Seattle Weekly, July 08, 2015 by Sound Publishing

JULY 8-14, 2015 I VOLUME 40 I NUMBER 27

SEATTLEWEEKLY.COM I FREE

MUSIC STUFF YOUR EARS WITH TOILET PAPER—DEBACLE FEST’S GRINDING NOISE IS NIGH PAGE 27

RESTLESS IN SEATTLE Fed-up Emerald City residents clamoring for greener pastures are moving north. BY ELLIS E. CONKLIN PAGE 11

The Bones Strike Back Picking up the pieces of the great Kennewick Man myth. By Roger Downey Page 7

Best of Seattle Finalists

See the remaining contenders for our 2015 Reader Poll. Vote online until July 26.

INSIDE COVER

THE FINALISTS VOTE NOW at

BEST SEATTLE 2015 OF

READER POLL ARTS & CULTURE BEST ACTOR Benjamin McFadden Billie Wildrick Emily Chisholm Kat Ogden Quinn Franzen

BEST CINEMA Central Cinema Cinerama Grand Illusion Northwest Film Forum SIFF BEST COMEDIAN Brett Hamil Dina Martina Elicia Sanchez Emmett Montgomery Kortney Shane Williams Tyler Schnupp BEST COMICS ARTIST Ellen Forney Jim Woodring Matthew Inman Max Clotfelter Michael Heck BEST DANCE COMPANY Pacific Northwest Ballet The Pendleton House Velocity Dance Center Whim W’him Zoe|Juniper BEST THEATER DIRECTOR John Kazanjian John Langs Kelly Kitchens MJ Sieber Myra Platt

SEATTLE WEEKLY • JULY 8 — 14, 2015

BEST ELECTRONIC ARTIST Chris Roman Lilac Midday Veil Newaxeyes Vox Mod

BEST EVENT SERIES First Thursday Art Walk HELLA MUCH secondnature Videoasis ZooTunes BEST FESTIVAL Bumbershoot Capitol Hill Block Party Debacle Fest Decibel Festival SIFF BEST FOLK/ROOTS BAND Ben Von Wildenhaus Blackheart Honeymoon Damien Jurado Gold Fronts Shana Cleveland & the Sandcastles BEST GALLERY Ghost Gallery Push/Pull Roq La Rue The Factory Vermillion

BEST GRAFFITI ARTIST BAD DAD Jazz Mom John Criscitello Ryan Henry Ward SHITbaRF BEST HIP-HOP ARTIST/GROUP Blue Scholars LH2020 Shabazz Palaces Siqfux THEESatisfaction BEST JAZZ ARTIST/GROUP Bill Frisell Breaks and Swells Garfield Jazz Band Industrial Revelation Royal Room Collective Music Ensemble BEST METAL BAND Bell Witch Big Trughk Black Breath Lesbian Theories BEST MUSEUM EMP Museum Frye Art Museum Henry Art Gallery MOHAI Seattle Art Museum BEST MUSIC VENUE Black Lodge Chop Suey Kremwerk Neumos The Showbox BEST POP BAND Brianna Marela Chastity Belt Death Cab for Cutie La Luz Tacocat BEST PUNK BAND Blood Drugs Charms Listen Lady Verbal Tip Wimps BEST RECORD LABEL Casino Trash Records Debacle Records Hardly Art Hush Hush Sub Pop Records BEST STORYTELLER John Roderick Lynn Shelton Sarah Galvin Sherman Alexie Timothy Egan BEST THEATER COMPANY ACT Theatre Book-It Repertory Theatre On the Boards Seattle Repertory Theatre The 5th Avenue Theatre

#bestofsea15

SEATTLEWEEKLY.COM

After two weeks and tens of thousands of votes, we have arrived at an impressive list of finalists for our 2015 Best of Seattle Reader Poll. Congrats to those who made the cut, but you haven’t won yet. The real competition starts now!

Take a look at the contenders and go online to vote for the best. Remember that you can cast one ballot each week until Sunday, July 26. Winners will be announced in the 2015 Best of Seattle issue, on newsstands August 5. BEST VISUAL ARTIST Amanda Manitach Buster Simpson Jay Mason Kelly Fleek The Coldbrew Collective

BUSINESS & SERVICE

BEST BOOKSTORE Ada’s Technical Books Elliott Bay Book Company Fantagraphics Books Third Place Books Twice Sold Tales BEST BUS LINE #2 #44 Ballard/UW Medical Center #49 #70 University District/ Downtown Seattle C Line BEST CAMERA SHOP Camera Techs Glazer’s Camera Kenmore Camera Rare Medium BEST CLOTHING RE-SALE Buffalo Exchange Cairo Goodwill Lifelong Thrift Store Value Village BEST COMIC BOOK SHOP Arcane Comics & More Comics Dungeon Fantagraphics Books Golden Age Comics Phoenix Comics & Games BEST FLOWER SHOP Ballard Blossom City People’s Fleurt Pike Place Flowers The Flower Lady BEST FURNITURE STORE Area 51 Ballard Consignment Fremont Vintage Mall Kasala Outlet Space Oddity BEST LOCAL NONPROFIT Fare Start Hollow Earth Radio KEXP Seattle Children’s Hospital The VERA Project BEST MEN’S BOUTIQUE Blackbird Filson Kuhlman Lucky Dry Goods Mario’s BEST TATTOO SHOP Hidden Hand Tattoo Rabid Hands Slave to the Needle SuperGenius Tattoo Under the Needle Valentine’s Tattoo Co. BEST TOY STORE Archie McPhee Kinokuniya Magic Mouse Toys Once Upon a Time Top Ten Toys BEST WOMEN’S BOUTIQUE Endless Knot Pretty Parlor The Frock Shop Totokaelo Velouria

FOOD & DRINK BEST 24-HOUR EATS 13 Coins Beth’s Cafe Five Point Cafe Lost Lake Rancho Bravo

BEST BBQ Bitterroot Bourbon & Bones Drunky’s Two Shoe BBQ Jack’s BBQ Pecos Pit BBQ BEST BLOODY MARY Hattie’s Hat King’s Hardware Linda’s Sam’s Tavern The Bridge BEST BOTTLE SHOP Beer Junction Bottlehouse Bottleworks Chuck’s Hop Shop Full Throttle Bottles BEST BREWERY Elysian Brewing Company Fremont Brewing Georgetown Brewing Company Hilliard’s Beer Holy Mountain Brewing Populuxe Brewing Stoup Brewing BEST BRUNCH Linda’s Tavern Pettirosso Portage Bay Salty’s on Alki Wayward Vegan Cafe BEST BURGER Li’l Woody’s Red Mill Sam’s Tavern Uneeda Burger Zippy’s Giant Burgers BEST CHEF Eric Johnson Ethan Stowell Jerry Traunfeld Phil Pilon Rachel Yang Renee Erickson Tom Douglas BEST CHOCOLATIER Chocolati Cafe Dilettante Cafe & Mocha Bar Fran’s Chocolates Hot Cakes Theo Chocolate BEST COFFEE HOUSE Bauhaus Cafe Pettirosso Caffe Vita Stumptown Victrola Vivace BEST COFFEE ROASTER Cafe D’arte Caffe Vita Espresso Vivace Herkimer Lighthouse Roasters Slate Coffee Bar BEST DIM SUM Din Tai Fung Harbor City Hong Kong Bistro House of Hong Jade Garden

BEST DISTILLERY 3 Howls Distillery Oola Distillery Sun Liquor Westland Distillery Woodinville Distillery BEST DONUT Frost King Donut Ly’s Mighty-O Donuts Top Pot Doughnuts BEST FOOD CART Jemil’s Big Easy Marination Mobile No Bones About It Nosh Off the Rez BEST HOT DOG Chop Suey Hot Dog Guy Cyber-Dogs Dante’s Inferno Dogs Po Dog Tokyo Dog BEST ICE CREAM Bluebird Full Tilt Husky Deli Molly Moon’s Seattle Cookie Counter BEST ITALIAN Bizzarro Il Corvo Pasta Machiavelli Serafina Spinasse The Pink Door BEST KID-FRIENDLY RESTAURANT Rhein Haus Skillet Diner The 5 Spot Tutta Bella Uneeda Burger Vios BEST MEXICAN El Camion Fonda La Catrina Poquitos Señor Moose Tacos Chukis BEST NEW RESTAURANT Lark Nue Single Shot Stateside Trove BEST PATIO Captain Blacks Ray’s Boathouse Salty’s on Alki The Pink Door Westward BEST PHO Ba Bar Greenleaf Pho Bac Pho Cyclo Cafe Pho Than Bros BEST PIZZA Big Mario’s Delancey Pagliacci Serious Pie Tutta Bella BEST RAMEN Boom Noodle Kukai Miyabi 45th Ramen Man Samurai Noodle Santouka Bellevue

BEST SANDWICH SHOP Homegrown Honey Hole Meat & Bread Other Coast Saigon Deli Salumi Tat’s Delicatessen

BEST NAIL SALON Hoa Salon Infinity Nail LA Nails Nail Time Night Light Nails Penelope And The Beauty Bar Princess Nails

BEST SEAFOOD Ray’s Boathouse RockCreek Salty’s on Alki Taylor Shellfish The Walrus and the Carpenter

BEST YOGA STUDIO 8 Limbs Chihuly Garden & Glass Yoga Samarya Center Seattle Yoga Arts Urban Yoga Spa

BEST SUSHI Japonessa Maneki Mashiko Momiji Shiro’s

MARIJUANA

BEST THAI Araya’s U-District Buddha Ruksa Little Uncle Thai Ginger Thai Tom BEST VEGETARIAN Cafe Flora In The Bowl Plum Bistro The Highline Wayward Vegan Cafe BEST WINERY Chateau Ste. Michelle Dunham Cellars Efeste Mark Ryan Winery Maryhill Winery Robert Ramsay Cellars

HEALTH & BODY BEST BARBERSHOP Bang Capelli’s Barbershop Red Chair Salon Rudy’s Scream Salon Squire Barber Shop Vain BEST CROSSFIT NCrossfit Felix Level 4 Northwest Crossfit Ox Box Stone Way Crossfit Urban Crossfit BEST EYEWEAR Broadway Vision Eyeballs Eyes on Fremont Market Optical Spex in the City BEST GYM Ballard Health Club Evolv Fitness Gold’s Gym LA Fitness Olympic Athletic Center YMCA BEST HAIR SALON Bang Beehive Salon Emerson Salon Gene Juarez Modify Hair Lounge Salon Moxi Seven Vain BEST MASSAGE Eastlake Massage Essence of the Sun Gene Juarez Hothouse Imperial Foot Massage Penelope and the Beauty Bar

BEST PRODUCT Goodship Cookies Juju Joint Legal Soda Sensi Sweets ZootRocks

BEST RECREATIONAL STORE Dockside Cannabis Ganja Goddess Hashtag Herbs House Uncle Ike’s Pot Shop BEST STRAIN Blue Dream Dutch Treat Girl Scout Cookies Hawaiian Dream Super Lemon Haze

NIGHTLIFE

BEST BAR Montana The Bridge The Neighbor Lady The Westy Twilight Exit BEST BARTENDER Andrew King Brandon at The Bridge Chris at Canon Jack at Pony Paul Ritums from The Westy BEST COMEDY NIGHT Comedy Underground Comedy Womb Laff Hole Parlor Live Theater Sports Tiny Baby Talk Show BEST HAPPY HOUR Bimbo’s Highline Bar Kate’s Pub Lost Lake The Bridge Toulouse Petit West 5 BEST KARAOKE Bush Garden Crescent Tavern Rock Box The Rickshaw Yen Wor BEST LGBT BAR OutWest Pony Purr R Place Wildrose BEST NEW BAR Chuck’s Hop Shop CD Damn the Weather Hotel Albatross Single Shot The Westy

BEST SPORTS BAR 95 Slide Buckley’s in Belltown Rhein Haus The Bridge The Westy

OUT & ABOUT BEST BEACH Alki Beach Denny Blaine Park Discovery Park Golden Gardens Madison Park BEST BIKE SHOP 20/20 Cycle Bike Works Gregg’s Cycles Montlake Bike Recycled Cycles BEST BIKE TRAIL Alki Trail Burke-Gilman Trail Iron Horse/Snoqualmie Trail Lake Washington Loop Sammamish River Trail BEST CITY TOUR Argosy Cruises Market Ghost Tour Ride the Ducks Seattle Brewery Tours Seattle Underground Tour BEST HIKING TRAIL Granite Mountain Trail Mailbox Peak Mount Si Rattlesnake Ledge The Wonderland Trail Wallace Falls BEST NEIGHBORHOOD Ballard Capitol Hill Central District Fremont West Seattle BEST NEW BUILDING 12th Ave Arts Building Brooks HQ Chophouse Row Greenfire The Wave BEST OUTDOOR STORE Brooks Trailhead EVO Feathered Friends Linc’s Fishing Tackle & Honda REI Second Ascent Outdoor Gear and Apparel BEST PARK Discovery Park Green Lake Lincoln Park Seward Park Volunteer Park BEST RACE Beat the Bridge Dead Baby Downhill Rock ‘n’ Roll Marathon Seafair Pirate Run Seattle Marathon Ski to Sea BEST SKI AREA Crystal Mountain Resort Mt. Baker Stevens Pass Summit at Snoqualmie White Pass BEST SWIMMING SPOT Alki Point Coleman Pool Madison Park Magnuson Park Rattlesnake Lake T-Dock @ Lake Washington

inside» July 8-14, 2015 VOLUME 40 | NUMBER 27 » SEATTLEWEEKLY.COM

UPCOMING CONCERTS Seattle Women’s Jazz Orchestra

Thurs, July 9 | City Hall Plaza

The Maldives

Fri, July 10 | Westlake Park

»28

»17

news&comment 5

CRASS TRANSIT

BY CASEY JAYWORK | For Nick Licata,

a streetcar is undesired. Plus: Vindication for Kennewick Man, and how we can make raves safer.

11 NORTHWARD BOUND BY ELLIS E. CONKLIN | Tired of the

traffic, the construction, the exploding housing costs? Bellingham just might be the Seattle of your dreams.

food&drink

15 FIVE DRIVES

BY JACOB UITTI | A quintet of road

trips worth it for the food alone. 15 | FOOD NEWS/THE WEEKLY DISH 16 | THE BAR CODE

arts&culture

17 CARTOONS & STEREOTYPES

BY BRIAN MILLER | Two related pop-

culture shows at EMP and TAM, both with Northwest roots. 17 20 21 21

| | | |

THE PICK LIST PERFORMANCE BOOKS VISUAL ARTS/THE FUSSY EYE

22 FILM

OPENING THIS WEEK | The preventable

death of Amy Winehouse, Ryan Reynolds has his body stolen, and Nicole Kidman goes mad with lust.

26 MUSIC

BY KELTON SEARS | A diligent, if

Dionysian, punk band. Plus: instrumental hip-hop, the moon as muse, and a Debacle Fest preview. 29 | THE WEEK AHEAD

4 | CHATTERBOX 30 | HIGHER GROUND 31 | CLASSIFIEDS

»cover credits

ILLUSTRATION BY LEO ZAROSINSKI

FREE CONCERTS ALL SUMMER LONG!

Editor-in-Chief Mark Baumgarten

SummerinSeattle.com #OTLconcerts

EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears

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Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Casey Jaywork Editorial Interns Alana Al-Hatlani, Jennifer Karami, Daniel Roth 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 A. Stusser, Jacob Uitti

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Tues, July 14 | IBM Building

Publisher Bob Baranski 206-623-0500 COPYRIGHT © 2015 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLI SHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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The Side Project

JOSE TRUJILLO

“I am one of those 2 percent with a strong work history in tech, but inexplicably ignored if not shunned by that same tech sector.”

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BLACK OUT

Last week, Daniel Person reported on the push to improve African-American representation in the tech industry, comparing it to similar efforts made at older corporations like Boeing in the 1960s. By some accounts, only 2 percent of the tech industry is black. Some readers shared their own experiences, while others objected to the premise that the tech industry isn’t diverse, citing the fact that a large percentage of workers are Asian.

a little reality in journalism might actually go a long way! sgtdoom, via seattleweekly.com A TRIP DOWN LATTE LANE

In the food section, Jacob Uitti noted the storied past of Cafe Allegro, the U District coffee house now celebrating its 40th year in its alley location. It got readers remembering their own lattes.

Thanks for the sweet piece about a place I Your article was excellent. I am one of those hold dear. I lost my espresso virginity on a 2 percent with a strong work history in tech, chilly fall 1975 night during my first visit to but inexplicably ignored if not shunned by that Cafe Allegro. Talk about atmosphere! (As I same tech sector. An acquaintance who is white recall, I was trying to impress a date, and I shared that “White Privilege” allows for matdid!) A swarthy, bearded fellow behind the ters of race to be ignored—an option that the steaming machine assured me that my coffee oppressed do not have. And so I wonder how would be much better with a cardamom pod in many whites will opt in to reading your article it, and that was it! Until I left Seattle in 1999, and what percent of those will take action, such I bounced up and down the alley between as their status in the workthere and the Grand Illusion place may allow. For my (where I was a barista for a Send your thoughts on part I found your work to time), and watched romances this week’s issue to be a powerful commentary bloom and wither, business on Seattle’s racial reality. It letters@seattleweekly.com partnerships form, and the leaves me heartbroken to completion of many a UW see confirmation of my own first-hand experithesis. I plan on revisiting the place on a trip in ences, and yet hopeful that perhaps some day August, and am heartened to know I’ll still feel equal opportunity might become a reality. So right at home. I hope. Tom Welsh, via seattleweekly.com Levert Banks, via e-mail My very first stop after arriving in Seattle, and my very first non-drip coffee experience. I will I don’t understand this article. Everyday I see many dark-skinned people disembark from the always love this place (and its ivy wall). buses in the Seattle bus tunnel, going to work Domino Glenrio, via Facebook at their downtown IT jobs. At the surface bus stops, I see large numbers of dark-skinned IT SEEING SINGLES workers awaiting the arrival of Sound Transit And readers went absolutely gaga over our Q&A buses to take them to their jobs in Redmond with Derek Erdman, who on Sunday hosted a mass and Kirkland? Oh . . . I see! You mean darkpublic viewing of Singles at the Capitol Hill apartskinned American citizens! You are referring ment complex where some of the 1992 grunge-fueled to black Americans, right? This falls into the film was set. “If I go to jail over this, somebody had category of really bizarre—yet another SW better bail me out,” Erdman told us. “Or at least help article with little or no basis in reality! Over out with the fines.” By all accounts, things went off the past 15 to 20 years, every other month scot-free, and people still love the ’90s. there’s been a story of this corporation or that company replacing their American IT workI sat at the bus stop across the street from the ers with foreign visa workers (usually from apartment and watched them film it! Good India, but also from other countries as well). times, great movie. Locally, Microsoft, Amazon, Adobe, Safeco, Terri Urban, via Facebook Group Health, and countless other companies and organizations have replaced their local IT Loved the movie, loved the soundtrack, love types with foreign visa replacement workers. Campbell Scott, love love love! LOL. Yet we have “reportage” on KIRO advising us Kimberly Diaz, via Facebook E that the locally based corporations use foreign visa workers because the colleges aren’t graduComments have been edited for length, clarity, and ating enough computer-science grads. Really, overuse of ellipses.

news&comment

Nick Licata, Streetcar Fighter

Three Ways to Make Raves Safer

The retiring councilmember wages a final fight against trolleys.

BY JENNIFER KARAMI

BY CASEY JAYWORK

n Saturday, 23-year-old Vivek Pandher died in a British Columbia hospital, where he had been flown for treatment after being found unconscious at Paradiso, held June 26–27 at the Gorge Amphitheater. Pandher was the second life lost during the massive EDM festival this year, continuing a sad trend of 20-something deaths at raves in the region. Last Nov. 1, 20-year-old Aaron J. Altman died at Freaknight, produced at the WaMu Theater by USC, the same company that hosts Paradiso. And 21-yearold Patrick D. Witkowski died at Paradiso in 2013. It doesn’t have to be this way. Here are three ways to make raves safer starting now.

