SEPTEMBER 3-9, 2014 I VOLUME 39 I NUMBER 36
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COLUMBUS’ DAYS ARE NUMBERED. PAGE 5 ASSESSING ANGELS IN AMERICA . PAGE 15
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GOODBYE COLUMBUS
BY KELTON SEARS | Honoring the people who really discovered America. Plus: the fall of a bikini-barista empire.
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KICKOFF 2014
BY MATT DRISCOLL & SETH KOLLOEN | Your guide to the Seahawks:
what everyone on the team actually does; how not to be an asshole fan; and a look ahead at the team’s un defeated season.
food&drink
13 MACHINE CUISINE BY JASON PRICE | How a Seattle
Food Geek marries gastronomy and science.
13 | FOOD NEWS/THE WEEKLY DISH 14 | THE BAR CODE
arts&culture 15 ANGELS & ERAS
BY STEVEN GUTIERREZ | Why is Intiman restaging the Tony Kushner epic? 15 16 18 19
| | | |
THE PICK LIST BOOKS EAR SUPPLY/PERFORMANCE VISUAL ARTS
OPENING THIS WEEK | Gentle anime,
baseball on acid, British convicts, and World War II. 24 | FILM CALENDAR
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BY DAVE LAKE | Arcade Fire’s
orchestral wizard breaks out on his own. 28 | THE WEEK AHEAD | Jherek Bischoff, a salute to Patsy Cline, and much more. 30 | CD REVIEWS
odds&ends 32 | CLASSIFIEDS
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news&comment
Seattle to Send Columbus Sailing City will say farewell to Columbus Day, and hello to Indigenous Peoples’ Day, eventually.
Three Crime and Safety Challenges Facing Downtown
BY KELTON SEARS
BY MATT DRISCOLL
olumbus sailed the ocean blue in 1492, where he discovered a native population that he soon subjected to mass genocide, leading to the deaths of hundreds of thousands (some historians estimate millions). Those whom Columbus didn’t kill in his horrific campaign were shipped back to Europe to be sold into brothels or labor, effectively starting the brutal legacy of the transatlantic slave trade. In America, we tend to conveniently ignore or excuse the grim part of that story. Instead we celebrate “Columbus Day” on October 13 in the name of the pioneering spirit that drove him to “discover” America—much to the dismay of not only the ghost of Leif Erikson, but especially the Native people who’d arrived 14,000 years earlier, many of whom have taken to nicknaming the holiday “Genocide Day.” But in Seattle, at least, that is changing, thanks to a local Lakota man named Matt Remle. “The first attempt to abolish Columbus Day was in 1977, the year I was born,” Remle says, laughing before he takes a more serious tone. “For me personally, it’s about saying this man was essentially a monster. Just as Jews probably wouldn’t like a Hitler Day or New Yorkers wouldn’t like a Bin Laden Day, no matter how much time has passed, that person is still representative of atrocities that happened to their communities. The attempted genocides that happened over the past 500 years have failed, and that’s one of the ideas behind Indigenous Peoples’ Day. We’re still here. This is who we are. We are relearning our languages, our culture and spirituality, despite everything we’ve gone through the past 500 years.” Remle, a father of three who works with Native high-school students in the Marysville School District, first tried in 2011 to get the city to change Columbus Day to Indigenous Peoples’ Day. Seattle City Council didn’t bite at the time, but State Senator Margarita Prentice did. “I guess she wasn’t able to push it through to muster the votes on a state level, so it kind of fizzled,” Remle says. But this year, after Minneapolis unanimously passed a resolution to make the switch to Indigenous Peoples’ Day “to better reflect the experiences of American Indian people and uplift our country’s indigenous roots, history, and contributions,” Remle seized the opportunity. “When Minnesota happened, we said, ‘Hey, we’ve got some new councilmembers, some who have been pretty responsive to the Native community,’ ” Remle says. “We might as well try it
ast week new Seattle Police Chief Kathleen O’Toole singled out Mike Washburn as the officer to lead the fight against crime and street disorder downtown. With crime and safety issues a longtime headache for downtown businesses and residents, the acknowledgment by O’Toole was largely welcomed. “We hope the creation of this new position will lead to a concerted effort on addressing the open-air drug dealing and street disorder issues that continue to be very real concerns for our community,” the Downtown Seattle Association said in a statement to Seattle Weekly. While putting Washburn on the job is a step in the right direction, the problems plaguing downtown can’t be solved by one cop alone. Mayor Ed Murray offered the following assessment of what’s needed:
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The City Council was scheduled to vote on the
resolution on Sept. 2—a symbolic date for Native people, since Seattle school districts begin the school year on Sept. 3, and “a component of the resolution . . . calls on the Seattle Public School District to work with local tribes on incorporating tribal history, culture, governance, sovereignty, and tribal issues into the school districts,” Remle says. “With that coming out the day before school starts, and Columbus being the first thing a lot of students learn about in their history courses, we thought that would be a powerful statement.”
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But that didn’t happen. Instead, Murray is asking the council to postpone the scheduled Sept. 2 vote until Sept. 17 so that he can be around to sign the bill on Columbus Day for what will amount to a photo op. Although I counted four cameras in the Council chambers, Councilmember Harrell said, “You see one camera here, why aren’t there more cameras here? To put it in colloquial terms, I want to milk this out a little bit.” To a round of applause, Remle responded, “You say you want more media here, but this isn’t for the media, it’s for us.” Although the bill is almost guaranteed to pass, the mass of passionate natives who came to the Council session, drums in hand, left only with more promises. But a hopeful Remle believes the resolution will mark a baby step toward local recognition of the rights of the Native people, who to this day deal with the effects of the Westward expansion Columbus began. “We still battle corporations and the federal government when there’s attempted intrusions in our land, like those trying to lay claim to Lummi land to build an export terminal. There’s quite a few examples like that— the Keystone Pipeline, that wants to go through where I’m from, Lakota land, which is in violation of our treaty agreements, which are continuously violated. [This resolution] is a way to bring attention to that, as well as the continued plight we in our tribal communities face today.” E
ksears@seattleweekly.com
sun flare » Capitol Hill Going Solar for Halloween
U.S. NAVY
Capitol Hill Housing’s EcoDistrict project has been delayed for one reason or another for months now, but the major component of the plan— the installation of a community solar panel—has taken a big step forward. CHH finally applied for an RFP to build a solar array on top of the Holiday Apartments on East John Street. According to CHH, once a builder has been selected, the organization will “begin to sell ‘solar units’ to Seattle ratepayers, who will receive credits on their electricity bills based on how much the panels produce each year between the time the system is constructed up until June 2020. In July 2020, the ownership of the system will transfer from the City to Capitol Hill Housing Foundation to provide the Holiday Apartments, a CHH property with 30 units of affordable housing, with free renewable energy.” Construction of the array is slated for completion on Halloween, Oct. 31, so look forward to lots of candy and photovoltaics on that day.
Get it together One common complaint heard from business owners and residents downtown is that cops don’t enforce, and prosecutors don’t prosecute, certain criminal activities. According to the mayor, a clearer plan is needed. “If people are involved in criminal behavior, those folks need to be arrested or cited depending on what the crime is,” he says. “We do not currently have, and we have not had for some time now, a coherent enforcement strategy. . . . We’ve got to work with the civil-libertarian groups to make sure that we are enforcing it in a way that is not trampling people’s right. . . . We have to negotiate what the prosecutor and city attorney need to prosecute those cases where arrests are made.”
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Walk the walk While the need
to get cops out of their patrol cars and onto the streets is not new, Murray seems dedicated to the idea. “We actually don’t have a strong community policing program in this city,” Murray says, citing a need for more foot and bike cops. Murray goes on to say Seattle police officers need “to understand what is happening on the street, so they can identify people who need help.” E
mdriscoll@seattleweekly.com
SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
again. We sent it back out to the City Council in the early spring of this year, and councilmember [Kshama] Sawant responded and said, ‘I love this idea and I’ll sponsor this for you. Would you write the resolution?’ I said ‘Heck, yeah,’ and worked on the resolution with one of her aides. It just kind of snowballed, I guess—[councilmember] Bruce Harrell’s office jumped on and said they’d be a co-sponsor.” Soon the Seattle Human Rights Commission came aboard as well, offering its unanimous and “absolute” support and going so far as to write a resolution of its own to add to the cause. After Remle’s resolution made the rounds in the urban Native community, undergoing edits to reflect the input he received, Remle discovered that Mayor Ed Murray had also expressed his support.
Make the money count It’s no secret that homelessness and mental illness are major issues downtown, and also no secret that, historically, the City of Seattle has thrown a lot of money at the problem. But it hasn’t always helped. “We know that we have a lot of people on the streets because they are mentally ill and they’re not getting the services they need,” Mayor Ed Murray tells Seattle Weekly. “This city is very generous in money and supplies through its human service department, so we’re going to have to figure out what we do to use that money in a way that actually gets folks the help they need.”
Protesters outside City Hall walked away with promises.
MONEY BY LUIS PRADO AND FOOTSTEPS BY LUKASZ M. POGODA FROM THE NOUN PROJECT
MORGEN SCHULER
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SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
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news&comment» Sex, the Cream in Those Million-Dollar Coffee Stands
SEATTLELAND
ago. His sister, Pat Thurbush, told me she thought Wheeler had been murdered. “My brother is dead,” she said. “We just haven’t found his body yet.” Wheeler Jr.’s criminal defense attorney, John Henry Browne of Seattle, tells me “I took this case because it smacked of the morality police.” A 10-day trial and an investigation/prosecution that reportedly cost almost a half-million dollars led to Wheeler’s conviction for “inviting or causing” a 16-year-old girl to flash customers and earn larger drink tips. Browne, who is finishing a memoir about his career as a defender of clients ranging from serial killer Ted Bundy and “Barefoot Bandit” Colton Harris-Moore to Afghanistan mass murderer Sgt. Robert Bales, essentially put forward no defense for Wheeler. “We did not put on a case, which is not unusual,” Browne says. “As a matter of fact, I rarely lose a case if I rest. Bill’s testimony would have been problematic, as he did run the stands and there were videos of ‘shows’ being performed by his workers.”
Andrew Sullivan
U.S. Congressman Earl Blumenauer
MATTHEW WILLIAMS FOR SEATTLE WEEKLY
S
Laura Blanco de León
Bill Wheeler Jr. could find himself behind bars for exploiting baristas.
But by waiving his opening statement and offering no testimony, Browne has a much better chance of winning on appeal, he says. Prosecutors offered a plea bargain of one year in jail that “in hindsight maybe was a good idea,” he says, but his client wouldn’t accept it. Wheeler now faces more than three years in prison. As for Panico, her attorney once represented Colacurcio in his many court appearances. And she was investigated with the help of the FBI, which agreed to get involved because of her former affiliation with the stripper king. His experiences may have helped make her a millionaire like him, but the accused madam of the coffee stands presumably hopes the similarity to the sex impresario ends there—he went to prison eight times. E
randerson@seattleweekly.com
Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing.
His new book is Floating Feet: Irregular Dispatches From the Emerald City.
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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SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
ex and coffee? That may seem an improbable combination, like love and sodium pentothal. But here in caffeine-sloshed Seattleland, mixing nudity with a cuppa joe has turned the bikinibarista trade into cash-happy enterprises and led to a string of crimes including assault, arson, prostitution, and money laundering. One former owner is even thought to have been murdered. Imagine if late Seattle mobster Frank Colacurcio had opened a string of drive-up nudie coffee huts instead of expensive strip joints. BY RICK ANDERSON At one point, so much cash came into his Seattle, Shoreline, Everett, and Tacoma club tills, he had to rent a house to store it in. How much could he have made with a low-overhead chain of Frank’s Jittery Jugs? No need to imagine. Carmela Panico, one of Frank’s protégés, did go into the low-rent java-strip business in 2008. And in the past three years, prosecutors revealed last week, the 52-year-old former stripper deposited more than $2 million into her financial accounts. The baristas at her eight Java Juggs coffee-andnudity stands—most lining Highway 99 between Seattle and Everett—pulled down good money as well. The scantily clad baristas flashed for tips from customers who regularly paid $20 for a $6 coffee. Employees at one stand performed on a stripper’s pole; others sometimes had sex with customers. Several women reported earnings of $15,000 to $30,000 a month; one barista said she earned half a million dollars in recent years. Though Panico didn’t need an extra house to store her money, investigators did confiscate $250,000 during a raid at her Snohomish home, some of which she stashed as literally cold cash. According to the Herald of Everett, our sister paper, “Her bankers told police that the money often had a foul smell, and that Panico told them it was because ‘she maintained these denominations in her freezer at home with fish.’ ” Panico, who has sold off or is leasing some of the stands now that she’s under indictment, is set to be arraigned this week in Snohomish County Superior Court on charges of money laundering and promoting prostitution. In the same courthouse next month, another bikini-barista entrepreneur, Bill Wheeler Jr., whose father is missing and presumed murdered, will appear to face a likely prison sentence for felony sexual exploitation of a minor. “This was all part of him making money and increasing his sales,” said deputy prosecutor Jarett Goodkin. Wheeler’s baristas worked strictly for tips, keeping anything beyond the $300 that the owner required be in the register at the end of weekday shifts and $150 on weekends, prosecutors said. It’s unclear whether Wheeler made the kind of money Panico did. But he stepped into the business after his father, coffee-stand founder Bill Wheeler Sr., disappeared in 2010, a year after five of the elder Wheeler’s baristas were arrested for prostitution. As we reported earlier [“Nowhere Man,” Dec. 1, 2010], Wheeler Sr., a womanizer married five times to four wives, was a millionaire who owned at least three homes but struggled with heavy debts. He was last seen alive in Las Vegas before his burned-out truck was found in the desert off the highway to Los Angeles four years
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SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
DON’T EXPECT GREATNESS
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Last year I sat in a bar with several newer 12s, watching the Seahawks face off against the Rams in St. Louis. The Hawks led 7-3 at half, prompting one to ask, “Why are they doing so bad?” The answer is that they weren’t. They were leading at halftime of an NFL road game, an incredibly difficult feat. The wise fan does not measure the Hawks against the expectations set by last year’s 16 wins in 19 games. For maximum enjoyment, measure the Seahawks against the average NFL team. You’ll have happier halftimes. Up 4 on the road? The average NFL fan would take it. Russell Wilson sacked? Most fans would trade their quarterback for him in a heartbeat. Frightened by a 13-10 nail-biter? Thank Pete Carroll for building a defense good enough that the Hawks are even still in the game.
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DON’T GET DRAGGED INTO THE MUCK
The wise Seahawks fan may inwardly pity the 49ers fan—this is a team that over the past three seasons has lost a Super Bowl and two NFC Championships by a total of 12 points. But we shouldn’t feud with them. Part of the joy of having a winning team is that instead of obsessing over the opposition, you can enjoy
man tip play. When you read another “NFL changed the rules to stop the Seahawks” piece on the Internet, take a deep breath and watch Malcolm Smith’s pick six. And when the team inevitably absorbs its first loss of the year, unleashing an avalanche of “The Seahawks were a fluke” thinkpieces, put on your Super Bowl Champions T-shirt and take a nap.
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EXPECT TO BE HATED
Earlier this year, Robinson Cano stepped to the plate in a Mariners road game, and I heard something I hadn’t in years. Boos. Some opposing fan was actually booing a Mariner! For me, that’s when the M’s turnaround began. If they boo you, you’re probably doing something right. Criticism causes a visceral reaction in Seahawks fans because we aren’t prepared for it—it’s like sipping from a cup of milk that turns out to be grapefruit juice instead. Well, folks, the acid is coming, and it’ll only get worse the more the Seahawks win. If you gird yourself for it, it won’t surprise you, and it won’t bother you.
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DON’T BELIEVE THE HYPE
JENNIFER BUCHANAN/THE HERALD
here once was an NFL franchise that had existed for four decades without winning a damn thing. Then, behind an innovative white-haired coach and a young quarterback drafted in the third round, this team shocked football with a Super Bowl victory. Yes, the 1981 San Francisco 49ers were one hell of a team. Funny, isn’t it, that their fans are so envious of our Seahawks repeating their feat? “Seahawks fans are utterly absurd,” writes the fan blog Niners Nation. “I am certain they are the most obnoxious fan base in sports.” “Bedecked in green face paint, waving flags, and throwing Skittles on the field . . . [they] look foolish and obnoxious,” writes C.W. Nevius of the San Francisco Chronicle. Not all the vitriol is coming from the Bay Area. “There are certain moments when winning a title brings out the absolute worst in a fanbase, and that was very much the case with you Seahawks fans,” writes Drew Magary of Deadspin. “This was not a gradual shift over from cute underdog to insufferable band of shitbags. This was zero to asshole in six seconds flat. If the 12th Man were an actual man, I would want him clubbed and tear-gassed.” Basically, this is inevitable. Go to Google, start typing “Why are [name of successful sports team] fans,” and check out the autofill that comes up. For the Red Sox, it’s “so obnoxious.” For Manchester United, it’s “so arrogant.” For the Seahawks it’s “so annoying.” We’re in good company, folks. Fans of losing teams aren’t annoying because they have nothing to be annoying about—type in “Why are Mariners fans so” and Google has no suggestions. What makes fans of winning teams so annoying is the infuriating entitlement of the winner. But it’s not just other teams’ fans that suffer from this entitlement. Being a good fan is about treating yourself right as much as about treating other teams’ fans—pathetic as they may be—as fellow human beings. So it is for you, fellow Seahawk fan, that I present these tips on how to be a winner.
