Seattle Weekly, April 10, 2013 by Sound Publishing

APRIL 10–16, 2013 I VOLUME 38 I NUMBER 15

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SPD CHIEF STEPS DOWN, SPEAKS UP PAGE 7 | BOYLE’S ART-HEIST HEAD TRIP PAGE 22

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inside» April 10–16, 2013 VOLUME 38 | NUMBER 15

» SEATTLEWEEKLY.COM

W E L C O M E

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NEWS

THE DAILY WEEKLY | We have a new

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11 REVERB

CHOOSE YOUR OWN ADVENTURE

Record stores aren’t dying, they’re reinventing themselves. Merchants are going mobile, Starbucks sends sales grande, and Lynyrd Skynyrd is still selling like crazy. Here’s why.

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news»The Daily Weekly

The Quiet Chief Quits

As he steps down, John Diaz finally speaks up.

Reporters and politicians speculated about whether that report led to the abruptness of Diaz’s announcement. Reporters were given just a half-hour to gather at City Hall for the announcement. But Diaz and Mayor Mike McGinn insisted the chief was voluntarily stepping down. “It’s time,” said Diaz, who has spent 33 of his 56 years at SPD. His entire four years at the helm had been intense, he said, ticking off a few of the events that made it so, including

Diaz’s reticence was a liability in a department that needed to respond to some of the most trying events it has ever faced. the horrific 2009 rape and murder of a South Park woman and the fatal shooting that year of SPD Officer Timothy Brenton. Two years later came the DOJ’s report, and then a settlement last year. Diaz is handing over the reins, at least temporarily, to Assistant Chief Jim Pugel. In many ways, Pugel—a 30-year SPD veteran, also in his 50s—is similar to the chief. But he is known as a stronger personality, a man comfortable taking charge both internally and in front of cameras. “He has backbone,” said Peter Steinbrueck, yet another mayoral candidate eager to weigh in on Monday’s developments. Whether these qualities will elevate Pugel from acting to permanent chief has yet to be seen. Steinbrueck didn’t seem keen on the idea, noting that Pugel was the commander on the ground during the badly handled WTO riots in 1999 (for more on Pugel, visit seattleweekly. com.)

» CONTINUED ON PAGE 9

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

s he took to the podium at a City Hall press conference Monday to announce his resignation, Seattle Police Chief John Diaz told the kind of poignant personal story that the public loves. Growing up in a family of Mexican immigrants, “English was a second language for us,” he said. That he had risen to the highest rank of police command in one of the nation’s biggest cities was an amazing thing, he continued, and it had changed his family members’ perceptions about law enforcement. One might wonder how it could have changed the perceptions of the Seattle public at large had it been more widely known. “I encouraged him many, many times to tell his story—and that of the police department,” acknowledged Seattle City Councilman and mayoral candidate Tim Burgess in an interview after the press conference. But as we reported back in February, Diaz has avoided the limelight. Self-effacing, with a strong belief in giving his subordinates autonomy and credit for the work they do, he has let other members of his command staff take the lead in speaking before the public. Even Monday, opening up more than usual, he was characteristically soft-spoken. People sitting in the front row had to strain to hear him. His reticence was a liability in a department that needed to respond to some of the most trying events it has ever faced—most notably, charges of excessive use of force by the federal Department of Justice, leading to a court-monitored settlement agreement. Members of the command staff have griped that those charges are overstated, but the chief neither made his case before the public nor articulated a compelling vision for how he intended to move forward. A scathing consultant’s report issued last week about the May Day riots, condemning the department for poor planning and leadership, sealed the image of Diaz as someone who did not forcefully take charge.

DAN PERSON

Police Chief John Diaz announces his resignation Monday.

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news»The Daily Weekly The Daily Weekly » FROM PAGE 7 Obviously, this is going to be a hot issue in the mayor’s race, a point made most overtly by state Sen. Ed Murray, also a major contender for the city’s top spot. Issuing a statement from Olympia, he simultaneously raked SPD over the coals and diverted attention from the department to City Hall. “I am concerned that this announcement not be taken as a sign that SPD’s problems are now solved,” he wrote. “The problem with SPD is a failure of leadership, and that leadership begins with the mayor.” NINA SHAPIRO

The GOP Loves Obamacare

news@seattleweekly.com

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While Republicans in the state Senate’s Majority Coalition Caucus aren’t known for their love of Obamacare, that doesn’t mean they’re against hitching their budget to it. This much became ironically clear last week with the unveiling of the Senate’s $32.5 billion spending plan, which relies on spending reductions, savings, and some nimble moneyjuggling to throw $1 billion at basic education and close the expected $1.2 billion budget deficit. The Senate passed the budget late last week by a 30-18 vote, with seven minority Democrats joining their more conservative colleagues to send it to the House. A not-to-be-scoffed-at chunk of the Senate budget’s expected savings come via the Affordable Care Act, or Obamacare. Much of the savings comes from accepting more federal funding to expand Medicaid—a step Republican legislatures in other states are proving far less willing to take. But $127 million in savings comes from kicking lowincome, part-time public employees off state-provided health care and onto a private insurance exchange created under Obamacare—even though other sections of the budget halve funding for the exchange, which won’t be operational when the budget goes into effect. “I laughed,” says Sen. Karen Keiser, D-Kent, of her initial reaction to the Senate’s proposed budget. “It’s diabolical. It makes your head spin. And maybe that’s what they’re trying to do.” Keiser was one of 18 lawmakers who voted against the proposed budget. “It’s a financing tool that budget writers elected to use,” counters Sen. Michael Baumgartner, R-Spokane, pointing out that shifting the cost of health-care benefits to the

federal government allowed for “dramatically increasing funding for K-12 education” without raising taxes. Under the Senate’s budget, roughly 20,000 part-time state workers, higher-education employees, and non-certificated K-12 employees would lose their state-funded health care, instead being pushed into purchasing federally subsidized health care through the Washington Health Benefit Exchange. State employees who work between 20 and 30 hours a week and meet income requirements would receive a federal subsidy for the purchase. The state would then increase their pay by $2 an hour to cover what the federal subsidy doesn’t. “Overall, the Affordable Care Act was meant to expand health care to people who don’t already have it,” says Tim Welch, a spokesman for the Washington Federation of State Employees. But the Senate budget misuses the program as a “ploy” to make their budget pencil out, he says, and hurts state workers as it does so. Many of these workers—from community colleges to state parks to the Department of Agriculture— take the lowpaying part-time jobs largely because of the quality healthcare benefits they receive, according to Keiser and Welch. Welch argues that parttime state employees who work alongside full-time workers shouldn’t be forced to make do with health benefits that don’t stack up. The questions don’t end there. While the Senate’s budget for the 2013–15 biennium would go into effect July 1, the Washington Health Benefit Exchange is still in the early stages of being crafted. Registration doesn’t start until October, says Washington Health Care Exchange spokesperson Bethany Frey, and the Exchange won’t be fully functional until January 2014. Further complicating matters—in a move Keiser calls the “height of hypocrisy”—the proposed Senate budget provides funding for the Washington Health Care Exchange at only half the amount that a previous bill this session, HB 1947, says the program needs to operate. The Senate’s budget caps funding for the exchange at $26 million annually. As the budget writers acknowledged, “this funding level is about 50 percent of the exchange funding request.” Baumgartner says the Exchange will be able to function with the means the Senate budget has provided. “They had not made a strong case for how and why they were going to use that funding.” MATT DRISCOLL E

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Choose Your Own

Retail Music

Adventure

Yes, we have fewer record stores, but we’ve never had so many options.

Spotify have reeled in more than two million American subscribers to pay $10 a month to stream millions of songs to their computers and smartphones, cassettes are still being made, mp3s have never sold better, and—for reasons about to be made clear—thousands of Americans are enthusiastically buying Lynyrd Skynyrd’s greatest-hits CD every week. n No matter your jam, there’s never been more ways to find it. n Saturday, April 20 is Record Store Day, an annual event in which more than 400 releases are available only at independent record stores. To commemorate these retailers’ biggest day of the year, we take a look at how consumers are getting their music in 2013, and what these opportunities mean for buyers and sellers of all kinds. E

B Y C H R I S K O R N E L I S , S E AT T L E W E E K LY M U S I C E D I T O R

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

Sure, in the past two years we’ve seen Easy Street’s Queen Anne location become a Chase branch and Sonic Boom scale back to a single shop in Ballard. But the good news for record buyers who prefer the discovery and support system that only an independent record store can provide is that surviving shops are facing less competition and, according to Nielsen Soundscan’s Dave Bakula, enjoying greater stability. “For the consumer that wants to buy their music at that kind of store,” he says, “that’s where you’re going.” For those with a different kind of experience in mind, there have never been so many ways to get music: On your phone, on your desktop, or on your trip to buy a plunger. n At the same time that streaming services like Rhapsody and

C H A I N R E TA I L E R S :

15%

Silver Platters, 701 Fifth Ave. N. Seattle used to be rife with record-store chains. But in the past two years, Easy Street and Sonic Boom have retreated to their solitary locations in West Seattle and Ballard respectively, leaving Silver Platters as the last chain (albeit an independent one) standing. And though it would be easy to read the Queen Anne shop’s June relocation to SoDo as a bad omen, owner Mike Batt begs to differ. One of the primary motivations for the move, he says, was because he’s interested in a longer lease than the one his landlord was offering in Queen Anne: “We want to be here for a long time!” Batt says his sales are up—2012 was the chain’s best year since 2006—and 2013 is looking even better. Note: Nielsen technically categorizes Silver Platters as an “independent,” saving the “Chain Retailers” tag for shops like FYE. But, hey, they’re the best chain we’ve got.

Choose Your Own Retail Music Adventure 450 million albums were purchased in 2012. Here’s how they were sold and where you can find the local options: INDEPENDENTS:

D I G I TA L R E TA I L E R S :

Sonic Boom, 2209 N.W. Market St. Hey! They’ve survived, and there’s less competition for people who want the momand-pop experience. On April 20, Record Store Day, artists like Grizzly Bear, Phish, the xx, and even Linkin Park are issuing releases (most of them on vinyl, though MGMT’s “Alien Days” single is on cassette)—only at independent retailers like Sonic Boom, Easy Street, Everyday Music, and Silver Platters. Get there early if you want a shot at some of the more anticipated releases, like the Black Keys/Stooges 7-inch; Gram Parsons and the Fallen Angels’ Live 1973 EP; and the double-LP, 10th anniversary reissue of the White Stripes’ Elephant. For the full list, see recordstoreday.com.

MASS MERCHANTS:

37%

Amazon MP3 South Lake Union Digital album sales are climbing (14 percent in 2012) and physical album sales are dropping (down 13 percent). But consumers continue to prefer the latter. Physical albums— mostly CDs, a few LPs, and, yeah, those ggnzla cassettes in your dashboard—still outsell digital 63 to 37 percent. That said, a couple of locales have crossed over. Bakula tell Seattle Weekly that in 2012, San Francisco became the first major market in the country to prefer digital albums over physical. Hawaii became the first state to do the same.

29%

City Target, 1401 Second Ave. It’s not just Nickelback and Taylor Swift CDs that are getting stuck beneath jugs of Tide in those red plastic carts. Grammy performances from Adele, the Civil Wars, and Alabama Shakes have led to sales spikes, particularly among people who don’t usually frequent independent record stores, but who, Bakula says, “are looking for a unique sound.” And a whole lot of TP.

NONTRADITIONAL SALES:

10 %

Chop Suey, 1325 E. Madison St. Bands actually sell more albums at shows, through label websites, and in other “non-traditional” sales outlets than at mom-and-pop record stores. Here, customers have the added bonus of being able to hit on the bassist. The trick is to sniff out the available ones. “Being all of us have ladies, we keep it strictly business at the merch booth,” says Unnatural Helpers drummer/vocalist Dean Whitmore. “Knuckle-bumpin’ is about as far as we go.” Prudes.

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

N O N - T R A D I T I O N A L R E TA I L E R S :

Starbucks, 2401 Utah Ave. S. OK, so records sold at non-traditional retailers like Cracker Barrel and Starbucks account for only 1 percent of album sales. But these places carry only, like, two or three albums at a time. And such retailers, Bakula says, are keenly attuned to their customers’ tastes. Records that land a spot next to the pastry case can sometimes count on the green mermaid for upward of 30 percent of their sales. And, hey, make all the “Starbucks rock” jokes you like, but remember this: Two of the records they stocked last week—Justin Timberlake’s The 20/20 Experience and Depeche Mode’s Delta Machine—were among the top five sellers at indie darlings Sonic Boom and Easy Street.

N B

E A

A Vinyl & a Haircut Radar Hair & Records 2724 First Ave. S. The rack of LPs at this salon may catch the eye of an occasional customer, but a destination record store this is not. Like Urban Outfitters, Radar uses records as props, adding cultural conversation pieces to the space. That said, if you really want to spend $49 on a vinyl copy of Donald Fagen’s The Nightfly—rather than, say, $3—this is the only place in town you can do it.

Radar Hair & Records

B Soda & Pop Easy Street Records 4559 California Ave. S.W. Bakula says he’s seeing many more independent record stores rebrand themselves as “lifestyle

shops,” where customers are as likely to walk out with T-shirts and posters as with CDs and LPs. “[Retailers] know that having that consumer engaged and staying in the store longer is going to maximize the return on the square footage they have,” he says. Easy Street has mined this vein in West Seattle for years, splitting its space into two: one pours coffee, the other serves pop.

C Why Does Skynyrd’s Greatest Hits Still Sell?

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

Walmart 743 Rainier Ave. S., Renton The short answer is that it’s cheap. Really cheap. Every week, listeners who wish to voluntarily sit through “Sweet Home Alabama” gobble up 4,000 copies of Lynyrd Skynyrd’s 20th Century Masters: The Millennium Collection at big-box stores like Walmart, accounting for roughly 90 percent of the album’s sales. The trick is to place the record in bargain bins with a $5 price tag. Customers wade through, realize it’s been 15 minutes since they’ve heard “Free Bird,” and grab the disc for the ride home. “That’s not a record that is selling digitally,” Bakula says. “It’s not a record that is selling anywhere other than these low-price dump bins.”

CORNISH. Gold Van Records sells hits and rarities on the go. BY RACHEL BELLE

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SEATTLE WEEKLY • AP RI L 10 — 16, 2013

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and Swain sell plenty of mainstream used vinyl he door to the gold 1987 Mitsubishi plucked from their own massive collection. MenLS Delica minivan slides open to dez flicks through a stack, revealing quick peeks reveal a blissfully tacky, gold-encrusted of the Rolling Stones, Mötley Crüe, Duran music den. Shimmery gold party Duran, Quiet Riot, the Bee Gees, Abba, Jan and streamers and tassels drip from the ceiling, the Dean, and the Go-Gos. bench seat is draped in gold lamé, and a white And then there’s the van itself. shag rug lies across the floor. The cutest acces“It still needs a lot of work,” says Swain, who sory of all? A Pomeranian named Chuy Pancake. recently left it running while she popped into This is Seattle’s newest record store, Gold Van work for a 20-minute Records. meeting out of fear that it It’s also the newest restart. “I have to hobby for its own“The first time we took it wouldn’t unplug the battery when ers, who both have day jobs in Seattle’s out, we had to get a jump we stop. Hopefully it will start when we’re done music industry. Lacey from a limo. When we first [with this interview]. The Swain is head of time we took it out, licensing at Seattle’s cleaned it out, there was first we had to get a jump from Sub Pop Records and her husband, Ruben actually a plant growing a limo. When we first cleaned it out, there was Mendez, works at the on the floorboard.” actually a plant growing on label’s scrappy imprint, the floorboard down there. Hardly Art. A seed had sprouted.” “Ruben used to Swain had been dreaming of a minivan like work at Sonic Boom for a long time, and he was a record buyer,” Lacey explains. “He really missed this one for years. So when the Craigslist seller refused to budge on the $4,000 price tag, she being able to buy these small-press records from caved, knowing she was getting less than she smaller labels around the country. Now that he’s paid for. The family mechanic, she’s working hard gone, nobody in town is carrying this stuff anyto spruce it up so Gold Van Records can confimore. It was all him.” dently take to the open road. For now, they stay The pair sporadically parks the van in front of as close to Capitol Hill as possible. music venues, shops, and festivals so music lovers On April 20—Record Store Day—Gold can dip inside and do a little record-shopping. Van is posting up at Chop Suey at 8:30 p.m. The van’s whereabouts can be tracked on Twitter But during the day, Gold Van will shuttle shop(@goldvanrecords) and Facebook—kind of like a pers—up to four at a time—between Easy food truck with LPs instead of tacos. Street Records in West Seattle and Sonic Boom “If someone said, ‘Oh, I like really produced in Ballard, with stops at Everyday Music on pop music,’ I would suggest this Lost Animal record—this fellow from Australia,” Mendez says Capitol Hill. Service begins at 11 a.m. with a departure from Easy Street. Just be warned: (of a band that happens to be signed to Hardly Hitching a ride from West Seattle does not Art). guarantee you a lift home. Inventory favors independent, obscure releases “The system is not perfect,” Mendez says, “but with small runs, like Charlie Tweddle’s fantastiit should all work out.” E cally twangy The Midnite Plowboy. But they’re not above stocking chart-toppers, either. Mendez music@seattleweekly.com

the»weekly»wire thurs/4/11 DANCE

In With a Bang

Not many artworks combine Nancy Sinatra and Shakespeare, but Trey McIntyre mixes them in his Queen of the Goths, where “Bang, Bang (My Baby Shot Me Down)” is part of the soundtrack for the story of the vengeful Tamora, extracted from Titus Andronicus. McIntyre’s career as a freelance choreographer, moving adroitly among ballet, jazz, and contemporary-dance commissions, has coalesced into his own Boise, Idaho, company, and the repertory is equally nimble. This program shifts from high Gothic revenge to a contemplative exploration of death in Pass, Away, where Jessye Norman and Richard Strauss substitute for Sinatra and Sonny Bono. (Through Sat.) Meany Hall, UW campus, 543-4880, meany.org. $20–$43. 8 p.m. SANDRA KURTZ COMEDY

Enduringly Alterna

In the competitive world of stand-up comedy, female comics have the handicap of being considered less funny than men. Crowds are quicker to laugh at his bawdy jokes and gossip about her weight than vice versa. But since her TV debut on the ’90s gone-too-soon comedy series The Ben Stiller Show, Janeane Garofalo has plowed through such contrasting paradigms, making wry, sarcastic observations of the industry’s (and our culture’s) double standards. (To filmgoers of a certain age, her role as Vickie in Reality Bites made her the alternative female persona of that decade.) These days, gal pals like Tina Fey and Amy Poehler are normalizing the role of funny leading ladies, but the veteran Garofalo, who’s got some years on those two, has been chugging right along—perhaps not at their level of success, but you get the impression she doesn’t give a fuck about that. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. $22.50–$25. 8 p.m. GWENDOLYN ELLIOTT

