Seattle Weekly, March 04, 2015 by Sound Publishing

MARCH 4-10, 2015 I VOLUME 40 I NUMBER 9

SEATTLEWEEKLY.COM I FREE

NEWS PARSING THE PASCO MOMENT & CLEANING UP GERONIMO»PAGE 5

9 E G A P

SON A E S E R THE P G UP IN WARMIN BELT THE SUN L.A. E T A H WE UNDERS' THE SOEST ENEMY DEADLI

101 R E C C O S E TO D I U G S ' A NOOB UTIFUL GAME THE BEA AINS RS P R O B A L LAYE P E H T T WHA OR F G N I T H ARE FIG

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inside» March 4-10, 2015 VOLUME 40 | NUMBER 9 » SEATTLEWEEKLY.COM

»6

ART ATTACK

BY MATT DRISCOLL | Is the Wilson-

Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle

Pacific mural vandalization a hate crime? Plus: making Cap Hill safer; the P-I Globe finds a home; and a fatal Pasco Moment.

Music Editor Gwendolyn Elliott

SOUNDERS 2015

Editorial Operations Manager Gavin Borchert

BY SW STAFF | A new MLS season

kicks off this week (we hope). We look at what’s ahead: labor issues, deadly enemies, and what the preseason tells us.

food&drink 14 LA RAZA’S RECIPES

BY PATRICK HUTCHISON | Building community while making tamales. Plus: our annual food party, and soup for breakfast. 14 | FOOD NEWS 14 | THE WEEKLY DISH 16 | THE BAR CODE

arts&culture 18 WOOD YOU RATHER? BY BRIAN MILLER | BAM’s biennial

gives us the forest and the trees.

18 | THE PICK LIST 20 | OPENING NIGHTS | A Sam

Shepard revival, a gaudy Semele, and a therapy comedy. 21 | PERFORMANCE 23 | VISUAL ARTS

OPENING THIS WEEK | John Boorman’s

28-year-delayed sequel, a Best Exotic Sequel, and a Brooklyn murder mystery. 25 | FILM CALENDAR

27 MUSIC

BY KELTON SEARS | The Magma

Festival’s bands unearthed; a Canadian IDM master reinvents trends. 32 | THE WEEK AHEAD

Arts Editor Brian Miller

Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears News Intern Shawn Porter

33 | HIGHER GROUND 34 | CLASSIFIEDS

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Calendar Assistant Diana M. Le Editorial Interns Bianca Sewake, Alexa Teodoro Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti

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PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Kaia D’Albora ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Sam Borgen, Cecilia Corsano-Leopizzi, Peter Muller, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich Publisher Bob Baranski

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“It is inhumane to allow someone to languish in pain. We wouldn’t allow it to be done to animals and we shouldn’t do it to humans either. And someone should not have to shoot themselves in the bath to get relief.”

chatterbox the

UNDIGNIFIED

Last week Nina Shapiro revisited Washington’s Death With Dignity Act in the wake of a proposed senate bill that would require doctors to present patients wishing to end their lives with information on alternatives (“The Final Conversation,” Feb. 25, 2015). A doctor supporting the bill suggested that he had saved a patient from an unnecessary death, while another case that Shapiro unearthed revealed that patients who were refused information about the act from religiously affiliated hospitals were taking matters into their own hands.

deal with their own district and cede the bigger vision, the bigger picture to the mayor.”

This is by no means a given. If district councilmembers actually listen to their constituents, they will discover voter concerns go far beyond the local district. City-wide issues are by definition local issues everywhere. District councilmembers who ignore constituents’ concerns about city-wide issues, the “bigger vision,” will do so at their peril. RDPence, via seattleweekly.com

Some city-wide issues will definitely be at the forefront of most voters’ concerns [...]. But it’s I support this law and hope that it will provide certainly possible that one reason voters favored protection for people like my brother, Wes Olfert, district elections in the first place was that they who died a few years ago in Washington State. felt frustrated that their concerns When Wes was first admitSend your thoughts on were being given short shrift by ted to the hospital, he made downtown-oriented politicians. the mistake of asking about this week’s issue to While the effect of that frustraassisted suicide. I say a mistake, because it set off a chain letters@seattleweekly.com tion will likely be mitigated because it will take time for new of events that interfered with members representing different districts to form his care and caused him unnecessary stress in what the coalitions they need to be effective, it will turned out to be the last months of his life. nonetheless take time to play out and will almost By asking the question, he was given a “palcertainly have some unpredictable consequences. liative care” consult by a doctor who heavily and continually pressured him to give up on treattifoso, via seattleweekly.com ment before he was ready to do so. It got so bad that Wes became fearful of this doctor and asked JOUSTING OVER JOHNSON me and a friend to not leave him alone with her. Making a brief appearance in Conklin’s story was I hope that with the proposed bill, doctors will Transportation Coalition Choices executive director get the message that they need to back off, to Rob Johnson, who will be challenging Jean Godden make sure that patients are freely choosing what’s in District 4. His name alone ignited a fight. best for them, as chosen by them. Rob Johnson is just what Seattle needs right now. Marlene Deakins, RN, Tucson, Arizona He would make a thoughtful councilmember. We are a fast-growing city and he understands Ridiculous. Do the Catholic Health organizathat Seattle isn’t a bubble, but part of an intertions also decline to inform people who ask connected region that requires regional solutions. about birth control? Rob has a long history of working on transportaIf a provider receives federal tax benefits (such tion, and bringing diverse stakeholders’ opinions as not paying any) and funding, they should have together to find workable solutions that get to follow the law and inform people who ask implemented. about it. It is inhumane to allow someone to languish in pain. We wouldn’t allow it to be done to looking4leadership, via seattleweekly.com animals and we shouldn’t do it to humans either. And someone should not have to shoot themGarbage. Johnson is a follower who will do selves in the bath to get relief. whatever Murray tells him to do. thebriang, via seattleweekly.com 4theisland, via seattleweekly.com

DISTRICT REFLECTIONS

Ellis E. Conklin recently explored how the City Council’s new district elections—and the departure of three councilmembers—will impact the balance of power at City Hall (“Power Surge,” Feb. 25, 2015). “Ed will vastly increase his power now,” departing councilmember Sally Clark told Conklin, speaking of Mayor Ed Murray. “The members will

That sounds like an at-large candidate positioning to me. Getting at-large council members in district seats is not why I worked so hard to get Charter Amendment 19 adopted. Yes, “regional solutions” are needed, but we also need district representatives to deal with district-specific issues. anotherneighborhoodactivist, via seattleweekly.com E

news&comment

Love and Dishonor

Kshama Sawant’s Thoughts on Capitol Hill Violence

Last month a cherished mural was nearly ruined by an unknown tagger. The artwork has been saved, but the question remains: Why?

BY SEATTLE WEEKLY STAFF

BY MATT DRISCOLL

Geronimo stands strong as a worker scrubs away the vandal’s work.

the job have trained him to identify the person responsible for nearly every tag in the city just by looking at it. However, he points out that it will take more than an identification for charges to be filed. Police will need hard evidence, like surveillance footage or fingerprints. In broader terms, when you ask Young why taggers tag, the longtime detective leads with what he calls a common misconception. “A big myth is that the motivation is artistic,” Young says of tagging and graffiti. “It’s not. When I talk to these guys, art seldom comes up. . . . They do it for two reasons: attentionseeking behavior and thrill-seeking behavior. They take pictures and put it online, and feel validated. There’s a subculture; their friends are doing graffiti. They’re also taking risks. Whenever they [tag something], they get an adrenalin rush because they might get caught.” According to Young, tagging isn’t just a young person’s game. Referencing statistics from 2012, he says the the average age of identified taggers in Seattle was 23; of the 181 identified graffiti suspects that year, 129 of them, or 71 percent, were adults. Young says most are white males from suburbia. “A lot of my offenders are from the suburbs driving their mom or dad’s car to the city,” he offers. What Young will say about the Wilson-Pacific case is that it’s an unusual one. Typically, he says,

an established work of art like Morrison’s murals would be off-limits to a tagger working in the city; they prefer vacant buildings or walls. “Defacing murals is rare,” he says. “It happens, but it’s rare.” As one might expect, some within the graffiti

and tagging subculture take issue with Young’s observations. As Owen “Goonie” Taylor—who works in music- and art-based event production and claims to have interacted with graffiti writers “almost nonstop for the last 15 years”—insists, not all taggers are misguided kids from the suburbs, and some do have artistic aspirations. “Since the dawn of mankind, motherfuckers have been writing on cave walls. It’s the first art form, the first language, the first permanent, physical, and visual historical separation of man from beast,” Taylor tells Seattle Weekly. “Graffiti ain’t going nowhere.” That said, there are points even Taylor and SPD’s graffiti cop agree on—mainly that whoever tagged Wilson-Pacific got the attention they were looking for. “It brought them national media attention for a week straight, with pictures of their tags plastered on the nightly news and all over the Internet, giving them hella ups, which is what graffiti is all about,” Taylor says. E

mdriscoll@seattleweekly.com

What’s at stake Asked what the recent violence, which seems to have followed neighborhood development, is threatening, Sawant points to the Hill’s lively history as an incubator for culture—not just for the LGBTQ community, but for artists and activists. “It’s not corporations or big developers who make the culture,” she says. “It’s working people on the ground and artists and other political organizers and activists who determine the culture. . . . People value that culture, [and] we have to figure out what can we do as a community, and how can we hold the City Council and the elected body accountable to provide a safe space for all our community members.” A possible solution In response to

crime on Capitol Hill, some have called for more police. Sawant contends that social services are just as vital to the neighborhood’s security. “How can we make sure that there is still funding for social services?” she says. “I think that dives into the People’s Budget movement I initiated last year, which is an ongoing effort. One thing that’s striking that we brought out in our discourse on the People’s Budget is how chronically underfunded social services are at every level of government. That has to be part of the conversation.” An overlooked issue Physical violence

isn’t the only force negatively impacting the LGBTQ community on the Hill, says Sawant. “Something we heard from the LGBTQ community consistently over the last year and a half . . . is the need to dramatically increase funds for helping those that are embattled by youth homelessness, because we know LGBTQ youths and youths of color are particularly susceptible,” she says. “So the city government has an obligation to make sure those programs are fully funded in order to make sure this is a community that’s livable for all of us.” E

news@seattleweekly.com

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Christopher Young is SPD’s lone full-time graffiti investigator, and the man handling the Wilson-Pacific case. He says he reviews “every single graffiti case in this city,” and makes an arrest in roughly 10 percent of them. Though the Wilson-Pacific investigation is ongoing, which prevents him from speaking about it directly, Young will say his four years on

n Tuesday evening Seattle City Councilmember Kshama Sawant was scheduled to host a public forum addressing an increase in hate crimes against members of the LGBTQ community on Capitol Hill. While the extent of the spike is uncertain—Seattle Police spokesperson Sean Whitcomb tells Seattle Weekly there’s been roughly a 16 percent increase in “bias” crimes from 2013 to 2014—there’s no doubt that anecdotal evidence of hate-fueled assaults and verbal harassment has created an atmosphere of fear. Whitcomb says that responding to concerns from Capitol Hill residents about the rise in hate crimes has been a priority since calls “crescendoed” last summer, adding that this “work continues.” The work continues as well for Sawant, who says her forum is just the start of the serious discussion Seattle needs to have. Sawant sat down with Seattle Weekly prior to the forum to share her own observations of hate on the Hill.

JOSE TRUJILLO

he news came via a cryptic text message from a friend. As Andrew Morrison recalls, it read: “Hey, something happened to your murals.” That was the night of Sunday, Feb. 22. The next morning an understandably alarmed Morrison drove from his home in Auburn to north Seattle and the Seattle School District’s WilsonPacific building, where his seven iconic murals depicting the Native American leaders Chief Sealth, Chief Joseph, Geronimo, and Sitting Bull have been a source of pride for the area’s Native American community for more than a decade. Something had happened to his murals. And it wasn’t good. By that afternoon, as photos of the vandalism quickly spreading across the Internet, it felt as though all of Seattle stood aghast in confusion and anger. In splattered, indiscriminate white paint, some of it sprayed as high as 25 feet, the word DAPKILO was smeared across the faces of all four chiefs. According to Seattle police, DAP is an acronym for Down Around Pike, one of the 10 to 20 active graffiti crews in the city. KILO, officials says, is likely the vandal’s name—the person responsible for the most high-profile tagging in recent memory. “Literally, I could barely stomach it,” Morrison says. “I knew a crime had been committed. I knew this was a vindictive hate crime. . . . The murals represent love, and they represent a pure innocent compassion, and the exact opposite of love is hate. The murals represent light, and the opposite of light is dark. The murals represent forgiveness, and the opposite of forgiveness is revenge. They represent hope, and the opposite of hope is desecration and depression.” According to the letter of the law, the act was probably a misdemeanor, since the tagging likely failed to generate greater than $1,000 damage. And while Morrison is sure the act of vandalism constitutes a hate crime—or as he puts it, “a strategic attack rooted in hate and anger”—at this point SPD has found nothing to suggest that what happened at Wilson Pacific is classifiable as anything more severe than the 800 or so other tagging complaints the agency receives each year. The good news is that, thanks to the past week’s cool, damp weather, a group of roughly 50 volunteers was able to remove the paint before it stuck. “It was a miracle, actually,” says Morrison. Nearly two weeks after the tagging, one confounding question remains: Why would someone do such a thing?

news&comment»

The World Will Turn Again At long last the P-I Globe is on the verge of landing a permanent home. BY ELLIS E. CONKLIN

SEATTLE WEEKLY • MARCH 4 — 10, 2015

“It will be illuminated and it will rotate again, and it will still say, ‘It’s in the P-I.’ ”

That same March afternoon, City Council members Jean Godden, Tim Burgess, and Sally Clark—all former journalists—gleefully announced that the city’s Landmarks Preservation Board planned to designate the Globe an official landmark the following month. Since then, April 2012, a long and plodding search by MOHAI and Hearst’s representatives has ensued to find the relic a new, permanent home. There was talk, initially, that it be placed at the old Sand Point Naval Base hangar at Magnuson Park, or perhaps returned to its former place of glory at Sixth Avenue and Wall Street, site of the P-I building of yesteryear where the Globe was hoisted amid great fanfare on Nov. 9, 1948. Later other suggestions surfaced, such as displaying it inside the grand MOHAI building at South Lake Union, home to other famous signage, including the original Rainier Beer “R.” But the exhibit hall was not big enough. Some of my old P-I cronies have joked that

the Globe be barged out into Elliott Bay and ceremoniously sunk, a fitting metaphor for the steep decline of print journalism. Still more ideas were batted about: the Olympic Sculpture Park; the southwest corner of South Lake Union Park; along the central downtown waterfront as part of the transformation project; or, in a more utilitarian vein, as a bright guiding (and spinning) light on a new Colman Dock ferry terminal. Crosscut writer Knute Berger reported in 2012 that the idea, however flippant, arose that the Globe be situated at the Highway 99 tunnel’s north portal. Also, Berger noted, “one wag at City Hall suggested that the Globe could be put to use as a pontoon on the new 520 bridge.” Now, finally, three years after the Globe-saving deal, Seattle Weekly has learned that a strong consensus is emerging for the Globe to be relocated, restored, and resurrected in Myrtle Edwards Park. MOHAI’s executive director Leonard Garfield, Councilmember Sally Clark, and Landmark Preservation Board Coordinator Erin Doherty have all confirmed that the 8.5-acre green space on the Elliott Bay shoreline may well inherit the Globe. “We still have a ways to go, but yes, I feel like that’s the direction it is moving in,” Clark tells the Weekly. Doherty said Hearst’s representative, Seattle land-use attorney Jack McCullough, briefed the Landmark board January 21 on the possibility of moving the Globe to the city-owned park named in honor of Myrtle Edwards, a City Council member in the 1960s and an ardent advocate of adding more parkland in Seattle. Councilmember Clark says the likely location at Myrtle Edwards is just north of the Thomas Street pedestrian overpass, on the water side of the bike and jogging path that runs through the center of the park. A number of bureaucratic obstacles need to be cleared, adds Clark, one of them being that since the Globe would be within 100 feet of Elliott Bay, MOHAI and Hearst will need to secure a shoreline permit from the city. It is not clear how long that might take. Garfield says a Myrtle Edwards site would meet MOHAI’s criteria for prospective locations: that it remain in the public landscape, be publicly accessible, and easy to view from many areas. If all goes well, Hearst has committed to covering the cost of transporting the Globe to the park, while MOHAI will pick up the tab to have it fully restored—an estimated $200,000 to $300,000 (most of which would be generated by community fundraising activities)—and placed on a pedestal, its height yet to be determined. “It will be illuminated and it will rotate again, and it will still say, ‘It’s in the P-I,’ ” says Garfield, who concedes that a lot of newcomers might wonder what in the world “P-I” stands for. “The Globe is such a cool symbol,” elaborated Garfield in an interview last week at his MOHAI digs. “It almost has a Superman motif, a postwar symbol that Seattle was becoming a world city.”

A week before the presses went silent on that fateful March six years ago, the Post-Intelligencer offered its employees a “Last Visit to the Globe,”a trip to the roof to gaze upon the giant neon planet. Many staffers came, circled it, posed for pictures, and shed tears. For these P-I loyalists, the Globe was far more than a pleasant glowing orb in the night sky—it was a powerful presence that announced that their profession was noble, sacred, important. The P-I Globe filled the front page on that final paper of March 17, 2009.

LEO ZAROSINSKI

n March 16, 2009, the day before the Seattle Post-Intelligencer published its final edition, New York Times reporter Dan Barry put it just right: “For some, the Globe is the finest landmark in Seattle, surpassing even the Space Needle,” he wrote. “When aglow at night, it seems to float upon the cityscape, the continents highlighted in green against the dark blue, the motto—‘It’s in the P-I’—rotating in red letters five and eight feet high. A continuance is conveyed.” When the mighty Hearst Corporation pulled the plug on the print edition of the 146-yearold paper and vacated its headquarters, no one knew what would become of the Globe, this 30-foot, 18.5-ton neon-lit marvel, forged from iron in 1948 at a cost of $25,932. Many wondered: Would there be a continuance for the city’s beloved beacon, topped by a majestic eagle, wings raised as if to take flight? Others worriedly theorized that Hearst might simply untether the Globe from its watchful perch overlooking Elliott Bay, crack apart its north and southern hemispheres, and cart the iconic monstrosity away in two massive pieces. Happily, though, on March 7, 2012, the Globe was saved in a deal between Hearst and the Museum of History and Industry (MOHAI). Under the agreement, Hearst would continue ownership, but relinquish to MOHAI full control and rights to the Globe only after it was dislodged and set down in a new location—something the owners of the building at 101 Elliott Avenue, where the revolving rooftop spectacle has resided since 1986, have long insisted upon, and still do.

Below the fold, the headline read: “You’ve meant the world to us.” E

econklin@seattleweekly.com

Ellis E. Conklin worked at the Post-Intelligencer through the ’90s.

The Pasco Moment: Police, Lies, and Videotape

DARIO INFANTE ZUNIA/VIRALHOG.COM

SEATTLELAND

Antonio Zambrano-Montes’ final moments.

At a press conference last week, members of

surrounding agencies known as the Tri-City Special Investigation Unit, which is probing the death, said 17 shots were fired. Of those, said Kennewick Sgt. Ken Lattin, “five or six rounds struck Mr. Zambrano.” He was uncertain of the count, he said, because autopsy results don’t agree. The official autopsy came up with five— and none in the back. But two separate autopsies, authorized by Zambrano-Montes’ widow and parents, found more. Says Charles Herrmann, the family’s Seattle attorney, “the body bore as many as eight entrance wounds, two of which were definitely on his backside.” If correct, Zambrano-Montes could have been struck during the first volley, and was already wounded when he held out his hands and was shot dead. Herrmann filed, then withdrew, a $25 million claim against Pasco on behalf of the widow, opting this week to join forces and work on a legal strategy with prominent civil-rights attorney Benjamin Crump, who represents ZambranoMontes’ parents. The Justice Department is also reviewing the case. The Pasco incident was the “unjustifiable killing of an unarmed man,” Herrmann says. With the video as his centerpiece, he thinks a civil action will eventually prove it. E

randerson@seattleweekly.com

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

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And we supposedly didn’t see unarmed farmworker Antonio Zambrano-Montes with his empty hands out in front of him as he was riddled with bullets by Pasco police on February 10. No one has been charged in that case either— though Zambrano-Montes’ family is challenging that, having hired both a Seattle attorney and the lawyer who represented the families of Michael Brown, Trayvon Martin and Tamir Rice. We don’t often see the full picture of what happened, police and prosecutors like to argue. Tapes typically begin rolling at the point of conflict, leaving off the foreplay. Sometimes the camera blinks at a crucial moment, like when a suspect makes that “move to the waistband.” Obviously we’re not getting the complete story while watching those new body-cam videos on the Seattle Police YouTube channel, for example. They’re choppy, misdirected, with portions blurred for privacy. But is there a more definitive video than the one Dario Infante Zuniga shot on his cell phone in Pasco? I’ve watched it several dozen times and read others’ assessments, pro and con. My view on it hasn’t changed since the first time I saw it—this was a bad shoot. It looks like manslaughter caught on tape. Zambrano-Montes, 35—an illegal immigrant who was out of work, separated from his wife, and depressed after his house caught fire a few weeks earlier—was allegedly throwing “softballsize” rocks at cars that evening in Pasco. As the Zuniga vid begins, we see—in a long shot from inside a car—police running around several squad cars with blue lights flashing. We

hear five gunshots. Police and witnesses say officers were shooting at the fleeing suspect, bullets flying through a busy intersection in the late afternoon. Zambrano-Montes reportedly had been throwing rocks at police after they arrived and was shot with a taser that had no effect. Not unlike the Ferguson, Mo., shooting of Mike Brown, Pasco police have released few details. But they do say Zambrano-Montes was accused last year of trying to grab an officer’s gun during an arrest, and earned a six-month sentence for it. Next, the cell camera swings into a clear view of the intersection and Zambrano-Montes is seen running, possibly limping, as he crosses the street with officers in close pursuit. His hands are up, then out, as he trots along a sidewalk next to Vinny’s Bakery & Café. He twists and looks back, seemingly attempting to stop and submit. He is holding his hands away from his body. Finally he halts and turns, hands in front. He briefly touches both hands to his shirt—not his waistband. An enlarged photo, taken at that point from the video, shows Zambrano-Montes with arms outstretched. This is the crucial frame—the Pasco Moment. What has happened up to now doesn’t matter. We are about to find out if officers are as welltrained in holding fire as they are in releasing it. There’s no audio, so we don’t know what might have been said (family members say ZambranoMontes spoke little English and the Tri-City Herald reports that the police shooters were not fluent in Spanish). As three officers fire almost a dozen rounds at point-blank range, Zambrano-Montes is holding his empty hands in plain sight. He crumples to the pavement and dies.

