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APRIL 17–23, 2013 I VOLUME 38 I NUMBER 16

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In Mason County, meth-heads are stealing maple trees, feeding their addiction, and frustrating authorities. By Ellis E. Conklin

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

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inside» April 17–23, 2013 » SEATTLEWEEKLY.COM

VOLUME 38 | NUMBER 16

»11

»33

up front 7

NEWS

THE DAILY WEEKLY | In the battle

for mayoral-race endorsements, McGinn may not even get the cyclists.

11 FEATURE

BY ELLIS E. CONKLIN | Armed, dangerous, and over-amped on meth, Mason County’s maple thieves make a mockery of harvesting permits while costing taxpayers millions in their quest for the tree’s precious “music wood.”

in back

21 THE WEEKLY WIRE 22 ARTS

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Redford on the run, Bateman versus the Internet, and how celebrities make us sick.

33 FOOD

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meets Bavaria. 34 | BEST OF VORACIOUS | Get your nettles now, while they’re not stingy. 35 | A LITTLE RASKIN | There are some things Hanna just won’t stand for.

39 MUSIC

39 | REISSUES | Getting a second listen. 40 | RECORD STORE DAY | Our handy

map of participating businesses. 41 | REVIEWS | This week’s releases. 42 | THE SHORT LIST | Blu, James Blake, the EMP Pop Conference—and, oh yeah, Prince.

other stuff 23 | PERFORMANCE 26 31 34 44 45

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Mike and Bikes

McGinn’s politics agree with bicyclists. Do his poll numbers?

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he Cascade Bicycle Club finished its round of “aggressive” mayorcandidate interviews Friday afternoon, with Mayor Mike McGinn the last to be heard. The nation’s largest bicycling club, with more than 15,000 members—6,000 of them in Seattle—has Candidates are jockeying for become one of the most influential endorsements. coveted endorsements for any serious mayoral contender in Seattle. And though Sinderman says he wouldn’t But despite his “Mayor McSchwinn” reputabe surprised if McGinn snags the Cascade tion, the incumbent may not have this one in endorsement, he agrees that viability plays a big the carrier bag—a stark illustration of how his role in whom groups choose to back. dismal poll numbers could become a self-fulfillEndorsements mean money for paid media ing prophecy as candidates jockey for endorseand literature drops, and, equally important, ments in a crowded race. enlisting boots on the ground—rousing volunWhile McGinn is fully aligned with the teers for doorbelling, putting up yard signs, and club’s current priorities—a connected network manning phone banks. An endorsement also of bike lanes and neighborhood greenways— outgoing director Chuck Ayers, who has guided the group the past 16 years, hinted that a “He’s been very supportive McGinn endorsement is not guaranteed. of our issues, such as “He’s been very supportive of our issues, such as road safety and bike infrastructure, but road safety and bike can he move the agenda? That’s what we need to know. We need to be convinced that he is a infrastructure, but can he viable candidate,” Ayers said, no doubt mindful move the agenda? That’s that McGinn’s approval rating hovers at just 33 percent, according to a 2012 poll of Seattle resiwhat we need to know. We dents by Survey USA. “All the candidates need need to be convinced that to convince us they are viable.” Four years ago, the club put its collective he is a viable candidate.” pedal to the metal for incumbent Mayor Greg Nickels in the primary—reciprocation for his establishes a link between values shared by an work to pass a 10-year, $240 million Bicycle interest group and the candidates it supports, and Master Plan, one of the most extensive in the helps build momentum or a sense of invincibility. country. But when Nickels failed to survive the Major upcoming endorsements include those primary and lost his bid for a third term, the by the Service Employees International Union club switched gears and put what resources it Local 925, IBEW Local 77, and the United had left behind McGinn, who went on to beat Food and Commercial Workers, all of which T-Mobile executive Joe Mallahan. endorsed McGinn in 2009; the King County Today the club’s board will consider the legislative committee’s recommendation, and could Labor Council, which backed Mallahan four years ago; Washington announce their deciConservation Voters, sion immediately. Over PRINT IS GREAT, which lent their support the next 30 days, more but if you want to read... to Nickels in the primary endorsements will come why Jesus might be coming around on the question of immigrants, check it out but stayed on the sidelines from the big dogs, the on The Daily Weekly. in the general election; ones whose endorsement SEATTLEWEEKLY.COM/DAILYWEEKLY and the Civil Alliance can make any mayoral for a Sound Economy wannabe salivate. (CASE), a political-action committee group “In Seattle, the trifecta of political endorserepresenting more than 40 large employers ments is being able to get business, labor, throughout the region. and environmental groups on your side,” said Also important is getting favorable nods Christian Sinderman, a prominent Democratic from local Democratic activists in various legpolitical consultant. islative districts and public-employee groups Former deputy mayor Tim Ceis agrees. representing firefighters and police. “Everyone’s looking for those three major groups. It gives the credibility of a green stamp.” » CONTINUED ON PAGE 9

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news»The Daily Weekly While Bagshaw touts these restrictions as a significant step in dealing with composting’s Continued From Head ill effects, she says she’s thinking about yet » FROM PAGE 7 bigger—transatlantic, even—changes in how Seattle deals with its trash: an updated form of But while vital, endorsements can be fairly incineration, which once had a terrible reputapredictable: It’s hardly surprising that state Sen. tion among environmentalists because of all the Ed Murray, a leading mayoral contender closely toxins it pumped into the air. associated with the legalization of same-sex “Flip yourself over to Europe. Denmark, Germarriage in Washington, won the endorsement many, France have all taken on a new technology, of the influential gay advocacy groups Human and this is where the environmental community Rights Campaign and Equal Rights Washingstarts growling at each other,” Bagshaw says. ton, or that in January, McGinn captured the These days it’s widely agreed that the EuroSierra Club’s endorsement. peans have come up with an incineration model “Endorsements are most important for that is vastly cleaner than its dirty predecescandidates not implicitly well known, and can sor. “The plants run so cleanly,” The New York create some real momentum for them,” Nickels Times wrote in a 2010 piece on such a facility in told Seattle Weekly last week. “They are not that Denmark, “that many times more dioxin is now big a deal for the better-known candidates.” released from home fireplaces and backyard Every cycle, some endorsements rise or fall barbecues than from incineration.” in importance, the ex-mayor added. “For me, What’s more, the European incinerators turn it was environment, labor, and Democrats in the waste into energy. “That technology is some2001, then I added business groups in 2005.” thing I would like us to look at,” Bagshaw says. Reflecting on his ill-fated race four years ago, Bagshaw is not the first in these parts to Nickels ruminated, “There was some real, visbecome intrigued by Europe’s way with trash. ceral anger because the economy had imploded, Fellow Councilmember Richard Conlin took and it’s hard to say which endorsements will a garbage tour in Scandinavia about five years really count.” ELLIS E. CONKLIN ago, and King County Councilmember Kathy Lambert “fell in love” with a Hamburg trash facility in 2006 while she investigated how to deal with the limited capacity of the county’s Cedar Hills landfill, which at one point was scheduled to fill up by 2012. (That date has In 2011, Marysville Mayor Jon Nehring and been pushed back at least seven years, due Tulalip Tribes Chair Mel Sheldon wrote in part to an expansion at the landfill.) a letter to Seattle’s mayor and City Whether officials here will Council members pleading with ever replace composting with them to do something about incinerators is an open questhe terrible smell local resition. Conlin says he was dents believed was emanating impressed by the facility he from Cedar Grove’s nearby saw in Malmö, Sweden, right composting plant—a facilacross the Øresund strait from ity that takes in a share of Copenhagen. But he’s not willSeattle’s food and yard waste. ing to let go of composting’s Even then, the stink of comgreen halo, saying of incineration: posting was not a new problem. th is Eur “The question is: Does it fit into the For years, citizens had complained o trash. hierarchy of reduce, reuse, recycle?” A about Cedar Grove’s other facility in Maple Valley, some even filing a lawsuit in the late ’90s that resulted in a multimillion-dollar Whether officials here will settlement. Nehring says he didn’t get any response to ever replace composting his letter beyond polite letters of acknowledgment from Seattle officials. Composting was with incinerators is an open popular, even sacrosanct, given its status as a question: Does it fit into the darling of environmentalists. Suddenly, though, Seattle City Council hierarchy of reduce, members are concerned—even “embarrassed,” as Sally Bagshaw puts it—about the burden the reuse, recycle? city’s waste is putting on other communities. And it’s causing Bagshaw to look into alternaNew York environmentalist went even further tives to composting. when interviewed by the Times in 2010, callThe change in posture was brought to light ing incinerators the “devil” because they delate last month when a new composting conincentivize recycling. tract came before the council that would grant There are other obstacles to using incinera60 percent of the city’s organic waste to a comtors instead of landfills. Seattle is locked into pany called PacifiClean. The company, which its contract with an Oregon landfill until at Cedar Grove is heavily invested in, doesn’t have least 2019, points out SPU director of solid a composting facility up and running yet, but waste Tim Croll. The contract states that any is proposing to build one in Kittitas County city waste not recycled or composted has to go just east of Snoqualmie Pass. That had Kitto that landfill. So any diversion of the city’s titas County residents storming a Seattle City trash—organic or not—into an alternate techCouncil meeting, an in-your-face approach nology will have to wait at least until the end of that led the council to impose new restrictions the decade. NINA SHAPIRO E on the plant, like a requirement that it be built away from residential areas. news@seattleweekly.com

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In Mason County, maple-treemooching meth-heads are looting forest lands, and no one can stop them. BY ELLIS E. CONKLIN

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

Perched above the northeast shore of Harstine Island in south Puget Sound lies a rugged, wild quilt of state forest, 112 acres of pristine Mason County land. It is lush with bounty: moss, salal, mushrooms, cascara, fir boughs, curled ferns, bear grass, salmonberry, blackberry, and huckleberry. Almost six feet of rain have drenched the low eastern valleys of the Olympic Mountains since December, and the vegetation stands eyeball-high. Here the mushy terrain is so impenetrable that lurking timber thieves, many feeding a serious methamphetamine addiction, hack their way through with machetes as they seek the most lucrative prize of all—the big-leaf maple. On an early March day, Washington State Parks ranger Mischa Cowles, her rig bucking and rolling along a deeply rutted timber road, is en route to the scene of the crime. The morning’s pouring rain has ceased and the afternoon has turned blue and bright, though you wouldn’t know it. Low-hanging branches of cedar and fir slap wickedly at the windshield, and groves of towering trees are pressed so tight together that a dark shadowy green falls across these woods. As the pickup truck creeps onward at five miles per hour, the scenery is a riot of rotting log carcasses, gnarly limbs draped with moss, hemlock, and waterlogged mud wallows. One almost aches for » CONTINUED ON PAGE 12 the sight of a clearing.

CRANKSTER GANGSTERS » FROM PAGE 11

“You see those truck tracks? It’s a fresh trail that they’ve made. It might have been an old timber road. Over here, that was their landing spot,” confides Cowles. “There’s a stump there. There’s another one, see it? It’s a mess. See what they do? It’s so sad, you know, hundred-year-old maples down on the ground.” Cowles has been working the state-parks beat for 16 years, nearly half that time maintaining trails and tending to the marine campers who flock during warmer months to Harstine’s Jarrell Cove State Park. She’s an effervescent 42-year-old with shortcropped brown hair and glasses. Strong and built low to the ground, Cowles moves like a cat on this spongy terrain. “What I’ve heard is that things can be pretty scary,” she says, scurrying down a muddy incline. “You don’t want to mess with them. They’re armed.” Moving on foot now, her exhausted pickup parked on a patch of dirt no bigger than a dorm room, Cowles recalls how she made the disturbing discovery on a rainswept mid-January morn.

that’s where they got the rest of them,” Cowles says in a cemetery-like whisper. Surveying the ugly swath of carnage, a maze of sawdust and stumps, discarded Coke cans and faded cigarette cartons, the ranger observes, “You’d have to be high on meth to get down this far and to be able to do what they did.” After a long pause, Cowles goes on. “You see what they do? Look—see the check marks, where they cut off a section of the bark? They’re looking for stress marks, which will tell whether there’s figured wood. They know what they’re doing. They’re looking to see if there’s music wood to be gotten.” As much as 90 percent of each felled tree is left behind, left to rot. Maple rustlers are not exactly known for their environmental consciousness. Their reckless extraction wreaks havoc on the forests and costs taxpayers untold millions in reparation. The Harstine Island thieves knew exactly what they were looking for: precious “figured wood” hiding beneath the rugged bark, embedded deep

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

“What I’ve heard is that things can get pretty scary. You don’t want to mess with them. They’re armed.”

Investigating an abandoned trailer, she noticed a freshly punched road. It hadn’t been there before. She followed the road and came upon a deep ravine. There at the bottom were 21 formerly full-grown maples, cut to the quick. Most likely it occurred in the dead of night, police say, with a wheezing hydraulic chainsaw, the kind preferred by poachers that dampen a saw’s roar. Some of the majestic maples that were destroyed had lain down roots before World War I and stood close to 100 feet tall. “There were 10 trees here, over there a few more, and over and down below—can you see?—

within the heart of the maple. It’s as rare as it is beautiful, a magnificent, three-dimensional wood-grain pattern that comes in two forms. There’s quilt maple, a lustrous, bubbly pattern, and flame—also known as tiger stripe or fiddleback—which displays an endless series of parallel lines when finely sanded and finished. In the hands of a craftsman, decorative figured maple wood, harder than mahogany and with a brighter sound than rosewood, is used for the backs, sides, and necks of most string instruments—acoustic and electric guitars, violins,

» CONTINUED ON PAGE 14

COURTESY MISCHA COWLES

Stumps mark the scene of the crime in Jarrell Cove State Park where 21 maples were cut.

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CRANKSTER GANGSTERS » FROM PAGE 12

cellos, etc.—so well does it carry sound waves. This is the material that the guitar-making giants— Gibson, Martin, Taylor, and Fender— use for high-end guitars costing $8,000 to $20,000 or more. Santana’s own guitar, in fact, was crafted from Northwest fiddleback. Of all forest products, the big money is in maple. “Anywhere you have maple, you’re going to have theft,” states Jason Bodine, a police officer with the state Department of Natural Resources. “And Mason County, along with Grays Harbor and Pacific [counties], are pretty much ground zero for the figured wood.” A 3-by-10-by-24-inch block, or billet, of quilted maple can fetch a poacher $100; the flame goes for about $40, according to forestproduct experts. A single big-leaf maple, if wellendowed, can yield $5,000 from a buyer, who may or may not inquire—or even give a rat’s ass—whether the seller harvested the wood with the necessary permit. Typically, a timber theft is treated as a gross misdemeanor, which carries a $1,000 fine and up to a year in jail, but convictions are rare, says Bodine. The Jarrell Cove timber heist “was a big one,” marvels Robert Ingram, chief of enforcement for Washington State Parks. “I can’t recall in the last 10 years or more anyone doing this many.” Or, as James Freed, a natural-resources professor at Washington State University, put it, “It is so rare to find this many trees on one location with that much figured wood. For these crooks, it was like hitting the jackpot.”

Don Van Orman is a major (and legitimate) buyer and seller of maple, operating on 41 acres in Elma, Washington. He sells much of his inventory to major guitar manufacturers, but he still manages to make a few custom instruments each year.

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

JIM BRYANT

helton, Mason County’s seat, is a place straight out of a Richard Russo novel: gritty, disheveled, but still as resilient as a wildflower. Unlike at nearby Forks, there is little effort or enthusiasm to reinvent itself. Don’t expect vampire tours here anytime soon. The town’s economy was long ago built around logging, when timber was king of the hill. But for more than 30 years, the industry has been in steady decline. Call it Empire Falls. In the late 1980s, residents slapped bumper stickers on their pickups that read “Save a Logger, Kill a Spotted Owl.” Those were the days when unemployment hit almost 30 percent and boarded-up stores, foreclosed homes, and drunken, angry displaced loggers were a common sight in Mason County and throughout the timber towns of the Olympic Peninsula. The economy has rebounded some, but the timber industry continues to falter. In 2001, there were 93 sawmills in Washington, a good number of them in Mason County. Today there are 23. The number of shingle mills, some 37 a dozen years ago, has shriveled to seven, according to the state Department of Natural Resources. Now the two largest employers are the Little Creek Casino Resort and the prison, the Washington Corrections Center. Unemployment still lingers at 10.2 percent. The sign at Shelton’s city limits reads “Christmas Tree Capital.” It’s an accurate boast, for the county bursts with fir and cedar boughs and salal, a leafy shrub favored by florists worldwide, who use it for bouquet fillers and holiday wreaths. The plant, shipped all over the world, has become a $350 million industry. The market for music wood, too, is robust. Huge figured-wood buyers and suppliers, like Don Van Orman in nearby Elma, are rushing

to fill the U.S. market’s demand for acoustic and electric guitars, which grew, respectively, 28 and 12 percent from 2010 through 2012, according to the National Music Merchants Association. “What you have out here now is a gold-rush mentality,” says Freed. Referring to the maple-tree thieves, Freed postulates, “They’re society’s dropouts. They work without a net. The same guy who is taking down these trees is poaching salmon and killing elk out of season. But, I’ll tell you what— yeah, they got issues with meth and so on, but they are the greatest capitalists in the world.” Van Orman is less charitable: “I call them crankster gangsters.” Last month, on a blustery gray morning, a couple of desperados are sitting against a brick wall in an alleyway near the Pine Cone Restaurant in downtown Shelton, sipping beer from cans encased in paper sacks. One of the men, a 50-something guy who calls himself Bo, hocks up a brown tendril of chewing tobacco and laughs like a happy lunatic when the wad plunks down in a pool of muddy water. Clad in a tattered gray peacoat, a small angel tattoo on his neck, Bo says he used to be a brush picker, and made a tidy sum of money gathering bear grass and selling it to local florists.