FILM

Too Much Leg

There are many reasons to love the classic Hollywood musical comedy Singin’ in the Rain, and those reasons change with the generations. It all depends what you’re looking for and when you first saw it. Co-directed by Stanley Donen and star Gene Kelly, the film is a late musical that looks back to the end of the silent era; it’s also a jukebox musical that raided the MGM vaults for some of their greatest songs, with a supremely witty plot stitched together by Betty Comden and Adolph Green. Many who saw the Technicolor film upon its debut would have

ALAN ALABASTRO

recalled—in living memory—silent films and the prior Broadway shows and movie musicals that had introduced those timeless Tin Pan Alley songs (most composed by Nacio Herb Brown, with lyrics by Arthur Freed). A half-century later, newbies may first experience Singin’ in the Rain on TV, DVD, or their parents’ iPad during a long flight. Somewhere in between was the late, great film critic Andrew Sarris (1928–2012), a college professor of mine, who saw the film when it was new in ’52. Later a champion of the auteur theory in The Village Voice (to which I would decades later contribute reviews), Sarris rewatched Singin’ in the Rain obsessively, seeking those telling personal details in such a polished studio product. One of his favorites, as he played for us in class, is in the exuberant long tap-dance number “Good Morning,” which concludes with Kelly, Donald O’Connor, and Debbie Reynolds athletically stepping and vaulting over a series of couches. When they happily collapse on the last overturned couch, Sarris noted, Reynolds discreetly pushes down her blue dress to save the shot from censors who might object to too much thigh. It’s a nearly invisible gesture, in which the personal and professional become one. I suspect Sarris watched that movie 1,000 times during his lifetime. So could I. (Through Sun.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com. $6–$8. 7 p.m. BRIAN MILLER DANCE

Feathered Friends

The big 19th-century classical ballets have huge casts with juicy roles at all pay grades, from standing-around-in-a-fabulous-costume extras to the top-of-the-roster ballerina and danseur. With Kent Stowell’s choreography set to Tchaikovsky’s score, Pacific Northwest Ballet’s production of Swan Lake is an excellent example of full employment, with 50 people onstage in the big scenes. The lead roles are some of ballet’s most challenging, and PNB has a deep roster of artists to fill them. But it can also be rewarding to follow a corps member through the show, as she morphs from party guest to swan and back again. (Through April 21.) McCaw Hall, 321

Mercer St. (Seattle Center), 441-2424, pnb. org. $28–$173. 7:30 p.m. SANDRA KURTZ

sat/4/13 STAGE

Let Their People Go

The unlikely and affecting Passover drama The Whipping Man traverses the concepts of freedom,

justice, faith, and family, all poised against the backdrop of post-Civil War/post-slavery Virginia. There, a wounded Jewish Confederate soldier returns to the remnants of his family home, to be greeted by his family’s two former slaves. Directed by Scott Nolte, Matthew Lopez’s often caustic tale contains deeply scarring family secrets, slowly and expertly unpacked by this cast of three. Ryan Childers plays the soldier Caleb, stage veteran William Hall Jr. portrays Simon, and Tyler Trerise is the younger John. Unfolding over a shared Seder meal (both ex-slaves consider themselves Jewish, too), the entire two-hour performance takes place in one room of the ruined DeLeon family home. An open front door represents all the possibilities and uncertainties of the two African-Americans’ impending freedom. Lopez’s highly acclaimed production is elevated even further by Hall’s poignant and hopeful performance, evident in the enthusiastic and immediate standing ovation he received from an openingweekend audience. (Through April 27.) Taproot Theatre, 204 N. 85th St., 781-9705, taproot theatre.org. $20–$40. 2 & 8 p.m. TERRA SULLIVAN CLASSICAL/AVANT

60 Seconds or Mesh

No one who’s heard one of John Cage’s spokenword performances, live or recorded, could forget the sound of his voice: that unflappable, lulling serenity that seems to suffuse the room like a cloud of opium smoke. (Audience dozing was commonplace at his lecture/concerts.) His sound has become so identified in my mind’s ear with

Space, 4649 Sunnyside Ave. N., 789-1939. $5–$15. 8 p.m. GAVIN BORCHERT

tues/4/16 STAGE

Two on a Raft

Book-It regularly transforms great works of fiction into enlightening theater, but when the novel in question is Mark Twain’s 1885 Adventures of Huckleberry Finn, moving from page to stage— in an uncensored adaptation—means working overtime on the language. Specifically one word. You know the one. Twain employs it close to 220 times—double the amount it’s uttered during Quentin Tarantino’s Django Unchained, in which its ear-burning repetition raised once again the debate over the necessity of its usage. In Twain’s novel, the N-word is often embedded in narrative, nonspoken reflections by young Huck (here played by Christopher Morson), rafting down the Mississippi with escaped slave Jim (Geoffery Simmons). But Book-It prides itself on turning such literary passages into a new kind of dialogue. Thus, Judd Parkin’s script, conceived with director Jane Jones, arrives in a production accompanied by several special post-show talk-backs and the opportunity to engage with Twain scholars, local educators, and representatives from the Central District Forum and the Northwest African American Museum. Meanwhile, we get to watch an American classic, which you may want to consider this way: Huck is a boy of his time who overcomes the ingrained prejudices of this country in the only language he understands. But Tom Sawyer, for whom freedom from enslavement is a game, is an awful little shit. (Previews begin tonight; opens April 20; runs through May 12.) Book-It Reper-

tory Theatre, 305 Harrison St. (Center Theater, Seattle Center), 216-0833, book-it.org. $23–$45. 7:30 p.m. STEVE WIECKING

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

fri/4/12

Simmons (left) and Morson prepare to raft the Mississippi.

his writings that it was actually a bit startling to hear Roger Nelson and Neal Kosaly-Meyer’s different approaches at a recent rehearsal for tonight’s collaborative performance. Nelson will read 90 excerpts from Indeterminacy, Cage’s collection of Zen-deadpan anecdotes (some about his Seattle years in the late ’30s), easily and conversationally—except that since Cage asks for each micro-tale, regardless of length, to last exactly one minute, Nelson needs to speed or slow his recitation with a musician’s command of tempo. Kosaly-Meyer will read from Part III of Empty Words, which crumbles randomly selected bits of Thoreau’s journals into phonemes. It’s the more “musical” of the two readings, in that vowels get elongated into sung notes and consonants—s ’s, ch ’s, sharp t ’s and k ’s—become splashes of percussion. The two will read simultaneously—naturally, since in Cage’s works happenstance, not deliberate choice, is the governing principle. Kosaly-Meyer reports that at times, the theatrical flair of his vocal effects seems curiously apropos to whatever Nelson is talking about: “It would sound like I was illustrating the story.” Chapel Performance

JOAN MARCUS

arts»Opening Nights

PJersey Boys

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

THE 5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $29–$123. RUNS TUES.–SUN.; TIMES VARY. ENDS MAY 4.

In an era that included the Beatles, the Beach Boys, and the music of Motown, Jersey Boys would have you believe that the Four Seasons were a peerless pop phenomenon. Well . . . not exactly. But what the Seasons did have—as put on brilliant display every five minutes in this touring show—is a slew of catchy radio hits and one hell of a mobbed-up history. As told in round-robin fashion by the group’s four founders (and based on actual interviews), Jersey Boys is the story of runaway egos, Catholic upbringings undone by the sexual revolution, and the singular falsetto of Frankie Valli (Brad Weinstock). With songs and score by original band member Bob Gaudio (former Seattleite Jason Kappus), this 2005 jukebox musical offers the expected hits—“Sherry,” “Big Girls Don’t Cry,” etc. Then there are tales of sudden fame, warring egos, drugs, divorce, and too much time on the road. Ambitious guitarist Tommy (Colby Foytik) initially finances the group via loan sharks (keeping a portion for himself). Once they reach the Top 40, inevitably the mob comes looking to settle old scores. The two-act show culminates with the Seasons’ 1999 induction into the Rock and Roll Hall of Fame, and Jersey Boys provides a brisk ride through a story not many remember today. The book by Marshall Brickman and Rick Elice is a taut, well-told tale, and Gaudio’s music is surprisingly resilient for its origins in ’50s doo-wop. His songs are crisp as a new tuxedo, expertly performed by the four main actors and their various augmentations, which include video screens and a crackerjack live orchestra. For me, the highlight of Jersey Boys, originally directed by Des McAnuff, is the 1967 hit “Can’t Take My Eyes Off You.” Still, I have one quibble. The show’s main action is set during the ’60s, but it barely acknowledges that decade’s cultural upheaval. True to their roots as Borscht Belt entertainers, the Seasons were more attuned to casinos and the Catskills. Were they a rock group? To Richard Nixon, maybe. But nostalgia-minded boomers won’t care about such distinctions today. KEVIN PHINNEY

PThe Trial NEW CENTURY THEATRE COMPANY AT INSCAPE, 815 SEATTLE BLVD. S., WEARENCTC.ORG. $15–$30. 8 P.M. THURS.–SAT., 7 P.M. SUN. ENDS APRIL 28.

Appropriately, the journey starts in a queue in the nondescript hallway of a former immigrantprocessing facility. “If you feel drowsy, please

From left, Kappus, Foytik, Weinstock, and Brandon Andrus as the Four Seasons.

sleep. If you feel hot, please sweat . . . ” a neutral voice commands from the PA system. A labcoated scientist admits you to another antechamber, where you are measured and “sorted” to determine your seating in the steep gallery. Percy Faith’s muzak-y “Theme From A Summer Place” loops as though you’ve been put on hold in hell. Which you sort of have, intentionally, by chronically impressive director John Langs. It’s a perfect welcome to the plight of Josef K, protagonist of Franz Kafka’s 1915 novel, in this new adaptation by Kenneth Albers. Bank administrator K. (Darragh Kennan), awakens to discover he’s “under arrest” by thugs who may or may not be “official.” The rest of the engrossing 100-minute ordeal follows his search to determine what he’s accused of and how to get himself acquitted of whatever that turns out to be. A parade of bizarre characters roughly correlates to those in the book, but with some differences. Kafka’s jargon-spewing male invalid lawyer here becomes kooky Sophie Kleist (a hilarious, baroque-haired Amy Thone) buzzing about in an electric wheelchair. Kafka’s male painter Titorelli is here fabulously incarnated by Alexandra Tavares as a dominating (and very female) court sculptor. Both she and a fleet of bank secretaries, garbed by Kimberly Newton in fascist-era décolletage, discreetly wear their breasts like torture implements that need only be hinted at occasionally to keep men in line. The secretaries rotate their ankles in hypnotic unison and slap bureaucratic papers around in an empty display of pseudo-efficiency, lest we hope for a second that the world is anything but a bad dream. Despite anchoring every scene, Kennan keeps his everyman modest, letting the supporting cast outsize him with adamant oddness. (Notable players include Michael Patten, MJ Sieber, Hannah Mootz, and Marty Mukhalian.) Geoff Korf ’s interrogational lighting and Robertson Witmer’s sound design further dwarf K. on Jennifer Zeyl’s lean but effective sets. Candelabra and curtains bring a vein of gothic horror into the sterile bureaucratic abstraction. As in the book, don’t expect answers about what happens to Josef K. Paraphrasing Kafka’s notion about God, NCTC’s mood-rich production delivers the nuts, but leaves them for you to crack.

MARGARET FRIEDMAN E

stage@seattleweekly.com

Talea Ensemble Featuring Joshua Roman (4/10) Naomi Schaefer Riley The Promise & Peril of Interfaith Marriage (4/10) Reem Kelani Global Rhythms (4/12) Thalia Symphony Orchestra Spring Concert (4/13) Brian Castner War and the Life that Follows (4/15) Seattle Speaks Shaping Seattle Neighborhoods (4/16) David Stockman How Crony Capitalism Has Corrupted Free Markets & Democracy (4/17) Ann Kirschner ‘Lady at the OK Corral’ (4/18) Seattle Baroque Orchestra Nights at the Opera (4/20) Simple Measures: Harmony (4/21) William Bernstein How Human Communication Has Shaped History (4/22) TOWN HALL

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Image credit: Mrs. Jordan as “Viola” in “Twelfth Night”, ca. 1785–92, John Hoppner, English, 1758–1810, oil on canvas, 36 1/8 x 28 in., Kenwood House, English Heritage; Iveagh Bequest (88028789), Photo courtesy American Federation of Arts.

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

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

TINY DIAMONDS The Heavenly Spies celebrate 10

Stage OPENINGS & EVENTS

BAT BOY: THE MUSICAL Cornish College of the Arts

presents the show inspired by a Weekly World News tall tale. Center House Theatre, Seattle Center, cornish. edu. $5–$15. 8 p.m. Wed., April 10–Fri., April 12, 2 & 8 p.m. Sat., April 13. COMEDY WOMB This “female-focused but not female-exclusive” show includes a headliner and an open-mike segment, in the Grotto underneath the Rendezvous. JewelBox/Rendezvous, 2322 Second Ave., comedywomb.com. $5. Tuesdays. THE DIARY OF ANNE FRANK Frances Goodrich and Albert Hackett’s classic adaptation. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, renton civictheater.org. $17–$22. Opens April 12. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends April 27. THE FINAL TRIBUNAL INTO THE MYSTERIOUS DEATH OF SENOR DALI For Pony World Theatre’s

new ensemble-generated show, the title is all the synopsis you need. Theater Off Jackson, 409 Seventh Ave. S., ponyworld.org. $10–$15. Opens April 11. 8 p.m. Thurs.–Sat. plus Mon., April 22. Ends May 4. FLASHDANCE All your fave songs from the movie, plus 16 new ones. The Paramount, 911 Pine St., 877-STG4TIX, stgpresents.org. $25 and up. 7:30 p.m. Tues., April 16–Thurs., April 18; 8 p.m. Fri., April 19; 2 & 8 p.m. Sat., April 20; 1 & 6:30 p.m. Sun., April 21. JANEANE GAROFALO SEE THE WIRE, PAGE 15. MY LAST YEAR WITH THE NUNS Matt Smith’s solo show recounts eighth grade on Capitol Hill in the mid’60s. (It’s a fundraiser for an upcoming film version.) Richard Hugo House, 1634 11th Ave., 800-838-3006, brownpapertickets.com. $100. 7 p.m. Sat., April 13.

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RIDING IN CARS WITH BLACK PEOPLE & OTHER NEWLY DANGEROUS ACTS Subtitled “A Memoir

in Vanishing Whiteness,” Chad Goller-Sojourner’s new solo show takes off from the SPD’s use-of-force investigations in its exploration of identity and racial profiling. Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 800-838-3006, ridingincarswithblackpeople.com. $12–$14. Opens 8 p.m. April 11. 8 p.m. Fri.–Sat. plus 2 p.m. Sun., April 21. Ends April 21.

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

EarSupply

» by Gavin borchert

The Thing With Feathers “I tend to specialize in creepy,” says composer Tom Baker to his singers at the start of a rehearsal for his new opera-in-progress for soprano, mezzo-soprano, and electronics. But it’s not at first, as Natalie Lerch and Gretchen Conrad dialogue coolly in floating recitative—their subject: plastic surgery—over an iPad-controlled soundscape of hypnotically repeated two-note motives. That is, not until Conrad asks to have wings literally attached to her body (“stretching flaps of torso fat to fashion gliders piped with rib bone,” as Lerch’s doctor later explains). As Conrad’s character begins to dream of TIM SUMMERS

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

CURRENT RUNS

ADVENTURES OF HUCKLEBERRY FINN: UNCENSOREDSEE THE WIRE, PAGE 15. AUGUST: OSAGE COUNTY Balagan stages Tracy Letts’

acclaimed play about a severely dysfunctional Oklahoma family. Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050, balagantheatre.org. $20–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 27. EDITH CAN SHOOT THINGS AND HIT THEM Two Filipino teens have to bring themselves up in A. Rey Pamatmat’s play. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N.,524-1300, seattlepublictheater.org. $20–$30. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 21. THE GINGERBREAD HOUSE In Mark Schultz’ dark comedy, two parents seeking some alone time sell their kids. Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends April 20. GREY GARDENS Based on the eponymous 1975 documentary about Jackie O’s relatives who lived in a decrepit Long Island mansion of the same name. Doug Wright’s book for this 2006 musical does what the Maysles brothers could not: We get to see firsthand the lofty roost from which the Beale/Bouviers fell to earth. In the first act, Wright transports viewers from the squalid cat preserve inhabited by “Little Edie” (Jessica Skerritt) and her mother “Big Edie” Beale (Patti Cohenour) back to the moment of no return, circa 1941. In Act 2, Little Edie returns (now played by Cohenour, with Suzy Hunt now playing her mother). The music—score by Scott Frankel, lyrics by Michael Korie—is full of haunting contrasts between the frivolous then and the fallen now. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, $55–$77. Runs Tues.– Sun.; see acttheatre.org for exact schedule. Ends June 2. JERSEY BOYS SEE REVIEW, PAGE 16. DINA MARTINA: SPRING IN SEATTLE The incomparable, indescribable diva in an all-new show with pianist Chris Jeffries. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets.com. $20–$25. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 5. “MASTER HAROLD” . . . AND THE BOYS Athol Fugard’s autobiographical 1982 drama, about two middleaged black men in 1950 South Africa and their relationship with the white child of their employer, is a delicate pow-

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years of sophisticated burlesque/dance shows in this new revue. Can Can, 94 Pike St. 652-0832, thecancan. com. $15. Opens April 11. 9 p.m. Thurs. Ends June 27. YOU’RE A GOOD MAN, CHARLIE BROWN Twelfth Night Productions presents the Charles Schulz-based musical (in its 1999 reworking). Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, twelfthnightproductions.org. $15–$18. Opens April 12. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends April 21.

flying, her vocal line, until now earthbound on middle C, lifts off, arcing upward. It’s the dark side of a musical metaphor composers have used for centuries; a rising melodic line to symbolize transcendence, the supernal, here turns ominous, man playing God. “Wings” is the first act of Holos, Baker’s projected cycle of six mini-operas on themes of human transformation, and it’s the centerpiece of this Friday’s concert, a commemoration of his 20 years in Seattle with an evening of new work. His compositional preoccupations—improvisation, fretless guitar, working with dancers, and darkly intense chamber opera, among much else—will be in evidence; collaborators include dancer/filmmaker Corrie Befort, Baker’s experimental trio Triptet, and others. PONCHO Concert Hall, Cornish College of the Arts, 710 E. Roy St., 800-838-3006, cornish.edu. $10–$20. 8 p.m. Fri., April 12.

arts»Performance

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Dance

SPECTRUM DANCE THEATER To mark his 10th year as

director, Donald Byrd is reviving his first work for the ensemble. A Cruel New World/the new normal was his 2003 reaction to the post-9/11 zeitgeist. Back then, it was a vivid introduction for Seattle audiences to his highintensity style. This is a chance to revisit the work, but also to gauge how we’ve all changed in relationship to it as well. SANDRA KURTZ Emerald City Trapeze Arts, 2702 Sixth Ave. S., spectrumdance.org. $20–$25. 8 p.m. April Thurs., April 11–Sat., April 13.