Dan DeLuca (Jack Kelly) (center) and the original North American Tour company of NEWSIES. © Disney. Photo by Deen van Meer.

f police-car and body-cam videos are such valuable eyewitness media, why is it that officials keep telling us we don’t see what we’re seeing? They tell us we didn’t see New York City cops unnecessarily kill unarmed street peddler Eric Garner after applying a banned chokehold. Even as the medical examiner was calling the death a homicide, the police maintained BY RICK ANDERSON that officer Daniel Pantaleo was administering a legal “headhold.” No one was charged. We were also wrong, they tell us, when we clearly saw that mentally ill unarmed veteran Brian Beaird was not reaching for his waistband when he was shot by Los Angeles police 21 times. No one was charged in the seemingly unnecessary death—except taxpayers, after LAPD recently paid $5 million to Beaird’s family.

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Seattle’s soccer club comes off its most successful—and ultimately disappointing— year, hungry for redemption and on the verge of becoming a global brand. The journey begins in Arizona. BY GAVIN BORCHERT

SEATTLE WEEKLY • MARCH 4 — 10, 2015

MIKE RUSSELL

ven on a absolutely cloudless day, the light in Arizona is pale, washed-out, yellow-white—nothing like the electric lemon of an August day in Seattle. There’s green around, but it’s the unassuming herbal green of palo verde and mesquite trees, and of cactus in a variety of Dr. Seuss shapes: cholla, ocotillo, beavertail, barrel, and the iconic saguaro. ¶ The first blade of grass I see anywhere—after flying into Phoenix on February 18 and driving two hours to Tucson—is on the pitch at the Kino Sports Complex. It is here that the Seattle Sounders face the first significant test of their 2015 campaign: the Desert Diamond Cup soccer tournament, an 11-day competition that serves as a warm-up to to the Major League Soccer season scheduled to begin this week. » CONTINUED ON PAGE 10

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The team looks to get back in shape and move on from a 2014 season that ended cruelly—falling just short of their top priority, the MLS Cup, when they were knocked out of the playoffs on November 30 by the eventual Cup winners, the L.A. Galaxy. The road to redemption begins on this pitch tonight. For most fans, that road will begin on Sunday, March 8, when the team strides into CenturyLink Field to face the New England Revolution. (Assuming the season starts as planned; see page 13.) But for the players, the first step is here in Arizona, in this match against host club FC Tucson, a member of the lower-division Premier Development League and the only non-MLS team of the six competing here. Unlike bucolic Starfire in Tukwila, the Sounders’ usual training facility, Kino is not nestled against a river in a leafy suburb; rather, it’s in an industrial part of Tucson, surrounded by chainlink fencing, truck traffic, and, in the distance, a pretty view of the sage-and-dun Santa Catalina

Tonight’s starting 11 seems like overkill for a lower-division opponent like FC Tucson: goalkeeper Stefan Frei; defenders Tyrone Mears (of tonight’s starters, he’s the only one new to the team this season), Brad Evans, Chad Marshall, and Leo González; midfielders Marco Pappa, Micheal Azira, Gonzalo Pineda, and Lamar Neagle; and forwards Clint Dempsey and Obafemi Martins. But of course they’re here to get in shape, not to be gracious guests. It’s very nearly an ideal starting 11 for the Sounders, except for the absence of midfielder Osvaldo Alonso—by general consensus the team MVP for its six MLS seasons—who’s recovering from February 6 groin surgery. Azira, however, is holding his own as a replacement—he’s “playing his ass off,” as one overheard fan puts it. Lamar Neagle scores in the fourth minute; one minute later, another shot goes just inches over the net. He scores again, at 27´; Dempsey scores at 11´ and 37´. At halftime it’s 4-0. The fence five feet behind the Sounders’ bench is thronged with fans, taking advantage of the access. One tosses Pineda a ball to sign; kids

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Left: Eager Sounders fans cluster behind the team’s bench. Right: pre-game stretches.

Mountains bordering the city on the northeast. 1,856 fans are here on this Wednesday night— most of them, of course, to cheer on FC Tucson. Among them is the local supporters’ group, self-dubbed the Cactus Pricks—as rowdy, if not quite as numerous, as any analogous MLS group. A dozen or so have brought a couple of flags, a bass drum more than capable of drowning out the PA announcement of the opening lineups, and their outside voices. Their main chant is an old soccer favorite: Come on, Tucson, score a goal It’s really very simple Put the ball into the net And we’ll go freakin’ mental There are plenty of Sounders fans here, though. Dan Gibson, director of corporate communications with Visit Tucson and an enthusiastic DDC facilitator, estimates that 300 Sounders faithful came here to cheer on their team—and to get a little closer to their favorite players than they can at CenturyLink. Kickoff is just after 8 p.m., and the Sounders look like they haven’t played in years. I don’t mean rusty, I mean hungry—starved for soccer after weeks away, their pent-up energy finally uncorked. The opening minutes of the match seem stuck in fast-forward. Veteran defender Zach Scott later confirms that “everyone was rarin’ to go”—though he jokes that not every aspect of spring training (which began January 29) is so eagerly anticipated: “When you’re working on the fitness portion, you start second-guessing.”

swarm for a photo or an autograph. A security officer in uniform takes a selfie with Dempsey, to the cheers of the crowd. In the 61st minute, MLS veteran keeper Troy Perkins, just signed by the Sounders on January 13, is subbed in for Frei, and by 70´ the other 10 players are replaced. In regular-season matches, only three subs are allowed, but preseason is about giving as many players as possible a chance to play, allowing coaches to observe and evaluate the talent in a competitive situation. For just about everyone, it’s the first chance to see some of the Sounders’ recent additions, including Cristian Roldan, formerly a standout on the University of Washington team, and Andrés Correa from Colombia. Probably the most talked-about newcomer— even though he signed with the Sounders a year ago—is forward Kevin Parsemain, who impressed during last year’s preseason but was sidelined the entire regular season with a torn ACL. He is picking up just where he left off, stunning FC Tucson with goals at 88´ and 89´, bringing the final score to 6-0. This win likely provides a much-needed boost to the Sounders’ confidence. Yes, 2014 was the Sounders’ most successful season yet. For the fourth time in their six years in MLS, the team won the Lamar Hunt Open Cup, open to all professional U.S. teams in any division, and they ended the regular season hoisting the Supporters’ Shield, awarded to the MLS team with the best regular-season record. But not getting to the MLS Cup final left “a sour taste in everyone’s mouth,” Scott later tells me.

New general manager Garth Lagerwey makes it clear that the MLS Cup is the team’s primary goal for this season. A close second is success in the CONCACAF Champions League, an international competition for clubs in North and Central America and the Caribbean. Both these milestones are vital, he says, “if we want to evolve the club and make it the global brand it could be.” Recently hired away from Real Salt Lake, the gung-ho Lagerwey made an impact almost immediately by facilitating the signing of Roldan, a player the Sounders particularly coveted, in the MLS SuperDraft on January 15. Before Saturday’s match, an Air Force offi-

cer festively, and against regulations, sports a Sounders scarf while in full uniform. Outside the stadium, a small banda plays and gets people dancing. Tonight it’s Sounders supporters who have brought the bass drum and who are chanting lustily throughout the match. Our opponent is Kansas City. The stadium is packed; the PA announcer later reports that the crowd of 3,661 is a record for Kino. Judging by the decibels when the team scores, Sounders fans predominate. The starters are the same as on Wednesday, except that Martins is out and Scott is in. There’s some further realignment: Schmid is taking advantage of the preseason to try out a new formation, three defenders and five midfielders, rather than the usual four and four. This does seem to make a difference: KC scores in the 34th and 39th minutes. Though they’re a strong team and traditionally a challenge, the early deficit for the Sounders is surprising, not to mention disheartening. A third goal at 73´ seems to put the game away. But two subs, in at 66´, are able to do what the starters could not: Victor Mansaray—who just turned 18 and is still a student at Fife High School—scores at 74´, fan favorite

Kenny Cooper at 81´. The Sounders have a history of beating KC dramatically in the final moments, and the fans are aching for this tradition to continue, but no such luck: The match ends 3-2. For a lot of fans—a lot of bloggers and commenters, at any rate—one question mark going into 2015 is the Sounders’ defense. Though it’s anchored by Marshall, MLS Defender of the Year in 2014 (and 2008 and 2009), losing wunderkind right back DeAndre Yedlin to Tottenham Hotspur of the English Premier League during the offseason is causing some panic. Schmid agrees tacitly, telling me on Thursday (before the loss to KC) that one of his main concerns for 2015 is to “make sure we give up less goals.” In MLS matches in 2014, the Sounders scored 65 goals, the second highest total, but also gave up 50, tied for highest among the 10 teams that made the playoffs. So in another experiment, he’s starting this season by moving stalwart Brad Evans, the team’s Swiss Army knife, to the back line next to Marshall. The rest of the DDC doesn’t go quite as planned. The February 25 match against New England ended in a flukey 2-1 loss, and the February 28 replay against Kansas City ended 1-1, though with a beautiful goal from Obafemi Martins. Still, the team’s larger preseason objectives were met: to see how the new kids do in a competitive situation; to get everyone back into the rhythm of playing; and incidentally, to do it in a destination vacation spot that rewards fans who make the trip. “We know we have [to do] many things to get better, but at the end of the day we trust the coach,” says midfielder Marco Pappa. He sums up the sentiments of many, no doubt, when he says the team’s ultimate motivation is to “give the Sounders fans what they deserve.” E

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

Pitch perfect Soccer is played on a pitch. I know ith the NFL season over, you may you might be tempted to call it a field (it’s very fieldfind yourself searching for somelike, after all), but using the proper terminology will thing—anything, really—to sate your help ingratiate you with your new soccer buddies. hardcore sports cravings. Did you know But why? The term pitch, Fletcher hypothesizes, there’s another “football” out there? A footlikely comes from “the dark recesses of the 1800s.” ball known the world over? A football that To put it another way, even he has no idea. was called football long before, you know, Ties happen Ties usually stink. I get it. Football football? It’s true, and it might be exactly has all but done away with them. But, in soccer, what you need right now. But there are a few ties—or better, “draws”—are real, and there’s things you need to know . . . real strategy involved with them. You won’t be alone In 2014, the Sometimes—gasp!—a team will average attendance at Sounders A FOOTBALL even play for a tie. The key here is home games at CenturyLink Field FAN’S GUIDE the overall standings. In soccer, was 43,734—by far the highest TO FOOTBALL it’s not about a win/loss record, it’s in the league. To put the number in perspective, Toronto FC had the BY MATT DRISCOLL about points. The art of the flop The first time league’s second highest attendance you see a soccer player writhing in pain on the last year . . . at 22,086. “There is a rabid, paspitch, only to be loaded onto what appears to be a sionate, loyal fan base in Seattle,” offers SoundWorld War II-era stretcher, you assume something ers play-by-play man Ross Fletcher, who enters terrible has happened, only to see the player return his fourth season calling the action for the club. mere moments later. What you’ve witnessed is the “It kind of brings rock ’n’ roll to the sport.” soccer flop. Some call it cheating, and the MLS has Um, about the scoring Here’s the thing: There’s even taken strides to limit it. But the fact remains just not much scoring in soccer, and to appreciate that, in some form or another, flopping will always the game, you’re going to have accept this. Sure, be part of soccer. “I learned very quickly that [flopit can be a challenge, but it’s doable. As Mike “The ping] is a very un-American thing,” says Fletcher. Gasman” Gastineau puts it, “It’s almost like a goal “Elsewhere in the world, for better or worse, it’s an is a diamond. There’s so much that goes into one, accepted dark art of the game.” E that it makes it beautiful.”

ALL HAIL OUR GALACTIC OVERLORDS

MORGEN SCHULER

he Sounders owned the best record in MLS last year, and every guy who scored a league goal in 2014 is back for 2015. All should be sweetness and light. But there’s a large shadow across the Sounders’ sky—Bruce Arena and the L.A. Galaxy. Arena’s Galaxy beat the Sounders in the Western Conference Final last year. That makes three times in the Sounders’ six seasons that the Galaxy have bounced them from the playoff party. The Sounders could finish 34-0-0, with Clint Dempsey scoring 25 hat tricks and delivering a kick so powerful it gets Bertha running again . . . and the playoff storyline would still be “Can they finally get past L.A.?” Since the question’s inevitable, I went looking for answers. Why are the Galaxy the Sounders’ kryptonite? At least the Sounders kept it close in 2014. “In the past L.A. was clearly better,” says Dave Clark, founder and manager of the indispensable blog Sounder at Heart. “Last year, L.A. wasn’t clearly better. The teams were very evenly matched.” “Both teams play pretty standard 4-4-2 formations with active wingers and facilitating-type central midfielders,” Sports Illustrated soccer writer Liviu Bird told me. “The distance between the two is smaller than the playoff results make it seem, but the Galaxy always finds a way to win in the playoffs.” The difference between the two teams may be found just off the field of play. As even Sounders partisan Clark will admit: “Bruce Arena is the best coach in the history of U.S. soccer.” Nothing against Sounders coach Sigi Schmid!

How the Sounders’ nemeses got so good. BY SETH KOLLOEN

#10, Marco Pappa, crushed L.A’s Shield hopes.

Schmid has won more games than any MLS coach ever, and you’ve seen why in his six years here. Schmid has masterfully mixed an everchanging roster. He lines up a talented prospect here with an MLS retread there, pairs experienced internationals with raw collegians, and has brought the Sounders within sniffing distance of a league championship every year.

But Arena has succeeded on soccer’s biggest stage, taking the USA to the quarterfinals of the 2002 World Cup. Writes SB Nation soccer editor Ryan Rosenblatt: “The U.S. played in various formations, changing drastically from match to match on the world’s biggest stage and unleashing a level of tactical nous that left some of the world’s best managers dumbfounded.” Hey, if Seattle teams don’t have a history of playoff success, at least we have a history of losing to exceptional leaders like Arena. The coaches/ managers who most recently knocked out our top four professional teams are all legends of their sport. Back in 2001, Joe Torre led the aging Yankees past the 116-win Mariners. Gregg Popovich’s Spurs ended the Sonics’ final playoff run. And, for some history you teenage readers might actually remember, there was Arena last November and Bill Belichick in S***r B**l XLIX. The most recent Seattle heartbreakers—Arena and Belichick—share a similar upbringing, reputation, and coaching style. Born seven months apart in the 1950s, both exhibit the approximate spontaneity and insouciance of Dwight Eisenhower. Each graduated from top liberal-arts schools in the Northeast—Arena from Cornell, Belichick from Wesleyan. Detractors of both coaches accuse them of Machiavellian tactics. More pertinent, Belichick and Arena are both “game plan” coaches. They tailor their tactics from week to week and half to half, based on their opponent. Arena’s secret to success against the Sounders? “He’s taken away Seattle’s big scoring threats,” says Clark.

Fredy Montero is the Sounders’ all-time leader with 47 MLS goals—but in 328 career playoff minutes against the Galaxy in his career, didn’t score once. Obafemi Martins is second all-time with 25 career MLS goals. But Martins is scoreless in his 532 minutes against the Galaxy. Though he has most of his team back this year, Schmid has made one decisive and important change: Midfielder Brad Evans is now central defender Brad Evans. With Evans in defense, the Sounders will have one of their smartest and most anticipatory players right in front of the goal. Perhaps not coincidentally, the Galaxy recently have been best known for late, unexpected runs into the box that defenders leave uncovered. Perhaps Evans will do a better job of sniffing these out. Sounders fans will keep a wary eye on the Galaxy as the season progresses. On paper the team is weakened. Landon Donovan, the best player in league history, has retired; the Galaxy also traded top midfielder Marcelo Sarvas. But Arena famously sandbags the early part of the long MLS season, exchanging possible points early on for health and success in the playoffs. And in July, longtime Liverpool star Steven Gerrard joins the Galaxy. Once again, nothing that happens during the regular season will seem pertinent, and Sounders fans will enter the playoffs with a well-earned sense of foreboding. Says Clark: “Part of being a Seattle sports fan is having really good teams that don’t win it all.” E

sportsball@seattleweekly.com

The Sounders play the Galaxy away April 12 and August 9 and at home on October 4.

featur ing ALL FE MALE TRIBUTES TO

SEATTLE WEEKLY • MARCH 4 — 10, 2015

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STOPPAGE TIME? Major League Soccer and the players’ union will be able

to negotiate a new CBA before March 8—won’t they? BY AARON CAMPEAU

ith the arrival of two new franchises and a host of bigname signings, the 2015 Major League Soccer season looks to be one of its most important ever. But with opening day just around the corner, key elements of the structure that has allowed MLS to succeed are being challenged. The league and the players’ union have been locked in a fight that threatens to wipe out a portion of the season—and with it the momentum the league has gained over the past decade. Unlike most professional sports labor negotiations, it does not appear that money is the main factor here. According to Jeff Carlisle of ESPNFC.com, the league is prepared to increase both a player’s minimum salary and the per-team salary budget—currently $36,500 and $3.1 million, respectively. There have been rumblings for several years that the more wellheeled ownership groups are pushing for greater spending freedom, and perhaps no single step the league could take would help to improve the quality of play than increasing compensation. Yet, from the perspective of current players, too drastic a raise might actually be seen as a negative, as those on the lower end of the salary scale could find it difficult to keep their jobs since they could be replaced by more expensive options from outside the league. In that sense, a significant increase to salaries that falls short of drastically changing the landscape is likely the preferred option of both sides. Finding an acceptable middle ground should be relatively easy. The real threat to the season is the players’ desire for greater freedom of movement. In the eyes of soccer’s international governing body, FIFA, MLS is the “club” that owns all players’ rights. Because of this, the league has an unusual level of control over player movement. From the beginning, MLS player acquisition rules were largely designed to avoid the fate of the North American Soccer League. In the mid-1970s, that league briefly gained a foothold before suffering a collapse after teams with financial means took full advantage of them, and the gap between the haves and have-nots proved fatal. The lessons learned from the NASL became almost a guiding principle for MLS during its lean early days. But times have very clearly changed.

majority of players aren’t living in luxury, either. In that sense, the odds would seem to favor a quick resolution. Sounders fans should hope that this is the case.

Six years of record-setting and steadily increasing attendance seems to indicate that the fan base’s passion for the team is anything but a fad. But even if the Sounders are largely unaffected, it’s far from guaranteed that other teams will be so fortunate. Teams that haven’t achieved the same level of engagement and sustained success aren’t likely to find their fans as willing to come back to the games. With the new financial realities of

the league demanding real investment in order to remain competitive, those clubs could be severely hamstrung by a lack of revenue. As the history of professional soccer in the U.S. can demonstrate, managing to sustain interest in a select few markets isn’t nearly enough for a league to thrive. And with the fate of teams in MLS being so completely intertwined, a loss of engagement in multiple markets would be a huge blow to the league, and with it, the Sounders. E

news@seattleweekly.com

Aaron Campeau is the co-host of the Seattle Sounders podcast Nos Audietis, a contributor to Sounder at Heart, and a Sounders season ticket-holder.

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

In the interest of ensuring the league’s survival, players once were willing to accept a protectionist structure and salaries so low that they often needed a second job. But in the current collective-bargaining negotiation, with the league on solid financial footing for the first time, the players seem significantly less willing to kick that can down the road. MLS union reps have steadfastly claimed that there will be no new deal without free agency, while the owners have been equally resolute in stating that free agency is strictly off the table. As in any labor negotiation, both sides are bluffing. While the players would almost certainly love to have a system that allows open bidding for their services, they’re fully aware that the owners aren’t going to accept any such thing. But while “true” free agency isn’t currently feasible, some solution that will protect the league’s single-entity status while giving players greater autonomy is almost certainly possible.

And that’s likely all the players are asking for. In speaking to the media, the players have consistently maintained that they were prepared to strike over free agency. But the reality is that the union’s leverage begins to disappear quickly once a work stoppage begins. According to player agent Ted Philipakos, the union has approximately $6 million to support its members in the event of a work stoppage. Those funds won’t last long. And given the financial realities facing the majority of players in the league, enduring months of lost wages could be potentially devastating. While MLS players are no longer subsisting on poverty wages, the

food&drink

Cookin’ Up a Community

FoodNews BY JASON PRICE

Centro de la Raza’s footprint in Seattle’s Latino population grows bigger, one tamale at a time.

The 20th annual Haul Ash Tour de Brew bike ride, sponsored by Redhook Brewery, is scheduled for Saturday, May 16, beginning at 10 a.m. on the Burke-Gilman Trail. Commemorating the 35th anniversary of the Mt. St. Helens eruption, the ride—42 miles but mostly flat—is perfect for folks that are in shape or even those with beer bellies. And here’s the good news: It’ll conclude with a Post Pedal Party offering hot food, music, and plenty o’ beer for participants.

BY PATRICK HUTCHISON

SEATTLE WEEKLY • MARCH 4 — 10, 2015

OOK

Bautista shares her family’s tamale recipe.

small corn husk at a time. It’s here I realize that making tamales alone would be a tortuous process. It takes my class of 12 about two hours to roll up the 160 tamales created from our pork shoulder.

food@seattleweekly.com

This tamale class costs $75. Fees vary depending on the dish; overall, classes range from $50 (pozole) to $90 (paella). See elcentrodelaraza.org for more information.

