Seattle Weekly, September 10, 2014 by Sound Publishing

SEPTEMBER 10-16, 2014 I VOLUME 39 I NUMBER 37

SEATTLEWEEKLY.COM I FREE

PETE CARROLL'S NEW WEAPON PAGE 6 | WALLA WALLA'S UNDISCOVERED WINES PAGE 12

WHAT KIND OF CITY DO WE WANT TO BE? INSIDE THE LAND-USE BATTLE THAT IS RESHAPING SEATTLE.

BY NINA SHAPIRO » PAGE 7

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

City of Seattle

inside» September 10–16, 2014 VOLUME 39 | NUMBER 37

» SEATTLEWEEKLY.COM

»12

news&comment 4

SEA WARS

BY KELTON SEARS | A new Canada/

U.S. alliance aims to protect our coastal waters from corporate ravishment. Plus: new strategies for bike traffic and the Seahawks.

LAND WARS

BY NINA SHAPIRO | Looking at a six-figure influx of new Seattleites, developers and current residents debate how and where the city should grow.

food&drink

12 GRAPE ESCAPE

BY ZACH GEBALLE | Our Bar Coder’s

first trip to wine mecca Walla Walla. 12 | FOOD NEWS/THE WEEKLY DISH 13 | COOKBOOK REVIEW

arts&culture 14 INTERNEE ART

BY BRIAN MILLER | What relocated

Japanese-Americans created during WWII. 14 | THE PICK LIST 16 | OPENING NIGHTS | Angels in

America Part II, Samuel Beckett, and an English blackout farce.

19 FILM

OPENING THIS WEEK | Gay marriage leads to homelessness, Belle and Sebastian make a big mistake, and Errol Flynn commits statutory rape. 22 | FILM CALENDAR

24 MUSIC

BY DAVE LAKE | Looking back on the

’90s with the Breeders’ Kelley Deal. Plus: DJ Sabzi comes home and Noise for the Needy says goodbye. 26 | THE WEEK AHEAD

odds&ends 30 | CLASSIFIEDS

»cover credit

PHOTO OF GRETCHEN GEISNESS AT HER HOME IN BALLARD BY MORGEN SCHULER

Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Terrence Hill Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti PRODUCTION

taste of

Northwest

Production Manager Sharon Adjiri Art Director Samantha Wagner

AT THE SPACE NEEDLE

Graphic Designer Nate Bullis, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Anna Erickson ADVERTISING Marketing Jen Larson, Zsanelle Edelman Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Cecilia Corsano-Leopizzi, Erin McCutcheon, Peter Muller Classifieds Account Executive Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

September 18 $60 taxgratuity from 6pm-9pm

Ticket includes admission to the Space Needle, all bites, music and a complimentary glass of wine or beer. Cocktails and additional beer and wine are available for purchase.

tHANK YOU tO OUr pArtNerS

more details & tickets at spaceneedle.com/taste

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

17 | PERFORMANCE 18 | BOOKS & VISUAL ARTS

»26

news&comment

A Shield for the Sea An alliance of Native Americans, environmentalists, and fed-up citizens forms to fight for the sacred Salish.

Three Concerns About the New 2nd Ave. Bike Lanes

BY KELTON SEARS

BY ELLIS E. CONKLIN

n August 4, a dam holding back mining wastewater burst open in Likely, B.C., gushing roughly 6,604,301,309 gallons of toxic waste into the nearby lakes—a spill 78 percent larger than initial estimates. Only a month after the incident, Imperial Metals, the corporation responsible, declared the water safe to drink again. “One of my friends caught a salmon alive and kicking there last week,” Sundance Chief Rueben George from the Tsleil-Waututh Nation said to a packed Seattle crowd at the Daybreak Star Indian Cultural Center on Sunday. “But when my friend picked it up, the fish’s skin slid off in his hands.” Salmon have long been spiritual symbols of the Pacific Northwest—aquatic residents of the Salish Sea that have given life to Coast Salish people for 14,000 years and white settlers for 150. That the skin of the Northwest’s spirit animal is melting off is just one of many reasons organizers say they are forming the brand-new Nawt-sa-maat Alliance, a group that has vowed to defeat oil and coal corporations bent on turning the Pacific Northwest into a fossil-fuel corridor. Nawt-sa-maat, a Coast Salish word that means “One house, one heart, one prayer,” is an unprecedented trans-border coalition of Coast Salish indigenous nations, environmentalists, interfaith groups, and youth activists that met for the first time this past weekend in Discovery Park. The Alliance’s goal? “To protect the sacredness of the Salish Sea.” “The tribes are the original environmentalists,” Annette Klapstein, a member of the Seattle Raging Grannies and a new member of the Nawtsa-maat Alliance, said at the initial meeting on Sunday. Klapstein was one of three protesters who sat on train tracks in Anacortes to block the controversial “exploding” oil trains in July. It was her first direct action after years of fruitless writings to the Seattle City Council and visits to Olympia to persuade politicians to do something about the influx of dangerous rail cars. “It was always very iffy for tribes to work with environmental organizations because these organizations were arrogant,” Klapstein said. “They would tell tribes what to do, which didn’t go over very well. This new alliance, based on respect and understanding, is so important because these different groups’ goals are much the same, and we are so much more powerful together.” Chief George, one of the three main founders of the Nawt-sa-maat, presided over the initial meeting and made it clear that one of its biggest enemies was the massive energy

econd Avenue has long been a Bermuda Triangle for Seattle cyclists. More than 60 crashes involving bicyclists have taken place on this busy downtown thoroughfare since 2010—the most horrific of all on Aug. 29 when Sher Kung, a 31-year-old attorney and mother, was killed by a large box truck turning left at Second and University. Few places in the city better exemplify the uneasy relationship that exists between motorists and bicyclists. This past weekend, the street was dramatically revamped with new dedicated lane markings, bike signals, and a row of plastic bollards stretching from Pike Street to Yesler Way, all designed to separate bikes from other traffic. But naysayers abound. Here are the concerns they’re peddling, and whether they hold any ground.

More than 300 gathered at the Daybreak Star Indian Cultural Center to rally for the Salish.

company Kinder Morgan. “We stand as one, and together we will protect and restore the sacredness of the Salish Sea,” he said. “Together, we are stronger than those who wish to use our home and waters as a mere highway for dirty oil and coal. Together, we will stop them. Kinder Morgan will not win this battle.” Formed by Richard Kinder, an ex-Enron employee, the oil mega-corporation is proposing a massive $5.4 billion oil pipeline connecting the Alberta tar sands to the Pacific through Burnaby, B.C., tripling current capacity and creating the potential for enormous spills in the North Salish that would directly affect us in Washington. Canadian Prime Minister Stephen Harper has been pushing the project despite massive backlash from British Columbian activists and the indigenous Tsleil-Waututh, who are now taking the project to court for failing to consult with the First Nations tribe on the federal review. “You know, I’d like to thank Stephen Harper,” said Nawt-sa-maat co-founder Chief Phil Lane Jr. of the Yankton Dakota and Chickasaw First Nations, “because in his complete unawareness, he’s awakened a sleeping spiritual giant.” The mood at the meeting was intensely spiritual at times. Four local religious leaders, a United Methodist, a Buddhist, a Sufi, and an

Interspirit, came together to bless the gathering in their respective traditions, ending with an indigenous cedar-bough blessing that the crowd happily lined up to receive. Many of the religious groups present vowed to convert their houses of worship to solar energy in an act of good faith. Being a member of the Nawt-sa-maat effec-

tively means a couple of things. Members are expected to join in a “4 Days of Action” campaign, starting on Sept. 19, that ranges from a salmon homecoming celebration to a climatechange rally at the Canadian border and ends with an international treaty signing that will effectively ratify the new trans-border Nawtsa-maat Alliance. Members are then expected to join in future actions and work to build the nascent network, which will soon expand its scope to tackle the proposed coal-extraction sites at Cherry Point, sacred land to the people of the Lummi Nation near Bellingham. “I just want to make this very clear,” Chief George said as he doled out salmon to the Nawtsa-maat near the meeting’s end, “this Alliance isn’t just for one group. It’s for everyone. The Salish Sea is for everyone, not just corporations. We will win this fight.” E

ksears@seattleweekly.com

fazed by the bell » High-Schoolers Face Earlier Start Seattle high-schoolers got a shock when they learned that their start time of 8 a.m. was being pushed back to 7:50. Activists like teacher Cynthia Jatul have been advocating for later start times given the scientifically proven need for adolescents to get more sleep. “It’s not really rational,” she told SW. Our readers weighed in. “If they start later, they’ll stay up later or get up early to finish homework.” —Kaelin Carson

•

“When I started high school, class would start at 7:30 a.m., and while we all hated it, it didn’t jeopardize any of the learning or studies . . . Getting out at 2:30 gave us more time for extra-curriculars.” —don juan fuego “It’s like Common Core for high schoolers. If John watches Netflix or YouTube until 2 a.m., then gets up at 6 a.m., what’s the square root of his percentage in his second period algebra class.” —thebriang

ANXIETY BY ALEX KWA, TRAFFIC LIGHT BY JOHN CASERTA, TRAFFIC BY LAURENT CANIVET FROM THE NOUN PROJECT

KELTON SEARS

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

Separation anxiety There is a fear that the dedicated bike lane will give cyclists a false sense of safety and security. At the same time, by changing the bike lane to allow cyclists to pedal north and south, there exists the ever-present specter of a head-on collision, which happened earlier this year on the Interstate 90 bridge bike trail. Also, there are worries that cars pulling out of driveways will accidentally strike a cyclist. Eventually, though, we will all get used to it. “With any roadway change, there’s a period of adjustment,” says Seattle Department of Transportation spokesman Rick Sheridan.

Signs of trouble The new sig-

Congestion suggestion People

nals are going to be confusing, at least for a while, what with separate traffic lights for bikes and left-turning cars in addition to the primary signal. But don’t worry, says Sheridan, for it won’t take long to figure out. And besides, “This type of improvement, both nationally and internationally, has been proven to enhance safety, and we believe that will be the case in Seattle.” Feeling better now? are afraid the bike lanes are going to make traffic worse. They will cause even more congestion, some say, with drivers and bikers moving more slowly as they grapple with navigating the new infrastructure. The $1.5 million in safety features is a waste of taxpayer money, opine others, saying that would be better spent on fixing potholes. Or, as one commenter at seattletimes.com puts it, “If this is such a good idea, why didn’t they do it on First, Third, Fourth, Fifth, and Sixth Avenues?” Fumed another skeptic: “If bike riders followed the rules of the road, there would be no need for additional bike lanes or special signals.” Says Sheridan: “There is nothing special or unique about this. These [signals] are standard equipment used in other cities across the country.” E

econklin@seattleweekly.com

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

MUSIC

MUSIC NEWSLETTER

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The inside scoop on

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and the latest reviews.

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

Special Guests from Fall City Arts!

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Returned Peace Corps Volunteer Stephanie Nys will discuss the new shorter application process and how applicants can now choose their assignment and country of service using our interactive website.

This event is a fundraiser to support

Th is event SnoValley Tilth is anda local, sustainable agriculture. fundraiser to support SnoValley Tilth and local, sustainable agriculture.

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SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

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was just happy the Seahawks took the lead. I didn’t realize that I—and you—were watching a turning point in NFL history. It’s called a pop pass—the Seahawks’ first touchdown last Thursday, where Russell Wilson faked a handoff, then moved forward as if he were going to run, then flipped a BY SETH KOLLOEN pass over two defenders to a wide-open Ricardo Lockette, who broke one tackle and scored. When Auburn used a pop pass to beat Alabama last year, one longtime college coach told SB Nation’s Ian Boyd it was “the most significant thing to happen in college football” last season. It’s no less significant now that Pete Carroll has brought it to the NFL. The play makes Russell Wilson a dual-threat player in all directions. Quarterbacks have always stepped backwards and thrown, or run sideways and thrown. But Wilson ran forward and threw. This, as Carroll might say, is a big frickin’ deal. The play comes from northwest Arkansas, which, strange but true, is one of football’s innovation centers. Go read Boyd’s “Evolving the Option: The Pop Pass and the Future of Football” for the whole story, but here’s the short version: Auburn coach Gus Malzahn started as a high-school coach in Arkansas, where he pioneered a multipleoption attack that fellow Arkansans are still tinkering with. There’s a school in Arkansas that gives

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news&comment»

their running back the option to pass. Is the world ready for quarterback Marshawn Lynch? Probably not. But you do wonder if football will evolve as basketball has: away from filling traditional positions and toward playing whoever has the most talent. Basketball has asked, Why put a player on the court who can’t shoot? Will football now wonder, Why put a player on the field who can’t throw? Carroll has already embraced the anti-positional approach with his defense. Other NFL teams employ specialists like the shut-down corner who isn’t expected to tackle or the mammoth defensive tackle who only plays the run. But on Carroll’s defense, everyone is expected to tackle, to defend receivers, and to rush the passer. After his touchdown pass to Lockette, you saw Wilson turn and point to the Seahawks’ sideline. He was pointing at Carroll, who saw Auburn run the pop pass play last December and thought it could work for the Seahawks. So if you want to see what the Seahawks offense is going to do next, get in front of your TV on Saturdays. Or get a plane ticket to Little Rock. E

sportsball@seattleweekly.com

BOOM TOWN

BRAWLS Inside the battle that is reshaping Seattle. BY NINA SHAPIRO

PHOTOGRAPHY BY MORGEN SCHULER

confides that he intended to needle the workers. “You have to put these guys on notice.” The needled worker is right about one thing: Bradish doesn’t like the row houses that are going up across the street from him, nor the similar lowrise developments that are popping up all over this part of Ballard, most of them on land cleared of charming and historic homes. The neighborhood is becoming denser, and—in the view of Bradish and many of his neighbors—uglier and less hospitable to the residents who already live there. “They don’t care about style,” he says of the developers. “It’s all about the cash.” Except for the occasional needling, he’s not fighting it, he says. “I’m resigned to the fact that this is what the city wants. They want us to live in cubicles.” Nearing retirement, he relates that he’ll probably sell out and leave the city. But others in Ballard—and in neighborhoods across the city that are being similarly transformed—are digging in and doing battle. In Capitol Hill, West Seattle, Eastlake, and elsewhere, residents are banding together, putting up websites and passing around petitions to stop what they contend is runaway, unregulated growth. More than a dozen such groups joined a confederation formed earlier this year called the Coalition for an Affordable, Livable Seattle, or CALSeattle. These activist groups point to an unprecedented building boom that has led to cranes everywhere and almost 14,000 permitted units still to be built as of this spring. That’s almost half as many units as were built in the entire seven-

year period ending in 2012. They will bring the city slightly above its planned growth target—for the year 2024. Ballard, including permitted construction, has already added more than three times the number of units planned for 10 years hence; Capitol Hill almost twice as many. “When is enough enough?” asks John Fox, executive director of the Seattle Displacement Coalition and a founder of CALSeattle. Usually a champion of low-income rather than well-off homeowners, Fox has thrown in his lot with neighborhood activists because he shares their belief that development is not only destroying the look and feel of beloved parts of town but leading to widespread gentrification. Even in neighborhoods that have long been affluent, Fox and his allies warn of a demographic shift that is destroying any remaining pockets of affordable housing and creating in their stead high-priced luxury units. Patrick Tompkins, a Capitol Hill homeowner and another founder of CALSeattle, talks about neighborhoods like his turning into a “monoculture” of rich, young tech workers. San Francisco, where a virtual class war has broken out over an even more amped-up, tech-fueled real-estate market, stands as a cautionary tale. Just as vehemently, however, another faction of the city is arguing that the development boom is exactly what should be happening, and if anything is being overregulated. In July, a developerfunded organization called Smart Growth Seattle launched a campaign, complete with video and petition, that rails against City Council members

for “decreasing housing supply with legislation that adds more rules, process, limits, and costs . . . at a time when we are expecting 120,000 new residents.” (That’s roughly in line with a forecast by the Puget Sound Regional Council, which projects 110,000 new Seattle residents between 2010 and 2030.) The video features ostensible street interviews with person after person—white, Asian, African American, young hipsters, graying boomers—all lamenting the city’s skyrocketing cost of housing, which an anonymous narrator blames not on new expensive units replacing old affordable housing, but on the notion that there aren’t enough new units to meet demand. This viewpoint too is represented by unlikely allies: Developers are finding support from environmentalists who promote high-density growth as the best antidote to sprawl. Growth has been a soul-searching topic in Seattle for decades. Think of the “Lesser Seattle” campaign of the ’80s and ’90s, which arose as a half-joking backlash to the influx of Californians fleeing their overpriced market only to drive up prices here. “Keep the Bastards Out” was the motto of Lesser Seattle instigator and then Seattle P-I columnist Emmett Watson. But the renewed debate brought by the recent development frenzy has reached a fever pitch, complete with name-calling and conspiracy theories. Smart Growth director Roger Valdez derides “entitled” property owners and the “NIMBY crowd” while Fox raises alarm about “rabid-pro-

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

n a sunny summer afternoon on Northwest 60th Street in Ballard, Tom Bradish decides that he isn’t going to sit idly by while construction workers are invading his street, “acting like they own the neighborhood.” A pair of workers are presiding over a plot near the modest one-story where he has lived for the past 23 years. Where once a little house dating back to 1900 stood there is now nothing but mounds of dirt and a digger, which will soon give way to four row houses. Bradish walks up to the workers and tells them to move on and stop blocking traffic. Exactly what he says can’t be heard by bystanders, but it obviously isn’t pretty. “Don’t bitch at us,” explodes one of the workers, dark-haired, clad in a black T-shirt and nearing the end of the day working in the hot sun. “I’m here to do a job.” He clomps back to his truck to finish up, but a minute later he’s back in the middle of the road. “Hey, I know you don’t want these houses built,” he shouts, as Bradish continues to stand in the road, watching. “But don’t start using the f-word with me. You know what? I don’t fucking care. You’re a fucking prick!” For a moment, it seems like the pair might come to blows. Instead, Bradish barks: “Get your shit out of the street and move it.” With slamming of doors and banging of materials, the worker eventually does as Bradish suggests and drives off. Bradish is unfazed. In fact, he looks rather pleased with himself as he

» CONTINUED ON PAGE 9 7

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

6TH ANNUAL

NO V 14 & 15

WINE, FOOD & TRADI TI ON TA S T E O F TU L A L I P. C O M ON SALE NOW!

