An Autistic View of a Neurotypical World, on POV

Recently Seattle Children’s Hospital pulled a bus advertisement with text that read, simply, “Let’s wipe out cancer, diabetes and autism in his lifetime,” the type set next to a smiling kid. Most people may not have given it a second thought. But they would likely be neurotypical, and wouldn’t have to. Others are more sensitive to their kind of brain being “wiped out.”

The Washington State chapter of the Autistic Self Advocacy Network  was having none of it. Hyperbolically, one member said the ad’s rhetoric “functions as a very real form of hate speech,” though this is hard to credit to Children’s. Anyway, the ad was scrapped.

Again and again, problems with autism, or the autistic spectrum, come down to our lack of understanding still of just what we’re dealing with — what about autism do we hope to cure? ASAN thinks of autistic people as differently-abled; researchers see profound sub-disorders that, yes, might have cures, or at least might be prevented.

The spectrum is usually discussed in terms of behaviors: at one end, a child might be self-harming, incontinent, mostly non-communicative but for screaming, with an IQ below 70. At the other, an unconventional introvert with specific interests who has no great desire for a cure, or even therapy. Some autistic people are picky eaters because they can’t tolerate certain foods; others don’t like to get foods mixed up on the plate. Some flinch at being touched because they are hypersensitive, some respond to bear hugs.

But all these behaviors are spurred by different things, as researchers are learning. Some have to do with severe neurophysiological damage, and some deficits which appear profound are developmental, and can be remediated.

Neurotypical, the POV documentary on PBS tonight (July 29, 10 p.m. — or stream it online through August 28), visits with autistic people of all ages, at various places on the spectrum (but mostly the higher-functioning), to get their thoughts on what’s normal, and whether they’d like to be. Filmed mostly in North Carolina and Virginia, the documentary isn’t just about autism, it’s about the challenge being particularly, ineluctably human in a tide of normalcy that starts at birth.

Andrew O’Hehir’s piece in Salon captures the exact sort of interrogation people go through when they bump up against mental differences: Am I like that? How much? How am I different? How much? That measuring stick is a survival skill. For the higher-functioning it’s a tool for gauging fitness as well; they can adapt, form strategies, adopt neurotypical goals like couplehood, a car, a nice house. But survival, first, because autistic children often don’t have an innate gift for self-preservation. 

Autistic people will tend to stand out in a crowd, whether the crowd is tolerant and accepting or not. That likely won’t bother the autistic child at first, they won’t notice the cues, and everyone at first thinks their world is a natural one — things have always been that way. But success in life is in the main a social enterprise, unless you are a hermit; the herd protects, but autistic kids will literally wander off on their own. They may also get beaten up a lot, for not recognizing or respecting cues to social hierarchy.

That’s why, in later years, they may develop a knee-jerk reaction as they read an ad on the side of a bus during a day of doubled effort, employing mentally laborious strategies to fill in for unconscious, neurotypical behaviors. The best they can do is have someone not notice, have a social interaction not seem awkward, but normal — and yet think of all the things they’ve learned, the million waggle-dances neurotypical people are blinded to by custom. With a flurry of mental prosthetics, the autistic person keeps pace, their achievement unremarked upon unless they remark upon it.

“Autism, what a scourge,” the ad suggests.

It is, it is. But humanity is what happens to us.

Seattle Public Library Has Got Your Netflix-Style Streaming Right Here

Humphrey Bogart in African Queen

I’m streaming African Queen on my iPhone for free right now, and you can, too. “I’ll perish without a hair of the dog!”

Seattle Public Library has gone, well, public with their streaming media partnership with Hoopla. The collection — of movies, TV shows, albums, and audio books — is Hoopla’s, which is why I’m watching African Queen. They have 10,000 films and TV titles, Netflix has 60,000 (counting each TV episode as title makes sense here because you have a title limit with Hoopla).

