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SEPTEMBER 2-8, 2015 I VOLUME 40 I NUMBER 35

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NEWS SEATTLEITES TELL US HOW THEY LIVE PAGE 10 ARTS HIPPIE FASHIONS AT BAM! PAGE 25

THE SEATTLE A CTS THAT WILL M YEAR’S BUMBE RSHOOT EXTRA AKE THIS -GROOVY. PAGE 13 A Requiem for Jack Z. A brutal examination of the fired GM’s dismal tenure. By Seth Kolloen Page 9

New Kid on the Block Salt Blade ups the charcuterie game in town. By Nicole Sprinkle Page 23

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SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

THURSDAY, SEPTEMBER 17, 6pm – 9pm. ORGANIC BEER, CIDER & CHOCOLATE TASTING (Lake City). Join us at a brand new location – Elliott Bay Public House & Brewery. Taste delicious beers, ciders and chocolate from Alpenfire Cider, Aslan Brewing Co, Elliot Bay Brewing, Hot Cakes, Pike Place Brewing, Sixknot Cider and Theo Chocolate. Tickets are $20 in advance or $25 at the door. Purchase online: bit.ly/tpbccevent EAT ORGANIC FOR WOW! PLEDGE – We’ll be challenging all participants to spend the week focused on supporting local organic farmers and retailers while sharing tips on how to keep it affordable, healthy and delicious. Pledge now: bit.ly/tpwowpledge

THE BEACH BOYS

WOW! EVENTS

SATURDAY, SEPTEMBER 12, 10am – 4pm. HARVEST FAIR IN MERIDIAN PARK (Wallingford). Co-hosted with Seattle Tilth, the annual Harvest Fair is a fun, lively community festival with workshops, hands-on demonstrations, a raffle, book talks and signings...plus a brand new beer garden. Mark your calendar to spend the day enjoying sustainable food and live music with friends and family. FREE and open to the public, with voluntary donations accepted at the entrances. More information online: bit.ly/2015harvestfair

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inside» September 2-8, 2015 VOLUME 40 | NUMBER 35 » SEATTLEWEEKLY.COM

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news&comment 5

TOP POT

BY SARA BERNARD | Recreational marijuana shops are battling for territory with swanky customer-service perks. Plus: Outside money helps get outside money out of local politics; the Zduriencik and McKinley eras end; and more.

10 THERE’S NO PLACE . . . BY UW NEWS LAB | How Seattleites

house themselves: Five views, five stories.

13 BUMBERSHOOT 2015 BY SW STAFF | A closer look at

what’s keeping our arts fest truly local: Northwest filmmakers, a Renton comic, a subversive performance troupe, nearby eats, and bands, bands, bands!

food&drink

23 MEAT: YOUR MAKER BY NICOLE SPRINKLE | Behind the

scenes with Seattle’s new solo charcutier. 23 | FOOD NEWS/THE WEEKLY DISH 24 | THE BAR CODE

arts&culture

25 THE PICK LIST

BY SW STAFF | Hippie fashions,

table tennis, and big-screen favorites at the Cinerama.

28 FILM

OPENING THIS WEEK | Coming of age

in Israel, Patricia Clarkson at the wheel, and the dark side of Steve Jobs. 30 | FILM CALENDAR

32 MUSIC

THE WEEK AHEAD | Thraxxhouse, Specters, Wavves, and more.

EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Sara Bernard, Ellis E. Conklin, Casey Jaywork

September 24-27 Schack Art Center

Beer & brat night, ages 21+

Editorial Interns Alana Al-Hatlani, Jennifer Karami, Daniel Roth Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael A. Stusser, Jacob Uitti

Made possible in part by the City of Everett Hotel/Motel Fund

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PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Christopher Zeuthen ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Julia Cook, Rose Monahan, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS

5 | CHATTERBOX 33 | HIGHER GROUND 34 | CLASSIFIEDS

»cover credits

PHOTO OF TWO BUMBER BUDDIES BY NATE WATTERS

Make a blown glass pumpkin Activities for kids

2921 Hoyt Ave. / Downtown Everett 425.259.5050 / schack.org

Administrative Coordinator Amy Niedrich

odds&ends

Glass pumpkin patch

Publisher Bob Baranski 206-623-0500 COPYRIGHT © 2015 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERI ODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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26 | PERFORMANCE & BOOKS 27 | VISUAL ARTS

Editor-in-Chief Mark Baumgarten

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

“I’m on the cover of the paper with my gun tucked . . . ”

chatterbox the

SUN’S HID, GUNS HID

For last week’s cover story, Daniel Roth profiled Thraxxhouse, a Seattle–based artist collective anchored by local MCs Key Nyata and Mackned. The piece explored Thraxxhouse’s esoteric insiprations (ancient Egyptian mysticism, for one) and growing worldwide popularity, as well as the rappers’ complicated relationship with drugs such as codeine cough syrup (promethazine), which they mix with Sprite. The piece’s reception was positive all around— “Great article on the movement if you aren’t hip already,” one Twitter follower wrote. But the most flattering response came Sunday via a new Mackned track simply titled “Seattle Weekly.” I’m on the cover of the paper with my gun tucked/ You a motivated bitch and you gettin’ money/ You got problems just like me/ Dirty soda in the VIP Mackned, via Soundcloud We were heretofore unaware that Mack had a gun in his pocket during the cover shoot.

Excellente.

Norma Curran, via Facebook HUGH PAYS UP

Rick Anderson gave us an update on the saga of Hugh Sisley, the slumlord whose derelict properties racked up $3.4 million in fines with the city. He finally paid off the tab, via a development company that plans to build on the Roosevelt neighborhood lots, which are just minutes from a planned light-rail station. I’m guessing that someone approached him and invested, paying off his fine. Probably more apartment buildings without adequate parking will go in there. Look for more congestion and traffic in the area. Ann, via seattleweekly.com

Got to suspect the tightwad made a profit by stalling all those years, compounding interest and investing Send your thoughts on money he would have used to pay this week’s issue to the city. letters@seattleweekly.com Brodie, via seattleweekly.com

ETHNIC FLAVOR

In the food section, we told readers about Pho Cyclo owner Taylor Hoang, who started a website (ethnicseattle.com) and a nonprofit (Ethnic Business Coalition) to help immigrant-owned businesses thrive in Seattle.

The ugly homes will finally go away, but unfortunately the developers have won along with the Sisley family. There will be more apartments, less parking for tenants and RHS students, and who knows what the neighborhood will look like now. I hope the park is still on the table and will be in front of RHS! Anusia Cieslar, via Facebook Laughing at the last part and his attorney trying to frame him now as a productive member of society. Diane Cortese, via Facebook BILLY G IS NOT MY LOVER

Anderson also did some digging in the Ashley Madison data dump, finding that someone—probably not the man himself—used the billg@microsoft.com e-mail address to create an account. This prompted Anderson to wonder what Bill’s account would say. The last line of the world’s richest man’s personal would likely read: “Money no object.” Jen, via seattleweekly.com E Comments have been edited for length and clarity. But not Mackned’s rhyme.

JAZZ FESTIVAL Seattle’s Jazz Festival

Over 50 events in venues all around Seattle

October 9 – November 18

The Wayne Shorter Quartet Brad Mehldau Trio Charles Lloyd, Wild Man Dance Wayne Horvitz @ 60 Buy tickets now: Anat Cohen Quartet www.earshot.org Kris Davis Trio Myra Melford’s Snowy Egret 206-547-6763 Edmar Castañeda Pedrito Martinez Group The Scott Amendola Band w/ Nels Cline Chris Potter Trio Somi The Seattle Symphony Orchestra w/ Bill Frisell The Westerlies Tomeka Reid w/ Nicole Mitchell & Mike Reed Wil Blades w/ DJ Logic Jacob Fred Jazz Odyssey w/ Skerik James McBride Andy Clausen Shutter Project Sarah Gazarek SRJO celebrates Billy Strayhorn Jacob Zimmerman Quintet Industrial Revelation Hugh Masekela and much more

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

Nice article. Immigrants and minorities are now a major force in America. They and the children they bear account for 60 percent of our nation’s population growth, own 11 percent of U.S. businesses, and are 60 percent more likely to start a new business than native-born Americans. In fact, 40 percent of Fortune 500 companies were started by an immigrant or a child of an immigrant, creating 10 million jobs and seven out of the 10 top brands in our country. More important, the vast majority of these human beings—both legal and undocumented—come to improve their lives and create a foundation of success for their children to build upon, bringing skills and a willingness to work hard to make their dreams a reality, something our founders did four hundred years ago. However, most struggle in their efforts and need guidance in Anytown, U.S.A. Perhaps intelligent immigration reform, White House/Congress and business/labor cooperation, concerned citizens, and informative resources can extend a helping hand—the same unwavering hand, lest we forget, that has been the anchor and lighthouse of American values for 400 years. Lance, via seattleweekly.com

These slums are a pathetic monument to “Seattle Process,” and I predict that these buildings will be there for many years to come. Jack Rosenthal, via seattleweekly.com

EARSHOT

news&comment

SeattleBriefly

Smoking the Competition

Fast takes from the news desk

With profit margins thin, 502 stores pull out the stops to pull in customers.

Uber Pinch

BY SARA BERNARD

Enter gleaming, airy spaces lined with reclaimed

wood and brick, reminiscent of art galleries or boutiques that sell silk scarves and home decor. Ganja Goddess in SoDo has chandeliers, live orchids, and a handwritten chalkboard menu. Renton’s first pot shop, The Evergreen Market, was designed by a former Starbucks architect and includes weathered beams from a 100-year-old barn, a twisted willow entryway, and 2,000 square feet of retail space. They’ve also got a customerrewards club and a weed drive-through. (“You know what you want, and just have time for a quick in and out,” their website quips of the Evergreen Express Window; “Don’t worry, we’ve got you covered.”) Some shops offer insidery perks like Fremont-based Hashtag’s weekly “Meet the vendors” sessions (4–7 p.m. Friday,

Beruk Tekc has driven for ride-sharing service Uber for a year and a half. He bought a new, Uber-compliant car for $26,000, he says, viewing the purchase as an investment in a lucrative new job. But in practice, after expenses, he finds that he makes only about $10 per hour—less than minimum wage. “It’s really hard to pay [the car debt] off,” he says. “We’re struggling to survive.” Stories like Tekc’s have begun to emerge as Councilman Mike O’Brien prepares to introduce legislation that would help drivers of services like Uber and Lyft unionize. As is, the drivers are considered independent contractors, meaning many labor-law protections—such as minimum wage—don’t apply to them. “What’s happening for [these] drivers is a race to the bottom,” O’Brien said. As independent contractors, costs that are normally borne by employers are passed along to drivers themselves, many of whom are immigrants. While Lyft, for example, advertises a driver income of $20.30 per hour in Seattle, in practice drivers say that their paychecks are eaten up by hidden costs. Because of his car debt, Tekc says, “it’s kind of the same thing as a slave.” Just a little something to think about when you tip your Uber driver with nothing but stars. CASEY JAYWORK

Like McKinley, But Worse GANJA GODDESS

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

ree shuttles. Food trucks. Happy hours. 4/20 events with ice-cream sundaes and onsite glass-blowing. Cannabis sensuality seminars. As more and more recreational-marijuana retailers open their doors in Seattle—and supply shoots up, prices drop, and taxes stay steep—it’s getting pretty clear: A pot shop cannot live by weed alone. “It is a slim margin, and we do have a big staff and rent and everything we can’t deduct from our federal [taxes],” says Brendan Hill, drummer for the ’90s hit band Blues Traveler and co-founder of Paper and Leaf, the first recreational pot shop on Bainbridge Island (which has low-hanging lamps, wood-paneled glass, and a 12-foot elm table with stools at the center of the room; the shop also sends a free shuttle to meet every ferry that arrives on the island). “We do have to watch our books and be careful—there’s competition in Seattle, and there’ll probably be more competition as we move forward.” Snagging a recreational vendor’s license in the state lottery might once have been considered a (relatively) easy road to big money. Last November, legal weed supply was low, licensed retailers were few, and accordingly the price-per-gram was high. Until July 1, though, the product was taxed 25 percent every time it changed hands; while taxes are now levied only on the transaction between retailer and customer, they’re still at 37 percent, plus the standard 8.5 percent sales tax. That means that nearly half of every dollar spent on (legal) bud, truffles, and tincture goes to the state of Washington. To make matters worse, since it’s still federally illegal, shop owners aren’t allowed to deduct any expenses like rent or payroll. Nevertheless, recreational retailers have been opening steadily for the past year, many in the past few months, with as much entrepreneurial zest and ingenuity as any new craft brewery or artisan bakery in the area. According to the Washington State Liquor and Cannabis Board, the price per gram has dropped over the past year from about $30 to about $11. As a result, if you’re going to make it in this business, you gotta get creative.

The owners of Ganja Goddess say they seek to appeal to women.

with deals on those vendors’ products). Ocean Greens has happy hours every afternoon, Monday through Thursday. “Everybody does it a little bit different,” says Paper and Leaf ’s Brendan Hill. “We want to impress upon people it is a different experience than some of the other shops.” Hence its artsy interior, free ride from the ferry, and soon-to-be-biweekly Cannabis 101 workshops. Hill and his business partner Steven Kessler have a lot of ideas about how to attract the tourist crowd; one hope is to coordinate their shuttles with Bainbridge wineries, breweries, and art galleries, making the shop one of the island’s standard destinations—a sort of wine-and-weed tour, if you will. And as a tip of the hat to Hill’s love of music (and to some of the Bainbridge baby boomers who remember when weed was illegal and Rod Stewart records filled the airwaves), he’s brought in a record player and his old vinyl collection, too. “We want to make it feel comfortable,” says Hill. “When people come in, they’re not feeling like it’s sketchy and they’re doing something wrong. They’re doing something right.” Tara Wells, founder of Ganja Goddess, Seattle’s first woman-owned pot shop, concurs: “I want everyone, the minute they walk in, to feel good,” she says. While her clientele is as diverse as the

city, the shop does try to appeal to a feminine audience. Historically, “women haven’t been as comfortable going into cannabis places,” she says. “We’re trying to make it as comfortable, as beautiful, as possible.” Accordingly, Ganja Goddess partnered with Babeland to co-host several free, female-focused events. The two businesses recently held “Ladies Night with Ganja Goddess”—a mini-workshop on cannabis and sexuality at Babeland’s headquarters on Capitol Hill. Workshop leaders discussed cannabis’ ability to heighten sensuality and relaxation, particularly for women, and offered toys and techniques that pair well with the experience. Ganja Goddess’ “Cannabus” was on hand to shuttle attendees back to the shop to make purchases afterward (such as a cannabisinfused personal lubricant called Temptress that is “amazing,” says Wells). On September 19, Ganja Goddess and Babeland will co-host a “Couples Champagne Soiree” along similar lines. “I don’t worry about competition,” says Wells. “I just worry about us providing an experience that is fabulous.” And even if the money he’s sunk into this effort “might not get paid back for one or two or three years—or ever,” says Brendan Hill, “it does feel like an exciting endeavor. It’s really exciting to be part of this industry at this stage.” E

sbernard@seattleweekly.com

If you haven’t heard, Ohio’s congressional delegation is pretty bent out of shape over President Obama’s decision to rename Alaska’s Mount McKinley to its native name, Denali. Its namesake, the assassinated President William McKinley, was from Ohio, and apparently the flatlanders are loath to give up their small claim on the tallest mountain in North America. It’s unclear what political constituency would stick up for Admiral Peter Rainier, the British naval officer for whom our local giant mountain is named, were its name to change. Rainier never visited the Pacific Northwest; he fought against American privateers during the American revolution; and his countrymen were shooed off to the cold side of the Strait of Juan de Fuca when this area became U.S. territory. But while Admiral Peter lacks a fan club with representation in Congress, there’s reason to doubt the name Rainier will be scrubbed from local maps anytime soon—for one thing, there’s no consensus on what the mountain’s name should be changed to. “Tahoma, Tacobeh, Pooskaus, Tacoma . . . There are all these different names,” Puyallup tribal member Robert Satiacum told KPLU in 2012. One solution gained momentum a few years ago, when a group of local tribal members, including Satiacum, suggested the name Ti’Swaq, which roughly translates to “It touches the sky” and would be neutral among tribes. That effort has “lost momentum,” Puyallup Tribe spokesman John Weymer told Seattle Weekly on Monday. But the Puyallups continue to press for a name change, and feel encouraged by Obama’s decision on McKinley. “It’s always been the tribe’s desire to get the name Tahoma recognized,” Weymer said. “For God’s sake, Mt. Rainier is named for a guy who’s never been to the country.” DANIEL PERSON news@seattleweekly.com

Green With Irony

A campaign to get money out of Seattle politics is flush with out-of-state cash. BY CASEY JAYWORK

WIKIMEDIA

New York millionaire Sean Eldridge.

The campaign is not without its critics, though

they so far have far less money to get their message out. The opposition campaign, No Election Vouchers, has so far raised only $800, though Durning says they expect much more to appear before the election’s over. The primary funder so far is Sound View Strategies, home of former Ed Murray campaign adviser Sandeep Kaushik.

» CONTINUED ON PAGE 8

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#TOTALDOMINATION

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

new ballot measure that aims to counter the influence of money in Seattle politics has found strong support among outside donors who view it as a pilot project that could be replicated nationally. As a result, they’re pouring money into Seattle politics. I-122, aka Honest Elections Seattle, is a city initiative on the November ballot that combines strict rules on campaign contributions with publicly financed elections. I-122 would limit contributions to elected officials from both registered lobbyists and companies with fat city contracts. It would expedite public reporting of campaign contributions; require paid signature-gatherers to wear badges identifying them as such; and implement a three-year waiting period for retiring elected officials who want to work as lobbyists. But its most inventive—and controversial— provision would create so-called “democracy vouchers.” Voters who ask for the vouchers would get $100 worth, and then donate them, in $25 increments, to any qualified candidate of their choice. The vouchers would be funded through a new property tax that would levy $8 on a home with a taxable value of $400,000. The effort to expunge money from campaigns, though, comes with irony. I-122 has itself amassed a campaign war chest that dwarfs not only the opposition’s, but that of every other campaign in Seattle. Not even whales like Tim Burgess, Pamela Banks, or Kshama Sawant— who’ve each raised about a quarter-million dollars—come close to the roughly $370,000 that Honest Elections has raked in. More than half of that $370,000 comes from four out-of-state contributors: two national antigraft activist groups; a union-owned bank on the East Coast; and a rich liberal in New York—Sean Eldridge, failed congressional candidate and husband of The New Republic publisher and Facebook billionaire Chris Hughes. Eldridge is the biggest single donor, contributing $100,000 to the effort. (Another irony: Many saw Eldridge’s run for office, in which he outspent his opponent by $3.3 million, as an attempt to buy a seat in Congress.)

