Seattle Weekly, August 27, 2014 by Sound Publishing

AUGUST 27-SEPTEMBER 2, 2014 I VOLUME 39 I NUMBER 35

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SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

U.S. Congressman Earl Blumenauer

Laura Blanco de León

Ed Rosenthal

Representative Peter Buckley

Steve DeAngelo

Tom Burns

Senator Floyd Prozanski

Andrew Sullivan Keynote Speaker Renowned international journalist with the most popular blog on the internet, The Dish, with more subscribers than any other exclusively-online journalism site U.S. Congressman Earl Blumenauer Authored a report in early 2013 called “The Path Forward: Rethinking Federal Marijuana Policy” Ed Rosenthal Cannabis guru and author Steve DeAngelo Executive Director of Harborside Health Center in Oakland, California, Steve is a cannabis industry leader, movement strategist and lifelong activist Laura Blanco de León Serves as President of the Association of Cannabis Studies of Uruguay Representative Peter Buckley Co-Chairman Ways and Means Committee, Sponsor of Dispensary Bill, Member of OHA Rules Committee on Dispensaries Tom Burns Oregon Health Authority (OHA) Director of Pharmacy Programs/Medical Marijuana Dispensary Program Senator Floyd Prozanski Sponsor of the Dispensary Bill and Chair of the Senate Judiciary Committee Sponsored by

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inside» August 27–September 2, 2014 VOLUME 39 | NUMBER 35

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news&comment 7

BAG THE FLAG

BY KELTON SEARS | It’s boring, and it has a slave-owner on it. Plus: the future of I-502, and gambling on the Mariners.

CHEAT WAVE

BY ALLEGRA ABRAMO | The story

behind the struggle to make employers pay workers what they’re owed.

17 BUMBERSHOOT 2014 BY SW STAFF | Picks and profiles to

guide you through Seattle’s summerending arts orgy, from the Replacements to edible art, film shorts to Luscious Jackson. (See the schedule grid and map on pages 21–24.)

food&drink

29 INN ECSTASY

BY NICOLE SPRINKLE | Everyone loves

Lummi Island’s boy wonder. Here’s why. 29 | FOOD NEWS/THE WEEKLY DISH 31 | THE BAR CODE 31 | THE FOOD PANEL

33 LOST IN THE WOODS

Editor-in-Chief Mark Baumgarten Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Editorial Operations Manager Gavin Borchert

Editorial Intern Terrence Hill Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, 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

42 MUSIC

THE WEEK AHEAD | Shows to see outside of Bumbershoot.

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33 | THE PICK LIST 35 | PERFORMANCE 36 | BOOKS & VISUAL ARTS

lives forever, Michael Fassbender hides his handsome face, and a sequel to The Trip.

OUTSIDE DINING!

Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears

Photo Intern Anna Erickson

OPENING THIS WEEK | Robin Wright

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BY KELTON SEARS | A locally made video game contemplates eco-collapse.

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news&comment

The Washington State Flag Sucks If you’ll notice, it’s poorly designed and has a slave-owner on it.

Three Ways the Smoke Could Blow

BY KELTON SEARS

BY MATT DRISCOLL

ing County was named after William Rufus DeVane King in 1852—one year before tuberculosis killed him. King reputedly wore powdered wigs way after they went out of style, and has gone down as one of the worst vice presidents in U.S. history. King, who served under our 14th president, Franklin Pierce, spent the first 43 days of what would be the shortest vice presidency of all time in Cuba. Then he sailed back to his home, one of the largest slave-labor cotton plantations in Alabama, and died two days later, having completed zero hours of any actual vice-presidential duties. King was an especially vocal advocate for the Fugitive Slave Act, which set aggressive legal mandates for the return of slaves who managed to escape plantations and find their way to the free states. One hundred and fifty-five years after naming itself after this guy, King County officially acknowledged that William Rufus DeVane King, whose family owned, like, 500 goddamn slaves, was an asshole. In 2005, a 19-year effort led by City Councilmember Bruce Laing and County Executive Ron Sims culminated in then-Governor Christine Gregoire’s signing of a bill changing the county’s namesake from racist King to civilrights leader Martin Luther King Jr. Afterward, Sims wrote, “This is a profound and meaningful change that sends a strong and positive message about the values of our government and the people we serve.” Two years later, the county officially changed its logo from a king’s crown to a silhouette of Dr. King. In doing so, King County consciously decided it no longer wanted to be associated with an unjust, evil practice that killed and enslaved millions of human beings. Did you know that George Washington, our first president, owned more than 300 slaves? He also happened to sign the very first Fugitive Slave Act into law. If you haven’t noticed, his lily-white colonialist face sits on our state flag. We should probably change that too.

he fate of legal pot in Washington could be determined in Fife, of all places. As our own Ellis Conklin has reported, Pierce County Superior Court Judge Ronald E. Culpepper is expected to begin hearing arguments this week in MMH, LLC v. City of Fife, a lawsuit in which would-be weed retailers are hoping to overturn the ban on marijuana operations the council enacted there in July. In response, Fife has argued that federal marijuana laws pre-empt state law. How Judge Culpepper answers that simple question could determine whether legal pot will survive in our state. Attorney General Bob Ferguson, meanwhile, has said he believes I-502 did not take away local governments’ power to regulate or ban marijuana businesses, but worries that if courts decide that federal law pre-empts state law, the decision “could eviscerate” I-502. Here are the three possible decisions, and what they’ll mean.

The Cascadian flag, meanwhile, was designed

by Portlander Alexander Baretich in 1994 to represent the “Cascadian Bioregion”: British Columbia, Washington, and Oregon. For some, Cascadia is ripe for secession from the U.S., as outlined in Ernest Callenbach’s admirably goofy 1975 classic Ecotopia. But for Baretich, the flag

and the concept of “Cascadia” represents something much simpler. “What this is really all about is decolonizing the imperialism that has been put into our brains,” Baretich said in an interview with The Portland Radicle. “Decolonization is something that we need to do on a personal level and on a paradigm-shift level.” This weekend, a gaggle of “Cascadians” will descend on Finney Farm in Concrete, Wash., in the North Cascades for the first-ever “Cascadia Raining Man” festival. For many, the entry point into the reconstructive virtues of Cascadia was the flag—an elegantly designed shorthand for ideas of regrowth, ecological consciousness, and sustainability, values that make you proud to be here. The festival will include workshops on ecological reconstruction, mycology, and the effect of the Northern Gateway Pipeline on the native Haisla Kitamaat people, Though anything would be better than our current flag, the Cascadian flag is just one example of the power a symbol can have on the collective consciousness of a place. When you put a tree on a flag instead of a slave owner, suddenly people want to talk about the environment and equity instead of money and power. It’s a lesson our state could take to heart. So let’s change the damn thing already. E

ksears@seattleweekly.com

CASCADIA RAINING MAN FESTIVAL Finney Farm, Concrete, Wash., rainingman2014.org. $35. Fri., Aug. 29–Mon., Sept. 1.

hill and flail » Driscoll Takes a Break FRANK BROWN

Seeking forgiveness, controversial Mars Hill pastor Mark Driscoll on Sunday announced plans to take “a minimum of six weeks” of leave from the megachurch he created while church elders review the growing list of complaints levied against him. “Storm clouds seem to be whirling around me,” Driscoll admitted to his congregation—the latest turn in what has been a tumultuous year for the evangelical rock-star pastor. The Internet reacted accordingly: “To some, this will seem like a statement of repentance; to others, it glosses over numerous issues which have yet to be acknowledged.” —Warren Throckmorton, via patheos.com “For real transformation to happen resistance needs to occur in a way that isn’t endorsed by the system it critiques.” —Peter Rollins, via peterrollins.net “He’s very good at saying that he’s sorry. Let’s see what it really means.” —Former Mars Hill deacon Rob Smith, via The Seattle Times

•

APPROVE AND DISAPPROVE BY VENKATESH AIYULU, NO BY SAM MARTIN FROM THE NOUN PROJECT

2) Use meaningful symbolism. 3) Use two to three basic colors. 4) No lettering or seals. 5) Be distinctive or be related [to another geographic region you have something in common with]. In 2001, NAVA ranked the designs of the flags of North America. Washington’s scored a dismal 4.53 points out of 10, essentially an F-. That’s probably because it follows zero of those five nifty rules: 1) No child could draw George Washington’s weird hair from memory, let alone his poofy neckerchief. 2) George Washington is a symbol of America’s institutional racism. 3) The flag has six colors. 4) It is literally just a seal with lettering on it. 5) As one of 28 states with the seal-on-asolid-color design, it’s completely unremarkable—although no other state chose green, which is nice, I suppose. So for those of you keeping score, our flag completely and utterly flunks on an aesthetic level, and it also has a huge prick on it.

Slight bummer First of all, it’s important to note that whatever happens in Fife is likely to be appealed to a higher court—meaning the case, in theory, could make it all the way to the U.S. Supreme Court. That said, if a judge decides that Fife is within its right to opt out of weed sales, it will prove Ferguson correct and the question of whether or not federal law preempts Washington’s pot law can go unanswered— at least for now. “The easiest thing the judge can do is to allow the City of Fife to opt out of the law. That would be a victory for my clients,” City of Fife attorney Loren Combs tells Seattle Weekly.

Doomsday! If the court

decides state law prevents local bans, but federal law pre-empts state law, it would be a devastating blow to legalization proponents, effectively destroying the recreational weed world created under I-502. “If the court finds I-502 is preempted by federal law, and it is upheld on appeal, the marijuana-legalization effort will be destroyed,” Ferguson tells Seattle Weekly. In case you’ve forgotten, the feds still consider pot illegal.

It’s cool For the ACLU of Washington and I-502 architect Alison Holcomb, the best possible outcome would be a declaration that state law prevents local bans and federal law does not pre-empt state law—i.e., Washington’s new pot law is not overruled by federal regulations, and cities like Fife must allow state-licensed weed operations to operate within their jurisdictions. Big win! If this happens, however, expect appeals. One thing all sides seem to agree on is that the Legislature could easily clarify how I-502 interacts with local laws. “Ultimately, the state legislature should take up the opt-out issue,” explains Holcomb. She’s probably right. E

mdriscoll@seattleweekly.com

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

Although you’ve maybe never heard of it, the North American Vexillological Association (NAVA), around since 1967, comprises scholars dedicated to the delightfully named practice of vexillology, the study of flags. Turns out they’re not wild about Washington’s. As one might expect, NAVA has a tidy set of guidelines for a sexy, well-designed flag: 1) Keep it simple—simple enough that a child could draw it from memory.

DINING WEE K LY The YWCA of Seattle-King CountySnohomish County is seeking an

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SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

vs.

Bryce Harper, Stephen Strasburg and the Washington Nationals make a rare visit to Safeco Field this weekend for an unforgettable series. You’ll L-O-V-E the great events we have lined up that are sure to make you smile. So before the autumn leaves come, get your tickets at Mariners.com.

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The debate: whether to queue up now for Mariners season tickets in 2015. Here’s the situation: If you plunk down a $500 deposit toward 2015 season tickets, the M’s guarantee the right to buy tickets for all 2014 postseason games. The catch? The $500 is per seat and non-refundable. The angel (or is he the devil?) says: Seth, be realistic. You really think that a team starting Endy Chavez in the outfield is going BY SETH KOLLOEN to hold off Detroit for the last wild-card spot? The Mariners are going to collapse in September, so you’ll be heartbroken and out $500. The devil (or is it the angel?): Hold on—the Mariners may have a weak offense, but they have one of the best pitching staffs of the past 50 years. They are second in the majors in run dif-

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P R O M O T I O» NS E V Enews&comment NTS

ferential, so their record is no fluke. You’ve been waiting 13 years for the Mariners to make the playoffs—you’re really going to let $500 stand in the way of seeing them? Angel: It’s not just $500. The M’s are asking for full payment for the entire possible playoff run—at least another $1,500 up front. Devil: Whatever the cost, you’ll want to be at those games. You might end up spending way more than $1,500 buying the tickets from StubHub, and you’ll probably have worse seats. This would be only the fifth time the M’s have made the playoffs. And just dream with me for a second: Say the M’s make it into the playoffs and scrape out the 12 wins they’d need to be World Series champions. Angel: Oh, come on. Devil: Everyone will want season tickets, and, even though you’ve lived and died with the Mariners for 37 years, you’ll be at the back of the line behind some transplanted Amazon executive who discovered his love for baseball in mid-October. Angel: Jeff Bezos would never spend $500 on speculative baseball tickets. Devil: Jeff Bezos spent $42 million on a clock in the desert. As you can see, I’ve got a difficult choice to make. But the more the M’s keep winning, the easier it gets. E

sportsball@seattlweekly.com

$15 an Hour: Nice if You Can Get It The state and city appear unprepared to enforce the nation’s highest minimum wage. BY ALLEGRA ABRAMO/INVESTIGATEWEST

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Fernando Moreno Ruiz gets paid, finally.

n a sunny mid-June evening, two dozen protesters in scarlet, green, and gold T-shirts paced in a circle in front of Queen City Grill in

Belltown. “Wage theft is a crime,” they chanted. “Pay your workers or do the time.” One protester’s sign: “You pay, we leave!” The protest was organized to pressure the restaurant owner on behalf of former employee Fernando Moreno Ruiz, who says he was owed more than $5,500 in back wages. Moreno Ruiz says he worked for the owner for more than six years. But last year his paychecks started bouncing. Alone in the U.S. for the past decade, Moreno Ruiz counted on the wages to support his wife and two children in Mexico. By December he couldn’t wait any longer. He quit. The lost wages almost cost him his marriage, he says, because his wife thought he didn’t want to send money home anymore. “I tried to do honorable work, and he didn’t know how to honor me as a worker,” Moreno Ruiz says of his boss. The protest against Queen City Grill was

organized by Casa Latina, which runs a day worker center and educational programs for immigrants. The Seattle organization gets hundreds of calls a year from workers like Moreno Ruiz who say employers have failed to pay them some or all of their agreed wages. The protesters marched for only 10 minutes before Moreno Ruiz and a Casa Latina organizer were called into a back office. The owner, Robert Eickhof, never came out of the office, nor did he respond to several phone calls later from InvestigateWest seeking comment. But after a few minutes, Moreno Ruiz emerged. Back out on the sidewalk, he beamed as he flashed $800 in crisp $100 bills and a promissory note for the rest. Seattle may soon find that passing a $15 minimum wage was the easy part. The real challenge will be making sure workers actually get what they deserve under the law. However satisfying that June evening in Belltown proved for Fernando Moreno Ruiz, that is not the way the system is supposed to work.

» CONTINUED ON PAGE 10

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news&comment» resents residential construction workers, who are predominantly immigrants, many paid a piece rate. “I don’t think you can find an employer in the state of Washington that pays overtime to In the past eight years, both the Washingtheir immigrant piece-rate workers,” Mark says. ton legislature and the Seattle City Council “So there’s an example of a large segment of the have passed laws to address what’s coming to economy where a blatant violation of the law is be understood as a huge problem: wage theft, the norm. It’s just outrageous.” the withholding of wages or denial of benefits Although numerous studies show that wage rightfully owed an employee. It’s a misdemeanor theft is common among low-wage workers in under city and state law. Widespread violations general, immigrants seem to suffer higher rates of minimum-wage laws, overtime provisions, of violations. A 2010 study by researchers at the and other examples of wage theft have been well University of California Los Angeles found that documented in recent decades. foreign-born workers in that city suffered more And yet in hundreds of cases annually, Washthan twice the rate of minimum-wage violations ington fails to retrieve workers’ shorted wages, a as their U.S.-born counterparts. review of state records by InvestigateWest shows. “The violations, they’re Meanwhile, the city extraordinary among the ordinance has yet to “I don’t think you can find immigrant workforce,” says bring about even a single prosecution of an employer in the state Mark, who has represented thousands of immigrant employers who withof Washington that pays employees in multimillionhold pay. class-action lawsuits, The Washington overtime to their immigrant dollar including a recent WashDepartment of Labor ington Supreme Court & Industries has sped piece-rate workers.” case against Fred Meyer for up wage-complaint misclassifying janitorial workers. investigations over the past several years, yet four “The classic is an immigrant worker who’s in 10 cases take longer than the legally mandated 60 days. And the department collects less than $6 working 55 or 60 hours a week and getting $1,000 twice a month, that kind of thing, which of every $10 it says workers are owed, according works out to at or below minimum wage, and no to an InvestigateWest analysis of state records. overtime,” Mark says. Given these shortfalls, worker advocates wonNot everyone believes that wage theft is der how under-resourced agencies will ensure widespread, however. One doubter is Bob Seattle workers actually do collect $15 an hour Battles, general counsel and director of governunder the new law. ment affairs for the Association of Washington “Everyone is aware that passing a $15-anBusiness. “I don’t see this as an out-of-control, hour minimum wage was historic,” says Rebecca pervasive problem,” Battles says. “This is a few Smith, deputy director of the National Employbad actors that are spoiling the bunch if we’re not ment Law Project, who serves on a panel adviscareful, but go after those folks individually. This ing Mayor Ed Murray and the City Council on is not what we think is a prevalent problem.” the wage theft issue. “But if we cannot enforce The Washington Department of Labor & that, we haven’t accomplished much.” Industries, which is responsible for investigating complaints of wage and hour violations, Comprehensive statistics are lacking on the offers a similar assessment. The department extent of wage violations in Seattle today, but receives between 3,000 and 4,000 complaints dozens of studies and investigations by federal each year for the more than three million and state agencies have uncovered widespread people employed in the state, the agency points violations nationwide. out. Elizabeth Smith, assistant director of A 2009 report by the National Employment fraud prevention and labor standards, says most Law Project surveying thousands of low-wage employers are trying to follow the law: “There’s workers in New York, Chicago, and Los Angea small subset that know the law and are not les found that nearly seven in 10 workers had following it intentionally.” experienced at least one pay-related violation in the previous work week, and that more than one-quarter of respondents had been paid less That’s what Casa Latina has found, too, says than minimum wage. Three-quarters of those Cariño Barragán Talancón, the organizer who who had worked more than 40 hours had not usually fields calls about wage theft. “We’ve been paid the required time-and-a-half rate. realized that some employers and companies, it’s In addition to failure to pay minimum wage actually their business model to steal from workand overtime, common violations include ers,” Barragán Talancón says. “They make money requiring employees to work off the clock, knowing that many workers will just not do anydenying meal breaks, illegal deductions, misthing, and just move on to the next job.” classifying workers as independent contractors, But Labor & Industries learns of a violaand not paying for all hours worked. tion only if a worker complains. Prior to the In some industries, wage and hour violations Wage Payment Act of 2006, remedying wage seem to be the norm. The U.S. Department of violations required taking employers to court. Labor found violations in 71 percent of the The new law was designed to help more workWest Coast restaurants it investigated in the six ers more quickly by handling most wage years prior to 2012. A five-year investigation of complaints through an administrative process. California garment manufacturers found violaIn general, say advocates, this has been an tions in 93 percent of them. Violations are also improvement for workers. The downside is that common in construction, agriculture, child care, the department is so burdened with complaints and janitorial work, according to studies and that it has virtually ceased conducting targeted attorneys who represent workers. investigations of companies and industries. Seattle labor attorney David Mark often rep» CONTINUED ON PAGE 12

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who’ve filed complaints with Labor & Industries are owed a median of just over $700. “Maybe that means they can’t pay the rent or buy food,” Schmitt says. “But it’s not big enough for most private lawyers to be able to pay attention to.”

