JUNE 4-10, 2014 I VOLUME 39 I NUMBER 23
SEATTLEWEEKLY.COM I FREE
15WOW: SEATTLE’S NEW MINIMUM WAGE. PAGE 5 | MUSIC: MONOGAMY PARTY GETS DIVORCED. PAGE 30
One year since Hildegard Hendrickson’s mysterious disappearance, the search goes on. BY PATRICK HUTCHISON
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SEATTLE WEEKLY • JUNE 4 — 10, 2014
inside» June 4–10, 2014 VOLUME 39 | NUMBER 23
» SEATTLEWEEKLY.COM
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news&comment 4
FAR FROM HOME
BY NINA SHAPIRO | From Seattle,
an Ecuadorian expatriate defends his rain-forest village. Plus: Jean Godden’s secrets, a $15 victory, and more.
10 A MOREL QUANDARY BY PATRICK HUTCHISON | A beloved
mushroom expert mysteriously vanishes in Chelan County.
food&drink
15 SURF & TURF
BY NICOLE SPRINKLE | Foraging for
delicacies where the land meets the sea. 15 | FOOD NEWS/THE WEEKLY DISH 16 | CITIZEN FOOD
arts&culture
17 DECO AT SAAM
BY BRIAN MILLER | How prewar Japan
discovered flappers and jazz. 17 | THE PICK LIST 19 | OPENING NIGHTS | Giselle at PNB,
illness on Capitol Hill.
20 | PERFORMANCE 22 | VISUAL & LITERARY ARTS
25 FILM
25 | OPENING THIS WEEK | Tom Cruise
dies 100 times, Gore Vidal curses America, and Clive Owen falls for Juliette Binoche. 27 | THIS WEEK AT SIFF 28 | FILM CALENDAR
Monogamy Party’s over; a storyteller Bares his soul; the Blakes resist indie-lite pressure. Plus the week’s notable shows.
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, 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, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Interns Kyu Han ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Peter Muller, Brett Leverett, Erin McCutcheon Classifieds Account Executive Matt Silvie DISTRIBUTION
CORRECTION: In last week’s issue, we failed to include a disclosure in the story “Chefs Bite Back at Authenticity: Why Isn’t Everyone Allowed to Cook Ethnic Food?” by freelance writer Tiffany Ran. In addition to contributing to Seattle Weekly, Ran also does public-relations work for one of several restaurants included in the piece. We regret the omission.
»cover credits
PHOTO OF HILDEGARD HENDRICKSON BY MACHEL SPENCE
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. PERI ODICALS 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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SEATTLE WEEKLY • JU NE 4 — 10, 2014
30 MUSIC
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news&comment The Seasoning of the Sounders Faithful
The Long Road Sent to Seattle at age 10, the Ecuadorian subject of a new documentary talks about struggling to become a leader of his people.
W
BY NINA SHAPIRO
Meanwhile, he is pondering what he can do
for his community. “I don’t necessarily like the word ‘leader,’ ” he says. “But I have a lot of ideas.” With the film coming out this week, he talks about setting up a website for all who might ask how they can help. It would coordinate volunteer efforts aimed at protecting the Ecuadorian environment, like collecting the turtle eggs that locals use for food. Having been exposed to a Western diet, he’d also like to introduce new foods to his people—namely, vegetables. The Cofán subsist largely by hunting and fishing. Eventually, he says he’d like to nurture the eco-tourism industry that serves as an economic alternative to oil production. The latter is still encroaching on the rain forest, having recently come to a village just upriver from his. Later this month, Lucitante plans to travel to the Ecuador/ Colombia border to participate in a historical mapping project, supported by The Nature Conservancy, intended to allow the Cofán to lay claim to their ancestral lands. Before that, however, he has someone to meet. Portiz is coming to Seattle for the film premiere, and Lucitante wants to see if he can be of use in the fair-trade effort. At the same time, Lucitante is reserving judgment until he sees the outcome of that effort—both for the oil industry and for his old friend. He says he hopes Portiz “stays close to the indigenous people” and doesn’t get “off track by becoming too involved with these corporations.” Lucitante himself is on a slower track, and one senses there might be another film to be made 10 years down the road. E
nshapiro@seattleweekly.com
just a douche wrapped in a overpriced rubber suit. I’m surprised he hasn’t been beaten by more shoe-wielding drunk women.” —Jenn Ayers “I am sick of hearing about this guy.” —Aaron Roden “A real superhero only needs one (usually useless) sidekick. Not a bunch of yokels in ski masks.” —Aaron Meadows “Truly, the end of an era. . . . Until the reboot.” —John Grassechi
•
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SPORTSBALL
Full of dreams to last the years.
blowing free kick just because she had a kid? It’s either miss the action or go back in time and hire a wet nurse. I have nothing against babies—some of my best friends were babies once—but the harvest of children certainly has altered the tenor of the games. Circle of life, right? Presumably there’s some other section replenished with young childless folks, cursing and drinking freely. But I’m not going to move there. If you’ve never had season tickets before, whether to sports or the opera or the legitimate stage, I can’t recommend it enough. Claiming the same view year in and year out lends an extra sense of permanence to every event you see. What’s better is the relationships you form with the folks who sit around you. I had Mariner season tickets for three years, and one of the reasons I’m using past tense is that the tickets around us were obviously up for sale on StubHub. Every game, a different group of people would plop down around us—or, as the team declined, no people at all. Often what fans there were couldn’t have cared less about the game. The last straw, for me, was when someone asked me to sit down between innings because they couldn’t see the hydro race. Would never happen in my Sounders section. Even though it means tossing an infant on their backs, the new parents still stand for the whole game. E
JEREMY DWYER LINDGREN
mental prodigy, who while still a child devoted himself to fighting oil pollution in Ecuador and who is now immersed in a movement to certify ethically produced “fair trade” oil, similar to what has been done in the coffee and chocolate industries. Poritz’s precocious self-assurance and accomplishments are awesome to behold, but there is something particularly affecting about Lucitante’s struggle to navigate two very different worlds and stay true to a fight he is not entirely equipped to wage. We see Lucitante trying to earn money for college—unsuccessfully by the movie’s end, which has him returning to the U.S. after a spell spent living in Ecuador with the American wife he met at Blanchet. They now live with their 7-month-old daughter in a Seattle neighborhood he asks not be named, in part to allow his family some privacy. Also, he says, “it’s cultural.” His people have experienced too much intrusion already. Apart from that, Lucitante, now 27, is open about his life. One morning, while his wife is out working as a preschool teacher, he walks with his daughter to a nearby park. Bouncing the baby in his arms, he relates that his tribe wants him to be its leader already; he has more education than most. After high school, he returned to Ecuador and spent a couple of years at a university in Quito, but quit when he couldn’t support himself while attending classes. “I personally feel like I need to finish college to be more confident in myself,” he says. And so while working as a shopping-mall valet, he is applying to schools again in the U.S., hoping to
MORGEN SCHULER
4
Hugo Lucitante was the first of his tribe to leave Ecuador.
get the financial aid that would make enrollment possible. It is his dream to study environmental science at UW, but his application for a “Husky Promise” scholarship has so far been met with silence. He has turned to community colleges, with an eye toward starting in the fall.
Last week, Seattle’s “real-life superhero,” Phoenix Jones, announced that he was disbanding the Rain City Superhero Movement and going solo. Naturally, the good citizens of Seattle reacted to the news. Here’s a sample from our Facebook page: “He’s SY BEAN
SEATTLE WEEKLY • JUNE 4 — 10, 2014
H
ugo Lucitante had never been so tired. He was 10, and on an epic journey that started in a remote village in Ecuador’s rain forest, where he lived with his family and other members of the indigenous Cofán people. He had traveled 12 hours in a motorized canoe to the nearest town, then hopped on a bus for another 12 hours, sitting between his parents as they wound through the Andes to Quito. “It was freezing cold,” he remembers of the moment he finally got to Ecuador’s capital city. He put on an uncomfortable red coat his parents told him he had to wear. Tired and miserable as he was, his journey was just beginning. Despite his youth, Lucitante was on a mission to become a leader of his people—a mission that would bring him to Seattle, where he lived off and on for the next 17 years. His parents had entrusted him to a 22-year-old University of Washington student they had met while she was studying in Ecuador. “I was the very first one of my tribe to leave,” he says. The Cofán had been devastated by Ecuador’s rapacious oil industry, which had pushed the tribe off their lands and into deep reaches of the rain forest. The government had aided this process but given little thought to what this meant for schooling, which in Lucitante’s village ran only through fifth grade. On top of that, oil spills polluted many of the region’s rivers, an environmental problem compounded by the companies’ foolish practices. “They decided it would be a wonderful idea to pour crude oil [on the streets] to keep dust down,” says Lucitante, who remembers thinking it was fun to draw with the dark sludge. “People were even told to smear themselves with oil to protect themselves from the sun.” Even as a 10-year-old, Lucitante says, he knew he was going to the U.S. to get a Western education that would allow him to speak up for his people. But, he says, “I didn’t know what I was getting into.” Lucitante’s attempt to figure it out is chronicled in a documentary, Oil & Water, that premieres at the Seattle International Film Festival this week. The film, by local directors Francine Strickwerda and Laurel Spellman Smith, picks up as Lucitante is graduating from Seattle’s Bishop Blanchet High School and follows him for eight years as he goes back and forth between his native and adopted homes. Along the way he meets American David Poritz, a kind of environ-
hen I first got Sounders tickets five years ago, my section was a weekly bacchanal of boozing and profanity. Now it’s a nursery. On Saturday, my seatmate brought his 2-yearold. The couple one row below, who once lived in Capitol Hill and would reliably down five beers each, now live in Richmond Beach and have to stay sober for the drive home. They BY SETH KOLLOEN brought their newborn. Most galling, the guy a row above me who used to blow a vuvuzela right in my ear had fit his infant with mini-headphones. Oh, OK— suddenly you care about hearing loss. Meanwhile, across the aisle and down a row, the presence of 39,244 strangers was no deterrent to a mom who wanted to breast-feed her child. Out it came, in front of Obafemi Martins and everyone. I fully support this—why should she have risked missing Marco Pappa’s mind-
sportsball@seattleweekly.com
15 Last Monday
BY MATT DRISCOLL 90
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s expected, on Monday afternoon the Seattle City Council passed the historic $15-an-hour minimumwage bill that Mayor Murray and the Council had spent months hammering out. With all nine councilmembers in attendance, the bill was approved unanimously, even earning the endorsement of socialist Kshama Sawant by the time the dust settled. Throughout the process, Sawant had made clear her displeasure with aspects of the proposal— including lodging one of two “No” votes when it emerged from the Mayor’s minimum-wage task force Murray gets the party started. last month—and continmade tackling income inequality a top priority, ued to push for changes to the bill until the very and this was a huge milestone in that fight. The end. The Council’s unanimous vote followed 9-0 vote spoke loudest of all. the failed introduction of four worker-friendly “Today workers in Seattle have made history,” amendments favored by Sawant, including Sawant noted just prior to the final vote. “We did efforts to remove training wages and tip credits. this. Workers did this!” The legislation, signed on Tuesday by Murray in It was hard not to agree with her. a ceremony at Cal Anderson Park, is now scheduled to go into effect on April 1, 2015. Opening the day’s regularly scheduled City Following the vote, supporters of the new bill Council meeting to boisterous cheers, Council gathered outside City Hall, where they enjoyed President Tim Burgess called order and got to cake, ice cream, and high-fives. Large speakers business. After two quick proclamations—one filled the sunny afternoon air with the triumin support of Pride Month, which will be signed phant sounds of Macklemore’s “Can’t Hold Us” by Seattle’s first openly gay mayor—the publicand Tom Petty’s “Won’t Back Down,” among comment portion of the meeting was raucous other victory jams. Mayor Murray, after cutting and predictable. Those who spoke were staunchly a celebratory cake, briefly spoke to the crowd, in favor of the minimum-wage hike, urgently telling those in attendance that “Today marks expressing the need to institute it quickly and a beginning, not an end.” A large $15 sign was without business-friendly “corporate loopholes” then raised high, to the cheers of many. like a training wage, tip credit, and the three“The rest of the nation will follow us,” Murray month delay in implementation. Chants like exclaimed, vowing to “make [Seattle] once again “Tip credit? Forget it!” erupted between speakers. a progressive city. “What 15 means is workers like me are able “Let’s start a new tomorrow.” to afford basic necessities,” a Target employee Moments later, Councilmember Kshama named Hanna told the Council, citing things Sawant issued her own statement, striking a like shoes, dentist visits, and retirement. “I don’t victorious stance while also noting the work she want to work until I die.” When Hanna revealed sees as yet to be done. she’d gone on strike from Target as part of the “Our victory is not complete, but we have fight, she received a standing ovation. fought until the last day, the last hour, against all In introducing the legislation, Councilmember the loopholes demanded by business,” Sawant’s Sally Clark noted, “No city or state has gone this statement read in part. “We’ll come back to the far with minimum wage, yet. . . . We all must be questions of tip penalty, the long phase-in, the invested in making this work [in Seattle].” training wage. . . . But today’s message is clear: If It was obvious throughout the meeting that we organize as workers, with a socialist strategy, differences still exist among councilmembers— we can tackle the chasm of income inequality and between the Council and the $15-an-hour and social injustice. . . . 15 in Seattle is just a supporters in attendance—but when it came beginning. We have an entire world to win.” E time to vote, the message was clear: Seattle has mdriscoll@seattleweekly.com
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MORGEN SCHULER
Jean Godden announced she will again run for City Council in 2015.
Looking back at a formative past and forward to a brighter future with . . .
Jean Godden BY ELLIS E. CONKLIN
O
term in the newly created Fourth District that stretches from Magnolia to Fremont—but it’s her time in the newsroom, beneath the P-I globe and later at The Seattle Times, that most animates her. That’s understandable, for she became a beloved Seattle icon not because of her early days as a citizen activist, fighting various roadexpansion projects and working to pass school levies as a PTA president, nor for any vote she’s taken on the Council, but because of her long-running gossip column, which informed, entertained, and sometimes infuriated. Godden once described her journalistic mission as slipping “some vitamins into [the readers’] Frosted Flakes.” She continues to write her own blog and contributes regularly to Crosscut.
“I always think of myself as a journalist. I still run around with a reporter’s notebook.” “I always think of myself as a journalist,” Godden tells me during a recent chat at Einstein Bagels, below her council office at City Hall. “I still run around with a reporter’s notebook.” What do you miss about Old Seattle? “The characters, I miss the characters,” she says, citing such notables as Ivar Haglund, the Times’ crusty wordsmith Emmett Watson, and the flamboyant restaurateur and politician Ruby Chow. Also on that list is J.D. (“Jasper David”) Alexander, a gruff old-school newsman who
» CONTINUED ON PAGE 9
SEATTLE WEEKLY • JU NE 4 — 10, 2014
ne evening in the early 1980s, Jean Godden, then a staff writer at the Seattle Post-Intelligencer, was invited to a lavish party in Broadmoor, a wealthy gated community on the east side of Capitol Hill. There she was introduced to the guest of honor—none other than William Randolph Hearst III, grandson of one of the most notorious newspaper barons this country has ever produced. Her editor, Godden recounts with a spirited laugh, chose these words to enumerate her bona fides to Willy, as the then-publisher of The San Francisco Examiner was affectionately called: “That’s the broad who writes our editorials.” After which someone else at the soiree (not Hearst) cracked, “Nice legs for an editorial writer.” It was sexist interludes such at this—common back then in this male-dominated craft— that predicated Godden’s passion for securing equity in woman’s pay. In fact, Godden, now 82 and serving her 11th year on the Seattle City Council, is seldom seen these days without a “No Wage Gap” button fastened to her lapel. Last week, the Council voted unanimously to adopt an action plan to fix the city’s gender pay gap. The effort, led by Gooden—who strongly believes it is unjust that a woman in Seattle earns 73 cents for every dollar a man earns— will, among other things, create a regional Gender Equity Initiative to encourage other employers in the Puget Sound area to address gender inequalities. “This is something we need to straighten out. It’s gone on for too long now, and we need finally to do something about it. This issue is a passion of mine,” says Godden. Godden, who lives in View Ridge, recently announced she will run in 2015 for a fourth
7
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n&c» Jean Godden » FROM PAGE 7 was editor during much of Godden’s tenure at the morning daily. Alexander, who died in 2006, loved a good meal and a stiff drink nearly as much as he loved political conventions and a good Page One story. “He sometimes took me with him to the Metropolitan Grill,” Godden recalls, relishing a tale she’s often told to former P-I scribes. “One day I was with him for lunch. He always had two martinis. But this time J.D. had quite a lot of Bombay gin, and he overtipped. Oh my, it was a lot. So when we returned to the office, he realized what he’d done and sent a copy aide back to get it.” Is there something, I wonder, which might surprise people to learn about you? “Well, yes. I lived in 116 different places before coming to Seattle when I was 17. My father was a surveyor for the Tennessee Valley Authority. We lived in a lot of tents,” says the Connecticut-born Godden. “I’ve been to every state in the union. A few years ago, I finished
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off the last two—Alaska and Maine.” Godden is having fun. Her health is good, her memory sharp. She just finished Gillian Flynn’s Gone Girl. She read half of it on a recent plane flight, and says she couldn’t put it down. The last movie she caught: American Hustle— “and it was great.” She dines out frequently, and while she enjoys the newer eateries (“I had crickets at Shanik. They were so crunchy!”), she finds herself returning to her old standbys: the Dahlia Lounge, Etta’s, and Ponti Seafood Grill. “You know, I still have the old Dog House menu,” she confides. Asked about the new mayor, Godden says, “I’m very impressed with him. The old mayor [Mike McGinn], you know, was in my office three times in four years. This one has been in three times in four months.” Godden keeps track of this sort of thing. Feeling slighted can make her prickly. So, Jean, what’s left on your bucket list? “This,” she says, handing me an extra “No Wage Gap” button. “This is why I am running again.” E
VISIT ONUGR LEASI R CENTE ! TODAY
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BY PATRICK HUTCHISON
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HUNTING
FOR THE
MUSHROOM HUNTER One year since her mysterious disappearance, Hildegard Hendrickson has not been found. A community still mourns and speculates.
