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JUNE 12-18, 2013 I VOLUME 38 I NUMBER 24

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MUSIC: THE WOMEN WHO RUN THIS TOWN, PAGE 31 | FILM: THE WIKILEAKS MOVIE, PAGE 25

As Seattle frets about unmanned aircraft, Washington erects a multibillion-dollar industry.

BY RICK ANDERSOn

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11 FEATURE

BY RICK ANDERSON | An inside look at how America’s controversial drone policy is boosting Washington’s economy.

in back 19 THE WEEKLY WIRE 20 ARTS

20 | OPENING NIGHTS | The decline

of Republican civilization, the terror of children’s birthday party clowns. 21 | EAR SUPPLY | A memoir in four voices.

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They Might Be Giants turns 30, Rulon Brown creates 50 performances in one, and Colum McCann crosses the Atlantic.

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The Senator and the City

For Ed Murray, Olympia is both an asset and an albatross. BY ELLIS E. CONKLIN

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funds during the legislative session, which has f Seattle’s careworn mayor survives the dragged on for months.) August primary—as Ed Murray fully Also, as House capital budget chairman and believes he will—Murray predicts that later as transportation chair, Murray managed “this is going to be the ugliest campaign Seattle has ever seen.” Murray also fully believes to forge a business/labor/environmental alliance that helped him spearhead the only meaningful that it will be he who squares off against tax increases the state has seen in 20 years—gas McGinn when the leaves turn brown. taxes in 2003 and 2005 (totaling 15 cents a A state lawmaker for 18 years who now nurses a restless urge to sever ties with Olympia, Murray has nothing but disdain for McGinn, Murray’s detractors sense who after four years in office languishes at just 22 percent in a recent election poll. “We have a that the senator, a longtime mayor who says he’ll fight for Seattle, but actually he’s a mayor who fights with Seattle,” he resident of north Capitol grouses during an interview late last month at Hill, has become a creature what were his temporary campaign headquarters in Pioneer Square before moving last week of Olympia, ensconced into Tim Burgess’ old digs on Capitol Hill (a move that followed a phone call from Murray in policy and lacking a operative Christian Sinderman to make sure command of the gritty there’d be no hard feelings on the part of the councilman who suddenly bowed out of the issues and concerns that race last month). “His governing style is very contentious and confrontational,” Murray goes drive Seattle’s sensibilities. on about McGinn. “He never articulated an agenda. It has all been very fragmented and gallon) to upgrade the state’s transportation disorganized.” infrastructure. Murray, 58, the son of a steelyard worker, Murray says the most critical issue facing grew up a Kennedy-worshipping Irish CathoSeattle is transportation. The city can have denlic kid from Alki before his family moved to sity where appropriate, he says, more responsive Lacey. In a race that’s been winnowed to four policing, better schools, and a greater supply of leading candidates—Murray, McGinn, Peter affordable housing—“but Steinbrueck, and Bruce none of this works as far Harrell stand apart in the as creating a more livable crowded race—he has MAYOR’S RACE 2013 This is part of a series looking community without good a lot going for him. His at Seattle’s candidates for mayor. transportation.” sponsorship of last year’s SEATTLEWEEKLY.COM/DAILYWEEKLY From his state-capital same-sex-marriage legisperch, Murray mainlation earned him a corps tains that Seattle city government has become of enthusiastic volunteers and a raft of endorsetoo quarrelsome, with one battle following ments in Democratic legislative districts. He’s another—the viaduct, the blame game suralso enjoyed a gush of more than $224,000 in contributions—a good amount of it coming $74 rounding the police department, the $1.8 billion backlog in deferred maintenance for road at a time in tribute to Referendum 74, in which improvements. He also believes that Seattle voters affirmed Murray’s marriage bill. (This even though state law bars Murray from raising » CONTINUED ON PAGE 9

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The Daily Weekly » FROM PAGE 7

Seven city council members delivered a letter to Mayor Mike McGinn Monday asking that Nickelsville—the well-known homeless encampment named for McGinn’s predecessor, Greg Nickels—be closed by Sept. 1, but some see more politics than solutions coming out of City Hall in the latest salvo over shelter for Seattle’s homeless. “I don’t really see this doing much to solve the overall problem of the shelter shortage,” says Tim Harris, founder of the street paper Real Change. What it may do, though, is create some awkward PR for council members and the mayor on the eve of the fall elections in the form of an unquestionably bad photo op of police removing residents from shelters: “From the beginning of Nickelsville, there’s been this sort of blame-shifting between the mayor’s office and the council,” says Harris. “Nobody wants to be responsible for making the decision to send in the police and shut down Nickelsville.” The seven council members who signed the letter—all but Nick Licata and Mike O’Brien— indicated that the council will designate funds to be used for housing and services for Nickelsville residents. The letter also instructs Seattle’s Department of Human Services to provide “immediate targeted outreach and engagement services to Nickelsville along with immediate provision of shelter, housing, and other services.” On Monday, McGinn approved the plan tepidly. But in line with Harris’ blame game, the mayor made clear that this was the city council’s initiative, not his. “For some time we have delayed enforcement of the law against encampments on industrial lands while the City Council examined these proposals to provide more opportunities for legal encampments in the City of Seattle,” he said. “In light of the City Council’s clear statement of intent that they will not expand encampments further, and that they expect Nickelsville to clear the property by September 1 . . . I have no further basis to not enforce the law.” The encampment is located on city land at Second Avenue Southwest and West Marginal Way. Two other tent cities will remain open in the Seattle area even if it is closed. McGinn had supported efforts led by Licata and O’Brien to maintain Nickelsville as an option for providing transitional housing, and possibly expand the use of encampments on public and private land. But clearly, the other seven council members have won out. “I think we make it really clear that the encampments are not the best option,” says council member Tom Rasmussen. “We want to help the individuals that are there to find other places to live. . . . The goal is to have a constructive, positive way of resolving this issue.” As for political fallout, he acknowledges that after a roughly two-month voluntary period ( July to September), any resident who refuses to leave Nickelsville will be treated as a trespasser. However, he stresses that the goal is to provide assistance and get people into “either permanent or temporary places to stay that are not encampments.” MATT DRISCOLL E

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needs to take a more regional approach to matters like transportation and not seal itself off as if it were pulling up a drawbridge over a moat. “I believe I bring a different skill set than anyone else running,” he says. “I think if I can work in a contentious atmosphere like Olympia, then I believe I can be a successful mayor here.” Still, Murray’s detractors sense that the senator, a longtime resident of north Capitol Hill, has become a creature of Olympia, ensconced in policy and lacking a command of the gritty issues and concerns that drive Seattle’s sensibilities. Then there’s the fact that unlike his chief rivals, Murray has never run a citywide race. Murray dismisses these critiques, saying “I live here. I know and understand this city. There’s nothing that I’ve done in Olympia that doesn’t have an effect on Seattle.” As for his differences from Steinbrueck and Harrell, Murray outlines the arguments he’ll marshal over the next eight weeks. “I will have a more collaborative relationship. He took a more contentious approach during his time on the council,” he says of Steinbrueck. “And I don’t buy into his ‘lesser-Seattle’ ideas.” Of Harrell, whom Murray endorsed for both his council races, he says, “I bring 18 years of working on some huge problems on a scale he hasn’t seen or dealt with.” Murray is clearly annoyed by the perception that he’s a hothead—“mudslinging,” he fumes. It’s a rap that lingers from his early years in Olympia, when his patience for conservative views was perhaps less cultivated than it is today. “I don’t think I could have accomplished this [the same-sex-marriage law] if I were this angry gay guy,” he says. He moved forward incrementally, he notes, with a groundbreaking antidiscrimination measure in 2006 and a series of domestic-partnership bills between 2007 and 2009 before embarking on his all-out quest for marriage equality. “I am emotional, but I wouldn’t have gotten the kind of loyalty I’ve had from my staff and I wouldn’t have accomplished the things I have if I had an anger problem.” Murray’s intensity can quickly yield to lighthearted banter that reveals a graying, selfaware man with a slight hereditary tremor in his hands. He takes long walks with his dog, a King Charles spaniel named Rory. “Michael [Shiosaki, his longtime partner] though it was a good idea to have a dog, because it kept me balanced.” An admirer of the Trappist monk and social activist Thomas Merton (1915–68), Murray every three or four years spends a few days in a Benedictine monastery to put his spiritual side in order. He’s a birdwatcher, too, communing with his feathered friends near the University of Washington or, when in Olympia, wandering the Nisqually Plateau. A birdwatching app on his smartphone, when touched, goes “tweet, tweet, tweet.” With a wide smile, his piercing blue eyes brightening, Murray confides, “I got these binoculars that can correct for that tremor.” As for the inevitable political tremors soon to unfold, Murray says, “I know that it would have been very easy for me to stay in the state senate. But no, I’m up for the challenge. I’m ready to take this step forward.”

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As Seattle frets about unmanned aircr aft, Washington erects a multibillion-dollar industry.

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AME

ad McGeer, multimillionaire godfather

of the state’s drone industry, was heading home the other day from his office in the rain-swept Columbia River Gorge town of White Salmon when he picked up his cell phone and dialed a Seattle reporter. In an earlier e-mail exchange, the reporter had asked about the growth of drone manufacturing in Washington, and McGeer had written back, “Are you jumping on the hype bandwagon, or do you want to discuss reality?” The hype he referred to was the drone-phobia that hovers over any discussion of unmanned flying vehicles, from the small model-sized planes that buzz Seattle neighborhoods to the multi-ton aerial robots that are used in war and prowl Washington’s northern border. To McGeer’s dismay, the public doesn’t seem to like them much—the airborne snoops fly right up and peek through your window, don’t they?—even though civilian drone use is growing and the Pentagon is expanding its drone air force, including four bases in the Evergreen State. Assured by the reporter that reality rocks, McGeer agrees to call.“I’ve got about a 20-minute drive,”said the 56-year-old Stanford aeronautical engineer, steering towards Hood River, Oregon, across the old two-lane toll bridge stretching three-quarters of a mile over the Columbia. He’s the pioneering entrepreneur behind the Washington-made unmanned aircraft systems—UAS, as they’re know in the industry—that linger over the desert and mountain terrain of Afghanistan in search of

I NES O

U.S. combat intelligence and terrorist targets.The 44-pound, gas-powered military drone he named the ScanEagle is also flown by a dozen other nations, and while most are used for war reconnaissance, some countries employ the ScanEagle for domestic security, as Japanese self-defense forces do, or to spy on drug cartels, as the Colombian military does. “As I drive,” says McGeer, in a plucky mood, “we can entertain each other.” The man who developed the concept of passive dynamic walking—a principle used in the movement of legged robots—doesn’t duck interviews, but picks his moments. In part, McGeer wants to discuss his former business partner, the Boeing Co.—its corporate lobbying and, in particular, Boeing’s role in helping send his little drone off to war. McGeer founded his company in 1992 in his Silicon Valley garage, then moved the aerial startup to the Gorge in 1994. He named his business Insitu, a title derived from a Latin phrase meaning “in position.” In McGeer’s variation, it was “chosen because we wanted to make measurements in situ in the atmosphere—measurements you can trust.” Those were the halcyon days for the U.S. drone industry: Largely out of the public eye, companies like Insitu developed bigger and faster UAS for wider application. By 2001, McGeer had come up with a factory-produced line of flying robots featuring a 10-foot wingspan and a top speed of 92 m.p.h., launched by a pneumatic catapult. Scientists used the original versions of the ScanEagle for geological surveys, and fishermen flew the machines to track schools of tuna. But not long after 9/11, along came Boeing, with bigger fish in mind.

» CONTINUED ON PAGE 12

SEATTLE WEEKLY • JU NE 12 — 18, 2013

I OF

haps a newer, larger Insitu drone: the Integrator, featuring a 16-foot wingspan and a long-range infrared camera. Even with that military gadgetry attached, the Boeing products are tame little cousins of the killer drones of leading UAS defense contractor General Atomics of San Diego. Its 5-ton Reaper and Predator drones fly the U.S. borders but are more notoriously used in Afghanistan, Pakistan, and sometimes Yemen, bearing 100-pound, radar-guided Hellfire antitank missiles. By comparison, says McGeer, the ScanEagle, at 4.5 feet long, “isn’t big enough to carry a useful bang.” However, the Navy has tested a 2-pound, nextgeneration mini-missile that someday could be fitted to a ScanEagle, reports Aviation Week. Details of most of ScanEagle’s military or federal law-enforcement uses are classified, although WikiLeaks, the online records-dumping site, has spilled a few of Boeing’s beans. According to a confidential State Department cable released by

NICOLLE CLEMETSON

Tad McGeer, founder of both of Washington’s drone manufacturers, has little patience for privacy concerns surrounding drones, but does have misgivings about their use in war. His latest drones, right, are marketed to scientists.

SEATTLE WEEKLY • JUNE 12 — 18, 2013

» FROM PAGE 11

The aerospace giant took notice of the little company on the Washington-Oregon border, impressed by the ScanEagle’s simplicity of flight: Camera- and computer-equipped, the drone soars from its launcher in a buzzing frenzy, capable of spying the world below for 24 hours; mission complete, it is then brought safely home by its ground handler’s remote device. As the swept-wing craft comes into view, absently buzzing along, it suddenly snags itself on a sky hook, flopping on a rope like a wounded bird, then is powered down. Try that with a 747. With war drums pounding, Boeing, the nation’s #2 defense contractor, saw the drone’s cameras as capable of taking otherwise-impossible money shots of the hidden enemy, giving an edge to U.S. troops then arriving in Afghanistan and subsequently Iraq. That hunch—to become the military’s low-risk eye in the sky—paid off. Over the next 10 years, the ScanEagle would log 712,000 operational hours and 76,000 sorties in the war zones, earning millions for Insitu. The robotic spies first saw U.S. combat in 2004, and were launched from Navy ships starting in 2005. An early turning point for Insitu/ Boeing came in what’s known as the Second Battle of Fallujah in 2004, the bloodiest single fight in the Iraq War (95 Americans killed, 560

wounded; 1,500 enemy killed). ScanEagle was found to have been essential in aiding U.S. Marines in the close-up urban battle by sending back global positioning coordinates and realtime pictures of enemy positions, likely saving many American lives. With that, government contracts began flowing. Once struggling to make a profit, Insitu was reportedly grossing upward of $100 million by 2008 when Boeing bought outright the then-360-employee corporation from McGeer and his partners for $400 million. Today, the wholly owned Boeing subsidiary is housed in offices, warehouses, and production facilities scattered along the northern side of the Columbia in Bingen and White Salmon in Klickitat County; Stevenson in Skamania County; and further west to Vancouver in Clark County. Now with 800 employees and a flight range across the river in Boardman, Oregon, Boeing’s operations anchor the Gorge economy. Annual sales are reported to be in the $400 million range. (Boeing won’t release per-unit sales costs, but an Air Force document shows the ScanEagle was selling for $3.2 million apiece in 2006—launcher/ sky hook and other equipment included). Just four months ago, Boeing/Insitu won a two-year, $190 million contract to supply U.S. Special Forces with Scan-Eagles and per-

Wherever the market goes, Washington’s drone industry is likely to follow; it’s already ranked second economically in the U.S. behind California’s.