BOOMTOWN BRAWLS » FROM PAGE 7 development” forces engaged in “green-washing.” “It’s so polarized right now,” laments City Council member Sally Clark, chair of the Housing Affordability committee and an active player in land-use issues. A councilmember since 2006, she says, “This is the fiercest the land-use wars have felt in my time.” They’re not going to let up anytime soon. Both sides have pledged to make the 2015 council election, when all the seats will be up for grabs in the first races determined by district, a referendum on housing policy. Also on the horizon is the task force on affordable housing promised by both Clark and Mayor Ed Murray. In the meantime, there’s sparring over the latest flashpoints. Neighborhood activists decry a wave of new microhousing, much of which has not had to undergo city design review because of regulatory technicalities, and which pack in a lot of people per structure. The City Council is considering new restrictions. More broadly, the city has proposed regulatory changes that will determine just how big and dense developments can be in “low-rise” zones that were targeted for growth decades ago but stayed largely single-family areas—until now. Four years ago, the City Council and the

TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY hoods were prepared for. From the front porch of his Ballard craftsman, (9/11) George Marshall Matt Dadswell can see the row-house developThe Psychology of Climate Change ment that so irritated Tom Bradish. As Dadswell and Tess Stelzer, who lives nearby, sit there on a (9/11) Vikram Chandra recent day, they note the barrenness of the conThe Art of Coding struction site. “This has been scraped completely clean,” he says. “Every piece of vegetation is gone.” (9/12) ‘Yes Magazine!’: That’s one reason why he and Stelzer question Thom Hartmann whether such development really is environmenMoney, Politics, tally friendly. “In a fantasy world, it’s doing some and Saving Our Democracy good for trees,” Stelzer says, alluding to the forested areas of the state that growth-management (9/13) Association for India’s Celebrating our New Low Prices policies are meant to protect. On the ground in New Hours: M-F 12:00 – 7:00 Development: and New Summer Clinic Hours the city, she says, the opposite is happening. Saturday 10:00 Ability – 5:00 Articulate ** Starting June 28, 2011 ** It would be one thing if the row houses were Sunday 12:00 – 5:00 Celebrating our New Low Prices sitting on a block filled with similar homes, she New Clinic Times: Tues 4–6 Fri 12-2 (9/15) DeFries this ad forRuth an extra 10% off and Dadswell continue. That’s the way New York and New Sat **starting JULY Clinic 2ND ** 10–2 Summer Hours - Bring Humanity’s Sustainable Future For weekly specials, follow us on Facebook City looks, with entire blocks of brownstones Bring this ad and receive lined up against each other. Here, however, “it’s 4023(9/15) Aurora Ave. N. Seattle, 98103 ** Starting June 28, 2011 ** Hearing LoopWA Launch an additional $25.00 OFF like a slice of row house has been dropped into www.samcollective.org Katherine Bouton New4021 Clinic Times: Tues 4–6 Fri 12-2 the middle of the block,” Dadswell says. (206) 632-4023 Losing Hearing, Finding Life Aurora Ave N. Seattle, WA 98103 He and Stelzer are reluctant to talk too much A non-profit organization in accordance with chapter RCW 69.51A 206-632-4021 • seattlealt@yahoo.com Sat **starting JULY 2ND ** 10–2 on the record. Stelzer says that in February, she (9/16) Lawrence Wright For weekly specials, follow u was out canvassing the neighborhood for Livable Camp David’s Complex Peace Ballard, one of the new groups trying to rein in 4023 Aurora Ave. N. Seatt development, when someone started following (9/16) Diane Ackerman her and taking pictures. Not long after, a website www.samcollectiv with Steve Scher appeared with the url LivableBallard.com—subHow Humans Shaped the Planet 4021 Aurora Ave N. Seattle, WA 98103 stituting a “.com” for the “.org” of the neighborhood group’s site—and on it was a picture of (9/17) Environmental Perspectives Stelzer’s own house and her A non-profi t organization in accordance wi Cultural Diversity in the Environment husband’s name. “Here’s the TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY man who would stop you Now accepting all major (9/18) Laurence Steinberg from moving to Ballard,” read credit/debit cards! WWW.TOWNHALLSEATTLE.ORG Adolescence, the caption, implying that the ‘Age of Opportunity’ opposition to development amounted to hostility to new(9/18) Seattle’s Favorite Poems comers. Stelzer says she never Robert Pinsky learned who was responsible for the site, which has since been taken down. Their wariness notwithstanding, the two homeowners agree to give a tour of the rapidly changing neighborhood. Every half block or so is a new development: double rows of townhomes, or townhomes in back and a single-family house in front, or vice versa, or row houses in the making. Some of the developments, usually two stories high and leaving room for shrubbery in front, they classify as in keeping with the “smart urban density” they say they believe in. Not so, though, a development they come to on Northwest 62nd Street, which Stezler says “perfectly Planned is proud (9/19)Parenthood Global Rhythms embodies the out-of-scale factor.” ARGA BILEG to provide our patients In the final stages of construction, it’s of the Fusing Traditional expert,Modern quality & care - with or duplex-in-back, single-family-house-in-front Mongolian Music variety. The house is attractive in a modernist, without insurance. geometric way, with rows of large rectangular (9/20) Early Music Guild: Carlos windows. It is, however, a towering presence. Nuñez Actually, it has what looks like a tower, which A Celtic Musical Pilgrimage contains a staircase leading to a rooftop deck that to Santiago at one end juts a story over the already sizable three-story dwelling. At its tallest point, it’s two (9/22) Joshua Wolf Shenk with stories higher than the houses on either end. Jess Van Nostrand As we stand there, Jeff Murray drives up to his How Collaboration Fuels charming but tiny green bungalow. “Are you here Creativity to write about how they’re ruining our neighborhood?” asks the jocular Murray, wearing a bright tie-dyed tank top and shorts. He quips that the staircase tower, across the street from him, looks like a “helicopter landing pad.” “On the one hand,” such development “will likely pay for my retirement,” muses Murray, Find a health center: who works as a chef for an engineering complannedparenthood.org 844.265.2082 pany. He says he’s already been offered a half-

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MY CARE MY WAY IS... EXPERTS WHO UNDERSTAND ME

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

Department of Planning and Development looked at the low-rise zones and determined that they were “underproducing,” says Clark, recalling the matter in her council office on a recent day. Comprising about 10 percent of the city, located on the edge of neighborhood business districts, these were the zones that the city had envisioned for more density as it strategized over how to absorb growth. Yet hardly any apartment buildings had arisen, and what dense development there was tended to look all the same: “four-packs” or “six-packs” of townhomes. Why not row houses? city officials wondered, looking toward the brownstones of New York City as a model. So Clark, using DPD recommendations as a guideline, came up with a range of incentives meant to spur these types of developments. Anyone who created row houses could build out to the property line, bypassing the normal requirement for side yards. Her ordinance required virtually no front yards either, for any type of development. Even more significantly, the ordinance raised allowable heights by as much as 10 feet in the densest low-rise zones, like parts of Capitol Hill, and allowed developers an extra four feet if they incorporated a partially submerged story into their design. That would raise the first floor, as officials saw it, thereby giving rise to front porches and stoops that would create a more appealing streetscape. For the same reason, the city said that any units below grade would not count against a new density calculus it created. Depending on the slope of a terrain and extra height allowances that continued to be allowed for things like a clerestory, some projects could now appear five or even six stories tall. Previously, height regulations limited a developer in the densest areas to roughly three floors (give or take a clerestory). Boosted by a recovering economy, the incentives worked. Apartment buildings arose. So did row houses and even more townhomes. This was not, however, what residents of these neighbor-

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(9/10) Health Matters Education’s Role in Public Health

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BOOMTOWN BRAWLS » FROM PAGE 9 million dollars for his property, although his house, obviously viewed as a tear-down, boasts only 650 square feet. “On the other hand, my house has been here since 1862.” In another historic Ballard home on the same street, Gretchen Geisness feels the impact of development even more keenly. Not only is she right next door to the “helicopter landing pad,” but on the other side of her red craftsman is another development, smaller in scale but still big enough and close enough to her property to block out the morning light that used to shine into her home. “To me, that’s super-depressing,” she says, talking about it on a late summer day by phone. Geisness says she thinks about moving, but probably won’t. She likes her neighbors, her kids’ schools, and the 15-minute commute to her job downtown, where she manages a couple of Tom Douglas restaurants. Pam Carter and Roy Hirshkowitz came to a different conclusion. In 2012, the Capitol Hill couple learned that a

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

courtyard apartment complex next to their house of 22 years, where they had raised two children, had been sold. They were fine with the apartment complex as it was. One story high, it had only eight units. That was part and parcel of the neighborhood they moved into, which combined stately turn-of-the-century homes with apartment buildings that often offered their own low-key charm. But the project that was to be built next to them was something different. Receiving extra allowances for a partially submerged basement, the structure would hold 49 units and rise four stories and then some (including the semi-above-ground floor). Carter and Hirshkowitz agonized for months over the loss of light and privacy that they foresaw. Finally they decided to accept $800,000 from the same developer, who now plans to tear down their house and build even more units. “We kept trying to figure out a way to stay there, but then finally decided why?” recalls Hirshkowitz. “It is a nice, old 1904 house, but it doesn’t have the right to be here forever.” Patrick Tompkins, whose 1908 craftsman is up the street, casts the departure of Carter and Hirshkowitz as part of a strategic “block busting.”

Once one development goes in, he contends, builders hit up nearby property owners who might be motivated to move. Indeed, everyone around here has been flooded with unsolicited offers. Walking around the neighborhood, we run into Stanley Perkins, a retired pipefitter who has lived in his house since 1973, when he bought it for $17,500. Asked to bring out some of the offers that regularly arrive in the mail, he heads into the house and comes back with carton after carton. “Dear Stanley,” begins one letter from a repeated land suitor. “As I have stated in my letters to you recently, the land market may be in a bubble and 2014 could be the top of the market.” The letter’s author goes on to say that he represents buyers who “are so eager to purchase your property” that they have agreed to pay all of the usual commissions. Perkins didn’t bite. Like many of his neighbors, after all, Perkins has the choice of whether to accept an offer or not. Even if homeowners feel, as some say they do, that the city and developers are making them unwelcome in their own neighborhoods, they can always resist the pressure. Tompkins—ironically a semi-retired contractor who once participated in hyperdevelopment on the East Coast before he turned to lower-scale projects in the Bay Area—falls into this camp. Yet he insists that he’s just as perturbed by the dislocation of residents who don’t have a choice—renters, typically living in aging apartment complexes run by similarly aging owners who have kept rents fairly reasonable. One renter who lived near Tompkins, Tawanda Vengesay, saw the rent for his basement studio rise from $625 to $1,350. That’s after a new owner bought the building, renovated, and drew up plans for a new structure in the parking lot. Vengesay, a landscape worker who had lived there for 15 years, says the amount was too much for him and he left for another older building on the outskirts of Capitol Hill. Although Vengesay pays considerably more than he used to, he’s managing. But he still laments what he sees as the dying spirit of a neighborhood once populated by artsy types “trying to figure out what they were doing and where they were going.” Gentrification is not just a concern for those nostalgic for Capitol Hill’s bohemian air. At a press conference on an early July day in Ravenna,

Development advocate Roger Valdez says activists are too preoccupied with “shutting things down.”

Housing options are limited for Shawn Walton, who receives $1,100 per month in disability assistance.

Tenants Union organizer Eliana Horn asks: “What kind of city do we want to be? Is this going to be a city just for the wealthy?” Before her stand some of the last remaining tenants of the Theodora Apartments, a spacious and pleasant complex for seniors and disabled people operated for decades by a national Christian nonprofit called Volunteers of America. The nonprofit is selling the 115-unit building to Goodman Real Estate, a local company that plans to renovate the complex and build an additional wing in the parking lot. Goodman is the same company that bought Ballard’s Lockhaven apartments and dramatically raised rents. While Goodman CEO George Petrie did not return requests for comments, Horn says she anticipates something similar happening at the Theodora. Volunteers of America sent a letter to tenants last summer telling them to relocate. Most did. But a couple dozen remain as of this press conference, held to announce the filing of a federal suit seeking to block the sale. The suit contends that the deal would violate the Fair Housing Act by disproportionately impacting people with disabilities. The half-dozen or so residents now assembled before Horn live on disability or Social Security payments. They have been paying roughly $900 for rent plus three meals a day at the Theodora and can’t afford much more. Shawn Walton, for instance, says he receives $1,100 a month in disability assistance. The last time he paid rent in a market-rate apartment building was in 2010, when his longtime Wedgwood studio cost only $500 a month. That was before he suffered a cardiac arrest, although only 44. He says he was found early in the morning one winter day, lying on the ground near his apartment. Due to frostbite and septis, both his legs and four of his fingers had to be amputated. He normally walks now with prostheses, but occasionally uses a wheelchair that can easily roll down the wide hallways of the Theodora. Living near his old neighborhood, he says, has allowed him a modicum of normalcy. He doesn’t expect that to last. After the press conference, walking steadily but with some fatigue on his prosthetic legs to a balcony off the second floor of the Theodora, Walton explains that he contacted the Seattle Housing Authority about a subsidized apart-

ment—hopefully nearby—and was told the wait is at least six months long. If the sale goes through, he’ll have to leave before that. Searching online classified ads, he’s found some apartments in the $900 to $1,100 range— doable if he doesn’t eat. Even those, though, tend to lie either far north or far south, making his hopes of returning to work someday unlikely given what would be a long bus commute. “I don’t see how I’ll be able to resume an independent life that far out of town,” he says. Sally Clark has taken her own tours of the low-

rise zones with unhappy residents. She is sympathetic. Speaking in her City Council office, she speculates that when officials made the decision to target these zones for more density decades ago, they surely never imagined that the transformation would happen “to the degree and with the intensity” that is now occurring. For residents, “that’s painful.” She still talks about these zones as facing an inevitable “transition.” But in October, she asked DPD to come up with regulatory revisions that would prevent the kind of “massive” developments she says she has seen of late. DPD came back with a list of proposed changes. They included eliminating height and density bonuses for partially submerged basements and requiring side yards for row houses next door to single-family homes. Meanwhile, the City Council has started to discuss how to get developers to help create more affordable housing. In July, the housing committee floated two ideas. One would tinker with an incentive program that allows developers to build bigger if they either create affordable housing or pay a fee that goes toward building such housing. Under a council proposal, the fee would go up. A more radical idea would ask all developers, not just those opting for incentives, to pay an affordable housing fee. Neighborhood groups are only partially appeased. “We’re only getting half a loaf here,” Tompkins says. He and his allies had asked for deeper height reductions, protection of greenery, a requirement that developers replace every low-income housing unit they tear down with a comparable unit, and the enactment of impact fees. Used by other cities around the state, but not Seattle, such developer-paid fees help pay for

the added parks, schools, roads, and mass transit that growth necessitates. The City Council faced even more ire, however, from the man who has emerged as the voice of developers and the loudest advocate for growth: Roger Valdez. “I would call it a disaster,” he says. He’s explaining his views in a shared conference room of a sleek “coworking” space in South Lake Union called WeWork. Fittingly, he moved into this slice of new Seattle—marked by glass walls, an airy lounge stocked with drinks and sandwiches, and the buzz of stylish young entrepreneurs—shortly after he became a full-time employee of Smart Growth in January. In the ’90s, Valdez, then a resident of Beacon Hill, was a neighborhood activist himself, then a planner for the Department of Neighborhoods. He shared an office with Clark, also then employed by the department. “He had a better sense of humor” then, Clark quips. Perhaps, but it was a different time. A neighborhood revolt against growth had settled into something more harmonious, as activists worked with the city to design neighborhood plans that envisioned how growth would look in each area of town. This ability to have a voice really turned the tide, according to Jim Diers, then the director of the neighborhoods department. Ultimately, none of the neighborhood plans challenged growth targets that, when introduced some years prior, had caused an uproar. “It wasn’t just about growth any more, but how do you make a neighborhood livable,” Diers says. The plans came up with proposals for new parks, libraries, and community centers. Valdez recalls, too, that being an activist “meant demanding things. We spent a lot of energy dis-

cussing traffic circles . . . more street trees.” In the economic slump of the early aughts, then–newly elected Mayor Greg Nickels fired Diers and walked away from the neighborhood plans. Without the same voice for positive suggestions, the neighborhood faction became more negative. As Valdez sees it, activists today are preoccupied with “shutting things down.” Their mantra is “Don’t touch it, don’t build it, leave it alone.” He says Clark is making “a terrible mistake” by listening to this. “If somebody’s view gets blocked, that’s not a serious problem. The serious problem is where are 120,000 people going to live?” For the same reason, he has no empathy for property owners who bemoan the demolition of historic single-family homes to make way for denser projects. “That’s what we want,” he says. The denser, the better, in Valdez’s view. “We should not be leaving [a single] housing unit on the table.” The proposed changes to the low-rise zones leave a lot of units on the table, he contends. They would essentially eliminate a floor, or about 20 percent of units in the densest projects, he calculates. In June, he filed an appeal challenging a DPD determination that the revisions would have no significant environmental impact. He contends they would—“by shutting the door to new people moving into our city, forcing them to pay more for housing, or, worse, living outside the Urban Growth Boundary [mandated by the state’s Growth Man-

agement Act, passed in 1990 to help protect natural resources from sprawl]. A decision by the city’s hearing examiner is expected in October. Similarly, Valdez argues that increasing the fees that developers are required to pay for citydesignated affordable housing to be built will only lead to less affordability. Developers will be less likely to build and the demand/supply ratio will go further out of whack. “You think it’s expensive now? Just wait.” Whether development creates more affordable housing or less is a difficult question to definitively answer. Empirical data doesn’t settle the question because cities don’t typically build enough housing to create the glut needed for prices to come down, observes Rick Jacobus, a Bay Area housing consultant who made a presentation to the Seattle City Council in July. Speaking by phone, he explains that “In every major city, we only build high-end housing, and there’s not enough of even that.” So building booms are often accompanied by price increases. Seattle’s average rents rose roughly 8 percent to more than $1,450 a month in the year leading up to last September, according to a report from Dupre+Scott Apartment Advisers. Frantic bidding wars over single-family homes drove a yearly increase of twice that rate. Last month, the median sale price reached a record height of $544,000, according to the Northwest Multiple Listing Service.

