Seattle Weekly, July 24, 2013 by Sound Publishing

JULY 24-30, 2013 I VOLUME 38 I NUMBER 30

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THE ARMY’S KILLER DRUG, PAGE 6 | PIONEER SQUARE’S FOOD REVIVAL, PAGE 29 | KATIE KATE’S GREAT, UNHEARD ALBUM, PAGE 33

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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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classroom remark embroiled the Skagit Valley town of Concrete in a religious war of words.

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have some hard evidence,” Ritchie says—a senhen former top Army psychiatiment echoed by retired Lt. Col. Greg Alderate trist Elspeth Cameron Ritchie of Lakewood, founder of the group Veterans first heard about last year’s Against Lariam, who calls the documents a massacre of Afghan civilians by “smoking gun.” Alderate says 1,200 people a once-respected soldier named Robert Bales, belong to his group, many of them soldiers who she had a hunch. As she told Seattle Weekly at believe they are suffering long-term side effects the time, the conventional speculation—that from the drug. PTSD or a traumatic brain injury Bales had Strangely, the documents came to light due suffered a couple of years prior was to blame— to events that unfolded in Ireland. Irish TV didn’t make sense to her. As she saw it, neither station RTE was investigating mefloquine’s malady was associated with that kind of horrific role in the high incidence of suicide among violence. Irish soldiers. Assisting the station with its Instead, she thought the culprit might be research, an Irish anti-mefloquine group mefloquine, an anti-malarial drug that has obtained a report from the Irish Medicines been associated with hallucinations, suicidal Board that linked a soldier’s mefloquine use to thoughts, and psychotic behavior. The drug, also an Afghan massacre. It was heavily redacted, known by the brand name Lariam, was develthough. So an American doctor also assisting oped with research done by the military. And RTE with its program, former Army epidemithough the Pentagon has dramatically scaled ologist Remington Nevin, put in a Freedom of back the drug’s use, it continues to use it in Information Act request to the Food and Drug some units. Administration for its report on the matter. The military refuses to say whether it gave That document came unredcated, according to the drug to Bales, who was stationed at Joint Nevin. The crucial passage: Base Lewis-McChord and is now scheduled for a sentencing hearing in August following On an unknown date the patient who was a his guilty plea last month in the killing of 16 soldier in the US Army developed homicidal behavAfghanis. Army Medical Command spokesperior and led to Homicide killing 17 Afghanis. It was son Maria Tolleson cites privacy issues. reported that this patient was administered MefloBut Bales’ attorney, John Henry Browne, quine in direct contradiction to US military rules says medical records show that Bales was given that Mefloquine should not be given to soldiers who mefloquine on each of his three prior deployhad suffered TBI (Traumatic brain injury) due to ments to Iraq. Speaking for the first time about its propensity to cross blood the matter last week, brain barriers inciting psyhe added that he does PRINT IS GREAT, but if you chotic, homicidal or suicidal not yet have complete want to know how Microsoft is behavior. records of Bales’ deployhelping government snoops, check it out on The Daily Weekly. ment in Afghanistan, SEATTLEWEEKLY.COM/DAILYWEEKLY Speaking by phone from and so cannot confirm Baltimore, where he is that his client took the currently pursuing a doctoral degree at Johns drug in the months leading up to the massacre. Hopkins Bloomberg School of Public Health, Bales himself can’t settle the matter. “When Nevin explains that this so-called “adverse you ask him, he says ‘I took everything they event” report (submitted to regulatory agencies gave me,’ ” Browne said. in various countries where mefloquine is disRegulatory documents released in the past tributed) says that the information came from few weeks, however, suggest that Bales was a pharmacist. Nevertheless, Nevin cautions that issued mefloquine on his latest tour. “Now we

[

TIME FOR A TUNE-UP?

news»The Daily Weekly Full-Court Press It’s often been said that you don’t win elections without coalitions. Mayor McGinn proved it in 2009 by uniting cycling lefty environmentalists and anti-tunnel types. And as the 2013 mayoral primary nears, perhaps an even more unlikely coalition is coming together for the incumbent. Could Sonics fans, recently jilted by the NBA’s decision to deny the city a team despite the mayor’s support for a new arena, help push McGinn through the primary? With King County Elections predicting a 35 percent voter turnout in Seattle, the chances may be better than you think. “The mayor’s volunteer phone program is as big as I’ve ever seen. It’s a mix of environmentalists, human-service supporters, and Sonics fans,” says McGinn campaign spokesperson John Wyble. “That’s a coalition I haven’t seen before.” Given the crowded field, most political experts predict it will take about 25 percent of the vote to squeak through the primary—meaning the goal for McGinn and every other mayoral candidate is about 35,000 votes. Thus it seems reasonable to say a few thousand basketball fans could have a direct impact on the race. Sonicsgate producers Adam Brown and Jason Reid are two of the most prominent Sonics fans lining up for McGinn. Fan favorite Kris “Sonics Guy” Brannon and Brian Robinson of Arena Solution have also been vocal supporters. “We’re supporting McGinn, just trying to give him the credit that’s due,” says Brown of the official Son-

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“The Sonics situation has pulled so many sports fans into the political realm. This issue has really taken sports fans and made them a force.” icsgate endorsement, which has consisted largely of pro-McGinn efforts on Twitter and Facebook. “It’s been an interesting thing. The Sonics [situation] has pulled so many sports fans into the political realm. . . . This issue has really taken sports fans and made them a force.” “McGinn has my 100 percent support,” says Brannon. “I think [Sonics fans] can have a very strong impact [in the primary].” Some fans have even gone negative, starting an occasionally crude Twitter meme, #Steinbrueckfacts, to target Peter Steinbrueck, the only viable mayoral candidate who’s come out against a SoDo arena (for example: “Pete Steinbrueck does think that dress makes you look fat. #SteinbrueckFacts”). But Steinbrueck’s stance has also won him an endorsement from the Sailors’ Union of the Pacific that is sure to turn out some primary voters, and his campaign insists the former city council member supports the return of NBA basketball to Seattle, but firmly believes SoDo is the wrong place to build an arena. The Steinbrueck campaign also believes that “support for locating the arena in the SoDo has waned,” says spokesperson Kathy Mulady. “McGinn’s planned location for the arena . . . will put good-paying industrial and maritime jobs at risk and will slow freight mobility. It is simply wrong and voters understand that,” she says. “We can find a place for the new arena. We can’t move the port.” MATT DRISCOLL E

news@seattleweekly.com

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

regulatory agencies don’t verify that the people providing information are who they say they are, or that the information is correct. What’s more, the reports make no claim of proving causality. Still, Nevin notes of Bales: “Everything he did has been perfectly consistent—almost textbook—of someone intoxicated with mefloquine.” In June, Nevin and Ritchie co-authored a paper in the Journal of the American Academy of Psychiatry and the Law that delves into the research that has been done on the drug’s ill effects—research that they say shows that symptoms like “nightmares, anxiety, and psychosis” are “at least 100 times more common than previously reported.” Nevin says such effects can be triggered by the use of alcohol and Valium, both of which Bales is reported to have imbibed, along with steroids, before the attack. These additional substances may have sparked a “deeper reaction” to mefloquine, one akin to schizophrenia, Nevin speculates. “You hear voices. You see a child who might look like the Taliban, who might look like the devil.” Certainly no other compelling explanation for the massacre has come forward. When Bales pleaded guilty in June, he said he was unable to account for—or even remember—what he did. With his plea, Bales took the death sentence off the table. He now faces a life sentence, although his hearing in August will determine whether he is eligible for parole. The earliest that could happen is in 20 years, when Bales is 68. Bales’ attorney says he is considering the possibility of raising the mefloquine issue at the hearing. Because Browne only knows for sure about Bales’ prior intake of the drug, and not whether the soldier took it in Afghanistan, he says his legal team has been looking into mefloquine’s long-term effects. The lawyer may soon have even more reason to research the subject. He says he was recently contacted by a soldier—whom Browne won’t yet name—who says he was given mefloquine and subsequently killed his wife and children. Many reported side effects are far less severe, although still troubling. Alderate, who served in Somalia during 24 years on active duty and now works as a civilian logistics planner at Joint Base Lewis-McChord, says he founded his anti-mefloquine group in 2011 after discovering fellow veterans who had some of the same problems he did, including short-term memory loss, balance problems, and anxiety. Those who served in Somalia made the connection with what they called “mefloquine Mondays,” when they would be given their weekly dose. “I would feel like a veil descended upon me,” Alderate remembers. “Your sense of reality is off for a while.” The notion that mefloquine can cause longterm effects has prompted a Department of Veterans Affairs clinic in East Orange, N.J., to evaluate soldiers who believe they have been affected. Alderate says he spent several days last fall at the clinic’s War Related Illness and Injury Study Center. He failed a balance test, but was told that mefloquine was not the likely cause. Alderate believes otherwise. Whatever the truth in Alderate’s individual case, his cause has received a boost with the latest news of the Bales case. And if his attorney does raise the issue at the soldier’s sentencing hearing, the public will likely be hearing even more about mefloquine’s dangers.

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R E A D I N G, WRITING, & I SLAMOPHOBIA? A lesson gone wrong touches off a fierce religious battle in a small Skagit Valley town. BY DICK CLEVER

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

s summer travelers make their way along the North Cascade Highway, the Skagit River is running high and fast, both from glacier melt in these rainless days and from the lowering of Gorge Lake by Seattle City Light to do repair work on a flood gate. The mountains that bracket the valley floor show clear patches where loggers lucky enough to find the work have taken the timber. w The Skagit Valley is known for tulips, eagles, salmon, and, to the east, mountains with spires so spectacular they are called “America’s Alps.” Anyone traveling to or from the mountains along the North Cascade Highway passes the town of Concrete, located at the confluence of the Baker and Skagit rivers. A sign on the now-unused police station at the end of Main Street reads, almost Zenlike, “Concrete: Center of the Known Universe.” w At its peak in the 1940s and 1950s, Concrete had a population of about 1,700, a movie house (it’s still there), a dozen or so saloons, and several houses. It was a company town run by Superior Cement. Workers mined high-quality limestone from a quarry on the town’s northeast edge. w The cement plant closed in 1969, leaving Concrete covered in gray dust. In the years since, the town’s population has shriveled to its present size, about 760.The old silos that once dumped cement powder into rail cars still stand as a symbol of its past. The town remains, however, the hub of the upper valley, offering travelers the only full-service grocery and hardware store and the last hard-liquor saloon before reaching Winthrop, 103 miles away on the east side of the Cascades. w For valley people who can find ways to work on the land, there is still logging, farming, or fishing. Others retire to it. Mostly there are those who commute to jobs “down below,” the colloquial name for the flatlands a few dozen miles to the west. “Down below” is not so much a description of the elevation change—only about 250 feet—but of a state of mind, a transition down-slope from what locals justifiably see as God’s Country to the land of Walmart, Costco, Home Depot, the Cascade Mall, and the Skagit County Courthouse in Mount Vernon. w More than 90 percent of the upper valley’s population is white, the rest Native American, Hispanic, black, and mixed-race. Differences among people tend to be more economic than ethnic—residents include everything from hand-to-mouth second-generation trailer-dwellers up to retired dot-commers living in $700,000 custom log homes, sometimes in the same neighborhood. Some are drawn by the natural splendor; others move to the upper valley to be left alone, putting distance between them and “down below.” w And while upper-valley residents may not all socialize, they tend to band together when they see a threat from the outside. It always seems to be the government or other forces from “down below” or beyond that stir the “Don’t tread on me” sentiment shared by many upper-valley folk.

READING, WRITING, & ISLAMOPHOBIA

TOP IMAGES: JASON MILLER / CONCRETE HERALD

Above: Jennifer Gist, the civil-rights coordinator for CAIR’s Washington chapter, appeals to Concrete residents during a community forum concerning the organization’s reaction to a lesson by area teacher Mary Janda (right).

» FROM PAGE 9 Few incidents have riled the community like the one last February, when word reached the town that the school district and one of its most respected teachers were the focus of a complaint filed with the civil-rights division of the U.S. Department of Justice over comments the teacher made about Islamic terrorism. What followed was an outbreak of fear and loathing that reached the outer edges of the grid, stoked by the more toxic regions of the Internet, where an Islamic-rights group’s “bullying” of a rural schoolteacher was widely condemned and anti-Islam groups found a rallying cry. By March the Thomas More Law Center, one of the nation’s most prominent defenders of “the religious freedom of Christians,” was involved. The small town of Concrete, removed and ensconced in the Washington wilds, had unwittingly found itself in the middle of a battle between world religions.

SEATTLE WEEKLY • JULY 24 — 30, 2013

he Concrete School District serves an area much greater than the town of Concrete. Geographically it’s the state’s largest school district, drawing students from a 1,800-square-mile area that sprawls about 50 miles across, from just west of Concrete to the north and east almost to Ross Lake. The district’s population averages 2.53 persons per square mile. (Washington state averages 94.3 per square mile.) The district serves about 760 students. By all accounts, Mary Janda was highly regarded in the district as a teacher, a favorite of the kids and respected in the community. She lives with her family farther upriver, just northeast of Marblemount, in a compound of buildings created by her woodworking husband and sons. Over her 20 years with the school district, there had never been a complaint about her, school officials say. On October 29, 2012, Janda was leading the class in a discussion about bullying, when the topic veered from what kids do to other kids to the subject of Islamic terrorism. Several days earlier, the entire middle school had attended an antibullying assembly staged by “Rachel’s Challenge,” a program established in remembrance of one of

the children killed in the Columbine, Colo., mass shooting in 1999. During the discussion, Janda posed a question that would set the stage for the unpleasantness to come. As Janda explained later, she asked the class if they knew anything about Hitler, and said she was surprised at the middle-schoolers’ lack of awareness. She said she compared certain Islamist terror organizations to Hitler—all bullies because they used intimidation and murder to get their way. The exact words that Mary Janda used in her classroom that day are still in dispute. In her version, she merely equated violent groups like Hamas and the Taliban with “bullying,” the topic of the day. But one 13-year-old student said she heard it differently—that her teacher was saying that all Muslims are taught from an early age to kill Jews and Christians. Whatever Janda said in that class, she soon learned that the girl was the daughter of the only known Muslim from Concrete to the Cascade Divide. It looked like Janda had drawn the winning ticket in a badnews lottery. “The information I shared was from a former extremist group member who had been indoctrinated that to kill a Jew or a Christian would make him a martyr,” Janda wrote in a December 12 letter to district Superintendent Barbara Hawkings. “He was trained in this as a young teen, subsequently did murder people but subsequently changed his life. The point that I was attempting to make was the connection that people who intend on imposing their will on others are bullies, whether they be Nazis or others, whether they be students or adults.” The girl’s version of the classroom discussion differed. On March 25, 2013, on local radio station KSVU, in the only media interview she

Concrete School District students protest CAIR at the Concrete Assembly of God Church during a March 19 rally.

would give, the girl said, “Mrs. Janda brought up that Hitler was like a bully in the way he treated the Jews, and then she compared Hitler to Muslims and Arabs by saying they both raised their children from birth to give themselves to what they believe in, whether it be death or just giving themselves spiritually. “When I told her that I thought what she was saying was biased, she told me that I didn’t know what she was talking about and that she saw it in a video . . . I’d like to know what video she saw it in . . . that information is critical in a situation, but she just ended the conversation.” District officials say that before the controversy erupted, Janda had informed them of her plan to retire at the end of the 2012–13 school year. But what happened in her middle-school classroom on October 29 set an unhappy tone for the remainder of her last year as a teacher in Concrete. After the discussion at school, the girl went home and told her father, a recent convert to Islam. He didn’t like the sound of it, and took to the Internet. He found a website for the Council on AmericanIslamic Relations (CAIR), and located the Seattle branch of the Washington, D.C.-based organization that defends the civil rights of Muslims. The father later admitted that he lacked the confidence to face Concrete school officials alone. He refused to be interviewed for this article, but despite his lack of cooperation, Seattle Weekly is not identifying him because of his fear of violent retaliation. He did join his daughter for the brief interview with KSVU. “We had a choice to go meet with them at the school,” he said in the interview, “but I felt that a letter would be better because I didn’t want to be put on the spot like that, in front of everybody

“The point that I was attempting to make was the connection that people who intend on imposing their will on others are bullies, whether they be Nazis or others.”