TREY MCINTYRE PROJECT SEE THE WIRE, PAGE 15. CORNISH DANCE THEATER For their spring con-

cert, work by Iyun Ashani Harrison, Timothy Lynch, Mary Sheldon Scott, and Deborah Wolf. Broadway Performance Hall, 1625 Broadway, cornish.edu. $5–$10. 8 p.m. Fri., April 12, 2 & 8 p.m. Sat., April 13. PNB: SWAN LAKE SEE THE WIRE, PAGE 15.

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Classical, Etc.

COMPOSER SPOTLIGHT Composer/jazz drummer Nolan

Stolz discusses improvisation in both his worlds., Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., April 10. TALEA ENSEMBLE This NYC new-music group plays with cellist Joshua Roman. Town Hall, 1119 Eighth Ave. $10–$25. 7:30 p.m. Wed., April 10. TALMAN WELLE From this pianist, an all-Gershwin program with soprano Michelle Abad. At Sherman Clay Pianos, 1624 Fourth Ave., noon Thurs., April 11, and Stage 7 Pianos, 511 Sixth St. S., Kirkland, 4 p.m. Sun., April 14. Free. BRAHMS AT SEATTLE U A four-concert minifestival of his chamber and vocal music, played by SU students and faculty. Thurs. & Sat. in Pigott Auditorium, $5–$12; Fri. & Sun. in the Chapel of St. Ignatius, freewill offering. Seattle University, 901 12th Ave., seattleu.edu. 7:30 p.m. Thurs., April 11–Sat., April 13, 3 p.m. Sun., April 14. SEATTLE SYMPHONY Laureate conductor Gerard Schwarz returns to conduct Mozart (the Piano Concerto no. 8, with Garrick Ohlsson) and Bruckner’s Fourth. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., April 11, noon Fri., April 12, 8 p.m. Sat., April 13. REEM KELANI A concert of Palestinian music and stories. Town Hall, 1119 Eighth Ave., townhallseattle.org. $25. 8 p.m. Fri., April 12. NORTHWEST SEAPORT CHANTEY SING Tom Rawson leads this rousing sing-along. Center For Wooden Boats, 1010 Valley St., nwseaport.org. Free. 8 p.m., Fri., April 12. SAVE AS . . . SEE EAR SUPPLY, PAGE 18. BAROQUE NORTHWEST Flashy virtuoso pieces by Bach, Quantz, and other composer/performers. Trinity Episcopal Church, 609 Eighth Ave., 920-3822, baroquenorthwest.com. 7:30 p.m. Sat., April 13. CAPPELLA ROMANA Renaissance choral music from Iberia. Holy Rosary Church, 4139 42nd Ave. S.W., 800-4948497, cappellaromana.org. $22 and up. 8 p.m. Sat., April 13. OPUS 20 STRING QUARTET Named after a set of groundbreaking Haydn works, they’ll play him, Mozart, and Beethoven (the rousing op.59 no.3 with its guaranteed-standing-O finale). Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts.org. $15–$30. 7:30 p.m., Sat., April 13, 3 p.m. Sun., April 14. SEATTLE REPERTORY JAZZ ORCHESTRA Ellington and more in “Jazz of the Harlem Renaissance III.” At Benaroya Recital Hall, Third Ave. and Union St., 7:30 p.m. Sat., April 13, and Kirkland Performance Center, 350 Kirkland Ave., 3 p.m. Sun., April 14. $41. srjo.org. THE ESOTERICS The choir opens its 20th season with music inspired by Carnival, Bill Moyers, the Iraq War. St. Joseph’s Catholic Church, 732 18th Ave. E., 8 p.m. Sat., April 13; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 2 p.m. Sun., April 14. $10–$20. theesoterics.org. INDETERMINACY/EMPTY WORDS SEE THE WIRE, PAGE 15. THALIA SYMPHONY Mendelssohn’s “Reformation” Symphony and lighter pieces by Saint-Saens and others. Town Hall, 1119 Eighth Ave., thaliasymphony.org. $15–$20. 8 p.m. Sat., April 13. SEATTLE SYMPHONY CHAMBER MUSIC From SSO players, music by Ravel, Stravinsky, and others. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, seattlesymphony.org. $37. 2 p.m. Sun., April 14. OCTAVA CHAMBER ORCHESTRA With the Seattle Bach Choir, two Handel anthems, plus Bach and Haydn. Maple Park Church, 17620 60th Ave. W., Lynnwood, octava chamberorchestra.com. $5–$15. 6 p.m. Sun., April 14. OPERA ON TAP Favorite arias and ensembles in informal venues. In tonight’s show, “My First Time,” artists sing arias they’ve never done before. Comet Tavern, 922 E. Pike St., operaontap.com. $5. 6 p.m. Sun., April 14. SHARON ISBIN A performance by the acclaimed guitarist. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $35. 7:30 p.m. Tues., April 16. CRAIG SHEPPARD Debussy’s Etudes and other piano works. Meany Hall, UW campus, 543-4880, music. washington.edu. $12–$20. 7:30 p.m. Tues., April 16. TOKYO STRING QUARTET Breaking up at the end of this season, they’ll play Mozart, Auerbach, and Ravel in their Seattle farewell. Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$38. 7:30 p.m., Wed., April 17. UW SAXOPHONE NIGHT Classical and jazz pieces for soloists and ensembles. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Wed., April 17.

•

Low Priced Preview April 25 By William Shakespeare | Directed by Aimée Bruneau

Mar. 13–Apr. 7, 2013 Performed at the Playhouse

Ticket Office: 206-733-8222 www.seattleshakespeare.org

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• •

MAY 8 I 8 PM I THE PARAMOUNT THEATRE GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

STGPRESENTS.ORG

Elvis_Weekly_Quarter.indd 1

EST. 1928 9TH AVE & PINE ST 3/13/13 12:23 PM

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

der keg that needs to go off. Sam (G. Valmont Thomas) and Willie (Kevin Warren) have worked for Harold’s mother in Port Elizabeth since Harold (or “Hally”) was a tot. As graceful Sam and clumsy Willie prepare to compete in a ballroom-dance competition, late-adolescent Hally (James Lindsay) badgers them between bouts of family crisis about his father coming home from the hospital. Clearly the two “boys” have been his real father figures, particularly Sam. But now that Hally’s on the verge of adulthood himself, his own repressed shame, anger, and self-loathing transform into vicious racism before our eyes. The final recovery of equilibrium comes at a high cost to everybody, like the necessary cleanup after a bombing, and it feels more emotionally informative than a hundred books on apartheid. Off goes the galaxy of globe lights, on comes the jukebox’s pink glow—as dreamy as a future that can’t come soon enough. M. Burke Walker directs. MARGARET FRIEDMAN West of Lenin, 203 N. 36th St., westoflenin.com. $12–$20. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 21. MOISTURE FESTIVAL In its 10th year, this annual variety circus offers something for everyone. At night, consenting adults can enjoy burlesque performances by familiar local acts. GWENDOLYN ELLIOTT Hale’s Palladium, Broadway Performance Hall, and SIFF Cinema Uptown; see moisturefestival.org for full schedule, venue, and performer info. $10–$22. Ends April 14. THE PRETTY WONDERFUL CLUB An improvised John Hughes-style ’80s movie. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends April 27. SMUDGE TV writer Rachel Axler (The Daily Show, Parks and Recreation) attempts to put a darkly seriocomic spin on an abnormal birth—a couple delivered of a baby with one eye, no limbs, and questionable genitalia—to strangely little effect. When the baby arrives, Colby (Carol Thompson) rejects it emotionally, while Nick (Ash Hyman) tries to connect with it, a plausible dynamic. But as he returns to work (at the U.S. Census bureau, cleverly nested into the picture window of Devin Petersen’s livingroom set), leaving Colby alone with the baby, weird poltergeist-like lights and sounds begin to suggest that the child (never seen outside its I.V.-bag-decorated bassinet) is demonic or the mom is crazy. Director Erin Kraft and cast make a sportsmanly effort on behalf of the flimsy, understructured 2010 text, but the tonally erratic parade of one- or two-beat scenes seldom elicits more feeling than a random episode of The Office. The edgy subject matter is not what’s offensive about Smudge, but rather its refusal to let anything authentically human take root in it. MARGARET FRIEDMAN Washington Ensemble Theatre, 608 19th Ave. E., washingtonensemble.org. $15–$25. 7:30 p.m. Thurs.–Mon. Ends April 22. TEATRO ZINZANNI: DINNER AT WOTAN’S It’s Ragnarok eve, aka the final battle of good vs. evil, and Wotan and the rest of the Wagnerian pantheon are ready to par-tay! Wall-to-wall music—”Norwegian Wood,” Grieg, The Police, Carmina burana, and Queen—seasons the five-course dinner spread out leisurely among the impressive acrobatic acts and nudge-nudge shtick. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 8020015. $106 and up. Runs Thurs.–Sun. see dreams.zinzanni. org for exact schedule. Ends May 12. TRAILS In this new musical, Seth (Joshua Carter) and Mike (Dane Stokinger) are childhood friends now grown and walking the Appalachian Trail in order to put their gradually revealed past behind them. (Kirsten deLohr Helland is the strong-willed Amy, the focal point of that past.) Yet thanks to Christy Hall’s book and Eric Ankrim’s direction, all those flashbacks are masterfully paced and dramatically effective. All I found problematic about the show was Jeff Thomson’s score, which brings in only hints of the roots music you’d expect—most strongly in songs performed by longtime Seattle theater MVPs John Patrick Lowrie and Bobbi Kotula. I left wondering why a show so rooted in a specific, real place did so little to evoke it. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $22–$63. Runs Wed.–Sun., see villagetheatre.org for exact schedule. Ends April 21. (Then moves to Everett Performing Arts Center, April 26–May 19. THE TRIAL SEE REVIEW, PAGE 16. THE WHIPPING MAN SEE THE WIRE, PAGE 15.

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arts»Visual Arts B Y G W E N D O LY N E L L I O T T

Openings & Events • BELLTOWN ART WALK Every second Friday of the

month, the neighborhood galleries (including Roq La Rue, NorthWest Woodworkers Gallery, Form/Space Atelier, Art/Not Terminal Gallery, and others) and nongalleries (Cyclops, Black Bottle, Bedlam Coffee, etc.) extend their hours so you can check out work by local artists. See belltownartwalk.net for details. Second Friday of every month, 6 p.m. ROBROY CHALMERS Sporozoan Lore is his collection of mixed-media work and assorted sculpture. Note 6-9 p.m. opening reception, during the West Seattle Art Walk, Thurs., April 11. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net, Opens April 11, Mon., Weds.-Fri., 11 a.m.-6 p.m.; Sat., Sun., 11 a.m.-5 p.m. Through April 30. A DECADE OF DISCUSSION This group show collects select pieces from six artists and their 10 shared years of critique as a support group for one another. Featured are: David Owen Hastings, Ruth Hesse, Iskra Johnson, Stephen MacFarlane, Tracy Simpson, and Jon Taylor. Opening reception: 7-9 p.m. Fri., April 12. Phinney Neighborhood Gallery, 6532 Phinney Ave. N., 783-2244, phinneycenter.org, Opens April 12, Mon.-Fri., 9 a.m.-9 p.m.; Sat., 9 a.m.-2 p.m. Through May 1. FIGURAL In this group show, Lorin Humphreys, Harold Nelson, Doug Parry, Jason Sobottka, and Eric Swangstu “explore a variety of metaphoric approaches of painting and collage as a language to express form and content.” Opening reception: 6-8 p.m. Fri., April 12. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org, Opens April 13, Sat., 11 a.m.-5 p.m.; Tues.-Fri., 11 a.m.-6 p.m. Through May 25. GALLERY TOUR AND ART-MAKING CLASS Part of a six-session class, this event offers guided gallery tours and art-making experiences for individuals with dementia and their care partners. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Wed., April 10, 2:30-4:30 p.m. GEORGETOWN ART ATTACK April’s showcase features M. Anne Sweet’s feminist themed art and Betty Jo Costanzo’s Lake Chelan-inspired oil paintings at Equinox Studios, works by contemporary American cartoonist Dash Shaw at Fantagraphics, encaustic demos at Waxing Impressions, and much more. Afterward, you’re encouraged to continue the evening

•

ONE GIRL. ONE DREAM. ONE CHANCE.

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

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

•

N LIVE O E ! S TA G

APRIL 16-21 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org Priority seating and discounts for groups of 10 or more, call: 888.214.6856 Tickets available through Tickets.com and select Ticketmaster locations. Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

TheFussyeye » by brian Miller

Keep the Change

Take my money! Why won’t you take my money? In case you haven’t noticed, our economy is moving to a frictionless, cashless system. We pay by debit card, smartphone, or Bitcoin. So while the old paperand-penny iconography is rich in Love Me Tender, this group show of some two dozen artists is disappointingly dated. It was way back in ’95 that costumer Lizzy Gardiner wore her gold AmEx dress to the Oscars, but you won’t find anything so contemporary here. The pyramid and Masonic eye, the dead presidents and serene monarchs, the obsolete weights-and-measures— all that has been replaced by 1’s and 0’s now.

at any number of watering holes along Airport Way, including Jules Maes, 9 Lb. Hammer, and anyplace else you care to bend an elbow. Second Saturday of every month, 6-9 p.m. KIRKLAND ART WALK Howard/Mandville and other galleries are represented at this free monthly event. Second Saturday of every month, 6-9 p.m.

•

NORTHWEST WATERCOLOR SOCIETY 73RD OPEN INTERNATIONAL EXHIBITION Selected by juror

Mark Mehaffey, the show features paintings by international artists. Reception, 6-8 p.m. Thurs. April 25. Mercer View Gallery, 8236 S.E. 24th St. (Mercer Island), 275-7609, mercergov.org, Opens April 15, Mon.-Fri., 6:30 a.m.-9 p.m.; Sat., April 20, 8 a.m.-10 p.m.; Sun., April 21, 11 a.m.-6 p.m. Through May 31.

SPINNING YARNS: PHOTOGRAPHIC STORYTELLERS Some two-dozen artists explore

photography as narrative. Grace Weston also delivers a lecture, The Lie That Tells the Truth, at 6:30 p.m. This follows the artists’ reception, 6-8 p.m. Thurs., April 11. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org, Lecture Tickets $8-$10, Mon.-Thurs., 11 a.m.-10 p.m.; Fri.-Sun., 12-8 p.m. Through May 28.

Museums

KAREN BIT VEJLE Scissors for a Brush is the

Norwegian artist’s collection of intricate paper cuts. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org, $4-$6, Tues.-Sat., 10 a.m.-4 p.m.; Sun., 12-4 p.m. Through June 16. CHAMBER MUSIC The 36 Seattle-based artists in this show each created new work, spanning a range of styles, in response to musical compositions based on James Joyce’s Chamber Music. In concurrent show 36 Chambers, Frye staff selected paintings from the permanent collection. Frye Art Museum, Through May 5. NICOLAI FECHIN Who is Nicolai Fechin? The Russian figurative painter (1881–1955) was belatedly associated with the Munich Secession movement, which later inspired the Fryes to start collecting. Fechin was also one of the lucky few to attract American patrons and a visa in 1923. Here he enjoyed some success with his thick-daubed oil portraiture; he was basically a society painter who dabbled in rustic and ethnographic scenes. Fechin was also, briefly, a figure of the American avant garde, a slinger of wild, unruly paint. If you squint within inches of one of his crusty canvasses, the smiling girls, Mexican landscapes, and peasant scenes fall away. You’re left with the pure interplay of color, divorced from form. Step back again from, say, Portrait of a Young Woman (1912), and the girl regains her beauty. Fechin never quite transitioned to the emerging art scene of his adopted homeland. BRIAN MILLER Frye Art Museum, Through May 19.

Money no longer has an image or heft. Even the elusive, trend-setting Banksy feels left behind with his Di Faced Tenners, which allude to Princess Di’s marriage and death (now decades behind us). The problem may be that money is a metaphor for everything, at any time. And currency’s time is past. While you can admire Mark Wagner’s Push Broom, its bristles made of old, rolled U.S. paper bills, what is it supposed to clean? Wall Street? Collateralized debt obligations? Subprime mortgages? As if. Greenbacks are now seen as a nuisance, dirty to the touch, obsolete. PAVEL ZOUBOK GALLERY Wagner’s Broom might sweep all that monetary filth away, but the ink remains on our fingers, even as we punch in our ATM codes. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. 11 a.m.–5 p.m. Tues.–Sun. (open to 8 p.m. Fridays). Ends May 26.

film»This Week’s Attractions Band of Sisters

PBlancanieves OPENS FRI. APRIL 12 AT SIFF CINEMA UPTOWN. NOT RATED. 104 MINUTES.

social-climbing wicked stepmother Encarna is played by Maribel Verdú (Y Tu Mamá También) with scheming, sadistic glee. There’s also a band of dwarfs with a gypsy bullfighting act and a poisoned apple, but the fairy-tale elements end there. In the enchanted corrida, amnesia-struck Snowhite becomes a matador in her own right, an adored heroine and Prince Charming all at once. Berger plays the melodrama big, and Verdú vamps it for all she’s worth. Venom drips from Encarna’s smiles. Her eyes burn with excitement as she turns the adorable, eternally optimistic Carmen into a scullery maid and her chauffeurturned-lover into an obedient dog—complete with leash. No one is going to mistake this selfaware silent film for a period classic, but Berger’s creative energy and inventiveness more than justify the retro appropriation. Berger’s previous Torremolinos 73, seen at SIFF ’04, mixed Franco-era repression and ’70s pornography with a perfectly sweet romantic comedy. Blancanieves skips the politics for fleeting dreams of corrida glory, yet they’re at the mercy of money and greed. More powerful than Encarna’s wickedness is the predatory grip of a dodgy agent with an exclusive contract. The show is all, which is the tragedy of this tale. Blancanieves ends not with a cheer but a tear. SEAN AXMAKER

The End of Love RUNS FRI., APRIL 12–THURS., APRIL 18 AT GRAND ILLUSION. NOT RATED. 90 MINUTES.

