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JULY 17–23, 2013 I VOLUME 38 I NUMBER 29

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NEWS: ON GUNS, STARBUCKS RELOADS. PAGE 6 | FOOD: MODERN COCKTAILS DECODED. PAGE 32

Inside the baffling, torturous, and incredibly profitable world of Seattle parking enforcement. BY ELLIS E. CONKLIN

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THE ARTS ARE FLOURISHING, the housing market is on the rebound, the Seahawks are in ascent, and big Bertha is boring a gateway to the land of milk and honey beneath your feet, whether you like it or not. You can get high, marry whomever you like, and then go eat a pancake on a stick. No doubt Seattle is changing and, we like to think, things are getting better. It is, dare we say, a renaissance, and we are using this year’s guide to the Best of Seattle to toast the inventiveness of our city and celebrate the vanguard of the new (while also recognizing the fixtures that are here through thick and thin). But we can’t do it without your help, which is why we are asking you, our dear reader, to tell us what you love about this city in our annual Readers' Poll.

We would prefer you vote online at seattleweekly.com/rebirth. But if you are fond of parchment (we know the feeling), you can mail in this physical ballot. Just write in your favorite for at least five of the categories on this page, detach from the rest of the issue, and mail it to: Best of Seattle 2013, c/o Seattle Weekly, 307 Third Ave. S., Second Floor, Seattle, WA 98104. We’ll need your name, e-mail address (which will be purged upon tallying), and ZIP code to ensure authenticity. Ballots must be postmarked or submitted online by Tuesday, July 30. The winners will be announced in our August 7 issue. In the interest of starting this new beginning off on the right foot, let’s all play fair: Only vote once.

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inside» July 17–23, 2013 VOLUME 38 | NUMBER 29

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up front 6

NEWS

THE DAILY WEEKLY | Autism:

disability to be cured or cultural identity to be preserved? Also, what Starbucks does and doesn’t ban, and why.

FEATURE

BY ELLIS E. CONKLIN | Tales from the

parking biz: Meet the enforcers, see their high-tech gadgetry, and find out why it’s such a cash cow for the city budget. Plus: the letter no sensitive soul should read.

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Defining Autism

Who should represent the disability, and why it matters. BY DANIEL PERSON Members of the local Autistic Self Advocacy Network gather for their monthly meeting on the UW campus. Below: the bus ad the group lobbied to have pulled.

YOGIRAJ SIDDHANATH ($130) NEW LIFE AWAKENING RETREAT DANIEL PERSON

SEATTLE WEEKLY • JULY 17 — 23, 2013

GOOD NEIGHBORS ALWAYS DELIVER

t’s 5:45 on a Friday afternoon, and members of the Autistic Self Advocacy Network’s Washington chapter are gathering cross-legged members say, as parents put them through behavin a basement hallway on the University of Washioral therapy after behavioral therapy trying to ington campus. Normally they would hold their monthly meet- render them more “normal.” “Instead of looking at their own behavior,” Lee ing inside the campus’ Disability Center, outside Lynbov Steadman says about many parents of whose door they are now sprawled. But a keycard isn’t working and the maintenance staff has started autistic children, “the sole focus is on the child. People aren’t adjusting their environment.” the weekend, leaving the members to digest the In other words, ASAN doesn’t want a cure. It biggest week of their group’s existence on the linowants acceptance. leum floors of Mary Gates Hall. The fight for what’s been dubbed “neurodiThe previous Friday, Seattle Children’s Hospital versity” is by no means new, though it is gaining had agreed, at the group’s urging, to pull a bus ad steam. And despite the quick victory scored by that called for “wiping out” autism (along with ASAN—Children’s had run the ad for only about cancer and diabetes). ASAN’s argument: “Wipe a week before pulling it—neither is the fight out autism, wipe out us.” The ad’s removal was universally accepted. Rather, it’s sparked bitter a huge victory, but perhaps more important was debate among the autism community, with some the press the episode received, as Seattle reporters advocates nervous that it could unwittingly lead bombarded the chapter with interview requests, people to dismiss autism as a quirk rather than a all curious about what could be America’s next disability. big equal-rights campaign: the right to be autistic. Many in the autism community charge that After years of strategizing on how to get Seattle to ASAN’s views are valid for people who can live accept autism—the developmental disability that with some level of autonomy, but could be harmnow affects an estimated one in 88 children in the ful to people with more U.S.— the group’s message severe forms of autism. was going mainstream. PRINT IS GREAT, but if Playing a major role To that end, before they you want to read 8-year-old in ASAN-Washington’s dug into their July agenda, Maxroth’s reaction to the Zimmerman campaign to get the bus ASAN members obliged a verdict, check it out on The Daily Weekly. ad pulled was ASAN Seattle Weekly reporter and SEATTLEWEEKLY.COM/DAILYWEEKLY national president Ari reeled off the challenges Ne’eman, a lightning rod for criticism both for they face—the challenges not of being autistic, his at-times-strident remarks about other autism mind you, but of living in a society that doesn’t groups and his high prominence in the disability accept them. community whom Wired called “the first autistic “There are lots of places we can’t go, lots of presidential nominee.” A petition to block his places we can’t access,” says Matt Young, the chap2010 appointment to the National Disability ter’s co-chairman. Finding a job can be tortuous, Council enumerated the arguments against his keeping one near-impossible: According to one movement. University of Missouri researcher, only a third of “Mr. Ne’eman and a small faction within the autistic people ages 16 to 65 are employed, their autism community may personally oppose prevenwages and hours far lower than the national avertion and cure, as is their right, but they do not age. But one of the biggest hurdles autistic people represent the majority of people on the spectrum, face is often in their own homes, the ASAN

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news»The Daily Weekly particularly those who are so impaired that they face a lifetime in institutional settings at taxpayers’ expense,” the petition reads. “ . . . Mr. Ne’eman has obscured the harsh reality of autism with rhetoric. His litany of words—‘paradigms, infrastructures, neurodiversity’—does not address the real-life problems of people with autism, particularly those most profoundly impaired. Rhetoric and denial will not end the suffering.” (It should be noted that Age of Autism, the group that issued the petition, holds many minority views itself, including the unproven belief that vaccinations are to blame for some cases of autism.) Far more diplomatically, Arzu Forough of Washington Autism Alliance & Advocacy worries that the recent press coverage in Seattle could mislead the public about the nature of autism and obscure how serious the condition can be. Forough supported pulling the ad, and repeatedly calls for various autism groups to work together to advocate for support. But she says the points made by ASAN in many media over the last week are only part of the picture. “A lot of people don’t understand what autism is, they don’t understand that it’s actually a disability,” says Forough, the Eastside mother of an autistic son. “Their perception is that these are individuals who may be quirky and they may just have some minor differences, and they really don’t understand the depth of support that some individuals with autism need. “To that segment of the population, what played out with Seattle Children’s last week really won’t help them understand autism better.” Back at Mary Gates Hall, the members of ASAN say they’ve heard it all before, and stick to their core message: If more thought was put toward accommodating autism rather than fixing it, autistic people would be far better off. “People say ‘You’re too high-functioning to understand,’ ” Lynbov Steadman says. “You never met me when I was 10 years old. I was that kid.”

Starbucks: Smoking Guns vs. Smoking Cigarettes

Schultz and company, with all their corporate know-how, seem stuck out on a limb with contradictory excuses.

Spokesperson Hutson acknowledges the “significant and genuine passion surrounding open-carry weapons laws,” but says Starbucks is following a legal strategy. “In communities that permit open carry, we abide by local laws. Where these laws don’t exist, openly carrying weapons in our stores is prohibited.” Most states, including Washington, allow open carry in some form. “We are extremely sensitive to the issue of gun violence in our society,” says Hutson in telephone and e-mail responses, “and believe that supporting local laws is the right way for us to ensure a safe environment for both our partners (employees) and customers.” If customers want Starbucks to change that approach, they’ll apparently have to petition their legislators to rewrite local laws. Says Hutson: “As the public debate around this topic continues, we encourage customers and advocacy groups from both sides to share their input with public officials.” Peets Coffee & Tea, along with IKEA, Disney, and other corporations, opted to ban guns at their public retail outlets when presented with a petition by the Brady Campaign in 2011. Starbucks balked, and founder Howard Schultz reiterated his earlier position that “I’m not a politician. I run a coffee company, and we’re trying to abide by the laws in which we do business.” Yet he’s said that guns in a coffee shop seem hostile to Starbucks’ convivial corporate goal, creating a marketplace “to inspire and nurture the human spirit.” Last Christmas, Schultz also made a plea for Americans to come together politically, indicating he was moved by a need for change in the wake of the 26 dead at Sandy Hook Elementary in Connecticut. That’s the shooting that also inspired the antigun Moms, and the question may be who was more motivated by Newtown. Schultz and company, with all their corporate know-how, seem stuck out on a limb with contradictory excuses, while the 100,000-member Moms, citing the Florida wounding, wonder whether Schultz is as concerned about second-hand bullets as he is about second-hand smoke. RICK ANDERSON E

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Despite the recent wounding of a customer and a new campaign by an antigun group, Starbucks isn’t giving up on its controversial policy to permit the open carry of guns in its U.S. shops. It’s a jittery position for the Seattle-based coffee giant. To keep the workplace safe, Starbucks bans its employees from bearing arms. And concerned about customer health, the chain bans smoking outside the entrance to its stores. But it doesn’t ban coffee drinkers packing heat. “Our longstanding approach to this topic remains unchanged,” spokesperson Zack Hutson said last week. In June, after a Florida woman set her purse down on the floor of a Starbucks in St. Petersburg, the jolt caused her .25 caliber handgun to fire accidentally, wounding her companion in the leg. It was similar to a 2011 incident in a Wyoming Starbucks, where a .38 went off in a girl’s purse, sending a bullet flying past several customers. The recent shooting—as well as a recent incident outside the doorway of a Houston Starbucks, when a man was shot in the leg—set off a new debate among visitors to Starbucks’ Facebook page. Opponents urged Starbucks to change its policy, while supporters thanked the company for

backing the Second Amendment. The Florida shooting also stirred Moms Demand Action (for Gun Sense in America) to launch a drive against Starbucks. MDA is urging the public to send protest messages and sign a petition that it will present to the company urging a rollback of the gun policy. Founded by Shannon Watts in the wake of the Newtown school shootings last December, the group is focusing on Starbucks’ ban against smoking within 25 feet of its storefronts, and a passage in the company’s conduct manual prohibiting employees from possessing weapons at any company store, plant, or property. “Starbucks,” the employee guide adds, “takes its rules regarding workplace health, safety, and security very seriously.” But as the Moms ask in their new campaign, then “Why aren’t they taking the safety and security of our families and children just as seriously?”

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Inside the baffling, torturous, and incredibly profitable world of Seattle parking enforcement.

To Whomever It M

ay Concern:

ATON

MY E

JERE

BY ELLIS E. CONKLIN

ecreted away in a dark corner of the Seattle Police Department’s Parking Enforcement unit, there exists a letter, archived Exhibit A for Anger in its purest, most undiluted form. A twisted testimonial to anyone who has ventured near the slick edge of madness upon seeing a parking ticket tucked under his or her windshield wiper, the letter is celebrated the way one might celebrate a ruptured appendix preserved in a jar of formaldehyde. “We’ve never gotten anything like this before or since,” marvels parking-enforcement supervisor Wayne McCann, though “LICK MY SACK BITCH BOY,” a rather ballsy directive once affixed to a meter minder’s scooter, is worthy of honorable mention. A broad-shouldered man with dark hair creamed back Fonzie style, the 49-year-old McCann carefully removes the neatly typed bluster from a manila folder, where it has been on file since the summer of 1995. After shooting off a Xerox copy, he glances at the once-disturbing but now comically crass missive. He shakes his head while reacquainting himself with the blush-inducing content, which arrived unsigned and anonymous. Handing it over, McCann says, “You won’t believe it. We’ve held onto this one for a long time.” Here it is in its unseemly, unedited entirety. Look away now, children, look away.

Right now, I CA at this minute. HNNOT express how I am feeling tion for somethinow dare you give me a parkingin words stinking, donut- g so miniscule, I cannot belie infracbetter to do than eating piece-of-Shits have anve you parking meters wait by the fucking money-eaything and handout thes e ass-stinking titing ckets. Right now, there a re se ri ous crimes happ the city . . . Peo ing all over p le a re ge tting their fucken blown away, dr in g u g getting raped!!! deals are going down, and bprains ter may be gettinWho knows, right now your daeople are gangster. Right g fucked by some drugged, nig ughconsidering this now, I can’t even image you ass gerof-bitches out ofto be a crime. What?? Are you holes are earned money is your mind?? My fucking ha sonsjust so you can gopaying for your GOD-DAMN rd-ass grow pot-bellies out, eat your dumb-ass don salaries, the greasy donutsand sit around as you get fattuts and tub-of-lards . . and twinkies, you shit-smellier from my money than . NO!!!! I have better things to ng, fat money, than to waste more of my precious ea do with rned give you lazy sh its more. Fuck all of you and your MOTH ERS!!! Go to HELL!! P.S. I can’t fuck kissing, dog-fucking believe you fudge-packin too. You assholes ers are making me pay for ag, assand I hope you . Here’s your fucking stamp. Eastamp die from a blood shrivels up and fa -clot and your t shit dick lls off. Mother F uckers!! » CONTINUED ON PAGE 10

FROM PAGE 9

Not even Paul Newman in Cool Hand Luke would have gone so far as to write something as completely untethered as this—though, in fairness, he might have considered using the line about the shriveled dick. For the most part, though, Lucas “Luke” Jackson was content to showcase his disenchantment with authority by slicing off the heads of a dozen parking meters with a chainsaw one drunken, sweat-soaked night. Naturally, Newman’s character wound up in a Florida chain-gang prison for his crime against inhumanity, learning (the hard way) what Bob Dylan knew all along: “Don’t follow leaders, watch your parking meters.”

KATY LESTER

SEATTLE WEEKLY • JULY 17 — 23, 2013

athy Karrasch saw the job posting for a parking-enforcement officer online. “Person must be personal and like the outdoors,” the ad read in part. At the time, Karrasch, a single mom, was at wit’s end. Her son was in middle school. She was working at a credit union and hated it. A catering gig on the side, making wedding cakes and birthday cakes, wasn’t cutting it. Money was tight. She filled out the application. “So I showed up at this job overview thing at North Seattle Community College,” recalls Karrasch, a buoyant, dark-brown-haired woman of 43 with an infectious laugh. “This was three years ago. There must have been 1,000 people there. And they gave us the booklet to read and gave us a test. I remember, 782 people took this test. We had to remember license-plate numbers, and there were some situational questions. “And they said they were going to hire 10 people. You gotta be kidding. Anyway, I didn’t

hear a word for four months, and then one day I got an e-mail asking me to come in for an interview. So I’m like, ‘Holy camoly.’ ” Three police parking-enforcement supervisors interviewed her. They asked questions about her life, all the way back to her high-school days in Southern California. They inquired about drugs (no), whether there’d been a DUI (no), her emotional health (fine). She made it to a second interview, where she took a battery of agility tests—one of which required her to repeatedly get into a scooter, run around it as fast as she could, and then climb back in. Eight months passed before Karrasch received an e-mail asking for a second interview. Shortly after, she was hired. After a month of classroom work, learning traffic codes and the city’s geography like the back of her hand, and two months of field training, Karrasch earned the tools of the trade: a Go4-Interceptor, an Intermec, and a police radio. It’s a bright June morning as Karrasch is tooling around South Lake Union in the Interceptor, a department-issued scooter whose top speed is governed at 37 miles per hour. At the corner of Terry Avenue North and John Street, she parks, gets out, and begins to walk. It is uncanny how quickly Karrasch can spot something amiss, no matter how briskly she’s walking down a street. “Your eyes are trained to memorize everything about that license plate. Even when I’m off, I’m seeing expired tabs or whatever, and my son will say, ‘Mom, stop it already.’ ” There’s a blue Mazda too close to a fire hydrant. She punches the plate number and a code into her Intermec, and a ticket emerges: $47. There’s a Toyota Sienna on Republican with expired tabs; a white Volvo in front of a No Parking sign; a Ford pickup parked in a foodtruck zone. “I’ve only been gone seven minutes,” the truck owner says pleadingly. “I know, I’m sorry,” Karrasch calmly replies. In an alley near Boren, a cluster of cars and motorcycles are pressed together. “What a mess,” she sighs, walking away. “If I ticket one of them, I’ll have to ticket all of them.” Later, Karrasch confides a couple of tricks of the trade. First, all that swearing and cussing can come back to haunt you if you decide to protest the ticket. “We write down private notes, so if I have to go to court, I can say ‘This person was a jerk, a real jackass, he flipped me off.’ ” Also, “We switch up on our routes, so people don’t follow our routines and think they can park here because we won’t be around until later in the day.”

ast year, Karrasch and Seattle’s 96 other navyblue-clad parkingenforcement officers (PEOs) wrote up 538,102 tickets. That’s more than one every 60 seconds. By the time you finish lunch today, almost 360 of your fellow citizens will have received a parking ticket. And what a revenue river it rains. The city of Seattle raked in an astounding $25.1 million for parking infractions in 2012, nearly double the amount it corralled in 2004. Fines have risen only $9—from Kathy Karrasch $35 to $44 for overstaying rides with authority. one’s welcome at a meter— so more vigorous enforce-

Parking-enforcement supervisor Wayne McCann (right) and a Strada pay station.

