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inside» July 31–August 6, 2013 » SEATTLEWEEKLY.COM

VOLUME 38 | NUMBER 31

You’ll actually look forward to your morning commute. Live, learn and work with a community overseas.

»9

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up front 6

NEWS

THE DAILY WEEKLY | Paying lip service

to a raised minimum wage—and paying nothing to children with cancer.

FEATURE

BY KELTON SEARS | The Fisher Flour Mill, symbol of Seattle’s past industrial might, has become a remarkable gallery of graffiti art.

17 THE WEEKLY WIRE Dance and postal art during First Thursday, Steve McQueen at SIFF, and a guitar legend at Jazz Alley.

18 ARTS

18 | VISUAL ARTS | The environmental

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Flipping Tricks Mayoral candidates whisper sweet nothings to low-income workers. BY MATT DRISCOLL

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Two months later, no ordinance has been t’s been known for some time that the introduced in Seattle to raise the minimum wage. mayoral primary, which will come to a Faced with criticism that the mayor had merciful end on Tuesday, was going to be overreached with his Whole Foods stance, his a battle. Unforeseen, though, was what defenders quickly pointed out that it was only a would become the hottest issue on the campaign recommendation, with no actual teeth that could trail: wages. Yet the fate of Mayor Mike McGinn’s political be construed as an abuse of power (the City career—marked and pockmarked as it is by fights Council ultimately gets to decide the alley’s fate). Be it politics or policy, the McGinn campaign over police accountability, public transportation, appears to be embracing the debate, saying it’s and rapid urban growth—may come down to his been a long-simmering, if not headline-grabbing, opinion about an alley. issue in Seattle. “This has been an issue that To be exact, he’s recommended the city not people have been talking about in the last few transfer a West Seattle alley to developers who years as wages have been driven down,” offers want to build a shopping center anchored by McGinn campaign spokesperson John Wyble. a Whole Foods, reasoning that Whole Foods “You can tell from the low-wage forum that all needs to increase wages and benefits before the city lends it a hand. Leading candidates vying for the candidates—except [Charlie] Staadecker— feel strongly that we need to address this in some McGinn’s quickly (if hypocritically) attacked the position. The debate has gone five-alarm, capping way. McGinn looked at the West Seattle situation and thought we needed to start the convera race heavy with labor politics. sation about a new approach. He doesn’t believe But whatever your position in the argument that we should pay our grocery workers so little over livable wages in Seattle, the latest hubbub that they can’t live in the same city they work in. reeks of politics—and not much more. For the “At one point a month earlier, Ed Murray low-wage workers at the center of the debate, thought that was a good approach,” Wyble conit’s an unfortunate truth that’s been a common tinues. “Then he abruptly refrain this summer. changed and attacked the While McGinn’s alley mayor. Peter Steinbrueck stance has gotten the PRINT IS GREAT, but if you want to see how an Idahoan was vitriolic about the biggest response, the defends using the N-word, check it out need to do something debate over livable wages on The Daily Weekly. about low-wage work in in Seattle didn’t start in SEATTLEWEEKLY.COM/DAILYWEEKLY the [low-wage] forum, the West Seattle Triangle. but decided it was better In May, fast-food workto try to score political points than work on the ers throughout the city hit the picket lines for a problem. The mayor sees this as the first step in a day, calling for a raise to $15 an hour. Political discussion about low-wage work in our city. We heavyweights, including McGinn, Ed Murray, haven’t seen a city minimum wage put forward, and Peter Steinbrueck, signaled support for the but I think the mayor would be interested in striking workers, though none came out in favor looking at that as one of the options on the table, of a $15-an-hour minimum wage. Instead, the so that people who work in our city can also candidates rallied behind the far more vague idea afford to live in it.” of a “living wage”—whatever that means.

[

news»The Daily Weekly The battle lines have been drawn in a debate that so far is much more talk than substance. Sure, the issue is being discussed, but nothing real has materialized; it’s all political posturing, with local business and, especially, low-wage workers caught in the middle. “I think the lip service that corporate politicians, including the mayoral candidates, are paying to the issue of a living wage has everything to do with the fact that it is an election year, and voters care about this issue,” says Socialist citycouncil candidate Kshama Sawant, who has come out in support of a $15-an-hour minimum wage. “The real question is how much commitment any of them has to fight for a living wage regardless of electoral outcomes. “It’s important for people to open their eyes and see this is a charade of a really important issue,” she continues. The Seattle Central Community College economics professor calls McGinn’s approach to the Whole Foods debate “brazen” for its pandering, and she reserves even harsher words for the mayor’s challengers. “It has taken [McGinn] four years and a strong field of primary candidates to notice [the plight of low-wage workers],” Sawant says. “This is clearly co-opting.” Is there a chance that this alleged co-opting could lead to actual legislation from McGinn? According to mayoral spokesperson Robert Cruickshank, don’t count on it. Despite Wyble’s indication that the mayor would be “ interested in looking at [a city minimum wage] as one of the options on the table,” when queried on the idea, Cruickshank tells Seattle Weekly that “the mayor’s preference is for an increased minimum wage to be resolved at the state level.” That about sums it up.

Kids With Cancer Hit a Crossroads

“I understand their idea, but there’s such a deep value that comes out of something like the summer camps, where these kids really get their life back for a week.”

ZOSHA MILLMAN E

news@seattleweekly.com

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

many things that are important to people going through this struggle . . . It’s absolutely rejuvenating for kids who need that week.” The decision to cease support for the camps comes amid ongoing criticism from some who see the ACS as unsupportive of child cancer patients in general. Blogging on The Huffington Post in February, attorney Jonathan Agen argued that since only one cent of every dollar raised by ACS goes toward children’s cancer research—despite the heavy use of young cancer patients in fundraising material—those who want to help kids with cancer should go elsewhere to make charitable contributions. According to organizers, donations for Camp Goodtimes were raised locally but paid to ACS, which handled the funds. Dinsdale says that at this time they will continue to work with leaders to find a transition plan, so that hopefully Camp Goodtimes and other cancer camps nationwide can go on. To that end, a new charity, the Goodtimes Project, has been founded, and is now seeking 501(c)3 status. “The question is, how much money will it take to keep camp open? We don’t know. There’s no business plan, there’s no proposal, and there’s no budget we can use,” says Ellis. “The problem is that with not knowing, and not having the kind of committee that would know what it takes to have another camp in nine months, there’s been a serious learning curve, [which was] delayed unnecessarily by the ACS for not telling us.” Already being run largely by donations and volunteers, most of the issue is figuring out what it means for them to be a nonprofit, and how they can accomplish that before next June. “With any luck, it’ll look exactly the same,” says Bradley. “And what the kids see won’t change.”

ILLUSTRATION © FRIDA CLEMENTS 2013

As the Argosy boat pulls into its sunny Seattle port, the happy campers stop dancing to the tunes bumping over the loudspeaker and turn toward shore, cups raised in the air. When the boat comes within firing distance, family members waiting on the Red Robin balcony begin to pelt the deck with hundreds of French fries, and the children do their best to catch the flying taters. The kids are returning to Seattle from a camp on Vashon Island for a midweek checkup with parents, but, like everything at Camp Goodtimes, organizers make sure the chore feels more like a party. For over 30 years, Camp Goodtimes has been a sleepaway camp for kids ages 7 to 17 with cancer. One week each summer they travel to Vashon with a group of volunteer counselors, nurses, and doctors, and their lives don’t revolve around checkups and needles. But Camp Goodtimes has fallen on hard times. Earlier this year, the American Cancer Society, which provides funding and administrative services for the camp and 39 others like it nationwide, quietly announced they will discontinue its support—“quietly” meaning no press statement or even a phone call to the organizers. Charlotte Ellis, who helped found Camp Goodtimes, found out when a colleague got a call from a parent who’d read online that all the camps would be closed by the end of the year. A call to the ACS confirmed that the worst was indeed happening.

The decision came as the ACS is celebrating 100 years of service, according to ACS spokesperson Kimberly Dinsdale. “Our mission is to get well, stay well, and fight back. So we’re looking to see how we can maximize the effort of our impact and ultimately finish the fight against cancer, and deliver programs that provide an immediate aid for cancer.” Of the camps, Dinsdale says, “It’s a wonderful program, and allows good things for survivors and young patients. But in order to fulfill our mission, we had to shift resources.” Everybody at Camp Goodtimes sees where they’re coming from, but they also see the benefits of giving cancer kids a week off. “I understand their idea, but there’s such a deep value that comes out of something like the summer camps, where these kids really get their life back for a week,” says Richard “Loop” Bradley, a counselor who attended the camp with his sister when they were young. Going on his 18th year with Camp Goodtimes, Bradley knows firsthand how therapeutic the camp is for young kids faced with cancer. “Finding a cure is the ultimate goal, but there’s so

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, s r e t n u h t s o h g , s r e plor x e n a b r u , s r e p p a r Sc ive g ld o r a e y 8 n a n artists, and eve ttle a e S g in d il u b ic r o t life to a his no longer needs.

one is slouched back in a chair at Rancho Bravo Tacos on Capitol Hill. His beat-up jacket is covered in paint stains. He has been tagging with his friend Aser, who is sitting next to him and unwinding after an unsuccessful attempt to enter one of Seattle’s most notorious graffiti galleries. N “I’ve run into a lot of fucking bums in there stealing stuff,” Fone says. His mouth is full of one of the five steak tacos he’s just ordered. “You gotta be careful. When I’m in there, I don’t want to run into anybody, and if I do, I definitely don’t want to get confrontational.” N Fone is talking about the abandoned Fisher Flour Mill on Harbor Island, but he calls it by a different name: “Thug Mansion.” N “When I first went there I just went, ‘Wow. This

Harbor Island’s Fisher Mill at dusk.

is a heaven spot. This must be heaven,’ ” Fone says while chewing. N Over the past five or six years, the mill has become an illegal makeshift gallery for the West Coast’s best graffiti artists. Crews from Oregon and California come north to Seattle and slip into the mill under cover of darkness. Once inside, they do some of their most intricate and involved tags. At 13 stories, the building’s looming edifice looks straight out of a Silent Hill video game. Inside it’s a decaying, labyrinthine maze of broken machinery. Chains dangle from the ceiling, casting sinister shadows on the dusty floor. Catwalks lead to holes in the floor that drop 40 feet. According to Fone, it’s not uncommon to come across a seemingly exploded bird carcass. » CONTINUED ON PAGE 10

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

DANIEL HAWKINS

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“Today was going to be his first day,” Fone says, looking at Aser, who is finishing his Bravo Burrito. “He’s never been in.” Two hours ago Fone, Aser, and I almost got arrested trying to do just that. I showed up at the mill on Memorial Day on a wild goose chase. Two filmmaker friends of mine had told me about the place and the graffiti inside. They had recently finished shooting a science-fiction short about time travel inside the mill, using the decrepit machinery as a backdrop. The filmmakers found out about the mill from their friends, who had used the place as a giant skate park. From filmmakers to skateboarders and graffiti artists, the building hardly sounded abandoned. So on a whim, in the middle of the day, I went to Harbor Island to see if I could find anybody. I did. I first encounter Fone and Aser sitting behind some bushes about 50 yards from the mill’s perimeter. “What did that guy say?” they ask, having seen me chatting with a shipping employee out front. He’d spotted me wandering aimlessly around the adjacent shipping yard, and promptly told me I should leave. On my way out, I find Fone and Aser, exactly whom I was looking for in the first place. The two are excited that I’m interested in talking to them about their art, and quickly introduce themselves before making quite possibly the least stealthy maneuver I’ve ever seen—strolling right past the worker in full daylight, heading for the mill’s fence. The worker stops the two almost immediately. “All right, all right, how much paint do you guys have?” he asks. “In liters or gallons?” Fone says snarkily. Fone and Aser are turned away but undiscouraged. They offer me a tour of their recent pieces on Harbor Island in consolation. We travel beneath underpasses, through remote waterways, and behind construction sites. While we’re looking at a retrofuturistic piece Fone tagged in an off-road industrial canal, two Seattle Police Department officers find

PR OMO TI ON S

AR T S AN D E N TE R TAI N ME NT

“U

ltimately everybody is trespassing on somebody’s personal property or the government’s personal property,” says Dan Hawkins, stroking his chin. “These ethics don’t have a lot of holding power.” Hawkins, a local photographer and urban explorer, has ventured into the Fisher Mill almost monthly since 2007. Hawkins rubs elbows with many conceptual artists in the city, and it shows. He thinks of architecture and space in highly philosophical terms, referencing something called “psychogeography” when reminiscing about his trips to abandoned buildings across the world. In many ways, he has become a scholar of the Fisher Flour Mill. In 2009 he hosted a show at local gallery Form/Space Atelier entitled “From Industry to Information: The History of the Fisher Flour Mill,” which featured the countless photos he has taken of the site. “The flour mill tells a story about Seattle that is untold. It’s a different story,” Hawkins says. “The story of Seattle is about progress . . . except for the flour mill. In many ways it reflects the story of the shifting psychology of our city.” To understand what Hawkins is talking about,

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HAPPY HOUR

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» FROM PAGE 9

us and ask to see our ID’s. Technically, we are trespassing. Trespassing in a gross, disgusting runoff canal. Luckily, Aser and Fone had left their paint behind for the impromptu tour. As one officer radios back to get info, the other starts interrogating Aser. “Where do you work?” “Red Robin,” Aser says. “Why do they put the yellow cheese on all their burgers?” the officer says. Aser seems confused. “They should put some pepper jack on there or something,” the officer continues. “You know, to spice it up a little.” The officers let us go. “When you write a story about this, make sure to let everyone know how nice SPD is,” the officer tells me. On our way out, Fone seems a little shaken, but thankful that nothing happened. “That’s what’s nice about Seattle, man. People just mind their own.” “Yeah, but did the cops have to do that?” Aser asks.

The mill (foreground) in 1962.