Advocates argue that relying entirely on complaints is not effective because workers fear retaliation, including losing their jobs or being reported to immigration authorities. And the people who Since 2011, Seattle workers have had another complain are the people who can best afford tool to seek justice. The city’s wage-theft ordito have suffered a violation, says the National nance made it a gross misdemeanor—a criminal Employment Law Project’s Rebecca Smith: “They offense—to intentionally withhold payment for are not the people who are the most vulnerable, agreed-upon services. and who are being abused the most.” Maria Arciniega is one of a handful of workers The organization’s three-city worker survey who have filed a complaint in the past year. suggests fear of retaliation is justified. More than Arciniega, 36, says she worked 46 hours as 40 percent of workers who complained to their a cook at Domani Pizzeria and Restaurant in employer said they were fired or suspended, Queen Anne, but after she called in sick, the threatened with a cut in hours or pay, or faced owner told her it wasn’t working out. Arciniega other forms of retribution. One in five said they says she went to claim her wages, totaling had not complained to their employer about a $432. The owner, Martin Pumpalov, offered violation, in large part out of fear. her $120. Pumpalov says he explained that her Casa Latina’s Barragán Talancón says a growwork spanned two pay periods, so she would ing number of workers who call for help with have to wait until the next payday for the rest. wage violations ask her whether the boss can call In a negotiation hobbled by a language barrier, in immigration authorities. When she admits she Arcienega turned him down. She says she’d doesn’t know, she doesn’t hear from them again. kept track of her hours in her own little noteIn her seven years with the organization, she has book, and insisted on the full amount. She says never encountered a wage-theft case in which the owner demanded to see her working papers, the worker was still working for the employer. which she took as a veiled threat. Pumpalov “That is very telling to says he asked for her me,” she says. Social Security number. “We have this great InvestigateWest Arciniega turned to found one worker who ordinance in place, but we Casa Latina. Barragán prevailed—because, Talancón helped her again, he went outside aren’t able to move forward file a claim with Labor the systems set up in Industries and also because of the tough time & recent years by the arranged a meeting with state and the city. He Pumpalov. Both sides we have finding cases.” hired an attorney. say the meeting quickly Let’s call him Miguel, although we agreed to escalated into a shouting match, though both withhold his real name because—as is typical— blame the other. the wage-theft settlement his attorney arranged “They didn’t come to talk, they came and came with a legally binding promise not to disstarted threatening me,” Pumpalov says. When cuss the case publicly. Arciniega and Barragán Talancón told him they Miguel kept his job at a King County had filed a claim with Labor & Industries, he told teriyaki restaurant for more than a year, even them he’d handle the claim through the agency. though he says he worked 11 hours a day six Speaking with InvestigateWest, he says he never days a week and took home at most $1,000 disputed owing Arciniega more than $120. twice a month. That works out to close to the After the argument in the restaurant, the federal minimum wage of $7.25 an hour, well women returned to Casa Latina’s office and below the current state minimum wage of immediately filed a report with the Seattle Police $9.32 hourly, with no overtime. Department under the city’s wage-theft ordinance. “Employers particularly exploit immigrants Only 11 people have reported wage theft more,” Miguel says through a translator. “They to the police since last summer, according to know they don’t have a valid Social Security Lieutenant Gregory Schmidt, the department’s number, and how they don’t have many options burglary and theft commander. He was unable to go somewhere else. They take advantage of to say exactly how many wage-theft complaints this and exploit it.” the department received in the first two years Eventually a lawyer won a settlement for after the ordinance was passed. In that period, Miguel of about $15,000 in back wages. In Schmidt explained, cases could end up in any theory, the law allows workers to collect double one of the city’s five burglary and theft squads, the amount withheld, plus attorneys’ fees. But and were not tagged as wage theft. (The Seattle that requires going to court. Smaller cases Police Department has yet to fulfill a request like Miguel’s are usually settled before a court InvestigateWest filed June 17 under the Washhearing. ington Public Records Act seeking documents In one way, Miguel was fortunate: His case recounting enforcement of the wage-theft law.) was large enough to interest an attorney. Labor Worker advocates say the police were not lawyers say few private attorneys in Washington prepared to respond to wage-theft complaints take individual wage and hour cases, and they after the ordinance passed in 2011, and initially rarely accept cases worth less than $5,000. even turned some callers away. Today, Schmidt Many wage claims don’t reach that threshold says, the department gives wage-theft cases because people are paid a portion of their wages “special treatment.” He says he has instructed the or quit after a short period, says Andrea Schmitt, sergeant in charge of these cases to investigate an attorney with Columbia Legal Services, which complaints even if the initial evidence is thin, and focuses on large class-action lawsuits. Investito make extra attempts to contact victims. gateWest’s analysis of state data shows workers Still, the calls are hardly rolling in. And no

ALLEGRA ABRAMO/INVESTIGATIVEWEST

employers have been prosecuted under the law. Last year the police department forwarded to the city attorney the case of a painter who had not been paid for 7.5 hours of work. According to Schmidt, the city attorney declined to prosecute the case because detectives have not been able to speak with the employer or find a witness to corroborate the worker’s story. A second case was forwarded to King County prosecutors as a potential felony, but the police were not able to positively identify the suspect: Two people so closely matched the identifying information that the police could not identify the suspect to the prosecutor’s satisfaction, Schmidt says. Gathering enough evidence to prove wage theft in court can be a challenge, as worker advocates acknowledge. City law spells out that a prosecutor has to prove an employer intended not to pay. That can be a tall order in the case of day laborers paid in cash, with no records kept. “We’re frustrated as well, ” says Craig Sims, criminal division chief in the city attorney’s office. “We have this great ordinance in place, but we aren’t able to move forward because of the tough time we have finding cases.” Sims says his office is finalizing an agreement with the U.S. Department of Labor to receive Seattle cases that the federal department has investigated but chose not to pursue. “There’s no perfect case out there,” Sims says, “but we’re definitely willing to look at every possibility.” Maria Arciniega’s case with the Seattle Police didn’t make it very far, either. Her employer agreed to pay her wages through

Protesters outside Queen City Grill.

Labor & Industries, and Arciniega received a check a few weeks later. But, she says, the delay in payment meant she couldn’t pay her rent, and she and her 11-year-old daughter lost their apartment as a result. According to Schmidt, the police closed the case because it would have been difficult to prove the pizza-shop owner had intended not to pay her. A second provision of Seattle’s wage-theft ordinance has had even less impact. The ordinance permits the city to revoke the business license of an employer with an unpaid-wage violation issued by a court or by Labor & Industries. But in Seattle, business licenses are used mostly to track businesses and collect taxes, not to regulate them. The city has little incentive to revoke them. It would only do so in “extreme circumstances” and after working with the business to bring it into compliance, according to the Department of Finance and Administrative Services, which issues city business licenses. The department says in an e-mail that Labor & Industries has forwarded the names of 19 Seattle businesses with outstanding judgments. Fewer than half have current licenses, and the department has not taken any action against them. Seattle City Council member Nick Licata, who has called for a city office of labor-standards enforcement, admitted that neither provision of the wage-theft ordinance has been effective. What’s needed, he says, is a coordinated, proactive approach to enforcing all the city’s laborstandards legislation, including the minimumwage, wage-theft, and paid-sick-time ordinances.

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ment plan when the department contacts them, as in Maria Arciniega’s case. In those cases the average worker gets nearly 90 percent of what is owed. But in about 16 percent of all cases it receives, Labor & Industries must issue a formal citation to the employer. If the employer still refuses to pay, the complaint is closed and sent to a separate collections department, which has the equivalent of fewer than two full-time employees overseeing a caseload that perpetually runs into the hundreds. Asked for its collections success rate, the department reported that over the past two years it has recovered about 40 percent of amounts owed in cases sent to collections. The department was unable to say how long it ultimately takes to get workers paid.

Worker advocates, as well as state and city agencies, are exploring ways to better make workers whole. At the state level, Labor & Industries is looking for a way to again launch systematic For many Washington workers hoping to investigations targeting industries in which recover a few thousand dollars or less in wages, abuses are rampant. often their best alternative is to file a complaint In Seattle, councilmember Licata says he’ll with the state Department of Labor & Induspropose funding an office of labor-standards tries. But justice here is usually neither swift enforcement in the next budget. “It’s absolutely nor certain. critical that we have sufficient staff to do ongoUnder the Wage Payment Act, the departing audits of businesses,” ment is required to says. investigate every “Even if you can get some he Licata says he expects complaint it receives within 60 days. Last kind of official judgment . . . that such an office, modeled after San Francisco’s, year it met that target in 60 percent of cases, do you get your money back would contract with organizaaccording to Invesor not? And the answer is, a community tions to educate both tigateWest’s analysis employers and employof closed complaints lot of times not.” ees, particularly among from 2009 to March immigrant and non-English-speaking groups. 2014 obtained from the state by Columbia A labor-standards advisory committee, with Legal Services. Labor & Industries has a staff representatives from business, labor, and city of only 16 investigators to pursue up to 4,000 departments, is developing recommendacases per year. tions for enforcing the minimum-wage and Advocates credit the department with wage-theft ordinances and other city labor reducing backlogs and speeding investigations laws. Business representatives on the commitgreatly since the early years of the law. On tee declined to discuss their perspective until average, cases resolved in 2013 were open for the group shares its recommendations with 65 days—about half the time it took in 2009. the mayor and City Council sometime around But many cases can take much longer—for Labor Day. example, if either party appeals the decision. Not everyone is convinced the city will be Last year nearly a quarter of investigations were up to the task of enforcing the $15 minimum open for 90 days or more. wage. Labor attorneys point out that the ordiFor workers living paycheck to paycheck, a nance does not explicitly include the right for delay of weeks or months can be catastrophic. workers to sue employers in court. That places Never getting paid at all is worse. a huge burden on the city, says Mark, the labor Columbia Legal’s Schmitt has worked closely attorney. “If it’s left just to agency enforcement, with Labor & Industries for years to improve that’s a problem, because no agency ever has its enforcement and tracking under the Wage enough resources to enforce these laws,” he Payment Act. Her biggest concern is that the says. To address the dearth of attorneys willing department still lacks resources for adequate to take individual or small-group cases, this fall enforcement and collections. “And collection of he will launch the Washington Wage Claim wages is the big punch line at the end of all of Project, a nonprofit to represent low-wage this,” Schmitt says. “Even if you can get some workers and train more attorneys. kind of official judgment that you’re owed wages, Strengthening state law is also a priority for do you get your money back or not? And the labor advocates. In Washington, workers curanswer is, a lot of times not.” InvestigateWest’s analysis of state data found rently have little recourse if an employer retaliates that over the past five years, Labor & Industries against complaints about labor-law violations. In a recent example, a Seattle Police investigation recovered more than $11.6 million, about 56 into labor violations by contractor Dathan Wilpercent of what it determined employers owed. liams uncovered a pattern of threatening workers (And even some of that, interest and penalties, and reporting them to immigration authorities, went to the state, not workers.) That leaves according to King County Superior Court chargnearly $9 million in outstanding debt to about ing documents. In fact, two witnesses in the case 3,000 workers. were deported, charging documents state. Some cases go more smoothly than others. The National Employment Law Project says Often employers pay the wages or set up a pay-

it and other organizations will push to reintroduce an anti-retaliation bill as part of a package of wage-theft legislation that passed the state House last session. In Seattle, the minimumwage legislation already spells out retaliation as a violation of the ordinance, though advocates say the penalties need to be stronger. Jaime Alvarez Garcia still hopes that he’ll be able to get justice. This summer he came to a meeting of Casa Latina’s Workers Defense Committee, where workers share their stories and get help from staff, volunteers, and other workers in the same situation. Wearing jeans and construction boots, Alvarez Garcia, 50, explained calmly in Spanish that he and his son had worked on several bathroom remodels for a local contractor. He didn’t have anything in writing, just a verbal agreement about how much he would be paid for each task. At first he was paid, but after the last job, he says, the contractor kept putting off paying him the final $1,800. His son sent dozens of text messages, at first imploring, “I need the money, I’ve been waiting a long time.” Later they threatened to take legal action. He says the contractor stopped responding. Casa Latina’s Barragán Talancón drew a house on the whiteboard and explained how placing a lien on the building might help Alvarez Garcia get paid. In this way, he is fortunate. Only construction and agricultural workers can generally take advantage of liens in Washington. The state lacks a general lien law that applies to all workers—something that advocates say they want to fix.

Alvarez Garcia says it’s sad that these things happen to honest workers, but he has hope. “I know that there are laws and rights for workers in these cases,” he says through a translator. “Even if some of us don’t have papers, it’s not a system that’s all stacked up against us.” Let’s see if he gets his dough. E

news@seattleweekly.com

InvestigateWest is a nonprofit news organization based in Seattle that covers the Pacific Northwest. Please see invw.org. If you have been a victim of wage theft or know someone who has, please contact InvestigateWest at 206-441-4288 or staff@invw.org. For assistance with a wage-theft complaint, contact: Casa Latina’s wage-theft hotline: 206-745-2045 Washington Department of Labor and Industries Employment Standards: 866-219-7321. Or file a complaint online at https://secure.lni. wa.gov/wagecomplaint/# Seattle Police Department’s non-emergency number: 206-625-5011. Or report online for cases less than $500: seattle.gov/police/report/default.htm

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Her voice and songwriting chops are top-notch, so it’s only a matter of time before Shelby Earl finds herself with a career like that of Damien Jurado, who produced her latest LP, Swift Arrows. End Zone Stage, Sat., 5:15 p.m. DL

Combining a rough upbringing with hipster style and crazy flow, Danny Brown has wowed hip-hop and nonhip-hop fans alike. His 2013 album, Old, received rave reviews from critics and fans. Fisher Green Stage, Sat., 4:30 p.m. TERRENCE HILL

I’ve seen Foster the People multiple times in the past two years and I’ve never been disappointed. Its music is distinct, catchy, and enjoyable if you don’t listen too close to the words (wtf, “Pumped Up Kids”?). And who wouldn’t want to see Marc Foster moonwalk across the stage while crooning “I Would Do Anything for You?” Mainstage, Mon., 9:15 p.m. REUT ODINAK

In an alternate universe, the members of La Luz have adopted me from the pound. I wear a collar and do silly tricks that make them giggle. In return I get to sit on their laps and sniff their butts. La Luz, I wanna be your dog. Fountain Lawn Stage, Mon., 12:30 p.m. PETER MULLER

Despite lineup changes and a hiatus from performances, Campfire OK has remained one of Seattle’s most enduring and popular bands, with catchy lyrics and upbeat melodies you just can’t seem to get out of your head. Fountain Lawn Stage, Mon., 2 p.m. MORGEN SCHULER Cataldo, aka Eric Anderson, has stepped up his game with a big-

Jessica Hernandez & the Deltas is bringing Motown to Bumbershoot. Marrying ZZ Ward’s flair to Tina Turner’s fire and charisma, Hernandez’s rocking, justreleased full-length debut, Secret

Every song from Neon Trees is like a sugar rush without the crash. Shiny dance-rock tunes like “Animal,” “Everybody Talks,” and “Sleeping With a Friend” are so fun and catchy, you can’t help but dance. Fisher Green Stage, Mon., 8 p.m. RO Channy Leaneagh’s haunting vocals soar over Poliça’s hip-hop-infused electronica in rhythmic, synth-pop

For more than 30 years, subversive culture jammers Negativland have charmed your trademarked socks off your copyrighted feet with witty, sample-heavy beats and satirical jams. Its live shows are always weird and memorable; therefore, you will go see them and love them. Pavilion Stage, Sun., 5:15 p.m. MATT SILVIE Pickwick’s wide-ranging influences, from soul to funk to pop, have allowed the band to share a stage with indie-rock stalwarts and the Seattle Symphony alike. Fisher Green Stage, Sun., 8:15 p.m. DL Polyrhythmics invokes the spirit of Cajun party gods, with undertones of spaghetti Westerns, Latin jazz, and Afro-beat. Prepare to dance. Fisher Green Stage, Sun., 11:45 a.m. BRENNAN MORING Portland’s hard-rocking juggernauts Red Fang keep getting bigger, and for good reason. The band’s third record, Whales and Leeches, is chockfull of all the heavy goods. Fountain Lawn Stage, Sun., 3:45 p.m. JAMES BALLINGER

Sometimes I think Jonathan Richman is Serge Gainsbourg’s long-lost twin. Both are equally irreverent, and the thought of Richman telling a dirty story about Brigitte Bardot and a champagne bottle seems well within the realm of possibility. Though he’s more likely to sing you a song about horses, lesbian bars, or drummers, of course. Starbucks Stage, Mon., 8 p.m. GE After a successful European tour promoting their new EP, In the Light, Sub Pop’s psychedelic septet Rose Windows returns to Seattle for their first-ever performance at the fest. Their music transcends genres. And they get fucking heavy. Fountain Lawn Stage, Mon., 3:30 p.m. BM Local Seattle trio Sandrider can’t be stopped. Full of melodic, heavy riffs and one of this town’s best rhythm sections, Sandrider will pummel you in the best way possible. Fountain Lawn Stage, Sun., 2 p.m. JB Soulstress Shaprece and ambient beat master IG88 are pushing out some of the most forward-thinking music in Seattle. Their most recent EP, Motlen, is rich with smoky vocals, layered synth ambience, and tantalizing beats. End Zone Stage, Mon., 3:45 p.m. CCL At 75, R&B and gospel legend Mavis Staples had her highestcharting album ever with One True Vine, her second collaboration with Wilco’s Jeff Tweedy, which mixes new material with covers of Low, Funkadelic, and more. Starbucks Stage, Sat., 10 p.m. DL Mixing big, slow beats with a gauzy chillwave sound, SZA and her smooth, soulful voice will seduce you. Fountain Lawn Stage, Sat., 2 p.m. AE Listening to the smooth crooning, lush ballads, and powerful ’80s rock beats on Twin Shadows’ sophomore album, Confess, puts me in the mood to throw on my acid-washed Guess jeans and dance like I’m in a John Hughes flick. Fountain Lawn Stage, Mon., 5:15 p.m. ERIN MCCUTCHEON Malaysian-born singer/songwriter Yuna is sweet and graceful onstage with a voice to match, and freshens her distinctly pop sound with elements of R&B and soul. Starbucks Stage, Sat., 8:15 p.m. MS

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

‘THE BOTH’ BY CHRISTIAN LANTRY, ‘ELVIS COSTELLO’ BY MORGEN SCHULER, COURTESY KEXP, ‘VALERIE JUNE’ COURTESY BUMBERSHOOT, ‘POLICA’ BY MORGEN SCHULER, COURTESY KEXP

aking a tip from Bumbershoot’s Words & Ideas program, for this year’s 44th annual end-ofsummer bash we ask, Why Bumbershoot? Why Crushes? Why Now? Well, the answer is simple. From ISIS to Ferguson, it’s been a miserable month for news, and what we all need right now is a round of heartwarming vibes and a soundtrack to go with it. No better time to turn to our enduring love of bands and artists, from the Replacements to Wu-Tang, to remember what life’s all about. Speaking of those Staten Island rappers, when it comes to creativity, Wu-Tang’s brand of magical realism beats out the tired headlines any day (page 25). Bummed about rampant social injustice? Read how the ladies of Luscious Jackson are continuing the hard work of gone-too-soon rapper Adam “MCA” Yauch (page 20). Ready to indulge in some old-fashioned rock nostalgia? You’re in good company with the Seattle bands who remember the Replacements fondly (page 26). And don’t miss all the warm fuzzies we have for indie music’s unlikely sweetheart, Mac DeMarco (page 19). Whenever the news gets you down, take heart in the lyrics of your favorite singer or band and remember the creative spirit of artists who work to build things up. These are the people and ideas that love you back—and they’re the ones we’ll be crushing out on this weekend.

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BIG MAC

Seattle Weekly staffers mack on Mac Demarco.

BY SW STAFF

Mac DeMarco is the real deal. On his second full-length record, Salad Days, the onetime Montreal-based singer/songwriter emits a toxic vapor of addicting warbles, slicked-up melodies, and hooks you can’t shake. The result is reminiscent of the softer side of Ween, if only brothers Gene and Dean had hooked up with Pavement in its prime. His unpredictable live set shouldn’t be missed. JAMES BALLINGER Mac DeMarco’s three jangled bedroom recordings are the millennials’ answer to glam rock. There’s a certain Marc Bolan quality to his lazily quipped lyrics, and behind his clownish persona lies not only a superior songwriter, but a spotlight-hogging superstar with talent to burn. He’s got the easy charisma of the class clown— which helped get him on the radar in the digital era—but it’s only a matter of time before he shaves the five-o’clock shadow and ditches the fart jokes for a promising, highly styled career that someday might resemble that of his onetime touring mates Phoenix. GWENDOLYN ELLIOTT

With his goofy, gap-toothed grin and shameless wild behavior (cue MTV’s Weird Vibes interview series), Mac DeMarco has become a genuine artist who is unapologetically himself. On top of his grimy charisma, his music will sweep you away into personal nostalgia, especially on Salad Days, his most honest album yet. See him for yourself and fall in love. ANNA ERICKSON

Mac DeMarco is an eccentric Canadian indie mastermind whose songwriting skills are rivaled only by his one-of-a-kind personality. He’s the kind of guy who lives like a bum because he doesn’t care about wealth or the material world beyond his massive collection of guitars, drums, and analog recording equipment. He’s got the chain-smoking voice of an angel, and he’s here to serenade you. BRENDAN MORING Mac DeMarco is a Canadian alley rat who probably smells like dumpster piss and stale cigarettes, but that doesn’t change a thing. Mac DeMarco, we can still be friends with benefits. Your stoney DIY music is awesomely full of zero shits to give, and I love you. PETER MULLER A friend of mine once very aptly described Mac DeMarco as “Jack Johnson for hip kids,” and he didn’t really mean it in a bad way. Slip on “Brother” and honestly tell me you don’t feel infinitely more chillaxed and optimistic about being a human. Mac = peace. KELTON SEARS E

music@seattleweekly.com

MAC DEMARCO Fountain Lawn Stage, Sat., 5:15 p.m.

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

s we began to map out this year’s Bumbershoot coverage, one act kept coming up: Mac DeMarco, a Canadian songwriter who’s been on the scene only a scant two years (though scoring an 8.5 on Pitchfork for this year’s excellent Salad Days and maintaining a ubiquitous presence on the festival circuit really helps to light a fire and inspire the ensuing torchbearing). Whether it’s his boy-next-door mystique or his series of lo-fi slacker anthems, SW pundits pour on the love. Geez, get a room, guys.