MACHEL SPENCE
SEATTLE WEEKLY • JUNE 4 — 10, 2014
Hendrickson: the godmother of Washington mushroom hunting.
n the eastern slopes of the Central Cascades, the last traces of snow are melting away and the tiny, delicate heads of morel mushrooms are pushing up through carpets of pine needles to greet the beginning of summer. Their emergence marks the start of one of the most prized mushroom-foraging times of the year, drawing hundreds of recreational and commercial mushroom pickers onto narrow Forest Service roads, hiking trails, and ORV paths to harvest their share of the venerable fungi. But this year, those passionate foragers will miss an ally, a teacher, and a friend, because last June 8, Hildegard Hendrickson, the godmother of Washington mushroom hunting, ventured among the burnt remains of a pine forest looking for morels and vanished. I learned about Hendrickson’s disappearance in late April. I was researching a story on mushroom foraging—a seemingly fun hobby, the perfect combination of hiking, treasure hunting and cooking. After only a few minutes of researching how one might get involved, I came across the Puget Sound Mycological Society (PSMS), a nonprofit founded in 1964 that’s now one of the largest mushroom societies in the country. The society runs mushroom identification, or ID, clinics on Monday nights during the two prime mushroom seasons—starting in April and September—at the UW Center for Urban Horticulture. They provide novices and experts alike the opportunity to talk shop and have their mushrooms identified for free. Identification of mushrooms is of vital importance: Thousands of species exist, many are poisonous, and some that look identical to their edible counterparts will kill you if ingested. As I made plans to visit the clinic, one thing continued to catch my eye: the name “Hildegard Hendrickson ID Clinic.” It sounded familiar, but I didn’t know why. A quick Google search brought up images of an older woman with short, curly gray hair tucked beneath the band of a tan visor. Her face is wrinkled and smiling; in her hands is a giant mushroom. A memory came flooding in. It was a balmy June afternoon in 2010. Friends and I found something unusual in the backyard of our house in north Seattle. Between two fruit trees—which always managed to drop an impressive, and at times annoying, number of plums onto the scrappy patch of grass we called a yard—we found mushrooms: tan, phallic, brainy, and large. They were morels—one of the most sought-after mushrooms in the Pacific Northwest and beyond—but we didn’t know that then. A few minutes of Internet research led me to the PSMS and a phone number. When I called, Hendrickson answered. She told me to pick the mushrooms and stop by her house, just a few blocks away. I found her in her garden, watering roses. She greeted me warmly, offered me icewater, and immediately identified the mushrooms as morels—one of which, she told me beaming, was the largest she’d ever seen. We had a pleasant conversation; I gave her the monster morel for one of her classes; and we parted ways. The interaction lasted 15 minutes, but it stayed with me. The ID clinics were officially named after her this year, and scrolling through the PSMS website, I learned why: She was a longtime member who, tragically, went missing while on a hunt for
morels, the same mushrooms she identified from my yard that June afternoon. On Saturday, June 8, 2013, Hendrickson drove east from Everett on US 2 in her green Ford Focus, arriving at the Minnow Creek Trailhead near Basalt Peak in the early afternoon. Her drive up Chikamin Ridge Road to the Minnow Creek trailhead would have been a bumpy one. The narrow gravel Forest Service road would have just been rid of the last hangings-on of winter snow patches, leaving everything underneath muddy and soft. The year before, fires had raged through this area. Though it is extremely difficult to forecast the locations of wild mushroom patches, morels often grow in areas that have suffered wildfires. Normally much harder to find and beloved for their dense, meaty texture and rich flavor, fire-burn morel patches are like pots of gold at the end of a smoky rainbow. According to police case files, at the trailhead Hendrickson talked to Seattle cardiologist Dr. Anthony Okos. He told Chelan County detectives that he’d tried to advise Hendrickson that the trail was quite steep and that she may want to reconsider hiking up it—a reasonable suggestion from a doctor who saw a 79-year-old woman about to tackle a rather challenging trail. Little did he know that Hendrickson, a regular picker, hiked several times a week. According to several family members and friends who have been to the trail, it wouldn’t have been a problem for her. Off she set on the immediately inclined Minnow Creek Trail, leaving her car parked just off the road. At approximately 1:30 p.m., two separate witnesses, a hiker and a Forest Service ranger, came upon Hendrickson about halfway up the trail, picking morels just a few dozen feet from the established path. They were the last people to see her. She wasn’t reported missing until three days later, when a fellow mushroom hunter, Igor Malcevski, noticed the car had been parked in the same spot for several days. (Hendrickson was completely independent. It wasn’t unusual for her sons not to talk to her for a week or more.) Upon closer inspection, Malcevski saw that the doors were unlocked and that there was a purse inside. Thinking the car’s owner might be in some sort of trouble, he looked in the purse for identification, and immediately recog-
nized Hendrickson from her driver’s license. He called 911 and reported that Hildegard Hendrickson may be in trouble. News reports at the time of her disappearance kept repeating these details. Searches were unsuccessful, uncovering no clues. After six days, they were suspended. Reading all this a year later, I made the assumption that she must have wandered off too far, fell, or gotten lost. She was 79, after all, and these were rough hiking trails. But then I found a Seattle Times article stating that detectives had considered foul play. And, perhaps most striking, there were no updates. I found no written memorial to the kind woman I’d met several years before, no article stating that her disappearance had been solved. There was no conclusion, and I wanted to know more. I requested case files from the Chelan County Sheriff ’s department, and made plans to visit the Hildegard Hendrickson ID Clinic.
happy to teach others.” Others at the clinic say similar things, as I would expect from friends. What I didn’t expect were their thoughts on her disappearance. Multiple PSMS members, including Powell, believe only one conclusion: foul play. They point to her years of experience and her “pragmatism.” She wouldn’t have ventured far from the trail, they believe. She couldn’t have gotten lost—certainly not so far as to be invisible to search teams. The six-day search began the day Malcevski made the 911 call. It involved five different
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Hendrickson disappeared while foraging for prized morels.
» CONTINUED ON PAGE 12
SISTER’S SUMMER SCHOOL CATECHISM
The clinics, now in their third year, are a rela-
tively new addition to the PSMS, according to Marian Maxwell, acting president of the organization and longtime friend of Hendrickson. Before, people had to call—as I did—or come to a meeting to get their finds identified. Hendrickson helped start the clinics to promote membership in the group and teach newcomers about mushroom identification, Maxwell explains to me over the phone. “She was always extremely giving of her time and her knowledge”—knowledge that she passed on to people like Josh Powell. When he greets me at my first ID clinic visit, Powell, dressed in black slacks, black shirt, and a dark gray tie, seems more like a bartender or club owner than a mushroom hunter. As a former program director at all-ages music venue The Vera Project, it’s a dress code that’s familiar to him. Until recently, Powell was a mycophile only in his free time, but his passion for mushrooms has led him to quit his job and pursue a Ph.D. in mycology. He credits Hendrickson: “I’d been picking since 2006 or so, but it was when I started coming to the ID clinics and met Hildegard that everything really changed. She had this amazing knowledge of how everything interacted: the mushrooms, the trees, the seasons, the altitude. She knew so much and was so
search teams, two helicopters, three bloodhounds, and an army of volunteer searchers, who altogether hunted more than 2,500 hours. Highprobability areas were scoured up to eight times. Chelan County Sheriff ’s Deputy Gene Ellis would later call it the largest search effort he had seen in his 24-year career with the department. The result of their work? Nothing. No clues, no leads, no suspects, not a trace of Hendrickson. To find answers where there were none, those familiar with Hendrickson have come up with
11
OR THE HUNTING F
Search-and-rescue teams logged more than 2,500 hours.
MUSHROOM HUNTER
12
theories. Two women who were foraging around the time reported a suspicious man with a scar on his nose. He had asked a few pickers a few too many questions and made them uncomfortable: “Are you picking alone?” “Are you hunting with men, or women?” “Do you know there are dangerous people around?” Detectives later learned the man was Christopher Dodson, a mushroom forager who had come to the area with his friend Lester Stolze, a Chelan County Swiftwater Rescue volunteer. They questioned both men and never considered them suspects. Dodson readily admitted to talking to the women, saying he had heard that a person had gone missing and was merely speaking to inform and warn the women about shady—possibly commercial—pickers in the area. Commercial pickers are another twist to the story. They belong to an industry few even know exists, but are detailed extensively in Seattle author Langdon Cook’s recent book The Mushroom Hunters: On the Trail of an Underground America. When I meet with Cook at Smith, a bar on Capitol Hill, he explains how it works: “It is this throwback to frontier-style capitalism, a hidden economy both figuratively and literally.” He tells me how fickle mushrooms—growing in different microclimates, in different seasons, at different altitudes, and near only certain species of tree—necessitate an ever-moving picking force, usually immigrants, either Southeast Asian or Hispanic. They move with the mushrooms and the seasons, setting up temporary camps and selling to buyers who in turn provide the mushrooms to restaurants and grocers or sell them at markets. “It really has these echoes of the Gold Rush,” says Cook. It’s an all-cash industry that exists mostly underground and out of sight, but sometimes the world of commercial hunters and recreational hunters collide: “It doesn’t happen all that often, but when it does, there can be disagreements.” According to The Mushroom Hunters, there’s a stigma against commercial pickers: that they’re hurting the environment and taking all the mushrooms, that they’re violent and unpredictable. A Reuters story from 1993 reported three shootings in a two-week period of morel picking in La Grande, Oregon. Rumors have circulated of brawls, stabbings, and shootings. Cook’s book works to dispel a lot of them, depicting hard-working families trying to make a living—although, Cook admits to me, “That is a side of the business: that it attracts some sketchy people.” If the rumors are true, it’s easy to see why people would be tight-lipped about them: Violent mushroom-picking camps only attract attention and more restrictions on prime picking sites. According to Maxwell, Hendrickson had no problem speaking her mind about commercial pickers, who often were found picking over their legal limit, restricted in some areas, like Minnow Creek. “Hildegard was very forthright. She was not afraid to speak her mind and she did not always agree with commercial picking. I think possibly there could have been someone in the area that took exception to a comment that she made. That’s just my best guess, that something out of the ordinary happened to make her disappear or that someone helped her disappear, but there’s no evidence to that.”
PHOTOS BY PATRICK HUTCHISON
SEATTLE WEEKLY • JUNE 4 — 10, 2014
» FROM PAGE 11
County Sheriff’s Deputy Gene Ellis called it the largest search effort he had seen in his 24-year career. Cook imagines Hendrickson’s disappearance may have involved commercial pickers, but as an accident. “It’s a tight logging road that’s hemmed in by willows and other overhanging vegetation, windy and narrow. People drive too fast sometimes. I wonder if someone didn’t accidentally hit her while she was picking near the road, panic, and hide her.” Even if that’s not exactly what happened, Cook is in the camp that some wrongdoing was involved. “It was a hard site to get lost in, and you didn’t have to walk far to find morels. It just doesn’t add up. At this point, you have to look at foul play.” There are too many theories. Cook has put the idea of a reckless driver in my mind. My own assumptions involve animal attacks and natural causes—a heart attack or a stroke. Hendrickson’s fellow mushroom pickers, like Maxwell and Powell, have given me their own speculations. Dutifully, detectives checked out all possible scenarios—even leads from unlikely sources, including a psychic who had a dream in which Hendrickson died of natural causes and had fallen near a stream, under some brush, and was very hard to see. Strengthening the foul-play theory, all the most obvious explanations are easy to dismiss. If she had fallen, tripped, or had a heart attack or a stroke, she almost certainly would have dropped something: her blue metallic walking stick, silver mushroom basket, glasses, hat, or even the gold morel charm she wore around her neck, a gift from her late husband Monte. But after 2,500 hours of searching, no items or clues were found. If she had been attacked by an animal, obvious signs of a struggle would have certainly been found, along with at least one of her accessories. So had she wandered off—in search of some mushroom Eden, some more bounteous patch? Had she ventured farther than usual from the path? According to friends and family, definitely not. Maxwell notes, “She was not a weak person. She was not a feeble person. She was very vigorous, sharp as a tack, knew how to use a compass, had a walking stick, always carried her water bottle, and was always careful. This was not a careless person. She had knees that bothered her a little bit, but that woman could out-hike a lot of people.”
“Her bad knee was from a tennis injury when
she was younger,” says Hendrickson’s son Andy, who has met me at the Wild Vine Bistro, a little bar near his house in Bothell. His head shaved, dressed in a yellow T-shirt and shorts, the FEMA Emergency Response Specialist, over a few beers, fights emotion to tell me his mother’s story. Born in 1934 in Yugoslavia, Hendrickson was only a girl when WWII hit her small town. When the Russians came through from the east, the family fled to Austria. “They were all fluent in German, which wasn’t the best characteristic at the time,” Andy tells me. Hendrickson eventually emigrated to America and settled in Seattle, where she enrolled at the University of Washington to study business and economics, eventually earning a Ph.D. in finance. She would go on to become a professor at Seattle University, where she taught for several decades and helped found the school’s MBA program. She was a tennis player, a gardener, and a devout Catholic, attending Our Lady of the Lake Parish in Wedgwood and volunteering as a financial advisor to the archdiocese. But above all, she was a devoted mother and wife. She married an Army veteran, Monte Hendrickson, whom she had met in Europe and reconnected with in Seattle. Together they had two children, Andy and his older brother, Joe. Hendrickson began foraging in the late ’70s after neighbors suggested that she and Monte join them for a weekend hunt. At the time, mushroom foraging was a niche hobby rather than a potential business; individual enthusiasts would take to the hills for a few choice mushrooms for their table. According to Andy, the request came as a surprise. “Where my mother came from, in Europe, you shared mushroomhunting patches with only your closest friends and family on your deathbed. It wasn’t a recreational activity to do with friends. People were really secretive about their patches.” For Hendrickson, that warm invitation would prove life-changing. She joined the PSMS and started absorbing all she could, quickly becoming one of the most knowledgeable members. As Hendrickson’s expertise increased, so did the interest of savvy restaurantgoers and chefs. By the beginning of the ’90s, wild mushrooms
were gaining ground as a sought-after ingredient, inspiring former loggers familiar with the terrain, and immigrants who enjoyed the anonymity of an all-cash trade that didn’t require a formal education, to take to the woods in search of income. And as their produce showed up in restaurants and specialty stores, the numbers of recreational enthusiasts started growing to match, bringing more and more members to clubs like the PSMS, where people like Hendrickson were waiting to educate them. She started leading guided field trips and classes. While other members would join, learn the basics, then move on to enjoy their own private patches on their own time, Hendrickson kept teaching and sharing. Her love of mushrooms turned to a love of other harvests: She gardened with more fervor and started planting fruit trees, joined the Seattle Fruit Tree Society, and became an expert at kiwi cultivation. Andy still remembers the boxes of kiwis in the basement, which would slowly ripen alongside pears and other fruits until they ended up on the dinner table. Sipping his beer, Andy recalls, “Most nights, you would look around the dinner table and realize 90 percent of what you were eating came from the garden.” But Hendrickson’s zeal didn’t stop at family dinners. “We’d go on these weekend trips. Everyone had a trailer and would leave on Friday night, meeting up somewhere near Mt. Rainier or St. Helens, and we’d spend the whole weekend, camping, picking, having potlucks.” The story of Hendrickson’s life brings Andy to the present and her disappearance. As do the friends and colleagues I’ve already spoken to, he believes there might be more to the story: “I think someone knows something about what happened to her.” I call Sgt. Kent Sisson of the Chelan County
Sheriff ’s Office, who led the search effort for Hendrickson, to try to get a sense of balance, an objective opinion. Sgt. Sisson explains his role coordinating the search and candidly offers his theory: “I believe she’s still up there and we simply haven’t found her [body] yet.” Because Hendrickson is the department’s most recent and active case, they use it as a training opportunity for search-and-rescue volunteers.
food@seattleweekly.com
If you have any information about Hendrickson’s disappearance, please contact Sgt. Kent Sisson at the Chelan County Sheriff ’s Department at 509667-6864.
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Three months after her disappearance, Sgt. Sisson and a group of a dozen or so volunteers and team leaders, many of whom were involved with the original search, gathered at Minnow Creek to search again, practicing basic search-and-rescue techniques, but also hoping to find any clues. That follow-up search had turned up nothing, but another is scheduled for late May, and Sgt. Sisson welcomes me to attend. Arriving early on a Saturday morning, I see a half-dozen or so SAR (search-and-rescue) trucks, a trailer, and a few motorcycles parked near Minnow Creek Trailhead. Sgt. Sisson is briefing a group of volunteers with details about Hendrickson’s last known location, experience, physical ability, and identifying features. Beside him is a whiteboard with GPS coordinates and a large, detailed topographical map of the area. When Sgt. Sisson finishes his briefing, the volunteers make final adjustments to their gear and gather in their appointed groups. The communications center starts up its generator, everyone does a radio check, and the search begins, each group hiking out to their assigned locations. Since I’m not SAR-trained, and to prevent distracting the volunteers, I will be searching alone. From the small parking area where Hendrickson’s car was found, I start walking the trail, which immediately climbs and doesn’t stop for several miles until the summit at Basalt Peak. To move off the trail is to find yourself on an exceptionally steep slope, made all the more dangerous by inches of dried pine needles that slip under your feet like marbles, and a jumble of burned and fallen logs and branches. Then there are the massive pits and holes, a landscape of gouged earth that I don’t understand. Sgt. Sisson explains, “When you have a fire that burns this hot, it burns the roots in the ground and creates these cavities that can open up and swallow things above them.” Many of these cavities, some big enough to hide a person, could still be covered by a few branches and a layer of pine needles. I start to realize just how possible it would be to trip or fall, and just how hard it could be to find someone. After a full day of searching, once again no new clues are found, but a handful of volunteers got some extra practice. As long as the case remains active, they’ll keep coming back to look. The mushroom hunters will return as well. For those who knew Hendrickson, it will be a difficult trip, but everyone will cope with the loss in their own way: some with anger, some with disbelief, some with hope. After a recent ID clinic, Wren Hudgins, a friend of Hendrickson and possibly the last person to pick with her just a few days before she went missing, pulls me aside. “You know, I was in Iceland when she went missing, and it killed me to not be able to help in the search. When I got back, I went up there and walked around. I just took a few hours and talked to her.” I wait for Hudgins to say more, but he simply looks up and smiles, then turns and packs a few chairs from the clinic into his truck. He has no idea what happened to her, either, but he’s one of the few who wasn’t quick to talk about the disappearance. Perhaps he prefers to focus only on the good Hendrickson did. And there was certainly a lot to focus on. As her son Joe said at her memorial and later to me, “The world would be a better place if it were filled with people like my mother.” E
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food&drink Salad of the Sea
BY MEGAN HILL
Puget Sound provides plenty of opportunities for aquatic foraging.