Hey, everyone! Pete Carroll’s solved the NFL! Russell Wilson is a born winner! Richard Sherman can shut down any receiver! Dynasty impending! Look, I’m as optimistic as anyone about the Seahawks’ future, but you’ll do yourself no favors by looking on the team as superhuman. In football, winning formulas get imitated, and Carroll’s is no different. He won’t be plucking tall, fast corners from the CFL (Brandon Browner) or the bottom of the NFL draft (Sherman) anymore. He may not get dumber, but everyone else will get smarter. Wilson is a terrific player, but he’s not immune to slumps or poor decision-making. Sherman has been able to use his physicality to defeat the big wideouts favored by many NFL teams, but he’s struggled against shifty, faster players like the Colts’ T.Y. Hilton. Neither promote the idea that the Seahawks are infallible nor believe it yourself—you’ll end up looking and feeling foolish. As John Wooden said, “You can’t let praise or criticism get to you. It’s a weakness to get caught up in either one.”
5 HOW TO BE
THROW OPEN THE BANDWAGON DOOR
A WINNER Yes, we’re better than everyone else. But that doesn’t mean we need to act like a bunch of assholes. BY SETH KOLLOEN
your own success. This jives with Pete Carroll’s own philosophy, which is to compete against yourself to try to get better rather than worry about what your opponent is doing. “We don’t look at our opponents as rivals,” Carroll’s said. “I don’t want one game to be bigger than another game . . . that issue can change you.”
Pete’s right. I’m ashamed to admit that at one time I envied the Yankees so much I used to celebrate with a beer shower whenever they were eliminated from the playoffs. What a loser. Now that I have a decent team to celebrate, why be angry? Whenever you feel the urge to tweet angrily at a Niners fan, watch the Richard Sher-
I wrote this last October, back when a Seahawks Super Bowl parade was still just a dream. “The main reason I want you on the Seahawks bandwagon is completely selfish: the more, the merrier. More Seahawks fans means more strangers finding a reason to talk, louder crowds at the games and bars, and, hopefully, victory parades.” Wasn’t that fun, when “a million” people packed downtown to cheer the Hawks? So what if last September most of them couldn’t have picked Pete Carroll out of a lineup of overenthusiastic Walmart greeters? Would the parade have been more fun if attendance had been limited to folks who can pass a quiz about zone blocking? (For one thing, all that body heat kept the bandwagon from freezing. God, it was cold that day.) No, the graceful winner welcomes new fans. Bandwagoners know they’ve missed out due to their sluggardly acceptance of the joy of Seahawks fandom. Don’t rub it in. Instead, patiently show them how to be a winner, and then scream your heads off together. E
sportsball@seattleweekly.com
What Are They Doing? A Guide For the Novice Fan BY SETH KOLLOEN
W
JEREMY DWYER-LINDGREN
hen you watch the Seahawks on TV, you’re getting a limited view of the action. TV cameras follow the ball on every play, and newer fans’ eyes tend to as well. But the Seahawks will execute approximately 2,000 plays this season. Whether you picked up Seahawks fever in January or have been rooting for the team since the Jack Patera years, heighten your appreciation of this incredible team by closely observing some of the Seahawks’ best players, whether they have the ball or not. It’s fun
The novice fan will yell “RUN!” You, a savvy fan, will patiently wait for a receiver to get open, just like Wilson does. Once one does, Wilson unleashes his physical superpower: an unparalleled ability to throw accurately while in motion.
WHAT’S MARSHAWN LYNCH DOING?
As the team’s star running back, Lynch’s job once he gets a handoff is to correctly identify which running lane offers the best chance for a positive gain. Then—usually with one lightningquick cut—he gets to that hole as fast as he can.
Wilson scrambles after exhausting his options.
WHAT’S RUSSELL WILSON DOING?
Watch Wilson closely on a pass play and you’ll see him moving his head and his hips while he holds the ball. All quarterbacks, from high school up, take the snap and go through a series of “reads.” A “read” means Wilson is looking at a receiver and deciding whether he’s open. If not, he moves to his next read, and his next, and his next. Simple, right? Except that Wilson has about four seconds to make up his mind—often less—before mammoths bury him. If Wilson runs out of time, he scrambles. And this is where he’s brilliant. When you are watching Russell Wilson, you’re watching the prime years of the best scrambling quarterback in decades. What makes Wilson such a spectacular scrambler isn’t speed—he’s fast enough, but no Cam Newton. Wilson’s excellence is both mental and physical. Mentally, he has the discipline to keep scanning for open receivers when he’s on the move.
You won’t see a Seahawks running back poking along the line of scrimmage, looking for running room. As you’ll remember from the Shaun Alexander era, that’s a recipe for lost yardage. The goal of the quick cut is to avoid negative plays, something the Seahawks have done consistently well during the Pete Carroll era. When Lynch doesn’t take a handoff, you’ll see him pause for a second after the snap, then either stay in the backfield to protect Wilson or go out for a pass. The pause is Lynch’s moment to determine whether the opposing team is blitzing, and his savvy in this regard is one of the reasons he’s so valuable.
WHAT ARE THE OFFENSIVE LINEMEN DOING?
The Seahawks run an unorthodox system called “zone blocking,” where each lineman is responsible for blocking a particular area rather than a specific man. As you can imagine, mistakes are both highly plausible (“I thought that guy was in YOUR zone!”) and highly dangerous, since miscommunication means a 300-pound man will be running full speed into the backfield. If you or I were put on the Seahawks offensive line, Wilson would be dead by halftime.
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SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
to focus on a small piece of the puzzle as the game unfolds—it’s the best way to see exactly what makes the Seahawks so different from their competitors. Once the play is over, you can always follow the ball on the replay—but you’ll do so with a better understanding of how the ball ended up where it did.
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What Are They Doing? » FROM PAGE 9 When the Seahawks run the ball, zone blocking means that the Seahawks push defenders sideways rather than trying to drive them back. This isn’t “line up and blast your guy off the ball.” It’s more a finesse system, in which the blockers use footwork and agility to direct defenders down the line of scrimmage, opening potential running lanes that are defined before the play.
WHAT ARE THE RECEIVERS DOING?
Often, wide receivers are out of the TV frame seconds after the ball is snapped because they’re so damn fast. Usually they are running one of a few predetermined routes. Some of the most common: Go: Run straight down the field. Out: Run 8 to 12 yards down the field, cut at a
SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
At the snap of the ball, you’ll usually see nothing of note along the defensive line. Each lineman is responsible for one or two “gaps” at the line of scrimmage. His job is not to try to figure out where the ball is going, his job is to stay in his gap. This is an important feature of Pete Carroll’s defense because it allows players to attack their gaps rather than think about what the play is. The dramatic twist, though, is that not every lineman is responsible for the same gap on every play. Sometimes linemen— even behemoths like 6´1˝, 311-pound Brandon Mebane—will drop back into pass coverage in an attempt to confuse the offensive linemen and the quarterback. Keep your eye on the line—it’s fun to see a giant like Mebane or one of the other D-linemen backpedaling into the secondary, their limbs flapping wildly, like a big dog tossed into the deep end of the pool.
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being covered by the defense. He might run an out or a hook, depending on how the defense plays him. The danger here is that the quarterback and the wide receiver both must make the same assessment of the defense. It’s not difficult to imagine what happens when the quarterback expects a receiver to stop and turn around, but he cuts out to the sideline instead. This is a pretty common tactic on third down, when the receiver just needs a little bit of space to make a catch and fall forward to move the chains.
WHAT IS PETE CARROLL DOING?
JEREMY DWYER-LINDGREN
WHAT ARE THE DEFENSIVE LINEMEN DOING?
90-degree angle toward the sideline. Hook: Run 8 to 12 down the field, stop and turn back around toward the quarterback. Sometimes, though, and often on third down, one or more receivers will run an “option route.” In this case, the receiver changes what route he is running depending on how he is
Coach Carroll keeps the morale high, and that’s about it.
Not much! Carroll doesn’t carry the ball or tackle anyone, obviously, but he also doesn’t call either the offensive or defensive plays. Instead, Carroll listens via headset to the plays being called. Sometimes he offers suggestions. Three or four times a game, the Seahawks will face a short fourth down or a situation where they could either punt or kick a field goal, and Carroll will make those decisions. This is all pretty standard for an NFL head coach. What makes Carroll different is that, unlike most football coaches, you’ll rarely see a frown cross his face. Most head coaches stand grim-faced like statues of war heroes, usually showing emotion only when displeased. Carroll’s game-day m.o., in contrast, is to strut up and down the sideline, smiling wide, patting guys on the butt, and personifying the “Let’s play hard and have fun” mentality that’s the core of his philosophy. E sportsball@seattleweekly.com
19-0 How the Seahawks will go undefeated.
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BY MATT DRISCOLL
eahawks fans—or “12s,” as they’re lovingly known—didn’t need last season’s Super Bowl beat-down of the high-flying Denver Broncos to confirm what they already knew: This team is special. But it didn’t hurt. And now the secret’s out. The squad coach Pete Carroll and general manager John Schneider have put together here in Seattle is nothing short of spectacular. As young as they are talented and led by a stifling defense and one of the best young quarterbacks in the game, heading into the 2014 season the Seahawks don’t show any signs of stepping off the gas. Anything short of another NFC West title, another home-field romp through the playoffs, and another hoisted Lombardi Trophy will be a major letdown. Sure, those are lofty expectations. But with the NFL season about to kick off, it’s time to embrace them. And with a team like the Seahawks, why not shoot for the stars? We’re talking undefeated, 19-0—an achievement never before seen in the NFL. Here’s how it might all go down . . .
SEAHAWKS VS. PACKERS Thursday, September 4
SEAHAWKS AT REDSKINS Monday, October 6
Pete Carroll has his troops primed for Monday Night Football, and while RGIII and co. manage to do enough to keep the national television audience interested, it’ll be far from enough to prevent the Seahawks from moving forward undefeated. ESPN game announcer Jon Gruden is forced to excuse himself and take a cold shower after breaking down a montage of Russell Wilson highlights. The Seahawks reach 4-0.
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SEAHAWKS VS. COWBOYS Sunday, October 12
The minute he gets off the bus, Tony Romo starts having flashbacks to the botched field-goal snap that ended the Cowboys’ season in Seattle in 2006, and it’s all downhill from there. By the end of the day it’s clear the Seahawks are much closer to being “America’s Team” than the Cowboys are. Some kid in Wichita orders a Percy Harvin jersey. Tom Landry rolls over in his grave. 5-0.
IN HONOR OF MIMI PIERCE’S 90TH BIRTHDAY PRATT PRESENTS ITS
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SEAHAWKS AT RAMS Sunday, October 19
The St. Louis Rams came this close to beating the Seahawks in the Edward Jones Dome last season. Don’t expect a repeat in 2014. Three words: quarterback Shaun Hill. Sure, Golden Tate won’t be on hand to taunt opposing players this time, but that won’t stop the Hawks from embarrassing their NFC West foe. And we say “foe” ever so lightly, because the Rams really don’t belong on the same field as the Hawks. 6-0 will feel pretty good.
SEAHAWKS AT CHARGERS
SEAHAWKS AT PANTHERS
Sunday, September 14
Sunday, October 26
The Chargers give it their best shot, but in the end they’re coached by Mike McCoy, employ the tantrum-prone Phillip Rivers as quarterback, and play in a perpetually half-full stadium with fans who’d rather be at the beach. This one’s no contest, and a fourth quarter shot-put from Rivers into the waiting arms of Richard Sherman sends the Seahawks back to Seattle, 2-0.
After cruising through the first month and a half of the season without much competition, a mid-October trek to Carolina provides a major test for the Hawks. To make matters worse, Cam Newton steals all the team’s laptops. Still, the Hawks “Win Forever” mind-set prevails in the end, as a beautifully thrown touchdown to Doug Baldwin seals the victory and ensures the club’s 7-0 start.
SEAHAWKS VS. BRONCOS
SEAHAWKS VS. RAIDERS
Sunday, September 21
Sunday, November 2
In a rematch of the Super Bowl, this time Broncos center Manny Ramirez manages to execute the game’s first snap, but it still doesn’t matter. The Broncos’ finesse offense spends the afternoon getting pummeled across the CenturyLink field turf and the FOX camera crews spend the fourth quarter shooting footage of Peyton
Raped or Attacked? In an Accident or Combat?
Total bloodbath. The Raiders are terrible. Coach Dennis Allen has a mid-life crisis and refuses to fly back home with his team. Instead he rents a convertible and meanders back to California via Highway 101. It rains the whole time, of course. Seahawks move to 8-0. Halfway there!
» CONTINUED ON PAGE 12
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Still miffed over the infamous 2012 “Fail Mary” play, Aaron Rodgers and the Packers come to town to open the 2014 season. It’s rare for a team’s biggest hurdle on the journey to an undefeated season to come in Week One, but that may well be the case for the Seahawks. The Packers have a talented team, and perhaps the league’s best signal caller. Plus they’ll be pissed. Still, there’s no way the Seahawks and the 12th Man will fail to deliver anything but a crazed home atmosphere with NBC cameras rolling. Expect the fans to go nuts, the Packers to fall short after a late Rodgers-led comeback, and the home team to start the year 1-0.
Manning’s furrowed 38-year-old brow. The Seahawks advance to 3-0, and Malcolm Smith calls the Broncos “soft” in a post-game interview. Everyone laughs.
Have you been...
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19-0 » FROM PAGE 11 SEAHAWKS VS. GIANTS
SEAHAWKS VS. RAMS
Sunday, November 9
Sunday, December 28
Eli Manning is a Muppet and throws 17 interceptions. Seahawks win easily. 9-0.
SEAHAWKS AT CHIEFS Sunday, November 16
The Chiefs say they have the loudest fans in football . . . which of course is laughable. They don’t. And by the fourth quarter of this one you’ll be able to hear a pin drop in Arrowhead. While Jamaal Charles will do what he can to help the Chiefs succeed (and Andy Reid will do his best Kool-Aid Man impression), at the end of the day the Chiefs won’t be able to get past the fact that Alex Smith is their quarterback. Seahawks move to 10-0.
SEAHAWKS VS. CARDINALS Sunday, November 23
Before the game, Cardinals quarterback Carson Palmer and Seahawks head coach Pete Carroll will reminisce about the time Palmer won the Heisman Trophy while leading Carroll’s USC Trojans. Once the game starts, however, Palmer will throw at least six interceptions and look every bit as washed up as he is. Carroll invites Macklemore into the victors’ locker room as the Hawks move to 11-0.
SEAHAWKS AT 49ERS Thursday, November 27
SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
This Thanksgiving-night game in the 49ers new stadium has all the makings of an instant classic. And it shouldn’t disappoint. After a seesaw battle in which both teams take turns pounding the crap out of each other, a late Russell Wilson touchdown scamper will put the Hawks on top by four. Colin Kaepernick will attempt to answer the score with a touchdown drive of his own, but with the 49ers at Seattle’s 8-yard line with 27 seconds to go, San Francisco coach Jim Harbaugh will inexplicably call for . . . a fade to Michael Crabtree in the back of the end zone. Everyone knows how those work out for the 49ers. Hawks win, and move to 12-0. The turkey tastes extra good.
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ish Kangol hat. It doesn’t help. Seahawks win. Carson Palmer wishes he’d stayed retired. 15-0.
SEAHAWKS AT EAGLES Sunday, December 7
Pete Carroll gets Chip Kelly an early Christmas present: an ass-whooping. Seahawks go to 13-0, and Kelly kind of misses his old gig at Oregon.
SEAHAWKS VS. 49ERS Sunday, December 14
This game starts out just like that infamous “Beats by Dre” ad. Through the magic of expensive headphones, Kaepernick somehow convinces himself that he’s “the man.” Unfortunately for him, another miserable performance by his team at CenturyLink debunks the notion, and his headphones fail to drown out the creeping selfdoubt. 14-0.
