Seattle Weekly, January 02, 2013

JANUARY 2–8, 2013 I VOLUME 38 I NUMBER 1

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WATCHINGTHEDETECTIVES

THE UNLIKELY STORY OF HOW A DUI ATTORNEY INSERTED HIMSELF INTO THE VERY PUBLIC CRUSADE TO CURB POLICE MISCONDUCT IN SEATTLE • BY NINA SHAPIRO

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inside» January 2-8, 2013 VOLUME 38 | NUMBER 1 » SEATTLEWEEKLY.COM

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NEWS

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FEATURE

THE DAILY WEEKLY | Seattle schools: turning a deaf ear to an alternate sign language? And trying to catch a certain prehistoric fish would be a very bad idea.

BY NINA SHAPIRO | Seattle attorney

James Egan has become an unlikely lightning rod in the ongoing effort to hold SPD accountable for misconduct.

in back The Book of Mormon is cheeky, Indiana Jones is grumpy.

17 FILM

23 FOOD

23 | THE WANDERING GOOSE |

Capitol Hill gets a taste of the South.

25 | FIRST CALL | $4 margaritas that don’t skimp on booze . . . or taste.

26 | A LITTLE RASKIN | Restaurants wrestle with the problem of coat storage.

29 MUSIC

29 | REVERB REVIEWS | All the best of January’s local releases.

33 | THE SHORT LIST | KnowMads, Grieves, Neurosis, and more.

other stuff

15 | PERFORMANCE 16 | VISUAL ARTS 20 | FILM CALENDAR 25 | FEATURED EATS 34 | SEVEN NIGHTS 36 | DATEGIRL 37 | TOKE SIGNALS

17 | REVIEW | Zero Dark Thirty’s meticulous pursuit of Osama bin Laden.

19 | THIS WEEK’S ATTRACTIONS |

Melissa Leo and Naomi Watts do what they must to survive.

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»cover credits

PHOTO BY KEVIN P. CASEY

CORRECTION: Due to a proofreader’s error, Hot Cakes owner Autumn Martin was erroneously identified as Amber Martin in Hanna Raskin’s “Stuck to the Gut” (Dec. 26).

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news»The Daily Weekly »DISPATCHES FROM OUR NEWS BLOG

SEE, Here

There are multiple sign languages, but is that the school district’s problem?

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Seattle weekly • JANUARY 2− 8, 2013

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lish with just one sign. s anyone familiar with deaf culFans of SEE believe the similarity to Engture knows, talking about sign lish better prepares deaf children to funclanguage as a monolith makes tion in the aural world, and makes it easier about as much sense as talking for them to read and write. Templeman about spoken language as if English and adds that SEE is also useful for people with French were indistinguishable. Generally cochlear implants, because the signs match speaking, if you want to learn English, you need to be immersed in English, not French. the aural signals.

For Nathan, it worked. At his private And if you want to learn the sign language school, he became a prolific reader and called Signing Exact English? According to writer. “We knew there was a smart kid in a petition submitted last week to Superinthere,” Templeman says. But Templeman tendent of Public Instruction Randy Dorn, thought there should be a public-school you should be immersed in SEE, not any old option for her son too. When she inquired sign language. with the Seattle district, she says it offered The petition was signed by 200 parents, Nathan a placement in its deaf program at teachers, and interpreters, according to TOPS, a K–8 school on Capitol Hill. She says Denise Templeman, a Seattle parent who she visited the classroom, but found a “chaspearheaded the effort. Templeman, whose otic” program. Teachers were signing only deaf son Nathan is now 12, was galvanized key words, and in ASL, not in SEE. by her experience with Seattle Public She is not the first person to complain Schools. When she moved to Seattle about about the program. A Seattle Weekly feature six years ago from California, Nathan had story last year (“Deaf Jam,” March 9, 2011) almost no language, spoken or sign. He had focused on the plight of a deaf boy named a cochlear implant, a device that can allow Tino Udall, who has cochlear implants. deaf people to process spoken language by Udall’s parents wanted sending signals to the an education for their brain. But it wasn’t son that helped him use working properly. And PRINT IS GREAT, but if you the implants to learn the problem had held want to see . . . a list of the most popular news posts of 2012, go to spoken language, and up his learning of sign The Daily Weekly. found the TOPS prolanguage too.

SEATTLEWEEKLY.COM/DAILYWEEKLY gram unable or unwillTempleman soon ing to do so. The district found a haven for argued it was offering spoken language in Nathan at the Northwest School for the classroom. As for Templeman’s lament, Hearing-Impaired Children, a private spokesperson Teresa Wippel says she needs school that focuses on SEE, a language that more time to investigate before commenting. closely follows the grammar and vocabuTempleman battled with the district over lary of English. In contrast, the more whether it is required to teach in SEE, takwidely known American Sign Language ing the matter all the way up to the U.S. uses a different word order, and sometimes District Court. Judge James Robart agreed expresses what would be a phrase in Eng-

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news» with the district that it did not have to, saying that under state law, public schools can teach deaf students in any sign language, and need not be limited to an “individual’s particular sign code.”

So now Templeman and her supporters are taking the matter up with State Superintendent Dorn. Noting that Templeman’s case is not isolated—that throughout the state “children who have a hearing loss are held back educationally because publicschools personnel do not provide a communication system that provides full access to the English language both visually and auditorily”—the petition asks Dorn to establish a regulation that would require districts to teach SEE to children who use the language at home.

Dorn has 60 days to respond. NINA SHAPIRO

Giving T-Rex Chomp-etition

Last Thursday on The Daily Weekly we noted that 28-year-old Adam C. Blazak— the man allegedly behind the mid-December “vigilante sex sting” at Hotel Five—has officially been charged with extortion by the King County Prosecutor’s Office.

But what about the 19-year-old Seattle University student whom Blazak allegedly lured to Hotel Five with the promise of sex with an imaginary 14-year-old girl?

According to a statement released at the time of the alleged crime, Seattle Police arrested both men, saying, “Detectives continue to investigate this bizarre case.”

As laid out in charging documents filed against Blazak, the student in question allegedly admitted to investigators that he’d arrived at the hotel intent on having sex with a 14-year-old girl, though he did express concerns that she was “too young.” According to investigators, the man—who’s from Saudi Arabia and studying at Seattle University thanks to a student visa—claimed to be unfamiliar with U.S. age-of-consent laws. The student entered the sting, the documents say, when he responded to a Craigslist ad soliciting an “Asian or international student” to have sex with a young girl. He first responded

Though weighing only 20 pounds or so, Megapiranhas had more powerful jaws than Tyrannosaurus rex. about a week before the meetup, and e-mailed the poster more than 50 times.

Despite his apparent admission, Seattle Police Detective Mark Jamieson says the student was taken to the precinct for questioning, but never booked for a crime. “At the time we did arrest both, we took both to the precinct, where the younger guy— the college student—was interviewed and released from the station,” says Jamieson.

“We wrote up the report and we forwarded it to the Prosecutor’s Office. So now it’s going to be up to the Prosecutor’s Office whether they want to pursue any charges on him.

“It looks like the way we wrote it up, he was pretty much considered a victim in this case,” Jamieson continues, saying the student was “probably in police presence for an hour or so” before his release. “He was the victim of the extortion.”

Noting that the man was never booked into jail on criminal charges, King County Prosecutor’s Office Press Secretary Dan Donohoe confirms that the police report has been forwarded to the Prosecutor’s Office, and says “There’s still an ongoing investigation.”

“It’s still under review,” explains Donohoe, saying there’s no timeline for a charging decision to be made. MATT DRISCOLL E news@seattleweekly.com

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Even during the holidays, it can sometimes feel as if you’re swimming in sharkinfested waters, what with constant reminders of the “fiscal cliff,” a fatal shooting at a popular Bellevue bar, and the explosion of a Chinese fish tank that sent sharks everywhere.

But the sharks—well, OK, the piranhas— could be so much fiercer. Just take a look at a just-published paper by University of Washington doctoral student Stephanie Crofts and several other researchers. Published December 20 in the online journal Scientific Reports, the paper delves into the biting power of the mighty, prehistoric Megapiranha. Though weighing only 20 pounds or so, these fish had more powerful jaws than one of the biggest species that ever walked the planet, Tyrannosaurus rex, the authors conclude.

They reached their findings by extrapolating from measurements taken on the much smaller piranha of today. A UW press release explains: “Just how does one measure the bite force of a piranha living in the wild? Well, you get out your rod and reel and go fishing. Land a specimen, then hang tight to the tail with one hand and use your other hand to support its belly while offering the fish a chance to bite the plates of a customized force gauge.”

One 2.5-pound piranha caught that way bit with a force of about 72 pounds. By comparison, the scientists reason, the piranhas that swum the waters of 10 million years ago bit with a force of up to 1,070 pounds.

What’s more, the researchers go on, the Megapiranha had “dental weaponry” that was “capable of both slicing soft flesh and crushing hard prey.” If only they were around today, we could stick them in Congress and end the fiscal-cliff debate right now.

What these ancient piranha actually did with their fearsome jaws remains a mystery, however. The paper’s authors note that the era in which Megapiranha lived was known for its gigantic wildlife and plants. So whatever prey these creatures set their sights on was bound to be big. NINA SHAPIRO

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Egan’s bread and butter is defending clients who’ve been accused of driving with blurred vision.

WATCHINGTHEDETECTIVES T

“I didn’t know him from nobody,” recalls Mack by phone from Virginia, where he is now executive director of the National Society of Black Engineers. “He literally just showed up like that.”

After sitting through the day’s session, the lawyer, James Egan, walked over to the NAACP leader. As Mack recalls it, Egan said, “Look, I want to help.”

“I remember looking at him, trying to figure out what was motivating him,” Mack says. But it really didn’t matter. Mack’s attorney, Alfoster Garrett Jr., was himself young and inexperienced. (Garrett would succeed Mack as NAACP president, only to be ousted after allegations of financial impropriety in his law practice.) “Alfoster was like, ‘Great, man, I could use the help,’ ” according to

Mack, who remembers his own attitude as being “Fine, I’m down with it.”

In the end, the jury acquitted Mack. The case hinged on a video that surfaced in the middle of the trial. Taken by a bystander, it showed Mack stepping into a crosswalk when the light was green, in full compliance with the law.

That ended the case, but not Mack’s puzzlement about Egan. “I still to this day do not know what was motivating him,” he says.

Others may be wondering that about Egan too. For the most part, he went back to handling DUI cases after lending Mack a hand. Egan, 42, heads an eponymous Pioneer Square firm known for aggressive marketing through full-page newspaper ads, radio spots, mailings to prospective clients, and a

new iPhone app that purports to track your blood-alcohol level over the course of an evening. Yet last year, Egan burst onto the scene with another video that he said needed to be seen. Taken by a Seattle police-car camera, it showed four officers interacting with two Hispanic men from Yakima, Miguel Oregon and Hugo Perez, who had been caught speeding on Capitol Hill. The officers unleashed a torrent of taunts and profanity at the Yakima men. Most notorious, one officer declared: “The badge is the only thing preventing me from skull-fucking you and dragging you down the street.”

The story blew up. Not only did Egan call multiple media outlets, but he deliberately went public with the video on the very day that the federal Department of Justice released its withering report on the Seattle Police Department, condemning its officers for excessive use of force and unnecessary escalation of routine stops.

Egan’s role in obtaining and publicizing the video was somewhat curious, however.

He learned of the case before he represented Oregon and Perez, and then sought out the two men. By the time he took over their counsel, the city had already dropped a negligent-driving charge filed against Oregon. Egan said he had no plans to bring

» CONTINUED ON PAGE 10

THE UNLIKELY STORY OF HOW A DUI ATTORNEY INSERTED HIMSELF INTO THE VERY PUBLIC CRUSADE TO CURB POLICE MISCONDUCT IN SEATTLE.

BY NINA SHAPIRO PHOTOS BY KEVIN P. CASEY

Seattle weekly • JAN UARY 2− 8, 2013

en years ago, a young attorney walked into a courtroom where then-NAACP head Carl Mack was on trial. It was a highprofile case. Mack was charged with obstructing traffic during a protest over the fatal shooting of an African-American man, Robert Lee Thomas Sr., by a King County deputy—a charge which further inflamed civil-rights leaders enraged at what they considered unjust gunfire.

The young attorney, who was white, had no connection with the NAACP. He was not a known figure around town. He didn’t even specialize in civil rights, instead focusing on DUI cases.

9

Watching the Detectives » FROM PAGE 9

a civil suit against the city. What did he want? Merely to let taxpayers know the unprofessional way in which some officers were behaving at the time, he says.

That’s a theme Egan has sounded in ever more strident terms as he has continued to place himself squarely in the center of the DOJ-fueled drama swirling around the SPD. Over the past year, Egan has unveiled a series of dash-cam videos that he believes exhibit police misconduct. The most recent, released in late November, shows police roughing up and punching a mouthy hit-and-run suspect named Leo Etherly, who had spat on one of the officers. The video, and Egan, made national news. Meanwhile, Egan has called for SPD Chief John Diaz to be fired; labeled Kathryn Olson’s Office of Professional Accountability “a sham”; and sparred with the city in court over a public-records request for even more videos.

Egan sees a certain irony in the role he is playing, which, on a recent day in his spacious corner office overlooking First Avenue South, he characterizes in this way: “It really ticks me off that some lawyer that does a DUI practice has to be the agent of transparency for a department that won’t police itself.”

However, it would not be inconsistent with Egan’s past to speculate that this very public role might be an exercise in branding—one that seems to be working, and which may presage another surprising turn Egan only hints at now. At the same time, his zeal for this crusade seems genuine.

Whatever his motives, the ways Egan is wielding his shiny new sword grow more interesting as allegations of police misconduct continue to mount.

Such sophomoric humor may have to do with the fact that Egan and his wife have three children under 5, with whom Egan spends most of his free time. They live in West Seattle and are a bilingual household, thanks to his wife and kids, all of whom speak Swedish.

Egan met his wife, a native Swede, in Guatemala eight years ago. He was there on a vacation devoted to learning Spanish, while she worked as a school headmaster.

The child of a psychologist and a Boeing statistician, Egan says his first love was writing. After his high-school poetry endeavors, he turned to journalism in college, writing for school newspapers first at Olympia’s Evergreen State College and then, after a transfer, at Whitman College in Walla Walla. He planned to go into journalism professionally, but reconsidered upon realizing “it would be a very long climb to success. I envisioned myself writing obits for years.” Law school seemed a better bet.

After earning his law degree from the University of Washington and passing the

Seattle weekly • JANUARY 2− 8, 2013

10

into Egan’s Pioneer Square suite, and the two lawyers again teamed up in 2004 to file a discrimination lawsuit against the Kent School District on behalf of students who had been handcuffed and treated roughly by security guards. (A federal judge ultimately dismissed the case.)

Former NAACP board member Sakara Remmu also turned to Egan to represent her in discussions with a hospital she believed was discriminating against her.

Remmu had a very young son who was being treated for neuroblastoma, a virulent form of cancer. Remmu, who says she cannot name the hospital due to the confidential settlement eventually reached, says that what sent her over the edge was a nurses’ order not to cry, because crying made them “uncomfortable.”

Remmu says she needed somebody who could “feel the case.” Egan “wound up being that person.”

Yet all along, DUI cases remained Egan’s bread and butter. In fact, it was this staple that eventually led him to his latest preoccupation.

O

E

gan is not the most natural public figure. He’s a little stiff and self-conscious, even when attempting to be lighthearted.

Working cases at Seattle Municipal Court one day in early December, he greets a prosecutor who used to work as a state trooper by saying “How’s it going, Trooper Jany?”, an appellation he will repeat each time he sees her.

She betrays no hint of amusement. “Fine, how are you?” she responds perfunctorily.

A man who mentions a high-school poetry award, notes that he “aced” his law-school entry exam, and boasts that he’s “gotten the attention of the police chief, the mayor, the city attorney, and the public,” Egan is not skilled in self-deprecation. But when he’s not railing against the police, he strives to be affable. When haggling with prosecutors, he never fails to ask them about their weekends.

Going across the street to City Hall during lunch recess, he places an order at the lobby coffee stand, whose barista volunteers that Egan is a frequent teller of “bad jokes.”

Not missing a beat, Egan gamely offers: “What do you call a cross between an elephant and a rhino?” When the barista gives up, Egan exclaims: “Elephino!”

“That is so second grade,” the barista moans.

in 2001, challenging incumbent Richard Conlin. What made his campaign highly unusual was his attitude. “I didn’t feel comfortable asking anybody to vote for me,” Egan recalls.

Instead, he says, he was in the race to publicize his platform: more funding for at-risk youth. Plus, he says, “I thought it would be an interesting way to network.”

Egan lost in the primary, collecting a mere 14 percent of the vote, but seized a similar opportunity a couple of years later when he ran for a seat on the board of the ill-fated monorail project. Cindi Laws, a longtime Democratic activist and the incumbent in that race, remembers being startled at the end of one forum when her “very nice and very, very polite” challenger announced that he intended to vote for Laws and implored everyone else to follow suit.

The same year as the monorail race, Egan walked into the Mack hearing. “I thought it would be fun to work on,” he explains. “The

When Egan ran for a seat on the monorail board, he urged voters to support his opponent.

bar in 1998, Egan worked at the Northwest Defenders Association, where he handled cases involving arrested WTO protesters, an experience he calls “formative.” There, he says, he learned that officers don’t always tell the truth—like the one who’d claimed to be assaulted by a photographer taking pictures of the protest, when in reality it was the other way around.