Tom Douglas is at it again. He has signed a lease for a space in the Martin Apartments at Fifth Avenue and Lenora Street and plans to open a Mexican cantina and bar serving fresh corn tortillas. He has not yet announced an open date.
BY NICOLE SPRINKLE
A
Sea Bean Chimichurri
KYLE NICHOLSON
Yield: 1 quart.
Sea beans at hand.
Besides these watery delicacies, other treats are waiting for you in the bush. Salmonberries (named for their reddish-orange color) are prolific not just in the San Juan Islands but all over Seattle’s fields and woods. Resembling raspberries, the berries grow on thorny shrubbery that can get as big as 12 feet and resemble blackberry bushes (as opposed to a bramble). The berries are tart and
structurally sound Directions: enough to work Bring a large pot of unsalted well in desserts, water to a vigorous boil according to Nich- and blanch sea beans for olson. You’re likely 15 seconds. Remove to an to find a “compan- ice-water bath and cool ion” plant growcompletely before draining nearby: the ing thoroughly. Mince sea Nootka rose, easily beans, parsley, cilantro, and identified by its garlic. Toss with remaining light-pink petals— ingredients and season with one row of them, salt and pepper. (Depending as opposed to the on taste, recipe might not layers of petals require any salt as the sea on a cultivated beans are high in sodium.) rose. The Nootka Serve over grilled meats, rose’s super-floral fish, and vegetables. aromatic quality makes it a great flavoring agent in crèmes brûlées or panna cottas. Both salmonberries and Nootka roses will be in abundance for the next two weeks. After that, keep an eye out for red thimbleberries, which aren’t technically berries, but part of a flower. Nicholson says they have great flavor, like a superripe boysenberry, and also grow wild on a bush, like a blackberry (with thorns as well). They’re extremely delicate, however, and get squished easily, so they’re better used in jams than desserts. Then there are the tips of the spruce trees, more than just a striking visual cue in our Pacific Northwest landscape. Spring brings new growth, so the young tips are more tender and concentrated in flavor, making them ripe for simplesyrup infusions that can be added to cocktails and desserts. On our overnight, they lent a subtle smokiness to marshmallows for what no campfire, glamorous or primitive, can go without: s’mores. Lakedale Resort’s second annual Gourmet Glamping series kicks off July 19 with chef Rachel Yang of Seattle’s Joule and Revel. For more information, call the resort at 800-617-2267. E nsprinkle@seattleweekly.com
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TheWeeklyDish Grilled peaches gussied up. BY NICOLE SPRINKLE
I ate out a lot again this weekend—and had some great food that I’ll likely feature another week—but the best meals were the ones on my own deck, thanks to the gorgeous weather boldly flaunting itself before our “official” start of summer in July. I bought a bunch of white peaches (my favorite—so floral compared to a yellow peach) at the huge and inexpensive MacPherson’s Fruit & Produce in Beacon Hill. That night I pitted and halved them before placing them on the grill for about 10 minutes (until they were slightly charred). I had fresh mint from my garden chopped and ready to go, as well as freshly whipped cream (sweetened slightly). Each peach half got a small scoop of cream and a smattering of mint. Then I drizzled a mint vinegar shrub over it all, bought the weekend before at Folklife. It’s produced by Sage & Sea Farms in Portland, and consists of white vinegar, mint, and cane sugar. That tangy, minty splash worked beautifully with the fruit and the cream—providing a little pucker and another dimension to the dish. While shrubs are prolific on cocktail menus around the city (at Joule and Tilth, among others), adding them to certain desserts is a worthy use as well. They’re bright, acidic, and packed with the flavors of the fruit or herb they’re made of. My next experiment is to try this one as a salad dressing. E
SEATTLE WEEKLY • JU NE 4 — 10, 2014
resembles a rope (or whip), out of which grow blades of typical-looking seaweed. It’s a ferocious species that can grow as much as three feet a day and is best harvested after a storm, when the stipes are free-floating after being naturally pried off the rocks. Since this kelp is so big and ornery, you’ll want to bring back your haul in a garbage bag and break them down at home. For our dinner, they served as a sweet, vinegary garnish on top of a Vietnamese-style crepe. Nicholson also fries the kelp and makes pickles out of it, cutting rings from the tube (or whip) portion. Sea lettuce, another of his favorites, also grows along shoreline rocks, varying in size from a hand to a Frisbee. It’s similar to nori, but a more vibrant green and more delicate. “If you crumpled up a piece of paper, it sort of dries like that. It makes a very pretty garnish with a slight ocean flavor to it,” Nicholson says. The cold waters of the Pacific Northwest preserve the lettuce, but he discourages foraging it if it’s been washed up on a beach on a summer day. Speaking of safety, Nicholson advises finding as “pristine a place as possible” when foraging for any of these water-based edibles, which means you should avoid busy harbors and other waterways. “It’s worth the drive to find less-developed shoreline,” he says, just as you’d get as far away from a road as you could when hunting for mushrooms, nettles, or berries. Fortunately, however, none of these forageables are poisonous or digest “red tide” (contaminated algae) as shellfish can, but it’s still a good idea to research the area you’re canvassing for any safety alerts or regulations.
Ingredients: 1 pound sea beans, rinsed and picked through for woody stems 1 bunch flat-leaf parsley, leaves only 1 bunch cilantro, leaves only 2 garlic cloves 2 tbsp. fresh lemon juice ¼ tsp. chili flakes ½ c. extra-virgin olive oil
Capitol Hill’s new Sunset Electric building will be home to Paul Reder’s newest project, a restaurant with a beer focus called Stout. The 5,700-square-foot restaurant should open this fall or winter.
NICOLE SPRINKLE
few weekends ago I ferried over to San Juan Island with some other food journalists to experience (gratis) the “Gourmet Glamping” series that the Lakedale Resort is hosting throughout this summer. In case you haven’t heard, glamping is the latest portmanteaued activity, mixing “glamour” and “camping.” In this case, we slept in large canvas “tents” with queen-size beds and luxe hotel-style furnishings. Before bedtime, we gathered by the lake and helped Kyle Nicholson—former chef at the Friday Harbor House and the new chef of the island’s beloved Duck Soup Inn—prep and cook an entire meal over firepits. Not burgers and hot dogs, mind you, but flank steak with chimichurri sauce and Vietnamese crepes with spot prawns and pork shoulder, all paired with wines from Walla Walla’s Bergevin Lane Vineyards. Though the food was pretty spectacular, what interested me the most was Nicholson’s passion for foraging—in fact, he went through the menu with us one item at a time, exhaustively giving every ingredient its due as we sipped wine and tried to quell our rumbling bellies (they might consider shortening the spiel) while the sun slowly slid down and the fires warmed us. It wasn’t just mushrooms he scours the soil for; in fact, much of the menu that night hailed from what I’m calling “aquatic foraging.” While hunting for morels and other fungi is a blast, it’s often hard to find them if you don’t have a friend in the know. (I now have a secret spot, thanks to a local chef who took me on a matsutake expedition last fall.) But things like sea beans, kelp, and sea lettuce are widely abundant in our lakes and rivers if you’re willing to get a little wet (and purchase a recreational fishing license from a sporting-goods shop). Nicholson says they’re also “super-foods,” high in nutrients like calcium and vitamins C and B and very protein-dense. Sea beans, which helped make up the base of the night’s dynamite chimichurri sauce and which I was in charge of chopping up (see recipe from Nicholson), are succulents that grow in brackish areas where freshwater meets salt water on an ebb-and-flow basis, like in lagoons and marshlands. The beans aren’t difficult to spot, because they tend to take over the area. They resemble miniature stalks of asparagus (never exceeding 12 inches in height), with a wonderful natural salinity and a surprising distinctive crunch. Now is the time to get them, while they’re still young and not too woody. Come fall, sea beans won’t be very edible; by season’s end, they’ll be dead. Besides adding them to a chimichurri, Nicholson uses them in salads or as a garnish for fish. (I’ve seen them on local menus lately, and they’re available from Forged and Found Edibles, either online or at their stands at area farmers’ markets.) Another easy-to-find aquatic edible is bullwhip kelp, which is less slimy than other types of kelp and grows on rocks, making it easy to spot at low tide. Very identifiable, its single long “stipe”
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Moonlighting with mac and cheese. BY MEGAN HILL Broadway and University District farmers markets. They’ve also landed shelf space in Capitol Hill’s Cone and Steiner General. Sammy takes credit for the idea, having honed her mac-and-cheese recipes in New York. “We used to frequent a number of mac-andcheese restaurants in New York City, and we figured that the crazy hadn’t really hit Seattle yet, so we were hoping to jump in at the beginning. It’s comfort food, and it’s something I think most people can relate to and enjoy, and I just wanted to own a business that makes people happy.” Sammy and Jarred developed personal take-and-bake mac-and-cheese bowls in adorably named varieties:
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Though neither have training in the food industry, chats with local growers inspired the couple to start a side business. Though neither have training in the food industry ( Jarred is a software engineer and Sammy has a background in social work), those farmers-market visits and chats with local growers inspired the couple to start a side business. “We’ve heard a lot that you should do what you love,” Jarred says. “I asked Sammy what she loves to do, and she loves to cook. And I said, ‘What’s your favorite food?’ She said mac and cheese, and that just seemed to fit.” So in November 2012, just four months after they plunked down in Seattle, Melt was born. The couple served their creations first to friends, then at craft fairs and events, and finally at the
Left: Shecter and Froman. Right: Inspired variations on the classic dish.
DOMINIC ARENAS
ooking for a change, New Yorkers Sammy Shecter and Jarred Froman packed up their Queens apartment and their two cats and drove across the country to Seattle. The couple immediately dove into their new community. “One of the first things we did when we got out here is we started going to the farmers markets, because we had heard about how much people love that commitment to local food and local produce and supporting our local farmers,” Jarred says. “We didn’t have that type of culture out east.”
Cozy Pajamas, a traditional three-cheese mac from Sammy’s original recipe; The Cookout, with smoked jack, smoked gouda, and plenty of bacon; and Sunday Brunch, reminiscent of a bagel and lox and made with Loki Fish Company’s smoked salmon. Melt also features four rotating macs that draw inspiration from what’s available at farmers markets seasonally. Though the business has taken off, it’s not quite a full-time gig for the couple. Jarred’s New York employer asked him to stay on, so he telecommutes on East Coast hours, 6 a.m.–2 p.m., from home five days a week. “Then I go to job number two,” he says. Job number two keeps them scrambling. “Our evenings are devoted to shopping and cooking and our weekends are farmers-market days,” Sammy says. “But,” Jared is quick to add, “When we see the look on people’s faces after they try our mac and cheese, it’s so worth it.” E nsprinkle@seattleweekly.com
arts&culture
Looking West, Longing for Gstaad
THURSDAY, JUNE 5
ARTSparks
A survey of prewar Japanese design shows a nation in transition. BY BRIAN MILLER
P
eople were very uncomfortable showing it,” says Robert Levenson of the decorative art and design objects he began collecting some 30 years ago. They came from an overlooked and possibly even shameful time. “There was a political problem,” he says, an historical stigma associated with the period and origin behind the traveling show Deco Japan: Shaping
Chinese and japonisme currents of the previous century; what they relayed back to Shanghai and Tokyo was both borrowed and new. The streamlined locomotives and black-lacquered secretaries’ desks conveyed both speed and simplicity; the old Gothic filigree and Renaissance piety were stripped away for the sake of nocturnal motion and pleasure. Adornment gave way to the 20th-century candor of essential form. Buildings showed their trusses; women shed their corsets.
Art & Culture, 1920–1945.
For that reason, what’s most interesting here to me are the ephemeral, hedonistic traces of a demimonde that would soon be erased by war and the atomic bomb. Look closely at two framed sets of tiny matchbook covers—examples of low, cheap, disposable graphic arts— and you’ll see the bare legs, high heels, neon glimmers, bobbed hair, martini glasses, and cigarettes that symbolize Western “progress.” There’s a kind of forbidden allure that’s being absorbed into Japanese culture—the promise of cocktails, smoking, taxi dancing, and maybe something more in the rooms above the club. One series of fan-shaped portraits comes from Tokyo’s posh “Florida” nightclub; the hostesses could pass as flappers with their smart young outfits, like distant cousins to Louise Brooks. They, like other women represented in the show, are moga, shorthand for modan garu (“modern girl”). If they couldn’t vote—that would wait for the postwar constitution, with a women’s-right clause written by the American Beate Gordon—they could at least smoke, drive, flirt, and wear Western fashions. All these fleeting pleasures recall Japan’s Edoperiod “floating world,” which preceded its abrupt opening to the West in the mid-19th century. The old Japanese elite had its homegrown decadence before industrialization. What Deco Japan celebrates is the new Jazz Age frivolity, a casting-off of the past. Japan was then in a hurry to catch up with the West. Pearl Harbor halted that progress, and its tokens were packed away in steamer trunks that the Levensons and other collectors would open a half-century later. E
Of course there is a hashtag. You knew there would be a hashtag. #ARTSparks is one way to keep track of the city’s summer-long schedule of cultural events in Occidental Park, which aren’t just limited to First Thursdays. (Dancing and chamber music come next month.) However, tonight being the first such art walk of the summer, the park and environs will be unusually full of outdoor activity. Dylan Neuwirth is installing Just Be Your Selfie, a big neon status update of sorts. (Related is Tariqa Waters’ No I in Self at Martyr Sauce Gallery on South Washington Street.) Also on view through the summer is Sam Trout’s Welcome to the Park—geometric designs placed on all the light poles using colorful adhesive tape. In Nord Alley, the New Mystics collective will display five kinetic sculptures inspired by bicycling (some of them also foot-powered), so expect a large peloton to spill from Washington Bikes through Axis and to Back Alley Bike Repair. Local art and craft vendors will also set up their stands in the park. And as on every First Thursday, all Pioneer Square galleries will be open for your perusal, north from James Harris and south to Roq La Rue. If you need a downloadable walking map, go to firstthursdayseattle.com. Occidental Park, South Main Street & Occidental Avenue South, artsparks seattle.org. Free. 5:30–7 p.m. BRIAN MILLER
SEATTLE ASIAN ART MUSEUM 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5–$7. 10 a.m.–5 p.m. Wed.–Sun., 10 a.m.–9 p.m. Thurs. Ends Oct. 19.
Tomlin brings a large repertoire of characters to the 5th.
FRIDAY, JUNE 6
Lily Tomlin
Period pieces don’t get any more periodic than Laugh-In, the cheese-tastic 1968–73 comedy show which encapsulated its flower-power era so perfectly that it couldn’t help but date into near-unwatchability. This pop-culture supernova collapsed into a black hole, with very few of its dozens of cast members able to escape it and flourish in its aftermath. There’s Oscar-winner Goldie Hawn, though she hasn’t made a film in years; and Wikipedia tells me that the great Eileen Brennan participated in the show’s first season, which I hadn’t remembered. (Laugh-In is among my earliest TV memories, and being
SEATTLE WEEKLY • JU NE 4 — 10, 2014
bmiller@seattleweekly.com
JENNY RISHER
THE LEVENSON COLLECTION
Levenson made these remarks during his recent Seattle visit from South Florida (so full of pastel Deco hotels and such), where he and his wife Mary have amassed a trove represented here by about 200 items. It’s not fine art, nor do the Levensons—nor SAM, nor curator Kendall Brown of Cal State Long Beach—pretend otherwise. On display are posters, kimonos, postcards, ashtrays, furniture, vases, screens, and even matchbook covers (my favorite—more on that below). The Levensons’ focus is admittedly narrow and specific; they took advantage of a discount, in effect, created by the prewar taint of Japanese nationalism and militarism. Sometimes even bruised fruit can find a buyer. Yet now, after most all the veterans of World War II are gone, it’s hard to see why that stigma exists. There’s nothing here like the swastika-emblaA songbook, “Song of the Milky Way,” zoned cigarette case your grandfather from the 1931 movie Milky Way. might’ve taken off a German corpse at Normandy. It’s possible to read the political codes of a few decorative items (the of a rich, eccentric dowager who grew up in ’30s phoenix, say, might represent a rising Japan), Kyoto. Some objects seem like sentimental keepbut Deco Japan is about the advent of moneyed sakes from the mantle, while others provide a flash leisure time, not the winds of war. A vogue for of insight into forgotten times. Western fashions and stylish pursuits—golf! Two folded-paper cranes are actually plated travel! skiing! movies! nightclubbing!—swept with silver and gold. Robes are screen-printed the fast-industrializing nation. And by nation with movie sets and the skylines of distant cities we mean the factory owners, or more likely one might aspire to visit. A bright-red handbill their sons, daughters, and courtesans: those with depicting dancing, leggy chorines is actually a money to spend, passports, and free time. political leaflet. Boldly printed sheet-music covers promote songs like “The Modern Song.” On a traditional screen, a female skier stoops to adjust her There’s a nice consonance here between Carl bindings in a snowy tableau that’s both indigenous Gould’s original 1933 design for the SAAM building, itself a Deco exemplar, and the Levenson and imported. ( Japan was to host both the Winter and Summer Olympics in 1940; those plans were collection. I’m not a fan of the low ceilings and interrupted by war.) cramped galleries of this obsolete structure, but its During the ’20s and ’30s, let’s remember, culture limits suit this show. The galleries are arranged by was transmitted by radio, movies, and magatheme—nature, the modern woman, marine life, zines. Japan’s old isolation was—in the cities, at abstraction, home furnishings—with many of the least—instantly erased by Marconi and Edison. small items in glass display cases. It almost feels as Parisian salons were then already absorbing the though you’re wandering through the estate sale
ThisWeek’s PickList
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arts&culture» » FROM PAGE 17
RADIUS/TWC
Sophie (Moss) must take a long look in the mirror.
