One of the four students seriously wounded in a Washington high school shooting on Friday has died.
A 14-year-old girl who was shot by a high school classmate in an attack in the school’s cafeteria on Friday in this northern suburb of Seattle died late Sunday, hospital officials said.
Gia Soriano was sitting with friends when Jaylen Ray Fryberg, also 14 and a freshman, opened fire with a .40-caliber handgun during a lunch period, witnesses said. In a span of minutes, he killed another female classmate and seriously wounded four others, including Gia, each of them his childhood friends and two of them his relatives, before dying by a bullet from his own gun.
The attack has gripped this community, raising questions about why a popular 14-year-old boy would turn on classmates with lethal malice, as the wounded have fought for their lives in hospitals.
Gia’s family said in a statement posted on the Facebook page of Providence Regional Medical Center in Everett that her organs would be donated to help others. “We are devastated by this senseless tragedy. Gia is our beautiful daughter, and words cannot express how much we will miss her,” the family said.
Gia Soriano, 14, was shot in the head during the morning shooting at Marysville-Pilchuck High School, which is located north of Seattle. She died Sunday night after remaining in critical condition at Providence Regional Medical Center in Everett during the weekend.
“We are devastated by this senseless tragedy,” Dr. Joanne Roberts, chief medical officer at Providence Regional, said on behalf of the Soriano family. “Gia is our beautiful daughter and words cannot express how much we will miss her.”
Soriano was the second young woman to succumb to her injuries after Jaylen Fryberg, a 14-year-old freshman, allegedly opened fire Friday morning in the school cafeteria, initially killing fellow schoolmate.
Zoe Galasso and critically wounding four others before turning the gun on himself. Shaylee Chuckulnaskit, 14, and Andrew Fryberg, 15, remained in critical condition more than three days after the incident. Nate Hatch, 14, who was upgraded to satisfactory condition at Seattle’s Harborview Medical Center, was awake and breaking on his own by Monday morning, said. Susan Gregg, hospital spokesperson.
Late Saturday, the president of the local teachers’ union released a statement from Ms. Silberberger saying that she has asked for time to heal. Her statement was simple and direct.
“This teacher did everything possible to protect students,” she said.
Jaylen came from a prominent family on the Tulalip Indian Reservation near Marysville, and the tribe’s chairman, Herman Williams Sr., issued a joint statement on Sunday with the city of Marysville, saying the two governments were collaborating fully in the investigation into the shooting, and the larger response in the community.
“The Tulalip Tribes and the city of Marysville stand together,” Mr. Williams said in the statement. “Our priority is now on our children and young people.”
Pearl Jam exploded onto the Seattle music scene in 1991 and has been fending off celebrity ever since. The group’s debut album, “Ten,” reached No. 2 on the pop charts and has sold some 12 million copies, but the band shunned endorsements and shied away from almost all self-promotion, even refusing to make videos for a time. Close to two decades later, it’s clear they didn’t need the hype. In a 2005 USA Today readers’ poll, Pearl Jam was voted the greatest American rock band of all time. They’ve managed to take up causes from health care to antitrust, even testifying before Congress in a Justice Department probe into Ticketmaster. Currently at work on their ninth studio album, Pearl Jam is re-releasing “Ten” in four new and expanded editions that include six bonus tracks. Lead singer Eddie Vedder, 44, spoke about the reissue, balancing music with activism, and life as a father of two. Excerpts:
How has Pearl Jam changed in the years since “Ten” was first released? Eddie Vedder: I think in so many ways we’ve grown up, but I think in music you’re also able to hang on to a part of youth that in a normal job you’d have to surrender. In a way, it was a blessing that we didn’t have families at the time, because we could give everything to the music. But I never thought we’d have to actually look back and answer questions about 20 years ago.
How much of this has become about activism for you, and how much is still about music? I think it’s always been a balance. I think music is the greatest art form that exists, and I think people listen to music for different reasons, and it serves different purposes. Some of it is background music, and some of it is things that might affect a person’s day, if not their life, or change an attitude. The best songs are the ones that make you feel something. But it’s really a balance, because part of it is just, well, you’re a rock-and-roll band. But what happens is you learn that a rock-and-roll band can be a whole lot of things.
Has the way you pursue activism changed? Back [in our early days] it was very knee-jerk: You’d want to kick out a stained-glass window to get your point across. Now you try to deliver better business plans to corporate entities so they can still make a profit, but do it without destroying land or culture.
Has having a family changed your views about celebrity? I don’t really have too many views on it, to be honest. [Laughs] Seattle’s very close-knit, and I don’t feel any different, even though I have a different job than some of the other parents at school. How else do I answer that?