Mark Webber, the young writer, director, and star of The End of Love, has an easy, believable rapport with the 2-year-old who plays his son in the film. For good reason: Isaac is his real-life son. Webber here plays a slightly skewed version of himself, a struggling actor in Los Angeles raising Isaac by himself after his wife dies in a car accident. Isaac and Mark sleep in the same bed, eat mac and cheese together, and give each other Magic Marker tattoos. Mark patiently tries to answer the tot’s barrage of questions: Do you dream about trains? Are you afraid of snakes? Why’s this car so warm? What’s dying? When Mark takes Isaac to the cemetery (which Isaac knows as “the park with flowers”) and pours out his feelings to his wife’s grave, Isaac squealing in his arms, the scene is heartrending. Meanwhile, Mark is behind on his rent

and stalled in his career. At an audition with Amanda Seyfried (Les Misérables), he forces out his lines over the sound of Isaac chattering and crying. “This is so embarrassing,” he whispers. Later, at a party at Michael Cera’s house, surrounded by a cadre of hip, successful comedians like Parks and Recreation’s Aubrey Plaza and New Girl ’s Jake Johnson, the desperate Mark lies about landing a part in Paul Thomas Anderson’s new film with Ryan Gosling and James Franco, symbols of the sexy, in-demand career that eludes him. (In reality, Webber has appeared in films including Scott Pilgrim vs. The World and The Hottest State.) What finally brings Mark down to Earth is Lydia (Shannyn Sossamon, A Knight’s Tale), a single mom with a swingy, chin-length bob who takes an interest in him. Whether the blundering yet sympathetic Mark deserves her love is open to question. (Another question is how much of the film is autobiographical; Webber wrote it after splitting with his son’s mother, who’s still very much alive.) Full of raw and confessional feeling, The End of Love moves slowly yet affectingly. Its listless pace adds to its sense of real, unfiltered life. ERIN K. THOMPSON

PGimme the Loot OPENS FRI., APRIL 12 AT VARSITY. NOT RATED. 81 MINUTES.

As they complain about HBO’s Girls today, as people have long complained about Woody Allen, New York isn’t a city comprising only

Walking and talking: Washington and Hickson.

neurotic white people whining about their relationship troubles on the sidewalk. Adam Leon once worked on Allen’s sets as a PA, and he clearly heard those complaints. His promising debut feature follows two teen graffiti artists from the Bronx to Manhattan and back during one long summer day. Malcolm (Ty Hickson) has a plan to “bomb” (i.e., tag) Shea Stadium, home of the hated Mets. Sofia (Tashiana Washington) points out that they lack the $500 necessary to bribe the stadium groundskeeper. What follows is a charming, picaresque adventure to gather the loot—petty efforts at crime that invariably result in comic bungling and blame. (“Google how to pick a lock!”) During its course, Malcolm loses his sneakers and potcourier job, Sofia loses her bike, and both begin to sense feelings stronger than their fellowship in Krylon. Although they can explode into mighty fits of trash-talking (both to each other and to rivals), there’s no real heat to these tirades, their words as exaggerated and colorful as their graffiti lettering. Long walking-and-talking scenes with Malcolm and Sofia do recall Allen, but this is Spike Lee’s city, with white privilege on the periphery. Leon doesn’t insist this is a lifechanging day for his two teens, but it’s an odyssey of small, meaningful moments. BRIAN MILLER

Starbuck OPENS FRI., APRIL 12 AT SUNDANCE CINEMAS AND LINCOLN SQUARE. RATED R. 108 MINUTES.

Who doesn’t love children? And more children means more love, right? In this very broad, sentimental French-Canadian comedy, a 40-ish schlub named David (Patrick Huard) once used the code name “Starbuck” to make donations at the sperm bank. Two decades later, it’s revealed that the clinic used his sperm exclusively—meaning the still-anonymous David now has over 500 college-age offspring. A graying layabout bachelor with an impatient girlfriend, debts, and a job delivering meat for his family’s butcher shop, David is clearly unfit to be a father. You can see where this is going. The unknown Starbuck becomes a huge tabloid story. His kids file a class-action suit to reveal his identity. David is aghast, then curious about his heirs, whom he secretly begins to visit and befriend. (“I can be their guardian angel!”) Each child creates a vignette for David to demonstrate his shaggy, bungling decency: There’s a soccer star, an actor, a heroin addict, a wheelchair kid with cerebral palsy, and so forth. To fight the lawsuit, David enlists his best friend and

» CONTINUED ON PAGE 22

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

The obvious comparison to Pablo Berger’s inventive retelling of Snow White as a silentmovie melodrama, set in the 1920s bullfighting scene of Seville, is The Artist. Both channel the international language of silents for modern viewers, and both have been embraced by audiences and lavished with awards. Blancanieves comes stateside with 10 Goya Awards, Spain’s answer to the Oscars. The similarities end there. Berger draws from different inspirations—grand melodrama, flamenco, circus fantasy, and toreador worship— and mixes them with silent-film conventions and contemporary storytelling. Think Blood and Sand by way of Victor Sjöström and Pedro Almodóvar, with a modern, empowered heroine. That heroine—called “Snowhite” in one mashed-up word—is Carmen (Macarena García), the all-but-abandoned daughter of a crippled bullfighter (Daniel Giménez Cacho). Her

Verdú casts an evil spell.

IFC/SUNDANCE SELECTS

The new pope grabs the headlines, but what about all those less-famous nuns? Toiling away to serve the poor, protesting the expulsion of undocumented migrant workers, tending to AIDS patients, founding hospitals, lobbying politicians, building low-income housing, picketing the School of the Americas, organic farming, podcasts . . . well, there’s pretty much nothing nuns can’t do in Mary Fishman’s very admiring documentary. Some rather charming archival footage and stills show the liberating effect of the 1962–65 Second Vatican Council, which allowed nuns to drop their old attire, leave their convents and cloisters, and serve the needy. “We didn’t have Volunteer Corps or Peace Corps or anything like that,” says one gray-haired Chicago nun. For a good Catholic girl of that era, serving mankind was a nobler, grander alternative to simply serving a husband. One can’t help but share Fishman’s esteem for these (mostly) older women; they’re practical Catholics working down in the trenches among the downtrodden. (No miters or bishop’s hats for them!) Still, given the context of the church’s childsex-abuse scandals and the gerontocracy ruling the Vatican, to say nothing of abortion rights and contraception, Band of Sisters keeps to a rather narrow, cloistered perspective. We see the good works, but secular women can do good works outside the church, too. No numbers are given for the large number of nuns who abandoned the church entirely during the ’60s and ’70s; we only get one anecdotal case. That women can’t be Catholic priests is an injustice, as the film notes, one that potential new initiates are likely to reject along with the church’s institutional sexism. There are very few young nuns in Band of Sisters, which lends the doc a Last of the Mohicans vibe. Any woman who came of age in the ’60s will recognize the liberal ideals that suddenly washed through American convents. (Fishman’s interest doesn’t extend abroad or to stricter sisters.) One has to wonder, however, if any nuns will be left in the 2060s. (Note: Sister Nancy Sylvester will attend the 7 p.m. screening on Saturday.) BRIAN MILLER

COHEN MEDIA GROUP

RUNS FRI., APRIL 12–THURS., APRIL 18 AT NORTHWEST FILM FORUM. NOT RATED. 88 MINUTES.

‘‘ A

REMARKABLY E K LY. C O M / S I G N U P NATURAL ANDDI N I NGW W W. S E AT T L E W EWE EK LY UNAFFECTED FILM ABOUT FRIENDSHIP.’’ Roger Ebert, CHICAGO SUN-TIMES

film»

MUSIC

EV ENT S

PR OM O T IONS

ENTERTAINMENT WEEKLY

JONATHAN DEMME PRESENTS

F IL M FILM NEWSLETTER The inside scoop on upcoming films and the latest reviews.

A FILM BY ADAM LEON

EXCLUSIVE ENGAGEMENT STARTS FRIDAY, APRIL 12TH LANDMARK THEATRES VARSITY THEATRE 4329 UNIVERSITY WAY N.E. (206) 632-64125 SEATTLE

GIMMETHELOOTMOV IE.COM

Seattle Weekly

FROM THE ACADEMY AWARD -WINNING DIRECTOR OF Wednesday, 4/10 ®

“sluMDOG 1col(2.33)x4 MIllIONAIRE” AND “127 HOuRs”

HHHH

“

sExY, suspENsEFul,

AND A DAzzlING bRAIN-sCRAMblING MYsTERY.” EMpIRE

james

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

McaVoy

ViNCeNT

Cassel

Happier in memory: Affleck and Kurylenko.

Film » FROM PAGE 21 attorney (Antoine Bertrand), a chubby, hectored father who says his kids have destroyed his life. There’s never any doubt as to how these antics will resolve, since David is a good guy from start to finish. How do you say mensch in French? Or Apatow, for that matter? The American remake could star Jason Segel as David (with the kids a little younger), and I’m seeing John C. Reilly as the lawyer (unless Jonah Hill gains the weight back). But what about casting those 500 mothers? Don’t worry, Starbuck doesn’t consider a single one. BRIAN MILLER OPENS FRI., APRIL 12 AT EGYPTIAN. RATED R. 113 MINUTES.

rosario

dawson

a danny boyle film

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Though booed at its Venice Film Festival premiere, Terrence Malick’s To the Wonder is hardly awful. It’s minor Malick, a movie that plays like something cut from his grand 2011 The Tree of Life—scraps, but worthwhile scraps. To the Wonder is essentially a love triangle, a very slow love triangle, among Neil (Ben Affleck), an Oklahoma environmental engineer, and two women. Neil’s job is to measure the damage man does to God’s creation, and the most eloquent scenes consist of him trudging through toxic mud and slag heaps, monitoring groundwater contamination, and talking to alarmed locals about pollution in their poor neighborhoods. In the background we see the prairie being scraped and prepared for more ugly suburbs—so hateful to Malick, that poet of the grass. At first I thought this was another antifracking movie, though it begins with Neil’s vacation in France. There he meets single mother Marina (Olga Kurylenko), a lively Parisian with a 10-year-old daughter. Marina and Neil wander ecstatically around Mont Saint-Michel, that soaring medieval monastery ringed by tide flats, jumping on wet sand that undulates like a trampoline, marveling at the mud-cupped incoming waters. It’s achingly beautiful, one of a few priceless Malick images in the film (photographed by Emmanuel Lubezki). Climbing the stairs to a cloistered garden is to ascend “to the wonder,” Marina muses in voiceover. Back in Oklahoma, however, the wonder disappears from their new romance. The two

quarrel, and Neil turns to his high-school sweetheart, Jane (Rachel McAdams). In the dreamy, elliptical scheme of To the Wonder, the exact sequence of falling in and out of love doesn’t really matter. It’s the pauses amid the relentless rush of time that count for Malick, as when Neil and Jane visit a buffalo herd at sunset. They’re awed, as are we, to feel the woolly presence of lost history, the prairie’s ancient ambassadors, the pinnacle of a prehuman tree of life (rather like the dinosaurs in Tree of Life). And yet nothing much happens in To the Wonder. All Malick’s signatures are there (fingers in the grass, hushed spiritual whispers, sun flares, etc.), but the stakes feel smaller than Tree of Life’s family tragedy and final God-blessed reunion. Neil is just a guy who can’t commit to love, not unlike Father Quintana ( Javier Bardem, in a thankless, poorly integrated role), the local priest who can’t find his faith anymore. “Show us how to seek You,” he implores. We’ve heard it before, and recently, in Tree of Life. To the Wonder ultimately feels like a catch-up project from a man suddenly worried about meeting his earthly quota before climbing to the wonder himself. BRIAN MILLER

PTrance OPENS FRI., APRIL 12 AT GUILD 45TH AND OTHER THEATERS. RATED R. 104 MINUTES.

Hypnosis is a hoary old plot device at the movies. Add to that that Danny Boyle is here remaking an English TV movie from 2001, and Trance wouldn’t seem very promising. But the director of Trainspotting and Slumdog Millionaire is always determined to be modern, abreast of the latest fads, and he packs this amnesiac crime tale with iPads, cell phones, slick images (by cinematographer Anthony Dod Mantle), gunfire, Google searches, explosions, and full-frontal nudity. Hypnosis or no, we keep watching the enjoyably twisty Trance—always the case with Boyle’s nervy, propulsive tales, even when the material wears thin (see The Beach, A Life Less Ordinary). And if you get lost in the serpentine plot, fear not; the film is ultimately simpler than it seems. The hypnotee, if we can call him that, is Simon ( James McAvoy), who works in a posh London auction house. When a Goya goes on the block, he tells us, it could fetch 27 million pounds (about $41 million). But instead that painting is stolen in a brazen, well-planned art

film» Dr. Elizabeth (Dawson) and the purloined Goya.

@seattleweekly METRO 10 SEATTLE SUSIE ALLNUTT/FOX SEARCHLIGHT

Upstream Color OPENS FRI., APRIL 12 AT SIFF CINEMA UPTOWN. NOT RATED. 96 MINUTES.

Those who loved Shane Carruth’s 2004 debut Primer for its technobabble—and who

thought his consulting on the time-travel blockbuster Looper signaled more hard sci-fi from the experimental filmmaker—are bound to be disappointed by his follow-up feature. Upstream Color maintains the gauzy style of its predecessor and exists in the same disorienting, dreamlike world. But there is no gadgetry at play here. Instead, Upstream Color is a love story involving two deeply damaged individuals. Divorced financier Jeff (Carruth) is a recovering junkie with a criminal history. Broke sign-shop employee Kris (Amy Seimetz) is a heavily medicated lost soul with trust issues. Their attraction, more than physical, seems to be based on the fact that neither is completely responsible for his or her downfall. Rather, a parasitic grub is to blame. Complicating matters is a pig farmer who freelances as an audio engineer and who might be God, or maybe Jeff ’s creepy boss. Thoreau’s Walden plays a big part, too. Yeah, it’s complicated. But that’s Carruth’s style. With Primer, that style resulted in a small but devoted following of fans obsessed with the film’s difficult architecture, transmitted through rapid jump-cuts and a mumbling engineer played by Carruth. Though some claim to have cracked Primer’s code, most filmgoers were rewarded with confusion and eye strain. That’s not the case with Upstream Color, which isn’t an exercise in obfuscation; pay attention and you’ll discern a coherent narrative. But that attention is sometimes a challenge to maintain. Upstream Color is a surreal work, and Carruth tells his story with rapid-fire jump-cuts, a depressed economy of words, and an ethereal electricpiano score (also by Carruth) that is unnerving at times and unrelenting always. It’s difficult to discern whether the film’s lo-fi cinematography, jolting pace, and oddly dry-sounding overdubbed dialogue are stylistic choices by a groundbreaking filmmaker on a tight budget or the result of a still-green artist groping to understand his medium on a tight budget. What is clear is that Carruth is a much better storyteller than Primer indicated. Upstream Color’s ending is clumsy and obvious, more PSA than avant-garde, but the somewhat patronizing coda makes it clear that Carruth has something more to share than confusion.

MARK BAUMGARTEN E

film@seattleweekly.com

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There is no charge to text 43KIX. Message and data rates from your wireless carrier may apply. Text HELP for info, STOP to opt out. Winners will be chosen at random and notified by Mon, 4/15 at 5 PM. THIS FILM IS RATED R FoR SExuAL conTEnT, SoME gRApHIc nuDITy, LAnguAgE, vIoLEncE AnD DRug uSE - SoME InvoLvIng TEEnS. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit two passes per person. Each pass admits one. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted)and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

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IN ThEaTErS aprIl 19 th

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

heist, despite the security Simon describes in such keen detail. His knowledge makes us suspicious, but Simon gets bashed on the head with a shotgun for trying to protect the Goya—surely he can’t be a bad guy, can he? The hypnotist is Elizabeth (Rosario Dawson), an American abroad, whom Simon picks at random on the Web for treatment. His problem is this: Simon may or may not be a bad guy, who possibly stole the painting himself or possibly double-crossed the thieves he was aiding. Either way, because of the brain injury (seen in a glowing PET scan), he can’t remember where he hid the Goya. It’s a very clever premise, compounded with themes of trust and betrayal. After trying to torture Simon, the thieves, led by Franck (Vincent Cassel), have no choice but to try, with Elizabeth’s help, to hypnotize Simon into recalling the Goya’s location. Boyle and his writers keep the surprises coming (and then some), though Trance boils down to a noir-ish love triangle among Simon, Elizabeth, and Franck. The Goya gradually recedes in importance; this is a story about not art but the tangled impulses of greed, love, and loyalty. In many ways, it’s an upscale cousin of Boyle’s 1994 Shallow Grave (whose screenwriter, John Hodge, here adapts Joe Ahearne’s original teleplay). Each of the three main players has their skin ripped back to reveal new personalities and agendas. Elizabeth (and Dawson) bares the most, which may seem exploitative to some. I would argue, however, that women have the upper hand in Trance. In a film that constantly loops us back to question prior scenes (are they real or hypnotic states?), there’s a Russian-doll layering of veracity and hypnotic suggestion. (Hint: When someone gets shot, they may not be dead.) But Elizabeth is always the architect, planting bits of code among the dumb male thieves. She’s the queen, and they’re her drones. When the malevolently smiling Simon asks, “I have free will, don’t I?”, Boyle leaves the question unanswered. Do the miserable, confused figures in Goya’s Witches in the Air have any say in how they’re depicted? No. Only Goya pulls the strings. Or Elizabeth. Or Boyle. BRIAN MILLER

Best Movies - No TV Commercials

“Groundhog Day remade by Buñuel.”

film»

Indiewire

SHOWTIMES April 12 -18

BY BRIAN MILLER

SINGIN’ IN THE RAIN Fri, Sun & Mon @ 7:00pm

Local & Repertory • AIRPLANE! This 1980 Zucker-Abrahams-Zucker

sendup of all airplane/disaster flicks was a huge and hugely quotable hit in its day. The jokes aren’t so fresh now, but you can admire the deadpan of Leslie Nielsen, Robert Hays, Peter Graves, and company. And surely we’re not joking about that. (PG) Egyptian, $8.25, Fri., April 12, 11:59 p.m.; Sat., April 13, 11:59 p.m.

THEY LIVE

Fri, Sun & Mon @ 9:30pm

FIREFLY TRIVIA NIGHT Tues@ 7:00pm

BONEBAT COMEDY OF HORRORS FILM FEST

Several shorts are introduced by the hosts of the popular podcast. See bonehand.com for more info. (R) Central Cinema, $30, Sat., April 13, 2 p.m.

