Seattle Weekly, September 24, 2014

SEPTEMBER 24-30, 2014 I VOLUME 39 I NUMBER 39

SEATTLEWEEKLY.COM I FREE

THE TEMPTATION OF MLK » PAGE 20 DECIBEL FEST 101 » PAGE 29

HOMELESS AND HIDING IN SUBURBIA » PAGE 7

SEATTLE WEEKLY PROMOTIONS GIMME CuLTuRE GIVEAWAY ExPERIENCE MuSIC PROjECT

Experience Music Project presents: Campout Cinema “The Shining” Thursday, Oct. 30, 8 pm, EMP Sky Church. EMP Museum brings the outdoor drive-in experience indoors with its Campout Cinema.

GIMME CuLTuRE GIVEAWAY CREATE MIxEd MEdIA F+W Media presents: Create Mixed Media, Oct. 22-26

Double Tree Seattle Airport Hotel. From the editors of Cloth Paper Scissors magazine, CREATE Mixed Media Retreats – Seattle will bring together 20+ top mixed-media artists from all over the country.

TICKET GIVEAWAY dj ShAdOW / CuT ChEMIST

STG presents: DJ Shadow/Cut Chemist Wednesday, October 8, 8 pm, The Neptune Theatre Music fans are in for a once-in-a-lifetime experience when turntablists supreme DJ Shadow and Cut Chemist.

WIN TICKETS TO ThE hORRORS

STG presents: The Horrors, Saturday, October 18 9 pm, The Neptune Theatre. Luminous was recorded over 15 months in the band’s east London studio-laboratorybunker with co-producer Craig Silvey.

SE ATTLE PREMIERE

OCTOBER 03, 2014 neptune theatre

EVERYONE IN ATTENDANCE SCORES FREE TICKETS TO REVELSTOKE AND BACHELOR! PLUS, 2-FOR-1’S TO STEVENS! The one-night only premiere of Almost Ablaze. Athlete appearances, swag including Atomic Skis, Sony Action Cams and much, much more.

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

DON’T MISS OUT! TICKETS ARE ON SALE NOW!

2

EARLY SHOW doors at 5:30, show at 6:30.

LATE SHOW 21+ ONLY doors at 8:30, show at 9:30

$15 advance / $20 day of show / $40 VIP (late show only).

Only $7 for children 16 and under at the early show (at the door).

TICKET GIVEAWAY juNGLE

Showbox presents: Jungle, Wednesday, October 15 Doors at 8 pm, Showbox. Half recorded at home and finished in the studios of their new label XL, Jungle’s intoxicating self-titled debut delivers all that and more.

TICKET GIVEAWAY

ThE BEST 80’S hALLOWEEN PARTY EVER! Showbox presents: The Best 80’s Halloween Party Ever! Saturday, October 25, 8 pm, Showbox.

Performances include: Nite Wave (80’s New Wave, For The Masses, Voyager (80’s Hard Rock), PLUS MORE!

TICKET GIVEAWAY! MØ

STG presents: MØ, Monday, October 20, 8 pm, The Neptune Theatre. Her unique mix of indie, pop, hip-hop, electro and soul is hella fresh sounding

WIN TICKETS TO KARRIN ALLYSON

Dimitrou’s Jazz Alley presents: The three-time GRAMMY® Award-nominated artist has been playing everywhere jazz can be heard or seen since 1992.

TICKET GIVEAWAY ThE KILLS

STG presents: he Kills, Monday, October 27, 8 pm , The Neptune Theatre. The Kills formed in 2000 when a boy from Andover, England and a girl from Florida, USA met in a South London hotel.

Tickets and more info: TETONGRAVITY.COM/SEATTLEABLAZE

FOR MORE DETAILS AND TO ENTER TO WIN, VISIT US AT:

www.seattleweekly.com/promo/freestuff

inside» September 24-30, 2014 VOLUME 39 | NUMBER 39

2014-15 FEATURED FALL & WINTER LECTURES

» SEATTLEWEEKLY.COM

University of Washington PUBLIC

LECTURE

November 6th | 6:30pm

OLYMPIA SNOWE

U.S. Senator from Maine (1995-2013)

SERIES

ON-LINE REGISTRATION OPENS 9/29

Anything is Possible: How to Overcome Obstacles and Make a Difference

November 20th | 7pm

MARC ROTENBERG »7

news&comment 5

JBLM BLUES

BY MATT DRISCOLL | How downsizing

our state’s second largest employer could affect the region. Plus: Seattle’s renewable future and those inscrutable Huskies.

7

ROUGHING IT

BY MATT DRISCOLL | A look at the

hidden spaces where our suburban homeless are literally setting up camp.

food&drink

12 COFFEE GUIDE 2014

BY SW STAFF | Not the same old grind:

new trends, our favorite joe joints, and the mysterious marriage of coffee and beer.

16 | RESTAURANT REVIEW | Pomerol does French a la Northwest pretty well.

16 | FOOD NEWS/COOKBOOK REVIEW 17 | THE BAR CODE

arts&culture 18 LOCAL SIGHTINGS

BY BRIAN MILLER | A film festival

celebrates Northwest cinema.

18 | THE PICK LIST 20 | OPENING NIGHTS | Love before

World War I, MLK’s last night on Earth, and a Latino musical. | PERFORMANCE | VISUAL ARTS/THE FUSSY EYE | BOOKS

24 FILM

OPENING THIS WEEK | André Benjamin

as Jimi Hendrix and Nick Cave as himself.

27 | FILM CALENDAR

29 MUSIC

BY DUSTY HENRY | New directions

for the Decibel Festival. Plus: Americana pioneers Old Crow Medicine Show.

30 | THE WEEK AHEAD 32 | CD REVIEWS

odds&ends 34 | CLASSIFIEDS

»cover credit LETTERING BY KYLER MARTZ PHOTO 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, Roger Downey, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti

President of the Electronic Privacy Information Center (EPIC)

Watching the Watchers: Fighting back in an age of ubiquitous surveillance

December 4th | 6:30 PM

MICHAEL LEVITT Robert W. and Vivian K. Cahill

Professor of Cancer Research in the Department of Structural Biology, Stanford School of Medicine

Birth and Future of Multi-Scale Modeling of Macromolecules

REGISTRATION IS REQUIRED, please register online at

www.grad.washington.edu/lectures

As a courtesy, stand-by seating will be offered. It doesn’t guarantee admission.

ALL LECTURES WILL TAKE PLACE IN KANE HALL ON THE UW SEATTLE CAMPUS

On Sale Now!

PRODUCTION Production Manager Sharon Adjiri Art Director Samantha Wagner Graphic Designer Nate Bullis, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Kyu Han ADVERTISING Marketing Director 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

OCTOBER 21-26 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org

OPERATIONS

Priority Seating & Discounts for Groups 10+ call: 888.214.6856

Administrative Coordinator Amy Niedrich

Tickets Available Through Tickets.com and Select Ticketmaster Locations

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 PO STMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

Due to the nature of live entertainment; dates, times, performers, and prices are subject to change. All patrons, regardless of age, must have a ticket. No exchanges or refunds. Tickets are subject to additional fees.

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

21 22 23

»29

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17

ES CANDIDAT SS E N T FI LL A OF OME! LC E W LEVELS

INTRO TO chances to win!

FALL EDITION

Ki-Aikido

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 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: Centering/Balance and Movement Relaxation Focus and Energy Extension Intro to Breathing and Meditation Techniques

WIN TICKETS TO

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

SEATTLE’S TOP FALL SHOWS!

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TICKETS PROVIDED BY: Town Hall Seattle Victoria Film Festival Seattle Public Theater Dimitriou’s Jazz Alley Northwest Arts Alliance Book It Repertory Theater Seattle Theatre Group Experience Music Project Seattle Art Museum Seattle Men’s & Women’s Chorus Bellevue Arts Museum F+W Media Broadway Across America Teatro Zinzanni UW Meany Hall Earshot Jazz Arts West

Completion of this course prepares the student to participate in any of Seattle Ki-Aikido’s ongoing classes (currently Tu/Th/Sat).

TAX DEDUCTIBLE DONATION $20-$40 suggested

Instructor Steven Li has practiced

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

YOU ARE INVITED TO ATTEND THE GRAND OPENING CELEBRATION OF OUR NEW

THURSDAY, SEPT. 25 to SATURDAY, SEPT. 27 9:00 am - 8:00 pm Daily

Join us on Thursday, September 25th at 8:45 am for the Dedication & Ribbon Cutting Ceremony

15403 Westminster Way N. In Shoreline

SCAN HERE TO ENTER:

news&comment

Off Base

Joint Base Lewis McChord is looking at major cuts in the near future.

The feds say not to worry, but locals and Governor Inslee are freaked out.

Three Steps Toward a Completely Renewable Seattle

BY MATT DRISCOLL

BY KELTON SEARS

W

Make no mistake: Military cuts are coming, at

mdriscoll@seattleweekly.com

While trotting out its new computerized data-analysis system last week, the Seattle Police Department revealed that crime is up 13 percent this year over the same period in 2013. Internet outrage ensued. “More People, More Increase. Even fools should understand this.”

—Drew Bean, via Facebook “How’s all that ‘progressive’ politics working out for ya, Seattle? Maybe you should just try being more tolerant and understanding of the criminals taking over your fair city.” —Michael Alan Larsen, via Facebook “I think the assholes are the liberals

•

who voted for Ed Murray and think the way to solve crime is to put more cops on the streets instead of providing more social services, housing, drug treatment, and education. Y’all are fucking progressive UNTIL it matters.” —Lonaldo Lopezington, via Facebook

ast week, our hippie brethren in Burlington, Vermont, made a big announcement that (surprisingly) didn’t have to do with Phish. Thanks to the purchase of the Winooski One hydroelectric facility, the city’s electricity is now officially 100 percent powered by renewable energy sources—a national milestone. But Seattle City Light spokesman Scott Thomsen says not to get too jealous: Seattle is already 94.2 percent powered by renewable sources (98.6 if you count nuclear).

Seattle, however, doesn’t have a stated goal of going 100 percent renewable—Washington state’s goals as a whole are slightly different, partly because we’ve been able to rest on the laurels of our vast “legacy” hydroelectric projects, which have provided 75 percent of the state’s energy for decades. Due to a 2006 initiative, state utilities like have a mandate to obtain 15 percent of their electricity portfolio from new renewable resources like solar and wind by 2020.

We asked Thomsen to name three ways Seattle City Light is pushing Seattle’s new renewable-energy resources beyond our already plentiful hydro resources to meet the 2020 criteria, and here’s what he told us.

1

Turn putrid into power “We’ve

got a landfill gas project in Columbia Ridge in Oregon where Seattle’s trash is taken.

Basically, as Seattle’s trash decomposes, it creates methane gas, which is then collected and burned to generate electricity, which we are then buying back from Waste Management. It comes right back here to the place that generated the garbage that got sent down there. It’s a nice little circle. Later this month, an expansion there will come online and double the production—and we’re buying all the additional electricity it produces.”

Ride the wind “We’ve already got a big piece of wind production coming from the Stateline Wind Farm out East, but we are considering and will review all kinds of proposals for anything and everything that will help us achieve our goal for new renewables—more wind, biomass projects [turning dead/decaying organic material into electricity], and even some dairy gas projects [turning cow manure into electricity by heating it up].”

2

3

Turn it down “We get credit

towards our goal for continuing to effectively promote energy conservation, and we are very committed to doing that. Whether it’s better lighting, heat pumps, just any number of energy-efficient means to continue doing what you’re doing but use less energy—that’s step one. really.” E

ksears@seattleweekly.com

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

JBLM and across the country. That much is unavoidable, and it’s already happening. However, the response from the governor’s office— and the 50 or so local politicians, business owners, and citizens who wrote letters to the Army protesting the proposed cuts—suggests that minimizing them in Washington is a top priority.

In a scenario the state has become increasingly familiar with, the task turns to selling the Army on the merits of doing business in Washington.

Kristine Reeves, the state Department of Commerce’s Director of Military & Defense Sector, says, “We need to treat [the Army] like a business we would like to stay in our community. We really want to make sure that the Army understands how they’re making [life] better.”

Fluctuating troop levels at JBLM and bases around the country are nothing new, however, and something the cities that depend on them have grown accustomed to. Earlier this year, for example, the 4-2 Stryker Brigade stationed at JBLM was inactivated, resulting in a loss of 4,300 soldiers and their families; but in 2010, a return of more than 18,000 troops from deployment in the Middle East was heralded as an economic boon. To some

extent, this ebb and flow comes with the territory.

Even with President Obama’s promise to avoid putting troops on the ground as part of the growing confrontation with Islamic State militants, it’s impossible to predict what the future holds.

Jerry Wilkinson is a 67-year-old real-estate agent and veteran who moved to nearby Lacey in 1978. He’s seen a lot of growth in that time—at JBLM and in the city he calls home, where 12 percent of the population is active duty according to the Thurston County Economic Development Council. Wilkinson was one of those who wrote the Army to voice concerns over the SPEA findings, citing the potential for a housing-market drop, a loss of sales-tax revenue for the city, and the positive impacts he says service members have on the community. Still, when asked how “grievous” a massive troop reduction might be for Lacey, his fears fail to match the pitch of the governor’s.

“I think it’s a concern, especially for the smaller businesses. They’re going to feel it more than some of the larger businesses—the Walmarts and Costcos and such,” says Wilkinson. “We’re concerned, but . . . I don’t see that it’s a doomsday.

“The community is building, it’s robust,” Wilkinson continues. “I think we’re going to continue to grow, irrespective of the base. The area is resilient.”

According to Reeves, a town hall on potential troop reductions at JBLM is expected early next year, with a final decision by mid- to late summer. E

TRASH BY FILIP, RENEWABLE ENERGY BY CARLOS DIAS FROM THE NOUN PROJECT.COM

than the USAEC estimate,” Inslee notes, “and will have grievous effects to our economy.”

Grievous is certainly one word for it. And the governor isn’t the only one alarmed. As one local Lakewood business owner tells Seattle Weekly, “We’re freaked out.”

blame game » Crime Is Up. Whodunnit?

•

L

Life during wartime: A C-17 is loaded at JBLM in 2011.

ABNER GUZMAN /U.S. AIR FORCE

ith Amazon, Microsoft, and Boeing at the forefront, it can be easy to forget that one of our state’s largest—and most economically important—employers is just down the road in Pierce County.

It happens to be a military base—and a very large one at that. But if we’re to believe a recent Department of Defense assessment, cutting roughly 30 percent of its workforce would have “no significant impact” on our state’s economy.

To Governor Jay Inslee and his office, that’s cause for concern. And action.

In addition to being the largest base on the West Coast, JBLM is also Washington’s second largest employer, with 56,000 full-time employees, according to a list recently compiled by the Puget Sound Business Journal. According to JBLM statistics, the base also “supports 60,000 family members who live on and outside the base, and nearly 30,000 military retirees living within 50 miles.”

In other words, it’s a ginormous, militaryfunded economic engine that supplies a large chunk of Washington’s tax base, as well as customers for the countless car dealerships that line South Tacoma Way. And whatever your feelings about the size of the U.S.’ military-industrial complex, it’s not difficult to recognize how a state’s pocketbook could become dependent on something like that.

That’s why the initial results of what’s known as a Supplemental Programmatic Environmental Assessment [SPEA], conducted by the U.S. Army Environmental Command, were so troubling to Inslee. Spurred by a need to reduce active military members at bases across the country thanks to smaller defense budgets from Congress and the winding down of wars in Iraq and Afghanistan, in late August the assessment determined that 14,459 permanent soldiers and 1,541 Army civilian employees at JBLM— 16,000 in total—could be axed without inflicting significant economic hardship on Washington, even while concluding such a move would result in a cumulative loss of $1.26 billion in Washington State Personal Income and $17.4 million in tax revenue between 2016 and 2020.

The governor says the Army’s numbers are way off, referring to a forecast he commissioned from the state Office of Financial Management.

According to an Aug. 22 letter Inslee sent to Colonel Robert Wittig of the U.S. Army Environmental Command, “A more accurate economic impact beginning in 2016 through 2020 is a loss of $2.44 billion dollars in Washington State Personal Income and a loss of $87.26 million in tax revenue.

“These projections are significantly higher

5

news&comment»

Are the Huskies Any Good?

O

ur University of Washington Husky football team is undefeated after four games, but how good are they, really? Your guess is as good as mine.

If you’re an optimist, you might say: Hey, 4-0!

But a pessimist would point out that one of those four opponents was a lower-division school, and the other three had a combined 5-31 record last season.

The biggest source of confusion is starting quarterback Cyler Miles. Here you have a player who has started four colBY SETH KOLLOEN lege football games, in which his team has scored 69, 59, 44, and 45 points. Also, Miles averages 6.2 yards per rush—an astounding figure for a quarterback, since sacks are counted as negative rushing yards in college. For comparison, Jake Locker averaged only 4.3 yards per rush as a Husky.

The stats—217 points in four starts and a 143.9 quarterback rating—tell one story. My eyes see a very different one.

On Saturday, Miles reminded me of Locker, but not in a good way. Georgia State stifled the Husky offense in the first half with a profusion

SPORTSBALL

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

Honestly, the Huskies could lose by 50 or win by 30, and neither result would surprise me.

6

of blitzes that Miles failed to diagnose and counter—one of Locker’s weaknesses in college, and one that has persisted in his NFL career. And like Locker, Miles displays unconventional footwork in the pocket, causing inconsistent accuracy.

Another source of confusion: defensive tackle Danny Shelton. Shelton leads the NCAA in sacks, which is brag-worthy in itself, but he’s doing it as a nose tackle. That’s unheard of. In 2009, Ndamukong Suh had one of the finest seasons ever by a collegiate defensive tackle, becoming the first defensive player to win AP Player of the Year. That year, in 14 games, Suh had 12 sacks and 24 tackles for loss. This year, in four games, Shelton has seven sacks and 9.5 tackles for loss.

Pac-12 Networks asked the obvious question during Saturday’s broadcast: Is Shelton a Heisman Trophy candidate?

Not yet. Shelton’s four dominating games have all come against substandard teams—ones that didn’t build for the possibility of facing a 6´2˝, 339-lb. defensive lineman. (To be fair, only NFL teams do that.)

So Saturday’s home game against 16th-ranked Stanford becomes the litmus test. Miles faces a defense that’s shut out two of its three opponents.

Shelton faces an offensive line stacked with NFL prospects. Honestly, the Huskies could lose by 50 or win by 30, and neither result would surprise me. Vegas—usually reliable in these matters—has UW as a six-point underdog. Close game or not, I’ll have my eyes trained on Miles and Shelton; we’ll know a lot more about this team once we see how these two perform against Stanford. E sportsball@seattleweekly.com

T

he matted-down grass leads into a thicket of heavy brush, bushes, and tall trees.

From the pavement of the Interurban Trail, which carves a path through south King County suburbs once traversed by cars for the Puget Sound Electric Railway, you can’t tell where exactly it leads. But you can tell that someone has been using it to disappear into the parts of Kent that typically go unseen.

Kent Police Officer Adam Ferguson knows where it goes. And with one hand on his weapon, he leads me toward it.