Yet Egan left NDA after only a year and turned to his attention to DUIs. He makes no bones that he did so “not because of a passion so much for DUI, but because of a legal demand.” As a commonplace charge, DUI cases “brought business in the door”— business he could make money on. “I’m not going to be paid by a client charged with trespassing or shoplifting,” he says, adding that defendants in those situations are likely to be destitute.

Only a couple of years into his DUI practice, however, Egan took his first puzzling turn: Then 31, he ran for City Council

greatest thing about being a lawyer is that, if you’re motivated, you can delve into so much intellectual food for thought.” With a growing and lucrative practice, he says, “I had the leisure of pursuing what I was starting to see as a passion, which is challenging what I perceived as the unlawful exercise of police power.”

Deep in his past, he’d had his own bad experience with law enforcement. As a senior at Roosevelt High School, he was charged with assault and unlawful imprisonment relating to a payback beating of two other students. “It was the wrong James Egan!” he says. Another high-school senior of the same name who went to Ballard High was the man police wanted. Court records do indeed include the prosecutor’s admission that her office had charged the wrong person. Though Egan was cleared, he says the episode was a nightmare.

After the Mack trial, Egan maintained ties with NAACP leaders. Garrett moved

ver the years, Egan has deployed a variety of tactics to build his DUI business.

His prolific marketing efforts include newspaper ads that incorporate his perspective on law enforcement: “What you should know BEFORE being stopped for DUI,” one full-page ad reads. One recommendation: Switch on your cell phone’s recorder before being approached by an officer so you can capture the conversation and document any potential “police coercion.” The ad elaborates: “As recent events show, recordings of police bullying don’t lie and may help you.”

Among his peers, Egan is also known as a practitioner of what is called “jail mailing”— in which an attorney looks at public records to find out who’s been booked into jail and then sends them marketing material upon their release.

In some legal circles, the practice is regarded with disdain. “I believe it’s the opposite of what a lawyer should do,” says lawyer Bill Kirk, who recently spoke on the subject at a meeting of the Washington Foundation for Criminal Justice, a nonprofit comprising DUI attorneys. He says jail mailing encourages a damaging stereotype of the “slimy ambulance-chasing lawyer.”

“I’m not chasing ambulances,” Egan counters. “I’m putting things in the mail, and they can call me or not. We’re a business.”

About five years ago, Egan launched another business-building strategy. He began to file public-records requests with the police department, asking for all OPA findings that are sustained—that is, every case in which the office has determined a citizen’s complaint about an officer to be valid. Egan has compiled these findings into a database that he calls “a library of misconduct cases.”

When his firm takes on a case, Egan explains, he and his team can run the arresting officers through the database to see if they’ve ever been found in the wrong. He portrays the database as “one of the benefits of hiring this firm.”

In May 2011, Egan made his usual request for OPA findings. He says the department was slow getting back to him. Finally he got three files. One was about a parking-meter attendant who was ripping up the tickets of a

friend. Another concerned an officer who ran a police car into a post. Then there was the third one: Egan says it was “voluminous.”

That was the infamous “skull-fuck” case, which resulted in three of the officers getting suspended for their profanity. Egan was not content to file this one quietly away in his misconduct database. He wanted to see the dashcam video. “I’m very curious,” Egan explains.

“Who are these officers?” Egan suspected that racial bias had played a role.

Seattle Police, however, told Egan that releasing the video “would violate the suspects’ right to privacy. ” The only way he could get it was if he represented suspects Oregon and Perez. So Egan tracked down the

tem, he discovered that each dash-cam video taken is permanently recorded in a log. So he then requested, and obtained, the logs of all videos made between July 2008 and July 2011.

To a techie like Rachner, the logs were a gold mine of information. He figured out that each time a copy of the video is requested, a record of that request is kept in the log. With some simple code, Rachner could search the data to find out every time that, say, the OPA had requested videos relating to any particular officer. In other words, he could find out which officers had been investigated, how many times, and, often, for what reason.

When Egan’s “skull-fuck” video made the news, Rachner picked up on the name of one

“I’M NOT CHASING AMBULANCES,” EGAN COUNTERS. “I’M PUTTING THINGS IN THE MAIL, AND THEY CAN CALL ME OR NOT. WE’RE A BUSINESS.” officer, Brett Schoenberg, who had arrested a fellow golfer during the 2008 debacle. That golfer, David Hulton, had been charged with assault, though the city later dismissed the charge for “proof problems.” Rachner and Hulton subsequently filed a lawsuit against the city, charging, among other things, that Schoenberg had trumped up the charge out of maliciousness and a bizarre aversion to urban golf. The case resulted in a $45,000 settlement. (SPD spokesperson Whitcomb declined to comment on the case).

“I reached out to Egan,” Rachner recalls.

“You know, I have some videos of Schoenberg,” he says he told the lawyer, alluding to the urban-golf case. Then Rachner explained how Egan could get even more by using the logs, which the computer sleuth offered to turn over.

Egan was more than a little intrigued.

“T

his is great!” Egan enthuses. He’s sitting at his desk, looking at one of two flat-screen computer monitors that sit side by side. On it is Rachner’s database. Egan highlights one entry. “On November 17, 2009, these guys”— he names a couple of officers—“were investigated by the OPA for use of force.”

Just because he has the logs, though, doesn’t mean he can get the videos. Soon after Egan got his treasure trove of information, he filed a public-records request for all the videos requested by the OPA involving the four officers in the Perez/Oregon case—36 videos in all. The police department balked, again citing privacy laws. Egan threatened to sue and seek maximum financial damages under the Public Disclosure Act if the department didn’t cough up the videos in two weeks. City Attorney Pete Holmes sued Egan instead.

Holmes’ office explains that the suit was a “declaratory judgment action,” which merely seeks a ruling on whether a requested document must be disclosed. No punitive action or damages are at issue. The city attorney’s office claims it needed a judge’s opinion because Egan’s demands seemed to contradict a state law that requires videos to be kept from the public until the resolution of any litigation. No court action was pending relating to the videos Egan requested, but in the city’s expansive view, the law took in potential suits

» CONTINUED ON PAGE 12

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two men through Oregon’s public defender and signed them as clients. After what Egan claims was five months of stalling, he finally got what he wanted in November 2011.

As Egan saw it, the video was a revelation, betraying inconsistencies with the officers’ version of events. The police report claimed that Oregon had said, “You fucking pussies, that’s why you cops are all getting blasted, you motherfucker, wait until I bring my homeboys.” But that can’t be heard on the video. Egan charged that racism, rather than suspected gang activity, was the real reason behind the officers’ cuss-fest, something the OPA hadn’t delved into.

Egan wanted to talk about it with none other than Chief Diaz, dashing off a letter to request a meeting. Diaz didn’t respond— “which is offensive to me,” Egan says. Police spokesperson Sean Whitcomb says simply that Diaz is “a busy man.”

Egan insists he wasn’t contemplating a lawsuit. “What are the damages?” he says, indicating that the best Perez and Oregon could claim was “emotional distress.” Instead, he says he wanted “changes” in the police department, including racial-sensitivity training. When his requested meeting with Diaz didn’t pan out, he went to the media.

His well-timed splash in December 2011, coinciding with the DOJ report, was covered by a number of media outlets. Just as important, it got the attention of a computersecurity consultant named Eric Rachner.

Police video had become something of an obsession for Rachner. In 2008, he was arrested during a game of “urban golf,” which involved putting Nerf balls on the sidewalks of Capitol Hill. The geeky fun was interrupted when a bystander was hit by a ball.

One of several police officers responding to the scene stopped Rachner and asked for his ID. “I decided to teach him a civics lesson,” Rachner says. He declined to comply, as he believed was his legal right; though he’d had nothing to do with the initial incident, he was charged with obstruction of justice.

The charge was dropped. But Rachner, still furious, wouldn’t let it go. Through a publicrecords request, he learned that five videos of his arrest, taken from different cars, had not been turned over to him when the case was still being prosecuted. “That’s unbelievable,” he says. “I started researching.” Finding the purchasing contracts for Seattle’s video sys-

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As for the city’s suit against him, Egan says, “It doesn’t matter [what it’s called]. It consumed hundreds of hours of my legal time.”

Ultimately, King County Superior Court Judge Dean Lum eviscerated the city, calling its suit “completely unnecessary” given that the very same issues of police videos and privacy were being decided in another courtroom, thanks to a suit filed by KOMO-TV. Lum dismissed the city’s suit against Egan and handed the lawyer roughly $15,000 for his time, though he did deem Egan’s request for between $65,000 and $83,000 “unreasonable.”

Both Egan and the city are appealing, the city contesting the overall decision and the lawyer seeking more money and a designation that the suit constitutes a “SLAPP”: a strategic lawsuit against public participation.

Judith Endejan, a veteran public-records attorney who represented KOMO in its battle with the city, says she’s had “frank discussions” with Egan about the wisdom of pushing the SLAPP argument. She says the SLAPP law is a new one, never before used in connection with a public-records request, and judges generally don’t like awarding punitive damages, as SLAPP would demand. “He got what he wanted,” Endejan says while puzzling over Egan’s desire to go for the jugular.

But she says that when the city sued him, something “flipped” in Egan. Indeed, it’s clear from talking to Egan that Holmes’ suit was a personal affront. “It pissed me off!” he fumes.

“They underestimated me—badly.”

Egan, competitive and aggressive enough to have played rugby in college, made a decision. “‘You know what?” he thought. “You guys are trying to play games. I’m going to go digging.” Or, as he rephrases it, “Let’s go shopping!” It’s an odd statement, but Egan says he uses the word “shopping” because he pays 10 cents a page for records.

Seattle’s police department, which often has said it struggles to keep up with voluminous public-records requests, did indeed seem to be complaining when it issued a statement recently noting that Egan had made 316 records requests since 2008. But the SPD, straining to improve its image in the wake of the DOJ report, has not directly criticized Egan, whom spokesperson Whitcomb calls “polite” and “civic-minded.” Whitcomb says the statement was merely making the point that Egan “knows the process,” including the delays involved.

Desiring to show that he wasn’t going to roll over, Egan refined his strategy. This past spring, ruling on the KOMO suit, King County Superior Court Judge Jim Rogers upheld the SPD’s interpretation of the law regarding videos. The department could refuse to release them for three years, even though, pursuant to SPD policy, it could also destroy them immediately after that. So Egan began searching continually through Rachner’s database with an eye toward the dates.

Exactly one day after any given three-year period was up, Egan would request the video from SPD. “That’s how I found Fuller,” Egan says.

He’s referring to Donald Fuller, an AfricanAmerican truck driver who felt he was being discriminated against when he was stopped by police in 2009 for jaywalking, then Tased

and arrested for obstruction of justice. Fuller complained to the OPA, resulting in that office’s request for a copy of the relevant dash-cam video, which left a bread-crumb trail for Egan to trace. He requested the video, which showed disappointingly little. So he asked for the whole OPA file.

When Egan got the file, he saw material he could run with. Despite police assurances that the OPA process would not bring retaliation, the file revealed that Fuller had been charged only after filing the complaint, due to the prodding of an OPA investigator.

“I was elated,” Fuller says, recalling a call he got from his then–public defender telling him that another lawyer, Egan, was interested in talking to him. Fuller says he didn’t know about the OPA investigator’s intervention before Egan filled him in. “I’m happy with his enthusiasm,” Fuller says of Egan, although he muses that his new attorney is on a “learning curve.”

Given Egan’s DUI specialty, such a curve would be understandable. Nevertheless, Egan’s efforts resulted in a judge vacating Fuller’s conviction just before Thanksgiving. That same week, Egan filed a $1.5 million claim for damages against the city on Fuller’s behalf.

Egan is extremely touchy about the suggestion that his motives are monetary. Without being asked, for instance, he writes up a “personal statement” that declares his motivations “largely altruistic.” In conversation, he offers that civil-rights lawsuits usually don’t pay much, and if they do, the payout “is a long time coming.” He is similarly defensive about the notion that he might be in it for the attention.

Rachner backs Egan up, pointing out how much time the lawyer has spent on cases that offer no obvious financial rewards. “He’s got a huge amount of skin in the game,” Rachner says.

Attorney Cleve Stockmeyer, who represented Rachner in his public-records suit against the city, calls Egan a “hero” for what he’s done to bring questionable police conduct to light. Stockmeyer, who ran for a different seat on the monorail board the same year Egan launched his own campaign, has recently teamed with Egan on MORE several cases. In ONLINE one, involving a TO VIEW A COLLECTION OF POLICE VIDEOS RELEASED man who called

BY EGAN, VISIT OUR NEWS 911 because he BLOG AT SEATTLEWEEKLY. was frightened COM/DAILYWEEKLY. by a strange-acting police officer, the duo won a $50,000 settlement from the city, including attorney fees.

Asked what he thinks motivates his newfound ally, Stockmeyer answers for them both: “We do it because we believe in justice, and we do it because it’s our business.”

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n late November, shortly after he prevailed in the Fuller case, Egan called a press conference to announce that he had another damning police video—“the worst” he said he’d seen, and one he promised would “make the public’s jaws hit the floor.”

That was the video of Leo Etherly, the hitand-run suspect. Etherly had been referred to Egan through someone aware of the lawyer’s police-misconduct work. Egan agreed to represent Etherly, who had been charged with assault for spitting on an officer, and obtained the dash-cam evidence through the pretrial

discovery process. The problem, Egan told reporters, was that he wasn’t allowed to make that copy of the video public because of the rules of discovery. And police were dragging their feet on fulfilling a simultaneous publicrecords request for a copy he could share.

Therefore, Egan announced, he was suing the city.

The very next day, the SPD reversed course and made the video public. Among the many media outlets that covered the story was Right This Minute, a national TV show that advertises itself as showing “videos before they go viral.”

Egan calls up the video online. “Look at this!” he exclaims. “I put this video out 48 hours ago, and there are 35,000 downloads.

I’ve never seen anything like that.” But he’s

that videos of actual police interactions with the public “make real” for people what is otherwise “theoretical and hard to believe.”

For that reason, it may not matter where Egan’s coming from. As for where he’s going, he says politics is out. “I have no interest in playing that game,” Egan says. “It’s hard.”

He talks like a politician, however, when he promises “more creative projects on my desk around improvement of quality of life in Seattle and beyond.” To wit: He, Rachner, and Stockmeyer have been discussing the idea of forming a nonprofit devoted to police accountability.

He hasn’t given up on profit, though. Egan allows that he has entrepreneurial ambitions.

“I hesitate to discuss any projects on my desk, lest I undermine them,” he says. But then he

“I HAD THE LEISURE OF PURSUING WHAT I WAS STARTING TO SEE AS A PASSION, WHICH IS CHALLENGING WHAT I PERCEIVED AS THE UNLAWFUL EXERCISE OF POLICE POWER.” refers to Washington’s just-passed initiative legalizing marijuana: “I think that Initiative 502 is destined to reap fortunes for Washington state and for bold souls who implement creative ways to market the new legal product to the masses.”

The implication is obvious, but Egan won’t confirm that he’s eyeing a way to get in on the green rush.

O

n the December day when Egan is at Seattle Municipal Court, he strides into a ninthfloor hallway wearing a fitted black coat and orange backpack. Although he’s back to his everyday cases, he’s still got a buzz from the Etherly drama that broke the week before. “Did you see the recent video?” he asks another defense attorney as they both stand in line to talk to “Trooper Jany” about possible pleas and pretrial motions.

“I heard about it,” the attorney says.

When it’s his turn to sit at the little table stationed by the prosecutor in a conference room outside court, Egan tells her that the government is going to want to downgrade the charge against his client, accused of DUI. “He’s got a recording,” Egan says. “It’s hilarious!”

According to Egan, his client can be heard saying that he has only a seventh-grade education and cannot read and write. Yet Egan says the officer does not recite the warning legally required before asking for consent to administer a breath test. Instead the cop asks the man who has just said he’s illiterate to read the warning himself. Therefore Egan is going to ask that the breath test be excluded from evidence.

Jany doesn’t react much to the information.

Her job is to move the case along, and since Egan wants a trial date, she gives him one.

Later, in another conference room, Egan gives his client a pep talk. “I’m trying to avoid a DUI here. I think we’ve got a shot,” he says. “We’re just going to put the heat on.”

That’s exactly what his client wanted. The 27-year-old, who requests not to be named, recalls how he heard about Egan through a friend. “Hey, I’ve been seeing this guy on TV,” his friend said. “This dude’s really sticking it to the SPD!” E nshapiro@seattleweekly.com

Seattle weekly • JAN UARY 2− 8, 2013

less enthusiastic about some of the comments.

Wrote one YouTube poster: “This is just the kind of situation which has James Egan licking his chops and seeing dollar signs.”

What’s more, Dori Monson (see Ellis Conklin’s “Monson Season,” Dec. 12, 2012), who had Egan on his radio program along with Etherly, pointedly told the attorney on the air: “If you end up going after the city or the police department, I think I’ll be pretty ticked off.” Monson’s remark stemmed from his view that Etherly had brought the cops’ rough treatment upon himself. Etherly, stopped on October 6 near a white van that matched the description of a vehicle that had hit a bicyclist, balked when asked his name by one of the three officers who questioned him. “Don’t worry about my name!

What’s your name?” he shouted. When the officer subsequently told him to turn around and put his hands behind his back, Etherly resisted and, according to police, eventually spat on an officer. (Police say Etherly is still a suspect in the hit-and-run.)

Yet plenty of people called the officers’ conduct into question too—specifically the actions of Eric Faust, who’s under investigation by the OPA. On the video, Faust can be seen forcefully applying his hand to Etherly’s face and throat to push the suspect’s head away while handcuffing him. Etherly complained he was being choked. After Etherly apparently spat on Faust, who declined to comment for this story, the officer punched him in the face. Egan says his client has permanent eye damage as a result.

“I don’t think it showed anything I would describe as atrocious,” says former Seattle police chief Norm Stamper of the video.

