Issuu

APRIL 16-22, 2014 I VOLUME 39 I NUMBER 16

SEATTLEWEEKLY.COM I FREE

RECORD STORE DAY PLANNER, FEAT. MUDHONEY, THE JULIE RUIN, AND MORE. P.33

HOW DO

YOU DIE

RIDING A

STAIRWAY?

BY RICK ANDERSON

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

inside» April 16–22, 2014 VOLUME 39 | NUMBER 16

» SEATTLEWEEKLY.COM

»11

news&comment 5

ESCALATING DANGER

BY RICK ANDERSON | Could a tragic

bus-tunnel death have been prevented? Plus: reactions to a retirement, and a rising libertarian star debates in Seattle. 8 | SPORTSBALL

11 A RIDER’S DIGEST

BY MORGEN SCHULER & THOMAS JAMES | Meet the Metro passengers

who’ll be affected by possible service cuts.

food&drink 16 FARM-BILL BLUES

BY PATRICK HUTCHISON | The state steps in to ease the pain of federal cuts to food-stamp benefits. 16 | FOOD NEWS/TEMP CHECK 18 | THE BAR CODE 20 | EASTER BRUNCHES

arts&culture

21 WHAT’S UP AT BAM BY BRIAN MILLER | We speed-walk

the whole damn museum to survey four ongoing shows. 23 | THE PICK LIST 25 | OPENING NIGHTS | Shakespeare

at PNB, plus a political sex scandal and a Tea Party conundrum. 26 | PERFORMANCE

29 | OPENING THIS WEEK | Nicolas

Cage makes good, Jude Law seeks his fortune, and Steve Coogan goes back to Alan Partridge. 31 | FILM CALENDAR

33 MUSIC

Your guide to Record Store Day: performances, bargains, and a closer look at the most intriguing new releases. 36 | SEVEN NIGHTS

odds&ends 39 | CLASSIFIEDS

»cover credits

PHOTO BY MORGEN SCHULER

Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Thomas James, Diana Le, Laurel Rice Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Sara Billups, Steve Elliott, Margaret Friedman, Zach Geballe, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Sara D. Jones, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri

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3 8/21/13 12:04 PM

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

news&comment

Chewed Up and Spit Out

The Curse of San Francisco

A fatal accident at a downtown bus tunnel was blamed on the victim’s alleged drunkenness. But could the escalator have been at fault?

BY KELTON SEARS

BY RICK ANDERSON

TOP: MORGEN SCHULER, BOTTOM: COURTESY FAMILY

Maurecio Bell, right, died alone on an escalator leading to the University Street bus tunnel.

uncommon—was an accident, due in part to his apparent intoxication. That is the conclusion of Metro, the county, the state, and the medical examiner. His mother doesn’t understand that. “How do you die riding a stairway?” asks Ruby Denton. For one thing, you might be riding on one with a missing tooth in the comb plate at the bottom of the revolving escalator, as was the case where Bell died, Seattle Weekly has learned. That may have left a gap at the landing where the stairway cleats mesh with the comb-plate teeth and disappear. That could have made it easier for Bell’s clothing to snag and strangulate him. For another, you might be riding on an old escalator, such as the one that took Bell to his death, which was installed in the transit tunnel when it was built in 1987. Those older mechanisms do not have what is called a “comb-impact device,” a safety switch that automatically trips and stops the escalator when clothing or other material becomes entangled in the folding stairs, SW has learned. Newer escalators come with the switch mechanism, while older models lack them and are not required to be retrofitted. King County Department of Transportation spokesperson Rochelle Ogershok says Metro’s tunnel escalators are in compliance with all applicable codes, and, while she confirms the escalators lack the comb switches, she notes

that such features did not exist at the time the escalators were installed. Nor can the mechanisms simply be installed now, she says. Current space configuration “does not support replacing the existing units with comb-impact equipment,” Ogershok says. “We continue to emphasize how important it is to use care and follow posted safety precautions when using escalators.” Officials never revealed the lack of such devices when discussing Bell’s death last year. Because of his apparent inebriation and the discovery of an open bottle of brandy in his pocket, his death was mostly attributed to his apparent intoxication, as was dutifully reported in the news at the time. But Bell’s actions were just one of the factors turned up in a final report issued by the state Department of Labor and Industries. A July L&I press release, urging the public to “take special care” when riding escalators, emphasized that a state investigation “found no mechanical problems with the escalator that could have contributed to the incident.” The press release also noted that “the incident itself caused major damage to the machinery,

» CONTINUED ON PAGE 7

Polarizing Democratic State Senator Rodney Tom announced he won’t run for re-election. The Internet responded. “Holy fucking shit, Rodney Tom is out. The turncoat ‘Dem’ who helped give WA GOP control of the State Senate. Wow. What a victory.” -Robert Cruickshank, senior campaign manager at Democracy for America, via Twitter ... “The Democrats may be cheering now, but they won’t be cheering in November.” -Susan Hutchison, WA State Republican Party Chair, via Facebook ... “This is terrible news for the Republicans.” -Chris Vance, former WA State Republican Party Chair, via Northwest News Network

HERE: Artisanal toast

San Franciscans have bemoaned the arrival of $4 toast at their cafes and coffee shops for a little over a year now, going as far as calling it the ultimate physical incarnation of “how the tech industry is ruining San Francisco.” Why spend $4 on something that you could make at home for the equivalent of 10 cents? Because you have so much money you don’t know what to do with it. Well, Toast Ballard (5615 24th Ave. N.W., #102), a toast-specific restaurant, now sells toast for $3. The $1 hike to meet SF levels is likely imminent post-15Now, if you believe the conservative jibber-jabber from folks like Ben Shapiro (see page 8).

COMING: Trampoline parks

Does anybody remember SlamBall? Like basketball, but with an array of trampolines in front of each hoop so people could do epic windmill dunks every time they took a shot? It aired on Spike TV for two seasons, 2002–03. Well, imagine SlamBall, but fill the whole room with trampolines, and you have Rockin’ Jump, a glorified bounce-house franchise from San Francisco that’s opening five new locations in Seattle. “Best known for its 10,000 sq. feet facility filled with wall-to-wall trampolines, foam pits, basketball ‘DUNK ZONES’ and a café stocked with both delicious comfort foods and healthy snacks, Rockin’ Jump is outfitted with free WIFI and a comfortable lounge area, enabling busy parents and professionals to remain productive while their kids jump.” Great. Even better news, Rockin’ Jump is promising to “positively impact the local economy” by awarding up to $1 million in local development contracts. Those not a party to the gentrification will get a complimentary bounce.

THREATENING: Car-tipping

Last week, vandals in San Francisco targeted four parked smart cars and proceeded to flip each one onto its roof or side in an artfully aggravating work of vaguely anti-tech tomfoolery. Seattle’s penchant for green-minded transportation and rising anti-tech sentiments would seem to make our city fertile ground for similar acts of vandalism. Better strap your tiny cars to the ground, Seattle, lest someone flips them butter-side down. E

ksears@seattleweekly.com

SEATTLE WEEKLY • APRIL 16 — 22, 2014

ne year ago this month, 42-yearold Maurecio Bell pushed through the doors of the University Street entrance to the Metro tunnel. It was shortly after 5 a.m. April 7, 2013, and, bundled in a heavy, hooded black jacket, he spent several minutes staggering around the mostly empty waiting area off Third Avenue in downtown Seattle. He appeared intoxicated, at one point bumping into a wall. By 5:15, after a security guard opened an entrance to the bus-bay escalators and then disappeared, Bell wandered over to the trundling stairway. Hands in his pockets, he stepped unsteadily aboard. Down the escalator he went, a short, slow descent he would not survive. Leaning against the side rail, Bell lost his balance about halfway down and fell back on the escalator steps. He sat up, but as he approached the bottom landing, the steps began folding beneath him, and he fell back again. He ended up sprawled feet-first over the landing, atop the escalator comb plate into which the stairway folds and disappears. The hood of his jacket became entangled in the meshing steps, and his coat and shirt began to bind, tightening the clothing around his neck. Pinned down, he struggled, gasping for air. Two passersby in the otherwise deserted station rode up the adjoining escalator a few feet away—one at 5:22, the other at 5:26. Neither stopped to help. A blurry security video does not definitively reveal whether they saw him. But Bell was in their field of vision, his feet sticking out from the landing. At 5:33, a third passerby arrived, commuter Andre Roby. He normally didn’t come to the station, but had missed his bus elsewhere that morning. He descended toward Bell on the same escalator, and when he saw him lying there, began to take the steps two at a time. He moved quickly, hopping over Bell, immediately trying to help. The videotape shows Roby pulling at Bell’s arms and clothing, trying to free him from the entanglement. He calls 911 on his cell, and at 5:36 a.m. finds and hits the escalator’s emergency stop button on a railing. He then attempts to resuscitate Bell with chest compressions. By then, Bell’s struggle to breathe had gone on for more than 15 minutes, and he was no longer moving. A quick-arriving fire department medic crew was unable to revive him. He was pronounced dead at the scene at 6:05. Officially, Maurecio Bell’s death by escalator— a rarity, although escalator injuries are not

ight as we might, there is no denying it: Seattle is becoming San Francisco. Rents are rising, techies are flocking to high-paying jobs and pushing out lower-income earners, and people are boldly wearing Google Glass despite the widespread social shaming that comes with it. What unfortunate exports does Seattle have to look forward to next? What’s already here? What’s on its way?

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

news&comment» Chewed Up » FROM PAGE 5

Following SW ’s inquiries into Bell’s death, L&I

last week issued a press release urging escalator riders to use caution. In the year since the tragedy, more than 60 people have been injured on state escalators, L&I said, noting that at least 70 percent of those injuries could have been avoided by using the hand rail. Typically, an incident “happens very fast,” said Day. County spokesperson Ogershok says Metro undertook a review of the tunnel escalator units with its contractor after the death. “All units were fully inspected and are in compliance with L&I annual inspection criteria,” she said last week. “The escalators are regularly serviced and escalator maintenance personnel are in the tunnel daily servicing the equipment.” Metro, she adds, established “a more rigorous schedule of weekly meetings and review of maintenance issues and concerns with the escalator-service provider to ensure timely inspection and L&I reporting.” The county is likely to face legal action over the death of Bell, who was married but separated. His widow, Vonteecesa Evans, on behalf of herself and their two children, recently obtained a court order to officially become the administrator of Bell’s estate, what there is of it. Bell, who had a long criminal record as a drug dealer, had been selling crack since he was a juvenile. To cops, he was a well-known street dealer who was last arrested just three months before his death in one of Belltown’s latest “buy bust” police operations. In her court petition, Evans says Bell’s “only known assets consist of a small amount of cash held in a joint bank account” with her. Normally, there’d be no need to oversee such a small estate. But, her filing notes, “the circumstances of his death have led his spouse and her legal advisors to believe that a wrongful-death action is appropriate.” Evans’ Seattle attorney, Cleodis Floyd, last week said “We haven’t filed yet, but we believe we will. We’re requesting records and consulting with experts. This is really unfortunate and we need to help this family out.” Floyd did not want to discuss his case, and none of the government investigations contain any information on how drunk Bell may or may not have been at the time of his death; the medical examiner also would not release any bloodalcohol readings. Bell’s mother, Ruby Denton, says her son had recently split with his wife and was living with her in Renton. She concedes he was likely drinking. “He had been at his sister’s and had been at the bar, too, that night,” she said in an interview. She allows that his criminal past won’t earn him any sympathy. But that shouldn’t have a bearing on how he died, she thinks. “He was a good man inside,” Denton said. “He loved his kids dearly. He was heartbroken by the breakup of his marriage.” And, she adds, on the day he died, he was following the law. He may have been drinking, but he wasn’t driving. “I am still trying to deal with that,” said Denton. “He was just trying to catch a bus.” E randerson@seattleweekly.com

SEATTLE WEEKLY • APRIL 16 — 22, 2014

making it impossible for investigators to know for sure” what caused the “malfunction.” According to the report, compiled by L&I investigator Dan Bartholomew, there were three contributing circumstances to Bell’s death: He was not hanging onto the hand rail; the accident happened when few people were around; and two people passed by without giving aid or pushing the emergency stop switch. However, according to Bartholomew’s complete file, including his handwritten notes provided by L&I to SW last month, he also had questions about the missing comb tooth and the lack of the automatic stop switch. Bartholomew found that service records by KONE, an international escalator and movingwalkways company that operates and maintains the tunnel escalators for King County, were incomplete and incorrect: Inspections lacked documentation, contained wrong figures, and revealed that some testing was done improperly. A KONE serviceman, in an interview with Bartholomew, recalled doing maintenance and repair work on the University station escalator about three weeks earlier. But he said he was called away and did not record the visit. He also said he had replaced broken comb teeth once or twice recently. But he didn’t record that in his log either. Thus, Bartholomew concluded that the comb tooth missing on the day of Bell’s death “may or may not have been broken during the accident.” It could have been damaged by Bell’s snagged hood, which was found in a pit beneath the comb plate, or it might have been an existing hazard when Bell fell at the landing, having broken off earlier. The records were inconclusive. The lack of a comb-impact device, which might have stopped the escalator when Bell’s clothing got caught in the stairways, didn’t merit a mention in Bartholomew’s official list of contributing circumstances. But his handwritten notes show this entry: “No comb-impact devices.” Jack Day, L&I’s chief inspector in the elevator/ escalator division, says that because the state does not require those devices on older escalators, it was not included in the findings. “Dan couldn’t justify it as a cause one way or another,” Day said in an interview. “That’s why it’s not in the report.” But requiring such switches on older escalators is something the legislature might consider, Day said. The devices are designed to at least limit the effects of snagging, allowing a victim to break free of the escalator’s grip. They’re not foolproof, however, Day notes, pointing to the 2012 death of an 88-year-old New York woman who died on an escalator after her clothing became entangled in the folding steps. “And New York City has very strict laws regarding escalator safety,” Day said. Accurate escalator-injury statistics are hard to come by, but deaths appear rare. An Internet search turned up a scattering of such incidents, including a Canadian woman who was strangled to death in January when her neck scarf got caught in a Montreal Metro escalator. An elderly Boston woman died in 2009 when her clothing became entangled and she fell off an escalator at a transit station. And four years earlier in Boston, a man died after his sweatshirt became entangled in the stairs, choking him. It is unclear whether any of those escalators were equipped with comb-impact devices. Nor

are there statistics to show how many serious injuries or deaths were prevented by the devices. Almost 16,000 escalator riders are injured annually in the U.S., according to Pediatrics magazine, though few are hurt seriously. That works out to about 221 annual injuries per 1,000 escalators.

news&comment» Husky Baseball Reaches Peak Relevance BY SETH KOLLOEN

hen you talk about University of Washington baseball, you have to break out the old Chicago Cubs joke: “Anyone can have a

bad century!” The Huskies have never made the College World Series. 113 other schools have, including all the other Pac-12 schools, four Ivy League schools, and, somehow, Tufts. But not BY SETH KOLLOEN UW. Of course, I wouldn’t be writing about Husky baseball if I expected this 67-year streak to continue. The Dawgs are 24-7, in first place in the Pac-12, and are ranked #6 in the country by Collegiate Baseball News! But back to that bad century, worth exploring because it has been hilariously bad: • The first Husky alum to play major league baseball was Royal “Hunky” Shaw, a Yakimaborn outfielder. Shaw had just one MLB atbat . . . and struck out. • Between 1953 and 1985, only one Husky baseballer made it to the majors. • So little talent has come through Montlake that if there were a Husky baseball Mount Rushmore, Mike Blowers would be on it. For decades, UW’s baseball mediocrity was explained away with one word: weather. College baseball season starts just after football season ends. Of course recruits shunned Seattle to play in Tempe or Los Angeles—where would you rather play baseball in February? Then on June 26, 2006, Oregon State won the College World Series. Suddenly the excuse for decades of failure was negated. Elite baseball players were choosing Corvallis over Seattle. The weather couldn’t have been the reason why. In 2009, Washington fired its head coach and, for the first time in generations, hired an outof-stater. The school built a new stadium, which opened last month—the UW’s first with permanent seating and permanent bathrooms rather than bleachers and Porta-Potties. That new coach, UCLA grad Lindsay Meggs, has used his California ties to build a geographically diverse and talented roster. Under the former regime, the Huskies were sometimes 100 percent Washingtonian. Meggs’ 35-man roster includes 14 Californians, including pitching ace Tyler Davis, who is 7-1 with a 1.38 ERA. Could this finally be the year the Huskies make the College World Series? First they have to mush through the rest of the conference season, which includes tough series against Wazzu, Oregon State, and UCLA. Then comes the 64-team NCAA tournament. You start in a fourteam regional round. If you win that, you play in a best-of-three “super-regional” against the winner of another regional. The eight super-regional winners advance to Omaha for the CWS. Should the Huskies continue winning, they might get to host the regional round, the last week of May. By then, you really would rather be in Seattle than Tempe. E

SPORTSBALL

MORGEN SCHULER

The rising star of the right takes on Seattle and its socialist.