SEAHAWKS AT CARDINALS Sunday, December 21
Clinging to the faintest playoff hope, the Cardinals throw everything they’ve got at the Seahawks . . . including coach Bruce Arians’ styl-
In a game that’s all but meaningless for the Seahawks—seeing as they locked down a playoff berth and home-field advantage several weeks ago—the team still seizes a chance at history and finishes the regular season 16-0. Jeff Fisher’s goatee looks sad in the rain.
PLAYOFFS! SEAHAWKS VS. 49ERS NFC Divisional Round Playoffs
After winning the NFC West (again) and clinching home-field advantage throughout the playoffs (again), the Seahawks take on the 49ers in a do-or-die game for the ages (again). The only difference between this playoff match-up and last year’s is it’ll happen in the Divisional Round, meaning 49ers fans will have their hopes and dreams crushed a week earlier. It’s more humane this way. After losing three to the Seahawks this year, 49ers coach Jim Harbaugh literally combusts on the sideline, filling CenturyLink with the smell of burnt khaki. Meanwhile, the Seahawks move to 17-0, two games away from perfection.
SEAHAWKS VS. PACKERS NFC Championship Round Playoffs
As though it was meant to be, the Seahawks finish the year at CenturyLink the way they started it: a showdown against Aaron Rodgers and the Packers. Despite a season’s worth of dominance by the Seahawks, many prominent football pundits pick the Packers to emerge victorious. They say Rodgers is good enough to win in Seattle. They say the Seahawks are primed for a letdown. They say Seattle’s receivers are pedestrian, its defense overhyped, and Marshawn Lynch over the hill. All of it proves to be hot air, as a late 47-yard field goal by Steven Hauschka—set up by a couple of key first downs on the legs of Russell Wilson—lifts the Seahawks to their second Super Bowl appearance in a row.
SEAHAWKS VS. PATRIOTS Super Bowl
In a game played Sunday, February 1 in Arizona, the Seahawks’ second Super Bowl victory doesn’t come anywhere near as easily as their first. New England Patriots head coach Bill Belichick, two weeks after finding a way to beat Peyton Manning and the Broncos in Denver to secure his sixth Super Bowl appearance with the team, crafts an equally genius game plan against Seattle—using an aggressive, smash-mouth style partially borrowed from the Seahawks to take Super Bowl XLIX down to the wire. With less than two minutes remaining and down by two points, New England gets the ball back and the stage seems set for certain Tom Brady magic. But the Legion of Boom is having none of it, intercepting a pass intended for Julian Edelman and sealing the victory for Seattle. After the game Brady confirms once and for all that, yes, he is mad, bro. The Seahawks meanwhile celebrate the first undefeated season in league history and their second consecutive championship. E
mdriscoll@seattleweekly.com
Seattle Food Geek Builds Ultimate Sous Vide Machine Turning passion into profit. BY JASON PRICE
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eattle is home to so many technology and innovation companies that we are chock-full o’ proud geeks wearing their newfound hipness as a badge of honor. So why haven’t food geeks achieved the same respect on the scale of nerddom? Most restaurateurs and chefs I’ve talked to scoff at those who take pictures of their food and post them on Instagram from the dinner table. Yet those are the people paying for and promoting their food! Here’s the news—food geeks are cool too. We spend the same amount of time debating traditional vs. modernist cuisine as techno-geeks might spend debating the pros and cons of gaming platforms. It is a noble obsession. And we all eat, every single day. Meet the Seattle Food Geek.
If you’re a foodie and live in the Seattle area, you’ve probably heard of Scott Heimendinger, aka the Seattle Food Geek. Scott v1.0 grew up in L.A. and studied Information Systems at Carnegie Mellon, his “dream nerd school.” After graduating and spending a year at IBM and six at Microsoft, he realized that his true passion was food. On the side, he launched what was then known as Scott’s Food Blog—later renamed SeattleFoodGeek.com— as his
COURTESY SANSAIRE
The Seattle Food Geek Meets “Modernist Cuisine”—and Jerry-Rigs a Sous Vide Machine
Heimendinger‘s first sous vide experience was, he recalls, “ordering a steak with a sous vide egg on it at Maria Hines’ restaurant, Tilth—it just blew my
To Cook Without Air?
Asked why sous vide cooking techniques are superior, Heimendinger replies, “Until recently, there was an enormous
disconnect between the way people cook food and the way food cooks. Nobody had taken the scientific perspective to understand temperature relationships, chemical reactions, etc. Once you understand how proteins break down based on temperature, it becomes obvious that this is the primary thing you need to control, and sous vide allows you to do that precisely.” I also spoke with Bilet, founder of the Imagine Food space set to open Thursday at 1001 Western Ave. His perspective on sous vide cooking is similar. “The biology is really interesting—how you relate blood temperature and the structure of the protein of that particular animal is fascinating. You use lower temperatures to cook protein that has a lower blood temperature.” According to Bilet, methods like grilling or searing are inferior: “You can have the most beautiful piece of fish in the world, and if you sear it you are burning the hell out of all the oils and amino acids, so it will smell fishy. Whereas if you poach fish in a sealed environment, you will cook it without burning up the aminos and oils, and it will taste wonderful.” Inventing the Sansaire.
After the post, it occurred to Heimendinger that this might be a business opportunity. In his spare time he built a business plan and kicked the idea around. Then two UW grad students who had seen his post asked if he wanted to join them in a business-plan competition. He agreed, and while they didn’t win it, it got the entrepreneurial juices flowing. With Heimendinger as an advisor, they built a prototype of his DIY sous vide machine—dubbed the Sansaire—sourcing components and finding a factory in China that could do production. Around that time, Kickstarter was emerging as a real force, and Heimendinger turned to it for financial support. “So much work goes into prepping for Kickstarter, and I had the model all wrong in my head. I thought we’d put in all of this effort to get ready, launch it, then exhale. [Instead] up until Kickstarter we were pregnant and then we gave birth to this screaming child that needed constant attention!” The team agreed to make a go of it and filmed the requisite video in Heimendinger’s kitchen, put together their materials, and kicked off the campaign on August 6, 2013. Their target was $100,000 in 30 days. What happened next exceeded their wildest dreams: It took only 13 hours and four minutes to reach that goal. By the end of the campaign, they’d raised over $823,000. With some help from coverage at SeriousEats.com, and through their partnership with Sur La Table, product sales have exceeded expectations. The Sansaire has been shipped to customers in over 65 countries. E food@seattleweekly.com
BY MEGAN HILL
Wine & Spirits magazine’s August issue named Wildwood Spirits Co.’s Kur gin one of the top eight gins. Wildwood is a project of chef John Howie and distiller Erik Liedholm. Schilling Cider is opening their Fremont outpost this weekend, according to Eater Seattle. The cider house will have 32 taps and an impressive 250 bottled craft ciders. The space won’t have a kitchen, but you’re free to bring food from outside restaurants. Look to Facebook for details. The Fairmont Olympic has launched a happy hour at the hotel’s Terrace Lounge. The menu includes signature martinis, Pacific Northwest wines by the glass, and local bottled beers. Appetizers like duck fries with chorizo aioli, mini-Kobe hot dogs, and smoked salmon bites round out the food portion of the menu. Next week, the Terrace Lounge will launch a “build your own boozy milkshakes” option with homemade ice-cream flavors. You’ve got til the end of September to buy penis cakes at Wallingford’s Erotic Bakery; it’ll shutter for good on September 30. E morningfoodnews@seattleweekly.com
TheWeeklyDish
Sage Custard Tart With Port Cherries and Goat-Cheese Ice Cream at Poppy BY NICOLE SPRINKLE I’ve gone twice in the past two weeks to Poppy—not just for its quiet garden seating and always seasonal, flavorful thalis, but really because I’m crushing hard on a dessert they’re currently
serving: a sage custard tart with port cherries and goat-cheese ice cream. The custard is light and eggy, the sage providing the subtle herbal note that the restaurant so often excels at. The Bing cherries preserved in port bring a rich, intense sweetness—not the savory, pickled taste that too many restaurants are adding to their desserts lately. The delicious ice cream allows it all to come messily together in one perfect bite. I’m told that even though cherry season is nearly over, they’ve preserved enough of them to keep the dessert coming for another couple of weeks. E nsprinkle@seattleweekly.com
SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
“little place of narcissism” to experiment with food and photography and explore and evolve his cooking skills and tastes.
mind.” He asked the server about the preparation and was hooked. Sous vide—French for “under vacuum”—is a method of cooking food sealed in an airtight container, usually a plastic bag, in a water bath at precise temperatures over a longerthan-normal period of time. It gives you more control over the cooking process, and can make for perfectly cooked, moist meat especially. He devoured all the literature he could find online, and discovered there were no ready-made sous vide machines available. People were using repurposed PolyScience lab immersion circulators that cost $1,200—and then had to worry about the machine’s previous uses (for example, if the lab had handled ebola). So he built his own, for about $75, from parts obtained mostly on Amazon. Then he documented the process and posted DIY instructions on his site. The post caught on like wildfire when Make magazine (makezine.com) published it. Heimendinger says, “It was a huge badge of honor for any geek.” Soon after his DIY post went viral among food geeks, he read a New York Times article about modernist cuisine and about a guy in Bellevue with a lab working on these huge books—none other than Nathan Myhrvold, coauthor (with Chris Young and Maxime Bilet) of Modernist Cuisine. “At the time, I had bought all of these tech gadgets and was doing experimental cooking with my friends in my basement. When I heard about Myhrvold and Modernist Cuisine, I decided I had to meet him. So I worked my way into an interview with him for SeattleFoodGeek.com.” Later in 2011, Heimendinger did a one-week internship at Modernist Cuisine in Bellevue and told Myhrvold “I need to come work for you— it’s going to get awkward if I keep showing up here.” And so he became the Director of Applied Research in January 2012, his current “day job,” where he turns research insights into products and services. Hence, Scott v2.0 was born!
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tanding waist-deep in the cold Deschutes River, watching my can of Rainier bob gently downstream while I tried to figure out what had happened to my sandal in the whopping one minute since I’d set foot in the river, I realized that I was in store for a slightly different drinking experience than I’m used to. Of course, I might not have had so much trouble getting onto my float had I not grabbed a can of beer in each hand— but what can I say? I was enthusiastic. There’s much to be said for taking a break from routine to do something new—as true for work as for drinking. My typical BY ZACH GEBALLE sunny Sunday might involve a patio and some white wine, but this one was going to be different. I don’t do a lot of drinking with my shirt off (Seattle bars are so closed-minded), but once in a while it feels like just about the best thing on earth.
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When my friend Emily invited me to come on the float, I pictured a lazy afternoon, a cooler full of beer, and sunburn. I got all those things, but quite a bit more too, including a bear sighting and a chance to enjoy a drinking experience I rarely indulge in. Regular readers know that I mostly write about fine wines and cocktails in fancy restaurants and bars. Yet few joys are better than drinking cheap lager in the great outdoors, surrounded by friends. I’ll level with you: For the first half of the float, I barely did. Float, that is. Because I didn’t plan ahead and buy an inner tube, I got stuck using a small inflatable raft that would have been perfect in a pool, but was essentially an invitation to flip over, careen into rocks and branches, and drag along the bottom in the shallow parts. Actually, the worst part was that it made it relatively difficult to drink beer while remaining afloat. I emerged from the river dripping, short a sandal, a pair of sunglasses, and quite possibly some dignity, but with renewed appreciation for the joys of what some might deem simple drinking. Following that with shots of whiskey and more cheap beer at a bar afterward only reinforced the joy; I think I said “I’m having an awesome time” at least a dozen times. That said, we did finish the night drinking two bottles of wine that I’d brought. A tiger can’t change his stripes, though I did end up with a rather striped sunburn. E
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WEDNESDAY, SEPT. 3
Intiman’s revival of Tony Kushner’s stage epic arrives in a very different America—thanks to the play (and Larry Kramer, and HBO).
I
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Ken Burns
Burns’ new history reel begins with Teddy Roosevelt.
Sure, you could wait until next Sunday the 14th to watch the first installment of Ken Burns’ new seven-part documentary on PBS, or you could hear him talk about it here tonight with local New York Times contributor and author Timothy Egan. Burns will discuss and show clips from The Roosevelts: An Intimate History, an extended chronicle of the famous clan that begins with Theodore Roosevelt (who figures prominently in Egan’s recent Short Nights of the Shadow Catcher, his acclaimed biography of Seattle photographer Edward S. Curtis). Burns’ project begins with TR’s 1858 birth and spans a century to the 1962 death of Eleanor Roosevelt, who outlived her famous husband by nearly two decades. By treating all three figures in aggregate, Burns gets to traverse American history through four wars, industrialization, the Progressive Era, the Great Depression, the Cold War, and even the nascent Civil Rights movement, Eleanor being an early proponent of racial equality. That’s a lot of material to chew, but Burns has always been a master of engrossing long-form TV. Here again he uses photography, newsreels, expert commentary, and period documents—Meryl Streep reads from Eleanor’s letters and diaries; Edward Herrmann does his patented FDR; and Paul Giamatti voices TR—for this sweeping survey. The whole series runs 14 hours—brief, relative to the period Burns covers so thoroughly. McCaw Hall, 321 Mercer St. (Seattle Center), kcts.tv/burns14. $30. 7 p.m. BRIAN MILLER
Mash Up!
Conferences and conventions are usually something we avoid; all those swarms of visitors at the Convention Center with their logoed golf shirts, pleated Dockers, and name-badges-on-lanyards give us the hives. But the Western Arts Alliance is a much different sort of gathering, since
SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
rather than the usual Pacinoesque hysterics). That ruthless credo of individualism, conceived in the Reagan era, now echoes more strongly in the glib libertarianism of Rand Paul (by way of Ayn Rand). Now more than ever, this is history worth remembering. ( Just listening to a young man ask “Who was Ethel Rosenberg?” during a Part I intermission makes it seem like high time for reminding.) “Pretty soon . . . all the old ones will be dead,” says Rabbi Chemelwitz (Anne Allgood) during the play’s opening moments. After seeing the great playwright, activist, and ACT UP founder Larry Kramer onstage last week for The Normal Heart at the Emmys, frailty silencing him when nothing else could, we’re reminded just how few of the crisis’ survivors, that first generation, are left. Again: context. Like HBO’s Angels miniseries in 2003, its faithful Heart adaptation— directed by Ryan Murphy— will be the CliffsNotes future theatergoers bring with them to revivals. (If a standing ovation is a show’s breakthrough moment, a movie is its saturation point—how it’ll be forWell, almost. Yes. Mostly. At ever remembered.) Througha different speed, but still at a out Millennium Approaches, breathtaking altitude, maybe? (Or Prepare! Kaminski and Standley in Millennium Approaches. my plus-one kept whispering, vice versa. The play begs for ethe“That’s Meryl Streep, right? real metaphors, but considering And Emma Thompson?” whenever the talented the bar Kushner sets for those, it’s crazy to try.) And it still does, though the shock of recAllgood and the wonderful Marya Sea KaminPart I contains a tragic story of longing and failognition for those initial audiences has ski, respectively, appeared in their many roles. ing that gains universality by rooting itself firmly been muted by the decades, if not silenced. in the specifics of 1985 New York City. (“The Angels has become a history play, part of urgent now,” Kushner insists.) Young Prior (a the living now insofar as new, young viewI guess the similar, dual success of Heart funny, high-pitched Adam Standley), beginning ers (students?) are willing to connect it with and Angels is why some viewers and reviewto develop telltale lesions, is abandoned by his their contemporary lives. Angels is still an ers insist on comparing these deeply differlover, the left-wing, neurotic Louis (Quinn FranAIDS play—though also much more than ent works, to the detriment of both. Heart, zen), who’s frightened by the failings of human that—that we experience differently today. a straightforward battle cry, is as direct flesh. Meanwhile, housewife Harper (Alex HighPerhaps realizing that changed context, direc- and forceful as a baseball bat to the jaw, as smith) dissembles when her husband Joe’s (Ty tor Andrew Russell, past protégé of the author, Kramer intended. With no interest in comBoice) same-sex desires belie his Mormon beliefs. wisely stages a respectful, faithful production, plexity or in transcendence, it’s nothing like When Prior’s fever dream interlaces with knowing that a major reinterpretation would Angels, which, layered with Kushner’s waves Harper’s hallucination, the play’s magical possibilibe unnecessarily indulgent. The text stands, of ideologies and myth, isn’t subtitled “A Gay ties begin: “This is the very threshold of revelation and the new millennium gives us a changed Fantasia on National Themes” for nothing. sometimes. You can see things,” says Harper. In the perspective on it. “Responsibility; that’s a trap, Heart’s fearless, unyielding protagonist real world of the early ’90s, Angels created a similar too . . . Life is full of horror; nobody escapes, Ned, a stand-in for Kramer, is perhaps more setting for heightened insight—of the zeitgeist, as nobody. Save yourself,” says closeted former appealing to some than the terrified, scrammany critics said: the exact mix of confusion, stress, Cold Warrior Roy Cohn (Charles Leggett, bling Prior. But the wretched, honest vulnergreed, and anticipatory dread of those plague years. shrewdly embodying a calm, unctuous Cohn » CONTINUED ON PAGE 16
n the early ’90s, Angels in America —Tony Kushner’s two-part, Pulitzer Prize-winning tale of lost souls—grabbed the theater world by its throat, mind, and heart, wrestling it into devotion. Nothing like it had been seen onstage: a merging of political fire, historical insight, camp humor, glittering cosmology, and ridiculously poetic writing. But then, the play arrived just a handful of years after Angels’ mid-’80s setting, when “living with AIDS” was an oxymoron. All gays were suspected carriers; political attacks were expected; and the fear of touching leftover plates and cups was normal and sometimes justified. Those first performances took place in another world, 20 years before Intiman’s current revival. Gay couples had practically no rights, and AZT, a poison, was still the only treatment option for a disease the previous American president could hardly be bothered to say aloud. And today? After so many cultural, legal, and medical breakthroughs, can Angels—with Part II, Perestroika, opening Friday to alternate with Part I, Millennium Approaches—still soar and thrill, achieving something both inspiring and divine?