One of the two national groups helping to fund Honest Elections Seattle is the nonpartisan anti-corruption organization Represent.Us, which has put in $20,000. Director Josh Silver says his group is pursuing the same local, bottom-up strategy that progressives have successfully used to push marriage equality, a higher minimum wage, and marijuana legalization. “Those are issues where they were getting nowhere in Washington, D.C.,” he says, “and advocates realized, ‘We’re going to have to take this fight local, because we’re not going to win nationally, and perhaps we could actually move the needle by winning locally and having a domino effect across the country.’ ” Campaign finance is perhaps an even more entrenched issue than those others, says Silver. In a political system where virtually every elected leader, right and left, has clawed his or her way into office with the help of wealthy donors, real campaign-finance reform amounts to an existential threat to the very leaders who have the authority to pass it. That’s why Silver’s so psyched about this campaign. If voters in the Emerald City can slay, or at least maim, the beast of megabucks, it could start a stampede of similar legislation across the country. He’s quick, though, to rebut the suggestion that this supposedly grassroots campaign is really AstroTurf for a national agenda. “In Seattle, it really is and was a homegrown effort,” Silver says. “This was initiated by folks like Alan Durning at Sightline Institute, and FUSE . . . and other progressive groups that really took the initiative in Seattle. “We were never part of any early planning,” he adds. “We’re rooting them on from the sidelines.” Durning, executive director of the progressive think tank Sightline, says that a coalition of local groups has spent the past year crafting the vouchers/anti-graft legislation. National groups became aware of it when their lawyers reviewed the initiative for constitutional issues. “We think that Seattle is a city with smart, informed voters who are willing to try new things,” Durning says, adding that national reformers got excited about Seattle’s push for democracy vouchers because vouchers poll well even among moderates and conservatives. “But you have to go someplace first and prove that they work,” he says.

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news&comment» Green With Irony » FROM PAGE 7 “There are lots of people in Seattle, myself included, who are supportive of . . . public financing of elections,” Kaushik says. “But the problem here is that this ‘democracy vouchers’ scheme . . . actually increases opportunities for corruption and abuse in our elections, and perhaps even worse, [it] is going to increase the power of already-powerful special interests.” Kaushik says he worries that business or labor groups could direct their members to all give their vouchers to the same set of candidates. In the worst-case scenario, the vouchers would effectively subsidize lobbying rather than counter it. Durning replies that “That’s the point”: to shift influence away from organizations with large bank accounts and to organizations with large memberships. “That’s a feature, not a bug,” he says. Other problems Kaushik foresees: Having millions of dollars in election vouchers floating around will lead unscrupulous voters to try to sell theirs; and lower campaign-contribution limits will just push more money into independentexpenditure campaigns (which are basically PACs), where its origins and uses will become even more opaque. “All they’re doing is they’re pushing money into a darker corner of the campaign-finance world,” he says. Kaushik’s final objection: If each of Seattle’s roughly 410,000 registered voters get $100 in vouchers, that’s $41 million. How can Seattle pay for that with a property tax that raises only $3 million per year? “The proponents cannot guarantee that voucher money isn’t going to run out,” says Kaushik. Actually, they can. I-122 includes spending limits for each participating candidate. If you want public vouchers, you have to promise not to fundraise above a certain point—between $150,000 and $800,000 depending on the position. These spending limits mean that the limit on how much voucher funding is spent during an election is determined not by the number of participating voters, but by the number of participating candidates. And not just any candidate can participate. To ensure that only serious candidates receive vouchers, participants are required to raise a certain number of donations (150 for district council seats, 600 for mayor) of at least $10 each. Proponents like Durning are confident that, after months of design, the budget is “airtight.” When you crunch the numbers, even in a worstcase scenario, the voucher program is extremely unlikely to run out of money. Durning acknowledges that I-122 is not perfect.

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“The U.S. Supreme Court does not let us . . . just ban big money,” he says. Instead, it has “left us with . . . a set of less-good options, and prominent among them is that we can spend local money to dilute the influence of big money.” And sure, he admits, it’s ironic that a campaign against money in politics is getting so much political money to back it. It’s also ironic that wildfire fighters in eastern Washington are setting fires themselves in order to eliminate fuel for larger infernos. The reality, says Durning, is that money makes the political world go ’round. “You can bemoan [that fact] and lose,” he says, “or you can get in the game and try to win.” E

cjaywork@seattleweekly.com

PUBLIC LECTURES

Dead Wood

Jack Z.’s lineups were historically bad at getting on base.

PRESENTED BY UWAA

BY SETH KOLLOEN

JEREMY DWYER-LINDGREN

Join the University of Washington Alumni Association, The Graduate School and our partners across the University for this fall’s signature lectures, featuring leading minds from the UW and around the nation. OCT. 6

EQUITY & DIFFERENCE: KEEPING THE CONVERSATION GOING An Evening with Harry Belafonte

INTERVIEW WITH VALERIE CURTIS-NEWTON

HARRY BELAFONTE $5

OCT. 15

ARTIST AND ACTIVIST MEANY HALL FOR THE PERFORMING ARTS

THE RENAISSANCE ELSEWHERE ALEXANDER NAGEL

PROFESSOR, INSTITUTE OF FINE ARTS, NEW YORK UNIVERSITY

NOV. 5

INNOVATION, INCLUSION AND IMPACT: Promoting

Creativity and Design Strategies in International Development

AMY SMITH

SENIOR LECTURER, MECHANICAL ENGINEERING, FOUNDER, D-LAB, MIT

Surviving Disaster:

Natural Hazards & Resilient Communities OCT. 13

DISASTERS FAST AND SLOW:

From Catastrophic Landslides to How We Treat Our Soil DAVID R. MONTGOMERY PROFESSOR, COLLEGE OF THE ENVIRONMENT

OCT. 20

TEN YEARS AFTER KATRINA: Lessons Learned and Unlearned

JED HORNE PULITZER PRIZE-WINNING JOURNALIST AND AUTHOR

OCT. 27

SOCIAL MEDIA USE DURING DISASTER EVENTS: The Evolving Role of the Connected Crowd in Response and Resilience KATE STARBIRD ASST. PROFESSOR, COLLEGE OF ENGINEERING

NOV. 3

HOW TO LEAD AND SUCCEED WHEN IT MATTERS MOST JAKE WOOD CO-FOUNDER AND CEO, TEAM RUBICON

NOV. 10

A TALE OF THREE SEATTLE TEMBLORS: One Big, One Deep and One Direct Hit

JOHN VIDALE PROFESSOR, COLLEGE OF THE ENVIRONMENT

FIND OUT MORE AND SIGN UP NOW AT

UWALUM.COM/LECTURES Lectures are free and take place in Kane Hall on the UW Seattle campus unless otherwise noted.

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

ired Thursday: Mariners General Manager Jack Zduriencik, who selected the team’s roster for seven stultifying seasons. The problem with Zduriencik’s teams? They had too many shitty players. Reductive, I know, but it’s a particularly bad problem for a baseball team to have.The Cleveland Cavs were two wins from a championship with LeBron James and four shitty players. A football team with a shitty right tackle can run left. But a baseball team’s shittiest player will still come to bat three times a game. In baseball, shit has nowhere to hide. Your worst hitter might be at the plate in the game’s most pivotal moment. In football, with the game on the line, you can choose to give the ball to your best player (or not—luv ya, Seahawks!) But a run is impossible to hack. Step one is this: You must, at least, perform the binary One of many flops. act of morphing from a hitter to a base runner. Zduriencik’s players couldn’t. 2014’s pennant-contending Mariners—but are To illustrate, I bring you a statistic of my own scoring fewer runs per game. invention. It’s called “Hitter Fails.” A Hitter Fail is a game by a hitter in which he comes to bat at least four times and fails to do the one thing he Simply put, Zduriencik valued the wrong things must do in order to score a run—reach base. in a baseball player. But what about the people Baseball general managers have built 2,168 who hired him? Do they value the wrong things offenses since 1914. Only 35 of those offenses had in a general manager? 250 or more Hitter Fails in a single season. ZduriHere’s Mariners CEO Howard Lincoln after encik is responsible for building five of them. Zduriencik’s firing: “I want to thank Jack for his Some background here: Zduriencik’s tenure loyalty and hard work over the years, and for the overlapped with a revolution in baseball anaquiet dignity with which he has carried himself.” lytics. “Moneyball” is baseball’s catch-all term Loyalty, hard work, and a dignified carriage for revelations that have changed how baseball are excellent qualities. They have little to do with players are valued, trained, and even where assembling a successful baseball team. I’m not they stand on the field. The most celebrated cherry-picking a quote here. During the Marifinding of the Moneyball era? It’s that getting ners’ dark ages, team officials have repeatedly on base is hugely underemphasized how hard estimated as a factor in they are working to turn A run is impossible to scoring. the team around. What’s And yet in 2011, the hack. You must, at least, needed isn’t harder work year the movie Moneyball but newer thinking. perform the binary act of Baseball has passed came out, Zduriencik’s offense had 283 Hitter Mariners by. While morphing from a hitter the Fails, the worst of any other teams embraced offense of the past 101 Moneyball, the Mariners to a base runner. years. Zduriencik acquisiheld firm to a general tion Miguel Olivo led the way, failing to reach manager who, in the words of his own top base in one of every three games he started. The analytics advisor, “never has understood one next year, Olivo was still Zduriencik’s catcher. iota about statistical analysis.” So . . . New team president Kevin Mather, who along with Lincoln will pick Zduriencik’s replacement, People who in 2011 understood the importance of admits to reporters that he’s “not a baseball guy.” reaching base: Good. Moneyball has proven that what “baseball Jonah Hill guys” preached for generations was a combinaRobin Wright tion of folk wisdom and wishful thinking. Key grip Robert “Boomer” McCann Mather started out in the M’s finance departAnyone with $10 for a movie ticket ment. He’s a numbers guy, just like the folks who started the Moneyball revolution. When job canPeople who didn’t: didates come to him with their vision for making Jack Zduriencik the Mariners contenders, he should be able to tell who has a real plan based on empirical evidence, Zduriencik obviously wasn’t trying to build and who is just talking a good game. Or, at the historically inept offenses. He had a plan—to very least, he could give “Boomer” McCann a call. score via the home run. In service to his vision, he As fans, we put our trust in Mather, because shoveled money at aging, brittle sluggers. He even we truly don’t have another choice. If Paul Allen had Safeco Field’s fences moved in. can find the leader to deliver a championship— But while Zduriencik got the home runs he and it really doesn’t get less “football guy” than wanted, the wins didn’t come. As of Sunday, his Paul Allen—Mather can do the same. E 2015 Mariners had hit 20 more home runs than news@seattleweekly.com

HOME Seattleites talk about where they live.

By UW News Lab

here a person lives is more than a place to lay his or her head at night. The home—be it a condo, an apartment, a shelter, or a house—is a reflection of the culture and circumstance of its resident. Seattle has plenty to say about home and housing. Living through one of the city’s largest periods of growth has changed the way many people in Seattle see home. These are oral histories of the people of Seattle and the stories of Seattle housing in their own words.

The Condo

Mauricio Malagon

Even before Mauricio Malagon opens the door to his condo, his dog Crystal squeals with excitement on the other side of the door. This is the first time he’s been home since he left for work this morning, so Crystal is anxious, he says. His one-bedroom condo in Belltown is just big enough for the two of them, and he likes it that way. The 34-year-old came here seven years ago to work for Boeing and decided to take advantage of the housing market at the time and buy a place of his own. After greeting Crystal, Malagon retires to his building’s patio and looks out at a scenic view of the water below. OLIVIA FULLER

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

I like Seattle a lot. I think we in Seattle have a pretty high quality of life; I think we have a lot of things that many other places in the world and in the U.S. don’t have. We have lots of academic places like the University of Washington, we have science in the city, and we also have a pretty active arts community, so that I enjoy, and also the sports

throughout the city. I like the convenience of living in the city. I like coming home and being able to walk and not having to drive anymore; I like being close to everything, pretty much. Most of the main cultural activities are nearby, within walking distance, so for me that was a very large incentive to come here. The experience of walking through the park down by the water and seeing the sunset over the Olympic mountains: For me that’s something that I get to experience on a daily basis, the beauty of this place and the vibrance here of the city. When I came to Seattle, I noticed that it had a certain kind of character that other cities didn’t have . . . some of that is being lost with all of the new high rises and all of the new buildings. It seemed like a laid-back city, and it seemed to be a really family-oriented city at first. Now it’s starting to become more commercialized, like New York and San Francisco. There’s a lot of younger people moving into the building in their 20s and 30s. I’m thinking it’s because of the vicinity with many companies, mainly Amazon and South Lake Union, and that’s why this neighborhood is attractive to that demographic. They did a renovation recently, and I think it’s to keep up with the changing of the city. It seems to me that things are becoming more expensive and more upscale. They went around and renovated the interior of the building. But overall this is a pretty good building, really well-managed. I see our economy continuing to grow and our industries becoming more diversified, so more than just the traditional ones I see high-

density living becoming more commonplace. I see a city with a pretty bright future. I think of all of the cities in the U.S., this is the one that has the most bright prospects. I would like to think that we’ll keep a vibrant cultural life and keep the quality of life as well. The Shelter

Gary Hagel

Gary Hagel had been staying at the Seattle Union Gospel men’s shelter for three months when we meet. Before he came to the Union Gospel center, Hagel was living in his pickup truck, using heroin, methamphetamine, and suboxone. One day his wife asked him if he was ready to go to the Union Gospel Mission, a place they had both been eyeing for a while, and which she believed to be his only chance to get sober. His wife drove him to the shelter to start a year-long program. He went from an isolating existence to being surrounded by 30 or 40 men. “It wasn’t easy at first. It gets easier as the days go on,” he says. CHETANYA ROBINSON

in this environment—it’s not like you’re a street person. I didn’t have any inkling that I would ever be in this position. Not that it’s a bad position, but it didn’t fit the way I’ve lived for the last 25 years. But it’s working. I bought my wife over the years a snow village—they’re little houses that you take out at Christmas time. Her birthday was right before Christmas, so every year I was buying these little houses for her villages. And in the second floor of one of these homes there’s two rocking chairs, and there’s a little lady in one rocking chair and a little old man in the other rocking chair, and there’s a nice fireplace going, and they’re watching the crackling of the fire. And there’s a dog laying on his rug right behind them, quite content, and that looks like a pretty good picture to me. That’s kind of what home looks like to me. The Co-Op

Shon Meckfessel

Every Wednesday, August 19 to September 2, Bumbershoot artists will take over The Arbor at Collections Café for pop up performances of spoken word, comedy, dance and theater. Drop in from 5 - 7:30 PM to enjoy this new take on happy hour with a special selection of beverages and bites, courtesy of Collections Café.

September 2

Literary: Battle of the Word

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SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

Shon Meckfessel has had many homes—from renting rooms filled with activists or anarchists in huge The whole story is a long story of about 50 years houses to squatting in unused buildings to growing up of drug addiction, but in the meantime I raised a in what he describes as a “white-supremacist enclave” family and took care of the family, and worked and in the Pittsburgh suburbs. But home, he said, isn’t supported the family and bought a house and lived about the house. Home, he says, is public spaces and rather middle-class—until the last year or two, or forms of expression. The tent he slept in—or tried to maybe even longer than that, I started drifting back sleep in—during the Occupy movement felt more like into my old patterns of addiction, or sin, as you will. home than the co-op unit he recently purchased on the And it’s been kind of a scary road up until now. This is kind of my last resort. My wife and my family had northern edge of the U District. Still, he likes his space in the co-op: a brightly lit room in a 50-unit building been telling me for a while that I should get a year overlooking Ravenna Park. The 42-year-old moved somewhere and be clean so I could arrest this addicin this May after becoming tion. So I went to my wife’s house, and I was in bad Buying my unit right now, a tenure-track professor at Highline Community Colshape. I was down to about I don’t really think of it as lege. HOLLY THORPE 165 pounds, and I asked her for a bed for the night, nesting into home. I think of I’ve spent a fair bit of and she said “Sure”—reluctantly, “Sure”—and then time squatting— like, occuit as an investment. she said, “Are you ready to pying empty buildings that surrender and go to the mission and get well?” and you don’t have any legal right to and using them I said OK. So she called down there while I was for something better than they were being used tossing and turning in bed and they accepted me, so for. When I kind of got into collective housing and in the morning she just drove me down here and I anarchist and punk, I learned from zines and stuff came in and they accepted me that day and brought that squatting was a thing you could do and that it me up to the fourth floor and gave me a bunk and made you cool. So in Sacramento I opened up an I was rather toxic, so I had to go through a lot of abandoned house and lived in it for a little bit. And withdrawal for about a week or two. as I traveled more, again, [in] places like PhiladelMy wife just sold our house for $385,000. I had phia it was way more common—there were scores cars, fishing equipment, golfing equipment, anyof squats, and frequently people would hook up thing I wanted I had because I made pretty good electricity and water and you would be in houses money, and my wife works too, so we had a pretty that looked like really nice places, like places that good lifestyle, although I would periodically spend would be, like, $3,000 a month here. a lot of money on drugs, so we never had much of And then I went to Europe and traveled around a bank account, but we always had money. a lot sort of in anarchist circles, and there it’s like— I don’t know if I ever felt at home anywhere. it’s crazy. I went to Barcelona at one point and they That’s why people use drugs or alcohol, just to had 200 squats that had public spaces, let alone like mask the empty feeling that they have inside. probably 1,000 that were just where people lived. Wherever I am, I’m kind of alone. And I would So people live their entire lives just going around in isolate myself, even in my own house. I would just empty buildings. watch television or movies or read constantly, and I think home for me is public spaces. I mean, keep people at bay, actually. I’ve been kind of homeless at times, I’ve slept out It was a pretty hard adjustment, being isolatof doors in cities, if that’s what people mean by ing like I tend to do, and then you’re thrust into homeless. But even buying my unit right now, I a group of 30 or 40 men in barracks style that are don’t really think of it as nesting into home. I think all around you—it’s rather overwhelming. It was of it as an investment and, like, a safety hedge in rather overwhelming. case what happened in the Bay [Area] happens Being in here, you start making friends, here, land values explode. pretty tight friendships, and you realize that’s I don’t want to be displaced again. But I don’t what you’ve been missing. That ability to look really think of it in terms of home. When I think at another man . . . and to be truthful and hon- of home, it’s like relations with people and spaces to est and tell him how you feel about things. That kick it. For me one of the most nauseating things makes a big difference. about our society is how people save all of their love I really don’t want to leave here until I’m comand compassion and creativity and energy for what fortable enough in my own skin to do the Lord’s happens inside their white picket fence. I think the will and to be walking with him, but strong enough reason that we have a lot of our social problems are to do that. It might take the whole year to do that. because people don’t care about stuff outside of their Being middle-class and all of a sudden thrust » CONTINUED ON PAGE 12

Artists in the Arbor

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SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

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Pancake Breakfast • Farmers Market Antique Car Show • Peter Storeth Mural Show Historical Display • Weavers and Spinners • Tour of City Hall • Tour of Carlisle II Square Dance Demonstration • Art Walk MegaMarbles Tournament “Patriotic Music Tribute” Family Friendly & Fun Street Dance

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Home » FROM PAGE 11 family home, their nuclear family home. For me, I mean, it’s nice to be comfy, it’s really good to be secure, but I think those homey feelings for me aren’t usually inside my house; they’re, like, in a city, in my relationships with people there, in familiarity with routines and intimacies. The Artist Loft

Ian Kurtis Crist

Sandwiched between office buildings and a large selection of ethnic restaurants in the International District is what local artist Ian Kurtis Crist refers to as his “multipurpose art space.” If it weren’t for him standing outside to welcome me, a steady wave of smoke drifting from the cigarette he holds, I would have simply passed by the concrete structure, thinking it just another office building. But this is home for four young Seattle artists and musicians. Crist happened upon the space on Craigslist while searching for an affordable escape from his old apartment building, which was sold to a new owner in December. OLIVIA FULLER

The Swanteks bought their 1920s Craftsman home in Wallingford on a handshake deal from Scott’s former landlord for much less than it would have sold on the open market. It needed a lot of work, but he’s in construction, so he was up to the task. With home equity peaking before the market crash and time to devote to a remodel, the Swanteks added an upper story and restored every part of the home down to the traditional ’20s moldings. Now, from the tidy upper floor, the couple can look out on Mount Rainier and the Space Needle. She grew up nearby, living in the same house from the time she was 2. Scott lived in the same home in Colorado from the time he was born. CALEY