IN HOSTILE TERRITORY WITH

Ben Shapiro BY MARK BAUMGARTEN

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

very time someone takes my photo, I lose a little bit of my soul.” Ben Shapiro is joking as he poses for a photographer, his hand jammed into his front pocket, parting his business-minded blazer and accentuating his blue jeans, his thumb liberated. The automatic response for many in deeply liberal Seattle is likely to wonder whether the 30-year-old conservative talk-radio host has any soul at all. Already the author of four books railing against liberalism, Shapiro is a rising hero on the right and a growing pain in the ass of the left. Right now, posing in the Nesholm Family Lecture Hall at McCaw Hall, he is preparing to play both roles. Later this evening the hall will fill with almost 400 of his listeners—and a smattering of detractors—as he debates Seattle City councilmember and avowed socialist Kshama Sawant about the $15 minimum wage. “Tonight! Watch me debate in hostile territory,” tweeted Sawant earlier in the day. Shapiro responded: “will be educational. Shouldn’t be hostile.” Now he sits in one of the hall’s seats and turns on his own recorder for the interview. “I’ve been misquoted too many times,” he says. “I promise you no matter how fast a note-taker you are, there will be inaccuracies.” He’s likely right, for Shapiro speaks quickly. And as his jaw thrashes,

the skin on his cheeks and chin quivers, offering momentary glances of the jowls that will likely accompany him in older age. He begins by talking about Seattle. “It’s clearly a bellwether for the left in terms of being kind of a testing ground for a lot of left ideas like 15-dollar minimum wage,” he says. “It tends to lead the nation in that regard. It’s also one of the few areas where the leftist policy hasn’t completely crippled the city yet, so it’s an interesting phenomenon.” “Leftist” ideas have had a crippling effect, Shapiro says, in Los Angeles, where he grew up and where he currently lives with his young family. The city also happens to be a more convenient place for Shapiro to project his conservative and libertarian views as editor-in-chief for highprofile conservative site breitbart.com, talking head on the cable-news circuit, and host of The Ben Shapiro Show, which was just picked up this past January by Seattle talk-radio station KTTH 770AM, presenter of the evening’s debate. Prior to his dealings with the station, Shapiro had never set foot in Seattle. He has since visited five or six times by his count, and developed a theory of Seattle’s success, attributing it to a unique demographic makeup that is high on education and low on diversity. It’s a convenient point of view. “If leftism is going to fail in Seattle,

“If leftism succeeds in Seattle, that’s not necessarily a good indicator that leftism is going to succeed elsewhere.” it’s a good indicator that leftism is going to fail elsewhere,” he says. “If leftism succeeds in Seattle, that’s not necessarily a good indicator that leftism is going to succeed elsewhere.” An hour later, the hall full, Shapiro is in command, a rhetorical pugilist in friendly territory. His philosophy is free-market purism and his strategy is selective restraint; he encourages politeness by calming his crowd during heated moments, only to later strike with a mocking one-liner that—in the eyes of his followers at least—deflates his opponents’ arguments. To a moderate crowd, his sarcasm would be a liability, but here it’s played for laughs, clearing the table for some conservative red meat. At the suggestion that it is immoral for people who work full time to live in poverty, Shapiro responds: “People want a lot of things. Housing, health, to live forever, a pony . . . The reality is that there is no pony tree, which makes that difficult. So when it comes to the morality of this, bottom line to me is that it is not vicious, cruel, or immoral for me to make you an offer that you consensually accept. In fact, it is vicious, cruel, and immoral for someone who is a third party to get involved or for you to leverage a gun to get into the middle of that consensual relationship.” The crowd goes wild. E mbaumgarten@seattleweekly.com

sportsball@seattleweekly.com

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We get on the bus, ride on the lines Metro is threatening to cut, and talk to the people who count on them.

SEATTLE WEEKLY • APRIL 16 — 22, 2014

PHOTOS AND STORY BY MORGEN SCHULER & THOMAS JAMES

s the April 22 deadline for the King County special election approaches, the future of Metro transit hangs in the balance. If passed, Proposition 1 will mean a $40 hike on car tabs (including the expiration of a $20 tax, but the addition of a $60 one) and a .1 percent increase in the sales tax. The knee-jerk reaction from some drivers: Screw that. Why should I pay yet another fee just so bus riders don’t have to walk another couple blocks to a revised route? It’s a reasonable reaction, but it barely scratches the surface of what will really happen if the proposition fails. “Gutted” is a word that has been uttered more than once to describe the cuts that Metro says it will be forced to make if it doesn’t receive the funding: 181 routes will be altered or canceled and 80 percent of all riders will be affected. That’s pretty heavy. Anti-tax advocates have said the cuts would be a painful first step in the long-awaited cleanup of a bloated system—an argument bolstered by the Bureau of Labor Statistics’ ranking of Seattle public-transportation employees among the highest-paid in the country. Some have even gone so far as to speculate that Metro is bluffing and the severe cuts will never happen. Transit advocates disagree, saying that the proposition’s failure would create a domino effect that will impact the jobs, homes, and way of life for more than just bus riders. Will reduced seat availability push people into driving, causing more congestion? Will students have to find alternatives to riding Metro to get home? Will riders with irregular schedules and no car be left out in the cold and out of luck? Unfortunately, the quietest voices are those that will more than likely be hardest hit. So we took to the streets, stood in the lines, got on board, and asked riders what they thought between their stops. » CONTINUED ON PAGE 12

Catherine MenkelLawrence

Leticia Gaytan

Monzerrat Carmona

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

139

Low-income riders can most often be found on the outskirts of King County, in places like Burien, where the 139 bus line currently takes Burien residents in a loop, with stops all around their small city and to the Highline Medical Center. If Metro cuts go into effect, that line will disappear, with others rerouted to make up for the loss. Leticia Gaytan, a student at South Seattle Community College, is worried about what losing the 139 will mean. She’s able to walk to other stops, though she mentions that they aren’t all that easy to get to by foot from her home. “I would have to go quite a ways to find another route, and it’s up a steep hill.” Monzerrat Carmona relies solely on the income she earns from babysitting, and counts on the 139 to get to her job. Even with the line running, commuting via bus has its challenges. “I have to use the bus every day,” she says. “But when I go home, I have to walk because this bus ends too early for me to take it home.” She isn’t surprised that the line is on the chopping block. “When I don’t see a lot of people on the bus, I say ‘Oh. no.’ I’m scared because I think they’re going to cut the bus line.” The reroutes will most likely take up at least some of the slack from the loss of the 139, but coverage will drop. Even if she is able to work out the kinks of using a different bus line, a lot of time could be wasted simply reaching a new stop. Then there’s this: None of the reroutes will service the bus stops within Highline Medical Center. If there are no direct drop-off locations to take riders into the center, then staff and patients will be forced into taxis or have to walk. The next closest stop is about four blocks away, a five-minute walk.

Sara Drescher

71 71

Among the most popular lines scheduled for a drastic shift is the 71, which goes from Wedgwood through the University District to downtown Seattle and on into SoDo. Currently the bus comes every 30 minutes and runs until midnight. Under the new cuts, it will be reduced to once an hour on a rerouted line that skips University Avenue altogether and beelines from Magnuson Park down 65th, hopping directly on I-5. It will also stop running at 7 p.m. “I get off work at 10 p.m.,” says Catherine Menkel-Lawrence. “If it stops before 7, I have no way of getting home . . . I don’t own a car, so the only way I have to get around the city is the buses.” Sara Drescher rides the 71 only occasionally, but says, “There’s a lot of people in the area that couldn’t actually get downtown if it doesn’t pass. I’m hoping, not right now, but soon I’m hoping to be going downtown for a job. And then I would depend on this bus every day.”

37 37

If the 37 is cut, it’ll be difficult for a lot of people in Alki, says regular rider Tyler. “I have to catch this bus two hours early so I don’t have to stand. The one later on is so full there aren’t any seats, so I’d have to stand in the aisles.” He says right now his neighbors can catch the 37 as it passes near their houses, but the nearest alternative, the Rapid Ride C Line, could be as far as a mile and a half (or about a half-hour walk) from the existing route. This raises a secondary, irony-laden problem: where to park your car just so you can take the bus. The driver of the C Line—who says he drives it nine and a half hours every day, five days a week—is concerned for himself as well as his riders. “The ripple effects on people that have to use the bus are going to be enormous,” he says. “Wherever they gather to get on the C Line, it will become a Park & Ride. My line is hugely busy in the middle of the day, not just during rush hour. I’m not sure what that’s gonna do to my quality of life.”

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Most riders assume they won’t be affected by the elimination of just one bus line. But if that leaves only one option to get from SoDo and Georgetown to Renton, they’re likely to feel a pinch. Adrian Lopez, a student, rides the 106 to volunteer down south, something he does three times a week. “It’s OK for me,” he says. “I may need to take a new route. Sometimes I take another bus anyway.” At more convenient times he catches the 124. Most riders, like Lopez, assume they won’t be affected by the elimination of just one bus line. But if that leaves only one option to get from SoDo and Georgetown to Renton, they’re likely to feel a pinch. Another group of bus riders affected by this change are high-school kids. A lot of students get on at Georgetown in the middle of the route after many riders have already boarded downtown. There could be a lot of standing at stops as full buses pass those students by.

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The 106 bus line starts in downtown Seattle and heads through Georgetown, Beacon Hill, Rainier Beach, and Renton. If the Metro cuts go into effect, it will skip Georgetown and instead reroute to Martin Luther King Jr. Way on the other side of I-5. Much of what will be lost will be replaced by the 124, but there are stops in Georgetown used solely by the 106. Will the 124 take those over? Presumably not; that line is not set to reroute to those particular stretches. However, the 106 and 124 run parallel through SoDo, about three blocks apart. Readjusting to the new line may not be much of an issue in terms of distance, but the frequency of the 124 will not increase. Twice as many riders on a single bus running at the same frequency as before could cause a bottleneck.

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Krisana Bick, Kali Henson, and Thomas Terry

Brendon Cloyd

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

31, 32

On Metro's 31 and 32 lines, the faces change but the stories run together, sounding many of the same notes again and again: I ride this bus to work. It's the only one that serves my neighborhood. If it didn't come, I'd ride my bike when I could, but that's only part of the year. If the wait gets too long, riding the bus won't be worth it. I might have to move. Despite riders’ worries, most of this east-west combination is scheduled to remain intact even if the proposed cuts go through. According to Metro, buses will wind their way from the University District through Fremont and around the back of Queen Anne hill about as often as ever. At the heart of the cut to these lines would be the cancellation of the 31. Since the two lines run mostly on the same route, the thinking goes, canceling one and beefing up the other ought to enable the retention of most services while cutting costs. But like other series routes—such as the 71/72/73 buses—the routes for the 31 and 32 split near their ends. Both come around the back of Queen Anne from Fremont on Nickerson, and diverge at the south end of the Ballard Bridge, where the 32 turns toward downtown while the 31 heads into Magnolia. Cutting the 31 would save frequent service along Nickerson and past Seattle Pacific University, but leave anybody trying to commute east out of Magnolia dependent on a transfer. “It looks good on paper,” said rider Maggie Lindley from her seat on the 32. “You just go from here to there and you transfer. But if the buses come every half an hour, you could be waiting 29 minutes.” E news@seattleweekly.com 1008768

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food&drink Farm Bill Nearly Harvests Food-Stamp Reductions How Governor Inslee saved hundreds of thousands of Washington families.

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BY PATRICK HUTCHISON In our November 27 cover story, “Hunger Pains,” we reported on the programs and funding that feed Seattle’s hungry. At the time, a farm bill was pending that could cut food-stamp benefits to thousands of households. Though the bill passed, Washington state just diverted funds to salvage the benefits. Here’s the story.

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

or people like Lila Craig (not her real name), food-stamp benefits are not just a helping hand, they’re life support. At the beginning of each month, Craig sits down and tries to figure out how she’ll afford to feed her 13-year-old son. “It’s always hard. Every month it’s hard.” With a budget of only $347 a month, there’s no wiggle room. She remembers vividly how difficult it was last November, when she lost $20 in benefits due to budget reductions. “I used to always save $30 for the end of the month so I could buy fresh milk and eggs. When I lost that $20, it wasn’t easy to figure out how to adjust.” What she didn’t realize was that until last Wednesday, she was on the verge of losing more—a lot more. At the end of February, the longawaited federal Farm Bill—formally, the Agricultural Act of 2014—finally made it through the D.C. obstacle course, emerging, to little surprise, as a compromise of spending cuts and safeguards to vital programs. Historically, farm bills are among the most convoluted pieces of paper to come out of Washington, containing new rules for everything from school lunch programs to crop insurance to scientific research to, at last, the Federal Supplemental Nutrition Assistance Program (SNAP)—aka food stamps, EBT (electronic benefit transfer) cards, or any of the other methods of getting food to low-income families. As farm bills come and go, SNAP benefit levels fluctuate with the economy. In February, as we began to crawl out of the financial death pit, the Farm Bill included a reduction in benefits for approximately 40 percent of Washington’s SNAP recipients, a reduction that would have cut Craig’s monthly plan by as much as $90—until last Thursday, that is, when Governor Inslee announced steps to preserve our state’s SNAP benefits entirely, bypassing the federal bill’s cuts and ensuring that families get the benefits they need. Until the check comes in the mail, many beneficiaries don’t even realize there’s been a policy change, or cut, or loss of benefits. This time, the cuts-that-nearly-were “weren’t really cuts,” according to Linda Stone, food policy director for Washington’s Children’s Alliance. They were more like adjustments, and affected only

14 states as the result of a program nicknamed “Heat and Eat.” To understand why, you have to go back a few years. The 2009 recession encouraged creative utilization of a program called the Low Income Home Energy Assistance Program (LIHEAP) and its new relationship with SNAP. At its core, LIHEAP is a way to help families in need with

“Obviously, the loss of tens of millions of dollars aimed at feeding hungry families is not acceptable.”

applicants were required to qualify for at least $20 in utilities assistance from LIHEAP (as opposed to the previous $1) in order to receive a food-stamp benefit bonus, while existing enrollees who would have lost their benefits would have also seen their checks cut in the next six to eight months. To meet that $20 utilities benefit need, families would be required to provide proof of utilities payments. Stone expected that over 230,000 households would see the impact. But with the state’s recent announcement, none of those families will actually lose benefits. According to a statement by Inslee, “Obviously, the loss of tens of millions of dollars aimed at feeding hungry families is not acceptable. These families have already suffered from significant reductions in the help they receive, and this $90 a month is the only way many families and seniors are able to put any food on their table.” The money will come from existing federal funds reserved for social and health services. It’s a pool that’s not always deep enough to provide for everyone in need. Getting legislators to add bud-

their utilities payments. Can’t afford your gas bill? Here’s a few bucks. Lost your job and your water got turned off? We’ll help you out. As the recession gained steam, Department of Social and Health Services (DSHS) staff took advantage of earlier legislation, which declared that if a family received LIHEAP benefits, they would automatically qualify for an increase of their food-stamp benefits—approximately $60 to $90 extra a month. To maximize the new relationship between LIHEAP and food stamps, state employees started giving all food-stamp families $1 in LIHEAP benefits, thereby triggering the food-stamp raise. Many opponents dubbed it a loophole. “I don’t think it was,” says Stone. “It was a way to streamline the programs at a time when local offices were struggling to meet the high demand for efficient processing of applications.” With the new Farm Bill, those automatic LIHEAP bonuses that started in 2009 were set to go away. As of March 10 of this year, new

getary funds to food stamps is hard, especially when opponents can point to benefit misuse. Though it’s not as common as people like Nancy Grace or Glenn Beck would have you believe, food-stamp misuse is not unheard of. On March 31, the Seattle Police Department announced the conclusion of a massive sting operation that uncovered a bizarre EBT card/drug-trading/ shrimp-buying ring near 12th and Jackson. EBT cards were sold for pennies on the dollar or traded directly for drugs. The cards were then used in bulk to buy huge quantities of groceries like meat, rice, and the ever-valuable shrimp. Those food supplies were then sold for a profit, to buy more drugs, more EBT cards, more shrimp, and so on and so on. It wasn’t a business you’d expect to see advertised on Kickstarter, but plenty of people found out about it and hundreds of EBT cards were abused. It’s a story as sad as it is bizarre, because you know such incidents work against the people who rely on those benefits the most, hurt the ongoing debate over food-stamp benefit levels, and prolong the conversation, leaving desperate families to wonder when they’ll have enough to survive on. But for now, it looks like the chopping block is put away. Only time will tell when families like Craig will face it again. E

nsprinkle@seattleweekly.com

Food-truck pods are reappearing in South Lake Union after the tangle of construction drove them away. You’ll find a rotating cast of at least three trucks parked across the street from Toyota of Seattle (2121 Eighth Ave.) in the former Enterprise Rental Car lot. Capitol Hill is getting a new brewery next year. Husband-and-wife team Gay Gilmore and Troy Hakala will open Optimism Brewing in the Great Western Motors building at Broadway and Union. Top Pot is opening a 16th location on the second level of The Post, above Post Alley. This new spot will offer 38 varieties of doughnuts, plus a new pour-over coffee bar with single-origin beans. The store will open sometime this spring. E morningfoodnews@gmail.com

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Blending your own spices for entrées, salads, even cocktails. We work with World Spice Merchants down in Pike Place Market, and they help us create some fantastic Mediterranean blends for Cicchetti. This ensures freshness, and you know the quality of the ingredients.

