Seattle Weekly, April 23, 2014 by Sound Publishing

APRIL 23-29, 2014 I VOLUME 39 I NUMBER 17

SEATTLEWEEKLY.COM I FREE

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inside» April 23–29, 2014 VOLUME 39 | NUMBER 17

» SEATTLEWEEKLY.COM

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news&comment 5

SENATE SURPRISE

BY MATT DRISCOLL | Rodney Tom’s

sudden departure was one shake-up; deciding who’s running for his seat was another. Plus: a legislator’s patriot games; and what’s in store for the waterfront, the Mariners, and our ex-interim police chief.

10 THE GONDOLIERS

BY ELLIS E. CONKLIN | The Griffith

family’s fanciful plan to add another mass-transit system downtown— high overhead.

food&drink 17 GRAPE SUCCESS

BY ZACH GEBALLE | The scope of

Washington’s wine industry is great for drinkers, but challenging for marketers. 16 | FOOD NEWS/TEMP CHECK 18 | VORACIOUS AWARD WINNERS

arts&culture 19 FOUR WOMEN

BY BRIAN MILLER | At the Henry,

male artists are outnumbered for once. 20 | THE PICK LIST 22 | OPENING NIGHTS | Time travel,

a recession tale, and a musical about Ernest Shackleton. 23 | PERFORMANCE/EAR SUPPLY

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 Staff Photographer/Web Developer Morgen Schuler Photo Interns Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins

OPENING THIS WEEK | Two docs

Senior Account Executive Krickette Wozniak

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Account Executives Peter Muller, Brett Leverett

28 MUSIC

Jake Shimabukuro takes the ukulele to new heights. Plus: a pop phenom with an amazing voice, a sideman debuts in two media, and HiWaBlaMaBa’s inking game. 28 | SEVEN NIGHTS 34 | CD REVIEWS

odds&ends 35 | CLASSIFIEDS

»cover credits

COLLAGE BY KAREN STEICHEN

Classifieds Account Executive Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976. MAIN SWITCHBOARD: 206-623-050 0 CLASSIFIED ADVERTISING: 206-623-6231 RETAIL AND ONLINE ADVERTISING: 206-467-4341

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news&comment

Sea Change

A Quick Guide to the Future Waterfront

With Rodney Tom out, Joan McBride’s Senate hopes soared. Then Habib happened.

BY ELLIS E. CONKLIN

BY MATT DRISCOLL

ertha’s lousy tunnel vision notwithstanding, the Alaskan Way Viaduct, our deteriorating double-decker dud, will one day soon come rattling down, setting the stage for the long-awaited transformation of Seattle’s central waterfront. Now, the question looms: Will it be as chintzy and phony as the gooey slime from Mars at Ye Olde Curiosity Shop on Pier 54, or will it be something authentic and grand, as inspiring as that afternoon in May 1908 when 16 U.S. Navy battleships from Teddy Roosevelt’s Great White Fleet laid anchor in Elliott Bay?

What’s happening?

MORGEN SCHULER

Before announcing her intention to challenge Rodney Tom in February, Joan McBride served two terms as Kirkland’s mayor.

she believes it makes sense. A Yale grad and Rhodes scholar, Habib is seen as a rising Democratic star. He and his state House colleague in the 48th, Ross Hunter, were approached about challenging Tom more than a year ago, but both decided against it. Back then, McBride was the only Democrat who wanted the fight. But with Tom out, Habib’s bigger name is thought to better assure victory in an iffy district. “I get it,” McBride now says. “When an incumbent decides to step down, that creates an open seat,” Habib says of his decision to jump in the race, simplifying things considerably. He says the decision was reached after “a series of conversations” with McBride. Predictably, King County Democrats— through Chair Karl de Jong—say both Habib and McBride are strong, reputable candidates, and they’re happy to have them both running in the 48th. Avoiding a head-to-head confrontation between the two is a best-case scenario for the party. Habib assures voters he’s endorsing McBride for the House “100 percent,” saying he’s “very, very excited that we’re going to have a chance to work together” in Olympia—assuming they’re both elected. McBride insists she’s at peace with the move. “This is the best thing to do for the party,” she says, citing Habib’s one term of experience and the fact that she can operate as more of a progressive in the solidly Democratic House. “I

actually think this is a brilliant idea. . . . I want to go to Olympia. I don’t care what my title is.” That’s not to say the move doesn’t have its critics. Some see the switch as business as usual for the good ol’ boys in Olympia, with a male legislator stealing the thunder of a female Senate hopeful. It’s a chord struck by state GOP party chair Susan Hutchison; a statement issued following Habib’s announcement accuses the one-term Democrat of pouncing on a “perceived opportunity” and “seeking to throw yet another woman Democrat under the bus.” “I don’t think blind Iranian-Americans are your typical good ol’ boys,” says Habib, somewhat dismissively. Still, as next month’s filing deadline approaches, it’s a theme you can expect to hear more of as Republicans ready a candidate—whoever that may be. Habib seems prepared, telling SW he expects a “really formidable Republican opponent,” though no clear challenger has emerged. As Hutchison warned in the aftermath of Tom’s announcement, “The Democrats may be cheering now, but they won’t be cheering in November.” What seems clear at this point is that Democrats have spent less time cheering since the tsunami broke on Joan McBride than they did positioning themselves at the table. E

mdriscoll@seattleweekly.com

Which Disaster Are They Talking About? Bertha or the Mariners? “They are going to have to do more complicated repairs than hoped” —Charlie Hager, KOMO . . . “It wasn’t supposed to be this way” —Jay Jaffe, SI.com . . . “#Seattle should throw in the towel” —Daniel Foushee, artist, via Twitter . . . “It’s really tough” —Felix Hernandez, pitcher, via Bellingham Herald . . . “This is going to destroy the maritime industry as we know it in Seattle” —Gene

Hoglund, concerned Seattleite, via MyNorthwest.com ... “Clunk, clunk, clunk” —Toby Ligon, concerned Seattleite, via Twitter

Plans for the new waterfront call for a 26-block promenade from the Stadium District to the Olympic Sculpture Park. There will be nine acres of new public plazas, which may include cantilevered walkways made partially from glass, terraced gardens, a wave pool, and a seasonal swimming-pool barge—complete with hot tubs and changing rooms—tied up at Piers 62 and 63, bordered to the east by huge “sea stack” boulders and mist-spraying water jets. There may be an ice rink, too, and a small beach jetting out west from Pioneer Square, with water slapping at the nearby sidewalk at high tide. Large glass elevators are also envisioned to gently lower visitors from First Avenue to Western. And who knows?—if the Griffith family gets its way, gondolas may haul people through the air from Eighth and Union to the waterfront (see “Gondola Dreamin’,” page 10). How much will this cost?

It’s going to be pricey: at least $420 million, and, combined with other current and proposed projects—including state funding for a rebuilt Alaskan Way and a November bond measure to rebuild the seawall—the total value of waterfront improvements will likely exceed $1 billion. Paying for it will require voter approval of a new parks district, and other sources, such as private investors, are going to have to cough up tens of millions. What will be lost?

Like the song goes, “Something’s gained and something’s lost in living life each day.” So yes, some things will go away when the waterfront is prettified. The grime and grittiness will vanish, and don’t be surprised to see fewer sidewalk vendors hawking hot dogs and T-shirts. It’s uncertain which shops won’t be able to keep their heads above water, but, safe to say, climbing rents and the forces of “progress” will claim some of the more marginal establishments. As for those lovable nuts who have long prowled the rickety wooden walkways on the shores of Elliott Bay, don’t be surprised to see them slowly disappear. Call it a character deficit. E

econklin@seattleweekly.com

SEATTLE WEEKLY • APRIL 23 — 29, 2014

bove Joan McBride’s fireplace sits a large painting by Seattle artist Terry Turrell. Titled Picnic, it depicts three children sitting at a table on a shore in the moments before a massive tsunami crashes down on them. It seems fitting. “I love that painting. I just feel it,” McBride said last Friday. “I love the wave. I love the way the children are kind of vulnerable, but strong, and they’re staying at that table, and that wave is coming.” It was a tsunami of sorts—albeit a political one—that threatened McBride as we stood in the 3,500-square-foot Kirkland estate she shares with her partner, Margret, and which serves as her campaign headquarters. She told Seattle Weekly she had already been on the phone so much that she feared developing cauliflower ear. And over the Easter weekend, things only intensified for the former Kirkland mayor and Democrat who—until Monday—was vying for the state Senate seat that Rodney Tom put on the map. The wave had begun with a simple but unexpected announcement the previous Monday: Tom—one of the two infamous “turncoat Dems” who’d helped bring the conservative Majority Coalition Caucus to power in 2012—would not seek re-election, citing health and family reasons. McBride—with a 22-year history in politics, but none in Olympia—says there was “complete glee and happiness” for about an hour after the announcement. Her chances seemed solid: She’d been campaigning for months, and with more than $60,000 raised and a growing list of Democratic endorsements—including 48th District Reps. Ross Hunter and Cyrus Habib— her path to Olympia was momentarily clear. She spoke with SW from a position of power, saying her challenge of the vilified Tom “needed to be done,” and that she was the “fearless, progressive woman” for the job. “I would be great,” she said of her credentials. Bring on any challenger, she postured. By Monday, things were different. “The landscape is going to change,” McBride told SW in confidence early Monday, indicating that in a matter of hours Habib, a 32-year-old Iranian-American Democrat blinded by childhood cancer, would be declaring for the Senate race in the 48th. McBride, in turn, would step away from the Senate race and instead set her sights on Habib’s soon-to-be vacated House seat. She said the plan had been finalized over the weekend, and—in a pose starkly different from the one she’d struck just 48 hours earlier—said

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news&comment»

Matt Shea’s Patriot Games

“If I owe grazing fees, money to a government, hen state Rep. Matt Shea I would be happy to pay it to the proper governarrived at the Bundy ranch ment,” he says, “but I’ll be darned if I’m gonna outside Las Vegas two weeks pay grazing fees to the United States governago to join the grazing-lands ment.” The land, he says, belongs to the state. standoff against the federal government, he It’s an interesting defense. If you’re caught triumphantly told his Twitter followers, “The stealing government assets, claim the governfirst patriots from Washington State are on the ment doesn’t exist. ground in Nevada.” You have to wonder how that might work for, It seemed an unusual place for a patriot to land, say, the Seattle store owners recently busted for especially a hard-right, gun-toting, constitutionthumping Christian like Shea. The Eastern Wash- illegally buying and reselling federal food stamps. Would attorney Shea, though he’s a food-stamp ington critic, come to their defense as he did Bundy’s, legislator arguing “United States? Never heard of it.” who says BY RICK ANDERSON We can probably all agree the federal govern“We need ment can be intrusive, bullying, and bureaucratic, to cut programs where there’s fraud, like in welparticularly around April 15. It was also a screwfare,” had just traveled 1,000 miles to defend a up to allow the grazing dispute to go unresolved serial welfare defrauder and criminal trespasser. for decades. And Bundy, pushed around by the But then it takes chutzpah and hypocrisy to feds in the past, may have an argument to make. be one of Olympia’s leading right-wingnuts. As the Nevada Cattlemen’s Association says This is, after all, the man who made his wife in a statement, “Wellwalk on his left in public intentioned laws such as because he wore his the Endangered Species sword on his right. Act, which are factors Not that he wore a in Mr. Bundy’s case, are sword—at least not in being implemented in a public. But if he did, the way that are damaging wife says he told her, it to our rights and to our wouldn’t be sword etiWestern families and quette for her to walk on communities.” that side. But all its members The issue was later pay to use the federal resolved when the lands Bundy is mooching family-values candidate on, the association adds. divorced her, explainHis only real solution ing to a judge she was a is to fight it out in the “product of the fostercourtroom. And after the care system.” feds pulled out from the A Spokane Valley ranch last week to avoid Republican, Shea calls bloodshed, that’s where his legislative slate the the issue is again likely Freedom Agenda and is headed, for now. a honcho with the Oath Shea, despite his legal Keepers, who believe Shea, a federal-government denier? background, seemed there’s a federal plot to to think the answer disarm America and was potentially violent establish detention camps. confrontation. In a rah-rah video made on the As he said in one radio interview, “most Bundy ranch, he accuses the feds of making “war particularly disturbing about [the camps] is on rural America” and warns that “if we don’t that they’re gonna be on former military bases.” stand up for our neighbors, there won’t be anyPeople could be tricked into entering the camps, body left when they come for us.” he said, achieving a state of pacification. “There’s He told the YouTube audience he is a “10-year some very eerie similarities between using pasArmy combat veteran” (he served 11 months in tors to pacify people now as happened in Nazi Baghdad and eight months in Bosnia-HerzegovGermany,” he explained. ina) and that he was ashamed of the government What brought Shea and others to Bundy “snipers” positioned around the Bundy ranch. He Ranch was one of the Oath Keepers’ main oaths: failed to mention the gun-toting militia mem“We will NOT obey orders to invade and subjubers and other supporters vowing to fight to the gate any state that asserts its sovereignty.” death for Bundy’s right to freeload. To Shea and especially to FOX News, 67-yearThen he returned to Spokane last week— old Nevada cattle rancher Cliven Bundy is a hero just in time for his 2014 campaign fundraiser. for refusing to pay the Bureau of Land ManageAmong those attending was Clint Didier, who’s ment $1 million in grazing fees over 20 years. Federal courts have repeatedly struck down every claim running for the U.S. congressional seat being vacated by Doc Hastings. Of Shea, Didier Bundy has made to the land, and twice ordered tweeted, “WA is lucky to have him.” Apparently him to remove his 400 to 900 head of cattle. Shea didn’t inform Didier that if he’s elected to But he refused, sticking to his story that it the federal government, he’ll no longer exist. E wasn’t the federal government’s land because there’s no such thing. The BLM may have the randerson@seattleweekly.com deed to the property, Bundy says, but he doesn’t Rick Anderson writes about sex, crime, money, recognize it as legal paper. and politics, which tend to be the same thing.

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news&comment» Three Reasons to Keep Hope Alive

APRIL 27

“No one likes to hear it, because it’s dull, but the reason you win or lose is darn near always the same: pitching.” —Hall-of-Fame manager Earl Weaver

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‘I’ve Moved On’

On his way to Tbilisi, the former interim police chief talks about being ousted and his busy new life.

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FEATURING

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

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THURSTON CHARITABLE FOUNDATION

here are you right now?

I’m in midtown Manhattan. Today [Friday, April 18], I spent the day with elected officials in Brooklyn, specifically with the district attorney, and later on with the presiding judge, George Grasso. Everyone throughout North America and around the world is struggling with making our criminal-justice system less punitive while also holding people accountable. You’re going around the country and the world talking about harm reduction?

Yes, the people I’m working with are the Open Society Foundations and the Drug Policy Alliance. There was a meeting on Wednesday, in Washington, of 200 police chiefs. U.S. Attorney Eric Holder was there, the director of the FBI was there. That night I flew up to Albany. They’ve got all the groups necessary to start a LEAD (Law Enforcement Assistant Diversion)-type program there. I presented to them for a couple hours on lessons learned [in Seattle]. And we’re leaving Monday for Tbilisi, Georgia. They have, some argue, the most draconian and oppressive drug laws in all of Europe. But they’ve got some very progressive people—very forward-minded, very pro-human rights, and they’ve been working hard to become more aligned with the West. I’ll be addressing parliament. Are there any misconceptions about harm reduction?

One opinion is that it’s code for legalization of all drugs. And it’s not. It’s the same philosophy that any other profession tries to bring to people they serve. One example is medicine. You don’t put everyone in the emergency room. You try to analyze where the damage is, what is the harm

the individual is causing to themselves and others. And then you try to mitigate that. We can’t expect people to detox just because we say, “If you don’t, you’re going to jail.” Because we’ve seen that doesn’t work. Is it strange to be representing the Seattle law-enforcement approach when you’re no longer on the force?

Initially, I’m usually announced as the chief, and then they quickly correct themselves. Why did you decide to step down?

I just didn’t think from what I was hearing and seeing that there would be much of a chance to contribute as much as possible within the present environment. But you were ousted—given a choice of becoming a captain or retiring.

Right; that gave me time to—what do they say in the Catholic church?—discern. So I discerned a lot. Why do you think you were given that choice?

I don’t know. I’ve moved on. Others have moved on. That doesn’t mean I’m going to throw my sucker in the dirt and just stand in the corner of the ballpark and not play ball. I’m going to try to stay involved one way or another.