DANIEL HAWKINS

it’s helpful to get into the mind-set of a Seattleite he Fisher Family “divested themselves of in the city’s early days. the flour mill because they had moved on,” Before 1900, Seattle was a podunk blip on the Hawkins says. “It’s kind of in parallel with nation’s map. City fathers were eager to expand, the city’s movement from an industrial but standing it their way, among other things, enterprise to a software hub and a biotech hub. was the city’s landscape, namely some damn hills It’s also interesting because it’s a story about in the middle of downtown. What we now call what we do with things that are no longer useful Belltown used to be an overwhelmingly steep to us.” mountain that made construction of anything A hundred years after the celebratory “Parade resembling an urban center nearly impossible. of Autos with Brass Band,” the flour mill sits In 1897, the city decided it had had enough. abandoned on the southwest corner of Harbor Enter the Denny Regrade Project. Wielding giant Island, a cast-off relic of Seattle’s forgotten hishydro-pumps hooked up to Lake Union, workers tory of industrial progress. water-blasted their way through 16 million cubic But that doesn’t mean people aren’t using the yards of dirt. Surprisingly, the plan worked. mill anymore. Quite the contrary. Having carved out 62 new city blocks from “Abandoned buildings attract a number of difthe Earth itself, the ferent types of indicity decided to schlep viduals,” Hawkins Urban explorer Daniel Hawkins has all that leftover dirt says with a roguish become a monthly visitor of the mill. and refuse into Elliott smile. Bay to create Harbor “Firebugs and Island. Finished in arsonists are one type 1909, it was the largof people who are est artificial island in attracted to abanthe world until San doned buildings,” he Francisco’s Treasure adds. “Graffiti artists Island one-upped it are another. Urban in 1938. explorers, of course, Industrial-minded and kids.” Seattleites probably As an urban fancied themselves a explorer, and one bit like gods in those of the mill’s most days. Not only did frequent illicit guests, they literally move a Hawkins has intermountain, they creacted with many of ated an entire island these groups. In 2007 and then dedicated it he joined a loosely to newfangled comknit, friendly commercial ventures that munity of people would bolster the who knew about the city’s low-rung, backwoods reputation. Things mill and hung out inside it, including a bunch of were going well. teenagers from Vashon Island. In June 1911, the Fisher brothers, locally “Robert,” as one of those former teens asked famous for slinging their popular Fisher Scones Seattle Weekly to call him, would visit the mill at Northwest city fairs, opened the Fisher Flour most weekends with his pals. Nightfall transMill on Harbor Island, causing a massive public formed the place into an enormous personal celebration. According to the day’s issue of the playground. “It had just recently been abandoned Seattle Post-Intelligencer, there was “Jollificain 2002, so the power was still working when we tion Accompanied by Parade of Autos with started going in,” Robert says. “We figured out Brass Band—Every Sign Spelled Confidence in how to get the manlifts started up—you just had

Greater Seattle.” In many ways, the mill symbolized the city’s newfound industrial might and its nascent, unfolding tale of progress. That progress eventually led the brothers, who’d built a fortune on flour, to shift to an entirely new venture: radio. KOMO was founded by the brothers out on the island in 1926. The station was a huge success, and soon enough the brothers acquired KIRO, KVI, DTH, and countless more broadcast stations. Fisher Flour became Fisher Communications, today claiming 26 radio and 12 TV stations under its banner. With the flour business slowly losing money, the focus began to shift more heavily on the broadcast end of the Fisher enterprise. In 2001, Fisher Communications decided to sell the mill to Portland based Pendleton Flour. Unable to turn a profit, Pendleton put the mill up for sale a year later in July of 2002. King County, the mill’s current owners, bought the mill in 2003.

to find the power switch and throw it on.” The teenagers would routinely cruise around on the rickety lifts, hopping off to explore. Sometimes they would bring hand-held K-II EMF readers designed to measure paranormal energy fields. Robert and his friends were ghost hunters. Soon enough, graffiti artists began to claim the mill as their own, too. Robert and his friends did not take the shift kindly. They turned themselves into digital vigilantes. “We would get online and track the taggers down,” Robert says. “We would find pictures they posted of their tags on forums, and send them e-mails telling them to stop.” The crew of high-schoolers made a habit of hunting down the people responsible for any new tag they found. With a little bit of ingenuity, the teens would locate them online and rip into them for ruining the building. “The building was pristine back then—[the mill graffiti] wasn’t artwork at that point. It was a bunch of yahoos.

» CONTINUED ON PAGE 12

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

The Fisher Flour Mill has become an illegal makeshift gallery for the West Coast’s best graffiti artists. Crews from Oregon and California come north to Seattle and slip into the mill under cover of darkness.

» FROM PAGE 11

lash-forward to 2013, and Fisher Flour Mill is a mess. Exposed wire hangs out from the walls amid heaps of broken machinery. Chairs lie smashed through windows. Tags dot every single wall. The mill’s Wild West nature has created a whole new community—those pesky graffiti artists. However, what started as some crappy bubble lettering and rudimentary scrawling has given birth to a truly awe-inspiring collection of beautiful art. Eack of the mill’s 13 landings hosts 10 or 15 impressive, large-scale pieces of varying styles and colors. A grotesque floating head peers out from one corner. A wild-eyed gold prospector stands guard in a decrepit, crumbling room. “Industrial Collapse is Fun” is cheekily scrawled in red on a wall near the top of the mill. Fone has five or six pieces in the mill. For budding graffiti artists like him and Aser, the mill is a shining bastion in the city. Fone tells me about a recent tagging expo out on a U District freeway with a buddy. “We were like, ‘Let’s go out, let’s do a sick piece, let’s get noticed.’ ” After spending most of the night on

KELTON SEARS

Fisher Mill’s 13 landings host 10 to 15 large graffiti pieces each. Artist Fone, pictured, created five or six.

MATTHEW GILBERTSON

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

In 2006 it was still really nice. By 2009 it started going downhill.” Hawkins attests to a similar timeline. “At first, it was the most benign and respectful group of people you could ever hope for,” Hawkins says. “We used to do things to reach out to each other. On the 12th floor there was a television. It was on for over five years on channel 13. You’d think ‘There must be somebody in there watching television.’ I remember finally creeping up there to the offices and peeking around the corner to see if maybe there was somebody sleeping or something, and seeing that there was nobody there. So I just sat there and watched an episode of The Simpsons.” Maybe someone would leave beers in the stilloperational fridges. The Vashon Island teenagers would rearrange the furniture on occasion for the frequent projector-powered movie nights they would hold. Hawkins thought the little traces the community would leave were funny. Everything was peachy. “Ah, well, then stuff starts to get thrown out the window and fires get started,” Hawkins says with a sigh. “Finally, another type of group that’s attracted to abandoned buildings are scrappers and copper thieves. In 2008 is when they began, but by 2011 they were pretty much done,” Hawkins says. Robert remembers the scrappers’ advent as well. He and his friends initially attempted to seal them off by barricading portions of the mill with furniture. “A number of people in the exploration community posted in the forum boards exactly how this could be done,” Hawkins says. “There were a couple of huge concerted efforts to truly seal the building, you know, forever. What happened is, the ‘scrapper community,’ I’ll call it, just sledgehammered through the walls after it was sealed. They were destroying the building in such a way that we couldn’t see the end of it. In our eyes, the building would’ve imploded if we didn’t do anything. We couldn’t bear to see it come to that.” Despite the efforts of Hawkins and the Vashon Islanders, the scrappers had their way, and eventually everyone moved on.

“The story of Seattle is about progress . . . except for the flour mill. In many ways it reflects the story of the shifting psychology of our city.” a piece he was particularly proud of, he heard someone shout “SPD.” Police lights came on. “I just left my backpack and ran,” Fone says. “I hopped over a center divider, then another center divider, then ran through a school.” Fone ended up spending two hours hiding under a bush while searching lights flickered around him. “I spent all that time on that piece, and then the next day it had already been buffed out,” Fone says. The mill, in that way, is an unusual space.

Its untamed “urban jungle” aspect provides the adrenaline rush of tagging in a place you aren’t supposed to, but nobody has to see you do it. It’s a frontier to explore and claim as your own, but it’s always relatively covert. “That’s why [Fisher Mill] is great,” Fone says. “It’s far away and nobody really cares about it. There are some well-known pieces in there by some famous crews that were from way early on. Once you get a piece in there, it will probably stay.”

In a way, he’s totally right. “I’m not the art police,” says Christopher Young, SPD’s sole graffiti detective. Appointed in 2011 after an extensive report by the city auditor citing increased community need, Young has been tracking down and investigating over 800 incidents of graffiti a year. According to him, places like the mill are not on his usual beat. The mill falls under a category that Young and the tagging community call “chill spots”—places where you can take your time, where taggers aren’t likely to get bothered by the police. “There’s only one of me and a lot of graffiti, so I prioritize spots where I get complaints a lot,” Young says. “You know, places where an

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80-year-old woman keeps getting her fence tagged. That bothers me more than a dark alley that nobody cares about.” Beyond that, Young claims the mill isn’t even really his jurisdiction, asserting that it’s on Port of Seattle’s beat. When Port of Seattle was contacted, Media Officer Perry Cooper claimed the mill was under SPD’s jurisdiction. The Fisher Flour Mill has become the ultimate “dark alley that nobody cares about.” Tucked away in a dumpy corner of an island literally built out of castoff dirt, the mill is out of sight, out of mind, and seemingly under nobody’s jurisdiction. King County acquired it in 2003 as a potential site for an intermodal waste facility. If utilized, it will act as a center for shipping garbage by train to Oregon once the Cedar Hills waste facility in Maple Valley officially reaches capacity. Thanks to Seattle’s newfound interest in recycling and composting, however, that date has been postponed. King County Solid Waste division director Kevin Kiernan confirms that the mill’s destiny as a dump is pretty far off. The county will first have to do an extensive environmental review of the site. In 2011, the building was found in violation of the Vacant Building Code by the Department of Planning and Development because the “enormity of the structure precludes [the] city from typical enforcement.” In the case report, the county makes the case that hiring site security or enacting a full-on demolition of the building are both just too expensive. The violation was then “resolved” when the manager promised to try a little harder and throw on some extra locks. So again—out of sight, out of mind. If a tree falls in the forest and no one is around to hear it, does it make a sound? If a tagger creates a giant, highly involved mural in an abandoned

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Artwork ranges from intricate to cheeky at Fisher Mill.

factory and no one is around to see it, does it even matter? For one inquisitive child, it matters a lot. At the ripe age of 8, one child, whose mother asked that he remain anonymous, decided he wanted to record the city’s fleeting works of graffiti. Now 13, he says, “[People] do not see the side of how [graffiti] isn’t just for destruction or to cause trouble, but that it can actually be a very cool and helpful way to make Seattle become more colorful.” His mother, herself an artist, decided to nurture her son’s impulse by taking him on graffiti adventures. Probing homeless camps, highway grottos, and train depots, the unlikely duo traversed the city’s forgotten bits to photograph its secret collection, and the boy’s Flickr pool grew to 14 pages of professional-grade documentation of beautiful street art. The Fisher Flour Mill proved a fruitful locale for the boy’s expeditions. Hawkins also has taken his children to the mill. They loved it. “I’ve taken my kids in there, because I wanted them to get a sense of what I do,” he says. “It’s interesting to see them rediscover this sense of adventure. You grow up in a city and there’s a lot of concrete, but this building is like a new frontier. I sat them down and told them when we went in, ‘Now, most buildings have safety measures installed, like hand rails, to make sure you don’t get hurt. This building doesn’t have that, so you need to be extra-careful in here.’ It’s interesting to see them with this heightened awareness, discovering this inert exploratory nature inside of them that doesn’t get to come out in most contexts.” Beyond becoming an unusual playground for adventurous children and their daring parents, the mill almost became the site of an arts performance. In a surprising move, King County Project Program Manager Rick Ouellet was willing to take popular Seattle performance group Saint Genet on a tour of the space, giving them permission to perform inside it. Although the group didn’t take up the county’s offer because of the cost and the stipulation that they wouldn’t be allowed an audience, the fact that the county was willing to entertain the idea was

The mill before it became a haven for graffiti artists.

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interesting. Hawkins, who often shoots photos for Saint Genet, was the one who approached Ouellet about the performance. “I was shocked that they were OK with it,” Hawkins says. “It was very surreal.” It also gave Hawkins a glimmer of hope about the mill’s future. If the county is willing to entertain the idea of the Fisher Mill as a place for culture-making, could it consider it as something even larger?

professor from Kranzberg to plan and design the park. In 1994, the whole thing became a reality. “Through the contrast between continuous redevelopment and the constant need for preservation, an industrial wasteland has developed into a unique adventure playground for young and old,” Landschaftspark’s website reads. “If you set off on a tour of the area, familiar concepts will not get you far.” This kind of development, based on “unfamiliar concepts,” is spreading across Germany.

If the county’s plan follows through, it will literally become a waste site—a place where the city dumps all its trash to be forgotten and shipped off.

Thanks to the country’s commitment to green energy, nuclear-power plants and gas-works facilities across the nation are closing. Rather than going to waste, they’ve been turned into theme parks, indoor towns, and industrial public parks. Imagine Seattle’s Gas Works Park on a considerably larger scale. In Seattle, children, explorers, photographers, and artists are already treating the Fisher Flour Mill like our own Landschaftspark. With all the underground culture in this clandestine mill that could emerge given the proper care, what would happen if the space was spruced up and opened to the public? What would happen if the scrappers and copper thieves were prevented from tearing the place down to its foundations? Hawkins thinks about the mill’s potential all the time. “I remember I took an architect in there once, and I said, ‘Surely you could see the possibilities that are in here. Surely you could see how this place could make us the envy of other cities—that they would look longingly upon it and think that they should do that too.’ ” The Fisher Flour Mill once symbolized the city’s story of progress. Now it symbolizes its industrial past, rotting and crumbling in an abandoned corner. If the county’s plan follows through, it will literally become a waste site—a place where the city dumps all its trash to be forgotten and shipped off. It’s interesting to imagine all the ways the factory could be reintroduced and reintegrated into Seattle’s story of progress. In the meantime, people will keep reimagining the site themselves. E

ksears@seattleweekly.com

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n 2008, the Tempelhof airport in Berlin officially shuttered. The airport’s main terminal was at one time one of the world’s largest buildings. Rather than letting the airport rot or turning it into condos or a mall, Berlin decided to do something unusual—they opened the runway as a public city park. The main terminal and hangar now host events and fairs. The Wall Street Journal reported in 2011 that the city was investing €70 million (roughly $95 million) to develop the park into what the designers called “a contemporary prairie for the urban cowboy.” The park has already become a massive hit with Berliners—attracting skiers to the runway when it snows and barbecuers when the sun comes out. In the German town of Duisburg, a giant, abandoned iron works was turned into Landschaftspark, an insanely expansive public industrial park. Rope courses have been tied to blast furnaces. Tube slides for children run through ore bunkers. Big factory halls have been turned into skating and mountain-biking rooms. Charge bunkers and chimneys were converted to climbing walls where professional climbers prepare before they head south to scale the Alps. British artist Jonathan Park was commissioned to create a light installation on the site that covers the location in an eerie glow at night. One of the factory rooms, the “Blower House,” frequently hosts DJs and parties. On August 30, the popular British trip-hop band Massive Attack will perform there. The park was created when a local citizens’action group protested the demolition of the iron works, and enlisted the help of an architectural

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the»weekly»wire art, an “instrument petting zoo,” the musical sculptures of Lelavision, kazoo lessons, and the Seattle premiere of the full Our Earth trilogy, half-hour operas based on Northwest folklore with libretti by Irene Keliher and music by the Esoterics’ Eric Banks. They’ll make a nice complement to Wagner: Both series are mythic quests set among the opulence of Nature. Heron and the Salmon Girl plays at noon; Rushing Upriver at 1:15; Every River Has Its People at 2:30. McCaw Hall, 321

thurs/8/1 FIRST THURSDAY

Posted With Love

Mercer St. (Seattle Center), seattleopera.org. Free. 10 a.m.–3 p.m. GAVIN BORCHERT

PAPER HAMMER GALLERY

FILM

One of Hayashida’s postal objects.

FILM

The Prisoners

Second Ave., 682-3820, paper-hammer.com. Free. Reception: 5–7 p.m. BRIAN MILLER

DANCE

Steps Into the Unknown

Avenue South between South Jackson & South Main Streets, alleynetworkproject.com. Free. Performances at 6, 7, 8, & 9 p.m. SANDRA KURTZ

fri/8/2 MUSIC

Time Signatures

With the John Pizzarelli Quartet, you get the witty singer and guitarist’s contemporary take on Tin Pan Alley. With father Bucky Pizzarelli sitting in on some numbers, you get the history

Pizzarelli the younger.

behind those standards. Bucky, of course, is a legendary figure in postwar American jazz, now 87 years old. His son initially rebelled at the family trade, dabbling in rock during the ’70s before embracing the family legacy. John toured through Seattle last year with his album Double Exposure, which offered old/new juxtapositions ranging from the Beatles to Billy Strayhorn to Tom Waits. This presumably means Bucky will sit out the post-’60s numbers, where John is accompanied by younger brother Martin Pizzarelli (bass), Larry Fuller (piano), and Tony Tedesco (drums). So lean in and listen closely when the elder Pizzarelli turns the ensemble into a quintet. He fingers the frets at a more leisurely tempo, with frequent favorites including “Body and Soul” and “These Foolish Things (Remind Me of You).” (Through Sun.) Dimitriou’s Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. $28.50. 7:30 & 9:30 p.m.