Well, what’s it like to be a rock star? You know, rock stardom … I have a hard time discussing that because I don’t really accept it. It’s not really that tangible. What’s really bizarre is how it’s used as a thing—you know, “He’s the rock star of politics,” “He’s the rock star of quarterbacks”—like it’s the greatest thing in the world. And it’s not bad, but it’s just different. I don’t understand it. Cause I’m going, “Well—am I that?” I want to be the plumber of rock stars.
How do you keep your music relevant? I think by pushing the boundaries, by not doing something you’ve already done, and pushing each other as bandmates to create in a new way.
Do you miss that Seattle heyday of the early ’90s at all? I think what we miss is the bands all showing up at each other’s shows, and five people being up onstage, and then the next night the same people that were up onstage being in the audience and vice versa. Everyone was very supportive of each other. And, you know, there were some great f–king living-room parties as well. And it still happens, it’s just a little less.
Does that community you talk about still exist? You know, it’s amazing how few bands are able to keep it together. But I’d like to think there’s still a number of us who, for lack of a better word, are slaves to rock and roll. It’s in us and we need it. And I think it’s trickier now because a lot of us have to be a little bit more grown up. We’re parents and we’re figuring out how to do both. Because as much as I would dedicate my life solely to music, I wouldn’t sacrifice the kids’ upbringing to do it.
You recently had a second daughter.
Yep, she’s 4 months old. She was born on Bruce Springsteen’s birthday. So my one kid’s 4, my other kid’s 4 months, I’m 44 —it’s all lining up nicely here.
Do you still wear a lot of flannel? I’m not wearing one today, but I sure was wearing one yesterday.
With its open-armed energy and elegiac grace, “AUGUSTINES” marks a colossal leap forward for Votiv/Oxcart recording group Augustines – no mean feat considering the extraordinary power of their breakthrough 2011 debut, “RISE YE SUNKEN SHIPS.” Songs like “Now You Are Free” and the plaintive “Walkabout” are both immediate and engaging, joining joyously unrestrained arrangements with singer/guitarist Billy McCarthy’s signature affective lyricism. “AUGUSTINES” marks a milestone on Augustines’ amazing journey, the work of a gifted band ascending to new heights while simultaneously grappling with their place in the universe.
“You have to do some soul-searching when given the opportunity to manifest your dream,” McCarthy says. “You’re free to walk the walk you always said you could walk.”
“If you struggle for a period of time to get something, there’s obviously a feeling of pride that comes when you achieve it,” says co-founder/bassist Eric Sanderson. “It’s very freeing, but like with any kind of freedom, it comes with a sense of wonder and confusion.”
Augustines was born upon the ashes of the Brooklyn indie rock band, Pela. That combo called an end to its collective trip in 2009, but founders McCarthy and Sanderson reunited to record a series of deeply personal songs chronicling despair, depression, and the untimely death of a close family member. They dubbed their intimate new endeavor, “Augustines,” which trademark issues required be appended to “We Are Augustines.”
“The name ‘Augustines’ resonates for us in many regards,” Sanderson says. “The minute we gave the project a name is really when it birthed itself. To have that name taken away from us, or even modified in a minor way, was always difficult. Now we’ve come full circle.”
“RISE YE SUNKEN SHIPS” – recorded and mixed by Dave Newfeld (Broken Social Scene, Super Furry Animals) – instantly set Augustines among modern music’s most compelling new bands. Songs like “Juarez” and “Book of James” touched a collective nerve, their dark subject matter refracted and then elevated by Augustines’ affirmative approach. Hailed by iTunes as 2011’s “Best Alternative Album,” “RISE YE SUNKEN SHIPS” was a critical and popular sensation, earning abundant praise and a fervent fan following. McCarthy and Sanderson enlisted the talents of British-born, conservatory-trained drummer Rob Allen and with that, Augustines became a fully-fledged band. The trio traveled the planet, performing innumerable headline shows, support sets, and show-stealing festival dates.
“We went touring together for two and a half years,” Allen says, “ Over two hundred shows…You can imagine the kind of bond you get from going on the road like that. You become a family.”
By the end, Augustines felt akin to Archibald MacNeal Willard’s “The Spirit of ’76,” bloodied but unbowed as they marched home from their long campaign. They paused to heal their dents and dings, with McCarthy embarking on an extended expedition that saw him visit such far-flung locales as Kenya, Turkey, Mexico, and Alaska. He eventually drifted back to the Applegate, California elementary school where he first learned an instrument. There he worked, observed by students and faculty as he put fingers on strings and pen to paper.
“I wanted to go back to the most stripped down form,” he says, “to when and where music first touched me. It was very soothing, having been at this for 12 years, to limp back to this small town grade school.”
Meanwhile, Sanderson and Allen worked on demos of their own, each still abuzz with ideas andexperiences garnered on the infinite tour. In late November 2012, Augustines reconvened for a month of woodshedding at Temperamental Recordings, a converted 19th century country church in Geneseo, New York.