COOK

Nancy: I think growing up, home was similar to this. The only real difference is that this house has a lot more bathrooms, so that’s the only thing. Scott: For me home was about our family; it was where as a family we’d have dinner every night together. It was a safe place to be, and always comforting to know that it was where everyone was. Nancy: We both grew up in a very traditional family. Scott: I was 12 years old before I spent the night I found this place actually just on Craigslist. I at someone else’s house. I always liked home. had been looking for commercial spaces like this Nancy: We both like to play in the mounfor a very long time, and usually because of, like, tains and on the water and hike, and I think paperwork or credentials or the landlord not wantwhat I like about Seattle is that I work in ing to deal with loud amounts of lots of loud voldowntown Seattle and it’s not far for us to ume, it usually doesn’t work out. But this one, the be in a mountain place or on the water. On manager and the building owner were both very, a Friday night we’ll say, “Let’s go eat dinner very cool, and we just talked up a proposal and someplace,” and we’ll walk up to 45th and just made something happen, so now I’m here. decide as we stroll, so I like that we’re close to I moved here because I was living in a buildplaces to eat and the library. ing on Capitol Hill that was kind of owned by Scott: What I miss a slumlord—the good kind of slumlord, where What I miss that I don’t have that I don’t have here is probably elbow room. A the whole building was, like, in shambles, but he here is probably elbow room. little more space—being to have an acre of essentially just rented it A little more space—being able land, say, or have a bigger out to artists for cheap, even though a lot of the able to have an acre of land. garden, or build a garage or a shed or something rooms were really, really without having to worry about it. In Colorado, broken down. in a small town outside, we had acres, so [if ] What had happened was in December he sold you want to build a garage or shed, you go build it to a small business that was trying to convert it it. You have to get a building permit, but that’s into a nice apartment building. And, yeah, they really easy. Here I’m restricted within inches of were just upping the price like crazy. The unit where I can actually build my garage. I lived in didn’t have a kitchen or a shower or a Nancy: We talk about this. It would freak me ceiling in the bathroom, and there was, like, holes out to live in a place where if I screamed nobody in the wall that rats were trying to crawl in, so I would hear me. But you like the idea that when had to build new walls. So I was like, “You’re kidyou can scream, nobody can hear you. ding me—you’re going to try to raise the rent on Scott: Some of the people who have lived this?” And the increase was just sort of endless; here for 30- or 40-plus years say wow, it’s gethe was essentially trying to keep raising the rent ting so expensive and nobody can afford to live to price everybody out of there. So that’s when I here, and the people that can are either rich really cracked down on trying to find a commeryuppie people or Microsoft people who have cial space, and then luckily this one worked out. made lots of money. You used to be able to Being involved with the music and arts scene is come here to Wallingford and have a median what I came here to do, and it’s very important to income, and I think it’s probably going to me to be able to enable others to do that, as well where you have to; it’s hard to afford here. You as be involved in doing that myself. Especially at a end up moving north, like people who have a time like this where the demand for the necessity of single income, or [are] just out of college, or artists to have places to play and have functioning first-time home-buyers—this is not a firstcreative housing outlets for their artistic endeavors is extremely important, with how quickly everything is time-home-buyer area anymore. Nancy: Even though it was, when we bought getting bought up and repurposed as Amazon living in, a more working-class neighborhood, it’s not a situations and neighborhoods are shifting. diverse neighborhood at all. It’s super, not conserSo with a lot of those places—the classic Seatvative at all, very liberal, very Caucasian. tle places—getting closed down for a more recent booming tech industry, I feel like the most crucial, Scott: It hasn’t impacted that. E rebellious effort we could have is to just show that news@seattleweekly.com we’re not really going to get turned over and just trampled on with our endeavors of passion, that we should just continue to keep them going and Students from the University of Washington’s News show that we’re still just as passionate. Lab conducted these interviews as part of their The Single-Family Home coursework this past spring. All interviews were Scott and Nancy Swantek edited for length and clarity.

COURTESY OF THE ARTIST

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

A Seattle-centric guide to this year’s Bumbershoot.

he city’s 45th annual Labor Day festival is again sprawling across the Seattle Center campus, packed full of bands, food, art, movies, and cultural ephemera. It’s a pivotal year for the festival, which is now being run by a new partnership between longtime steward One Reel and the regional arm of international live-music monolith AEG Live. It’s a little unsettling for Bumberfans who have long prized the festival’s support of regional artists even as the bill has filled with national and international ones. Accordingly, this year we take an alllocal view of the extravaganza, showing that Seattle continues to represent at Bumbershoot while also hinting that it had better stay that way. In the following pages you’ll find where to eat and drink in the Uptown neighborhood; meet local stand-up comic Monica Nevi; learn about Seattle’s gender-bending ’70s performance-art troupe Ze Whiz Kidz; and glean a few picks among local filmmakers at the 1 Reel Film Festival. And then there’s the music. We’ve got a rundown of all the local hip-hop acts you need to know (there are a lot); a deep dive into the alternate RPG lives of Seattle noise punk band Charms; a look at the unusual singing methods of up-and-coming diva Grace Love (pictured above with her band); and an introduction to DEEP CREEP, a scarily good year-old post-punk group. Now Bumberscoot on over to the next page and read up on all the locally grown goodness. See bumbershoot.org for full schedule and ticket info.

HO BUMBERS

MODEST MOUSE • CHROMEO • MOTHER MOTHER JULIAN CASABLANCAS VOIDZ • KIESZA • JOEY BADA$$ ARKELLS • TOKYO POLICE CLUB • NEON INDIAN

‘All Right, Ya Little Diva!’

You will love Grace Love and the True Loves. By Jake Uitti

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SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

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BRIAN FOSS PRESENTS:

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COURTESY OF THE ARTIST

THE

race Love, a Seattle soul singer with a powerful, booming contralto, uses some unconventional methods to create her distinct melodies: Sometimes she’ll sing into a whirring fan, or make up lyrics to go with the whoosh and slap of windshield wipers. In pursuit of a particular sound, she’s found herself trying to mimic the wail of a crying baby or its mother’s soothing coos. “Babies hit those notes that nobody can actually hit,” Love says, sipping a chai latte, sitting across from me at a table in Capitol Hill’s Solstice Café, her purple braids tied in a knot above her head. “And fans . . . they’re like cheap AutoTune!” Love’s voice can fill a room like an avalanche—but early in life she wanted, of all things, to be a politician, “because,” she says, “of ignorant people like Trump. I wanted to protect the arts and facilitate amazing opportunities for people who make this world go round.” Only in 2006 did she start singing professionally, though she’d sung in public much earlier. Her mother sang in church and performed in a girl group with Love’s aunts in Memphis—but Love wasn’t one of those kids who grew up in the choir. “I think I only sang once and I think I was about 4 years old,” Love laughs. “I stole the mic from my mom, who was singing ‘This Little Light of Mine,’ and I told her I could do it on my own. She was like, ‘All right, ya little diva!’ ” When Love was 16, she told her father she didn’t want to attend church anymore, and he didn’t put up a fight. “My religion is music,” she says. “My faith is in song.” Love, who will play Bumbershoot on Saturday with her band the True Loves (eight members, including horns, guitars, and percussion), caught the performance bug at 19, cast in Ain’t Misbehavin’ (named after a Fats Waller song) at Tacoma’s Little Theater. But only last year did she decide to take the plunge and try out life as a front woman. Previously, she’d worked in Manchester, England, recording backup vocals for dance tracks for DJ Zed Bias, to whom she was introduced by a man she met while she was singing subway gigs in New York City. The 15 or 16

tracks she recorded with Bias got played on BBC Radio 1 and throughout Europe. After all her travels, she found a home in Seattle, where she’s lived for a year and a half (though she grew up in Tacoma). She’s secured a band and a bandleader—guitarist Jabrille Williams—who provide the Dap Kings-style pocket upon which her voice thrives, while also challenging Love to transition into the life of a performer. “I’m really, really, really super-hard on myself,” she says. “But I’m trying to roll with the punches more. For a long time I’ve been a planner. Then everybody in the band was just, like, ‘Grace, just go with the flow.’ I don’t like doing that, but I said OK. Now, though, we need to start planning—the goal is to hit Europe next year, hopefully in the spring. Then do a U.S. tour and hit Jazz Fest.” Maybe the best example of the True Loves’ vibe

is “Mean to Me.” The title itself has two such precise and extreme meanings—cruelty and adoration—and the raw emotion in Love’s voice as she belts the lyrics is magic. Seeing her live, it’s as if you can watch her reliving the difficulties of being in love right before your eyes, while backed up by a tight, bold rhythm section she adoringly calls her “chariot.” “They don’t like that term, but I love it!” she smiles. “That song came from a place of hearing some old stuff and trying to make it new again,” she says. “I was listening to Fats Waller, Ray Charles—just all kinds of different artists who made simple songs that were really distinctive. It isn’t just about a relationship—it’s about friends, family, anyone who’s taken you all the way up and just dropped you.” Love, who will release her first full-length with the band in October, says there’s one thing people should know about her when it comes to a live show. “When I get offstage—it’s amazing to see fans there so excited—and I don’t want people to think I’m rude, but I usually run as fast as I can backstage to get my bearings. It’s a result of all that adrenaline, a wave of nerves, and me thinking, ‘Yes! I did it!’ ” E 3:30 p.m. Sat., Sept. 5, Broad Street Stage

music@seattleweekly.com

The backstories of Charms’ Pathfinder tabletop role-playing characters. By Kelton Sears

ILLUSTRATION BY KELTON SEARS

transforms. Wings sprout from it, and it flies off into the night eating people and shit like that.” In the spirit of Charms’ particular brand of RPG-inspired monster-punk, we asked the band to tell us the backstories of their individual Pathfinder characters from that fateful tabletop campaign, and hereby present you with these crudely rendered drawings of each: RAY MCCOY (drums) Character Name: Ruun Race: Human (with Draconic blood) Class: Sorcerer/Oracle

Ruun hailed from a clan of traveling performers. He himself performed cheap magic tricks and played music to scrape out a living in the itinerant troupe. One night, Ruun wandered off from the troupe’s encampment to gather firewood, and returned to a grisly scene: The entire camp had been slaughtered. Using a strange book written in a runic language that had been left behind at the scene of the crime and piecing together clues based on stories his troupe used to tell him about dragons, Ruun suddenly had an epiphany: He possessed Draconic blood—he was a descendant of ice dragons. Setting out to discover the true nature of his troupe’s murder and his scaly family tree, Ruun reluctantly found himself transforming, slowly, into an ice dragon—a claw appearing here and there and newfound frost spells suddenly dawning on him. During a particularly tough battle, when his party was cornered in a dungeon by a goblin army and a litch, a divine being came down and touched Ruun, transforming him into the powerful Oracle class—albeit at the cost of his eyesight.

E.J. TOLENTINO (guitar, vocals) Character Name: Alioth Race: Half-Elf Class: Druid

Alioth is something of a bad boy, given his distant dark-elf Drow blood (which manifests physically in the white strip of hair in the half-elf ’s mane). That rebellious streak flared up at magic school as the fledgling druid clashed with his teachers, vocally eschewing the tedious hierarchies of academia. Staking out on his own, Alioth fled the school and wandered the woods, eventually taking up residence in a cave with a bear. The wise bear, fatefully enough, taught Alioth the ways of the woodlands, its animals, and the powers that dwelt within him. After the spiritual/magical awakening, Alioth began to worship bear spirits, devoting himself to life as a forest magician. Early on in the party’s campaign, Alioth saved a bear cub that was under attack, who in gratitude subsequently became his lifelong companion, earning the name Muscida. (Alioth and Muscida are both stars in the constellation Ursa Major.) In battle, Alioth favors the Entangle spell, which snares foes in vines that spring from the ground. JOSH MCCORMICK (synth) Character Name: Wandering Monsters Race: Goblin/Troll Class: N/A

McCormick is “more into shooter games and just kind of hung out and played non-player characters during the campaign,” says McCoy. According to the band, he’s played everything from an effeminate gnome priest to a cleric character that belonged to a party member who often neglected to show up to Pathfinder nights. But most often, McCormick played a grumpy, wandering, bloodthirsty troll. E 7:45 p.m., Sun., Sept. 6, Vera Stage

ksears@seattleweekly.com

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

he music of Seattle’s noisy synth-punk trio Charms sounds necromantic. Ray McCoy’s crashing, stormy drums partnered with E.J. Tolentino’s trademark poly-octave fuzz guitar and Josh McCormick’s gut-rumbling bass synth is the sonic equivalent of a hot cauldron bubbling over with dazzling, malevolent black magick. According to McCoy, that’s no coincidence. “When I suggested the name Charms, I was thinking spells,” he says. “I’ve played a ton of video-game RPGs and I was thinkin’ spells. We’re all nerds in some way or another. When we’re writing and I’m thinking ‘What should come next in this song?’, I tend to defer to the vibe I like, which is, you know, boss battle vibes.” Although the band has been active since 2011, the group underwent a considerable sonic transformation in 2013, trading in its Dodos-inspired polyrhythmic indie rock for something far heavier, chaotic, and unique, as festivalgoers will see at this weekend’s Bumbershoot. As fate would have it, 2013 also happens to be the year the band sat down for its very first Pathfinder campaign, a tabletop RPG based on Dungeons & Dragons’ 3.5 rule set. While you certainly couldn’t call Charms’ music “nerdcore” (it is a far, far cry from chiptune or any of its derivatives), Pathfinder’s subconscious influence on the music is plain. The band’s current single, the crusading, triumphant “Separator,” is based on a monster called the Manananggal. “My family is Filipino, and that creature comes from Filipino folklore,” Tolentino says. “It’s this monster that is basically a human during the day, but then at night it splits midway at its torso and

HO BUMBERS

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JAZZ ALLEY IS A SUPPER CLUB

Gettin’ Spooked With DEEP CREEP “Income inequality, basement spiders, and bad sushi” really creep them out. By Alexa Peters

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COURTESY OF THE ARTIST

Celebrating five decades of funky soul with a brass backbone!

atching a DEEP CREEP show is like stumbling across the best Halloween party you didn’t know about. Everyone’s gone all-in on their costumes, the dance floor is full of weirdos shivering and shaking, and no matter how much you drink, your red Solo cup stays full to the brim. The band’s been around only about a year, but its show at Capitol Hill Block Party filled the Cha Cha Lounge and then some. Clearly, DEEP CREEP is the ghost everyone’s hunting for. “We haven’t done many shows because we want it to be special when we do,” says guitarist Brian Yeager. Deep Creep’s story began when Yeager and bassist Derek Fudesco met while working at Easy Street Records in Queen Anne. Soon drummer Jeff Alvarez started jamming with them. When vocalist Andrea Zollo hopped on board, the “skies seemed to part,” according to Alvarez. Zollo adds the perfect amount of spunk to the group, spooking the crowd with her cat eyes, dark fringe, and growling vocals. “[Being in DEEP CREEP] is a lot like that [1985] movie Just One of the Guys starring Joyce Hyser,” says Zollo. “It’s awesome.” She’s the leather-clad powerhouse at center stage, but she isn’t the sole focus, the band says. It’s clear this group has put their individual egos aside for the benefit of a holistic sound. “We do what’s best for the song, and we’re really very critical. Getting this record done took a year,” Yeager says. This meticulousness paid off. The band’s selftitled album, released last week, gets under your skin. DEEP CREEP is gritty garage, twangy surf, and even post-punk at times, but it’s consistently driving, danceable, and wonderfully weird.

The band cites influences like DEVO and Talking Heads, contextualizing their love of energetic guitar and bass interplay beneath spoken vocals, as on the track, “Bees in the Basement.” Still, Yeager says they don’t strive to fit a category. “[Putting us in a genre] is one of those nasty things [that requires] you ask what does ‘punk’ mean to you? Is it D.O.A. or Black Flag or the Buzzcocks?” Yeager says. “We just want to make good music.” For Deep Creep, good music is as much about the song as about the intention behind it. “Derek and I decided when we started the band that we wanted to put good stuff into the world . . . I spent all my teenage years playing serious music about dark shit, but as I got older I realized how much I loved making people smile and dance,” says Yeager. So the band writes love songs. They usually start the process with Fudesco and Yeager sending recorded ideas back and forth on their smart phones. “We tell each other, ‘No gloves on this one— if it’s bad, it’s bad,’ ” Yeager says. “For us it starts with the music, not the feelings.” Feelings come in when Zollo and Fudesco, who are romantic partners, add lyrics. “Some of my favorite stuff we do is songs they’ve collaborated on . . . Their solo stuff is great, but what they do together is always, like, ‘Yes,’ ” Yeager says. The track “Move a Little” is a perfect example of the killer love songs they write together. Zollo sings “And in the kitchen, where we’re kissin’/Hot mouth, cold sweating/You’re not staying long and I don’t dance right/Great song, can we move a little?” while the band pulsates underneath. It’s a little quirky, a little sexy, and totally DEEP CREEP. Though romantics, DEEP CREEP is also into all things shiver-inducing. Their socialmedia accounts alone are a walk through a haunted house: fangs, spiders, and jack-o’-lanterns surround show announcements and member bios. But according to Alvarez, it’s things like “income inequality, basement spiders, and bad sushi” that really creep them out. Still, all that creepy can’t cover up how likable they are. As Alvarez says, “The best thing about DEEP CREEP is [this] record we’re really proud of and [the] love between the four of us.” E 4:30 p.m. Sat., Sept. 5, #NeverTamed Stage.

music@seattleweekly.com

AN EVENING WITH

RUFUS WAINWRIGHT

Bumberspitting

A local hip-hop who’s-who for this year’s fest.