Did some mushroom picking too. Says the work, though, was hard, and that he developed a bad back and ended up on partial disability. Asked what he knows about the demand for maple, Bo brightens and replies, “Oh, yeah, you mean the music wood. I know some guys who do it. Oh, man, they work like dogs for that damned money, and then they smoke it up and do it all again. It’s a weird deal. I asked one of them why he can’t find any easier way to steal. And he just says to me, he says, ‘It’s real easy to do this shit and not get caught. Real easy.’ ” That’s where Mason County Sheriff Deputy Jason Sisson comes in. He’s lived his whole life in and around Shelton, and knows all about these back-country bandits who may trade as much as $1 billion worth of illegal domestic wood each year in the U.S., according to an investigation by the Associated Press. Married with two young kids, the 37-year-old Sisson is the lone ranger out here, the only cop in all of Mason County whose job it is to hunt down maple moochers and other timber crooks—the ones making off with cedar, used for shingles or shakes; spruce, employed for ornamental woodworking; or Douglas fir for firewood. Green Diamond Resources, a substantial timber harvester who

controls 200,000 acres in the county, hired Sisson three years ago and pays 80 percent of his salary to patrol its maple-rich forest lands. “We’ve had a contract with the Mason County Sheriff ’s Office for 10 years now to provide a police officer because of the increasing amount of theft on our forest land,” says Green Diamond spokeswoman Patti Case.

eputy Jason Sisson’s a big man, built like a linebacker, and has a swagger to him. “I do like catching the bad guys,” he says with a wink. Seated in the conference room at the sheriff ’s office on North Third Street, his back to a bulletin-board posting that reads “Navy Seals: 1, Bin Laden: 0,” he quickly warms to the subject of forest-product theft. “We got hundreds of brush pickers out here. The vast majority of them are totally legit. They’re out doing the mushrooms, the bear grass, and salal, and they got their permits.” As to the timber wolves, “I can tell you a lot of them are meth-heads, no doubt about it. They’re pretty young, 20s and 30s. I don’t how many are out here. Maybe 100 of them are operating in these parts, in and around the county. I don’t know. No one really does. I’ll be out on a site that they hit, and I’ll see energy [-drink] cans all over the

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FULL SERVICE REPAIR place, candy wrappers. They’ll put anything in their bodies to keep ’em going. I mean, they’re out there with goggles and headlamps and chainsaws, felling 200-foot trees in the middle of the night!” They are a cunning bunch, Sisson goes on— and bizarrely resourceful. “I’ve seen them use car hoods as sleds so they can haul the wood out. They’ll roll the stuff down to the beaches and make off with the [music] wood, all cut up in the right-sized chunks, and load it into boats. They’ll stand there and hook hoses to the saw muffler and stick it in a bucket of water to make it quieter. I’ve seen pickup trucks go into areas that you’d never think was possible to get into, some of the thickest, roughest, cobbiest brush you can imagine. I’ll find abandoned, stolen pickups—they like them small pickups—just beat to hell.” Sisson says nearly every one of them is armed and dangerous. “And they are not easy to catch. They’re pretty damned sneaky. You come upon them and all they’ll do is run. So no, I’m not going to be down in that ravine with a chance of blowing out a knee if I chase after them. Hell, they all

Just then, Sisson’s cell phone rings. “This is my guy, my informant,” he says, lowering his voice and cupping the receiver. “He wants a reward if he’ll talk about the maples at Harstine.” Sisson asks him, “So you got a good lead?” “Oh. yeah, I got a lead all right,” the informant gushes. When Sisson doesn’t respond right away, the caller presses the point: “Look, if you scratch my back, I’ll scratch yours.” Sisson smiles. “So you know who it is?” “Oh, yeah, I know.” “No, I don’t have a problem keeping this confidential,” he tells the snitch. “All right, look, I’ll get back to you. I don’t know what money might be available.” Sisson hangs up and says, “I’ve dealt with this guy before, and I don’t 100 percent trust him. For all I know, he could be out stealing trees himself, and he wants me to keep off of him, or it could be he wants to get himself some firewood today, and so he knows if I catch him doing that, he’ll figure I won’t do anything because he knows I might need him in the maple case.

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FAMILY OF THE YEAR | THE MOWGLI S THE WEST | SPECIAL PRESENTATION FROM FIN RECORDS “But, anyway, we’ll see. I’ll call [parks ranger Mischa Cowles] and see about reward money, which he’s not going to get anyway without an arrest and conviction—which is really tough to do. Because if you don’t catch these guys redhanded, there’s not much you can do.” The pursuit of the Jarrell Cove maple thieves continues.

he crooks know their chances of getting caught range somewhere between slim and none, mainly because the sheer amount of acreage to cover is daunting. Some do get caught—like Floyd Stutesman, a recovering meth addict from Hoquiam who was nailed by federal agents for cedar theft in 2008. But he views his arrest as little more than bad luck. “If a guy wants to take a chance out there, cutting down trees illegally, it’s a pretty good bet no one’s gonna catch ’em,” says Stutesman, who is in the final months of a five-year probation. There’s too much turf and not enough cops— and the time and effort required to investigate theft sites or track stolen wood back from the mill to the harvester is far more than lawenforcement agencies can spare. There are 22 million acres of forested land in Washington,

» CONTINUED ON PAGE 17

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got guns, machetes, axes. They’re high on meth. I mean, these guys are paranoid, and you’re out there with them in the freaking middle of the night! No, I’ll just get the truck towed.” Sisson recounts a sting he put together last July with some state Department of Fish and Wildlife officers. “We got a report that there was an operation being run at night. It was in north Mason County. We went out there and saw some trees down, maples. And we knew they’d be back. “I can’t tell you how we knew they’d be back. I got ways to catch them, but there’s no way I could have that put in the newspaper,” Sisson continues, clearly enjoying his tale of catch-meif-you-can. “So it was 12:30 a.m. We got them leaving the area. We rolled out a boulder onto the road, and when they stopped, we converged. There were two adult males and a teenage daughter, probably there for lookout. They had a freshly cut block of music wood, five really good ones ready to sell. They had meth on them and miscellaneous drug paraphernalia, and for some reason, they also had an air gun.” An air gun? “Look, years ago, I stopped trying to think like these guys, because you can’t. There’s no logic to them. They fly by the seat of their pants.”

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CRANKSTER GANGSTERS » FROM PAGE 15

“The problem is that they’ll get the permit and use it for what they said they would, but then they’ll use it in other areas to steal the maple,” opines Deputy Sisson. “So maybe you’ll stop them on the road and find some of that figured wood, but it’s like finding a guy with a dead elk. You go, ‘Well, where did you shoot that?’ and he’ll go, ‘Don’t really know, dude. Out there somewhere.’ ” Adds Sisson, “The biggest challenge of all is to find out who they are selling it to. That’s where it gets real complicated. We just don’t know, and I mean, I’m just one guy out here.”

ust east of Elma, in Grays Harbor County, lies a series of sheds and metal-sided buildings and a yellowing wood dwelling where Don Van Orman was born in 1961. Here, on this rich green landscape of rolling hills dotted with dairy farms, Van Orman has carved out quite a little empire for himself—buying the music-making guts of the big-leaf maple and selling it to some of the country’s largest guitar manufacturers. “Don’t mind the smell, my daughter’s ferrets live here,” he announces as he begins a walkthrough tour of his home. The walls are strewn with deer heads and bearskin rugs. A stuffed turkey gazes out from the living room. The clocks in the kitchen are made of quilted maple, as are the countertops, coffee table, and bookcase. One room is devoted entirely to Van Orman’s collection of electric guitars, ones carved with his own calloused hands from the maple he’s been buying for 31 years. The instruments are gorgeous. One guitar, with a quilted front, an alder back, and gold inlays, is his pride and joy. “That was my first one and my best one. Did that one in April 2011.” Van Orman is well known in these parts. He’s got a 41-acre spread, a working mill—where his own father once cut cedar shakes—with a 54-inch Mershon band saw and drill presses, and lumberyards with towering stacks of alder and cedar logs, which on this March afternoon he’s getting ready to ship to China and Japan. More than 350 loggers deal with him each year, selling him timber. Maple, though, is his passion. “I got enough music wood here to make 60,000 to 65,000 guitars. I can’t do it, though,” says Van Orman, who still makes guitars as a hobby. “There’s no money in it. It takes me too long to make one, so I sell the wood to the big boys like Fender and PRS.”

» CONTINUED ON PAGE 19

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SE ATTLE WEEKLY • APRI L 17 — 23, 2013

about 40 percent of it owned by big timber companies and private individuals. The DNR controls 1.2 million acres of it—more than the size of Olympic National Park—and has just nine enforcement agents. Because of budget cuts, the state has closed a dozen state parks since 2000 and moved 66 of its 180 full-time rangers to seasonal jobs. Most of them have too much on their plate to chase down timber thieves in the dead of night. At the same time, there are thousands of miles of accessible forest roads in the Pacific Northwest, again making it extremely difficult for authorities to catch crooks in the act. “Basically, we just don’t know the magnitude of the problem,” says Seth Wilkinson, a Special Assistant U.S. Attorney in Seattle. “Only a handful of them are caught and prosecuted each year. What we do know, though, is these are resources that cannot be replaced.” Wilkinson is handling the case of Reid Johnston, who in December was sentenced to a year in prison for cutting down 102 maple, cedar, and fir trees in the Olympic National Forest between May 2009 and January 2010. It was one of the largest timber-theft cases in Washington history. One of the Douglas firs, its trunk about seven feet in diameter, was believed to be more than 300 years old. The son of well-to-do parents now deceased, Johnston has a history of drug problems, including meth, and remains behind bars at the federal detention center in SeaTac. He is currently awaiting a federal court decision on the value of the stolen resources to determine the amount of restitution he will have to make. “You got to remember, this product, the figured wood from the maple, doesn’t have a bar code on it,” says Green Diamond Resources’ spokesperson Case. Ironically, one of the thieves’ greatest tools is the permitting process used by legitimate harvesters. Officials agree the process is a farce. Fake permits abound. “The system relies totally on the honesty of the buyer,” says WSU professor Freed. “It is extremely difficult to know what wood has been stolen—plus, since the music wood is cut up into blocks, it’s very easy to conceal.” To get a permit, all a person must do is fill out a “harvest application” at their county sheriff ’s office. The $5 application asks for the name of the landowner on whose property the harvest will take place, its location, the expected time frame, and how much wood or other forest products will be taken.

KOMO NEWS

Mason County Sheriff’s Deputy Jason Sisson is the lone ranger charged with chasing down the timber thieves.

GIMME GOOD BOOKSTORES A Reader’s Guide CULTURE! ARTS DIRECTORY SPOTLIGHT ON

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It’s the 1960s and swinging bachelor Bernard couldnít be happier: he’s juggling three stewardess fiancé at his flat in Paris. But his fun soon turns to chaos in this riotous farce when all three arrive in town at the same time! 206.443.2222 . $15-$65. www.seattlerep.org

MUSICAL PERFORMANCE ˇ KOCANI ORKESTAR w/ Orkestar Zirkonium opening Town Hall Seattle Thursday May 2, 8pm

Rare U.S. appearance by Macedonia's monumental Gypsy Brass Band. Presented by Earshot Jazz. 1.800.838.3006 . Tickets are $22 general; $20 Earshot members and seniors; $12 for students w/current ID. www.earshot.org

NORTHWEST FOLKLIFE Pre-Festival Party Tractor Tavern Friday, April 26

A solidified songwriting partnership born at Giddy Up! Join Northwest Folklife for a Pre-Festival Party featuring country-rock tunes by Country Lips, Ole Tinder and more. Sneak peek at the Festival schedule! Doors open at 8pm. Tickets: $10. www.nwfolklife.org

VISUAL ARTS Rembrandt, Van Dyck, Gainsborough: THE TREASURES OF KENWOOD HOUSE, LONDON Seattle Art Museum On View Now – May 19

Rembrandt, Van Dyck, Gainsborough features a selection of approximately 50 masterpieces from the Iveagh Bequest collection donated to Great Britain by Edward Cecil Guinness, 1st Earl of Iveagh (1847–1927) and heir to the world’s most successful brewery. Among other treasures, the exhibition provides a rare opportunity to see Rembrandt’s late Portrait of the Artist (ca. 1665), which has never left Europe before. 206.654.3210. $12-$20 (free for SAM members). www.seattleartmuseum.org GIMMECULTURE@SEATTLEWEEKLY.COM

CRANKSTER GANGSTERS

» FROM PAGE 17

Meanwhile, maple grows scarcer. “You know, really, it’s too late now to stop them. They’ve already stolen the majority of figured maple off the private lands, so now they’re going for the trees on the state and national lands.” Van Orman is an animated, good-natured fellow. He talks a mile a minute and can barely stand still. “I always got to be doing something,” he says. His entire life has revolved around wood. “I was cutting shake bolt at 12 years old. My father made doors at Simpson Timber. I started out with chanterelle mushrooms before getting into the wood business.”

A leading expert in the forest-products industry, Van Orman goes to great lengths to avoid the pilfered figured wood dealt by nefarious characters. “I know some of them. They are not the kind of people you want to talk to or associate with,” he says. Prosecutors have called upon Van Orman a number of times—eight, to be precise—to testify in trials involving suspected timber thieves. “First I go out to the field where the crime took place and determine the value of what they stole,” he explains, “and then I appear in court and give them my appraisal.” In 2005, Van Orman teamed with timber com-

“No one around here knows how much of this wood is stolen and how much was taken with permits. It’s a real mess.”

In 1999, wood—maple, in fact—nearly killed him. “I was out felling a tree. The maple tree hit an alder and the alder came down on me. I got a steel rod in this upper arm. Feel it. I can’t raise it, and never will, I guess. I’m in constant pain, but it don’t stop me none. I can’t play the guitars I make. Arm won’t let me.” Timber crooks can be glad that Van Orman doesn’t have two good arms. “I’d like to ring their necks. They are just damn professional thieves,” he fumes. “They don’t care about the environment. Most of them are high on meth, and that’s why I call them crankster gangsters.”

THE GUARDIAN ★★★★ THE SUNDAY TELEGRAPH ★★★★

He goes on, “I know who these guys are, but there’s nothing you can do. If you don’t get them while they’re cutting the tree down, you can just forget about it. No one around here knows how much of this wood is stolen and how much was taken with permits. It’s a real mess.” Suddenly he turns playful and cracks a smile; then, leading a reporter into a small wooden shed, the smell of paint filling the air, warmed by a pair of space heaters, he says, “Let me show you where I carve the figured wood. Come on in here. This is where the magic starts.” E

cHIcAGo TRIbUNE ★★★★ THE SUNDAY TIMES ★★★★

econklin@seattleweekly.com

THE ScoTSMAN ★★★★ EDINbURGH EVENING NEWS ★★★★

panies to urge the state legislature to put the kibosh on timber thieves, and managed to get lawmakers to add music wood to the list of forest products that require a permit to harvest or possess. “But the law’s not working,” he says. “Most of them are completely ignoring it or getting a permit from one area, then stealing from another place.”

Don Van Orman shows off a quilted maplewood plank.

Seattle Premiere April 25 - May 5, 2013 The Paramount Theatre

by GreGory burke directed by John tiffany

Black Watch contains very strong language, loud explosions and strobe lighting. Recommended for ages 16+

Seattle Office of

Photograph by Manuel Harlan

JIM BRYANT

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SE ATTLE WEEKLY • APRI L 17 — 23, 2013

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SEATTLE WEEKLY • AP RI L 17 — 23, 2013

I S O L C

G N

! N O O S

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.

Seattle presentation is supported by Presenting Sponsor

Supporting Sponsors Seattle Art Museum Supporters (SAMS) Washington State Arts Commission/ National Endowment for the Arts Media Sponsor

Major Sponsor Sotheby’s Supporting Sponsors Melbourne Tower Perkins Coie LLP

Official Hotel Partner Grand Hyatt Seattle

Image credit: Mrs. Jordan as “Viola” in “Twelfth Night” (detail), 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

the»weekly»wire wed/4/17

Byrd’s Suicide.

Hopperesque from one angle, with lonesome landscapes and character studies. From another, it’s vaguely surreal, with creeping themes of isolation and anxiety, a tendency toward the macabre. (Byrd was raised in foster care and spent 30 years as an orderly in a psychiatric ward.) Some images are deeply unsettling, like the man leaping to his death in Suicide, suspended in free-fall, his expression a strange mixture of relief and terror. During the First Thursday opening, Byrd obligingly answered questions but never appeared at ease amid the throng. Plucked from his solitary life, sitting next to his oft-grim paintings— one can only imagine what he thought of us. (Through May 18.) Greg Kucera Gallery, 212

CLASSICAL

Breaking Up Is Hard to Do

Many musicians compare the dissolution of a performing partnership to a divorce, and the Tokyo String Quartet has weathered several such upheavals, with 10 different members (five first violinists alone) since its 1969 founding. So when the only original member, violist Kazuhide Isomura, announced his retirement, the group decided to call it a day altogether—but not before a final tour. But the mood of tonight’s goodbye to Seattle won’t be particularly depressed. If anything, the program’s opener and closer suggest relief at leaving the peripatetic concert life behind: Mozart’s (mostly) genial quartet K. 499 and the lively pastels of Ravel’s 1903 quartet. Lera Auerbach’s String Quartet no. 6 will likely provide the pathos; the music I’ve heard of hers is spare and darkly glowering in a post-Shostakovich style—better yet, a post-(postShostakovich) style, taking up, in a way, where Alfred Schnittke left off. There’s no reason to think this quartet, premiered last November by the TSQ and subtitled “Farewell,” will be different. Meany

Hall, UW campus, 543-4880, uwworldseries. org. $20–$38. 7:30 p.m. GAVIN BORCHERT

thurs/4/18 LITERARY

Connoisseur of Crime Luc Sante is famously a lover of crime tales, old

1515 12th Ave., 267-5380, nwfilmforum.org. $12–$15. 8 p.m. BRIAN MILLER

THOMAS GORMAN/GREG KUCERA GALLERY

fri/4/19 FILM

A Mountain of Blow

One of the most influential films of the ’80s, Brian De Palma’s Scarface made Cuban immigrant coke dealer Tony Montana (played by Al Pacino) an icon of the VHS era. Its nothingto-everything theme had great resonance for the young Snoop Dogg, Method Man, Ghostface Killah, Capone, Scarface (who adapted his nom de rap from you know who), Russell Simmons, and others. According to no less an authority than P. Diddy, Montana “was an upstanding gangster, which is a rare thing.” Certainly these fans are right on target about Scarface as a parable of unfettered American capitalism. All point not to the film’s violence but to its moral: Montana becomes a monster who deserves to be destroyed; he’s undone by his own excess. And a fun bit of trivia about the 1983 film: Screenwriter Oliver Stone claims to have kicked coke while writing Scarface in Paris. He got out of the game that Montana couldn’t quit. (R) Egyptian, 801 E. Pine St., 781-5755, landmarktheatres.com. $8.25. Midnight (repeats Sat.) BRIAN MILLER

STAGE

Coffee, Tea, or Three?

