Seattle Weekly, August 20, 2014 by Sound Publishing

AUGUST 20-26, 2014 I VOLUME 39 I NUMBER 34

SEATTLEWEEKLY.COM I FREE

FOOD » FARMERS MARKETS DISSECTED. PAGE 15 FILM » GEEZERS GO TO ICELAND! PAGE 21

REVOLUTION ROAD How the hell did Seattle elect a socialist? We used to be so nice. BY ELLIS E. CONKLIN

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

inside» August 20–26, 2014 VOLUME 39 | NUMBER 34

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CAPSULE REVIEW

BY ELLIS E. CONKLIN | Knute Berger

rallies future generations of minions! Plus: an arsonist’s appeal and the Mariners via smartphone.

SOCIALIST NETWORKING

BY ELLIS E. CONKLIN | Kshama Sawant ushers in yet another cycle of Seattle change.

food&drink

15 MARKET VALUE

BY JASON PRICE | Who’s welcome

(and who isn’t) at farmers markets. 15 | FOOD NEWS/THE WEEKLY DISH 16 | THE BAR CODE

arts&culture 17 RING MASTER

BY ROGER DOWNEY | Seattle Opera turns 50. Do you remember Glynn Ross? 17 | THE PICK LIST 19 | PERFORMANCE 20 | VISUAL ARTS

21 FILM

zombie, the vindication of George Takei, and the world’s strangest couples’ retreat. 24 | MEET PAUL EENHOORN | The Bellevue star of the new Land Ho!. 24 | FILM CALENDAR

27 MUSIC

odds&ends 31 | CLASSIFIEDS

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 Intern Terrence Hill Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Samantha Wagner Graphic Designer Nate Bullis, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Anna Erickson ADVERTISING Marketing Jen Larson, Zsanelle Edelman Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Cecilia Corsano-Leopizzi, Erin McCutcheon, Peter Muller Classifieds Account Executive Matt Silvie DISTRIBUTION

Our Signature Solitaire (also available in Platinum)

Distribution Manager Jay Kraus OPERATIONS

Open seven days a week.

Administrative Coordinator Amy Niedrich COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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news&comment

It’s About Time

The ‘Keepers of the Capsule’ work 25-year shifts to make sure humans in the distant future will know how we lived.

Three Seattle Responses to Ferguson

BY ELLIS E. CONKLIN

BY MATT DRISCOLL

hink about it a minute—the question is fascinating: What would you like humans born hundreds of years in the future to know about your presentday life? What lesson learned or wisdom gained might you impart? What emblematic relic would you share with people generations from now, some clarifying snapshot of the way we were? On Nov. 11,1989, when Washington celebrated its centennial, the first of 16 stainlesssteel time capsules, shaped like mini-torpedoes and as big as an oversized shoe box, were filled with objects that best exemplified that time— the launch of what’s known as the Washington Centennial Time Capsule project. Into the argon gas-filled vault, among other things, went CD-ROM discs, a Nordstrom catalog, a Native American basket, and a state flag that an astronaut had taken aboard an orbiting Space Shuttle. There were also 10,000 microfilmed messages from residents throughout the state offering their thoughts, reflections, and advice. “The idea is to leave some record of our lives behind for those in the future to learn and discover what our time was like,” says Seattle journalist Knute Berger, mastermind of the project, who has been quoted by The New York Times as an expert on time capsules. The task of preserving the Centennial Time Capsule—which entails updating its contents and enlisting new generations of children to support the project every 25 years until the capsule reaches its final destination, Washington state’s 500th anniversary in 2389—falls on a nonprofit organization known as The Keepers of the Capsule. Every 25 years, a new capsule contained within the green 3,000-pound safe (constructed by the Westinghouse Hanford Company) that’s entombed at the state capitol’s south plaza is to be loaded anew with small symbolic artifacts and sealed airtight. Now, as they were in 1989, 10-year-olds recruited from schools across the state will serve for 25 years as time guardians—keepers of the flame and part of a chain of stewardship that culminates in 2389 when all the time repositories will be cracked open. “My hope is that they will walk away knowing that they were part of something very special,” says Erica Gordon, the chief recruiter for Keepers of the Capsule. “You know, I was one of the Keepers from 25 years ago.” Some of the cultural tokens being considered this year for the second capsule, says Berger, include a 2014 Seahawks Super Bowl ring, a Kindle loaded with books from Washington authors, and a piece of composite material used

he entire nation has been grappling with the events playing out in Ferguson, Mo., for nearly two weeks, since 18-year-old Michael Brown, an unarmed African American, was fatally shot by a white police officer named Darren Wilson. On the ground in Ferguson, in the days following Brown’s death, protests and clashes between an irate citizenry and an obscenely militarized local police force quickly became a common scene on Twitter and nightly newscasts. But the implications of what’s happening in this small suburb of St. Louis have stretched much farther. Here’s a look at some of Seattle’s responses:

COURTESY CAPSULEKEEPERS.ORG

wide. For 3,000 years the old King had rest in peace, and now this treasure trove—an “unintentional time capsule” as it was called—had been unearthed: a coffin of pure gold, toys from his youth, perfumes and priceless jewelry. By far the most ambitious time capsule ever devised was the “Crypt of Civilization,” constructed in 1940 below a building on the campus of Oglethorpe University in Atlanta. A vault the size of a swimming pool was how The New York Times described it, containing “such everyday objects as a package of chewing gum, a quart of beer, the contents of a woman’s purse, and a Donald Duck doll.” The crypt is to be opened in the year 8113—a span of time, said its creator, Oglethorpe President Thornwell Jacobs, that was equal to all of recorded civilization up to the time the crypt was built. No one is certain, but some historians estimate that 10,000 time capsules are scattered about the planet—though the vast majority are lost, mainly because they were buried so long ago that no one can remember where they are. As for the future of Washington, Burger says that if you’d like to write a note for humankind to read someday and have it placed in the Centennial Time Capsule this November, e-mail it, with the subject line “Message to the Future,” to web@capsulekeepers.org. E

econklin@seattleweekly.com

pugel power » Reaction to Jim’s New Job

Earlier this week King County Sheriff John Urquhart made former interim SPD chief (and “Under the Viaduct” star) Jim Pugel chief deputy of the Sheriff’s Office. It was a big—somewhat unexpected—hire. Here’s a sampling of reactions from the Internet and beyond: “I worked with Jim Pugel when I was on Seattle mayor’s staff. He is a reformer, wants better police practices, better community relations.”

•

SPD

—Robert Cruickshank, Senior Campaign Manager at Democracy for America, via Twitter “I think this is a really inspired choice by the sheriff.” —Lisa Daugaard, deputy director of the Public Defender’s Association, via Crosscut “The synergy is going to be great.” —Sheriff John Urquhart, via press conference

•

Mayor Ed Murray Issues a Statement “The death

of Michael Brown . . . has reminded all of us about the enormous trust citizens place in their police service. This is a moment to reflect and learn for not just Ferguson, but for every city in this country— including Seattle,” an Aug. 14 statement released by Mayor Ed Murray reads in part. “A police service should not suppress the rights of the press to cover news events, nor should peaceful protestors be threatened with militarized force.”

SPD Reveals Its Stash One

takeaway from the developing story in Missouri has been widespread concern over the militarization of local police forces. As HBO’s John Oliver pointedly noted, “The police should dress for the job they have, not the job they want.” It’s hard not to agree. In response to the growing concerns, the Seattle Police Department released a list of all the military equipment it purchased between May 2010 and March 2014 (for the cost of shipping only) through a federal surplus program. It included flotation vests, ballistic plates for officers’ bulletproof vests, rifle sights, and “two utility trucks, which the department returned to Joint Base Lewis-McChord after seven months.” E

mdriscoll@seattleweekly.com

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

in the manufacture of the Boeing 787. There’s also talk of putting into the vault a Referendum 74 (the marriage-equality measure) campaign button and perhaps something belonging to Macklemore. “Five hundred years is like us today opening a capsule and seeing what the Pilgrims had to say,” says Berger. On November 11, when Washington turns 125, the original set of Keepers, all of whom will turn 35, are to attend a ceremony in Olympia to pass the torch. The new custodians will be officially sworn in at the event, where they will receive two T-shirts, one child-size to wear that day and one adult-size to wear 25 years later. Sworn in by Gov. Booth Gardner, 336 Keepers answered the call of duty in 1989—about 80 of whom capsule organizers were able to keep track of. The notion of devising time capsules, to serve as CliffsNotes from a distant past and provide an independent voice to the future, has been around for centuries. People used to drop into the foundations of buildings personal notes or even simple household objects. Says Berger: “In the U.S., it became a very popular idea in the 1920s, and of course in the 1930s, back when the gathering storm in Europe made us aware of our own mortality.” The discovery in 1922 of the tomb of King Tut, who had ruled ancient Egypt around 1350 B.C., was hugely intriguing to millions world-

SOLIDARITY BY MICHELE PINNA FROM THE NOUN PROJECT

Knute Berger (center) and the original Keepers of the Capsule.

A Moment of Silence Five days after Brown’s death, Seattleites gathered at Fourth and Pine for 60 minutes of complete silence, organized by Mothers for Police Accountability. MFPA’s representative at the vigil, Harriet Walden, explained that the vigil was meant to broach the broader subject of police brutality and accountability. She was joined by Rick Williams, the brother of John T. Williams, the Native American woodworker shot by police back in 2010. As our Morgen Schuler noted, “The scene in Westlake Center was one of calm reflection with pained, frustrated, and heartbroken faces littering the crowd. Police hung back on the other side of the courtyard, and no interference was made.”

& 6 5 T P E S ALLROOM 8PM IN THE ORCA B

W! E N$O SAL ONSTA RTING AT 45

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

21 AND OVER

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taste of

Capitol Hill Arsonist Appeals His ‘Political’ Sentence

SEATTLELAND

abuse, and in particular alcoholism.” Masmari was described by witnesses as “terrorizing the neighborhood.” According to police, twice while in custody at the East Precinct (two of his 16 misdemeanor arrests), he defecated in his pants in protest, prompting a judge to wonder if he needed mental help. Earlier on the day of the fire, police had seen a shirtless, sweaty Masmari sitting in a tree and hacking off some of its branches. In broken English, “He said he was doing this to save everyone,” recalled a police detective. Swift says in a court memo that he first plea-bargained with King County prosecutors who insisted that Masmari either accept a lengthy sentence or they’d hand the case to federal prosecutors. Swift opted to seek a federal deal, and thought he had a fair one. If the judge imposed a sentence higher than that agreed to by U.S. prosecutors, he said, that would be unjust. It “would only encourage future prosecutions to engage in forum shopping—not based on the crime but rather the identity of the victim and the identity of the defendant,” he argued.

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Neighbours surveillance video of Masmari.

“I do not believe that I am a bad man, but when I get drunk I do bad things.” — Musab Masmari

Yet, while prosecutors didn’t charge Masmari with a hate crime, they made it clear they felt he’d committed one, which may have influenced Judge Martinez. “As indicated in the pre-sentence report, Neighbours is advertised as ‘Seattle’s largest and longest running gay club,’ ” Assistant U.S. Attorney Todd Greenberg said. “The balance of the evidence uncovered during this investigation suggests that this was a hate crime.” Masmari confided to a witness that he set the fire because “what these people are doing is wrong,” Greenberg noted, adding that a five-year term would send “a strong message to the community.” Judge Martinez evidently felt 10 would send a necessarily stronger one. “Common sense,” he said, “tells us exactly what was on Mr. Masmari’s mind when he set that fire.” E

randerson@seattleweekly.com

Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing. His new book is Floating Feet: Irregular Dispatches From the Emerald City.

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

x-Navy commander Charles Swift couldn’t do for the Capitol Hill arsonist what he did for Osama bin Laden’s chauffeur—set him free. Salim Hamdan, wheelman for the world’s once-most wanted man, is out of Guantanamo prison and back with his family in Yemen, while Musab Masmari, who set a New Year’s fire at a gay nightclub, is off to the federal pen for 10 years. But Swift, a former military lawyer in private practice here, will now BY RICK ANDERSON try to do something else for the convicted arsonist that he did for the accused terrorist: win on appeal. (See “Driving Bin Laden,” SW, Nov. 27, 2012). Swift has filed notice challenging the length of Masmari’s 10-year sentence for setting fire to Neighbours on Broadway while it was crowded with more than 750 revelers. As in Hamdan’s case, which went to the U.S. Supreme Court, Masmari’s sentence was political, Swift thinks. Shortly after the term was handed down by U.S. Judge Ricardo Martinez on July 31—doubling the five-year sentence that prosecutors and Masmari had agreed to in a plea bargain—Swift told reporters he was worried this could happen “because of the political nature of this case.” The next day he gave notice of appeal to the Ninth Circuit in San Francisco, challenging the sentence. He is set to file his appellate brief by Halloween. Swift, who didn’t respond to requests for further comment, isn’t challenging the conviction. Masmari admitted to the crime, although he said he didn’t remember starting the fire. He was caught on surveillance video using a gas can to splash fuel and then setting the Dec. 31 blaze. Flames were quickly doused by two quick-thinking Army and Air Force service members who found an extinguisher. But the fire set off sprinklers, soaking the celebration. According to a search warrant, Masmari told a witness afterward that homosexuals should be “exterminated.” In a confession to the court, he partly blamed alcohol. That day, “I bought a bottle of cheap whiskey and then drank all of it” and blacked out afterward, he said. “I do not believe that I am a bad man, but when I get drunk I do bad things.” Martinez didn’t buy it. “The community does need to be protected from the defendant in the future,” the judge said, sending Masmari to prison for 120 months. “It is not believable that he would’ve been in an alcoholic blackout.” Swift had argued that a 60-month sentence was sufficient, since his client wasn’t charged with a hate crime. Masmari, 31, was born in L.A. to Libyan parents, he noted in a sentencing memo. They later returned to Libya, and Masmari went to school in Tripoli. He returned to the U.S. in 2008, working odd jobs and spiraling into alcoholism. By 2013 he was living in his car. Swift maintained that the sentence should be predicated on Masmari’s boozy state of mind. His conduct was not “fueled by hate,” Swift said. His client “does, however, agree with the government that his conduct was fueled by substance

Northwest

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elieve it or not, the M’s are in their first pennant race of the smartphone era. Back in 2003—the last time the M’s reached football season with a chance to make the playoffs—the fastest way to get the Mariners score was still to turn on the radio wait for Dave Niehaus to tell you. Newand Hours: M-F 12:00 – 7:00 Now? Not only can you check the score whenSaturday 10:00 – 5:00 Sunday 12:00 – 5:00 ever you want, you Bring this ad for an extra 10% offhighcan see BY SETH KOLLOEN For weekly specials, follow us on Facebook lights, get instant analysis, andN. interact with players. 4023 Aurora Ave. Seattle, WA 98103 Here are the best ways to use your phone durwww.samcollective.org ing the pennant race: (206) 632-4023 Get the Score: The free app The Score will A non-profit organization in accordance with chapter RCW 69.51A push alerts to your phone whenever the Mariners For weekly specials, follow u or their opponent score. See the Highlights: For $2.99 a month, Aurora Ave. N. Seatt MLB’s At Bat app4023 lets you listen to Mariner radio broadcasts, see highlights ofwww.samcollectiv scoring plays minutes after they happen, and watch 10-minute condensed games. Join the Conversation: Baseball’s slow pace and simplistic design make titorganization the perfect sport A non-profi in accordance wi for discussion, dissection, and amateurish second-guessing—aka the purpose of Twitter. The single best Mariners follow is The Seattle Times’ @RyanDivish, the most insightful of the journalists who travel with the team. Other baseball writers worth following: the droll, delightful Bob Dutton of The News Tribune in Tacoma (@ TNT_Mariners) and Greg Johns of MLB.com (@GregJohnsMLB), who usually has the best analysis of team transactions. For in-game analysis and emotion, follow fan/writer/radio host Jason A. Churchill (@ ProspectInsider). Either Scott Weber (@LookoutLanding) or Colin O’Keefe (@colinokeefe) of SBNation’s Lookout Landing blog usually live-tweet during each game. Of course, Twitter also allows something impossible in 2003 without a clubhouse pass— direct interaction with the players. Follow Felix Hernandez (@RealKingFelix), RobinsonCano (@RobinsonCano) and Taijuan Walker (@tai_ walker). The Mariners’ official Twitter account (@ Mariners) is a nice mix of photos, links to positive stories about the team, and score updates. The M’s are also on Instagram, Pinterest, and even Snapchat. Score Good Seats: Finally, if you decide to go to a game, check out the GameTime app, which debuted just last month. It offers last-minute deals on tickets and shows you a hi-res photo of the view you’ll get, plus there’s no printing—the app generates a QR code you can use at the gate. Yep, there are many technologically advanced ways to use your smartphone—but don’t forget about the phone part. Some of my favorite memories from the M’s glory years involve calling friends after a win and reveling in the moment. So put some pals—especially out-oftown ones—on speed dial. Now you’re set. We don’t yet know if the Mariners are prepared for a return to the playoffs, but at least you will be. Hopefully by month’s end we’ll all be frantically Googling “Mariners playoff tickets.” E