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DAUGHTERS OF CONFIDENCE

Always supported by Grand Royal, Luscious Jackson— now all moms—picks up where the Beasties left off.

BY GWENDOLYN ELLIOTT

ith ’90s nostalgia at an all-time high, the return of Luscious Jackson is aptly timed. Who better to rock the Bumbershoot masses—inevitably clad in acid-washed jean shorts and midriff-revealing tees—than the alt-rock ladies who brought similar crowds to their feet exactly 20 years ago at Lollapalooza? The group’s re-emergence after more than a decade—it disbanded after the release of its third full-length, Electric Honey, in 1999—comes at an interesting point in the rock world. Here is a band that (in a track like “CitySong,” in which the all-female group catcalls a NYC bike messenger) jumbled perceptions of what an alt-’90s female band could do—even though today, acts like Iggy Azalea and Beyoncé are playfully flirting with masculine tropes in their music. For one thing, its drummer, Kate Schellenbach—the original drummer in the Beastie Boys—helped connect the band with the Beasties’ Grand Royal imprint, which would release all its records until it broke up. For another, with its groove-laden urban soul, the group laid claim to a subgenre of alternative music not yet occupied by other alt-’90s girl groups. Bands like the Breeders took up the esoteric side of alternative, channeling the quasi-punk of its parent group the Pixies; Sleater-Kinney was in-your-face and fiercely Riot Grrl; but Luscious Jackson was a band of cool girls with a carefree lyrical style and a gritty attitude who projected effortless confidence. “We thought we invented something with a song like ‘Daughters of the Kaos,’ ” says frontwoman Jill Cunniff of the track from the band’s breakthrough 1992 EP In Search of Manny. “Kaos” is the essential Luscious Jackson anthem: a hard-driving, Spanish guitar–looped track that sounds like a Beasties B-side. Now a mother of two living in Brooklyn, Cunniff says her band’s sound is still different than a lot of music out now. “That’s the main goal,” she says. “From the beginning, we wanted to make [the new music]

modern but not lose our sound.” Reconnected after collaborating on a children’s album (Baby DJ), the members—Cunniff, Schellenbach, and Gabby Glaser, (with keyboardist Vivian Trimble sitting the reunion out)—decided to finish some uncompleted Luscious Jackson songs. “When [the kid’s album] was finished, we were like, ‘Let’s do this,’ ” Cunniff says. The band then cut its fourth full length, 2013’s Magic Hour, through a huge crowdsourcing effort, and Cunniff recorded and produced it at her home studio in Brooklyn. A party jam with bright harmonies and heavy, syncopated beats seemingly lifted from an Ill Communication–era playlist, “So Rock On”—coproduced with the Beasties’ Adam Horovitz— channels the burning energy of early Luscious Jackson. Another track brings Magic Hour into the sobering present: “We Go Back” remembers Adam “MCA” Yauch, the much-loved Beastie Boys rapper. Cunniff starts it with the words “We grew up together/Lightened up together/ Running down dark streets deep in the past/We never asked will it last.” “That was written when he died,” she says. “We knew him since we were teens. It was a very emotional period, when an artist takes up that much space for that many decades. It was a huge loss to anyone who grew up with the Beastie Boys, especially because those guys won’t be making any more music.” Luscious Jackson, it seems, will be taking up that task, with experience to spare for young women looking to start their own bands. “Just be true to what you are,” Cunniff says. “How do you want to present yourself? The sexualization aspect, that’s up for grabs. Be true to what you are, and don’t judge each other. It’s about what you’re comfortable with, and if you’re your own artist, you only have to please yourself.” E gelliott@seattleweekly.com

LUSCIOUS JACKSON Fisher Green Stage, Sun., 4:45 p.m.

SATURDAY AUGUST 30, 2014 MAINSTAGE

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COMEDY AT THE BAGLEY

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11:45 – 12:30 FLY MOON ROYALTY

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1:45 – 2:30 YOUNGBLOOD HAWKE

2:00 2:30 3:00 3:30

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3:30 – 4:30

4:45 – 5:45

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SHELBY EARL

6:00 6:30 7:00

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DONNIE & JOE EMERSON

DANNY BROWN 5:15 – 6:15

MAC DEMARCO

6:30 – 7:30

ELVIS COSTELLO

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2:15 – 3:15 NW COMEDY FEST’S CANADIANS OF COMEDY

12:00 – 1:00 WHY BEARDS? WHY TWERKING? WHY NOW?

1:00 – 2:00 FACE THE MUSIC 1:45 – 2:45 LITERARY DEATH MATCH

3:30 – 4:30

4:00 – 5:00

TOWN HALL ARTS & CULTURE

5:45 – 6:45

BLACK WEIRDO

7:30 – 8:30

7:00 – 8:00 SMRT TALK WITH THE WRITERS OF THE SIMPSONS

THE COMEDY WOMB

5:15– 6:15

6:15 – 7:15 MICHELLE BUTEAU W. KAMAU BELL

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LAUGHS COMEDY SPOT

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2:00 – 3:00 ALLIGATORS & DEBUTANTES

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3:30 – 4:30 I CAN HEAR YOU... BUT I’M NOT LISTENING

3:30 – 4:30 BEST OF SIFF: JURY AWARD WINNERS 4:30 – 5:30 BEST OF SIFF: AUDIENCE AWARD WINNERS 5:30 – 6:30 TALES OF SCIENCE FICTION

5:15– 6:15 THE DEATH OF BRIAN: A ZOMBIE ODYSSEY 6:45 – 7:45 FUSSY CLOUD PUPPET SAM

7:00 – 8:00 TALES OF THE PLANET 8:00 – 9:30

FILMS4ADULTS

ALL DAY LONG Be sure to take a stroll through the Visual Arts exhibits in the Fisher Pavilion and Fountain Lawn Pavilion. Plus don’t miss the 21 and under programming at the Vera Project and the Youngershoot Kids Zone in Alki Court for kids 10 and under.

DIG-DUG

10:30 – 12:00

HOOK N SLING

SCHEDULE POWERED BY

4:30 – 5:30

CARMEN LYNCH PETE HOLMES

7:00 – 7:45

BGEEZY

9:00 – 10:00

2:45 – 3:45 MATT BRAUNGER SPECIAL GUEST

ISKA DHAAF

7:45 – 8:30

WALK THE MOON

11:00 11:30

YUNA

4:45 – 5:45 PAUL F. TOMPKINS’ DEAD AUTHORS PODCAST

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8:00 – 9:00

THE BOTH

RA SCION

9:30 10:00

POLICA

7:45 – 8:15

8:30

5:30 – 6:15

G-EAZY

7:00 – 8:00

2:30 – 4:00 STARTALK LIVE WITH BILL NYE THE SCIENCE GUY & EUGENE MIRMAN

4:15 – 5:00

6:15 – 7:15

7:30 8:00

CUMULUS

TOMO NAKAYAMA

4:30 – 5:30

1:00 – 2:00 RORY SCOVEL JANEANE GAROFALO

1:45 – 2:30

3:00 – 3:45

THE LONELY FOREST

CATALDO

5:30

DUDE YORK

2:45 – 3:45

4:15 – 4:45

5:00

2:00 – 2:45

BIG FREEDIA

4:00 4:30

MODERN KIN

SZA

3:00 – 4:00

PANIC! AT THE DISCO

OTIENO TERRY SAM LACHOW

12:30 – 1:30

12:30 – 1:15

KEY

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WORDS &IDEAS

FILM

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ZEDS DEAD•DANNY BROWN•THE AIRBORNE TOXIC EVENT • THE NEW PORNOGRAPHERS•DRAGONETTE•RUSKO•HILLTOP HOODS AIRBOURNE • HALF MOON RUN • DEL THE FUNKY HOMOSAPIEN•DUM DUM GIRLS • LATYRX • THE SKATALITES PICKWICK • WE ARE SCIENTISTS • BORN RUFFIANS•LE BUTCHERETTES • KOOL KEITH • TIGER AND WOODS PAPER DIAMOND • ADAM COHEN•JON AND ROY • THE BEATNUTS • RICH AUCOIN • ZION I ADDISON GROOVE • ASTRAL SWANS • AVALON EMERSON • THE BALLANTYNES • BNW (BLONDTRON & WASPY)•BUM • CHOIR CHOIR CHOIR • DEAR ROUGE• DRALMS THE GLORIOUS SONS • GOOD FOR GRAPES • GRAZE • HEAD OF THE HERD • HORSE FEATHERS • HRDVSION • HUMANS (DJ SET) • IVAN & ALYOSHA • JPNSGRLS • KALLE MATTSON KANDLE & THE KROOKS • KEYS N KRATES • KYTAMI • LOWELL • LIGHTNING DUST • LIINKS • MANCUB • MARK MILLS • MAX ULIS • MIAMI NIGHTS 1984 • MICHAEL RED MINDIL BEACH • MONOLITHIUM • MOZART’S SISTER • NEON STEVE • THE NUMERO GROUP • OLD MAN CANYON • OLIVER SWAIN'S BIG MACHINE • PAPER LIONS • POIRIER PS I LOVE YOU • RATKING • RISING APPALACHIA • RENNIE FOSTER • REUBEN AND THE DARK • ROCOCODE • THE ROPER SHOW • SABOTA • SIMS (OF DOOMTREE) SINGLE MOTHERS • SONREAL • TESSELA • THE VALUABLES • VASKI • WAX ROMEO • WE HUNT BUFFALO • ZERBIN • ZEUS 222 • ACAB ROCKY • ANNIE BECKER • DJ APPLECAT • BATTERY POACHER • BOCCE AVOCADO • BODIES • CHERSEA • CHET • THE CHOIR • CLOSE THE BOMBAY DOORS • COCAHALA • COOL • COWARDS COYOTE • DAMN FOOLS • DAVENPORT • DAVID VERTESI • DEAD AIR • DEAD SOFT • DERRIVAL • DEVON COYOTE • ELECTRIC OAK • ELLICE BLACKOUT • EMPLICIT • EN NOIR & NATRON • EXAM FALL FAIR CAR • FOX GLOVE • THE FRANKLIN ELECTRIC • GI BLUNT • GROSSBUSTER • HASHMAN DEEJAY • HI-Q SOUNDSYSTEM • HUNTING • ISOBEL TRIGGER • JACKIE TRASH • JACQUES PORVEAU JASPER SLOAN YIP • JODY GLENHAM • KATE KURDYAK • LAGGARDS • LETR B • LITTLE INDIA • LITTLE WILD • LOLA PARKS • LUCA FOGALE • MANIAC • MF JONES • MINTO • NAPALMPOM • NEEDS THE NEW GROOVEMENT • NOAH EDWARDS • PAPERBOY & THE MESSENGERS • PAX • DJ PRIMITIVE • PUNKERSLUT • RALEIGH • RIIIVR • ROSIE JUNE • RUBY KARINTO • SAM WEBER • SHAPRECE SHAWN MRAZEK LIVES! • THE SHILOHS • SIDNEY YORK • SINESTHETIX • SKYE WALLACE • SMASH BOOM POW • SPEED CONTROL • DJ STALLION • TAAL MALA • THIEVES • DJ TIM HORNER • TRANSIENT DJ TREVER • TWIN BANDIT • VICTORIA HIGH R&B BAND • VISIONIST • THE WILD ROMANTICS • WILLHORSE • WIMPS • WINDMILLS • WINTERMITTS • DJ WOOD INTRODUCING LAFFLANDIA! FEATURING: ROB PUE • MIKE DELAMONT • IVAN DECKER • MYLES ANDERSON • DARCY COLLINS •SHAWN O'HARA

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SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

DEATH CAB FOR CUTIE•GIRL TALK•SERENA RYDER

SUNDAY AUGUST 31, 2014 MAINSTAGE

FISHER GREEN STAGE

C-89.5 FM

COMEDY AT THE BAGLEY

COMEDY AT THE PLAYHOUSE

COMEDY AT THE LEO K.

FOUNTAIN LAWN

SEATTLE CENTER PAVILION

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11:30

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1:30 2:00

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HOBOSEXUAL 1:15 – 2:00 WE ARE SCIENTISTS

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CHARLIE MUSSELWHITE

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4:00

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RED FANG D 4:30 – 5:30

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THE DREAM SYNDICATE

5:00 – 5:45

KINS

5:30

7:00

6:00– 7:15

SCHOOLYARD HEROES

6:15 – 7:15

THE REPLACEMENTS

7:30

GREGORY ALAN ISAKOV

8:30

8:30 – 9:15

SAN FERMIN

9:00

10:30

MISSION OF BURMA 8:00 – 9:15

BIG STAR’S THIRD

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THE HEAD AND THE HEART

10:00 – 11:15

LOS LOBOS

12:00

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BOOTSY COLLINS

8:00 – 9:00 PAUL F. TOMPKINS’ DEAD AUTHORS PODCAST

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9:30 – 10:30

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SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

5:15– 6:15 TOM ROBBINS WRECK OF THE OMNIBUS

7:00 – 8:00 THE MOTH

ALL CAPS COMEDY

1:00 – 2:00 DANCE, DANCE, DANCE 2:00 – 3:00 THE DEATH OF BRIAN: A ZOMBIE ODYSSEY

3:30 – 4:30

LANCE LIFE

5:15– 6:15

BLOOD SQUAD

6:45 – 7:45

FAMILY AFFAIR

2:00 – 3:00 LOVE...IN THE AFTERNOON

3:30 – 4:30 BEST OF SIFF: JURY AWARD WINNERS 4:30 – 5:30 BEST OF SIFF: AUDIENCE AWARD WINNERS 5:30 – 6:30 SIFF FLY FILMS 2014

7:00 – 8:00 BEST OF THE NORTHWEST 8:00 – 9:30

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FIRST CLASS 10:30 – 12:00

SAVANT

MUSIC COMEDY

WORDS &IDEAS

FILM

JAZZ

THEATRE

SPECTACLES

EDM

Brand New Apartments in Lower Queen Anne

JAZZ ALLEY IS A SUPPER CLUB

TOWN HALL CIVICS

12:00 – 1:00 FILMS4FAMILIES

OUT & IN

7:30 – 8:30

AARON SIMPSON 8:45 – 9:30

6:15 – 7:15 CARMEN LYNCH RORY SCOVEL PETE HOLMES

1:45 – 2:45 THE FAILURE VARIETY SHOW

3:30 – 4:30

MATT BRAUNGER SPECIAL GUEST

6:30 – 7:30 THE IMPROVISED SHAKESPEARE COMPANY

8:00 – 8:45

9:00 – 10:00 THE DISMEMBERMENT PLAN

2:15 – 3:15 PUNCHLINE COMEDY

5:45 – 6:45

HIGH DROPS

SCHEDULE POWERED BY

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

4:45 – 5:45 DOUG LOVES MOVIES

7:00 – 8:00

8:15 – 9:15

9:30 – 10:45

11:00 11:30

USC EVENTS PRESENTS

7:15 – 8:15

9:30 10:00

5:15 – 6:15

COMEDY MYSTERY MUTANTS

12:00 – 1:00 WHY BRONIES? WHY JUGGALOS? WHY NOW?

4:00 – 5:00 4:30 – 5:30

NEGATIVLAND

IAMSU!

FALLS

2:45 – 3:45 JANEANE GAROFALO W. KAMAU BELL MICHELLE BUTEAU

YOUNG KARIN

6:30 – 7:30

7:30 – 8:00

8:00

5:30 – 6:30

2:30 – 4:00 STARTALK LIVE WITH BILL NYE THE SCIENCE GUY & EUGENE MIRMAN

4:00 – 4:45

4:45 – 5:45

LUSCIOUS JACKSON

6:00 6:30

2:45 – 3:30

KISHI BASHI

CRAFT SPELLS

4:30

ICELAND AIRWAVES PRESENTS

HERMIGERVILL

3:00 – 4:00

4:00 – 4:30

1:00 – 2:00 BETH STELLING TED ALEXANDRO

1:30 – 2:15 GOLDEN GARDENS 2:00 – 3:00

ILLFIGHTYOU

2:30 3:00

1:00 – 2:00

THE 44’S WITH KID RAMOS

12:30 – 1:30

KEY

NOON

VISIT ONUGR LEASI R CENTE ! TODAY

[actual view from Jax] HALIE LOREN 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

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!

RACHELLE FERRELL THURS, SEPT 4 - SUN, SEPT 7

Contemporary jazz and urban pop/gospel singer & pianist

ERIC BIBB AND RAUL MIDON - DOUBLE BILL

TUES, SEPT 9 - WED, SEPT 10

Acoustic blues and multi-award winning singer/ songwriter Eric Bibb with Michael Jorome Browne & Raul Midon - solor for two nights!

all ages | free parking full schedule at jazzalley.com

MODERN

LIVING

Generously sized studio, one (+ den) and two bedrooms • Live/work lofts • Quartz slab countertops & stainless steel appliances • Controlled access entry • Rooftop plaza with spectacular city & water views, grilling and al fresco eating areas • 24-hour fitness center • Pet friendly • Prime, Lower Queen Anne location • Five minutes to downtown and I-5 500 3rd Avenue West | Seattle, WA 98119 (Corner of 3rd and Republican) Open Mon-Fri 9AM-7PM, Sat-Sun 9AM-6PM

jaxseattle.com

Another Continental Properties LLC Community

844.264.8754 | Jax016@myLTSMail.com

MONDAY SEPTEMBER 1, 2014 MAINSTAGE

FISHER GREEN STAGE

C-89.5 FM

COMEDY AT THE BAGLEY

COMEDY AT THE PLAYHOUSE

COMEDY AT THE LEO K.

SEATTLE CENTER PAVILION

BAGLEY WRIGHT THEATRE

THE PLAYHOUSE

LEO K. THEATRE

PRESENTED BY PLAN INTERNATIONAL USA KEXP | SEATTLE MAGAZINE

FOUNTAIN LAWN STAGE

PAVILION STAGE

KEXP | SEATTLE MAGAZINE

MURAL AMPHITHEATRE

FISHER GREEN

FOUNTAIN LAWN

11:45 – 12:30 MASSY FERGUSON

11:45 – 12:30 KORE IONZ

Q13 FOX / JOEtv

END ZONE STAGE

STARBUCKS STAGE

MEMORIAL STADIUM

SEATTLEPI.COM

WORDS & IDEAS STAGE

PRESENTED BY THE SEATTLE PUBLIC LIBRARY

THEATRE PUGET SOUND STAGE

CHARLOTTE MARTIN THEATRE

CENTER THEATRE AT THE ARMORY

KUOW 94.9FM | SEATTLE TIMES

1 REEL FILM FESTIVAL

PRESENTED BY UW PROFESSIONAL & CONT. ED. KUOW 94.9 FM

SIFF FILM CENTER

11:30 NOON 12:30

12:30 – 1:00 GOLD & YOUTH

1:00 1:30

1:30 – 2:15

BAD THINGS

2:00

12:30 – 1:15 1:00 – 2:00

CURRENT SWELL

2:30 – 3:30

CAPITAL CITIES 3:45 – 4:15

4:00

2:45 – 3:45 JESSICA HERNANDEZ AND THE DELTAS

5:30

5:45 – 7:00

HURRAY FOR THE RIFF RAFF

4:15 – 5:00

CHRIS BROKAW 5:15 – 6:15

5:30 – 6:30

BOMBA ESTERÉO 7:00 – 8:00

8:15 – 9:00

JACCO GARDNER

9:00

NADA SURF 8:00 – 9:00

JONATHAN RICHMAN

9:45 – 11:00

THE REVEREND HORTON HEAT

10:30

2:45 – 3:45

3:00 – 4:00 YOU MADE IT WEIRD WITH PETE HOLMES

4:45 – 6:45 PAUL F. TOMPKINS’ DEAD AUTHORS PODCAST

CARMEN LYNCH TED ALEXANDRO

4:30 – 5:30 BETH STELLING RORY SCOVEL JANEANE GAROFALO

SEATTLE PEOPLE DOING SKETCH

6:30 – 7:30 THE IMPROVISED SHAKESPEARE COMPANY

6:15 – 7:15 BETH STELLING TED ALEXANDRO

COMEDY ON TRIAL

7:30 – 8:30

7:00 – 8:00

AUDIOH

8:00 – 9:00

MATT BRAUNGER MYSTERY GUEST

GRAVITY LIFT

12:00 – 1:00 WHY CATS? WHY BULLYING? WHY NOW?