The Boeing/Insitu ScanEagle has logged 712,000 hours in Iraq and Afghanistan.

the site, the Colombian military began using the Washington-made ScanEagle for deadly counterterrorism and counter-narcotics operations in 2006. The cable states the drones “have proven useful before, during, and after strikes against the FARC,” the Revolutionary Armed Forces of Colombia, the main guerrilla opposition. In one instance, when a Columbian Air Force bomber was nearby, a drone sent back real-time video of FARC fighters leaving a truck, and “an aerial assault was launched within 30 minutes.” In a separate incident, a ScanEagle vid showed several vehicles being “loaded with coca,” which were then destroyed by a helicopter gunship. Apparently, such actions continue: Columbia media in March reported that the U.S. government “donated” six Insitu ScanEagles to the Colombian Air Force for the war against drugs. Though the Boeing sale made him wealthy, McGeer tells the reporter as he drives along, he still has regrets about his drone’s military deployment. It may be small and unarmed, but “people have been killed because of ScanEagle,” he says. “It was not encouraging to see the video I watched in 2004. It was from our drone, over a position in Iraq. [The camera] was focused on small figures, people moving around.” An Army drone pilot in a faraway control booth, keying off the streaming vid, launched a ground rocket. “After a few seconds, there’s a big explosion,” says McGeer. “Then nothing.” Conversely, U.S. troops have avoided death because of strategic information gleaned from ScanEagle’s robotic eye—intelligence gathered at the risk of merely losing a machine rather than a flesh-and-blood reconnaissance team. “People often remind me we’re on the side of the good guys,” says McGeer. “And I believe that. But I imagine there have been many instances like that [one in the video]. That’s what these aircraft are used for. Why else would the military want to use them? They’re looking for threats, which they then kill.” Boeing/Insitu spokesperson Jill Vacek says the ScanEagle enables the survival of U.S. troops, helping to “ensure [that our] sons and daughters are returned home safely.” In 2009, she notes, a ScanEagle launched from a Navy ship, the USS Bainbridge, aided the rescue of Merchant Marine Captain Richard Phillips of the U.S. cargo ship Maersk Alabama, who was being held by Somali pirates. That drone is now part of an exhibit at the Museum of Flight in Seattle. The drone, Vacek says, also has civilian applications—“locating signs of life, monitoring natural disasters, protecting wildlife and natural resources, and pipeline monitoring.”

But there’s no doubt that McGeer is right: When the ScanEagle is launched, it’s often for matters of life and death. And in 2005, the year after seeing the Iraq video, McGeer left Insitu; he sold off his share to Boeing three years later. He now operates the other drone-manufacturing business in Klickitat County, Aerovel, developing a commercial vertical-take-off-and-landing flying robot called the Flexrotor. The two firms (“If there are any other drone makers in Washington, I don’t know of them,” says McGeer) have helped spawn a local cottage industry of suppliers, and boosted the Gorge economy beyond its lumber and tourism dollars from visiting windsurfers, parasailers, and hang-gliders. The firms also help make our state a perfect microcosm of America’s drone wars: Because of these homegrown businesses and the U.S. military, Washington will play a key role in the advancement of drones as they become smarter, and perhaps deadlier, in years to come. Already economists predict that the state’s UAS industry will expand by nearly $10 billion within the next decade. At the same time, from peeped-on Seattle neighbors to back-pedaling police forces, Washington is also witnessing the blowback that comes from a citizenry uncomfortable with the pivotal role drones now play in everything from military strikes to weekend recreation. A fledging Seattle-based movement, No Drones Washington State (which didn’t respond to requests for comment), has staked out Boeing/ Insitu as one of its protest targets, and one of its sister groups, No Drones Illinois, has demonstrated outside Boeing headquarters in Chicago, asking stockholders to reject the corporation’s “killer drone” investments beyond the ScanEagle. They were likely referring to Boeing’s weaponized stealth/combat drone currently being

DRONE ACTIVITY IN WASHINGTON

suffer in the cockpit. The Pentagon took the emotional wounds of its telewar pilots seriously enough last year to propose handing out medals for heroic endurance in the remote booths, sometimes thousands of miles away from the war front. But new Defense Secretary Chuck Hagel put the kibosh on that in April, suggesting a small special pin be awarded instead. McGeer is experiencing his own kind of long-distance remorse over the ScanEagle. “I’d much rather be creating wealth,” he says, “than participating in wars.” Thanks in great deal to his pioneering efforts, the state has been able to do both.

tested in California: The 36,000-pound, remotecontrolled, wing-shaped warplane called the Phantom Ray could someday be flown in combat by a ground-based pilot thousands of miles away. The drone has been in the testing stage for years, the tab picked up by Boeing in a race with other

contractors who see war increasingly fought by robots. The UAS themselves come with a warning to their masters: Remote pilots are reportedly experiencing some of the same real-time and post-traumatic stress that airborne military pilots

hen President Obama promised to cut back on his killer drone flights last month, he laid out stricter rules for the secret terrorwar missions that in Pakistan alone have killed as many as 3,500 suspected militants and up to 900 civilians, according to the London-based Bureau of Investigative Journalism. Four of the dead were American citizens suspected of being or associating with terrorists—three of them killed collaterally. On a much different scale, Mayor Mike McGinn also sought to control the use of drones in Seattle, grounding a proposed Seattle Police unmanned spy force before it could fly its first sortie. In an edict that snared national headlines, he told SPD to discontinue plans to fly two small, camera-equipped drone helicopters intended to probe crime and accident scenes. The ACLU and others convinced him that more rules had to be in place to prevent drone spying on citizens. The White House and City Hall moves

» CONTINUED ON PAGE 14

Featuring more than 70 artists, the exhibit celebrates women as engines of creation and change in popular music, with iconic artifacts and nonconformist costumes such as Tina Turner’s red mesh lace dress from the “Private Dancer” video, Joan JeTT’s leather jacket from the video “I Love Rock ‘n’ Roll,” Kim Gordon’s 1977 Ovation Magnum bass, Kim deal’s suit from the “Cannonball” video, and lady GaGa’s meat dress worn at the 2010 MTV Music Video Awards show.

This exhibit was organized by the Rock and Roll Hall of Fame and Museum, Cleveland, Ohio. Photo by Janet Macoska

EMP would like to acknowledge Office of Arts & Culture | Seattle for its generous support of Women Who Rock: Vision, Passion, Power

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» FROM PAGE 13 seem to have at least temporarily pushed public concern over drones back to Defcon Five: at ease. Obama won additional praise for asking Congress to consider revoking the post-9/11 order that gave presidents the power to use “all necessary and appropriate force” to kill suspected enemies without due process. And coming down against the two Canadian-made Draganflyer X6 rotor drones, costing $41,000 each, was an easy political step for McGinn in an election year. (Though the mayor told SPD to return the minicopters, the manufacturer wouldn’t take them back, police spokesperson Sean Whitcomb said last week. “As of now, they’re sitting in a box” while the department weighs its next move, Whitcomb says). In truth, Obama-ordered drone flights have not ended; two weeks after his speech, a U.S. drone killed the Taliban’s #2 man in Pakistan. And Seattle—along with the rest of the state, where an increasing swarm of flying military robots are about to land—will eventually have to deal with the rise of the drones inevitably swarming the skies in all sizes and shapes, military to civilian, lethal to pesky. The latter intruders are already here, as a Capitol Hill woman found out recently. “This afternoon,” she complained last month in a message to a blog, Capitol Hill Seattle, “a stranger set an aerial drone into flight over my yard and beside my house near Miller Playfield [several blocks east of Group Health hospital]. I initially mistook its noisy buzzing for a weedwhacker on this warm spring day. After several minutes, I looked out my third-story window to see a drone hovering a few feet away. My husband went to talk to the man on the sidewalk outside our home who was operating the drone with a remote control, to ask him to not fly his drone near our home. The man insisted that it is legal for him to fly an aerial drone over our yard and adjacent to our windows. He noted that the drone has a camera, which transmits images he viewed through a set of glasses. He purported to be doing ‘research.’ We are extremely concerned, as he could very easily be a criminal who plans to break into our house or a peeping-tom.” What to do? Who owns the air? Are there laws? The answers are few, and don’t apply across the board. When operating in home skies, drones like the ScanEagle, says Insitu spokesperson Vacek, face some regulations—flying as “public

“That’s what these aircr aft are used for. Why else would the military want to use them? They’re looking for threats, which they then kill.” —Tad McGeer

aircraft” in domestic airspace, for example. And the FAA must first issue a Certificate of Authorization for the flight. But the sky appears to be the limit for a hobbyist’s model drone (although the FAA asks they stay below 400 feet). “The woman tells us she called police but they decided not to show up when the man left,” CHS blog reported. Readers chimed in, one of them offering a practical quick fix to the drone invader: “SLINGSHOT (problem solved) Wanna borrow mine?” Others advised the woman against overreacting to a model plane: “She should step back and consider that not everyone who uses remote-control gadgets are ‘peeping Toms,’ the same that not everyone who may use a chain saw is a potential ‘murderer,’ ” wrote one. The story got picked up by blogs across the U.S., including TheAtlanticWire.com, which asked drone expert and UCLA professor John Villasenor to comment. Villasenor, who spoke to Congress last month about proposed drone laws, drew a parallel to a camera-ready Peeping Tom: “Using a drone just outside the window to obtain those same photographs would be just as much an invasion of privacy.” The office of Seattle City Attorney Pete Holmes hasn’t given droning laws much thought

yet, nor fielded any pressing legal queries. At the moment, says spokesperson Kimberly Mills, “The city doesn’t regulate private drones.” However, she adds in an e-mail, “The person who was ‘droned’ [on Capitol Hill] might have a [civil] tort action against the drone operator—that’s a ‘might.’ ” The state is just beginning to tackle the issue, and, federally, Congress is making its first moves. Democrat Sen. Mark Udall of Colorado last month introduced the Safeguarding Privacy and Fostering Aerospace Innovation Act. If approved, the bill would provide fines of up to $15,000 “for any person to use a civil unmanned aircraft system to willfully conduct surveillance of another person.” It also proposes that all robotic aircraft be clearly marked with the name, address, and telephone number of the owner. Ryan Callo, an assistant law professor at the University of Washington, says current law doesn’t do enough to protect privacy. The Supreme Court has allowed police officers in airplanes or helicopters to peer into a person’s backyard, and “I see no reason why these precedents should not extend readily to drones,” says Callo, who testified in March before the Senate Judiciary Committee, urging Congress to proceed cautiously. It’s unclear where model and toy drones might fit into the legislative bundle. But, with sizzling sales, they’re a growing concern. Amazon’s warehouse shelves are regularly cleaned out by customers seeking the children’s version of one of Obama’s favorite drones, the Predator—a $10 item that, when supplies run low, sometimes resells on Amazon Marketplace for nearly $50. That’s still considerably cheaper than other toy/ model drones, such as the Parrot AR, available at Toys“R”Us for $300. The sleek, batteryoperated quadcopter has a 160-foot flying range and a speed of 11 m.p.h. and is controlled by a smart-phone app allowing the pilot to see on the hand-held screen what the drone sees from the air. More than 500,000 have already been sold. Also hot on the drone wish list are slightly larger, commercial mini-aircraft, such as 3D Robotics’ $500 drone that is guided by a GPS and is used by farmers, among others, to watch over crops and field conditions.

» CONTINUED ON PAGE 16

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hen there’s that considerably larger drone squadron gathering on the state’s horizon. Homeland Security, for one, flies two unarmed, 10,000pound Predator-B drones along the state’s northern border to help agents search for illegal entries and drug smugglers. The drones’ controllers are based in North Dakota and fly nearly 1,000mile, 20-hour missions in a flight room at Grand Forks Air Force Base. The Pentagon, meanwhile, is planning to extend drone testing, training, and flight operations to four local military bases, including Whidbey Island Naval Air Station and the Army’s Joint Base Lewis-McChord. A 2012 Department of Defense report to Congress said those bases plus McChord Air Force Base and the Yakima Training Center are designated as sites to “conduct continental United States–based missions” within the next few years, using such bomb-carrying tactical drones as the Predator. At Whidbey, the Navy is proposing to add remotely controlled spy planes with the wingspan of a Boeing 737. The Pentagon is proposing to buy altogether 68 of the drones— Grumman’s MQ-4C Triton—totaling $11 billion. Used for ocean-crossing marine surveillance, the Triton is designed to fly 11,500 miles without refueling. As part of the revamping, the base will also update its manned air force, replacing older

Lockheed Martin P-3C aircraft with new Boeing P-8A Poseidons, a military version of the 737. The Poseidon is assembled in Renton and will be essential to the drone program, the Navy says. Boeing has been awarded $5 billion to build 24 Poseidons, with the Navy expected to buy 93 more. These Washington sites are part of a global expansion of the military’s flying-robot program. A recent report in The Nation identified at least 60 U.S. remote-control bases run by the military and the CIA around the world, with more to come. Such sites increase the chances of creating remote-controlled U.S. air strikes anywhere on the planet, with little accountability and a minimal foreign footprint. Actually, make that toeprint. The technology already exists to build a lethal drone that can be carried in a backpack. Equipped with a camera and warhead, it could be flown like a cruise missile into a target zone. Trevor Timm of the Electronic Freedom Foundation, based in San Francisco, says one of the arguments made by supporters of Seattle’s police-drone program was that the remote choppers could stay airborne only for short periods. But, he points out, Lockheed Martin has been bragging about a 13-pound drone that can be recharged by a ground laser and stay airborne indefinitely. Security expert Glenn Greenwald, a columnist for London’s The Guardian who writes frequently about drones (and who last week broke the story about the NSA’s phone-data collection), notes that domestic use of UAS is growing rapidly, and any doubts that weaponized drones won’t be used on U.S. soil is “patently irrational.” The Montgomery County Sheriff ’s Office in Texas, for example, is already figuring out how its new $300,000 ShadowHawk drone can be outfitted to fire Tasers and beanbags. These smaller and deadlier drones pose an inevitable question: What happens should these new creations fall into the hands of madmen and terrorists? (Iran already claims to have captured two ScanEagles and begun reproducing them.) Take the 2-pound Switchblade UAS, used by the military in Afghanistan. Armed with a tiny warhead, the little drone can be flown directly into the face of its human target and exploded. Time called it one of the Best Inventions of 2012. Al-Qaida may someday agree. Wherever the market goes, Washington’s drone industry is likely to follow; it’s already ranked second economically in the U.S. behind California’s, according to the Association for Unmanned Vehicle Systems International. The state would get a measurable boost should it become one of six new federally designated drone test sites planned by the FAA, which is busy trying to formulate new rules for domestic drone use. The University of Washington, Washington State University, and Battelle’s Pacific Northwest National Laboratory in Richland (whose mission includes developing counterterrorism technologies) are part of a state coalition currently competing with almost 40 other states to bring the testing to Grant County International Airport in Moses Lake. Its 13,500-foot-long runway is one of America’s longest—not that it’s required for the stationary launched drones, but it could handle any large jets needed in conjunction with the program. One of the main purposes of the test site, according to FAA documents, is to “provide valuable experience to help us safely and efficiently integrate UASs into the same airspace with manned airplanes.” The state is projected by the AUVSI to gain almost 10,000 jobs and rack up $7.8 billion in

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» FROM PAGE 15 revenue over the next decade as the industry expands. Along with the military, Boeing will be one of the driving forces: In the Gorge, Insitu has already created a network of secondary providers spanning two states. “We utilize more than 500 suppliers in Washington and Oregon,” says company spokesperson Vacek, who notes that goods bought from local businesses represented 40 percent of Insitu’s spending in 2012. Betty Barnes, the mayor of Bingen (population 724), tells Seattle Weekly that in addition to bumping up tax revenue and creating jobs, Insitu’s products have made the locals proud, saving troop lives. “Insitu has been a great asset and partner to the city of Bingen,” Barnes says. “During the economic downturn when most cities had businesses closing, Bingen had four new restaurants open.” She notes that the town has seen just one protest, back in 2010, outside Insitu’s office on Bingen’s no-stoplight main drag. Video from that day shows a dozen chanting demonstrators from Portland and Seattle matched in number by local drone supporters and Insitu workers who counter-chanted their support for the troops. “We all want the war to end as soon as possible,” then-Insitu CEO Steve Sliwa told a reporter from the White Salmon Enterprise, congratulating demonstrators on their peaceful tactics. Tad McGeer, Insitu’s progenitor, hopes to be a factor in the Gorge’s predicted economic growth from drones, although this time around he’s focusing on peaceful uses for his newest UAS. Aerovel’s 40-pound Flexrotor, capable of flying 2,500 miles at altitudes of up to 25,000 feet on only three gallons of fuel, is ready for its vertical closeup, he says—monitoring weather and surveying earth’s geology, for example. But first the public will have to shake off some of its misconceptions, as he sees it, about drones.