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the night at Victor Steinbrueck Park—but nothing, in terms of numbers, like today. At Lowell’s, a few old salts sat on weathered bar stools, drinking Rainiers and shots of whiskey as they watched a football game on a small TV that had a “Norm Rice for Mayor” sticker plastered to its side. After six years in L.A., Seattle seemed to us small and gritty, yet comfortable and manageable. Los Angeles’ venerable Herald Examiner had closed in November, and I, like so many others coming from the paper, had offers in other cities. You see, in those days, big-city dailies were thick with news, and almost always hiring. Holiday papers were so fat with classifieds and want-ads (remember want-ads?) that paperboys joked they could kill a small cat if the unfortunate feline got in the way of a paper tossed onto someone’s porch. To the amazement of my L.A. colleagues, I chose the Seattle Post-Intelligencer. Seattle was too distant, too rainy, they said, too unimportant, and way too mellow. For me, the ferries clinched the deal as I watched them—from the Edgewater Hotel on an early December night after a day of interviewing for the P-I job—skitter like water spiders toward Bainbridge Island. Then there was the P-I globe, too, its blazing rotating letters casting dancing rays on the dark waters of Elliott Bay. I called home and told my wife, “This is the place. Let’s get out of L.A.” In 1989, Seattle was becoming trendy. It was shedding its company-town cocoon, back when Boeing, the “lazy B,” engineered the prevailing blue-collar culture—bland and sometimes cheerless as the lye-cured cod one found at a Norwegian eatery in Ballard, well before that modest enclave was turned into high-density apartment buildings that all look alike. There were coffeehouses on every corner. Residents flocked to Frederick & Nelson dressed in Eddie Bauer fleece. The air was cleaner above snow-capped mountain ranges, and the grunge scene was in full bloom. Nirvana was two years old and Pearl Jam was about to form. Microsoft was on the verge of launching Windows 3.0. In a few years, Newsweek would put then-Slate editor Michael Kinsley on its cover. Remember that one? He was clad in a yellow raincoat next to an open-mouthed salmon, with the headline “Swimming to Seattle: Everybody else is moving there. Should you?” Indeed, it was becoming quite hip to come to Seattle. But for us, it wasn’t some craving for hipness or to discover the new “in” city that enticed. It was that Seattle felt, at least in comparison to sprawling L.A., normal—solid as the gray-painted Craftsmen on Queen Anne, sensible as a flannel shirt. And besides, you could always find a parking place on Market Street in those days. The rise of a brash and cocksure socialist was years away. And so we traded La-La Land for Latte Land. Yes, please, I’ll have a double-tall hazelnut macchiato.

bellowed, “Goddamnit, go back to California!” We were startled but not surprised by the anger, for we’d heard from other newcomers of the rage being vented at Outsiders (mainly Californians) who were coming to Seattle with a boatload of equity in their pockets, having cashed out when the housing tide was at full ebb. We can remember trying in vain to buy our own home in 1990, and standing by helpless (and equity-less) as people bid against each other. Sound familiar? In the 1990s, almost a half-million new people poured into the Puget Sound area, and Seattle was riding high—though, like now, not everyone was able to grab a seat in the saddle. Middleclass Seattle was being priced out. The economic boom was passing some people by, and the resentment was palpable. Mayor Paul Schell, who recently died, told the Los Angeles Times in 2002, “What was happening in the ’90s was not sustainable, psychologically. There were too many people getting too rich too fast, and honestly believing they earned it. Our . . . daughter had a friend who started working as a secretary at Amazon, and she ended up being worth $4 million or $5 million. And she was explaining to her dad, well, I worked really hard, Dad, for this money.” And the beat went on and the tug-of-war continues between old Seattle and a new urbanized Seattle. The old maritime/industrial economy, replete with dark taverns, dive bars, and famous greasy spoons like the former Dog House, yields to globalization, to a high-tech new order. The hostility reserved for Californians back in ’89 is in some ways now directed at what Kshama Sawant calls “the corporatists.” Her message resonates with the disenfranchised, those who feel the economic boom is passing them by. She has tapped into the anger and frustration that income disparity will continue. Socialism, as she often says, is the real path to democracy. Last year, a cold late-November rain spilled down Sawant’s blue poncho. The dark-haired socialist, having only days before been elected to the City Council, stood before union workers assembled in support of Boeing machinists and declared, “The workers should take over the factories and shut down Boeing’s profit-making machine . . . We don’t need executives! We need Boeing to be under democratic public ownership by workers—by the community!” She’d later exclaim that Boeing was making war machines (she meant drones), and ought to devote its giant assembly plants to pumping out buses.

“What was happening in the ’90s was not sustainable, psychologically. There were too many people getting too rich too fast.”

What the hell drove Seattle to elect a socialist? We used to be so very nice. BY ELLIS E. CONKLIN

n a cold gray afternoon, the first day of winter in 1989, we drove the final miles into Seattle from Los Angeles in a small blue Hyundai. The city was quiet and the traffic was light as we passed Boeing Field, the Rainier brewery, and old redbrick houses perched atop Beacon Hill, where windows sparkled with Christmas color. The population then stood at 503,000. The Kingdome, that concrete monstrosity where Ken Griffey Jr. had just finished his first season with

the Mariners, was clear in the distance. Fog curled around Smith Tower. We dined at Cutters our first evening, gobbling down fish and chips, and noticed that yes, people here really do dip their fries in tartar sauce. We walked through a near-empty Pike Place Market, past blue bins rife with fishscented trash and a pony-tailed piano player tinkling a Scott Joplin tune in front of the Le Panier French bakery. A scattering of homeless folks were dug in for

On our first Thanksgiving, we left our $700

a-month two-bedroom overlooking Interbay and headed to Colman Dock. On a ferry, we’d be off to a friend’s house on Bainbridge. We still had the California plates on. (Sorry!) And that, we’d discover, didn’t sit well among the natives. At the terminal, we accidentally cut someone off. Enraged, the guy jumped out of his Ford pickup, banged hard on the hood of the Hyundai, and

we arrived here a quarter-century ago. Politics revolved around compromise and consensus. Seattle has long been a progressive city with a strong labor tradition. In 1919, we were the first place in all the land to wage a general strike. For four days, 65,000 people walked off their jobs in support of shipyard workers, and though it didn’t lead to a wage raise, it laid the groundwork for the city’s AFL and other unions to make powerful inroads. Years later, Franklin Roosevelt’s postmaster general, James Farley, would say that America consists of “47 states and the Soviet Republic of Washington.” My first assignment at the P-I was to cover Norm Rice’s inauguration. I remember going to the Westin Hotel on New Year’s Day 1990 to meet the city’s first African-American mayor. He was so, well, nice, and that’s what everyone

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

REVOLUTION ROAD

This kind of rhetoric was unimaginable when

» CONTINUED ON PAGE 10 9

REVOLUTION ROAD » FROM PAGE 9 called him, Mayor Nice. You betcha! Politics was so different then. Moderate and conservative Democrats, for the most part, ran the city and the state. Booth Gardner was governor, smoothedged and reliably mainstream. Republicans, like former U.S. Senator Slade Gorton, could actually win a statewide office. During last November’s election, Sawant was relentless, never off-message, as she remains today, often displaying the political finesse of a wrecking ball. She came late to the socialist cause, only learning about the Socialist Alternative party at a local Ralph Nader campaign event in 2008. As she told Seattle Weekly last year, “Growing up in India, the experience of seeing the deep contrast between extreme wealth in the hands of a tiny elite and massive poverty and misery on the other end, I think it was inevitable for me to ask the logical question of: ‘How can it be that we have so much poverty and misery when it’s clear that from a standpoint of wealth and technological innovation we are perfectly capable of eliminating it?’ ” Formed in Europe in 1986, Socialist Alternative is now active in at least 20 major U.S. cities, including New York, Boston, Chicago, and Seattle, places with a strong union presence and a growing number of working-class immigrants. The party gained traction during the World Trade Organization protests in 1999 and played a major role in organizing the Occupy Wall Street movement. Two other socialist parties operate in Seattle: the loose-knit Puget Sound International Socialist Organization, whose leadership could

not be reached for comment, and the Freedom Socialist Party (FSP).“We agree with Socialist Alternative that capitalism cannot be reformed, but where we differ is their belief that they can achieve their agenda by working with liberal groups and candidates,” says FSP’s Seattle branch organizer Su Docekal.“We endorsed her [Sawant] and actively worked for her, but ultimately we don’t think winning office is going to change society.” An independent political organization, Socialist Alternative, which supported Ralph Nader’s presidential runs in 1996, 2000, 2004, and 2008, believes that capitalism, the two-party system, and corporate America are the chief villains that perpetuate the burgeoning gap between rich and poor. Given that socialists occupy less than 1 percent of the more than 5,000 local elected offices in the U.S., and an even smaller number at the state and federal levels, it is difficult to know if the party’s message has legs. It was the Occupy movement, of which Sawant was a key organizer here in 2011, camping with hundreds of other activists in Westlake Park in a demonstration called the Night of 500 Tents, that was pivotal in galvanizing support for the socialist cause. Having never met Sawant during her campaign,

I wondered for this story if she had really begun to create a mass political alternative, fueled by a growing angst with the city’s Democratic Party political establishment. I meet her one day last month in a conference room on the second floor of City Hall not far from the City Council office she moved into in

January. She offers a warm greeting and a small smile that reveals teeth as white as seashells. Her Council colleagues tell me before our meeting that Sawant’s persona in small-group situations is quite different from the one she displays in public armed with a microphone. “She’s very personable and kind in person, almost reserved,” Councilman Burgess informs me. “But in public, she can be quite strident. She’s isolated herself and is really not a team player.” “Then, it’s a lot of ranting and lecturing, like she’s reading from a handbook,” says David Meinert, owner of the Five Point Café, who served with Sawant on Mayor Ed Murray’s 24-member minimum-wage advisory panel. Some find her fiery and often harsh rhetoric refreshing, myself included. It’s not every day you hear someone, while announcing her candidacy, liken Paul Allen’s Vulcan to “a shark devouring real estate.” Still, Sawant does rub people the wrong way, no doubt about it, and her detractors are wont to call her a show horse, a narcissist, a pain in the ass. I noticed a bit of a nasty streak as well. Though in the early election returns last November 5 incumbent Richard Conlin was leading by nearly seven points, she announced triumphantly that “Richard is finished . . . He may collect his salary for another two years, but he has no political future.” Beneath the gleaming Amazon buildings that line Terry Avenue in South Lake Union, Democratic political consultant Christian Sinderman offers this assessment: “She’s provided urgency and a lot of noise, but what she and her loud but small following have done is not sustainable.” Sinderman signed on earlier this year as a key adviser

to House Speaker Frank Chopp, who fears the specter of another socialist insurgency by the name of Jess Spear. A climate scientist who built a name for herself as director of the $15 Now campaign, Spear mustered a meager 19.86 percent of the primary vote earlier this month. A sign of socialist fatigue or buyer’s remorse? On a hot, sultry evening in mid-July, I attend a meeting of the 43rd District Democrats gathered at the old University Heights Elementary School. There is no air conditioning and not a fan in sight, but these politicos are no strangers to hot air emanating from long and heated debate. In they straggle, hard-core Seattle Democratic stalwarts, at least 75 of them, clad in shorts, jeans, and flip-flops, filing past the small corner office that houses the Seattle Displacement Coalition, the adult painting class, and a classroom containing a smattering of ballroom dancers. Sawant, the software-engineer-turned-parttime-community-college-economics-instructorturned-high-flying-socialist, is up on a stage. “It’s less than a penny per employee. I guarantee you, this is not going to be a job-killer,” she says, making her case that an employee head tax is a more equitable way of closing the budget shortfall at King County Metro Transit than a regressive sales tax. She’s got a point, but I can see no one is listening. Maybe, like me, they’re more intrigued on this warm night by the political choreography, the confluence of big-name establishment center-left Democrats, urban progressives, and renegade lefties—all assembled for the district’s monthly meeting.

Andrew Sullivan U.S. Congressman Earl Blumenauer

Steve DeAngelo

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

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Seated at the conference table at City Hall, Sawant is all business, as I fully expect her to be, reprising her riff that the Democratic Party is “beholden to corporate interests.” “There’s the Democratic establishment, and then there’s the rest of the people, the working people,” she begins in her brisk rat-a-tat Indian accent. “The people on the ground are well to the left of the business and corporate establishment. The majority of the elected body [on the city council] is part of the corporate establishment. We’ve been told that they [Democrats] are on our side, so why do they feel so threatened? “We are exposing the Democratic Party for what they are, corporate-controlled. We do not have to accept the failed logic of a two-party system. The Democratic Party establishment has built an infamous resume for themselves, and it includes a regressive tax system, giving nine billion dollars in corporate tax breaks to Boeing, allowing the skyrocketing cost of housing, and making the cost of education out of the reach of working families.” She pauses to catch her breath and says, “Feel free to interrupt me.” And so I ask whether she anticipates being challenged next year. “Yes, I imagine there will be a challenge, but going with the Democrats is like falling off a cliff. We need to break from the Democrats.”

“Yes, I imagine there will be a challenge, but going with the Democrats is like falling off a cliff. We need to break from the Democrats.”

Sawant may dis Democrats as corporate tools,

but she won because of their wide support. Only a minuscule fraction of people who call themselves socialists were part of the 90,000plus votes that sent her to City Hall. All the big unions lined up early behind incumbent Conlin—19 of them, in fact, representing health care, hotel and restaurant workers, machinists, Teamsters, and constructions trades. But, concedes King County Labor Council executive secretary David Freiboth, many rank-and-file members backed Sawant. “I said at a victory rally for her that this is one of few times I was happy we were wrong,” Freiboth tells me over a bagel at Einstein’s. “Sawant is much more sophisticated than people thought she would be. She’s not a tool. She’s very bright and perceptive.” As for the $15 minimum wage, Freiboth explains, “The real genesis for it was that SEIU organized fast-food workers several years ago. But we had a symbiotic relationship with Socialist Alternative. We were able to apply the political pressure and expertise, and they were able to tap into the grassroots angst. They [Sawant and Socialist Alternative] shouldn’t be getting the credit [for the wage increase], because we’ve been at this forever. But they were great organizers. We played the good cop and they played the bad cop. Heck, they made us look reasonable.” Sawant gets testy when asked about her informal alliance with labor. In June, she hung up on KIRO radio talk-show host Dori Monson when he asked her whether she supported six-figure salaries for union leaders, noting that she was adamantly opposed to giving Seattle City Light CEO Jorge Carrasco a $120,000 raise on top of his $245,000 salary. “There is a certain amount of hypocrisy with her,” says Monson. “I have no idea if she comes to this message of collectivism sincerely.”

» CONTINUED ON PAGE 12

Bellevue City Hall, Downtown Park and in between. bellevuewa.gov/bellwether2014.htm facebook.com/BellevueArtsProgram

ART WALK

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

While Sawant continues to make her pitch for the head tax, Chopp watches from the back of the room, shuffling papers and whispering orders to a couple of aides buzzing around him. As a University of Washington student, Chopp lived for a time in a geodesic dome, and later built a name for himself as an ardent advocate for lowcost public housing. He’s Mister Mainstream Liberal now, media-adverse but an effective, seasoned power broker. This is his district, and he’s owned it at the ballot box for 20 years. Not for a minute is the 61-year-old Chopp, arguably the second most powerful man in Olympia, taking lightly the challenge of Sawant protege Spear, who also just happens to be here this sweaty summer night. “Frank is very worried,” Councilman Burgess said, prior to the primary, of Spear’s threat. Recall that Sawant collected almost 30 percent of the vote against Chopp two years ago, and as Socialist Alternative spokesman Philip Locker— Spear’s political director—says, “We have some unfinished business now, and that’s for Jess to knock off Chopp.” Also in the room is Alison Holcomb, the well-coiffed ACLU criminal-justice director who led the charge to legalize recreational marijuana in Washington. She has her hand up, wanting to confront Sawant on the head tax. The councilwoman does not acknowledge her. The following morning, Holcomb, like Sawant a Capitol Hill resident, confides that she’s seriously considering a run next year against the 42-year-old socialist. “You don’t effect change without a broad coalition,” Holcomb tells me over coffee, “and her rhetoric is all about ‘You are a capitalist pig’ no matter what the size of your business is.” As the 43rd District meeting winds down, I ask King County Democratic Party chair Karl de Jong whether he thought Sawant’s election has stolen thunder from Democrats, and if perhaps the party is worried, even threatened, that she has become a more effective messenger in articulating the widespread perception of corporate greed that gave wings to the passage of the $15 minimum wage. “Look, what they [socialists] are saying is part of our platform,” he replies. “She wouldn’t be here if she didn’t need us.” “She’s getting a little more push-back now,” says Burgess. “Her rhetoric is one thing, but the policy behind it is disastrous.” He is particularly incensed that Sawant voted against the confirmation of new police chief Kathleen O’Toole because she didn’t think O’Toole would “challenge the status quo” enough. For 10 minutes, Sawant held court to justify her No vote, lecturing council colleagues that “While I don’t doubt her sincerity at all [about wanting Seattle Police to be efficient and accountable], that is troubling to me, since private businesses and corporations are not accountable to working people, they are accountable to the profits of the few.” “That,” says Burgess, “is foolish governance.” Or, as another council member, who asked not to be identified, tells me, “To stay viable, she needs to keep feeding her base red meat—and she’s quite good at that, but her act is starting to wear thin.”

REVOLUTION ROAD » FROM PAGE 11 According to David Rolf, president of the powerful Service Employee International Union 775, Sawant and her fellow socialists won because the planets aligned themselves for her: the Occupy movement; the fast-food worker strikes and the way they organized themselves like never before; Sea-Tac’s pas-

20,000 workers in the Puget Sound region and high-tech stock prices plummeting. For a time, we had the highest unemployment rate in the country. And just when we thought we were over the tear gas and police beatings and poor old Paul getting smashed in the face with a bullhorn, the city that has long lurched from boom to bust was back in bust mode.

biggest magnet for millennials in the country. In Seattle, says Sandeep Kaushik, the main architect of Ed Murray’s mayoral campaign, there are two kinds of candidates these days. “There is what I call the communitarian populists who solve problems, who build consensus and are incremental in their approach. And then there are the populist progressives. They are filled with righteous indignation, unwilling to compromise, and will fight the good fight.” This latter group, believes Kaushik, is growing. “They are younger, more impatient, and believe in confrontational politics,” adds Kaushik. “Even though both sides embrace the social-welfare agenda, there is a battle going on between the two factions, the more radical political agenda versus older-style incrementalists—and that right now is the battle for Seattle’s soul.” I sometimes use a baseball analogy to explain Seattle’s present-day political environment. We got used to Triple AAA ball, but now we’re in The Show, a big-league city with big-time prob-

sage of the $15 minimum wage. All the while, Sawant built a coalition of millennials, minorities, single women, immigrants, collegeeducated baristas, and the like, all to some extent feeling politically marginalized and disconnected from the city’s economic boom. “The 15-dollar wage had already become a thing, and Sawant took advantage of that,” says Rolf. For all the talk about Sawant’s impressive outsider grassroots campaign, Conlin, the fleece-vested Democrat, ran a lackluster campaign and underestimated her candidacy from the get-go. It didn’t help that he voted against the city’s sick-leave law. “She was the better politician. She had a message, he didn’t,” observes Councilman Nick Licata. “I tried to help him. I told him he needed to confront her, but he said he didn’t want to even mention her name, that that would give her more attention.” In the end, Conlin was, as they say, doomed as a dog that chases cars. Seattle seemed doomed as well at the begin-

ning of this century. It started when Mayor Schell had to cancel the millennial celebration at the Space Needle because an Algerian national had been nabbed at the ferry terminal toting enough explosives to blow the iconic structure to smithereens. There was the dotcom implosion, with Boeing shedding nearly

Socialists Sawant (above) and Spear look to keep the city moving ever leftward.