In movies, Hoopla is heavy on classics or things of a vaguely educational nature: James Franco in Howl, John Malkovich in Klimt. When you browse through, you’ll understand why some 81 percent of these titles are not found on Netflix. Music is much better, with 300,000 titles ranging from Bruno Mars and Macklemore, to Mumford & Sons and the Les Miz soundtrack — that’s just the Ms, obviously. You can also listen to the audiobook of A Confederacy of Dunces or Don’t Let the Pigeon Drive the Bus.

Download the free Hoopla app for your Apple or Android device. (On the desktop, they support  Internet Explorer, Firefox, Chrome, and Safari.) You have to sign up before you can sign in, using your Seattle Public Library card number, and registering an email address. Then you can stream or download up to 20 titles per month. You can check out a music title for one week at a time, videos, for three days (72 hours from download).

The library told MyNorthwest that they have had to try to estimate demand, since they have an overall borrowing budget themselves. (Each title borrowed costs the library about $1.70.) They’re happy with Hoopla’s pay-as-you-go scheme because they’ll only pay as borrowers actually use the service, and several patrons can watch or listen to the same title at once. It’s all configurable, so at some point they could loan out the same number of titles per month, but cut the per-patron borrowings to ten from 20 per month.

An Interview with Nils Petersen of Rose Windows, CHBP 2013

Rose Windows

Rose Windows

This Saturday, June 27th, catch Rose Windows on the Main Stage at Capitol Hill Block Party @ 3:30 p.m.

Describing Rose Windows isn’t easy. I rewrote this paragraph over and over — probably six or seven times. I started with psychedelic Native America. (Nope.) Gritty folk? (Almost.) Gypsy rock? (Not quite.)

I imagine myself listening to Rose Windows while walking through a post-apocalyptic, Cormac McCarthy-esque world. Their music is terrifying (in the best way), but also beautiful and tender.

On Friday afternoon, I spoke with guitarist Nils Petersen over the phone about Rose Windows’ ascent to the top of Seattle with The Sun Dogs on Sub Pop Records. While the band has achieved a lot since February, they are starting to think less about achieving perfection on stage, and more about rediscovering the raw energy they thrive off of.

I saw yesterday that you’re opening for Modest Mouse in Reno. What have these past couple months been like after signing on to Sub Pop in February? Has it all been a little surreal?

Definitely a large amount of it is really surreal. It’s totally a dream come true for all of us. It’s amazing that all these opportunities have opened up just because of having that name associated with us. Also, it’s an amazing staff that does a huge amount of work just because they love the artists they work with.

You don’t seem to be a band to choose a label because of their name though. Why sign with them over other labels?

We’ve always liked their conviction and music throughout the 25 years that they’ve been doing it. They’ve held themselves to a very strong power but also in a very humbling manner. They don’t take themselves too seriously. I think it’s still less than 30 employees. It’s still a very small — almost grass roots — campaign that throughout 25 years they’ve figured out how to do in a successful manner.

So it’s still a personal label? You feel like you get to know everyone?

Yeah, I’m on a first name basis with a lot of the staff there and sometimes we just hang out to have a drink — not even about business. It’s very conducive to the creative aspect of what we’re doing.

You guys have been touring a lot. Do you feel pretty comfortable on the road?

We do great on the road. I’d actually say we’re more comfortable on the road than we are at home. Because there are seven of us, we had to learn quickly that there are certain things that never work on the road. And there’s certain things that work to our advantage that we’ve come to embrace. We treat each other like family and we’re a very close, tight knit group.

I read that Pat Schowe (drummer) said that you’re the “papa of the band.” Could you explain that more? Do you keep everyone in line?

For all intensive purposes, I’m the manager of the band and that goes ten fold when we are on the road. I make sure we are on schedule; I’m the one who contacts all the venues and finds out what we need to know. I still hand out some of the tasks, like cooking. For example, David is definitely the cook of the band and comes out with a lot of the meal plans.

I’ve also heard you guys had some bad luck at shows in the past — playing at sushi bars, teeth getting knocked out and such. But your most recent tour stops have been at pretty impressive venues. Do you ever miss the uncertainty of it all? The element of surprise?