CHRISTOPHER ZEUTHEN

Left: Nick Licata. Above: the South Lake Union Streetcar.

which would open the funding faucet for infrastructure maintenance and upgrades that are years overdue. This isn’t Licata’s first anti-streetcar rodeo. In 2008 he went head-to-head with councilmember Jan Drago over whether to expand the Seattle streetcar network. Then, as now, he managed to pass an amendment that required extra Council review before money could be spent on streetcars. So what’s up with Licata’s rage against streetcars? Why can’t we have nice things, Nick? Because, he contends, streetcars are an urbanist’s white elephant. “They’re really designed for shoppers or people who are going between multiple points in a retail area downtown,” Licata says, pointing out that while streetcars are great for gently whisking people across walkable distances, they’re not mass transit. “ ‘Mass transit’ means you’re moving a mass of people from a long distance to another place,” he says. Kubly disputes streetcars’ inefficiency. “When [the downtown streetcar extension] goes in, it will be one of the most productive transit routes in the country,” said Kubly. “It will carry, our modeling shows, about 30,000 people per day . . . That’s about double what Link [light rail] is carrying. “It is a real transportation option at that point. It’s not a toy.”

Toys or no, streetcars are very expensive. On

average, a city can built about nine and a half miles of roadway for the same cost as a mile of streetcar construction. “Streetcar investments generally tend to be a good . . . investment for promoting economic development along that route,” says Licata. He adds that the biggest proponents for streetcars tend to be the property owners who will profit from their installation. But, he asks, “does that have a higher priority than getting 10,000 workers downtown on reliable bus service?” One of the biggest attractions for Seattle’s only current streetcar, which runs from downtown through SLU, is its spaciousness—that is, its inefficiency at moving large numbers of people around the city. Licata contrasts that indulgence against city buses “packed to the gills” with commuters. “The bus, it can be sometimes too crowded,” says Jennifer Patrick, who rides the streetcar a couple of times a week with her daughter. “It’s hard, with a child, to get on the bus” when there’s standing room only, she says. Another aspect of Licata’s concern is the risk of the city roping itself into an expensive long-term project—like the Bertha tunnel— which may or may not be blessed with steady funding and construction. Large-scale, nonpiecemeal projects lend themselves to politicians’ tendency to prioritize smart optics over smart

» CONTINUED ON PAGE 6

Distribute test kits For as little as $20 each, festivals could distribute, or make for sale, test kits that proponents say would reduce accidental overdoses by helping people know exactly what they’re putting in their body. An organization called The Bunk Police, which distributes the kits, released a documentary that includes a poignant scene showing the kits at work: “Purple to black is MDMA, highlighter yellow is bath salts,” explains a dubbed voice, filmed from the waist down. A group of festivalgoers watch as a substance presumed to be Molly is dropped into a test tube, then shaken. It turns yellow. “Shut up!” yells a woman. “We bought $4,000 worth of bath salts?” Change the law Unfortunately, test-kit

vendors are often barred from entering festivals. Event promoters fear that by allowing them in, they are encouraging “a drug-involved premises,” and may be subject to prosecution under the RAVE act. “Too many young people are dying, and the 2003 RAVE Act is part of the problem because it is preventing the implementation of common-sense safety measures at these events,” says Dede Goldsmith, who launched a petition at amendtheraveact.org after her daughter, Shelley, died at an EDM show. Signers assert that the law, once intended to shut down illicit underground dance parties, are now causing promoters to turn a blind eye to the problem. Drink water Beyond the clear and present drug culture at many EDM events, environment is a factor that often goes unaddressed, according to Missi Wooldridge, executive director of Dance-Safe. “You’re packing as many people as you can in that venue, so your ability to get out and get water or take a break is very limited,” she says. Grant County Sheriff Tom Jones, whose jurisdiction covers the Gorge, agrees. “Hydrating, hydrating, hydrating,” he says when asked how to make summer parties more safe. “This season is different than in the past, with the high temps out here. Obviously there’s drug use that goes undetected, but when you mix those drugs with heat and lack of drinking water, it’s gonna exacerbate the problem.” E

news@seattleweekly.com

SEATTLE WEEKLY • JU LY 8 — 14, 2015

ouncilmember Licata, why do you hate streetcars?” says Tom Rasmussen. The two men chuckle furiously, like it’s a joke. Seriously, though: Why does Nick Licata hate streetcars? During legislative wrestling over the particulars of Move Seattle, a nearbillion-dollar transportation-funding property tax that the City Council passed last week and Mayor Ed Murray signed on Tuesday, Licata introduced not one but two anti-streetcar amendments. One, ultimately unsuccessful, would have prohibited spending any of the levy funds on streetcars. The second, passed unanimously, requires special review before any such spending. The city already has one streetcar (in South Lake Union), is about to complete a second (from Pioneer Square to Capitol Hill), and has plans to extend both. So why does Nick Licata, Seattle’s retiring populist, care so much about kiboshing them? Why did he grill Seattle Department of Transportation (SDOT) director Scott Kubly for three and a half seat-squirming minutes during hearings on Move Seattle in June? SDOT has stated that expansion of Seattle’s streetcar system would be funded through grants and revenue generated by the existing streetcar system. Licata says he’s heard such promises before, only to see agencies begin to draw on taxpayer funds when other funding falls short. Locked in a battle of semantic jujitsu, the councilmember gradually pried from Kubly the admission that, sure, SDOT might conceivably use the avalanche of cash that’s poised to overflow its coffers to pay for a streetcar. “Right now we’re not planning on using that . . . fund for a streetcar extension,” said Kubly wearily. “But . . . it would be hard to say what nine years from now, whether that priority may have changed.” “This is new information, that this levy will be [providing] funding . . . to build and operate a streetcar,” said Licata. “That’s a mischaracterization of what I said,” replied Kubly, twice. Move Seattle is a big deal. When voters accept or reject it this November, they’ll be deciding the fate of a quarter of SDOT’s budget. The Bridging the Gap levy that passed in 2006 expires this December, and Move Seattle is its replacement. City progress on the Bicycle Master Plan, the Climate Action Plan, and the Transit Master Plan depends on the passage of Move Seattle,

MAYOR

MC G I NN /FL ICK R

Streetcar Fighter » FROM PAGE 5

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policy. Unlike bike lanes and sidewalks, says Licata, “With a trolley line, once you begin it, you gotta finish the line.” To be clear, Licata’s objections apply to streetcars, not light rail, which is really quite good at moving people around the city quickly. Seattleites have long awaited the eight-minute light-rail ride between downtown and the University District, complete with wifi and phone service, that is expected to arrive by early next year. Light rail can be so lightning-fast because, running through a tunnel beneath traffic, nothing’s in its way: no busy intersections, no jammed turn lanes, no oblivious pedestrians wandering blindly through the street as though it were their living room. Light rail’s route is for light rail only, and that’s why it works. Trolleys, on the other hand, are actually worse than buses when it comes to navigating traffic, as I learned last week aboard the downtown/ SLU streetcar. The experience was like Disney World’s Carousel of Progress ride. The streetcar’s body is sleek and shiny, and boarding is a breeze: Riders pay ahead of time, then hop in through the automatic doors in seconds. Inside, the air is cool, LED displays stream real-time station information, and the overhead speakers emit decipherable human language rather than angry, incoherent squawks. Through the transparent walls of this Jetsons choo-choo, riders can contemplate Amazonia as the streetcar slows to a crawl in the automotive shitstorm that is Mercer Street. Traffic, elements of rider comfort, SLU’s disturbing architectural portrait of affluent hubris—all these issues exist equally for buses and trolleys. This isn’t about rail versus tires. It’s fast versus slow, reliable versus unreliable, beautiful versus ugly. “The key for bus service or fixed rail is right-of-way,” says Licata. “If you have a bus caught in traffic, it sucks. If you have a streetcar caught in traffic, it sucks as well.” And if you have Bus Rapid Transit (BRT), you don’t get caught in traffic in the first place. Essentially a light rail on wheels, BRT buses glide past traffic jams in exclusive lanes, and riders pay before the bus arrives rather than one-by-one while boarding. Bragging about TransMilenio, the BRT system of Bogota, Colombia, former Mayor Enrique Peñalosa described them as an infrastructural manifestation of democratic equality: “A bus with a hundred passengers has a right to a hundred times more road space than a car with one.” Seattle ostensibly already has BRT in its RapidRide program—though RapidRide lacks its own separate roadway, and is therefore more of a glorified carpool lane than true BRT. The city is currently weighing a BRT route to run from downtown up Madison Street to Capitol Hill, though it’s not clear how free, and therefore effective, that route would be from auto traffic. BRT is just one of a host of potential projects that a Move Seattle-funded streetcar would siphon money from. Hence Licata’s obsession with stopping or slowing any move in that direction: “There’s nothing wrong with” building a streetcar in the city’s affluent center, he says. “It will help the shops along the way. That’s a good function. “But that’s not the same as making sure that you have people in South Seattle getting to work,” Licata says. E

cjaywork@seattleweekly.com

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The Last Straw

The Bones Strike Back Scientists told us for years Kennewick Man wasn’t Native American. The science finally caught up to them.

BY ROGER DOWNEY BRITTNEY TATCHELL, SMITHSONIAN INSTITUTOIN

WIKIPEDIA

JOSE TRUILLO

When we hear about domestic violence, we often think of punches and black eyes. But abuse is so much more than that. It’s the steady erosion of self-esteem and confidence that comes from experiencing constant put downs and mind games. It’s the loss of independence when your partner controls all of the money. It’s being isolated from friends and family, believing you have nowhere to turn. It’s about feeling powerless when your partner uses threats, intimidation and coercion to bend you to his will. It can take up to seven tries for survivors to leave their abusers, and leaving often escalates the danger. But many survivors do leave and go on to build safe, free lives. How can you help? First, be a compassionate listener, affirming her feelings and assuring her that you will be there for her. Never blame her for the abuse or judge her decisions, understanding that there are compelling reasons why she may feel unable to leave the relationship right now. Connect her with a domestic violence program that will help her safety plan and access resources. Each time you offer a survivor support, you are taking a crucial stand against domestic violence. For more information about the services New Beginnings offers, visit www. newbegin.org or call our 24-hour Help Line at 206-522-9472. To raise money and awareness for domestic violence prevention, register today for the Goodwill Refuse to Abuse® 5K at Safeco Field at refusetoabuse5k.org. Susan Segall

Executive Director, New Beginnings ssegall@newbegin.org 206-926-3035

SEATTLE WEEKLY • JU LY 8 — 14, 2015

may as well start this the way a hundred thousand other versions of the story began: “While wading in the broad Columbia River one hot summer day in 1996, two young men came across a human skull, one that was destined to shake the world of archeology and yield new insights into how humankind came to the North American continent . . . ” Up to the word “skull,” the above statement is true; from that point onward it’s bull-puckie. But for the past 19 years, that skull and the skeleton it belonged to have been the foundation of an elaborate myth, one created and fostered by some of the shamans of our shabby civilization, the ones we call “scientists.” The myth goes—I might as well use the same typographic device, because you can find a hundred thousand retellings Everett simply by typing Seattle “Kennewick Man” Tacoma into any search Olympia engine: “What at Mt.Rainier Above: K-Man’s skull with a modern face-lift. ake R i ve r Yakima first appeared a mere Right: Douglas W. Owsley Indian burial or a setKennewick Rive r tler’s forgotten grave from mb i a u l Co lived on the premises forever. pioneer times turned out to be used the word The scientific establishment went along something much more significant: the skeleton of a on a local television with the mythmaking for a simple if slightly man who died 8,500 years ago, and who differed in report, but would disgraceful reason: Since 1990, ownership of many physical respects from the Native Americans also mobilize the archeological artifacts has been controlled by who now live along the banks of the Columbia; a enormous underNAGPRA, the Native American Graves Protecman who, in the words of archeologist James C. ground of racially tion and Repatriation Act, passed by Congress Chatters who first examined the remains, exhibited fixated individuals to bring some justice and order into the squalid ‘marked Caucasoid features.’ Many scientists had and groups who see legal darkness surrounding artifacts and bones doubted that the ancestors of American Indians were the world in us-versus-them colors. collected for centuries from American earth by the first humans to populate our continent; here, museums and individuals. After its passage, it for the first time, was concrete evidence that their So it was with K-Man. When a group of scienwas up to the collectors to justify their continued doubts were justified.” tists (most of them of retirement age, with attipossession of American Indian material. If a In fact very few scientists had ever doubted that tudes frozen in the good old grab-it-and-keep-it tribe demanded return of something collected humans first arrived in the Americas via Siberia days of specimen-collecting) brought suit to on their ancestral lands, its present holder had to and Alaska toward the end of the last Ice Age, keep K-Man’s remains out of Native American come up with some pretty strong arguments to when today’s Bering Sea was an ice-free expanse hands, plenty of quiet money was available to remain in possession of it. of frigid scrubland. Genetic analysis, linguistic fund their six-year lawsuit. Their argument, stated analysis, archeological remains all agreed: Today’s and restated through many thousands of pages of Most archeologists hate NAGPRA. They’re American Indians and Aleuts orginated in north deposition (one attorney told me he estimated the contemptuous of Native Americans’ desire that Asia and arrived hereabouts in three waves of suit’s legal costs at upward of $6 million) was ludithe bones and grave-goods of their ancestors be migration between 12,000 and 5,000 years ago. crously simple: If the K-Man was of Caucasian returned to the earth of their fathers. To a scienBut scientists don’t diss their peers. Anyone ancestry, he wasn’t a Native American, so Native tist, the interests of scientific knowledge trump with a Ph.D. who stands up publicly for science Americans had no right to his remains: QED. those of any other value system. But like it or not, in our ragingly anti-intellectual society is on And the judge fell for it. In 2002, K-Man’s NAGPRA was The Law. The huge accumulathe right side, no matter how loony his theories remains, in protective storage at the Burke tions of Native American material filling the bins might be. The only reaction approaching doubt Museum in Seattle, were made available to the of institutions like the Smithsonian were up for you’d get from one of them when Kennewick plaintiffs for study. grabs, as long as claimants had a little money and Man was mentioned was a silent roll of the And what were the results of the study? Well, a smart lawyer. eyes—never anything on the record. it essentially confirmed all the actual measureJim Chatters, the guy into whose hands I know this to my cost, because I spent the ments and anthropological descriptions made K-Man’s bones fell purely by fluke, despised better part of four years reporting the Kenby Jim Chatters during his heady month-long NAGPRA as much as the next Ph.D., but he was newick Man case, talking to dozens of solid custody of the remains. (Like I said, Chatters is also gifted with a vivid imagination and a firm citizen scientists while doing so. But no matter grasp of the power of a good story, however absurd, a crackerjack observer when he’s in true scientist how flimsy and misleading the K-Man myth, mode). It didn’t produce one shred of support for to drive all common sense ahead of it. Maybe he how total its lack of hard evidence, the archeohis headline-grabbing and inflammatory “Cauactually believed his “Caucasoid” story (though logical profession kept its collective mouth casoid” speculation, but it served the real purpose I’ve always doubted it; he was too good a scientist shut while a few outliers gave the press what of the lawsuit just fine: to gut NAGPRA and for that to be true). What he did know was that it wanted: scientific ratification of the tale of a maintain “Science’s” right to investigate what it the mere suggestion that his specimen was in Caucasian loner representing a lost white tribe, bloody well pleases. some sense “a white man” would not only generobscured until now by redskins claiming they’d ate worldwide media frenzy in the days after he » CONTINUED ON PAGE 9

or Lucinda, the last straw came when her husband grabbed the steering wheel from her and pointed the car toward the stone wall ahead. For Gina, it came when her boyfriend brought out his gun and sat it on the table pointing at her. For Sarah, it came when her husband called her a whore and a variety of unprintable names in front of their young son. For Kayla, the last straw came when her boyfriend threw the meal she’d carefully cooked at the wall, screaming that she was too worthless to do anything right.

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news&comment» The Bones Strike Back » FROM PAGE 7

Looking back over the whole sorry spectacle,

the most interesting player, more interesting than Chatters, even, is one Douglas W. Owsley, head of the Physical Anthropology department of the Smithsonian Institution. Owsley’s main claim to attention (a claim wonderfully inflated and colored in on his hand-crafted Wikipedia page) is

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NeighborHuh?

This summer, we’re checking in on some of Seattle’s more obscure neighborhoods and asking: Is that really a place? BY CHASON GORDON

BRYANT

haped like one of those “We’re #1” foam hands, Bryant is the overlooked space between Ravenna and View Ridge—not that people know much about View Ridge (Hi, View Ridge!). Its borders are 35th Avenue Northeast and 45th Avenue Northeast (only 10 streets!), and stops at Sand Point Way, so yes, it’s very, very small. But what it lacks in size it makes up for in— I’m kidding, I would never write a sentence like that. Sometimes Bryant becomes hyphenated and is known as Ravenna-Bryant, which I can understand, because Ravenna is pretty awesome. It clearly wears the pants in this marriage. The Ravenna Park Bridge is one of the nicer spots in the city, and da Pino, a small Italian eatery, is the kind of place Seattle could use more of. I could go on and on about Ravenna, but I’m supposed to writing about Bryant. Bryant does not have a bar. That’s an issue. There is the Duchess Tavern, a good place to watch Husky games, though it’s technically in Ravenna (see?). Here’s what Bryant does have: a Top Pot, three grocery stores (one of each), the Burke-Gilman Playground Park, several places of worship (one of each), a veterinary hospital, a

Bryant School, the namesake.