Night & Day Film Noir Series:

THE KILLING

Wed @ 7:00pm & 9:30pm

WAXIE MOON IN FALLEN JEWEL Thurs @ 8:00pm

CINE INDEPENDIENTE: DISCOVERIES FROM ARGENTINA Five recent titles are shown by upcom-

ing Argentine filmmakers. See nwfilmforum.org for full schedule and details. (NR) Northwest Film Forum, $6-$10, April 12-14. CRISIS OF CIVILIZATION Discussion follows Dean Puckett advocacy doc, which offers a critique of neoliberal ideology. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., April 12, 7 p.m. FLOATING ENERGY: THE FILMS OF NATHANIEL DORSKY The avant-garde San Francisco filmmaker

206.324.9996 siff.net

NOW PLAYING: Fri AprUptown 12–Thu Apr 18 At the

BLANCANIEVES

Winner of 10 Goyas, a silent movie retelling of Snow White—with matadors!

UPSTREAM COLOR

From Shane Carruth, director of Primer At the Film Center

Held Over!

ROOM 237

will attend and introduce two packages of his short movies. (NR) Northwest Film Forum, $6-$10, Wed., April 10, 8 p.m.; Thu., April 11, 8 p.m. GREY GARDENS MIMOSA BRUNCH The Maysles brothers’ 1976 documentary Grey Gardens, inspiration for the current stage musical running at ACT, is paired with their 2006 sequel, The Beales of Grey Gardens, essentially comprising footage not used in the original (both Big Edie and Little Edie were dead by then). Brunch is served between the two. (NR) SIFF Cinema Uptown, $10-$15, Sun., April 14, 11 a.m. THE ISLAND PRESIDENT With his island nation of the Maldives islands threatened by rising sea levels, President Mohamed Nasheed lobbies the international community for assistance in this acclaimed 2011 documentary by Jon Shenk. Adding to the drama is a coup that sends him to jail. (NR) Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Sat., April 13, 2 p.m.

•

TRUFFAUT: • JEAN-LUC GODARD AND FRANÇOIS Though Jeanne FRENCH NEW WAVE MASTERS

Moreau is top-billed in François Truffaut’s 1968 The Bride Wore Black, it takes a good 15 minutes to figure who the hell the film is about. Two douchey bachelors, one about to wed, discuss their various female conquests the way hunters compare trophy animals. Then there’s the wedding, which Moreau’s enigmatic Julie crashes, and where the new husband experiences an abrupt change in marital fortune. Adapting the crime novel by Cornell Woolrich, Truffaut proceeds through two murders before, in flashback, Julie’s exact mission is explained. Her five targets grant Moreau a chance to play five different roles, since each is an imposter seeking to get close to the intended. She is by turns a schoolteacher, a tramp, an artist’s model, and so forth. You can’t say that Bride is a particularly personal film for Truffaut (or Moreau), but each chapter offers the chance to savor how each successive d-bag is lured and skewered, as it were, by an instrument of vengeance. With four decades’ distance, Bride satisfies by siding so firmly with Julie against these self-satisfied playboys (politician, artist, mobster, etc.). It’s very much a ‘60s film, but French male sexism is obviously more entrenched, and unchanging, than the so-called sexual revolution. Julie is, in a way, an avatar of true love, a wronged woman determined to do right—but by killing for the sake of honor in a corrupt new world. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), $8 individual, Thursdays, 7:30 p.m. Through May 30.

Special Event Sat Apr 13 & Mon Apr 15 | Uptown

National Theatre Live in HD

Opens Apr 12 | Uptown

PEOPLE

The story of Jackie Robinson: the man who made the number famous.

SIFF Cinema Uptown FREE VALIDATED

SIFF Film Center

511 Queen Anne Avenue North PARKING Seattle Center | Northwest Rooms from 6pm weekdays / 10am weekends | Parking passes available at box offi ce

Sun Apr 14 | Uptown

GREY GARDENS MIMOSA BRUNCH

Enjoy the cult classic documentary with mimosas and tasty tidbits.

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

SEATTLE WEEKLY PROMOTIONS

ENTER TO WIN A COPY OF THIS IS 40 Blu-Ray & DVD Combo Pack

ENTER TO WIN TICKETS TO SEE THE BEST OF BOTH WORLDS Thursday, April 25th at 7:00 PM

AFRICAN AMERICAN FILM • LANGSTONFiftyHUGHES features and shorts will be screened FESTIVAL

over nine days, beginning with a repertory presentation of John Sayles’ 1984 The Brother from Another Planet (7 p.m Fri., $25), with star Joe Morton and Mayor Mike McGinn in attendance. Concluding the fest on April 21 will be the latest from director Robert Townsend, In the Hive, written by local playwright Cheryl L. West (Pullman Porter Blues). Both will also attend the fest. Langston Hughes Performing Arts Center, 104 17th Ave. S., 684-4758, langstoninstitute.org, $5-$10 individual, $50-$150 pass, Runs April 13-21.

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

•

MY AMITYVILLE HORROR Previously the subject of an

unlikely hit suspense flick from 1979, “based on a true story,” this new documentary interviews surviving family members who resided there. (NR) Grand Illusion, $5-$8, Fri., April 12, 11 p.m.; Sat., April 13, 11 p.m.; Mon., April 15, 9 p.m. SINGIN’ IN THE RAIN SEE THE WIRE, PAGE 15.

• THE SOUND OF SILENTS WITH A SIDE OF • In this hybrid evening of cabaret/burlesque SCHTICK

performances by Moisture Festival talent, nine short films will be screened, with Harold Lloyd and director Georges Méliès represented from the silent-film era. New scores will be performed live for those, along with some newer shorts. The live performers include Kevin Joyce, Avner the Eccentric, Dr. Calamari & Acrophelia, Paul Nathan, and Sandy Neale. (NR) SIFF Cinema Uptown, $15-$20, Thu., April 11, 7:30 p.m. THEY LIVE! In the satirical horror of John Carpenter’s They Live! (1988), aliens have taken over the planet and conspired with yuppies to keep the working man—championed by wrestler Roddy Piper—in his place. Mind control is achieved through coded TV and advertising that Piper can discern, along with the aliens, thanks to magical eyeglasses. But it’s also the economic structure that has him living in a crowded Hooverville. And the film’s bleak end, like that of Carpenter’s The Thing, implies the system will prevail. (R) BRIAN MILLER Central Cinema, $6-$8, April 12-14, 9:30 p.m.

Ongoing

ADMISSION Based on a 2009 campus novel by Jean

Hanff Korelitz, Admission contains a clutch of topical issues that Tina Fey might’ve expanded much further and funnier. (Unfortunately, she’s only acting here, not writing.) Fey plays Portia, an admissions officer at Princeton locked into a childless long-term relationship with a feckless academic (smug weakling Michael Sheen, too short on screen time). Seemingly bound for a thin envelope is shy, brainy senior Jeremiah (Nat Wolff), a scholarship student at an artsy-fartsy prep school. His teacher John (Paul Rudd) is pushing him toward Princeton, but with an ulterior motive. In swift succession, Portia becomes a very biased booster for Jeremiah, a flustered crush object for John, and a maternal figure to the latter’s son, a precocious 11-yearold orphan adopted by his single father. Fey could probably pen an entire sitcom season from these elements, but Portia feels like more of a paycheck role for her. Likewise, Rudd coasts lazily on his charm. (PG-13) BRIAN MILLER Kirkland Parkplace, Cinebarre, Pacific Place, Thornton Place, Oak Tree, others CHASING ICE Jeff Orlowski’s beautiful yet sobering documentary visits the world’s rapidly melting ice caps. His guide is James Balog, a renowned nature photographer who has become obsessed with documenting the staggering speed with which the icebergs of Greenland, Iceland, and Alaska are crumbling into the sea. Orlowski films as Balog and a small team of young scientists go on a mad mission to embed dozens of time-lapse cameras into the rock walls above various ice fields. Those cameras take one image every hour, and when Balog and his team, known as the “Extreme Ice Survey,” assemble the footage, they discover that glacier fields the size of Lower Manhattan are receding at an astonishing rate. (NR) CHUCK WILSON Ark Lodge Cinemas DJANGO UNCHAINED In Quentin Tarantino’s blood-spattered historical tent show, set in antebellum Dixieland, Jamie Foxx stars as the captured runaway slave Django. He’s given his freedom by an unlikely savior: a German-American bounty hunter (Christoph Waltz) who trains Django to become his partner. Together, they make their way toward a sprawling Mississippi plantation known as Candyland, where Django’s wife (Kerry Washington) is owned by a brutal, foppish master (Leonardo DiCaprio), abetted by his old house slave (the astonishing Samuel L. Jackson). Wagnerian hellfire ensues, though Tarantino’s true reference point is a century of Hollywood cinema’s failure to engage with the ugly realities of the “peculiar institution,” from Gone With the Wind to Spielberg’s Lincoln. Like all of the best pop art, Django Unchained is both seriously entertaining and seriously thoughtful, rattling the cage of race in America onscreen and off. Tarantino earned his second Oscar for the script. (R) SCOTT FOUNDAS Meridian, Admiral FROM UP ON POPPY HILL Produced and co-scripted by Hayao Miyazaki and directed by his son Goro Miyazaki, this is a gentle, somewhat slight story of student life and young love in early-’60s Japan. As the country looks to bury its wartime history and show the world a modern new face at the 1964 Tokyo Olympics, these students are determined to hold on to the past

•

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SEATTLE WEEKLY • AP RI L 10 — 16, 2013

by saving their old, neglected clubhouse (known as The Latin Quarter) from demolition. Nothing like a cause to spark a sweet, utterly chaste high-school romance between sunny young Umi, a teenage girl who’s running her family boarding house and looking after her siblings, and student leader Shun, until unexpected complications halt their blossoming relationship. The English-dubbed cast, which includes Anton Yelchin, Gillian Anderson, Christina Hendricks, Aubrey Plaza, and Bruce Dern, is appropriately understated. But behind the idealized, picaresque coastal village of Yokohama is a postwar culture of absent parents, self-sufficient kids, and adults uncomfortable acknowledging (let alone discussing) the past. (NR) SEAN AXMAKER Majestic Bay, Sundance Cinemas, Bainbridge, Meridian NO Mad Men for a different era, No is basically the true story of two rival 1988 ad campaigns—one for Chilean dictator Augusto Pinochet, the other for “happiness,” according to René Saavedra (Gael García Bernal), the advertising hotshot with a very difficult client. Outside Chile, international pressure has prompted Pinochet to offer a national referendum on his rule. After a 27-day TV blitz, voters can vote either Sí (thus keeping Pinochet) or No (bringing in a new coalition government). René and his boss Lucho consider it a rigged contest, yet René is lured into running the No campaign—perhaps less out of ideology than his simple desire “to win,” as he puts it. (Lucho will later lead the Sí campaign.) All this is true in outline, but director Pablo Larraín and his writers embellish history and devise a funny, effective series of fake ads and jingles for both campaigns. René can be seen as the Roger Ailes of his day, a guy who packages ideology irresistibly. His ads show picnicking families, spontaneous dancing in the streets, golden beaches, and smiling faces. Those who remember our Reaganite ’80s will recognize the same sunny spirit; No cleverly inverts that era’s hemispheric politics. You’re left with the enjoyable dissonance between messenger and message. Never mind politics. Once the referendum is over, René will have soap operas and appliances to sell. (R) BRIAN MILLER Guild 45th

THE PLACE BEYOND THE PINES Luke (Ryan Gosling),

THE SAPPHIRES Dreamgirls meets Rabbit-Proof Fence.

•

a tattooed, muscled motorcycle stunt rider in a traveling circus, is a bad boy—just the way you like them. But then Luke discovers that a former one-night stand (Eva Mendes) has a toddler-aged son. Suddenly he turns paternal. He quits the circus, tells Romina he wants to settle down, to take care of her and the kid. Luke is now both the bad boy and the tender father—the perfect guy, except that he has no job skills but motorcycle riding and, taught by a new mentor, bank robbing. Derek Cianfrance’s drama turns out to be a much larger and longer ensemble piece, one that eventually skips 15 years forward from its initial story. One of Luke’s stickups is interrupted by anambitious young cop with a law degree, Avery (Bradley Cooper), who has an eye on politics. Luke turns out to be a useful stepping stone to that career. Fifteen years later, however, Avery will have to reconsider the debt he owes Luke’s family. But only the early crime scenes have any spark to them. (R) BRIAN MILLER Harvard Exit, Sundance ROOM 237 Sometimes a cigar is just a cigar. So goes the quote so often attributed to Freud, but it’s hard to make that case for coincidence and happenstance in the films of Stanley Kubrick. Rodney Ascher’s documentary explores five uniquely different and obsessively catalogued perspectives on Kubrick’s 1980 The Shining. It’s about the genocide of the American Indian, argues Bill Blakemore, pointing to the prominence of Native American art (and Calumet baking powder) in certain frames. Geoffrey Cocks sees it as a metaphor for the Holocaust. Ascher doesn’t make fun of his Shinologists, who lay out their theses in voiceover (no talking heads here), or the five detailed, obsessively catalogued exegeses under consideration. Each obsessive interpreter is granted their own area of expertise in the Kubrickian details. Ascher mostly plays it straight, illustrating the commentary with films clips and using slow motion, step frames, split screens, and visual effects to render the evidence under consideration. Ascher adds his own commentary using clips from other Kubrick films for counterpoint or comic effect. (NR) SEAN AXMAKER SIFF Film Center

During the late ‘60s in the outback, on a sunny, cheerful farm, three Aboriginal sisters sing in exquisite harmony. In addition to folksongs voiced in their own language, they have a fondness for American country music—because we’re all reading from the same grand, globalist sheet music of humanity, aren’t we? As our story begins, Cynthia, Gail, and Julie are suffering indignities of local talent shows, where their talents are scorned by racist judges. Shambling onto the scene with a hangover and untucked shirttails is roving musician/talent scout Dave (Chris O’Dowd). He whips them into an R&B group, adds cousin Kay, and takes them to entertain the troops in Vietnam. Based on a true story (and previously a stage musical), The Sapphires is not a movie to dwell on racism, injustice, or wartime violence. Every season needs a mom matinee, something that brings an easy smile and doesn’t require a wad of tissues. The Sapphires is that kind of movie. (PG-13) BRIAN MILLER Seven Gables SIDE EFFECTS Steven Soderbergh is a total filmmaker who handles his own camera, but is only as good as his script. And this big pharma/crime tale by Scott Z. Burns is not a great script. Yet it starts out smartly enough, as Emily (Rooney Mara) waits for her husband Martin (Channing Tatum) to be released from jail after a four-year term for insider trading. Understandably, Emily is depressed, and she’s on a lot of pills. Her new shrink, Dr. Banks (Jude Law), provides suicidal Emily with modest meds and a sympathetic ear. Then he enrolls her in a clinical trial that will, conveniently, provide him some much-needed extra income. Disaster follows. As Side Effects becomes a medical-legal procedural, with lawyers, courtroom testimony, and flashbacks, you could imagine a different set of actors—perhaps Fred MacMurray and Barbara Stanwyck—in an older, black-and-white version of the same script, with the same enjoyable plot twists. Side Effects ultimately feels like a remake. And if that’s the way Soderbergh chooses to end his career, fine. Side Effects embodies the pleasures of the familiar, if not the discoveries of his past. (R) BRIAN MILLER Meridian

PLAYBOOK If you took the fight• SILVER LININGS The Fighter, David O. Russell’s previous

ing out of movie, you’d be left with a close, fractious family like the Solitanos of his hugely appealing new Silver Linings Playbook. Instead of Boston Irish and boxing, we have Philadelphia Italian and the Eagles. The family patriarch (a fine, restrained Robert De Niro) is an OCD bookie bound by strange rituals to the team; his wide-eyed wife (Jacki Weaver) is the nervous family conciliator/enabler; and their volatile son Pat (Bradley Cooper, wired) is fresh out of the nuthouse with a restraining order from his ex. But Pat is looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Russell’s pell-mell approach perfectly suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany (the Oscar-winning Jennifer Lawrence), who’s even more titanic in her instability than Pat. (R) BRIAN MILLER Oak Tree, Cinebarre, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 7815755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 7815755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

food&drink»

Room Service, Please

At Cedarbrook Lodge’s ritzy restaurant, the fine dining is just fine, but the bar menu is divine. BY HANNA RASKIN

JOSHUA HUSTON

reduction which tasted juice-box sweet—just weren’t very good. Better to stick with the fairly interesting and surprisingly affordable wine list, which has just been expanded to include Old World wines.

he cocktails turn out to be a warm-up for the workout that Copperleaf offers the taste buds charged with picking up sugary flavors. Young chefs are often excessively fond of sweetness, and Bodinet, 29, is no exception. The red-onion marmalade underlying a beautifully cooked slab of bubblegum-pink steelhead trout could have doubled as a dessert topping, while a ritzy riff on breakfast featuring a hunk of pork belly shouldered by cinnamon silverdollar pancakes was overwhelmed by a maple sabayon. Glistening cranberries lent a pop of tartness to a wintry thicket of pale fried chicken wings

An extravagant bill can make an eater feel richer, since there’s something distinctly Rockefellerian about trading cash for bliss. and spongy French toast, but a butternut-squash purée and candied pecans upset the sweet/savory balance. All too often, Copperleaf ’s dishes are just one element away from rightness: A heap of creamed leeks and asymmetrical mushrooms brought welcome color and contour to the sweetbreads they buttressed, but a thick prune glaze knocked the dish back up the sweetness scale. Split roasted parsnips didn’t need both a swirl of Meyer-lemon sauce and plump Sultana raisins, although a garnish of salty sturgeon caviar helped. While Copperleaf ’s menu is nagged by conceptual issues, the cooking is technically accomplished: Few visionary chefs can can grill a lamb saddle or New York strip quite so skillfully. Still, as we knifed the $48 steak, our eyes kept darting to a racily tall and beefy burger sitting untouched on a bar table a few yards away. From our vantage point, it looked terrific. E

hraskin@seattleweekly.com

COPPERLEAF RESTAURANT & BAR 18525 36th Ave. S., SeaTac, 214-4282, cedarbrooklodge.com. 11:30 a.m.–2 p.m. & 5:30–9:30 p.m. daily. Happy hour: 4:30–6:30 p.m. Tues.–Fri.