a kindergartener definitely helped me appreciate it.) But Lily Tomlin, 74, is now in her fifth decade of steady and acclaimed stage and screen work—the latter neatly bracketed by two Robert Altman masterpieces 31 years apart, Nashville and A Prairie Home Companion. Her new stage show promises a greatest-hits roundup of her characters, from bratty-but-wise tot Edith Ann to sardonic phone operator (speaking of dated!) Ernestine and more. 5th Avenue Theatre, 1308
Fifth Ave., 625-1900, 5thavenue.org. $34 and up. 8 p.m. (Repeats Sat.) GAVIN BORCHERT
Ashani Dances
Iyun Ashani Harrison has been making new work the old-school way for his ensemble, drawing from his deep background with companies like Dance Theater of Harlem and Alvin Ailey. Harrison’s day job is teaching at Cornish College, fostering the next generation of performers, some of whom have graduated into his group. For this set of performances, he’s got both his neoclassical and West African funk sides engaged for a mixed bill including live music by Johnaye Kendrick and Dawn Clement, as well as modern-influenced choreography by guest artist Eric Rivera. Broadway Performance Hall, 1625
forced to make that effort. McDowell and his two stars will attend the screening. The film opens here August 15. Cinerama, 2100 Fourth Ave., 3249996, siff.net. $35–$100. 6:30 p.m. BRIAN MILLER
MONDAY, JUNE 9
Silent Movie Mondays
Oh, I hear all you SIFF junkies wailing and wondering what to do next. How can we continue to avoid exercise and stay out of the sun?!? Well, this four-film series offers both live music, from organist Jim Riggs, and historical immersion in the celluloid era. Tonight’s program begins with the ur-text of the Disney empire, the eight-minute Steamboat Willie, which introduced Mickey Mouse to the world. Also from 1928, the following feature is Feel My Pulse, the first movie to be screened at the Paramount when it opened that year. The romantic comedy concerns a rich, hypochondriac heiress
Broadway Ave., ashanidances.org. $15–$20. 7 p.m. (Repeats Sat. June 8.) SANDRA KURTZ
SUNDAY, JUNE 8
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PNB.ORG
ONLY AT
M c C AW HALL
Wait, is SIFF over just like that? Tonight’s closing gala includes a big after-party, with food, drinks, and music coordinated by Sub Pop co-founder Bruce Pavitt. The party is reason enough to splurge on an all-in ticket, but I also recommend this debut feature by Charlie McDowell, which stars Elisabeth Moss and Mark Duplass as a bickering L.A. couple who go to the world’s most bizarre couples therapy retreat. (Ted Danson is the counselor who sends them.) The less said about the plot mechanics here the better, since the movie is a kind of through-the-looking-glass experience for these smug Silver Lake marrieds. (Here’s my précis: It’s like two Edward Albee characters trapped in an enchanted Williams-Sonoma catalog.) Ethan (Duplass, always a SIFF favorite) has cheated on Sophie (Moss, of Mad Men), but what’s really afflicting these affluent, childless yuppies is their self-absorption. The fun, Lollapalooza-going days of their early marriage are forgotten. What happened to our kinder, cooler selves? Ethan and Sophie wonder. Anyone who’s been in a long relationship or marriage will know the feeling, and McDowell views that past/present discontent through a refracting lens. You want to be a better person, but it takes so much damn effort. And in The One I Love, Ethan and Sophie are suddenly
© WALT DISNEY ENT.
SEATTLE WEEKLY • JUNE 4 — 10, 2014
The One I Love
(Bebe Daniels) who inherits a sanitarium that turns out to be a front for bootleggers and criminals! There she must choose between two men (Richard Arlen and William Powell). Appropriate to the era, following the show, Historic Seattle’s Larry Kreisman will give a talk in the Lobby Bar about the ’20s building boom that created our city’s grand theaters and picture palaces, many of them razed in the postwar era. The series runs through June 30 with Show People (Marion Davies stars, half of Hollywood drops by for cameos), Victor Sjöjström’s harrowing The Wind (with Lillian Gish), and Charlie Chaplin’s The Circus (featuring its original prerecorded score, composed by Chaplin). All programs include shorts and post-film discussions. The Paramount, 911 Pine St., 877-784-4849, stg presents.org. $5-$10. 7 p.m. BRIAN MILLER E
arts&culture» Stage
Opening Nights
makes her entrance like the vengeful ghost of Miss Havisham. The alternating casts include some stellar performances, especially Carla Körbes’ incandescent Giselle, Leta Biasucci and Jonathan Porretta in the virtuosic peasant pas de deux, and a truly effective James Moore as Hilarion (Albrecht’s rival for Giselle). Moore brings real emotional depth to his mime passages, connecting them to the more abstract dancing to make a full character. Giselle closes the PNB season on an exceptionally high note. They’ll celebrate this, and recognize Nakamura’s 17 years with the company, at Sunday’s encore program. SANDRA KURTZ
PGiselle MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28–$184. 7:30 P.M. THURS.–SAT., 2 P.M. SAT., 1 P.M. SUN. ENDS JUNE 8. (SEASON ENCORE PROGRAM: $35–$200, 6:30 P.M. SUN.)
Pacific Northwest Ballet’s new set and costume designs for Giselle reflect two different facets of the same period. Jérôme Kaplan’s sets, inspired by lithographs illustrating the original 1841 production, evoke the timeless fantasy world of romantic ballet. Yet his costumes, many of them drawn from fashion plates of the mid-19th century, anchor the production in that specific era. The contrast supports the dramatic crux of the ballet, where the dead and the living meet in a struggle between love and revenge.
A Small Fire NEW CITY THEATRE, 1404 18TH AVE., 800-838-3006, SOUNDTHEATRECOMPANY.ORG. $15–25. 8 P.M. THURS.–SAT. PLUS MON., JUNE 9 & 16. ENDS JUNE 21.
Nakamura dances her last Giselle.
ANGELA STERLING
tonight.
GREAT WHITE
WITH SPECIAL GUEST
SLAUGHTER | | THUR
JUNE 5
7PM
SUPPORTING ROTARY FIRST HARVEST & THE SNOQUALMIE VALLEY FOOD BANK
BOB SAGET
FRI | JUNE 13 | 8PM
MICHAEL BOLTON SUN | JUNE 15 | 7PM
DON WILLIAMS TUE | JUNE 17 | 7PM
Carpenter and Lazzara.
KEN HOMES
JOAN RIVERS
SUN | JUNE 22 | 7PM
the humor from becoming sitcommy. Coates is equally convincing as the aggrieved Jenny—if raised not by a tiger mother, then some near cousin in the jungle. And as Emily’s condition worsens, this parent becoming almost childlike, the cast keeps the play from drowning in despair. Beckman also deserves credit for cleverly using this tiny, borrowed performance space. Emily starts the play downstage, hale and hearty. By the end, she’s burrowed far back in her bedroom, defenseless. JENNA NAND E
stage@seattleweekly.com
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SEATTLE WEEKLY • JU NE 4 — 10, 2014
When the company premiered this version of Giselle in 2011, the big news was its restored choreography. Where many productions had slimmed down the mime and eliminated characters and subplots, the PNB team—Peter Boal, Doug Fullington, and Marian Smith—dug into the historical record to uncover the most complete version of the original choreography by Jean Coralli and Jules Perrot. Those details are still there, enhanced by Kaplan’s designs. Opening night, Kaori Nakamura returned to the role of Giselle, the peasant girl who falls in love with a nobleman in disguise, only to go mad and die when his deception is uncovered. Nakamura, who’s retiring at the end of the season, gives a beautifully gradated performance, her acting and dancing both excellent. Her Giselle enters from a cottage, bounding with enthusiasm for life, love, and dancing. This ebullience makes her downfall even more poignant. As her faithless lover Albrecht, Jerome Tisserand makes a very fine debut in the role, building on his innate poise to flesh out his character. His remorse in the second act, when Albrecht comes to mourn at Giselle’s grave, is direct and affecting. Carrie Imler, who excels at roles that require both lightness and strength, is an excellent Myrtha, the queen of the dead. Veiled and dressed in palest grey, she
We meet the confident Emily, who runs a construction business, trading dirty jokes with a foreman on a job site. She’s a foul-mouthed, middle-aged broad, and you wonder if she might have sexual designs on the younger Billy (Ray Tagavilla). But then Emily (Teri Lazzara) returns to a very different home life. Unlike the intimate familiarity she shares with Billy, here she’s got a cowed husband, John (Gordon Carpenter), and an exasperated adult daughter, Jenny (Sara Coates), who’s about to wed. And as with most daughters of alpha females, Jenny is defined by her mommy issues. Then—let’s get the big plot twist out of the way early—the indomitable Emily is struck by a degenerative disease, and suddenly the shit gets real. In Adam Bock’s affecting 2011 drama, directed by Julie Beckman for Sound Theatre Company, we watch Emily gradually lose her independence and dignity. The old walls between her arm’s-length husband and estranged daughter are finally breached. Once so free and proud, she’ll eventually need their constant care and supervision. In outline, I know, this sounds like a diseaseof-the-week TV movie. Yet Lazzara makes Emily entertaining as hell; her lovable, cussin’ grumpiness reminds you of Melissa McCarthy. And there are unexpected laughs amid the pathos. As the caretaker husband, John becomes the natural foil for Emily’s brashness, yet Carpenter and Lazzara temper these scenes enough to keep
elevate
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arts&culture» Performance B Y G AV I N B O R C H E R T
Stage OPENINGS & EVENTS
THE AMAZING ADVENTURES OF KAVALIER & CLAY A stage adaptation of Michael Chabon’s 1939-set
JUNE 6-7, 2014
! D N E K E E W THIS IVE! mlin
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SEATTLE WEEKLY • JUNE 4 — 10, 2014
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novel. Center Theatre at the Armory, Seattle Center, 2160833. Previews June 7, 8, & 10, opens June 11. 6 p.m. Wed.–Sat., 2 p.m. Sun. (N.B.: The show runs five hours with three breaks.) Ends July 13. THE CABIRI: TEWAZ This aerial/dance/etc. troupe drew on eastern Mediterranean folk tales for their new spectacular. Cornish Playhouse at Seattle Center, 800838-3006, cabiri.org. $20–$35. Opens June 6. 7:30 p.m. Fri.–Sun. Ends June 14. THE EDGE Bainbridge Island’s own improv troupe. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $12–$16. 7:30 p.m. Sat., June 7. EVERY MOVIE IS A MUSICAL When Jet City Improv gets their hands on it, that is, and when you tell them what movie to transform. Wing-It Productions, 5510 University Way N.E., jetcityimprov.com. $12–$15. Opens June 5. 8 p.m Thurs.–Fri. Ends June 20. THE 5TH AVENUE AWARDS The Washington state Tonys for high-school theater: expect laughter, tears, rivalry, heartbreak, drama. And the girls get pretty worked up, too. Benaroya Hall, Third Ave. and Union St., 625-1900, 5thavenue.org. 7 p.m. Mon., June 9. THE GOOD PERSON OF SZECHWAN The Endangered Species Project presents a reading of Brecht’s morality play in Tony Kushner’s English adaptation. ACT Theatre, 700 Union St., endangeredspeciesproject.org. $10–$15. 7 p.m. Mon., June 9. THE HUNCHBACK OF SEVILLE The premiere of Charise Castro Smith’s 1504-set romp. The Little Theatre, 608 19th Ave. E., 325-5105, washingtonensemble.org. $15– $20. Opens June 6. 7:30 p.m. Thurs.–Mon. Ends June 30. THE LISBON TRAVIATA Art imitates life in Terrence McNally’s play about opera obsessives. Richard Hugo House, 1634 11th Ave., 800-838-3006, theatre22.org. Preview June 5, opens June 6. 8 p.m. Thurs.–Sat., plus 2:30 p.m. Sat., June 21 & 28 and 8 p.m. Mon., June 23. Ends June 28. LOVE IN THE TIME OF ZOMBIES Damian Trasler’s play examines marriage in a post-social-media apocalypse. Ballard Underground, 2200 Market St., vagabondalley. com. $10–$14. Opens June 7. 10 p.m. Sat. Ends June 28. LUST & MARRIAGE Eleanor O’Brien’s solo show “examines cultural beliefs around monogamy, monotony, jealousy, and polyamory.” Theatre Off Jackson, 409 Seventh Ave. S., dancenakedproductions.com. $10–$18. Opens June 5. 8 p.m. Thurs.–Sat. Ends June 14. SANDBOX ONE-ACT PLAY FESTIVAL New work by Yussef El Guindi, Juliet Waller Pruzan, and others. West of Lenin, 203 N. 36th St., 800-838-3006, soapfest.org. $18. 8 p.m. Wed., June 4–Sat., June 7, 2 p.m. Sun., June 8. SPIN THE BOTTLE The June edition of Annex Theatre’s late-night variety show includes “futuristic noir theatre,” “acoustic Queen covers,” and much more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., June 6. TEATRO ZINZANNI: WHEN SPARKS FLY Maestro Voronin headlines this mad-scientist-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Opens June 6. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Sept. 21. THEATER SCHMEATER’S GALA SCHMALA Opening their new space with an evening of new short works. The Schmee, 2125 Third Ave., 800-838-3006, schmeater. org. $18–$25 (opening night $50). Preview June 5, opens June 6. 8 p.m. Thurs.–Sat. Ends June 14. TO THE NAKED EYE Innocence or dirtiness—what does nakedness mean? A half-dozen comic shorts try to find out. Cornish Playhouse, Seattle Center, playwrightstheatre.org. $20–$25. Opens June 6. 8 p.m. Thurs.–Sat. plus Mon., June 16. (Thurs. performances are clothingoptional.) Ends June 28. LILY TOMLIN SEE THE PICK LIST, PAGE 17. TRAPPED IN THE CLOSET Ian Bell’s Brown Derby Series, gender-bent takes on cult classics, does it to R. Kelly’s hip-hopera. Re-bar, 114 Howell St., brownderby series.com. $20. 8 p.m. Thurs. June 5–Sat., June 7. URINETOWN A Weill-esque musical fable about a town in which “It’s a Privilege to Pee.” Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, rentoncivictheatre. org. $20–$25. Opens June 6. 7:30 p.m. Thurs., 8 p.m. Fri.– Sat., 2 p.m. Sun. Ends June 21.