KATY LESTER

METER MADNESS »

ment is unquestionably the reason the big bucks are flowing. These days, PEOs seem to be everywhere, like yellow jackets at a summer picnic. There was a time when one could take a calculated risk: a quick dash into the post office for a book of stamps, rushing the kiddies into the daycare, grabbing a Dick’s Deluxe. No problem. Nowadays, there is no such luck. Leave your car for one minute at your peril. Over the past 10 years, the number of parking attendants has increased from 67 to 105 and the number of tickets written has soared by almost 30 percent, while the number of people going to socalled mitigation hearings to fight them in court have almost doubled since 2008. “No doubt about it, it’s become a cash cow,” says Seattle Councilmember Bruce Harrell, who has begun to question the city’s history of raising parking rates to increase city revenue. In January, Harrell, a mayoral contender, told the Downtown Seattle Association in a candidate questionnaire that downtown parking rates are too high and should be lower or “even free.” “I do know, and I’m not going to put the blame on anyone else,” he told Seattle Weekly in a recent interview, “that the revenue was very enticing back in 2008 and 2009 when we were having some pretty lean budgets.” Seattle is not alone among cash-strapped cities that have upped ticket prices, bought into pricey new pay-station technologies, and filled its streets with additional officers in a desperate effort to shrink budget gaps. The question now is whether the city of Seattle will choose to turn down the spigot now that its economic situation has sharply improved in the past two years. Says Harrell: “You do not want to have a revenue stream based on bad behavior, and it’s clear that we’ve added all these new PEOs in order to realize new revenues.” No one in Seattle city government generates more income relative to their salary than a parking-enforcement officer. We should call them Rainmakers, in fact. The starting salary for a PEO is $45,760, and tops out after three ticket-writing years at $52,291 plus benefits. Let’s do the math: With 538,000 tickets written last year, each PEO, on average, wrote roughly 5,550 of them. Multiply that by an average infraction cost of $40: Every PEO, all by his or her lonesome, added around $222,000 to city coffers—more than four times their top salary. Imagine the city council’s heartbreak if they ever struck.

xiting the elevator on the 38th floor of the Municipal Towers, one is seized by the prodigious duotone photograph of downtown Seattle, circa the late 1920s. The sweeping mural shows a bustling Fourth Avenue, women with Dutch bobs and well-polished shoes, men in bowler hats and grey fedoras. The street is at full throttle, roaring with Ford Model T’s and Chrysler Imperials, Studebakers and silver-chromed DeSoto sedans, Flyers made by Briggs & Stratton. Even then in young Seattle, parking was scarce, a vexed commodity, a confounding mixture of excess capacity and chronic shortages. The 38th floor is home to the manager of parking operations. His name is Mike Estey. He’s been at this thankless post for seven years. A laconic man, careful with the words he chooses, he’s the city’s 46-year-old parking czar. His days are spent hunkering over ledgers of parking data until his pale blue eyes redden: performance-based pricing; curb occupancy rates; variable cost structures for a dozen or more Seattle neighborhoods; replacement costs of parking pay stations; studies of new meter-sensor technologies; data on the average time one might expect to cruise the central downtown core before landing a parking spot. Wonks like Estey know that some 255 million registered cars in America compete each day for an estimated 800 million parking spaces. They can tell you that the total amount of land in this country devoted to parking is nearly the size of Connecticut. Joni Mitchell nailed it, all right: “Pave paradise, put up a parking lot.” In a brief interview in his small-windowed office, Estey observes that there are 500,000 on-street parking spaces in Seattle—a number that isn’t growing despite the onslaught of highdensity apartment/retail complexes that rise with minimal requirements for developers to provide adequate parking. Of those half-million spaces, about 13,000—a number that’s risen more than 50 percent in the past five years—require payment. Each day, 35,000 transactions are made, nearly 13 million a year—90 percent of them with credit cards— ranging from a buck for two hours at Greenlake and South Lake Union to $8 for the same amount of time in the central downtown core and on the waterfront. Most of these transactions are executed by 2,200 pay stations, called Stradas, installed between 2004 and 2010 at a cost to the city of just more than $18 million. Parkeon, a Moorestown, N.J.–based firm, makes these 6-foot-2 kiosks. If you’re in the

market, by the way, a freshly minted Strada pay station can run around nine grand, but do note that their life expectancy is 10 short years, says Parkeon marketer Sean Renn. That’s not a whole lot less than a dog, which is how a lot of people treat the heartless hardware—with some justification.

JOSHUA HUSTON

any a man has grown old and weary (not to mention gotten soaked to the bone) waiting for these infernal machines to move from Authorizing to . . . thank you, Jesus, Approved. Too often these stubborn, stoic green monoliths mock you with their laggardly pace. They know you’re running late, and, wireless beasts that they are, don’t give a tinker’s damn. Who among us hasn’t at one time or another given one of them a good, firm kick? Little wonder that last year alone the meter monsters weathered 1,710 Bruce Harrell graffiti assaults, costing taxpayers $100,000 to says parking remove the spray paint and assorted stickers. pays too much. “Yes, we had some troubles with the machines from time to time,” says Estey, with characteristic understatement. “We tried testing a bill accepdo this. Let’s be customer-friendly, even though tor, but it wouldn’t work because we get a lot of really, we’re only talking about being able to add moisture around here and it won’t take a moist 30 minutes or so.’ ” dollar bill.” Estey is pleased as punch that a pay-by-phone system is at last on its way. Before summer’s ou have no idea what kind of things end, motorists will be able to pay online with a can come can out their mouths. I had smartphone. No more fiddling around with credit one guy tell me ‘I hope you die of cards or quarters—or having to make a mad dash cancer,’ ” recounts PEO Karrasch. “It to feed the greedy Strada. After setting up an happened at rush hour on Second Avenue. He account by entering one’s license-plate number, a actually hunted me down to tell me that.” driver will be able to download a mobile app that Karrasch’s story is one of many told last will track how much time is left on the meter. If, month during a roundtable discussion arranged for example, a driver doesn’t pay for the maximum by supervisor Wayne McCann. The PEOs gathtime allowed (say, only 90 minutes in a twoered inside the Seattle Police Support Facility, a hour zone), it will be possible to add up to the cheerless, functional building located off Airport limit—30 more minutes—for a 35-cent fee. The Way near where the glassy new Mercedes-Benz ease of the modern era comes to the curb. But it dealership is nearing completion. Its drab, nonalmost wasn’t so. descript exterior conveys little about what goes In October 2012—one year after varying on inside. The SWAT team trains here; there’s a parking rates were established for each Seattle DUI unit, a fingerprinting section, an evidence neighborhood—the Seattle City Council soured lab—and it’s the headquarters for the city’s on the pay-by-phone idea. Things fell apart when parking-meter enforcers. the council learned that the city would lose just Let’s listen in. over $1.25 million in its first year, and $845,000 Carl Vanloo, a five-year member of the squad: the year after that, if it dared make it easier for its “All I did was write him a courtesy note to say residents to avoid a $44 parking ticket. his tabs had expired, and he left me a note in big Councilmember Jean Godden, who initially letters that read: ‘Get a real job, fuckers.’ ” supported the ability to satisfy meters remotely, Karrasch: “People will say ‘How do you sleep at lamented at a budget hearing: “This does seem to night?’ and it’s not even their car I’m putting the be a heavy cost to bear for this convenience.” ticket on.” Councilmember Nick Licata joined the sad Gene Yee: “People get ballistic. It’s like you chorus: “It’s going to cost us money that we could killed their mom, and I’m thinking, ‘It’s only a be spending somewhere else.” parking ticket.’ ” At the time, Godden argued in a column she Shari Ng: “Usually it’s just screaming, but penned on the issue that “parking-enforcement sometimes I’ve had to call police.” officers encountering a vehicle without a window Karrasch: “Last year at the hydro [races], which sticker would need to take the time to check had a parking lot set up for people with handielectronically to see if a vehicle had provided paycapped placards, I had a father with a little kid ment by phone,” which in the car. And he says, ‘I just would necessitate hirdropped my dad off; he’s over ing additional PEOs. there somewhere,’ and the kid “The revenue A month later, goes, ‘I thought Grandpa was however, in Novemwas very dead.’ ” ber 2012, the council McCann: “Back when I was enticing back in out there, I had one guy with a relented and adopted the new parking cleaver coming at me.” 2008 and 2009 meat plan. “Nothing really Vanloo: “I’ve come back and changed,” Godden when we were found a 32-ounce Big Gulp explained earlier this cup on the seat of my scooter, having some filled with urine.” month. “We just all finally decided that pretty lean Vanloo: “I know one PEO we did want to be who had a dead fish tied to budgets.” the bumper of her scooter. customer-friendly, and so we said, ‘OK, let’s » CONTINUED ON PAGE 12

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METER MADNESS » FROM PAGE 11

She dragged it all the way back to the old Public Safety Building.” All of them agree that seldom does a day go by without at least one flash of the bird and the inevitable “I guess you had to get your quota”—in response to which the PEOs stress in unison, loud and clear: There is no quota system.

KATY LESTER

uly 16, 1935, is a date that for some will live in infamy. On that day, the first parking meter on planet Earth was installed on the southeast corner of First Street and Robinson Avenue in Oklahoma City. And the world has not been the same since. Storekeeper-turned-newspaperman Carl C. Magee (famous for uncovering the Teapot Dome Scandal in New Mexico) and roustabout Gerald Hale had invented a timing device that would allocate set amounts of time for parking. They dubbed the machine, ominously enough, the “Black Maria.” The era of the parking meter had begun, and there was no turning back. By the early 1940s, cities across the country

The dreaded Go-4 Interceptor

were installing meters. In January 1942, Seattle’s Traffic Division installed 1,600 parking meters in the central business district. As the Museum of History and Industry’s Phyllis Franklin wrote, “The meters, according to newspapers of the day, were objects of curiosity, and public reactions to parking fees were mixed. It was reported that one observer pronounced paying to park ‘unconstitutional’ because ‘automobiles are already taxed and you can’t tax them again.’ Some objected to paying for time they didn’t use. “One man wanted to know why ‘regular guys’ had to pay when trucks and public vehicles didn’t. Another was glad for relief from parking congestion. A man from Minneapolis assured Seattleites, ‘We have them and we like them—now that we’ve gotten used to them.’ And a local newspaper boy saw them as a boon to business: ‘We’ll sell ’em a newspaper, take a dime, then they’ll have a nickel to park with.’ ”

t’s like something out of Desert Storm— that is, if Kuwait had been won with Go-4 Interceptors. Stop by the Seattle Police Support Facilities Building some morning between 8:30 and 9 a.m. and you’ll see them rolling out en masse, a vanguard of Interceptors on a mission, lights agleam, game faces on. Watch out, they’re coming for you. You don’t write nearly 540,000 tickets a year without the right equipment. The city leases 69 of the three-wheel scooters at $700 a month each. Made in Alberta, these four-cylinder gas-powered babies—fully equipped with a $2,000 police radio, emergency flashing lights, an air bag, and air conditioning—cost $33,000, about the same price as a new Infiniti. They’ll travel an average of 60 to 65 miles on a busy day, says the city’s fleet operations manager Chris Wiley. Indeed, Seattle’s PEOs are a force to be reckoned with. In addition to the Interceptors, the fleet includes 13 compact SUVs, 12 sedans, eight Segways, three T3s (known as Chariots), two vans, and one pickup. As for the hand-held Intermecs that spit out the tickets that land under your windshield, those are driven with APS software and girdled by a belt-mounted thermal printer via Bluetooth. The department owns 120 of them, each costing just

CONTINUED ON PAGE 14

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says, before recalling an incident closer to home to illustrate the point. “I remember my grandmother had cancer and my mother and sisters FROM PAGE 12 were trying to get her into chemo. It had been a long, trying day, and my mother came out of the hospital and she had gotten a parking ticket. She shy of $4,000. These devices also know who’s naughty or nice. was really, really upset. It was like a final straw.” During a Thursday-morning proceeding Once your license plate is entered into an allseveral weeks ago, Leone, as usual, goes into the knowing memory bank, it will immediately alert waiting room and calls out the name of the perthe PEO if you have four or more outstanding son whose case she will hear. She is reluctant to parking tickets. The damn thing will light up like talk about any specifics of past cases, preferring Christmas. instead for her guest to observe for himself. In “And when that happens,” says Karrasch, “we comes a gangly, late-50ish man with a graying call the boot guys.” ponytail. He’s here to face the music for expired Currently, 16,981 vehicles in Seattle are tabs. A $47 fine hangs in the balance. eligible to be booted. At the same time, the His name is Charles, and he’s got a lot to share Municipal Court of Seattle forwards, on averwith the judge. He goes on at length about a car age, 459 accounts each day to the city’s collection accident in California in the late ’80s; he’s on agency, Alliance One, for tickets that have been disability and anti-depressants. “I’ve had a full delinquent 60 days and for which the scofflaw mental breakdown,” he says. “I got an MRI that’s has failed, after 15 additional days, to respond to coming up on my brain. I’ve been in total mental warning notices. collapse the last two weeks.” According to the Court, if everyone decided to Leone has had enough, and says, as kindly as get street legal and pay their outstanding tickets, she can, “I don’t need any more verification of fork over the money owed in collections, and your medical problems.” She reduces his fine to make good on default penalties and interest, the $20 and refers some information about where he city of Seattle would today be richer to the tune can seek additional help for any number of the of $54,941,055. issues he’s dealing with. Before calling another defendant, the judge er hair caught up in a silver clip, Lisa confides, “You know, almost everyone I see puts Leone adjusts her dark-framed glasses, takes a deep breath, and prepares herself forward an excuse that they are really invested in. for another day of excuses. She is one of Most of them are sincere.” In comes Mark, a wine-seller who parked his the five full-time city magistrates who listen and SUV, as he normally does, in a yellow-curbed endure the never-ending parade of people who truck zone on Market Street in Ballard. He needs will, for uncountable reasons, not go gently into to vent. “I am a small-business owner. You people that good night when it comes to parking infractions. Leone makes $52.25 an hour for her judicial keep raising the [parking] rates. I’m hemorrhaging money. I’m already 10 dollars in the hole just parkchores inside her small but comfortable chambers on the second floor of the Municipal Court Build- ing here this morning. I’ve never had any problem parking there before.” Mark proceeds to pull out ing. She figures she sees 60 to 70 ticket protesters photos of other cars that have been parked in this each day—keeping pace with last year’s 12,196 particular space without the required commercial mitigation hearings, up from 6,983 in 2008. loading permit. Leone knows that her Leone listens carefully and role is more than just If everyone nods, then counsels him to think an adjudicator, deciding getting the commercial whether to lower a fine decided to about permit to avoid further probbecause of mitigating circumstances. The job get street lems. He says he’ll look into it. She reduces the $47 fine to $15. also requires patience and legal, Seattle Mark leaves happy. firmness—and a little His hearing took just eight human kindness doesn’t would today minutes, during which time eight hurt, either. “I’ve had some who will come in be richer to parking tickets were written in the city of Seattle—where someand burst into tears, and the tune of where, rest assured, someone you know that it really writing a seething letter of has nothing to do with $54,941,055. was complaint. E the parking ticket. I see a lot of emotion here,” she econklin@seattleweekly.com

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Just how green is the grass on the other side?