Seattle, it seems to me, has always harbored suspicions about the new economy. We all think that growth and economic development is a good thing, that the influx of new money, high-paying jobs, fancy new restaurants, and transformative new office and condo towers will strengthen our city. But then, a whole lot of people aren’t getting cut in on the deal. For instance, an estimated 102,000 Seattle workers make less than $15 an hour. We have the seventh highest cost of living in the nation. A one-bedroom apartment in the city costs roughly $1,300 a month. A minimum-wage increase will provide but a temporary Band-Aid. So while the city grows—and grows—the traffic worsens, the old, established restaurants and bars go belly up as rents increase, the middle class heads to cheaper southerly suburbs— and the college-educated baristas and the like turn their frustrated eyes to people like Sawant. The political dynamic has shifted. Demographic changes have altered the electoral landscape. The white working class is getting younger, more liberal, and more open to progressive agendas. Some 20.4 percent of Seattle’s population is aged 20 to 29. We are the second

PHOTOS BY ANNA ERICKSON

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

“We may not be a center-left or even left-center city in the future. . . . [Sawant] is moving the agenda right now.”

Super Bowl of Urban Progressivism? And is this, as they say, sustainable?” That’s difficult to say, for Seattle has for decades seen its political pendulum swing. “After Charles Royer,” continued Brewster, “came a sober Norm Rice. After a vision-guy Paul Schell, we reverted to back-to-basics Greg Nickels.” And now it’s Ed Murray’s turn in the box. He ran as a regionalist, a cautious, go-slow Olympia wheeler-dealer. His main campaign theme was that he was the Un-McGinn. “Had Conlin won, [Murray would] never have jumped on the populist bandwagon the way he has,” says Spear. I think there’s something to that, and I heard this sentiment expressed by a number of prominent political observers I interviewed for this story. Whatever the case, says the SEIU’s Rolf, “There’s no doubt that establishment Democrats have been destabilized by Sawant’s election.” “We may not be a center-left or even left-center city in the future,” notes Licata. “She [Sawant] is moving the agenda right now . . . If Conlin had won, it would have been a different scene.” “We have elected an untested socialist,” grouses businessman Howard Wright, CEO of the Hospitality Group. “She is not being thoughtful. I just hope we are hearing from a very small and vocal minority, because with her, it is a scorched-earth politics.” Sometime during my first year at the P-I, one of the staff writers said he’d noticed that I was

lems and a big-time agenda. As longtime journalist David Brewster (Seattle Weekly’s founder), wrote earlier this year—noting Mayor Ed Murray’s call to enact a $15 minimum wage, provide universal pre-K, and for Seattle to become a leader in urban policing and environmental protection—“So how did Seattle go from prudent incrementalism to being a contender to win the

volunteering for too many assignments, that I looked too eager. “You know, you’re in Seattle now,” he said. “You got to learn to gear down.” Maybe then, but not now. The small, gritty city we came to 25 years ago has disappeared. We’re cockier now, angrier, and certainly a lot brasher— like Kshama Sawant. E

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Farmers-Market Culture Broken Down

BY MEGAN HILL

Belltown’s latest restaurant opening is made possible by neighboring chefs at Pike Place Market: Darlene Boline of Zaccagni’s and Cajetan Mendonca of Saffron Spice. Their new joint venture, Vittles, “offers comfort food with a burst of cultural influences,” according to their description, in addition to cocktails from Brian Troxell.

Who belongs and who needs booting. BY JASON PRICE

TYPES OF PEOPLE WHO SELL THINGS AT FARMERS MARKETS (on a 1-to-10 scale of acceptability) Ranchers, fishmongers, and foragers: 10 The

Buskers: 2.5 to 4, depending on quality

Of varying capabilities, from the guy who sings too loud to overcompensate for the fact that he can’t hold a note to the sad-looking Asian kid playing the cello to a couple of kids singing out of tune and getting money out of your pocket. Jewelry-makers: 1 From people making stuff out of sticks to the ubiquitous Fimo clay earring and pendant makers. I always ask myself what the hell they have to do with a farmers market. Fringe capitalists: -1 Trying to make a buck on things like African-patterned baskets made in China and hacky sacks woven from Tibetan beads. TYPES OF PEOPLE WHO SHOP AT FARMERS MARKETS Many market denizens are people you might rather not see (unless you belong to the same tribe). A few of the more common types spotted on market day are: Tourists who compulsively shop at the market,

Westward and The London Plane are among 50 restaurants nominated for Bon Appétit ’s list of America’s best restaurants. The list will be pared to 10, announced August 19. It’s finally happened! Mike Easton (of Il Corvo fame) has opened his Roman-style Pizzeria Gabbiano. Check out our Weekly Dish (below) for more on his tasty pies. E

and then leave behind the stuff they bought in their relative’s fridge. Vegans and vegetarians I support you supporting your local farmer—just don’t sneer at me when I’m walking out of the market with a pig leg over my shoulder. The nouveau riche They want to shop there so they can tell other nouveau riche friends “I’m hip to the local food scene” without admitting that they do not cook anything they buy. The help does that. Chefs/food service Sourcing the freshest local ingredients to make you wonderful food with— keeping it real. Hippies Hey, man, I brought my own bag and my Nancy’s yogurt container from 1992 to refill —get out of my way, you yuppie bastards! People with big-ass strollers I get the family outing and everything, but, Jesus, can’t you strap on a Bjorn? (Full disclosure: I’ve been one of these people.) People with a cause asking you to sign their petition for whatever cause du jour they’re supporting. They are attracted to markets like sharks to blood in water. Yes, I’d like to free Mumia. No, I don’t want to support Larouche and his Hitlermustachioed photos of Obama. Can I just eat my $12 tamales and listen to the steel drums without being accosted? So-called “normal” people just trying to fill their pantries with good food while getting to know their farmers and purveyors in the process. THINGS I BUY AND I DON’T KNOW WHY I always buy things I don’t want or need at farmers markets. Some of the common items that end up in my reusable bags made from recycled

morningfoodnews@seattleweekly.com

TheWeeklyDish plastic bottles sourced from beaches where they were washed up in (pick a third world country) are: Jars of anything Pickles, jams, whatever. I never know why I buy $9 jars of jam. I hardly even eat jam. But I feel like I should have six of them in my fridge at all times. Honey sticks Damn, those kids can really pester you about getting these lethal sugar injections. My will breaks for 25 cents a stick after 16 seconds of whining. Expensive lettuce In the Pacific Northwest, this stuff grows like weeds. I love the taste of fresh greens, but why am I compelled to buy a small $7 bag of “wild and spicy mix’’ every time? Mushrooms growing in weird blocks that look like Styrofoam Sure, it’s a clever gift for

the holidays. But why would I buy one when I can ask someone who spends time walking through the woods to forage for me some A+++ quality morels or boletes? $10-a-box caramels Lovely, generally packaged beautifully, and downright expensive for melted sugar. Exotic varieties of anything Why do I have an intense desire to buy purple potatoes? Why do I think rainbow chard tastes better than “regular” chard? Why am I thinking of buying red wheat berries and my own countertop grain mill? Any big-ass produce A peach as big as my kid’s head? Gotta have it. Beets that look like they were grown near Chernobyl? Yes! Softballsized apples? Mine. I like buying big-ass produce. Do you agree with my assessment? Tell us about your market experience. What’s your favorite or most maddening aspect of them? E food@seattleweekly.com

Mike Easton’s Roman-Style Pizza BY NICOLE SPRINKLE

I’m a lucky, lucky girl. My office is in the same building as Salumi, and, now, just around the corner from Mike Easton’s (Il Corvo) new Romanstyle Pizzeria Gabbiano in Pioneer Square. What is Roman-style pizza, you ask? According to Easton, the square dough, made from a sourdough starter and fermented a long time, contains some whole grains. Indeed, it’s not like any other pizza I’ve had—a definite departure from the city’s overabundance of Neapolitan thincrusts. Instead it’s more bread-like, yet light, with big, airy holes throughout in a popover-esque style with a subtly whole-wheat flavor and texture, and deliciously oily. Easton aped a favorite pizzeria in Rome, just near the Vatican, to create his new pies, which are cut with kitchen shears to the size of your liking and cost .32/kg. Toppings change daily; Easton says you’ll just have to trust them and come in to see what’s on the menu. On opening day, one topped with squash blossoms was notable for the blossoms not being fried, but just heated atop the pizza in the 600-degree oven. This week’s eggplant pizza (among others) featured thick slabs of the vegetable, which were not overwhelmed by the delicately flavored tomato sauce. The downside? Like Il Corvo, a line begins forming before noon. E

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SEATTLE W EE KLY • AUG UST 20 — 26, 2014

only people we really need to be there and who should be there. Artisans: 8 People like pastry-, bread-, and pasta-makers—all acceptable and welcome if they’re using locally sourced ingredients. Value-adders: 6.5 Soap-makers, herbal-infusion alchemists, jelly/jam/pickle canners—all OK if their wares are produced from things made on their farm. Otherwise marginally acceptable. Flower vendors: 6 Capitalizing on a captive audience gleefully spending money on local food and who can’t resist buying fresh flowers. Plant people: 5 OK, you can stay, but only if your plants are cool, native, come from nonGMO seed, or cost the same or less as what I can get at the nursery.

Seattle Cider Company is celebrating its first anniversary next weekend. The company also announced plans to expand production and distribution—so much so that it’s set to become the second largest cidery in Washington. The anniversary celebration runs August 23 from 1 to 7 p.m. with 15 ciders on tap, including a limited-edition single-malt barrel-aged New England-style cider.

CHAS REDMOND VIA FLICKR.COM

hances are that given the weather this summer, you’ve been spending a lot of time at your favorite neighborhood farmers markets. While, like me, you probably never tire of their splendor, you also, like me, probably can’t help scratching your head over their idiosyncrasies. To that end I’ve dissected market culture—who shops and sells there (and why); who shouldn’t shop and sell there; (or be there at all for that matter—i.e., middle-aged burnouts doing renditions of Spinal Tap’s “Jazz Odyssey”); and how come I can never walk away from produce that’s bigger than my head. Let’s look at each of these in further detail: 1. The types of people who sell stuff 2. The types of people who shop there 3. The things I actually buy

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Carpools and weekend camping encouraged as parking is limited. Photo ID required for admittance. pr@fraternitysnoqualmie.com or 425-392-NUDE(6833) fraternitysnoqualmie.com

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Drinkin’ at Safeco With Cody Morris and Friends

here’s something about drinking beer and watching baseball that’s innately American. Wherever you go throughout the U.S., you’ll find the two combined to great effect. While most Major League Baseball stadiums would be content to offer you a couple of mass-produced domestic light beers and a token “craft” beer BY ZACH GEBALLE (at Yankee Stadium they laughably call Blue Moon a craft beer), Seattle is a bit different. I’d heard that Safeco Field offers a nearly unrivaled beer selection, so I recruited Seth Kolloen, our sports columnist, and Cody Morris, brewmaster at Epic Ales, to put the home of the Mariners to the test. Things started, as they often do, with a glass of wine. Steve Dominguez, the general manager for Centerplate (the company that runs the bulk of the concessions at Safeco) graciously offered to show us around, and our first stop was the new wine bar near home plate, where the M’s were hosting a wine-tasting event for select season-ticket holders. Ethan Stowell was there, serving beef tenderloin to hungry patrons. It was nice to see him, since Stowell has been at the center of the revitalization of Safeco’s fare, lending his name and expertise to the centerfield concourse of food and drink options known as “The Pen.” According to Dominguez, it was also Stowell’s name and credibility that enabled Safeco to reach out to the larger Seattle restaurant community; it showed that the team was taking their efforts seriously, and were committed to offering an unparalleled stadium experience. Then Jay Buhner showed up, and all three of us were a bit awestruck. Yet, as Kolloen observed, many of those attending seemed at least as excited to meet Stowell. Buhner even mentioned having been at one of Stowell’s restaurants the night before. I guess game recognizes game. From there, Dominguez showed us one of the stadium’s coolest new beer-related additions: three cask engines that allow beer to be drawn directly from a keg or cask without the need for nitrogen or carbon dioxide. It’s generally considered to be the purest form of beer delivery, at least for true beer nerds, and Morris was totally captivated. I think if I’d let him, he’d have stayed for an hour, and not just because the beer was tasty. Next we toured the Sound Bar, one of the few places in the stadium that serves hard alcohol. Due to Washington’s convoluted liquor laws, you can buy a beer and walk around the stadium, but can’t do the same with a gin and tonic. As such, liquor sales still represent a small fraction of overall drink sales at Safeco, but it was cool to see that the stadium has worked hard to offer spirits from a number of local distilleries. The

THEBARCODE

cocktail list was created by Rob Roy’s Anu Apte, another case of Centerplate reaching out to the local community for expertise. At this point, things got a bit blurrier, in no small part because Dominguez insisted (much to our dismay) that we try quite a few different beers. Such is the price of being a professional. I remember learning that Manny’s Pale Ale was the top seller (at Safeco, microbrews outsell massproduced beer by about four to one), and that the team had imported a bunch of tiny kegs from Japan to allow it to be served in individual box suites. We also learned the beer lines at Safeco are cleaned way more frequently than at most stadiums. In fact, they recently bought the equipment to do it themselves. Again, Morris was impressed: He’d heard scandalous rumors about thousandfoot-long lines that were cleaned once a year. Meanwhile, Kolloen and I had a nice discussion about how awesome Robinson Cano is. Oh, and then there was a game! Thankfully, the level of play on the field is finally starting to match the quality of the food and drink, and that

Chef Ethan Stowell (right) at Safeco Field’s wine bar First Base Vine.

game was no exception. The details are a bit vague at this point (see above), but I do remember the Braves’ second baseman dropping a pop-up, the Mariners winning, and apparently me spilling the remainder of my beer on myself during the celebration. Again, quite the professional. Yes, beer is still expensive at the games, though if you look at the prices at your local brew pub, you might not see too much of a difference these days. Safeco does quite a bit to make the drinking experience at Mariners games more than just an afterthought—not just by bringing in a wide array of local beers from some relatively small producers, but by treating them with an impressive amount of care. As Dominguez tells me, “The demographic in Seattle has a very demanding palate, and it’s up to us to offer what the guests want.” I certainly see that in the restaurant where I work each night, but it’s really cool to experience it in a place where you could also catch a foul ball. Which we didn’t, because I would have had to use my beer cup to catch it, and that would have been a waste. E

thebarcode@seattleweekly.com

BEN VANHOUTEN

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

Kids welcome with their parents. And Bring cash, no ATM onsite.

food&drink»

arts&culture

Alberich and Me

Seattle Opera’s very sanctioned company history leaves a few gaps about its ferocious founder. Let me fill them in.

ThisWeek’s PickList

BY ROGER DOWNEY

THURSDAY, AUG. 21

and graces that accompanied operatic art in his day. He often asserted that anyone who couldn’t in a pinch mount a repertory item like Carmen or La bohème in 48 hours had no business in the opera business; and, during his 20-year tenure, productions routinely looked as if they had been thrown together in less. A typical early Ross production had a star—a genuine star, preferably direct from the Met—as its tentpole, with everything else, including musical preparation, as an afterthought. And since the intended audience had prepared, if at all, for the experience by watching The Ed Sullivan Show, the formula worked pretty well. That it worked at all must be attributed to one

man: Henry Holt, the conductor and musical jack-of-all-trades who faithfully played straight man to Ross’ Zero Mostel from 1966-83. Holt’s significance has always routinely been underemphasized in Seattle Opera retrospectives, and Bargreen’s take is no exception; though he does get one little sidebar all to himself (as do stage managers, PR people, and secretaries). Holt was fondly known to vocalists as “the singer’s friend” for his role as the one reliable element in a chaotic production environment. Orchestra members didn’t appreciate his laserlike focus on the stage, but came to respect his utter professionalism as Seattle Opera embarked on its date with destiny: its first staging of Wagner’s complete Ring of the Nibelung in 1975. Ross paid tribute to Holt on his death in 1997, 14 years after their collaboration ended. But Holt’s most essential qualities for Ross were surely those he demanded of everyone who worked with him: absolute subordination, unquestioning loyalty.

years; the media I then worked for swung enough weight to demand attention, but not enough to matter much. That changed in 1976, when the just-born Weekly unwisely chose to put me (as a battered Siegfried) on its cover and billed my Ring review as “Wagner 4; Downey 0.” Every time I visited the Seattle Opera offices for an interview after that, I felt like I was at the court of one of the less-bloodthirsty Roman emperors, with everyone metaphorically tiptoeing around the seat of power. That ’76 Ring review was symptomatic of a shift in public attitude to the opera’s many production shortcomings: from affectionate tolerance to sometimes cranky irritation. But it was Ross’ increasingly imperial worldview that led at last to the end of his phenomenal smile-and-a-shoeshine tenure as a one-man production machine. The late ’70s/ early ’80s collapse of his pipe dream of a Wagnerian Valhalla on Weyerhaeuser-donated land in Federal Way—which Bargreen treats in a few embarrassed paragraphs—shifted power to a faction of the board that felt that the unaccountable Ross was an unsuitable figurehead for a grown-up opera company. Thus ended Ross’ two-decade rule. His Esauthe-hairy-man was replaced by the smoothly patrician Isaac of Speight Jenkins, now retired more gracefully after a 31-year reign. For the company, it was a brilliantly right move. For Ross, it was a fall like Alberich’s in his beloved Ring: from king of the world to exile in Arizona, where he built a new, if diminished, opera empire. But the spotlight had passed. Ross remains vivid in my memory, though. My last encounter with him was suitably strange. I was just off the plane at Phoenix’s Sky Harbor in 1995. It was about 4:30 in the morning, the hour dictated by a date with the bus to Grand Canyon and a few days’ hiking. While still coping with my tent and backpack, I was approached through the pre-dawn murk and the deserted tarmac by a diminutive figure with the unforgettably huge head and feral grin, unaccountably solitary and suited, but ready to take advantage of a rare opportunity. “Roger Downey,” he grated out, taking me firmly by the arm. “Roger Downey,” he repeated, pounding his other fist onto my other arm, as hard as an 80-year-old man has any business hitting anyone. And he kept assaulting me and repeating my name until I managed to remove myself from his iron grip. I was shaken, I admit, but more by the ineffable weirdness than the physical attack. After a while, I saw the incident from his point of view. How many impresarii, offered his opportunity, would have lost the chance to deal decisively, if decorously, with a loathed enemy? Not Glynn. He was a scrapper to his core, and I miss that about the guy—and in this otherwise exemplary chronicle of the feisty company he founded. E

books@seattleweekly.com

Brian Posehn

Posehn brings the metal.