Pre-made, room-temperature food. If I’m dining at a nice restaurant, I don’t want to feel like I’m eating at a salad bar. Mix my salad to order, please.

Pre-toasted bread. It’s crunchy, stale, and ruins formerly tasty food. Help a guy out and toast your bread to order. It’s a small step that makes a big difference. Long live crusty, delicious bread! E

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or many diners, glass-pour wines are an afterthought. They’re often viewed as less interesting and “fancy” than bottle selections, but they can play a fun and useful part in your dining experience. Glass-pour selection can vary, and some restaurants are more creative and expansive in their offerings, but there are plenty of reasons to opt for a wine by the glass: • Say you and a friend are having three or four different courses. Trying to find a bottle of wine, or even two, that will go with all that food could be challenging, but pairing BY ZACH GEBALLE each course with a glass pour is easier. Even better, more restaurants are offering half-glasses of wine, a great option for those of you who might not want to drink an entire glass with each course. Even if it’s not explicitly offered, it’s worth asking if you can get a half-glass. • They’re also often a great chance to try wine from a lesser-known region or varietal. Many Seattle-area restaurants are playing with unusual wines on their glass-pour lists, which can be fun for the adventurous drinker. Why not try a Corbières (a red from Southern France), a dolcetto (a red from Northern Italy), a Rueda (a Spanish white), or a grüner veltliner (an Austrian white). Of course most lists are still dominated by cabernet sauvignon and chardonnay, but increasingly, you can find something new to try. • When in doubt, get a taste. Restaurants should always be willing to let you taste glasspour wines, both to keep you happy and to eliminate waste. Be reasonable; don’t ask to try more than two or so wines, but put that palate to work! • On the downside, you’re almost certainly paying a higher markup with glass-pour wine than with bottled wine. Most bottled wine is priced at two to three times the wholesale cost, while glass-pour wines are often marked up four or five times. Partially that’s because there’s more waste with glass pours: spills; overpours; having to dump wine that’s been open too long; possibly employees helping themselves mid-shift. It’s also because most people expect to pay $8–$12 for a glass of wine, regardless of the cost. Some savvy (or exploitative, possibly) owners know they can get four or five glasses of $9 wine from a bottle that cost them $8–$10 wholesale. Hey, it’s not as if they’re making any money on the food! • Also, glass pours can vary in quality. It’s hard to know exactly when that bottle was opened, and storage can vary from restaurant to restaurant. Be wary of restaurants that offer 15-plus wines by the glass without a sophisticated storage system (they’re usually large and easy to see, often in the bar area). Plus, most restaurants will mention it on the wine list if they use one. A glass pour will rarely take the place of a really lovely bottle of wine, and shouldn’t be expected to. If you’re going to have a few glasses of the same thing, I’d encourage you to consider a bottle. You’ll be getting a better value at the very least. That said, glass pours are a nice alternative when pairing and experimenting. E

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SEATTLE WEEKLY • APRIL 16 — 22, 2014

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ooking for an Easter eating experience that doesn’t involve you and a ham? Check out some of this weekend’s swell celebratory meals—as well as pop-up bakeries where you can grab sweets besides chocolate bunnies. Even if you don’t go in for the holiday, these brunches and bakeries are deliciously great deals. Ethan Stowell’s Bar Cotto is offering brunch from 10 a.m. to 2 p.m. on Sunday, April 20 that includes rich seasonal dishes: pork-belly hash with roasted fennel, Yukon gold potatoes, a poached egg, and fennel pollen; or creamy polenta with braised beef, roasted garlic, and tomato. A few pizzas and desserts are also available, as are springtime cocktails. Reservations are encouraged. Call 838-8081 or visit ethanstowellrestaurants.com. Maria Hines has prix-fixe Easter brunches on the menu at all three of her restaurants. At Golden Beetle, $25 gets you four courses with choices such as spring onion and wildmushroom scramble and a spicy Skagit River Ranch pork-shank hash. Over at Tilth, the $30 menu includes the likes of stuffed French toast (with rhubarb, mint, and pistachio) and cheddar biscuits and smoked pulled-chicken gravy. Agrodolce’s serving several courses as well. For $25, savor items like albacore tuna Benedict and an asparagus omelet with pancetta, pecorino, and béchamel. Visit mariahinesrestaurants.com for more information.

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Left: wood-fired pizzas at Bar Cotto. Right: Rachael Coyle’s passion-fruit tart. Fonte Café on First Avenue is featuring five specialty a la carte dishes for Sunday brunch, including a take on their best-selling brunch item, eggs Benedict with housemade English muffins. The Easter version has confit rabbit, poached eggs, and hollandaise. There’s also a rabbit stew, rabbit frittata, a “Velveteen” rabbit paté, and “Deviled Bunny” eggs topped with crispy— you guessed it, rabbit! Call 777-6193 for a reservation or book online at cafefonte.com. Head over to Rachael Coyle’s phenomenally popular pop-up bakery at the Book Larder on Saturday the 19th to get your Sunday sweets. Though it technically runs until 1 p.m., the line will surely already be winding out the door at the 9 a.m. opening. But if you want to guarantee a knockout dessert, preorder one of Coyle’s holy passion-fruit tarts by today at coylebakeshop@ gmail.com! At $40, it serves eight. For more info on the pop-up, visit her Facebook page. Parchment, a new bakery pop-up at Brimmer & Heeltap, has announced its second event on Easter morning from 7 a.m. until noon. Chef Laura Pyles (Revel, Joule, Book Bindery) will sell special Easter treats, along with “extra-breakfasty items to suit demand.” Expect things like maple bacon and butterscotch sea-salt bundt cakes. E

nsprinkle@seattleweekly.com

arts&culture

Clay, Wood, Duct Tape, and China Catching up with four current shows at Bellevue Arts Museum.

BY BRIAN MILLER

DAVID BORROWMAN

JEF F E R S ON STARSH I P THUR | APR 24 | 7PM

redwood, its root penetrating the pedestal. It’s all hewn from the same material, of course, but we see here the contrast between life cycles long and short, a juxtaposition of past and present. Wood contains its own story, says Webb. In all those tree rings and imperfections lie decades and even centuries of history. Much of his material comes from salvaged old-growth timber originally milled during Seattle’s first building boom in the late 19th century—all the structures being torn down for new South Lake Union high-rises. Northwest history is now being written on a far more accelerated scale than that of tree rings. In Splash, a watery explosion seems to erupt from a block of fir, as if a pebble has been dropped onto its surface. The concentric tree

DAN WEBB/HENRY ART GALLERY

Webb’s Woodylion.

rings again denote time being measured on different scales: instant and ancient. Nearby, a wooden birthday-party balloon appears to float—another ephemeral thing actually made to last. Here and elsewhere, like the impression of an absent sleeper’s head on a pillow, there’s a quality of imposed duration, of time suspended. In these selections, made from Webb’s last 15 years of work, are visual puns and explicit references to the nature of woodcarving. On the human limbs that emerge—like tree limbs—from a fir slab are hands holding the mallet and chisel of Webb’s trade. He often only carves portions of his source material, to contrast the finished and raw states. He’s adding something to the wood, but “I’m also a destroyer,” he says. Indicating the cut marks, old nail holes, and traces of the sawmill, he notes, “It is very much a creative destruction.” Also on view are two ongoing group shows worth seeing. At Your Service (through September 21) features 10 national artists using dining plates for anything but their intended purpose. These familiar domestic tokens are drilled out to make jewelry, massed on the wall to form a mural, and cheekily modified by Niki Johnson, in one instance, to erase all the churches out of an ecclesiastical set of commemorative china. Traveling from the Arizona State University Art Museum is Crafting a Continuum: Rethinking Contemporary Craft (through April 27), a collection of some 60 diverse and eclectic objects. The works here range from porcelain bunnies to hand-embroidered comic books to a bicycle enveloped with osier (a natural fiber akin to rattan). It’s like a yard sale where nothing’s on sale, like those plates you can’t use for dining. E

bmiller@seattleweekly.com

BELLEVUE ARTS MUSEUM 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $8–$10. 11 a.m.–6 p.m. Tues.–Sun.

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SEATTLE WEEKLY • APRIL 16 — 22, 2014

Venter’s Tokai. he past and the present are always in flux for me,” says Canadian sculptor Kathy Venter as she leads a small tour through the large mottled clay figures that populate LIFE. With more than 30 pieces on view at Bellevue Arts Museum through June 15, this traveling show has the familiarity of folks you might meet on the bus or in line at the supermarket; the forms and faces are ordinary, not like polished marble gods on museum pedestals. Only the textures feel ancient. The figures, most of them nude women, aren’t glazed or smoothed to perfection in the kiln. Often splashed with paint, they look like something found at an archeology dig. (Crumbling Corinthian columns post-partum body looks like, she explains, and that’s why she asked this ordinary Canadian to flank one piece, as if framing a stage set.) model for her. (No male figures are included in Venter uses traditional terracotta methods and materials in a process that can take months, the show; Venter admits it’s harder to get her modeling her figures not from drawings or pho- male neighbors to strip for her scrutiny.) And again, this is what actual feminine power looks tographs, but from life. She finds her non-prolike: the effort and exhaustion necessary to fessional, unglamorous models in Salt Spring push new life into the world, and the relief that Island, B.C., where the South Africa native has comes after. lived for over two decades. Venter cites both Venter depicts what the Greeks and most Greek statuary and Xhosa tribal rituals among (male) Western sculptors who came later did her influences, and the daubs of paint, which not: the actual, rather than idealized, female add color to her reddish figures, recall National form. “Everything is written there,” she says Geographic images of African dance ceremoof these figures. In their physical attitudes and nies. And even if Venter resists traditional Venter’s descriptions, as she walks among them, poses (some figures are simply slumped on there’s the easy rapport of a women’s bath or the ground), she originally trained as a dancer, sauna. Rustic strangers to us, these are people which gives her an intimate familiarity with the she knows and clearly respects—not just reprebody’s workings and postures. sentations. A sense of ritual attends the groupings here. One cluster of women, called Coup d’Oeil, is poised in loose formation. Arms relaxed, palms Dan Webb is also having his first solo show open, they’re not exactly supplicating or worat BAM. The local artist trained at Cornish, shipping; and they’re certainly past the age of though he didn’t start out to be a woodworker. any initiation ceremony. Life-size, like most of One early work in Fragile Fortress, also on view Venter’s work, they have a certain frumpy digthrough June 15, is actually a medieval suit of nity, a fleshy pragmatism that sets them apart armor constructed with silvery duct tape. He’s from anyone’s ideal—be it classical, Vogue, or not apologizing for the humble pine, Douglas America’s Next Top Model. You don’t have to be fir, maple, and cedar, but emphasizing the conan Amazon or supermodel to show strength. trast between grainy source and emergent form. Flopped down on the floor are an infant and “Everything is temporary,” says Webb as he mother. Says Venter of the new mom, “She’s got discusses his work. In a piece called Woodylion, an almost bovine contentment.” This is what the a dandelion sprouts through a big block of

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

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arts&culture»

ANDRY LAURENCE

Wright and Reed as George and Martha.

ThisWeek’sPickList Who’s Afraid of Virginia Woolf?

Some Broadway classics age better than others. Death of a Salesman or A Streetcar Named Desire are stamped with a very particular kind of postwar milieu, yet to me this coruscating campus drama survives the jump to our present century. Writing in 1962, Edward Albee gave scant mention to the outside world. His relentless focus is on the raging marriage of George and Martha, who use the younger couple Nick and Honey as surrogates and punching bags for the rage they can’t keep to themselves. Their forays and furies are strategic; even getting the right amount of drunk involves a degree of calculation. The expression of marital spite requires a certain amount of disinhibition—served on the rocks, of course—without getting sloppy about it, because that would simply invite counterattack. Do George and Martha (here played by R. Hamilton Wright and Pamela Reed) hate each other? Should they be together? Should they really be raising a son (never seen in the play)? Those questions fade in the face of the overpowering need George and Martha feel. It’s not codependency in our modern sense, but a more primal kind of attachment. Arguing is like sex to them. They don’t belong together, but you can’t imagine them apart. Aaron Blakely and Amy Hill play the younger faculty duo. Braden Abraham directs. (Previews begin tonight; opens Wednesday; runs through May 18.) Seattle Repertory The-

Chelsea Handler

Her name was briefly floated as a replacement for David Letterman, in part because Handler is soon to step away from her own late-night chat show on E!. So what does she do next? Besides stand-up, where she has a proven knack for mocking celebrities ever so slightly further up the Hollywood food chain than she, Handler has profitably extended her louche brand into humor books. Her latest, Uganda Be Kidding Me, relates various family and travel misadventures, including a safari in Botswana. In part she’s playing the ugly American abroad, stomping and drinking her way through foreign customs she doesn’t care to understand. She’s exaggerating her selfishness and cluelessness for comic effect, but there’s always a trace of satire to her boorishness. This is what showbiz has made me, she’s saying; look how awful I am. The scorn seeps into her

911 Pine St., 877-784-4849, stgpresents.org. $66–$91. 7 p.m. T. BOND

Pulsos Latinos

With eight recent features from Latin America, most screening twice, this film festival begins tonight with the Ecuadorian Porcelain Horse, about a slacker who gets caught in the drugsmuggling trade. Other topics in the series range from cock-fighting in Costa Rica to tourism in Peru. One worthwhile title is Marcela Said’s Chilean Summer of Flying Fish (9 p.m. Sun., 7 p.m. Wed.), which starts with the seemingly dull dramatic device of an invasive carp infestation. The lake, in Chile’s forested south, is owned by a wealthy part-time farm owner with a teen daughter, Manena (Francisca Walker), who doesn’t initially question her family’s privilege. Hers is a life of iPhones and school vacations to New York, given little supervision by adults who spend much time drinking and disparaging the darker-skinned help, who speak the indigenous Mapuche language. When the native teenager Pedro ruptures an eardrum trying to dynamite the fish at his employer’s command, no one cares. They pay him a few pesos and laugh it off—maybe he’ll use deafness as an excuse not to work! (Those lazy Indians . . . ) I won’t oversell this small, atmospheric film as a romance between Manena and Pedro; rather, he helps open her eyes to the land’s beauty and its barbed-wire inequity. The Mapuche were there first, before Columbus, before private property, no matter how much her parents try to ignore that fact. More than a coming-of-age tale, Summer of Flying Fish is about this girl’s awakening to history. (Through April 26.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6–$11. 7 p.m. BRIAN MILLER

» CONTINUED ON PAGE 24

Now–May 4

See it with an ACTPASS or purchase tickets today (206) 292-7676 | acttheatre.org

SEATTLE WEEKLY • APRIL 16 — 22, 2014

atre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $15–$80. 7:30 p.m. BRIAN MILLER

interviews (as recently with Piers Morgan) and dealings with other celebrities, which gives Handler the rap for being a bitch. She’s no Lenostyle sycophant, that’s for certain. Of visitors to her own show, she’s said, “Sometimes people are really stupid.” Yet after six years, her Chelsea Lately has unquestionably given her more comic power and reach. And, as she once told Conan O’Brien, it’s been a way to meet men. “I’ve only slept with, like, a handful of my guests,” she said. And if for no other reason, her show will be missed when it ends this year. The Paramount,

FRIDAY, APRIL 18

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Artwork by Stasia Burrington

May 30, 31 & June 1, 2014 Seattle Center Exhibition Hall www.seattleerotic.org

Ernest Shackleton Loves Me

Balagan Theatre likes to get frisky with its musicals, as we’ve seen with recent stagings of Carrie, Avenue Q, and Hedwig and the Angry Inch. Those shows were all imports, proven properties from Broadway (well, off-Broadway), so the company is charting a new direction with this original work by the Los Angeles–based team of Valerie Vigoda, Brendan Milburn, and Joe DiPietro. In a reversal of the compass needle, Ernest Shackleton is premiering here before heading to New York. Vigoda plays present-day heroine Kat, who somehow meets the famed Antarctic explorer (Wade McCollum) through her video blog. He relates his frozen adventures, she shares the hardships of single parenthood and working in the tech industry, and a romance is sparked across the seas of time. We hope there will be penguins, too. Lisa Peterson directs. (Through May 4.) Seattle Rep-

ertory Theatre, 329-1050, balagantheatre.org. $5–$45. 7:30 p.m. T. BOND

Big-Screen Musicals

ROARING BACK TO THE TACOMA DOME!