But, he adds, “What I saw showed escalation rather than de-escalation.” The two officers seemed pretty calm until a feisty Faust showed up, elaborates Stamper, who adds that “a calm, quiet, measured voice has a much more positive affect than shouting.”

(Granted, Etherly also could have benefited from Stamper’s advice.)

Even if Egan’s “worst” hype didn’t pan out, making the video public was a “public service,” Stamper says. Lisa Daugaard, deputy director of The Defender Association and a critic of racial bias in policing, agrees, saying

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The first time I saw Jennifer Sue Johnson portray a frustrated wife opposite Michael Patten, their palpable passion made me name Book-It’s Lady Chatterley’s Lover the best production of 2001. Now the compelling Johnson and Patten are together again on the same stage—only he’s now the ball-and-chain hubby, and she’s got to get the hell out of A Doll’s House . Ibsen’s 1879 classic, newly translated by playwright Sean Patrick Taylor and directed by Russ Banham (Johnson’s husband), should keep Seattle Shakespeare Company crowds in rapt anticipation of Nora’s famous final exit.

Audiences in Ibsen’s day were outraged by her emancipation; now it seems prescient.

Office politics, money pressures, little white lies that explode, and that sinking feeling that we’re in over our heads—such pressures are still felt in marriages today.

(Previews begin tonight; opens Friday; runs through Jan. 27.) Center House Theatre (Seattle Center), 733-8222, seattle shakespeare.org. $22–$45. 7:30 p.m.

STEVE WIECKING

thurs/1/3 FIRST THURSDAY

Cool Tribute

Remember when glowing-red LEDs were the cutting edge of wristwatch technology in the ’70s? Maybe not. Or maybe your dad is still wearing the same Pulsar timepiece he got for a college-graduation gift during

the Carter administration. Today the small, cheap diodes are ubiquitous on cars and for household lighting, but artist Robert Teeple was an early adaptor to LEDs—back when they had to be laboriously wired to circuit boards and controlled by four-bit processors with software he wrote himself. In his new show Beat (portraits of Kerouac, Ginsberg, Ferlinghetti, and company), the technology has been helpfully simplified; LEDs now come in a broader array of colors than the old red (as you’ll see in his nearby 1990 bus-tunnel installation Electric Lascaux).

Teeple divides the Beats into their East and West Coast camps, and their flickering images remain—like the light source—forever cool. (Through Jan. 31.) Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer. com. Free. Opening reception: 5–7 p.m.

tues/1/8 STAGE

Laughter in the Jungle

If you already have tickets to The Book of Mormon —it’ll require a miracle from

Joseph Smith to score a pair now—you’ve probably also been presold the notion that it’s “the best musical of this century” (per The New York Times’ Ben Brantley).

Well . . . it is engagingly profane, as you’d expect from South Park’s Trey Parker and Matt Stone, though lacking the memorable musical wit of Avenue Q (whose Robert Lopez collaborated here with Parker and Stone). You won’t come out humming any songs, but you’ll certainly recall numbers in which God gets flipped off and—better—a bunch of happy Ugandans perform their BRIAN MILLER wild misinterpretation of LDS history.

What this Tony-winning blockbuster runs on is tireless cheek: It’s hard to resist the idea that a Mormon’s vision of hell includes a giant, dancing cup of coffee. Also helping matters is the obvious joy of this touring ensemble, led by Broadway heartthrob FILM Gavin Creel (Hair) and comic find Jared Gertner as a pair of mismatched missionaries sent to convert a village with other, After a holiday hiatus, the Egyptian’s more pressing midnight movie concerns (cue series resumes with the AIDS jokes).

Nazis (always a Book of Mormon reliable box-office is essentially an attraction), bullirreverent update whips, and Crusader of the kind of ghosts. We refer, of popular, disposable course, to Steven musical comedy Spielberg ’s 1989 Broadway churned Indiana Jones and out until Rodgers the Last Crusade , Connery and Ford and Hammerstein which concluded fight Nazis together. made everybody that decade’s biggest think. Don’t think trilogy. (We’ll ignore too hard, and you’ll be fine. (Through Jan. 2008’s Kingdom of the Crystal Skull, the 20.) The Paramount, 911 Pine St., 877-784series’ craven, LaBeouffian brand exten4849, stgpresents.org. $45–$150. 7:30 p.m. sion; seeing the late River Phoenix here in Last Crusade’s opening train-top sequence STEVE WIECKING

fri/1/4

We Hate Nazis, Too

PARAMOUNT

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© JOAN MARCUS

Gertner (at right) lectures the locals about LDS beliefs in The Book of Mormon.

is a sad reminder of sequels not made.) It was a considerable coup for Spielberg and producer George Lucas to cast grumpy old Sean Connery as Indy’s dad, and his bickering with the equally cranky Harrison Ford is always fun to watch. Last Crusade is a firstrate popcorn movie, a big improvement over Temple of Doom, with chases galore and an aerial dogfight launched from a zeppelin (over what’s clearly Southern California, but never mind that). As the Jones’ loyal comrade in archaeology, the late Denholm Elliott also helps class up the picture, asking at one point in the action, “Is there anyone here who speaks English? Or maybe even ancient Greek?” Egyptian, 801 E. Pine St., 781-5755, landmarktheatres.com. $8.25.

Midnight (repeats Sat.). BRIAN MILLER

arts»Performance Jared Diamond: What Traditional Societies Can Teach Us (1/3)

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

Stage OPENINGS & EVENTS

THE ANGRY INCH The band from an upcoming produc-

SCAN

CURRENT RUNS

•SLEEPING BEAUTY AND THE PEA If you ever

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

The Seattle Symphony’s weekend minifestival of Rachmaninoff’s four piano concertos climaxes on Saturday with the Third, the most magniloquent and difficult of them all (not that the other three are strolls in the park, either). Di Wu, pictured, tackles it; Ludovic Morlot conducts. ing event, the audience is half the show. MARGARET FRIEDMAN., Hale’s Palladium, 4301 Leary Way N.W., 800-838-3006, brownpapertickets.com. $6–$12. 4 & 7:30 p.m. Sat., 1 & 4 p.m. Sun. Ends Jan. 13.

TEATRO ZINZANNI: RETURN TO PARADISE Teatro ZinZanni’s usual fare—a leisurely five-course dinner interspersed with songs, sophisticated circus acts (aerialists, acrobalancers), and audience-participation comedy (which TZZ does like no one else)—is here given a World’s Fair theme, set in 1962 Seattle. Cast members play, or at least represent, Elvis and Priscilla, Bruce Lee, former governor Dixy Lee Ray, and cosmonaut Gherman Titov. Emcee Christine Deaver stars as Gracie Hansen, real-life proprietress of the Fair’s “Paradise International” burlesque show. Her goal? To “save the World’s Fair from science.” Poured into Louise DiLenge’s gaga costumes, Deaver is a bawdy, billowy, and masterful—or mistressful—raconteur. The ’60s setting is also a fine excuse to build production numbers around oldiesradio rousers like “Tell Him” and “Burning Love.” But Return to Paradise also makes welcome room for a more recent tune, the girl-groupy “I Wanna Go” from local pop-rock band Honey Tongue. This show’s fully satisfying menu, appropriately, goes a little conservative and 1962ish: beef tenderloin, an iceberg-lettuce wedge salad, chocolate mousse. (Yummiest was the butternut-squash soup, sweet, velvety, and comforting.) Among the circus acts, the standout, which crossed from athletics to art, is Sam Payne and Sandra Feusi’s “Vertical Tango”— exactly that, a tango performed not only on the dance floor but up a pole, with the same steamy body-wrapping and legwork in midair. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun. through Jan. 27; see dreams.zinzanni.org for exact schedule.

THE WIZARD OF OZ A woman visits a foreign land and kills the first person she sees, then teams with three strangers to kill more. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Runs Thurs.–Sun.; see sct.org for exact schedule. Ends Jan. 6.

•

Classical, Etc.

•SEATTLE SYMPHONY Rachmaninoff’s four piano

concertos (1 & 2 Thurs., 4 & 3 Sat.) See photo above.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19–$122. 7:30 p.m. Thurs., Jan. 3, 8 p.m.

Sat., Jan. 5.

METROPOLITAN OPERA AT THE MOVIES Live in HD. On Jan. 5 at 9 a.m., Berlioz’s epic Greek tale Les Troyens. (Encored Jan. 23.) On Jan. 9 at 6:30 p.m., an encore of Verdi’s elegant Un ballo in maschera. See metopera.org for participating theaters. $24.

PSYCHLOTRON VIII Avant-trombonist and “sound gatherer” Stuart Dempster appears on this art-discussion series. Fireside Room, 900 Madison St., 622-6400. 6 p.m.

Tues., Jan. 8.

•

William Janeway: Capitalism in the Innovation Economy (1/9) Daniel Pink: Selling and the Art & Science of Persuasion (1/9) Seattle University: Ray Suarez: The Politics of Faith in America (1/11) James Owen Weatherall: The Physics of Wall Street (1/14)

townhallseattle.org

By Henrik Ibsen Translated by Sean Patrick Taylor Directed by Russ Banham

January 2–27

Center Theatre, Seattle Center

Opens Friday!

Tickets: 206-733-8222 www.seattleshakespeare.org

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wondered what the groundling experience was like in Shakespeare’s time—yelling back at the cast as though their characters were speaking to you, sitting on the floor—then Hale’s Palladium may be the place to find out. In this family-friendly production by the Fremont Players, such interaction is the coin of the realm, and a section of the front is allotted for ground-sitters (mostly kids). British pantomime shows (“pantos”) are traditionally performed around Christmas, with stock characters, music, cross-dressing, slapstick, buffoonery, light sexual innuendo, and variations on recognizable stories and fairy tales. Our guide to Sleeping Beauty is good fairy Esmeralda (Simon Neale), whose rotten sister Formica (Debbie Tully) wants to be fairy to the royal house of Montague. Her ambitions thwarted, Formica puts the King’s daughter, Princess Perpetua (Lindsay Erika Crain) to sleep. Twenty-one years later, lonely Prince Rudy (Katy Webber) commands Pea (Candace Reiter) to awaken Perpetua. Rudy’s hillbilly-highness mother Queen Bobbie-Jo (Flora McGill) demands a test to prove Perpetua’s royal blood. In the barn-like Palladium, large gestures are necessary to conquer the poor acoustics, but it’s never hard to follow the thin but endearing plot, even under the rowdiest circumstances. As at a sport-

SAF: Designing Big in Small Spaces (1/8)

STEPHEN EASTWOOD/LYNX

tion (Jan. 15–27) of Hedwig and the Angry Inch, with Jerick Hoffer in the title role, performs a sneak-preview gig. (Peter Crow opens at 8 p.m.) Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. $6. 9 p.m.

Mon., Jan. 7.

AUSTEN TRANSLATION Jet City Improv comes up with a new “novel” each night, based on your suggestions.

Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri., Jan. 3–18 and Jan. 31–Feb. 8.

THE BOOK OF MORMON SEE THE WIRE, PAGE 14.

A DOLL’S HOUSE SEE THE WIRE, PAGE 14.

BOOM BOOM L’ROUX’S LATE NIGHT REVUE Ernie Von Schmaltz hosts, with The Shanghai Pearl, Evilyn Sin Claire, and others. The Can Can, 94 Pike St. $10–$15.

Wed., Jan. 9, 10 p.m.

THE EDGE Bainbridge Island’s own improv troupe.

Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $12–$16. 7:30 p.m. Sat., Jan. 5.

FIRST LOOK READING SERIES A reading of Lily’s Daughter by Catherine Cole Rogers. Elliott Bay Book Co., 1521 10th Ave., seattleplay wrightscollective.org. Free. 6 p.m. Sun., Jan. 6.

14/48 In “The World’s Quickest Theater Festival,” directors, playwrights, and actors are randomly grouped and assigned to come up with 10-minute plays overnight. You’ll see seven totally new works each of the four nights. ACT Theatre, 700 Union St., 292-7676, 1448fest.

T H I S CO D E com. $20–$25 (all-fest passes TO DOWNLOAD THE FREE $40). Opens Jan. 4. 8 & 10:30 SEATTLE WEEKLY p.m. Fri.–Sat. Ends Jan. 12.

IPHONE/ANDROID APP JALOPIES “A group of FOR MORE EVENTS OR VISIT retirement-home residents seattleweekly.com fight their building’s heartless new owners” in Mark Cherniack’s play. Richard Hugo House, 1634 11th Ave., jalopies@hotmail.com. $14. Opens Jan. 4. 7:30 p.m. Fri.– Sat. plus 2 p.m. Sun., Jan. 20. Ends Jan. 20.

SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., Jan. 4.

VAUD RATS In K. Brian Neel’s “ukulele operetta” (sold already, aren’t you?), “a blacklisted vaudevillian falls head-over-heels for a midget sidekick.” One night only.

Stage One Theater, 9600 College Way N., kbrianneel. com. Pay what you can. 7:30 p.m. Fri., Jan. 4.

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B Y M A’ C H E L L D U M A L A VA S S A R

Openings & Events AUBRY KAE ANDERSEN In Illustrious Characters,

she shows bright new figurative works in a variety of media. Andersen’s vivid mixed-media paintings are presented. Also showing: Year Twenty Four, a group show by the Gallery Board of Directors in the Subterranean Room. Opening reception, 5-9 p.m. Sat., Jan. 5. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org, Weds.-Sat., 11 a.m.-6 p.m.; Sun., noon-5 p.m.

Through Jan. 29.

RYAN ARAGON & ALLYCE WOOD Wood draws intricate, small nature scenes in Plantbodies: Indicators and Reactors. Joining her is Aragon, who creates sculpture with found objects including toilet seats and insulin syringe caps. Also showing: Knit N’ Paintin’, Paul Komada’s works in yarn and watercolor. First Thursday reception, 6-8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Weds.-Sat., noon-5 p.m. Through Feb. 2.

BAM’S FREE FIRST FRIDAYS BAM offers free admission every first Friday of the month. Here’s your chance to check out the museum’s current exhibits of fiber and textile art, new Japanese bamboo weaving, and papercuts by Olympia artist Nikki McClure.

Bellevue Arts Museum, 510 Bellevue Way N.E., 425-5190770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m.

BOBBIE BURGERS In Eternalism, the Canadian artist paints bright floral scenes. Also on view: photo-derived abstract works by Jeri Eisenberg.

T H I S CO D E First Thursday reception, 6-8 TO DOWNLOAD THE FREE p.m. Foster/White Gallery, SEATTLE WEEKLY 220 Third Ave. S., 622-2833, IPHONE/ANDROID APP fosterwhite.com, Opens Jan. FOR MORE EVENTS OR VISIT 3, Tues.-Sat., 10 a.m.-6 p.m. seattleweekly.com Through Jan. 31.

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features big, black-and-white geometric compositions.

Calderón exhibits photos of musicians including Ray Charles and Quincy Jones. Reception, 2-4 p.m. Sun., Jan. 6. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com, Opens Jan. 4, Tues.Sat., 11 a.m.-5 p.m.; Sun., 1-5 p.m. Through Jan. 27.

THE DARKROOM SERIES V2.0 Photos taken by iPhone come from artists all over Puget Sound. First Thursday reception, 5:30-8 p.m. Closing reception, 2 p.m. Wed., Jan. 26. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com, Opens Jan. 3, Mon.-Fri., 6 a.m.-7 p.m.; Sat., 7 a.m.-8 p.m.; Sun., 8 a.m.-7 p.m.

Through Feb. 5.

FREMONT ART WALK Venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffé Vita, and Fremont Abbey. (See fremontfirstfriday. com for participating artists.). First Friday of every month, 6-9 p.m.

GALLERY ARTISTS GROUP SHOW First Thursday reception, 5-8 p.m. William Traver Gallery, 110 Union St., 587-6501, travergallery.com, Opens Jan. 3, Tues.Fri., 10 a.m.-6 p.m.; Sat., 10 a.m.-5 p.m.; Sun., noon-5 p.m. Through Feb. 4.

MILAN HEGER In Taboos and Denials, the Czech-born artist considers propaganda in modern society. First Thursday reception, 6-9 p.m. Patricia Cameron Gallery, 234 Dexter Ave. N., 343-9647, patriciacamerongallery. com, Mon.-Fri., 11 a.m.-5:30 p.m. Through Jan. 11.

KAREN KOSOGLAD She shows big bright landscapes and figurative paintings. First Thursday reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Opens Jan. 3, Thu., Jan. 3, 11 a.m.4 p.m.; Mon.-Sat., 10:30 a.m.-5:30 p.m. Through Feb. 3.

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Seattle weekly • JANUARY 2− 8, 2013

seattle weekly

arts»Visual Arts

CHRISTOPHER MATHIE, LARRY MCCAFFREY, AND KAY WALSH McCaffrey uses industrial sheet metal in

his sculpture. Mathie paints local landscapes. Walsh shows photos from her travels around the world.

Note artist demo from Mathie, 12:30 p.m. Sat., Jan. 4. Bainbridge Arts and Crafts, 151 Winslow Way E., Bainbridge Island, 206-842-3132, bacart.org, Opens Jan. 4, Mon.-Sat., 10 a.m.-6 p.m.; Sun., 11 a.m.-5 p.m.

Through Jan. 30.

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

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CHRIS MAYNARD Many of the molted supplies used

by Maynard in Feathers’ Second Flight come from zoos and private aviaries. Artist reception, 6-9 p.m.

Thurs., Jan. 10. Row House Cafe, 1170 Republican St., 682-7632, rowhousecafe.com, Sat., Sun., 9 a.m.-3 p.m.; Mon.-Fri., 7 a.m.-9 p.m. Through Jan. 20.