CHASON GORDON

So when a team of Danish scientists (real ones this time) announced in mid-June that, according to DNA analysis, Kennewick Man was genetically of mainstream Native American stock, it amounted to little more than the inevitable whimper following a 19-year bang. Native American? Well, I’ll be hornswoggled. The joke’s on us. Even Jim Chatters, the man who invented K-Man and produced a very European reconstruction of his skull, allowed as how that given the DNA evidence, he might just back repatriation now. Thanks, Jim; you’re a prince. Ironically, justice may be served more fully now than 20 years back: DNA analysis is so exquisitely refined that it can disentangle the complex strands of aboriginal American inheritance and show just what population living today is most closely related to the Kennewick individual. All it would take is a few saliva swabs from members of the tribes contending for the honor. Native Americans are not generally inclined to cooperate with scientific examinations of their heritage—can you blame them? But if it means that the old-timer’s bones will be restored reverently to the earth, I’m pretty sure volunteers will be found.

not in hands-on archeological work or theorizing (though he spent a number of years inventing a mysterious tribe of Europeans who dropped into the Americas from Scandinavia during the frozensolid Mesolithic age). He is rather a sort of oneman C.S.I. show, collaborating with his buddies at the FBI across the street from the Smithsonian on forensics on gruesome murder victims, the postinferno Branch Davidians, and the victims of the 9/11 suicide attack on the Pentagon. In an age when archeology has become more and more an exact science, Owsley (still short of his 65th birthday) is a glorious reincarnation of the old-time Indiana Joneses of the field, with the hard eyes of a Gold Rush prospector and the salad-platesized belt buckle of a grizzled rodeo champ. Owsley turns up all through the K-Man story: He met with Chatters in his D.C. office even before the story broke publicly; he was the most visible and colorful plaintiff in the suit, ready with a solemn thought or lively quip when the press (the docile, scientist-revering press) called for a quote. He all but boasts about his influence on the story on his Wiki-page. I haven’t read Owsley’s book about K-Man (one of more than half a dozen on the subject, including one by me), but now that the dust has settled, I think I’ll have to track it down. It may help me understand how one of the most significant archeological discoveries of our era will go down in the archives as a media circus, a carnival of scientific fudging and bad faith, and one more demonstration, if any were needed, of the more or less invisible but powerful magnetic fields of racism that still entangle and impede us a nation. E

Chinese restaurant, and Grateful Bread, an adorable little bakery. That’s more than some Washington towns have. Sandwiched as it is between larger neighborhoods, it’s easy to dismiss Bryant and force it to assimilate like in Avatar. Sometimes, though, you need a little place to catch your breath, and that’s what Bryant is. The neighborhoods can’t just jump straight from Ravenna to View Ridge. Next thing you know we’ll be skipping Laurelhurst, Windermere, and Pontiac, and then where would we be? Verdict: So is Bryant a neighborhood? And more important, am I the most appropriate person to write this? That’s a soft yes and a hard no. But stick with the hyphenation. Ravenna will take you places. E

news@seattleweekly.com

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RESTLESS IN SEATTLE Fed-up Emerald City residents clamoring for calmer, cheaper, and greener pastures find Bellingham to their liking. BY ELLIS E. CONKLIN

n a brilliant, sun-dazzled morning, Fairhaven, a compact and charmingly quirky Bellingham neighborhood, is coming to life. Everything looks fresh and clean, as if newly painted: the air, the buttery light, and the deep blue bay waters just a few sloping blocks away, where a ferry is being readied to haul backpacktoting travelers to Alaska. It is an early June day, and a few old hippies are poring over the paper at Tony’s Coffee House, a magnet for the town’s bohemians, and marveling at the saga of the two murderers who escaped from a concrete fortress in New York’s Adirondack Mountains. While I marvel at the dozens of free parking spaces, sans meters, a young woman in a purple peasant dress tends to the city flower pots near the handsome old Knights of Pythias Building, a long-ago meeting place for the town’s secret societies. Across 11th Street—the commercial heart of this historic district—they’re tidying a few outdoor tables at Dirty Dan Harris Steakhouse & Seafood restaurant, named after Dirty Dan, Fairhaven’s scruffy, booze-smuggling founder, a rather foul-smelling character who arrived by row

boat in Bellingham Bay in 1854. “I smile every day I walk out of my condo here,” says Robert Spector, who with his wife bid Seattle goodbye in April. “I left more in sorrow than in anger. It doesn’t feel comfortable any longer. Compared to this, Seattle is out of scale. You still have a city sensibility in Bellingham, but it is so much easier here.” It is difficult to quantify, but people like Mimi Osterdahl, owner of a co-working space in Bellingham, has little doubt that a Seattle exodus is fully in motion and that Bellingham is becoming a popular refuge. “We’ve had people come to Workspace recently and say Bellingham reminds them of old Seattle—that they are looking to get back to some place that promises a simpler life.” Perry Eskridge, government affairs director for the Whatcom County Association of Realtors, says, “No question about it, we are getting tons of people coming up from Seattle, people who say they are just sick and tired of it. For most of them, it’s a lifestyle choice, but we actually do hear people saying that they have Seattle fatigue.”

» CONTINUED ON PAGE 12

Restless in Seattle » FROM PAGE 11

Nowadays, a steady trickle of fed-up and stressed-out older, self-employed (for the most part) Seattleites are swimming—or, metaphorically speaking, rowing, like Dirty Dan—to Bell-

“I used to say Seattle was the right size. We used to get from our house near Alaska Junction to downtown in 12 minutes. Now it’s a half-hour or more. We’re becoming ghettoized, upscale ghettos.” —Robert Spector ingham, the northernmost city of more than 50,000 in the contiguous U.S. “We used to be the place for parents looking for an apartment to put their kids in for college. Now we’re seeing parents looking for a place to put themselves,” says Bellingham real-estate broker Lori Reece. “The trick, though, is finding a job. You have to be at a certain point in your life to make this work.” The reasons behind the farewell to the Emerald City are hardly surprising: the horrendous cost of housing, the escalating disparity of wealth, the rising level of homelessness, the onslaught of massive (and generic) high-density developments, the constant lamentations about gentrification, and the complaints that the ranks of technology workers are homogenizing the culture. Then there are the road closures, the road diets, the roadblocks, and the epic any-time-of-day traffic jams that can mess with the psyche—making you question whether, say, it’s worth the time and effort to get to that new restaurant on Capitol Hill that you’ve heard such good things about, never mind being able to park once you arrive. Ted Van Dyk, a veteran of national political campaigns dating back to the days of Hubert Humphrey, explained his recent decision to return to his native Bellingham after 15 years in Seattle. A longtime observer of Puget Sound politics, he

says Tavern owner Lynne Farmer. “But we did have the D.C. snipers here,” she adds, referring to John Allen Muhammad and Lee Boyd Malvo, who both lived in a Bellingham homeless shelter before embarking on a killing rampage that left 10 dead during a three-week period in the Washington, D.C., area in October 2002. With no football team at Western, the town has embraced the Roller Betties, an all-female roller-derby team including such menacing names as Poundora Di Stroya, Isahella Vicious, Luna Tick, and Sugah Bomb. Casa Que Pasa’s potato burrito is legendary, as is the local Yogoman Burning Band, who a few years ago wrote a song titled “Seattle Sucks a Big Ass Chode.” Robert Spector and I agree to meet at the Book Fare Café atop Village Books, a storied institution since Chuck and Dee Robinson opened it 35 years ago, serving as a veritable living room in the Fairhaven neighborhood. Spector is a speaker, a consultant, and the bestselling author of a number of coffee-table books chronicling the histories of such legendary Northwest companies as Frederick & Nelson, Rainier Bank, and the Simpson Timber Company. He’s best known for The Nordstrom Way to Customer Service Excellence (1995), a wellreceived tome that detailed the Scandinavian business practices that enabled John W. Nordstrom—who, by the way, in the late 1800s toiled as a street grader in Fairhaven—to rise from a single shoe store on Pike Street to become the largest clothing retailer in the country. Spector, 67, grew up in Perth Amboy, N.J., where his parents owned a butcher shop. He moved to Seattle from New York’s West Village in 1977 and soon met his wife, a third-generation West Seattleite, who ran a little shop in Pioneer Square’s Grand Central Arcade. “It was a big town, not a big city.” Gazing out the bay window onto Fairhaven’s well-manicured streets, he muses, “You know, Seattle has always aspired to being Los Angeles or New York, whereas Portland just wants to be Portland. And now, we are becoming San Francisco. “I’m not against progress, but we don’t have the infrastructure to support this progress,” Spector goes on. “In many ways, Seattle has fallen in love with itself, and it is an unhealthy narcissism. The tunnel is a good example, a good metaphor for this: that we were going to build something that’s never been done before and yet it’s going on time and on budget. Yeah, sure. “I used to say Seattle was the right size. We used to get from our house near Alaska Junction [in West Seattle] to downtown in 12 minutes. Now it’s a half-hour or more,” says Spector. “We’re becoming ghettoized, upscale ghettos.

Cars waiting to get onto I-5 in Seattle.

CHRISTOPHER ZEUTHEN

SEATTLE WEEKLY • JULY 8 — 14, 2015

CESAR CRUZ

Observes Nick Hartich, executive director of Downtown Bellingham Partnership: “We have a similar geography as Seattle, all that natural beauty of the water and mountains, but here it’s a whole lot easier to access it.” Jody Finnegan, who runs a shoe store in Fairhaven, offers a simple explanation for why some disaffected Seattleites are Bellinghambound. “Who can blame them? It’s God’s country up here.” Before heading north to meet with some of those who have soured on Seattle, I revisited some decades-old stories about our increasingly bloated city, where a recent count showed more than 70 cranes hovering over downtown. I was struck by the glowing, breathless prose once heaped upon Seattle. Nostalgic old-timers may remember when Harper’s in the mid-1970s proclaimed Seattle the most livable city in America. A few years later, Rand McNally dubbed us the top vacation destination in the nation. Then along came Savvy, naming the city the best place for women to live, and Sports Illustrated, anointing this a heaven on earth for outdoorsmen. Such darlings we were, the chosen people. We read more books than anyone, attended more movies and bought more sunglasses, as Tim Egan noted in his classic Northwest primer The Good Rain. Egan reprised Esquire’s romanticized view of Seattle’s lifestyle as “a major subculture of lawyersturned-carpenters” where “on a famous ferry going into famous Seattle, dusk on a November night, the sky, the water, the mountains are all the same color: lead in a closet. Suicide weather. The only thing wrong with this picture is that you feel so happy.” And the topper: In May 1996, when dotcom money was running at a high tide, the cover of Newsweek depicted pundit and editor Michael Kinsley, clad in yellow rain gear with a salmon nearly nipping at his nose. It was a wellchoreographed cliché tucked under the headline: “Swimming to Seattle: Everyone Else Is Moving There. Should You?” Indeed, Seattle’s population went bonkers, having added almost 153,000 new residents in the past quarter-century to its current mark of 668,000.

wrote in an April column for Crosscut: “Seattle once was a city of working and middle-class families, possessed of a feisty civic politics that looked out, in particular, for those at the bottom and striving to rise. Now, as in much of America but [in Seattle] more so, it is a city of rich and poor. It has become too expensive, and its taxes too high, for the people who once constituted its core.” And so, for Van Dyk and other weary souls, Bellingham beckons. Parking is abundant, traffic minimal, the cost of living considerably more modest. The average rent for a one-bedroom apartment is $710. The median home price is $303,000, compared to Seattle’s $559,950, as of May 1. Long gone are the sawmills, the two coal mines, and the rottenegg odor that emanated from the mammoth Georgia-Pacific pulp mill. Last month, in fact, the American Lung Association gave the city a perfect score for being among the least ozone-polluted places in the U.S. There’s virtually no industry here, save for a couple of oil refineries to the north. The biggest talk around town is about the increasing number of coal trains and the proposal to build the giant Gateway Pacific coal-export terminal at Cherry Point. Health care and education (Western Washington University, predominantly) drive the economy. In a city of 80,000, nearly 30,000 are college instructors, staff, or students. For many residents, the lure is the great outdoors. “I walk out of my house and I am on a bike trail. The mountains are five minutes away,” enthuses Bill Miller, who moved to Bellingham from Bellevue five years ago. His wife owns a clothing store in Fairhaven. Miller says practically everyone in town is either running, hiking, kayaking, or climbing. Mountain biking is especially popular on Galbraith and Lookout mountains. “People are here to be outside; they’re not worried about wining or dining,” notes Lisa Lee, who left the Eastside several years ago and recently opened her second Serendipity shop (the first is in Kirkland) in Fairhaven. All this may explain a Gallup survey taken earlier this year that found that just 18.7 percent of Bellingham’s residents have a body mass index of 30 or more (the standard for obesity), making the city the fifth leanest in the nation. The town is chock-full of delightful oddities as well. Down at the century-old Waterfront Tavern overlooking Bellingham Bay, local oldsters still tell stories of days when serial killers drank here—in the mid-’70s Ted Bundy, who confessed to killing 20 women; later, Kenneth Bianchi bellied up to the bar at some point before he was arrested in the killing of two college roommates. He and a cousin, Angelo Buono Jr., were later convicted in the Hillside Strangler case in Los Angeles. Turns out it’s all a myth, concocted years ago by a bartender with an overactive imagination,

rk ©ALAN MAJCHROWICZ PHOTOGRAPHY

Ted Van Dyk was born in Bellingham at the

height of the Great Depression, when it was a blue-collar town of 30,000. His father took

econklin@seattleweekly.com

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SEATTLE WEEKLY • JU LY 8 — 14, 2015

Yes, the mom-and-pops in West Seattle that I’ve written about will get new customers by creating these urban villages, but the older customers will head somewhere else. The downside of an urban village is you can’t get to them. You’re going to build this cool new neighborhood with cool new restaurants, but you can’t get there!” Spector echoes a sentiment I’ve heard from a number of people over the past couple of years— that Seattle has become too dense, too expensive (we jumped from being the sixth most expensive city in the U.S. last year to #3 this year) and that city leaders are moving too quickly in remaking a city with tech-fueled development. As of June 1, more than 450 large-scale development projects were in the works throughout Seattle. We’ve turned into a veritable construction camp, awash in orange cones. Even Microsoft’s Connector buses, carrying blue-badged workers, can barely get through. Emmett Watson has to be rolling in his grave; the longtime Seattle newspaper columnist promoted a “Lesser Seattle” movement with the motto “Keep the Bastards Out.” Gentrification has already transformed Ballard and Belltown into upscale playgrounds, complete with hot yoga studios and boutique gyms for workers who make more than $100,000 a year. It has become, with apologies to the Coen brothers, No City for Old Men. Councilmember Tim Burgess recently told me of the anger he’s witnessed from those who live in established neighborhoods whose zoning now includes room for multifamily dwellings. “They are squeezing out the middle class, and that is not healthy,” says Spector. “There is such a chasm that is growing between the haves and the have-nots. I don’t think we are looking at the ramifications of what progress entails.” Flashing a grin, he asks, “You know about the 20-year theory? It means whatever time you are in a particular place or city, someone will say, ‘You should’ve been here 20 years ago.’ ”

home $1.84 a day as an unskilled worker at the Bloedel-Donovan sawmill on the waterfront. “There was no talk of income inequality. We were all poor,” Van Dyk says during lunch at Skylark’s Hidden Café, a cozy, unpretentious eatery in Fairhaven. “Now we really have no industry here at all. Education is the core of the community. There are 30,000 students, teachers, and staff. Did you know 70 percent of the people of Bellingham hold library cards?” Van Dyk, who spent 35 years as a senior advisor to the likes of George McGovern, Teddy Kennedy, Jimmy Carter, Walter Mondale, and Gary Hart, is clearly proud of his hometown and glad as hell to be back. “You know, there were 375 in my class, the class of 1951, and half of them are still alive, and half of them still come to the reunions.” For the past few years in Seattle, he’d rented a condo in Belltown, but earlier this year, when he was informed he had to move out for two months at his own expense so the building on Elliott Avenue could be renovated, Van Dyk decided he’d had enough of the big city. “I got a place here, the same space and everything, and for one-third of the price. But I’ll tell you, life is so simple, so pleasant here. It took me 10 minutes to change my car registrations and address when I moved here a few weeks ago.” Like many other longtime Seattle residents, Van Dyk missed that “big town” feeling. The traffic jams are now as bad as those he encountered while living in Washington, D.C., New York, and Los Angeles, which is blamed in part on undertaking several simultaneous huge transportation projects. What most irks him, though, is Seattle’s political environment. “From [former Mayor Greg] Nickels onward, our mayors have rubber-stamped everything the developers want. I remember sometime back when [former Councilmember] Peter Steinbrueck told me, ‘What can we do? Vulcan has lobbyists all over City Hall every day,’ and I told him, ‘Why don’t you just say no?’ “Everything is comity,” Van Dyk continues. “We all need to get along. They all think alike on the Council. They think like mid-level bureaucrats. It’s like what Churchill once said of the Germans: ‘They are estimable in the individual and so deplorable in the collective.’ ” Van Dyk volunteers that he voted for socialist Kshama Sawant, but quickly adds, “but I wouldn’t want three of her on the Council.” Though his landlord problems might have been a tipping point that led him back to Bellingham, “I’ve been getting fed up with the city for some time.” He goes on. “Actually, the destruction of Yesler Terrace was the last straw. That low-income project has such significance locally and nationally and now they are going to put up another high-rise commercial project.” After lunch, Van Dyke takes a stroll down 11th Avenue and his mood brightens. “It’s so good to be back,” he says. “Bellingham has a real pull. The spirit of this place is pretty much the same way it has always been. It’s like a time warp. Yes, a lot of us are coming back.” E

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food&drink

Drivin’ and Dinin’

FoodNews

BY JASON PRICE

These five out-of-town spots offer excellent food paired with hiking, camping, spas, arcades, alpaca farms, and more.

Kedai Makan is about to take over the space formerly occupied by the lovely La Bete and the illconceived Spaghetti Western. Not far from the existing storefront on Olive Way, the space, scheduled to reopen mid-September, will give Kedai Makan the ability to seat people (one cheer!), serve booze (two cheers!) and expand the menu (three cheers!).

BY JACOB UITTI

here is nothing quite like the calminducing magic that a weekend trip out of town can provide (especially in the summer). But what makes for a good weekend excursion? For me, it’s exciting food (first!), exposure to nature, and a quirky, confident little town. Here are five idyllic locations in Washington worth leaving your Emerald City abode for in these warm summer months.

Members and non-members alike are invited to join the Slow Food folks in Ravenna Park Sunday, July 19 at noon for their annual picnic, to feature a honey tasting, a potluck meal, and a selection of local, artisanal sausages. Fred Berman of the Northwest Agriculture Business Center will talk about all things poultry and meat. Tickets can be purchased at brownpapertickets.com.

Anacortes

Where to eat On warm nights, Next Door

Bow

Where to eat Tweets Café always serves a

decadent menu with large portions, from thick home-style sandwiches to so-large-you-mightneed-a-takeout-box pizza. There’s no telling what the affable geniuses who work the kitchen might concoct on any given day, but what’s certain is that it’s all worth trying. Indeed, Tweets deserves all the hyperbole I can toss at it. 5800 Cains Ct., 360-820-9912, tweetscafe.com What to do The town of Bow is a cute oasis with a handful of shops, two saloons, and a couple of art and knickknack stores. Visit Taylor Shellfish’s Chuckanut Drive location on the water, sample a bit of cheese from the general store in town, or smell the warm aromas from the artisan bakery next door to Tweets. My favorite, though, is the 24-acre Chuckanut Alpaca Ranch & Gift Shop (5937 Chuckanut Drive). If the animals aren’t feeling shy, you can offer your hand to sniff before petting the tops of their Muppetlike heads, and bring home socks, yarn, or a hat made of their über-soft wool. Or if it’s a hike you’re looking for, Oyster Dome, a 6.5-mile round-tripper less than 12 miles from Bow, makes a fine lower-body workout.