BRIAN MILLER

When American and European cinephiles “discovered” postwar Japanese cinema, attention was focused mainly on names like Kurosawa and Ozu. Ordinary Japanese ticket-buyers weren’t always so highbrow. Running Friday–Thursday, the eight films in Shintoho Schlock are unabashedly pulpy tales of corrupt cops, vice rings, and even vampires, all produced by the Shintoho studio. In a double-bill tonight and Sunday with Flesh Pier, also directed by Teruo Ishii, the 1960 Yellow Line follows a handsome hitman (Shigeru Amachi) and the giggling showgirl he kidnaps (Yôko Mihara) as a ruse to escape the cops. (They’re looking for a solitary killer, not a couple.) The two hole up in Kobe’s red-light district, called the Casbah, filled with sex-seeking gaijin—men in turbans, Europeans who abduct innocent secretaries off the street, and even a hooker called “the Moor,” played by a white American actress in dark makeup. (Things do not end well for the Moor.) Shot in murky color, with many scenes filmed handheld on the street, Yellow Line has a lurid vitality. It would barely rate PG-13 by today’s standards, and the hitman naturally turns out to have a conscience. He and a crusading newspaper reporter follow parallel paths to find who’s peddling the drugs and forcing women into prostitution in the Casbah. Their verdict is written with bullets. Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilm forum.org. $9–$15 ($30–$50 series). 7 & 9 p.m.

BRIAN MILLER

Queen Anne Ave. N., 324-9996, siff.net. $6–$11. 3:30 & 7 p.m. SEAN AXMAKER

sat/8/3 OPERA

Golden Anniversary

Seattle Opera launched its first productions (Tosca and Carmen) in the spring of 1964, and it’s celebrating its 50th birthday all season, from the imminent Ring (August 4–25) to next summer’s official passing of the general-director baton from Speight Jenkins to Aidan Lang. If Ring ticket prices aren’t exactly family-friendly, today’s open house at McCaw Hall certainly is, with sidewalk

Mihara and Amachi in Kobe’s Casbah.

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

meeting should be far from average as well. Maestas combines his background as a choreographer with his recent architectural studies to match people with places—in this case creating a dance for himself and the chameleon-like Ezra Dickinson in a Pioneer Square alley. To a score by Zeke Keeble, they explore one of the oldest locations in Seattle as animals or children might. As they crabwalk along the brick pavers, their “unlikely place” becomes a playground, a battlefield, and a sanctuary. (See alleypalooza.com for other related First Thursday events.) Nord Alley: East of First

JIMMY KATZ

In Benjamin Maestas’ A Meeting in an Unlikely Place, the location may be unexpected, but the

They don’t make them like they used to—those big, dramatic war epics that Hollywood used to deliver with sturdy old-school craft, muscular scripts, and the kind of spectacle you had to actually build to get on film. SIFF has two of the best showing in 4K digital restorations, the high-def replacement for the old 70mm film revival format. David Lean’s 1958 The Bridge on the River Kwai, starring Alec Guinness as a principled British officer blinded by pride and William Holden as an unceremoniously pragmatic American POW (with a nod to his cynical survivalist in Stalag 17), won seven Academy Awards, including Best Picture, Director, and Actor (for Guinness). It’s still one of the great war epics—a handsome and literate drama with modern antiwar sentiment infused with bitter satire about British notions of honor and enterprise. Director John Sturges was all about the action and men at work, and his 1963 The Great Escape (screening second tonight) is an exemplar of World War II adventure. Steve McQueen leads a massive cast of individualists seeking to escape a Nazi POW camp. It’s a lot of fun, but still grounded in a serious reality. Sturges reminds us that there are consequences to these prisoners’ actions. (Through Thurs.) SIFF Cinema Uptown, 511

Yellow Noir

SHINTOHO

When was the last time you received something of value in the mail? Meaning regular old snail mail—maybe a tax-refund check? It seems like everything else of worth has gravitated to e-mail and Facebook, which is why Gen Hayashida’s show Handled With Care is both a novelty and a throwback to the era of postcards, thank-you notes, and actual handwritten letters. Born in Japan and now working in Santa Fe, Hayashida creates small, one-off objects, slaps on a few stamps, and trusts them to the U.S. Postal Service. And that is how many of the pieces on display actually arrived at the gallery, despite snow, rain, heat, etc. If they’re altered in transit with scuffs or dings, Hayashida intends those imperfections to be part of the completed, delivered work. “Since they are made to be handled, it is important to me how they feel in the hands,” he says. Each of his “sculptural postcards” arrives unwrapped, and the address is part of each artwork. They’re unquestionably Hayashida’s handiwork, but they’ve also been signed by Uncle Sam. Hayashida will attend tonight’s opening reception. (Through Sept. 28.) Paper Hammer, 1400

arts»Visual Arts

The Scrapper

Buster Simpson has built a legacy out of recycled materials and environmental engagement. Maybe that’s why his work presents better outside the museum. BY BRIAN MILLER

Best of seattle on stands

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

August 7

BRIAN MILLER

ome visual artists leave behind pretty objects or precious trophies for millionaires to collect; others make gestures or create concepts that don’t fit so well in the gallery or museum. Born in 1942, Buster Simpson is still very much with us, still making new, environmentally engaged art after some four decades in the Northwest. (He came here from Michigan by way of the Pilchuck Glass School.) In his first career retrospective, including over 50 pieces selected by the Frye’s Scott Lawrimore, Buster Simpson: Surveyor reveals an artist reluctant to make big, permanent things that would change the habitat where they’re sourced or sited. His work deals directly with local ecology and materials, recycling, and environmental degradation. He’s a zero-sum artist who rearranges things without substantially adding to or subtracting from the ecosystem. There’s a modesty and self-effacement to his creations that the low-key Simpson radiates in person. The paradoxical result of such integrity is that he’s widely respected but not widely collected; he’s left no big public artworks to stamp his name on Seattle. Instead of Hammering Man, he’s the guy who pulls out the nails and applies them to a different purpose. A perfect example, among a few other unrealized proposals documented at the Frye, is down in Myrtle Edwards Park, just north of the Olympic Sculpture Park and its grand, diagonal impositions upon the landscape. (There in the OSP, Richard Serra’s massive metal Wake starkly contrasts with Simpson’s humility. Do not touch the Wake! Keep your grubby children away!) Back when the future OSP was still a toxic Unocal gasoline-tank depot and the waterfront park hadn’t yet been renamed for the pioneering city councilwoman, the shoreline leading to Smith Cove had been used to dump the rubble from the I-5 trench—hence the creation of a new park in 1964. The city then solicited artists to create attractions that would invite pedestrians along the formerly forbidding stretch. At the Frye, photos from 1974 show Simpson’s Learning Lessons for Myrtle Edwards Park, in which he “proposed a project to redesign the site by simply reorchestrating the rubble,” in Lawrimore’s description. The curator continues, “He wanted the park design to be ‘honest’ about its source material and for the site to reflect and document the city’s own history of progress and renewal.” But no—instead we got a new totem pole, historical markers, a walking/biking path, some exercise stations, a fishing pier, and an enormous new installation by out-of-town artist Michael Heizer: the three slabs of Adjacent, Against, Upon. Admittedly, this last is one of my favorite public artworks in Seattle, but it required huge alien blocks of material, the introduction of foreign forces upon the habitat, instead of tending or reusing what was already in place. The site’s equilibrium is forever altered. Simpson would never do that. And he never did.

Simpson’s Secured Embrace.

As Simpson moved among various short-term lofts and studios during the ’70s and ’80s, downtown and Belltown began booming around him. Many buildings were torn down, and he took to patrolling Post Alley and other desolate streets in search of scrap materials for his art. From that foraging grew his avatar, the Woodman, depicted in various photos and videos at the Frye. Sometimes he installed Woodman silhouette figures in buildings bound for the wrecking ball. Those creations were ephemeral, made of cheap materials, not necessarily meant to be preserved in a museum or private collection. They’re the products of a leave-no-trace aesthetic. Walk through Belltown on First and you’ll see some of Simpson’s benches and tree-protecting screens, none screaming for attention. On the sidewalk outside the Frye, his yellow-painted Tree Guards include crutches as a design motif you’ll see elsewhere in his work. Notions of injury and rehabilitation can be discerned through the decades. If something is damaged or broken, a new, adaptive use for it is found. (In 1983, he created an installation at a doomed old tavern in the Pike Place Market; photos and artifacts from the 90 Pine Show are also on view.) Floating in the Frye’s courtyard entry pool is Secured Embrace, a kind of bulwark against beach erosion, a model and sentinel for sustainable habitat. Simpson would like to see such bundles used in the Seattle waterfront redesign, to help create and protect a natural shoreline. (He’s been commissioned for a role in that project.) It looks like a clump of debris that the Woodman might gather, more gleaning and recycling of material. It also suggests the way waves create their own natural logjams and riffles—the flotsam left at the high-tide line later becomes a defense during flood or storm. Inside the Frye, we see videos of Simpson’s

famous symbolic slingshots against the goliath of the then-new World Trade Center (he’s standing in the rubble field that would later be filled

with the condos and office towers of Battery Park City). In another ’80s work, he left unglazed ceramic dinner plates in several polluted waterways (including Elliott Bay), then later retrieved and finished the spotted discs in the kiln. But would you want them on your table or wall? That’s the conundrum for Simpson—most of his pieces are made of other old things, and it’s hard to create something beautiful or valuable out of recycled materials. They always carry the prior, cheaper association of their original use. And the impeccably honest Simpson never attempts to disguise that fact. For that reason, however, he’s been a less salable and collectible artist than, say, his old Pilchuck cohort Dale Chihuly. New art is by definition “original,” signed and sold by its maker. Simpson, to his credit, borrows everything but the concept. His sculptures and assemblages at the Frye are made of old saw blades, snow shovels, metal fenceposts, teakettles, bits of tin and other scrap metal, beer bottles, TV tubes, his own 60-year-old Boy Scout hatchet, and much reclaimed wood. Simpson’s constant salvaging is an explicit rebuttal to what he calls “our planet’s thirst for consumption” (and by “planet” he means us, those rapacious latecomers to the planet). When Simpson fought to preserve cherry trees along First Avenue during Seattle’s first condo boom in the late ’70s, some were saved and others cut down. From the latter, he assembled a rough-hewn ladder that leans against a white gallery wall at the Frye. Hardly a pristine art object, it looks like something you might find in back of a garden shed—unlovely, but worth keeping because it still works. It’s an artifact of humble, stoic endurance. You could say the same about Simpson. E

bmiller@seattleweekly.com

FRYE ART MUSEUM 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.–5 p.m. Tues.–Wed. & Fri.–Sun.; 11 a.m.–7 p.m. Thurs. Closed Mon. Ends Oct. 13.

arts»Opening Nights Illyria

What’s best about Illyria (by some distance) is Pete Mills’ book, a nimble distillation of Shakespeare’s dreamy love-triangle farce Twelfth Night. If occasionally a bit glib, the lyrics are enviably clever (these examples are typical rather than cherry-picked): “Woman—a frail vessel/A mortar lacking pestle” or “Once I was pale and unassailable/Under a veil and unavailable.” Lines like this are the show’s nearest approach to the play’s elegant magic, its once-upon-a-time bittersweetness seasoned with a pinch of bawdiness. The cast of Taproot’s production, directed by Karen Lund, provides a bit of this magic too: Mark Tyler Miller as Orsino brings out the romance in his adorably clueless narcissism, and Daniel Stoltenberg adds some pathos to the putupon Malvolio, deftly played midway between Sheldon Cooper and Niles Crane. What almost never does is Mills’ lite-pop score; there are mere hints of it in the opening number and in “Patience,” a moody Act 1 song for Viola (Helen Harvester). What bothered me about the music was not its style, bland as it was, but its complacency; I yearned for it to aim higher. I get the impression, from Illyria (first produced in 2002) and a few other recent shows, that writing a musical anymore is seen as a matter of first mastering a very specific and rigidly limited musical idiom, taking care to scrub it clean of personal idiosyncrasy, and then applying it to any project

ERIK STUHAUG

TAPROOT THEATRE, 204 N. 85TH ST., 781-9707, TAPROOTTHEATRE.ORG. $25–$40. RUNS WED.–SUN. ENDS AUG. 10.

Illyria’s Harvester and Miller as possible lovers.

that comes along. Shouldn’t a unique soundworld be part of a composer’s overall vision for a show? And doesn’t he have some responsibility to at least attempt to live up to his source material, rather than just use it as a variable plugged into a formula? GAVIN BORCHERT

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

The mixing of moods in theater was a no-no in classical times, but luckily director Sheila Daniels’ take on Aristophanes’ antiwar comedy flouts such prude genre segregation. Setting the salacious tale—about a coalition of Athenian and

Spartan women who unite in a sex strike against their warrior husbands to end the Peloponnesian War—as a play within a play, performed by soldiers for fellow soldiers at a U.S. camp in Afghanistan, makes more urgent the heroines’ crusade to kill the war. Throughout most of the 85-minute one-act, we’re immersed in the wacky (and raunchy!) world of Deb Trout’s glam-gross costumes and Jennifer Zeyl’s orificial set, fully invested in the gender wars. Seldom does combat intercede, but this topical Lysistrata is a forcible reminder of bloody wars still being fought on the other side of the globe. The conclave of women convoked by Lysistrata (intelligently played by Shontina Vernon) suggests how sensuality and personal

expression are prized in the barracks: Mohawks, bare thighs and midriffs, push-ups, goosing, and butt-wagging accompany copious sex talk and innuendo. It’s no easy task to convince these lusty ladies to forego sex, as evidenced by their demonstration of beloved positions including the “she-lion and the cheese grater” (it’s in the original text). But their sexual privation pales next to that of the bellicose men, evoked by hilarious priapic contraptions ranging from tiny kettle spouts to flashlights to lengthy plastic proboscises operated like trombones. Ensconced deep like a cervix in the vulval tent hanging over the stage, a machine-like glory box flashes to songs by Pink and Destiny’s Child. In response to this teasing barrage, the horny guys pound out their frustration on electric guitars. When warfare breaks the suspension of disbelief (conveyed by Andrew D. Smith’s flashing lights and Matt Starritt’s unnerving audio design, guided by military consultants), it really breaks it. The pure comedy is quickly forgotten, and the tenor shifts to the macabre. (Destiny’s Child’s prior refrain, “I’ve bought it” from “Independent Woman,” takes on much darker meaning.) A political chorus, rendered zombie-style at the end, seems a bit heavy-handed—is Daniels suggesting that soldiers, including those “drafted by poverty,” are zombies? Would an antiwar play like Lysistrata even be allowed on an Army base? Maybe it’s better not to approach this powerful, provocative piece too literally; just let it hit you. MARGARET FRIEDMAN E

stage@seattleweekly.com

OLYMPIC SCULPTURE PARK

july 11–august 29

6 pm-8 pm

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

seattleartmuseum.org/getout

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

Thursdays atthePark

Thursday, August 1: Enjoy a performance by Big World Breaks as they return with their unique blend of soul, funk and jazz. Get creative with local artist Romson Bustillo as you make your own mixed-media figure with felt, fabric, tape and recycled materials. Tour the park with Seattle artist Allyce Wood, whose works illustrate ecological processes and consequences, and savor local wines and food truck fun with TASTE Café, Here & There Grill, Jemil’s Big Easy and Off the Rez.