MOHAI FREE FIRST THURSDAYS The museum is open late, and in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 60-foot-tall sculpture Wawona plus new exhibits on video games and Seattle’s history at the movies. Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m.

GRIETJE POSTMA & NORMAN DURKEE Postma renders Dutch landscapes via woodcut prints. Durkee, known more as musical director for Teatro ZinZanni, shows his moody black-and-white photographs. First Thursday reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-1324, davidsongalleries.com, Opens Jan. 3, Tues.-Sat., 10 a.m.-5:30 p.m. Through Feb. 2.

REVISION Brian Allen, John Blalock, Tracy Cilona, and others from the PCNW faculty their recent photography. Artists’ reception, 6-8 p.m. Thurs., Jan. 10. Also note talks by Eirik Johnson and Jenny Riffle (5-6 p.m.

Thurs., Jan. 10) and by Colleen Woolpert, Bill Finger, and Nichole DeMent 6-8 p.m. Mon., Jan. 14), both ticketed at $8-$10. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org, $8-$10, Mon.-Thurs., 11 a.m.-10 p.m.; Fri.-Sun., 12-8 p.m. Through Jan. 28.

RICHARD REZAC & ERIC ELLIOT Rezac investigates geometric abstraction with five sculptural works and two drawings. Elliot’s paintings play with light, atmosphere, and composition. First Thursday reception, 6-8 p.m. James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com, Opens Jan. 3, Thurs.Sat., 11 a.m.-5 p.m. Through Feb. 16.

BETTY SAPP REGAN & SABE LEWELLYN Regan creates photo collages from old architectural details in Looking Up. Lewellyn affixes recycled and found objects to create spiraling shapes in Strange Glue.

First Thursday reception, 6-8 p.m. Artist reception, 5-8 p.m. Sat., Jan. 5. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com, Opens Jan. 3, Weds.-Sat., 12-5 p.m. Through Jan. 26.

ADAM SATUSHEK In afield, he photographs forlorn old rural and industrial scenes. First Thursday reception, 6-8 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com, Opens Jan. 3, Weds.-Fri., 11 a.m.-5:30 p.m.; Sat., 11 a.m.-5 p.m.

Through Feb. 9.

STEPHEN SEWELL Sewell’s images, objects and videos focus on the idea of ‘collecting’. Also showing: Yesler Terrace Summer Youth Media Program’s color photographs, Dane Picard’s video Hands Mosaic Project and Joana Stillwell’s Goldfish. First Thursday reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org, Opens Jan. 3, Mon.-Fri., 9 a.m.-5 p.m. Through Feb. 28.

LYLE SILVER 60 Years of Art contains just that--both street scenes rendered via watercolor and courtroom sketches. First Thursday reception, 6-8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, Mon.-Sun., 11 a.m.-5 p.m. Through Feb. 4.

JEFFREY SIMMONS & SUSAN SKILLING Simmons renders intricate, repetitive forms—almost like studies under a microscope—via watercolor. Skilling’s paintings feature natural and organic forms. First Thursday reception, 6-8 p.m. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com, Opens Jan. 3, Tues.-Sat., 10:30 a.m.-5:30 p.m. Through Feb. 16.

ROBERT TEEPLE SEE The WIRE, PAGE 14.

GILLIAN THEOBALD & G. LEWIS CLEVENGER: Both show large abstract canvases. First Thursday reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com, Opens Jan. 3, Tues.Sat., 10:30 a.m.-5 p.m. Through Feb. 2.

ANN VANDERVELDE The abstract paintings in her Deep Geography are accompanied by poetry from Anne McDuffie and music from Janika Vandervelde.

Also on view: small glass and metal sculpture by Michael Roco, some suggesting whimsical animal forms. First Thursday reception, 6-8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com, Jan. 3-31.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org for full roster of attractions.

First Wednesday of every month, 6-9 p.m.

P. WILLIAMS Room 104 Gallery (formerly Rock|DeMent Gallery) hosts Williams’ installation and works on paper, which reflect on urban spaces and air travel. First Thursday reception, 5-8 p.m. Tashiro Kaplan Building, 310 S. Washington St., 223-1160, tklofts.com, Opens Jan. 3, Weds.-Sat., 10:30 a.m.-5 p.m. Through Feb. 16.

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film» »REVIEW

Complete Procedural

The hunt for bin Laden takes a long, thrilling time.

BY SCOTT FOUNDAS

JONATHAN OLLEY

» CONTINUED ON PAGE 18

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seattle weekly

“J

ust so you know, it’s going to take a while.” Time is as much the enemy in Zero Dark Thirty as it was for the elite bomb squad of The Hurt Locker—only there you could see the little red numbers counting down to extinction, whereas here the next attack could come at

Seattle weekly • JAN UARY 2− 8, 2013

Navy SEAL raid on the suburban compound in Abbottabad, Pakistan, where bin Laden had been hiding in something like plain sight. But in Zero Dark Thirty, the drama is in the middle distance.

Call it torture if you must, but Zero Dark Thirty never does, which will stoke the ire of the human-rights community and puzzle those on the right who regard Hollywood as a bastion of simpering liberalism. People on both sides might find the interrogation scenes difficult to watch, as they should be. Like most of what we see in the film, these are depicted as part of a process, a means to an end—and yes, it must be said, a mostly effective one. But as in The Hurt Locker, Bigelow and Boal come not to judge but to show, leaving the rest up to us. Political parties and allegiances barely enter the mix: Obama, the sitting president at the time of the bin Laden raid, appears only as a talking head on a television in the background of one scene (denying, as it happens, that America tortures prisoners). And yet some will see Zero Dark Thirty as a triumph of journalism over humanism, to which one might reasonably ask what place humanism has in the combat zone.

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Chastain’s Maya doesn’t need to be pushed into the hunt.

ifc tv • portlandia season 3

“J

ust so you know, it’s going to take a while,” says the CIA officer to his newly arrived colleague at the start of Kathryn Bigelow’s Zero Dark Thirty. The year is 2003, the place a secret prison (or “black site”) somewhere in the deserts of the Middle East or Asia, the task at hand the interrogation of a detainee with suspected ties to al-Qaida. The agency man, Dan (Jason Clarke), has clearly been at this for a stretch, with a full beard, Arabic script tattooed along his forearm, and a laid-back surfer parlance that belies his skill as a highly trained operative. Perhaps not realizing that waterboarding would be on the first day’s agenda, his new partner, Maya (Jessica Chastain), shows up in a smart black pantsuit. “There’s no shame if you want to watch from the monitor,” he advises, though we soon see that Maya has no trouble with getting up close.

What takes a while in Zero Dark Thirty is the gathering of useful information from suspects who don’t want to divulge it, even as “enhanced” methods of coercion and humiliation are applied to loosen their tongues. What takes even longer is the fitting of that information into the jigsaw of false leads, trap doors, and dead ends that was the U.S. government’s decade-long manhunt for Osama bin Laden.

So Bigelow and screenwriter Mark Boal (who previously collaborated on the Oscar-winning The Hurt Locker) put that interrogation scene right up front, not to shock us or to sound the cry of moral outrage, but to let us know what we’re in for. We might already know how this story begins, with the September 11, 2001, attacks on the Pentagon and the World Trade Center (here deftly represented by an audio montage of real emergency phone calls, played against a darkened screen). We might also know how it ends, with the May 2, 2011,

Complete Procedural » FROM PAGE 17

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any time and with no advance warning, on a crowded London subway or at a seemingly impregnable CIA base in the mountains of Afghanistan. The uncertainty is feverishly gripping; the attacks, when they do occur, never less than startling. Above all, Bigelow makes you feel the crushing defeat of those who know they might have prevented them— especially Maya, with her allusive name and sentry’s gaze, always seeming to look through people rather than at them, focused on the endgame. It’s a sensational performance by Chastain, the earth mother in The Tree of Life and the paranoid’s wife in Take Shelter, who is here front and center for the entire

catch, though at this point, victory is still years away. But if progress is slow in Zero Dark Thirty, the flow of information is a riptide, and the movie doesn’t wait for you to catch up.

There are more than 100 speaking parts—fellow analysts, CIA chiefs, national security advisers, SEAL team members—many of them played by familiar faces managing to seem unfamiliar, entering for a scene or two and just as soon disappearing, sometimes before we’ve had a chance to register their characters’ names. Sometimes Bigelow and Boal don’t even tell us the names, because they trust the audience enough to assume we’ll have a working knowledge of who the major players are.

In other words, if you don’t know that’s former CIA Director Leon Panetta whom James Gandolfini is playing (deliciously), this is why God invented Google.

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picture. She’s a most unlikely leading lady, pale and slight of stature with a raging mane of strawberry-blonde hair, but she holds the screen with a feral intensity, an obsessive’s self-possession. Like the human time bomb played by Jeremy Renner in The Hurt Locker, Chastain’s Maya comes to seem like the very personification of her quest. She’s a fanatic pursuing a fanatic, a hunter entering the mind of the hunted.

If The Hurt Locker viscerally embedded us inside the blast radius, Zero Dark Thirty offers a different kind of sensory immersion. It drops us into the badly furnished, fluorescent-lit offices where dedicated public servants willingly sacrifice “normal” lives in the name of something bigger than themselves and struggle against the same petty bureaucrats one encounters in any company—whether the boss is Uncle Sam or merely some guy named Sam. Former journalist Boal based the script on his own independent reporting, and though published accounts verify many of the major details, even the smallest touches in Zero Dark Thirty feel authentic enough that we scarcely question them, by turns so ordinary (a Christmas tree blinking forlornly in the corner of an Afghan base) or so absurd (valuable intel obtained from a Kuwaiti source in exchange for a Lamborghini) that they can only be true.

About 25 minutes of screen time pass before we first hear the name of Abu Ahmed al-Kuwaiti, the trusted bin Laden courier who will eventually lead the CIA to their prize

Chris Pratt (left) and Joel Edgerton as the kill-team leaders.

When the raid finally comes, it’s almost an anticlimax, not because we know bin Laden will be there, but because even if we didn’t, Maya’s unshakable faith would by now have us convinced. Still, the sequence is electrifying; after the workaday ordinariness of everything that precedes it, it reconfirms Bigelow as a master of high-tech action, from the modified Black Hawk helicopters slicing silently through the Abbottabad skies to the precisely choreographed storming of the compound itself—all of it captured in a mixture of night vision and pellucid HD videography by cameraman Greig Fraser. Bigelow and Boal don’t overly heroicize the mission—there’s no literal or figurative flag-waving, no rah-rah orchestral score—in part because they take the heroism to be self-evident, and in part because they marvel at the smooth professionalism of the SEALs, who manage to bag bin Laden swiftly and with a minimum of collateral damage, as if it really were just another day at the office. It’s only a few scenes later that Zero Dark Thirty reaches its true emotional peak, when Maya, framed in medium close-up, does something we haven’t seen her do for the past two-and-ahalf hours: She exhales. E

Palette

film@seattleweekly.com

Primary ZERO DARK THIRTY Opens Fri., Jan. 4 at Meridian and Lincoln Square. Rated R. 157 minutes.

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Drikung Seattle welcomes you to the exclusive screening of

“For the Benefit of All Beings”

“Moving... Inspiring....a Must See!”

-Lodi Gyari Rinpoche, Special Envoy to His Holiness the Dalai Lama

“Seeing this film was life changing.”-viewer testimonial

Thursday, January 17, 7:00pm

Garchen rinpoche will introduce the movie. one ShowinG only. limited SeatinG.

SIFF Cinema Uptown

511 Queen Anne Ave North, Seattle, WA 98109 (206) 464-5830. Tickets $15 on sale now.

Doors open at 6:30pm. Q&A with Filmmaker after the screening.

RUNS FRI., JAN. 4–THURS., JAN. 10 AT NORTHWEST FILM FORUM. NOT RATED. 74 MINUTES.

“relatable” British clan headed by Ewan McGregor (as businessman Henry) and Naomi Watts (as Maria, a physician who left her practice to be a full-time mom).

Currently stationed in Japan, Henry, Maria, and their three boys, ranging in age from about 12 to 5, have arrived in Khao Lak, Thailand, for the Christmas holiday. The enormous waves that battered that country

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Simultaneously withholding and smothering, Francine, about a woman just released from prison, provides Melissa Leo (in the title role) another opportunity, after Frozen River and The Fighter, to play economicmargins dress-up. Her crime or length of time behind bars never specified, Francine settles into a lean-to somewhere in the Hudson Valley and drifts through a series of jobs, most of which involve animal care. Human interaction proves more difficult, unless it involves bending over in the bathroom on an impromptu break from her cocktailwaitress shift at the racetrack.

Yet Francine’s preference for the company of quadrupeds quickly develops into pathology, as her shack is soon overrun with cats and dogs and their excrement—at which point Brian M. Cassidy and Melanie Shatzky’s debut feature (they have made two documentaries before this) reveals itself as a project of few interesting ideas. Unlike, say, Barbara Loden’s Wanda (1970), whose female drifter from bleakest Pennsylvania coal country makes a series of bad decisions that aren’t independent-filmmaking semaphore for abjection, Francine eventually abandons its opacity for queasy-making cruelty. MELISSA ANDERSON

Leo plays another blue-collar recovery case in Francine.

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WASHINGTON SQUARE FILMS

Francine

Watch the trailer, purchase tickets and view the full weekend teaching program at:

OPENS FRI., JAN. 4 AT HARVARD EXIT AND OTHER THEATERS. RATED PG-13.

114 MINUTES.

When the words “true story” appear twice in a film’s opening disclaimer, it’s a guarantee that what follows will include at least one questionable fiction. The Impossible is inspired by the Alvarez Belons, a Spanish family of five who survived the 2004 Indian Ocean tsunami that claimed almost 300,000 lives; in the film, the Iberian quintet has been remade into a more

(and many others) on December 26 are staggeringly staged by director J.A. Bayona (2007’s The Orphanage)—a feat of dubious distinction. (Does verisimilitude to actual disaster serve any purpose besides, as Susan Sontag wrote, allowing “one [to] participate in the fantasy of living through one’s own death”?) Separated from Henry and the two younger children, Maria— trailing pools of blood from a muscle-deep gash as she deliriously trudges through brackish water—and the oldest son, Lucas (Tom Holland), eventually make it to a chaotic hospital. These horrors, and the absorbing performances of Watts and McGregor, will soon be undermined by a surfeit of sentiment. MELISSA ANDERSON E

COLUMBIA PICTURES PRESENTS A KATHRYN BIGELOW FILM “ZERO DARK THIRTY” JESSICA CHASTAIN JASON CLARKE EXECUTIVE MUSIC JOEL EDGERTON

BY ALEXANDRE DESPLAT PRODUCERS COLIN WILSON TED SCHIPPER GREG SHAPIRO PRODUCED WRITTEN DIRECTED

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CHECK LOCAL LISTINGS FOR SHOWTIMES

Seattle weekly • JAN UARY 2− 8, 2013

The Impossible

Watts as storm survivor.

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BY BRIAN MILLER

Local Film

Ongoing • ANNA KARENINA Tolstoy’s family epic has been

• WOODY ALLEN IN THE ‘70S From 1971, Bananas

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INDIANA JONES AND THE TEMPLE OF DOOM

Second in the famed the Lucas-Spielberg trilogy, 1984’s shrill, frenetic Doom generally grates on your nerves, making a literal roller coaster out of the action; the violence is way too intense for its original summer matinee audience. (The film is alleged to have prompted the creation of the PG-13 rating.) Harrison Ford is his usual reliable self with fedora and bullwhip, while Kate Capshaw (Spielberg’s future wife) is a poor replacement for Karen Allen in Raiders of the Lost Ark. The child actor (Jonathan Ke Quan) doesn’t help matters. (PG-13) BRIAN MILLER Central Cinema, $6-$8, Jan. 4-8, 7 p.m.

RAIDERS OF THE LOST ARK Unlike the ill-advised Kingdom of the Crystal Skull, the 1981 Raiders is a movie freed from the responsibility of fatherhood, much less adulthood. Then 39, Harrison Ford was more like the embodiment of the boyish dreams of producer George Lucas and director Steven Spielberg. Sure, he makes manly eyes at Karen Allen, but the lust—like the violence, in which movie-Nazis can be killed like flies—is only as real as in the movie serials that inspired the Indy franchise. In a thoroughly satisfying, always kinetic way, this first Jones flick lives inside its own archetypes, and Ford is too disciplined an actor to wink at the artifice. He always seems sincerely, physically invested in this iconic role, whether he’s outrunning boulders, being dragged under trucks, or recoiling from snakes. He’s a moonlighting, grave-robbing, rogue scholar, nobody’s hero. Here is Indy as we remember him: cocky, an improviser, irresponsible, but true to his course. He’s a man you want to be—not the same thing as being a role model. (PG) BRIAN MILLER Central Cinema, $6-$8, Wed., Jan. 2, 7 p.m.

THE SURE THING John Cusack falls for Daphne Zuniga in this rom-com from 1985. In comic support are Anthony Edwards, Tim Robbins, and Nicollette Sheridan (she being the supposedly sure thing of the title). (PG-13) Central Cinema, $6-$8, Thu., Jan. 3, 8 p.m.

2001: A SPACE ODYSSEY British journalist Jon Ronson (The Men Who Stare at Goats) was once invited to the estate of the late Stanley Kubrick (19281999), who spent the second half of his life in England.