There’s a little bit of that. We did this impromptu show last Friday at Hollow Earth Radio which is an online radio station. But then every once in a while they have really intimate sets. On one hand we were doing it to help our buddies who were touring through from Austin, but also they did a live broadcast and turned it into a podcast.

It was very conducive to the basement setting shows we grew up with. It was just fun. There’s the element of raw energy that is hard to recapture when you’re in a more professional setting. Through these last couple of tours, we’ve been figuring out how to bring back that raw energy. For a while it was all about, How do we perform to the best of our abilities? How we do make sure the musicianship is there? We wanted to be tight. We wanted make sure the songs were played perfectly. And now that we’ve started to get past that and feel comfortable again, we are able to bring back that energy.

You guys are really supportive of the ladies of La Luz. Can you tell me about your relationship with them?

I knew Shana through her previous band The Curious Mystery and I’m good friends with one of the members of that band. Oddly enough, when they picked up Alice to play keyboards, I found out that Alice and I went to college together. We were both in the same arts program. We just have a very strong affinity for what they’re doing. It’s amazing music and they are all so down to earth and very wonderful human beings. We’ve been able to play a couple of shows with them, and they are always our top choice if we have the chance to get another band on. It’s always a joy and blessing when we get to share the stage together. We’re really stoked that they got moved from Neumos to the Main Stage!

So many bands lately use technology as a crutch. Did you consciously look to explore different areas of music with The Sun Dogs or have you always been musically curious?

For the most part, we’re all very musically curious. We all come from very early backgrounds of music. I myself started playing the violin when I was two years old, and then when I was around nine years old I started the piano and continued with that into my 20s. I picked up the guitar in my teenage years and I played the trombone in band. I also sang for many years. And that’s kind of the story with a lot of us. We’ve always had this innate draw to study music and learn more about it.

Some of the sounds from The Sun Dogs seem like it’s coming from an anthropology class I took in college or something. (Laughs)

(Laughs) There’s definitely an anthropological aspect to our album. And we take pride in that. We’re able to use the technology of today and obtain information quickly. But instead of using that as mindless fodder, we are using it for knowledge.

Could you tell me more about your video for “Wartime Lovers”? What was the message you were trying to convey?

In the end, we threw out all the messages we thought of putting together. We had this idea of escapism versus inclusion and doing this video where the main person is missing out on all these things. I think there’s a very loose tie to that. But mostly, it was a project where we had eight days to come up with a concept and film it all before the director had to go on to the next city. Originally, we thought about traveling out to the Peninsula or going to other locations…but then we decided to keep it in Seattle. It was four days of shotting and doing two to three scenes a day.

Ultimately, we just decided to make it a little zany. We feel like there is this serious edge to our music and we want to make sure that people know we have a sense of humor.

Do you have any memories from CHBP?

I’ve only been to Block Party once as a spectator. But last year I worked the entire weekend at The Comet and it was really fun because I got to watch everything on the Main Stage. I definitely had a lot of one-off, by chance, relationships with people as they would hang out for an hour before moving on to something else. That was really fun, but I thoroughly enjoyed Neko Case. Not only is she a phenomenal musician and has an amazing cast of talented musicians to back her, but she’s also really vulgar!

She’s really funny! I just remember she could not handle the guy in the eagle costume in the window. (Laughs)

(Laughs) Yeah! That was hilarious.

Spectacular Shostakovich Lights Up Summer Chamber Music Fest

Violinists James Ehnes and Amy Schwartz Moretti, violist Richard O’Neill, and cellist Robert deMaine (Photo: SCMS)

The temperature rose as a buzzing crowd filled Benaroya Hall’s Nordstrom Recital Hall on Wednesday. The muggy atmosphere in the typically-breezy auditorium was deliberate for the penultimate evening of the Seattle Chamber Music Society‘s Summer Festival. The whirring air conditioning system was shut off for part of the performance, which included a live recording session of two of Shostakovich’s most celebrated string quartets. The audience in the packed hall didn’t seem to mind the heat. Instead, a palpable sense of excitement and anticipation filled the room in the minutes before the start of the show.