CURRENT RUNS
ARCADIA Tom Stoppard’s beloved and brilliant 1993
comedy takes place in the garden-fronting room of a Derbyshire manor called Sidley Park. Scenes alternate between 1809, when the owners supposedly hosted
Lord Byron while redesigning the garden, and the present, when two competing academics scavenge the grounds for evidence to bolster their esoteric, career-making theories. Arcadia is a Swiss watch of a play, especially when the two time periods overlap, and the script’s hyper-articulate charms flourish in certain performances. MARGARET FRIEDMAN Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $10–$30. Runs Thurs.–Sun.; see seattlepublictheater.org for exact schedule. Ends June 8. DIANA OF DOBSON’S Cicely Hamilton’s 1908 English comedy about a class-jumping young heroine during the Edwardian period. Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $15–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends June 14. DOG SEES GOD “After his dog dies from rabies, CB begins to question the existence of an afterlife” in Bert V. Royal’s extremely loosely Peanuts-based play. Cabaret Theatre, Hutchinson Hall, UW campus depts. washington.edu/uwdrama. $5–$10. 8 p.m. Wed.–Sun. Ends June 8. FUNNY GIRL In the starring role of this revival, directed by Steve Tomkins, Sarah Rose Davis has to be exhaustively gawked up and geeked out by her costumers to match the song “If a Girl Isn’t Pretty.” But by the time the show reaches “I’m the Greatest Star,” Davis owns the part, bouncing from pushy to pleading to soulful to catty, bratty, soulful, and back again. Good, because Funny Girl is a show that lives and dies on its Brice. Even the primary plot points of the vaudevillian’s fictionalized biography are mere vehicles to truck the audience toward the next song-and-dance spectacular. And of those there are many in this three-hour show (with intermission), with Davis wonderfully supported by the large ensemble. The fleet-footed John David Scott is a standout as Eddie, the puppyish friend and man-inwaiting to Brice. His tap-dance routine early in the show is nimble and engaging; it leaves you wanting more. However, the one dull spot in this practically Technicolor production is the central romance between Brice and the hit-and-miss gambler Nick Arnstein. Tall, dark, handsome, and mustachioed, Logan Benedict certainly looks the part of a dashing 1920s gentleman. All the pieces are there, yet you never buy the love story; Davis and Benedict have talent but no chemistry. If it’s romance you want, you can always rent the movie with Streisand and Omar Sharif. DANIEL NASH Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $30–$65. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends July 6. (Runs in Everett July 11–Aug. 3.) GREASE Return to Rydell High with Broadway Bound Children’s Theatre. Shoreline Center, 18560 First Ave. N.E., 800-838-3006, broadwaybound.org. $17.50. 7 p.m. Fri.; noon and 5 p.m. Sat.; 2 p.m. Sun. Ends June 8. HAIR The smash ’60s musical is full of hippie goodness. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest. org. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends June 7. LITTLE SHOP OF HORRORS Created in 1982 by composer Alan Menken and lyricist Howard Ashman, Little Shop toys affectionately with two of America’s enduring infatuations: cheesy monster movies and jukebox pop. Appropriately, this ACT/5th Avenue co-production 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. ONCE When it was released in 2007, Once became an unexpected international hit. The story of a struggling Dublin busker and a Czech immigrant brought together by a passion for music resonated with audiences because of that music—swelling acoustic sing-song ballads woven with Glen Hansard’s husky, ascending baritone and Markéta Irglová’s plaintive alto. It was difficult to imagine any other singers pulling off the intimate chemistry, but Once was bound for Broadway and, five years later, earned a boatload of Tony Awards for a stage translation that exchanges some of that intimacy for rollicking performances, with full Irish-folk instrumentation provided by an ensemble cast. MARK BAUMGARTEN The Paramount, 911 Pine St., 877-7844849, stgpresents.org. $25–$100. 7:30 p.m. Tues.–Thurs.; 8 p.m. Fri.; 2 & 8 p.m. Sat.; 1 & 6:30 p.m. Sun. Ends June 8. PETER PAN He still won’t grow up! Studio East, 11730 118th Ave. N.E., Kirkland. $12–$18. Runs Fri.–Sun.; see studio-east.org for exact schedule. Ends June 22. THE PRICE Arthur Miller’s drama is, most simply, a play about patrimony: Two long-estranged adult brothers argue about the wrecking-ball-bound brownstone—and its possibly valuable furniture—once owned by their late father. One brother (Charles Leggett) is a humble cop, the other (Peter Lohnes) a prosperous surgeon. Then there’s an elderly, wily antiques dealer (Peter Silbert) who tries to moderate their rivalries and resentments—all with an eye toward making a deal, of course. At 53, the playwright knew something about rising and
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plummeting fortunes. BRIAN MILLER ACT Theatre, 600 University St., 292-7676. $44 and up. Runs through June 22; see acttheatre.org for exact schedule. QUEERSPAWN Mallery Avidon’s play looks at smalltown bullying and coping mechanisms. Presented by Fantastic.Z. Eclectic Theater, 1214 10th Ave., 679-3271, eclectictheatercompany.org. $15–$20. 8 p.m. Thurs.–Sat. Ends June 7. A SMALL FIRE SEE REVIEW, PAGE 19. TERRE HAUTE The most important item onstage in the Bridges Stage Company’s debut production is an inch-thick pane of glass that separates its two main players. Situated in the interview room of the United States Penitentiary in the titular town, the two men have plenty separating them already in Edmund White’s 2006 drama. Prisoner Harrison (Robert Bergin) is a young, self-educated “redneck” who served in the first Gulf War. Interviewer James (Norman Newkirk) is an aging intellectual blue-blood expat who lives in Paris. Yet they do have a commonality: Both believe the U.S. is heading in the wrong direction. These characters are obvious stand-ins for two very real historical figures: the mass murderer Timothy McVeigh and the intellectual Gore Vidal. Directed by Aaron Levin in an intermissionless 90 minutes, this uneven play sometimes devolves into a pissing match between two cranks spouting off about Western decline. But in its most intimate moments— where the characters are exploring their rage, their regret, and their sexuality—we get insight into the minds of two idiosyncratic characters, and some moving performances. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676. $15–$25. Runs Thurs.–Sun., plus Mon., June 9; see acttheatre.org for exact schedule. THE WHO’S TOMMY It’s a “steampunk make-over” for this production of the seminal rock opera. Seattle Musical Theatre, 7120 62nd Ave. N.E., 800-838-3006, seattlemusicaltheatre.org. $30–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., June 12. Ends June 15. THE WORKROOM Jean-Claude Grumberg’s study of WWII survivors in Paris. Hughes Penthouse Theatre, UW campus, 543-4880, uwdrama.edu. $10–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends June 8.
Dance
•PACIFIC NORTHWEST BALLET: GISELLE SEE REVIEW, PAGE 19. NORTHWEST BALLET SEASON ENCORE •PACIFIC Hits from the past season, one more time: The “Rose
Adagio” from Sleeping Beauty, Tharp’s Nine Sinatra Songs, and more. McCaw Hall, Seattle Center, 441-2424, pnb.org. $35–$200. 6:30 p.m. Sun., June 8. ASHANI DANCES SEE THE PICK LIST, PAGE 18.
Classical, Etc.
•SEATTLE SYMPHONY Ludovic Morlot conducts Daphnis et
Dutilleux’s Second Symphony and Ravel’s Chloé. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $19 and up. 7:30 p.m. Thurs., June 5, 8 p.m. Sat., June 7. SEATTLE SYMPHONY: SONIC EVOLUTION SEE SEVEN NIGHTS, PAGE 30. SEATTLE CHORAL COMPANY “Luminosity: The Measure of Light” includes music by Liszt, Rutter, and others. Saint Mark’s Episcopal Cathedral, 1245 10th Ave. E., 800-838-3006, seattlechoralcompany.org. $25. 8 p.m. Fri., June 6–Sat., June 7.
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•SEATTLE METROPOLITAN CHAMBER ORCHESTRA
Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
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(6/5) PZ Myers An Atheist’s Insight (6/5) Seattle Arts & Lectures Rebecca Solnit (6/7) Seattle Girls’ Choir: All-Choir Spring Concert (6/7) Hempfest presents: ‘Bringing it Home’ & Roundtable (6/7) Seattle Atheists: Peter Boghossian (6/9) Josh Cowgill Just Garden Project (6/9) Yoram Bauman Climate Change Humor (6/9) Jack Devine with Mark Wright Inside the CIA (6/11) Resident Finale Rainier Scholars and Tomo Nakayama TOWN HALL
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(6/13) SkillUp WA and WWW.TOWNHALLSEATTLE.ORG Aspen Institute present Zeynep Ton and Richard Galanti The Low Cost of ‘Good Jobs’ (6/13) LUCO presents
SEATTLE WEEKLY • JU NE 4 — 10, 2014
Debuting a few years ago with repertory classics, they seem to be reinventing themselves as something closer to a contemporary-music group, and more power to them. Geoffrey Larson conducts five new works, including a couple premieres. Chapel Performance Space, 4649 Sunnyside Ave. N., 800-838-3006, seattlemetropolitan chamberorchestra.com, $10-$15. 2 p.m. Sat., June 7. LE TOUR DE MUSIQUE The Early Music Guild’s fundraiser includes dinner, music, and KING-FM host Dave Beck. Women’s University Club, 1105 Sixth Ave., 325-7066, earlymusicguild.org. $170 and up. 6 p.m. Sat., June 7. NORTHWEST CHAMBER CHORUS “Vices & Virtues” explores the topic through music from Monteverdi to Bernstein. Phinney Ridge Lutheran Church, 7500 Greenwood Ave. N., 523-1196, northwestchamberchorus. org. $12–$22. 7:30 p.m. Sat., June 7, 3 p.m. Sun., June 14. SEATTLE BACH CHOIR They’re married to Bach, but not quite monogamous; here they sing Copland, Randall Thompson, and more. Trinity Episcopal Church, 609 Eighth Ave., seattlebachchoir.org. 3 p.m. Sun., June 8.
SINGLE LADIES
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arts&culture»Visual Arts B Y K E LT O N S E A R S
Openings & Events HOWARD BARLOW Bite presents an array of
mutated looking sculptures with teeth and bone dangling in grotesque fashion. First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 6211945, punchgallery.org. Through June 5.
Performing as Candied Calamari, the local duo will be “engaging in sacramental action in a futuristic landscape.” In the back space: Julie Alpert’s LookAlikes, a drawing series based on a pair of identical lamps. First Thursday opening reception, 6-8 p.m. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), soilart.org. Through June 28. JENNY FILLIUS Her affection for repurposing castoff tin is on display in Stay on the Sunny Side, in which the metalworker forges art pieces out of old toys, containers, and more. First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), 2967580, galleries.4culture.org. Through June 5. ZARIA FORMAN AND RENA BASS FORMAN A mother and daughter show two separate series centered around the effects of climate change— one through pastel drawings, and one through photography. Opening reception Tues., June 10, 6-8 p.m. Winston Wächter Fine Art, 203 Dexter Ave. N. 652-5855, seattle.winstonwachter.com Through July 17. DAVID FRENCH He displays new paintings in a show called tones. Also on view: work by Susan Bennerstrom. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Through June 28. ALAN FULLE He shows new work in Blocks and Stripes: Sculpture in Paintings. Traver Gallery, 110 Union St., 587-6501, travergallery.com. First Thursday opening reception, 5-8 p.m. Through June 28.
SEATTLE WEEKLY • JUNE 4 — 10, 2014
STEVE GAWRONSKI AND SCOTT MAYBERRY
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Gawronksi’s scultpure series explores the word “dig,” while Mayberry’s acrylic paintings delve into the interplay of technology and nature. First Thursday opening reception, 6-9 p.m. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery.org.Through June 29. AARON HABA From Camano Island, he uses boatbuilding techniques for the creations of Vessel. Method Gallery, 106 Third Ave. S., (Tashiro Kaplan Building), First Thursday opening reception, 2-8 p.m. Through June 28. ANDY KEHOE AND REDD WALITZK Andy Kehoe’s beautiful paintings depict dark forest landscapes inhabited by a zoo of fantastical mystic creatures. Redd Walitzki’s work has a similar sylvan vibe, opting for brighter colors and a focus on woodland nymphs. First Thursday opening reception, 6-9 p.m. Roq La Rue Gallery, 532 First Ave. S., 374-8977, roqlarue.com. Through June 5. ROBERT MARCHESSAULT His Forest for the Trees is a series of realistic oil paintings of trees against stark skylines. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com. Through July 2. ALEXANDER PETROV AND KURT KEMP A collection of Russian painter Petrov’s surreal works alongside Kemp’s equally as bizarre paper collages. First Thursday opening reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 6247684, davidsongalleries.com. Through June 28. SAM REMIX The museum’s open late, with music, food, and dancing among the art. Seattle Art Museum, 1300 First Ave., Seattle, 654-3100, seattleartmuseum.org, $12-$25, 8 p.m. Fri., June 6.
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NOW - JUNE 15, 2014 Presented at ACT Theatre A CO-PRODUCTION BETWEEN
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AT YOUR SERVICE Ariel Brice, Gésine Hackenberg,
Molly Hatch, Giselle Hicks, Garth Johnson, Niki Johnson, Sue Johnson, Emily Loehle, Caroline Slotte, and Amelia Toelke mess with crockery and other tokens of the domestic table. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $8-$10, Tues.-Sun., 11 a.m.-6 p.m. Through Sept. 21. DANISH MODERN: DESIGN FOR LIVING A survey of modern style Danish furniture from 195060. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, 789-5707, nordicmuseum.org, $8, Tues.Sun., 10 a.m.-4 p.m. Through Aug. 31.
• Photo by Mark Kitaoka
GREGG KROGSTAD
RACHEL DEBUQUE AND DANIELLE PETERS
Jenny Fillius’ Stay on the Sunny Side. ANNE FENTON Recent winner of the Brink Award,
the local artist shows two new videos, stencil art, and handmade fibrous objects. Henry Art Gallery, 4100 15th Ave. N.E., Seattle, 543-2280, henryart.org, $6-$10, Weds., Sat., Sun., 11 a.m.-4 p.m.; Thurs., Fri., 11 a.m.-9 p.m. Through June 15.
FOLDING PAPER: THE INFINITE POSSIBILITIES OF ORIGAMI An exhibit that examines the evolu-
tion of origami as an art form around the globe from its origins all the way up to today. Bellevue Arts Museum, Through Sept. 21. LATOYA RUBY FRAZIER Born in the declining Rust Belt town of Braddock, Pennsylvania, Frazier’s images have mostly been black-and-white studies of her kin, lending dignity to loved ones struggling with underemployment, disease, and fractured families. She began taking photographs as a teenager during the ’90s, in part as a rebuttal of the historical images of Braddock that showed only its white faces. Born by a River comprises two sections and eras. In the hallway leading to the Knight/Lawrence Gallery, we see about two dozen black-and-white images of her family, often with Frazier posing among them. Look at us, Frazier is saying; this is how we live. The main gallery contains seven large color aerial views of Braddock, taken last year from a helicopter hovering over The Bottom, the poor, flood-prone, and polluted neighborhood where Frazier was raised. There’s a startling micro/macro effect as we pull up high to these impersonal views. Frazier’s family, and others like it, disappear. All we see are scrapped lots and empty fields; rusty old freight cars sitting empty; and the old Carnegie steel mill. The people are conspicuously missing. BRIAN MILLER Seattle Art Museum, $12.50-$19.50, Weds., Fri.-Sun., 10 a.m.-5 p.m. Through June 22. LIU XIAODONG Having achieved success in Beijing, Liu went back to his emptied-out old village after three decades away, finding stagnation and defeat among his former cronies. The young people have fled to the coast, where the money is. Back in Jincheng, prospects and hopes are things of the past. There he took photos and made sketches for the paintings of Hometown Boy. There’s nothing explicitly political here, yet the paintings read like a socioeconomic portrait of China’s old inland Rust Belt. These are somewhat sad, desultory scenes. Liu isn’t a political artist like Ai Weiwei. He works within the system but is certainly aware of its constraints and discontents, which surely swirl into Hometown Boy’s palette of oils. B.R.M. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), Seattle, 654-3100, seattleartmuseum.org. $5-$7, Weds.-Sun., 10 a.m.-5 p.m. Through June 29. SKYSPACE James Turrell’ Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room. Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead. Emerging from the Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window. DAVID STOESZ Henry Art Gallery
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2013 National Touring Cast. Photo by Michael J. Lutch.
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Before You Know It RUNS FRI., JUNE 6–THURS., JUNE 12 AT GRAND ILLUSION. NOT RATED. 110 MINUTES.
If you were, say, 36 in 1995, the peak year of AIDS deaths in the U.S., you’d be at the upper edge of the first generation to come out in the epidemic’s shadow, the first to spend their entire adult lives aware of its devastation. And this year you’d just now be eligible for an apartment in Rainbow Vista, Gresham, Oregon’s home for LGBT retirees. It’s a godsend for Dennis, 76, a former racquetball champ, Air Force serviceman, and longtime cross-dresser who’s one of the three subjects of PJ Raval’s doc. The swath AIDS cut is only one of the issues clouding Dennis’ sunset years—and those of Ty, a Harlem resident and activist with SAGE (Services and Advocacy for GLBT Elders); and those
GAVIN BORCHERT
PEdge of Tomorrow
For No Good Reason
OPENS FRI., JUNE 6 AT SUNDANCE AND OTHER THEATERS. RATED PG-13. 113 MINUTES.
OPENS FRI., JUNE 6 AT SUNDANCE CINEMAS. RATED R. 89 MINUTES.
Earth has been invaded by space aliens, and Europe is already lost. Though no combat veteran, Major Bill Cage (Tom Cruise) is thrust into a kind of second D-Day landing on the beaches of France, where he is promptly killed in battle. Yes, 15 minutes into the movie Tom Cruise is dead—but this presents no special problem for Edge of Tomorrow. In fact it’s crucial to the plot. The sci-fi hook of this movie, adapted from a novel by Hiroshi Sakurazaka, is that during his demise Cage absorbed alien
BEFOREYOUKNOWITFILM.COM
Dennis, of Oregon.
blood that makes him time-jump back to the day before the invasion. He keeps getting killed, but each time he wakes up he learns a little more about how to fight the aliens and how to keep a heroic fellow combatant (Emily Blunt) alive. It might sound laborious, and the inevitable comparisons to Groundhog Day are not far off the mark. But the movie is actually ingenious in doling out its herky-jerky storytelling. The further Cage gets in his progress, the more possible outcomes we see (there are dead ends along the way). Sometimes we’re not sure whether a given scene is being experienced for the first time, until Cage quotes someone else’s dialogue before they say it, or wearily dodges a fistfight he’s already encountered countless times. It must be said here that Cruise plays this exactly right: You can see his exhaustion and impatience with certain scenes even when it’s our first time viewing them. Oh, yeah—he’s been here before. There’s absurdity built into this lunatic setup, and director Doug Liman—he did the first Bourne picture—understands the humor of a guy who repeatedly gets killed for the good of mankind. Cage has to explain his predicament quite a few times, to a skeptical general (Brendan Gleeson) or a brainy scientist (Noah Taylor), yet the movie’s figured out just how often to do that without killing the idea. I could live without Liman’s shaky camera, which is especially annoy-
Johnny Depp obviously revered Hunter S. Thompson. He’s made two adaptations of the late writer’s work (Fear and Loathing in Las Vegas and The Rum Diary), and was also a friend who attended Thompson’s 2005 memorial, when the ashes were scattered in a fireworks display. Depp narrated Alex Gibney’s 2008 doc Gonzo, and he provides the same service for this selective profile of Ralph Steadman, who famously illustrated Fear and Loathing and other Thompson works. I say selective because Steadman is mostly seen through the narrow lens of Thompson and their collaborations from the ’70s onward. Depp visits the artist in his country home and studio (no family is seen or mentioned), asks a few questions, and mostly nods in agreement. Steadman’s prior career during the ’60s is cursorily sketched, and we watch him signing prints in recent years—never selling the originals—for a Thompson-enamored public to buy. He’s evidently made a nice income, and still is, off the association; nothing he says here hints at any discord. Made by the English team of Charlie and Lucy Paul, For No Good Reason has been tailored for the American market, meaning the Thompson market. Back in the UK, Steadman spelled out his discontents in a 2006 autobiography, Bruised Memories, in which he wrote, “Quite by chance I became a part of this man’s life, more as an infection than a friend. I fooled myself that there was something in me that he found important.” The Pauls do make good use of archival footage in which we see some of the Thompson/Steadman rivalry, each feeling he deserves credit for their shared success, but such resentments are left dormant here. It’s more profitable to remain silent.
Gore Vidal: The United States of Amnesia OPENS FRI., JUNE 6 AT VARSITY. NOT RATED. 89 MINUTES.