By Daniel Roth

9/8

Saturday

Sunday

Like Shabazz Palaces, the other rap duo Tendai Maraire is a part of, Chimurenga Renaissance is avant-garde hip-hop with a distinctly Afrocentric flavor. Maraire rocks his family’s deep roots in Zimbabwean music—in particular, his mastery of the mbira, a haunting thumb piano you’ve no doubt heard on quite a few Shabazz tracks. With the backing of Hussein Kalonji’s highlife guitar rhythms, Maraire takes over rapping duty. As opposed to Ishmael Butler’s abstract vocal wanderings, Maraire’s rhymes are more down-to-earth and direct. Starbucks Stage, 3 p.m.

music@seattleweekly.com

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9/13

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8PM

with MATT JAFFE + THE DISTRACTIONS

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If you were to call Dave B Seattle’s answer to Chance the Rapper, you wouldn’t be too far off. He shares the kind of earnestness and honesty that Chance has made a name on, and when he’s not being aided by Seattle production legend Jake One, he also has some serious chops as a producer himself. Just look at the understated funk of recent cut “On” if you need an example. Rhapsody Stage, 6:45 p.m. This summer, Brothers From Another put out its debut record, entitled . . . This Summer. As you might expect, the album is full of the kind of carefree, sunshine vibes that embody the school’s-out season that party-hearty teenagers and college kids live for. I mean, the dudes included a song called “Day Drink.” But hey, it’s working for them; they’ve managed to build a large fan base online, and a successful Kickstarter campaign that brought in over $7,000. Hard to hate on that kind of hustle. Rhapsody Stage, 7:45 p.m. Nacho Picasso is Seattle’s foremost musical villain, and proud of it. Case in point: He recently threatened on Twitter to come to our office and break bottles over our entire staff ’s heads for not featuring him on one of our local rap playlists that, strangely enough, he was indeed featured on. Go figure. But as fellow supervillain the Joker famously said, “Some men just want to watch the world burn.” The rapper’s distinct musical style is dark and brooding, each scathing line coming out more viciously than the one before. Picasso is also one of the foremost members of the infamous Moor Gang, one of Seattle’s best-known rap crews. Will there be a guest appearance from fellow Moors Gifted Gab and Jarv Dee? We certainly hope so. (Side note: If you are reading this, Nacho, hope there are no hard feelings.) Rhapsody Stage, 9 p.m. E

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Earlier this year, Renton’s One Above Below None took first place in the finals for EMP’s Sound Off! Competition—even after barely making the cut in the first round. It makes sense, though, given OABN’s music; subtler and more slow-burning than your average hip-hop fare. Most recently, they took the stage at Capitol Hill Block Party where members Devante Cash, Trajedi, and Mundy were, while not entirely polished, absolutely overflowing with energy and good vibes that overcast afternoon. Definitely ones to watch. Rhapsody Stage, 1:45 p.m. No one in hip-hop sounds quite like Raz Simone. The beats he picks are somehow both sparse and enormous, and he chooses his words carefully when he raps, his distinctive rasp punctuating each syllable. Raz has a flair for the cinematic; his songs sound more Hans Zimmer than hip-hop. His peculiar style caught the attention of 300 Entertainment, the record label that houses rap sensations like Migos, Young Thug, and Fetty Wap—but Simone was the first signee. Rhapsody Stage, 2:30 p.m. OK, so Diogenes isn’t a rapper, but he is a ridiculously prolific beatmaker. He effortlessly twists and massages samples to create something that goes above and beyond the source material (one of our favorite Diogenes tracks was cobbled together from samples of a dial-up modem tone). His vast catalog of classy cuts would bring a tear to ol’ Madlib’s eye. Vera Project, 6:30 p.m. Dex Dynamite Saga is the combined effort of Dex Amora, Zuke Sage, and J’Von, three independent artists who frequently feature on each other’s songs. Each of them have their own talents, building modern hip-hop out of a classically minded ’90s sensibility, and they work beautifully together. The trio rarely share a stage en masse like this, and it might not happen again for a while, so make sure you don’t miss this. Vera Project, 7:30 p.m.

COURTESY OF THE ARTISTS

umbershoot isn’t a particularly hip-hopleaning festival, always managing to bring in only a couple of big names (this year’s being Chance the Rapper, Atmosphere, and, ugh, Lil Dicky) while leaving much local talent by the wayside. This year, however, they really stepped up their game: A wide array of just about everything Seattle rap has to offer will be represented at this year’s Bumbershoot. Peep the list below to find out what you’ve been missing, or just refresh your knowledge.

MACHINE GUN KELLY

10/6 – TWO SHOWS!

HO BUMBERS

Those Darn Kidz!

Bumbershoot remembers the flamboyant theatrical forebears of Seattle’s pre-grunge punk scene.

The Kidz, circa 1975.

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o one would write about these shows, recalls Larry Reid, then a young man in the early ’70s. The Times and P-I couldn’t have cared less about one-night cabaret performances and non-theatrical happenings that featured queer content, improv, drag comedy, loud music, and calculatedly poor taste. The Weekly—launched in 1976—was too snooty, and The Rocket didn’t yet exist. And the scene that Reid and Martin Imbach document in Between Garage & Grunge: Glitter, Glam and Proto-

Punk in Seattle’s Subversive ’70s would no longer exist by the ’80s. It morphed away from pansexual stage performance to traditional music categories—punk, New Wave, and (much later) grunge—and was mostly forgotten. Looking through some of the 100-plus artifacts to be displayed in the International Fountain Pavilion—most still being gathered in boxes around our feet as we speak at Fantagraphics Bookstore/Georgetown Records— Reid tells me of that wide-open ’70s cultural moment, “It was this inclusive scene. It started with Ze Whiz Kidz.” That amorphously defined, variously populated, leaderless smart-mob of a performance troupe congealed here in 1970 as a kind of offshoot/ cousin of San Francisco’s more famous Cockettes. From the latter, Tomata du Plenty (David Xavier Harrigan when offstage) was instrumental in founding the Kidz, a group that also included future members of Teatro ZinZanni, One Reel (for decades the organizer of Bumbershoot), and other arts organizations. “These people gradually became the establishment,” says Reid, whose Rosco Louie gallery in Pioneer Square launched in 1978, at the tail end of the Kidz tornado. Before then, Reid recalls of the Kidz, “It was guerrilla theater” more than performance art. “It was also out gay”—flamboyantly so at a time that, while post-Stonewall, still meant occasional police raids and public disapproval. To be gay, in a sense, was to be punk at a time when neither term was codified. (“Punk rock didn’t exist,” says Reid.) Likewise, lines were blurred between campy stage shows and aggressive noise bands. It was a period of experimentation, without the media to supply labels. Yet even without the press, the Kidz

connected with like-minded acts in other cities. They—or their musical offshoots—even opened for the New York Dolls, Alice Cooper, and the Ramones; they also performed at Andy Warhol’s 1976 SAM exhibition at Seattle Center. There was a small, tribal connection among the Kidz and their fans. “We all sort of knew each other,” says Reid. “There was a core group of about 50 people. This was a very cohesive scene.” Event promotion was done by word-ofmouth, flyers, zines, and posters. Tickets—as low as $1—were sold at record stores, where the clerks recognized customers who’d appreciate the Whiz Kidz’s shows. “You could spot those people a mile away,” says Imbach, who today runs Georgetown Records.

Straight Outta Renton

A Q&A with rising Bumbershoot comic Monica Nevi. By Jennifer Karami

September 1 to October 31, 2015

enton is the hometown of Monica Nevi and the source of much of her humor. She’ll perform at 8 p.m. Saturday in the Black Box Theater. We chatted with her last week.

SW: What things have fueled your comedic material lately?

Nevi: That struggle of being busy all the time. Personal things, dating things, bad things that have happened to me. I try to somehow make them funny. You make fun of people making fun of Renton a lot. What’s great about Renton?

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I’m proud of being from Renton! I value the fact that nothing was really easy; my parents worked really hard, but you just thought everyone worked hard. Now it makes difficult things easier. Who’s the funniest person you know?

Probably my grandmother. I talk about her a little bit onstage. Humor was such a big part of my family, it’s definitely kinda shaped my personality and how I deal with things. I read your blog post on political correctness. Have college audiences gotten too PC? Is everyone a big sensitive baby, or is comedy changing to exclude jokes that are hurtful?

You wrote in a blog post that no females made it through the Seattle International Comedy Competition. How do you feel about that?

arts@seattleweekly.com

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I think it is a weird in-between thing. The problem with PC in comedy is [that] even talking about a subject sometimes is taboo—it’s not what you’re saying about it. You’ll bring up a topic, and the audience will be like, “Nope, we don’t talk about that.” I think it’s more offensive to not want to talk about things like that—pretending that race and religious differences aren’t an issue. It also depends on where you are. Seattle’s a pretty PC place—you get the uptightest people you’re ever gonna perform for. And they’re smart, too. It’s a good place to try stuff out. Some jokes work great in Tacoma but not Seattle.

2nd

bmiller@seattleweekly.com

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What were the shows like? Loud, campy, joyous,

with the audience sometimes joining the Kidz onstage. “We would call it performance art today,” says Reid. “There was no template to it”—more an amalgam of rock, glam, drag performance, and lingering hippie culture. “There’s a very direct connection. Seattle had a long hangover from the ’60s.” For those who weren’t there, the spirit would later be codified somewhat by The Rocky Horror Picture Show and in John Waters movies. (The Kidz even performed before the Seattle opening of Pink Flamingos.) “It evolved later into more of a musical act,” says Reid of the Kidz, who for a time lived and performed in the basement of Smith Tower (later a performance venue for Pioneer Square Theater’s Angry Housewives), a space then called The Submarine Room (or more simply “The Sub”). Photos and videos from the era are few, though Reid and Imbach have collected what remains from that decade: 45s and zines will be on display, along with photos, costumes, and gig posters. You’ll also be able to hear recordings from the offshoot bands and see a few videos. Harrigan’s band the Screamers gained prominence and moved to Los Angeles but never got signed, Reid sadly notes. (In L.A. they were peers of X and Black Flag.) Harrigan later turned to painting; he died in San Francisco in 2000. Why did Harrigan and other former Kidz turn to music? “Money was never a driving force,” says Reid. No one really made any cash from stage shows or musical performances, nor was it expected. He says the Kidz movement simply “ran its course. Punk rock took its place. Some of these bands became New Wave. The art component was stronger in the ’70s.” He continues, “A lot of these artists we’ve lost to AIDS.” As a result, documenting that shortlived era is growing more difficult, and survivors are fewer. Just as The Cockettes received their due in the eponymous 2002 documentary (seen at SIFF that year), Reid and Imbach are hoping their exhibition might spark interest in a similar doc. “We’re planting the seeds,” says Reid. He and Imbach also cite the recent local documentary and music album Wheedle’s Groove, which helped restore a missing chapter in Seattle music history. “There’s a gap,” says Imbach of the Kidz and their ’70s heyday. “It’s a story that has never really been told.” And without that movement, the two curators argue, no punk. And without Seattle’s punk scene, no grunge. “The grunge era didn’t just materialize out of nothing,” says Reid. “It wasn’t by magic.” E

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Our Own Little Corner of the World Sampling the local offerings at the 1 Reel Film Festival.

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SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

NOW PLAYING

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EGYPTIAN

UPTOWN

SIFF MINI-FESTIVAL

Mistress America

A Walk in the Woods

“WOMAN” IS NOT A GENRE

805 E PINE ST

Jake, the subject of Tomgirl.

511 QUEEN ANNE AVE N

Director Noah Baumbach re-teams with Greta Gerwig for this madcap comedy about chasing dreams and schemes in the big city.

Nick Nolte and Robert Redford star in this comedic adventure about two old-timers who hike the Appalachian Trial. Based on the best-seller by travel writer Bill Bryson.

MIDNIGHT ADRENALINE!

OPENS FRIDAY

Bloodsucking Bastards FRI & SAT AT 11:30PM

See description under UPTOWN

SIFF EDUCATION

Bloodsucking Bastards

Vampires meet Office Space in this horror-comedy about an office worker who must take down the new boss before his job goes from dead-end...to just dead.

Feminist Imaginations Filmmaking Workshop

EXCLUSIVE PRESENTATION

MONDAYS, SEP 14 - OCT 5

“Nina Hoss is extraordinary.” - Indiewire

How to Make a Great Documentary: Masterclass with Ondi Timoner SEP 21

Phoenix HELD OVER

The End of the Tour Jesse Eisenberg and Jason Segel recreate a legendary meeting with author David Foster Wallace.

AT THE UPTOWN

Women in Cinema SEP 17 - 24

SIFF’s annual showcase of extraordinary women filmmakers returns, celebrating films from around the world. OPENING NIGHT FILM & PARTY

It’s Already Tomorrow in Hong Kong THURSDAY, SEP 17

FILM 7PM | SIFF CINEMA UPTOWN PARTY 9PM | CAPITOL CIDER In this sparkling walk-and-talk romance, an attraction forms between a Chinese American girl (Jamie Chung) and a handsome American expat (Bryan Greenberg) who escorts her through the nighttime streets pulsing with energy and possibility. DIRECTOR EMILY TING SCHEDULED TO ATTEND

Check Movie Times and Buy Tickets · SIFF.net · 206.324.9996

ith so many good short films at the 1 Reel Film Festival, this year curated by SIFF, I prefer to focus on locals. These are the directors (and writers and performers) we’ll watch in years ahead, producing features and docs we may see in local theaters—or during SIFF proper. As always, 1 Reel programs its shorts in one-hour themed blocks at SIFF Film Center; the three Best of the Northwest programs contain different lineups each night (6:30 p.m. Sat.–Mon.). Bryan Campbell’s Big Boy (Sat.) posits the kind of adventure that anyone will remember from childhood—one’s first solo visit to a public restroom! Mom and Dad are engrossed in their cell phones when they push 9-year-old Dustin out of the minivan at an I-5 rest stop. He’s thrilled! At last he can pee like a man, unescorted! Inside, of course, awaits a maelstrom of ominous graffiti taggers, smelly hobos, glory holes, and Trainspotting-level filth. Dustin has nothing but his buoyant good cheer and totemic red handball to see him through the ordeal. Does he survive? Hand-washing is the least of the comic concerns here. Shawn Telford’s feature B.F.E. screened during SIFF last year, and his El Camino Solo (Sat.) also has an east-of-the-Cascades aspect. There’s an old axiom that if you break down by the side of the road, the only Samaritans will be from the class you once ignored or despised. So it goes for an out-of-gas yuppie in the scrubby desert, his cell phone dead and car ignored by passing motorists. Who finally stops to help him? Donald Trump’s worst fear—undocumented Mexicans! That the translator is a third-grade girl (anchor baby?) gives El Camino that much more of a sweet, topical hook. She and her obliging family are like a GOP nightmare of kindness. It’s not all goodwill and unicorns, however, as we see in Sudeshna Sen’s Julia’s Farm (Sun.), about early retirement plans gone awry. When Julia’s 401(k) nest egg is ruined by her broker (or the Great Recession), she and younger BFF Jenny venture into an embezzlement scheme that attracts the notice of Jennifer’s no-good boyfriend—and a pesky insurance investigator. There are echoes here of noir movies like Double Indemnity, but with a more modern Thelma & Louise solidarity. The film also makes you wonder

if there aren’t more grifters among the North Seattle set of Prius drivers and PCC shoppers. I for one hope so. For those now also thoroughly bored with the roller derby and burlesque revivals, Amber Cortes’ doc Luchadora (Sun.) offers a refreshing alternative. Her subject is a circus-college-trained professional who joins Renton’s Lucha Libre Volcanica academy. This young, fit woman adopts the ring name Avispa (“The Wasp”) in a form of semi-pro showbiz too often parodied (see: Jack Black in Nacho Libre). What make the film interesting is its multicultural Crossfit vibe: Here are disparate individuals trying to get in shape while also providing masked theatrical entertainment for working-class fans. The little girls who beg Avispa to autograph their arms with Sharpies are too adorable; and her grit just might inspire a few women to forgo pilates and Lululemon for a sequined luchadora mask instead. From Oregon, Sherilyn Wong’s The Mobile Stripper (Mon.) has a dorky, dignified mall security guard near-abducted by the sassy proprietress of a hot-pink camper van equipped with brass pole. It’s like an update of Something Wild, but in a good way. You could see a feature made from this short comic road trip. And though set entirely in Paris, Daryle Conners’ Hitchcockshaded OMW (Mon.) stars local stage pro Marya Sea Kaminski as a discontented married woman who finds unlikely liberation from, well, herself? In a wise, wordless performance, Kaminski suggests how freedom can come from spying on one’s doppelgänger. With Transparent and so many other transgender issues percolating in the news, Jeremy Asher-Lynch’s enormously affecting documentary Tomgirl (Sat.) deserves special praise. “Gender nonconformity” sounds dull and academic, but this profile of an Everett 7-year-old is wonderfully vivid and sympathetic—proof that tolerance and liberal parenting don’t end at the county line. Why can’t a kid love hockey, glitter, science, and pink pedicures? Asher-Lynch interviews the child’s parents and friends in the most favorable terms, but the kid’s own words are most eloquent here. Isn’t childhood about “having fun, being yourself ”? I can’t think of a more perfect definition. (Pearl Jam’s Mike McCready supplies the soundtrack.) E

bmiller@seattleweekly.com

Bumbershoot: Plan B

Taking a timeout from the festival for better food, drinks, and A/C in Lower Queen Anne.

A U T H E N TI

By Alana Al-Hatlani and Nicole Sprinkle

COCKTAILS! BURRITOS! TACOS!

HAPPY HOUR 7 DAYS A WEEK 4-6pm & 10pm - Midnight

COURTESY OF THE TIN LIZZIE LOUNGE

Cool down with a well-made cocktail.

ever heard of—but who in three years will be on radios everywhere—until noon rolls around and you can “officially” have a drink. Skip the crowded beer garden (it’s not going anywhere) and escape the heat/crowd/noise by heading to the tucked-away Tin Lizzie Lounge in the MarQueen Hotel (600 Queen Anne Ave. N.) for an elegant cocktail, a serene atmosphere, and good A/C. Try their Strawberry Bourbon Smash. Short on time? Check out Taylor Shellfish for a drink closer to the venue, right next to KeyArena on the west side of Seattle Center (124 Republican St). In addition to a full bar, they serve fresh seafood, with an especially excellent oyster bar that’s the perfect place to slurp down some bivalves (good protein to keep you on your feet, literally).

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A perfect protein boost at Taylor Shellfish.

Before heading back to the festival grounds, it’s probably wise to grab a quick snack instead of munching on a fried (insert food of choice here) from one of the vendors. Chutney’s Indian restaurant (519 First Ave. N.) is a great option, especially if you are vegan or vegetarian, as Bumbershoot typically offers few choices for either.

» CONTINUED ON PAGE 22

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

COURTESY OF TAYLOR SHELLFISH

ne of the great things about Bumbershoot—besides all the entertainment, of course—is that you can come and go at your leisure as long as you have your pass. You need not depend on the onsite food and drink vendors should you crave something beyond fried food, the crowded beer garden, and the other usual suspects. Given that you’re plunked down in Lower Queen Anne, full of restaurants and bars, you may find yourself actually wanting a respite from the festival: to drink a well-crafted cocktail, find a better cheap eat, enjoy an actual sit-down meal, or just luxuriate during an air-conditioned interlude. Here’s our guide to where to fill up and chill out in the neighborhood. All right, first things first: You need to fuel up for the long, hot day ahead. While there are plenty of brunch spots nearby, you won’t wait in a line to get your grub at this one. Open 24 hours and located near Seattle Center’s Mercer Street exit is Metropolitan Market (100 Mercer St). A great pit stop at any point during your Bumbershoot journey, its hot breakfast bar is its greatest secret strength. From 6 to 10:30 a.m. each day, the Met’s deli section offers a selection of eggs, potatoes, and breakfast sandwiches grilled to order. Quality and choice are abundant—and as Mom hammered into your head, breakfast is the most important meal of the day, especially when you’ll be on your feet for nearly 12 hours, multiple days on end. Also note that they serve warm, freshbaked cookies all day (grab a few to go?). Time to take on the festival. Hit up some comedy, or maybe an indie rapper no one has

WEEKEND BRUNCH

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Split a curry plate with a friend or take some samosas to go. Or at Pho Viet Anh, just up from Mercer at 372 Roy St., $5 bahn mis or rice-noodle salads are inexpensive cool snacks, complemented by quick service so you can get to back to the shows before the crowd is 500 deep. But if a quick bite just isn’t going to do, head to The Masonry (20 Roy St.) for a wood-fired slice to fill you up.

Perk: Good beer is served all day, every day. Back to the bands. Perhaps indulge in a lemonade on the camp grounds or a cold beer because it’s hot and you’re thirsty and not ready to head out again just yet. If you can, hold out for a margarita at Agave (100 Republican St.); it’s well worth it. But if the heat is killing you, you’ve danced your ass off, and nothing on the grounds will cut it, a cold chocolate milkshake from Dick’s Burgers (500 Queen Anne Ave. N.) or some Yeti frozen yogurt (604 First Ave. N.) with a plethora of toppings will cool you down—or perhaps curb the munchies that for some odd reason you’ve had all day . . .