“It was like a music factory,” Allen says. “You could just feel the creativity oozing. We’d been playing basically the same set for two years so it was just like an overflow of ideas, like lava from a volcano.”
Fully armed, Augustines next headed to Bridgeport, Connecticut to record with co-producer Peter Katis at his residential Tarquin Studios. Katis (The National, Frightened Rabbit, Interpol, and – most importantly to Augustines – Jónsi) proved the ideal collaborator, helping focus the band’s driven pace and ample vision.
“We needed to work with somebody that was mature and confident,” Sanderson says. “Peter is very regimented and organized. He’s level-headed and that helped us to be level-headed as well.”
From the start, the sessions evinced a decidedly more optimistic point of view that the one which fired their heartrending debut, with songs like “Nothing To Lose But Your Head” and the buoyant “Kid, You’re On Your Own” lit by positive vibrations and striking confidence.
“This was us moving on together,” Allen says. “It was wonderful to come through the other end and record a new record. It was a huge accomplishment and looks towards a brighter future for us all.”
“The depth and the place the first record came from is not something that is repeatable,” says Sanderson. “It’s not something one would want to repeat. We did everything we could — as artists, as men – to learn from that experience, to become better people and move on.”
Where their first record was created in relative isolation, “AUGUSTINES” was made “with the awareness that we weren’t going to be alone anymore,” says McCarthy. “This is us handing it over to those people that sang our songs back to us all over the world.
“The first record was obviously very personal,” he says. “It was really for us in many ways. There was almost an exchange – we turned from the interior and started considering some of the breathtaking moments that happened to us on the road, in different countries.”
Indeed, tracks like the thundering “Cruel City” and the album-closing “Hold Onto Anything” demonstrate a distinctly outward shift in sonic scope, interpolating the holistic experience of West African music into Augustines’ sweeping, multi-faceted sound.
“It’s not musicians up on a pedestal,” Sanderson – who studied music in Ghana – says. “The audience is singing, the audience is dancing, they’re all making music together..” That’s what we’ve been trying to do our whole lives as musicians, but only recently have we been able to embrace that.”
“It’s all about being inclusive,” McCarthy says. “Interaction is the lifeblood of what we think music is.”
Now based in Seattle, Augustines are eager to bring their brilliant new album to a worldwide audience keen for their return. If “RISE YE SUNKEN SHIPS” provided much needed catharsis, “AUGUSTINES” now takes this very special band to an altogether new plane, transcendent and triumphant.
Billy McCarthy (vocals, guitar)
Eric Sanderson (bass, keyboards, vocals)
Rob Allen (drums, percussion)
Pearl Jam Twenty chronicles the years leading up to the band’s formation, the chaos that ensued soon-after their rise to megastardom, their step back from center stage, and the creation of a trusted circle that would surround them—giving way to a work culture that would sustain them. Told in big themes and bold colors with blistering sound, the film is carved from over 1,200 hours of rarely-seen and never-before seen footage spanning the band’s career. Pearl Jam Twenty is the definitive portrait of Pearl Jam: part concert film, part intimate insider-hang, part testimonial to the power of music and uncompromising artists.
About the Filmmaker
CAMERON CROWE, Director, Writer, Producer
At Age 13 Cameron Crowe began his professional life as a music critic, writing for magazines such as Creem and Crawdaddy, and at 15, became a staff writer for Rolling Stone. In 1979, Crowe (then 22) went undercover as a Southern California high schooler for his book, Fast Times at Ridgemont High. He then wrote the screenplay for the film upon which it was based. In 1989, Crowe made his feature film directorial debut with Say Anything…. His other films include Jerry Maguire, Vanilla Sky, Elizabethtown and Almost Famous, which earned him an Oscar® for Best Original Screenplay. His newest narrative film, We Bought A Zoo, starring Matt Damon, will be released in December 2011.
Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready and Eddie Vedder
Written and Directed by:
Cameron Crowe, Kelly Curtis, Andy Fischer and Morgan Neville
Pre-Order Soundtrack and Book at pj20.com/pre-order/
The first full trailer for Pearl Jam Twenty, Cameron Crowe’s documentary about the Seattle rockers, has finally arrived. In just under three minutes, the clip provides a small glimpse into over 1,200 hours of footage from the Pearl Jam vaults, including an awkward yet amazing Q&A between Eddie Vedder and David Lynch, video from early rehearsals and a seemingly endless series of stage dives and smashed guitars. The movie will premiere at the Toronto International Film Festival on September 10th, open in major cities on September 20th and air on PBS as part of their American Masters series on October 21st.