» CONTINUED ON PAGE 17 15
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It’s not you, it’s me. Prior (Standley) gets the brush-off from Louis (Franzen, left).
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ability displayed by the gay men in Angels— Prior, Joe, Louis, Belize (Prior’s drag-queen nurse), and even Cohn—is part of their very humanity; what some might call weakness is revealed to be deeply, bravely political. It’s a curious critical prejudice to force comparisons within the gay canon, insisting on the “heroic,” as if we’re allowed to tell stories only within strict, approved parameters to soothe our current political ideals. It’s like complaining that Death of a Salesman should’ve ended with Willy fighting the system, or that A Raisin in the Sun would’ve been better with a more defiant, Malcolm X-style protagonist. But back to Kushner and the coming Perestroika, which—on the strength of Millennium Approaches—I recommend you see. How should we assess Kushner’s whole Angels enchilada? In the year 2014, with 25-year-and-longer HIV survivors and antiretroviral drugs, the possibility of immunotherapy, and pre-exposure prophylaxis, does the play have the same force? With gay marriage legal in this state and national polls tipping toward equal rights? No, of course not. And we should all be thankful! If history hasn’t cracked wide open, a least a thousand hairline fissures—this play itself being one of the deepest and most moving—have transformed the landscape, and we live better now because of it. “The world only spins forward,” as Prior says. Because of the very changes Angels helped create, Kushner’s onetime call-toarms now feels like a beautiful period piece, with all its poetic glory intact. Sure, it’s a little dated, but it’s also still topical—and maybe that’s the definition of a classic. E
stage@seattleweekly.com
ANGELS IN AMERICA Cornish Playhouse, 201 Mercer St. (Seattle Center), 441-7178. $25 and up. Runs through Sept. 21. See intiman.org for complete schedule.
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. 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. The Invisible Bridge is also 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 home-run chase and Chevy Chase stumbling on SNL. BRIAN MILLER Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5 7:30 p.m. Wed., Sept. 3. MICHAEL PITRE A veteran of the Iraq War, his debut novel is Fives and Twenty Fives. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 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, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Sept. 3. PAUL ROBERTS He’ll discuss his The Impulse Society: America in the Age of Instant Gratification. Town Hall, $5. 7:30 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 generaland self-doubt are pervasive. B.R.M. University Book Store, 7 p.m. Thurs., Sept. 4. RACHEL KRAMER BUSSEL The editor of The Big Book of Orgasms and other volumes reads from those works. Center for Sex Positive Culture, 1608 15th Ave. W., 274-4525, thefspc.org. 3 p.m. Sat., Sept. 6. TOM CHO From Australia, his new story collection is Look Who’s Morphing. He’s joined by fellow gay scribes Mattilda Bernstein (The End of San Francisco) and Chad Goller-Sojourner (Riding in Cars With Black People & Other Newly Dangerous Acts: A Memoir in Vanishing Whiteness). Local poet Imani Sims hosts the evening, and shares verse from her Beloved Collision. Elliott Bay, 7 p.m. Sat., Sept. 6. PARENTS WRITING ABOUT PARENTHOOD Brian McGuigan, Ross McMeekin, and Kristen Millares Young discuss parenting. RSVP at facebook.com/ events/1455769411369832. Rainier Valley Cultural Center, 3515 S. Alaska St. 3 p.m. Sat., Sept. 6. SAM HAMILL He shares new verse from Habitation: Collected Poems. Elliott Bay, 7 p.m. Sun., Sept. 7. ANN HEDREEN Her caregiving memoir Her Beautiful Brain deals with her mother’s Alzheimer’s disease. Elliott Bay, 3 p.m. Sun., Sept. 7. RICHARD FLANAGAN Her historical novel The Last of the Blacksmiths is set before the Civil War. Seattle Public Library, Northeast Branch, 6801 35th Ave. N.E., 684-7539, spl.org. 6:30 p.m. Mon., Sept. 8. SUSAN SZENASY The editor of Metropolis magazine discusses her Szenasy, Design Advocate with Natalia Ilyin and Thaisa Way as part of the Seattle Design Festival. Cornish College, 1001 Lenora St., 726-5151, cornish.edu. 7:30 p.m. Mon., Sept. 8. ELISSA WASHUTA She reads from My Body Is a Book of Rules and joins in a discussion with fellow locals Suzanne Morrison (Yoga Bitch) and Claire Dederer, erstwhile Seattle Weekly writer and author of the bestselling memoir Poser. Elliott Bay, 7 p.m. Mon., Sept. 8. RICHARD FLANAGAN From distant Tasmania, he reads from his WWII-set novel The Narrow Road to the Deep North. Elliott Bay, 7 p.m. Tues., Sept. 9.
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BY B R IA N M I LLE R
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TOWN HALL
The Pick List » FROM PAGE 15 (hence the deliberate event name). Starting in the ID and ending at NEPO House on Beacon Hill, participants will take the most literal art walk of their lives, winding through site-specific works by photographer Megumi Shauna Arai, video-game landscape artist Cable Griffith, sculptural designer Greg Lundgren, illumination artist Rebecca Cummins, and a million others (well, 50-plus). The procession ends with an evening concert organized by the fine people at local label Help Yourself Records, including Chastity Belt, DJ Sharlese, and a surprise guest. The only thing better than experiencing art indoors is experiencing art outdoors for miles and miles.
WESTERN ARTS ALLIANCE
walk of the fall season has been punted— sorry!—to Friday. But are these two clans, aesthetes and superfans, so dissimilar? Both are obsessive, insular cultures that worship their heroes. Both march ritualistically en masse toward their hallowed ground (the Tashiro Kaplan Building and the C’link, respectively). And both imbibe beforehand (box Doktor Kaboom brings his comedy lab to ACT. wine versus kegs). Tailgating remains a key distinction, however: it draws the promoters, bookers, and theatrical Pioneer Square parking lots on Thursday will be managers who keep our stages full—chiefly with touring shows—from San Diego to Seattle. So to filled with blue-and-green banners, barbecues, entertain these jaded backstage types, who’ve seen and the smell of grilling meat. (The alleys will everything new under the sun, Mash Up! is a two- be filled with a different sort of scent.) And the scene after the Packers game will be rowdier, night cabaret featuring seven acts each evening, and we locals can attend, too. The roster is mostly extending to downtown bars until closing time. Tonight, however, the proceedings will be tamer drawn from Northwest acts, including Jennifer and cheaper, unless you opt to fork over some Jasper, who performs colorful monologues based cash for local art, which we always encouron her feral family upbringing (being one of five girls); Waxie Moon, the indefatigable “boylesque” age. Virtually all the downtown galleries will be debuting new shows, from Roq la Rue in dancer and choreographer; Doktor Kaboom, SoDo up to Lisa Harris in Pike Place Market; who mixes science and stand-up; and something see page 19 for a full overview of First Thursday called The Death of Brian: A Zombie Odyssey, attractions. Downloadable map and info: pioabout a guy trying to keep the spark alive with his undead wife. Surprise guests are promised on neersquare.org. Free. 5–8 p.m. BRIAN MILLER both nights, and the Bullitt Cabaret offers a full bar. All conventions should be this entertaining. Fall Kick-Off
THURSDAY, SEPT. 4
Seahawks vs. Packers
Link Field, 800 Occidental Ave. S., seahawks. com. $72 and up. 5:30 p.m. MATT DRISCOLL FRIDAY, SEPT. 5
First Thursday on Friday
Yes, you read that correctly. Because of the Seahawks’ home opener (above), and because of the belief that painters and face-painters cannot mix (like matter and anti-matter, stripes and plaids, socks and Tevas), the first downtown art
Life Itself
TAHNIHOLT.COM
Not every doubleheader happens at Safeco Field—Velocity Dance Center is doubling up for the first week of the new dance season. Portland choreographer Tahni Holt has been staging her mesmerizing new Duet Love with a great Seattle/Stumptown cast, including the peripatetic Ezra Dickinson. It runs alongside Velocity’s annual opening salvo, the Fall KickOff show. Packed with highlights from the past year and sneak peeks of the upcoming season, this is the boisterous sibling to Holt’s subtler sister. (Through Sun.) Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydance center.org. $17–$50. 7 p.m. SANDRA KURTZ SATURDAY, SEPT. 6
NEPO 5K Don’t Run
For most 5Ks, the reward is at the end—a sense of satisfaction and maybe a free water bottle with a Clif Bar tied to it. The NEPO 5K, however, plops rewards throughout the entire course: 3.1 miles of local art installations and performances that the organizers don’t want you to speed past
ARTS & CULTURE
COMMUNITY
(9/3) Rick Perlstein Belief in America, From Nixon to Reagan (9/4) Paul Roberts Anchoring American Impulses (9/5) Rowan Jacobsen and Clare Barboza with Langdon Cook The Apples You Never Knew About (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 (9/9) Seattle CityClub: Youth Civic Education Awards TOWN HALL
CIVICS
SCIENCE
ARTS & CULTURE
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WWW.TOWNHALLSEATTLE.ORG **SOLD OUT** (9/9) Nick Bostrom The Future of Artificial Intelligence **SOLD OUT** (9/9) Randall Munroe Answering ‘What If?’ Ebert as a young journalist in the ‘60s.
Performers in Holt’s Duet Love.
SCIENCE
S.A.M
(9/10) Health Matters Education’s Role in Public Health
For the last 25 years of his life, Roger Ebert was the most famous film critic in America. In his (9/11) George Marshall final decade—he died in April 2013—Ebert became famous for something else. He faced The Psychology death in a public way, with frankness and grit. of Climate Change This new documentary about Ebert focuses Celebrating our New Low Prices perhaps too much on the cancer fight. This is (9/11) Vikram Chandra and New Summer Clinic Hours understandable; director Steve James—whose The Art of Coding Hoop Dreams Ebert tirelessly championed—had ** Starting June 28, 2011 ** Celebrating our New Low Prices touching access to the critic and his wife Chaz New Clinic Times: Tues 4–6 Fri 12-2 (9/12) ‘Yes Magazine!’: during what turned out to be Ebert’s last weeks. Sat **starting JULY Clinic 2ND ** 10–2 and New Summer Hours Thom Hartmann It’s a blunt, stirring portrait of illness. The BringPolitics, thisJune ad and receive and Saving movie’s no whitewash. The most colorful sec**Money, Starting 28, 2011 ** Our Democracy tions cover Ebert’s young career as a Chicago an additional $25.00 OFF newspaper writer, which included hard drinking New Clinic Times: Tues 4–6 Fri 12-2 4021 Aurora Ave N. Seattle, WA 98103 and blowhardiness. Some friends acknowledge (9/13) Association for India’s 206-632-4021 •JULY seattlealt@yahoo.com Sat **starting 2ND ** 10–2 that he might not have been all that nice back Development: then, with a nasty streak that peeked out in some Articulate Ability of his reviews and in his partnership with TV rival Gene Siskel. Life Itself gives fair time to (9/15) Ruth DeFries those who contended that the Siskel and Ebert Humanity’s Sustainable TV show weakened film criticism. Ebert’s own 4021 Aurora AveFuture N. Seattle, WA 98103 writing sometimes fills the screen, along with clips of a few of his favorite films, yet this isn’t sufficient to explore Ebert’s movie devotion, which was authentic. Still, this is a fine bio that admirably asks as many questions as it answers. Now accepting all major
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The whole world—or damn close to it—will be watching tonight when the NFL opens the 2014 season in Seattle. That’s the nature of pro football these days: In a culture obsessed with sports, the NFL reigns supreme. Of course, within the NFL, the Super Bowl champion Seahawks reign supreme, which will make our opener against Green Bay—the Hawks’ first real game since trouncing the Broncos in February—the most celebratory pigskin orgy Seattle has ever seen. Expect the “12s” to be louder, drunker, and more crazed than ever before. Also, expect a good game. It’s been 709 days since Aaron Rodgers and co. last came to town, resulting in a Monday-night contest that ended in the hands of replacement refs and the now-infamous “Fail Mary” play. Don’t think the cheeseheads have forgotten; the Packers will be out for revenge. The Seahawks, meanwhile, will be out to remind everyone why—despite last week’s preseason miscue against the Raiders—they’re the best team in football. Century-
MONDAY, SEPT. 8
ART SHAY/MAGNOLIA PICTURES
ACT Theatre, 700 Union St., 292-7676, acttheatre. org. $10–$20. 8 p.m. (Repeats Thurs.) BRIAN MILLER
Start: Hing Hay Park, 423 Maynard Ave. S., nepohouse.org. $15 (children free). Registration: noon–3 p.m. Art walk: 1–6 p.m. Music and performances: 3–9 p.m. KELTON SEARS
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SIFF Film Center (Seattle Center), 324-9996, siff.net. $6–$11. 7 p.m. ROBERT HORTON E
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with minimum hoop-jumping and lively feedback in post-performance Q&As. Even after the 20th century’s compositional style With Friday’s Salon, though, Baker’s handing wars killed (forever, I hope) the notion that there the reins to bassist/composer John Teske, who should be says he intends to “keep the Salon as the inforone hegemal and inclusive event it is, while increasing our reach to new composers and audiences. BY GAVIN BORCHERT monic musical There are a few regulars that contribute a great style, one prevailing lingua franca, one way deal to the community and have helped shape forward, there’s still only one local concert series the series into what it is today. I’m also hoping where there’s really no way of guessing what to provide opportunities to composers that are you’ll hear from one perfornew to the scene, whether mance to the next, and that’s they are improvisers the Seattle Composers Salon. that are writing more Founded in 1994, emceed since composed works, have then by Tom Baker, these excitrecently moved, or are ingly eclectic open-mike nights just not yet aware of the have moved from a Capitol Hill Salon. I’m also excited to basement to a Lake City Way have more of a presence church to Benaroya Hall’s online and through social Soundbridge learning center to, media . . . [and] hope to inevitably, the Chapel Perforpromote events by local mance Space, Seattle’s redcomposers and to make hot center for contemporary new connections, to be music. They’re an opportunity somewhat of a resource for composers to get their for the community.” Chapel Performance Space, work—acoustic or electronic, 4649 Sunnyside Ave. N., improvised or written, and repcomposersalon.com. resentative of every imaginable The Salon’s new curator. $5–$15. 8 p.m. Fri., Sept. 5. “ism”—in front of an audience,
EARSUPPLY
THE MOUNTAINTOP Katori Hall’s portrait of Martin
OPENINGS & EVENTS
• ANGELS IN AMERICA: PERESTROIKA Previews
DACIA PIERSON
begin Sept. 3, opens Sept. 5; see below, and related article, page 15. BUTT KAPINSKI Sending up film noir in this solo improv show. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $12–$15. 8:30 p.m. Sat. Sept. 6. A CHORUS LINE Marvin Hamlisch’s iconic backstage musical, with a cast of local all-stars. 5th Avenue Theatre, 308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. Previews begin Sept. 3, opens Sept. 11. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Sept. 28. DEATH AND THE MAIDEN In Ariel Dorfman’s play, a former political prisoner confronts her captor. The Ballard Underground, 2220 N.W. Market St., latino theatreprojects.org. $14. Opens Sept. 5. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 28. THE EDGE Bainbridge Island’s own improv troupe. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperforming arts.org. $12–$16. 7:30 p.m. Sat., Sept. 6. EDUCATING RITA Willy Russell’s May/December romance comedy. Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, rentoncivictheatre.org. $17– $22. Opens Sept. 5. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 20. THE INVISIBLE HAND An American investor is kidnapped by a militant group in Pakistan in Ayad Akhtar’s play. ACT Theatre, 700 Union St., 292-7676. $55 and up ($20 on Tues.; some performances pay-as-you-can). Previews begin Sept. 5, opens Sept. 11. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Sept. 28. THE LANGUAGE OF THIS WORLD A staged reading of Caitlin Coey’s new play exploring family reunions and secrets. West of Lenin, 203 N. 36th St., parley productions.com. Free. 7 p.m. Mon., Sept. 8. LIVE! PERFORMANCE! MASH UP! SEE THE PICK LIST, PAGE 15.