When Gore Vidal died two years ago, he got the long obituaries he deserved in The New York Times and elsewhere. But who reads such obituaries today, or the Times, or remembers Vidal? It’s a dwindling group of paleoliberals shaped by FDR and World War II, who opposed the Vietnam War, who’ve been pushed to the political sidelines for the past 40 years. Director Nicholas Wrathall began his new tribute documentary in 2005, and it includes some new interviews made before Vidal’s decline. If Vidal was, in his last decade, bitter about being marginalized and old, he doesn’t show it here. He’s more rueful, and ever quotable, as he prepares to leave his stunning cliffside home in Ravello, Italy, his partner of 50 years having predeceased him. He’s pushed in a wheelchair to various speaking engagements—in a sense being pushed to the grave. I don’t mean to suggest this film is entirely sad. Rather, and this probably isn’t Wrathall’s intention, it conveys how Vidal outlived his time and relevance, how the progressive East Coast wing of the WASP establishment would be rendered obsolete during his long lifetime (1925–2012). After his failed 1960 run for Congress, after JFK and Camelot, Vidal would become a permanent, often cranky critic of the new power structure he despised, an outsider. (Myra Breckinridge, Burr, and other historical novels helped pay the bills.) Fortunately, there are plenty of stills and clips here of Vidal in his prime: hobnobbing with his cousin Jackie Kennedy and her husband; debating William F. Buckley in 1968; slamming Jerry Brown during their 1982 contest for the Senate; dropping by Johnny Carson and Dick Cavett to deliver acid aperçus. More recently, a dying Christopher Hitchens offers his praise, as do a few random friends (Sting, Tim Robbins, etc.). There aren’t any dissenting voices, only fans and fellow travelers. If Vidal had one great theme, on which he wrote so many elegantly vituperative variations, it was the corruption of power, the government tendency to declare endless wars and infringe on our civil liberties. Vidal is nothing if not prescient when discussing the Patriot Act. “Now we have a totalitarian government,” he says. “They listen to our private conversations. We are totally policed.” And that, of course, was before Edward Snowden’s NSA revelations. Even if he didn’t use a computer, Vidal would’ve loved to write about that. BRIAN MILLER
Ping Pong Summer Steadman in his studio.
Is Steadman an enduring artist or just a talented, satirical illustrator who “by chance” gained such iconic status for boomers? The Pauls, and certainly not Depp, don’t solicit opinions beyond the fan and magazine worlds. (Steadman’s later hand-altered Polaroids are a party trick; his 1983 I, Leonardo, a first-person tribute to da Vinci, seems a stretch.) Jann Wenner, Richard E. Grant, and Terry Gilliam offer their tributes, but everyone here—the Pauls included—still seems to be feeding off Thompson’s corpse. BRIAN MILLER
RUNS FRI., JUNE 6–THURS., JUNE 12 AT NORTHWEST FILM FORUM. NOT RATED. 92 MINUTES.
I get my 1980s nostalgia pure and firsthand, it being a formative decade for me. I don’t need those years presented as kitsch or in air quotes, and Michael Tully—born in 1974—takes an entirely straight, non-ironic approach to the summer of 1985. His hero Radford “Rad” Miracle (Marcello Conte) wears zippered red Michael Jackson-style moon pants and practices beat-boxing in the shower. (This his mother, played by ’80s icon Lea Thompson, mistakes for jerking off.) He’s an earnest, friendly, innocent dork who’s
SEATTLE WEEKLY • JU NE 4 — 10, 2014
of Robert, whose Galveston Island drag bar, he claims, is the oldest in Texas. There’s also the loneliness endemic to men who likely don’t have traditional spouse-plus-children families, or even sympathetic relatives, to lean on. They have to build their own support networks—in Robert’s case, the queens who star in his bar’s bawdy floor shows and one ne’er-do-well nephew. And gay culture’s notorious preoccupation with youth and beauty doesn’t ease the sting of aging. (Though I wonder: Is that a gay thing or a guy thing? Do straight men treat elderly women any better?) However, Raval only glances at these underlying difficulties. Ambling and easygoing, Before You Know It is the furthest thing from polemic; it’s simply an affectionate portrait of these three men. I know I shouldn’t, but I’m tempted to say merely an affectionate portrait; untainted by even a hint of data, the film presents no illuminating context. How typical are these men’s experiences? Surely the ranks of 55-plus out gay men are growing— aren’t they? By how much do singles in this age bracket outnumber committed couples? How many Rainbow Vistas are available to cushion the fall? You have to admire Raval’s intent to stand clear and let these three tell their stories—but would a pinch of anger, just for spice, have hurt? It’s clear these men aren’t particularly happy, and Raval leaves you wondering: Are we supposed to do something about it? Or what?
ing in 3-D. But overall, the movie works, with just enough unusual moments to create some actual resonance within the hardware-heavy treatment. During one trip, Cage simply walks away from yet another go-round of training and dying, ducking out on his umpteenth beach landing and instead sitting for a quiet beer at an English pub. Maybe there’s some way of shirking his huge responsibilities—a rare moment of stillness. But then the war comes roaring in, and death is inevitable. Again. ROBERT HORTON
CHARLIE PAUL/SONY PICTURES CLASSICS
Opening ThisWeek
Still, I suppose the fact that today progress can be made on the gay-advocacy front without requiring Larry Kramer-like levels of indignation is itself a sign of progress. For example, one new problem gay men never had to face before is depicted here, both triumphantly and troublingly: Now that we can wed, what happens if you and your elderly life partner suddenly find you’re not of the same mind on the subject?
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You look familiar, says the casting director at an audition, but he can’t place the face. “I was on a television show for a long time,” says Don Johnson, which gets a welcome laugh in Alex of Venice. He plays a genial, grizzled actor with memory problems, father to heroine Alex (Mary Elizabeth Winstead of Smashed ), a workaholic lawyer whose stay-at-home husband (director Chris Messina) abruptly leaves the family. Johnson is enjoying something of a career resurgence after Cold in July and The Other Woman, and he brings some pathos to this fading thespian who can’t remember his lines in The Cherry Orchard. Messina is well-served by his cast and the sun-splashed streets and canals of Venice, California; he gets the textures and family stresses right as this household begins to crumble. It’s a pity, then, about the dull, obvious writing, which doesn’t measure up to the talent involved. (Harvard Exit: 7 p.m. Fri. & 1:30 p.m. Sat. Messina will attend both screenings.) Somewhat better than your average reality TV episode, To Be Takei needs no selling, since George Takei has become a late-life gay icon and Twitter phenomenon. And the former Star Trek actor will be Grand Marshal of our Seattle Pride Parade on June 29, so this doc feels like an extra victory lap for a guy who’s already run several. Filmmaker Jennifer Kroot doesn’t have to dig hard for Takei’s life story (from World War II internment camp to life in the closet), because he’s got it down to a practiced keynote speech. His story is affecting, and his dealings with exasperated husband-to-be Brad are amusing—especially when Kroot simply leaves them alone with the camera to bicker. Maybe what’s most impressive about Takei, whom we see patiently signing photos for fans at 2012’s Emerald City Comicon, is his showbiz determination to work to the very end (he’s 77). After debuting his new musical Allegiance, about life in the camp, he’s exhausted yet thrilled. You did great, Brad tells him, considering you forgot half your lines. (Egyptian: 7 p.m. Fri. SIFF Cinema Uptown: 4 p.m. Sat.) Shot in handsome widescreen by cinematographer Chayse Irvin, the rural drama Medeas sure looks great. We’re in some sort of arid California farm community, possibly in the ’80s, where the kids run wild in fields of grass. The sun is always low, the air full of heat, longing, and piety. It would be tempting to call this highly aestheticized milieu Malick-like, but I think post-Malick is now the preferred term. Italian filmmaker Andrea Pallaoro, now based in the States, has clearly seen Badlands 300 times or so, and its influence is too directly felt. And with Malick, even if the stories are hazy, you gain access to his characters’ thoughts with those endless whispered voiceovers. Here, there’s mostly silence and a certain blank inscrutability to anyone’s motives. Brían F. O’Byrne plays a frustrated cattle rancher, with Catalina Sandino Moreno (Maria Full of Grace) as his deaf, unfaithful wife—already the mother of five, with a sixth on its way. Pallaoro adds a few Biblical and classical references, which makes Medeas more contrived than convincing, a foreigner’s view of the American West. (Pacific Place: 7 p.m. Thurs. Harvard Exit: 4 p.m.) E
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arts&culture» Film » FROM PAGE 25
CHEF There is nothing wrong with food porn or the happy BY BRIAN MILLER
Opening
Sarandon plays the Pat Morita role.
THE FAULT IN OUR STARS Shailene Woodley and
Augustus Waters play young teenagers in love. One problem: They’ve both got cancer. (PG-13) Sundance Cinemas, Ark Lodge, others NIGHT MOVES Jesse Eisenberg, Peter Sarsgaard, and Dakota Fanning play three eco-terrorists determined to bomb an Oregon dam. No thriller as directed by Kelly Reichardt (Old Joy, Wendy & Lucy), the movie turns out to be a slow and deeply undercharacterized study in alienation. You find yourself rooting for the dam, hoping they’ll blow themselves up instead. (R) Sundance
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taken with his family to the Delaware shore for the Miracles’ annual summer holiday. (The sister’s a Goth, the father’s a cop with an unexplained Scottish accent—played by John Hannah of Four Weddings and a Funeral.) According to ’80s formula—and Ping Pong Summer is scrupulously formulaic and layered in period detail—this vacation will provide Rad with a new best friend, his first crush, an unexpected mentor (Susan Sarandon), and a sneering villain to defeat in the table-tennis finale. Tully, a former online film critic, is finicky about this ersatz recreation, shot in vintage super-16 mm format, as some ’80s cheapies were, too. This is the place and time of his youth, so the era’s Air Jordans, besloganed T-shirts, guys in crop-tops, feathered hair, and blue eyeshadow all feel authentic. In his press notes, Tully writes, “I didn’t want to make a ‘throwback’ or ‘ode’ to ’80s movies. I wanted to make an actual ’80s movie.”He’s succeeded in that strict regard, but therein lies the film’s literalistic limitation. It doesn’t wink at the audience—unlike, say, Napoleon Dynamite—for easy laughs. It doesn’t update any Reagan-era conventions. It samples a few radio hits (anyone remember John Cafferty & The Beaver Brown Band’s “Tough All Over”?), but even the score is meticulously constructed to sound 30 years old. To anyone born in the past 30 years, Ping Pong Summer will seem unfunny, flat, and uninflected, the antithesis of the knowingly 1981-set Wet Hot American Summer (released in 2001, with a sequel presently being discussed). To anyone who, like Tully, remembers 1985 in such detail, the whole project becomes a weird simulacrum—not conceptual art, but some sort of invented memory. When Gus Van Sant did his shot-for-shot Psycho redo, there was maybe a point—a commentary on a great movie, to see if it could survive updating for a new generation. Ping Pong Summer isn’t so meta as that; it simply plays like some dumb, corny movie you didn’t see in the ’80s, but a movie you plausibly might’ve seen. Rad it is not. BRIAN MILLER
Words and Pictures OPENS FRI., JUNE 6 AT HARVARD EXIT. RATED PG-13. 116 MINUTES.
This is a pretty hip high school. Not only do they employ a once-promising, now boozy, crushingly charismatic author as an English teacher, they’ve
just hired an acclaimed painter—also loaded with charisma—whose career has been derailed by rheumatoid arthritis. Because of a trumped-up antipathy between these reluctant academics, this private school is about to witness a battle between, as the title puts it, Words and Pictures. If the writer can stay sober long enough, he’ll teach the kids about the power of prose, and if the painter can stifle her bitterness, she’ll espouse the primacy of the image. It’s elbow patches vs. stained smock, plus a countdown to the first shag between these two spectacularly good-looking people. Clive Owen and Juliette Binoche play wordsmith and picture-maker, respectively. The casting is a source of both appeal and disappointment in this one-note movie; the roles are large, but the material thin. Owen’s character, Jack Marcus, is about to get tossed from the faculty for his hungover manners and his declining commitment. Dina Delsanto (Binoche) is soured by her illness and suffering from creative block. That’s about it for those two, and the idea of the schoolkids choosing sides in the words-versus-pictures debate is also sketchily handled. Screenwriter Gerald Di Pego is all about the inspirational message-making, but without any new wrinkles in this well-worn fare. That the film moves at all is due to veteran Aussie director Fred Schepisi’s ability to get a flow going. The arc of his career has been puzzling— traveling from The Chant of Jimmie Blacksmith to Six Degrees of Separation, with a healthy dose of rom-coms along the way—but he’s long been a master at filling the widescreen frame and building momentum. With a painter as subject (Binoche created her own canvases), Schepisi is able to make the movie look good, and the interiors are always interesting. But all this effort is in the service of ideas that just feel so, so tired. Good people like Amy Brenneman and Bruce Davison are visibly shriveled by their stock supporting roles, and the two top-drawer stars can’t make the formula work. Binoche is unsteady with the Hollywood idiom, despite coming up with a few unpredictable moments. Owen’s corduroy voice sounds awesome even when he’s adopting an American accent, and he seems unusually committed to this role. Over the years, Owen’s occasional flings at flexing action-movie muscles have yielded mixed results— but cast him as a disenchanted intellectual, and the guy is a knockout. ROBERT HORTON E film@seattleweekly.com
AS YOU LIKE IT Georgy Girl: Lynn Redgrave stars in this
fairly beloved 1966 adaptation of the Margaret Forster novel. With James Mason, Alan Bates, and Charlotte Rampling. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thurs., 7:30 p.m. CLERKS Kevin Smith had his 1994 indie breakthrough with this amusingly foul-mouthed study in New Jersey desperation. He and Jason Mewes would dust off their Silent Bob and Jay characters several more times. (R) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$11. 7 p.m. Fri.-Sat. EMULSION A man broods obsessively over the disappearance (and possible murder) of his wife, missing for a year, in this English psychological thriller from 2011. (NR) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $9. 8 p.m. Thurs.
• INDIANA JONES AND THE LAST CRUSADE
Steven Spielberg’s 1989 smash triumphantly concluded the biggest trilogy of the Reagan Era. (We’ll ignore 2008’s Kingdom of the Crystal Skull, that craven, LaBeouffian brand-extension to the series; seeing the late River Phoenix here in Last Crusade’s opening train-top sequence is a sad reminder of sequels not made.) It was a considerable coup for Spielberg and producer George Lucas to cast grumpy old Sean Connery as Indy’s dad, and his bickering with the equally cranky Harrison Ford is always fun to watch. Last Crusade is a first-rate popcorn movie, a big improvement over Temple of Doom, with chases galore and an aerial dogfight launched from a zeppelin (over what’s clearly Southern California, but never mind that). As the Jones’ loyal comrade in archaeology, the late Denholm Elliot also helps to class up the picture, asking at one point in the action, “Is there anyone here who speaks English? Or maybe even ancient Greek?” Note additional Sat./Sun. matinee screenings at 3 p.m. (PG) BRIAN MILLER Central Cinema, $6-$8. 7 p.m. Fri.-Tues. TWIN PEAKS: FIRE WALK WITH ME That 1992 prologue to David Lynch’s two-season TV enigma didn’t exactly resolve every unanswered question from the series, but it surely helped foster Seattle’s thriving Twin Peaks cult (which extends, of course, all the way to North Bend, where part of the show was shot). Yakima’s Kyle MacLachlan, Kiefer Sutherland, and Chris Isaak play the FBI investigators who essentially prepare the ground for the “Who killed Laura Palmer?” conundrum that follows. (R) B.R.M. Central Cinema, $6-$8. 9:30 p.m. Fri.-Tues.