Easter weekend is as good a time as any to program a batch of mom-friendly musicals, and you’ll find Singin’ in the Rain and West Side Story on the schedule. But the SIFF curators have made some eccentric selections, too. Beginning the retrospective tonight is Prince’s 1984 hit Purple Rain—not really a musical in the old MGM/Freed Unit tradition. Maybe rock opera better describes Prince’s very enjoyable self-mythologizing amid the sturm und Minneapolis drang. With his grand ego, “The Kid” wants musical success as much as Prince sought crossover acclaim, and this is the film that achieved both. The soundtrack—as if you need reminding—contains the title tune, “I Would Die for U,” “When Doves Cry,” and “Jungle Love” (from Morris Day and The Time). Somehow the sight of Prince dry-humping the stage always makes us nostalgic for the ’80s. U would be a fool 2 miss it. Other titles in the series, running through Thursday, include Strictly Ballroom, Dirty Dancing, and Step Up 2: The Streets (yes, really). SIFF Cinema Uptown, 511 Queen Anne Ave. N., 3249996, siff.net. $6–$11. 9:30 p.m. BRIAN MILLER

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Pick List » FROM PAGE 23

MONDAY, APRIL 21

Hedrick Smith

A veteran journalist and student of Washington, D.C. power brokers, Smith scored a bestseller two years back and ruffled many op-ed writers with his Who Stole the American Dream? The book came out soon before our last midterm elections, when Democrats would bleed more seats and the Tea Party’s “Repeal Obamacare!” battle cry still proved quite effective. The question for Smith tonight, here in our blue-state smugness bubble, is to assess how the electorate will tip in the next midterms. Are voters still angry? The first ACA enrollment deadline has passed, the website kind of works, we’ve mostly disengaged from two wars abroad, and the economy is somewhat mended. Yet still, Smith’s diagnosis of a gross American structural imbalance remains accurate. The middle class has been on a slide since well before the recession, Obama, or even Reagan. His book looks back to the decline of unions, the privatization of pensions (workers being “encouraged” to use 401(k)s instead), outsourcing and globalization, legislative capture by business interests, ballooning consumer debt (remember when we used to borrow against our houses?), and the ascendance of finance over manufacturing. What might Smith—and by extension Obama—hope to do about it? Tax reform, investment in education and infrastructure, reversing Citizens United, etc. All of which will play well here, but good luck to a swing-district Democrat laying out those proposals. (Note that your ticket also gets you into the 6 p.m. talk by to Jake Rosenfeld, author of What Unions No Longer Do.) Town Hall, $5. 7:30 p.m. BRIAN MILLER E

DECEMBER 17-21 TACOMA DOME Ticketmaster.com • 800.745.3000 Tacoma Dome Box Oﬃce • Ticketmaster Outlets

JEFF CARPENTER

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

Vigoda and McCollum in rehearsal for Ernest Shackleton.

arts&culture» Stage

Opening Nights

arched back-bend. It’s a beautiful contrast to Titania’s Act 1 duet with Bottom transformed to an ass—the fairy queen turns in arabesque while holding onto his impressively large snout.

filtering the best of T! ES THE NORTHW

SANDRA KURTZ

In the Book Of

Tails of Wasps

TAPROOT THEATRE, 204 N. 85TH ST., 781-9705, TAPROOTTHEATRE.ORG. $20–$40. 7:30 P.M. WED.–THURS., 8 P.M. FRI., 2 & 8 P.M. SAT. ENDS APRIL 26.

ACT THEATRE, 700 UNION ST., 292-7660, ACTTHEATRE.ORG. $15–$30. 8 P.M. THURS.–SUN. PLUS MON., APRIL 21. ENDS APRIL 27.

ERIK STUHAUG

Monroe (left) and Strickland as fellow widows.

Ezra Thomson as Bottom, with Rausch as Titania.

PA Midsummer Night’s Dream MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28–$174. 7:30 P.M. THURS.–FRI., 2 & 7:30 P.M. SAT. ENDS APRIL 19.

Opening night at Pacific Northwest Ballet last weekend was its 101st performance of George Balanchine’s A Midsummer Night’s Dream. PNB first presented the work in 1985, has toured it nationally and internationally, and even made a film of it for the BBC in 1999. It’s become a calling card for the company, and a great way to gauge its artistic health. This production is all about new casting, with 28 people stepping into new roles—10 of them last Saturday afternoon alone. (Keeping the different choreography for multiple roles separate in their heads is a skill that almost everyone in the company must master.) With three sets of earthly couples falling in and out of love, a quarreling king and queen of the fairies, a roiling band of dimwitted actors, plus butterflies, bugs, and retainers, there are more than enough parts to go around. Balanchine manages to tell Shakespeare’s story in just over an hour, and the action is indeed brisk. But this leaves the second act for a more formal exploration of idealized love, with one of his most beautiful pas de deux at its center. Benjamin Griffiths continues to refine his technique as Oberon, translating precision into power. James Moore’s debut in the role worked in that same vein—they both assert their authority through detail. As their Titanias, Lesley Rausch and Laura Tisserand are equally wild and queenly. Kiyon Gaines sharpened his visual focus as Puck, especially in his asides to the audience, while adding a goofy Lysander to his repertoire. Lindsi Dec and Jessika Anspach debuted as Helenas opposite two new Demetriuses, William Lin-Yee and Joshua Grant. Balanchine’s kinetic equivalent of that relationship (Helena tells Demetrius to “treat me as you would your dog”) is full of thrashing temper on his part and heedless devotion on hers, stopping short of actual violence. The Act 2 Divertissement pas de deux knits together several movement themes from various characters in Act 1: the lovers’ twining arms, Titania’s daring plunge into a deep arabesque, and her multiple changes of direction throughout a single extension. Kaori Nakamura has performed this duet several times in the past—she and Seth Orza make long phrases out of these elements that ebb and flow organically, so that the audience is holding its collective breath by the end, as they shift through an exquisitely

We haven’t had a sex scandal in Seattle politics since God knows when. Partly for that reason, local playwright Stephanie Timm places her short new four-act in a very generic setting. Newly elected suburban congressman Frank Davis (Paul Morgan Stetler) isn’t a Democrat or Republican, and he doesn’t have any positions besides fighting the good fight. After the victory party, he’s returned to his hotel room—ringed by us 100 spectators in three banks of bleachers set close to the action—with his loyal campaign aide Rachel (Brenda Joyner) on what’s effectively her last night of employment. She throws herself at him, and the lights go out. (I’m compressing slightly.) In the next three acts we meet three more women, each visiting the same hotel room with Frank, though not necessarily during the same night. (In fact, about five years pass.) Each vignette echoes the others, with repeated gestures, lines, and grapplings on the bed. There’s a hand job and a kick to the nuts. Booze is consumed, and confessions of alcoholism—among other admissions—are made. Fake names are used. The goddamn phone keeps ringing at inappropriate times, as if someone’s fucking with Frank’s head. Timm writes parallel structures for these episodes, but there’s also an overarching circularity to them. Frank never really leaves the hotel room; it’s a kind of purgatory for him, an arena for the eternal recurrence of his lust. His punishment isn’t just the shame but the irresistible repetition. (Bill Clinton and Eliot Spitzer are obvious inspirations here.) And yet, Timm makes women—two of them paid—the enablers and even instigators in Tails of Wasps (the title’s a nod to A Winter’s Tale). Certainly Rachel is attempting to seduce; she’s no Lewinsky-style lackey. She has the intelligence and self-awareness (plus a fiance) to consider her actions, as Frank does not. And if the hookers are there for the money, they also get the better of Frank, who remains somewhat maddeningly opaque to us. He’s got no political views, no real qualities besides looking good in a suit and having a near-constant hard-on. He can’t be a tragic figure without greatness; nor can we even pity a shallow guy who’s lived his life by teleprompter. He says he’s a sex addict, but addiction is a poor substitute for character onstage. Battling against this blank, Timm’s actresses fare better; yet their isolation—one per act, never meeting—dilutes the potential drama. (Darragh Kennan directs this very committed New Century Theatre Company production, with Betsy Schwartz, Sylvie Davidson, and Hannah Mootz rounding out the cast.) Each time the lights went down, cued by the phone or a knock on the door, I expected a mob of reporters to burst in. But no. We’re told of a press conference, of hasty speeches and damage control, yet Wasps excludes the outside world. Frank is trapped with himself; and worse, we’re trapped with him, too. BRIAN MILLER E

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On stage: May 15 - July 6 Box Office: (425) 392-2202 www.VillageTheatre.org

SEATTLE WEEKLY • APRIL 16 — 22, 2014

their common grief. It’s a credit to the actresses that their stage accents—Monroe’s broken English, Strickland’s Southern drawl—don’t get in the way here. However, the rest of Broxton isn’t so welcoming. The Muslim Anisah experiences xenophobia, most vehemently from Naomi’s former sister-inlaw Gail (a spirited Pam Nolte), who also happens to be running for mayor as a Tea Party–style outsider. Gail turns the family turmoil into political hay and focuses her campaign on sweeping illegals—possibly including Anisah—out of the country. Gail is just the type of sideshow barker created by populist politics and FOX News. She’s blinded by ambition and married to gimmickry (in this case her corn broom). As the election approaches, however, the young widow Anisah finds kindness from Gail’s adult son Bo Jr. (Kevin Pitman). Suddenly family threatens to trump hot-button politics, and hard choices must be made. The play’s topicality falls away, and we’re left with a family of complicated, likable characters and a play that does them justice. MARK BAUMGARTEN

ANGELA STERLING

You might think In the Book Of would have a short shelf-life. Written by John Walch on commission for the 2012 Alabama Shakespeare Festival, the play is hyper-topical, grappling directly with the war in Afghanistan, Tea Party politics, and immigration. Despite this, Walch’s script manages to feel timeless, at least in the hands of this able cast, directed by Scott Nolte. It might have something to do with the fact that Walch’s play was inspired by the Old Testament’s Book of Ruth, in which the titular character, a widowed stranger in the land of Israelites, adopts her persecutors’ God as her own. Here our stranger is an Afghan woman named Anisah (Carolyn Marie Monroe), a former translator for the U.S. military who’s brought to small-town Mississippi for protection by retired Lieutenant Naomi Watkins (Allison Strickland). Both women are war widows, and, in the play’s most moving moments, they bond over

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

Stage OPENINGS & EVENTS

CHAOS THEORY In Courtney Meaker’s new play, her heart-

broken heroine builds a kind of alternate-reality machine; using it, unsurprisingly, has unexpected consequences. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre. org. $5–$20. Opens April 18. 8 p.m. Thurs.–Sat. plus Mon., April 28. Ends May 17. ERNEST SHACKLETON LOVES ME SEE THE PICK LIST, PAGE 24. FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and ultimately relatable” monthly cabaret on the theme of family. JewelBox/Rendezvous, 2322 Second Ave., jenniferjasper performs.com. $10. 7:30 p.m. Wed., April 16. FUENTE OVEJUNA Lope de Vega’s play of tyranny and rebellion. Cornish Playhouse at Seattle Center, 269-1901, cornish.edu. Free. Opens April 17. 8 p.m. Thurs.–Sat. Ends April 26. GODSPELL Stephen Schwartz’s musical take on the Gospel of St. Matthew. Raisbeck Performance Hall, 2015 Boren Ave., 800-838-3006, cornish.edu. $5–$10. 8 p.m. Tues., April 22, Thurs., April 24, Sat., April 26; 2 p.m. Sun., April 27. KING LEAR Ungrateful daughters, divided affections, the fool whispering in your ear, the windswept heath—what could possibly go wrong? Cornish Playhouse at Seattle Center, 733-8222. $25–$48. Previews April 23–24, opens April 25. Runs Wed.–Sun.; see seattleshakespeare.org for exact schedule. Ends May 17. A MIDSUMMER NIGHT’S DREAM Shakespeare’s romantic fantasy, al fresco. Seattle Center, cornish.edu. Free. Opens April 18. 2 p.m. Fri.–Sun. Ends April 27. QUICKIES, VOL. 15 Live Girls! Theater presents short plays on the themes of science and magic. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, lgtheater.org. $5–$20. Opens April 18. 8 p.m. Thurs.–Sat. plus Mon., May 5. Ends May 10. SNOW WHITE Stepparent issues and seven brothers (played by three actors). $10. Opens April 19. Runs weekends in various venues; see storybooktheater.org for exact schedule. Ends May 18. THROUGH THE LOOKING GLASS: THE BURLESQUE ALICE IN WONDERLAND From the people (Lily

Verlaine and Jasper McCann) who bring you the Burlesque Nutcracker. Early shows 17 and over, late shows 21 and over. The Triple Door, 216 Union St., 8384333, thetripledoor.net. $32–$47. 7 & 10 p.m. Wed., April 16– Thurs., April 17; 7 & 10:30 p.m. Fri., April 18–Sat., April 19. WHO’S AFRAID OF VIRGINIA WOOLF? SEE THE PICK LIST, PAGE 23. THE WOMEN, THE FLESH, AND THE DEVIL “A Burlesque Evening in Black and White” draws inspiration from silent film. Columbia City Theatre, 4916 Rainier Ave. S., 800-838-3006, brownpapertickets.com. $15–$100. 7:30 p.m. 10 p.m. Fri., April 18.

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CURRENT RUNS

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

ATTEMPTS ON HER LIFE The Horse in Motion presents

this immersive audience-participation play. University Heights Community Center, 5031 University Way N.E., 800-838-3006, thehorseinmotion.org. $15–$25. 7:30 p.m. Fri.–Sun. Ends April 27. BETHANY While a raft of nonfiction accounts have been written and filmed about the 2008 bubble and following recession, a play takes longer to percolate. Emily Chisholm plays a heroine so bottomed-out that she sneaks into an abandoned (supposedly) and foreclosed home to live as a squatter. Things take a turn, however, when she discovers a fellow recession refugee under the same roof—the possibly schizophrenic Gary (Darragh Kennan). He’s sometimes her ally, sometimes a menace as Crystal tries to claw herself back onto the economic ladder. BRIAN MILLER. ACT Theatre, 700 Union St. 292-7676. Runs Tues.–Sun.; see acttheatre.org for exact schedule. $55 and up. Ends May 4. CHECKOFF IN THE SUN A dying woman’s friends gather one last time in Leonard D. Goodisman’s comedy. Eclectic Theater, 1214 10th Ave., 800-838-3006, brown papertickets.com. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends April 19. DINA MARTINA: HER GREATEST VIDEOS... AND MORE! A night of highlights from the grande dame’s

shows, hosted by herself. Re-bar, 1114 Howell St., 800838-3006, brownpapertickets.com. $20–$25. 8 p.m. Fri.– Sat., 2 p.m. Sun. Ends April 27.

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

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GIDION’S KNOT Censorship erupts in school in Johnna

Adams’ new drama. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $15–$32. See seattlepublictheater.org for schedule. Ends April 20. IMPENETRABLE SIS Productions presents Mia McCullough’s play about women, society, and body image. West of Lenin, 203 N. 36th St., 800-838-3006. $12–$16. Runs Thurs.–Sat. plus 8 p.m. Mon., April 28; see brownpapertickets.com for exact schedule. Ends May 3. IN THE BOOK OF SEE REVIEW, PAGE 25. LITTLE SHOP OF HORRORS Alan Menken & Howard Ashman’s musical is simple, it’s overstuffed with hummable melodies, and it toys affectionately with two of America’s enduring infatuations: cheesy monster movies and jukebox pop. Appropriately, this co-production of ACT and the 5th Avenue cranks the fun dial up to 11. There’s a palpable glee in watching confident performers nail each number with sharpshooter precision. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676. $20–$50. See acttheatre.org for exact schedule. Ends June 15. THE MARK OF IMMEDIACY The Gospel of Mark made theater by a cast of three. Isaac Studio Theatre, 208 N. 85th St., 781-9707, taproottheatre.org. $12–$15. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat. Ends April 19. THE NEGRO PASSION PLAY Brownbox Theatre’s “dramatic depiction of the Passion of Jesus Christ within the context of the American civil rights movement” in SU’s Campion Ballroom. Seattle University, 901 12th Ave., 800-838-3006, brownpapertickets.com. $5–$15. 7:30 p.m. Thurs. Ends April 17. A ROOM WITH A VIEW It’s hard to imagine how prim and proper (and gay) E.M. Forster would feel about his 1908 novel becoming Broadway fodder. The 1985 movie is the more direct inspiration for writer Marc Acito and composer Jeffrey Stock, both Broadway veterans. Virginal heroine Lucy (Laura Griffith) is traveling through Italy with her chaperone (Patti Cohenour); there she’s courted by the romantic George (Louis Hobson), which threatens a potential match back in England with uptight Cecil (Will Reynolds). Who will she choose?!? Well, you’ve seen the movie, so you know. T. BOND 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $29 and up. Runs Tues.–Sun., see 5thavenue.org for exact schedule. Ends May 11. SEATTLE VICE When a new cabaret show is inspired by a book by our own Rick Anderson, you can be damn sure we’re going to claim credit. Mark Siano and Opal Peachey’s revue follows Frank Colacurcio (1917–2010), he of the famous “Strippergate” scandal, and other scoundrels, lowlifes, criminals, and eccentrics. Siano plays Gil Conte in the show, a lounge singer who became Colacurcio’s bag man for bribes and proceeds from the smut trade. New yet retro-sounding songs are interspersed with the rise and fall of Colacurcio’s T&A empire. BRIAN MILLER ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $20. 8:30 p.m. Thurs.–Sat. Ends April 19. TAILS OF WASPS SEE REVIEW, PAGE 25. TEATRO ZINZANNI: ON THE AIR Their new radio-themed show starring Kevin Kent. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Wed.–Sun.; see zinzanni.com/ seattle for exact schedule. Ends June 1. THE TUTOR Maryrose Wood’s musical—about an aspiring writer, Edmund (Eric Ankrim), hired by Manhattanites Richard and Esther (Hugh Hastings, Beth DeVries) to help their apathetic daughter Sweetie (Tatum Ludlam/Katie Griffith) get into Princeton—presents a setup for a satire, of literary pretensions or upper-class neuroses or both, but Wood throws marshmallows rather than darts at her targets. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. Runs Wed.–Sun. plus some Tues.; see villagetheatre.org for exact schedule. Ends April 27; then runs May 2–25 in Everett.