“This is Scrapper Dave’s spot,” Ferguson, a three-year veteran of the Kent PD, tells me once he’s deemed it all clear. “We call him Scrapper Dave because he steals stuff like crazy to support his meth habit.”

Scrapper Dave isn’t there when we arrive, but—presumably, at least—most of his worldly possessions are. There’s a broken office chair; a sleeping area complete with a mattress kept off the ground by pallets and protected by a black tarp; a few pieces of scavenged plywood; and a lot of garbage. “We’ve cleaned him out of several places. He’s very good,” Ferguson says. “He’s had six or seven illegal-camping trespassing charges.

It doesn’t seem to faze him.”

Scrapper Dave is just one of the unknown number of homeless individuals who call the wilds of suburbia home. Typically out of sight, and almost always out of the minds of south King County’s growing population, men and women like Scrapper Dave inhabit the bushes, underpasses, foreclosed homes, and overgrown parcels that strip-mall developments and tract housing have yet to claim. On a nearly 90-degree summer day, Ferguson shows me no fewer than 10 such campsites along the Interurban Trail and Kent’s West Hill. He says they’re just the tip of the iceberg, and indicates that he and his Kent police colleagues regularly interact with roughly 50 known homeless residents—many of whom live in similar conditions. Many also have nicknames: Scrapper Dave, Arkansas, Coffee Cup Mike. Nearly all, according to Ferguson, are battling drug addiction and mental illness.

From Seattle Weekly’s office in Pioneer Square, our homeless epidemic is obvious and unavoidable. Men and women sleep in doorways; City Hall park teems with downtrodden humanity with nowhere else to go; a line forms nightly for one of the Union Gospel Mission’s coveted beds—by latest count, over 2,300 people are living unsheltered in the city. In suburban and rural King County, however, the problem isn’t as apparent. But that’s not to say it isn’t there. You just have to know where to look.

Much like Scrapper Dave, homelessness outside of the big city is just better at hiding.

This, despite the fact that Kent spends more than $400,000, or nearly half of the city’s annual human-services budget, on homeless services.

This, despite the fact that homeless advocates have been trying, unsuccessfully, for three years to open a 24-hour shelter in the city.

So I ask Scholl the obvious: Does the average Kent resident have any idea how many homeless people are camping in the woods?

“I would say no,” the comannder says simply.

“I don’t think so.”

It’s hard to fault them, of course, considering no one really has any idea exactly how many homeless people call King County’s suburban and rural areas home. Tallying the homeless is tricky, inexact guesswork, with only two real methods of doing so. The best-known, or mostoften-referenced, is the annual “One Night Count” of unsheltered individuals, undertaken locally by the Seattle/King County Coalition on Homelessness. In 2014, the count identified 63 people living unsheltered in Kent—30 men, three women, and 30 people whose gender was unknown. Renton tallied 96; Federal Way 113; Auburn 97. In Kent, according to the count, only three people were found living in city parks, and another three living in the “bushes/ undergrowth.”

While the time of year is surely a factor, what Officer Ferguson shows me in the bushes of the Interurban Trail suggests there are many more than that. The One-Night Count—taken annually at the end of January, largely by volunteers— produces what’s known as a “point in time” figure. Though the volunteers do admirable work, the resulting figures depend greatly on who wants to be counted and where the volunteers have the ability to look, given their resources.

Men like Scrapper Dave can easily go uncounted. At best, the One-Night Count is an educated guess.

The other method for tallying the homeless is the Homeless Management Information System, which uses figures from a full year but counts only homeless individuals accessing shelters or similar services. If a homeless person is living in the bushes, in other words, HMIS data most likely won’t include them.

Still, according to the 2013 Annual Homeless Assessment Report—a nationwide outlook delivered to Congress annually by the Department of Housing and Urban Development that includes both point-in-time homeless counts and HMIS data—54.7 percent of the nation’s homeless population lives outside major cities, in places just like Kent.

Ascertaining whether the problem of suburban and rural homelessness is getting better or worse proves difficult as well. Some statistics show homelessness rising in these areas. Others show it falling slightly.

“Essentially, the answer to whether homelessness is increasing or decreasing in suburban and rural areas depends on which data is being used and what years are being compared,” explains Julie Klein, a spokesperson for the National Alliance to End Homelessness.

While evidence and common sense suggests that suburban and rural homelessness has likely increased since the Great Recession began in 2008, the scope of the problem—specifically, how many people are living in the woods— remains impossible to know for certain.

Speaking with those who deal with the issue firsthand, the only certainty seems to be that it’s

From the Kent Police Department’s downtown headquarters, Commander Robert Scholl, tasked with overseeing the six bike cops who make up the Special Operations Unit, describes what his unit is faced with. In an office not far from the new Kent Station—a bougie outdoor shopping complex billed as a “contemporary, open-air urban village” where residents flock to enjoy burritos at Chipotle, movies at a gigantic AMC IMAX theater, ice cream at Cold Stone Creamery, and the many scented products of Bath and Body Works—he states the obvious.

“I think our guys every week are consistently dealing with homeless camps,” the commander tells me.

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

PAM WISHBOW

“Anywhere that’s somewhat wooded but close to a road, that’s where they’re at.”

» CONTINUED ON PAGE 9 7

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more than you think.

“Anywhere that’s somewhat wooded but close to a road, that’s where they’re at,” says Carrey Fuller, a 48-year-old mother of two from Kent who lives in her car and has become a well-known homeless advocate and blogger. “I’d say at least 60 percent of the homeless out here aren’t trying to be counted.”

During two months of reporting on this story Fuller attempted to connect me with several homeless campers, but none agreed to speak with me on the record, for fear of being rousted by police.

To be certain, Kent is not the only city in

» CONTINUED ON PAGE 11

COURTESY KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS

“A lot of times it’s very discouraging. You feel like you’re just pissing right in a fan.”

COURTESY FRIENDS OF THE TRAIL

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

King County dealing with homeless people living in the woods. Far from it. Even in a sleepy rural community like North Bend, where Twede’s Café serves Twin Peaks cherry pie and a “damn fine cup of coffee,” homelessness—and men and women disappearing into the wilderness—is an issue the community has had to face head-on. North Bend has not participated in the One-Night Count in several years, according to City Manager Londi Lindell, so gauging the size of the city’s homeless population proves difficult, if not impossible.

In March, the Snoqualmie Police Department entered a five-year, $6 million contract to provide police services to North Bend. It marked the end of an agreement under which the King County Sheriff ’s Office had provided police services to North Bend since the 1970s. According to Snoqualmie Police Chief Captain Steven McCulley, a 20-year resident of North Bend, one of the first areas of concern was to address a transient homeless population that had taken refuge in the woods surrounding the city. The Captain is quick to differentiate between the area’s local homeless population—which he says the city is prepared to help—and the criminal transient population that he says mainly wants to live “their life of crime and drug use.”

“What was happening is we have this beautiful area, and we were getting a lot of reports of people getting accosted by transients,” explains McCulley. “We conducted a citizen survey, and it was pretty resounding that the criminal transient population was very concerning to people.”

Tucked between Rattlesnake Mountain and Mt. Si, North Bend has long been a destination for hikers and outdoors enthusiasts. The area’s natural beauty makes it easy to understand why. Perhaps it’s also no surprise that homeless men and women have found North Bend an enticing place to set up camp. Plagued by resident complaints, small-time thefts, and a noticeable uptick in used hypodermic needles found in local parks, McCulley says the decision was made to create what came to be known as the “Criminal Transient Camp Task Force.”

Manned by three officers and paid for through overtime dollars, the Task Force’s goal was simple: to locate homeless camps in the woods and get rid of them. Less than a month after taking over in North Bend, McCulley had his officers lace up their boots and get to work.

Still, while Snoqualmie Police knew there were people living in the woods, the extent of what the task force found was alarming.

“Yeah, it was shocking,” Snoqualmie Police Captain Nick Almquist tells me in the cab of his SUV cruiser, not long after showing me a recently discovered campsite behind a local park, a mess that included discarded bandages, a popcan pot pipe, and—as usual—a lot of garbage.

On April 1, McCulley delivered a report to the North Bend City Council. In it he detailed what his task force had encountered in just three patrols. He reported a total of 39 campsites found in the woods outside North Bend—areas described as “heavily wooded and almost inaccessible.” Of the 39 camps, 37 we unoccupied or abandoned, according to McCulley. Police made contact with four campers, and two warrant arrests were made.

In a PowerPoint presentation, McCulley went into detail: “Extensive amounts of garbage from abandoned campsites was spread throughout the woods,” councilmembers learned. “The largest area was 100 by 200 feet and was littered with untraceable stolen property, miscellaneous drug paraphernalia, furniture, brand-new and used sleeping bags, cookware, barbecues, beer cans, glass bottles, propane cans, and miscellaneous garbage. . . . The amount of garbage discovered will fill several dump trucks.”

Overall, since the Task Force took action, Captain Almquist tells me there’s been a dramatic reduction in calls for service and criminal activity in North Bend. City Manager Lindell says that at one time the city’s maintenance staff was picking up an average of 12 needles a week in local parks, and “now that’s down to almost none.”

However, Almquist is weary of claiming complete victory. “I think we’re near the tipping point,” the police captain says. “But it also feels like they’ve just Above: drug moved further out.” paraphernalia cleared by According to Lindell, the North Bend City Council has Friends of the Trail. Top right reacted accordingly, allocatand right: ing “$30,000 this year for some of the police emphasis patrols to 11,580 pounds of trash found focus on the criminal tranat Mullen sient homeless encampments” Slough. and approving a mid-year budget adjustment to pay for overtime so police officers “would be focused on addressing this public-safety issue.” She goes on to explain that the city “spends a little under $100,000 a year on Human Service grants, and even this amount is difficult for a city as small as North Bend, but Council continues to make caring for those in need a priority.” In total, Lindell says, the city has a general fund budget of $6 million.

Wade Holden knows the stats—and the financials—well. While Snoqualmie PD’s Criminal Transient Task Force may have located the 39 homeless campsites in the woods of North Bend, it was Holden’s 18-yearold nonprofit, Friends of the Trail, that had

DOUG WILLIAMS

» CONTINUED FROM PAGE 7

that inspired him to start Friends of the Trail.

Originally he simply hoped to break even. “We wanted to make a difference and fix a problem, because nobody else was doing anything,” Holden explains.

These days, however, Holden says he spends much of his time cleaning up after the homeless. Friends of the Trail has a six-member board of directors, and with truckloads of people serving court-ordered community-service hours providing the labor, Holden spends five days a week throughout the summer removing human-created waste from the woods. He says his personal record is clearing 7,000 pounds of garbage from a single campsite.

For Holden, business is good. Tax filings for Friends of the Trail indicate he earned just over $66,000 in 2012 as the nonprofit’s executive director, while Tania, serving as secretary and treasurer, brought in another $12,000. The nonprofit is funded through grants and various contracts; King County records show two agreements between the Department of Natural Resources and Parks Solid Waste Division and Friends of the Trail —one for $65,000 that ran from July 2012 to June 2014, and another for $100,000 covering April 2013 to March

the pleasure of cleaning them up. “We do a lot of shit most people won’t do. It’s always nasty. And a lot of times it’s very discouraging.

You feel like you’re just pissing right in a fan,” Holden explains of the work. When it comes to the Snoqualmie PD’s efforts, he says, “I love ’em to death, because I think they’re on it. But they’re just kind of following the same trails that have always been there. The camps have been established forever.”

Holden has built a career out of cleaning up after the homeless. From the 1,600-square-foot home off Mt. Si Road in North Bend he shares with his wife Tania, Holden speaks bluntly and honestly about his operation, which has grown by leaps and bounds since he started it in March 1996. “One of the main reasons we came up here is I’ve always been real big on backpacking and camping,” says Holden, who moved here from Texas with Tania in 1994.

“I got here when I was 32, I guess, and I was really into getting out and seeing all the backcountry stuff.”

But along with the area’s natural beauty, what Holden says he found was “piles and piles of crap.” In the beginning, he says, he encountered mainly garbage left by recreational campers, partiers, and target shooters—a mess

9

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

JIM JEFFERIES 10

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ON SALE NOW! SATURDAY NOV 8 7PM & 10PM

» CONTINUED FROM PAGE 9 2015. Both contracts fall under the description “Illegal dumpsite cleanup.” Overall, tax filings show Holden’s nonprofit had a total revenue of $131,217 in 2012.

“I never dreamed it would take off like it has,” he says.

25 to 30 tents were removed, and nearly six tons of garbage.

Animal Control recovered three cats.

mdriscoll@seattleweekly.com

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Back in Kent, between Highway 516 and the Green River, lies a small, picturesque body of water known as the Old Fishing Hole, fed by precipitation from the local drainage basin and stocked annually by close to 1,500 fish, courtesy of the Rotary Club of Kent. It’s as Andy Griffith as it gets. Or as Opie, rather, as a small sign indicates that the fishing is “for youths 14 yrs. and under.” On a sunny day, the spot offers a pristine glimpse of what life was like in the Kent Valley before it became sprawling suburbia full of industrial warehouses and commuting workers—when the area’s natural agricultural gifts made Kent “the lettuce capital of the world.”

Not far from the fishing hole is another worn path of matted grass, visible from Frager Road, which runs parallel to the river. It leads into the shade of trees and a former thicket that’s been cut back by work crews—disappearing under the Kent Des Moines Road. Unless you have a reason to follow it, you’d never know what was back there.

But the path is well-traveled. Two years ago, had you wandered down it, you would have found the largest unauthorized homeless encampment anyone in the area can recall.

“That was a big one,” Kent PD’s Commander Scholl says of the camp. “It’s the biggest one I’ve known down here.”

Technically, the area at the end of the path is known as Mullen Slough, a 30-acre parcel in unincorporated King County and located on a Green River flood plain, formerly home to a privately owned tree nursery. But the local homeless population, and the cops who had to deal with it, bestowed another, more descriptive name on the area: the Carnie Grounds.

“There are a lot of properties in rural areas where there are a handful [of homeless campers], but nothing as large as this,” explains Doug Williams, a spokesperson for the King County Department of Natural Resources, whose agency bore the responsibility of cleaning it up. “I don’t think we’ve ever run across this kind of stuff.”

No one knows exactly how many people have been living at the Carnie Grounds, discovered in August 2012 by King County Rivers and Floodplain Management maintenance staff, at any one time. Carrie Fuller, a Kent-based homeless advocate, estimates a fluctuating number of “at least a hundred.” County officials doubt it was that high.

“I’d go into the camps. I’d walk right back in there, because there was a lot of youth in there.

There were runaways. There were old people,” Fuller says of the Carnie Grounds. “In there, it

was a mix of just people hanging out and drug addicts. There were a lot of tweakers in there.”

What’s certain about the Carnie Grounds is what was removed during the cleanup effort, which concluded in October 2012: 25 to 30 tents, according to DNR officials, and a total of 11,580 pounds—or nearly six tons—of garbage.

That’s six dump trucks full. Animal Control, meanwhile, recovered three cats.

Williams says cleanup alone cost the county $17,000. According to documents obtained by Seattle Weekly through a public-records request, another $10,000 was awarded to Sound Mental Health to provide outreach to the homeless campers living in the flood-prone area. Signs warning residents to vacate the area were posted a week in advance of the cleanup. By the time the workers with garbage bags showed up, the vast majority had moved on.

“It was a pretty unusual thing. This wasn’t something that my agency does every day,” says Williams of the cleanup. “It was a big event.

And there were some pretty significant concerns that we needed to address appropriately.”

Another document, a memo dated Oct. 8, 2012—the eve of the full-scale cleanup effort— sheds light on some of the concerns in play, including “information from residents that 4-5 people do not plan to leave and may resist.”

“Staff has been made aware that one resident has a large stockpile of weapons. Not much more is known,” reads one bullet point from the memo.

“This information is being given to the [King County Sheriff ’s Office] Captain providing enforcement support.”

“The weather will not hold up forever; the sooner we move people from this flood-prone area, the better,” reads another memo. “We will also need to remove several hundreds of pounds of garbage—including human waste— from this location. Delaying the clean-up would mean the possible further dispersion of these materials.”

Even now, for those involved, the images of the cleanup at the Carnie Grounds linger. “It’s one of those things that just kind of sticks with you,” says Williams. Today, he says, the property is checked weekly for homeless campers in the summertime and less often in the winter, “because it gets really wet back there.”

Two years later, the big question is obvious: Where did the people living in the Carnie Grounds go? While a multi-agency approach was employed and $10,000 in taxpayer money allocated to provide outreach to the homeless living there, unfortunately, it’s a question no one seems to know the exact answer to.

“I don’t recall that anyone kept track of where they went,” offers King County Department of Community and Human Services spokesperson Sherry Hamilton.

Indeed, according to King County and Sound Mental Health, no such record exists.

“They’re still out here,” offers Fuller. “They just fly under the radar.” E

11

THE ANNUAL GRIND A GUIDE TO WHAT’S GREAT IN SEATTLE COFFEE CULTURE. PHOTOGRAPHY BY MORGEN SCHULER

COFFEE TALK

Slate’s Chelsey Walker-Watson discusses the latest trends and the debt her forward-looking coffee house owes Starbucks.

BY JASON PRICE

S

eattle has long been a pioneer in the coffee world. From the well-known story of Starbucks to the independentcafe scene, nearly every Seattleite has an opinion about their coffee in one way or another. Today there’s another revolution happening in the coffee world: a move toward high-tech, slow-pour-over coffee; a focus on extracting the best flavors from coffee by weighing ingredients, measuring exact temperatures, and taking the time to make it just right.

We’re also returning to our neighborhood roots, and the small, independent cafe is on the upswing—that place where your barista knows your name and your drink. It’s become the equivalent of your local pub.

At the forefront of this revolution is Chelsey Walker-Watson, co-owner of Ballard’s Slate Coffee Bar and recipient of Seattle Weekly’s 2014 Best Coffee Experience award. We chatted with her about the evolution of Seattle coffee culture:

12

Seattle is a very espresso-focused culture. The late ’90s and early 2000s were a special time within the coffee industry, and we were focused on smoky, classic espressos. We have stayed deeply rooted in that tradition, and I think that is what has defined the coffee culture here.

Now we are starting to see a few new roasters, like Kuma and Velton’s, that are evolving coffee in Seattle by creating different roasts and flavor profiles, as well as working with smaller farmers around the world. Part of our mission at Slate is to help elevate the culture here, and we focus on both roasting and serving coffees that PERCENTAGE are more balanced in OF U.S. ADULTS acidity and sweetness WHO DRINK with fresh-fruit flavors.

COFFEE (UP FROM 78% IN 2012)1 What new techniques

83

do you see coming to the forefront?

What’s new in Seattle is not necessarily new in other cities. Here, there are a number of shops that have been doing pour-over brewing for a while—like Seattle Coffee Works, which does it beautifully.

A lot of established shops have also offered pour-overs, but as an afterthought. I think there will be a greater emphasis on this type of brewing. For a lot of Seattleites, the concept of single-cup brewing is still very new.

Walker-Watson of Slate (above) gets scientific about coffee (below).