THE DOPPELGANGER SHOW

12:00 – 1:00 FILMS4FAMILIES 1:00 – 2:00 MAKE ME LAUGH

1:45 – 2:45 BATTLE OF THE WORD

3:30 – 4:30

4:00 – 5:00 WINE SHOTS: COMEDY’S HAPPIEST HOUR

5:45 – 6:45

TOWN HALL SCIENCE

5:15– 6:15 NEEDLE PARTY!!! WITH KEN JENNINGS AND GEORGE MEYER

7:00 – 8:00 TU STULTUS ES: THE ONION EXPLAINS WHY YOU ARE STUPID

2:00 – 3:00 ALLIGATORS & DEBUTANTES

2:00 – 3:00 THE MEMPHIS SOUND

3:30 – 4:30

3:30 – 4:30 BEST OF SIFF: JURY AWARD WINNERS 4:30 – 5:30 BEST OF SIFF: AUDIENCE AWARD WINNERS 5:30 – 6:30 DOWN UNDER

LANCE LIFE

5:15– 6:15

FUSSY CLOUD PUPET SHOW

6:45 – 7:45

BLOOD SQUAD

7:00 – 8:00 SHOW ME THE WORLD 8:00 – 9:30

FILMS4ADULTS

8:45 – 9:30

JOHNNY MONSOON 9:30 – 11:00

10:00 – 11:00

AER

MYON & SHANE 54

KEY

11:00

2:15 – 3:15

8:00 – 8:45

9:00 – 10:00 REAL ESTATE

FOSTER THE PEOPLE

USC EVENTS PRESENTS

8:00 – 9:15

NEON TREES

9:15 – 10:30

1:00 – 2:00 MICHELLE BUTEAU W. KAMAU BELL

JULIANNA BARWICK

6:15 – 7:15

TANGERINE

8:30

12:00

4:30 – 5:30 MEXICAN INSTITUTE OF SOUND

7:15 – 7:45

8:00

11:30

4:30 – 5:30

VALERIE JUNE

6:15 – 7:15

J. COLE

7:30

10:00

3:30 – 4:30

TWIN SHADOW

7:00

9:30

DAKHABRAKHA ROSE WINDOWS

4:30

4:45 – 5:30 CHIMURENGA RENAISSANCE

3:00 – 3:45 OLD MAN LUEDECKE

2:45 – 3:45

SHAPRECE

5:00

6:30

1:45 – 2:30 SMOKEY BRIGHTS

CAMPFIRE OK

3:30

6:00

2:00 – 2:45

1:15 – 2:00 HOBA HOBA SPIRIT

2:30 3:00

LA LUZ

12:30 – 1:15 WESTERN HAUNTS

12:30 – 1:30 THE EARLY LATE SHOW WITH YOGI PALIWAL

SCHEDULE POWERED BY

MUSIC COMEDY

WORDS &IDEAS

FILM

JAZZ

THEATRE

SPECTACLES

EDM

El Corazon www.elcorazonseattle.com

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

THURSDAY, AUGUST 28TH

THE MAENSION

FRIDAY, AUGUST 29TH

SHE KEEPS BEES

with Shilpa Ray, Star Meets Sea, Vin Voleur, Hooves And Beak Lounge Show. Doors at 8:00PM / Show at 9 21+. $8 ADV / $10 DOS

FRIDAY, AUGUST 29TH

CAROUSEL KINGS with For The Win, Harvest States, Lost New

York (formerly Home Alone), Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, AUGUST 30TH

KISW (99.9 FM) Loud & Local, Just Bird Booking, JusticeRock Productions and Caught Alive! Media Present: Emerald City Rock Party II featuring: Showroom: Amber Pacific, Moneta, Straight*Line, Keeping Secrets, Reach For The Sky, Prestige, Fallstar, Never Met A Dead Man, Truth Under Attack, Until This Sunrise Lounge: We The Audience, The Home Team, The Common Names, Heiress, Witchburn, Zechariah Valette, From Heroes To Legends, The Wild, Groundfeeder, Forget Me Not Doors at 3PM / Show at 3 ALL AGES/BAR W/ID. $15 ADV / $20 DOS

CORROSION OF CONFORMITY

with Bl’ast!, Brant Bjork and the Low Desert Punk Band, Lord Dying, Ancient Warlocks Doors at 7PM / Show at 7:30, 21+. $18 ADV $20 DOS

MONDAY, SEPTEMBER 1ST

MC FRONTALOT with Dr. Awkward, Corn Mo, Spacecats, Area Of Defect Doors at 7PM / Show at 8 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, SEPTEMBER 1ST

PIÑATA PROTEST with Sledgeback, Monobosco, No Buffer

Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, SEPTEMBER 2ND

QUIET MORNING & THE CALAMITY with Mark Gilday Jr., Pico Blvd, Josaleigh Pollett Lounge Show. Doors at 8PM / Show at 8:30 21+. $6 ADV / $8 DOS

JUST ANNOUNCED 9/3 - DARK OZ 9/6 LOUNGE - THE HOT TODDIES 9/15 LOUNGE - ZUG IZLAND 9/26 - TOM MORELLO OF RAGE AGAINST THE MACHINE 10/16 - AB-SOUL 10/24 -

FOR ALL THOSE SLEEPING / CAPTURE THE CROWN 10/24 LOUNGE - AUSTIN LUCAS 11/13 - ALEXZ JOHNSON / JARED & THE MILL 11/22 - ISSUES 12/21 - MOONSHINE BANDITS UP & COMING 9/3 LOUNGE - KIERAN STRANGE 9/4 LOUNGE - EXOHXO 9/5 - POORSPORT (FINAL SHOW) 9/5 LOUNGE - ‘MISS ALTERNATIVE SEATTLE’ MODEL COMPETITION 9/6 - CROBOT 9/7 - SENSES FAIL 9/8 - PARADISE FEARS 9/9 - NOTHING MORE 9/10 LOUNGE - EVERYONE DIES IN UTAH 9/11 LOUNGE - SINGLE MOTHERS 9/12 - THE REAL MCKENZIES 9/13 - STORIES AWAY 9/14 - SCHOOL OF ROCK PRESENTS: METAL FEST 9/16 LOUNGE - THE LAST INTERNATIONALE 9/20 - LACUNA COIL 9/21 - YOU ME AT SIX 9/23 LOUNGE - INDIGO EYE 9/24 - PAIN OF SALVATION 9/25 - SONATA ARCTICA 9/26 LOUNGE - THE MAXIES 9/27 - TRAPT 9/28 - TWIZTID 9/29 - CROWBAR 9/29 LOUNGE - TOTAL SLACKER 9/30 - AMON AMARTH

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

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

with The Raven Black Project, La Fin Absolute Du Monde, The Massive, Odd Ones Out Lounge Show. Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SUNDAY, AUGUST 31ST KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:

SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

BUMBERSHOOT

COURTESY BUMBERSHOOT

WAY OF THE WU

20 years in, the Wu-Tang Clan still keeps it fresh.

BY JENNA NAND You/You’re All I Need to Get By,” his collaboration with Mary J. Blige, won a Grammy for Best Rap Performance by a Duo or a Group in 1996. His solo debut, Tical, wasn’t the only success story among the crew: Raekwon went for a harder sound with Only Built 4 Cuban Linx . . . ; GZA retained Wu-Tang’s innovation of sampling martial-arts films in Liquid Swords; and Ghostface Killah’s critically acclaimed Ironman delved into Hollywood’s blaxploitation era. The crew reunited in 1997 for Wu-Tang Forever, which again challenged the genre with “Triumph,” a stream-of-consciousness track with no chorus or bridge. Radio stations complained that the song was too long and had to be edited, but the Clan refused to shorten it, and the album still went quadruple platinum within six months. Ever pioneers of the genre, the Wu-Tang Clan set norms still followed: big crews with diverse personas, numerous collaborations, and multimillion-dollar clothing lines (Wu-Wear). While there have been a few tiffs in the past 20 years—mostly centered around RZA and the direction of the group—the crew has largely managed to avoid one of the less-inspiring hip-hop traditions: beefs. Most crew members reunited to promote A Better Tomorrow, a forthcoming album for their multi-decade fans. However, they again are breaking industry norms with a second “secret” album, Once Upon a Time in Shaolin, which will be available only for one very lucky (and rich) fan to win at auction. When the album is sold, that solitary fan will have the option either to release its tracks to the world or keep them all to him- or herself. As is the Wu-Tang Clan’s way, the group will make a lot of money doing something that has never before been done in the music industry. E

SEPTEMBER 11

TREY ANASTASIO

WITH THE SEATTLE SYMPHONY Scott Dunn, conductor Trey Anastasio is a founding member of the Grammy-nominated, genre-melding rock band Phish and has long incorporated classical elements in the band’s compositions as well as throughout his solo work. This innovative and exciting performance will feature orchestral versions of compositions written throughout Anastasio’s 30-year career.

FOR TICKETS:

music@seattleweekly.com WU-TANG CLAN Mainstage, Sat., 9:45 p.m.

2 0 6 . 2 1 5 . 4 7 4 7 | S E AT T L E SY M P H O N Y. O R G

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

ip-hop fans like me have been crushing on the Wu-Tang Clan for more than 20 years now, ever since we tried to impress our friends in school by reciting the names of all nine members. Recalling each one of the “Killa Beez,” a collective name attributed to the rappers, isn’t difficult, given their distinct personalities: from clear-spoken, pretty boy Method Man to the brassy, slurring Ol’ Dirty Bastard (may he rest in peace) to, of course, the group’s producer, RZA—who in 1993, when other hip-hop acts were battling to define the sound of New York City’s other boroughs, saw an opportunity to bring the thick, gritty Staten Island accent from obscurity to the forefront of East Coast rap. While lyrically tight and aurally hypnotic, what set apart the Wu-Tang Clan from its contemporaries in the early ’90s was its subtle risk-taking. Raekwon spit hard in “C.R.E.A.M. (Cash Rules Everything Around Me)” about growing up with a drug-using father, but he did so over a beautiful vintage piano from the 1960s made sinister with understated minor chords. The crew lifted eclectic lyrical influences from everything from their neighborhoods and upbringings to their love of Socrates, ballerinas, and Asian culture (they take their name—and sample dialogue in their debut album—from a 1980s kung-fu movie, Shaolin and Wu Tang). Their debut single, “Protect Ya Neck,” a harsh criticism of the music industry, led to their first big label release, Enter the Wu-Tang (36 Chambers). But even as they went mainstream, crew members fought to retain creative control over their careers, and each had the right to release solo albums with record labels of their choice—an unheard-of ask in the music industry at the time. And thank the hip-hop gods that they were able to branch out and grow as individual artists without having to part ways with the clan. Method Man, who had the most mainstream appeal, was the Clan’s first breakout star. “I’ll Be There for

10.25.2014

BUMBERSHOOT

the

Seattle Erotic Art Festival presents:

9pm - 2am Seattle Center Exhibition(ist!) Hall

SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

tickets on sale via strangertickets.com on 09-10-2014

Sexy performances! Seattle’s top DJs! Enticing costumes! Erotic art! and more Brought to you by the Foundation for Sex Positive Culture The producers of SEAF www.http://thefspc.org/

we’ll put a spell on you

TWIN/TONE VIA TT.NET

Seattle’s sexiest Halloween party

THE MATS MATTER

It only took nearly a quarter-century for most folks to realize it.

BY DUSTY HENRY

he legacy of the Replacements isn’t built on runaway success. It’s almost absurd to think that a band famous for showing up drunk to shows and getting banned from Saturday Night Live would ever headline a gig like Bumbershoot. Largely dismissed by mainstream radio in their own time, the idea that now the Mats are receiving the recognition they deserve feels like a win for the underdog—albeit one 23 years in the making (it’s been that long since the group’s initial breakup). As fate would have it, it’s a bittersweet one, too: Only two original members, frontman Paul Westerberg and bassist Tommy Stinson, will be onstage; guitarist Bob Stinson and drummer Steve Foley have since passed away, and Slim Dunlap, who replaced Bob Stinson in 1986, recently suffered a stroke. Over seven albums, the Minneapolis group constructed a rock narrative that alternated brash, youthful anthems and heart-wrenching post-punk ballads. It wasn’t until its last two albums that the band started to chart at the bottom half of the Billboard Top 100, though they saw some success on the Modern Rock charts with singles “Merry Go Round” and “I’ll Be You.” The band garnered praise from Rolling Stone and Spin for their diverse sound, which identified as punk but was heavily indebted to their power-pop idols, Big Star. On the landmark track “Bastards of Young,” vocalist Paul Westerberg proclaims, “God, what a mess, on the ladder of success/Where you take one step and miss the whole first rung/Dreams unfulfilled, graduate unskilled /It beats pickin’ cotton and waitin’ to be forgotten.” It’s a selfreferential moment that really defines the band: They were losers, but self-aware enough to want to leave a legacy—even if they didn’t know what exactly that would be. I was late to the game when it comes to the Mats. The first time I heard them I was sitting

in my car at 6 a.m. in Belltown, having just quit my artsy job in favor of a desk, secure pay, and better hours. I had some extra time that first day to think about whether I was a sell-out, and then “Alex Chilton” came on. Its chunky guitar chords and melodic bass were comforting to me—a fleeting punk salute just feet away from the most conventional move of my adult life. In an extremely meta moment, I found myself thinking and feeling exactly what Paul Westerberg warbled on the chorus: “I’m in love/What’s that song?/I’m in love with that song.” For many, the Mats symbolize more than just raucous guitar tracks. Cumulus guitarist Lance Umble says he was introduced to the band through Bellingham indie-rock outfit Candysound’s cover of “Androgynous.” From there he found the band’s seminal record, Let It Be. He calls it “an album without genre, by a band who was never afraid of what anyone thought about them. The Replacements redefined punk-rock music,” he says, “and I thank them for it.” For the Mats, redefining punk was more than just a change in sound; their bitter confessionals also ushered in a wave of sincerity in rock. Cataldo frontman Eric Anderson saw this firsthand when his band played “Can’t Hardly Wait” at a Replacements tribute concert. “The response was so insane, we all looked at each other like, ‘Oh, this is why people play in cover bands.’ ” “The Replacements walk a unique line between brutish and brutally honest, wasted and well-constructed,” Anderson says. “There aren’t a ton of bands that make you pump your fist with a lump in your throat. They do that better than just about anybody.” E

music@seattleweekly.com THE REPLACEMENTS Mainstage, Sun., 6 p.m.

mainstage

dinner & show

COURTESY BUMBERSHOOT

WED/AUGUST 27 • 7:30PM

sandi thom A stranger (Ian Edlund) rides into town in The New West.

DUSTY DANCING AND NICK OFFERMAN Some highlights from the 1 Reel Film Festival.

w/ nathaniel talbot THU/AUGUST 28 • 8PM

the english beat w/ dj dubmatrix FRI/AUGUST 29 • 8PM

jr cadillac

BY BRIAN MILLER

survivors, if you will: those who have to keep on living, no matter the guilt they must endure. Dance films have their own program (1 p.m.

Sun.), and there I liked Alia Swersky’s sweaty, dusty, rollicking choreography in Beneath Our Own Immensity. It was shot and performed in the I-5 Colonnade mountain-bike park on west Capitol Hill (between Fairview and Eastlake). How Swersky and her 10 Cornish College dancers kept the BMX set out during filming, I have no idea. (“Dude, what are all these dancer chicks doing here?”) But they put the ramps and trails to good use: rolling, climbing, clambering, tumbling, and tossing up copious amounts of dust. There’s a certain aspect of Stomp! here, but without the Broadway sheen. An award winner at SIFF this year, Amanda Harryman’s Maikaru (3:30 p.m. Sat., Sun., & Mon.) is mostly a direct-address monologue by its protagonist, formerly a Seattle street kid from a fairly horrific family background. As Michael tells his life story, which includes violence, drug dealing, and sexual abuse, you’re inevitably reminded of the 1984 documentary Streetwise, filmed among a similar community of hard-luck kids. Thirty years later, the streets are still full of predators and victims, and it’s hard to tell if Michael’s self-salvation is the exception or the rule. On a sillier, bloodier note is Eric Kissack’s cowboy spoof The Gunfighter (8 p.m. Sat.), which borrows the same device as Will Ferrell’s Stranger Than Fiction. But here, instead of only one guy being able to hear the omniscient narrator of his life, everyone in a gun-packed frontier saloon/brothel is confounded by the godlike basso voice. (Listen carefully, it’s . . . Nick Offerman of Parks and Recreation!) Each time a threat is made or an accusation leveled, sixshooters about to leave holsters, the narrator turns these galoots in an absurd new direction. (One gunman protests, “We’re playing right into the voice’s hands!”) Laughter aside, you come away from The Gunfighter with one firm conviction: Everyone’s interior monologue should be spoken by Nick Offerman. E

bmiller@seattleweekly.com

SAT/AUGUST 30 • 8PM - A DAMMIT LIZ PRODUCTION

cards against humanity and friends

MON/SEPTEMBER 1 • 7:30PM

chris stamey of the dbs w/ skylar gudasz

TUE/SEPTEMBER 2 • 7:30PM WESTERN ARTS ALLIANCE MUSIC SHOWCASE

david wilcox, corb lund & the hurtin’ albertans, willie nile WED/SEPTEMBER 3 • 7:30PM WESTERN ARTS ALLIANCE MUSIC SHOWCASE

portland cello project, home free, logan brill next • 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 w/ reed foehl • 9/11 steve poltz w/ the royal oui • 9/12 brazilian nights! paula santoro & rafael vernet • 9/13 captain smartypants • 9/14 mackapalooza too w/ charles mack band • 9/16 dirtwire • 9/17 rising appalachia w/ theresa davis • 9/18 justin furstenfeld • 9/19 meshell ndegeocello

happy hour every day • 8/27 velocity • 8/28 the sunshine junkies • 8/29 happy hour: djangomatics / daniel rapport trio • 8/30 money jungle • 8/31 hwy 99 blues presents: casey malone • 9/1 crossrhythm sessions • 9/2 singer-songwriter showcase featuring: ben james, kylie nelson and danelle hayes • 9/3 acoustic revolution: featuring acoustic eidolon, lauren sheehan, eric schwartz and claudia nygaard TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

ow an idea made obsolete by digital video, the old unit of cinematic measurement used to be a single reel of 35 mm film: 1,000 feet and about 11 minutes to tell a story. This was ideally suited for the gags of Charlie Chaplin and early Hollywood cinema. For the directors represented in the 1 Reel Film Festival, there’s no such constraint. Works can range from a few minutes to a half-hour in this exhibition of 100-plus shorts, grouped into 20 themed packages, screened at the SIFF Film Center (the old Alki Rooms, for you veteran Bumbergoers). Let’s look at the locals first. Most are being shown in a Northwest block (7 p.m. Sun), including Peter Edlund’s The New West, which concerns a small posse of drug dealers at a rural high school. As an ominous vigilante student seeks to bust that posse, the film plays like a few scenes from a larger story—a modern, youth-oriented spin on Yojimbo (and by extension, Dashiell Hammett’s Red Harvest). Some may recognize the young lead of B.F.E. (Ian Lerch), seen during SIFF this year, as a sniveling underling. Our sympathies naturally go to the vengeful stranger instead. Donald Saunderson’s Clarity is like one of those missed-connections ads on Craigslist come to life. In voiceover, we hear a young male commuter rehearse and imagine how he might flirt with an attractive girl on his train. Over the montage of their daily rides, eventually he gets his act together (something like Groundhog Day), and we hear her voice, too. It’s a Mittyesque reverie that ends as most daydreams do. The most ambitious and polished in this group is Mark Lundsten’s The Bath, based on a poem about Alzheimer’s and cast with professional stage talent. An aging husband (Frank Corrado) finds himself increasingly unable to manage his mentally deteriorating wife (Kathleen Chalfant) in the family home. Their busy adult daughter (Cheyenne Casebier), with a child of her own, attempts to help—but this is a family overtaxed by medical circumstance. Given the familiar and increasingly common dilemma, Lundsten doesn’t push the pathos in our face. The situation speaks for itself, and The Bath quietly sides with the

TAQUIZ AS B A NQU ETS & CATERI N G S PE C IA

BUMBERSHOOT

10% O C A T E R I NF F EVENTS G

Tan’s edible Food Game.

FO R N EW C LI EN TS

YEAR -ROUND BOOTH AT THE

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ART IS SERVED

Food is the subject—and sometimes the medium— for this unlikely exhibit, edible samples included.