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

Stage OPENINGS & EVENTS

BEAUTY OF THE FATHER In Nilo Cruz’s play, the ghost of

Spanish playwright Federico Garcia Lorca converses with the living. Presented by Latino Theatre Projects in English. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, latinotheatreprojects.org. $17–$20. Opens Aug. 2. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 25. BLACK LODGE BURLESQUE An evening of striptease, vocal, and comedy acts with a David Lynch theme. Re-bar, 1114 Howell St., rebarseattle.com. $12. 7 p.m. Fri., Aug. 2–Sat., Aug. 3. CAMP DEATH Blood Squad’s horror-improv show sends up the summer-camp-slasher genre. Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagantheatre.org. $10. Opens Aug. 3. 11 p.m. Sat. Ends Aug. 17. THE GOVERNMENT INSPECTOR SPT’s Youth Program presents Gogol’s 1836 satire of small-town politics. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Donation. 7 p.m. Fri., Aug. 2, 2 & 7 p.m. Sat., Aug. 3, 2 p.m. Sun., Aug. 4. GUYS AND DOLLS Frank Loesser’s classic musical pits a gambler against a missionary. Presented by Twelfth Night Productions. West Seattle High School Theater, 3000 California Ave. S.W., 800-838-3006, brownpapertickets. com. $16–$19. Opens Aug. 2. 7:30 p.m. Fri.–Sat. plus 2 p.m. Sun., Aug. 11 & 18. Ends Aug. 18. MEN OF ACTION Jet City’s improv takeoff of adventure movies and their intrepid heroes. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. Opens Aug. 1. 8 p.m. Thurs.–Fri. (except Labor Day weekend). Ends Sept. 20. SEATTLE: B-SIDES & RARITIES Jennifer Jasper, Paul Mullin, and others in an evening of “theater, music, poetry, and stories celebrating our beloved passive-aggressive, self-satisfied, faux-hippy, civic-development-stallin’, traffic-nightmare-creatin’, built-on-its-own-ashes Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

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EarSupply

» By Gavin Borchert

The thing that most impresses, and frightens, opera newbies about Wagner’s The Ring of the Nibelung cycle—the thing they all ask about first—is the length: four nights, 18 hours, give or take a demigod. “How can you sit there for that long?” they gasp. Well, I have the easy job; imagine playing it. Sean Osborn is playing first clarinet in Seattle Opera’s Ring, which opens Saturday. Counting dress rehearsals, and his 11 seasons as a member of the Met orchestra, Osborn has logged 16 complete performances of the tetralogy, and was enjoying a day off from the 17th when I spoke to him about what it’s like in McCaw Hall’s Nibelungian underground in the midst of a 90-player Osborn tells all.

LAREY MCDANIEL/OSBORNMUSIC.COM

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

Secrets of the Pit

city.”West of Lenin, 203 N. 36th St., 800-838-3006, brown papertickets.com. $15–$18. 7:30 p.m. Mon., Aug. 5. SPEECH AND DEBATE YTN alumni gather to perform Stephen Karam’s Oregon-set play about a school sex scandal. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $5–$8. 7 p.m., Thurs., Aug. 1–Sat., Aug. 3. SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. August’s show includes “joyful yet subversive neo-bluegrass,” “pixie-ish yet snarling tunes,” “rambunctiously masculine smut,” and much more. Annex Theatre, 1100 E. Pike St., 232-4145 x109, annextheatre.org. $5–$10. 11 p.m. Sat., Aug. 3. THE SUGAR FROSTED CRUNCHY FLAKE FRIDAY EVENING CARTOON HOUR! Unnatural Redhead

Productions’ Saturday-morning-themed burlesque show. JewelBox/Rendezvous, 2322 Second Ave., 800-838-3006, brownpapertickets.com. $12–$25. 8 p.m. Fri., Aug. 2. THE TEMPEST The BPA Shakespeare Society performs in IslandWood’s Creaky Tree Meadow. Islandwood, 4450 Blakely Ave. N.E., Bainbridge Island, 842-8469, bainbridge performingarts.org. $15–$20. 7 p.m. Aug. 1, 3, 4, 6, 7, 8. 30 HOURS: DON’T GROW UP, IT’S A TRAP Blood Ensemble is giving itself just (yes) 30 hours to come up with a new show on the title theme. Stone Soup Theatre, 4035 Stone Way N.E., 800-838-3006, bloodensemble.org. $5–$8. 7:30 & 8:30 p.m. Wed., Aug. 7.

CURRENT RUNS

THE CLOCKWORK PROFESSOR The Pork Filled Players

premiere Maggie Lee’s “action-packed adventure of fantastical science fiction with a steampunk twist.” Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, porkfilled. com. $12–$15. 8 p.m. Thurs.–Sat. Ends Aug. 3. DOUBT Theatre 9/12 presents John Patrick Shanley’s Catholic-school-set drama. Trinity Episcopal Church, 609 Eighth Ave., 332-7908, theatre912.com. Pay what you can. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 4. 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

orchestra. “It’s loud,” he jokes. “The percussion is overflowing out the doors . . . they have this enormous tam-tam. A lot of people are playing with earplugs.” Since he and the other winds sit fairly far back under the stage, “It’s difficult to hear the singers, so we have to watch the conductor a lot.” How comfortable is it, in a pit filled to capacity? “It does get a little bit warm,” but the all-black dress code is relaxed in summer to allow short sleeves: “I will be wearing a T-shirt.” What about the stamina required? “We [Osborn and the three other clarinets] play nearly constantly in Siegfried and Götterdämmerung,” but “There are large rests in Die Walküre for everyone except the cellos and violas; they work harder than anyone. The viola book is longest.” At Seattle Opera, “Most people have some sort of dinner after Act 1” to keep their strength up. (At Bayreuth and other large European opera houses, Osborn tells me, the longest Wagner operas use two orchestras, switching halfway through.) But what really helps a player survive a Ring is the quality of the music-making. Exacting when it comes to conductors, Osborn uncharacteristically gushes over Asher Fisch: “Asher is great. Everybody is loving him. He’s studied everything about the score, he has an idea about every note.” McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676, seattleopera.com. $300–$1,460 per cycle. Runs Aug. 4–25.

accident-prone daredevil and a corrosive masochist who navigate friendship.” Presented by Azeotrope. WET, 608 19th Ave. E., 800-838-3006. $25 Runs Fri.–Sun. evenings, plus some weekends and Mondays; see azotheatre.org for exact schedule. Ends Aug. 11. ILLYRIA SEE REVIEW, PAGE 19. LITTLE WOMEN: THE BROADWAY MUSICAL Selfexplanatory, I would think. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 7 p.m. Fri., 2 & 7 p.m. Sat., 2 p.m. Sun. Ends Aug. 4. LYSISTRATA SEE REVIEW, PAGE 19. OWL & PUSSYCAT theater simple mashes up Lear with Shakespeare, vaudeville, and more. Performed in various area venues; see theatersimple.org for full info. Donation. 5 p.m. Sat., Aug. 3–Sun., Aug. 4, 1 p.m. Sun., Aug. 11. 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. EXTENDED: Performances added Aug. 1 & 4. Ends Aug. 4. PIGGYBACK Stand-up becomes theater as comics and improvisers collaborate. Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpected productions.org. $5. 8:30 p.m. Sun. Ends Aug. 4. 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. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 11. RAPTURE, BLISTER, BURN Catherine (Kristen Potter), the 42-year-old über-intellectual protagonist of Gina Gionfriddo’s idea play, returns home following her mother’s heart attack. The visit also has her rethinking her feminist life choices; she also checks on former gradschool roommate Gwen (Kathryn Van Meter), who chose the path of homemaking and motherhood with her husband Don (Jeffrey Fracé), Catherine’s old boyfriend. 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. Anita Montgomery directs the hijinks. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $41 and up. Runs Tues.–Sun.; see acttheatre. org for exact schedule. Ends Aug. 11. 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. 7 p.m. Fri.–Sat., plus 2 p.m. Sun., Aug. 4. Ends Aug. 4. 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. SKID ROAD A new improv show rewrites the legends of Seattle’s founding. Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpected productions.org. $15. 8:30 p.m. Fri.–Sat. Ends Aug. 10. 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.

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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. TROUBLE IN MIND Alice Childress (1916–1994) won an Obie for this 1955 play. 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 laser-sharp script that ricochets between hope and heartache. Wiletta Mayer (Tracy Michelle Hughes) arrives for her first day of Broadway rehearsal, where she and other black cast members are confounded by the destructively narrow vision of producer/director Al Manners (Tim Gouran). In a play about a lynching, he wants Southern dialect and old stereotypes; his performers are uncomfortable, but they also want the job. 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. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 15.

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• WE WON’T PAY! WE WON’T PAY! Dario Fo’s 1974

farce about life in an exploitive, inflationary economy is an intelligently ridiculous examination of whether looting is justified under a corrupt regime—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. MARGARET FRIEDMAN Cornish Playhouse at Seattle Center, 726-5190. $20–$50. See intiman.org for schedule. Ends Sept. 15. 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.

Dance

SEATTLE FESTIVAL OF DANCE IMPROVISATION

Public performances in this weeklong festival include “Dance Innovators in Performance,” with John Jasperse, Sara Shelton Mann, and several others at 8 p.m. Thurs., Aug. 1, and a closing-night performance 7 p.m. Sat., Aug. 3. Broadway Performance Hall, 1625 Broadway, 325-8773, velocitydancecenter.org. $12. SEATTLE SUMMER BUTOH FESTIVAL Performance installations in conjunction with First Thursday, and other events through Aug. 10; see daipanbutoh.com for full lineup. Tashiro Kaplan Lofts, 115 Prefontaine Place S. 6–9 p.m. Thurs., Aug. 1, plus Aug. 6, 9, & 10. CINDERELLA—AN EGYPTIAN STORY The Eastern roots of a Western tale are revealed with dancers, storytellers, and live Arabic music., Angle Lake Park, 19408 International Blvd., planetsuzanna.com. 7 p.m. Sat., Aug. 3. A MEETING IN AN UNLIKELY PLACE SEE THE WIRE, PAGE 17.

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Classical, Etc. THE PIRATES OF PENZANCE The 5th Avenue’s produc-

tion of the venerable Gilbert and Sullivan operetta draws heavily from Joseph Papp’s Broadway production of 1981. This approach, basically, is bigger and brasher, which has its pros and cons. In director James Rocco’s hands, hardly a line or a bit of business doesn’t get italicized, but at its best this italicization brings out Gilbert’s slyest ironies. GAVIN BORCHERT 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. Runs Tues.– Sun; see 5thavenue.org for exact schedule. Ends Aug. 4. MARROWSTONE MUSIC FESTIVAL One more weekend of chamber and orchestral music (7:30 p.m. Thurs. & Sat., 3 p.m. Sun.), sponsored by the Seattle Youth Symphony. Aug. 1 Eric Banks’ opera trilogy Our Earth. Aug. 3 Faculty chamber music: Borodin and Duruflé. Aug. 4 Orchestral faves by Berlioz, Grieg, and more. Western Washington University, Performing Arts Center, Bellingham, 360-6506146, 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 methowmusicfestival.org for full details. Signal Hill Ranch, 115 Signal Hill Road, Twisp. $25. 7:30 p.m. Thurs., Aug. 1 & Sat., Aug. 3. WHIDBEY ISLAND MUSIC FESTIVAL Music by Bach and his baroque colleagues. Aug. 2 & 4 Handel arias as interludes among a handful of concerti grossi. Aug. 3 Bach cantatas and other festive music. (Fri.–Sat. at St. Augustine’s in the Woods, 5217 S. Honeymoon Bay Rd.; Sun. at Greenbank Farm, 765 Wonn Rd.) whidbeyisland musicfestival.org. $20–$25. 7:30 p.m. Fri., Aug. 2–Sat., Aug. 3, 3 p.m. Sun., Aug. 4. SEATTLE OPERA: “MAKE SOME NOISE!” SEE THE WIRE, PAGE 17. OLYMPIC MUSIC FESTIVAL Chamber music in a rustic repurposed barn, each Saturday and Sunday at 2 p.m. through Sept. 1. Aug. 3–4 Bartok’s savory Romanian Folk Dances, plus Brahms, Enescu, and Haydn. Olympic Music Festival, Center Road, Quilcene, 360-732-4800, olympic musicfestival.org. $18–$33. SEATTLE OPERA Their quadrennial production of Wagner’s Ring is one of the opera world’s most acclaimed, drawing pilgrims from all over the world. Cycle 1, Aug. 4–9; Cycle 2, Aug. 12–17; Cycle 3, Aug. 20–25. Also see seattleopera.org for a zillion auxiliary events, from scholarly talks to Pacific Science Center’s “Laser Ring” on Aug. 11. McCaw Hall, Seattle Center, 389-7676. $300–$1,460 per cycle.