What do you make of the discipline brouhaha that has gotten the mayor and your replacement in deep water? The mayor is still saying your administration approved a half-dozen discipline reversals. You said that never happened. Is somebody lying?

The mayor wasn’t there. So he can only rely on what he’s being told. I did not approve them. You would have my signature if I approved them. Someone is not giving him the facts. E

nshapiro@seattleweekly.com

Mike Zunino’s free-swinging style keeps working. “Carpe

diem” has been Zunino’s motto thus far, as he’s swung at 63 percent of the pitches he’s seen—a higher rate than any other regular in baseball. The 23-year-old Zunino has three Mike Zunino homers to show is Spartacus. for it, but if he keeps swinging like an enraged Spartacus, he’s going to see fewer and fewer hittable pitches as opposing hurlers wise up to his approach. Still, a 20-homer season seems within reach, which would be rare for a catcher as young as Zunino. In baseball’s long history, only five catchers younger than 24 have hit 20 home runs in a season.

SEATTLE MARINERS

Directed by Kurt Beattie

oining the 2014 pennant race was always going to take some luck, and that lady has not been blowing on the Mariners’ dice. Four Mariner starting pitchers are hurt—five if you count top prospect Danny Hultzen, out indefinitely after major shoulder surgery. Losing an entire starting rotation would BY SETH KOLLOEN cripple an elite team, let alone the flawed M’s. But not every roll has come up snake eyes. Encouraging performances by young hitters supply hope. The M’s can stay in the race while their pitchers mend if:

Abraham Almonte’s bizarre stats aren’t a fluke. Batting Average on balls in play (BAbip)

measures how often a player gets a hit when he manages to put bat to ball. Last year’s MLB average was .297. Almonte’s is .372. A BAbip that high can be a product of luck, but some players— usually speedy, strong ones like Almonte—consistently outpace the median. If Almonte’s BAbip stays up, it’s probably a feature of his game rather than a statistical quirk, and the Mariners have that rare and glorious thing—an above-average hitter at a key defensive position. Dustin Ackley keeps hitting fastballs for doubles. Just like last year, Ackley is seeing more

fastballs than any other Mariner regular. But unlike last year, he’s not the worst Mariner regular at hitting them. Ackley’s cracked five doubles against four-seam fastballs already in 2014, as many as he hit off that pitch all of last year. Not coincidentally, he leads the Mariners in hitting. So pitching injuries may be the story of the Mariner season so far, but 2014 isn’t written in stone quite yet. E

sportsball@seattleweekly.com

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The Griffith family wants to build an aerial tram along Union Street. Is this another tourist Tinkertoy or an ingenious way to keep the waterfront alive? BY ELLIS E. CONKLIN

They all laughed at Christopher Columbus When he said the world was round They all laughed when Edison recorded sound They all laughed at Wilbur and his brother When they said that man could fly They told Marconi, wireless was phony It’s the same old cry —George Gershwin, “They All Laughed” (1937)

KYU HAN

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

eneath a vast blue sky piled high with billowy white clouds, Kyle Griffith climbs out of his shiny black S300 Mercedes sedan. His dark-haired fiancee at his side, the diamond in her engagement ring glinting in the bright sunshine, he strides into Dutch Hill Elementary, a low-slung white brick affair surrounded by green hills and soggy grass fields. The youthful developer, who with his father Hal Griffith brought Seattle the Great Ferris Wheel at Pier 57 and the striking nightly light shows it ignites, has come to this east Snohomish school on a splendid early-April afternoon to chat up their latest venture: an eight-block aerial tram with passenger cabins gliding 30 feet above Union Street, fluttering with barely a hiss along 2,678 feet of steel cable down to the waterfront. Griffith will talk to anyone about the gondola, even fourth and fifth graders. “I thought it would be cool,” he says. Sweet-faced with a fetchingly boyish manner, Griffith, 34, resembles a young Tom Hanks. Looking sharp and thin in a navy sports jacket and gray slacks, he’s greeted by teacher Zan Peterson-Moens. Cheery as a teakettle, her long brown hair parted in the middle, PetersonMoens extended the invitation not long after reading of the Griffiths’ well-publicized gondola rollout on March 4. Her advanced-placement class is studying transportation alternatives. “This seems like a very exciting project. I am so glad you could come,” she purrs. Griffith smiles. “I’m happy to be here.” The show-and-tell begins. Heads down, the kids, bright as bulbs and attentive from start to end, take notes. There will be 38 trams, Griffith reveals, each departing every 16 seconds, carrying eight passengers, and powered by a 400-horsepower electric motor. Each hour, he boasts, as many as 1,800 people can be shuttled (top speed, 13 mph) from the Convention Center to the waterfront—and back again—with a midway stop (one of three elevated stations planned) at First and Union, just steps from Pike Place Market and the Seattle Art Museum. It will be a half-mile, four-minute journey each way. Griffith goes on. Eight support towers— shaped like a whale’s rib, arched at the top—will be erected on Union Street and cable-strung. It can be built in roughly 13 months and will be ready to go, Griffith says, when the Alaskan Way Viaduct comes down, currently scheduled for November 2016. The cost: an estimated $20 million to $30 million—maybe more—financed entirely by the Griffiths, who’ve been working on the project for two years. The ticket price: perhaps $5, Griffith predicts, but says it’s too early to make that determination. And if the whole thing proves a flop, he adds, “Well, we will tear it down at our own expense.”

Hal Griffith, left, and son Kyle brought us the Great Wheel, and hope to parlay that success into an aerial people-mover to run from Downtown to the waterfront.

“Will it have wipers?” one pigtailed girl asks after Griffith wraps up. “No, we won’t need them.” “Will it be quiet?” “Yes, completely silent. There’ll be no noise at all.” “Will it reduce traffic?” asks a red-haired boy. “Oh, yes, that’s one of the reasons we want to build it, to ease traffic congestion—plus we want something that will bring people to the waterfront during all the construction that’s going to take place when the viaduct comes down.”

At last there comes a question from the very precocious Hannah—one that has become increasingly vexing for the Griffiths. “Won’t people in the gondolas,” she asks, “be able to see into people’s apartments? What about privacy?” Griffith replies, “Well, have you ever seen a window where you can look out but no one can see in? . . . If we have to, we can change out the windows in the buildings.” Leaving the classroom, exuberant, he declares, “You know, a lot of people thought the Wheel was crazy. Don’t listen to them, guys.”

Ever cautious and skeptical, Seattle has long been reluctant to jump into the deep end of the pool and embrace big, bold projects. Ten years ago, voters left the Monorail dead in its tracks; in the ’90s, residents said no to the creation of a grand central park, the Seattle Commons. A decade earlier, Mayor Charley Royer wanted a makeover of Seattle Center and enlisted the design and development arm of The Walt Disney Company to look into it. That went nowhere: too slick, too costly, too Disney. And of course, the problems plaguing the waterfront tunnel have made us all wary and weary. Now a gondola system, a project still in its infancy, looms on the horizon. Sky-borne pods lifting tourists and locals alike high above the madding crowd before gently depositing them on the shores of Elliott Bay, the city’s gateway to the world: Romantic, intriguing, exciting, is it not? “We think what we’re doing for the city is fabulous,” says Griffith. “And you know, to those people who say this is kind of a Disney thing to do—well, what’s wrong with Disney? They’re about family, fun, like we are at Pier 57. What’s wrong with that?” Is a gondola practical? Hard to say. Was the Space Needle practical? Or the Monorail, the socalled train to nowhere? Adding an aerial tram to the public-transit mix may well suit the “Jet City” sensibilities that seeped into Seattle’s DNA at our World’s Fair a half-century ago. “I’ve heard the usual skeptics, but I think this deserves a closer look,” posits ex-councilman and

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urban architect Peter Steinbrueck. “It would be a joyride, and what’s wrong with that? And you got to admire the spirit of this. The fact that moving 1,800 people an hour with clean energy could replace 20 buses is nothing to sneeze at.” Says Martin Duke, who runs the Seattle Transit Blog: “I certainly don’t mind private investors trying to provide alternatives to cars. That’s great.” “Interesting and intriguing,” comments the

dismissed it as a “tourist bauble,” suggesting the waterfront is becoming an amusement park. He wrote: “Total elevation change of the eight-block route: 130 feet. Seriously, Seattle: We’re building an aerial tram to lift us up 130 feet? Even Portland’s gondola goes up 500 vertical feet, and substitutes for a winding, two-lane road. People will see our flat gondola and say: ‘You claim to be a world-class city. Yet you build this?” Then again, as Michael Jenkins, executive director of the Seattle Design Commission—the all-important committee that advises the mayor and council on capital improvement projects

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Kyle Griffith will chat up his visions with anyone who’ll listen, even grade-schoolers.

Downtown Seattle Association’s John Scholes. “I’m not a guy who loves heights,” notes Transportation Choices Coalition executive director Rob Johnson, “but a lot of us want to see the waterfront become a more vibrant place that connects with downtown.” “We’ve been excited about this from the beginning,” says Visit Seattle CEO Tom Norwalk. “It will mitigate the problems with [waterfront] construction and provide a great east-west route.” From Seattle councilwoman Jean Godden: “It is appealing to have another transportation option. It is certainly worth looking at.” Councilman Nick Licata’s take: “They [the Griffiths] came to talk to me about it a couple of months ago. My first reaction was almost childlike—like wow, this is really cool. But since we’re no longer children, we have to take a more adult stance now. What will it do to the urban landscape, to pedestrian access to the waterfront? And I’m concerned about the negative impact it may have on retail on Union.” Asked for his thoughts on a downtown gondola, civic leader and Seattle Weekly founder David Brewster speculates, “It’s possible the general public will see it as another doo-dad for visitors, but then, big projects usually succeed when there is a great deal of private money involved. It may die a slow death like the Monorail did, or we may wake up and there it is—like the Ferris wheel.” At the same time, Seattle has embraced things

innovative and unconventional. The Olympic Sculpture Park, the George Benson Waterfront Streetcar Line, and Gas Works Park comes to mind. But even these now-popular projects weathered resistance and were subjected to the same kind of playful mockery that greeted the gondola’s March coming-out party. KIRO-FM talk-show host Dori Monson, for one, poked fun at lazy Seattleites who might choose the tram rather than walk eight blocks. And Seattle Times columnist Danny Westneat

involving city right-of-ways—counters, “The Portland tram is high up and doesn’t pass at the same level where people live and work.” Still, the Portland Aerial Tram, built in 2007 to connect the Oregon Health and Science University Hospital atop Marquam Hill with the city’s south waterfront, has spurred nearly $2 billion in investment; eliminated two million miles per year of vehicle use, saving some 93,000 gallons of gasoline; and prevented the release of 1,000 tons of greenhouse gases annually. Outside of ski resorts, aerial gondolas used for public transit are almost nonexistent in the United States, with the exceptions of Portland’s lift and New York City’s renovated Roosevelt Island Tram. However, even Kirkland Mayor Amy Walen said in February that the Eastside city is exploring cheaper transit alternatives such as gondolas, since Sound Transit’s plans to extend light rail along the Cross Kirkland Corridor may be decades away. In Europe, though, cable-drawn transport is booming. In 2012, London built a gondola crossing the Thames. The French cities of Brest and Toulouse will have aerial systems up and running in 2015 and 2017, respectively. “It’s one of the fastest-growing modes of transportation in the world,” says Steven Dale, whose Toronto-based Gondola Project maintains a huge database on the subject. Gondolas promise clean energy; can be built quickly and with relatively little disruption; and cost $3 million to $12 million per mile, compared to $36 million per mile for a light-rail system. “It almost sounds too good to be true, and that breeds suspicion,” adds Dale. In South America alone, more than 50 gondola operations have been built or are planned. One of the more notable ones is in Medellín, Columbia, which in 2004 erected a gondola network to link one of its sprawling hillside neighborhoods to its downtown metro stations. La Paz, Bolivia, meanwhile, is building the world’s

largest gondola system, more than seven miles long with 11 stations. Rio de Janeiro and Caracas, Venezuela, already have aerial trams. “The technology has gotten to the point over the past 10 years that it is becoming more and more feasible to build these aerial systems,” says Randy Woolwine of Doppelmayr, the world’s largest gondola manufacturer—which the Griffiths have enlisted. “This will be an icon for the city of Seattle.” The Griffiths work out of a hive of offices located

KYU HAN

“We think what we’re doing for the city is fabulous.”

» CONTINUED ON PAGE 14

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above Pirates Plunder at Miners Landing on Pier 57, where in July 1897 some 5,000 people gathered on the docks to watch the crew of the steamship Portland disgorge two tons of Alaskan gold. It was here that Hal Griffith, now 76, got his start in the mid-’60s, opening a little store that sold surplus industrial merchandise damaged in ship transport. He called it Salvage Mart, and later Pirates Plunder, these days a gift shop. He bought the Pier from the city in 1989 and has since built a small empire, Great Western Pacific, which owns and operates a slew of tourist restaurants, an arcade, and a merry-go-round, among other properties. “Come on in. This is where the magic happens,” Kyle says, entering the conference room, its walls strewn with old duo-tone photos of sailing ships and miners thirsting for gold. Kyle grew up in the tony Denny Blaine neighborhood. “We talked current events at the dinner table, and the Republican platform on economic issues seems to mirror ours, but we are much more liberal on social issues. Being against gay rights is just as bad as taxing and spending through the roof.” As a teen, he attended Mercer Island High, class of ’98, and played basketball for the legendary Ed Pepple, the state’s winningest coach. He says being on Pepple’s squad was like being in the Marine Corps; it taught him the importance of team, the discipline needed to be successful. He thinks of himself as the quarterback of Team Gondola, with his father the head coach— just like when they at last unveiled the 175-foot tall Ferris wheel at Pier 57 on June 29, 2012. “And that’s what we’ve done again, put together a professional team. We have architects, engineers, lawyers, permit specialists, consultants—because we know we’re going to have to jump through every regulatory loop there is. This is a lot more complicated than the Wheel since it’s a public right-of-way.” Brushing the crumbs of a cinnamon roll from his gray pullover sweater, Kyle says it was “preordained” that he’d carry on the family business; it was fully expected of him. “My mom was at home and dad was down at the Pier. He’s a workaholic. He always told me that the Pier was like a Christmas tree—the more you put on it, the better it looked. “His main philosophy has always been that there needs to be more things here than just retail. People want other attractions. He tells me all the time that it’s sales that make the world go around, that we stack dimes on nickels. He’s a humble guy, but he has strong opinions and expects things to work out.” Unlike his father, who grew up dirt-poor in Gig Harbor, Kyle and brother Troy enjoyed a prosperous upbringing: ski vacations to Sun Valley; golf trips to Palm Springs, where the Griffiths own a home; and summers in San Clemente, Calif., where in June Griffith will marry a girl he met at the University of Washington. Before several hundred guests, Kyle and Jenny Mezich, an event planner three years his junior,

will wed at Casa Romantica, a high-on-a-bluff mansion built by long-ago Seattle mayor Ole Hanson, who founded the beach town in 1925. “I did every job there was at the Pier—busing tables, washing dishes. I was stocking shelves here in grad school,” Kyle recalls. “I wanted to go to law school. I told my dad that one night over dinner, and he said, ‘That’s not smart. We can already hire the best lawyers. You need to learn business.’ I didn’t fight him.” He pauses. “Yeah, we’ve had some ups and downs. It’s hard working for your dad. It becomes more than a job. It becomes your life.” Kyle never did make the cut to get into UW’s business school, and chose history instead. “I think things worked out pretty well. I really loved learning about the Middle Ages and its transformation to the Renaissance.”