SEATTLE WEEKLY • JUNE 12 — 18, 2013

“T

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he concern about invasion of privacy is oversold,” McGeer is saying to the reporter on his drive home. “It’s nonsense.” That drone hobbyist who buzzed the Capitol Hill woman’s home? “He’s no more of a threat than someone who would peek in her windows,” McGeer says, bouncing along in his car. Actually, he’s less of a threat: You can hear a drone hovering outside, says McGeer. A voyeur? Not so much. “I don’t understand what’s so threatening about drones. Go up top to the Space Needle and look down. Are you invading people’s privacy? Of course not. Any aircraft anywhere has that capability. That includes an unmanned aircraft with a camera.” McGeer was among those who showed up in Olympia this legislative session to talk about a bill that would regulate the use of drones by local and state agencies. Among other restrictions, House Bill 1771 would require law-enforcement agencies to obtain warrants for drone flights, except in emergency situations. Legislation to control drone use has been introduced in more than 30 other states, but none has passed, and Bill 1771 is stuck in committee, where it has been pronounced dead. Though police didn’t like the idea—Mitch Barker of the Washington Association of Sheriffs and Police Chiefs said it was an issue better left to the courts to decide on a case-by-case basis—Boeing was credited

The Navy is proposing to station some of its Grumman MQ-4C Tritons—which have the wingspan of a Boeing 737—on Whidbey Island.

Glenn Greenwald, a columnist for London’s The Guardian who writes frequently about drones, notes that domestic use of UAS is growing rapidly, and any doubts that weaponized drones won’t be used on U.S. soil is “patently irrational.” with killing the proposal. Boeing spokesperson Sue Bradley, in a statement, said it would have been “counterproductive to rush into regulating a burgeoning industry.” The bill’s disappointed sponsor, Republican Rep. David Taylor, told The Seattle Times, “This is all about profit . . . profit over people’s rights.” A similar bill in Oregon, which includes restrictions on drone use by the public, passed the House but at last report was languishing in the Senate. “Boeing didn’t kill it,” McGeer says of the Washington legislation. “The bill was very illconceived, and was never expected to be passed. It was a message bill,” merely testing the waters. The message he gave to legislators, McGeer says, was about “what you can and can’t see with a drone camera, and the economics of doing so—that if you wanted to take pictures from an aircraft, you could spend $100 an hour flying around in a Cessna, but that the demand for that activity isn’t very high.” His point, he says, is that you can do this type of spy thing now, but few actually care to. Drones, McGeer says as his car hits the homestretch, despite their growth and potential, are an emerging technology in a still-budding industry. “If you believe the hype about the surge of privacy invasion, there should be a lot of customers at my door,” the Aerovel founder says. Any time now, he hopes to have his first one. E randerson@seattleweekly.com

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the»weekly»wire venture.” Rucker intends to feature more artists, like Brown, who are working in genres or media that are new to them. “It’s great to be in Pioneer Square and see how it’s opening up again,” he says. “It’s booming.” Paul Rucker’s Open Studio

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fri/6/14 Cyrus Khambatta has done it again—packing even more action into his Seattle International Dance Festival. There will be two different weekend programs from Seattle and beyond; a midweek series of intensely local work selected by Northwest choreographers; a multistage outdoor event featuring the Massive Monkees and other troupes; and a short-order dance, made in a week on a theme chosen by the audience. From this treasure chest, opening night should be especially dynamic, with appearances by Portland’s Tere Mathern Dance company and Israeli choreographer Idan Cohen, whose Wayfarer is set to Mahler. Next Wednesday’s showcase, curated by Mathern herself, includes excerpts from Umami (including its new Constellation Half Remembered) and Kate Wallich + The YC, with a

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peek at their upcoming 2014 program. Consult the website to create your own mix-and-match program—there’s plenty of dance to work with. (Through June 23.) Raisbeck Performance Hall, 2015 Boren Ave., 800-838-3006, seattleidf.org. $15–$50. 8 p.m. SANDRA KURTZ

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Most of the free, short-term space of the Seattle Storefronts program has been given to visual artists or community art-making enterprises. Paul Rucker is adding music to the mix with his new

studio in Pioneer Square, where he’s also featuring other local musicians. First among them is Rulon Brown, whose Restless debut drew an avid audience during this month’s First Thursday art walk. Dangling from hospital IV stands are 50 red headphones with little mp3 players attached. On cue, Brown and his audience don the headphones, then he solos his alto sax over the track you’re hearing—each one different from your neighbors’, all of them composed by Brown. It’s an oddly communal, intimate experience. Headphones usually isolate the listener, but in Restless they unite the small standing audience. “It’s about community and how we create it and recreate it,” says Brown. “It’s playing with this idea of what we share and what we keep to our selves. Nobody can

Award–winning novel Let the Great World Spin, set during the period of Philippe Petit’s 1974 wire-walk between the World Trade Center towers. His brisk and affecting new TransAtlantic (Random House, $27) is also something of a spanning act, reaching from 1845 Ireland to the U.S. and back by 2011, from Lincoln to Obama. It’s an elliptical, matrilineal tale woven with real historical characters—most notably fugitive slave Frederick Douglass, on an Irish speaking tour to raise funds for his freedom, and former Senator George Mitchell, the emissary trying to broker a peace deal in 1998 Ireland. Intersecting with know what anyone else is hearing. It’s like when their missions are four generations of women, you’re sitting on the bus and you think you know the first being an illiterate Irish maid, Lily, who’s what someone’s listening to.” inspired by Douglass’ talk of freedom. He’s visitFor Restless—also the name of a larger body of ing during the potato famine, and 17-year-old work that includes Brown’s jewelry—audio cues Lily sets her sights on America. Lily’s descensometimes direct listeners to remove their headdants will successively become a journalist, a phones and lift them overhead. It’s a neat bit of photographer, and a pensioner holding onto group choreography, with the 50 difan airmail letter ferent compositions suddenly joining from the first flight together in the high-ceilinged space. across the AtlanThe total performance time is about tic in 1919. We 10 minutes, and Brown will repeat meet those British the show nightly at 6 p.m. through pilots, too; and it’s Sunday. Today, for a special afternoon Lily’s daughter the concert following Restless, Brown and journalist who sent Rucker will be joined by Jeff Busch for the still-unopened a performance of jazz from Brown’s letter in the reverse album Restless, music that had its predirection from miere at the recent Nicaragua Internawhence her mother tional Jazz Festival. “This will be the emigrated. McCann first time we’ve played it in the U.S.,” is foremost a Author McCann. says Brown. humanist spinRucker’s studio will be his workner of yarns, and space for the summer, he explains. the satisfaction of “I wanted a multi-use space. I”m known as a TransAtlantic is to follow the threads—not just musician, but I’m also a visual artist. That’s my characters, but qualities of compassion, echoed glass work in the window.” More free musical details, repeated gestures of empathy. McCann events will be scheduled through the summer compares Lily’s long family history to a bird’s (and possibly into the fall), during which time nest held still against the rushing of time, “the Rucker will be preparing for his August show twigs taken from everywhere, bits and pieces, at the nearby Gallery4Culture. That exhibit will leaves and branches, crossing and criss-crossing.” deal with America’s gun culture, Rucker explains, Those twigs are the tales passed between generawith some of the wooden sculptural materials tions. Says the journalist, “Our stories will most having been shot by Rucker himself at a local certainly outlast us”—a notion that McCann, gun range. “Anyone can come by at any time to the son of a newspaperman, most surely believes. come see what I’m working on and talk about Town Hall, 1119 Eighth Ave., 652-4255, townhall it. It’s not a commercial venture, it’s a creative seattle.org. $5. 7:30 p.m. BRIAN MILLER DUSTIN AKSLAND

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They Might Be Giants has forged a surprisingly long career out of consistently short songs. Released in March, the Brooklyn duo’s 16th album, Nanobots, is typical in that regard: 25 dense and stylistically diffuse songs, one lasting only nine seconds. Deservedly or not, being short-form artists since their dial-a-song days, John Flansburgh and John Linnell are sometimes regarded as nerd-rock dabblers who abandon an idea after the first hook or clever lyric, then move on to the next track. Being so prolific and having such a cult following has given the two a strange, diminished reputation—like being geniuses at trivia or gold-medal race walkers. I would argue, however, that Flansburgh and Linnell know how to craft sincere ballads when they want to. You just have to look a little deeper in their catalogue to find them. On Nanobots, the two-minute “Tesla” is both hummable and haunting, an ode to the genius inventor (1856– 1943) whose name has lately been appropriated by the electric-car company. For the brainy songwriters, clearly, Tesla is a kindred spirit, a lonely, obsessive polymath. “Here is a mind that can see across space,” they sing, “here is a mind soaring free. Sound turns to the light, and light turns to waves, and waves turn to all things perceived. Maybe that knowledge would drive one insane. How could that knowledge be tamed?” You can bet that plenty of electrical engineers will be in the house tonight, getting every reference. (Moon Hooch opens.) Showbox SoDo, 1700 First Ave.

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SEATTLE WEEKLY • JUNE 12 — 18, 2013

RED SPARROW (SCRIBNER)

Matthews's exceptional first novel will please fans of classic spy fiction. In today's Russia, a state intelligence officer begins a fatal double life, recruited by the CIA to ferret out a high-level traitor in Washington The author's 33-year career in the CIA allows him to showcase all the trade-craft and authenticity that readers in this genre demand.

DANIEL JAMES BROWN

TUESDAY, JUNE 25 AT 7PM

THE BOYS IN THE BOAT (VIKING)

Matthews's exceptional first novel will please fans of classic spy fiction. In today's In this sweeping saga, Brown vividly relates the true story of how nine workingclass rowers from the University of Washington captured gold and stunned the world at Hitler's 1936 Berlin Olympics. Brown draws on the team's own journals, photos, and memories of a once-in-a-lifetime shared dream.

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Other Desert Cities ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $41 AND UP. RUNS TUES.–SUN. ENDS JUNE 30.

Palm Springs interprets the notion of “White Christmas” a little differently than Bing Crosby’s idyll: linear white furniture, tennis whites, all-white decorations on the tree. To this blanched hideaway—nicely built by Robert Dahlstrom and clothed by Francis Kenny—proud old-guard GOPers Lyman and Polly Wyeth (Kevin Tighe and Pamela Reed) retired after a socially embarrassing personal tragedy—their elder son Henry’s involvement in an anti–Vietnam War terrorist incident. At Christmas 2004, the family gathers in the chic desert pad: pill-popping daughter Brooke (Marya Sea Kaminski), who’s just drafted a controversial memoir about Henry’s parentdriven crackup and suicide; second son Trip (Aaron Blakely), a reality-show producer; and recovering alcoholic Silda (a deliciously addled Lori Larsen), Polly’s sister of liberal bent. As in his TV series Sisters and Brothers, playwright Jon Robin Baitz again focuses on political rifts within a family. Which is thickest—tribe, blood, or values? Directed by Victor Pappas, ACT’s production got off to a somewhat disjointed start on opening night, but it will likely meld and deepen with passing days. The accomplished cast hadn’t quite found its rhythm—though in Franklin as clown. fairness to the actors, the often-funny script is laden with exposition that actual family members wouldn’t need to share. (Of her yetunpublished memoir, Brooke tells Trip: “It’s about our brother, who went to war with our parents, joined a cult, disappeared, and then planted a bomb in an army recruiting station before killing himself.”) Don’t be discouraged. The meticulous setup has a payoff that provokes an almost Rumsfeldian reconsideration of what we thought we knew (underscored with interstitial radio reports on the Iraq War). There’s ample tension in the battle of wills between Brooke, seething with the righteous fury of the underinformed, and the cynically corrosive Polly, who tries to leverage her love against the memoir. Tighe’s Lyman is so doddering, he’s mainly an object of pity. More successfully, Blakely’s facile, amiable Trip is delightfully fed up with his family’s venomous sparring; having been born only a few years before Henry’s misadventure, he’s the peacemaker with the least skin in the game. “Telling the truth is an expensive hobby,” Silda tells her beloved niece. So is writing a play or a memoir about privileged people flogging dead horses because they can afford to. But that’s what smart writers have been doing since Oedipus, Electra, and Hamlet. Even if Baitz’s insights here aren’t profound, his dissection of LARAE LOBDELL

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arts»Opening Nights this Reaganite clan is culturally incisive. And he makes a mostly entertaining spectacle out of watching the Wyeths get pickled in their own juices. MARGARET FRIEDMAN

Tall Skinny Cruel Cruel Boys WASHINGTON ENSEMBLE THEATRE, 608 19TH AVE. E., 325-5105, WASHINGTONENSEMBLE.ORG. $15–$25. 7:30 P.M. THURS.–MON. ENDS JUNE 24.

In The Hero With a Thousand Faces, Joseph Campbell contended that women were often the reward waiting for men at the end of victorious quests. But he never had to consider actress Hannah Victoria Franklin—a heroine in her own right, and one with more faces than Campbell has Jungian archetypes to describe. Tall Skinny Cruel Cruel Boys is a case in point. While every WET production is a team effort, Franklin has become the statuesque tabula rasa that the troupe has time and again hung its fortunes upon. The greater the challenge, the more resourceful and dependable she’s become, and Caroline McGraw’s one-act premiere is no exception. Though the writing’s somewhat simplistic and obvious, Franklin gives a tourde-force performance as Brandy, a children’s-party clown who doesn’t much care for kids—unless they’re old enough to be seduced, like the “almost 17” Jack ( Jay Myers). Compounding matters are her intermittent fumblings with a toddler’s father (Billy Gleeson), and the possibility that the one guy who might be a good romantic fit is Reverb (Scott Ward Abernethy)—another kid’s clown she dismisses because he doesn’t match her physical criteria. And if that weren’t enough to keep a poor girl awake at night, there’s a mangy red demon dwelling under her bed, who threatens to pull her down from reality into some hellish netherworld. In McGraw’s morality fable, sex leads just as easily to depravity as to love. Consider, then, that WET is to Seattle’s theater scene as the Coen brothers are to the world of cinema. When they succeed, they’re brilliant—and even when they don’t, which is rare, their failures are thrillingly performed without a net. In this instance, director Jane Nichols wisely substitutes a jaunty momentum and a few under-the-covers chills for the character development absent from McGraw’s script. Everyone in her play exists in the periphery of Brandy’s orbit; their motivations ebb and flow only in response to hers. Still, the opportunity to see Franklin roam the stage as a red-nosed clown and do battle with a villain straight out of storage from some unaired episode of Buffy the Vampire Slayer is alone worth the price of admission. It ain’t art, but it ain’t bad either. KEVIN PHINNEY E

stage@seattleweekly.com

arts»Performance Stage OPENINGS & EVENTS

ALL IN THE TIMING Experimental productions of David

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THOUGHT EXPERIMENTS ON THE QUESTION OF BEING HUMAN Infinity Box Theatre Project paired play-

wrights and scientists to explore the topic; here are readings of the results. Town Hall, 1119 Eighth Ave., infinitybox. org. $5–$10. 7:30 p.m. Thurs., June 13–Fri., June 14, 6 & 8:30 p.m. Sat., June 15. WRITERS GROUP SHOWCASE Seattle Rep presents readings of works in progress by Keri Healey, Elizabeth Heffron, Stephanie Timm, and others. PONCHO Forum, Seattle Repertory Theater, Seattle Center, 443-2222, seattlerep.org. Free; call for reservations. Opens June 14. 7:30 p.m. Fri.–Sat., 4 p.m. Sat.–Sun. Ends June 23. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