IN HONOR OF MIMI PIERCE’S 90TH BIRTHDAY PRATT PRESENTS ITS

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BY BRIAN MILLER

on’t play with your food—that may be the most frequent and earliest-recollected directive of childhood. But food is so primal, who can resist toying with and arranging the stuff ? Still, the curator of the group show Food for Thought , Shane Montgomery, cautions that this exhibit has more of a conceptual intent. Few of the pieces are actually constructed of food; so cast aside memories of Richard Dreyfuss and the mashed potatoes in Close Encounters of the Third Kind. Rather, Montgomery explains, “It’s not necessarily artwork made of food—it’s about the food, where it comes from. My inspiration was in calling attention to this whole foodie culture. People are taking a much closer look at where their food comes from—organic, slow food, farm-to-table, etc.” He also cites last year’s unsuccessful GMOlabeling Initiative 522, which will be fresh in the minds of visitors to Fisher Pavilion, where eight more exhibition areas will be housed. Food for Thought comprises five different exhibits; only the first has a somewhat local component, since it was built by 18 Madrona eighthgraders over the summer, based on an Australian design. Aqualife is an open-source project, Montgomery explains, “a model for a type of selfsustaining, hydroponic garden.” Supporting the 8-foot-high structure of food-growing pods is a large 50-gallon aquarium containing fish—later edible—whose waste is pumped up to fertilize the plants above. Think of it as an indoor saladproducing factory where you can also Zen out on the koi and tilapia fish swimming below. Three projects are on display from the Center for Genomic Gastronomy, which Montgomery describes as “an international collective of artists whose primary interest is food and food products.” They’ve created a barbecue sauce called Cobalt 60, made of ingredients—grapefruit, barley, peppermint, rice, and soy—that are “all GMO by process of irradiation.” The final mutant product is safe and edible; and yes, visitors can try samples. If that makes you a little nervous, good. Montgomery wants you to think about notions of natural and unnatural food. “Folks are talking about Monsanto more

and more,” he says, “combined with that recent nuclear disaster in Fukushima, Japan.” The CGG has also devised what it calls Mutagenic Mist, a “custom-built vortex cannon that serves puffs of mutation-bred peppermint. Then there’s Disaster Pharming, a set of tools for foraging edibles at recovering nuclear-disaster sites like Chernobyl and Fukushima—very much a real possibility in the future. San Francisco artist Phil Ross will be represented by Mycotecture, which Montgomery describes as “growing bricks out of mushrooms.” The fungi sprout within molds, then are dried and assembled into architectural creations. A wall will be built at Bumbershoot, says Montgomery, “and we’ll be serving tea that’s been brewed from shavings from the bricks.” (Just to clarify: That’s the safe, regular, nonhallucinogenic kind of tea, so don’t get any ideas.) Feeling hungry yet? Along with the tea and barbecue sauce, you can eat the cookies that New York artist Tattfoo Tan substitutes for chess and checker pieces in Food Game. Visitors are invited to play the games and eat their opponent’s fallen players. Though, given the sheer number of Bumbergoers, says Montgomery, the cookies will be store-bought instead of handmade, unlike some of Tan’s smaller installations. The point is to think about the global inequity of food distribution: “When a player is in a position of power, or winning, he accumulates food wealth while denying his opponent.” Josef Stalin would understand. Service Works is a show within a show, funded by San Francisco patron Joshua Greene. “For a number of years, he was a fine-dining waiter,” Montgomery explains. “And he would use the earnings from his tips to fund an artwork. To me, this speaks to the gift economy. It talks about the people within the food industry.” Of the 11 works by national artists on view here, “None of them deal with food,” says Montgomery, but they’re very much products of the global food economy. There, from Monsanto on down to a backyard organic plot in Wallingford, one is forced to consider notions of labor, consumption, and surplus value— how we’re all part of that same economy. E

bmiller@seattleweekly.com

food&drink

The Willows Inn

BY MEGAN HILL

The magic of place and plate. BY NICOLE SPRINKLE

Another outpost of Cone & Steiner General opened in Pioneer Square, with offerings similar to that of the Capitol Hill store. On the weekends there will be wine, beer, and cider tastings and food demos from local vendors and farmers. 8oz. Burger and Co. opened its second Seattle location in Ballard at 2401 N.W. Market St. Expect much of the same menu as at the Capitol Hill location, plus some unique-to-Ballard additions. Chef Heong Soon Park will Tray Kitchen this fall.The owner of Chan and Bacco is bringing dim sum–style Northwest/Korean fusion to the Frelard neighborhood at 4012 Leary Way N.W. Eric and Sophie Banh will open 7 Beef, serving a traditional seven-course Vietnamese beef dinner, around the corner from their Ba Bar space at 13th Avenue and East Jefferson Street. E morningfoodnews@seattleweekly.com

TheWeeklyDish

Westward’s Emmer-Farro With Nectarines and Chevre It sets the tone for the rest of the meal. The couple next to us is beaming, and instantly engages us in conversation. There’s a palpable sense of excitement throughout the sitting areas and the dining room, with its unencumbered views of the Sound—a childlike excitement, even, from people who, like me, have so obviously been looking forward to coming here for some time and would have to sit on their hands to contain it. It makes for easy conversation and a laid-back vibe despite the “seriousness” of the food we know we’re about to indulge in. Ten minutes later we’re led to our table, and I open a small, chapbook-like, leather-bound menu, with pencil drawings of fish, mushrooms, and other edibles throughout it. Though the first item listed is plum skins, a server tells us we’ll instead be eating an off-menu “snack” (we get several of these surprise items throughout the multicourse meal.) A couple beats later, a chef—yes, the chefs here also serve some of the dishes!—sets a small wooden box in front of each of us. Before lifting the lids, from which wafts of light smoke will rise, he tells us that

inside are caramelized mussels, smoked for four hours. It sounds utterly precious, I know. But when you bite into a mussel that’s been given this much care, it gives you pause and makes you aware of the essence of what you are eating. I had originally decided not to do the wine pairing ($85 on top of the $165 per person prix fixe), but, caught up in the reverie of the evening, I change my mind. It’s a smart choice, because even wine pairings here are done differently. Instead of getting a glass pour per entrée, the server brings an entire bottle and allows you to fill your glass at your leisure through a couple of dishes until it’s replaced with another bottle. There’s also a lovely cider—Eagle Mount from Port Townsend— served at the beginning of the dinner. The meal is mostly one hit after another, served beautifully; it reminds me of a Japanese kaiseki meal, a many-coursed pageantry of seasonal delicacies. Plum skins in a fragrant broth of young grapes and thyme are startling in their simple perfection. Salt-roasted beets cooked in a bread dough with dill, lavender, and parsley seeds along

» CONTINUED ON PAGE 30

BY NICOLE SPRINKLE There’s a lot to love at Westward—much of it seafood. But I just tried one of their vegetarian menu staples that gets slight seasonal updates. Their Bluebird Grain’s emmer-farro was served with grilled nectarines and chèvre, and the combination was lovely. If you’re already a farro convert like me, I don’t have to sell you on that yummy, toasty, ever-so-slightly crunchy grain. But while I tend to find it in flavorless combinations, this one, with its musky stone-fruit sweetness, creamy chèvre, and olive oil, lends wholesomeness just the right amount of decadence. You’ll be wanting bread to sop up every last drop. Also, this seems like a simple dish to replicate at home. E NICOLE SPRIINKLE

at The Willows Inn. Hours before the 6:30 dinner seating, we’re lounging on the deck of one of the inn’s separate cottages—about a mile down the road, situated so close to the great, open expanse of the Sound that we watch a young seal gliding its slick body through the sea while an otter lumbers onto shore 20 feet from us. I begin to understand the fuss Ray made over his year living here. I spot a large Dungness crab off the pier and watch a terrifyingly big jellyfish undulate near the rocky beach, haphazardly strewn with beautiful, gray-washed driftwood. The sky is clear and the sun still warm. I feel a peace I haven’t in a long time. When we drive the short distance to the Inn for dinner, I’m both blissful and incredibly eager. We’re led into a bar area, though one that feels more like a handsome beach house’s living room, and seated next to another couple. We order drinks. Then a bowl of rocks—in which are nestled two deeply cupped shigoku oysters—is whisked before us. I’m not exaggerating when I say that the oyster I slurp down is the coldest, freshest, most delicately briny one I’ve ever eaten.

Fremont Brewing’s upcoming massive expansion will involve moving to an 80,000-square foot space in Ballard (which should be ready by next fall) and hiring an additional 35 to 40 full-time employees. The brewery will keep its current Fremont space as “an experimental brewery.”

PHOTOS BY CHARITY BURGGRAAF

Yet none of this prepared me for the experience

Top: chef in the wild. Bottom left: smoked salmon. Bottom right: Wetzel’s close relationship with his ingredients.

Baker extraordinaire Rachael Coyle has announced she’ll open a brick-and-mortar bakery in Greenwood this winter, specializing in the French, British, and classic American pastries that made her pop-up bakery at Book Larder over the past year so successful. Coyle, a graduate of the French Culinary Institute in New York, has worked as a pastry chef at The Herbfarm, Le Pichet, and Café Presse. The final pop-up at Book Larder is this Saturday.

nsprinkle@seattleweekly.com

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

verybody knows about The Willows Inn, and no one does. Or that’s at least what it feels like sometimes. Written up in nearly every national food and travel magazine, not to mention all the regional coverage it’s gotten, you’d think it was old news. Yet, surprisingly—or maybe not, given its tucked-away location on tiny Lummi Island—I often get a puzzled look when I ask Seattleites about it. After all, I’ve been here four years and have only this month made it out there for an overnight stay and dinner. Given that chef Blaine Wetzel just took home the 2014 Best Rising Star Chef honor from the James Beard Awards, though, it’s likely that even more people will flood the dining room in the coming years, from both nearby and afar. (The ferry to get there is just outside of Bellingham and carries only about 20 cars at a time.) I had no intention of writing this story before visiting the Inn. Rather, it’s a birthday gift (from June, but we could only get a spot in August), and I’ve been relishing the date all summer. I knew Wetzel, from Olympia, had made a name for himself by working at the world-famous and revered Noma in Denmark under chef René Redzepi. I knew he’d come back to the Pacific Northwest and turned The Willows Inn into a utopian culinary retreat—a place where the ingredients for his rarefied dinners are sourced from the inn’s own farm, the fish are caught right off the coast by reef-net fishermen, and the lamb is raised from island farmers; where everything from the butter to the broths infused with local herbs is made on the premises. I’d also talked at length with journalist Joe Ray, who spent a year living on Lummi collaborating on a cookbook with Wetzel, forthcoming from Running Press.

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The Willows Inn » FROM PAGE 29

side a gin-infused yogurt taste like no other beet preparation I’ve ever had; the aged venison leg inside a ring of rye bread with cured egg yolk and venison heart grated on the top tastes like some kind of out of this world BLT. When one young, facebook.com/seattleweekly earnest chef serves it to us, we jokingly ask him which leg it is, the left or the right, to which he LIVE & COOKED answers “I’m not sure.” We tell him we’re kidding. When he leaves, we chuckle, but also marvel at how young these chefs are—Wetzel included, of Hours: 12:00 7:00 NNew OW AM-F VA I L– A BLE course—yet how incredibly talented. Saturday 10:00 – 5:00 FRE E PA R K I N G Potatoes cooked entirely on the grill get seaWe Ship We Ship Sunday 12:00 – 5:00 We Ship Seafood Overnight Seafood Overnight Seafood Overnight soned with smelt rather than salt and are served Anywhere in the USA Anywhere in the USA Anywhere in the USA or We Pack for or We10% Pack for off Bring this ad anfor extra Travel for orAirWe Pack Air with a watercress purée; geoduck comes in a musAirTravel Travel University For weekly specials, follow usUniversity on Facebook sel broth with toasted breadcrumbs; and a warm Seafood & Poultry Seafood & Poultry 1317 NE 47th, Seattle 1317 NE 47th, 98103 Seattle piece of smoked salmon is sweet and caramelized 4023 Aurora Ave. N. Seattle, WA (206) 632-3700 or (206)632-3900 (206) 632-3700 or (206)632-3900 and meant to be eaten with your fingers, which is www.samcollective.org 1317 NE 47th, Seattle why they serve it with a lightly steamed napkin. (206) 632-4023 (206) 632-3700 or (206) 632-3900 Toward the end of the meal, a basket of freshA non-profit organization in accordance with chapter RCW 69.51A baked bread is timed perfectly and served with hot For weekly specials, follow us on Facebook stones to keep it warm and a side of chicken drippings to dip it in. Again, the details . . .

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fortune to go to New York to accept it. When the subject of celebrity chefs comes up, his humor comes through again. “That’s what I wanted to be,” he says, pointing to himself. But that obviously isn’t happening.” Lucky for him, I think. Having worked on books by many of those “famous” chefs, I think Wetzel is the better for his humility. He’s not trying to win us over; instead, he’s genuinely interested in what we think of certain dishes, and you can sense the wheels spinning in his head at our various assessments. Not that Wetzel is some naive youngster. When I mention Bon Appetit ’s top 50 restaurants in the country, he asks, wideeyed, “Are we in it?” When I tell him no, his indignation is obvious, if still somehow charming: “What?” he exclaims. “We were last year.” The next morning we tour the Willows Inn farm, and see many ingredients from our plates the evening before: lovage, blackberries, woodruff, tiny cherry tomatoes with the leaves taken off to concentrate the flavor. I bite into a piece of shiso and let its zingy flavor infuse my mouth, transporting me back to dinner and reminding me how much work Wetzel puts into making sure his food tastes like the most fundamental part of what makes it what it is—be it the leaf of an herb or the flesh of a fish. If that seems counterintuitive—why would you need to “work” to make something taste like itself?—it’s not. Rather, it’s a gentle coaxing, an innate understanding of what other ingredients or preparations can make something shine. And here on Lummi, with its 900 residents and quiet natural splendor, there’s little distraction from that single-minded purpose. Wetzel was made for this place and vice versa—the chemistry as undeniable as that which exists on his plates. E

nsprinkle@seattleweekly.com

THE WILLOWS INN 2579 W. Shore Dr., Lummi Island, 360-758-2620, willows-inn.com. Seating at 6:30 p.m. four or five nights weekly.

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

PROMOTIONS Why You Shouldn’t Hate on Chardonnay

WEE K LY

Seattle Weekly readers weigh in on tipping, postminimum-wage-increase.

EV ENT S

MU S IC

THEBARCODE

FILM

To Tip or Not to Tip: That Is the Question BY NICOLE SPRINKLE

P R O M O TI O NS

couple weeks ago we asked our Seattle Weekly Food Panel whether the eventual minimum-wage increase to $15 an hour would affect how they tip their servers. Here too is a sampling of what our readers had to say. “Nope, not in this lifetime. I tip for good service and because I know the wages of the waitstaff. At $15 an hour, no.” —Gregg McFarlan “Wouldn’t it be crazy if we based our vote on how much a politician makes? Just kidding, let’s keep focusing on poor working folks.” —Lonaldo Lopezington

HAPPY HO U R

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“A big, fat YES! And it should. I tip for service but also ’cause I know tips help the server. Now that the Socialist has got her way, the servers can live on the new wage and complain to her if they don’t like it.” —Mike Kendall “Won’t matter. Food prices will go up and working families won’t be able to eat out. So, less tips.” —Jennifer Hirst “As a restaurant owner and restaurant patron about town, I can tell you many people already think $15 an hour is already in effect, and some people are already tipping servers and bartenders less. I can absolutely guarantee at least a 20 percent rise in prices over the next three years (due to the wage hike alone) as it goes into effect. BTW, restaurant owners will have to pay a higher payroll tax to the city, and it’s really $16.25 that we will have to eventually shell out. That’s why the City Council passed it so fast—not more social justice, more money to their bottom line. But it goes way beyond that . . . This is why chefs like Tom Douglas are considering—only considering, mind you—a switch to a ‘service charge’ as in Europe. Some are considering adding a ‘min wage tax’ like they are currently doing in Sea-Tac, where the $15-an-hour movement started in January.” — Martin Dennis Dizon “To insure promptitude, I will be tipping the same. However, the pay hike will make me more likely to leave zero to a shitty server.” — Brad Justinen “Hey, if I get good service I will tip . . . —Darius Schwarz E nsprinkle@seattleweekly.com

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

gh, anything but chardonnay.” That’s a sentence, or a sentiment, I hear nightly in my job, and almost as often when talking to my friends. No other white-wine grape inspires so much emotion: Those who love it seem unwilling to drink anything else, while those who hate it are equally strident. It’s the most widely planted white varietal in Washington, and the grape behind many of the world’s finest (or at least most expensive) whites, yet it’s become almost as trendy to hate on as merlot, and without Paul Giamatti to blame. My goal though is to convince those of you who BY ZACH GEBALLE recoil at the very mention of the name to reconsider, so try for at least a few minutes to keep an open mind. Chardonnay, unlike most other well-known white-wine grapes, doesn’t have a whole lot of what we somms call “varietal character.” That is, unlike riesling or sauvignon blanc, the taste and aroma of a chardonnay-based wine is more about the specific place it was grown, the degree of ripeness it achieved, and how the winemaker treated it. If you compare a Chablis from the northern reaches of Burgundy to a classic Napa Valley chardonnay, it’s hard to imagine the same grape makes up 100 percent of both wines. The Chablis will likely be chalky and nearly devoid of fruitiness, with perhaps a slight lemon-pith quality, while the Napa will be bursting with tropical fruits like pineapple and will have a much richer texture. That’s due to a higher degree of ripeness and the use of a lot of new oak barrels. Both styles have their merits, but most of the anti-chardonnay crowd comes from those who have been repulsed by big, oaky wines from California, Australia, and right here in Washington. Their toasty, buttery quality can be off-putting, and they’re rarely my preference either. A touch of new oak in a well-made chardonnay can add much-needed depth of flavor, but for decades many winemakers have seemed intent that the only two flavors you get in their wines are tropical fruit and oak, not an enticing combination to me. So why drink chardonnay? Because a wellmade one has few equals in complexity and nuance among whites. For centuries the only real place to turn for great chardonnay was Burgundy. While that’s still a source of spectacular wines, and a lot of relatively good, inexpensive chardonnay, the New World is catching up. Quite a few winemakers have realized they can successfully make chardonnay without all the oak, which has the added benefit of keeping the price down a bit (new French oak barrels are really expensive). Local producers to consider include Abeja, àMaurice, Buty, and Efeste. While it’s possible to find oak bombs from this state (and several of those wineries use at least some new oak), most winemakers here are finding more acclaim with balanced chardonnays that marry fruit, minerality, acidity, and a touch of oak. They’re fantastic, and reason to give this much-maligned grape another shot. E

NEWSLETTER

LEROY BELL & HIS ONLY FRIENDS SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

Wed, Aug 27, Harbor Steps

1st Ave & University St

THE DIP

Thurs, Aug 28, City Hall Plaza “Sexy, funny, quirky action unfolds above, around and alongside you” — The Herald of Everett

600 4th Ave

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Fri, Aug 29, Columbia Center 701 5th Ave

arts&culture

Post-Human Polygonal Trees

ThisWeek’s PickList

A locally made new video game contemplates the lonely forest, not first-person shooters. BY KELTON SEARS

Eidolon a “game.” Although you can buy it for Mac and Windows ($15, icewatergames.com), it feels more like a digital interactive painting—perhaps the love child of local landscape artists Cable Griffith and Mary Iverson. I spent my first two hours playing Eidolon by slowly walking around the forest, clueless as to where I was or what I was supposed to do. I climbed mountains; I shot a fox and cooked its meat—sorry, vegans!—over a campfire; and I thought about how quickly I would die, given my lack of real survival skills, in an actual postapocalypse wilderness situation. I’d definitely just gorge on blackberries and hope for the best. It wasn’t until I stumbled upon a diary entry

Finding Fela

FRANCIS KERTEKIAN/RIKKI STEIN

Fela performing in 1983.