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Visionary is not a label the Griffiths would nec-

essarily apply to themselves, for a key motivation for the Ferris wheel, and now the gondola, is economic survival. If the waterfront thrives, Pier 57 thrives. (The gondola route ends just north of Pier 57.) Hal Griffith first devised the idea of a gondola 30 years ago, back when owned Pier 62 and 63 (which he later traded to the city for Pier 57). He wanted it to run from Victor Steinbrueck Park to the end of Pier 63, but the plan never gained any traction. “That’s how we started with this idea, and now I think a gondola really is needed,” the elder Griffith says in a telephone interview from his home near Palm Springs. “We are going to be very disrupted when the viaduct comes down and all the construction on the waterfront promenade begins. People are going to have a hard time getting to the waterfront. There will be a huge loss of parking. “Plus I think it helps to tie in the downtown core with the waterfront. There are lot of people who don’t want to walk that far, from up by the hotels around the Convention Center down to the waterfront. They are older people, grandmas and grandpops,” Hal Griffith continues. “We’ve talked with [Mayor] Murray. He didn’t express any negatives. We’ve met with council people and

KYU HAN

Guest Chef with business people and property owners. And we really are trying to make everyone happy.” The Griffiths face a number of obstacles. First and foremost is navigating a complex hurdle of city reviews: environmental impact, noise concerns, sight lines and utility lines, pedestrian access, the size of the footprint of the three stations, financial sustainability—all this and more to obtain a long-term-use permit on a public right-of-way. “They have a long way to go,” notes Jenkins of the Seattle Design Commission. “The question is not whether they can build it, but whether the city wants it.” Hal, who is months away from applying for the use permit, knows what he’s up against. “Unfortunately, it’s a very long and difficult process,” he says, “especially when you are trying to do anything imaginative.” Then there’s the problem of the disgruntled condo owners in the 98 Union building and across the street at the Four Seasons, the upper floors of which are filled with private residences that go for up to $9 million. “The proposed gondola caught my attention because I don’t want a steady stream of glass capsules occupied by inquisitive faces floating past my living room and bedroom windows all day and most of the night,” complains John Gleason, the homeowners’-association president at 98 Union, where nearly 130 residents live.

A tall, bald man with a red goatee, Gleason paid $530,000 for his two-bedroom condo two and a half years ago. Divorced, he lives on the fourth floor—in direct line with passing gondolas—with his college-age daughter. “When I bought it, I never envisioned gondolas with tourists just a few feet from my window.” Gleason is leading efforts to block the project. He’s written the Seattle Design Commission and helped draft a March 10 letter to the Seattle City Council. Signed by nine 98 Union residents, it urges them and the city Department of Transportation to “move decisively to reject this proposal.” Fear of peeping gondolistas is their main concern, though they also complain about the specter of noise and that the gondola will rob the street of its vitality. Concerns have been raised by those charged with the waterfront’s transformation, such as architect James Corner, that the gondola will take people off the streets and away from the public spaces being planned—new plazas, terraced gardens, and a seasonal swimming-pool barge—at the center of the 26-block promenade. “But still, it would be kind of fun to see it,” says Luciano DeLuca, general manager at Japonessa, an upscale sushi eatery at First and Union. “It might be an exciting thing for the city. It took people in Seattle awhile to get used to the Wheel, and look at it.”

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Over a ham and cheese sandwich at Bing’s in Madison Park, where Kyle Griffith lives, the gondola enthusiast says he and his father are doing everything possible to make residents happy. “We are looking at different kind of windows and all kind of things to mitigate their concerns. We want them to be strong supporters of the project,” he says. “There is some misinformation, though. For one thing, there will be no noise at all.” Clearly not pleased at the resistance of private-property owners on Union Street, he adds, “We are not trying to ram this thing in. We’re going to set up meetings soon with residents at both buildings and with other property owners on Union. No one is going to lose their privacy. We will make sure of that.” Griffith continues, for indeed, as Dad often told him, sales make the world go around. “This is our lifeline. It keeps the waterfront viable. It keeps us viable. But it benefits everyone. It’s green energy. It’s going to mean more people shopping downtown and being able to transport people over the war zone. And it’s all private money. We are the only ones at risk. I mean, everyone we meet absolutely loves it.” With a chuckle, Griffith recalls seeing Saving Mr. Banks with his fiancee a few months ago. The movie is centered on P. L. Travers, a financially struggling author who reluctantly agrees to meet with Walt Disney, played by Tom Hanks. Disney has been after Travers for 20 years to buy the film rights to her Mary Poppins stories. But she can’t bear to allow Disney to bring her creation to the screen because he’s known to produce animated films, which Travers openly disdains. “And then the movie finally does get made, and she cries when she sees the premiere, because it was so good,” says Griffith. “Jenny said to me, ‘I’ll bet you can relate to this.’ And yeah, I really could. There were some people who thought the Great Wheel was going to be an eyesore. But we built a Mercedes-Benz, and now people love it.”

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Capitol Hill’s Spanish cafe and bar, Chico Madrid, served its last bocadillo on Sunday. The cafe announced its closing after just one year in business. Flying Squirrel Pizza Co. is heading to Georgetown. Eater Seattle is reporting a mid-May opening for the pizza joint in the former Calamity Jane’s space. Nine Washington breweries took home honors at this past week’s 2014 World Beer Cup. Among the local winners are Airways Brewing (silver medal for 3rd Anniversary in the “Belgian-Style Dark” category), Redhook Brewery (gold for Audible Ale in “Classic English-Style Pale Ale”), Elysian Brewing (bronze for The Wise ESB in “Extra Special Bitter”), and Stoup Brewing (silver for Stoup Porter in “Robust Porter”). Book Bindery chef Shaun McCrain has announced he’s departing the Nickerson Street restaurant to open a place of his own. McCrain will be at Book Bindery until June 28, and coowner Sumi Almquist says she’s “in talks with a very worthy successor.” E morningfoodnews@gmail.com

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Pizza toppings that are better than the pizza itself.

SEATTLE WEEKLY • APRIL 23 — 29, 2014

price for consumers is increasing. The challenge for Washington winemakers seems to be finding a way to stand out from the ever-growing crowd. In some cases, experimenting with different varietals is a tactic; for others, it’s more an exercise in marketing. “The emergence of a younger set of winemakers like Mark McNeilly [Mark Ryan Winery] and Chris Gorman [Gorman Winery] have brought an edgier/younger/hipper marketing vibe to wine, even though their Above: Fall Line Winery grapes. Right, from brands are a decade old top: Tim Sorenson of Fall Line; Ben Smith of or more now,” Smith Cadence; Chris Gorman of Gorman Winery. explains. “Fanciful and capricious names are popular. Charles Smith is the of wine on the part of winemakers, but also of master of that style of marketing, but even Greg consumer desires. You still see a lot of pretty big, Harrington [Gramercy Cellars] is using names oaky cabs, but also a lot of different varietals like like ‘L’Idiot du Village’ and ‘Inigo Montoya.’ ” aligoté (a minor white grape in Burgundy) and Changing demographics is definitely a topic grüner veltliner (the star white grape of Austria), that professionals throughout the industry are which are truly exciting to see.” aware of, and intrigued by. “As generations There’s no doubt that the state’s wine industry change, so do tastes,” reveals McCarthy. “This is growing, both in the acreage planted to vines new generation of wine drinkers is embracing and the number of licensed wineries. That growth Washington wines. Most of the big, expensive has drawn interest from some well-known wine California wines are restricted to the older genhouses, including Napa Valley’s Duckhorn and eration with full cellars.” Yet this new generation California giant Gallo, both of whom have can create challenges for winemakers as well. It’s dropped some serious coin on Washington not just a matter of catchy names or attractive properties. As land has grown astronomically labels, it’s also re-evaluating the way wine is clasexpensive in Napa Valley, winemakers are looking sified. “Place names—specific vineyards, AVAs, to less-costly turf in Red Mountain, Walla Walla, and the like,” adds Smith, “may not hold as much and the Yakima Valley. Of course, all that growth sway with younger consumers—those who do not comes with a cost for existing wineries. have access to, or have been priced out of, tradi“The landscape just gets more and more and tional wines like Burgundy and Bordeaux, where more competitive, at a seemingly accelerating place is everything.” pace,” says Tim Sorenson, owner of Seattle’s Fall Line Winery. “There has always been a ‘new kid’ effect that wears off fairly quickly. With so many What’s next for the Washington wine industry ‘new kids’ coming along so quickly, circumstances is one of my favorite questions to pose to wineget more and more challenging for established makers, wine sellers, and sommeliers within the brands.” area. Responses are understandably varied, but All the money flowing into the wine industry there seems to be a clear and undeniable trend has, to some extent, inflated prices as well. Over toward more delicate European-style wines. “A the past five years, the average price of a ton of lot more people are looking for delicacy these cabernet sauvignon grapes has increased nearly 13 days,” shares McCarthy. “Some people still do like percent across the entire state; the best vineyards big wines, but many have been drinking more and best fruit have seen an even more rapid cost European wines, and are starting to enjoy the escalation. Add the construction of elaborate lighter versions from Washington. The recent tasting rooms in Walla Walla or Woodinville, the vintages have benefited us, because since it hasn’t high cost of new oak barrels, and the installation been as hot, the wines can’t be as big, but growers of expensive equipment for crushing, fermenting, are also learning to get the physiological ripeness and bottling wine, and it’s no wonder that the » CONTINUED ON PAGE 18

COURTESY OF FALL LINE WINERIES

ttending Taste Washington at the CenturyLink Events Center at the end of March, it occurred to me that the Washington wine industry is a bit like the old Hindu parable of the blind men and the elephant. Each one describes it quite differently, depending on the part of the elephant they happen to feel. Similarly, the Washington wine industry can look like many different things, based on one’s vantage point: rapidly growing and dynamic; underappreciated outside the state; or even still mostly a source of rich, heavily oaked cabernet sauvignon. This uncertainty is both the biggest challenge and the greatest opportunity for local winemakers, and how they deal with it will go a long way in determining whether Washington is considered one of the world’s great wine regions. The simple fact is that unlike our West Coast counterparts, we lack both internationally known wine-growing regions (Napa Valley, say) and a single, identifiable grape (like pinot noir). As such, Washington wine has struggled at times to gain traction outside the state. “On a national level I see a fairly dysfunctional marketing effort, despite the Washington Wine Commission’s very solid attempts at penetrating markets,” says Ben Smith, owner and winemaker at Cadence Winery in Seattle. “The problem is not in the Commission, but in the breadth of wine produced in Washington. The fact that we make nearly everything prevents us from becoming synonymous with any one style or grape. Napa is cabernet. Oregon is pinot [noir]. We cannot produce the same consumer connection or recognition for any one grape in Washington, and it is to our detriment.” Or is it? That breadth comes in part because no state besides California has anything like Washington’s vast array of growing areas, microclimates, and soil types. Instead of being limited to a few varietals, Washington grape-growers and winemakers have been experimenting with just about every grape under the sun, and some of those experiments have (pardon the pun) begun to bear fruit. For example, just a few years ago, virtually no one was making single-varietal wines from cabernet franc, grenache, or mourvèdre, yet these grapes, various winemakers have told me, are the future of the Washington wine industry. Wineries like Syncline, McCrea, and Rotie Cellars have found success with grenache and mourvèdre, while cabernet franc has gone from being a fractional part of blends to the star of the show for wineries like Baer, Cadence, and Tranche. Clearly change is happening at a breakneck pace, and no one is entirely sure where we’ll end up. “[The Washington wine industry] is at the best point that it’s ever been,” says Dan McCarthy, longtime owner of McCarthy & Schiering Wine Merchants and one of the longest-tenured professionals in the state. “The most creative work that’s being done is being done today. There’s a lot better understanding of not just the chemistry

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food&drink» Washington Wine » FROM PAGE 17 without overripeness.” Of course, it remains to be seen if the hot summers of 2012 and 2013 will cause a shift back to richer, more alcoholic wines. Indeed, as the acreage devoted to grapes like grenache, mourvèdre, cabernet franc , and sangiovese continues to increase, it becomes harder to pigeonhole Washington wine. With climates ranging from the hot slopes of Red Mountain to

cool, windy sites in the Columbia Gorge, we may just have to accept that “Washington wine” will always be a broad and imprecise term. While the influx of new money, new winemakers, and new grapes seems certain to change the playing field, no one can say if Washington wine will ever reach the prominence our West Coast neighbors have achieved. For local consumers, though, quality and variety have never been greater, and that’s as good a reason as any to raise a glass. E

thebarcode@seattleweekly.com

Our 2014 Voracious Award Winners BY NICOLE SPRINKLE AND ZACH GEBALLE 2014 Zeitgeist Award/Restaurant: Westward

hang alongside serious portraits of weathered sea captains. The bar, inspired by The Life Aquatic, is backed by a carved-out wooden boat hull with dioramas set into it: for instance, one with an Abominable Snowman and a mini-wrestling match. The service, too, is commendable; a true reflection of the restaurant in its polished yet completely approachable style.

SUZI PRATT

LISA MARIE MONAHAN

This year we came up with a totally new award category, the “Zeitgeist.” It originated from my desire to call attention to a restaurant that embodied the current pulse of Seattle in the best of ways—the most quintessential Seattle restaurant, if you will. To that end I chose Westward. My reasoning: The new restaurant from Josh Henderson is situated right on Lake Union, but

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

Left: Cody at Epic Ales. Right: Westward’s lakeside charm.

in a quiet manner, wedged between marinas and boat shops. It celebrates that location with views from both inside and outside, with long communal tables and a firepit, fashioned from oyster shells, where you can kick back in an Adirondack chair with friends, slurp some bivalves, and sip cocktails. It even has its own oyster bar—part of the Little Gull Grocery, where boaters can dock and grab an oyster knife, a blanket, or a charcuterie plate. The oyster bar is manned by former Taylor Shellfish guru David Leck, who makes sure that the daily-changing oyster menu delivers the freshest product and varieties not often seen on other menus, like Treasure Coves and Sea Cows. The rest of the menu is dynamite too. With former Madison Park Conservatory chef Zoi Antonitsas at the helm, seafood gets an inventive and tasty Mediterranean homage, and is often cooked in the wood-fired oven. Seafood aside, the lamb shoulder with an herb salad and tzatziki sauce is probably one of the best pieces of meat you’ll eat in the city, and the red-wine-poached duck egg with foraged wild-mushroom sugo and Dinah’s Cheese toast is the kind of singular item you’ll plan a whole brunch around. Then there’s the decor. It’s no wonder it was nominated for a James Beard award for outstanding restaurant design. Its smart nautical look is evidenced by brown leather bar chairs that resemble boat seats, large red-and-bluestriped canvas lampshades. and big dividing beams throughout that look like dock pilings. But it wouldn’t be truly Seattle if it didn’t have a little fun with that theme. Hence oil paintings of Captain Stubing and Steve Zissou

Most Innovative Local Producer/Drink: Epic Ales

It’s always safer to let someone else innovate. Why should you try that strange-looking mushroom when you can get your buddy to do it? Yet without intrepid, fearless, and quite possibly reckless sorts, we’d never know that, say, morel mushrooms are amazing. So it is with Cody Morris at Epic Ales. Not every single experiment might work, but when they do, it can be a revelation. Using sake yeasts to make beer; aging sours in a solera, like sherry; using just about any sort of locally available produce as a flavoring agent— it’s clear that Morris is willing to risk failure in the pursuit of something new, interesting, or just plain different. Yet his biggest contribution to Seattle’s food and drink scene might not be a specific beer, but the idea of synthesizing beverage production and cooking into a cohesive whole. His brewpub Gastropod could serve as the foundation for a new kind of dining experience—you’re not just having a beverage paired with food, but a drink specifically created to go with a dish. It’s a strange and daring model—one that insists that you can’t really judge a beer outside the context of the dish it’s meant to pair, and also heightens the potential payoffs for the willing diner. Failure is the currency of innovation. It’s with failures that we buy progress, and Epic Ales is taking us to strange and new dimensions of beer. Time to buckle in and enjoy the ride. E

nsprinkle@seattleweekly.com

Westward and Epic Ales will be honored at the Fifth Annual Voracious Tasting and Awards at the Paramount Theatre in Seattle at 7:30 p.m. on Thursday, April 24. Tickets at stgpresents.org.

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arts&culture

Four Women at the Henry

The museum’s spring season skews away from the art world’s usual dude-bro disparity. BY BRIAN MILLER

here are a few tough biker chicks in the small Henry gallery displaying Danny Lyon’s famous ’60s photos from The Bikeriders (through May 4), but they’re the outsiders in this macho enclave. They ride on the backs of choppers—almost never piloting their own bikes—and watch their boyfriends race, drink, and play pool. Lyon actually joined and rode with the Chicago Outlaw Motorcycle Club (this after documenting the Civil Rights movement in the South), and he has an easy familiarity with his subjects; sometimes he’ll even frame a woman alone—hair sprayed, leaning on a jukebox, idly smoking a cigarette, or holding a baby. Still, the atmosphere to these iconic scenes is all testosterone, gasoline, and grease. A guy’s world. And so, usually is the art world: Men dominate. That’s why the Henry’s three larger ongoing shows are so welcome. The female artists represented here outnumber Lyon by a ratio of 4:1 (I’ll explain the math discrepancy below). Their work is disparate, not specifically feminist or concerned with gender, but there’s an aggregate force to this clustering. I can’t think of the last time I’ve been to a museum, if ever, when men were in the minority.