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SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
CURRENT RUNS
MILLENNIUM • ANGELS IN AMERICA: Decades of critical praise, often laced APPROACHES
with superlatives, have thoroughly schooled theatergoers on the intellectual and spiritual vastness of Tony Kushner’s ginormous two-part epic about politics and AIDS during the ’80s, first staged in 1993–94. But with all the gushing over the cerebral, transcendent, eradefining, every-award-winning blah-blah-blah, it can be forgotten that Part I is also a taut, absorbing story with aching, flawed characters you’ll both feel for and laugh at. For the uninitiated, infected Prior Walter (Adam Standley) fears losing squeamish lover Louis (Quinn Franzen). Mormon Joe (Ty Boice) hides his true desires, while his unhinged wife Harper (Alex Highsmith) escapes through Valium-coated dreams. Closeted Republican and real-life historical villain Roy Cohn (a wonderfully smug Charles Leggett) loses his grip to sickness after a lifetime of strong-arming. It’s Reagan’s “Morning in
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Luther King Jr. imagines him on the night before his assassination. ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. $15–$34.50. Preview Sept. 10, opens Sept. 11. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 5. THE RITE OF MARS Aleister Crowley’s magickal theatrical ritual reimagined as rock opera. Richard Hugo House, 1634 11th Ave., eleusyve.com. $15–$20. Opens Sept. 5. 8 p.m. Thurs.–Sat. Ends Sept. 13. SANDBOX RADIO LIVE! New work in a radio-theater format. ACT Theatre, 700 Union St., 292-7676, act theatre.org. $15–$20. 8 p.m. Mon., Sept. 8. SPIN THE BOTTLE The September edition of Annex Theatre’s late-night variety show (N.B.: back on Friday this month) includes “blistering ululations,” “concise yet meaty theater,” “tales of wayward youth,” and much more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., Sept. 5. WAITING FOR GODOT Seattle Shakes brings Beckett to ACT Theatre, 700 Union St., 292-7676. $25–$43. Preview Sept. 4, opens Sept. 5. 7:30 p.m. Wed.–Sat. plus weekend matinees; see seattleshakespeare.org. for exact schedule. Ends Sept. 21.
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Visual Arts
America,” but these folks are sick—or worse, lost. Sex, death, and lies have collided and sent ’em sprawling. No place for them at 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 former Kushner assistant, clearly understands the material, well, intimately. Part I is respectful without major changes to the text; though one or two of the younger actors might trade some of that respect for a tad more passion. Invest emotionally now, before things get super-weird. Sure, Millennium Approaches enjoys shared hallucinations, ghostly relations, and an erection-inspiring heavenly visitation, but it can’t compete with the fantastical theatricality or religious-philosophical strangeness of Part II, Perestroika. (Angel orgasms fuel creation, for starters.) Expect more blood, both figurative and literal. Prepare! STEVEN GUTIERREZ Cornish Playhouse, Seattle Center, 441-7178. $25 and up. Millennium Approaches runs through Sept. 21; Part 2, Perestroika, runs Sept. 3–21. See intiman.org for complete schedule. BLACK COMEDY Peter Shaffer’s one-act is literally titled: it’s set during a power outage. Erickson Theatre, 1524 Harvard Ave., 800-838-3006, strawshop.org. $18–$36. 8 p.m. Thurs.–Sat. Ends Sept. 20. BRAINSTORM One word launches a whole show from Improv Anonymous. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $5–$7. 8:30 p.m. Thurs. Ends Sept. 25. HITCHCOCK Improv in the style of the master of film suspense. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $5–$7. 8:30 p.m. Sun. Ends Oct. 12. HOUSE OF INK In this improvised murder mystery, authors get bumped off one by one.Unexpected Productions’ Market Theater, 1428 Post Alley, unexpected productions.org. $5–$7. 10 p.m. Fri.–Sat. Ends Oct. 4. OTHER DESERT CITIES In Jon Robin Baitz’s play, secrets are revealed among a powerful family. Eclectic Theater, 1214 10th Ave., 800-838-3006, localjewell.com. $18. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 14. TEATRO ZINZANNI: WHEN SPARKS FLY Maestro Voronin headlines this mad-scientist-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Sept. 21.
NOTE: First Thursday Is on Friday This Week LEONARD BASKIN Fierce Humanist collects multimedia work created as an ode to mankind. Opening reception 6-8 p.m. Fri., Sept. 5. Davidson Galleries, 313 Occidental Ave. S., 624-7684, davidsongalleries. com. 10 a.m.-5:30 p.m. Tues.-Sat. Ends Sept. 27. SALLY CLEVELAND AND GABRIEL FERNANDEZ
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Dance
TAHNI HOLT/SEATTLE DANCE SHOWCASES SEE
THE PICK LIST, PAGE 17.
Classical, Etc. • SEATTLE COMPOSERS SALON SEE EAR SUPPLY, PAGE 18.
ROBERT MCPHERSON Arias and duets from this tenor,
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with pianist Matteo Carminati and other local singers. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., pugetsoundopers.org. $15–$20. 8 p.m/ Fri., Sept. 5. OLYMPIC MUSIC FESTIVAL Chamber-music favorites in a repurposed barn, 2 p.m. each Sat. & Sun. through Sept. 7. To close, bonbons for violin and piano. Quilcene, Wash., 360-732-4800, olympicmusicfestival.org. $18–$33.
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COURTESY OLYMPIC MUSIC FESTIVAL B Y G AV I N B O R C H E R T
Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
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Violinist Ray Chen winds up the Olympic Music Festival with Ravel and Stravinsky this weekend.
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These two artists deal in lonely landscapes and scenes of humble and forgotten places and objects, like the dividing line on a dusty highway or a solitary ketchup bottle. Opening reception 6-8 p.m. Fri., Sept. 5. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends Sept. 27. CHRIS CRITES & SAMANTHA SCHERER Crites displays his signature mugshots and crime scenes painted on brown paper bags. Scherer shows her fine-lined ink drawings in We Are OK Here. Opening reception and artist talk 5-8 p.m. Fri., Sept. 5. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m-5 p.m. Wed.-Sat. Ends Oct. 11. REIN DE LEGE Based in Spain, the Dutch artist shows his large paintings on linen in a show called Face to Face. Opening reception 5-8 p.m. Fri., Sept. 5. Hall Spassov Gallery, 319 3rd Ave. S., 223-0816, hallspassov.com. Ends Sept. 30. JUSTIN GIBBENS He creates his own zoology and natural history, some influenced by Japanese and Indian art, in the watercolors presented in Avatars and Shapeshifters. Opening reception 5-8 p.m. Fri., Sept. 5. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends Sept. 27. LAUREN GROSSMAN Ghost Variations invokes the spectral nature of the show’s primary medium—glass. Transparent, light, and requiring breath to mold it, the material allows Grossman to draw comparisons between glass and “giving up the ghost,” he says. Opening reception 6-8 p.m. Fri., Sept. 5. Platform Gallery (Tashiro Kaplan Building), 114 Third Ave. S., 323-2808, platformgallery.com. Weds.-Sat., 11 a.m.-5 p.m. Ends Oct. 11. JOHN KILEY & HIROSHI YAMANO The two artists show their creations in glass. Opening reception 5-8 p.m. Fri., Sept. 5. Traver Gallery, 110 Union St., 5876501, travergallery.com. Ends Sept. 28. DIANNE KORNBERG A survey of the work from the veteran Portland artist/academic, Then/Now is made up of photographs taken during the ’90s of animal remains she found by her house, as well as collaborative works she made with poets and writers. Opening reception 2-4 p.m. Sat., Sept. 6. Prographica Gallery, 3419 Denny Way, 322-3851. 11 a.m.-5 p.m. Wed.-Sat. prographicadrawings.com. Ends Oct. 11. IRENE KUBOTA Finding Our Way is full of charmingly childlike paintings from the East Coast artist, whose work was described by The New York Times as looking like a “grown-up fairy tale.” Opens Thurs., Sept. 4; reception during First Thursday on Friday art walk. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. 11 a.m.-5 p.m. Tues.-Sat. Ends Oct. 11. PAUL D. MCKEE He presents found objects and considers notions of collecting and preservation in Collection. Opening reception 6-8 p.m. Fri., Sept. 5. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends Oct. 11 THE MAGICIAN Created by Chris Byrne and designed by Scott Newton, The Magician is an intricately printed graphic novel that incorporates the folding, push/pull interactive elements of a pop-up book. Paper Hammer published the volume, which contains a dozen handbound elements. Opening reception 5-7 p.m. Thurs., Sept. 4. Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer.com. 11 a.m.-6 p.m. Mon.-Sat. Ends Sept. 30. DANIEL JOSEPH MARTINEZ Through text, sculpture, photography, painting, installation, robotics, and performance, Reflections From a Damaged Life confronts social issues ranging from religion to the militaryindustrial complex toadvertising. Opening reception 6-8 p.m. Fri., Sept. 5. James Harris Gallery, 604 Second Ave., 903-6220, jamesharrisgallery.com, 11 a.m.-5 p.m. Wed.-Sat. Ends Oct. 11. STEVEN MILLER Les Fleurs du Mâle is a photo series created as an homage to French novelist and playwright Jean Genet. Opening reception 6-8 p.m. Fri, Sept. 5. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), 296-7580, 4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Sept. 25.
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arts&culture» Visual Arts
The YWCA of Seattle-King CountySnohomish County is seeking a
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The YWCA’s Seattle Housing Services supports the efforts of the City of Seattle to ensure that homeless families with multiple barriers to self-sufficiency have their basic needs met. The goal of this program is to help families overcome barriers and secure more stable housing through the provision of temporary hotel/motel vouchers and case management services. The Case Manager screens clients for strengths and barriers, assesses their need for services and assists them in reaching their personal and housing goals.
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• JEAN-CLAUDE MOSCHETTI The photographer’s
beautiful photographs of West African ceremonial masks and costumes are shown in Magic on Earth, which surveys the cultures of Sierra Leone, Benin, and Burkina Faso. Opening reception 6-8 p.m. Fri., Sept. 5. M.I.A. Gallery, 1203 Second Ave., 467-4927, m-i-agallery.com. 11 a.m.-5 p.m. Tues.-Sat. Ends Oct. 25. ANDY NASISSE Meant to mimic petroglyphs from long past, the ceramics in Shadowland use unique surface treatments to conjure up images that were hiding beneath the material’s outer layer. Opening reception 6-8 p.m. Fri., Sept. 5. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org. 11 a.m.- 5 p.m. Tues.-Fri. Ends Sept. 26 DYLAN NEUWIRTH: PRIVACY SETTINGS His new show expands on Internet-addled questionings of post-digital humanity with his trademark neon signage and glasswork. He renders web-isms like the word LOL made out of crack pipes. Opening reception 5:30-8 p.m. Fri., Sept. 5. Season, 523 S. Main St., 679-0706, season.cz. 11 a.m.-5:30 p.m. Thurs.-Sat., Ends Sept. 13. JEFF OLSON & SARA EVERETT They show new work. Opening reception 6-8 p.m. Fri., Sept. 5. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery.org. Ends Sept. 30. KIM OSGOOD Small Pleasures collects the Portland artist’s monotypes and acrylic paintings inspired by the changing seasons. Opening reception 6-8 p.m Fri., Sept. 5. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com. 10:30 a.m.-5:30 p.m. Mon-Sat. Ends Sept. 29. TAMARA STEPHAS Influenced by the Hudson River School, her paintings explore the effect of humanity on the surrounding environment. Opening reception 1-3 p.m. Sun., Sept. 7. University Unitarian Church, 6556 35th Ave. N.E., 370-1066, stephas.com, Ends Oct. 17. SONYA STOCKTON In The Revolt, she draws abstract forms layered with cook books, wall paper, encyclopedias, and other found iterms. Opening reception 5-8 p.m. Fri, Sept. 5. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.-Sat. Ends Sept. 27. SUTTONBERESCULLER You knew it was wrong ... but you did it anyway is the local prank-happy art trio’s first big gallery show, featuring a bronze banana, scratched-up mirrors, and a pile of lamps. Also on view: etchings by Martin Puryear. Opening reception 6-8 p.m. Fri., Sept. 5. Greg Kucera Gallery, 212 Third Ave. S., 624-4031, gregkucera.com, 11 a.m.-5 p.m. Tues.-Sat. Ends Nov. 1. TRIALOGUE This collaboration between Julia Freeman, Caroline Kapp, and Ellen Ziegler is based around a sort of game in which the trio built work around a single word, passing the piece on to the next person as they went along. Opening reception 6-8 p.m. Fri., Sept. 5. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, 12-5 p.m. Thurs.-Sun. Ends Sept. 27. Z.Z. WEI Horizons shows the artist’s love for the Northwest with a series of sweeping, brushed paintings depicting the Puget Sound Region. Opening reception 6-8 p.m. Fri., Sept. 5. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, 11 a.m.-5 p.m. Mon.-Sun. Ends Sept. 30. THE WORLD IS FLAT A group photography show features snapshots local artists have taken during their various globetrotting travels and adventures. Opening reception 5-9 p.m. Fri., Sept. 5. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com. Noon-6 p.m. Wed.Sat. Ends Sept. 27.
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some of them narrative. The title of the show translates as “no longer new” or “a long time now.” Bainbridge Island Museum of Art, 550 Winslow Way E., 842.4451, biartmuseum.org. 10 a.m.-5 p.m. Daily through Sept. 24. 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. CITY DWELLERS 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, others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stagemanaged scenes, posing a costumed actor as the blueskinned 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. BRIAN MILLER Seattle Asian Art Museum, through Feb. 15. 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. 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.
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THE • MODERNISM IN THE PACIFIC NORTHWEST: Mark Tobey, Morris MYTHIC AND THE MYSTICAL
Graves, Kenneth Callahan, and Guy Anderson are featured. 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.) Seattle had a little bit of money then, but it was dowdy old money, two generations removed from the Denny party—derived mostly from the land, the port, and timber. 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—including Eastern religion and Asian art. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends. Sept. 7.
Ongoing
THE ART OF GAMAN The subtitle of this group show
reveals its sad starting point: Arts & Crafts From the Japanese-American Internment Camps, 1942–1946. Over 120 objects are on view, many of them humble wood carvings, furniture, even toys made from scrap items at Minidoka or Manzanar. The more polished drawings come from professional artists like Ruth Asawa, Jimmy Tsutomu Mirikitani, Chiura Obata, and Henry Sugimoto. Some of the more touching items— like a samurai figurine made from wood scraps, shells, and bottle caps—come from family collections, not museums. 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., 425-5190770, bellevuearts.org, $8-$10, Tues.-Sun., 11 a.m.-6 p.m. Through Oct. 12. ROMSON REGARDE BUSTILLO In his show Dugay na, the Filipino artist creates brightly colored works on paper, intricately cut and designed with patterns,
B Y K E LT O N S E A R S
Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended
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arts&culture» Film
Opening ThisWeek Canopy
OPENS FRI., SEPT. 5 AT SUNDANCE CINEMAS. RATED PG-13. 84 MINUTES.
KATHERINE BOMBOY THORNTON
As the living memory of World War II nears its end, fresh Hollywood treatments of the war also seem to be dying out after seven decades of trying. Saving Private Ryan took the traditional Greatest Generation route; Inglourious Basterds made the conflict into a comic-book revenge fantasy; and it remains to be seen what the Brad Pitt movie Fury (due October 17) does with tank combat. Australian writer/director Aaron Wilson’ s debut feature, Canopy, filmed in Singapore using essentially two actors who barely speak, deserves credit for trying something quietly, radically different with the WWII genre.
Rayne as latecareer rocker.
The Identical
lurches from one improbable scene to the next, with the Christian messages coming thick and heavy toward the end. It may be preaching to the choir, but if your particular calling is to be a celebrity impersonator, The Identical is here to assure you that you are forgiven. ROBERT HORTON
OPENS FRI., SEPT. 5 AT MERIDIAN AND OTHER THEATERS. RATED PG. 107 MINUTES.
OPENS FRI., SEPT. 5 AT VARSITY. NOT RATED. 120 MINUTES.
Sad Momo and her goblins.
