quilcene, Wash., 360-732-4800, olympic musicfestival.org. $18–$33. NORTHWEST MAHLER FESTIVAL SEE THE PICK LIST, PAGE 18. B Y G AV I N B O R C H E R T
Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
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» Visual & Literary Arts Opening
Literary Events
• CHEN SHAOXIONG The contemporary Chinese artist
BRIAN HERBERT Part of the famous sci-fi clan, the
shows new video works and their source drawings in the exhibit Ink. History. Media, which is inspired by historical photos of major events from 1909-2009. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$7. Opens Sat., July 19. Hours: Weds.-Sun., 10 a.m.-5 p.m. Through Oct. 19. FANTASY IN THE CITY Mike Oncley, Doaly, Vikram Madan, and Steve Thomas are among some two dozen gallery artists exploring sci-fi and fantasy themes. Ltd. Art Gallery, 307 E. Pike St., ltdartgallery.com. Opening reception 7 p.m. Fri., July 18. Ends Aug. 24. HEALTHCARE: ON THE EDGE OF CHANGE That’s the name of this small exhibit by painter Nancy Rothwell, who addresses the aging of baby boomers in her art. University Unitarian Church, 6556 35th Ave. N.E., 525-8400. Opening reception 4 p.m. Sun., July 20. Ends Sept. 5. KAC ARTISTS’ EXHIBITION Over two dozen locals will show their work in this annual juried exhibit, with many on hand for the reception. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org. Opening reception 6 p.m. Fri., July 18. Ends Sept. 13. ELIZABETH LOPEZ Now located in SAM’s gift shop, the sales gallery features her bright-colored abstract paintings. SAM Gallery, 1300 First Ave., seattleartmuseum.org. Free. Opens July 20. Ends Aug. 17. MUGHAL PAINTING: POWER AND PIETY Some 300 years of Indian art, from the 16th century to English colonial rule of the subcontinent, goes on display. Seattle Asian Art Museum, opens Sat., July 19. Ends Oct. 19. STEPHEN O’DONNELL He tweaks 18th-century painting conventions in Told and Untold Stories, often by rendering himself in female costumes from the period. Winston Wächter Fine Art, 203 Dexter Ave. N. 652-5855, seattle.winstonwachter.com. Opening reception 6 p.m. Tues., July 22. Ends Aug. 30. SUMMER GROUP SHOW Gallery artists Kathy GoreFuss, Kathy Liao, Henk Pander, Robert Schlegel, and Vannessa Tran share new work. Prographica, 3419 E. Denny Way, 322-3851, prographicadrawings.com. Opening reception 2 p.m. Sat., July 19. Ends Aug. 16 KATHY YOSHIHARA In her show Made in America, the California artist creates small ceramic figures to explore her heritage and Japanese-American history in general (including the internment camps of WWII). KOBO Gallery at Higo, 604 S. Jackson St., 381-3000. Opening reception 5 p.m. Fri., July 18. Ends Aug. 17.
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THE ART OF GAMAN The subtitle of this group show
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reveals its sad starting point: Arts & Crafts From the Japanese-American Internment Camps, 1942–1946. Over 120 objects are on view, many of them humble wood carvings, furniture, even toys made from scrap items at Minidoka or Manzanar. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $8-$10, Tues.-Sun., 11 a.m.-6 p.m. Through Oct. 12. JOHN BUCK Wow. A carousel of history comes to Pioneer Square in Buck’s two massive, moving wooden machines (plus woodblock prints and bas relief carvings). The two central installations are Burrowed Time and Cat’s Cradle, both of them enormous, intricate meditations on colonialism, cartography, myth, and the golden age of discovery. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. 10:30 a.m. - 5:30 p.m. Tues.-Sat. Ends Aug. 23. DANISH MODERN: DESIGN FOR LIVING A survey of modern style Danish furniture from 1950-60. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org, $8, Tues.-Sun., 10 a.m.-4 p.m. Through Aug. 31. MARC DOMBROSKY Who throws their sister to the wolves under the bus? takes a collection of unrelated items, and attempts to forge momentary, fragmentary narratives by placing them all in the gallery in new, unexpected contexts. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. Through July 26. HEAVEN & EARTH VI CoCA presents its annual outdoor art show. Carkeek Park, 950 Carkeek Park Rd., cocaseattle.org. Through Oct. 20.
local author reads from his latest, Little Green Book of Chairman Rahma. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Weds., July 16. BRUCE HOLBERT The Spokane writer reads from his latest novel, The Hour of Lead, where intrigue and murder come to the farm lands. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Weds., July 16. JOHN W. FOREMAN His new business tome is Data Smart: Using Data Science to Transform Information Into Insight. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Weds., July 16. JACQUELINE WINSPEAR Her new historical novel The Care and Management of Lies is set on the English homefront during World War I. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks. com. 7 p.m. Weds., July 16. WILLIAM WYCOFF From Montana, the visiting professor discusses his How to Read the American West: a Field Guide. Seattle Central Library, 1000 Fourth Ave., 3864636, spl.org. 7 p.m. Weds., July 16. ELIZABETH GRIFFIN She mixes breast cancer, romance, and a trip to Italy in her novel Love’s Calling: A Journey to Self. Third Place Books, 7 p.m. Thurs., July 17. SHARON SALZBERG Her new self-help guide is Real Happiness at Work: Meditations for Accomplishment, Achievement, and Peace. Elliott Bay, 7 p.m. Thurs., July 17. LUANNE RICE New in paperback, her novel The Lemon Orchard mixes grief and new friendship. Elliott Bay, 7 p.m. Fri., July 18. TONY ANGELL The local artist discusses the subject of the new biography J. Fenwick Lansdowne, about the late Canadian naturalist (whom Angell knew), to which he contributed illustrations. Elliott Bay, 2 p.m. Sat., July 19. WARREN C. EASLEY Dead Float concerns murder on a fishing trip on the Deschutes River. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery. com. Noon. Sat., July 19. BEN WATT One half of the popular ‘90s music duo Everything But the Girl, Watt will read from his new memoir Romany and Tom. Also note that he and Bernard Butler will perform at Columbia City Theatre on Monday. Elliott Bay, 3 p.m. Sun., July 20. WILLIAM SHAKESPEARE’S STAR WARS Portland author Ian Doescher was just in town touring with his books; now the local stage company ReAct Theatre performs scenes from his trilogy: William Shakespeare’s Star Wars, William Shakespeare’s The Empire Striketh Back, and William Shakespeare’s The Jedi Doth Return. Elliott Bay, 6 p.m. Sun., July 20. ARLEEN WILLIAMS A troubled flight attendant forges a new and unlikely friendship with an Ethiopian immigrant in the local writer’s novel Running Secrets. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 3 p.m. Sun., July 20. NICK JANS His A Wolf Called Romeo concerns an Alaskan community that adopted (or was adopted by) a roving black wolf. (Also: Third Place, 7 p.m. Tues., July 22; and Eagle Harbor, 7:30 p.m. Thurs., July 24.) Elliott Bay, 7 p.m. Mon., July 21. RESHONDA TATE BILLINGSLEY Her new romance novel is What’s Done in the Dark. University Book Store, 7 p.m. Mon., July 21. CHARLIE JANE ANDERS Here for the Clarion West Summer Reading Series, he’s a journalist and sci-fi writer (Six Months, Three Days). University Book Store, 7 p.m. Tues., July 22. J.A. JANCE She continues her Arizona desert-set Joanna Brady mysteries with Remains of Innocence. (Also: Seattle Mystery Bookshop, noon, Tues., July 22.) University Book Store at Mill Creek Center, BothellEverett Highway & 153rd St. S.E., 425-385-3530, bookstore.washington.edu. 7 p.m. Tues., July 22. LYNN SHERR The former ABC newswoman discusses her biography Sally Ride: America’s First Woman in Space. Town Hall, $5. 7:30 p.m. Tues., July 22. WILLIAM T. VOLLMANN One of the most ambitious and prolific men of American letters, he’s collected some of his shorter pieces (rare, actually) in a new volume: Last Stories and Other Stories. Elliott Bay, 7 p.m. Tues., July 22.