This year’s winner of the biennial Brink Award is local Anne Fenton, who has five newly created works on view through June 15. Earlier this spring, during the installation, she told me the pieces dealt “with issues of labor and what it is to be an artist today. And also issues of time and duration.” Spinning linen and baby-alpaca wool into a small black basket of socks—all the same continuous material—certainly took a lot of time, as did her handmade cotton hammock and the small group of stencils made on linen she created from flax. Fenton doesn’t draw, she explains, but she’s fond of setting up a video camera to record situations of her devising. In one 35-second video, she spins a favorite ceiling lamp like a disco ball. For Mystical Fire, lasting an hour, she bought the titular product at a New Age shop—“a light show for your fire,” she calls it. At dusk, she lit the thing in her outdoor barbecue and let the video camera run. “I had no idea what would happen,” she says. It initially fizzled and died; she went back in the house, then returned to find it burning green and crackling, with the microphone also picking up traces of the city, jets overhead, and chattering birds. It’s a bit like watching campfire embers, though the video would benefit from a larger projection size. Maybe it’s not mystical, but as in Bock’s work, there’s a recording of time and decay, a reordering of the history contained in found materials. (Fenton will lead a private, after-hours tour on Saturday; RSVP through the Henry’s website.)

LOS LO N E LY B OYS THUR | MAY 1 | 7PM

Pane’s Continuation of a Wooden Railroad.

of drawing, painting, or sculpting. Rather, with video and other media, they document the labor and physical investment in creating performances or installations—most of them one-offs never to be repeated. Pane, in her first substantial U.S. show, often subjected her body to ordeals of the flesh. In one photo is a row of rose thorns pressed into her bleeding forearm, her palm cut by a razor. We see sliced, bleeding skin in other documentary images, too. Mounted on the wall is a large metal ladder or grate, about 10 feet tall, which Pane fabricated in 1971 so that the climbing steps were studded with sharp—but not quite flesh-

rending—spikes. She climbed the thing barefoot over and over to the point of exhaustion, as we see in a companion photo series that makes a diptych of Action Escalade non-anesthésiée (or Action Non-Anaesthetized Climb). Why all these ordeals, this physical self-abuse? Body art is the usual shorthand for Pane. She’s sometimes cited as an influence on Marina Abramovic, who’s restaged some of Pane’s “actions,” which do suggest the early church saints and martyrs. (One work here makes explicit reference to the torments of St. Sebastian.) They suffered and died for Christ, renouncing the flesh to become pure spirit, but what’s the subject of Pane’s devotion? Here is a woman who made an object of her own body, rather than letting men do it for her. A lesbian who died in 1990, Pane had no use for men; she controlled and documented the terms of her suffering. None of it is pretty, but occasionally she ventured outside the studio to create something less hermetic. In the 1970 photo series Continuation d’un chemin de bois (Continuation of a Wooden Railroad ), there’s a suggestion of earth art as Pane laboriously lifts into place a series of railroad ties until they snake out of frame. There’s also the suggestion of escape, even if none of us can escape our own bodies. Jonas’ work is considerably less forbidding. Her 1976 video Good Night Good Morning is like an 11-minute selfie, as she films herself during a year of daily greeting rituals. The more recent Reading Dante III comprises four separate videos (with benches so you can keep altering your viewpoint), custom lamps, documentary sketches, tree branches, and collage. It’s an immersive, somewhat whimsical installation full of dancers, singers, children, toys, horse-head masks, and anatomy lessons. Her art is no less personal than Pane’s, equally rooted in process and performance, though it’s far more outward-looking and expansive. At 78, Jonas is still an active participant in the art world, and she was just selected to represent the U.S. at next year’s Venice Biennale—a rare honor for any working artist, rarer still for a woman. E bmiller@seattleweekly.com

HENRY ART GALLERY 4100 15th Ave. N.E. (UW campus), 543-2280, henryart.org. $6–$10. 11 a.m.–4 p.m. Wed., Sat., & Sun.; 11 a.m.–9 p.m. Thurs.–Fri.

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You get two shows in one with Parallel Practices: Joan Jonas & Gina Pane, (through June 8), though the two artists actually occupy separate galleries. The traveling exhibit comes from Contemporary Arts Museum Houston, and it celebrates the American Jonas and the late Frenchwoman Pane, both born in the ’30s and coming of age artistically in the ’60s. These generational peers were much more up against the male art establishment than Bock (born in the ’70s) or Fenton (an ’80s baby), and both would more generally identify as feminist. Like those two heirs, neither Jonas nor Pane is a fine artist in the sense

LA GAIA COLLECTION

Upstairs, German artist Katinka Bock came to town in January to talk about A and I (through May 4), her first solo show in the U.S. My theory, though I forgot to ask her at the time, is that the A stands for architecture, since the 13 installations here deal mostly with materials, buildings, building sites, and architectural salvage items that show traces of prior use. “It’s another life,” says Bock of some ground-up old sculptural ornamentation, now little more than sand, pressed under a sheet of glass (rather like a huge microscope slide). Time and history have worn down her source materials (some from the Henry’s own basement), including an old set of doors, a propane hearth, floor tiles, a rusty I-beam, and even a soccer ball—this strapped to a wall with zinc construction tape—that bears scuffs from its previous life on the pitch. One small gallery is filled with the excavated dirt from a Belltown building site. From the ceiling hangs my favorite piece, Patron, a pencil-on-cloth rubbing from an old Roman wall, suspended in a rectangular enclosure. With most of her pieces new and commissioned by the Henry, Bock puts you in mind of Buster Simpson’s recent show at the Frye—so

much of his work also using weathered and reclaimed materials, shaped by forces outside the artist’s studio.

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arts&culture»

ThisWeek’sPickList THURSDAY, APRIL 24

CollegeHumor Live

EDWARD ALBEE DIRECTED BY

BRADEN ABRAHAM

NOW PLAYING THROUGH MAY 18 206–443–2222 season sponsor

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COLLEGEHUMOR.COM

You love the comedy website, so naturally there’s now a live tour, here featuring Streeter Seidell and the team of Jake Hurwitz and Amir Blumenfeld. The latter pair you may know better from their podcasts and constant comedy videos, where their very topical subjects range from Bieber Fever—Do I have it, Amir wonders, or is it actually diarrhea?—to March Madness. (Do I

That’s Hurwitz on the left, ever skeptical of Blumenfeld.

seattlerep.org

make better bracket picks while I’m high?, Amir wonders . . . and the answer is probably yes.) Amir, the one with glasses, plays the irrepressible id in the act, while ever-patient Jake must shoot down his goofball ideas; he’s generally the voice of reason in a yin/yang relationship that updates the Abbott and Costello dynamic to the Internet age. Seidell is a more traditional stand-up comic and writer, with White Whine: A Study of First-World Problems his most recent book. In it he explores such dilemmas as Pinterest crashes, iPhone upgrades, and how to deal with scornful vegans. He ought to find plenty such complaints here in the city of the Uptight Seattleite. The

producing partner

Vera Project (Seattle Center), 956-8372, the veraproject.org. $10. 7 p.m. T. BOND

FRIDAY, APRIL 25

Roger Ebert loved it, Vincent Canby of the Times had reservations, and Pauline Kael dismissively wrote of John Cassavetes’ 1972 love story, “The picture drivels on about the joys of spontaneity, while Gena Rowlands and Seymour Cassel remain embarrassingly wrong for each other.” I’m somewhere between Ebert and Canby on

A member of NAKA in scuba mode.

Now–May 4

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

KIM ANNO

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

Minnie and Moskowitz

this one. Do we fully buy the whirlwind fourday romance between melancholy L.A. museum worker Minnie and boisterous loudmouth Seymour, a hippie-haired valet-parking attendant? Not really, and both Minnie’s co-workers and the couple’s mothers express their doubts, too. This is one of those oddball Nixon-era meetings of the establishment and “the other half ” (as one of Minnie’s friends says), written in the same key as Harold and Maude and Nashville. In love at first sight, he insists, Seymour somewhat obnoxiously makes it his mission to batter down Minnie’s reticence. (Meanwhile, she’s on the rebound from an affair with a married man—played by the director, her husband IRL.) Yet somehow you’re carried along by the quarrelsome pair and their energy; Cassavetes is no great writer of scenes or dialogue, but he allows emotions to crest and subside in unexpected and tender places. (In one moment, our lovers lie exhausted and beaten—by a third party—on the sidewalk together.) Both romantics who learned about love at the movies, they nonetheless see each other clearly. “We have nothing in common,” she says. “I know,” he replies. And the movie’s coda is a sweet rebuke to all the cynics onscreen and in the audience. Also running through Wednesday is Cassavetes’ 1984 Love Streams, with the director and Rowlands as estranged siblings. Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$8. 7:30 p.m. BRIAN MILLER

SCUBA

Every year Velocity Dance Center sends artists off to join SCUBA, a kind of merry-go-round project in which dancers from San Francisco, Minneapolis, and Philadelphia join a Seattle contingent to tour venues in all four cities. Like the underwater breathing equipment for which it’s named, SCUBA’s goal is to give young artists an oxygen boost toward independence in a field where so much work is in the DIY category. The party is coming here this weekend, when Seattle representatives Elia Mrak and Erica Badgeley will continue to develop their physically challenging attempts to subvert the laws of physics with Paraphrase. (Is it possible to lie down in midair? Come see.) They’ll be joined by some equally adventurous movement artists: SuperGroup from the Twin Cities, Philly’s Nichole Canuso Dance Company, and San Fran’s NAKA Dance Theater—the latter performing a new

OSCILLOSCOPE LABORATORIES

Danai Gurira in the LHAAF-closing Mother of George.

piece inspired by the tsunami and nuclear disaster in Fukushima, Japan, where company members traveled to do firsthand research. (Through Sun.) Velocity Dance Center, 1621

12th Ave., 325-8773, velocitydancecenter.org. $18–$20. 8 p.m. SANDRA KURTZ SATURDAY, APRIL 26

Holly George-Warren

Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. Free. 7:30 p.m. MARK BAUMGARTEN

Langston Hughes African American Film Festival

TUESDAY, APRIL 29

Hilary Hahn

For tonight’s recital with pianist Cory Smythe, Hahn’s chosen three fantasias from three eras in German music: one by Schoenberg the modernist (one of his thorniest pieces, which is saying something); one by Telemann from the baroque (a severe and introspective piece from a set of 12 for solo violin, cousins to Bach’s great solo partitas and sonatas); and one by Schubert the romantic (show-offy, even frivolous, in a way we don’t usually associate with Schubert—notes by the thousands for both violin and piano). Even more admirable than her thoughtful programming, though, is her interest in new music, particularly her recent commissioning project: 27 short works by noted composers of all ages from all over the world. Hahn’s including a selection of these tonight, including one by Antón García Abril, a Spanish composer whose “Third Sigh” combines moody, lyrical angst with a faint scent of his homeland; imagine Bartók in a plaza in Madrid on a cloudy day. Meany Hall, UW campus, 543-4880, uwworldseries.org. $63–$68. 7:30 p.m. GAVIN BORCHERT E

Hahn plays the new stuff, too.

MICHAEL PATRICK O’LEARY

Over 50 movies and various related events are part of this year’s fest, with special packages for women, sci-fi enthusiasts, the LGBTQ community, and kids. (For the latter, during the familyfriendly opening weekend, there’s an awesome two-hour Fat Albert marathon at 1 p.m. today. Speaking of which, when do we get a new Fat Albert movie with The Brown Hornet?) The official opening title, not for kids, is They Die by Dawn, a post–Civil War shoot-’em-up set on the Oklahoma frontier, with Rosario Dawson among a quartet of dangerous rival outlaws. Writer/director Jeymes Samuel will introduce his film tonight. (He’s better known as the

Langston Hughes Performing Arts Institute, 104 17th Ave. S., 684-4757, langstoninstitute.org/ film-festival. Most screenings $5–$10. Passes $50–$100. $25 for gala opening/closing nights. 6:30 p.m. BRIAN MILLER

SEATTLE WEEKLY • APRIL 23 — 29, 2014

Alex Chilton was one of those unfortunate souls who achieved fame too early. As the incredibly young lead singer of the Box Tops, he topped the charts in 1967 with “The Letter” (you know, “Gimme a ticket for an aeroplane . . . ”). He followed that by teaming with the underappreciated Chris Bell to form Big Star in the ’70s, a Memphis band praised by critics for its baroque power pop, but whose middling chart success belied its name. A few years later, the group disbanded— by which time Chilton had laid the groundwork for his own legend. Of course he didn’t know it. This is the tragedy of the songwriter’s genius, and it serves as the spine of A Man Called Destruction (Viking, $27.95). Biographer George-Warren weaves a historian’s knowledge of rock, her own acquaintance with Chilton, and interviews with more than 100 other artists, friends, and family members to paint a portrait of a complex artist navigating the rough waters of the ever-changing music industry. It wasn’t all bad, of course. Chilton did have the opportunity to witness his deep and lasting impact on the contemporary music landscape. He influenced acts like R.E.M., Elliott Smith, and Yo La Tengo, was immortalized in song by the Replacements, and was publicly mourned by a seemingly endless litany of music heavyweights upon his 2010 death. His is a legend worth exploring, and GeorgeWarren proves an excellent guide. Elliott Bay

English musician The Bullitts.) Other highlights include the recent acclaimed indie Mother of George, about Nigerian immigrants in New York; Nidiphilela Ukucula: I Live to Sing, a documentary about black South African opera singers; and the doc Vanishing Pearls: The Oystermen of Pointe à la Hache, about a coastal Louisiana community trying to survive after the Deepwater Horizon oil spill. (Through May 4.)

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arts&culture» Stage TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(4/23) Katie Davis ‘The App Generation’ (4/23) 826 Seattle: Dave Eggers & Maria Semple (4/23) Nomi Prins Wall Street in the White House

Green (left) and Hutchison as alternate-world lovers in Chaos Theory.

(4/24) Gavin Hayes Mitigating Disasters: Earthquake Response in the 21st Century (4/25) LUCO presents Berlioz, Debussy, & Bartok (4/25) Judith Orloff Learning to Surrender (4/26) SBO presents ‘Delirio Amoroso’ Handel’s Italian Years with Alexander Weimann (4/26) Washington Physicians for Social Responsibility presents David Cay Johnston

The Impact of American Inequality

(4/27) Short Stories Live Coming of Age (4/27) David Goldblatt Brazil, and the Power of Futebol (4/28) Annette Lu A Feminist’s Fight for Taiwan

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

(4/28) Patrick Allitt The Unseen Disaster

(4/29) Seattle Speaks Wade into the Waterfront (4/29) Artist in Residence Tomo Nakayama (4/30) *THREE EVENTS FOR $5!* UW Science Now Natalia Woodward Keeping Our Lakes Healthy Doug Fine The Agricultural Hemp Revolution Joy Beckerman Maher Washington’s Hemp Industry TOWN HALL

CIVICS

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TOWN HALL

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ARTS & CULTURE

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Opening Nights Bethany ACT THEATRE, 700 UNION ST., 292-7660, ACTTHEATRE.ORG. $55 AND UP. RUNS TUES.–SUN. ENDS MAY 4.

In many ways Bethany is a traditional crime tale, with a woman pitted against unsavory forces and victimized by powers beyond her control. And yet Laura Marks’ hasty 2013 thriller is something new, presenting a fresh set of characters in a very dark, topical caricature of recessionafflicted America: a struggling single mother, a homeless vagrant, a scheming would-be motivational speaker, and a buttoned-down social worker. (Prompting them into conflict is the titular child, never seen but ever-present.) The setting, the 2008 financial crisis, is communicated through a familiar yet unappealingly disorienting array of news reports heard during the play’s opening moments. Then we meet Crystal (Emily Chisholm) squatting in an abandoned home in a neighborhood ravaged by foreclosures. She soon encounters another squatter, Gary, a seemingly friendly homeless man (played dexterously by Darragh Kennan) who coaxes out her backstory: Crystal lost her home, and, after living in her car for a time, lost her daughter Bethany to Child Protective Services. Crystal does have a job as a sales associate at a local Saturn dealership—an enterprise we know is doomed, as she cannot. Seeing her in driven sales mode at work is painful, her phony persona coming off as bad acting. (This is a difficult line for Chisholm to walk, but she lets Crystal’s true colors shine through in slivers of mourning and rage.) She continues peddling at home, desperately trying to convince a social worker to return her daughter, fixing up her adopted home as if it were her own, furnishing the kitchen with cheap Goodwill furniture, casting Gary as her plumber (in a rare moment of levity), and even forging a lease. To close a deal at the Saturn showroom, she goes out for drinks with smooth-talking wealth guru Charlie (Richard Ziman), hoping the seven-percent commission will provide a road back to precrisis security.