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• BACH AT LEIPZIG Screwball wordplay powers Itamar

Moses’ 1722-set farce about the intrigue surrounding an open Kapellmeister post. 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 June 15. CAFE NORDO: SMOKED! Their new culinary/theater experience “channels the spaghetti Westerns of Sergio Leone and the oppression of Monsanto-style agribusiness with lawyers and lobbyists portrayed as gun-toting sociopathic thugs.” The Kitchen by Delicatus, 309 First Ave. S., cafenordo.com. 7:30 p.m. Thurs. & Sat. ($70), 8 p.m. Fri.–Sat. ($80). Extended through June 16. CHICAGO If you were casting a Carol Burnett biopic, it’s unlikely you could do better than Desireé Davar, who looks a lot like her and belts tunes in that same dusky alto—which makes her an excellent Velma Kelly, one of the two bombshells in Kander and Ebb’s Chicago. She leads a fine cast: As Roxie Hart, Taryn Darr balances trashy and adorable as adroitly as she handles Kristin Holland’s razzmatazz choreography; Timothy McCuen Piggee has serpentine moves to match his portrayal of snake-in-the-grass lawyer Billy Flynn; and Shaunyce Omar brings a dazzling vocal versatility to Mama Morton, from puma-in-heat growls to a full-on Jennifer Hudson. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $24–$63. Runs Tues.–Sun.; see villagetheatre.org for exact schedule Ends July 28. DOGG’S HAMLET, CAHOOT’S MACBETH Shakespeare reimagined by Tom Stoppard in a British school and Cold War Czechoslovakia. Center House Theatre, Seattle Center, 800-838-3006, soundtheatrecompany.org. $5–$25. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends June 23. HOMEBODY The New City Ensemble presents Tony Kushner’s play. New City Theater, 1404 18th Ave., 800-838-3006, newcitytheater@comcast.net. $15–$20. 8 p.m. Fri.–Sat. Ends June 22. NW NEW WORKS FESTIVAL Two weekends of new theater and dance works by Pony World Theater, Allie Hankins, Paul Budraitis, The Satori Group, and many others. On the Boards, 100 W. Roy St., 217-9888, ontheboards. org. $14. 8 p.m. Fri., 5 & 8 p.m. Sat.–Sun. Ends June 16. OTHER DESERT CITIES SEE REVIEW, PAGE 20. QUICKIES: VOLUME 14 Live Girls!’ festival of short plays by women. Theater Off Jackson, 409 Seventh Ave. S., 800838-3006, lgtheater.org. $5–$18. 8 p.m. Fri., 4 & 8 p.m. Sat., 8 p.m. Mon. Ends June 15. SKETCHFEST A month of comedy from a dozen or so ensembles. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, sketchfest.org. $10. 7 & 8:30 p.m. Fri.– Sat. Ends June 29. TALL SKINNY CRUEL CRUEL BOYS SEE REVIEW, PAGE 20. THE TWILIGHT ZONE: LIVE! Three new stage adaptations of the original TV scripts. Theater Schmeater, 1500 Summit Ave., 800-838-3006, schmeater.org. $15–$18. 8 p.m. Thurs.–Sat. Ends June 15.

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Dance

FLIGHTS WITH BYRD Spectrum Dance Theater’s fund-

raiser includes a chat with choreographer Donald Byrd. Emerald City Trapeze Arts, 2702 Sixth Ave. S., 325-4161, spectrumdance.org. $27–$49. 6 p.m. Fri., June 14. PACIFIC NORTHWEST BALLET’S NEXT STEP Be among the first to see young dancers perform front and center, accompanied by the Seattle Youth Symphony., McCaw Hall, Seattle Center, 441-2424, pnb.org. $5–$20. 7:30 p.m., Fri., June 14. SEATTLE INTERNATIONAL DANCE FESTIVAL SEE THE WIRE, PAGE 19. INTERNATIONAL BALLET ACADEMY Performances by students ages 3–6, 7–10, and 10 and up. Meydenbauer Center, 11100 N.E. Sixth St., Bellevue, 800-838-3006, intballetacademy.org. $15–$25. 2 & 5 p.m. Sat., June 15. PACIFIC NORTHWEST BALLET SCHOOL On this yearend performance, Tharp’s Sweet Fields and Balanchine’s Brahms-Schoenberg Quartet. McCaw Hall, Seattle Center, 441-2424, pnb.org. $30–$70. 1:30 & 7 p.m. Sat., June 15.

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Classical, Etc.

BELLEVUE COLLEGE GUITAR ORCHESTRA Mark

Wilson and students perform Aerosmith, Beck, and more. Bellevue College, 3000 Landerholm Circle S.E., 301-9165, bellevuecollege.edu. 7 p.m. Wed., June 12. CHORUS AMERICA This convocation of choirs from all over includes performances by the Northwest Girlchoir & Opus 7 (Wed.), the Seattle Symphony’s War Requiem (Thurs.), Seattle Pro Musica and Choral Arts (Fri.), a family concert (Sat.), and Cappella Romana (Sat.). See chorusamerica.org/conf2013 for full details. COMPOSER SPOTLIGHT WSU composer Gregory Yasinitsky discusses his “third stream” work combining classical and jazz. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., June 12.

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“LIVE VS. RECORDED” A public experiment comparing

live musicians with recordings of same. Congregational Church of Mercer Island, 4545 Island Crest Way, Mercer Island, audiosociety.org. Free. 7:30 p.m. Thurs., June 13. SEATTLE SYMPHONY Britten’s War Requiem combines the Latin Mass text with poems by Wilfred Owen into a poignant world War II memorial. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m., Thurs., June 13, 8 p.m. Sat., June 15. LAKE UNION CIVIC ORCHESTRA Amy Beach’s 1896 “Gaelic” Symphony, paired with Dvorak’s Cello Concerto. Town Hall, 1119 Eighth Ave., 800-838-3006, luco.org. $13–$18. 7:30 p.m. Fri., June 14. TRIO PARDALOTE SEE EAR SUPPLY, BELOW. BRAZILIAN MUSIC FESTIVAL Choro music at The Royal Room, 5000 Rainier Ave. S., 8 p.m. Fri., June 14, and jazz at the Union Cultural Center, 803 S. King St., 3 p.m. Sun., June 16. nwchoromusic.com. SEATTLE GIRLS’ CHOIR Performing new works by alumni and by founder Jerome Wright. Town Hall, 1119 Eighth Ave., seattlegirlschoir.org. $15–$20. 1:30 p.m. Sat., June 15. MUSIC OF REMEMBRANCE Another Sunrise by Jake Heggie and librettist Gene Scheer tells the story of Polish resistance fighter Krystyna Zywulska. Seattle Art Museum, 1300 First Ave., musicofremembrance.org. Free. 2 p.m. Sat., June 15.

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EarSupply

» By Gavin Borchert

Musical Memoirist

• AUGUST RUINS A performance, by Paige Stockley, of

Peter Vukmirovic Stevens’ lush and epic work for solo cello. Steve Jensen Gallery, 1424 10th Ave., peter vukmirovicstevens.com. $10. 8 p.m. Sat., June 15. CAPPELLA ROMANA From this chamber choir, Byzantine chant and Greek Orthodox liturgical music. St. Demetrios Greek Orthodox Church, 2100 Boyer Ave. E., 800-494-8497, cappellaromana.org. $22 and up. 8 p.m. Sat., June 15. HUNGRY GHOSTS Inspired by Japanese traditions, Nat Evans’ music/ritual piece will be performed in the woods with other works by John Teske and Neil Welch. (See johnteskemusic.com for maps to the meeting place.) Ravenna Park, 5520 Ravenna Ave., 8 p.m. Sat., June 15. THE ESOTERICS Two concerts celebrate this adventuresome choir’s 20 years of devotion to new music. The first, at St. Joseph’s Catholic Church, 732 18th Ave. E., 7:30 p.m. Sat., June 15, features secular music. The second, at Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 1:30 p.m. Sun., June 16, is devoted to the sacred: Barber, Schnittke, and director Eric Banks. $10–$20. theesoterics.org. SEATTLE REPERTORY JAZZ ORCHESTRA Vocalists Stephanie Porter and Primo Kim join the SRJO for “The Great American Songbook Vl.” At Benaroya Recital Hall, Third Ave. and Union St., 7:30 p.m. Sat., June 15, and Kirkland Performance Center, 350 Kirkland Ave.. Kirkland, 3 p.m. Sun., June 16. 523-6159, srjo.org.

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The stuttering repeated note that opens the Sixth becomes what sounds like a nod to, or parody of, one of the 18th century’s favorite-tothe-point-of-cliché accompanimental patterns; it establishes a blithe, Haydn-like mood, yet later comes to seem obsessive. The second movement is a waltz, wistful but easily distracted; it seems to wander off at one spot until the cello pointedly enters to reassert the waltz rhythm and herd the other instruments back into place.

One not-fully-convincing passage in Wendy Lesser’s Music for Silenced Voices, her deeply thought and felt meditation on Shostakovich’s string quartets, is her treatment of the Sixth. She links its dark/light ambiguity to the death of his first wife and his marriage to his second in the period just before he composed it in 1956. Well, maybe. She also suggests it could signify the relative thaw in Soviet cultural life after Stalin’s death—and Shostakovich’s guilt that he’d survived (as a national hero, no less) when so many millions hadn’t in the previous two decades. Or perhaps Victoria Parker, Rowena Hammill, and we ought to resist the Heather Bentley of Trio Pardalote. temptation to hear autobiography in the quartet at all. Emotional chiaroscuro and irony were congenial The third is a passacaglia, a baroque form that modes for him his entire life; and another of the ambiguities he seemed to relish is whether builds variations on a repeating bass line, which Shostakovich used for some of his most weighty or not his music even should be read as and wrenching slow movements (the Tenth responses to outer events. Quartet, the Eighth Symphony, and, most heartOne clue that violist Heather Bentley pointed out to me: The romantic, even gooey, gesture breaking of all, the Piano Trio no. 2). He realized with which all four of the Sixth Quartet’s movethat channeling his sorrow into a strict groove— ments enigmatically end is based on Shostalike a sternly formal funeral ritual—intensifies it. kovich’s musical initials: D.SCH., or the notes D, The final movement sounds a bit like distracted E flat, C, and B. She and her string ensemble, reminiscences of the first three; the composer Trio Pardalote, will play the Sixth Friday night as signs his name to these fragmented memories, part of a planned traversal of all 15 Shostakovich in a way, by tacking on his monogram one quartets. (Considering the composer’s popularfinal time. (Also on the bill: Mendelssohn’s tour ity in Seattle, you wonder why no one had yet de force teenage Octet and, with flutist Paul Taub, music by Foote and Ginastera.) Kenyon tackled such a project.) For Bentley, the draw is Hall, 7904 35th Ave. S.W., triopardalote.com. his “highly developed compositional craft [and] $5–$14. 7:30 p.m. deeply communicative human voice.”

SEATTLE WEEKLY • JU NE 12 — 18, 2013

Ives’ short plays. Richard Hugo House, 1634 11th Ave., 800-838-3006, seattlestageright.org. $15. Opens June 14. 7:30 p.m. Thurs.–Sat. plus Mon., June 20. Ends June 29. THE CONSTRUCTION ZONE A reading of Jon Kern’s satire Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them. Co-produced by Washington Ensemble Theatre. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$20. 7 p.m. Tues., June 18. DEAR DAD Central Heating Lab presents dramatic readings of letters by luminaries (JFK, Oscar Wilde, and others) to their fathers. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$20. 2 & 7 p.m. Sun., June 16. AN EVENING WITH GROUCHO Actor/comedian Frank Ferrante reprises his popular partly scripted, partly improvised tribute show to Groucho Marx. ACT Theatre, 700 Union St., 292-7676. $25–$35. Opens June 13. Runs Wed.– Sun.; see acttheatre.org for exact schedule. Ends June 30. FAMILY AFFAIR Jennifer Jasper hosts this monthly performance-art cabaret on the theme of family. JewelBox/ Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater. com. $10. 7:30 p.m. Wed., June 19. THE FINANCIAL LIVES OF THE POETS In Jess Walter’s comic novel, adapted and directed by Myra Platt, a man struggles to stay afloat. Jones Playhouse Theatre, 4045 University Way N.E., 216-0833. $25–$45. Opens June 12. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends June 30. GOING DARK The premiere of Zach Sanders’ drama. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. 7 p.m. Fri., June 14–Sat., June 15, 2 p.m. Sun., June 16. THE HORRIBLE LAMB Tiffany Louquet’s musical about a man and a televangelist who used to be his childhood nemesis. West of Lenin, 203 N. 36th St., 800-838-3006, brownpapertickets.com. $12. Opens June 14. 8 p.m. Fri.– Sat. Ends June 29. INTERNATIONAL FESTIVAL OF IMPROV Unexpected Productions has invited troupes from Australia to Slovenia. See unexpectedproductions.org for exact lineup. Market Theater, 1428 Post Alley, 587-2414. $15/$30 pass. 8:30 p.m. Wed., June 19–Sat., June 22. LISTENINGS Readings of two plays by Sherry Narens. Seattle Center Armory, soundtheatrecompany.org. Donation. 7 p.m. Sun., June 16. LOTUS EATERS EP Reggie Watts wrote the music for this “video-heavy multimedia piece,” with text by Tommy Smith and vocal work by author Neil Gaiman. West of Lenin, 203 N. 36th St., 352-1777, westoflenin.com. $15. 8 p.m. Tues., June 18–Thurs., June 20. TRACY MORGAN Stand-up seems to be Morgan’s outlet for saying whatever he couldn’t on 30 Rock, with outrage greeting recent onstage comments he’s made about gays and the differently abled. Which Seattle will show up: the one proud of its tolerance, or the one proud of its sensitivity? The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $35.50. 8 p.m. Fri., June 14. MY HEART BELONGS TO DADDY Burlesque and magic for Father’s Day. (7:30 p.m., 18 and over; 9:30 p.m., 21 and over.) Can Can, 94 Pike St., 652-0832, thecancan.com. $15–$20. 7:30 & 9:30 p.m. Sun., June 16. PENELOPE To celebrate Bloomsday, the Wild Geese Players present a reading of Molly Bloom’s soliloquy from Joyce’s Ulysses. Elliott Bay Book Co., 1521 10th Ave., 6246600, elliottbaybook.com. Donation. 3 p.m., Sun., June 16. SANDBOX ONE-ACT PLAY FESTIVAL New works by Paul Mullin, Scot Augustson, and others. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, soapfest. org. $15. 8 p.m. Thurs., June 13–Sat., June 15.

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intense piece that operates on a bigger scale. (“Bigger scale” must be contractually guaranteed when you add Ridley and Tony Scott as producers.) Things are quite grim again. Hired by a private intelligence agency to infiltrate an eco-terrorist group called The East, Sarah (Marling) rolls into the unwashed ranks of these self-styled environmental avengers. Their modus operandi is not far from a supervillain’s scheme: They repay corporate atrocities by visiting similar outcomes (they call their missions “jams”) on the offending CEOs and their families—an oil company exec might get toxic sludge dumped in his house, for instance. A do-gooder with an unbreakable poker face, Sarah begins to see things from the other side, and it helps that the nouveau hippies in the crowd are charismatic (Alexander Skarsgård of What Maisie Knew), devoted (Ellen Page), and attractive. Having evoked some sympathy for this outlaw group, Batmanglij and Marling then muddy the waters nicely during a very effective sequence involving a plot to spike the punch at

Delpy and Hawke co-wrote their script with Linklater.

A miscalculation during the end credits, when some conventional uplift is offered, doesn’t dissipate the somber mood. Like Marling’s previous work, The East is not fully realized—but it is fully engaged. ROBERT HORTON

Hey Bartender RUNS FRI., JUNE 14–THURS., JUNE 20 AT NORTHWEST FILM FORUM. NOT RATED. 92 MINUTES.