Why should coffee drinkers come to small cafes if they typically go to Starbucks?

I think Starbucks has established a great framework. The wonderful thing about them is that you know what to expect and you get a consistent cup of coffee. But sometimes it takes you out of character of the community.

At an independent cafe, you’ll get more of a feel for what makes that neighborhood special. Small cafes may bring you coffee that they want you to experience. People also want to support small businesses or a family or couple, and that’s important.

There’s a big tendency to bash Starbucks. I just want people to enjoy and drink coffee. The only reason I can have a small coffee bar is because people have come to love their grande caramel macchiato at Starbucks, and they are now willing to see what I can do. E

What trends are happening or emerging in the industry?

Walker-Watson: The Seattle community is exceptionally passionate and extremely proud of our coffee. People care so much and have a great sense of pride about where they get their coffee. Most people have their drink that they go out for—it’s almost like an expression of their individuality.

There’s definitely more of a focus on pour-overs and lighter roasts. There has also been a shift toward weight-based brewing.

Here we measure the water and coffee in grams—brewing has become a more exact science.

INDIE 15

ites, which span many neighborhoods—from Pioneer Square and Ballard to Columbia City and Fremont and many more.

Coming soon: a co-working space with desks available for $20/day. 425 15th Ave. E., 322-1058,

ADA’S TECHNICAL BOOKS AND CAFE

ANALOG

Seattle’s most inventive and inviting small coffee shops.

BY JASON PRICE

I

n the spirit of supporting our neighborhood cafes, we’ve curated a robust selection of those we truly love. Our criteria—besides serving great coffee, of course—were to include only local shops with no more than two storefronts, and those that offer something unique, from high-tech techniques to amazing local art. While there’s no way we can cover every cafe in Seattle, we hope you enjoy these 15 favor-

A beautifully hip space for nerds, complete with walls of tech, programming, and sci-fi books, puzzles, and games. The architecture is open and spacious, with shadow-box tables featuring items like rock collections and old compasses. There’s also a back room for focusing on your daily hack-a-thon.

The coffee menu features Kuma roasts and a line of housemade syrups. It’s evolving to become more innovative using the latest techniques and technology in brewing. The rose iced tea is also not to be missed.

food@seattleweekly.com

seattletechnicalbooks.com

Don’t come here expecting amazing sandwiches, baked goods, or smoothies. Analog’s focus is on simplicity; it makes its bones via high-quality coffee served by friendly, knowledgeable baristas using precise manual brewing techniques: a 15-hour cold-brew repeatedly filtered to achieve the correct balance of acidity, then served from a keg.

For three years, Analog has served its neighborhood clientele, comprising predominantly students, tech workers, and food-service folks, and offers some excellent single brews and pour-

overs using Herkimer Coffee beans (all from small pesticide- and fertilizer-free farms). The interior is classic Seattle neighborhood architecture—concrete counters and exposed ductwork, with the bar, front and center, creating a highly interactive experience.

Cool factor: Vinyl is always spinning on the turntable. 235 Summit Ave. E., 678-7443, analogcoffee.com

ANCHORED SHIP

Named to match Ballard’s nautical roots, the Anchored Ship is the lone local provider of beans from Atlanta-based Counter Culture, featuring hard-to-find single-origin coffees from around the world. Located in old-town Ballard, this hidden cafe has no sign, but is well known by

COFFEE DESIGNED BY JACOB HALTON FROM THE THENOUNPROJECT.COM

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

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BIRD ON A WIRE ESPRESSO

S.W. Henderson St., 932-1143, facebook.com/ birdonawireespresso

CAFE ALLEGRO

Located in a former mortuary on an alley just off the Ave., Cafe Allegro has been serving students, artists, professors, and locals for nearly 40 years. The brick walls, adorned with local art, and multiple seating areas provide refuge for those who want to hide for a while with a hot cup of coffee.

Baristas do their job well, but don’t expect lots of chipper smiles. It’s all business here in this Seattle landmark that was allegedly the basis for the original Starbucks coffeehouses.

Coming soon: New balcony seating areas and Allegro’s own house-roasted beans. 4214 University Way N.E., 633-3030, seattleallegro.com

EMPIRE ESPRESSO

Empire specializes in sweet single-origin coffees which change frequently, and they pull very short ristretto-style shots, reducing bitterness and enhancing the bolder flavors of the beans.

Much loved by locals, this cafe, tucked away off Rainier Avenue, serves the diverse community of Columbia City. The best outdoor seating in the neighborhood provides space to sip, work, and talk with friends while enjoying food from the tiny kitchen—which churns out impressive fare for its size, such as full breakfasts and panini with housemade sauces.

Espresso drinks and Aero or French press are the standards here, featuring Kuma beans.

Empire also doubles as an affordable place to bring the family to watch the big game, and serves beer and wine to boot.

Tip: Don’t miss the weekend waffle bar! 3823 S. Edmunds St., 659-0588, empireespressobar. blogspot.com

FINN’S BAKERY AND CAFE

Owners Meghan and Anthony Hargreaves opened Finn’s in late 2012, following a dream and Meghan’s family’s history of running a Croatian bakery in Minnesota. They soon hired head baker Karen LoNardo, and have quickly become

» CONTINUED ON PAGE 14

The Cheese Connection

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

A tiny cafe serving the neighborhood for more than 13 years, Bird on a Wire takes pride in its community ties and knowing most customers on a first-name basis. Walking inside is like traveling back to your grandma’s 1950s kitchen, converted into a cafe for all of us to enjoy.

They make all their own extracts and pastries, and specialties include the Cold Brew Toddy (a 13-hour slow brew) and the Nutella latte. Also try the house blend, the Three Peckered Billy Goat, roasted by Raven’s Brew. And check out their sister cafe, Admiral Bird, also in West Seattle.

Tip: Stop in for their delicious fall soups. 3509

13

THE ANNUAL GRIND INDIE 15

Slate’s Deconstructed Espresso and milk flight.

Milstead’s baristas like customizing your drinks.

» FROM PAGE 13 a neighborhood favorite for baked goods, soups, and coffee in a space that has hosted a bakery for more than 50 years.

The bakery menu changes frequently, with standards including Croatian pastries, Danish, and quiche as well as many other handmade treats. Stumptown coffee is served to complement the excellent fare, and espresso drinks are the feature in this spot worth making a trip to.

Get it while it’s hot: Every week more than 40 percent of the bakery selection changes. 3204

W. McGraw St., 406-7271, finnsbakery.com

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

MILSTEAD

14

Milstead features beans from nine rotating sources picked for their flavor profiles. Tell your barista what you like and he or she will likely make a perfect match for you.

Plus, this über-trendy cafe makes you feel cool the minute you walk inside. The focus is on coffee and the decor minimalist, with tiny art adorning the walls and a vintage fire truck on the

Neptune Coffee uses elusive, high-end beans.

patio outside. It’s the place to be for a cup of joe in Fremont, and is often packed with locals, outof-towners, coffee nerds, and high-tech workers from the likes of Tableau and Google.

Tip: Try the mocha made with 85 percent dark chocolate from Fremont’s own Theo. 770 N. 34th St., 659-4814, milsteadandco.com

NEPTUNE COFFEE

Is it really any surprise that two of Seattle’s favorite beverages, coffee and beer, would end up in a bottle together? What is it about the combination that appeals, and has virtually every brewmaster in town offering some type of coffeeaccented brewski? Cody Morris of Epic Ales says it really boils down to one simple criterion: If something works well with sweetness, it will work well in beer, since beer is high in sugar content (about 2 to 5 percent by volume). Coffee’s sharp, roasty bitterness is obviously often balanced, in our morning cup, by the addition of sugar.

Bean roasting at Seattle Coffee Works.

with rotating specialty offerings such as George Howell from Massachusetts, Spy House out of Minneapolis, and the elusive, high-end beans from Geisha.

Coffee-geek factor: Neptune is known to conduct barista “competitions” open to the public.

8415 Greenwood Ave. N., 599-8822, neptunecoffee.com

Husband-and-wife team Christine EspaSEATTLE & BALLARD COFFEE WORKS rolini and Balthazar Soto created Neptune to Owner Sebastian Simsch has created a mustfocus on changing people’s minds about how drink experience for those who are passionate coffee should taste when brewed properly. about their coffee. The downtown spot sports an Serving both neighborhood locals and “coffee express bar for grab-and-go drinks as well as a tourists” in the heart of Green“slow” bar for sampling varietal coffees wood, the coffee program emphaand different extraction methods. They sizes espresso-based drinks and roast their own beans here, predomipour-overs. nantly sourced from Central America CUPS OF Talented baristas often give preand East Africa, and are nationally recCOFFEE sentations on brewing techniques ognized for their diverse lineup.

CONSUMED within the cafe’s sleek, dark-hardTip: Try the Obama Blend to bring EACH DAY BY wood-lined interior. Neptune also out the Democrat in you. 107 Pike St., THE AVERAGE features coffees from local roast623-1591; 2060 N.W. Market St., U.S. ADULT 3 ers, including Kuma and Velton’s, 340-8867, seattlecoffeeworks.com

.0931

COFFEE AND BEER: SEATTLE’S BEST COUPLE This fall, Morris is bringing back a beer he made when he first opened his SoDo brewpub, Gastropod: the Otto Optimizer. A Turkish-coffee porter, it has cardamom and coffee in it. But not just any coffee—literally six pounds of coffee imported from Turkey. “The coffee from Turkey and Greece and Arabic countries is made by a process so that when you boil it, it doesn’t become too astringent”—and it’s usually very sweet, he says, which works well with beer’s natural maltiness. The coffee is due in next week, then he’ll need about a week and a half to ferment it for the threebarrel batch, which will be available in stores and at Gastropod. Morris, being Morris, is also talking about tinkering with Otto Optimizer further by adding wood chips soaked in Irish cream to give it that really Irish coffee-cocktail flavor.

Why wood chips? Federal law prohibits fortifying beer directly with other booze.

Besides at Gastropod, the beer will be available at the

A pour-over at Neptune.

SLATE COFFEE BAR

Slate occupies a small, nondescript building on the edge of Ballard. It’s a coffee destination featuring high-tech brewing methods, with drinks often served in glassware. There’s no overhead menu and no line—you sit at the counter and talk about your drink with your friendly, talented barista.

Single-cup brewing and pour-overs are the standards. This is a place to learn about how good coffee can really be.

Tip: Try the Deconstructed Espresso + Milk, served as a flight. Three vessels are lined up: the first containing espresso neat, the second steamed milk from Pure Eire Dairy, the third espresso and milk combined. It’s delicious and beautiful. 5413 Sixth Ave. N.W., 701-4238, slatecoffee.com

STREET BEAN ESPRESSO

Baristas take great pride in their ability to create balanced drinks here, with a focus on espresso. They weigh their ingredients and use tools like refractometers to measure the levels of solids in water—it’s all high-tech. After serving

BY NICOLE SPRINKLE second Coffee Beer Fest at the Burgundian in Tangletown on November 8 and 9. I spoke with Steve Little, the cicerone (the beer equivalent of a sommelier) at the Burgundian who runs the event. Besides Morris’ beer, he’s excited to also have Elysian’s Pumpcacchino (pumpkin beer with coffee.

Elysian also makes a Split Shot Espresso Milk Stout in the winter; see below) and about the matches he’s made this year between coffee roasters and brewers—eight of each, who are paired and tasked with making a coffee beer.

Couples include Reuben’s Brewery with Kuma Roasters and Zoka Roasters with Seapine Brewery. There are no rules, just show up and hopefully serve something delicious.

I posed the same question to Little as to Morris: Why coffee and beer? “When you’re making beer,” Little says, “it can go in two directions; chocolate-ly or coffee-like.

There’s this huge unexplored territory between the relationship of coffee and beer, and we’re trying to get the

experts to expand on it.” He adds: “They’re also delicious.

That’s why we do a full tap takeover and get all java’d up.”

Other coffee beers to check out around town: Stoup Brewing’s Porter In it, you’ll get notes of dark chocolate, roasted coffee, and a light, malty sweetness. stoupbrewing.com Elysian’s Split Shot Espresso Milk Stout A milk stout is one that’s been sweetened by unfermentable lactose.

To this, espresso has been added. It’s kind of like that slightly sweet, milky morning latte, but with the ass-kick of hops. elysianbrewing.com Peddler Brewing’s Coffee Saison A saison is a pale ale with a spicy, fruity, refreshing taste. As a result, they’re particularly popular in summer. But the addition of coffee adds an interesting, striking note. peddlerbrewing.com.

NICOLE SPRINKLE E nsprinkle@seattleweekly.com

NIGHTLIFE

issue

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one are the days of sunshine. In their place are long dark nights, which is definitely not a bad thing. And we are going to tell you why. In this issue of Seattle Weekly we will explore the wide variety of Seattle’s nightlife, from old standbys like live music to new obsessions like late-night gaming. We’ll review the city’s best late-night hot dogs, speakeasies, back bars, radio-programs, comedy open mics, dives, and late night cinema. Our writers will chat up local bartenders, hang out at weird nocturnal clubs you never knew existed, and provide you with tips on staying safe in any neighborhood until the wee hours when you finally arrive home to rest up for another night out.

Zeitgeist’s Old World charm.

Belltown for five years from its ultra-hip space adorned with reclaimed DOLLARS THE wooden tables and floors, AVERAGE over the past year it’s SEATTLEITE become more of a speSPENDS ON cialty cafe, and is servCOFFEE EACH ing lighter roasts from MONTH4 Kuma, Slate, and rotating guest roasters.

Community impact: Street Bean provides training programs and employment for homeless and street-involved youth. 2702 Third Ave., 708-6803,

36

streetbeanespresso.org

TIN UMBRELLA

Rainier Ave. S., 743-8802, tinumbrella.com

TOUGO COFFEE CO.

One of Seattle’s first “polyroaster” cafes has been focused on guest services and great variety for seven-plus years. Owner Brian Wells’ infectious personality can be felt throughout with friendly, talented baristas serving customers from the surrounding neighborhoods.

Tougo’s philosophy is to work with roasters who mirror its emphasis on fostering community relationships. Beans from Kuma, Heart, Ritual,

Tin Umbrella’s bean selection.

Linnea, and Velton’s are all available here, and coffee is brewed using Mavea-filtered water to enhance quality.

Coming soon: Keep an eye out for Bar 18, scheduled to open next door in October, which will feature an expanded food and drink menu.

ON S D N A T S OCT.8!

1410 18th Ave., 860-3518, tougocoffee.com

ZEITGEIST

A beautifully designed cafe oozing with Old World sophistication in the heart of Pioneer Square. Stepping into this cafe is like going back in time to prewar Berlin or Prague with its exposed brick, blonde woods, and unique handmade fixtures.

Customer service and quality are the focal points here, attracting locals who appreciate the consistency of the coffee and the diversity of food on offer. For a special treat, try the mocha, made with specially formulated chocolate from a small shop in Gig Harbor.

Cool factor: Zeitgeist also has a significant connection to the arts, displaying works from both established and emerging local artists. 171 S. Jackson St., 583-0497, zeitgeistcoffee.com E

1. National Coffee Association 2. NPD Group 3. Euromonitor International 4. Mint.com

For space reservations, contact advertising@seattleweekly.com or call 206-467-4341

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

Joya Iverson left a marketing-strategy consulting career to open this lovely cafe in the heart of Hillman City, just south of Columbia City.

Located in what was once an illegal gambling den, Tin Umbrella is now leading a revival of the neighborhood, which didn’t have a coffee shop until it opened.

It has become a community hub for neighbors and families to meet. House-roasted coffee is on offer (try the Chase Your Dreams blend with a unicorn on the label), as well as pastries from local independent bakers in the south end. A 24-hour cold-brew using single-origin Ethiopian Sidamo beans is a must-drink—you can even get it in growlers!

Coming soon: Local bicycle delivery! 5600

15

food&drink Not-French French

BY JASON PRICE

The much-anticipated Washington Artisan Cheesemakers Festival comes to Seattle on September 27 from 1 to 5 p.m. at the Seattle Design Center. A benefit for the Cascade Harvest Coalition, the festival will feature over 20 artisan cheesemakers providing seminars, samples, and education on their techniques and philosophy. Read our preview of some of the cheeses you’ll be tasting at seattleweekly.com/food.

BY NICOLE SPRINKLE

16

PHOTOS BY KYU HAN

The first annual Belltown Crush Party, benefiting the U District Food Bank, kicks off on September 28 from 1 to 5 p.m. Wines from the Cascade Valley Wine Country coalition will be featured: 15 wineries from Chelan, Leavenworth, and the Wenatchee Valley. Come stomp some grapes, listen to local bands, and sample some vino!

Hot Cakes Molten Chocolate Cakery owner Autumn Martin plans to open a second store on Capitol Hill in the former B&O Espresso location in the first quarter of 2015, with seating for 50 inside and year-round patio seating for 25, complete with hibachi grills and s’mores kits. Also on tap will be an expanded menu featuring milkshakes, cocktails, and housemade ice cream.

Speaking of sweets, get ready for Sweet Week this Thursday through Sunday. Seventeen Seattle sweet shops will feature $5 items and samplers never before offered to the public. For more information, check out sweetweekseattle.com. E

Ribs plated and smoking above the fire; perfect roasted chicken.

morningfoodnews@seattleweekly.com

About Those Wines

A sparse yet cozy interior.

bistro in France, moist throughout but crispy on the outside, with golden raisins in a sherry sauce with thyme, delicious Nelson carrots and baby turnips soaking in the sauce. The short ribs, not braised but hung on hooks over the fire to smoke, are then grilled. While they’re a tad on the fatty side (the traditional braising of ribs helps melt that fat off ), they’re still damn good. The mustard confit on the side is a nice touch and the smear of cauliflower purée was dreamy, though I would have liked more of it. Speaking of the purée, the restaurant is a little too smear-happy. Nearly every dish comes with that ’90s-style “painting” of a purée or jus on the plate—and while they’re very tasty, there’s just too little of them to really add anything to the dish. They either get lost in the mix or, on the flip side, leave you wanting.

Pomerol is just one of many restaurants lately highlighting relatively obscure wine regions in France—like Savoie, the Jura, and Languedoc. It’s a trend driven both by finances and experimentation: Wines from well-known areas in France have become too costly for most glass-pour lists at the same time as wine buyers and sommeliers have become infatuated with lesser-known varietals and styles.

There are some true gems to be found, and some of these wines are tremendous values for both restaurants and diners, but they do require a knowledgeable staff and a discerning buyer. Or you could just use this cheat.

Picpoul: a tart, crisp, light-bodied white varietal grown throughout southern France.

Jacquere: a relatively neutral white grown in the Savoy region of France at the foot of the Alps. Often a classic pairing for fondue.

Touraine: a region in the central Loire Valley known for austere, mineral-driven sauvignon blancs. Similar to Sancerre, if not quite as striking.

Cahors: a region in southeastern France noted for malbec. Unlike the fruitier versions from Argentina or Washington, malbecs here tend to be dark, earthy, and powerful.

ZACH GEBALLE

I wish they’d just own those wonderful flavors they’ve coaxed out and drizzle them over things with gusto, not just tease us with them.

