Seattle Weekly, July 29, 2015

JULY 29-AUGUST 4, 2015 I VOLUME 40 I NUMBER 30

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FILM TOM CRUISE IS OLD

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COME TOGETHER Former gang members have an audacious plan to save the black community in Seattle: unity. By Marcus Harrison Green Page 8

Small Seats, Big Money So much for district elections making City Council races cheaper. By Casey Jaywork Page 5

Fishy Business

Does Paul Allen’s new effort to promote sustainable seafood do enough? By Alana Al-Hatlani Page 12

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WARD GAMES

BY CASEY JAYWORK | How will

Editor-in-Chief Mark Baumgarten EDITORIAL

picking our City Council by district, not at large, change Seattle democracy?

News Editor Daniel Person

6 | SEATTLELAND 7 | NEIGHBORHUH?

Food Editor Nicole Sprinkle

A CALL FOR UNITY

Arts Editor Brian Miller

BY MARCUS HARRISON GREEN

Music Editor Kelton Sears

The United Hood Movement brings together gang members “to help the communities we once destroyed.”

Editorial Operations Manager Gavin Borchert

food&drink

12 BAY WATCH

BY ALANA AL-HATLANI | Is a fishing-

sustainability program going far enough? 13 | FOOD NEWS/THE WEEKLY DISH 14 | THE BAR CODE

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SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

news&comment Diced City

District elections were supposed to help get money out of local politics. How’s that working out? BY CASEY JAYWORK

I

n 2013, Seattle voted to switch elections for most City Council seats from a citywide model to a district model. Advocates said that districting would reinvigorate democracy, while opponents warned that city governance would collapse into solipsistic factions. As we sail into the the first season of localized elections since 1908—primary ballots are due next Tuesday—who appears right? Part of the promise of districts was that they’d make seven of the nine councilmembers more directly accountable to a specific set of voters. The idea was to create a one-stop shop for complaints about anything from barking dogs to global warming, as opposed to our current Byzantine flow-chart of deferred responsibility. Opponents warned that slicing up the city into a patchwork of local districts would Balkanize it, reducing the sovereign state of Seattle to a confederacy of squabbles—a particularly unattractive prospect for a city facing serious questions over, say, how to preserve neighborhood character in the face of a population boom. “I think the [citywide elections] approach is a regional approach, and every growing city has got to be looking at the region around it,” says Sally Bagshaw, the incumbent who is running all but unopposed in District 7 (Downtown and Queen Anne). Elected in 2009 to replace longtime councilmember Jan Drago, the former prosecutor says that although she’s since accepted districts as a political reality, she opposed them when they were on the ballot because “I wanted to make sure that we didn’t become ward politics. “Your elected leaders have got to be thinking about the big problems,” she says. Others aren’t so sure, though. “I believe that voters have a mix of concerns,” counters former mayor Mike McGinn. “Seattle voters care about their neighborhood, strongly . . . but there’s also a lot of Seattle voters that care about a lot of really big issues—climate change, for example.” Ousted in the same election that confirmed district City Council elections, the ex-mayor says that his experience as a Greenwood neighborhood activist showed him that roping councilmembers more tightly to their constituents is a good thing. Besides making those elected more directly accountable to voters, he says, districts can foster dialogue by forcing neighbors (rather than just already-organized interest groups at City Hall) to hash out disagreements with their representative. “[Districts will] shift the calculus of elected officials,” says McGinn, “to ‘Who’s got constituencies within my district that can organize?’ ”

he says, but you can go door-to-door through a good chunk of a district. At the same time, small districts lower the cost of saturating prospective voters with mailbox brochures. “But it works both ways,” Goldstein warns: Big money can concentrate in a district just as easily as it can spread across the city. “And I think we’re seeing that right now,” he says,

Another aspect of the hype around districts

pointing to the hundreds of thousands of dollars that business interests, like the Seattle Metro Chamber of Commerce, have been pouring into no-incumbent races in the form of independent expenditures. “What’s going on right now, it’s a warning shot at the Council saying, ‘Look how much money we can spend.’ ”

On the other hand, this is the first time all nine Council seats have been up at once since 1911, so that spending is due in part to the sheer number of races up for grabs. Plus, it’s not yet clear how effective that money will be. Maybe we’re seeing old-school spending tactics that will turn out to be obsolete in the new district system. What is clear is that, rightly or wrongly, lots

thecisforcrank.com, Erica writes that this fact “puncture[s] the notion that switching to district elections would reduce the influence of moneyed interests over local elections.” Fair point: An unstemmed flow of political money into districts suggests that, um, districts haven’t stemmed the flow of political money.

of newcomers think that districts give them a chance they would have lacked in a citywide race. There are 47 registered Council candidates in Seattle—more than five per seat—and many of them even have credible campaigns. Lightning-rod incumbent Kshama Sawant, for instance, is facing three non-ridiculous challengers in District 3 (Capitol Hill and Central District), while District 1 (West Seattle) has nine different candidates, seven of whom are plausible. Take Michael Maddux. The Democratic Party organizer says he’s able to challenge incumbent Jean Godden in part because District 4 (the University District and surrounding area) is so much smaller than Seattle at-large. “People like myself who are of modest means, who don’t have a bunch of friends who can write $700 checks,” he says, “[districts have] given us an opportunity to get out there, talk with voters, and be able to have that message one-on-one.” He’s not kidding: Just five people have contributed to Maddux’s campaign the legal maximum of $700, whereas Godden’s gotten 37 max-out donors and fellow challenger Rob Johnson has snagged 35. The smaller scale of a district election also allows him to work while campaigning, Maddux says: “I’ve still got to pay my rent, so I can’t just take time off of work to campaign full time.” Candidates like Maddux, says McGinn, are “credible in the context of a district in a way that they might not have been in the context of a citywide race, because of the fundraising barrier.” The former mayor says that smaller electoral districts lower political money’s saturation point. It still helps to be rolling in Benjamins, he says, but returns on campaign spending start to diminish faster in a smaller pool of voters. McGinn cautions against drawing too many conclusions before November, and maybe even then. Until the votes are counted, he says, “Nobody really knows in these districts right now who’s got the great message,” he says. “We can speculate, based on the ability to raise money and get endorsements, whether somebody has a compelling message. . . . But in the absence of good polling in these races, that’s a very difficult thing to discern. “Is there somebody in these districts who’s knocking on doors and is delivering such an awesome message that the dollar figure isn’t going to matter?” E

cjaywork@seattleweekly.com

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

JOSE TRUJILLO

was the hope that “you can get money out of politics by doorbelling your district,” as political blogger David Goldstein, aka Goldy, puts it. In other words, smaller districts allow grassroots campaigns to counter big money with local organizing. “You obviously can’t doorbell a city,”

How much, indeed. As of the end of last week, independent-expenditure groups, which spend to support a candidate but don’t coordinate directly with her or his campaign, had spent more than $200,000 on council candidates. Seattle Ethics and Elections Commission director Wayne Barnett told reporter Erica C. Barnett (no relation) that that’s an 11-year high, at least. On her blog,

5

news&comment» Random Bullets Determine Who Lives and Dies in the Emerald City BY RICK ANDERSON

SEATTLE POLICE DEPARTMENT

I

n a place where unborn babies and neighborhood heroes have become collateral damage, Police Chief Kathleen O’Toole, microphone in hand, wanted the audience to know that Seattle is one of the safest big cities in America. True, shooting incidents have soared to somewhere around 230 so far this year. That’s about 60 more than during the same period last year. But, the chief was telling the crowd BY RICK ANDERSON at the First AME Church in the Central District the other day, most of the bullets missed their fatal marks, and the gunfire has been generally confined to the CD and South Seattle. So Magnolia, Broadmoor, and Laurelhurst can relax. “There is a small number of people associated with the high percentage of shots fired in this community,” she said at the neighborhood meeting. Many are street-gang members, who, when shot, think the respectful thing is to shoot back. That includes two young men who recently were shot one day and became revenge shooters the next. One Seattle gang-banger, the chief said, has been connected to 10 shootings, according to ballistic tracking of his unusual crime gun, a German Luger. Also true, she confirmed, 434 guns have been confiscated from gang-bangers and others in the first six months of this year. That’s more than were confiscated in all of last year. Still, there’s something good about that as well. “The bad news is that we have so many guns in the hands of people in this community, particularly young people,” said the chief of one year and one month. “The good news is every gun we get off the street prevents a potential tragedy.” So it was possible to hear the police chief talk in moderate tones about the shootings that dominate today’s news. Don’t overreact to this, she was suggesting. Of course, that depends on where you live, what you know, and who has died. Clearly 2012 was worse for stray-bullet deaths, when five innocents were killed in random shootings. But we are only halfway done with 2015, and since the chief ’s appearance at First AME just over a week ago, the statistics have already changed.

SEATTLELAND

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

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To the list of dead from those “shots fired” inci-

dents, which include an unborn baby, age minusfour months, add a 59-year-old man slain last week. Both the baby and the grown man, police say, were unintended targets in the gang war. The solution? Mayor Ed Murray, who took the microphone after the chief, told the audience, “I don’t have a solution. I’m here with you to find solutions.” Like the fatally wounded unborn baby of 19-year-old Tedra Paige, who was five months pregnant when a bullet struck her in the stomach at a Rainier Valley bus stop June 19, Donnie Chinn, the saint of Chinatown, was merely passing by when bullets rained down on his SUV early last Thursday in the International District. As director of the district’s Emergency Center, Chinn was cop, fireman, and social worker to

A man opens fire in Judkins Park in June.

thousands in need of aid, working tirelessly around the clock and arriving first on the scene to calls for help. “You don’t find anyone that dedicated to anything anymore,” said Chinatown elder statesman Bob Santos at a Sunday memorial service for his lifelong friend. Chief O’Toole promised the murder will be solved, but the department is saying little else. “There’s a significant amount of forensic evidence being processed,” Assistant Chief Robert Merner said. Police also seek the public’s help in that and other cases, including the killing of Cleveland High student Robert Robinson Jr., 17. He was mowed down in a Sunday daylight drive-by in March. His family says he was not a gangster, and that his death may be random as well. That could be three, and counting. This is thought to be the product of armed

young men demanding pride at gunpoint. “Everybody’s tough when they have the gun, when they have their finger on the trigger,” Kyla Jackson said Friday in a Seattle courtroom, talking to 26-year-old Lorenzo Pratt, who last year killed her son Deszaun Smallwood, 20. “You shot my son like a dog in the street.” A member of the Deuce 8 gang, Pratt felt disrespected for losing two fistfights. His solution was to put four bullets into Smallwood. It apparently did not occur to him that he was ending life as he knew it, too. He is off to live in prison until 2035. Such convictions are not common enough, in Rev. Harriet Walden’s view. “If you’re connected to this community, you know somebody who got killed by somebody, and that other person has never been brought to justice,” said Walden, who preceded the chief and mayor to the AME microphone. “It’s painful we have murderers in our midst, that we have murderers at our bus stops and nobody will talk about it.” Too many minority youths have been taught to believe they won’t have long lives, Walden added. She suggested the city launch a program called Turn in a Gun, Get a Book. “People who understand the illustrious history that they came from and what they have to offer are not sitting in jail and we need to recognize that,” she said. “There is a gap between history—what has been taught—and what’s going on . . . Mothers don’t give birth to murderers.” E

randerson@seattleweekly.com

Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing. His latest book is Floating Feet: Irregular Dispatches From the Emerald City.

NeighborHuh?

BECU

ZOOTUNES

This summer, we’re checking in on some of Seattle’s more obscure neighborhoods and asking: Is that really a place? BY CHASON GORDON you’d be in Eastlake; if you careened off the east side, you’d crash into Portage Bay. Drive safe. Though many people know it as the shortcut haped like troll-doll hair, Portage Bay between the U District and Capitol Hill, Portage is named after the adjacent bay, but it Bay is an adorable residential neighborhood should probably be named after Red that feels a bit secluded from the rest of the city, Robin, as the area was once home to even as it lies in the middle. Along with distincthe original restaurant. It’s tragic that one can’t tive houses, one may find Canal Market, Dahlia even find the old facade or some sort of burger Press, St. Patrick’s Church, Le Fournil Bakery monument paying tribute. Granted, I haven’t been (good tarts), The Flower Lady, the Queen City to a Red Robin. Is it good? Yacht Club, Romio’s Pizza, and Sebi’s Bistro, Very few neighborhoods in Seattle have borders which has pierogi. That’s more important than as clearly defined as Portage Bay. It sits in a trianything else on that list. angle between I-5, 520, and the bay, so there’s little Then there’s the houseboat community, those bleed-over as in other neighborhoods. For instance, things Seattleites fantasize about getting but never if your car somehow flew off the west side of I-5, actually do. Did you know that Governor Inslee recently signed Bill 1309 into law? It allows real-estate brokers to sell houseboats without needing a vessel-dealer license. You can impress your houseboat friends with that tidbit. (I don’t have any houseboat friends.) If there’s a crown jewel, it’s Roanoke Park. E Allen St. Area I can barely pronounce the of North Seattle word “foliage,” but it5 has Detail E Gwinn Place beautiful foliage, along with Greenwood what is probably the cutest E Allen St. Ballard basketball half-court in SeatFremont 5 tle. What’s more, if you look E Gwinn Place PORTAGE BAY Queen Anne at an aerial shot, you’ll notice Capitol Hill that the paths are shaped like Seattle a giant X, clearly denoting PORTAGE BAY buried treasure. Someone West better get on that. Seattle Verdict: Portage Bay is not Georgetown a great spot to lose the cops E Roanoke White Center on a chase, because there are St very few escape routes. How520 ever, with an idyllic layout E Roanoke St and a steady supply of pierogi, it’s more than just 520 another drive-thru neighborhood. I don’t know how much more, but more. E

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In the hope of saving black Seattle, gang members past and present are trying to end the feud between the Central District and the South End.

By Marcus Harrison Green Photography by Christopher Zeuthen

hey descended on Fifth Avenue in droves. With the swath of black and brown bodies shoulder-to-shoulder in solidarity, it was hard to imagine a time not so long ago when the wrong look from one of them, the wrong bandanna, or the wrong address was enough to incite an epidemic of violence that left south and central Seattle streets littered with bodies. On this day though, all past grievances were forgotten, all former allegiances dissolved in the antiseptic of a grand, brazen idea: unity. More than 200 mostly inactive gang members with ties to local factions of the Crips, Bloods, and Vice Lords set off from City Hall to Myrtle Edwards Park on the evening of Friday, June 19, rerouting traffic on downtown streets as their feet pounded swiftly along the pavement, proselytizing to anyone in proximity a sermon of reconciliation, both with one another and with their community. As its organizers would go on to say, the march wasn’t a moment stuck in time, but the start of a movement they hope will shape their neighborhoods for the better, created by those who are well aware of the role they played in hurting them. “We want to go door-to-door with our message,” says Amir Islam, co-founder of the United Hood Movement, which orchestrated the United Hood March. “Instead of relying on nonprofit handouts, which means you have to jump through all kinds of hoops and hurdles, we want to appeal directly to the community. Hey, look, we’re here, and we’re attempting to help the communities we once destroyed.”

The thought of former Crips and Bloods depositing themselves on your front porch to ask for your help to improve the community might seem unlikely. Until recently, the idea that anyone could assemble the diverse factions of Seattle’s gangs for any reason, much less for anything positive, would have been considered impossible by those familiar with the history of the city’s gang culture. For decades, gang members have affiliated themselves according to neighborhoods, pitting those from the Central District and those from farther south—Columbia City, Rainier Beach—against each other in a feedback loop of violence. “Honestly, it’s like Seattle’s version of the Hatfields and McCoys,” says Islam, a former gang member who grew up in the CD.“When people would say ‘Fuck the South End,’ it was like a rallying cry. It was an honor to defend your hood. So many of us had inherited this beef. All you know is, well, so-and-so from the South End shot your cousin, and so now you have to go shoot him, and then the person you shot has their brother coming after you. It’s a cycle, man.” “Look, man, I love the South End: eat it, drink it, breathe it, smoke it,” shares Dwayne Maxted, the United Hood Movement’s other co-founder, “but I appreciate all Seattle. We have to get past the point that if someone spits on your street sign or says something denigrating the South End, that you’re down to kill them for it. It’s been long overdue for us to come together as all of Seattle.”