Long Beach

Where to eat The Adrift Hotel has a wonderful view of the beach, where you can bike, stroll, play in the sand, or enjoy the Pacific Ocean waves, and a classy, first-rate restaurant, Pickled Fish, on its top floor. Try their bone marrow with cranberry mustard jam ($10), housemade buffalo wings with blue-cheese dip ($12), or any number of their fresh seafood dishes, from Dungeness crab (market price) to oysters and chips ($14). The intimately lit restaurant also offers six woodfired pizzas (fennel sausage, cranberry and apple, and more) and 13 cocktails, like the Employee’s Only Martinez with Bluewater organic gin and

absinthe bitters ($11). 409 Sid Snyder Dr., 360642-2311, adrifthotel.com What to do They say Long Beach is the “World’s Longest Beach,” and there’s plenty of outdoor fun to be had. But more important is the town’s arcade, the Funland Family Fun Center. Growing up in New Jersey, I learned to love the boardwalks and arcades of Wildwood and Cape May, and Long Beach has its own version: a 9,000-square-foot haven for air hockey, skee ball, pop-a-shot, pinball, and traditional joystick arcade games. Best of all, many games give you tickets to trade for useless, cheap, yet still somehow thrilling prizes!

morningfoodnews@seattleweekly.com

TheWeeklyDish

Savory Lebanese pastries at Cafe Munir. BY NICOLE SPRINKLE

Doe Bay

Where to eat The Doe Bay Café is everything you’d want from a beloved artisan eatery. In the center of paradise (otherwise known as the Doe Bay Resort) on Orcas Island, its food subsequently tastes like it came from the Garden of Eden. The names may not blow you away— buttermilk biscuits and gravy ($12), huevos rancheros ($14)—but you can taste the love in each bite. Atop their menu is a quote from John Gunther: “All happiness depends on a leisurely breakfast.” Maybe nowhere else is this more applicable. Bonus: Over the cafe’s speakers, you’re likely to hear bands like Pickwick, The Head and the Heart, and other Seattle indie groups who’ve been invited to play the annual Doe Bay music festival. 107 Doe Bay Rd., 360376-8059, doebay.com What to do The nearby Doe Bay resort (107 Doe Bay Rd.) has hiking trails, massages by appointment, regular yoga classes in a waterfront studio ($10 for drop-ins), and a spa with three outdoor hot tubs and a sauna. It’s truly meant to help you slow down, smell the fresh air, and forget about traffic lights and all the construction back in Seattle. E

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Longtime fans of Lebanese favorite Cafe Munir likely already know the virtues of their savory pastries— but for all you Seattle newbies, it’s worth a trip to this excellent restaurant in Loyal Heights (a sub-neighborhood of Ballard) to try, among many, the rikikat bil lahm. Filo dough is shaped into “cigars” (roughly the size of a cannoli), filled with lamb, Middle Eastern spices, and pine nuts, and dusted with powdered sugar. The first bite into the lamb can be disarming following the sweetness of the sugar, but your palate adjusts quickly as sweet and savory blend into something altogether exotic and delicious. Pair it with one of their housemade whiskey infusions—like the one with walnut. E

SEATTLE WEEKLY • JU LY 8 — 14, 2015

Gastropub opens its garage door-like windows and lets the air in. Try one of their three sliders as an appetizer ($3.50 each) from their “original,” with Painted Hills beef and caramelized onions, to their “veggie,” with a black-bean patty and Tillamook cheddar. Their fig-’n’-brie panini sandwich ($9) is a well-balanced entrée with some sweetness and stinky cheese flavor that’s satisfying and not heavy. The menu is very accommodating, with many mix and match options like their mac ’n’ cheese; you can pick add-ons like bacon crumbles or seasonal veggies. For the ravenous, try the tequila-braised short ribs ($17). 113 W. First St., 360-504-2613, next doorgastropub.com What to do It’s about a two-hour drive from the heart of Port Angeles to the Hoh Rain Forest visitor center, but it’s well worth it. When you arrive in the center of the lush forest, all your cares and city anxiety should drip away like water off a duck’s back. The Hoh’s campground is open all year, with 88 camping sites in the old-growth forest along the river. The main trail, 17.3 miles, leads you to Glacier Meadows at the edge of Mount Olympus.

The Doe Bay Cafe serves love in each bite—and a view.

On Tuesday, July 14 beginning at 2 p.m., Bastille Café and Bar will celebrate Bastille Day on the patio and terrace with glasses of house rosé for $5, kegs from Stoup Brewing, a snow-cone machine, an oyster bar on the terrace, and chef Jason Stoneburner roasting a whole pig. Brooklyn trio Pamplemousse will play French jazz from 5:30–8:30 p.m. on the patio; the back bar will present burlesque, featuring The Shanghai Pearl, at 9 p.m. Now that’s a party! E

NICOLE SPRINKLE

Port Angeles

COURTESY DOE BAY RESORT

Where to eat A’Town Bistro is a hidden gem, welcoming yet quietly cozy with eye-opening appetizers, entrées, and beer selections. Start with the rich gorgonzola polenta fries ($9) and segue into the creamy made-to-order clam chowder with clams in shell ($14) before trying their satisfying quinoa-and-chickpea burger ($16). A’Town also has 18 rotating beers on tap, from Tieton’s dark, tart cherry cider to Odin’s Gift Nordic Amber, which features a touch of malt and an oak-barrel finish. 418 Commercial Ave., 360-899-4001, atownbistro.com What to do Anacortes has a bustling ferry terminal with boats heading to a myriad of beautiful destinations. So after your walk down main street (read: Commercial Avenue) digesting your meal from A’Town, hop on a ferry to Friday Harbor or Lopez Island for the afternoon. Or if you want to spend more time on the water, head to Island Adventures (1801 Commercial Ave.) for a three-hour whale-watching trip (starting at $49 for an adult), where they guarantee a whale sighting.

nsprinkle@seattleweekly.com

food&drink» Gose Beers Are the Perfect Summer Style

t one point I figured I’d tried all of the major beer styles that existed. Sure, I thought, brewers might experiment with blending styles, so perhaps a chocolate lager or sour IPA might take me by surprise, but by and large I had a handle on what exactly beer could be. And then came goses, popping up at local BY ZACH GEBALLE breweries and tap rooms. I was mystified but also deeply curious about this style of beer that I’d never heard of, yet seemed to be all over town. As it turns out, the style originated in Germany, specifically the town of Goslar, hence the name. It’s hard to describe, being closer to farmhouse ales and sours than to commoner German offerings. A tart, citrusy sourness is one defining characteristic, but another is the addition of salt, either via the water used to brew the beer or as a post-fermentation addition. Coriander is the third key ingredient, and that combination of saltiness, tartness, and spice makes goses among the most foodfriendly beers on the market, and both breweries and consumers have taken note. Fremont Brewing is one such example. Known for experimenting with a wide range of techniques, the gose they currently offer is an excellent gateway into the style. The coriander comes through in a dark and exotic way, rather than in the brighter and more herbal notes found in some goses. Even more intriguing was the gose cider I recently tasted at Seattle Cider Co. In some ways, hard cider offers a better base flavor for salt and coriander than a sour beer does, as the slight fruit notes stand out more clearly than the citrusy sourness of a true gose. I imagine it’d be a perfect accompaniment to a delicious hot dog or grilled sausage, but the only challenge is that (as yet) Seattle Cider Co. sells it only at their new tasting room in SoDo. The biggest takeaway for me in tasting a number of different goses is that they just might be perfect summer beers. Texturally, they’re nice and light, making them delightfully drinkable even on these scorching summer days. Yet there’s far more going on with regards to flavor and complexity than in the standard lagers, pilsners, and summer ales that seem to dominate this time of year. It’s still very much a niche beer; production at both Fremont Brewing and Seattle Cider Co. is extremely limited. Yet in a beer scene that sometimes seems a bit devoid of creativity, it’s exciting to see local brewers modernize a rather obscure style. As a city at the cutting edge of beer, it’s what we should be doing, or brewing. E

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arts&culture

Cartoons and Stereotypes

ThisWeek’s PickList

Two great practitioners of Pop Art, Roger Shimomura and Chuck Jones, at TAM and EMP. BY BRIAN MILLER

WEDNESDAY, JULY 8

American vs. Disney

Wicked

It’s summer, not always the time for serious theatergoing (see the Intiman Theatre Festival, below, a notable exception). So why not bring back this popular Wizard of Oz-inspired musical, which proved so popular three years ago? Wicked was famously a Broadway smash in 2003, with the Tony-winning Idina Menzel and Kristin Chenoweth playing rival witch frenemies Elphaba and Glinda, respectively. The show has toured all over the world, won a Grammy Award, and is still running in New York, having cycled through countless witches. Here the two roles will be filled by Alyssa Fox (in green facepaint) and Carrie St. Louis. Joe Mantello directs the production, with lyrics by Stephen Schwartz and book by Winnie Holzman. For girls too small to have seen the show three years ago, but who’ve since gone gaga for Frozen, this will be an excellent way to introduce them to musical theater. (Through Aug. 2.) And a related side note for fall: Menzel will be touring through town in early November with If/Then, about a woman on the cusp of a midlife crisis, for which both she and creator Brian Yorkey—the Northwest native who made his bones at Issaquah’s Village Theatre—were Tony-nominated. The Paramount,

911 Pine St., 877-784-4849, stgpresents.org. $30 and up. 7:30 p.m. BRIAN MILLER

he kung-fu kicks Superman, Wonder Woman (who resembles his blonde Kansas wife), and even an image of Bruce Lee. Elsewhere he depicts himself as George Washington, Dick Tracy, and Mickey Mouse; or he pulls back his kimono to reveal a Superman costume beneath. He repeatedly places himself in winking turnabout scenes— mixing with sumo wrestlers or Chinese peasants in a Communist propaganda poster. He’s a puckish impostor, an irreverent knockoff, and his humor is part of his subversive triumph over stereotype. Jones, by contrast, almost always had humor as his goal. He created around 300 animated works during his long career, earning four Oscars, countless accolades, and institutional status. He’s privileged, as they say, by his whiteness and studio support, but there’s subversion here, too. It’s essential to remember that Bugs Bunny is a creature of the Great Depression, an under-rabbit. His wisecracking is always directed upward at those with power or pretension. He’s a leveler, a little guy whose wit is his only weapon. Jones started his career when newsreels and cartoon shorts preceded feature films in theaters. Baby boomers who grew up on televised Looney Tunes and Merrie Melodies cartoons sometimes forget how those laughs grew from the leaner prewar years, with an audience of adults and children. During the war itself, Bugs and com-

» CONTINUED ON PAGE 18

THURSDAY, JULY 9

Madcap Genius

This Preston Sturges retrospective appropriately begins with Christmas in July. In the 1940 comedy, Dick Powell plays a hapless yet avid slogan writer and perennial contest entrant who’s fooled into thinking he’s won $25,000 (a lot of money back then). Powell and his fiancée (Ellen Drew) then go on a buying spree, which must’ve been mighty attractive to viewers at the tail end of the Great Depression. (America entered the war three months after the film’s release.) Then, nat-

SEATTLE WEEKLY • JU LY 8 — 14, 2015

CHUCK JONES CENTER FOR CREATIVITY/© & ™ WARNER BROS.

nese heritage. If not always overtly racist, that category confusion from the white majority culture is a continuing source of frustration and amusement in Shimomura’s large, precise, colorful works. (This show includes 53 paintings and prints, most from the past decade.) A third-generation American, or sansei, Shimomura grew up with the comics and animation that Jones and company were creating on an industrial scale following the war. The all-American icons of Superman, Wonder Woman, and various Disney characters also informed his development through the Pop Art era, when they became subject to kitsch and appropriation. (He left Seattle for New York in the early ’60s.) Whether onscreen or in pulpy pages, whiteness always prevailed; those with a different skin tone or eye structure were treated for laughs or derision. This is why it became What’s Opera, Doc? necessary, a kind of ironic revenge, for Shimomura to repeatedly evoke the buck teeth, slant eyes, rice Shimomura, as they say, boldly owns the stecookers, kimonos, and other clichés—some taken reotype of being Japanese-American and, more generally, Asian in a nation that doesn’t always dis- from more serious Japanese artistic traditions— tinguish among those of Korean, Chinese, or Japa- and grapple with them. In one series of paintings,

PARAMOUNT

ast weekend’s Fourth of July celebrations elicited the usual patriotic displays of flag-waving and fireworks, but what if your government abruptly detained your Seattle family and shipped you off to a prison camp in the Idaho desert? Your feelings about nation and identity might then be complicated for life, since the cause for that injustice was looking like the Japanese enemy during World War II. That’s what happened to Roger Shimomura, age 3, when he and his family were trucked off to Minidoka. The future artist would later graduate from the UW, serve in the U.S. military, train at Syracuse, and teach at Kansas for three decades, but the painful stereotyping has informed his entire career—as we see in An American Knockoff, recently opened at Tacoma Art Museum. Born a generation prior in Spokane, raised in Southern California, the legendary animator Chuck Jones (1912–2002) worked on comical military training cartoons during the war. By then he was already an integral part of the Warner Bros. animation unit, where he remained until its 1962 closure. Bugs Bunny, Elmer Fudd, Daffy Duck, Pepé Le Pew, Wile E. Coyote, and the Road Runner are among the characters he originated or helped create—all of them über-American distillations of our basic appetites and drives. They’re cartoon caricatures, though they cause laughter—not pain. Newly opened at the EMP Museum, What’s Up, Doc? is a comparatively benign and amusing exhibit, irresistible for its nostalgia value, but it has a lot in common with the Shimomura show. Both these traveling exhibits are essential stops for museumgoers this summer. (American Knockoff, which originated last year at WSU’s Museum of Art, runs through September 13, after which many canvases will return to Greg Kucera Gallery. What’s Up continues through January 17.)

» CONTINUED ON PAGE 19 17

arts&culture» Cartoons and Stereotypes » FROM PAGE 17

PR OMO TIO NS

EVENTS

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

ARTS & ENTERTAINMENT NEWSLETTER Find out about upcoming performances, exhibitions, openings and special events.

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SEATTLE WEEKLY • JULY 8 — 14, 2015

Be inspired

t or

HALLIE FORD MUSEUM OF ART, WILLAMETTE UNIVERSITY

AR T S A N D E NTE R TAIN ME N T

Both Shimomura and Jones, though with

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pany became iconic—with a particular wise-guy idiom of disrespect toward those with totalitarian plans. (Also, Jones was part of an enterprise with a house style; Warner was always the scrappiest and most demotic of the major studios.) That’s not to say there’s much political component to the 23 cartoons here, augmented by 136 drawings, sketches, cels, music cue sheets, etc. What one sees is superb sly draftsmanship and stories with carefully crafted visual gags that can push against the plot. ( Jones was a populist, opposed to American in the same establishment that Disguise excluded Shimomura.) All the Wagnerian grandeur of What’s Opera, Doc? (1957) is continually undercut by Bugs’ carrot-chomping sass. The classic short is partly a shot at Disney-style schmaltz and seriousness, partly an assault on the Old World notions of a strict, inherited classical culture. Like Shimomura as Superman, Bugs is an imposter as Brünnhilde—simultaneously passing and transgressing in an assumed role, all the while laughing at the impertinent masquerade. What fools we are to believe in it. Yet here let me state my one main criticism of the Jones show: only six of 23 animations are shown in their entirety; the rest are excerpts—understandable for late features like The Phantom Tollbooth, but inexcusable for classics like Duck Dodgers in the 24th ½ Century or How the Grinch Stole Christmas. I was particularly frustrated by truncated versions of Jones’ rare political works: So Much for So Little, about the need for publichealth measures, and Hell-Bent for Election, commissioned by unions for FDR’s final campaign, in which a muscled laborer battles a top-hatted plutocrat. (Both are on YouTube.) EMP may be a tourist and family museum, but give adults something to watch, too.

Shimomura is always battling such reductionism, even though his brush tends toward bright-colored caricature. The postwar Pop style of punchy graphic clarity, of immediate wordless apprehensibility, depends on our instant recognition of logos, ads, movie stars, and pop iconography—however vulgar or racist it may be. It’s shorthand, but it’s also refined expression, a canny distillation with wide market reach. (Shimomura trained at the UW in commercial art, which Jones practiced his entire career.) Still, we know that that reductive “What are you?” American tendency has led to segregation, discrimination, and worse.

www.miyfs.org

different aims, flirt with essentialism. Jones and his studio collaborators pared down their jokes and characters to bedrock type: Elmer is slow and stupid. Daffy is scatterbrained and hotheaded. Bugs is clever and sarcastic. Wile E. Coyote is too self-satisfied and hungry to reconsider his elaborate plans. The Road Runner is simply fast, the embodiment of pure, blithe speed in the Southwestern landscape (background cels of which are simply stunning—but alas, no Jones merchandise is available in the gift shop; those revenues are reserved for Warner Bros.). Yet during the cultural upheaval of the ’60s and ’70s, Jones’ late-career work with Dr. Seuss and others does tend away from such stereotyping: The Grinch, after all, is capable of change and reform, unlike the fixed Warner pantheon. (For me, that’s why the Grinch remains a sellout to dull holiday piety; I prefer the irreverence of Jones’ early work, where nobody learns nuttin’ and the cycle of idiocy is endlessly repeated.)

We see that, of course, in the crisp graphic recollections of internment in Shimomura’s Minidoka-inspired works. Barbed wire, desert skies, and tarpaper are oppressive, yet there’s resistance—like the cheeky, everyday heroism of Bugs. Fake smiles, sock hops, and moments of frivolity color the bleakness, yet there’s none of the humor evident in the Knockoff paintings. The old showbiz axiom here comes to mind: Comedy is tragedy plus time. Perhaps Shimomura will speak about that distance in his two lectures this month (Town Hall: 7:30 p.m. Wed., July 15; TAM: 3 p.m. Sun., July 19). The bitterness of past injustice— and maybe some still lingering today—has been filtered through 70 years of pop culture. In our current era of virtual selves, screen avatars, and mixed-race families, it’s harder to say what’s fake, authentic, or “all-American.” We’re heading toward a majority minority America, after all, far different than that of Shimomura’s youth and Jones’ early influence. “The connotation of being Asian in this country has been so negative,” says Shimomura in the show’s catalog. Once, yes; but after five decades of art-making, he’s winning the battle against stereotype. In his 2010 American vs. Disney, Shimomura delivers a knockout blow to a jumbled gallery of familiar cartoon characters, stars swirling around their stunned noggins. Animation nerds will be quick to tell you that they’re not all from Disney (another shorthand for the white-bread majority culture); and there in the lower corner is a dazed-looking Bugs Bunny, unsure of his place in Shimomura’s America. Silly wabbit, you belong here, too. E

bmiller@seattleweekly.com

Celebration of world Cultures through the universal language of danCe

(HARLEM RENISSANCE, AFRO BRAZILIAN, CHINESE, INDIAN, TONGAN, SAMOAN, BREAKING, HIP HOP & CONTEMPORARY)

Pick List » FROM PAGE 17 urally, the truth comes out with disastrous consequences. Like all Sturges comedies, Christmas is fast, frenetic, and full of wordplay and wonderful supporting roles filled by William Demarest and others from the Sturges stock company. Following in the series, running Thursday nights through August 13, are The Lady Eve, Sullivan’s Travels, The Palm Beach Story, The Miracle of Morgan’s Creek, and Hail the Conquering Hero. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $42–$45 series, $8 individual. 7:30 p.m. BRIAN MILLER

SATURDAY, JULY 11

Now in its third season as a summer festival, Intiman begins its four-play schedule tonight with Tennessee Williams’ Orpheus Descending, which flopped on Broadway in 1957 but earned new esteem with Peter Hall’s 1989 London revival. That latter production starred Vanessa Redgrave as a married grocer named Lady, her husband dying, who’s romanced by a handsome, guitar-slinging young drifter named Val. (Williams actually modeled the role on Elvis!) Here the lead parts will be played by Kemiyondo Coutinho and Charlie Thurston, under the direction of Ryan Purcell. Seduction is the easy part of the play, while rescue from the underworld of a small-minded Southern town is another matter. Lady is a Sicilian-American despised by her bigoted townfolk, who beseech her to pray for her husband’s survival—the last thing she wants! And those hellish denizens will also work against the happy ending that we—along with Val and Lady—might like. As the latter puts it, “We’re all sentenced to solitary confinement for life.” Also in repertory is Lillian Hellman’s sturdy 1934 drama The Children’s Hour, no less tragic. New plays in the festival are the comedies John Baxter Is a Switch Hitter and Bootycandy. (Orpheus runs through Aug. 2. Festival runs through Sept. 27 at Cornish Playhouse.) 12th Avenue Arts, 1620

If you surveyed Seattle art directors—the folks who design magazines, newspapers, books, posters, and more—about who’s the most influential, iconoclastic member of their field, the unequivocal answer would be Chantry. However let me stipulate that most revere him from the pre-Internet days of designing The Rocket, creating band posters during the pre-grunge years (and through them), and practicing his trade by hand before computers took over. There’s a physical, tactile quality to all his work—the implied texture of spray paint, Kroy Tape, wheatpaste, safety pins, staples, and tattered paper. He’s a collage artist who takes his cues from comics, old illustrations, vintage ads, and posters for horror movies that never were. Before there was hip-hop, he was a visual sampler, borrowing and remixing images from disparate sources. Instead of Control-X, Control-V, he’s a scissors-andpaste guy who manipulates art and copy with his fingers. He considers the deeper influences upon own work in Art Chantry Speaks: A Heretic’s History of 20th Century Graphic Design (Feral House, $24.95). Famously opinionated, Chantry writes, “ ‘Design culture’ has become such a selfcongratulatory masturbatory fantasy embraced by the yuppie culture that they even sell ‘designer name brands’ in places like Walmart. It’s crazy. Design as a commodity has jumped the shark, drunk the Kool-Aid, bitten the big one. It sucks.” Today based in Tacoma, Chantry will have his work on view through August 6. Tonight’s talk coincides with the Georgetown Art Attack, with food, art, live music, shopping, and more—all lasting deep into the evening. Fantagraphics