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Vonn Sumner, Gage Teaching Artist

arts»Visual Arts B Y K E LT O N S E A R S

Openings & Events JOAN BACKES She shows new paintings in The Natural

and the Artificial. Also on view, work by Margaret Watson. Artist reception, 2 p.m. Sun., Aug. 4. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com, Opens Aug. 2, Tues.-Sat., 11 a.m.-5 p.m. Through Sept. 7. • BAM’S FREE FIRST FRIDAYS Strapped for cash? Here’s your chance to check out BAM’s current shows, Maneki Neko: Japan’s Beckoning Cats–From Talisman to Pop Icon (very kawaii ceramics) and the 50-year retrospective honoring local ceramics artist Patti Warashina. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m. THE BIG (BAD) BUG SHOW Insects are the subjects for over a dozen local painters. Opening reception, 6 p.m. Fri., Aug. 2. Call for ongoing hours. Bainbridge Arts and Crafts, 151 Winslow Way E., 842-3132, bacart.org, Aug. 2-Sept. 2. JESSICA BONIN & JAMES REISEN

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

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Multiple gallery artists are represented in this group show. First Thursday opening reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-1324, davidsongalleries.com, Tues.-Sat., 10 a.m.-5:30 p.m. Through Aug. 31. COURTNEY LIPSON To Life presents wearable art using a micro-mosaic technique and shaped silver. Also on view, animal paintings by Thomas Stream. First Thursday opening reception, 6 p.m. Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com, Open daily, 10 a.m.-6 p.m. Through Aug. 31. LOOK An exhibition of four different artists’ work, ranging form sculpture, mixed media, to painting. Artist reception, 6-8 p.m. Thurs., Aug. 1. Shoreline City Hall, 17500 Midvale Ave. N., 417-4645, Mon.-Fri., 9 a.m.-5 p.m. Through Oct. 25. JOHN LYSAK A Sense of Reality features the artist’s watercolors and monotypes that attempt to “capture moments of emotion and drama, letting ‘reality’ fade.” First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery. com, Mon.-Sat., 10:30 a.m.-5:30 p.m. Sun. 11 a.m.-4 p.m. Through Aug. 31. MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65-foot-tall sculpture Wawona (salvaged from the schooner of the same name), plus new exhibits on video games and Seattle’s history at the movies, curated by SW film critic Robert Horton. Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m. FABRICE MONTEIRO & JIM NAUGHTEN The two photographers exhibit separate work from travels around Africa in a show called Signares & Hereros. Monteiro, based in Dakar, makes elegant portraits of the Signares, descendants of Senegalese women who married into French colonial families. Based in the U.K., Naughten focuses on the Hereros, African women who dress in the bright costumes of former German colonial occupiers. First Thursday opening reception, 6-8 p.m. M.I.A. Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com, Sat., 12-5 p.m.; Tues.-Fri., 11 a.m.-6 p.m. Through Aug. 30. COLETTE-YASI NARAGHI She shows black-and-white photography from her travels in Iran. First Thursday opening reception, 6-8 p.m. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com, Aug. 1-Sept. 4. TRAN NGUYEN & JASON WHEATLEY Nguyen shows new work in A Place Procured From Our Yesteryears. Wheatley’e exhibit is called Osmosis. First Thursday opening reception, 6-8 p.m. Roq La Rue, 532 1st Avenue S., 374-8977, roqlarue.com, Weds.-Sat., 1-6 p.m. Through Aug. 31. LUCE PELLETIER Dwell features the Canadian artist’s “hybrid objects” that confront the damage mankind has done to nature and the concept of wilderness. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com, Tues.-Sat., 10 a.m.-6 p.m. Through Aug. 31. ANNE PETTY & PEGGY WASHBURN The two painters show new work. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 6243034, lindahodgesgallery.com, Tues.-Sat., 10:30 a.m.-5 p.m. Through Aug. 31. KRISTIE REA The Australian artist, known for strong geometric steel and glass work, will take up a brief residency at the museum concluding with a lecture at 2 p.m. Sun., Aug 4. Museum of Glass, 1801 E. Dock St. (Tacoma), 253-284-4750, museumofglass.org, July 31-Aug. 4, 10 a.m.-5 p.m. WILL ROBINSON Collaborations of Man and Nature features the sculptor’s stonework, inspired by the natural landscape of the Pacific Northwest. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com, Tues.-Sat., 10 a.m.-6 p.m. Through Aug. 31. PAUL RUCKER From the noted local musician and artist, Recapitulation: Assassin Series is a multimedia work that explore parallels between slavery and our prison-industrial complex. Reference is also made to race and guns, Trayvon Martin supplying much of the subtext. Some materials were shot by Rucker himself at a local gun range. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org, Mon.Fri., 8:30 a.m.-5 p.m. Through Aug. 29. JEFF SCOTT & STEVE CRAFT They show new paintings. First Thursday opening reception, 5-8 p.m. Room 104, 306 S. Washington St. (Tashiro Kaplan Building), 953-8104, room104gallery.com, Opens Aug. 1, Weds.Sat., 10:30 a.m.-5 p.m. Through Sept. 14.

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Classical Training for Contemporary Artists

FALL REGISTRATION OPENS AUGUST 5 Register online at GageAcademy.org

INVITE YOU AND A GUEST TO THE ADVANCE SCREENING OF

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#SHITJUSTGOTREAL is a meditation on society’s selfindulgent tech-addiction that encourages viewers to pick up the art, take photos of it, and tweet about it. First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org, Thurs.-Sat. 12-5 p.m. Through Aug. 31. BILL BRAUN A collection of the artist’s trompe l’oeil works on canvas. First Thursday opening reception, 6-8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, Mon.-Sun., 11 a.m.-5 p.m. Through Aug. 30. ULLIE DE OSU AND WILLIAM SONG Harmonics features works by the two painters that explore how energy and harmonic resonance can be experienced through light and color. First Thursday opening reception, 5-8 p.m. ArtXchange, 512 First Ave. S., 839-0377, artxchange.org, Tues.-Sat. 11 a.m.-5:30 p.m. Through Sept. 28. AN EXPLORATION FROM THEN TO WHEN Locals Mary Walker, Ed Thayer, Lee Campbell, and Dan Broxon are featured. Opening reception, 6-10 p.m. Sat., Aug. 3. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org, Aug. 3-30. JENI FALLDINE Her site-specific string installation Ties is inspired by concepts that tie people together and what “weaves our community into what it is.” First Thursday reception, 5 p.m. Occidental Park, Occidental Ave. S. & S. Main St., 684-4075, seattle.gov/parks, Through Aug. 19. KATHLEEN FAULKNER North by Northwest presents her land landscape scenes and coastal paintings. Opening reception, 6 p.m. Fri., Aug. 2. Call for ongoing hours. The Island Gallery, 400 Winslow Way E., Bainbridge Island, 206-780-9500, theislandgallery.net, Aug. 2-31. • FREMONT ART WALK Fremont’s First Friday artwalk venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. See fremontfirstfriday.com for participating artists. First Friday of every month, 6-9 p.m. GROUP SHOW Several gallery artists are represented in this short-run group show. First Thursday opening reception, 6-8 p.m. Call for ongoing hours. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com, Aug. 1-10. GEN HAYASHIDA SEE THE WIRE, PAGE 17. • MAX HAYSLETTE This collection showcases his disassembled figure fields that mash together shapes in jigsaw like patterns. Opening reception, 6-8 p.m. Fri., Aug. 2. Roby King Galleries, 176 Winslow Way E. (Bainbridge Island), robykinggalleries.com, Tues.-Sat., 10 a.m.-5:30 p.m. Through Aug. 31. INTERPERSONAL Danielle Comeaux, Joana Stillwell, and Ilysia Van Deren use their friendship as artists to explore the nature and limits of interpersonal boundaries. First Thursday opening reception, 6-8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Weds.-Sat., 12-5 p.m. Through Aug. 31. ISSAQUAH ART WALK Downtown Issaquah will turn into a street fair featuring art, music, performance and craft. 232 Front St N, Issaquah, Fri., Aug. 2, 6-9 p.m.

LIKE: A SOCIALLY INTERACTIVE EXHIBITION

film»This Week’s Attractions PThe Act of Killing

PBlackfish OPENS FRI., AUG. 2 AT SEVEN GABLES. RATED PG-13. 83 MINUTES.

My childhood hero Namu was the second killer whale kept in captivity (he came to the Seattle waterfront on my birthday in 1965), and we owe him a lot. The world understood almost nothing about these fantastic creatures until Namu proved how bright, social, and instinctively

DRAFTHOUSE FILMS MAGNOLIA PICTURES

“It was like we were killing . . . happily.” The speaker is Anwar Congo, a dandy and former gangster reflecting on his movie-fed youth in mid-’60s Indonesia. He was one of the paramilitary forces licensed by the new military dictatorship to dispatch over one million “Communists”—a catchall meaning anyone who’d previously supported President Sukarno, with special emphasis on ethnic Chinese. Like Armenia and Rwanda, Indonesia belongs to that second tier of genocides outside modern European borders. During 1965–66, world attention was focused on Vietnam. The TV cameras weren’t rolling, an oversight that director Joshua Oppenheimer now corrects in the most unsettling fashion. There are no mass graves here dug up by backhoe, no old newsreel footage, no historians or interviews with the families of the bereaved. Instead, Oppenheimer somehow ingratiated himself with Congo and his cohort, convincing them to make a movie that would garishly, heroically re-enact their past misdeeds. His method is patently a con, like the recent stunt documentary The Ambassador; he’s a liar in search of the truth. His naive yet murderous subjects frequently ask his opinion, off-camera, as if he were a sympathetic participant in the project. Outside Indonesia, they will be judged more harshly, but Oppenheimer bites his tongue on set. (A few graphics and intertitles supply the necessary context.) What’s the efficient approach to killing without too much mess? Congo cheerfully demonstrates his method with the garrote, baling wire with a wood handle, wrapped around an actor’s neck. Watching Oppenheimer’s video playback, he says the costumes are all wrong—white pants would show the blood. Reshoots will be required. And maybe he should dye his hair. In the studio and a few bizarre outdoor tableaux with grinning showgirls, the perpetrators ritually restage their murders and massacres—it’s celebratory for them, perhaps cathartic on some level, but you could never imagine Nazis being treated in this grotesque, ironic manner. (Instead of the banality of evil, we have the kitsch of evil.) Would Eichmann or Mengele or their foot-soldiers ever admit they were wrong? We live in a different era, of reality-TV confessions; people now behave according to, or cop to, whatever gets the best ratings. One of the killers says, “ ‘War crimes’ are defined by the winners.” He and Congo can express their remorse—whether genuine or just another act for the camera—from the safety of the winning side. Fifty years later, they know they won’t be prosecuted for their deeds. We watch the same movie, astonished, while they just smile. BRIAN MILLER

The Act of Killing frames atrocity through absurdity.

Blackfish

friendly killer whales are. That was good. The problem was, everybody saw how the trainable and lovable animals could be used to make money. And that has led to a decades-long controversy that ought to have been settled by now. Blackfish should be the final word on the subject, even if it probably won’t be. This relentless documentary circles around the 2010 death of Dawn Brancheau, a supremely experienced SeaWorld trainer who was killed in a performing tank by Tilikum, a 12,000-pound whale. But that death is the starting point for a film that makes a couple of general thrusts: Killer whales should not be kept in captivity, and the sea parks that own them have done a suspiciously incomplete job of informing their trainers and the public about how they operate their businesses. The argument is devastating—enough so that SeaWorld has issued a statement denouncing the movie. Interviews with former SeaWorld trainers paint a sad picture of a happy-face culture that sugar-coated the containment of giant wild animals; because of the industry’s expert PR spin, the trainers themselves would hear only vague rumors about injuries in marine parks. (SeaWorld isn’t the only player, but is the most prominent.) Director Gabriela Cowperthwaite looks into fatal incidents at Victoria, B.C.’s Sealand of the Pacific and Loro Parque on the Spanish island of Tenerife. The 1991 Victoria incident also involved Tilikum, which brought about the sale of the unfortunate whale to SeaWorld, for whom he has been a steady performer and sperm donor. Blackfish frequently visits Puget Sound for interviews with local experts as well

In Grabbers, Coyle (center) and Bradley (right) meet the mother alien.

as visions of healthy killer whales plowing through their fenceless natural habitat. (Tilikum was captured not in local waters but in the North Atlantic, in 1983.) Cowperthwaite also charts the development in our understanding of the mammals, from the scare-mongering Jaws ripoff Orca (released in 1977) to today’s evidence about their highly developed brains. No mention of Free Willy, oddly. As if all this weren’t difficult enough to watch, Blackfish has an unpleasant undertone of voyeurism—I began to cringe every time we went to newsreel footage, wondering how much horror we were going to see in this particular example of whale-on-human violence. I’m not sure how you make this film without showing those things, but it’s worth noting that an exploitation movie like Orca creates a similar kind of tawdry suspense. Still: If Blackfish outrages people, so much the better. The case is closed, and whales and dolphins are too high on the evolutionary scale to keep captive. We learned a lot from Namu and his followers, and now we know better. ROBERT HORTON

Grabbers RUNS FRI., AUG. 2–THURS., AUG. 8 AT GRAND ILLUSION. NOT RATED. 94 MINUTES.

This lighthearted Irish creature-com lays out its premise a little earlier than needed. That being: Tentacled, bloodsucking aliens are spawning on the beach of a small island where the two cops (or Garda) don’t even carry guns. But the ocean-dwelling “grabbers,” as they’re called, find alcohol toxic—so let’s all get drunk to defend

IFC FILMS

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

OPENS FRI., AUG. 2 AT VARSITY. NOT RATED. 122 MINUTES.

ourselves! This is not a movie to fret about unsavory Irish stereotypes, though it’s full of colorful village types, from the pub-keeper to the priest to the fisherman who pulls up the first writhing beast and unwisely stores it in his bathtub. Director Jon Wright and writer Kevin Lehane draw equally from the Jaws and Gremlins playbooks, killing off a few named characters but mainly going for laughs. The bigger, male monster remains hidden for the most of the film (it can roam inland in the rain, pinwheeling on its many limbs). Its smaller, egg-laying mate is treated more for comedy: When she springs into face-sucking mode in the lab, our panicked heroes use brooms, chairs, and a rolled-up magazine to drive the thing off. The mood here is essentially Keystone Cops go Gaelic. Local constable Ciarán O’Shea (Richard Coyle) is an alcoholic barely competent to do his job on an island without any crime. (Of his qualifications, he says, “I watch a lot of Columbo.”) Subbing as his partner is nononsense Dublin officer Lisa Nolan (Ruth Bradley). She naturally disapproves of feckless Ciarán, and you can predict how their relationship will evolve—particularly after teetotaler Lisa has to get soused to inoculate herself against the monsters and their crawling grubs. Grabbers uses its CG budget sparingly but effectively. The real production value lies in the coastal scenery of County Donegal. You can see why aliens would want to visit. The local tourist slogan could be, Come for the blood, stay for the pints. BRIAN MILLER

The Machine Which Makes Everything Disappear RUNS FRI., AUG. 2–THURS., AUG. 8 AT NORTHWEST FILM FORUM. NOT RATED. 101 MINUTES.

If minimalism was an economic necessity for filmmaker Tinatin Gurchiani—she had a few thousand dollars to spend on her first feature—it also fits her purpose. Her documentary is a narrow-gauge look at a sliver of real life in small-town Georgia in the former USSR. Gurchiani visits a rural community in the Caucasus and puts out a call to young people who might want to appear on camera. The very first fellow we see onscreen is much older than that demographic, an early indication that curiosity about being in a movie trumps all other considerations. He admits he has never done a film, but has always thought he might be good for, say, Jean-Claude Van Damme sorts of roles; he’s got some of those moves. Can he do the midair splits, asks the offscreen director? In the past, yes, answers our modest-looking villager, who looks more like a figure from a 19th-century lithograph than from a chopsocky action picture. He’d have to start practicing again. The sneaking suspicion that “I would be good in movies” is voiced by more than one subject, overshadowing the ethnographic aspects of Gurchiani’s film. Having met some of these folks in interviews, we then see them in their lives, which vary from mundane workaday duties to a dramatic account of a young woman who finds the mother who abandoned her years earlier. The Machine doesn’t explain itself—was the young woman planning to seek out her mother before the movie crew came to town, or was this something proposed by

the filmmaker? Is the incident playing out as it would have without cameras, or is the drama heightened for our view? Even without these questions, The Machine has conventional documentary strengths: It’s a precise if low-key look at a corner of the world where life goes on in timeworn ways despite the realities of digital cameras and Van Damme pictures. By looking closely at these people (her fellow Georgian citizens), Gurchiani makes them movie actors. The camera reveals sincerity, guile, and anxiety just as it does with professionals, even if an accident of birth has relegated these folks to a farm community half the world away from Hollywood. The film’s simple method has shortened the presumed distance between the superstars and the rest of us—or it’s exposed how pervasive is the wish to be seen in a screen culture that touches every part of the world. ROBERT HORTON