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United Hoods of Seattle » FROM PAGE 9

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

When I meet with Islam at the CD’s Edwin

10

T. Pratt Park at 20th and Yesler on July 3, there is an unexpected pall surrounding us. Another young black man had been gunned down only a few blocks from our current location less than 24 hours ago. The murder was just one episode in a continuing surge of violent incidents in the area, leaving some dead and others shaken. “Did you hear about Torrance?” Islam sullenly asks as we settle onto a park bench. With his round, inviting face, stocky frame, and amiable demeanor, he seems the epitome of paradox. It’s as if Will Smith had been forced to live the life of “Tookie” Williams. As we talk, several CD residents come up to Islam to exchange pleasantries. The topic du jour is what happened yesterday, with everyone adding their own two cents to the bank of speculation as to the shooting’s causes. Police believe gangs are a likely suspect, though the dead man may have been a victim of mistaken identity. In the coming days, the death will be cited by the Seattle Times in a report noting that the city saw a sharp uptick in gunfire from early June to early July, leading some to fear they are in the middle of a “gang war.” The situation leads Islam to reflect on his current mission of uniting those once involved in gangs, but it also puts him on high alert during our conversation. “After things like this happen, you never know if someone might be coming here to retaliate,” he says before initiating a hello with two young males walking through the park. “I asked them where they were from because you can never be too sure. We’re out here talking now, and someone might start shooting and we get caught up in it.” Now 34, Islam’s upbringing had many of the hallmarks of a life swallowed by gang culture: an unforgiving juvenile justice system, low levels of adult supervision, early exposure to nefarious characters, and ample opportunity for trouble. “At 5 years old I got introduced to just exactly what the Ho Stroll was,” he says. “My mom took me on a walk by my house and we happened to go down Yesler [Way], which was notorious for prostitution at the time. As we walked by, I kept hearing ladies say: ‘Oh my God, he’s so cute. He’s going to make a good pimp.’ I remember asking my mom, ‘What’s a pimp?’ ” He would soon learn this and more during an early childhood education that took place without the supervision of his mother, who raised Islam on her own and worked primarily as a custodian for Seattle Public Schools. “Don’t get me wrong, she was a hard-working woman who made sure I always had the basic necessities, but I wouldn’t see her until late

at night or the wee hours of the morning,” Islam says. traditionally black CD is now experiencing. He takes me on a walking tour of the neighBy age 10 he was arrested for the first time for selling fake cocaine. “After I sold the fake dope to borhood to express his point. “Broadcast Coffee—that used to be Sam’s these two clucks [drug addicts], they chased me Quickie Store,” he tells me, pointing across the all the way from what’s now Ross downtown on row of storefronts along 20th Avenue. Third and Pine to the 5-Point Cafe near Denny “We used to have violence in the Central Way. My cousins so happened to be around and District when I was growing up, but there was beat up the clucks. I end up getting caught in the laughter, there was life. White people saw that commotion.” and they wanted it, but they wanted to do it Served with 28 days, he found himself tangled passive-aggressively. They say, ‘Oh, it’s so violent in the machinations of the probation system. He there,’ but it isn’t so violent that they don’t want missed an appointment by five minutes and an to put up $1 million homes,” Islam says. arrest warrant was issued. “I’m a 10-year-old kid “The Central District equates now to a whose mom works all day and relies on public ‘transracial neighborhood,’ which just means transportation to get around, and you issue an gentrification. People want to talk about gangs, arrest warrant for me?” a still-baffled Islam asks but [those gangs] made sure if you set up here, almost a quarter century later. whether a business or whatever, the community Attracted to the fast life at such a young was getting taken care of.” age, the impressionable adolescent continued Though admittedly sometimes using force, on that path. “I did everything. I sold drugs, gangs acted as a not-so-subtle reminder to busistole, hustled.” He says his gang association was “Yesler . . . People know exactly what that means.” nesses in the area that if they wished to profit off the residents, jobs, At one point, he says, he “I had spent so many years money, and infrastrucwas stabbed in the head needed to stay while clashing with rival destroying my community ture within the community, gang members. Another Islam says. time, he says, he survived with violence, drugs. That system is not an attack by 100 Crips So it was time for me to much different from from the South End. what Islam envisions for But Islam has always repair my community.” his current efforts. He had a bookish side. Even wants to make sure the United Hood Movewhen cutting school, he’d read The Portable ment has an economic component, so those Nietzsche. Today in his spare time he studies involved, primarily from the South End and quantum physics and the biographies of successthe CD, can actually afford to stay in the areas ful entrepreneurs. When pressed to identify the where they’re rooted. However, instead of gangcatalyst for his 180-degree turn onto his current style coercion, he imagines shops owned and path, he embraces the complexity of his situation operated by members of the black community, and responds with nuance. After his most recent stay in jail, Islam decided who then share proceeds to improve the community. He sees the plans for development of to move forward with his life, something that Yesler Terrace by Vulcan Real Estate as a potenwas more a function of natural growth than of a tial catalyst for these changes. grand epiphany. He worked for World Vision “You look at someone like Paul Allen who and for the Urban League, where he helped is coming in our area with Vulcan. It should design the Seattle Alliance Violence Prevention be his job to provide apprenticeships and job Initiative, which helped to designate and deter training for folks. Everyone says ‘I feel bad violence in hot spots around the city. about the gentrification.’ You know what I do Doing legitimate work was eye-opening for when I feel bad about something? I stop doing Islam. “When I was on the 100,000th floor of it. The uproar around here is going to be worse this building for meetings at the Urban League if people continue to come and we ain’t getting with people listening to you as an expert, it gave shit for it.” you a sense of empowerment. I kept thinking, so this is what it’s like to be white.” Now a business owner—he runs his own If the CD is the gold-medal winner in Seattle’s promotion company called the Fresh Coast Soci- gentrification race, it’s only fitting I meet the ety—he says he soaked up everything he could United Hood Movement’s co-founder, Dwayne while working in those organizations. A central Maxted, in the silver-medal region, Columbia City. lesson he learned was the importance of economMaxted, who grew up only a few blocks from ics in helping black communities thrive—a fact the Rainier Avenue Starbucks where we meet, underscored by the heavy gentrification that the has a charming demeanor that belies the 17-and-

a-half year prison term he just finished serving. The man also inspires genetic envy, appearing to be chiseled out of granite, and has a notable gang pedigree, credited as the founder of the Genesee Black Crips. He’s known to many by his superlative nickname, South End’s Finest. “Before I say anything I just want to convey my apologies to the individual who might be reading this who I harmed,” he says, referring to the person he shot, resulting in his nearly twodecade prison term. Maxted is the second eldest of five brothers, all affiliated with gangs at some point in their lives. Two of them are currently incarcerated. He laments the toll gang life took on his family. “I’ve been on this earth 39 years and I only have one picture, one, of all of us brothers together.” “My cripping was way strong. No religion could even compare to it at the time,” he says about his one-time devotion to the lifestyle. Maxted had a tough family upbringing. He says his mom wasn’t around. All he knows about his father is that he was from England and had to flee back there after some trouble with the law. However, the only person he blames for his becoming a felon is the man he sees in the mirror every day. “When I was younger, I did what I wanted to do. I blame no one. It was me,” he says. “I wouldn’t change anything, though. This world shapes you. We’re all stones out here. We can be dull or we can be sharp. This world programs you as a kid to be sharp.” Maxted says that his metamorphosis came in prison. “The first day I went to Walla Walla prison in 1997, that was the craziest week of my life. This was not a game here. People were doing shit you only see in the movies.” There were riots. Maxted says that his first cellmate claimed he’d put his own family members through a woodchipper. But with calamity also came calm. The time away from the outside world enabled him to ask himself questions he never had before. It prompted a look inside that allowed him to confront deeper issues at the core of who he was and explore why he did the things he did. He forgave himself, and then his mother for her neglect during his younger years. He also picked up a book that would serve as a cornerstone for his life: The Purpose Driven Life by Rick Warren. “It solidified in me that everything you do should have a purpose. You need an agenda and a goal,” Maxted shares. It was the dual purpose of community and his daughter that made him commit to the path he’s currently on. “Time away made me realize that I had spent so many years destroying my community with violence, drugs. So it was time for me to repair my community.”

Amir Islam, left, and Dwayne Maxted talk over lunch at The Original Philly’s on Martin Luther King Jr. Way South.

they’re doing thousands of years’ worth of sentences. There are plenty of broken hearts in here, but not broken people. A part of the Hood Movement is helping to fix that.” Both he and Maxted address the group. “In this last month I’ve lost five homies,” Maxted says as he walks across the room. “The Department of Corrections exist because we keep it in business. Our actions dictate what everyone else does. I’m going to keep it real—there’s some bullshitters in here. Interviewing Islam and Maxted separately is You have to believe in yourself and find your true one thing, but doing so together provides a feast passion. It’s not about the system, it’s about us.” of contrast. Amir is the “romantic” of the two, the When it’s his turn to speak, Islam focuses on visionary, wondering why there aren’t more people what he sees as a reprehensible, and ultimately at his level. Dwayne is the realist, keeping their feet irredeemable, justice system. “No matter what, on the ground, making sure their steps are precise. you’re in the system. You’re in the game. We have One calls his god Allah, the other calls him, to understand that this is a shit factory. We have well, God. One points fervently at a system that to identify our resilience and create a new system continues to crush a subset of its population within this existing one,” he emphatically prounder the weight of callous inertia, the other nounces to those in attendance. cites a lack of individual responsibility as that For Islam that system, which currently imprissubset’s biggest ailment. They complement each ons blacks at six times the other well; where one’s sour, the other’s sweet. “The powers that be are fine rate of whites, is on full display during his time Two weeks ago the duo when we march. The only at the facility, as the day’s brought these differences join prisoners in and their passion to a place thing . . . they respond to visitors being overseen by a halfneither initially had any desire to visit—the Clallam is economics and finances, dozen watchful prison guards. During a shift Bay Corrections Center on and that’s what we’re change, all those presthe Olympic Peninsula. at the summit peer “I was not trying to eventually going to touch.” ent through the glass window come here,” Maxted says, separating the recreation room where the summit standing outside the first of two 30-foot barbedis taking place from the hallway in which an allwire fences everyone visiting the facility must pass white cadre of prison guards are stampeding into through. Having recently undergone an extended work. The scene evokes something said by a prisstay at a similar Department of Corrections proponer earlier in the day, comparing prison to slavery. erty, his hesitancy is understandable. “You won’t see that much white on a snowy day His unease continues until he and Islam enter in Iceland,” Maxted would later quip. the room where 45 prisoners of color, most under Though the day is an emotional drain on the age 30, await them. two, their presence is appreciated by event orgaThe two are part of a small contingent invited to nizers. “I think it’s great that [the prisoners] got to a youth summit held by the Black Prisoners Causee different factions of their community coming cus, a Seattle-based prisoner-rights advocacy group. together,” says Mary Flowers, a volunteer with the “We wanted to show [those in jail] what people BPC for more than a decade, who accompanied who look just like them and have some of their hisIslam and Maxted to the summit. “I think it was tory were doing on the outside. We wanted to give also important that they saw this movement them people to exemplify, and show that your life’s wasn’t happening in an isolated way, but unified past is not prologue for its future,” says the BPC’s along groups, even those that were once hostile.” Senait Brown, who helped organize the trip. While Islam and Maxted are participating under the banner of the United Hood Movement, the day So what’s next for the movement? Quite a bit, also provides an opportunity for personal redempaccording to the duo, including—Islam’s aversions tion. Many of the prisoners know the two and were aside—at least one more march. influenced by them during their gang days. The Both Islam and Maxted were tasked by perirony is not lost on either Islam or Maxted: Individ- sonal liaisons from Louis Farrakhan, the leader of uals they once led toward pitfalls of negativity they the Nation of Islam, to lead the organization of now address with a completely different message. the Seattle contingent of black males traveling to “I’m dumbfounded,” says Islam. “I’m sitting Washington, D.C., in early October for the 20th next to these people I knew and collectively anniversary of the Million Man March.

“Truthfully, I don’t want to do another march. Fuck one more march,” says Islam. “The powers that be are fine when we march. ‘Oh, hey, Amir Islam, let me give you a high-five for marching, buddy. I’ll still kill you tomorrow!’ The only thing that really matters in terms of what they respond to is economics and finances, and that’s what we’re eventually going to touch.”

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SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

That idea returned to the forefront of Maxted’s mind when 1-year-old Malijah Grant was shot and killed in a gang-related drive-by shooting in Kent in April. He published a Facebook post that tagged several reformed gang members, calling them to action. “Together we stand divided we fall. [Who’s] willing to stand up? I need everyone from the CD and Southend to stand up,” he wrote. He tagged 44 people. One of them just so happened to be Islam, who suggested that they take to the streets in protest. “I told Amir no. Let’s talk and make a plan of action,” states Maxted. “I was the one who had these experiences working in organizations,” says Islam. “And it’s Dwayne who says no, let’s sit down and meet and come up with how we’re going to actually make an impact within the community,” Soon after, the two put a call out to gang members, mostly former but some current, and invited them to a meeting to talk about how they could all unite. That was an enormous proposal in and of itself, not least because of the lingering animosity between South End and CD gangs. “Look, I was blunt at the first meeting,” Maxted says. “I said I don’t have to do a fucking thing, but I want to, and I didn’t care if there were 10 people or 10,000 people at the table. I was riding with anyone who wanted to do work.” With that, the United Hood Movement was born. “I knew it was something I needed to be a part of as soon as I walked in the room and saw Amir, a man I have so much respect for, and Dwayne, who founded the gang I was a part of,” says Charles Cortez, a former gang member who now works with youth at the community center in Rainier Beach. It was decided that a march would take place to announce the movement and essentially “brand” what the group was about. They went to nonprofits for donations, but got little more than laughter in response, Maxted says. He and Islam became the event’s main benefactors. In many ways, the march was in line with other Black Lives Matter protests that had taken to Seattle streets in recent months amid a string of high-profile police killings of black men. But this march was notable for its frank discussion of the role that gangs play in hurting black communities, and for the fact that it was planned and executed entirely by members of the community. “It was good to actually see so many black faces,” says Maxted’s partner Anne-Marie Bishop, who raises nine children with him. “Usually even when the marches are for us, it’s mainly white people.” But most important, the United Hood March was not an end in itself, but a means to announce the arrival of what organizers hope will be a permanent presence in Central and South Seattle.

Islam and Maxted also plan to take the movement into the world of politics, economic development, health care, and community giving. Maxted frequently cites the necessity of the latter, noting that the “nonprofit industrial complex” has ceased to do its job. “We have over 200-something nonprofits registered in the South End and Central District. Why are we all still broke and hungry? What’s really going on here?” he asks in befuddlement. In that vein, the United Hood Movement is establishing its own fund for community members in need. That fund was tapped almost immediately. On the day of the United Hood March, 19-year-old Tedra Paige was shot in an unrelated incident, losing her unborn child. The Movement collected money and paid for the death certificate and cremation. (The Seattle Police Department recently released footage of the shooting in the hope of gathering leads in the case.) Turning away from tragedy, Islam’s entrepreneurial mind-set comes through as he discusses setting up job programs and a co-operative economic structure. He says the group is currently making strategic partnerships with groups including the NAACP, the Nation of Islam, and Africatown, an economic-development initiative in the CD. “I like what the [Hood Movement] is attempting to do,” says Cornelius Mason, COO of the Urban League of Metropolitan Seattle, where he frequently works with gang members and other at-risk youth. “We have kids these days who don’t think there’s hope for tomorrow. We need to provide hope.” Though optimistic, neither Islam nor Maxted is a Pollyanna, realizing the movement has its share of detractors. “I walked into a convenience store during the march, and I overheard people in there saying as it went by, ‘Look at those motherfuckers. They’re marching “in unity” and it’s not going to change a damn thing.’ ” He adds, “I could have said something, but I didn’t. We’re doing something and they’re not. I could have cared less if 10 people had showed up at the march and continued on in the movement.” The group also says that it has been a challenge to bring younger people into the fold, as the majority of the Movement consists of older, reformed members. “These kids nowadays don’t really have a level of respect. You know?” says Maxted. “Their Big Homies [leaders] are like 18 and 19 years old. How much advice are you really going to receive from them?” It’s the main reason the tandem points to the essentialness of what they’re trying to do. “You can have as many Ph.D.s as you want, but the bottom line is that kids aren’t going to respond to someone who hasn’t lived the life they’ve lived,” says Maxted. The Movement’s extension of hope to those lacking it continues to appeal to its membership. “I have four sons and I’ll be damned if they have the same life as me,” says Trevionne Phillips, a strong advocate of the movement who is also a former gang member. “We’re trying to leave a legacy by this movement. We have no control over the way we die, but we have control over how we live.” “Gang members are natural-born leaders,” a passionate Islam tells me over the phone following a community meeting. “If I was [King County Executive] Dow Constantine or Mayor Murray, I’d have a thousand Amir Islams and Dwayne Maxteds in these gang-prevention units. We’d hit them with the ultimate message that what we’ve destroyed we can rebuild. We just need us to do it.” E

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food&drink

Paul Allen Dives Into the Ocean He’s taking on sustainable seafood, but how far is he willing to go? BY ALANA AL-HATLANI

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

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PHOTOS BY CHRISTOPHER ZEUTHEN

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have my own ethics and this is a cookiecutter thing,” Hajime Sato says. He’s just left what he tells me will probably be the last meeting with Smart Catch he’ll be invited to, given his outspoken criticisms of the sustainable-fishing initiative recently launched by billionaire philanthropist Paul Allen. There was good reason for Sato to be in that meeting. As the sushi chef at Mashiko, he operates Seattle’s first fully sustainable sushi bar. At Mashiko, a meal is as educational as it is delicious; each bill is served with a fact sheet on the specifics of the fish he serves—and why it matters. Smart Catch seems like a project right up his alley. But Sato, who has been a consultant on the program, won’t become a partner with it, at least not as it stands. He’s not the only one. Piloting in Seattle this summer, Smart Catch wants to guide restaurants through the complicated world of responsible fishing. The program begins with menu reviews for participating restaurants using established seafood monitors, namely Monterey Bay Seafood Watch. With those reviews in hand, the Smart Catch team accesses the fish chefs are using, suggesting alternatives for endangered species and educating staff on ocean sustainability before giving the restaurant its visible blessing: a simple blue fish logo for its storefront. Smart Catch is aimed at the two-thirds of total American fish consumption that happens in restaurants, where customers often don’t bother to ask where their fish came from—not that a lot of those restaurants have that information. “This program takes the decision out of consumers’ hands, and takes it out of chefs’ hands as well,” says Dr. Trevor Branch, Smart Catch science advisor and professor at the University of Washington’s School of Fisheries and Aquatic Science. Smart Catch’s mission is to ensure that a restaurant is serving at least 90 percent sustainably sourced seafood within a year and half of signing on. Periodic reviews are expected past this initial period as well. Making sustainability comprehensible to diners is important, especially because defining it is extremely difficult. The word is thrown around often, but has no one definition in the world of seafood. Of the several schools of thought on the topic, Smart Catch sticks with Monterey Bay Seafood Watch’s take, which focuses on monitoring species all over the world and tallying their numbers to determine which fish to eat from where. This is where Sato diverges—not with Smart Catch per se, but with its reliance on Monterey Bay to define sustainability. Monterey Bay compiles and reviews current scientific reports and journal articles, with input from fishery and fish farm experts, to form their own “Seafood Watch Report” every six months. Its hallmark is seafood recommendations: the best species to be eating (that are sold in U.S. stores and restaurants) and where to source them

Chum salmon mousse tartine from chef Thierry Rautureau.

From left: A Vulcan rep, Branden Karow of Ethan Stowell Restaurants, and Rautureau speak at a Smart Catch dinner.

globally. These recommendations have become a go-to for chefs and environmentally minded consumers thanks to a phone app that in seconds can tell you if ordering, say, imported mahi-mahi in Seattle is a sustainable choice. On a colorcoded scale, Monterey Bay lists fish as either green (best choice), yellow (a good alternative), or red (avoid). Smart Catch says that one green choice will always be available at a restaurant with their seal, and that 90 percent of all seafood menu items will be either green or yellow. As a hands-on chef, Sato takes the time to do extensive research on his fish and where it’s sourced.“I know more than [Smart Catch], and I’m disappointed,” he says.