•

Dance

BALLET: A MIDSUMMER • PACIFIC NORTHWEST SEE REVIEW, PAGE 25. NIGHT’S DREAM

Classical, Etc.

• CLAIRE CHASE Varése, Glass, and more from this avant-

flutist. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu, 726-5066. $10–$20. 8 p.m. Thurs., April 17. SEATTLE SYMPHONY James MacMillan’s The Death of Oscar, plus Beethoven (the Concerto no. 3 with acclaimed Beethoven pianist Paul Lewis) and Rachmaninoff. Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19–$127. 7:30 p.m. Thurs., April 17, noon Fri., April 18, 8 p.m. Sat., April 19. MUSIC OF REMEMBRANCE Chamber music by Jake Heggie, Lori Laitman, and others. Seattle Art Museum, 1300 First Ave., musicofremembrance.org. Free. 2 p.m. Sat., April 19. JOSHUA ROMAN This cellist’s joined by pianist Andrius Zlabys for music by Schnittke, Stravinsky, and others. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $10–$25. 7:30 p.m. Tues., April 22.

•

• •

(4/16) Krista Bremer and G. Willow Wilson ‘My Accidental Jihad’ (4/16) Why Selfies? Why Introverts? Why Now? Bumbershoot Lineup Announcement #1

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ARTS & ENTERTAINMENT NEWSLETTER Find out about upcoming performances, exhibitions, openings and special events.

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arts&culture» Film

Opening ThisWeek Alan Partridge OPENS FRI., APRIL 18 AT VARSITY. RATED R. 90 MINUTES.

OPENS FRI., APRIL 18 AT SUNDANCE CINEMAS. NOT RATED. 99 MINUTES.

When was the last time you rooted for an oilman? Drill, baby, drill! That’s one of the odd sensations in watching Rachel Boynton’s deeply reported documentary, which reaches from

Dom Hemingway OPENS FRI., APRIL 18 AT MERIDIAN AND SUNDANCE. RATED R. 93 MINUTES.

Striding naked through an orchard in the south of France, Jude Law manages to look like both a man completely in control of his fate yet also completely lost. “I’m scared,” he confesses one moment; the next, he delivers a proud threeminute speech on the magnificence of his cock (being vigorously serviced, just out of frame), which would gladly deliver world peace and provide for starving orphans—if only it could. The problem is that Dom (Law) and his cock begin the film in prison; he can’t help anyone, least of all himself. His virility, anger, and confidence have been confined for 12 years, because

PThe Final Member RUNS FRI., APRIL 18–THURS., APRIL 24 AT GRAND ILLUSION. NOT RATED. 75 MINUTES.

NICK WALL/FOX SEARCHLIGHT

Big Men

BRIAN MILLER

this safecracker refused to rat on his boss. The orchard comes later, as do random plot complications including a car crash, the theft of threequarters of a million pounds (Dom’s reward for keeping mum), our hero’s grown and estranged daughter, and a petty London mobster who threatens to cut off Dom’s cock. (Why do we keep returning to that topic?) Back to Law: Aren’t we all glad he’s no longer pretty? His hairline is what it is, and his youthful beauty has now grown blocky, like a modernist building slathered with stucco. And it suits him. Law’s lately been challenging himself with meaty roles on the English stage, including Hamlet and Henry V; he’s nobody’s Romeo these days. The best bits in the stylish, lurching Dom Hemingway are the mini-soliloquys where Dom gets to rip loose on the various indignities inflicted upon him. There’s a trace of Lear in this plaintive hoodlum, who soon after prison is broke, betrayed, homeless, and spurned by his daughter (only one, but still). Lamenting the “pestilence” of his misfortune, he chews on the word like a lemon yet refuses to swallow his pride. Law is the first, best, and almost only memorable thing here. (Though the pleasure of seeing Richard E. Grant in yellow aviator shades and cravat cannot be denied.) Still, the plot peters out pretty fast and familiarly. American writer/director Richard Shepard (The Matador, The Linguini Incident) creates nice little gangster filigrees for Law’s delectation, but not much story for us. There’s money to recover, the matter of the daughter (Emilia Clarke), a safe to crack, and an old-school criminal’s code that Dom insists on honoring while the rest of the world does not. “I’ve got magic fingers,” grandiloquent Dom insists of his trade; but really, he’s all mouth. BRIAN MILLER

Where’s the money? Law and Grant.

“My dad has been collecting penises as long as I can remember,” says the daughter of Sigurdur Hjartarson, curator of the Icelandic Phallological Museum, who proudly displays his samples from every mammal, from a 2mm hamster penis bone to a sperm-whale specimen that looks like a six-foot geoduck. Every mammal, that is, except one—and the quest to be the first human enshrined, in an odd sort of reverse tontine, is the subject of Jonah Bekhor and Zach Math’s beautifully crafted documentary. The two candidates are Páll, a dapper elderly man who can already claim to have Iceland’s best-known organ (his

sexual conquests, he says, number circa 500—not bad in a nation of only 300,000). His rival is Tom, a Californian who . . . well, just wants his penis to be famous. (He’s nicknamed it, and imagines it as a comic-book hero.) Páll seems the front runner, for patriotic reasons; then again, there are shrinkage issues at 93. Also, Hjartarson would really prefer his exhibit to be of “legal length”—five inches, as defined by an old Icelandic folk poem: “One in the hair, one in the skin, and a third and a fourth and a fifth one in.” It gets better, much better, but I can’t say more, because Bekhor and Math’s adroit deployment of each WTF and OMG plot twist is what makes the film so completely absorbing. It’s this adroitness, even more than the abundant humor (there’s no deadpan like Scandinavian deadpan), which might make you suspect it’s all a scripted put-on. It isn’t, but this is sublime storytelling, right up to the poignance of the ending. Of course you expect documentarians to be sympathetic to the human need to be remembered, but The Final Member’s tenderness toward its subjects transcends the norm and remains long after you’ve gotten all the chuckles out of your system. GAVIN BORCHERT

The Galapagos Affair: Satan Came to Eden RUNS FRI., APRIL 18–WED., APRIL 23 AT SIFF FILM CENTER. NOT RATED. 120 MINUTES.

This is not an easy movie to synopsize, so bear with me. A bunch of crazy Germans emigrated to the Galápagos Islands in the early ’30s, some to escape Hitler, some out of crackpot notions of Nietzsche-Rousseau-Robinson Crusoe. In this documentary reconstruction of events leading to several deaths, we have celebrity voices (Cate Blanchett, Connie Nielsen, Diane Kruger, etc.) reading from letters and diaries; archival footage; maps; stills; and interviews with Ecuadorians two or three generations removed from the matter in question. This is partly a forensic project, but don’t expect a final verdict from filmmakers Daniel Geller and Dayna Goldfine (Something Ventured, Ballets Russes). Theirs is yet another example of how manmade paradises inevitably fail because of the contentious men and women who live there. Dr. Friedrich Ritter, an obsessive follower of Nietzsche, drags his lover Dore Strauch to an uninhabited island in the Galápagos. Living a near–Stone Age existence, they’re celebrated by visiting reporters as a new Adam and Eve. (They also left their spouses, adding scandal to the headlines.) Friedrich, the kind of cranky megalomaniac

SEATTLE WEEKLY • APRIL 16 — 22, 2014

Between the showbiz parodies of SCTV and the anchorman toolishness of Ron Burgundy, there is a missing link of media satire—missing for Americans who don’t frequent British TV, that is. This step on the evolutionary scale goes by the name Alan Partridge, a broadcast personality with a remarkably unctuous, maladroit style. As embodied in Steve Coogan’s reptilian performance, Alan combines an unshakable and unwarranted vanity with a staggering level of self-interest. He’s a man who’d gladly throw elbows in the direction of women and children who happened to stray into his path to the lifeboats. Hatched over 20 years ago as a radio character, Alan’s had his shot as a national TV host (which, among other mortifications, resulted in his killing a talk-show guest). At the present stage of his well-traveled career, he’s a DJ at a small-time radio station in Norwich. The station is about to be swallowed by a heartless media conglomerate, and Alan—true to form—does not hesitate to toss a co-worker under the bus in order to keep his own job. When the fired colleague (Colm Meaney) responds by taking the staff hostage, Alan is recruited to act as the crisis mediator—enough of a disastrous idea to offer sturdy comic possibilities. Outside his periodic revisiting of the Partridge world, Coogan has developed range. His role in The Trip showed off his aptitude for portraying the prickly complexity of a smart, needy soul (a fellow named “Steve Coogan,” bravely enough). The recent Philomena proved Coogan could be in a conventional story without sacrificing his acid touch. But Alan Partridge should keep working for years to come, so tuned-in is Coogan to the man’s toxic egotism. Undoubtedly Alan Partridge’s references will elude American viewers unacquainted with Alan’s past (especially the importance of a longsuffering assistant, played by Lynn Benfield). But in the Will Ferrell/Steve Carell era, the character of the blissfully unselfconscious dunce is familiar enough to bridge any cultural gaps; the result runs hot and cold, but thankfully without a hint of sentimentality. Coogan scripted with longtime Partridge collaborators, including Armando Iannucci (In the Loop and TV’s Veep); another veteran of UK television, Declan Lowney, directs. Wisely, they’ve made this storyline tight and contained, but it still allows Alan to show his true colors by exploiting a grave situation for his own benefit. They’ve also invented a villain (the corporate suits, not the deranged DJ) unappealing enough to make us root for Alan. That’s a dirty trick, but fear not: He retains the ability to repel even his biggest fans. ROBERT HORTON

Penis museum curator Sigurdur Hjartarson.

DRAFTHOUSE FILMS

the 2007 oil discovery in the coastal waters off Ghana to the first pumping of crude some four years later. If you’ve read Daniel Yergin’s The Prize, Big Men will be fascinating for its MBAlevel study of global petro-politics. Boynton sets a contrast between the “resource curse” of Nigeria, where corruption, graft, and insurrection in the Niger River delta are rampant, and the more open field of Ghana, its smaller neighbor to the west. Jim Musselman, CEO of Dallas-based Kosmos Energy, warns of “the Nigeria model” after tapping Ghana’s Jubilee Field, which will eventually give his Wall Street–backed company a valuation north of $4 billion. Before that IPO, however, Boynton goes deep into the weeds with her extremely well-sourced and –accessed account. Musselman and his corporate peers allow her into the boardroom; she’s ferried by helicopter to offshore drilling rigs; and she goes on ride-alongs with the AK-47-waving Desperate Underdogs militia of the Niger Delta, whose raids and pipeline attacks are more cynical than they seem. We also see the flaming well spouts and impoverished Nigerians smuggling dangerous black-market fuel for vehicles they could never afford. Politicians come and go, and Kosmos suffers its own coup d’etat. I won’t say that Boynton (Our Brand Is Crisis) shrinks from hard questions, but her terms of access keep her friendly and fair to all parties. You learn a lot from Big Men (whose producers include Brad Pitt), though not much of it is new or surprising. Should we feel more optimistic about Ghana’s petro-windfall? Is the country more tribally homogenous and stable than Nigeria? And what’s the price of oil today, as affected by events in Nigeria, Ghana, or Ukraine? Even if it lags a little behind the times, Big Men forces you to consider such questions at the pump.

» CONTINUED ON PAGE 30 29

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An event to benefit Washington Water Trust For tickets and information: www.washingtonwatertrust.org 206-675-1585 SIFF CINEMA UPTOWN 511 Queen Anne Ave N, Seattle • Happy Hour courtesy of Stoup Brewing printad4.83x3.64.indd 1

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- THE GUARDIAN

you’d expect to meet in a Werner Herzog movie, is dismayed by the publicity, which draws other settlers to Floreana. One, who imperiously calls herself a baroness and brings two younger male lovers, is a particular affront to Friedrich. Tensions among the handful of settlers lead to quarrels and feuds—and eventually the demise of three. Geller and Goldfine are not immune to speculation here; and today, the heirs to Floreana’s settlers have spun such theorizing into a cottage industry. (Come for the tortoises, stay for the murder mystery!) Given the willful eccentrics and sexual intrigue involved, plus the parade of Eden-curious visitors, a fictionalized account would’ve provided more dramatic juice here. Of course Dr. Ritter would’ve disapproved of such liberties, but the Baroness always wanted to be in the movies. BRIAN MILLER

PJoe Yes, Nicolas Cage can still act. I don’t understand why people even ask that question. Nobody counts movies like Drive Angry or Ghost Rider— I mean, not people who read newspapers. Those flicks can be ignored as cash infusions Cage

film@seattleweekly.com

A HILARIOUS 90 MINUTES.

“

A COMEDY OF SIGHT GAGS, ZINGERS, AWKWARD PAUSES AND SCADS OF WHAT COULD HAVE BEEN THROWAWAY LINES,

Cage’s hero takes a protective interest in Gary (Sheridan).

EVERY ONE A KILLER.” “ SO FUN. STEVE COOGAN GIVES A NEARLY FLAWLESS PERFORMANCE.” – Roger Moore, ORLANDO SENTINEL/MCCLATCHEY NEWS SERVICE

– Betsy Sharkey, LA TIMES

STEVEN COOGAN

ALAN PARTRIDGE IS

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EXCLUSIVE ENGAGEMENT STARTS FRIDAY, APRIL 18

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SEATTLE WEEKLY • AP RI L 16 — 22, 2014

Baroness Eloise von Wagner, the temptress.

OPENS FRI., APRIL 18 AT SUNDANCE AND OTHER THEATERS. RATED R. 117 MINUTES.

SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center

USC SPECIAL COLLECTIONS/ZEITGEIST FILMS

adventu

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8 FILMS HAPPY HOUR RAFFLE ADVENTURE

needed for his bankers, for the private Caribbean islands, French chateaux, and Ferraris. But for the rest of us there’s an enduring archipelago of quality Cage roles, from Raising Arizona to his Oscar-winning Leaving Las Vegas to Adaptation and the Bad Lieutenant reboot. Despite questionable career choices, his talent has never been in doubt, and he deploys it fully in this small, familiar Texas tale of a tormented loner and a vulnerable teen. The 1991 source novel Joe was written by the late Larry Brown, a Mississippi firemanturned-author whose Big Bad Love was filmed in 2001. Brown was very much a regionalist, a close observer of the working-class South, and the spirit of his book is certainly honored by the ever-eclectic director David Gordon Green (Prince Avalanche, Pineapple Express). (As usual, Tim Orr is his indispensable cinematographer.) Green cast many roles here from the Austin streets, which lends even more texture to the simple story of Joe (Cage) mentoring 15-yearold Gary (Tye Sheridan of Mud and The Tree of Life). An ex-con and hard-liver, Joe is kind to dogs, whores, and the all-black forestry crew he employs. When Gary begs for a job, he can see the kid needs help: Gary’s family is homeless; his mother has the vacant eyes of an addict; his little sister is mute; and his father is a violent, scary drunk. (In that role, Green cast a homeless man, Gary Poulter, who drank himself to death after filming. His implacable performance is amazing; no scene I’ve watched this year is so chilling as his slow, shuffling pursuit of another wino—two sad derelicts intent on a bottle that only one of them will drink.) Green and his players bring plenty of rural color to Joe’s old-as-parchment story: Joe butchering a deer in the middle of a kitchen; his visits to the world’s most inept brothel; his easy banter with the forestry crew (all non-pros); and the “pain-face” lesson he gives Gary (which is really just Cage showing us his methods). When Joe is shot, he dresses the wound with paper towels and electrical tape. Everyone’s down-and-out, but nobody’s complaining. A certain dignity is afforded to almost all these characters, even Gary’s father. Green never stoops to a trailertrash-Gothic treatment of Brown’s hardscrabble survivors. Says Joe of his temper, “What keeps me alive is restraint,” and restraint is what makes Cage so excellent here. BRIAN MILLER E

BY BRIAN MILLER

Local & Repertory ALTERED STATES William Hurt goes into a sensory-

deprivation tank in this 1980 adaptation of the Paddy Chayefsky novel, and he comes out quite a different man. Director Ken Russell goes relatively easy on the special effects to depict Hurt’s inner journey, as his Harvard scientist drops psychoactive drugs and embarks on a head-trip possibly back to the dawn of mankind. Fun fact: Drew Barrymore plays Hurt’s little daughter in the film. (R) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Fri. & Sat. 10 p.m. Through April 26. ARMY OF DARKNESS Before Sam Raimi started the Spider-Man franchise, before Peter Jackson’s LOTR trilogy, there were the marching skeletons and newrisen dead threatening humanity in Army of Darkness. The 1993 picture capped Raimi’s Evil Dead series with its signature mixture of humor and horror, gymnastic witches, flagrant historical inaccuracies, and a very irreverent Bruce Campbell. Handy with a shotgun or one-liner, sporting a chainsaw where his right hand should be, Campbell’s S-Mart clerk manages to offend nearly everyone—alive or dead—in a medieval England that looks suspiciously like Pasadena. Story logic matters less than action and Three Stooges-style slapstick. Campbell exudes a goofy gusto and ironjawed charisma; he and Raimi rewrite medieval history as every bored 12-year-old schoolboy wished it could be. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, April 18-22, 9:30 p.m. BACK TO THE FUTURE The first and best of Michael J. Fox’s star-making trilogy, Back to the Future (1985) has one of the more preposterous plotlines in movie history: Huey Lewis-listening ‘80s dude Marty McFly (shown to be a badass for hitching rides on trucks while on his skateboard) has a buddy who’s inventing a time machine. Shit goes haywire and Marty finds himself stuck in 1955, fending off advances from his future mom (Lea Thompson) while coaching his future father (Crispin Glover) to assert his masculinity. The memorable performances make you forget all of that, though, incredibly. (PG) ANDREW BONAZELLI Central Cinema, $6-$8, April 18-19, 7 p.m.; Sun., April 20, 3 p.m.; April 21-22, 7 p.m. BIG-SCREEN MUSICALS SEE PICK LIST, PAGE 23. FANTASTIC PLANET The band Kingdom of the Holy Sun will performa a new live score to this animated French fantasia (and drug movie) from 1973. Dancing follows the sci-fi screening, with music from DJs Mamma Casserole and Veins. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $12, Sun., April 20, 7 p.m. LOVE & AIR SEX Director Bryan Poyser will introduce this indie comedy, which has good festival buzz, about a slacker trying to win back his girl by triumphing at the Air Sex World Championships in Austin, Texas. (R) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 3249996, siff.net, $6-$11, Sat., April 19, 9:30 p.m. PULSOS LATINOS SEE THE PICK LIST, PAGE 23.