Sure, Boeing Boeing sounds like some leering old episode of Love, American Style. It’s about a horny American businessman, Bernard (Richard Nguyen Sloniker), living in Paris during the swinging ’60s. His plans for enjoying the affections of three separate stewardesses—not flight attendants, trust me, but stewardesses—are well-laid (forgive the pun), until the arrival of a pal from his school days and, particularly, the new efficiency of jet-age travel puts everyone in the right place at the wrong time. And

did I mention the wry French housekeeper? Yeah, it’s that kind of show. But, based on the astonished audience and critical reactions to this translation of a Gallic farce, you wouldn’t have it any other way. Its 2008 Broadway revitalization took Tonys for Best Actor and Best Revival of a Play, four decades after the original flopped in New York. This more knowing Boeing Boeing wants nothing from you but a great night out, and it’s in the right hands here to deliver the goods. Allison Narver, an expert at encouraging actors to take quantum comic leaps, directs a cast headed by Oregon Shakespeare Festival clown Mark Bedard as Robert, the befuddled school chum. With Anne Allgood, a supreme Seattle character actress whose last name doesn’t lie, as the housekeeper and luscious local comedienne Bhama Roget as one of the high-flying hostesses, the production is primed to give pleasure. (Previews begin tonight; opens April 24; ends May 19.) Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $15–$80. 7:30 p.m. STEVE WIECKING

sat/4/20 VISUAL ARTS

The Lonely Crowd

Moments before the opening of his show Introduction: A Life of Observation, 87-year-old painter David Byrd was wheeled through the

gallery in an office chair. “It’s really bright in here,” he said. “Yes,” gallery owner Greg Kucera replied, “you can really see all the detail of your work.” Lighting would be important to the artist, whose entire oeuvre had never been shown beyond the walls of his upstate New York home, which he built mostly himself. As visitors began to arrive, Byrd was escorted here and there by Kucera and others eager to discuss his technique and style. That style—and the reclusive, highly contemplative life from which it springs—is

sun/4/21 BOOKS

Digging for the Divine

Way back in the late ’80s/early ’90s, you may recall snickering at one of those doomsday cults led by a woman named Elizabeth Clare Prophet. She and her peaceable Montana followers were preparing for the end of the world (for the rest of us, that is), digging a series of bunkers and shelters for themselves. Portland novelist Peter Rock was just out of college then, working near Yellowstone, and he observed these members of the Church Universal and Triumphant. He also probably laughed when the CUT went underground on March 15, 1990, and the world didn’t end. Decades later, a girl raised in the church would become one of Rock’s students at Reed College, and he began to interview her and other church members. The result is The Shelter Cycle (Houghton Mifflin, $23), which sympathetically considers how two grown children from the CUT circle would later adapt to the secular world. Living in Boise, pregnant Francine doesn’t talk about the church with her skeptical husband. Her neighborhood is in a panic over a girl who recently disappeared (possibly abducted), when her old playmate Colville arrives—a bizarre loner given to mystical visions who seems just like the sort of creep who might snatch your daughter. (That, in fact, is the subject of Rock’s acclaimed 2009 novel My Abandonment.) Both Francine and Colville miss the security and spiritual certainty of their cult, so both decide to travel separately back to the old communal grounds and hideouts, where sacred texts and survivalist gear remain. One expects the worst of their parallel journeys and increasing fervency (“I am the Violet Flame, I am the Violet Flame . . . ”), but Rock isn’t aiming for Stephen King territory here. Even the possibly schizophrenic Colville, who communicates with raccoons, has a kind of solemn dignity. He and Francine are believers in a lost creed, yearning for stability in a world with none to offer. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. Free. 3 p.m. BRIAN MILLER

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

New York, and movies about crime in old New York. His book Low Life covered some of the same bloody ground as Gangs of New York, on which he advised Martin Scorsese. But Sante treats a different set of obsessions in The Other Paris , an evening of commentary and film clips from vintage French movies that celebrate crime and other misbehavior. Premiering here thanks to a commission from NWFF, this multimedia presentation reaches back to the silent era with a Fantômas movie (about the iconic French super-criminal), samples the postwar period with the classic heist film Rififi, and even includes a theory film by Guy Debord. The child of French-speaking Belgians who moved to the U.S. when he was a child, Sante is currently at work on a book called La Canaille: Paris and Its Rabble, about the underclass who lead revolts or lift your wallet. The French look differently upon crime; there’s a heroic aspect—at least in literature and film—to the man who refuses to live by bourgeois values. A bohemian himself, and a chronicler of New York’s Lower East Side during the ’70s, Sante has always sided with the outsiders. (Through Sat.) Northwest Film Forum,

Third Ave. S., 624-0770, gregkucera.com. Free. 10:30 a.m.–5:30 p.m. GWENDOLYN ELLIOTT

arts»Opening Nights PAugust: Osage County

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

The movies have their thrills and moments of excellence, but only the stage can provide a rapid-descent spelunking into the depths of what drives us all. August: Osage County, which won both the Pulitzer and Tony for best drama in 2008, is that kind of play. Tracy Letts’ text is a surefooted and unblinking examination of the ties that bind and the transgressions that rip people apart. It’s a sad, funny, horrific tale, told with compassion and a ferocious commitment to honesty by Balagan Theatre director Shawn Belyea, with a cast as fine as has ever trod a Seattle stage. Letts’ basic story is as old as the Greeks. Adult children return home at a time of family crisis, and we learn what they already know—why they love each other, the secrets they’ve kept (or think they have), and the limits of kinship. In this regional premiere, the Weston clan is led by poet/patriarch/drunk Beverly (Charles Leggett) and his pill-popping wife Violet (Shellie Shulkin), a woman given to flights of semi-lucid fancy. Daughters Barbara (Terri Lazzara), Ivy (Caitlin Frances), and Karen (Kate Jaeger) get along well enough at the outset, but like a high-stakes game of psychosexual Jenga, old insults combine with new injuries until their sisterhood buckles under the strain. Extended family members Mattie Fae (Lisa Viertel) and her husband Charlie ( John Q. Smith) add fuel to the fire with quarrels over their ne’er-do-well son, Little Charlie (David Goldstein). Then there’s Barbara’s estranged husband Bill (Chris Ensweiler), trying to keep up appearances while their daughter (Devynne Gannon) navigates puberty and inappropriate sexual advances through a haze of pot smoke. All the technical elements are perfectly in sync here, and despite the three-hour run time (with two intermissions), the show remains 95 percent lean. There are laughs aplenty early on, but ultimately August: Osage County takes a heavy toll. Still, if you’re a theatergoer who grows weary of shows that whiz by as little more than pleasant distractions, Letts’ dramedy is an exception to the rule. It’s the best play I have seen in decades, crammed full of staggering moments of surprise and performances that will haunt you for years to come. KEVIN PHINNEY

PSwan Lake MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28–$173. 7:30 P.M. THURS.–FRI., 1 & 7:30 P.M. SAT., 1 & 7 P.M. SUN. ENDS APRIL 21.

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

Apr. 25–May 12, 2013 Performed at the Playhouse

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

This is the fourth time out for Pacific Northwest Ballet’s current production of Swan Lake. The company premiered this version of the 19th-century classic in 2003 and has been bringing it back since. While some of the design elements, like the symbol-laden tilted walls of the palace, have not really aged well, Kent Stowell’s choreography, based on the Marius Petipa/Lev Ivanov original, remains strong. With this series of performances we get to see multiple casts, with dancers at various career stages returning to this challenging work.

ANGELA STERLING

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.

Körbes dons her Swan feathers.

Opening weekend had four couples rotating in the lead roles, alongside 50-plus dancers playing courtiers and servants. Kaori Nakamura, dancing with Seth Orza, and Carla Körbes, partnered by Karel Cruz, are both returning to the double roles of Odette/Odile. After their success in Roméo et Juliette earlier in the season, both women bring similar skills to this classical part. Nakamura zeroes in on the specifics of each moment as the Queen of the Swans, who falls in love with Prince Siegfried but is betrayed when he’s tricked into swearing his love for another. Körbes gave a lovely performance on opening night, but really came into her own at the Sunday matinee—it seemed as if the entire theater held its breath during her time onstage. Her legato sense made the trajectory of the plot appear inevitable. Both ballerinas bring an incredible maturity to their interpretations. Maria Chapman and Lesley Rausch each debuted as Odette/Odile last weekend, a significant milestone in their careers. Chapman, whose partner Jerome Tisserand was also dancing his first Siegfried, was able to step beyond the part’s considerable technical challenges in several beautiful sequences, especially as the gentle Odette. Rausch danced with Batkhurel Bold, a veteran Siegfried who offered her the best kind of support in their duets. Like Körbes, Rausch has a powerful sense of sustainment in slow passages, and made excellent dramatic use of that skill. All four couples will perform the second weekend, joined by Carrie Imler dancing with former PNB artist Casey Herd. Let’s not neglect the supporting cast, which is full of riches. In the past, Jonathan Porretta shone as the virtuosic Jester; he’s still just as sharp, but in this run he shares the role with Kyle Davis, Kiyon Gaines, and Benjamin Griffiths. Both Gaines and Ezra Thomson gave first performances as the fussy tutor Wolfgang, and both developed a wide variety of stage business for the tipsy character—now much more distinctive than the usual “companion to the prince” role. Finally, Laura Gilbreath danced the “Persian” solo with incredible aplomb, making a figure that could easily devolve into kitsch into a demigod. SANDRA KURTZ E

stage@seattleweekly.com

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

Stage OPENINGS & EVENTS

ASSISTED LIVING Local playwright Katie Forgette’s new

comedy about elder care and dementia. ACT Theatre, 700 Union St., 292-7676. $41 and up. Previews begin April 19, opens April 25. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends May 12. BODACIOUS VAUDEVILLE Old-school vaudeville by women of all sizes. Vertical World, 2123 W. Elmore St., bodaciousvaudeville.com. $30. 8 p.m. Sat., April 20. BOEING BOEING SEE THE WIRE, PAGE 21. THE CONSTRUCTION ZONE WET and ACT team up to sponsor staged play readings. First up, Michael Mitnick’s Sex Lives of Our Parents. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$20. 7 p.m. Tues., April 23. THE DEVIL AND BILLY MARKHAM Jonah Weston makes a solo show out of Shel Silverstein’s epic poem. JewelBox/Rendezvous, 2322 Second Ave., 691-5161, jonahweston.com. $12–$15. 8 p.m. Fri., April 19. 42ND STREET The quintessential backstage musical. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 2324145 x109, youththeatre.org. $15–$17. Opens April 19. 7 p.m. Fri.–Sat., 2 p.m. Sun. Ends May 5. THE HAIRY APE O’Neill’s examination of the class divide aboardship: the privileged above, workers below. Ballard Underground, 2220 N.W. Market St., 395-5458, ghostlight theatricals.org. $12–$15. Opens April 19. 7:30 p.m. Thurs.– Sat. plus 7:30 p.m. April 29 and 2 p.m. May 5. Ends May 5. ONCE UPON A TIME 6X IN THE WEST An avant-musical take on myths of the old West. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.uw.edu. $10–$20. Previews April 17–18, opens April 19. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends April 28.

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

•

PERICLES/MOLIERE Joint productions of Shakespeare’s

adventure and two Moliere one-acts. Center House Theatre, Seattle Center. Free. See cornish.edu for exact schedule, April 18–28. WORKING A musical revue about the job world in all its oftoverlooked forms, based on Studs Terkel’s book. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. $5–$10. 8 p.m. Tues., April 23–Thurs., April 25, 2 p.m. Sun., April 28.

CURRENT RUNS

ADVENTURES OF HUCKLEBERRY FINN: UNCENSORED Book-It regularly transforms great

fiction into enlightening theater, but when the novel in question is Mark Twain’s 1885 Adventures of Huckleberry Finn, moving from page to stage means working overtime on the language. Specifically one word. You know the one. Thus Judd Parkin’s script, conceived with director Jane Jones, arrives in a production accompanied by several special post-show talk-backs. STEVE WIECKING Center House Theatre, Seattle Center, 216-0833. $25–$45. Previews through April 19; opens April 20; runs Wed.–Sun through May 12; see book-it.org for exact schedule. AUGUST: OSAGE COUNTY SEE REVIEW, PAGE 22. THE DIARY OF ANNE FRANK Frances Goodrich and Albert Hackett’s classic adaptation. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater. org. $17–$22. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends April 27. DINA MARTINA: SPRING IN SEATTLE The 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. 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.

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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. 8 p.m. Thurs.–Sat. plus Mon., April 22. Ends May 4.

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out of nowhere to stun critics and sell truckloads, is a collaboration with singer/songwriter Tift » by gavin borchert Merritt—and though on most of Night, Dinnerstein merely discreetly accompanies the vocalist on her originals, Merritt does return the favor by putting her stamp on Purcell and Schubert. She Every time some classical pundit advocates turns the former’s greatest hit, the lament from that classical musicians include other musics in Dido and Aeneas (c. 1688), into a Lucinda Wiltheir repertory, I wonder why it only works one liams torch song (albeit a too-up-tempo, too-brief way—why we’re encouraged to be all-purpose one), but it’s her Schubert, “Nacht und Träume,” music providers while every other cobbler gets that really knocked me sideways. If the ideals for to stick to his last. Especially since a fresh, nonlieder singing are purity of tone (no roughness), doctrinaire approach to classical standards by exactitude of pitch (no bending), a legato line, musicians steeped in other traditions can be surand the breath control that makes all this posprising and fascinating. (Whoever decided to ask sible—what we talk about when we talk about Aretha Franklin to fill in for an indisposed Luciano a “trained” voice—Merritt reminds us that’s Pavarotti to sing “Nessun dorma” at the 1998 all in the service of bringing the words to life Grammys was a genius.) The latest album from anyway, and there are other means to that end. pianist Simone Dinnerstein, whose 2007 debut The catches in her voice after each in a series recording of Bach’s “Goldberg” Variations came of eighth notes, for instance, are not obtrusive but devastating. (What they reminded me of, actually, was Dinnerstein (left) the detached bowing a string and Merritt. player might use. The technical term is louré—just the tiniest intervening commas to articulate and point up each note.) This track’s my new favorite thing. Could she do a whole classical album next? Maybe open with Schumann’s “Mondnacht” . . . The Triple Door, 216 Union St., 838-4333, thetripledoor.com. $20. 7:30 p.m. Thurs., April 18.

MEET THE AUTHOR! SARAH DESSEN

WHAT HAPPENED TO GOODBYE (SPEAK)

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TUESDAY, APRIL 23 AT 4PM CAPTAIN UNDERPANTS AND THE REVOLTING REVENGE OF THE RADIOACTIVE ROBO-BOXERS (SCHOLASTIC) The tenth book the Captain Underpants saga takes place where the last book left off. Tippy Tinkletrousers has arrived on a post-apocalyptic Earth and is supposedly killed by George and Harold as Zombie Nerds... Tickets Available 3/25/13. Details at www.thirdplacebooks.com.

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WEDNESDAY, APRIL 24 AT 7PM WHY KNOT?: HOW TO TIE MORE THAN SIXTY INGENIOUS, USEFUL, BEAUTIFUL, LIFESAVING, AND SECURE KNOTS (ABRAMS)

Philippe Petit, the tight-rope walker who walked between NYCís Twin Towers in 1974, presents Why Knot?, a guide to tying his essential knots. With practical sketches, clever tying instructions, and photographs in which special knots were used during spectacular high-wire walks, Petit will transform you into a knot aficionado. NO TICKET REQUIRED TO ATTEND.

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arts»Performance 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. Wed., April 17–Thurs., April 18; 8 p.m. Fri., April 19; 2 & 8 p.m. Sat., April 20; 1 & 6:30 p.m. Sun., 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. 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 Based on actual interviews with the Four Seasons’ founders, Jersey Boys is the story of runaway egos, Catholic upbringings undone by the sexual revolution, and the singular falsetto of Frankie Valli. The book by Marshall Brickman and Rick Elice is a taut, well-told tale, and the songs and score, by original band member Bob Gaudio, are surprisingly resilient and as crisp as a new tuxedo. KEVIN PHINNEY 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29–$123. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends May 4. “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 powder keg that needs to go off. 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.

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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., 800-8383006, ridingincarswithblackpeople.com. $12–$14. 8 p.m. Fri.–Sat. plus 2 p.m. Sun., April 21. Ends April 21. SMUDGE Rachel Axler attempts to put a darkly seriocomic spin on an abnormal birth— baby with one eye, no limbs, and questionable genitalia—to strangely little effect. The edgy subject matter is not what’s offensive, 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! Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun. see dreams.zinzanni.org for exact schedule. Ends May 12. TRAILS In this new musical, Seth and Mike are childhood friends now grown and walking the Appalachian Trail in order to put their gradually revealed past behind them. 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 In Kenneth Albers’ new adaptation of the Kafka novel, bank clerk K. (Darragh Kennan), awakens to discover he’s “under arrest” by thugs who may or may not be “official.” Despite anchoring every scene, Kennan keeps his everyman modest, letting the supporting cast outsize him with adamant oddness. As in the book, don’t expect answers about what happens to Josef K. Paraphrasing Kafka’s notion about God, New Century Theatre Company’s mood-rich production delivers the nuts, but leaves them for you to crack. MARGARET FRIEDMAN Inscape, 815 Seattle Blvd. S., wearenctc.org. $15–$30. 8 p.m. Thurs.–Sat., 7 p.m. Sun. Ends April 28. THE WHIPPING MAN This unlikely and affecting Passover drama traverses the concepts of freedom, justice, faith, and family against the backdrop of 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 the cast of three. TERRA SULLIVAN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends April 27.

•

By Katie Forgette SEATTLE WEEKLY • AP RI L 17 — 23, 2013

Directed by R. Hamilton Wright

•

Apr 19-May 12 The boomer generation won’t go down without a fight!

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The mark ASSISTED LIVING is used with the permission of Compton & Bennett, Inc.

ACT – A Contemporary Theatre (206) 292-7676 | 700 Union St, Seattle, WA 98101

acttheatre.org

See this and more with an ACTPass!

YOU’RE A GOOD MAN, CHARLIE BROWN Twelfth

Night Productions presents the Charles Schulz-based musical. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, twelfthnightproductions.org. $15–$18. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends April 21.

Dance

COLLISION THEORY: THE FINALE The multimedia cul-

mination of KT Niehoff’s yearlong project. On the Boards, 100 W. Roy St., 217-9886, ontheboards.org. $20. 8 p.m. Thurs., April 18–Sun., April 21. SWAN LAKE SEE REVIEW, PAGE 22. BATTLE FOR THE DANCE BELT A half-dozen local modern-dance troupes contest for this audience-determined prize. Velocity Dance Center, 1621 12th Ave., 800-838-3006, 3rdshiftdance.org. $10. 7 p.m. Sun., April 21.

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Classical, Etc.

UW SAXOPHONE NIGHT Classical and jazz pieces.

Brechemin Auditorium, School of Music, UW campus, 6858384, music.washington.edu. $5. 7:30 p.m. Wed., April 17. TOKYO STRING QUARTET SEE THE WIRE, PAGE 21. INVERTED SPACE This UW student ensemble tackles formidable works by Carter, Scelsi, and Schoenberg’s Pierrot lunaire. Meany Hall, UW campus, 543-4880, music. washington.edu. $12–$20. 7:30 p.m. Thurs., April 18. SIMONE DINNERSTEIN & TIFT MERRITT SEE EAR SUPPLY, PAGE 23. SEATTLE SYMPHONY HK Gruber conducts his own percussion concerto Rough Music, plus music by Antheil, Bernstein, and Stravinsky. (Saturday morning’s family concert, $15–$20, includes rousing excerpts from the program.) Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., April 18, 11 a.m. & 8 p.m. Sat., April 20. NORTHWEST SINFONIETTA Awadagin Pratt is the guest pianist/conductor for music by Mozart and Christophe Chagnard (who usually conducts this group). Benaroya Recital Hall, Third Ave. and Union St., 866-8334747, nwsinfonietta.org. $27–$55. 7:30 p.m. Fri., April 19. SIMPLE MEASURES Beethoven’s “Archduke” piano trio and more on this series devoted to de-ponderous-izing chamber music. At Chapel Performance Space, 4649 Sunnyside Ave. N., 7:30 p.m. Fri., April 19, and Town Hall, 1119 Eighth Ave., 2 p.m. Sun., April 21. $15–$30. 853-5672, simplemeasures.org. OUR EARTH In Fisher Pavilion, Earth Day performances of Heron and the Salmon Girl and Rushing Upriver, two operas in a trilogy in progress by Eric Banks. Seattle Center, syso.org, seattleopera.org. Free. 1:30 (Heron) & 3 p.m. (Rushing), Sat., April 20. MUSIC OF REMEMBRANCE Music by Jake Heggie and Erwin Schulhoff in conjunction with SAM’s exhibit “Morality Tales: American Art and Social Protest, 193545.” Seattle Art Museum, 1300 First Ave., musicof remembrance.org. Free. 2 p.m. Sat., April 20. MUSIC NORTHWEST Vocal and chamber music by Benjamin Britten. Olympic Recital Hall, S. Seattle Community College, 6000 16th Ave. S.W., 937-2899, music northwest.org. $16–$18. 7:30 p.m. Sat., April 20. MUSICA SACRA From this chamber choir, music by Britten and other English composers. Blessed Sacrament Church, 5050 Eighth Ave. N.E., musicasacrachamber chorale.com. $18–$25. 7:30 p.m., Sat., April 20.