There, at the behest of Kubrick’s widow, Ronson began searching through the director’s storage boxes for a 2008 documentary, only to discover that the boxes contained still more boxes, and the archives were such an obsessive labyrinth of notes, ephemera, and just plain weirdness, that Kurbrick couldn’t be condensed or digested. All of which is a roundabout way of addressing 2001: A Space Odyssey, which likewise resists synopsis or explanation. It’s a mystery about a mystery that only expands—unlike, say, Ridley Scott’s Prometheus, which gradually diminishes in depth. Released in 1968, Kubrick’s sci-fi quest was immediately labeled a trip movie and embraced by baby boomers, even if few actually dropped acid for the screenings. Four decades later, 2001 is a fitting memorial to its director, as aloof and majestic as the big, black monolith standing sentinel on the moon. (PG) BRIAN MILLER Sundance Cinemas, $10, Wed., Jan. 2, 1:10 & 6:50 p.m.

Seattle weekly • JANUARY 2− 8, 2013

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

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LAURIE SPARHAM/FOCUS FEATURES

(Fri.-Sun.) features slapstick, politics, Louise Lasser, and Howard Cosell (who does a very funny play-byplay), all in the service of uncomplicated, somewhat slapdash laughs. As a nebbish turned banana republic dictator, Fielding Mellish isn’t so much a character as a collection of gags and bits from Allen’s standup comedy and TV writing. Made the following year, Everything You Always Wanted to Know About Sex But Were Afraid to Ask (Sun.-Thurs.) is basically a collection of sketches inspired by the famous sex manual of the time. Call for showtimes. (PG-13). Grand Illusion, $5-$8, Through Jan. 17.

CONFESSIONS OF AN ECO-TERRORIST The antiwhaling Sea Shepherd Conservation Society is lauded in this eco-doc. Screening also benefits the same organization. (NR) SIFF Film Center, $10, Sat., Jan. 5, 7 p.m.

EVIL DEAD 2 From 1987, the second of Sam Raimi’s Evil Dead gore-coms stars Bruce Campbell. It’s the weakest weakest of the trilogy but still enjoyable in its own right. (NR) Central Cinema, $6-$8, Jan. 4-8, 9:45 p.m.

INDIANA JONES AND THE LAST CRUSADE SEE THE WIRE, PAGE 14.

smartly contoured to fit just more than two hours of screen time by Sir Tom Stoppard; Joe Wright directs.

As always, wife and young mother, Anna (Keira Knightley) falls madly for a Russian officer, Vronsky (powder-puffed Aaron Taylor-Johnson). The first of this match’s tragic consequences is Vronsky’s jilting of Princess Kitty (Alicia Vikander) who, in the B story, is courted by the surly, shy, and awkward Levin (Domhnall Gleeson). Levin is the bosom friend of Anna’s philandering brother, Oblonsky (Matthew Macfadyen)—prey to the same governing passions as his sister and to none of the social and legal reproach.

The most immediately striking element is the selfconscious theatricality Wright’s staging. Thankfully, the men and women populating Wright’s little theater are something more than cutouts. Knightley’s emotions come through with a gasping immediacy, and Jude Law deserves special notice as Anna’s cuckolded husband. (NR) Nick Pinkerton Oak Tree, Harvard Exit, Seven Gables ARGO Ben Affleck’s third directorial effort begins with the November 4, 1979, attack on the U.S. embassy in Tehran. While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer. Between hokey wisecracks ribbing industry idiocy, the trio seizes on a dusty script for a Star Wars rip-off called Argo. Affleck’s movie doesn’t reflect who we are now so much as it argues for what Hollywood can be. It’s a love letter from Affleck to the industry that made him, shunned him, and loves nothing more than to be loved. (R) Karina Longworth Varsity, Oak Tree, Meridian, others BARBARA Set in East Germany in 1980, Christian Petzold’s superb Cold War thriller is made even more vivid by its subtle overlay of the golden-era “woman’s picture,” the woman in question being Dr. Barbara Wolff, brilliantly played by Nina Hoss. Yet Petzold intricately retools genre rather than slavishly adheres to it. We first see Barbara—lean, rigid, remote—stepping off a bus a mere minute before beginning her new job at a provincial pediatric hospital. (She’s been sent to the boonies as punishment for applying for an exit visa.) Watching her are Stasi agent Klaus (Rainer Bock) and André (Ronald Zehrfeld), the hospital’s burly head physician. Klaus and his state-security goons appear at Barbara’s doorstep or linger in parked cars outside her apartment building intermittently, just long enough so that their reign of terror sticks in the mind without overwhelming the movie. Tense and impeccably plotted, Barbara builds to an act of enormous sacrifice that links our heroine to the great maternal altruists of ‘30s and ‘40s cinema (Stella Dallas, Mildred Pierce, etc.).

But unlike those martyrs, Barbara’s action is impelled not by masochism or self-abnegation but by a sense of duty both to herself and her vocation. (NR) Melissa Anderson SIFF Cinema Uptown CHASING ICE Jeff Orlowski’s beautiful yet sobering documentary visits the world’s rapidly melting ice caps. His guide is James Balog, a renowned nature photographer who has become obsessed with documenting the staggering speed with which the icebergs of Greenland, Iceland, and Alaska are crumbling into the sea. Orlowski films as Balog and a small team of young scientists go on a mad mission to embed dozens of time-lapse cameras into the rock walls above various ice fields. Those cameras take one image every hour, and when Balog and his team assemble the footage, they discover that glacier fields the size of Lower Manhattan are receding at an astonishing rate. (NR) Chuck Wilson Crest DJANGO UNCHAINED In Quentin Tarantino’s blood-spattered historical tent show, set in antebellum Dixieland, Jamie Foxx stars as the captured runaway slave Django. He’s given his freedom by an unlikely savior: a German-American bounty hunter (Christoph Waltz) who trains Django to become his partner.

Together, they make their way toward a sprawling Mississippi plantation known as Candyland, where Django’s wife (Kerry Washington) is owned by a brutal, foppish master (Leonardo DiCaprio), abetted by his old house slave (the astonishing Samuel L. Jackson).

Wagnerian hellfire ensues, though Tarantino’s true reference point is a century of Hollywood cinema’s failure to engage with the ugly realities of the “peculiar institution,” from Gone With the Wind to Spielberg’s

Lincoln. Django Unchained is both seriously entertaining and seriously thoughtful. (R) Scott Foundas Alderwood 16, Varsity, Factoria, Woodinville Cinemas, Lincoln Square, Meridian, Cinebarre, SIFF Cinema Uptown, Thornton Place, others

Keira Knightley in Anna Karenina.

• FLIGHT In this fine, melancholy character study,

William “Whip” Whitaker (Denzel Washington) wakes after a bender and gets ready for work with a snort of coke. Then he swaggers into the cockpit of his passenger jet. When the plane goes into a sudden free fall, he improvises a miraculous plan that brings craft and passengers down more or less safely. Later, in order to hush up a medical report of Whip’s potent bloodalcohol level, Hugh Lang (Don Cheadle), is brought in to do damage control with union rep (Bruce Greenwood).

Also “helping” is Whip’s dealer, played with dirtbag bonhomie by John Goodman. Calm and chaos commingle beautifully in the crash-landing set piece as handled by director Robert Zemeckis. Zemeckis also coaches Washington into one of those rare performances that suggests much more than it shows. (R) Nick Pinkerton Meridian, others THE GUILT TRIP In Anne Fletcher’s gentle buddy comedy, Seth Rogen is Andy, an organic chemist frustrated in his entrepreneurial efforts at selling a natural cleaning product. About to embark on a multi-city sales jaunt, he invites his mom (Barbra Streisand) along, with the hidden agenda of hooking her up with an old boyfriend. Pairing Rogen and Streisand turns out to be inspired. The wisp of a plot serves as a platform for some strong comic dynamics, the only semi-important thing the film has to offer. Streisand offers a spot-on portrayal of a retired, middle-class Gap aficionado.

Andy’s multiple agendas and internal resistance to the fact that he kind of wants his mom’s help challenges his affable shlubbiness. Their exchanges have the ructious affection of long acquaintance, and the tight focus on the characters yields a narrative gentleness.

Oak Tree, Kirkland Parkplace, Lincoln Square, Cinebarre, Pacific Place, others HITCHCOCK Early in Hitchcock, Alfred Hitchcock (played

by Sir Anthony Hopkins with a sack of fat connecting chin to neck) asks, “What if someone really good made a horror picture?” Hopkins’ imitation of Hitchcock’s distinctive vocal cadence—the accent and heaviness of delivery, as if each word was rolled in bacon on its way out—is initially disarming, but the performance seems less convincingly human as the film wears on, failing to build on its first impression. Scarlett Johansson as Janet Leigh in Psycho looks like Scarlett Johansson, and distractingly so. More painful are the attempts to transform Helen Mirren, the international gold standard of GILFs, into a dowdy woman-behindthe-man; her wig could not be shittier. Hitchcock is a movie about bygone Hollywood that’s distinctly a product of Hollywood circa now, with a taint of reality TV. (PG-13) Karina Longworth Guild 45th, Oak Tree, Kirkland Parkplace THE HOBBIT: AN UNEXPECTED JOURNEY Peter Jackson has returned to J.R.R. Tolkien to make three more films based on The Hobbit, the slender 1937 volume in which the author first deployed his Middle-

earth mythology. And this first installment feels like much ado about not very much, dragging its hairy feet for nearly an hour before settings out on the “unexpected journey,” in which the dandyish hobbit Bilbo Baggins (Martin Freeman) joins forces with a band of warrior dwarfs to help recapture their ancestral homeland from the claws of a fire-breathing dragon.

It goes without saying that all of this is executed at an exceptional level of craft, but unless you want to see something that looks like Days of Our Hobbit Lives, stay far away from Jackson’s much-ballyhooed “High Frame Rate” version of the film. Some welcome cameos from the LOTR cast keep things fitfully engaging, but mostly the movie feels like self-conscious monument art—and it’s all too unclear whether that monument is to Tolkien or to Jackson himself. (PG-13) Scott Foundas Alderwood 16, Sundance, Ark Lodge Cinemas, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinerama, Pacific Place, Thornton Place, others HYDE PARK ON HUDSON It’s dispiriting that a film about the romantic life of Franklin D. Roosevelt, who cultivated a small coterie of mistresses, should exhibit so little interest in what so engaged its hero: the actual women. Instead, Hyde Park quickly introduces us (and FDR) to the president’s distant cousin Daisy (Laura Linney). After that, Daisy, our narrator and ostensibly the story’s center, is left to haunt the edges of the film.

Fortunately, FDR is played by Bill Murray, supreme in his rumpled charisma. Murray is almost enough to recommend Hyde Park, especially as he toys with King George (Samuel West) and Queen Elizabeth (Olivia Colman), who visit to ask for aid in the coming war. And Daisy—well, maybe we’ll discover what she wants in some DVD extras, as it’s certainly not in the movie. (R) Alan Scherstuhl Egyptian, Sundance JACK REACHER In his 2005 novel One Shot, Lee Child lays out nine rules for surviving a five-against-one alley fight. Rule nine: “Don’t run head-on into Jack Reacher.

It’s like running into an oak tree.” As fans of Child’s 17 Reacher novels know, the drifter hero is 6-foot-5, unlike the comparatively diminutive (5-foot-7) Tom Cruise.

Anyway, when surrounded on a dark Pittsburgh street by five fools paid a hundred bucks each to beat him bloody, Cruise’s Reacher gives a “you-asked-for-it” shrug, then puts the five down. Convincingly. Written and directed by Christopher McQuarrie, the movie concerns Reacher’s attempts to clear the name of an army sniper arrested for a shooting spree. McQuarrie maintains a jokey tone throughout most of the film, as if to let us know that nobody’s taking this lone hero stuff too seriously. Extra bonus: Werner Herzog and Robert Duvall show up at the end. (PG-13) Chuck Wilson Alderwood 16, Sundance, Lincoln Square, Meridian, Cinebarre, Thornton Place, others A LATE QUARTET In this affecting mixed bag of a movie, a string quartet’s future is thrown into question after the cellist (Christopher Walken) is diagnosed with Parkinson’s disease and the two married members’ relationship (Catherine Keener and Philip Seymour Hoffman) begins to unravel. Always stately, occasionally stuffy, Yaron Zilberman’s chamber drama expresses every real-world problem via musical metaphors and is prone to occasional bouts of grandiosity.

This tonal back-and-forth is in some ways reflective of the group’s music but impedes us from getting a meaningful hold on what these people are feeling and why we should care. It’s something of a relief that little is actually resolved in Quartet; Zilberman is at his best when leaving narrative threads hanging rather than trying to tie them together. (R) Michael Nordine Crest LES MISÉRABLES You can hear the people sing—really hear them—in this adaptation of the Broadway juggernaut, for which the musical numbers were recorded live on the set rather than lip-synched to studio recordings. That’s one of several ways in which director Tom Hooper (The King’s Speech) tries but fails to inject grit and verisimilitude into the musical-theater blockbuster, a simpering reduction of Victor Hugo’s panoramic 19th-century novel into a succession of noble peasant heroes (Hugh Jackman as the persecuted Jean Valjean), cardboard villains (Russell Crowe as Inspector Javert), and star-crossed lovers (Eddie Redmayne and Amanda Seyfried) belting out soundalike anthems about the resilience of the human spirit.

On stage, Les Mis has a certain kitsch appeal. On screen, it’s a real slog, less a movie than an exercise in careful brand management. (PG-13) Scott Foundas Alderwood 16, SIFF Cinema Uptown, Regal Cinemas Stadium 14, Sundance Cinemas, AMC Loews Redmond Town Center 8, AMC Southcenter 16, Factoria Cinemas, Woodinville Cinemas, Kirkland Parkplace, Lincoln Square, Majestic Bay Theatres, Bella Bottega Cinemas, Crossroads Stadium 8, Issaquah, Meridian, Cinebarre, Thornton Place, and other theaters

film» • LINCOLN Our 16th president becomes an almost 4-D

character made flesh by Daniel Day-Lewis, arguably the best actor of his generation. The challenge for director Steven Spielberg is to square the Georgia white marble of the Lincoln Memorial with the fleshand-blood reality we can never really know—evoking the man without diminishing the leader. His other challenges include relating the complications and subtleties of political maneuvering, and the inherent suckiness of the biopic form. Spielberg solves that by lensing the portrait through a single event: the fight to pass the 13th Amendment. The film is studied and often somber, but it is also hugely entertaining, a bitchingly fun story of political gamesmanship, influence trading, patronage, cronyism, and outright bribery. This Lincoln is quietly ironic, an indulgent storyteller, a hugely charismatic leader. Day-Lewis is just crazy good. (PG-13) Chris Packham Alderwood 16, Guild 45th, Lincoln Square, Pacific Place, Thornton Place, others NOT FADE AWAY Rock and roll proves the comingof-age crucible in Not Fade Away, Sopranos creator David Chase’s semiautobiographical feature debut of shaggy hair, shagadelic beauties, and the joy and sorrow wrought from chasing and failing to achieve one’s dreams. In 1960s New Jersey, Douglas (John Magaro) joins a band riven by internal band strife. He also faces conflict at home with his father (James Gandolfini). If Not Fade Away seems intentionally minor and formulaic, something like a David Chase B side, it is energized by a shrewd wistfulness that honors the nastiness and absurdity of the era. It’s especially smart about the way that generational clashes and the tragedy they sometimes inspired were born from a joint fear and confusion over shifting tides no one quite understood how to handle. (R) Nick Schager Meridian PROMISED LAND Salesmen are typically depicted in screen drama as the quintessential American phonies.

That one set of phonies is being dramatically indicted by actors is an irony that we will leave hanging.

Promised Land’s phony, played by Matt Damon, travels to small towns to sell the folks on fracking, the controversial practice of pumping toxic chemicals 8,000 feet underground to loosen up natural gas. He explains that this is a matter of his common touch with locals, and his approach assumes that all of flyover America is essentially the same. “I can’t believe this is right outside the city; it looks like Kentucky,” says Sue (Frances McDormand), his partner. Steve responds, “Two hours outside any city looks like Kentucky.” The latest town is different, though. Dustin, a worker for an environmental agency (John Krasinski) goes door to door with a story about how fracking killed his family farm. The PR war is waged through Steve and Dustin’s competition over a local schoolteacher (Rosemarie DeWitt) and in the town’s social centers. Promised Land (title courtesy Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

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Genesis 15:18-21) is essentially a conversion story in which the cynical Steve is swayed to the small-town independence he’s first heard scoffing at. Director Gus Van Sant is in his deft director-for-hire mode. Like Steve, Van Sant knows how to display the common touch, but the movie is a hard sell whose ending is never in doubt. (R) Nick Pinkerton Guild 45th, Varsity, Lincoln Square, Meridian SILVER LININGS PLAYBOOK If you took the fighting out of The Fighter, David O. Russell’s previous movie, you’d be left with a close, fractious family like the Solitanos of his hugely appealing new Silver Linings Playbook. Instead of Boston Irish and boxing, we have Philadelphia Italian and the Eagles. The family patriarch (a fine, restrained Robert De Niro) is an OCD bookie bound by strange rituals to the team; his wide-eyed wife (Jacki Weaver) is the nervous family conciliator/enabler; and their volatile son Pat (Bradley Cooper, wired) is fresh out of the nuthouse with a restraining order from his ex. But Pat claims he’s a new—and newly positive—man. He’s looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Is another explosion near? Russell keeps the film constantly off-balance, but his pell-mell approach suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany. In that role, Jennifer Lawrence is a revelation: tough, proud, and even more titanic in her instability than Pat. Silver Linings is one of the year’s best films, and Lawrence a lock for an Oscar nomination. (R) Brian Miller Alderwood 7, Oak Tree, Woodinville Cinemas, Lincoln Square, Pacific Place, others

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food&drink»

Flour Power

Heather Earnhardt gives Capitol Hill a taste of the South.