Sato’s chief beef with Monterey Bay’s assessments is its “gray” area: the species for which it doesn’t have enough data to color-code. Ironically, Smart Catch reviewed Sato’s menu using Monterey Bay and “found a lot of gray, and knocked down my menu,” he says. “They built ‘gray’ because of me,” Sato jokes, referring to his meeting six years ago with Monterey Bay. He presented research on a type of octopus from the Seattle area that he wanted to use, but wasn’t certified as a sustainable choice. The octopus was bycatch—unintentionally caught in nets during commercial fishing. Placing it on the menu appears to be an excellent way to utilize what would be waste, he says. But such considerations don’t appear to fit Monterey Bay’s criteria.

Relying on Monterey Bay leaves gaps in Smart Catch’s promise of sustainability, says Sato. What about bycatch? What about supporting small, local fisheries? What about invasive species, or eating less-popular but more populated species such as anchovies or smelt? Will Smart Catch dive into these details? According to a representative of Vulcan, Allen’s investment company that runs Smart Catch, they will try to address the “gray areas” using the National Atmospheric and Oceanic Administration (NOAA) as a secondary scaling system for fish not examined by Monterey Bay, and will push for further investigation into species they feel warrant additional research. But with both these organizations examining fish stocks globally, it’s unlikely that smaller fisheries and local Seattle species can be researched. Eric Donnelly, owner of Seattle’s RockCreek seafood restaurant, echoes Sato’s sentiments in part: “[You need to use] well-managed fisheries and work closely with purveyors . . . knowing what boat your fish came from.” This has led him away from serving salmon, halibut, and certain varieties of tuna—species that the American palate has devoured to near-extinction, but are approved by Monterey Bay. It also means developing relationships with small, local fisheries like those on the Quinault reservations—fisheries whose practices he can vouch for. “You [chefs] should know where your food is coming from—it’s borderline lazy [not to],” says Donnelly, who is not a part of Smart Catch and doesn’t plan to be, though a rep for the organization says it’s hopeful he’ll join.

that focuses on eating lower on the food chain and less-familiar fish, which often means species that don’t appeal to traditional diners. There’s a national movement, in fact, with that very mission at its core, called, perhaps pejoratively, Trash Fish. It’s an initiative that another national organization called the Chefs Collaborative takes seriously, hosting sold-out trash-fish dinners that focus on underappreciated, often discarded fish such as invasive species and bycatch, as well as sardines, anchovies, and other small, bonier fish that countries like Italy celebrate. By showing diners how delicious these fish can be, Chefs Collaborative is changing the stigma surrounding eating them. Donnelly and Sato have trash fish on their menus, serving rockfish and idiot fish, among others. A diner uses the Seafood Watch app to see if her fish is sustainable.

FoodNews BY JASON PRICE

LESLIE KELLY

Sato and Donnelly both promote sustainability

In very sad news, one of Seattle’s best chefs and people passed away this week after a bout with bladder cancer. Chef Tyler Moritz, most recently of Zig Zag and formerly of La Bete, Lark, and Stoneburner, was an extreme talent and beloved by many in the food community. I personally remember eating at the bar at La Bete several years ago, where Tyler served me a foie gras dish with sweet, light creamed corn that was so good I almost cried. Rest in peace, chef. I hope they are serving you whatever you want wherever you are. E morningfoodnews@gmail.com

TheWeeklyDish

Jerk chicken.

food@seattleweekly.com

NICOLE SPRINKLE

BY NICOLE SPRINKLE

As a food editor who likes dining out and cooking at home equally, I often struggle over whether to highlight a great dish I’ve eaten at a restaurant vs. something yummy I’ve made myself. But with grilling season in full swing, home won this week. Last weekend’s hot temperatures propelled me to do as they do in sultry climates like the Caribbean: eat spicy food and sweat out the heat (literally). This recipe for Jamaican jerk chicken available at The New York Times (from Julia Moskin) is one of the best I’ve found—but alas, it’s not for the spiceadverse. Forget about those wimpy recipes calling for jalapeños. I used the requisite habanero peppers instead of Scotch Bonnets; I couldn’t find the latter, and the two are similar in flavor (citrusy) and heat (screaming). The recipe, in fact, suggests habaneros as an alternative. All the jerk nuances come out in this dish: allspice, ginger, vinegar, black pepper, brown sugar, and lime. My twist: I decided to make some sauce to go over the chicken and rice. I simply ground up a can of hominy in the food processor, brought it to a boil in a saucepan with the leftover marinade, and cooked it for a few minutes. The hominy helped dial down the marinade’s heat a notch; on its own it would have been almost inedible. E

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

Trash Fish Dinner originator and Chefs Collaborative member Evan Mallet, of The Black Trumpet in New Hampshire, says, “On its own, Monterey is not the be-all and end-all. Regional stocks vary as well. For example, the taboo bluefin tuna [rated red] is relatively abundant in the Gulf of Maine, where most of my menu’s fish comes from. I won’t put it on my menu, but if a local fisherman who is licensed to sell me bluefin tuna brings me some, you bet I am going to support him by running it as a special!” Then again, keeping everything local is itself a point of tension when it comes to sustainability. Smart Catch advisor Branch says that while local is all well and good, when it comes to overfishing, finding alternative supplies in other parts of the world is vital. The bluefin tuna in your favorite sushi restaurant can be replaced by Washington salmon or Alaskan halibut, but it’s also important to consider other seafood markets—sourcing lobster from Peru, where they aren’t as overfished. As for the carbon footprint of transporting fish around the world, Branch says the key distinction is shipping fish by boat instead of flying it, which is more problematic. The value of Smart Catch might be in dispute, but the program is elevating the conversation. And with 90 percent of the world’s fisheries either fully fished or overfished, according to the United Nations, it’s time someone took the bait. Branden Karow, culinary director for Ethan Stowell (a Smart Catch partner), makes a simple, convincing argument on behalf of chefs. “We don’t have all day to research seafood.” E

nsprinkle@seattleweekly.com

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t always struck me as a bit strange that the hub for wine in western Washington has been Woodinville. Sure, Chateau Ste. Michelle has been a magnet for wine tourism (and thus those who want to profit from it) for decades, and there’s more and cheaper land available there than in downtown Seattle. Yet undeniably there’s a massive audience right here in the Emerald City, and with all due respect to alreadyestabBY ZACH GEBALLE lished urban wineries, none stand to tilt the local landscape nearly as much as Charles Smith. Smith unveiled his new Jet City winery in Georgetown last weekend, and while the jury is still out, there’s no doubt it’s another bold move in a career that’s been defined by them. While most of the space is devoted to wine production, it’s clearly been designed with the public in mind, with multiple tasting venues, a commercial kitchen, and a sleek design that clearly evokes Smith’s rock-and-roll influences: It feels as if he took the Rolling Stones to heart and painted it black. From a wine-focused standpoint, Smith is enthusiastic about the new space’s opportunities. He and winemaker Brennon Leighton now have in essence three separate wineries, one each devoted to whites, to RhÔne varietals, and to Bordeaux varietals. Each has its own specialized equipment, so a greater degree of precision can be applied to each style. Furthermore, Seattle’s climate was cited as a benefit: Our higher humidity (versus Walla Walla’s) means that as the wines age, alcohol will evaporate out, leaving more concentrated wines at a lower ABV level. Similarly, our more moderate climate (well, most of the time) means that slightly less temperature control will be necessary. Yet for all these tangible benefits, after spending a bit of time with Smith in the new space it became clear that more than anything else, his style had simply outgrown Walla Walla. He spoke passionately about being energized and influenced by the diversity and vitality of Seattle in general, in particular the grit of Georgetown. From the comfy, wide white benches in the upstairs dining area to the changeable colored lighting on the winery floor (blue during my visit), Jet City promises to be more than just a winery. Smith himself said “it’s not a restaurant, but there will be food. It’s not a concert venue, but there will be shows.” In short, he’s betting that the combination of wine and rock and roll will once again provide a blueprint for his business— and given Seattle’s history, I’d be inclined to agree. E

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arts&culture

Writers Conference Confidential!

ThisWeek’s PickList

The blood! The tears! The forbidden passion, murder, distant planets, and elvish sword fights! This writer ventures among the aspiring authors of the Pacific Northwest Writers Association.

WEDNESDAY, JULY 29

Rhys Darby

Go back and watch this New Zealand comic as the dim, pedantic band manager on Flight of the Conchords with the knowledge that he was apparently considered, if briefly, to take over on The Office after Steve Carell left. He would have been ideal. (The show’s last two Carell-less seasons got little critical love; but, honestly, the Michael Scott character had run its course.) He also recently turned up in this spring’s vampire comedy What We Do in the Shadows (also a mock-doc, come to think of it), determined that being a bloodthirsty throat-ripper by the full moon shouldn’t mean you otherwise forget your manners (“We’re werewolves, not swear-wolves”). But despite his skill and charm as a comic actor, Darby made his name as a standup and is still at it, bringing his antipodean point of view to The Triple Door, 216 Union St., 838-4333,

Between sessions, I glanced around the atrium where impromptu little groups of writers picnicked on Saran-Wrapped sandwiches and boxed salads. Many seemed engrossed in fervid conversation. I tried to talk to a millennial guy far from the median demo, but he kept chatting on his phone, connected by headphones, eyes riveted to his laptop screen while typing. I had better luck with Bellevue lawyer/author Michael DuBeau, a trim, 50ish guy in a sportcoat with a PNWA “finalist” ribbon on his lapel (referring to a manuscript contest). “I wrote a novel last year on a dare, not knowing what I was doing,” he explained in the same confessional hush I will detect in many participants—the writing addict’s sheepish tell. With minimal prompting, DuBeau launched into a detailed summary of his historical adventure set in Port Royal, Jamaica, in 1692, which features both piracy and a tsunami. Since self-publishing his first book, which sold 400 to 500 copies online, he’s in the editing phase of his second novel. What would he consider success?

“Not vomiting during my pitches,” he joked. After the conference, he reported that three agents had requested pages and one editor asked for a whole manuscript.

thetripledoor.net. $25. 8 p.m. GAVIN BORCHERT

So there are happy endings after all! Improb-

able as it may be, a small minority of amateurs are breaking through. Besides the 11 success stories listed on PNWA’s website (pnwa.org), other faithful alums have hit, if not mega-jackpots, at least consistent wins. Bellingham’s Royce Buckingham went to PNWA for years before he started getting YA book deals. Similarly, prolific Seattle mystery writer Robert Dugoni, this year’s emcee, dates the beginning of his writing career to winning PNWA’s literary-fiction contest in 1999. With that wind in his sails, he quit law and has since published titles including The Conviction and My Sister’s Grave. “I have come full circle and grown up at PNWA,” Dugoni writes in an e-mail. “Next year I will be their featured keynote speaker.” What do the industry’s tastemakers and gatekeepers want from these industrious noobs? Apparently the faith market is huge, undersupplied, and resists the kind of niche-ification that cannibalizes so many other genres. “Zombies, vampires, and werewolves are out. Now it’s angels and supernaturals,” said Bennett Coles of Promontory Press, echoing what I heard in various sessions, though sci-fi and fantasy still seem sought-after. Non-genre wish lists are all over the map. On a panel, agent April Eberhardt said she was only looking for books that would appeal to women-over-40 book clubs, and suggested that pitchers answer “Who, What, Where, and Why Should I Care?” Another agent, the young, hip New Yorker Connor Goldsmith, warned, “Don’t query in the POV of your protagonist! And don’t open with rhetorical questions, like ‘What if there were a world where you could only eat cheese?’ ” Then, proving there’s no rule that shouldn’t be broken, his face lights up with a counter-example. “ ‘Don’t you wish for a world with more lesbian swordswomen in it?’ Actually, yes!” One participant, who preferred not to be named, put it this way: “The conference can help you become a better writer, but crap will always be crap.” And yet, he added, he’ll be back at PNWA next year. E

books@seattleweekly.com

THURSDAY, JULY 30

Seattle Art Fair

This is a new event, underwritten by Paul Allen’s Vulcan, Inc. (close to his football stadium, come to think of it), which is somewhat different than your usual First Thursday Art Walk. For some 60 local and international galleries represented, their goal is to sell—not that there’s anything wrong with that. It’s hard to make predictions about quality, but among Seattle galleries we like, you’ll find G. Gibson, Greg Kucera, James Harris, Mariane Ibrahim, Platform, Punch, and Linda Hodges. Among the visitors, be sure to check out Gagosian, Pace, and David Zwimer (of New York) and Portland’s PDX and Hartman Fine Art. Tonight’s opening gala benefits Artist Trust, with tickets including drinks and eats. The rest of the weekend allows for cheaper browsing (Friday–Sunday tickets $20–$35), with some related events to note. Olson Kundig will erect an architectural pavilion and lounge (called Basecamp) at the fair. Local artist Jenny Heishman will create a temporary weekend installation in Myrtle Edwards Park. From London, Robert Montgomery’s The Stars Pulled Down for Real opened last weekend at ALL RISE (1250 Denny

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

gets plowed into the travel, feeding, wining, lodging, and honoraria expenses of the six featured speakers (this year including Andre Dubus III), 22 agents, 10 publishers, and various session facilitators. “We want to at least break even. If we clear $20,000, it funds what we need up-front next year,” says Binder, adding that she and the board are volunteers. At Binder’s invitation, I observed parts of the SeaTac Hilton conference, ducking in and out of sessions with titles like “Villainy 101,” “Secrets to Turning Your Dream Into a Reality,” “PR for Poets,” and “When Bad Grammar Makes for Good Writing.” I listened to agents explaining what they’re looking for and chatted with a few attendees. (Most were busily reconnecting with one another or practicing their pitches to agents and publishers, rather like speed dating.) Unlike at Comic-Con, nobody was dressed up like literary creations here. Attendees were preponderantly white, skewing middle-aged and above (all the way up to a 94-year-old memoirist), though a few were in their 20s and 30s. Again, this may reflect a generational divide between boomers who favor print versus millennials who stare at their phones, or simply the reality of who can afford the entry fee.

RHYSDARBY.COM

E

ver wondered what those lumps of humanity are doing in coffee shops, hunched over their laptops—thinking, typing, thinking, typing, staring into space? They’re not just on Facebook or perusing dating sites. Judging by the number of writing meet-ups, workshops, conferences, university programs, and critique groups in the Puget Sound area, a sizable number of them are still attempting to pound out the Great American Novel. (Or a memoir, genre piece, or poetry collection.) In this age of Twitter and Instagram—blogs are so 1998!—it may seem surprising that some still aspire to join a dwindling trade. But is it dwindling? Publisher’s Weekly reports that in 2014, book sales increased 4.6 percent and e-book sales 3.8 percent. Not sexy enough? Downloadable audiobooks are up 26.8 percent and children’s books 20.9 percent. Granted, these figures relate more to rising book prices than units sold, but they point to economic arousal nonetheless. Not merely book formats but also publishing and distribution channels have evolved to serve a changing ecosystem. Print-on-demand companies like BookBaby. com offer runs as small as 25 copies. Once called vanity presses, “hybrid publishing” enables riskand reward-sharing collaborations, from small publishers letting authors partially fund the cost of publishing to “teams” of professionals trading their skills (e.g., copy-editing, book design, marketing) in exchange for shares of the book’s net profits—if there are any. (Seattle’s Booktrope, an Amazon partner, leads in this latter model.) Given all these possibilities, or perhaps simply for the joy of self-expression, there swarms a Malthusian throng of would-be writers. Why? Some of my pet theories, in our post-Great Recession perma-temp economy, are: underemployment, which leaves folks with unstructured time; forced entrepreneurship, with writing a book (nonfiction, at least) as a “business card” demonstrating expertise; and the new DIY culture, with its emphasis on cottage industry (see: artisanal, locally sourced, etc.). Knit your own muff? Might as well write your own Tudor romance or YA zombie thriller! Is anyone besides Amazon making money from these aspiring and possibly Quixotic scribes? Notably and locally, the Pacific Northwest Writers Association held its 60th annual conference this month, a pilgrimage hundreds of aspiring writers have made for networking, education, and moral support since its nerdy origins at Portland State University in 1955. (It moved to large SeaTac-area hotels decades ago.) “This year 450 participants attended,” according to PNWA president Pam Binder, each paying $425 to $600, which conservatively suggests a gross of $225,000. Yet Binder says nearly all that money

BRENNAN MORING

BY MARGARET FRIEDMAN

» CONTINUED ON PAGE 16 15

arts&culture»

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as documented in this closely observed film by Oeke Hoogendijk (originally a four-hour Dutch TV series). It’s a process doc, though more focused on the people of the institution than Frederick Wiseman’s recent National Gallery. What we see is the heroic patience and strained smiles of the Rijksmuseum staff as they encounter one obstacle after another. Their Spanish architects are less tolerant of the Cyclists Union (like our Cascade Bicycle Club, only much bigger and more powerful). Says one, “It’s a perversion of democracy. I’m tired of this ridiculous story.” This is a long film, at 131 minutes, but worthwhile for any museumgoer, cyclist, or reluctant intermediary between warring municipal factions. It’s also a reminder that one day the viaducttunnel-waterfront quagmire will end—and we might just be happy with the results. (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-

Ralph Lemon in rehearsal for the SFDI.

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» FROM PAGE 15 Way) and runs through August. And Julie Alpert is continuing to enlist volunteers for her Backdrop at MadArt (325 Westlake Ave. N.). CenturyLink Field Event Center, 800 Occidental Ave. S., seattleartfair.com. $150. 6–10 p.m. BRIAN MILLER

Saturday August 8 / 8 pm

TANGYO Aerial performance by Tanya Brno featuring music by Paul Che Oke Ten Wagner

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

16

Join the chorus! Rehearsal 2-4 pm

DUWAMISH REVEALED A creative celebration of Seattle’s only river June 1–September 30, 2015 duwamishrevealed.com facebook.com/duwamishrevealed

If dancers often learn by doing, then their instructors teach by showing. The teaching artists on the roster of this year’s SFDI include some of the leaders in the field—experts in the art of making it up while they’re going along. During the week they’ll pass on some of those canny skills to their students, but they’re ready to show them to the rest of us during tonight’s showcase performance. The talent includes local stars like Dani Tirrell, Amy O’Neal, and Matt Drews, visiting innovators Jennifer Monson and Karen Nelson, as well as the ever-popular “More!” Broadway Perfor-

werk, 1809 Minor Ave., 682-2935, kremwerk. com. $15. 21 and over. 9 p.m. KELTON SEARS

SATURDAY, AUG. 1

Art of the City Festival

Conveniently located and concurrent to the Seattle Art Fair, this second annual event will have a whole warren of galleries and artist lofts open to the public, with non-resident artists also setting up shop. A total of some 100 locals is expected, with a street closure to accommodate the all-day crowd. Live music will include Shenandoah Davis, D’vonne Lewis Limited Edition, Pezzner, Richie Dagger’s Crime, and a dozen more acts. A rooftop saloon will feature grub from Delicatus, La Bodega Dominican Restaurant, Caffe Vita, Trofeo Pizza, and Curb Jumper Street Eats. Live demos and actvity booths should keep the kids entertained. Inside

JANE VAN RAAPHORST/FIRST RUN FEATURES

Opening with a twilight performance by the Duwamish Riverside People’s Chorus

Seattle Festival of Dance Improvisation

intimate relationship with his guitar,” Herndon once said in an interview in Dummy Mag, “but it’s also very different when the instrument you use is the same that you Skype your mom on, and get really good or bad news on.” That idea serves as the underlying thesis of Herndon’s unabashedly futuristic music—work that builds experimental dance music out of samples of her laptop fan and the clicking, whirring sounds of her Internet activity, as well as her own modified voice. She blends the two to the point where “organic” and “inorganic” start to lose any meaning. Instead you get something there isn’t really a word for yet. Krem-

3935. $5–$9. See grandillusioncinema.org for showtimes. BRIAN MILLER

mance Hall, 1625 Broadway, velocitydance center.org. $12–$15. 8 p.m. SANDRA KURTZ

FRIDAY, JULY 31

Holly Herndon

The Rijksmuseum during renovation.