12th Ave., 315-5838, intiman.org. $45 and up. 7:30 p.m. BRIAN MILLER

Martin Creed

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SEATTLE WEEKLY • JU LY 8 — 14, 2015

ARTCHANTRY.COM

Those who frequented the old Western Bridge gallery, like me, will recognize Work No. 360: Half the air in a given space, though it occupied a much smaller room back in 2010. The English conceptual artist Creed is calling our attention to volume by enclosing it here in 37,000 silver balloons, far more than five years ago. Back then at the cheerful opening reception, half of a small room meant the balloons were only waist-high (or thereabouts); now, in the Henry’s cavernous gallery, they’re way over your head. This is a huge half. Needless to say, there are certain restrictions on entry. Don’t wear anything spiky or sharp. Even then, expect some popping. And static electricity. And the overpowering smell of latex—like paint drying. If you drop your phone, you may never find it again. It’s a somewhat overwhelming, enveloping immersion in art, more tactile than your average museum show. (I can’t bear Chantry

MeloDy INSTITuTe

Art Gallery (UW campus), 543-2280, henryart. org. $6–$10. 11 a.m.–9 p.m. BRIAN MILLER

FRIDAY, JULY 10

Intiman Theatre Festival

July 10 & 11 @ 7:30 pm The Moore TheaTre

to use the word “interactive.”) Now here let me say that while I love No. 360, there’s no fucking way I’m going inside it. Waist-high was enough. Over your head makes it claustrophobic; and that squeaky, rubbery sound of thousands of balloons shifting and colliding gives me the creeps. (Is balloon-phobia in the DSM ?) Better for cowards like me to survey the undulating installation— almost like waves on the sea—from the mezzanine. Kids, on the other hand, will probably be delighted to play in it, like the bubble room at McDonald’s. (On view through Sept. 27.) Henry

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Theater OPENINGS & EVENTS

BAT BOY: THE MUSICAL YETI (Youth Experimental

Theatre Institute) presents the show inspired by the archetypal National Enquirer story. Ballard Underground, 2220 N.W. Market St., yetitheatre.org. $10–$13. 7 p.m. Fri., July 10, 2 & 7 p.m. Sat., July 11, 2 p.m. Sun., July 12. CATCH ME IF YOU CAN Village Theatre KIDSTAGE presents this musical about a serial impostor. First Stage Theatre, 120 Front St. N., Issaquah, 425-392-2202, village theatre.org. $16–$18. Opens July 11. 7:30 p.m. Wed.–Sat., 2 p.m. Sat.–Sun. Ends July 19. FEEL YOU UP! Satirizing self-help seminars via improv. Market Theater, 1428 Post Alley, unexpectedproductions. org. $5–$15. Opens July 10. 8:30 p.m. Fri.–Sat. Ends Aug. 15. GODSPELL Stephen (Wicked) Schwartz’s musical is reset in Pike Place Market. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. Previews July 8–9, opens July 10. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Aug. 15. GREASE is the word. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. Previews begin July 9, opens July 16. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Aug. 2. GREENSTAGE The Two Noble Kinsmen and Much Ado About Nothing in area parks, plus a stripped-down Macbeth and The Two Gentlemen of Verona in smaller venues. Opens July 10; runs Thurs.–Sun.; see greenstage. org for complete venue & schedule info. Ends Aug. 15. THE HOSTAGE A reading of Brendan Behan’s play about a British soldier held by the IRA. ACT, 700 Union St., endangeredspeciesproject.org. $10–$15. 7 p.m. Mon., July 13. THE HOUSE AT POOH CORNER Youth Theatre Northwest takes you to the Hundred-Acre Wood. Rotary Park, 4350 88th Ave. S.E., Mercer Island, 232-4145 x109, youththeatre.org. $13–$17. Opens July 10. 11 a.m. Thurs., 7 p.m. Fri.–Sat., 1 p.m. Sun. Ends July 26. INTIMAN FESTIVAL SEE THE PICK LIST, PAGE 19. A MIDSUMMER NIGHT’S DREAM Teens! Faeries! A love potion! Bloedel Reserve, 7571 N.E. Dolphin Dr., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $20–$25. Preview July 8, opens July 9. 7 p.m. Thurs.– Sun. Ends July 26. PEANUTTY GOODNESS Scott Warrender is workshopping his new musical, but he’ll need the audience’s help, Mad-Libs-style, with a few details. Theater Schmeater, 2125 Third Ave., 800-838-3006, brownpapertickets.com. $20. Opens July 9. 8 p.m. Thurs.–Sat. & Mon. Ends July 27. SEATTLE OUTDOOR THEATER FESTIVAL 14/48, Jet City, and others do it al fresco. Volunteer Park, 1247 15th Ave. E. Donation. Noon–9 p.m. Sat., July 11, 11 a.m.–9 p.m. Sun., July 12. See greenstage.org for schedule. SEATTLE PLAY SERIES Readings of 10 new short works set on, and probably bemoaning, the changes to Capitol Hill. Knights of Columbus Colonial Room, 722 E. Union St. Pay what you can. 7:30 p.m. Mon., July 13–Tues., July 14.

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Pirandello’s 1921 meta-theater classic. Erickson Theatre, 1524 Harvard Ave., seattletheatreworks.org. $25. Opens July 10. 7:30 p.m. Fri.–Sat. plus 7:30 p.m. July 13 & 23 and 2 p.m. Sun., July 19. Ends July 25. SMITTY & MILES Improv and sketches from Matt Smith and Pattie Miles. West of Lenin, 203 N. 36th St., 352-1777, westoflenin.com. $10–$15. 8 p.m. Fri., July 10–Sat., July 11. TRAVELING WITH ANGELS J. René Peña’s solo memoir/ play. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $15–$20. 8 p.m. Thurs., July 9–Fri., July 10. THE TWO-CHARACTER PLAY Sibling actors are forced to perform in front of a hostile audience in Tennessee William’s meta-play. New City Theater, 1404 Eighth Ave., civicrep.org. $20–$30. Previews July 8–9, opens July 10. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Aug. 1. WICKED SEE THE PICK LIST, PAGE 17. WIZZER PIZZER: GETTING OVER THE RAINBOW! Amy Wheeler’s comedy about hijinks at a gay reparative-therapy clinic. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, theatre22.org. $14–$25. Preview July 9, opens July 10. 8 p.m. Thurs.–Sat. plus 2 p.m. Sun., July 19 & 26 and 8 p.m. Tues., July 21. Ends Aug. 1. WOODEN O/SHAKESPEARE IN THE PARK Free productions of As You Like It and Henry IV, Part 1 in area parks. Opens July 9; runs Wed.–Sun.; see seattleshakespeare. org for complete venue & schedule info. Ends Aug. 9.

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SEATTLE WEEKLY • JULY 8 — 14, 2015

SIX CHARACTERS IN SEARCH OF AN AUTHOR

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• TEATRO ZINZANNI A show for the Jem generation,

“The Return of Chaos” is glitzy, campy, and very chaotic: To a soundtrack of mid-’80s glam anthems (“Invincible,” “Holding Out for a Hero”), a clutch of Seattle superheroes battle villains in thrall to a robot-puppet-dog. The cirque acts framed by this nutball premise are as exhilarating as ever. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Sept. 13.

» stage, literary & visual arts Dance

Author Events

Openings & Events

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ALLAN AMENT Learning to Float is his memoir of his car-

ART BY ARCHITECTS Eight local practictioners unleash

YELLOW FISH EPIC DURATIONAL PERFORMANCE FESTIVAL A chance to slow down

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

our heady pace and consider just one thing for as long as it takes to look. Producer Alice Gosti sets very few rules: Work should last at least an hour but less than two days. Audience members are free to come and go as they wish; beyond that, it’s all up in the air. Artists include Paul Budraitis, Jody Kuehner, and many others. SANDRA KURTZ Hedreen Gallery, 901 12th Ave. Runs July 8–Aug. 5; see facebook.com/yellowfishfestival for schedule. DANCING WITH THE STARS: LIVE! See your favorites from the ABC competition show. McCaw Hall, Seattle Center, 800-745-3000, mccawhall.com. $36.50–$76.50. 8 p.m. Thurs., July 9. DANCE THIS! Every summer Seattle Theater Group brings together local student dancers from all kinds of styles and genres and mixes them in the studio: Hiphop kids learn the czardas, swing dancers practice Cambodian court ballet, and they all rock along with bhangra. SK The Moore, 932 Second Ave., 877-STG-4TIX, stgpresents.org. $18. 7:30 p.m. Fri., July 10–Sat., July 11.

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Classical, Etc.

MUSIC FESTIVAL Recitals at 7 • SEATTLE CHAMBER July 8 Recital: Two Beethoven sona-

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Apolitical Portraits Political upheaval always gets reduced to visual cliché. Thus the ’60s amounted to love beads, hippies, and peace signs. The Reaganite ’80s became yellow ties and brick-size cellphones. Today, over in the MidBY BRIAN MILLER dle East, it’s ISIS beheadings, Hamas banners, and suicide vests. French photographer Scarlett Coten was determined to expand that view of young Arab men of the apolitical and even hedonistic persuasion. On the streets of Tunisia, Egypt, and the West Bank, she acted like a talent scout for a modeling agency—identifying hipsters with a certain look, then posing them for formal portraits. Her impressive first U.S. show, Mectoub, in the Shadows of the Arab Spring, puns on the Arabic maktoub (roughly, “It is written”) and the French mec (dude or guy). Indeed, her subjects in these 30-odd

THEFUSSYEYE

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photos appear to be entirely secular, the sort of guys who might be pulling your espresso or pouring your craft beer on Capitol Hill or in Williamsburg. These bros are totally chill, with tats and hairstyles—but no jihadi beards—that mark them as outlaws, sybarites, or champion video gamers. There’s a languorous quality of repose to Coten’s crew; these are guys who sleep through prayer sessions at the mosque, if they go at all. Unemployment may also account for the idle vibe: If there aren’t any jobs available, at least you can cultivate a defiant personal style. (The same is certainly true here in our depressed inner cities.) Coten is also reversing the usual street dynamic of men staring at women; against backdrops often dingy and decayed, she grants these mecs a wary kind of beauty. We’re not used to seeing them this way, nor are they accustomed to being given such a respectful aesthetic treatment. Mariane Ibrahim Gallery, 1203 Second Ave., 467-4927, marianeibrahim.com. Free. 11 a.m.–5 p.m. Tues.–Sat. Ends July 25.

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their innner Picassos. Opening reception, 5-7 p.m. Fri., July 10. AIA Seattle, 1911 First Ave., 448-4938, aiaseattle.org. Hours vary. Ends Aug. 13. CAPITOL HILL ART WALK View new photos from Josh Martin at Allstate, paintings from Ashley Shumaker at Ghost Gallery, the group show Form Follows Dysfunction at True Love, and Vermillion’s pairing of Roya Falahi and Wendy Red Star. See capitolhillartwalk.com for info. 6-9 p.m. Thurs., July 9. COLLECT ART TOUR This guided bus tour includes champagne and snacks. After socializing at Vermillion, stops will include Lucid Longe, SAM Rental Gallery, and PCNW. Vermillon, 1508 11th Ave., collectseattle. com. $25. Departs 5:45 p.m. Thurs., July 9. KATRINA DEL MAR The photographer shows large, bold color portraits in Feral Women. Artist reception, talk, and screening: 6 p.m. Sat., July 11. Twilight Gallery, 4306 S.W. Alaska St., 933-2444, twilightart. net. 11 a.m.-7 p.m. Mon.-Fri. Noon-6 p.m. Sat. Ends July 25. GEORGETOWN ART ATTACK Besides food, music, and booze, look for Allen Gladfelter’s Casino Nation at All City Coffee, We Will Show You Fear in a Handful of Dust (something to do with drone warfare) at Mainframe, children’s book illustrations at Krab Jab, and a log cabin created by Brian Beck and Daniel Mount at studio e. Downtown Georgetown, georgetownartattack.com. 6-9 p.m. Sat., July 11.

shows watercolors in Bardo State. Opening reception, 7-9 p.m. Fri., July 10. Form/Space Atelier, 98 Clay St., formspaceatelier.com. Hours vary. Ends Oct. 2. HEAVEN AND EARTH COCA’s annual nature walk/ art show usually gets vandalized, so plan your trip early. This year’s theme is “Propagation,” engaged by a dozen artists including Shin Yu Pai, Tori Karpenko, Josh Poehlein, Michelle de la Vega, Sam Trout, and Ulrich Pakker. Artist reception and tour: 2-5 p.m. Sat., July 11. Carkeek Park, 950 N.W. Carkeek Park Rd., heavenandearth.org. 6 a.m.-10 p.m. daily. Ends Oct. 15. PILCHUCK OPEN HOUSE Meet the artists, watch demos, enjoy food and music. Pilchuck Glass School, 1201 316th St. N.W. (Stanwood). $20 and up. See pilchuck.com for tickets (required) and directions. Noon-5 p.m. Sun., July 12. SUMMER GROUP EXHIBITION Member artists share new work. Opens Thurs., July 9. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Aug. 1. ELIZA WEBER She presents new ceramics in Good Morning. Opening reception, 6-8 p.m. Fri., July 10. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.com, 11 a.m.-5 p.m., Tues.-Fri. Ends July 31.

SEATTLE WEEKLY • JU LY 8 — 14, 2015

p.m., concerts at 8. tas. Concert: More Beethoven, plus the 1954 Piano Trio by Leon Kirchner. July 10 Recital: Beethoven’s Piano Sonata no. 28. Concert: More Beethoven, plus a Shostakovich piano trio. July 13 Recital: Virtuoso pieces by Sarasate and Stravinsky. Concert: Mahler’s Songs of a Wayfarer, plus Franck and Tchaikovsky. July 15 Recital: Mozart and Janacek for violin and piano. Concert: Songs by Janacek and Respighi. Benaroya Recital Hall, Third Ave. & Union St., 283-8808, seattlechambermusic.org. Single tickets $48. THE MET: LIVE IN HD SUMMER ENCORES On July 8, Natalie Dessay in Verdi’s La traviata from 2012; July 15, Dessay again with Juan Diego Flórez in Donizetti’s La fille du régiment from 2008. See fathomevents.com for participating theaters. 7 p.m. SEATTLE SYMPHONY A screening of March of the Penguins, with the music played live. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $35 and up. 7:30 p.m. Wed., July 8. AUBURN SYMPHONY CHAMBER MUSIC The first of three summer concerts includes music by Dvorak and Grieg. Mary Olson Farm, 28728 Green River Rd., Auburn, auburnsymphony.org. $10–$18. 7 p.m. Thurs., July 9. SEATTLE COMPOSERS SALON A new-music open-mic night, with works by Keith Eisenbrey, Kam Morrill, Nadya Kadrevis, and S. Eric Scribner. Chapel Performance Space, 4649 Sunnyside Ave. N., composer salon.com. $5–$15. 8 p.m. Fri., July 10. ICICLE CREEK CHAMBER MUSIC FESTIVAL July 10 Beethoven, Barber, and Fauré. July 11 Beethoven, Rachmaninoff, Dvorak. Icicle Creek Center for the Arts, 7409 Icicle Rd., Leavenworth, 877-265-6026, icicle.org. $10–$20. 7 p.m. Fri.–Sat. Ends July 18. SEATTLE SYMPHONY Music from the game Final Fantasy. Benaroya Hall, Third Ave. & Union St., 215-4747, seattle symphony.org. 8 p.m. Fri., July 10–Sat., July 11. SEATTLE GILBERT AND SULLIVAN SOCIETY Their annual production, The Pirates of Penzance, probably won’t generate the same racial controversy that The Mikado did last summer. Probably. Seattle Rep, Seattle Center, 800-838-3006, pattersong.org. $16–$40. Opens July 10. 7:30 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends July 25. SEATTLE OPERA A preview of the upcoming season includes bits from Nabucco and The Marriage of Figaro; a performance by Sound Wave, the Sounders’ pep band; and other activities. McCaw Hall, Seattle Center, seattle opera.org. Free. Noon–3 p.m. Sat., July 11. OLYMPIC MUSIC FESTIVAL Chamber music each Sat. & Sun. at 2 p.m. through Sept. 13. This weekend, flute works, plus a quartet arrangement of a Mozart piano concerto. 7360 Center Rd., Quilcene, Wash., 360-732-4800, olympic musicfestival.org. Single tickets $20–$32. VESPERTINE OPERA A workshop production of Sarah Mattox’s opera Heart Mountain, with a libretto drawn from the memoirs of Kara Kondo, about the latter’s family, interned from the Yakima Valley to Wyoming during WWII. theLAB@INScape, 815 Seattle Blvd. S., vespertineopera. com. $25. 7:30 p.m. Fri., July 10–Sat., July 11. ALEKSANDER IZBITSER Piano and vocal works by Russian expatriates—Rachmaninoff, Prokofiev, and Vertinsky. Seattle Central Library, 1000 Fourth Ave., spl.org. Free. 2 p.m. Sun., July 12.

rer as a criminal defense attorney. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks. com. 7 p.m. Wed., July 8. REBECCA MAKKAI Her first book of stories is Music for Wartime. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., July 8. RUSS CRANDALL & JENNY CASTANEDA New cookbooks from these paleo-diet advocates. Third Place, 7 p.m. Thurs., July 9. RON ELLISON Illusions of Permanence is his new poetry collection. Ravenna Third Place, 6504 20th Ave. N.E., 366-3333, thirdplacebooks.com. 7 p.m. Thurs., July 9. MICHAEL FERTIK Helpful advice in The Reputation Economy: How to Optimize Your Digital Footprint in a World Where Reputation Is Your Most Valuable Asset. Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. Thurs., July 9. SONYA LEA presents her marriage memoir, Wondering Who You Are. Richard Hugo House, 1634 11th Ave., 3227030, hugohouse.org. Free. 7 p.m. Thurs., July 9. BAQIR SHAMEEM His novel The Slender Trail tells of the travails of running a business in Saudi Arabia. Parkplace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m. Thurs., July 9. MARK VANHOENACKER talks about Skyfaring: A Journey With a Pilot. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington. edu, 7 p.m. Thurs., July 9. TARA AUSTEN WEAVER Gardening as metaphor underlies her memoir Orchard House. University Bookstore, 7 p.m. Thurs., July 9. DON WINSLOW signs The Cartel (“the War and Peace of dope war books,” says James Ellroy). Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery. com, noon; Elliott Bay, 7 p.m. Thurs., July 9. POLLY DUGAN A bachelor becomes responsible for his dead best friend’s family in The Sweetheart Deal. University Bookstore, 7 p.m. Fri., July 10. JESSE GOOLSBY I’d Walk With My Friends if I Could Find Them tells of three American soldiers haunted by their time in Afghanistan. Third Place, 6:30 p.m. Fri., July 10. ROBIN MCLEAN & DEVIN BECKER The former reads from her story collection, Reptile House; the latter, poetry from Shame|Shame. Elliott Bay, 7 p.m. Fri., July 10. YASMINE GALENORN Shimmer, a dragon shifter, is an investigator for a vampire-run company in Flight From Death. Seattle Mystery Bookshop, 10 a.m. Sat., July 11. MIKE LAWSON Tough-as-nails bodyguard Joe DeMarco returns in the North-Dakota-set House Rivals. Seattle Mystery Bookshop. Noon, Sat., July 11. ELIZABETH MURPHY Building Soil: A Down-to-EarthApproach will make your garden grow. University Book Store. 7 p.m. Mon., July 13. JAMES NEFF Two powerful men clash in Vendetta: Bobby Kennedy Versus Jimmy Hoffa. Elliott Bay, 7 p.m. Mon., July 13. HOW TECHNOLOGY IMPACTS CIVIL LIBERTIES A panel discussion with former Amazon privacy lawyer and author Nuala O’Connor, Mark Ryland, Ryan Calo, and Jenny Durkan. Town Hall. $5. 7:30 p.m. Tues., July 14. JEFF KOEHLER Read all about the magic brew from the heights of the Himalayas in Darjeeling: The Colorful History and Precarious Fate of the World’s Greatest Tea. Book Larder, 4252 Fremont Ave. N., 397-4271, book larder.com. 6:30 p.m. Tues., July 14. STEVE SIEBERSON The Naked Mountaineer recaps his journeys to Japan, Borneo, and beyond. Third Place, 7 p.m. Tues., July 14. CONNIE WILLIS This science-fiction writer will read and sign The Best of Connie Willis. University Book Store. 7 p.m. Tues., July 14. LIDIA YUKNAVITCH In her novel The Small Backs of Children, a writer becomes obsessed with a photo. Elliott Bay, 7 p.m. Tues., July 14. DEBRENA JACKSON GANDY is committed to helping men and women improve their marriages in The Love Lies. University Book Store. 7 p.m. Wed., July 15. DAVID NEIWERT’s latest explores Of Orcas and Men: What Killer Whales Can Teach Us. Third Place, 7 p.m. Wed., July 15. ROGER SHIMOMURA The artist in conversation with Gage Academy’s Gary Faigin. (See feature, page 17.) Town Hall. $5. 7:30 p.m. Wed., July 15. SCOTT DODSON Everyone’s favorite jaboted justice gets examined in The Legacy of Ruth Bader Ginsburg. Elliott Bay Book Co. 7 p.m. Fri., July 17.