“If somebody’s view gets blocked, that’s not a serious problem. The serious problem is where are 120,000 people going to live?”

Provocatively, Jacobus maintains that the more we build, the greater the need for affordable housing. This is true, he says, because the new units’ occupants bring more low-wage workers to the city to work at new restaurants and other amenities. Valdez, it should be noted, doesn’t argue that the market alone will create sufficient affordable housing. His solutions, though, run more along the line of government subsidies and developer incentives than fees or mandates. As an example, he points to South Lake Union’s Stack House, developed by Vulcan, one of Smart Growth’s funders. Before our interview, we stood in front of the recently opened apartment complex, which boasts a beautiful brick façade and a towering chimney that date back to its days as a turn-ofthe-century laundry facility. Valdez pointed out that this outpost of growth includes roughly 50 affordable units. Vulcan is thereby taking advantage of a city program that offers a tax exemption in exchange for reserving part of a project for people making no more than 80 percent of the area’s median income. The program does indeed mean that it’s not only people who can afford market-rate rents that top out over $3,500 a month who can live in this bustling complex. But here’s the reality of Seattle’s housing market: an “affordable” studio, based on a calculation derived from the region’s high median income, rents for nearly $900 a month. Anyone calling about such studios this summer might have discovered another reality: None were available. In a market where this is as good as it gets, they had all been snatched up. E

nshapiro@seattleweekly.com

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

food&drink Exploring Walla Walla

BY NICOLE SPRINKLE

An insider’s guide to boutique wineries.

One of the strengths of the Walla Walla wine industry, and that of Washington in general, is the staggering diversity of wines being made. While Oregon’s Willamette Valley is uniquely ideal for pinot noir, and to a lesser extent pinot gris and chardonnay, the heat of the Walla Walla Valley can ripen dozens of different varietals.

Say goodbye to summer on Sept. 18 from 5 to 8 p.m. at Purple Café & Wine Bar’s rooftop block party. $30 gets you an all-inclusive ticket for wine and “Mediterranean street food.” Book at 829-2280. Volunteer Park’s next Sunday Supper on September 14 will be Thai-themed. Ericka Burke teams with Max Borthwick of Thaifusions to offer items like lemongrass and coriander barbecue chicken with a northern Thai dried-chili dipping sauce. The multicourse meal begins at 6 p.m. and costs $40 per person (alcohol not included). Reservations required. Call 329-3155 or book online.

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GARY TETZ

TheWeeklyDish

Garden Mint Crème de Menthe BY GRACE DOYLE

Above: grapes at Rotie Cellars. Right: wine from Gramercy Cellars.

Despite the dynamism, some challenges face

Walla Walla and its wine trade. Land and labor costs have risen significantly in the past decade, driving wine prices up. While there are nice bargains to be found, there’s also a glut of $30 wine

JENNY LINQUIST

Beyond the classics like cabernet sauvignon, merlot, and syrah, growers and winemakers are experimenting with grapes like petit verdot, mourvedre, tempranillo, and sangiovese. While it remains to be seen if there’s a market for higherend wines made from more obscure grapes, much of what I tasted was delicious, especially the mourvedres from Rotie Cellars and Mark Ryan Winery, the tempranillo from Gramercy Cellars, and the petit verdot from El Corazon Winery. Granted, drinking a bunch of full-bodied reds in the middle of summer is a bit contrary to my normal leanings, so I was pleased to see a wide range of rosés being produced too. While a few leaned a bit too fruity and ripe for my tastes, the grenache rosé from Kerloo Cellars and the cinsault/grenache/syrah rosé from Gramercy were both delightful—the former bright and aromatically pretty, the latter minerally and reminiscent of some of the great rosés from Provence. White wine is still a bit of a challenge in Walla Walla; the industry feels like it’s being pulled in a few different directions. The “classic” grapes of Washington—chardonnay, riesling, sauvignon blanc—are certainly well-represented, but, as with reds, the most exciting wines are coming from little-known sources: specifically a strikingly bright and crisp viognier from El Corazon and a layered and nuanced marsanne/ roussanne blend from Rotie.

Around this time each year, my backyard herb garden is a tangled grove of mint and rosemary plants that have overtaken everything else. While the rosemary continues to flourish long after the days grow short and is a regular ingredient in my winter stews and sauces, it’s a challenge to figure out the best ways to use up an abundance of mint. So this summer, I decided to make crème de menthe. A nice addition to your home bar, it’s a sweetened mint liqueur that’s a key ingredient in cocktails like grasshoppers, but is also enjoyable on its own as a digestif or poured over ice cream. Like many infused liqueurs, it’s also pretty easy to make. I combined about 2 cups washed, slightly bruised (to help release oils) mint leaves with a 750 ml bottle of vodka in a large jar, gave it a shake, and let it steep in a cool, dark cabinet for two days. After straining the infused vodka to remove all the mint solids, I made a batch of mint simple syrup (using 1 cup water, a little more than 1 cup of sugar, and another generous handful of mint leaves), let it cool, and then added it to taste to the vodka. The result you’re looking for is sweet and very minty, but not super-syrupy or cloying. It will also be a light yellowy-green, rather than the vibrant green of commercial versions. For bottles I plan to give as gifts, I add one drop of green food coloring, which gives it a nice emerald hue. The blended liqueur can then keep six months in an airtight container in a cabinet or a year in the refrigerator.

GRACE DOYLE

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

SARAH FLOTARD

Josh Henderson and his Huxley Wallace Collective open Quality Athletics this Friday. The sports bar in Pioneer Square won’t be typical, but equal parts dining room and bar— though on game days, all bar. There’ll be an outdoor patio, a wood-fired grill, and a menu and design aesthetic similar to Westward’s.

BY ZACH GEBALLE t was my hidden shame. Despite living in Seattle most of my life, working in and around wine, and tasting innumerable Washington wines, I’d never been to Walla Walla. I’d spent time in some of the other great West Coast growing regions, like Oregon’s Willamette Valley and California’s Napa and Sonoma Valleys, but never the one right here in my home state. Given that he’s the reason I live in Seattle in the first place, I enlisted my father’s help and headed east. The drive to Walla Walla is a fascinating demonstration of the extent to which the Washington wine industry has exploded. The acreage which used to be almost exclusively fruit orchards and fields of wheat and corn has largely been turned into vineyards, covering vast swaths of the valleys and lower hillsides throughout much of eastern Washington. From there, nearly 800 wineries throughout the state turn them into wines that in some cases rival in quality the great wines of the world. While larger names in the Washington wine industry—Leonetti, L’Ecole No. 41, Long Shadows, Woodward Canyon—are well-known, I was hoping to get a chance to taste wines from lesser-known producers, innovators gleefully experimenting with different varietals, blends, and production methods. I also wanted to get a sense of Walla Walla itself, a city booming along with the wine trade yet trying to retain the small-town charm it holds dear. At the center of that is the Marcus Whitman Hotel. Built in the 1920s, it retains a dignified air while embracing the changes that have swept Walla Walla. It boasts a number of tasting rooms as well as one of the city’s top restaurants, the Marc. The menu strikes a balance between hotel classics and more modern dishes, while showing an impressive commitment to seasonality and locally sourced goods. (I was even shown the space in the hotel where they grow their microgreens.) The wine list does an excellent job of highlighting regional producers both large and small, and the bar program is in the midst of an overhaul, highlighting fresh, local, and seasonal ingredients and craft spirits. The hotel also proved an excellent starting point for investigating Walla Walla’s less-familiar wineries. While many of the big-name ones are situated outside the city, the downtown area has a couple dozen tasting rooms that allow for a full day of tasting without having to walk more than a few blocks. When the temperature hits triple digits, that proximity is definitely appreciated.

FoodNews

that isn’t particularly good. Those rising costs also stifle innovation, because the market for esoteric grapes and wines is severely limited. Additionally, unlike the Willamette, Napa, and Sonoma Valleys, only an hour or a half-hour from Portland or San Francisco, Walla Walla is not a short drive from a major city. It’s four to five hours from here, depending on route, pass conditions, and urgency; instead of a day trip, visiting the city requires at least an overnight commitment, and often more. (Alaska Airlines offers regular flights from Seattle, and they’ll even let you check a case of wine free, so some of the travel burden can be alleviated that way.) While there’s plenty to do, see, and taste to fill those days, it doesn’t invite the casual tourism (and subsequent wine sales) that Woodinville does. Those challenges notwithstanding, Walla

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TrOLL KING sALMON FRE E PA R K I N G We Ship

A Boat, a Whale, & a Walrus

» WALLA WALLA FROM PAGE 12

Walla is poised for a boom. It might never be quite the wine-lover’s mecca that Napa Valley is, but the increase in wine tourism has spurred Renee Erickson’s growth in the restaurant industry, with places new (unsurprisingly) STREET FOOD TRUCKBrasserie Four, and Whitehouselike Saffron, charming cookbook. Crawford drawing inspiration from the area’s rich agricultural resources as well as the latest BY NICOLE SPRINKLE restaurant trends, serving meals that would be right at home in Seattle or Portland. n this new era of cookbooks, storytelling As more small and experimental wineries open, is nearly, if not more, important than the a whole world’s worth of grape varietals and wine recipes. Depending on your proclivity, styles will be available for exploration. Most of all, that’s either a great thing or an annoyance. the Washington wine industry will have the showWhile I love a “hardworking” cookbook—i.e., piece destination it needs to put our wines on a one in which the recipes are fail-safe and speak level with those of our West Coast brethren. E to the home cook—I’m also a sucker for beautiful photography and good stories. thebarcode@seattleweekly.com In both respects, renowned Seattle chef and restaurateur Renee Erickson’s new A Boat, a Whale & a Walrus (Sasquatch Books) succeeds. It handsomely sheds RESTAURANT light not only on Seattle’s Best Sushi her restaurants, 2207 1st Ave • BELLTOWN but on the Pacific 206.956.9329 Northwest. Laid OHANABELLTOWN.COM out in one of my favorite cookbook formats—by seasonal menus—it celebrates events in her own life, like REWARDS EVERY 250 PTS!! EARN FREE NIGHTS “My Birthday.” STAY ON MAUI! DOUBLE PTS ON MONDAYS! Many are unique to our region, such as a “Lummi Island Spot Prawn Dinner.” I also love the “Methods” section, which underscores her entire cooking philosophy, incorporating everything from why she likes charring food and toasting spices to how to choose olive oil and eat food at room temperature (“I dare you,” she says of the latter). Between meals, Erickson talks career, starting with the Boat Street Café in the U District to her collection of four nationally lauded restaurants: a relocated Boat Street Café, The Walrus R MENU!! and the Carpenter, The Whale Wins, and HAPPY$3.00HOU SUSHI & BEER Barnacle Bar. And wedged between recipes for & HANDROLLS SUSHI PUPUS, $3.99 delectables like herring butter toasts and straw$4.00 COCKTAIL SPECIALS, SAKE & WINE $15.00 SAKE MARGARITA PITCHERS berry jam tart are profiles of her culinary family, MON & TUES ALL NIGHT, WED & THURS & FRI 5-7PM like the herring fisherman, the butcher, and the LATE NIGHT: SUN-THURS 9-11:30PM HEATED DECK IS OPEN!!! beekeeper she uses, among others. We also find delightful details throughout, such 9/10 - ALOHA WEDNESDAY- VALLEY GREEN!! as how the giant Chinese umbrellas hanging at FREE, 21+, $3 LATE NITE HAPPY HOUR Boat Street were actually used by Curtis Steiner STARTS AT 9 & BAND AT 10! (Ballard proprietor of the eponymously named jewGET RIGHT THURSDAYZ- DJ SOSA & FRIENDS!! 9/11 elry, furniture, and card shop) for a party he threw 9/12 - FRIDAY- DJ KUSH-KO!! there. Known for his whimsical esthetic, Erickson designed her “Holiday Party” menu (standing 9/13 - SATURDAY- DJ HEAD-ACHE!! rib roast with horseradish cream and Boat Street 9/14 - SUNDAY- KARAOKE W AURY MOORE! pudding) for a fete at his home. In her “Wintry $3 LATE NITE HAPPY HOUR 9 - MIDNITE! Brunch” menu she describes learning to make Boat MONDAY & TUESDAY Street’s cream scones, really just a vehicle to serve ABSOLUTE KARAOKE W/ CHASE SILVA & $3 HAPPY HOUR ALL NIGHT W/ excellent jam. We also discover that her pickled ABSOLUT DRINK SPECIALS!! watermelon was born because she doesn’t like the ALOHA WEDNESDAY- TWO STORY ZORI!! 9/17 flesh of that fruit and felt it’d be better served this way. It’s that kind of refreshing honesty—and a willingness to adapt while operating within a preOPEN FOR LUNCH TUESDAYS - SUNDAYS!! 11:30AM - 4:30PM dominantly French genre—that has defined her career, and that permeates this book. E

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SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

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arts&culture

Barbed Wire and Brushes

ThisWeek’s PickList

How Japanese-American detainees turned to arts and crafts during World War II. BY BRIAN MILLER

WEDNESDAY, SEPT. 10

Terror at the Mall

book Born Free and Equal was shown at the Bainbridge Island Historical Museum three years ago.) The detainees themselves are usually omitted from such scenes. Hirasuna writes that “people, if pictured at all, were represented as insignificant, faceless figures.” To be maudlin, self-pitying, or bitter would be a form of surrender, a loss of face. Handicrafts were a way of keeping idleness and sorrow at bay. For that reason, I suppose, practical objects mostly took precedence over fanciful depiction. Many of these artifacts, more than 70 years old, seem deeply tactile: not just made by hand but often handled, like prayer beads. The issei, says Hirasuna, often favored wooden carvings of animals and other animist tokens of their birthplace. Yet even among the younger trained nisei artists, depictions of home are conspicuously absent, perhaps too painful to paint. Indeed, few of those homes were recovered after the war.

U.S. forces entered Somalia just last week in pursuit of Al Shabab leaders, and our drones have also been steadily tracking and killing the planners of the 2013 attack on the Westgate Mall in Nairobi, Kenya, subject of this new documentary. Over 200 were injured and 67 killed in the bloody assault, which was relayed more or less instantaneously by Twitter and cell-phone photos by the terrified shoppers inside. Between al-Qaida and ISIS, it can be hard to keep up with the viral spread of terror groups these days; what made Westgate so dismaying was that, though protected by ordinary security guards (basically to keep the poor out), it was a purely civilian “soft target” far from the front lines—or where we wrongly believed those front lines to be. Says one 15-year-old survivor in the doc, after being shot three times, “The only thing [the gunman] said was that ‘We are here to kill. You killed our people in Somalia. We normally don’t kill women and children, but you kill ours in Somalia, and so we are here to take revenge.’ ” Director Dan Reed will introduce his film, which airs Monday, September 15 on HBO. SIFF Cinema

TERRY HEFFERNAN

Uptown, 511 Queen Anne Ave. N., 324-9996. Free with RSVP at siff.net. 7 p.m. BRIAN MILLER

THURSDAY, SEPT. 11

Wage Slaves: Tales From the Grind

Here I should note that some of what I’m

describing is from Hirasuna’s book (available in the gift shop), which is broader than the BAM show, which wasn’t yet fully installed during a summer press tour. The show has actually changed configurations several times during its travels, since many of its objects are on loan from family collections. To an extent, these artifacts are interchangeable: modest examples of folk art created during a brief time of particular hardship. They’d be better suited to a historical exhibit at MOHAI, for instance, augmented by more historical background materials. Locally, this sad story was most famously told in David Guterson’s novel Snow Falling on Cedars, though the more direct connection here would be David Neiwert’s 2005 Strawberry Days. It’s a history of the displaced Japanese-Americans who farmed the Bellevue fields before the Lake Washington bridges made that land valuable for Miller Freeman and other developers. Bellevue Square and BAM now sit on their former fields. Compared to the humble keepsakes and heirlooms of The Art of Gaman, there are many more lovely, valuable things at the mall and museum today—but none stir such mixed emotions. E

bmiller@seattleweekly.com

BELLEVUE ARTS MUSEUM 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $8–$10. 11 a.m.–6 p.m. Tues.–Sun. Ends Oct. 12.

Jha, a professor at Seattle U, is at work on a memoir.