Spring is nearly here, and Seattle will kick off March in style with Dine Around Seattle and Washington Wine Month. To celebrate the latter, Ray’s Boathouse is offering 30 wines by the glass and Winemaker Dinners, starting with Woodward Canyon on Saturday, March 7. Seats are $95 per person; reserve by calling 789-3770. E morningfoodnews@seattleweekly.com

While it might be the most popular, the tamale

class is not the only one Centro offers after expanding the program two years ago. Teaming with Brown Paper Tickets and local volunteer chef Patrick Nelson, the community center started providing cooking classes to a much wider audience. They added pozole and paella to the lineup, along with a more flexible schedule. And it worked. The classes became more successful than ever, raising over $50,000 in 2014 alone—funds which go to the center’s Senior Nutrition and Wellness programs. As the class comes to a close, our first batch of tamales is just finishing in the steamer, where a penny rattles at the bottom of the pan to tell us that the water is still simmering. Excited students are already asking where they can get their own tamale pot—which makes the cooking process only slightly easier—and making plans for experimentation with new fillings: beef, chicken, pork. One student even asks if picnic ham would be an adequate filling. “Sure!” Bautista emphatically replies. Anything works. Gathered around the cafeteria tables outside the kitchen, students wait until the corn husks stop steaming. Burning our fingers, we throw caution to the wind and rip open the little packets, desperate for a taste of our new creations. Popping the first bite into ravenous mouths, the fruits of our labor are realized. The final product is fantastic, and I can’t help but wonder how much better they taste solely because of the work that went into making them. Luckily, now I know how. E

Fans of Andrew Friedman’s Liberty on 15th Avenue East on Capitol Hill will be happy to learn that his latest watering hole is open at 1720 E. Olive Way. Good Citizen is now bringing expertly crafted cocktails to denizens of the Hill and hoping to follow in the footsteps of its sister bar.

TheWeeklyDish

Le Petit Cochon’s charcuterie. BY NICOLE SPRINKLE

NICOLE SPRINKLE

“My recipe is slightly different than my aunt’s, and hers was slightly different than her mother’s. It’s a recipe that goes back to my great-greatgrandmother, but we all tweak it a little bit,” explains Bautista as she picks rogue pieces of bone out of the pork. It was Bautista’s aunt, Graciela Gonzalez, who started the tamale class in 2008. At the time, Centro de la Raza had a problem. Like so many programs and services, the crippling recession was hurting its ability to provide for their community. “No one had money, so we had to figure out new ways of raising funds for ourselves,” remembers Estela Ortega, Centro de la Raza’s current executive director. “We had to get creative, so we started thinking about what we do well, what we could provide for others that was valuable.” They started selling everything from Christmas trees to Spanish classes, reaching out to the broader community to raise funds by sharing Centro de la Raza’s unique skill sets—including that of Gonzalez, known for her killer tamale recipe. Now in its seventh year, Bautista is happy to have taken over at the kitchen’s helm, continuing the legacy of her family’s recipe and of Centro de la Raza after her aunt moved away. With the pork adequately spiced, we create a smoky red sauce by blending rehydrated arbol peppers. The sauce is mixed with the pork, then with the masa to add a mild bit of color and to deepen the flavors. The masa is then wrestled by hand to a cookie-dough consistency with lard and broth— in a labor-intensive process that doesn’t receive nearly as many volunteers as the call for porktasting. Finally it’s time for Bautista to show us how to assemble tamales. Standing shoulder to shoulder along stainlesssteel tables, we learn how to expertly spread the masa and cumin-spiced pork shoulder into wet corn husks, rolling them tightly and pinching the ends so they don’t dry out while steaming. Under Bautista’s helpful guidance, we begin filling one

PATRICK HUTCHISON

REDH

t’s 11 a.m. on a Saturday, and I’m learning a few things about tamales. Surrounded by giant mixing bowls of steaming shredded pork, piles of masa stiffened with hot broth, and enough corn husks to make an entire soccer team of scarecrows, I note two things: Don’t spread the masa too thick, and never, ever try to make tamales alone. Luckily, I’m joined by a team who all signed up for the same class: TamaleMaking 101 at Centro de la Raza on Beacon Hill. Before we begin, our instructor, Jamie Pina Bautista, gives us a brief history of Centro de la Raza (“The Center for People of All Races”) and its founders. In the early ’70s, amid broiling activism nationwide, Seattle’s growing Chicano community was looking for a center—someplace they could gather and support each other in finding affordable housing, assisting with an employment search, or just sharing a hot meal. In a bold move, they chose to occupy the Beacon Hill School, abandoned after closing due to poor attendance. Still without money, they relied on the creative talents and skill sets of their members to renovate the building, and begin to offer services. Led by charismatic activist Roberto Maestas, they managed to create a thriving support community for the city’s Latino population. Forty years later, Centro de la Raza is doing more than ever. In 2014 alone, the center served 15,063 people, including 8,563 families, and saw positive change through its 52 different programs and services. This Friday they break ground on a new facility, turning the gravel lot between the Beacon Hill School and the light-rail station across the street into 112 units of new, affordable housing, seven classrooms, a 6,000-square-foot multicultural community space, and a spacious plaza with room for 20 micro-retail start-ups. Named after their founder, Plaza Roberto Maestas will also host events like outdoor movie nights and festivals, and provide a place for food trucks. They’ll even open a new commercial kitchen, where an expanded lineup of classes, like my tamale course, will serve even more curious cooks. As Bautista leads us into the small kitchen where community meals are prepared, she tells us the pork is already made—unnecessarily, as we are all drawn to the distinct aroma of shredded pork like moths to a campfire. The slow braising process—with salt, pepper, and a few cloves of garlic—takes hours. But the delicate strands of pork in front of us are well worth the wait. “Go ahead and try a piece,” instructs Bautista. “If you try it now, you can taste the pork’s flavor change as we add ingredients.” Immediately a flurry of hands shoot into the meat pile, snatching bits of tender, succulent meat. Bautista emits a warm smile and a little chuckle upon seeing our enthusiasm. We all agree that the texture is right, but the flavor could use a boost. Bautista adds a heavy dose of cumin, and we taste again. Boom—the flavors are far deeper now, and I convince myself that a second taste is necessary, in the name of thorough journalism.

I remember a time when a charcuterie plate was something rare and special. Now it seems that every restaurant in Seattle offers one. That’s not a bad thing, necessarily; there’s an obvious demand for them, and that’s because they’re generally delicious. But if like me, you miss the excitement of seeing one on a menu, Le Petit Cochon will cure your woes (pun intended). For starters, there’s its size and presentation: served on a massive wooden cutting board, this is truly one that can be shared with at least four people. Then there’s the sheer variety—six types of cured meats or patés, three pickled items, and two spreads. But it’s the plate’s originality that really sets it a notch above others; from a luscious pheasant-liver mousse and the earthiest bresaola I’ve ever tasted to a pork and chicken foie gras with truffles and a spicy chorizo, there’s nothing commonplace on it. Even the vehicle for spreading it—pork cracklins—is unique. But don’t get too attached to this version as chef Derek Ronspies changes it often, making the surprise factor all the better. E nsprinkle@seattleweekly.com

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

The Lost Pelican

food&drink

MARCH 1-31 BALLARD  Skillet Diner 2034 NW 56th St (206) 922-7981  Volterra 5411 Ballard Ave NW (206) 789-5100 BELLEVUE Cantinetta Bellevue 10038 Main St (206) 329-1501

 Volterra 121 Kirkland Ave (425) 202-7201

 Blueacre Seafood 1700 7th Ave #100 (206) 659-0737

MADISON PARK

Boka Restaurant + Bar 1010 1st Ave (206) 357-9000 Chan 86 Pine St (206) 443-5443

 Monsoon Bellevue 10245 Main St Suite (425) 635-1112

 Steelhead Diner 95 Pine St (206) 625-0129

BELLTOWN

 Sullivan’s Steakhouse 621 Union St (206) 494-4442

Local 360 Cafe & Bar 2234 1st Ave (206) 441-9360 BOTHELL  Preservation Kitchen 17121 Bothell Way NE (425) 408-1306 CAPITOL HILL Chavez 1734 12th Ave (206) 329-1501 Coastal Kitchen 429 15th Ave E (206) 605-5275

Crush 2319 E Madison St (206) 302-7874

 The Georgian 411 University St (206) 621-7889

Stumbling Goat Bistro 6722 Greenwood Ave N (206) 784-3535

EASTLAKE Cicchetti Kitchen + Bar 121 E Boston St (206) 859-4155

PIKE PLACE MARKET Place Pigalle 81 Pike St (206) 624-1756

Ravish 2956 Eastlake Ave E (206) 913-2497

PIONEER SQUARE

EDMONDS Bar Dojo 8223 212th St SW #405 (425) 967-7267 FREMONT

 Manhattan 1419 12th Ave (206) 325-6574

Ponti Seafood Grill 3014 3rd Ave N (206) 284-3000

Marjorie Restaurant 1412 East Union St (206) 441-9842

Tray 4012 Leary Way NW (206) 557-7059

 Monsoon 615 19th Ave E (206) 325-2111

GREEN LAKE

DES MOINES The Scotch and Vine 22342 Marine View Dr S (206) 592-2139

 Toulouse Petit 601 Queen Anne Ave N (206) 432-9069

GREENWOOD  The Olive and Grape 8516 Greenwood Ave N (206) 724-0272

 BeachHouse Bar+Grill 6023 Lake Washington Blvd (425) 968-5587  Le Grand Bistro Americain 2220 Carillon Point (425) 828-7778

Andaluca 407 Olive Way (206) 382-6999

 Trellis Restaurant 220 Kirkland Ave (425) 284-5900

REDMOND  Blu Sardinia 8862 161st Ave NE (425) 242-0024 SOUTH LAKE UNION  Flying Fish 300 Westlake Ave N (206) 728-8595 Row House Cafe 1170 Republican St (206) 682-7632 Shanik Restaurant 500 Terry Ave N (206) 486-6884

KIRKLAND Beach Cafe 1170 Carillon Point (425) 889-0303

DOWNTOWN

QUEEN ANNE

Ten Mercer 10 Mercer St (206) 691-3723

 Lucia Italian Kitchen and Bar 7102 Woodlawn Ave NE (206) 258-4523

 Ristorante Paradiso 120A Park Lane (425) 889-8601

Quality Athletics 121 King St (206) 420-3015

 Peso’s Kitchen & Lounge 605 Queen Anne Ave N (206) 283-9353

Pomerol 127 North 36th St (206) 632-0135

Tango Restaurant 1100 Pike St (206) 583-0382

Cafe Lago 2305 24th Ave E (206) 329-8005

Hecho 7314 Greenwood Ave N (206) 588-1919

 Trace 1112 Fourth Ave (206) 264-6060

 La Cocina Oaxaquena 1216 Pine St Suite 100 (206) 623-8226

 Skillet Diner 1400 E Union St (206) 512-2000

MONTLAKE

PHINNEY RIDGE

 Chiso 3520 Fremont Ave N (206) 632-3430

Restaurant Zoe 1318 E Union St (206) 256-2060

 BeachHouse Bar+Grill 1927 43rd Ave E (206) 294-3843

MADISON VALLEY

Corretto 416 Broadway E (206) 328-7817

Poppy 622 Broadway E (206) 324-1108

Bar Cantinetta 2811 East Madison St (206) 329-1501

Nishino 3130 East Madison St (206) 322-5800

Lecosho 89 University St (206) 623-2101

 Icon Grill 1933 5th Ave (206) 441-6330

SEATTLE WEEKLY • MARCH 4 — 10, 2015

 Barolo Ristorante 1940 Westlake Ave (206) 770-9000

 Moksha 515 Bellevue Sq (425) 427-5787

Bell + Whete 200 Bell St (206) 538-0180

WHERE WILL YOU GO? MARCH 1-31

UNIVERSITY VILLAGE Mamma Melina Ristorante 5101 25th Ave NE Ste 2-3 (206) 632-2271 WALLINGFORD Cantinetta 3650 Wallingford Ave N (206) 329-1501 WOODINVILLE  Barking Frog 14580 NE 145th St (425) 424-2999

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The Seattle Wine and Food Experience Marathon

Taste This!

The scoop on the Voracious Tasting & Food Awards. BY NICOLE SPRINKLE

even years running, the Seattle Wine and Food Experience is a gastronomic event designed for the heartiest of imbibers. Anytime you take it upon yourself to eat and drink nonstop for hours on end, you’re not just “experiencing” anymore— you’re actually BY GWENDOLYN ELLIOTT indulging in a marathon of gluttony. However, with careful pacing, my husband and I managed it with dignity. It was slow going at first, waiting in the general-admission line that snaked far beyond the entry at Seattle Center’s Exhibition Hall, but once inside, around 1:30 p.m., we got our money’s worth and then some: Neatly organized throughout the room, by craft product or region, were hundreds of vendors and purveyors, from breweries, cideries, distilleries, and wineries to food trucks and (literally) hash-slinging chefs. The wide variety equaled very little waiting, which made tasting the well-represented wines of Washington and of Woodinville, a featured wine region, extremely easy. Reds were the main attraction, and we concentrated on those, including these particularly fabulous pours: Sparkman’s heady Kingpin cabernet; Kana’s valued-price Dark Star blend; Robert Karl’s and Basel Cellars’ highly quaffable clarets; Seven Hill’s jammy petit verdot, and Owen Roe’s luscious syrah. Our favorite Woodinville sip was Bunnell’s ALX 2009 syrah, a supple, elegant, 100 percent varietal wine with nuanced berry flavors and a silky finish. Though this is a drink column, it’s impossible not to mention the food, which gets equal billing at this event—and also serves as a booze sponge. However, for vegetarians like us, it’s a bit of a buzz-kill. Still, the findings were good, if slim—notably Biscuit Box’s wild-mushroom gravy biscuit and Andaluca’s roasted vegetable tagine. But bacon’s starring role in Kaspar’s clearly marked “vegetarian” hash showed there’s room for improvement. Understandably, these events are all about indulging, but a balancing act is needed, one inspired more by our region’s bounty of lowon-the-food-chain, vegetable-based fare—served on compostable cups, plates, and utensils, to boot.

THEBARCODE

By 3:30 p.m., the tasting hordes had been considerably culled, but there were still plenty of reserves on the horizon. That’s when we discovered the QFC Advantage Lounge, where we stationed ourselves for the final push. Tucked away in a back corner, surrounded by piles of artisanal cheese, a store rep was pouring the best, mostly Washington-based, wines of the day: Spring Valley’s austere Frederick Red Blend; Northstar’s signature merlot; 2011 Red Mountain Col Solare; and a high-elevation Napa fave, Mt. Veeder cabernet. Steadied by dairy, we crossed the finish line at closing time, 5 p.m. sharp, still standing and sure-footed, having crossed from the Puget Sound through Yakima to Walla Walla. It was a marathon of Washington terroir, all right—one you can start yourself with any bottle mentioned here. E

gelliott@seattleweekly.com

MORGEN SCHULER

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Cocktails from Barrio.

hen I start seeing cherry-tree buds and crocuses popping up, I know that spring is near, and that means it’s almost time for Seattle Weekly’s Sixth Annual Voracious Tasting & Food Awards! Hundreds of your favorite restaurants, bars, coffee shops, and food trucks will descend upon the beautiful, historic Paramount Theatre on April 23 for an evening of spectacular feasting. Tickets are on presale now; order before March 14 and save $5. Last year was my first hosting it, and it really did surpass my expectations. From Radiator Whiskey’s beef-belly pastrami and Café Munir’s Lebneh pastries to Harvest Vine’s vinegar-cured anchovies and Miyabi 45th’s foie tofu—to name just a few—the food was outrageously good and plentiful, and the lovely space was filled with our readers and longtime fans of the event, hanging out, listening to local band Tangerine, and of course eating. Then there were the drinks: Stella Artois on tap, glasses of wine, a VIP Scotch tasting, and dozens of cocktails like “The Voracious Bastard” with housemade ginger beer; gin and bitters from Bar Code; and Bathtub Gin & Co.’s “Tomahawk” with whiskey, smoked paprika, agave, and cinnamon. I presented awards to Westward (the Zeitgeist Award) and to Cody Morris of Epic Ales (Most Innovative Local Producer). Who’ll be recognized this year? With so many great new restaurants, it only gets harder to pick, and I’m still thinking about the categories . . . This year is shaping up to be even better: We’ve got Stoneburner, Tom Douglas’s new Cantina Lena, Ba Bar, Matt’s in the Market, La Bodega, Ericka Burke’s new Chop Shop, Radiator Whiskey, Blind Pig Bistro, Good Bar, Bathtub Gin, Prima Bistro, Bastille, Barrio, Poquitos, Café Campagne, Pomerol, Harvest Vine, Collections Cafe, Blind Pig Bistro, Green Leaf, Alicia’s Fusion Bistro, Rob Roy, Quality Athletics, Pintxo, LUCID, and Pie! Loads of other restaurants and bars will be rolling in over the next few weeks, so stay tuned for details at seattleweekly.com/food/ voracious. Regular tickets cost $50 and get you all the food and drink you want between 7:30 and 10 p.m. Or beat the crowds and spring for a VIP ticket for $90, which gets you in at 6 p.m.! See you there! E

nsprinkle@seattleweekly.com

LOCALLY SOURCED, CHEF-INSPIRED 3 COURSE PRIX FIXE MENUS | $33 DINNER | $18 LUNCH*

PH OTO BY CO L I N B ISH O P

A Love Letter to Bún Bò Hue The other Vietnamese noodle soup pops up on Ba Bar’s new breakfast menu.

BY JAY FRIEDMAN

JAY FRIEDMAN

complex, with a terrific balance of sweetness, sourness, salt, and spice. Even the noodles are different: Pho has flat rice noodles, while bún bò hue has softer and more sensual round rice noodles. Much like his pho, Banh’s version of bún bò hue is a refined one—really clean-tasting but with an immediate hit of that funky fermented shrimp paste and tingles of lemongrass. Meats, as you’d expect, are high quality, with slices of both beef shank and alluringly fatty pork shank in the soup. (Ba Bar serves the pork off the bone to make the eating experience more user-friendly.) I find myself wishing for more noodles to enjoy with the delicious broth. Banh has high praise for the bún bò hue at Hoang Lan, which is where I first discovered the soup years ago, before the nearby Othello Station train stop was even envisioned. How popular is Hoang Lan’s bún bò hue? The soup name is arguably more prominent than the restaurant name on the storefront sign! According to Banh, Hoang Lan’s focus on bún bò hue (they serve about 20 times more bowls per day than Ba Bar) enables the restaurant to build up the broth, developing the desired lemongrass flavor and showing that, as in a good relationship, time is the key to richness. Hoang Lan’s bún bò hue is a carnivore’s delight. In it you’ll find cha lue (pork sausage loaf ), pork blood cakes, beef tendon, and a huge ham hock. Gelatinous and fatty, that hock is unwieldy to eat, but with the other meats it makes Hoang Lan’s bún bò hue a wilder, more primal experience. If pho is like a long-term relationship, comfortable and convenient, then bún bò hue is for those still seeking the wild side, wanting spark to combat the stale. E

food@seattleweekly.com

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

side from a perfect partner, is it strange that the first thing I like to see in the morning is a bowl of soup noodles? It’s what the Vietnamese enjoy for breakfast, typically in the form of pho. And while pho may be the most ubiquitous Vietnamese noodle soup in Seattle, I’ve grown open-minded enough to want to wake up with another: bún bò hue, which chef/owner Eric Banh just added to Ba Bar’s breakfast menu, as he wants the world to discover what he believes to be the most flavorful Vietnamese soup. “When I was growing up, I was terrified by it because it’s so spicy, but now I’m addicted to the flavor,” he explains, adding, “Whenever people talk about it, I salivate.” The same is true for me. I salivate at the thought of all kinds of soup noodles. As at the thought of a lover, my heart races for bún bò hue. Starting with the stock, pho simmers beef bones low and slow, while bún bò hue brings heat to both beef and pork bones. (Those meats will appear in the final bowls of each.) While pho has a delicately soothing clear broth that can ease me into the morning, bún bò hue’s deep, hearty broth hits me over the head and gets me right into the game. It’s full of flavor, with fermented shrimp paste and loads of lemongrass. Further, brick-red annatto seeds impart a passionate glow to the broth. Indeed, bún bò hue is the spicier bowl, sometimes to the point of inducing a sweaty affair. Interestingly, while pho’s herbs (Thai basil and cilantro or culantro) enhance the broth’s delicate flavor, bún bò hue’s herbs (typically mint, rau ram, and perilla) are dynamic but temper the strong broth. Both come with bean sprouts, onion, jalapeño, and lime, but bún bò hue is more exotic, with banana blossoms (and sometimes purple cabbage). It’s also more herbaceous and

MARCH 1-31

arts&culture

ThisWeek’s PickList

Sawing Through the Rings A slicing survey of wood-hewn art, in all its diversity, at Bellevue Arts Museum.