Early in Douglas Tirola’s documentary about the resurgence of craft cocktails, apprentice bartender Steve Schneider describes his planned vocation. Take one part mixologist, one part sage, one part rock star . . . and stir. Tirola has a diverse documentary resume, and he does a decent job of outlining the history of the bartender—from Prohibition to the present—and the genus of the

OPENS FRI., JUNE 14 AT PACIFIC PLACE, SUNDANCE CINEMAS, AND LINCOLN SQUARE. RATED PG-13. 116 MINUTES.

It’s almost too tempting to compare Greta Gerwig and Brit Marling, indie-bred actresses who also occasionally write their own movies. Both are smart, pretty, and rising fast. But where Gerwig, the star of Frances Ha, can tap a loosey-goosey and expertly comic side, Marling is serious enough to be unnerving. And thus far, this eerily focused actress has chosen exceptionally somber material. She co-wrote and starred in Another Earth and Sound of My Voice. Those films are unusual numbers, thoughtful and ambitious if not completely realized, and Marling’s enigmatic performances are part of their effect. Marling teams once more with Sound of My Voice director Zal Batmanglij for The East, another

ROBERT STONE

PThe East

a pharmaceutical company’s shindig. The added elixir in question is the corporation’s own medicine, which might have unacknowledged and permanently disabling side effects. The East never gets better than this suspenseful and queasy section, and it stalls occasionally while navigating some third-act issues. (Page’s character leads a jam aimed at her own fat-cat father.) Along with Marling’s even-tempered performance, Patricia Clarkson adds frost as Sarah’s boss, and her resemblance to Marling is a mirror for the younger woman’s choice: Develop a conscience or become me someday.

Brazil needs power, too. Will it come from nukes?

cocktail through interviews with various experts in the field. This material can be somewhat dense and repetitive to newbies, but Tirola also serves the more general gin-and-tonic audience with some simple barroom drama. He does this by following two bartenders in training. The first is Schneider, an ex-Marine with a handlebar mustache and an incredible scar haloing his face. He works at New York’s celebrated

cocktail bar Employees Only. The second is Steve Carpentieri, a former banker who bought Dunville’s, a weathered watering hole in Westport, Connecticut. The two men’s lives are different in most every way, except that their destinies are both aligned with drink. Carpentieri initially seems the spiritual center of the film, the camera returning to his beat-up little bar whenever the flashy world of Manhattan cocktail connoisseurs gets to be a bit much. It’s not. As Hey Bartender moves along, it becomes clear that high-end cocktail bars are thriving and Dunville’s is suffering. (Carpentieri glumly observes that when he types “Dunville’s” into his phone, it auto-corrects to “Downfall.”) In an attempt to save his failing bar, he attends Tales of the Cocktail in New Orleans, the industry’s largest annual gathering, where he meets the bigwigs Tirola has been interviewing. They offer bromides. He buys a fedora. “Hopefully this will give me the clarity I need,” says Carpentieri, noting that many of the bartenders wear them. You hope he’s joking, but he doesn’t look like he is. Though a bit humiliating, it’s a very human portrait. Schneider, on the other hand, is in the thick of it, entering the event’s fastest-bartender challenge, his future seemingly assured. The stakes feel lower than for poor Carpentieri, yet Tirola gives Schneider equal weight in Hey Bartender, which leaves something of a bad aftertaste. (Note: Opening night will feature cocktail demos and a happy hour.) MARK BAUMGARTEN

Pandora’s Promise OPENS FRI., JUNE 14 AT HARVARD EXIT. RATED PG-13. 87 MINUTES.

My ears prick up whenever I hear how Bill Gates and Paul Allen are spending their money. Putatively a documentary about the resurgence of nuclear power, Pandora’s Promise is actually an infomercial for a business still stigmatized by Three Mile Island, Chernobyl, Fukushima, and our fears of all things atomic. A parade of sympathetic scientists and former anti-nuke activists offer their well-rehearsed arguments for a nuclear revival. We can replace coal, they say. New reactors are cleaner and safer. The waste problem has been exaggerated. No one’s ever died from a nuclear accident. Global warming, Chinese demand, etc. All the juice for our iPhones and cloud apps—powered by distant, hungry servers—has to come from somewhere, they say. This is all true to a point, but that point is given absolutely no reasonable rebuttal in Pandora’s Promise, which was produced by CNN and Paul Allen’s Vulcan Productions. (Robert Stone is the director-for-hire.) If you think back to the height of the no-nukes ’80s, immediately following Three Mile Island, you may recall Dr. Helen Caldicott, a passionate opponent of nuclear weapons and power. She’s the straw-woman in Pandora’s Promise, making extreme claims about one million radiation deaths. Stone unfairly captures her in a shrill backstage moment, ranting about a government cover-up, but she’s also 75 years old, not the best person to be presenting the anti-nuke argument today. But the doc’s bigger flaw is that no one is allowed to make a reasoned anti-nuclear argument. To the well-made film’s many statistics, graphics, and common-sense assertions, the lack of a rebuttal is deafening. Some cheesy old archival footage reminds us how GE and other

SEATTLE WEEKLY • JU NE 12 — 18, 2013

Talk, talk, talk. Your tolerance or enthusiasm for the third chapter of Celine and Jesse’s intermittent romance will depend on your feelings about Richard Linklater’s last two talkathons featuring the same duo: 1995’s Before Sunrise and 2004’s Before Sunset. That’s really all the guidance you need: If you cherish the first two movies, as I do, the third installment feels necessary—a midlife tonic for all those foolish old romantic yearnings, a trilogy driven by fallible, relatable characters rather than franchise economics. The movie’s been out for weeks in New York, and Before-ophiles already know that Celine ( Julie Delpy) and Jesse (Ethan Hawke) are now a couple and the parents of adorable twin girls. On vacation in Greece, the Paris-based family has just said good-bye to Jesse’s teen son from the marriage he abandoned. Hawke, an imperfect parent himself, is uncharacteristically quiet and stricken as the visiting boy flies home to the U.S. Could he and Celine follow, move back to the States so that Jesse might undo some of the damage he’s caused? He’s a novelist, prone to fanciful talk of loops in time, but she’s got a career back in Paris, and she naturally takes his suggestion as an affront. From the first 10-minute take in the car ride back from the airport, kids snoozing in the rear seats, Before Midnight becomes their on-again/off-again argument about who has to sacrifice what for a relationship, what sexual spark keeps it burning, and how shared romantic history becomes both a burden and a bond. Linklater pointedly plants his duo in a long, leisurely dinner scene with other couples of varying ages; there we see budding romance and hear from an old widower. There’s constant talk of time and how love evolves, how to balance the ideal mate with the practical companion. Celine disparages herself as “a fat-assed, middle-aged mom” and frets that Jesse doesn’t see her with the same old lust. Jesse prefers the abstract to the earthy; yet he seems aware how, without the kids and Celine, he’d be lost in the ether. She puts a stop to Jesse’s platitudes during the film’s long final hotel-room confrontation, telling him “Let’s stop talking so we can fuck.” But the truth is that you need both to make a relationship work, and the proper balance keeps changing with the years. BRIAN MILLER

DESPINA SPYROU/SONY PICTURES CLASSICS

OPENS FRI., JUNE 14 AT ARK LODGE, EGYPTIAN, SUNDANCE CINEMAS, AND KIRKLAND PARKPLACE. RATED R. 108 MINUTES.

» CONTINUED ON PAGE 24 23

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film» » FROM PAGE 23 companies once hoped to profit from nuclear power. But you have to study the credits and press notes to see how Pandora’s Promise is similarly invested in its subject. Gates, Allen, Nathan Myhrvold, and others are backers of Bellevuebased TerraPower, which seeks to make fourthgeneration “traveling wave” reactors that are supposedly cleaner, safer, and more efficient than the kind that gave our state the costly Hanford and WPPSS debacles. Maybe they are—I have no idea, because I’m not a physicist, and because I’m only getting one side of the argument here. And when I hear Pulitzer-winning author Richard Rhodes (The Making of the Atomic Bomb) say that “to be anti-nuclear is fundamentally to be in favor of burning fossil fuels,” it sounds perfectly sensible. And that’s the problem with Pandora’s Promise: Though many of its claims may be truthful, the film is dishonest to its core. BRIAN MILLER

Pieta RUNS FRI., JUNE 14–THURS., JUNE 20 AT GRAND ILLUSION. NOT RATED. 104 MINUTES.

Do not borrow money from this man’s boss. Kang-do (Lee Jung-jin) is the merciless collector and enforcer for a Seoul loan shark. Their Sony Pictures Classics and Costa Navarino invite you to enter the “Great Greek Giveaway.” Grand Prize includes a trip for 2 to Costa Navarino in Greece where the film was shot. To enter and to view complete rules, visit www.beforemidnightmovie.com. operation and clients are far removed from that NO PURCHASE NECESSARY TO ENTER OR WIN. “The Before Midnight Great Greek Giveaway” (“Sweepstakes”) starts at 12:00 midnight ET on 5/19/13 and ends at 12:00 midnight ET on 7/26/13 for email entry and on 7/27/13 for postmarking mail entry. Sweepstakes open only to legal residents of contiguous Continental U.S. (“Eligibility city’s glittering high-rise core. Borrowers work Area”) 21 and older. Subject to complete Official Rules available at www.beforemidnightmovie.com. Void outside Eligibility Area and where prohibited or restricted by law. Sponsors: Sony Pictures Classics Inc., 10202 West Washington Blvd., Culver City, CA 90232 and TEMES S.A. - Costa Navarino, 5 Pentelis S., 17564, Athens, Greece. in dingy one-man machinery shops fronted by VIEW THE TRAILER AT WWW.BEFOREMIDNIGHTMOVIE.COM steel shutters. They take orders for small, odd-job manufacturing runs by cell phone, then work 4.81" X 3.5" WED 06/12 all night with lathes and metal-stamping tools. SEATTLE WEEKLY It’s easy enough to lose a finger or hand in the “ DUE MON 6PM grinding machinery, working past exhaustion to meet deadline. And if they don’t deliver in time, ” they’re further in debt. That’s when the Kang-do . AE: (circle one:) Artist: (circle one:) ART APPROVEDreceives his orders by cell phone. That’s when the real mangling begins. Angela Maria Josh Heather Staci Freelance 2 AE APPROVED Director Kim Ki-duk (Breath, 3-Iron, Bad Tim McCool Emmett Steve Philip CLIENT APPROVEDGuy) likes to shock his audience—often with “ , the hammer blow of a Big Reveal, as opposed ” Deadline: to a literal hammer blow (the signature of his Confirmation #: . countryman Park Chan-wook). Most of the violence Kang-do doles out is implied, a simple matter of film editing: shot of forearm, shot of whirring drill press, exterior shot of storefront plus the overlaid audio of a bloodcurdling scream. Kang-do’s specialty is brutality, while BRIT MARLING ALEXANDER SKARSGÅRD Kim’s specialty is karmic comeuppance. If ELLEN PAGE AND PATRICIA CLARKSON Kang-do is a solitary sociopath, incapable of pity, Kim will inflict the torture of sentience upon him: To suffer, first he must feel. To that end, a mysterious woman (Cho Minsoo) abruptly enters Kang-do’s life. Mi-son claims she’s the mother who gave him up for adoption as a teenager. “Please forgive me!” she wails. Kang-do doesn’t believe her, humiliates SEATTLE_EAS_0613 her (in a particularly ugly scene), then grudgingly begins to tolerate her, to trust her. It’s as if he’s taken out a loan—and then, in Kim’s tidy moral parallel, he will be made to pay the tenfold interest. Ordinary deadbeats’ debts can be BELLEVUE SEATTLE SEATTLE settled with insurance money: Kang-do calmly Lincoln Square Cinemas 16 & IMAX AMC Pacific Place 11 Sundance Seattle Cinemas orders them to step out a window, and if their (425) 454-7400 (888) AMC-4FUN (206) 633-0059 legs aren’t sufficiently broken by the fall, a few stomps will complete the job. (In a scene that’s both comic and appalling, Mi-son accompanies Kang-do on his rounds, applying her boot heels to the same grim task.) WeAreTheEast.com In art history, a pietà refers to Michelangelo’s, or any artist’s, depiction of Mary cradling her BELLEVUE Lincoln SEATTLE SEATTLE EXCLUSIVE ENGAGEMENTS Square Cinemas 16 & IMAX AMC Pacific Place 11 Sundance Seattle Cinemas dead son Jesus; and Kim includes a cross or (425) 454-7400 (888) AMC-4FUN (206) 633-0059 two in the skyline of Seoul. However, his Pieta 24 START FRIDAY, JUNE 14 KENT STATION 14 426 Ramsay Way (888) AMC-4FUN

★★★★

A GREAT CONSPIRACY THRILLER

SEATTLE WEEKLY • JUNE 12 — 18, 2013

A TWISTY BREATHLESS GENRE FILM

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is a considerably more overwrought parable of sin, guilt, suffering, and sacrifice. It’s elegant in outline, but in execution a soap opera of revenge and oedipal attachment. Michelangelo worked in marble, Kim works in viscera. Pieta gets its shocks and astonished snorts, but it achieves nothing lasting. BRIAN MILLER

Sightseers OPENS FRI., JUNE 14 AT VARSITY. NOT RATED. 89 MINUTES.

A geeky devotion to roadside attractions might directly correspond to an impulse to murder—or so it is suggested in Sightseers, a British black comedy with a gory backbeat. Come for the Tramway Village in Crich or the Pencil Museum in Keswick, stay for the head-bashing. The tourists are Chris (Steve Oram) and Tina (Alice Lowe), who’ve been dating a few weeks. Chris is the roadside enthusiast, a big red-bearded lunk who likes to drive his caravan to remote areas of the Midlands. To take their first road trip together, Alice must part from her nasty mother, a cranky lady who still blames her daughter for the accidental death of the family dog. Death, accidental and otherwise, will follow the happy couple as they travel. Though apparently amiable, Chris has some very strict ideas about acceptable behavior—he is English, after all. Rudeness, littering, or acting above one’s station will set him off in ways that rapidly become homicidal. Tina is herself not entirely balanced. In fact, the two appear meant for each other; one of the film’s most amusing strokes is the suggestion that despite their antisocial tendencies, these two lunatics might actually be in love. Their quietly crackpot interaction is easily the best part of Sightseers, and can be chalked up to a longstanding personal and professional partnership between Oram and Lowe—stand-up comedians who developed their script onstage. Director Ben Wheatley, who’s made a name for himself in recent years with edgy fare (Down Terrace, Kill List), does not make any of this cute. (Well, maybe except for the giant pencil on sale at the Keswick gift shop.) When the murders happen, blood erupts and skulls cave in—this is satire carved with a cleaver. Is it anything new? Not really. Though more explicit here, the dark humor is in line with a brand of British comedy that stretches back to Kind Hearts and Coronets. Two things give Sightseers a leg up: The location shooting is a canny counterpoint to the violence, so that a visit to a stone circle—a place of probable ritual sacrifice—somehow makes perfect sense as a spot for a new murder. And the comic delivery of Oram and Lowe is spot-on. Nobody self-satirizes like the English, and in these two clueless travelers, we have a merciless portrait of centuries of civilization gone wrong. ROBERT HORTON

This Is the End OPENS WED., JUNE 12 AT VARSITY AND OTHER THEATERS. RATED R. 106 MINUTES.

This apocalypse comedy’s very first musical cue—KRS-One’s remix of a certain 1981 hit by Blondie—succinctly predicts its central plot gimmick, which I’ll try not to spoil for you. In a film where the cast members are all playing showbiz caricatures of themselves, some more exaggerated than others, Jay Baruchel is the first to guess what’s happening when he and Seth Rogen sneak

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We Steal Secrets: The Story of WikiLeaks OPENS FRI., JUNE 14 AT SIFF CINEMA UPTOWN. RATED R. 130 MINUTES.