For some reason, Posehn is not among the talented roster of comics at Bumbershoot this year. Fortunately, he periodically tours through Seattle, and I’ve always felt his humor is a good regional fit for the Northwest. Balding, bearded, gentle, yet physically imposing (at 6´6˝ and God knows how many pounds), he’s like a librarian trapped in the body of a biker. Because of his distinctive appearance, “I stick out in a crowd,” he jokes. Unfortunately, he says, this means that people often associate him with the pervert peering in a motel window rather than a comic with a long resume cliché. And Posehn’s TV credits are extensive, ranging from Just Shoot Me to The Sarah Silverman Program to New Girl. His jokes reflect his cultural obsessions: He loves comics, comic-book movies (preferably watched while naked), the original Star Wars, heavy metal, and pot (though not necessarily in that order). He also has an ambivalent relationship with technology, he says. The iTunes music service had him pegged as a metal-head until he ironically ordered Wham’s “Last Christmas” to confound a friend. Says Posehn, “iTunes doesn’t know what to think of me anymore.” The store’s next suggestion for him? “Maybe you’d like balls on your chin.” Posehn almost sounds hurt describing the experience: “I thought we were friends, iTunes.” And now that cannabis is being retailed freely in our state, expect to hear plenty of jokes about that—or see him in line at the store. (Through Sat.) Parlor Live Seattle, 1522 Sixth Ave., 602-1441, parlorlive.com. $25–$35. 7:30 p.m. BRIAN MILLER FRIDAY, AUG. 22

Seattle International BeerFest

The potheads had their celebration last weekend at Hempfest. Music fans will gather next weekend for Bumbershoot. And what lies in the middle? That great American pastime, beer. Sure, pot is legal now, but beer is so much more convenient. There’s no smoke or smell, and it comes in so many more varieties. This weekend’s gathering of suds connoisseurs will feature more than 200 varieties of brew, from Belgium’s Kasteel Rouge to our own Elysian Brewery’s Dragonstooth Stout. There will

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

account—what couldn’t, in an official history/ tribute like this—is what an extraordinarily strange man Glynn Ross was. Her straightforward rendering of his ultra-populist manipulation of the local media—the bumper-sticker reading “Get Ahead With Salome,” the “Mix It Up With Seattle Opera” painted on the drum of a cement truck—captures the jokey but effective side of his campaign to make opera a household word here, but misses the frenetic side of Ross the promoter. Only the chapter heading “Glynn Ross: Driven Dynamo” hints at the demonic side of Ross, the ferocious force he radiated, disturbing many observers even as they acknowledged his accomplishments. Ross’ lack of formal education may have exacerbated his contempt of the formal airs

Ross with a spear carrier, in an undated photograph.

COURTESY SEATTLE OPERA/GLENN ROSS ARCHIVES

What doesn’t come across in Bargreen’s

My direct contact with Ross was rare in the early

BRIANPOSEHN.COM

elinda Bargreen’s new history of Seattle Opera is about as good as such institution-published, selfcongratulatory commemorations can be. Lots of people will refer to 50 Years of Seattle Opera (Marquand Books, $65) to settle arguments and joggle memories. It will appear on Northwest coffee tables indefinitely, until decorators insist on something more up-to-date. No one will read it for pleasure. That’s to be expected: A careful traversal of more than 200 stagings—each accorded its sentence or two of description, raves, faint praise, and all—isn’t meant for the nightstand. I hope people who purchase it out of duty or nostalgia do try to read it, though. Bargreen’s coverage of the prehistory of opera in the Northwest sticks—starting in 1876—makes it clear that the legend of Seattle Opera as the bumptious natural child of the 1962 World’s Fair and a yokel with a flair for promotion was a media fabrication from the git-go. But—from the standpoint of this Seattle Operagoer from the mid-’60s onward—there was a kernel of truth to the tale that served the young company so well. It attracted first the patronizing attentions of the national and then the world media. And that myth depended on one man: Glynn Ross (1914–2005), born a Nebraska farm boy, but—by the time he reached Seattle—one who was as deep in the bag as any American of his age and time. After fighting and being wounded in WWII, Ross had by ’63 also presented lyric theater to the troops in postwar Italy, saturated himself in Wagner’s Bayreuth during its golden postwar seasons under the composer’s grandsons, and labored for decades in the undergrowth of an art form defined and dominated by the nation-spanning Texaco broadcasts from the Metropolitan Opera. Reading Bargreen’s copious account of Ross’ career between 1948 and 1963, you realize it was ideal for the making of an impresario. (A longtime Times critic, Bargreen also wrote his obituary for that paper.)

» CONTINUED ON PAGE 18 17

arts&culture» » FROM PAGE 17

music festival

ROCK ‘N’ BLUES MUSIC FESTIVAL SUN | AUG 24 | 5PM

VELOCITYDANCECENTER.ORG

A TRIBUTE TO JOHNNY WINTER

be live music ranging from rockabilly (the Echo Devils) to New Orleans horns (Tubaluba Brass Band), so you can lounge on the grass to listen—or nap. And remember to pack plenty of cash for extra beer tokens and food trucks representing Skillet, Pinky’s Kitchen, and other vendors. Dogs are welcome. Kids are not, this being a 21-and-over event. But it’s worth noting the rest of the family can roam free on the Seattle Center grounds, while only the Fisher Pavilion and lawn is where the taps will flow. (Through Sun.) Seattle Center, seattle-

Mrak and company in rehearsal.

The Samurai Project

beerfest.com. $30. Noon–10 p.m. T. BOND

AMERICA’S BAND

Level Five

THE BEACH BOYS SAT | AUG 30 | 7PM

BARENAKED LADIES THUR | SEP 4 | 7PM

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

2014 AMERICAN COMEDY AWARD

KATHLEEN MADIGAN SUN | SEP 14 | 8PM

TICKETS: SNOCASINO.COM OR THE SNOQUALMIE CASINO BOX OFFICE SEATTLE’S CLOSEST CASINO | I-90 E, EXIT 27

/Snocasino

I will not tell you this is an easy picture to watch, but Chris Marker’s 1997 essay film—never before released in the U.S.—is required viewing for cinéastes who revere his La Jetée, Sans Soleil, or Grin Without a Cat (don’t everyone raise your hand at once). Level Five putatively concerns the creation of a video game about the WWII Battle of Okinawa. Its architect has disappeared—dead? suicide? absorbed into the Web?—and left his girlfriend Laura (Catherine Belkhodja) to complete the project. She speaks to us (or him) in direct address, and the details of the game—stifle your laughter about the War Games–quality screen graphics—give way to the film’s more important main themes: grief, loss, and the representation of historical tragedies. As with other works by the late French director (1921–2012), Marker makes generous use of old stills, newsreels, and documentaries; the later include John Huston’s Let There Be Light and TV works by Nagisa Ôshima (In the Realm of the Senses), who’s also interviewed here. (Marker filmed much of the Japanese footage in ’85; that’s his voice you hear addressing Laura.) The philosophical ruminations and digressions of Level Five variously allude to William Gibson, virtual reality, and the shaping of the world by the camera that frames it. “Level Five” itself may mean death or the transcendence from history. Even then, says Laura, there’s no forgetting history’s great blights, because the computer has become our collective memory; and it will outlive us all. (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$9. 6:45 p.m. BRIAN MILLER

ICARUS FILMS

GRAMMY NOMINATED

Belkhadja as game designer.

Local dancer Elia Mrak is very comfortable in that awkward place between standing upright and laying flat on the ground—he seems made to hover somewhere in the middle. With an eclectic movement background that includes martial arts and b-boying, he’s been making physical challenges that double as dance. Now he’s found two partners who share his aesthetic. Working with Argentinian Martin Piliponsky and Mexican Viko Hernandez, the trio have inaugurated The Samurai Project, which will take them up and down the Americas. The first stop is here in Seattle, where they’ve been refining their fight and flight skills. Velocity Dance Center,

1621 12th Ave., 351-3238, velocitydancecenter.org. $12. 8 & 10 p.m. SANDRA KURTZ MONDAY, AUG. 25

Mariners vs. Rangers

Barring an unforeseen injury (and when it comes to the Texas Rangers’ terrible luck this season, no injury can really be called “unforeseen” at this point), tonight’s contest with the M’s will mark the triumphant return of . . . Mike Carp! (*Crickets*) What, you’re not tickled with anticipation over the chance to see Carp, the red-bearded onetime prospect with a fishy name who bounced between Triple-A Tacoma and the Mariners’ lineup for the better part of four years before the M’s unloaded him to Boston early last year for $17 and a premium bucket of sunflower seeds? That’s cold. And Carp is probably used to it, seeing as Boston let him walk (not literally) to Texas earlier this month; now he finds himself playing first base for a team decimated by injuries and nearly 20 games below .500. (Of course, Carp did get a World Series ring out of his one year in Beantown, and his beard did flourish.) Still, if you can’t get pumped up for the return of Carp for this three-game stand, you should be able to get excited about the M’s, who as of this writing hover 10 games above .500 and have a real shot at playing meaningful baseball in September for the first time in years. (Through Wed.) Safeco Field, 1250 First Ave. S., 346-4000, mariners.mlb. com. $10 and up. 7:10 p.m. MATT DRISCOLL E

» Performance Stage OPENINGS & EVENTS

BLACK COMEDY Peter Shaffer’s one-act is literally titled:

it’s set during a power outage. Erickson Theatre, 1524 Harvard Ave., 800-838-3006, strawshop.org. $18–$36. Opens Aug. 21. 8 p.m. Thurs.–Sat. Ends Sept. 20. GREMLINS Never feed him after midnight! Ian Bell’s Brown Derby Series, gender-bending stagings of cult film scripts, takes on this monster mash. Re-bar, 1114 Howell St. $20. 8 p.m. Thurs., Aug. 21–Sat., Aug. 23. ICICLE CREEK NEW PLAY FESTIVAL Steven Dietz is both writer and director of Bloomsday, inspired by the life of James Joyce. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$15. 7 p.m. Wed., Aug. 20. OTHER DESERT CITIES In Jon Robin Baitz’s play, secrets are revealed among a powerful family. Eclectic Theater, 1214 10th Ave., 800-838-3006, localjewell.com. $18. Opens Aug. 22. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 14.

CURRENT RUNS

• ANGELS IN AMERICA Tony Kushner’s “Gay Fantasia

on National Themes.” Cornish Playhouse, Seattle Center, 441-7178. $25 and up. Millennium Approaches runs through Sept. 21; Part 2, Perestroika, runs Sept. 3–21. See intiman.org for complete schedule. BALCONIES Scotto Moore’s new comedy lampoons not only the gaming industry, but also celebrity, politics, and religious cults. The satire is slow to get underway, yet by the end the farce finally delivers on its promise. KEVIN PHINNEY Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends Aug. 30. GROUCHO RETURNS Frank Ferrante channels the slyly leering Marx Brother. ACT Theatre, 700 Union St., 2927676. $25–$35. 7:30 p.m. Wed.–Sat. plus weekend matinees; see acttheatre.org for exact schedule. Ends Aug. 24. TIME STANDS STILL Donald Margulies’ drama about a a female war photographer. Ethnic Cultural Theatre, 3940 Brooklyn Ave. N.E., 800-838-3006, reacttheatre.org. $9–$20. 8 p.m. Fri.–Sat., 2 & 7 p.m. Sun. Ends Aug. 24. URINETOWN In brief, a 20-year drought leads to the privatization of all restroom endeavors. Despite the inten-

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tionally hokey plot and stock characters, this cast does a splendid job in not letting Urinetown dwindle into liveaction cartoon. ALYSSA DYKSTERHOUSE Seattle Musical Theatre at Magnuson Park, 329-1050, balagantheatre.org. $5–$35. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 24. See seattleweekly.com for many more Current Runs.

ys of 3 da tations ic n us Prese eer * M * B y Fun d o Fo Famil S! AT & BO

Dance

• ALL RISE A site-specific dance series at the location

of the future Seattle City Light electrical substation, in conjunction with Karl Burkheimer’s installation In Situ, Saturdays through Aug. 23. This week, Seattle’s Salt Horse. 1250 Denny Way, allriseseattle.org. Free. 7 p.m. THE SAMURAI PROJECT SEE THE PICK LIST, PAGE 18.

Special Thursday 9/4 Presentation! Spend the day with Steve Callahan, author of Adrift and adventurers Lin & Larry Pardey

Classical, Etc.

• TRIO TRITTICALI String music from cellist Loren Kiyoshi

Dempster and friends, plus dance with Dahlia Nayar and Margaret Sung Paek. Chapel Performance Space, 4649 Sunnyside Ave. $5–$15. 8 p.m. Wed., Aug. 20. EASTGATE CHAMBER MUSIC FESTIVAL Concerts by Musicworks Northwest faculty and guests. Northwest University, 5520 108th Ave. N.E., Kirkland, 425-644-0988. See musicworksnw.org for repertory. $10–$20. 7:30 p.m. Thurs. & Fri. Ends Aug. 22. SEATTLE SINGS FOR HUNGER Beethoven’s Ninth, from the Northwest Mahler Festival orchestra and chorus, to benefit Northwest Harvest. First Presbyterian Church of Seattle, 1013 Eighth Ave., northwestharvest.org. Donation. 7:30 p.m. Sat., Aug. 23. OLYMPIC MUSIC FESTIVAL Chamber-music favorites in a repurposed barn, 2 p.m. each Sat. & Sun. through Sept. 7. This weekend, more Beethoven, including the downright weird Quartet in C-sharp minor. Quilcene, Wash., 360-732-4800, olympicmusicfestival.org. $18–$33.

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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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WOODEN BOAT FESTIVAL SEPT. 5-7, 2014 Port Townsend, WA woodenboat.org

October 3-4, 10-11, 17-18 Oktoberfest

September 26-28 Autumn Leaf Festival

You’ll come for a taste of Oktoberfest. You’ll leave with so much more. From the Bavarian festivities to the outdoor adventures, it’s the perfect place for an escape from the everyday.

le a v e

Everyday I’m Yodelin’

4 8-580 7

September 20 Fall “Framed”

September 18-20 Salmon Festival

9 -5

September 13-14 Sustainable Living & Farming Tour

September 13 Leavenworth Wine Walk

t h .o r g

September 3-7 Quilt Show

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

Upcoming 2014 Events

a&c» Visual Arts

A WEEKEND

JUST UNLIKE

ANY OTHER

MAKE YOUR LABOR DAY WEEKEND UNFORGETTABLE GET TICKETS AT BUMBERSHOOT.ORG

Openings & Events BLOOD MOON A collective exhibition from over 40

Seattle artists that will be bound into a book available at the show. Artists include D.K. Pan, Sierra Stinson, Frank Correa, Emily Pothast, Aidan Fitzgerald, Lisa Orth, Trevor Brown, Joey Veltkamp, J.D. Banke, James David and many, many more. Hard L, 1216 10th Ave, hardl.org. 6-10 p.m. Tues., Aug. 26. MARC PALM The editor of local quarterly comics compendium The Intruder will be the final featured artist in this pop-up gallery series. Palm’s work is often gruesome and unafraid of gnarly amounts of gore and guts, all while maintaining a surreal, disjointed, often Lynchian sense of dark humor. Porter Pop-Up, 1630 Boylston Ave. #204, 280-6385. 5-10 p.m. Sat., Aug. 23. ELIZABETH RUDGE AND RYAN MILLER Saturn Return is a photo collage series about people who are experiencing the return of Saturn to the same position in the sky as when they when they were born (which occurs at around 29 and one-half years after birth), and how this realignment triggers deep questions about destiny and life choices. Garek Von Druss will perform a meditative drone piece alongside the show. Vignettes, 1617 Yale Ave., vignettes.us. 7-10 p.m. Thurs., Aug. 21. SAM REMIX Experience Trimpin’s sound installation You Are Hear, in which listeners place comically large headphones on, and check out tunes from IMERUAT, DJ Utopia, and DJ Sharlese. With food, drinks, and dancing. Olympic Sculpture Park, 2901 Western Ave., 625-8900, seattleartmuseum.org. $12-$20. 8 p.m. Fri., Aug 22 SOLACE WONDER Sea Affaire is an ode to Seattle’s nautical history, featuring an “exploration of the ship’s hierarchy,” as well as a “knot study” and “a massive 3-D plush sculpture” of a tentacled beast. The Pirahna Shop, 1022 First Ave., 612-205-1573, thepirahnashop. com. 6:30-9:30 p.m. Fri., Aug. 22.