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arts&culture» Film The cult congregants gather for a baptism.
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RUNS FRI., JULY 18–THURS., JULY 24 AT NORTHWEST FILM FORUM. NOT RATED. 87 MINUTES.
Eight Los Angeles friends gather for an ordinary meal, which is then interrupted by a mysterious crisis. That film was last year’s It’s a Disaster, the occasion brunch, and the outside menace some kind of plague. This time around, in James Ward Byrkit’s modestly suspenseful thriller, it’s a dinner party that happens to coincide with a comet passing close to the Earth. (No, it doesn’t awaken the dead and turn them into zombies; I’ll stop your supposition right there.) The four couples spar a bit and hint at some past sexual intrigue, but they’re a calmer, less neurotic ensemble than that of It’s a Disaster. The vibe is one of settled, contented 30-something-dom: mortgages, Priuses, and careers. These people are more than a little complacent and self-satisfied, in need of a jolt. Then cell phones stop working and the Internet goes down, the universal tokens of crisis in any modern disaster movie. Soon the power is out, and our eight bumblers are navigating by candles and glow sticks (perhaps left over from that planned trip to Coachella that was canceled for a weekend of shopping and spa-going instead). What’s happening? One guy makes a worrisome reference to something his brother, a physicist, had warned about. They send a search party to the one house outside that seems to have electricity, but this only complicates matters—perhaps by a factor of two, maybe more on a logarithmic scale (I stopped counting at a certain point). Party guest Emily (Emily Foxler) goes looking for trouble.
Certainly there’s been an indie trend toward smart, low-budget sci-fi since Darren Aronofsky’s Pi debuted at Sundance ’98 (e.g., The Signal, Safety Not Guaranteed, and the forthcoming The One I Love). Without the expensive crutch of CGI and special effects, however, your script has to be airtight. Byrkit doesn’t have the option here of cutting to alien invaders or the White House being blown up, even if he wanted to. Locked into its one-bungalow location, Coherence is essentially a chamber drama where, most problematically, the writer let his cast improvise the script. Byrkit gave them an outline, then the ensemble adlibbed during five nights of shooting.
The movie of the summer in 1996 should have been A Summer’s Tale, a wise and bittersweet romance by then-septuagenarian filmmaker (and French New Wave co-founder) Eric Rohmer. But it didn’t get a chance to be. While the film did enjoy a regular release in Europe and was seen at festivals, for some reason it never actually opened in the U.S. for a regular run. This absurd oversight is finally rectified, as the movie is enjoying a proper arthouse goround at last. A Summer’s Tale, or Conte d’été, was the third film in Rohmer’s four-seasons cycle. (Somewhat confusingly, Rohmer’s 1986 Le rayon vert was titled Summer for the English-language market.) This one’s about a would-be musician named Gaspard (Melvil Poupaud) who travels to the Brittany seaside for a summer break before his grown-up duties beckon. Three young women are in his mind: loquacious waitress Margot (Amanda Langlet, the adolescent star of Rohmer’s great Pauline at the Beach), with whom he can talk about his problems; assertive singer Solene (Gwenaëlle Simon), ripe for a summer fling; and his quasi-girlfriend Lena (Aurelia Nolin), who’s supposed to be showing up any day now. The situation is far more nuanced than this romantic choice would suggest, and Gaspard faces long days of exploring and reassessing his attitudes about romance, most of which are charmingly in error. Nothing in the movie is glibly scenic, but the locations are beautifully and precisely captured. So is the shapelessness of youthful summer days, which could be why the movie lasts 114 minutes; if it moved quicker it might not get that drowsy quality right. And Rohmer, as always, has the
Time for a fling? Langlet and Poupaud.
Whitey RUNS FRI., JULY 18–THURS., JULY 24 AT SUNDANCE CINEMAS. RATED R. 107 MINUTES.
If you grew up in Boston, the criminal legend of James “Whitey” Bulger might carry some weight, particularly if you grew up Irish Catholic in the South End. A certain kind of outlaw is made an emblem of his ethnicity: Al Capone for the Italians, Meyer Lansky for the Jews, Frank Lucas for the blacks. Their taint becomes a synecdoche for unwelcome newcomers and minorities: See, all these damn, filthy immigrants are driving up the crime rate! Right-leaning newspapers, back in the day, loved to write about such tabloid crime
A portrait of a criminal as a young man.
figures; it was a way to displace nativist sentiment with law-and-order headlines. Then, like newspapers themselves, all those legendary gangsters got old and started dying. After a life in crime that began in the ’50s, Bulger went underground in 1995—tipped off by a corrupt FBI agent to
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
ROBERT HORTON
RUNS FRI., JULY 18–THURS., JULY 24 AT GRAND ILLUSION. NOT RATED. 89 MINUTES.
OSCILLOSCOPE LABORATORIES
The new spiritual leader of a small religious sect in the American South has received the word. That is, the Word. And the Word is that the group must become purified to be sufficiently prepared for the final days, which—according to their own in-house prophet—will arrive about a month hence. Along with their usual rounds of preaching and praying, this will mean intense fasting. That sacrifice will get them back up to speed for the deliverance to come. This setup provides not only the countdown structure of As It Is in Heaven but also its style. This low-budget indie is itself purified, stripped bare, and ornament-free. We see almost nothing but the big house—where the dozen or so cult members live—and the surrounding woods and creek. We don’t find out much about the recent convert, David (the haunted Chris Nelson), who abruptly takes over the leadership of the group. His visions might be divine intervention or guilty nightmares, but either way he appears to be that most dangerous of things: a true believer. There is some tension surrounding a rival (Luke Beavers) and the possible ambivalence of a brand-new recruit ( Jin Park), but for the most part the film rolls out on its sweltering-summer mood and the growing sense of escape routes closing. As It Is in Heaven is the feature debut of director Joshua Overbay, whose name sounds like it could belong to a megachurch pastor. Although his production design is simple, Overbay is fond of the moving camera, so the film never feels static. There are amateurish performances in the mix, and at times the simplified storyline probably errs on the side of purity—one occasionally yearns for intrigue or a pinch of melodramatic spice. But for the most part this movie joins other recent cult studies (Sound of My Voice and Martha Marcy May Marlene, good; The Sacrament, not so good) in identifying the apocalyptic simmer that runs beneath current American culture. Evangelical and horror-movie makers have their own takes on that theme, but these indies seem interested in examining that need to buy into the eve of destruction. They’re serious about it, and admirably searching—although with all this careful even-handedness on display, a good Dr. Strangelove-like satire would not be unwelcome.