BY HANNA RASKIN

W

KEVIN P. CASEY

hile managing a campaign for a North Carolina state senator whose district included all but one of the six highest peaks east of the Mississippi, it fell to me to prepare the biscuits we’d occasionally offer at breakfast meetings of Democratic women’s clubs and retired teachers’ unions. I don’t bake, I explained.

The senator was unfazed. “Get you a can of frozen biscuits and a Honeybaked ham,” he counseled, and those sandwiches turned out to be the hit of the election season.

Biscuits don’t have to be made from White Lily flour and lard to count as Southern. I’d venture our lightly fraudulent biscuits—made with equal parts dextrose, cottonseed oil, conviction, and spunk—were as Southern as anything beaten in a bowl. What most restaurateurs beyond the region miss when trying to reproduce its iconic dishes is that the South’s soul doesn’t reside in specific recipes; it’s found in the attitude of the headstrong folks who preserve their kitchen culture’s eccentric splendor, who swear by frozen biscuits or slaw dressing in their deviled eggs or vinegar in their cakes. Heather Earnhardt, the talented baker behind The Wandering Goose, a wisp of a daytime restaurant in Capitol Hill, is one of those folks.

Earnhardt’s buttermilk biscuits don’t origiembossed with whimsical phrases to its nate in some faraway Yankee factory: The glassed-in mercantile case of homespun pasdense, knotty biscuits are made in-house. tries and stenciled wall, but there’s just not Like a second-string Hollywood star, the enough space to share. biscuits are tanned but not especially tall, and While I appreciate staffers’ reluctance to sufficiently sturdy to withstand whatever’s enter the fray, I’m not sure the restaurant’s thrown at them. Standard fillings include fried counter-service strategy makes sense in light of chicken, bacon, and eggs, although burgers the physical constraints. Jumping up for condioccasionally pop up on the specials list. More ments or a glass of water is complicated when apt to flex than flake, the sometimes-slanted your path’s blocked by neighboring diners, biscuits aren’t the city’s best—that honor and the inevitable pre-order table grabs are a belongs to Nook in the U District—but they’re perpetual source of unnecessary tension. Also, perhaps the most personal biscuits regularly the kitchen’s not speedy: On my first visit, we involved in retail transactions. The Wandering waited nearly 30 minutes for our soup, sandGoose’s idiosyncrasy alone would establish it wiches, and side dishes. That’s an eternity at a as Seattle’s most credibly Southern restaurant, restaurant table when nobody’s checking in. but Earnhardt gilds the magnolia with lampBut if you don’t have to rush back to work, shades fashioned from flour sacks and a Mumspending a few extra minutes in your allotted ford & Sons soundtrack. sliver of the restaurant may not grate. The Unfortunately, the three-month-old resWandering Goose makes good use of its time, taurant is so taken with its doing-it-my-way excelling at dishes which approach that customers can’t be slapped together. can feel like an after» PRICE GUIDE And the quick fixes aren’t thought. The Wandering VEGGIE HASH .................................... $10 FRIED CHICKEN ................................ $13 too shabby either: Behold a Goose’s shotgun room, GRILLED PIMENTO SANDWICH ..$8 biscuit sandwiching peanut which shares an interior SWEET BLONDE BISCUIT .........$7.50 MAC & CHEESE .................................... $6 butter and sliced bananas, wall of paneled winits bottom layer ladled with dows with Rione XIII, sticky, floral honey produced by Earnhardt, officially seats 30, but that figure includes who first got Seattle’s attention while running at least a dozen diners bound to be irritated the Volunteer Park Cafe with Ericka Burke. by the closeness of the next table. And if the Still, the standout on the biscuit menu may quarters feel tight before lunch, the situabe a slightly squishy sweet-potato biscuit, tion only gets worse once the food arrives, as garnished with a runny fried egg, crisped at it’s impossible to make oneself momentarily its edges; a flap of salty country ham, pink skinnier while eating fried oysters and gravy. as a rubber Spaldeen; and a smear of butter The warmly lit room is charming, from its infused with cane syrup. The sandwich allurwooden round-back spindle chairs and tables

Seattle’s most personal biscuits.

inimalists can have their biscuits with butter and jam, or a side saucer of sepia-toned sage gravy, which didn’t have a very strong showing the day I tried it. It was floury in pockets, and none of its component herbs made up for the missing salt.

Nor did it cling the way a rustic gravy should, instead slipping off biscuits swiped through the gravy pot. Still, the gravy represented a rare letdown in the vegetarian realm: The Wandering Goose successfully serves sweetish braised greens, Sea Island field peas (a legume that traditionally shows up in hoppin’ John), granola with sorghum syrup, and a really remarkable vegetable hash.

Presented in a rectangular cast-iron dish, the hash features a rotating cast of roasted vegetables. On a late fall day, wonderfully bitter Brussels sprouts with charred outer leaves are tucked among the season’s subterranean stars, including potatoes and cipollini onions.

Two thinly jacketed poached eggs, primed to spill their orange yolks, crest the mix.

Nearly as good is the gumbo, based on a ruddy roux and seeded with tender shreds of chicken, bits of salty pork, peppers, and onions. The gumbo has a lovely vestigial smoke, like scotch on a drinker’s breath. Yet what makes the soup is the seasoning, and a bowlful is likely to quickly vanish in a flurry of scrutinizing spoonfuls.

As for the sandwich side of the menu, the Goose and I have a difference of pimentocheese opinions. Folded into orecchiette and baked, the cheese surrenders its assumed pungency and sharpness; but even without macaroni to mask it, the bland cheese doesn’t have much in the way of Dixie funk. It’s whipped into fluffiness for a grilled pimento sandwich, which is inexplicably served cold.

Another sandwich featuring fried oysters and Benton’s bacon—a welcome tic in restaurants expressing their Southern allegiance—suffers from being seated between two too-thick slices of bread.

But all’s forgiven in the face of chef Michael Law’s fried chicken, with a crisp crust as dark as saddle leather. The greaseless chicken is chin-drippingly juicy, and if its breading’s missing a hit of pepper, there’s housemade hot sauce on the side.

For dessert, there might be a crescentshaped hand pie crammed with tart grape jelly. It’s not a sweet which appears on most lists of Southern classics, but the refreshingly iconoclastic Earnhardt makes it intuitively and beautifully. E

M

hraskin@seattleweekly.com THE WANDERING GOOSE 403 15th Ave. E., 323-9938, thewanderinggoose.com.

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food&drink»Featured Eats

CENTRAL DISTRICT

LALIBELA ETHIOPIAN RESTAURANT 2800 E. Cherry

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COLUMBIA CITY

COLUMBIA CITY BAKERY 4865 Rainier Ave.

S., 723-6023. This airy bakery in the heart of Columbia IPHONE/ANDROID APP City offers the perfect FOR MORE RESTAURANTS OR VISIT croissant: flaky, buttery, seattleweekly.com and served with raspberry jam on the side. There are chocolate and almond varieties, as well as an array of cookies, breads and seasonal specials like Valentine’s Day chocolate truffles. Come after school lets out, or on weekend mornings, and you will find half of the neighborhood here with their kids. $ SEATTLE WEEKLY

CUOCO 310 Terry Ave. N, 971-0710. Tom Douglas—who’s

done the pizza thing at Serious Pie and perfected pretzels for Brave Horse Tavern—rolls out his pasta shtick for Cuoco, an upscale Italian restaurant that trusts its patrons won’t be scared off by duck gizzards or uneasy with an all-Italian wine list. Many of the pastas are stupendous, but the portions and prices are wildly out of whack. Paying for bread is a mild inconvenience when it’s baked so masterfully, but it’s harder to justify paying $14 for a plate of a dozen puny gnocchi. $$$

GREENWOOD & PHINNEY RIDGE MARINATION MOBILE Locations vary. Seattle’s office

workers, foodistas, and drunks all love this roving Korean-Hawaiian taco truck. The kalbi (beef short rib) and pork tacos—soft corn tortillas loaded up with tender grilled meat soaked in classic Korean mari nades, frilly cabbage-carrot-sesame-cilantro slaw, and a smear of sriracha mayonnaise—may be the best street-food treat to hit Seattle since the taco buses rolled into town. Not far behind is the Aloha slider, a tiny sweet-roll bun with smoky, oven-roasted kalua pork and the bright crunch of the slaw. And no bar food soaks up the last two beers quite like Marination’s kimchi fried rice with a sunny-side-up egg on top. $

INTERNATIONAL DISTRICT GYRO HOUSE 212 Fifth Ave. S., 624-7266. Most of

America’s gyros meat comes from Chicago, so telling

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St. # A, 322-8565. Don’t be fooled by the blacked-out windows. Decent duro wat and ice-cold Harar can be found in this Madrona joint. But with so many East African restaurants in a four-block area, if you’d rather not eat inside a place that, from the outside, looks like an X-rated bookstore, you’ve got plenty of other options to choose from. $

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The Watering Hole: El Borracho Taqueria y Cantina, 1521 First Ave., 538-0440, PIKE PLACE MARKET The Atmosphere: While the culinary content of Pike Place Market broadly appeals to anyone worshipping at the altar of seasonal slow food, culturally speaking, eating and drinking in the Market generally falls into Fueled by tequila. one of two categories: Tourist Destination or Locals Only. While out-of-town rather they have a couple, and walk out feeling visitors undoubtedly stumble into Kittie Davidovich’s tequila-fueled taqueria, it’s like they got their money’s worth.” It’s not light generally happy, hardscrabble Market workers on booze; it’s made with housemade sour mix; you’ll see stumbling out. After a day of tossing and just where can you get a decent drink for fish in the trenches or purveying produce while $4? Plus, calling it “El Cheapo” is just funny. The dodging strollers, Davidovich’s regulars belly up shot glass contains a generous, icy pour of “The to her bar for traditional carnitas (pork shoulder Confusion”: tequila infused with the same fresh braised in Mexican Coca-Cola), one of her pineapple they use in their tacos al pastor and many signature vegan dishes (quesadillas with Madagascar vanilla pods they buy from neighsoyrizo and Yukon Gold potatoes), and potent boring Market Spice. “It can be kind of dangermargaritas. ous since you can’t really taste the tequila,” The Barkeep: Another reason rowdy fishDavidovich warns.

The Verdict: Bargain-priced margaritas can mongers and tattooed merchants flock to El go horribly wrong, usually via the shortcut of Borracho is Davidovich’s long-standing place in syrupy bottled mixes or a stingy pour. But true the close-knit Market community. She tended to her claims, Davidovich’s ’ritas are just right: bar at Lowell’s for 10 years, and always wanted bright with lime and brimming with enough booze to open her own place. She and partner Adam to take the edge off any tourist trauma an imbiber Pomerleau took over the former Pan African may have encountered during his or her day. space in August 2012 with the intent of creating “The Confusion” is a pleasant anomaly: a a low-key, affordable space for the people Davitropical-flavored fusion that tastes natural, not dovich had already been serving for a decade.

The Drink: “I’ve learned that people still like an overly sweet Smirnoff concoction. Just don’t really have that much money, and I don’t don’t forget to lay a proper foundation, so you want people sipping on a $10 drink for an hour,” don’t take on the traits of the establishment’s Davidovich says, gesturing to the “El Cheapo” name (“The Drunk”). At $1 apiece, you can’t margarita she’s just plunked down in front of afford not to order a carnitas taco (or four). E food@seattleweekly.com me, along with a mystery shot of some sort. “I’d

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most local gyro shops apart simply entails finding out which Midwestern firm supplies them. That said, this friendly cafe on the edge of the ID sets itself apart by doing the most it can with a standardized product: swaddling the strips of beef-lamb (blam?) in thick, soft pita; tenderly piling on fresh lettuce and tomato; and drizzling on tangy yogurt. If you’re a fan of more local fare, the chicken and lamb shawarma are juicy and justly seasoned, and the flaky-gooey baklava varieties are worth a splurge. Figure out which of the trays on the counter has come out of the oven the most recently, and order that one. $ NOODLE KING 522 S. King St., 623-3905. Noodle King is CHEAP, which makes it the perfect fare for all of the backpackers staying at the hostel next door.

But it’s cheap because it’s a weak king: the culinary Edward II of England. While it’s really cool to watch the dude making the handmade noodles in the back of the kitchen, they weren’t nearly as good as the thick doughy noodles you can get elsewhere. The “beef” noodle soup’s title is a misnomer, since there were only four chunks of beef in it, which is a damn shame because the beef itself was very good. And the Ja Jiang noodles needed spice, or smokiness, or something. Eating them was the gastronomic equivalent of staring at the wall inside a Starbucks. $ SAMURAI NOODLE 606 Fifth Ave. S., 624-9321. An all-ramen restaurant with no plastic packets? Yup, Samurai Noodle does it all in-house, serving huge, redolent bowls of broth that took much longer than 90 seconds to concoct (but still make for cheap eats). The house specialty, tonkotsu ramen, rivals a bowl of gravy in its richness. Though the recipe is subject to a nondisclosure agreement with a Japanese ramen company, Samurai’s chef simmers pork bones for hours, creating an oinky liquor with the color and creaminess of a good cafe au lait. There are other ramens at Samurai, including versions with chicken, soy, sea-

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Restaurants are supposed to be refuges from the world outside, but eaters in many of Seattle’s finer dining rooms might have trouble stowing physical reminders of wet, chilly weather and workaday concerns. Coat storage is neglected in a startling number of local restaurants, so heavy winter coats commonly hang over the backs of chairs, while woolen hats, scarves, and gloves end up piled in otherwise sophisticatedlooking booths.

“Too often, even in our projects, we don’t put in coat hooks,” says Jim Graham, principal and founder of Graham Baba Architects, the prestigious firm responsible for the Kolstrand Building, which houses The Walrus and the Carpenter and Staple & Fancy, and the Fremont Collective, where the restaurant space is split between The Whale Wins and Joule. While eating at the latter, I asked my server if there was anywhere I could put my bulky coat. He offered to hang it on a puny wooden stand in the bar, which was already mushrooming with shed outerwear.

Graham says architects and restaurant owners are still wrestling with the security, aesthetic, and logistical concerns posed by providing space for customers’ coats. Hooks can reliably be found on the underside of bars, but coat checkrooms—once ubiquitous in upscale restaurants—have virtually disappeared. According to Graham, planners fiercely debated whether to install a coat checkroom at Cuoco, Tom Douglas’ South Lake Union salute to northern Italian

sonal yuzu, and cold-fish broths, but none come so bundled with memories of Christmas dinner. $ SUB SAND 419 Sixth Ave. S., 682-1267. A tiny sandwich shop that combines the elaborate toppings and soft rolls of an American sub (do take a few moments to admire the giant submarine mural on the wall) and the pickled vegetables and marinated meats of Vietnamese banh mi. The culinary fusion leads to $4 ham-and-cheese sandwiches with lettuce, tomato, red onions, and daikon, as well as one of the best veggie subs in town: marinated tofu with both Western and Vietnamese fixings, cilantro, and green chiles. Should you be eating in rather than running back to the desk, paper-wrapped oval in hand, the right side of the sandwich board lists Chinese-Vietnamese specials like spicy beef noodles. $ SZECHUAN NOODLE BOWL 420 Eighth Ave. S., 6234198. An ID staple, tiny bare-bones Szechuan Noodle Bowl specializes in bowls of spicy noodle soup.

There’s a subtle anise-tinged sweetness to the broth of the beef noodle soup, and it softens you up so the chile kick hurts all the more deliciously; the bowl is topped with beef stewed so long it can barely remember to hold its shape. Forget the cold sesame noodles, and stick to the soups and SNB’s two cult dishes: the dumplings and the fried green-onion pancake. $ THANH VI 1046 S. Jackson St., 329-0208. Tucked into the “Asian Plaza” at the intersection of 12th Avenue and Jackson Street, Thanh Vi is hidden in plain sight. Decorated with a casino owner’s eye for color, this unpretentious spot is crowded with families working their way through enormous platters and bowls. The best dishes require some assembly.

You can braise raw seafood, fish balls, and veggies at the table in a hot-and-sour hot pot, which has a fragrant, tamarind-pineapple broth. Or make your own spring rolls with charbroiled pork, pickled vegetables, herbs, and rice paper. $

cooking, before deciding against it.

“If you have a check, it’s a burden,” Graham says. Once, the message conveyed by a staffed coatroom was “Relax. We’ll take care of you.”

Now the same service makes guests think the restaurant’s going to gouge them.

Few customers are willing to surrender their coats to unguarded closets, but Graham says what really worries many restaurant guests who don’t carry purses or bags isn’t the specter of theft, but the certainty of being temporarily separated from what they keep in their pockets. And this is where the problem assumes a uniquely Seattle dimension: While men in most cities typically stash their keys, wallets, and phones in sport jackets, it’s the rare local eater who shows up for dinner in a suit.

Still, Graham suspects restaurants could coax patrons into giving up their coats, which have an annoying tendency to fall to the ground and block servers’ paths when perched on chair backs. He envisions a set of coat hooks “seeded” with interesting coats which might remain hanging through warmer months. If coats are considered an affordable design element, Graham theorizes, “it adds texture to the decor.”

Or restaurants could look beyond hooks to accommodate their coat-burdened guests. “How cool would it be if you moved a restaurant into an old dry cleaners, and you kept the old drycleaning rack?”, Graham wonders.