» CONTINUED ON PAGE 17

What’sCookin’

The DeLaurenti Cookbook

BY NICOLE SPRINKLE “Cookbook” may not be quite the right word to describe this book, which celebrates DeLaurenti Food & Wine, the beloved specialty food shop in Pike Place Market.

Though it does have plenty of recipes (including lots of pasta dishes), it’s an amazing encyclopedia detailing just about everything you could possibly want to know about charcuterie (from the pigs to the process to the product) and cheese (“a few of our favorites,” in fact, spans five pages). Care to make your own mozzarella or burrata? It’s all in here.

Also, a one-page section highlights tools you shouldn’t live without, like a microplane, a mandoline, and a fish spatula, as well as tips of the trade: “Charcoal Whenever Possible” and “No Substitutions, Please—Margarine, sweeteners in colorful packages, or products whose list of ingredients belongs in a science journal should be avoided.” E

JIM HENKENS

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

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MORGEN SCHULER

A new addition to “Frelard,” Pomerol excels in warm-hearted dishes and service sans attitude. hen you name your restaurant after a tiny French commune in the Bordeaux region known and respected for its red wines, you’d seem to be setting some pretty high expectations. Yet Pomerol is something of an anomaly in France—its wines not officially ranked by the strict and traditional French classification and the area itself atypical of wealthy, traditional Bordeaux.

Pomerol, the new restaurant in “Frelard”—the no-man’s land along Leary Way (which becomes North 36th Street) between Ballard and Fremont—seems to play to that offbeat version of France, with plenty of French-style dishes conceived within a Pacific Northwest context that includes many a wood-fired grill preparation. In fact, owners Vuong Loc and his wife Tricia, who previously owned Portage in Queen Anne, claim they chose the name not for the famous wines per se (though there are three bottles from the appellation), but for the family-owned vineyards “that are still operated as they were 100 years ago.” Likewise, the service, extremely friendly and accommodating, feels very un-French. When I left half of my chilled heirloom tomato soup with Gruyère croutons (it was too thick and heavy for a cold soup), the waiter took it off the bill with no peep from me. They also bring you tastes of wine if you’re undecided (and you might very well be with this French-heavy list; see sidebar), and will remix a drink for you if you take a chance on something you’re not sure you’ll dig. What’s especially nice is that they never make you feel unsophisticated for expressing dislike—a very refreshing style that many a new and precocious restaurant would be well-advised to adopt.

Even better: There’s something for everyone on this menu—even if you don’t like foie gras, which appears on it at least three times.

The most unadulterated foie on the menu, a $24 starter (other menu items are much more reasonably priced), comes as an obscenely large piece. It’s almost too much of the decadent dish, set atop brioche and dressed with some oakember-roasted berries and nuoc mam caramel (a nod to the owner’s Vietnamese heritage). My friend and I actually couldn’t finish it. Good thing we didn’t, because on our first visit we had quite the hearty entrées to follow.

It’s those dishes at which Pomerol excels— meats served with rich, savory French-style stews and cooked to perfection. Take their roasted chicken. It’s truly something I’d expect to get in a

FoodNews

nsprinkle@seattleweekly.com

Live & cooked

crayfish now avaiLabLe FRE E PA R K I N G We Ship

Not-French French » FROM PAGE 16 Pomerol does offer lighter options as well: Their arctic char was cooked expertly, the skin beautifully seared, the meat melting in your mouth with each forkful. A duck-confit salad with sea beans and chanterelles wasn’t unctuous, served as it was over a nice plate of salad greens and balanced by red onion and a sharp vinaigrette.

The wood-fired octopus—a staple on many a restaurant menu of late—was again cooked just right, tender (not rubbery), spiced well with chili and garlic, and very well complemented by one of the tastiest, very tangy aiolis I’ve had. I used my fingers to lap up every last drop.

Quality Athletics = Sports Bar Redux

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P

erhaps it’s fitting that Josh Henderson (Skillet, Westward) is reinventing the idea of a sports bar just as Seattle’s professional teams are reinventing the city’s sports identity. With the Seahawks looking like they have a real chance to repeat as Super Bowl champions, the Mariners knocking on the door of the playoffs for the first time in more than a decade, and the Sounders once again one of the best teams in MLS, Pioneer Square and SoDo have

BY ZACH GEBALLE been hubs of frenzied fandom. Of course local sports bars have been packed, but the newest addition to the landscape is taking things a bit differently.

If your typical sports bar is an authentic replica jersey, Quality Athletics is a bit more like the faux-ironic softball shirts the service staff wears: more an allusion to sport than a profession of love. Yes, there’s sports memorabilia Some things were less successful: besides inside, but it’s mostly old rec-league trophies, not the cream-laden chilled tomato soup, I also autographed footballs. It’s actually a welcome didn’t enjoy the “lamb pie” appetizer: kind of change; the sports bar is almost a cliché at this a deconstructed shepherd’s pie that was small point. You know what you expect to find: lots of and precariously erected. A slab of lamb sits TVs, lots of fried food, and almost no one there atop a whole braised baby onion, the clumsy unless a game is on. Walking into a sports bar on pairing wedged between two tiny pieces of a random weekday afternoon can be a depressing pastry and garnished with a mint pistou (deliundertaking, with 20 TVs all showing the same cious, but, once again, lost among all the rich SportsCenter repeat and a distracted bartender flavors). There was just no way to get it into checking his or her Tinder matches. your mouth in one piece without it all slipping Turning those conventions on their ear, Qualand sliding and falling apart. Basically you ity Athletics is looking to become a spot to both had to destroy it to eat it. Their Washington catch the game and have a great meal. “We’re for albacore, though “scented” with fenugreek leaf sure a sports bar,” Henderson said. “We’re geared and peppercorn and served with faro, squasharound the game-day experience, but during blossom zucchini, and tomato jus, was awfully the week the TVs will be off. That area [Pioneer bland, but admittedly I often find that to be Square] is built around lunch and happy hour, and the case with tuna. needTRUCK to be able to serve that crowd as well.”

Desserts are fine, if not fabulous. Grilled STREETwe FOOD Henderson’s approach of riffing on an estabpeaches with bourbon caramel sauce and crème lished concept (seafood, diners) is perhaps fraiche ice cream over a cardamom shortbread at its most playful at Quality Athletics. Take cookie was not very sweet—all the more noticechicken wings, that digestion-destroying staple able since it was the heart of peach season—and of weekend football viewing. Instead of tired disappointingly cold. But an IPA berry sorbet old buffalo wings, you can choose charred with pineapple weed was tart and palate-cleanschicken wings with harissa, jerk-spiced duck ing after such rich food. wings, or my favorite, the smoked-salmon While Pomerol’s muddy-yellow exterior with “wings”—sweet, smoky, utterly delicious its understated sign feels uninspired, it’s hardly salmon collars. Plus, they leave your hands just representative of what’s happening within. Get as sticky and in need of the thoughtfully prothere while the weather is still good and you vided Wet-Naps as the real thing. can sit on the back deck. Otherwise, come fall When it comes to drinking, it’s the clientele and winter, when those soul-satisfying meaty that sets Quality Athletics’ mood more than the dishes are all the more tempting. The interior bar itself. That group of fans in #12 jerseys is is cozy, with dark-brown leather banquettes more likely to be doing shots of Fernet than of against walnut-stained bench-style seating, red Fireball, and the pints of beer the future members wooden chairs, and colorful carp “jumping” on of the King’s Court are throwing back are local golden wallpaper. The fire—and genuine sercraft brews, not Budweiser. It’s a very Seattle vibe, vice—is sure to warm you too. E and with our hometown pride being fueled by nsprinkle@seattleweekly.com the performances on the field, Quality Athletics seems poised to be a vital part of the pre- and POMEROL post-game scene for quite some time. E 127 N. 36th St., 632-0135, pomerolrestaurant.com.

RESTAURANT

Seattle’s Best Sushi

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arts&culture

Compass Points

ThisWeek’s PickList

From Alaska to Oregon, a Northwest cinema buffet at the Local Sightings Film Festival.

BY BRIAN MILLER

THURSDAY, SEPT. 25

Live by Night

Guatemalan teenager sent to New York for school.

(This turns out to be a bait-and-switch, forcing Olga into Oliver Twist-like servitude.) The Northwest connection is that director Maximón Monihan was raised in Seattle, though he’s today based in Brooklyn. A veteran of the skateboard scene (and its videos), this is his first feature, which he’ll introduce.

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

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A

n industry conference with screenings for the public, or a film festival with boring panel discussions you’ll want to skip—there are two ways of considering the Local Sightings Film Festival.

For filmgoers, the 10 days feature a baker’sdozen titles to see, plus some random shorts. For aspiring and actual filmmakers, the expanded schedule features more networking events, parties, and workshops—plus the chance to see how emerging directors are faring in their careers.

Founded in 1997 by Northwest Film Forum, the fest is an important regional showcase for the greater Northwest and often an opportunity to catch indie titles that otherwise wouldn’t be seen outside Portland, Boise, or Anchorage. In between the opening and closing features (seen) are sandwiched some potentially interesting pictures (unseen), so I’ll treat them in sequence.

From Missoula, certainly an underutilized film locale, comes Bella Vista, about an itinerant ESL teacher who may be undergoing a silent nervous breakdown. She (Kathleen Wise) roams slushy streets beneath slate skies, eats lunch in her car, rooms in cheap motels, makes aimless road trips, shuns her fellow teachers, and attempts mostly unsuccessful small talk with her very diverse class (actual ESL students, none of them actors).

In her debut feature, essentially a study in Big Sky alienation, Vera Brunner-Sung divides her attention among the teacher and her pupils.

There’s no drama or incident to speak of; nothing much happens besides the gradual recession of the teacher—whom we might otherwise mistake for the film’s protagonist. Instead, the students slowly assert themselves, taking root in foreign soil as their instructor will not. (Her shyness may be pathology or a simple failure of will; we’re left to guess which.) Brunner-Sung cites Antonioni among her influences; though, 50

val is the fascinating documentary In Country (8 p.m.

Thurs., Oct. 2), directed

by Meghan O’Hara and Members of In Country’s imaginary Mike Attie (the later until platoon assemble. recently a Seattle resident), shot in Oregon. The premyears ago, having a glamorous European cast and ise sounds like Christopher Guest: Filmmakers locations made the anomie pass just a little faster. follow a “platoon” of Vietnam War re-enactors into (The director and cast members will attend the the woods. Your first thought, as mine was, is likely opening-night screening, 8 p.m. Friday.) to be “Jesus Christ, you fucking losers, get a life and stop pretending you’re at war. American troops are still dying abroad. This is in really bad taste!”

In the indie sandwich, Greg Lundgren’s locally O’Hara and Attie confess to just the same made Chat (9 p.m. Sat.) sure sounds topical, qualms, but their sympathetic doc is anything but since it combines sex and the Internet. The thing a simple take-down. To begin with, several of the purports to be one-day dark comedy filmed from re-enactors are actual veterans from recent wars. the POV of a cybersex chat-room camera, our perspective—like those of her clients—controlled Their mentor is a Vietnam War vet. And one of them, a teen, is set to enlist in the Marines. So by an enterprising young woman. your snickers end quite soon.

The trailer for Jan Haaken’s doc Mind Zone Then the directors interlace scenes of this Ore(7 p.m. Sun.) makes me want to see it, since it gon “war” with actual Vietnam War footage to concerns veterans from the Iraq and Afghanistan show what these guys are after. The old newsreels Wars. Among the various therapies being used and stills have an enduring power to startle, in for PTSD and TBIs are essentially video-game large part because Vietnam was the last time phosimulators, which makes perfect sense. For tojournalists were allowed such intimate access; younger soldiers especially, raised on Xbox and all wars since have been strictly stage-managed PlayStation, Call of Duty helped get them ready by the Pentagon. (An amusing footnote: For the for combat. Now something akin to that may aid sake of veracity in this amateur-theatrical-in-thein their recovery. woods, O’Hara and Attie agreed to “play” reportThe Elwah River stars as itself in the damers following the platoon with their camera.) removal doc Return of the River (7 p.m. Sun.), Then there’s the final jaw-dropping casting one of several recent efforts to chronicle that of one platoon member: a Vietnamese guy who unique waterway restoration project on the actually fought for the losing South Vietnamese Olympic Peninsula. (The Seattle Times has covArmy. Why on Earth would he want to relive ered this story extensively, too.) And an extra those experiences? The filmmakers ask him, bonus for the eco-doc genre: explosions! and his answer speaks to a mix of pride, youth, From Vancouver, B.C., The Exhibition (8 p.m. nostalgia, and the sound of rain on his tent. But Tues.) is a true-crime tale about a ’90s serial maybe there’s never a simple explanation for why killer preying on street hookers and indigenous men go to war. E women. The twist, after the arrest and trial, is that the victims were more recently commemobmiller@seattleweekly.com rated by an art exhibit put together by Pamela Masik. Why hasn’t someone done this for the NORTHWEST FILM FORUM Green River Killer’s grim tally?

1515 12th Ave., 267-5380, Screening late, but not technically the festival’s localsightings.nwfilmforum.org. closer, is La Voz de los Silenciados (8 p.m. Fri., Oct. Most tickets $6–$12 (galas more).

3), a silent black-and-white drama about a deaf Runs Thurs., Sept. 25–Sat., Oct. 4.

WARNER BROS.

INCOUNTRYFILM.COM

Officially closing the festi-

Running Thursday nights through December 18, SAM’s annual fall noir series stretches from the brink of World War II almost to the end of the Cold War. Beginning the nine-title series is John Huston’s memorable debut as director, his 1941 adaptation (the third) of Dashiell Hammett’s 1929 novel The Maltese Falcon. Who next would play Sam Spade and attempt to own the role?

George Raft was briefly attached, but he didn’t trust Huston, a mere screenwriter. (Pshaw!) So it was that Bogie cemented his screen persona as the hard-boiled detective ensnarled by a dame (Mary Astor) and various eccentrics (Peter Lorre and Sydney Greenstreet) all searching for the precious little statue. He’s unsentimental, even cold, but he has his code—famously expressed in the line “When a man’s partner is killed, he’s supposed to do something about it.” Other classic titles include Out of the Past and The Big Combo; the series concludes with David Mamet’s 1987 House of Games, shot right here in Seattle.

Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $63–$68 series. $8 individual. 7:30 p.m. BRIAN MILLER

David Mitchell

The Bone Clocks (Random House, $30) was, even before its publication, an event book, perhaps the year’s most anticipated release. Bookstores held midnight release parties and Amazon doubtlessly had many, many preorders for the electronic edition. The English author of Cloud Atlas and Black Swan Green has a huge following that will be teasing over the novel’s time-skipping, supernatural, interlocking stories for years to come. From the mundane mid-’80s a seemingly ordinary teenage girl, prone to visions, is ushered into a cosmic contest between two eternal

begins displaying the results of an interesting experiment in social media. It asked patrons— well, anyone, actually—to vote for their favorite paintings from its collection; now we get to see the winners. The voting took place last month on Facebook, Instagram, Pinterest, and Tumblr, choosing among 232 candidates for inclusion in the show. It’s a cute idea, and I’ll be interested to see who the victors are in this very American Idoldemocratic seizure of the academy. (Apparently some 4,000 votes were cast.) How many pieces will be on display hasn’t been announced; what I’m almost more keen to see are the comments appended from voters—criticism practiced at a distance, no credentials necessary, by people sitting in coffee shops or on their couch, wearing pajamas and eating ice cream from the carton.

(Wait, I just described my ideal job.) The show runs through January 4. Frye Art Museum, 704

camps, the Anchorites and the Horologists; naturally our heroine Holly fits into the latter, more virtuous faction. Since her adventures don’t end until 2043, The Bone Clocks suggests sci-fi, though Holly and her cohort almost stand out of time; fantasy is the more near genre here. Shared characters and coincidences link the book back to some of Mitchell’s earlier works (a nice way to promote the back catalogue), and he’s said in interviews that all his fiction is part of one grand über-book (or a theological project, as some critics have grumbled). So if you can decipher this 600-page novel, it ought to help with the next.

Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $35. 7:30 p.m. BRIAN MILLER FRIDAY, SEPT. 26

Slip/Shot

Jacqueline Goldfinger’s drama debuted two years ago in Philadelphia, not long after the Trayvon Martin killing in Florida. By sheer coincidence, her play concerns the shooting of a young black man by a white cop—only the setting is a halfcentury earlier, in 1963 Tallahassee. But still: Florida, so everyone viewed the play through the Martin case. Two years later, Slip/Shot has an unhappy new context: the Michael Brown killing in Ferguson, Missouri. The key plot difference here, as compared to those actual news events, is that the shooting is an accident which the white policeman regrets. And at the same time, both the white and black parties in the play are aware how past inequality is shifting. The victim is a star student headed to college, while the cop has barely risen beyond the cotton field. Two Americas are finding a new power dynamic in Goldfinger’s tale, and there is damage on both sides of the equation.

Given its historical setting, Slip/Shot is also one of several plays this fall dealing with the unfinished business of the Civil Rights movement, including the ongoing The Mountaintop at ArtsWest and the coming All the Way and The Great Society at Seattle Rep. (Through Oct. 12.) Seattle Public Theater,

Naomi Klein

#SocialMedium

It’s trending, it’s viral, it’s getting huge traffic, it’s in the cloud! Well, not exactly, but the Frye today

FRYE ART MUSEUM

Will Franz von Stuck’s Sin get your vote?

As usual, Klein is a sellout in Seattle.

Klein’s 1999 anti-globalization classic No Logo came out just a month after Seattle’s streets turned into a veritable war zone over the topic during the WTO conference. Her new book This Changes Everything (Simon & Schuster, $22.39) arrives at an equally apt time—last weekend’s U.N. Climate Summit in New York was just met with the largest climate march in history. Klein now targets climate change’s chief culprit: not carbon, not consumers, but the biggest C of them all: capitalism. Making the argument that the system’s ingrained culture of exploiting resources is the main driver for the environmental destruction we’re facing, Klein calls for a revolutionary perspective shift on our fundamentally dangerous economic system. Seattle seems more than ready to take the challenge, what with electing a socialist and passing the country’s first living wage— which Klein argues is actually an environmental issue itself. (This event is sold out, meaning you probably already have your tickets.) Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. KELTON SEARS E

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

SATURDAY, SEPT. 27

SUNDAY, SEPT. 28

ED KASHI

7312 W. Green Lake, 524-1300, seattlepublic theater.org. $15–$32. 7:30 p.m. BRIAN MILLER

Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.–5 p.m. BRIAN MILLER

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» Stage W W. S E AT T L E W E E K LY. C O M / S I G N U P P R O M O T I O Narts&culture S E V EWNT S perhaps a particularly dramatic episode of Degrassi will be on the air.

Why is this passably pedestrian play being staged now, when Taproot produced it in 2007? World War I began a century ago in August, and Armistice Day is coming up on November 11. We still have troops in Afghanistan, where Canada has also contributed combat and peacekeeping personnel (and suffered casualties). So Mary’s Wedding is still somewhat topical. And for me at least, the most interesting part of this script was learning that our neighbor to the north actually has a military history. ALYSSA DYKSTERHOUSE

Sing, Washington Heights, sing!