Each SCMS concert is preceded by a 30-minute recital presented by artists on the evening’s main program. The recitals are always free and open to the public, making these pint-sized performances a fantastic deal. Wednesday’s pre-concert event featured the live recording of Shostakovich’s String Quartet No. 8 — an especially sweet bargain that turned out to be the highlight of the entire evening.

One of the composer’s most frequently performed works, the String Quartet No. 8 is full of visceral energy and raw emotions. It’s not always pretty-sounding music, but it’s incredibly affecting and haunting. With SCMS Artistic Director James Ehnes leading on first violin, the ensemble delivered a riveting performance of the work that brought out the distinct character of each movement. Though the tangle of microphones and cables onstage seemed to encourage the musicians to keep their performance on the cautious side, the ensemble still hit all the piece’s emotional peaks and valleys with full force.

A fuzzy static seemed to crackle in the air as tension mounted over the course of the creeping first movement. Occasional solo passages included a rich melody played by second violinist Amy Schwartz Moretti. The first movement immediately launched into the rapid, violent bow strokes of the famous second movement. During key solo moments, violist Richard O’Neill’s bold tone rose above the swirling sound, contrasting sharply with the deliberately scratchy sounds of the other three musicians.

The third movement, a diabolical waltz, lurched to and fro with a halting stagger. Guided by Ehnes and cellist Robert deMaine, the slight changes in tempo gave the movement a deliciously whimsical, creepy character. The mood darkened in the final two movements, which were filled with ominous imagery, from aggressive knocking on a door to muted wailing.

Though nearly every seat in the auditorium was filled for the pre-concert recital, an even larger crowd packed the hall for the concert proper. Ehnes and his colleagues took the stage again for Shostakovich’s String Quartet No. 7, the second part of the evening’s recording session. Unlike the sprawling No. 8, Shostakovich’s seventh string quartet comes in a compact package full of recurring themes that evolve over the course of the piece.

The key to Wednesday’s performance was contrast, both in texture and tone. Rich melodies wound their way through sharp pizzicato plucks and short, scratchy bow strokes. In the piece’s final movement, a buzzing fugue-like theme is passed between the four instruments and eventually pits the cello against the violins and viola. Here, cellist deMaine held his own, providing a solid counterbalance for the higher instruments as the piece whirled to its conclusion.

Two gems from the Romantic era rounded out Wednesday’s program. Mendelssohn’s Sonata for Violin and Piano in F Major was the first of the pair. Violinist Erin Keefe and pianist Anna Polonsky brought sparkling virtuosity to the work. A well-matched duo, the two musicians fed off each other’s musical energies, especially during transitional sections. Back-and-forth exchanges between violin and piano rose to a literal crescendo during the final movement, which is full of rapid-fire scales and shimmering technique reminiscent of passages from Mendelssohn’s famed Violin Concerto. Polonsky buoyed Keefe’s lightning-fast melodies with supporting chords before stepping into the spotlight, matching Keefe’s playing with equally-energetic solo passages of her own.

For the evening’s final performance, a new group of musicians brought the house down with Brahms’ Quartet for Piano and Strings in A Major. The four performers wasted no time getting down to business — the quartet pushed the pedal to the metal in the piece’s opening phrases and rarely looked back, keeping excitement levels dialed up high for much of the performance.

Ebullient pianist Orion Weiss effectively controlled the ebb and flow of energy with his confident playing, while violinist Alexander Velinzon, violist David Harding, and cellist Amit Peled made the most of Brahms’ grand, soaring melodic statements. Velinzon, who just completed his first season as Concertmaster of the Seattle Symphony, seemed equally at ease in a string quartet setting. His full tone suited the epic scale of Brahms’ work well, especially when balanced by Peled’s lush cello sound.

The live recordings of the two Shostakovich string quartets will be released later this year on the Onyx Classics label, along with a recording of Ehnes performing Khachaturian’s Violin Concerto. Another disc of live recordings from this year’s festival is also in the works. It’ll focus on music by American composers, including Leonard Bernstein, Charles Ives, and Elliott Carter.