Very cool indeed. E hraskin@seattleweekly.com

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music»Our Take on Every Local Release*

LOCAL REVIEWS Matt Bacnis, Home (Deluxe Edition) (out

now, self-released, mattbacnis.bandcamp. com): Gibbard/Owl City-esque vocals preside over radio-friendly, emotive electro and acoustic ballads that resemble what you expect from the likes of One Direction or the Biebs. MA’CHELL DUMA LAVASSAR

*

Blue Sky Black Death, Presents “Skull and Bones” (out now, selfreleased, bsbd.bandcamp.com): Local rap duo Skull and Bones (Caz Greez and Bolo Nef ) tell tall tales of concrete piracy and street sorcery with a veteran’s knack for cadence. TODD HAMM

released, bsbd.bandcamp.com): North Carolina rapper Farrar relates chilling but personal stories of coming up tough and desperate, and later thriving in the murky underworld, as well as any BSBD collaborator. TH Cex, “Lorena” (out now, Automation Records, soundcloud.com/automation/ cex-lorena): Vocoder-stretched vocals and

Charms, Hillary (out now, self-released,

charmsrock.bandcamp.com): This bassless Seattle trio plays jangly garage rock, though unlike many of their peers, they didn’t produce this six-track EP to be decidedly lo-fi.

They did, however, bury the vocals and smother them in reverb, which makes them act more as an additional ambient instrument than the focal point of the songs. DAVE LAKE (Thurs., Jan. 3, Chop Suey)

Colt Kraft Band, Colt Kraft Band (1/5,

self-titled, soundcloud.com/colt-kraftband): The two songs on this debut are familiar: hushed indie rock on the country side of the spectrum. The next step for Colt—as for so many others—is differentiation. CHRIS KORNELIS (Sat., Jan. 5, Columbia City Theater)

*

Crown Hill Repeater, The Patient

Sessions, Vol. 1 (out now, Pleasure Boat Records, pleasureboatrecords.bandcamp. com): Four glitchy sound-blanket-style pieces with less of a discernibly systematic

Yeah, every release

*In each issue of Reverb Monthly—SW ’s music magazine—we review every release from local bands and labels for the coming month. Since the December/January issue was a combination year-end issue, released Dec. 19, we are running the reviews here that would have run in a standard January issue. Send releases and reminders to

reverbreviews@seattleweekly.com.

*HIGHLY RECOMMENDED

structure and more of a hailstorm of sound bites that surround the listener. Great sonics and a few eye-popping moments. TH

sion and picturesque lyrics. The opening track, “Dirty Paws,” is a catchy, foot-stomping gem. ERIN K. THOMPSON

The Curious Mystery, Be Still (1/22, K Records, krecs.com): Short and sweet, these three lo-fi tunes are a good primer for this Seattle psych-folk duo’s work; “Cock of the Rock” heightens the experimental brew with hypnotic beats and jangly refrains.GWENDOLYN ELLIOTT

Generifus, Back in Time (out now, Sultan Serves Records, geniferus.bandcamp.com): Mellow, plugged-in indie pop that’s not afraid to employ keys, strings, and horns.

With appearances by members of LAKE and Meowtain. MDL

Anthony Disparte, The Best-Looking

Horse in the Glue Factory (out now, selfreleased, anthonydisparte.bandcamp.com): Though there are shades of The Postal Service and Greg Laswell in Disparte’s warm and gentle ballads, a closer comparison might be Jimmy Eat World with the punk rock stripped away. This EP’s love-heavy lyrics make it easy to label as emo folk. DL (Thurs., Jan. 3, Crocodile)

DJAO, Screwmixes (out now, Hush Hush

Records, soundcloud.com/d-j-a-o): If remixes simply recontextualize their source material, then Screwmixes transforms it into something completely foreign.

Here, Alex Osuch slows down and chops up songs from Mount Kimbie, Grimes, and Janet Jackson until they turn into Vaselinesmeared aural mush. It’s music designed to envelop rather than engage. ANDREW GOSPE

*

Patrick Doherty, Railcar (out now,

Swoon, swoonrecords.com): These four solo tracks from the frontman of Tacoma’s the Wheelies are subtly charming pieces of folk-pop, with Doherty’s languid vocals complemented by tinkling percus-

Giza, Future Ruins (out now, self-released, giza.bandcamp.com): Instrumental drone metal in sluggish tempos that culminates in a few great, heavy moments, but is a bit predictable overall. TH

*

HAVi, “The End” (out now, self-

released, soundcloud.com/haviblazetherealest/havi-the-end): This Tacoma/Seattle MC is a rapper’s rapper. He lays down an extended verse here with no chorus to get in the way of his tack-sharp rhymes about living in the face of the end of the world. TH

Justin Klump, Sticks & Stones (out now,

self-released, justinklump.com): Vancouver, Wash.’s Klump falls squarely on the pop side of folk on this self-produced EP, having less in common with Sam Beam or David Bazan than with, say, Damien Rice. Banjo mingles with guitar on the opener, “Sticks & Stones,” the EP’s best track, which has a pretty chorus if predictable metaphors. DL

Myth of Progress, Myth of Progress (out

now, self-released, mythofprogress.com): Essentially a 13-song instrumental psychedelic jam session, Myth of Progress could be

Seattle weekly • JAN UARY 2− 8, 2013

*

Blue Sky Black Death and Deniro Farrar, Cliff of Death (out now, self-

sampled background conversations flutter in that frustrating place between discernible and strictly instrumental, which can get to you if you let it—but maybe that’s the point. TH

LUCAS GRAY

Pepper Proud’s Riddles & Rhymes is out now.

» CONTINUED ON PAGE 30 29

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Local Reviews » FROM PAGE 29 fun in a live setting with the right crowd, but otherwise it seems a bit empty and misguided. Electric guitar solos only take you so far.

JOE WILLIAMS

Naturebot, You & Whose Mother?! (out now, Pleasure Boat Records, pleasureboatrecords. bandcamp.com): Very danceable late-night house with all kinds of lasers and blips that will keep you entertained but won’t change your life.

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New Lungs, Lanterns (1/4, self-released, new-

lungsmusic.bandcamp.com): The prog quartet formerly known as How to Operate Your Brain made one wise decision by changing their name to something much less clunky, and a second one by recording this polished EP of five songs that thrum with a passionate vitality. The rush of isolated vocal harmonies on “Concrete” is a standout. EKT (Tues., Jan. 15, Comet Tavern)

*

Pepper Proud, Riddles & Rhymes (out now, self-released, pepperproud.com): There’s nothing amateur about this album.

“Wrinkled Love” is richly deep with beautiful instrumentation and lyrics, while “Fishing Girl” is addictingly sweet and graceful. JW

*

PonyHomie, Remable (out now, selfreleased, soundcloud.com/ponyhomie): These purveyors of melodic electronica combine indie-rock vocals and danceability for a very of-the-moment sound. The track “I Was Asleep,” though released in December, is sure

to be a summer 2013 jam. MDL (Fri., Jan. 4, Chop Suey) Red Sea, Waking to a New Light (out now, self-released, facebook.com/redseaband): The problem with Waking is there’s nothing catchy about it. Mixing the pep of Say Anything with a funkier Red Hot Chili Peppers, the album comes off unintentionally shallow and void of anything that you’d hum the next day. JW Relcad, Anonymous City (out now, Pleasure Boat Records, pleasureboatrecords.bandcamp. com): Eight pretty, drawn-out movements that could function effectively as background music while you’re twirling glow sticks but aren’t necessarily grabbing on their own, save for a few cool end-moments (as on “Herd Not Heard”).

TH

Relcad, Bike Crush (out now, Pleasure Boat, pleasureboatrecords.bandcamp.com): Structured more like a theme and variations than a traditional EP, this four-track effort from producer Alex Duff takes the title track, itself a decent piece of abstract techno, and remixes it to great effect, particularly on the icy “False Flat” mix. AG Skuntdunanna, Now or Never Vol. 1 (out now, Street Level Records, streetlevelrecords.com): Skuntdunanna, aka Mafia, has a raspy voice that vaguely resembles that of once-lyrical hero Canibus, but takes more of a real-world/everyman stance. The subject matter feels a little stagnant at times during the album’s 18 tracks, but Skunt moves capably through his verses, and comes through with a strong release. TH

Seattle weekly • JANUARY 2− 8, 2013

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Beta Love (1/22, Barsuk, rarariot.com): One of last year’s worst indie-label releases was the self-titled debut of POP ETC (né the Morning Benders), in which the band underwent a wholesale sonic makeover from fussy chamber rock to AutoTuned faux-R&B. Ra Ra Riot have more success with Beta Love, abandoning the baroque pop of their first two

albums for the sort of polished-to-a-sheen electropop that has made bands like Passion Pit so successful. The results are mixed—the whole thing sounds overproduced and scattershot. But when the band is on point, as in the slinky “Is It Too Much,” they show plenty of potential to grow into their new sound, and singer Wes Miles has the pipes and charisma to take them there. ANDREW GOSPE (Fri., Feb. 8, The Neptune)

Seattle Weekly

*

Stag, Stag (out now, Fin Records, the-

mightystag.com): Stag is a sort of indierock supergroup, with an inaugural full-length produced by indie-rock super-producer Jack Endino. Their tunes are tight, exuberant, and fun, characteristics that feel oddly nostalgic—in a wholly positive way—when set against the mopier acoustic fare which is emblematic of the Seattle scene today. MIKE SEELY (Fri., Jan. 25, Barboza) Us on Roofs, Us on Roofs (1/20, self-released,

usonroofs.bandcamp.com): This four-piece has filled out its sound considerably since 2011’s Some Unrecorded Beam EP, and the result is its strongest set of songs to date, striking an appropriate balance between melodic indierock riffage and brawny math-rock passages. AG (Sun., Jan. 20, The Crocodile)

Young Silky, Crub Fnk (out now, Pleasure

Boat, pleasureboatrecords.bandcamp.com): Half of this producer’s six-song album are remixes of the title song, a propulsive, sample- and vocoderheavy IDM track. The other two songs, however, are the most interesting: the obtuse bedroom R&B of “Silk Keys” and the electric-piano-led James Blake wannabe “Exxoes.” AG

LOCAL LABELS’ OUT-OF-TOWN BANDS

*

Lost Animal, Ex Tropical (1/29, Hardly Art, hardlyart.com/lostanimal): Australian musician Jarrod Quarrell’s debut album as Lost

Animal is an exploratory fusion of jazzy textures, tropical percussion, and calmly soulful vocals.

The resulting songs, the best of which is the moody and mysterious “Lose the Baby,” are distinct and delectable. EKT The Ruby Suns, Christopher (1/29, Sub Pop,

facebook.com/therubysuns): Ryan McPhun conceived of and recorded the fourth Ruby Suns album while in Oslo, Norway, retreating from his New Zealand home after breaking up with a longtime girlfriend. Glassy and chilly, Christopher’s songs largely reflect their Scandinavian birthplace, but the vibrant dance beats on tracks like “Desert of Pop,” an ode to McPhun’s musical idol, Robyn, add warmth and zest. EKT (Sun. Feb. 17, Barboza)

*

Marcos Valle, Garra (1/9, Light in the

Attic, lightintheattic.net): Breezy pop sambas fill this reissue of the 1971 classic from the Brazilian singer/songwriter. One of LITA’s planned quartet of Valle reissues (see below for the second one), it features a backing band of exclusively studio musicians, including a brass section, strings, and even a men’s choir on opener “Jesus Meu Rei.” It’s lush, easy-listening pop—and it’s only a matter of time before one of these suckers shows up on a Wes Anderson soundtrack. DL

www.seattleweekly.com/promosites/50-off

2012

Wishes you a

Happy New Beer!

2013

Attic, lightintheattic.net): First released in 1970, this bossa nova pop album is a audible conversation piece for Mad Men fans, better suited as a cocktail-party soundtrack than for extended play in your earbuds. CK E music@seattleweekly.com

rallying cry that’s perfectly suited to the snotty songs she writes: “When your life seems stuck on repeat/Eat sleep eat sleep eat sleep,” she sings on the title track as Nyce yelps along in the background. “You’re not an alien/Don’t like yourself at all/Why not try something new/Like answer when I call,” she bristles on “UFO.” It’s blasé with a barb. Repeat clocks in at just under 24 minutes—a brevity that only encourages, as its title suggests, repeat listens. ERIN K. THOMPSON (Sat., Jan. 26, Cafe Venus/Mars Bar)

Seattle weekly • JAN UARY 2− 8, 2013

Repeat (1/22, End of Time Records, facebook.com/ wimps): The first full-length from the punk trio of Rachel Ratner, Matt Nyce, and Dave Ramm is a propulsive collection of short, riotously fun songs.

Highlights include the squiggly guitar noodling on “Slept In Late,” the sturdy, clangorous riffs on “Wet Cardboard,” the chanty chorus of “Hello Frustration,” and the cleverly impassive lyrics on nearly every track. Ratner sings in an impetuous

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Marcos Valle, Marcos Valle (1/9, Light In the

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31

dinner & show

mainstage THU/JANUARY 3 • 7PM // FRI/JANUARY 4 & SAT/JANUARY 5 • 7PM & 10PM THE CAN CAN PRESENTS

elvis alive with vince mira SUN/JANUARY 6 • 7:30PM

barbie anaka

THU/JANUARY 10 • 7:30PM

red molly w/ nathaniel talbot FRI/JANUARY 11 • 7:30PM & 10PM

CD RELEASE CONCERT!

left hand smoke SAT/JANUARY 12 • 8PM AN ACOUSTIC EVENING WITH

ian mcferon and anna coogan SUN/JANUARY 13 • 7:30PM

new heights w/ andie case MON/JANUARY 14 • 7:30PM

Seattle weekly • JANUARY 2− 8, 2013

chelsea wolfe w/ king dude

32

next • 1/16 80’s invasion • 1/18 vagabond opera • 1/19 pasatempo rebetika • 1/20 claire lynch • 1/23 & 1/24 mingus dynasty • 1/25 school of rock: stop making sense • 1/26 the big gig • 1/27 tristan prettyman • 1/29 keiko matsui • 1/31 paul kelly • 2/1 kristen ward • 2/6 snake a chinese new year celebration • 2/8 nicki bluhm & the gramblers w/ brothers comatose • 2/9 shawn mullins w/ max gomez

happy hour every day • 1/3 first thursday art opening w/ emily joseph // rippin chicken • 1/4 the nightcaps • 1/5 dirty rice: cd release party! • 1/6 charles mack • 1/8 singer-songwriter showase featuring gregory rawlins, edmund wayne and grandma kelsey • 1/11 the ben rice trio TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

tractor www.tractortavern.com

5213 BALLARD AVE. NW  789-3599 Times listed are show times. Doors open 30-60 minutes before Thur, Jan. 3 • 9pm ~ $6

INDIE-DANCE-FOLK

POCKET PANDA THE AMES KITE REPAIR

Thur, Jan. 10 • 9pm ~ $6

HIGH ENERGY ROCK ‘N ROLL

THE CHASERS

THE BIG WHEEL STUNT SHOW GARAGE HEROES

Sat, Jan. 12 • 9:30pm ~ $10 Fri, Jan. 4 & Sat, Jan. 5 • 9pm ~ $18 TWO NIGHTS WITH CANADIAN ECLECTIC FOLK-ROCKERS 9TH ANNUAL ELVIS BIRTHDAY TRIBUTE FEAT.

THE PAPERBOYS THE ROY KAY COMBO THE BLACKBERRY BUSHES STRINGBAND OPENS FRI NIGHT IMPOSSIBLE BIRD OPENS SAT NIGHT

Tues, Jan. 8 • 8pm ~ $6

SINGER/SONGWRITER

DILLON WARNEK & THE DISMAL TIDE ANDREA PETERMAN

ANNIE FORD BAND Wed, Jan. 9 • 9pm ~ $15 adv / $18 dos

MONQUI PRESENTS

AUGUSTANA (ACOUSTIC)

LAUREN SHERA

MARTI BROM, PETUNIA, DAVIDSON HART KINGSBERY, EVAN FOSTER AND STEVE DAVIS (STARS OF BOMBAY), SUN RECORDS SET BY THE ROY KAY TRIO AND MORE!

PROCEEDS WILL GO TO THE DOWNTOWN EMERGENCY SERVICE CENTER

Mon, Jan. 14 • 7:30pm ~ $6

MONDAY SQUARE DANCE FEAT. MUSIC BY

THE TALLBOYS HELLACIOUS SQUARE DANCING STARTS AT 8 PM!

Wed, Jan. 16 • 8pm ~ $20 adv / $23 dos

SQUARE PEG CONCERTS PRESENTS

RANDY ROGERS BAND WADE BOWEN

1/17 MusiCares & The Grammys present a tribute to Uncle Tupelo feat.

Up & Coming: TRANSMISSIONARY SIX, DOWNPILOT, THE SWEARENGENS, IAN MOORE,

THE DETASSELERS, RED JACKET MINE, JARED CLIFTON, FAN FICTION, THE MANGLES, KIM VIRANT & more!  1/18 DAVIDSON HART KINGSBERY album release party, MARK PICKEREL AND HIS PRAYING HANDS, JACKRABBIT 1/19 WIDOWER, OLE TINDER  1/20 ELEPHANT REVIVAL  1/20 The Tractor presents at The Sunset RED WANTING BLUE, THE FROST GIANTS, NO REY  1/22 DAUGHTERS OF THE DEAD SEA,MANNEQUIN BBQ,THE STEVEDORE, A BREAKTHROUGH IN FIELD STUDIES 1/23 EDMUND WAYNE, SONG SPARROW RESEARCH, SIMON KORNELIS 

music»TheShortList

COURTESY OF NEUROSIS

KnowMads FRIDAY, JANUARY 4

KnowMads is a highly productive local group with growing potential. Its producer, Jester, a classically styled, sample-based beatmaker who’s got solid work with town staples Grynch and La under his belt, serves as the crew’s backbone. MCs Tom “Pepe” and Tom “Cheef” Wilson are positiveminded lyricists who are quickly developing, though their verses aren’t yet packed with the kind of fire that collaborators like Chev and La bring to the table. Their heads are in the right places, though, and the group as a whole is on the come-up, so you might as well get familiar now. With Camila

Grieves SATURDAY, JANUARY 5

The skinny on this show is that it’s a fundraiser for Minneapolis artist P.O.S. (Rhymesayers/Doomtree), who reportedly needs a new kidney. Sick jokes aside, P.O.S. is one of the illest ever to emerge from the bustling Midwest rap burg, and he certainly deserves a functioning kidney like the rest of us, so feel good about bringing your money/organs to the show. The headliner is Seattle resident (and Rhymesayers roster-

mate) Grieves, one of the rare artists in the often-hyperliteral rap field who takes poetic detours through his backlog of emotional highs and lows without sounding too cheesy or preachy. Over time he’s become the perfect compliment to (longtime producer) Budo’s striking arrangements, in the process carving a healthy spot for himself in the indie-rap consciousness. With Grayskul, Sadistik, Th3rdz. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $12. All ages.