OPENS FRI., JULY 18 AT VARSITY. NOT RATED. 114 MINUTES.
Coherence
MAGNOLIA PICTURES
As Is It in Heaven
PA Summer’s Tale
touch when it comes to tracking the tiny shifts in intensity between people. His neutral camera, which generally stays far enough from the characters so that we can appreciate body language and comfort levels, is ideal for allowing us to notice the tentative brush of a bare foot against someone else’s leg or the incline of two heads toward each other in a game of chicken that will end in a kiss. Or not. For a while there it seemed as though Rohmer might just keep making a movie a year indefinitely. But he died, in 2010, at 89. So the belated arrival of this neglected gem is an unusual pleasure—maybe even the movie of the summer. ROBERT HORTON
BIG WORLD PICTURES
Opening ThisWeek
Such liberty is perilous for sci-fi. If anything can happen (aliens, alternate reality, “quantum decoherence,” etc.), the story has to be controlled, thought through to the very last line. Instead we get shaky dollops of post-Lost paranoia (“We’re in a different reality here”), urban folklore, Schrödinger’s cat, and references to Gwyneth Paltrow’s Sliding Doors. I’m spoiling nothing to say that a giant monster doesn’t arrive à la Cloverfield to settle things by stomping Los Angeles into ruin. But Coherence would be a much better movie if it did. BRIAN MILLER
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PWitching and Bitching RUNS FRI., JULY 18–THURS., JULY 24 AT SIFF CINEMA UPTOWN. NOT RATED. 110 MINUTES.
This is the kind of comedy where a divorced father—covered in gold body paint, lugging a giant cross (with a shotgun inside) while portraying Christ at a street fair—brings his 10-year-old son along for a jewelry store robbery. Is this appropriate? Cowering on the floor, the store’s customers debate the question along gender lines. The women say no. The sympathetic men say, essentially, Christ loves his son, there are no good jobs in this economy, and a guy feels emasculated by the demands of alimony and hectoring exes. After a police shootout—SpongeBob Squarepants goes down!—the same complaints continue in a hijacked cab: Women expect too much in bed; there’s too much pressure on a guy to perform sexually; and men have become essentially disposable, powerless. It’s an old complaint, rooted in the folklore of pre-Christian Europe; and it’s into such a pagan redoubt that our fugitives flee from Madrid. In a Basque village forgotten by time, three women hold sway—a matriarchal coven of witches led by Graciana (Carmen Maura, gleefully displaying all her Almodóvarian expertise). She’s got an old-crone mother and a sexy daughter named Eva (Carolina Bang), and they easily overpower the hapless criminals. Up against supernatural forces, the guys are like Abbott and Costello in a monster movie, or The Three Stooges versus vampires— woefully and hilariously mismatched. Body paint removed, José (Hugo Silva) tries to protect his son and fellow robbers, but they don’t stand a chance against these literal maneaters . . . unless, of course, Eva takes a different kind of carnal interest in José. Originally titled Las Brujas de Zugarramurdi, Witching and Bitching is the latest romp from Álex de la Iglesia, whose The Last Circus and 800 Bullets previously played during SIFF. Those unfamiliar with his earlier works will find the tone here to be the Brothers Grimm meet John Waters. Yet for all the zany laughs, de la Iglesia gives Graciana a serious agenda at the film’s final subterranean witch convention (attended by a giant, naked female ogre—her pendulous breasts as big as Fiats): The witches just want to reclaim the power taken from them by Christendom. Men have ruled for 2,000 years, and someone has to clean up their mess. BRIAN MILLER E
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It just may be one of the best true crime documentaries.” – Jason Gorber, TWITCH
HHHH
“
Vibrates with the same municipal unease as CHINATOWN. Joe Berlinger is a stone-cold master at chronicling this kind of legal reckoning.” – Joshua Rothkopf, TIME OUT NEW YORK
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WHITEY:
FROM THE DIRECTOR OF THE PARADISE LOST TRILOGY
UNITED STATES OF AMERICA v. JAMES J. BULGER
EXCLUSIVE ENGAGEMENT STARTS FRIDAY, JULY 18
SEATTLE Sundance Cinemas Seattle (206) 633-0059
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SEATTLE WEEKLY WED 7/16
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SEATTLE WEEKLY • JULY 16 — 22, 2014
THE FBI THOUGHT THEY HAD HIM. IT WAS THE OTHER WAY AROUND.
avoid arrest—and was basically forgotten until his California discovery in 2011. A lot changed during the interim, and that’s the challenge for documentary director Joe Berlinger, whose greatest successes have come in chronicling unknown stories (Brother’s Keeper, Paradise Lost, etc.). Bulger’s case is the opposite: His arrest and 2013 trial were widely reported (the verdict: guilty). Martin Scorsese’s 2006 The Departed, though an inferior remake of Infernal Affairs, turned Jack Nicholson into a very Bulgeresque ringleader, right down to the Southie accent. Now 84, Bulger reappeared just long enough to rekindle his infamy; then he disappeared again to spend the rest of his life in jail. Why should we care about him now? Berlinger’s thesis, which he can’t quite prove, is that Bulger was never previously prosecuted because he was a protected informant for the FBI, owing to the notorious leadership of J. Edgar Hoover. And where the film is most interesting is its ethnic component: Hoover, in Berlinger’s telling, was so intent on the national Italian mob that he gave a pass to Bulger’s comparatively small-scale Irish-mob misdeeds in Boston. It’s a sensational charge; but, again, he can’t prove it. The sources are mostly dead; the public records aren’t there; and Whitey becomes one of those speculative, comprehensive, well-intentioned dead-ends that would’ve been better served by a fictional treatment—maybe even an opera. Berlinger gets Bulger on the phone (via his lawyer), an exclusive. We meet the families of Bulger’s victims, still traumatized by decades-old crimes. And Berlinger gets the current federal prosecutors—but not the FBI—to talk frankly about their case; if there are any heroes here, it’s these guys. Whitey skips Bulger’s California years entirely, and we never get a clear personal sense of this sociopath who preyed on his own community for so long, then lived in quiet, happy retirement with his girlfriend. Whitey is an admirable and thorough effort by an outsider to comprehend this blight upon clannish Southie, a betrayal by one of its sons. If the film falls short on final answers, it hints at a pervasive, fatalistic Catholicism that—along with some sector of the FBI—enabled Bulger for so long. “I guess there’s a reason for everything,” says Patricia Donahue, whose husband Bulger shot in the head in 1982. No, there’s not. But it’s reassuring to think that way, like lighting a candle in church. BRIAN MILLER
Silva’s José makes like Christ. With a shotgun.
arts&culture» Music
Sunny Days
has only grown over the years, and has introduced wide-eyed teenagers—and me, when I discovered it—to a whole other side of punk rock. “I was really flattered that people gave even one shit about us and wanted to think about us in a larger context,” Hoerner says. “I know I was always a musician who was heavily influenced by musicians, so for us to kind of stand out or even be a part of music is, like, fucking killer, man.” This is a marked contrast to comments band members have made in the past about being pigeonholed as “emo.” But over the years, Hoerner has softened to the idea of how people regard the band’s music. “When you’re in it, especially when you’re young, you’re like, ‘Don’t label me! Don’t call me emo! Don’t do that! Fuck you, I’m my own thing!’ ” he says. “But now I understand people need to put labels on things to understand them.”