Crystal’s desperation is the engine of the drama, but also its flaw. With Bethany clocking in at a perhaps too-brief 80 minutes, the players—directed by John Langs—sometimes feel in a rush to enact their doom. The cast is hardpressed to portray real characters in the vignettes one might find in a newspaper brief. It’s unsurprising when Crystal finds she’s been the mark all along, but what is surprising is the chaos that erupts when the façades fall away, leading to a level of stage violence that, while not explicit, is terribly unsettling. We see Crystal’s real nature, along with Chisholm’s command of character, though Bethany’s savage finale also seems a kind of surrender on Marks’ part. Her play begins according to the pitiless logic of economics, but finally spins into a sort of unhinged cosmic revenge scenario. Is this just fantasy? It would be convenient to think so. MARK BAUMGARTEN

Chaos Theory ANNEX THEATRE, 1122 E. PIKE ST., 728-0933, ANNEXTHEATRE.ORG. $5–$20. 8 P.M. THURS.–SAT. ENDS MAY 17.

Sometimes events do not have logical causes. This is considered a state of disorder, or, simply put, chaos. In local playwright Courtney Meaker’s new absurdist tragicomedy (aptly subtitled “A Play Seeking Order”), there seems to be exactly that—a series of events that don’t fit together. That doesn’t mean there isn’t exposition; in fact, Chaos Theory is replete with rather dense character development, plot twists, and pathos. The audience is dropped, mid-despair, into the living room of Frannie (Keiko Green) as she’s coping with the loss of her lover. Her quirky friends, male-identifying Bach (Evelyn Dehais) and goofy, dim-witted Seth (Drew Highlands), attempt to pull her out of this funk by introducing her to a book on chaos theory. The result is Frannie’s shift from distraught to determined: She will find out what happened to her partner. For Frannie, it’s easier to theorize than to admit Mack ( Jana Hutchison) could’ve abandoned her. As her infatuation with chaos theory grows (and by default her friends’ fascination, too), she builds what seems to be an alternate-reality machine in her living room. Frannie, Bach, and Seth each have their motives for using this machine. (The three are so different, and so alike, that they may as well be facets of the same individual.)

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We never leave Frannie’s living room. Characters enter and exit, and we see action outside the door and windows. The set and character asides give the eerie feeling of being trapped inside a sitcom (there’s even a laugh track), but there’s nothing funny about being trapped in a situation you can never escape. Amid this absurdity, Meaker and director Pamala Mijatov force us to make sense of the action, but in the end we succumb to the hopelessness and futility of existence, love, and identity. Chaos Theory starts off gimmicky and cute, yet it ultimately makes us, and Frannie, confront the limits of common sense. IRFAN SHARIFF

PErnest Shackleton Loves Me SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), 443-2222, SEATTLEREP.ORG. $20–$45. 7:30 P.M. TUES.–FRI., 2 & 7:30 P.M. SAT.–SUN. ENDS MAY 3.

Let’s get one thing out of the way right off the bat: Let Valerie Vigoda sing! She’s a veteran lyricist and performer with the band GrooveLily and a musical-theater pro many times over. During the lion’s share of the new Ernest Shackleton Loves Me, presented by Balagan Theatre, she gets to demonstrate her proven chops. Yet in the show’s first half hour, the energetic score—music and lyrics are co-credited to her and Brendan Milburn—turns her into the quiet person at a loud party. Which would be fine if she were a guest dropping by to say hello, but Vigoda’s the host and heroine here. It’s an odd start to an otherwise successful small-scale musical. Kat (Vigoda) is an unsuccessful opera composer saddled with a newborn in a freezing Brooklyn apartment after her baby daddy Bruce (Wade McCollum) departs to join a touring Journey cover band. Her latest indignity is being terminated from a lucrative contract scoring a computer game, leaving her with no creative outlet but an unwatched vlog. After 36 hours without sleep, she finds herself receiving mysterious online romantic overtures from her only viewer: explorer Ernest Shackleton (also McCollum). Shackleton crosses a century and a refrigerator door to be with his lady love, and Kat finds herself acting as official muse for his beleaguered Antarctic expedition. Joe DiPietro’s script never attempts to hide the unreality of this time-travel romance, which is part of the show’s charm: Kat and Ernest behave like childhood playmates deep in a game of imagination time. Shackleton is a selfconscious caricature who seems aware of future events in his life and constantly announces his full name in a Dudley Do-Right timbre. Even Kat’s early stock-footage-happy video blogs and Skype chats with Shackleton resemble some lost episode of ’90s children’s edutainment. A sort of foul-mouthed “Bill Nye the History Guy” spinoff, if you will. This tight 90-minute show, directed by Lisa Peterson, features two likable leads who can sing and play banjo and violin, filling out a toe-tapping prerecorded score (don’t be surprised if you find yourself humming “We’re on Our Way” on the ride home). The effect is generally whimsical and pleasing—the other side of the coin being that the burden is largely on us to remember Kat’s stakes: identity crisis, financial desperation, and her child’s security. Shackleton’s actual story was a matter of life and death. Here, one explorer’s hell is an artist’s escape. DANIEL NASH E

stage@seattleweekly.com

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

Stage OPENINGS & EVENTS

THE BEGGAR’S OPERA Vaclav Havel’s non-musical take

on John Gay’s 18th-century slum story (not the usual Weill/Brecht version). Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.uw.edu. $10–$20. Previews April 23–24, opens April 25. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends May 4. CORNISH SOPHOMORE ENSEMBLE Horton Foote’s Harrison, Texas is the starting point for their new groupgenerated piece. The ending point is anyone’s guess. Raisbeck Performance Hall, 2015 Boren Ave., 800-8383006, cornish.edu. $5–$10. 8 p.m. Wed., April 23 & Fri., April 25; 2 p.m. Sat., April 26; 7 p.m. Sun., April 27. GONE WILD! A SAVAGE ROMP THROUGH THE ANIMAL KINGDOM Local performance troupe the

Libertinis (“Seattle’s sexiest interdisciplinary arts ensemble”) add music, burlesque, and comedy to this tonguein-cheek zoology lesson. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. Opens April 25. 11 p.m. Fri.–Sat., plus 8 p.m. Mon., May 5. Ends May 10. HAIR The smash ’60s musical is full of hippie goodness and song. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. Opens April 23. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends June 7. 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. PETER PAN It’s dueling Peters, as Youth Theatre Northwest stages it too. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x100, youththeatre. org. $13–$17. Opens April 25. 7 p.m. Fri.–Sat., 2 p.m. Sat.– Sun. Ends May 18. TALES OF A 5TH GRADE SOMEBODY Prepubescence, in the sufferers’ own words. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattle publictheater.org. Donation. 7 p.m. Fri., April 25, 2 & 7 p.m. Sat., April 26, 2 p.m. Sun., 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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Violin < Piano

EARSUPPLY

TRUTH LIKE THE SUN Local writer Jim Lynch set this

recent novel during our 1962 World’s Fair. Now see Book– It Repertory Theatre’s stage adaptation. Center House Theatre, Seattle Center, 216-0833. $23–$45. Previews April 23–25, opens April 26. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends May 18. WHO’S AFRAID OF VIRGINIA WOOLF? Some Broadway classics age better than others, yet to me this coruscating campus drama from 1962 survives the jump to our century. Edward Albee’s relentless focus is on George and Martha, who use the younger couple Nick and Honey as 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 invite counterattack. Do George and Martha (R. Hamilton Wright and Pamela Reed) hate each other? Should they be together? Should they really be raising a son (never seen)? Those questions fade in the face of their overpowering need. 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 duo; Braden Abraham directs. BRIAN MILLER Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. Opens April 23. 7:30 p.m. Wed.–Sun., plus 2 p.m. some Wed., Sat., & Sun; see seattlerep.org for exact schedule. Ends May 18. MARCUS YOUSSEF & JAMES LONG In Winners and Losers, the two Vancouver, B.C., theater artists pretend to have a furious, escalating argument. On the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $20. 8 p.m. Wed., April 23–Sun., April 27.

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Hilary HAHN

MEANY HALL

with Cory Smythe, piano

Works by Mozart, Schoenberg, Telemann, and more APR 29

with tabla master

Zakir Hussain

CURRENT RUNS

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 SEE REVIEW, PAGE 22. CHAOS THEORY SEE REVIEW, PAGE 22.

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DINA MARTINA: HER GREATEST VIDEOS... AND MORE! A night of highlights from the grande dame’s

MAY 1-3

206-543-4880 | UWWORLDSERIES.ORG

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. ERNEST SHACKLETON LOVES ME SEE REVIEW, PAGE 22. FUENTE OVEJUNA Lope de Vega’s play of tyranny and rebellion. Cornish Playhouse at Seattle Center, 269-1901, cornish.edu. Free. 8 p.m. Thurs.–Sat. Ends April 26.

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McCabe and Larionoff.

SEATTLE WEEKLY • APRIL 23 — 29, 2014

two, since otherwise the joke would obviously be lost. You can hear this sonata played Sunday by UW faculty violinist Maria Larionoff and pianist Robin McCabe at the last in their recital series of all 10 Beethoven sonatas. They follow it with his final two: the op. 96 sonata (1812), all about lyricism, and the longest and most demanding of the group, the “Kreutzer” sonata (1803)—nicknamed for its dedicatee, star violinist Rodolphe Kreutzer, in the hope he’d play it, which he never did. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 2 p.m. Sun., April 27.

JOANNE DEPUE

We don’t necessarily think of Beethoven’s 10 violin sonatas as being revolutionary in the way that, say, his piano sonatas and string quartets were. But they did set a precedent, establishing the genre once and for all as BY GAVIN BORCHERT a duet of equals. Earlier works for this pair of instruments— Mozart’s, for example—focused on the piano; the violin was not completely dispensable, but an enriching addition to a largely self-sufficient piano part. (The reasons were commercial; music that could be played by one or two players sold better.) Beethoven plays with this old-school setup at the opening of his op. 12 no. 2 sonata from 1798; the violin’s galloping oom-pah-pah sounds just like the sort of backgroundy thing the violin has to do a lot of in Mozart’s sonatas. But soon it and the piano are trading ideas, neither one subservient; and the rhythmic tricks Beethoven later plays, with the violin and piano sounding a fraction of a beat out of sync, prove this is music for no fewer than

arts&culture» Performance GODSPELL Stephen Schwartz’s musical take on the Gospel

@weeklyevents

Opens Friday!

According to St. Matthew. Raisbeck Performance Hall, 2015 Boren Ave., 800-838-3006, cornish.edu. $5–$10. 8 p.m. Thurs., April 24 & Sat., April 26, 2 p.m. Sun., April 27. 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 John Walch’s hyper-topical play manages to feel timeless in the hands of this able cast, directed by Scott Nolte. Inspired by the Book of Ruth, his heroine is an Afghan woman, Anisah (Carolyn Marie Monroe), who’s brought to small-town Mississippi for protection by retired Lieutenant Naomi Watkins (Allison Strickland). The Muslim Anisah experiences xenophobia, most vehemently from Gail (a spirited Pam Nolte), who also happens to be running for mayor as a Tea Party–style outsider. 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 Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends April 26. 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. A MIDSUMMER NIGHT’S DREAM Shakespeare’s romantic fantasy, al fresco. Seattle Center, cornish.edu. Free. 2 p.m. Fri.–Sun. Ends April 27. OFFICE HOURS Norm Foster’s comedy about a busy Friday afternoon. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $17–$22. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends April 26. 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. 8 p.m. Thurs.–Sat. plus Mon., May 5. Ends May 10. PETER PAN Lyric Opera Northwest presents this very kid-friendly musical. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $24–$34. 7:30 p.m. Fri., April 25–Sat., April 26. 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. TAILS OF WASPS After his victory party, newly elected congressman Frank Davis (Paul Morgan Stetler) returns to his hotel room with loyal aide Rachel (Brenda Joyner). She throws herself at him, and the lights go out. In the next three acts we meet three more women, each visiting the same hotel room with Frank. Each vignette echoes the others, with repeated gestures, lines, and grapplings on the bed. However, playwright Stephanie Timm leaves the actresses battling against a blank; 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. BRIAN MILLER ACT Theatre, 700 Union St., 292-7676, wearenctc.org. $15–$30. 8 p.m. Thurs.–Sun. Ends April 27. TEATRO ZINZANNI: ON THE AIR Their new radiothemed show features the return of emcee 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.

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SEATTLE WEEKLY • AP RI L 23 — 29, 2014

Apr. 24–May 17, 2014 |

www.seattleshakespeare.org

Dance SCUBA SEE THE PICK LIST, PAGE 20. • CARMONA FLAMENCO Traditional music and dance.

Cafe Solstice, 4116 University Way N.E., 932-4067, carmona2@comcast.net. $15–$20. 8 & 9:30 p.m. Sat., April 26.

RUSSIAN CHAMBER MUSIC FOUNDATION

Tchaikovsky’s 12-piece cycle The Seasons for piano will be accompanied by dancers from Emerald Ballet Theatre. Benaroya Recital Hall, Third Ave. and Union St., russian chambermusic.org. $12–$32. 3 p.m. Sun., April 27.

Classical, Etc.

SEATTLE SYMPHONY Concertmaster Alexander Velinzon

solos in Brahms’ Violin Concerto; Ludovic Morlot also conducts Bartok’s Concerto for Orchestra.Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$122. 7:30 p.m. Thurs., April 24, 8 p.m. Sat., April 26. CAMERON CARPENTER “The Liberace of the organ,” his fans call him. His skeptics, too. He’ll play Bernstein, Liszt, Mozart, and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19 and up. 7:30 p.m. Fri., April 25. LAKE UNION CIVIC ORCHESTRA Christophe Chagnard conducts Bartok’s Concerto for Orchestra, plus Berlioz and Debussy. Town Hall, 1119 Eighth Ave., 343-LUCO, luco. org. $13–$18. 7:30 p.m. Fri., April 25. LOVE SONGS & OTHER FAIRY TALES A new cycle of songs by Jay Hamilton and Gordon Frazier. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.org. $5–$15. 8 p.m. Fri., April 25. SIMPLE MEASURES The Northwest Boychoir visits this chamber-music series to sing Bernstein, Britten, Ives, Mozart, and more. At Seattle First Baptist Church, 1111 Harvard St., 7:30 p.m. Fri., April 25, and Green Lake Church, 6350 E. Green Lake Way, 6 p.m. Sun., April 27. 853-5672, simplemeasures.org. $15–$30. METROPOLITAN OPERA AT THE MOVIES Mozart’s rom-com Cosi fan tutte is one of the operas James Levine chose for his return to conducting this season. See metopera.org for participating theaters. $20. 10 a.m. Sat., April 26. VLADIMIR GORBACH Piazzolla’s Four Seasons of Buenos Aires and more from this classical guitarist. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $28–$38. 7:30 p.m. Sat., April 26. NORTHWEST SYMPHONY Songs and arias for soprano by Huntley Beyer and others, plus Brahms and Shostakovich. Highline Performing Arts Center, 401 S. 152nd St., Burien, 800-838-3006, northwestsymphony orchestra.org. $10–$15. 8 p.m. Sat., April 26. SEATTLE BAROQUE Music from Handel’s Italian years— when he was getting his ya-yas out, before he settled down to become London’s respectable purveyor of operas. Town Hall, 1119 Eighth Ave., 325-7066, earlymusic guild.org. $20–$42. 8 p.m. Sat., April 26. AUBURN SYMPHONY Cheeky symphonies by Haydn (#45) and Shostakovich (#9), both written to twit the powers that be. Auburn Performing Arts Center, 700 E. Main St., Auburn, 253-887-7777, auburnsymphony.org. $10–$34. 7:30 p.m. Sat., April 26, 2:30 p.m. Sun., April 27. SEATTLE SYMPHONY A “Beyond the Score” multimedia performance digs deeper into Mendelssohn’s “Italian” Symphony. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19 and up. 2 p.m. Sun., April 27. MCCABE LARIONOFF DUO SEE EAR SUPPLY, PAGE 23. PHILHARMONIA NORTHWEST A work by Cornish faculty member Emily Doolittle, plus Milhaud and SaintSaens, on this family concert. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $15–$20. 2:30 p.m. Sun., April 27. MOSTLY NORDIC CHAMBER MUSIC SERIES Music from the Scandinavian nations, continuing with songs from and about Norway. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $22–$27 ($47–$55 w/smorgasbord). 4 p.m. Sun., April 27. CLUB SHOSTAKOVICH Dmitri’s 10th (of 15) string quartets, plus music by Gideon Klein, Mieczyslaw Weinberg, and Alexander von Zemlinsky. Temple Beth Am, 2630 N.E. 80th St., triopardalote.com. $10–$20. 7:30 p.m. Sun., April 27. SALISH SEA EARLY MUSIC FESTIVAL Trio sonatas (flute, gamba, and harpsichord) by Bach and others. Christ Episcopal Church, 4548 Brooklyn Ave., 633-1611, salishseafestival.org. $5–$20. 7:30 p.m. Mon., April 28. UW BANDS The Wind Ensemble and Symphonic Band play Bernstein, Higdon, and more. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Mon., April 28. HILARY HAHN SEE THE PICK LIST, PAGE 21. JOHN LILL Beethoven’s “Appassionata,” Brahms intermezzos, and more from this pianist. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19 and up. 7:30 p.m. Wed., April 30.