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• RED RENEWAL: SEATTLE’S SOCIALIST SPRING

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

•

• ERNEST & CELESTINE Can mice and bears be

friends? NO THEY CANNOT—which is the one thing the denizens of the above-ground bear city and the subterranean, Borrowers-style mouse city agree on in this French/Belgian nominee for the 2013 Best Animated Feature Oscar. The two are linked by mutual fear and a weirdly interdependent dental-based economy too fancifully complex to go into here. (Mice and bears, that is, not France and Belgium.) But independent-minded and (consequently) lonely Celestine, who lives in a mouse orphanage and likes to draw, isn’t afraid of bears, shocking everyone. She befriends Ernest, a grumpy and none-too-successful busker, and the two outlaws (after raiding a confectioner’s) settle down in Ernest’s cabin. The pair’s final peril, after the Bear Police and Rat Police finally catch up with them, is scary enough for kids to enjoy, but not too scary to freak out parents. (PG) GAVIN BORCHERT Varsity FINDING VIVIAN MAIER The biggest discovery of 20th-century photography was made in 2007 by Chicago flea-market maven/historian John Maloof. Vivian Maier was a nanny who died soon thereafter, indigent and mentally ill, a hoarder. Maloof bought trunks of her negatives with no idea what they contained. The revelation of those images, in a series of art shows and books, immediately placed her in the front rank of street photographers like Robert Frank, Lee Friedlander, and Garry Winogrand. But who the hell was she? Now Maloof and Charlie Siskel have directed a kind of documentary detective story about the enigmatic spinster (1926–2009). It’s an irresistible quest, as Maloof interviews the now-grown kids Maier cared for, plus a few fleeting friends and acquaintances, who had no idea of her gifts. Maier was almost pathologically secretive (“sort of a spy,” she said), but all photographers hide behind the camera. Would she have wanted her images seen by the public? Maloof conclusively answers that question. Would she have wanted his movie to be made? All her grown charges say the same: No. (NR) B.R.M. Seven Gables THE GRAND BUDAPEST HOTEL By the time of its 1968 framing story, the Grand Budapest Hotel has been robbed of its gingerbread design by a Soviet (or some similarly aesthetically challenged) occupier—the first of many comments on the importance of style in Wes Anderson’s latest film. A writer (Jude Law) gets the hotel’s story from its mysterious owner, Zero Moustafa (F. Murray Abraham, a lovely presence). Zero takes us back between world wars, when he (played now by Tony Revolori) began as a bellhop at the elegant establishment located in the mythical European country of Zubrowka. Dominating this place is the worldly Monsieur Gustave, the fussy hotel manager (Ralph Fiennes, in absolutely glorious form). The death of one of M. Gustave’s elderly ladyfriends (Tilda Swinton) leads to a wildly convoluted tale of a missing painting, resentful heirs, a prison break, and murder. Also on hand are Anderson veterans Adrien Brody, Willem Dafoe, Bill Murray, Jason Schwartzman, and Owen Wilson—all are in service to a project so steeped in Anderson’s velvet-trimmed bric-a-brac we might not notice how rare a movie like this is: a comedy that doesn’t depend on a star turn or a high concept, but is a throwback to the sophisticated (but slapstickfriendly) work of Ernst Lubitsch and other such classical directors. (R) ROBERT HORTON Ark Lodge, Big Picture, Guild 45th, Kirkland Parkplace, Lincoln Square, Lynwood (Bainbridge), Pacific Place, SIFF Cinema Uptown LE WEEK-END If a British couple making a misguided trip to Paris to save their marriage sounds like a clichéd plot, rest assured it’s not. Instead, we meet still-beautiful Meg (Lindsay Duncan) with her sculpted cheekbones and long blonde hair, and Nick (Jim Broadbent), a sweet, goofy-ish philosophy professor who confesses on the trip that he’s just been sacked from his job. From the first scene their dysfunction is evident. s Nick makes one loving overture after another, Meg’s aggravation with him—and downright cruelty—becomes increasingly palpable, even as she tries to check it. (Their push-pull dynamic is expertly rendered by the veteran team of director Roger Michell and screenwriter Hanif Kureishi, previous collaborators on The Mother and Venus.) Despite Nick and Meg’s 30-year rut and the loathsome jabs that result, there are exquisite moments of levity. Also here are unexpected moments of passion: a long kiss on the street, an almost discomfiting scene of sexual masochism. The weekend culminates at a posh dinner party thrown by Nick’s old Cambridge buddy, played appropriately neurotically by Jeff Goldblum, where both this marriage’s frailty and its endurance are beautifully, achingly captured. (R) NICOLE SPRINKLE Guild 45th

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SHOWTIMES

APRIL 18 - 24

BACK TO THE FUTURE

Fri - SUN & TUES @ 7:00PM /SUN @ 3:00PM

ARMY OF DARKNESS

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FRIDAY - TUESDAY @ 9:30 PM

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MOVIECAT TRIVIA NIGHT

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WEDNESDAY @ 7:00 PM

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GIRLS MOVIE NIGHT OUT

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26,500 FANS AND COUNTING

No ‘Guy Movies’ ...Laugh & Hang in the Lounge ...And perhaps a cocktail (or 2) The world’s only penis museum needs one last endowment “Side-splittingly funny... finds hilarity in humanity” Variety

APRIL ��–��

APRIL ��, ��, �� & �� IN ��MM GR ANDILLUSIONCINEMA.ORG �� NE ��TH STREET | ��-��

Every Tuesday Night $5.00 Admission Per Ticket* For Groups of Two or More Ladies TRANSCENDENCE UNDER THE SKIN BIG MEN JOE CAPTAIN AMERICA: THE WINTER SOLDIER IN 3D & 2D ON MY WAY DOM HEMINGWAY THE UNKNOWN DRAFT DAY KNOWN SMALL TIME THE RAID 2 *Tickets available at the box office.

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SEATTLE WEEKLY • APRIL 16 — 22, 2014

Newly elected city council member Kshama Sawant has brought socialism back to the national spotlight. Now there’s an entire film retrospective that will program titles (some still pending) looking back to our 1999 WTO protests, the great strike of 1919, and other touchstones of the left. See nwfilmforum.org for ongoing schedule. (NR) Northwest Film Forum, $6-$11, Through May 1. THE THOMAS CROWN AFFAIR This super-stylish heist movie from 1968, starring elegant Faye Dunaway and Steve McQueen, is introduced by local artist artist Mark Mitchell and SAM curator Chiyo Ishikawa. (PG) Northwest Film Forum, $6-$11, Mon., April 21, 7 p.m. GUINEVERE TURNER The actress and writer visits Seattle to talk about the pioneering lesbian rom-com Go Fish (6:30 p.m. Fri.) and the quite different American Psycho (1 p.m. Sat.), which she co-wrote with director Mary Harron. The former film is celebrating its 20th anniversary; the latter, adapted from the brutal and possibly satirical Bret Easton Ellis novel, was one of the most controversial releases of 2000. (R) SIFF Cinema Uptown, $6-$11. THE UNITY OF ALL THINGS Visiting director Daniel Schmidt will introduce this sci-fi account about physicists building a particle accelerator. (NR) Northwest Film Forum, $6-$11, Sat., April 19, 7 p.m.

Ongoing

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm

dinner & show

mainstage

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

filtering the best of

THE NORTHWEST!

WED/APRIL 16 - SAT/APRIL 19 • 2 SHOWS PER NIGHT

through the looking glass:

the burlesque alice in wonderland SUN/APRIL 20 • 7:30PM

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

w/ alialujah choir

206-441-5449

portland cello project MON/APRIL 21 • 7:30PM - 91.3 KBCS WELCOMES

juana molina w/ daniel g harmann WED/APRIL 23 • 7:30PM

simon townshend w/ j wong (Younger brother of The Who’s Pete Townshend and has performed w/ Pearl Jam, Dave Grohl and Jeff Beck) THU/APRIL 24 • 7:30PM

jose james w/ moonchild FRI/APRIL 25 • 8PM - AMERICAN STANDARD TIME PRESENTS BRENT AMAKER’S 50TH BIRTHDAY GALA!

brent amaker and the rodeo w/ the comettes & dj greg vandy

SAT/APRIL 26 • 7PM & 10PM - SQUARE PEG PRESENTS

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

craig shoemaker

next • 4/27 lady “a” presents: “sunday night gospel” • 4/29 destroyer w/ valley maker (solo) •4/30johnnyclegg•5/1-5/3rockandvaudevillefeaturinggeofftate•5/4theteaching•5/6michael nesmith • 5/7 & 8 cassandra wilson • 5/9 acoustic for oso • 5/10 lowrider band • 5/11 wishbone ash • 5/13 grant lee phillips and howe gelb • 5/14 karla bonoff • 5/15 william fitzsimmons w/ ben sollee • 5/16 the beatniks “summer of love” • 5/17 the righteous mothers w/ christine lavin

happy hour every day • 4/16 doria/flory-barnes/abouzied • 4/17 jessica fichot quartet • 4/18 the djangomatics / the hot mcghandis • 4/19 cody rentas band • 4/20 robin moxey • 4/21 crossrhythm session • 4/22 singer-songwriter showcase featuring: miss lopez & the wandering few, dan miles and the hollers • 4/23 ari joshua trio TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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4 4Record

Store Day Planner

On Saturday, April 19, Seattle record stores will celebrate the seventh annual Record Store Day with special releases and in-store events. Here are our suggestions. MORGEN SCHULER, COURTESY OF KEXP

Mudhoney, On Top: KEXP Presents Mudhoney

Live on Top of the Space Needle I’d been a photographer with KEXP for just under four years when 2013 culminated in a singular event: I was the sole photographer elected to capture Mudhoney performing live on top of the Space Needle as part of Sub Pop’s Silver Jubilee celebration on July 12. As I walked up the heavy industrial staircase that day and exited atop the Needle’s circular platform, I couldn’t believe how breathtaking the view was. I set down my camera bag near the edge to keep it out of the way, grabbed my gear, and started shooting. A few moments later it hit me: Leaving my bag so close to the edge—with no barricade to hold it back—might

flatten someone after plummeting 600 feet to the ground. I promptly moved it. The band appeared a little shaken as it warmed up both its instruments—and its courage. Then again, so did everyone else present, an assorted crew of producers, sound engineers, and DJs. It wasn’t really the surroundings that had us all so jittery, but the anxiety of being involved in a once-in-a-lifetime event; none of us knew quite what to expect, but there was a lot of pressure to capture the moment perfectly. In fact, Charles Peterson, the iconic Pacific Northwest photographer, had made an appearance up top earlier in the day just to experience it, and shortly after appeared in a helicopter buzzing around us, grabbing aerial shots of the show.

High above the city, Mudhoney still knows how to rock.

The set sounded unexpectedly awesome considering the location. There were no real acoustics to speak of, and the sound just bounced off the center pylon and needle-like antenna, but that was enough. Perhaps for fear of accidentally bounding off the Needle, Mudhoney played with restraint, but still delivered with its trademark vitality. Its 30-minute set was over after what seemed like mere seconds, and I let out a deep breath. Whether or not I’ll ever reach that cool status again, I can’t wait to hear this special release on vinyl and relive it all over again. This album is such a unique portrait of Seattle rock history, and I predict it’s going to fly off the shelves. MORGEN SCHULER

SEATTLE WEEKLY • APRIL 16 — 22, 2014

m u d h o n ey

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Store Day Planner

scot t m c c au g h ey bring in my friends to help out,” McCaughey says. Some highlights, he says, are “a 24-verse, nine-minute song about the Monkees’ Michael Nesmith” and a track called “In the Ground.” “Everyone seems to like that one,” he says. For a such a distinctive release, McCaughey

The Minus 5, Scott the Hoople in the Dungeon

of Horror When he’s not touring with Peter Buck, penning songs about America’s pastime with The Baseball Project, or reuniting with his first band Young Fresh Fellows, Scott McCaughey is working with his group The Minus 5. This Saturday, the band—a loose collective of Peter Buck, John Ramberg, Bill Rieflin, and “pretty much everybody else”—will release their ninth album, Scott the Hoopie in the Dungeon of Horror. It’s a whopper—a vinyl-only release of 57 new songs over five platters. “I haven’t put out a record in a while,” McCaughey told Seattle Weekly via phone recently. “Though I’ve been recording a lot of stuff in the basement [studio, aka the Dungeon of Horror]. I didn’t really know what the next record was going to be—whether it was going to be a psychedelic downer folk record, a pure pop record, a follow-up to the Gun Album, a noisy rock record. I got the idea ‘What if I released all of this stuff?’ I made it be all of those.”

says, “Record Store Day seemed to be the time to do it. They’ve been really cool,” he says, “allowing me to do something this ridiculous.” The price, $89, is intentional, too, he says. “It’s not expensive! I always like to have things be cheap.” GWENDOLYN ELLIOTT

j a ke bugg Jake Bugg, Live at Silver Platters EP

With a Beatles haircut, an Oasis swagger, and a Dylanesque delivery, folkie Jake Bugg was the darling of the UK press when his self-titled debut issued in 2012. He was just a teenager, and critics on both sides of the Atlantic immediately responded to the album’s urgency and authenticity. Rolling Stone declared him “fully formed,” and NME called him a “frighteningly talented songwriter”—high praise for an artist at any stage of their career, let alone one just barely out of high school.

“I got the idea ‘What if I released all of this stuff?’ ”

SEATTLE WEEKLY • AP RI L 16 — 22, 2014

the julie ruin

Above: The Minus 5. Below: the sweet set.