Goblins are disconcerting, even if their worst offense (in this case) is stealing food. For an 11-year-old girl named Momo, they are more annoying than terrifying, just another tiresome aspect of moving to the countryside with her mother. Not only is Momo expected to meet new friends and make nice with her grandparents, she’s also trying to get over the death of her father. He left behind a sheet of paper that’s addressed “Dear Momo” but is otherwise heartbreakingly blank. Goblins? Let ’em do their worst. Hiroyuki Okiura’s gently fantastical animation approach proves apt for this familiar little story. Okiura is a veteran animator whose previous solo directing project was Jin-Roh: The Wolf Brigade (1999)—a significant title in Japanese animation—and he took seven years to complete this film. It’s an earnest combination
May in the Summer OPENS FRI., SEPT. 5 AT SUNDANCE CINEMAS. RATED R. 99 MINUTES.
As soon as acclaimed writer May Brennan (writer/director Cherien Dabis) arrives from New York to her hometown of Amman, Jordan, for her upcoming wedding, it’s clear her carefully laid plans are going to be derailed. For starters, her fiancé Ziad isn’t with her; a distinguished scholar, he had some last-minute work to do and is trailing her by two weeks. This instantly ires May’s Christian mother Nadine (played as a pitch-perfect Old World martyr by Hiam Abbass, of Lemon Tree and The Syrian Bride), making her even more suspect of the man she already disapproves of for being Muslim. As May and her equally Americanized sisters—giddy, self-absorbed, and confused by
SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
After a downed Australian pilot (Khan Chittenden) parachutes into the jungle, terrain controlled by Japanese soldiers, he spends the entire movie on the run—which sounds more dynamic than it is. Mainly he cowers and hides as enemy patrols pass by. He travels by compass bearing, drinks from streams, and never talks to himself in this near-solo survival tale (unlike Sandra Bullock in Gravity, like Robert Redford in All Is Lost). Is such stoic silence a generational thing or forced by the fear of the Japanese overhearing? The difference doesn’t ultimately matter much. Eventually the pilot stumbles into a Chinese resistance fighter (Mo Tzu-yi) in a comic jungle encounter, which is then followed by a gag that wouldn’t be out of place in a Buster Keaton movie. The two men travel together with no common language, communicating by hand signals and eye contact, which proves surprisingly effective—also in ratcheting up the tension for us, since we have no idea where they’re headed, no sense of the front line or possible avenues of escape. In a shot Wilson uses more than once, passing aircraft are reflected in jungle puddles, indicating how this handsome blonde flyboy has been reduced to a scuttling, cringing creature of the forest. There’s a kind of primal regression amid this terrible beauty, a surrender to the green indifference of nature—if one may borrow a Herzogian notion, which seems appropriate here. (Anyone else remember Rescue Dawn?) How many days pass isn’t clear, as Canopy becomes a blurred and dreamy projection of the pilot’s frazzled interior state—almost a trance. Snatches of the radio and a few bars of Billie Holiday singing jar us out of the reverie, and gradually we apprehend this whole ordeal may be a flashback. By turns hypnotic and opaque, Canopy sometimes plays like an extended outtake from a Terrence Malick movie (only without the voiceovers, obviously). Its vague temporality also suggests that for some veterans, the war isn’t over until their final sleep. BRIAN MILLER
A Letter to Momo
GKIDS FILMS
MONTEREY MEDIA
Chittenden’s pilot, lost.
The website for The Identical has more endorsements from pastors than movie critics—this is not one of those evangelical pictures trying to hide its agenda. It’s produced by a Nashville-based company with roots in the born-again world and some legit musicbiz credentials. That agenda acknowledged, the picture has two notable strong points: an urban-legend storyline that’s been crying out for a movie treatment and an unexpectedly engaging lead turn by a new performer. The story springs from classic alternatehistory stuff. We all know—I certainly hope we all know—that Elvis Presley had a twin brother who died at birth. What if the twin had actually survived and led a parallel existence to his famous sibling? The Identical isn’t about the Presleys by name; its fictional Elvis is called Drexel Hemsley, born to a hardscrabble cotton-pickin’ family in the Depression. The elder Hemsleys give away the infant twin to a traveling preacher (Ray Liotta) and wife (Ashley Judd), who raise the child as their own son. He’s stuck with the prosaic moniker Ryan Wade, and it’s his story we follow (Drexel’s rise to fame happens offscreen). For a while the movie reaches back to The Jazz Singer for dramatic focus, as Rev. Wade expects Ryan to follow his path to the pulpit. The boy’s got music in his blood, so there are many “But I don’t feel the callin’, Papa” scenes to get through. Ryan achieves his own musical success by becoming a Drexel Hemsley impersonator, which is a pretty decent plot twist. It’s certainly better than the cringeworthy “birth of rock” scenes in which Ryan leaps onstage at a ’50s juke joint and shows the happy-dancing black patrons what the new music is all about. (The faux-historical songs are by Jerry Marcellino—former producer for Michael Jackson and Diana Ross—and son Yochanan; Dustin Marcellino, Jerry’s grandson, directs.) The engaging turn comes courtesy of Blake Rayne, who plays Ryan and Drexel. This strapping, slyly humorous fellow was working as an Elvis impersonator when tapped for the project, and he’s got an easy, non-actory appeal. Everybody else is overacting, so this is especially welcome. Rayne’s likability redeems at least some of this preposterous movie, which otherwise
of a realistic setting and a crazy supernatural streak, with the three goblins providing the latter. They’ve been summoned by some obscure bit of hocus-pocus; really, their function is to tease Momo, but also protect her and ease her toward reconciling her unhappiness. In short, they’re doing what everybody’s inner goblins should be doing. Except they’re more colorful: One’s a grinning, toothy lummox, another a fish-faced idiot with a well-timed talent for flatulence, and the third a small, monkeylike troll who’s a little slow on the uptake. A Letter to Momo itself is a little slow, a very pretty object that doesn’t always keep the metronome moving (it’s 120 minutes long, which is going on a bit). Okiura revs it up for the big climax, a genuinely eyeballdazzling extravaganza that brings hundreds and possibly thousands of magical creatures onscreen for a giant chase; at one point the creatures form a giant moving tunnel around a highway bridge during a thunderstorm, a truly psychedelic sight. Although digital technology has made this kind of thing possible for live-action films, this is still the kind of sequence you can stare at and say, Yep, this is what animation was uniquely invented for. Even with the slow buildup, there’s no reason the audience that responded to something like Spirited Away shouldn’t fall under the sway of this one, too. ROBERT HORTON
» CONTINUED ON PAGE 22 21
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May’s apathy—go through the motions of a dress fitting and a bachelorette party at a cheesy resort, May realizes she’s having second thoughts of her own. In one of the film’s most heartfelt moments, she confides her anxiety to one sister as they float in the Red Sea. As May struggles with her ambivalence, matters are made worse by a dramatic encounter with her estranged American father (Bill Pullman) and his young Indian wife, who also live in Jordan. As she’s pulled into the drama of their marriage, it brings back bad memories of her parents’ long-broken relationship, one that Nadine throws in her face as a testament to what happens when you marry outside your culture. When Ziad (Alexander Siddig) finally shows up, it seems as if her mother’s wishes for her marriage may come true. But Nadine has a secret of her own, one that may disrupt the family more than May’s conflicted heart. The second feature directed by the Oklahoma-born Dabis (after 2009’s Amreeka), May in the Summer has many lovely small moments, and the bright, dry Jordanian backdrop brings her characters’ deep unease into hyper-focus. Though the pace is slow, it mirrors the quiet grappling going on within May’s mind. A striking twist at the end provides much-needed action in this otherwise fine but sleepy, often meandering film. NICOLE SPRINKLE
PNo No: A Dockumentary
- Joe Morgenstern, THE WALL STREET JOURNAL
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Just as the Seahawks begin their season this week, here’s a profile of an outspoken black man from the generation before Richard Sherman. Raised in Compton, Dock Ellis pitched in the majors from 1968–79. He and his peers on the minority-heavy Pittsburgh Pirates—where he became a star and helped earn a World Series title—were of the generation that followed Jackie Robinson into pro baseball. Racism was still very much a part of the game, but so was the Black Power movement. The young Ellis had meekly experienced the segregated motel rooms of the South during his minor-league days, and his stardom unleashed a strong new voice. Not for nothing was he branded “the Muhammad Ali of baseball,” an image he cultivated, he said, “because it’ll make me money!” Less interesting than the man is the hook for Jeffrey Radice’s first feature doc: the nowfamous no-hitter Ellis threw in 1970 while on acid. He was so high, in fact, that he later sadly claimed that he couldn’t even remember that game. (Dropping in for a cameo is Ron Howard, who included Ellis in his 1986 Michael Keaton comedy Gung Ho, casting I’d completely forgotten; and damn if Howard doesn’t get teary over Ellis’ inability to recall what ought to have been the greatest day of his life.) Still, there are vintage clips of the game, and Radice makes good use of the archives in recounting Ellis’ life. He adds fresh interviews with Ellis’ family, friends, and former teammates, yet he scored only a little late-life footage of Ellis himself, who died of cirrhosis in 2008—though clean for decades, finally a casualty of his earlier alcoholism and drug abuse. Even for non-sports fans like me, No No is fascinating for its ’70s collision of politics and PEDs—the latter chiefly amphetamines (“greenies”), though augmented off the field with copious amounts of booze and coke to cope
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Ellis never claimed to be proud of his no-hitter.
with the pressures of being young, famous, yet insecure. The Nixon-era politics are explicitly racial, direct in a way we’re not accustomed to discussing so pointedly today—until something like Ferguson, Missouri, comes along. Baseball may not be a microcosm for America, but it’s eye-opening to hear these long-retired sluggers—black and white—talking about the sudden integration of the locker room. Ellis drew headlines by wearing his hair in curlers—a calculated cultural provocation, but also part of his tough-guy, don’t-give-a-fuck persona. This, too, may be why he threw so many beanballs; though Radice doesn’t ignore Ellis’ violent tendencies, which extended to beating his wives. Ellis’ career reflects the unbridled era of Ball Four and North Dallas Forty, when salaries were much lower and players had less to lose with their candor. (Ellis even co-wrote a biography with the poet Donald Hall.) Since his career decline and AA years aren’t very interesting, one wishes that Radice had widened his focus from Ellis’ unintended LSD victory—an accident of vacation scheduling, really—to the culture of the sport that made him both a hero and a martyr. (Note: Producer Chris Cortez will attend opening night.) BRIAN MILLER
Starred Up OPENS FRI., SEPT. 5 AT SIFF CINEMA UPTOWN. NOT RATED. 106 MINUTES.
In interviews, the actor Ben Mendelsohn has said that he was once typecast as a handsome young bloke while working in Australian TV during the ’80s. You’d never have guessed by the time 2010’s Animal Kingdom brought him to the attention of American casting directors. By then, he looked worked over: left out in the sun too long, with too many cigarettes and God knows how much hard living behind him. The talent was surely always there, but at last he had the face for it—a sad, hangdog villain’s face. Mendelsohn was soon cast as a junkie dognapper in Killing Them Softly, a heavy in The Dark Knight Rises, and a more kindly mentor to Ryan Gosling (but still an outlaw, of course) in The Place Beyond the Pines.
Love
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RUNS FRI., SEPT. 5–THURS., SEPT. 11 AT GRAND ILLUSION. NOT RATED. 102 MINUTES.
The Belgian writer/director team Hélène Cattet and Bruno Forzani are obsessed with the 1970s Italian horror subgenre known as giallo. Their 2010 Amer was a cool one-off, a clever compendium of lovingly imitated giallo motifs that also created a lush experience in and of itself. Except it wasn’t a one-off, because here’s another excursion into a world of saturated colors, sexed-up violence, and utterly incomprehensible storytelling. Cattet and Forzani may have gone to the well once too often, because Strange Color lacks the freshness of Amer. As a technical stunt, though, it’s super-trippy. The title is meant to evoke long-winded gialli such as Dario Argento’s The Bird With the Crystal Plumage or Mario Bava’s Five Dolls for an August Moon. Insofar as the customary rules of plot are concerned, this one begins with a man named Dan Christensen (Klaus Tange) returning to his fabulous Art Nouveau apartment after traveling for business. His wife has vanished, and his search for her is complicated by very long, seemingly unrelated stories told by an eccentric downstairs neighbor and an unhelpful detective. It would be nice to say that these sub-stories are folded back into the missingwoman narrative before the end of the movie—I think they might be—but I’m not sure it makes much difference. The movie’s a compendium of arty set-pieces: a split-screen sequence here, a bloody nightmare there, and one long scene composed of black-and-white still frames conveying movement, like the classic Chris Marker short La Jetée. Danish-born leading man Tange has the sunken-cheeked smolder of Klaus Kinski, which doesn’t hurt the movie’s magazine-layout appeal. The fact that his character keeps insisting “I’m in global telecommunications” does not pass the credibility test, as this guy would look more comfortable hanging around the Euro-hipster vampires of Only Lovers Left Alive or selling erotic photographs at a sidewalk market. There’s also a parade of beautiful women, frequently seen with a knife or other sharp object being unpleasantly dragged across their nude bodies. The movie would be easier to take if Cattet and Forzani displayed humor about these images, but they sure seem serious about it. The movie’s for their very narrow audience: those who know giallo and savor the act of cultural re-creation. For that demographic, it’s a success. ROBERT HORTON E
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So follows Neville Love, a lifer in a British prison where 19-year-old Eric ( Jack O’Connell) has been transferred from juvenile detention. Hard of body, soft of eyes, Nev doesn’t enter the picture for a while. This is basically Eric’s story: from violent young offender with a mysterious agenda to the talk circle led by volunteer counselor Oliver (Rupert Friend, from Homeland), then back around to Nev. Eric is prone to volcanic rages in a facility whose politics he barely understands (the wardens are playing inmates against one another). For very different reasons, Oliver and Nev try to steer him to nonviolence— or failing that, at least to refrain from revenge. Starred Up is very much a “prison” movie, maybe too much so. Director David Mackenzie (Young Adam) loves the raw stuff—sudden spasms of violence, cell phones hidden up the butt, gay prison buddies—and has as his screenwriter Jonathan Asser, a man who actually worked as a prison counselor (that is, the Oliver role). So while there’s great fidelity to prison lingo (sometimes obscured by the accents), the processes of cell inspections, lockdowns, weaponmaking, petty humiliation, drug scores, and torture-by-bureaucracy eventually numbs the viewer. Amid all the brutality and scheming in Starred Up, there’s very little surprise—especially to anyone familiar with the old HBO prison series Oz. Too often, Starred Up feels like Mackenzie’s belated audition reel for that show. (Unless he’s never seen it, which is actually more damning.) What saves the picture from its routine writing, however, are Mendelsohn’s conflicted Nev, a man without hope for himself who still seeks to be a protector; and O’Connell’s scary-innocent Eric, a kid conditioned to view the world as a constant contest between aggressor and victim. He’s a lab rat in this very tough-minded but finally unconvincing movie. O’Connell, a real discovery, will play the lead role in Angelina Jolie’s adaptation of the Laura Hillenbrand book Unbroken, due at Christmas. And Mendelsohn will keep plugging away at the villains, scalawags, and wastrels that’ve lately become his specialty. Unlike the short window for young, handsome leading men, this is a career path for the decades. I could see Mendelsohn taking the place of Harry Dean Stanton (now retired): the sage journeyman on the periphery of a scene who always gives it a crucial integrity. Movies better than this will also benefit from his calm, lethal presence. BRIAN MILLER
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comedy places hipsters John Lurie and Tom Waits in the swamps of Louisiana, in the company of pre-Life Is Beautiful Roberto Benigni. Crisp black-and-white photography and a great soundtrack compliment Jarmusch’s wry humor—relaxed, situational, and founded in the endearing eccentricities of his characters. With Benigni’s lovely wife, Nicoletta Braschi. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 6866684, central-cinema.com. $6-$8. 10 p.m. Fri.-Wed. PRINCESS MONONOKE Hayao Miyazaki’s epic 1999 fantasy is grounded in a mythology as richly complex as Disney’s fairy tales are simplistic. The last of a lost clan, Prince Ashitaka leaves his peaceful paradise on a quest to find a cure for the demonic disease threatening to devour him. He travels west into a medieval Japan in the early stages of industrialization, where he finds forests razed and the earth sucked dry of resources. Yet the natural world has rallied to fight the human incursion. Miyazaki paints his figures in moral shades of gray—presenting the yin and yang within both nature and man. (PG-13) SEAN AXMAKER Central Cinema, $6-$8. 7 p.m. Fri.-Wed. & 3 p.m. Sat.-Sun. ROCK OUT WITH YOUR VCR OUT Curators from Scarecrow Video present the worst bands of the ’80s and beyond, in al their MTV glory. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema. org. $5-$9. 9 p.m. Sat. SWEET DREAMS Ice cream and African drumming precede this doc about musicians in Rwanda after the 1994 genocide. (NR) Keystone Church, 5019 Keystone Pl. N., meaningfulmovies.org. Free. 6:30 p.m.