THURSDAY, MARCH 5

BY BRIAN MILLER

Cheryl Strayed

ADEEL AHMED

Abid’s Self Portrait (detail).

buildings was torn down. “What a surprise,” he comments drolly. Ballard is swiftly developing, but maybe some of those salvaged timbers will find their way into some trendy new wine bar (or artwork hung on the walls of same). Wood is meant to be recycled and reused, after all. W. Scott Trimble, who contributed an undulating, roller-coaster-like structure to the recent MadArt show on the UW campus, weaves together recycled cedar and fir blocks in Cascade. His robust public-art installations typically invite you to walk on them, but this wall-mounted mat is more like a tumbling waterfall. It also reminds you how our timber-covered Cascade Mountains were named for the many cascades that poured out of them. Trees are thirsty beings that also help shape our wet, rich environment. Surprisingly few of these works specifically address our timber-cutting heritage, the exception being Garric Simonsen, whose four lightly etched-on-board scenes depict the logging camps and mill fires of our pre-WWI past. Carved on reclaimed bowling-alley flooring (!), the vignettes are inspired by photographs taken by Simonsen’s Swedish-immigrant great-grandfather during the turn-of-the-century timber boom. Yet Simonsen also depicts a nurse log covered in contemporary graffiti— one of the few examples here of engagement with the modern world. Another comes from Pakistani-American artist Humaira Abid, whose Self Portrait includes a locket-sized portrait of herself, ringed by pistols carved of wood. There’s a menace to the display, which also includes tokens of childhood innocence lost. And Mike Rathbun’s large, eerie, and unsettling The Hireling Shepherd stages what I can only describe as a drone strike on a flipped

turtle. Otherwise our current age is mainly represented by furniture, some ready for the pages of Dwell, and decorative objects ready to be placed on top of that furniture (my favorite being Peter Pierobon’s walnut cocktail cabinet/credenza— just waiting to be filled up with booze).

If you write a bestseller that becomes the first pick for Oprah’s Book Club 2.0, and then Reese Witherspoon chooses to produce—and star in— the recent movie adaptation (and gets an Oscar nomination), is there really anything left to say? Well, yes, in fact. For a book that could seemingly be written off as yet another soul-searching female memoir in the vein of Eat, Pray, Love (and on a macro level it is just that), the 2012 Wild insists on more of an investment then many books in that ilk. Readers must commit to following a narrative path that’s sometimes as plodding, unglamorous, and unsentimental as its author’s 1,000-plus-mile hike on the Pacific Crest Trail. Strayed’s story—catapulted by the death of her mother—is one of unvarnished breakdown as she loses her marriage, her mind, and her body (to drugs) and her connection to a past that shaped her into a formerly strong, centered individual. When she takes to the wilderness with her now-infamous blue backpack, “The Monster,” there are no climactic detours, no quirky characters to save her, no cheap epiphanies. Instead we are alone with Strayed and her own mind in an almost stream-of-consciousness journey, with breaks now and then via flashbacks. Fortunately that mind is fascinating territory, as vast and unpredictable as the terrain she’s literally covering. Benaroya Hall, Third Ave. & Union St., lectures. org. $15–$50 (sold out). 7:30 p.m. NICOLE SPRINKLE

As in any group exhibition, we don’t expect

everything here to be particularly great or innovative. It’s a survey show, after all, including both the sanded-bowl-and-driftwood camp of woodworkers and established artists like John Grade. There’s whimsy—as in Todd Jannausch’s deformed, almost melting hand tools—and a bit of mystery, the latter located by Taiji Miyasaka and David Drake in the rooftop sculpture courtyard. Made from reclaimed grain-silo timbers, their igloo-shaped Night Blooming is a hive-like structure, a lattice of loosely stacked wood that you can enter and use as a meditation chamber. It’s the kind of irresistible (and great-smelling) object that deserves a permanent home—more likely to be in Pullman than here, since Miyasaka and Drake teach at WSU. The temporary 13-food-high edifice offers an unplugged, lowtech alternative to James Turrell’s Skypace at the Henry: Here the interior light display is more haphazard, less controlled. The sunlight slips in through the chinks during daytime, yet if you visit this Friday night—when BAM is open to 8 p.m.—a full moon will illuminate the roughhewn catenary dome. E

bmiller@seattleweekly.com

BELLEVUE ARTS MUSEUM 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5–$10. 11 a.m.–6 p.m. Tues.–Sun. Ends March 29.

JONI KABANA

SEATTLE WEEKLY • MARCH 4 — 10, 2015

he early history of Seattle is inseparable from the timber industry, since that was our first and most readily exportable commodity. After we cut down all the old-growth forests within reach, the economy slowed until the Klondike Gold Rush. Never mind our foundational lumberjack mythology, we’re still and most fundamentally a city of merchants—the keyboard having long since eclipsed the axe as our primary tool of trade. Yet more than a century later, wood still stirs ambivalent feelings in BAM’s biennial show, Knock on Wood. Enter any high-end furniture showroom today, or try to price hardwood floors with your contractor, and you’ll quickly learn how expensive oak, cedar, and Doug fir have become. Everything’s laminate these days; instead of wood, we live in a world of manufactured “wood products”—thanks, Weyerhaeuser!—and Ikea bookshelves slowly leaking sawdust from their wobbly joints. For that reason, it’s invigorating to wander among the varied work of 39 artists and woodsmiths—this is very much an arts-and-crafts kind of show—in this juried exhibition. Wood always carries a sense of nostalgia and time within its growth rings and grain. You can’t touch any of the works on view, yet your fingers know exactly what they feel like. In the Northwest, where our ancient elders carved canoes and longhouses, not stone pyramids, wood is totemic, tactile, and historical. (BAM’s last two biennials also had a materials focus: clay in 2010, fiber in 2012. This show opened in late October, and the $5,000 Samuel and Patricia Smith People’s Choice Award will be announced on Friday, based on visitors’ ballots.) This is a mostly local showcase, with only a few artists from Oregon, Alaska, and British Columbia. Certain boldface names have showed at BAM before (or in local galleries). Rick Araluce, for instance, specializes in creepy sonic installations. (He also builds sets for Seattle Opera.) His The Terrorist takes the form of an old TV and radio set, vaguely suggesting a Cold War past, from whence a ghostly, crackly, menacing broadcast dissolves into static. The two objects look like forgotten artifacts from Edith Macefield’s old Ballard cottage, unplugged from the wall yet still possessed of malign current. A more explicit nod to Ballard’s past—and gentrifying future—comes from Whiting Tennis, who often shows at Greg Kucera Gallery. His White Façade depicts the front elevation of two generic old industrial buildings. Tennis frequently explores old tokens of the American West and renders our history out of incongruous cheap plywood and scrap. But these modest structures suggest the more recent and less heroic past. They’ve endured and adapted through successive uses, the artist notes; he admires their humble tenacity—something quite different from beauty. After completing his bas-relief rendering, he says on the wall card, one of the two

Strayed also had a bit part in Wild (as the kindly pickup truck driver who gives Witherspoon a ride).

Mark Morris Dance Group

This most musical of choreographers is back in Seattle, with three works new to us (Jenn and Spencer, Crosswalk, and Words) and one more familiar (Pacific, also in the Pacific Northwest Ballet repertory). Few people working today are as able to show us the internal logic of a dance as Morris—his choices feel both surprising and inevitable. If you know the score (like Felix Mendelssohn’s “Songs Without Words,” to which Words is set), you’re gobsmacked at how

Morris company dancers.

CHRISTOPHER DUGGAN

powerfully the movement is linked to it. If the music—to be performed live by the company’s MMDG Music Ensemble—is new to you, it will be forever associated in your memory with his choreography. (Through Saturday; Morris will also give a lecture at Kane Hall, 6:30 p.m. Wednesday. Free; RSVP required via UW World Series.) Meany Hall, UW campus, 543-4880, uwworld series.org. $53–$58. 8 p.m. SANDRA KURTZ FRIDAY, MARCH 6

Ladysmith Black Mambazo

Famed for its work with Paul Simon on his 1986 album Graceland, Ladysmith Black Mambazo has a deeper history to share. Since forming in 1964, the group has performed music that incorporates the sights, sounds, and stories of life in South Africa (mostly with a religious bent inspired by founder Joseph Shabalala’s conversion to Christianity). That perspective is delivered in the impeccable harmonies that have lifted the group to international renown. Always With Us may be LBM’s most personal release yet, as it pays tribute to Shabalala’s wife, Nellie, who was murdered in 2002. In her honor, the group arranged new music around recordings Nellie made with her own choir, Women of Mambazo, before her death. The album ends on an especially poignant note with “No More Sorrow,” in which Nellie sings, like a comforting message from beyond, “I say no more crying there.” With four of his sons in tow, and via the Ladysmith Black Mambazo Foundation (which teaches South African children about traditional music), Shabalala promises to inspire future generations of musicians and fans. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. $35. 8 p.m.

AZARIA PODPLESKY

Some of us used to watch Soul Train before going out to a club, hoping we could pick up a few moves and absorb the sense of innate cool that those dancers appeared to possess. Led by Ani Taj, The Dance Cartel is a modern, equivalent link in the wired DIY world. Its “Do the Dance Cartel” videos—complete with helpful labels like “fluff arm” or “dirty roll”—are a 21stcentury version of the Arthur Murray How to Dance manuals. And its touring ONTHEFLOOR production is a combination of performance and party, where you can indeed “dance if you want to.” Former Seattleite Reggie Watts and local dancer/choreographer Amy O’Neal will join the party on Friday and Saturday, while Rainbow Fletcher’s new Hypernova company is the special guest on Sunday. Velocity Dance Center, 1621 12th Ave., 351-3238, velocitydance center.org. $15–$25. 8:30 p.m. SANDRA KURTZ E

UNLIKE ANY EDUCATIONAL PROGRAM IN THE COUNTRY, THE RISING STAR PROJECT BRINGS OVER 100 WASHINGTON STATE TEENS TOGETHER TO MOUNT A MAINSTAGE PRODUCTION ON THE 5TH AVENUE STAGE UNDER THE MENTORSHIP OF 5TH AVENUE THEATRE PROFESSIONALS. COME AND SEE WHAT THIS TALENTED TEAM OF STUDENTS HAVE CREATED THIS YEAR!

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

The Dance Cartel

STUDENTS ONSTAGE AND BEHIND THE SCENES!

arts&culture» Performance

Opening Nights The God of Hell

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

Now Open!

Outraged by the Bush administration, the Iraq War, the Patriot Act, Gitmo, Abu Ghraib, etc., Sam Shepard hastily composed this absurdist and somewhat awkward farce in 2004. A dozen years later, though we’re out of Iraq, ongoing drones strikes, Edward Snowden’s NSA revelations, and, most recently, the Chicago police’s “black sites” discovery make the agitprop less outlandish—though no more captivating. In a plot combining elements from FOX News and Star Trek, the uncomplicated existence of Wisconsin dairy farmers Frank (Edwin Scheibner) and Emma is upended when they host Mr. Haynes (Keith Dahlgren), a presumed scientist on the run from a secret U.S. plutonium project. In pursuit, masquerading as a door-todoor salesman hawking patriotic products, the government henchman Welch (Gianni Truzzi, an erstwhile SW contributor) comes knocking. From there we are taken on a rugged route reconnoitering torture, politics, and democracy. Please note, Maureen Miko normally plays Emma; however, due to a medical emergency, director Joanna Goff Sunde subbed for her—still on book—with commendable commitment in the performance I saw. Still, the problem here isn’t the acting, but the direction and choice of material. Truzzi’s disturbing character is a Brechtian clown, yet he fails to dispel any illusions of theater or politics. The production needs to be more cartoonish, to amp up the effects. After any physical contact, Haynes supposedly suffers from “static electricity” and lightning bolts flashing from his appendages. All we see is what we hear: a disappointing game-show-esque buzzer. Even allowing for the low budget, Sunde’s pacing makes Rand Paul’s anti-drone filibuster seem brief. Near the end, long after Verfremdungseffekt has morphed into unmitigated indifference, Frank’s monologue mourns the loss of a less bellicose America. “I miss the Cold War,” he says sincerely. It’s a nostalgic, hackneyed notion to anyone actually raised during the terrifying era of Mutually Assured Destruction. Yet Shepard came of age protesting the Vietnam War. Every epoch has its atrocities and political rationales to ridicule, as the playwright (and theatergoer) knows. Why doesn’t his God of Hell raise my hackles in the year 2015? Perhaps because it does not incite the intended ire; and, damn it, I wanted to be outraged—not bored by more partisan sniping.

The spectacle is what’s been hyped about Seattle Opera’s production of Handel’s Semele, but the music is why you shouldn’t miss it. In the title role of a mortal woman whose crush on Jupiter leads to pride, ambition, and a fiery end, Brenda Rae (in the Wednesday/Saturday cast) sounds

ELISE BAKKETUN

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Rae’s Semele with Alek Shrader’s Jupiter.

glorious in both her dreamy slow arias and her acrobatic showpieces. In “Oh, sleep, why dost thou leave me?” and “My racking thoughts,” the orchestra, led by Gary Thor Wedow, is pared down to just a few instruments; with Rae’s sweetness of tone, the result is an enrapturing chamber-music intimacy I wouldn’t have thought possible in a hall McCaw’s size. And her allegros—especially “Myself I shall adore,” likely the most preposterously ornate aria Seattle Opera’s ever presented—will leave you dazzled (and wondering when and how Rae breathes). But the key to coloratura is to make it expressive, not just a circus act. One magical example comes soon after the opera opens, while Semele’s still betrothed to Athamas and wants out. She beseeches Jupiter for help—“O Jove! in pity teach me which to choose/Incline me to comply, or help me to refuse!”—but Rae’s seductive vocal flight on those last four words makes it clear she’s considerably less conflicted about the choice than she pretends. Similarly, Stephanie Blythe brilliantly handles the extremes of her two roles: bold and resonant as the jealous Juno (even drawing a spontaneous ripple of applause for her imperious lowest notes), and reserved yet deeply affecting as Semele’s sister Ino—for example, dialing it down to pair beautifully with the lighter voice of countertenor Randall Scotting as Athamas in their duet. (If Blythe had sung at full force here, Semele wouldn’t have been the only one in the opera reduced to a pile of ashes.) Furthermore, she expertly plays these opposites off each other when Juno disguises herself as Ino to manipulate Semele into making her fatal request. Also, Seattle Opera-goers who heard Blythe’s Amneris or Fricka, but missed her in the title role of Rossini’s The Italian Girl in Algiers, may not know how funny she can be, but her scene with Amanda Forsythe as Juno’s messenger Iris drew well-earned laughs. (In an interesting reversal, in this production it’s the gods who provide the comedy; normally in baroque opera, seriousness is a class marker, with comedy reserved for the lower orders and gravity the province of the nobility.) John Del Carlo’s gruff bass works well as Cadmus, Semele’s father, and even better as Somnus, god of sleep. With rapid passagework as daunting as the ladies’, Handel makes the lead male role, Jupiter, rather a thankless task; Alek Shrader’s hard work here was admirable but audible.

Erhard Rom’s set is cool, airy, severe—inspired, from the look of it, by the PACCAR Pavilion at the Olympic Sculpture Garden, or maybe the Gates Foundation building, or, really, anything built in Seattle so far this century. Projections on screens large and small add visual variety. Not all of these work; no face looks good blown up to billboard size, and one image, a pink rose against a screen-saver backdrop of drifting clouds, resembles nothing so much as a telenovela’s opening credits (Amores de dioses, maybe, or Ambición mortal ). GAVIN BORCHERT

Seven Ways to Get There ACT THEATRE, 700 UNION ST., 292-7676. $20– $65. RUNS THURS.–SUN.; SEE ACTTHEATRE.ORG FOR EXACT SCHEDULE. ENDS MARCH 15.

TRUMAN BUFFETT

Potter’s therapist tends to her flock.

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OPENINGS & EVENTS

AVENUE Q (SCHOOL EDITION) From what I remember

of this show, a version with the diciest stuff removed would last about 12 minutes. I may be wrong. Youth Theatre Northwest, TPS Studio 4, Seattle Center Armory, 232-4145 x109, youththeatre.org. $10–$17. Opens March 6. 7 p.m., Fri.–Sat., 2 p.m. Sun. Ends March 22. BOOK-IT’S SILVER JUBILEE GALA Celebrating 25 years of putting literature onstage with a dinner, performance, auction, and dancing. Showbox at the Market, 1426 First Ave., 216-0833, book-it.org. $150. 7 p.m. Sat., March 7. CHINGLISH Cross-cultural miscommunication wreaks havoc in David Henry Hwang’s comedy. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $15–$34.50. Opens March 5. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends March 29. THE COMPARABLES Strong and glamorous high-end real-estate agents Bette, Monica, and Iris are faced with a tough decision after Bette’s reputation is put in question, in a new play by Laura Schellhardt (The K of D). Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$102. Previews begin March 6, opens March 11. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends March 29. ADAM DEVINE Best known as a co-creator/writer/star of Comedy Central’s Workaholics, he is quickly becoming a highly sought-after comic actor. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $28. 8 p.m. Wed., March 4. THE EDGE Bainbridge Island’s own improv troupe. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, theedgeimprov.com. $12–$16. 7:30 p.m. Sat., March. 7. THE FLICK Annie Baker’s Pulitzer Prize-winning play is set in a fading movie theater. The Mainstage at 12th Avenue Arts, 1620 12th Ave., wearenctc.org. $15–$35. Preview March 5, opens March 6. 8 p.m. Thurs.–Sat., 7 p.m. Sun. Ends April 4. JUDAH FRIEDLANDER 30 Rock’s man of a thousand trucker hats. Parlor Live Comedy Club, 1522 Sixth Ave., 602-1441, parlorlive.com. $25–$30. 7:30 p.m. Thurs., March 5, 7:30 & 10 p.m. Fri., March 6–Sat., March 7. GENRE BENDER Artists in different media are paired— photographer Steven Miller + actress Sarah Rudinoff and vocalist okanomodé SoulChilde + aerialist Lara Paxton, to name just a couple of examples—and we’ll all see what they come up with at Cornish Playhouse, Seattle Center, 800-838-3006, brownpapertickets.com. $20–$30. 8 p.m. Fri., March 6–Sat., March 7. GOOD MORNING CAMPERS Jet City Improv “lets audiences relive the wonders of summer camp without any of the homesickness.” Yes, you will sing along. 5510 University Way N.E., jetcityimprov.org. $12–$15. Opens March 5. 8 p.m. Thurs.–Fri. Ends March 20. GOODNIGHT MOON Based on the bedtime book by Margaret Wise Brown and Clement Hurd, this musical debuted here in 2007. Now a new wave of kids can enjoy it. Seattle Children’s Theatre, Seattle Center, 441-3322. $20 and up. Preview March 5, opens March 6. Runs Thurs.– Sun.; see sct.org for exact schedule. Ends April 26. THE GREATER GOOD Viennese anti-semitism comes under Amlin Gray’s microscope in this play adapted from Schnitzler. ACT Theatre, 700 Union St., 292-7676, act theatre.org. $10–$15. 7 p.m. Mon., March 9. THE HOSTAGE Brendan Behan’s play about a British solddier held to be exchanged for an IRA prisoner includes slapstick, satire, and musical numbers. Jones Playhouse, 4045 University Way N.E., 543-4880, drama.washington. edu. $10–$18. Opens March 4. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends March 15.

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JACQUES BREL IS ALIVE AND WELL & LIVING IN PARIS Well, he was when this revue celebrating the

Belgian songwriter opened in 1968. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$49. Previews March 7–11, opens March 12. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 2 & 7 p.m. Sun. Ends May 17. KEVIN MCDONALD See the results of an improv/sketch comedy workshop taught by this Kids in the Hall alum. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $15. 7 p.m. Sat., March 7. PARAMETER SPACE A reading of Jim Jewell’s play about science and faith, presented by the Infinity Box Theatre Project. Room 160, Sutdent Union Building, Seattle Unversity, infinitybox.org. Free. 7 p.m. Wed., March 4. SPIN THE BOTTLE Annex Theatre’s late-night variety show. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$10. 11 p.m. Fri., March. 6. YOUNG PLAYWRIGHTS FESTIVAL Work by eight writers, ages 13–18, is launched via staged readings. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$10. 7:30 p.m. Thurs., March 5–Fri., March 6, 1 & 4 p.m. Sat., March 7.