TOP: VIVIAN JOHNSON; RIGHT: SCOTT MCCAUGHEY

Yep Roc, the label issuing the beast, is intimately familiar with McCaughey’s process, not to mention his enduring love of pop music in its many forms (the imprint has released the work of his many projects over the years). Its site points out that 100 copies of the set “are pressed on colored vinyl that corresponds with the complex color-coded system of credits detailing the musical contributions of the many talented contributors to the project.” “Many” is putting it mildly. Jeff Tweedy, Casey Neill, Laura Gibson, Jenny Conlee, Ian McLagan, Peter Buck, Mike Mills, and Kurt Bloch represent but a fraction of the help McCaughey enlisted to assemble the project. “I always

The Julie Ruin, “Brightside”/“In the Picture”

Riot Grrl progenitor Kathleen Hanna’s battle with patriarchy has been a matter of public record since Bikini Kill’s heyday in the early ’90s. Quietly, however, the rocker has faced another battle: a series of medical complications due to Lyme disease. Confronting her diagnosis, Hanna wondered if she’d ever be able to record or tour again, but medical treatment and a true punk spirit rejuvenated the artist to record Run Fast, the 2013 LP from her new project The Julie Ruin. Mixing feminist politics, shouty vocals, and a penchant for synth squiggles, The Julie Ruin is the perfect middle ground between her punkier past and her later project Le Tigre’s dancefocused electro-rock. Eight songs from that Run Fast session didn’t end up making the cut on the

album. “They didn’t fit in with that collection of songs for whatever reason. We were trying to figure out what to do with them, and Record Store Day seemed like a good way to release our favorites on a nice little 7-inch,” drummer Carmine Corvelli says. The band is releasing a 2,000-copy run of the single that features two songs from that collection of outtakes—something Corvelli is looking forward to since he didn’t think some of the songs would ever see the light of day. “The A side is this song called ‘Brightside.’ It’s funny because every time we listen to it, we’re like, ‘Yeah, why didn’t this make it on Run Fast ?’ We all love the song, and it has a really upbeat tempo. Kathleen wrote the lyrics about overcoming health issues, anything trying to keep you down, and looking on the bright side of things.” KELTON SEARS

Bugg is a “frighteningly talented songwriter”— high praise for an artist at any stage of their career. Rick Rubin produced his follow-up, last year’s Shangri La, which injected a bit of rock into Bugg’s folk leanings, though the response to the record was less enthusiastic, even though it followed the same general template as his debut. “The songwriting here feels more evened-out, less appealingly pugnacious than it did last time,” declared the Los Angeles Times in its review. While promoting that record in January, Bugg appeared at the Silver Platters in SoDo, where he recorded the four songs on this release. The track list includes two songs from each of his records: “There’s a Beast & We All Feed It,” “Trouble Town,” “Lightning Bolt,” and “Storm Passes Away.” Though he hasn’t broken through in America as he has in the UK, this live EP is proof Bugg is working on it—he also recently appeared on American Idol at the request of judge Keith Urban. Despite expressing disdain for TV talent competitions in the past, the troubadour decided that since he’d never actually appeared on one, perhaps he should try it out. The appearance boosted sales of Shangri La by 551 percent, but it didn’t change his position. “It’s great exposure, of course,” he told Yahoo Music, “but even the people that win make one or two albums, and then they’re not seen again or heard again.” DAVE LAKE

your guide

4 4

Events and Regional Promotions Releases Selected Record Store Day Events BEATS & BOHOS, 7200 Greenwood Ave. N., 395-4468.

20 percent off records.

EASY STREET RECORDS, 4559 California Ave. S.W.,

Silver Platters EP (12inch vinyl and CD, 1,500 copies) See our story on page 34. BUILT TO SPILL, Ultimate Alternative Wavers (12-inch, 5,000 copies) The debut album from Doug Martsch’s beloved cult band gets reissued for the first time on vinyl (with 500 pressed on special green wax for Pacific Northwest stores). DEATH CAB FOR CUTIE, Live 2012 (double LP, 4,000 copies) a limited-edition album highlighting the band’s 2012 tour with San Francisco’s Magik*Magik Orchestra. HEAVENS TO BETSY, Calculated (12-inch, 1,000 copies) Heavens to Betsy’s only studio album, out of print on vinyl for over five years, gets a much-deserved reissue. JIMI HENDRIX, Live at Monterey (12-inch, 6,000 copies) A reissue of the guitar hero’s classic ax-burning performance at 1967 Monterey Pop Festival. THE JULIE RUIN, “Brightside”/”In the Picture” (7-inch, 2,000 copies) See our story on page 34. DAVE MATTHEWS BAND, Live Trax Vol. 4 (four-LP colored-vinyl box set, 2,000 copies) If you’d rather be at a Dave show, this is for you. THE MINUS 5, Scott the Hoople in the Dungeon of Horror (five-LP box set, 750 copies) See our story on page 34. MUDHONEY, On Top KEXP Presents Mudhoney Live on Top of the Space Needle (LP, 2,700 copies) See our story on page 33. NIRVANA, “Pennyroyal Tea”/”I Hate Myself and Want to Die” (7-inch, 6,000 copies) According to recordstoreday.com, the original plans for the release of this single were cancelled “due to Kurt Cobain’s death.” THE NOTWIST, Run Run Run (12-inch, 1,770 copies) Two remixes, one new track, and a song from the band’s latest album, Close to the Glass. PISSED JEANS, The Very Best of Sub Pop 2009–2013 Live at the BBC EP (12-inch, 3,000 copies) Four tracks from Honeys and King of Jeans. SOUNDGARDEN, Superunknown The Singles (10-inch vinyl five-record set, 3,500 copies) Singles and B-sides to celebrate the 20th anniversary of Superunknown. THE SONICS/MUDHONEY, “Bad Betty”/”I Like It Small” (split 7-inch, 1,000 copies) Side A: a new song from these eduring Northwest rockers (no, not “Black Betty”). Side B: a righteous track from Mudhoney’s newest album, Vanishing Point. SUNNY DAY REAL ESTATE/CIRCA SURVIVE, “Lipton Witch”/”Bad Heart” (split 7-inch, 2,500 copies) First new song from Sunny Day since 2000. CHAD VANGAALEN, I Want You Back (7-inch, 2,300 copies) Four all-new tracks with artist-contributed cover art.

SEATTLE WEEKLY • APRIL 16 — 22, 2014

938-3279, easystreetonline.com. Rose Windows, call for set time. EVERYDAY MUSIC, 1520 10th Ave., 568-3321, everydaymusic.com. Store opens at 8 a.m. In-store lineup featuring Mega Bog, noon; Pitschouse, 1 p.m.; DJ Dracco Posse, 2:30 p.m.; DJ Veins Tomten, 4:30 p.m.; Raica Afrocop, 6:30 p.m.; New Weather, 7:30 p.m.; Master of Musicians of Bukkake, 8:30 p.m. GEORGETOWN RECORDS, 1201 S. Vale St., 762-5638, georgetownrecords.net. Presented by The Recording Academy–Pacific Northwest Chapter, Steve Fisk and Jack Endino discuss the 10 albums that shaped their understanding of music and inspired their careers as producers. 7 p.m. DJ set by Sub Pop Records cofounder Bruce Pavitt to follow. HOLY COW RECORDS, 1501 Pike Place Hillclimb Walk, 405-4200. Offering RSD releases and 20 percent off most regular inventory. JIVE TIME RECORDS, 3506 Fremont Ave. N., 632-5483, jivetimerecords.com. All used vinyl and CDs 25 percent off; all new vinyl and accessories 10 percent off. Free limited-edition hand-screened poster or T-shirt with qualifying purchases. LIGHT IN THE ATTIC RECORD SHOP, 913 N.W. 50th St., lightintheattic.net. Open 9 a.m.–5 p.m. Carrying Light in the Attic albums plus a number of other RSD titles, including releases by Nirvana, Velvet Underground, and Notorious B.I.G. PORCHLIGHT COFFEE AND RECORDS, 1318 E. Pike St., 329-5461, porchlightcoffee.com. Turntables 20 percent off. RADAR HAIR & RECORDS, 2724 First Ave. S., 402-4549, radarhairandrecords.com. All records 20 percent off. SILVER PLATTERS SODO, 2930 First Ave. S., 2833472, silverplatters.com. In-store lineup featuring performances recorded by Lively and available in the Lively app (getlive.ly) for free. Goodbye Heart, 12:30 p.m.; V. Contreras, 1:45 p.m.; Jon Langford, 3 p.m.; Hobosexual, 4:30 p.m. SILVER PLATTERS NORTHGATE, 9560 First Ave. N.E., 524-3472, silverplatters.com. Hans Brackmann of Definitive Audio, 9 a.m.–noon; Shining, 3 p.m. Both Silver Platters locations are giving away three-day passes to Sasquatch! SINGLES GOING STEADY, 2219 Second Ave., 441-7396. Releasing boxes of “special” used records it’s saved for Record Store Day. SONIC BOOM RECORDS, 2209 N.W. Market St., 2972666, sonicboomrecords.com. St. Paul and the Broken Bones, 6 p.m. (also recorded by Lively). Special limited RSD Sonic Boom T-shirt designed by Randy Fung, $12.99. Raffle prizes including test pressings and posters from Flaming Lips, Johnny Cash, Regina Spektor, Mastodon, and more. Shopping bags and more giveaways courtesy of recordstoreday.com and Thinkindie. Additional discounts available at participating Ballard shops for anyone who bears a Sonic Boom RSD receipt. SPIN CYCLE, 321 Broadway Ave. E., 971-0267. Opens at midnight. TIME TUNNEL RECORDS, 14911 Ambaum Blvd. S.W., 243-1579. $1 off any record. ZION’S GATE, 1100 E. Pike St., 568-5446. Carrying multiple RSD titles along with other sales.

JAKE BUGG, Live From

El Corazon www.elcorazonseattle.com

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

WEDNESDAY, APRIL 16

LION I AM with We Rise The Tides,

I, Assailant, We The Audience, Avoid The Void and VIS Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

THURSDAY, APRIL 17

DIRECT DIVIDE (CD RELEASE) with Jamie Nova and Monkey Hill Doors at 8 / Show at 8:30PM 21+. $8 ADV / $10 DOS

THURSDAY, APRIL 17 Mike Thrasher Presents:

THE SILVER PALMS

with Abraham, plus guests. Lounge Show. Doors at 8 / Show at 9PM 21+. $8 ADV / $10 DOS

FRIDAY, APRIL 18 Mike Thrasher Presents:

SEVENDUST (ACOUSTIC) Doors at 8 / Show at 9PM 21+. $22 ADV / $25 DOS

arts&culture» Music

SevenNights E D I T E D B Y G W E N D O LY N E L L I O T T

SATURDAY, APRIL 19 Mike Thrasher Present:

THE DILLINGER ESCAPE PLAN

with Trash Talk, Retox, Shining and Grenades Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $20 ADV / $23 DOS

SUNDAY, APRIL 20 Oso Benefit Show featuring:

THE PEOPLE NOW with Eight53, Hardwired, TerraNova, PYP and Foster Choir. Doors at 6 / Show at 6:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS

SUNDAY, APRIL 20

GLOOMSDAY with Twin Curse, The Bend and Gliceryn Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, APRIL 21 El Corazon & Mike Thrasher Present:

PEELANDER Z

with L’Orchestre D’Incroyable, Abducted By Sharks and Ice Teeth. Lounge Show. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS

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Wednesday, April 16 DIANA KRALL The jazz chanteuse (Elvis Costello’s bet-

ter half) released Glad Rag Doll in 2012, a collection of surprisingly contemporary jazz tunes. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org/paramount. 8 p.m. $46–$96. SEATTLE WEEKLY STAFF It’s been a decade since Montreal duo CHROMEO debuted with She’s in Control, and (soon to be) four albums later, the pair is still dazzling listeners with its seductive brand of electro-funk. On the forthcoming White Women, which features Toro y Moi, Solange, and Vampire Weekend’s Ezra Koenig, David Macklovitch and Patrick Gemayel take their trademark party-starting synth grooves up a notch. With TOKiMONSTA. The Showbox, 1426 First Ave., 6283151, showboxonline.com. 9 p.m. SOLD OUT. All ages. AZARIA C. PODPLESKY BLACK LABEL SOCIETY finally dropped its much-anticipated studio album, Catacombs of the Black Vatican, this month (and surely Zakk Wylde said Valhalla Java Almighty!). Over the past 15 years, the band has produced some of the best metal this side of Sweden, and Vatican proves yet again why these dudes are considered gods of the genre. With Devil You Know, Butcher Babies. Showbox SoDo, 1700 First Ave. S., 628-3151, showboxpresents.com. 8 p.m. $35. CORBIN REIFF

Thursday, April 17

THE MEN pick up where the Replacements left off, play-

ing sweaty, rickety punk rock that bridges country twang and post-punk tenacity. The band’s music is always in the moment, releasing an album a year for the past five years. It’s never clear what The Men will do next, but it tends to come with a grimy twist. With Gun Outfit, Lures, Moldy Castle. Chop Suey, 325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $12. 21 and over. DUSTY HENRY To warm up for the release of its debut, VAUDEVILLE ETIQUETTE played a show covering the music of Fleetwood Mac earlier this year, earning some complimentary comparisons. Tonight the band celebrates the release of that album, Debutantes & Dealers—which is actually a lot more roots than Rumors, with some neo-folk “hey hey”s mixed in for good measure. With Send events to music@seattleweekly.com. See seattleweekly.com for full listings.

Tango Alpha Tango, Lotte Kestner. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 9 p.m. $12. MARK BAUMGARTEN The Gaelic anarcho-punks in OI POLLOI have been rallying against fascists for 30 years, with a more acute eye for politics and equal rights than most of their ’80s UK compadres—and they’ve never played Seattle. With Wartorn, Vindictive, Death Raid. The Highline, 210 Broadway Ave. E., 328-7837, highlineseattle.com. 9 p.m. $10 adv./$12 DOS. 21 and over. DAVE LAKE A GOOD MIXER: BRITPOP DANCE PARTY Why did Britpop have to end? The British arm of the ’90s alternative outbreak, the movement fashioned itself as a continuation of the English guitar pop of the ’60s and ’70s, its sense of style and playfulness set in relief against America’s overserious, underdressed grunge moment. In a word, it was “fun”—though certainly prone to some self-seriousness. So this night, scheduled to celebrate the 20th anniversary of Britpop’s emergent moment—the release of Blur’s scene-defining album Parklife and Pulp’s major-label debut His ’N’ Hers—looks to be a lot of fun, with an Oasis-inspired unibrow contest, karaoke, and a dance party DJed by an all-star cast including Erik Blood and Kurt Bloch. Be sure to practice your Jarvis Cocker dance moves. They will be needed. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. 8 p.m. $8. MB THE INFAMOUS STRINGDUSTERS This pop bluegrass ensemble recently released Let It Go. With the Boston Boys. The Neptune, 1303 N.E. 45th St., 682-1414, stg presents.org/neptune. 8 p.m. $17.50 adv./$19 DOS. SW After being rescheduled due to work-visa issues, Birmingham, England’s GODFLESH are finally making it across the pond. The highly influential industrialmetal duo has been at it since 1988, and is reportedly finalizing May release plans for its next record, its first since 2001’s Hymns. With Cut Hands, House of Low Culture, La Fin Absolute du Monde. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $25 adv. 21 and over. JAMES BALLINGER

Friday, April 18

Local psychedelia by way of Texas—where the Austin Psych Fest has embraced the band—NIGHT BEATS play basement trance rock; it’s reverb-laden, muffled, and delivered with sass, grit, and a disintegrating beat that demands that you dance. Last September’s Sonic Bloom is filled with mind-bending revelations that can warp the walls of a small club like LoFi. With Cosmonauts, The Pharmacy, Black Sea. 9 p.m. $10. MB Fading West perfectly encapsulates SWITCHFOOT, despite being more of an organic pop effort than previous releases. Fading was inspired by the band’s 2012 world tour, which was chronicled in a documentary of

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t’s rare to have tremendous success in the arts, let alone twice and in two different disciplines. But that’s just what Argentina’s Juana Molina has done. She may not be a household name here, but in Latin America she is widely known for her roles on several late ’80s and early ’90s television comedies. Since then, however, she has reinvented herself as a singer/songwriter— not as a puppet in some kind of major-label marketing scheme, but through her unique musical vision, which has earned her critical praise and comparisons to well-respected artists like Björk and Beth Orton. Her latest album, Wed 21, is rich with textures, loops, and hallucinations, a patchwork of sounds and moods that The New York Times says “perches on the edge of delirium.” The dreamlike quality of her compositions is largely based on the way she creates them. “I usually get hypnotized by some sequence of chords, or even just one chord that I arpeggiate on the guitar,” she recently told Seattle Weekly via Skype from her Buenos Aires home. “I get abducted by that sound, and I can play that for hours and hours and hours.” She estimates that about 85 percent of the album is based on these spontaneous moments. “I know it sounds like a cliché, but I feel like I am guided somehow. I feel that it’s the instruments or the sounds that tell me what to do with them.”