LENA HAWKINS The Seattle-born artist, based in NYC,

arts&culture» film friends. Her father and husband speak with infuriating, selfish denial. Besides the pleasure of performance clips (onstage and in the studio), Amy is a marvel of direct sourcing. How did Kapadia collect so many private photos and cell-phone videos? Druggy home movies and selfies that Winehouse, a Jew, took toward the end make her look like a concentration-camp victim. It’s all so unbearably sad. This doc reminds me of the recent feature Heaven Knows What, only in reverse: Arielle Holmes was a homeless young addict who turned her life around by means of art, writing a memoir then starring in her stoic life story. Heaven Knows What depends partly on the offscreen subtext of a happy ending. With the even more grueling Amy, in which art leads to disaster, there’s no such consolation. The movie’s inevitable outcome leaves you with an air of lingering shame—like the stench of burnt computer wiring. You can be angry at Winehouse’s direct enablers, but her story is a damning indictment of an entire cruel mediascape that barely existed when Kurt Cobain took his life at the dawn of the Internet era. His was an intentional act, though abetted by drugs, while Winehouse’s demise falls into the category of preventable accidents. Not easily preventable, of course. We couldn’t have saved her, but neither did we help by clicking on all those damn links. BRIAN MILLER

PAmy OPENS FRI., JULY 10 AT SUNDANCE, PACIFIC PLACE, THORNTON PLACE, AND LINCOLN SQUARE. RATED R. 128 MINUTES.

Winehouse seemed happiest onstage.

It’s a loaded, prophetic statement, but that’s Kapadia’s method: to tile old photos and rearrange old footage into a multifaceted new portrait of someone we thought we knew, but didn’t. (His 2011 Senna, about the late Brazilian racecar driver Ayrton Senna, uses the same techniques.) There’s no omniscient narrator or script, but instead a chorus of voices and opinions from those who knew Winehouse: managers, fellow musicians (including Mos Def, Mark Ronson, and Tony Bennett), a sympathetic bodyguard (“She needed someone to say ‘No’ ”), and old

Felt RUNS FRI., JULY 10–THURS., JULY 16 AT GRAND ILLUSION. NOT RATED. 80 MINUTES.

JEFF KRAVITZ/A24 FILMS/GETTY IMAGES

SEATTLE WEEKLY • JULY 8 — 14, 2015

Not many documentaries make us feel both horrified and culpable. The Sorrow and the Pity? Not our fault; that was the Nazis’ doing. Joshua Oppenheimer’s two excellent films on the Indonesian genocide, The Act of Killing and The Look of Silence, likewise leave us unindicted. The fine Cartel Land (opening next week) puts us on a queasy moral line: Yes, we use illegal drugs, but we abhor the violence they cause in Mexico. Then there’s the brutal, harrowing Amy, one of the year’s best films, which makes us cringe at its clickbait horror. Maybe we didn’t chase singer Amy Winehouse (1983–2011) down Camden streets with the paparazzi mob, maybe we didn’t introduce her to crack and heroin, but most of us surely clicked a few times on the lurid headlines about her spectacular fall into bulimia, booze, and drugs. Crucially, Asif Kapadia’s Amy—an archival montage augmented with new interviews— shows us Winehouse’s rise, too. The film is unexpectedly cheerful as we meet a jazz-besotted teen fingering complex chords on her guitar and writing preternaturally sophisticated lyrics. (Her 2003 debut, Frank, contains the polished results, Shirley Bassey tremor in her voice.) She’s sassy, smart, and shyer than you expect—still a naïve teenager, soon to ink a recording contract. Someone asks her what signing with Island Records might mean. She’ll be able to get her own flat and smoke weed all day, she blithely replies. Of fame, she says, “I don’t think I’d be able to handle it.”

Someone brings out a doll of Adolf Hitler in embryonic form, complete with hair and mustache. You know this is a film of very serious ideas, because it’s unclear whether this is intended as comic relief or meant to be taken straight. The doll is a work of art created by Amy (Amy Everson), the enigmatic character at the center of Felt. We encounter this listless young woman in dribs and drabs of plot, with particular emphasis on her unhappy encounters with men who like rape jokes and her habit of dressing up in masculine costumes while skulking around the woods. She’s a San Francisco artist who creates with felt, including grotesque depictions of genitals. (Embryo Hitler is made of felt, too.) The life of the party, she ain’t. Felt is a more-or-less experimental indie that feels a little like watching Blue Velvet from the zonked point of view of the Isabella Rossellini character. Director Jason Banker (who co-wrote the untidy screenplay with Everson) succeeds at capturing Amy’s unbalanced world, as the film’s hazy, destabilized camera style conjures the interior experience of someone seriously adrift. If only there was something—anything—interesting about Amy’s interior, we might have something here. When Amy finally meets Kenny (Kentucker Audley), a docile, sympathetic young man, it looks as though things might turn around a little. The lack of chemistry between the two characters creates dead space, although it would be weird if they did have chemistry—that would mean Kenny was on Amy’s faltering, incoherent wavelength. Audley, an indie filmmaker himself, plays the role so neutrally he could be thinking about another movie entirely. The violent climax will surprise nobody, given the imagery already on display. And although the last 10 minutes explain why the film is being touted as a feminist horror film, I think we can wonder whether Felt might be as much about

ROBERT HORTON

Self/less OPENS FRI., JULY 10 AT MERIDIAN, OAK TREE, AND OTHERS. RATED PG-13. 117 MINUTES.

Body-swapping movies are usually comedies, like Freaky Friday, 18 Again!, or The ChangeUp. Self/less is instead a sci-fi thriller, though it hardly considers the ethics of transplanting consciousness from one vessel to another. With

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some very old kinds of male anxiety regarding women as it is about female psychology. All of which sounds pretty harsh, but I’d give the movie more of a break if it weren’t for the improvised dialogue that grinds down scene after scene. Those scenes don’t look like a portrait of a debased culture; they look like actors searching for something insightful or funny to say. By contrast, Embryo Hitler is a well-formed idea.

ment, influenced by John Frankenheimer’s 1966 Seconds. Honestly, I would’ve enjoyed it more if it were a worse movie. And there’s just a bit of (unintended) political bite: All this mind/body confusion could’ve been avoided, Damian discovers, had there been universal health care. What’s missing on Damian’s journey are the necessary humorous jolts and absurdities that come with recovered-identity quests (think of Memento or Total Recall ). Suddenly he’s got the hand-to-hand fighting skills of Jason Bourne, but none of the “I know krav maga?” bewilderment. Damian is, for a while, a man with two brains (Ted Williams meets Dorian Gray), yet that division isn’t fully explored. Nor is the Ayn Randian notion that super-capitalists might be able to buy their way to immortality, harvesting donors from the poor flyover states. Death and taxes are for the little people. BRIAN MILLER

Weaving’s cop consoles Kidman’s Catherine.

a gruff, vaguely Bronxian accent, Ben Kingsley plays a dying real-estate baron named Damian Hale. A trusted associate tells him about a company called Phoenix (hmmmm) that might be able to help. After some dull family and scientific preliminaries, Damian wakes up in the body of Ryan Reynolds—a good place to be. Rebooted in New Orleans, Damian 2.0 is young, handsome, and rich (the wills and trusts lawyers have evidently done their job), hitting the nightclubs, playing basketball, and having the best sex of his life. (What happened to his New Yawk accent and street smarts? Never mind.) Life is sweet until he misses taking one of his pills, which causes hazy visions of a far different life in rural Missouri. From there, Self/less is best understood as a detective story, with Damian trying to medically balance amnesia and hallucinations—if that’s what they are—while investigating his new abode’s prior history. First that means escaping Dr. Albright (Matthew Goode) and his henchman, who take a very strict approach to patient care. Pills soon give way to pistols. As Damian wrestles his conscience and ponders What Came Before, I found myself missing Kingsley, who’s gone after 15 minutes. That’s not a rap against Reynolds, who—despite his physique—is better at comedy than the routine action being offered here. Both he and Kingsley are more at home in clever scripts that don’t rely so much on car chases, explosions, and shootouts. But Spanish screenwriters David and Alex Pastor are simple genre guys, and director Tarsem Singh (The Cell ) is a pure image-maker. Thus, Self/less is adequate B-movie summer entertain-

Strangerland OPENS FRI., JULY 10 AT SUNDANCE CINEMAS. RATED R. 111 MINUTES.

How many years does it take to leave one’s wild sexual youth behind? That’s the dilemma for Catherine (Nicole Kidman) as she watches that wildness replayed by her 15-year-old daughter Lily (Maddison Brown). The Parker family, haunted by a past scandal, has moved to the remote outback, where Matthew ( Joseph Fiennes) is now the town pharmacist—a cold, irate man obsessed with respectability. Son Tommy, about 10, is an insomniac who goes wandering at night. And one night Lily follows him for reasons never explained. (Matthew watches them depart, but says nothing.) The next day brings an enveloping red dust storm, like an angry eclipse, and the two kids are gone. There’s a long Australian movie tradition in which the hostile environment overwhelms and sometimes obliterates the outcast Europeans who don’t belong there (Picnic at Hanging Rock, etc.). Colonial guilt is part of it, even if the country was originally a penal colony. There’s a sense of delayed punishment: The great-great-granddescendants from Dickens’ time are being made to suffer anew, like a curse. It’s bad enough the frantic Parkers have to share their secrets with the sympathetic town cop (Hugo Weaving); it’s worse that his investigation airs Lily’s slutty linen for all to see. Like her mother before her, Lily is a fast girl. “What did we do wrong?” Catherine wails. “She didn’t get it from me,” Matthew spits back. (Apothecary, take a chill pill!) An enigma to her self-obsessed parents, Lily is represented by hazy desert visions and ripe

“This strange, quiet film takes social narratives about romance and gender and upends them, often seeming like one thing until it’s another.”

Testament of Youth OPENS FRI., JULY 10 AT GUILD 45TH, MERIDIAN, AND LINCOLN SQUARE. RATED PG-13. 129 MINUTES.

Vikander is bound for better roles.

perform credibly, but without excitement. If good actors can rise above mediocre material and make it memorable, it’s just as true that they can be erased by a middling project. This movie isn’t doing anybody any favors. ROBERT HORTON

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The Tribe RUNS FRI., JULY 10–THURS., JULY 16 AT NORTHWEST FILM FORUM. NOT RATED. 130 MINUTES.

The hooligan thugs of A Clockwork Orange had their own new language, courtesy of author Anthony Burgess. The delinquent gang members of The Tribe don’t call each other droogs, but they too have a distinct kind of communication. But we can’t hear a word of it. The dialogue in this Ukrainian film is cast entirely in sign language—and not subtitled, in Ukrainian or English. It’s essentially a silent film, its soundtrack made of incidental noise and the occasional violent gasp. The setting is a boarding school for the deaf outside Kiev, where newcomer Sergey (Grigoriy Fesenko) is welcomed with a mugging, a beating, and eventual enlistment in the teen gang that runs the place. (Grown-up authority is almost never seen.) Some of the boys act as pimps for their female classmates, cruising through a nearby truckstop for customers. At some point, Sergey falls for one of the girls, Anya (Yana Novikova), and of course wants to rescue her. Writer/director Miroslav Slaboshpitsky has rightly wagered that the relative simplicity of the story and the forceful presence of the actors would make the action comprehensible. The old screenwriting wisdom about being able to follow a story with the sound turned off has rarely been more vividly demonstrated, and after a while you will almost certainly forget that you’re watching a movie in Ukrainian sign language. Partly this is because Slaboshpitsky has emphasized the brutal violence and blunt sex, and partly because the actors are so expressive. It’s an arresting stunt. I did find myself wondering whether The Tribe would be as intriguing without the silent-movie treatment. The echoes of Clockwork Orange and Lord of the Flies are blatant (a scene of Sergey being abused with near-drowning is a steal from the Kubrick film, but probably these students have watched that). The film wallows in 21st-century misery in a familiar way; a sequence involving a painful medical procedure— which unfolds in a long, unbroken, excruciating shot—is a litmus test for how much of the world’s horrors an audience can endure. And by concentrating on the puppy love Sergey feels for Anya, Slaboshpitsky narrows the focus of this otherwise fascinatingly unusual world. Of course, movies aren’t just themes or plots. As a whole experience, The Tribe is definitely unusual—and I suspect will prove haunting in the memory. ROBERT HORTON E

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So dull, so respectable, so full of nice touches and pretty things: Testament of Youth seems like just the kind of film the real Vera Brittain would have no patience for. Produced in a well-mannered and fully costumed way by BBC Films, this is an adaptation of Brittain’s celebrated 1933 memoir. We follow Vera (Alicia Vikander), a feisty and brainy young woman, as she rebels against her family’s ideas of pre-suffrage femininity and enrolls at Oxford, hoping to become a writer. Her education coincides with the beginning of World War I; her brother Edward (Taron Egerton), her beau Roland (Kit Harington), and two close friends ship off to the front. Vera suspends her study to serve as a nurse near the trenches. Aside from being lucky/unlucky enough to be young during a significant historical moment, Brittain must have been a remarkable person. That impression comes across in Testament of Youth, but it doesn’t come to life. Longtime TV director James Kent keeps it smooth and thoughtful, which doesn’t suit the tumultuous era. There are scenes of sadness and shell-shock (when Roland comes home on leave he treats Vera as a stranger, or an enemy), and the hospital sequences suggest the horror of war. But the tasteful treatment and plodding writing only enhance the suspicion that a committee has somewhere approved this approach for general audiences. The cast includes pros like Emily Watson and Dominic West as Vera’s parents and Miranda Richardson as an Oxford instructor who seems to have wandered in from Hogwarts. The younger actors have a Next Generation aura; Harington is a player in the ongoing Game of Thrones carnage, and Egerton snagged the youthful lead in Kingsman: The Secret Service. As for Vikander—is there a Swedish word for “It Girl”? Since playing parts in Anna Karenina and A Royal Affair, she’s plunged into big-time Hollywood projects such as The Man From U.N.C.L.E. and Ex Machina, to say nothing of carrying this film while coolly executing an impeccable British accent. All three

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voiceover passages from her diary. She and her frustrated mother feel like characters escaped from a Tennessee Williams play; their stifled harlotry drives men mad, and both fling themselves at most every guy in town. (One of them, a pathetic braindamaged Aboriginal, is the Boo Radley of the piece.) In this way, though suspenseful and well-acted, Strangerland is a muddled too-many-cooks movie, with too many ingredients in the overheated pot. The marital-meltdown material tends toward the histrionic (this may reflect Kidman’s desperation for a meaty mid-career role), while the quieter policeprocedural half better fits the sparse geography. Weaving’s Sgt. Rae simply goes about his work, protecting certain townsfolk, and demurring Catherine’s sloppy kisses. Why do people disappear? Rae can’t say. The greater mystery is why they get married in the first place. BRIAN MILLER

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time-travel comedy about two genial teenage ninnies struck an extended Reagan-era chord. Their sheer cluelessness, and affability, made them like chips off the old Gipper. Keanu Reeves and Alex Winter may be dumb American teens, but they’re dumb American teens willing to learn a bit about history (just enough to graduate high school and preserve their band, Wyld Stallyns). Meeting Lincoln and Socrates, among other historical figures, may not make them wise. But at least they cheerfully embrace the idea of wisdom, instead of sneering at it. The late George Carlin plays Bill and Ted’s grizzled mentor. (PG) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com. $7-$9. 7 p.m. Fri.-Wed. plus 3 p.m. Sun. CZECH THAT FILM FESTIVAL Seven recent titles from the Czech Republic are screened. See siff.net for full schedule. (NR) SIFF Film Center (Seattle Center), 324-9996. $7-$12. Ends Sun., July 12. FREMONT OUTDOOR MOVIES In the surprise 2003 Christmas hit Elf, directed by Jon Favreau, Will Ferrell embraces the cutesy confection of its plot. As Santa Claus doles out presents at an orphanage, a wee human crawls into his sack of toys, winds up at the North Pole, and is subsequently raised as an elf. Eight zillion sight gags constitute the first act, in which a giant-sized Ferrell bangs his head into low ceilings, squats on miniature crappers, and botches even the most remedial toy-making duties. Ferrell finally discovers he’s the bastard son of James Caan, now a distant, terse Manhattan publishing-house exec. Innocent, syrup-swilling Ferrell then goes to big, bad NYC, meets Zooey Deschanel, and hilarity often ensues. (PG) ANDREW BONAZELLI 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com. $5-$10. Movie at dusk. Fridays (generally) through Aug. 29 GIRLS OF SUMMER This five-film retrospective begins with Mikio Naruse’s 1960 When a Woman Ascends the Stairs. Thirty-ish widowed barmaid Keiko (Hideko Takamine) spends most of the film worrying about money: how much to spend on beauty spas, perfume, and kimonos to impress and keep her most loyal clients (who pay for booze, not sex); whether to start her own bar, or jump to another saloon in Tokyo’s Ginza district; how to support her old mother, ne’er-do-well brother, and polio-afflicted nephew when her manager (secretly in love with her) is so tardy collecting her customers’ payments. “In our business,” says Keiko, “you have to treat every man as a lover. You can’t just love one man.” Yet some of her clients do love her; and marriage would rescue her from the financial grind. Or prostitution, as she mulls in voiceover. Following in the series are Buñuel’s Belle de Jour, Cassavetes’ Shadows, the 1966 Czech film Daisies, and Godard’s My Life to Live. (NR) B.R.M. Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $10.25. 7:30 p.m. Tuesdays through Aug. 11. THE GREAT INVISIBLE In her 2014 documentary, Margaret Brown examines the Deepwater Horizon oil spill—and most important, its aftermath. Brown does due diligence in reminding us of the devastating 2010 explosion at the offshore oil rig, which killed 11 workers and caused extensive damage to the Gulf of Mexico. Her real subject is how things are going four years after the incident. Besides the environmental damage, Brown focuses on specific individuals, including workers from the oil rig whose injuries—including post-traumatic stress—are still left unresolved. (NR) ROBERT HORTON Keystone Church, 5019 Keystone Pl. N., 632-6021. Free. 7 p.m. Fri. (See meaningfulmovies.org for other screenings around town.) GREY GARDENS A portrait of Edith Bouvier Beale (“Big Edie”) and her daughter (“Little Edie”), this 1976 documentary by cinema vérité pioneers Albert and David Maysles has spawned a sequel, an HBO movie, and a Broadway musical. The Maysles went behind the walls of the Beales’ crumbling, sprawling East Hampton mansion, the Grey Gardens of the title; hardly fly-on-the-wall observers, they’re constantly drawn into the bickering of the two Edies, shifting their technique accordingly. The brothers catch glimpses of the sound recording equipment, observe each other briefly passing before the camera, and even linger on their reflections in the mirror. They’ve become part of the Beales’ lives in a strange way; and as the film goes on, they’re privy to intimate confessions and unrestrained accusations as the two women rehash past mistakes and missed chances, their recriminatory banter becoming more stinging and angry. Grey Gardens has been criticized for exploiting the women, but wow, is it fascinating. (NR) SEAN AXMAKER SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996. $7-$12. Runs Fri-.Thurs. See siff.net for showtimes.