The first time I saw the music video for Herndon’s “Interference,” I was fooled twice by fake digital ads cleverly embedded in the clip itself. Without thinking, almost as a natural biological reaction, I clicked the “X” in the box that surreptitiously appears in the lower third of the screen, puzzled when the video would suddenly pause. This, even though the fake ad doesn’t even contain text— there’s simply a color gradient inside it. While rock purists have long lamented that electronic music is “soulless,” composer Herndon calls the laptop “the most intimate instrument we have at our disposal.” The fake ads in her music video cleverly illustrate the synaptic connections we unwittingly develop with our devices. “I’m sure Jimi Hendrix had a very

The New Rijksmuseum

And you thought Seattle process was bad. Imagine there was a cycle path in an alley bisecting SAM. Imagine SAM sought to expand its building, supported by federal dollars (this is Holland in the documentary). Suddenly the city’s cyclists turn against the museum’s very tourist-friendly plans. Then imagine that, with the collection in storage and the museum empty, with hearings, permits, budget overruns (almost double), leadership turmoil, and last-minute design changes, SAM would then be closed for 10 years! That’s what happened to Amsterdam’s Rijksmuseum, built in 1885 and packed full of Rembrandts,

and outside the TK Building, performers will include daipan dancers, Shanghai Pearl, the Libertinis, Nickolai Pirak, Cafe Nordo, Alan Sutherland, Crow & Douglas Ridings, Shadow Shifters, and Feral & Free. Special exhibits are slated to include Black Lives Matter, The Public Collectors, a nearby showcase for 2015 Artist Trust Fellowship recipients (111 S. Jackson St., open all weekend), and an installation focused on homelessness—certainly a persistent issue in Pioneer Square, given our booming economy (at the top) and the displacement below. Tashiro Kaplan Building, Third Ave. S. & S. Main St., artofthecityfest.com. Free. 11 a.m.–11 p.m. BRIAN MILLER E

» performance

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Separate but equal. Prohibition. The HUAC hearings. Hindsight shows these were not stellar government measures; yet, as the old adage asserts, “Those who cannot remember the past are condemned to repeat it.” After leaving Hold These Truths, you might see the Homeland Security Act, NSA, and Edward Snowden in a changed context. This one-man show stunningly shines a light on a shameful chapter of Northwest (and national) history, when Japanese-Americans were sent to internment camps during World War II. Wartime paranoia—but also surely racism—led to FDR’s notorious Executive Order 9066, now recalled like the South’s “Whites Only” drinking fountains. In her 90-minute one-act from 2007, Los Angeles playwright Jeanne Sakata presents the life of our homegrown hero Gordon Hirabayashi. Armed with an adoration of the Constitution, the UW student openly defied federally mandated curfews and internment. The Supreme Court unanimously ruled against him. Forty years later, that decision was overturned. Sakata’s decades-spanning script explores Hirabayashi’s legal woes and plumbs his experiences after realizing he was something “other than” white. While musing about bathing outdoors or eating sticky rice, the monologue comically capitalizes on Japanese culture—including its stereotypes—while revealing the heartbreaking horror of being arbitrarily hated. Ryan Yu’s nuanced performance as Hirabayashi entertains and educates the audience. He elicits emotions from empathy to ire. In one salient scene, he stands in the rain—described, not actually falling—while experiencing an epiphany that he must violate an unlawful curfew for the sake of the Constitution. While speaking, he subtly wipes his brow to prevent imagined water from dripping into his eyes. We Seattleites all know that feeling; and such small, telling details infuse realism into this somewhat stylized production. Jessica Kubzansky’s adroit direction works in astute tandem with Ben Zamora’s minimalist stage design; her creative blocking uses every available inch of the handsomely functional set. (Last summer’s smaller staging at ACT featured a different actor and director.) At its heart, Hold These Truths is an excellent exploration of being a patriot precisely when it’s most unpopular. What begins as a heady examination of our founding fathers’ vision morphs into a story in the tradition of Martin Luther King or Gandhi. Though its main events are 70 years past, this history lesson is surely applicable to today’s civil-rights struggles. ALYSSA DYKSTERHOUSE E

MICHAEL LAMONT

Yu as Hirabayashi.

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arts&culture» performance Stage OPENINGS & EVENTS

BIKINI BOOSH PARTY This variety/burlesque show, pre-

sented by Morbid Curiositease, stars Czech Mate, Anna Clara Buoyant, and many others. Columbia City Theater, 4916 Rainier Ave. S., $18–$22. 8:30 p.m. Sat., Aug. 1. RHYS DARBY SEE THE PICK LIST, PAGE 15. FIDDLER ON THE ROOF Return to Anatevka in this classic musical based on the tales of Sholom Aleichem, presented by Aurora Theatre Company. Shoreline City Hall, 17500 Midvale Ave. N., Shoreline. Free. Opens July 31. 8 p.m. Fri.–Sat. Ends Aug. 22. IS SHE DEAD YET? Euripides’ Alcestis gets updated as a savage satire on race in America by Brandon J. Simmons. Annex Theatre, 1100 E. Pike St., annextheatre. org. $5–$20. Preview July 30, opens July 31. 8 p.m. Thurs.–Sat. plus Mon., Aug. 10. Ends Aug. 22. LOVE SONG John Kolvenbach’s “sexy, subversive rhapsody to the magic and the mayhem of love” is Porcupine and Poet’s debut production. Stone Soup Theatre, 4029 Stone Way N., porcupineandpoet.com. $15. Opens Aug. 1. 7:30 p.m. Fri.–Sun. Ends Aug. 8. PUSSIES GALORE! Cats. They’re talking about cats. It’s a cat-themed burlesque show, you perv. JewelBox Theater at the Rendezvous, 2322 Second Ave., scarlett ohairdye.com. $15–$25. 8 p.m. Sat., Aug. 1. ZIG ZAG FESTIVAL Premieres of short works by six young female playwrights. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$10. Opens Aug. 4. 8 p.m. Tues.–Wed. Ends Aug. 19.

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CURRENT RUNS

August 7 - 9

AFTER HOURS ArtsWest artistic director Mathew

Wright chats with five local actresses in a cabaret/ interview hybrid; this week, Cayman Ilika. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. Single tickets $25–$75. 7:30 p.m. Mon. Ends Aug. 17.

. . . AND JESUS MOONWALKS THE MISSISSIPPI

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SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

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Marcus Gardley retells the myth of Demeter and Persephone set during the Civil War and narrated by the Mississippi River. Center Theatre at the Armory, Seattle Center. $15–$25. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 2. CAFÉ NORDO “Summer Nights at the Culinarium” includes literary and performance events practically every night: Maria Glanz’ solo show Being Naked Mon.; “Out to Eat” on Tues.; “Wine Wednesdays”; “Drinkers & Thinkers” on Thurs.; Chef/Artist dinners Fri.–Sat.; “Readers & Eaters” on Sun.; and more. Nordo’s Culinarium, 109 S. Main St., brownpapertickets.com. Full info at cafenordo.com. DANCE LIKE A MAN In Mahesh Dattani’s play, Lata struggles between tradition and rebellion as her parents are about to meet the man she wants to marry. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$44. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Aug. 9. EMBOLDENED Reginald André Jackson’s play about jazz pioneer Buddy Bolden. Theatre Off Jackson, 409 Seventh Ave. S., theatreoffjackson.org. Pay what you can. 7 p.m. Fri.–Sat. plus Mon., Aug. 3; 5 p.m. Sun. Ends Aug. 3. THE EPIC OF GILGAMESH Schmeater’s family show about the mythical figure and “first superhero.” Volunteer Park, schmeater.org. Free. 5 p.m. Sat.–Sun. Ends Aug. 16. FEEL YOU UP! Satirizing self-help seminars through improv. Market Theater, 1428 Post Alley, unexpected productions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends Aug. 15. GODSPELL Stephen (Wicked) Schwartz’s gospel musical is reset in Pike Place Market. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Aug. 15. GREASE It’s the one that you want. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $29 and up. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Aug. 2. GREENSTAGE The Two Noble Kinsmen and Much Ado About Nothing are performed in area parks, plus stripped-down versions of Macbeth and The Two Gentlemen of Verona in smaller venues. Runs Thurs.– Sun.; see greenstage.org for complete venue & schedule info. Ends Aug. 15. HOLD THESE TRUTHS SEE REVIEW, PAGE 17. HOT TIN STREETCAR Unexpected Productions’ improvised Tennessee Williams sendup. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $10. 8:30 p.m. Sun. Ends Aug. 16. INTIMAN THEATRE FESTIVAL Tennessee Williams’ late-career tragedy from 1957, Orpheus Descending, receives a novel staging by The Williams Project, a guest company (from Providence, R.I.) during this summer’s Intiman Theatre Festival. Director Ryan Purcell’s version features unconventional casting, emphasis on a story’s universality, a blurring of stage and audi-

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ence, the mechanics of storytelling laid bare, and subconscious eruptions the likes of which you will not see anytime soon on A&E. Williams imagines Hell as a small Southern town—as it would have been for a gay man like himself—and his heroine as a SicilianAmerican store owner named Lady (Ugandan-born actress Kemiyondo Coutinho). Her passionate, racially indeterminate otherness will lead to tragedy and reveal the community’s intolerance (not that we have any doubts about that). Yet this production includes men playing women and blacks playing whites. Intolerance is made universal and humanity put to the fore. It’s an odd choice, but for me it works. The Orpheus figure is musical charmer Val (Charlie Thurston), whose arrival in town bestows love upon Lady and triggers castwide outbreaks of mayhem, replete with crazy wigs and a loony rainbow wading pool. It’s a heady mess that literal-minded viewers might loathe, but I loved glimpsing this love-crazed psyche. MARGARET FRIEDMAN Orpheus ends Aug. 2. Following in the festival are John Baxter Is a Switch Hitter, Aug. 18–Sept. 27; Lillian Hellman’s The Children’s Hour, Sept. 9–27; and Bootycandy, Sept. 17–Oct. 3. 12th Avenue Arts & Cornish Playhouse. See intiman.org for complete schedule. INTO THE WOODS Sondheim’s fairy-tale mashup is SSR’s summer teen production. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep. org. $15. 7 p.m. Fri.–Sat., 2 p.m. Sun. Ends Aug. 2. JET CITY IMPROV SUMMER MADNESS Themed shows all summer; on Aug. 1, it’s Augtoberfest, combining drinking games and improv. Jet City Improv, 5510 University Way N.E., jetcityimprov.org. $12–$15. 8 & 10:30 Sat. Ends Sept. 19. A MAZE Theatre Battery presents Rob Handel’s play, for which, they exhort, “you have to allow things not to make sense and trust that all will be revealed.” Theatre Battery @ Kent Station, 438 Ramsay Way, Suite 103, Kent, facebook.com/theatrebattery. $15–$25. 8 p.m. Thurs.–Sat. Ends Aug. 1. OUTDOOR TREK No sendup, no camp—Outdoor Trek plays this Star Trek script (Theodore Sturgeon’s “Amok Time”) affectionately straight, though there are plenty of laughs to be had in the genius way they adapt it for al fresco performance on a shoestring budget. (“Wsht. Wsht.” the cast members mutter every time they mime walking through one of the Enterprise’s automatic sliding doors.) The casting is not so much cross-gender as ignore-gender, and Helen Parson as Spock relishes one of the character’s juiciest roles— this is the episode where he gets the seven-year itch and has to return to Vulcan to mate—and she rants and rampages intensely in addition to having fun with Spock’s archetypal unperturbability. (I do wish, though, that Paul Unwin had really committed to the role of Nurse Chapel and donned a miniskirt.) Other impressive subtleties include Patrick Hogan’s high-strungness as Bones and the smooth ultra-competence of Uhura; Stephanie Morris plays her as cool as an ice panther from Rigel XII. Blanche Lavizzo Park, 2100 S. Jackson St. Free. 7 p.m. Sat., 2 p.m. Sun. Ends Aug. 9. PETER PAN Think lovely thoughts as Village Theatre KIDSTAGE presents the classic musical. Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $18–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sat.–Sun. Ends Aug. 2. SIDEWINDERS Basil Kreimendahl’s “existential transgender wild Western.” Hugo House, 1634 11th Ave., 800-838-3006, fantasticz.org. $10–$15. 8 p.m. Thurs.– Sat. Ends Aug. 1. TEATRO ZINZANNI A show for the Jem generation, “The Return of Chaos”—glitzy, campy, and definitely chaotic—looks like it may have been conceived under the heavy influence of a substance newly legal in Washington: To a soundtrack of mid-’80s glam anthems (“Invincible,” “Holding Out for a Hero”), a clutch of Seattle superheroes battle the Horde of Four, villains in thrall to a robot-puppet-dog who commands them to steal the superheroes’ . . . beer. The cirque acts framed by this nutball premise are as exhilarating as ever, if not more so. Just to name a few: Vita Radionova somehow keeps outdoing herself with her hoop-juggling act; Mickael Bajazet attaches taps to his palms and tap-dances on his hands; Joe De Paul’s “Captain Canada” provides the funniest moments; Kevin Kent’s drag persona is more than usually over-the-top and ad-lib-adept. (Among the dinner’s five courses only the dessert, a vanilla cake bombe, doesn’t work, but I confess to a prejudice against white chocolate.) Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Sept. 13. THE TWO-CHARACTER PLAY Sibling actors are forced to perform in front of a hostile audience in Tennessee William’s meta-play. New City Theater, 1404 Eighth Ave., civicrep.org. $20–$30. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Aug. 1.

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WICKED It’s summer, not always the time for serious

theatergoing. So why not bring back this popular Wizard of Oz-inspired musical—famously a Broadway smash in 2003, with the Tony-winning Idina Menzel and Kristin Chenoweth playing rival witch frenemies Elphaba and Glinda. Here the two roles will be filled by Alyssa Fox (in green facepaint) and Carrie St. Louis. For girls too small to have seen the show three years ago, but who’ve since gone gaga for Frozen, this will be an excellent way to introduce them to musical theater. And a related side note for fall: Menzel will be touring through town in early November with If/Then, about a woman on the cusp of a midlife crisis, for which both she and creator Brian Yorkey—the Northwest native who made his bones at Issaquah’s Village Theatre—were Tony-nominated. BRIAN MILLER The Paramount, 911 Pine St., 877-7844849, stgpresents.org. $30 and up. 7:30 p.m. Tues.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat., 1 & 6:30 p.m. Sun. Ends Aug. 2.

WIZZER PIZZER: GETTING OVER THE RAINBOW!

Amy Wheeler’s comedy about hijinks at a gay reparative-therapy clinic really ought to rethink its title. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, theatre22. org. $14–$25. 8 p.m. Thurs.–Sat. plus 2 p.m. Sun., July 26. Ends Aug. 1. WOODEN O/SHAKESPEARE IN THE PARK Free outdoor productions of As You Like It and Henry IV, Part 1 in area parks. Runs Wed.–Sun.; see seattleshakespeare. org for complete venue & schedule info. Ends Aug. 9.

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YELLOW FISH EPIC DURATIONAL PERFORMANCE FESTIVAL Durational performance

art offers a chance to slow our heady pace and consider just one thing for as long as it takes. Producer Alice Gosti sets very few rules for this festival: Work should last at least an hour but less than two days; audience members are free to come and go as they wish. Beyond that, anything goes. Artists include Paul Budraitis, Jody Kuehner, and many others. SANDRA KURTZ Hedreen Gallery, 901 12th Ave. Runs through Aug. 5; see facebook.com/yellowfishfestival for schedule.

SEATTLE FESTIVAL OF DANCE IMPROVISATION

SEE THE PICK LIST, PAGE 18.

MOVE LIVE ON TOUR Siblings Derek and Julianne Hough

(also from Dancing With the Stars) headline their own dance production. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $49.50–$75. 8 p.m. Sun., Aug. 2.

Classical, Etc.

SEATTLE CHAMBER MUSIC FESTIVAL Recitals at

7 p.m., concerts at 8. July 29 At 7 p.m., a free outdoor concert, in Volunteer Park, of Mozart and Tchaikovsky. July 31 Recital: Adam Neiman plays Rachmaninoff’s op. 32 Preludes. Concert: Dvorak’s catchy “American” quartet, plus Beethoven, Schumann, and Dohnanyi. Aug. 1 Recital: Three of Beethoven’s sets of variations for cello and piano. Concert: Brahms, Borodin, and Rachmaninoff’s “Elegiac” piano trio close the festival. Benaroya Recital Hall, Third Ave. & Union St., 283-8808, seattlechambermusic.org. $48. THE MET: LIVE IN HD SUMMER ENCORES The series closes with a 2012 Aida with Roberto Alagna. See fathomevents.com for participating theaters. 7 p.m. Wed., July 29. PAUL HOSKIN BENEFIT This fundraiser for the medical costs of the veteran Seattle improviser and concert organizer will include performances by Angelina Baldoz, Beth Fleenor, Susie Kozawa, Wally Shoup, and many others. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.org. Donation. 8 p.m. Fri., July 31. OLYMPIC MUSIC FESTIVAL Chamber music in a rustic barn (or sit on the lawn outside), each Sat. & Sun. at 2 p.m. through Sept. 13. This weekend, top-drawer violinist Sarah Chang plays Franck and Prokofiev sonatas and more. 7360 Center Rd., Quilcene, Wash., 360-732-4800, olympicmusicfestival.org. $20–$32. GRAND CRU BAROQUE Chamber music (Bach, Vivaldi, etc.) plus a tasting. Northwest Cellars, 11909 124th Ave. N.E., Kirkland, emuseattle.com. $25. 3 p.m. Sun., Aug. 2.