SONORAJHA.COM

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

t Guantánamo, we know, inmates are denied few possessions other than Korans and writing paper. Sharp objects are certainly not allowed, and their U.S. jailors strictly control photographs by press and visitors. One doesn’t want to add damning images to what’s already a huge PR problem. Mikami, who trained in This was also an Japan before emigrating issue for our governto Seattle, depicts Topaz. ment between 1942 and 1946, when roughly 120,000 Japanese-Americans, plies were few, so most of the objects here are mundane and generally utilitarian: ashtrays and most of them citizens born in the U.S., were pencil holders, smooth-sanded wooden canes, rounded up and sent to dusty camps far from the tea sets, baskets and furniture, inkwells and dolls, West Coast. It was worried that they’d somehow brooches and wooden sandals, quilts and clothcollaborate with the Japanese after Pearl Haring. One Kent man embossed a leather wallet bor, and President Roosevelt’s now notorious with a barracks scene from Tule Lake, California; Executive Order 9066—upheld by the Supreme you can imagine him being reminded of the bitCourt—resulted in the inland deportations, which ter experience every time he paid for something began here on Bainbridge Island. A few of these during the postwar years. (No repayment for internees were artists; some would become artthis injustice came from the government until ists (like our own Roger Shimomura); but The the compensation movement of the ’80s.) Art of Gaman isn’t properly an art-museum The more trained artists, like Chiura Obata exhibit. With over 120 objects, mostly created and Henry Sugimoto, sometimes rendered the by amateurs from scrap materials, this is more of camps like traditional Japanese landscapes— a history show. The art and craft examples here only without the cherry blossoms and Mt. Fuji. serve as supporting evidence, if you will, to one of Camps in Idaho, Wyoming, Arizona, and Utah the great American wrongs of the past century. were barren and unfamiliar compared to the This touring show originated with the eponyPacific Coast, where most internees had resided. mous 2005 book by Bay Area curator Delphine Obata makes an effort to gentle the harshly Hirasuna, who visited BAM this summer to regimented geometry of his Topaz, Utah, camp introduce the exhibit. As a child, she and her in a block-printed holiday card, the perspective California family were sent to camps in Arkansas; lines leading to a distant mountain at sunset (west one of her siblings was even born there while toward home), a scene washed in orange watertheir father was off fighting the Nazis in Europe. color. The image is neither somber nor plaintive, which brings to mind the notion of gaman: “to “By and large, these people were not professional artists,” says Hirasuna. Their creations “were endure the seemingly unbearable with patience and dignity.” There’s just a hint of beauty amid made by amateurs.” After the camps closed, in hardship, like a defiant flower in the ashes. the rush to get home, “Most people threw them At Tule Lake, the teenaged George Tamura away.” Her own scholarly research began six renders the barb wire, fencing, and guard towers decades later in the family attic, sorting through more crisply, with none of Obata’s softening. There the boxes of her dead mother. Then she began are no people, and his small watercolors have an canvassing nisei—the American-born second almost industrial feel: Here is a plant, almost, generation following the immigrant issei—who for the manufacture of what? And where are the might have similar forgotten objects wrapped workers? Yet in the same camp, removed from in yellowed newspapers from the late ’40s. Seattle, Suiki “Charles” Mikami subordinates the Though there were a few classes taught by barracks to desolate nature. The clouds, bluffs, and professional artists in the camps, what one snow make the camp seem puny—an unpleasant mostly sees here are the products of a pastime, passing phase in the larger scheme of things. One not the deliberate effort to transform suffering moonlight scene, the snowy mountains reflecting into art. Self-censorship, the desire to be a “good” lunar light, suggests Ansel Adams—represented uncomplaining American, apparently precluded in Hirasuna’s catalogue with a rare documentary any political art or outraged expression. Hobby photo at Manzanar, near where he famously meets necessity in the improvised tools we see shot in the Sierras. (A larger selection from his (chiefly shears and woodworking tools). Art sup-

Work sucks. But hey, you gotta grind to make that green. For the second installment of the Wage Slaves reading series, five local authors are gathering tonight to share their stories and poems about the crappy things they’ve had to do to make money. Appropriately enough, the event is being held during the Capitol Hill Art Walk at the shared workspace Office Nomads, an apt setting for a smattering of tales about labor’s mundane minutiae. Readers include Anca Szilagyi, poets Steven Barker and Michael Spence, Salon and New York Times freelancer Wilson Diehl, and my former journalism professor/all around badass/novelist Sonora Jha. Michelle Goodman and Sierra Golden host. Office Nomads, 1617 Boylston Ave., seattlewageslaves.com. Free. 6:30 p.m. KELTON SEARS

AMERICAN COMEDY AWARD

KATHLEEN MADIGAN SUN | SEP 14 | 8PM MICHAEL BRUNK

Jackson and Hill in rehearsal.

The Mountaintop

ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $15–$34. 7:30 p.m. BRIAN MILLER

Monty Python and the Holy Grail

This is a quote-along presentation of the 1975 geek-comedy classic, featuring six names guaranteed to make you laugh: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Arthurian legends have never been treated with such impudent silliness as in Monty Python’s sleeper hit, later turned into a gigantic Broadway smash that reached a whole new postboomer generation of fans. Substituting coconut shells to clip-clop in place of actual horses, playing multiple characters each, the Pythons merrily run amok through Camelot and other mythic locales. Cleese as the French tower guard remains a highlight among highlights; don’t pretend you don’t already know all the lines. As they say, “Your mother was a hamster and your father smelt of elderberries!” But that’s just one of the quotes you doubtlessly have committed to heart. (Through Tues.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8. 9:30 p.m. BRIAN MILLER SUNDAY, SEPT. 14

Neil deGrasse Tyson

As the host of Cosmos, Tyson has taken up Carl Sagan’s interstellar flame in educating America about the wonders of the universe. Even though everybody knows we are little humans living on a giant rock floating through an infinite void, Tyson is able to package these concepts in a digestible and easy-to-follow way that will blow the minds of even those who slept through high-school science class. Tyson is filling an important role in society by making crucial but complex information fun to think about, which is probably why he’s such a good buddy of Bill Nye the Science Guy. If you like thinking about stars, how small you are, or listening to people with great moustaches talk, you won’t want to miss these two talks. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $31–$71. 7:30 p.m. (Repeats Mon.) KELTON SEARS E

COUNTRY ICON

TRACE ADKINS SUN | SEP 21 | 7PM

GRAMMY WINNERS

BOYZ II MEN

THUR | SEP 25 | 7PM BLUE COLLAR COMEDIAN

LARRY THE CABLE GUY

THUR | OCT 2 | 7PM & 9PM

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

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SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

So: Ferguson, Missouri, and the federal takeover of that city’s police department; the shooting of unarmed black teenager Michael Brown; the coming midterm elections with new voter-ID laws and restricted early-voting periods in swing states that disproportionately affect minorities, the poor, and the young; black families sliding down the economic ladder, with less economic mobility and household wealth than 40 years ago; our first AfricanAmerican president getting shellacked in the polls. All that prior audacity of hope has collided with an electorate that now seems tired of talking about race. At the same time, it’s the 50th anniversary of the Civil Rights Act, which is why director Valerie Curtis-Newton is now staging this imaginary account of Dr. Martin Luther King Jr.’s last night in Memphis. Katori Hall’s drama debuted on Broadway four years ago with Samuel L. Jackson as King and Angela Bassett as a hotel maid who visits him on April 3, 1968. (Here those roles are played by Reginald Andrè Jackson and Brianne Hill.) The timing may make it more topical now, as King muses on the past and (unfinished) future of the civil-rights movement. The Mountaintop provides a good opportunity for such stock-taking, and also sets the stage for the historical-minded dramas ahead. Seattle Rep is staging local playwright Robert Schenkkan’s Tony-winning All the Way and The Great Society in November and December. The first is LBJ’s story alone; the second—following passage of the Civil Rights Act and his reelection—Johnson shares with King, Robert F. Kennedy, and other historical figures. Johnson’s concern for racial and economic equality run up against costly wartime spending; and at the same time, as he predicted, Southern Democrats would abandon the party. Incredibly, we face the same dilemma today. (Ends Oct. 5.)

FRIDAY, SEPT. 12

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Opening Nights PAngels in America: Perestroika

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SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

Friday, October 31 at 7:30 pm General Admission: $20

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Allgood’s aged Bolshie.

The messier, more action-packed second half of Tony Kushner’s epic now arrives with a whole panel of angels, talking Mormon statues, even worse sickness, and death. “Are we doomed?” asks Aleksii Antedilluvianovich Prelapsarianov, the World’s Oldest Bolshevik (Anne Allgood) in the opening scene. Yes, things have gone from bad to dire, but that’s a good thing for this production, especially its younger cast members. Part I’s rather unconvincing flirtation between runaway lover Louis (Quinn Franzen) and closeted Mormon Republican Joe (Ty Boice) has morphed into a full-blown affair, with substantial sexual heat and nudity. Likewise, the AIDSafflicted Prior gains depth from Adam Standley, who awkwardly stepped in and out of his illness in Millennium Approaches. And the unraveling housewife Harper—abandoned by Joe—finally finds a hard, defiant voice in Alex Highsmith’s performance. The intensity of Perestroika benefits them all; as stakes rise and their characters fall, these performers meet the challenge. Similarly, the comedy of Part I (still ongoing), slightly off-key at times, shifts into a darker, more bitter brand of humor. Charles Leggett’s even more masterful Roy Cohn drops fewer jokes and shows more pain, yet without losing his Reaganite clarity. Leggett brings an almosthuman edge to this vile man, particularly in the scene where Cohn blesses Joe and learns that his protégé is gay, too. If not sadness exactly, there’s an ever-so-slight bewilderment, a hope lost. As Belize, nurse and friend to Prior, Timothy McCuen Piggee continues to hit just the right blend of fast-talking queen and world-weary gravitas. (Quibbles? Sure—I prefer Meryl

CHRIS BENNION

Party & Costume Contest

ERICKSON THEATRE OFF BROADWAY, 1524 HARVARD AVE., 800-838-3006, STRAWSHOP.ORG. $18–$36. 8 P.M. THURS.–SAT. ENDS SEPT. 20.

English playwright Peter Shaffer is well known for his powerhouse, stage-filling ’70s works Amadeus and Equus. Back in 1965, this one-act farce was a hit, though Shaffer later said that “there really was no play, merely a convention.” Black Comedy opens in complete darkness, which at first seems disconcerting and gimmicky. We can only hear the action until Brindsley Miller’s apartment suffers a short circuit. The stage lights up for us, but it’s a blackout for Brindsley and his guests. (Shaffer borrows the device from Chinese opera.) The blown fuse betokens disaster for struggling artist Brindsley (Richard Nguyen Sloniker) and his paltry apartment on what ought to be an important occasion: meeting his spoiled fiancée’s father and an important art collector. Complicating matters further, he and fiancée Carol (Brenda Joyner) have “borrowed” his neighbor’s furniture, guaranteeing a future twist in this comedy of errors. Soon to arrive are Carol’s father, the stuffy Colonel Melkett (Michael Patten); the rich collector; an electrician (MJ Sieber); and other unannounced guests. Thence follows mistaken identities, drunken rants by a teetotalling spinster (Emily Chisholm), inappropriate father/ daughter groping, and the arrival of Brindsley’s cruel ex-lover (Allison Strickland). Black Comedy is anything but a dark comedy, providing ribald revelry for the audience and mass confusion for the characters onstage. After a slow start, it devolves into havoc, yet ends deftly (if arbitrarily), as if amused by itself. Director Kelly Kitchens brings to her Strawberry Theatre Workshop cast a comedic synergy that evokes tears of laughter. (The performance is paired with a quick-paced, witty curtain-opener featuring Strickland and Sieber: Sure Thing, by David Ives.) IRFAN SHARIFF

PWaiting for Godot ACT THEATRE, 700 UNION ST., 292-7676, SEATTLESHAKESPEARE.ORG. $25–$48. 7:30 P.M. WED.–SAT. PLUS MATINEES. ENDS SEPT. 21.

JOHN ULLMAN

Streep’s creepy ghost of Ethel Rosenberg in the HBO adaptation to Allgood’s no-nonsense, quotidian specter; though I do love the latter’s wry Mormon mother.) Moore (left) and Getting a Kennan as Beckett’s twitchy viewer sad-happy duo. like me to sit through such a long show, and raptly, is a feat. The tight acting propels the plot forward, with each scene building momentum, so that even Kushner’s metaphysicalintellectual passages are entertaining (thanks also to Marya Sea Kaminski’s well-played Angel). Credit ultimately belongs to director Andrew Russell for this fast-paced, well-oiled production. Otherwise, the four-hour Perestroika could’ve felt like a millennium. NICOLE SPRINKLE

If you were looking for the play that most comprehensively distills the gestalt of the human condition, you’d probably settle on either Hamlet or Samuel Beckett’s 1953 absurdist tragicomedy about two guys (Estragon and Vladimir) waiting for the arrival of a third (Godot, here rhyming with the second half of “avocado”). Seattle Shakespeare Company, which four years ago cast Darragh Kennan as the best Hamlet I’m likely to see, now transposes this thespian cruise missile to another existentially impotent role—that of Estragon, aka Gogo, whose mind and feet are failing him. He and Vladimir (aka Didi, played by Todd Jefferson Moore) pass several days as painfully as the kidney stones Didi squeezes into a bucket offstage. The line “Nothing to be done” hangs in the air, as does the famous motif of giving birth directly into the grave. But where Hamlet’s despair is a lonely affair, Didi and Gogo’s push-me-pull-you dynamics define both the hell and the solace of friendship. Beckett isn’t shy about inflicting the kind of tedium on audiences that his characters have to endure. But he also gives us slick lazzi opportunities, a few tender gestures, and merciful interludes with Pozzo, played past the hilt by the captivating Chris Ensweiler as a wide-eyed, craven psychopath. A nod to commedia dell’arte, Pozzo delights in flaunting his wealth and degrading his slave Lucky ( Jim Hamerlinck, pale as driftwood). The heavy makeup, Robertson Witmer’s sound design, Roberta Russell’s dramatic lighting, and Craig Wollam’s spare, redcurtained proscenium set—over which a pancake moon is hoisted by crank—all culminate in an unapologetic aura of “life’s a stage” theatricality. (George Mount directs.) Despite the lumpy camaraderie of Moore and Kennan, the greatest emotional effects emerge between Didi and the unnamed boy (Alex Silva) Godot sends to postpone the meeting. Seated on the far right side, I felt grateful to have a view of Moore’s face poisoned by the few words from this pint-sized messenger of nihilism. Unlike Gogo, Didi is cursed with the awareness that life is brutish and capricious; and verily, there is nothing to be done. MARGARET FRIEDMAN E

stage@seattleweekly.com

Stage OPENINGS & EVENTS

BLOOD RELATIONS Sharon Pollock brings the saga

of Lizzie Borden to the stage. Center Theatre at the Cornish Playhouse Studio, Seattle Center, 800-838-3006, soundtheatrecompany.org. $15–$25. Preview Sept. 11, opens Sept. 12. 7:30 p.m. Thurs.–Sat. plus Mon., Sept. 22; 2 p.m. Sun. Ends Sept. 27. 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 through Sept. 10, 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. THE DOCTOR Seattle Experimental Theater’s improvised Doctor Who sendup. Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, seattleexperimental theater.com. 8 p.m. Thurs., Sept. 11–Sat., Sept. 13, 2 p.m. Sun., Sept. 14. DON QUIXOTE & SANCHO PANZA: HOMELESS IN SEATTLE eSe Teatro’s update of Cervantes’

•

CURRENT RUNS

MILLENNIUM • ANGELS IN AMERICA: SEE REVIEW OF PART 2, PAGE APPROACHES

16. Decades of critical praise, often laced 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, era-defining, 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

Now–Sep 28

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Classical, Etc.

SYMPHONY Opening their season with • SEATTLEamuse-bouches , or amuse-oreilles, rather:

French Massenet, Offenbach, Satie, and more. Gil Shaham is the violin soloist; Ludovic Morlot conducts. Benaroya Hall, Third Ave. & Union st., 215-4747, seattlesymphony. org. $46–$147. 4 p.m. Sat., Sept. 13. RUSSIAN CHAMBER MUSIC Piano trios by Arensky and Tchaikovsky. Mercer Island Presbyterian Church, 3605 84th Ave. S.E., russianchambermusic.org. Donation. 7 p.m. Sat., Sept. 13. PAUL HOSKIN Spontaneous composition, 90 minutes of it, on the contrabass clarinet. Chapel Performance Space, 4649 Sunnyside Ave. N. 8 p.m. Sat., Sept. 13.

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SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

picaresque is “dedicated to all the gentlemen and gentlewomen who roam the streets with dignity.” ACT Theatre, 700 Union St., 292-7676. Preview Sept. 10, opens Sept. 12. $25–$30. Runs Thurs.–Sun.; see acttheatre.org for exact schedule. Ends Sept. 28. EVERYTHING BUT THE PAPER Relationships, arranged and otherwise, among Indian-Canadians are explored in Sonal Champsee’s new comedy. Bellevue Youth Theatre, 16661 Northup Way, Bellevue, pratidhwani. org. $10–$15. Opens Sept. 12. 7:30 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends Sept. 21. FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and ultimately relatable” monthly cabaret on the theme of family. JewelBox/Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. $10. 7:30 p.m. Wed., Sept. 17. THE ICEMAN COMETH The Endangered Species Project presents a reading of O’Neill’s play set in a Greenwich Village dive. ACT Theatre, 700 Union St., 292-7676, endangeredspeciesproject.org. $15–$25. 6 p.m. Mon., Sept. 15. MAN OF LA MANCHA Another take on Don Quixote, this time in musical play-within-a-play form. Seattle Musical Theatre at Magnuson Park, 7120 62nd Ave. N.E., 800-838-3006, seattlemusicaltheatre.org. $20–$35. Opens Sept. 12. 7:30 p.m. Fri.–Sat. plus Thurs., Sept. 25; 2 p.m. Sun. Ends Sept. 28. THE MOUNTAINTOP SEE THE PICK LIST, PAGE 15. NERDZ4EVER Violet DeVille’s “Nerdlesque Gala of Geek” presents burlesque homages to video games, science, fiction, steampunk, and more. Re-bar, 1114 Howell St., 800-838-3006, purpledevilproductions.com. $15–$35. 7:30 p.m. Sat., Sept. 13. SEASCAPE Two couples—one of them lizards—discuss “humanity, evolution, and the concept of time” in Albee’s play. Theater Schmeater, 2125 Third Ave., 3245801, schmeater.org. $18–$25. Preview Sept. 11, opens Sept. 12. 8 p.m. Thurs.–Sat. Ends Oct. 11. STARSTRUCK A movie-homage musical revue from Captain Smartypants, the Seattle Men’s Chorus’ comedy troupe. The Triple Door, 216 Union St., captainsmartypants.org. $25–$35. 8 p.m. Sat., Sept. 13 & 20, 7 p.m. Sun., Sept. 21. A STREETCAR NAMED DESIRE From London’s National Theatre to a screen near you; see fathom events.com for participating theaters. 7 p.m. Tues., Sept. 16. TERMINALLY DELIGHTFUL BenDeLaCreme recounts her controversial stint on RuPaul’s Drag Race in this solo show. West Hall, OddFellows Building, 915 E. Pine St., strangertickets.com. $25–$30 (VIP table $165). 8 p.m. Thurs., Sept. 11–Fri., Sept. 12, 8 & 10:30 p.m. Sat., Sept. 13. 25,000 POSTS Jim Lapan’s Seattle-set solo show in 39 monologues. Penthouse Theatre, UW campus, james lapan.com. Pay what you can. 8 p.m. Fri., Sept. 12–Sat., Sept. 13, 2 p.m. Sun., Sept. 14.

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 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 superweird. Sure, Millennium Approaches enjoys shared hallucinations, ghostly relations, and an erectioninspiring 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. Parts 1 and 2 run in repertory through Sept. 21; see intiman.org for exact schedule. BLACK COMEDY SEE REVIEW, PAGE 16. BRAINSTORM One word launches a whole show from Improv Anonymous. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpected productions.org. $5–$7. 8:30 p.m. Thurs. Ends Sept. 25. 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. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 28. EDUCATING RITA Willy Russell’s May/December romance comedy. Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, rentoncivictheatre.org. $17–$22. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 20. 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, unexpectedproductions.org. $5–$7. 10 p.m. Fri.–Sat. Ends Oct. 4. 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). Opens Sept. 11. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Sept. 28. 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. THE RITE OF MARS Aleister Crowley’s magickal theatrical ritual reimagined as rock opera. Richard Hugo House, 1634 11th Ave., eleusyve.com. $15–$20. 8 p.m. Thurs.–Sat. Ends Sept. 13. 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. WAITING FOR GODOT SEE REVIEW, PAGE 16.