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

here are two ways you can drop $250 at Cedarbrook Lodge, the former Washington Mutual conference center that Coastal Hotels in 2009 converted into SeaTac’s snazziest address. You could buy a $2.75 light-rail ticket, take the Link to its southern terminus, and ring up the hotel, asking the desk clerk to send a complimentary shuttle van. (Pro tip: Should you be forced to wait in the snow, wind, or rain, you can bide time by riding up and down in the station elevator.) Fewer than 45 minutes after leaving downtown, you’ll be striding across the sanded and polished ruddy wood-plank footbridge leading to Cedarbrook’s front door. Inside, beneath a soaring ceiling held aloft by stout timber posts, are more wood planks; elongated sheet-glass windows, free of grubby fingerprints; floor tiles in sandbox hues; and stiff brown leather easy chairs. The two-level lobby Copperleaf resides in the lobby of isn’t exactly throbbing with personality—with a Cedarbrook where executive chef few proclamations on the wall, the room could Mark Bodinet, bottom left, prepares probably pass for a county administration building technically accomplished dishes like this in a well-off corner of the Pacific Northwest—but lamb saddle, bottom-right. the acreage out back is suitably green and serene. It’s no surprise bankers got contemplative here. If you wish to contemplate something no more taxing than a happy-hour menu in the ground-floor bar, you’ll find marked-down wine and a snack with a single-digit price tag. The selection changes according to the day, but on Thursday afternoons, $28 gets you two plates of chicken wings—served with pickled homegrown carrots, celery hearts, and a splash of buttermilk ranch—and a couple of glasses of a white blend from Dusted Valley’s second label. On a typical April Thursday, a deluxe queen room goes for $172.17 including tax, which means you can spend the night and have $40 left to blow on an experience that surely belongs in the upper echelons of Seattle date possibilities: needs is music, whether piped-in strings or a live dinners. Since I’d wager a majority of Seattleites You could order a Dungeness crab sandwich and pianist: On the weeknight we visited, the only are equally strapped, I felt justified in sizing up the Painted Hills bacon cheeseburger sent to your soundtrack was conference attendees shuffling restaurant on a special-occasion basis.) room and still afford the light-rail journey home. between meeting rooms and the bar. Alternately, you could shrink the itinerary, lightThe mood’s further diminished by overbooked have no Marxist quarrel with expensive railing and shuttling directly to dinner at Cedarservice. It appeared our luckless server was hanrestaurants. On the contrary, I was eager to brook’s supposedly fancy-schmancy restaurant, dling all seven occupied tables, with a skimpy visit the three-year-old Copperleaf, which support staff available to help her clear plates and Seattle Weekly has never before critically Copperleaf (the formality of the food telegraphs keep water glasses filled. Most of her time was assessed, because I genuinely believe the best the venue’s ambitions, even if its in-lobby locadedicated to reeling off ingredient recitations, fine-dining restaurants offer better value than tion distorts the message). Two five-course tasting since nearly every Copperleaf plate has three or any other outlet scrounging for leisure dollars. menus with wine pairings will set you back $220 four components with a locavore back story that Even if you hopscotched from plus tax and tip, bringing the the restaurant’s raring to share. Even the oblong a spa to an art museum to a total to $282, not counting » PRICE GUIDE musical revue, you’d be privy to rolls come from Kent’s Wild Wheat Bakery, transportation. PARSNIPS .................................... $14 although they’re served so cold and hard that the only a fraction of the hospitalSo which strategy’s the FRENCH TOAST ......................... $14 SWEETBREADS .......................... $18 regional homage seems like a gimcrack alternaity, artistry, and entertainment better deal? Not one of the STEELHEAD.................................$28 LAMB ............................................ $30 that nightly unfolds in extraor- tive to freshly made bread. 10 dishes I sampled at CopIn accordance with a slightly more recent dindinary dining rooms—and perleaf would keep me from ing trend, Copperleaf ’s issued a “homegrown you’d still be hungry. At the packing a bag and countcocktails” list, which still had a Yuletide sheen right restaurant, an extravagant bill can make an ing on room service. Under executive chef Mark eater feel richer, since there’s something distinctly on the first day of spring: Nearly half the drinks Bodinet, who this spring was longlisted for the were designed to be served hot, and the remainRockefellerian about trading cash for bliss. James Beard Foundation’s Rising Star Chef of ing concoctions ran heavy on currants, apples, Copperleaf, though, doesn’t brook fantasy. the Year award, Copperleaf ’s kitchen is producing and candy-cane sugar. But seasonal inappropristringent, meticulous food. But, sadly, my meal was There’s an electric fireplace for ambience, and ateness was the program’s lesser shortcoming: every dark wooden table is set with an eggplantmost memorable for its cost. (While I typically The drinks—including an off-kilter mix of sized frog garden ornament and a wheat stalk visit a restaurant under review at least twice, my bourbon, sherry, vermouth, and a vanilla-apple alongside each menu. What the room badly budget isn’t compatible with multiple Copperleaf

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up. These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

City of Seattle PIKE PLACE MARKET

JASMINE THAI 1530 Post Alley, 382-9899. A simple

market spot serving familiar Thai: phad Thai, garlic chicken, green and red curries. New owners dropped Jasmine’s old Moroccan-Thai fusion, but they’ve added a tasty turmeric-rubbed grilled chicken with rice and green salad. Small consolation, some would say. $ MARKET GRILL 1509 Pike Place, 682-2654. This market stand, its U-shaped counter always mired two deep in customers, specializes in four, maybe five kinds of seafood sandwiches a day. That means there’s just one guy on the grill, toasting buns and flipping fish, and he’s done it so many times that week that he can sense exactly how it should be done, time after time. The halibut, salmon, cod, and prawns all come from City Fish, just down the hall, and they’re grilled to that elegant point between moist translucency and flakiness, then blessed with grilled onions and your choice of rosemary mayo or tartar sauce. If you’re famished, start with a cup of clam chowder, made with lots of dill and just the right amounts of potato and salt. $ PIROSHKY-PIROSHKY 1908 Pike Place, 441-6068. There’s a reason piroshkies originated in frosty Russia; fillings like potato and cheese, sauerkraut, smoked salmon, and lamb and onion are a piping-hot reward for making it through the snow and then the thick, buttery bread shell. Every culture seems to have its

BestofVoracious » by Sonja GroSet

Shaking Things Up

own bread-with-filling concept, but the miraculous piroshky is by far the heartiest, most satisfying version. If you could curl up like a dormouse and sleep in Piroshky-Piroshky from November till March, we bet you would. $ PROCOPIO 1501 Western Ave. Ste. 300 (Pike St. Hillclimb), 622-4280. Procopio’s owner, Brian Garrity, snagged the recipes for 350 exquisite flavors of the Italian frozen dessert (don’t call it ice cream) from a Milanese gelato master. Better still, he uses fresh, all-natural ingredients and makes everything on site. When this spacious downtown dessert-and-espresso joint, equipped with a patio, dubs itself Seattle’s best gelateria, it’s hard to disagree. Hours vary with the season (and sometimes, it seems, with the phases of the moon); if you’re not going to be in the neighborhood anyway, call ahead. $ SOUND VIEW CAFÉ 1501 Pike Place Ste. 501, 623-5700. Unwind at a window table and study the cool blue of Puget Sound, the Olympics reaching impossible heights, and ferries sailing to and fro across the water. It’s undeniably breathtaking. Turn around to see who’s accompanying you and you’ll find a flock of tourists happily chowing down on sandwiches and studying their guide books. Sound View Café serves breakfast all day; the restaurant also offers unremarkable soups and sandwiches. $

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ents: salted black licorice, tamarind, blackstrap molasses. She includes your basic chocolate, strawberry, and banana, but shares a recipe for a strawberry sauce that makes her shakes even smoother and more flavorful, and adds milk powder to all her shakes to make them extra-creamy. Her dark-chocolate shake uses a combination of cocoa powder and chocolate ice cream for the chocolatiest results. There’s more to this book than milkshakes, like recipes for apple pocket pies, baconoatmeal-raisin cookies, and salted peanutbutter cookies (both these cookies are recommended for icecream sandwiches). There are recipes for shake add-ins and sauces that can also be used for sundaes— strawberry syrup, salted caramel sauce, lemon curd, brandied cherries—and unique toppings like smoked chocolate chips, candied lavender, and rye-flake crumbles. Martin is also offering demo classes (three of her favorite shakes, plus ganache and caramel sauce) at Hot Cakes, 5427 Ballard Ave. N.W. The hour-long classes are $40 and include a signed copy of Malts & Milkshakes and a jar of Hot Cakes’ signature smoked chocolate chips. Classes, limited to 10 participants, are scheduled for 4 p.m. Saturdays through May 11. To reserve a spot, call Hot Cakes at 206-420-3431. E

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Autumn Martin opened her Hot Cakes Molten Chocolate Cakery in Ballard nearly a year ago. Martin is justly famous for her desserts in jars, but the shop includes a menu that extends from s’mores, cookies, and cakes to milkshakes and malts, some boozy. In her new cookbook, Malts & Milkshakes, Martin shares 60 recipes for the title drinks as well as the molten chocolate cakes that made her famous, plus ice cream, various toppings, and cookies. The introduction to this book is straightforward: Martin believes that if you use quality all-natural ingredients, the results will be delicious. She shares six quick tips for a perfect shake every time (for example, use chilled glasses), and recommends which type of blender to use. The book’s appendix lists sources for some of the recipes’ more obscure ingredients: essential oils, coconut-milk powder, and rye flakes. Otherwise, a quick trip to the supermarket will get you everything you need. Milkshakes are probably the first dessert I made for myself—so simple, a kid can make them. What sets Martin’s milkshakes apart are the interesting flavor combinations and ingredi-

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food&drink»Featured Eats QUEEN ANNE

PONTI SEAFOOD GRILL 3014 Third Ave. N., 284-3000.

A picturesque waterside patio is meant to relax a restaurant’s guests, but a feeling of sloth seems to have spread to the kitchen at Queen Anne’s Ponti Seafood Grill, a 30-year old institution on Seattle’s Ship Canal. On a recent visit, salad greens were brown and wilted; clams were overcooked and a tuna steak was limp and flavorless. Cooking problems were compounded by clumsy servers who committed elementary mistakes: Even at entry-level restaurants, it’s gauche to use multiple bottles to fill a single glass of wine and meet a request for more bread by dumping the contents of one plate into the plate already on the table. At a restaurant where entrees average $30, it’s unforgivable. Still, promgoers and other celebrants flock here. $$$ RACHA NOODLES & THAI CUISINE 23 Mercer St., 281-8883. Dishes that look to Western eyes to be wholly traditional actually feature the chef’s heretical personal twists on tradition. The grilled salmon ($15.95) risks a powerful saucing of pounded hot chilis and garlic swimming in lime juice and fish sauce, but the salmon comes shining through, its sweet oiliness enhanced by the contrast. Every dish is delicious and the food will definitely keep you coming back for more. $$

RAINIER VALLEY

CAFE IBEX 3219 Martin Luther King Jr. Way S., 721-

7537. While Little Addis Ababa stresses homeland decor over nouveau design, Café Ibex determinedly plays the New World card. Sure, the food is traditional—colorful veggie and meat platters served on (and with) injera, Ethiopia’s spongy flatbread that doubles as a dining utensil—but the trappings scream Modern Restaurant Monthly. $

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RAVENNA & WEDGWOOD

PIES & PINTS 1215 N.E. 65th St., 524-7082. The name

of the place states its purpose, but this honesty is offset by the fact that P&P’s pies are only so-so. The underspiced curry pie and predictable burgundy beef pie do little to combat the stereotype of bland British vittles; still, a post-pie slice of Guinness

ALittLeRAskin » by Hanna Raskin

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

621 Broadway E. Seattle, WA 98102 206.324.3633

The Future Is Foodcasting A few years back, every food writer at the International Association of Culinary Professionals (IACP) conference was developing a blog. At this year’s annual gathering in San Francisco, the trendy in-theworks project being talked about is a podcast. And while many of them are painfully amateurish, Here and Now ’s resident chef believes sound could represent the next frontier in culinary coverage. “When’s the last time you heard someone talk about a great meal in terms of how it sounded?” Kathy Gunst asked in the introduction to an IACP conference session on food radio. “That’s the forgotten element. For us, everything is about sight and taste.” Gunst ticked off a list of immediately identifiable kitchen sounds, such as onions sizzling and celery being chopped. But she pointed out that many chefs have honed their aural skills still further, and challenged the industry’s journalists to do the same. “Jacques Pepin could hear from across the room if a chef had overcooked the meat or undercooked the meat,” she said.

chocolate cake with Bailey’s Irish Cream sweetens the pot considerably. Service is friendly and chatty, the atmosphere is warm, and kids abound despite the proximity of pints—the comfy 21-and-over bar area is in back, and fills up fast on weekends. $ SUNFLOUR BAKERY AND CAFE 3118 N.E. 65th St., 525-1034. Experience a countrified feel in the midst of Ravenna: finicky regulars, pastoral paintings, and an abundance of bright copper kettles. Known for its specialty baked goods and brunch, Sunflour also aspires to be a sophisticated dining spot. Enjoy a cheese plate and bottle of wine with dinner. The Alaskan sockeye was flavorful if slightly dry, though the mushroom ravioli in cream sauce was rich and festive. $ THRIVE 1026 N.E. 65th St., #A-102, 525-0300. Good food is like sunshine for the soul. Thrive is completely gluten-free, vegetarian, and extremely friendly toward those with other allergies as well. Aside from serving raw food in the cafe, they also teach classes, have a raw-food “immersion program,” and offer pricey getaway “cleanse and detox” programs at their Sedro Woolley Wellness Center. $$

UNIVERSITY DISTRICT

BURGERMASTER 3040 N.E. 45th St., 525-7100.

Compared to Dick’s, Burgermaster is a Seattle institution that gets very little love. And yet, there’s a lot to love at the Burg, namely its famously diverse menu, delicious Swedish pancakes, car window service (at some locations, anyway) and the sneeze guard on the salad bar. $ JEWEL OF INDIA 4735 University Way N.E., 523-5275. The lunch buffet is popular, especially on weekends, in part because it’s on the cheap side and in part because it’s fresh and colorful, with cool slices of marinated cucumber to counter the hearty kormas, biryanis, and pakoras stocked on the self-serve station. You can skip the middling chai and yawn at the Bollywood music, but the Jewel is a cozy place to chow down on the subcontinent’s greatest hits. $ MY SWEET LORD 5521 University Way N.E., 425208-5036. This Hare Krishna eatery is nothing if not unique. Meals are served free, though the cooks ask for donations, and nearly everything is vegan.

Evan Kleiman, who’s conducted 6,000 interviews for her KCRW program Good Food, underscored the importance of moving beyond only asking questions when covering food with a microphone instead of a keyboard. “Chefs are doers—they just do it, it’s a very physical activity,” she said. She added that’s especially true of the Scandinavian chefs whose work is now in vogue. “The taciturnity of the Swedish does not translate to radio very well,” she said. But Davia Nelson—one half of The Kitchen Sisters, a production team whose work is frequently broadcast on NPR—said elements such as music and structure can be just as important as what a chef or farmer says. “We’re always walking the line between heart and corn,” she confessed when asked about music selection. Yet Nelson and Nikki Silva continue to fool with songs and form, most recently finding a way to turn a Chez Panisse coffee-table book into an Audible.com download. They teased a narrative from a printed retrospective rife with photographs, menus, and invitation. “It’s not about the color of the food against the color of the plate,” Gunst said of well-executed food audio. “It’s about the story.” E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

Weekly_Gin_Ad_2-25-13.pdf

2/25/13

food&drink»Featured Eats The overarching culinary influence is Indian: soup, vegetable, curried rice, and salad. The soup du jour is often a simple broth filled with mushrooms and other veggies, while sandwiches tend to be hearty tofu concoctions served in homemade flatbread, with a delicious sauce. Real Change vendors talk politics with hipster kids as live drumming fills the background. $ PORTAGE BAY CAFE 4130 Roosevelt Way N.E., 5478230. There’s something about this spot in the U District that makes it feel as if the sun’s always shining. Maybe it’s the expansive topping bar that lets you put the final touches on your breakfast dish, or the organic menu that keeps guilt out of your morning indulgence. But no matter what dragged you in (and kept you waiting in the winding line outside), Portage Bay’s innovative twist on breakfast classics will make the trek more than worth it. With thick slices of French toast, pancakes, tangy benedicts, spicy herb-roasted potatoes, and chorizo sausages, the list of food choices is long and the unique tastes of each dish even more extensive. $

WALLINGFORD

KOZUE 1608 N. 45th St., 547-2008. Kozue, which has

developed a following for its remarkable qualityprice ratio, offers mostly staples—fairly unadventurous nigiri and rolls, tempura, teriyaki, and Japanese fried chicken and pork. Nothing gimmicky or fancy, just slightly Westernized sushi, tasty and freshly prepared. One of the most charming aspects of the restaurant is its eclectic dishware. Food is served on fish-shaped dishes; whole drinks are poured in attractive mismatched glasses. $ THE ROCKING WOK 4301 Interlake Ave. N., 545-4878. Despite blunt service, you can’t help but fall in love with the Wok’s spice and flavor explosions. The eggplant with basil practically melts in the mouth, and the crunchy honeydew shrimp, slathered in a delightfully gooey melon sauce, takes the taste buds on a tropical retreat. Traditional Taiwanese offerings include squid potage, stinky tofu with kimchee, and the popular (and veggie) thousand-layer pancake. $ WALLINGFORD PIZZA HOUSE 2109 N. 45th St., 547-3663. Situated snugly between two theaters, the pizza house was indeed a house before being converted, and the old living room is now the main dining area and the front stoop has become a deck for outdoor dining. The specialty here is Chicago deep-dish. Its trademark pie, the Dome, is best visualized as a topless calzone, or perhaps a bread bowl, with pizza fillings—er, toppings—baked underneath a mess of gelatinous, cheesy ooze. It’s heavy, ridiculous, and totally tasty. The Full-On is aptly named, with Canadian bacon, mushrooms, sausage, pineapple, green peppers, and onions. $

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LEE’S ASIAN RESTAURANT 4510 California Ave.

MARV’S BROILER 9808 16th Ave. SW, 763-1412. No one

will argue that Marv’s Broiler is the quintessential White Center dive. Dark and musty, it’s got a little bit of everything—pull tabs, a modest selection of draft beers, pool tables, a few TVs here and there. The booths are gunky and the only pinball machine is Elvira, Mistress of the Dark. The liquor shelf is notoriously disorganized: Grey Goose sits between a bottle of Goldschlager and De Kuyper Blackberry Schnapps. But the bartenders are friendly and pour HUGE shots. Plus, drinks at Marv’s are cheap: Shots of Jack Daniel’s are $5.50. A pitcher of Bud Light is $7.50. Busch, the crown jewel of shitty beers, is a mere FIVE DOLLARS FOR AN ENTIRE PITCHER, and not one of those lame mini-pitchers.