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Still Mine You could call this Canadian melodrama of octogenarians aging in place the anti-Amour, since it embraces all the affirmative sentiment that Michael Haneke eschews. Instead, building upon a true incident in New Brunswick, writer/director Michael McGowan posits a much gentler entry into the great senescence. Married 60 years, Craig ( James Cromwell) and Irene (Geneviève Bujold) live in the same decrepit farmhouse where they raised seven kids. (Only two figure in the story, thankfully.) Still spry at 87, Craig fells timber on his 2,000 acres and mills planks in the woodshed. As Irene exhibits signs of memory loss, he decides to retire the cows and crops to build their final dream house—small and efficient on one level, using his land, lumber, and construction know-how. In this scenic coastal province full of selfsufficient rural folk, in a country that’s famously (if stereotypically) polite and reasonable, who’s the villain of Still Mine? The pasty bureaucracy that oversees land use and construction! “Why would I need a permit?” asks a flustered Craig, his project half-completed. “This is my land.” In an American movie infused with Tea Party anger, an armed standoff might ensue. But there are no guns or threats here; Craig’s lawyer (Campbell Scott) gives him reasonable advice; and Craig’s adult children are gently rebuffed for trying to help. “I can manage,” he insists, and Cromwell’s unfussy but affecting performance fits that flinty, independent spirit. Craig and Irene are loving but not frivolous; they’re old enough to have been shaped by the Great Depression. Nothing gets thrown out, and there’s a distrust of filigree and pomp. Together, Cromwell and Bujold create a poignant portrait of marriage under constant, faithful repair—if one partner falters, the other picks up the slack (doctors, lawyers, and bureaucrats be damned). That said, Amour and the similar Away From Her were much better entries in the genre of decline-with-dignity. The Best Exotic Marigold Hotel offered comedy outside the cemetery gates, and Still Mine gives us stoic fidelity, if little drama. Craig and Irene’s approach to dotage may not be viable down south in our overregulated states, but isn’t it nice to think they could live ever happily after? BRIAN MILLER E

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film» “A mad, rip-roaring mash-up of SHAUN OF THE DEAD meets LOCK, STOCK AND TWO SMOKING BARRELS.” – Starburst Magazine

BY BRIAN MILLER

Local & Repertory • AMERICAN COMEDY CLASSICS Love turns into

lust for revenge in the classic 1937 screwball comedy The Awful Truth. Almost-exes Irene Dunne and Cary Grant are about to remarry, but each would rather torpedo the other’s future happiness than please a new spouse. It’s a given in the comedies of this era that sex is channeled into dialogue, and here that erotic subcurrent carries the additional charge of jealousy—neither Dunne nor Grant can bear to see the other share the marital goods with anybody else. Ralph Bellamy plays yet another memorable third leg as Dunne’s dim Okie oilman, while she plays wonderfully against type impersonating Grant’s floozy of a sister. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 6543100, seattleartmuseum.org, $42–$45 series, $8 individual, Thursdays, 7:30 p.m. Through Aug. 15. CLUE This is the 1985 adaptation of the famous murdermystery board game, with a big ensemble cast spoofing it up, including Madeline Kahn, Tim Curry, and Michael McKean. (PG) Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $8.25, Saturday, Midnight. • COCKNEYS VS. ZOMBIES Director Matthias Hoene doesn’t waste any time setting the tone for his feature www.cockneysvszombiesmovie.com debut. Just a minute into the British splatter-com is a crude fart joke, immediately followed by an even cruder zombie attack featuring corn-syrup blood SIFF CINEMA UPTOWN and some very lo-fi boneys awoken from an ancient 511 Queen Anne Avenue North, Seattle tomb. So begins the East London zombie plague that (206) 324-9996 www.siff.net Daily: 10:15pm claims everyone but the film’s unlikely heroes. Two camps fight for survival. One is a group of bumbling bank robbers led by well-meaning brothers Terry and Andy, armed to the teeth and put on edge by “Mental” 2.31" X 4" WED 7/31 Mickey (played with aplomb by Ashley “Bashy” Thomas), an Iraq War vet with a plate in his head. SEATTLE WEEKLY The second is a gang of octogenarians led by those PREPARE FOR TAKEOFF WITH brothers’ grandfather Ray, a no-nonsense prick played convincingly by Alan Ford. In keeping with zombie tradition, there is a slight bit of social commentary here (the gentrification displacing the elderly is also what awakens the undead)—but who needs it? This film shines in its stupidest moments. Hoene spends no time considering the morality of zombicide or augmenting Text the word “DUSTY” and his walking dead with anything more than the ability your zIP cODE to 43KIX (43549) to stumble along slowly, eat brains, and spray blood. Instead he uses his monsters for a series of delightful one:) cHANcE TO WIN AN ADmIT-TWO FOR(circle YOUR PASS AE: (circle one:) Artist: ART gags. Old APPROVED biddies are armed with assault weaponry; a TO A SPEcIAL 3D2ADVANcE ScREENING! zombie baby is drop-kicked; a man with a walker outAngela Maria Josh Heather Staci Freelance AE APPROVED Example text: DUSTY 60614 Entry Deadline: Friday, August 2 runs his zombie pursuer; and, in the film’s most inspired moment, a fight among rival soccer zombie hooligans purchase necessary. Void where restricted or prohibited by law.Tim Must be 13 to enter. Limit one (admit-two) McCool Emmett SteveNo Philip CLIENT APPROVED pass per person. At the screening, seating is not guaranteed and is available on a first-come, first-served basis. breaks out. A fine time; no brains required. (R) MARK Refer to screening pass for further restrictions. Winners will be drawn at random and notified via text message on or about AUGUST 2. *There is no charge to text 43KIX. Message and data rates from your wireless carrier may apply. BAUMGARTEN SIFF Cinema Uptown, 511 Queen Text HELP for info, STOP to opt-out. Late and/or duplicate entries will not be considered. Limit one entry per cell phone. Deadline: Confirmation #: Anne Ave. N., 324-9996, siff.net, $6-$11, Fri., Aug. 2, IN DISNEY DIGITAL 3DTm AND REALD 3D AUGUST 9 10:15 p.m.; Sat., Aug. 3, 10:15 p.m. Disney.com/Planes • Facebook.com/DisneyPlanes FOOTLOOSE Kevin Bacon stars as the rebellious, dancTwitter.com/DisneyPictures ing teen in this 1984 hit, which also scored a pop-music hit for Kenny Loggins’ title song. Note: no show on Tues. (R) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, Aug. 2-7, 7 p.m. FREMONT OUTDOOR MOVIES Tom Cruise was so 206.324.9996 much more fun 30 years ago, not like the grim Oblivion SEATTLE WEEKLY siff.net clone of today. In Risky Business, in his breakout WED: 07/31/13 B&W role, he plays a horny, college-bound teen who gets 4.83” x 2.69” SS involved with a hooker (Rebecca De Mornay). Outdoor : movie screens at dusk. (R) 3501 Phinney Ave. N., ALL.PLN-P.0731.SW Fri Aug 2 – Thu Aug 8 781-4230, fremontoutdoormovies.com, $5, Fri., Aug. 2, 7:30 p.m. At the Uptown MILE...MILE & A HALF A group of artists hike and THE WAY WAY BACK record the historic John Muir Trail from Yosemite to Mt. Whitney, a distance of 219 miles covered in 25 days. 20 FEET FROM (NR) Seattle Mountaineers, 7700 Sand Point Way STARDOM N.E., themuirproject.com, $15, Thu., Aug. 1, 6:15 p.m. • MOHAI MOVIES IN THE PARK Cameron Crowe August 2 & 3 once told me that the studio delayed releasing his 1992 COCKNEYS VS Singles by almost a year to capitalize on our grunge rock scene—making his sweetly observant music/ ZOMBIES rom-com seem more opportunistic than prophetic. It A SIFF 2013 cult favorite! remains a deserved Seattle favorite, even if the nifty soundtrack seems dated and most of the local music Special Event figures who made cameos have long receded from the charts. Bridget Fonda, Campbell Scott, Kyra Sedgwick, Aug 7 | MST3K Fan Favorite! and Matt Dillon star in the roundelay. Outdoor movie MANOS: screens at dusk. (PG-13) BRIAN MILLER Lake Union THE GREAT ESCAPE August 2-8 | 50th Anniversary 4K Restoration Park, 860 Terry Ave. N., mohai.org, Free, Opens Aug. THE HANDS OF FATE 3, Saturdays. Through Aug. 24. Jackey Jones in person BRIDGE ON THE RIVER KWAI August 3-5 | 4K Restored Print

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MOONLIGHT CINEMA “You’ve got a degree from NYU.

What in?” “Philosophy.” “Any particular discipline?” “No, not really. Man’s search for faith. That sort of shit.” Care to guess who that philosopher is, and in what 1989 movie he kicks ass, trades quips with Sam Elliott (long before the Coen brothers got the idea), defeats Ben Gazzara, and wins Kelly Lynch? There can be only one man, one answer: Patrick Swayze in Road House. The movie finds Swayze in a contemplative mood. He’s a man of peace, yet not one afraid to fight. But the true fight, my friend, lies within one’s own mind. And the calm Swayze seeks through his mastery of martial arts is a deeply spiritual quest. But men—bad men, ruffians and rednecks—are drawn to his calm. They’re unbalanced and volatile; they flow like water to the serene Zen center that is Swayze, so that he, the sensei, can instruct them. Because he has a Ph.D in ass-whooping. And each beating is a lesson. Outdoor screening begins at dusk. 21 and over. (R) BRIAN MILLER Redhook Ale Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com, $5, Thursdays, 6 p.m. Through Aug. 29. MOVIE MONDAYS Turn it up to 11! The original 1984 “rockumentary” returns, and This Is Spinal Tap remains the best film Rob Reiner has ever made. That’s owing mainly to the writing and improvisational talents of its main cast (including Michael McKean, Christopher Guest, and Harry Shearer). Basically you can’t go wrong with this one. In the immortal words of Artie Fufkin (The Letterman show’s Paul Shaffer), “Do me a favor. Just kick my ass, okay?” 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 Daniel Craig’s third Bond film, Skyfall (2012), aims to flesh out the backstory of the spy, with the globe-trotting terrorist hunt this time literally revisiting the site of the childhood trauma that apparently pushed Bond to seek out that license to kill. Bopping from Shanghai to Macao, Bond gets up to the usual daring escapes and zipless nightcaps. A bureaucrat played by Ralph Fiennes, trying to drag MI6 into the age of Anonymous, contends that the agency “can’t keep working in the shadows—there are no shadows.” It’s a POV contested by the film’s most visually stunning action scene in a Shanghai skyscraper. Outdoor movie screens at dusk. (PG-13) KARINA LONGWORTH Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com, $5, Thursdays, 7 p.m. Through Aug. 29. MOVIES AT MARYMOOR Set in an unspecified, postapocalyptic future, The Hunger Games (2012) takes place in a nation constructed out of the ruins of North America and consisting of 12 impoverished districts and the prosperous Capitol. As punishment for an earlier uprising, the Capitol demands that one boy and one girl between the ages of 12 and 18 from each district be selected via annual lottery to participate in the Hunger Games. Representing District 12 is Katniss Everdeen (Jennifer Lawrence), a flinty 16-year-old. Although the film moves briskly and compellingly, it can’t match the fury of Suzanne Collins’ book. Outdoor movie screens at dusk. (PG-13) MELISSA ANDERSON Marymoor Park, 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com, $5, Wednesdays, 7 p.m. Through Aug. 28. SNAKES ON A PLANE Samuel L. Jackson’s presence, and delivery of its signature rant, somehow made this air-travel thriller a hit in 2006. Note: no show on Tues. (R) Central Cinema, $6-$8, Aug. 2-7, 9:30 p.m. THREE DOLLAR BILL OUTDOOR CINEMA In the 1999 comedy Galaxy Quest, Sigourney Weaver, Alan Rickman, and Tim Allen star as has-been actors from a once-popular sci-fi show. When friendly aliens mistake them for actual space explorers, the “crew” is enlisted to help battle real alien bad guys. Herein lies the film’s darkest suggestion: What if reruns are the magnum opus of the human race? Allen delivers with well-studied Shatnerisms, and it’s great to see Weaver alien-busting once again. Outdoor movie screens at dusk. (PG-13) ORIANDA GUILFOYLE Cal Anderson Park, 1635 11th Ave., threedollarbillcinema.org, Free, Fri., Aug. 2. VHS MONTH A program of shorts and oddities is packaged as “Sports, Leisure, & Videotape!” Remember that beer and wine are now served, but screening open to all ages. (NR) Scarecrow Video, 5030 Roosevelt Way N.E., 524-8554, scarecrow.com, Free, Sat., Aug. 3, 8 p.m. VIDEO VENGEANCE Curated by Scarecrow Video, this 21-and-over evening offers up various schlock and oddities from the VHS era. Beer and wine will be served. (NR) Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org, $5-$8, Thu., Aug. 1, 8 p.m.

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food&drink»Travelogue

Quest for the Perfect (Oyster) Picnic

A road trip to Bow-Edison. BY BETH MAXEY

PHOTOGRAPHY BY KELLY CLINE FOR TAYLOR SHELLFISH FARMS

Taylor Shellfish Farms

ents; the smell of fresh yeast; healthy young people at work, their chins dusted in flour; hand-kneading. But this peaceful state is quickly followed by indecision. There are always too many things I covet: the cherry lemon loaf, the olive baguette, the Skagit Valley potato bread. Plus there’s the pastry, especially the hazelnut cookies. Aside from my husband reminding me to save room, the only thing that tears me away from Breadfarm is Slough Food, right next door, and their wonderful cured meats, wines, and local cheese, which no picnic here is complete without. Pick out a very local (as in, made literally five minutes away) Samish Bay Cheese or Gothburg Farms’ goat cheese. You’ll also want some Golden Glen Creamery’s freshly churned butter for all that bread you just bought. Next choose a chilled white to pair with your main course: the oysters. (Last time we were there we got a lovely $14 white Bordeaux.) Oh, and don’t forget dessert. Assuming you passed on the hazelnut cookies

(more power to you), try the cannoli. They are seriously the best I’ve eaten in the state: bite-sized and decadent, fresh and crunchy, not-too-sweet and filled on the spot. Now run for the door! Slough Food has a great little patio, from which paella filled with fresh Samish Bay seafood often perfumes the air—but resist the urge and don’t settle in there. You already have an armful of supplies, and are headed for your designated picnic spot:

Island, the wooded, rural beauty in the San Juan archipelago. Grills are available free of charge, and charcoal’s for sale, though we won’t be needing either. My husband sets up the picnic while I take care of the trip’s true raison d’être: selecting a feast of raw oysters from Taylor’s. Taylor Shellfish’s oyster farm is a working spot—and as you debate between, say, Pacifics and Olympics, you quickly realize just how fresh your food really is. Back at your picnic table, Taylor men pull in the next harvest as you shuck your own beautiful bivalves.

Taylor Shellfish Farms.

On Chuckanut Drive, you’ll cruise past cars lined up in front of a series of oyster restaurants tucked into the woods. While it’ll be tempting to stop at one, save that for another time and continue, keeping your eyes open for the sharp left turn and the Taylor Shellfish sign. Cross the railroad tracks, park, and let the salt air fill your lungs. Its scent reminds you of the briny goodness to come. On a point three feet, if that, from the bay are picnic tables on which to unveil your collection of culinary treasures. Your view: Lummi

Back at your picnic table, Taylor men pull in the next harvest as you shuck your own beautiful bivalves.

Scott Mangold of Breadfarm and the wonderful bread he makes.