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Ongoing

THE ART OF GAMAN The subtitle of this group show

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. The more polished drawings come from professional artists like Ruth Asawa, Jimmy Tsutomu Mirikitani, Chiura Obata, and Henry Sugimoto. Some of the more touching items— like a samurai figurine made from wood scraps, shells, and bottle caps—come from family collections, not museums; they’re precious keepsakes from a shameful historical era. As for the show’s title, gaman roughly translates as “enduring the seemingly unbearable with patience and dignity.” BRIAN MILLER 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. This opening was the hit of last week’s First Thursday Art Walk. Bring the kids, take videos, but don’t touch. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. 10:30 a.m. 5:30 p.m. Tues.-Sat. Ends Aug. 23. CHEN SHAOXIONG The contemporary Chinese artist 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. Weds.-Sun., 10 a.m.-5 p.m. Through Oct. 19. 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. BARBARA DE PIRRO & KATIE MILLER They show separate sculpture and video works harnassed by the German notion of Vorfreude, translating as “the joyful anticipation of future pleasures.” Method, 103 Third Ave. S. (Tashiro Kaplan Building), methodgallery. com. Through Aug. 23.

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

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

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

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» Film

Opening ThisWeek

go to a Halloween party as Debbie Harry or Patti Smith. (They’re warmly played by Mirielle Enos of The Killing and Joshua Leonard from Humpday.) Mia and Adam get along great, and he has few flaws as musician or movie dreamcatch. Even Mia’s brother isn’t as bratty as little brothers are expected to be. Director R.J. Cutler gets a few pleasantly quirky line readings out of his cast, although there’s not much Moretz (the ineffable Hit-Girl from the Kick-Ass movies) or Blackley can do with their plywood roles. Aside from the movie’s structure, the film is most notable for its grimness. Based on a popular 2009 YA novel by Gayle Forman and scripted by Whip It scribe Shauna Cross, If I Stay is blunt about mortality when it comes to the accident’s toll. That makes it a tough spin as a summer movie, which could explain why some major revelations about death are given away in the trailer. These days trailers are like “trigger warnings” to prepare unsuspecting audiences—everybody needs to know the worst beforehand, lest the experience of actually watching a movie be too vivid. This means only the very ending is really in doubt. The finish is well executed, but you can probably guess it from here. ROBERT HORTON

PAlive Inside

Heli RUNS FRI., AUG. 22–SUN., AUG. 24 AT NORTHWEST FILM FORUM. NOT RATED. 105 MINUTES.

Mexican drug cartels have become Hollywood shorthand for evil—like Indians in the old days, or Nazis after that. On this side of the border, screenwriters love the irony: Our naïve drug habits fuel the violence that inexorably reaches us; then we act like innocent victims. (See Traffic, No Country for Old Men, Savages, and The Counselor.) But on the other side of the Rio Grande, what’s the Mexican perspective? Director Amat Escalante takes an entirely naturalistic approach to violent narco-trafficking. It just is, an implacable force like the weather or inflation, beyond man’s control or comprehension. Heli (Armando Espitia) is a factory worker, maybe 20, living with his wife, infant daughter, father, and 12-year-old sister Estela (Andrea Vergara) in a humble home. Re-bar sprouts from the roof, like optimistic grass shoots, with the expectation of a second story to be added. Heli’s wife tends the baby (though with some resentments). Estela is a uniformed schoolgirl. This is a stable household, visited and indexed by a census worker in an early scene, to help us appreciate the sheer normalcy of the Salvo family. Then Estela succumbs to the charms of muscular 17-year-old police cadet Beto ( Juan Eduardo Palacios), who correctly judges himself a cog in a corrupt system. An American military advisor humiliates him during training. He helps toss kilo after kilo of drugs into a bonfire at a Potemkin press conference, but is anyone actually counting those bundles? For a fresh start, he tells Estela, they could move far away; all it would take is a little nest egg. Who would notice if one of those bundles went missing? Clearly, like Josh Brolin taking the suitcase full of cash in No Country for Old Men, this is a very bad idea. The terrible consequences of that theft from thieves are depicted unsparingly by Escalante, though with a wide-screen aesthetic distance. (He’s a protégé of Silent Light director Carlos Reygadas, whose films have previously played NWFF.) There is torture here, and the sex has a primal, animalistic quality. Heli is essentially about survival—against the overwhelming narco-state apparatus—and small measures of

revenge. Some images are shocking, yet there’s an overall mood of matter-of-fact Bressonian indifference. Unlike his American counterparts, Escalante doesn’t sensationalize such violence, but maybe normalizing it is worse. BRIAN MILLER

PLand Ho! OPENS FRI., AUG. 22 AT GUILD 45TH AND LINCOLN SQUARE. RATED R. 95 MINUTES.

If I Stay OPENS FRI., AUG. 22 AT VARSITY AND OTHER THEATERS. RATED PG-13. 107 MINUTES.

Moretz and Blackley.

Young couples in movies are customarily given obstacles to overcome, but If I Stay seems unnecessarily cruel in its dramatic contrivances. Most of the film unfolds in the flashbacks that follow a terrible car accident; all the members of a family have been seriously injured, and our narrator, Mia (Chloë Grace Moretz), is in a coma. She’s also walking around the hospital as a sort of astral projection, looking down at her unconscious self and listening to everybody else talking about her. Mia’s a promising cellist, with a shot at attending Juilliard after she graduates from her Portland high school. The only problem is that that would take her away from her boyfriend Adam ( Jamie Blackley), the lead singer of a neo-punk band, who plans to keep gigging around Oregon. Because who would want to take a punk band to New York City? The movie puts a great deal of dramatic weight on this Juilliard decision, perhaps because somebody realized that despite the gravity of the car accident hanging over everything, the script doesn’t actually have much in the way of suspense for the flashbacks. Mia’s got the world’s coolest parents, who can advise their classical-musicminded daughter about whether she should

You get to a certain point in life—40, 50, 70, divorce, the death of a spouse, or your retirement party—when you think there’s nothing left to do or see on this Earth. You’ll never experience love again. There’s nothing more to get excited about. You don’t have enough money. Your body is falling apart. Naps matter more than sex. Youthful dreams are but a memory—a mockery, really. And meanwhile, people are posting those goddamn videos on YouTube: baby’s first bite of kiwi fruit, and so forth. All that squealing amazement and infantile hand-waving; and you know kiwi fruit will never taste that way for you again. What is the point to living? That’s the existential dilemma for Dr. Mitch, well into his 60s, adult kids gone, divorced, eating dinner alone when we meet him. He won’t admit it, of course, especially to his somber visitor Colin, his former brother-in-law, who carries the weight of post-midlife more heavily. Colin’s kids are also grown, his first wife died, and his second wife divorced him (after burning through his savings in their failed business). Colin initially seems the guy in need of cheering up, which the earthy, garrulous Mitch makes his mission. Oh, did I neglect to mention this is a comedy? And one of my favorite films so far this year? Land Ho! is a buddy movie and a road-trip picaresque with an unusual pedigree. It was directed and written (with a healthy dollop of improv) by indie filmmakers Aaron Katz and Martha Stephens almost on a dare. Stephens has a loud, colorful cousin, Earl Lynn Nelson, who’s a surgeon, not an actor. And her premise was simply “Wouldn’t it be hilarious if we brought Earl Lynn to Iceland?” To be his foil, they selected an actor they liked, the Bellevue-based Australian Paul Eenhoorn (see interview, page 24). The impulsive making of the movie reinforces the spontaneous trip hatched by Mitch (Nelson) to drag reticent Colin (Eenhoorn) to Iceland, where Mitch also plans to meet a young cousin and her friend, two eye-rolling Ph.D.’s. These old

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

It becomes more than activism, too. Seeing the joyful transformation that erupts when an Alzheimer’s patient hears the Beach Boys’ “I Get Around” suggests we might need to re-evaluate the generally accepted hierarchy of Important Things in Life. Material success and adult accomplishments are all well and good, but maybe we should pay attention to the part of our brain that values four-part harmonies, silly lyrics, and a danceable beat. If this movie’s evidence is to be taken seriously, those allegedly frivolous things are what remain at the human core even after the rest is lost. ROBERT HORTON

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Director RossatoBennett helps a patient with her earphones.

Lovers on the run: Palacios and Vergara.

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Everything you always suspected about music is true. Scientists can point to the parts of the brain that music stimulates, where our deepest memories and feelings reside. The phenomenon even stretches back to before birth, when the sound of a heartbeat establishes our sensory proclivity toward music. This scientific material is offered in Alive Inside to buttress the rather remarkable anecdotal evidence we see for ourselves onscreen, as the power of music is used to revive the personalities of people with dementia and Alzheimer’s disease. Filmmaker Michael Rossato-Bennett tags along with Dan Cohen, a music-therapy proselytizer (and founder of the nonprofit Music & Memory), as Cohen travels to facilities for people living with dementia. Cohen’s method is frequently repeated here, but never wears out its welcome. He approaches people whose memory loss has put them in a dulled or lethargic state and invites them to listen to music from an iPod shuffle. When a song begins, the change is almost immediate: Eyes light up, limbs begin twisting, and stories pour out. If it isn’t a definitive argument in favor of using music as a therapeutic tool, it’s certainly dramatic. The film then goes on to lobby in favor of getting such therapies into hospitals and retirement communities, painting a dire portrait of a pharmaceutical-industrial complex that delights in ringing up thousands of dollars of drugs for patients every month but balks at a $40 iPod. Serious establishment voices are not much heard here, but then this isn’t really a documentary—it’s a work of activism, and a beautiful one. If Alive Inside helps change the culture of treatment for the cognitively impaired, that would be a very good thing.

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OPENS FRI., AUG. 22 AT VARSITY. NOT RATED. 75 MINUTES.

» CONTINUED ON PAGE 22 21

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» FROM PAGE 21 goats are in need of an adventure—through the discos and fashionable restaurants of Reykjavík; out to the remote hot springs and black-sand beaches—and they’re fully aware it could be their last adventure. (“Life is too short to sit still,” says Mitch, who gradually reveals his own problems and need for companionship.) Bucket list meets travelogue in this winning male-menopause comedy, which shares themes with the recent Burkholder and the upcoming The Trip to Italy. Usually I’m a critic of loose story construction, but the slapdash Land Ho! is too charming for such quibbles. What Nelson and Eenhoorn have is genuine Hope and Crosby–style chemistry. Strangers before filming, from different professions, they couldn’t be more different. Yet onscreen, their extrovert/introvert dynamic reflects the dilemma of aging. Mitch insists the glass is half full, while the bubbles have gone out of Colin’s half-emptied drink. Duplass and Moss And though he quietly at the magical protests the overbearing retreat. Mitch, we see—thanks to Eenhoorn’s expert performance—how Colin is secretly pleased by the attention and reanimated by Mitch’s vulgar vigor. It’s a toast: two glasses clinking in harmony, measure for measure. The bottle isn’t done pouring yet. BRIAN MILLER

Life After Beth

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OPENS FRI., AUG. 22 AT SIFF CINEMA UPTOWN. RATED R. 91 MINUTES.

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Life After Beth does have funny scenes, many of which are rooted in a certain splendid tradition of ethnic humor. (For issues of tone, please consult Seinfeld episodes concerning Jerry’s parents in Florida.) Paul Reiser and Cheryl Hines, as Zach’s parents, understand this mode; even in the midst of a zombie outbreak, they’re trying to set Zach up with the daughter (Anna Kendrick) of their friends, the Wexlers—such a nice girl, and from a good family, too. (I especially liked the cameo by veteran director Garry Marshall as Zach’s uncle, returned from the dead but still possessing crack comic timing.) If only the movie had a stronger comic pulse, or maybe the nerve to push its dark tendencies all the way, it might’ve blossomed into something beyond shtick. ROBERT HORTON

PThe One I Love OPENS FRI., AUG. 22 AT SUNDANCE CINEMAS. RATED R. 91 MINUTES.

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It is reassuring to know that even after the zombie plague begins in earnest, a strong vein of Jewish humor will thrive. This is the best news to come out of the superbly titled Life After Beth, a comedy that kneads together the relationship movie with the zombie genre. After opening with a brief glimpse of the title character (Aubrey Plaza) jogging into the woods toward a fateful encounter with a poisonous snake, the movie turns to the grief of Beth’s loved ones. Beth has died, and boyfriend Zach (Dane DeHaan, from the most recent Spider-Man movie) can’t seem to let go. When she comes back undead—confused, but otherwise energetic enough—they resume their romance. Because Beth’s parents ( John C. Reilly and Molly Shannon) insist on not telling her about her death, Zach has a difficult time explaining why Beth shouldn’t leave the house much or be seen by people. Writer/director Jeff Baena—who must be held partially liable for I (Heart) Huckabees, as he wrote the script—quickly reveals this movie’s organizing strategy: The zombie stuff stands in for the usual ups and downs of a relationship. The need to control, the sudden rages, the way one partner begins changing dramatically—everything’s heightened a little, but still recognizable. Having found this potentially amusing metaphor, Baena deploys it in haphazard ways, getting sidetracked by less fruitful plot strands. And he doesn’t find good opportunities for Parks and Recreation deadpan master Plaza, although she is admirably game for Beth’s increasingly outrageous behavior.

One of my top picks from SIFF last spring, this movie comes swaddled in spoilers. It’s almost impossible to describe the fanciful sci-fi plot without resorting to significant clues. Oh, it’s like a certain TV show from the early ’60s or that novel by Dostoyevsky. (Here’s my précis: Two Edward Albee characters trapped in an enchanted Williams-Sonoma catalog.) Better, then, that we be vague about things. Sophie (Elisabeth Moss) and Ethan (Mark Duplass) are a bickering L.A. couple making no progress in marriage counseling. (Ethan’s affair will be revealed later.) Childless and confortable, they’re studies in yuppie self-absorption, neither one willing to concede ground to the other. They’ve hardened into roles—almost caricatures—of their younger, more loving selves. Their smooth therapist, never named, has his every suggestion rebuffed; so maybe it’s time for a new approach, he says. There’s a weekend retreat that’s worked well for other clients—and he hands them the keys. (Later, we’ll think back to that serenely self-confident therapist, played with not-quite-malevolent opacity by none other than Ted Danson.) At the retreat is an iPad with gushing testimonials from past guests. They all profess to be thrilled and grateful for the experience. (Remember them, too.) Sophie and Ethan are more skeptical as they rehash their past. What became of their fun, Lollapaloozagoing, X-dropping days? What happened to their kinder, cooler selves? Anyone who’s been in a long-term relationship or marriage will know the same feeling of past/present discontent, which writer Justin Lader and director Charlie McDowell cleverly filter

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through a refracting lens. (Duplass actually gave them the movie’s premise to develop.) Interrupted from their idyll by what Ethan calls “the weird people,” our duo first decides to flee. Then Sophie says they should “explore it further”—maybe like one of those youthful druggy weekends when anything could happen and reality was called into question. Over this very strange and peculiar weekend, Moss and Duplass get a real actors’ workout. Watching them, you need to be attuned to hair and wardrobe changes, her makeup and his eyeglasses. Ethan and Sophie must track these shifting nuances, too. Just how well do you know your spouse? You want to be a better partner, but it takes so much damn effort. And The One I Love forces Ethan and Sophie to make that effort; their very freedom depends upon it. Thus their weekend lesson may be this: A successful relationship requires you to be a very good actor. BRIAN MILLER

The mother, for instance, confesses she likes dining alone at a cheap restaurant—by implication, to escape her clamorous, needy family. Perhaps Zürcher’s metamorphosis is this: Imagine yourself magically transported into some other family, and no one noticed the addition. There you could witness the loving, everyday inanity that keeps these bizarre (to you) individuals together—the rituals that run stronger than shared DNA. (Unless they are the products of that DNA.) That’s the throughthe-looking-glass trick that Zürcher achieves, though this family is no stranger—or more interesting—than yours or mine. BRIAN MILLER

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Closely scripted and choreographed yet disarmingly casual in appearance, Ramon Zürcher’s family portrait is confined mostly to a Berlin apartment where 10 various relatives come and go during the course of a long, Takei (left) and his ever-faithful Brad. relaxed Saturday. There’s also a neighbor child and the family cat and dog, but let’s not bother with names. Zürcher is Recently the grand marshal of Seattle’s Pride more concerned with the behavioral quirks and Parade, George Takei has become America’s structuring routines of domestic life than plot. favorite gay uncle. Closeted during his Star Trek This is a movie with much food prep, halfdays, now enthusiastically, emphatically out, he’s completed sentences, people wandering in and a terrific subject for Jennifer Kroot’s admiring out of rooms, gestures and phrases echoing, new documentary. The only problem for them thoughts left lingering, and an open window both? Takei has told his story so much since 2005, admitting the occasional stray bird or tennis maybe too often, on Howard Stern and sundry ball. Drinking glasses are dropped and fingers TV talk shows. There isn’t much new to learn bloodied. The washing machine is repaired. here, since Takei has been so effective in selling his The youngest member of the household, an brand and commenting on the culture via Twitter. impish girl of about 8, shrieks every time her Such irony: After decades of coy silence about his personal affairs, Takei’s late-life outspokenness has left him with little new to Mia Kasalo as Clara, who hates the say. With his dyed hair and determined coffee grinder. affability, he’s the kind of professional ham whose spiel is expertly timed to last through the dinner course on the lecture circuit. And yet still we applaud, maybe a little teary, just when dessert arrives. How sweet it is to see a life thus validated. Somewhat better than your average reality TV episode, To Be Takei feels like an extra victory lap for a guy who’s already run several. Kroot doesn’t have to dig hard for Takei’s life story (from World War II internment camp to life in the mother runs the coffee grinder. Why? Clearly closet), because he’s got it down to a practiced her parents have stopped wondering. There are keynote speech. His story is affecting, and his more important things to do, like making toast. dealings with exasperated husband-to-be Brad are Zürcher supposedly based this film, his first feature, on Kafka’s Metamorphosis; and his assign- amusing—especially when Kroot simply leaves them alone with the camera to bicker. Maybe ment came in a class taught by long-take auteur what’s most impressive about Takei, whom we Béla Tarr (The Turin Horse, Werckmeister Harmosee patiently signing photos for fans at Seattle’s nies, etc.). Little of that text is in evidence here. 2012 Emerald City Comicon (cash only!), is his Instead of a bizarre transformation that forces showbiz determination to work to the very end us to view the world—and its arbitrary rules of (he’s 77). After debuting his new musical Alleplausibility—anew, the film achieves its low-key giance, about life in the camp, he’s exhausted yet absurdism through sheer domestic repetition. thrilled. You did great, Brad tells him, considering The mood is not quite comic (the girl is slapped you forgot half your lines. BRIAN MILLER E more than once for misbehaving), and a few select flashbacks suggest a darker undercurrent. film@seattleweekly.com

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A film by Chris Marker

Oz to Bellevue

A chat with Paul Eenhoorn, the local co-star of Land Ho!.