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arts&culture» Film

Opening ThisWeek

the U.S. for Rain Man. Her attention to performance, music, and the clouded surfaces that recur in the film are indications of an intriguing sensibility—honey and hemlock mixed in equal doses. ROBERT HORTON

A Dune rendering by Chris Foss, later to work on Alien.

PJodorowsky’s Dune

PAfternoon of a Faun:

OPENS FRI., APRIL 25 AT SUNDANCE. RATED PG-13. 90 MINUTES.

Tanaquil Le Clercq

OPENS FRI., APRIL 25 AT VARSITY. NOT RATED. 92 MINUTES.

CHRIS FOSS/SONY PICTURES CLASSICS

Almost forgotten today, the name Tanaquil Le Clercq was once renowned in the dance world. Joining the New York City Ballet in the early ’50s, tall and long-limbed at a time when most women in ballet were still petite and cute, she was often called the prototype of the George Balanchine ballerina. The future seemed bright for his protege and future wife, but Le Clercq’s story took an O. Henry turn, as related in Nancy Buirski’s tragic new documentary. From their initial “meet cute” encounter (Le Clercq was sulking in the hallway after being kicked out of ballet class), her relationship with Balanchine was complex. She was only 14 when they met (to his 39), and he was already a towering figure in their art. Yet he began making dances with her “gawky grace” as a template for the kind of dancer he wanted to develop. When they married in 1952, it seemed an extension of their work in the studio. Polio was still a fact of life in the ’50s, and the Salk vaccine became available just as NYCB was heading out on a 1956 European tour. Most in Le Clercq and Balanchine rehearsing Metamorphoses.

KINO LORBER

Honey

OPENS FRI., APRIL 25 AT VARSITY. NOT RATED. 90 MINUTES.

OPENS FRI., APRIL 25 AT SUNDANCE CINEMAS. NOT RATED. 97 MINUTES.

Pierre Dulaine is very sure of himself, and this documentary likewise admits no doubts about his goals and methods. An impish dynamo now pushing 70, Dulaine has one of those lovely, unplaceable European accents that could make him a background player in Casablanca. His mission to teach Israeli and Palestinian schoolkids ballroom dancing is simple and evangelical: “What I’m asking them to do is dance with the enemy.” If you don’t get the broader symbolism, he and the movie—directed by Hilla Medalia—repeat it a dozen times. Part of Dulaine’s charm is his certainty; and that helps him win over skeptical parents and shy students, some of whom we follow home to circumstances both privileged and impoverished. After a successful dancing career, he’s taught in New York City schools for some 30 years, so he knows how to twist arms and dry tiny tears—as seen in the 2005 doc Mad Hot Ballroom. (Antonio Banderas portrayed Dulaine in the 2006 drama Take the Lead.) Still, a bully is a bully, and that’s what Dulaine is. The entire film is designed to validate his pedagogy and to valorize selective aspects of his biography. Eventually we learn he was born in Jaffa and why he left. On videotape, we see him dancing in his ’70s prime with Yvonne Marceau, who briefly visits Jaffa. When the two fond old partners demonstrate their moves, the children—raised on Beyoncé and Lady Gaga—are enraptured. But will that last? And will the kids’ ballroom détente? Dulaine’s notion, here and in Israel, is that dance discipline and decorum will help these children later in life. But have any studies been made to prove that theory? Do sports make kids into better adults? Or drama club or debate society? Dancing in Jaffa succeeds in being cute; moreover, it insists on it. Dulaine and his film crew arrive at a choreographed conclusion of triumph, then fly home to Manhattan. Every year, there’s a new class of kids to put through the same inflexible steps. BRIAN MILLER

She organizes the process, waits in the room, helps with the choice of mood-setting music. It’s a delicate business, and everything must be just so. Of course, she also brings the vial of poison, a drug meant for euthanizing dogs; this too is part of the service—though the drug is meant for human consumption. She is called Miele, Italian for “Honey,” and her job is to help clients commit suicide in settings of their own choosing. Honey (played by Jasmine Trinca, from The Best of Youth) believes in her job, and she’s meticulous about it. As Honey begins, she appears fully in command of her duties, which include periodic travel to Tijuana to pick up the barbiturates needed. But the cracks are there: an affair with a married man; a tendency to lie to family and friends about her activities; and a new client (Carlo Cecchi) with a particularly challenging set of circumstances. In a way, it might have been more interesting if director Valeria Golino—adapting a novel by Mauro Covacich— had presented us with a heroine less damaged by the heavy responsibilities of her morbid work. Surely there are people associated with the world of assisted suicide with relatively balanced lives? But, all right, one understands the dramatic possibilities of Honey’s need to re-establish connections in her life, even if the arc here (the final sequence, especially) feels overly neat. What is impressive is the sustained mood, and the way the beautiful locations pass by Honey as though she weren’t really registering them. Which she probably isn’t. Her various jobs are given the gravity they deserve; the terminally ill people she observes in their final moments are all distinct and vividly drawn. The repetition of these scenes makes the movie the straight-faced, non-farcical flip side of Harold and Maude ; here these suicidal people actually mean what they’re doing. And in Trinca, whose resemblance to actress/singer Jane Birkin goes all the way to her crooked front teeth, the film has a somber center: She’s a protagonist who still seems young, but with a weariness beyond her years. Honey is the first feature directed by Golino, a well-traveled actress probably best known in

Last Passenger OPENS FRI., APRIL 25 AT MERIDIAN. RATED R. 97 MINUTES.

The dramatic engine for this old-fashioned thriller dates back to the silent era: a runaway train without brakes. It’s a situation Buster Keaton treated for comedy, a device Hollywood dusts off every few years (Denzel Washington’s

SEATTLE WEEKLY • APRIL 23 — 29, 2014

the company were already vaccinated, but Le Clercq demurred—she didn’t want to make the long plane flight after being injected. In Denmark, she complained of feeling achy during a performance. The next morning, she couldn’t move. Balanchine was distraught, and worked tirelessly with her on physical therapy (though they divorced in 1969). Le Clercq spent the rest of her life (1929–2000) in a wheelchair. Luckily for us, her career was flourishing when network TV still broadcast serious cultural programming. Buirski has gathered almost every clip in the archives to illustrate the dancer’s signature style, augmented by old newsreels and poignant new interviews with her surviving peers. Yet Buirski does tend to underline the tragedy too much; one montage shows various excerpts from choreography that had Le Clercq collapse or fall, set to Maurice Ravel’s doom-laden score for La Valse. We get the idea long before it’s over. Still, Afternoon of a Faun is a chance to revisit a career that, although shortened, was still phenomenal, and to see one of the truly significant dancers of the 20th century. SANDRA KURTZ

Dancing in Jaffa

I don’t believe for one second this documentary’s central claim: Chilean-born Alejandro Jodorowsky’s planned ’70s adaptation of Frank Herbert’s Dune is the Rosetta Stone of all subsequent sci-fi, from Star Wars to Alien to The Matrix. But the irrepressible director, now 85, is the first guy you’d want to invite to a dinner party, no matter how outrageous and unsustainable his tales. And this story is so audacious that you forget the sad subtext: The unrealized (though extravagantly well-documented) Dune basically ended Jodorowsky’s filmmaking career. And we’d like to know more about the biography behind that career, briefly recapped by director Frank Pavich: avant-garde theater in Mexico during the ’60s; midnight-movie success in the ’70s with his head-trips El Topo and The Holy Mountain (both excerpted); and finally Jodorowsky’s ill-fated, French-financed 1975 attempt at Dune. (Disappointingly, there’s no attempt to track down interviews with the Tacoma-born Herbert on the project—later filmed by David Lynch—since he was alive at the time.) The renderings and storyboards in Jodorowsky’s 3,000page illustrated script are amazing; and it’s no surprise to see how his talented colleagues, some interviewed here, would go on to Hollywood success—sadly leaving their old mentor behind. Pavich’s account is perhaps too insidery and film-geek-detailed, paying homage to this nearforgotten director, but it’s impossible to fault his generosity after such a long draught. Having supported himself for decades with various tarot-card and comic-book enterprises, Jodorowsky has clearly honed and polished his anecdotes about supposed Dune enlistees, including Mick Jagger, Orson Welles, Pink Floyd, and Salvador Dalí. Are any of them true? Does it really matter? Not when the telling is so cheerfully entertaining. When he calls the consciousness-raising project “the most important picture in the history of humanity,” he’s half-serious, half-hyperbolic, aiming for full dinner-party effect. If nothing else, you come away wishing that Steidl or Taschen would publish Jodorowsky’s Dune Bible (or put it on the Web, at least); and wanting Paul Allen’s EMP Museum to mount an exhibit on the failed project (plus more Dune-Herbert arcana, given the Northwest connection); and curious about Jodorowsky’s new feature, The Dance of Reality, which the Grand Illusion will screen (along with El Topo and The Holy Mountain) later this year. And you know what else? Dune would make a damn good HBO series right about now. BRIAN MILLER

» CONTINUED ON PAGE 26 25

arts&culture» Film » FROM PAGE 25

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Unstoppable being the most recent example). This taut English variant, directed with minimal CGI by Omid Nooshin, mostly confines itself to a suburban commuter train departing London one ordinary evening. Its passengers gradually disembark until six are left; then something goes horribly—and for us, predictably—wrong: A madman has seized control and is hurtling the train back toward a fatal crash at line’s end. Terrorism is never mentioned, though we think of 9/11. (The English reference point would be the July 2005 bombing of the London Underground.) The panicked passengers whip out their curiously dated cell phones, but the police can’t help. They’ll have to stop the train themselves—or die trying. Dr. Shaler (Dougray Scott) and his 7-year-old son are accompanied by familiar types: cranky old barrister, flirty blonde, mysterious foreigner, and nice little grandmother. (No Muslims means no terrorist suspicions.) So who will die first, and who will die last? It’s all very Agatha Christie—basically a generic drawing-room drama that happens to be moving at 100 miles per hour. Scott, a virile Scotsman, tends to play the heavy in U.S. movies. As leading man, he’s got a calm, bland decency. His Dr. Shaler is a widower, but the guy doesn’t show much pain—only parental concern for his son. Shaler—and the whole movie—call out for a more damaged and interesting character, a Neesonian quality that’s lacking here. Instead, the passengers’ squabbles are easily resolved, and Shaler is simply the kind of upright man who can say “I’ve got an idea!” in the last 10 minutes because the script requires it. The suspense here is plausible enough, as a routine journey—think of Malaysian Airlines Flight 370—goes frighteningly off course. Still, so many of us are accustomed to bad commutes that Last Passenger doesn’t deviate far enough from its sturdy story rails. BRIAN MILLER

La Ultima Pelicula

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How many people have seen The Last Movie, Dennis Hopper’s notorious 1971 follow-up to Easy Rider? There is no shame in having missed it, as it’s been hard to locate since its initial flop—a failure that not only demolished Hopper’s career, but possibly smothered the final gasp of ’60s counterculture. One night in the early Perry (left) and Rodríguez at Chichen Itza.

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SEATTLE WEEKLY • AP RI L 23 — 29, 2014

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’80s, I stayed up late to watch a TV broadcast of a Western titled Chinchero, only to gradually realize this was the infamous Last Movie itself, sneakily renamed and dumped into a late-show time slot. The film, about a Hollywood production that leaves behind a curious legacy for natives of its Peruvian location, is gaseous and self-indulgent, yet a lot of intriguing moments are strewn about the generally insufferable goings-on. Rebel Without a Cause writer Stewart Stern was the screenwriter, although one hesitates to ascribe credit amid reports of Hopper’s freewheeling shooting style. This is the movie that inspired co-directors Raya Martin and Mark Peranson to concoct La Ultima Pelicula, a riff on Hopper’s grand folly and on subjects as lively as the end of film (because of the digital revolution) and the Mayan prediction of the world’s end in 2012. Like Hopper’s film, Pelicula sniffs around various formal considerations—the movie unfolds in different formats (digital, 16 mm, 8 mm), plays with the line between fiction and documentary, and occasionally tosses a SCENE MISSING title on the screen. We are following, more or less, a filmmaker retracing Hopper’s steps in Latin America; he’s gone to Mexico to film apocalyptic-minded pilgrims and to bloviate about the end of cinema. The filmmaker is played by Alex Ross Perry, himself an indie director (The Color Wheel ). I’m not sure whether his physical resemblance to the Apocalypse Now– era Francis Ford Coppola helped decide the casting, but the associations with another selfimmolating filmmaker in love with the sound of his own voice are a definite asset. Accompanied by a local guide (Gabino Rodríguez), Perry stumbles around in search of a subject as fascinating to him as himself. Although La Ultima Pelicula does its share of noodling—it wouldn’t be true to its inspirations if it didn’t—it has the saving grace of self-aware humor. (That’s more than you could say for Hopper or Coppola.) The high point of this comes when Perry leads Rodriguez around the ruins at Chichen Itza, pontificating about the group-hugging New Age tourists who don’t appreciate what is right in front of them. He may be right about that, but his own cluelessness—he’s wearing a giant cowboy hat and lecturing a native Mexican at the time—is richly drawn. The audience for a project like this is going to be even more limited than that of The Last Movie, but at least they’ll be the people most likely to groove on the insideriness of the thing. ROBERT HORTON E film@seattleweekly.com

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arts&culture» Music

SevenNights

The Duke of Uke

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

Wednesday, April 23

Jake Shimabukuro is out to prove that the ukulele is more than just four strings and happy melodies.