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SEATTLE/SEATTLE CHAMBER • ORCHESTRA Eric Garcia conducts Stravinsky, Weber and SINGERS

Beethoven. First Free Methodist Church, 3200 Third Ave. W., osscs.org. $10–$25. 7:30 p.m., Sat., April 20. SEATTLE BAROQUE ORCHESTRA With soprano Ellen Hargis, opera arias. Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $15–$40. 8 p.m. Sat., April 20. BEETHOVEN SONATA MARATHON Ten violinists play Beethoven’s 10 violin sonatas. Richmond Beach Congregational Church, 1512 N.W. 195th St., chamber musicrichmondbeach.com. $15. 3–8 p.m. (with two intermissions), Sun., April 21. PUBLIC OPERA Favorite arias and ensembles in an informal setting. Hilton Bellevue, 300 112th Ave. S.E., Bellevue, publicopera.com. $35 incl. dinner. 6 p.m. Sun., April 21. KIRAN AHLUWALIA Ghazals and other Indian folk music from this vocalist., cornish.edu. Cornish College/PONCHO Concert Hall, 710 E. Roy St. $10–$20. 7 p.m. Sun., April 21. AUSTIN HUANG Music for Chinese instruments and Western orchestra. Benaroya Hall, 200 University St., chineseculturefestival.org. $20–$100. 7 p.m. Sun., April 21. DENISE FILLION & CHRIS GRAHAM Stockhausen’s Kontakte for piano, percussion, and electronics, plus music by John Luther Adams and others. Chapel Performance Space, 4649 Sunnyside Ave. N., washington composersforum.org. $5–$15. 8 p.m. Tues., April 23. ROBIN & RACHELLE MCCABE Music for two pianos from this superb duo. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Wed., April 24.

• •

arts»Visual Arts

36 Small Paintings About James Joyce The Frye’s new curator builds two shows around some old poems. BY BRIAN MILLER

BILL RITCHIE/MINI ART GALLERY

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Bill Ritchie’s No. 21, based on the song (or Joyce poem) of the same number.

about what the museum is going to be,” which includes documenting the city’s contemporaryart scene, today a half-century old. A history-minded former gallery owner now associated with a 60-year-old museum (Seattle’s newest), Lawrimore has lately been reflecting back on those who preceded him, “these hidden histories of those who made a difference, these people who started galleries in their homes.” With what he calls “archive fever” running through his brain, he cites figures like Zoë Dusanne, Otto Seligman, and Linda Farris. Implicit in that shuttered roster are also recent casualties like Howard House, Western Bridge, and his own Lawrimore Project . . . all the galleries come and gone, now vacant storefronts in Pioneer Square and points south. If galleries are disappearing, Lawrimore muses, then maybe museums should help commemorate them along with the artists they represented. “People are contacting us with stories,” he says. Still, the Frye has its older holdings to show. 36 Chambers continues the Joycean theme with poetry-inspired picks by the Frye’s staff—essentially everyone but Lawrimore, he notes with a laugh. “I didn’t want to assert any kind of aesthetic decree.” He just gave the Joyce verses to the noncuratorial team, the non-experts, and they made their picks. Oddly, there are only 26 paintings in response to 36 poems (some selected the same canvasses), but museums aren’t about math. E

bmiller@seattleweekly.com

FRYE ART MUSEUM 704 Terry Ave., 622-9250, frye museum.org. Free. 11 a.m.–7 p.m. Thurs., 11 a.m.–5 p.m. Tues.–Sun. Ends May 5.

Simple Measures: Harmony (4/21) William Bernstein How Human Communication Has Shaped History (4/22) Seth Mnookin & ‘Seattle Mama Doc’ Wendy Sue Swanson Vaccine Myths, Parents & Modern Health Information (4/23) SPL & EBBC: Isabel Allende ‘Maya’s Notebook’ (4/24) Bill Carter The Human Dimension of Copper Extraction —Pebble Mine & Beyond (4/24)

Adam Grant A Revolutionary Give-and-Take Approach to Success (4/25) Lake Union Civic Orchestra (4/26) Seattle Poetry Slam’s 2013 Grand Slam featuring Mahogany Browne (4/27) TOWN HALL

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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.

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

part from children’s exhibits, there’s usually a prohibition against touching anything at a museum. And to take anything would be a crime. Yet both the exception and the rule are part of the Frye’s two ongoing shows. The more novel one, commissioned by new curator Scott Lawrimore, is called Chamber Music, a companion to 36 Chambers, which excerpts the Frye’s permanent collection. “Most people don’t know the Frye does contemporary art,” says Lawrimore as we walk through his show. The day after starting at the Frye last October, he explains, he began inviting local artists to create new works indirectly inspired by an old source: Chamber Music, a 1907 collection of love poems by James Joyce. That text inspired the show’s soundtrack, a 2008 anthology album, also called Chamber Music, softly playing on constant loop, with 36 musicians including Kinski, Mike Watt, Lee Ranaldo, and Peter Buck. (A video screen helps you keep track of the songs and their Joycean inspirations; the total album length is about two hours.) And, levels upon levels, text within text, it’s the music that Lawrimore sent out to prod his artists, one song each—though it’s hard to believe these curious creatives didn’t also read the source poems. The 36 new works, mostly paintings, are hung numerically in the order of Joyce’s verses (and the album). You could, if obsessive, revolve clockwise around the room in sync to the music, but that’s not Lawrimore’s agenda. Instead, he wants visitors to sit and linger around the large, low three-armed wooden bench in the center of the room. In circular form, it’s modeled on a “gossip chair” (such as you’ll see in 36 Chambers in the adjacent gallery), but with a larger, more interactive intent. Contained within the structure, a kind of artist’s supply cabinet, are three dozen cubbyholes in which each contributor has left a little trove of documentary materials. Go ahead and touch them, Lawrimore tells me; take them out and browse. For instance, Margie Livingston intends for you to handle the supple, rubbery sections from one of her congealed paint panels. They have a pleasingly tactile aspect, a texture you can only view on her wall-mounted work (No. 29 in the series). On his shelf, Joey Veltkamp leaves books for you to study. On hers, Claire Cowie offers her own personal sketchbooks for you to examine, which include letters of encouragement from her father. And in the department of take-whatyou-like, Alan Maskin leaves little handmade gifts that you’re free to remove. (Yes, the Frye’s museum guards have been notified, so they won’t tackle you on the way out; but return the other stuff after you’ve examined it.) It’s a rare, interactive opportunity to sit and study in a museum; the gallery becomes like a library reading room. Or an archive, as Lawrimore also intends. His goal is “to start conversations

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

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ART + SCIENCE SALON UPS and TAM host these col-

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Students show their work. Opening reception, 3:30-5 p.m. Thurs., April 25. Shoreline Community College, 16101 Greenwood Ave. N., 546-4101, shoreline. edu, Mon.-Thurs., 8 a.m.-5 p.m.; Fri., 8 a.m.-4:30 p.m. Through May 15. THE CREATIVE WORLD OF BOOK ARTS Exploring the concept of books as works of art, this collection of disciplines features altered and handmade books, pop-up books, zines, poetry, and more. Note free Third Thursday reception, 5-8 p.m. on April 18. Schack Art Center, 2921 Hoyt Ave. (Everett), 425-257-8380, schack. org $8-$25, Opens April 18, Mon.-Fri., 10 a.m.-6 p.m.; Sat., 10 a.m.-5 p.m.; Sun., April 21, 12-5 p.m. Through May 28. EARTH DAY CELEBRATION SAM is providing art and ecology tours, nature-journal art activities led by teaching artists, nature-inspired art making workshops, and more. Olympic Sculpture Park, 2901 Western Ave., 654-3100, seattleartmuseum.org, Free, Sat., April 20, 10 a.m.-3 p.m. FLORA & FINE ARTS Puget Sound designers and floral artists create 24 arrangements inspired by the exhibit Drawing Line into Form: Works on Paper by Sculptors. Runs Thurs., April 18 through Sun., April 21. Line runs until May 25. Free opening reception 5-8 p.m. April 18. Cocktail reception Fri., April 19. Sunday brunch at Relish Cafe April 21. See tacomaartmuseum.org for

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TheFussyeye » by brian miller

Tourists are the cruelest art critics. No matter if I hate Hammering Man, those descending from the Duck love it. And while I had, and have, high hopes for SAM’s permanent new installation above its proper main entrance at Union and First, Doug Aitken’s MIRROR is going to take some adjustment. Reprogramming may be needed. The removal of Metro trolly wires would help, too, which I realize is impossible. And the best view of its second-floor LED screens would probably be from a hotel room at the Four Seasons, which is too expensive for most of us. MIRROR is supposedly an exemplar of feedback art, with sensors that drive its images in response to the surroundings. On a sunny spring Sunday afternoon, however, hardly anyone was paying attention. Faced with the choice of MIRROR to the east or the street-end vista of Puget Sound and the new waterfront Great Wheel to the west, tourists barely gave MIRROR a glance. I can see why. Though the display’s monitors and vertical pulses of light —which streak up the façade in LED bursts—surely work better at night, they just can’t compete with nice weather. The sun’s glare overwhelms the LEDs. And busy passersby can’t be bothered to wait for the twinned, prismed imagery that Aitken collected during prior visits to the Northwest. (Could they

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, 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. JOSEPH ROSSANO His multimedia exhibition Whitewashed looks at the escalating loss of animal species and natural spaces with a series of specimenstyle boxes, each featuring a endangered or extinct animal painted with tar then overlaid with white. Note artist and collaborator’s opening reception on Earth Day, 6-9 p.m. Mon., April 22. Seattle Design Center, 5701 Sixth Ave. S., 762-1200, seattledesigncenter.com, Opens April 22, Mon.-Fri., 9 a.m.-5 p.m. Through July 19. SPRING ART SHOW This annual spring art show features a juried exhibition and open artists’ studios. Bemis Building, 55 S. Atlantic St., 621-2146, Sat., April 20, 12-8 p.m.; Sun., April 21, 12-8 p.m.

be synced to the traffic lights?) The mountains, greenery, orange Port of Seattle Cranes, silhouettes of pedestrians—these source images are too benign. They don’t grab your attention like the signage in Times Square, and they don’t seem grabbed from our immediate, lived world. In one of those recent viral Instagram photos, a couple spotted a Google street-view car, quickly drove past it, then pulled over and pretended to have sex on the hood of their BMW.

BRIAN MILLER

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

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particulars and to RSVP for various events. Tacoma Art Museum, $8-$25, Opens April 18, Weds.-Sun., 10 a.m.-5 p.m. Through May 25. FREE FAMILY DAY: ITALIAN FESTIVAL In conjunction with Zoom: Italian Design and the Photography of Aldo and Marirosa Ballo, the whole family is invited to BAM for art activities, demonstrations, and performances. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, Free, Sun., April 21, 12-4 p.m. GITANA COLLECTION TRUNK SHOW A collection of designs by various silver artists reflecting the craftsmanship of artists working in Taxco, Mexico. The Island Gallery, 400 Winslow Way E. (Bainbridge Island), 780-9500, theislandgallery.net, Fri., April 19, 12-6 p.m.; Sat., April 20, 11 a.m.-5 p.m. WARREN MUNZEL Embroidered Eternities and Sometimes Truth is his first solo exhibition, featuring embroidered panels, sculpture, and collage that take a humorous, sometimes subversive view of religion. Rare Medium, 1321 E. Pine St., 913-7538, raremediumseattle. com, Weds.-Sun., 11 a.m.-6 p.m. Rhrough May 5.

Google, y’all got punk’d! That’s the danger in using actual feedback and real-time cameras, and SAM can’t allow such accidents (especially so close to Pike). But that’s also why MIRROR is so boring: It just reflects an anodyne, outsider’s view of the Northwest. It’s tourist Seattle, not our Seattle, and even the tourists aren’t buying it. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org.

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STARTS FRIDAY, APRIL 19

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

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film»This Week’s Attractions Antiviral RUNS FRI., APRIL 19–THURS., APRIL 25 AT GRAND ILLUSION. NOT RATED. 106 MINUTES.

LaBeouf’s reporter goes after a source with a secret (Marling).

Antiviral eventually gets lost in its twists and dark corners—there’s March being betrayed by his friends, a rogue Lucas employee on the loose, a death hoax masterminded by a doctor (Malcolm McDowell). It’s too much to keep straight. But Jones puts on a bravura performance—becoming haggard, limping on a cane, his hair a mess. It drives the film at breakneck pace to a sickening ending. ERIN K. THOMPSON

The Company You Keep OPENS FRI., APRIL 19 AT EGYPTIAN AND SUNDANCE CINEMAS. RATED R. 125 MINUTES.

It is middling praise to declare that The Company You Keep improves on Robert Redford’s previous directorial offerings, The Conspirator and Lions for Lambs, politically minded properties that seemed drained of life by their own unimpeachable good intentions. At least Company trails an air of melancholy, if not outright regret, in the wake of its workmanlike approach. Redford plays a widowed lawyer whose comfy life in Albany is scrambled by revelations about former members of the Weather Underground who’ve been living in hiding for 30 years. He’s one of them. Some half-hearted on-the-run material follows, as Redford goes incognito, searches for his old radical cohorts, and—the movie’s weakest sop to “human interest”—places his young daughter (kid prodigy singer Jackie Evancho) in the care of his brother (Chris Cooper). The feds, led by Terrence Howard and Anna Kendrick, are in pursuit; a dogged newspaper reporter (Shia LaBeouf ) is also on the case. As you may have gleaned, this is a crowded cast, and it gets starrier. Julie Christie, Susan Sarandon, and Nick Nolte are also underground. Good people like Brendan Gleeson, Richard Jenkins (as a Bill Ayers–style radicalturned-professor), and Brit Marling (the eerie space cadet from Another Earth) are swimming ’round in there, too. As a producer, this Redford fellow still has some pull. It pays off in spots: LaBeouf brings his usual jumped-up nerviness to the reporter, even if his character’s journalistic methods are less than credible, and Sarandon carries off a strong jailhouse interrogation scene before she disappears from the picture. Her scene turns out to be an early

indicator of the film’s general method, which is to set two characters to argue over the past actions of the violent wing of the counterculture and whether it was all, you know, worth it. Based on Neil Gordon’s 2003 novel, Lem Dobbs’ script is articulate, and Redford, as actor and director, is nothing if not sincere. In the age of cable-news yammering, one wants to embrace civilized discourse that acknowledges there may be more than one side to an issue, but Redford’s camp-counselor manner makes this a tough hug. Seeing him share long dialogue scenes with Christie, you get a hint of what a more penetrating filmmaker might make of this subject without the forced structure of a thriller overwhelming everything. Or is it just that these scenes associate the glamour of two gorgeous Vietnam-era stars with their radical characters? Either way, it isn’t enough. ROBERT HORTON

Disconnect OPENS FRI., APRIL 19 AT SUNDANCE CINEMAS AND LINCOLN SQUARE. RATED R. 115 MINUTES.

Disconnect would like you to understand that we live in a world of social media, smartphones, and this thing called the Internet, which connects people but also, worryingly, seduces them. What’s that? You say you already knew about these things, perhaps even use them yourself ? Well, now, that could be a serious impediment to believing in this movie, which delivers its earnest warnings in overlapping, Crash-like stories. We begin with a TV reporter (up-andcoming somebody Andrea Riseborough, also on view in Oblivion this Friday) making contact with a runaway teenager (Max Thieriot) who works for an online sex operation. The reporter grows too close to her story, drunk on the fantasy of how much attention she’ll get from the networks. There’s also a distractingly handsome young couple (Paula Patton, Alexander Skarsgård), their finances messed up by an online identity thief, who decide to take vigilante action against a possible suspect in the case. And we meet a preoccupied lawyer ( Jason Bateman) whose neglected son ( Jonah Bobo) is cyberhoaxed at school; as it happens, the hoaxer isn’t diabolical but a lonely kid bullied by his

ROBERT HORTON

My Brother the Devil OPENS FRI., APRIL 19 AT VARSITY. NOT RATED. 111 MINUTES.

The closing credits for this British film, set in the council flats of London’s East End, thank the Sundance Institute for its support. Of course. Though set firmly in the melting pot of Britain’s low-income, high-crime slums, where Arab kids trade the old values of their immigrant parents for the gangsta glamour of the streets, this has all the hallmarks of a typical Amerindie drama: generational rebellion, bad decisions, hard lessons, and loaded metaphors. “It’s about where you put your frame,” says photographer Sayyid (Saïd Taghmaoui) to Rash ( James Floyd), a low-level drug runner in the local gang. He’s ostensibly referring to one of his photographs, but is really talking about how Rash (short for Rashid) frames his identity by the criminal codes of Hackney, where respect is defined by intimidation and fear and success is measured in longevity. It looks like we’re in for Boyz in the Council Flats, with Rash as the gang-banger and potential object lesson for Mo (Fady Elsayed), his little brother with a future, yet it’s Rash who undergoes the evolution—the abrupt, out-of-nowhere realization that he’s gay. It’s less an acceptance of suppressed identity than a screenwriter’s dramatic complication. But then, the entire film is built more on issues than on human drama, including Mo’s hostility to big brother’s radical new identity. It’s not a matter of religious intolerance, mind you—Mo is as wary of Islam as he is of the cops. He’s just appalled at how this one-time

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

cells into wet, gluey “steaks” that are devoured by crazed customers; and, most bitingly, we never find out what Hannah and her fellow celebs are famous for. Are they actresses? Singers? Who knows why? The same could be asked of the Kardashians or Honey Boo Boo. “Celebrity is not an accomplishment,” says March’s boss, Dr. Dorian Lucas (Nicholas Campbell), in the film’s most provocative line. “It’s a collaboration we choose to take part in.”

RHOMBUS MEDIA

Syd (Landry Jones) wants to inject you.