©Tim Durkan

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AR T S A N D E NTE R TAIN ME N T FRIDAY, SEPT 19, 8PM Chapel Performance Space at the Good Shepherd Center

IVES The Unanswered Question HONEGGER Symphony No. 2 STRAVINSKY 8 Instrumental Miniatures RESPIGHI Ancient Airs and Dances Suite No. 3

Geoffrey Larson, Music Director Tickets: $15 General Admission, $10 Students & Seniors Available now at www.BrownPaperTickets.com

arts&culture»Literary and Visual Events Author Events CHARLES BAXTER He reads from his new story collec-

tion There’s Something I Want You to Do. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. $5. 7 p.m. Wed., Sept. 10. JOHN W. DEAN Once a member of the late, disgraced president’s inner circle, he’ll share from The Nixon Defense: What He Knew and When He Knew It. University Book Store, 4326 University Way N.E., 6343400, bookstore.washington.edu 7 p.m. Wed., Sept. 10. SARAH J. MAAS Her new fantasy tome is Heir of Fire. Also appearing will be Marissa Meyer (The Lunar Chronicles) and Mandy Hubbard (Fool Me Twice). Third Place Books, 17171 Bothell Way N.E., 366-3333, third placebooks.com. 7 p.m. Wed., Sept. 10. LIZ PRINCE Tomboy is her memoir of punk rock and gender identity. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Sept. 10. VIKRAM CHANDRA From India, the noted novelist shares from his new nonfiction account Geek Sublime: The Code of Beauty, the Beauty of Code. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Thurs., Sept. 11. GLORIA DEGAETANO Her parenting guide (and guncontrol guide?) is Stop Teaching Our Kids to Kill. Third Place, 7 p.m. Thurs., Sept. 11. GEORGE MARSHALL He’ll find a receptive local audience for his Don’t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change. Town Hall, $5. 7:30 p.m. Thurs., Sept. 11. FRANKLIN VEAUX AND EVE RICKER More Than Two is their new polyamory guide. Foundation for Sex Positive Culture, 7:30 p.m. Thurs., Sept. 11. JAMES ELLROY The lyrically profane master of crime fiction, probably now possessed of living-literary-icon status, reads from Perfidia, set in prewar L.A., of course. He’ll also appear at Seattle Mystery Bookshop at noon today. University Book Store, 7 p.m. Fri., Sept. 12. THOM HARTMANN This is a fundraiser for YES! magazine, which includes a dinner banquet option. The popular liberal radio host will discuss his new The Crash of 2016: The Plot to Destroy America and What We Can Do About It. Town Hall, $20-$250. 7:30 p.m. Fri., Sept. 12.

•

Specialized Case Manager

• SEATTLE PUBLIC LIBRARY BIG FALL BOOK SALE

for the Young Parent Program

This Specialized Case Manager provides comprehensive services that support families living in YWCA Supportive Housing Program to achieve permanent housing stability. This position also provides specialized services to young parents participating in our supportive housing program, with particular emphasis on young parents of color.

Rate $16.35/hr./Full time, 40 hrs/wk.

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

Respond to dmonroe@ywcaworks.org Details @ www.ywcaworks.org

INTRO TO

Ki-Aikido

ES CANDIDAT SS E N T FI LL A OF OME! LC E W LEVELS T RATION NO PRE-REGIST ALK-INS .W REQUIRED WELCOME!

TUESDAY NIGHTS 7-8 PM

OCTOBER 7-28TH

Univ. Heights Community Center, Rm 207 5031 University Ave NE

TAX DEDUCTIBLE DONATION $20-$40 suggested

SMITH-LEWIS AND SARAH B. SMITH • MICHELLE My Kingdom honors the coming of autumn with tin-

types and ambrotypes, and photographs of local flora, fauna, and underbrush. Opening reception 5–9 p.m. Thurs,, Sept. 11. Ghost Gallery, 504 E. Denny Way, ghostgalleryart.com. Mon.–Sun., 11 a.m.–7 p.m. Through Oct. 6.

KATE PETTY, RICHARD ROGERS, AND DAVID ROBERTSON A collection of encaustic paintings,

abstract work, and textural oil paintings, which will be accompanied by a live DJ. Opening reception 6–10 p.m. Thurs., Sept. 11. True Love Art Gallery, 1525 Summit Ave., 227-3572, trueloveart.com. Mon.–Sun., Noon–8 p.m. Through Oct. 5.

AN EVENING OF ZINES AND LITTLE SURPRISES

Northwest zinesters Alexis Wolf and Joshua James Amberson will celebrate the launch of their new zines Ilse Content and Basic Paper Airplane with an interactive performance. 7:30–9 p.m. Fri., Sept. 12. Black Coffee Coop, 501 E. Pine St., 541-8694, black coffeecoop.com. MAX KRAUSHAAR OHP:T is an animated GIF study on “ladders collapsing and being forcefully deconstructed” inspired by the artist’s stint as a contractor. The work will be dispalyed on tablet-sized screens. Opening reception 6–9 p.m. Sat., Sept. 13. LxWxH, 6007 12th Ave. S., 697-5156, lengthbywidthbyheight. com. Sat., Noon–5 p.m., through Oct. 4. JAMES NIELSEN & JACOB DIXON will unveil their massive new 3,870-square-foot mural for the Greenwood Masonic Lodge, accompanied by a slew of local psych bands including Midday Veil, Kingdom of the Holy Sun, Our Mother the Mountain, and Dacha. 7 p.m. Sat., Sept. 13. Greenwood Masonic Lodge, 7910 Greenwood Ave. N., 789-0575, greenwood253.org. $1–$10 suggested donation.

Ongoing

• CHRIS CRITES & SAMANTHA SCHERER Crites

•

Their new poetry collections are In Both Hands and Post Subject: a Fable, respectively. Elliott Bay, 3 p.m. Sun., Sept. 14. KATHERINE BOUTON In the long run, most of us will be partially deaf, as the author discusses in her Shouting Won’t Help: Why I-and 50 Million Other Americans-Can’t Hear You. Town Hall, $5. 7:30 p.m. Mon., Sept. 15. DANIEL JAMES BROWN AND DAVID LASKIN The two local authors discuss their hit history books The Family: Three Journeys into the Heart of the Twentieth Century (about Laskin’s own family) and The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m. Mon., Sept. 15. RUTH DEFRIES Does dystopia lie ahead? Ask the author of The Big Ratchet: How Humanity Thrives in the Face of Natural Crisis. Town Hall, $5. 7:30 p.m. Mon., Sept. 15. DIANE ACKERMAN She’ll discuss her natural history The Human Age: The World Shaped by Us with radio host Steve Scher. Town Hall, $5. 7:30 p.m. Tues., Sept. 16.

MARILYN REYNOLDS, JEREMY M. TOLBERT, AND THERESA MCCORMICK They’ll discuss their three

books For the Love of Nature and Between the Worlds, Talking With the Devil About Love, and A Far Cry From Here: Growing up and Out of Fundamentalism. University Book Store, 7 p.m. Tues., Sept. 16. LAWRENCE WRIGHT To understand the Middle East today, he goes back to 1978 in Thirteen Days in Sept.: Carter, Begin, and Sadat at Camp David. Town Hall, $5. 7:30 p.m. Tues., Sept. 16.

• Instructor Steven Li has practiced

ki-aikido for over 25 years in the northwest, holding a 4th Dan (black belt) rank

info@seattlekisociety.org • voicemail: 206-782-7877 (instructor)

comics quarterly celebrates the release of its 12th issue at the Black Lodge with a lineup of fuzzed-out punk bands including Ubu Roi and Terminal Fuzz Terror. 8 p.m. Sat., Sept 13. Black Lodge (secret location), intrudercomics.tumblr.com. $7–10. KATHRYN LIEN White Girls features life-size photographic transfers of the artist, scuffed and sepia-toned, in an examination of the culture of the female form. Opening reception 6–9 p.m. Thurs., Sept. 11. Blindfold Gallery, 1718 E. Olive Way, 328-5100, blindfold gallery.com. Thurs.–Sat., 1–5 p.m. Through Oct. 4.

JOANNIE STANGELAND AND OLIVER DE LA PAZ

to the history anthology Whidbey Island: Reflections on People &amp; the Land. University Book Store (Bellevue), 6 p.m. Tues., Sept. 16.

Centering/Balance and Movement Relaxation Focus and Energy Extension Intro to Breathing and Meditation Techniques Completion of this course prepares the student to participate in any of Seattle Ki-Aikido’s ongoing classes (currently Tu/Th/Sat).

Sort through thousands of bargain books and other printed material at Building 30 at the north end of the park. Preview for designated friends of the library 6:309:30 p.m. Fri. Open to public 9 a.m.-5 p.m. Sat. and 11 a.m.-4 p.m. Sun. Magnuson Park, 7400 Sand Point Way N.E., spl.org. Fri.–Sun. JAMES DASHNER With a movie based on his books being released this week, he’ll read from The Maze Runner Trilogy. University Book Store, 3 p.m. Sat., Sept. 13.

ELIZABETH GUSS, MARY RICHARDSON, AND JANICE C. O’MAHONY All three writers contributed

This class will introduce basic aikido techniques, and the art of safe falling and rolling. The course also covers the basic exercises of ki training:

INTRUDER RELEASE PARTY The locally made free

•

The YWCA of Seattle-King CountySnohomish County is seeking a

Openings & Events

displays his signature mugshots and crime scenes painted on brown paper bags. Scherer shows her tiny, fine-lined ink drawings in We Are OK Here, lovely and intricate works that have a hard time competing with the room. 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. 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. Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer.com. 11 a.m.–6 p.m. Mon.–Sat. Ends Sept. 30. DANIEL JOSEPH MARTINEZ Reflections From a Damaged Life confronts social issues ranging from religion to the military-industrial complex to advertising. The show contains some large, startling photographs of a hunchback and an eerie sequence of storefronts, something like Ed Ruscha’s Every Building on the Sunset Strip, with political graffiti added for commentary. 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. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), 296-7580, 4culture. org. 9 a.m.–5 p.m. Mon.–Fri. Ends Sept. 25. Z.Z. WEI Horizons shows the artist’s love of the Northwest with a series of sweeping, brushed paintings depicting the Puget Sound Region. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, 11 a.m.–5 p.m. Mon.–Sun. Ends Sept. 30.

•

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

BY B R IA N M I LLE R

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

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

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» Film

Opening ThisWeek

around her father’s new companion. In a fascinating Film Comment interview, Philippe has said that the film partly springs from his own childhood, when his father (actor Maurice Garrel) maintained a relationship with a woman who was not Philippe’s mother. Thus it’s no surprise that the scenes involving the little girl are especially lived-in; or that small details—a lollipop offered by Claudia as a token of friendship—take on large proportions. Characters talk about living life fully and deeply, the way they do in French films. (If characters in French films ever stop talking about this, I’m quitting.) It’s a testament to Philippe’s quiet style that these passionate feelings are crafted in a way that seems unassuming and unpretentious, but with grave consequences nonetheless. ROBERT HORTON

The Drop OPENS FRI., SEPT. 12 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED R. 104 MINUTES.

OPENS FRI., SEPT. 12 AT SEVEN GABLES. RATED R. 90 MINUTES.

God Help the Girl

PJealousy

RUNS FRI., SEPT. 12–THURS., SEPT. 18 AT SIFF CINEMA UPTOWN. NOT RATED. 111 MINUTES.

OPENS FRI., SEPT. 12 AT SUNDANCE CINEMAS. NOT RATED. 77 MINUTES.

If the music of Stuart Murdoch’s indie-pop band Belle and Sebastian is like the Smiths filtered through a rainbow, his film debut is like Lars von Trier on happy pills. His musical about a troubled young woman in gloomy Scotland is like some twee mashup of Breaking the Waves and Dancer in the Dark. Yet unlike those idiosyncratic films, or the fanciful songs of Belle and Sebastian, God Help the Girl is clichéd and bumbling, a coming-of-age tale as awkward as its characters. The film’s central figure is Eve (Emily Browning), a stunning young woman struggling with anorexia whom we meet at a Glasgow hospital. Though she’s quite sick, she’s also an irrepressible music lover. Her pretty face and mod style attracts admirers when she breaks out of her ward, which is often. She meets handsome rocker Anton (Pierre Boulanger) and shy songwriter James (Olly Alexander), becoming close to the latter and his friend Cassie (Hannah Murray). Those three form a band, while Eve sees Anton romantically on the side. The crowd-sourced God Help the Girl features 28 Murdoch songs, many familiar from his side project of the same name. Some are performed by the film’s cast; others are rerecorded or remixed versions of originals; and it’s this cobbled-together soundtrack that gives the movie a rehashed, jerky feeling. The aesthetic is further muddled by a similarly patchwork plot and a variable cast of young, largely unknown performers given little direction by the neophyte filmmaker. Ultimately, we never really come to know Eve. Instead she remains a porcelain doll in Murdoch’s precious vision,with her friends merely enablers—always there to worry over her, praise her talent, glorify her looks. Her eating disorder is portrayed less as a real disease than as a routine symptom of sex, drugs, rock ’n’ roll, etc. When Eve abruptly leaves her promising band and slowly stabilizing life to attend music school in London, you can’t help but sense tough times ahead for her. That part of the story will happen off-camera, of course, and you can bet it won’t be set to music. GWENDOLYN ELLIOTT

In the opening scene of Jealousy, a relationship comes to an end. Shaggy-haired actor Louis (Louis Garrel) is leaving his girlfriend Clothilde (Rebecca Convenant) as their young daughter Charlotte looks on. The moment isn’t hugely original, or even especially dramatic. It’s a thing that has to happen, and everyone knows it, and each person’s reaction is honored. Then we move on—but everything that happens after depends on this sequence. Louis goes to live with his new lover Claudia (Anna Mouglalis, the Chanel from the dreary Coco Chanel & Igor Stravinsky), herself an actress, albeit one who mysteriously hasn’t worked in six years. The design of veteran director Philippe Garrel (Louis is his son) takes all of this situation’s developments in stride—sometimes literally, as he likes walking scenes—as though observation, not manipulation, is his primary interest.

DISTRIB FILMS

A delicate balance: Milshtein, Garrel, and Mouglalis.

It lacks the clocklike inner workings of movies devoted to storytelling, but Jealousy does a lot of things right. The melancholy black-and-white widescreen photography—actually shot on 35 mm film, not digital—comes courtesy of legendary Wings of Desire cinematographer Willy Kurant, and it sets exactly the right sad-in-Paris mood. Jean-Louis Aubert’s acoustic-guitar score is spare but soulful. The modest 77-minute running time is apt, given the general feeling of pages from a sketchbook being brought out for view. And the empathy for the characters is unflagging, especially whenever we visit Charlotte (Olga Milshtein), the child trying to sort out how to be with her mother and how to act

QUANTRELL COLBERT/A+E STUDIOS

The band’s all here: Alexander, Browning, and Murray.

Kline as the famous swordsman.

Career on the skids, unable to remember his lines, performing some kind of Broadway abridgement of Jane Eyre, a bloated, alcoholic Errol Flynn wanders about the stage, reading from cue cards in the wings. It’s a brief scene, and not a little sad: Flynn, once so handsome and charismatic, is clearly not much of an actor (and he knows it). But the actor playing Flynn in this May/December mediocrity can certainly command a stage: Kevin Kline. There’s a good joke in here, one of several suggested by the oncefamous swashbucker’s notorious life, that falls flat in this underwritten movie. A first-rate actor playing a faded yet glamorous actor from an earlier Hollywood era—well, we’ve seen that before with Peter O’Toole in 1982’s My Favorite Year. The Last of Robin Hood, unfortunately, is nowhere near so clever. To begin with, it goes the melodrama route in relating the true story of Flynn’s final romance with a teenager (Dakota Fanning), a relationship enabled by her alcoholic stage mother (Susan Sarandon). Beverly is 15 when Flynn spots her on the backlot in 1957, he 48 and two years away from a fatal heart attack. This is a love that clearly won’t last, and the film begins after Flynn’s death, its story skipping back and forth with Florence’s narration. (She’s being recorded for a tell-all memoir, the vodka bottle slowly draining as the tape unwinds, published in 1960.) Florence is half-deluded about Flynn deflowering her daughter, and half-seduced by the attention he pays her, too. Acting as pimp-chaperone gets her trips, liquor, and parties. Where’s the pathos in the mother, the desperation in the daughter, the wickedness in the star? The script never shows us, instead treating Florence to lines like “I didn’t want our lives turning from an A-picture to a B-movie.” Given that everyone here— stars and hangers-on—is part of the Hollywood dream factory, the results are surprisingly dull.

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

We surmise early on that not all is as it seems, and the storyline has some effective revelations along the way. But the painting of a culture is the real draw here; not only are Lehane’s underworld denizens unable to escape, it doesn’t even occur to them to imagine escaping. (The one exception is Marv’s sister, played by Compliance star Ann Dowd, who touchingly nurtures some vague idea of seeing Europe someday.) Bullhead director Michaël R. Roskam has his actors sunk into this defeated world: Rapace (of the Swedish Girl With the Dragon Tattoo movies) gives her best English-language performance yet; and Hardy’s soft-spoken turn is another step on the road for this eerie actor. Slipping his English accent seamlessly into American gangsterese, Hardy overtly pilfers from the De Niro playbook, but mostly he creates a lived-in character. Matthias Schoenaerts (Marion Cotillard’s partner in Rust and Bone) is formidable as a neighborhood creep, and John Ortiz squeezes unexpected moments from the cop role. Gandolfini, of course, owns this turf, and the late actor goes out strong—he can suggest a lifetime’s frustration just by the way he shoulders his bulk out of a car. Such behavioral niceties, and Lehane’s ear for street talk, keep The Drop rooted in its concrete jungle. ROBERT HORTON

BARRY WETCHER/FOX SEARCHLIGHT

Hardy shamelessly appeals for your sympathy with a puppy. Yes, a puppy.