BOMBAY BICYCLE CLUB has been a UK indie mainstay

since 2005. Though it hasn’t seen as much success in the U.S., its willingness to experiment with indie rock, folk-rock, and electronic production makes it hard to peg. It brings an eclectic energy that’s always looking ahead of the trends. With Royal Canoe. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.com/neptune. 8 p.m. $22 adv./$25 DOS. All ages. DUSTY HENRY With each subsequent album, DRIVE-BY TRUCKERS continue to hone their lyricism into ever-sharper focus. On the 2014 release English Oceans, the group sings about the exact same people everyone else in country music does—folks somehow left behind when everyone else moved to the big city—but they pick up on details that others miss. One of my favorite lines comes from Mike Cooley on the track “Primer Coat”: “Slinging gravel in parking lots and looking tough on the hood/A girl as plain as a primer coat leaves nothing misunderstood.” Taylor Swift, are you taking notes? With Shovels and Rope. Showbox SoDo, 1700 First Ave. S., 628-3151, showboxpresents.com. 8 p.m. $26.50 adv./$30 DOS. All ages. DANIEL PERSON The brother of The Who’s windmilling guitarist, SIMON TOWNSHEND probably knows as well as anyone that living under the shadow of a famous family member can be trying. He’s made the most of it, however, and has carved quite the solo career for himself, creating intricate pop/rock music of his own. With J Wong. The Triple Door, 216 Union St., 838-4333, thetripledoor.com. 7:30 p.m. $25–$35. CORBIN REIFF

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

“What I do with the ukulele is just the tip of the iceberg,” Shimabukuro says. “There’s so much more to be discovered, to be done on that instrument. I’m excited to see what people will be doing on the ukulele 10, 20, 30 years from now.” der of course released his own Ukulele Songs in 2011). Shimabukuro’s own “Ukulele Five-O” made its way onto the recent Hawaii FiveO soundtrack, furthering the instrument’s appeal, but the musician—a Hawaii-born fifth-generation Japanese-American who was introduced to the instrument by his mother— is humble about the part he is playing in popularizing it. “What I do with the ukulele is just the tip of the iceberg,” he says. “There’s so much more to be discovered, to be done on that instrument. I’m excited to see what people will be doing on the ukulele 10, 20, 30 years from

COURTESY OF THE ARTIST

hances are good that you do not associate the ukulele with rock & roll, but virtuoso Jake Shimabukuro would like to change that; the artist has risen to fame for making people reconsider what they think they know about the instrument. While some of the material on his albums— including his most recent one, 2012’s Grand Ukulele—has that upbeat, perfect-for-a-day-on-the-beach feel, he’s also famously covered everything from “While My Guitar Gently Weeps” and “Bohemian Rhapsody” to “Don’t Stop Believin’.” Shimabukuro says his unconventional approach is a challenge he enjoys. “When I first started arranging ‘Bohemian Rhapsody’ for the ukulele, I wasn’t sure if I would be able to pull it off. A lot of it was the pure challenge of trying to make it work,” he says. “But I love locking myself up in a room and not coming out until I can play a piece. When you find a way to make that work, it’s such a rush!” It’s a rush the music community has eagerly tapped into. Shimabukuro has toured as part of Jimmy Buffett’s band, performed with Bette Midler for Queen Elizabeth, and been praised by Eddie Vedder for his visionary style (Ved-

now. I think in the future, like with the guitar, you’re going to have the Jimi Hendrix of the ukulele, the Eddie Van Halen, the Bela Fleck, the Chris Thile.” It’s no stretch to view Shimabukuro within those ranks. He is the subject of an awardwinning documentary, Jake Shimabukuro: Life on Four Strings, which premiered last year on PBS. The idea of being in the film still seems surreal to him. “It’s funny, because when the Center for Asian-American Media first approached me to do the documentary, I was very shocked,” Shimabukuro says. “I was like, ‘Really? On me? Are you sure?’ I have a very normal life.” Some might consider Shimabukuro’s “normal life”—which includes collaboration with Yo-Yo Ma, gigs on The Today Show and Jimmy Kimmel Live!, and a status among uke masters like Hawaiian legend Israel “Iz” Ka‘ano‘i Kamakawiwo‘ole—a very charmed one. But for him, it all comes back to a love of the instrument itself and not focusing on his own success. “I’ve been playing the ukulele almost my whole life, so I feel like it’s almost like being a proud parent,” he says. “When I see Paul McCartney playing the ukulele on TV, it’s like, ‘Oh my gosh! Paul McCartney’s playing the ukulele on TV!’ Seeing the ukulele on TV is like watching my nephew or my son on TV. You just feel so proud.” E

music@seattleweekly.com

JAKE SHIMABUKURO The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. $21.25–41.25. All ages. 8 p.m. Sat., April 26.

Thursday, April 24

KOOL KEITH AKA DR. OCTAGON It’s common in rap

for MCs to adopt certain alter egos. On his website, Kool Keith offers brief biographies of all of his—53, to be exact. From his start as a break-dancer named Activity and time as a member of the Ultramagnetic MCs through Black Elvis and Lotion Man to his Twitter handle UltraMan7000, Keith claims to be the inventor of the hip-hop persona. In a recent interview with VladTV, he said: “I don’t feel like I need to be one person, because if you be gangster then you gotta be gangster all your life, if you be this guy you gotta be the lover all your life.” It seems that the one constant in Keith’s

Send events to music@seattleweekly.com. See seattleweekly.com for full listings.

Brent Amaker celebrates the big 5-0 at the Triple Door on Friday.

COURTESY OF THE ARTIST

BY BRIAN PALMER

life is change, as the cliché goes; despite his threats to retire, a new double album drops in May. With SlowDance, Ricky and Mark, Mic Flont feat. OTOW Gang. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. MICHAEL F. BERRY There’s a cinematic quality to THE 1975’s self-titled debut, a release whose tracks “Sex” and “Chocolate” made it seem like the soundtrack of a modern-day John Hughes movie. Hints of ’80s pop, ’90s R&B, and the band’s indie-rock base make tales of aimless drives and the highs and lows of love relatable to millennials everywhere. With Bad Suns, Sir Sly. The Showbox, 1426 First Ave., 628-3151, showboxonline.com. 8:45 p.m. SOLD OUT. All ages. AZARIA C. PODPLESKY When FRANZ FERDINAND released its game-changing LP You Could Have It So Much Better in 2005, it was heralded alongside Arctic Monkeys as the possible future of rock. That didn’t happen, but despite its inability to shoulder the hopes of an entire genre, the band’s kept busy and put out a couple of solid-rocking records, including last year’s, Right Thoughts, Right Words, Right Action. With Cate LeBon. Showbox SoDo. 8 p.m. $31.50–$34. CR A round of applause, please, for JEFFERSON STARSHIP founders Paul Kantner and David Friedberg, both in their 70s, still on the road, and celebrating 40 years together—which is about as long as “We Built This City” has been stuck in my head. But don’t worry, that one’s not on the set list. Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino. com. 7 p.m. $26–$47. 21 and over. DAVE J. LAKE After releasing several EP’s, Seattle “doom-gaze” band HE WHOSE OX IS GORED is putting together the final touches on its first full-length, The Camel, the Lion, the Child. Produced by Matt Bayles (Mastodon, Botch, Isis), it’s the best representation of the band Ox has become, with signature synth layers and posthardcore riffs galore. With Haunted Horses, Diesto, Drunk Dad. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $8 adv. 21 and over. JAMES BALLINGER HOT ’N’ READIES is the cover band you wish had live-scored your first makeout party. Its repertoire is as diverse—including covers of Beastie Boys, the Cranberries, and Bell Biv DeVoe—as its lineup, comprising members of TacocaT, Ex Girlfriend, Terrordactyls, and Coyotes. With Dead Hot. Waid’s, 1212 E. Jefferson St., 328-6493, waidshouseoflove.com. 9 p.m. $7. 21 and over. DIANA M. LE

Friday, April 25

Seattle nonprofit Skate Like a Girl hosts this fifth annual Wheels of Fortune benefit with headliners CHILDBIRTH, a supergroup of sorts featuring members of TacocaT, Chastity Belt, and Pony Time.

NEW FRESH MENU MADE

Starring

FIESTA guacamo le BURGER PICO - DE- GALLO

The

topped with fresh

FIERY

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On a Toasted

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SEATTLE WEEKLY • APRIL 23 — 29, 2014

BUN

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3/25/14 4:23 PM

arts&culture» Music Ellie Goulding

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

craig shoemaker SUN/APRIL 27 • 6PM

lady “a” presents:

“sunday night gospel” TUE/APRIL 29 • 7:30PM

destroyer w/ valley maker (solo) WED/APRIL 30 • 7:30PM

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

johnny clegg

next • 5/1 - 5/3 rock and vaudeville featuring geoff tate • 5/4 the teaching • 5/6 michael 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 • 5/18 jon batiste and stay human • 5/20 suzanne vega w/ ari hest • 5/21 polly o’keary

happy hour every day •4/23arijoshuatrio•4/24velocity•4/25thedjangomatics/jdhobson • 4/26 the ben rice trio • 4/27 file gumbo • 4/28 crossrhythm session • 4/29 singer-songwriter showcase featuring: tony holiday, michelle moonshine and jeremiah maxey • 4/30 trip the light 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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216 UNION STREET, SEATTLE · 206.838.4333

Wednesday, April 23

hether performing at Coachella and the VMAs, appearing on the Divergent soundtrack, or getting lyrically dissed on Saturday Night Live by her done-wrong ex Ed Sheeran, sylphlike UK songstress Ellie Goulding comes across as the typical pop-culture darling. Like a certain other pop phenom whose name is damned near inescapable, it would be easy to assume she’s twerking her way to fame. But the singer/songwriter confirms her musical chops and reaffirms her place at the big kids’ table with her sophomore album, Halcyon. What sets Goulding apart from countless other EDM singers is her lilting vocals, which breathe life into her songs’ catchy but stylized dance beats. Her newest folktronica singles, “Burn” and “Beating Heart,” build on the otherworldly beauty of her breakout 2010 hit, “Lights.” “Burn” has been playing on Top-40 radio stations since last July with no sign of disappearing from playlists anytime soon, while “Beating Heart” has become the anthem of Divergent fans everywhere. Barring a few contemplative ballads, Goulding doesn’t stray much from her calling card, ethereal soprano melodies over gorgeously feminine techno compositions; but her signature sound is still fresh enough that you can listen to her entire album on repeat without getting bored. Goulding’s resume is legit; she’s sung for the likes of the Obamas and the British royals (at the royal wedding, no less). Famous friends like Lorde, Taylor Swift, and Katy Perry publicly

Its debut album, It’s a Girl!, is 17 minutes of unpolished, raw energy recorded in five hours for $100. Childbirth makes crude cute. Get “ovaries” it. With Zach Davidson & the Irresistibles, Half-Breed, DJ Lil Armenia. Hilliard’s Brewery, 1550 N.W. 49th St., 2574486, hilliardsbeer.com. 7:30 p.m. $10 suggested donation. All ages. DML Jazz violinist REGINA CARTER’s new project continues her exploration of her roots. I’ll Be Seeing You (2006) included her mother’s favorite jazz standards; Reverse Thread (2010) returned to the storytelling traditions of West Africa. This year’s Southern Comfort investigates the music her paternal grandfather would have heard as an Alabama coal miner. Carter researched songs from the era and transcribed about 50 tunes—mostly just unaccompanied melodies—from field recordings. Such research is often left to collect dust in the halls of academia. Fortunately, Carter’s considerable talent and seemingly boundless energy have made it available to all. She was very recently named “Violinist of the Year” in the 18th annual Jazz Journalists Association Jazz Awards for Music and Recording; projects such as Carter’s not only broaden the jazz repertoire but also more accurately reflect an authentic communal experience: the search for where we came from. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. (Also 7:30 & 9:30 p.m. Fri.–Sat., 7:30 p.m. Sun.) $24.50. MFB In an effort to make its music more universal, Canadian indie-rock quartet TOKYO POLICE CLUB packed its fourth album, Forcefield, with anthemic choruses, bright synths, and toe-tapping percussion. “Hot Tonight,” for example, with its peppy, ’80s-tinged guitar riffs and “ooh, ooh, ooh”s, could pass for a Free Energy tune. Forcefield is TPC at its most accessible, both lyrically and musically. With Geographer, Said the Whale. Neumos. 8 p.m. SOLD OUT. All ages. ACP The problem—both troubling and sublime—with Canadian thrash band ANVIL is that it hasn’t aged since its 1981 debut, Hard ’n’ Heavy. Yes, the band might have influenced Metallica and enjoyed a renaissance thanks to the rock doc Anvil! The Story of Anvil, but there’s no escaping the charming mediocrity of its 15th album, Hope in Hell. But that’s why we love them, right? With Jesus Wears Armani, Above Ground, Skeletor, Arisen From

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gush over her instrumental singing voice. At Coachella, she appeared on stage with her band and a slew of backup singers—not backup dancers. Her unexpected vocal improv (birdlike with startling raspy undertones) reminds me of what makes live jazz so entertaining. I imagine that in a more intimate venue like the Paramount (awesome for popular acts because there are practically no nosebleed seats in the house), your eardrums will be drenched in every celestial nuance of her chirping vocals. You’ll probably be able to make it through an entire Ellie Goulding performance without checking Facebook every five minutes—even without any onstage twerking. With Conway. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 7 p.m. $40 adv./$45 DOS. JENNA NAND

Nothing. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 7 p.m. $13 adv./$15 DOS. 21 and over. DJL After listening to What We Do, the newest release from Portland-based indie-folk pop group THE SHOOK TWINS, it looks like the third time’s the charm. Its first two releases—2008’s You Can Have the Rest and 2011’s Window—were largely exploratory as the band’s eponymous twins, Laurie and Katelyn, dipped their toes into everything from hip-hop to folk and included beatboxing and playing a large golden egg (you read that right) as part of the musical experience. What We Do is a whole different animal. The twins’ often-whimsical vibe (they once wrote a song about robot love) has been replaced by deeply introspective, soul-searching lyrics about life on the road, love, loss, and living in the moment. Their vocal harmonies are as siren-like as ever, and the moods are augmented richly by their Americana-, folk-, pop-, and country-tinged compositions. You will be hard-pressed not to fall in love with this album. With Steve Poltz. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $12. 21 and over. BRIAN PALMER BRENT AMAKER’S 50TH BIRTHDAY PARTY To listeners familiar with Amaker’s special brand of psychedelic country noir, it may come as a surprise that the cosmic cowboy has gone digital. His new project, Android Amaker, “is a collaborative effort between Vox Mod, P Smoov, and myself,” he says. The group just dropped its first single via iTunes—a krautrocking track called “I’m the One—and plans to release “a full-length concept album on vinyl this summer.” Amaker assures, however, that “The Rodeo will always be my primary project.” Tonight, as he celebrates “the big one” with friends, you’re sure to get a little taste of it all. With Brent Amaker and The Rodeo, the Comettes, DJ Greg Vandy. The Triple Door. 8 p.m. DJ set by Vox Mod in the Musicquarium 11 p.m. $15. GWENDOLYN ELLIOTT BLEEDING RAINBOW is so ’90s that even its name pays homage to LeVar Burton’s beloved PBS children’s program. Formed in 2009, the group’s airy vocals and guitar fuzz nevertheless harken back to the Clinton era. Geordi La Forge should be proud. With Wimps, So Pitted. The Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $8. All ages. DH

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SEATTLE WEEKLY • APRIL 23 — 29, 2014

El Corazon www.elcorazonseattle.com

1303 NE 45TH ST

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

FRIDAY, APRIL 25

GIRL ON FIRE with Keeping Secrets, True Holland, Canary

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

SATURDAY, APRIL 26

PRESTIGE

with Vessels, Galactic Pegasus, Singled Out, Jumping Fences, Groundfeeder and Prey The Hunter Doors at 6:30 / Show at 6:45PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, APRIL 26

MIGGS

with Open Air Stereo, Man On Earth, Lakeview Drive (CD Release) and Blackburn Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, APRIL 28

TONY HOLIDAY & THE VELVETONES with JJ’s Soul Funkshun

and Michelle Moonshine Lounge Show. Doors at 8 / Show at 8:30PM 21+. $6 ADV / $8 DOS

TUESDAY, APRIL 29

GATES with Tiny Moving Parts, Frameworks, District, plus guests

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

WEDNESDAY, APRIL 30

MILLIONAIRES

with Eryn Woods, Cavalerie, Beach Bum Alcoholics, Campana, Scotty Jay, TazDatMC and Angelika Jolie Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS

WEDNESDAY, APRIL 30

GREGORY ATTONITO (BOUNCING SOULS) & SHANTI WINTERGATE

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

with Pretty Old Lounge Show. Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THURSDAY, MAY 1

VERDANT MILE

with The Daily Grind, 90 mph Sleep, Static, Joyfield and Surviving Yesterday. Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

JUST ANNOUNCED 6/7 LOUNGE OLD MAN MARKLEY 6/8 LOUNGE LIARS START FIRES 6/11 TRUTH UNDER ATTACK 6/29 SHOWTIME 6/29 LOUNGE DISTRICT 7/2 WATSON 7/31 MOBILE DEATHCAMP (FEAT. TODD EVANS AKA BEEFCAKE THE MIGHTY OF GWAR) 8/25 LOUNGE SONS OF HIPPIES 9/21 YOU ME AT SIX 11/8 PANCAKE & BOOZE ART SHOW UP & COMING 5/2 NILE 5/3 LOUNGE DREADFUL CHILDREN 5/4 FU MANCHU 5/5 NAILS 5/5 LOUNGE SURVAY SAYS! 5/6 ICED EARTH 5/7 SIIINES 5/7 LOUNGE TOTAL CHAOS 5/9 PAGANFEST FEAT. KORPIKLAANI 5/10 PRIMAL FEAR 5/11 CHIODOS 5/12 LOUNGE TRAPDOOR SOCIAL 5/13 ONE WAY SYSTEM 5/14 LOUNGE CHRYSALIS 5/15 MIKE TRAMP (WHITE LION) Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

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

JAZZ ALLEY IS A SUPPER CLUB

ORQUESTA ARAGÓN TUES, APR 22 - WED, APR 23

SEATTLE WEEKLY • AP RI L 23 — 29, 2014

Masters of every Cuban style and not afraid to show their versatility with sparkle and flair

REGINA CARTER’S SOUTHERN COMFORT THURS, APR 24 - SUN, APR 27

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

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

Grammy nominated jazz pianist and composer. “One of the poet laureates of modern jazz piano..” - Andrea Canter, Jazz Police

PEARL DJANGO WITH SPECIAL GUESTS GAIL PETTIS AND GRETA MATASSA THURS, MAY 1 Seattle’s own songstresses with gypsy jazz favorites!