GABE RODRIGUEZ

This is where the afternoon and the sunshine and the food all sink in. Slurp down a dozen oysters, discuss which variety is best, fill up on more fresh bread and fruit than you imagined possible. If you want to stretch your legs, get back in the car and drive up to Larrabee State Park for a quick hike down to the water or a more ambitious fourmile climb to the top of Chuckanut Mountain. But personally I’d just take it easy, maybe even lean back for a nap. Because you can always come back. BowEdison, and the whole Samish Bay area, is so close to Seattle that you don’t need to rush. Once you’re sufficiently sated, get back in the car and stop by Snow Goose Produce in Mount Vernon for Lummi Island strawberry ice cream before you hop on I-5 South and zip home. Even if, after the cannoli, you don’t have room for it right then, it’ll be there in your fridge, a testament to a delightful day—and a reminder of how a food road trip is essential to any proper Seattle summer. E

food@seattleweekly.com

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

e’re cruising down Farm to Market Road, in the vast sunshine, on our way to BowEdison, an hour or so north of Seattle. We’re on a quest for the perfect summer picnic—one in which oysters will figure prominently. Our basket does not yet have any food, only essential supplies: an oyster-shucking knife, a bread knife, a cheese knife, and a wine key. We pass dairy farms with black and white cows, on green grass, grazing. Cornfields rustle in the wind. Rows of potato plants bloom in lovely lavender, and as we gain the gentle hills, Samish Bay comes into and goes out of view—like a welcome third passenger. We drive by beach cottages and peeling, hand-painted signs. At every turn are farm stands selling flowers, fruits and vegetables, and sometimes pies. We stop—and you should too, when you take this languorous summer outing—and begin to collect the goods. Of course, you don’t have to picnic in BowEdison. Wonderful little eateries lead to the town itself and beyond (I’m thinking of Rosabella’s Garden Bakery, Tweeds, and, farther up, The Oyster Bar on Chuckanut Drive, with wonderful views from the bluff ), but I prefer to picnic, and here’s why: If I stop for a meal at any one place, I’ll be too full to stop and sample at the next, and there are just too many gems on this route to try. Bow and Edison have a lot of options, and history, for two truly tiny towns. As of the 2010 census, Edison has only 133 residents. Both Bow and Edison were homesteaded in 1869, and got a boost from the then-new railroad. In 1897 Edison became the headquarters of the Equality Colony, a national Utopian socialist project. By 1901 the colony had disbanded, and farming and agriculture became the main focus. It still is. Between Samish Bay and the Skagit Valley, local food is the focus everywhere you look. Maybe that’s why Bow-Edison still seems like a Utopia to me. Usually by the time we arrive, I’m almost giddy with hunger and anticipation. I rush into Breadfarm, look around, breathe in, and say a prayer of thanks for the gift of good bread. Local ingredi-

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ob Redmond wants to save the food system. Redmond is the proprietor of Urban Bee Company, which raises honeybees in an urban setting and distributes honey by bicycle. His latest venture has placed 500,000 honeybees at a surprising location: Seattle-Tacoma International Airport. The “Flight Path” collaboration between the Port of Seattle and the nonprofit The Common Acre, which Redmond founded, is almost two years in the making, but the bees have finally landed—housed in six hives in three undeveloped tracts that act as safety corridors and noise buffers between the runways and residential areas. These otherwise unused areas are perfect for bees, and Redmond hopes to develop a healthy honeybee population, increase genetic diversity, and create a habitat for the bees and native pollinators. In recent years, honeybees have been dying at an astounding rate in a phenomenon called Colony Collapse Disorder. Entire hives are failing, a problem many scientists and beekeepers attribute to an increased use of chemical pesticides in largescale agriculture. Honeybees are also threatened by deforestation, invasive species, and destructive land-management practices. This is a major problem because honeybees pollinate around one-third of the food we consume in the United States— including Washington apples. Redmond read about a similar bee project at O’Hare International Airport in Chicago, which installed honeybee hives to help train ex-convicts in beekeeping. Then, as he helped plan the Beacon Food Forest (a public park of berry bushes, nut and fruit trees, and other food-producing plants), he was inspired to think about using public land more effectively. “I’m interested in helping solve this honeybee crisis that we’re in, and the pollinator crisis is really a food-system crisis, so I’m trying to think big about what we can do systematically to affect something,” Redmond says. “It was like, ‘Wow,

It’s a bird, it’s a plane, it’s a beekeeper!

we can use public land in a big, revolutionary way.’ We can help honeybees specifically, and we can also help improve our food system. It just seemed to click.” Another goal is to raise a healthy queen-bee population, to be distributed to beekeepers throughout western Washington. “Flight Path” fits the airport’s larger vision of

“It was like, ‘Wow, we can use public land in a big, revolutionary way.’ ” restoring some of the habitat that once thrived there. “The whole area down there used to be neighborhood, which had replaced natural habitats,” Redmond says. “The port’s mandate is to renovate some of those natural habitats, including some of the salmon-run streams that go through there. There’s whole wetlands that are being regrown. It’s really quite amazing to be down there, except for every 10 minutes when the plane flies over.” Honeybees pollinate more than just crops; they’ll help contribute to the overall health of those restored native habitats. “Whatever is planted there, they’re going to support,” Redmond says. The project also involves an art component: The airport will display bee-related art and an educational exhibit on Concourse B beginning in January. Local artists slated to create works on the themes of flight and bees include Mandy Greer, Jason Puccinelli, David Lasky, and Celeste Cooning. Redmond sees the parallel between bees and airports as an important component of the project. “It’s just phenomenal how similar they are when you look at navigation,” he says. “The whole job of the hive is to fly around and gather stuff and move stuff around. So that’s pretty neat.” E food@seattleweekly.com

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Superfast pizza shop MOD is on the move. The local chainlet announced that new stores in Tacoma, Issaquah, and Vancouver, Wash., will open by the middle of October, bringing its number of locations to a dozen. MOD next sets its gaze south: Shops are scheduled to launch in Portland and L.A. by the end of the year.

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Reverb»Feature

Phantom Power

Acceptance broke up before its promising debut could make its mark. Eight years later, the band’s members are discovering it did anyway, without them. BY AZARIA PODPLESKY

COURTESY OF THE ARTIST

n a review of Acceptance’s debut album, Phantoms, posted on AbsolutePunk.net on November 21, 2005, the reviewer praised the record, asking readers “Can you even imagine the kind of impact an album like this will have on the MTV generation? It’s going to be huge.” The album never did get huge, thanks largely to the fact that Acceptance called it quits just a year later. But thanks to East Coast label Bad Timing Records, the album is getting a second chance. Initial reports indicate that its impact might indeed have been great. The label announced on Monday, July 15 that it was releasing a vinyl reissue of Phantoms. When the preorder went live the next day, all 1,000 copies sold out in just over four hours. It was a modest accomplishment, but it surprised everyone. “I think the vinyl release was the first time it really hit me that we may have had a bigger impact than we ever knew,” says lead singer Jason Vena in an e-mail. The alt-rock band formed in Seattle in 1998 and released two EPs on independent labels, 2000’s Lost for Words and 2003’s Black Lines to a better representation of the album as a whole. Battlefields. The second effort eventually made it Phantoms was also one of the albums affixed with into the hands of both super-producer and Def the copy-protection software that later landed Jam founder Rick Rubin and Matt Pinfield, then Sony BMG, Columbia’s parent company, in hot vice president of A&R at Columbia Records, who water, causing the label to pull all copy-protected helped sign the band. Acceptance then began albums from shelves. work on their first full-length with producer “Not only did our label shoot us in the leg at Aaron Sprinkle at The Compound in Capitol Hill. the beginning of the marathon, but it shot us in “It’s really fun to work with people where, a, the heart at mile 13 as well,” guitarist Christian they get really excited about what’s happening McAlhaney writes in an e-mail. in the studio, and, b, where I’m as excited as they As bassist Ryan Zwiefelhofer tells it, the are,” Sprinkle says about recording Phantoms. “I label’s not-so-positive response to the demos remember key moments like that where things Acceptance was working on for a second fullreally clicked.” length, mixed with exhaustion and frustration, The album they produced was filled with lyrled to the band calling it quits. Vena was the first ics about love and loss and instrumentation that to announce his departure. managed to be both catchy and complex. Sprin“One of the things that I have always heard kle’s seemless production held it together, while [from] our fans is how much the music conVena’s powerful voice put it over the top. nected with them on a personal level, and I think Things were looking up for the band back in that comes from the pure passion we had when 2004. They were working on a promising debut we were creating or performing music,” Vena album, had the support of a major label, and had says. “Once I realized that I couldn’t give that opportunities to tour with pop-rock hitmakers same level of passion, it was time to be done.” like Fall Out Boy and Yellowcard. Drummer Nick Radovanovic says Vena’s Then it all started to fall apart. Phantoms decision made it easier for the other members to leaked months before the April 26, 2005 release follow suit. “We were all in a weird place when date, which negatively affected first-week sales, he mentioned that to us,” he says. “We were like and Columbia pushed “Different,” a ballad, as ‘OK, we’ll just be done.’ Looking back, that was the lead single, while the band and Sprinkle felt BOD_WKLY_Vodka_7-23-13.pdf 7/23/13 10:56 AM stupid of us to do.” the more upbeat “Take Cover” would have1been

Guitarist Kaylan Cloyd agrees, saying he thinks the band threw in the towel a little too soon. “Looking back on it, I would’ve loved to do another record. I’d still like to,” he says. “There’s parts of that whole chapter of my life that I really miss a lot.” Post-Acceptance, some members continue to

CMY

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

work in the music industry in some capacity: McAlhaney plays guitar and sings backup in Florida-based rock band Anberlin, and Radovanovic works as an engineer and producer at Skies Fall Media Group, created by ex-Skillet guitarist Ben Kasica, in Kenosha, Wisconsin. Others, though, have enjoyed stepping away from the business altogether. Vena has worked at the same non-music company for seven years (though he contributed guest vocals to a song by pop-punk poster band All Time Low and another, produced by Sprinkle, for Tooth & Nail rockers Ivoryline). Zwiefelhofer works at a digital-marketing and web-design company, and Cloyd, who continued to play locally for two years after Acceptance ended, drives a wholesale milk route, delivering to coffee shops, restaurants, and markets. With the members otherwise occupied, it is Thomas Nassiff and Zack Zarrillo, the co-founders of Bad Timing Records, who are keeping the band’s legacy alive. The decision to re-press

the album, which will be sent out this week, was made for love, not money. “They fill a niche for pop music that no one else did or has done,” Nassiff says. “[Phantoms] feels nostalgic the first time you hear it.” After the overwhelming response, Nassiff and Zarrillo are planning on a second Phantoms pressing later this year, and working on placing copies in retail stores like Hot Topic and online stores like SRC and Interpunk. Following the vinyl’s success, the band is receptive to the idea of a reunion of sorts, though no one seems to want to pull the trigger. The logistics alone are daunting, with members spread across the country, many with families of their own and those full-time jobs. Whether or not this vinyl release reignites a spark in the band, Acceptance is going to hold a special place in record collections for years to come, evident as Sprinkle continues to work with artists who call Phantoms one of their favorite albums. “Though it wasn’t considered a success by the label and it was the last thing the band did, it has such a strong presence within the music community,” Sprinkle says. “Even though it didn’t go down the way we hoped it would, it still prevails in the end.” E

music@seattleweekly.com

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

Reverb»Reviews

In beautiful downtown White Center

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PHOTO CREDIT

(Aug. 6, Legacy Recordings, legacyrecordings. com): Paul Allen’s major-label debut is Microsoft Windows put to music, scavenging everything that’s come before it to create something that’s functional but has as much soul as Bill Gates’ nose hair. Beyond the saccharine revue of every musical genre that’s ever hitched a ride to Tennessee, Allen’s lyrics are hopelessly cliché-ridden, reaching a low point on the I-sold-my-soul-to-play-guitar ballad “Six Strings From Hell.” I will give the country-tinged “Rodeo” credit for capturing a middle-age melancholy from our aging local billionaire that seems heartfelt. Having the Pretenders’ Chrissie Hynde helps, as she croons, “This ain’t your first rodeo/And it ain’t gonna be your last.” Wonder if Billionaire Paul Allen’s debut release, she was talking about Allen’s albums? Hope not. Everywhere at Once, drops this week. DANIEL PERSON

Exohxo, Stories and Fiction (Aug. 1, self-released, exohxo.com): If Don Draper lived in modernday Seattle, you better believe Exohxo would be among the most-played music on his iPod. The band’s latest release is full of shimmery layers and catchy ’60s-style pop reminiscent of the ad man’s prime decade. The band’s heavy use of orchestral instruments adds a modern twist. (Thurs., Aug. 1, Columbia City Theater) AP Horse Bodies, Terror Train (out now, selfreleased, horsebodies.bandcamp.com): An electric mix of rock ’n’ roll with hints of classic Southern blues, Terror Train is a collection of tunes laced with grit and gumption. KEEGAN PROSSER

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

KELTON SEARS

The OF, Oh, It’s the OF (out now, Green Monkey Records, wearetheof.com): It’s not often that a CD begins with a spoken introduction, but when the first song revolves around a hermit crab and some seagulls fighting over a french fry, it’s nice to have a little help. Using standard rock instrumentation plus cello, mandolin, and triangle in unusual ways, the self-named “foil-rock” quintet creates music as eclectic as its members’ onstage attire: tinfoil togas and colanders as hats. (Fri., Aug. 16, The Central) AP StrangelyAlright, This Time Machine Is Broken

(out now, self-released, strangelyalright.com): There’s a very classic-rock vibe to this debut, thanks in part to singer Regan Lane’s smooth, mellow voice and the abundance of lush harmonies paired with bright guitar riffs. There’s no competition between the music and Lane’s honest lyrics, making this album easy to like. (Tues., Aug. 6, Tacoma’s “National Night Out at the Bridge”) AP

El Corazon www.elcorazonseattle.com

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

THURSDAY, AUGUST 1

SATURDAY, AUGUST 3

TRUTH UNDER ATTACK

CAVALERIE

The Red Scare Across America Tour featuring:

Mike Thrasher Presents:

with Elway, Sam Russo and Smokejumper Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

Dr. Awkward, and Tribe One Doors at 7 / Show at 8PM 21+. $13 ADV / $15 DOS

(CD RELEASE/TOUR KICKOFF) with Saving Sunsets, Shoreline Drive, Chin Up Rocky, Motion and Says The Snake. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $8 ADV / $12 DOS

MASKED INTRUDER FRIDAY, AUGUST 2

THE DANGEROUS SUMMER

with Tommy And The High Pilots, Rare Monk, Breaking Laces and Out Like Pluto Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $12 ADV / $14 DOS

THE OVERSEER

with Toarn, The Fisher, From The Waters Of Chaos, plus guests Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

with Death Mountain Rotor Cloud, plus guests Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SUNDAY, AUGUST 4

MC CHRIS with Jesse Dangerously, MONDAY, AUGUST 5

RAT PATH with Lb.! (pound), FUCKEDFROMBIRTH, plus guests.

Lounge Show. Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS

TUESDAY, AUGUST 6

PURPLE with Subways On The Sun, plus guests.