Lonely landscapes from Eidolon.

in Eidolon mentioning “the fall” and a siege upon Bellevue that the game’s fascinating pre-apocalyptic history began to emerge. Then I began to get my bearings—discovering the towering ruins of Bellevue and a Space Needle-esque monument to the people who died in “the great quake” alongside the crumbling remains of I-90. By then I was totally engrossed. What happened here? Eidolon, if you were wondering, is an

ancient Greek word for “phantom” or “ghost.” Maxon explains that he took the name from a Walt Whitman poem, “Eidolons,” which he calls “the freeware version of the game.” He continues, “It’s all focused on what’s permanent and what’s not—the things that humans obsess over, these physical things.” Somewhat like Alan Weisman’s surprise 2007 bestseller The World Without Us, Maxon invites us to consider how the natural environment will outlast civilization. What will survive, says Maxon, are “these ethereal Platonic ideas, these big capital-letter Ideas . . . that are actually permanent and actually immortal. I like the idea that people might be fucked, but the world’s not.” Eidolon was developed over 20 months by Maxon’s start-up, Ice Water Games, and is the company’s first product. Besides being an experiment in “environmental storytelling,” he says the game attempts to mimic the meditative quality of hiking though our Northwest mountains and forests. Eidolon

does involve lots of hiking, and its amazing music—like a cross between the post-rock noir of Godspeed You! Black Emperor and the quieter moments of Modest Mouse— furthers that meditative atmosphere. Maxon says sales are already on track to

pay for the game’s development and to fund new games. Early reviews have been positive, yet Maxon acknowledges that Eidolon challenges conventional game structure. Its look—blocky and abstracted—also sets it apart from the trend toward video-game realism. “I wanted to find a way to render these huge expanses—you know, a giant forest or a tree-covered hill,” says Maxon. “But computers have a hard time rendering those things. So I messed around with how I could use the least amount of polygons to render an evergreen tree. I decided to take all the textures out. In the end, I actually thought it looked better.” The minimalist graphics of Eidolon do have their own kind of splendor. The sparse visual detail allows you to project your own psyche onto the landscape, something I often found myself doing during the game’s long virtual walks. For this player, at least, in an unraveling real world that seems constantly to deliver bad news, Eidolon helps hone a very important 21st-century human survival skill: finding shreds of beauty in the desolation. E

ksears@seattleweekly.com

Though he outlived Bob Marley, Fela Kuti never managed to connect with Western ears in the same way. His tunes were too long for our Top 40 charts, and Nigerian politics were too distant and complicated when compared to simple sing-along Caribbean liberation anthems. For that reason, mounting a 2009 Broadway musical about his eventful yet eccentric life (1938–1997) proved a challenge for Bill T. Jones and his collaborators, as we see in Alex Gibney’s comprehensive documentary about the show—which toured through Seattle last year—and its inspiration. Fela himself is most vivid in old performance clips, especially in his sinuous, jumpsuited glory during a 1978 gig at the Berlin Jazz Festival. He’s more elusive in old interviews from the archives, leaving his children (including musician Femi Kuti), manager, former bandmates, and journalists to assess his life and legacy. His Afro-fusion aesthetic is fascinating; and we see how from the early ’60s forward he absorbed and distilled Miles Davis, the highlife music of Ghana, James Brown, Malcolm X and the Black Power movement, and even perhaps a trace of reggae into his great band Africa ’70. No less a polymath than Questlove from the Roots here offers his tribute to Fela, who was born into privilege yet endlessly battled the petro-military-oligarchy that often jailed him (and notoriously killed his mother). One of his takeaway quotes in Finding Fela might as well be his epitaph: “Music cannot be for enjoyment. Music has to be for revolution.” In truth, his music realized both. (Through Thurs.) Varsity, 4329 University Way N.E. $10.50. Showtimes: 632-6412 and landmarktheatres.com. BRIAN MILLER

PAX Prime

If you enjoy dressing up like Pikachu, taking pictures of people dressed like Pikachu, or playing hotly anticipated video games before they come out, then PAX Prime is the place for you. Penny Arcade’s annual flagship event is back, and this year it’s looking like Nintendo is trying its damnedest to razzle-dazzle convention-goers with a slew of high-profile games on display (both for ticket holders and those without).

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

Some people would have a hard time calling

FRIDAY, AUG. 29

hen you boot up Eidolon, you are plopped directly into a vast polygonal forest, somewhere between Bellevue and Olympia, with zero explanation. There’s no stage-setting, no tutorial, nothing. It’s just you and the “post-human” wilderness expanding in all directions around you. Your only clear objective is to survive. You have to eat—by hunting, fishing, or gathering berries and mushrooms—and you have to keep warm. Beyond that, interpreting how and why all the people have disappeared is up to you. “The wandering was a big part of our interest in not having a linear game,” says Eidolon’s 23-year-old creator, Kevin Maxon, of Seattle. “We just wanted people to be in this place and enjoy this place. That’s one of my big points in making any game, creating worlds that people want to spend time in.” Maxon initially began creating Eidolon as his final thesis project for a game-design degree at Western Washington University in Bellingham, where the woodsy setting reinforced the game’s outdoorsiness. As both a student and player, Maxon liked testing the limits of what the word “game” meant. He wasn’t content to create straightforward platformers, shooters, or dinky Flash-based RPGs. Instead, his early tinkering included one prototype where players manipulated shapes in response to Gertrude Stein poetry. “There was this debate that’s kind of dead now,” Maxon explains, “but it used to be the only thing people talked about in game academia—it was between whether games are primarily systems or whether they’re primarily stories. Like, is Final Fantasy even a game? Some people were coming at it from a chess angle; some people coming at it from a theater angle—games more like Myst. It came down to whether people thought those things were valuable or not. I was trying to find a way to reconcile those two, because I’m really interested in systems, but also in how we can restructure storytelling in games.”

» CONTINUED ON PAGE 34 33

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“SmashBash” seems to have the most people drooling—a chance for Seattleites to go to stations around the city and play the new Super Smash Bros. game for Nintendo 3DS. The company will also be demoing Hyrule Warriors, a Zelda/Dynasty Warriors mashup that’s already won accolades in Japan. But of course, this weekend gathering isn’t just about Nintendo. Expect all the local indie developers to crawl out of their coding holes and show the world what they’ve got. And there will be plenty of chances to stand in lines for hours to score various key chains, hats, and foam swords. Don’t forget to bring a swag bag. (Through Mon.)

Washington State Convention Center, 800 Convention Place, prime.paxsite.com. $35–$110. 10 a.m.–midnight. KELTON SEARS

Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleart museum.org. $5–$7. 10 a.m.–5 p.m. BRIAN MILLER

E.T. the Extra-Terrestrial

WEDNESDAY, SEPT. 3

Rick Perlstein

I cried three times while revisiting Steven Spielberg’s gorgeous, influential 1982 fairy tale, which memorably stars Henry Thomas as the boy who finds and shelters E.T. and Drew Barrymore as his saucer-eyed younger sister. Hell, I choked up not only at the flying bike stuff, but at the goddamn opening title card, which was raucously applauded. Some questionable p.c. revisionism in the recent digital restoration: Although “penis breath” still makes the cut, Elliott’s brother is no longer chastised for dressing up as a “terrorist” for Halloween—but as a “hippie” instead. Recent CGI tweaks cast E.T. in Phantom Menace unreality, yet augment a welcome, restored bathtub sequence. Three decades later, the movie’s not just a classic of the ’80s but of childhood in the generations since. (Through Wed.) Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $6–$8. 7 p.m. ANDREW BONAZELLI SATURDAY, AUG. 30

City Dwellers One of Muthiah’s glum Krishnas.

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

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

others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stagemanaged scenes, posing a costumed actor as the blue-skinned Hindu god Krishna in contemporary settings; in one shot I love, he sits in a hotel suite, like a tired business traveler awaiting a conference call on Skype. Sculptor Debanjan Roby even dares to appropriate the revered figure of Gandhi, rendering him in bright red fiberglass and listening to a white iPod. Apple never made such an ad, of course, but this impudent figure tweaks both India’s postcolonial history and the relentless consumerism that now links us all, from Seattle to Srinagar. (Through Feb. 15.)

A dozen contemporary Indian artists are represented in this show organized by SAM and originating entirely from the private local collection of Sanjay Parthasarathy (a Microsoft millionaire) and wife Malini Balakrishnan. Scenes and icons from Mumbai to New Delhi are represented via photography and sculpture, from an all-native perspective. As tourists know, India is ridiculously photogenic, from its colorful idols and deities to the slums and beggars. It all depends on what you want to see. Photographer Dhruv Malhotra, for instance, takes large color images of people sleeping in public places—some because they’re poor,

How did a Republican Party that was shattered in the mid-’70s pivot toward its nearly hegemonic power today? This is the question considered in The Invisible Bridge: The Fall of Nixon and the Rise of Reagan (Simon & Schuster, $23.72), which Perlstein begins with Watergate and ends with President Gerald Ford’s seeming defeat of the Gipper. That was in ’76, which we now recognize to be a springboard year that launched Carter to imminent failure and Reagan, four years later, to the White House. Whence the motivating power of the Reagan Revolution? Perlstein digs up a Ford memo calling Reagan’s supporters “highly motivated right-wing nuts.” Well, yes, but those nuts turned out to be the future of the GOP—populating think tanks, dominating talk radio, funding super-PACs, and rising from law-school professorships to the Supreme Court. Now it should be noted here that this 800-page tome from Perlstein, previously the author of Nixonland, has been cited for lifting language from other accounts; those charges come from a right-leaning historian of the Reagan era, and Perlstein does skew more left. (And he denies any plagiarism.) Also, The Invisible Bridge isn’t about tit-for-tat politics; it’s a cultural history of the roiling moment, a nation divided and unbalanced: OPEC and Patty Hearst, killer bees and Robert Altman’s Nashville, Hank Aaron’s homerun chase and Chevy Chase stumbling on SNL. If there’s a villain in the book (D.C. pundits are hit the hardest), it’s certainly not Reagan. His cheerful selling of what Perlstein calls “America the innocent” is what people wanted to hear—and what would save his party from Nixon’s cloud. Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. BRIAN MILLER E

SIMON & SCHUSTER

» FROM PAGE 33

PARTHASARATHY AND BALAKRISHNAN COLL.

SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

ys of 3 da tations ic n us Prese eer * M B n * u Food Family F S! AT & BO

arts&culture»

» Performance Ronnie and Nancy’s breakfast nook. (If the AIDS crisis feels less urgent today, the political arguments remain disturbingly relevant in our Tea Party era.) Directing the play, Intiman’s Andrew Russell, a forOPENINGS & EVENTS mer Kushner assistant, clearly understands BLACK LODGE BURLESQUE Subtitled “Cabaret the material, well, intimately. Part I is respectInspired by David Lynch,” it also includes comful without major changes to the text; though edy, aerial arts, music, and some damn fine one or two of the younger actors might trade prizes. Columbia City Theater, 4916 Rainier Ave. some of that respect for a tad more passion. S., 722-3009, blacklodgeburlesque.com. $15 (VIP Invest emotionally now, before things get super-weird. table $100). 8:30 & 10:30 p.m. Fri., Aug. 29. Sure, Millennium Approaches enjoys shared hallucinaA CHORUS LINE Marvin Hamlisch’s iconic backstage tions, ghostly relations, and an erection-inspiring heavmusical, with an all-star local cast. 5th Avenue enly visitation, but it can’t compete with the fantastical Theatre, 308 Fifth Ave., 625-1900, 5thavenue.org. theatricality or religious-philosophical strangeness of $29 and up. Previews begin Sept. 3, opens Sept. Part II, Perestroika. (Angel orgasms fuel creation, for starters.) Expect more blood, both figurative and literal. 11. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & Prepare! STEVEN GUTTIERREZ Cornish Playhouse, 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Sept. 28. HOUSE OF INK Improv in the style of the master of Seattle Center, 441-7178. $25 and up. Millennium film suspense. Unexpected Productions’ Market Approaches runs through Sept. 21; Perestroika, runs Sept. 3–21. See intiman.org for complete schedule. Theater, 1428 Post Alley, unexpectedproductions.org. BALCONIES With its huge cast and lofty ambitions to $5–$7. Opens Aug. 29. 10 p.m. Fri.–Sat. Ends Oct. 4. LIVE! PERFORMANCE! MASH UP! theater lampoon not only the gaming industry, but also celebsimple’s two-night performance omnibus, with rity, politics, and religious cults, Scotto Moore’s new Waxie Moon, Jennifer Jasper, and plenty more. comedy almost bites off more than it can chew. On ACT Theatre, 700 Union St., 292-7676, acttheatre. a pair of adjoining condo balconies are two competorg. $10–$20. 8 p.m. Wed., Sept. 3–Thurs., Sept. 4. ing bashes: one a costume party to celebrate a new video game called Sparkle Joe (Boice) is tempted Dungeon 5: Assassins by the sulfurous Cohn of Glitter; the other a (Leggett). U.S. Senate fundraising cocktail event hosted by the candidate’s daughter. Competing agendas are compounded by the fact that much of the would-be senator’s support comes from a shady, controlling, unnamed church. The satire is slow to get underway, and the show is too long; that said, as both playwright and director here, Moore has a gift for setting up a great joke, then riffing on it; and by its conclusion, the farce finally delivers on its THE GREAT SOUL OF UZBEKISTAN Hear tales promise. Katherine Karaus is warm and winning as from Tashkent as The Seagull Project became the Anna-lise, the condo owner whose mother’s political first American theater troupe to perform there, in ambitions may be her undoing. Drew Highlands is the April. ACT Theatre, 700 Union St., 292-7676, nerdy neighbor Cameron, who’s too timid to say hello acttheatre.org. $10–$15. 7 p.m. Tues., Sept. 2. until the night of their rival parties. The supporting cast is large and variable, one reason Balconies has CURRENT RUNS difficulty maintaining momentum. Rather than editANGELS IN AMERICA Decades of critical praise, ing out the conversational pauses, Moore ought to often laced with superlatives, have thoroughly have edited his own script. KEVIN PHINNEY Annex schooled theatergoers on the intellectual and spiritual Theatre, 1100 E. Pike St., 728-0933, annextheatre. vastness of Tony Kushner’s ginormous two-part epic org. $5–$20. 8 p.m. Thurs.–Sat. Ends Aug. 30. BLACK COMEDY Peter Shaffer’s one-act is literabout politics and AIDS during the ’80s, first staged ally titled: it’s set during a power outage. Erickson in 1993–94. But with all the gushing over the cerebral, Theatre, 1524 Harvard Ave., 800-838-3006, strawshop. transcendent, era-defining, every-award-winning blahorg. $18–$36. 8 p.m. Thurs.–Sat. Ends Sept. 20. blah-blah, it can be forgotten that Part I, Millennium BRAINSTORM One word launches a whole show Approaches, is also a taut, absorbing story with aching, flawed characters you’ll both feel for and laugh at. from Improv Anonymous. Unexpected Productions’ For the uninitiated, infected Prior Walter (Adam Standley) Market Theater, 1428 Post Alley, unexpectedproducfears losing squeamish lover Louis (Quinn Franzen). tions.org. $5–$7. 8:30 p.m. Thurs. Ends Sept. 25. CAUGHT ONE-HANDED Noah Duffy’s solo comedy Mormon Joe (Ty Boice) hides his true desires, about growing up gay, fundamentalist, and horny. while his unhinged wife Harper (Alex Highsmith) Annex Theatre, 1100 E. Pike St., annextheatre. escapes through Valium-coated dreams. Closeted Republican and real-life historical villain Roy Cohn B Y G AV I N B O R C H E R T (a wonderfully smug Charles Leggett) loses his grip Send events to stage@seattleweekly.com, to sickness after a lifetime of strong-arming. It’s dance@seattleweekly.com, Reagan’s “Morning in America,” but these folks are or classical@seattleweekly.com sick—or worse, lost. Sex, death, and lies have colSee seattleweekly.com for full listings. lided and sent ’em sprawling. No place for them at

Stage

CHRIS BENNION

THE BEACH BOYS SAT | AUG 30 | 7PM

GRAMMY NOMINATED

BARENAKED LADIES THUR | SEP 4 | 7PM

2014 AMERICAN COMEDY AWARD

KATHLEEN MADIGAN SUN | SEP 14 | 8PM

COUNTRY ICON

TRACE ADKINS SUN | SEP 21 | 7PM

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

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SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

•

AMERICA’S BAND

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

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

Author Events

(9/3) Rick Perlstein Belief in America, From Nixon to Reagan

T.V. REED The author of the new biography Robert

(9/4) Paul Roberts Anchoring American Impulses

EKLY

(9/5) Rowan Jacobsen and Clare Barboza with Langdon Cook The Apples You Never Knew About

MUSIC

EV EN T S

(9/6) Safe Utility Meters Alliance-NW: ‘Take Back Your Power’ (9/6) TEDxRainierSalon Cultures of Community (9/8) Seattle Parks Foundation: Thomas Herrera-Mishler Revitalization of Olmsted

HA P P Y H O U R

(9/9) Seattle CityClub: Youth Civic Education Awards TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

WWW.TOWNHALLSEATTLE.ORG **SOLD OUT** (9/9) Nick Bostrom The Future of Artificial Intelligence

EVENTS NEWSLETTER

**SOLD OUT** (9/9) Randall Munroe OBERT SKYE Answering ‘What If?’

MONDAY, SEPTEMBER 22 AT 6:30PM

(9/10) Health Matters KATFISH (HENRY HOLT) Education’s Children's Role inauthor Public and illustrator of the Creature from My Closet series and the Health bestselling children's fantasy adventure series Leven Thumps and the Pillage SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

Cantwell and the Literary Left: A Northwest Writer Reworks American Fiction joins Spokane writer Jess Walter (The Zero) in a discussion of Cantwell’s life and newly reissued novel Land of Plenty. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m. Wed., Aug. 27. BRENT WEEKS He reads from his new action-fantasy tome The Broken Eye (Lightbringer). University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Aug. 27. INA ZAJAC Her new novel Please, Pretty Lights follows its heroine through the Seattle music scene. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Aug. 27. DARYL BROWN Son of the late R&B legend (subject of the new biopic Get On Up), he’ll discuss his new My Father the Godfather. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 6 p.m. Thurs., Aug. 28. JACK STRAW WRITERS ANTHOLOGY Contributors including Michelle Penaloza, Loreen Lilyn Lee, Susan V. Meyers, and Claudia Castro will share their work. University Book Store, 7 p.m. Thurs., Aug. 28. KIRBY LARSON Her novel Dash concerns a young Japanese-American girl interned during WWII and the pet she’s forced to leave behind. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 7 p.m. Thurs., Aug. 28. SUSAN CARR The local voice teacher and writer shares from The Ballad of Desiree and performs songs by Joni Mitchell, Judy Collins, Linda Ronstadt, and Gordon Lightfoot. University Book Store, 7 p.m. Fri., Aug. 29. CHRISTIAN WINN Naked Me collects new stories from the Boise writer. Elliott Bay, 7 p.m. Fri., Aug. 29. SARA BENINCASA In town for Bumbershoot, the comedienne reads from her new YA novel Great. University Book Store, 6 p.m. Sat., Aug. 30. LOUISE PENNY The Long Way Home continues her popular Chief Inspector Armand Gamache mystery novels. Third Place, 3 p.m. Sun., Aug. 31. RICK PERLSTEIN SEE THE PICK LIST, PAGE 34. • MICHAEL PITRE A veteran of the Iraq War, his debut novel is Fives and Twenty Fives. Elliott Bay, 7 p.m. Wed., Sept. 3. JOHN SCALZI A horrible virus lays waste to mankind in his sci-fi thriller Lock In. University Book Store, 7 p.m. Wed., Sept. 3. LOIS BRANDT Her children’s book Maddi’s Fridge deals with hunger and sharing. University Book Store (Bellevue), 6 p.m. Thurs., Sept. 4. • JIM WOODRING In his new anthology JIM (Fantagraphics, $29.99), the local artist reaches back over 30 years into the phantasmagoric trove of his imagination, first manifested on paper with a 12-page zine in 1982. His is a world of everyday hallucination and unexpected transmogrification. Monsters are always at hand, woven into life’s ordinary texture (if anything can be called ordinary in Woodring’s art). Much of JIM riffs on the early reading matter of his youth, including comic books, ads, and Highlights magazine. Certain threads of autobiography are present, as we see a young artist taking classes and gathering material, gradually gaining confidence in his craft. Even so, disgust-at himself and the world in general-and self-doubt are pervasive. At one point in his misadventures, cartoon avatar Jim despairs, “I’m just a bloated bladder pulsing with appetites and shallow schemes.” Animals, including that famously quizzical, lopsided frog, are no help when they speak to cartoon Jim, who seems perpetually bedeviled, beleaguered, and forlorn. His creator, of course, is more in command of the ever-mutable situation. BRIAN MILLER University Book Store, 7 p.m. Thurs., Sept. 4. PAUL ROBERTS He’ll discuss his The Impulse Society: America in the Age of Instant Gratification. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m Thurs., Sept. 4.

P R OMO TION S

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MEET THE AUTHORS

arts&culture» Literary and Visual Arts

trilogy, comes a story about a boy trying to set things right with the help of

Katfish, a mashup of Katniss from The Hunger Games and the Little Mermaid. (9/11) George Marshall SIGNING LINE TICKETS REQUIRED The Psychology of Climate Change

BRIAN HART

(9/11) Vikram Chandra THURSDAY, SEPTEMBER 25 AT 7PM The Art of Coding

THE BULLY OF ORDER (HARPER)

The Wes Anderson Collection is the first in-depth overview of Anderson’s (9/12) ‘Yes Magazine!’: filmography, guidingHartmann readers through his life and career. Interviews and images Thom are woven together in a meticulously designed book that captures the spirit of his Money, Politics, and Saving films: melancholy and playful, wise and childish--and thoroughly original.