My emo pilgrimage to Dan Hoerner’s Spokane venue. BY DUSTY HENRY
1303 NE 45TH ST
I leave Hoerner to finish up for the evening’s
DUSTY HENRY
I
booking requests from bands that played there in the past. While finding bands to play hasn’t been a problem, building an audience is another story. “We’re a small town,” Hoerner says. “It’s tough to build a cohesive, functioning, exciting scene of people who are all drawn together to make music and watch music and support music,” he says. “We’ve got a lot of suburbs spread far around that people sort of hide in until they move to the big cities to live their young adult lives.” It didn’t help things when it was determined the space needed a new sprinkler system to remain viable. Hoerner took to IndieGoGo to crowdfund the undertaking. “Some people think Spokane’s scene is cursed,” he says in the campaign’s video. “But The Big Dipper was a great club. And it can be a great club again. ” The venue’s survival remained in jeopardy when the effort ultimately fell short of its goal, raising only $6,150 of the needed $50,000. But then the city of Spokane, inspired to spur more downtown vitality, stepped in to complete the project. Hoerner was stoked. “What we wanted to happen, happened,” he says. On that high note, I decide to indulge my fandom and bring up the 20th anniversary of Diary. Hoerner is taken aback: “I didn’t really think about that. Shit, I’m old.” As we start to talk about the band, I discover that Hoerner is not just Sunny Day’s guitar player but also one of the band’s biggest champions. He admits a few reservations about some of the tracks from the group’s later albums, The Rising Tide and How It Feels to Be On Something, but still has an affinity for the band’s discography and says he’s really proud of Diary, an album still cited as hugely influential in defining emo. “We wanted people to inform [Diary] with what they wanted to hear in it. It was cool to see people build ideas around it, figure out lyrics in their own mind,” he said. Since its release, critics, fans, and other bands have been building their own theories about what vocalist Jeremy Enigk’s cryptic lyrics actually mean, viewing the work as a kind of holy sonic template for subsequent emo bands. Its legacy
music@seattleweekly.com
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
t wasn’t until later in the evening on the Fourth of July that I spilled my beer. Somewhere in the distance fireworks were going off, but I was at a table in a bar in Spokane, sitting in a puddle and watching doom metal. I made my way back to the bar for a towel, and the last person I wanted to grovel to was behind the counter: Dan Hoerner, guitarist of Seattle emo band Sunny Day Real Estate and owner of this music venue, The Big Dipper. It probably wouldn’t have been a big deal to anyone else, but this was the guy I drove four hours from Seattle to meet— the artist whose music I’ve worshipped. And there I was, asking him for a cleanup at table five. Thankfully, that wasn’t my first impression on him. We’d made plans to meet earlier that day while he set up for the evening’s show, to talk about The Big Dipper and how he came to own it. But it’s also the 20th anniversary of Sunny Day’s acclaimed debut album Diary, so I was hoping to get his insights into one of my favorite records of all time. Hours before I make my beery mess, I arrive to find Hoerner at the bar. He greets me himself, and I realize quickly that he’s a busy guy. When I walk in, he’s just finished checking in the bands and has moved on to washing dishes. He runs up and down the bar as I throw questions at him and lean with his every move, praying my recorder catches everything. Still, even with everything going on, he beams the entire time he tells me about the venue and the Spokane scene. “It doesn’t have a great track record,” Hoerner says, likely alluding to both the venue and Spokane itself. “I’m not buying this as a great financial move. I bought it because I loved it and they were going to pave it and turn it into a parking lot.” Hoerner, who lived in Seattle during his run with Sunny Day, moved home to Spokane and became a farmer after the band split in 1995. He purchased the club, in shambles, last year, and reopened it in May after seven months of renovation. First opened in the late ’80s, The Big Dipper is a beloved, historic part of the Spokane scene, well known enough that Hoerner says once word was out that it was open again, he received loads of
Dan Hoerner outside The Big Dipper.
events, and return during a set by Blackwater Prophet, a local Spokane band. The house is packed, with a few people standing and dancing up front. The group is playing scorching, grimy psych music that sounds like it should soundtrack a gunfight in the desert—perfect for this humid and sweltering Independence Day. Most everyone I see is rapt watching the band. As I find a seat, a man turns toward me, points onstage, and says, “God damn!” I see another guy in thick-rimmed glasses run toward the front as the band starts another song, yelling, “This is some new shit!” A cursory glance around reveals a balding man with his shirt off standing in one corner, a man in a shimmering silver vest and white pants dancing feverishly, and a woman quietly water-coloring at a table. In any other situation this would be absurd, but here no one seems fazed. The crowd starts to dwindle after Blackwater Prophet, which is followed by a fiery set from San Francisco metal outfit Castle. I watch as Hoerner wears every hat in the house: helping the bands set up, talking with the sound guy, heading into the kitchen. When Castle hits the stage, he’s right in the middle of the crowd, whooping and cheering at the end of every song. I start to reflect on what Hoerner said about people growing up in small towns only to leave for someplace more exciting. It’s something I did myself, moving from Port Orchard to Seattle, but back then I didn’t recognize what I’d be missing. Seattle is famous for its exceptional and varied music scene, and it’s often taken for granted. In a town like Spokane where the scene is smaller, everything carries more importance. There aren’t hundreds of bands or venues to choose from, making clubs like The Big Dipper rallying points, outlets, and precious, sacred places. Diary is in my stereo when I get back to my car. I fast-forward to the slow-moving final track “Sometimes,” and creep through Spokane’s empty streets hoping to catch some belated fireworks. Back in my hotel room, my wife is asleep, and I stare out the window at a blinking radio tower in the distance. I think about the rumbling, low guitar tones on “Sometimes” and about the bands I grew up with that my friends and I followed, much like our own Blackwater Prophet. Whether or not you eventually move away from where you grew up, those kinds of memories will always feel like home. Luckily for music fans in eastern Washington—and me—there’s now one more place in Spokane to make them. E
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arts&culture» Music
TheWeekAhead Thursday, July 17
mainstage
dinner & show
WED/JULY 16 • 7:30PM
henry kapono THU/JULY 17 • 7:30PM “ALL I EVER WANTED WAS EVERYTHING” CD RELEASE
susan ruth robkin FRI/JULY 18 • 8PM
roy rogers & the delta rhythm kings SAT/JULY 19 • 7:30PM
sinatra at the sands MON/JULY 21 • 7:30PM
the polyphonic spree
w/ sarah jaffe & friends and family TUE/JULY 22 • 7:30PM
noura mint seymali w/ mokoomba WED/JULY 23 • 7:30PM - 91.3 KBCS WELCOMES
SEATTLE WEEKLY • JULY 16 — 22, 2014
dervish
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next • 7/24 - 26 the buckaroos • 7/27 matt wertz • 7/30 & 31 x full band acoustic show • 8/1 st paul de vence • 8/2 ian moore & friends birthday show! • 8/3 cody beebe & the crooks • 8/4 movie mondays :: a mighty wind • 8/5 hamilton leithauser • 8/6 alyse black w/ natalie gelman • 8/7 jay farrar • 8/8 brazilian nights! w/ alessandro penezzi trio • 8/9 the senate • 8/10 vieux farka touré • 8/12 movie mondays on tuesday :: pearl jam 20 • 8/15 - 17 ottmar liebert & luna negra