A R T S A N D E N T E R TA I N M E N T ARTS & ENTERTAINMENT

The Mountaintop

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ARTSWEST, 4711 CALIFORNIA AVE. S.W., 938-0339, ARTSWEST.ORG. $15–$35.

7:30 P.M. WED.–SAT., 3 P.M. SUN. ENDS OCT. 5.

MARK KITAOKA

Find out about upcoming performances, exhibitions, openings and special events.

Opening Nights PIn the Heights VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 425-392-2202, VILLAGETHEATRE. ORG. $35–$67. RUNS WED.—SUN. ENDS OCT. 26.

(THEN MOVES TO EVERETT OCT. 31–NOV. 23.)

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On Stage now - October 26 Box Office: (425) 392-2202 VillageTheatre.org

See Village Theatre’s percolating production of In the Heights and be baffled anew at why this show hasn’t earned the fanatical popularity of Wicked or inspired the critical orgasms of The Book of Mormon. Or, for pity’s sake, been moviefied. Musicals are obviously no studio’s priority right now, but 60 years ago, Lin-Manuel Miranda (music and lyrics) and Quiara Alegría Hudes (book) would have inked a Hollywood deal during intermission of opening night, so solid and surefire is their 2008 story of the changes that beset residents of Manhattan’s Washington Heights neighborhood during two sultry summer days.

My Mexican-American plus-one wasn’t entirely forgiving of everyone’s delivery of the script’s frequent Spanish, but he had no other complaints about the cast, and neither do I. The show’s challenges are not only emotional— from one scene to the next, it’s a roller-coaster from humor to anger to tragedy to salsa-driven joy—but technical too. In particular, the opening and closing numbers of Act 1 mix dialogue sung, spoken, and rapped in intricate succession with dance and, in the finale, a blacked-out stage. Nobody misses a beat of either kind, even though the show’s packed with incident and necessarily fast-paced. But everything lands; everything works; every song, scene, and bit gets its most impactful tempo and weight as guided by director Eric Ankrim. (We have to assume that the ensemble was properly vetted by the Ethnicity Police who protested The Mikado this summer, and that they gathered from the actors all the blood tests and family histories required to ensure that everyone is racially authentic for their roles. Though some of those cast photos do look suspiciously pale; Village Theatre ought to brace itself for picketers.)

GAVIN BORCHERT

WEST OF LENIN, 203 N. 36TH ST., 352-1777, WEARENCTC.ORG. $15–$30. 8 P.M. THURS.–SUN. PLUS MON., OCT. 6. ENDS OCT. 11.

Canada isn’t known for great stage drama, yet New Century Theatre Company is taking a chance on one of that country’s most popular— and troublesomely titled—contemporary plays.

Stephen Massicotte’s 2002 love story is also an antiwar tale related partly as a dream sequence.

Mary (Maya Sugarman), a transplant from England, meets farmer Charlie (Conner Neddersen) right before he departs overseas to fight for the Canadian Cavalry Brigade in World War I. This clichéd boy-meets-girl/boy-loses-girl setup then bends space and time via flashbacks and letters, blurring reality with contrived conversations.

It’ll end in trenches: Neddersen and Sugarman.

Yet, under the astute direction of John Langs, this exacting, thrifty production approaches the material as stealthily as a gold-medal curling team. Most notably, Brian Sidney Bembridge’s stunning scenic and lighting design prove theatrically versatile and visually exquisite. With limited resources he creates a lightning storm causing one to consider scampering for shelter.

Additionally, his brilliant barn set seamlessly switches into trenches or a tea party, while Langs’ blocking eagerly employs every edge of the space.

Matt Starritt’s sound design aptly accentuates the advancing drama, giving almost cinematic scale.

Despite the script’s flaws, Sugarman and Neddersen invoke empathy while infusing intensity in the material. Mary’s final monologue will touch anyone who’s lost someone they loved— whether in war or peace. That said, you can rent better tearjerkers, like Love Story or Terms of Endearment. Or, for a Canadian alternative,

CHRIS BENNION

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

The TOny ™ AwArd-winning SmASh hiT!

Mary’s Wedding

The Ferguson, Missouri, shooting death of Michael Brown and its ongoing national fallout provide a sadly auspicious moment in which to mount a play about Martin Luther King’s final hours in Memphis. Yet rather than preach, Katori Hall’s 2009 dramedy takes us down an imaginative rabbit hole behind the door of Room 306 at the Lorraine Motel on April 3, 1968. Burton Yuen’s whimsical pink curtains and bedspreads suggest fairy tale as much as newsreel in a play that seeks to uncover the regular man behind the icon—the stinky feet, smoker’s breath, and roving eye of the dreamer.

Reginald André Jackson brings a demeanor of intelligence, strength and road-weary fatigue to this MLK. Depleted as the battalion of dead paper coffee cups lying around the room, King sweeps in, beelining for the john whence we hear him pissing. “America is going to hell,” he intones. We hear the evidence: A 16-year-old black boy was killed by police the prior week during a protest King organized; the Vietnam War is a quagmire; and blacks are restricted in their comings and goings—even those of King’s stature.

But the revelation of both this play and this production is Camae, the earthy chambermaid who brings “Preacher King” his room-service coffee and recommended daily requirement of smart-mouth. Brianna Hill’s magical performance carries the uninterrupted 90-minute piece when the script’s devices wear thin (like King’s insatiable lust for cigarettes, which she reliably provides from her brassiere—King’s excuse to keep her in the room). Camae’s scrawny pluck endears, and Hill’s glorious upswept eyes channel pity, disgust, self-aggrandizement, affection, and mystery. Her comedic one-liners—like “Civil rights’ll kill you before those Pall Malls,” delivered in the non-codeswitched Southern dialect she and King share in privacy—help distract King from his cares.

Director Valerie Curtis-Newton’s delicate touch lightens the inevitable telegraphing of a death foretold and neutralizes an irritating phone-call sequence that could ruin the play. (It’s a writer’s device of Hall’s that Hill helps save.)

Toward the end of The Mountaintop, the set breaks apart like a future-filled egg, with display monitors folding resonant moments of history, lyric, and rhetoric into the motel story like stiff egg whites into lively batter. This marvelous mashup, an annunciation of sorts delivered by an uncanny messenger, readies the complex, conflicted human man for his final march.

MARGARET FRIEDMAN E

stage@seattleweekly.com

Stage OPENINGS & EVENTS

THE GARDEN OF RIKKI TIKKI TAVI Friendship and coop-

eration are the messages in this adaptation of a classic Kipling tale. Seattle Children’s Theatre, Seattle Center, 441-3322. $15–$36. Opens Sept. 25. Runs Thurs.–Sun.; see sct.org for exact schedule. Ends Nov. 9.

GO, DOG. GO! A musical version of P.D. Eastman’s classic children’s book. Second Story Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $5–$10.

Opens Sept. 27. 1 & 3 p.m. Sat.–Sun. Ends Oct. 19.

OUT OF STERNO No, it’s not about a camping cookout mishap; Sterno is the mythical place the heroine escapes from in Deborah Zoe Laufer’s absurdist fairy tale. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $7–$20. Opens Sept. 26. 8 p.m.

Fri.–Sat., 2 p.m. Sun. Ends Oct. 19.

SLIP/SHOT SEE THE PICK LIST, PAGE 19.

TEATRO ZINZANNI: BEAUMOUNT & CASWELL IN HACIENDA HOLIDAY TZ favorites Christine Deaver and

Kevin Kent return for a slapstick holiday adventure. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Opens Sept. 26. Runs Thurs.–Sun. plus some Wed.; see zinzanni. com/seattle for exact schedule. Ends Jan. 31.

TOMOE + YOSHINAKA New and ancient takes on Noh drama, as the Takeda Noh Troupe presents the story of a 12th-century woman warrior and Seattle’s Garrett Fisher premieres his opera on the same tale. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $35. 7 p.m. Fri., Sept.

26; 2 & 7 p.m. Sat., Sept. 27; 2 p.m. Sun., Sept. 28. (The Takeda Noh Troupe will preview this performance at the Seattle Japanese Garden, 1075 Lake Washington Blvd. S., 684-4725. $10. 6:30 p.m. Thurs., Sept. 25.)

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CURRENT RUNS

THE BUNNER SISTERS The Athena Theatre Project’s

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.

I AM OF IRELAND Subtitled “A Celebration in Story, Song, and Dance,” Book-It stages tales by Yeats and others.

Center Theatre at the Armory, Seattle Center, 216-0833. $25. Runs Wed.–Sun.; see book-it.org for exact schedule.

Ends Oct. 12.

IN THE HEIGHTS SEE REVIEW, PAGE 20.

THE INVISIBLE HAND There are many reasons to go to the theater, but to see something that feels like a film or a TV episode usually isn’t one. That’s the main problem with Ayad Akhtar’s new play about a bright young money guy, Nick (Connor Toms), who has been kidnapped in Karachi

by Islamic terrorists. Because his employer doesn’t negotiate with terrorists, Nick offers to earn his ransom by trading on the volatile Pakistani financial markets. Nick’s captors include Dar (the boyish Erwin Galan), Dar’s ambitious supervisor Bashir (the apt Elijah Alexander), and their commander Imam Saleem (William Ontiveros), an older cleric. Though Akhtar’s given each one an affable side as well as a ruthless one, they still come off as cartoonish, probably because they spend so much time in well-coached accents explaining things you would learn in The Economist. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $55 and up. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Sept. 28.

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., 800-8383006, seattlemusicaltheatre.org. $20–$35. 7:30 p.m. Fri.– Sat. plus Thurs., Sept. 25; 2 p.m. Sun. Ends Sept. 28.

MARY’S WEDDING SEE REVIEW, PAGE 20.

THE MOUNTAINTOP SEE REVIEW, PAGE 20.

SEASCAPE Two couples—one of them lizards—discuss “humanity, evolution, and the concept of time” in Albee’s play. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $18–$25. 8 p.m. Thurs.–Sat. Ends Oct. 11.

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to all the gentlemen and gentlewomen who roam the streets with dignity.” ACT Theatre, 700 Union St., 292-7676. $25–$30. Runs Thurs.–Sun.; see acttheatre.org for exact schedule. Ends Sept. 28.

THE FABULOUS LIPITONES When one member of a barbershop quartet drops dead (I love it already!), they have to scramble for a replacement in John Markus and Mark St. Germain’s comedy with music. Taproot Theatre, 204 N. 85th St., 781-9707. $15–$40. Runs Wed.–Sat.; see taproot theatre.org for exact schedule. Ends Oct. 18.

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.

LARRY THE CABLE GUY

THUR | OCT 2 | 7PM & 9PM

MULTI-TALENTED ENTERTAINER

TERRY FATOR

Dance

• MEN IN DANCE The only rule for this biannual event

is that men need to be involved in some aspect of each work, as performers, choreographers, or producers.

Everything else, from style to substance, is up for grabs, so that you can get a slick Broadway number next to an esoteric kinetic exploration. SANDRA KURTZ Broadway Performance Hall, 1625 Broadway, 800-838-3006, creative dance.org. $20–$25 (opening night $35). Opens Sept. 26.

8 p.m. Fri., 2 & 8 p.m. Sat., 5 p.m. Sun. Ends Oct. 5.

PACIFIC NORTHWEST BALLET Three separate Balanchine ballets (Emeralds, Rubies, and Diamonds) are linked by gestures and themes and set to music by Fauré, Stravinsky, and Tchaikovsky. McCaw Hall, Seattle Center, 441-2424. $28–$179. Opens Sept. 26. Runs Thurs.–Sat. plus Sun. Oct. 5; see pnb.org for exact schedule. Ends Oct. 5.

SUN | OCT 5 | 7PM

PREMIUM CIGARS AND LIBATIONS

WASHINGTON CIGAR & SPIRITS FESTIVAL

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DON QUIXOTE & SANCHO PANZA: HOMELESS IN SEATTLE eSe Teatro’s update of Cervantes is “dedicated

BLUE COLLAR COMEDIAN

Classical, Etc.

ELECTRONIC PRESS KIT

SAT | OCT 11 | 6PM

• SEATTLE SYMPHONY Continuing their exploration of

Dvorak’s last three symphonies, Ludovic Morlot’s grouped the Eighth with music by Dutilleux and Rachmaninoff.

Benaroya Hall, Third Ave. & Union St., 215-4747, seattle symphony.org. $20 and up. 7:30 p.m. Thurs., Sept. 25; 8 p.m. Sat., Sept. 27; 2 p.m. Sun., Sept. 28.

MARK WILSON This guitarist’s annual late-summer recital includes music from the medieval Cantigas de Santa Maria and other Spanish music he played on a recent concert tour there. The Chapel at St. James Cathedral, 804 Ninth Ave. $15. 7 p.m. Fri., Sept. 27.

STEFAN LITWIN Ives’ “Concord” Sonata, his epic pianistic evocation of the New England transcendentalists.

Brechemin Auditorium, School of Music, UW campus, 6858384, music.washington.edu. $15. 7:30 p.m. Fri., Sept. 26.

ROLAND DYENS Program TBA. Presented by the Seattle Classic Guitar Society. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $28–$38. 7:30 p.m. Sat., Sept. 27.

OCTAVA CHAMBER ORCHESTRA Opening their season with Handel, Beethoven, and Greg Bartholomew’s Sunshine Music. Maple Park Church, 17620 60th Ave. W., Lynnwood, 425-743-2288, octavachamberorchestra.org. $5–$15. 7:30 p.m. Sat., Sept. 27.

GEISA DUTRA Mostly Latin-American music from this pianist, but also a bit of Albeniz and a bouquet of Brahms waltzes. Frye Art Museum, 704 Terry Ave., 800-838-3006. $20. 2:30 p.m. Sun., Sept. 28.

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STAND-UP COMEDIAN

DAVE ATTELL

THUR | OCT 16 | 8PM

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

B Y G AV I N B O R C H E R T

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/Snocasino

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

inaugural show is this Edith Wharton adaptation. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, athena theatreproject.org. $15–$22. 8 p.m. Wed.–Sat. plus Mon., Sept. 29, 2 p.m. Sun. Ends Oct. 5.

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, sound theatrecompany.org. $15–$25. 7:30 p.m. Thurs.–Sat., 2 p.m.

Sun. Ends Sept. 27.

BRAINSTORM One word launches a whole show from Improv Anonymous. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions. org. $5–$7. 8:30 p.m. Thurs. Ends Sept. 25.

THE BREAK OF NOON Neil LaBute’s seriocomic story of the survivor of a mass shooting. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., reacttheatre.org. $9–$20. 8 p.m. Fri.–Sat., 7 p.m. Sun. Ends Sept. 28.

A CHORUS LINE The opening number of A Chorus Line ripples with imperfection—as it should, of course. The legendary 1975 musical offers a view of the unrefined side of musical theater. Framed in a day of auditions, aspiring stage performers desperately vie for a spot in the chorus line—on a bare stage, missing their steps, falling out of rhythm, fading into the background, and comically overacting to move to the fore. You feel real empathy for these artists struggling under the critical eye of director Zach (the commanding, stentorian Andrew Palermo). Director David Bennett manages that messy process with aplomb, though some flaws show here. Almost all 17 performers are treated as equals, pretty much requiring that each be a triple threat: able to sing, dance, and act. (The 5th’s mostly native production relies on the original Michael Bennett choreography.) It’s a nearly impossible standard, but A Chorus Line reminds you that these performers are fallible human beings. MARK BAUMGARTEN 5th Avenue Theatre, 308 Fifth Ave., 625-1900. $29 and up. Runs Tues.– Sun.; see 5thavenue.org for schedule. Ends Sept. 28.

DEATH AND THE MAIDEN In Ariel Dorfman’s play, a former political prisoner confronts her captor. Ballard Underground, 2220 N.W. Market St., latinotheatreprojects. org. $14. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Sept. 28.

HOUSE OF INK In this improvised murder mystery,

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PAULA POUNDSTONE

CIRCUS OZ

Jim Henson’s TRADER JOE’S Dinosaur Train Live!

SILENT MOVIE MONDAYS THE PHANTOM OF THE OPERA BUDDY’S BIG ADVENTURE LEWIS BLACK

GLOBAL PARTY

with RockOnArts for an art and fashion show inspired by the life and work of David Bowie, followed by a tribute concert. Hale’s Palladium, 4301 Leary Way N.W., 782-0737, halesbrewery.com. 6 p.m. Sat., Sept. 27.

FUTURE VISTAS Path With Art and Kristen Ramirez reveal a new mural created for Harborview Medical Center. View Park, Eighth Ave. between Jefferson & Alder streets, 650-0669, pathwithart.org. 11 a.m.

Thurs., Sept. 25.

JANET KOPLOS Art in America’s contributing editor delivers a lecture about her current book on the “aesthetics and philosophy of functional pottery based on 160 interviews with potters from across the U.S.” Pottery Northwest, 226 First Ave. N. 285-4421, potterynorthwest.org. Free 7 p.m. Fri., Sept. 26.

LXHXW LAUNCH PARTY Vignettes founder Sierra Stinson guest curates an art-object sale featuring the work of Doug Newman, Lindsey Apodaca, Lynda Sherman, and Sarah Galvin, themed around “Intimacy and Tenderness” and housed in a hand-crafted box.

The release will be accompanied by a reading and a performance. Vignettes, 1617 Yale Ave., vignettes.us.

7 p.m. Thurs., Sept. 25.

NEVER FINISHED Lilienthal|Zamora take their intricately designed, sculptural light installation work to the big atrium. They aim to create a glowing vortex that stretches from floor to ceiling. Opening reception 5-7 p.m. Fri., Sept. 25. Suyama Space, 256-0809, 2324 Second Ave., suyamaspace.org. 9 a.m.-5 p.m. Mon.Fri. Ends Dec. 19.

PDL: REAL OBJECTS Riffing on Duchamp and Warhol, this one-night exhibit takes everday objects and places them in the gallery in an attempt to reevaluate their merits as potential art objects. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. 5-9 p.m. Sat., Sept. 26.

GENNIFER WEISENFELD The Duke professor of Japanese Art History lectures on Saito Kazo and SAAM’s ongoing Deco Japan show. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $10. 7 p.m. Fri., Sept. 26.

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• SALLY CLEVELAND AND GABRIEL FERNANDEZ

These two artists deal in lonely landscapes and scenes of humble and forgotten places and objects.

Fernandez often paints empty chairs and diner booths, like a Hopper setting emptied of people. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends Sept. 27.

CHRIS CRITES He displays his signature mugshots and crime scenes painted on brown paper bags. 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.

DECO JAPAN This is a somewhat unusual traveling show in that it comes from a single private collection: that of Florida’s Robert and Mary Levenson. The specificity and period (1920–1945) are also unusual. Among the roughly 200 items on view—prints, furniture, jewelry, etc.—we won’t be seeing the usual references to Japan’s hermetic past. By the ’20s, there was in the big cities a full awareness of Hollywood movies, European fashions, and streamlined design. Even if women didn’t vote, they knew about Louise Brooks and her fellow flappers. We may think that, particularly during the ’30s, the country was concerned with militarism and colonial expansion, but these objects reveal the leisure time and sometime frivolity of the period. BRIAN MILLER Seattle Asian Art Museum, $5-$7. Weds.-Sun., 10 a.m.-5 p.m. Ends Oct. 19.