» CONTINUED ON PAGE 22

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Here’s an earnest new comedy of hybrid parentage: Dwayne J. Clark, a local businessman, is the newbie fictionalizing his past experiences in a men’s therapy group; writer Bryan Willis is the stage professional who helped him shape that circular sharing into a two-act structure. ( John Langs directs at a brisk, welcome pace.) With a female shrink running herd on seven neurotic dudes with various maladies, the laughs here ought to come quick—provided we don’t have any serious belief in therapeutic outcomes. Back in the day of unenlightened Broadway or Hollywood romps, mental illness was simply joke fodder; no one cared about being cured, since that would kill the source of the laughter. But now we live in different times. Therapist Michelle (Kirsten Potter) implores her group to share in good faith, to keep their secrets sacred, and above all to believe in the process of healing. Seven Ways is nothing if not sincere about that process, which tends to undercut the comedy— or seriocomedy, really. Since the male characters here never emerge beyond types, you at least want them to be funny types. This is a situation verging on sitcom, where you need the experienced joke-smithery of a Neil Simon. Again, however, this is a tyro team that falls back on the obvious: easy male put-downs, talk of a porn co-op, the guys bursting into pirate banter, spontaneous dance parties, even a fart joke or two. If the conceit is thin, the writing is thinner. Among the various patients (angry, indecisive, sex addict, etc.), Charles Leggett makes good use of comic silence and withholding (almost as if he knows the lines aren’t worth delivering). Darragh Kennan brings a lot of urgency and energy to his resentful, court-mandated attendee, but the character feels like a Randle P. McMurphy knockoff. Bradford Farwell’s tormented painter adds the most pathos to the piece—almost too much; he’s the odd man out in this comic ensemble. Meanwhile their strained but patient therapist keeps encouraging them to open up and take more risks. Would that the play did the same. BRIAN MILLER E

Stage

arts&culture» Performance » FROM PAGE 21 CURRENT RUNS

BLOOD/WATER/PAINT Live Girls! premieres Joy

McCullough-Carranza’s drama about baroque painter Artemisia Gentileschi. Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, lgtheater.org. $15–$22. 8 p.m. Thurs.–Sat. plus Mon., March 9. Ends March 14. CIRQUE DU SOLEIL “KURIOS—Cabinet of Curiosities” asks “What if by engaging our imagination and opening our minds we could unlock the door to a world of wonders?” Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-450-1480, cirquedusoleil.com/kurios. $35–$156. 8 p.m. Tues.–Sat., 4:30 p.m. Sat. (& some Fri.), 1:30 & 5 p.m. Sun. Ends March 22. DEAR ELIZABETH Sarah Ruhl’s portrait of Elizabeth Bishop and Robert Lowell is built on their letters. Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$67. 7:30 p.m. Wed.–Sun. plus some Wed., Sat., & Sun. matinees; see seattlerep.org for exact schedule. Ends March 8. THE DOG OF THE SOUTH Judd Parkin’s adaptation of Charles Portis’ 1979 novel makes for a classic road-trip story. Ray Midge (Christopher Morson) explains how his wife Norma (Shannon Loys) has run off with her exhusband, Dupree (Joshua C. Williamson), who also happens to be Midge’s childhood friend. Told in flashbacks as they’re enacted onstage, these picaresque vignettes are kept short and sweet under the direction of Jane Jones. What ensues is a sort of comedy of errors, laced with magical realism. IRFAN SHARIFF Center Theatre at the Armory, Seattle Center, 216-0833. $25. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends March 8. THE EXPLORERS CLUB This pleasing production of Nell Benjamin’s 2013 comedy is no stodgy period piece, though set in 1879 London. There the male adventurers of the Explorers Club argue about adding the assertive anthropologist Phyllida Spotte-Hume (Hana Lass) as their first female member. Under Karen Lund’s direction, this ensemble expertly executes goofy gags. ALYSSA DYKSTERHOUSE Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $15–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 7. THE GOD OF HELL SEE REVIEW, PAGE 21. I LOVE YOU, YOU’RE PERFECT, NOW CHANGE Joe DiPietro’s long-running off-Broadway hit about the vagaries of love. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $7–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 22. THE LONG ROAD/NINE Two gripping one-act dramas, presented by Arouet. Eclectic Theater, 1214 10th Ave., 800-838-3006, arouet.us. $12–$40. 7:30 p.m. Thurs.–Sat. Ends March 14. NEXT TO NORMAL A “typical” American family is anything but because of the mother’s 16-year battle with manic depression. SecondStory Rep, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 8 p.m. Thurs.–Sat. plus 2 p.m. Sun., March 15. Ends March 15. SEVEN WAYS TO GET THERE SEE REVIEW, PAGE 22. TEATRO ZINZANNI: THE HOT SPOT Frank Ferrante and Dreya Weber return to make “love and magic in the digital age collide.” Teatro ZinZanni, 222 Mercer St., 8020015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends June 7. VOYAGE FOR MADMEN Not Don Draper and company, but the voyage of Seattle’s ill-fated, real-life Ardeo Theatre Project. West of Lenin, 203 N. 36th St., the1448projects.org. $20. 8 p.m. Fri.–Sat., plus 2 p.m. Sun., March 7. Ends March 7.

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THREE ACTS TWODANCERS ONE RADIO HOST SEATTLE WEEKLY • MARCH 4 — 10, 2015

IRA GLASS, MONICA BILL BARNES, ANNA BASS

THREE ACTS TWODANCERS ONE RADIO HOST IRA GLASS, MONICA BILL BARNES, ANNA BASS

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Dance

• KYLE ABRAHAM Plenty of interesting dances aren’t

about anything in particular, but they aren’t by Abraham. With his company, ABRAHAM.IN.MOTION, he’s created a body of work that examines big, controversial issues and small, human-scale ideas, usually at the same time. When the Wolves Came In focuses on two anniversaries: the 150th of the Emancipation Proclamation and the 20th of the abolishment of apartheid in South Africa, both filtered through the music of Max Roach. SANDRA KURTZ The Moore, Second Ave., 888-STG-4TIX, stgpresents.org. $32.50–$52.50. 8 p.m. Wed., March 4–Thurs., March 5. MARK MORRIS DANCE GROUP SEE THE PICK LIST, PAGE 18. KATY HAGELIN DANCE PROJECT Hagelin is a young choreographer working on the border of ballet and contemporary dance, finding her own approach to the art form. Meydenbauer Center, 11100 N.E. Sixth St., Bellevue, 800-838-3006, katyhagelindanceproject.org. $20–$28. 7:30 p.m. Fri., March 6–Sat., March 7. AJNC DANCE Amy Johnson has a quirky sense of humor—her new Believe Me or Not should give her plenty of scope for silliness. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, brownpapertickets.com. $15. Opens March 6. 8 p.m. Fri.–Sun. Ends March 14.

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THE DANCE CARTEL SEE THE PICK LIST, PAGE 19. • BOLSHOI IN CINEMA: ROMEO AND JULIET The

Bolshoi Ballet’s production of Shakespeare’s tragedy, with choreography by Yuri Grigorovitch, is like the company itself—big, virtuosic, and full of drama. Thornton Place, 301 N.E. 103rd St.; see fathomevents.com for other participating theaters. $15–$18. 12:55 p.m. Sun., March 8. SEATTLE EARLY DANCE Many of the works in the Early Music Guild’s repertory were composed for dance— here’s an opportunity to see those rhythms made visible. Anna Mansbridge and colleagues will perform a courtly masque in period style; swooning will be encouraged. Trinity Parish Episcopal Church, 609 Eighth Ave., seattle earlydance.org. $10–$25. 7:30 p.m. Tues., March 10.

Classical, Etc.

OPERA SEE REVIEW, PAGE 21. • SSEATTLE • EATTLE COMPOSERS SALON A new-music open-

mike night, with music by Ann Cummings, Jeremiah Lawson, Jeremy Shaskus & Nadya Kadrevis, and Clement Reid. Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., March 6. THE ESOTERICS This chorus honors the centennial of Rachmaninoff’s popular and gorgeous All-Night Vigil. At St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 8 p.m. Fri., March 6, and Holy Rosary Catholic Church, 4142 42nd Ave, S.W., 8 p.m. Sat., March 7. $15–$25. theesoterics.org. SEATTLE SYMPHONY A Rodgers & Hammerstein celebration. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $41–$102. 8 p.m. Fri., March 6–Sat., March 7, 2 p.m. Sun., March 8. MUSIC OF REMEMBRANCE Chamber music by Lori Laitman, David Stock, and others on MOR’s “Sparks of Glory” series. Seattle Art Museum, 1300 First Ave., musicofremembrance.org. Free. 2 p.m. Sat., March 7. JACK STRAW ARTIST SHOWCASE Music and readings by Jack Straw-granted musicians and writers. Hear what they did with their $. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Donation. 2 p.m. Sat., March 7. AMADEUS GUITAR DUO Music by Handel, Rodrigo, and more for two guitars. (Not two guitarists on one guitar.) Sponsored by the Seattle Classic Guitar Society. Benaroya Recital Hall, Third Ave. & Union St., 297-8788, seattleguitar.org. $28–$38. 7:30 p.m. Sat., March 7. MUSICA FICTA This Spanish ensemble explores that region’s role as a crossroads of Christian, Jewish, and Muslim culture. Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $20–$45. 8 p.m. Sat., March 7. SEATTLE PRO MUSICA Sacred music by women covering nearly a millennium, from Hildegard of Bingen to a premiere by director Karen P. Thomas. St. James Cathedral, 804 Ninth Ave., 800-838-3006, seattlepromusica. org. $12–$35. 8 p.m. Sat., March 7–Sun., March 8. LAKE WASHINGTON SYMPHONY Michael Miropolsky conducts Bruch, Mussorgsky, and Weber. Kirkland Performance Cemter, 350 Kirkland Ave., Kirkland, 425-8939900, lwso.org. $15–$30. 3 p.m. Sun., March 8. MUSIC FROM THE WAR TO END ALL WARS WWI, that is, with works by Bartok, Prokofiev, and Ravel. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $10. 4 p.m. Sun., March 8. MOSTLY NORDIC Music + smorgasbord: The Northwoods Wind Quintet plays Nielsen. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $47–$55 (concert only $22–$27). 4 p.m. Sun., March 8. ONYX CHAMBER PLAYERS Music of Beethoven: a violin sonata and some rarities for piano trio. First Church Seattle, 180 Denny Way, 800-838-3006, onyxchamber players.com. $10–$25. 5 p.m. Sun., March 8. BYRON SCHENKMAN & FRIENDS Chamber music by Clara Schumann, finally in the spotlight equally with husband Robert. Benaroya Recital Hall, Third Ave. & Union St., 215-4747, byronschenkman.com. $42. 7 p.m. Sun., March 8. UW JAZZ Standards and originals from two ensembles. Meany Hall, UW campus, 543-4880, music.washington. edu. $10–$15. 7:30 p.m. Mon., March 9. OPERA ON TAP Operatic (and operrettic) favorites + beer. Blue Moon Tavern, 712 N.E. 45th St., operaontap.org. $5. 7 p.m. Tues., March 10. UW BANDS Playing Colgrass, Harbison, and more. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., March 10. UW ETHNOMUSICOLOGY Visiting artist Srivani Jade and students present music of North India. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Tues., March 10.

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

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com

» Visual Arts Openings & Events DAYA ASTOR AND CAROLYN GRACZ The artists

present work under the rubrics Quotidian Urban Geometry and Perspective. First Thursday opening reception, 5-8 p.m. Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends March 28. SHERI BAKES Her oil paintings capture light and motion in nature. First Thursday opening reception, 5-8 p.m. Foster/White Gallery, 220 Third Ave S., 622-2833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends April 1. BELONGING Activist profiles and original artwork explore the cultural and political climate leading up to the Immigration Act of 1965. Free First Thursday opening reception, 7-8 p.m. Wing Luke Museum, 719 S. King St., 623-5124, wingluke.org. $9.95-$14.95. 10 a.m.-5 p.m. Tues.-Sun. MARK BENNION AND MARITA DINGUS The artists exhibit New Works and The Girls. First Thursday opening reception, 5-8 p.m. Traver Gallery, 110 Union St., 587-6501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m-5 p.m. Sat. Ends March 28. GALA BENT AND BLAKE HAYGOOD A Chorus for the Multiverse and The How, What, and Wherefore explore complex themes through watercolor, acrylic, and graphite on paper. First Thursday opening reception, 6-8 p.m. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery. com. 11 a.m.-5 p.m. Wed.-Sat. Ends April 18. CLAY COLLECTS CLAY The most treasured pots from private collections. Opens Fri., March 6. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.org. 11 a.m.-5 p.m. Tues.-Fri. Ends April 3. DIRTBAG SISTERS Working under one name, Karie Jane and Jess Bonin contemplate the pursuit of happiness in a conceptual show called Happily Never After. First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends March 28. CAROL GOUTHRO AND JIM KRAFT The two artists work in ceramics. First Thursday opening reception, 6-8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends March. 28. GROUP SHOW Three exhibits featuring autobiographical paintings and manipulated photography by gallery artists Sam Wolfe Connelly, Liz Brizzi, and Darla Teagarden. First Thursday opening reception, 6-9 p.m. Roq La Rue, 532 First Ave S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends March 28. MELINDA HURST-FRYE AND SARAH FANSLER LAVIN The two locals show new work. First Thursday

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monochromatic paintings. First Thursday opening reception, 6-8 p.m. Zeitgeist, 171 S. Jackson St., 5830497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. 8 a.m.-7 p.m. Sat.-Sun. Ends April 1. PITCH Common objects are the subjects for Erik Shane Swanson, James Scheuren, and Philip LaDeau. They work in sculpture, photography, and drawing. First Thursday opening reception, 6-8 p.m. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thu.-Sun. Ends March 28. THE PORTRAIT REFRAMED This group show features portraiture by Anita Nowacka, Davis Freeman, Jay Defehr, and others. Opening reception, 1-4 p.m. Sun., March 8. Stacya Silverman Gallery, 614 W. McGraw St., 270-9465, stacyasilverman.com. Hours by appointment. Ends June 15. PROCESS AND ARTIFACTS Work from 12 local artists who represent the Duwamish Artist Residency. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends March 26. ELLWOOD T. RISK The Los Angeles artist uses graphic design. First Thursday opening reception, 5-8 p.m. Hall|Spassov Gallery, 319 Third Ave. S., 453-3244. 11 a.m.-6 p.m. Tues.-Sat. Ends March 31.

America's Greatest Big Band Show

“A meticulously researched recreation of the Swing Era Era” —Peter Donnelly, Australia

artbeatshows.org

BARBARA STERNBERGER AND PATTI BOWMAN

Inner Passage features paintings from Bellingham artist Sternberger. Bowman, from Seattle, depicts urban scenes. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S. 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.Sat. Ends March 28. SONYA STOCKTON AND PASCALE LORD They show new work. First Thursday opening reception, 5-8 p.m. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.-Sat. Ends March 28. DELOSS WEBBER His sculptures reflect the beauty of nature in abstract ways. First Thursday opening.Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery. com. 11 a.m.-5 p.m. Mon.-Sun. Ends March 31.

Ongoing

SQUEAK CARNWATH Songs collects the Oakland

painter’s large, bright new works, many of them covered in text culled from her favorite music lyrics. Also on view, new ceramics in Taking Form: Quality in Clay. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends March 28. JOHN GRADE Middle Fork is a replica of a giant Western hemlock. MadArt, 325 Westlake Ave. N., 623-1180, madartseattle.com. 11 a.m.-5 p.m. Wed.Sat. Ends Apr. 25. ANN HAMILTON The artist has created new commissioned art for the Henry that she invites viewers to interact with through touch. Henry Art Gallery (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Weds., Sat. & Sun. 11 a.m.-4 p.m. Thurs. & Sat. Ends April 26. HODGEPODGE Staff members at the school show their glass work and more. Pilchuck Glass School Seattle Exhibition Space, 240 Second Ave. S., 621-8422, pilchuck.com. Ends March 25. INDIGENOUS BEAUTY A collection of traditional Native American artwork from the Diker Collection, with a Northwest sidebar. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12.50$19.50. 10 a.m.-5 p.m. Wed.-Sun. (Open to 9 p.m. Thurs.) Ends May 17. JASON LAJEUNESSE In Echoes, Lajeunesse explores his pursuit of sobriety through a collection of paintings. Ghost Gallery, 504 E. Denny Way, 832-6063, ghostgalleryart.com. 11 a.m.-7 p.m. Tues.-Fri. 11 a.m.-6 p.m. Sat.-Sun. Ends. March 9. MELT A group show of local and international artists responding to issues pertaining to youth, childhood, and education. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 935-2999, youngstownarts. org. 9 a.m.-9 p.m. Mon.-Sun. Ends March 15. ON CAPTURING TRANSIENT BODIES Patty Haller, Ingrid Lahti, Edward Lee, and Trung Pham set out to “capture what cannot be captured” in this painting exhibit. ArtsWest, 4711 California Ave. S.W., 9380963, artswest.org. 1:30-7:30 p.m. Thurs.-Sat. Ends March 7.

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BY D IA NA M . LE

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ping p a t e “A to gic ride to l nosta year” ll yester —Brad Downa

BENAROYA HALL S. MARK TAPER FOUNDATION AUDITORIUM

Saturday, March 7 ~ 2 pm 200 University Street, Seattle 206-215-4747 or 1 866-833-4747 benaroyahall.org

SEATTLE WEEKLY • MARCH 4 — 10, 2015

opening reception, 6-8 p.m. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 4674444, coregallery.com. Noon-6 p.m. Wed.-Sat. Ends March 28. IN LEGO, WE CONNECT Tiny toy tableaux are captured in whimsical photos by Vesa Lehtimäki (from Finland), Shelly Corbett (local) and Boris Vanrillaer (a Swede). First Thursday opening reception, 6-8 p.m. Artist talk, 11 a.m. Sat. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. 11 a.m.-5 p.m. Mon.-Sat. Ends April 11. STEVE JENSEN He works with recycled materials to explore notions of death and loss. First Thursday opening reception, 6-8 p.m. Abmeyer + Wood Fine Arts, 1210 Second Ave., 628-9501, abmeyerwood.com. 11 a.m.-6 p.m. Mon.-Sat. Ends March 28. FAY JONES The Seattle icon showcases her signature surrealist imagery. First Thursday opening reception, 5-7 p.m. Seattle ArtREsource, 625 First Ave., Suite 200, 838-6295, seattleartresource.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends March 31. KAREN KOSOGLAD AND VICTORIA JOHNSON Two artists explore abstraction through mixed media and paint. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery. com, 443-3315. 10 a.m.- 5:30 p.m. Mon.-Sat. Ends March 29. JUDITH LARSEN She honors the work of female journalists and human-rights and social-justice workers in her oil and watercolor portraits. Opens Tues., March 10. M. Rosetta Hunter Art Gallery, Seattle Central College, 1701 Broadway, 934-4379, seattlecentral.edu. 9 a.m.-3:30 p.m. Mon.-Fri. 5 p.m.-7 p.m. Tues.-Wed. Ends March 25. JEFFREY LARSON Skin Deep features abstract mixedmedia collages in appreciation of the male body. First Thursday opening reception, 5-9 p.m. The Kitchen, 103 First Ave. S., 623-3780, delicatusseattle.com. 11 a.m.-8 p.m. Mon.-Fri. 11 a.m.-4 p.m. Sat.-Sun. End date TBD.

• YOONA LEE She explores race in America through

arts&culture» Film

PBuzzard RUNS FRI., MARCH 6–THURS., MARCH 12 AT GRAND ILLUSION. NOT RATED. 87 MINUTES.

Funny and bizarre enough to attract a cult following, Buzzard is also off-putting enough to keep its micro-indie cred. I think it might be the real thing. There are some recognizable influences, like the ratty-couch ambience of early Richard Linklater and Kevin Smith, with more than a touch of James Gunn’s wacky/hostile Super mixed in. But for all that, it only takes a few minutes of watching Buzzard to suspect there’s a stubbornly original filmmaker on the scene—namely Michigan writer/director Joel Potrykus, whose second feature this is. We are in the world of Martin Jackitansky, a conniving slacker who seems to belong to a previous generation. He is played by an insolent actor named Joshua Burge, a hunkier version of Steve Buscemi but without Buscemi’s dramatic chops. Martin works as a temp at a bank, where he orders office supplies and then sells them back to the local big-box store. His life is a series of pitifully small-time scams, but at least he’s got a long-term goal: developing his old Nintendo power glove into a Freddy Krueger-like weapon. When a scheme to sign over bank reimbursement checks to himself leads Martin to suspect he might get into real trouble, he escapes to the basement of co-worker Derek (Potrykus, a deft comic performer). The hapless Derek lives with his dad, but he’s claimed the basement as the “Party Zone,” a heroic attempt to sustain the fantasy that he has a life. He’d really like to bond with Martin, but as the latter reminds him, theirs is not an actual friendship: “We’re work friends.” Nothing discourages Derek, a wonderful character who, at the very least, deserves his own web series.

Glory struck a chord because of its warm, wellremembered details of everyday heroism (and weakness) beneath the Blitz. That patriotic glow is just beginning to wear off in Queen and Country, as noted by one of Bill’s superiors, who snaps at him in disgust, “This country is fucked.” Bill corrects him: “Your country,” even though Boorman shows us too much of the old England, not enough of the new. BRIAN MILLER

Queen and Country

The Salvation

OPENS FRI., MARCH 6 AT SUNDANCE CINEMAS. NOT RATED. 115 MINUTES.

OPENS FRI., MARCH 6 AT SIFF CINEMA UPTOWN. NOT RATED. 100 MINUTES.

Though a relatively gentle homefront comedy, John Boorman’s 1987 Hope and Glory advanced the revisionist argument that—to uncomprehending children, at least—World War II was like a huge thrilling holiday. His sequel, set in 1952, again follows the Rohan family, whose only son Bill (bland, smiling Callum Turner) is again Boorman’s stand-in in this autobiographically inspired account. It’s a pleasant, nostalgic movie that didn’t need to be made (a memoir written, maybe), chiefly because he has nothing new to say about the postwar era. If WWII was, in childish Bill’s eyes, fun, the Cold War is here a fairly bland affair. There’s talk of fighting in Korea, dropping the A-Bomb, and even catching venereal diseases in the brothels of Seoul, but the movie barely leaves the barracks where conscripted Bill and his pal Percy (Caleb Landry Jones) are teaching soldiers to type. These two discontented NCOs are confronted with an inflexible old-guard military (represented by David Thewlis and Brían F. O’Byrne) that refuses to acknowledge how the world is changing. Snatches of Sinatra and other American jukebox voices are heard; a new television set shows the coronation of Queen Elizabeth; but no one knows, apart from Boorman, how swiftly the sun is setting on the British Empire. Bill, certainly, is oblivious: He’s only intent on an unobtainable dream girl (a trite device in American Graffiti and also here). Percy, the rebel, meanwhile tweaks the ancien régime by stealing

JENS SCHLOSSER/IFC/SUNDANCE SELECTS

Opening ThisWeek

not Derek); and Martin wolfing down a plateful of spaghetti and meatballs in a long, uncomfortable take. Those asides give the impression that Potrykus is making a lot of this up as he goes along, and maybe he is, but the confidence on display is unmistakable. If you gave this guy a bigger budget, it might not be a great idea. Scratching the American underbelly may be this director’s proper level. ROBERT HORTON

OSCILLOSCOPE LABORATORIES

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Burge’s solemn slacker.

Potrykus shifts the tone when Martin flees to Detroit, as Buzzard takes on darker coloration. Despite the zany episodes, the movie is aware that we’re in a society that lacks a safety net for lots of people, and Martin might be one of them. In tracing this slacker’s descent, this film has its share of curious digressions, including two nonsensical eating scenes: Derek scarfing Bugles off a moving treadmill (the snack is on the treadmill,

the regimental dining-hall clock (even less interesting than it sounds). And leave it to old pro Richard E. Grant, as the eye-rolling base commander, to signal how little any of this will matter in the following decade (when Withnail & I, also released in 1987, is set with a different memory tinge). Boorman has made fine films including Point Blank, Deliverance, and The General. Hope and

get the urge to “do” a Western. This example works cleanly enough, even if it’s hard to locate a fresh take on the material. However, if you think Mikkelsen is a cool actor—are there people who don’t?—rest assured that the onetime Bond villain (Green was his co-star in Casino Royale) and star of TV’s Hannibal is perfectly comfortable in 1870s-era surroundings. His chiseled looks and laconic style were just waiting for a Western to come along, and for that reason alone The Salvation earns a look. ROBERT HORTON

Mikkelsen as gunslinger, with Green to rear.