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

JUST ANNOUNCED 8/15 KIRKO BANGZ 8/21 LOUNGE NIGHT RIOTS 8/28 LOUNGE DUANE PETERS GUNFIGHT 9/14 MOVING UNITS 9/19 ESCAPE THE FATE / MISS MAY I 9/21 HUNTER VALENTINE / GIRL IN A COMA 9/29 LOUNGE CANCER BATS 10/10 LOUNGE HUGH CORNWELL (THE STRANGLERS) 10/25 ONE MIC COMEDY TOUR FEAT. SHULI EGAR & MADDOG MATTERN 11/7 MAYDAY PARADE 11/19 THE DEVIL WEARS PRADA UP & COMING 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 8/11 LOUNGE DOUGLAS AND THE FURS 8/13 LOUNGE MARIO BROWN’S TOUCH 8/14 LOUNGE KADY Z 8/16 THE DREAD CREW OF ODDWODD 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

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

Midday Veil, The Current (out now, Translinguistic Other, middayveil.com): I’m going to go ahead and say that Midday Veil just put out the best record of the year so far. The Current is a mind-melting, kraut-rocking journey into the heart of a beautiful, dark cosmos. Lead singer Emily Pothast wails her witchy way over the album’s six long-playing tracks full of incredible bass grooves and astral guitar riffs. Randall Dunn’s production is all over the album, lending it the same gorgeous, spooky atmospherics he

helped Olympia-based Wolves in the Throne Room achieve on its 2011 eco-metal epoch Celestial Lineage. Seriously, listen to the album ASAP and let its majesty realign your chakras.

tractor

Reverb»The Short List

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

The Ghost Inside

rock, psychedelic, folk & california soul

THE MOTHER HIpS TINY MESSENgERS Fri, Aug 2 • 9:30pm ~ $15 folk, americana & revivalist roots rock

THE FELICE BROTHERS THE SLEEpINg gIANTS

Sat, Aug. 3 • 9:30pm ~ $15adv/$17dos reggae, dub & future roots

JOHN BROWN’S BODY HIgH CEILINg Up & Coming • 7/31 gRIFFIN HOUSE, MEgAN SLANKARD • 8/2 The Tractor presents at The Sunset DALE WATSON • 8/5 TWO-STEp DANCE NIgHT with THE HONKY TONKERS • 8/6 YOU ME & ApOLLO • 8/7 TURNpIKE TROUBADOURS, THE RACHEL MAE BAND • 8/8 CABANA, LURES, pEEpINg TOMBOYS album release show • 8/9 THE NICK FOSTER BAND album release show, MATT STRUTYNSKI, BRADFORD LOOMIS, KYE ALFRED HILLIg • 8/11 The Tractor & KBCS 91.3FM present THE DEADLY gENTLEMEN feat. greg Liszt, Stash Wyslouch, Mike Barnett, Dominick Leslie and Samson grisman, THE BLACKBERRY BUSHES STRINgBAND

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

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If, while listening to The Ghost Inside’s third album, Get What You Give, you think “Hmm, this sounds a touch like A Day to Remember,” you wouldn’t be too far off. The Los Angeles– based melodic hardcore band’s latest album, which was released last year, was produced by ADTR frontman Jeremy McKinnon. Like McKinnon, The Ghost Inside lead singer Jonathan Vigil is a pro at combining deep screams with clean vocals. And as any good hardcore album should, GWYG also features a ton of double-bass drumming and chunky guitar riffs. Following a world tour of more than 25 countries, The Ghost Inside is capping it with a few dates across the U.S.; catch ’em while you can. With Xibalaba, Reign Supreme, Relent-

PODPLESKY

Lesbian

Zimbabwean Music Nite

THURSDAY, AUGUST 1

SUNDAY, AUGUST 4

Consisting of a single 44-minute track, local metal outfit Lesbian’s new album Forestelevision is an epic journey through a blackened wilderness. The group’s doom metal glows with eerie firelight, twisting and turning through movement after movement of crushing heaviness. In reality, limiting Lesbian to the “doom” moniker is a little reductive, especially considering the new album. The group consistently surprises with its unyielding stylistic shifts. In one second they can go from quiet ambience to mind-scrambling prog-rock passages. Then in another heartbeat, they’ll lurch into a psychedelic trance that will take you to a completely different landscape. It never gets boring, a feat for a 44-minute track. You never know what’s going to happen next, a quality lacking in 90 percent of the music that comes out every day. With Grayceon, Bali Girls, and LB! Chop

The mbira, or thumb piano, is a bewitching little instrument. The player plucks its metal tines to elicit sharp, chiming sounds, a magical kind of buzzing and chirping that gives the music an otherworldly tinge. Tonight, local Afropop band Ruzivo will perform alongside Jacob Mafuleni and dancer/vocalist Martha Thom, touring from Zimbabwe. The mbira anchors the band’s upbeat traditional tunes, which hum through solid African grooves and spry, spidery guitar lines. The songs playfully bounce around thanks to the group’s four separate marimbas (soprano, alto, tenor, and baritone). Because of the mbira and marimba’s dual functionality as melodic and percussive instruments, the tunes all mesh into a pleasantly mind-boggling cloud of contrasting but complimentary rhythms that will probably stimulate some unutilized corner of your brain. Even though the polyrhythms will make your head feel good, more importantly they will just make you want to dance. The Royal Room,

less, Beartooth, Prestige. The Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 6:30 p.m. $11/ $10 with club card. All ages. AZARIA

Daniel Blue

SEATTLE WEEKLY • JULY 31 —AU GU ST 6, 2013

FRIDAY, AUGUST 2–SATURDAY, AUGUST 3

TICKETS AT STGPRESENTS.ORG, BY PHONE (877) 784-4849, THE PARAMOUNT THEATRE BOX OFFICE & 24-HOUR KIOSK

Daniel Blue

Jason Dodson, Courtney Marie Andrews, Mary Lambert, and Micha Simler (Sat.). The Sanctuary; address released upon ticket purchase. Tickets are available only in advance; e-mail requests to tickets@ballardsanctuary.com. $12 adv. 8 p.m. All ages. MARK BAUMGARTEN

Suey, 1325 E. Madison St., 324-8005. 8 p.m. $8 adv./$10 DOS. 21 and over. KELTON SEARS

THE MOORE

ALEX HERBIG

WEDNESDAY, JULY 31

thur, aug 1 • 9pm ~ $15

Most know Daniel Blue as the charismatic leader of the Seattle soul-glitch band Motopony, for which he proved a charismatic if somewhat schizophrenic frontman with a voice that careened around a room, moving with little notice from a soft, enveloping croon to a demented caterwaul often recalling Billie Holiday’s. Since Motopony’s promising 2011 debut, though, the original band members—most notably beat-making organist Buddy Ross—have fallen off, leaving Blue to put the pieces back together. The rebuilding process has turned into a spiritual quest for the musician. He put a new version of the band together and headed for a cabin in the mountains, but that didn’t quite work out. Then he stumbled upon an old, vacant church in Ballard where he got inspired and, putting Motopony on momentary hold, started collaborating and crafting a solo album. This weekend’s shows will feature Blue in the role of shaman, christening that space as The Sanctuary while celebrating his collection of contemplative, though still somewhat histrionic, singer/songwriter fare. With Shannon Stephens, Dearborn,

Meagan Grandall, and Torry Anderson (Fri.);

5000 Rainier Ave. S., 906-9920. 7:30 p.m. Suggested donation $5–15. All ages until 10 p.m.

KELTON SEARS

Sublime With Rome TUESDAY, AUGUST 6

“Love is what I’ve got,” sang Sublime’s Bradley Nowell on the band’s self-titled breakout album, released in 1996 only two months after the heroin overdose that took the singer’s life. Almost 20 years later, there’s still plenty of love for Nowell and Sublime, whose sunny ska songs have lived on via rock radio and the headphones of stoner teens. And now they can live on in concert as well, with 25-year-old Rome Ramirez fronting the band, renamed Sublime With Rome, and paying tribute to Nowell with a similarly soulful and fun-loving approach. The live show mixes Sublime classics with material from SWR’s 2011 Yours Truly, and even if the band currently features only a single original Sublime member, the group’s frothy, feel-good party anthems still complement a warm summer evening as well as they did in 1996. With Iration & HB Surround Sound. Marymoor Park, 6046 W. Lake Sammamish Parkway, 205-3661, marymoorconcerts.com. 6:30 p.m. $39.50. All ages. DAVE LAKE

Reverb»Seven Nights

NTw.RlittleYreMdhUenS.coIC LIVE COUww m

1303 NE 45TH ST

THURSDAY AUGUST 1ST

LEO RONDEAU 9PM - $3 COVER

FRIDAY & SATURDAY AUGUST 2ND & 3RD

Wednesday, July 31 GRIFFIN HOUSE This Nashville songwriter plays pleas-

ant, lilting alt-country that projects a distinct nice-guy persona. Based on his looks, he could have a career as a Bill Murray impersonator should he ever quit music. With Megan Slankard. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $15 adv./$18 DOS. LES NUBIANS Fans of forward-thinking R&B are probably already hip to this globetrotting duo, whose largely French-language songs recall those of Erykah Badu at her most globally influenced. Triple Door, 216 Union St., 838-4333, thetripledoor.com. 7:30 p.m. (all ages), 10 p.m. (21 and over). $30 adv./$32 DOS. MIKE STUD Baseball-to-rap crossover is relatively rare, but this former Duke University pitcher found his way into hip-hop after his playing career got derailed by injury. The title of his debut album, Relief, is a nod to his past as a closer. With Kurt, Adam Nystrom, DJ MTK. Crocodile, 2200 Second Ave., 441-7416, the crocodile.com. 8 p.m. $12 adv. All ages.

•

Thursday, August 1

HOCKEY got mildly indie-famous in 2009 when its hooky

electro-pop anthem “Too Fake” was featured in a JCPenney commercial. Sophomore record Wyeth Is came out earlier this year. With Saint Motel, Swimm. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $13.50 adv. THE MOTHER HIPS These Northern Californians, touring behind eighth album Behind Beyond, deal in mildly psychedelic, paisley-tinged ’70s rock. With Tiny Messengers. Tractor Tavern. 9 p.m. $15. THE SONGS OF NEKO CASE Northwest folk luminaries Shelby Earl, Zach Fleury, and Dearborn take on the music of the alt-country songwriter and New Pornographer in addition to playing original material. Triple Door. 8 p.m. $12 adv./$15 DOS. All ages.

Friday, August 2

cian: a veteran of the Austin music scene, a staunch traditionalist, and a relentlessly consistent recording artist. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $15. FOXYGEN In the less-than-grand tradition of Lana Del Rey or Wavves, retro psych-rock duo Foxygen has been an Internet punching bag of late, with chatter about an imminent breakup and lethargic live shows dominating music blogs. The tunes are decent, if reductive, but that rarely wins out over buzz. With Twin Peaks. Neumos. 8 p.m. $13 adv. SLOUGH FEG Named for a character in a comic book about Celtic folklore, this San Francisco band is heavy-metal traditionalists in the vein of Iron Maiden. With Krystos, Blood of Kings, Curse of the North. Highline, 210 Broadway E., 328-7837, highlineseattle.com. 8 p.m. $10 adv.

•

Sunday, August 4

BLACK IRISH TEXAS True to its name, this group melds

Celtic punk with honky-tonk, spaghetti-Western country. With Frog Flag, the Rainiers. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6. GARY MINKLER Local songwriter Minkler will release the gospel- and Americana-influenced Little Trailer Ruby at this show. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $12 adv. MC CHRIS This nerdcore rapper, unsurprisingly, has a robust and organic online following, built on homemadelooking YouTube videos for songs about ninjas, Han Solo, and pizza. With Jesse Dangerously, Dr. Awkward, Tribe One. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7 p.m. $13 adv./$15 DOS.

stereotype about The Grateful Dead, erstwhile Dead drummer Mickey Hart claims that his current band channeled light waves and radiation to create the “cosmic sounds” on the 2012 album Mysterium Tremendum. With Tea Leaf Trio. Showbox at the

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

•

DAVANOS

9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BILLY BODACIOUS TUESDAY AUGUST 6TH

JERKELS 9PM - NO COVER

MONDAY AND WEDNESDAY

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

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

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

Monday, August 5

KEYBOARD KID Seattle’s resident beatsmith recently

tackled an unlikely piece of remix material: garagepop band Chastity Belt’s “Seattle Party” single. The resulting “Seattle Based Party” is a standard cloudrap instrumental, centered around CB singer Julia Shapiro’s howling vocals, but it’d be cool to see this sort of cross-genre collaboration more often. With BLKHRTS. Crocodile. 8 p.m. $5 DOS. All ages. RHYE One of the best songs I’ve heard all year is “Open,” the first track and single from this L.A. duo’s March album Woman. Built on a slyly syncopated bass line and singer Mike Milosh’s breathy, not-quite-falsetto vocals, it’s an achingly romantic example of strippeddown R&B done right. Even though the rest of Woman doesn’t quite measure up, Rhye’s live show promises to be sensuous. With J-Justice. Neumos. 8 p.m. $20 adv. WALKING PAPERS is the newest of Seattle Weekly columnist Duff McKagan’s many classic rock–minded bands, and they’re celebrating the release of debut album The Whole World’s Watching with this free instore. Easy Street Records, 4559 California Ave. S.W., 938-3279, easystreetonline.com. 7 p.m. All ages.

JAZZ ALLEY IS A SUPPER CLUB

•

Tuesday, August 6

CHRIS BROKAW played a significant if little-known role in

Saturday, August 3

MICKEY HART BAND In an effort to reinforce every

9PM - $5 COVER

SUNDAY AUGUST 4TH

•

independent rock as a member of the bands Codeine and Come in the early ’90s. He relocated to Seattle in 2011, and just got done touring with the Lemonheads. He’ll draw from his deep catalog of solo material at this show. With S, The Bore Tide, Andy Fitts. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $6 adv./$8 DOS. KURT VILE & THE VIOLATORS For a guitar virtuoso, Kurt Vile’s abilities are strangely understated. It might be because his technique is non-showy and fingerpicked rather than fast and technical; it might also be his comically stoner-ish persona. (Though on Wakin on a Pretty Daze track “Goldtone” he claims “I never, as they say, touched the stuff.”) Either way, this show gives fans another chance to see Vile, who sold out the smaller Neumos in May. Showbox at the Market. 7 p.m. $21.50 adv. All ages.

EVANS’ SOULGRASS FEATURING SPECIAL GUESTS STEVE KIMOCK AND JEFF PEVAR WED, JUL 31 - THUR, AUG 01 Muliple Grammy-Award Winning saxophonist blending soul, jazz and Americana joined by guitar Masters

JOHN PIZZARELLI QUARTET WITH BUCKY PIZZARELLI FRI, AUG 02 - SUN, AUG 04 Guitar legends blend pop, jazz and swing, setting the standard for stylish modern jazz

NICHOLAS PAYTON XXX TUES, AUG 06 - WED, AUG 07 Trumpeter, spanning a multitude of musical genres, Payton composes, arranges, performs and records! Touring in support of his latest release, #BAM Live at Bohemian Caverns

MONTY ALEXANDER, JOHN CLAYTON AND JEFF HAMILTON THUR, AUG 08 - SUN, AUG 11 Jazz Trio Extraordinaire! Reunion in Seattle

all ages | free parking full schedule at jazzalley.com

SEATT LE W EEKLY • JULY 31 —AUG U ST 6, 2013

DALE WATSON is a country musician’s country musi-

Market, 1426 First Ave., 628-3151, showboxonline.com. 7:30 p.m. $29.50 adv./$35 DOS. SEBADOH Fourteen years after releasing its last fulllength, the Lou Barlow–led band of lo-fi pioneers is touring new material, due out this fall. Barboza, 925 E. Pike, 709-9951, thebarboza.com. 7 p.m. $15 adv. THEESATISFACTION remains one of Seattle’s most inventive acts of any genre; outside of Shabazz Palaces, the duo’s futuristic take on hip-hop and R&B is unmatched locally. With Yo! Majesty, Gift Uh Gab, Jusmoni + WD4D, OCnotes. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $12 adv./$15 DOS.

JENS NORDSTROM

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