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headliners. You know, the ones you said you weren’t going to see because they’re too “mainstream” and crowded . . . You dance a little more, burn some calories, and then night descends. You’re ready for a last drink (or two or three) and a bite to wash it down. Ten Mercer (at 10 Mercer St., oddly enough) offers happy hour from 10:00 p.m. to midnight daily with half off all appetizers (like lobster rolls, crab cakes, and grilled beef tenderloin) as well as $3 Maritime Old Seattle Lager.

The place for a postshow drink or pie.

Up for a late night, post-show adventure? Take a walk south on Fifth Avenue to the 5 Point Cafe on the Belltown border (415 Cedar St.). Enjoy prime people-watching, one last stiff drink, and a plate of greasy nachos to soak up the alcohol. If you have a sweet tooth, grab a slice of pie—the flavors are on daily rotation, but past selections have included a dubiously colored neon-green key lime that may lend itself to your (perhaps) psychedelic state of mind. Now go home for a few hours and repeat. E

food@seattleweekly.com

food&drink

Move Over, Salumi

FoodNews BY JASON PRICE

There’s a new charcutier in town, and you don’t have to wait in line to get a taste of his delicacies.

Join chef Joe Bayley of Tallulah’s for “Mar y Montana,” a one-night-only pop-up dinner focusing on ocean and mountains. The Basque-themed evening—September 10 at Cortona Café in the Central District—will serve tapas family-style. There will be 10 dishes in all, culminating in paella served straight from the pan. Book your spot on Dyne.

BY NICOLE SPRINKLE

SoDo will lose one of its few “upscale” restaurants and breweries when renowned Gastropod closes on September 11. Neighboring Epic Ales will also shut down as owner Cody Morris and chef Travis Kukull focus on the upcoming opening of SLU brewpub Mollusk. Let’s hope that the energy these guys bring to the table will translate into some goodness in sterile South Lake Union. If you’re looking for a way to wind down, could burlesque be an option? Tassels and Wine returns for its third show of the year at Tasting Room Seattle in the heart of the market in Post Alley. Classier than the Déjà Vu across the street, but still risqué in its own right, T&W allows guests to take in the sounds of fall and the beauty of some of Washington’s best vineyards. The Tasting Room will offer cheese and cured-meat boards, made special for the show with a “sexy” wine list to accompany the near-nudity veiled only by tassels, thongs, and glitter. Tickets are available online for $15 in advance and $20 at the door. E morningfoodnews@gmail.com

TheWeeklyDish

Stoneburner’s skillet pancake with roasted plum and mascarpone.

Top: Bob Blade in his curing facility. Bottom: the delicious product.

isn’t jaded about the process at all; in fact, he says he welcomes that level of detail. (By contrast, delis and restaurants processing meat in-house need undergo only two annual inspections from the King County Health Department, and never even deal with the USDA. It’s just not logistically feasible for them to visit so many places.) Blade received his Federal Grant of Inspection in October 2014 after his Hazard Analysis and Critical Control Point Plans (HACCP) for each class of cured product passed muster—the golden ticket to making legitimate charcuterie instead of secretly producing out of a meat locker in your basement, which, all kidding aside, is what many food professionals do for fun. It’s what Blade did for five years before going live, perfecting his processes and recipes for friends and family.

Did the former software-company owner ever

question his path? Hell, yes. “It’s a fully angstridden process,” he says with a chuckle as he takes a bite of his “Tuscan” salami: Deep, dark red, it’s seasoned with toasted fennel seed, red wine, garlic, and pepper and just begs for a robust cab to wash it down. He does offer me wine, but it’s 11 a.m. and I’m driving, so I reluctantly pass. Blade is quick to admit that he put a lot of his own money into the business, and almost backed out for fear of not being profitable until he hired a business coach in 2013 to help him crunch the numbers. Then he found a marketing person, a graphic designer, and, in June 2014, this space, where Blade gives me a basic rundown of his process for curing 50

» CONTINUED ON PAGE 24

You may not think of Stoneburner for brunch, but it’s one of the best in town in both variety and quality. In fact, I had trouble choosing which item to write about this week because there are so many hits. Savory or sweet? That is the question. And this week, I’m going with sweet. A beautifully browned skillet pancake cooked with a little olive oil is topped with three glossy, ruby-red preserved plums and a generous dollop of whipped mascarpone. (The plum’s slightly tart character keeps the dish from being overly sweet.) The crusty exterior quickly gives way to a light, eggy center, which on its own is delicious but when eaten with bites of plum and cream becomes angelically good. Go while plums are still in season, though I wouldn’t be surprised if the pancake continues to be served with whichever fruits are readily available. E nsprinkle@seattleweekly.com

NICOLE SPRINKLE

PHOTOS BY MORGEN SCHULER

BY NICOLE SPRINKLE

SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

hen Tom Douglas seeks you out—not just for your product, but to see how you make your product—you’re likely doing something right. Such is the case for Bob Blade, who started his own dry-cured meat business, Salt Blade, a one-man operation he runs out of a small facility on Aurora Avenue North. Blade’s is the only salami operation in Seattle besides the famous Salumi in Pioneer Square with the USDA certification required to sell wholesale charcuterie to grocery stores and restaurants. His delicious salamis, soppressata, pepperoni, and mortadella are now available at Douglas’ Home Remedy, Marx Foods, Picnic, Green Market, and The Feed Store, plus the Magnolia Farmers Market. Seattle’s love affair with charcuterie is evident by its presence on nearly every fashionable restaurant menu of late, but few realize the tremendous commitment that goes into its production. Visiting Blade at work, I’m of course blown away by nibbles of orange-coriander salami and even an Indonesian-inspired one, with ingredients like fresh garlic, galangal, Thai bird chilies, and the turmeric that gives it a yellow sheen. But what really grabs my attention are the binders full of pages and pages of data: log-ins of times and temperatures, pH levels and Listeria tests, water ratios and calibrations, and the documentation of dozens upon dozens of standard operating procedures—all requirements that the USDA deems critical for the safe consumption of meats that never touch heat, but are “cooked” through the centuries-old salt-curing process. Besides the fastidious record-keeping, a USDA inspector checks in on Blade every single weekday and holds him accountable to the same standards that a mega-meat-processing facility is (he’s on his third inspector, as they change them up every six months). For instance, he even needs a decibel meter to monitor the “ambient noise” level, because in large, loud factories with lots of industrial equipment, workers may require earplugs to protect their hearing. In this small space, where Bob works alone, you could hear a pin (or a piece of salami) drop. I get the feeling that my mere presence here, in this sterile and über-monitored environment, is going to cause him hours of extra work. Yet for all the USDA’s rigorous controls, Blade says there’s no real manual for how to set up a shop like his. The language in the Code of Federal Regulations (CFR) can be very vague, calling for things like “washable ceilings” and “adequate sinks” without any insight into what they actually mean. “I’d call them and say ‘Is this washable?’ [referring to the hand-cut ceiling tiles he created to enable easy removal and cleaning], and they’d say ‘I don’t know.’ ” It’s not until they actually arrive and physically view the space that they can make those calls. Until then, Blade’s dependent mostly on the Internet for information. But he

WATERVI EW COMMERCIAL RESTAURANT

food&drink» » FROM PAGE 23 pounds of meat a week. It starts with the grinding of the pork and grass-fed beef, purchased fresh from Olsen Farms in Colville, Washington. Into the grinder go fresh ingredients like garlic. Once ground, the spices are added, along with nitrates (for preserving) and the lactic acid–producing bacteria that is critical to ensure pH levels drop to the right number.

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n last week’s column I talked about the slow death of the classic cocktail, or at least its constant reshaping into innumerable variants. Alongside that is an emerging trend of putting drinks on menus that are at best strange and at worst undrinkable. A recent New York Times piece brought this into focus for me, as this is far from a Seattlecentric issue. The glee with which the bartenders interviewed admitted that they put drinks on their list that few people will enjoy seems misguided: Combinations BY ZACH GEBALLE of strange and strongly flavored ingredients are becoming increasingly common as bars attempt to stand out and remain unique, and yet these drinks are in many ways contrary to the spirit of the craftcocktail movement. At its heart, I think the ethos for many of the movement’s pioneers as that well-made cocktails could be returned to the prominence they once enjoyed in this country; that in our growing love for beer and wine and vodka we’d neglected many of the great drinks from our history. As the first and second wave of explorers disinterred recipes long buried and “updated” or “modernized” them, they acted as archaeologists, historians, and artists all at once. Yet now, with nearly every dusty tome mined thoroughly, the craft-cocktail scene has struck out in new and novel directions, with . . . dubious results. As this trend has grown, I’ve tasted more and more cocktails that, frankly, suck. Not because they’re poorly made (I don’t think), but because the core concept seems to be that different is better than delicious. For the occasional jaded palate this might be true, but the idea of putting a drink on your menu that you fully expect to get sent back just screams pretentious in a way that not even suspenders and mustache wax can; it’s a mixologist parody come to life. In the past few months I’ve been offered drinks that combine grappa with apple cider, port, and orange juice, and one drink that had four different bitter liquors in it. Each of these felt less like a fully realized drink and more like a fevered dream—either that, or the bar manager had realized that the only way to sell those ingredients was to put them in a drink and put it on the list. These “experimental” cocktails are just that: unproven and often undrinkable. While there’s nothing wrong with pushing the limits of what can taste good, putting those marginally successful (and I’m being charitable) experiments on a menu and charging for them seems like bad business: Most customers who order them will either send them back or choke them down, and neither is a good model for long-term success. And that’s bad for the industry, no matter how you garnish it. E

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From there it’s stuffed into casings and left to hang in the fermentation chamber, a souped-up baking rack where the bacteria does its work, turning sugars into lactic acid (similar to brewing beer, which Blade also dabbled in, or making a bread starter). After 24 hours, the meat moves to a curing chamber where it dries—a process that can take from three to seven weeks depending on casing sizes and fat content (leaner meats dry faster). It’s then ready for packing and, of course, selling. Getting his product to market has been probably the easiest part: It started with a call from Lower Queen Anne’s Marx Foods, where chefs and serious home cooks go to find the most cutting-edge and delicious foodstuffs on the market. The owner heard about him through a customer. “I still don’t know who it is, but I figure they met me at the Farmer-Fisher-Chef Connection conference. I feel like I at least owe them some meat,” he jokes. (Reader: If you are that customer, come forth and reveal yourself !) Douglas’ Home Remedy team found out about him at the same conference, went to check out the facility and put in orders for the store. That was a very cool and memorable moment for Blade, as one can imagine. So what’s in store for Blade? Plans to expand his facility, increase his output to 500 pounds (10 times what he’s currently doing), gain entrée into 20 more grocery stores, and upgrade equipment. And of course dream up new recipes. All the ones he uses now come from his many years of home experimentation, and once a month he tests a different one at the Magnolia Farmers Market on Saturday. Next up: a porcini mushroom-and-sage salami. Oh, and his first time dealing with the downpours and gusting winds that beset the area last weekend. But given everything he’s managed to pull off throughout this intensive labor of love, it’s doubtful that a little bad weather will scare him off. E nsprinkle@seattleweekly.com

thebarcode@seattleweekly.com

arts&culture ThisWeek’s PickList

is exploring the ecstatic ’60s and ’70s spirit via the bell-bottoms, macramé, embroidered vests, miniskirts, headbands, granny glasses, customized jeans, peasant blouses, Huarache sandals, and tie-dye—always the tie-dye!—that defined that era. Some museumgoers will remember wearing such fashions during the Summer of Love, while younger visitors have lately been reviving the look (sometimes directly from their parents’ closets). Besides the groovy garments, there will be jewelry, supporting materials (Hendrix photos included), accessories, and ephemera from the psychedelic-to-disco era. Back then, the revolution was something you could wear, along with the flowers in your hair. (Opens today; runs through Jan. 10.)

THURSDAY, SEPT. 3

Peggy Piacenza

There are weekends in the dance calendar that are just too full of good things for any one person to get to, so if you’ve been kicking yourself ever since last November, when you missed Piacenza’s Touch Me Here, now’s your chance to catch up. Like all her work, it’s highly eccentric, simultaneously humorous and disturbing. In this solo, she combines elements from Lotan Baba’s “rolling meditation” and a placid but disconcerting monologue about working as an exotic dancer—inspired by Federico Fellini’s Nights of Cabiria—all to create a human-to-human connection. Velocity Dance

Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5–$10. 11 a.m.–6 p.m. BRIAN MILLER

Cinerama Fan Film Series

Center, 1621 12th Ave., 325-8773, velocitydance center.org. $18–$50. 8 p.m. (and Fri.).

SANDRA KURTZ

Hall & Oates

FRI DAY, SE PT. 4

Top Spin

A bit of conventional wisdom opens Sara Newens and Mina T. Son’s spruce and stylish documentary, which profiles three American table-tennis prodigies: the necessity of “sacrificing their childhood in pursuit of a dream.” But the reality—if the experience of Ariel Hsing, 16; Lily Zhang, 15; and Michael Landers, 17, is any indication—is that devoting yourself to a worthy goal to the exclusion of much of the

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social, pop-cultural, and consumerist garbage that constitutes typical American teenhood makes you notably smarter, more mature, and better-adjusted than most. There’s no time to waste on Grand Theft Auto and posting insults on other kids’ Facebook walls if you’re working to qualify for the 2012 Olympics. Sure, there are setbacks and tears—getting to London as one of the three men or three women allowed from North America means beating players in their 30s and 40s—but not being cushioned from failure has its own salutary effect, and these three show a resilience and self-motivation as impressive as their athletic skill. (You have to be self-motivated to pursue table tennis in America—not exactly a world powerhouse in the sport—because it certainly ain’t the money; Michael’s purse for winning the under-21 men’s singles championship is a grand $250. “I can buy, like, three people dinner,” he jokes.)

That skill of course is on display in plenty of match footage: manic yet graceful, physically punishing, lightning-fast, and far, far removed from the genial rec-room clip-clop version that we’ve all played. Re the distinction: “Pingpong is just the game that a lot of friends play in their basement,” as Michael puts it. “Table tennis is the actual sport.” (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935. $5–$9. See grandillusioncinema.org for showtimes. GAVIN BORCHERT

Counter-Culture

Far from the bands and crowds of Bumbershoot, there’s a different kind of festival going on—also with a strong musical influence. Curated by the UW’s Michael Cepress, an artist who studies and works with fiber, textiles, and fashion, the exhibit bears the subtitle “Fashioning Identity in the American Counterculture.” In other words, hippies! Cepress

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SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

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The world is generally unkind to aging pop stars. Unless you’re Patti Smith or Keith Richards, the wrinkles don’t sell. For the rest, there’s the oldies/casino/fairgrounds circuit, which tends to ossify a band into its greatest hits—duly played out of economic necessity (ex-wives, IRS liens, vacation homes, rehab bills, the grandkids’ college tuitions, etc.). Yet I would argue that things are different for these hitmakers of the ’70s and ’80s, who bridged the Top 40 era to MTV with remarkable ease. Label them as you like—whether classic rock or blue-eyed soul—but their sound isn’t nearly so dated as their grizzled peers. From the beginning, as two rival musicians in late ’60s Philadelphia, Hall and Oates were radio syncretists—gleaning chords and harmonies from across the dial to meld into polished hits. Emotive ballads like “She’s Gone” and “Sara Smile” would seem to have nothing in common with the dance-floor bounce of “You Make My Dreams” or the synthy pulse of “Maneater.” The connection is that they’re all concocted as singles, written not to reflect the times or engage the culture. Unlike some in their generational cohort (say, Springsteen), Hall and Oates kept politics out of their jukebox. This may’ve led to the rap of being lightweight; but through 40 years of music, these Hall of Fame rockers have shown a sturdy devotion to craft. The Paramount,

Yet another fascinating experiment in crowd-curated shows, this film series was programmed by online voters. The retrospective includes 45 titles, with some oddballs and sentimental favorites among them. Sure, given the majestic screen size the Cinerama (recently voted Best Cinema in our Best of Seattle reader poll), there are obvious choices like Lawrence of Arabia, Blade Runner (the top vote-getter by far), The Godfather (#4), and The Good, The Bad and the Ugly, which all benefit from scale. But Casablanca or Big Trouble in Little China? And who knew that The Hunt for Red October had so many fans? Labyrinth is of course a cult favorite, while Top Gun is developing a different sort of ’80s following— especially for those who weren’t born when it came out. You’ll never hear me argue with Taxi Driver or On the Waterfront, but I’ll admit to surprise that, say, Alien (which didn’t make the cut) was beat out by Donnie Darko and Almost Famous. And Chris Nolan’s Inception? Maybe it’s that puzzle picture’s dream logic that inspires such devotion. The classics—or favorites, more like it—also grant a welcome chance to reacquaint ourselves with old stars and make new connections. Robert Redford (here in The Sting and Butch Cassidy and the Sundance Kid ) also appears in this week’s new A Walk in the Woods. The original 1984 Ghostbusters makes us anticipate next summer’s distaff remake. And runner-up Pulp Fiction—with Bruce Willis also represented here by #3 Die Hard—leads directly to Quentin Tarantino’s The Hateful Eight (with Pulp alums Tim Roth and Samuel L. Jackson), expected at Christmas. Beginning the series tonight are (in order): the Coen brothers’ Oscar-winning 2007 No Country for Old Men, with Javier Bardem’s famously scary hairdo and cattle bolt gun; the 1958 Hitchcock classic Vertigo, with Jimmy Stewart obsessed with Kim Novak’s femme fatale; and—marking a Coen brothers bifecta—their lighthearted 1998 stoner noir The Big Lebowski, with Jeff Bridges in his iconic role. (Through Sept. 16.) Cinerama,

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horror-improv troupe’s twisted serial-killer tale. Annex Theatre, 1100 E. Pike St., bloodsquad.org. $10–$17. 8 p.m. Fri., Sept. 4–Sat., Sept. 5. FAERIES OF STRATFORD Fantasy meets biography in this magical look at Shakespeare’s life. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Dr. N., brownpapertickets.com. $20. Opens Sept. 4. 7:30 p.m. Fri.–Sat. plus Thurs., Sept. 17. Ends Sept. 19. INTO THE WOODS Sondheim from the advanced repertory ensemble of Bellingham Arts Academy for Youth. Queen Anne Lutheran Church, 2400 Eighth Ave. W., baay. org. $5–$10. 7:30 p.m. Fri., Sept. 4. PATH WITH ART A multi-art performance showcase from this program for adults in recovery. Richard Hugo House, 1634 11th Ave., pathwithart.org. Free. 6 p.m. Wed., Sept. 9. SETEMBER Seattle Experimental Theater’s improv minifestival opens with their time-travel comedy The Doctor, 8 p.m. Thurs., Sept. 3–Sat., Sept. 5. They take on fairy tales in The Wolf and the Witch, 2 p.m. Sat., Sept. 5–19, and send up Star Trek in Where No Man Has Gone Before, 8 p.m. Thurs.–Sat., Sept. 10–19. Theatre Off Jackson, 409 Seventh Ave. S., seattleexperimentaltheater.com. $15–$18. SOUND Azeotrope premieres Don Nguyen’s drama exploring the clash between deaf and hearing cultures, in American Sign Language and spoken English, with supertitles. ACT, 700 Union St., 292-7676, acttheatre.org. $25–$30. Previews Sept. 9–10, opens Sept. 11. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 4.