THUNDERPUSSY is your new favorite Seattle super-
group. Since late last year, bassist Leah Julius (Cumulus, Sundries), guitarist Whitney Petty (The Grizzled Mighty), vocalist Molly Sides (This Bitch Don’t Fall Off), and drummer Lena Simon (La Luz, Kairos) have been writing rock ’n’ roll jams with a sultry blues twist. This is only the band’s second public show, but, judging by footage from its first, the quartet has the chemistry and stage presence of a group that’s been playing together for years. This show is a fundraiser for Hangin’ Tuff, a wonderfully wacky online music variety show in which host DJ Bobbi Rich, who is also emceeing this event, interviews local bands in, of all places, a hot tub boat. With Lozen, Dusty Lips, Un-Protected Sax. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $10. 21 and over. AZARIA C. PODPLESKY In a fortuitously timed booking, two elder statesmen of British rock play Jazz Alley in the same week. JOHN MAYALL, whose Bluesbreakers featured Eric Clapton, Mick Taylor, and Jack Bruce over the years, plays Thursday through Sunday—and at 80, that’s an accomplishment in itself. Starting Tuesday, ALBERT LEE begins a two-night run. Lee, whose tour celebrates his 70th birthday, has long been hailed as one of country rock’s most virtuous players. Besides having released dozens of his own records and DVDs, he has also logged time with the Crickets, Emmylou Harris, and the Everly Brothers. If only the pair would have toured together! Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. Mayall: 7:30 p.m. Thurs.–Sun. plus 9:30 p.m. Fri.–Sat. Lee: 7:30 p.m. Tues.–Wed. $26.50. DAVE J. LAKE
Friday, July 18
When JESSE SYKES AND PHIL WANDSCHER are in the same room, something special happens. The duo is a balancing act of ferocity and fragility. Wandscher’s signature style has been the driving force behind’s Sykes’ dark, spectral rock ensemble The Sweet Hereafter, building walls of wildly colored psychedelic textures. Sykes’ vocals are delivered in a hushed manner, but are by no means weak; her powerful voice can fill a room with a uniquely haunting presence. The duo’s sonic tightrope walk between clamor and calm is only accentuated when they perform as a two-piece; the atmosphere they create, distilled down, only becomes stronger, something lasting, and more mysterious. With Mike Dumovich. Fremont Abbey Arts Center, 4272 Fremont Ave. N., 414-8325, fremontabbey.org. 8 p.m. $12 adv./$15 DOS. All ages. STIRLING MYLES Two types of people will attend THE CRYSTAL METHOD’s DJ set this Friday: those old enough to remember the duo breaking through at the height of the electronica boom in the late ’90s with its 1997 debut, Vegas, and those just looking for an excuse to freak out when the bass drops. Few will argue
Chateau Ste. Michelle This Week
happy hour every day • 7/16 sarah christine • 7/17 denim wedding • 7/18 supersones / ethan j perry & the remedy band • 7/19 joe doria/brad gibson/ari joshua • 7/20 tba • 7/21 crossrhythm sessions • 7/22 singer-songwriter showcase featuring: cygne, jake london and jill cohn • 7/23 occidental gypsy TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
thetripledoor.net
216 UNION STREET, SEATTLE · 206.838.4333
W
hether you’re longing for the hits of the ’60s, ’70s, ’80s, or ’90s, there’s something nostalgic for just about every music fan this week at the Chateau Ste. Michelle winery in Woodinville. Ringo Starr & His All Starr Band play Wednesday, zooming through Beatles hits and more, including songs by Todd Rundgren, Toto, and Mr. Mister, whose members are part of the band. Thursday features a trio of female-fronted ’80s acts—the Go-Gos, Scandal, and the Motels—who each had multiple hits during the Reagan years.
that the pair, Ken Jordan and Scott Kirkland, haven’t lost their spark, especially since their new self-titled record overdoses on pedestrian beats and the dubstep rhythms that are increasingly all too common in today’s EDM scene. But they’ve pressed on, two decades after they started. Talk about finding a way to “Keep Hope Alive.” With Sean Majors, First Class, Tyler Brown. Foundation, 2218 Western Ave., 5357285, foundation-nightclub.com. 9 p.m. $15–$25. 21 and over. BRIAN PALMER La Luz, best experienced live, headlines the SECOND ANNUAL PLANNED PARENTHOOD NW BENEFIT CONCERT with its cool and groovy
’60s-inspired doo wop/surf rock; each member does her share of singing and dancing onstage. It’s the perfect soundtrack for a beautiful summer day of activism (re: WTF, Supreme Court?). These hip and sassy girls lead by example, demonstrating that being forthright and female is awesome. Come shake your bum and ova (if applicable) in support of sex positivity, education, and affordable reproductive health services. With Jason Webley, Golden Gardens, The Gods Themselves. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $12–$30. 21 and over. DIANA M. LE After releasing five records in seven years, THE HOLD STEADY took a bit more time with its sixth LP, Teeth Dreams—a delay due perhaps to increasing anxiety, one of the many symbols teeth can represent in dreams. Singer Craig Finn also used the time to issue a well-received solo record. The band needn’t have worried, however, as its postReplacements bar rock and tales of hard-living, hard-drinking characters remain joyfully intact. The album’s opener, “I Hope This Whole Thing Didn’t Frighten You,” which catches up with the Cityscape Skins (a fictional street gang that sometimes appears in the band’s songs), is a highlight, and will sit nicely alongside the group’s earlier material in the live set. Lansing, Mich.’s rising power-pop stars Cheap Girls support. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 9 p.m. $22.50 adv./$25 DOS. DJL OK GO might be painting itself into a corner, if it hasn’t already. How? Think about this: How many of its songs can you name? Hardcore OK Go fans can probably run through the discography without any problem, but for a number of people, OK Go is nothing more than “that band that makes those really cool videos!” So it’s a double-edged sword: It must be nice to attract attention for your creative vids, but is it worth it if no one cares much for the brand of indie rock they’re set to? Maybe that’s the point. But you’d think the band would want to sell some copies of its fourth studio record, Hungry Ghosts, out in October. With Myles Hendrik. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $18. All ages. BP
» CONTINUED ON PAGE 29
Opening the show are Naked Eyes, whose “Always Something There to Remind Me” remains one of the most enduring one-hitwonder hits of any era. If the ’90s are more your thing, on Saturday, Goo Goo Dolls will stroll through their string of one-word-titled power ballads, like “Iris,” “Slide,” and “Name,” with Daughtry and Plain White T’s also appearing. Lyle Lovett also plays this week (Friday), though he’s less easily pegged to a specific decade since he never achieved the massive commercial success of the aforementioned acts. Instead, Lovett has built an audience slowly and steadily via his smart, quirky Americana—and his smart, quirky pompadour. Chateau Ste. Michelle, 14111 N.E. 145th St., Woodinville, 425-488-1133, stemichelle.com. 7 p.m. $55–$167. DAVE J. LAKE
LY
(7/16) John Foreman Big Data’s Possibilities and Our Fears 2033 6th Avenue (206) 441-9729 jazzalley.com
NTw.RlitYtlereMdhUenS.coICm LIVE COUww
www.facebook.com/takewarningpresents twitter @takewarningsea
JAZZ ALLEY IS A SUPPER CLUB
tickets @ ticketfly.com
Thursday July 24Th @ NecTar THURS JULY 17
JUKEHOUSE HOUNDS 9PM - $3 COVER
FRI & SAT JULY 18TH & 19TH
SAMMY STEELE
THE ORIGINAL WAILERS
SUN JULY 20TH
9 PM - $3 COVER 4 PM - OPEN MIC ACOUSTIC JAM WITH BODACIOUS BILLY
Two sTory Zori
21+ onLY - 8:00 pm
PACIFIC MAMBO ORCHESTRA WED, JUL 16
9PM - NO COVER
13-piece orchestra delivering Grammy-winning Caribbean sound. 2014 Grammy-winner for Best Tropical Latin Album.