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BY BRIAN MILLER

Eenhoorn as Colin.

alf the pleasure of a two-hander— be it a comedy duo, stage play, or ballet pas de deux—comes from each of the performers. In the case of Land Ho! (see review, page 21), most of the press attention has been focused on Kentucky eye surgeon Earl Lynn Nelson, a non-actor who plays the more flamboyant role of Mitch. But the quieter and much more actorly, responsive role—don’t you dare call him a sidekick!—is that of Colin, played by the Australian expat Paul Eenhoorn, now a Bellevue resident. So how, I asked Eenhoorn last month, did he end up in the Northwest? “I met my wife in Sydney,” he explains. “She’s a Northwesterner. And after a few years I came here. I moved for love, 14 or 15 years ago.” Before then, Eenhoorn had mostly been a jobbing actor on Australian TV. Moving here meant he had to re-establish a career. “All my work was done in Australia. It’s really hard to be an actor in the Northwest,” he says. “The opportunities aren’t that huge, not if you want to make a living out of it. But I’ve been lucky: I’ve got a couple good films, and that helps”—specifically This Is Martin Bonner, a festival darling that made the rounds at SIFF and Sundance last year, and now the much-praised Land Ho!. “I appreciate the attention,” says Eenhoorn, who jokingly calls himself “a person naturally inclined to depression.” In the vicissitudes of his trade, “When you’re an actor, you’re up. And then when you get back home and down on the ground: ‘Oh, that’s the end. My life is over. I’ll never work again. What’s gonna happen next?’ ” Yet what happened with Land Ho!, he explains, is that co-directors Aaron Katz and Martha Stephens “both knew Chad Hartigan, who directed Martin Bonner.” One good job led to another, though the project began oddly: “We didn’t have a script when they hired me. Only like 20 pages. We shot the first scene. They made a 10-minute cut of the first scene, and that’s what brought the financiers on board. And then they wrote the script.” After that, Iceland!—with crew members doubling in many roles and the script partly improvised, Eenhoorn recalls. “It was fall, and it was always cold or windy. It was relentless in Iceland. We were battling the elements at all times.” (Here’s a fun related Northwest fact: Running the second camera was Seattle cinematographer Benjamin Kasulke, who also plays a honeymooner at a hotel where Mitch and Colin stay.)

The film came together swiftly, launched from Sundance ’13 and debuting there the following January. “Ordinarily there’s a year between wrapping and getting a final cut and then getting it out there [in theaters],” says Eenhoorn. “It can be a two-year cycle. I looked at Aaron and Martha’s work, and I thought ‘I really want to shoot with these guys.’ And then David Gordon Green came on [the director of Pineapple Express and Joe, as an executive producer]. And I thought, ‘This has got a good chance at Sundance.’ And after the first screening at Sundance, I thought, ‘This has got a pretty good chance of getting picked up.’ More so than Martin Bonner. Martin Bonner was a critical success, but this one could be a financial success, which is even nicer.” Back home in Bellevue, Eenhoorn works a day job between acting gigs. “I don’t have a car,” he says. “I’m a walker. We work and try to pay our bills. Life consists of watching movies on Comcast On Demand. I’m social, but I’ve kind of been laying back a bit, just chilling out. I don’t get to Seattle as much as I should.” Like any actor, he’s waiting for the next call. “Who knows—someone might phone me. That’s how I got Land Ho!.” Eenhoorn sounds philosophical about living so far from Hollywood. “I’ve shot everything since I’ve been here, building a resume. But choosing a script and playing a part I want to play . . . I’m not seeing them here at the moment.” Even so, he adds, “Every time I fly home from L.A., I breathe a sigh of relief, because it’s so beautiful here.” Eenhoorn understands his turn of luck. “We’re doing pretty well,” he says of Land Ho!. “How could you not feel good about it? There’s plenty of good films that get made with good actors that get nowhere. If you’re lucky enough to have one that gets distributed, you’ve done a good job. I don’t think people understand how hard that is to achieve. At the same time, I’m walking on the ground, and my feet are planted. I’m not going to go buy a Mercedes-Benz.” Moreover, Eenhoorn knows how this new film falls into the same graying demo that made hits of Philomena, The Best Exotic Marigold Hotel, The Trip, and other durable favorites of the AARP matinee set. Mitch and Colin are men of a certain age, worried about being put out to pasture. You have to have lived a few years to understand their fears and failures. Even if Eenhoorn isn’t nearly as quiet and reserved as his character, he knows what it’s like for Colin to have been put through the wringer. (“Exactly, mate.”) And what’s Eenhoorn looking for next in his late-blooming career? “Young directors are the ones to work with. They make films about people. No crashes, no explosions, just people talking. I’m very much for stories. I’m very much against zombies.” E

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ers’ 1998 stoner-noir Chandler filtered through dirty bong water, where almost every line of dialogue is a hazy, hilarious non sequitur. My favorite is when accidental P.I. Jeff Bridges (forever the Dude) is ambushed in his tub by nihilists bearing a ferret. “Hey, nice marmot,” he greets them, with his usual unflustered amiability. Nothing rattles Bridges’ Dude, not a lost rug, not a leering Tara Reid, not a lisping John Turturro, not a raving John Goodman, not a simpering Steve Buscemi, and not even shrieking performance artist Julianne Moore, who joins Bridges in a Busby Berkeley-style bowling fantasy that sums up the movie’s sweet, silly spirit. (R) BRIAN MILLER 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com. $30 series, $5 individual (21 and over). Movies start at dusk. Sat. HANK AND ASHA This recent rom-com has a couple connect via video chats between Prague and New York. The titular lovers are played by Andrew Pastides and Mahira Kakkar. (NR) SIFF Film Center (Seattle Center), 324-9996, siff.net. $6-$11. 7 p.m. Mon. HOT FUZZ Edgar Wright and Simon Pegg have built their 2007 buddy-cop homage-parody on everything from The Wicker Man to Point Break. Pegg plays Nicholas Angel, the best cop on the London police force banished to the idyllic setting of Sandford. Things, of course, aren’t what they seem, and the movie crawls toward a combustible finale that references damned near every cop movie Wright’s ever seen. Point Break is a particular favorite of Danny Butterman (Nick Frost), the town drunk and police office with whom Nicholas is partnered. Ultimately, Hot Fuzz is a kind of a love story between these two guys—appropriate, as the film is obviously inspired by Lethal Weapon. But Hot Fuzz transcends its influences. It thrives as its own entity, a British variation on Hollywood nonsense. (R) ROBERT WILONSKY Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6-$8. 9:30 p.m. Fri.-Tues. MOONLIGHT CINEMA The 1988 action flick Die Hard made a big-screen star of Bruce Willis. He plays a cop whose wife ... oh, forget it; you know the plot. Bruce battles the baddies in a big Los Angeles office tower; bullets and glass fly all over the place; and he and terrorist Alan Rickman basically have an acting contest to see which thespian can toe over the line into heterocamp without the audience noticing. His TV apprentice years on Moonlighting made Willis a master of the softly delivered wisecrack, and here he added muscle to his résumé. Die Hard is dumb to its core and irresistible for that reason. In the post-Schwarzenegger pantheon of ’80s action heroes, only Willis could make a line like “Yippee-ki-yay, motherfucker” almost sound clever. (R) B.R.M. Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-420-1113, redhook. com. $5. Outdoor movie screens at dusk. Thursdays through Aug. 28. MOVIES AT MAGNUSON PARK From 1989, The Little Mermaid was a signature animated hit for Disney. How many little girls signed up for swimming lessons on account of Ariel? (PG) Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com. $5. Thursdays. 7 p.m. MOTIVATIONAL GROWTH In this locally made horror flick, laced with absurd humor, a man is driven insane by the mold in his bathroom, which actually talks to him. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $6-$11. 9 p.m. MOVIES AT THE MURAL Last year’s Star Trek Into Darkness is screened, with Kirk and Spock (Chris Pine and Zachary Quinto) battling Benedict Cumberbatch’s malign Khan. (PG-13) Seattle Center Mural Amphitheater, 684-7200, seattlecenter.com. Free. Movie begins at dusk. Sat. THE NEVERENDING STORY Wolfgang Petersen’s 1984 fantasy-adventure film was squarely aimed at kids who, three decades later, may choose to laugh at the goblins and unicorns. (PG) Central Cinema, $6-$8. 7 p.m. Fri.-Tues. plus 3 p.m. Sat.-Sun.

•

Ongoing

• BOYHOOD Richard Linklater’s Boyhood was shot

in the director’s native Texas in short bursts over a 12-year period—Linklater knew the shape of the film, but would tweak its script as time marched on, incorporating topical issues and reacting to his performers. This means that unlike most movies, which remake the world and impose an order on it, Boyhood reacts to the world. Protagonist Mason (Ellar Coltrane), tracked from

first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a threeact structure, but is doled out in unpredictable fits and starts. Linklater doesn’t reject melodrama so much as politely declines it, opting instead for little grace notes and revealing encounters. Patricia Arquette and Ethan Hawke are terrific as the parents. (R) ROBERT HORTON Sundance, Harvard Exit, Lincoln Square, Ark Lodge, Kirkland Parkplace BURKHOLDER Taylor Guterson scored a hit at SIFF ’11 with Old Goats, starring three geezers from Bainbridge Island whom he’d roped into acting. Burkholder is essentially the sequel, which reconvenes its principal cast—mortality tugging ever more insistently at their sleeves. Pushing 90, Teddy (Bob Burkholder) is the long-time tenant and de facto BFF of Barry (Britt Crossley), long-divorced and equally indignant about enforced bachelorhood. Teddy’s libido is more intact, even as his wits are declining. Very little happens in Burkholder apart from discussion about, and evidence of, our inevitable decline. The film becomes almost a documentary about the perilous making of a movie. You sense the pressures weighing upon the young director of a fragile cast, the pathos of an actor portraying his character’s—and his own—future mental decline. (NR) B.R.M. SIFF Cinema Uptown

• CALVARY This is a bumpy, uneven picture full of col-

orful digressions and narrative dead-ends. Its writer and director is John Michael McDonagh, whose The Guard was no less unwieldy. But both pictures are given ballast, and a deep keel beyond that, by the greatness of Brendan Gleeson. Gleeson’s cleric, Father James, tends a small ungrateful flock on the windswept west coast of Ireland. Catholicism is fading fast, even in Ireland, and the widening pedophilia scandal has made the church a damaged brand. Father James is a newcomer in a village now venting what seems to be centuries of resentment against the old ecclesiastical control. That anger is expressed in the film’s very first scene, set in a confessional, where Father James is told he’ll be killed in a week, to be sacrificed for the sins of his church. Calvary is equally a thriller about a man investigating his own murder and a consideration of what it means for a nation to lose its collective, unifying faith. Father James’ seven-day search leads him through an array of sinners, skeptics, wife-beaters, adulterers, suicide contemplators, and such. They’re a colorful lot, like characters in Pilgrim’s Progress. Still, this is Gleeson’s show, and he’s what makes Calvary worthwhile. (R) B.R.M. Sundance, Harvard Exit, Lincoln Square, Alderwood 16

THE DOG It would be easier to enjoy the madcap,

stranger-than-fiction revelations of The Dog if it weren’t for the queasy awareness that its central subject is getting such a great kick out of all this. He is John Wojtowicz, the real-life guy whose botched 1972 bank robbery later became the basis for the Al Pacino film Dog Day Afternoon. The unlikely events of that movie really were based on fact, and The Dog is here to introduce us to the truth—if you want to believe Wojtowicz. Interviewed by directors Allison Berg and Frank Keraudren over a period of years, Wojtowicz was once a Republican; he did Vietnam duty and got married, then fell into the gay-rights movement. The geek-show spectacle here leaves behind a squalid whiff of exploitation. (NR) R.H. Grand Illusion

THE GALAXY Give thanks to the • GUARDIANS OFGuardians of the Galaxy. If you’ve

Marvel gods for ever had to suppress a giggle at the sight of Thor’s mighty hammer, this movie will provide a refreshing palate-cleanser. First, understand that the Guardians of the Galaxy tag is something of a joke here; this is a painfully fallible batch of outer-space quasi-heroes. Their leader is an Earthling, Peter Quill (Chris Pratt), who calls himself “Star-Lord” even though nobody else does. In order to retrieve a powerful matter-dissolving gizmo, he has to align himself with a selection of Marvel Comics castoffs, who will—in their own zany way—end up guarding the galaxy. (His costars, some

» CONTINUED ON PAGE 26

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dinner & show

mainstage WED/AUGUST 20 • 7:30PM

rafe pearlman with dust & gold

and more w/ anjuman THU/AUGUST 21 • 7PM & 9:30PM

brooks mcbeth w/ special guest joel mchale FRI/AUGUST 22 • 8PM

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next • 8/27 sandi thom • 8/29 jr cadillac • 8/30 cards against humanity live • 9/1 chris stamey of the dbs w/ skylar gudasz • 9/2 waa: david wilcox, corb lund & the hurtin’ albertans, willie nile • 9/3 waa: portland cello project, home free, logan brill • 9/4 waa: the duhks, fernando varela, kneebody • 9/5 storm large and le bonheur • 9/6 & 7 sweet dreams, the music of patsy cline • 9/10 anais mitchell • 9/11 steve poltz

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voicing CGI creatures, are Zoe Saldana, Bradley Cooper, Vin Diesel, and the pro wrestler Dave Bautista.) Director James Gunn (Super) understands that getting character right—and keeping the story’s goals simple—can create a momentum machine, the kind of movie in which one scene keeps tipping giddily over into the next. (PG-13) R.H. Majestic Bay, Sundance, Bainbridge, Ark Lodge, Thornton Place, Kirkland Parkplace, Cinebarre, Lincoln Square, Vashon, Big Picture, others THE HUNDRED-FOOT JOURNEY In the South of France, the zaniness begins when the Kadam family, newly arrived in France from India, fetch up with car trouble in a small town. Restaurateurs by trade, they seize the opportunity to open an Indian place—in a spot across the street from a celebrated bastion of French haute cuisine, Le Saule Pleureur. This Michelinstarred legend is run by frosty Madame Mallory (Helen Mirren), whose demeanor is the direct opposite of the earthy Kadam patriarch (Om Puri, a crafty old pro). It’s culinary and cultural war, but will the cooking genius of Papa’s 20-something son Hassan (Manish Dayal) be denied? Madame Mallory can recognize a chef’s innate talent by asking a prospect to cook an omelet in her presence. You can already hear the eggs breaking in Hassan’s future—the movie’s like that. Daval is a likable leading man, so it’s too bad he’s given an unpersuasive love story with Madame Mallory’s sous-chef (Charlotte Le Bon). (PG) R.H. Sundance, Ark Lodge, Majestic Bay, Bainbridge, Kirkland Parkplace, Lincoln Square, Cinebarre, others LUCY Insofar as playing transcendent thinking/killing machines, Scarlett Johansson is definitely on a roll. Last year she was the omniscient OS Samantha in Her. This spring she was the alien huntress in Under the Skin. Now, in Luc Besson’s enjoyably silly sci-fi shootem-up, she’s a young woman whose brain achieves 100 percent of potential, owing to a forced drug-mule errand gone wrong. The bogus conceit that humans only use 10 percent of our cerebellum takes way too long for Besson to advance, with Morgan Freeman’s tedious scientist and nature documentary footage used to amplify his dubious theory. No matter: Lucy is soon learning Mandarin, electrical engineering, mad handgun skills, and Formula One-level driving on the fly. (Telekinesis soon follows, of course.) Her goal, which takes her from Taiwan to Paris, is to track down the other couriers with bags of IQ-growth hormone sewn in their guts and mainline those purple crystals—all for the good of humanity, which she hopes to enlighten before her apotheosis. (Pursuing her is the vengeful drug lord Jang, played by Oldboy’s Choi Minsik, who wants his stash back.) Beneath the gunfire and philosophical malarky, there is—as in Besson’s best action efforts—a sound sentimental foundation to Lucy. This slacker turned godhead-assassin interrupts her mission to call her mom. “I feel everything. I remember everything,” she says tearfully, describing memories back to infancy. For anyone who’s ever forgotten where they put the car keys, Lucy makes 11 percent seem awfully tempting. (R) Sundance, Lincoln Square, Cinebarre, others MAGIC IN THE MOONLIGHT Set during the interwar period in the South of France, Magic in the Moonlight isn’t Woody Allen’s worst picture, but it’s close. Colin Firth plays a cynical magician, who keeps repeating Allen’s dull ideas over and over and fucking over again. Emma Stone plays a shyster mentalist seeking to dupe a rich family out of its fortune. The recreations of this posh ’20s milieu seem curiously literal, like magazine spreads, so soon after seeing Wes Anderson’s smartly inflected period detail in The Grand Budapest Hotel, which both revered and ridiculed the past. Magic feels like Allen’s re-rendering of a thin prewar British stage comedy he saw at a matinee during his youth, now peppered with references to Nietzsche and atheism. It’s dated, then updated, which only seems to date it the more. Period aside, no one wants to see Firth, 53, and Stone, 25, as a couple. (PG-13) B.R.M. Guild 45th, Lincoln Square, Lynwood (Bainbridge), Kirkland Parkplace, others A MOST WANTED MAN Directed by Anton Corbijn (Control, The American), this adaptation of a lesser 2008 John le Carré novel will, I think, be remembered as the best among Philip Seymour Hoffman’s posthumous releases. In a post-9/11 world, he plays a rumpled Hamburg cop, Bachmann, with failures in his past, who’s charged with the dirty work of counter-terrorism. Crawling out of the Elbe, like a rat, is a Russian-Chechen Muslim we’ll come to know as Karpov. Bachmann and his squad (including Daniel Brühl and Nina Hoss) follow Karpov intently without arresting him, hoping he’ll lead to bigger fish. His