As a Western shot by a Danish crew in South Africa, The Salvation already has a hodgepodge air about it. The movie never quite overcomes that sense of being assembled from different directions, but—with the help of two charismatic stars—it does conjure up its share of evocative genre moments. The hook is set early, as a terrible act of frontier violence and instant retribution blows apart the world of Danish immigrant Jon (Mads Mikkelsen). Now Jon and his brother Peter (cool customer Mikael Peresbrandt, a Hobbit veteran) are targeted for revenge by a very bad hombre ( Jeffrey Dean Morgan) whose henchmen have the usual traits of bad hygiene and lousy marksmanship. There’s also a woman, played by the thankfully ubiquitous Eva Green, who does not speak. A wordless role is no problem for this French actress, who looks as though she might set fire to the entire worthless town with a glance. The town is actually not worthless, as we might guess when we see the occasional shots of black goo bubbling up from the ground. That the thirst for oil is behind all the atrocities committed in the story was probably appealing to director Kristian Levring (whose 2000 film The King Is Alive was one of the odder offspring of the Dogma movement). Levring certainly doesn’t do much with the Danish-immigrant angle, which is simply folded into the traditional Western storyline and barely referred to again. It’s a stark movie, but easy on the eyes; the costumes, for instance, are so overdressed and brightly colored that they have a comicbook quality. (That’s not actually a complaint.) Levring spends a lot of energy imitating the look of Sergio Leone’s widescreen spaghetti Westerns, a style that gives breadth to these bleak surroundings. I can’t say why The Salvation exists, exactly, except that Europeans are very fond of this most American movie genre, and periodically

The Second Best Exotic Marigold Hotel OPENS FRI., MARCH 6 AT SUNDANCE AND OTHER THEATERS. RATED PG. 122 MINUTES.

Losing track of narrative beats is a terrible sin in expensive screenwriting classes, but not so important to actual movies. Here is a modest demonstration. The plot devices in this sequel are so stale that the movie itself loses interest in them halfway through its dawdling 122 minutes—and this is a good thing. By that time the contrivances of Ol Parker’s script have done their duty, and we can get to the element that turned the film’s 2011 predecessor into a surprise hit: hanging around with a group of witty old pros in a pleasant location. There are many worse reasons for enjoying movies. In the first Best Exotic Marigold Hotel, a group of elderly British expats in India found themselves warming to the charms of a dilapidated inn. Now the hotel’s hyperactive manager Sonny (Dev Patel, from Slumdog Millionaire) is planning his marriage—and wants to add a second establishment to build his success. This leads to confusion over a secret visitor from an American finance company. The expats, now installed at the Marigold, have their own problems, which include randy Norman (Ronald Pickup) suspecting he’s inadvertently put a hit on his own girlfriend. These issues fade away, as director John Madden (Shakespeare in Love) allows Maggie Smith, Judi Dench, Celia Imrie, and Penelope Wilton to float around on many years’ worth of accrued goodwill. Especially fine is the spindly Bill Nighy, whose shy Douglas is a hesitant suitor to Dench’s Evelyn, a still-active buyer of fabrics. Even when the story has him fulfilling sitcom ideas, Nighy maintains his tottering dignity and sense of fun. You’d like to know this guy. We should note that Patel’s elaborate locutions have not aged well since the era of Peter Sellers’ comical Indian voices. Also that com-

“OFFICE SPACE ON CRACK.” Local & Repertory

pany newcomer Richard Gere looks sheepish throughout the film, as though he’d gotten to the set and belatedly realized he’d be in the company of some bona fide acting legends. Nevertheless, Second Best will be a hit with its original audience, and maybe then some. The languid mood is laced with an appreciation for getting to the End of Things, especially as Smith’s formerly snappish Muriel mellows into a melancholy leave-taking. At that point, you wish the slavish devotion to plot could be entirely forgotten in favor of sunbaked character turns and the amiability of a good ensemble. When those things take over, this film hits its stride. ROBERT HORTON

• AN AMERICAN WEREWOLF IN LONDON The

’80s were very good to John Landis, who scored a deserved hit with this 1981 horror-com. Landis was a student of the Lon Chaney Jr. werewolf originals and a wiseacre about horror conventions. His goal was to mix yucks and gore (he even wrote his first draft at age 19.) Rick Baker’s Oscar-winning effects give the film part of its visceral, pre-CGI charm. The werewolf transformations and gore are more palpable, not just applied with a mouse click. Young leads David Naughton and Griffin Dunne don’t have the stiffness that can come from acting in front of a green screen. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Tues.

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

AN AMERICAN WEREWOLF IN LONDON

MAR �–��

Friday - TUESDAY @ 9:30PM

MICHELANGELO ANTONIONI

Alain Delon star in L’Eclisse (1962), which chronicles a doomed romance in a doomed Italy. (NR) Seattle Art Museum, 1300 First Ave., 267-5380, nwfilmforum. org. $8–$12 individual, $35–$54 series. 7:30 p.m. Tuesdays through March 24. CINEMA ITALIAN STYLE From 1971, Death in Venice is Luchino Visconti’s adaptation of the Thomas Mann novella, with Dirk Bogarde as the unhappy artist smitten with an unobtainable boy. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thursdays through March 19.

RUNS FRI., MARCH 6–THURS., MARCH 12 AT NORTHWEST FILM FORUM. NOT RATED. 99 MINUTES.

A beloved old neighbor, who occupies a rentcontrolled apartment in a valuable Brooklyn brownstone, suddenly drops dead. Perhaps because she has nothing else to do, Barri (Sophia Takal) posits a murder. Her live-in fiancé Noah (Lawrence Michael Levine) is understandably skeptical, though third roomie Jean (Arrested Development’s Alia Shawkat) is willing to help investigate the implausible crime, mainly because she’s got a crush on Barri. (Noah meanwhile has something going on with his supposedly lesbian boss, played by Annie Parisse, a Law & Order veteran and Mercer Island native.)

FIRST PERIOD

THURSDAY @ 8:00PM

MAP THEATRE PRESENTS: MARIOKART N64 TOURNAMENT WedNesday@ 7:00PM

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EGYPTIAN THE SECOND BEST EXOTIC MARIGOLD HOTEL

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IFC/SUNDANCE SELECTS

» CONTINUED ON PAGE 26

NOW PLAYING

Midnight Movie | Mar 6-7

WHAT WE DO IN THE SHADOWS

UPTOWN Mads Mikkelsen & Eva Green in

THE SALVATION

THE SECOND

BEST EXOTIC

MARIGOLD

KINGSMAN: THE SECRET SERVICE WHAT WE DO IN THE SHADOWS

HOTEL

TWO DAYS, ONE NIGHT

NOW PLAYING | EGYPTIAN

MAPS TO THE STARS

Judi Dench, Maggie Smith, Bill Nighy

Held over!

FILM CENTER Recent Raves | Mar 9

A YEAR IN CHAMPAGNE Growing Up Baumbach | Mar 11

THE SQUID AND THE WHALE Director in Person | Mar 12

DWARVES KINGDOM

SIFF EDUCATION One-day film challenge for teens

CRASH STUDENT Mar 7 | SIFF Film Center

FIRST DRAFT FROM THE CREATORS OF

FLIGHT OF THE CONCHORDS

NOW PLAYING | UPTOWN | PLUS EGYPTIAN FRI & SAT MIDNIGHTS

FESTIVAL 2015 PASSES & TICKETS ON SALE NOW! SIFF CINEMA EGYPTIAN | 805 E Pine St SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center NW Rooms

Mar 9 | SIFF Film Center

UPCOMING BIG SCREEN HITCHCOCK

Mar 13-15 | Uptown Vertigo, Dial M for Murder (3D), Psycho, Rear Window, North by Northwest,The Birds

Now Serving

BEER & WINE!

SEATTLE WEEKLY • MARCH 4 — 10, 2015

garde shorts. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$11. 7 p.m. Sat. OPEN SCREENING Local filmmakers screen and discuss their work at this free event. (NR) Northwest Film Forum, 6:30 p.m. Mon. PEE-WEE’S BIG ADVENTURE Underrated by other critics because they haven’t had as many bicycles stolen as I have, Tim Burton’s 1985 road-trip movie brought Paul Reubens’ cable-TV man-boy character to the big screen in all his adenoidal glory. Resolutely presexual, Pee-Wee lusts only after his tasseled onespeed cruiser, pursuing his bike across the Southwest. The whole thing is a kind of goof on De Sica’s Bicycle Thieves, but it’s more surrealist than neorealist— Burton makes America just as weird and plastic as his hero’s underdeveloped yet overgrown imagination. Pee-Wee’s cartoonish quest takes place in an oddly pliable world where his single-minded hunt begins to look like high principle. (PG) B.R.M. Central Cinema, $7-$9. 7 p.m. Fri.-Tues. & 3 p.m. Sat.-Sun matinees. RECORDS COLLECTING DUST Director Jason Blackmore explores the enduring cult of vinyl. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. 7 p.m. Thurs. & 3 p.m. Sun. REVENGE OF THE MEKONS Joe Angio’s recent documentary salutes the influential but undersung English band, with admirers including Jonathan Franzen, Luc Sante, Greil Marcus, and Fred Armisen of Portlandia, the latter having once been married to singer Sally Timms. (NR) Grand Illusion, $5-$9. 7 p.m. Thurs. & 3 p.m. Sat. SATURDAY SECRET MATINEE Hosted by The Sprocket Society, this Saturday matinee series (through March 28) features the 1941 serial The Adventures of Captain Marvel, preceded by various vintage cartoons and shorts. Total program length is about two hours. (NR) Grand Illusion, $5-$9. 1 p.m. Sat. SHE’S BEAUTIFUL WHEN SHE’S ANGRY When is feminism going to have its Selma moment? Secondwave feminism, the subject of this listless new doc, failed to achieve its big goal: the Equal Rights Amendment. That narrative isn’t triumphant enough for the multiplex, yet director Mary Dore tries—partly by ending her story short of the ERA’s proposal and ratification failure—to spin as many happy outcomes as possible. And, sorry to say, I’m not buying all of them. Through archival footage and some fresh interviews, Dore mostly follows the movement’s minor players to whom she had access. (There’s a poignant 7 Up effect as miniskirted marchers become gray-haired grandmothers.) She’s Beautiful simply celebrates the heroic past, blinders firmly in place. The film becomes a tedious procession of laudable figures recalling a noble cause; then it gets mired in the dull factionalism of race, sexual orientation, and class within the movement. (NR) B.R.M. Northwest Film Forum, $6-$11. 3 p.m. Sun. A YEAR IN CHAMPAGNE This recent documentary about Champagne is followed by a discussion with sommelier Jeff Lindsay-Thorsen ... and maybe samples? (NR) SIFF Film Center (Seattle Center), 3249996, siff.net. $7-$12. 7 p.m. Mon.

MAR �� & �� GR ANDILLUSIONCINEMA.ORG

JEREMY MOSS: SPACE IMMATERIAL/IMMATERIAL PLACE The visiting filmmaker will introduce his avant-

Noah (Levine) takes a beating on Barri’s behalf.

film@seattleweekly.com

SHOWTIM ES

MARCH 6 - 12 PEE-WEE’S BIG ADVENTURE

OF • BLOWING UP CINEMA: THE ART Monica Vitti and

Wild Canaries

With its Bondian credit sequence and comically exaggerated score, Wild Canaries immediately announces itself a wild goose chase. A few bodies pile up (one dismembered) and somebody gets shot, but nothing here—apart from Barri and Noah’s relationship—should be taken too seriously. Barri’s fervid imagination is a generator of plausible premarital doubts: Maybe Noah isn’t the guy for her; possibly Jean is the girl for her; and certainly marriage itself is a dubious institution. (For an example of the latter, she need only look to the downstairs apartment of her friendly/ smarmy landlord—an amusing Jason Ritter— and his volatile nest.) Married filmmakers Takal and Levine have an easy rapport, and they elicit likable performances from all their cast. (Even the villains are hard to hate.) Without being wonky about it, they’re riffing back to the classic age of comic thrillers (think of The Thin Man, Rear Window, or Charade). Sex and violence are mostly displaced here, as in Old Hollywood; they’re the symbolic sparks that attend any two disparate bodies coming together. With her birdlike avidity, the innocent screwball heroine Barri becomes a sleuth—or even voyeur— into others’ unhappy domestic lives. Part of the movie’s charm is that, even after seeing the dark side to married life, she drags everyone around her into the sun. (Note: Takal and Levine will appear at Thursday’s screening.) BRIAN MILLER E

Indiewire

arts&culture» Film

monDaYS

s t n e l i S n a m r e G Ie SILenT moV

presented by

Ongoing • BIRDMAN A movie star in a career skid since he

stopped playing a masked superhero named Birdman back in the ’90s, Riggan Thomson (Michael Keaton) is preparing his big comeback in a Broadway adaptation of Raymond Carver stories, funded and directed by himself. Obstacles abound: Riggan’s co-star (Andrea Riseborough) announces she’s pregnant with his child; his grown daughter (Emma Stone) is his assistant, and not his biggest fan; a critic plans to destroy the play. And, in the movie’s funniest headache, Riggan must endure a popular but insufferable stage actor (Edward Norton, doing a wonderful self-parody) who’s involved with the play’s other actress (Naomi Watts). This is all going on while Riggan maintains a tenuous hold on his own sanity—he hears Birdman’s voice in his head, for one thing. To create Riggan’s world, director Alejandro González Iñárritu and Gravity cinematographer Emmanuel Lubezki present the film as a continuous unbroken shot (disguised with artful digital seams). Birdman serves so many heady moments it qualifies as a bona fide happening. It has a few stumbles, but the result is truly fun to watch. (R) ROBERT HORTON Sundance, Ark Lodge, others THE IMITATION GAME A ripping true story can survive even the Oscar-bait effect. Benedict Cumberbatch plays the brilliant English code-breaker Alan Turing as a borderline-autistic personality, a rude brainiac who during World War II fiddles with his big computing machine while his colleagues stand around scratching their heads. Turing’s homosexuality only gradually enters the picture, and even when he proposes marriage to fellow code-breaker Joan Clarke (Keira Knightley), it isn’t treated as a really big deal. Even if the movie sketches simplistic conflicts among its principal characters, the wartime world is so meticulously re-created and the stakes so compelling that it emits plenty of movie-movie sparks. (Morten Tyldum, of the ridiculously entertaining Headhunters, directs.) But the real reason to like this movie is that it’s so diligently pro-weirdo. Especially in Cumberbatch’s truly eccentric hands, Turing stays defiantly what he is: an oddball who uses rationality to solve problems. The film suggests that Turing does not have to become a nicer person. (PG-13) R.H. Lincoln Square, others LEVIATHAN At the core of this Oscar-nominated drama is a simple land-grab, but the implications are far-reaching. Kolya (Aleksey Serebryakov) is a rough handyman who’s managed to carve out a livelihood on the seafront near Murmansk. His house sits on a rocky piece of oceanfront property that is being claimed by the town’s crooked mayor. Kolya’s old Army friend Dmitriy (Vladimir Vdovichenkov), now a lawyer, has just arrived from Moscow to help in the case; his big-city sophistication is in stark contrast to Kolya’s country ways, a fact that Kolya’s wife (Elena Liadova) notices. As we sink into the situation, every strand of life is revealed to be rigged. The shady mayor is blatant in his greed, and the legal system is a comically wordy charade. The success of this study-in-corruption by director Andrey Zvyagintsev has brought Vladimir Putin’s minions, Russian nationalists, and religious authorities out in force to condemn it as “evil,” “a cynical and dirty parody,” and “a cinematic anti-Putin manifesto.” In other words, it needs to be seen. (R) R.H. Guild 45th MAPS TO THE STARS Oscar-hungry, over-the-hill actress Havana (Julianne Moore) hires a particularly unsuitable young woman as her personal assistant (or “chore whore” ). Agatha (Mia Wasikowska) arrives without prospects in L.A., her only contact a Twitter friendship with Carrie Fisher (later to cameo, of course). Something’s clearly not right with Agatha, a timid soul on many psych meds and covered with burn scars. We’re also introduced to self-help guru Stafford (John Cusack), his wife (Olivia Williams), and bratty teen actor son (Evan Bird); all these figures will play a role in the fortunes of Havana, Agatha, and the dim, decent limo driver (Robert Pattinson) who ferries them all around. Though directed by David Cronenberg, Maps really bears the imprint of screenwriter Bruce Wagner, whose insider novels about Hollywood (I’m Losing You, Memorial, etc.) are drenched in knowing wit and sordid detail. All Wagner novels feature dense, gothic backstories of corruption and conspiracy. Pathologies are revealed, rehab is reversed, and sexual deviance becomes the new white-bread normal. The problem to Wagner’s oeuvre, and here, is that it all becomes so grindingly obvious. We watch to see the worst in Maps, it’s revealed, and absolutely nothing about it is surprising. (NR) B.R.M. Sundance, SIFF Cinema Uptown

•

march 2-16

The ParamounT aT 6Pm FILmS aT 7Pm TheaTre DoorS

» FROM PAGE 25

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marCh 16 PeoPle on Sunday

With live original orchestral Score by Degenerate art ensemble

Featuring Christian elliott live on the mighty Wurlitzer organ

Featuring Tedde Gibson live on the mighty Wurlitzer organ

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

•

g all Playin KS W SEAHAMNF and es! Gam

• MR. TURNER Must the great man also be a nice

guy? Mike Leigh’s comprehensive biopic tempers our admiration for the English painter J.M.W. Turner (1775–1851), unquestionably a genius, and recognized as such in his day. Turner (Timothy Spall), when we meet him, is famous, prosperous, and possessed of a nice London home. His cagey old father (Paul Jesson) aids in the family business, as does the devoted maid Hannah (Dorothy Atkinson), who’s plainly, painfully in love with her indifferent master. (He is by turns tender and terrible to the women who surround him.) During the last 25 years of his life, Turner and his art—in late career tending toward abstraction—are mutable. He travels under an assumed name to the coastal village of Margate, where he eventually takes a new lover, Sophia (Marion Bailey), to replace poor Hannah. Yet the film’s no melodrama. Leigh and his cinematographer Dick Pope periodically pause for us to see 19thcentury views as Turner did: lambent light on a Flemish canal, the sun filtered through sea mist near the shore, or locomotive steam bursting into a halo above the green countryside. (R) B.R.M. Sundance, others SONG OF THE SEA Dazzling in its visual presentation, though not so thrilling in its conventional storytelling, the Irish-animated Song features a plot is drawn from Celtic folklore, specifically the tradition of the selkie, those mythological shapeshifters who can live on land or sea, as humans or seals. Our hero is Ben (voiced by David Rawle), a young lad whose mother vanishes under dramatic circumstances the night his mute younger sister Saoirse is born. They live on a wee shard of an island with their mournful father (Brendan Gleeson), a red-bearded lighthouse-keeper, but a series of marvelous events lead Ben into a secret world of magical creatures and spell-spinning songs. Director Tomm Moore lets the movie’s forward momentum run aground at various moments, but he and the Cartoon Saloon crew seem more interested in creating the gorgeous vistas that occupy virtually every frame. The character designs follow circular, looping patterns, and the visual influences seem inspired by anime and the line drawings of 1950s-era UPA cartoons (Mr. Magoo is not forgotten, people). (PG) R.H. Guild 45th STILL ALICE Adapted from the 2007 bestseller by Lisa Genova, a neuroscientist turned novelist, Still Alice is like experiencing only the second half of Flowers for Algernon: high-functioning start as Columbia professor, wife, and mother of three grown children; then after Alzheimer’s diagnosis at age 50, the brutal, inexorable mental degradation and loss of self. An academic, Alice (Julianne Moore) plays word games and selftests her memory. She types constant reminders into her iPhone, which soon becomes her adjunct memory and, eventually, her intellectual superior. And finally she records a video on her laptop addressed to her future self, conveying detailed instructions, that will later allow Moore to play both sides of a scene with herself: crisp professionalism versus foggy incomprehension. Directors Richard Glatzer and Wash Westmoreland (Quinceañera) mostly avoid the sap, despite the score’s twinkly piano pathos. There’s a bit of tension as her family—led by husband Alec Baldwin, playing a fellow Ph.D.—tries to cope with Alice’s predicament, yet the Howlands’ rifts aren’t terribly dramatic either. (PG-13) B.R.M. Sundance, Ark Lodge, Majestic Bay, Kirkland, others WHAT WE DO IN THE SHADOWS The premise is ’90s-stale: basically MTV’s The Real World cast with vampires, presented as direct-address documentary. This droll comedy comes from the brain trust behind 2007’s Eagle Vs. Shark: Jemaine Clement (Flight of the Conchords) and Taika Waititi, who play neck-biters Vladislav and Viago, respectively. Our three main vamps are a hapless lot. They can’t get invited into any of the good clubs or discos—ending up forlorn in an all-night Chinese diner instead. After all the aestheticized languor of Only Lovers Left Alive (and the earnest teen soap opera of Twilight), the silly deadpan tone is quite welcome. Clement and Waititi know this is a sketch writ large (forget about plot), so they never pause long between sneaky gags. The amsuing and essential conflict here is between age-old vampire traditions and today’s hook-up customs. These neckbiters have been at it so long that they’re only imitating old vampire stereotypes. Things have gotten to the point, Vladislav admits, where they’re even cribbing from The Lost Boys. (NR) B.R.M. Sundance, SIFF Cinema Uptown & Egyptian

•

BY B R IA N M I LLE R

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

•

» Music

BAD MEN WILL BLEED “

SALIVATINGLY GOOD.

A HELL OF A LOT OF FUN.” – Jason Gorber, TWITCH

Meet Five Wonderful Weirdo Bands Playing This Year’s Magma Festival

LURIDLY BEAUTIFUL

AND LAVISHLY VIOLENT.