The Last of Robin Hood AMPLIFY FILMS

The easiest knock against The Drop is that it operates in an overexposed milieu: current urban American crime. It’s hard to pump something new into this world, but the film succeeds because of its rich attention to detail and a Dennis Lehane script with a surplus of tasty dialogue. Lehane, the author of Mystic River and Gone Baby Gone, adapted the screenplay from his short story “Animal Welfare.” Two initially unrelated incidents make the plot go: the rescue of a wounded dog and the closing-time robbery of a Brooklyn tavern called Cousin Marv’s. The bar’s mild-mannered, mind-my-own-business bartender, Bob Saginowsi (Tom Hardy, late of Locke), is walking home one night when he hears the pathetic mewling of an abandoned pit bull. The abused dog is on the property of Nadia (Noomi Rapace), and these two strangers strike up a friendship around the dog; it is just possible they might be interested in each other. The robbery, meanwhile, puts hapless Cousin Marv ( James Gandolfini) in a tight spot; he’s already lost ownership of the bar to Chechen gangsters, who would really like their stolen money back. They play rough.

» CONTINUED ON PAGE 20 19

arts&culture» Film

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» FROM PAGE 19

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Filmmakers Richard Glatzer and Wash Westmoreland (Quinceañera) are clearly in love with the late-’50s idea of fading Hollywood: midcentury modernist living rooms, constant cocktail swilling, and the jarring rise of TV and teen culture. But Mad Men and the underrated 2012 Hitchcock have captured that postwar period with far more bite. The Last of Robin Hood feels tame by comparison; it’s too much Stella Dallas, not enough John Waters. Huge opportunities are missed: Flynn actually made a pro-Castro movie with Beverly in Cuba, while fighting was still underway; and he even pitched Stanley Kubrick that he and Beverly star in Lolita! These are the pearls of truth that Glatzer and Westmoreland fail to polish and embellish in a movie bound for future broadcast on Lifetime. Kline and Sarandon deserve better; though this is the best Florence and Beverly could’ve hoped for. As for Flynn, his unrepentant posthumous autobiography, My Wicked, Wicked Ways, is still in print— and still waiting to be filmed. BRIAN MILLER

BORGMAN Despite the Title it’s Not about a Robot Man. DVD $19.95 Blu-ray $21.95 JUGGERNAUT Terrorists on a Cruise Ship! We Swear it’s Better than SPEED 2. Blu-ray $19.95 STAR TREK: THE COMPENDIUM Everything you Ever Wanted to Know about J.J.’s TREK Blu-ray $31.95 ALSO NEW THIS WEEK For a full list of New Releases for rent + sale, visit scarecrow.com CAPTAIN AMERICA: THE WINTER SOLDIER Hail Hydra! DVD $24.95 Blu-ray $25.95 3D Blu $31.95 ACROSS 110TH STREET A Blaxploitation Classic! DVD $15.95 Blu-ray $21.95 DOCTOR WHO: DEEP BREATH Welcome the New Doctor! DVD $17.95 Blu-ray $22.95

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PLove Is Strange OPENS FRI., SEPT. 12 AT HARVARD EXIT, LINCOLN SQUARE, AND SUNDANCE. RATED R. 93 MINUTES.

complications dictate a few months of couchsurfing before they can settle. George moves in with tiresomely younger, hard-partying friends; Ben takes a bunk bed in the home of relatives Kate and Eliot (Marisa Tomei and Darren E. Burrows), who already have their hands full with an awkward teen son (Charlie Tahan). It’s one of those sad situations in which everybody generally means well, but things just aren’t working out. Tomei is excellent, for instance, at suggesting a writer who would really like some uninterrupted time in the middle of the day but doesn’t want to hurt Ben’s feelings when he settles in for a midafternoon confab with her. Director Ira Sachs (Keep the Lights On), who has charted an intriguing course for himself through the indie world, is confident enough to leave out the expected big scenes and allow us to fill in the blanks. The movie’s about a great deal more than gay marriage, if it is about that. It’s about how nobody has any time anymore; and how great cities have priced ordinary people out of living in them; and how long-nurtured dreams—Ben has been a serious but financially unsuccessful painter all his life—have to be gently refocused. And it’s certainly about, as Make Way for Tomorrow was, the way older people are casually shunted aside as though by some accepted ancient ritual. Lithgow avoids his hammier instincts and Molina

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

JEONG PARK/SONY PICTURES CLASSICS

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Ben (Lithgow) at the easel.

Of the titles from Hollywood’s golden age that aren’t broadly recognized as classics but really ought to be, Make Way for Tomorrow is on the short list—no arguments brooked. Leo McCarey, a director with a notable human touch, crafted this 1937 masterpiece from a simple story about two long-married folks forced to live apart when their money runs out and their grown children prove inept at compassionate problem-solving. This outline proves remarkably durable in Love Is Strange, a new film that finds an ingenious variation on the same story. Here, the couple has not been married long, but they’ve been together for 39 years; in fact, it’s the gift of their marriage that inadvertently causes the unwanted separation. Meet Ben ( John Lithgow) and George (Alfred Molina), whose cohabitation stretches back long before same-sex marriage was a realistic goal. Their new legal bond means that music teacher George is fired by the Catholic school where he has long worked—everybody there likes him, but they have to obey their bylaws. Manhattan is sufficiently expensive that Ben and George have to give up their place, and financial

underplays nicely as the more grounded half of the couple, but true to Sachs’ style, the movie isn’t designed as an actor’s showcase. We’re not supposed to notice the acting here—just the people. ROBERT HORTON

The Man on Her Mind OPENS FRI., SEPT. 12 AT VARSITY. NOT RATED. 98 MINUTES.

Alan Hruska’s adaptation of his stage comedy has as its heroine a New York fiction editor, Nellie (Amy McAllister), whose brain has perhaps been poisoned by reading too many outlandish manuscripts from the slush pile. Hruska, with a background in law and publishing, is vague about Nellie’s work life, however; she’s basically a creature of her cramped, book-lined apartment, where she waits for her confident, expensively suited lover Jack (Samuel James) to arrive. It doesn’t take long for us to gather that Jack is not what he seems, and it’s at about that same point that Nellie’s suburban sister and brotherin-law (Georgia Mackenzie and Shane Attwool) attempt to stage an intervention. Jack’s not the

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OPENS FRI., SEPT. 12 AT VARSITY. NOT RATED. 127 MINUTES.

There’s a built-in audience for the latest collaboration between André Gregory and Wallace Shawn, given the widespread arthouse affection for My Dinner With André and Vanya on 42nd Street. I’m certainly part of that audience, though I’d rather have seen their rendition of Ibsen’s problematic play in the theater. But after 14 years of development, it was performed only a handful of times to invited audiences in Greenwich Village—then thriftily filmed by Jonathan Demme. So this is what we’ll have to take. Gregory has only a few scenes as Brovik, the broken-down old draftsman who’s given his life to the controlling, ever-ambitious Solness (Shawn). In Shawn’s free imagining of the text, the usually vital Solness is on his

sickbed, attended by nurses and many beeping medical machines. Though enfeebled, he still rules the household like a petulant toad, bullying his underlings ( Jeff Biehl and Emily McDonnell) and wife ( Julie Hagerty). Then the avid and possibly insane young Hilde (Lisa Joyce) inexplicably arrives, and Solness springs out of bed. Springs, I tell you! If Solness then never leaves the house or changes out of his pajamas, that’s also an indication of how Shawn has relocated the play in the nether-space between Solness’ ears. He has a lifetime of regrets and misdeeds to consider, and Hilde becomes his spiritual guide—like Scrooge’s sole ghost (in sexy white hiking attire, no less). His mental state isn’t one of Trumpian hubris—he’s more of a developer than an architect—so much as “an awful state of uninterrupted anxiety.” Instead of being put to the rack, Solness is gently pushed to the couch. He’s more neurotic than malign. Even when confessing the possible arson-by-inattention of his wife’s beloved old house, he shrugs off the guilt like a bad order of borscht. Well, I didn’t want it anyway. I wasn’t even hungry. While Shawn gives Solness a muffled, shifty kind of villainy, Joyce has been directed to go in the other direction; she shouts from every hilltop, and then some. By turns hysterical, girlish, teary, and seductive, this Hilde has less to do with Ibsen’s heightened naturalism than the demons of Solness’ conscience. In a different kind of stage tale, she’d be called a fury, a sprite, or an enchantress. And I’m not sure these two modes are compatible. Gregory and Shawn have knocked Solness off his pedestal (there’s your plot, essentially), made him more of a peevish, recognizable human of the early 21st century who might be sitting next to you on the subway. But Hilde clearly never rides the subway (a zephyr or a unicorn, maybe). Perhaps what Gregory (as stage director) and Shawn (as writer) are trying to do is this: Take the autobiographical 1892 play’s biggest flaw, the implausible Solness/Hilde relationship, and exaggerate it, make it even bigger. There is no reconciling his brick-and-mortar egotism with her ethereal insistence; it can’t be done. Hilde may force amends on those around Solness, those who act in accordance with the normal laws of society, but Solness is not such a man. And for his final accounting, even if only in a fever-dream, it takes a creature of his own design. BRIAN MILLER E film@seattleweekly.com

INNER

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4500 9th Ave. Ne • 206-633-0059

Two Ways To Save At Sundance Seattle Monday is $5 ORCA Day

Show Your Orca Card and ALL Seats are $5.

Tickets Avail at Box Office Only. Not good on holidays.

Tuesday is Girls Movie Night Out!

Two or more ladies get $5 Admission All Day. Tickets Avail at Box Office Only.

LOVE IS STRANGE

THE DROP

BOYHOOD

JEALOUSY

THE TRIP TO ITALY

THE ONE I LOVE

GUARDIANS OF THE GALAXY IN 2D/3D THE HUNDRED-FOOT JOURNEY MAY IN THE SUMMER CHEF

SATURDAY, SEPT. ��

CALVARY

*tickets available at the box office.

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NOW PLAYING Fri Sep 12 – Thur Sept 18

UPTOWN

GOD HELP THE GIRL

Weekend only: Exclusive filmed concert from Belle & Sebastian!

Antonio Gaudi’s masterpiece

SAGRADA: THE MYSTERY OF CREATION Continuing:

THE TRIP TO ITALY STARRED UP FILM CENTER Mon 15 | Recent Raves

OBVIOUS CHILD EGYPTIAN

OPENS SEPT 12 UPTOWN

WOMEN IN CINEMA Festival Thu 18 | Opening Night Lynn Shelton’s LAGGIES

COMING SOON SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center NW Rooms

Oct 4 | Fremont Foundry

SIP FOR SIFF Benefit

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

A Master Builder

MONTY PYTHON AND THE HOLY GRAIL Friday - TUESDAY @ 9:30 PM

A R T S A ND ENTER TA I NM ENT

The ideal meets the unruly real. McAllister and James.

man for you, they insist. What about Leonard— the guy we tried to set you up with? That Leonard, a mysterious but affluent Long Island nebbish, is also played by James provides your first clue that Hruska is crossing genres here. There’s a bit of sitcom humor, a splash of Woody Allen’s bathwater, echoes of Aristophanes, the specter of Noel Coward’s Blithe Spirit, and more than one doppelgänger afoot. None of it holds together very well; instead of a play in three acts, it’s more like three unrelated one-acts that happen to share a cast. And about that cast: Though Hruska is a New Yorker, he originally staged this play in London, then filmed it here with the same four performers. Their accents apparently drowned during the Atlantic crossing, save for Mackenzie’s Five Towns vowels. (If you’re gonna go broad, go broad.) Nellie’s overactive imagination—“I don’t like real”—is never fully explained; nor does her inheritance of her mother’s luxury apartment, where she won’t move in, satisfactorily mesh into the plot. Whenever Hruska’s script runs into a dead end, he simply cuts to the skyline and cues up a sappy ballad. As vanity productions go, this is pretty inoffensive stuff; you just wish it were smart enough to seize on one idea and really run with it. (If Nellie can have one dream lover, why not several?) The Man on Her Mind also suffers greatly by comparison to the current The One I Love, in which the fantastical elements finally congeal into a real parable of selfishness. That’s the kind of magic that Nellie ought to be publishing and Hruska filming. Too bad nobody wrote it for them. BRIAN MILLER

2014

TRULY INDIE/PALADIN

H A PPY H OUR

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Fri -TUES @ 7:00PM / SAT @ 3:00PM

arts&culture» Film SIFF’s annual celebration showcases exceptional films made by women from around the world.

SIFF presents

WOMEN —IN—

4 Days | 12 Films 5 Special Guests

CINEMA

Opening Night: Lynn Shelton’s new film Laggies.

SEPTEMBER 18-21, 2014 SIFF Cinema Egyptian SIFF Cinema Uptown

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Local & Repertory THE APPLE From 1979, this is a sci-fi musical also titled

Star Rock, set in the long-distant year of 1994. (NR) BRIAN MILLER Central Cinema, 1411 21st Ave., 6866684, central-cinema.com. $7–$9. 8 p.m. Thurs. FLASHDANCE What a feeling. This 1983 hit by Adrian Lyne did more for the soundtrack artists (Irene Cara, Kim Carnes, and especially Giorgio Moroder) than putative star Jennifer Beals. (R) Central Cinema, $6-$8. 7 p.m. Fri.–Tues. & 3 p.m. Sat. THE FILMS OF ZACHARIAS • MAGIC LANTERN: Our critic Robert Horton gives a talk (with KUNUK

clips) about the Canadian Inuk filmmaker, whose works include the magnificent The Fast Runner, one of the best movies of 2001. The talk is pegged to the Frye’s ongoing show Your Feast Has Ended. (NR) Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 2 p.m. Sun. OBVIOUS CHILD Written and directed by Gillian Robespierre, this movie has already been pegged as the abortion rom-com, which is great for the posters and pull-quotes but isn’t strictly accurate. The movie doesn’t embrace abortion. It doesn’t endorse cheesy love matches between unlikely partners. What it does—winningly, amusingly, credibly—is convey how a young woman right now in Brooklyn might respond to news of an unplanned pregnancy. And this fateful information comes for Donna (SNL’s excellent Jenny Slate) after being dumped by her boyfriend, told that her bookstore day job is about to end, and rejected at her comedy club, where a drunken stand-up set of TMI implodes into self-pity and awkward audience silence. Obvious Child is foremost a comedy, and it treats accidental pregnancy—caused by an earnest, likable Vermont dork in Top Siders, played by Jake Lacy from The Office—as one of life’s organic pratfalls, like cancer, childbirth, or the death of one’s parents. But as we laugh and wince at her heroine’s behavior, Robespierre gets the tone exactly right in Obvious Child. The movie doesn’t “normalize” abortion or diminish the decision to get one. Rather, we see how it doesn’t have to be a life-altering catastrophe, and how from the ruins of a one-night stand a new adult might be formed. (R) B.R.M. SIFF Film Center (Seattle Center), 324-9996, siff.net. $6–$12. 7:30 p.m. Mon.

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PAPER CIRCUS: ANIMATIONS BY LUCA DIPIERRO

Live music by Father Murphy will be set to this short program of works by the Italian animator, now based in Portland. (NR) Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org. $5–$9. 7:30 p.m. Thurs. SAGRADA: THE MYSTERY OF CREATION This new documentary examines the history of Barcelona’s famous La Sagrada Familia cathedral, designed by Antoni Gaudí in 1882 and still under construction. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 3249996. See siff.net for showtimes. $6–$12. Opens Fri. A SENSE OF WONDER This 2008 doc profiles the great American environmentalist Rachel Carson and her legacy. (NR) Keystone Church, 5019 Keystone Pl. N., meaningfulmovies.org. Free. 7 p.m. Fri.

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 over time, 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 highschool graduation, is learning that life does not fit into the pleasing rise and fall of a three-act 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. Other folks come and go, like people do. 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. Let’s also appreciate how Linklater calls for us to reimagine how we might treat movies and childhood: less judgment, less organization, more daydreaming. (R) ROBERT HORTON Sundance, Harvard Exit, Ark Lodge, Majestic Bay CALVARY This is a bumpy, uneven picture full of colorful digressions—is that simply to say it’s Irish?—and narrative dead-ends. Its writer and director is John Michael McDonagh, whose The Guard was no less unwieldy (though more comical). But both pictures are given ballast, and a deep keel beyond that, by the greatness of Brendan Gleeson. Gleeson’s cleric, Father James, tends

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a small ungrateful flock on the windswept west coast of Ireland. Catholicism is fading fast, even in Ireland, and the widening pedophilia scandal has made the church a damaged brand. Father James is a newcomer in a village now venting what seems to be centuries of resentment against the old ecclesiastical control. That anger is expressed in the film’s very first scene, set in a confessional, where Father James is told he’ll be killed in a week, to be sacrificed for the sins of his church. Calvary is equally a thriller about a man investigating his own murder and a consideration of what it means for a nation to lose its collective, unifying faith. Father James’ seven-day search leads him through an array of sinners, skeptics, wife-beaters, adulterers, suicide contemplators, and such. They’re a colorful lot, not entirely plausible as people—more like movie archetypes or illustrative characters in Pilgrim’s Progress. Still, this is Gleeson’s show, and he’s what makes Calvary worthwhile. (R) B.R.M. Sundance, Ark Lodge CHEF There is nothing wrong with food porn or the happy camaraderie of a restaurant kitchen. Nor can I fault writer/director/star Jon Favreau for making a midlifecrisis movie that lets slip his Hollywood complaints. The commercial pressures in directing formulaic blockbusters like Iron Man must surely be great, and film critics are surely all assholes. Chef is the simple though overlong story of a chef getting his culinary and family mojo back, and my only real criticism—apart from the constant Twitter plugs—is that absolutely nothing stands in the way of that progress for chef Carl (Favreau). Dustin Hoffman barely registers as a villain (as Carl’s gently greedy “play the hits” boss, who goads him into quitting); Robert Downey Jr., as the prior ex of Carl’s ex (Sofia Vergara), briefly shadows the scene—but no, he’s only there to help. If you like endless scenes of chopping vegetables, salsa montages, and juicy supporting players (John Leguizamo, Bobby Cannavale, Amy Sedaris, Scarlett Johansson), Chef is an entirely agreeable dish. Just expect no salt. (R) B.R.M. Sundance GUARDIANS OF THE GALAXY Give thanks to the Marvel gods for Guardians of the Galaxy. If you’ve ever had to suppress a giggle at the sight of Thor’s mighty hammer, this movie will provide a refreshing palatecleanser. 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. (PG13) R.H. Sundance, Thornton Place, Majestic Bay, Kirkland Parkplace, Cinebarre, others THE HUNDRED-FOOT JOURNEY In the South of France, the zaniness begins when the Kadam family, newly arrived in France from India, fetch up with car trouble in a small town. Restaurateurs by trade, they seize the opportunity to open an Indian place—in a spot across the street from a celebrated bastion of French haute cuisine, Le Saule Pleureur. This Michelin-starred legend is run by frosty Madame Mallory (Helen Mirren), whose demeanor is the direct opposite of the earthy Kadam patriarch (Om Puri, a crafty old pro). It’s culinary and cultural war, but will the cooking genius of Papa’s 20-something son Hassan (Manish Dayal) be denied? Madame Mallory can recognize a chef’s innate talent by asking a prospect to cook an omelet in her presence. You can already hear the eggs breaking in Hassan’s future—the movie’s like that. Daval is a good-looking and likable leading man, so it’s too bad he’s given an unpersuasive love story with Madame Mallory’s souschef, Marguerite—Charlotte Le Bon, a pretty actress who doesn’t look convinced by the love story, either; her facial expression perpetually conveys the silent question, “Are you sure this is in the script?” Mirren hits her marks, and the food is of course drooled over. Director Lasse Hallström (Chocolat, The Cider House Rules, etc.) knows how to keep things tidy, and Journey is pleasant product, even if it seems as premeditated as a Marvel Comics blockbuster. (PG) R.H. Sundance, Majestic Bay, Kirkland Parkplace, Cinebarre, others THE IDENTICAL This 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

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period detail in The Grand Budapest Hotel, which both revered and ridiculed the past. Magic feels like Allen’s re-rendering of a thin prewar British stage comedy he saw at a matinee in his youth, now peppered with references to Nietzsche and atheism. It’s dated, then updated, which only seems to date it the more. No one wants to see Firth, 53, and Stone, 25, as a couple. The math doesn’t work. It’s icky. (PG-13) B.R.M. Guild 45th, others MAY IN THE SUMMER 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. Her Christian mother Nadine (the excellent Hiam Abbass), already disapproves of May’s suspiciously absent fiancé for being Muslim. As May and her equally Americanized sisters—giddy, selfabsorbed, and confused by 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. 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. (R) NICOLE SPRINKLE Sundance 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 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. Meridian, Cinebarre, 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 costarred 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, Ark Lodge

directed by

written by Alan Hruska Bruce Guthrie & Alan Hruska

STARTS FRIDAY,

SEPTEMBER 12!