Ongoing
• BELLE The English Belle, based on a true story,
inspired by an 18th-century painting of two cousins— one black, one white—never lets you doubt its heroine’s felicitous fate. Dido (Gugu Mbatha-Raw) is born with two strikes against her: She’s the mulatto daughter of a kindly English naval captain who swiftly returns to sea, never to be seen again; and she’s female, raised by aristocratic cousins in the famous Kenwood House (today a museum), meaning she can’t work for a living and must marry into society—but what white gentleman would have her? Writer Misan Sagay and director Amma Assante have thus fused two genres— the Austen-style marriage drama and the outsider’s quest for equality—and neatly placed them under one roof. The guardians for Dido and cousin Elizabeth (Sarah Gadon) are Lady and Lord Mansfield (Emily Watson and Tom Wilkinson); the latter is England’s highest jurist who in 1783 would decide the Zong case, in which seafaring slavers dumped their human cargo to claim the insurance money. Belle never surprises you, but it satisfyingly combines corsets and social conscience, love match and legal progress. (PG) B.R.M. Guild 45th, others
camaraderie of a restaurant kitchen. Nor can I fault writer/director/star Jon Favreau for making a midlifecrisis movie that lets slip his Hollywood complaints. The commercial pressures in directing formulaic blockbusters like Iron Man must surely be great, and film critics are surely all assholes. Chef is the simple though overlong story of a chef getting his culinary and family mojo back, and my only real criticism—apart from the constant Twitter plugs—is that absolutely nothing stands in the way of that progress for chef Carl (Favreau). Dustin Hoffman barely registers as a villain (as Carl’s gently greedy “play the hits” boss, who goads him into quitting); Robert Downey Jr., as the prior ex of Carl’s ex (Sofia Vergara), briefly shadows the scene—but no, he’s only there to help. If you like endless scenes of chopping vegetables, salsa montages, and juicy supporting players (John Leguizamo, Bobby Cannavale, Amy Sedaris, Scarlett Johansson), Chef is an entirely agreeable dish. Just expect no salt. (R) B.R.M. Sundance, Majestic Bay, others FED UP Narrated by Katie Couric, Stephanie Soechtig’s advocacy doc is slickly made, studded with food gurus (Michael Pollan, Marion Nestle, etc.), and sympathetic to the sad young teens we see struggling with obesity. Yet heredity is only part of our four-decade obesity epidemic, which the filmmakers convincingly trace back to a collision between industry and regulators. On the one hand, the FDA is supposed to keep our food healthy. On the other, the USDA’s goal is basically to sell as much food as possible—including corn; and from that, high fructose corn syrup. Which side do you suppose is winning? “It’s fair to say the U.S. government is subsidizing the obesity epidemic,” says Pollan, who then pauses a beat. “Indirectly.” Fed Up convincingly argues how the processed food industry has so successfully engineered its products since the ’70s to be addictive yet never sating. Willpower counts for little (ask any alcoholic or junkie). “We are not going to exercise our way out of this obesity problem,” says one nutritionist. Exercise is just another panacea, like “low-fat”—and a smokescreen by the food industry to distract from its culpability. Viewers will not be surprised when parallels to Big Tobacco are explicitly drawn. (PG) B.R.M. Varsity THE GRAND BUDAPEST HOTEL By the time of its 1968 framing story, the Grand Budapest Hotel has been robbed of its gingerbread design by a Soviet (or some similarly aesthetically challenged) occupier—the first of many comments on the importance of style in Wes Anderson’s latest film. A writer (Jude Law) gets the hotel’s story from its mysterious owner, Zero Moustafa (F. Murray Abraham, a lovely presence). Zero takes us back between world wars, when he (played now by Tony Revolori) began as a bellhop at the elegant establishment located in the mythical European country of Zubrowka. Dominating this place is the worldly Monsieur Gustave, the fussy hotel manager (Ralph Fiennes, in absolutely glorious form). The death of one of M. Gustave’s elderly ladyfriends (Tilda Swinton) leads to a wildly convoluted tale of a missing painting, resentful heirs, a prison break, and murder. Also on hand are Anderson veterans Adrien Brody, Willem Dafoe, Bill Murray, Jason Schwartzman, and Owen Wilson—all are in service to a project so steeped in Anderson’s velvet-trimmed bric-a-brac we might not notice how rare a movie like this is: a comedy that doesn’t depend on a star turn or a high concept, but is a throwback to the sophisticated (but slapstickfriendly) work of Ernst Lubitsch and other such classical directors. (R) ROBERT HORTON Guild 45th NEIGHBORS This fun but formulaic comedy pits Seth Rogen, as a married homeowner and new father, against Zac Efron, playing the rival patriarch of a rowdy frat house next door. We’ve got to get Delta Psi put on probation, so our baby can sleep at night! The conflict writes itself, and you really do feel these likeable two stars could do more. Efron, once the Disney idol, is certainly capable of undermining his image. When Rogen and wife (Rose Byrne) trick him into a fight with a loyal frat bro (Dave Franco), pushing and shoving give way to the dreaded mutual testicle grab. Efron declares, with berserk conviction, “I’ll hold onto your balls forever!” Rogen again inhabits the familiar role of the shambling, genial dude who doesn’t want to be an adult. When he and the wife get into a fight, they debate who ought to be the “Kevin James”—i.e. the irresponsible partner—in their marriage. But, really, the term they ought to be using is “Seth Rogen.” And that’s the problem with this movie’s ambition: It simply lets Rogen be Rogen. (R) B.R.M. Cinebarre, others
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SEATTLE WEEKLY • JU NE 4 — 10, 2014
THEATERS: Admiral, 2343 California Ave. SW, 938-
F e a t u r e s
3456; Ark Lodge Cinemas, 4816 Rainier Ave. S, Big+Picture, 2505 First Ave., 256-0566; Big 721-3156; 4 cd 1 Blu-ray audio disc Housed in a limited-edition Hard-Bound Book with lenticular cover Picture Redmond, 7411 166th Ave. NE, 425-556-0566; with liner notes by david Fricke and new artwork by Josh graham Central Cinema, 1411complete 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; disc 1: original album newly-remastered Plus the international Bonus track “she likes surprises” Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 E. Pine St., Fifth Ave. NE, 781-5755; Egyptian, 801 disc 2: 14 B-sides Plus 2 unreleased alternative mixes 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 disc 3: 9 unreleased demos E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th 4: 16 unreleased rehearsals from June of 1993 Parkplace, St. (Redmond), 425-636-5601; Kirklanddisc 404 Park Place, 425-827-9000; Lincoln Square, 700 disc 5 (Blu-ray):Bellevue new 96/24 5.1 surround mix of all album tracks – 96/24 High res stereo – lyric Pages animated into Video For each song 2044 Way N, 425-454-7400; Majestic Bay,16 NW Market St., 781-2229; Meridian, 1501 Seventh download: experience the 16 track album in 11.1 surround sound using normal stereo Headphones with a Free download ownload of the app a Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, suPer deluxe edition $89.99 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 2 cd deluxe edition $24.99 C 2014 A&M RECORDS, 2220 COLORADO AVENUE, SANTA Harrison St. (Seattle Center), 324-9996; Sundance MONICA, CA 90404 - U.S.A. DISTRIBUTED BY UNIVERSAL Also AvAilAble on vinyl s o u n d g a r d e n w o r l d . c o m Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton MUSIC DISTRIBUTION. ALL RIGHTS RESERVED. Place, 301 NE 103rd St., 517-9953; Varsity, 4329
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29 5/14/14 9:27 AM
arts&culture» Music
Party’s Over
TheWeekAhead E D I T E D B Y G W E N D O LY N E L L I O T T
After three short years, Monogamy Party is getting a divorce.
Thursday, June 5
BY KELTON SEARS
O
ne day at a show in Tacoma, a hirsute 19-year-old bass player named Yos-Wa walked over to a red-haired 14-year-old Iggy Pop acolyte named Kennedy Carda and grabbed him by the ankles. “He picked me up and dumped me out for change, and I just happened to have a fuck ton of change that day in my pockets,” says Carda. “I was like, ‘Fuck this guy!’ But then we started hanging out like every week going to shows.” Six years later, after recruiting a drummer named Keith Tucker who had never actually played drums before, Monogamy Party wailed its way into the world—a batshit-crazy noise-punk band that has, since its inception three years ago, always seemed as though it were about to completely fall apart. So it wasn’t entirely surprising that the band recently announced it was officially throwing in the towel after a series of farewell shows, to the collective bummer of the Seattle music scene. It’s a wonder, in fact, the band lasted as long as
salts, the powdery drug that drove a man in Miami to famously cannibalize a homeless man’s face. “You know, I was never really into the shock aspect, or the whole ‘free sex, do drugs’ thing,” says Tucker. “I was more into the idea of punk as this DIY community where bands treated each other like family, not necessarily a place for people to be naked and climb all over stuff.” The age-old debate about what “punk” means ultimately drove the band apart. Carda wanted to realize his punk-as-performance-art ambitions, while Yos-Wa and Tucker just wanted to play loud music—a tension best exemplified when the two vetoed Carda’s idea for Monogamy Party Pill Cutters as a merch item. The intra-band rift grew. Carda wandered the streets of Capitol Hill for days searching for a solution, until he met Ricky Claudon (Pleasureboaters) drinking coffee in front of Bauhaus. Claudon owned neither a guitar nor an amp at the time, but joined the band as a guitarist, filling out its drum-and-bass-only set up. Claudon’s blazingly unique guitar style found him sticking forks and knives between his strings to create warbling “feminine bouquets of noise” on top of the band’s aggressive, testosterone-driven riffs. With Claudon, Monogamy Party recorded its first, and ultimately only, LP, False Dancers, in a double-wide trailer with electrical problems in Granite Falls. The album cover came from a photograph the band found digging through a pile of old boxes full of colanders out in a barn, surrounded by free-range chickens. “There were fucking peacocks on the property and rabbits chewing through wires,” says Yos-Wa. “It felt about right for us.” Despite the success of False Dancers and the promise of Claudon’s singular guitar style, a slew of van breakdowns and weather-related gig cancellations grated on the band’s fragile bond, and the decision was made to call it quits. In the first of the band’s three post-breakup shows, May 1 at Chop Suey, Carda took ’shrooms backstage, none of Yos-Wa’s effects pedals worked, and Tucker couldn’t hear his drums. “It was a disaster, but in a way it was cool,” Carda says. “I’ve always said if we’re going to go out, might as well go out falling completely-fucking-apart all over the place. We’re fucking punks, dude.” E
SEATTLE WEEKLY • JUNE 4 — 10, 2014
it did. “One night at the Black Lodge, we had this impromptu show with our friends MTNS in my bedroom,” says Tucker, who was living in the venue at the time. “All of a sudden, 40 people came in, and it turned into this sweaty tribal mess.” “They were literally holding me out of the window of a three-story concrete building while I was singing,” says Carda. “I remember thinking ‘This is a dumb idea,’ but also thinking, ‘Fuck that, nobody can top this!’ ” Nik Christofferson, founder of the label Good to Die, released the band’s first EP, Pus City, and subsequent full-length, False Dancers. “Kennedy just wanted to fuck with people,” he says. “There was this one show at the Comet for Noise for the Needy where Kennedy stripped and was completely naked for a long time.” On tour, Monogamy Party’s reputation got it booked with a variety of insane groups, including one New York band called Juggernaut whose members Tasered themselves during the first song and closed the show with the singer hammering a nail through his penis. It also played a Montana storefront that specialized in swords for the zombie apocalypse, and whose S AR blacksmiths tem- N SE O LT pered their KE Carda at the blades second-to-last with show. 30 bath
ksears@seattleweekly.com MONOGAMY PARTY’S FINAL SHOW With Kinski, Sandrider, Constant Lovers, Deadkill, Haunted Horses, Blood Drugs. Black Lodge. $10. All ages. 9 p.m. Sat., June 7.
Chicago alt-indie outfit EMPIRES’ sound falls somewhere between that of the Killers and the Black Keys. It’s nothing radical or new, but that doesn’t discount how good they are. And they are good (Jimmy Fallon follows them on Twitter, which is a pretty good indicator of hipness). The title track of their upcoming EP How Good Does It Feel is marked by lead singer Sean Van Vleet’s cool, sultry drawl, seducing listeners every time he inquires, “How good does it feel?” “Please Don’t Tell My Lover” is punchy and groovy down to its lyrics: “All has gone dark since I killed my idols/Melted down my vinyl.” Closing track “Lifters” is minimalist in instrumentation and vocal inflection, making it stand out against the other three tracks. Airy and melancholy vocals give the song a naked and vulnerable feel. By album’s end, I was feeling pretty good. With Battleme, Fox and the Law. Barboza, 925 E. Pike St., 709-9442, thebarboza. com. 8 p.m. $10 adv. 21 and over. DIANA M. LE When Eugene Weekly named singer/songwriter ANNA GILBERT 2010’s “Next Big Thing,” they were onto something. Gilbert has not gone on to become an international pop star since then, but she has proven she isn’t afraid of taking chances. Prior to receiving this honor, her releases were grounded in a charming, melodic pop-rock sensibility. Almost immediately afterward, she followed up with Christmas, which took notoriously glorious holiday hymns like “O Come All Ye Faithful” and “Silent Night” and imbued them with a quiet, stripped-down beauty that felt like something you’d hear played on a tropical beach in the middle of summer. Splitting her time between Eugene, Portland, and Nashville, Gilbert then wrote songs for other artists, worked with CCM producer Charlie Peacock, and returned last November with the more ambient The Able Heart, which explores the darker corners of life, like adultery and death. Her most exquisite release yet, Heart combines her often breathy, subdued vocals with a lyrical mood that suggests that even the most powerful melancholy is not the end of the story. With Justin Klump, Samsel and the Skirt. Q Café, 3223 15th Ave. W., 352-2525, qcafe.org. 7 p.m. $7. All ages. BRIAN PALMER
Friday, June 6
Yes, SIR MIX-A-LOT will forever be known to the mainstream as the guy who gave the world “Baby Got Back” and “Posse on Broadway,” but his exploits didn’t stop there. A brief run in the mid-’90s with POTUSA (a group he’ll again team up with on June 21 at the Rock ’n’ Roll Seattle Marathon) as part of the rap-rock band Subset allowed him to broaden his horizons. “Carz,” a synth-happy sendup of Gary Numan’s “Cars” that’s soon to appear on his first album in over a decade, Dun 4got About Mix, further proved he can do a creative left turn as well as anybody. So is it really that much of a stretch that Mix will make a guest appearance with the Seattle Symphony to reimagine his two biggest hits as part of the orchestra’s latest Sonic Evolution concert? Even if it is, how in the hell can you not want to hear what that will sound like? Ludovic Morlot conducts, with Gabriel Prokofiev, Luís Tinoco, Pickwick. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. 8 p.m. $19–$35. All ages. BP BLAKE LEWIS may have named his third album Portrait of a Chameleon, but the Bothell native has never been one to blend in. He entered the national spotlight in 2007 as an American Idol hopeful who blew audiences away with his ability to beatbox new life into old classics. Though Lewis ultimately came in second, his ability to think outside the box has taken him far in his post-Idol days. His first album, Audio Day Dream, debuted at #10 on the Billboard 200, and the bass-heavy “Your Touch,” from May’s Chameleon, was used in an Internet Explorer campaign. Elsewhere, “Start Again” has a fresh, acoustic vibe that contrasts with the seductive “I Want You,” featuring Samantha James, and the funky, horn-heavy “Disco in Space.” Lewis really opens up on the anthemic “Survivor,” a song about finding inner strength and believing in yourself—a lesson he no doubt had to learn while creating Chameleon without the help of a label. With RA Scion, Vox Mod, Mother of Pearl, DJ Indica Jones. Live painting by OneSevenNine. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $10. All ages. AZARIA C. PODPLESKY
Saturday, June 7
“The gapped-tooth rapper is back . . . /Name’s Benjamin/ Same as I’ve ever been . . . /The love-song rapper is back.” With those lyrics from album opener “Rain Damage,” Benjamin Laub, aka Seattle-based rapper/ singer GRIEVES, welcomes listeners to his latest,
Winter & the Wolves. The 30-year-old has always woven personal stories into his lyrics, but Winter might be his most intimate album yet. In his trademark rasp, over both organic and electronic beats, Grieves takes listeners through the trials and tribulations of adulthood, from struggling to let go of childhood dreams (“Astronauts”) to just wanting to be alone (“Recluse”). He also worries about the future after being fired from a dead-end job (“Long One”) and as he begins to see troublesome aspects of his parents’ lives reflected in his own (“Like Child”). The album, produced by Grieves and B. Lewis (Bad Rabbits), also chronicles the rapper’s rocky love life. He realizes it’s time to end a toxic relationship on “How’s It Gonna Go” and scoffs at a meddling ex on “Kidding Me.” Despite all the issues addressed here, Grieves’ lyrics don’t venture into “Whoa is me” territory. Instead, they give listeners an honest look at his journey as he faces each challenge head-on, unafraid of the criticism he may face along the way. As he raps in lead single “Shreds”: “They want to pick apart the passion in my ribs/I invite them/’Cause I don’t run away from shit.” With SonReal, Fearce Vill. The Showbox, 1426 First Ave., 628-3151, showbox presents.com. 9 p.m. $15 adv./$17 DOS. All ages. ACP
Sunday, June 8
The music of TIMBER TIMBRE moves like a fever dream—vivid and elusive, holding your hand through a half-awake journey. Maybe it’s in the mysterious lyrical imagery that keeps you coming back for more; yet there’s something else, an intangible feeling. While tethered closely to a warm vintage feel, each song is equally balanced with modern pop elements, creating something at once enigmatic and familiar. Straight from the mind of songwriter Taylor Kirk, his newest dark doo-wop album, fittingly titled Hot Dreams, evokes noir nightclubs and alluring figures, all wrapped in a thick atmospheric haze. Kirk’s signature croon is inviting and creepy at the same time. With lyrics like “I wanna follow through/Follow through on all those promises and threats to you, babe,” they present an unsettling love story. The cinematic soundscapes that coat each song swirl like cigarette smoke in a breezy lull of timelessness, moving in and out of the shadows, inviting you to close your eyes and enter them. With Tasseomancy. The Crocodile. 8 p.m. $15. All ages. STIRLING MYLES THE JEZABELS Formed in 2007, this group of Australian friends has seen a quick rise in international popularity while establishing a promising musical career. Their second album, The Brink, dropped in January with 10 main tracks and one bonus one—a trifecta of indie, alternative rock, and pop the band calls “intensindie.” If you’re having a bad day, the four-piece—Nik Kaloper on drums, Samuel Lockwood on lead guitar, Hayley Frances McGlone on lead vocals, and Heather Shannon on piano and keys—won’t bring you out of your melancholy mood. Instead they’ll bring you into their world, with sad songs, minor keys, and McGlone’s passionate singing, which sounds as if she’s hurting for something so much more than you. With Gold & Youth, Joyfield. Neumos, 925 E. Pike St., 709-9442, neumos. com. 8 p.m. $15 adv. 21 and over. LAUREL RICE
Tuesday, June 10
Though they haven’t issued an album since 2012’s Transcendental Youth, THE MOUNTAIN GOATS have had plenty to bleat about lately—like the high-profile placement of their song “Up the Wolves” during a pivotal, fiery scene in The Walking Dead, a song that showrunner Scott Gimple had been listening to when he wrote the episode. Or the news that main Mountain man John Darnielle inked a deal to publish his first novel, Wolf in White Van (don’t worry, not everything with these guys is canine-focused), in September, described as being about “contingency, solitude, and the dangerous boundaries between fantasy and reality.” Or the recently reissued and remastered All Hail West Texas, the last of Darnielle’s home recordings, made in 2001 with just his voice, his acoustic guitar, and his Panasonic boombox. Or, lastly, the band’s upcoming West Coast performances as a duo— their first since 2007, with Darnielle alongside multiinstrumentalist Peter Hughes. “We get around to a bunch of songs that’ve been lurking in shadowy corners for ages,” Darnielle wrote about the impetus for the dates, “waiting for the bright fuel of the footlights.” In July, the full band will perform at Merge Records’ 25th-birthday bash. With Loamlands. The Showbox. 9 p.m. $22.50 adv./$25 DOS. DAVE LAKE
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4 cd + 1 Blu-ray audio disc Housed in a limited-edition Hard-Bound Book with lenticular cover complete with liner notes by david Fricke and new artwork by Josh graham disc 1: original album newly-remastered Plus the international Bonus track “she likes surprises” disc 2: 14 B-sides Plus 2 unreleased alternative mixes disc 3: 9 unreleased demos disc 4: 16 unreleased rehearsals from June of 1993 disc 5 (Blu-ray): new 96/24 5.1 surround mix of all 16 album tracks – 96/24 High res stereo – lyric Pages animated into Video For each song Send events to music@seattleweekly.com.
download: experience the 16 track album in 11.1 for surround sound using normal stereo Headphones with a Free download ownload of the See seattleweekly.com full listings.