Alex Gibney is the documentary filmmaker whose politically charged exposés include Enron: The Smartest Guys in the Room and

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the Oscar-winning Taxi to the Dark Side. It makes sense that he would clamber onto the spicy tale of Julian Assange, the white-haired super-hacker whose WikiLeaks enterprise has brought down the wrath of governments and corporations. Gibney should be a good match with the subject. But We Steal Secrets, while containing no shortage of fascinating material, is less than satisfying. Gibney begins with background on Assange and WikiLeaks, building to the 2010 disclosure of a video of the U.S. military killing people revealed to be non-combatants in Baghdad. That was followed by the cascade of classified documents leaked by Assange and simultaneously published in The New York Times. Although the film stops to discuss this material, and allows for talking heads to comment on it, the focus shifts to personalities. One is Assange, whose image gradually evolves from glamorous-if-nerdy whistleblower to paranoid egotist. Assange has inspired much hero worship among his admirers, so let me add that yes, he has plenty of reason to be paranoid, and probably almost as much reason to be an egotist. We Steal Secrets covers the charges of sexual impropriety made against Assange by two Swedish women, and—though Assange’s backers dispute this—appears to lay out an even-handed case. That legal thicket is part of the reason Assange has spent over a year inside Ecuador’s embassy in London, awaiting exile, extradition, or arrest. The other personality is Bradley Manning, the U.S. soldier whose access to thousands of classified items allegedly led him to spill this great cache to Assange and company. You can almost feel Gibney’s attention gravitating to Manning’s curious profile: a troubled gay Oklahoma kid, too sensitive to belong in the military, overwhelmed by loneliness while stationed in Iraq. (Disastrously, he confides in a cyber-buddy about his leak to Assange.) Neither Manning nor Assange is interviewed, so we have to glean what we can from prior interviews and statements. A bigger problem: While the film’s release is timely (Manning’s trial began last week, and the NSA leak gives a new life to the subject), there’s a lingering sense that We Steal Secrets arrives while its story is in midstream. There’s too much hanging in the balance for this movie to feel definitive. ROBERT HORTON E

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out of James Franco’s house party to get some smokes at a convenience store. There, all hell breaks loose in what appears to be a combined earthquake/firestorm/looting spree. The two terrified Canadian actors run back to Franco’s house where, in the movie’s best gag, all the revelers keep on partying like nothing’s happened outside. This is Hollywood, after all, a place that the visiting Jay claims to despise. His buddy Seth has become a big star since Knocked Up, creating some resentments and envy they take with them to the party—even after a marathon afternoon of dope-smoking and Xbox-playing. To take this morality tale completely out of order, Jay’s most damning complaint about Seth is “You’ve changed.” This is apparent from Seth’s nice house and Franco’s even grander house, which is packed with art—naturally including a giant penis—and other tokens of his A-list success. Jay’s the insecure fish out of water, intimidated by the other celebs. These include a glad-handing Jonah Hill, an obnoxious Danny McBride, and a sweetly loyal Craig Robinson. In smaller roles are a coked-up Michael Cera, a lusty Mindy Kaling (“He probably has a huge cock,” she says while pursuing Cera), Rihanna, Christopher Mintz-Plasse (aka McLovin in Superbad), Emma Watson (cast against type), and too many others to name. But the party must end, leaving a half-dozen stragglers at Franco’s pad. There follows the expected dick jokes, fart jokes, masturbation jokes, “rapey vibe” jokes, fights over food, and strains among the friendship of this all-male crew. How will these celeb-bros respond to a time of crisis? Will they grow up a little? Not that this is a Judd Apatow movie—Rogen and his writing partner Evan Goldberg co-directed the film, which eventually adds computer effects to the frat-house atmosphere. Fitfully funny, This Is the End riffs back through two favorite film genres (one being the all-star disaster movie); it’s part spoof, partly serious. The laughs are rooted in contempt—if not quite self-contempt—for Hollywood phoniness and disloyalty. In that venal town, says Robinson of their dwindling little circle of friends, “Those assholes are all we’ve got.” It’s probably the only paraphrase of Matthew 7:12 you’ll hear in a movie this summer, and he’s not kidding. BRIAN MILLER

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Can I Help You?

Seattle’s restaurant industry has grown exponentially in recent years. Its workforce isn’t keeping up. BY ZACH GEBALLE

EVAN HUGHES

keep talented and valuable employees happy. Joe Fugere, founder of Tutta Bella Pizza, describes it thus: “On average, turnover has been reduced in the past five years, but I attribute this more to our leadership strength than anything related to the job market.” That said, Fugere credits employee retention to “offering benefits like free meals, paid time off, health insurance, and an annual culturalimmersion trip to Italy for staff.” Even with attempts to keep turnover down, Fillingim confirms what’s become an open secret in the restaurant industry: Service standards in Seattle are inconsistent at best. “I’ve noticed the level and quality of service declining, especially in the busier and trendier restaurants—not because they are busy, but because they know they will still be busy with or without your patronage.” The sort of rigorous on-the-job training that might have taken place a decade or so ago has fallen by the wayside in the rush to fill a seemingly endless void of service jobs. Names and job titles on resumes no longer carry the weight they used to; instead of a crush of experience-laden resumes, a restaurant looking to hire often gets inundated with neophytes—and quite possibly someone they’ve already fired. As one restaurant owner recently told me, “We used to get to pick and choose who we hired. Now we’re just looking for someone who can fill the gaps in our schedule.”

says. “Students are taking jobs in their third quarter, when they feel hireable.” The increased demand for cooks, even those who might not have completed culinary school, is one cause, but, Chauncey adds, “The reputation of the program affords students great hireability.”

hile culinary schools continue to train prospective cooks, no such formal education exists for the dishwashers, servers, bartenders, bussers, hosts, and assorted others who staff the hundreds of restaurants in Seattle. As a result, training occurs on the job. Everything is learned on the clock: how to clear a table, the proper way to speak with a guest about a reservation, how to communicate your proximity to another cook who has a sharp knife in one hand and a hot pan in the other. It used to be that a restaurant would invest 2:17 PM time and effort into training a relatively inex-

“We used to get to pick and choose who we hired. Now we’re just looking for someone who can fill the gaps in our schedule.” perienced employee, and would then be able to promote that worker over time—from prep cook to line cook to sous chef, or from busser to server to bartender. Of course there’s always been movement and attrition, but the pace was generally slow enough to allow restaurants, especially the more prestigious ones, to be discerning and diligent in hiring and promoting. To retain staff in an expanding industry, some restaurants recently have had to go a bit further to

ll this turnover and expansion affects the diner’s experience as well. While of course poor service and mediocre food were part of the Seattle restaurant scene long before the current growth spurt, it’s not hard to see that the influx of thousands of relatively untrained workers can lead to some less-than-stellar experiences: tables ignored, food over- or undercooked, poorly made cocktails, and, worst of all, people who have no place working in a restaurant. Quality cooking and service requires a certain mind-set: a willingness to dive into the fray of a busy Saturday night; the ability to put a guest’s priorities first; an interest in working strange days and late hours, often for a relatively modest income. The Seattle restaurant industry is rapidly learning that while there might be an ever-growing interest in new dining experiences, there’s a finite pool of people who fit the bill to facilitate them. E

CMY

SEATTLE WEEKLY • JU NE 12 — 18, 2013

t’s a now-familiar sight in Seattle—a new restaurant opening. Often it’s accompanied by excitement, anticipation, and hordes of eager diners ready to talk, Instagram, and Yelp all about it. Diners and restaurateurs alike debate what the new place will mean for Seattle’s food scene: Will it offer something new? Will it cut into our business? But another question is rarely asked outside kitchens and back offices, almost never mentioned in fawning and damning press alike: Whom are we going to lose? As Seattle’s food scene has grown, so has the demand for staff. According to the Bureau of Labor, the Seattle/Tacoma/Bellevue area has added more than 24,000 leisure and hospitality jobs in the past decade, 10,000 of those in the past three years. The restaurant labor pool is understandably hard to quantify. It includes many part-time workers, students, people who hold down multiple jobs, and everyone else at the fringes of the industry. Workers make their way into the industry from every conceivable background: In my time waiting tables and bartending, I’ve worked with high-school dropouts and at least one server with a Ph.D. Yet waiting tables, tending bar, or cooking for a living is not something that just anyone can do. Granted, it’s not rocket science, but it does require certain physical and mental skills: quick and efficient movement, grace and dexterity, the ability to stand on one’s feet for many hours at a time and remember myriad complex orders, cooking times, and drink recipes. It takes time to learn those skills, yet the growing demand for restaurant labor means that fewer and fewer actually have them. “I have noticed the change of labor attitudes and work ethics over the past few years,” says Sharon Fillingim, owner of Queen Anne’s Grub. “I would have to say 97 percent of my stress level is to find trustworthy, reliable, and dedicated staff.” “Back of the house is definitely a big challenge,” she adds. “With all the new restaurants opening up, there are more chances to jump ship. There are not a lot of restaurant workers, both front and back of the house, that are willing to work as hard as years before.” The demand for labor is perceptible throughout the industry. Linda Chauncey, associate dean at the Seattle Culinary Academy, has certainly seen a difference. “Enrollment has been really great for the last two years, but we’ve seen softBOD_WKLY_Gin_6-4-13.pdf 1 6/4/13 ening in enrollment the last two quarters,” she

food@seattleweekly.com

Zach Geballe is a bartender and server at Dahlia Lounge. He has worked in the industry for a decade as a busser, server, and bartender.

food&drink»Recipes

Summer Splash

Four seasonal cocktails meant to enjoy in your home bar—or backyard. BY ZACH GEBALLE

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lanning for summer in Seattle can sometimes feel like an act of faith, yet I’m taking the plunge and writing about a few summer cocktails that, with a bit of meteorological luck, we can all enjoy in the upcoming months. Each recipe is designed to produce one drink—usually about three ounces—but for a barbecue or cocktail party I encourage you to make a larger batch ahead of time, and then stir or shake each drink to order. A few keys when it comes to summery cocktails: First off, spirits matter. While of course any base spirit can be enjoyable at any time, I personally prefer to save my scotch for winter. Summer is a time to enjoy bright, fresh flavors, fruits, and maybe even a bit of spice, which to me means mostly gin, tequila, and rum. Second, fresh fruit is hard to predict, as flavors can vary from berry to berry. That’s the main reason I prefer to purée and strain fruits before mixing them into a cocktail: It achieves a more consistent product. Also, a few words on shaking cocktails: The longer you shake, the more you dilute the drink. Five to 10 seconds should be plenty to cool the drink properly, and if you want to serve the drink “up” (in a martini glass), make sure you strain it to ensure that no ice ends up in the glass. And one other note: Quantities matter. Some ingredients are potent, strongly flavored, sweet, or possess other qualities that in the wrong balance can wreck a drink. Any halfdecent home bar has at least one jigger, either a classic two-sided metal one or a more modern graduated plastic model. Cherry Old Fashioned Washington’s cherry season is about to start, making this a perfect time to try this drink. I like to use Bing cherries for their color, but Rainiers will taste great as well. I simply pit the cherries and purée them briefly, then store the purée in a squeeze bottle in the fridge, where it lasts for two weeks or so. If your cherries are a bit tart, you can add a small amount of sugar. In a pint glass, combine one section of orange peel (just use a vegetable peeler to

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take a one-inch wide section), three dashes of Angostura bitters, and a half-ounce of cherry purée. Gently press the peel with a muddler, then add two ounces of whiskey. I prefer Woodinville Whiskey’s Rye for this drink, as the spicy notes go great with the sweetness of the cherries. Add ice and stir for 20 seconds. Strain into a smaller glass with fresh ice, and garnish with a pitted cherry. Trade Wind One of my absolute favorites, it includes a couple of exotic ingredients—plum brandy and/or plum bitters—but it’s worth the investment, as it’s a spectacular drink when made right. Add one ounce of gold rum, one ounce of spiced rum, a half-ounce of lime juice, a half-ounce of plum brandy, and three dashes of plum bitters to a mixing glass. Stir over ice, strain, and serve garnished with a slice of fresh plum. Aviation

Again, there are some unusual ingredients here, but they combine into an ethereal drink that’s hard to deny. I start with two ounces of Woodinville’s Voyager gin, a half-ounce of lemon juice, and Trade Wind a quarter-ounce each of creme de violette and maraschino liqueur. Add ice and shake briskly for 10 seconds, then strain into a martini glass. Garnish with a lemon twist. Rosé sangria While red and white wines are often used for sangria, I actually prefer rosés, which have enough body to stand up to richer fruits without being too heavy. The choice of fruits matters: Stick with berries (especially strawberries and raspberries) and stone fruits (I love white peaches), as a good rosé should have plenty of acidity. You can throw in some grapefruit or oranges if you like, but I limit my citrus. As for which rosé to use, I prefer ones made from Rhone varietals, like the 2012 Renegade from Sleight of Hand. For each six ounces of wine, I like to add an ounce of decent (not super-cheap, not expensive) French brandy, like Jacques Cardin. Sangria is great, because you can make it ahead of time and store it in the fridge. Proportions don’t really matter, and on a sunny summer day in the backyard or on the porch, nothing’s better. E

food@seattleweekly.com

FRESH FRESH coppER RivER Salmon

SeattleFoodNewS Tinello in Pioneer Square; Stowell at Bat » by Sara billupS OPENING

In addition to Mike Easton’s Il Corvo, Russell Flint’s Rain Shadow Meats Squared, and Matt Dillon’s Bar Sajor, Tinello is now open in Pioneer Square. The Italian spot quietly launched during last week’s First Thursday Art Walk, and will operate in soft-opening mode with a limited summer menu for the next couple of weeks. For now, the pasta and small-plate spot at 314 Second Ave. is open Monday–Friday from 11 a.m.–7 p.m. Check Facebook for updates. Here’s a sign summer is upon us: Food Truck Fridays returned to Two Beers Brewing last week. “There’s no doubt that the combination of delicious local food, great local beer, and a sunfilled patio makes for the perfect end to the work week,” Two Beers founder and head brewer

the year’s best campfire-prepared stew, biscuit, or fruit pie, there will be a butter-churning, -paddling, and -molding demo from a churn dating back to the 1840s. The event lasts from 11 a.m.–5 p.m. at Point Defiance Park in Tacoma.

COURTESY OF TWO BEERS BREWING

HAPPENING

On Saturday, June 15, KPLU Food for Thought co-host Dick Stein will pick the winner of the 2013 What’s Cooking? competition at the Fort Nisqually Living History Museum. In addition to presenting the coveted “Golden Skillet” award to

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In other news, several Seattle-area restaurants are offering special Father’s Day brunches this Sunday. Tilth (1411 N. 45th St. in Wallingford) is presenting a three-course menu featuring Skagit River Ranch pork-belly hash for $25. Allveg Cafe Flora (2901 E. Madison St. in Madison Valley) is whipping up morel-mushroom eggs Benedict and mixing a mean Bloody Mary. And downtown’s Urbane (1639 Eighth Ave.) is serving bacon waffles with bourbon-butter glaze, topped with vanilla ice cream. To avoid a wait, you’d be wise to make reservations for any of these pronto. Stumbling Goat Bistro on Phinney Ridge is hosting a fundraising dinner this Monday, June 17, in support of Yes on 522, the initiative to label genetically engineered foods. Cocktails start at 6 p.m., with dinner—Neah Bay salmon, housemade gnocchi, and Beefalo Ranch tartare— to follow at 6:30. Tickets for the event (at 6722 Greenwood Ave. N.) are $175 a head and can be purchased online. E food@seattleweekly.com

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SEATTLE WEEKLY • JU NE 12 — 18, 2013

Before you could play bocce at Von Trapp’s, you could play pool at The Garage. The 2,000-square-foot eatery, bowling alley, and billiards hall at 1130 Broadway is opening a remodeled patio with an open-air bar by June 20. While the original outdoor area was designed to buffer street noise when the bar opened back in 1996, “Many aspects of the Pike/Pine corridor have changed much in the last 20 years, so the patio has been restructured to invite people to enjoy and embrace those changes,” managing partner Mike Bitondo says. New chef Garrett Brown is rolling out a locally focused menu today, featuring housemade sausages, pickled condiments, and cured meats.