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

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com

Author Events Of Orcas and Men: • DAVID NEIWERT’s latest exploresUniversity Book What Killer Whales Can Teach Us. Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., July 29. KEVIN O’BRIEN signs his latest, No One Needs to Know. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., July 29; Seattle Mystery Bookshop. 117 Cherry St., 587-5737, seattle mystery.com, Noon Sat., Aug. 1. KELLI ESTES Her Orcas Island-set Girl Who Wrote in Silk looks back on a dark chapter in Seattle history. Parkplace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m. Thurs., July 30. JENNY MILCHMAN As Night Falls is the latest mystery from this young writer. Seattle Mystery Bookshop. Noon Thurs., July 30. JOSHUA MOHR A mass suicide on the Golden Gate Bridge is the tragedy that launches his novel All This Life. Elliott Bay. 7 p.m. Thurs., July 30. PATRICIA S. ROGERS Nana’s Little Stories compiles tales she actually made up for and told her grandkids. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 11 a.m. Thurs., July 30. DEB CALETTI The Secrets She Keeps examines three marriages. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 6:30 p.m. Fri., July 31. GROUP READING Six contributors to Blended: Writers on the Stepfamily Experience share their perspectives. Elliott Bay. 7 p.m. Fri., July 31. TED KOSMATKA His thriller The Flicker Men brings together quantum mechanics and the existence of souls. University Book Store. 7 p.m. Fri., July 31. ELIZABETH GUIZZETTI The Light Side of the Moon is this Seattleite’s latest. Barnes & Noble (Pacific Place), 600 Pine St., barnesandnoble.com. 2 p.m. Sat., Aug. 1. MOLLY GILES All the Wrong Places is her fourth story collection. Elliott Bay. 7 p.m. Mon., Aug. 3.

GWENDOLYN KNAPP After a While You Just Get Used

to It: A Tale of Family Clutter is her domestic memoir. Elliott Bay. 7 p.m. Tues., Aug. 4.

NISI SHAWL, EILEEN GUNN, & L. TIMMEL DUCHAMP Three contributors to Stories for Chip, a

sci-fi anthology honoring Samuel R. Delany. University Book Store. 7 p.m. Tues., Aug. 4. DAVID DE SOLA Alice in Chains: The Untold Story gives the Seattle grunge band its first biography. Feedback Lounge, 6451 California Ave. S.W., bookstore. washington.edu. 7 p.m. Wed., Aug. 5. JEFF HOBBS reads from The Short and Tragic Life of Robert Peace about his college roommate, who went from the streets of Newark to Yale and back to Newark. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m. Wed., Aug. 5. JACK STRAW WRITERS New work from four residents: Laura Da’, Erin Malone, Emily Bedard, and Matthew Schnirman. Elliott Bay, jackstraw.org. 7 p.m. Wed., Aug. 5. STEVE STEINBERG & MARK ARMOUR Two baseball historians share their latest: The Colonel and Hug: The Partnership That Transformed the New York Yankees and In Pursuit of Pennants: Baseball Operations From Deadball to Moneyball, respectively. Elliott Bay. 7 p.m. Thurs., Aug. 6. P.F. CHISHOLM Getting to the bottom of rape and murder in the north of England in A Chorus of Innocents. Seattle Mystery Bookshop. Noon, Fri., Aug. 7. SHANNON GROGAN An aspiring baker is beleaguered by her sister’s ghost in From Where I Watch You, Grogan’s debut novel. University Book Store, 7 p.m. Fri., Aug. 7; University Book Store (Bellevue). 6 p.m. Thurs., Aug. 13. COLETTE RAUSCH In Speaking Their Peace, people living in war zones tell their stories. Elliott Bay. 7 p.m. Fri., Aug. 7.

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

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

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SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

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arts&culture» visual arts Summer Open House Saturday, Aug. 8, 9 a.m. to 3 p.m. •Learn more about undergraduate and graduate degrees •Natural health demos •Meet faculty, students and staff •Tour our beautiful gardens

Openings & Events • FEAT 2015 Open all weekend (concurrent with

the Seattle Art Fair), this is a group show featuring recipients of the 2015 Artist Trust fellowships: Humaira Abid, Rebecca Cummins, Michelle de la Vega, Jesse England, Gail Grinnell, Tom Gormally, Aaron Haba, Todd Jannausch, Antonia Price, George Rodriguez, June Sekiguchi, and Ellen Ziegler. Opening party, 6-10 p.m. Fri. Galvanize, 111 S. Jackson St. (basement level). See artisttrust.org for hours, Thurs.-Sun. I AM Students associated with the Path With Art program share their work. Opening reception, 4-6 p.m. Sat. UW First Floor Gallery, 4101 15th Ave. N.E. See pathwithart.org for hours. Ends. Sept. 11 SERGIO LUCENA The Brazilian painter shows large abstract canvases in ÆNIGMA. Opening reception with the artist, 6-8 p.m. Fri. Mariane Ibrahim Gallery, 608 Second Ave., 467-4927, marianeibrahim.com. 11 a.m.-5 p.m. Tues.-Sat. Ends Sept. 1. ROYAL NEBEKER A retrospective for the late Northwest painter, whose figurative works addressed “relationships, identity, and the power of dream and memory.” Opens Thurs. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com, 443-3315. 10 a.m.- 5:30 p.m. Mon.-Sat. Ends Aug. 30. QUEEN ANNE ART WALK Venues include Castillo Upholstery, Wink, Fountainhead, Bustle, Meadow Boutique, Minx, Targy’s, Beverly Hunnicutt, Idunn, and Stacya Silverman. Upper Queen Anne, 4-7 p.m. Sun. RENEGADE CRAFT FAIR Dozens of DIY makers, demos, food stalls, workshops, and shopping opportunities are featured. Magnuson Park (Hangar 30), 7400 Sand Point Way N.E., renegadecraft.com. Free. 11 a.m.-6 p.m. Sat. & Sun. THEN + NOW Member artists participate in a group show. Opens Sat. Northwest Woodworkers Gallery, 2111 First Ave., 625-0542, wwoodgallery.com. 10 a.m.-6 p.m. daily. Ends Sept. 30.

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Learn more and RSVP • Info.Bastyr.edu • 425-602-3330 • Kenmore, Wash.

Ongoing

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Photo © Philip Newton

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

• CHIHO AOSHIMA The contemporary Japanese artist

creates candy-colored, personal tableaux of animist cosmology and kawaii characters. She’s a constructor of intricate worlds whose denizens we can see in 35 small preliminary drawings—later translated by computer into a half-dozen large, glossy dreamscapes and one enormous, wall-filling animation. Played on a continuous loop, the 7-minute new Takaamanohara depicts the destruction (by volcano and tsunami) and rebirth of a fanciful coastal city. Mischievous Shinto spirits cause the cycle (one by farting), as ruination leads to regeneration, over and over again. You have to watch it several times, ideally from different vantage points, to appreciate the enveloping detail (animated by Bruce Ferguson). I think kids will love it, too; Takaamanohara is a manageable, almost cheerful way of contemplating mortality. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m. Thurs. Ends Oct. 4. ANDY BEHRLE He updates and reconstructs old radio cabinets in his sonic sculpture show through static. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends Sept. 12. LEO SAUL BERK From childhood trauma, art? That’s often the way it works, especially for actors and writers, though Berk isn’t re-enacting any primal scenes or revenging himself on his parents for moving the family from England to rural Illinois in 1980. Leo was only 6 then; and as he notes in the wall text to Structure and Ornament, the next six years of living in a leaky, impractical quonset-like cluster of three domed structures (by modernist architect Bruce Goff) ended their marriage. Now based in Seattle, Berk seems haunted by the place, which he revisited in 1999. Goff used odd materials, including cannel coal, rope, and glass cullet, for the round walls of Ford House; and the arched roof rested on trusses, something like a yurt. In his large, titular showpiece sculpture, Berk turns those radial trusses on an axis, rising from the floor like a giant spiky tiara, made of cypress wood and orange fiberglass. The spiny, spindly arms support nothing; the old architectural notion of shelter or protection has been forgotten. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.-5 p.m. Tues.-Sun. (Open to 7 p.m. Thursdays.) Ends Sept. 6. ILSE BING An early user of the 35mm Leica hand-held camera, the German Bing (1889-1998) is known as a pioneering woman in European photography. Henry Art Gallery, 4100 15th Ave. N.E. (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Wed., Sat., Sun. 11 a.m.-9 p.m. Thurs.-Fri. Ends Oct. 11.

• GREGORY BLACKSTOCK One of our favorite local

artists, the autistic-savant former dishwasher is a cheerful explainer. His mostly tabular, annotated works are didactic in a sense; he’s teaching us something about flags and dogs and donkeys and hydroplanes, organizing and categorizing them for our edification. They’re like the rare color pages you find in an unabridged dictionary, illustrated not for the sake of art, but instruction. Also on view, work by a dozen fellow outsider artists, called I Taught Myself, including Henry Darger and Grandma Moses. Greg Kucera Gallery, 212 Third Ave., 624-0770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends Aug. 29. CANOPIES In the forest sense, i.e., the roof of trees above our heads. New work by Kimberly Clark, Eric Elliott, Tamblyn Gawley, and Evelyn Woods evokes it. Prographica, 3419 E. Denny Way, 322-3851, prographicadrawings.com. 11 a.m-5 p.m. Wed.-Sat. Ends Aug. 22. CANVAS CONSTRUCTIONS This is an archival pairing of two old works from the early ’70s, when young artists were pushing against corny old notions of paint on canvas. Instead: just canvas! Karen Carson’s Four Panel Zipper Piece reads like several triangular sails flopping different in configurations (which will change during the show’s run). Allan McCollum’s Constructed Painting: Rosamund uses dyed fabric to suggest something like stacked masonry or brickwork via a trompe l’oeil effect. Both artists employ repetition and geometry of material to reach (conceptually, at least) beyond the surface of that material. Paint would be too easy. Henry Art Gallery. Ends Oct. 4. MARTIN CREED Those who frequented the old Western Bridge gallery, like me, will recognize Work No. 360: Half the air in a given space, though it occupied a much smaller room back in 2010. The English conceptual artist Martin Creed is calling our attention to volume by enclosing it here in 37,000 silver balloons, far more than five years ago. Back then at the cheerful opening reception, half of a small room meant the balloons were only waist-high (or thereabouts); now, in the Henry’s cavernous gallery they’re way over your head. Needless to say, there are certain restrictions on entry. Don’t wear anything spiky or sharp. Even then, expect some popping. And static electricity. And the overpowering smell of latex—like paint drying. It’s a somewhat overwhelming, enveloping immersion in art, more tactile than your average museum show. Now here let me say that while I love No. 360, there’s no fucking way I’m going inside it. Waist-high was enough. Over your head makes it claustrophobic; and that squeaky, rubbery sound of thousand of balloons shifting and colliding gives me the creeps. Kids, on the other hand, will probably be delighted to play in it, like the bubble room at McDonald’s Henry Art Gallery. Ends Sept. 27. A CURIOUS BESTIARY Prints by seven artists are featured, most depicting chimeras and cryptozoological specimens you won’t find in nature. Of note are the whimsical scenes by Julie Buffalohead and Ashton Ludden’s depictions of pets as meat. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends July 31.

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• DISGUISE: MASKS AND GLOBAL AFRICAN ART

Let me immediately stop you from thinking this is a history show, with all the dull anthropology and colonial guilt that implies. Instead, this is a contemporary show featuring 10 emerging artists with roots in Kenya, Nigeria, South Africa, and even Japan. (Remember the “global” part, which extends to the U.S., too.) Several of those artists will be on hand for this week’s opening events; and not all of them are strictly mask-makers. Performance and music will be part of some installations on view, and videos document other ceremonies and masquerades of the digital age. The reference points are wide-ranging among this disparate group: contemporary politics, urban planning, Franz Kafka’s The Metamorphosis, modern animation, wandering herds of deer, and the concealment/assumption of identity that always comes with mask-wearing. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $19.50. 10 a.m.-5 p.m. Wed.-Sun. (Open to 9 p.m. Thurs.) Ends Sept. 7. DWELL This group show features architectureinspired work from Gala Bent, Julie Blackmon, Susanna Bluhm, and others. G. Gibson Gallery, 300 S. Washington St., 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Aug. 15.

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verdi

VERDI’S MONUMENTAL EPIC Ancient Babylon is the backdrop for this timeless tale of a proud king, a deceitful daughter, a nationless people, and a pair of star-crossed lovers. Seattle Opera Premiere! With English Subtitles. Evenings 7:30 p.m. – Sunday 2:00 p.m. Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.

UNDER 40? SAVE 50%! SEATTLEOPERA.ORG/UNDER40

NABUCCO august 8-22 MCCAW HALL 206.389.7676 800.426.1619 SEATTLEOPERA.ORG PRODUCTION SPONSORS: SEATTLE OPERA FOUNDATION, KREIELSHEIMER ENDOWMENT FUND

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BY B R IA N M I LLE R

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

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» film

Opening ThisWeek Boulevard

PCourt RUNS FRI., JULY 31–AUG., THURS., AUG. 6 AT NORTHWEST FILM FORUM. NOT RATED. 116 MINUTES.

The movie is simply called Court, and the generalized title is as potent here as it is with Kafka’s nightmare novel The Trial. The storyline follows the process of a specific case in India, but the movie’s reach is big enough to imply that an entire legal apparatus is under indictment. In the early going, a white-bearded folksinger named Narayan Kamble is arrested in mid-performance.

Baker and Williams as estranged couple.

ROBERT HORTON

Mission: Impossible— Rogue Nation OPENS FRI., JULY 31 AT SIFF CINEMA UPTOWN AND OTHERS. RATED PG-13. 125 MINUTES.

In a movie we expect to be full of action, disguise, and gadgets, which it is, the fifth Mission: Impossible installment offers us something called “gait analysis.” It’s a full-body scan, part of an ID protocol to enter yet another encrypted computer security vault to capture a USB drive. (Yes, sorry,

the whole film boils down to yet another USB drive containing a precious ledger; couldn’t they have devised a scarier rubric—like the Spreadsheet of Certain Death?) But, gait analysis: Simon Pegg’s tech expert Benji will surely die if his gait is judged inauthentic (or worse, silly). Meanwhile, down below in some underwater computer cavern, Tom Cruise’s indefatigable Ethan Hunt is nearly drowning as he swaps one yellow memory card—D’oh! Dropped it!—for another that might ensure Benji’s gait approval. (The moment comes an hour into the movie; you can guess if the two survive.) It’s a good sequence, and M:I-RN contains several satisfying action sequences from director Christopher McQuarrie. (One nicely alludes to Hitchcock’s The Man Who Knew Too Much, as

FIRST RUN FEATURES

(He’s played by non-actor Vira Sathidar, a vivid real-life Pete Seeger type.) The charge against him has something to do with the idea that one of his songs inspired a sewer worker to commit suicide on the job, although there’s zero evidence that the death wasn’t a workplace accident due to hazardous conditions. That Narayan’s songs are acidly anti-government is not mentioned in the prosecution’s case. A case that, as writer/director Chaitanya Tamhane patiently plays it out, will drag on for months. The charge against Narayan seems to hang on an arcane 19th-century law and the 21st-century idea that a song can be a weapon of terror, yet the judge (Pradeep Joshi) blandly kicks the proceedings down the road, again and again. In the meantime, we get glimpses of the lives of the participants. The defense attorney (Vivek Gomber) comes from an upper-class background in Mumbai, but insists on taking public-defense cases, to his parents’ exasperation. The prosecutor (Geetanjali Kulkarni) is from a lower-class background and would seemingly be in sympathy with the folksinger’s politics, but her career ambitions are tied to perpetuating the system. Robotic in court, we see her relaxing like a normal person with her family, and then attending a play that has a pronounced xenophobic nastiness. Tamhane, making his feature debut, is up to some very specific things here. The unmoving camera keeps a formal distance from the action, draining the melodrama—sometimes just the drama—from the story. We hang around in the courtroom scenes long enough to witness snippets of other cases, as though our central story had been randomly selected to occupy center stage. In the enigmatic final reels, the system keeps lurching along, with no change in sight, crushing some and rewarding others. The outcome of Narayan’s case doesn’t actually matter, and isn’t the point of the movie, as it would be in a John Grisham yarn. The system is the story.

Our Man in Tehran RUNS FRI., JULY 31–AUG., THURS., AUG. 6 AT SIFF FILM CENTER. NOT RATED. 85 MINUTES.