Catch the final performances of the Seattle Chamber Music Society’s Summer Festival this evening. Pianists Polonsky and Weiss return to the Nordstrom Recital Hall stage for the four-hands version of Stravinsky’s Rite of Spring. Also on the bill are more live recordings for SCMS’ American composers album. During the pre-concert recital, you’ll hear Copland’s Sonata for Violin and Piano, followed by Barber’s String Quartet during the main performance.

Bat Country Leaves a Bittersweet Video Farewell

Is there anything better for starting off a bright and sunny weekend than a grand, gloomy dirge that name-checks crack and anal sex? Hell no, we say.

Gothic cabaret/dark Americana band Bat Country called it a noirishly-overcast day recently, but not before putting out a final release, Love’s the Only Engine of Survival. It’s a richly-textured, black-clad little jewel, even beyond the poignant story of its gestation (Bat Country bassist “Meshugunah” Joe Albanese perished in the Cafe Racer shootings of 2012).

Alongside live renditions of their wonderfully macabre originals, BC let their Leonard Cohen flag fly high with this cover of Cohen’s “The Future.”  It brought down the house at Columbia City Theater, and like their recorded output, it captured their rare, magical confluence of spooky theatricality and last-call singalong warmth to a black lace-wearing T. Sorry to see you go, guys.

An Interview with Sam Anderson of Hey Marseilles Before CHBP 2013

MG_8323-Edit-Credit-Hayley-Young-copy1

Hey Marseilles

Hey Marseilles

Hey Marseilles

This Sunday, June 28th, catch Hey Marseilles on the Main Stage of the Capitol Hill Block Party @ 3:45 p.m.

Hey Marseilles (pronounced “mar-SAY,” get it right!) has had a better than average summer. You could probably close your eyes and point to any spot on a map and they’ve performed there. When their second full-length album, Lines We Trace, was released in March, the group of six — with double the amount of instruments — hit the ground running and hasn’t really stopped.

If you take a look at their tracklist, songs like “Madrona,” “Rainfall,” and “Tides” make it pretty clear that Hey Marseilles is a Seattle band. The songs are, at times, heartbreakingly beautiful. Matt Bishops’s voice floats next to the viola, while the fading in and out of the cello leaves you aching for more. There are many layers to Hey Marseille’s “folkestra” sound, so much so that I had to look up videos of their live performances just to see which instruments they pulled from their bag of tricks.

I chatted with Sam Anderson of Hey Marseilles over the phone Friday at a rest stop somewhere in the state of New York about his first time at Capitol Hill Block Party, performing for KEXP, and not taking himself too seriously.

So I saw that you’ve traveled 3,000 miles in the last 4 days — how’s that been?

Not too bad. We got kind of a slow start the first day of travel (which was on Monday) and we didn’t calculate the pace that we needed to avoid doing this all-night-marathon type of driving. We made that realization after the first night and we were like, “Aw, damnit!” We also actually got pulled over but we didn’t get a ticket. Another thing that helps is that two of the band members flew [to Rhode Island for the Newport Folk Festival], so we all have bench seats in the van that we don’t have to share and can sleep on.

Have you hit any bumps along the road besides the cop? Any flat tires in some Midwest ghost town?

Yeah — actually that same day one of the belts on the van broke so it made the wheel this kind of lopsided shape…one of our bandmates actually has a video of this. All of us were just driving along for a good 20 minutes while there was this really intense shaking of the van. I don’t know how we put up with it for so long. If you watch the video, it sounds like a helicopter.

What did you think it was?!

We thought it was the road! (Laughs) The roads down there are really bad and it started kind of slowly and kept getting worse and worse — then finally we pulled over. Our tour manager is actually a very skilled mechanic. If any of us would have pulled over and checked it out we would have been like, “Yep! It was the road!” (Laughs)

It seems like all six of you genuinely get along really well. Do you and your brother also work well together?