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Ongoing

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

LEONARD BASKIN Fierce Humanist collects his multi-

media work. Davidson Galleries, 313 Occidental Ave. S., 624-7684, davidsongalleries.com. 10 a.m.-5:30 p.m. Tues.-Sat. Ends Sept. 27.

Michael Heizer’s Art Parade I love a parade, and so does Los Angeles, though that’s not the view shared by the pioneering earth artist Michael Heizer,

BY BRIAN MILLER whose eponymous 2012 installation is the subject of Levitated Mass, a new documentary by Doug Pray. (He’s best known for the definitive grunge doc Hype!) And in fact, Heizer skips the 10-day nighttime procession as an elaborate truck armada brings his 340-ton granite boulder from a quarry to the Los Angeles County Museum of Art. To backtrack a little, it was during the late ’60s and early ’70s that Heizer and guys including Robert Smithson (of Spiral Jetty) started using bulldozers and dynamite to create massive conceptual artworks far from galleries and museums. And Heizer’s signature work in Seattle is the wonderful 1976 Adjacent, Against, Upon in Myrtle Edwards Park; we see old footage and stills of that project’s construction in Levitated Mass, which describes Heizer’s long career during the course of the boulder parade. (He meets them at the end, supervises the installation, and

THEFUSSYEYE

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maintains a friendly if gnomic silence about his art.) Pray lets museum curators and experts give their opinions, but what makes this doc so enjoyable are his man-on-the-street interviews.

The boulder has avid fans staked out in lawn chairs; the boulder is on Twitter; the boulder is given a street fair in Long Beach. And by its sheer, ancient enormity, so incongruous on the streets of L.A., it forces people who might never visit the LACMA—where Levitated Mass is now a star attraction—to consider whether it’s art.

Opinions are divided, as they should be. But how refreshing it is to be confronted with art (if only in transport) that you can’t ignore. SIFF Film Center (Seattle Center), 324-9996, siff.net. $6–$12.

Runs Fri., Sept. 26–Sun., Sept. 28.

Heizer on site.

DOUG PRAY

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

Nov 7 | Paramount

BANG ON A CAN MARATHON

ZAKIR HUSSAIN’S CELTIC CONNECTIONS: THE PULSE OF THE WORLD

hypnotic, spiraling shapes out of cut-up old picture frames, saw blades, and cheap galvanized hardware fittings. Also on view, large and colorful abstract paintings work by the veteran Serbian artist Bratsa Bonifacho. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com. 10 a.m.-6 p.m Tues.-Sat. Ends Sept. 27.

CHEMTRAILS Did you know that the feds are employing airplanes to spray airborne chemicals on civilians in order to brainwash us/construct a malevolent New World Order/conceal the one and only, totally-not-dead Tupac Shakur from the public eye? Seven painters, illustrators, and photographers take on the world’s most out-there conspiracy theory in this group show, which will likely land you on a watch list. Wikstrom Gallery, 5411 Meridian Ave. N., 633-5544, bromwikstrom.com. Noon-5 p.m. Tues.-Sat. Ends Oct. 24.

THE BEST OF BOWIE The School of Rock is teaming up

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STGPresents.org/Broadway • 888.451.4042

• EVAN BLACKWELL The local salvage artists makes

TOWN HALL

LOIS LEVEEN She gives Shakespeare an edit in her

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ANASTACIA TOLBERT, JOHN MULLEN, AND JANE WONG The members of the Jack Straw Writers

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(10/1) Elliott Bay Book Company: Sam Harris with Dan Savage (10/2) Lucinda Franks Robert Morgenthau’s Unlikely Love Story (10/3) NWAPS: Molly Melching Community Development From the Ground Up (10/3) Paul Dorpat and Jean Sherrard ‘First Hill and Beyond’

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SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

Program share their work. University Book Store, 7 p.m. Fri., Sept. 26.

VINTAGE AND RARE BOOK SALE Over 1,500 volumes are on the block. Bellevue Regional Library, 1111 110th Ave. N.E., kcls.org. 11 a.m.-4 p.m,. Fri., Sept., 26-Sun., Sept. 28.

NAJA MARIE AIDT Baboon collects new stories from the acclaimed Danish writer. Elliott Bay, 7 p.m. Sat., Sept. 27.

LAUREL KEITH She shares from her memoir First Wilderness: My Quest in the Territory of Alaska. Elliott Bay, 3 p.m. Sat., Sept. 27.

ROBERT REICH The author of Aftershock, Beyond Outrage, and Supercapitalism speaks on income inequality and the minimum wage. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Sat., Sept. 27.

HELEN CALDICOTT The veteran activist discusses her Crisis Without End: The Medical and Ecological Consequences of the Fukushima Nuclear Catastrophe.

Town Hall, $5. 6 p.m. Sun. GAYLE FORMAN AND JANDY NELSON If I Stay and I’ll Give You the Sun are their new YA books.

University Book Store, 3:30 p.m. Sun., Sept. 28.

PETE FROMM His new novel is If Not for This. (Also: Eagle Harbor, 7:30 p.m. Thurs.) Elliott Bay, 7 p.m.

Mon., Sept. 29.

JEFFREY KARL OCHSNER The UW prof is among the contributors to Shaping Seattle Architecture: a Historical Guide to the Architects. Town Hall, $5 7:30 p.m. Mon., Sept. 29.

GEORGE PACKER Staff writer for The New Yorker, he chronicles our last 40 years of economic decline in The Unwinding: An Inner History of the New America (new in paperback). Town Hall, Free, 7 p.m. Mon., Sept. 29.

LAUREN OLIVER Rooms: A Novel is her new YA novel.

University Book Store, 7 p.m. Tue., Sept. 30.

TAVIS SMILEY The popular TV host talks about his Death of a King: The Real Story of Dr. Martin Luther King Jr.’s Final Year. Town Hall, $5, 7:30 p.m. Tue., Sept. 30.

GARTH STEIN The bestselling local novelist launches his A Sudden Light, about the declining fortunes of a Puget Sound timber dynasty. Richard Hugo House, Free, 7 p.m. Tue., Sept. 30.

SCIENCE

(9/25) Elliott Bay Book Company: David Mitchell

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CIVICS

(9/25) Michael Backes An Expert’s Guide to Medical Marijuana

Author Events novel Lois Leveen. (Also: Eagle Harbor Books, 7:30 p.m. Thurs.) Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Sept. 24.

FRANK PORTMAN The TV comedy writer scored a huge YA hit with his 2006 novel King Dork, which he’ll sign and discuss. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 6 p.m. Wed., Sept. 24.

KEVIN THOMAS He’s the author and illustrator behind Horn! The Collected Reviews. University Book Store, 4326 University Way N.E., 634-3400, bookstore. washington.edu. 7 p.m. Wed., Sept. 24.

KIM ZUPAN She reads from her Montana-set adventure tale The Ploughmen. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Sept. 24.

CHEAP BEER & PROSE Our old colleague Claire Dederer (of the bestselling memoir Poser) joins Ian Denning, Lacey Jane Henson, and Jarret Middleton.

Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 7 p.m. Thurs., Sept. 25.

KAZU KIBUISHI AND RAINA TELGEMEIER They’re the YA authors, respectively, of Amulet #6: Escape From Lucien and Smile. University Book Store, 7 p.m.

Thurs., Sept. 25.

CHRISTOPHER SANDFORD His new history tome is Harold and Jack: The Remarkable Friendship of Prime Minister Macmillan and President Kennedy. University Book Store (Bellevue), 6 p.m. Thurs., Sept. 25.

JOHN DARNIELLE A member of the Mountain Goats, he reads from Wolf in White Van. Presented by Seattle Arts & Lectures. Barboza, 925 E. Pike St., lectures. org. $15-$50. 8 p.m. Fri., Sept. 26.

BRIAN HART A family falls to pieces in his novel The Bully of Order, set circa 1900 in the newly minted state of Washington. (Also: Third Place, 7 p.m. Thurs.) Elliott Bay, 7 p.m. Fri., Sept. 26.

(9/24) Seattle Speaks Preschool Politics

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arts&culture» Film

Opening ThisWeek

Hector and the Search for Happiness

The Equalizer OPENS FRI., SEPT. 26 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED R. 128 MINUTES.

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

BRIAN MILLER

Jimi: All Is by My Side OPENS FRI., SEPT. 26 AT SUNDANCE CINEMAS AND PACIFIC PLACE. RATED R. 118 MINUTES.

To its credit, this is an inconclusive, narrowly focused biopic sure to confound fans of Jimi Hendrix. It forgoes his Seattle origins (but for a phone call) and stops short of his global breakthrough at the 1967 Monterey Pop Festival. John Ridley’s movie mostly takes place in a few smoky clubs and rooms in New York and London.

Hendrix himself flits through these rooms like an enigmatic wisp, only a rumor of greatness, a guy who refuses to be pinned down (or to love just one bird—even the woman who secures his big break). He’s an ingrate and maybe a bastard. He’s mercurial, diffident, soft-spoken—nothing like his confident stage presence, which exists more in film than living memory.

Racism (the bobby at rear) shadows Hendrix (Benjamin, with Atwell) in London.

and the bad in Hendrix, the charmer and the You want Hendrix the rock god? There are the brooder, but still one has to ask: If he’s unpacklater albums for that, albums with the hits that ing the myth, putting the microscope to this one Ridley—who recently won an Oscar for writing short period, what does he hope to reveal? Was 12 Years a Slave—couldn’t license from the Henplaying guitar the most or the least interesting drix estate. Instead we get the groping, tentative thing about Hendrix? Ridley can’t seem to find progress toward guitar-hero status. Underconfia position on that. Nor can the finely nuanced dent Jimi is still going by Jimmy James, a mere backup player, when Linda Keith (Imogen Poots) Benjamin, because of the script, get a lock on his elusive character. It’s frustrating, but it’s also a talent-spots him in a New York club. She’s a model and the girlfriend of Keith Richards (Rid- rather bold approach to the biopic genre. Here ley has a lot of fun with this), very connected, and is a man who can’t be captured or defined, only suggested. BRIAN MILLER a blues connoisseur. Hendrix (André Benjamin) is flattered by the attention but wary of the limelight. He’s resistant to her suggestion that he sell K2: Siren of the Himalayas himself, meaning put forth a bold stage persona— RUNS FRI., SEPT. 26–SUN., SEPT. 28 AT SIFF FILM CENTER. NOT RATED. 75 MINUTES. be a frontman who sings—unlike his shy Waist-deep snow below the nature. Go to Lonsummit proved impassable. don? he asks. That’s like going to the moon. But she’s got money, and he soon obtains a passport.

The era and suggested locations here (actually Ireland) recall the recent Inside Llewyn Davis.

Hendrix plainly idolizes Dylan, as everyone did, and the movie buzzes along enjoyably with New Wave At any given backyard barbecue, you’ll meet cutting and rambling conversational turns. (All scores of Northwest climbers who’ve done the hippie talk, only 50 years old, now sounds Rainier and McKinley, some who’ve bagged like a lost language.) Over in London, too, it’s a Everest, but only a handful who’ve been up time of new freedom and possibility: Hendrix K2. The daunting weather, remote location (in likes talking about science fiction (he’s a reader) northwest Pakistan, very much a no-go area after and listens with polite skepticism when a black 9/11), and death-to-summit ratio make it a grim radical (Ruth Negga) lectures him to be more trophy indeed. It’s far safer to go for Everest (or militant—not to please the Lindas of this world. the Seven Summits—the high points on each Yet Hendrix remains fundamentally ambivacontinent) than chance a trip to the Karakoram. lent to his many advisors (Linda gets him a Mountaineers who flock to see this documentary manager and even introduces him to Andrew

by Dave Ohlson already know this, of course, and Loog Oldham). What kind of music should the film mostly traverses familiar ground. he play? What’s his musical identity—blues or Ohlson’s endeavor began in 2009, the year rock? “I don’t want to get caught up in those after icefall killed 11 on K2 and the centennial labels,” he says. Hendrix seems to get along of the Duke of Abruzzi’s first attempt to climb only with his fellow musicians; and the movie’s it. The latter expedition’s movie footage and stills last third shows that he’s got some ugly issues (by the great Vittorio Sella) are really the sellwith women. (Hayley Atwell plays Kathy, who ing point here. Ohlson and the four climbers he becomes Linda’s rival.) Ridley shows us the good profiles obviously respect that history, but it’s

FIRST RUN FEATURES

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Yes, this is a movie nominally inspired by the old ’80s TV show. And yes, it’s essentially a Liam Neeson vehicle instead starring Denzel Washington as a grumpy old samaritan/vigilante/knight errant who defends the weak and defeats the bad guys. It is, down to the R rating and inevitable shot of Washington striding in slo-mo away from an exploding orange fireball (but never looking back, because that is the law with exploding orange fireballs), exactly what you expect. There are no surprises, precisely as the intended audience desires. And for that reason, only the slow first 30 minutes hold any interest, because we’re not sure where Washington and director Antoine Fuqua—who helped him earn an Oscar for Training Day—are headed.

The initial joke is that punctilious old widower McCall lives in a tidy Boston apartment and goes to work each day—by bus, like Jack Reacher—to a big-box store called Home Mart. His colleagues love him, but he’s a polite, affable mystery. He reads a lot, though.

And at the late-night diner where he befriends a teenage Russian hooker (Chloë Grace Moretz), he conspicuously mentions that his reading list includes The Old Man and the Sea and Don Quixote. This is the kind of movie where everyone’s motives are precisely spelled out, where the bad guys are naturally Russian mobsters—Marton Csokas playing their tattooed chief enforcer—who sneer when McCall enters their den wearing comfortable New Balance running shoes and dad jeans, intending to buy the hooker’s freedom.

Briefly there’s some tension to The Equalizer, some uncertainty: Is McCall, like Don Quixote, a deluded nutcase? Is his rescue plan some kind of Walter Mitty fantasy? I’m giving nothing away to say that it’s not—because, well, the TV commercials and the exploding orange fireball. After that first encounter, the movie runs entirely according to form. McCall reveals himself to be a kind of Jason Bourne with an AARP card. And, because he works in a hardware store, you know where the final showdown will take place. Excuse me, Mr. McCall, but in which aisle could I find a nail gun? BRIAN MILLER

SCOTT GARFIELD/COLUMBIA PICTURES

McCall (Washington) has a precise way with mayhem.

The title of this whimsical though ultimately conventional quest-com spells it out for you.

(Though the underlying 2003 French novel spelled it differently.) Hector (Simon Pegg) is an upright British shrink with a committed girlfriend named Clara (Rosamund Pike), amusingly eccentric patients, and a very neat apartment. He’s also totally repressed and compartmentalized, the kind of guy who labels his sock drawer and flies model airplanes. What he needs is an adventure, very much like Tintin, so he embarks on a world tour to find out what makes people happy. (The final answer will be Clara, but you knew that already.)

Hector’s travels take him to Shanghai, the Himalayas, Africa, and Los Angeles. En route he meets a gruff business tycoon (Stellan Skarsgård), a gorgeous Chinese woman (Ming Zhou), a Tibetan monk, a drug lord ( Jean Reno), an old flame (Toni Collette), and a sage neuroscientist (Christopher Plummer). There’s a lot of talent and international color here, and director Peter Chelsom (Hear My Song, Shall We Dance?) knows how to use both quite agreeably. Hector is nothing if not agreeable—to a fault, really— though it’s impossible to hate.

Chelsom keeps the mood insistently light (borrowing some handmade notions from Michel Gondry), and Pegg plays Hector with no more depth than this parable requires.

Reality only intrudes during an ugly African kidnapping episode, where Hector shows his character by befriending the rat who shares his cell. It’s that kind of movie. Hector is a nice guy, and everyone repeatedly tells him so along the way. His trip is as much about selfvalidation—from nice to nicer—as it is a journey toward enlightenment. Back home, we can understand why impatient Clara keeps shutting off their Skype chats: So much virtue can be a bore. Come to think of it, too much Hector can be a bore, but that’s where Plummer’s scientist and his MRI machine finally intervene.

Before it chokes on its cloying aphorisms and sentiment, however, Hector does include a kernel of hard truth. When Skarsgård’s mogul ponders what, after a few hundred more million, he might do to be happy in retirement, he finally gives Hector this advice: “Don’t retire.” Plummer says the same thing later, only in greeting-card form.

PATRICK REDMOND

OPENS FRI., SEPT. 26 AT SEVEN GABLES. RATED R. 114 MINUTES.

» CONTINUED ON PAGE 26

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also padding for a project that clearly sat on the The Notebook OPENS FRI., SEPT. 26 AT SUNDANCE. shelf too long. After the terrifying drive along RATED R. 104 MINUTES. crumbling roads, the long trek up the Baltoro Glacier, then the arduous process of setting fixed lines and camps for the summit push, all the HD footage and modern gear (right down to the satellite phones and espresso makers) gives you a sense of how much harder and more daring When grandma (Molnár) the Duke’s uncharted talks, you listen—if you want to eat, that is. effort was in its day.

A separate and more comprehensive documentary on that subject Nothing to do with Nicholas Sparks, this adapwould’ve been a more fruitful approach for this tation of a 1986 novel by Hungarian writer first-time filmmaker. (He was assisted in the Ágota Kristóf is very much a World War II edit, entirely professional, by local director/promovie. More than that, however, it’s a parable of ducer Jason Reid.)

Europe about to be brutally divided in two—a “The mountain looked sinister,” says one of post-World War II movie as well. Unnamed twin the Duke’s journal entries (read aloud with boys (László and András Gyémán), about 13, are an Italian accent), and it’s still infrequently sent from Budapest to stay with a hostile grandclimbed for that reason. Or as local mountainmother known as “the witch” (ogre is more like eering legend Ed Viesturs later described it, it.) She’s a gruff peasant built like a tree stump, after pushing to the summit despite avalanche pretending to be poor but keeping a secret trove conditions (instead of turning around), “That of jewels and food (the latter she never shares was the biggest mistake I’ve ever made in my with the boys, who are made to work for their climbing career.” BRIAN MILLER gruel and bread). In outline, this Notebook is almost a fairy tale, albeit one filled with Nazis, collaborators, famine, dropping bombs, and the PLast Weekend OPENS FRI., SEPT. 26 AT SUNDANCE smoke from a nearby concentration camp.