bosses are dubious; a separate, rival German intelligence agency interferes; and he’s even got to negotiate with the CIA—represented by Robin Wright—to allow Karpov room to roam. Will Karpov plant a bomb in the rush-hour subway or lead Bachmann to an important al-Qaida funding link? Related within a few days’ time and surveillance, that’s the essential plot. The recent Tinker Tailor Soldier Spy was a much better movie as it evoked the old, analog Cold War; unreliable technology meant that human relationships, and betrayals, were paramount. Hoffman would’ve been a better fit in that bygone world of smoky negotiation and curdled compromise. (R) B.R.M. Seven Gables, Kirkland Parkplace, Lincoln Square, others RICH HILL A dispatch from the frontlines of red-state rural poverty, this documentary follows three boys (and their families) in the small town of Rich Hill, Missouri. The coal is long gone from this declining hamlet, and with it the economic base that gave families their stability. “We’re not trash, we’re good people,” insists 14-year-old Andrew, who begins the film with the most intact family: two parents and a sister. There’s no money, but somehow they’re scraping by. The situation is more grim for 15-year-old Harley, on various meds and living with his grandmother; and for 13-year-old Appachey, a pudgy, volatile smoker who’s acting out at school, defiant of his single mother. The trap to avoid here for filmmakers (and cousins) Andrew Droz Palermo and Tracy Droz Tragos is that of red-state ghetto voyeurism. Fortunately they had family connections in Rich Hill, one reason for their close, non-condescending access; also they ease the camera back and let these three kids narrate their own stories. The pathologies pile up with few surprises, and the filmmakers eschew any context or questions. Theirs is an entirely trees-for-the-forest approach to these youths at risk. Rich Hill puts you in mind of recent feature films like Hellion and Joe, only without the Nicolas Cage father figure to intervene and save these kids. (NR) B.R.M. SIFF Cinema Uptown SNOWPIERCER Let me state that I have no factual basis for believing that a train would be able to stay in continuous motion across a globe-girdling circuit of track for almost two decades, nor that the people on board could sustain themselves and their brutal caste system under such circumstances. But for 124 minutes of loco-motion, I had no problem buying it all. That’s because director Bong Joon-ho, making his first English-language film, has gone whole hog in imagining this self-contained universe. The poor folk finally rebel—Captain America’s Chris Evans and Jamie Bell play their leaders—and stalk their way toward the godlike inventor of the supertrain, ensconced all the way up in the front. This heroic progress reveals food sources, a dance party, and some hilarious propaganda videos screened in a classroom. Each train car is a wacky surprise, fully designed and wittily detailed. (Various other characters are played by Ed Harris, John Hurt, Tilda Swinton, and Song Kang-ho, star of Bong’s spirited monster movie The Host.) The progression is a little like passing through the color-coded rooms of The Masque of the Red Death, but peopled by refugees from Orwell. The political allegory would be ham-handed indeed if it were being served up in a more serious context, but the film’s zany pulp approach means Bong can get away with the baldness of the metaphor. Who needs plausibility anyway? (R) R.H. SIFF Cinema Uptown, Tin Theater WHAT IF This Toronto rom-com has a sizable gift in the casting of Daniel Radcliffe and Zoe Kazan, who either have terrific chemistry together or are able to fake it expertly. Their characters, Wallace and Chantry, bond over refrigerator magnets at a party. She mentions her boyfriend at the usual moment for such things, and that becomes the major impediment to a quick resolution of this mutual-attraction club. The plot depends on keeping the two leads apart, which can be a labored ploy (one third-act delaying tactic isn’t remotely credible), but can also result in the occasional When Harry Met Sally rom-com success. If you can roll with said ploy, you will notice that the wisecracking zingers and cascading conversations rarely pause, and that when a quiet moment is required—a pause in the moonlight before deciding to skinny-dip, for instance—the film can handle it. Radcliffe makes his somewhat pinched charm work nicely here; Kazan continues to impress, not least because she gives a very amusing physical performance. (PG-13) R.H. Sundance, others

•

BY B R IA N M I LLE R

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» Music

Genderless Rage

Reconnecting with the righteous androgyny of the Blood Brothers. BY KELTON SEARS

GEORGE TAPIA

ohnny Neon black cocks Whitney is rot into poison wine biologically Neon black flowmale, but ers on the mass grave the power of his Neon black bloodcurdling shriek corpses, stacked, as frontman of the eclipse the horizon recently reunited Neon black whip, post-punk band war gang hiss, while the Blood BrothDevastator sips from ers is something the crystal chalice else entirely. Neon black lemon“That’s one of the ade drop drips from things I loved about his grin crammed Johnny’s voice; he with cool charm, culwas taking some ture, and opulence fairly feminine qualiThen suddenly, ties and putting them complete and utter in a very violent havoc breaks loose context,” co-vocalist as the guitarmy Jordan Blilie said deafeningly storms in a recent postin and Blilie shouts, reunion interview “Everybody needs a with Vice. “It was little devastation!” Johnny Whitney: possessed hag in a off-putting to a lot of “I thought the small male body. people and it made collective dissent people uncomfortof our generation to those otherworldly voices somehow being able, and I loved that about it.” would bring about positive change,” Blilie summoned out of small, quaking male bodies. That quality is what has always made the once said of Crimes. “When that didn’t hapSeattleites have long gleefully played with Blood Brothers such a fascinating band— pen, I felt like the bottom had fallen out.” gender. Nell Pickerell, a woman who dressed as a group of young men who existed in the a man in turn-of-the-previous-century Seattle, hardcore/metal world and who willingly In Plato’s Symposium, Aristophanes says was a media magnet who publicly flirted with flipped it upside down by exhibiting themthat men and women were originally one selves as violently powermighty spherical creature. ful feminine entities. When they threatened “The Blood Brothers make music that will save us all,” Zeus’ power, he cleaved The band broke up in 2007, but recently them in two with a says Henry Rollins. “What a great fucking racket reunited when L.A.’s thunderbolt, forever FYF Fest offered them weakening them and leavthese guys make.” a spot in the lineup. ing the resulting halves women and flouted the law in her frontier-y “For me personally, it’s the opportunity constantly in search of each other. adventures. She became a hero for street kids, to reconnect with the guys in the band For unempowered teenagers growing up in ones who didn’t fit into the conservative morand play those songs again,” Blilie says. the early aughts—hapless witnesses to the horalism of the early 20th century. Pickerell acted For fans, it’s a welcome comeback. During ror of 9/11, followed by the misguided “War on as a drastic and highly visible alternative, an their heyday, the Blood Brothers walked the Terror”—the Blood Brothers offered a fleeting outlaw who broke with society and rose above gender line ingeniously. In the song “Love vision of Plato’s awe-inducing androgyne: a primiit by openly flouting its most basic rules about Rhymes With Hideous Car Wreck,” one sective source of terrifying, god-threatening power appearance and behavior. Kurt Cobain often ond Whitney coos “love love love love love derived from the very adolescent bodies many of performed wearing a dress, filling a similar love” like a sweet schoolgirl; the next he’s its fans felt trapped in. When the band broke up void in the ’90s for kids who felt boxed in transformed into a possessed hag, bellowing in 2007, a void was felt. As current events seem by classism and sexism in a culture rapidly bloody murder and flailing about limp-wristed more and more to resemble the band’s apocalyptic becoming more and more commercialized. while Blilie chortles out a refrain about sirens vision, this reunion is not only more than welBut the Blood Brothers’ subversive gender sounding in someone’s skull. Even though come—it’s an apt soundtrack for the end times. juxtaposition came at an especially crucial the band spit curses on an ever-burning Few people put it as succinctly as Henry crossroads—a time when George W. Bush was apocalyptic world, its singers’ intertwined Rollins did before the band’s dizzying perplunging the country into war and renewing androgynous fury felt like a benediction—a formance of “Set Fire to the Face on Fire” on xenophobia with devastating results. “Devastarighteous, genderless rage that made them The Henry Rollins Show. “The Blood Brothtor,” the final song on Crimes, the band’s clasall the more terrifying and hypnotic than ers make music that will save us all,” the sic album written in reaction to Bush’s 2004 their hardline male counterparts. Squealing beefy, broad-armed man proclaimed. “What re-election, is also one of its most chilling. A about your “First Kiss at the Public Execua great fucking racket these guys make.” E sort of twisted, dark hymn, it plays ingeniously tion” is far more chilling than a band like ksears@seattleweekly.com with the band’s dual nature, opening not with Slayer painting cartoonish pictures about the its trademark chaos but with an eerie quiet skies “Raining Blood” or Metallica conjuring THE BLOOD BROTHERS hum. The near-silence gives Whitney’s epicene the sandman. Whitney and Blilie’s frightenWith Naomi Punk. Showbox at the Market, banshee wail crushing weight. He screeches: ing eschatological visions seemed channeled 1426 First Ave., 628-3151, showboxpresents.com. Neon black tanks grope the skyline rather than contrived, thanks largely in part $20 adv./$22 DOS. All ages. 9 p.m. Fri., Aug. 22.

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NORMA JEAN with Night Verses, Reach For The Sky, Sailor Mouth, Redeem The Exile Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

FRIDAY, AUGUST 22ND

NIGHT ONE KISW (99.9 FM) “LOUD & LOCAL” & EL CORAZON PRESENT: LAYNE STALEY BIRTHDAY WEEKEND CELEBRATION AT THE OFF RAMP Featuring: JAR OF FLIES (The Ultimate Alice In Chains Experience), OUTSHINED (Tribute to Soundgarden & Temple Of The Dog), An Acoustic Set and Electric Set from each of the two bands (4 sets of music) Doors at 8PM / Show at 9PM. 21+ $12 ADV / $15 DOS / $20 COMBO TICKETS FOR BOTH NIGHTS. Come celebrate the life and music of Layne Staley and Mike Starr with a portion of the proceeds to be donated to THS (Therapeutic Health Services) through Layne Staley Foundation.

SATURDAY, AUGUST 23RD NIGHT TWO KISW (99.9 FM) “LOUD & LOCAL” & EL CORAZON PRESENT: LAYNE STALEY BIRTHDAY WEEKEND CELEBRATION AT THE OFF RAMP Featuring: JAR OF FLIES (The Ultimate Alice In Chains Experience), OUTSHINED (Tribute to Soundgarden & Temple Of The Dog), THE MOTHERSHIP, AMANDA HARDY BAND Doors at 7PM / Show at 8PM. 21+ $12 ADV / $15 DOS / $20 COMBO TICKETS FOR BOTH NIGHTS. Come celebrate the life and music of Layne Staley and Mike Starr with a portion of the proceeds to be donated to THS (Therapeutic Health Services) through Layne Staley Foundation.

SUNDAY, AUGUST 24TH

NEUTRAL BOY with Heartless Folk, Jaguar Paw, Southender, Captain Algebra Lounge Show. Doors at 7:30PM / Show at 8 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MARY ELLEN MATTHEWS

AUGUST 24TH

DAVANOS

MONDAY, AUGUST 25TH

HEARTS LIKE LIONS with Foreign Sons, Denali, At Our Expense, Josh Shadrach Lounge Show. Doors at 8 / Show at 9PM 21+. $6 ADV / $8 DOS

TUESDAY, AUGUST 26TH

EYE THE REALIST with Mister Master, Galaxy, Still Reflectors, Play With Fire Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, AUGUST 26TH

PROJECT WONDER BREAD with The Bangalores, Regional Faction, Terminally Ill, Mythological Horses Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

WEDNESDAY, AUGUST 27TH

COOPER AND THE JAM with Hopeless Jack & The Handsome Devil, Krista Blackburn Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

JUST ANNOUNCED 9/6 - CROBOT 9/6 LOUNGE - THE HOT TODDIES 9/20 - LACUNA COIL 9/26 - TOM MORELLO FROM RAGE AGAINST THE MACHINE 10/11 LOUNGE - RAGS &

RIBBONS 10/12 - GUTTERMOUTH 10/21 - THE TOSSERS 10/26 - MC CHRIS 10/31 - BLESSED BY A BROKEN HEART 11/16 LOUNGE - SELF DEFENSE FAMILY 12/29 - DISTINGUISHER UP & COMING 8/27 LOUNGE - HONOR AMONG THIEVES 8/28 - THE MAENSION 8/29 - SHE KEEPS BEES 8/29 LOUNGE - CAROUSEL KINGS 8/30 - EMERALD CITY ROCK PARTY FEAT. AMBER

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Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

ack White is a record record-breaker. That’s not a typo. His latest album, Lazaretto, became the best-selling vinyl LP since SoundScan began tracking such figures in 1991. In its first week, it sold nearly as many vinyl copies as CDs—40,000 and 41,000, respectively—and debuted at the top of the Billboard charts. Much of Lazaretto’s vinyl success can be directly attributed to White himself, who issued it on his Third Man imprint and manufactured it with as many extras as he could dream up. The A-side plays backwards, from the inside of the record out. Two songs are hidden under the paper labels, each requiring a different speed from the rest of the album’s 33 1/3 rpm, making them unplayable on most standard turntables. Another song utilizes a dual groove to provide either an acoustic or electric intro, depending on where one places the needle. There’s even a hand-etched hologram. Such attention to detail—right down to his carefully curated custom-made suits—helps explain White’s success, which is directly attributable to his ambition. He not only writes, produces, and releases his own albums, but does the same for others—for example, for Loretta Lynn and Wanda Jackson. Also a dedicated music historian, he’s as interested in making music and its various tools as in writing it. His Third Man Records houses a refurbished 1947 Voice-O-Graph machine, a phone booth-sized recording studio which for $15 allows visitors to record two and a half minutes of music right onto a vinyl single. Like few other rock acts of his generation, White follows his instincts fearlessly. Even if this doesn’t always hit the mark, the result is always interesting (as at a recent show at Detroit’s Fox Theatre, when he walked offstage mid-set, citing a lackluster crowd, only to return and crank out a 22-song encore). Call him what you will, Jack White is a true renaissance man whose success seems limited only by his imagination. This live show will not disappoint. E

music@seattleweekly.com

JACK WHITE With Curtis Harding. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. SOLD OUT. 7:30 p.m. Mon., Aug. 25 & Tues., Aug. 26.