Yeah, absolutely. We’ve been a band for six years, going on seven. We’ve all known each other for a long time and know how to make it work.

I swear I heard you guys at the Sea-Tac Airport a couple weeks ago. How did you get involved with the Music Initiative Program there?

I don’t recall exactly how we got involved in that. But I do remember when it came up it didn’t seem like that many people would be exposed to our music that way. However, the reality is that at least every week we get people who tell us that they just returned from a trip and heard our music in the airport and how much it meant to them.

It seems like there’s a lot of support from the community here to involve artists in any way they can. I think it’s really great.

Yeah! I do too. At first, I made the comment that it didn’t seem like that big of a deal. But now it’s something that I really appreciate. I think at the beginning I took Seattle and the community here for granted. Touring really helps you to appreciate this city so much. When you’re touring in smaller cities with a population of like 13,000 people, it’s a cool experience because people are very appreciate of what you have to offer…. But when you return to Seattle, you’re blown away. I came back and I was like, “Wow, this city is incredibly supportive of the artists and it’s incredibly rich culturally.” All of those things jumped out to me that I totally took for granted.

Is that part of the reason you chose to include so much of Seattle in the video for “Heart Beats”? How did you go about choosing all those places?

Well, that was the product of Hayley Young (the director of the video) and her vision. Even more specifically, the video is places that are relevant to each individual of the band. For instance, the ferry was my scene. That ferry travels between Steilacoom and Anderson Island, which is where I grew up. It was intentional to include Seattle but it’s definitely more specific than people think.

I know the “Hey Marseilles Makes an Album” video is a joke in some sense — but is some of that actually pretty accurate to how Lines We Trace came about?

(Laughs) Yes. My good friends (and creators) Justin Henning and Nick Simmons are close with the whole band personally and know us to be funny, weird dudes who aren’t above embarrassing ourselves and doing weird stuff on camera. So a lot of the video shows our quirkiness, but there are definitely still elements of truth.

Is the house in the video where you actually recorded some of the album?

Yeah! That’s the house that three of us live in.

What was that exorcism scene right before the counseling? I didn’t quite get that part. (Laughs) 

(Laughs) That was a fun one! The B-roll for that scene was hilarious, there’s a lot of good outtakes.

In nearly every article I’ve read about your band, they mention you were classically trained. Would you describe yourself as truly classic? Or do you just have a classical sensibility?

I started playing violin when I was three and I started in a very classical environment. I started playing cello when I was six, but I was also playing different styles of music at the time. I was playing the mandolin and I was also playing in blue grass bands. By the age of 8, I was teaching the mandolin. Up until this year, I’ve been playing a lot of classical music. However, it’s not really worth it or fun to play classical music when you don’t have the time to rehearse 5 to 10 hours a week. The nature of the instruments that both my brother and I play are very, very difficult and if you don’t have an extensive background in studying those instruments — maybe this a grandiose claim for me to make — it would be very challenging.

Some really incredible artists have performed on the main stage at Block Party. Is it daunting at all to return home to that after being away from Seattle for so long?

Well, two weeks ago our schedule was that we had Newport Folk Festival on Friday and then we had a day off on Saturday and then we did Block Party on Sunday. So we would have had a day off in Seattle to stay in our own beds, maybe check out Block Party a day early…. But now we’re flying in Sunday morning and heading straight to Block Party. Truthfully, it is a bit daunting because we’ve never done anything quite like this before. But we’ll see how it goes!

Do you have any good memories or stories you can share from Block Party?

Yeah, so many that I can’t share. (Laughs) Actually, one of my favorite memories is the very first time I went to Block Party and the first time a lot of the band had been to Block Party as well. It was maybe 2008 or 2009 that the band was asked to play in the Bean Room for KEXP. We hadn’t had a lot of exposure or connections to the KEXP staff yet. I remember it being a very fun show and where things really started for our band. There were quite a few people from the industry there who really liked what we were doing and were impressed. We had a great time. And since then, KEXP has been really, really supportive of us.