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PR O M O

• MADCAP GENIUS This Preston Sturges retrospecThe

tive continues with 1941’s shipboard screwball Lady Eve, in which Henry Fonda plays the rich rube and Barbara Stanwyck the vixen who sets out to hustle him. Naturally she’s a gold digger with a heart of gold, which she reveals in her second incarnation as an English swell (whom Fonda somehow doesn’t recognize). My favorite line of hers: “I need him like the axe needs the turkey.” (NR) B.R.M. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $42–$45 series, $8 individual. 7:30 p.m. Thursdays through Aug. 13. Office, • MOONLIGHT CINEMA Before the BBC’s TheOffice or NBC’s version with Steve Carell, there was Space, Mike Judge’s 1999 exposé of Initech, a generic edge-city software company rooted in his own preBeavis and Butt-Head cubicle days. Ron Livingston, David Herman, and Ajay Naidu play the trio of malcontents who gradually decide to revolt against their corporate overlords (led by Gary Cole in all his suspendered glory). Jennifer Aniston hints at a better career path not taken as Livingston’s crush at the degrading local TGIF-style franchise eatery, Chotchkie’s, where she’s required to wear multiple pieces of flair. The film is endlessly quotable and resonant for those of us who endure the daily inanity of office life. (Every time I tussle with the printer, I hear Samir’s complaint—“Why does it say paper jam when there is no paper jam?”) Even if the exact nature and origin of those dreaded “TPS reports” is never explained, we’ve all had to file them. (R) B.R.M. Redhook Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com. $5. 21 and over. Movie at dusk. Thursdays through Aug. 27. and best of • MOVIES AT MAGNUSON The firstBack to the Future Michael J. Fox’s star-making trilogy, (1985) has one of the more preposterous plotlines in movie history: Huey Lewis-listening ’80s dude Marty McFly (shown to be a badass for hitching rides on trucks while on his skateboard) has a buddy who’s inventing a time machine. Shit goes haywire and Marty finds himself stuck in 1955, fending off advances from his future mother (Lea Thompson) while coaching his future father (Crispin Glover, not looking a day older or younger than today) to assert his masculinity. The memorable performances kind of make you forget all of that, though, incredibly. (PG) A.B. 7400 Sand Point Way N.E., moviesatmagnuson.com. $5. Activities begin at 7 p.m., movie at dusk. Thursdays through Aug. 27. MOVIES AT MARYMOOR Sean Astin joined fellow child actors including Corey Feldman in the 1985 fantasyadventure flick The Goonies, hatched by the powerful cartel of Steven Spielberg and Chris Columbus (though directed by Richard Donner). (PG) 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com. $5. Seating at 7 p.m., movie at dusk. Wednesdays through Aug. 26 ONLY GOD FORGIVES Danish writer/director Nicolas Winding Refn has some obsessive ideas about masculinity and mommy resentment to work through here. Their rendering is dreamy and hypnotic, set in the nighttime boxing clubs and karaoke bars of Bangkok, but more often they’re just plain silly. Ryan Gosling stars in this pointless debacle of a film, enlivened only by the presence of Kristin Scott Thomas, playing his berserk and perverse mother. With her broad vowels and garish makeup, she’s a Medea straight from the Mall of America. Local band Cock & Swan will perform a live score, which may help. (NR) B.R.M. Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $12-$15. 8 p.m. Thurs. A STORY OF FLOATING WEEDS Aono Jikken Ensemble performs a live score for Ozu’s 1934 silent movie, augmented with bilingual Benshi narration. (NR) SIFF Cinema Uptown, $10-$15. 7 p.m. Sat. TANGO & CASH Sylvester Stallone and Kurt Russell star in this lunkhead cop movie from 1989. It’s a “Hecklevision” presentation, so your texts appear onscreen. (R) Central Cinema, $9-$11. 8 p.m. Thurs. WE ARE STILL HERE In this recent horror flick, grieving New England parents are terrorized by the ancient spirits residing in their newly purchased home. And you thought termites were bad. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12. Midnight, Fri. & Sat. • ZOOLANDER Ben Stiller’s 2001 comedy follows the titular male supermodel turned political assassin. Dimwitted Derek (Stiller) and his peyote-munching sidekick, Hansel (Owen Wilson), actually achieve the unthinkable—admittedly, Zoolander’s forte—as they battle the nefarious forces of Mugler/Gaultier knock-off Mugatu (Will Ferrell): They elicit consistent laughs. (A sequel is planned for next year.) This is a quotealong screening. (PG-13) KURT B. REIGHLEY Central Cinema, $7-$9. 9:30 p.m. Fri.-Wed.

AR T S AND E NT E R TAI NM

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Deadline:

SEATTLE WEEKLY • JU LY 8 — 14, 2015

is a brainy nerd from a poor section of L.A. who’s possessed of a profound love for high flattop haircuts, acid-washed jeans, BMX bikes, Air Jordans, and A Tribe Called Quest. At the same time, he’s very much a creature of the iPhone present, conversant in Bitcoin and Silk Road. He’s savvy enough to recognize an opportunity when a bag of MDMA drops into his hands. So which path is more promising—the thug life or the Ivy League? Written and directed by Rick Famuyiwa, Dope starts with the irresistible, cheerful energy of its central trio: earnest Malcolm, wry Diggy (Kiersey Clemons), and irrepressible Jib (Tony Revolori, from The Grand Budapest Hotel ). Dope works best in chasecomedy mode, as our heroes blunder from one hazard to the next, constantly switching codes among different classes and milieus. I’m not sure Dope offers anything more than a good time, but it offers a very good time. (R) B.R.M. SIFF Cinema Uptown, Ark Lodge, others I’LL SEE YOU IN MY DREAMS Long-widowed Carol (Blythe Danner), once a singer, is now comfortably retired. Her bridge buddies (June Squibb, Rhea Perlman, Mary Kay Place) have moved to a retirement community, while Carol lives alone in her big empty house—terrorized by a rat and befriending the pool cleaner (Martin Starr). “There’s supposed to be something more,” she frets of the third act we all inevitably face. Carol’s gentle reawakening comes in the form of confident silver fox Bill (Sam Elliott, who else?), and I would be pleased to report that the very companionable Dreams has nothing more than post-menopausal romance on its mind. The senior matinee crowd—and this critic—would be content with a sunset marriage, yet screenwriters Marc Basch and Brett Haley (who directs) are determined to add a jolt of realism to the proceedings. (PG-13) B.R.M. Seven Gables, Kirkland, Lynwood (Bainbridge), others INSIDE OUT Pixar has updated the mapping of our minds with a colorful palette, using the very latest technology and even consulting neuroscientists. The fanciful animated result is a combo of Oz-style quest and bright-hued PET scan. Orbs containing the memories of 11-year-old girl Riley careen down ramps and tubes like a pachinko machine devised by Rube Goldberg for the digital age. They’re deployed by five rival/ collaborative emotions who run the central control board within Riley’s cartoon cranium. An only child, she moves with her parents from hockey-loving suburban Minnesota to San Francisco, whereupon chaos soon ensues. Inside Out’s squabbling characters of Joy (voiced by chipper Amy Poehler), Sadness, Fear, Anger (Lewis Black), and Disgust are like film directors vying for control of a runaway project called Riley. For parents, Inside Out will be an occasion to talk with their kids about sadness—or Sadness, the blue-haired party-pooper who seems to ruin every memory orb she touches. (PG) B.R.M. Majestic Bay, Kirkland, Varsity, Admiral, Kirkland, Bainbridge, Ark Lodge, Pacific Place, Thornton Place, others JURASSIC WORLD With cruise ships dumping off thousands of tourists weekly, with a shopping mall (Starbucks included) at the center of dinosaur theme park, InGen scientists and executives need a profitable new 2.0. “More teeth” is the mandate, yielding a recombinant dino dubbed Indominus rex, made of secret DNA parts from disparate beasts. After 30 minutes of setup, director Colin Trevorrow (Safety Not Guaranteed) speeds through the sticky Spielbergian moments of family bonding. The rhythm is simply chase, devour, repeat. Jurassic World’s storytelling DNA is old-school, never clever. Two bland brothers of 16 and 11 are forever in danger, much to the consternation of their workaholic aunt Claire (Bryce Dallas Howard), who runs the theme park. Her romantic foil is the hunky dinosaur whisperer Owen (Chris Pratt). Yet despite the dim writing and stock characters, this reboot is a satisfying blockbuster. (PG-13) B.R.M. Cinerama, Kirkland, Bainbridge, Admiral, Lincoln Square, Pacific Science Center IMAX, Sundance, Majestic Bay, Cinebarre, others LOVE & MERCY During discreet periods in the ’60s and ’80s, the Beach Boys’ Brian Wilson is portrayed as a young visionary (Paul Dano) and a fragile, terrified older man (John Cusack). Yet somehow Bill Pohlad’s biopic manages to capture a lot of history in those few years. Dano radiates a state of near-bliss as Wilson creates Pet Sounds. Cusack doesn’t look much like Dano, but he has the same expression of sincerity and openness, trapped in the frail mind of an infantilized adult. Paul Giamatti’s sleazy, abusive shrink makes this Wilson a kind of psychological prisoner. But, thankfully, the film does have a kind of heroine: Melinda Ledbetter (Elizabeth Banks), who helps rescue the older Wilson

from Dr. Landy and his many meds. Generous sampling from the Beach Boys catalogue indicates full cooperation from the Wilson family, and the film does have a certain inevitable march to redemption. (R) S.A. Sundance, Kirkland, others MAGIC MIKE XXL Even in mediocre movies, too often his specialty, Channing Tatum is near-impossible to resist. Steven Soderbergh scored an unlikely hit comedy with 2012’s Magic Mike, inspired partly by Tatum’s youthful experiences as a male stripper. This film isn’t as good, but it has plenty of goodwill. Basically, Mike and his four well-endowed musketeers head from Florida to a stripper convention in South Carolina. (En route, Andie MacDowell shows up as a foxy, rich Savannah divorcee; and here’s a spry, sassy Jada Pinkett Smith as the proprietress of a black ladies’ entertainment club.) Though this leads, inevitably, to a big strip-off, the fun lies in the grace notes that make MMXXL just a little slyer than it needs to be. The movie repeatedly reassures us that customers are enjoying the lap dances and crotch-in-face titillation, and the movie’s casting emphatically features plus-sized women. (R) B.R.M. Sundance, Kirkland, Bainbridge, Meridian, Big Picture, Lincoln Square, others ME AND EARL AND THE DYING GIRL Said dying girl is Rachel (Olivia Cooke), a Pittsburgh classmate— but not friend—of high school senior Greg (Thomas Mann), a movie obsessive who wants nothing more to be the next Wes Anderson. Greg and Earl (RJ Cyler) are a misfit duo of filmmaking buddies in a chaotic, teeming public school full of bullies and jocks, cliques and castes. Director Alfonso Gomez-Rejon helmed several episodes of Glee, and it’s fair to assume that he and screenwriter/source novelist Jesse Andrews still have all the indignities of high school seared into their brains. The movie’s first half is an utterly delightful spin on the usual mopey YA themes. However, in this unusual two-act structure, following a major misdirection ploy, there must be leukemia, Greg’s growing attachment to Rachel, prom, and finally a collegeadmissions crisis that the film doesn’t really need. (PG13) B.R.M. SIFF Cinema Uptown, Guild 45th, others THE OVERNIGHT Written and directed by Patrick Brice, this is a creepy, raise-the-stakes comedy about a new friendship gone awry between two L.A. couples. The film is a one-night romance between one married pair (Adam Scott and Taylor Schilling) and the other (Jason Schwartzman and Judith Godrèche) after their young sons bond at the playground. A joint family pizza dinner leads to booze, pot, skinny-dipping, and the progressive baring of souls. I won’t say all of it works, but this awk-com amusingly explores the consequences of that dangerous phrase, “I want to loosen up.” (R) B.R.M. SIFF Cinema Uptown THE THIRD MAN Orson Welles stars in Carol Reed’s wonderfully atmospheric 1949 adaptation of the Graham Greene novel, newly restored in 4K digital. Some people say that Welles exerted his influence on the picture over director Reed, but that’s unfair to the British pro. His use of skewed camera angles, Vienna’s labyrinthine sewers (shot on location), and a great zither score (by Anton Karas) makes Welles’ Harry Lime only one part of a dark canvas of corruption. Joseph Cotten plays the innocent Yank who can’t believe his old pal is involved in underworld drugdealing and murder. When the two of them meet in the famous Ferris wheel scene, his eyes are opened. Comparing the revelers below to ants, Lime asks, “Would you really feel any pity if one of those dots stopped moving forever? If I offered you 20,000 pounds for every dot that stopped, would you really, old man, tell me to keep my money?” (NR) B.R.M. Sundance WHEN MARNIE WAS THERE This story of childhood friendship, adapted from a book by Joan G. Robinson, is developed in the typically thoughtful style of Studio Ghibli, the storied Japanese animation house. Anna has been sent to the seaside by her frustrated adoptive mother, who suspects a change of scenery would benefit the shy girl. Anna stays with a kindly older couple, but her imagination is captured by the moody house across a tidal flat, where ethereal blonde Marnie offers friendship. Marnie has missing pages from a diary, hidden inscriptions on the backs of paintings, and a mysterious old silo where you shouldn’t go. Those hooks are just solid enough to carry the plot through its sometimes gauzy progress. At times I lost the thread as I was sorting out what was past and present and what was real and imaginary. And parents take note that Marnie is a rather sad story that may occasion tiny tears. (NR) R.H. SIFF Cinema Egyptian

arts&culture» music

EAGLES OF DEATH METAL

9/2

Dionysian Precision Steal Shit Do Drugs play hard, but work harder. BY KELTON SEARS

8PM

JURASSIC 5 THE PSYCHEDELIC FURS SHOWBOX AND KEXP PRESENT

+ THE CHURCH

8PM

KMFDM with CHANT + BLACK DECEMBER

7/18

9/3

9PM

D’ANGELO and the VANGUARD

8/10 – ON SALE FRIDAY AT 10AM

OLD 97’S

DAWES with BLAKE MILLS

8:30 PM

SALIM NOURALLAH

8:30 PM

THE EDGES OF TWILIGHT TOUR

SHOWBOX AND TRACTOR TAVERN PRESENT

8/16

with

9/13 8PM

8:30 PM

10/1

THE TEA PARTY

8:30 PM

SHOWBOX SODO

DANZIG with PENNYWISE + CANCER BATS

7/28

8:30 PM

WILDHEART TOUR

8/23

MIGUEL with DOROTHY

8PM

SEATTLE WEEKLY • JULY 8 — 14, 2015

QUEEN OF THE CLOUDS TOUR

TOVE LO with ERIK HASSLE

10/7

8PM

SHOWBOX AND KNITTING FACTORY PRESENT

TECH N9NE

10/18

with KRIZZ KALIKO

SHOWBOXPRESENTS.COM

8PM

KELTON SEARS

7/10

he first time I saw SSDD, frontman Kennedy Carda (formerly of Monogamy Party) stuck the microphone down his throat, climbed the back wall, and began to beat his chest like King Kong. Sweating through his collared shirt and emitting muffled screams, his face started to turn beet-red as guitarist Kimberly Morrison (Universe People, The Dutchess and the Duke) and bassist Erika Mayfield (Le Cancer) plucked out searing Dead Moon-style riffs in front of him. “What we do onstage for 30 minutes is a Dionysian performance,” Carda tells me calmly. He is wearing a straw sun hat and sipping a pink drink, surrounded by his bandmates who are, appropriately, all drinking glasses of rosé. “Those ancient wine ceremonies weren’t superfun all the time,” he continues. “People were puking on each other. But it’s necessary to do that on a Friday night sometimes.” SSDD walks an interesting line. The band’s name, an ominous acronym for Steal Shit Do Drugs, might suggest it’s one of the legions of hedonistic punk bands who started shredding simply in pursuit of free drink tickets. But as Mayfield will tell you, that couldn’t be further from the truth. The band, only a year old, practices all the time, constantly workshops songs with one another, and industriously reaches out to local bookers to score high-profile shows, like a recent opening Neumos slot for blistering Danish punk stars Iceage. “You can play in a band and party and have nothing to show for that,” she says. “We like to party—we are maniacs, but we are maniacs because of this, because we have something to present, something to say. We work really fucking hard at it. We’re diligent, and we do our homework.” But the group is called Steal Shit Do Drugs, and they aren’t afraid to own that too. The band’s sneering debut, First Comes Money, out July 15 on Help Yourself Records, was recorded in a bank vault under a Bank of America in SoDo,

adding to the illegal-heist vibes. “You close the door and it goes ‘kachink,’ ” Mayfield says. Lyrically, the songs also speak to feelings of being locked in—stuck at burnt-out parties wondering why you haven’t left yet. Standout track “Braindead,” Pussy Galore-inspired, details a lurid night on the town in a less-than-flattering light. “Feel like getting wasted, so much celebration, so much degradation,” Carda moans as a shambling bass line stumbles behind him. “Getting fucked up in the beginning is a celebration,” Carda explains. “But by the end, it’s like, ‘What am I doing? It’s 2:30 in the morning.’ ” On the menacing, Stooges-styled “Silence,” that desire for alone time bites back. “Wanted silence for so long, but I’m a diva and I never trip the light alone/All the sudden I’m in a room and I don’t know what I’m going to do,” Carda seethes. He can’t stay out, but he can’t stay in either. That tension between intentional, focused energy and discordant debauchery is what makes SSDD a captivating group both on record and in person—like that college friend who perplexingly managed to black out five nights a week and still make straight A’s. It’s fitting that Jean Genet, the French writer who vaunted “evil” characters, reframing their sordid acts in a positive, moral light, is a chief influence on the band. “In a sense, we’re very nihilistic,” says drummer Pete Capponi (Coconut Coolouts, formerly of The Intelligence). “It’s like, yeah, steal shit, do drugs, because this world is fucked. That’s something I think we all believe in to a certain degree . . . but we also all take care of each other and we all want to be as ambitious as we can with this project because we all really believe in it.” E

ksears@seattleweekly.com

SSDD ALBUM RELEASE Spin Cycle, 321 Broadway Ave. E., 971-0267. Free. All ages. 9 p.m. Wed., July 15.

SEATTLE WEEKLY • JU LY 8 — 14, 2015

arts&culture» music

Beats From the Beyond

Diogenes’ Death & Acid makes dial-up modems and Turkish porn sound dreamy.