AN INTIMATE EVENING WITH WILL DOWNING FRI, MAY 2 - SUN, MAY 4 Romantic and soulful R&B singer

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arts&culture» Music Saturday, April 26 From the Jackson 5 to Menudo and Boyz II Men to ’N SYNC, every generation has a boy band: a group whose sugary-sweet tunes top the charts and whose good looks steal hearts. Today, THE WANTED is that boy band. The English/Irish quintet first charmed listeners with its 2011 single “Glad You Came,” and hasn’t stopped. With Cassio Monroe, Midnight Red. Showbox SoDo. 8 p.m. $29.50 adv./$35 DOS. All ages. ACP

Sunday, April 27

VIDEO GAMES LIVE Since 2005, event creator/video-

game composer Tommy Tallarico has combined live music and special guest composers with video footage, synchronized lighting, live action, and interactive segments to take audience members on a trip through the history of video games through music, which includes classics like Pong and Tetris and current favorites like Halo and BioShock. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 7:30 p.m. $25.25–$65.25. All ages. ACP

Monday, April 28

PIZZA UNDERGROUND Pizza enjoyed a rare cultural

domination in the late 1980s and early 1990s that is still haunting America’s arteries today. It was the stuff that fueled the the Teenage Mutant Ninja Turtles. Our nation stood fast in avoiding the Noid. Marketers got so bold as to suggest that by putting pizza on a bagel, you could eat pizza for breakfast (no doubt many, many people did). So it’s impossibly appropriate that that era’s precious face, Macaulay Culkin, is now a member of a novelty band that turns Velvet Underground and Lou Reed songs into tunes about pizza. “I’m beginning to see the light” becomes “I’m beginning to eat the slice”; “Take a walk on the wild side” becomes “Take a bite of the wild slice.” You get the idea. That the show is at Chop Suey, just across the street from the now-

Barry Uhl

Wednesday, April 23

Tuesday, April 29

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MOON DUO fits right alongside its obscure and

bewildering label mates on Sacred Bones Records, bringing a little bit of darkness to its sound. The psych-rock group dabbles in reverb and wah pedals, but with a foreboding tension that lingers throughout the background. With Kikagaku Moyo, Fungal Abyss. The Barboza, 925 E. Pike St., 709-9467, thebarboza. com. 8 p.m. $12 adv. 21 and over. DH The great thing about Andy Hull’s MANCHESTER ORCHESTRA is that his songs are just as compelling as heavy-rock arrangements as they are stripped bare like the basement recording project it evolved from. He’s like a millennial version of Billy Corgan, with Manchester Orchestra serving as his Smashing Pumpkins. With Balance and Composure, Kevin Devine and the Goddamn Band. The Neptune. 7:30 p.m. $18 adv./$22 DOS. DJL Now in its 26th year, PENNYWISE continues to define the sound of Southern California punk’s second wave in the ’90s. After parting ways with front man Jim Lindburg in 2009, the band carried on for a few years with Ignite singer Zoli Téglás. However, Lindburg rejoined the band in 2012, and it’s now working on its first record with him since 2008’s Reason to Believe. With Teenage Bottlerocket, the Waywards. The Showbox. 8 p.m. $22.50 adv./$25 DOS. All ages. JB

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also composing for commercials, video games, and indie films. For his entire adult life, though, Uhl was spinning the story for Wretched Knob in his mind. He had even written the verse that tells the story of a small town, “paltry, unchanged,” and he had the songs, which gave voice to characters like Lowell the Lamplighter and Admiral

Orofino. Then last September, with encouragement from a close friend, he decided to move forward. He called on friends to help record the songs, and then, alone, he put pen to paper. “That was the first time I had drawn in forever, at least 10 years,” he says. “I just sat down and said, ‘I’ve got to do this for real now.’ ” He has done just that. With Courtney Marie Andrews, Luke Williams. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8:30 p.m. $8 adv. 21 and over. MARK BAUMGARTEN

SEATTLE WEEKLY • APRIL 23 — 29, 2014

DAVID FRANK

n Account of the Happenings at Wretched Knob looks like a 12-inch vinyl record, but it is so much more than an album. It is, rather, a fiercely imaginative, three-dimensional storytelling experience—part Edward Gorey, part late-era Beatles, and entirely the creation of a single Seattle artist, Barry Uhl, for whom the work is both a literary and musical debut. Asked which came first, the music or the drawing, the shaggy 32-year-old is definitive: the drawing. “I would write these little stories and illustrate them, and then I would give them to my librarian at school and she would laminate them for me.” This was in Aberdeen, Uhl says, where his role as an outcast resulted in an imaginative inner life. But when he was in the eighth grade, his father, a self-educated banker, moved the family to Seattle, and Uhl saw the opportunity to start over. “I begged my parents to let me have baggy pants, and I grew my hair out and acted like a chump for a while,” he says. “I stopped reading, I stopped drawing.” Uhl’s creative urge was unrelenting, though, and he found a new outlet in music. He learned to play guitar and, after many twists and turns, became a reliable sideman in town, playing with local singer/songwriters including Damien Jurado, Bryan Appleby, and Shelby Earl while

closed Piecora’s, also allows us to reflect on what we’ve lost since we turned our backs on pizza, and how we can get it back. With Toby Goodshank of the Moldy Peaches, Derek Erdman (DJ Set). Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $12 adv./$15 DOS. DP Atlanta metallers MASTODON recently announced a new album, Once More Round the Sun, out later this year and featuring road-tested songs debuted during the last album cycle. “A lot of people ask us if it kicks off where The Hunter left off,” bassist and vocalist Troy Sanders told Paste. “And to a large degree, I suppose yes. It’s solid.” With Gojira, Kvelertak. Showbox SoDo. 7:30 p.m. $25 adv./$30 DOS. DJL

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SEATTLE WEEKLY • AP RI L 23 — 29, 2014

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is not for casual listeners. Toronto songwriter Colin Bergh’s project disappeared almost as quickly as it arrived in 2006, taking with it its only record, Half-Eaten Guitar—a limited pressing from Blue Fog Recordings that quickly sold out. Luckily, Phil Elverum (the Microphones, Mount Eerie) was one of the few who heard it, and he’s reissuing and remastering it on his own label. While this will likely bring HalfEaten Guitar a larger audience, it’s still going to take a lot of effort for it to fully reach the masses. Bergh makes this clear right away with “Sigiln,” an expansive 10-minute opener that repeats the same eerie melody and monotonous acoustic-guitar riff. There’s a sense of levity when it transitions to the next track, “Ceremony,” which expands the lofty melodies but without the endurance test. If it weren’t for the sweltering electric guitar on closer “Air-Conditioning,” the album might sound like a lost relic from a forgotten, mystical era—which in many ways, it still is. It’s an album to let wash over you completely, to allow a full soak in its obscure textures; a cursory listen will not fully reveal the beauty that hides beneath the weirdness. DUSTY HENRY

Send your upcoming release to

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The Warren G. Hardings, Get a Life (out now, selfreleased, thewarrenghardings.com) Even the most casual music listeners carry certain preconceptions when they first throw BUSINESSS DEVELOPMENT on a record. But music OPERATIONAL DEVELOPMENT (and art in general) CANNABIS CULTIVATION is often best when it casts aside staid MEMBER OF SINCE 2013 notions of what it’s supposed to be, which New Hours: M-F 12:00 – 7:00 Providing solutions and opportunity for business is exactly what this Saturday 10:00 – 5:00 professionals and medical cannabis patients indie-pop bluegrass Sunday 12:00 – 5:00 group has done here. The musicianship, especially Bring this ad for an extra 10% off from banjo player Steve Werner and fiddler Lee For weekly onCFacebook WW W. S Especials, AT T L Efollow W E E KusLY. OM/SIGNUP Callender, is down-home, Kentucky-style bluegrass played at mind-numbing speed with dead-on accu4023 Aurora Ave. N. Seattle, WA 98103 racy. The tunes, however, fit more in the mold of the www.samcollective.org Death Cab for Cutie or Shins songbooks. The best (206) 632-4023 examples of this marriage are “The Devil’s in the A non-profit organization in accordance with chapter RCW 69.51A Roots” and “Post-Suburban Recession-Era Blues.” For weekly specials, follow us on Facebook On this latter track, lead singer Dave Zelonka seems intent on bucking traditional bluegrass 4023 Aurora Ave. N.themes Seattle, 98103 with theWA constantly repeating refrain, “Don’t need a girl, don’t need a dog/Just wanna watch www.samcollective.org hockey and have a day job.” Get a Life doesn’t go completely against the traditional grain, though, with a couple of genuinely great songs such as the funeral dirge-like “Anonymous Waltz” and the A non-profit organization in accordance with chapter RCW 69.51A cheerful, folksy “What Can I Say.” Fitting classic Americana musicianship into a modern pop form The inside scoop on upcoming is fraught with peril, and in lesser hands could be a shows and the latest reviews. disastrous mashup. The Warren G. Hardings have found a way to walk the line between both worlds that provides a unique and enriching listening experience. (May 14, Capitol Cider) CORBIN REIFF

Ink Proof

ew York–based guitarist Alex Holden is telling me about his former group, Big Numbers. “Not many people are familiar with it,” he says. “It’s a really angular guitar post-punk thing.” We’re chatting because his new project, Higgins Waterproof Black Magic Band, is a little more on-the-radar. He shares the group with Tunde Adebimpe, the front man of post-punk standouts TV on the Radio, and with drummer Ryan Sawyer (Lone Wolf, Cub) and bassist Josh Werner (Lee “Scratch” Perry, CocoRosie). Its funny name, he explains, is derived from a brand of ink.“Both Tunde and I are cartoonists,” he says. “Basically, the band formed when a local comic-book store [Desert Island] asked Tunde to play the Brooklyn Comics and Graphics Fest. He and Ryan had been playing together in Stabbing Eastwood. My theory is that he thought of me because of the comic thing.” The project, also known as HiWaBlaMaBa, performs a style of reverb-laden, groove-based rock that resides somewhere in the region of Can, The Police, and Massive Attack (in fact, a few tracks have been remixed by Massive Attack’s Robert “3D” Del Naja). Its five-song self-titled EP, dropped in October, was promptly followed with a month-long residency at Brooklyn’s Union Pool. “October was super-fun,” says Holden. “We got all our friends to play these great mixed bills, like Chris Corsano, the freemusic drummer; Banning Eyre, an American guitar player; Abdoulaye Diabaté, a Malian guitar player . . . and William Tyler [Lambchop, Silver Jews].” The mixed bill, which includes Holden’s own axe playing, continues tonight. “I took guitar lessons from Richard Lloyd,” he says. “The guitarist from Television. He gives lessons in the city.” E gelliott@seattleweekly.com

HIGGINS WATERPROOF BLACK MAGIC BAND With Chimurenga Renaissance, Magic Mouth. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. $12 adv./$15 DOS. 8 p.m. Sat., April 26.

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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

Apartments for Rent King County

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Carnation Luxury 2 Story! 4 Bdrms 3 Baths, 3492sqft, Huge Garage. FHA & 203K Eligable. $485,000. 425-7667370; Realty West 206650-3908

University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm

NORTHEND MASSAGE

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

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 North Seattle $625/util. incl. Must be FT emp. or student 206-913-3627

Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services Electrical Contractors

DS ELECTRIC Co.

New breaker panel, electrical wiring, trouble shoot, electric heat, Generator transfer switch, Fire Alarm System, Intercom and Cable,Knob & Tube Upgrade,Old Wiring Upgrade up to code... Senior Discount 15%

Lic/Bond/Insured DSELE**088OT

(206)498-1459

Free Estimate Home Services Landscape Services

Castro’s Landscaping WE HAVE THE LOWEST PRICE!

As the world leader in next generation mobile technologies, Qualcomm is focused on accelerating mobility around the world. Qualcomm Technologies, Inc., a wholly owned subsidiary of Qualcomm, has the following positions available in Seattle, WA:

Staff Software Engineer/Multimedia:

Proficiency in Experience resolving camera quality issues and Multimedia architecture req’d (FR-KP06-L)

Multiple openings avail. Mail resume w/job code to QUALCOMM, P.O. Box 919013, San Diego, CA, 92191-9013. EEO employer: including race, gender, disability & veterans status

Clean up, Mow, Edge, Prune, Trim, Beauty Bark, Pressure Washing & More! Call Franco 24/7

206-412-9167 LISCENSED & INSURED Home Services Lawn/Garden Service

Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening Call Geoff Today:

206-854-1794 LICENSED & INSURED

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

Appliances AMANA RANGE Deluxe 30” 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

Lead Generator for The Tree Industry 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, Driver’s License & Cell Phone to be considered.

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

SEATTLE WEEKLY • APRIL 23 — 29, 2014

1-888-MegaMates

ADOPTION: Actress, Former, yearns to be Future At-HomeMom. Financially Secure & Very Loving. Expenses paid Trish.

Real Estate for Sale King County

Employment Computer/Technology

Classified

Call

@ 206-623-6231, to place an ad 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

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

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

$100 TO $1000

WWW.KIRKLANDGOLDBUYER.COM

7 Days * 24 Hours Licensed + Insured

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

ALL STAR TOWING

www.plasmalab.com

425-870-2899

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062 Appliances

Yard and Garden

NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966

BLACKBERRY

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

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

Residential/Light Comm

253-261-0438

lic#garricl956cq,bonded,ins

UNDER WARRANTY!

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201 Garage/Moving Sales King County

BURTON, VASHON

4/26-27 LIQUIDATION SALE @ BERGAMOT STUDIO IN BURTON Furniture, light fixtures, clothing, tabletop, stationary, fabric, art materials, vintage decor & more. Sat - Sun, 9AM 2PM both days at 23927 Vashon Highway SW.

was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo. Credit Dept. 206-244-6966

AM-PM TOWING INC

LYNNWOOD

%206-244-6966% Free Items Recycler

FREE: FLOWERING Bush, believed to be a Camelia. Bright, colorful flower. Beautiful and healthy. Just too big for me to care for. You come and dig up and it’s all yours! 206-783-1807

HUGE MULTI FAMILY Yard Sale at Calvary Apostolic Tabernacle. Friday and Saturday, April 25th and 26th, 9 am - 6 pm. Lots of great items, furniture, house hold items, baby gear, dryer, and so much more! 20901 44th Ave W., Lynnwood. Across the street from Embassy Suites. Come join in the fun!

Clark’s Towing, LLC Abandoned Vehicle Auction 04/25/14 - 12 PM Viewing: 11-12pm RTTO 5275 & 5276 8 Vehicles Auction @ 1780 NW Maple St, Issaquah

425-392-6000 - Issaquah See website for pictures: clarktow.com

Auto Events/ Auctions

Garage/Moving Sales Snohomish County

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

Auto Events/ Auctions

Abandoned Vehicle AUCTION!!! 04/25/14 @ 11AM 1 Vehicle

Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 4/30/14 Gates Open 9AM, Auction 12 PM 206-767-4848

Employment Social Services

1995 FORD WINDSTAR ADW4914

Preview 10-11AM 14315 Aurora Ave N.

10338 Aurora Ave N, Seattle

DANCING BARE » HOT BABES & COLD DRINKS «

HAPPY HOUR MONDAY p ½ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY p½ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p ½ OFF DOOR* MILITARY FRIDAY p½ OFF DOOR* *I.D. Required American Liberty Adult Store

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.

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

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

NVIDIA Corporation, market leader in graphics and digital media processors, has an engineering opportunity in Redmond, WA: Program Manager, Technical (TPMGR07), facilitate the completion of projects that are under collaboration between NVIDIA and their client. NVIDIA has an office in Redmond, WA and an office at their client’s campus in Redmond, WA. Employee will split time between NVIDIA’s two offices, both in Redmond, WA. If interested, ref job code and send resume to: NVIDIA Corporation. Attn: MS04 (J.Green). 2701 San Tomas Expressway, Santa Clara, CA 95050. Please no phone calls, emails or faxes.

Employment Professional Business Philips Oral Healthcare, Inc. has the following job opportunity available in Bothell, WA: Project Manager (MY39-WA) – Work with multidisciplinary teams (CMM, regulatory / approbations engineer, purchasing, SQE, packaging project managers, global supply centers, etc.) to create and execute project plans. Submit resume by mail to: Philips People Services, International Mobility, 200 Minuteman Rd, MS 5302, Andover, MA 01810. Must reference job title and job code MY39-WA.

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 General

CREATIVE SERVICES MANAGER

MARKET DEVELOPMENT COORDINATOR

MARKETING COORDINATOR

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.

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

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

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!

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

hreast@soundpublishing.com No phone calls please.

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