CURRENT RUNS

CAFÉ NORDO “Summer Nights at the Culinarium” winds

down this weekend with music by “Awesome” the Band and eats by chef Erin Brindley. Nordo’s Culinarium, 109 S. Main St., brownpapertickets.com. Full info at cafenordo.com. 8 p.m. Thurs., Sept. 3–Fri., Sept. 4. JOHN BAXTER IS A SWITCH HITTER Ana Brown and Andrew Russell’s dramedy takes off from a real-life incident of pure theatrical gold: the controversy at the 2008 Gay Softball World Series when the San Francisco team was accused of bringing straight ringers. Every question that ought to be raised—about labels, identity, stereotyping—is raised. Directed by Rosa Joshi, the play blows up in a masterfully crafted scene in Act 2, a fast and funny witch-hunt that descends to grilling players about losing their virginity and scrutinizing their Facebook pages for clues. GAVIN BORCHERT Cornish Playhouse, 201 Mercer St. (Seattle Center), 315-5838. $20 and up. See intiman.org for schedule. Ends Sept. 27. THE LION IN WINTER It’s 1183 and Henry II has to choose an heir in this political/domestic drama. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 8 p.m. Thurs.– Sat., plus 2 p.m. Sun., Sept. 6. Ends Sept. 6. MATILDA THE MUSICAL The touring production of the hit musical, based on Roald Dahl’s book. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $35 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 Sept. 6. MS. PAK-MAN: BONUS STAGE! “Comedy, confessions, camp, and quarters” enliven this video-game-themed cabaret. Re-Bar, 1114 Howell St., strangertickets.com. $20–$75. 8 p.m. Thurs.–Sat. Ends Sept. 5. TEATRO ZINZANNI “The Return of Chaos”—glitzy, campy, and definitely chaotic—is a show for the Jem generation. 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. (“Hollywood Nights” opens Sept. 17.)

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of-summer recital includes a guitar quartet and a duet with flute. St. James Cathedral, 804 Ninth Ave., stjamescathedral.org. $15. 7:30 p.m. Fri., Sept. 4. SEATTLE COMPOSERS SALON A new-music openmic night, with works by Matthew James Briggs, Jay Hamilton, Michael Owcharuk, and Jeremy Shaskus. Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., Sept. 4. 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, violinist Ray Chen and pianist Julio Elizalde play Beethoven, Saint-Saens, and more. 7360 Center Rd., Quilcene, Wash., 360-7324800, olympicmusicfestival.org. $20–$32.

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Author Events RACHEL ALMELEH The local owner of Rachel’s

Sephardic Delicacies shares A Legacy of Sephardic, Mediterranean, and American Recipes. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Sept. 2. JAMIE BIANCHINI A Bicycle Built for Two Billion: One Man’s Adventure Around the World in Search of Love, Compassion, and Connection is his memoir of an epic bike tour. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Sept. 2. CARRIE SAXIFRAGE She bused across Canada to interview climate activists for The Big Swim: Coming Ashore in a World Adrift. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Sept. 2. KATHERINE PRYOR Zora’s Zucchini encourages kids to garden and eat healthy. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, book store.washington.edu. 11 a.m. Thurs., Sept. 3. ELLEN URBANI Her debut novel, Landfall, tells of two New Orleans mothers confronting tragedy. Elliott Bay. 7 p.m. Thurs., Sept. 3. SONJA YOERG A young widow seeks escape in the wilderness in her novel The Middle of Somewhere. University Book Store (Bellevue), 6 p.m. Fri., Sept. 4. AMY AVANZINO In her comic novel Wake-Up Call, amnesia leads a wife and mom to relearn and rethink her life. University Book Store (Bellevue), 5 p.m. Sat., Sept. 5. ROBERT LOPRESTI In Greenfellas—as you might guess from the title—a mob boss turns environmental evangelist. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com. 3 p.m. Sat., Sept. 5. MICHAEL MCGREGOR Pure Act: The Uncommon Life of Robert Lax is his biography of the poet. University Book Store. 6 p.m. Sat., Sept. 5. JULIE WESTON In Moonshadows, photographer Nellie Burns uncovers a tangled mystery in 1920s Idaho. Seattle Mystery Bookshop, noon, Sat., Sept. 5. • DANIEL JAMES BROWN His bestselling The Boys in the Boat: The True Story of an American Team’s Epic Journey to Win Gold at the 1936 Olympics is newly adapted for middle readers. (The local author’s book is also being adapted into a movie.) University Book Store. 7 p.m. Tues., Sept. 8. ANITA FENG Sid, as in -dhartha, reimagines the life of the Buddhist figure as that of a modern everyman. Elliott Bay. 7 p.m. Tues., Sept. 8. J.A. JANCE Dance of the Bones is this celebrated crime author’s latest. Seattle Mystery Bookshop, 11 a.m.; Redmond Regional Library, 425-885-1861, kcls.org. 15990 N.E. 85th St., Redmond, 2 p.m.; Mill Creek Town Center, 15311 Main St., Mill Creek, 7 p.m. All Tues., Sept. 8. SHANNON KAISER The inspirational author and life coach presents Adventures for Your Soul: 21 Ways to Transform Your Habits and Reach Your Full Potential. Third Place. 7 p.m. Tues., Sept. 8. JOE WHITWORTH New approaches to water conservation are outlined in his Quantified. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Tues., Sept. 8. LEANNE BROWN Advice for eating well on a budget in Good & Cheap. Town Hall. $5. 7:30 p.m. Wed., Sept. 9. Alaska • JONATHAN EVISON A 78-year-old widow’s This is Your cruise becomes a voyage of self-discovery in Life, Harriet Chance! Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharbor books.com, 7 p.m. Tues., Sept. 8; Third Place, 7 p.m. Wed., Sept. 9; Elliott Bay, 7 p.m. Thurs., Sept. 10. • JONATHAN FRANZEN Purity is his new “spectacularly engrossing and provocative improvisation on . . . Great Expectations.” Town Hall. $5. 7:30 p.m. Wed., Sept. 9. T. GERONIMO JOHNSON Welcome to Braggsville is his biting, South-set social satire. Elliott Bay. 7 p.m. Wed., Sept. 9. • DAVID B. WILLIAMS Too High and Too Steep is the history of Seattle’s many topographical face-lifts. University Book Store. 7 p.m. Wed., Sept. 9. • WAVE IN THE PNW Reading by five Wave Books poets: Joshua Beckman, Don Mee Choi, Cedar Sigo, John Beer, and Alejandro de Acosta. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 7 p.m. Thurs., Sept. 10. B Y G AV I N B O R C H E R T

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Odyssey, Bennerstrom paints still lifes and scenes from Greece. Anderson, also a local, presents blackand-white landscape photos. First Thursday opening reception. Linda Hodges Gallery, 316 First Ave. S. 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends Sept. 26. ERYN BOONE This new gallery opens with Luminous, in which the artist makes “vibrant, colorful translations of sacred geometry.” First Thursday opening reception. Treason Gallery, 319 Third Ave. S., 914-5236. See treasongallery.com for hours and end date. LARRY CALKINS He creates new work from from rusted metal, found cloth, and scraps of wood. First Thursday opening reception. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.-5:30 p.m. Tues.Sat. Ends Sept. 26. CYNTHIA CAMLIN Says the artist, “Recent paintings use the motif of an ice shelf as a grid, or organization of grids, rigid structures undermined by melt and movement.” First Thursday opening reception. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends Sept. 26. DONALD FELS He appropriates and repurposes old posters and handbills from Southern Europe and India to form new collage works. First Thursday opening reception. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends Sept. 26. JENNY FILLIUS She paints bright, whimsical scenes, sometimes with a maritime aspect. First Thursday opening reception with live music from Rat City Brass. Zeitgeist, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. Weekends vary. Ends Sept. 30. SUSAN GANS & DAVID TRAYLOR The two use photos and drawings to document various aspects of Union Street; their series is called Unfolding. Also on view: the text-based installation Invisible Light. First Thursday opening reception. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.-Sat. Ends Sept. 26. ROLON BERT GARNER MEMORIAL SHOW The late artist and curator, who died last month, is honored with a group show that will begin accumulating on Friday. (First Thursday falls within the V.I.’s “Three Days Without Art,” a kind of moment of silence). Virginia Inn, 1937 First Ave., 728-1937, virginiainnseattle. com. 11:30 a.m.-midnight daily. Ends Sept. 26. GROUP SHOW Eric Elliott uses botany as a departure point for the leafy paintings in Overgrown. Jenny Heishman explores the notion of a vessel in her paintings, presented as Dressing Room. And the dozen-plus master photographers represented in Up Close include Ansel Adams and Edward Weston. First Thursday opening reception. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Oct. 10. JAMES LEE HANSEN The veteran Northwest sculptor is represented by several works, many cast in bronze, in 90 Years in Reflection. First Thursday opening reception. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. Free. 11 a.m.–5 p.m. Ends Sept. 26. PAUL HORIUCHI The late Northwest master of torn paper and collage art is represented with a variety of works. Opens Sat. Woodside/Braseth Gallery, 6227243, 1201 Western Ave., woodsidebrasethgallery. com. 11 a.m.-6 p.m. Tues.-Sat. Ends Oct. 17. ROBERT C. JONES He shows large paintings both old and new, most of them abstract but with figuration suggested in their titles. First Thursday opening reception. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Oct. 10. THE LANDSCAPE BECKONS Nikki McClure, Thomas Stream, Joan Tenenbaum depict scenes from the natural world. McClure, as always, employs her signature paper cut method to create crisp, colorful designs. First Thursday opening reception. Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com. 10 a.m.-6 p.m. Mon.-Fri. (weekends vary). Ends Sept. 26. FIONA K. LAU She uses mathematical modeling for the paintings in Past Is Present. Opening reception, 4-7 p.m. Sat. Eastside Artist Collaborative, 12650 Northup Way (Bellevue), 425-243-9322. 10 a.m.-5 p.m. Mon.-Fri. Ends Sept. 25 LUNCH Gallery artists including Julia Heineccius, Natalie Jenkins, Courtney Kemp, Steven Kennon, Nadege Roscoe-Rumjahn, and Heidi Schwegler accept the mandate to take “a temporary break from work with nutritious and interactive intent.” First Thursday open-

ing reception. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thu.-Sun. Ends Sept. 26. JOHN LYSAK & JEFFREY PALLADINI Two groups of new paintings, titled Summer Blues (and other colors) and On Infinite Repeat, respectively. First Thursday opening reception. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com, 443-3315. 10 a.m.- 5:30 p.m. Mon.-Sat. Ends Sept. 27. CRISTA MATTESON Her installation Finding Humor in the Dark includs a striking ceramic nude, seated on the floor and trailing a long shawl. First Thursday opening reception. Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends Sept. 26. PETER MILLETT His sculpture show Non-congruent uses metal, wood, and other materials in start geometric constructions. Also on view: works by Jody Isaacson, exporing loss and memory via was and photography. First Thursday opening reception. Artist lecture, noon Saturday. Greg Kucera Gallery, 212 Third Ave., 624-0770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends Oct. 31. MY DARKEST LIGHT WILL SHINE Jaq Chartier, Erin O’Keefe, Melissa Pokorny, and Robert Yoder show new paintings and sculpture. First Thursday opening reception. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Oct. 10. KYMIA NAWABI In Soothsayer, the Brooklyn artist creates her own belief system with symbols including “shrouded figures, esoteric talismans, and mythological beasts.” First Thursday reception. Abmeyer + Wood, 210 Second Ave., 628-9501, abmeyerwood. com. 11 a.m.-6 p.m. Mon.-Sat. Ends Sept. 26. JEFF OLSON & TONY DATTILO Olson generally hews to landscape. First Thursday opening reception. Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery.org. Noon-6 p.m. Wed.-Sat. Ends Sept. 26. BEN SHARP Finding Flight presents his glass creations, influenced by his “longtime fascination with early aeronautics and the history of navigation.” First Thursday opening reception. Vetri Glass, 1404 First Ave., 6679608, vetriglass.com. 10 a.m.-6 p.m. Mon.-Sat. 11 a.m.-5 p.m. Sun. Ends Sept. 30. STALLMAN Working together under one name, Jason Hallman and Stephan Stum offer swirling bas relief installations that are hung and framed like paintings. Opens Friday. Hall|Spassov Gallery, 800 Bellevue Way N.E. (Bellevue), 425-453-3244, hallspassov.com. 11 a.m.-8 p.m. Tues.-Sat. Ends Sept. 30. STRANGE WAVES The eminent animator and artist Bruce Bickford appropriately tops the list of a dozen locals in this “psychedelic group exhibition.” First Thursday opening reception. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com. Noon-6 p.m. Wed.Sat. Ends Sept. 26. LINO TAGLIAPIETRA The veteran glass master offers colorful new creations. First Thursday opening reception. (He’ll also be in the hot shop at Everett’s Shack Art Center, Sept. 8-11). Traver Gallery, 110 Union St., 587-6501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m. Sat. Ends Sept. 26. PAUL VEXLER He creates large bent-wood sculptures, sometimes close to handsome furniture, in Twisted. First Thursday opening reception. Foster/White Gallery, 220 Third Ave S., 622-2833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends Sept. 26. SADIE WECHSLER Her photos in Part I: Redo “express the act of taking part in the metamorphosis of the landscape.” Also on view: another amusing performance video by Evertt Beidler, called Magnesis. First Thursday opening reception. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Sept. 24. Z.Z WEI He paints local neighborhood scenes and open landscapes, some of the latter from Eastern Washington, always rendered in bright colors. First Thursday opening reception. Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Mon.-Sun. Ends Sept. 28. BRAD WOODFIN AND CLAIRE JOHNSON Woodfin specializes in eerie, hyper-detailed animal portraiture. Johnson, a local, is exploring mountainous landscapes from the Cascades to the Sierras, all rendered from on high. First Thursday opening reception. Roq La Rue, 532 First Ave. S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends Sept. 26.

arts&culture» film

A Borrowed Identity

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

OPENS FRI., SEPT. 4 AT SUNDANCE CINEMAS. NOT RATED. 104 MINUTES.

Literature is full of doubles, twins-separated-atbirth, and doppelgängers. Though Eyad, born into a poor but happy family in the West Bank, has two brothers, he doesn’t meet his symbolic twin until the late ’80s, when he earns a slot at a prestigious Jerusalem boarding school. He’s the only Arab there, an unfashionable math whiz made a double outcast by his nerd status and Hebrew mispronunciations. (The difference between B and P forms a running joke that doesn’t really translate.) Teenage Eyad is played by Tawfeek Barhom, though we meet him first during 1982, when his father (Ali Suliman, of The Kingdom and Paradise Now) is hoping the Israeli invasion of Lebanon will lead to disaster. This turns out to be one of many disappointments for Salah, an educated man who—like all others around him—can only find manual-labor jobs. There are no better prospects in the occupied territories for his sons, and the mood is one of glum and sometimes comic resignation. Director Eran Riklis (Lemon Tree, The Syrian Bride) often has his characters watching and commenting upon the wars and politics on TV, yet such conflict seems remote to them. Though Saddam’s Scuds will later fly overhead—Eyad’s father again vainly cursing Israel, now to his son’s embarrassment—there’s no bloodshed in this steady, sober, unsurprising picture, no car bombs or suicide vests. Based on the autobiographical novels of Sayed Kashua (a Haaretz columnist who also wrote the script), this is a drama of assimilation and ethnic amnesia. And for Eyad, that latter process involves his belated twin: Yonathan (Michael Moshonov), a sarcastic Joy Division-loving teenager with CP, confined to a wheelchair, whose condition gradually worsens during his friendship with Eyad. I’m assuming there was no such figure in Kashua’s Horatio Alger rise in the media (he later created a popular Israeli TV show and now lives in Chicago). Kashua surely had many such Jewish friends and cultural confusions during those years—as when Eyad, trapped by a curfew,

celebrates Passover with Yonathan and his single mother Edna (Yaël Abecassis, of Kadosh). However, since our maturing protagonist is a watchful, writerly sort, it’s the rancorous Yonathan who’s the most interesting character here. His politics are far left of Eyad’s. He insults Eyad’s sweet Jewish girlfriend (you can predict the opposition in both their families). And he imparts the film’s bitter motto with more economy than Riklis: Heredity is destiny, he tells Eyad; being an Arab is a disability not unlike his own. Only once—in his literature class, discussing token Arabs and racism—does Eyad speak with the same candor. (One wishes for the crosscultural wit of Sherman Alexie, the comedy, pride, and shame of escaping the stereotypes of the rez.) More of it, and more rude surprises, would’ve benefited the movie, whose ending is easy to guess if symbolically apt. The main drama here is the passing of time—over a decade, from boy to young man—and the assumption of a new skin. While trying, with increasing success, to pass as a carefree young Israeli, Eyad simply wants education, freedom, and better prospects. But to achieve that, the movie unhappily suggests, means forsaking one’s culture. Any triumph here feels equally a loss. BRIAN MILLER

Queen of Earth OPENS FRI., SEPT. 4 AT SUNDANCE. NOT RATED. 90 MINUTES.

Catherine (Mad Men’s Elisabeth Moss) put her aspirations on hold to manage the affairs of her famous artist father. Virginia (Katherine Waterston, Inherent Vice) is a trust-fund baby spending her days on perpetual vacation. They are not what you would call likable. These best friends are privileged women who slip

Catherine is a mess from the opening, her face smeared in tears and snot as she cries and yells and berates a cheating boyfriend who calmly bails on her while she’s mourning the loss of her father. This torrent of contradictory emotions—anger, betrayal, love, hate, don’t leave me and get the hell out—is painful and funny and relatable. The narcissism comes later, as she commiserates with Virginia in an upscale cabin getaway out of the city. What should be a weekend of bestie comfort twists into a contemporary passive-aggressive take on the traditional Hollywood melodrama. These bitchy frenemies vie in close quarters, but without the showboating spectacle of divas in high dudgeon. Flashbacks of a previous visit— with Catherine so wrapped up with her boyfriend she never notices her best friend’s emotional turmoil—mirror the verbal sparring and petty sniping here. Confessions become opportunities to swipe at each other. The intrusion of Virginia’s neighbor and friend-with-benefits (Patrick Fugit, hiding his spite behind a boyish smile) is just something else thing to resent. Perry kept his distance in Listen Up Philip, offering the omniscient commentary of a wry author à la Philip Roth, but he’s up close and uncomfortably personal here. A wilting, untouched salad on Catherine’s bedside table references both the lethargy of depression and a vegan twist on Polanski’s Repulsion; Moss is truly scary as she slips into dazed smiles and giggling fits. It may sound unpleasant to watch, and there are moments of discomfort, but Perry and his performers draw you into this raw chamber piece. You can’t look away, and neither can you dismiss the emotional wreckage of friends who fail each other so spectacularly. SEAN AXMAKER

Steve Jobs: The Man in the Machine OPENS FRI., SEPT. 4 AT SUNDANCE AND NORTHWEST FILM FORUM. RATED R. 127 MINUTES.

Learning to Drive OPENS FRI., SEPT. 4 AT SEVEN GABLES. RATED R. 105 MINUTES.