CINEMAS. NOT RATED. 94 MINUTES. In such a (mostly) heartless environment, the boys grow up fast and according to a pecuTom Dolby’s quiet dramedy starts as real-estate liar moral code. Their father, a soldier sent to porn: shots of a mini-manor, with interiors that the front, gave them a notebook to record the would make Martha Stewart moan with envy, set objective truth of their dire situation. (Was on a sparkling lakeshore (Tahoe, as it happens) he a philosopher? We never learn.) The boys, for which most state tourism boards would sell like little protégés of Nietzsche, embrace his their grandma. It morphs, gently as a sunset, into lesson plan with a vengeance. They learn to something like an A.R. Gurney play transposed west—an autumnal examination of upper-middle- steal and manipulate (between math and Bible studies), to condition their bodies to withstand class mores in the face of bittersweet change. pain and hunger, to depend on no one but As her family gathers here over Labor Day themselves, to cast aside almost all notions weekend, as they have forever, Celia (Patricia of human attachment. In short, they’re creaClarkson) is secretly mulling whether to sell tures formed by the horror and cruelty of war: the site of so much history. (The spoiler’s in the adaptable survivors, possibly monsters. (Howtitle.) This is only one secret in the web of posever, they do show feelings for a cleft-lipped sible emotional flashpoints connecting her, her village girl, played by Orsolya Tóth; a Jewish husband, her two adult sons, their significant cobbler; and finally the grandmother, actress others, and a few other friends. (The characters Piroska Molnár. To their parents they extend include a TV actress played adorably by Jayma less forgiveness.)

Mays, a sort of baby Heather Graham; also Innocence colliding with wartime atrocappearing are old pros Judith Light and Mary ity is, naturally, an old theme in European Kay Place in tiny roles that’ll leave you yearning cinema. One thinks of Forbidden Games here, to see more of them.) of The Tin Drum and Europa Europa, only This family’s usual mode of communication is these two lads are self-made sociopaths. You unwitting (or are they?) put-downs wrapped in can’t entirely blame the war for their conduct; gentility; Last Weekend ’s subtext is how wealth though in director János Szász’s version of becomes a cozy bubble that enables you not the novel, the parents are both culpable and to have to consider whether your words sting. cursorily sketched. It’s axiomatic that war only Clarkson, of course, from The Station Agent to brings out the worst in people, but where is Six Feet Under to Far From Heaven, can ring the twin axiom that war also brings out the changes on subtly observed brittleness like no best in people? The Notebook has no interest in one else. Not everyone in the cast handles so those pages. Its chronicle of cruelty and dehudeftly Dolby’s slightly pat script; they’re not manization grows wearying, even if we know completely able to build real people out of those it’s prophetic. By the war’s end (and the arrival characters given only plotlines in lieu of perof the Communists), you’re not sure the boys’ sonalities. But this is Clarkson’s movie. They’re survival is a good thing. On whichever side of moons around her neurotic planet, all of whom the Iron Curtain they end up, both sides lose. raise the question: Does money make you this way, or does it merely let you get away with it?

BRIAN MILLER

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William Bell at the mike in Take Me to the River.

Take Me to the River OPENS FRI., SEPT. 26 AT VARSITY. NOT RATED. 95 MINUTES.

The talent on display in this music doc is undeniable. Filmed in the storied studios of Memphis, it features the studio musicians and stars who helped define the blues and soul sounds of the ’60s and ’70s. And there is enough history here, both musical and social, to fill an entire Ken Burns documentary series, never mind the Roosevelts.

Still, this first directorial effort from Grammynominated record producer Martin Shore underserves its subjects, no matter how much he evidently loves them. Take Me to the River is simply too broad, lacking any sort of thesis or narrative thread. In opening narration (by actor Terrence Howard) about the Mississippi Delta and its astounding music history, we’re told, “Out of nowhere, hits began to spring from this integrated utopia.” That just isn’t true. And while we hear some telling anecdotes and see some rare archival footage cut among current performances (some good, some forgettable), the sum here is far less than its parts.

This is mostly due to the film’s structure, built around the the recording of a “historical” album with Memphis players old and young. (It’s a promo flick, in other words.) The doc is segmented into individual sessions, which at times shine with rousing performances from the likes of Charlie Musselwhite and Mavis Staples. But, early on at least, the younger artists get in the way of a film that wants to be focused on history.

Booker T. Jones is, naturally, the first artist we meet, yet his considerable skills are overshadowed by collaborator Al Kapone’s. The latter’s verse seems dashed off, even artless—as when he raps about riding to the studio in Booker T’s van.

Worse is the mismatch between R&B heavyweight Otis Clay and a child rapper named Lil’ P-nut. While Clay is busting a gut over lost love, P-nut is stealing the spotlight with novelty. When asked if he can relate to what Clay is singing, P-nut imparts that he doesn’t feel that strongly about women, but “I can’t live without toys.”

Thankfully those early album sessions are the most cringeworthy (the telltale sign of a rookie filmmaker), and later collabs with Frayser Boy (“It’s Hard Out Here for a Pimp”) and Snoop Dogg are more respectful. But those who can stomach the initial awkwardness are also rewarded with moving historical explorations, particularly meditations on the Civil Rights movement, the assassination of Dr. Martin Luther King Jr., and the downfall of Stax Records. It is in these tantalizing, lucid moments

that the story of Memphis music begins to unfold. Then the film moves on to the next track.

MARK BAUMGARTEN

P20,000 Days on Earth RUNS FRI., SEPT. 26–THURS., OCT. 2 AT GRAND ILLUSION. NOT RATED. 97 MINUTES.

As the title indicates, this quasi-documentary starts on its protagonist’s 20,000th day on this planet. That protagonist is Nick Cave and—as the clever title sequence shows in flickering old video from childhood to his days as a frenetic frontman for The Birthday Party and the Bad Seeds—those days have been full and fiery.

After that vivid prologue, Cave awakes on a mundane note in his Brighton bedroom. “I wake, I write, I eat, I write,” he says in his disquieting drawl. Yet as an equal partner in the project with filmmakers Iain Forsyth and Jane Pollard, he divulges only so much about himself: Neither his life story nor his philosophy are easily understood. Rather, this is both a biographical sketch and a fanciful promotional art film, which documents the recording and live performance of 2013’s acclaimed Push the Sky Away. Throughout, Cave maintains his deadpan, oblique sensibility.

It’s a fresh, lyrical, and very welcome take on the well-worn rock-doc genre. 20,000 Days even puts Cave on the therapist’s couch to tease out his story. During this extended scene—shot, like the entire film, in a flattering and dramatic light that gives Cave’s universe a fittingly crisp and sinister air—we learn some secrets (unless they’re more of Cave’s fictions). He tells of his earliest sexual experience, his dalliance with cross-dressing, and the looming and loving presence of his father, who died when Cave was young. Asked what he most fears, he replies, “Losing my memory”—and that’s likely the film’s most important notion: The past informs all his writing.

Later, Cave enters a chamber of memory, his own personal archive where old photos and journals—handled with forceps and gloves—are examined, allowing him to reminisce about past band members and loves, to opine more broadly about the meaning of it all.

His growling narration dominates the film, and Cave is full of well-wrought philosophical axioms. “To act on a bad idea is better than to not act at all,” he says, “because the worth of the idea never becomes apparent until you do it.” Beyond such aphorisms and snippets of memory, viewers may be frustrated by the lack of traditional biography here. But they will never forget this dazzling, dark film. MARK BAUMGARTEN E

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8 p.m. Thurs., Sept. 25.

EARTH GIRLS ARE EASY Julien Temple’s 1988 comedy, with Geena Davis, Jeff Goldblum, and Jim Carrey, is a lot of fun, mixing romance with some infectious ’80s music. (PG) Central Cinema, 1411 21st Ave., 6866684, central-cinema.com. $6-$8. 7 p.m. Fri.-Tues. & 3:30 p.m. Sat.-Sun. PALO ALTO Watching Gia Coppola’s humdrum highschool teen angst movie, I couldn’t help but wish she’d followed the route of her grandfather (Francis Ford Coppola) and chosen to cut her teeth on something less pretentious and meaningful—you know, like a down-’n’-dirty horror picture. Palo Alto is adapted from a book of short stories by the apparently inexhaustible James Franco, who also plays a supporting role in a handful of scenes as a sleepily lecherous soccer coach whose focus of attention is a confused 16-yearold named April (Emma Roberts). Along with April’s issues, there are also promiscuous Emily (Zoe Levin) and diffident Teddy (Jack Kilmer, son of Val Kilmer— who cameos, daffily). This is California ennui born of an overabundance of privilege and living space, captured in a manner that seems weirdly pedestrian. If it weren’t for the excellence of Roberts (another scion: daughter of Eric, niece of Julia), Palo Alto would have an eerie lack of distinguishing features. (NR) ROBERT HORTON SIFF Film Center (Seattle Center), 324-9996, siff.net. $6-$12. 7 p.m. Mon. PATEMA INVERTED This new Japanese anime, a sci-fi teen romance, is presented in both dubbed and subtitled prints. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $6-$12. Runs Fri.-Thurs.

SCARFACE One of the most influential films of the ’80s, Brian De Palma’s Scarface made Cuban immigrant coke dealer Tony Montana (Al Pacino) an icon of the VHS era. Its nothing-to-everything theme had great resonance for the young Snoop Dogg, Method Man, Ghostface Killah, Capone, Scarface (who adapted his nom de rap from you know who), Russell Simmons, and others. According to no less an authority than P. Diddy, Montana “was an upstanding gangster, which is a rare thing.” Certainly these fans are right on target about Scarface as a parable of unfettered American capitalism. All point not to the film’s violence but to its moral: Montana becomes a monster who deserves to be destroyed; he’s undone by his own excess. (R) BRIAN MILLER Central Cinema, $6-$8. 9:30 p.m.

Fri.-Tues.

VALLEY UPRISING Peter Sarsgaard narrates this new rock-climbing doc about the history of big-wall ascents in the Yosemite Valley. (NR) Oak Tree, 10006 Aurora Ave. N., reelrocktour.com. $20. 7 p.m. Weds. & Thurs.

HA PPY HOU R

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• BOYHOOD Richard Linklater’s Boyhood was shot in

THE DISAPPEARANCE OF ELEANOR RIGBY: THEM

Eleanor (Jessica Chastain) walks across a New York City bridge on a pleasant day, and at one point abruptly dodges out of frame. The rest of the movie is an attempt by Eleanor—and her family, friends, and husband Conor (James McAvoy)—to figure out what happens after she survives her fall. After her suicide attempt, El goes to live with the folks, so we see how she’s been shaped by her distracted father (William Hurt), a psychiatrist, and her wine-swigging mother (Isabelle Huppert), who likes reminding Eleanor what she sacrificed for family. Conor has more life: he’s managing a restaurant that is quietly failing, leading to charged encounters with his best pal/head chef (SNL

» CONTINUED ON PAGE 28

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.

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

THE SKELETON TWINS THE EQUALIZER

ALL IS BY MY SIDE

LAST WEEKEND

MY OLD LADY

THE NOTEBOOK

BOYHOOD

THE TRIP TO ITALY

THE DROP

A WALK AMONG THE TOMBSTONES LOVE IS STRANGE THE MAZE RUNNER *tickets available at the box office.

SUNDANCECINEMAS.COM

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

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

Protagonist Mason (Ellar Coltrane), tracked from first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a three-act structure. 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.) As we reach the final stages, there’s definitely a sense of rounding off the story—the movie’s not as shapeless as it might seem. (R) R.H. Sundance, SIFF Cinema Uptown

27

a&c» Film » FROM PAGE 27 SHOWTIMES

SEPT 26 - OCT 2

EARTH GIRLS ARE EASY

FRI - TUES @ 7:00PM & SAT- SUN @ 3:00PM

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SCARFACE

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WRITTEN AND DIRECTED BY JOHN RIDLEY ACADEMY AWARD® WINNER FOR ‘12 YEARS A SLAVE’

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If you loved Twenty Feet From Stardom,Take Me to the River is a buoyant, vastly entertaining follow-up.”

glimpse of Soulville’s past meeting its future.”

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SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

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stalwart Bill Hader). Director Ned Benson’s Benson’s project bowed at the Toronto Film Festival last fall as two separate features: The Disappearance of Eleanor Rigby: Her and Him. This film is a 122-minute compilation of the two, though the intriguing point of the original project was how the twin movies reflected on each other from contrasting perspectives. Them is a less-than-convincing in-betweener. (R) R.H. Guild 45th, Pacific Place, Lincoln Square FLAMENCO, FLAMENCO Carlos Saura’s 2010 dance doc is a series of individual performances reflecting the state of the art form today, from the traditional to the avant-garde. The structure of the film is quite simple—it’s just a series of numbers, some featuring only musicians or dancers, some more elaborate. Apart from section titles, there’s no description or explanation; the dancing simply speaks for itself. Instead of filming in a studio or a club, Saura built a platform in a soundstage and filled it with portraits of dancers— some from the past, others a figment of his imagination.

Vittorio Storaro’s hyper-mobile camera slides through that gallery and around the performers. We rarely get the feeling that we’re watching from a theater seat.

Instead we’re right next to the dancers, sometimes the direct focus of their attention. Traditional flamenco is performed in small quarters; Storaro and Saura have found a way to match that intimate feeling. (NR) SANDRA KURTZ Varsity LOVE IS STRANGE 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 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. Yet 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. (R) R.H. Harvard Exit THE SKELETON TWINS Maggie and Milo are fraternal twins who are estranged (for 10 years), living on opposite coasts, and seriously depressed for reasons that seem dissimilar but boil down to past family trauma. That Maggie and Milo are played by Kristen Wiig and Bill Hader will get this mediocre dramedy more attention than it deserves. That their performances are good oughtn’t be surprising (the two SNL pros have plenty of experience with the comedy of awkwardness). That their script is so tonally sad-happy yet familiar, one has to attribute to the inexperienced writers (Mark Heyman and Craig Johnson; the latter is a Bellingham native and UW grad who directed the film). Maggie and Milo are catty, sardonic misanthropes, angry at the world because they haven’t lived up to their youthful potential. A failed actor, Milo returns home to New Jersey, where Maggie’s a dental hygienist married to a doofus (Luke Wilson) whom she treats with gentle contempt.

There’s also a sex scandal lurking in the past, but the snark bogs down in melodrama; and no amount of ’80s pop montages can really change the film’s predictable trajectory. (R) B.R.M. Harvard Exit THIS IS WHERE I LEAVE YOU The fractious Altman clan gathers for an awkward and altogether irreverent weeklong mourning period (sitting shiva) for its deceased patriarch, at the command of an imperious new widow (Jane Fonda). Among her four grown children, Corey Stoll is the son who stayed to run the family business; Adam Driver is the ne’er-do-well youngest son who fled to the West Coast; Tina Fey is the unhappily married wife and mother, also visiting; and Jason Bateman is the New York radio producer whose marriage just imploded (not that he’s telling anyone, not just now, not on this trip, no way). There’s a lot of ground to cover in this cluttered adaptation of Jonathan Tropper’s 2009 novel, directed with no great subtlety by Shawn Levy, who helmed all those Night at the Museum movies. There are moments that work well here, but Levy is fatally wed to a formula of tears, outbursts, wise counsel, and reconciliation—repeated often. (R) B.R.M. SIFF Cinema Uptown, Guild 45th, Cinebarre, Ark Lodge, Lincoln Square, Bainbridge

Tim

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“TAKE ME TO THE RIVER” PRODUCERS MARTIN SHORE CODYDICKINSON LAWRENCE “BOO” MITCHELL JERRY HARRISON DANSAMEHA BRETT LEONARD EXECUTIVE PRODUCERS JOHN BEUG SNOOP DOGG TEDCHUNG TERRENCE HOWARD DIRECTED BY MARTIN SHORE MUSIC FROM THE FILM AVAILABLE ON STAX RECORDS www.tmttr.com

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» Music

QN I G H T C L U B U P C O M I N G

Decibel Fest 101

E V E N T S

T H U R S D A Y, O C T O B E R 2 N D

No big headliners, no problem; they’re all good this year.

BY DUSTY HENRY

FESTIVAL

Baths

S O U L C L A P, 09/26/14 WOLF + LAMB, NICK MONACO PHOTOS COURTESY OF DECIBEL FEST

TOKiMONSTA

Oneohtrix Point Never

T

Other groups like London duo Simian Mobile Disco aren’t new to Decibel, but haven’t seen

widespread appeal quite yet—even though the band’s James Ford has produced for acts like Arctic Monkeys and Florence and the Machine.

The duo has been experimenting in particular with breaking the barrier between live and studio records with its latest album, Whorl, piecing it together from studio sessions, live sets, even recordings from rehearsals. There’s no audience cheering, just the sounds of two guys experimenting on modular synths and sequencers.

Portland’s Seth Haley, aka Com Truise, pairs throwback vibes with future-minded beats. Listening to Haley’s music is like hearing a remix of the 1980s aesthetic as a whole. Kitschy drum patches and cheesy synthesizers get mixed with modern technique, exploring the downbeat recesses of the music that the decade wasn’t known to touch upon. He’s worked with and remixed acts like Daft Punk and Neon Indian, expanding that music into even more ethereal headspaces.

But Decibel isn’t all experimental electronic music. Chicago’s DJ Spinn levels it out with a helping of tenacious hip-hop beats. Spinn is best known for collaborating with the late DJ Rashad, who passed away earlier this year. In many ways the two complemented one another perfectly, Spinn adding just the right amount of Chi-town flavor to Rashad’s excellent 2013 album Double Cup. Hearing Spinn without Rashad will be bittersweet, but Spinn has proven himself a capable producer in his own right. He employs elements of different regions of hip-hop, throwing in West Coast, G-Funk synth lines alongside chopped and screwed Houston hip-hop hooks. E

music@seattleweekly.com

DECIBEL FESTIVAL. Individual tickets $8 and up, festival passes $225.

Some age restrictions. Runs Wed., Sept. 24– Sun., Sept. 28 at venues across Seattle; see decibelfest.com for complete details.

KINGDOM: DECIBEL EDITION

!!! D JS & K A S TLE

U M E K & T O M F L Y N N 10/02/14 BONDA X 10/09/14 AEROPLANE 10/16/14

09/27/14

W/ SE A N M A JOR S & BGEE Z Y ALL GONE PETE TONG

PETE TONG, 09/28/14 TENSNAKE & ISIS GRAHAM

SATURD AYS

JACOB PLANT LES SINS R AV E O F T H R O N E S T O U R

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10/18/14 11/15/14 12/06/14

TICKETS AVAIL ABLE AT W W W.QNIGHTCLUB.COM 1426 Broadway - Seattle, WA

SE ATTLE WEEKLY • SEPTEMBER 24 — 30, 2014

he Decibel Festival has a history of being ahead of trends. Over its 11-year run, it has featured artists like James Blake, Deadmau5, and Lorde before they achieved mass appeal, sometimes giving them their regional live debut. This year’s lineup, however is a little different; there are no superstar acts like last year’s headliners Moby and Peter Hook & The Light. Settling on what to see and do can be intimidating for those not fully indoctrinated in the burgeoning electronic underground. But that doesn’t make this year’s lineup any less lackluster. Instead of utilizing Decibel as a way to cross off names on your “must see” list, it’s a chance to explore who’s taking electronic music in new directions.

Groups like Baths and Tokimonsta exhibit moody atmospherics with an emphasis on compositional tone that’s been on the rise within the genre: less focus on getting people to dance and more on a core feeling, an effect heightened with low-humming synthesizers, muffled drum loops, and hazy vocals. Baths’ latest record, especially, delves into this abyss; even Ocean Death’s blackand-white cover emphasizes the dreariness.