Saturday, April 19

STAR ANNA This performance comes near the end of

the Blue Moon Tavern’s two-week celebration of its 80th anniversary. If you’ve missed the others, don’t worry; this is the show to see. Star Anna’s country balladry is as beer-soaked and filled with heartache as the tavern’s walls. She also happens to be just as resilient as the old bar, soldiering on through her split

“A talented, charismatic player who is almost single-handedly reviving interest in the violin as a jazz instrument.” - Los Angeles Times

Despite her songs’ complex arrangements, Molina tries to keep her live show organic. “I’ve been fighting against having a computer onstage since the beginning,” she says. “I prefer to rely on things that won’t crash.” Her upcoming Triple Door show will be her first Seattle appearance since 2009, and she’s playing just a handful of U.S. dates before heading to Europe in May. She prepared for these by playing the inaugural Brazilian Lollapalooza. “[I went on] early because you had these huge monsters playing. I couldn’t play after Nine Inch Nails,” she laughs. “They were out of this world, by the way. They blew my mind away.” With Daniel G. Harmann. The Triple Door, 216 Union St., 838-4333, thetriple door.net. 7:30 p.m. $20 adv./$25 DOS. DAVE LAKE

with backing band the Laughing Dogs and putting out her strongest album yet, Go to Hell. With Blackheart Honeymoon. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 9:30 p.m. $10. MB After growing restless musically, CATALDO’s Eric Anderson decided to pair his brainy lyrics—for example gems like “Noli me tangere, motherfucker”—with newfound pop sensibilities. The resulting album, Gilded Oldies, serves as a new beginning for Anderson and crew. Its solid danceability comes from stark drum beats, bright acoustic riffs, and warm vocal melodies. With Arkomo, Jason Dodson. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater. com. 9 p.m. $8 adv./$10 DOS. 21 and over. ACP Hip-hop duo THE UNDERACHIEVERS may hail from Brooklyn, but its abstract sound channels West Coast hyphy and Chi-Town soul. While MCs AK and Issa Gold aggressively trade bars, tripped-out, swooning beats keep the atmosphere cool and soothing. The act’s oldschool flavor belies the fact we’re living in the digital age. With Denzel Curry, Dillon Copper, Azizi Gibson. The Crocodile. 8 p.m. SOLD OUT. 21 and over. DH Those lucky enough to see the DILLINGER ESCAPE PLAN in the late ’90s know that very few bands come close to the intensity of those early performances. Chaotically fusing jazz, metal, and prog, DEP has always been at the forefront of heavy music, practically creating its own genre. After replacing original vocalist Dimitri Minakakis with Greg Puciato, the band’s ensuing record, Miss Machine, was a gamechanger in extreme music. Ideas were fleshed out and more melodic, causing some fans to turn on the band. Since then, DEP has gone through several other lineup changes while losing little vitality. Last year’s One of Us Is the Killer, the band’s fifth LP, stands among some of its best work to date. With Trash Talk, Retox, Shining. El

FRED HERSCH TRIO TUES, APR 29 - WED, APR 30

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the same name. Jon Foreman’s lyrics are as thoughtprovoking as ever, and remind listeners that you can still find hope in rock & roll. With The Royal Concept. The Showbox. 8:30 p.m. $25 adv./$28 DOS. All ages. BRIAN PALMER DA MAFIA 6IX Five of the original Three 6 Mafia members (alas, no Juicy J or Project Pat) have reunited to honor their former bandmate, the late Lord Infamous. The new project, which was encouraged and supported by fans, keeps the hits alive, while new material moves toward a more EDM-influenced sound. With The Menace, guests. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 8 p.m. $15 adv./$17 DOS. MICHAEL F. BERRY All sorts of feelings will be had tonight as endings and beginnings collide in a big swirling goop of all-ages goodness. US ON ROOFS have sadly declared this its last show. Conversely, the band formed in the wake of Nude Pop’s demise, Mallows, have declared this its first show. The all-ages Lord giveth, and the allages Lord taketh away. The night also sees Special Explosion ride home from a massive nationwide tour for the hometown release party of The Art of Mothering EP. With Seacats. Vera Project, 305 Harrison St., 956-8372, theveraproject.com. 7:30 p.m. $10. All ages. KELTON SEARS

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Corazon, 109 Eastlake Ave. E., 262-0482, elcorazon seattle.com. 7:15 p.m. $20 adv./$23 DOS. All ages, bar with I.D. JB SNOOP DOGG is pleased with Washington. With the passage of I-502, Snoop Lion is bringing his 4/20-inspired “Wellness Retreat.” It’s worth noting that opener Wiz Khalifa is one of the two people, Snoop has said on record, who have outsmoked him. (The other is Willie Nelson.) Contact high included with price of admission. WaMu Theater, 1000 Occidental Ave. S., 381-7555, centurylinkfield.com/wamu-theater-booking. 9 p.m. $47.50. All ages. DH

Sunday, April 20

This year marks the 25th anniversary of The Great Adventures of SLICK RICK, a masterpiece of hip-hop storytelling. Rick’s charismatic charm, conversational flow, and clever punch lines made him one of the game’s most influential MCs, despite the legal problems that may have stifled his output. With Fearce Vill, Thaddeus David, DJ Kun Luv. Neumos. 8 p.m. $20 adv. MFB DARK STAR ORCHESTRA continues its popular program of Grateful Dead songs. On 4/20, naturally. The Showbox. 8 p.m. $25–$30. SW THE TEMPTATIONS Motown’s popular R & B group has retained just one original member, Otis Williams, but the new configuration still delivers with soul and continues to record, releasing Still Here in 2010. With the Four Tops. Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino.com. 7 p.m. SOLD OUT. SW Any thought that the PORTLAND CELLO PROJECT was just some sort of gimmick has long been dispelled. Seven years in, the Project continues to grow under the stewardship of Douglas Jenkins, its showmanship growing along with its vast and diverse catalog, which

raising acts—like CavityFang, a band with three different drummers, and King Tears Bat Trip, a guitar-only group that tunes all its strings to the same note. As time marches on, the lines between specific music genres grow increasingly blurry. Rappers sample rock; country artists regularly incorporate disco drumbeats into their songs. Jazz is not immune to these nascent shifts. By embracing the new and the weird, the festival in Ballard is positioning itself as a can’t-miss event for fans of all music and a vital bridge to the future vitality of jazz itself. See ballardjazz festival.com for complete lineup and venue details. Single tickets $12 and up, festival passes $100–$250. CORBIN REIFF

numbers more than 800 songs at this point, including everything from Bach to Britney. For this performance, the Project will play with fellow Portland group Alialujah Choir, featuring members of Weinland, Norfolk & Western, and M. Ward. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20–$28. MB

Monday, April 21

If the Mighty Morphin Power Rangers formed a band, it would probably turn out like PEELANDER-Z. The prime directive: bringing smiles to Earth. The band’s latest release sees it moving in a different direction from its earlier comic-book punk to gleefully channeling ’80s heavy-metal bands. With L’Orchestre D’Incroyable, Abducted by Sharks, Ice Teeth. El Corazon. 8 p.m. $12 adv./$15 DOS. MFB

Tuesday, April 22

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Prodigy and Havoc have put their differences aside. Just as they did after 1993’s forgettable Juvenile Hell, the pioneers of East Coast gangsta rap have again rebooted their approach, mixing a mature perspective with the straight street talk that made them legends. With LA (Language Arts), Cam the Mac, DJ Swervewon. Crocodile. 8 p.m. $18 adv. MFB 21-year-old spitfire Alex Kandel brings a lot of attitude to SLEEPER AGENT, the Kentucky pop-rock sixpiece she fronts with singer/guitarist Tony Smith. On March’s About Last Night, her voice ranges from raspy to folky to as in-your-face as her multicolored hair. Throw in a musical sugar rush, and Last Night is an instant favorite for pop-rockers young and old. With HOLYCHILD, Pagiins. The Showbox. 7:45 p.m. $12 adv./$14 DOS. All ages. ACP

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Free Estimate Employment General MARKET DEVELOPMENT COORDINATOR Sound Publishing, Inc. is seeking a Marketing Development Coordinator to research, plan and implement market programs throughout the organization. This position acts as a consultant and resource to Sound Publishing’s National/Regional Advertising Sales team and senior-level management; and is responsible for developing and implementing brand, market, and account specific sales and marketing presentations. The successful candidate will bring extensive marketing/advertising experience in the print and/or digital media industry. Must be proficient in InDesign, Photoshop, Illustrator, Acrobat Pro, Microsoft Word, Excel, PowerPoint and html5; have the ability to communicate effectively; possess excellent presentation skills as well as basic math and English skills. Candidate will also be a problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. Position requires a Bachelor’s degree in Marketing or related field and three to five years of marketing/brand experience. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com NO PHONE CALLS PLEASE.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

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Seattle Weekly, part of the Sound Publishing group, is looking for a dynamic candidate to manage creative services operations. This is a FT, Salaried position and the 40 hour per week schedule will vary, Mon-Fri. The position oversees the process that insures all display ads run when and as ordered; and that ad proofs are delivered/transmitted to customers and sales consultants as requested. Would coordinate with the Editor for page production and assist the Publisher with any marketing tasks/projects. Position requires knowledge of Macintosh computers and Adobe CS3 applications (InDesign, Photoshop, Illustrator, Acrobat.) Also requires working knowledge of basic and advanced design concepts, attention to detail and followthrough, excellent communications and customer service skills; and the ability to work well under deadline pressure. Newspaper or other media experience is preferred. Sound Publishing offers competitive salaries and benefits including healthcare, 401K, paid holidays, vacation and sick time. Qualified applicants should send a resume, cover letter, and a few samples of your work to: hreast@soundpublishing.com or mail to: Sound Publishing, Inc., 19426 68th Avenue S., Kent, WA 98032 ATTN: HR/CSMSEA Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Visit our website at: www.soundpublishing.com to find out more about us!

Employment Professional Engagement Manager positions available with McKinsey & Company, Inc. in Seattle, WA. Lead teams of consultants to resolve complex business problems for a variety of clients in a variety of industries. Direct, plan & implement the approach & objectives for the entire engagement/study & dvlp communication strategy for clients. Confer with clients to set strategic direction of consulting engagement. Min ed req’s are a Master’s in Bus Admin, Fin, Econ, or non-business advanced degree. Applicants for these positions must have 1 yr exp as an Associate-level management consultant with a major top-tier int’l management consulting firm. Domestic & international travel typically required. Destination & frequency impossible to predict. Email your resume to CO@mckinsey.com and refer to ST0420. No phone calls please. An EOE

Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

Real Estate for Sale King County

Carnation Luxury 2 Story! 4 Bdrms 3 Baths, 3492sqft, Huge Garage. FHA & 203K Eligable. $485,000. 425-7667370; Realty West 206650-3908 LESCHI View Home Only $599,900 3 Bedrooms, 2 Baths, 2240sqft + Garage. Totally Renewed. Realty West 206-570-7672

Real Estate for Sale Duplexes/Multiplexes AUBURN

“BEST, BEST BUY 7-Plex”. $749,000. Private Horse Acre Rambler Style Units. 2 Bedroom, 1 Bath + Garages + Fenced Yards. Rents: $995/ Month Each. Onsite Manager + Handyman/ Groundskeeper. Owner Agent Jeanette, 425-392-5300 (DO NOT DISTURB TENANTS, PLEASE) 802 21st Street SE, Auburn Real Estate for Rent King County KENT

2 BEDROOM, Covington area. No pets, no smoking. Private drive. Washer, dryer, wood burning stove. $1,195 month includes water. 1 year lease. 253-631-2226 Apartments for Rent King County Commercial space avail perfect for office. 880sqft. Rent $1,760 + NNN. Call (206) 441-4922 Daniel University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169

WA Misc. Rentals Want to Share TUKWILA

HOME SHARE $460 / MO. Your own private living room, bedroom, bath, sink, fridge, counter area plus free TV. Private entrance also. View & private off street parking place. Laundry on-site. Lg quality home. Employed with steady income, references & deposit req. No smoking/ pets. One adult only. Call evenings 206-2464700 206-243-4171. Announcements

NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180

Garage/Moving Sales King County MERCER ISLAND

HOUSEHOLD ITEMS Including a portable air conditioner, hanging outdoor space heater, art work and more! Saturday, April 19th From 10am-4pm 7238 92nd Ave SE

Announcements KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO.7902-01 TAKE NOTICE: That Sound Transit - Northgate Link Extension - Maple Leaf Portal (Phase 2) located at 1st Avenue NE And NE 95th Street, Seattle, WA 98115 has filed an application for an industrial waste discharge permit to discharge contaminated stormwater, concrete curing wastewater, construction site groundwater dewatering, and equipment wheel washing into West Point from its construction dewatering operation in the amount of 763,000 gallons per day following treatment and inplant control and in compliance with rules and regulation of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency. The approximate point of discharge is 1st Ave NE and NE 95th Street, Seattle, WA 98115. Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on the iapplication, should notity the King County Industrial Waste Program at 130 Nickerson Street, Suite 200, Seattle, WA 98109, in writing, of their interest within 30 days of the last date of publication of this notice. Publication dates of this notice are: April 16, 2014 April 23, 2014 Market Research Analyst Should gather information and analyze & forecast marketing, sales trends; BS in business or related filed Req’d. Resume to B & B Dental Ceramic Arts, Inc. 1525 N. 4th St. Renton, WA 98057

Firewood, Fuel & Stoves

NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx

A+ SEASONED

FIREWOOD

Dry & CustomSplit Alder, Maple & Douglas Fir Speedy Delivery & Best Prices!

425-312-5489

SEATTLE WEEKLY • APRIL 16 — 22, 2014

DS ELECTRIC Co.

Lic/Bond/Insured

Home Services Lawn/Garden Service

Vina Sauna

Home Services Electrical Contractors

Lead Generator for The Tree Industry Classified @ 206-623-6231, to place an ad

Call Appliances AMANA RANGE Deluxe 30â€? Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept. 206-244-6966 KENMORE FREEZER

Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,

interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293. Credit Dept. 206-244-6966

KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept. 206-244-6966 NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Dingâ€™s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966

REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available

UNDER WARRANTY!

was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo. Credit Dept. 206-244-6966 STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles. Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month

%206-244-6966%

Yard and Garden

BLACKBERRY

& BRUSH REMOVEL 4HAULING 4EXCAVATION 4BACKHOE & 4BOBCAT WORK 4Lot Clearing HConcrete, Asphalt Removal HStump Removal HSmall Bldg Demolition HLandscaping Services

Residential/Light Comm

253-261-0438

lic#garricl956cq,bonded,ins

Auto Events/ Auctions Abandoned Vehicle Auction City Wide Towing 14045 Midvale Ave. N. Seattle, WA 98133 April 25th, 2014 11AM Preview at 8am 2000 Saab 93 1998 VW Beetle 2000 VW Beetle 1994 Plymouth Voyager (206) 364-7070

ABANDONED VEHICLE AUCTION Saturday 4/19/14 Preview 9:00AM Auction 10:00AM A-Seattle Towing, LLC 13226 1st Ave S. Burien 206-856-1388 www.towseattle.com

AM-PM TOWING INC

Abandoned Vehicle AUCTION!!! 04/18/14 @ 11AM 1 Vehicle

1991 LEXUS

ES25 041YTM

Preview 10-11AM 14315 Aurora Ave N.

ADOPTION Devoted, nurturing, loving gay couple in Seattle, looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support. Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com

HAPPYHAULER.com Debris Removal â€˘ 206-784-0313 â€˘ Credit Cards Accepted! HomeWell Senior Care Franchising is growing! Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

WWW.KIRKLANDGOLDBUYER.COM Seasonal Allergies? Are you allergic to Pollen, Weeds, Food or have other allergies? Earn $100 for each qualified plasma donation. Call Today! 425-258-3653

Work Outdoors In high end neighborhoods setting Free Estimate Appointments with Homeowners. Help create awareness about proper trimming and maintenance of Trees & Shrubs to keep them safe and healthy. Set your own schedule. Most reps work 25-35 hours a week. Average Reps are earning $500-$750/ week and Top Reps are earning up to $1,500/ week setting appointments. Training, Flyers and Company Apparel Provided. Travel, Medical and Cell Phone Allowances Available. Must have Vehicle, Driverâ€™s License & Cell Phone to be considered.

Corporate Office: 509-227-7410 ext. 3304 or 3308 Apply online at www.tlc4homesnw.com

www.plasmalab.com

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

10338 Aurora Ave N, Seattle

DANCING BARE Âť HOT BABES & COLD DRINKS ÂŤ

$100 TO $1000

HAPPY HOUR MONDAY p Â˝ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY pÂ˝ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p Â˝ OFF DOOR* MILITARY FRIDAY pÂ˝ OFF DOOR* *I.D. Required

ALL STAR TOWING

Select from a variety of DVDs, Mags, and Toys. Buy, Sell, Trade!!!! Ask Clerk for details about how you can save $$$ on your next purchase.

7 Days * 24 Hours Licensed + Insured

425-870-2899

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Career Education

HEALTH CARE GRADUATE AND BE JOB-READY IN * LESS THAN

1YEAR

CALL TOLL-FREE TODAY!

1-888-425-7102

Apply online at www.StartEverest.com

American Liberty Adult Store

www.seadancingbare.com OPEN MON-SAT: 11AM - 2:30AM & SUN 2PM - 2:30AM

AD PROOF:

(JB)

Proof Due Back By: 4/3 12pm Ad #: P31593-f-10528-2x3 Deadline To Pub: 4/4 10am First Run: 4/9/2014 Publication: Seattle Weekly Section: Back Cover Specs: 2.33x2.69

T Approved as is. T Approved with revisions. T Revise and resend. Initial _________ Date __________

3 LOCATIONS: #SFNFSUPO t 4FBUUMF t 5BDPNB *Some programs longer than one year. Programs and schedules vary by campus. For more information about our graduation rates, the median debt of students who completed the program and other important information, please visit our website at www.everest.edu/disclosures.

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