there telling me that I am wrong and my daughter’s a liar or misinterpreted something.” CAIR’s involvement began simply enough. Jennifer Gist, the Washington chapter’s civilrights coordinator, wrote a letter. “Dear Superintendent Hawkings,” her letter began. “We hope this letter reaches you in the best of health and spirits,” a standard greeting, it seems, for CAIR letters. Hawkings’ “spirits” were anything but lifted. Already overworked, she would spend dozens of hours in the coming months dealing with CAIR’s request for an investigation and its extensive public-records requests. Hawkings responded to CAIR with a short letter informing the group that she found no wrongdoing in Janda’s classroom conduct, and that nothing included in the school’s curriculum corresponded to Janda’s alleged classroom remarks. She had taken Janda at her word that she had not intended to suggest that all Muslims were potential terrorists. However, Hawkings, in a later interview, said that she did advise Janda that it was not a good idea to bring Islamic terrorism into the bullying discussion. Meanwhile, Janda’s explanation about sharing testimony from a former terrorist caught the attention of Jeff Siddiqui, a Muslim community activist and naturalized American citizen living in Lynnwood. He thought Janda’s description of the former terrorist had a familiar ring. “I am willing to bet this ‘former extremist group member’ portrayed by Ms. Janda, is no other than Walid Shoebat who has made his career as a Muslim-basher and has been discredited by many reliable sources,” Siddiqui wrote in an e-mail sent to a number of groups, including the school district. Siddiqui speculated that Janda may have been exposed to a “grotesquely anti-Muslim” video entitled Obsession: Radical Islam’s War Against the West. The video, funded by a conservative group called the Clarion Fund, has been widely distributed. Shoebat was unmasked by CNN in a 2011 investigative project that showed that none of his claims about being a former terrorist were credible. In her response to Superintendent Hawkings, Janda didn’t say if the information she’d shared with the class had come from a video, something

Muhle_FOXS_TerrasportIII_1_4_4C_6142013.pdf 1 6/14/2013 4:04:08 PM

rather than always being reactive,” Miller said recently, giving Archuletta credit for the idea for the organization. Shortly after CAIR’s press release about Janda came out, Archuletta and about 10 others met at Miller’s house in Concrete. Miller insists that he hosted the meeting so he could keep in the loop as a journalist, although he agreed with the effort that resulted from it. Archuletta says he hadn’t heard of CAIR before Feb. 19. So, like the Muslim father of Janda’s student, he hit the Internet, which bulged with information, as well as misinformation, about CAIR. Some of the entries linked CAIR to Hamas, on the FBI’s list of terrorist groups largely due to its history of launching rockets from Gaza into Israel. As he perused the Internet, Archuletta came across an organization calling itself “ACT! for America.” Its website offered dire warnings about “radical” Islamist activities right here in the U.S. Among them: “Followers of radical Islam have declared jihad against Christians, Jews, Hindus, Sikhs, non-Muslims, and secularists—simply because they regard ric Archuletta watched as the controversy us as infidels. They even target Muslims whom enveloped Concrete and much of the they regard as insufficiently pure. upriver community. Although he lives “Tens of thousands of Islamic militants now in Arlington, he became familiar with reside in America, operating in sleeper cells, Concrete a couple of years before when working on a project for his master’s degree in community plan- attending our colleges and universities, engaging in influence operations aimed at the media and government. They are here—today. Many have been here for years. Waiting. Preparing.” “Waiting. Preparing.” It sounded pretty scary to Archuletta. He found that ACT! had a Washington chapter, based in Kent and headed by Kerry Hooks, who like him was a 20-year Navy veteran. He called Hooks, and the next stage in the evolving drama was set. “I didn’t do this because I have anything against Muslims,” Archuletta says. “I did it to help Mary”—even though he had no prior acquaintance with Janda, he says. Archuletta arranged for the use of the Concrete Assembly of God Church, and for Hooks to come to the town to “eduKerry Hooks, head of the Washington chapter of ACT! cate” people about CAIR. On for America, speaks at the March 19 rally. the evening of March 19, several hundred people descended on Concrete. Many came from far out of town, drawn by the anti-CAIR invecning at Antioch University in Seattle. tive on the Web and what they perceived to be Archuletta, a husky man with soulful eyes, says the group’s “bullying” of a well-respected country he was drawn to Concrete because of his interest school teacher. Hooks addressed the crowd, which in building sustainable rural communities. Born in overflowed into the church parking lot. Oahu, Archuletta says he was saddened to see the “Who are we?” she intoned. “This is what disappearance of the sugar-cane culture that had we are not. We are not a hate group. We don’t sustained his home islands for over a century. He hate anyone. We don’t condone acts of violence saw a similar plight in Concrete. anywhere. We don’t fearmonger when we expose Archuletta and a few others formed the Imagterror.” ine Concrete Foundation, a community-improveScoffing at CAIR’s offer to provide educament organization. Jason Miller—publisher of the tional assistance on Islam to the school district, monthly Concrete Herald, town councilman, and Hooks hooted to much cheering and applause. current mayoral candidate running against incum“CAIR implies that you are too stupid to underbent Judd Wilkins—serves as its president, with stand Islam,” she said, “and they will come in Archuletta as vice president. So far the group’s and teach it to you.” Hooks declared that “radimarquee project has been a community garden, with neatly arranged raised plant beds, timber sup- cal” Islamists plan to impose Shariah law on America, supplanting the U.S. Constitution—a plied by a local cedar-salvage company, and each frequent charge in Islamophobic circles. Muslim fencepost adorned with a gaily colored birdhouse. scholars say that Shariah is not so much a law per Archuletta refers to the garden as the “crown se as a moral and religious code that guides the jewel” of Imagine Concrete’s efforts. conduct and affairs of Muslims. “We needed to be more proactive in this town, the student had emphasized in her account. Hawkings did not ask Janda to identify the former “terrorist” she had cited in her letter to the Superintendent, or the source of the information. The student’s father was not satisfied with Hawkings’ explanation for Janda’s remarks, but he was also still unwilling to meet with schooldistrict officials, Gist said. Thus, without a single face-to-face meeting among the parties to the dispute, CAIR issued a press release on February 19 about the Justice Department filing that lifted the controversy to a new phase approaching ideological warfare. The release identified Mary Janda by name, and presented the student’s allegations as an undisputed fact. It lit a firestorm of community outrage, with people up and down the valley rising to the defense of Janda, one of their own. Conservative regions of the Internet, too, were ablaze. “Islamists bully teacher in rural America,” said one website. “CAIR Bullies Teacher for Calling Taliban and Hamas Bullies,” said another.

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ACT! and other anti-Islamist groups have long claimed that American courts have already begun to recognize Shariah, which legal scholars dismiss as absurd fearmongering. Clark Lombardi, assistant law professor at the University of Washington and an expert on Shariah, says he has never found any of the examples cited by such groups to be true. He says some immigrants have tried to get courts to accept Shariah-based decisions from courts in Muslim countries, especially in family law, but without success. He said as far as he knows, all such cases in U.S. courts have been adjudicated according to American laws. As the March 19 meeting wore on, it seemed to John Boggs that neither Hooks nor the crowd were making much distinction between “good” Muslims and “bad” Muslims. The meeting had a distinct religious tone that moved Boggs to comment later on a local website. Boggs, a military retiree living near Concrete, has been active in Imagine Concrete as well as with the Concrete Heritage Museum. He was among the few locals trying to convince people to keep an open mind on the Janda matter. Boggs wrote that while some of Janda’s supporters claimed that “CAIR and Muslims in general wished to impose Shariah law on America,” her

supporters seemed to “endorse bringing their own narrow version of religion into our public schools at the exclusion of any others.” Boggs had stepped in it for sure. He found himself vilified on the Web as well as in the letters section of Miller’s newspaper. One writer accused him of “hyperbole” that could have a “polarizing effect” on the town. Thus far there is no sign of polarization; support in the upper valley for Janda is pretty much universal. But few knew that Boggs had also written to CAIR criticizing the group for its public accusation of Janda, suggesting that an apology was in order. There was no apology, but CAIR did reissue the press release, inserting the word “alleged” in the portion concerning the charges against her. Arsalan Bukhari—a Seattle University graduate who with Gist is one of CAIR-Washington’s two paid staff members—did say later that he “regretted” the omission.

f Mary Janda didn’t volunteer for the angry debate over words and Islamic designs on American jihad, she was fully on board by March. Her role was cemented when she accepted legal assistance from the Thomas More Law Center, which on its website bills itself as “battle-ready to defend America.” The center says that it “defends and promotes America’s Judeo-

“As soon as you have a human connection, a lot of those misconceptions [about Islam] go away.”

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

n a warm Saturday afternoon in June, the Eastside Islamic Center and mosque had opened its doors to guests. The center’s annual open house is part of its membership’s ongoing effort to reach out to its non-Muslim neighbors. After slipping off their shoes, visitors entered the eightsided enclosure to hear about Islam. Imam Fazal Hassan describes the center’s approach to Islam as “moderate” Sunni. “Most of our members here are in high tech,” Hassan says. The high tech industry has attracted thousands of Southeast Asians to the Puget Sound area, with about 1,700 working at Microsoft alone. Zeesham Baqui, a 29-year-old Pakistani program manager at Microsoft, sat in the afternoon sun with his 5-year-old son as volunteers began turning out plates of tandoori chicken for the guests. Baqui has been living in Bellevue since 2006 and enjoys good relations with his neighbors. “As soon as you have a human connection, a lot of those misconceptions [about Islam] go away,” he says. But when issues arise, CAIR may step in. CAIR’s two staff members, Bukhari and Gist, make something of an odd couple. The bearded Bukhari is softspoken and reserved, always neatly attired in suit and tie. He has been in Seattle since 1990. Gist, born and raised a Baptist in Colorado, is a 2010 graduate of Seattle Pacific University. She looks more the millennial, sporting a close-cropped haircut and a nose ring. They are a tough team. Countering allegations of CAIR’s so-called “bullying,” Bukhari and Gist say that it is Muslims in America who feel constantly vulnerable, amid rising anti-Muslim sentiment stoked by extremists in print and on the Web. They make no apologies for being aggressive in defense of Muslim civil rights. They cite a spate of anti-Muslim incidents from the past few years, much of them inspired by the hate spewed on the Internet. • A Muslim family visiting Seattle Center was recently accosted by a man who threatened to get a gun and kill them. He was arrested, and CAIR has demanded that he be prosecuted “to the full extent of the law.”

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Christian heritage and moral values, including the religious freedom of Christians, time-honored family values, and the sanctity of human life.” “We’ve been representing Mary Janda since March, somewhat behind the scenes,” says Richard Thompson, the Center’s president and chief legal counsel. “We’re sitting back and waiting to see what happens with the allegations against this teacher.” The Center provides free legal services to parties it believes are being persecuted for their Christian beliefs. It has taken on some highprofile cases, and won many of them. Thomas More lawyers recently prevailed in a federal lawsuit against the U.S. Health and Human Services Department that could have a big impact on the application of Obamacare. A federal judge ruled that the government could not force the operators of a business to provide health insurance to employees that violated the owners’ religious convictions against abortion and assisted suicide. The Center also has taken the case of Army Lt. Col. Matthew Cooley, relieved of his teaching position last year at the Joint Forces Staff College in Norfolk, Va., for alleged anti-Islamic statements. A May 2012 article in Army Times said that Cooley had been teaching that “America’s enemy is Islam in general, not just terrorists, and suggesting that the country might ultimately have to obliterate the Islamic holy cities of Mecca and Medina without regard for civilian deaths, following World War II precedents of the nuclear attack on Hiroshima or the Allied firebombing of Dresden.” Thompson told Seattle Weekly that Dooley’s words had been twisted out of context, and that he had been unfairly targeted by higher-level officials afraid of reaction from the Muslim community. Not that he disagrees with what Dooley allegedly said. Thompson is among those convinced that the aim of Islam is to seize control of the American government and impose Shariah in place of the Constitution. Asked how a group comprising less than 2 percent of the population could accomplish such a thing, he offers an explanation that echoes recent allegations by conspiracy theorist and Congresswoman Michele Bachmann: “Small elite groups can take control of the government.”

JASON MILLER / CONCRETE HERALD

CAIR Executive Director Arsalan Bukhari speaks during the community forum held in Concrete on March 24.

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• Nine members of the Eastside Islamic Center, all college students, last September drove to Lake Chelan for a day of jet-skiing. When they returned to the parking lot, they found racist slurs scratched into the paint of one of the vehicles, including terms like “sand nigger” and “doon coon.” Although they reported the incident to police, there were no witnesses or other information on which to base an investigation. • Two Somali women were assaulted in 2010 at a Tukwila gas station by a woman who called them “suicide bombers” and told them to “go back to your country.” The incident was recorded on the station’s surveillance camera. The woman was arrested and charged with assault. “There have been countless other stories of hate crimes, including violent murders of people because they are perceived by their attackers to be Muslim,” Bukhari and Gist wrote in an e-mail to Seattle Weekly. “Due to this, it is imperative that organizations like CAIR defend the civil rights and liberties of American Muslims and respond to allegations of defamation even in situations that many may perceive to be ‘less severe.’ ” That includes things said in a faraway rural classroom. Gist and Bukhari surveyed the terrain in the aftermath of the March 19 ACT! meeting and made a decision. They would go to Concrete and “dialogue” with the residents. And just five days later there they were, sitting in a room at the Concrete Community Center with about 60 locals—some seeming willing to listen, but most radiating hostility. One local gave the two CAIR workers credit for “having the guts” to come and face the community. Questions flew at the pair, some related to the persistent Web-driven claim that CAIR was founded by a supporter of the terrorist group Hamas. Not true, they said: Comments by a founder were taken out of context by bloggers who oppose CAIR’s mission, which is to defend American Muslims from discrimination. At one point a man with long gray hair and a flowing beard, wearing a motorcycle jacket, interrupted the discussion. “Does everyone agree that Concrete was doing fine before these people got here?” he called out. There were murmurs of “yes,” with nodding heads. “Will Concrete be doing fine after they leave?” Another chorus of “Yes” followed. “Get behind me, Satan,” the man said, adding “Amen” as he headed out the door.

are the world’s largest Pentecostal denomination, its adherents believing in the Bible as the infallible word of God, baptism by immersion and the speaking in tongues as an expression of the Holy Spirit. Nichols greets a reporter in front of his modest church building, with graying white asphalt siding and an old van parked in front. He carries a copy of a book entitled Muslim Mafia: Inside the Secret Underworld That’s Conspiring to Islamize America. “I don’t see how anybody could read this book and not be alarmed about what CAIR is doing,” he says. “You should read it.” The book was written by a man, P. David Gaubatz, whose son, Chris, pretended to be a recent Muslim convert to get an internship in CAIR’s Washington, D.C., office. Over six months he copied thousands of documents that were supposed to have been shredded. The book concludes that CAIR is part of an elaborate conspiracy to force Islam and Shariah on America. Critics of the book have said that the big “revelation” is nothing more than CAIR’s determination to lobby Congress and increase Muslim voter registration through grass-roots efforts. The darker conclusions, they say, are the result of paranoid dot-connecting. But the book has clearly taken hold among those, like Pastor Nichols, who see Islam as a threat. Nichols adores Janda, whom he calls “a jewel among jewels.” She teaches Sunday school and volunteers in the community, especially working with kids. He leaves no doubt that she is a devout member of his congregation. But he says she would never allow her Christian beliefs to color her responsibilities as a teacher. As midsummer approaches, there has been no word from the Justice Department. The agency has been known to take many months to investigate civil-rights complaints. While they wait, the community continues to simmer. Still, some in the area hope to find a middle way through the controversy. Linda Jordan, a psychology instructor at Skagit Valley College, moved to a small ranch in the Marblemount area 20 years ago after a career as a King County deputy prosecutor. Jordan said she has known Janda for years, and has “the utmost respect” for her. But she added that she is concerned about the student and her father. “Do we want to be talking about conspiracy theories and Hamas and the Taliban?” she asks. “I don’t think Concrete is in danger of that. But we are in danger of something. That is, that right now we have a teacher who is ending her career with this on her record. We have a student who does not feel safe to go to school now, and she’s going to have to leave the district. We have a father who believes in the Muslim faith, and did not feel that he was safe enough to go to our school system and say, ‘I’ve got a problem.’ Is there a way to dial this back, bring it back into our community and deal with what’s important?” For now, the answer to Jordan’s question appears to be “No.” E

“There have been countless other stories of hate crimes, including violent murders of people because they are perceived by their attackers to be Muslim.”

eanwhile, up in Marblemount, at the North Cascade Community Church, Pastor Dave Nichols and his wife Faye work to keep their twice-monthly food-bank distributions going. “There’s a lot of need up here,” says Nichols, who counts Mary Janda among his parishioners. The valley, for all its natural splendor, does have pockets of poverty. The church is still an Assembly of God congregation, but Nichols says they changed the name to give it a more generic appeal, to be more open to the community as a whole. Assemblies

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the»weekly»wire Block Party. This year’s hip-hop-heavy lineup features fellow mega-MCs Danny Brown and booty-bouncing favorite Big Freedia, a New

fri/7/26 ARTS

From the Mall to the Museum

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Since the 2011 closure of Open Satellite, Bellevue has felt ever more under-galleried. There’s simply no cluster of walkable art venues; for that reason, this weekend’s BAM ARTSfair is the Eastside’s only one-stop opportunity for browsing and buying. First hosted in 1947 to promote the new mall, the gathering will feature over 300 artists and craftmakers at both BAM and Bellevue Square. Music, food, and family activities are part of the event, but the emphasis is on local creators who might not make it into a gallery or museum. Jewelry, clothing, and art in all media will be peddled. From fabric artist Mandy Greer, her 200-foot blue crochet installation Mater Matrix Mother & Medium will be on display (and she’ll lead a workshop). Admission to BAM will be free all weekend, and there you can see the new Patti Warashina career retrospective show, with 50 years of her ceramics on view. Bits of her family life and biography are incorporated into several pieces, and there’s a Bellevue connection, too. As a UW student in the early ’60s, long before BAM was founded, she showed her work at the old PANACA arts fair. “This was a pivotal experience for me,” Warashina recalls. “I made the transition from student to working professional, thereby making my art career a reality.” Perhaps some of this weekend’s participating artists will follow her same path. (Through Sun.) Bellevue Arts Museum, 510 Bellevue

Muth travels out to Carnation.

you can also see Hitch working in other genres during the ’20s, including romantic comedy (The Farmer’s Wife) and drama (The Ring and The Manxman). He also applies his sophisticated touch to the Noel Coward adaptation of Easy Virtue. SIFF will present eight titles with live accompaniment by local musicians; The Lodger features a prerecorded orchestral score. Also note that SIFF continues its Hitch-fest with The UK Masterpieces (Mon.–Thurs.), with eight more titles, including the sound version of Blackmail.

SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $10–$15 individual, $100–$125 series. 7:30 p.m. SEAN AXMAKER

Way N.E., 425-519-0770, bellevuearts.org. Free. 9:30 a.m.–9:30 p.m. BRIAN MILLER

stargazing, capture the flag, campfires, and acoustic guitars, most notably the ones held by ascendant singer/songwriters Zoe Muth, Bryan John Appleby, and Noah Gundersen, along with notorious busker Ben Fisher. But this isn’t all “Kumbaya,” folks. Headlining the Timber! Outdoor Music Festival’s Saturday lineup is a triple shot of West Coast pop. Portland duo Helio Sequence is adept at exploring the inner reaches of the natural mind via hard-hitting psychedelic pop songs; experimental rock duo Quasi features Janet Wise and Sam Coomes at their most feral; and Fruit Bats will play the melodies you’ll be humming on the car ride home. With Lemolo, Nu Klezmer Army, Vikesh Kapoor, S, Hobosexual, the Passenger String Quartet, and more. (Through Sat.) Tolt-MacDonald Park, 31020 N.E. 40th St., Carnation, timbermusicfest.com. Admission $45, camping $20–$1,000. Music starts at 4:15 p.m. MARK BAUMGARTEN

FILM

DANCE

who don’t think they like classic movies. His perfect balance of cinematic tension, romantic thrills, and rumbling anxiety under the rollercoaster means that his films are constantly revived. Yet even many of his staunchest fans have only gingerly ventured into his rich and varied silent period—and not just because they are, you know, silent movies. Most have been neglected, with some negatives so degraded that you could barely discern an image. The British Film Institute has finally remedied that situation with The Hitchcock 9, newly restored editions of Hitchcock’s surviving silent features. Most fans will at least want to see his two most famous. In The Lodger (1926), his moody, graceful Jack the Ripper thriller, you can see the roots of Hitch’s great sound thrillers; he uses bold, expressionist images to render a murky world of guilt and innocence. Beginning the series tonight with live musical accompaniment from Diminished Men, the 1929 Blackmail was Hitchcock’s final silent; its defining set-pieces turn comforting landmarks into places of danger and unease. But

Velocity Dance Center’s annual Strictly Seattle workshop began as a modest project to give local dancers a chance to work with local teachers and choreographers. After 16 years, it’s grown to the point that there are as many students from “somewhere else” as there are local talents in the studio. But it’s a sure bet that many of those dancers will soon have local zip codes—the July festival has become a major recruiting tool for the Seattle dance community. Get a first look at the newbies, as well as the natives, in the big finale performances this weekend, with choreography by Mark Haim, Marlo Martin, Ricki Mason, KT Niehoff, Ellie Sandstrom, and zoe|juniper. Broadway

Tourists and Locals

Alfred Hitchcock is the classic director for folks

Ivor Novello in Hitchcock’s The Lodger, at SIFF. BFI

MUSIC

Boonie Rock

The Doe Bay Festival is already way sold out—but fear not, Thoreauvian music fan. The booking team that helped put that Orcas Island destination festival on the map five years back has a new overnight music shindig where festgoers can get their feet dirty while the sounds of 20 hand-picked bands bounce off the flora and fauna of rural Carnation. There will be organized

Performance Hall, 1625 Broadway, 351-3238, velocitydancecenter.org. $12–$18. 8 p.m. (Also 2 & 8 p.m. Sat.) SANDRA KURTZ

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The Power of 3

Though his four-film retrospective runs Friday through Wednesday, tonight’s the night to meet Trent Harris, who’ll introduce two of his works. Starring Crispin Glover and Howard Hesseman, the 1991 road movie Rubin and Ed (at 9 p.m.) actually made it into theaters, but The Beaver Trilogy is a rarer find. In its third chapter, Glover reprises the role played by Sean Penn in the second, which is in turn based on the subject of Harris’ 1979 short documentary. Groovin’ Gary (his CB handle and stage name) is an entirely earnest and affable cutup, a handsome blonde 21-year-old from the small town of Beaver, Utah—where, after a random meeting, Harris follows him to film a local talent show. Gary does impressions of John Wayne and Barry Manilow. “I love hamming it up,” he cheerfully confides. His dream is to be on television; that and the movies fuel his imagination, and he has a particular obsession with Olivia Newton-John. (Grease came out the year before.) In another, less sympathetic presentation, Gary might seem a sad, untalented closet-case. He’s guileless about how he might be seen and judged; and in the next two chapters, as Gary becomes the character of Larry for Penn and Glover (in ’81 and ’85), Harris begins to indict himself for exposing his protagonist to ridicule. The Larries gain more pathos and self-awareness, yet the triptych always relies upon the enigmatic foundation of Gary. In all three chapters, Harris preserves the essential mystery about what he knew about himself. (Gary was actually Richard LeVon Griffiths, who died in 2009, then a married truck driver.) Also in the series are Harris’ Plan 10 From Outer Space and the new Luna Mesa. Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusion cinema.org. $5–$8. 7 p.m. BRIAN MILLER

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

Silence Is Golden

Orleans native who’s already staked a claim in Seattle with her recent, pleasantly confusing tour with The Postal Service. The CHBP is also expanding its visual-arts programming with a new round of artists curated by Ghost Gallery’s Laurie Kearney. Highlights include Marc Tweed creating a multimedia painting of festival headliners the Flaming Lips. Benjamin Van Citters, who has been working with fellow CHBP artist Vox Mod, will be projecting live images on the Havana parking-lot wall that will respond to the audience via webcam and microphones. Just make sure you don’t shake it too hard at the installation, and try not to get lost among the six stages and 100 bands performing. (Through Sun.) East Pike Street

arts»Stage

Comic Operation

Gilbert and Sullivan undergo genre-reassignment surgery. BY GAVIN BORCHERT

Herdlicka and Allgood match sound with sense.

TRACY MARTIN

omehow, after a century as a “comic opera” (or “operetta,” a more accurate and more obsolete term), Gilbert and Sullivan’s The Pirates of Penzance became a “musical.” The 5th Avenue Theatre posits this distinction in the program notes, which call it “by far the oldest show in the musical theater repertory”—and then in the next paragraph mention H.M.S. Pinafore, which predates Pirates by a year and a half. This switch surely dates from Joseph Papp’s Broadway production of 1981—the one that launched Kevin Kline’s career, revitalized Linda Ronstadt’s, and capped Rex Smith’s. I was a burgeoning G&S enthusiast at the time, with Pirates my gateway drug, and was thrilled to see it get the attention—and even more thrilled when it was chosen as our high school’s spring show my senior year. Passed over as student director (why?—not only did I have the show memorized, I was one of the handful of students who had heard of Gilbert and Sullivan at all ), I moved on to college. There, after seeing subsequent stagings that overlooked the virtues of Papp’s approach and doubled down on its vulgarities, I eventually realized that if I wanted to see Pirates done right, I would have to do it myself. Recruiting every acquaintance I could,

I directed (and conducted and choreographed) not the whole opera, but a sizable chunk of Act 1. Yet the 5th Avenue’s Pirates, inexplicably, follows the Broadway precedent rather than the East Lansing, Michigan one. I hesitate to call this the Broadway “version,” since almost nothing of the text and little of the score is changed from the moment the ink on Sullivan’s manuscript dried. And what is omitted is scarcely missed: the overture (a makeshift medley cobbled together by Sullivan’s assistant) and a verse of “Sighing softly to the river” that only delays the show’s climax. Bruce

Monroe’s reorchestrations for a standard Broadway pit band are garish (he can’t be trusted with the suspended cymbal, but who these days can?), though admittedly Sullivan’s original is skillful but not more than serviceable. This approach, basically, is bigger and brasher, which has its pros and cons. Since Pirates is already a sendup of overheated Victorian melodrama, there’s only so much camp it can take; if an entire performance is dialed up to 11, then how can you tell what’s parodic about it? In director James Rocco’s hands, hardly a line or a bit of business doesn’t get italicized. Among the pros is the prose: The cast knows what the words mean, and makes sure the audience does, too. It sounds simple, but it’s not a given in G&S productions, and the care these actors take with the delivery of the dialogue for maximum comprehensibility and plausibility— even the purplest lines—is exemplary. At its best, this italicization brings out Gilbert’s subtlest, slyest ironies—for example, the happy little shrug from Anne Eisendrath as heroine Mabel, smartly calculated to point up the joke in the lyric “He will be faithful to his sooth/ ’Til we are wed, and even after.” It might seem this would be the result of casting singing actors rather than acting singers—and certainly the infallible expertise of Seattle stage stalwarts like Anne Allgood and David Pichette plays its part—but singing is by no means stinted. With their fresh, attractive sound and solid high notes, Eisendrath and Hunter Ryan Herdlicka, as tenor lead Frederic, lead a vocally strong ensemble. At its worst—well, for example, the Pirate King (Brandon O’Neill) jumps in the air as he says the words “leap year.” Meant to add

snap, too much of this can weigh a show down, a risk this Pirates just skirts all night. It’s less a matter of purism vs. modernization than of trusting the material, making a savvy calculation of how much help a contemporary audience will need. Sportingly, the Pirates program gives a shout-

out to the Seattle Gilbert and Sullivan Society’s concurrent production of The Gondoliers. This late-period opera (1889) boasts neither the team’s wittiest book, most interesting story, most likable characters, sharpest satire, or most memorable score. It can sparkle—and did, the last time the Society staged it, in 2003—but it needs a special zing and doesn’t get it here, at least not up to the company’s usual standard. As a result, the show’s plot hole never gaped wider: One of the two title characters is really the long-lost heir to a throne, but after this premise is set up in Act 1, we just wait out Act 2 for the revelation, and it’s the cast’s duty to beguile us in the meantime. Thing is, the one character who knows who the rightful heir is has absolutely no reason to keep it a secret, so why are we waiting? Sloppy, Gilbert. Sloppy. E

gborchert@seattleweekly.com

THE PIRATES OF PENZANCE 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $29 and up. Runs Tues.–Sun; see 5thavenue.org for exact schedule. Ends Aug. 4. THE GONDOLIERS Seattle Repertory Theatre, Seattle Center, 800-838-3006. $16–$40. Runs Fri.–Sun.; see pattersong.org for exact schedule. Ends July 27.

OLYMPIC SCULPTURE PARK

SEATTLE WEEKLY • JULY 24 — 30, 2013

july 11–august 29

Thursdays atthePark 6 pm-8 pm

Thursday, July 25: Seattle’s six-piece band Pollens captivate with their extraordinary polyrhythmic sound, influenced by African trance and contemporary choral music, and soul singer Felicia Loud ignites the rooftop of the art installation The Western Oracle. Get creative with local artist Alicia Betty, making blue and silver marble paintings that resemble water and waves. Tour the park with Seattle artist and textile designer Anna Telcs, and savor local wines and food truck fun with TASTE Café, Charlie’s Buns, Fez on Wheels and Jemil’s Big Easy.

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High-achieving feminist academics brought low make comedic targets nearly as reliable as tight rich geezers did in Molière’s day. But does that mean they’ve come a long way, baby? Catherine (Kristen Potter)—the 42-year-old über-intellectual protagonist of Gina Gionfriddo’s sitcom-funny idea play—isn’t so sure. Yeah, she’s invited to pontificate all over the world; and sure, the money and deference paid to her are swell; but where’s the love? Where’s the fulfillment? Egad, she’s even starting to think anti-feminist icon Phyllis Schlafly got some of it right. Her mother’s heart attack prompts a return home to rethink her choices; the visit also has her checking on former grad-school roommate Gwen (Kathryn Van Meter), who chose the path of homemaking and motherhood with her husband Don ( Jeffrey Fracé), Catherine’s old boyfriend. Potter (Or, and Photograph 51) is a good choice for Catherine; she has a knack for playing smart, rapier-tongued women in ways that don’t make us hate them. Don, now a college dean, allows Catherine to teach a course in her mother’s living room, which conveniently allows a survey of feminist history peppered with so many jokes that many get lost in the laughs that precede them (a nifty problem to have). That Catherine’s only two students are Gwen and her subversive babysitter Avery (bodacious Mariel Neto) betrays Gionfriddo’s background in TV writing, where storycrafting economy trumps plausibility as long as it’s funny enough. The ideas batted around are deeper than our investment in the characters; exposition abounds; and underdeveloped Don often seems a thankless punching bag. Nonetheless, the multigenerational ladybonding is often hilarious. Catherine’s mother Alice (Priscilla Lauris) periodically brings the septuagenarian perspective and pilfers laughs like a demonic fairy. Avery’s attempts to explain the term “hooking up” to her elders, and her likening of porn-powered solo sex to Google Maps (“Once you start getting directions from Google, it seems like a huge hassle to unfold a map”) brought the house down. The Freaky Friday-style life swap that Gwen and Catherine contemplate isn’t exactly fresh, yet that doesn’t make the absurd sight of Catherine and Don galumphing around the sectional in their skivvies any less enjoyable. (Anita Montgomery directs the hijinks.) Theatrical elements, like women, can be simultaneously smart and clichéd and funny and irritating and cool. End of class. MARGARET FRIEDMAN CHRIS BENNION

JULY 30 & 31

ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $41 AND UP. RUNS TUES.–SUN. ENDS AUG. 11.

Few theatergoers today have heard of Alice Childress (1916–1994), the author of A Hero Ain’t Nothin’ but a Sandwich, but she was also a playwright who won an Obie for her 1955 Trouble in Mind. Plans for a transfer to Broadway didn’t work out, perhaps because white producers didn’t like her depiction of their world. Now director Valerie Curtis-Newton is determined to redress Childress’ relative obscurity. Skillfully, movingly, entertainingly, shatteringly, Trouble catalogs the charades and compromises (i.e., sellings-out) demanded of “negro” stage professionals trying to make it on Broadway. Intiman’s splendid rendering marries beautiful acting to the powerful architecture of a masterly, laser-sharp script that ricochets between hope and heartache. Thinking she has finally cleared the hurdle between mammy roles and real acting, Wiletta Mayer arrives for her first day of Broadway rehearsal looking and feeling like a million bucks. Tracy Michelle Hughes nails Wiletta’s complex mix of intelligence, ambition, and impending dread as the destructively narrow vision of producer/director Al Manners (Tim Gouran) falls like toxic rain over his talented cast. Much mordant humor comes when certain black cast members accept Manners’ humiliating drill as the cost of doing business, fulfilling his stereotyping demands. Sheldon (G. Valmont Thomas) mimes whittling a stick and puzzles over his lines’ inscrutable dialect, his eyes made bulbous

In foreground, the actress (Hughes) doubts her director (Gouran).

and comically aflame. Meanwhile, diva Millie (Shontina Vernon) must play a maid who perfunctorily cries “Lawd have mercy!” We laugh because Sheldon and Millie laugh at their roles, but it’s bitter hilarity. Tension accrues as Manners’ white-penned script—about a lynching—falls apart, undone by its internal contradictions and falsehoods. Wiletta’s desire to change one tiny element of the script becomes a do-or-die compulsion (professionally, at least), forcing a well-earned dramatic standoff with Manners. Cut your fingernails short, as they will likely dig hard into your palms during the appropriately wrenching stretches, especially as echoes of the George Zimmerman verdict reverberate. But mainly what is felt here is Childress’ indignation over the waste of black talent. An actress with the American Negro Theater during the ’40s, Childress later became a best-selling novelist. Intiman successfully argues that she left an important stage legacy, too. MARGARET FRIEDMAN E

stage@seattleweekly.com

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

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.