Namely SIC ILL, Listen Lady, JusMoni, Globelamp, and Lilac.

It’s another dream of America - feverish, lovely and absurd.’’ – Manohla Dargis, THE NEW YORK TIMES

THE

PHOTOS BY KELTON SEARS

JusMoni

Hometown: Seattle Genre: Future/Electronic/Soul Moni Tep, now 22, has been rocking her spacesoul vibe as JusMoni since she was just 14. Growing up in the musical community at Hidmo, the now-defunct CD Eritrean restaurant that also fostered her “sisters” in THEESatisfaction, JusMoni quickly fell in with Seattle’s Black Constellation crew, whom she affectionately calls family. “We got it so poppin’ in there,” JusMoni says. “It was amazing having showcases there for women, queer

women of color, people from continental Africa— all that intersectionality was really special, and I feel lucky to have come out of that moment.” JusMoni pulled an Aaliyah and sold out the Chop Suey release show for her debut album, Ready for Life, at a mere 17. She recently followed it up with a re-release of 2012’s Queen Feel EP, a starry record full of brainy, complex hip-hop structures and intricately woven vocal melodies. “When I sat down with WD40, who produced the record, we decided the concept for it would be “hella queen,” she says. I ask JusMoni to clarify. “It’s me! It’s bright and shiny and future and gold and fierce and rugged and real.”

With Porter Ray, Astro King Phoenix, OC Notes. Suggested donation $10. 8 p.m. Fri., March 13.

MADS MIKKELSEN eva green eric cantona mikael persbrandt WITH jeffrey dean morgan AND jonathan pryce

‘‘

BITINGLY FUNNY’’

AND GENUINELY SUSPENSEFUL.

-David Ehrlich, TIME OUT NEW YORK

“THE SCREWBALL

INDIE MURDER MYSTERY YOU ALWAYS WANTED.”

- THE HUFFINGTON POST

SALVATION a film by

KRISTIAN LEVRING

ifcfilms.com

OPENS FRIDAY, MARCH 6

SIFF CINEMA UPTOWN

511 QUEEN ANNE AVE NORTH (206) 324-9996 • SEATTLE

SEATTLE WEEKLY NEWS STAND DATE WEDNESDAY 3/4

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SEATTLE WEEKLY 1x4 ACADEMY AWARD NOMINEE NEWS STAND DATE BEST ANIMATED FEATURE WEDNESDAY 3/4 ®

HHHH THIS SEASON’S ANIMATED

“

MASTERPIECE!” - NEW YORK POST

A WONDER TO BEHOLD!”

“

- Kenneth Turan, LOS ANGELES TIMES

Listen Lady

Hometown: Seattle Genre: Simpsons-core Pop Punk

Listen Lady

Just over a year old, Listen Lady’s story thus far is bookended by comedy with some serious hardship in between. “Pop-punk kids tend to gravitate towards The Simpsons for some reason,” drummer Tom Lowell says, wearing a T-shirt depicting Milhouse drawn in cubist, Bauhaus style (it reads: MILHAUS). The group began by naming itself after an advice column Marge Simpson starts in one episode of the show, a quote from which kicks off the band’s ripper of a self-titled debut EP, chock-full of earworm vocal hooks, power chords, and feedback. Soon after the band started, however, lead guitarist and co-vocalist L Henderson, who came

» CONTINUED ON PAGE 28

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SEATTLE WEEKLY • MARCH 4 — 10, 2015

s its name suggests, the folks behind Hollow Earth Radio (hollowearthradio.org) are sort of like the adventurers in Jules Verne’s Journey to the Center of the Earth. The online indie station’s DJs and organizers dig through the loamy art soil of the Pacific Northwest, searching for golden nuggets deep within its molten musical crust. If you’ve ever listened to Hollow Earth Radio or attended one of the many shows at its cozy, wood-paneled Central District headquarters, you probably left thinking something like, “Oh! I didn’t know there was really great flamenco-inspired drone folk coming out of Anacortes!” or, “I had no idea the kawaii-krautrock scene in Vancouver, B.C., was so good!” If you’re curious about the teeming musical wilds of the Pacific Northwest, Hollow Earth will guide you lovingly into the unknown. With that in mind, think of Hollow Earth’s Eighth Annual Magma Festival, celebrated with special showcases every weekend this month, as its grandest sonic safari—an expedition where you’re all but guaranteed to hear something amazing and local that you’ve never heard before. This year’s fest is a special one, with all proceeds going toward an upcoming expansion, planned within 13 months, into a low-power FM station. You’ve likely already heard of Chastity Belt, performing this Saturday, but you may be less familiar with the rest of the lineup. So let me introduce you to some of this year’s golden Magma nuggets. (All these performances take place at Hollow Earth Radio, 2018 E. Union St.)

HHHH

“

BY KELTON SEARS

JusMoni in front of a painting of JusMoni.

IN-PERSON Q&AS WITH FILMMAKERS THURSDAY, MARCH 12

arts&culture» Music Celtic Connection: The Pulse of the World

MARCH 20 | 8:00 PM | THE MOORE THEATRE presented by

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» FROM PAGE 27 to Seattle from San Jose in December 2013 to undergo gender-reassignment surgery, was diagnosed with blood cancer. “I wrote two songs about it, one about not wanting to die here and one just about being fucking upset,” Henderson says. “After the diagnosis, I really didn’t want to stop the band. It’s important to me to focus on something creative and positive that’s not the cancer.” Soon after, Henderson began doing stand-up comedy at Seattle’s Comedy Womb as a sort of middle finger to the cancer. The effects have been positive. “I feel like with the band and the comedy, it’s kind of surprising how much people like our shit here in Seattle,” Henderson says. Keeping the group together has also helped co-vocalist Siobhan Whalen, who works through her own life stuff in one of the band’s catchiest tunes, “Hey Listen,” which details a moment in Portland when Whalen was cornered by a creepy man trying to pick her up. “I wanted a space where I could take charge of that moment in a way I couldn’t in the actual moment. It feels really good to sing it because I’m practically screaming it,” Whalen says—a sentiment Henderson shares in many of the group’s cathartic songs. With Llama, Cradle Cap, Power Skeleton. Suggested donation $7–$15. 8 p.m. Sat., March 21.

Globelamp

a fire,” le Fey says. “I totally believe in magic, the power of crystals, nature, and ritual. I write about that a lot.” Globelamp, le Fey’s mystical, spooky folk project, is responsible for last year’s richly realized Star Dust, an album steeped in Mount Eerie-style atmosphere, complete with weird analog tape experiments and ample field recordings spliced among psyched-out, lo-fi hymns. “I feel like magic is more in the underlying thread of things, it’s more subtle, so I really want to make music that to me is more reflective of that energy.”

With Underpass, Crater, Fauna Shade. Suggested donation $5–$15. 8 p.m. Fri., March 27. SIC ILL

Hometown: Tacoma Genre: Nerdcore Rap

Lilac

EST. 1907 2ND AVE & VIRGINIA ST

Hometown: Seattle Genre: Dreamy Upbeat Electro

SIC ILL

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Lilac

When Madeline Franks told a friend she was going to start a solo project as an outlet for the ethereal, beat-heavy songs she’d been writing, her friend suggested the name Lilac, inspired by a recent dream in which Franks had purple hair. “I always liked the idea of someone naming me, and I instantly loved that name—it just fit everything together perfectly,” Franks says. “I feel like Lilac is something I’m actively becoming that’s always secretly been inside of me, like it’s my destiny or something.” Fulfilling this fateful prophecy, Franks began dyeing her hair purplishblue and working on her debut, Dream Journal, an EP she released last month. It’s a wonderfully woozy dance record that will definitely sound like the color purple for all you synesthetes out there. With Ings, Gar Pal, Annie Lukins. Sug-

gested donation $5–$15. 7 p.m. Sun., March 22. Globelamp

Hometown: Olympia Genre: Witch Folk One recent morning, Elizabeth le Fey left her crystal ball on the windowsill. Later that day, her roommate, fellow Olympia musician Arrington de Dionyso, smelled something burning, and realized the blanket on the couch across from the window was on fire. “It was crazy—the crystal ball was so powerful it focused the sun and started

When I walk into Zeitgeist Coffee to meet up with SIC ILL, a wide-eyed fan has already gotten to him. “Aw man! You’re the guy from the Sonic video! I’m from Tacoma too, dude, It’s super-nice to meet you.” SIC ILL, aka Demetrius Jackson, grins as the two shake hands, saying, “Hell yeah, anyone representing Tac-Town is a homie.” This random fan counts himself among the 103,693 people who have seen Jackson’s amazing Sonic the Hedgehog-themed “Labyrinth Zone Act 1” music video, which you should watch as soon as you possibly can. SIC ILL, whose name was inspired by his years volunteering at a Tacoma hospital, is the pioneer of a new genre he’s dubbed “Nerdcore Rap”: He takes 8-bit theme songs from retro video games and rap-sings incredibly catchy, schmaltzed-out love songs over them. Also a self-made animator and film producer, SIC ILL has created entire Beyoncéstyle visual albums like last year’s Vicdemic 1234. But SIC ILL’s new “nerdcore” music-video style, which places him in video-game landscapes like Sonic the Hedgehog’s, is what’s finally getting him recognized in the streets. “I feel like Sonic is my spirit animal,” SIC ILL says. “You know, he fails over and over, but he keeps getting new lives until he gets it right. That’s how it was for me until I figured out this nerd-rap angle—Sonic and I finally got it right.” (Ironically, due to a recent thumb injury sustained while trying to cook himself a hamburger, SIC ILL can no longer play video games.) With Pastel Ghost,

LH2020, Nightspace, Fantasy A. Suggested donation $5–$15. 8 p.m. Sat., March 28. E ksears@seattleweekly.com

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arts&culture» Music

Caribou Calls

Dan Snaith on the journey and joys of more than 15 years fronting his IDM project. BY DAVID EINMO

SW: Your albums have explored various genres over the years. What inspires you to continually expand your sound?

Snaith: It’s because I’m a music fan first. I’m always searching for music that’s new to me— both new music and old—and my excitement for that stuff can’t help but inform the music I’m making. I’m always listening to a variety of music, but you can pretty accurately date the main type of thing I was interested in by the music I was making at that time.

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Did your famously long DJ sets, and the recording of the club-oriented Daphni album [another of Snaith’s pseudonyms], influence the dance direction of Our Love?

I think so, but also largely because in the last six or so years, most of the exciting music I’ve heard production-wise has come from the club world. Not the glossy EDM world, but underground dance-music productions. That and contemporary R&B. It seems to me like that’s clearly where things are moving the fastest in contemporary music at the moment. There’s definitely an element of wanting to respond to that—not necessarily fit in with it, but to have my own take on what’s going on.

Our Love feels intimate and personal. You’ve said in other interviews that it encompasses all the things that matter in your life. Talk about how your personal life influences your music.

The music is entirely saturated in my personal life. People will interpret the music in all sorts of ways, which is something I love and revel in. But for me, it’s impossible to listen to this album and not hear someone in their mid-30s with a young child, and friends getting divorced, and starting to reflect on mortality and how things change over the time scale of a human life, because that’s where my parents’ generation are. It’s a record that I never would have made when I was younger. Not that that’s good or bad particularly, but rather that I’m happy with how it diarizes my life—when I listen to it 10 or 20 years from now, if I listen to it, it will

THOMAS NEUKUM

hile Dan Snaith (aka Caribou) has a Ph.D. in mathematics, a degree in Darwin-inspired biology seems more appropriate. During his 15-year career, the veteran electronic producer has continuously evolved. The IDM of his early Manitoba releases expanded into psychedelia on Up in Flames, followed by the krautrock/’60s pop of The Milk of Human Kindness and the Polaris Music Prize winner Andorra. Snaith’s extensive DJ performances in Europe then inspired the club-influenced Swim, which surged into The Guardian’s, Pitchfork’s, Spin’s, and Mojo’s top-20 lists. Caribou’s latest album, 2014’s Our Love, continues the club journey while comprehensively synthesizing Snaith’s various paths into one of 2014’s best releases. His astutely precise mixing of adventurous electronic pop, deep house, and R&B-infused dance melodies here is a study in reinventing, rather than regurgitating, popular trends. The Canadian-born producer chatted with me from his London home about the joys of playing two shows in one night, the future of contemporary music, what influenced Our Love, and why it’s his most personal album to date.

Look: a Snaith in the grass.

be like a photo album that reminds me of this time. How did the success of Swim impact your approach to Our Love? Did you feel pressure to live up to expectations, or did it free you by giving you more confidence to continue exploring what comes natural?

The latter. It made me really aware for the first time that people were waiting for a new album from me, and it felt like a vote of confidence. That was the first impulse I had—to make a record that reached out to everyone who was going to hear it and to impart more of my personal life in there. In the studio, you operate primarily as a solo artist playing most of the instruments. However, live you perform with a full band. Talk about your choice to incorporate live musicians into your shows.

There are four of us in the band, and we’ve been playing together a long time. Ryan Smith [guitar, keys] and I have been in bands together since we were in high, school so I guess that’s more than 20 years! Brad Weber [drums] joined the band in 2007, and John Schmersal in 2009. They’re all super-close friends as well as being talented musicians, and the show is put together equally by all of us and not just by me dictating what we’re going to do. I feel like that’s what makes the show, hopefully, special—that the songs take on a life of their own because we know each other so well musically and can intuit what each other are going to do when we’re playing. For me, it’s almost a separate thing from the albums, and something that we all put lots of work into making sure it’s as good as possible and that it develops as we tour. You have two Seattle shows on the same day. How do you approach a double-header, and how do you keep each show fresh? Does your early all-ages show differ from the later 21-and-over show?

We’ve done these double-headers a bunch of times, actually, and I love doing them. People ask, “Won’t you be tired?” and similar questions. Tired? We’re playing music, not doing heavy manual labor. I actually find it super-exciting. It makes it super-special that we get to do two shows in one day. I don’t know what we’re going to play. We’ll probably play a similar but different set list at the

two shows, and quite often the two shows feel quite different when we’re playing them. I can’t wait. We played the Showbox opening for Stereolab in 2004 or 2003, and it’s such a great venue. Playing two shows of our own there is surreal. What advice would you give to a kid with a laptop in his parent’s basement, trying to make a first record?

Well, in many ways I can empathize with that situation. I remember wanting to be able to release music so badly, and still the life that I’m leading feels like an unreal dream a lot of the time, because it’s what I always wanted to do. The difference between now and when I was starting to make music is that there are more avenues to share your music with people, obviously. So it’s easy to make your music available to lots of people. Of course, as a consequence, there’s also way more music being released and shared all the time; it’s easy to get lost in the shuffle. I still think that contacting the musicians whose music you love is a great idea. That’s how my music was first released—through getting in touch with Kieran [Hebden, aka] Four Tet. I still listen to everything that’s sent to me even if it takes me a long time to get around to it, and I don’t always have time to write back. Also, my main advice is to be patient. I remember feeling such a sense of urgency when I was young and trying to get my music released as soon as possible. In the end, though, I feel like it happened for me when it did because it was at that time that the music I was making turned a corner, and I’m so glad the music I made before that didn’t get a release! After however many years—15 years, I guess—of releasing music, meeting new artists, hearing demos, et cetera, I’m of the firm opinion that it may take time, but that good and interesting music will find an audience if artists make an effort to play it for people. I’m really an optimist about the state of music. The future is bright. E

music@seattleweekly.com

CARIBOU With Koreless. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 7:30 (all ages; sold out) & 11 p.m. (21 and over; $24 adv./$27 DOS), Wed., March 4.

El Corazon www.elcorazonseattle.com

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

THURSDAY MARCH 5TH

EDDIE SPAGHETTI

FRIDAY MARCH 6TH LITTLE OZZY The Pint-Sized Prince Of Darkness Ozzy Osbourne Tribute POISON’D The Ultimate Tribute To Poison & Bret Michaels RED WHITE & CRUE aka THE KINGS OF HOLLYWOOD

SATURDAY MARCH 7TH

(World Famous Motley Crue Tribute)

Doors at 8:00PM / Show at 9:00 21+. $10 ADV / $12 DOS

FRIDAY MARCH 6TH

JAZZ ALLEY IS A SUPPER CLUB

SATURDAY MARCH 7TH

NATHAN KALISH & THE LASTCALLERS

with Tim Dunn Lounge Show. Doors at 8:00PM / Show at 8:30 21+. $8 ADV / $10 DOS

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

of SUPERSUCKERS

with Hartwood, Junkyard Amy Lee, Sioux City Pete Late Show. Doors at 9:30PM / Show at 10:00 21+. $10 ADV / $12 DOS

THE DREAMING

with Die So Fluid, Prelude To A Pistol, Targets Down Range Lounge Show. Doors at 8:00PM / Show at 8:30 21+. $10 ADV / $12 DOS

SUNDAY MARCH 8TH

LUCKY PETERSON WED, MAR 4

“Up-to-date, raw-edged blues... unassailable musicianship, passion and conviction.” - Chicago Reader

NORMAN BROWN THURS, MAR 5 - SUN, MAR 8

MOTIONLESS IN WHITE

Grammy Award winning innovative and original guitarist, front and center in the fast evolving fusion of pop, R&B and jazz.

SATURDAY MARCH 7TH

TUESDAY MARCH 10TH

11th ANNUAL SEATTLE-KOBE FEMALE JAZZ VOCALIST AUDITION MON, MAR 9

MIKE THRASHER PRESENTS:

TAKE WARNING PRESENTS:

MENTAL REX

with Strange Lovers, Fugue State Lounge Show. Doors at 8:30PM / Show at 9:00 21+. $6 ADV / $8 DOS

FALLUJAH with Archspire, Lorna

Shore, The Zenith Passage, The Devils Of Loudun, Prometheus Early Show. Doors at 3:00PM / Show at 4:00 ALL AGES/BAR W/ID. $11 ADV / $13 DOS

MIKE THRASHER PRESENTS:

with For Today, New Years Day, Ice Nine Kills, Plus Guests Doors at 6:30PM / Show at 7:30 ALL AGES/BAR W/ID. $18 ADV / $20 DOS

THE GLAMOUR KILLS TOUR featuring:

SET IT OFF with Against The Current, As It Is, Roam, Beneath The Spin Light Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $13 ADV / $15 DOS

JUST ANNOUNCED 3/26 - STEVE TAYLOR & THE PERFECT FOIL 3/29 - LEX 4/17 LOUNGE - DARIUS KOSKI 4/18 - THE SKULL (FEAT. MEMBERS OF TROUBLE & PENTAGRAM) 4/23 LOUNGE - BLEACHBEAR 4/27 LOUNGE - PRAWN / FRAMEWORKS 4/28 - ORGY 5/13 - TODAY IS THE DAY 8/24 INSOMNIUM 12/4 - PRONG UP & COMING 3/10 LOUNGE - SURVAY SAYS! 3/11 - ENSLAVED / YOB 3/12 LOUNGE - TED BUNNY 3/13 LOUNGE - AVOID THE VOID 3/14 LOUNGE - DESTINATION UNKNOWN 3/15 - MAGIC MIKE TOUR (ALL MALE REVUE) 3/19 - MOD SUN 3/20 - THE DEVIL WEARS PRADA 3/21 LOUNGE - AMERICAN PINUP 3/22 - BRIEF LIVES 3/22 LOUNGE - THE FAMES 3/23 LOUNGE - KAUSTIK 3/24 - TIM BARRY 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

Selecting one high school & one adult jazz vocalist to head to Kobe, Japan in May!

ANN HAMPTON CALLAWAY

From Sassy to Divine: The Sarah Vaughan Project

TUES, MAR 10 - WED, MAR 11

Pop/jazz singer and platinum selling songwriter!

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

MS. LISA FISCHER AND GRAND BATON THURS, MAR 12 - SUN, MAR 15

Grammy and Oscar winning R&B vocalist Twenty Feet From Stardom

all ages | free parking | full schedule at jazzalley.com

SEATTLE WEEKLY • MARCH 4 — 10, 2015

TIMES

DOORS 30-60

OPEN

LISTED ARE

SHOW TIMES.

MIN. BEFORE.

WED,

MARCH 4th 

ROCK N’ SOUL

THE DISTRICTS PINE BARONS 8PM - $12/$14

THURS,

MARCH 5th 

NOLA ROAD HOUNDS

REBIRTH BRASS BAND 2

SHOWS!  7PM & 10PM - $25/$30 FRI,

MARCH 6th 

SCOTTISH POST PUNK

THE TWILIGHT SAD PORT ST. WILLOW, NAVVI 9PM - $12/$14 SAT,

MARCH 7th 

PROGRESSIVE BLUEGRASS

HOT BUTTERED RUM WEATHERSIDE WHISKEY BAND 9PM - $15/$18 FRI,

MARCH 13TH  THE TRACTOR @ STUDIO 66 PRESENT:

LEGENDARY PUNK/POWER POP

FLAMIN GROOVIES THE TRIPWIRES, BREAD & BUTTER 9PM - $20

arts&culture» Music

TheWeekAhead

Wednesday, March 4

“Proud to Be Afrikan”—the opening track of avantrap duo CHIMURENGA RENAISSANCE’s latest, Kudada Nekuva Munhu Mutema (which means “Proud to Be Afrikan” in Shona, Zimbabwe’s native language)—really sets the tone for the rest of the EP. Using hints of the mbira, or thumb piano, that defined the group’s last full-length, riZe vadZimu riZe, and lyrics in both English and Shona, Tendai Maraire (also of Shabazz Palaces) and Hussein Kalonji play with the former’s Zimbabwean roots and the rap and hip-hop music they grew up with to create an EP that’s both globally influenced and locally grown. With Malitia MaliMob, DJ Chief Boima. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $10. 21 and over. Hailing from a hip-hop-centric city like Atlanta, EARTHGANG, the duo of Johnny Venus and Doctur Dot, faces a lot of pressure to do right by its hometown—a fact the pair acknowledges on “No Peace,” off their latest release, Shallow Graves for Toys. But Venus and Dot need not worry; the album is one they, and Atlanta, can be proud of. The pair mixes humor (“You faker than them Pradas”), personal anecdotes, and political commentary—especially on “Apophis (Welcome to America)”—to paint a candid picture of life in ATL. With Fashawn, DJ Exile, Sonreal, Def Dee, ZNi. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $12. All ages.