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Also on Saturday at 3 p.m., lauded local chef Ethan Stowell will team up with Pearl Jam bassist Jeff Ament, Seahawks wide receiver Golden Tate, and other celebs at the All-Star Softball Classic for Homeless Youth at Safeco Field. Stowell and crew are playing a team that includes author Sherman Alexie and NBA all-star Detlef Schrempf. $10 tickets for the United Way of King County fundraiser are up for grabs online or on game day at Safeco.

Bastyr University’s next Slow Food Sunday dinner is this weekend at the Kirkland Women’s Club at 407 First St. Cyprus native Maro Lipsou will use loads of veggies sourced from area farms to prepare dishes influenced by Greece and Turkey. The meal costs $12 for adults or $8 for students, and is BYOB. Bastyr hosts Slow Food Sunday meals at Food Truck Friday 2 p.m. on the third at Two Beers Brewing. Sunday of every other month.

Joel VandenBrink says. Maximus/Minimus got the season rolling. When patrons purchase food from the truck, they get their first pint of yearround Two Beers brew for $3. Up next: Nature Box Sushi on June 14 and Seattle Biscuit Company on June 21.

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SEATTLE WEEKLY • JUNE 12 — 18, 2013

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Reverb»Profiles

The XX Factor

A too-short sampling of the many women who make the Seattle music industry go. BY MA’CHELL DUMA LAVASSAR

his weekend the Experience Music Project will celebrate the history of women in popular music with “Women Who Rock: Vision, Passion, Power.” The exhibit, which opens with a kick-off concert on Friday, June 14, traces the role of women in rock ’n’ roll (broadly defined), from the lowly juke joints in the mid-20th century to the continent-hopping arena tours of the early 21st. We thought this was a good moment to further narrow that focus and highlight the women currently rocking Seattle’s music scene. Just how big a struggle it was to narrow it down is a testament to that scene. Here are 10 of our favorites (with another 40 available online at seattleweekly.com). Women in Seattle do it all—and as you’ll see, some do it all at once. This is a mere fraction of the smart, talented individuals—who just happen to be female—working to keep us on the musical map. Cheers, ladies. We salute you. ALICIA AMIRI, booking and marketing assistant at the Crocodile; member of Nightmare Fortress How long have you lived in Seattle? I was born and raised in the Seattle area and went to college in Bellingham. Music-business bio: I began as a volunteer at the Vera Project, Hollow Earth Radio, and Neumos, which led to a part-time job at Neumos that turned into the full-time marketing manager position, which I did for three years. I’ve worked on the Capitol Hill Block Party and on many other events and shows all over town. I’ve been at the Crocodile now for a year and a half, and assist in booking in addition to marketing. I also play in bands, so I do much of the bookings, advancing, and marketing for my own musical projects.

What’s the most sexist thing someone in the music business has said to you? Women in

LEIGH BEZEZEKOFF, artist manager for the Maldives and Jason Dodson How long in Seattle? Since I was 4! Music-business bio: I got my start volunteering for KEXP as a DJ assistant to Afternoon Show host Kevin Cole. I was cajoled into becoming a band manager (Maldives, Brent Amaker and the Rodeo, Hazlewood Motel), and have not slept since. I’ve spent countless hours counseling frazzled musicians, putting out fires for bookers, and getting, and giving, sweaty hugs. Most sexist thing? “Hello Sir!” (via e-mail) ROBYNNE A. HAWTHORNE, director of events at the Underwood Stables Members Only Social Club How long in Seattle? I came to Seattle when I

Sharlese Metcalf

Robynne A. Hawthorne

verdale, Wash., and have lived in Seattle since 1992. Music-business bio: In the mid-’90s, I began work in concert promotion locally with smaller national acts. In ’02 I began working for Sportn’ Life Records, and learned how indie record labels function. I stay busy working on things like the EMP SoundOff ! Competition, SxSeattle, and as an advisory-board member of the Recording Academy’s Pacific Northwest chapter. Most sexist thing? “Hey, Shorty, come here, let me holla at you” or “Hey, Shorty, go get me a drink.” If I had a nickel for every time I have been mistaken for a groupie and inappropriately hit on, told to go get something, or left out of a conversation because those around me assumed I couldn’t be the one in charge, I would be a multimillionaire. The confusion in their faces once they figured out I am the exact opposite is priceless. MICHELE SCOLERI, senior policy adviser

for Mayor Mike McGinn

How long in Seattle? Originally a Jersey

Alicia Amir

was 16 years old, so that makes it 24 years.

Music-business bio: From 1998 to 2001, I ran

a cafe/cabaret/bar in the U District called the Pearl. Today I run a private music venue in Fremont of a similar ilk. Without the usual annoying public presence, we have the opportunity to keep an old-Seattle small-town feel alive. Most sexist thing? I haven’t had to succumb to particular gender roles in my experience. In part, I think it’s because I have always created the environment that I work in, and that has led to a more positive surrounding with similar-minded cohorts. The venue I have now is in a way a Ladies and Gentlemen’s club. I think in that, sexism is being replaced with an almost lost, courtly nature. I encourage that. SHARLESE METCALF, host and producer

of Audioasis on KEXP

How long in Seattle? I’m from West Seattle! 34

years . . . 35 in July!

Music-business bio: I began at Green River Community College in 2001 hosting the show Local Motion on KGRG for four years. After Green River, I was offered a job at Jones Radio Networks. I worked on classic-country and top40 shows as a production assistant. While at Jones Radio, John Richards offered me an internship at KEXP. Currently I’m host and producer of Audioasis.

Sarah Moody

Most sexist thing? “Did you book them because you think they’re cute?” SARAH MOODY, general manager of Hardly Art; president of End of Time Records How long in Seattle? Eight years. Music-business bio: I started with a radio show on KRLX and eventually became a member of the board, in addition to working sound and then handling all booking at the local college venue in Northfield, Minn. I also briefly wrote news stories for Tiny Mix Tapes and music/zine reviews for Punk Planet (R.I.P.). I interned in the publicity department at Sub Pop, which happily morphed into a part-time, then full-time, job. When Sub Pop started Hardly Art in 2007, I helped to set up and run the new label. Most sexist thing? On one of my first trips to New York, for CMJ, I was asked, “Oh, is your boyfriend’s band playing?” Once I explained that that wasn’t the case, the guy gave me his demo. A year or two later—also in N.Y.—I was told by a promoter on a coke binge that prior to meeting me he thought I was going to be a 40 year-old lesbian, based on my e-mail tone. I took that one as a compliment. JENNIFER PETERSEN, vice president of business and artist development at Sportn’ Life Records; co-founder of Café Society; admin extraordinaire at KEXP

girl, I moved to Seattle in 2000 from New York City. Music-business bio: My first paid musicrelated job was at the Middle East club in Cambridge, Mass. I would do the door, floor-manage—whatever needed to be done. After college I moved to N.Y.C. and worked as a booking agent for a company that represented U2, Bruce Springsteen, and Van Halen, but also great female artists like the Pretenders and Sinead O’Connor. I booked Patti Smith’s first show after her long hiatus, and the last Ramones show. I moved to Seattle in 2000 to book talent for Summer Nights at the Pier and Bumbershoot, and wound up producing the events as both the executive director and artistic director. I love my current role with the city—it gives me the opportunity to serve all the communities I care about, including music, arts, and nightlife, and to work for a mayor who shares my feminist and cultural values. Most sexist thing? There are so many to choose from, but I will keep it clean and go with “You got that promotion because you are a woman.” ABBEY SIMMONS, writer; co-founder of Sound on the Sound; artist manager How long in Seattle? I was born and raised in Seattle. Music-business bio: I never dreamed of or planned on making my love of music into my day job. But here I am, answering this question from a sweaty backstage in Birmingham, Alabama. In 2006, my fiancé and I started a music website that we named Sound on the Sound, where we write about, photograph, and film the

SEATTLE WEEKLY • JU NE 12 — 18, 2013

business are expected to look nice, smile, and be friendly in addition to doing an excellent job at work. Men in the same position are never told to “Be nice and smile more!” They are just expected to work hard and take care of business.

How long in Seattle? I was raised in Sil-

» CONTINUED ON PAGE 32 31

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

1303 NE 45TH ST JAZZ ALLEY IS A SUPPER CLUB

Jonathan Butler

Ricky Skaggs

& Kentucky Thunder

14-time Grammy winning reigning father of bluegrass

June 13

South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel genres

Reverb»Profiles » FROM PAGE 31 local music we love. From there I’ve dabbled in PR (both for venues and bands), booking, and freelance music-writing for other publications. In 2012, I went on my first tour and got hooked. I’ve spent much of the last year on the road doing tour management and merch for bands from the Pacific Northwest.

BEKAH ZEITZ, publicity, international and

video promotions at Sub Pop

How long in Seattle? Since August 2004. Music-business bio: It wasn’t until I became the

music director of my college radio station that I realized that I could make a living combining two of my favorite things: talking on the phone

June 14 - 16

Benny Green - Magic Beans with David Wong and Kenny Washington

Hugh Masekela & Larry Willis: Friends

June 18 - 19

June 20

Intimate evening with Hard-bop jazz pianist Grammy-winning South Afritouring in support of his first self-produced recording can trumpeter and his friend, and first trio record of all American jazz pianist original music!

Gregory Porter “The brilliant new voice of jazz.” - Huffington Post

June 21 - 23

Vieux Farka Touré

Abbey Simmons

Bekah Zeitz

91.3 KBCS presents “...original guitar music of fluidity, rhythmic invention and passion, that it’s virtually unequaled.” - All Music

June 25 - 26

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Hollis Wong-Wear

Most sexist thing? I think it’s a shame this question has to be asked to drive home the point that women “have it harder in the music industry.” While I have had to work hard to hone my craft and increase my skills to find success and satisfaction in my work, I believe everyone who has tried to make a living in the music industry has. That said, I know I am asked questions that my male counterparts are not. When I tour, I am often asked who I am married to (or sleeping with) in the band. Sometimes when I answer “Nobody. This is my job,” I get raised eyebrows and looks of disbelief. Sometimes those looks are coming from people who work in the music industry. Sometimes it’s a drunk fan. Often it’s another woman. On my most recent tour, I’ve been so pleased that not a single person has asked me this or seemed surprised that I haul gear, drive a giant van, negotiate hospitality, and settle shows in a dress. HOLLIS WONG-WEAR, video producer; operations manager for the Blue Scholars; musician, choreographer, dancer, actress, music writer Music-business bio: There’s a word count at this paper. See above. Most sexist thing? Besides the typical sketchy, nuanced, condescending communication that would take an essay to unpack? “Hi, I’m looking for the green room.”/“Whose girlfriend are you?”

Jennifer Petersen

and talking about music. Post-college, I moved to Seattle and interned in the radio department at Sub Pop, which quickly became a part-time job. I was also the office manager of Chop Suey, as well the assistant to the Northwest rep for the Alternative Distribution Alliance. From there I spent four and a half years as the label manager of Suicide Squeeze Records, until returning to Sub Pop in 2010. Most sexist thing? While I know people tend to think of the music business as a boys’ club, I have never really felt put down for being a woman in this industry. Sub Pop’s staff is split almost evenly between genders, and having Megan Jasper as our fearless leader/vice president really sets the bar high for equality and crassness for all. E

music@seattleweekly.com

CONCERT INFO “Women Who Rock: Vision, Passion, Power” opens Sat., June 15. On Fri., June 14, the museum will host Blow Out, an opening concert featuring the all-star band of Kathy Valentine, Patty Schemel, Donita Sparks, Kim Shattuck, and Annabella Lwin, plus guests Star Anna, Shelby Earl, and Choklate. EMP, Seattle Center, 325 Fifth Ave. N., 770-2700, empmuseum.org. 7 p.m. $25 ($20 for EMP members).

tractor

El Corazon

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

www.elcorazonseattle.com

Wed, June 12 • 9pm ~ $12

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

hook-filled indie pop from New Orleans

GENERATIONALS YOUNG EMPIRES

Thur, June 13 • 9pm ~ $10 honky tonk & country from Flint, MI.

WHITEY MORGAN AND THE 78’S

THURSDAY, JUNE 13

2HUNDRED WEST

with Jordan Biggs, Lost Baggage, Adam France, plus guests. Lounge Show Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

DENVER

MIKE GIACOLINO of Ole Tinder Sun, June 16 • 8:30pm ~ $12 The Tractor & KBCS 91.3FM present bluegrass & new acoustic american roots

FRANK SOLIVAN AND DIRTY KITCHEN THE WARREN G. HARDINGS Mon, June 17 • 8:30pm ~ $10 indie rock from LA

RADAR BROS OLA PODRIDA

SONS OF WARREN OATES Up & Coming • 6/14 The Waylon Fund.Org and Shiner Beer present the 2nd annual Waylon Birthday Bash and Benefit For Diabetes Research feat. THE OUTLAWS (a Waylon Jennings tribute), JEFF FIELDER’S REDHEADED STEPCHILDREN, FASCINATION NATION

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FRIDAY, JUNE 14 KGRG-FMís Zorch Radio & El Corazon Present:

NEKROMANTIX

with The Silver Shine, No Buffer and Angie And The Car Wrecks. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $14 ADV / $16 DOS

FRIDAY, JUNE 14 El Corazon Presents:

NEKROMANTIX AFTERSHOW PARTY Featuring Live Music From:

The Akabane Vulgars On Strong Bypass (Japan) Lounge Show. 21+. FREE. Music begins immediately after the

Nekromantix show in the main showroom.