DOANE GREGORY/SONY PICTURES CLASSICS

Kim Kardashian has psoriasis, Miley Cyrus has tachycardia, and Pamela Anderson contracted hepatitis C through a dirty tattoo needle, conditions that might even elicit a twinge of sympathy from us non-tabloid-readers. But in his debut film, Brandon Cronenberg (son of David) creates a world in which celebrity obsession has reached a bizarre peak: People don’t just sympathize with their favorite stars’ diseases, they want to be infected with the same viruses, to achieve “biological communion.” At the Lucas Clinic, clients pay to be injected with the viruses harvested from the stars (who profit from the arrangement). Lucas sales rep Syd March is played by Caleb Landry Jones (X-Men: First Class), whose pale, freckled skin and red hair (tied back in a tight knot) give him a severe, creepy aura. “I understand your fascination with her. I understand completely,” he purrs to his clients, as their celebrity crushes writhe sexily on a monitor. However, March has been selling the copyrighted viruses on the black market, and the only way to smuggle them out of the lab is by injecting himself with them, then walking out the door. His side business is going swimmingly, until he encounters a withering disease from the most in-demand celebrity of them all, Hannah Geist (Sarah Gadon, who last appeared in papa Cronenberg’s Cosmopolis). Plenty of writers and filmmakers snark about tabloid culture, but Brandon Cronenberg’s savage satire is wildly creative. It also serves to make the subject even more distasteful. Celebrity anuses and vulvas are discussed casually; butcher shops grow celebrity muscle

father (Frank Grillo, terrific as the malcontent in The Grey). Playing out these stories, director Henry Alex Rubin is careful to include opportunities for characters to peck at their keyboards in extended conversations, their words frequently floating onscreen. For all that effort, the movie doesn’t especially convey why such a conversation might be seductive, or how waiting for a reply might be addictive—it’s mostly interested in reminding you that this is all disconnecting us from one another. While the overall hyperlinked narrative of writer Andrew Stern is too constricting by far, some sequences are compelling. The obsessiveness of the couple’s focus on the identity thief takes on a certain force, though it might have been more intriguing without their backloaded histories of past trauma. Michael Nyqvist gives the cyber-suspect more interest in his limited screen time than most of the other actors manage. He’s the Swedish actor from the original Girl With a Dragon Tattoo pictures, and he has “next Christoph Waltz” possibilities—if he could get a couple of decent roles down the line. The most interesting casting is Bateman, although his expert timing and legit dramatic chops are used here in scattered moments. But then that’s the nature of this kind of picture: We’re meant to be awed by its design, the interlocking pieces, the way all the threads build to a single climactic moment. Which seems overdetermined for a movie about how our lack of connectedness is keeping us apart.

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SHOWTIMES April 19 - 25

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playa betrays the gang by going homo. Or something like that. Writer/director Sally El Hosaini is at her best capturing the emotional tumult of the brothers’ relationship, the roughhousing and teasing of boys being boys. Rash is both protective and competitive, wanting to keep Mo off the streets, while Mo over-idealizes the fraternal (if dysfunctional) bonds of the neighborhood dope-slingers. Meanwhile, the female experience gets completely overlooked amid the sexual politics, overburdened social commentary, fraternal rivalry, and competing notions of masculinity. El Hosaini spotlights homophobia in the Arab-British community, yet doesn’t consider how women are similarly dismissed as mere sex objects or nurturing figures on the periphery. SEAN AXMAKER

NOW PLAYING: Fri Apr 19–Thu Apr 25 At the Uptown

BLANCANIEVES

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

Jackie Robinson: the man who made the number famous. At the Film Center

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IT’S A DISASTER With filmmaker Q&A

Pavilion RUNS FRI., APRIL 19–THURS., APRIL 25 AT NORTHWEST FILM FORUM. NOT RATED. 72 MINUTES.

Remember Slacker? Think all the way back to 1991, when Richard Linklater began One of following someone several teens around Austin, and in the serially then—hey, what happlotted Pavilion. pened to that guy?— we began following someone else. And then someone else. And then someone else. And yet while nothing much connected those serial episodes, Slacker was fresh and funny. The beadson-a-string approach to story either works or doesn’t, depending on the strength of its vignettes and actors. In Pavilion, shot in lush, wet upstate New York and the ugly, dry suburbs of Arizona, director Tim Sutton tries that approach on a smaller scale with fewer players, but to little avail.

Teenaged Max lolls around a lake, where his divorced mom has waterfront property and a boat. He’s even got a semi-girlfriend, and school’s out for summer. Why would he leave? But Sutton forces Max to visit his dad in Phoenix, where the two stay in a cheap, rentby-the-month motel. Out in the dark parking lot, a squadron of BMX-riding teens does tricks in a culvert, under the harsh streetlights. Max is desperate to join them, does, and the story shifts to a new kid. No one among Sutton’s amateur cast is much of an actor, and they aren’t given any memorable lines. They just swim, ride bikes and skateboards, walk in the woods, and behave like ordinary adolescents. This isn’t the dangerous, stylized teen world of Larry Clark or Gus Van Sant; there’s no foreboding of OD’s or Instagram rape. Sutton’s approach isn’t voyeuristic, but naturalism only gets him so far. Something like the documentary Only the Young, seen at NWFF last month, this is a world where adults barely figure. There are hints that Max and his cohort need better parenting, as when they visit a trailer-trash party with exactly the wrong kind of adult supervision. But Sutton likewise refuses to guide his teen characters. They fend for themselves; they come and they go; and then they pass from our view. PAVILIONFILM.COM

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

206.324.9996 siff.net

Elsayed (left) and Floyd as brothers in conflict.

BRIAN MILLER E

film@seattleweekly.com

film» BY BRIAN MILLER

Local & Repertory BAND OF SISTERS 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. (NR) BRIAN MILLER Northwest Film Forum, $6-$10, Sat., April 20, 3 & 5 p.m.; Sun., April 21, 3 & 5 p.m. EMPIRE RECORDS Better Than Ezra, Toad the Wet Sprocket, and Evan Dando made soundtrack contributions to this soap-in-a-record shop, which introduced indie rock to mall-going teens across America back in 1995. Look for Renée Zellweger, Liv Tyler, and Robin Tunney among the cast. (PG-13) Central Cinema, $6-$8, April 19-22, 9:30 p.m.

TRUFFAUT: • JEAN-LUC GODARD AND FRANÇOIS How could anyFRENCH NEW WAVE MASTERS

one be mean to Anna Karina? Sad to say it, but her husband and director, Jean-Luc Godard, comes off looking like a misogynist jerk in the 1961 love triangle A Woman Is a Woman. She wants a baby from her sullen, no-good boyfriend (Jean-Claude Brialy, smoking an awful lot for a cyclist), who blithely suggests she get knocked up instead by their pal (Jean-Paul Belmondo, making turtlenecks look fabulous). Even if the film is putatively about women, it’s really about two guys who whisper, snicker, and conspire against the unknowable feminine other. “Is this a tragedy or a comedy?” one asks. “With a woman, you never know,” comes the reply. The colors dazzle in a restored print, and there are some funny gags, but Godard’s constant messing with the soundtrack and mocking of the prior conventions of screen romance almost spoil your appreciation of Karina’s eternal charm. Almost. (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. THE KILLING And early work (and late noir) from Stanley Kubrick, this 1956 crime tale has Sterling Hayden lead a gang in what’s supposed to be a simple heist. Naturally their plan goes to hell, with violent results. (NR) Central Cinema, $6-$8, Wed., April 17, 7 & 9:30 p.m. KUNG FU GRINDHOUSE Screened in series will be For Your Height Only, Challenge of the Lady Ninja, and The Story of Ricky. 21 and over. (NR) Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com, Free, Tue., April 23, 7 p.m.

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FESTIVAL

over nine days. 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. Full schedule and details: langstoninstitute.org, 684-4758. Langston Hughes Performing Arts Center, 104 17th Ave. S., Seattle, $5-$10 individual, $50-$150 pass, Through April 21.

9/11 EXPLOSIVE EVIDENCE: THE EXPERTS SPEAK OUT Given the recent terrorist bombing in Boston, this

screening would seem extremely distasteful and illtimed. But conspiracy theorists are welcome to attend. Discussion follows. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., April 19, 7 p.m. SAMSARA Whether it strikes you as a profound, perspective-shifting spiritual travelogue, or the cinematic equivalent of a forgettable New Age music loop, this follow-up to 1992’s Baraka by director Ron Fricke and producer Mark Magidson nails its intent as “guided meditation.” Zigzagging through 25 countries Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

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JASON BATEMAN

PAULA PATTON

ANDREA RISEBOROUGH

ALEXANDER SKARSGÅRD

“THE BEST FILM OF THE YEAR.

TREMENDOUSLY ACTED.” -Anna Klassen, Newsweek

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Ongoing

Pablo Berger’s inventive retelling • BLANCANIEVES Snow White is a silent-movie melodrama, set in the

FROM ACADEMY AWARD NOMINATED DIRECTOR HENRY-ALEX RUBIN AND WRITER ANDREW STERN ®

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of 1920s bullfighting scene of Seville. Berger draws from different inspirations—grand melodrama, flamenco, 4.81” X 5" circus fantasy, and toreador worship—and mixes them with silent-film conventions and contemporary storytelling. Our heroine—called “Snowhite” in one mashed-up word—is Carmen (Macarena García), the all-but-abandoned daughter of a crippled bullfighter. Her social-climbing wicked stepmother Encarna is Artist: (circle one:) played by Maribel Verdú (Y Tu Mamá También) with scheming, sadistic glee. In the enchanted corrida, Aurelio Heather Staci amnesia-struck Snowhite becomes a matador in her own right, an adored heroine and Prince Charming all Jay Steve at once. No one is going to mistake this self-aware Emmett silent film for a period classic, but Berger’s creative energy and inventiveness more than justify the retro Confirmation #: appropriation. (NR) SEAN AXMAKER SIFF Cinema Uptown BLESS ME, ULTIMA Rudolfo Anaya’s 1972 coming-ofage novel, following a Hispanic schoolboy in a small New Mexico town during World War II, is considered a landmark of Chicano literature. That generally means a devotional, earnest adaptation. On the one hand, this is an often lovely story of growing up Hispanic in America, as seen through the amber-lit idealization of childhood memory and framed by the narration of the grown Antonio (Alfred Molina). On the other, it’s a struggle of good and evil between Ultima, the wise old medicine woman (or curandera) and the tyrannical landowner Tenorio. Meanwhile, the wise-beyondhis-years Antonio, the youngest in a sprawling clan 10:45am scattered by service in the war, tries to work through the contradictions of a culture that publicly embraces Catholicism but quietly preserves the folklore and spiritual beliefs of its pre-Christian heritage. The movie is a storybook evocation of youth, darkened by the future disappointments of adulthood. (PG-13) SEAN AXMAKER Ark Lodge Cinemas 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 advertising hotshot René (Gael García Bernal). 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. (Lucho will later lead the Sí campaign.) Director Pablo Larraín and his writers embellish history and devise a funny, effective series of fake ads and jingles for both campaigns. “We have to find a product that is attractive,” says René. Product: That’s the key word, in which sense René can be seen as the Roger Ailes of his day. (R) BRIAN MILLER Varsity

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in ravishing Super Panavision 70, Samsara plumbs its titular conceit—the Buddhist/Hindu notion of cosmic cyclicity and earthly suffering—with a visual panache that short-circuits the need for narrative discipline (and dialogue. Like its predecessor, Samsara is entirely nonverbal). From corporeal subjects in an Ethiopian village and a São Paulo cathedral to inanimate relics on Turkey’s Mount Nemrut and in the devastated Ninth Ward of New Orleans, the film’s imagery is epic and trance-inducing. It’s the “guided” part where Samsara stumbles. Civilization’s hyper-mechanized Malthusian horror show is captured with inventive flair (a mass dance sequence in a Filipino prison is a stunning highlight), but it’s undercut by an underlying smugness and complementary mush-brained Eastern fetishism that toe right up to elitism. Clichéd wraparound sequences in a Ladakh mountain monastery are the tip-off, but a preoccupation with factory grunts, office drones, destitute trash-pickers, and fat, burger-slamming Yanks as exemplars of humanity’s failings outs Fricke and Magidson as high-minded aesthete snobs. (NR) MARK HOLCOMB Grand Illusion, $5-$8, Sat., April 20, 3 & 11 p.m. SATURDAY MORNING CONFUSION Confusion indeed. This nighttime screening is a 21-and-over event sponsored by Scarecrow Video. PBR will be served along with various oddities from the VHS era, old weekend cartoons, and more. (NR) Grand Illusion, $5-$8, Sat., April 20, 9 p.m. SCARFACE SEE THE WIRE, PAGE 21. WAXIE MOON IN FALLEN JEWEL The local burlesque performer and dance appears in this film by Wes Hurley. (NR) Central Cinema, $12, Thu., April 18, 8 p.m. WE ARE WINNING, DON’T FORGET French-born filmmaker Jean-Gabriel Périot will attend and introduce this evening of shorts. He specializes in reediting old archival reels—about WWII, the Civil Rights movement, etc.—into new essay films. (NR) Northwest Film Forum, $6-$10, Sun., April 21, 7 p.m.

film» THE PLACE BEYOND THE PINES Luke (Ryan Gosling),

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. Pines is the second film by Derek Cianfrance to star the Gos (after Blue Valentine), but it 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. Shot in upstate New York, Pines aims to be a small-town generational saga, but only the early crime scenes have any spark to them. (R) BRIAN MILLER Sundance Cinemas, Harvard Exit, Kirkland Parkplace, Majestic Bay, others 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. But then he adds his own commentary using clips from other Kubrick filmsfor counterpoint or comic effect. (NR) SEAN AXMAKER SIFF Film Center THE SAPPHIRES Dreamgirls meets Rabbit-Proof Fence. During the late ‘60s in the outback, on a sunny, cheerful farm, three Aboriginal sisters sing in exquisite harmony. The Sapphires is a classic example of Harvey Weinstein’s internationalist-frosted cupcake sentimen-

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

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tality. As our story begins, Cynthia, Gail, and Julie are suffering indignities of local talent shows. Shambling onto the scene is roving musician/talent scout Dave (Chris O’Dowd, of Bridesmaids and This Is 40). 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 a mom matinee, something that brings an easy smile and doesn’t require a wad of tissues. (PG13) BRIAN MILLER Seven Gables STARBUCK In this very broad, sentimental FrenchCanadian 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, David is clearly unfit to be a father. You can see where this is going. 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. 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. 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? A remake is inevitable. (R) BRIAN MILLER Kirkland Parkplace TO THE WONDER 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. In France, Neil meets single mother Marina (Olga Kurylenko); they 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). Back in Oklahoma, however, the wonder disappears from their new romance. The two quarrel, and Neil turns to his old sweetheart, Jane (Rachel McAdams). In the dreamy, elliptical Wonder, the exact sequence of falling in and out of love doesn’t really matter. It’s the pauses amid the rush of time that count for Malick. Yet 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, not unlike Father Quintana (Javier Bardem, in a thankless, poorly integrated role), the priest who can’t find his faith anymore. (R) BRIAN MILLER Guild 45th TRANCE In Danny Boyle’s art-heist head trip thriller, Simon (James McAvoy) works in a posh London auction house. When a Goya worth $41 million goes on the block, that painting is stolen in a brazen, well-planned art heist, despite the security Simon describes in such keen detail. He 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), 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, 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. (R) BRIAN MILLER Guild 45th, Kirkland Parkplace, others UPSTREAM COLOR Shane Carruth’s second film, after his 2004 Primer, maintains the gauzy style of its predecessor and exists in the same disorienting, dreamlike world. But there is no sci-fi gadgetry at play here. 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. Upstream Color is a surreal work, and Carruth tells his story with rapid-fire jump-cuts, a depressed economy of words, and an ethereal electric-piano score (also by Carruth) that is unnerving at times and unrelenting always. The 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. (NR) MARK BAUMGARTEN SIFF Cinema Uptown 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. (Mountlake Terrace)., 425-6727501; 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., 5233935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; 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., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 3249996; Sundance Cinemas, 4500 Ninth Ave NE, 6330059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

food&drink»

More Than a Game

Cultures collide at Von Trapp’s on Capitol Hill, where bocce, bier, and Bavarian cuisine compete. BY HANNA RASKIN

“S

JOSHUA HUSTON

Greg Singleton goes for a knockout on one of Von Trapp’s many bocce courts. After the game, he and his friends can dine on a menu that includes, from top right, pretzels, beets, and sliders.

Von Trapp’s has also found a way to wedge mac and cheese onto an ostensibly German menu, avalanching a bowlful of spätzle, boiled down to near-mush, with way too much white cheese. Topped with curlicues of fried onions, the käsespätzle is the meatless entry on a list of forgettable entrées, including a flaccid sauerbraten and deeply fried chicken schnitzel with very mashed potatoes. But vegetarians aren’t necessarily doomed: Von Trapp’s braised red cabbage is enjoyably bright, and a plateful of roasted beets dressed with caraway and pumpkin seeds is vibrant and fresh. The showpiece of Von Trapp’s menu is the sausage section: The housemade wurst are tucked into crusty rolls, sliced up for sliders, and served on a platter with sauerkraut and potatoes. A help-

If your friends aren’t naturally fun-loving, Von Trapp’s can nudge them in that direction, liter by liter. ful card on each table defines the various sausages, but a sampler platter of frankfurters, cheddarwurst, kielbasa, bockwurst, nuremberg, and two kinds of brats could use an identification guide. Our server was stumped when we asked her to tell us which sausage was which. Her confusion made sense when we started eating: The sausages, trapped in casings which clung as tightly as a 3-year-old bathing suit, all tasted salty, porky, and flat. Weirdly, although Von Trapp’s touts its “from scratch” sausages, the kitchen doesn’t bother to

make its own mustard; there’s squeezable Beaver Brand mustard on every table.

f Von Trapp’s is a beer hall with bocce, all of the above is highly problematic. But if it’s a bocce alley with beer, who cares whether the potato pancakes are cinnamony? According to members of Sheffels’ bocce club, Von Trapps isn’t the perfect bocce venue. The mood’s a mite too raucous for the club’s oldest members, and the courts are too narrow for regulation play. Weimann and Maclise sought the club’s advice early in the design process, but ultimately decided that shaving a few feet off the standard court width would give guests more room to move and mingle. “Von Trapp’s has no intention of ever hosting the World Bocce Championships,” spokeswoman Kirsten Graham points out. Clem Zipp, the city’s reigning Mr. Bocce, says “There’s hardly any place you can play bocce in Seattle, so we make our peace with it.” And the courts—especially court #2—are good. “It’s much flatter than most courts we play on,” club president Mark Charonis says. “It’s pretty true.” Bocce is a civilized game in which you stand next to your opponent and occasionally throw a ball at a wall with extreme force. I didn’t quite master it under the club’s tutelage, but it only took a few points to get caught up in pallino placement strategies and spocking styles. It was a heck of a lot more fun than criticizing bratwurst. “I can’t see how you’d come here and not play bocce,” Zipp says. E

hraskin@seattleweekly.com

VON TRAPP’S 912 12th Ave., 325-5409, vontrapps.com. 4–11 p.m. Mon.–Fri., 12–11 p.m. Sat.–Sun.