Our Democracy

DANIELLE (9/13) Association for India’sWALKER Development: MONDAY, SEPTEMBER 29 AT 7PM Articulate Ability

AGAINST ALL GRAIN : MEALS MADE SIMPLE

Beloved food blogger and New York Times bestselling author Danielle Walker (9/15) Ruth DeFries is back with her new cookbook, Meals Made Simple--a collection of over Humanity’s Sustainable a hundred new recipes for gluten-free, dairy-free, and Paleo-friendly easy weeknight meals. Future

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Museums & Galleries 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 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. 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. 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. DECO JAPAN This is a somewhat unusual traveling show in that it comes from a single private collection: that of Florida’s Robert and Mary Levenson. The specificity and period (1920–1945) are also unusual. Among the roughly 200 items on view—prints, furniture, jewelry, etc.—we won’t be seeing the usual quaint cherry-blossom references to Japan’s hermetic past. The country opened itself late, at gunpoint, to the West, and industrialized quite rapidly. By the ’20s, there was in the big cities a full awareness of Hollywood movies, European fashions, and streamlined design trends. Even if women didn’t vote, they knew about Louise Brooks and her fellow flappers. We may think that, particularly during the ’30s, the country was concerned with militarism and colonial expansion, but these objects reveal the leisure time and sometime frivolity of the period. The luxe life meant imitating the West to a degree, yet there are also many traces of Japan’s ancient culture within these modern accessories. BRIAN MILLER Seattle Asian Art Museum, ends Oct. 19. FEMKE HIEMSTRA & CASEY WELDON Hiemstra paints on found objects in Warten am Waldrand. Weldon tweaks nature scenes with bright, artificial colors in Novel Relic. Roq La Rue Gallery, 532 First Ave. S., 374-8977, roqlarue.com. Ends Sept. 27. ETSUKO ICHIKAWA AND YUKIYO KAWANO One Thousand Questions—From Hiroshima to Hanford is a joint exhibition examining the nuclear history of Japan and Washington State. Columbia City Gallery, 4864 Rainier Ave. S., columbiacitygallery.com, 760-9843. Ends Sept. 21.

•

THE • MODERNISM IN THE PACIFIC NORTHWEST: Summer is usually MYTHIC AND THE MYSTICAL

the season for tourist-friendly blockbuster shows at SAM, like Japanese fashion last year, traveling from other institutions. This one is entirely local, celebrating the native quartet of Mark Tobey, Morris Graves, Kenneth Callahan, and Guy Anderson. How did the Northwest become a school? Isolation, for one thing, since prewar Seattle was remote and provincial when the four got their start. Institutions also played a part: Cornish, the UW, and especially the brand-new SAM helped form a community of artists and collectors. (SAM founder Richard Fuller was particularly instrumental, employing and buying from the Big Four.) Seattle had a little bit of money then, but it was dowdy old money, two generations removed from the Denny party. What Tobey and company brought to national attention during the war years and after was a fresh regional awareness and reverence for place. This meant not simple landscapes, but a deeper appreciation for the spiritual aspect of nature, traces of Native American culture, and currents from across the Pacific. Many of the paintings here, publicly exhibited for the first time, come from the 2009 bequest of Marshall and Helen Hatch. They, like Fuller and the Wrights, were important collectors and patrons of the Big Four during the postwar years. What they preserved can now be a fresh discovery to all new Seattle residents unfamiliar with the Northwest School. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 6543121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends. Sept. 7. MUGHAL PAINTING: POWER AND PIETY Some 300 years of Indian art, from the 16th century to English colonial rule of the subcontinent, goes on display. Seattle Asian Art Museum, Ends Oct. 19. KEN PRICE The recently deceased L.A. artist created colorful cityscapes of his home town, often to accompany the poetry collections of his pal Charles Bukowski. The show is called Inside/Outside. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart. org. $6-$10. 11 a.m.-9 p.m. Thurs. & Fri. 11 a.m.-4 p.m. Wed., Sat. & Sun. Through Sept 7.

•

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

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

•

» Film

Opening ThisWeek

The Activ looks for a path through the closing ice.

The Congress RUNS FRI., AUG. 29–THURS., SEPT. 4 AT SIFF CINEMA UPTOWN. NOT RATED. 122 MINUTES.

HASLUND FILMS

RUNS FRI., AUG. 29–THURS., SEPT. 4 AT NORTHWEST FILM FORUM. NOT RATED. 90 MINUTES.

OPENS FRI., AUG. 29 AT VARSITY. RATED R. 95 MINUTES.

ice. The explorers pass by, heading home to snug Copenhagen, and you can almost imagine the sad bear thinking, “Take me with you!” BRIAN MILLER

PA Five Star Life OPENS FRI., AUG. 29 AT SEVEN GABLES. NOT RATED. 85 MINUTES.

Irene is keen at finding flaws and reluctant to commit to permanence. In that sense, her job couldn’t be more ideal: secret hotel inspector. She travels to first-class resorts around the world, sampling the food, checking the dust on the mantels, rating the efficiency of the staff. Already deep into a stylish middle age, Irene is aware that her status is unusual and perhaps unsustainable. She knows this not so much because she feels great angst about it—by the looks of things, she doesn’t—but because other people keep implying that her nomadic life

Irene (Buy) samples another suite.

must be unfulfilling in some essential way. Irene, played by Margherita Buy, is the protagonist of A Five Star Life, directed and co-written by Maria Sole Tognazzi. (The Italian title is Viaggio Sole, so something like Solo Traveler would’ve been a better English title.) With this setup, you can see the movie’s conventional arc shape up: a midlife crisis; epiphanies involving children and a new man; and a last-act expression of growing and learning. But Tognazzi and Buy aren’t having it. In Buy’s splendidly neutral performance, Irene does do some soul-searching, but she will not fit into the arthouse formula; Tognazzi invents situations that seem to promise a cozy solution, and then casually sidesteps them. Irene’s sister (Fabrizia Sacchi), for instance, is married with kids, but

Adrift in America: Gyllenhaal, Fassbender, and Gleeson.

Michael Fassbender is in there somewhere. The Irish-German star of Shame and the X-Men movies spends most of this unlikely band comedy inside an oversized papier-mâché head, which ought to make Frank the world’s worst musical frontman. Instead he inspires fierce, cultish devotion among his followers—which is to say his band, the Soronprfbs, for they may have no actual fans. Part of the suspense here for viewers is when or if Frank will ever remove his fake noggin. For new keyboard player Jon (Domhnall Gleeson), the suspense is whether Frank’s suspicious acolytes will ever truly accept him; and further, if Frank will ever acknowledge Jon as a musician likewise possessing genuine talent. This is a fundamentally sad film, yet one full of slapstick, silliness, and laughter. Frank is essentially unknowable, so his band willingly accepts every humiliation and ridiculous challenge to earn—or at least guess at—his good favor. (The most hilariously protective of Frank, and scornful of Jon, is Maggie Gyllenhaal’s fierce Clara—a kind of muse and ninja.) Is Frank cult leader or charlatan, genius or insane? It’s hard to decide, since he never breaks character—or can’t, really, given the mask. (“I have a medical condition,” he insists at a border crossing; otherwise, like Jon, we’re left to wonder why he wears it.) There’s a small grain of truth here: English journalist Jon Ronson (The Men Who Stare at Goats) really did play in a band led by a guy who wore a big fake Frank head. However, he and director Lenny Abrahamson have greatly embellished the tale, which now makes you think of any number of outsider artist-savants and the

SEATTLE WE EKLY • AUG UST 27 — SEP TE MBER 2, 2014

I was told there would be more penguins . . . well, not actually. The modern-day explorers in this Danish doc are actually headed north, not to Antarctica, though it must be said that Werner Herzog’s far superior Encounters at the End of the World casts a long antipodal shadow here. Another problem? Not enough snow; nor are there any maps to show where our research schooner is headed, which turns out to be the northeast coast of Greenland, not the thawing Northwest Passage. Polar bears are tantalizingly promised, but elusive. So, short of adventure, what is this voyage about? In English and Danish, the ship’s scientists and artists discuss their different methods. One side, in director Daniel Dencik’s dialectic scheme, is supposed to illuminate the other. Sorry to say, I don’t see it. The scientists are a pragmatic lot: drilling core samples of permafrost; dredging up new species of sea-dwelling worms; searching for remnants of Stone Age encampments during Greenland’s long-ago warm spell (which could well be returning, as several note). The artists take photos and make sketches, but they’re too self-conscious in their roles. You get the sense that all of them have seen Encounters and—when the camera turns to them—are anxiously worrying, “What would Werner say?” Both parties speak often of evolution and adaptation, of the geologic change embedded in the fossils, ice, and seawater below. Given such silence, the absence of ringing cell phones (though not of the ship’s stereo system), and the grandeur of the fjords, the talk inevitably turns philosophical. Even if Dencik’s conceit is somewhat forced, it has the effect of concentrating the mind on cosmic matters—perhaps like the campfire musings of those ancient Stone Age settlers. Finally we see a polar bear! Only instead of a majestic killer, he’s reduced to burglarizing fishing shacks, perhaps because the changing environment has already reduced his natural supply of seals and

PFrank

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Expedition to the End of the World

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Based on a 1971 sci-fi novel by Stanislaw Lem, this movie begins intriguingly as Hollywood satire. Robin Wright plays Robin Wright, an actress on the wrong side of 40 with two kids to support. The roles aren’t there, so her agent (a very warm, welcome Harvey Keitel) gets her an unusual audition with a studio boss (Danny Huston, ever charming and malevolent). Basically the deal is this, he explains: We get your past and future likeness to manipulate however we want in the computer—but no porn!—now and forever, so as to not compete with yourself. “I need Buttercup,” he says. “I don’t need you.” These are the best, funniest scenes to The Congress, though not the most eye-popping ones, which soon follow. The movie’s directed by Ari Folman, whose animated Waltz With Bashir (2009) recounted his experiences in the Israeli Army when it invaded Lebanon in the ’80s. This is a very different, futuristic kettle of fish, rendered in both live-action and animation to mixed results. War, as veterans will tell you, can be a surreal experience—oddly well suited to the animator’s fickle pen. But Hollywood has always been about magic and shapeshifting: We expect to be tricked and enchanted. Thus, 20 years later, when Robin drives out to a fan-filled entertainment convention center in the desert (perhaps to sign a fresh contract for a new product), then doses herself with a certain drug, things get delightfully but unsurprisingly strange. Suddenly the sand turns to waves and cars morph into smiling creatures that comport like dolphins. Robin’s hotel is a pill-popping psychotopia, a kind of phantasmagoric Kafka theme park where paying guests get to be their favorite celebrity. Folman packs the movie with plenty of familiar faces, though he avoids the names: Tom Cruise, Marilyn Monroe, Beyoncé, Michael Jackson, Grace Jones, etc. Yet in this Disneyland-on-acid milieu, Robin finds a fascist edge—entertainment as mind control, a means of subjugating the populace. Uncle Walt has become a dictator. This is where Lem, a Pole who spent most of his life behind the Iron Curtain, proves a hard fit with today’s Hollywood. As Folman lurches his story (and Robin) forward by another seven decades, his parable grows ever more unwieldy. Jon Hamm and Paul Giamatti show up in supporting roles, but they get lost in the shifts from Kansas to Oz and back. (When Robin complains, “I just wanna get out of this hallucination,” we share the feeling.) The Congress is at its sentimental weakest when it comes to Robin’s son (Kodi Smit-McPhee from The Road ), who’s going blind and deaf. (This allows Wright to shed ever more tears, apparently written into her contract.) Its second-half strength is the animation, richly colored but flat, like Betty Boop, early Disney, or Looney Tunes—Hanna-Barbera meets Matisse. Forty years ago, this might’ve been considered a trip movie, like Allegro non troppo. Today the debates about free will versus chemical mind control feel dated and a little too Matrix-y. Finally, nobody should worry about the fate of Robin Wright. Thanks to House of Cards, she’s doing just fine in her career—without benefit of the computer. BRIAN MILLER

if this example brings Irene a pang about not being a mother, she doesn’t sweat it too much. Irene’s ex-beau (Stefano Accorsi), still a friend and currently going through his own midlife uncertainty, seems a possible option for Irene, or then again maybe not. Even a pleasantly flirtatious encounter with a stranger at a Marrakesh hotel ends without melodrama—or even drama. In short, Tognazzi is doing something subtly heroic here. She delivers the requisite eye candy, but denies us the tidy resolution. Instead she seems to ask: Who are we to decide that Irene needs to “grow” and “learn”? Irene may well be lonely at times, but so is everybody else at times. Is it just possible that she doesn’t need to have children or take a husband in order to be all right? Every ounce of our movie-watching history tells us resolution needs to happen—but why? A great scene at the very end of Five Star Life flirts with the possibility it’ll fall into the very cliché Tognazzi has been avoiding all along, but not to worry: This movie is smarter than that. ROBERT HORTON

» CONTINUED ON PAGE 38 37

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arts&culture» Film » FROM PAGE 37 thrall they exert over their insecure followers. Frank is equally Jon’s story: from aimless postcollegiate songwriter to eager bandmate who begins promoting the Soronprfbs on YouTube and Twitter, which eventually leads to an invitation to the South by Southwest music festival in Texas. Jon’s ambition, checked at every turn by Clara, turns out to be not such a good fit with the group, which may not truly want to be heard. (Their songs are by Stephen Rennicks.) Fine, you might ask, but what about poor Fassbender? How can he even act inside that blank orb? Well, by using his voice (he sings a bit like Ian Curtis), playing passable guitar, pratfalls, and passing out notes. (“Welcoming smile,” reads one.) It’s a stunt, but it’s an effective stunt: He’s withholding from us what Frank withholds from his band. The less he shows, maybe the more we like him. And conversely, the envious, ingenuous Jon becomes less attractive as the movie goes along. Perhaps the music snobs are right in the end: You ruin something good by sharing it. BRIAN MILLER

Moebius RUNS FRI., AUG. 29–THURS., SEPT. 4 AT GRAND ILLUSION. NOT RATED. 89 MINUTES.

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KIM KI-DUK FILM

STARTS FRIDAY, AUGUST 29

The father (Cho) of Kim’s unhappy clan.

Ordinarily, one might expect that a total absence of dialogue would be the most distinctive element of a movie made in the 21st century. Rest assured this is not what you will be talking about should you venture out to see Kim Ki-duk’s Moebius, a film that blithely dallies in multiple outrages and borderline-unbearable horrors. The South Korean filmmaker has proved himself adept at projects both delicate (Spring, Summer, Fall, Winter . . . and Spring) and wild (Pieta), and in either mode he can seem like a scientist demonstrating a preordained theory. His ideas are sharp, but the execution sometimes sterile. The skill is still on display in Moebius, even if the film’s watchability is a distinct issue. It opens with a jealous wife (Lee Eun-woo) attempting to castrate her philandering husband (Cho Jae-hyun) while he sleeps; unsuccessful at this effort, she turns the knife on her teenage son (Seo Young-ju). (The characters are not given names.) The father determines to undergo selfmutilation in order to provide his son with a replacement organ; meanwhile the son undergoes bullying and begins an ill-fated fixation on the woman with whom his father was having an affair. (She’s also played by Lee, a casting decision that doubles the creepiness.) From there, it’s only a short hop to genital-transplant surgery, rape, incest, and—just in case anybody might be in danger of losing the thread—more castration. All of which would be impossible if

Moebius were played as straight drama. But Kim gives it an undercurrent of wacko ludicrousness, although the actors are completely straight-faced. In the course of all this, Kim swings at some provocative notions about the subject of family horror and the nature of power. I think that material struggles to find traction against the rampant ugliness on display—but the wordlessness is interesting. It feels like an affectation in the early reels, a labored device. At some point it becomes haunting, as though we’re watching these fragments of scenes—having somehow missed the dialogue—while the encounters have been boiled down to the brutal business of staring, slapping, or worse. The people do make sounds, but only at a bestial level: grunts, screams, groans. That’s a soundtrack to an intriguing experiment, but here I suspect it’ll get lost in the film’s bloody carnival. ROBERT HORTON

The November Man OPENS WED., AUG. 27 AT SUNDANCE AND OTHER THEATERS. RATED R. 108 MINUTES.

Here we are in Berlin and Belgrade and Lausanne, and there’s Pierce Brosnan running through the streets. We have Russians, secret interrogation chambers, and terrorists. And microfilm! No, wait, that can’t be right—despite the trappings of Cold War espionage, this is a 21st-century movie. So it’s not microfilm, but something downloaded onto a thumb drive, which is much less fun to say than “microfilm.” The November Man is strong evidence that sometimes a genre needs no excuses. This is not a great movie, nor perhaps even a particularly good one, but as the above litany of component parts suggests, it’s a straight-up spy picture with distinct attractions. One of those is Brosnan, who makes a much better James Bond now than he did when he actually carried the license to kill. He plays Peter Devereaux, a retired secret agent much surprised when his former apprentice (Luke Bracey) and old boss (bullet-headed Bill Smitrovich) get caught up in a botched rescue mission. It’s all connected to a corrupt Russian politician and Chechen rebels, tied together with an enjoyably wild conspiracy theory. The mystery woman, because there must be one, is a social worker (Olga Kurylenko, recently seen twirling in the nonsense of To the Wonder); there’s also a stonecold female assassin, played by gymnast Amila Terzimehic, who doesn’t seem to be very good at her job but certainly looks cool doing it. Brosnan does not spend time here bedding down with women young enough to be his progeny—and while somewhere Roger Moore is scowling, this discretion suits the movie’s wintry attitude. The political intrigue distinguishes it from a Liam Neeson vehicle, even if the story line actually pulls a chapter from Taken in its late going. Hot-and-cold director Roger Donaldson (Thirteen Days) is able to keep things trundling along here, but he can’t disguise the mostly terrible dialogue. A few genuinely shocking moments notwithstanding (Devereaux is

PThe Trip to Italy

willing to get nasty when he needs to), your tolerance for November Man will rely almost entirely on a pre-existing fondness for spy movies. They are now sufficiently rare enough that this film’s very lack of novelty is an attribute—it’s neither better nor worse than the average spy flick, and those terms are agreeable to this fan of the genre. ROBERT HORTON

OPENS FRI., AUG. 29 AT SUNDANCE CINEMAS AND SIFF CINEMA UPTOWN. NOT RATED. 108 MINUTES.

Song of the New Earth RUNS FRI., AUG. 29–THURS., SEPT. 4 AT SIFF CINEMA UPTOWN. NOT RATED. 89 MINUTES.

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29,000 FANS AND COUNTING

Will The Trip to America soon follow? Coogan (left) and Brydon.

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Now I grant you that newbies may find less to appreciate in the dueling Roger Moore impressions and crushed hopes of middle age. This is not a comedy for the under-40 set. “Do you think everything’s melancholy when you get to a certain age?” asks Rob. Yes, and visits to Pompeii and a Neapolitan ossuary—where Steve quotes Hamlet’s “Where be your gibes now?” to Yorick’s skull—are downright somber. Still, the gorgeous locations and food may inspire happy travels of your own. Go while you’ve got time remaining. BRIAN MILLER E

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Maybe it’s just me, but the therapeutic efficacy of music must have more convincing advocates than “sound shaman” Tom Kenyon. Subject of this doc by Ward Serrill (The Heart of the Game), Kenyon travels the hotel-conference-room circuit here and in Europe leading meditative seminars—drawing audiences to hear him chant in an odd, throaty falsetto (that often suggests Hermione Gingold) accompanied by finger cymbals, sonorous bowls, and the like. Kenyon arrived at this calling after years as a fairly promiscuous collector of spiritual influences (statuary from Ganesh to Our Lady of Guadalupe adorns his Orcas Island yard) and epiphanies, here rendered in off-putting animated sequences by Drew Christie: among several others, there’s an hourslong spontaneous teenage trance in a cow pasture; visions of angels on the University of North Carolina at Greensboro campus; and, most momentously, a visitation from androgynous Venusians, the Hathors. (Their insights Kenyon has transmitted and published in The Hathor Material.) Though a perfectly nice man, Kenyon neither says nor does anything in Song of the New Earth to persuade me he warrants this prettily photographed hagiography; it’s by acolytes for acolytes. There’s no reason to doubt his sincerity (even when his response to an offcamera voice asking what he says to those who think all this is nuts is an insufferably glib “I agree with them!”), or the sincerity of those who benefit from his workshops. But there’s very much reason to doubt that anyone not already a Kenyon devotee will find much to interest them here. GAVIN BORCHERT

Yes, you would like a second helping. Director Michael Winterbottom and his two stars, Steve Coogan and Rob Brydon, aren’t really asking— they’re insisting you come along on their latest culinary adventure. First was the improv-laden BBC TV series, The Trip, condensed into a 2010 road-trip movie about two incompetent gourmands in the English Lake District. Another TV series followed; and hence their latest adventure in northern Italy, which faithfully follows formula: eat, kvetch, impersonate. (Inevitably, I suppose, their third trip will be to America.) There aren’t many surprises here (and I’m a fan of the movie), but maybe in fine dining you don’t want surprises—certainly not at the four-star joints they’re visiting, not at these prices . . . well, the prices we’d pay if we followed their itinerary, which is awfully tempting: from Rome to Capri and the Amalfi coast. Part of the joke here is that Steve and Rob are both working-class blokes who’ll never be entirely comfortable with the posh life. (Coogan’s bigger in the U.S. and a huge star in the UK thanks to his Alan Partridge character.) Coogan and Brydon are playing caricatures of themselves (who also co-starred in Winterbottom’s 2005 Tristram Shandy), not quite frenemies and not quite BFFs: two guys anxious about their personal and professional standing at midlife. Joking about the classical past and the stars of Hollywood’s golden age, they constantly worry how they’ll rate against the greats. Though it didn’t occur to me when I saw the movie during SIFF, their constant nattering about the permanence of art versus the fleeting pleasures of the now makes them fellow travellers with Toni Servillo in The Great Beauty. He could almost be their tour guide, and they need one.