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Rings on Her Résumé presenting a mix of ballet and contemporary dance with an emphasis on new choreography. But in 2011, she ran away to join the circus—Cirque du Soleil, to be specific. Chong oversaw productions throughout the U.S. and Japan, wrangling wirewalkers, magicians, and aerialists, but her heart was still in Seattle, so home she came. This edition of ARC’s Summer Dance at the Center revisits some of their strongest work, with choreography by Betsy Cooper, Penny Hutchinson, and Chong herself. No word so far about any contortionists or clowns, but you never know. (Through Sat.) Seattle Repertory Theater, 155 Mercer St. (Seattle Center), 352-0798, arcdance.org. $20–$35. 8 p.m. SANDRA KURTZ

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Marie Chong founded ARC Dance 15 years ago,

One of plastic’s casualties on Midway.

this proudly PG-rated film. Waters wanted to reach the multiplex, and he did. At the same time, along with the retro dance music, there’s the sly subversion of the supporting players (Debbie Harry, Mink Stole, Pia Zadora, etc.). Waters would never be so gauche as to make a FILM message movie, but the message is there: Camp can coexist peacefully with sincere emotion, squares and queers can get along fine, and life can be one big Divine (left) lends guidance dance party. Followto Lake in Hairspray. ing in the Fridaynight series are GalJohn Waters proudly wore axy Quest (Aug. 2), the mantle of cult film directhe 1966 TV spinoff tor back in 1988, but cult Batman: The Movie movies don’t pay the mort(Aug. 9), and the gage. For that reason, he had Schwarzeneggera huge and well-deserved tastic 1984 Conan crossover hit with Hairspray the Destroyer (Aug. (tonight presented by Three 16). Pack your own Dollar Bill Outdoor Cinema), picnic, or choose which also gave Divine (aka from various food vendors who’ll be on hand. Harris Glenn Milstead) her first mainstream role. Like most of Waters’ films, Hairspray is rooted in Cal Anderson Park (southeast corner at 11th & Baltimore, which he lovingly recreates during the Pine), threedollarbillcinema.org. Free. Outdoor kitschy yet wholesome early ’60s, when plump movie screens at dusk. BRIAN MILLER Tracy Turnblad (Ricki Lake) desperately wants to appear on the Corny Collins dance show. Tracy’s FOOD willpower is unstoppable, and her dance moves are undeniable. It helps, too, that she has the solid family support of her mother (Divine) and If you can deal with the crowd and all the corfather (Jerry Stiller). The Turnblads may not be porate-sponsor booths, there’s plenty to enjoy at BOD_WKLY_Gin_6-4-13.pdf 6/4/13 2:17 PM this year’s Bite of Seattle. For starters, what major classy, but they’re loving, and that spirit1infuses

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Steps in the Right Direction

Seattle food event would be complete without Tom Douglas spreading his culinary love (while promoting his own empire)? He hosts “The Alley” at Alki Courtyard, where $10 gets you tastes from Local 360 (root beer–glazed porkbelly sliders), Shanik (roasted spice eggplant), and others, along with his own Dahlia Lounge, Palace Kitchen, and Cuoco. Adjacent to The Alley is a wine tasting featuring Washington vineyards (the 11 a.m.–2 p.m. happy hour buys you five tasting tickets for $12), where you can sip and listen to live jazz. New this year is a “Craft Beer Tasting” at Fisher Pavilion (assuming you didn’t get your fill at the Beer Festival earlier this month), where you can sample some 70 beers from more than 30 brewers. Or get in on some Iron Chef–style throw-downs as local chefs compete in “The Bite Cooks” on the roof of the Fisher Pavilion. You can also watch demos from Maria Hines of Tilth, Rob Sevcik of Luc, and many others. Other music stages will offer R&B and blues. The “Family Fun Zone” has a heavy emphasis on dance this year. And don’t forget tonight’s free movie at 8:30 p.m., The Goonies. (Through Sun.)

Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. BRIAN MILLER

sat/7/20 COMEDY

A Relaxed Approach

Jim Gaffigan and his wife have five kids and they live in Manhattan, so you’d imagine he has to tour constantly to keep his brood fed and sheltered. Think of the pressure: He’s a big-name stand-up comedian who plays large venues, he’s a regular on TV, and if he fails to deliver the laughs, his kids will be selling apples on the street corner. And yet he handles it all so well. It helps that he had a slow rise through the ranks, and his jokes have a relaxed demeanor; he never goes for the laughs too fast. He’s not a ranter or a curser. He falls more into observational humor about the indignities and inanities of life (including, yes, Hot Pockets). Gaffigan is also an author, having published Dad Is Fat in May. In it, he includes

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SE ATTLE WEEKLY • JU LY 17 — 23, 2013

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format images of our trash: bales of detritus, cars crushed into cubes, empty plastic soda bottles in an endless array. He’s intent on the effects of our relentless consumption, and his photography is unabashedly agenda art. Far from Seattle, he’s been visiting the mid-Pacific atoll of Midway to document how our floating bits of trash can reach even the most remote and formerly pristine places. Instead of the canary in the coal mine, his subjects are the giant roaming albatrosses that nest on Midway and gobble up what appear to be enticing bits of plastic. Now it’s not so difficult to take cute pictures of seabirds, but Jordan also shows us their corpses, with exposed stomachs full of bottle caps, golf balls, and even cigarette lighters. Fully decomposed, the albatrosses become small trash piles of bones and man-made debris—and the exposed bones may actually weather away first. Says Jordan, “These birds reflect back an appallingly emblematic result of the collective trance of our consumerism and runaway industrial growth.” (He’s also making a film on the same subject.) We all know how those giant cargo container ships constantly cross from Seattle to China, but how many track those lethal little bits of flotsam and jetsam? That’s what Jordan will show and discuss tonight, presented by the Sightline Institute.

PHOTOGRAPHY

All You Can Stomach Transpacific Trash

Chris Jordan points his camera at those awk-

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» CONTINUED ON PAGE 18

Weekly Wire » FROM PAGE 18

a long, amusing story about his and his wife’s carefree pre-kid days, in which they are constantly shushed by new parents overly concerned with their infant’s special nap needs. JIMGAFFIGAN.COM Gaffigan wonders: Can’t babies just nap wherever and whenever they please, with no special need for silence? And finally we get to the punch line: Driving home, the whole party accidentally runs into a deer on the highway. And the baby sleeps through it just fine. That’s the kind of insight a prospective parent needs. The Paramount, 911 Pine St., 877-784-4849, $40–$50. 7 & 9:30 p.m. BRIAN MILLER

sun/7/21 BOOKS

SEATTLE WEEKLY • JULY 17 — 23, 2013

A Long Time Ago . . .

When Star Wars first appeared in 1977, critics noted how C-3PO and R2-D2 resembled the quarrelsome comic knaves in Kurosawa’s The Hidden Fortress, which in turn drew inspiration from Shakespeare. George Lucas borrowed from many classical and mythological sources, so it’s surprising that it took so long for someone to re-render his story as an Elizabethan/ sci-fi mashup. That’s what Portland author Ian Doescher has cleverly done with William Shakespeare’s Star Wars (Quirk, $14.95), adapting the old lexicon, iambic pentameter, and stage conventions of the Globe to Tatooine. Appropriately for a published play, the author is ceding today’s performance to thespians: members of our local ReACT Repertory Theatre. As you’d expect, Obi-Wan and Darth Vader adapt quite nicely into verse (in part because you imagine Alec Guinness and James Earl Jones reading the lines). Vader warns Leia, “Speak thou well, or speak thy last/For fairer necks than thine my hand hath crush’d.” A chorus has been added, but an even better stage device is to grant R2-D2 soliloquies in English, to clarify all his beeps and squeaks. His character is revealed to be more than a little like Puck, as when he confides, “An imp, he calleth me? I’ll be reveng’d/And merry pranks aplenty I shall play.” (Chewbacca, sadly, isn’t granted the same communication privilege—maybe that’s being saved for The Empire Strikes Back.) ReACT is presently performing Picnic at Hugo House (through Aug. 3), but if audience response is strong enough, this could be their next production. And for props, the light sabers will be easy to find at the toy store. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 2 p.m. BRIAN MILLER

arts»Opening Nights Giovanni (Curtis) is confused about groceries.

CHRIS BENNION

PConstellation Half Remembered JACK BLOCK PARK, 2130 HARBOR AVE. S.W., UMAMIPERFORMANCE.WORDPRESS.COM. FREE. 3 P.M. SAT., JULY 20. PARALLEL PUBLIC WORKS, 424 S.W. 153RD ST., BURIEN. FREE. 8 P.M. FRI., JULY 26–SAT., JULY 27.

CORNISH PLAYHOUSE AT SEATTLE CENTER, 201 MERCER ST., 726-5190. $20–$50. SCHEDULE VARIES; SEE INTIMAN.ORG. ENDS SEPT. 15.

Pruned and repositioned after its financial crisis, Intiman opens its second summer festival with Dario Fo’s farce about life in an exploitative, inflationary economy. The gambit is eye-poppingly colorful and nimbly physical, rooted in the commedia dell’arte tradition from which Fo gleaned seeds of political radicalism. The controversial Italian playwright’s intelligently ridiculous 1974 examination of whether looting is justified under a corrupt regime feels timely in our era of unprecedented income inequality. Although you’re unlikely to knock over Met Market after the show, this affable agitprop may get you thinking about what it means to open your wallet. Thinking aside, it’s plain funny. Two housewives stagger in the door dripping with groceries that one of them, Antonia (the delightful Tracy Michelle Hughes) had “donated” to herself during a customer-declared free-for-all at the supermarket. Antonia drags her B-52haired friend Margherita (Kylee Rousselot) into the cover-up plot, which involves concealing the loot in a fake pregnancy. Soon their law-abiding but equally loony husbands Giovanni (Burton Curtis) and Luiggi (G. Valmont Thomas) smell trouble about the suspicious impending birth. Director Jane Nichols deftly articulates the quick beats that can be so easily muddled in a farce. When flamboyant state troopers (Adam Standley and Skylar Tatro) arrive for a house-by-house search, the comic stakes of each gesture are entirely clear. Jennifer Zeyl’s Pepto-pink and lemonyellow kitchen set, plus Deb Trout’s clowny costumes, suggest a playfulness that belies the play’s thematic sophistication. It’s exciting to see the cost-cutting festival launch with such a high degree of professionalism and coherence. (Intiman’s other three summer offerings cluster around the inadvisable dinner-party topics of money, sex, politics, and race.) Especially given that several of the performers here have major roles in simultaneous runs, the quality of their work in this first-up play is really noteworthy. If the festival’s subsequent productions maintain this level of wit and workmanship, 2013 will be a memorable year for the evolving Intiman brand. MARGARET FRIEDMAN E

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Anyone can dance with another person, but it’s a rare artist who can make a door jamb into a sympathetic partner. Aaron Swartzman and Aiko Kinoshita, in their identity as Umami, have been developing their new piece through performances in all kinds of spaces around town, from traditional theaters to a converted photo studio, but their best work seems to happen in the most unconventional places. Recently dancing in composer Amy Denio’s bungalow, Swartzman moved through a series of duets with a door jamb, a coffee table, and the underside of an upright piano. He and Kinoshita, plus a rotating cast of colleagues, are all skilled in contact improvisation, in which partners shift their support continually, so perhaps it’s not so surprising that he has a way with furniture. The work’s raw material is drawn from the performers’ memories, but the vignettes often stimulate our own—as when a spirited race up and down a staircase evokes sibling relationships. And when we see a performer carrying a plate of fruit fall to the ground in a well-practiced stumble, we wince at our own remembered gaffes. As Constellation Half Remembered evolves in different settings, we recognize movement themes and sequences from show to show. Each new venue reveals different aspects of the material. In the open space of the Raisbeck Performance Hall, we could follow big traffic patterns of the choreography; in Denio’s house, the same sequence was distributed among several rooms. A gecko-eyed observer could simultaneously see a twisty solo in the hallway and a close-but-not-touching duet in the living room. The rest of us watched as if it were a tennis match, shifting our gaze back and forth. As Umami’s cast changes around the two principals, following the multiple shows becomes like watching a serial drama. Swartzman and Kinoshita are riding a current trend: performance-art pieces that are continually edited with each new staging. Even the most polished theatrical production has always included an element of chance (forgotten lines, missed cues, dropped props, etc.), but here the balance between rehearsal and improvisation is much more fluid. And as Umami approaches the last two weekends for Constellation, the ensemble is still tweaking and revising, digging into memory and evoking our own. SANDRA KURTZ

PWe Won’t Pay! We Won’t Pay!

» By Gavin Borchert

The Idea of North “There was no one to confuse or torment me, and I was forced to become original,” Haydn once famously observed of his decades as Kapellmeister at the opulent but lonely palace of the Princes Esterhazy, and the connection between isolation and innovation seems to be manifesting itself again in Fairbanks, of all places—probably the world’s northernmost musical avant-garde hot spot. Not long after the Seattle Symphony’s stunning, much-discussed premiere of John Luther Adams’ Become Ocean, two of Adams’ University of Alaska faculty colleagues, Bonnie Whiting and Karl Knapp, arrive to perform new works by Seattle composer Nat Evans. In Fairbanks last fall to study and collaborate with percussionist Whiting, Evans came up with the 25-minute The Narrow Aisle to the Deep North, which combines traditional instruments with field recordings and natural objects (branches, stones, shells) from the two almost-neighboring states. For his Music for Cello and Found Sounds, which Knapp will premiere, Evans provides just a page of musical fragments and instructions for a background of recorded train noises. He writes, “Field recordings (that I make) show up in my pieces in one way or another all the time, but I wanted to remove myself somewhat from the process, and also draw attention to the sounding mechanism itself, rather than having it be some

arts»Performance RAPTURE, BLISTER, BURN Gina Gionfriddo’s comedy

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

Stage OPENINGS & EVENTS

THE CONSTRUCTION ZONE This reading series presents

Jim Leonard’s Civil-War-set Battle Hymn, about an unwed teen mother. ACT Theatre, 700 Union St., 292-7676, act theatre.org. $10–$20. 7 p.m. Tues., July 23. FAMILY AFFAIR Jennifer Jasper hosts this monthly performance-art cabaret on the theme of family. JewelBox/ Rendezvous, 2322 Second Ave., 441-5823, jewelbox theater.com. $10. 7:30 p.m. Wed., July 17. JIM GAFFIGAN SEE THE WIRE, PAGE 17. GAME SHOW Jeffrey Finn & Bob Walton’s dark look at the genre—and you can win actual prizes! Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $18–$23. Opens July 19. 8 p.m. Fri.–Sat. Ends Aug. 17. GRUESOME PLAYGROUND INJURIES Rajiv Joseph’s play chronicles “the decades-spanning relationship of an accident-prone daredevil and a corrosive masochist who navigate friendship.” Presented by Azeotrope. Washington Ensemble Theatre, 608 19th Ave. E., 800-8383006. $25 Opens July 19. Runs Fri.–Sun. evenings, plus some weekend matinees and Mondays; see azotheatre. org for exact schedule. Ends Aug. 11. PIGGYBACK Stand-up becomes theater as comics and improvisers collaborate. Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $5. Opens July 21. 8:30 p.m. Sun. Ends Aug. 4. THE PLATFORM: PLAYWRIGHT’S FESTIVAL An empowering evening of short plays written by homeless and at-risk youth. The Neptune, 1303 N.E. 45th St., the platformtheater.org. Free. 7:30 p.m. Tues., July 23.