Thursday, March 5 Tom Brosseau

Up & Coming 3/9 SQUARE DANCE W/ THE TALLBOYS 3/10 LADY GRACE BAND 3/11 JULIANA HATFIELD 3/12 THAT 1 GUY 3/14 DAVID LOWERY & JOHNNY HICKMAN (OF CRACKER) EARLY ACOUSTIC SHOW 3/15 A BENEFIT FOR ANDREW JOSLYN & SUSY SUN W/ SHELBY EARL, MIKEY & MATTY AND MORE 3/16 LUKAS NELSON 3/17 ST. PATTY’S W/ THE PAPERBOYS 3/24 THE SOFT WHITE SIXTIES

Voted Best Movie Theater F

2014 W

INNER

By Seattle Weekly Readers! Thank You!!

SE AT TLE 4500 9TH AVE. NE • 206-633-0059

CAREY BRASWELL

5213 BALLARD AVE. NW  789-3599

www.tractortavern.com

Tuesday is Girls Movie Night Out!

2 or more ladies get $5 ($6.50 for 3D) Admission All Day. Tickets Avail at Box Office Only.

THE SECOND BEST EXOTIC MARIGOLD HOTEL WHAT WE DO IN THE SHADOWS CHAPPIE MR. TURNER

QUEEN AND COUNTRY RED ARMY

BIRDMAN

KINGSMAN: THE SECRET SERVICE STILL ALICE FOCUS

HAYRIDE 2

*Tickets available at the box office.

SUNDANCECINEMAS.COM

To honor his wife Zandy, who passed away at 33 after a short but fierce battle with breast cancer, Jason Sees created ZANDY’S FAMILIES, an organization that provides financial support to Northwest families affected by cancer. At this launch event, called Hope in the Light, The Crying Spell, Jeff Angel, Ian Moore, Kris Orlowski, Star Anna, Alessandra Rose, Joe Reineke, V. Contreras, Joseph Giant, Henry at War, Jason Sees, and Erik Walters will perform to raise money for the nonprofit. Columbia City Theater. 8 p.m. $20. 21 and over. Nobody Wants to Be Here and Nobody Wants to Leave, the fourth album from Scottish post-punk trio THE TWILIGHT SAD, could easily be heard as a beginner’s guide to the band, which covers the scope of its sound by revisiting genres it experimented with on previous releases. “I Could Give You All That You Don’t Want” and “Drown so I Can Watch” are driving rock tunes; “In Nowheres” and the title track are feedback-heavy; and simplistic album-closer

TRACY BAILEY SCOTT BLACKBURN

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Monday is $6 ORCA Day

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

Friday, March 6

Homestead, 6541 Jones Ave. N.W., 414-8325, ballard homestead.org. 4 p.m. Donation. All ages. Americana duo Aubrey Zoli (vocals, percussion) and Matt Hart (vocals, acoustic/electric guitar), aka THE LOCAL STRANGERS, are giving fans two completely different experiences with its double album, Take What You Can Carry, being released at this show. On disc one, Zoli and Hart are joined by a full band on tunes like “Gasoline,” which is both dark and romantic, and “W.W.,” an ominous ditty with a killer guitar riff. On disc two, Zoli and Hart strip those same tunes down to the bare essentials during an acoustic set recorded live at Ballard Homestead. But plugged in or acoustic, both discs have the band’s signature grit. With Vaudeville Etiquette, the Banner Days. Columbia City Theater. 8:30 p.m. $10 adv./$12 DOS. 21 and over. Anyone with a basic knowledge of country-punk quartet Supersuckers has a pretty good idea what to expect from The Value of Nothing, the latest from lead singer/ bassist EDDIE SPAGHETTI. Nothing, his first solo collection of originals, features the same blend of rock-’n’-roll attitude and Southern twang as his main act, but he’s sanded down his rough edges a bit with more introspective tunes like “You Get to Be My Age” and the sweetly blunt album closer “When I Go, I’m Gone.” Fans of Spaghetti’s crasser side won’t be disappointed, though. As long as Spaghetti is performing, songs like “If Anyone’s Got the Balls” and “People Are Shit” will be in his repertoire. With Hartwood, Junkyard Amy Lee, Sioux City Pete. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. 10 p.m. $10 adv./$12 DOS. 21 and over. In a roundabout way, Trinidad-born, New York-raised rapper THEOPHILUS LONDON’s star didn’t really start rising in the U.S. until he moved to Europe. In Paris, London played Kanye West a synth-heavy tune called “Neu Law,” which appears on London’s sophomore album, Vibes. West was so taken with the track, he agreed to be featured on a song (“Can’t Stop”) and executive-produce the album. Having West’s name attached definitely brought more ears to the project, but London would’ve no doubt broken through on his own sooner or later; Vibes is a collection of wayward R&B-tinged genres that London makes cohesive. With Father, dj100proof. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $20. 21 and over.

There’s a certain intimacy to albums that are tracked live, and Los Angeles-based singer TOM BROSSEAU’s latest, Perfect Abandon, which he’s releasing at this show, is no exception. The album came together over two days as Brosseau and his band recorded onstage using one mike at a theater in England. Recording was a trial-and-error process of finding where to place each member so that no one element overwhelmed the track. Brosseau’s warm, folky voice is of course most prominent, but overall the album plays as if you were eavesdropping on a soundcheck. This show is also your first chance to get opener Tomo Nakayama’s solo debut, Fog on the Lens, on vinyl. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater. com. 8 p.m. $10 adv./$12 DOS. 21 and over.

Two Ways To Save At Sundance Seattle Show Your Orca Card and ALL Seats are $6 ($7.50 for 3D).

Kris Orlowski

HAYLEY YOUNG

tractor

Hey Rosetta!

Canadian septet HEY ROSETTA! gave itself almost four years between Seeds and Second Sight, its fourth full-length. While recording, the band gave each song the same space to evolve. The end product is a mix of both grandiose and subtle tunes with dynamic indie-rock and orchestral-pop layers. There’s a lushness to the album, which feels impressively expansive. “Kintsukuroi” is an energetic lead single, and “Cathedral Bells” hints at the band’s folky side. Album closer “Trish’s Song” is the simplest tune but also the most poignant, with lead singer Tim Baker accompanied solely by piano. The majority of Hey Rosetta! contributes vocally, which adds even more texture to Second Sight. With Quiet Life, Silver Torches. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunset tavern.com. 9 p.m. $8. 21 and over.

Theophilus London “Sometimes I Wished I Could Fall Asleep” features little more than vocals and piano. Front man James Graham (think Morrissey with a Scottish brogue) ties it all together with alluring moodiness. With Port St. Willow, Navvi. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $12. 21 and over.

Saturday, March 7

After two years of renovations, a much-needed new venue is finally opening its doors with the BALLARD HOMESTEAD OPENING NIGHT EVENT. The Abbey Arts–curated space plans to host art, music, and cultural events to audiences of all ages and incomes, and will kick that off with two shows. The early one features puppet maker Stephani, fiddler Kristian Swearingen, and the Not-Its!, as well as tours of the Homestead, art, and games. The later show will celebrate with live painting from Skye Graves; Sophia Duccini & Lizzie Weber; Jon Pontrello of the Moondoggies; Debbie Miller; and Courtney Marie Andrews. Plus, Pecado Bueno will host a free taco bar at both shows while provisions last. Ballard

Don’t knock HARMONIC GYMNASTICS until you try it. This showcase, which seeks to generate healing vibrations with a variety of performances, kicks off with a crystal-bowl sound bath by Amber West; then Star Child (aka Portland’s Kate Rose) will use otherworldly synth tones, Qigong (a practice to align the body and mind), and crystal vibrational channeling to create a space for “inter-dimension traveling.” Then Ian Paige, also from Portland, will soothe the audience even more with his ethereal mixtape, Synth Wizard Yoga, before local duo Ecstatic Cosmic Union wraps things up with its own celestial tunes. Audience members are invited to bring yoga mats or blankets for maximum relaxation and meditation. Society of Wonder, Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 923-0917, youngstownarts.org. 8 p.m. $5–$15 donation. BY A Z AR IA C . P O D P LE S K Y

Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

odds&ends» Tommy Chong, Reconsidered

BRIANNA CASHIN

higherground@seattleweekly.com

For more Higher Ground, visit highergroundtv.com.

“

For you or a loved one:

LET’S TALK ABOUT LIVING WITH RELAPSING MS

Join us for an MS LIVING EVENT.

”

Hear from MS experts and others who are living with MS. Plus, get some answers about dealing with MS and information on an oral treatment. When:

Thursday, March 12, 2015 9:30 AM Pacific

Where:

Holiday Inn Conference Center 3105 Pine Street Everett, WA 98201

Expert Speakers:

1256263

I don’t fully embrace: the lack of showering, the unkempt beards, and those Godawful tie-dyed T-shirts. But the core values of these counterculture beatniks? Peace, love, and understanding? An “It’s all good” outlook? Communal interests? Harmony with nature? Egalitarianism? Sustainability? Positive vibrations? Good lord! Tell me we couldn’t use more of the “Make Love Not War” mindset in this divisive FoxNews era of angry, trolling, Twittering punditry. Chong was half an hour late for his news conference, and catching a glimpse of the icon slowly ambling down the convention hall, I saw why. He stopped for each and every stoner, head, hanger-on, and pothead who’d jumped at the chance to get a photo with the legend. “It’s true,” Chong noted during his hourlong chat. “I’ll take a picture with anybody. And there’s a reason for that. We don’t have much time. We think we do—especially when we’re young. But we don’t.” Chong knows this better than most, after beating prostate cancer with the help of the CBD oils in, yes, marijuana. “When someone asks for a pic, that’s a compliment. They’re not asking everyone—they’re asking me! It’s not a burden. It’s a privilege! Most people my age will either be retired or limping around. Me? I’m going Dancing With the Stars!” Four decades after Up in Smoke, Tommy Chong is hardly couchlocked, but still a relevant player in the marijuana movement. He’ll be in Washington this week to support another group being singled out for using weed, the Kettle Falls 5. He may no longer be the official face of marijuana: the new Green Rush lends itself to sexy budtenders and Seth Rogan and Snoop. But I sure wish he was. E

Lawrence Green, MD Nampa, ID

A MEAL WILL BE PROVIDED. FREE PARKING.

Call 1-866-703-6293 to reserve your space or register at mslivingevents.com. EVENT ID:

TR283038

US.M5.MSX.14.03.014

SEATTLE WEEKLY • MARCH 4 — 10, 2015

’ll be honest. My expectations about a press conference with Tommy Chong, of the famous stoner duo Cheech & Chong, were that there would be some clichéd humor, some pantomimed puffing, and photo ops galore for hippies of a bygone era. And there was HIGHERGROUND some of BY MICHAEL A. STUSSER that. But there was also something I didn’t expect: a fresh perspective on the new pot movement. The reason Tommy Chong matters—and the reason I’m writing about his recent visit to Seattle’s CannaCon—is that each and every time there’s a mention of legalization or the counterculture or pot smoking, there’s inevitably a reference to Cheech & Chong. Even if the name is never spoken, a haze of Cheech & Chong wafts through the mind. (See?!) The new conventional wisdom is that the cliché stoner jokes that found purchase in the duo’s franchise are outmoded and of a different era. But what if the beliefs that undergird these jokes are not passé? What if they’re an iconic and important set of core values still relevant— values that should not be lost as we move into a ganjapreneurial era driven by economic and opportunistic rationales? “We’ve got a great show going on here,” Chong noted at his February 20 press conference, “but everybody here is breaking the law and subject to arrest according to our government. Even though we voted legalization in, and the people spoke, we still have police and a government that’s out to arrest us.” The man knows of what he speaks: In 2003 Chong was arrested, convicted, and put in federal prison for nine months. Not for selling or smoking marijuana, but for having legally licensed his name to a company (Chong Glass/Nice Dreams) that made water pipes—bongs—that were sold across state lines. I can tell you that if I was tossed in the slammer for nine months, I would have exited one angry motherfucker. Not our friend Tommy Chong. “I got singled out—and ya know what? I feel blessed!” Chong said with his infamous and mischievous grin. “I was looking for something to revitalize my career. Cheech and I were fading into the distance and I needed something. And then it came. It was like my prayers were answered: You’re going to jail! Great! That’s the way I looked at it.” Today Chong puts his name on everything from hemp water (Chongwater!) to Chong Star marijuana to Smoke Swipes (for the parent who goes out to fire up and doesn’t want to return to the dinner table reeking of weed). But his philosophical attitude isn’t an act. He’s a product of the ’60s and walks the talk—mainly about pot. “Pot’s only good if you give it to someone or you smoke it. You don’t have to hoard it. Because in a few months, you’ll have a new crop! So you gotta give it away! That’s what you gotta do with your life. That’s the secret! You gotta give love!” The more I listened to this smiling, effervescent 76-year-old ramble, the more I realized why he is such a joyous inspiration. Sure, there are cliched truths about “hippies” that

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Landscape Service Reliable Yard Clean-Up, Lawn Mowing, Tree Trimming, Moss Removal

Call 206-453-1118 for a Free Estimate Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Monday 03/09/15 @ 11AM. 2 Vehicles Preview 10-11am. 1540 Leary Way NW, Seattle 98107

FFFFFFFF

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

Triple J Towing & Recovery #5081

will sell to the highest bidder select onsite vehicles on

03/12/15 @ 8:00am

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

The Sale Location Is:

Classified Ads

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

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in just $9 per line per week

Auctions/ Estate Sales

(or less if running long term)

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Contact 206-623-6231

classifieds@seattleweekly.com

WARNING HOT GUYS! Seattle

206.877.0877 Tacoma

SEATTLE Public Auction/ Landlord Lien Foreclosure Sale - 3/13/15 at 9:00 AM. 1964 WESTW 54/10 mobile home – University Trailer Park Sp. 22, 2200 NE 88 St PH: 206-525-7828

14112 452nd Ave SE North Bend

AM-PM TOWING INC

Abandoned Vehicle AUCTION!!! 03/13/15 @ 11AM 2 Vehicles

1992 Buick Regal SUZ969 1993 Toyota Prius ALM6219

Preview 10-11AM 14315 Aurora Ave N.

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

Call WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

Eastern Wa. Lots & Acreage

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

Employment Social Services

TONASKET

20 FLAT ACRES. Tired of paying utility bills? Water, sewer, garbage and electricity getting too expensive? Own your own Off-The-Grid Power Solar panel, well, septic all installed. 2 BR, 2 BA, fenced. 24’x56’ dbl wide mobile. Plumbed to propane. 15 min to Tonasket $35,000 (cash) 206.619.9674. Employment General ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader. Drop off resume in person & book list to: 1530 1st Ave (serious inquiries only) Experienced tree climbers wanted full time/year round work. Must have own gear & climb saw, reliable transportation & driver’s license req. Email work exp: recruiting@ evergreentlc.com 800-684-8733

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

Employment Computer/Technology IT/SOFTWARE DEVELOPMENT ServiceNow Inc, enterprise IT cloud services provider, has openings in Kirkland, WA for Sr. Software Engineer - Quality (4567): Develop, test, deploy and report on application product performance, quality, security and stability, and Sr. Capacity Engineer (4489): Maintain support contracts to ensure support across hardware useful life. Mail resumes & ref job code to 3260 Jay St, Santa Clara, CA 95054 Attn Global Mobility Manager, Professional Services sought by Linedata (BFT), Inc. (Seattle, WA) to manage sftwr implmtns. BS in Eng, Bus Admin or related + 5 yrs exp. Travel required up to 20% to client sites. Mail resume/cvr ltr to Maria Rowen, Linedata, 260 Franklin St, #1300, Boston, MA 02110. Ref #11465M.

Employment Computer/Technology

Senior Visual Designer, Design sought by Zillow for Seattle, WA office. The Sr. Visual Designer will help drive our mission by creating compelling user experiences for our website, web apps, and mobile apps. This is a unique opportunity to build a world-class service and make decisions that directly impact the way consumers view one of their most important investments. Reqs. Bachelor’s degree Info. Design, HCI, Graphic Design or related + 5 years of experience in Web site and/or product design. Reply to: Job#1210-2015-0003-V. 1301 2nd Ave., Fl 31, Seattle, WA 98101 or jobs@zillow.com

Portfolio Analyst Expert (Seattle, WA) Work closely with customers’ IT/business stakeholders to understand business reqs & identify potential sftwr suite solution application. Assist customer in devising accurate functional specs from business reqs. MS comp sci, comp eng’g, or mgmt info sys + 1 yr telecom customer care sftwr solution analysis exp or BS comp sci, comp eng’g, or mgmt info sys + 5 yrs sftwr dvlpmt exp. Telecom customer care sftwr rltd functnl design & QA exp. Exp w/Enterprise Architect, Microsoft Visio, Rational Rose, Visual Paradigm, Java, Javascript, Oracle, SQL, Unix, HP/Mercury Test Director, & Quick Test Professional. Exp w/integrative dvlpmt framework, user experience framework, omni-channel consumer retail exp, BSS/OSS systems, &data analytics apps. Resumes: Amdocs Inc., careersta@ amdocs.com; Ref: HR-0349

Sr. Software Development Engineer sought by Zillow for Seattle, WA office. Define, design, and launch new features. Write scalable code that’s easy to maintain utilizing a test-driven development. Iterate quickly in an agile development process. Collaborate with PMs, designers, and other technology teams to help implement our new products and features. Reqs. Bachelor’s degree in Computer Science, Engineering or related + 5 years of experience as a software engineer or related. Reply to: Job#12102015-0001-V. 1301 2nd Ave., Fl 31, Seattle, WA 98101 or jobs@zillow.com Product Manager sought by Linedata (BFT) Inc (Seattle, WA) to research/devlp new sftwre products/solutions. BS in Eng, Bus Admin or related + 5 yrs exp. Dom travel req up to 10% @ client sites. Mail resume/cvr ltr ref #11455C to Maria Rowen, Linedata, 260 Franklin St, #1300, Boston, MA 02110.

Employers

We can take your employment ads via email classifieds@seattleweekly.com

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

Clinical Research Opportunity for Women Do you suffer from uterine ﬁbroids? DO YOU EXPERIENCE?

UTERINE FIBROIDS

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• Doctors in your area are looking for women to participate in a clinical research study. • All investigational medication and study-related care is provided at no cost. Compensation for time and travel may be available.

@seattleweekly

253.882.0882

FREE to listen and reply to ads!

FREE CODE : Seattle Weekly

1-888-MegaMates

To see if you qualify, visit

@ CenturyLink Field

Housekeeping Job Fair March 12th from 10am-12pm Come to the NE VIP • Detail Workers located on the north • Event Worker side of the stadium. • Post Event Workers Questions call 206-381-7570 • PT Housekeeping Positions

www.VenusResearchStudy.com or call

(800) 216-6034

WE PAY CA$H FOR OLD VIDEO GAMES! New Store Now Open in Bellevue! GAME OVER VIDEOGAMES Crossroads Mall (by movie theater) ------- 425-746-GAME ------www.gameovervideogames.com

LOCALS BUY & SELL HERE Call

Classified

Seasonal Allergies to Pollen, Trees, Grass or Mold? Earn $185 per plasma donation plasmalab.com 425-258-3653

@ 206-623-6231, to place an ad

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

HAPPYHAULER.com

Debris Removal • 206-784-0313 • Credit Cards Accepted!

$100 TO $1000

7 Days * 24 Hours Licensed + Insured

ALL STAR TOWING

425-870-2899

WANT TO KNOW ABOUT UPCOMING EVENTS, CONTESTS OR LOCAL PROMOTIONS? SIGN UP FOR SEATTLE WEEKLY’S PROMOTIONS NEWSLETTER. Go to: seattleweekly.com/signup

If you want to change your life for the better, choose career training from Everest College!

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Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: •

Receptionists

•

Bookkeepers

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Administrative Assistants

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Executive Assistants

•

Office Support Specialists

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Legal Assistants

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Data Entry Personnel

•

Marketing Assistants

Do you have PTSD and alcohol problems? Seeking free treatment? Paid research opportunity. Call the APT Study at

Classified Ads in

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NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!

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filtering the best of

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just $9 per line per week (or less if running long term)

CONTACT

Temporarily Yours Staffing

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

is on instagram.com

206-623-6231 classifieds@seattleweekly.com

there’s more to

MEDICINE MAN WELLNESS CENTER On-Line Verification Available Providing Authorizations in Accordance with RCW 69.51A

$99 includes Authorization and Card Doctors available Tuesday 2 - 6 • Thursday 11 - 3, Friday 11 - 6

Also Open Sunday 12 - 4

4021 Aurora Ave N. Seattle, WA 98103 • 206-632-4021 www.medicinemanwellness.com Now accepting all major credit/debit cards!

When symptoms persist, there may be more you can do. If feelings such as depressed mood or lack of energy are keeping you from the things that matter to you, you may be eligible for this research study. It’s evaluating an investigational drug designed to work with antidepressants to see if it can help address unresolved symptoms of depression. All eligible study participants will receive at no cost: Consultation with study doctor

Study drugs

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TO LEARN MORE:

Summit Research Network (Seattle) LLC 206.315.1065 Whether or not you are currently taking an antidepressant, you may be eligible to participate.

SEATTLE WEEKLY • MARCH 4 — 10, 2015

Walk-ins Welcome

than depression.

TS E PRESEN T A N T S O I S N INGTO EEF COMMIS H S A W B

W E L ATT

G N I T TAS

DS R A AW D O FO

23 L I R P A RE T A E H T OUNT

PARAM

SEATTLE WEEKLY • MARCH 4 — 10, 2015

PM 6 T M A P E 7:30-10 Y ENTRANC SIC U L R M A E E V LI VIP N BAR

OOD F S T S LOGI

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