Thursday aug. 7Th @ el coraZoN w/ guesTs
Legendary guitarist and founding member of the Bluesbreakers
21+ onLY - 8:00 pm
JANIVA MAGNESS MON, JUL 21
Award-winning vocal blues sensation returns with a brand new album of all original tunes!
Friday augusT 8Th @ Neumos
FOXY SHAZAM
ALBERT LEE
70TH BIRTHDAY CELEBRATION!
sTop lighT observaTioNs, chrome lakes
MONDAY AND WEDNESDAY
KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER
TUES, JUL 22 - WED, JUL 23
Grammy Award-winning British guitarist celebrated by fans and musicians the world over for his hybrid picking technique
aLL ages (bar w/ id) 8:00 pm
FREE COUNTRY DANCE LESSONS WITH OUR HOST MARY ANN
MONTY ALEXANDER AND THE HARLEM-KINGSTON EXPRESS
AT 8PM; SUN, MON, TUES
HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI
WELL DRINKS & DOMESTIC BOTTLED BEER $2 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168
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TUES JULY 22ND
ROY KAY TRIO
(7/22) Lynn Sherr The Real Sally Ride (7/31) Linehan Institute presents Alan E. Fruzzetti Families in Distress
9PM - $5
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(7/19) Verse Chapter Verse Bryan Lee O’Malley, Paul Constant, and Tacocat ‘Seconds’ TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY
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THURS, JUL 24 - SUN, JUL 27
U&C: 7/23 martin atkins @ tractor, 7/25 andrew Jackson Jihad @ eL corazon TickeTs going fasT!, 7/29 miniature tigers @ Vera proJect, 8/5 the sidekicks @ chop sueY, 070114 8/23 hawthorne heights @ chop sueY, 9/12 neiL hamburger @ barboza, 10/1 parachute @ eL corazon Seattle Weekly 1/4 page ad R1
Grammy-nominated jazz pianist, bridging the worlds of American jaxx, popular song and the music of his native Jamaica
all ages | free parking full schedule at jazzalley.com
(9/16) Lawrence Wright Camp David’s Complex Peace
size: 4.83 x 5.54
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HELP BUILD KEXP’S NEW HOME
July 10 – Augu s
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(10/9) Cornel West Rekindling ‘Black Prophetic Fire’ TOWN HALL
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SE ATTLE WEEKLY • JU LY 16 — 22, 2014
EDONATE V EN T S
(9/30) Tavis Smiley MLK’s Last Days and Lasting Legacy
MATCH
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WAA ShoW
At the triple Door tueSDAy Sept 2 - thurSDAy Sept 4 tue 216 union sTreeT · seaTTLe, Wa · aLL ages TickeTs avaiLabLe onLine aT TripLedoor.com charge by phone 206.838.4333
tueSDAy September 2:
DAviD Wilcox
corb lunD & the hurtin’ AlbertAnS
10:00pm - cLose
Willie nile 7:30pm
8:45pm
WeDneSDAy September 3:
portlAnD cello project
home Free
logAn brill
8:45pm
7:30pm
10:00pm - cLose
tueSDAy September 4:
the DuhkS 10:00pm - cLose
On Sale
fRi 10:00AM
dave rawlings machine
gillian welch · John paul JoneS willie watSon · paul koweRt weDneSDay Sept 24 MooRe theatRe
Featuring:
FernAnDo vArelA
kneeboDy
8:45pm
7:30pm
1932 2nd ave · seaTTLe, Wa · 7:30pm shoW · aLL ages TickeTs avaiLabLe from TickeTs.com · charge by phone 1-800-225-2277
& tuRkuaz
only AreA show!
fRiDay July 18 tRactoR taveRn
This
tueSDay Sept 30 McDonalD theatRe
5213 baLLard ave nW seaTTLe, Wa 9:00pm shoW 21 and over TickeTs aT TickeTmasTer charge by phone 1-800-745-3000
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The Livers of sTeeL Tour feaTuring
nicholaS DaviD & DJ Sol RiSing
SEATTLE WEEKLY • JULY 16 — 22, 2014
Sat July 26 nectaR lounge
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& Rich o’toole SatuRDay aug 9 tRactoR taveRn 5213 baLLard ave nW seaTTLe, Wa 9:00pm shoW · 21 and over TickeTs aT TickeTmasTer charge by phone 1-800-745-3000
weD aug 20 tRactoR taveRn
weD aug 13 neuMo’S 925 easT pike sT seaTTLe, Wa 8:00pm shoW 21 and over TickeTs aT eTix charge by phone 1-877-725-8849
5213 baLLard ave nW seaTTLe, Wa 8:00pm shoW · 21 and over TickeTs aT TickeTmasTer charge by phone 1-800-745-3000
The nexT besT Thing To
Johnny caSh
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fRiDay Sept 26 paRaMount theatRe
MonDay octobeR 6 MooRe theatRe
1932 2nd ave · seaTTLe, Wa · 7:30pm shoW · aLL ages TickeTs avaiLabLe from TickeTs.com charge by phone 1-800-225-2277
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arts&culture» Music » FROM PAGE 26 One of the most compelling things about THE CAVE SINGERS is just how fast you’ll find yourself singing along. Even at first listen, the ever-approachable nature of every melody in songwriter Pete Quirk’s rootsy-rock ballads is apparent. Four albums into its career, this beloved local group (an all-star ensemble of members of bands like Pretty Girls Make Graves, Blood Brothers, and Hint Hint) continues to expand its catchy, straightforward style that revels in raw, dust-filled emotion. The Cave Singers’ captivating live performances and Quirk’s unique grit-laced vocal delivery have firmly established it as a force distinct from everything else; there’s a special, rarefied quality within every moment the band creates. The Treehouse Cafe, 4569 Lynwood Center Rd. N.E., Bainbridge Island, 842-2814, treehouse bainbridge.com. 8 p.m. SOLD OUT. 21 and over. SM
Saturday, July 19
Mouse in the House
Modest Mouse will play Seattle, and that’s all Issac Brock wants us to know. Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm
BY JAMES BALLINGER
RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!