Stage OPENINGS & EVENTS

BALAGAN’S NEW WORKS SUMMER SERIES A read-

ing of Nirvanov, a “glam-grunge rock musical” that combines Chekhov and Cobain. Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagantheatre.org. Donation. 8 p.m. Mon., July 29. BUCKAROOS USA In this Western-themed spoof of male dance revues, “Bronco and Rebar, two haybailing brothers, head to their local watering hole and dream of a world where they can dance to their hearts’ content.” The Triple Door, 216 Union St., 8384333, buckaroosusa.com. $25–$30. 8 p.m. Thurs., July 25–Sat., July 27.

Dance

• UMAMI DANCE Aaron Shwartzman and Aiko Kinoshita

both have multiple roles in the dance community as performers, teachers, and choreographers. But when they work together as Umami, the results are far more than the sum of their already impressive parts. Kinetically, they come from the evocative part of the modern-dance lexicon, where movement has meaning, but it’s allusive rather than didactic. Fundamentally, all their dancing is about relationships, but we’re not quite sure with whom. They’re joined by a rotating cast of local dance artists in Constellation Half Remembered, an evolving work showing at various locations around town. SANDRA KURTZ Parallel Public Works, Burien, acorndance.org. $12–$18. 8 p.m. Fri., July 26–Sat., July 27.

Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $5–$10. 7 p.m. Thurs., July 25–Fri., July 26; 2 & 7 p.m. Sat., July 27. OWL & PUSSYCAT theater simple mashes up Edward Lear with Shakespeare, vaudeville, and more. Performed in various area venues; see theatersimple. org for full info. Donation. 11 a.m. Sun., July 28; 5 p.m. Sat., Aug. 3–Sun., Aug. 4; 1 p.m. Sun., Aug. 11. POISONING PIGEONS IN THE PARK The return of the Arne Zaslove–directed revue of the satirical songs of Tom Lehrer. West of Lenin, 203 N. 36th St., 800-838-3006, westoflenin.com. $20–$25. Opens July 25. 8 p.m. Thurs.– Sat., plus 2 p.m. Sun. starting Aug. 4. Ends Aug. 11. RED EARTH, GOLD GATE, SHADOW SKY A public reading of Mark Jenkins’ play, winner of ACT’s 2013 New Play Award. RSVP at acttheatre.org to reserve a seat. ACT Theatre, 700 Union St., 292-7676. Free. 7 p.m. Sat., July 27–Sun., July 28. RENT Core Theatrics stages Jonathan Larson’s tale of love and loss in NYC. Cadle Theater, 12033 N.E. 80th St., Kirkland, 425-827-7030, coretheatrics.com. $16–$18. Opens July 26. 7 p.m. Fri.–Sat., plus 2 p.m. Sun., Aug. 4. Ends Aug. 4. JOE ROGAN The stand-up comic and MMA fan with an aggro style. The Moore, 1932 Second Ave., 877-7844849, stgpresents.org. $37.50. 8 p.m. Fri., July 26. SEAMEN: A MARITIME BOYLESQUE REVUE The Mod Carousel troupe’s “salty adventure full of muscles, mustaches, and striptease.” JewelBox/Rendezvous, 2322 Second Ave., modcarousel.com. $15–$20. 7:30 p.m. Thurs., July 25. SEUSSICAL Seattle Musical Theatre’s Youth SummerStock presents this musical omnibus of Dr. Seuss tales. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattlemusicaltheatre.org. $10–$15. 2 & 7 p.m. Fri., July 26–Sat., July 27. WILDWOOD A stage adaptation of the book by singer/ songwriter Colin Meloy (the Decemberists). Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. 7 p.m. Fri., July 26; 2 & 7 p.m. Sat., July 27; 2 p.m. Sun., July 28.

CURRENT RUNS

• CHICAGO If you were casting a Carol Burnett biopic,

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

•

ANANDA MELA 2013: JOYFUL FESTIVAL OF INDIA

Helen Harvester and Mark Tyler Miller make Shakespeare sing in Taproot’s Illyria. Performing Arts Center, 2710 Wetmore Ave., Everett. $24–$63. Runs Tues.–Sun.; see villagetheatre.org for exact schedule. Ends July 28. 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., 800838-3006, 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. 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. 8 p.m. Fri.–Sat. Ends Aug. 17. 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. 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., 800-838-3006. $25 Runs Fri.–Sun. evenings, plus some weekend matinees and Mondays; see azotheatre.org for exact schedule. Ends Aug. 11. HOMEBODY Usually performed as the two-act Homebody/Kabul, and subject to Tony Kushner’s repeated tinkering since 1997, Homebody is an hourlong monologue whose putative subject is Afghan history, as told by an unnamed and very confiding London housewife. History is the text, and her unfulfilled personal life is the subtext constantly seeping in. Homebody (Mary Ewald) has just returned from a shopping trip, and she wants to tell us all about it. Pausing for sips of tea, referring periodically to what she knows is an obsolete history text, she attempts to summarize 3,000 years of invasion, war, and religious conflict. A few familiar names pop out (the Taliban, Tony Blair, etc.), but we’re soon immersed in her very subjective, stream-of-consciousness history chat. Homebody is off her meds, she admits, and she’s also popping her husband’s pills. Her tale is scattered and digressive, with one red-lit hallucination that even sends her to Kabul. Directed by John Kazanjian in NCT’s kitchen-sized space, Ewald is fully in command of the text. In her affecting performance, she makes this loony autodidact lonely and sad, though not quite pathetic. Her tale is a challenge to our compassion, but it’s never a chore to watch. 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 rework-

ing 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 Pruned and repositioned after its own financial crisis, Intiman opens its second summer festival with We Won’t Pay! We Won’t Pay!, Dario Fo’s farce about life in an exploitive, inflationary economy. His intelligently ridiculous 1974 examination of whether looting is justified under a corrupt regime feels timely in our era of unprecedented income inequality. Two housewives stagger in the door dripping with groceries that one of them, Antonia (the delightful Tracy Michelle Hughes) “donated” to herself during a customer-declared free-for-all at the supermarket. Antonia drags her B-52-haired friend Margherita (Kylee Rouselot) into the coverup 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 farce. It’s exciting to see the cost-cutting festival launch with such a high degree of professionalism and coherence. MARGARET FRIEDMAN Intiman Theatre, Seattle Center. $70–$250. Ends Sept. 15. Intiman’s other three summer offerings cluster around the inadvisable dinner-party topics of money, sex, politics, and race, including Stu for Silverton, a new musical about a small Oregon town’s transgender mayor. See intiman.org for full lineup and schedule details, and SEE REVIEW OF TROUBLE IN MIND, PAGE 20. 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. Ends Aug. 3. PIGGYBACK Stand-up becomes theater as comics and improvisers collaborate. Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $5. 8:30 p.m. Sun. Ends Aug. 4. RAPTURE, BLISTER, BURN SEE REVIEW, PAGE 20. 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 schedule. Ends Aug. 3. TEATRO ZINZANNI: LUCKY IN LOVE The spiegeltent becomes Casino ZinZanni in their new Vegas-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Sept. 8.

•

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.

This outdoor festival attracts a large number from far and wide. Redmond City Hall, 15670 N.E. 85th St., Redmond, anandamela.org. Free. Noon–9 p.m. Sat., July 27–Sun., July 28. STRICTLY SEATTLE SEE THE WIRE, PAGE 17.

•

Classical, Etc.

• SEATTLE CHAMBER MUSIC SOCIETY July 24

Recital: Shostakovich’s searing and autobiographical String Quartet no. 8. Concert: Shostakovich’s Seventh Quartet, plus Mendelssohn and Brahms. July 26 Recital: Copland’s Violin Sonata. Concert: String quartets by Beethoven and Barber, and the festival closes with The Rite of Spring for piano four-hands. Benaroya Recital Hall, Third Ave. and Union St., 283-8710, seattle chambermusic.org. $15–$45. THE PIRATES OF PENZANCE SEE REVIEW, PAGE 18. MARROWSTONE MUSIC FESTIVAL Two weekends of music (7:30 p.m. Thurs. & Sat., 3 p.m. Sun.), sponsored by the Seattle Youth Symphony. July 25 Chamber music (Bartok and Haydn) from Marrowstone faculty. July 27 The Chamber Orchestra plays music by Brahms, Tchaikovsky, and Prokofiev that looks back at the 18th century. July 28 From the Festival Orchestra, rousers by Bernstein, Strauss, and more. Western Washington University, Performing Arts Center, Bellingham, 360650-6146, marrowstone.org, tickets.wwu.edu.

• METHOW VALLEY CHAMBER MUSIC FESTIVAL

Some unusual programming here: lots of Mozart, but also lots of Taneyev, and excerpts from Hindemith’s weirdly satirical Minimax suite. See methowmusic festival.org for full details. Signal Hill Ranch, 115 Signal Hill Road, Twisp. $25. 7:30 p.m. Thurs., July 25, Sat., July 27, Tues., July 30, Thurs., Aug. 1, Sat., Aug. 3. SEATTLE GILBERT & SULLIVAN SOCIETY SEE REVIEW, PAGE 18. TUDOR CHOIR A concert to close the choir’s annual workshop with guest singers from the Tallis Scholars. St. James Cathedral, 804 Ninth Ave., 800-838-3006, tudorchoir.org. 8 p.m. Fri., July 26. GIRMA YIFRASHEWA & AMY RUBIN Vibrant music from two pianist/composers: Rubin’s draws on jazz and Latin-American sounds, while Yifrashewa’s is based on the folk traditions of her homeland, Ethiopia. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.blogspot.com. $5–$15. 8 p.m. Fri., July 26. OLYMPIC MUSIC FESTIVAL Chamber music in a rustic repurposed barn, each Saturday and Sunday at 2 p.m. through Sept. 1. July 27–28 All Beethoven, all nicknames: “Spring,” “Ghost,” and “Razumovsky” (the string quartet op. 59 no. 3 with its surefire finale). Olympic Music Festival, Center Road, Quilcene, 360732-4800, olympicmusicfestival.org. $18–$33. OCTAVA CHAMBER ORCHESTRA A banquet of new chamber music. Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $5–$15. 7:30 p.m. Sat., July 27. BORDER CROSSINGS New music—for banjo, among other things—by Brad Sherman (Seattle) and Christopher Gainey (Vancouver). Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic. blogspot.com. $5–$15. 8 p.m. Sat., July 27. OPERA ON TAP An audition show—come hear OOT’s stars of tomorrow. (See operaontap.com/seattle to schedule an audition slot.) Blue Moon Tavern, 712 N.E. 45th St. $5. 7:30 p.m. Tues., July 30.

•

• • •

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

it’s unlikely you could do better than Desiree Davar, who looks a lot like her and belts tunes in that same dusky alto. Not so much the CBS Saturday-night Burnett, that is, but the late-career, been-around-theblock Sondheim-interpreter Burnett—which makes Davar excellent in the role of Velma Kelly, one of the two bombshells in Kander and Ebb’s Chicago. She leads Village Theatre’s fine cast: As Roxie Hart, Taryn Darr balances trashy and adorable as adroitly as she handles Kristin Holland’s razzmatazz choreography; Timothy McCuen Piggee has plenty of serpentine moves to match his portrayal of snake-in-the-grass lawyer Billy Flynn; and Shaunyce Omar brings a dazzling vocal versatility to Mama Morton, from pumain-heat growls to a full-on Jennifer Hudson. Still startlingly cynical after all these years (and an Oscarsweeping movie), Chicago believes in nothing—not motherhood, patriotism, or religion—except showbiz, so appropriately this production seems to have poured the most money into Karen Ann Ledger’s lavish, scrumptious costumes. GAVIN BORCHERT Everett

ERIK STUHAUG

THE MUSICAL ADVENTURES OF FLAT STANLEY JR. A stage adaptation of the classic children’s book.

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Openings & Events BAM ARTSFAIR SEE THE WIRE, PAGE 17. • ROBERT BLATT Elements is a sound installation investi-

gating the role of perception using an array of speakers suspended from the ceiling. Opening Reception: 7 p.m. Fri., July 26. Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org, Opens July 26, Mon.-Fri., 9 a.m.-5 p.m. Through Sept. 6. LONG SHOT 2013 Hundreds of photographs will be on sale to celebrate PCNW’s 20th anniversary at this gala fundraiser. Food and drinks are part of the fun. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org, $25-$250, 6-9 p.m. Sat., July 27.

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Museums

AUSTERE BEAUTY: THE WATERCOLORS AND PRINTS OF Z. VANESSA HELDER The late local

painter (1904–1968) was a pioneering female presence in the Northwest art scene. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum. org, $8-$10, Opens July 27, Tues.-Sun., 10 a.m.-5 p.m. Through Oct. 20.

CREATING THE NEW NORTHWEST: SELECTIONS FROM THE HERB AND LUCY PRUZAN COLLECTION The Wrights and the Shirleys are

renowned as Seattle’s biggest collectors, but if you take a step down the tax brackets, how many have heard of Herb and Lucy Pruzan? The Seattle couple recently promised nine works to TAM, which is in turn displaying a large slice of their art collection,

Seattle’s Music & Arts Festival is the nation’s largest arts festival. Seattle Center. Labor Day weekend

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TheFussyeye

» By Brian Miller

Space ’n’ Tape

BRIAN MILLER

SEATTLE WEEKLY • JULY 24 — 30, 2013

The last show at Suyama Space was made of corrugated plastic, the sort of stuff used to make cheap yard signs. Taking a step even further down the budget spectrum, Portland artist Damien Gilley uses nothing more than green tape and white foam-core to construct AXIS INDEX. It’s a natural choice for a gallery housed in an architect’s office, since foam-core is often used for architectural models. This is not a material for the archives: Whether the house or building gets built or not, the model usually ends up in the trash. Foam-core is for mockups, which are essentially 3-D sketches, not meant

called Creating the New Northwest. Over 100 pieces are on view (some also promised to SAM), which doesn’t even represent the Pruzans’ entire holdings. The Pruzans were on a budget as a young couple in the late ’50s, but they were determined to shop local. That means their collection lacks premium names like Tobey, Callahan, or Graves, which makes this show a Northwest survey of a different sort. Not secondrate—it’s more a reminder of depth over time, proof that our postwar art scene had more than Tobey, Callahan, and Graves to offer. The show’s grouped more by affinity than according to a strict timeline or division of styles. But as the Pruzans’ tastes changed and evolved—from landscape paintings to glass works, for instance—you’ll see what TAM curator Rock Hushka terms “a subtle chronology as they trained their eyes.” It’s notable that the Pruzans kept acquiring new works by emerging Northwest artists, instead of going back later to buy proven, investmentgrade painters. BRIAN MILLER Tacoma Art Museum. Through Oct. 6.

EMPOWERING WOMEN: ARTISAN COOPERATIVES THAT TRANSFORM COMMUNITIES See how art is

changing the lives of women around the world through this traveling exhibit that offers an intimate look at the work and traditional arts of ten women-run co-ops. Burke Museum of History and Culture (UW Campus), 543-5590, burkemuseum.org, $7.50-$10, Mon.-Sun., 10 a.m.-5 p.m. Through Oct. 27.

FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION Boldface names in this fashion show

include Kenzo Takada and Issey Miyake. Related works by Gilbert and George and Cindy Sherman will also be on view. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $11-$17, Thurs., 10 a.m.-9 p.m.; Weds., Fri.-Sun., 10 a.m.-5 p.m. Through Sept. 8. THE GHOST OF ARCHITECTURE Videos, sculpture, photography, and more are inspired by the building trade, with works by Edward Burtynsky, Christian

to be permanent. The tape here is like Gilley’s pencil, and his lines extend onto the gallery walls. At both ends of the atrium, he’s constructed street scenes that almost function like theater backdrops. (Let’s put on a show!) The abutting foam-core placards provide a little depth, but there’s more the suggestion of a city than an actual rendering. AXIS INDEX is like a big blueprint written on the walls; it’s a notional exercise, but not much to look at, however. I get the idea of indicating space and perspective on flat, planar surfaces, but I’d rather have a model to see in the round. (Or at least a good sketch on a piece of paper, even a napkin.) There’s a kind of trompe l’oeil effect that pulls your eye in, draws it to the vanishing point. AXIS INDEX provides a visual entryway, if not an end. Suyama Space, 2324 Second Ave., 256-0809, suyamapetersondeguchi.com/art. Free. 9 a.m.–5 p.m. Mon.–Fri. Ends Aug. 9.

Marclay, and others. Curated by the Henry’s Luis Croquer, with new gifts by local collectors including William and Ruth True (some previously seen at the old Western Bridge gallery). Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, $6-$10, Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m. Through Sept. 29. THE HUDSON FLOWS WEST The Hudson Flows West showcases work from the historic Hudson River School. These depictions of nature as the sublime have come to represent a combination of American ideals including manifest destiny. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Tues., Weds., Fri., Sat., 11 a.m.-5 p.m.; Thurs., 11 a.m.-7 p.m. Through Sept. 22. INDUSTRIAL EFFECTS Photography from the Industrial Revolution and beyond includes images by Berenice Abbott, Edward Burtynsky, Lewis Hine, and Alfred Stieglitz. Henry Art Gallery. Through Sept. 1.