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arts&culture» Film Local & Repertory BIG LEBOWSKI The Coen brothers’ 1998 stoner• THEThe Big Lebowski is Raymond Chandler filtered

noir 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. With Tara Reid, John Turturro, John Goodman, and Steve Buscemi. Julianne Moore joins Bridges in a Busby Berkeley-style bowling fantasy that sums up the movie’s sweet, silly spirit. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6-$8. 9:30 p.m. Fri.-Wed. E.T. THE EXTRA-TERRESTRIAL SEE THE PICK LIST, PAGE 34. FREMONT OUTDOOR CINEMA Author of Jurassic Park, the late writer Michael Crichton infamously tutored President George W. Bush on the supposed fallacy of global warming. He was no scientist, but the doctor-turned-novelist, from The Andromeda Strain forward, knew how to mix popular science into exceptionally good potboiler fiction. He was a master of the in-flight novel, and Jurassic Park is one of his very best works. Steven Spielberg’s 1993 adaptation benefits from equally from the then-new magic of CGI and our old love of dinosaurs running amok. While Crichton warns us about the dangers of genetic engineering—in rather static debates among scientists Sam Neill, Laura Dern, and Jeff Goldblum—Spielberg keeps things moving at a wonderful pace. As in Jaws, whose DNA is strongly felt here, the hunters become the hunted. (PG13) B.R.M. 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com. $30 series, $5 individual (21 and over). Movies start at dusk. Sat. MOONLIGHT CINEMA Vin Diesel, Dwayne Johnson, Michelle Rodriguez, and the late Paul Walker star in last year’s Fast & Furious 6, likely to be the penultimate entry in the long-running hot-rod franchise. (R) Redhook Ale Brewery, 14300 N.E. 145th St., Woodinville, 425-420-1113, redhook.com. $5. Outdoor movie screens at dusk. Thurs. Aug. 28. MOVIES AT MAGNUSON PARK Who you gonna call? I think we all know the answer: the top-grossing film of 1984, Ghostbusters! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy, which inspired only one so-so sequel and a surprising number of video games. It was, of course, a simpler time back then, when special effects weren’t quite so seamless, and the greatest threat facing New York City was the Stay Puft Marshmallow Man. The movie was a total star turn for Murray, playing the loosest and least professional academic on campus. Using Aykroyd as his uptight foil, with well-timed sideline zingers from the wonky Ramis, Murray is freed to embrace his inner, off-kilter leading man—he’s like Cary Grant on mescaline, utterly assured in everything he says, even when nothing he says makes the slightest bit of sense. (PG) B.R.M. Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com. $5. Thursdays. 7 p.m. 1 REEL FILM FESTIVAL SEE PAGE 27. ROAD TO NINJA: NARUTO THE MOVIE Dubbed into English, this recent Japanese anime concerns magical masked shinobi and the young hero Naruto, blessed/ cursed with special powers. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $12. 6:30 p.m. Fri.-Thurs.

• •

SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

•

Ongoing

• ALIVE INSIDE 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 pharmaceuticalindustrial 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. If Alive Inside helps change the culture of treatment for the cognitively impaired, that would be a very good thing. (NR) ROBERT HORTON SIFF Cinema Uptown

BEGIN AGAIN As with his 2007 hit Once, writer/direc-

tor John Carney again presents such an optimistic story, with all its dreamers, losers, opportunists—and original score—this time framed in Manhattan instead of Dublin. Keira Knightley is Greta, faithful girlfriend to up-and-coming rocker Dave Kohl (Adam Levine) and an aspiring songwriter herself. (Knightley performs her own songs, which bear some resemblance to Aimee Mann’s.) After Kohl scores a record deal, the pair moves to Manhattan, where he’s quickly seduced by the industry’s trappings. When Greta turns to fellow busker Steve (James Corden), he whisks her out to an open-mike night in the Village, where she’s discovered by down-on-his luck record exec Dan (Mark Ruffalo). Obviously we expect these two to connect, just as in Once. That film worked for me (and many others) because I could buy the central couple played by Glen Hansard and Markéta Irglová (both of them real musicians). Begin Again feels more like something purchased in a SoHo boutique. (R) GWENDOLYN ELLIOTT Sundance 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, and Linklater’s daughter Lorelei is distinctive as Mason’s older sister. As we reach the final stages, there’s definitely a sense of rounding off the story, and a few appropriate nods toward lessons learned—the movie’s not as shapeless as it might seem. (R) R.H. Sundance, Harvard Exit, Lincoln Square, Ark Lodge, Kirkland Parkplace, Lynwood (Bainbridge) CALVARY This is a bumpy, uneven picture full of colorful digressions—is that simply to say it’s Irish?—and narrative dead-ends. Its writer and director is John Michael McDonagh, whose The Guard was no less unwieldy (though more comical). 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. (R) B.R.M. Sundance, Harvard Exit CHEF There is nothing wrong with food porn or the happy camaraderie of a restaurant kitchen. Nor can I fault writer/director/star Jon Favreau for making a midlifecrisis movie that lets slip his Hollywood complaints. The commercial pressures in directing formulaic blockbusters like Iron Man must surely be great, and film critics are surely all assholes. Chef is the simple though overlong story of a chef getting his culinary and family mojo back, and my only real criticism—apart from the constant Twitter plugs—is that absolutely nothing stands in the way of that progress for chef Carl (Favreau). Dustin Hoffman barely registers as a villain (as Carl’s gently greedy “play the hits” boss, who goads him into quitting); Robert Downey Jr., as the prior ex of Carl’s ex (Sofia Vergara), briefly shadows the scene—but no, he’s only there to help. If you like endless scenes of chopping vegetables, salsa montages, and juicy supporting players (John Leguizamo, Bobby Cannavale, Amy Sedaris, Scarlett Johansson), Chef is an entirely agreeable dish. Just expect no salt. (R) B.R.M. Sundance GUARDIANS OF THE GALAXY Give thanks to the Marvel gods for Guardians of the Galaxy. If you’ve ever had to suppress a giggle at the sight of Thor’s mighty hammer, this movie will provide a refreshing palate-cleanser. First, understand that the Guardians of the Galaxy tag is something of a joke here; this is a painfully fallible batch of outer-space quasi-heroes. Their leader is an Earthling, Peter Quill (Lake Stevens native Chris Pratt, from Parks and Recreation, an inspired choice), who calls himself “Star-Lord” even though nobody else does. In order to retrieve a power-

•

A MOST WANTED MAN Directed Anton Corbijn,

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. (R) B.R.M. Ark Lodge THE ONE I LOVE It’s almost impossible to describe the fanciful sci-fi plot here without resorting to significant clues, so let’s 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. Their smooth therapist (Ted Danson) sends them to a weekend retreat that’s worked well for other clients, he says. There, Sophie and Ethan wonder what became of their fun, Lollapalooza-going, X-dropping days. What happened to their kinder, cooler selves? In a very big story twist, writer Justin Lader and director Charlie McDowell cleverly filter that feeling of past/ present discontent through a refracting lens. (Duplass actually gave them the movie’s premise to develop.) 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. (R) B.R.M. Sundance 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. Majestic Bay TO BE TAKEI George Takei has become America’s favorite gay uncle. Closeted during his Star Trek days, now enthusiastically, emphatically out, he’s a terrific subject for Jennifer Kroot’s admiring new documentary. The only problem for them both? Takei has told his story so much since 2005, maybe too often, on Howard Stern and sundry TV talk shows. There isn’t much new to learn here, since Takei has been so effective in selling his brand and commenting on the culture via Twitter. Such irony: After decades of coy silence about his personal affairs, Takei’s late-life outspokenness has left him with little new to say. With his dyed hair and determined 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. (NR) B.R.M. SIFF Cinema Uptown

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ful 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 voicing CGI creatures, are Zoe Saldana, Bradley Cooper, Vin Diesel, and the pro wrestler Dave Bautista.) Director James Gunn (Super) creates the kind of movie in which one scene keeps tipping giddily over into the next. (PG-13) R.H. Majestic Bay, Sundance, Bainbridge, Thornton Place, Kirkland Parkplace, Lincoln Square, Vashon, Ark Lodge, Big Picture, Cinebarre, 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 good-looking and likable leading man, so it’s too bad he’s given an unpersuasive love story with Madame Mallory’s sous-chef (Charlotte Le Bon). Journey is pleasant product, even if it seems as premeditated as a Marvel Comics blockbuster. (PG) R.H. Sundance, Majestic Bay, Bainbridge, Kirkland Parkplace, Cinebarre, others LAND HO! Dr. Mitch is 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 initially seems the guy in need of cheering up, which the earthy, garrulous Mitch makes his mission by taking the two of them to Iceland. 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; the latter cast her loud, colorful cousin, Earl Lynn Nelson (a non-actor), as Mitch; and the Bellevue-based Australian Paul Eenhoorn actor plays his quiet foil. These old 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. What Nelson and Eenhoorn have is genuine Hope and Crosby–style chemistry, which makes the film so charming. (R) B.R.M. Guild 45th, Lincoln Square 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, mad handgun skills, and Formula One-level driving on the fly. 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. (R) B.R.M. Sundance, 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, in her first career misstep (Allen’s fault, not hers), 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. The math doesn’t work. It’s icky. (PG-13) B.R.M. Guild 45th, Bainbridge, Kirkland Parkplace, others

arts&culture» Music

TheWeekAhead

Not since Robyn and Lykke Li burst onto the scene has a Swedish act garnered as much buzz as Gothenburg quartet LITTLE DRAGON, and rightly so. The band, which formed in 1996 but released its self-titled debut only in 2007, mixes sultry electro-jazz, the smooth attitude of club music, and shimmering pop beats into one giant ball of musical energy, most recently heard on Nabuma Rubberband. The album finds lead singer Yukimi Nagano’s seductive coo mesmerizing as usual, especially on the many Prince-inspired slow jams. The band keeps that musical energy high, even when Nagano’s voice is more subdued, with a steady pairing of groovy keys and percussion. Looks like Little Dragon is no longer Sweden’s best-kept secret. With Dam-Funk. The Showbox, 1426 First Ave., 628-3151, showbox presents.com. 9 p.m. $25 adv./$30 DOS. All ages. ACP

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Thursday, August 28

Showcases like this make it hard to give a short answer to the question “What kind of music is it?” INDUSTRIAL REVELATION—SW’s Best Jazz Combo for 2014—makes contemporary jazz accessible by organically blending in elements of hip-hop. Rapper/ producer SPEKULATION often works with live instruments to create a wide palette of sounds ranging from dubstep to classical. Combine these with JULIE C’s hip-hop activism, WIZDUMB’s smooth lyricism, and DIOGENES’ ethereal beatmaking, and this bill is a mix that defies easy answers. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater. com. 8:30 p.m. $8 adv./$10 DOS. MICHAEL F. BERRY

acts to showcase a bit of Northwest life that may well become endangered. Reasonably traditional country acts like the Swearengens are contrasted with the Maldives, a more rock-inflected ensemble. But there’ll be more than enough pedal steel and honky-tonk to go around. With Ole Tinder, Evening Bell, the Ganges River Band. Polson Museum, 1611 Riverside Ave., Hoquiam, Wash., 360-533-5862, horsescutshop.com. Noon. Free. DAVE CANTOR NIN AND SOUNDGARDEN Talk about a one-two punch of intense alt-rock awesomeness. In one corner you have Trent Reznor assuming the guise of his industrial, synth-heavy powerhouse bringing a catalog of songs as deep as it is eclectic. And in the other you have the hometown boys making their triumphant return to the land of their first success while marking the 20th anniversary of their biggest hit, Superunknown. Sure, the two acts aren’t exactly the most logical pairing given their sonic palettes, but with ’90s nostalgia at an all-time high, what the hell, right? Fingers crossed for a Temple of the Dog reunion either way. White River Amphitheater, 40601 Auburn Enumclaw Rd. S.E., Auburn, Wash., 360-825-6200, livenation.com/venues/14577/whiteriver-amphitheatre. 7 p.m. $39 and up. CORBIN REIFF

Friday, August 29

The Brooklyn-based duo of Jessica Larrabee and Andy LaPlant, collectively known as SHE KEEPS BEES, have been described as “the White Stripes in reverse,” meaning she plays guitar and sings while he plays drums, but the idea is true in lineup only, not sound. The music they make is much more indebted to Cat Power and classic soul than to garage rock. Larrabee’s voice is sultry and strong, earning her comparisons to PJ Harvey and Amy Winehouse. The band’s fourth album, Eight Houses, is out September 16, and boasts an appearance from Sharon Van Etten, a fellow Brooklynite, who asked the pair to open several shows for her earlier this year. With Shilpa Ray, Star Meets Sea, Vin Voleur, Hooves and Beak. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazon. com. 9 p.m. $8 adv./$10 DOS. 21 and over. DAVE LAKE

Sunday, August 31 BRAND NEW was releasing emo records when it

wasn’t cool to be emo anymore. Sure, it could be called post-hardcore or “alternative,” but its stirring songs of death and horror fit the label all too well. Still, it’s difficult to align the group precisely with the moody pop-punk of the mid-2000s. Brand New wasn’t writing odes to ex-girlfriends and rants about high-school jocks; they were tapping into the bleak thoughts that most are afraid to consider. Time will tell if the band’s disillusioned disposition will mark it as the Jawbreaker or Sunny Day Real Estate of the aughts, but either way, records like The Devil and God Are Raging Inside Me have found a cult following, and for a lot of people hit those emotional lows perfectly. With Joyce Manor, Broncho. The Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 7 p.m. $31 adv./$35 DOS. 21 and over. DH

Dave Matthews Band

DANNY CLINCH

SEATTLE WEEKLY • AUGU ST 27 — SEPTEM BER 2, 2014

206-441-5449

“What Is This Heart?,” the latest from HOW TO DRESS WELL, the stage name of singer Tom Krell, might be this year’s most swoon-worthy release yet. For one thing, Krell’s falsetto is impossibly gorgeous. And though he does away with a lot of the indie-R&B heard on previous releases, trading it for a ’90s pop feel with hints of synth (“Face Again”), sweeping orchestral arrangements (“Pour Cyril”), and insanely danceable hooks (“Very Best Friend”), that doesn’t mean “WITH?” lacks soul. Lyrically, the album cements Krell’s status as one of the most emotionally open songwriters around, and features a mix of personal and universally understood observations on life and relationships, both familial and romantic. With Maiah Manser. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. 21 and over. AZARIA C. PODPLESKY SLINT existed for a fleeting moment in indie rock, but its second and final album, 1991’s Spiderland, went on to be the genesis of modern post-rock. Without Spiderland there may not have been cinematic, guitarheavy acts like Godspeed You! Black Emperor and Explosions in the Sky. Magazines like NME and Melody Maker all ranked the record among the greatest of all time, while Spin and Pitchfork heralded it as one of the best works of its decade. The album, recorded while the band was in its teens, is a testament to the weirdness and obtuse curiosity that comes from youth. Now the band is jumping aboard the “reunion circuit,” but it doesn’t appear to be a blatant cash grab. Older and considerably removed from its experimental basement jam sessions, its mystique still intact, Slint has preserved its legacy not by building off of it, but by letting it be. With Tropical Trash. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 9 p.m. $25 adv./$30 DOS. 21 and over. DUSTY HENRY CAGE THE ELEPHANT’s artistic trajectory is eerily similar to that of another alternative rock band: Silverchair. Both bands’ bread and butter was straightforward, balls-out rock on their first two records, and, just as Silverchair’s third record showed dramatic musical and lyrical growth, 2013’s Melophobia found Cage also embracing glam rock, Motown, funk, and jazz. What’s more, Matt Shultz’s deeply personal take on the pitfalls of celebrity (“Halo”) and fighting for creative freedom (“Teeth”) are reminiscent of Silverchair singer Daniel Johns’ vulnerability on “Open Fire (Ana’s Song),” which chronicled his bout with anorexia. CtE could have just stuck with a tried-and-true formula, but Melophobia—thankfully—revealed the group’s more expansive ambitions. The Showbox Sodo, 1700 First Ave. S., 628-3151, showboxpresents.com. 8 p.m. $25 adv./$30 DOS. All ages. BRIAN PALMER

Harbor, the Cut Shop-organized NORTHWEST TIMBER REVIVAL aims to enlist Seattle-area roots

Few bands can fully command an audience’s attention while playing an awe-inspiring venue like the Gorge, but DAVE MATTHEWS BAND has been doing just that for more than 15 years. This summer, the seven-piece will add another element to its visit: multiple sets each night. After a day of music from various artists and a performance from singer/songwriter Brandi Carlile, DMB will play an acoustic set. Then it’ll be time to don your dancing shoes as the band kicks up its blend of rock, jazz, and funk during an electric set. With the amount of material the band has, each night should be a collection of DMB deep cuts and radio hits. Through Sunday. With Moon Taxi, JD McPherson, Shovels and Rope, Betsy Olson, Bombino, Ana Tijoux, David Ryan Harris, Dumpstaphunk. The Gorge Amphitheatre, 754 Silica Rd., Quincy, Wash., 509-785-6262, gorge amphitheatre.net. 7:30 p.m. $61.50 and up. All ages. ACP So many blissed-out rays of sunshine are packed into every song from LOW HUMS, it’s almost blinding. The eeriepop coming from this ensemble is something to behold, and you can almost see bright color fields emitting from every ripping guitar solo. Waves of lush, fuzzed-out guitar textures cascade over you with ominous vocals embedded within walls of noises. Such music is the perfect soundtrack to a late-day beach trip: Fun and foreboding, something lurks in the shadows, yet there’s a comfort that everything will be OK when the sun finally rises again. With The Entrance Band, Cabana. The Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $10 adv./$12 DOS. All ages. STIRLING MYLES

Saturday, August 30

It’s difficult to imagine that anything in the U.S. is ready to disappear, given the Internet’s interminable memory. But Horses Cut Shop’s provenance is collecting the logos of small-time businesses and emblazoning them on T-shirts, simultaneously helping mom-andpop shops (like Smith Brothers Farms) continue while serving as an interesting bit of design. Taking a similar tack with music and the legacy of Grays

Tuesday, Sept. 2

Summer is ending, and there’s no better way to bid adieu to the season than with the bittersweet, timeless country ballads of THE ANNIE FORD BAND. Leading the talented ensemble with a powerful voice a la Gillian Welch, Ford fully embraces the world of loneliness, heartbreak, revelry, and everything else that comes with relationships. It’s the perfect music to slow-dance alone to, spilling beer, with an indelible grin. With Euro Dance Party USA, Huck Notari. Cafe Racer, 5828 Roosevelt Way N.E., 5235282, caferacerseattle.com. 9 p.m. No cover. SM

COURTESY OF THE ARTIST

Wednesday, August 27

Zoe Muth

Seattle isn’t necessarily considered a bastion of countrified sounds, but it’s getting there. With the acclaim showered on Sub Pop’s more bucolic-sounding efforts, ZOE MUTH’s recognition can’t be too far behind. Despite her decamping to Austin about a year and a half ago, the Seattle native is returning in the wake of her third long-player, World of Strangers. The roughshod country color persists—“Too Shiny” is ostensibly musically cribbed from the Stones’ “Dead Flowers”—but is now augmented by softer, more refined moments, as on “Somebody I Know” and “Annabelle,” the latter replete with a bit of strings. With Joy Mills Band. Slim’s Last Chance, 5606 First Ave. S., 762-7900, slimslastchance.com. 8 p.m. $12. DC Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

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Employment General duque and Love Love darling are seeking talent in the following areas: hairdressers, hair assistants, and makeup artists. amandaatduque@gmail.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) Flexible Hours No Experience Necessary Work with Homeowners face to face scheduling free estimates Set your own schedule week to week. Our reps average $500-$750 /week Top reps average $1,000-$1,500 /week Paid In-field orientation. All materials and company apparel are provided. Employees are required to have a vehicle, Driver’s License and Cell phone $500 Bonus after 60 days of employment. Apply at www.tlc4homesnw.com OR, Call our Corporate Office at 855-720-3102 Ext 3304 or 3308 MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

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! Visit us online at www.Go4Everest.com

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Appliances

NORTHEND MASSAGE

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

FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180

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

Firewood, Fuel & Stoves

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

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

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

425.765.5064 DINNING TABLE, beautiful, 1 leaf, 64x42, excellent condition $75. (206)324-4390 Miscellaneous Autos NICE 90 LINCOLN $1,750, BEAUT 89 CHRY CONV 2,450 SACRIF 206-725-2343 SACRIF

Professional Services Music Lessons

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

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

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

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Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening

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

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

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

D I N I NG

Home Services Roofing/Siding

SUMMER SPECIALS

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PROMOTIO

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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

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Call

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-0$"5*0/4 #SFNFSUPO t 4FBUUMF t 5BDPNB Programs and schedules vary by campus. For more information about our graduation rates, the median debt of students who completed the program and other important information, please visit our website at www.everest.edu/disclosures.

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MEDIA CODE: W09 JOB CODE: 704S