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BELLEVUE

BLACK BOTTLE POSTERN 919 Bellevue Way N.E.,

425-223-5143. The clean and polished version of its Belltown location, Bellevue Black Bottle Postern is unpretentious with an accessible wine list. The tavern offers 12 beers on tap and all kinds of house infused cocktails. The pub food makes good sharable plates, including seasoned broccoli and pillowy flatbread with kicky sausage, mozzarella, and dandelion greens. $$ OMA BAP 120 Bellevue Way N.E., 425-467-7000. Oma Bap doesn’t serve Korean food. The Bellevue eatery serves Korean-inspired food, which is all the more interesting. Oma Bap is structured like a Korean Chipotle: Staffers assemble dishes from a steam table stocked with brown and white rice, bulgogi, chicken, tofu, and spicy pork. It’s up to customers to add their own chili pepper paste, which Oma Bap has had to revise for neophytes’ tastes. The bibimbap has mushrooms and zucchini, purple cabbage, carrots, and lots of lettuce but the dish takes on a salad texture without a runny egg and extra sesame oil to bring the vegetable together. Like Subway, Oma Bap offers healthy food at an affordable price. $ RICE-N-ROLL 2039 Bellevue Square, 425-455-4866. Rice-n-Roll, with its lime-colored walls, tidy window counter, and sparkling tile floor, has “franchise me!” written all over it. A simple menu, friendly, lightningfast service, fresh fish, and low prices have made this sushi stop a standby for the downtown lunch crowd. The rolls, made when you order, are miles better than the typical drop-in sushi spot. The crunchy pickle and veggie rolls make a nice midday snack, and the “rainbow roll,” an eight-piece extravaganza of raw fish atop a crab-and-avocado roll, is a meal all by itself. $

1514 Pike Place Market Location #7 www.losagaves.net Call 206-504-0202 to place your order to go.

RACHA 13317 N.E. 175th St., 425-481-8833. Every single

dish is delicious at Racha. Its menu contains some Thai classics, like training-wheels versions of papaya yum and the notorious “Crying Tiger” yum, but the chef is also skilled at adapting Thai techniques to non-Thai ingredients with dishes like ahi tuna, a “savory lamb satay,” and a sweet, oily grilled salmon. Remember, Thai food’s not too hot if you eat it the way the Thais do, with lots and lots of glorious jasmine rice. Tell the kitchen to let ‘er rip. You’ll find you can not only take it, but you’ll keep coming back for more. $$ RISTORANTE ITALIANISSIMO 15608 N.E. Woodinville Duvall Pl., 425-485-6888. Come here for simple, pleasing fare—pizzas with olive oil-rich crusts or smoky eggplant parmigiana in a tangy, garlic-rich sauce. Try the veal scaloppine, thin and tender and dotted with pleasantly unsweet Marsala sauce. Finish with homemade gelato or tiramisu. $

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diner in function but not in form, George’s, with its red booths and brightly colored tiles, serves up classic breakfasts, lunchtime burgers and grinders, and straightforward American dinners. For the full George’s experience, try the Greek-inspired dishes, like a gyros omelet with gyro meat, tomatoes, and feta, or the moussaka for dinner. $-$$ PURPLE CAFE AND WINE BAR 323 Park Place Center, 425-828-3772. Purple Cafe’s ceilings are high and the room is filled with ironwork, votive candles, and a pretension-free atmosphere. Living up to the cafe’s name, the wine menu is extensive, offering mostly domestic selections but also a decent variety of imported wines from Europe and Australia. The appetizers are Mediterranean-influenced (lots of spreads, olives, and cured meats), while the entrées are mostly ItalianAmerican in genre (there’s a pizza and pasta menu). $

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S.W., 932-8209. Lee’s Asian, which harbors one of the original chefs from Wild Ginger, lists traditional Thai dishes alongside Sichuan entrees and Singapore noodles. The “duck with plum sauce and bao,” the rich salmon hot muk—thick pink fillets steamed in banana leaves and served in a red curry sauce—and seven-flavor beef (count them: lemongrass, chilies, basil, garlic, ginger, hoisin, and peanuts) are all favorites, but everything here is dependable. The downside is that it’s a true hole in the wall—your flip-flops won’t stick to the floor, but you might have to use your chopsticks to bat at a few flies. $ SALTY’S ON ALKI 1936 Harbor Ave. S.W., 937-1600. There are brunches all over the city, one for every palate, appetite, and budget, but in terms of sheer volume and variety—not to mention view—Salty’s is king. Carving tables of roast beef and ham are lined up next to waffle irons and French toast griddles. Around the corner there’s an omelet bar, a crepe bar, and a made-to-order pasta bar with lobster ravioli and sinful sauces. This probably won’t be the most cultured eating-out experience you’ve ever had, but you certainly won’t need to eat again for the rest of the day. $$$ SUPER DELI MART 9051 35th Ave. SW, 937-1442. The unassuming establishment (which bears an astounding resemblance to 7-11) is a mecca for some of the finest alcohol in town. Five or six beers are featured on tap behind the counter, where meaty, cheesy sandwiches on French rolls are also prepared. Two of the beers owner Min Chung plans to tap have never been tapped in the entire state of Washington. The deli hosts community tastings with brewery reps every two weeks, which consistently rake in around 100 attendees. $

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Reverb»

Duff McKagan Interviews Johnny Marr The former Smiths guitarist and solo artist talks about going home, Modest Mouse, and David Crosby’s bed. BY DUFF MCKAGAN

Marr: Hey, Duff ? McKagan: Hey, Johnny, how are you?

I’m very well, thank you. How’s it going?

Good. I think we could have just done this, me calling you. It’s pretty official this way, isn’t it?

Yeah, we’ve gotta be guarded. We’re being guarded by those who must be obeyed. But, nice to talk to you, man.

I feel like I know you, dude, because I’ve known [The Cult’s] Billy [Duffy] for so long, and he talks so favorably of you, and I know you guys are mates.

Yeah, likewise, Duff. I guess Billy’s the person I’ve known longer than anyone else. The neighborhood we grew up in was really cool, it was very working-class. We would just know and dissect about everyone who was making a record at the time, and I look back on it now and I think, wow, that was really quite a cool apprenticeship.

“Everyone would be trading riffs, almost like currency. If you could play ‘Rebel Rebel’ without sticking your tongue out, that was impressive.”

Joy Division were rehearsing in the room above my band, and they were scary guys just to look at because they wore old-men’s clothes. Very austere, grey, thrift-store stuff going on. Haircuts that looked like they just fought the Second World War. That was much scarier than someone who looked like one of the New York Golds or the Rolling Stones. It was so off-paced. My thing was getting invited to play with other bands, because I had the knack and a certain kind of facility. Certain things came easy to me, I guess, riffs that were going around at the time. Everyone would be trading riffs, almost like currency. If you could play “Rebel Rebel” without sticking your tongue out, that was impressive stuff. My family was obsessed with records, so as a little boy, my favorite toy was a little toy guitar. So I had a thing for the guitar much younger

What were those 45s?

The 45s were things like “Amateur Hour” by Sparks; “All the Young Dudes” by Mott the Hoople; all the T. Rex songs; and some of the songs by The Sweet, The Glitter Band. I guess in the U.S. it’s called bubblegum, but it was just regular chart music. I got very lucky because that very commercial music was really based on guitars. There were so many riffs and they followed that commercial single format. I was very young to start playing, but I was very serious about learning to play. I wasn’t necessarily isolating the guitar part—something done on an organ or a bass line, I tried to play it on the acoustic guitar. Still, when I write or play a song, I’m trying to play a whole record, really. Does that make sense? It totally makes sense. I grew up in the same sort of big musical family. As a kid, music was just this magical thing. You’ve moved back to Manchester, is that right?

I moved back from Portland deliberately. I knew I was into writing a big number of songs, which has resulted in this new record The Messenger. The Cribs were still touring, so I was playing with them at that time. I knew when I did get off the road, I would start writing that. There was a very, very kind of faint echo in the back of my mind; I didn’t try to overanalyze, but I recognized [it] as being enthusiasm to sort of catch the vibe that made me excited when I was a schoolboy and performing before the Smiths. I kind of just—almost on a kind of superstitious hunt—I thought, if I go back to the UK, Manchester particularly, that will get me closer to the vibe. I went on this intuition that these songs should be pretty exciting and up-tempo, good to play live, [in the] spirit of the sort of things that you liked when you were a kid. You’ve kept yourself really current. I’m sure that’s not something you’ve tried to do. You’re just doing your thing. I just really appreciate that about you.

Again, you know, something you’ll probably understand as a musician, but when I was invited to play with Modest Mouse, they were complete strangers to me. I took up that invitation somewhat skeptically, because I wasn’t

Playing with Modest Mouse “reminded me of when I was a kid.”

sure if it was going to work. After all the members convened—it’s a ragtaggle, strange bunch of people with odd kinds of instruments—I was sitting in the middle of the room working on the riffs, and I went: “I don’t know what this is, but I like working with these guys.” That reminded me of when I was a kid—when you’re not good enough to analyze or copy but you just plug in. I like to think that I never really lost that connection with that person.

When I was playing with the Cribs, they came to my studio—which is nice and big in the countryside—but then we went out to the warehouse in the industrial north, because I wanted to write and rehearse there. When we were moving all the gear into the service elevator together, I was thinking “We’re all the same, we’ll load the gear.” It doesn’t matter how many records we’ve sold, fans we have, or what we’ve so-called achieved.

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

You were sort of the anti-guitar hero. I’m just so fascinated by your guitar style. I know Manchester. I know what Billy Duffy has told me. I try to picture you guys in 1979 or whatever. I don’t know what you were listening to to get that sound.

than all of my mates. I would think about the shape of it and all of that—it wasn’t for the fame and fortune or getting girls or anything, I really just loved this little wooden guitar as a boy. I would always be upgrading that. Around 11, I was very keen to be able to write some songs on it and put songs together. I think the big influence on my playing was that was the same time I was able to start buying 45s with my money, and I am still obsessive about 45s. Both those things at the same time: being able to hold chords down and buying chart music of the day, which I am still not a total snob about.

CARL LYTTLE

Editor’s Note: With Johnny Marr coming to Neumos on April 15 to promote his new album, The Messenger, we dispatched SW columnist Duff McKagan to interview the former Smiths guitarist. It took professionals in New York and Seattle to get the boys in Manchester and Los Angeles together on the phone. Here’s what transpired:

» CONTINUED ON PAGE 34 33

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Reverb» » FROM PAGE 33 It’s a connection to who you were when you’re younger, and if that’s the main reason you do it, no one can take that away from you. That’s inspirational. I’m glad you’re around and doing it.

Well, thank you very much, man. How was writing the book? Did you enjoy that? Was it difficult?

It was tough, Johnny. I enjoyed it. It doesn’t sound like you go back in time and think about the old days of when you were 22, and I don’t either. I’ve got kids, and life just goes forward— you don’t have time to think about when you were 15 or when you were 25. Writing about the particular story I wrote about—kind of like how I fell into addiction and my way out—was rewarding, but I wouldn’t want to do it again.

I think I’m going to do it, but I’ll wait a couple years. But I can’t wait too long, ’cause I’ll start forgetting stuff.

You know, I didn’t write the stuff I forgot about. I kept it pretty simple. I didn’t try to dig through old tour books or any of that crap. I just wrote about what I remembered.

I guess [publishers] want me to give a load of dirt . . . obviously I’m not gonna do that. I’ve got a load of stories like yourself. I’ve played with so many different musicians, just casually. Whether it’s David Crosby on the end of his bed or hanging out with Keith Richards, all of that stuff. People are kind of

fascinated by it. I’ll tackle it one day in the not-too-distant future. I wanna do a couple more records, praise God. I’ll get that done, and then I’ll take some time out and do that. I’d love to hang out and shoot the shit. Also,

“It’s great for me to speak to someone who doesn’t say, ‘Hey, when’s your old band gonna reform?’ ” it’s great for me to speak to someone who doesn’t say, “Hey, when’s your old band gonna reform?” Johnny, I get the same interviews.

[Laughs] Let’s get together and catch up. I wanna see ya, and all the best to your family. Keep doing it, man. It’s great.

Cheers. Thanks, Johnny. E askduff@seattleweekly.com

JOHNNY MARR With Alamar. Neumos, 925 E. Pike St., 709-9467, neumos.com. $27 adv. 21 and over. 8 p.m. Mon., April 15.

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The Messenger

INTERNATIONALLY RECOGNIZED PROGRAMS FOR PEOPLE OF ALL AGES & ABILITIES

Johnny Marr is as relevant today as he was in 1982. BY DUFF MCKAGAN

TUITION ASSISTANCE AVAILABLE

The author applauds Johnny Marr’s ability to stay current.

PAVEL VERBOVSKI

about what and who influenced them. His wanderlust for musical exploration leads him just as strongly now as when he was a teen taking trains across Manchester to jam with some dudes he didn’t even know. Moving back home to Manchester in 2010 with his wife and family, Johnny got a large dose

When Marr talks about being as inspired to make music today as he was as a kid, there’s honest excitement in his voice. of the gravity and familiarity of returning to a place of comfort and invention. The songs for The Messenger were born on his trip home, and now he has been touring with this great band of his. Johnny Marr is the anti–guitar hero—an inventor, an explorer, and a guy who seems to fully “get it” as far as his place in the mix. He is a regular guy with an irregular past. I was glad and honored to have been able to have a chat with this affable and pleasant Manchesterite. E Duff McKagan is the founding bassist of Guns N’ Roses. His column runs every Thursday at seattleweekly.com/ music.

askduff@seattleweekly.com

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

nce in a while you get to talk to someone or have an experience that positively readjusts your own view of things. My phone conversation with Johnny Marr (the Smiths, the Cribs, Modest Mouse) was one of those experiences for me. Musicians talking to other musicians puts a different slant on the typical interview. It’s not necessarily better per se, it’s just more casual and full of surprises. With Marr, I was much more interested in just how the hell he keeps so current and fresh in his songwriting, and I wanted to know how he came upon his particular style of guitar playing. A “journalist” may have pestered Marr on other more tired topics (“Hey! When are the Smiths getting back together”?). The interview in these pages (see page 33), I believe, showcases a man dashing headlong into the still-mysterious and exciting arena of writing new songs and playing with musicians who inspire him. He is as excited about plugging in a guitar now as when he was 14 years old. When Marr talks about being as inspired to make music today as he was as a kid, there’s honest excitement in his voice—not the blasé and predetermined excitement of some veteran trying to simply “pimp” a new record. Johnny Marr is an original, and a damn fine gent. Marr had been living in Portland for some time during the Modest Mouse run. He jammed with that band because he was completely mystified

Reverb»Reviews

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Eternal Fair, The Horse That Carries the Wheel (4/16, self-released, eternalfair.tumblr.com): Led by vocalist Andrew Vait, EF delivers a full-length debut driven by classic-rock riffs, rolling percussion, and Vait’s knack for storytelling. Don’t miss the singer’s falsetto on “Michael John”—it’s epic in a Freddie Mercury kind of way. (Fri., April 12, Columbia City Theater) KEEGAN PROSSER

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Noel Brass Jr., “False Flag Scopes”

(out now, self-released, soundcloud.com/ noelbrassjr): The Afrocop keyboardist takes us on a journey that feels like the soundtrack to a space explorer’s first steps onto an alien planet. Like all Brass’ productions, you get the feeling he’s hinting at a less-than-utopian scenario. TODD HAMM

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LOCAL BANDS

Ganges River Band, Ganges River Band (4/12, self-released, reverbnation.com/thegangesriverband): Frontman A.P. Dugas’ vocals sound as though they were lifted straight off a dusty road in the Texas back country. And though his gravelly tone—recalling the easy-metered croon of Son Volt’s Jay Farrar —hails from the South (specifically Houston), this debut release, with the backing of his three-piece ensemble— from Randy Neil’s gently rolling pedal steel on “Winter All the Time” to the steady barroom twirl of “Sweet Anne Marie”—sounds right at home in Seattle’s burgeoning Urbanicana scene. (Fri., April 12, Tractor Tavern) GWENDOLYN

fit Curtains for You) break out on their own with this collection of lush, homegrown indie-rock melodies, complete with improvised percussion from household objects. (Sat., May 4, Fremont Abbey) AZARIA PODPLESKY

The Quiet Ones, Molt in Moments (4/11, Advance Records, soundcloud.com/thequiet-ones/molt-in-moments-1/s-uvwZ2): On their fourth album, you’ll hear Pavement, the Beatles, and Sonic Youth, but there’s something distinctly ’90s about the affair; it’s built on tight pop melodies, but distortion, screaming guitar solos, and jamming rock harmonies fill the spaces in between. (Thurs., April 11, Barboza) GE

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

Grynch & Budo, “Treadin’ ” 12" (4/16, Fin, getgrynch.com): On the self-titled A-side, Grynch tackles feelings of stagnation, while the B-side’s “So Far (Budo Remix)” swaps out Jake One’s original organ-laced instrumental (from the original on Grynch’s album Perspective) for a light Caribbean rhythm accented by electric keys and sunny guitar slides. TH

Haunted Horses, Watcher (out now, selfreleased, hauntedhorses.com): Riotous slaughter music that creeps under your skin, then delivers the teeth. (Fri., April 12, Black Lodge) TH

Mikey and Matty, Harbor Island (out now, self-released, soundcloud.com/mikey-andmatty): The Gervais brothers (of piano-pop out-

*Yeah, every release

IAN KNIPPEL

ELLIOTT

The Quiet Ones: More riot than quiet.

Seacats, Burger 7" (4/20, Fin, seacats.bandcamp. com): This 7" is best explained as a teaser for this power-pop five-piece’s forthcoming full-length. Both its tracks—the Weezer-lite “We Don’t Sleep” and the hokey country experiment “Hard Truth”—have been around a while (the former since 2009), and they sound insubstantial compared to “Wrecked,” the brawny first single from the new album. (Thurs., April 25, Columbia City Theater) ANDREW GOSPE

It is our intention to review every release issued by Seattle bands and local labels. We try to run reviews as close to release dates as possible. If your LP, EP, single, or mixtape has slipped through the cracks—or you wish to alert us to an upcoming release—please e-mail reverbreviews@seattleweekly.com.