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LINKS: AUSTRALIAN GLASS AND THE PACIFIC NORTHWEST This show explores the connections

and striking differences between Australian studio glass and the glass work of the Pacific Northwest. Museum of Glass, 1801 E. Dock St. (Tacoma), 253-2844750, museumofglass.org, $5-$12, Weds.-Sat., 10 a.m.-5 p.m.; Sun., 12-5 p.m. Through Jan. 5. BENJAMIN MOORE Translucent is a selection of the his work, featuring traditional vessel forms and contemporary designs. Museum of Glass. Through Oct. 6. MANEKI NEKO: JAPAN’S BECKONING CATS

Examining the rise of the “lucky cat” from “talisman to pop icon,” this exhibition highlights selections from a collection of 155 figures in wood, stone, paper, and ceramics, owned by the Mingei International Museum of San Diego. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $7-$10, Tues.Sun., 11 a.m.-5 p.m. Through Aug. 4.

OUT [O] FASHION PHOTOGRAPHY: EMBRACING BEAUTY: Curated by NYU’s Deborah Willis, this sur-

vey show is packed with great images from over 50 disparate artists. You get tantalizing bits—but never enough—of Winogrand, Warhol, Nan Goldin, Imogen Cunningham, Diane Arbus, Cindy Sherman, André Kertész, Lee Friedlander, our own Edward S. Curtis (for ethnographic value) . . . the list goes on and on. Willis’ keywords, in person and in print, tend toward construction, diversity, and complexity. The Native Americans whom Curtis admiringly posed in ahistorical dress and settings now appear to us in carefully constructed images: formal and dignified. There’s no less work involved for Curtis than Winogrand’s on-the-fly aesthetic of chic and casual. Cecil Beaton’s 1930 glamour portrait of Marlene Dietrich—a famous perfectionist about her image—suggests even more work, and retouching, in the studio and darkroom. It’s all an act. It’s all an art. Artifice. No photo is ever natural, no matter how much we associate the medium with truth. Yet in a show with so many distinguished, familiar names, there are discoveries to be made. There’s a fascinatingly dense 1948 crowd scene, Muscle Beach, by Max Yavno, a California photographer unknown to me. It’s a giddy postwar moment full of action and faces, bodies glistening in the sun. The shutter has frozen what seems a story in motion. BRIAN MILLER Henry Art Gallery, . Through Sept. 1. BUSTER SIMPSON: SURVEYOR Diverse work by the Pacific Northwest artist who added an ecological dimension to site-specific public art in the ‘60s and ‘70s is on view. Frye Art Museum. Through Oct. 13. JAMES TURRELL: SKYSPACE Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. DAVID STOESZ Henry Art Gallery.

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UNDER MY SKIN: ARTISTS EXPLORE RACE IN THE 21ST CENTURY This group show is intended

to spark dialogue about how people talk about ethnicity. Wing Luke Museum, 719 S. King St., 623-5124, wingluke.org, $9.95-$12.95, Tues.-Sun., 10 a.m.-5 p.m. Through Nov. 17. PATTI WARASHINA: WIT AND WISDOM The Northwest ceramics artist receives a career retrospective running back 50 years to her student days at the UW. Bellevue Arts Museum. Through Oct. 27.

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SE ATTLE WEEKLY • JU LY 24 — 30, 2013

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film»This Week’s Attractions

Andrew Bujalski filmed Computer Chess on the same antiquated video gear that news crews used in 1980, when his film is set. The retro technology is crucial to this charming, subtle, and unexpectedly entertaining feature. Shot with modern cameras, a story about programmers wheeling their bulky computers into a hotel conference room for a computer-chess tournament would seem like hindsight, tending toward irony or parody. Rendered in black-and-white analog video, acted with true conviction, Computer Chess is so deeply immersed in its milieu that it feels like a documentary. And like a great doc, it is at times tense and uncomfortable to watch. The stakes are high for the programmers. The winner of the competition receives $7,500—20 grand in today’s money!—and a match against Pat Henderson (Gerald Peary), a braggart chess master who hosts the annual tournament. But much more’s at stake. As the programmers talk about their work, the possibility of artificial intelligence and the very meaning of life are discussed—as are the implications of their work for the military-industrial complex. Not that it’s all serious. Bujalski’s programmers are nerds, after all, and their idiosyncrasies are delightful. As the chess weekend wears on, a winner is crowned, but that seems beside the point. Things get weird, and the film takes a Lynchian turn that might test your patience. Even so, it still feels too real to ignore. MARK BAUMGARTEN

Crystal Fairy OPENS FRI., JULY 26 AT VARSITY. NOT RATED. 98 MINUTES.

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and doing yoga. Still, just as cracks of decency show through Jamie’s truculent façade, Crystal Fairy lets slip certain clues that she’s also putting on an act. Forbidding the boys to buy junk food, she asks, “Do you know what’s going on with this sugar epidemic in America?” Later, in a covert moment, she guzzles Coke for breakfast. Silva directed my favorite movie of 2009, The Maid, and he again shows a gift for the awkward comedy of silent resentments. The three brothers try to reserve judgment on the two chatty Yankees, though their sympathies—and ours—eventually slide toward Crystal Fairy. She may be nuts, but she has better manners than Jamie. (Again after This Is the End, Cera is too strenuously playing against Bluthian type; his Jamie annoys the audience as much as he does the brothers.) The Maid was a more focused work, all its pressures and class conflicts contained within a single household. Crystal Fairy is more of a ramble, with a tacked-on campfire catharsis. Still, its tone of squirming conflict is entirely genuine. BRIAN MILLER

CMY

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

With Arrested Development back on the small screen, the selling point to Sebastián Silva’s Chilean road-trip movie is Michael Cera as the ugly doppelgänger of George Michael Bluth. His Jamie is a Free the Mind selfish, obnoxious visitor to a country he barely cares RUNS FRI., JULY 26–THURS., AUG. 1 AT NORTHWEST FILM FORUM. to understand. He’s only there for fun and drugs, NOT RATED. 80 MINUTES. with a particular obsession for the hallucinogenic San Pedro cactus he and three Chilean brothers This pseudo-scientific documentary aims hope to use after a long desert drive to a remote to explore the potential healing power of beach. En route, the brothers—played by Silva’s meditation. It credulously follows Dr. Richard younger brothers—soon tire of their garrulous felDavidson, whom we’re told is a leading brain low traveler, though they’re too polite to complain. researcher, as he treats three subjects suffering The bigger problem seems to be fifth-wheel hipanxiety and trauma. Two are combat veterans pie chick Crystal Fairy, as she calls herself, whom with PTSD, identified as Steve and Rich; the Jamie cruelly invites along so he can piss contempt third is a kindergartner with ADHD, named on his gringa countrywoman and feel superior. Will. Directed by Phie Ambo, herself a meditaTo call Gaby Hoffmann’s performance here brave tion fan, Free the Mind is strongest in capturing doesn’t go far enough. The former child actress the details of the three subjects’ everyday lives (Uncle Buck, etc.) and daughter of Warhol starlet and their touching interactions with DavidViva, she creates an aura of unhinged New Age son’s researchers. However sympathetic Ambo’s lunacy—like a musk you can smell in the theater. approach, it tips her doc’s balance away from She’s an earnest, naive seeker who both embarrasses hard science. the guys with her proudly unshaven nudity and After establishing that our brains are comBOD_WKLY_Vodka_7-23-13.pdf 1 7/23/13 10:56 AM lectures them, mommy-style, about eating better plicated and mysterious (no surprise), Free the

covered by the national media, in part because Grant had a criminal record, his killing was actually witnessed and filmed on cellphones by New Year’s revelers on the same BART train from which he was dragged by overzealous transit cops. Fruitvale Station leads up to that incident with a day-in-the-life format. It’s overly sentimental and possibly too soft on its protagonist (played by Michael B. Jordan), who goes out of his way to do favors for everyone he encounters during the final 24 hours of his life. He’s respectful of his mother (The Help’s Oscar-winning Octavia Spencer), kind to dogs, loving to his girlfriend (Melonie Diaz) and 5-year-old daughter. Fired from his groceryEx-serviceman Rich Low store job, trying to leave the thug life behind, he learns to meditate. dumps a K of weed in the harbor for maximum remorseful effect. There are flashes of temper, but Oscar is depicted as a man determined to turn over a new leaf—just when the economy is at its Mind tracks the seven-day meditation program worst. (We see an Obama campaign sticker, but intended to help Steve, Rich, and Will. Ambo hope hasn’t yet come to Oakland.) uses computer graphics to help with the neuIn his first feature, Coogler takes a quieter, roanatomy lessons. And her handsomely shot more domestic approach than the last major film does draw you in: Watching the meditation American film about race and police brutality, and breathing exercises, I couldn’t help imitating Spike Lee’s Do the Right Thing. Though the them. And it actually feels really good. Grant family’s constant “Love you”s portend But the meditation sessions seem too short, disaster, what really sticks is Oscar’s sheer norsince most of the film is about the three particimalcy of routine—buying crab for his mom’s pants’ mental-health conditions. For instance, one of the vets often complains about his depres- birthday party, helping a white female shopper prepare for a barbecue, racing his daughter sion and anger issues, and we genuinely care back to the car after day-care. Yes, it is posabout his treatment. But the seven days fly by, sible in America to be a petty drug dealer and and all three participants in the study turn out an upstanding family man. After showing us better. I couldn’t help asking, “That’s it?” The the actual cellphone video before the credits, healing process seems a little abrupt in Ambo’s Coogler spends a relaxed hour humanizing the editing scheme. 22-year-old Oscar; then comes the grim rush Three people do not a scientific study make. of docudrama that loops us back to the fateful Free the Mind instead raises awareness about the railway platform. influence our thoughts can have on our bodies. Because of the cellphone videos and court It does more showing than explaining. Scientists transcripts, the cycle of white police escalation will scoff, but viewers may learn a few breathing and minority defiance seems terribly familiar. tricks to help during traffic jams or college Oscar and his boisterous friends protest they quizzes. NING LIU were doing nothing wrong, and they’re humiliated by sitting on the concrete in full view of PFruitvale Station OPENS FRI., JULY 26 AT GUILD 45TH, MERIDIAN, the celebratory train riders. (In a fictional grace AND OTHER THEATERS. RATED R. 90 MINUTES. note, Coogler makes the BART a joyous and integrated rolling house By an accident of timing, if not party—society as we’d like it craft, Ryan Coogler has made to be, not as it is.) Tempers one of the most important movflare, heated words are spoies of the year. He couldn’t have ken, and a cop reaches for his known, in dramatizing a 2009 Taser during the scuffle. His police shooting in Oakland, that trial is covered in a postscript a Florida teen would be slain in that also extends forward to a similar 2012 encounter. Then the present year and context. came this month’s not-guilty And about all those cellverdict, and his film will forever phone videos. Part of Fruitbe associated with the case of vale Station’s horrible power Trayvon Martin. comes from the fact that, yes, Try to put that out of your Spencer as Oscar’s we’ve seen this movie before. mind. It’s impossible, but Fruitconcerned mother. vale Station is about another dead BRIAN MILLER black youth, Oscar Grant. Less » CONTINUED ON PAGE 26 RON KOEBERER/WEINSTEIN CO.

PComputer Chess

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During the past decade, Mexican director Carlos Reygadas has stormed the art house with his dreamy and sexually explicit films Japón, Battle in Heaven, and Silent Light. His scrambled, melancholy fourth feature, its title translated as After the Light, again intertwines the carnal and the philosophical. Russian novelists are name-checked at a posh dinner party. Teenage boys grapple and grunt in a rugby match at an English boarding school. The devil—animated and glowing like a red stove top—enters periodically to survey the scene. An adorably babbling 2-year-old girl, Rut, wanders through a muddy field at sunset, cows rutting around her, dogs running and barking as if on the verge of attack. And a bored married couple—the parents of Rut, it emerges—nervously venture into a sex club with chambers named for Hegel and Duchamp. (She partakes; he merely watches the sweaty, slapping flesh.) None of these scenes are presented in order. Juan and Natalia (Adolfo Jiménez Castro and Nathalia Acevedo) also have a little boy, Eleazar. The family lives in an expensive country home— Dwell meets Buñuel, surrounded by jungle and envious peasants. One is known only by his nickname, El Siete (Willebaldo Torres), whom Juan meets at a 12-step meeting. El Siete’s problems are poverty, booze, and crime. Juan confesses to a cyberporn addiction. His is probably the only household in the area with computers, TVs, and modern conveniences, and that affluence makes him a target. If his kids are awed and enchanted by the natural world’s fecundity, Juan’s marriage is sexually dried up. The sex-club visit may be before or after children; the rugby game may reflect Juan’s past or Eleazar’s future experience. Time is a muddle here, and Reygadas further distorts his story with a bizarre, beveled lens choice that surrounds every shot with a fuzzy halo. Only the iris is clear; the edges are a monocular blur, creating a first-person POV effect. Every time the camera moves, it gives you a headache. One senses that these vignettes are autobiographical, since Reygadas—a former lawyer and diplomat—was born into such privilege. His kids play Juan and Natalia’s kids at a young age, the country house is his house, the dogs are his dogs, the English boarding school . . . and so on. “All I had to do was exist,” Juan sadly

muses of his distant, happy childhood. Maybe Reygadas intends this confounding film to be a Proustian reclamation of lost time and innocence, but he fails to include the viewer on that interior journey. BRIAN MILLER

The To Do List OPENS FRI., JULY 26 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED R. 104 MINUTES.

On the one hand, Aubrey Plaza seems too good, too smart for a summer raunch-com. From Parks and Recreation to Safety Not Guaranteed, her intelligence can read as caution or even diffidence: Here is a young woman who knows better than to expose awkwardness and vulnerability—often what sex is about. On the other hand, Aubrey Plaza is exactly what this summer raunch-com needs to set it apart from, and above, a genre that runs from Losin’ It to American Pie. It also helps that this teenager’s quest to get laid, a timeless theme at the movies, is related from the perspective of writer/director Maggie Carey, who grounds Plaza’s character, Brandy, in her own Boise adolescence. Graduating from high school in 1993, valedictorian Brandy is a nerdy “mathlete” mocked for her virginity, with cleavage-heaving older sister Amber (Rachel Bilson) her chief tormentor. Before college, Brandy vows, she will change all that. As if studying for an AP exam, she methodically writes down a list of half-understood sexual skills that will lead to punching her shameful V-card. Abetted by her more savvy pals (Sarah Steele and Alia Shawkat), she sets her sights on a hunky lifeguard (Scott Porter), meanwhile overlooking the dork who’s crushing on her ( Johnny Simmons). Barely providing adult supervision over these horny teens is pool manager Willy (Bill Hader, the director’s husband). His slacker sage gives The To Do List a surprising overlap with The Way, Way Back—its protagonist also finding liberation among the pool-rats—only it’s way, way better. Sex here is a fumbling reality, not a dreamy abstraction. Plaza is surprisingly game for the slapstick required—pratfalls, lost bikini tops, green vomit, and other inconvenient bodily fluids. Carey treats all her characters with good-natured forbearance, even Brandy’s hovering parents (Connie Britton and Clark Gregg). She understands that a decent teen comedy must include eeew!-inducing grossouts, otherwise it’s got no credibility with the audience. Embarrassment defines those years; it’s the cement that locks everything else into memory— and provides a foundation for adulthood. And Carey isn’t above obvious jokes, as when Brandy bestows her first hand job at a screening of—get ready for it—The Firm. BRIAN MILLER E film@seattleweekly.com

film» BY BRIAN MILLER

Local & Repertory • AMERICAN COMEDY CLASSICS There’s overact-

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autobiographical Almost Famous (2000), his protagonist (Patrick Fugit) ostensibly departs 1973 San Diego to pursue his destiny as a music journalist. Why does the kid embrace precisely that which his amusingly overprotective mother (excellent Frances McDormand) finds so abhorrent? Crowe doesn’t delve into such potentially revealing issues. Mentored by real-life rock critic Lester Bangs (grouchy, puckish Philip Seymour Hoffman), our Candide-like hero soon assembles an improvised family on the tour bus of up-and-coming band Stillwater. Members include singer Jason Lee, guitarist Billy Crudup, and groupie Kate Hudson—all united by their simple, idealistic love for music. Almost Famous is largely an episodic road movie and a familiar coming-of-age flick, yet tinged with an elegiac tone not often heard from a Marshall stack. Ticket price is your drink price. (R) BRIAN MILLER The Triple Door, 216 Union St., 838-4333, thetripledoor.net, $3, Mondays, 8 p.m. Through Aug. 19. MOVIES AT MAGNUSON PARK The animation in Pixar’s 2003 Finding Nemo does not disappoint. Its computer-generated submarine seascapes are nothing short of amazing. Behind the scaly main characters, I loved how the sandy sea bottom constantly shifted in wave-refracted pools of light and shadow—like Monet’s lily pads rendered with 0’s and 1’s. Nemo’s story is as safe and satisfying as nap time: Anxietyridden single-parent clownfish Marlin (voiced by Albert Brooks) undertakes a rescue mission when his only son, Nemo, is fishnapped from the Great Barrier Reef to an aquarium in a Sydney, Australia dentist’s office. Intercut between the two time-honored scenarios (The Searchers and The Great Escape), and you’ve got a pretty good outdoor movie, which begins tonight 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 From 2004, The Incredibles beats any live-action feature around for honest emotion, snappy dialogue, character integrity, and the lost art of narrative coherency. The Incredibles used to have it all: fame, superpowers, trim waists, the works. Then they were banished to a drably anonymous suburban life. Bob, a.k.a. Mr. Incredible (voiced by Craig T. Nelson), once thwarted multiple robbers and hellbound trains, while wife Helen (Holly Hunter), trade name Elastigirl, saved lives with the longest arms the law ever saw. When the Incredibles get recruited out of retirement to battle embittered mad scientist Buddy Pine (Jason Lee) the action is infinitely more kinetic than almost any kaboom movie in recent memory. What makes the Incredibles great is that they tap the ultimate power: the secret of one’s own identity, individual and familial. Outdoor movie screens at dusk. (PG) TIM APPELO Marymoor Park, 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com, $5, Wednesdays. 7 p.m. Through Aug. 28. STEEL OF FIRE WARRIORS 2010 A.D. Filmmakers Travis Vogt and Kevin Clarke will introduce their locally made 2008 postapoclyptic genre mash-up. Note that the in-store VHSpresso now serves beer and wine. (NR) Scarecrow Video, 5030 Roosevelt Way N.E., 524-8554, scarecrow.com, Sat., July 27, 8 p.m. TERMS AND CONDITIONS MAY APPLY During the festival this year, our Daniel Person wrote of this privacy doc, “While the U.S. government is certainly guilty of obfuscating what liberties it takes with our data, director Cullen Hoback is stronger with the allegations than the clarity. After seeing Terms and Conditions, you’ll probably find yourself thinking twice about your next Google search and Facebook status update. You just won’t know exactly why.” (NR) SIFF Cinema Uptown, $6-$11, Thu., July 25, 7:15 p.m. WAXIE MOON IN FALLEN JEWEL: The local dancer and drag performer is featured in this recent performance film. Call for price. (NR) Central Cinema, Fri., July 26, 9:30 p.m.