•

NAT EVANS

EarSupply

mysterious sound that drifts in like a specter from an unseen hand. So the piece becomes a dialogue between the cellist and this familiar technology, as well as with a particular recording phenomenon from the 20th century where people bought, collected, and listened actively to field recordings such as these.” Through the nostalgia of these faded technologies—rail, vinyl, portable record players—the resulting

Evans and Whiting’s collection of soundmakers.

duet evokes travel, pioneering, and the profound impact art far removed from the mainstream can have. At this concert, Whiting and Knapp will also play music by intrepid double-bass explorer John Teske. Chapel Performance Space, 4649 Sunnyside Ave., N. natevansmusic.com. $5–$15. 8 p.m. Mon., July 22.

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

•

explores family vs. career and other postfeminist topics. ACT Theatre, 700 Union St., 292-7676. $41 and up. Preview July 17, opens July 18. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Aug. 11. ROCKABY Beckett’s short piece gets into the mind of a dying woman. West of Lenin, 203 N. 36th St., westoflenin. com. $5–$10. 7 p.m. Wed., July 17–Sat., July 2.

CURRENT RUNS

THE CLOCKWORK PROFESSOR The Pork Filled Players

premiere Maggie Lee’s “action-packed adventure of fantastical science fiction with a steampunk twist.” Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, porkfilled. com. $12–$15. 8 p.m. Thurs.–Sat. Ends Aug. 3. DOUBT Theatre 9/12 presents John Patrick Shanley’s Catholic-school-set drama. Trinity Episcopal Church, 609 Eighth Ave., 332-7908, theatre912.com. Pay what you can. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 4. EVIL DEAD: THE MUSICAL A riff on Sam Raimi’s horror trilogy. Choose your seats from the non-splatter zone, the splatter zone, or the X-Treme splatter zone. Balagan Theatre, 1117 E. Pike St., evildeadtour.com. $24–$34. 8:30 p.m. Thurs., 7 & 10:15 p.m. Fri.–Sat. Ends July 20. GREENSTAGE A Midsummer Night’s Dream and King Lear, plus Twelfth Night and The Merry Wives of Windsor in scaled-down “Backyard Bard” productions, in various outdoor venues, all free. Runs Thurs.–Sun. through Aug. 18; see greenstage.org for complete date and venue info. HOMEBODY The subject of Tony Kushner’s hour-long monologue is Afghan history, as London housewife Homebody attempts to summarize 3,000 years of invasion, war, and religious conflict. Fully in command of the text, Mary Ewald makes this loony autodidact lonely and sad, though not quite pathetic. BRIAN MILLER New City Theater, 1404 18th Ave., 800-838-3006, newcitytheater@ comcast.net. $15–$20. 8 p.m. Fri.–Sat. Ends July 27. ILLYRIA Peter Mills and Cara Reichel’s musical reworking of Twelfth Night. 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 Aug. 10. INTIMAN THEATRE FESTIVAL Four shows in repertory, including Stu for Silverton, a new musical about a small

OLYMPIC SCULPTURE PARK

SEATTLE WEEKLY • JULY 17 — 23, 2013

july 11–august 29

Thursdays atthePark 6 pm-8 pm

Thursday, July 18: Enjoy the electro-acoustic sounds of the band Lychee, featuring Seattle pianist and singer-songwriter Sage Redman with guitarist Joe Gillick. Get creative with local artist Janet Fagan and dream up unique homes and gardens using collage. Tour the art with Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art, and savor local wines and food truck fun with TASTE Café, Charlie’s Buns, Hallava Falafel and Wise Guy Italian Street Food.

Additional Support: Amgen, Maryanne Tagney-Jones and David Jones

seattleartmuseum.org/getout

THE TOTALLY TRUE AND ALMOST ACCURATE ADVENTURES OF PINOCCHIO A theater troupe

wants to stage the classic, but runs into problems. Runs Sat.–Sun; see balagantheatre.org for schedule and venues. Ends Aug. 4. TWELFTH NIGHT My, this play is popular this summer. Here’s SPT’s Youth Program’s version. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. Donation. Runs Fri.–Sun.; see seattlepublic theater.org for exact schedule. Ends July 20. THE WAY OUT The Acrobatic Conundrum’s new aerial/ acrobatic drama. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., facebook.com/acrobatic.conundrum. $20–$25. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat. Ends July 27. WOODEN O The Seattle Shakespeare Company presents Henry V and The Tempest in various parks all over greater Seattle, all free. Runs Wed.–Sun. through Aug. 11; see seattleshakespeare.org for complete date and venue info.

Image: Junya Watanabe Comme des Garçons, washed denim dress and pants, Spring/Summer 2002, Collections of the Kyoto Costume Institute, Photo: Takashi Hatakeyama

Oregon town’s transgender mayor. Intiman Theatre, Seattle Center. $70–$250. See intiman.org for full lineup and schedule details. Ends Sept. 15. THE MAGIC PUDDING Norman Lindsey’s tale of Bunyip Bluegum the koala, Bill Barnacle the sailor, Sam Sawnoff the penguin, and their magic pudding, Albert. Volunteer Park, schmeater.org. Free. 5 p.m. Sat.–Sun. Ends July 28. PICNIC William Inge’s play about a drifter and the small town he upsets. There will be abs. Richard Hugo House, 1634 11th Ave., 800-838-3006, reacttheatre.org. $12–$16. 8 p.m. Fri., 2 & 8 p.m. Sat., plus 8 p.m. Mon., July 22. Ends Aug. 3. 7 DEADLY BIRTHDAYS Copious Love’s comedy about growing up Catholic and dealing with sin. Washington Hall, 153 14th Ave., 800-838-3006. $12–$15. Runs Thurs.– Sun.; see copiouslove.org for exact schedule. Ends Aug. 3.

Dance

HOME Freya Wormus’ new site-specific dance work offers

a “quiet yet compelling experience of sadness, lightness, comfort, and transformation.” Sturgus Park, 904 Sturgus Ave. S. Free. 2 p.m. Sat., July 20–Sun., July 21. WANDERING AND WONDERING Joan Laage directs this butoh dance event, which disperses dancers and musicians throughout Kubota Garden, 9817 55th Ave. S., kubotagarden.org. Free. Noon–2 p.m. Sat., July 20. UMAMI DANCE SEE REVIEW, PAGE 19. SUMMER DANCE SEE THE WIRE, PAGE 17.

• •

Classical, Etc. METROPOLITAN OPERA AT THE MOVIES The summer

series ends as Natalie Dessay sings La traviata. See metopera.org for participating theaters. 6:30 p.m. SEATTLE CHAMBER MUSIC SOCIETY July 17 At 7 p.m., a free all-Dvorak concert in Volunteer Park. July 19 7 p.m. recital: Chopin and a Mozart duo. 8 p.m. concert: Piano quartets by Beethoven and Saint-Saens. July 22 Recital: Music for piano four-hands by Faure and Satie. Concert: Bernstein, Ives, and Carter meet Mozart and Schumann. July 24 Recital: Shostakovich’s searing String Quartet no. 8. Concert: Shostakovich’s Seventh Quartet, plus Mendelssohn and Brahms. Benaroya Recital Hall, Third Ave. and Union St., 283-8710, seattlechambermusic. org. Single tickets $15–$45. Ends July 26. NORTHWEST MAHLER FESTIVAL This week, Mahler’s Second. July 17, the choir rehearses; July 18, the orchestra joins them in a performance open to the public. See nwmahlerfestival.org to register. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E. $25 session. 7 p.m. THE PIRATES OF PENZANCE Gilbert and Sullivan’s swashbuckler. 5th Avenue Theatre, 1308 Fifth Ave., 6251900. $29 and up. Preview July 17, opens July 18. Runs Tues.–Sun; see 5thavenue.org for exact schedule. SEATTLE GILBERT & SULLIVAN SOCIETY The Gondoliers, in which one of the two title brothers seems to be the heir to a throne. Seattle Repertory Theatre, Seattle Center, 800-838-3006. $16–$40. Runs Fri.–Sun.; see pattersong.org for exact schedule. Ends July 27. OLYMPIC MUSIC FESTIVAL Chamber music in a rustic barn, each Saturday and Sunday at 2 p.m. through Sept. 1. This weekend, Rozsa, Mendelssohn, and Schumann. Olympic Music Festival, Center Road, Quilcene, 360-7324800, olympicmusicfestival.org. $18–$33. THE AMA TRIO A house concert of music of many traditions, with soprano/violinist Hope Wechkin. RSVP at hope111809@gmail.com. Shainin/Wechkin House, 6114 12th Ave. N.E. $15. 7:30 p.m. Sat., July 20. PUBLIC OPERA Opera favorites from a quartet of singers. Hilton Bellevue, 300 112th Ave. S.E., Bellevue, 425-4551300. 6 p.m. Sun., July 21. TUDOR CHOIR A concert to open the choir’s annual workshop with guest singers from the Tallis Scholars. St. James Cathedral, 804 Ninth Ave., 800-838-3006, tudor choir.org. $25. 8 p.m. Sun., July 21. WHITING & KNAPP SEE EAR SUPPLY, PAGE 20.

•

• •

Exhibition originally conceived by the Kyoto Costume Institute and Barbican Art Gallery, London. Seattle Exhibition organized by Kyoto Costume Institute in collaboration with the Seattle Art Museum. Exhibition supported by Wacoal Corp.

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Just the Ticket

Robert Redford wants grown-ups to enjoy grown-up movies. In comfy seats with a martini in hand.

is on instagram.com

ike any director, Robert Redford has had to endure early rough-cut screenings of his movies, most recently The Company You Keep, with ordinary viewers in dreary suburban multiplexes. “When I was previewing my films, I had to suffer through all the trailers, all the ads. I thought, ‘Why couldn’t we go back to that concept I experienced as a kid?’ ”—in other words, the movie palaces of his youth, built during Hollywood’s pre-TV heyday.

Sundance isn’t the only player in this market sector. Local venues including iPic, Cinebarre, Big Picture, and Central Cinema have been adding food and booze to the filmgoing experience. Even the nonprofit Northwest Film Forum now serves beer and wine. But, along with iPic in Redmond (previously called Gold Class Cinemas), Sundance is going the most posh. “All our theaters are a more grown-up expe-

BRIAN MILLER

New marquee, same building, but renovated inside.

rience,” says Sundance marketing VP Nancy Klasky Gribler during a recent visit to the cinema (then still under construction). What she means are older and more affluent filmgoers who’ll pay more for seats reserved via the computer at home, where they can print their tickets. (You can also buy tickets by smartphone or walk in off the street.) Also: no ads before the trailers, and a full bar. About that bar: By forgoing the under21 crowd, Sundance is forfeiting tween hits like Twilight and profitable, long-running kid flicks like Despicable Me 2. In theory, it makes up the revenue gap with the booze, food, and a sliding-scale “amenity fee.” Matinees and earlyweek screenings will be cheaper (starting at $9.75); weekend shows will push your ticket to $15 ($18 for 3-D). I haven’t sampled the menu yet, but finger food like mini-pizzas, cheese plates, and a black-bean burger will run in the $8–$14 range. At the bar, drinks will range from $7–$11. And you can take your drinks with you into the 10 theaters, all of which have been handsomely refurbished.

Redford and partners are selling amenities.

Sundance now hardly resembles the charmless old Metro, which opened in 1989. Darker colors, new carpeting, accents made of recycled wood, local art on the walls, and furniture you can buy from Sundance’s retail arm—a considerable investment has been made in the place. (Landmark Theatres’ owner, Dallas billionaire Mark Cuban, could make that investment if he wanted, but he also unsuccessfully sought to sell the small national chain in 2011.) The projection room is now fully digital, though two old 35 mm projectors remain for special presentations. All the theater floors have been regraded for better sight lines, aisles are wider, and the new seating is much comfier. By comparison, though I and most local filmgoers still have warm feelings about other Landmark properties—including the Harvard Exit, Guild 45th, and Seven Gables—their seats have grown threadbare and their carpeting faded. Landmark has gradually been shrinking its presence in Seattle. Last month’s closure of the Egyptian follows the fate of the Neptune— where I once shared the balcony with a rat—and the old Broadway Market. Gribler estimates that Sundance now has about 85 percent of the Metro’s former seating capacity. The feeling is much less cramped—like flying business class instead of coach. Again, the Sundance business model is fewer customers but more revenue per customer. I haven’t sat through a movie there yet, but the digital projection THE and sound quality were excellent for a trailer I watched. Another improvement, Gribler promises, will be the parking discount ($2 after 5 THE p.m.). Unlike the Metro’s old scheme, you won’t have to return to your car before the movie. As for Redford, he won’t be here for the grand opening, but he claims an affinity for our region: “I’ve always loved Seattle and its vibrant community. I’ve sailed around Puget Sound.” When I mention how Lynn Shelton, our most prominent director, had her first great success at the Sundance Film Festival with Humpday in 2009, Redford brightens. Speaking of all his Sundance enterprises, he says, “That’s the whole point of it all . . . those kind of filmmakers. She’s an excellent example.” E

bmiller@seattleweekly.com

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Going to movies was an event, he recalls: newsreels, shorts, and a double feature. “Growing up in L.A. as a kid at the end of the Second World War, my family didn’t have a lot of money, we didn’t have a car. We’d walk to the theater and see a show.” Redford is calling to chat about this Friday’s formal opening of the Sundance Cinemas, formerly the Landmark Metro in the U District, which has been renovated in stages since last year, when Sundance acquired the lease. The cinema, the fifth built or purchased by Redford and partners since 2006, follows a different business plan than the megaplexes surrounded by parking lots and catering to teens (think Thornton Place or the Alderwood 16). With ticket sales and revenues essentially flat, Hollywood is in a tough struggle with giant home TV sets, Netflix, Amazon, streaming, and so forth. Movie exhibitors make much of their money from popcorn and soda; and they, unlike studios, don’t get a share of video sales. For that reason, the now 21-and-over Sundance is offering a premium model of moviegoing, with booze, nicer food, and more amenities.