Ongoing
• BOYHOOD Richard Linklater’s Boyhood was shot
in the director’s native Texas in short bursts over a 12-year period—Linklater knew the shape of the film, but would tweak its script as time marched on, incorporating topical issues and reacting to his performers. This means that unlike most movies, which remake the world and impose an order on it, Boyhood reacts to the world. Protagonist Mason (Ellar Coltrane), tracked from first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a threeact structure, but is doled out in unpredictable fits and starts. Linklater doesn’t reject melodrama so much as politely declines it, opting instead for little grace notes and revealing encounters. Patricia Arquette and Ethan Hawke are terrific as the parents, 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) ROBERT HORTON Sundance, Harvard Exit, Ark Lodge, Vashon, Kirkland Parkplace, others CALVARY This is a bumpy, uneven picture full of colorful digressions 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 FINDING FELA 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
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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. 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. (NR) B.R.M. Varsity FRANK Michael Fassbender spends most of this unlikely band comedy inside an oversized papiermâché head, which ought to make Frank the world’s worst musical frontman. Instead he inspires fierce, cultish devotion among his his band, the Soronprfbs, who 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.) English journalist Jon Ronson really did play in a band led by a guy like Frank. 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 thrall they exert over their insecure followers. 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. (NR) B.R.M. Varsity 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 powerful matter-dissolving gizmo, he has to align himself with a selection of Marvel Comics castoffs, who will—in their own zany way—end up guarding the galaxy. (His costars, some voicing CGI creatures, are Zoe Saldana, Bradley Cooper, Vin Diesel, and the pro wrestler Dave Bautista.) Director James Gunn (Super) understands that getting character right—and keeping the story’s goals simple—can create a momentum machine, the kind of movie in which one scene keeps tipping giddily over into the next. Guardians isn’t exactly great, but it comes as close as this kind of thing can to creating explosive moments of delight. (PG-13) R.H. Sundance, Thornton Place, Kirkland Parkplace, Ark Lodge, Big Picture, 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 blacksand beaches—and they’re fully aware it could be their last adventure. (“Life is too short to sit still,” says Mitch, who gradually reveals his own problems and need for companionship.) What Nelson and Eenhoorn have is genuine Hope and Crosby–style chemistry, which makes the film so charming. And though Colin quietly protests the overbearing Mitch, we see— thanks to Eenhoorn’s expert performance—how he’s secretly pleased by the attention and reanimated by Mitch’s vulgar vigor. (R) B.R.M. Guild 45th A MOST WANTED MAN Directed by the very deliberate Dutch photographer-turned-filmmaker Anton Corbijn (Control, The American), this adaptation of a lesser 2008 John le Carré novel will, I think, be remembered as the best among Philip Seymour Hoffman’s posthumous releases. In a post-9/11 world, he plays a rumpled Hamburg cop, Bachmann, with failures in his past, who’s charged with the dirty work of counter-terrorism. Crawling out of the
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Elbe, like a rat, is a Russian-Chechen Muslim we’ll come to know as Karpov. Bachmann and his squad (including Continental all-stars 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. Rachel McAdams shows up as a naïve, sympathetic human-rights lawyer (riding a bike, of course). Will Karpov plant a bomb in the rush-hour subway or lead Bachmann to an important al-Qaida funding link? Related within a few days’ time and surveillance, that’s the essential plot. The recent Tinker Tailor Soldier Spy was a much better movie as it evoked the old, analog Cold War; unreliable technology meant that human relationships, and betrayals, were paramount. Hoffman would’ve been a better fit in that bygone world of smoky negotiation and curdled compromise. (R) B.R.M. Ark Lodge, Kirkland Parkplace THE NOVEMBER MAN Sometimes a genre needs no excuses. This is not a great movie, nor perhaps even a particularly good one, 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). 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. 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. (R) R.H. Sundance, others 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 THE TRIP TO ITALY Director Michael Winterbottom reunites with Steve Coogan and Rob Brydon for another eating-kvetching tour, this time ranging from Rome to Capri and the Amalfi coast. 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. 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. Still, the gorgeous locations and food may inspire happy travels of your own. Go while you’ve got time remaining. (NR) B.R.M. Sundance, SIFF Cinema Uptown
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Owen Pallett, string arranger for Arcade Fire, releases a pop gem. BY DAVE LAKE
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The many colors of Owen Pallett.
Y
ou might not know it from listening to the baroque synth-pop of his latest album, In Conflict, but Owen Pallett, orchestral arranger for Arcade Fire, loves Alanis Morissette. On tour recently, he was given the opportunity to sing “You Oughta Know,” the lead single from Morissette’s best-selling Jagged Little Pill. Each night on the tour, Arcade Fire played a song it deemed relevant to the city it was in; Seattle got “Smells Like Teen Spirit,” and in Ottawa, Morissette’s hometown, the band suggested he sing her breakthrough hit. Pallett (also Canadian) was thrilled. Once the group started soundchecking, however, it became clear that each party had a different attitude about the song. “They were telling me it was too reverential,” he recalled recently during a phone call from his Montreal home. He then remembers replying, “I am not singing this song from any point of irony! She’s a brilliant songwriter; she’s sold more records than you guys, and has more radio hits than you guys. So it’s reverence or it’s nothing!” In the end it was nothing: The band scrapped the idea entirely. The story illuminates the heart of Pallett’s appeal: He makes the music he wants to without worrying about its cool factor—an approach that worked in his favor when he and Arcade Fire frontman Win Butler were nominated for an Oscar for the score for Her. Pallett is the underdog you want to root for, one who willfully resists pressure to fit in. “People have all sorts of biases,” he says about conformity in hip-hop, metal, and other genres. “This is why I’m very content with pop music. We take all kinds.” Pallett grew up a musical outsider, the product of an early interest in classical music that started at age 3 when he picked up the violin. Growing up in Mississauga, Ontario, a suburb of Toronto, Pallett didn’t regularly attend concerts or fit in with a music scene. “It didn’t feel like I could participate in the fundamental currency of how music works,” he says. But being an outsider
had its advantages, and Pallett learned to seek new paths toward a relationship with music. While studying music composition at the University of Toronto, things came into focus. He began to combine his love of the violin with his passion for pop, taking on arrangement projects that eventually led him to orchestration work for bands like Arcade Fire, R.E.M., and The National. He released his first album, Has a Good Home, in 2005 under the name Final Fantasy, and the next year won Canada’s prestigious Polaris Music Prize for He Poos Clouds, a heavy tome about confronting death that includes thematic references to Dungeons & Dragons, The Legend of Zelda, and The Chronicles of Narnia. In other words, not exactly your average pop album. In May, under his own name, Pallett released his fourth full-length, In Conflict, which Rolling Stone dubbed “a pop treasure”—and which, for the first time, finds Pallett laying himself bare, no longer keeping himself at arm’s length from his song’s protagonists. “I’ll never have any children,” he confesses on “I Am Not Afraid,” the album’s cinematic opener. “I would bear them and confuse them, my children/My salvation is found in discipline, discipline.” That discipline has kept Pallett an in-demand arranger, finding work filling in the gaps when less formally trained musicians can’t deliver. Though he doesn’t see it that way. Pallett says an intuitive approach to songwriting is just as valuable as his ability to read and score music. “I got into [arranging] because I had a real aptitude for it,” he says. “It was the thing that clearly I was good at, in the same way that I was clearly not a good soccer player.” Well, who can be good at everything? E
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OWEN PALLETT With Avi Buffalo, Foxes in Fiction. Neumos, 925 E. Pike St., 709-9442, neumos.com. $17 adv./$20 DOS. All ages. 9 p.m. Mon., Sept. 8.
2033 6th Avenue (206) 441-9729 jazzalley.com
JAZZ ALLEY IS A SUPPER CLUB
dinner & show
mainstage WED/SEPTEMBER 3 • 7:30PM WESTERN ARTS ALLIANCE MUSIC SHOWCASE
portland cello project, home free, logan brill THU/SEPTEMBER 4 • 7:30PM WESTERN ARTS ALLIANCE MUSIC SHOWCASE
the duhks, fernando varela, kneebody
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!
DIANE SCHUUR ALLSTAR BAND THURS, SEPT 11 - SUN, SEPT 14
Schuur swings with heartfelt intensity.
15TH SISTER CITY JAZZ DAY - RIE TAKAHASHI
MON, SEPT 15
Kobe’s 2014 Vocal Jazz Queen!
FRI/SEPTEMBER 5 • 7PM (17+) & 9:30PM
storm large and le bonheur
AMINA FIGAROVA
TUES SEPT 16 - WED, SEPT 17
Jazz composer and pianist who knows how to swing!
EARL KLUGH
SAT/SEPTEMBER 6 • 7:30PM & SUN/SEPTEMBER 7 • 6PM
sweet dreams, the music of patsy cline WED/SEPTEMBER 10 • 7:30PM 91.3 KBCS WELCOMES
anais mitchell w/ reed foehl THU/SEPTEMBER 11 • 7:30PM
steve poltz w/ the royal oui
THURS SEPT 18 - SUN, SEPT 21
Grammy-Award Winning contemporary crossover jazz guitarist and composer.
all ages | free parking full schedule at jazzalley.com
El Corazon www.elcorazonseattle.com
109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
THURSDAY, SEPTEMBER 4TH
EXOHXO
FRI/SEPTEMBER 12 • 7:30PM
brazilian nights! paula santoro & rafael vernet w/ entremundos quarteto
with Teach Me Equals, Red Rumsey, Plus Guests Lounge Show. Doors at 7:30PM / Show at 8:00 21+. $6 ADV / $8 DOS
FRIDAY, SEPTEMBER 5TH
POORSPORT FINAL SHOW
with Highlight Bomb, The Whywolves, Trinity Avenue Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS
FRIDAY, SEPTEMBER 5TH
• 9/3 acoustic revolution: featuring acoustic eidolon, lauren sheehan, eric schwartz and claudianygaard•9/4thehotmcgandhis•9/5firstfridayartopeningw/peterdervin//happy hour: djangomatics / mark sexton band • 9/6 cody rentas band • 9/7 hwy 99 blues presents • 9/8 crossrhythm sessions • 9/9 singer-songwriter showcase featuring: mark ward, patrick w mchenry and austin eley wade • 9/10 lonesome shack TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
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216 UNION STREET, SEATTLE · 206.838.4333
THE HOT TODDIES
with Encourager, The Forgotten 45’s, Oranges From The President Lounge Show. Doors at 8:00PM / Show at 8:30 21+. $8 ADV / $10 DOS
SUNDAY, SEPTEMBER 7TH MIKE THRASHER PRESENTS:
SENSES FAIL
with No Bragging Rights, Knuckle Puck, To The Wind Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $15 ADV / $18 DOS
MONDAY, SEPTEMBER 8TH
The 1st Annual
MIKE THRASHER PRESENTS:
(LIVE MODEL COMPETITION AND PHOTOSHOOT)
with Hollywood Ending, William Beckett, Matt Bacnis Doors at 6:00PM / Show at 7:00 ALL AGES/BAR W/ID. $12 ADV / $15 DOS
“MISS ALTERNATIVE SEATTLE” CONTEST Celebrity Judges: Whisper DeCorvo, Paul Diamond Blow (Space Cretins), Alexi Void (Go Like Hell); Hosted by Sir Mark Bruback
happy hour every day
SATURDAY, SEPTEMBER 6TH
Lounge Show. Doors at 8:30PM / Show at 9:00 21+. $10
SATURDAY, SEPTEMBER 6TH
PARADISE FEARS
TUESDAY, SEPTEMBER 9TH
MIKE THRASHER PRESENTS:
MIKE THRASHER PRESENTS:
Doors at 7PM / Show at 8:00, 21+. $10 ADV $13 DOS
with Sleepwave, Plus Guests Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS
CROBOT with Tatarus, Black Pussy, Piston Ready
NOTHING MORE
JUST ANNOUNCED 10/3 LOUNGE - UKE HUNT 10/8 - JACOB WHITESIDES 10/13 - HEAD NORTH 10/24 - FOR ALL THOSE SLEEPING 10/24 LOUNGE - AUSTIN LUCAS 10/30 - FLYLEAF 11/3 - THE ICARUS ACCOUNT 11/12 - LAGWAGON 11/22 - ISSUES 12/21 - MOONSHINE BANDITS UP & COMING 9/10 LOUNGE - JOHNNY HOFFMAN AND THE RESIDENTS 9/11 LOUNGE - SINGLE MOTHERS 9/12 - THE REAL MCKENZIES 9/13 - STORIES AWAY 9/14 - SCHOOL OF ROCK PRESENTS: METAL FEST 9/15 - ZUG IZLAND / DJ CLAY 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 - TOM MORELLO OF RAGE AGAINST THE MACHINE 9/26 LOUNGE - THE MAXIES 9/27 - TRAPT 9/28 - TWIZTID 9/29 - CROWBAR 9/29 LOUNGE - TOTAL SLACKER 9/30 - AMON AMARTH 10/1 - PARACHUTE 10/1 LOUNGE - ERIC TESSMER BAND 10/2 LOUNGE - LOSE CONTROL 10/3 - AARON CARTER 10/4 - THE PRETTY RECKLESS 10/5 - RICHARD MARX
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 W EE KLY • SE PT EM BER 3 — 9, 2014
next • 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 • 9/20 & 21 captain smartypants • 9/22 & 23 the bad plus • 9/25 taylor davis • 9/26 sean hayes w/ special guests eric and erica • 9/27 decibel fest/optical 5: ghostly international • 9/28 decibel fest/ optical 6: erased tapes • 9/29 living colour
in This Bring T And ge n o Coup er iz T e p p one A 2 oFF! For 1/
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arts&culture» Music
TheWeekAhead Wednesday, Sept. 3 Pairing drone-enthused EARTH with somber folkster KING DUDE is going to make this bill one of the year’s dreariest. Dylan Carlson, of the former, has been kicking around at the periphery of underground stardom for about 20 years, and for most of that time his troupe has skirted the traditional verse-chorus-verse structure, apart from 1996’s Pentastar: In the Style of Demons. Since dispensing with the recording of overwhelming walls of feedback, the band has taken to cobbling together downer-rock stuff, most recently on Primitive and Deadly. It’s a good match with King Dude, a guy who sounds like he might listen to Burzum and Woody Guthrie in equal parts. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $12. DAVE CANTOR
SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
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Yes, LOGAN BRILL is young and blonde, and her debut, Walking Wires, features country tunes about relationships both good and bad. But no, Brill is not Taylor Swift 2.0. Whereas Swift takes the more polished, Top 40–country, full-on pop route, Brill, a 23-year-old Knoxville native, isn’t afraid to get some dirt under her nails. Her voice is smooth and low, but she’s able to turn up the grit at a moment’s notice—a trick that adds authenticity to her sound and makes it seem as though she’s been performing for years. For yet another side of her voice, check out her beautiful cover of Edith Piaf’s “La Vie en Rose” on YouTube. With Portland Cello Project, Home Free. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20 adv./$23 DOS. All ages. AZARIA C. PODPLESKY
To get a sense of what makes THE STONE FOXES tick, you need to do two things. First, check out “Cotto” from 2013’s Small Fires. The balls-out rocker—with heavy blues and soul overtones that make this story about a prizefighter pack quite a wallop—is indicative of what else you’ll find on the album. Second, check out its video, which features drummer and lead singer Shannon Koehler getting his ass kicked by a trio of dressed-up kids who look like they’re auditioning for a role on When Dance Battlers Go Bad. These Foxes rock like there’s no tomorrow, but they’re up for a good laugh too—a tough combination to beat. With Tango Alpha Tango, Good Men, Thorough. The Crocodile. 8 p.m. $12. All ages. BRIAN PALMER The term “DJ set” has a lot of connotations, usually of dance clubs and “filthy bass drops.” Thievery Corporation’s ROB GARZA has never been that type of producer. His work in the band and on various remixes show he has an ear for world music and bossa nova crooning, a mix of sounds that brought the group acclaim with their Garden State breakthrough “Lebanese Blonde.” Getting behind the mixer, it’s a chance for concertgoers to experience a different, less conventional type of dance party. Garza may be a DJ, but he’s also an accidental evangelist for a whole other realm of music. With Blue Eyed Soul, Karl Kamakahi. Neumos, 925 E. Pike St., 7099442, neumos.com. 8 p.m. $15 adv. 21 and over. DH
Saturday, Sept. 6
There’s a carefree vibe to Libation, the latest album from SIERRA LEONE’S REFUGEE ALL STARS, which masks the band’s improbable beginnings. Displaced
Thursday, Sept. 4
Seattle’s EXOHXO does chamber pop with a special emphasis on “chamber.” It’s becoming relatively more common for groups to include strings or pianos in their lineup, throwing in a violin flourish here and there for texture. Exohxo takes this a step further with finely crafted arrangements that feel as important as its jangly guitars and earnest vocals. It’s a sanguine mashup of classical and indie pop without pandering to either demographic. Every moving part feels intentional and complementary, rather than being placed for novelty’s sake. With Teach Me Equals, Redrumsey. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7:30 p.m. $6 adv./$8 DOS. 21 and over. DUSTY HENRY After a recent move to L.A., JHEREK BISCHOFF returns home, at least for an evening, to show us why he was voted Seattle Weekly’s 2014 Best Collaborator. The composer, who has worked with the likes of the Kronos Quartet, Xiu Xiu, and Amanda Palmer, has a penchant for leading large ensembles, creating sweeping, moody arrangements that explore the distance between pop and classical music. This is best heard on his 2012 album Composed, which featured contributions from David Byrne and Zac Pennington of Parenthetical Girls. For this show he’ll be joined by an intimate group that includes Pennington, violinist Paris Hurley (of Seattle-based group Kultur Shock, among others), local jazzhead Beth Fleenor on clarinet, and a handful more performing all-new arrangements of his music, which he promises will be a “once-in-a-lifetime show.” With just one night to prove it, it shouldn’t be anything less. The Moore, 1932 Second Ave., 682-1414, stgpresents. org/moore. 8 p.m. $22.50. GWENDOLYN ELLIOTT There’s nothing graceful about SWANS, the experimental rock group that emerged from the New York no-wave movement in the early ’80s, but that’s