•

Ongoing

HANNAH ARENDT 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. That’s where director Margarethe von Trotta makes an exception for one key aspect of her biopic: Eichmann is not played by an actor, but represented by the extensive newsreel 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. Arendt famously coined the phrase “the banality of evil” to describe the particular horror of the Nazis’ tidy organization of genocide. Instead of the aberrant monsters of the final solution, she proposed a population of bland

bureaucrats with blood on their hands. Von Trotta shows the toll her New Yorker articles 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. (NR) ROBERT HORTON Seven Gables I’M SO EXCITED Touted as a return to Pedro Almodóvar’s zany early work, I’m So Excited is crammed with explicit sex jokes, suggested sex acts, and a brazen attitude toward hedonism at 30,000 feet. Its landing gear stuck, a jetliner can’t find an airport to crash-land, and its coach passengers have been sedated for the duration of the flight. The members of the crew are tangled in illicit relationships; the conscious passengers are a roster of eccentrics and rogues. And there’s a great deal of tequila involved (consumed by the pilots, too). Besides some obvious comedy, Almodóvar has other motives in mind, 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. 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. (R) ROBERT HORTON Harvard Exit, Sundance Cinemas MUCH ADO ABOUT NOTHING Joss Whedon’s enjoyably playful comedy is staged in his Hollywood home. This modern-dress, black-and-white adaptation isn’t a vanity project, since Whedon’s cast members are all pros from television. Still, it has the feel of a weekendhome amateur theatrical, with everyone straining to put on a jolly good show and prove their appreciation for the Bard. 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. (PG-13) BRIAN MILLER Harvard Exit ONLY GOD FORGIVES 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. The older brother of Gosling’s drug dealer Julian commits a horrible crime. This begins a cycle of revenge and brings of Kristin Scott Thomas, as Julian’s mother, 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. Crystal and Julian are pitted against sword-wielding Chang (Vithaya Pansringarm). According to Refn, Chang is 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. 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. (R) BRIAN MILLER SIFF Cinema Uptown RED 2 The 2010 action comedy RED—an acronym for Retired and Extremely Dangerous—was a success with its shiny ensemble of Hollywood old timers including Bruce Willis, John Malkovich, and Helen Mirren. So a sequel is logical. While RED 2 delivers as much fun and more action than the original, it’s also hindered by incoherent pacing and some glaring holes in both plot and logic. (New cast-member Byung-hun Lee, convincingly playing the world’s best contract killer, fires thousands of bullets to destroy some cars without even hurting his target?) Willis and Mary-Louise Parker are gathered by Malkovich to track down a missing nuclear device. Shooting, explosions, and some exhilarating car chases ensue, as the team lurches from one international location to the next. The cast is solid, as expected, though Parker has the most fun with her off-kilter line readings. Willis plays the same character he’s been playing for the last few decades: a calm hero who hardly ever cracks a smile. New to the cast are Anthony Hopkins and Catherine Zeta-Jones, an indication that the RED franchise is in no danger of retirement. (PG-13) NING LIU Alderwood 16, Pacific Place, Cinebarre, Bainbridge, Kirkland Parkplace, Thornton Place, Sundance, others

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ing and there’s over-Acting. John Barrymore provides the latter as a gloriously manic, egocentric Broadway producer in Howard Hawks’ priceless 1934 screwball comedy Twentieth Century. The pompous impresario creates a star (Carole Lombard) who becomes his lover, but his overwrought jealousy drives her to Hollywood. Two years later they meet on a train (the Twentieth Century line from Chicago to NYC), and comic pandemonium erupts. Peerless supporting players abet the insanity as Barrymore schemes to win her back. “We’re only real between curtains,” Lombard tells him, meaning those precious moments on stage. And in truth, neither is well equipped to walk among us mortals in the audience. A peerless comedienne during her short career, Lombard (1908-1942) was the pinup queen of the screwball era—swell looking, and smart with her mouth. (G) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $42–$45 series, $8 individual, Thursdays, 7:30 p.m. Continues through Aug. 15. THE FEARLESS FREAKS Leader of The Flaming Lips, in town to play the Capitol Hill Block Party, Wayne Coyne himself will introduce this 2005 documentary, directed by Bradley Beeseley. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10. 3 p.m. Sun., July 28. THE FILMS OF TRENT HARRIS SEE THE WIRE, PAGE 17. FRANKENSTEIN’S ARMY From Holland, this new black horror-com imagines that Nazis had a very secret weapon they hoped would turn the tide of WWII. Much gore ensues. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Fri., July 26, 10 p.m. FREMONT OUTDOOR MOVIES Jason Segel puts it all out there—and, like, it’s all out there in 2008’s Forgetting Sarah Marshall. It takes all of five minutes for Segel, who wrote and stars in the movie, to drop towel: His character, Peter Bretter, is on the verge of being dumped by his longtime girlfriend, middlebrowTV actress Sarah Marshall (Kristen Bell), but she won’t actually break up with him until he puts on some clothes, and so...he doesn’t. The way Peter figures it, the moment he puts on some clothes, “it’s over.” The scene elicits big dumb laughs—That dude’s naked, haw haw. But there’s also some sad, sweet truth to it that carries over throughout the movie. Peter fits neatly into producer Judd Apatow’s now-familiar catalog of screwed-up, stunted crybaby man-boys, but he’s also Bruce Jay Friedman’s Lonely Guy—nothing more, or less, than a misfit and a mess. Outdoor movie screens at dusk. (R) ROBERT WILONSKY 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com, $5, Sat., July 27, 7:30 p.m. THE HITCHCOCK 9 SEE THE WIRE, PAGE 17. THE MAN WHO FELL TO EARTH David Bowie stars in this atmospheric but rather slow 1976 sci-fi flick, directed by Nicolas Roeg. (R) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, July 26-31, 7 p.m. THE MASK Jim Carrey scored a huge hit in 1994 playing this green-faced rubbery superhero. Cameron Diaz costars. (PG-13) Central Cinema, $6-$8, July 27-31, 9:30 p.m. MOONLIGHT CINEMA In the 2010 Due Date, a skinny, scowly, and dryly self-referential Robert Downey Jr. meets a chubby, beardy, quasi-autistic Zach Galifianakis boarding a flight. Downey Jr. plays Peter, a Bluetoothed architect with a very pregnant wife waiting at home for him; Galifianakis’ Ethan is a would-be movie star headed to Hollywood. One nonsensical altercation later, both Peter and Ethan are kicked off the plane and barred from boarding another. Ethan rents a car and offers Peter a cross-country ride. From its breakneck pace to its stoneresque disinterest in Chekhovian payoff that’s such a balls-out fuck-you to conventional screenwriting that it’s sort of exciting, Due Date is fast, lazy, and out of control in a manner that’s basically commendable. Due Date barrels through increasingly fantastic set pieces on its way to a major rite of passage, but in this case the journey is divorced from the destination. 21 and over. Movie screens at dusk. (R) KARINA LONGWORTH Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com, Thursdays, 6 p.m. Through Aug. 29.

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food&drink»Feature

Pioneer Square Redux

BY MEGAN HILL

Pioneer Square’s food scene, and its rebirth, gathered serious momentum when Mike

that “food is just one of the strategies that have been going on in the neighborhood for the last three years.” Retail, residential space, and restaurants all work together to make a vibrant neighborhood, though Pioneer Square has until recently lacked some of the pieces of that puzzle. Smith says that if you start with restaurants, retail will soon follow. “When you get in and start looking at retail and understanding how retail works, quality retail follows food, particularly in a food town. And this is a food town, we all know that.” The APS has made a concerted effort to talk up Pioneer Square and fill

Fresh peaches from Martin Family Orchards at the large gathering of Pike’s market vendors and shoppers in Occidental Park.

in particular, as well as the scarcity of parking, doesn’t bode well for restaurants. This isn’t lost on Smith. “The city has done a really good job of creating these little commercial cores in neighborhoods, but what those neighborhoods have that Pioneer Square does not is really robust residential bases that support that retail. So you can walk to your local bakery or walk to your local restaurants or something like that, and we still do not have those residential numbers. We have such an incredibly high proportion of people that live in the missions or the transitional housing, and those people do not have any disposable income,” Smith says, citing Columbia City, Ballard, and Fremont as counterexamples. The development of Stadium Place (also

Matt Dillon scouted the neighborhood for two years because he’s “an aesthetically driven person . . . I wanted to be in a neighborhood that had some antiquity to it.” referred to as the North Lot Development) just north of CenturyLink Field should help; up to 740 residential units and 50,000 square feet of retail are slated. With residential space of any kind nearby, restaurants will be compelled to stay

open later to cater to locals who roam after work looking for food and drinks. And that creates a certain atmosphere. Easton and Dillon have since been joined by Rain Shadow Meats, The Lodge Sports Grille, Tinello, and Gaba Sushi. Dillon is also opening The London Plane, a hybrid bakery, cafe, grocery, and wine shop, in a partnership with Katherine Anderson of Marigold and Mint. “We should be opening the first part in a few weeks,” Dillon says. It’s actually two spaces—the north and south corner of Occidental Mall, the brick plaza just south across South Main Street from Occidental Park. “It’s the same business, but we didn’t have to go through a ‘change of use’ rezoning on one side, so that will be a teaser, with flowers, wine, food. The second part will be the deli, bakery, prepared foods, and that will open in November.”

some of the empty storefronts—in January, the neighborhood faced an 11 percent vacancy rate. Now that’s changing. “We started a buzz. People started talking about Pioneer Square. And then the property owners reported back to us that a year before that, they had empty retail space that no one was calling on, and all of a sudden they were getting calls,” says Smith. Other important work includes business recruitment, improvements for pedestrians, and a focus on public safety. APS is also making a big push to market the neighborhood, promoting it to tourists and locals and changing the story from one of negativity and decline to one of positive developments. “We did not take it as a death knell,” says Smith. “We took it as a wake-up call: Put your big-girl boots on and let’s get some work done.” The farmers market is just the latest sign of the Pioneer Square renaissance, breathing new life into the much-maligned Occidental Park. The market, after all, wouldn’t be there if its vendors couldn’t generate significant foot traffic and attract hungry patrons. “We’ve gotten a really great response from the community,” says Pike Place’s Lindsay. “We are just really thrilled to be a part of all of the great energy that’s happening in Pioneer Square right now.” E

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SE ATTLE WEEKLY • JU LY 24 — 30, 2013

Easton relocated Il Corvo to the neighborhood in January and Matt Dillon opened Bar Sajor in February. “Now we have two named Seattle chefs who clearly are investing in this neighborhood, and people said, ‘What are they seeing that I haven’t figured out yet?’ And then people show up and they kind of get a sense of the energy, and the commitment is there on the part of the neighborhood to make this work plan so successful,” says Leslie Smith, executive director of the Alliance for Pioneer Square (APS), the nonprofit formed in 2010 to lead the revival. Matt Dillon scouted the neighborhood for two years because, he says, “I’m an aesthetically driven person . . . I wanted to be in a neighborhood that had some antiquity to it.” In fact, he had considered opening his New American restaurant, Sitka & Spruce (now on Capitol Hill), in Pioneer Square, but “the neighborhood didn’t feel right at the time”—because, he says, the spaces that were available weren’t right and because financially he wasn’t ready for the commitment that being in Pioneer Square demands. The lack of residents

Though the revival is based around food and restaurants, Smith says

KAREN STEICHEN

he latest in a slew of openings in Pioneer Square isn’t a fancy cocktail joint or a handmade-pasta restaurant jammed with lunchtime patrons. It’s not a brick-and-mortar spot at all, but a group of white tents sheltering piles of produce, jars of pickles and honey, and fresh-baked bagels—even ice-cream bars. The Pioneer Square Pike Place Express Market in Occidental Park is the latest food-focused event in the embattled historic neighborhood’s larger revival. It’s part of a program to bring smaller farmers markets—extensions of Pike Place Market—to downtown neighborhoods. “Several years ago we recognized there was a demand for access to the farmers-market atmosphere and the great locally grown products that our farmers offer among people who want to shop at the market, but can’t really get down here on their lunch hour,” says Kelly Lindsay, director of programs and marketing for the Pike Place Market Preservation & Development Authority. Pioneer Square has long had a rough reputation, undergoing booms and busts since the Gold Rush days. The most recent downturn centered around the recession and the loss of neighborhood retail anchor Elliott Bay Book Co. When it left for Capitol Hill in 2009 (owner Peter Aaron cited “the attractiveness and safety and vibrancy of the location” in a Seattle Times article as among the many reasons for moving), it seemed like a death knell for Pioneer Square. But the move energized a burgeoning renewal effort that began with former Seattle Mayor Greg Nickels and has continued with Mayor Mike McGinn. Under Nickels’ direction, Pioneer Square stakeholders had already held two meetings by the time Aaron announced he was leaving. And the revitalization—not so surprising given Seattle’s foodie proclivity—is being led by food and drink.