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

TheWeekAhead

Wednesday, August 20 Saturday, August 23

If today’s music is overly manicured for your tastes, oldschool BECK is like stripping off your business suit, donning some pungent plaid shirts, growing some socially questionable facial or body hair, and shrugging off pedestrian conventions without a care. As a young artist, Beck’s genius lay in his subversively casual blend of funk, rock, folk, pop, hip-hop, and country. The man pranced around the stratification of musical genres with an ease that artists have imitated ever since. Stoners and squares alike in the ’90s united behind his anthems to life as a beta male, like “Loser,” “The New Pollution,” “Where It’s At,” and “Devil’s Haircut.” Somewhere along the way, the guttural, self-amused stoner of the ’90s grew up, made a hell of a lot of money, got a haircut, and began singing soulfully from the diaphragm. Not to denigrate this musically bankable latest album, Morning Phase, but die-hard fans may be a bit disappointed with the change of tone, and songs from it will provide some pleasant—if sleepy—interludes for his quirky earlier hits. With Jenny Lewis. Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 205-3661, marymoorconcerts.com. 7 p.m. $54.50–$79.50. All ages. JENNA NAND Did you know LEANN RIMES released an album last year? If you didn’t, you’re not alone. In recent years, Rimes’ love life (which includes a divorce, an affair, a second marriage to actor Eddie Cibrian, and a rumored feud with his ex) has overshadowed her career. Which is unfortunate for the country crooner; Spitfire is a fun mix of feisty and heartfelt tunes. Snoqualmie Casino, Mountain View Plaza, 37500 S.E. North Bend Way, 425-888-1234, snocasino.com. 7 p.m. $20 and up. 21 and over. AZARIA C. PODPLESKY

Thursday, August 21

Friday, August 22

Pacific Northwesterners take cycling seriously—a fact we recently proved with a piece about a Seattle-made “bike of the future” (The Denny) which nearly crashed our website. You can keep the bike love circulating this weekend at the GIGANTIC BICYCLE FESTIVAL. There will be hand-built bicycles, comedy, guest speakers, installations, and visual and performance art. Naturally there’s camping—and, of course, lots of homegrown music. Travel by bike and enjoy hosted rest stops along the way supported by KIND Snacks, Theo Chocolate, Bare Snacks, and Artisana Organic. Through Sunday. With Telekinesis, the Moondoggies, Hey Marseilles, Menomena, No Rey, and lots more. Centennial Fields Park, 39903 S.E. Park St., Snoqualmie, Wash., giganticbicyclefestival.org. Starts Fri. at 8 p.m. $15–$40, under 12 free. GE

Tuesday, August 26

To hear HALIE LOREN sing is to glimpse the divine, and it is easy to see why this jazz vocalist is getting noticed here and abroad. Her seventh and most recent album, Simply Love, hit #1 on Japan’s Billboard Jazz Chart thanks to its combination of gorgeous original tracks, fresh takes on classic songs, and Loren’s lush, sultry singing. Whether her vocals are wrapping their arms around you in a loving embrace, as they do on the subdued title track, or getting playful on the classic “On the Sunny Side of the Street,” there is so much to love about Loren’s talent. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. Through Wed. 7:30 p.m. $22.50. All ages. BRIAN PALMER With “Coffee” from its self-titled debut, SYLVAN ESSO— that’s Amelia Meath of Mountain Man and Nick Sanborn of Megafaun—have created an unassuming pop hit. Meath’s sweet-and-low vocals and the track’s electropop backbone pair in such a way that “Coffee” wouldn’t seem out of place at either a club or an open-mike night. Just try to get it out of your head. With Dana Buoy. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $12. 21 and over. ACP Depression is a consideration STRAND OF OAKS frontman Timothy Showalter is all too familiar with. On the band’s latest record, HEAL, he details a low point in his life and the recovery that followed via a synth-pop soundtrack beset with scorching guitar solos. His candid, intimate storytelling offers some comfort for those who have ever felt alone and exiled. With Christopher Denny. Tractor Tavern. 9 p.m. $10. 21 and over. DH Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

TOM HARRELL “COLORS OF A DREAM” with Jaleel Shaw, Jonathan Blake, Ugonna Okegwo and Wayne Escoffery

WED, AUG 20

Pure melodic genius

JANE MONHEIT

HELLO BLUEBIRD - CELEBRATING THE JAZZ OF JUDY GARLAND

THURS, AUG 21 - SUN, AUG 24 Dazzling jazz vocalist

HALIE LOREN TUES, AUG 26 - WED, AUG 27

Sultry jazz singer with pristine vocals and impeccable phrasing

KEIKO MATSUI THURS, AUG 28 - SUN, AUG 31

Japanese keyboardist and composer specializing in smooth jazz, jazz fusion and new age music

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

WESTERN ARTS ALLIANCE SHOWCASE TUES, SEPT 2 - WED, SEPT 3 You’re invited to participate and enjoy the debut of rising stars - Two nights, 9 bands!

all ages | free parking full schedule at jazzalley.com

RANKING JOE LABORER MC FYAH WYAH BLUMEADOWS ZJ REDMAN BOBBY HUSTLE MISTA CHATMAN DJ ELEMENT DJ QUALIFI TRIPLE CROWN SELECTA RHODAN

SEATTLE W EE KLY • AUG UST 20 — 26, 2014

Ever-industrious Seattle music titan Marco Collins is behind TAG 2.0, a five-band music showcase he’s calling a “social experiment of sorts.” As he puts it, the concept is to make “each artist’s set blend into the next,” meaning all five groups will contribute to a single set, with only one rehearsal allowed during soundcheck. This raises tons of questions—like if bands will swap instruments during live songs, or swap members, etc.—but the thrill of the unknown seems to be what Collins is after. Plus, rumor has it that at least one band on the bill will perform under a pseudonym, so this unique event—more like a game show—is bound to offer a few surprises. With Lovecitylove, Gozer, Blake Lewis, Hightek Lowlives, Aaron Daniel. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $10. 21 and over. GWENDOLYN ELLIOTT Sometime between John Mayer’s confession of his racist tendencies to Playboy and now, ED SHEERAN took his place as pop rock’s favorite languishing lark. For all the bells and whistles (e.g., pretentiously naming his albums after mathematical symbols—what’s on tap for album #3, an equals sign?), Sheeran’s musical DNA—a credible masculine falsetto and piquant raps bolstered by unexpectedly gritty lyrics—makes him interesting enough to avoid the industry’s infamous sophomore slump. Although his ubiquitous headphone commercial has ruined “Don’t” for me, the rest of Sheeran’s second record, X, is listenable and surprisingly upbeat compared to his debut album, +. Sheeran is known for clinging to his acoustic guitar and eschewing big stage production in live performances. The authenticity angle works well for debut ballads like “The A Team,” but may be harder to pull off with the poppier, hip-hoppier hits of his latest offering, like “Sing.” With Rudimental. WaMu Theater, 800 Occidental Ave. S., wamutheatreseattle. com. 7:30 p.m. $69.40. All ages. JN

If Tommy Ramone’s untimely departure is a bit too much to handle, TERRY MALTS, a punky trio on Slumberland Records, could provide a momentary remedy. Its second album, 2013’s Nobody Realizes This Is Nowhere, re-ups the nihilism the ensemble expressed on its two-year-old debut, Killing Time. But displeasure never sounded this upbeat and satisfying. Barboza, 925 E. Pike St., 709-9442, thebarboza.com. 7 p.m. $10. 21 and over. DAVE CANTOR L.A.’s OPEN MIKE EAGLE is more than an adjunct of hiphop crew Project Blowed. He’s shared a stage with that troupe’s better-known performers, like Busdriver, but also understands the subtleties of wordplay and humor. His latest, Dark Comedy, is sure to crack some smiles, plus offer a unique vantage point from which to survey American culture. With Graves 33, Theory Hazit, Black Magic Noize, Shadow J Grimm with John Cue Publik. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacity theater.com. 8 p.m. $10 adv./$12 DOS. DC Singer/songwriter/surfer/filmmaker JACK JOHNSON is nothing if not consistent. For more than a dozen years, he’s churned out sun-soaked jams, most recently on From Here to Now to You. There are funkier grooves throughout the album, but Johnson mostly sticks to what he knows: upbeat acoustic songs about life and love. With Amos Lee, Michael Kiwanuka, Bahamas. The Gorge, 754 Silica Rd., Quincy, Wash., 509-785-6262, gorgeamphitheatre.net. 6:30 p.m. $57 and up. All ages. ACP The Banner Days, a collaboration by local singer/songwriters BRADFORD LOOMIS AND BETH WHITNEY, could easily pass for a Swell Season release if you didn’t know better. The pair blends indie folk with a bit of soul. And like Glen Hansard and Marketa Irglova, Loomis and Whitney’s voices are lovely on their own, but really shine together. With The Native Sibling, And Yet. Secret Crown Hill venue released upon purchase of tickets. bradfordloomis.com. 8:30 p.m. $12–$14. 21 and over. ACP Celebrity jam sessions have become a familiar commodity these days. PETER FRAMPTON’S GUITAR CIRCUS is just another in the long line of recent supergroups and one-offs akin to Dave Grohl’s Sound City Players and Mick Jagger’s Super Heavy. Still, watching Frampton trade guitar licks with Don Felder of the Eagles still sounds like a rock-&-roll dream—maybe yours, maybe theirs—coming to fruition. With Buddy Guy. Maryhill Winery, 9774 Lewis and Clark Hwy. 14, Goldendale, Wash., maryhillwinery. com. 7 p.m. $49–$225. All ages. DUSTY HENRY LIAM FINN’s third LP, The Nihilist, is more experimental than his pop-focused earlier outings; repeated listens reveal added depth. He’s toured with Eddie Vedder, Black Keys, and Wilco, and though he’ll start this tour alongside The Helio Sequence, by the time he hits Seattle he’ll be on his own. The Tractor, 5213 Ballard Ave. N.W., 789-3599, tractor tavern.com. 9:30 p.m. $12. 21 and over. DAVE LAKE

JAZZ ALLEY IS A SUPPER CLUB

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

arts&culture» Music LocaLReLeases

WWW.FACEBOOK.COM/TAKEWARNINGPRESENTS TWITTER @TAKEWARNINGSEA

TICKETS @ TICKETFLY.COM FRIDAY SEPTEMBER 12TH @ BARBOZA

NEIL HAMBURGER MAJOR ENTERTAINER MIKE H., JEFF BREAKFAST

21+ ONLY - 7:00 PM TICKETS @ WWW.THEBARBOZA.COM & MOE BAR

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MUSIC NEWSLETTER

H A P P Y H OU R

The inside scoop on upcoming shows

and the latest reviews.

SEATTLE WEEKLY • AUGU ST 20 — 26, 2014

KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7911-01 TAKE NOTICE:

That Sound Transit - Northgate Link Extension - University District Station located at 4300 Brooklyn Ave NE, Seattle, WA 98105 has filed an application for an industrial waste discharge permit to discharge industrial waste into West Point from its construction dewatering operation in the amount of 168,000 gallons per day following treatment and in-plant control and in compliance with rules and regulations of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency.

Flower of Muscle Shoals (out now, Free Dirt Records, cahalen.com/country-hammer) If it sounds funny for a Pacific Northwest-based string player originally from New Mexico to name his first album after a town in Alabama, well, that’s what a little bit of love will do. Not only is this release Morrison’s first with his new band Country Hammer (you likely first heard of him from his roots duo with Eli West, with whom he still plays), it’s his first since he married, and the title track was written for his new wife, who hails from the fabled Southern town. Thankfully, Morrison’s happy heart hasn’t changed the hard-luck ethos one would expect from a band complete with pedal steel and fiddle; there’s still plenty of country noir to go around. “Sorrow Lines the Highway of Regret,” for example, is a honky-tonkin’ barroom stomper in the tradition of Ricky Skaggs or Dwight Yoakam, and the accordion-flecked “San Luis” is surprisingly upbeat for the cryptic elegy it appears to be. There’s even a subtle darkness to the title track—something about “red dirt blood she bled”—but that, Morrison says, is because he enjoys “phrasing things to sound darker and more visceral than they necessarily need to be . . . like it conveys a deeper, more mystical emotion that way.” Maybe that’s just his way of putting it to make the rest of us sad sacks feel better. Whatever the reason, alongside his dustfilled, twangy vocals and his seasoned country band—including Country Dave Harmonson on pedal steel and Ethan Lawton on drums—it’s an effect put to good use. GWENDOLYN ELLIOTT

A R T S A ND E NT E R TAI NM E NT

The approximate point of discharge is 4300 Brooklyn Avenue NE, Seattle, WA 98105. Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on this application, should notify the King County Industrial Waste Program at 130 Nickerson Street, Suite 200, Seattle, WA 98109, in writing, of their interest within 30 days of the last date of publication of this notice. Publication dates of this notice are: Wednesday August 13, 2014 Wednesday August 20, 2014

acoustic guitar, but that’s merely the means he uses to convey his pop sensibility. American Soft’s tracks center on Staples’ vocals and acoustic guitar, though he employs simple drums and synthesizers nearly throughout—a pattern he breaks free from on the instrumental “Wurlitzer,” which reveals his knack for experimental composition, pairing snappy rhythms with arpeggios from the namesake organ. Elsewhere, though he sings just above a warm whisper and doesn’t include any show-off moments, every song is packed with sensational hooks that stick, and you’ll be humming melodies from “Black Tornado” and “Dark Side of the Moon” long after the record ends. Yet for all this, Staples is at his best when he strips a song to its bare bones. Closer “Early Bird Tavern” could be an epic pop-rock anthem, but playing it as an acoustic ballad underscores the heavy weight of its lyrics. He even pays homage here to poprock legend Tom Petty with the refrain “You don’t have to live like a refugee.” It’s a true showcase of his talent for doing more with less, and mining the underlying beauty in simplicity. DUSTY HENRY

Chris Staples, American Soft (out now, Barsuk

Records, chrisstaplesmusic.com) Chris Staples comes from a lineage of Seattle singer/songwriters unfairly labeled as folk. Sure, he’s playing an

Tomtem, The Farewell Party (out now, Versicolor,

tomtenmusic.bandcamp.com) Like his band’s 2012 release Wednesday’s Children, Tomtem frontman Brian Noyeswatkins still holds a blazing torch for the lo-fi, psych sounds of the ’60s. But here on the band’s second full-length, with the help of studio multi-instrumentalists Lena Simon and Jake Brady, the aesthetic is pushed into the new millennium, merging Noyeswatkins’ Cockney-lite drawl (not unlike that of a young Mick Jagger) with the drone-filled reverb of artists like Cass McCombs and Papercuts, aka Jason Quever. The latter’s influence on the album is more than just coincidence; Quever recorded and produced it himself at his San Francisco home studio, and his penchant for dreamy chamber pop is unmistakable on the album’s first three tracks, “Pipe Dream Boy,” “Wayward Song,” and “Asimolar” (which could be a McCombs outtake). But things get peppier on “Thomasina,” with its perky piano intro and lush horn instrumental, recalling the music of Sondre Lerche and Sufjan Stevens—an excellent example of how The Farewell Party balances Quever’s lo-fi style with Tomten’s baroque-leaning qualities. With a liberal use of mellotron next to Noyeswatkins’ milky vocals and an unhurried approach to songwriting, it’s a distinctive and very happy marriage overall. GE

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Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

Appliances Firewood, Fuel & Stoves

Miscellaneous

NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx

NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com

CUSTOM GOLF SHOP Repairs, Sales Custom Fitting & More. WEST COAST CUSTOM CLUBS

425.765.5064 Appliances REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available

UNDER WARRANTY!

was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo. Credit Dept. 206-244-6966

STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles. Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month

%206-244-6966% KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept. 206-244-6966

filtering the best of

THE NORTHWEST!

AMANA RANGE Deluxe 30” Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept. 206-244-6966

KENMORE FREEZER

Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,

interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293. Credit Dept. 206-244-6966

NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966

Employment Finance Financial & Operations Analyst (Lake Forest Park, WA) sought by Institute for Environmental Health, Inc. (d/b/a IEH Laboratories & Consulting Group) w/ exp evaluating finances in scientific/lab field. Resumes to: IEH, Attn: HR, 15300 Bothell Way NE, Lake Forest Park, WA 98155.

Employment Education A NEW BEGINNING! Get the career education you need for a new future. FINANCIAL AID AVAILABLE FOR THOSE WHO QUALIFY. CHECK OUT OUR 5 AREA CAMPUS LOCATIONS! CALL 1-888-550-5630 NOW!

Or call today — we’re here for you!

Visit us online at www.Go4Everest.com

206.386.5400

is on instagram.com

Temporarily Yours Staffing

720 3rd Ave. Ste. 1420 - Seattle, WA 98104 “The friendliest and preferred agency”

Everest College Programs and schedules vary by campus

Employment Computer/Technology

FREE PASS

OPENING THE WEEK OF AUGUST 25TH

206-588-1997

Classified @ 206-623-6231, to place an ad

Call

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

Associate, SQL Database Developer sought by BlackRock Financial Management, Inc. in Seattle, WA to participate in the engg & dvlpmt of projects including table dsgn, coding, debugging & unit testing on SQL Server envrmt. Req’s: Master’s deg or equiv in Comp Sci, Comp Info Systems, Comp Engg or related field, & 3 yrs of exp participating in the engg & dvlpmt of projects including table dsgn, coding, debugging & unit testing on SQL Server envrmt. Prior exp must incl performing stored procedures, triggers & user-defined functions to implmt the dsgn of projects according to the technical specifications; utilizing d/base dsgn, referential integrity & normalization techniques to participate in defining dsgn/coding standards & performing peer code reviews; & using execution plans, Profiler, DBCC to troubleshoot production issues. Please apply directly through https://blackrock.taleo.net/ careersection/BR_Exec_CS/ jobdetail.ftl?lang=en&job= 142274 by clicking “Apply Online”. Wanderspot LLC dba Urbanspoon has openings for Info.Architects in Seattle, WA. Analyze enginrg and other info. tech. issues to implement and improve systems. Send resume & ref 1607.274 to: Claudia Nerio, IAC, 555 12th St, Ste 500, Oakland, CA 94607.

Employment General

MULTIMEDIA CONSULTANT

MARKETING COORDINATOR

Seattle Be a part of the largest community news organization in Washington! *Do you have a proven track record of success in sales and enjoy managing your own territory? *Are you competitive and thrive in an energetic environment? *Do you desire to work in an environment which offers uncapped earning opportunities? *Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES to the above, then we are looking for you! Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, results-driven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients. As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service. This position receives a base salary of $24k plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient. If you have these skills, and enjoy playing a pro-active part in impacting your local businesses’ financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com, ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us! hreast@soundpublishing.com

www.sound publishing.com www.soundpublishing.com

The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader. Drop off resume in person & book list to: 1530 1st Ave (serious inquiries only)

PAINTERS/PREPPERS $12.00 up to $22.50 per hour DOE. Reliable vehicle, painter whites, cell phone and basic hand tools required. WORK YEAR ROUND, WEEKLY PAY 206-375-0273 Program Officer II: Design, implement & support Maternal & Child Health, Nutrition & Reproductive public health programs in developing countries. Position reqs 30% travel & telecommuting of up to 1 day p/week is allowed. Reqs: Master’s degree in Public Health, and 3 yrs of medical- or public health exp. For specific details see & to apply http://path.org/jobs/index.php, click “Job listings”, & search for Job #6250. Position at PATH, in Seattle, WA.

Seattle-based Commercial General Contractor is seeking qualified

Construction Superintendent QCM SSHO With demonstrated safety and quality control experience.

Assistant Project Manager Requires 2+ years of experience E-mail resumes to

walto@ veteransnw.com walto@veteransnw.com

Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services Lawn/Garden Service

Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening Call Geoff Today:

206-854-1794 LICENSED & INSURED Announcements

NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180 Auto Events/ Auctions Abandoned Vehicle Auction City Wide Towing 14045 Midvale Ave. N. Seattle, WA 98133 August 25th, 2014 10AM Preview 1 Hour Before ‘93 Ford Escort (206) 364-7070

FFFFFFFF

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

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

08/22/14 @ 8:00am

Prior inspection will be from 7:00am - 8:00am. This company can be contacted at 425-888-1180 for questions regarding this Auction.

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

Garage/Moving Sales King County WEST SEATTLE, 98116.

GARAGE TAG SALE Priced to go!! Friday 22nd & Saturday 23rd, from 10 am to 5 pm. Toys, baby gear / items, furniture, bookcases, clothing, office supplies & so very, much more! Located at 4821 Beach Drive SW. Cash only.