Tokimonsta, in contrast, may sound a bit more vibrant, embracing R&B smoothness in her sound, but the pensiveness is not lost.

Oneohtrix Point Never got a dose of mainstream exposure earlier this year with an opening slot on a leg of the Nine Inch Nails/ Soundgarden mega-tour. In many ways, NIN is an ideal pairing for OPN: Just as Trent Reznor shocked and confused audiences with Pretty Hate Machine and The Downward Spiral, OPN expounds on that weirdness with all the 21stcentury tools at his exposure. Fleeting moments of beauty are quickly shot down with glitches and effects that sometimes resemble malfunctioning machinery. It sounds absurd, and it can be. OPN pushes the concept of a structured song to its breaking point, seeing how far away he can push the music to disorienting heights.

TH URSD AYS

CREW LOVE

29

El Corazon www.elcorazonseattle.com

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

THURSDAY, SEPTEMBER 25TH KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:

SONATA ARCTICA

With Delain, Xandria, Last Bastion Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $20 ADV / $23 DOS/ $75 VIP

FRIDAY, SEPTEMBER 26TH

RAISE IT UP! FIGHT FOR $15 IN ALL 50

S

A BENEFIT CONCERT FOR 15 NOW FEATURING:

TH OLD AN O KY U OU T !

Tom Morello from Rage Against The Machine, Chris Cornell (of Soundgarden and Audioslave), Special Guest: Kshama Sawant, Ancient Warlocks, Subject To Downfall

Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $20 ADV / $25 DOS / $75 VIP

SATURDAY, SEPTEMBER 27TH

MONDAY, SEPTEMBER 29TH KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:

CROWBAR With Revocation, Havok, Fit For An Autopsy, Armed For Apocalypse, Witchburn

Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $20 ADV / $23 DOS

MONDAY, SEPTEMBER 29TH

TOTAL SLACKER

with PAWS, Flashlights, Plus Guests Lounge Show. Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

TUESDAY, SEPTEMBER 30TH

MIKE THRASHER PRESENTS:

MIKE THRASHER PRESENTS:

with Darling Parade, First Decree, The Nixon Rodeo, Stoic FB Doors at 7:00PM / Show at 7:30

with Sabaton, Skeletonwitch

TRAPT

ALL AGES/BAR W/ID. $16 ADV / $20 DOS

SUNDAY, SEPTEMBER 28TH

AMON AMARTH

Doors at 7:00PM / Show at 8:000 ALL AGES/BAR W/ID. $26.50 ADV / $30 DOS

WEDNESRDAY, OCTOBER 1ST

Thursday, Sept. 25

Contributing to Ornette Coleman’s earliest and most expansive experiments in free improvisation would alone have assured bassist Charlie Haden’s enduring prestige within the jazz community. But those recordings, made during the late 1950s and into the following decade, were only a part of the bassist’s work, which expanded to include cross-cultural efforts like his Liberation Music Orchestra and later ECM records endeavors. Haden died in July, and to commemorate his work, Birch Pereira and the Wayward Music Series have organized A TRIBUTE TO CHARLIE HADEN, with an ensemble of area bassists and other musicians to play compositions Haden had a hand in writing. A large group is slated to appear; expect a wide-ranging selection of the man’s material. With John Seman, Paul Kemmish, Geoff Harper, Carmen Rothwell, Evan Flory-Barnes, David Michael Marcus, Jason Goessl, Ben Krulewitch, Seth Alexander, Scott Morning. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, waywardmusic.org. 8 p.m. $5–$15 suggested donation.

DAVE CANTOR

TWIZTID with Kung Fu Vampire, Psych Ward Druggies,

TAKE WARNING PRESENTS:

Friday, Sept. 26

Neurotic November, Scum, CON-CRETE, Enasnimi

with Matt Wertz, Mikey Wax

Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $20 ADV / $25 DOS

Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $16 ADV / $18 DOS

TOM MORELLO has never been afraid to stand up

PARACHUTE

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

for what he believes or use his platform as a worldrenowned musician to raise awareness of social and political injustice. In the past, the Rage Against the Machine/Audioslave/Nightwatchman guitarist has protested the use of music in interrogations at Guantanamo Bay and performed at Occupy movements around the world. In 2002, he co-founded a nonprofit, Axis of Justice, with System of a Down’s Serj Tankian. Most recently, Morello has lent his voice to 15 Now, which seeks to raise the minimum wage to $15 an hour across the U.S. For this show, an acoustic concert benefiting the organization, he shares the bill with Chris Cornell. Yeah, it’s sold out. With Subject to Downfall, The Missionary Position. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. 8 p.m. All ages. AZARIA C. PODPLESKY In February, DANIEL G. HARMANN laid his band, The Trouble Starts, to rest to resurrect his solo career.

Shortly after, he collaborated with Vox Mod on “New Concerns,” a EDM-oriented track in some contrast to his ex-band’s spacious post-rock sounds. “When you work with a band, you give a lot of yourself away,” he said in a recent interview, alluding to his new sonic direction. His solo work leans toward a more intimate, stripped-down sound—one he says “captures a place and time that hasn’t really changed”—and he just finished recording his first solo album in seven years, due out this spring. With Honeybear, Carrie Akre, Heidi Five Ash. High Dive, 513 N. 36th St., 6320212, highdiveseattle.com. 8 p.m. $8 adv./$10 DOS. MICHAEL F. BERRY

Saturday, Sept. 27

ELTON JOHN doesn’t need marketing. If he announces

a show, no matter where or when, odds are it’s going to be difficult to get your hands on a ticket. If he names his tour All the Hits, as he has for his current outing, that’s just a classic example of overselling. He could easily play a four-hour medley gig and still not get through all of his many hits. Certainly he will play “Goodbye Yellow Brick Road,” “Candle in the Wind,” “Rocket Man,” and “Tiny Dancer,” but will he get to “Crocodile Rock?” How about “Your Song” or “The Bitch Is Back?” No, wait, come back, Elton! Key Arena, 305 Harrison St., 684-7200, keyarena.com. 8 p.m. $50 and up. CORBIN REIFF A few years back, the Canadians in THE CONSTANTINES called it a day. Getting back together to commemorate the 11th anniversary of Shine a Light, the troupe’s first disc, which Sub Pop reissued in June, seems like an awkward reason for reuniting. But it’d be easy to guess that the twitchy coming-of-age songs that the Constantines raved up and slowly molded into surfeit-expressive rock stuff was more than a job. It likely served to define them as dudes. And coming back into the fold, regardless of the ravages of time, grants the ensemble not just another chance at self-examination, but fans an opportunity to look at what the music means 11 years later. With Constant Lovers, Dreamsalon.

Neumos, 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $20. DC

After the success of its debut album, 2012’s Kids Raising Kids—which featured the undeniably hip-shaking number “Heartbeat” (and its hilarious accompanying video) and rockers like “Wandering Eyes”—the indie-rock KOPECKY FAMILY BAND is ready for the next thing.

Fortunately it has a new album coming out this spring, and though singer Kelsey Kopecky says the album might be a bit of a curveball for some fans, she hopes people will come along for the ride. “That’s something I always fear when I like a band,” she says. “They’re happy about this record they created differently, so what does that mean? Are they going to lose that special thing I loved about them? I get that, but we’re definitely still the same band.” With Avid Dancer. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern. com. 9 p.m. $10. 21 and over. BRIAN PALMER

Sunday, Sept. 28

PINBACK’s Rob Crow is a sort of an inhumanly multi-

talented chap. While half the core duo of Pinback with bassist Zach Smith, Crow keeps himself busy with several other worthy side projects and solo releases, most notably his doomy stoner-metal project Goblin Cock.

Somehow he still finds time for his beloved indie-pop outfit, which seems to play bigger venues each time it hits Seattle. While some fans don’t like the high-energy songs the band is known to perform live—as opposed to its more melancholy studio versions—on-the-fence fans should still check it out, especially since this stop will include the classic album Summer in Abbadon, released 10 years ago this year, played in its entirety.

With Tera Melos. The Showbox, 1426 First Ave., 6283151, showboxpresents.com. 7 p.m. $18.50 adv./$22 DOS. All ages. JAMES BALLINGER

Monday, Sept. 29

Slow Club Complete Surrender, the latest album from SLOW CLUB, the English duo of Charles Watson and Rebecca Taylor, is a bit like a Choose Your Own Adventure book. While sharing vocal duties, the pair presents several musical options for listeners. For fans of ’60s pop, there are tunes like “Tears of Joy” and “The Pieces.” Those in the mood for something more melancholy should check out “Paraguay and Panama” and “Dependable People and Things That I’m Sure Of,” while those looking for a new take on bluesy soul will appreciate the title track and “Suffering You, Suffering Me.” Despite the variety, Complete Surrender doesn’t sound disjointed; Watson’s bright voice and Taylor’s powerful vocals tie everything together. With Roses, Hibou. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $12 adv. 21 and over. ACP LIVING COLOUR stood out as a lone prominent black voice amid the heavily whitewashed metal scene of the late 1980s. Its unique sound came from a mild infusion of funk into the genre’s crunchy, distorted riffs and hypermasculine guitar solos. The band’s touring to celebrate its 30th anniversary, and a new album, Shade, its first since 2009, is due later this fall; it draws inspiration from the blues of Robert Johnson and Led Zeppelin. Opening act Ayron Jones and The Way, protégés of Sir Mix-A-Lot, seem like natural heirs to the throne. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $35 adv./$40 DOS. All ages. MFB Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

SHERVIN LAINEZ

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

TheWeekAhead

MIKE THRASHER PRESENTS:

JUST ANNOUNCED 10/19 - DEMON HUNTER 10/22 LOUNGE - DOWN WITH WEBSTER 10/25 - DJ BEHZAN / DJ POOYAN 10/29 - EYEHATEGOD 11/3 - 36 CRAZYFISTS / SKINLAB 11/14 - MELANIE MARTINEZ 11/15 LOUNGE - THE BOTS UP & COMING 10/2 LOUNGE - LOSE CONTROL 10/3 - AARON CARTER 10/3 LOUNGE - UKE-HUNT 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 10/10 - HELLION 10/10 LOUNGE - HAIL THE SUN 10/11 - FRIENDS LIKE ENEMIES 10/11 LOUNGE - RAGS & RIBBONS 10/12 - GUTTERMOUTH 10/13 - HEAD NORTH 10/13 LOUNGE - THIRA 10/14 LOUNGE - PUP 10/15 - UNDER CITIES 10/16 - AB-SOUL 10/17 - 2ND ANNUAL BURGER CARAVAN OF STARS TOUR FEAT. TOGETHER PANGEA 10/17 LOUNGE - THIS WILD LIFE 10/18 - “ROCK 4 RESCUES CHARITY CONCERT” TO BENEFIT MOTLEY ZOO ANIMAL RESCUE FEAT. THE AMANDA HARDY BAND 10/18 LOUNGE - CONSIDER ME DEAD

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arts&culture» Music

Old Crow, NewSong

1303 NE 45TH ST

Old Crow Medicine Show moves forward by looking back.

BY DAVE LAKE

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT! ANDREA BEHRENDS

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music@seattleweekly.com

OLD CROW MEDICINE SHOW The Paramount, 911 Pine St., 682-1414. stgpresents.org/paramount. $23.75–$38.75. 8 p.m. Fri., Sept. 26.

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n “Doc’s Day” from Old Crow Medicine Show’s latest album, Remedy, the bluegrass, folk, and Americana band pays tribute to Doc Watson, a man partially responsible for its success—he discovered the band while they were both busking on the same North Carolina corner.

The song is another way OCMS is connecting the dots of its influences. The trend started before it was a band, when a teenage Ketch Secor, the frontman, took an unreleased Bob Dylan tune, “Rock Me Mama,” and transformed it into “Wagon Wheel,” a four-chord yarn about traveling which eventually appeared on the septet’s 2004 debut and which later became a #1 country hit for Darius Rucker. (Fun fact: Dylan once sued Rucker’s former band Hootie and the Blowfish for using his lyrics without permission.)

In paying tribute to the artists it loves, OCMS has helped launch a crop of modern acts with an old-time bent, like Mumford & Sons, the Avett Brothers, and the Lumineers, each of which have arguably found more success than OCMS itself. “I attribute the rise of string bands and similar outfits to a real pride in authenticity,” Secor told Acoustic Magazine, “something that’s the antithesis of the cultural phenomenon of the 21st century.”

Not that OCMS needs to worry about its fan base drying up. The group, performing at the 2,800-capacity Paramount tonight, was asked to join the Grand Ole Opry last year, and Remedy is its highest-charting album yet, cracking the Billboard Top 20. Secor, too, thinks the music he had a hand in reviving isn’t going away anytime soon. “Fiddles and banjos won’t be denied,” he told The New Yorker. “I believe they’ll outlast most other American institutions.” E

in This Bring T And ge n o Coup er iz T e p p one A 2 oFF! For 1/

31

arts&culture» Music LocaLReLeases Dead Bars,

dinner & show

mainstage THU/SEPTEMBER 25 • 7:30PM

taylor davis

FRI/SEPTEMBER 26 • 8PM THE TRACTOR TAVERN AND THE TRIPLE DOOR PRESENTS

sean hayes w/ eric and erica SAT/SEPTEMBER 27 • 6:30PM 11TH ANNUAL DECIBEL FESTIVAL PRESENTS

optical 5: ghostly international w/ jacaszek, loscil, christopher willits SUN/SEPTEMBER 28 • 6:30PM 11TH ANNUAL DECIBEL FESTIVAL PRESENTS

optical 6: erased tapes w/ douglas dare, greg gives peter space, rival consoles MON/SEPTEMBER 29 • 7:30PM

living colour

w/ ayron jones and the way WED/OCTOBER 1 - SAT/OCTOBER 4 • SHOW TIMES VARY

burlesco divino: wine in rome

SEATTLE WEEKLY • SEPTEM BER 24 — 30, 2014

SUN/SEPTEMBER 5 • 7:30PM

32

rust on the rails (cody beebe, blake

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next • 10/6 masters of hawaiian music: george kahumoku jr, ledward kaapana, “uncle” richard ho‘opi‘i • 10/7 three below (michael manring, trey gunn, arreola) • 10/8 brazilian nights! filó machado w/ jovino santos neto • 10/9 & 10 nearly dan • 10/11 “the harper’s dream” patrick ball, aryeh frankfurter, lisa lynn, kim robertson,

happy hour every day • 9/24 goessl/pereira/van batenburg trio • 9/25 a cedar suede • 9/26 djangomatics / gravel road • 9/27 brain fruit • 9/28 hyw 99 blues presents: mbrascatu • 9/29 crossrhythm sessions • 9/30 singer-songwriter showcase featuring: kasi jones, monica-crystal arandia and shyan selah • 10/1 kareem kandi TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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Dead Bars EP (out now, No Idea Records, deadbars. bandcamp. com/album/ dead-bars) If Bruce Springsteen took a wrong turn at the New Jersey Turnpike and ended up joining a gang of chain-smoking bikers, he might sound a little like Seattle’s Dead Bars. It’s no coincidence, since lead screamer/guitarist John Maiello and drummer C.J. Frederick are both originally from New Jersey, and probably have a lot of The Boss’ DNA in them. Even with the addition of Andrew Robison on guitar, the three are considerably outnumbered by the E Street Band, yet somehow manage to channel that same rousing “Born in the U.S.A.” spirit, funneling it through a punk lens to create blue-collar anthems you can mosh to. These are songs about getting off work at the EMP, going to McDonalds, then hitting up the (now defunct) Funhouse for karaoke.

Songs about missing home runs at the Mariners game because you were in the bathroom. This is punk rock for Everyman. Credit must be given to Maiello’s amazing shouting skills. He possesses a rasp so deep and gravelly that it’s astounding he hasn’t popped a blood vessel yet. Listening to “Love Sick” and looking at the EP’s cover art (childhood photos of Maiello and Frederick), it’s hard to imagine how this voice is now coming out of a human that used to be so small and smiley. (Sat., Sept. 27, Kraken Bar) KELTON SEARS J Mascis,

Tied to a Star (out now, Sub Pop Records, jmascis.com) After Dinosaur Jr. reformed in 2005 and put out two successful records with its original lineup, singer/guitarist J Mascis released 2011’s Several Shades of Why, his first solo offering outside of other projects with which he was peripherally involved. With things quieting on the Dino Jr. front and bassist Lou Barlow’s Sebadoh revving up again, Star is perfectly timed. Several Shades of Why was Mascis at his core, a man and his acoustic (with a few guest musicians in the mix), and Star practically picks up where he left off. Complete with Mascis’ falsetto vocals, lead-off track “Me Again” is a soft acoustic opener with a distinct AM Gold sound, and it’s some of his best work in years.

Overall, the album is considerably more upbeat and organic, peppered with various instruments and even a vocal appearance by Cat Power on “Wide Awake.” It more appropriately showcases Mascis’ voice and technical prowess on the guitar—an element that sometimes gets washed out among the feedback and wailing guitars of Dino Jr. This works in his favor, as Star never has much of a chance to get bogged down in its own indie-folk sorrow. It’s occasionally uplifting and

firmly rooted in its acoustic roots, making it a pleasant record—all it really ever needed to be.

(Wed., Nov. 19, Tractor) JAMES BALLINGER Murder City Devils, The White

Ghost Has Blood on Its Hands Again (out now, self-released, themurdercitydevils.com) Reunion records can be a drag.

So often they’re like old college friends returning to the local dive, speaking in big words and other languages, wearing new khakis. Founded in Seattle in 1996, the Murder City Devils would go on to some success, but ultimately called it quits five years later. Reforming in 2006, the band played live sporadically, doing various tours and festivals, but no new music surfaced other than a 7-inch a few years ago. This new album is the MCD’s first new material in 13 years, and luckily it’s a case of aging gracefully. Sure, vocalist Spencer Moody’s voice has chiseled a bit, but the delivery is still potent as ever. Tracks like the opener “I Don’t Want to Work for Scum Anymore” and the follow-up “Cruelty Abounds” are instant stand-outs, but Ghost really opens around its halfway mark. “Old Flame,” seemingly written about the band itself, speaks of rekindling past relationships and trying to make things work, only to realize why the split happened in the first place. It’s this self-awareness that completes the album’s charm, allowing it to stand proudly with the band’s former work. JB Perfume Genius, Too

Bright (out now, Matador records, matadorrecords. com/perfume_genius) To say the third album from Perfume Genius, aka Mike Hadreas, is a departure from his earlier work is an understatement. While the intense and extremely personal nature of his lyrics remains, along with simple, beautiful piano melodies, now his songs are packaged with additional synthesizers, meatier melodies, and an overall potency that wasn’t present before. Hadreas is more comfortable in his own skin, and the timidity in the songs from his debut, Learning, has been replaced by a new inner strength. Sexual identity and physical abuse are two major themes in this album, seen in the videos for the singles “Queen” and “Grid,” but fans will be excited nonetheless, as Hadreas’ vulnerability and openness is what first attracted so many to him. Perfume Genius is definitely growing and working out his demons, and he’s bringing us along on the bumpy breakthrough of a ride. (Sat., Oct. 25, Neptune) MORGEN SCHULER

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