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

o we’ll be responsible for our own food and court fees and so on?” asked Bob Sheffels, president of the Woodland Park Lawn Bowling and Bocce Club, when I invited his cabinet to join me for a few games at Von Trapp’s, the latest thematic extravaganza from globetrotting pickers James Weimann and Deming Maclise. No, I explained, this outing was on Seattle Weekly. The paper would cover everything but the alcohol. Sheffels laughed. “Your bosses must know how bocce players drink,” he said. There’s something about bocce that drives folks to the bottle, which is presumably why Weimann and Maclise (owners of Bastille and Poquitos) plopped down five bocce courts in a former Capitol Hill furniture showroom (an additional two outdoor courts are scheduled to open in June). Conceptually, Von Trapp’s is a mishmash: Bocce is an Italian sport, but the restaurant’s menu is wholly Bavarian, a compromise between the pair’s original plan for a German bier hall and a shelved idea to install bocce courts in the Fremont pub vacated by Redhook Brewing back in 2002. Commercially, though, it’s a runaway Austria. But a list of cocktails melding spirits success, with competitive patrons more likely to with beer is well worth exploring: In the terflaunt their wait times than their bocce scores. rifically kinetic Roll Pin Shandy, pear brandy, When the complex opened in February, straightlemon, and bitters facilitate the meeting of scotch faced hostesses regularly quoted three-hour waits and a double IPA. for one of Von Trapp’s 420 seats. Built to cruise-ship scale, Von Trapp’s features three bars, two floors, and one fireplace nook lcohol and exercise (walking the full furnished with an elk head, hanging gothic light length of Von Trapp’s counts) are fixtures, and Bruegelesque wooden tables and precursors to eating, and the inevitabenches. The Teutonic look is somewhat diluted ble opening gambit here is a swollen elsewhere by televisions, a titanic ceiling fan, and and salted pretzel ring, its ends knotted around the sheer number of brand new chairs, but the a silver ramekin holding sweet honey mustard, exposed rafters, wooden railings, and vintage Emmental cheese sauce, or a red pepper-flecked Euro-bric-a-brac, including a set of Austrian obatzda, a soft spread that would register on chandeliers, are a feather in Von Trapp’s Tyrolean Southern palates as buttery pimento cheese. It’s hat. Still, the overwhelming impression is of the best of the three dips, but there’s not enough largeness, which is why Von Trapp’s has quickly obatzda in Munich to mask the depravity of the become the place to pretzels. For simplicmeet up with 20 of your ity’s sake, the pretzels » PRICE GUIDE closest rowdy friends. are served at room PRETZEL ................................................ $4 BEET ........................................................ $8 And if your friends temperature, but there’s CHEDDARWURST SLIDERS ............ $12 SAUERBRATEN ................................... $18 aren’t naturally funno logistical bargain to TRADITIONAL FLAMMKUCHEN .. $14 loving, Von Trapp’s can explain why they’re dry BOCCE .................................................... $25+/HOUR nudge them in that and flavorless. When direction, liter by liter. the pretzel’s split and For drinkers who’d rather not hoist a stein that “stuffed” with a mild horseradish cream cheese, holds twice as much as the average human bladit’s indistinguishable from the white-fleshed der, the bar offers its German and Austrian drafts bagels on a Days Inn continental breakfast buffet. in four smaller sizes, including a two-ounce Baking is clearly not the kitchen’s strong suit. sampler that allows aficionados to pilot their own Von Trapp’s serves an array of flammkuchen, beer flights. While the list doesn’t present a comthe comically great German term for a cheeseprehensive overview of German beer styles—eat- covered flatbread with toppings. The traditional ers accustomed to ordering an Optimator with version’s smeared with sour cream and blanketed their sauerbraten won’t find a doppelbock here— with bacon and roasted onions; a greasier option the on-tap selections are smartly chosen, from a is finished with tomato sauce, scant mozzarella, Veltins pilsner to a Köstritzer schwarzbier. and furling buttons of pepperoni. Either way, the The wine list isn’t quite as daring as the dish rises only to the “Bad pizza’s better than no German-Austrian aesthetic would permit, with pizza” bar: The lackluster crust is painfully remijust two of the four available reds coming from niscent of a frozen pie.

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ANDALUCA 407 Olive Way (in the Mayflower Park

Hotel), 382-6999. Upon his move to Ray’s Boathouse, sous chef Sarah Lorenzen replaced tenured executive chef Wayne Johnson but the Mediterranean-inspired menu has changed little in the transition. Small plates showcasing fresh shellfish and local produce, including a paella thoughtfully sized for one, and everpopular potato croquettes remain. And in addition to its seasonal cuisine, Andaluca offers a respectable wine list, with a small but excellent selection of regional and Washington bottles. $$$

THE BROOKLYN SEAFOOD, STEAK & OYSTER HOUSE 1212 Second Ave., 224-7000. The Brooklyn’s

tripartite mission means it rarely leads the lists of Seattle’s best steak, fish and oyster houses, which are invariably headed by specialists. And the resulting insecurity sometimes shows: Most of the steaks here are draped in sauces and butters, and pristine halibut is finished with lobster bisque. But The Brooklyn doesn’t need the bells and whistles, as the customers who crowd its dining room know (nothing wrong with snagging a captain’s chair at the kitchen bar when every table’s taken.) The meat and fish are terrifically fresh, and service is excellent. The staff is admirably well-versed in oysters, which are available in paired beer and vodka flights. $$$ GORDON BIERSCH 600 Pine St., Ste 401 (Pacific Place), 405-4205. If Gordon Biersch were a guy, he’d have big pecs. He’d like his beer cold and his meat by the pound. With a crowded, buzzing downtown scene, this manly eatery offers solid pub food, varying from surprisingly interesting to a few steps short of good, but always in massive portions. $$ GUAYMAS CANTINA 1303 First Ave., 624-5062. Perched above the Harbor Steps, the patio of Guaymas Cantina downtown is a great spot to savor a sunny summer Mexican lunch and dinner. For the other 10 months of the year, you can always enjoy the cheery interior and catch some soccer on the telly. Food is cheap and serviceable, which in the Four Seasons district is very handy. $

BestofVoracious » by beth maxey

Heavy Nettles

It’s the season for nettles. Right now, while they are young and tender. In a few weeks they’ll be tough and only half as tasty. Eat them while you can! Nettles are famous for their sting (which comes from their hollow hair-like needles, through which the plant injects a histamine directly into the skin) but Edouardo Jordan, chef de cuisine at Pioneer Square’s new Bar Sajor, claims that if you pick them young enough, you can “eat nettles as a fresh green, in a salad” without risk of stinging. He should know. Edouardo cooked at Per Se, The French Laundry, The Herbfarm, and Sitka and Spruce before opening Bar Sajor for Matt Dillon. I’d never heard of raw nettle salad, but Edouardo reassured me: “Sure, if the nettles are really young. The only problem is that it can be hard to find them that young unless you are foraging yourself.” This time of year, nettles are popping up in farmers markets as well as roadsides, though in my opinion, foraging for them is half the fun.

IL CORVO 217 James St. Ste. 300, 538-0999. There’s no

shortage of great meals within walking distance of Seattle Weekly’s downtown offices, and Il Corvo— serving weekday lunches only—is no exception, even after their recent move from Western to James street. The spaghetti with briny cured tuna heart, crushed Calabrian chiles, olive oil and parsley leaves evokes the feverish, lascivious spring that many chefs forsake in favor of celebrating the season’s tender greens. The pasta preparations change daily, so check chef Mike Easton’s blog for a running roster. $

MCCORMICK & SCHMICK’S SEAFOOD RESTAURANT 1103 First Ave., 623-5500. This wood-

paneled haunt attracts players and lowly office workers alike, and arguably boasts the best happy hour in the city—possibly in the country. McCormick and Schmick’s lunches and dinners—offering well-prepared seafood, pasta and steaks—are generally much pricier. But a mid-day chef’s special usually gets you a fine piece of fish with sides for about $12. $$

EASTLAKE & SOUTH LAKE UNION

14 CARROT CAFE 2305 Eastlake Ave. E., 324-1442. One

of the first restaurants in the 1980s to induct Seattle into the cult of brunch, 14 Carrot Cafe is still chugging along. On the weekends, the colorful room is packed with polite families and young couples, all vying to get to the biscuits and gravy or the pancake du jour before they run out. If you don’t make it in time, find solace in the egg dishes or the huevos rancheros. $

FREMONT

ART OF THE TABLE 1054 N. 39th St., 282-0942. Everything

about Art of the Table is refreshingly unpremeditated. Chef Dustin Ronspies originally set up shop as a caterer in 2007 and started serving food a few days a week to lure potential clients. Passionate word-of-mouth turned his unlikely location—practically an underground restaurant—into a cult favorite. Ronspies does his own shopping, churns his own ice cream, grows his own herbs, and, yes, washes his own dishes. Check the Web site (artofthetable.net) to see what he’s serving at his prix-fixe multicourse dinners, offered on Wednesday, Thursday, and Sunday alongside a la carte dining, or splurge Friday or Saturday on the house recommended chef’s tasting menu. Whether seared spring mushrooms with gnocchi and parsnip puree or pork and bacon albondigas, it’s made by hand from market ingredients. There’s no dining without a reservation, since he only has 22 seats. $$–$$$

If you decide to forage, even for the tenderest nettles I still recommend you wear tall boots and gloves. Wild foods are no fun if you itch. Pick a clean traffic spot and look below your knees for bright-green, oval leaves with pointy tips and stems covered in glistening fuzz—the rather innocuous-looking stinging hairs. From Shakespeare to James Joyce, nettles and their needles have been symbols of irritation and deprivation. Nettles are known to be full of vitamins, and, maybe not coincidentally, their consumption is said to bring virtue. Apparently for centuries now, from Ireland to Italy, monks have gone on soul- and gutcleansing fasts of nettle soup. I, on the other hand, felt perfectly indulgent eating nettles at Bar Sajor. Right now they are featured on the menu twice: dried and mixed into Bar Sajor’s lovely tea, and cooked, like a salsa verde, under halibut. Here they’re rich, like spinach, but with more depth: earthy, grassy, and almost sweet. “We quickly blanch them,” Edouardo said, “to take away the sting, and then use their simplicity as a strength. I wrap fish in them, make a pesto. Right now we are serving them [under the halibut] with macerated shallots, chili, and coriander.” E food@seattleweekly.com

food&drink»Featured Eats GREENWOOD & PHINNEY RIDGE RED MILL BURGERS 312 N. 67th St., 783-6362. At Red

Mill, you can get great traditional burgers, a smoky grilled chicken sandwich, or a veggie alternative with a roasted Anaheim pepper. A good many sandwiches come with the zesty Mill sauce. The milkshakes are thick, and the cooks will even make them malted. Potatoes and onions are fried up fine and crispy in fresh peanut oil. You only live once—you gotta pig out every once in a while, and when you do head on over to Phinney Ridge. $

INTERNATIONAL DISTRICT

ARMANDINO’S SALUMI 309 Third Ave. S., 621-8772.

Dining at Salumi is all about planning. Slump in without preparation and you’re liable to stand in the cold for an hour. For the uninitiated, that’s not a typo. Armandino Batali’s cured meats in overstuffed sandwiches at reasonable prices (hovering around $10 a sammy) are worth the wait. Over the past year, we’ve identified two surefire ways to get exactly the sandwich you want before they start running out. First, show up an hour before opening (11 a.m. Tues.-Fri.). Look, if you’re going to wait around, you may as well not be told they’re fresh out of meatballs when you step up. Or wait for heavy rain on a day that’s not Friday, because people

ALittLeRAskin » by hanna raskin

Standing Invitation

don’t like waiting in the rain. And when they don’t want to wait, they don’t eat at Salumi—which means that cold, dreary Wednesday is your day for an antipasto platter and a glass of wine. $ FUJI BAKERY 526 S. King St., 623-4050. The classics are all here at Fuji Bakery—flaky croissants, griottines with shiny, brandied cherries, and gleaming lemon-infused cakebreads. Specialties include the cube-shaped brioche Japon with red beans and raspberry puree and the green-tea Danish. There’s even a savory nod to the Northwest—a wild salmon brioche. Everything is sized for the ladies but nothing skimps on the ingredients— many organic—or the flavor. Most elegant of all is the organic sweet red-bean bun. Burnished to a lovely copper color, it appears to have just spent a few days basking on the Côtes d’Azur. A splash of black sesame tops the bun on the outside and muddled, subtly sweet red beans fill the inside. It’s no wonder that Fuji Bakery presents their wares like treasures. $

MADISON VALLEY & MADISON PARK

CAFE FLORA 2901 E. Madison St., 325-9100. From the

outside, Madison Park’s Cafe Flora looks a little like a converted greenhouse, which is a savvy marketing

But do standing diners have the health edge? Standing has lately become a fitness sensation, with The New York Times’ Phys Ed columnist, Gretchen Reynolds, telling NPR’s Terry Gross that standing for two minutes every 20 minutes has “profound consequences.” “If you can stand up every 20 minutes—even if you do nothing else—you change how your body responds physiologically,” Reynolds said in an avidly listened-to Fresh Air episode first broadcast last May. Numerous studies have linked prolonged sitting to elevated risks of obesity, heart disease, diabetes, and death. But Marc Hamilton, a researcher on Inactivity Physiology at the Pennington Biomedical Research Center in Baton Rouge, La., says restaurantgoers can’t yet comfort themselves with science when forced to stand for a meal’s duration. “Inactivity physiology is too new of a field to say one way or the other if eating while not sitting is a good idea or just an insignificant option,” Hamilton says. A 2007 study suggests that eating while standing might actually pose health risks by causing eaters to consume more calories. Researchers discovered that subjects who ate out of plastic containers while standing at a kitchen counter ate 30 percent more at their next meals than subjects who were seated. Lead author Patricia Pliner theorized that the standers didn’t feel like they’d eaten because the conditions didn’t resemble those of a real meal (probably not a concern at a James Beard-nominated restaurant). And according to Hamilton, standing up doesn’t aid digestion, although there are online claims that slumping promotes heartburn. “Don’t forget that your guts are not going to straighten out just because you are on your feet,” he points out. “The bend at the waist is well below most of the abdominal cavity.” E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

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SE ATTLE WEEKLY • APRI L 17 — 23, 2013

There’s no room for stools at the kitchen bar of State Bird Provisions, the exceptionally popular San Francisco small-plates haven that’ll find out next month whether it’s won the James Beard award for the nation’s best new restaurant. But there’s just enough space for two people to stand, so the restaurant treats the short stretch of ledge near the front door as no-seat seating. Since LA Weekly food critic Besha Rodell and I hadn’t thought to make a State Bird reservation two or three months in advance, as the circumstances require, we tried our luck on a Monday night just before closing. The restaurant was able to accommodate us, but just barely: We were assigned to the standing bar. We were the last prospective diners “seated,” and we’d agreed to the standing arrangement, so I don’t want to kvetch too loudly. But the two hours spent on our feet led me to wonder whether restaurants are right to maximize capacity with stand-up seats, and— perhaps more intriguingly—whether humans are really meant to eat standing up. Stand-up eating has long been the norm in Japanese noodle shops and Spanish tapas bars, but the trend of denying seats to fine-dining patrons, who presumably expect a leisurely meal, is relatively new and far from mainstream. New York’s Mile End Deli tried doing away with seats, but added stools in response to a barrage of customer complaints. Still, Grub Street last year hypothesized that the city’s diners could acclimate to the practice, just as they’ve come around on backless stools. There’s already a no-seat section at Los Angeles’ Animal. Food tastes the same whether you’re sitting or standing, but it’s hard to feel anything but rushed and uncomfortable when you don’t have a chair. I’d wager State Bird diners who score a seat have about 35 percent more fun.

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food&drink»Featured Eats strategy: sidewalk bystanders can peek right in and check out what everyone’s eating, and it’s only slightly creepy. The interior is adorned with plants and colorful paintings of birds, and the granola factor that plagues some vegetarian establishments is notably absent here. Though the menu is exclusively vegetarian, Cafe Flora doesn’t rely on processed, fake meat products to come up with imaginative menu items even the most devoted flesh fiend can admit to enjoying. The Oaxaca tacos are a masterful combination of taste and texture: Creamy, cheesy potatoes come rolled up in crunchy corn tortillas and slathered in more cheese, black bean stew, and sundry salsas. If you absolutely must consume something that tastes like meat, the portobello Wellington, a flaky pastry filled with a finely chopped mushroom-andpecan concoction and topped with Madeira sauce, is the meatiest vegetarian approximation of beef you’re likely to encounter without resorting to fried foods. $$ CRUSH 2319 E. Madison St., 302-7874. Jason and Nicole Wilson’s Madison Valley restaurant is becoming like nirvana for a certain class of local grubniks—a whiteon-white temple to Chef Jason Wilson’s James Beard Award-winning modernist’s take on Pacific Northwest cuisine. The renovated 1903 house is beautiful and romantic, the restaurant itself wildly popular, and Chef Wilson’s food is occasionally revelatory in the way it can make the simplest things new all over again. A bowl of tagliatelle, a piece of short rib, a slip of foie gras—these are all just ingredients until they are put in just the right hands. And thankfully, the chef and his crew have the skills to make the best of everything they touch. $$$ MAD PIZZA 4021 E. Madison St., 329-7037. Excuse the groan-worthy tag (Seattle’s source for insanely great pizza) and focus on their by-the-slice and delivery service (even if you’ll spend $20-plus for a good-sized pie). Especially noteworthy is their embrace of pesto, the green-headed stepchild of tomato sauce, which serves as the base for almost half the menu, including the Rastaman Jamaican jerk chicken and yellow pepper. $

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Juicy BBQ and all the sweet and savory fixins! Brisket, Jerk Chicken, Baby Back Ribs, Hot Links, Mac & Cheese, Collard Greens, Willie’s Beans, Yams, Cornbread, Pies and Cakes Also featuring daily Soul Food specials: Catfish, Oxtail, Porkchops, Chitlins and more!

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

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2332 E. Madison St., 323-1000. Philadelphia Fevre’s cheese steaks and hoagies are the closest thing you’ll get to real Philly food around here. Sit at the counter and spar with the wisecracking grillmeister as you savor a basket of great fries, a hoagie, and that Philly pièce de résistance, a TastyKake. $

MAGNOLIA & INTERBAY

PALISADE 2601 W. Marina Place (in the Elliott Bay

Marina), 285-1000. Palisade is a great place to take out-of-towners and aged aunties (especially if they’re paying): It’s got its own inland sea with a bridge, a waterfall, and tide pools, as well as an unbelievable view of the city and the Sound. The menu favors grilling: Try the spit-roasted prime rib and grilled prawns combo, or anything alder- or cedar-planked. $$$

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Hidden away in an alley off First Ave. is one of Seattle’s secret bastions of fine dining. Or perhaps just fine dressing. The baroque wooden chandeliers and ornate hand-painted ceramics that decorate this terrace-like restaurant bespeak money, the kind wielded by opera board chairs and Madrona mansion owners. For almost a quarter-century, Carmine Smeraldo has run his restaurant in the Italian manner, with gracious formality and properly trained waiters. Are dishes like his veal scaloppine and chicken breast stuffed with ricotta and spinach butter out of step with the hipper Italian-esque fare of Tavolata and Cafe Juanita? Perhaps. But doing justice to the classics, decade after decade, is what makes Smeraldo’s restaurant so beloved by the members of Seattle’s boardroom class. $$$

QUEEN ANNE

5 SPOT 1502 Queen Anne Ave. N., 285-7768. The culinary

focus of this Americana tribute restaurant changes every three months, so don’t get too hooked on the chicken-fried steak. But while the menu and decor sway with the season’s theme, the quality of the upscale diner fare at 5 Spot is remarkably consistent. While the burgers and ice cream sundaes make the most sense at lunchtime, Queen Anne residents’ adoration for the cheery restaurant is so intense that they queue for brunch, dinner, and a seat at the circular bar. $$

RAINIER VALLEY

BOTH WAYS CAFE 4922 S. Genesee St., 722-5799. When

it comes to this wood-paneled nook, it’s best if you know what you’re in for: Americana breakfasts, a darn good cup of joe, and a decent place to plant your rear and read the paper while kibitzing with other Seward Parkians. The cooks bake their own pastries, produc-

ing biscuits that flake on contact and cinnamon rolls that, when warm from the oven, can produce a sensation akin to ecstasy, only with frosting. Caveat: Dinners and lunches are hit-and-mostly-miss. $ PHO BAC 3300 Rainier Ave. S., 725-4418. The Rainier Valley branch of the Pho Bac empire is the most whimsically decorated, a garden of plastic vines and flowers. Pho Bac is famous for its broth, so meaty and aromatic that you could almost skip the rice noodles. With such a minimal menu, your only dilemma is settling on the cuts of beef you want in your pho: The tender raw top round, sliced paper thin? The long-cooked brisket, which melts away at the slightest touch? Crunchy tripe or buttery, translucent tendon? With the pho dac biet, or house specialty bowl, you can have it all. $

Eastside REDMOND

TROPEA RISTORANTE ITALIANO 8042 161st Ave.