It’s impossible to summon any animus against Patricia Clarkson, no matter the quality of her material. Even while playing an angry, jilted, selfish New Yorker suddenly confronted by her lack of a chauffeur (i.e., her cheatin’ husband), she’s still Patricia Clarkson. This is a very small film, greatly padded from an old New Yorker essay by Katha Pollitt, and it doesn’t leave much elbow room for Clarkson (as heroine Wendy) and Ben Kingsley (as her Sikh driving instructor Darwan) to navigate. Both stars generate enormous goodwill, even while you worry about Kingsley going back to the South Asian well— kindly accent, sage wisdom, infinite forbearance, but no loincloth or Partition. You can be pretty sure that screenwriter Sarah Kernochan’s instructions were: “Driving Miss Daisy, with Gandhi instead of Morgan Freeman.” (Spanish director Isabel Coixet, of My Life Without Me, doesn’t add any twists.) What’s been layered onto Pollitt’s 2002 account—pre-Uber and Lyft, we must point out—is backstory for Darwan, a former politi-

MAGNOLIA PICTURES

Opening ThisWeek

SEAN PRICE WILLIAMS/IFC FILMS

Queen of Earth’s Moss in extremis.

cal prisoner about to undertake an arranged marriage with a fellow Sikh (Sarita Choudhury, from Mississippi Masala) he’s never met. Thus, in predictable script-o-matic fashion, one relationship forms while the other unravels. (Wendy spends way too much time confronting and obsessing over the ex, played with suitably frail narcissism by Jake Weber.) True, Clarkson is an awful lot of fun when mad and spitting F-bombs left and right. And we’d rather see more of her midlife dating misadventures; this is a movie that would be measurably improved by some cheap Tindr and eHarmony jokes. Its heart, though, is the Brief Encounter tension between the pious, honorable instructor and his slightly naughty student. Wendy’s got a mouth on her, nothing like the demure picture brides Darwan’s sister keeps recommending from India. But this is not the movie to push him—or formula—out of the comfort zone. So in its comfortably therapeutic, How Wendy Got Her Groove Back kind of way, the picture works—no better or worse than a Lifetime original. Sporting a long black wig (and/or turban), Kingsley seems more aloof from the story, ever so slightly bored with Darwan’s virtue. (Every lesson is a lesson, chock-full of parables.) By contrast, Clarkson dives right in with her usual gusto. She acts the way she curses: direct, passionate, and signaling quiet self-delight at being able to fly off the handle. What next—flying lessons? Sign her up. BRIAN MILLER

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into defensive posture whenever they feel the glare of judgment upon them, which is often. They are ostensibly there for each other, yet so self-involved they can barely break out of their own little bubbles. Neither writer/director Alex Ross Perry nor his actresses attempt to soften these characters. Yet, surprisingly, we actually come to care for them—or at the very least worry about them.

How is it possible that the creator of our beloved, indispensible iPhones was such an asshole? Oscar-winning director Alex Gibney (Taxi to the Dark Side) begins his new doc with Jobs’ 2011 death, which occasioned many teary candlelight vigils outside Apple stores worldwide. Those outside the cult can only ask why. I don’t care who invented the toaster or steel-belted radial tires so long as they work (something not always true of

Join us for the

OPENS WED., SEPT. 2 AT SUNDANCE, MERIDIAN, SIFF CINEMA UPTOWN, AND OTHERS. RATED R. 98 MINUTES.

Together, the craggy Robert Redford and Nick Nolte would look eminently plausible on Mount Rushmore, carved between Washington and Lincoln. The problem, in enacting Bill Bryson’s 1998 account of hiking (half ) the Appalachian Trail, is

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making jokes about their age and grousing about the whippersnappers who race past. Though the adventure is meant as late-life stock-taking and there are a few moments of sunset philosophy, mainly these two guys complain. The movie’s Bryson—however droll on the page, none of which I’ve read—is the last guy you’d want to meet on the trail. He’s a know-it-all. He’s aloof. He’s condescending to everyone he meets. He’s a pedant and—more damningly—not a very good friend to the sad fuck-up Katz, who could use considerably more support. Throughout the movie—terribly lit and badly directed by TV journeyman Ken Kwapis—Bryson rolls his eyes in bemused disapproval. The tacit message is I’m too good for this, which is essentially our feeling for poor Redford and Nolte. They deserve better, these old-school movie stars from a fading generation; they minted their fame on real film stock, not TV. And they’ve earned their wrinkles the hard way—sun, booze, smoking, and Hollywood parties the likes of which George Clooney could only dream of. We respect them more than the screenwriters do, unfortunately. (Their low comedic template appears to be Grumpy Old Men—lost in the woods!) The supporting cast gets no better treatment. Briefly seen and entirely wasted are Emma Thompson, Mary Steenburgen, Kristen Schaal, and Nick Offerman (the latter a salesman at REI, which receives a generous plug). There is a market, I suppose, for this movie: people who hate to hike, who hate the outdoors, who think parks are a waste of taxpayer money and walking is a waste of time. Redford, we know, is a committed environmentalist—one reason why Bryson does sneak in a few eco-lessons. But this isn’t Redford’s movie. The only time it comes alive is in the old stories and scrapbook photos documenting Bryson’s and Katz’s wild ’60s travel adventures. Two handsome young guys chasing tail across Europe, raising hell and writing their own rules—that’s the movie we want to see, not this one. BRIAN MILLER E

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that these two geezers don’t accomplish anything near historic. For starters—to end at this dismal movie’s sodden finale—they quit mid-journey, unlike the triumph depicted in the recent adaptation of Cheryl Strayed’s Wild, a much better film. (Reese Witherspoon would leave them in her dust.) Redford (as Bryson) and Nolte (as Katz, his alcoholic Sancho Panza) teeter along credibly,

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Macs, despite their reputation). But the charismatic Jobs was different, for reasons that Gibney largely fails to reach. One main hindrance is that Jobs’ family and close associates wouldn’t cooperate. Perhaps they felt burned by Mike Daisey’s 2011 stage show, which turned out to be partly fabricated—and yet dramatically truthful. Or maybe they dread Danny Boyle’s coming October biopic, with Michael Fassbender donning the black mock-turtleneck and dad jeans. Regardless, Gibney has produced a shallow career recap of Jobs—essentially a clip job that occupies the same inconclusive shelf as Walter Isaacson’s more admiring Redford and Nolte (and authorized) wear their miles with authority. biography. This is not to say that Gibney ignores the manufacturing scandals at Foxconn or whitewashes the Apple co-founder’s bullying, tyrannical personality quirks. (“Ruthless, deceitful, and cruel,” he calls him.) But the wrong people speak freely—journalists, whose opinions are cheap—while the inner circle remains mum. We’ve heard most of these tales before; most date from Jobs’ rise, before exile from Apple. Following his triumphant return, he became more censored and press-savvy. Jobs, like most corporate chieftains, tightly limited access to writers who’d craft favorable stories. To his credit, Gibney is no such hack; but if he couldn’t get access to Jobs’ family and friends, I wish he’d expanded his view to the cultural place of Apple and its sleekly alluring products. What did Jobs tap into, what part of our psyche? Why does everyone want an iPhone (or something nearly like it), even children too small to understand what they do? For all his hippie Zen talk and love of Bob Dylan, Jobs was a master of eliciting consumer desire. First music in your pocket, then all the world accessible from your phone— he and his intimate products flattered us; their connectivity and power made us feel smart and important. (Facebook amplifies the same egotism today.) He and his design team reached into our brain’s pleasure centers; dopamine became just another app. Gibney offers no conclusion but the familiar paradox: great products, unpleasant person. (The contradiction will ring true in South Lake Union today, and it was no different in the age of Henry Ford.) The New York Times’ Joe Nocera tells Gibney that product excellence often “requires you to shed extraneous things”—friends, family, and courtesy among them. BRIAN MILLER

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arts&culture» film Local & Repertory • THE BIG LEBOWSKI The Coen brothers’ 1998 stoner-

noir is Raymond Chandler filtered through dirty bong water, where almost every line of dialogue is a hazy, hilarious non sequitur. My favorite is when accidental P.I. Jeff Bridges (forever the Dude) is ambushed in his tub by nihilists bearing a ferret. “Hey, nice marmot,” he greets them, with his usual unflustered amiability. “ “DAZZLING! EMOTIONALLY Nothing rattles Bridges’ Dude, not a lost rug, not a leering Tara Reid, not a lisping John Turturro, not a raving RICH! DON’T MISS!” It took my soul on a journey.” – JEWISH CURRENTS John Goodman, not a simpering Steve Buscemi, and -VARIETY not even shrieking performance artist Julianne Moore, who joins Bridges in a Busby Berkeley-style bowling fantasy that sums up the movie’s sweet, silly spirit. (R) A MODERN ROMEO AND JULIET BRIAN MILLER Central Cinema, 1411 21st Ave., 686LOVE STORY.” 6684, central-cinema.com. $7-$9. 9:30 p.m. Fri.-Wed. – KQED BLOODSUCKING BASTARDS This new office-set horror-com promises gore, laughs, and plenty of nods to other such movies in the same bloody/yucky canon. (NR) Cinema Uptown, 511 Queen Anne Ave. N., 3249996. $7-$12. Opens Fri., see siff.net for showtimes. (Also Fri.-Sat. midnight at SIFF Cinema Egyptian.) HUMAN HIGHWAY Rarely seen since 1982 and recently returned to the public realm, this is Neil Young’s very handmade (and allegedly written on the fly) satire of roadside manners, the music biz, and nuclear-plant perils. A supporting cast made up of Young’s friends LIAM salma JOHN FRANK ALFRED QUVENZHANé includes Russ Tamblyn, Dean Stockwell, Sally Kirkland, NEESON hayek KRASINSKI Langella MOLINA WALLIS and Dennis Hopper. (NR) Northwest Film Forum, KAHLIL GIBRAN’S 1515 12th Ave., 267-5380. $6-$11. Runs Fri.-Sun. See nwfilmforum.org for showtimes. PORCO ROSSO From 1992, this is Hayao Miyazaki’s somewhat strange interwar anime about a pig-faced A FILM BY ERAN RIKLIS aviator in 1930s Italy. (PG) Central Cinema, $7-$9. 7 p.m. Fri.-Wed. & 3 p.m. Sat.-Sun. SODO OUTDOOR MOVIE NIGHT Take my breath away. Tom Cruise stars as the cocksure fighter pilot in Top Gun, a very big hit from 1986. The volleyball scene T H E P R O P H E T. C O M strandreleasing.com with Val Kilmer adds camp appeal to its Reaganite muscle. (PG) Pyramid Alehouse, 1201 First Ave. S., SEATTLE SUNDANCE CINEMAS , 4500 9TH AVE NE 682-3377, pyramidbrew.com. $5. 21 and over. Open STARTS FRIDAY, 4500 SUNDANCE CINEMAS SEATTLE 9th Ave NE, Reserved Seats TH (206) 663-0059 at 8:30 p.m., movie at dusk. Fridays through Sept. 11. SEPTEMBER 4 +21 All Shows www.sundancecinemas.com THREE SEATTLE DOLLAR BILL OUTDOOR CINEMA From 1987, the comedy Adventures in Babysitting stars Elisabeth Shue. Chris Columbus directs. (PG-13) Cal Anderson Park, 11th Ave. & E. Pine St., 323-4274, threedollarbillcinema.org. Free. Screens at dusk. Fridays 2.31" X 4" WED 9/02 through Sept. 4. WILD AT HEART Not David Lynch’s best film, but by no SEATTLE WEEKLY means his worst, this twisted 1990 road-trip romance made a star out of Chris Isaak, whose haunting DUE TUES 12PM “Wicked Game” appears on the soundtrack. Co-stars Laura Dern and Nicolas Cage march grimly but gamely through the thicket of Wizard of Oz references, but it’s more fun just to count the number of loopy supporting turns, including Diane Ladd, Crispin Glover, Willem Dafoe, Isabella Rossellini, Sherilyn Fenn (she AE: (circle one:) Artist: (circle one:) ART of APPROVED the loose brain matter), Harry Dean Stanton, and Angela Maria Josh Heather Staci anAPPROVED uncredited Val Kilmer (as Elvis). (R) B.R.M. Central AE Cinema. Special price: 99 cents! 9:30 p.m. Tues. Tim Jane Emmett Steve Ronnie CLIENT APPROVED THE YES MEN ARE REVOLTING Everyone’s favorite anti-corporate Canadian activists go after the Koch Deadline: Confirmation #: brothers and their ilk. See meaningfulmovies.org for other screenings around the region. (NR) Keystone Church, 5019 Keystone Pl. N. Free. 7 p.m. Fri.

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STARTS FRIDAY SEPTEMBER 4

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Ongoing

AMERICAN ULTRA Jesse Eisenberg is best known for

playing smart, flawed individuals, as in The Social Network, but I prefer him in offbeat genre stuff like the underrated 2009 Zombieland. Though not on the same level, American Ultra is clearly playing with that expectation: West Virginia mini-mart clerk Mike (Eisenberg) starts out dumb, stoned, scattered, and sweet. In in love with girlfriend Phoebe (Kristen Stewart), he’s seemingly a gentle slacker who wouldn’t hurt a fly. Until, unexpectedly to Mike as well as us, he’s not. False identities and secret CIA programs enter with a spasm of violence 25 minutes into the picture. Where did Mike’s pre-programmed killing skills come from? Although I’ll write around the obvious, anyone watching will immediately think of the Bourne movies (and their parents: The Manchurian Candidate). As Mike and Phoebe begin to gather clues about his past life, Ultra is funnier in its comic situation than its execution. (R) B.R.M. Pacific Place, others THE DIARY OF A TEENAGE GIRL This very frank and unrepentant coming-of-age tale is based on a 2002 graphic novel, semi-autobiographical, by Phoebe Gloeckner. Director Marielle Heller, making her accomplished feature debut, first wrote and starred in a stage adaptation of the book. Its 15-year-old heroine, Minnie, is now played by the very fresh and determined British

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actress Bel Powley; Kristen Wiig is her twice-divorced single mother Charlotte, a drinker and a druggie in 1976 San Francisco. Minnie lives an essentially unsupervised life, intent mainly on her drawings—which often spring into animation—and the opposite sex. These passions she records faithfully in her notebooks and audio diary, meaning lots of voiceovers for us. And Minnie really wants it; she’s no lazy virgin waiting to be deflowered. Some will be offended by Minnie’s affair with her mother’s dumb, handsome boyfriend (Alexander Skarsgård), who comes across as anything but a predator. It’s Minnie who’s obsessed with punching her V-card; Monroe is more an instrument than an equal. (R) B.R.M. Sundance, others THE END OF THE TOUR Based on journalist David Lipsky’s five-day interview with David Foster Wallace in 1996, following the publication of Infinite Jest, this film is well described by director James Ponsoldt (Smashed, The Spectacular Now) as “a hang-out movie.” Lipsky (Jesse Eisenberg) travels from New York to Indiana for the precious interview, and he doesn’t want to risk looking foolish with Wallace (Jason Segel) by guessing wrong about the book’s meaning. Nor does he want to divulge the brew of resentment, envy, and hero worship that he feels about Wallace—only three years older but far more successful. The movie becomes a contest between two smart guys determined to remain courteous despite their clashing agendas. We grow to appreciate Lipsky more as he grows more frustrated by Wallace’s clinging to normalcy. He refuses the tortured-genius template that Lipsky may or may not be writing (a template Wallace despises for being cliché). Ponsoldt isn’t trying to make My Dinner With Andre, and the dialogue doesn’t sparkle. Rather, it feels true—and respectful to those who speak it. (R) B.R.M. SIFF Cinema Uptown, Sundance THE IRON MINISTRY Filming over three years, J.P. Sniadecki shows us passengers sleeping on floors and upon each other, meats and produce being cooked and prepared for market, heaps of trash rolling like waves down the aisles, cigarette smoke everywhere, and a complete absence of privacy or personal space. Yet the amazing thing is that no one complains to the Mandarin-speaking Sniadecki, who’s filming mostly on the sly. This isn’t the booming, bustling coastal China of corrupt oligarchs and high-rise towers; wealth or any kind of news hook seem to be the last things on Sniadecki’s agenda. Rather—and this is a warning—he’s of the immersive new “sensory ethnography” school of documentary filmmakers, which forgoes narration, context, explanatory titles, or any clear thesis. The film becomes interesting only when Sniadecki asks passengers about these changes, which defeats its initial formal method. There’s an odd mix of patriotism and cynicism. From one young passenger guy half-laugh about China’s political inequity, “We’re completely powerless, right?” The class divisions of Snowpiercer come to mind, only no revolution seems near. (NR) B.R.M. Grand Illusion JIMMY’S HALL As political filmmakers go, Ken Loach makes the admirably committed John Sayles look like a tenderfoot. But alas, Jimmy’s Hall finds Loach working with stilted material. This early-1930s tale is based on the true story of Jimmy Gralton (Barry Ward), a communist and activist who enrages the authorities by building a local hall where classes are taught by day and dances are held by night. There’s a bit of John Ford’s classic The Quiet Man here: A fellow comes to Ireland after years in America, seeking peace and his roots, but gets dragged into its politics. Meanwhile the parish priest, Father Sheridan (the superb Jim Norton), though on the wrong side of history, makes his case with such clear-eyed confidence that he overwhelms the nominal hero at times. Part of that has to do with the handsome, stiff Ward; but as a character, Gralton is vaguely conceived. The movie looks good, and it comes to life anytime music is playing in the hall. The tensions in Ireland after independence are fascinating but complicated, and Loach and screenwriter Paul Laverty haven’t found a way to bundle those tensions into a movie that breathes on its own. (NR) ROBERT HORTON Ark Lodge MAD MAX: FURY ROAD Tom Hardy takes the title role in George Miller’s much-anticipated Mad Max reboot. The equally impressive Charlize Theron plays a buzzcut-wearing, one-handed turncoat named Furiosa. Miller and his co-writers have some sort of dense desert mythology in mind, though the internecine conflict is hard to follow. The accents and engine noise make the dialogue and exposition mostly unintelligible, and I don’t think Miller really cares. Furiosa has liberated the five nubile wives of a masked Geezer of Oz, who with his marauders sets out in pursuit of Max and company. The 3-D Fury Road is masterfully kinetic and often downright berserk. It’s a thrilling, exhausting picture. (R) B.R.M. Crest