For showtimes or to buy tickets go to tickets.landmarktheatres.com

The YWCA of Seattle-King CountySnohomish County is seeking a Homelessness Intervention Project Employment Specialist The Employment Specialist will work with homeless individuals to obtain job readiness skills, stabilize housing, connect to WorkSource resources, and obtain employment. Additional duties include maintaining records of client progress, completing reports on demographics and achievement of program outcomes, entering data into the Safe Harbors HIMIS system, making housing referrals, working closely with the YWCA’s Landlord Liaison Program, working with employers to develop job opportunities and to ensure that clients are meeting workplace expectations, working with YWCA and WorkSource staff to co-enroll clients when eligible, and facilitating job clubs.

Full time, 40 hrs/wk. Rate $16.35-$21.81, DOE Respond to mshiring@ywcaworks.org Details @ www.ywcaworks.org

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BY B R IA N M I LLE R

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

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Thank you PAWSwalk Supporters! Your generosity at PAWSwalk 2014 helps hundreds of dogs, cats, owls, bears, eagles, squirrels, deer, seals, songbirds and all the other animals who will find the care they need year-round at PAWS.

paws.org

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

isn’t about the Presleys by name; its fictional Elvis is called Drexel Hemsley, born to a hardscrabble cottonpickin’ 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). Ryan’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. The best thing about this faith-based movie is 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. (PG) R.H. Meridian, Oak Tree, others LAND HO! Dr. Mitch is well into his 60s, adult kids gone, divorced, eating dinner alone when we meet him. He won’t admit it, of course, especially to his somber visitor Colin, his former brother-in-law, who carries the weight of post-midlife more heavily. Colin initially seems the guy in need of cheering up, which the earthy, garrulous Mitch makes his mission by taking the two of them to Iceland. Land Ho! is a buddy movie and a road-trip picaresque with an unusual pedigree. It was directed and written (with a healthy dollop of improv) by indie filmmakers Aaron Katz and Martha Stephens; the latter cast her loud, colorful cousin, Earl Lynn Nelson (a non-actor), as Mitch; and the Bellevue-based Australian Paul Eenhoorn actor plays his quiet foil. These old goats are in need of an adventure—through the discos and fashionable restaurants of Reykjavík; out to the remote hot springs and black-sand beaches—and they’re fully aware it could be their last adventure. (“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 LETTER TO MOMO 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. Hiroyuki Okiura’s gently fantastical animation approach proves apt for this familiar little story. It’s an earnest combination 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. 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. (NR) R.H. Varsity LUCY Insofar as playing transcendent thinking/killing machines, Scarlett Johansson is definitely on a roll, from Her to Under the Skin. Now, in Luc Besson’s enjoyably silly sci-fi shoot-em-up, she’s a young woman whose brain achieves 100 percent of potential, owing to a forced drug-mule errand gone wrong. She’s soon learning Mandarin, electrical engineering, mad handgun skills, and Formula One-level driving on the fly. (Telekinesis soon follows, of course.) Her goal, which takes her from Taiwan to Paris, is to track down the other couriers with bags of IQ-growth hormone sewn in their guts and mainline those purple crystals—all for the good of humanity, which she hopes to enlighten before her apotheosis. Beneath the gunfire and philosophical malarky, there is—as in Besson’s best action efforts— a sound sentimental foundation to Lucy. This slacker turned godhead-assassin interrupts her mission to call Mom. “I feel everything. I remember everything,” she says tearfully. For anyone who’s ever forgotten where they put the car keys, Lucy makes 11 percent seem awfully tempting. (R) B.R.M. Cinebarre, Vashon, others MAGIC IN THE MOONLIGHT Set during the interwar period in the south of France, Magic in the Moonlight isn’t Woody Allen’s worst picture (my vote: The Curse of the Jade Scorpion), but it’s close. Colin Firth plays a cynical magician, who keeps repeating Allen’s dull ideas over and over and fucking over again. Emma Stone, in her first career misstep (Allen’s fault, not hers), plays a shyster mentalist seeking to dupe a rich family out of its fortune (chiefly by marrying its gullible, ukulele-playing son, Hamish Linklater). The recreations of this posh ’20s milieu seem curiously literal, like magazine spreads, so soon after seeing Wes Anderson’s smartly inflected

arts&culture» Music

Drivin’ on the ’90s mainstage

dinner & show

The Breeders’ Kelley Deal on the Clinton years, Nirvana, and Tupac. BY DAVE LAKE

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 FRI/SEPTEMBER 12 • 7:30PM

brazilian nights! paula santoro & rafael vernet w/ entremundos quarteto SAT/SEPTEMBER 13 • 8PM

SUN/SEPTEMBER 14 • 6PM

mackapalooza too w/ charles mack band, kim archer, michael perez TUE/SEPTEMBER 16 • 7:30PM

dirtwire

WED/SEPTEMBER 17 • 7:30PM

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

rising appalachia

w/ theresa davis & morning ritual next • 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 • 10/1 - 4 burlesco divino: wine in rome • 10/5 rust on the rails • 10/6 masters of hawaiian music

happy hour every day • 9/10 lonesome shack • 9/11 rippin’ chicken • 9/12 renato anesi (brazil) / the cumbieros • 9/13 billy brandt • 9/14 hyw 99 blues presents: ayron jones • 9/15 crossrhythm sessions • 9/16 singer-songwriter showcase featuring: raine, miriam elhajli and katie kuffel • 9/17 jd hobson TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

ANDREW KUYKENDALL

captain smartypants

Still splashin’: the Breeders circa 2014.

ith Gen-Xers now flush with you have the plaque hanging somewhere? disposable income and nosI have a platinum plaque, I do! It’s kind of talgic for their youth, plenty leaning against the wall in my closet, actually. of ’90s acts have returned to Do you think it’s gauche to hang it in your the road, and the recording studio, in hopes house? of reigniting a career. Luscious Jackson just That’s really for your mom and dad. They have played Bumbershoot; the Pixies, Mazzy Star, one hanging up. That somehow validates your and Sebadoh released new albums recently after entire life of schlepping around doing music with long breaks; and the intermittent pay and Breeders are back with jobs. “My memories of Nirvana are intermittent a new album and tour It’s validation for a dates. We talked to that they were really, really nice misspent youth. Breeders lead guitarist What kind of guys. They weren’t assholes car did you drive Kelley Deal about the decade her band’s sec- at all. They were sweet dudes, in the ’90s? ond record, ’93’s Last Oh my God, a Splash, went platinum. white Nissan Sentra. very ordinary in a way.” SW: Do you think the ’90s were a good decade for cultural achievements?

Deal: I don’t know if there were ACHIEVEMENTS in, like, capital letters, but there’s a lot of stuff I like.

Are you nostalgic for that time, or is there another era you’re more interested in?

I love the 1940s. I’m sure this isn’t representative of the reality of the ’40s, but I sure like that time, the hair and the cigarettes and the hats. That’s just cool as hell. Did you ever have an AOL account?

No.

Tupac or Biggie?

I love Tupac. He’s so cute.

Your album Last Splash went platinum. Do

Which ’90s band would you rather be trapped in an elevator with: Rage Against the Machine or Counting Crows?

Rage Against the Machine, definitely.

Can you share any memories of your 1993 tour with Nirvana, and do you remember where you were when you heard Kurt died?

I do remember where I was. I don’t remember what city, but we were on tour with Jon Spencer Blues Explosion. We were somewhere down South, I think, and it was so sad. My memories of Nirvana are that they were really, really nice guys. They weren’t assholes at all. They were sweet dudes, very ordinary in a way. There are some memories, but like with the ’60s, they say if you remember it all, you weren’t really there. Have you ever fantasized about standing

on the front of a ship with Leonardo DiCaprio behind you?

No, no, no. Maybe with Kate Winslet behind me. Isn’t she dreamy?

Better ’90s one-hit wonder: Marcy Playground’s “Sex and Candy” or the New Radicals’ “You Give What You Get”?

I like “Sex and Candy.” I heard that song recently. It’s a really good song.

You guys did Lollapalooza, but did you ever attend Lilith Fair?

No.

How did Spike Jonze come to co-direct your video for “Cannonball”?

Spike Jonze was a little skater boy that Kim Gordon knew. She was the director, but by the end of it he was so instrumental with his vision and the cool stuff that he was able to get that she ended up doing a codirector thing with him. He’s so talented. Did you have any sense he’d go on to become an important film director?

Do you remember Dirt magazine? It was like the brother magazine to [Sassy]. He did a lot of work for that. He came to Dayton once and he came over to Kim’s [Deal’s sister and the Breeders’ rhythm guitarist] place, and I think he took pictures and wrote a story about traveling and skating through the Midwest. He was like a young punk. I certainly didn’t think, “Oh my God, here’s a guy who’s going to make these amazing movies in the future,” but after “Cannonball” you saw somebody with an amazing point of view who could visually tell a story. Did you ever meet Bill Clinton?

No.

You were in a band with Sebastian Bach, one of my favorite rock-&-roll personalities. Do you have any good Sebastian Bach stories?

He is a good story, but I don’t have one particular one. The man is funny. And he can tell a really good story. He has a beautiful voice.

How did you enjoy the Last Splash 20th anniversary tour? Was it fun to play the songs again?

That was fantastic, for a couple reasons. One,

it was so great to play with Josephine [Wiggs, bass] and Jim [McPherson, drums] again. But from the first measure of the first song we played down in the basement, this memory came back—the music and the familiarity. We can do this after all. It sounds just like I remember it. And it was really nice to play the record. I like albums that are done from start to finish. Everybody that was there at the show was super-excited to be there because they wanted to hear it. Are there songs that you guys have never played live before?

Oh, yeah. One is called “Mad Lucas,” and it’s a really long dirge. It’s like six minutes, and it’s really slow and beautiful and makes time stand still. It’s hypnotizing. We dig that song, but it’s not something I would ever put in a set list. It would be crazy. It would stop any momentum, with people sitting around for six minutes listening to some hypnotic dirge. I assume you played other songs too?

Many nights we played the entirety of [first album] Pod, which was really fun. And then sometimes we would mix it up between Pod and Safari. This time we’re playing all kinds of stuff, and new stuff as well. Did you and your identical twin sister Kim ever get up to shenanigans in school to mess with people?

We did! When we were in junior high school, [Kim] played the saxophone and I played the drums in the school band. At the behest of our friends, they wanted us to change places. So we did, and of course they all giggled. And the teacher didn’t know or care. Final question: Blur or Oasis? Yawn. E music@seattleweekly.com

THE BREEDERS With the Neptunas. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. $25 adv./$28 DOS. 8:30 p.m. Wed., Sept. 10.

El Corazon www.elcorazonseattle.com

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

WEDNESDAY, SEPTEMBER 10TH

JOHNNY HOFFMAN & THE RESIDENTS with The Requisite, Shark The Herald, Blood Hot Beat, PainField Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

Also big in the ’90s: The Phantom of the Opera.

THURSAY, SEPTEMBER 11TH w/Lee Corey Oswald (CD Release), Waywards, Where My Bones Rest Easy, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8ADV / $10 DOS

FRIDAY, SEPTEMBER 12TH

THE REAL MCKENZIES

with The Bog Hoppers, Lucky Boys, DyingOff, Coyote Bred Lounge Show. Doors at 8:00PM / Show at 9:00 21+. $10 ADV / $12 DOS

SATURDAY, SEPTEMBER 13TH

STORIES AWAY

with For The Likes Of You, From Heroes To Legends, Avoid The Void, Manifested Travesty

Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $8ADV / $10 DOS

SCHOOL OF ROCK PRESENTS:

METAL FEST

with School Of Rock Bellevue performs History Of Metal, School Of Rock Seattle performs Hair Metal Doors at 4:30PM / Show at 5:00 ALL AGES/BAR W/ID. $12 ADV / $158 DOS

SUNDAY, SEPTEMBER 14TH

MARY’S KITCHEN SUNDAY BUFFET! LIVE MUSIC FROM: Jackrabbit Starts, The Shaken

Growlers Lounge Show. $5 Bands Only, $20 includes all you can eat dinner! (Menu (All You Can Eat): Fried Chicken, Collard Greens, Black Eyed Peas, Cornbread. Vegan Baked Wild Rice Casserole. Apple Brown Betty n Ice Cream for dessert.) Doors at 7:00PM / Music at 8:30. 21+. $8 ADV / $10 DOS

MONDAY, SEPTEMBER 15TH PSYCHOPATHIC RECORDS PRESENTS “THE PANDORA’S BOX TOUR” FEATURING:

ZUG IZLAND

With DJ Clay, Ayron, InHouse Productions, Knothead, GRYN, KST Blunt Trauma, Severed Triple 6, Chancelor K Hoodrich

Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $12 ADV / $15 DOS

TUESDAY, SEPTEMBER 16TH MIKE THRASHER PRESENTS:

THE LAST INTERNATIONALE with The Eeries, Chrome Lakes, Born Of Ghosts

Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $12 ADV / $15 DOS

COURTESY OF THE BREEDERS

JUST ANNOUNCED 10/11 - FRIENDS LIKE ENEMIES 10/18 - “ROCK 4 RESCUES CHARITY CONCERT” TO BENEFIT MOTLEY ZOO ANIMAL RESCUE FEATURING THE AMANDA HARDY BAND 10/20 LOUNGE - OLIO 11/11 - MARIACHI EL BRONX 11/19 - THE GHOST INSIDE / EVERY TIME I DIE UP & COMING 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 & CHRIS CORNELL OF SOUNDGARDEN AND AUDIOSLAVE 9/27 - TRAPT 9/28 - TWIZTID 9/29 - CROWBAR 9/29 LOUNGE - TOTAL SLACKER 9/30 - AMON AMARTH 10/1 - PARACHUTE 10/2 LOUNGE - LOSE CONTROL 10/3 - AARON CARTER 10/3 LOUNGE - UKE-HUNT (FEAT. SPIKE SLAWSON (ME FIRST AND THE GIMME GIMMES AND SWINGIN’ UTTERS) 10/4 - THE PRETTY RECKLESS 10/5 - RICHARD MARX 10/6 - SUFFOKATE 10/6 LOUNGE - EMPIRE! EMPIRE! (I WAS A LONLEY ESTATE) 10/7 - ELUVEITIE 10/8 - JACOB WHITESIDES 10/8 LOUNGE - GIGAN 10/9 - PRONG / WITCHBURN 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

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

SINGLE MOTHERS

SUNDAY, SEPTEMBER 14TH

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

1303 NE 45TH ST JAZZ ALLEY IS A SUPPER CLUB

arts&culture» Music

TheWeekAhead

ERIC BIBB AND RAUL MIDON - DOUBLE BILL

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!

AMINA FIGAROVA

TUES SEPT 16 - WED, SEPT 17

Jazz composer and pianist who knows how to swing!

EARL KLUGH

THURS SEPT 18 - SUN, SEPT 21

Grammy-Award Winning contemporary crossover jazz guitarist and composer.