Taylor is oh so Canadian, in the best sense.

assassins vie backstage during a Vienna production of Turandot.) Yet I was reminded of gait analysis, and hardly needed a computer scanner to do it, at the picture’s two-hour mark. Ethan has by that time crashed a motorcycle, crashed a car, made not one but two heroic entrances, suffered a gunshot, taken several beatings, grown a beard, shaved the beard, done some push-ups, shown his hairless chest, clung to the side of a flying aircraft (you saw that bit in the trailer, I know), jumped through several windows, dispatched a dozen baddies, and been deemed a

Shouldn’t the documentary come first, followed by a fictionalized feature “inspired by true events”? Not in this case. Ben Affleck’s Argo introduced many viewers to the Mission: Improbable that sprung six U.S. diplomats out of Iran after the 1979 seizure of the U.S. Embassy. Argo was a Hollywood entertainment all the way, even copping the Oscar for Best Picture. Now comes a Canadian documentary that drops the brassy drama of Argo for a more straightforward approach. Its title refers to the Canadian ambas-

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

It only takes a quick scan of Robin Williams’ filmography to see how unusual his movie career really was. He cashed in his Mork-fame with Robert Altman’s fantastically weird Popeye and a winning lead role in a literary fantasia, The World According to Garp. Every time he scored huge with pure comedy, à la Mrs. Doubtfire, he quickly turned to melancholy parts that suggested an urge to save the world. (He and his Awakenings co-star Robert De Niro have the same clenched, uptight body language when they move across the screen.) And the past 15 years are riddled with creepy, depressed little indies in which he played throttled men who were sometimes quietly desperate, sometimes malevolent: One Hour Photo, The Final Cut, The Night Listener, and World’s Greatest Dad. Never widely distributed, these strange portraits emphasized what was tightly wrapped and uneasy about Williams—something that was always there, even in his big successes. Boulevard, completed the year before Williams’ suicide, is one of those portraits. He plays Nolan, a 60-year-old bank drone; when his boss tells him he’d be a great candidate for a managerial opening at a suburban branch, it sounds like a death knell. Nolan and wife Joy (Kathy Baker, right-on as always), a defeated former academic, sleep in separate rooms. The table is therefore set for Nolan to pick up a street hustler, Leo (Roberto Aguire, who should be going places), and let himself be foolishly dragged into Leo’s unsavory existence. Except, the film quietly suggests, this is not so foolish, because every “mistake” that Nolan makes is another step in the direction of admitting who and what he actually is. Director Dito Montiel is at least in more restrained form here than in his overwrought 2006 A Guide to Recognizing Your Saints. Douglas Soesbe’s script provides creaky expositional devices, including Nolan’s implausible conversations with a professor friend (Bob Odenkirk) and deathbed chats with his mute father in a hospital ward. In one of those monologues, Nolan asserts that he’s angry about all the closeted years—one of the rare moments in which the film acknowledges something stronger than a fable about a butterfly emerging from its cocoon. It’s one of Williams’ best moments, and he remains a presence of grace in a film that is otherwise not up to his very particular talents—but you could say that about the majority of his movies, unfortunately. ROBERT HORTON

STARZ DIGITAL

RUNS FRI., JULY 31–AUG., THURS., AUG. 6 AT SIFF FILM CENTER. RATED R. 93 MINUTES.

rogue agent by the CIA. Then, running through the cobblestoned streets of London, Tom Cruise—I mean Ethan Hunt—suddenly looks old and tired. Wait, I thought, is that guy actually limping, huffing and puffing like an actual 53-year-old mortal? His signature 110 percent determination is there, but the gait is gone. We haven’t seen that before: Cruise has spent his 30 very willful years of stardom denying age, insisting that he performs his own stunts, and doing action flicks at an age when his relaxed-fit peers are sliding into more comfortable dadcore roles. (His initial M:I reboot was 19 years ago.) My gait analysis told me one thing, but my movie instincts told me another. I liked that uncertainty more than McQuarrie’s complicated yet familiar script, its stock components seemingly ordered from Amazon: unreliable bosses (Alec Baldwin, Simon McBurney), global locations, loyal flunkies (Ving Rhames, Jeremy Renner), rogue agents, terrorist cartel, double-crosses, and a mystery woman (Sweden’s classy Rebecca Ferguson, who’d be right at home in a ’60s-vintage Bond movie). Though fine summer entertainment, the movie—like Ethan’s hobbled gait—shows considerable franchise fatigue. How many passwords, computer screens, tablet screens, phone screens, and downloads must we endure? Isn’t that why we go to summer movies—to escape from our tech-saturated daily lives? Ironically, it’s Pegg’s Benji, sick of his data-crunching CIA desk job, who articulates that frustration: “See the world— on a monitor.” He said it, not me. BRIAN MILLER

» CONTINUED ON PAGE 22 21

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This refreshingly hilarious and raunchy comedy follows scrappy transgender besties on a Christmas Eve in L.A.

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“Uproarious. A must-see. Explodes with vitality!” - New York Times

SIFF EDUCATION

Crash Kids

AUG 22, OCT 24 Kids ages 9-12 work in teams in this day-long, non-competitive movie production challenge.

Feminist Imaginations MONDAYS, SEP 14 - OCT 5 In this hands-on video production workshop, explore ways in which time-based artwork in film, video, and performance can radically re-imagine time, space, and narrative authority. No prior video production experience necessary.

Cinema Dissection

Jaws (SEP 14), Night of the Living Dead (OCT 31) - Dig deeper into the films you love, analyzing them scene-by-scene as a group and with an expert facilitator.

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OPENS JULY 31 Ethan Hunt and his team face their most impossible mission yet - with 100% real stunts! “Relentlessly thrilling, smart entertainment!” - Entertainment Weekly

I Am Chris Farley OPENS JULY 31 | EXCLUSIVE The hilarious and touching life story of a comedy icon, featuring Lorne Michaels, Mike Myers, Bob Odenkirk, David Spade, and many more.

Southpaw HELD OVER! Jake Gyllenhaal, Rachel McAdams, and Forest Whitaker star in this powerful boxing drama from director Antoine Fuqua (Training Day).

Battlestar Galactica

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Robin Williams gives a moving final performance as a closeted gay man who begins a relationship with a young hustler.

Our Man In Tehran OPENS JULY 31 | EXCLUSIVE The true story behind Ben Affleck’s Oscarwinning film Argo, as told by Ken Taylor, Canada’s former ambassador to Iran.

COMING SOON

The End of the Tour OPENS AUGUST 7 | SIFF CINEMA EGYPTIAN

Jesse Eisenberg and Jason Segel star in this unforgettable encounter with enigmatic author David Foster Wallace (“Infinite Jest”).

Kurt Cobain: Montage of Heck OPENS AUGUST 7 | SIFF CINEMA UPTOWN

with Richard Hatch in person

Return engagement with bonus songs.

FRIDAY JULY 31 The original 1978 film with the original Apollo! Presented by Galacticon.

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Angarano’s guard (at left) goes on a power trip.

» FROM PAGE 21 sador to Iran, Kenneth Taylor, who not only sheltered the American escapees during their hiding but also fed information to Jimmy Carter’s government for the (ultimately, tragically) botched attempted rescue of the other hostages. If you’ve seen Argo, the stories here will be familiar, although Our Man spends more time detailing the mess overseen by the Shah of Iran and the opportunity this presented to the religion-fueled revolution of Ayatollah Khomeini. There’s also interesting stuff about Canadian politics—no, really—including a revelation about Prime Minister Pierre Trudeau’s petty political point-scoring. Many of the principal players are still around to talk about the escape, including Taylor, CIA operative Tony Mendez (the guy played by Affleck), and some of the escapees. It is a ripping story, well told by the people who actually participated in it. It includes the CIA’s concoction of a bogus science-fiction movie production, called Argo, that was supposedly scouting locations in Iran. The “producers”—the whole ruse has a strong Mel Brooks aspect—smuggled in phony passports for the Americans waiting in the safe houses; they in turn instantly adopted their Hollywood job descriptions, but also practiced the discreet art of acting Canadian. Mendez comes across as a bit of an I-cankill-a-goat-by-staring-at-it sort of secret agent, with an intensity that recalls G. Gordon Liddy at his most baleful. Taylor is an amusing, affable, sophisticated contrast; in fact, one subtext of this film is the difference between American and Canadian versions of things. Perhaps its most telling moment comes when Taylor rolls his eyes at how the sci-fi-movie scenario spiraled into absurd complexity from its original, simple concept—typical Americans. In defense of the CIA—what a sentence-starter!—the very ridiculousness of the plan was surely part of its utility. It sounded so Hollywood it could hardly be anything else. Mendez was the central character of Argo, but Taylor emerges as the hero of the real story—maybe not a movie subject, but a diplomatic smoothie whose Canadian reserve helped save lives. ROBERT HORTON

PThe Stanford

Prison Experiment

OPENS FRI., JULY 31 AT SUNDANCE CINEMAS. RATED R. 122 MINUTES.

In South Africa, Chile, Bosnia, Rwanda, and beyond, there have been truth and reconciliation commissions wherein victim confronts persecutor—the terms vary—and a kind of catharsis is achieved. The guilty side admits wrongdoing; the other bestows an uneasy kind of acknowledgement (if not forgiveness), a process we’ve awkwardly labeled “closure.” But what if we held such a reckoning here in the U.S.? There’s a real-life equivalent in Charleston today, where AfricanAmerican church groups have publicly forgiven terrorist Dylann Roof. Yet was the post-Reconstruction white South ever so magnanimous? Or more recently: 1971 Palo Alto, where two dozen college students were recruited into one of the past century’s most notorious psychology experiments? Such reconciliation does come, finally, in the postscript to this factually inspired account; and it triumphs over the somewhat clunky and schematic prior 115 minutes. In brief, as actually occurred, Dr. Phil Zimbardo (Billy Crudup) paid volunteers $15 a day for a planned two-week experiment in which they pretended to be either guards or prisoners, the difference often determined by coin toss. Most all the subjects are like-minded hippies at the start. What Dr. Z and his students want to see, documented on videotape, is how they conform to protocols separating them into controlling bullies and malleable, dehumanized subjects. Implicit is that this is the height of the Nixon era, Vietnam War, and baby-boomer insurgence. (The phrase “fascist pig” is particularly pungent.) By design, before they assume their roles, it’s hard to sort out the guards and prisoners. Among the latter is one rebel, Daniel (Ezra Miller, the intern from Trainwreck). One among the former, Chris (dubbed “John Wayne” and played by Michael Angarano), models himself after Strother Martin in Cool Hand Luke. Meanwhile Dr. Z watches like a deranged movie director—Hearts of Darkness comes to mind—as his cast and concept spin predictably out of control. None of which, even if you don’t know the factual basis, is terribly surprising. Director Kyle Patrick Alvarez and writer Tim Talbott have made a simulation of a simulation; even Dr. Z is eventually forced by his

Voted Best Movie Theater F

2014 W

Ph.D. girlfriend (Olivia Thirlby) to reassess his pseudo-scientific methods. (The repentant psychologist sanctioned this movie, which grants him a final turn of conscience.) This Experiment feels like an important film made a decade too late. The real argument here is between 1971 and 2001: World War II and the Holocaust three decades past, Gitmo and Abu Ghraib 30 years ahead. Sadism and submission have been explored before in films ranging from 1971’s Punishment Park to the recent Compliance. This picture pushes easy buttons just as surely as Dr. Z did, yet that doesn’t detract from its power. When Daniel and Chris are finally back in civilian togs, shaggy peers once more, the latter confesses his bewilderment that “nobody stopped me.” BRIAN MILLER

Vacation OPENS WED., JULY 29 AT PACIFIC PLACE AND OTHERS. RATED R. 99 MINUTES.

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SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

We’re long past the point of debating whether a movie is a remake, reboot, or re-imagining. (The time-looping recent Terminator Genisys seemed to be all three, and I’m still scratching my head over it.) So the 1983 Vacation (directed by Harold Ramis) was the first in a series of ’80s hits written by John Hughes, and it came with the National Lampoon imprimatur—a certain nasty, satisfying revenge against the square parents of the baby boom. Two sequels, also starring Chevy Chase, progressively got softer and more PG-13; and no one today was clamoring for a re-whatever. But this is Hollywood; everybody loves Ed Helms (now playing grown Griswold son Rusty, a discount airline pilot); and road-trip movies are easy to write and cheap to film. Questioning his paternal fitness, “Russ” simply packs the wife (a game Christina Applegate) and two quarrelsome sons into a rental car—more on that below—and heads from Chicago to L.A., where he has a longstanding grudge with a certain theme park called Walley World. What happens en route doesn’t really matter: It’s the same haphazard collection of dumb family-embarrassment gags you could find in any comedy without the Vacation moniker. Helms communicates more decency and frustration than the role requires; he never exudes the contempt that Chase—who appears with Beverly D’Angelo in the inevitable late cameo—made his stock in trade. (Having ignored Chase’s recent return to TV, I never thought I’d miss his lazy condescension; now seeing him again, I don’t. Turns out that his one core joke, 40 years back, was how stupid old people were. It hasn’t aged well, and neither has he.) The film has one standout gag, set in the Four Corners region, building and building to heights of inanity—but it really has nothing to do with the Griswolds. (Vacation is written and directed by John Francis Daley and Jonathan Goldstein, of the Horrible Bosses franchise.) Other than that, little here merits a further Vacation spin-off but for the rental car, an Albanian-made Tartan Prancer. It’s a blue minivan with two gas tanks, four side mirrors facing in both directions (“for safety,” Rusty reasons), and a baffling array of buttons on the dashboard and key fob. Each indecipherable glyph—muffin, swastika, duck, scissors, etc.—causes Rusty (and this viewer) the kind of incomprehension and terror presented by iPhone emoji. Never mind that Rusty is a jet pilot, this movie persists in making him yet another Dumb Old Dad. BRIAN MILLER E

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Local & Repertory

• WEST SEATTLE MOVIES ON THE WALL Poor,

dumb Texas jailbird Nicolas Cage is just too weak, or too love-struck, to resist the maternal edicts of ex-cop Holly Hunter in the Coen brothers’ 1987 kidnapping comedy Raising Arizona. My three favorite scenes in the movie, to be screened outdoors, involve variously textured surfaces. The first is when the Dobermans go skittering and careening on a supermarket’s slick linoleum floors while chasing diaper-thievin’ Cage. The second is when he raises his fists overhead in the trailer-home brawl and scrapes his knuckles on the popcorn ceiling. The third is when he claws his fingernails into the dirt while being dragged from beneath a car by the unforgettably evil biker Randall “Tex” Cobb. It’s slapstick, but the Coens understand that for comedy to work, it has to hurt. (PG-13) BRIAN MILLER 4410 California Ave. S.W., westseattlemovies.blogspot.com. Free. Screens at dusk. Saturdays through Aug. 22.

DARK COOL QUIET Short works are presented from the

likes of Guy Maddin, Clyde Petersen, Adam Sekuler, and Sierra Stinson. Curator Britta Johnson will introduce the films. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. Free. 5 p.m. Sat. GIRLS OF SUMMER The 1966 Czech film Daisies is screened. (NR) Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $10.25. 7:30 p.m. Tuesdays through Aug. 11. MADCAP GENIUS This Preston Sturges retrospective continues with the 1942 The Palm Beach Story. Claudette Colbert is fairly wonderful as the wife who dumps her husband (Joel McCrea) and meets up with the Ale and Quail Club en route to millionaire-filled Florida, where she hopes to marry anew. Naturally McCrea has other plans—despite the lures of Mary Astor (for him) and Rudy Vallee (for Colbert). (NR) B.R.M. Seattle Art Museum, 1300 First Ave., 6543121, seattleartmuseum.org. $42–$45 series, $8 individual. 7:30 p.m. Thursdays through Aug. 13. THE MATRIX This 1999 cyber fantasy starring Laurence Fishburne and man-boy Keanu Reeves is an impressive visual trip. Directors Larry and Andy Wachowski turn the world as we know it into a virtual-reality landscape with a tech-noir look (lit with a sickly green hue, like the glow of an old IBM computer screen). Fishburne and Reeves become kung fu masters in a cyberdojo in a marvelous sequence that combines the ballet elegance and furious moves of Hong Kong movies with computer effects and trickedup camera work. Let’s not mention the two sequels. (R) SEAN AXMAKER Central Cinema, 1411 21st Ave., 6866684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Tues. MEET ME AT THE MOVIES A summer-themed selection of clips will include South Pacific and The Endless Summer. (NR) Frye Art Museum, 704 Terry Ave., 6229250, fryemuseum.org. Free. 11:30 a.m. Sat. MIRACLE MILE A happy hour and reception (at 6:30 p.m.) with writer-director Steve De Jarnatt will precede his 1988 indie drama, set among the dreamers of Tinseltown. Anthony Edwards stars. Presented by Scarecrow Video. (NR) Northwest Film Forum, $6-$11. 7:30 p.m. Fri. MOONLIGHT CINEMA Jim Carrey and Jeff Daniels star in the popular road-trip comedy Dumb and Dumber, a huge hit in 1994 for the Farrelly brothers. (PG-13) Redhook Brewery, 14300 N.E. 145th St. (Woodinville), 425-483-3232, redhook.com. $5. 21 and over. Movie at dusk. Thursdays through Aug. 27. MOVIES AT MAGNUSON Ben Stiller’s 2001 comedy Zoolander follows the titular male supermodel turned political assassin. Dimwitted Derek (Stiller) and his peyote-munching sidekick, Hansel (Owen Wilson), actually achieve the unthinkable—admittedly, Zoolander’s forte—as they battle the nefarious forces of Mugler/Gaultier knock-off Mugatu (Will Ferrell): They elicit consistent laughs. (PG-13) KURT B. REIGHLEY 7400 Sand Point Way N.E., moviesatmagnuson. com. $5. Activities begin at 7 p.m., movie at dusk. Thursdays through Aug. 27. MOVIES AT MARYMOOR The recent kids movie Big Hero 6 is screened. (PG) 6046 W. Lake Sammamish Parkway N.E. (Redmond), moviesatmarymoor.com. $5. Seating at 7 p.m., movie at dusk. Wednesdays through Aug. 26. MOVIES AT THE MURAL A lot of Selma is good, and a lot of it is dutiful lesson-telling. But even when it feels like civics class, Selma benefits from its timing: Coming at the tail-end of 2014, a truly rotten year for race in America, the film’s depictions of protest marches and boiled-over tensions can’t help but create ripples of excitement in a movie theater. Director Ava DuVernay keeps her focus on the events surrounding the march to Selma, when the horrifying violence of Alabama law enforcement against black protesters—televised in a newly immediate way—helped turn public opinion toward the idea of the Voting Rights Act of 1965. This very American story has a curiously Brit-dominated cast, including David Oyelowo as Martin Luther King, Jr. and Carmen Ejogo as his wife Coretta. With Tom Wilkinson and Tim Roth as LBJ and Alabama governor George Wallace, respectively. (PG-13) ROBERT HORTON Seattle Center Mural Amphitheatre, 6847200, seattlecenter.com. Free. Outdoor movie begins at dusk. Saturdays through Aug. 22. THE MUPPET MOVIE From 1979, Jim Henson’s The Muppet Movie is the first and still the best Muppet adventure, with Kermit and the gang trekking seeking fame in Hollywood. Sing along proudly if you like to Kermit’s legendary, wistful opening number, “The Rainbow Connection.” Everything about the film is perfection. No, really, it is. (G) FRANK PAIVA Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com. $7-$9. 7 p.m. Fri.-Tues. & 3 p.m. Sat.-Sun.