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food&drink»

Sea Change

Is the opening of Rock Creek a new moment for Seattle seafood? BY NICOLE SPRINKLE

n a city where tourists come expecting This approach indicates a clear break from the great seafood, it’s a dirty little secret that locavore trend that dictates only local fish like Seattle’s seafood scene has—dare I say salmon and halibut belong on your plate. But, it?—gotten rather stale. Donnelly says, that doesn’t mean Rock Creek Sure, we have waterfront seafood houses like is disregarding healthy ecosystems in its quest Ray’s Boathouse and Salty’s, where you can for adventurous cuisine. “There are many wellalways find Pacific Northwest favorites like halimanaged fisheries in these places, and a lot of but, salmon, and Dungeness crab. Ditto venerable finfish besides catfish and black cod that we can but staid grand dames like The Brooklyn, where feel good about eating.” you can choose from those same usual suspects Snapper, fluke, hamachi, black bass, grouper, or steak and lobster. Expensive, special-occasion and pompano are just some of the fishes he’s options like Aqua by Gaucho may include Chilplanning to serve. And while Asian-style sauces ean sea bass or Hawaiian swordfish, but they on fish have been done to death, Rock Creek tend to be masked will try more Latin with rich, unctuapproaches, like a ous beurre blancs Peruvian tiradito— and cream sauces. sliced raw fish Chowder houses similar to ceviche abound, but they but with a more serve a simple purdelicate, less tangy pose: a place to grab flavor—served with a filling bowl of corn nuts and a soup or some fried chili sauce. seafood. And while How does we do have superlaDonnelly detertive sushi choices, mine what’s welland restaurants like managed? For wild The Walrus and fish, “it’s about the Carpenter have something that has taken oysters to a a large bio-mass, new level, there’s that’s replenishbeen a noticeable able.” For farmed lack of seafood fish, he says, it’s Donnelly and Given innovation as a “ocean ranching,” during Rock Creek’s whole. Instead, the which can mean construction. city’s love affair with raising them in all things pig or large, open cages in locavore has domiflowing water—not nated the scene. in back estuaries That may be about where waste can to change with the be an issue—and opening of Rock letting the fish feed on a natural diet, as opposed to being physically Creek (scheduled, at press time, for July 31). fed. It can also mean raising fish in open cages, The love child of romantic and business partreleasing them and then catching them when ners Eric Donnelly and Christy Given (former they come back. These methods are all part of the executive chef and pastry chef, respectively, at aquaculture movement that’s grown considerably Toulouse), Rock Creek is a large, two-storied, in the last five years. modern-yet-rustic affair located on a corner of Donnelly is also focused on line-caught fish Fremont Avenue North. The new restaurant will that are “boat-specific,” noting that “I have relafocus on “seafood and spirits” —specifically, fintionships all over the world with day-boat fisherfish from around the world and lighter, brighter men.” For instance, he works with a guy in Baja drinks like aquavits and piscos, as well as interwho literally dives daily for scallops. “They aren’t esting white and sparkling wines from Europe dredged up with all that stuff from the bottom of instead of Washington. While Donnelly likes the floor, which is really damaging.” barbecue and dark liquors as much as the next But while responsible, consciously sourced guy, referring to the predominance of pork belly fisheries are a big priority for Rock Creek, Donon menus, he laughs and says, “We’ve beaten on nelly doesn’t want to get to get too bogged down that animal for a long time now.” in characterizing his restaurant by a choice that I sat down with Donnelly and Given in the he says is “really something that any good restauunfinished space—on benches of reclaimed fir rateur should be making.” E beneath a skylight in the soon-to-be-private dining room upstairs—to talk about their vision nsprinkle@seattleweekly.com as construction workers drilled and sawed around us. “We want to let people experience great fish ROCK CREEK from around the world—tropical, Mediterra4300 Fremont Ave. N., 557-7532, nean, from Fuji, South America,” says Donnelly. rockcreekseattle.com. KAREN STEICHEN

WEEKLY

Seattle FoodNewS Oysters and Scotch in Ballard; Hemp Ale on Draft

PHO VIET ANH 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!

» By Sara BillupS HAPPENING

Ballard Annex Oyster House is hosting an oyster-and-scotch pairing in honor of National Scotch Day this Saturday, July 27. On the tasting menu? Tomatin 12-year and 18-year single malts, The Antiquary 12-year Rare Old Blend, and Angus Dundee Pure Malt. Yes, please. $25 tickets are available online.

While you’ll have to wait until October to find it on shelves across Washington, Hilliard’s Beer and Redhook Brewery’s “Joint Effort Hemp Ale” is now available on draft. The nutty session ale is brewed with Zeus, Cascade, and Summit hops and, of course, hemp seeds. At last check, “Joint Effort” tap handles in the shape of a bong were still for sale—for the apt price of $42.00—at Hilliard’s taproom in Ballard. This Thursday’s “Summer Harvest Feast on the Farm” at Carnation’s Oxbow Farm will feature an open-air dinner prepared by Hitchcock chef Brendan McGill, who recently earned the title “People’s Best New Chef” from Food and Wine. The fourth annual event partners with area farms that promote environmental stewardship. All proceeds go to the Snoqualmie River Watershed. Tickets are up for grabs online. It’s just over a month away, but we’re already getting excited about Cereal Magazine editor Rosa Park’s upcoming appearance at Book Larder. Park will talk about launching her oh-so-good-looking, UKbased food-and-travel quarterly and sign copies of the latest issue. The August 25 event takes place from 4:00 to 5:30 p.m. and is free, but you should RSVP to help with the head count.

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Try our Bánh Mì sandwiches! It is an explosion of flavors combining just enough meat, pickled carrots, fresh and cold cucumbers, cilantro, hot jalapeño peppers and those irresistible spreads of homemade pate and mayo.

6510 Roosevelt Way NE Seattle, WA 98115 • 206-466-2179

HAPPY HOUR IN THE MARKET! RESTAURANT

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EAT, DRINK, SING & DANCE!! OHANA HUI REWARDS NOW AVAILABLE! COME IN & SIGN-UP TODAY!!

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86 Pine Street 206.728.2800 www.marcheseattle.com

“The Green Hour”

7 days a week, 4:30pm to 6pm and Late Night, Thursday-Saturday, 10pm-11pm

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$3.99 PUPUS, SUSHI & HANDROLLS $4.00 COCKTAIL SPECIALS, SAKE & WINE $15.00 SAKE MARGARITA PITCHERS MON & TUES ALL NIGHT, WED & THURS & FRI 5-7PM LATE NIGHT: SUN-THURS 9-11:30PM HEATED DECK IS OPEN!!! 07/24- ALOHA WEDNESDAY- P.O.BOXX!!! - FREE, 21+, $3 LATE NITE HAPPY HOUR STARTS AT 9 & BAND AT 10! 07/25 - THURSDAY- 80’S LADIES NIGHT W/ DJ KUSH-KO! $6.00 LAVA FLOWS, BLUEBERRY BEIJING, BUBBLE-O-SEVEN & 3-LAYER CAKE!! 07/26 - FRIDAY- DJ HEADLINE!! 07/27 - SATURDAY- DJ HEAD-ACHE TO DA MAX!! 07/28 - SUNDAY- KARAOKE W AURY MOORE! $3 LATE NITE HAPPY HOUR 9 - MIDNITE! MONDAY & TUESDAY ABSOLUTE KARAOKE W/ CHASE NAHO’OIKAIKAKEOLAMAULOAOKALANI SILVA & $3 HAPPY HOUR ALL NIGHT W ABSOLUT DRINK SPECIALS!! 07/31 - ALOHA WEDNESDAY- PAK & DA LOLOZ!! OPEN FOR LUNCH TUESDAYS - SUNDAYS!! 11:30 - 4:30. GET YOUR LUNCH PUNCH CARD ON FILE!!

Kids eat Free Sundays till 6pm

OYSTER SUNDAYS $1.25/ea all day long!

HOURS: SUN – THUR 11AM – 10PM FRI & SAT – 11AM – 11PM HAPPY HOUR 3PM – 7PM EVERY DAY! Well Double Shots - $5 All Other Shots - $1 off LUNCH BUFFET $9.99 11AM-3PM Bud Light - $2.50 EVERY DAY Micros - $3.50 House Wines - $4.50 VISIT OUR NEW FRIDAY AND SATURDAYS LOCATION! You Call the Shots - $6 507 NE NORTHGATE WAY, SUITE G • 206-417-1118 • www.masalaofindia.com

FREE DINNER

Buy one dinner entrée at regular price, get 2nd dinner entrée of equal or lesser value free! Maximum value $7

Not valid with combination platters/Thali, One coupon per table/party, coupons may not be combined with any other offer, not valid with buffet. Dinner only. Dine in only. Please mention ad before placing order. Not valid on holidays.

TAKE-OUT SPECIAL $7 OFF Any Take-out order of 3 entrees or more.

one coupon per party. Coupon may not be combined with any other offer. Not valid on buffet. Please mention ad before placing order. Not valid on holidays.

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

The Seattle Street Food Festival is only weeks away (August 10), but if you want to get in on this year’s new addition to the behemoth event at Cal Anderson Park, the “Pop-Up Picnic,” don’t wait too long to buy tickets. It’s not cheap, but the $125 Pop-Up ticket not only lets you sample food from restaurants like Il Corvo, Blind Pig Bistro, Spinasse, Little Uncle, and others, but also buys you the right to skip the lines at the festival itself. E

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

VIETNAMESE NOODLE SOUP & GRILL

“Whether you’re a fan of Beat Happening, Bikini Kill, or Nirvana, this book will help you understand a scene that changed music history.” —CHARLES R. CROSS, author of Heavier Than Heaven

SEATTLE WEEKLY • JULY 24 — 30, 2013

Paperback // 288 Pages // $18.95 Available wherever books are sold

reverb»Profile

MANDY BLOUIN

1303 NE 45TH ST

Positive Rejection Katie Kate has a great record in hand with nowhere to spin it—yet.

intriguing—though still developing—rhymes. It was easily one of the most interesting releases of that year. Now two years later, with anticipation building around her already-finished sophomore album and festival dates in full view (Sitka, Alaska’s Homeskillet Fest this Friday and a Sunday set at the Capitol Hill Block Party), the table seems set for a larger-scale emergence—if only someone would put out her record. “There is no release date,” Finn admits. “I’m looking for a home for it. I’ve been shopping it since January. Problem is, it’s pretty different, pretty unique. A lot of the response has been really positive, but very . . . I don’t know if the record industry is in a place right now where they can take a chance on something as unique as this is. That’s kind of what I’ve been hearing—which isn’t a bad thing, you know? It’s almost like positive rejection. That’s really weird.” With help from her friend Terry Radjaw (of Mad Rad) and his Out for Stardom promotion team (which also makes moves locally for Fresh Espresso, Metal Chocolates, and Don’t Talk to the Cops!), Finn has earned a foothold in town as an MC and producer. Yet support from outside the city limits—from anywhere outside the local hip-hop scene, really—has been fleeting. For that, Finn has a simple answer: “I’ve felt that it’s really easy to hate me.” “[In rap,] You have to prove that you’re legit, and some people don’t feel that way about me for whatever reason,” she says. “But I don’t think they know what they’re talking about. All I’m saying is it’s very easy to judge me from the outside . . . without listening to what I do.” Suddenly the high-school insecurity is back, and the “little white girl in upstate New York” weighs her words—even though she was interviewed on camera for the Grammys website at Sasquatch! last year; The Stranger listed her as a finalist for this year’s Genius Award for music; and after this week she’ll have played

nearly every major festival in the Pacific Northwest in the past year. After the interview, she sends me the music she’s been working on. Her still-untitled new album shows a clear progression from the bedroom-produced Flatland. Recorded and executive produced by former Throw Me the Statue member Charlie Smith at his world-class Studio Nels near Pioneer Square, the record finds Finn digging deeper than ever, singing and laying down thought-provoking metaphors over accomplished—and noticeably filled-out—instrumentation. Though at its core it’s still entirely Finn’s construction, Smith’s pop experience has helped take her songwriting to the next level. Written over four months at the end of last year, almost all the songs have both the depth of artistry and the accessibility to register as crossover hits. Says Smith: “I do think without a doubt that the music and the performance on this record is of national quality. Certain things have to align for it to hit that certain pipeline, but I think if it does hit that pipeline that people are going to take notice.” With a strong showing on such highly visible stages this weekend, she could theoretically land near the mouth of said pipeline, but even if she lands right where she took off from, she’ll still count as one visible high point in a city full of talent. Of course: Find a spot in the crowd, and judge for yourself. “You’ve got this artist who sounds like no one else,” explains Smith. “You really can’t say she sounds like this mixed with this. No, she sounds like Katie Kate, and that’s it.” E

music@seattleweekly.com

CAPITOL HILL BLOCK PARTY

East Pike Street & 12th Avenue, capitolhillblockparty.com. $40 individual ($115 passes are sold out). 3 p.m.–2 a.m.

Fri., July 26–Sun., July 28.

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

nce when Kate Finn was in high school, she called her local hip-hop radio station and left a 30-second rap about being Irish in their voice-mail inbox. She wasn’t Katie Kate—the accomplished Seattle-based multi-instrumentalist and engaging MC—yet; she was a self-described “little white girl in upstate New York.” She listened to rap, from Top-40 hit-makers to the lower-profile conscious artists of the time, but kept her interests mainly private. None of her friends were into it the way she was. When they played her verse on the radio the next day during her classmates’ morning commute, she was embarrassed. “It was meant to be a joke,” she remembers. People from her school called the DJ to say she sounded like “Malibu’s Most Wanted” on the air. In secret, she wrote a response rap to all her detractors. In the end, she kept it to herself. “I was definitely not confident in [rapping],” she says. “It took me a long time to feel OK about the fact that this is what I do . . . But after that [day], I think I privately started writing things.” At a wobbly table in the Capitol Hill Caffé Vita, Finn presents a sturdy posture and a performer’s aplomb. She has made a complete 180 from the embarrassment she suffered that day in high school back to self-assurance, even sass, on record, though in person her delivery is softened by her genuinely pleasant nature. Since high school, Finn, now 26, has supplemented her lyric writing with a classical-piano performance major from Cornish College (for which she moved to Seattle), and additional training, she says, that left her proficient in roughly 15 instruments. It was also at Cornish that she learned the fundamentals of studio production, which she’s used to produce all her own beats. Her eclectic skill set has put her in a league of her own in a way. Her 2011 debut, Flatland, was a dynamic mix of hip-hop and electronic that showcased her endlessly creative production, tingly falsetto, and

BY TODD HAMM

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

NTw.RlittleYreMdhUenS.coIC LIVE COUww m

JAZZ ALLEY IS A SUPPER CLUB

THURSDAY JULY 25TH

9PM - $3 COVER

FRIDAY JULY 26TH

9PM - $5 COVER

SATURDAY JULY 27TH

8 SECOND RIDE 9PM - $5 COVER SUNDAY JULY 28TH

JUKEHOUSE HOUNDS 9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS TUESDAY JULY 30TH

ROY KAY TRIO 9PM - $3 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

HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI

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

EVERY LOCAL RELEASE* Overseas, Overseas

BUCKAROOSTERS MICHAEL ANTHONY PRATT BAND

Reverb»Reviews

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!

BILL EVANS’ SOULGRASS FEATURING SPECIAL GUESTS STEVE KIMOCK AND JEFF PEVAR TUE, JUL 30 - THU, AUG 01 Muliple Grammy-Award Winning saxophonist blending soul, jazz and Americana joined by guitar Master

JOHN PIZZARELLI QUARTET WITH BUCKY PIZZARELLI FRI, AUG 02 - SUN, AUG 03 Guitar legends blend pop, jazz and swing, setting the standard for stylish modern jazz

all ages | free parking full schedule at jazzalley.com

(out now, self-released, overseasband. net): The debut LP from this new band featuring David Bazan (Pedro the Lion), Will Johnson (Centro-matic), and Bubba and Matt Kadane (Bedhead) is gorgeous—a dreamlike, drifting, slowcore collaboration at its best when Bazan and Johnson step away from the lead and share vocal duties, merging their singular styles into a sublime fusion. The project came together after the death of Vic Chesnutt, and the album has an elegiac quality, the soundtrack to a journey to the afterlife. DAVE LAKE Overseas, featuring David Bazan, is a “dreamlike, drifting, slowcore collaboration.”