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5/14/14 9:27 AM
arts&culture» Music
2033 6th Avenue (206) 441-9729 jazzalley.com
Bobby Bare Jr. Is Guided by Voices
JAZZ ALLEY IS A SUPPER CLUB
Specifically those of ex-girlfriends, his famous dad, and yes, that band too. BY GWENDOLYN ELLIOTT
G
“He is one of the greatest living tenor saxophonists, at the top of his game.” - All About Jazz
JUAN DE MARCOS AND THE AFROCUBAN ALLSTARS THURS, JUN 5 - SUN, JUN 8 17-piece dream team of Cuba’s hottest musicians
EDMONDS-WOODWAY HIGH SCHOOL JAZZ ENSEMBLES MON, JUN 9 CHERRY POPPIN’ DADDIES THURS, JUN 12 Swanky high-energy swing
BONEY JAMES FRI, JUN 13 - SUN, JUN 15
Contemporary jazz saxophonist with four Gold albums, three Grammy-nominations, a Soul Train Award and a NAACP award nomination.
SEATTLE WEEKLY • JUNE 4 — 10, 2014
all ages | free parking full schedule at jazzalley.com
32
in This Bring T And ge n o p Cou Tizer e p p A one 2 oFF! For 1/
rowing up with Shel Silverstein for a godfather, Bobby Bare Jr. was born into the world of storytellers, learning early on that a good yarn has less to do with plot than with feeling. This lesson is demonstrated well in the deflated tone of “My Baby Took My Baby Away,” a song he cowrote with Hayes Carll from his latest album Undefeated. “Oh, yeah, I’m angry,” he says, half-joking about the track. “Having a baby is like having the bestlooking guy move into your house and take away your girl. You have to love the baby, that’s effortless, but you have to accept that you are no longer number one.” Bare has three kids, two with his ex-wife and a son with his ex-girlfriend. On the confessional Undefeated—his first release in four years and first on Bloodshot Records since 2006— listeners get a sense of what’s been happening outside the studio. “It’s a getting-dumped record,” Bare says. “My ex-girlfriend made it clear she did not want to hear my feelings or emotions, so I put them all down here. If I can get a room full of people to laugh along with my sad, miserable songs, well, that’s something.” There’s irony in the album’s title, of course, as Bare suggests in the reverb-drenched, doowoppy title track (a tone further enhanced by producer Vance Powell, a Grammy-winning engineer known for his work with Jack White). With the album to help him through, his ex relies on steely self-resolve as he sings, “There’ll be no signs of emotion/As she’s slipping away,” then to the refrain, “She’s undefeated/Too afraid to feel it.” No stranger to heartbreak, Junior’s colorful catalog, a wild romp of albums that span punk, alt-country, and rock, is full of whiskey-soaked, sad-sack tracks. His singular style—rootsy, offbeat songs rendered with self-deprecating humor—is intentional; the songwriter has often said he doesn’t want to sound like his father, Country Music Hall of Famer Bobby Bare Sr. But like his dad—who survived the untimely passing of friends and collaborators like Silverstein, Townes Van Zandt, Waylon Jennings, and even a daughter (Bare Jr.’s sister)—his career hinges on what he makes of his perJOSHUA BLACK WILKINS
ERNIE WATTS AND THE MARC SEALES TRIO TUES, JUN 3 - WED, JUN 4
sonal relationships. Such material is revealed firsthand, along with Bare’s showmanship and the pratfalls of the touring life, in a 2012 documentary about him called Don’t Follow Me (I’m Lost)—screening for free at 6 p.m. Sunday at the JewelBox Theater at the Rendezvous. “I tried to get them to call the movie Bobby Bare Jr.: The World’s Greatest Lover,” he says, “but they decided to name it [after] a song I wrote on the album From the End of Your Leash.” It was a good move by the filmmaking team, which includes director William Miller and Erin Nordstrom—who edited the Wilco doc (also named for a sad-sack song) I Am Trying to Break Your Heart. Looking back, Bare, who turns 48 at the end of June, is satisfied with how far he’s come. “I can’t believe it, I really can’t,” he says. “I wish someone would have whispered in my ear back in my 20s when I was working a shitty job at Kinkos that I would make a living doing this. Man, I would have never had an unhappy day in my life. And every girl who ever dumped me, I could say, ‘Oh yeah, baby, but someday I’ll be touring with Guided by Voices.’ ” Of the iconic indie group, he says, “I’ve always been envious of my friends who got to tour with them, and now I get to do it. I can’t wait to see them every night; I just hope people come out to see me, because you know they’re going to play for, like, four hours.” E
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BOBBY BARE JR. With Guided by Voices. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. $35 adv./$40 DOS. 8 p.m. Sun., June 8.
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109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
THURSDAY, JUNE 5
MICHALE GRAVES ”A Night Of Ghost Stories and Nightmares” with No Buffer, Darci Carlson, Junkyard Amy Lee and Julio X. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
THURSDAY, JUNE 5 No Clean Singing & El Corazon Present:
PANZERFAUST with Xoth, Burning Of I and Negative Hole FRIDAY, JUNE 6
THE MEATMEN with SNFU, Nihilist Cunt, The Load Levelers, Neutralboy and Anticulture Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS
SATURDAY, JUNE 7
NICE PETER (EPIC RAP BATTLES
OF HISTORY) with The Jackpot Golden Boys, Knothead and Mr. Plow Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $18 ADV / $20 DOS
OLD MAN MARKLEY with Water Tower, Success and Dead Man Lounge Show. Doors at 8 / Show at 9PM 21+. $10 ADV / $12 DOS
SUNDAY, JUNE 8
LIARS START FIRES with Sorrow’s Edge, Chase The Sunlight and Savanna Affair Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS
MONDAY, JUNE 9
GEMINI SYNDROME
with Eyes Set To Kill, Exotype, To Paint The Sky and Transcendence Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS
TUESDAY, JUNE 10 Take Warning Presents:
A WILHELM SCREAM
with Direct Hit!, Burn Burn Burn and Jumping Fences. Doors at 7 / Show at 7:30PM 21+. $13 ADV / $15 DOS
JUST ANNOUNCED 6/27 TO THE WIND 7/5 LOUNGE PEACE MERCUTIO 7/22 LOUNGE JASON CRUZ AND HOWL 7/29 SOULFLY 8/2 LOUNGE SPECIAL EXPLOSION / GRMLN 8/8 I DECLARE WAR 8/14 LOUNGE DISTRICT 8/30 EMERALD CITY ROCK PARTY II FEAT. AMBER PACIFIC 9/7 SENSES FAIL 9/30 AMON AMARTH 10/3 AARON CARTER UP & COMING 6/11 TRUTH UNDER ATTACK 6/11 LOUNGE CITYCOP 6/12 LOUNGE VISITORS 6/13 LOUNGE RATS IN THE WALL 6/14 MONETA 6/14 LOUNGE FAREWELL MY LOVE 6/15 SCHOOL OF ROCK: IRON MAIDEN 6/15 LOUNGE ARSONISTS GET ALL THE GIRLS 6/16 LOUNGE SHINOBI NINJA 6/17 THE MENZINGERS 6/17 LOUNGE DONOVAN WOLFINGTON 6/18 TWISTED INSANE 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
SEATTLE WEEKLY • JU NE 4 — 10, 2014
Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS
SATURDAY, JUNE 7
33
arts&culture» Music
mainstage
dinner & show
WED/JUNE 4 • 7:30PM - FREE SHOW!
judith owen w/ hallstrom THU/JUNE 5 • 7PMSEATTLE INTERNATIONAL FILM FESTIVAL FACE THE MUSIC SPECIAL LIVE EVENT
the justin kauflin trio
with an introduction by quincy jones FRI/JUNE 6 • 8PM
flamenco de raiz SAT/JUNE 7 • 7PM & 10PM - TRUE WEST PRESENTS
dar williams
w/ lucy wainwright roche
The Blakes, Then as Now BY DUSTY HENRY
W
hen the Blakes re-released their self-titled record with Light in the Attic Records in 2007, the hype was palpable. Pitchfork, Spin, NPR, and some local rag called Seattle Weekly all praised the band’s gritty bar-rock and pop accessibility. Their 2009 self-released followup, Souvenir, carried the same excitement, and again the Blakes met with high praise and routine airplay on KEXP. It’s now been five years since much of anything has been written about them. So where did the band go? Answer: nowhere. On May 27 the band released A Darker Green, their sixth record since the self-titled breakthrough (if you count Thin Air by side project BEADS). Even more shocking, the new material sounds perfectly in line with what they were doing before the turn of the decade. The psych-rock leanings of “Sister Carrie” are just as hard-hitting and fistbump-worthy as the early single “Don’t Bother Me.” If there’s any change in tone, it’s that the band has widened its scope, showing more willingness to indulge in melancholy jams. The Blakes aren’t fully reliant on the chunky riffs that garnered them praise, but they’re still in there. Which proves that on or off the radar, the Blakes are remarkably consistent—but it’s not the
band’s output that’s the issue here. More noteworthy is that the Blakes are a victim of today’s fad mentality. As Seattle’s music landscape has morphed over the years, just as grunge came and went, other genres have too. When bands like Fleet Foxes and The Head and the Heart stepped into the spotlight, the Blakes never pandered or succumbed to their indie-lite trappings, forging ever forward in the direction they started in. Despite a lack of press, and with no lack of effort on their part, the Blakes have toured relentlessly in support of their independent releases. It could be that mainstream success doesn’t quite suit the band’s grimy attitude, but if the followings of The Grizzled Mighty and Hobosexual is any indication, there are still plenty of chances for the Blakes to experience their own McConaissance. And if that doesn’t happen, those who have stuck with the group throughout the fads and trends will find the same band they fell in love with. E
music@seattleweekly.com
THE BLAKES With Hearts Are Thugs. Slim’s Last Chance, 5606 First Ave. S., 762-7900, slimslastchance.com. $10. 21 and over. 9:30 p.m. Sat., June 7.
SUN/JUNE 8 • 7:30PM
amy g
99 $11 CD
99 $12 CD
MON/JUNE 9 • 8PM - SCARECROW VIDEO PRESENTS
movie mondays :: big star nothing can hurt me THU/JUNE 12 • 7:30PM
SEATTLE WEEKLY • JUNE 4 — 10, 2014
niyaz
34
Carlene Carter Carter Girl
next • 6/13 josh rouse w/ doug paisley • 6/14 bluestreet jazz voices • 6/15 johnette napolitano • 6/17 aoife o’donovan w/ kristin andreassen • 6/18-20 benise • 6/21 jay & silent bob get old live! • 6/21 kevin smith presents edumacation w/ andy mcelfresh • 6/22 the yardbirds • 6/23 world party w/ gabriel kelley • 6/24 rodney crowell w/ will kimbrough • 6/25 gauthier, gilkyson, miles – 3 women & the truth
Judith Owen Ebb & Flow
99 $13 CD
$99D9 C
happy hour every day • 6/4 fawcett symons & fogg • 6/5 porkchop trio • 6/6 ranger and the “rearrangers” / swindler • 6/7 shiftless layabout • 6/8 hwy 99 blues presents: the mac daddy band • 6/9 crossrhythm sessions • 6/10 singer-songwriter showcase featuring: dana pierce, seth roth and tyler haggett • 6/11 daniel rainard TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY
Mayday x Murs Mursday
Mursday signing and meet & greet at SoDo Silver Platters 6/12 at 4 pm.
Matisyahu Akeda
DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)
thetripledoor.net
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Employment General
Employment General
MULTIMEDIA CONSULTANT
MARKET DEVELOPMENT COORDINATOR
Seattle Be a part of the largest community news organization in Washington! *Do you have a proven track record of success in sales and enjoy managing your own territory? *Are you competitive and thrive in an energetic environment? *Do you desire to work in an environment which offers uncapped earning opportunities? *Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES to the above, then we are looking for you! Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, results-driven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients.
WARNING HOT GUYS! Seattle
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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 Bellevue, 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
Lead Generator for The Tree Industry Flexible Hours - Outdoor Position
Our Reps Average $20/ hour with Top Reps earning up to $50/ hour
NO PHONE CALLS PLEASE. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com
hreast@soundpublishing.com
Do you have a Vehicle, Driver’s License & Smart phone? Apply today!
Set Your Own Hours.
Travel Allowance, Cell Phone Incentive & Medical Allowances Available. Paid Orientation, Marketing Materials & Company Apparel Provided. Our employees love working outdoors!
$500 Incentive Available after 60 days of Employment Apply at www.tlc4homesnw.com OR, Call our Corporate Office at 855-720-3102 Ext. 3304 or 3308
www.sound publishing.com www.soundpublishing.com
Attention Women! Learn Skills to Pay the Bills. We train women for nontraditional employment. To find out more, Call ANEW 206.381.1384 www.anewaop.org ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Immed opening for PT sales person. Energetic, flexible, committed, EXP. & knowledgeable in metaphysical. Also looking for an experienced Psychic Tarot Reader. Drop off resume in person & book list to: 1530 1st Ave (serious inquiries only)
Salesforce.com, inc. has the following position open in Seattle, WA: Senior Member of Technical Staff, Quality Engineering: Utilize extensive prior experience to perform functional manual and/or automated testing of features, including writing detailed testing plans and relevant test cases to cover business use cases, error handling and boundary conditions as defined in technical specifications. Position requires up to 15% travel between Seattle, Washington and San Francisco, California. To apply or for more information, please go to http://www.salesforce.com/ company/careers/ SOFTWARE Alcatel-Lucent, USA, Inc., Redmond, WA seeks SW QA Engineer: Engineer provides support & analysis of LTE End-toEnd features. Up to 50% business travel may be required; any required business travel is fully reimbursed. Reqs incl. MS or for equiv EE, Telecommunications or rel & 1 yr exp. EOE. Mail resume to Alcatel-Lucent USA Inc., Attn: HR, 600 Mountain Ave., 2B-404, Murray Hill, NJ 07974. Include job code 71385 in reply. Software Engineer sought by Zulily in Seattle, WA. Build Vndr pltfrm. MS in CS, Comp Engrng or rltd, OR BS Comp Sci, Comp Engrng or rltd + 5 yrs exp. Know pro sftw engrng best pracs incl coding stds, code rvws, src ctrl mgmt, cntnuous intgrtn, autod tsting & oprtns. Know dsgnng, bildng & dplying scalable, hghly avail sys. Bkgrnd w/ mod tools & envirs (eg, XML, web servcs, vrsion ctrl sys, bug/issue trkg tools). Know comp sci fndmntls in data strcs, algrthm dsgn, prblm slving & cmplxity anlys. Prfcncy in 1 or more prgmng lang eg C, C++ or Java. Famlrty w/ SQL. Aply @ www.jobpostingtoday.com #1902
Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601
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
Real Estate for Sale King County
HUD HOMES For Sale Save $$$! Seattle: 2 BR, 2 BA, 1,163 SF, $329,175, ext. 5053. Tukwila: 3 BR, 1 BA, 1,159 SF, $149,000, ext. 8763. Issaquah: 1 BR, 1 BA, 780 SF, $121,200, ext. 2103. Bothell: 2 BR, 2.5 BA, 1,219 SF, $214,500, ext. 5073. Renton: 2 BR, 2.5 BA, 1,338 SF, $196,000, ext. 5083. Chris Cross, Keller Williams Realty 800-7119189, enter ext for 24-hr rec msg. www.WA-REO.com Splendid Lake WA View! Leshi! $549,900 3 Bedrooms, 2 Baths, 2240sqft + Garage. Totally Renewed. 425-766-7370 Realty West 206-6503908 Real Estate for Sale San Juan County EASTSOUND
3.98 ACRES FSBO Well, septic (3BR/2BA) and garage. $200,000 Call Harriet 360-3175745.
Apartments for Rent King County Commercial space avail perfect for office. 880sqft. Rent $1,760 + NNN. Call (206) 441-4922 Daniel
University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm
WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342
U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169
Announcements
NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180 Auctions/ Estate Sales FALL CITY
JOIN US FOR THE 16th Annual Fall City Community Garage Sale Weekend. June 7th - 8th. City wide sales! Maps at Farmhouse Market. 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
Flea Market
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SEATTLE WEEKLY • JU NE 4 — 10, 2014
24/7 Customer Care 1(888) 634.2628 18+ ©2013 PC LLC 2589
As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service. This position receives a base salary of $24k plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient. If you have these skills, and enjoy playing a pro-active part in impacting your local businesses’ financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com, ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us!
Sound Publishing, Inc. is seeking a Marketing Development Coordinator to research, plan and implement market programs throughout the organization. This position acts as a consultant and resource to Sound Publishing’s National/Regional Advertising Sales team and senior-level management; and is responsible for developing and implementing brand, market, and account specific sales and marketing presentations. The successful candidate will bring extensive marketing/advertising experience in the print and/or digital media industry. Must be proficient in InDesign, Photoshop, Illustrator, Acrobat Pro, Microsoft Word, Excel, PowerPoint and html5; have the ability to communicate effectively; possess excellent presentation skills as well as basic math and English skills. Candidate will also be a problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. Position requires a Bachelor’s degree in Marketing or related field and three to five years of marketing/brand experience. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com
Employment Computer/Technology
35
Miscellaneous
BUY JUNK CARS
Call
WE PAY CASH & MORE THAN OTHERS!
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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
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20TH ANNUAL COMMUNITY SALE!
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50+ SELLERS! Sat. June 7th, 9am-4pm Sunnydale Community 375 Union Ave SE Renton Highlands
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WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201 JUST STARTING ONE OF THESE TREATMENTS?
Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: •
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Raped or Attacked? In an Accident or Combat? Confidential help is available If you are 18 years old or older, you may be elligible for a research study on the treatment of psychological reactions following trauma. It includes: • A thorough, no-cost evalutation • 10 weeks of no-cost counseling or medication • 9 months of follow-up assessments • Up to $300 in compensation
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Abandoned Vehicle AUCTION!!! 06/13/14 @ 11AM 1 Vehicle
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