LISA FISCHER

TUES, SEPT 23 - WED, SEPT 24

Grammy and Oscar winning R & B vocalist - an unsung hero featured in the documentary Twenty Feet From Stardom.

all ages | free parking full schedule at jazzalley.com

2014 has been the year of immortalizing our nation’s favorite things in song. First Pizza Underground gave us its pizza-themed Velvet Underground covers, then THE BASEBALL PROJECT released 3rd, its latest ode to America’s favorite pastime. The supergroup—R.E.M.’s Peter Buck and Mike Mills, Scott McCaughey of Young Fresh Fellows, and Steve Wynn and Linda Pitmon of Steve Wynn & the Miracle 3—leaves no aspect of the sport unmentioned, from athletes (both famous and infamous) to stats geeks and card collectors. But the group shouldn’t be seen as a novelty act. Each song is well-crafted, showing the band members’ years of experience, and tells a story even novice baseball fans can enjoy. With Dressy Bessy, Sean Nelson & Friends. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. 21 and over. AZARIA C. PODPLESKY

Friday, Sept. 12

If Bumbershoot is the last festival of the summer, consider CHINOOK FEST the inaugural fest of fall. Sunny days and crop tops will soon be traded for gray skies and sweaters, but that doesn’t mean the music has to stop. While Chinook Fest might not have the star power of other fests, it does offer a comprehensive roster of some of the region’s hottest groups, like Pickwick, Hobosexual, and McTuff. Through Sunday. With Cody Beebe & the Crooks, Rags and Ribbons, Whiskey Syndicate, Sammy Witness & The Reassignment, Austin Jenckes, Blake Noble, Tim Snider and House of Waters, SweetKiss Momma, the Wicks, Mikey and Matty, the Halyards, Fall Days, The Silent Comedy, Sturgill Simpson, Robert Jon & The Wreck, Rust on the Rails, Planes on Paper, Vaudeville Etiquette, Coldnote, Jelly Bread, Nick Foster, West Water Outlaws, Snug Harbor, Xolie Morra & The Strange Kind, Root Jack.

JASON TANG

Thursday, Sept. 11

Cody Beebe at Chinook Fest 2013. Jim Sprick Community Park, 13680 State Rt. 410, Naches, Wash., chinookfest.com. $20–$90. Fri. & Sat., 21 and over; Sun., all ages. DUSTY HENRY

Saturday, Sept. 13

You’d be hard-pressed to pick a better act to play an outdoor winery gig than CROSBY, STILLS, & NASH. Maybe the Eagles, but only Kendall-Jackson can back up a big-enough Brinks truck to Don Henley’s door to make that happen. Many might say Stephen Stills’ voice isn’t what it used to be—ignore them! The music is timeless, the musicianship flawless, and the harmonies of Nash and Crosby as beautiful as ever. Don’t let the past remind you of what they are not now; they are yours, they are mine, they are what they are. Through Sunday. Chateau Ste. Michelle, 14111 N.E. 145th St., Woodinville, 425-488-1133, stemichelle.com. 7 p.m. SOLD OUT. CORBIN REIFF

» CONTINUED ON PAGE 28

Made in L.A.

Sabzi looks on the sunny side. BY DUSTY HENRY

8 ANNIVERSARY! HAPPY HOUR: ALL DAY, EVERY DAY

Draft, Sake Wine, Wells, Izakaya Cocktails $4-6, Small Plates & Sushi $2-10

2020 2nd Ave Seattle, WA 98121 (206) 441-5637

alk to enough people in the Seattle hip-hop scene and inevitably the name Sabzi will come up. DJ Sabzi, born Alexei Saba Mohajerjasbi, is most associated with local acts Blue Scholars and the now-defunct Common Market. His off-kilter production is almost immediately identifiable as “underground hip-hop,” which mainly stems from an ear for downtempo rhythms and obscure samples instead of radio bangers. Well, that and his inclination to work with rappers with a mind toward drawing out narratives and spitting socially conscious messages (like Das Racist, a group he was involved with while living in New York). Now based in L.A. (“I realized that I needed to live somewhere sunny for a while,” reads his online bio), his new project, Made In Heights, with vocalist Kelsey Bulkin, might be the best shot he’s had at crossing over. The pair has been releasing music slowly since their 2010 debut EP Winter Pigeons (Songs to Raise Your Dead Spirits). Yet calling Made In Heights mainstream or pop gives the wrong impression. Sabzi’s not selling out to work with Katy Perry; he’s still delving into hiphop’s obscure depths, and the project’s latest self-titled album opens with a Sufjan Stevens sample. But the tunes are far more accessible with Bulkin’s dreamy yet eerie hooks.

JORDAN NICHOLSON

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

SEPTEMBER 1ST - 30TH

Sabzi has largely been ahead of the curve or taken the “path less traveled” throughout his career, and Made In Heights sees him at the intersection of trends in the larger indie scene. It’s easy to draw comparisons between Made In Heights and acts like Purity Ring or R&B siren Banks, but Sabzi’s fingerprints are still all over the beats. A standout track like “Marguerite” channels the same melancholy fans heard on Blue Scholars tracks like “No Rest for the Weary.” You know what they say: You can take the man out of Seattle . . . With Blue Scholars. Showbox, 1426 First Ave., 628-3151, showboxpresents.com. $20 adv./$30 DOS. 21 and over. 9 p.m. Fri., Sept. 12.

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

MUSIC

MUSIC NEWSLETTER

HAPPY HOUR

The inside scoop on

E V EN T S

P R OMO TION S

A R T S A N D EN TER TA INMEN T

upcoming shows

and the latest reviews.

SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

arts&culture» Music » FROM PAGE 26 Does anybody try harder than KATY PERRY? While so many younger pop stars these days just want to shock, Perry seems content with just being liked. With Gaga being vomited on, Cyrus and her career as art installation, and 2014’s odd obsession with asses, Perry stands apart as the choice for those looking just to have fun. Say what you want about her music—there’s plenty to say—but can you picture a scenario in which you go to a Perry show and don’t at least crack a smile? Have you no heart anymore? With Tegan and Sara. Tacoma Dome, 2727 E. D St., Tacoma, 253-272-3663, tacomadome.org. 7:30 p.m. $32.85–$118.05. CR To delve into the world of POMPLAMOOSE—the indie-pop/electro duo of Jack Conte and Nataly Dawn—is to experience something as visual as it is audible. Each song the pair releases is accompanied by an insanely creative “VideoSong.” Some are full of fun wigs and outfit changes; others feature images projected onto foam-board props that the pair moves around in time to the song. It’s all part of Pomplamoose: Season 2, a three-part project that includes new music videos, a full U.S. tour, and an

its name when Sterling told the organist to “Mek the organ go reggae, reggae.” With Yogoman Burning Band, DJ Darek Mazzone (KEXP). Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $15 adv./$20 DOS. 21 and over. TOBIAS WOODRUFF As someone who doesn’t live in Seattle and gets to visit only every so often, it doesn’t feel like I’m really in the city until I hear a folk singer strumming a guitar while someone nearby plays the accordion and a magician performs sleight-of-hand with a parrot perched on his/ her shoulder. It may seem cacophonous to some, but to me it’s what makes Seattle Seattle. To celebrate the artists who entertain the masses in their own idiosyncratic ways—and 40 years of street-legal performing—Pike Place Market kicks off SEATTLE BUSKER WEEK with a festival. Starting at 11 a.m., the Market will host multiple stages highlighting Seattle’s best street performers. The Week continues through Saturday with a host of events throughout downtown. pikeplacemarketbuskers.com. Free. All ages. ACP DRAKE VS. LIL WAYNE In the larger landscape of pop-cultural contrivance, this package clearly takes the cake in 2014 as far as tours go. Whether that’s a bad thing is a completely different discussion; what is relevant here is whether it’s worth seeing in person.

SEATTLE WEEKLY • SEPTEM BER 10 — 16, 2014

ELIOT LEE HAZEL

Interpol plays the Paramount on Sept. 16.

album of the same name that features original tunes, mashups, and covers. The fact that Pomplamoose is doing all this without the help of a label makes it that much more impressive. With John Schroeder. Neumos. 8 p.m. $18 adv. All ages. ACP While it’s worth noting that the members of Pittsburgh’s CODE ORANGE are all youngsters, that shouldn’t sway your opinion one bit. Formerly known as Code Orange Kids, the band dropped “Kids” from its name for the recently released I Am King, its second record for Massachusetts hardcore label Deathwish (run by Converge vocalist Jacob Bannon and recorded by Converge guitarist Kurt Ballou). It’s a more mature and focused effort that still contains the metallicpunk-hardcore of its debut, while expanding the sound into sludgier territory without getting bogged down by over-experimentation. With Burial Suit, Power, War Hungry, Twitching Tongues. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7 p.m. $12 adv. All ages. JAMES BALLINGER

Sunday, Sept. 14

THE SKATALITES were originally together for only

about 15 months between 1964 and 1965, but the music they made defined the Jamaican sound for many years to come. The lone surviving founding member is alto saxophonist Lester “Ska” Sterling— performing tonight with his reformed group—who presided over Jamaican music as it evolved from mento to ska to rocksteady, then reggae. In 1968 he recorded “Bangarang,” a track many believe to mark the incipience of reggae, as the genre reportedly got

If you want to check out a couple of the biggest artists in the rap game trading verses at their peak, then yes. If your greater motivation is to insert yourself into an obviously irrelevant conversation to bring up at the water cooler, maybe catching some good tunes collaterally: Well, maybe it’s time to take a look inward. With G-Easy. White River Amphitheater, 40601 Auburn Enumclaw Rd., Auburn, 360-825-6200, live nation.com/venues/14577/white-river-amphitheatre. 7 p.m. $33.75 and up. CR

Tuesday, Sept. 16

When INTERPOL’s 2007 major-label debut, Our Love to Admire, was released, the band seemed to have achieved the perfect three-album story arc. Its first effort, 2002’s Turn On the Bright Lights, was a nearperfect display of modern post-punk, dark and brooding—but lyrically flawed in a few moments. The slightly more up-tempo Antics followed, avoiding the sophomore slump, and Admire would have made an ideal finale, ending with some of the best songs of the band’s career. But after a short break, 2010’s self-titled record fell short of expectations. The band would lose bassist Carlos Dengler and eventually go on hiatus. Their fifth record, this year’s El Pintor, shows the band back in fine form, fresh and reinvigorated. With Rey Pila. The Paramount, 911 Pine St., 902-5500, stgpresents.org/paramount. 8 p.m. $29–$33 adv. All ages. JB Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

a&c» Music

Needy No More Ten years later, Noise for the Needy says goodbye. BY KELTON SEARS

fter bringing bands together for a decade of music festivals, all for the purpose of benefitting local charities, Seattle’s Noise for the Needy concert series is calling this year its last. We checked in with founder Richard Green to tell us about his years of philanthropic face-melting, and why he’s saying goodbye.

SW: What made you bring Noise for the Needy (NFTN) to Seattle?

Green: NFTN in Seattle started 10 years ago with me and a couple of folks. My brother had done some NFTN benefit shows in California, and I really wanted to bring that up here. My brother had stopped doing the shows down there because the bands in the music community there were always bickering with each other. There was no sense of community. They always argued over which time slot they wanted. Being up here, after I moved, I realized how well the music community worked together. I thought if I could bring NFTN here, I knew we wouldn’t have those struggles. And suddenly, bands started coming out of nowhere saying they wanted to be involved. Why are you letting it go after all these years?

I think all of us who started this have gotten older and are in very different places in our lives now than we were 10 years ago. I didn’t have kids, I wasn’t married then, I didn’t have a job. We all didn’t want to completely let it slip by the wayside or have an event that fell apart, so we decided we would end strong this year and just close this thing out. It’s not that we don’t love doing these events, we’re just moving in different directions and we didn’t want to half-ass it. What’s your favorite NFTN memory?

ksears@seattleweekly.com

NOISE FOR THE NEEDY 2014 With Ivan and Alyosha, Ravenna Woods, Horde and the Harem, and more. Locations vary, noisefortheneedy.org. $12 for an all-show bracelet. Some shows all ages, some 21 and over. Fri., Sept. 12–Sat., Sept. 13.

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SEATTLE WEEKLY PROMOTIONS WIN TICKETS TO BREW AT ThE ZOO!

Join Woodland Park Zoo for the 4th annual Brew at the Zoo beer-tasting event on Thursday, October 2. Sample imports, domestics, microbrews and even ciders from over 30 different breweries. 21+ years only!

WIN TICKETS TO OLd CROW MEdICINE ShOW

Square Peg Concerts presents: Old Crow Medicine Show Friday, September 26, 7:00 pm, Paramount Theatre.

WIN TICKETS TO RIChARd MARx

El Corazon presents: Richard Marx, Sunday, October 5th. Doors at 7 pm, El Corazon. Marx offers up a set of sensual, electronic- driven soundscapes that explore a more fleeting, carnal side of romance.

TICKET GIVEAWAY JuSTIN TOWNES EARLE

STG presents: Justin Townes Earle, Wednesday, October 1, 8 pm, The Neptune Theatre. After two and a half years, Justin Townes Earle will release his fifth studio album (and first ever on Vagrant Records).

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SE ATTLE WEEKLY • SEPTEMBER 10 — 16, 2014

The year we did the Black Angels, Talib Kweli, and Matt and Kim. It was one of the only times we did a Showbox show—the charity that year was Urban Rest Stop, and they got onstage with us and people from the audience started literally throwing money at the director. That was the year Kanye West took three hours to get onstage at Bonnaroo, which messed up so many band’s schedules, including Talib Kweli. We heard he was close by, but then he calls us and is like, “Hey, is Portland close to Seattle?” We were like, “No! Not it’s not.” And he was like, “Oh well, can someone come pick me up here?” Somehow, miraculously we pulled it off and were able to get him onstage on time. E

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

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

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

Stanâ&#x20AC;&#x2122;s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 9/17/14 Gates Open 9AM, Auction 12 PM 206-767-4848

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

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ENUMCLAW GUN SHOW King County Fairgrounds Sat. 20th 9am - 5pm Sun 21st. 9am - 4pm 206.753.7956 Big Top Promotions

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

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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 Under New Management the date delivered. The #KERLEDI510DN invoice should also state (JB) the price, AD the PROOF: quantity Flea Market delivered and the quanProof Due Back By: 2/28 12pm tity upon which the price Ad #: P31401-f-9534-5x3 is based. There should NEW GLASS Fish tanks, be a statement the9am(2) - 1 for $10, 1 for $20. Deadline To Pub:on3/3 type and quality of the Stand up swivel mirror, First wood.Run: 3/5/2014 wood frame, $20. PlayWhen you buy firewood Publication: Seattle Weekly boy magazines, 1980write the sellerâ&#x20AC;&#x2122;s phone Section: Career Training 90s, good shape, 20 at number and the license $1 each. Hoover upright Specs: 4.83x2.69 plate number of the decarpet cleaner, works livery vehicle. good, $20. Call 206-937as is.for The Approved legal measure 0950 (West Seattle) firewood in Washington with revisions. Approved is the cord or a fraction Garage/Moving Sales of Revise a cord. and Estimate a resend. King County cord by visualizing a four-foot by eight-foot SEATTLE Initial _________ Date __________ 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 MOVING/ ESTATE Sale, woodinformation.aspx everything must go! Rain or shine. September 13th from 9am - 3pm. Appliances September 14th from 9am - 1pm. 9317 Lima Terrace South, Seattle, AMANA RANGE 98118. 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

Auto Events/ Auctions

Garage/Moving Sales Snohomish County LYNNWOOD, 98037.

HUGE MULTI FAMILY Yard Sale at Calvary Apostolic Tabernacle. Fri & Sat, Sept 12th & 13th, 9 am - 6 pm. Lots of great items, furniture, house hold items, baby gear, and so much more! 20901 44th Ave W. Across the street from Embassy Suites. Come join in the fun!

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Everest College Programs and schedules vary by campus

Employment General

ADVERTISING OPERATIONS/ SPECIAL SECTIONS ASSISTANT Sound Publishing Inc.â&#x20AC;&#x2122;s three Olympic Peninsula newspapers (Peninsula Daily News and two weeklies, Sequim Gazette and Forks Forum) seek a candidate to assist with scheduling and production of our awardwinning special sections and advertorial products and work on multimedia projects with our advertising sales team to meet revenue goals and our customersâ&#x20AC;&#x2122; needs through a combination of respected print, digital and social media products. This position requires someone who is a goaloriented and organized self-starter with proven skills in teamwork, customer relations and sales. Prior newspaper sales/editorial experience are preferred. Must relocate to Clallam County/Jefferson County, Wash. This is a full-time position that includes excellent benefits: medical, dental, life insurance, 401k, paid vacation, sick and holidays. EOE. No calls, please. Send resume with cover letter and salary requirements to to hr@sound publishing.com hr@soundpublishing.com

and indicate whether you are available for interview via online video services (e.g., Facetime or Skype).

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

Employment General

MULTIMEDIA CONSULTANT

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! hreast@soundpublishing.com

www.sound publishing.com www.soundpublishing.com

Employment General

MARKETING COORDINATOR 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

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 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

Business Opportunities Moms And Dads Work From Home With A General Health And Sports Nutrition Company. Set Own Hours. Contact Laura @563-590-5952 Moms And Dads Work From Home With A General Health And Sports Nutrition Company. Set Own Hours. Contact Laura @ 563-590-5952

Employment Architecture

Health Care Employment

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

Caregivers

Architectural Designer (Global Commercial): Design development and resolution for Callisonâ&#x20AC;&#x2122;s global projects, primarily in China. Requires Masterâ&#x20AC;&#x2122;s in Arch or FDE & 3 yrs specific exp incl commercial mixed use projects in North America & China or Bachelorâ&#x20AC;&#x2122;s in same & 5 yrs progressive post-bac exp in same. Position with Callison LLC in Seattle, WA. 50% travel to China. For complete description and requirements & to apply, go to: www.callison.com/careers. Project Architect: Ankrom Moisan Architects, Inc. in Seattle, WA. Reqâ&#x20AC;&#x2122;d Masterâ&#x20AC;&#x2122;s degree in Architecture. Resume to: ATTN: HR Manager, Ankrom Moisan Architects, Inc., 6720 SW Macadam Ave, Suite 100, Portland, OR 97219. Ref #273032

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

CNAâ&#x20AC;&#x2122;s Needed! Caregivers needed all shifts and weekends! Live in & Hourly.

D I N I NG

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RAZORFISH LLC seeks candidates for the following position in Seattle, WA: MEDIA ACCOUNTANT (Job ID 2014-14607; MS+2 yrs exp reqâ&#x20AC;&#x2122;d). To apply, go to http://www.razorfish.com/ careers/alljobs.htm and refer to job ID. EOE. Principals only.

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The Foundation for Sex Positive Culture promotes high quality affordable education in all areas of sexual expression. Here is a sample of this monthâ&#x20AC;&#x2122;s sexy and useful education experiences.

September 13 @ 7pm: Explore BDSM & Kink!

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September 14 @ 12pm: Increasing Intimacy: An Intro to Tantra September 18 @ 7:30pm: Consent & Negotiation for a Sex Positive World September 21 @ 7pm: Legal Options for Non-Traditional Relationships

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