•

YOU AND A GUEST ARE INVITED TO A SPECIAL ADVANCE SCREENING OF

HELENA BONHAM CARTER

arts&culture» film

•

•

Ongoing

• AMY One of the year’s best films, Asif Kapadia’s docu-

mentary makes us cringe at its clickbait horror. Maybe we didn’t chase singer Amy Winehouse (1983–2011) down Camden streets with the paparazzi mob, maybe we didn’t introduce her to crack and heroin, but most of us surely clicked a few times on the lurid headlines about her spectacular fall into bulimia, booze, and drugs. Like Kapadia’s 2011 Senna, Amy is mostly composed of archival montage augmented with new interviews. The early passages are unexpectedly cheerful as we meet a jazz-besotted teen fingering complex chords on her guitar and writing preternaturally sophisticated lyrics. Winehouse is sassy, smart, and shyer than you expect—still a naïve teenager, soon to ink a recording contract. After her rise, however, comes the plunge into fame, addiction, and hounding by the English tabloid press. Says a sympathetic bodyguard, “She needed someone to say ‘No’ ” (R) B.R.M. Sundance, Pacific Place, others MR. HOLMES Now 93 and long retired to the countryside, Sherlock Holmes (Ian McKellen) has a pressing dilemma: His mind is fading. As he loses his memory, he tries to put down in writing what happened in his last case, some 30 years ago. He’s forgotten the details, but he knows that something went terribly wrong. In Bill Condon’s adaptation of Mitch Cullin’s 2005 novel A Slight Trick of the Mind, scenes from the old case reel through Holmes’ mind, as he recalls a mystery woman (Hattie Morahan) he was hired to observe. More recently, the detective’s trip to post-WWII Japan, and his visit with a local admirer (Hiroyuki Sanada), become more significant as the film goes on. Adding to the mix are a plain-talking housekeeper (Laura Linney) and a naïve admirer—in this case, the housekeeper’s young son (Milo Parker), who helps Holmes with beekeeping. There’s a lot of charm in the situation, although the detective story isn’t actually that compelling by itself. But Mr. Holmes is sneaky, because as it rounds to its purpose, it reveals a wonderful idea at its core: Sherlock Holmes, who disdains the romance of Watson’s short stories and prefers to deal only in facts, must learn how to accept the need for fiction. (PG) R.H. Guild 45th, Pacific Place, Kirkland, Lynwood (Bainbridge), Ark Lodge, others TANGERINE Shot entirely with iPhones, Sean Baker’s Tangerine bristles with zany energy and unexpected humor. He has a fine eye for dynamic, on-the-fly angles in Los Angeles fast-food joints and streets. Transgender prostitute Sin-Dee (Kitana Kiki Rodriguez) shares a donut with her best friend Alexandra (Mya Taylor) on Christmas Eve morning. Alexandra lets slip that Sin-Dee’s boyfriend/pimp Chester (James Ransone, excellent) has been messing around with someone else during Sin-Dee’s just-completed month in jail. This leads to Sin-Dee’s day-long search for the other woman, though nobody can remember her name exactly. During the following odyssey, if Baker’s goal was to humanize people who aren’t often represented in movies by creating a performance-driven piece of slapstick, he has succeeded. On the other hand, we might legitimately feel queasy about the sunny depiction of a world that contains much real-life misery. The film has uproarious moments, a few poignant ones, and some grubby references to the industry of sex. Yet Rodriguez and Taylor come on like hectic refugees from Andy Warhol’s Factory, all-consumed by the theater of their own lives, defined but not limited by their transgender status. (NR) R.H. SIFF Cinema Egyptian

•

BY B R IA N M I LLE R

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» music

R

ick Steves once said “Travel is rich with learning opportunities, and the ultimate souvenir is a broader perspective.” Nowhere is this truer than at Northwest Psychfest. What better way to become more enlightened than an excursion through the recesses of your own mind? Every night of the three-day festival promises new thrills and mindwarping chills. But with all the black-light imagery and visions of anthropomorphic goats, it’s easy to get lost. That’s why we’ve come up with this insightful mind-map to guide you, complete with attractions you won’t want to miss on your “trip.” Remember—it’s about the journey, not the destination.

Terminal Fuzz Terror Soak in

Terminal Fuzz Terror’s lovely drones and let Darwin Rodriguez’s demonic vocals carry you away through nightmarish hellfire and swirling fields of guitar buzz. The band’s latest 20-minute odyssey, Immersed in This World of Distortion, is a thrilling ride for those willing to take a quick detour into the outer reaches of our galaxy. The record is an act of endurance, challenging listeners to run with the band into the spacey unknown. The payoff isn’t quite immediate, but the view is spectacular once you get there. Fri., July 31

Lures Surf ’s up! Surfing through

Dræmhouse Cool things down

a bit with the dreamier vibes of Dræmhouse. Just because the phaser pedals are set to “stun” doesn’t mean these guys aren’t killer. Their latest cassette single, “Woundlicker,” pairs woozy and atmospheric guitar tones with frontman Chris Cheveyo’s whispery, almost sultry vocals. The music oozes from the speakers, filling the room with layers of iridescent melodies and intoxicating harmonies. Fri., July 31

BY DUSTY HENRY

Pink Void Warning: Pink Void is only for the most adventurous of travelers. Crystal Perez’s lengthy epics start off unsuspecting enough, but 10 minutes in you’ll be pushed back by a wave of sonic energy. Performing by herself, often with a suitcase full of pedals and a single guitar, she sounds more like a natural disaster than conventional music. If you’ve keeled over in a fetal position on the floor of the Sunset, you’ll know it’s working. Thurs., July 30 Heavy Petting Have you ever expe-

rienced a “Hell Crystal” and “Space Carpet”? Well, here’s your chance! Heavy Petting’s combustible postrock jams and surreal track names will expand your boundaries in ways you never anticipated. Jagged hooks and pummeling drums crash against each other—the massive builds of distortion and stuttering riffs will rattle your ear drums and set off a rush of endorphins from your pineal gland. Fri., July 31

King Tears Bat Trip For those looking to put a little swing in their step, free-jazz experimentalists King Tears Bat Trip are the answer. There are more drummers in the group than you can shake a stick at (with four drummers, they will have way more sticks than you). The tenor saxophone ends up taking the melodic lead, sounding like a rabid beast tearing through a melting forest. It’s a rare occasion when the band chooses to emerge from whatever depths of Seattle they live in, making this an aurora borealis type of event. Don’t go the rest of your life regretting missing this performance. Fri., July 31 E

music@seattleweekly.com

NORTHWEST PSYCHFEST Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, northwestpsychfest. BJÖ space. $15 per night. 21 and over. RN 9 p.m. Thurs., July 30–Sat., Aug. 1.

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

the existential darkness that we all carry within ourselves, that is! These spunky rockers blend the reverbdrenched tones typically associated with a day at the beach with cloudy noir. It’s perfect for those days when you want to put your toes in the sand but don’t want to forget that the world can be a cruel and disheartening place. Lures are the tidal undertow waiting to drag you into the darkness. Fri., July 31

All the best pineal pit-stops on your three-day journey.

Daydream Machine This Portland band’s vibe is exactly what it sounds like: hazy fantasies. The mix of synthesizers and string arrangements are perfect for refueling your consciousness as you trek through the endless void of psych-rock. They even have a song called “Queen of the Gas Station.” They’re one of the most classic-sounding acts on the lineup, a perfect crossing-over experience as you dive deep into three days of weirdness and selfexploration. Sat., Aug. 1

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10/20

DJANGO DJANGO

LA LUZ CHERUB

8/7

arts&culture» music How to Book Your Own Shows 8:30 PM

11/6

with HIPPIE SABOTAGE + SHOOKA

9PM

THE AP TOUR

8:30 PM

9/3

MACHINE GUN KELLY

9/8

with

REAL FRIENDS + THE WILD LIFE + AS IT IS

11/7–ON SALE FRIDAY AT 10AM 8:30 PM

HOLLYWOOD UNDEAD with CROWN THE EMPIRE + I PREVAIL

9/20–ON SALE FRIDAY AT 10AM

MAYDAY PARADE

8PM

THE DANDY WARHOLS

12/9

7PM

8:30 PM

SHOWBOX SODO CREATURE CARNIVAL TOUR

WILDHEART TOUR

BEATS ANTIQUE

MIGUEL 8/23

with DOROTHY

8PM

SHOWBOX AND DECIBEL FESTIVAL PRESENT

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

THIEVERY CORPORATION 9/27

9PM

ALL YOU CAN EAT TOUR

10/22

STEEL PANTHER

9PM

SHOWBOX AND EMPORIUM PRESENT

11/13

8:30 PM

THE CULT + PRIMAL SCREAM 8PM

11/14–ON SALE FRIDAY AT 10AM

8PM

AWOLNATION 10/27

with MEG MYERS + IRONTOM PARAMOUNT THEATRE

SHOWBOXPRESENTS.COM

L

ittle-known fact: More than from records, most musicians make the biggest chunk of their money from merchandising or performing. Since it’s hard to convince someone to buy merchandise branded by an unknown group, performing is your best bet. But there are many ways to approach obtaining shows. You can pitch yourself to a professional booking agent or you can attempt to book your own performances. For DIY artists, I suggest the latter. This method will allow you to learn BY STASIA IRONS AND CATHERINE HARRIS-WHITE the market and what your worth is, as well as what your audience looks like. If you take this route, you need to create an online press kit. This requires a recording, a biography, and a press photo. Round up three to five of your top songs. Pick these songs by splitting them into two categories: the songs you love to practice the most and songs your friends and family enjoy the most. Once you have picked these tunes, RECORD THEM. I don’t care how you do this, just make sure the method you choose results in clear recordings of your performance. If you play an instrument, make sure the recording best reflects how you would perform live using that instrument. Same goes for vocalists. If you plan to have reverb and effects on your recording, make sure it’s the same level you would perform with. Without a readily available sample of your sound, you are very unlikely to be booked at any venue. Promoters and bookers want to understand the range of your sound and your performance skill, not empty promises about your draw. Now write a bio. Churn out at least two paragraphs that describe who you are, where you are from, who you sound like, and some fun, eyecatching tidbits. An example: “Soul Body is an experimental trip-hop band based in Anchorage, Alaska. Inspired by Bob Dylan, the Delfonics, and Björk, they will make your skin follicles rejoice.” Maybe not that extreme, or maybe even more out there. It’s up to you. Just make sure it’s captivating. Once you’ve prepared a recording and bio, add some sort of image. This can vary depending on

LADIESFIRST

10/31

STURGILL SIMPSON

PETA_AZAK VIA FLICKR CREATIVE COMMONS

9PM

THE PSYCHEDELIC FURS + THE CHURCH

26

THEESatisfaction’s recipe for scoring gigs DIY-style.

8PM

what type of musician you are. If you are more of an abstract entity, design something that conveys your music as clearly as you see it. More straightforward artists should set up a photo shoot. If you have no dough for a professional photographer at the moment, grab a friend with an iPhone (yes, an iPhone) and a good eye. Dress the way you want to be perceived, pose or don’t pose—but either way, express your music through your image. No matter how much you may dislike social media, it is a very useful tool for a DIY artist. It gives your current and potential fans a way to find you quickly on the Internet. More important, it gives you a home for your artistry without having to pay to develop a website. If you don’t want to pay for a service, try music-based platforms like Bandcamp or SoundCloud. If you would like to keep it interactive, use Facebook or Twitter. Any of these sites will work, but I highly suggest musical platforms, since we are looking to showcase your music to promoters. Now share it with all your family, friends, and fans. Make sure they follow or like it. This notifies the promoter that you have people who will attend said show once you are booked. Now you have all the materials you need to book

a show. Create a list of local music venues where similar-sounding artists perform. This is a simple way to ensure you aren’t wasting your time contacting a promoter that won’t book you because they don’t cater to your genre of music. Visit each listed venues’ website and go directly to their FAQ or About section. It is very common for a music venue to list detailed instructions on the best ways to contact them about booking. Read these notes thoroughly. If you don’t, you risk annoying a potential contact and burning a bridge. After a few tries, you will get the hang of contacting promoters and talent bookers. Eventually someone will book you a show, and you will have more content to add to your biography and resume. As time passes, review your press kit and update it. When you get to the point that you’re receiving lots of show offers or are interested in expanding your audience, pitch yourself to professional booking agents who represent similar-sounding artists and see who bites. After booking your own shows, you’ll have the knowledge to tell your new agent exactly what you are looking for. Another survival skill to add to your DIY-musician tool belt. E

music@seattleweekly.com

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

The Heard Herd

JAZZ ALLEY IS A SUPPER CLUB

The best locally grown, free-range, grass-fed records released this month. IDGAF

0ccult

Diogenes

Death & Acid

SEATTLE, WA 98101 206-204-2233

NEARLY DAN WED, JUL 29

This 11-member collection of the most highly skilled, career musicians brings the richness and complexity of Steely Dan compositions to life.

PONCHO SANCHEZ LATIN JAZZ BAND THURS, JUL 30 - SUN, AUG 2 Grammy-Award winning Master conguero and percussionist. A Latin-jazz superstar!

HALIE LOREN MON, AUG 3

Choking on the Fruit

YOGOMAN

BRIAN PI’IKEA VASQUEZ 9PM - 1AM

Touring in support of her new release, Butterfly Blue

funky METERS TUES, AUG 4 - WED, AUG 5

Classic American Funk, Rock and Afro-Beat direct from New Orleans

MACEO PARKER THURS, AUG 6 - SUN, AUG 9

”Parker talks with his sax, chatters away without a seeming care. It’s a musical antidepressant, an antidote to dark days. ....firmed my belief that the world would be a better place if we all funked together.” - San Diego Reader

all ages | free parking | full schedule at jazzalley.com

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AUGUST 14TH

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SAT, AUGUST 1

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KBCS PRESENTS AUSSIE COUNTRY ARTIST

“Dripping, Wet and Peeled,” the single off this doozy of a 7˝ from Casino Trash Records, deserves to be the theme song for a kick-ass television show. It’s got the anthemic, revved-up posi-vibes you need for that kind of thing, but not without a dash of drama during the spacey bridge. It already kind of sounds like a punk take on the Mr. Show theme. I also love the slurred, frantic, angry-child vocals—I can’t understand a goddamn word VHS is singing except for “I can’t stop bleeding.” (Speaking of bleeding, that’s a slab of ground beef covered in paint on the cover.) VHS consists of a bunch of Reno-transplants who to my ear are doing something unique in the oversaturated Seattle punk scene. They still have the shambling “We don’t really care” vibes, but they temper them with an obvious concern for melody and song structure. Rather than sitting on the same mean riff for three minutes, these songs actually go places. YOU HEAR THAT, KIDS? Trying is punk too. (violenthumansystem.bandcamp.com) KS

» CONTINUED ON PAGE 28

KASEY CHAMBERS THE EASY LEAVES 

9PM - $25/$30

MON, AUGUST 3 rd 

EMPORIUM PRESENTS COUNTRY ROCK

CASEY DONAHEW BAND JEREMY MCCOMB 

9PM - $10

FRI, AUGUST 7 TH

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AUGUST 8TH

SOUL IN THE CITY SERIES HOSTED BY CHOKLATE & DJ KUN LUV FEATURING MOE CHEEKZ & FRIENDS SEATTLE’S BEST RnB & NEO SOUL

KEXP RECOMMENDS FOLK/BLUES/GOSPEL

THE EAGLE ROCK GOSPEL SINGERS POCKET PANDA

9PM - $10

Up & Coming 8/5 GEORGE JONES TRIBUTE 8/6 RADIATION CITY 8/8 80’S BEACH PARTY W/ NITE WAVE 8/10 SQUARE DANCE 8/11 AMERICAN AQUARIUM 8/12 FREEDY JOHNSTON 8/13 T SISTERS 5213 BALLARD AVE. NW  789-3599

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Shows 21+ in the Cavern

TICKETS at HRC & TicketWeb.com HAPPY HOUR Sun. - Fri. 3pm-7pm

/HRCSEA HARDROCK.COM/CAFES/SEATTLE

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

Olympia’s Alex Myer is a chameleonic bedroom producer who is constantly up to a million things at once. He’s behind VHSEX, a glammed-out chillwave dance project STRFKR fans might dig, as well as Nagasaki Night Club, a name he uses for his pristine instrumental hip-hop experiments that sound tailor-made for those frosted-glass first-class airport lounges. Myer’s sizable back-catalog is a testament to his unyielding work ethic, but, ironically, the best music he’s made so far was recorded when he was completely out of steam. “I had just gotten done listeng to Come to Daddy by Aphex Twin and was super-tired. So I put a lot of compression on my synth and just started recording noise loudly to keep myself awake,” Myer says of 0ccult, a fourtrack EP he released early this month under the appropriately cavalier name Idgaf. In a short nine minutes, Myer pummels you with bitcrushed torrents of noise, garbage-disposal static, and whirring, industrial drum-and-bass rhythms that hurt so, so good. Channel Aphex Twin at its most menacing, mix it with the antagonistic spirit of Die Antwoord, then plug it all into your Super Nintendo, and you might get an idea of what to expect. (id-gaf.bandcamp.com) KELTON SEARS

Besides serving as the head of Seattle-based beatmaker collective Filthy Fingers United (which drops beat tapes monthly) and hosting the monthly cassette-tape night HISSSSSS, Dax Edword, aka Diogenes, manages to find the time to put out solo work. At the front end of this month, he released Death & Acid, a collection of ethereal, instrumental hip-hop tracks. Simply calling it “hip-hop” is almost a disservice, though, since Death & Acid pulls from such a wide range of samples, from Pee-Wee Herman warning about the dangers of crack cocaine to the forgotten screams of dial-up Internet. He brings together these disparate elements to create something more than the sum of these parts, tracks that bend and twist around their creator’s whim. Vocals are used almost exclusively in the service of atmosphere: “Heart of Ra,” featuring local rapper/poet Korvus Blackbird, is purely an exercise in abstract wordplay. Death & Acid is largely unconcerned with space and time. It draws from decades of musical history (with special attention to the ’90s), but manages to feel at once fresh, timeless, and, most important, alive. (diogenesisdead.bandcamp.com) DANIEL ROTH

SEATTLE

116 PIKE STREET

27

arts&culture» music » FROM PAGE 27

CASHINTHEBATHROOM EP

This EP is simply too good to pass up. What makes ILLFIGHTYOU so special is the pure, unbridled energy the Tacoma duo brings to everything they do—the kind of energy that requires every song title to be spelled in ALL CAPS. And it’s not just that the group has energy; they know how to harness it, too. Their hooks, their flows, the way Khris P and Ugly Frank play off each other’s vibes, inhouse production from KReam Team—it all meshes seamlessly. With its churning bounce and references to Whole Foods and your mom’s minivan, “FLASH” is undoubtedly the single that anchors the EP. But for my money, “GUCCIONTHASOFA” is where CASHINTHEBATHROOM shines brightest. Khris and Frank have finally cooled off a little by the time it rolls around; it’s easily the most laidback song on the EP. Keep this one in rotation; you’re gonna need it to cruise ’round the city to for many summers to come. (soundcloud.com/ illfightyou) DR Strange Wilds