SOFIA LEE

BY DANIEL ROTH

Where every day is a music fest!

Complete service, musical results, happy customers. 2121-1st Ave. / 206-283-8863 / connon@tunehifi.com

El Corazon E orazon www.elcorazonseattle.com

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

WEDNESDAY JULY 8TH FUNHOUSE

BOAT RACE WEEKEND w/Oranges

KALI RA w/Dionvox, Heart Avail,

7:30. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

7:30PM / Show 8:30.21+. $8 ADV / $10 DOS

From The President, Hidden History, Wild English, Squares, Boom Boom Kid Doors 7:00PM / Show

THURSDAY JULY 9TH FUNHOUSE ”THE PROJECTIONS TOUR” WITH

SUNDAY JULY 12TH FUNHOUSE

DOG PARTY

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

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

FRIDAY JULY 10TH EL CORAZON

SEATTLE WEEKLY • JULY 8 — 14, 2015

Wreckless Freeks, Plus Guests

JESSE LAWSON (EX-SLEEPING WITH SIRENS)

ANA, AJ Caso, Ars Amor, ChuKy Charles, Ryan Bisson

SUNDAY JULY 12TH EL CORAZON

SUPER GEEK LEAGUE w/Jonny Sonic, Wreckless Freeks Circus Sideshow

Doors at 7:30PM / Show at 8:30 ALL AGES/BAR W/ID. $15 ADV / $20 DOS

SATURDAY JULY 11TH EL CORAZON

w/Pets, Boyfriends, Hardly Boys

MONDAY JULY 13TH EL CORAZON

HAWTHORNE HEIGHTS

w/Sleepwave, Extinction A.D., The Home Team, A Taste Of Daylight Doors 7:00PM / Show 7:30.

ALL AGES/BAR W/ID. $12 ADV / $14 DOS

TUESDAY JULY 14TH FUNHOUSE

DESIGNER DISGUISE

THE HARMLESS DOVES

ALL AGES/BAR W/ID. $10 ADV / $12 DOS

Doors 8:00PM / Show 9:00. 21+. $6 ADV / $8 DOS

w/Friends Like Enemies, Stronger Than Yesterday, Islvnd, Stolen Society Doors at 7:00PM / Show at 7:30

SATURDAY JULY 11TH FUNHOUSE

C-AVERAGE

w/Grindylow, Skullbot, E.C.H.O.

Doors 8:00PM / Show 9:00. 21+. $8

w/Ronnda Cadle, Plus Guests

WEDNESDAY JULY 15TH FUNHOUSE KGRG 89.9 FM & EL CORAZON PRESENT:

THE ADOLESCENTS

w/The Weirdos, Moral Crux, Die Nasty

Doors at 7:00PM / Show at 8:00. ALL AGES/BAR W/ID. $17 ADV / $20 DOS

JUST ANNOUNCED 9/25 - MARTY FRIEDMAN 11/2 - PARKWAY DRIVE UP & COMING 7/15 FUNHOUSE - DOUBLECLICKS 7/16 - CHROME 7/16 FUNHOUSE MOBILE DEATHCAMP 7/17 - THE ATARIS / VENDETTA RED 7/17 FUNHOUSE - MILLHOUS 7/18 - VOXMIRAGE 7/18 FUNHOUSE - THE PHENOMENAUTS 7/19 FUNHOUSE - WORDS FROM AZTECS 7/21 - YOUNG DUBLINERS 7/21 FUNHOUSE - GROWWING PAINS 7/22 - FOREVER CAME CALLING 7/22 FUNHOUSE - HOUR 24 7/23 FUNHOUSE - NITROGEN LION SOCIETY 7/24 - VALADARES 7/24 FUNHOUSE - CHARLIE OVERBEY & THE BROKEN ARROWS 7/25 - STILL LITTLE FINGERS 7/25 FUNHOUSE - PUNK ROCK CIRCUS FEAT. THE BLOODCLOTS 7/26 - THE CASUALTIES / DAYGLO ABORTIONS THE FUNHOUSE BAR IS OPEN FROM 3:00PM TO 2:00AM DAILY AND HAPPY HOUR IS FROM 3:00PM UNTIL 6:00PM. 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: details at www.elcorazon.com/vip.html for an application email info@elcorazonseattle.com

had a dream once that I was dead and it’s kind of stuck with me. It was a very positive dream,” says Seattle producer Dax Edword, aka Diogenes, of the inspiration behind the title of his brand-new beat tape Death & Acid. “Dead. No taxes, no bills, no body, no time, just thought and existence. It was perfect. As far as acid is concerned, I’ve had a few very spiritual moments in the wilderness on LSD, so that kinda burned a place in my memory as well. Most of my music has a sort of detached, dreamy feel to it, maybe cause I’m a Pisces . . . I dunno. Felt right to name it that.” Death & Acid (out now digitally and on cassette at diogenesisdead.bandcamp.com) is certainly an appropriate title for the loose collection of 22 short, hazy instrumental hip-hop tracks. Diogenes is akin to beat-making superstars J Dilla and Madlib—a producer who largely forgoes the rapper/producer dynamic to focus on instrumental hip-hop that can stand on its own. Diogenes’ work sits outside of the realm of traditional hip-hop, however, pushing deep into abstraction (as his death dream-inspiration might suggest). Edword’s left-field taste in source material serves as Death & Acid’s greatest strength. The samples employed run the gamut from basic (twinkling piano, chopped-up rap vocals) to bizarre (audio from an instructional VHS tape on cybersex). “I sample records, tapes, [sounds] with my field recorder, Netflix, YouTube (don’t hate), and whatever else I can find,” he says. “I love old foreign music. The language barrier makes vocals more of an instrument than when you’re trying to sample something you understand. Turkish softcore porn, ’90s infomercials, smooth jazz from Japan [also known as “Hojo”], and busted-up cassettes . . . ” Cassettes lie at the spiritual core of Diogenes’ beats. When he’s not making music, Edword

runs HISSSSSS, a monthly DJ/vendor night at Vermillion for cassette enthusiasts. Fittingly, Death & Acid rattles with distinct remnants of audio technology’s lo-fi past. Static crackles, distant whines, and gurgling hums serve as a constant underlying texture. One track, jokingly titled “literalfiller,” is structured around the iconic, screeching machine melodies of ’90s-era dial-up modems. Somewhat vexingly, the wide range of outdated media referenced and employed gives this collection of songs a timeless feel. The only time the disembodied beats on Death & Acid feel somewhat grounded is on one of the two tracks that include vocals: “round the way,” featuring Renton duo Imprints waxing poetic over a wistful, melancholic blaxploitation-flick bass line. The tune acts as a brief dip below the clouds before rising again, eventually completely dissipating into the ether on the airy, penultimate track “into the sunset.” Album-closer “end void” feels like a coda, waking up to a few precious, fuzzy memories of the dream you just had. Diogenes’ beat-making led him to create Filthy Fingers United, a collective that encompasses more than 50 beat-makers across the country. He says he formed FFU with a group called Black Magic Noize in Everett “out of a necessity to get minds together, grow, take over our current scattered and unknown music scene, and shed a little light in the caverns of Seattle’s vibrant underground hip-hop scene.” Death & Acid is certainly cavernous, and more than merits the attention FFU is hoping to bring to the city. E

music@seattleweekly.com

DIOGENES AT THE JAM With Specs Wizard, Madman, Able Fader, Spekulation, and more. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. Free. 21 and up. 9 p.m. Fri., July 10.

Once in a Red Moon A rare noise music night’s lunar, feminine energy is emerging once more. BY MEAGAN ANGUS

løødy Wednesday is a dark, experimental multimedia series featuring heavy local musicians, visual artists, and installations. Curated by Ambrosia Bartośekulva, the event occurs only on each new moon falling on a Wednesday. Bartośekulva is herself a multigenre artist—a member of influential noise three-piece Stalebirth and a solo performer under the name WRTCH. We asked Bartośekulva a few questions about the next iteration of her sanguine series: SW: OK, so why “Bloody Wednesday”?

Bartośekulva: I was booking the first show [in April], so I typed the date into Google, and the first thing that popped up was this conspiracy theory named “Bloody Wednesday” about the stock market crashing and burning on that day. I started thinking about that cataclysm-and-rebirth cycle, and once I had that name it was obvious where I wanted to go with it. I was seeing periodblood art, I was on my period, the show was on a new moon, many of the performers were on their cycles, and I thought, “OK, this is about creating a space for feminine energy, focusing on acts that have that dark, channeling drive to what they do.”

TheWeekAhead Wednesday, July 8

Give our useless gender binarism the giant middle finger it deserves all while popping and locking it at THEY! A GENDERQUEER/GENDERFUCK PARTY. Continuing its running series of high-caliber queer dance nights, Kremwerk will host resident DJ Trinitron and guest DJ Dana Dub as they pump throw-your-hands-in-the-air, booty-bumping dance mixes through the club’s beefy subterranean soundsystem. They call Wednesday “Hump Day” for a reason. Kremwerk, 1809 Minor Ave., 682-2935, kremwerk.com. 8 p.m. 21 and up. KELTON SEARS

Thursday, July 9

Seattle blues and folk duo Ben Hunter & Joe Seamons teamed up with the roots-music program at Washington Middle School to create RAINIER VALLEY REVIVAL, a night of stories and songs celebrating the valley’s musical tradition. Yeah, we didn’t know that was a thing either. School us on it, Ben & Joe! The Neptune, 1303 N.E. 45th St., 682-1414, stg presents.org. 7 p.m. Free. All ages. DANIEL ROTH

Friday, July 10

Local experimental label Debacle has put on DEBACLE FESTIVAL for eight years running, and it shows no signs of stopping its annual torrent of harsh, grinding noise. Acts like the motorik, kraut-rocking Brain Fruit, doom-metal duo Bell Witch, and ambient soundscapists L.A. Lungs will perform across two weird, warbling days. Check out our comic preview on page 27. With Mamiffer, Terrane, netcat, Pink Void, and more. Columbia City Theater, 4916 Rainier Ave., 722-3009, columbiacitytheater.com. 7 p.m. $20 for both days. 21 and over. DR

How did this go from a one-time event to a series?

I have two! I have a queer man who is genderfluid [new local Esa Hakkarainen] opening the show and Marcus Price closing the show. I wanted the masculine to contain the feminine. I wanted the men on the outside, breaking open space and then sealing it off when we are done.

A lot of the terminology you use is metaphysically influenced; is that an important element for you?

music@seattleweekly.com

BLØØDY WEDNESDAY With Vox Vespertinus, KO Solo (Kate Olson), Bloom Offering, and more. LoFi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. $7. 21 and up. 8 p.m. Wed., July 15.

American roots, bluegrass, honky tonk and Western swing with legendary guitarist Albert Lee and Grammy-winning dobro/steel guitarist Cindy Cashdollar.

BONEY JAMES FRI, JUL 10 - SUN, JUL 12

4-time Grammy-nominee and multi-platinum selling Urban saxman.

BASSEKOU KOUYATE & NGONI BA TUES, JUL 14 - WED, JUL 15 Grammy-nominated Malian master of the ngoni who has played alongside Toumani Dianate, Taj Mahal, Ali Farka Toure and Sir Paul McCartney.

JOHN MAYALL THURS, JUL 16 - SUN, JUL 19 The Godfather of the British Blues

CATHERINE RUSSELL TUES, JUL 21 - WED, JUL 22

Award winning jazz, blues, soul and swing vocalist described as, gorgeously wistful, a true treasure, and an exceptional pleasure on tour in support of her new release Bring it Back.

TIMES

DOORS 30-60 MIN. BEFORE. OPEN

LISTED ARE

Nostalgist

NOSTALGIST’s debut EP was entitled Monochromatic,

which suits them perfectly: The local shoegaze/dreamrock group’s music is cloaked in a murky layer of blackness that doesn’t allow much light to seep through (not that there’s anything wrong with that). Nostalgist is launching a West Coast tour—and releasing a new full-length album, Of Loves and Days Ago—and the first show is right here in Seattle. With Vibragun, Winnebago. Barboza, 935 E. Pike St., 709-9442, the barboza.com. 7 p.m. $8. 21 and over. DR

Saturday, July 11

SHOW TIMES.

THURS,

NOLA COUNTRY SOUL

JULY 9 TH 

THE DESLONDES TUBA SKINNY, LONESOME SHACK FRI,

9PM - $10/$12

JULY 10 TH

HARMONY DRIVEN ROCK

HONEYHONEY

9PM - $12/$14

PALATINE AVE

SAT,

JULY 11 TH 

KEXP RECOMMENDS

THE MINUS 5

Toe

GRAIG MARKEL & THE 88TH ST BAND, LESS THAN EQUALS 9PM - $15 TUES,

JULY 14 TH

BLOODSHOT TONK & ROLLERS

BANDITOS

9PM - $10

THE BLACK CRABS TUES,

JULY 28

TH 

KEXP RECOMMENDS

Fox and the Law

Seattle’s own ’70s hard-rock revivalists and self-appointed “stoner glam” group FOX AND THE LAW is dropping an album, The Trouble With People, on Friday. FATL sounds like how old crusties remember Sabbath and Zeppelin back in the day. Expect plenty of face-melting solos and high-pitched screeching. Bring a lighter— you’ll probably want to hold one up at some point. With the Young Evils, Kingdom of the Holy Sun, and Terminal Fuzz Terror. Neumos, 925 E. Pike St., 709-9442, neumos. com. 8 p.m. $10. 21 and over. DR Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

BREATHE OWL BREATHE

SHENANDOAH DAVIS & SEAN NELSON 9PM - $10 Up & Coming

7/8 BLACK BEAST REVIVAL 7/13 SQUARE DANCE 7/15 WIND BURIAL 7/16 JAY BRANNAN 7/17 BROTHERS OF THE SONIC CLOTH 7/18 AQUEDUCT 7/19 ALYSE BLACK 7/20 COUNTRY DAVE BENEFIT 5213 BALLARD AVE. NW  789-3599

www.tractortavern.com

SEATTLE WEEKLY • JU LY 8 — 14, 2015

With everything that I do, I take into account the astrological aspects on the night of an event, the numerology of dates and locations, and where my intention is for the overall spirit of the event. There are a lot of like-minded musicians who care about these elements, and I feel like honoring these special details is part of what makes these shows important. The next show in the series is the next Wednesday with a new moon, coincidentally 11/11 [November 11]. I want to emphasize that while most artists in this series are female-identifying, this series is not just celebrating women so much as it’s about the feminine energy in all of us. I really feel like that’s what we need to embrace if we are going to incorporate into our lives [the reality] that feminine is not evil, that feminine is not weak. E

ALBERT LEE WITH SPECIAL GUEST CINDY CASHDOLLAR WEDS, JULY 8 & THURS, JUL 9

tractor

SHANE WILLIAMS

Progressively, you have a man playing on this bill.

JAZZ ALLEY IS A SUPPER CLUB

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

STEPHANIE SEVERANCE

Honestly, a big push for me to do a second show and make it a series was the opportunity to collaborate with Monika Khot and Natasha ElSergany. I really look up to both women as artists and musicians. Women of color in the noise scene?! How powerful is that? They’re both mega-superpowered babes. I want to draw attention to that.

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odds&ends» The Cusp

icardo, it turns out, is Honduran, but he looks black to me. We’ve known each other for several years in passing; he plays percussion in Faith Beattie’s jazz trio at the Queen City Grill, where I frequently HIGHERGROUND drink BY MICHAEL A. STUSSER heavily. We’ve exchanged smiles and nods, and I’ve thrown a few quid into the tip jar on nights I feel flush. Last week we sat outside at adjacent tables to beat the heat and smoke, Ricardo sucking on a cigar and me with my Firefly vaporizer (both illegal, as we were too close to the entrance). I noted Ricardo’s swank Panama hat, and we started in on small talk. Eventually we got around to the issues of the day in a week that had some doozies: The Confederate battle flag had come down and same-sex marriage had been approved by a venomously divided Supreme Court, along with key rulings supporting national health care and fair housing. Marijuana, too, had had a major victory thanks to the White House, which lifted a longstanding restriction on research on medical marijuana by eliminating the Public Health Service review imposed in 1999 and allowing scientists to legally investigate the health benefits of cannabis. “It’s funny, man,” Ricardo told me while chewing on his Cuban, “I feel a real change coming on. We’re at the cusp of something. It can go either way, you know?” I did. “It’s either understanding one another, or destruction! I’m just holdin’ on, hoping things tip toward the positive.” Despite the victories, Ricardo and I had something heavy on our minds: the recent murders of nine members of a bible-study group, gunned down at the historic Emanuel A.M.E. (African Methodist Episcopal) Church in Charleston. We had both been inspired by the President’s eulogy (featuring a chilling rendition of “Amazing Grace”), but more so by the families of those who had been massacred. “I don’t think I could have shown that much grace, man,” I said, referring to the relatives who showed up at the killer’s bond hearing, each of whom forgave the shooter. “Hell, I could barely forgive my ex-wife—and she didn’t kill anyone.” (That I know of.) “Oh, I hear you. But hate is a lie,” Ricardo said, with his own preacher’s cadence. “You may not be able to change those who hate, but through forgiveness you can lose the cynicism and anger in your own heart. For lost souls like that murderer, it’s possible to bring light to the darkness. Through love, we can truly create heaven on earth. With my thoughts and actions, I can change myself. It’s truly profound.” Gay-pride revelers, tourists, and drunken partiers passed by, making the Belltown street scene even more festive than usual.

Maybe it was the buzz from our vices of choice, but Ricardo and I realized our discussion—-from men truly worlds apart—was invigorating and important. Though we clearly shared liberal values (starving artists and all), in a way it felt as if we were practicing—emphasizing our similarities rather than our divisions and differences. “Lately, I’ve been having great discussions with people who may not have even talked to me a decade ago,” he said. “How can we advance love and not fall into complacency? I think it’s by engaging with one another. Listening.” While the Trio played an enchanted set of samba-inspired grooves (he’s Honduran, man!), I thought about something our President had said during his eloquent eulogy for Rev. Clementa C. Pinckney: “To settle for symbolic gestures without following up with the hard work of more lasting change—that’s how we lose our way again.” The victories for equality, cannabis, and individual liberties haven’t arrived out of the clear blue sky. They’re the culmination of grassroots efforts, honing the message, and civic (and hopefully civil) discourse over complex, meaningful, and often hot-button issues. State by state these issues have been fought over, voted on, thrown out, and often, in the end, adjudicated. The key is not only dialogue, but vigilance in the democratic process. It’s never a full Kumbaya moment, because the second there’s a victory, there’s a setback and a need to reorganize and carry on. Yes, the tragic shootings in Charleston were followed by a rallying cry to lower the Confederate battle flag, but that cry was followed by more violence, as seven African-American churches in the South have since been set ablaze. For some reason they make you stop drinking at 2 a.m. in this godforsaken town, so I gathered my things to head inside and settle my tab. I’d grabbed my keys and phone and vaporizer (and cocktail), but was missing my wallet. Any number of folks could have nabbed it from my coat on the patio: a thousand passersby, other diners, one of the dozen or so street people who’d asked for change—or maybe I’d dropped the damn thing on my way to the john. A waiter helped me half-heartedly search under tables with a flashlight. I was drunk and it was time to Uber home; as a regular they’d let me pay later, and I’d make some calls in the morning to cancel my credit cards. As I took a last look under the table I’d been sitting at, Ricardo approached with a wide smile and wallet in hand; he’d found it under a booth earlier and was looking for me. We stared at one another, and in our minds 500 years of oppression and lies, pain and misconceptions, stereotypes and generalizations flashed between our eyes. “You stole it from me, man,” I said, brow arched. We laughed and embraced simultaneously. It may be a slow roller, but this momentous wave shall not be stopped. E For more Higher Ground, visit N I SH highergroundtv.com. CA AN BRI

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