SATURDAY, JUNE 15

ANCIENT WARLOCKS with Black Pussy, Disastroid and Thunders Of Wrath Lounge Show. Doors at 8 / Show at 9PM 21+. $6 ADV / $8 DOS

SUNDAY, JUNE 16

BEFORE THE EYEWALL with The Psychotronics, Pragmatic Chaos, plus guests Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, JUNE 17

KOJI with Turnover, Ivy League, Have Mercy and Simple Monsters

Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

MONDAY, JUNE 17

HOODED FANG with English Gardens, plus guests

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

TUESDAY JUNE 18 Mike Thrasher Presents:

GETO BOYS

with Dirtay, Cliff The Sav, Knothead, Aquino and DJ Gerze. Hosted by Neema. Doors at 7 / Show at 8PM

ALL AGES/BAR W/ID. $25 ADV / $30 DOS

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

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

SEATTLE WEEKLY • JU NE 12 — 18, 2013

Reverb»The Short List WEDNESDAY, JUNE 12

Since striking out from the Fiery Furnaces, the Zappa-esque duo she fronted with her brother, Eleanor Friedberger has produced two excellent solo albums: her debut, Last Summer, and this month’s Personal Record. Similar to Summer, Personal Record is a vehicle for the vocalist’s rich lyrical expression, a carefully articulated style reminiscent of Kate Bush’s. Her gorgeous tones came into their own during the Furnaces’ tenure, but never flourished outright (that’s what you get with a brother for a band mate). They burned more brightly on Summer, yet at times echoed with frenetic Furnace energy. Personal Record, further removed from that backstory, flows at a graceful, unrushed pace. Establishing such a singular sound is perhaps what inspired the idea behind “I Am the Past,” with the lyrics “I am the past/You’ll never forget me/I’d probably come back/And stay if you let me.” With the

Bats and Teen. Neumos, 925 Pike St., 709-9442. $15 adv. 8 p.m. 21 and over. GWENDOLYN ELLIOTT

Lights THURSDAY, JUNE 13

Rather than working on new songs following the tour in support of her 2011 sophomore album, Siberia, Canadian electro-pop singer/ songwriter Lights decided to spend time in a cottage reworking said album acoustically. Gone are the synthy beats she’s known for, the dubstep-like breakdowns, and the appearances

by Shad and Holy Fuck. In their place are a mix of sweeping cello and acoustic guitar, a sprinkling of piano, and Lights’ stripped-down voice at the forefront of each song, as well as collaborations with Owl City, Max Kerman of Arkells, and Coeur de pirate. Not every song from Siberia made it onto Siberia Acoustic, and the ones that did were reordered, making the 10-track release sound like a completely different album—a bit more intimate, though just as inviting as its plugged-in counterpart. The Neptune, 1303 N.E. 45th St., 682-1414. $23.50. 8 p.m. All ages/bar with ID. AZARIA PODPLESKY

AM & Shawn Lee FRIDAY, JUNE 14

Together, chrome-throated Californian AM and London’s all-purpose studio sorcerer/ percussionist Shawn Lee are arguably today’s finest spinners of synth-aided mustache funk. The duo pulled the shag out from under the ’70s and rung out a decade’s worth of soul (and probably some kind of bodily juices) onto some piping-hot wax for 2011’s Celestial Electric, and have just returned with La musique numérique, a slick collection of 11 new jams and a Joe Jackson cover (“Steppin’ Out”). If you’ve given the album a spin, you know the guys haven’t cooled a bit, hitting the ground thrusting with tracks like “Good Blood,” “In the Aftermath,” and “Automatic.” They haven’t hit the kind of freak paydirt they struck with “Dark Into Light,” but the vibe runs strong

Parquet Courts

EDITOR’S PICK

THURSDAY, JUNE 13

COURTESY OF THE ARTIST

Eleanor Friedberger

throughout—and what a pleasant vibe it is.

With Don’t Talk to the Cops, Glitterbang. Chop Suey, 1325 E. Madison St., 324-8005. 9 p.m. $13 adv. 21 and over. TODD HAMM

Mount Kimbie

BEN RAYNOR

SEATTLE WEEKLY • JUNE 12 — 18, 2013

FRIDAY, JUNE 14

On Light Up Gold, Parquet Courts’ much-ballyhooed sophomore full-length, the catchy Brooklyn punk quartet delves into some serious existential quandaries. On the hypnotic micro-epic tale of an afternoon in Ridgewood, Queens, “Stoned and Starving,” singer Andrew Savage blurts “I was debating Swedish Fish, roasted peanuts, or licorice,” and we feel his pain. On the equally excellent “Master of My Craft,” he delves into the crassness of the high-class, singing “People die, I don’t care/You should see the wall of ambivalence I’m building/I got no love for the living.” On the Pavement-copping “N Dakota,” he offers this succinct summation of Middle America: “Cigarette advertisement country, wild and perfect, but lacking something.” So yeah, the poetry is there, but so is the pogo party, thanks largely to the band’s speedaddled heartbeat and Austin Brown’s bright, slightly sour guitar solos. As much as Parquet Courts sings about boredom, its shows are anything but. With Naomi Punk. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $12 adv. MARK BAUMGARTEN

For its second album, Cold Spring Fault Less Youth, this duo, Englishmen Dominic Maker and Kai Campos, kept it simple. Rather than overproduce the new songs, the two decided to let them be. The result is a looser collection of songs with a sound similar to that of their debut, but this time Maker and Campos have really given their beats room to breathe. They’ve also added two new voices to the Mount Kimbie sound, with Campos singing on several tracks and fellow Brit King Krule blending rapping and singing on “You Took Your Time,” and “Meter, Pale, Tone.” With Holy

Other, Vinyl Williams. Neumos,925 E. Pike St., 709-9467. $15 adv. 8 p.m. 21 and over. AZARIA PODPLESKY

Pony Time MONDAY, JUNE 17

This Seattle duo is an incredibly friendly and endearing stage act. Bassist/singer Luke Beetham is cordial, quaintly dressed, and plays his curvy bass all high and snug to his chest as if to say “This tasty riff came right from the heart.” He and drummer Stacy Peck, who hits the drums like a badass, efficiently crank out quick-hitting, fuzzy surf-style rockers that are as much a delight to listen to as it looks like

Eleanor Friedberger

they are to play. Pony Time’s latest album, Go Find Your Own, finds the two turning up the rock levels even further, though they never lose sight of their happy pop aspirations. Their joyous thrashing is a dynamic that works quite wonderfully, both on record and live; even when they tread on somewhat familiar-sounding territory, it’s with a friendly fervor that’s more than likely to win you over. With Burnt Ones, Stickers, Detective Agency. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $7 adv. 21 and over. TODD HAMM

Koji MONDAY, JUNE 17

Even though Harrisburg, Pa.–born singer Koji performs acoustically, it’s not hard to tell, while listening to his debut full-length album, Crooked in My Mind, that he was raised on a healthy diet of punk rock. There’s a gritty quality to his voice that adds a lot of depth to lyrics reflecting on a new period in life, being bullied, and the journey to find peace. Koji has also run with punk’s activist side, founding COLORMAKE, an organization that pairs activists and artists. He has also worked with several advocacy groups, and released CIMM on vinyl in a variety of colors, each one supporting a different nonprofit. Making music with a message and doing what you can to right wrongs—sounds pretty punk-rock to me. With Turnover, Ivy League, Have Mercy, Simple Monsters. El Corazon, 109 Eastlake Ave. E., 262-0482. $10 adv./$12 DOS. 7:30 p.m. All ages/ bar with ID. AZARIA PODPLESKY

SEATTLE WEEKLY • JU NE 12 — 18, 2013

BELLEVUE SQUARE

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5/23/13 10:51 AM

Reverb»Reviews EVERY LOCAL RELEASE*

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( June 15, self-released, batcountryusa. bandcamp.com): After losing a member, bassist Joseph Albanese, in the Café Racer massacre, this dark Americana band with a bit of cabaret influence found itself at a crossroads: continue performing or call it a day? Ultimately, the group chose the latter. This collection of songs recorded with Albanese before his death is the troupe’s final homage to him, and the band will perform tracks from the album during its upcoming farewell performance. The title, a line from the Leonard Cohen song “The Future,” which the band covers here, is bittersweet; the 12 tracks Bat Country plays the Columbia City Theater— are as mournful as they are celebraa combination CD-release show and final tory. (Sat., June 15, Columbia City Theater) performance—on Sat., June 15.

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EDITOR’S PICK

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SEATTLE WEEKLY • JUNE 12 — 18, 2013

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Cody Beebe & the Crooks, Out Here (out now, self-released, codybeebeandthecrooks.com): Frontman Beebe and his skilled band deliver a fresh batch of country-fried roots rock, heavy on grit and twang. It’s storytelling stuff worthy of a friendly barbecue and a massive bonfire in the backwoods. (Sun., June 23, Hattie’s Hat) KEEGAN PROSSER

The Epiphany Jam Experience, The Epiphany Jam Experience (out now, Daily Epiphany Records, reverbnation.com/theepiphanyjamexperience): A solid collection of free-form jazz laid over expansive compositions. The track “Jc2” is particularly interesting: a repeating horn lick accompanied by a tight, rhythmic drum loop and avant-garde piano flourishes throughout. (Tues., June 25, White Rabbit) CORBIN REIFF Ethan Freckleton, Unlimited Love EP (out now, self-released, ethanfreckletonmusic.com): After a rough year, Freckleton traveled to Hawaii for a bit of recharging and a much-needed recording session with friends. The breezy island influences are especially evident on “Break My Fall.” The rest of the EP highlights the gritty voice Freckleton perfected as a member of bands like the Troublefakers and Lust for Kicks. AP Colleen Green, Sock It to Me (out now, Sub Pop, subpop.com): A solid release, if a bit repetitive in its use of solo drum-machine fills to begin nearly every song. The album’s most striking element is its moody tone: sludge-filled guitars juxtaposed with Green’s sweetly forlorn vocals. CR Megan Hilty, It Happens All the Time (out now, Sony Masterworks, meganhiltyonline.com): Broadway vet (and Smash breakout) Hilty boasts

*Yeah, every release

killer vocals on this debut of original tracks and classic covers. While none of the tracks truly showcase her voluminous bellow, the more reserved pop take is a refreshing break from stage performers’ usual in-your-face bombast. KP Niku, Body Perspective EP (out now, Don’t Be a Lout Music, dontbealout.com): From the ethereal, earthy title track to the tribal-esque drums on “In the Catacombs” (featuring vocals from avant-garde artist okanomodé) and the dancy “Monolithic,” Niku—aka Nicolas Danielson— proves that variety really is the spice of life. The EP also features Ravenna Woods’ Chris Cunningham and his haunting voice on “We Still Fight” and “Strays.” AP Blake Noble, Underdog ( June 14, self-released, blakenoblemusic.com): The second album from Australian multi-instrumentalist Noble, Underdog finds the Seattle transplant further exploring his knack for intricate arrangements and world sounds. While his first album was entirely instrumental, this second effort shows him a more dynamic man, utilizing a full band, a string section, and guest vocalist Cody Beebe on three tracks. The result is a wave of experimental noise you’re not hearing from anyone else. (Fri., June 14, Nectar Lounge) KP Various artists, Ball of Wax 32 (out now, selfreleased, ballofwax.org): Levi Fuller rolls out yet another Ball, again featuring a diverse group of local talent. Seattle’s own GreenhornBluehorn brings a bit of folky rock to “Bag of Bones,” while Ken Cormier contributes a disjointed singing style on “Love Like a Quahog.” Featuring Snowdrift, HCP, Jim of Seattle, Pampa, and Black Swedes, among others. AP

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.

Reverb»Seven Nights

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Wednesday, June 12 COINS The Chicago guitar/keys duo of Angela

Mullenhour and Ellen Bunch plays simply arranged folk rock with dual vocals. With Chris Brokaw, Kryste Narkunis. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m. $7. KA.LIL Also known as Khingz, a name that pays homage to his upbringing in both Washington’s and New York’s King(s) counties, this local rapper is set to release his new album, Between Saturday Night & Sunday Morning, at this show. With Abyssinian Creole, Hi-Life Soundsystem, OTOW Gang. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. ZARNI DE WET is a songwriter and very capable pianist who writes compact adult-contemporary songs. With Fan Fiction, Like Lightning. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8 p.m. $6.

Thursday, June 13

GOLGOTHAN SUNRISE This doom-metal trio strives

for progressive heaviness with its instrumental pieces, such as the 17-and-a-half-minute “Power of Disgrace,” available for free download (along with two other tracks from 2004) on the group’s Bandcamp page. With Hooves, Spacebag, Caligula. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $7. JOSIAH LEMING Hardcore American Idol fans might remember Leming from season seven, which saw the Tennessee singer, then 18, get “controversially” booted before the round of 24 (“American Idol Bully Rejected Josiah Leming With Legal Action” screams a headline from 2008). Now he brings his piano-led contemporary pop to West Seattle. Skylark Cafe, 3803 Delridge Way S.W., 9352111, skylarkcafe.com. 7 p.m. $8 adv./$10 DOS. All ages. SHY GIRLS are the latest Portland act to be graced with the title of “Best New Band” by Willamette Week. The honor is fairly unsurprising given that the group’s sound—a transparent take on ’90s R&B that’s sometimes heavily cheesy—is in fashion right now, but unlike the solo-producer types who generally make this kind of nostalgia-seeped music, Shy Girls uses a seven-piece band to flesh out its sound live. With Sports, Dutty Wilderness, DJ Hojo. Barboza. 8 p.m. $7 adv.

Friday, June 14

band, led by Kim Nekroman and his coffin-shaped bass, has released nine albums since the late ’80s; the most recent is 2011’s What Happens in Hell Stays in Hell. With The Silver Shine, No Buffer, Angie and the Car Wrecks. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazon seattle.com. 7 p.m. $14 adv./$16 DOS. All ages. PURR GATO Katrina Cope’s electro-pop project takes its cues from the more garish, synthy side of ’80s electro (think Depeche Mode instead of New Order). This is a release show for its new full-length Heart Beat. With Thrivealike, Richie Aldente. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $8 adv./$10 DOS. SPACENEEDLES In March this four-piece, featuring members of Grand Archives and Feral Children, released the 7-inch single “Low Ceilings,” a rumbling, sub-three-minute grunge-punk banger. With Puget Power, Sam Humans. Rendezvous. 10:30 p.m. $8.

Saturday, June 15

GEOFFREY CASTLE An accomplished electric violinist,

Castle has toured with the Moody Blues and Heart. His solo material draws primarily from Celtic music. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 8 p.m. $20. All ages.

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ROB GARZA’s solo material follows a pattern similar to

that of his work as half of electro-lounge act Thievery Corporation: laid-back, dubby electronica that incorporates a variety of “world music” influences. With Nordic Soul, Toast. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. SUSAN PASCAL QUARTET Pascal, a nimble and precise vibraphonist, leads this acoustic jazz combo, which also includes Marc Seales, Chuck Deardorf, and Mark Ivester. Tulas, 2214 Second Ave., 443-4221, tulas. com. 7:30 p.m. $15.

S.A.M. COLLECTIVE

Sunday, June 16

FRANK SOLIVAN AND DIRTY KITCHEN In April, this

group of ultra-tight bluegrass musicians released On the Edge, which earned a top-10 Billboard Bluegrass Charts debut. With the Warren G. Hardings. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern. com. 8:30 p.m. $12. NGUZUNGUZU The work of this L.A. production duo is global in scope (they handled mixing duties for an M.I.A. mixtape); in form, it’s blog-pleasing, samplecentric bass music. Barboza. 8 p.m. $10 adv. SHELTON HARRIS Everyone knows how big Macklemore has become in the past 12-or-so months, and this similarly minded 20-year-old rapper is one of a few local MCs who might benefit from the Mack’s worldwide dissemination of positive vibes. In the past month alone, Harris has played Sasquatch! and been named to XXL’s list of “15 Seattle Rappers You Should Know.” With Kung Foo Grip, Mike Champoux. Crocodile, 2200 Second Ave., 441-7416, thecrocodile. com. 7 p.m. $12 adv. All ages.

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JOSEPH ARTHUR This folk singer brings an elaborate

looping and guitar-pedal setup to his live shows, layering guitar and vocal parts to give his music more depth and complexity than the average solo acoustic performance has. Triple Door. 6:30 p.m. $22 adv./ $25 DOS. All ages. RADAR BROS This Merge Records–signed indie-rock band is touring behind this year’s dense, dour Eight. With Ola Podrida, Sons of Warren Oates. Tractor Tavern. 8:30 p.m. $10.

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GETO BOYS Not every rap group can claim it’s inspired

Outkast and Insane Clown Posse, but Bushwick Bill, Scarface, and Willie D credibly can. The trio helped pioneer the sound of Southern rap in the late ’80s, penning some truly gruesome lyrics in the process. And lest you think the ICP connection is conjecture, the group appeared at last year’s Gathering of the Juggalos. With Dirtay, Cliff the Sav, Knothead, Aquino, DJ Gerze. El Corazon. 7 p.m. $25 adv./$30 DOS. All ages. OPERA ON TAP This nonprofit’s mission is to dismantle opera’s snobbish connotations by bringing the music to dive bars. Fittingly, this show will take place at the Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle. wordpress.com. 7 p.m. $5. QUADRON Producer Robin Hannibal is half of Rhye; his other project, a collaboration with vocalist Coco Maja Hastrup Karshøj, deals in widescreen electro-pop rather than neo-soul sultriness. With Nolie Durham, Seattle Soul, J-Justice. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $10 adv./$12 DOS. Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

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