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film»This Week’s Attractions Big Star: Nothing Can Hurt Me

world for almost 30 years. Ungerer was born near Strasbourg in 1931, which meant he got to experience first the uncertainties between the French and Germans When Alex Chilton died three years ago, casual in that disputed area and then the full-on horlisteners could be forgiven for thinking that ror of World War II. Few people would have Big Star was his band, part of a long, eclectic come out of that chaos with a normal life, and music résumé that began on ’60s jukeboxes. Ungerer didn’t, but he inherited his father’s Drew DeNicola is no casual fan, and his docudrawing talent and came to America in 1956. mentary intends to correct the record about the He had no money, but he had good timing: The Memphis group, which produced three albums great age of the American magazine was in full between 1971 and 74 with various personnel. flower. Ungerer’s clean, confident line soon got The mercurial Chilton was one constant, but him work in illustrating and advertising, and the group’s main creative force was plainly Chris his first book for kids, The Mellops Go Flying, Bell (1951–1978). His early death in a car crash was published in 1957. placed a cloud over Big Star’s legacy, even when The ’60s brought acclaim and strong sales, Chilton revived the band in the ’90s (hence the but Ungerer was apparently unable to curtail claim to ownership). his wilder instincts. In his case, these took the Big Star’s sound—studio-manicured and full form of scathing anti-Vietnam War art and of aching harmonies—still inspires devotion, extensive erotica. When people made the conand tributes here come from Robyn Hitchcock, nection between the beloved author Mike Mills, Lenny of kiddie books and the creator of Kaye, Ira Kaplan, the elegantly drawn bizarro porn of and other indieFornicon (a catchy title, you have to rock elders. Part admit), Ungerer was hounded out of of the allure for the nicer section of the bookstore. His such vinyl devotees wandering life after 1975 receives the is the paradoxical briefest treatment here, and director fervency of the Brad Bernstein understands that the record snob: That a Bell, the forgotten star real story is how Ungerer made his group was ignored of Big Star. way back from exile. Meanwhile, colby radio, the mainleagues like Maurice Sendak and Jules stream press, and Feiffer are lavish in their praise—borcallow album shopdering on a kind of awe—of Ungerer’s pers is proof of its talent and his seemingly uncensored superiority. There’s tendency to do whatever he wanted. nothing the collecThe main talking head belongs tor or critic loves to the octogenarian Ungerer, who is more than to say equally disarming whether speaking “You just don’t get of children’s stories, his collection of it, man.” Not quite broken doll parts, or the time a young woman such an obsessive, DeNicola walks us through an presented herself to him and offered to be his album-by-album history of Big Star, footnoted “slave.” He shrugs with good humor at these with entirely too much of Chilton’s later career. There are old stills, new interviews, song snippets, unexpected but generally pleasant occurrences. By the time you’ve spent 98 minutes in his and even period movies by the artist William company, you might start thinking it all sounds Eggleston (!), a member of the same Memphis normal, too. ROBERT HORTON demimonde. However, the film inevitably suffers from a lack of primary sources, Bell and Chilton being The Ghastly Love of Johnny X RUNS FRI., JULY 19–THURS., JULY 25 AT dead, and their personalities don’t come through. NORTHWEST FILM FORUM. NOT RATED. To later gain access to Bell’s family members, 106 MINUTES. one suspects, DeNicola had to be coy about Bell’s mental-health issues. A surviving brother I wish I had a ghastly love for this movie. A recalls Bell telling him, “You should do drugs—it campy concoction of sci-fi, fantasy, musical, takes away your sexual urges.” Wait, what kind of ’50s juvenile delinquent scare-pic, and slapstick sexual urges? The door is shut. comedy, it successfully blends genres but fails to Graying fans of Big Star will naturally welprovide much in the way of interesting characters come this documentary, in part because it never or plot. Director Paul Bunnell’s retro amalgam ventures outside a fan’s perspective. BRIAN MILLER is fittingly shot in lush black-and-white with suitably cheesy special effects. From the opening scene to the end credits, there’s nothing to indiFar Out Isn’t Far Enough: cate Ghastly Love was made in 2012, which is an The Tomi Ungerer Story OPENS FRI., JULY 19 AT VARSITY. achievement of sorts. NOT RATED. 98 MINUTES. At a diner in the middle of the desert, alien If you don’t know the name, you know the line. visitor Johnny X (Will Kennan) and his gang are in search of his ex-girlfriend Bliss (De That is to say, you’ve surely seen the effortAnna Joy Brooks), who stole his magical Resless drawing style of Tomi Ungerer—prolific urrection Suit. The suit grants Johnny—or its children’s-book author of the 1950s and ’60s— thieves—irresistible power over others. Comwhose life gets an enlightening treatment in plications ensue when Bliss seduces the diner’s this documentary. It doesn’t venture into the waiter (Les Williams) to help her escape. The dark recesses of Crumb-land, but Ungerer has rest of this madcap adventure concerns their a story and a career outside the normal job struggle for the stolen suit, accompanied by description for “children’s-book author.” Far musical numbers with forgettable lyrics that enough outside, in fact, to be exiled from that

OTTERMOLE MOVING PICTURE CO./STRAND

Kennan’s Johnny (right) and his alien cohort.

strain to be hilarious but aren’t. At first, the ridiculous setting and exaggerated performances suggest fun to come. But as Ghastly Love drags on, the spoofy potential becomes ever more scattered and digressive, and the fun drains away. Among the colorful ensemble are too many random characters for us to follow. The songand-dance sequences are passable thanks to some sharp editing, though too often the lip-syncing is evident. Ghastly Love doesn’t aim to be taken seriously. It wants badly to be a cult film like Rocky Horror, but it’s too bland for that. NING LIU

Hannah Arendt OPENS FRI., JULY 19 AT SEVEN GABLES. NOT RATED. 113 MINUTES.

In an otherwise conventional approach to her biopic, director Margarethe von Trotta makes an exception for one key aspect of the story. It’s a crucial decision. Hannah Arendt (Barbara Sukowa) is already an esteemed professor and public intellectual when she talks The New Yorker into hiring her to cover the Adolf Eichmann trial in Israel in 1961. This is where von Trotta makes the exception: Eichmann is not played by an actor, but represented by the extensive newsreel

the aberrant monsters of the final solution, she proposed a population of bland bureaucrats with blood on their hands. This bold assertion, and the sometimes angry fallout that came after, is at the core of Hannah Arendt. The subject’s a good fit for von Trotta, whose career has frequently taken a political slant; here she casts a merciless eye on how the political is inevitably personal. Much of the film is in English (Arendt was teaching in New York during the period depicted), which makes for some awkward scenes—von Trotta’s ear for conversational American dialogue is uncertain, especially when people are spouting us-against-them rhetoric. Luckily, Janet McTeer, as Mary McCarthy, is more than capable of supplying well-managed barbs, particularly in defending Arendt from her attackers. Sukowa, who played the title role in von Trotta’s 1986 Rosa Luxemburg, keeps even patchy scenes pointed at the central premise, which is all about applying scholarly, unsentimental rigor to a difficult subject. People accuse Arendt of being heartless in framing a complex argument, and von Trotta shows the toll her New Yorker articles (and subsequent book about the trial) took on Arendt’s friendships. But there’s little question where the filmmaker’s sympathies lie, and Arendt’s dogged pursuit of penetrating insight in the face of comforting conventional wisdoms comes to seem austerely heroic. ROBERT HORTON

I’m So Excited OPENS FRI., JULY 19 AT HARVARD EXIT AND SUNDANCE CINEMAS. RATED R. 90 MINUTES.

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Arendt (Sukowa) as witness to history

footage of the trial. A small thing, but critical: An actor might have brought some distinction, some charisma, to the role of the Nazi war criminal. That could have worked against Arendt’s famous observation about Eichmann’s very ordinariness. She coined the phrase “the banality of evil” to describe the particular horror of the Nazis’ tidy organization of genocide. Instead of

The plane is in the air, and the coach passengers have been sedated for the duration of the flight. This is a wacky Pedro Almodóvar touch—especially the way the flight crew accepts this as standard procedure—and it fits the movie’s overall feeling of not quite existing within the known universe. (Actually, putting passengers to sleep during a long flight is not a terrible idea, even if the plane isn’t experiencing mechanical difficulties.) But this trip has gone wrong. The flight crew is panicked over the stuck landing gear and worried about keeping the first-class passengers distracted. On both points, there’s a great deal of tequila involved. I’m So Excited has been touted as a return to Almodóvar’s zany early work such as Women on the Verge of a Nervous Breakdown, and in some ways that’s true. It’s crammed with explicit sex jokes, suggested sex acts, and a brazen attitude toward hedonism at 30,000 feet. The members of the crew are tangled in illicit relationships; the conscious passengers are a roster of eccentrics

» CONTINUED ON PAGE 26

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and rogues. We lack only a guitar-playing nun and a teen needing a kidney transplant. In truth, the makers of Airplane! did the movie-parody thing better. But Almodóvar has other motives, which likely include a level of political comment (the plane is going around in circles and nobody cares what the economy passengers think, for starters). There’s also some early-’70s-style proselytizing on behalf of the slipperiness of sexual identity and behavior. All of which would be more fun if Almodóvar were in top form for the duration, but something’s missing. The film needs one more complicating plot thread, another strong character, to hit the high-octane screwball zone of Nervous Breakdown. The opening half-hour bops along with promise, with a prologue that briefly brings Antonio Banderas and Penélope Cruz into the proceedings and establishes the poppy design scheme. The misbehaving flight attendants are played by Javier Cámara (he was the lead in Almodóvar’s Talk to Her), Carlos Areces, and

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Raúl Arévalo, and they make it clear that “too campy” is not in the movie’s lexicon. The material wears thin enough that performances become the main source of satisfaction, to which end the earnestness of plain/pretty Lola Dueñas (as a 40-year-old passenger determined to lose her virginity before the end of the flight) is a lovely bonus. Almodóvar’s setup comes close to something that might’ve worked in a film by his great countryman Luis Buñuel, but only if the plane remained perpetually in flight. By the time we reach the end of I’m So Excited, the debaucheries have added up to a surprisingly soft—and therefore unmemorable—landing. ROBERT HORTON

Only God Forgives OPENS FRI., JULY 19 AT SIFF CINEMA UPTOWN. RATED R. 90 MINUTES.

Oh God, Ryan Gosling, what are you doing? Just because you had a small, critical hit with Nicolas Winding Refn’s Drive, you don’t have to obey his next command. The Danish writer/director has some obsessive ideas about masculinity and mommy resentment to work through here. Their rendering is dreamy and hypnotic, set in the nighttime boxing clubs and karaoke bars of

Bangkok, but more often they’re just plain silly. Let’s start with the initial crime that triggers a bloody cascade of revenge. The older brother of Gosling’s drug dealer Julian, a creep played by English actor Tom Burke, commits a horrible crime. Then Billy just sits there, awaiting . . . what? What blood-covered culprit waits for the cops? And still later, when Julian is enlisted in his family’s vengeance scheme, which leaves at least a dozen dead, he again just waits . . . for what exactly? Unlike Gosling’s stoic, heroic wheelman in Drive, Refn makes Julian an entirely passive creature. His sex life consists of ropes and voyeurism. His one big attempt at boxing is a debacle. He stares a lot at his hands. And he mostly does whatever mommy tells him to do. This brings us to Kristin Scott Thomas, playing the most berserk and perverse villainess we’ll see onscreen this year. With her broad vowels and garish makeup, Crystal is a Medea straight from the Mall of America. Told of Billy’s horrific crime, she replies, “Well, I’m sure he had his reasons.” Also in the family’s drug trade, she views violence as standard industry practice; it’s only weakness she can’t abide, and she takes every opportunity to belittle Julian, right down to his

cock size. He’s fascinated by the idea of action, though he’s not truly a man of action. Impotent, in other words. This brings us to the unassuming, middle-aged figure of Vithaya Pansringarm, whom you’ve never heard of. He plays Chang, apparently a cop, though he never wears a uniform. He doesn’t speak English, he carries a sword, and he sings in karaoke bars. Chang isn’t merely an implacable avatar of justice; he is, according to Refn’s very specific director’s note, God. The film’s Thai characters revere Chang and fear his judgment; it’s only the stupid, incredulous Americans who don’t know whom they’ve offended. With its lush synthesizer drones and longheld pauses, Only God Forgives has a slow-burn, languorous intensity in search of a story. Instead we get a half-baked parable of sin and punishment. It’s like everyone’s breathing pure oxygen, but only the bursts of gore have a grotesque life. The ancients sacrificed virgins and scattered entrails to placate the gods or interpret their will. Refn makes lazy allusion to those rituals, but falls well short of their cathartic power.

BRIAN MILLER

Storm Surfers 3-D RUNS FRI., JULY 19–THURS., JULY 25 AT SIFF CINEMA UPTOWN. NOT RATED. 95 MINUTES.

This is a fine documentary, perhaps even a success, when it sticks to what it purports to be: an extreme sports flick that uses 3-D cameras attached to boards, held by surfers, and hovering from helicopters to immerse us in the huge waves found miles off the Australian shore. Sadly, ocean swells aren’t the only thing directors Justin McMillan and Chris Nelius try to immerse us in. They also chase storylines meant to add gravity to the film, but that end up making it feel lost at sea. The legendary surfers the film follows, Ross Clarke-Jones and Tom Carroll, are too wooden onscreen to be engaging. And as we watch an injured Carroll rehabilitate himself on waves much smaller than the promised stormy swells, the doc’s already flimsy narrative crashes into the reef. DANIEL PERSON E film@seattleweekly.com

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THE ATTACK A Tel Aviv surgeon is confounded by the

torso of a bombing victim in the morgue (one of 18). She’s female. She’s Christian. She’s the suspect, say the police. And she’s his wife. Compounding matters even further, Dr. Jaafari (Ali Suliman) is a Palestinianborn Israeli citizen, a secular scotch drinker, and someone who wants desperately to believe in peaceful assimilation. In flashbacks and ghostly visitations, his wife Sihem (Reymoud Amsalem) doesn’t wear a veil, doesn’t talk politics, so Jaafari is stunned by the cops’ allegations. After a brutal police interrogation, Jaafari decides to launch his own forensic investigation, going back to visit his family in Nablus, where fiery imams spew hatred, his wife is featured in celebratory martyrdom posters, and no one will give him a direct answer. Directed by Ziad Doueiri, The Attack ends on a frustratingly indecisive note, where notions of blame and balance fall away. It speaks to Jaafari’s awkward position. Sihem stepped through the looking-glass, but he’s forever caught on the threshold. (R) BRIAN MILLER Sundance Cinemas DESPICABLE ME 2 Again given a Slavic villain’s voice by Steve Carell, the bald, twig-legged Gru is now a single suburban dad raising the three orphan girls he appropriated in 2010’s Despicable Me. The bespectacled eldest daughter is a texting tween just discovering boys; the other two bounce and squeal without being too annoying; none of their names matter. New to the series—though voiced by Kristen Wiig, who played a different character in the first installment (surely there will be three)—is Lucy, a karate-chopping bundle of goofy adrenaline with a sharp, perky nose. Forcibly recruited by the Anti-Villain League (Lucy’s employer) to recover a stolen potion, Gru and his babbling yellow minions set up shop in a local mall, where the evil perpetrator is supposedly hiding. The thief will catch a thief, and Gru is newly energized by the investigation, setting his sights on Eduardo (Benjamin Bratt), the burly proprietor of the mall’s Mexican eatery. To justify the 3-D, Gru and company smash through windows, battle a fierce guard-chicken (!), leap out of planes, and are pursued by a swarm of monstrous little purple demons. All that expensive CG rendering is fun as far as it goes, but kids at the press screening laughed just as hard at the fart guns. (PG) BRIAN MILLER Alderwood 16, Pacific Place, Ark Lodge, Kirkland Parkplace, Lincoln Square, Majestic Bay, Thornton Place, Bainbridge, others