SEATTLE WEEKLY • JULY 29 —AU GU ST 4, 2015

Subjective Concepts

28

Let’s get this out of the way up front: Strange Wilds is Nirvana. These three dudes from Olympia (might as well be Aberdeen) write loud/quiet/loud rippers with grungy Krist Novoselic bass lines, chorus-laden Kurt Cobain guitar, and, yeah, you guessed it, Dave Grohl-style tumbling drums. Sub Pop even signed them. If you don’t believe me, listen to “Autothysis” and try not to do a double take

when that vocal melody comes in. So why is a Nirvana clone on our list of best releases this month? While we have to dock them a few points for originality, you can’t deny that Subjective Concepts is a superbly well-written record: “Pronoia” is a volcanic eruption of shred that might make labelmates Metz jealous, “Egophilia” is a master class in the art of screaming, and “Don’t Have To” is moanalong gold. It does what it does exceptionally well, and if you love riffy, grungy, PNW-roots music, you are going to love Strange Wilds. Are there more original bands coming out of the Olympia hardcore scene? Definitely. Sub Pop could’ve signed G.L.O.S.S., Vexx, or Gag, three excellent groups breathing new life into that city’s punk heritage. But like they say—if it ain’t broke, don’t fix it. (Out now on Sub Pop Records.) KS

Thursday, July 30

Earlier this year, tenor saxophonist, composer, and bandleader KAMASI WASHINGTON put out a three-hour jazz album, appropriately titled The Epic, on Flying Lotus’ Brainfeeder Records. In an age when most people’s attention spans are shorter than 140 characters, making an album of this length is nothing short of amazing. And that’s saying nothing of Washington’s immense talent—which, by the way, was tapped by Kendrick Lamar for his latest project To Pimp a Butterfly. With McTuff and J-Justice. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $18. 21 and over. DANIEL ROTH

Friday, July 31

Yes, Macklemore & Ryan Lewis are serving as guest instructors for this program, but the real pull of the HIP-HOP ARTIST RESIDENCY SHOWCASE is to see the work that underprivileged youth have put in over two weeks with professors Haggerty and Lewis, among others. Each participant will have recorded an EP of original music and will be performing at this event. EMP Museum Sky Church, 325 Fifth Ave. N., empmuseum.org. 5 p.m. Free. All ages. DR

DEEPSEA

Saturday, August 1

Extra Ordinary Customer Care

Listening to its music, you would hardly think SEAPONY is based in dreary Seattle, given how unstoppably cheerful it all sounds. This show is a release party for the band’s new LP, A Vision, and if singles “Let Go” and “Saw the Light” are any indication, this is going to be the go-to album for pool parties, driving to the beach, and whatever else you can do to enjoy the precious remaining sunshine. With Zebra Hunt and Tape Waves. The Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $8. All ages. DR

Sunday, August 2

June was a rough month for counterculture. First, Virgin debuted its Sex Pistols “Anarchy in the U.K.” MasterCard, because, according to the company, it’s “time for consumers to put a little bit of rebellion in their pocket.” Then MTV launched a vaporwave rebrand, which caused a big to-do about the supposed end of the Internet’s most oblique anti-consumerist subculture. While the MasterCard episode thoroughly convinced me that Johnny Rotten has become the very thing he despised, I’m not so sure MTV’s aesthetic appropriation of vaporwave’s ’90s-era computer-graphic pastels is a loss. Punk was always a reaction against consumer society, but vaporwave’s capitalist critique is in a much more subtle reworking of that culture’s waste—an artistic regurgitation. Take Seattle vaporwave producer DEEPSEA’s brilliantly bizarre Extra Ordinary Customer Care. Cobbling together warped, distant samples of sentimental white-collar ballads, smooth-jazz saxophone and slap bass, and corny ’80s guitar riffs, DEEPSEA effectively creates the sonic equivalent of a walk through a sad, suburban grocery store that may or may not be on fire. But damn, when it bangs, it bangs. So in a way, if MTV is advertising Teen Mom using vaporwave’s look, you might call that a victory. By building something shiny out of the corporate giant’s trash, we’ve effectively made MTV eat its own shit. Congrats, everyone! (d33p-c.bandcamp.com) KS E

music@seattleweekly.com

Before her last band, The Redwood Plan, had even formally played its last show, Lesli Wood was already hard at work on her new band SKATES! Skates! Is a Band, the band’s self-affirmation/EP self-released earlier this year, comprises seven songs of hard and fast surf-pop, anchored by Wood’s down-to-earth vocals. With Golden Idols, Hot! Donna, and more. Nectar Lounge, 412 N. 36th St., nectarlounge.com. 7 p.m. $5. 21 and over. DR

Monday, August 3

COURTESY THE ARTIST

ILLFIGHTYOU

TheWeekAhead

Father You might know Atlanta rap oddball FATHER from his collaboration with the equally weird Key! and iLoveMakonnen (of “Tuesday” fame) on the catchy, drowsy “Wrist.” But he’s much more than that; he’s the head of Awful Records, a semi-hip-hop label where artists are 100 percent free to work outside of, reimagine, or set fire to the box, whichever they feel comfortable with. With KeithCharles Spacebar and Playboi Carti. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $15. All ages. DR Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

WINNERS

ANNOUNCED

El Corazon E orazon www.elcorazonseattle.com

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

THURSDAY JULY 30TH FUNHOUSE BRIAN FOSS PRESENTS:

GRAAAR!

JOE MANDE

Doors 8:30PM / Show 9:00. 21+. $7

Doors 8:00PM / Show 9:00. 21+. $14 ADV / $16 DOS

w/Whorechata, Trick Candles, Typical Girls

FRIDAY JULY 31ST EL CORAZON Doors 8:00PM / Show 9:00. 21+. $12 ADV / $15 DOS

Doors at 9:00PM / Show at 10:00. 21+. $7

MIKE THRASHER PRESENTS:

JUNKYARD AMY LEE w/Leonhardt, Kiel Grove

MONDAY AUGUST 3RD EL CORAZON

ANTHONY RANERI (BAYSIDE)

5 DAYS DIRTY

Doors 8:00PM / Show 9:00. ALL AGES/BAR W/ID. $8 ADV / $9 DOS

Doors 7:30PM / Show 8:00. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

w/Laura Stevenson, Allison Weiss,Plus Guests

SATURDAY AUGUST 1ST EL CORAZON BRIAN FOSS & SEATTLE WEEKLY PRESENTS:

CHASTITY BELT

w/Sick Sad World, Big Priest

Doors 9:00PM / Show 10:00. 21+. $10

SATURDAY AUGUST 1ST FUNHOUSE BRIAN FOSS PRESENTS:

“GAY*BITS RECORD RELEASE PARTY”: W/GAYTHIEST, RABBITS, TACOS!, PIG SNOUT Doors 9:00PM / Show 9:30. 21+. $8

SEATTLE 2015

SUNDAY AUGUST 2ND FUNHOUSE BRIAN FOSS PRESENTS:

FRIDAY JULY 31ST FUNHOUSE

OF

w/Noah Garfinkel, Monica Nevi

JOE KING CARRASCO w/The Fancy Lads, Radioshark

E B ST

SUNDAY AUGUST 2ND EL CORAZON

Plus Guests

MONDAY AUGUST 3RD FUNHOUSE

DEVIANCE

w/Vaginal Defecation, A Flourishing Scourge, Red Rouletta Doors 7:30PM / Show 8:00.

ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY AUGUST 4TH FUNHOUSE

BERMUDA

w/2x4, The Prestige, Confines, Tides Of Malice

Doors 7:00PM / Show 7:30. ALL AGES/BAR W/ID. $10 ADV / $12 DOS

JUST ANNOUNCED 8/20 - PACIFIC DRIVE 8/30 FUNHOUSE - ELECTRIC CHILDREN 9/1 FUNHOUSE - BITERS 9/28 - TWIZTID 10/29 FUNHOUSE - YONATAN GAT UP & COMING 8/5 FUNHOUSE - FREEKBASS 8/6 FUNHOUSE - PIZZAFEST FEAT. CHILDBIRTH 8/7 - A CRIME OF PASSION (CD RELEASE) 8/7 FUNHOUSE - THE NO TALENTS 8/8 - PIZZAFEST FEAT. NOBUNNY 8/9 - MOONSHINE BANDITS 8/9 FUNHOUSE EARLY - DISTINQUISHER 8/9 FUNHOUSE LATE - KING RAAM 8/10 - SEAN DANIELSEN OF SMILE EMPTY SOUL 8/10 FUNHOUSE - JEFF ROSENSTOCK 8/11 - FIREWORKS 8/11 FUNHOUSE - KURT TRAVIS 8/12 FUNHOUSE - THE HOOTEN HALLERS 8/13 FUNHOUSE - THE LEECHES / PISTON READY 8/14 - MAC SABBATH 8/14 FUNHOUSE - THE QUIET CULL 8/15 - THE WYLDZ 8/15 LOUNGE - THE 1234 RAMONES TRIBUTE

THE FUNHOUSE BAR IS OPEN FROM 3:00PM TO 2:00AM DAILY AND HAPPY HOUR IS FROM 3:00PM UNTIL 6:00PM. 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: details at www.elcorazon.com/vip.html for an application email info@elcorazonseattle.com

TM

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WANT TO BE IN THE ISSUE? CALL 206-467-4341

or EMAIL advertising@seattleweekly.com

SEATT LE W EEKLY • JULY 29 —AUG U ST 4, 2015

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odds&ends» Kids Hate Weed!

H

ouston, we have a problem (with marijuana). No, it’s not that youngsters are getting stoned on the wacky weed and crashing cars or dropHIGHERGROUND ping BY MICHAEL A. STUSSER out of school. It’s that they’re starting to dislike the stuff. A report released last week in The American Journal of Drug and Alcohol Abuse shows that not only has cannabis use decreased among teens, but disapproval of marijuana is up. (They could have said that approval was down, but the media is so opposed to putting a positive spin on drug use, even academic news is twisted.) Taking data from the National Survey on Drug Use and Health, the survey is stunning for both its duration, from 2002 to 2013, and breadth, with 500,000 kids across the nation polled. Responses were aggregated from 105,903 younger adolescents (ages 12–14); 110,949 older adolescents (15–17); and 221,976 young adults (18–25). “The proportion of adolescents aged 12–14 reporting ‘strong disapproval’ of marijuana use initiation increased significantly from 74.4– 78.9%,” the report states. “Concurrently, a significant decrease in past 12-month marijuana use . . . was observed among younger adolescents.” Not only did the percentage of kids 12–14 who smoked pot go down (from 6 percent in 2002 to 4.5 percent in 2013), but the 15- to 17-year-olds who in my day were out behind the boiler room getting baked between classes also dropped significantly, from 26 percent in 2002 to 22 percent in 2013. “With decriminalization, medicalization, and in some places recreational use, and adults no longer viewing marijuana use as an immoral act, we were concerned how it would affect teen use and attitudes,” noted one of the report’s authors, professor Christopher SalasWright from the University of Texas at Austin (figures). “But, especially at the middle-school age, youth became more disapproving, not more permissive. And certainly this data tells us we don’t see a dramatic spike at the national level in terms of marijuana use.” The stats from the National Survey on Drug Use and Health looked at teen use and opinions all across the country. But what about specifically in the states where weed is legal? Surely there, kids love the ganja and use more of it! In fact, no. A study published last month

in The Lancet Psychiatry (great centerfold, by the way) tells the same tale. Researchers looked at data from over a million teens in the 23 states that have had medical-marijuana laws on the books from 1991 to 2014, and once again the teenyboppers were nonplussed: “Our findings provide the strongest evidence to date that marijuana use by teenagers does not increase after a state legalizes medical marijuana,“ stated the study’s author, Deborah Hasin, a professor at Columbia University Medical Center.

BRIANNA CASHIN

Now clearly I have no interest in youngsters

using marijuana. It’s not great for the developing brain and, like booze, should probably be delayed until at least 21. (Come to think of it, so should cell-phone use and driving!) But given my desire to see cannabis legalized federally, we’re eventually going to need these young people to vote for initiative measures when they arise in new states. Luckily, as teen rates have gone down, adult usage has increased: The number of grown-up cannabis users rose from 26 million in 2003 to 33 million in 2013—a whopping 37 percent. (High five?) As for kids, decreasing interest in weed is probably one of those deals where what’s cool one day is uncool the next. Facebook was once the rage, and before you can say SnapChat, it’s for parents and Grandma. Same could be true with ganja: “We know American adults are starting to view this as a non-moral issue. We’ve seen the country’s adults changing, and we’re trying to get at what young people think and do,” said Salas-Wright. While states like Washington and Colorado have legalized weed, he noted, these laws “have not resulted in more use or greater approval of marijuana use among younger adolescents.” The pendulum will swing back and forth, and hopefully smart measures will be put in place along the way to legalize, tax, and regulate marijuana for adult use across the land. It is kind of funny, though: Turns out it’s not Reefer Madness and anti-drug campaigns that are turning kids off to cannabis—it’s legalization. E For more Higher Ground, visit highergroundtv.com.

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facebook.com/seattleweekly KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7921-01 TAKE NOTICE:

That Sound Transit - Northgate Link Extension N125 Cross Passage Dewatering located at Maple Leaf Portal To UW Station, Seattle,WA 98115 has filed an application for an industrial waste discharge permit to discharge groundwater into West Point from its construction dewatering operation in the amount of 5.2 gallons per day following treatment and in-plant control and in compliance with rules and regulations of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency. There are multiple proposed discharge points along the alignment of the future Sound Transit Northgate Link Extension tunnel running from the Maple Leaf Portal, located at 9560 First Avenue NE to the University of Washington station, located at 3720 Montlake Boulevard NE, Seattle, WA 98115. Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parksí action on this application, should notify the King County Industrial Waste Program at 201 S. Jackson Street, Suite 513, Seattle, WA 98104-3855, in writing, of their interest within 30 days of the last date of publication of this notice. Publication dates of this notice are: July 22, 2015 & July 29, 2015

Established Pacific Northwest Company, McMenamins, is now accepting applications, for our historic destination, The Anderson School Property located in Bothell, WA. The 1931 Art-deco Anderson School is being renovated to feature a 72 room hotel, onsite brewery, bars, gardens, pool, Movie Theater and private event space, as well as three onsite restaurants: a classic pub, South Seas/Island café and inspired market-fresh/ local American dining. The opening date is October 15, 2015. Positions include but are not limited to; Assistant managers, sous chefs, servers, bartenders, hosts, bussers, line cooks, prep cooks, dishwashers, housekeepers, front desk staff, gift shop staff, catering servers...and so much more!! Ideal applicants will have a love of working in a busy customer service-oriented environment, stellar people and customer service skills, as well as open & flex schedule including, days, evenings, weekends and holidays. We offer excellent benefits, including vision, med, chiro, dental to eligible employees. We will be holding an open hiring call from 1pm to 4pm, on August 4th and 5th at the Bothell UW Campus, at the North Creek Event Center, located at 18115 Campus Way NE, Bothell WA. Stop by to fill out an application & managers will be on hand to talk to interested applicants! You can also apply online 24/7 at www.mcmemanins.com or send your cover letter and resume attn: Human Resources to 430 N. Killingsworth St., Portland OR, 97217 or fax: 503-221-8749. Call 503-9520598 for info on other ways to apply. Please no phone calls or emails to individual locations! E.O.E.

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425-392-6000 - Issaquah To view list go to: www.clarktow.com Employment Computer/Technology VP; Lead Consultant - Tech Application Engineer sought by Bank of America. Reqs: BS & 5 yrs exp; & exp w/ Weblogic, Websphere, Tomcat; Info Tech; Java/J2EE - web srvcs, EJBs, JMS, XML, Spring, Struts; WebSecurity Encryption, SiteMinder, Ping Fed; Websrvc - SOAP, REST; Tool Exp ex Splunk - Introscope, JMX monitoring, Tivoli; Write docmntn for dsgn & archtctr docs; Java IDE - RAD, Eclipse; Testing Tool SoapUI, Junit; Knwldg of dvlpmnt methodologies - Water Fall & Agile; & DB-Stored Procdre, Oracle. Job site: Seattle, WA. Ref #8RD363 & submit resume to Bank of America, NY1-050-03-01, 50 Rockefeller Plaza, New York, NY 1002016050. No phone calls or e-mails. Must be legally authorized to work in the U.S. w/o sponsorship. EOE.

Employment Computer/Technology Vivaki seeks qualified professionals for the following position (multiple position openings) in Seattle WA: Ops Eng’r: Drive implementation of Sky Skraper (cloud-based storage & provisioning sys) products throughout the software development project life cycle. Req’s BS in Comp Sci or Software Eng’r’g & 2 yrs exp as Ops or Software Eng’r. Exp must incl: a) working w/in online system operation supporting over 1,000 servers incl infrastructure, network & databases w/virtualization technology (Hyper-V, AWS, Azure); b) maintaining/troubleshooting multiple TB size database systems (MSSQL, MYSQL, Oracle); c) database mirroring, logshipping & replication; d) designing, implementing & deploying reports; e) analyzing & developing advanced DTS & SSIS packages; f) programming & developing w/T-SQL, PowerShell, VBScript, Visual Studio & .NET. QA Mgr: Sr QA test eng’r resp for leading team in development/implementation of manual & custom automation solutions. Create standarized approach for all artifacts, assign resources to efforts, define & evaluate quality bar solutions & work w/other QA Mgrs to strategize/create QA automation framework & approach. Req’s BS in Comp Sci & 5 yrs postdegree, progressive exp as Test Eng’r, incl a) design/development of test cases; b) product deployment w/sw install, debugging install issues, running BVTs & releasing tests env & executing test cases; troubleshoot/maintain test env, & d) performing regression & root cause analysis. Send resume to: VivaKi, Inc, 180 N LaSalle St, Chicago, IL, 60601, Attn: B. O’Neil.

Employment General Appointment Setter Help keep trees Safe and Healthy by generating Appointments for Tree & Shrub Maintenance. Set your Own Schedule. Paid orientation, marketing materials and company apparel. -Travel allowance -Monthly Cell phone Allowance -Monthly Medical Allowance Vehicle, DL, Cell Phone & Internet Req. Email resume to recruiting@tlc4homesnw.com 855-720-3102 ext. 3304

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