El Corazon www.elcorazonseattle.com

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

WEDNESDAY, APRIL 10

FRIDAY, APRIL 12

KGRG & El Corazon Present:

AARON CARTER

with Chrystian, Truth Under Attack, Dylan Jakobsen, Matt Bacnis, and The Ninth Step Doors at 7 PM / Show at 7:30 PM. ALL AGES/ BAR W/ID. $17 ADV / $20 DOS / $70 VIP

THE MOMS

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with Week Of Wonders, Joyﬁeld, Service Animal, and Guests Lounge Show. Doors at 7 PM / Show at 7:30 PM. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, APRIL 13 (R)EVO Industries / (R)ETRO Faction presents:

with We Were Heroes, The Waywards, Foxhole Norman, and Guests Lounge Show. Doors at 7 PM / Show at 7:30 PM. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THURSDAY, APRIL 11

LA’S FAMOUS PANCAKES & BOOZE ART SHOW Over 50 Local Emerging Artists Exhibiting! 8 PM-2 AM. 21+. $5

mainstage

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super jam plays squeeze

SUNDAY, APRIL 14

KATE TURNER

El Corazon Present:

with Jessica Lynne, Cold Comfort, Spencer Carlson, and Guests Lounge Show. Doors at 7 PM / Show at 7:30. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, APRIL 12

THE CRYING SPELL

with Grid Hopper, The Adarna, JAR, and This Is Your Captain Speaking Doors at 7:30 PM / Show at 8 PM. ALL AGES/ BAR W/ID. $10 ADV / $13 DOS

HARD TIMES

featuring Hudson Falcons (NJ), Hurry Up And Die, The Triple Sixes, and Guests Lounge Show. Doors at 4 PM / Show at 6 PM 21+. FREE

THE PAT TRAVERS BAND with Agents Of Chaos, Danny

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The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

wanted:

Well rehearsed recording projects in search of a good home...

massy ferguson w/ the bgp SUN/APRIL 14 • 7PM & 9:30PM

portland cello project plays beck,

brubeck, and bach - selections from the beck song reader featuring laura gibson TUE/APRIL 16 • 7:30PM

zach fleury

w/ courtney marie andrews (cd release!) WED/APRIL 17 • 7:30PM

trace bundy THU/APRIL 18 • 7:30PM

simone dinnerstein and tift merritt in night FRI/APRIL 19 • 8PM

blame sally w/ erin corday next • 4/23 & 4/24 shuggie otis w/ jesca hoop • 4/25 john keister & brooks mcbeth • 4/27 oneman star wars trilogy • 4/28 sarah elizabeth charles / swojo • 4/29 bob schneider • 4/30 k’s choice (acoustic trio) w/ a fragile tomorrow • 5/1 chico pinheiro • 5/2 shemekia copeland w/ charles mack • 5/3 v contreras • 5/4 uncle bonsai • 5/5 hapa • 5/8 os mutantes w/ capsula • 5/9 seattle secret music showcase #13 • 5/10 paula cole • 5/11 lee oskar and friends orchestra • 5/13 david knopfler • 5/15 5/18 through the looking glass: the burlesque alice in wonderland • 5/21 lady rizo • 5/23 black stax

happy hour every day • 4/10 flip and fly / lushy • 4/11 jelly rollers • 4/12 ranger and the ‘re-arrangers’ / 4 outta 5 • 4/13 roy kay trio • 4/14 si limon • 4/15 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 4/16 singer-songwriter showcase with josh hoke, annie bethancourt & wildish • 4/17 istvan and farko / jeff crosby and the refugees TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SE ATTLE WEEKLY • APRI L 10 — 16, 2013

SAT/APRIL 13 • 8PM

Reverb»The Short List

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

JASON TANG

Tyler, the Creator

Eternal Fair

Molly Ringwald

WEDNESDAY, APRIL 10

FRIDAY, APRIL 12

MONDAY, APRIL 15

The Odd Future rabble-rouser is touring on the back of his third LP, Wolf, which has the bare sonic elements of a masterful, hard-as-fuck, second-hand, stoned-rap album. (He may not smoke, but his beats sound like they got stoned then chugged Red Bull.) As a producer, he’s head and shoulders above the bulk of today’s laptop jockeys, and he’s been gifted with one of the most identifiably grisly rap bellows ever, but it’s still hard to listen to him take such pleasure in forcing words like “bitch” and “fag” down your throat. He’s shock rap’s Peter Pan, and he’ll be damned if he’ll let any real people tell him not to make dream-world threats and illusionary crimes against humanity. Shit sure sounds good, but he’s only beginning to see the difference between realistically depicting harsh environments and fetishizing hateful slander. But, you know, it’s a party. So fuck it . . . right?

This is the release show for The Horse That Carries the Wheel, local psych-pop trio Eternal Fair’s full-length debut. The album expands greatly upon the happy sounds put forth on last year’s self-titled EP—so much, in fact, that it’s startling. Where their last offering was short and uneven in tone (though its high points, like “Billy Keep Your Head Up,” were fantastic), Horse presents thorough arguments, points, counterpoints, and artfully drawn progressions; the grand, looping turns taken both instrumentally and lyrically are stylistic brushes with My Morning Jacket, yet venture forth on their own terms. It’s a worthy debut, indeed, and paves the way for more great things to come. With the Hoot Hoots, Daniel Blue

There are crossover artists—Jennifer Lopez, Billy Bob Thornton—and then there is Molly Ringwald, one of the ’80s’ most typecast teen actors. For the iconic redhead to take on a new role—jazz singer, at that—verges on the unthinkable for some. But the star of such John Hughes classics as Pretty in Pink and The Breakfast Club is no one-trick pony. Her debut album, Except Sometimes, released earlier this month, shows considerable vocal ability as she croons jazz standards in a sultry alto similar to Natalie Cole’s. Her cover of Simple Minds’ “Don’t You (Forget About Me)” is, quite simply, 16 Candles— er, icing—on the cake. Jazz Alley, 2033 Sixth Ave.,

Neumos, 925 E. Pike St., 709-9467. 8 p.m. $22 adv. All ages. TODD HAMM

Poor Man’s Whiskey THURSDAY, APRIL 11

With six albums under their belt, this NorCal quintet is familiar with making bluegrassinfused, feel-good Southern rock. Add elements of old-timey folk and beachy guitar plucks and you’ve got a collection of tunes just as fitting at surf camp as at a hoedown. “Well, Jesus was a hippie with a long beard and dreads/ Only without the acid and the Grateful Dead,” sings vocalist Josh Brough on “Jesus Was A Hippie”—a line that couldn’t ring more true. Known for their onstage antics, eccentric storytelling (see Jesus riding in a veggie-oil bus), and unconventional covers, it’s sure to be a stompin’good time. With Left Coast Country, Spare Rib & The Bluegrass Sauce. Nectar Lounge, 412 N. 36th St., 632-2020. 8 p.m. $12. KEEGAN PROSSER

& Micah Simler. Columbia City Theater, 4916 Rainier Ave. S., 722-3009. 9 p.m. $8 adv./$10 DOS. 21 and over. TODD HAMM

BOOKER T. JONES

441-9729. 7:30 p.m. $20.50. GWENDOLYN ELLIOTT

Trey Anastasio TUESDAY, APRIL 16

One of the curiosities of pop culture’s critical hive

Seattle’s Eternal Fair releases The Horse That Carries the Wheel on Friday.

mind is the way modern jazz is received as fine art, its practitioners seen as masters of their craft, while the jam-band community is derided as a refuge for wandering noodle rockers. Anyone who’s spent time shuffling through the canons of these genres knows that 1) hacks and geniuses can be found side-byside in both, and 2) there are more similarities in their approach to melody and improvisation than your average jazzhead would like to admit. Trey Anastasio reinterprets melodies in concert as well as anyone you’ll see in any venue this year. The Phish frontman’s latest album, Traveler, isn’t the hedonistic trip that, say, 2002’s self-titled affair is. But there’s enough of Anastasio’s trademark euphoria to carry it. The Moore, 1932 Second Ave., 467-5510, stgpresents.org. 7 p.m. $40. CHRIS KORNELIS

EDITOR’S PICK

SATURDAY, APRIL 13

Jones was sitting in his home in Beverly Hills in 1971 when he first heard Abbey Road. “I was more than impressed with it,” he told me recently over the phone. “They were at a point in their career where they didn’t have to impress, but they had done an innovative thing with the music there, and I wanted to pay tribute to that.” The tribute, released only a few months after Abbey Road, is McLemore Avenue, Booker T. and the MG’s stunning reinterpretation of the album. Unfortunately, Jones says, those landmark tracks don’t often make it into his sets these days—he’s still supporting 2011’s The Road From Memphis, which features The National’s Matt Berninger and My Morning Jacket’s Jim James, among others. But McLemore is essential listening whether you’re going to his shows or not. In the decades since, Jones says, he’s yet to hear a record that deserves a similar tribute. “But you know,” he says, “there haven’t been four people around like them, either.” Snoqualmie Casino, 37500 S.E. North

Bend Way, Snoqualmie, 425-888-1234, snocasino.com. 8 p.m. $15–$30. 21 and over. CHRIS KORNELIS

Booker T. on McLemore.

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Reverb»Seven Nights 1303 NE 45TH ST

Wednesday, April 10

Bat for Lashes plays the Showbox on Tuesday night.

AARON CARTER In the realm of late-’90s/early-’00s

teen heartthrobs, Carter’s career reads like a Twilight Zone version of Justin Timberlake’s. Carter hasn’t released an album since 2002’s Another Earthquake; in the meantime, he’s competed on Rachel vs. Guy: Celebrity Cookoff and cultivated a Twitter persona that makes Ryan Lochte look like Noam Chomsky. Why he’s embarking on an 83-show tour—his first in nine years—is anyone’s guess, but fans of schadenfreude should be sure to scoop up tickets. With Chrystian, Truth Under Attack, Dylan Jakobsen, Matt Bacnis, The Ninth Step. El Corazon, 109 Eastlake Ave. E., elcorazon seattle.com. 7 p.m. $17 adv./$20 DOS. All ages. TADDY PORTER This Oklahoma band is touring behind February’s scuzzy, classic-rock-inspired Stay Golden. With Ghost Town Riot. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $10. XPERIENCE was plenty busy in 2012, releasing the Durden Papers Vol. 1 mixtape and, more significantly, supporting Macklemore and Ryan Lewis on tour. With DJ Lord Nock, The Horticulture Club, the Black Tones, Si Young, Controversy the Misfit, Nate Jerz, Tim-Me, Ju-Ju Twist. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $8 adv.

Thursday, April 11

Friday, April 12

SEATTLE WEEKLY • AP RI L 10 — 16, 2013

ART VANDELAY celebrates the release of their phe-

nomenal third album, Eye 8 the Crow, tonight, with a strange mix of funny rappers to open things for a great price. With The MC Type, Griff J. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $5. 21 and over. COLIN HAY experienced a mid-career renaissance when Zach Braff used his music on Scrubs and on the infamous Garden State soundtrack, but the former Men at Work singer has been steadily releasing solo work since the late ’80s. His most recent effort is 2011’s Gathering Mercury. Neptune Theatre, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $32.50 adv./$35 DOS. All ages. JAYMAY Generally associated with New York’s “antifolk” scene and graced with a voice that sounds a bit like Leslie Feist’s, songwriter Jamie Seerman writes affecting acoustic folk tunes. With Kye Alfred Hillig, Kayoko. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $11. All ages. SAINT JOHN AND THE REVELATIONS Canadian bandleader Saint John has come a long way since beginning his career as a busker in Europe. His most recent songs were recorded with members of R.E.M., most notably guitarist Peter Buck, who gamely employed his unmistakable Rickenbacker arpeggios. With Morrison Boomer, Royal Wolfe, Jabi Shriki. Rendezvous, 2322 Second Ave., 441-5823, jewelbox theater.com. 10 p.m. $5 adv./$7 DOS.

Saturday, April 13

KELLER WILLIAMS It’s easy to get an idea of this jam-

band maestro’s sound by skimming a list of his past collaborators: The String Cheese Incident, Michael Franti, and Umphrey’s McGee, to name a few. The multi-instrumentalist is currently working on music with Kdubalicious, his live reggae/funk band. The Neptune. 8 p.m. $22.50 adv./$25 DOS. All ages.

Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

KLADRUBY GOLD Perhaps this rock quartet’s

most distinctive trait is Ryan Cline’s vocals, which diverge into both a slightly nasally tenor befitting his band’s country proclivities and a deep baritone that wants very badly to sound like The National’s Matt Berninger. With Empire of Sleep, Lund Bros. Slim’s Last Chance, 5606 First Ave. S., 762-7900, slimslast chance.com. 9 p.m. $7. SAM LACHOW This well-connected Seattle rapper, producer, and videographer recently produced the second video in his “Young Seattle” series, where talent from disparate factions of the local scene (part two includes verses from Nacho Picasso, Grynch, and Jarv Dee) comes together to make what amounts to a city-wide posse cut. With Raz Simone, Gift Uh Gab, Dave B. Vera Project. 7:30 p.m. $16. All ages. OCNOTES This local MC released his amazing last album, Pre Future Post Modern Love Songs: AKA AlienBootyBass with an 84-page, self-designed booklet, rolling papers, and a weed container, all in a deluxe package. He’s just as awesome live. With Pollens, Amos Miller. Columbia City Theater, 4916 Rainier Ave. S., 722-3009. 9 p.m. $8 adv./$10 DOS. 21 and over.

of feedback and static. Make sure to wear earplugs. With LSD & The Search for God, Flavor Crystals, Black Nite Crash. Comet Tavern. 9 p.m. $10.

Tuesday, April 16

BAT FOR LASHES On last year’s The Haunted Man,

BfL mastermind Natasha Khan delivered a raw, stripped-down follow-up to the considerably lusher art pop of her first two albums. Live, she’s a dynamic-enough performer that the sparser material will translate just fine. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $21.50 adv./$23 DOS. All ages.

Sunday, April 14

AMERICAN AQUARIUM This hard-touring Asheville,

N.C., band writes somber country-rock songs about tried-and-true themes: dive bars, strange women, and the grind of being a working musician. With Henry At War, Angel DelSenno and the Empty Sky. Tractor Tavern. 8 p.m. $8. INTISAAR JUBRAN A former UW English student, Jubran writes dense acoustic-guitar songs with a folk-rock backbone. With Stale Birth, Johndus, Charley Wheeler. The Crocodile. 8 p.m. $5 DOS. All ages.

Monday, April 15

AGALLOCH combines elements of black metal, prog

rock, and ambient music to form a wide-ranging sound. With Nostalgist. Chop Suey. 8p.m. $13 adv. BAD RELIGION This legendary Los Angeles punk group is touring behind its 16th album, True North. With The Bronx, Polar Bear Club. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 7 p.m. $26 adv./$30 DOS. All ages. THE TELESCOPES are an English experimental drone/ noise group that creates dystopian soundscapes out

ELIOT LEE HAZEL

act played a part in influencing the early-aughts garage-rock “revolution” (e.g., the White Stripes, the Vines, Tthe Von Bondies), and their songs are unsurprisingly lithe and catchy. With Gregg Turner, Tripwire, Brother James and the Soul-Vation. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $10 adv. GHOSTFACE KILLAH In conjunction with his forthcoming 10th album, Twelve Reasons to Die, the Wu-Tang alumnus is releasing a graphic novel that compliments the music. With TH3RDZ. Neumos, 925 E. Pike St., 7099442, neumos.com. 8 p.m. $23.50 adv. KUNG FOO GRIP Both members of this local hip-hop group—Eff Is H and Greg Cypher—are talented MCs, and their latest album, Growing Up, in the Future showcases production work from Keyboard Kid and Giorgio Momurda. With Fresh Espresso, Nissim, Stewart Villain, DJ Swervewon. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $12 adv./$15 DOS. All ages.

COURTESY ART VANDELAY

THE CYNICS This long-running Pittsburgh psych-garage

Art Vandelay releases Eye 8 the Crow at Neumos on Friday night.

SAVAGES are an up-and-coming group of Londoners

who churn out caustic post-punk tunes with singer Jenny Beth’s abrasive vocals and an appositely taut rhythm section. Neumos. 8 p.m. $13 adv. COURTNEY MARIE ANDREWS This show will commemorate the release of Andrews’ On My Page, a standard-for-Seattle offering of pretty, placid folk songs. With Zach Fleury. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $12 adv./$15 DOS. All ages.

column»Toke Signals

ALTERNATIVE HEALING

Left Coast Cannabis: Confusing Entrance, Good Prices

Nature's Medical Group

BY STEVE ELLIOTT

hen I got to Left Coast Cannabis in Tacoma, it was hard to tell exactly when I was “in.” There was a guy in some sort of guard shack out front, but he didn’t ask me for any paperwork— he just asked if I was going to Left Coast. I told him yes, and he waved me on. Through the entrance was another guy behind a desk to the left, but he told me he wasn’t with Left Coast; he said he was with a cannabis testing lab. While I was talking to him and trying to figure out what was going on, a middleaged couple who’d come in after me rudely brushed past me and went in ahead of me. I straggled on into the bud room, feeling a little out of place since nobody had checked my paperwork, and I’d never before been allowed all the way back without that happening. Three people were in line ahead of me, including the couple who’d just run ahead, and I realized that Left Coast’s two budtenders were checking authorizations right there at the counter. Once I’d gotten over that confusion and started feeling at home again, budtender Marty asked what I needed. I told him I needed flowers, both indica and sativa, and he showed me a couple strains. Since the first ones I saw weren’t really the ones I wanted, I had to ask him to get me a couple more jars down from the shelves (they had $6, $8, and $10 strains; I stuck to the $10s). After eyeballing and smelling a few strains, I settled on Durban Poison, a pure sativa, and Hindu Kush, a pure indica. Durban Poison delivers on the promise of its

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Steve Elliott edits Toke Signals (tokesignals.com), an irreverent, independent blog of cannabis news, views, and information.

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heavily trichomed flowers with a quick euphoric onset and a creative, energetic high. It vanquishes nausea and replaces it with the munchies, and allows you to stay focused on the task at hand. Anxiety and stress go by the wayside as well. Durban Poison’s slightly fruity bouquet and taste joins its clear-headed, uplifting effects to make it a great morning or midday smoke. Hindu Kush’s subtly skunky, lime-green buds simply switch off the pain in your body, toke by toke. Named after the mountain range between Pakistan and Afghanistan, this 100-percent-indica strain, reputedly centuries old, leaves a preternaturally calm mental state in its wake. Don’t get the Hindu Kush if you’re looking for a cerebral high; this is body medicine. The flowers taste earthy, redolent of hashish, with a thick, fragrant smoke quickly resulting in a warm, mellow relaxation, excellent for pain management. The effects tail off after only about an hour. Donation-wise, Left Coast Cannabis gives me absolutely no reason to complain; a $6/$8/$10 pricing structure is something I’d love to see at every shop in the area. A little more thoughtful and patientfriendly experience when it comes to actually walking in the place would be a big improvement, however. E

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t IPPESJWFS PSH

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Who is Eligible f

Men and women, ages 20-45, non-smokers

Donâ€™t eat a lot of vegetables

Not on any prescription medications (including oral contraceptives)

Main Activities Over a period of 12 months

f Take study capsules f Blood draws, stool and urine

collections f Sigmoidoscopies f Receive $700 for participating

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