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sucker”—that’s the spirit of Frank Capra’s classic 1934 American comedy It Happened One Night, which earned five Oscars for its road movie romance between a wise-cracking newspaperman and an arch runaway heiress (Clark Gable and Claudette Colbert, pictured). The class-divided, bickering pair sets out together from Miami Beach to NYC, arguing all the way. She’s a “brat” and he’s “prejudiced,” depending on who you believe, but both gradually succumb to a palpable sexual attraction only kept chaste by the famous Walls of Jericho (a sheet on a line between separate beds). Colbert’s intelligence shines, while Gable redeems the somewhat overaggressive populism of his character. (G) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $42–$45 series, $8 individual, Thursdays, 7:30 p.m. Through Aug. 15. BYDESIGN Titles in this annual showcase of films about architecture and design include a profile of NYC graphic designers Lella and Massimo Vignelli and the legendary designer Pablo Ferro, along with studies on the works of architects Frank Gehry and Rem Koolhaas. See the NWFF website for full schedule and details. (NR) Northwest Film Forum, $6-$10 ($40-$60 series pass), July 20-24. DAZED & CONFUSED It’s 1976 all over again in Richard Linklater’s 1993 pot-hazed high-school confidential. Yet beneath the cannabis clouds there’s surprising insight into the inner lives of slackers, stoners, and jocks. Throughout, Linklater’s laid-back observational style reveals all the longing, languor, and half-understood notions of self that define what it means to be 18. And you can’t beat Aerosmith’s “Sweet Emotion.” Keep your (red) eyes peeled for Parker Posey, Ben Affleck, and Matthew McConaughey, whose muscle-car Romeo memorably declares, “That’s what I like about these high school girls: I keep getting older; they stay the same age.” Somehow Linklater almost makes that seem poignant. (R) BRIAN MILLER Central Cinema, $6-$8, July 19-22, 7 p.m.; Wed., July 24, 7 p.m. FREMONT OUTDOOR MOVIES A 2007 comic meteorite from the galaxy of producer Judd Apatow, Superbad is about a couple of chronically unpopular best friends (Jonah Hill and Michael Cera) who, after four years stuck on the lowest rung of the high-school social ladder, find themselves invited to a legitimately cool party. Goodbye, Friday nights chugging Old Milwaukees in their parents’ basements; hello, getting shitfaced in the company of a few dozen of their notparticularly-close friends. Written by Knocked Up star Seth Rogen and co-writer Evan Goldberg, Superbad turns into something like the Lord of the Rings of adolescent nookie movies—a hazard-filled journey towards the fiery gates of Mount Poon. It’s achingly funny, but what sets it apart from other high school comedies is its sweet, soulful vulnerability. Outdoor movie screens at dusk. (R) SCOTT FOUNDAS 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies. com, $5, Sat., July 20, 7:30 p.m. HAIRSPRAY SEE THE WIRE, PAGE 17. THE HEROIC FIGHT Film scholar Matt Lynch will introduce this 1986 chopsocky favorite, full of martial-arts action and stunts, and starring Cheung-Yan Yuen (among other favorites of Hong Kong cinema). Note that the in-store VHSpresso now serves beer and wine. Screenings continue on most Thursday nights. (NR) Scarecrow Video, 5030 Roosevelt Way N.E., 5248554, scarecrow.com, Sat., July 20, 8 p.m. MOONLIGHT CINEMA Last year’s teen-oriented debauch-com Project X follows three high school seniors on their epic quest to party. Things soon get out of hand. 21 and over. Movie screens at dusk. (R) Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com, Thursdays, 6 p.m. Continues through Aug. 29. MOVIE MONDAYS David Grohl’s recent documentary is a loving study of the titular recording studio in Van Nuys, where he, Fleetwood Mack, and other music luminaries have cut their hits. Ticket price is your drink price. (NR) The Triple Door, 216 Union St., 838-4333, thetripledoor.net, $3, Mondays, 8 p.m. Through Aug. 19. MOVIES AT MAGNUSON PARK There are many reasons to love the classic 1952 Hollywood musical

comedy Singin’ in the Rain, and those reasons change with the generations. It all depends what you’re looking for and when you first saw it. Co-directed by Stanley Donen and star Gene Kelly, the film is a late musical that looks back to the end of the silent era; it’s also a jukebox musical that raided the MGM vaults for some of their greatest songs, with a supremely witty plot stitched together by Betty Comden and Adolph Green. Many who saw the Technicolor film upon its debut would have recalled—in living memory—silent films and the prior Broadway shows and movie musicals that had introduced those timeless Tin Pan Alley songs (most composed by Nacio Herb Brown, with lyrics by Arthur Freed). A half-century later, newbies may first experience Singin’ in the Rain on TV, DVD, or here, outdoors. Movie screens at dusk. (G) BRIAN MILLER Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com, $5, Thursdays, 7 p.m. Through Aug. 29. MOVIES AT MARYMOOR Pitch Perfect proved a hit with the Glee crowd last year. Anna Kendrick and Rebel Wilson are among a group of misfit collegiate singers. Outdoor movie screens at dusk. (PG-13) Marymoor Park, 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com, $5, Through Aug. 28, 7 p.m. UNDER AFRICAN SKIES This recent documentary follows Paul Simon on his reunion concert celebrating the 25th anniversary of Graceland. (NR) Keystone Congregational Church, 5019 Keystone Place N., 6326021, keystoneseattle.org, Free, Fri., July 19, 7 p.m. ZOOLANDER Ben Stiller extends his VH-1 Fashion Awards sketches to feature length successfully, despite a few unflattering bulges and wrinkles (i.e. character development) in the telling of this tale about a male supermodel turned political assassin. Dimwitted Derek Zoolander (Stiller) and his peyote-munching sidekick, Hansel (Owen Wilson), actually achieve the unthinkable—admittedly, Zoolander’s forte—as they battle the nefarious forces of Mugler/Gaultier knock-off Mugatu (Will Ferrell): They elicit consistent laughs. The 2001 movie is presented as a quote-along screening. (PG-13) KURT B. REIGHLEY Central Cinema, $6-$8, July 19-22, 9:30 p.m.; Wed., July 24, 9:30 p.m.

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quoted as saying that if bees were to disappear from the Earth, humankind would die off after four years—and while the attribution might be apocryphal, the observation points out how the agricultural grid is dependent on those tiny, buzzing ministers of fertility. You may have heard about some of this already, since docs Colony and Queen of the Sun have recently played Seattle. Colony collapse disorder (or CCD) is a widespread phenomenon in the world of beekeeping, and the millions of bees that prop up annual harvests are disappearing in vast numbers. Markus Imhoof is besotted with bees, and he makes them the captivating heroes of his movie. In his extreme close-ups of bees, they take on the grandeur they deserve. After surveying various apiary experts, Imhoof tracks a group of scientists creating hybrid bee colonies and testing them on an island. The place is so remote that the bees can’t escape to dominate the world. But maybe they should. (NR) ROBERT HORTON Varsity MUCH ADO ABOUT NOTHING Summer is the time for Shakespeare in the park, and Joss Whedon’s enjoyably playful comedy is staged in the yard and interiors of his Hollywood home. It’s a very nice house, paid for with all that Buffy and Avengers money, and it’s a plausible Italian castle in this modern-dress, black-and-white adaptation. Much Ado isn’t a vanity project, since Whedon’s cast members are all pros from television. Still, it has the feel of a weekend-home amateur theatrical, with everyone straining to put on a jolly good show and prove their appreciation for the Bard in his original language. Among the large ensemble cast are Nathan Fillion, Clark Gregg, and Reed Diamond. As quarrelsome lovers Beatrice and Benedick, Alexis Denisof and Amy Acker have a better grasp of the language, but their careful syllables don’t always match the sense of the words. Back in ’93, the Americans stood out for the same unfortunate reason among Kenneth Branagh’s mostly British Much Ado cast—poor command of the text. Absent that, there’s a lot of clowning and eye-rolling here that matches the contemporary mood. Prone to mugging and bluster, Denisof struggles with Benedick’s soliloquies, which Whedon ought to have cut to match his movie’s breezy modern tailoring. Besides the cell phones and Prada suits, more liberties should’ve been taken. (PG-13) BRIAN MILLER Harvard Exit, Lynwood (Bainbridge) MUD Matthew McConaughey’s character, known only as Mud, is a ne’er-do-well Arkansas native, a fugitive and teller of tall tales, hiding on a sandbar island. His improbable refuge—a boat lifted into the trees by a recent flood—is discovered by two young teens who naturally idolize this tattooed, charismatic outcast. Mud has a neat treehouse; Mud has a hot girlfriend (Reese Witherspoon) and a gun; Mud is every 14-year-old’s idea of cool, like some dude from a cigarette ad come to life. Back home, reality is more complicated for Ellis (Tye Sheridan, one of Brad Pitt’s boys in The Tree of Life). Mud is his story, not Mud’s, as Ellis watches his parents’ marriage dissolve, has his first kiss, and begins to question the story Mud is feeding him. Though a little too long and leisurely—shall we just say Southern?—for my taste, Mud is very well crafted and acted. (Look for Sam Shepard, Michael Shannon, and Joe Don Baker in significant supporting roles.) It’s a big step up from indiedom for writer/director Jeff Nichols (Take Shelter), but it’s also a step back to the classical. There are traces of Huckleberry Finn and To Kill a Mockingbird—not because Nichols is borrowing, but because he’s plainly plowing that vein of Americana. (PG-13) BRIAN MILLER Admiral, Majestic Bay PACIFIC RIM Giant robots fighting huge monsters, but no guys in rubber suits stomping on cheap models! Guillermo del Toro does for kaiju and mecha flicks what Lucas and Spielberg did for old serials. The result is well done, fun, and exhausting. Near-future Earth is several years into a war against kaiju (like roided-up Godzillas) invading through a dimensional rift on the ocean floor. Celebrity pilots from major nations pair up in psych-linked teams to take ‘em out in 250-foot robots called “Jaegers.” Washed out after a kaiju tears his pilot brother out of their mangled mecha, unpredictable young Becket (Charlie Hunnam, Sons of Anarchy) gets called back to duty as increasing kaiju-frequency starts to spell big, loud doom. Idris Elba (The Wire) intimidates as commander of the threatened Jaeger force—and he does not like to be touched. Rinko Kikuchi fills at least two stereotypes as the enigmatic Japanese wannabe pilot who may not be ready. Comic relief Charlie Day is half a bickering egghead pair (with Burn Gorman). And del Toro regular Ron Perlman is a sight to behold as a black-market kaiju-parts dealer with the coolest boots in either dimension. The movie’s cliché-heavy and character-light, but not even close to Michael Bay dumb. In fact, even if you didn’t grow up

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with a kaiju-mecha soft spot, it’s pretty cool. Skip the 3-D, though. (PG-13) MARK RAHNER Alderwood 16, Pacific Place, Southcenter, Cinebarre, Cinerama, Bainbridge, Thornton Place, Sundance, others THIS IS THE END 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 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. (The cast also includes a glad-handing Jonah Hill, an obnoxious Danny McBride, and a sweetly loyal Craig Robinson. ) This apocalypse comedy 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.” (R) BRIAN MILLER Alderwood 16, Oak Tree, Cinebarre, Varsity, Meridian, SIFF Cinema Uptown, Big Picture 20 FEET FROM STARDOM Who dreams of being a backup singer? This mostly delightful music doc is tinged with an air of disappointment. Meeting the fullthroated likes of Merry Clayton, Claudia Lennear, and Lisa Fischer, we understand these are masters of their craft. But the question nags: If they are masters, why aren’t they stars? The film includes some who made the leap, including Darlene Love and Sheryl Crow, but the focus is mostly on the folks who’ve made a career out of being in the background. (Also interviewed are figures like Mick Jagger, Bruce Springsteen, Stevie Wonder, and Sting.) Like the 2002 doc Standing in the Shadows of Motown, it’s got a built-in hook: all that great music, served with annotations from musicians. Director Morgan Neville doesn’t organize his material in a way that feels entirely intuitive. Despite the choppiness, the prime footage from George Harrison’s 1971 Concert for Bangladesh or Jonathan Demme’s 1984 Talking Heads concert doc Stop Making Sense is exciting. (PG-13) ROBERT HORTON Guild 45th, SIFF Cinema Uptown THE WAY, WAY BACK Fourteen-year-old Duncan (Liam James) and his divorced mother Pam (Toni Colette) are dragged to a Massachusetts beach rental by her overbearing new bf Trent (Steve Carell). Trent. There is no way we are going to like a guy named that (and a car salesman, of course), and Duncan emphatically dislikes the bullying Trent. In this awfully broad and familiar tale, unhappy Duncan finds a sympathetic mentor in Owen (Sam Rockwell), the flippant king of the local water park where Duncan lands a summer job. Owen is the anti-Trent: goofy and fun-loving, spitting out nicknames and bald lies, treating his staff with affectionate sarcasm, and harboring a not-so-secret thing for his boss (Maya Rudolph). While the drunken adults enjoy “spring break for adults” (per Duncan’s glum crush object, played by AnnaSophia Robb), Duncan finds new pals and self-confidence. We’ve seen this story a thousand times. But what are its incidental pleasures? Rockwell, Rockwell, and Rockwell. His long, nonsensical dialogues that feel ad-libbed and loose. He’s got happy feet and a motormouth. “I know about 46 ways to kill a clown,” he boasts. (Unfortunately, this is not Seven Psychopaths, so there’s no way to test his prowess.) (PG-13) BRIAN MILLER Alderwood 16, Guild 45th, Meridian THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 7815755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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food&drink»Feature

Brothers From Another

The unlikely international partnership at the heart of Mojito’s, Seattle’s hidden-away home for South American cuisine. BY NICOLE SPRINKLE

Above: owners Wersom and Ganz. Top right: a perfect mojito. Lower right: fish cooked in a banana leaf.

While the recipes are authentic, Ganz added his own subtle twists to the sauces and marinades—secrets only he and Wersom know, to which not even the cooks are privy. Asked if the cooks add their own flair to any dishes from their native countries, Ganz smiles: “We listen to their suggestions and sometimes try some out, but when they start to turn a dish into something that’s more familiar to them, we pull it back. We really control the menu.” His cooks, it’s worth noting, have been with him for seven years—a long time by restaurant standards. Wersom came aboard Mojitos as a dishwasher, but Ganz says he quickly realized that “He took the job as something that was his own, took the worries and all.” The two have the easygoing rapport—and the one-upping rivalry—that you’d expect from real brothers. Joking about a recent South American trip they took together (another tasting tour, and a great immersion in the food for Wersom), Wersom laughs and points to Ganz: “He controls the money. I have to ask him for an allowance when we’re traveling.” Ganz shoots back: “This one doesn’t under-

“Even the food at the airport . . . the steak there was amazing!” Wersom says. “The pollo en brasa in Venezuela,” Ganz adds. “Oh my God, yeah. In Colombia though, right?” replies Wersom. “It was better in Venezuela,” Ganz declares. Then they both start reminiscing about the dish, seeming to forget I’m even there. Pollo en brasa is a whole chicken cooked on a woodstove that packs it with an incredibly smoky flavor. They don’t have that kind of stove, but say they might open a small place someday that only serves chickens in that style. I ask them about opening another Seattle Mojitos (they have one in Burien)— perhaps in a neighborhood with better foot traffic. They say it’s part of their plan: He remembers that maybe in Bellevue, maybe downtown Seattle. They when young Wersom have been amping up their they tell me. And heard him speak catering, one of their regular customSwahili for the first ers, Melinda and Bill Gates’ personal chef, Carl Vince, time, the boy was “did a party for Melinda’s basically using our amazed. “You’re not family food,” says Wersom. “Yeah, black,” he said. we haven’t been paid for that yet. Make sure you print that,” he jokes. But based on all the people flowing in on a beautiful Sunday evestand exchange rates. He wanted to buy, like, an ning—the one night they serve sancocho, a old Spanish coin, and it cost $15,000!” hearty fish-and-potato stew popular throughout “Nah, really, no, it was $1,200, wasn’t it?” Ganz South America and the Caribbean—there’s no rolls his eyes. hurry. The salsa is thumping, people are dancing, “Juan Carlos is the paperwork guy; he takes kids (including my half-Colombian daughter) care of the employees and the bills,” Wersom are banging on the drums between spoonfuls of adds. “Me, I’m more about the ambience, the the addictive soupy black beans and rice (surprisfood, the people person.” ingly made with no lard or animal fat). My sanIt’s true, he is. Charming and attractive with gría with icy chunks of mango tastes great with his high cheek bones, dark eyes, and flawless my mojito pescado—fish cooked in a banana leaf tawny skin, Wersom chats up customers effortand seasoned with paprika and cinnamon. lessly between runs to the kitchen and moving With the sun beating down on me, there’s not in crates of papayas and limes. As we’re talking, much of anything else I want right now—except, he walks over and starts speaking Spanish to that is, the recipe for their fiery, garlicky mojito an older American woman who, to my surprise, sauce. When I tell them I’ve been experimentanswers fluently. Motioning to a waiter, he says “Hey, make sure ing at home, Wersom, trying to keep a straight face, says, “Yeah, throw in some green peppers, you speak Spanish to the señorita.” a lot of mustard, you got it.” As with the cooks, Ganz says Wersom’s Spanish is decent, but that who don’t know the whole recipes, there’s not a he manages to fool everyone at the restaurant into sliver of a chance they’ll give it to me. But that’s thinking he’s fluent. The joking stops when they OK, I’ll keep experimenting—or, more likely, just talk about food. I ask about their most recent trip keep coming back for theirs. E to South America, and they start throwing out names of dishes that “blew their minds.” nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • JU LY 17 — 23, 2013

Ganz opened Mojitos right after 9/11, not the best time to start a business, but word got out fast and people started flocking. He’d certainly done his homework, touring South America, staying with family in Venezuela and Colombia, tasting the food he grew up with and gathering menu ideas. The result was a greatest-hits list of dishes that he still makes 12 years later. He was also sampling mojitos, because “at the time the drink wasn’t served here.”