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who cower in terror, constantly barricading new doors behind them, while the clamoring thugs threaten rape and murder. The unnamed country here is clearly Thailand, where the Dwyer clan has just arrived from Austin. Dad (Owen Wilson) is a naïve hydro-engineer. Mom (Lake Bell) is just, well, mom to two small girls. The mysterious stranger who befriends them (Pierce Brosnan) bears various scars and tells various lies. What befalls them is an amalgam of ISIS, the Khmer Rouge, Rwandan machete genocide, and the Westgate mall attack in Nairobi. A plausible couple, Wilson and Bell look credibly scared—but isn’t that really the easiest, cheapest screen emotion? Brosnan gets a few points for his louche Cockney spy (though not so much fun as in The Matador). This is a crass, manipulative B-movie, and it works as such. (R) B.R.M. Sundance, Pacific Place, Kirkland, Lincoln Square, Bainbridge, others PHOENIX At the end of World War II, heavilybandaged Nelly (the soulful Nina Hoss) emerges from Auschwitz. She’s been disfigured by a gunshot wound to the face; her friend Lene helps nurse her back to health, urging Nelly to claim her postwar reparations and join other surviving Jews in Palestine. Nelly, however, is fixated on her husband Johnny (Ronald Zehrfeld), but he thinks she is dead and doesn’t recognize her with her new face. He has an idea, however— the rat. If this mystery woman will pretend to be Nelly, they can claim her inheritance and split the money. Based on Hubert Monteilhet’s 1961 novel Return From the Ashes, Christian Petzold’s thriller feels like something out of that era. The resulting masquerade has many perverse moments. And Phoenix is an extremely well-made picture, even if its serious, sober approach is just a little on-the-nose. But the final 10 minutes truly redeem whatever shortcomings the storytelling had to that point, as Johnny brings his dishonest plan to its conclusion at the same time Nelly has something up her sleeve. It’s a knockout of a finish. (NR) R.H. SIFF Cinema Uptown RICKI AND THE FLASH Because Meryl Streep and director Jonathan Demme carry so much career goodwill, Ricki is the kind of mediocre movie I can enjoy. (It’s written by Diablo Cody, and the script is nowhere near so sharp as her Oscar-winning Juno.) The family conflicts here are rote: irresponsible L.A. musician mother Ricki (Streep); her abandoned and remarried husband Pete (Kevin Kline) back in Indianapolis; two grown sons and daughter Julie (Mamie Gummer, Streep’s daughter), who’s in a near-psychotic meltdown after being dumped by her husband. Ricki leads a grizzled bar band in the San Fernando Valley (Rick Springfield is perfectly cast as her guitarist/ love interest.) By night she cranks out Tom Petty, U2, and Springsteen covers; by day she’s a supermarket clerk. When was the last time Streep—who actually performs all the songs—played a woman this dumb? Clearly she relishes the part of an AARP rebel who thinks ALS stands for Alzheimer’s disease. Cody and Demme aren’t reaching for art, just trying to craft something as comfortable as an old car-radio song. The only reason it’s hummable is because Streep is doing the singing. (PG-13) B.R.M. Sundance, Pacific Place, Lincoln Square, Kirkland, others TRAINWRECK Playing Amy Townsend, a New York journalist, Amy Schumer is less a serial seducer than a steamroller, with a proven system for bedding guys and refusing sleepovers. That pattern works fine until Amy’s assigned to profile an earnest, dorky orthopedic surgeon, Dr. Aaron (Bill Hader). And here is where Schumer’s unapologetic, contrarian humor—call it feminist if you must—gets switched to the Hollywood mainline. Trainwreck is directed by reigning comedy czar Judd Apatow, and he mandates the formulas that Schumer so brilliantly spoofs on her Comedy Central show. He also dilutes her humor with testosterone— presumably to keep guys interested in a chick flick—by introducing jocks: John Cena, LeBron James, and Amar’e Stoudemire (the latter two being Dr. Aaron’s patients and buddies). They’re actually quite charming, but this is not why we’re paying to see an Amy Schumer comedy. Granted, not every stand-up comic can master the screenplay form, and Trainwreck is quite funny in its early rounds. Though it’s not the breakthrough that Bridesmaids was, Schumer’s fans won’t be unhappy with this movie, not with so many of her signature sotto voce punch lines. (R) B.R.M. Sundance, Majestic Bay, Meridian, Lincoln Square, Kirkland, others

t or

is still alive, and ex-blackmarketeer Napoleon Solo (Brit Henry Cavill, the latest Superman) is trying to extract the daughter of a missing nuclear scientist. Gaby Teller is played by the Swedish Alicia Vikander. In a typical bit of director Guy Ritchie’s lad humor, Gaby first presents as a grubby Lada mechanic, but the ever-suave Solo knows she’ll clean up nicely, heh-heh. Women, including the movie’s chief villainess (Elizabeth Debicki), are very much objects of unruffled style who confound the CIA’s Solo and his KGB counterpart Illya Kuryakin (American Armie Hammer, who played those arrogant Social Network twins). Kuryakin and Solo meet as rivals, pummel each other into mutual respect, and generally act like two overprotective uncles around Gaby. There’s scant sexual tension to this Cold War bromance. The stolen-nukes plot is basically a lift from every James Bond movie, and Ritchie doesn’t take his retro-chic pastiche seriously for a second in this brisk, fun, shallow film. (PG-13) B.R.M. Sundance, Bainbridge, Kirkland, Lincoln Square, others MISSION: IMPOSSIBLE - ROGUE NATION Tom 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, and this fifth installment is full of the action, disguise, and gadgets we expect. Directed by Christopher McQuarrie, it’s fine summer entertainment, with Cruise’s Ethan Hunt predictably put through the wringer. (As for the plot, the whole film boils down to yet another USB drive containing a precious ledger.) By picture’s end, poor Hunt has crashed a motorcycle, crashed a car, 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 rogue agent by the CIA. The complicated yet familiar script features stock components seemingly ordered from Amazon; best among them is mystery woman Ilsa (Sweden’s classy Rebecca Ferguson, who’d be right at home in a ’60s-vintage Bond movie). Both the franchise and Cruise seem a little tired, but he’ll never admit it. (PG-13) B.R.M. Pacific Place, Majestic Bay, Kirkland, Bainbridge, Admiral, Vashon, others MISTRESS AMERICA New to New York, Barnard freshman Tracy (Lola Kirke) falls under the sway of Brooke (Greta Gerwig, who co-wrote Mistress America with director Noah Baumbach). Brooke is a font of alluring ideas—business is the new sex—who lacks only the capital to implement them. Or, to put it another way, her capital is youth and dreams, which are losing market value as she nears 30. Brooke is both eccentric and unsinkable, and Gerwig plays her just to the edge of being unlikable for such obstinate self-belief. (Tracy is meanwhile taking notes for her campus literary journal.) Baumbach and Gerwig, a couple who previously collaborated on Frances Ha, are obvious movie lovers, and there are willfully retro traces here of screwball comedy, drawing-room farce, and early Woody Allen. Even as Brooke’s boundless self-confidence is gradually revealed to be self-delusion (or a manic confluence of the two), this blithe, delightful movie isn’t some sort of Jamesian downfall. Mistress America gives us the comedy of catastrophe averted, if not plans realized. (R) B.R.M. Guild 45th, SIFF Cinema Egyptian, Ark Lodge, Kirkland, Bainbridge, Lincoln Square MERU Co-director Jimmy Chin (with his wife, E. Chai Vasarhelyi) joined Conrad Anker and Renan Ozturk for two attempts on the unclimbed Shark’s Fin line on Mount Meru, in India’s Garhwal region of the Himalayas. First ascents are rare these days; what’s left are the sketchy, dubious routes. As he traces his Meru fixation from a comfortable home in Bozeman, Montana, with a concerned wife and three sons, Anker seems ghost-haunted by two dead friends. The third expedition feels like a grudge, unfinished business, with Anker the Ancient Mariner of the trip. (Chin and Ozturk start the film relatively unscathed, but a fateful winter in Jackson Hole radically changes their perspective.) Widely published in Outside, National Geographic, and beyond, Chin keeps his camera unwaveringly focused on alpine fundamentals: the constant anxiety about weather, the weight of the gear, the dwindling food and fuel, the nervous pride when taking the sharp end of the rope, and the somewhat sociopathic requirement to forget loved ones back home. (R) B.R.M. Guild 45th, Lincoln Square. NO ESCAPE The surprising thing, in this very predictable movie about Americans caught in an overseas coup, is how effective the crude old formula is. You know the one: A bloodthirsty mob of dark-skinned savages chases an innocent family (three females among them),

Sh eiipl lae t t Tr

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SEATTLE WEEKLY

PROMOTIONS

a&c» music

TheWeekAhead Wednesday, Sept. 2

TICKET GIVEAWAY

In case you missed our in-depth look at THRAXXHOUSE last week, here’s the scoop: Thraxxhouse is a Seattleto-L.A. (and beyond) artist collective with a deep love for Egyptian spirituality, gothy hip-hop, and the whole “based” aesthetic (imagine if Lil B was really into Salem). Their live shows are said to be legendary, and this will be one of the biggest they’ve ever had. Stick around after the show to get a chance to meet the Thraxxcrew; with any luck, you could be one of them soon. With Mackned, Key Nyata, Sango, Larry June, Horse Head, Yung Bruh, and more. The Crocodile, 2200 Second Ave., thecrocodile.com. 7 p.m. $12. All ages. DANIEL ROTH Tongue-twisting name aside, KING GIZZARD & THE LIZARD WIZARD is a fascinating group. The Australian seven-piece, which includes three guitarists, two drummers, and a harmonica player, has put out six albums since 2012 (with another already on the way), each time reinventing their sound. They’ve trafficked in garage punk, airy pop, alt-jazz, and more. Sonically dissonant, the band’s music is united by its uncompromising psychedelia. At the very least, it should be entertaining to see all these guys crammed onto one tiny stage. With In the Whale and Acid Tongue. Barboza, 925 E. Pike St., thebarboza.com. 8 p.m. $3 w/RSVP, $10 w/o. 21 and over. DANIEL ROTH

SALMAN RUSHDIE BOOK EVENT

Elliott Bay Books presents: Salman Rushdie with Two Years, Eight Months and Twenty-Eight Nights. Mon., Sept. 14, 7:30 pm, Town Hall Seattle. “Beguiling and astonishing, wonderful and wondrous. Rushdie at his best.” - Kirkus Reviews.

TICKET GIVEAWAY NATURAL CHILD

Tractor Tavern presents: Natural Child, Tues., Sept. 15, 9pm, Tractor Tavern. “...Yeah, well, now they sound like Bob Dylan, The Stones, Stooges, Neil Young, Waylon Jennings... well, even Willie. ..GOD BLESS EM.“ - Leon Russell

TICKET GIVEAWAY ZELLA DAY

Showbox presents: Zella Day, Tues., Sept. 22, 8pm, Chop Suey.

Pisces water sign, Arizona native raised in the mountains. Zella Day

incorporates her simplistic roots and blends them with the eclectic sounds of the West Coast.

LA FORTUNA, WAKE UP & DEAD NATION PRESENT

TICKET GIVEAWAY KURT VILE

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

Showbox presents: Kurt Vile & the Violators, Sun.,Oct.18, 8:30pm, Showbox. “For a record that plays like a cohesive acoustic experience, b’lieve me i’m goin down… one never thinks about what exactly yr listening to as it all serves the song.“ - Kim Gordon

TICKET GIVEAWAY

THURSDAY NIGHT!

BEATS ANTIQUE

DJ DENVER & DJ EDDIE 1426 1ST AVE. SEATTLE

SEPT 3RD • SHOWBOX SODO • 8PM • ALL AGES

YOUNG THUG TORY LANEZ OCTOBER 8TH • SHOWBOX SODO • 9PM • ALL AGES

Showbox presents: Beats Antique, Sat., Oct. 31, 9pm, Showbox SoDo. World-renowned dancetronica trio Beats Antique are bringing back the wild and crazy Creature Carnival. This tour will be a spectacle for the ages. Don’t forget to wear your costume for Halloween!

FOR MORE DETAILS AND TO ENTER TO WIN VISIT US AT:

www.seattleweekly. com/promo/freestuff

COURTESY OF THE ARTIST

instagram.com/

Specters Seattle four-piece SPECTERS is new to our fair city— recent transplants from the band’s birth land of Bellingham. If you’ve ever spent a decent amount of time up in B-Ham, you might notice that its inhabitants are preternaturally chill, which would explain Specters’ penchant for hammock-ready slacker rock. The band’s LP American Fantasy Jesus sounds like Weezer and Pavement had a baby, and then that baby was bottlefed locally grown kombucha. You might call it flowerpower pop. If you miss the ’90s and need to slough off some midweek stress, this is your go-to show. With Kingswood Estate, the Good Wives. Tractor Tavern, 5213 Ballard Ave. N.W., tractortavern.com. 7 p.m. $8. 21 and up. KELTON SEARS

Thursday, Sept. 3

Lead singer Danny Wahlfeldt described GRAVE BABIES’ new LP, Holographic Violence, as “the last cry for sanity going into our dystopian future.” If that sounds heavy, well, listen to the album; drenched in nihilism, GB’s dark, shoegazey, bass-heavy tracks might just give you an existential crisis. The worst part, though? How catchy those tracks manage to be at the same time. Maybe our future’s not all bad. With So Pitted, Charms, Casual Hex. The Black Lodge (ask a punk for directions). 8:30 p.m. All ages. DANIEL ROTH

Tuesday, Sept. 8

San Diego’s WAVVES crash into Seattle just in time to keep the post-Bumbershoot live-music buzz going. The aptly named group has been riding the surf-rock—well, wave—for a while now, and has managed to do some pretty cool shit along the way. They recorded a song with Outkast’s Big Boi, acted as fake radio hosts in Grand Theft Auto V, and earlier this summer dropped an album with Cloud Nothings. And they’ve got another full-length on the way. Give these nice boys a chance, will ya? With Twin Peaks and Swimmers. The Neptune, 1303 N.E. 45th St., stgpresents.org. 8 p.m. $18.50. All ages. DANIEL ROTH Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

odds&ends» The CannaQuiz

arijuana has been legal in Washington for more HIGHERGROUND than two years now, but, surprisingly, people know very little about the law. Take the Higher BY MICHAEL A. STUSSER Ground CannaQuiz and see how you rate!

TRUE OR FALSE?

1. Each adult can grow up to four plants in their backyard. 2. I can walk around with an ounce of weed in my pocket and not get busted. 3. Because marijuana is legal in both Washington and Oregon, I can take Washington weed to a Portland pot party. 4. My employer can no longer fire me for testing positive for marijuana. 5. Drinking and driving is worse than smoking and driving. 6. On average, 16,000 people die every year from marijuana. 7. If I get pulled over, the cops can’t search my vehicle, even if it reeks of ganja. 8. Smoking and eating weed give you the same high. 9. Since legalization, more kids are using pot. 10. I can fire up in public, right?

ANSWERS

that can take 30 minutes or longer. Eating weed can also last much longer than smoking, sometimes peaking two or three hours after ingesting card, it is illegal for you to grow marijuana. the product. The main thing folks should be While all the other legal states (OR, CO, AK) aware of is that with a delayed onset, it may seem allow home grows, Washington does not. #lame like you aren’t going to get high, and so you may 2. True. So long as you’re 21 or older, you can be tempted to take another cookie or brownie. indeed! Go slow. Once you’ve figured out your dose, you 3. False. It is illegal to drive or fly (or walk) can repeat as necessary on future trips. across any state lines with cannabis. You can, however, blow smoke across the Columbia if ya 9. False. The latest study from the wish . . . National Institute on Drug Abuse showed a slight drop in pot use 4. False. Not only can of adolescents and teenagers. employers drug One statistic did remain test you in legal the same: Over states, but they 80 percent of can fire your ass high-school for failing one. seniors National comsaid it was panies especially easy to get are enforcing this their hands on principle, as many marijuana. The are legally required challenge continues to comply with to be educating federal laws. them on the legal 5. True. A and physical risks comprehensive involved in using it. National Highway Traffic Safety 10. False. Similar Administration to alcohol open-container laws, study shows that weed can’t be smoked in public BRIANNA CASHIN places, including restaurant patios, driving after smoking marijuana does parking lots, or concerts. (Total buzz-kill.) The not make you more likely to good news is that if you do get caught with a get into a car crash. Nonethedoobie in Washington, ya won’t be hauled to less, there is a limit of 5 nanograms of THC in jail, but given a $27 ticket. the bloodstream for drivers and a zero tolerance limit for anyone under 21. (As THC stays in How’d you do?! a person’s system for several days, it may show 1–4 correct You’re a burger short of a combo up from use occurring long before a test, even meal, a few grams short of a pound, and not the though the effects have long since dissipated.) sharpest tool in the shed. Just be careful smoking We suggest you do not drive after either smokherb and walking at the same time. ing or drinking. Tests also show that booze and 5 correct You’re Half-Baked, and need to pot simultaneously hamper skills far more than brush up on the law before leaving the house. Or, either one alone. better yet, remain couch-locked! 6. False. That’s the number of prescription6–9 correct You’re a Budding Star, and only painkiller overdoses per year (16,600). Tobacco a few hits short of the cycle. Treat yourself to a kills 480,000 a year, and alcohol-attributable brownie and a Seth Rogen movie! deaths number 86,000 per year. Cannabis has 10 correct You’re in elite company, and high not killed anyone. Ever. on knowledge! Bong hits galore! We pronounce you Canna King or Queen Sativa! 7. True. In fact, not only is the smell of pot We’ll be answering cannabis questions in not a reason to search a vehicle, but the Supreme future columns. If you have CannaQs of your Court just ruled you can’t be delayed even one own, please e-mail them to higher@seattlesecond for a drug-sniffing dog to show up. weekly.com. E 8. False . . . big-time! There’s a delayed effect when you’ve eaten edibles (see Maureen Dowd) For more Higher Ground, visit highergroundtv.com. 1. False. Unless you have a medical-marijuana

280945_4.75_x_5.5 4/7/15 11:00 AM Page 1

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Employment General

Multi-Media Advertising Consultant Puget Sound Region, WA Do you have a proven track record of success in sales and enjoy managing your own territory? Are you competitive and thrive in an energetic environment? Do you desire to work for a company that offers uncapped earning opportunities? Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES then you need to join the largest community news organization in Washington. The Daily Herald/La Raza is looking for a candidate who is selfmotivated, results-driven, and interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an exciting group of clients from Bellingham to Tacoma. The successful candidate will be engaging and goal oriented, with good organizational skills and will have the ability to grow and maintain strong business relationships through consultative sales and excellent customer service. Every day will be a new adventure! You can be an integral part of our top-notch sales team; helping local business partners succeed in their in print or online branding, marketing and advertising strategies. Professional sales experience necessary; media experience is a definite asset but not mandatory. If you have these skills, and enjoy playing a pro-active part in helping your clients achieve business success, please email your resume and cover letter to: hreast@soundpublishing.com ATTN: LARAZA in the subject line. We offer a competitive compensation (Base plus Commission) and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us! www.soundpublishing.com 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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Kent, WA 98031

My one reason? My one reason?

Earn money To II care To show show care about my community while saving lives about my community You only need one reason to donate plasma. by a plasma Youbecoming only need one reason todonor. donate plasma.

Appliances

KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept. 206-244-6966

STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles. Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month

Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Thursday 09/10/15 @ 11AM. 2 Vehicles Preview 10-11am. 1540 Leary Way NW, Seattle 98107

%206-244-6966%

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

Miscellaneous

BIG D TOWING Abandoned Vehicle Auction Thursday 09/03/15 @ 11AM. 3 Vehicles Preview 10-11am. 1540 Leary Way NW, Seattle 98107

Used Building Materials 206.226.2860 206.778.1304

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

Employers

UNDER WARRANTY!

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

We can take your employment ads via email classifieds@seattleweekly.com

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Receptionists

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Bookkeepers

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Administrative Assistants

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Executive Assistants

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Office Support Specialists

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Legal Assistants

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Office Managers

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Accounting Assistants

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Data Entry Personnel

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Marketing Assistants

NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!

206.386.5400

Temporarily Yours Staffing

720 3rd Ave. Ste. 1420 - Seattle, WA 98104 “The friendliest and preferred agency”

As a new donor you can earn up to $65 this month. Donate today at: You earn $300 your month. today at:today at: As acan new donor you canin earn upfirst toSeattle $65 thisDonate month. Donate Biomat USA - over 7726 15th Ave. N.W., (206) 782-6675 Biomat USA USA -- 7726 7726 15th 15th Ave. Biomat Ave. N.W., N.W., Seattle Seattle (206) (206) 782-6675 782-6675 In addition to meeting the donation criteria, you must provide a valid photo I.D., proof of your current address and your Social or immigration card I.D., to In addition to meeting the donation criteria, youSecurity must provide a valid photo donate. be 18 years of age years of Security age in Alabama) or older to donate. In addition to meeting the donation criteria, you must provide a valid photo I.D., proof of Must your current address and(19 your Social or immigration card to proof of Must your be current address and(19 youryears Socialof Security or immigration to donate. 18 years of age age in Alabama) or oldercard to donate. donate. Must be 18 years of age (19 years of age in Alabama) or older to donate.

n o s u w o M l l A o R f G A T INS @ SEATTLE W EE KLY • SE PT EM BER 2 — 8, 2015

Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place:

Find out how becoming a plasma donor can make a difference for patients and Find aa plasma help out you how earnbecoming extra money. Find out how becoming plasma donor donor can can make make aa difference difference for for patients patients and and help you earn extra money. help you earn extra money.

SEATTLE WEEKLY • SEPTEM BER 2 — 8, 2015

BELLEVUE SQUARE

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