N.E., 425-867-1082. Tropea features sturdy, bold sauces and a relaxed atmosphere. Of antipasti, high marks go to the cozze vongole, clams and mussels in a scampi sauce. The extensive menu includes a meaty spaghetti Bolognese, lasagna Tropeana, and a half-dozen specials; we loved the pollo Calabrese. For dessert, the zabaglione is divine. $

WOODINVILLE

THE BARKING FROG 14580 N.E. 145th St., 425-424-2999.

If you’re in Woodinville, consider the little restaurant across the lane from Willows Lodge. Chef Bobby Moore has high ambitions for the place, noticeable even at lunch: His hamburgers are made with Kobe beef, his scallops dusted with hazelnuts. Dinner is less distinctive, but you won’t find prawns sautéed in Grand Marnier just anywhere, and the pancetta-wrapped Alaskan halibut with cornbread pudding is very good. $$$ THE HERBFARM 14590 N.E. 145th St., 425-485-5300. The Herbfarm dominates national “best restaurant” lists for its seamless service and flawless execution. If you’re not put off by the profuse chintz in the dining room, your nine-course dinner, lovingly infused with local herbs, will leave you stunned. The impeccable wine pairings are only one element of a four-to-five-hour sensory journey. Dining here is an event, patience is a virtue, and the virtuous are rewarded. $$$ PURPLE CAFE AND WINE BAR 14459 WoodinvilleRedmond Rd., 425-483-7129. The Woodinville outpost of this local chain anchors a burgeoning upscale mini-mall next door to the Woodinville Wine Village complex. 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 Italian American in genre (there’s a pizza and pasta menu). $$

North of Town EVERETT

ANTHONY’S HOMEPORT EVERETT 1726 W. Marine

View Drive, 425-252-3333. Anthony’s has a reputation for friendliness and all-you-can-eat Dungeness crab nights. The patio tables on a summer night are a great place to have a drink and appetizers and engage in the splendor of sunset. At sunset (well, 4:30 to 6 p.m. on weekdays, which in the winter is past dusk), you can also order the cheap four-course Sunset Dinner. $ EL POLLO RICO 209 E. Casino Road Ste. J, 425-347-5075. El Pollo Rico (“The Delicious Chicken”) is one of the many knockoffs of El Pollo Loco (“The Crazy Chicken”), the Mexican fast-food franchise colonizing California faster than Taco Bell. But none of the chain’s grilled chicken ever reached the perfection attained by its Everett copycat. Sold by the half-bird, whole bird, or flock, Pollo Rico’s chicken is marinated in aromatics and achiote, then cooked on a mattress-sized grill just until the skin crackles and blackens but the meat stays faint pink at the bone. Ignore everything else on the menu, or even on the plate: The meat, and meat alone, is sublime. $

LYNNWOOD

KA WON KOREAN BBQ 15004 Highway 99, #A, 425-

787-6484. There’s alchemy afoot at this strip-mall restaurant: Oven-heated stone bowls containing softtofu stew or puffy egg-and-broth custards hiss and steam; woks of spicy stew bubble away; flames lash up through the barbecues where marinated kalbi cooks; cast-iron griddles send up clouds of porky smoke from the uncured pork belly sizzling on their surface. If you find yourself daunted, pick a prix-fixe dinner. $$

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SE ATTLE WEEKLY • APRI L 17 — 23, 2013

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featuring PHIL LESH & BOB WEIR

THE LUMINEERS

ALL SHOWS ON SALE FRIDAY AT 10AM UNLESS OTHERWISE NOTED. MORE SHOWS TO BE ANNOUNCED.

SUN/APRIL 28 • 7:30PM

sarah elizabeth charles quartet & seattle women’s jazz orchestra featuring sarah elizabeth charles

next • 4/29 bob schneider w/ max gomez • 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 • 5/7 holly williams w/ lydia ramsey • 5/8 os mutantes w/ capsula • 5/9 seattle secret music showcase #13 • 5/10 paula cole • 5/11 lee oskar and friends orchestra • 5/12 in dreams: a live tribute to roy orbison • 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 • 5/24 bill payne w/ dennis mcnally • 5/25 duffy bishop covers etta james • 5/26 tony furtado w/ danny barnes • 5/29 sara gazarek • 5/30 patterson and david hood • 5/31 bonzo’s celebration day • 6/1 sinatra at the sands • 6/2 coyote grace • 6/3 mice parade w/ ghost of kyle bradford

happy hour every day • 4/17 istvan and farko / jeff crosby and the refugees • 4/18 golden tree story trio / tiger’s wood • 4/19 aaron zig / fascination nation • 4/20 shady bottom • 4/21 the cottonwood cutups w/ country trash • 4/22 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 4/23 singer-songwriter showcase with larry murante, alicia healey, rod cook • 4/24 the monday after / the true romans TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

Show info and tickets available at MarymoorConcerts.com, AXS.com, charge by phone 888-929-7849, in person at the Marymoor Park Office, Showbox at the Market and Showbox SoDo Box Office locations.

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

Reverb»

Good Music Is Better Than New Music

Reissues are about mining the past for fresh favorites. BY CHRIS ESTEY

COURTESY TINY HUMAN

old groups’ lineups talking over familiar sounds. The reissues of forgotten records that have quickly become classics—Cold Fact, the Monks’ Black Monk Time, or Karen Dalton’s It’s So Hard to Tell Who’s Going to Love You the Best, for instance—are proof that our connection to what’s new isn’t the only meaningful way we relate to music. On the whole, we’re more interested in hearing what’s good. The various scenes sprouting up around the Pacific Northwest that are filled with younger musicians who obviously adore older sounds are perfect examples: for instance, powerpop fans in their 20s who stuffed The Funhouse to hear Paul Collins’ Beat mostly because of his one legendary 1979 new-wave LP, reissued in 2005; or the re-emergent goth scene, with Nightmare Fortress and Grave Babies nocturnally haunting the future with the dark, primal energies of Siouxsie & the Banshees and Throbbing Gristle. These aren’t cover or tribute bands;

soul fans in the way that the indie rock of the ’60s was inspirational to punks. After finding commercial and critical success with their 2007 reissues of Davis’ first two records, LITA released two more in 2009. The legendary Rodriguez released an irresistible debut, Cold Fact, in 1970. Thanks to a LITA reissue and the Oscar-winning documentary Searching for Sugar Man, the album has been a popular seller and received a flurry of international music-press attention—and Rodriguez has sold out his April 25 show at the Neptune. Even listeners who don’t tend to buy older music by obscure artists find themselves drawn into it for the same reason they love Leonard Cohen, Bob Dylan, or other urban, poetic firebrand-folkies.

ver the years I’ve become dulled to the constant demands to keep up with “new bands”—many of whom are just jumbled variations of several

they’re new groups doing with punk-originated sounds what the Ramones did with Nuggets: taking source material and making it their own. Grave Babies don’t sound like Throbbing Gristle, but they have the same dark heart. They’re not turning a deaf ear to new music. But sometimes the best way to keep up with what’s going on today is to keep an ear open to the past. E

music@seattleweekly.com

Chris Estey is a local music writer and publicist. He presents “Old Sounds Make New Visions” at the EMP Pop Conference at 1:30 p.m. on Saturday.

EMP POP CONFERENCE Experience Music Project, 325 Fifth Ave. N., 770-2700, empmuseum.org. Free. 9 a.m.–5 p.m. Sat., April 20

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

hen the Cave Singers emerged in 2007, the group of underground punk rockers playing jams and jigs while clutching acoustic guitars and spare percussion parts ushered in a new era of Seattle music. The dusky howling and scratchy riffing on the band’s debut, Invitation Songs, sounded like something had been made out of nothing. Though the band has yet to attain the broad commercial success of local artists like Fleet Foxes and The Head and the Heart who popularized Seattle’s indie-folk sound—to say nothing of multiplatinum acts, like Mumford and Sons and the Lumineers, who work a similar sonic seam—none of these hitmakers have released a record with the giddy spark of originality and discovery as that debut. Even the Cave Singers themselves have yet to best their first. Years—maybe even decades—from now, when a new crop of music fans are hearing “Ho Hey” and “Montezuma” for the first time, Invitation Songs will be ripe for reissue. The reissue industry—labels and curators that specialize in finding Rodriguez (above) and Karen Dalton (far right) gems from the past and repackaging both benefited from the fresh critical and them for a modern audience—is often commercial appraisal afforded by reissues. maligned as a cash grab (an argument Nuggets (center) was essential to fans of not without merit, thanks to some ‘70s punk. early industry missteps). But at its best, reissue labels offer a fresh listen to past reissue label can provide the next best thing: albums that can resonate with contemporary audiences. Maybe more recent artists keep an album from the scene the band came out of, but that history has forgotten. The referring to a certain band in interviews; maybe thoughtfulness and passion of The Clash are very rarely matched by other groups, but all old punks I know who dug ’em at some Sometimes the best way to the point have also gone through the catalogues keep up with what’s going of Stiff Little Fingers, The Jam, and, God yes, the Pistols. For example, Sire Records’ 1972 comon today is to keep an ear pilation Nuggets, a deluxe double album of ’60s garage rock curated by Lenny Kaye open to the past. independent (Patti Smith’s guitarist), was essential for punkrock fans listening to later Sire signees like the Ramones and Talking Heads. DJs sample their drum breaks and riffs for new Sure, Johnny Cash and Elvis Presley are going rap songs; maybe a movie digs out an oldie and to have their entire catalogs reissued to death someone discovers there’s a lot more to be found repeatedly. They are the exceptions. Good reissue surrounding that song on the record. Or maybe curators—like my colleagues at Seattle’s Light a smart record exec hears a gem that deserves in the Attic, or the UK’s Soul Jazz, or Germany’s another chance. Trikont—wade through an artist’s catalog and Only so many albums are passed down organskim off the cream. This often means putting out ically through the generations. Even fewer bands anthologies or focusing on a band’s first releases. can boast whole catalogs that are essential to its Many bands, like the Cave Singers, are at their fan base. A good reissue hooks fans of new or best at the start, finding their voice, hitting their classic records with albums they’ve never heard stride and sometimes the charts. but are predisposed to appreciate. This was the case with Betty Davis, a punkIf you’re a fan of The Clash, for example, you funk performer of the early ’70s. Her first two probably have every album the band made in its LPs, Betty Davis and They Say I’m Different, short recording career. Nothing will bring the were considered crucial by hip-hop and neoband back to give us a new Clash record. But a

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

Reverbnts

Prese A quick guide to Record Store Day

Jazz Alley is a Supper Club

Sugar Blue

“...one of the foremost harmonica players of our times...” - Rolling Stone

April 17

Martin Taylor and Mimi Fox Multi-Award Winning Jazz Guitarists Collaborate - A Sonic Delight!

Joan Osborne and The Holmes Brothers Grammy-Nominated Singer/ Songwriter touring in support of her bluesy new release “Bring It On Home”

April 18 -21

Bobby Caldwell Acclaimed vocal soul-stylist and in-demand songwriter “What You Won’t Do for Love”

April 23 - 24

April 25 - 28

Seattle Jazz Singers

Brad Mehldau Trio

One of the most exciting vocal groups on the scene today!

April 29

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

A On Saturday, April 20, M independent record stores around Seattle will be celebrating Record Store Day. Each shop will offer specialedition releases, and many will host special events and performances in recognition of the spirit of independence. Check our handy map to see if your favorite store is participating, check recordstoreday.com to see a list of releases, and call ahead to see what special events each shop has in store.

April 30 - May 1

All Ages • Free Parking • Gift Certificates Military, Senior and Student Discounts

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

206-441-5449

N OC I P H

B. Easy Street Records and Cafe, West Seattle, 4559 California Ave. SW, (206) 938-3279 C. Everyday Music 1520 10th Ave., (206) 568-3321 D. Georgetown Records 1201 S Vale St., (206) 762-5638 E. Holy Cow Records 1501 Pike Pl., (206) 405-4200

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

A. Bop Street Records 2220 NW Market St., (206) 297-2232

Cerebral, Complex and Exploratory Jazz Piano Trio

Walk-ins always welcome!

F. Jive Time Records 3506 Fremont Ave. N, (206) 632-5483 G. Neptune Music Company 4344 Brooklyn Ave. NE, (206) 632-0202 H. Platinum Records 915 E Pike St., (206) 324-8032 I. Porchlight Records 1318 E Pike St., (206) 329-5461 J. Radar Hair & Records 2724 1st Ave. S, (206) 402-4549 K. Silver Platters, Northgate 9560 1st Ave. NE, (206) 524-3472

L. Silver Platters, Queen Anne, 701 5th Ave. N, (206) 283-3472 M. Sonic Boom Records 2209 NW Market St., (206) 297-2666 N. Spin Cycle Records 321 Broadway Ave. E, (206) 971-0267 O. Wall of Sound 315 E Pine St., (206) 441-9880 P. Zion’s Gate Records 1100 E Pike St., (206) 568-5446

For a deep look into the current landscape of album sales and the inventive ways retailers are moving music units, see this month’s issue of Reverb, on select newsstands across the city and online at seattleweekly.com.

Reverb»Reviews »EVERY LOCAL RELEASE*

LOCAL BANDS

*Various artists (out now, self-released, ballofwax.org): If you need yet more proof of Seattle’s thriving—and diverse—music scene, look no further than this compilation of local talent, the 31st installment curated by singer-songwriter Levi Fuller. With a hyper-local focus, this time artists cover each other: Caitlin Sherman takes on Norman Baker’s “Telegrams from Paradise” with a delicate touch of piano keys. Shenandoah Davis turns Colin J. Nelson’s “Bourbon and Tea” into a tune flowing with staccatos and pulsing carnival vibes. Nelson then adds a gentle, acoustic flair to Alicia Amiri’s hard-rocking “Darkness In Me.” The distinct and versatile sounds of the city are succinctly captured here. (Shenandoah Davis: Sat., April 20, St. Mark’s Cathedral) MARTHA TESEMA

LEVI FULLER

Ball of Wax 31: Covers!

Akimbo, Live to Crush (4/20, Alternative Tentacles, livetocrush.blogspot.com): Frontman Jon Weisnewski adds a growling low-end bass that offsets both guitarist Aaron Walters’ wild licks and Nat Damm’s powertrain percussion, all the while yelling his head off like the animal only he knows how to be. It’s more left-of-center than Akimbo’s been in the past—not surprising for a band knowingly writing their last album—but it’s as explosive as ever. TODD HAMM Corespondents, Land of the Low People (out

now, self-released, corespondents.bandcamp. com): A guitar leads this instrumental album, but it’s the haunting tones of the Greek bouzouki, layered with a variety of horns and percussion, that send your ears on an animated journey. PADMA NOLT soundcloud.com/dropping-gems): This track by one of the most thoughtful purveyors of song-based, texture-rich (but not -reliant) local electronica is a wonderfully scattered, jazzinfluenced mood piece with vocals that waver in and out like pond waves. TH

Secret Society, Secret Society EP (out now,

self-released, secretsocietyproject.bandcamp. com): Trippy electronic beats play backdrop to frontwoman Zoe Wick’s scratchy soul vocals;

the result is vibey dream pop fit for nightmares and pillow talk. KEEGAN PROSSER Spaceneedles, “Low Ceilings” (out now, self-released, spaceneedlesband.com): With a steady stream of bass riffs and a barrage of scream-singing typical of grunge, “Low Ceilings” is an average hard-rock song—but hey, you can’t beat that band name. (Fri., April 26, Blue Moon) ASHLEY ROE Stereo Sons, “Close Enough Forever” (out now,

self-released, stereosons.com): Perfect for a sunny day road trip, this pop-infused track from the Seattle-based “bastard child of dance and prog” has vocalist Chris Klepac asking “When will I be happy?” Jump in the car, put this on repeat, and see what happens. KP

The West, In Low Light (out now, self-released,

bandthewest.com): Part subdued Scissor Sisters, part cooled-down LCD Soundsystem, this quartet delivers a collection of keyboard-driven, harmony-heavy club hits a la the ’80s. While the formula is recycled, the twist is fresh enough to keep you invested. (Sat., April 27, High Dive) KP

Open mic performers will be taking the stage across the country for Shure’s 2013 National Open Mic Night. Want to be part of the largest Open Mic night ever? Go to shure.com/openmicnight, find the venue closest to you and get ready to “answer the call.”

Zander Yates, Revival Story (out now, selfreleased, zander-yates.bandcamp.com/releases): An album carried by dramatic speak-singing that leaves you feeling moody, much like those angstfilled teenage years. PN

*Yeah, every release

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.

www.shure.com/openmicnight

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

DJAO, “One” (out now, Dropping Gems,

Ball of Wax Volume 31: Covers!, featuring Shenandoah Davis, is out now.

41 shure_seattle_half.indd 1

4/11/13 4:24 PM

Reverb»The Short List Blu

Osborne would have employed her gospelready pipes all along had the ’90s not gotten in the way. With the Holmes Brothers. Dimitri-

James Blake brings Overgrown to the Neptune on Tuesday night.

WEDNESDAY, APRIL 17

This Los Angeles underground favorite has a breezy, almost neighborly style that lulls you into his groove before he takes any number of turns, from smooth-toned Romeo to blue-collar luminary and beyond. His latest, NoYork! (alternately available as York), is a complete departure from his classic Exile-produced efforts, with soul loops and bouncy bass lines ditched in favor of jagged glitch-tunes by a number of L.A.’s experimental beat-scene innovators, showing off his adaptability at every sharp corner. His rhymes dance all over the tracks, traversing subjects with the confidence that years in the game and short-lived industry deals bring. He can clearly rap for days, and he’s only getting better, which makes this a great time to catch him live. With Tiron

ou’s Jazz Alley, 2033 Sixth Ave., 441-9729. 7:30 & 9:30 p.m. $35. GWENDOLYN ELLIOTT

Prince THURSDAY, APRIL 18–FRIDAY, APRIL 19

The Purple One commands as much respect and adoration as any single person/Symbol in the business, and comes as close to justifying an astronomical ticket price as one performer can. The price tag, the assless pants, the fleshy album covers—he’s always been about pushing the envelope on a theatrical level. But it’s his undeniably catchy, freely sexual songwriting that has made him such a crowd-pleaser over the years—the rest is flamboyant icing on his funky, perfectly manicured cake. His ability to pour grandiose thoughts into sleek capsules (Purple Rain), masterfully paint complete plot arcs (Purple Rain), and make you melt with his guitar (shit, Purple Rain is good) is what’s elevated him to such godly status, and what has kept him there all these years. Showbox

& Ayomari, Nu Era, OCNotes. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $12 adv. 21 and over. TODD HAMM

The Gaslight Anthem WEDNESDAY, APRIL 17

at the Market, 1426 First Ave., 628-3151. 6:30 & 10 p.m. $250. 21 and over.