JAY DICKMAN
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Friday, Sept. 5
CASSANDRA LEETE
Logan Brill
the point. The band, led by Michael Gira, offered repetitive riffing, plodding rhythms, and monotonous vocals for a uniquely brutal effect that dispelled any notion of what a band could sound like. They called it quits in 1997, but reformed in 2010 with a renewed dedication to their mission. Pitchfork said their latest album, To Be Kind, “perfected a new means of transforming grotesquerie into grandeur and vice versa.” There’s no band quite like Swans, and you may never be the same after seeing them play. With Carla Bozulich. Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 9 p.m. $25 adv./$28 DOS. DAVE LAKE
Sierra Leone’s Refugee All Stars during the nation’s civil war, the band bounced from one refugee camp to another for three years, playing music for fellow refugees along the way, before eventually making their way home and recording their first album, Living Like a Refugee, released in 2006. The group continues to spread the message of hope and peace while sharing their native folklore through song. On Libation, the All Stars take an unplugged approach, reminiscent of their days playing in camps. But this time going acoustic is a choice, not a necessity. With Irukandji Legion of Brass, Darek Mazzone. Barboza, 925 E. Pike St., 7099951, thebarboza.com. 7 p.m. $18. 21 and over. ACP England native PASSENGER, aka Michael Rosenberg, spent four years busking full time; now an independent chart-topping sensation, selling out venues in the U.S. and abroad, he still writes heartfelt blog posts for his official website and updates his own Facebook page, signing off with saccharine salutations such as smiley faces and “xx.” He impressively funded his last four records “basically from busking,” he says (his fifth, Whispers, hit shelves in June). Rosenberg first caught widespread audience attention in Australia, where he recorded All the Little Lights,
which includes the reflective and über-catchy “Let Her Go.” The track carried his unique voice and straightforward but effective lyrical style across oceans to the U.S., where he quickly gained traction and continues to build a following. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxpresents. com. 9 p.m. $27 adv. All ages. JESSIE MCKENNA You really can’t go wrong with AN EVENING OF THE MUSIC OF PATSY CLINE. Arguably the most important female voice in the history of country music, the Nashville icon, who died in a plane crash at age 30, would have turned 82 this week. In just a handful of years, however, Cline left behind one of popular music’s most enduring catalogs, including “Crazy,” “I Fall to Pieces,” and “Walkin’ After Midnight.” Her songs will be performed tonight by a number of Northwest voices, including Star Anna, V. Contreras, Jennifer Hopper, Kim Virant, and others. The Triple Door. 7:30 p.m. (Also 6 p.m. Sun.) $20 adv./$22 DOS. DL
RETT ROGERS
Esmé Patterson plays the Tractor on Tuesday. odd to find the band looking backward so quickly. But alas, the 10th anniversary of the band’s debut album, Let It Enfold You, means fans will surely clamor at the chance to hear it in its entirety—and then hopefully get pummeled with some newer material. In celebration, Senses Fail will also reissue the album on vinyl. With No Bragging Rights, Knuckle Puck, To the Wind. El Corazon. 6:30 p.m. $15 adv./$18 DOS. DL A kind of shrunken acoustic guitar, the ukulele first won over America in the early 1900s with its hypnotic combination of sweet, pure tones and the heartbeat rhythms commonly strummed on it, and the 21st century has ushered in its renaissance. UKE HEAVEN brings our love for the uke to the stage for performances by renowned Canadian player James Hill, Grammy-winning multi-instrumentalist duo Cathy Fink and Marcy Marxer, husband-and-wife duo The Quiet American, the Hula Honeys (from Maui), and Kate Power and Steve Einhorn, plus “house band” Nova Devonie on accordion and Matt Weiner on stand-up bass. All-day ukulele workshops with the artists follow on Monday down the street at Dusty Strings—uke can do it too! Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 7:30 p.m. $20. 21 and over. JM
Sunday, Sept. 7
Tuesday, Sept. 9
COHEED AND CAMBRIA might be rock’s geekiest
Send events to music@seattleweekly.com. See seattleweekly.com for more listings.
SEATTLE W EE KLY • SE PT EM BER 3 — 9, 2014
Transitioning to a new sound or aesthetic can be contentious for a band’s fans. BEAR IN HEAVEN has built a reputation on experimental, ’80s-style, synth-poptinged records like 2010’s Beast Rest Forth Mouth and 2012’s I Love You, It’s Cool. The band’s latest, Time Is Over One Day Old, keeps some of those roots but builds a bigger, more approachable sound on them, with booming drums and ethereal guitars. It’s a striking difference, but not a bad sound for the group. The weirdness may be subsiding, but it may not be gone forever. With Young Magic, Miles Cooper Seaton. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. $12 adv./$14 DOS. 8 p.m. 21 ad over. DH On its most recent release, 2013’s Renancer— Spanish for “to be reborn”—New Jersey screamo act SENSES FAIL reinvented itself, issuing the heaviest album of its career. It seems particularly
SHAWN BRACKBILL
Bear in Heaven
band, and that’s meant in the best way possible. The prog-rock quartet’s extensive discography comprises concept albums (including In Keeping Secrets of Silent Earth: 3, which will be played in its entirety at this show) that each tell a chapter in the fantasy tales of Coheed, Cambria, and Claudio Kilgannon. Over the years, this story has been further explored in a series of comic books called The Armory Wars, all penned by lead singer Claudio Sanchez. The music doesn’t come second to the plot, though; the band’s albums all have a cinematic feel to match The Armory Wars’ epic storyline. With Thank You Scientist. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 7:30 p.m. $25.75 adv./$29.25 DOS. All ages. ACP Short of the Human League’s “Don’t You Want Me,” the women singers croon about rarely, if ever, get to share their side of the story. ESMÉ PATTERSON wanted to change that with her latest album, Woman to Woman. On it, the vocalist (who also performs in Paper Bird) wrote response songs from the perspective of seven of pop music’s most famous ladies. Elvis Costello’s “Alison” became “Valentine,” Dolly Parton’s “Jolene” turned into “Never Chase a Man,” and Lead Belly’s “Goodnight Irene” is reinterpreted as “A Dream.” “Loretta,” “Caroline, No,” “Eleanor Rigby,” and “Evangeline” also have their say. In her “folk & roll” style, Patterson adds color to these famous figures immortalized for years in onesided stories, restoring to them their long-unheard voices. With Led to Sea, Edmund Wayne, Paleo. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $8. 21 and over. ACP
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a&c» Music LocaLReLeases Avi Buffalo, At Best
Cuckold (September 9, Sub Pop, avibuffalomusic.com) When Avi Buffalo emerged with its self-titled debut record in 2010, a lot of the buzz surrounded the band’s then-19-year-old songwriter Avi Zahner-Isenberg and the youthful sexual frustration he put into jaunty tunes like “Summer Cum” and “Five Little Sluts.” On this sophomore release, that frustration has morphed into a more refined and mature look at failing in love. Jagged guitar lines and squealing pop hooks are traded here for low, rumbling melancholy. The new tone fits the band surprisingly well, showing growth rather than stagnancy. The arrangements are more lush and refined, as on the serene lead single “So What” with its layers of clean guitars and a slow-moving bass line. The band tones it down even more on “Overwhelmed With Pride,” a subtle arrangement of acoustic guitars and horns with a stirring chorus whereon Zahner-Isenberg sings “And I’m relatively inconspicuously overwhelmed with pride.” Still, there are remnants of the absurdity and wit we heard on the debut. On “Memories of You,” Zahner-Isenberg ecstatically proclaims, “Bitch, I’m on fire/You got magnum desire/I’m a cheeseball on fire ’til the morning dew.” Growing up sometimes means putting childish things to rest, but At Best Cuckold offers listeners an alternative: Instead of changing one’s self entirely, we can change how we approach struggles, love, and loneliness. At 23, ZahnerIsenberg seems to get that more than some twice his age. (Mon., Sept. 8, Neumos) DUSTY HENRY
SEATTLE WEEKLY • SEPTEM BER 3 — 9, 2014
Deep Sea Diver, Always Waiting EP (out now,
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self-released, thedeepseadiver. com) It’s baffling how much ground is covered here in just four songs. Maybe it’s because each beautifully arranged ambientpop track confidently takes its time to develop, revealing surprising and gratifying turns along the way. Maybe it’s because frontwoman Jessica Dobson’s voice draws you in, soaring with confessional lyrics and melodies that offer a comforting intimacy. Maybe it’s the tasteful guitar shredding that plays with intricate, electronic percussion and synthesized blasts, laying a sparse yet powerful atmosphere of sonic textures. What is known is that in under 20 minutes, all these thoughtful qualities coalesce into a compelling collection. The instrumentation mirrors Dobson’s engaging songwriting, and the lyrics serve as a deeply emotional outlet. With passages like “I’m not afraid of natural disasters/ Or any other thing for that matter/I’m in love with every emotion/What keeps my heart from exploding?”, Always Waiting invites you into a well of reflection. (Fri., Sept. 5–Sat., Sept. 6, Fremont Abbey) STIRLING MYLES
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Employment Computer/Technology Associate, Business Analyst, Client Data Interfaces Team, Aladdin Product Group sought by BlackRock Financial Management, Inc. in Seattle, WA to work with clients to dvlp interfaces from their systems to Aladdin trading system & to define how to integrate Aladdin data into client’s envrmt & retire existing client systems. Req’s: Master’s deg or equiv in Comp Sci, Mgmt Info Systems, Operations Mgmt, or related field & 2 yrs of exp performing business analysis, reqmts gathering, testing, project coordination & support on behalf of a global financial services institution. Prior exp must incl: analyzing client’s existing systems & processes; dvlpg detailed business & technical reqmts for new interfaces & enhancements to existing interfaces including dvlpg prototypes & working models; & utilizing the following technologies to dsgn & dvlp applics: HTML, XML, SQL, Oracle PL/SQL, Perl, Embperl, Windows 98/XP/7, UNIX, Aqua Data Studio, Adobe Photoshop, Sybase Server, & JIRA. Please apply directly through https://blackrock.taleo.net/ careersection/BR_Exec_CS/ jobdetail.ftl?lang=en&job= 142403&src=cws-10680 by clicking “Apply Online�.
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!
CAPTIOL
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(JB)
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Proof Due Back By: 2/28 FOR RENT . Perfect for 12pm College
students. Must be feAd #: P31401-f-9534-5x3 Programs and male. Near colleges, on Deadline To Pub: 3/3 9am schedules vary by campus bus line. No pets/ smokFirst 3/5/2014 ing. Run: Utilities included. $450. 206-412-6451. Publication: Seattle Weekly
Section: Career Training Specs: 4.83x2.69
T Approved as is. T Approved with revisions. T Revise and resend. Initial _________ Date __________
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STAFF MANAGEMENT | SMX IS HIRING IMMEDIATE WAREHOUSE ASSOCIATES FOR THE AMAZON FULFILLMENT CENTER
IN BELLEVUE
JOIN OUR TEAM!
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DAY & NIGHT SHIFTS, FULL-TIME POSITIONS
Dedicated Regional | Over-the-Road Up to $5,000 sign-on bonuses available (depending on account) Earn up to $65,000/year (based on experience) Experienced drivers and recent driving school grads should apply
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apply.smjobs.com SEATTLE WEEKLY Size: 4.83 x 3.64
MEDIA CODE: W09 JOB CODE: 704S
schneiderjobs.com/newjobs 800-44-PRIDE
MULTIMEDIA CONSULTANT
MARKETING COORDINATOR
Seattle Be a part of the largest community news organization in Washington! *Do you have a proven track record of success in sales and enjoy managing your own territory? *Are you competitive and thrive in an energetic environment? *Do you desire to work in an environment which offers uncapped earning opportunities? *Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES to the above, then we are looking for you! Seattle Weekly, one of Seattleâ&#x20AC;&#x2122;s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, results-driven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients. As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service. This position receives a base salary of $24k plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driverâ&#x20AC;&#x2122;s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient. If you have these skills, and enjoy playing a pro-active part in impacting your local businessesâ&#x20AC;&#x2122; financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com, ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us!
The Daily Herald, Snohomish Countyâ&#x20AC;&#x2122;s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader. Drop off resume in person & book list to: 1530 1st Ave (serious inquiries only) 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, Driverâ&#x20AC;&#x2122;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
Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298
Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 â&#x20AC;˘ 877-271-2601
hreast@soundpublishing.com
EOE M/F/D/V
PER HOUR
Schneider has freight to move right now!
Employment General
www.sound publishing.com www.soundpublishing.com
Climber Climbers needed in King County for established company. Full time, year round Work. Must have min. 2 yr. Climbing exp. Vehicle and DL Required. Send email with Work Exp. to recruiting@evergreentlc.com or call 800-684-8733
Auto Events/ Auctions
Eastside Towing #5175
Abandoned Vehicle Auction
09/10/14 at 11:00AM
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NOW HIRING
Employment General
31
Professional Services Music Lessons
Announcements
NORTHEND MASSAGE
GUITAR LESSONS Expâ&#x20AC;&#x2122;d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942
FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180
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SUMMER SPECIALS We Do:
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Floydâ&#x20AC;&#x2122;s Roofing And Repair Auto Events/ Auctions
Appliances AMANA RANGE Deluxe 30â&#x20AC;? 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
Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,
interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293. Credit Dept. 206-244-6966
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 Dingâ&#x20AC;&#x2122;s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966
FREE ESTIMATES Call for Summer Deals! Restrictions Apply FLOYDRR921KN
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Abandoned Vehicle Auction City Wide Towing 14045 Midvale Ave. N. Seattle, WA 98133 September 8th, 2014 10AM Preview 1 Hour Before
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REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available
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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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HomeWell Senior Care Franchising is growing! Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz
Singing Lessons
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PAID FOR UNWANTED CARS & TRUCKS
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Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening
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Appliances
Paid research opportunity. Call the APT Study at
206-543-0584.
@ CenturyLink Field
Housekeeping Job Fair Sept 8th and 9th from 10am-12pm â&#x20AC;˘ Detail Workers â&#x20AC;˘ Event Worker â&#x20AC;˘ Post Event Workers â&#x20AC;˘ PT Housekeeping Positions
Come to the NE VIP located on the north side of the stadium.
Flea Market
CURIO CABINET, 3 glass shelves, bottom sorage drawer . In excellent condition. $35. Bellevue 425-641-0643. Mariners game jersey replica, Ichiro # 51, menâ&#x20AC;&#x2122;s size XXL, never worn $80. 206-323-3625 MOTORCYCLE Jacket, 100% leather, black, menâ&#x20AC;&#x2122;s sz 36, vintage, excel cond. $75. 206-3233625 Miscellaneous
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NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the sellerâ&#x20AC;&#x2122;s and buyerâ&#x20AC;&#x2122;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 sellerâ&#x20AC;&#x2122;s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx
Garage/Moving Sales King County BELLEVUE, 98006.
HUGE MOVING SALE! Fri, Sat & Sun, Sept 5th, 6th, & 7th from 9 am - 4 pm. Leather furniture, washer, dryer, Drexel vintage dining set, girls bicycle & helmet, entertainment cabinets, speakers, tables, chairs, patio furniture and many other items. Located at 16842 SE 57th Place.
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Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: â&#x20AC;˘
Receptionists
â&#x20AC;˘
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Programs and schedules vary by campus. For useful consumer information, please visit us at www.everest.edu/disclosures.
NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today â&#x20AC;&#x201D; weâ&#x20AC;&#x2122;re here for you!
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