Complex and relevant after two decades, Pearl Jam remains a giant musical force and one of the biggest and most magnetic touring acts in the world. With over 60 million albums sold worldwide, they continue to create and perform all on their own terms. Known for their passionate expression, intense and philosophical lyrics, and amazing relationship with fans, Pearl Jam has outlasted many of its contemporaries from the alternative rock breakthrough of the early 1990s, and is considered one of the most influential bands of all times.
“A testimonial to the power of music and uncompromising artists, the film celebrates the freedom that allows Pearl Jam to make music without losing themselves, their fans, or the music lovers they’ve always been.’
Pearl Jam Twenty – By PBS American Masters
Told in big themes and bold colors with blistering sound, Pearl Jam Twenty chronicles the years leading up to the band’s formation, the chaos that ensued soon-after being catapulted into superstardom, their step back from the spotlight with the instinct of self-preservation, and the creation of a trusted circle that would surround them — giving way to a work culture that would sustain them. Part concert film, part insider hang, part testimonial to the power of music and uncompromising artists, the film celebrates the freedom that allows Pearl Jam to make music without losing themselves, their fans, or the music lovers they’ve always been. Pearl Jam Twenty features new interviews with original band members Jeff Ament, Stone Gossard, Mike McCready, and Eddie Vedder, drummer Matt Cameron, and friend and Soundgarden singer/guitarist Chris Cornell, as well as archival performance and interview footage of Mother Love Bone, Pearl Jam, Temple of the Dog, Kurt Cobain, and Neil Young.
Complex and relevant after two decades, Pearl Jam remains a giant musical force and one of the biggest and most magnetic touring acts in the world. With over 60 million albums sold worldwide, they continue to create and perform all on their own terms. Known for their passionate expression, intense and philosophical lyrics, and amazing relationship with fans, Pearl Jam is not known for their media or personal exposure, making the revelations in Pearl Jam Twenty all the more special.
“When I set out to make this film, my mission was to assemble the best-of-the-best from Pearl Jam’s past and present and give audiences a visceral feeling of what it is to love music and to feel it deeply — to be inside the journey of a band that has carved their own path,” says Cameron Crowe. “There is only one band of their generation for which a film like this could even be made, and I’m honored to be the one given the opportunity to make it.”
Crowe was among the band’s inner circle when they formed and has maintained a close friendship with the band since his days as a reporter for Rolling Stone in Seattle. Almost 20 years after the band’s inception, Eddie, Jeff, Stone, and Mike gave their longtime friend the okay to raid the vault and assemble the story no one but those closest to them ever knew. Audiences will become intimate with the Seattle musicians whose sound and social consciousness were revolutionary — Pearl Jam stood up to both the prevailing social politic and the oppressive music industry.
“We are delighted to be presenting Pearl Jam’s 20th on American Masters’ 25th — a truly perfect anniversary celebration. We continue the tradition of matching world-class filmmakers with subjects like this band, who revolutionized our culture with their music and their exemplary social consciousness,” says Susan Lacy, series creator and executive producer of American Masters, a seven-time winner of the Emmy® Award for Outstanding Primetime Non-Fiction Series. The series is a production of THIRTEEN for WNET New York Public Media. WNET is the parent company of THIRTEEN and WLIW21, New York’s public television stations. For nearly 50 years, WNET has been producing and broadcasting national and local documentary and other programs to the New York community.
As part of their year-long “PJ20” celebration, Pearl Jam will release the Pearl Jam Twenty soundtrack and book in September. The soundtrack from Columbia Records/Sony Music is comprised of tracks selected by Cameron Crowe, making the album a true companion piece to the film. Published by Simon & Schuster in the U.S. and Atlantic Books in the UK, Australia, New Zealand, and South Africa, the book is an aesthetically stunning chronicle of Pearl Jam’s past two decades, compiled and written by veteran music writer Jonathan Cohen with Mark Wilkerson, and featuring a foreword by Cameron Crowe and material from all his own band interviews. Also this September: Pearl Jam’s Alpine Valley Labor Day anniversary weekend concert and 10-date Canadian tour, followed by the film’s theatrical release. The DVD will be available in October after the PBS broadcast premiere.
Pearl Jam Twenty is produced by Vinyl Films in association with Tremolo Productions for Monkeywrench Films and in association with THIRTEEN’s American Masters for WNET. Susan Lacy is the series creator and executive producer of American Masters.
American Masters is made possible by the support of the National Endowment for the Arts and by the Corporation for Public Broadcasting. Additional funding for American Masters is provided by Rosalind P. Walter, The Blanche & Irving Laurie Foundation, Rolf and Elizabeth Rosenthal, Cheryl and Philip Milstein Family, Jack Rudin, The André and Elizabeth Kertész Foundation, Michael & Helen Schaffer Foundation, and public television viewers. This PBS Arts Fall Festival presentation is in collaboration with PBS member station KCTS. Funding for the launch of PBS Arts has been provided by Anne Ray Charitable Trust, public television viewers and PBS.