BALL OF WAX SONGS ABOUT ANIMALS ILLUSTRATED BOOK AND CD RELEASE Few
Monday, July 21
SEUN KUTI & EGYPT 80 After his father, Afrobeat
Tuesday, July 22
Guitarist RYLEY WALKER may be only 24, but he channels the spirit of folksmen decades older. His home label, Tompkins Square, likely adds to this effect—the imprint reissues long-forgotten American roots music, along with contemporary artists who sound equally dust-covered—but on his own, Walker stands out as a singular player, with a voice reminiscent of Mark Kozelek’s and a style like Tim Buckley’s. This is his first Seattle show—don’t miss it. With Jason Scott Dodson, Whitney Lyman. Barboza, 925 E. Pike St., 709-9442, thebarboza.com. 8 p.m. $10. GE Send events to music@seattleweekly.com. See seattleweekly.com for full listings.
I
t’s been a long seven years for Modest Mouse fans waiting for new music from the Issaquah-founded group. Its last fulllength, We Were Dead Before the Ship Even Sank, came out in early 2007, and aside from No One’s First and You’re Next, a 2009 EP of unreleased tracks, nothing new has surfaced. As a matter of fact, there’s been little news from the band regarding studio updates or much of anything at all. A few whispers and rumors have arrived via other sources, like a mention from Outkast’s Big Boi that he was working with the band at his Atlanta Stankonia studios, news that subsequently sent the Twitterverse into a frenzy. Or the time Krist Novoselic said he’d worked with the band on a track—an especially interesting little nugget given that original bassist Eric Judy left the band in late 2011, replaced by touring bassist Russell Higbee. To the dismay of many, one bit of news did drop last June: Modest Mouse announced it had canceled its European tour to focus on the upcoming record. Since then, the band has been playing shows regularly, often performing a handful of the seven or eight new songs that have surfaced online. But still, that leaves us with, well, not much. Front man Isaac Brock’s label, Glacial Pace, seems to be keeping a tight lid on what’s going on. Plans to reissue the band’s Up Records catalog on vinyl under Glacial Pace appear to be moving forward, but updates there are slow going, too (perhaps there’s a double meaning in the label name). At any rate, you’re lucky if you got a ticket to this sold-out show, featuring fellow GP labelmates Mimicking Birds: you’ll be the first to know the latest. E
music@seattleweekly.com
MODEST MOUSE The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. SOLD OUT. All ages. 8 p.m. Friday, July 18.
COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL
2222 2ND AVENUE • SEATTLE
206-441-5449
SE ATTLE WEEKLY • JU LY 16 — 22, 2014
pioneer Fela Kuti, died in 1997, Seun Kuti took over as head of his orchestra, Egypt 80 (he was 14 at the time). Since then he’s released three albums with his dad’s group, the latest being A Long Way to the Beginning, which carries on the legacy. Its seven songs are packed with a mix of horn-heavy funk, jazz, and soul, all backed by African rhythms, with touches of hip-hop for a more contemporary sound. Like father, like son; the now-31-year-old inherited his father’s skill in bringing issues like corruption, sexism, and the need for change to listeners’ attention. With Cascadia 10, Soul Senate, DJ Darek Mazzone. Neumos. 8 p.m. $20 adv. 21 and over. ACP
in This Bring T And ge n o Coup er iz T e p p one A 2 oFF! For 1/ PAT GRAHAM
things in the world delight as much as a good kids’ song about animals; with so many in the collective songbook, it’d be better to mention here the ones you’ve not yet heard. Levi Fuller takes up that task in the latest volume of his local compilation series, Ball of Wax Vol. 37, with 15 newly penned tunes by the likes of Recess Monkey, the Foghorns, the Whizpops!, and more. With a menagerie for subject matter, these songs are just great fun—and each, upon recording, was sent to an artist for an interpretive illustration. All are collected in the book packaged with the CD, being released today at this kid-friendly celebration. Just try to keep the kids from dancing. You, too. With the Foghorns, GreenhornBluehorn, Jon Rooney, Levi Fuller, Colin J Nelson, Hal Colombo, Colin Ernst, Monica Schley. Fremont Abbey. 12 p.m. $12 adults/$30 families/free for kids 10 and under (admission includes a copy of the illustrated book and CD). GWENDOLYN ELLIOTT Since its formation in 2000, SAY ANYTHING has remained relevant and prolific despite emo’s mucky reputation. The band has gone through significant lineup changes, but frontman Max Bemis endures as its constant, with one of the most distinctive voices and lyrical styles in the genre. He also produced its latest album, Hebrews, which he hadn’t done since . . . Is a Real Boy in 2004. The album is an artistic departure from the band’s usual sound, with absolutely no guitar featured. It’s also a gathering of emo all-stars, with guest appearances by Matt Pryor (The Get Up Kids) and Chris Conley (Saves the Day). With the Front Bottoms, the So So Glos, You Blew It!. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 8 p.m. $18 adv./$22 DOS. All ages. DML
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arts&culture» Music S.A.M. COLLECTIVE
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
S.A.M. COLLECTIVE
Multiple Threads
A look at the fabric of Tori Amos’ musical renaissance.