TODD HAMM

THE WINDISH AGENCY

As if to combat the big sound of their Brendan O’Brien–produced major label debut, Handmade, New Jersey’s Gaslight Anthem headed back into the clubs for a run of intimate warm-up dates (including a stop last July at the Crocodile) before playing slightly larger rooms this go-round. The band holed up in a tiny Nashville house to make the record, which buzzes with an energy and immediacy that was lacking on 2010’s American Slang. And if the band’s ambitions are any indication, they may could see a national touring act that would outgrow the Neptune as well. “I’ve always been otherwise book an ornate theater instead play ready for arenas,” singer/ a glorified pizza parlor? If guitarist Brian Fallon said you’re nostalgic for such in a press release. “I’ve just days, you need only venTune in to 97.3 KIRO FM every Sunday at 5 p.m. been waiting for them to ture by ferry to Bainbridge to hear music editor Chris Kornelis catch up to me.” The band Island and weave through on Seattle Sounds. hasn’t approached that its woods until you reach success level yet, but Handthe Treehouse Cafe, made’s track list is stadiumwhere the reliably lovely ready. With Matt Mays. The Neptune, 1303 Americana artist Tift Merritt (who also plays the Triple Door Thursday—see Ear Supply, N.E. 45th St., 877-784-4849. 8 p.m. $22.50 page 22) will doubtless deliver a passionate adv./$25 DOS. DAVE LAKE solo set in a room where you’d likelier expect to witness a community puppet show. The Tift Merritt WEDNESDAY, APRIL 17 venue has shrewdly cornered the market on artists like Merritt, who relish the opportunity Remember in college (presuming you went to effectively double-dip on their way through to school in a proper college town), when you

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

The Revival Tour THURSDAY, APRIL 18

town. Treehouse Cafe, 4569 Lynnwood Center Rd. N.E., Bainbridge Island, 842-2814. 8 p.m. $25–$35. MIKE SEELY

Joan Osborne and the Holmes Brothers THURSDAY, APRIL 18–SUNDAY, APRIL 21

In the decades since “One of Us” helped Joan Osborne sell three million copies of her 1995 debut, Relish, the versatile, smoky-voiced blues singer may have been off your radar, but she has not been quiet. She’s toured with the Dead, appeared at the Grand Ole Opry, and released six albums, including last year’s Bring It On Home, which fetched a Grammy nod. Full of R&B covers like Slim Harpo’s “Shake Your Hips” and Muddy Waters’ “I Want to Be Loved,” it’s the kind of record to which

EMP Pop Conference SATURDAY, APRIL 20

EMP’s annual celebration of rock-and-roll academia has been a traveling affair for the past few years. This year, the conference is shaking up the format again, holding smaller, one-day affairs in multiple cities—New York, New Orleans, Cleveland, Los Angeles, and Seattle. The 206 program (full disclosure—I sit on the advisory committee) is themed “Begging to Differ,” and will include debates on some of your favorite topics (what is the best Beatles album?) and the academic presentations the event is known for. John Shaw’s “ ‘The Union’ vs. ‘The Battle of Manassas,’ ” about two Civil War-era pianists/composers, is not to be missed; neither is “My Vagina Makes My Musical Decision,” presented by SW contributor Ma’Chell Duma LaVassar. Oh, and in the hour set aside for five-minute conversations, I will explain how this paper’s music section gets put together and how your band can be a part of it. With music journalists tweeting at each other and pouting. EMP Museum, 325 Fifth Ave. N., 770-2700, empmuseum.org. 9 a.m.–5 p.m. Free. CHRIS KORNELIS

EDITOR’S PICK

Running since 2008, The Revival Tour takes a bunch of singers from mostly loud bands and puts them onstage with just an acoustic guitar, a microphone, and a fire in their belly. Joining tour founder and Hot Water Music frontman Chuck Ragan this year are Dave Hause of the Loved Ones, who was here in March with Flogging Molly; Tim McIlrath of Rise Against; Seattle’s own Rocky Votolato; and Jenny O. Each will do a solo set as well as play together in various configurations, like a modern-day hootenanny. The show, originally billed for the Showbox, was moved to the much smaller Tractor to accommodate Prince’s four-night stand, which means you’re out of luck if you didn’t already score a ticket. The Tractor. Sold out. DAVE LAKE

James Blake TUESDAY, APRIL 23

In the context of modern electronic music, James Blake’s nuanced take on dubstep, R&B, and gospel is counterintuitively iconoclastic. Blake has long been critical of the mainstream—in interviews he’s sniped at Skrillex and dismissed artists who use remixes to accrue blog buzz—and on Overgrown, his sophomore full-length, he boldly conflates the roles of producer and songwriter. Like his previous record, Overgrown is built around Blake’s affecting voice and his minimalist beats, whose resemblance to dubstep is increasingly vestigial. The difference is lyrical complexity. Gone are the one-line mantras of “The Wilhelm Scream” and “I Never Learned to Share.” In their place are ruminations on love and distance that mesh with his production style but never rely on it for emotional impact. Blake isn’t just an electronic musician—he’s a skilled songwriter whose medium happens to be electronic music. With Falty DL. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $30 adv. All ages. ANDREW GOSPE

tractor LIVE COUNTRY MUSIC ww w.lit tleredhen

.com

THURSDAY APRIL 18TH

HIGHWAY 9 9PM $3 COVER

FRIDAY & SATURDAY APRIL 19TH & 20TH

BUCKAROO BLUES

Times listed are show times. Doors open 30-60 minutes before

Wed, April 17 • 8pm ~ $15adv/$18dos

an evening with

STAR ANNA & FRIENDS Star Anna and her friends will be playing music and raising funds to pay for her new album.

Sat, April 20 • 9:30pm ~ $10

punk & garage-rock

FOX AND THE LAW

AYRON JONES AND THE WAY THE MAD CAP

9PM - $5 COVER

Sun, April 21 • 8pm ~ $11adv/$12dos

SUNDAY APRIL 21ST

THE VEILS

monqui presents

SAT. MALIBU MO’S BEACH PARTY-DRESS TROPICAL

ESSEX JUNCTION 9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM WITH BILLY BODACIOUS

SECRETARY

Wed, April 24 • 9pm ~ $13adv/$15dos

monqui presents

BEN OTTEWELL

TUESDAY APRIL 23RD

CROSSWIRE

(OF GOMEZ) BUDDY

9PM

Up & Coming MONDAY AND WEDNESDAY

KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI WELL DRINKS & DOMESTIC BOTTLED BEER $2 16 OZ. MICROS $3.50 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168

Every Second Sunday 10am-3pm Morning After Fine Art & True Craft Sale 4/25 LINDSAY FULLER & KAIA WILSON, GREGORY PAUL • 4/26 Giddy Up!: Folklife PreFestival Party With COUNTRY LIPS, OLE TINDER, THE SUMNER BROTHERS • 4/27 The Tractor & Nwcz Radio Present THE BIG WHEEL STUNT SHOW, MYSTERY SHIP, THE MAGIC MIRRORS, ENDINO’S EARTHWORM • 4/30 NATALY DAWN of Pomplamoose, RYAN LERMAN

5213 BALLARD AVE. NW www.tractortavern.com

El Corazon

SAT MAY 4 • MARKET

www.elcorazonseattle.com

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

WEDNESDAY, APRIL 17 Mike Thrasher Presents:

MILLIONAIRES with Ashland

High, Beneath The Sun, and Lancifer Doors at 7 PM / Show at 8 PM. ALL AGES/BAR W/ID. $15 ADV / $18 DOS

THURSDAY, APRIL 18 KGRG, Culture Yard Productions & El Corazon Present:

THE SKATALITES with Georgetown Orbits, Unite One, and FRIDAY, APRIL 19 Mike Thrasher Presents:

THE DEAR HUNTER

with Naive Thieves, and guests Doors at 7 PM / Show at 8 PM. ALL AGES/BAR W/ID. $13 ADV / $15 DOS

SATURDAY, APRIL 20

SAVING SUNSETS

with Dylan Jakobsen (Album Release), Jesse Morrow, The Exchange, and guests Doors at 6 PM / Show at 6:30 PM. ALL AGES/ BAR W/ID. $6 ADV / $12 DOS

SHALLOW WATERS

with Plateau, and The Rebelmart Lounge Show. Doors at 7:30 / Show at 8 PM ALL AGES/BAR W/ID, $8 ADV / $10 DOS

SUNDAY, APRIL 21

THE LOSS

with The Shell Corporation, Uncommon Men From Mars, Hellgod, & Head Honcho Lounge Show. Doors at 7:30 / Show at 8 PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, APRIL 23

PLAYDOUGH with guests

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

WEDNESDAY, APRIL 24

MIDNIGHT ATMOSPHERE with Verdant Mile, Gardenhead, and Box Lounge Show. Doors at 7 / Show at 7:30 PM 21+. $8 ADV / $10 DOS

JUST ANNOUNCED 5/2 YEAR OF THE DRAGON (FEAT. MEMBERS OF FISHBONE) 5/7 JACKIE CHAIN 5/12 HARD TIMES W/ THE LOSS 5/31 SPACEWASTER (CD RELEASE) 7/21 THE DIRTY HEADS / THE EXPENDABLES 8/1 MASKED INTRUDER 8/26 GAMA BOMB / ARTILLERY 8/30 D.O.A. (FAREWELL SEATTLE SHOW!) / FASTBACKS UP & COMING 4/25 SENSES FAIL 4/26 VENDETTA RED 4/27 FOR ALL I AM / I THE MIGHTY 4/27 LOUNGE THE MAENSION 4/29 AS DEATH COMES CALLING 4/30 HE IS WE 5/2 LOUNGE SANTEE 5/4 KVELERTAK

THEwithCAVE SINGERS BLEEDING RAINBOW

Tickets now available at cascadetickets.com - No per order fees for online purchases Our on-site Box Office is open 1pm-5pm weekdays in our office - $2 service charge per ticket! Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

SHOWBOX AT THE MARKET 1426 1ST AVE | SHOWBOX SODO 1700 1ST AVE S. | SHOWBOXPRESENTS.COM

SE ATTLE WEEKLY • APRI L 17 — 23, 2013

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

SATURDAY, APRIL 20

Reverb»Seven Nights 1303 NE 45TH ST

MIRAH St. Mark’s Cathedral and its gor-

Matt Mays digs Petty, plays the Neptune Wednesday night.

geous acoustics might be the main draw here. But this K Records signee is worth checking out regardless of the venue. With the Moondoggies, Shenandoah Davis. 1245 10th Ave. E., 323-0300, saintmarks.org. 8 p.m. $15. All ages.

Sunday, April 21 COBALT CRANES With the release of their

most recent single “Head in the Clouds,” this Los Angeles garage-rock duo shows signs of smoothing its rough edges and maturing into a more hook-heavy sound. With Thousands, Two White Opals. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7. SWINGSET SHOWDOWN This local duo’s high-energy piano punk is driven by the frenetic interplay between Eric Harvey’s confident key-smashing and Ike Rivelle’s spastic drumming. With Gimmicks, Phosphenes. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 7:30 p.m. $6. LYDIA Perhaps Gilbert, Arizona’s finest piano-led soft-rock band, Lydia released its fourth album, Devil, last month. With From Indian Lakes, Sweet Talker. Chop Suey. 8 p.m. $12 adv. MELANIE SWERDAN

Wednesday, April 17

Friday, April 19

BOOKA SHADE Mainstays of both the club and

ANGEL OLSEN This Chicago musician and recent

Thursday, April 18

THE FAME RIOT This Tacoma act’s shimmering

electro-glam-rock (and perhaps its early-’70s-Bowie stage costumes) led to a third-place finish at the EMP’s Sound Off! competition in February. With Continental Soldiers, the Fabulous Downey Brothers, DJ Phil Anthony. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $5. LEE FIELDS & THE EXPRESSIONS Vocalist Fields and his ultra-tight band are touring behind his latest old-school soul album, Faithful Man. With Lady, the Fat Kids. Neumos, 925 E. Pike St., 709-9442, neumos. com. 8 p.m. $15. SONG SPARROW RESEARCH It’s evident that the relatively staid indie rock of this five-piece—forged in Garfield High School’s talented music program—is informed by considerable technical ability. With Wand, Ozarks. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $8.

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

•

Jagjaguwar signee writes spare, understated folk songs built around her flexible, distinct vocal timbre. With Villages. Barboza. 7 p.m. $10 adv. E-40 The Vallejo, Calif., rapper released three albums on the same day in 2012: the first three volumes of his The Block Brochure series. With Parker Brothaz, Cool Nutz, Neema, Fearce & Bean. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 7:30 p.m. $20 adv./$25 DOS. BALLARD JAZZ WALK Part of Ballard Jazz Week, this event features a diverse array of local and national jazz talent (Jovino Santos Neto, McTuff, George Colligan Trio, Andy Clausen) at various venues. ballardjazzfestival.com. 6:30 p.m. $26 adv./$30 DOS.

DOPE STARS INC. This Italian band’s

industrial-tinged electro-pop is likely a big hit with the Hot Topic crowd, and based on the group’s press photos, Hot Topic is a big hit with the band members. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 7 p.m. $10 adv./$12 DOS. All ages. SPARKS Over their 42-year career, brothers Russell and Ron Mael have reinvented their sound (from glam rock to new wave to electro-pop) as consistently as they’ve put out albums (20-plus full-length releases), but their attention to oddball pop craftsmanship has remained constant. The Neptune. 7 p.m. $31.50 adv./$35 DOS. All ages.

LOS AMIGOS INVISIBLES

This Venezuelan band first received widespread attention in the mid-’90s, when David Byrne signed them to his eclectic Luaka Bop label. They continue to tour and record internationally with their blend of electronica, funk, and dancehall. Neumos. 8 p.m. $17 adv.

REPUBLIC MEDIA

SEATTLE WEEKLY • AP RI L 17 — 23, 2013

festival circuits, this German duo hasn’t released a full-length album in three years, but its distinctively European take on house music is best experienced in concert, where they play the synth and drum parts live. With Robert DeLong. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline. com. 7:30 p.m. $25 adv./$30 DOS. All ages. MATT MAYS Canadians aren’t as self-conscious as Americans about shamelessly aping Tom Petty— and Sam Roberts has sold plenty of records up north doing just that. On Coyote, Matt Mays works the same Petty-plus vibe, with lyrics that, unfortunately, are just as platitudinal as Roberts’, but songs that are just as much fun. With headliners The Gaslight Anthem. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $22.50 adv./$25 DOS. All ages. TONY KEVIN JR. & BEN FISHER These local folkmusicians have recorded a collaborative album tentatively titled Don’t Tell Mama—included with paid admission to the show—in which they cover each other’s material. Expect the same at this show. Rendezvous, 2322 Second Ave., 441-5823, jewelbox theater.com. 9 p.m. $12 adv.

Monday, April 22

Saturday, April 20 ELDRIDGE GRAVY & THE COURT SUPREME By now

a local funk institution, E. Gravy charms heavy, sings hard, and lets his backing band, The Court Supreme, bring it on home. With Polyrhythmics. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $12 adv. 21 and over. INTELLIGENCE The latest from Lars Finberg’s everevolving garage-punk group is last year’s To Hell With Good Intentions. With Daydream Machine, Partman Parthorse. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $10 adv. THE MEN With March’s New Moon, this group took a surprising turn, incorporating country and psychedelic touches into its caustic punk sound. With Dude York, CCR Headcleaner, Big Eyes. Vera Project, 305 Harrison St., 956-8372, theveraproject. org. 7:30 p.m. $11. All ages.

Sparks grins their way to the Neptune on Monday night.

Tuesday, April 23 DEAD SONICS bill themselves as “hip-hop-infused

punk metal,” but that last genre is the one most clearly apparent in their sound, and the vocals, alternately shouted and spoken, are much more punk than hiphop. With Kled, Uncle Pooch. Comet Tavern. 9 p.m. $5. THE PROCLAIMERS The band’s 1988 sophomore album may have gone gold in America thanks to one of the catchiest songs ever, “I’m Gonna Be (500 Miles),” but the Scottish twins haven’t slowed down in the years since, as evidenced by tonight’s sold-out show. With JP Jones. The Tractor, 5213 Ballard Ave. N.W., 7893599. 8 p.m. $20 adv./$25 DOS. TRIBUTE TO ROY ORBISON Local musicians like Andrew Vait (Eternal Fair), William Cremin (the Torn ACLs) and Norman Baker pay tribute to the iconic artist. With Chris Poage, Kimo Muraki, Ricky Gene Powell, Jessica Lynne. Sunset Tavern. 8 p.m. $7.

column»Toke Signals Green Ambrosia: Nectar of the Gods BY STEVE ELLIOTT

aving been in more than a hundred medical-marijuana dispensaries in the Puget Sound region makes it a little more difficult to be blown away by a shop’s physical space, stock of medicinal products, and customerservice experience, but Ballard’s Green Ambrosia did just that on my recent Sunday visit. The first time I checked in with them, last June, they were a deliveryonly service, and I was impressed with both the quality of their strains and their customer service. While they still deliver, they’ve thankfully extended that thoughtfulness to their new storefront, open since mid-February. Although the place was “very liquor store-looking” when they started to moving, according to founder Dante Jones (who knows a lot about cannabis), they’ve imbued it with a much warmer vibe. Easy access is available for wheelchair-using and disabled patients, and you’re definitely made to feel welcome. In fact, if you buy an eighth or more, you’ll be invited to toss a few beanbags; if you sink one in the target on a Friday, you’ll get a free gram. (Sinking three bags of four on some other weekday also wins you a Green Ambrosia T-shirt.) That thoughtfulness shows in every detail, from the shop’s expansively welcoming wideopen space (at 5,200 square feet, reportedly Seattle’s largest) to its well-stocked shelves, with good selections of clones, concentrates, excellent medibles, smoking supplies, reading material, and of course plenty of beautiful cannabis flowers. Those flowers are mostly $12

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FLAX FX Research Study Looking for Volunteers Flaxseed and many nuts contain lignans. These “phytochemicals” are thought to be beneficial to health but it is not clear how they work. Help us research how flaxseed lignans affect the colon.

Who is Eligible

Fremont 315 N. 36th St. 206.675.0637 Lake City 12516 Lake City Way 206.588.0216 U-District 4339 University Way NE 206.708.7161 www.pieceofmind.net

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

Don’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

More at www.FlaxFX.info or call 206-667-4353 or e-mail FlaxFX @ fhcrc.org IRB approved 07/31/2012