JOSHUA HUSTON

f you’ve never been to Mojitos, it may be because of its location—a peninsula wedged between a quiet residential street and an exit right off Lake City Way on I-5 North. But once you’ve eaten at this 12-yearold South American restaurant, you’re definitely coming back. The food is straight-up Latin-American and Caribbean home cooking, with dishes from Venezuela, Colombia, Peru, Cuba, Puerto Rico, and the Dominican Republic, full of flavor and prepared, with unwavering consistency, by South American cooks. The cocktails, particularly the rum-based mojitos, are just as they should be: made from fresh juice and mint, muddled and served with crushed ice. The vibe is authentic, too: The brightly painted yellow shack with limegreen trim, a small outdoor patio, salsa music, and drums in the corner would fit right in on a Caribbean beach. Seattleites like to bemoan the lack of great Mexican food here, but I’m more bothered by the scarcity of traditional Latin cuisine, which is why I find myself at Mojitos at least once a month. What’s not traditional about the restaurant is its owners. Luam Wersom, who’s been a partner for four years, is actually a refugee from Eritrea, the country between Ethiopia and the Sudan often referred to as “The North Korea of Africa” because of its deplorable dictatorship and human-rights violations. Wersom’s family fled from there to Greece in 1988 before moving to Seattle via sponsorship from a relative here. He was just 12 when he met his future Mojitos business partner and co-owner, Venezuelan-born Juan Carlos Ganz. It was 1990, and Ganz, then 22, frequently hung out at a now-defunct downtown hot-dog joint called Frankfurters. Wersom was the dishwasher there. By coincidence, Ganz’s father grew up in Kenya, where he owned coffee plantations, so Ganz speaks Swahili as well as Spanish and English. He remembers that when young Wersom heard him speak Swahili for the first time, the boy was amazed. “You’re not black,” he said. Ganz recalls that Wersom was “a very shy kid, skinny, looking for a big brother.” Ganz took him under his wing, and the two—10 years apart—became as close as family. Talking about their seemingly disparate South American and African upbringings, Ganz points out that the scenery in Venezuela and Kenya are strikingly similar—“the terrain, the trees, the coffee fields.” He also reminds me that salsa’s roots are in the Afro-Cuban tradition, and that they share the “music and drums” of the Yoruba culture.

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Pointers for decoding the modern cocktail menu.

e’ve all been there: sitting at a bar, staring at a craft-cocktail list that might as well have been written in a foreign language. Sure, you know what gin is, or whiskey, but what in the world is amaro, punt e mes, or aquavit? Much as menus throughout Seattle now seem to require reference materials just to order dinner, cocktail lists are similarly complicated. Here’s a cheat sheet to help you confidently order a newfangled summer cocktail that’s just to your taste.

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on a cocktail list, paired with just about any spirit from gin to vodka to rye whiskey to tequila. What’s it taste like? Bittersweet orange peel, with a healthy dose of roots and herbs. Try this: The Old Pal, which mixes rye whiskey, Campari, and dry vermouth. The spice of the rye matches nicely with the herbal notes in the Campari, while the dry vermouth keeps the drink nicely balanced.

Fernet-Branca

What it is: An Italian amaro (bitter liqueur).

Where you’ve seen it: Being drunk by

Amaro

What it is: An aged, herbal, bittersweet liqueur from Italy (where “amaro” means “bitter”). Where you’ve seen it: Popping

up in ever-increasing quantities on cocktail menus, as more and more different amaros are being imported to Seattle. What’s it taste like? Amaros range wildly in flavor, from sweet and nutty (Averna) to almost undrinkably herbaceous (Sibilla), but they generally have a syrupy richness that makes them more digestif than aperitif. Try this: Sun Liquor’s Model Airplane features Averna amaro in a playful take on the Boulevardier. The amaro brings a richness that no sweet vermouth could achieve.

Angostura bitters

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Spirit Cheat Sheet

What it is: A bitters from Trinidad and Tobago. Where you’ve seen it: Being dashed into just

about every whiskey-based cocktail on the planet, from a Manhattan to an Old Fashioned to a Bittered Sling. What’s it taste like? It’s impossible to say. It tastes like Angostura bitters. Also, you probably wouldn’t want to taste it on its own, because they’re called bitters for a reason. Try this: The Angostura-and-bourbon-soaked bar nuts at Canon. Preferably paired with a Manhattan.

Aquavit

What it is: A Scandinavian infused spirit. Where you’ve seen it: Next to the plate of

lutefisk your relatives made you eat. What’s it taste like? Caraway seed and dill are the two most prevalent flavors in most aquavits. Cardamom, cumin, anise, and fennel seed are also used. Try this: The Aquavit Fizz at Rob Roy, which combines the spirit with cherry Heering, egg white, and brut rosé wine to give it a rich yet refreshing body.

Campari

What it is: An Italian aperitif. Where you’ve seen it: Classically, in a

Negroni, but you’ll find it just about anywhere

bartenders, cooks, and servers city-wide. What’s it taste like? Minty, herba-

ceous death. Seriously, Fernet is not for the faint of heart. Try this: The Toronto, a mixture of Canadian whiskey, Fernet, and simple syrup. For a more patriotic version, substitute American rye whiskey and up the ante with an orange liqueur, like Cointreau, Grand Marnier, or even triple sec.

Lillet

What it is: A French vermouth (fortified wine infused with herbs and botanicals). Where you’ve seen it: Remember that other cocktail James Bond orders? The Vesper? Yeah, it has Lillet in it. Also, you might see older folks drinking it on the rocks. What’s it taste like? Citrus peel and quinine, the stuff that gives tonic water its flavor. Try this: The Corpse Reviver #2: gin, Cointreau, Lillet, lemon juice, and a drop of absinthe. It’ll start your night off right!

Pimm’s No. 1

What it is: A British infused gin. Where you’ve seen it: The Pimm’s Cup

(Pimm’s, lemonade, soda water, cucumber) is the most common application. What’s it taste like? Spicy, citrusy gin. Try this: The Tequila Cup: equal parts Pimm’s and reposado tequila, soda water, lime juice, and a bit of simple syrup.

St~Germain

What it is: A French sweet liqueur. Where you’ve seen it: Added to just about

every conceivable cocktail. It’s not nicknamed “Bartender’s Ketchup” for nothing. What’s it taste like? Elderflowers, whatever those taste like. Basically, sweet white flowers. Try this: Serafina’s Elisir del Fiore features St~Germain, gin, and lemon juice, with a float of sparkling wine. It’s the perfect French 75 variant for a hot summer day. For info on Seattle-based distilleries that handcraft their own spirits, head to our blog, seattleweekly.com/voracious. E

nsprinkle@seattleweekly.com

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BalMar in Ballard is hosting the annual Mojitos Against Mosquitoes fundraiser to benefit the Seattle-based Uganda Village Project this Thursday from 6 to 11 p.m. The $15 admission fee includes drinks and nosh. All proceeds from ticket sales and an onsite auction benefit the nonprofit’s work promoting public health and development in Iganga Town, Uganda.

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Margarita Monday SARA BILLUPS

It’s official: Fuji Bakery has opened its anticipated second Seattle location at 1030 Elliott Ave. W. You can pair slices of matcha azuki or brioche sel with brew from Vashon Island Coffee Roasterie. Hours are 7 a.m. to 6 p.m. Monday–Saturday, but (at least for now) the shop is closed Sundays. E food@seattleweekly.com

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SE ATTLE WEEKLY • JU LY 17 — 23, 2013

In a rare chance for the 21-and-over crowd to hang out with the penguins and otters sans kids, Woodland Park Zoo presents a tasting flight in the North Meadow this Friday from 6 to 9 p.m. In addition to live music, $27 advance tickets include 10 tastings from 30 area wineries, Vita coffee samples, and gin cocktails. Tickets are up for grabs online.

Real Mex!

SEATTLE WEEKLY • JULY 17 — 23, 2013

next week

Reverb»Live Review

Sooner Than Later

Drew Grow proves his power with Modern Kin. BY MARK BAUMGARTEN

Free to go his own way, Grow chose to follow a new sense of urgency. It was a wise decision.

new setting, it worked. With the songs pushing aggressively, that grating staccato transformed into the most human of sounds, the bleating plea of a man trying to keep up with an unrelenting machine. As the scene that bore the Pastors’ Wives has matured, it has also dissolved somewhat. Free to go his own way, Grow chose to follow a new sense of urgency. It was a wise decision. At Barboza, old songs were given new life. “Company,” a slow, melodious ballad with a runner-at-rest heartbeat when performed by the Pastors’ Wives, transformed into a meticulous, bopping, somehow sinister love song. “Friendly Fire” kept its gospel harmonies, but, stripped of its gummy keyboard work, felt much more immediate. The band played a few new songs as well, with standout “40 Winks” sounding straight off the CBGB stage in the late ’70s. That song will presumably be available on the band’s album, due out in October. Alongside it, I hope, will be “Sooner or Later,” the first of two encores and the song that sealed the deal for me. Opening with a few measures of hypnotic bowed bass, the ballad is built around a single circular guitar line, and features Grow singing, his voice raw, but clear, and wavering at the edges. The affect is spiritual, but it is turned inward, unaffected, seemingly independent of the listener. The song recalls the best moments of Pearl Jam, another band led by a man with a manic performance style that, when focused, can move arenas of people all on its own. That song over, Grow addressed the modest crowd. “All right, guys. We’re just getting warmed up; we’ll see you guys soon.” And then the band played “Bootstraps,” an old Pastors’ Wives favorite, and almost burned the place down. E

mbaumgarten@seattleweekly.com

SE ATTLE WEEKLY • JU LY 17 — 23, 2013

Last Friday a very different band took the stage at Barboza. This band didn’t really need anybody. With terse, direct songs built around growling electric-guitar lines and spare-butinsistent drum hits, the trio was self-propelled. At the center was Grow, cutting his way through songs that still had gospel roots, but were unmistakably punk in their DNA. The band was Modern Kin, and its electrifying performance in that dark underground club before a handful of people convinced me that Drew Grow is in fact destined for great things. Of course, it’s not just Grow. The band before me was the Pastors’ Wives, slightly recast. Keyboardist Seth Schaper is gone. But Jeremiah Hayden continues to play the drums—still with a restrained respect for the space between beats, but now with a quickened pulse. Kris Doty still plays the bass, though she held an electric bass as often as that old-timey upright. Grow was still dressed as a pauper, though he looked more like he came from the gutter, greasy and gray, than an orphanage, as he often did with the Pastors’ Wives. And there was still that voice, rippling uneasily over it all. And yet, in this

SCOTT HAYDON PHOTOGRAPHY

here was never any doubt that Drew Grow could fill a room with his voice, or that he could grab attention with his rattling, pitchy staccato and man-possessed stage presence. That had all been established in the past few years as the Portland musician fronted his neo-gospel band, the Pastors’ Wives. This attention turned to praise in some corners. Within the modern roots movement that grew up around the Doe Bay Festival and was championed by music blog Sound on the Sound, there was a sense that Grow was the spiritual center, with godfatherly Damien Jurado playing the soulful guide and The Head and the Heart playing the heart, and later the head. There was a belief that, like these other scene leaders, Grow and his band were destined for great things. I didn’t think so. I remember two years ago seeing the band play at Columbia City Theater in celebration of its self-titled release, and feeling put off. Grow’s voice, on which every song seemed to hang, was grating. His band’s pace was laggard. And unfair expectations were put upon the audience; they were expected to stomp and clap and howl. These are all fine things, but the band seemed to require it. There was the sense that if there were no audience, there would be no Pastors’ Wives. Like a clingy lover, the band had earned my mild contempt.

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SEATTLE WEEKLY • JULY 17 — 23, 2013

PONCHO SANCHEZ AND HIS LATIN JAZZ BAND THUR, JUL 18 - SUN, JUL 21 Grammy-winning master conguero and his 7-piece band returns with his fiery brew of upbeat jazz, gritty soul and melodic rhythms from a variety of Latin American and South American sources

HAZMAT MODINE TUE, JUL 23 - WED, JUL 24 A septet that delivers rustic and deliriously joyful reggae, klezmer, rockabilly and gypsytinged music!

DIANE SCHUUR - ONE NIGHT ONLY! THUR, JUL 25 Returning to her stomping grounds, Grammy Award-winning vocalist and pianist Diane Schuur inspires rave reviews across the globe as the first lady of jazz.

BONEY JAMES FRI, JUL 26 - SUN, JUL 28 Chart-topping saxophonist touring in support of his new Concord Records release THE BEAT!

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wed, July 17 • 9pm ~ $10 modern acoustic & newgrass

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blues-roots singer/songwriter from Austin

ON SALE MONDAY AT 10AM NOV 14

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PERFORMING 10TH ANNIVERSARY OF MOUTHFULS W THE DONKEYS

Reverb»Reviews

LINCOLN DURHAM

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(out now, Fluff & Gravy Records, jack-wilson. com): Jack Wilson will inevitably invite comparisons to Elliott Smith due to his affinity for minor-key melodies and a similar backstory— a singer/songwriter from Texas relocates to the Pacific Northwest to write and record melancholic folk/pop—but Wilson is no Elliott Smith. Instead, Spare Key, his second fulllength release, flourishes with string accompaniments, female choral backup vocals, and beautifully understated guitar work. Standout track “Rainbow/Tiger” is elegant in its sparse arrangement, yet full of yearning lyrics over a solo bass and sparkling-clean guitar riff. It should also be noted that the album—which also features local power couple Sean Nelson and Shenandoah Davis—was made in response to the May 2012 shootings at Café Racer, where Wilson often performed. CORBIN REIFF

The Gloria Darlings, Come Home to Me (out now, self-released, thegloriadarlings.com): Countryfolk excellence, complete with double-tracked twang vocals, fiddles, mandolins, and fingerpicked guitar. Most songs deal with classiccountry themes—heartbreak, longing, moving on—with “To Care About You” and “Ghost Girl” the ablest of them. CR Bill Frisell, Big Sur (out now, Okeh Records, billfrisell.com): The most striking thing about this record is that the guitarist whose name appears on the cover remains quite content to be just another member of the band. There are exceptions in which Frisell’s iconic reverby guitar is allowed to shine—like “The Big One” and “A Beautiful View”—but overall the string section dominates the show. CR Mark Lanegan & Duke Garwood, Black Pudding (out now, Ipecac Recordings, ipecac.com): Beyond his gravelly baritone, you can never be exactly sure what Mark Lanegan’s next collaboration might sound like, given the breadth of his work with folks like Greg Dulli, Isobel Campbell, and Josh Homme. His latest collaboration, his first with British multi-instrumentalist Duke Garwood, is dark and bluesy; Lanegan’s elastic voice mostly overshadows Garwood’s musical contributions, which ultimately doesn’t serve him as well as the point/counterpoint approach that anchors his best pairings. DAVE LAKE Lark vs. Owl, Sanguine (out now, Wandering Infinity Productions, wanderinginfinityproductions.bandcamp.com/album/sanguine): On this Mike Sebring–engineered and –mixed album, Matthew Payne and Dennis Jolin juggle multiple instruments, including glockenspiel, gong,

*Yeah, every release

EDITOR’S PICK

Jack Wilson’s Spare Key, featuring contributions from Sean Nelson, Shenandoah Davis, and others, is out now.

keyboard, and ukulele, making each song sound so big that it’s hard to believe LvO is only a duo. (Sat., July 20, The White Rabbit) AZARIA PODPLESKY

Pineola, Pineola (out now, self-released, pineola-

band.com): Leslie Braly’s delicate voice is at the center of the debut full-length from this Seattle quartet, which formed via the friendships of its members’ children. The songs are rootsy ballads, mostly, with steel guitar and banjo scattered throughout; drummer Collin Schulze plays with brushes rather than sticks, giving the album a sleepy, introspective vibe rather than a rocking one. (Sat., July 20, Phinney Neighborhood Center) DL

Spekulation, Truth Be Told EP (out now, selfreleased, spekulation.bandcamp.com/album/ truthbe-told): MC/producer Spekulation didn’t have to look far to find talent to feature on his latest EP. Every guest artist, including vocalists Michele Khazak and Ripynt, violinists Alex Guy and Alina To, and cellist Maria Scherer Wilson, are from Seattle. I know what you’re thinking: violins, cellos, and hip-hop? Trust me, it works. AP Various artists, Twitch and Gloam: Dark Sounds From the Pacific Northwest (out now, Flat Field Records, flatfieldrecords.com): A friend of mine, a huge Joy Division fan, likes to use the phrase “Ghosting the ’Verb”—loosely defined as cranking up the reverb on a track until you can’t make out anything underneath it. This compilation of local neo-goth bands might be good, but they ghosted the ’verb so hard on every track, I can’t even really tell you. The echoey wash certainly sounds spooky, though. (Featured artist Alicia Amiri from Nightmare Fortress plays the Croc’s back bar Wed., July 17.) KELTON SEARS

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.