DI N I NG
WEEK LY
MEDICINE MAN WELLNESS CENTER
BY BRYAN REESMAN
EV ENT S
M US IC
T
PROMOTIONS
ori Amos has been undergoing a musical renaissance over the past few years, generating a holiday album Celebrating our New Low Prices (Midwinter Graces), a classical song New M-F 12:00 – 7:00 The Hours: inside scoop on upcoming and New Summer Clinic Hours cycle with lyrics (Night of Hunters), orchestral Saturday 10:00 – 5:00 shows and the latest reviews. versions of her songs (Gold Dust), and a musical, ** Starting June 28, 2011 ** Sunday 12:00 – 5:00 Celebrating our New Low Prices The Light Princess, inspired by a Scottish fairy New Clinic Times: Tues 4–6 Fri 12-2 Bring this ad for an extra 10% off tale. Unrepentant Geraldines, her 14th studio Sat **starting JULY 2ND ** 10–2 and New Summer Clinic Hours For weekly specials, follow us on Facebook album and first solo pop/rock release in five years, Bring thisJune ad and mines diverse musical territory, including South4023 Aurora Ave. N. Seattle, WA 98103 ** Starting 28,receive 2011 ** ern blues, Celtic folk, and a touch of jazz, while an additional $25.00 OFF www.samcollective.org New4021 Clinic Times: Tues 4–6 Fri 12-2 visual artists like Maclise, Cezanne, and Rossetti (206) 632-4023 Aurora Ave N. Seattle, WA 98103 became further creative fuel. All of this on top seattlealt@yahoo.com Sat206-632-4021 **starting •JULY 2ND ** 10–2 A non-profit organization in accordance with chapter RCW 69.51A of motherhood and social advocacy, themes that For weekly specials, follow us on Facebook figure prominently in the new album. RMMCconsulting.com A track like “Promise,” for example—a (206) 395-8280 4023 Aurora Ave. N.mother/daughter Seattle, WA 98103 love song pledging mutual support throughout their lives—features vocals by her BUSINESSS DEVELOPMENT www.samcollective.org only child, 13-year-old Tash (short for Natashya), OPERATIONAL DEVELOPMENT 4021 Aurora Ave N. Seattle, WA 98103 who first sang with her mother on Night of HuntCANNABIS CULTIVATION ers. In a recent interview, Amos tells me Tash is eager towith follow in her footsteps, requesting to A non-profit organization in accordance chapter RCW 69.51A MEMBER OF SINCE 2013 enroll in a performing-arts boarding school at age 11 and live her own life—even though the child Now accepting all major Providing solutions and opportunity for business received a similar education growing up with a credit/debit cards! professionals and medical cannabis patients singer/songwriter and a producer/engineer (Amos’ husband, Mark Hawley) for parents. “She knows how you have to be really disciplined in the music business to be touring and doing the promo schedule,” explains Amos. “She knows it is sometimes 17 or 18 interviews a day. She knows in the old days, it was six shows a week. She understands how the music business works.” www.elcorazonseattle.com After over two decades in the business, Amos, 109 Eastlake Ave East • Seattle, WA 98109 who recently turned 50, is wise and aware of its Booking and Info: 206.262.0482 games, another valuable quality she’s handing SUNDAY, JULY 20 THURSDAY, JULY 17 down. “If you’re a producer, you’re not going to KISW (99.9 FM) Metal Shop & Mike Thrasher Present: Mike Thrasher Presents: make money off me because I see you coming, BLEEDING THROUGH honey,” Amos says. “I was taught by some of with Scars Of Tomorrow, Lionheart, Never with Helmet, Local H and Jaded Mary Met A Dead Man, Prestige and Motion the best. I decided at a certain point I was going Doors at 7 / Show at 8PM Doors at 6 / Show at 6:30PM to take control of my life. I’m not an engineer, 21+. $22.50 ADV / $25 DOS ALL AGES/BAR W/ID. $15 ADV / $18 DOS I’ll bring the engineers in. I’ll hire a team. Peter FRIDAY, JULY 18 MONDAY, JULY 21 Gabriel talked to me about how to do it in the Just Bird Booking Presents: TRAGEDY AMONGST THE STARS UNTIL THIS SUNRISE (EP RELEASE / TOUR ’90s. Tash has been given that information, and with Redeem The Exile, Destroy Louis, KICKOFF) with We The Audience, Victory Heights, therefore she sees how things operate. Being talplus guests We Rise The Tides, For The Likes Of You and Doors at 7 / Show at 7:30PM ented is one thing, but [so is] being proactive and Far From Farewell. Doors at 6 / Show at 6:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS ALL AGES/BAR W/ID. $10 ADV / $12 DOS in control of your destiny, because you’re responFRIDAY, JULY 18 sible. That’s part of the education of her being on MONDAY, JULY 21 the road since she was 1 year old.” SAM SILVA with Chris King & SEAWAY with Stickup Kid, Candy Road warrior that she is, Amos is touring solo The Gutterballs, Jaime Wyatt & The Bang Hearts, Driver Friendly and Harvest States Bang’s, Holus Bolus (HoBo), plus guests this time, with only a piano and a Hammond Lounge Show. Doors at 7 / Show at 7:30PM Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS organ in tow—and not longtime studio and ALL AGES/BAR W/ID. $8 ADV / $10 DOS touring bandmates Jon Evans (bass) and Matt SATURDAY, JULY 19 TUESDAY, JULY 22 Chamberlain (drums). “I love them so much,” “The Barefoot Barnacle Variety Show” featuring JASON CRUZ AND HOWL Amos says. “Matt’s out with Soundgarden this BAREFOOT BARNACLE with The Darlings, The Pullmen and summer and he’ll have a great time, and Jon is with Czar and The Devils Of Loudun, Arms Like Cables Hosted by Comedian Jody Jensen great. I talk to them. They’re part of the family, Lounge Show. Doors at 8 / Show at 8:30PM Doors at 7 / Show at 7:30PM. 21+. $5 ALL AGES/BAR W/ID. $10 ADV / $12 DOS and yet you’ve got to keep going.” JUST ANNOUNCED 7/26 BACK ALLEY BARBERS 7/26 LOUNGE COVER/TRIBUTE NIGHT FEAT ALABASTER 7/27 LOUNGE KALI RA 8/12 ALL Amos, who has a home studio with Hawley HAIL THE YETI 8/16 LOUNGE BLICKY 8/21 NORMA JEAN 8/29 SHE KEEPS BEES 8/29 LOUNGE CAROUSEL KINGS 9/1 MC FRONTALOT 9/24 PAIN OF at their residence in rural England, kept things SALVATION 9/29 LOUNGE TOTAL SLACKER 10/17 BURGER CARAVAN OF STARS TOUR FEAT. TOGETHER PANGEA 10/28 THE PROTOMEN UP & COMING 7/23 LOUNGE SHARKMUFFIN 7/25 ANDREW JACKSON JIHAD 7/29 SOULFLY 7/30 LOUNGE OFF TRENDS 7/31 RINGS OF SATURN similarly intimate recording Geraldines, with she 7/31 LOUNGE MOBILE DEATHCAMP 8/1 SET IT OFF 8/2 LOUNGE SPECIAL EXPLOSION 8/3 VESSELS 8/3 LOUNGE SKA REVIVAL TOUR FEAT. THE LAST and Hawley its only key players. “I was in the SLICE 8/6 LOUNGE ISHI 8/7 NICK THUNE 8/8 I DECLARE WAR 8/9 YOB Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open middle of these other projects with orchestras, so 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket I had no idea when I was going to get time [to Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge record new songs]. I would jump on a train and The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com get down to Cornwall and just make a song.” 30
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None of this has kept Amos from her
involvement with RAINN (the Rape, Abuse and Incest National Network), for which she has been a spokesperson for two decades. “I [recently] talked to Scott Berkowitz,” Amos says of the organization’s founder, who runs the operation from its headquarters in Washington, D.C. She thinks an important step has been made with the recently published First Report of the White House Task Force to Protect Students From Sexual Assault. “I think what is really concerning is when you think that one in five women on a college campus will be sexually assaulted. It’s harrowing.” As ever, Amos contributes to this conversation with her music. The title Unrepentant Geraldines, in fact, refers to unapologetic women, a trending topic currently being explored in a number of national ads, like Pantene’s “Not Sorry” and Always’ “Like a Girl” campaigns. Amos is quick to add, regarding female empowerment, that men are part of the solution. “A lot of young men are being encouraged to be proactive because of what the Obama approach is,” she says, referring to recent White House PSAs encouraging men to speak up, step in, and prevent sexual assaults from happening. “[It] is really necessary because there a lot of men out there that are strong and loving and protective. I think they always haven’t been included or know how to be included in this conversation, but have to be part of the conversation because they’re needed.” E
music@seattleweekly.com
TORI AMOS With Trevor Moss, Hannah-Lou. The Paramount, 911 Pine St., 682-1414, stgpresents.org/ paramount. $52. 8 p.m. Thurs., July 17.
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