The Almost, Fear Inside Our Bones (out now, Tooth & Nail Records, thealmost.com): Listening to this record, it makes perfect sense that the Florida-based quintet included a jar of Layrite pomade and a pocket-sized comb in album preorder bundles. Unlike its previous, more poprock releases, the band’s third album is Southern rock ’n’ roll with a rockabilly soul. Lead singer Aaron Gillespie still carries his heart on his sleeve, but this time lyrics are centered on the theme of anxiety. Recorded live over a five-day period in Nashville, Bones is The Almost’s first step in a gritty new direction. AZARIA PODPLESKY Arisen From Nothing, In Nothing We Trust (out now, self-released, arisenfromnothing.com): For its sophomore release, AFN introduces a new vocalist in T.J. Hill and a more melodic hardrock sound, while maintaining its riff-driven, metal-infused backbone. KEEGAN PROSSER

SEATTLE WEEKLY • JULY 24 — 30, 2013

Baltic Cousins, The Broken Horn (out now, self-

EDITOR’S PICK

released, balticcousins.bandcamp.com): This first full-length release delivers more of the deepfried, foot-stomping folk-punk the band debuted on its EP, For the Hell of Us. It isn’t always full speed ahead, though; with Tannananika Munn on violin and Rabia Magnusson on piano, Horn has plenty of softer moments. (Fri., July 26, Timber Fest, Carnation, Wash.) AP The Georgias, The Georgias (out now, selfreleased, soundcloud.com/thegeorgias): This collection of sunny acoustic folk-pop finds strength in its simple arrangements, powerful vocals, and Americana roots. KP

*Yeah, every release

Hannalee, Fragaria (out now, self-released, hannaleesong.bandcamp.com): Rounding out its four-part season-inspired EP series with this summer-themed folk release, husband and wife Mike and Anna-Lisa Notter and their longtime friend Fidelia Rowe have managed to turn those warm, sticky nights into songs as loose and cooling as your favorite tank top or sundress. AP The Purrs, The Boy With Astronaut Eyes (out now, Fin Records, thepurrs.com): After more than a decade in the business, the Purrs are still at it, recently releasing a sixth album—the first to feature rhythm guitarist/backing vocalist Liz Herrin. On Eyes, the band has found the perfect balance between classic and psych rock, with hints of shoegaze shining through. AP Eddie Spaghetti, The Value of Nothing (out now,

Bloodshot Records, bloodshotrecords.com/ artist/eddie-spaghetti): This album marks Spaghetti’s official cannonball into country, but that doesn’t mean the four-letter words or smell of cheap beer have dissipated. Predictable yet fun. MATT DRISCOLL

ThorNton Creek, fancypants (out now,

GreenSprings Music, thorntoncreek.com): Sounding like a remastering of music recorded a long, long time ago, this is country without the Nashville sheen, “Every Little Now and Then” and “Hold on Dahlin” in particular. It feels like a throwback, a reminder of what the genre originally sounded like. (Sun., July 28, Volunteer Park) CORBIN REIFF

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.

tractor

Reverb»The Short List

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

Son Volt WEDNESDAY, JULY 24

Neptune, 1303 N.E. 45th St., 682-1414. $18 adv./$20 DOS. 8 p.m. GWENDOLYN ELLIOTT

Shooter Jennings

thur, July 25 • 9pm ~ $18adv/$20DOS The Tractor & KBCS 91.3FM present americana, country & bluegrass

JIM LAUDERDALE TOWN MOUNTAIN

sat, July 27 • 9:30pm ~ $12 country, folk & americana

ZOE MUTH AND THE LOST HIGH ROLLERS THEE MIDNIGHT CREEP SUN, July 28 • 8:30pm ~ $17 rootsy folk-rock sextet

COURTESY OF THE ARTIST

Released earlier this year, Jay Farrar and co.’s album Honky Tonk is a slight departure from the dusty Americana rock the band has played so well over its now-six-album-deep catalog. It’s more country roots than hipsters in boots, full of barroom waltzes, sprightly fiddles, and, in “Bakersfield,” even nods to the California seat of honky-tonk that introduced us to Merle Haggard and Buck Owens. Of course you can’t take Farrar’s easy-rolling drawl out of the equation: The album is wholly his, his unhurried croon melting over the lyrics of ballad “Wild Side”: “You’re on the wild side/That’s where you’ll always be/You’re living proof that there’s grace in this world/Outside living free.” Shimmering pedal steel only helps make the tune tenderer— and yes, more country. With Colonel Ford. The

DONNA THE BUFFALO THE BELIEVERS

tues, July 30 • 9pm ~ $15 honky-tonk, western swing, blues, rockabilly & big band

Shooter Jennings

THURSDAY, JULY 25

Despite the better judgment Waylon Jennings imparted in “Mamas, Don’t Let Your Babies Grow Up to Be Cowboys,” he begot in his only son a Nashville guitar picker who’s on the road more than he’s home. It’s been a rocky road for Shooter, who’s bounced around record labels and found only middling chart success. Taking this fact in his teeth, Jennings’ March release The Other Life is an ode to Waylon and his generation, which, as Shooter sees it, today’s country has forsaken. The first single, “Outlaw You,” is a spare missive against the pretty boys in new hats and shiny boots who Shooter sees taking over Nashville and co-opting his father’s legacy. The album is preachy at times, but Jennings is smart enough to practice what he preaches, soaking many of his songs in the slide and twang that was the hallmark of 1970s country, and which is now his birthright to carry forward. With Scott H. Biram. El Corazon, 109 Eastlake Ave. E., 262-0482. 8 p.m. $22 adv. DANIEL PERSON

Leann Rimes FRIDAY, JULY 26

Park Zoo Amphitheatre. 601 N. 59th St., 5482500. $32.50. KEEGAN PROSSER

Zoe Muth and the Lost High Rollers SATURDAY, JULY 27

Seattle’s “own Emmylou” may have moved to Austin—where, there’s no denying, the number of urban cowboys outranks our own—but the singer/ songwriter hasn’t forgotten her hometown. A tireless tour hound, Muth this week will also play the Treehouse Cafe; Timber! Fest; a gig in Bellingham; and a free show (Wed., July 24) at the Bank of America Plaza for the Out to Lunch Music Series. Her most recent EP, last year’s Old Gold, a col-

Tractor Tavern, 5213 Ballard Ave. N.W., 7893599. $12. 9:30 p.m. GWENDOLYN ELLIOTT

Around the Block Party

BILLY DWAYNE AND THE CREEPERS Up & Coming • 7/24 Dead Nation Presents KOBO TOWN • 7/26 CHRIS FRIEL ORCHESTRA, STITCH IN TIME ‘a tribute to Montrose’, DREAM ON ‘a tribute to Aerosmith’ • 7/29 mingo fishtrap, bucket of honey • 7/31 griffin house, megan slankard

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

You name it, We’ll celebrate it! Anniversary Birthday Corporate Event Divorce Engagement Foreclosure Graduation Happy Hour Independence Day Just Because Kicking Back Looking for Fun Marriage Night On the Town

Out of Town guests Parent’s Night Out Quittin’ Time Reunion St. Patrick’s Day Tired of the Usual Scene Valentine’s Day Why Not? Naughty X-Rated party! (Just kidding!) Don’t Wanna Miss Out Zany Fiends

Voted Best Piano Bar & Best Place to Take an Out of Town Guest.

Call or Scan QR Code for reservations

315 2nd Ave Seattle 206.839.1300 ilove88keys.com

SUNDAY, JULY 28

Three-day passes to the Capitol Hill Block Party are already sold out, and single-day tickets will set you back $40. You know what will set you back $0? Around the Block Party. Chop Suey’s freemium minifestival is stacked with nine stupid-good bands that rival its big brother’s lineup. Two of the city’s best drummers, MTNS’ Dan Enders and Haunted Horses’ Myke Pelly, will be ripping the living shit out of their kits for their respective spazzed-out, Satanic noise bands. The show also features some of Seattle’s best punkedout pop songwriters—Wimps, Dude York, and Childbirth (a new supergroup featuring members of Chastity Belt, Pony Time, and TacocaT who perform wearing maternity gowns). If that doesn’t completely sell you, there will also be free hamburgers and hot dogs. Also with Hot Victory,

Dream Salon, the Exquisites, and Agatha. Chop Suey, 1325 E. Madison St., 324-8005. 3 p.m. Free. 21 and over. KELTON SEARS

Week of Wonders TUESDAY, JULY 30

Week of Wonders calls itself “tropical punk.” The name is more than appropriate—Leif Anders effects his guitar to sound like electrified, ’verbed-out steel drums that zip around to Caribbean-style bass lines and hyperactive Latin percussion. The “punk” comes into the picture through Week of Wonders’ energy. The band members, decked out in all-white, shimmy their islandy asses hard when they perform. Their shows will make you want to grab a hollowedout coconut, fill it with sangría, and surf the biggest wave you can find—more than appropriate for the unusually warm summer we’ve been having. With Jeans Wilder, Detective Agency. Sunset Tavern, 5433 Ballard Ave. S.W., 7844880. 8 p.m. $6. 21 and over. KELTON SEARS

SE ATTLE WEEKLY • JU LY 24 — 30, 2013

Love her or hate her, Rimes has been delivering country hits since before most of us (including her) were able to drive. And while she’s no longer the 13-year-old “Blue”-singing phenom but a TV-movie-acting tabloid machine, she’s still got chops. Her most recent release, 2011’s Lady & Gentlemen, proved a country-fried collection of “I love you, I love you not”s, but it’s safe to assume that tonight she’ll bust out some classics as well (is anyone else crossing their fingers for “Can’t Stop the Moonlight”?). If you’re looking for a hand-clapping, romantical evening of good ol’ Southern feelings, this is where it’s at. Woodland

lection of mostly (old, golden) covers, was a tease compared to her previous two excellent full-length releases, 2009’s self-titled debut and 2011’s Starlight Hotel, but it works to tide over her fans. Plus, every songwriter needs a break here and there, and she is a newlywed, after all, since marrying her drummer Greg Nies last year. With Thee Midnight Creep.

WAYNE HANCOCK

ROCKIN’ PIANO SHOW

Reverb»Seven Nights

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

EDITED BY ANDREW GOSPE

vocals of acoustic guitarist and founder Robert Rial. With Professor Gall, Hernandez Hideaway. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conor byrnepub.com. 9 p.m. $8. MASON REED’s raspy, weathered voice is perhaps his greatest asset as a songwriter, lending credibility to archetypical yarns about too much drinking and too many women. The album he’s touring behind, Up to My Neck in It, features contributions from John Oates of Hall & Oates. With Betsy Olson, Deception Past. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $8 adv./$10 DOS. TALLHART Though they’re signed to a label run by Max Bemis of emo-pop magnates Say Anything, this Tampa band’s sound is less hooky and more anthemic, drawing inspiration from mainstream ’90s alt-rock. With From Indian Lakes, Makeshift Prodigy. Vera Project, 305 Harrison St., 956-8372, thevera project.org. 7 p.m. $11 adv./$13 DOS. All ages.

MUSIC

NEWSLETTER

EK LY

The inside scoop on upcoming shows and the latest reviews.

E V E NT S

MUSIC

•

PR OMO TI ON S

In beautiful downtown White Center

Saturday, July 27

r e t r a B & ll e S , y u B rs &

Records, Guita

ALEX GOOT has recorded an album of original mate-

Vintage Stereo

, Good selection Fun shop, Fair prices.

The Uncluded

Closed Monday T-F 2-9 • Sat 11-9 • Sun 11-7 9632 16th Ave SW, White Center, WA

Follow our Facebook for New Arrival Updates!

(206) 432-9537

El Corazon www.elcorazonseattle.com

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

THURSDAY, JULY 25

KISW 99.9 FM & El Corazon Present:

with Scott H. Biram and Darci Carlson of The Dolly Rottens Doors at 7 / Show at 8PM 21+. $22 ADV / $25 DOS

with Gemini Syndrome, Letzter Geist, Invertical and Nixon Rodeo Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $17 ADV / $20 DOS

SHOOTER JENNINGS FRIDAY, JULY 26

SEATTLE WEEKLY • JULY 24 — 30, 2013

STOIC F.B.

SUNDAY, JULY 28

Mike Thrasher Presents:

with Showtime, The Cringe, Darling Parade and High Noon Horizon Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, JULY 27 Take Warning Presents:

ALEX GOOT with Sam Tsui featuring Kurt

Hugo Schneider, Luke Conrad & Landon Austin,

King The Kid and Matt Bacnis Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

A_RIVAL

with Electric Children, Dire Hit, and WMD. Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

DROWNING POOL

Wednesday, July 24 songs from this Detroit singer and producer are steamier than most. His bass-heavy, minimalist slow jams aim for the hips as much as the heart. With Zach Bruce, Danelle Hayes, DJ Topspin. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20 adv. KOBO TOWN The calypso-infused strain of reggae Drew Gonsalves’ band plays is brighter and more immediate than what you’ll typically find on the slate of local reggae shows. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $15 adv./$18 DOS. TROY’S BUCKET This jam band comprises several prominent local instrumentalists, including guitarists Andy Coe and RL Heyer. With Skyfoot. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 7 p.m. $6 adv./$8 DOS.

Thursday, July 25

BAD RABBITS Much of what’s been written about

JAYKE ORVIS AND THE BROKEN BAND with Sean Wheeler & Zander Schloss,

TUESDAY, JULY 30

•

KISW (99.9 FM) Metal Shop, Mike Thrasher Presents & El Corazon Present:

The All Stars Tour 2013 featuring:

EVERY TIME I DIE

Chelsea Grin, Veil of Maya, Terror, Stray From The Path, Volumes, Capture The Crown, Iwrestledabearonce, For All Those Sleeping, Ice Nine Kills, Dayshell and Beneath All Kaos. Doors at 2 / Show at 2:15PM ALL AGES/BAR W/ID. $22.50 ADV / $25 DOS

JUST ANNOUNCED 8/3 LOUNGE CAVALERIE 8/17 LOUNGE SECRET WEAPONS 8/28 BLACKBURNER 8/31 LOUNGE GLOOMS (FORMERLY TURTLESAUR) 9/7 SCHOOL OF ROCK PERFORMS RAGE AGAINST THE MACHINE 9/14 LOUNGE EASY BIG FELLA (REUNION SHOW) 9/19 ESCAPE THE FATE 9/29 LOUNGE CANCER BATS 11/1 DWARVES UP & COMING 7/31 LOUNGE FOLLIES AND VICES 8/1 TRUTH UNDER ATTACK 8/1 LOUNGE MASKED INTRUDER 8/2 THE DANGEROUS SUMMER 8/2 LOUNGE THE OVERSEER 8/4 MC CHRIS 8/5 LOUNGE RAT PATH 8/6 LOUNGE PURPLE 8/7 AWFULLY SUDDEN DEATH OF MARTHA G 8/7 LOUNGE STONE IRIS 8/8 LOUNGE YELLOW RED SPARKS 8/9 CARSON ALLEN 8/9 LOUNGE CHILDREN 18:3 8/10 MY TICKET HOME

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

CAMP: SUMMER CAMP • RAIN CITY ROCK The weekend of Capitol Hill Block SHOWCASE

Party—the rare festival where nearly 40 percent of bands include a female musician—is an appropriate time for this showcase, the culmination of a weeklong rock-’n’-roll camp for girls. The Crocodile. 12:30 p.m. $10. All ages.

DWELE R&B music is understood to be sultry, but the

MONDAY, JULY 29 James Hunnicutt, and Devilwood Lounge Show. Doors at 8 / Show at 9PM 21+. $10 ADV / $12 DOS

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rial—lightweight, slickly produced pop-rock tunes— but his following comes through his highly trafficked YouTube channel, where he’s been releasing covers since 2007. With Sam Tsui, Luke Conrad & Landon Austin, King the Kid, Matt Bacnis. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7 p.m. $15 adv./$18 DOS. All ages. EVER SO ANDROID Drew Murray (guitar) and Hope Simpson (vocals) add electronic accoutrements to industrial/post-grunge songs that are sure to appeal to the “real rock music” crowd. With Death by Stars, Wes Sp8 and the Visual Dialogue. Sunset Tavern. 9 p.m. $8.

•

Bad Rabbits inaccurately plays up the group’s R&B tendencies. In reality, the Boston band is a hypermasculine post-hardcore act that happens to incorporate falsetto vocals. In the words of an intrepid YouTube commenter, “It’s like Passion Pit with man nuts.” With Air Dubai, Sahtyre. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $13.50. GROUNDISLAVA Jasper Patterson is one of several prominent L.A.-area producers (Shlohmo, Flying Lotus) to borrow knowingly from hip-hop to make heady, beat-driven electronica. Play his best-known song “Cool Party” on a good pair of speakers and be blown away, somewhat literally, by the overwhelming low end. With Beat Connection DJs, Nordic Soul, Young Benoit. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 9 p.m. $12 adv. SAX7 ULTRA LOVE FORCE The latest from local rapper and producer Sax G is March’s Tu Me Manques, a suite of future synthesizer soul. It’s sensuous, if a bit abstract, and the distinct lack of rapping brings the spacious production into focus. With Grayskul, Afrocop. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:12 p.m. $8.

Friday, July 26

BAKELITE 78 This five-piece draws from old-timey

vaudevillian swing music, led by the theatrical

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

•

Sunday, July 28

DONNA THE BUFFALO This long-running country/

bluegrass act is touring behind last month’s Tonight, Tomorrow and Yesterday. With the Believers. Tractor Tavern. 8:30 p.m. $17. DROWNING POOL These nü-metal holdovers lost their lead singer to a drug overdose on the tour supporting 2001’s platinum-selling debut Sinner. But the band has toured and recorded steadily since, releasing its fifth album, Resilience, this year. With Gemini Syndrome, Letzter Geist, Invertical, Nixon Rodeo. El Corazon. 7 p.m. $17 adv./$20 DOS. All ages.

Monday, July 29

NORTHERN BASTARD This Sequim-based band leans

•

toward old-school thrash metal. With Cutthroat Shamrock, Brain Scraper, the Bangers, AAIEE. Chop Suey. 8 p.m. $5 adv./$7 DOS. XANTHOCHROID Blessed He With Boils, the debut album of this Southern California black-metal fivepiece, is built around a conceptual fantasy narrative about the brothers Thanos and Ereptor. Musically, it alternates between crushing guitar and drum salvos and pastoral, keyboard-led reveries. With Un. Highline, 210 Broadway Ave. E., 328-7837, highline seattle.com. 9:30 p.m. $5.

Tuesday, July 30

THE CULT The most recent effort from the classic

post-punk band is 2012’s confrontational Choice of Weapon. With White Hills. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 7 p.m. $35 adv./$40 DOS. INDIGO GIRLS are touring behind their 14th album, Beauty Queen Sister, which finds their folk-rock in a state of staid maturity, appropriate for what will be a largely middle-aged crowd at this ZooTunes show. Woodland Park Zoo, 601 N. 59th St., 548-2500, zoo. org/zootunes. 5 p.m. $28. All ages. • THE UNCLUDED Kimya Dawson’s conversational style of non-singing makes this project, a collaboration with backpack rapper Aesop Rock, strangely natural-sounding for a folkie/MC pairing. The music, in which the duo trades verses over Dawson’s simplistic guitar strumming, should sate fans of both artists’ desire for uplift. With Hamell on Trial. Neumos. 8 p.m. $16 adv. All ages.

column»Toke Signals

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