Portugal. The Man WEDNESDAY, JULY 17

The big news with Portland’s Portugal the Man (I’m willfully refusing that punctuation) is its collaboration with producer Danger Mouse for its eighth full-length release, Evil Friends. A transformative figure, the producer has incorporated the bands’ talents seamlessly into his own punched-up, rhythm-driven, radio-ready world, bringing its sometimes-sprawling sound into focus while somehow not hampering the songwriting of leader John Gourley, notable on standouts like “Plastic Soldiers” and first single “Purple Yellow Red and Blue.” Of course, Portugal the Man stands alone on tour as Danger Mouse moves on to his next project. But the band has rarely disappointed in a live setting; it’s difficult to imagine them doing so with this material. With Avi Buffalo. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $25. MARK BAUMGARTEN

Feral Children THURSDAY, JULY 18

Three years ago, Feral Children were Seattle’s percussive heirs apparent to Modest Mouse. Featuring shouty, strangled vocals and songs that sounded like they had been channeled from the spirit of the woods, the group owned the Northwestern-dark-wilderness vibe better than anyone in town. Flash-forward to the present, and Feral Children seem to have spent a lot of time hiking brighter shores. The new single, “Rewind the Dessa Rerun” from the band’s surprise third full-length, Too Much, Too Late, is much more California than Washington. Better for beating around the boardwalk than the bush, the song is a sunbathing, skate-punk jam. With

the Purrs, Wayfinders. Barboza, 925 E. Pike St., 709-9467. 21 and over. 8 p.m. $8. KELTON SEARS

Midday Veil THURSDAY, JULY 18

When Midday Veil plays, it’s more ritual than mere musical performance. “My body becomes an instrument,” lead singer Emily Pothast recently told Seattle Weekly. “When it all comes together, there’s this unfolding of eternity that can happen sometimes.” She’s not lying—when it finds its center, Midday Veil is a transportive band. Pothast and co. all appear to lock into a genuine trance, conjuring hypnotic, witchy grooves from somewhere beyond the here-and-now. The release show for the band’s new album, The Current, looks to be the séance of the year. Joining the clandestine ceremony are Master Musicians of Bukkake, Seattle’s premier mystic consuls. With Panabrite,

DJ Explorateur. Chop Suey, 1325 E. Madison St., 324-8005. 21 and over. 8 p.m. $7 adv./$10 DOS.

KELTON SEARS

The Postal Service THURSDAY, JULY 18

When The Postal Service released its first and only album, Give Up, 10 years ago, lonely kids with broken hearts lost their shit. It was a revelation, this

eclectic mix of electro-fuzz and sensitive indie rock that so easily fit every uncomfortable and angsty feeling. The band understood us, soundtracked our adolescence, then promised to never make another album. Ouch. So when the act, comprising among others Death Cab’s Ben Gibbard and DNTEL’s Jimmy Tamborello, decided to regroup this year, those kids—still lonely, lost, and broken—lost their shit again. Key Arena, Seattle Center, 684-7200.

$60. 8 p.m. KEEGAN PROSSER

Trash Talk + Nacho Picasso THURSDAY, JULY 18

In addition to making for a delightful ear-fuck of a show, the Trash Talk/Nacho Picasso pairing is one of the most logical sales pitches Nacho has been fortunate enough to enjoy. With record labels stupidly snoozing on Picasso—the potential gold tooth on the current nihilist-rap movement—the equal booking here with the tough-as(skate)-trucks California punks shows he’s clearly capable of filling the shoes of an act like Odd Future duo MellowHype, who shared the Chop Suey stage (and tour bus) with Trash Talk last time they came through town. With Key Nyata,

Keyboard Kid. Neumos, 925 E. Pike St., 7099442. 8 p.m. $12 adv. All ages. TODD HAMM

Dessa

Reverb»The Short List

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She has been called a cross between Mos Def and Dorothy Parker for her rapping prowess and raw, incisive lyricism. That comparison held for Dessa’s first two releases, but the Minneapolis artist brings more to the table on COURTESY OF THE ARTIST her just-released third full-length, Parts of Speech. Her rapping, delivered in a rolling cadence that maintains a cool distance while delving into deep emotional waters, is still here. But the star is Dessa’s singing, for which the rapping now seems simply the setup. It’s powerful stuff, as heard on second single “Call Off the Ghost,” where overdubs have given us a choir of Dessa’s pleadings for release in harmony over a glitchy club track, yet another delightful new development. With SIMS.

Companion plants, like this sunflower, lead to better soil, fewer pests, and more productive farming.

Crocodile, 2200 Second Ave., 441-4618. 9 p.m. $15 adv. MARK BAUMGARTEN

Jolie Holland and Mark Olson MONDAY, JULY 22

Jolie Holland first made a name for herself as part of the Vancouver folk trio the Be Good Tanyas, but parted ways with the group before it cut its first record. Mark Olson stayed with the Minneapolis-based Jayhawks for about 10 years before he split, forging the band’s budding altcountry sound in a world that had yet to welcome acts like Uncle Tupelo and Whiskeytown. Since leaving their nascent ensembles, both artists have established very fine solo careers. Holland’s bluesy warble and Olson’s clean, straightfoward vocals are unconstrained instruments, each requiring its own place to roam free. The two will play different sets tonight, but there’s always the chance, says a source, that “they’ll play a song or two together.” Columbia City Theater, 4916 Rainier Ave. S., 722-3009. 8 p.m. $20. GWENDOLYN ELLIOTT

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Seattle Weekly 07-17_08-07-13.indd 1

6/24/13 9:10 AM

THIS FRIDAY! JUL 19 • SHOWBOX AT THE MARKET

SEATTLE WEEKLY • JULY 17 — 23, 2013

with

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

El Corazon

Reverb» Seven Nights

www.elcorazonseattle.com

Rogue Wave

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

THURSDAY, JULY 18

ELUDE (TOUR KICKOFF SHOW)

with Cavalier, Call It Off, Backfire, plus guests. Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THE B-SIDE PLAYERS TERRI LOEWENTHAL

with The Brown Edition Doors at 8 / Show at 8:30PM 21+. $15 ADV / $18 DOS

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

EDITED BY ANDREW GOSPE

Thursday, July 18

• AIDAN KNIGHT Though he has the mild voice

Friday, July 19

BLACK FLAG No one’s certain what motivated guitar-

•

ist Greg Ginn to revive Black Flag now, more than two and a half decades after the iconic hardcore band broke up, but it’s been a contentious reunion. Videos from this tour reveal a band that’s the antithesis of tight, and another band of Black Flag expatriates are touring as FLAG and playing Black Flag songs. Feel free to pay homage to the legends, but it might be a shitshow. With Good for You, Piggy. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7 p.m. $25 adv./$30 DOS. All ages. DEBO BAND Eleven members strong, this Sub Pop–signed ensemble re-energizes the sounds of

» CONTINUED ON PAGE 40

Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

MOBILE DEATHCAMP (FEAT TODD EVANS AKA BEEFCAKE THE MIGHTY OF GWAR) with Hollywood Jesus (former & current members of Warbringer), The Godbeast, Witch Ripper and Antitheus Lounge Show. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SUNDAY, JULY 21

with Good For You and Piggy Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $25 ADV / $30 DOS

Doors at 6 / Show at 7PM ALL AGES/BAR W/ID. $25 ADV / $30 DOS

Featuring Live Music From: 13 Scars and Neutralboy Lounge Show. Music begins immediately after the Black Flag show in the main showroom. 21+. FREE

THE DIRTY HEADS with The Expendables, Big B, and The Approach MONDAY, JULY 22

ORANGES with These Colors, Postmadonna, Dear Mister Manager,

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

JUST ANNOUNCED 8/7 STONE IRIS 8/7 LOUNGE AWFULLY SUDDEN DEATH OF MARTHA G 8/26 LOUNGE RIVERBOAT GAMBLERS 9/4 THE ACACIA STRAIN 9/10 VISTA CHINO 9/15 LOUNGE WE BUTTER THE BREAD WITH BUTTER 9/16 LOUNGE THE GRAHAMS 9/26 TEENAGE BOTTLEROCKET / THE QUEERS 10/9 ICON FOR HIRE UP & COMING 7/23 CASCABEL 7/24 JOE BUDDEN WITH SPECIAL GUEST CROOKED I 7/25 SHOOTER JENNINGS / SCOTT H. BIRAM 7/26 TRAPT 7/27 ALEX GOOT 7/27 LOUNGE A_RIVAL 7/28 DROWNING POOL 7/29 JAYKE ORVIS AND THE BROKEN BAND 7/30 THE ALLSTARS TOUR FEAT. EVERY TIME I DIE 7/31 LOUNGE FOLLIES AND VICES 8/1 TRUTH UNDER ATTACK 8/1 LOUNGE MASKED INTRUDER 8/2 THE DANGEROUS SUMMER COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

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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

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SHIVERING DENIZENS 9PM - $3 COVER

FRIDAY JULY 19TH

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DAVANOS

9PM - $5 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS TUESDAY JULY 23RD

TEQUILA ROSE 9PM - NO COVER

MONDAY AND WEDNESDAY

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

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

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SE ATTLE WEEKLY • JU LY 17 — 23, 2013

and the artfully disheveled look of your everyday, paint-by-numbers folk musician, Knight and his namesake band are more Grizzly Bear than coffeeshop troubadour. The quintet’s music is moody and richly detailed, incorporating samples, synthesizers, horns, and odd meters. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $9. All ages. GRAYSKUL This Fake Four–signed trio—JFK, Onry Ozzborn, and Rob Castro—recently released a video for its streetwise single “Come On,” the first from Zenith, due out in September. With RA Scion, Continental Soldiers, Clutch Douglas, DJ Phil Anthony. Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $10. ROADKILL GHOST CHOIR The harmony-mad Floridians in this band are presumably fans of modern folk-rock titans like Wilco and Fleet Foxes, whose expansive sound influences the group’s debut EP. With Shepherd, Ghosts I’ve Met. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $8.

with Speaking The Kings, Keeping Secrets, Reach For The Sky, Osatia, and We Move Mountains

Mike Thrasher Presents:

THE BLACK FLAG AFTERSHOW PARTY

GRAN RAPIDS These locals’ most recent, self-titled

•

BLACK FLAG

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Mike Thrasher Presents:

El Corazon Presents

Wednesday, July 17 effort, out this past spring, is club-ready rap built around producer Jay Battle’s synth-centric beats. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $7 adv. HOBO NEPHEWS OF UNCLE FRANK Minnesotan brothers Teague and Ian Thomas Alexy are touring behind the rootsy blues-folk of Number One Contender, an album representative of their maturation over eight years as a band. With the Harmed Brothers, Clearly Beloved. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $7. ROGUE WAVE Over the past decade or so, this group has reliably manufactured the sort of chiming, emotionally resonant indie rock that was so popular in the mid-aughts. Unsurprisingly, June’s solid Nightingale Floors plays comfortably to the group’s strengths. With Papa, Wardell. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $16.

FRIDAY, JULY 19

SATURDAY, JULY 20

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Happy Hour: $5 beers from all taps until one hour before first pitch. Every Mariners game is a party at The ‘Pen. It’s the most popular spot in Seattle sports. Check out the rail bar, cocktail lounge, fire pit and great food from top chefs. Don’t miss Edgar’s Cantina, a new open-air restaurant behind the left field wall, with a special “Northwest Mex” menu created by chef Ethan Stowell. The ‘Pen opens 2 1⁄2 hours before game time for all ticket holders. Get in on the good times, ticket at Mariners.com.

Seven Nights » FROM PAGE 39 ’60s and ’70s Ethiopian funk. With Gabriel Teodros. Triple Door, 216 Union St., 838-4333, thetripledoor. net. 8 p.m. $20 adv./$25 DOS. All ages. PETER MURPHY Widely considered the founding father of goth music, Murphy is on tour to commemorate 35 years with Bauhaus, and he’s playing only Bauhaus material. With Ours. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline. com. 8 p.m. $35 adv./$40 DOS. TERRIBLE BUTTONS This Spokane seven-piece plays bluesy country rock with a wide gothic streak. With the Hoot Hoots, Candysound, Secretary. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8.

Saturday, July 20

CANDLEBOX If scientists charted the evolution of

grunge, Candlebox would be the missing link between the genre’s first wave and the widely derided “postgrunge” dreck that soon followed. “Far Behind,” an early-’90s MTV staple and the band’s biggest hit, contains all the pertinent sonic information: soft/loud verses and choruses, vaguely pensive lyrics, and Kevin Martin’s borderline-yarling vocals. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 7 p.m. $25 adv./$27.50 DOS. All ages. DANAVA This Portland outfit draws its raw, heavy rock sound from old-school metal and prog. With Lecherous Gaze, Golgothan Sunrise, DJ Mama Casserole. Comet Tavern. 9 p.m. $8. MELISSA FERRICK A contemporary of early-’90s musicians like Liz Phair, Ferrick recently released the self-produced The Truth Is, which features her characteristically raw and sincere style of songwriting. Triple Door. 7 p.m. $20 adv./$23 DOS. All ages.

Sunday, July 21

BRUNO MARS is about as big as pop stars come these

days, and his success is predicated on genuine talent—he’s a prolific songwriter, producer, and multiinstrumentalist—that, depending on whom you ask (Tyler the Creator?), belies his pretty-boy image. With Ellie Goulding. Key Arena, 305 Harrison St., 684-7200, seattlecenter.com/events/concerts. 6:30 p.m. Sold out. All ages. ZO! This producer, keyboardist, and songwriter relies on guest vocalists for his ultra-smooth neo-soul cuts, but his understated proficiency on the keys drives his songs. With Kimberly*Nichole, Camila Recchio, DJ Fresh1. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $12 adv./$15 DOS.

Monday, July 22

SEATTLE WEEKLY • JULY 17 — 23, 2013

HOLY GRAIL plays traditional-leaning melodic metal,

full of ultra-technical guitar leads and arpeggios, double-time kick drums, and ragged but generally nonscreamed vocals. With Anti-Mortem. Highline, 210 Broadway Ave. E., 328-7837, highlineseattle.com. 8 p.m. $10 adv. ORANGES make the kind of bright, emo-tinged poppunk you’d probably expect to find at El Corazon on a Monday night, but with a decidedly SEO-unfriendly name. With These Colors, Postmadonna, Dear Mister Manager. El Corazon. 7:30 p.m. $8 adv./$10 DOS. All ages.

Tuesday, July 23

THE CAT EMPIRE This Australian sextet incorporates

elements of jazz, Latin, reggae, and ska into its boisterous sound. Neumos. 8 p.m. $20 adv. HEARTLESS BASTARDS Like fellow Ohioans the Black Keys, Heartless Bastards are a workmanlike blues-rock band whose sound has mellowed considerably over the years. Last year’s The Arrow is far removed from the blown-out invective of the band’s early days, but the band’s songwriting remains onpoint. With Writer. Crocodile. 8 p.m. $16 adv. All ages. SHELBY EARL This free in-store performance coincides with the release of the songwriter’s sophomore record, Swift Arrows. Sonic Boom Records, 2209 N.W. Market St., 297-2666, sonicboomrecords.com. 6 p.m. Free. All ages.

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