TODD HAMM

Neurosis SATURDAY, JANUARY 5

Now is the winter of our discontent, indeed.

EDITOR’S PICK

KEXP AUDIOASIS SATURDAY, JANUARY 5

Tavern, 5433 Ballard Ave. N.W., 784-4880.

10 p.m. $7 adv./$ 8 DOS. ERIN K. THOMPSON

Oakland sludgemasters Neurosis.

I’m not sure if this is the greatest metal club booking ever, or a covert plan to “accidentally” demolish the Showbox to make way for condos, but the sludgy, low-end rumble emitted by Neurosis alone is capable of shaking downtown to its core. Few bands are as revered and influential as these roadweary Oakland post-metal pioneers. Their influence can certainly be heard in tonight’s three openers: Seattle metal-makers Black Breath, who absolutely slayed it at 2012’s Capitol Hill Block Party; Portland’s acidic Stoneburner; and Portland-via-Memphis hardcore innovators Tragedy. It is also worth noting that this hairball sausage fest is brought to you by the very rockin’ ladies at Infinite Productions and Seek and Destroy.

Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. $26.50 adv./$31.50 DOS. All ages. MA’CHELL DUMA LAVASSAR

The Washover Fans SATURDAY, JANUARY 5

The dudes and lady of Dude York.

While rockers nostalgic for the glory days of grunge understandably lament the softening of Seattle’s sound, a fine New Year’s resolution would be for everyone to simply get over it: Seattle’s heartfelt acoustic roots scene is here to stay, and it’s deep and formidable. Rather than grousing about how Head & the Heart sidewoman Charity Rose Thielen’s harmonies resemble Donna Jean Godchaux’s at their most atonal, it’s better for everyone if vastly more talented females like the Washover Fans’ Gillian Tart are showered with accolades instead.

Tart instantly recalls another Gillian (Welch); if anything, she’s underutilized in this satisfying quartet. With Rory James & The Majestic, The Colt Kraft Band. Columbia City Theater, 4916 Rainier Ave. S., 7223009. 9 p.m. $8. MIKE SEELY

Seattle weekly • JAN UARY 2− 8, 2013

The headliner for this month’s installment of Audioasis—a benefit for Food Lifeline, a nonprofit dedicated to feeding the hungry in western Washington—is Don’t Talk to the Cops!, the popular local dance and hip-hop trio whose fire-starting tunes can be pretty take-it-or-leave-it, depending on how much the phrase “party rap” appeals to you. The rest of the bill, however, features a superstrong lineup of three of Seattle’s best and brightest young rock bands: Wimps, a cheeky punk outfit fronted by Rachel Ratner that’s gearing up to release its first LP, Repeat, on the new local label End of Time Records (read a review on page 30); post-rock quartet Stephanie, whose convulsive debut album, One Glove, was one of the city’s most distinctive releases of 2012; and Dude York, a propulsive trio led by hyperactive, deviant frontman Peter Richards, whose forthcoming album should be one of 2013’s punchiest records. Sunset

ANGEL CEBALLOS

*

Recchio, David Dalla G, the Realists. Vera Project, 305 Harrison St., 956-8372. 7:30 p.m. $13. All ages. TODD HAMM

33

Piece of mind presents

Pigs on the wing

seven»nights

A trIbute to

PInk

floyd

Wednesday, Jan. 2 ELUDE Judging by June’s Bingo EP, this trio could

Www.pig-wing.com

WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

Thursday, Jan. 3 MONROE&SMITH Jacob Smith’s Soundcloud page

WEE K LY

MUSIC MUSIC NEW SLETTER The inside scoop on upcoming shows and the latest reviews.

describes his music as “drone blues country”—as accurate a description as any for his rambling acoustic-guitar odysseys. With Early Atoms, Discussed. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 8 p.m. $5.

NORTHERN DEPARTURE This bluegrass quartet is both prodigious (half its members have equipment sponsorships) and young (they played Sound Off!, the underage music competition, just two years ago), and they headline this Northwest bluegrass showcase. With Warren G. Hardings, The Student Loan. Nectar Lounge. 8 p.m. $6 adv./$8 DOS. POCKET PANDA This local six-piece plays inoffensive, fussily orchestrated folk rock. With the Ames, Kite Repair. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $6.

EVENT S

P R O MO T IO NS

Friday, Jan. 4 This frothy local klezmer band, EVENT S which often sings in foreign tongues, bears no sonic resemblance to Bananarama. In fact, if Bananarama

Come Join uS! INDUSTRY NIGHT EVERY MONDAY

All night happy hour for service industry, 5pm-close

Every Tuesday, 8-11pm

Jazzgrind with the Suffering Fuckheads, featuring Ron Weinstein and Mike Peterson. No cover.

Every Thursday, 8-11pm

Live jazz with the Fu Kun Wu Trio featuring Jon Alberts, Jeff Johnson and Tad Britton. No cover.

SATURDAY, JAN. 5, 8PM

Guns Guns and Thak Jerk Gabe. $5 cover..

SUNDAY, JAN. 6, 7-10PM

Live music with SummersetMom Bakery. $5 cover.

Seattle weekly • JANUARY 2− 8, 2013

WEDNESDAY, JAN. 9, 8PM

34

Origin Records Night featuring Rick Mandyk, John Bishop and Paul Gabrielson. No cover.

SUNDAY, JAN. 13, 6-9PM

Live music with Sidewinder. $5 cover.

WEDNESDAY, JAN. 16, 8PM

Heidi Swan and Tommy Schrader. $5 cover.

SATURDAY, JAN. 19, 8PM

The Whywolves and Friends. $5 cover.

WEDNESDAY, JAN. 23, 8PM

Cynthia Alexander and Ellen Reed Band. $5 cover.

FRIDAY, JAN. 25, 8PM

Gina Belliveau and Val D’Alessio. $5 cover.

SATURDAY, JAN. 26, 8PM

Blue Star Creeper and Countrycide. $5 cover.

SUNDAY, JAN. 27, 8PM

Singer/songwriter showcase with host kubby c.

No cover.

WEDNESDAY, JAN. 30, 8pm

“That Thing” (an open mic of all sorts) with host Andy Roo Forest. $3 cover donated to charity of the month.

Happy hour! Every day · 5-7pm Plus, $6 Aquavit (“water of life”) shots all year in honor of Copper Gate’s 66th Anniversary!

For booking inquiries, email bookingcoppergate@gmail.com Events subject to change – get updates at thecoppergate.com 6301 24th Ave. NW in uptown Ballard · 206.706.3292

RIFFBROKERS Road warriors and rock-’n’-roll

veterans (they formed in 1999), this local fourpiece’s twangy alt-country is as lived-in and grizzled as their name and background suggest. With Low Land High, Carousel. Slim’s Last Chance, 5606 First Ave. S., 762-7900, slimslastchance.com. 8 p.m.

THANK YOUR LUCKY STARS This newly formed rock band will release its debut album, the country- and folk-inflected Spinning Out of Orbit, at this show. With Rebelmart, Golden Gardens.

High Dive. 9:30 p.m. Free.

The Last Great Love headlines the Skylark on Friday, January 4.

Woodstock set. Since then he’s dabbled in jazz, electronic music, and film-score composition.

Spellbinder, the jazz-fusion group Shrieve fronts, performs every Monday at the White Rabbit, 513 N 36th St., Suite E, 588-0155, fremontwhiterabbit.com.

8 p.m. $6.

BALKANARAMA

Sunday, Jan. 6

Tuesday, Jan. 8

is chocolate, Balkanarama is vanilla, even if their music is anything but. With Orkestar Zirkonium, Compassion Gorilla. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater. com. 9 p.m. $8 adv./$10 DOS. THE LAST GREAT LOVE Carter David and his band make bombastic guitar rock that’s ambitious both musically and thematically—Victory at Sea, the group’s debut, is a concept album informed by German romanticism. With Starry Eyed Samurai.

Skylark, 3803 Delridge Way S.W., 935-2111, skylark cafe.com. 8 p.m. $5.

THE PAPERBOYS The brainchild of Tom Landa, this Canadian folk group mixes Celtic and bluegrass music with a variety of global influences. Their most recent release was 2009’s Callithump. With The Blackberry Bushes Stringband. Tractor Tavern.

9 p.m. $18.

THE WAMPAS This local trio’s power pop takes its cues as much from ’90s slacker rock as from ’60s pop and psych. With Pomerantz, Bandolier, Sara Jackson-Holman. High Dive, 513 N. 36th St., 6320212, highdiveseattle.com. 9:30 p.m. $8.

BJ BARHAM This 25-year-old songwriter out of

SANDY BUCKNER A songwriter and music teacher,

Saturday, Jan. 5 ATLANTIC MELODY An album-release show for this

Guinean group led by drummer Edward Souarez.

Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle.com. 9 p.m. $5–$15 suggested donation.

APEX OF APATHY Blending post-hardcore instrumentals with emo vocals and lyrical sensibilities, this Las Vegas group is touring in anticipation of its debut album, The Flying Machine, slated for a March release. With Tyranny Theory, Pride Fails, Two-Headed Crow, Articles of War. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 7 p.m. $8 adv./$9 DOS. Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

Raleigh, N.C., is already a music veteran, having fronted the country-rock outfit American Aquarium for five years. With Kate Lynne Logan, Forrest Van Tuyl. Sunset Tavern, 5433 Ballard Ave. N.W., 7844880, sunsettavern.com.

8 p.m. $7.

INTISAAR JUBRAN This powerful singer/guitarist is usually accompanied by several string players live, but expect her voice to take center stage nevertheless. With Lady Justice, Johndus. The Crocodile, 2200 Second Ave., 441T H I S CO D E TO DOWNLOAD THE FREE 4618, thecrocodile. 8 p.m.

SEATTLE WEEKLY $5. All ages.

Buckner plays this weekly installation of Slim’s Troubadour Tuesday concert series. Slim’s Last Chance. 9 p.m.

SCAN

IPHONE/ANDROID APP

FOR MORE CONCERTS OR VISIT

seattleweekly.com

SIMON HENNEMAN QUARTET Playing original

swing and hard-bop tunes by its titular bandleader, this ensemble headlines an unusual (for the Comet) night of improv and jazz.

Comet Tavern, 922 E. Pike St., 322-9272, comet tavern.com. 9 p.m. $5.

THEE SAMEDI These Bellevue kids have only a couple of rougher-than-rough, self-recorded punk cuts on the Internet, but they’re already Seattle’s second-most-famous “thee” band (behind THEESatisfaction). Skylark. 3 p.m. $5. All ages.

Monday, Jan. 7 THE ROYAL ROOM COLLECTIVE MUSIC ENSEMBLE Led by conductor and Royal Room

founder Wayne Horvitz, this modern-jazz ensemble played the Earshot Jazz Festival this past fall. Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroom seattle.com. 8 p.m. Free.

SPELLBINDER Michael Shrieve got his start as Carlos Santana’s original drummer, performing with the legendary guitarist through 1974, including in his

UNIVERSAL REPUBLIC

Columbia city theater

MELODRAMA RECORDINGS

FRI jan 11

make a living as a Blink-182 cover band if they ever tire of writing originals. With Jordan Biggs, Shorte, Away. Barboza, 925 E. Pike St., 709-9951, the barboza.com. 7 p.m. $5.

PEARL DJANGO Guest vocalist Connie Evingson joins this veteran gypsy-jazz quintet coming off the 2012 release of Eleven. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 6 p.m. $24.50. All ages.

Through Jan. 6.

POOL PARTY It’s hard to tell the degree to which this San Diego collective’s shtick—jokey party-rap verses over cartoonish dubstep-inspired beats—is meant to be taken seriously, but then, given that they share a bill with similarly minded local rap crew The Unibroz, it probably isn’t. With Nmercer, Moose Portrait. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $5.

Vicci Martinez plays Jazz Alley on Thursday, January 8.

VICCI MARTINEZ After finishing third on NBC’s The

Voice in 2011, Tacoma singer, songwriter, and guitarist Martinez released her debut record on Universal last year, which included a duet with her TV mentor Cee Lo Green. Jazz Alley. 5:30 p.m. $20.50. All ages.

MONARCHIES Not to be confused with the similarly named Absolute Monarchs!, this local trio plays punchy, compact psych-punk on its self-titled EP. With Hooves, Chandelles, Crazy Eyes. Comet Tavern.

9 p.m. $6.

UPCOMING

EVENTS Fri, Jan 4

IN CAHOOTS THE UNDERWATER TIGER SLEEPPILOT CONTINENTAL SOLDIERS Rock | $8 AdvAnce | $12 dooRs

Fri, Jan 11

JOYFIELD 9 pm PSYCHEDELEPHANT DEAD SEA SYMPHONY Rock | $10 AdvAnce | $15 dooRs

sat, Jan 12

ECHO RAYNES 9 pm JABI SHRIKI Rock | $10 AdvAnce | $15 dooRs

Fri, Jan 18

PROM QUEEN 9 pm THE CORESPONDENTS THE PORNADOES H$H 60’s inspiRed Rock | $8 AdvAnce $12 dooRs

sat, Jan 19

STILLSTAND ORISON DECEMBER IN RED

9 pm

9 pm

EvEnts arE 21 and up unlEss othErwisE statEd tickEts arE availablE at tickEtwEb.com and in thE rock shop

sEattlE ™

promusE o wEEk codE l FOR 1/2 Oy FF tick onliEts nE

116 pikE st. +1-206-204-2233 hardrock.com • FACEBOOK.COM/HARDROCK

Seattle weekly • JAN UARY 2− 8, 2013

Rock | $7 AdvAnce | $10 dooRs

35

dategirl»By Judy McGuire SEATTLEWEEKLY.COM

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Seattle weekly • JANUARY 2− 8, 2013

ON NOVEMBER 6, 2012, WASHINGTON STATE VOTERS PASSED INITIATIVE 502.

36

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think these gifts were purchased with the intent to change you in some way. I’ve been there, and that is annoying. Picture you this: a sulky young Dategirl with a bright-blue double mohawk. Under the tree: a floral Dear Dategirl, Laura Ashley dress with a lacy Peter Pan Up until this Christmas, I really liked my collar. girlfriend. We’re both 23, but she’s in college My mother’s intentions were clear (and and I’m a musician who also works at a bar. ineffective), but you don’t give any I knew she wanted a leather coat for Christindication that your girlfriend’s mas, so I’ve been saving up and bought unhappy with your current state, her exactly the right one. (She so I’m betting her motives hinted strongly, so I didn’t make are innocent. Perhaps she’s any mistakes.) But my gifts were a big DFW fan and wants so weird, now I’m wondering to share something she if she even knows me. I only loves with you. Maybe she read science fiction (when I thinks you’d look hot in read books), and she bought a tie. As for the shaving me a bunch of David Foster joint . . . well, I see how Wallace. I know he’s supyou kids wear your beards posed to be great, but I’m not (so unkempt!), and maybe interested. She got me two a trim (if not a complete ties. I haven’t worn a tie since denuding) would make you prom. The thing that pissed me look even more dashing. off was a gift card for this hipster Sounds kind of sweet to me. shaving place. I have a beard, and Then there’s the truth that it’s not going anywhere! I pretended some people just aren’t gifted to like everything, but the more I think givers. I still remember how mad my about it, the angrier I get. She left for her parmom was when she unwrapped the awkent’s house this morning, so I won’t see her ward planter crafted from coconuts that my for a week, but I think I need to break up with dad had presented so proudly. But being her. My sister and roommate say I’m an assbad gifters doesn’t make them bad people, hole, because otherwise she’s great. just peeps in need of a little direction. For —Santa Screwed Me example, that leather coat she was so exacting about? What did you give her for her Are you seriously about to dump your birthday? Could it have been something otherwise amazing girlfriend because you along the lines of a latex bra and crotchless didn’t like your Christmas presents? Are panties, when she’s you 22 or 12? She more a cottondidn’t even buy you anything particularly Maybe instead of breaking thong and tank-top egregious, or fuck up with you, she saw gal? Maybe instead breaking up your best friend. you were just a nice guy of with you, she saw There was no Starin need of gifting guidance. you were just a bucks card or mysnice guy in need of tery hickey, just a few gifting guidance, nice prezzies that and so offered it this holiday. Next time, weren’t particularly right for you. take a page from her book and drop hints I like to think that you’re in a snit not about that fixie you’ve been eyeing. E because you’re an asshole, but because you

It Really Is the Thought That Counts

dategirl@seattleweekly.com

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column»Toke Signals

Let Fweedom Ring

F

S.A.M

BY STEVE ELLIOTT

weedom Collective doesn’t give

up easily. After the medical-marijuana access point—then based in Ballard—got a threatening letter from the Drug Enforcement Administration in August, it lost its storefront and was a delivery-only service for two and a half months. But co-owners Sky and Tyler kept the fire burning, and now the collective has a storefront on Aurora Avenue North.

Founded in 2008 as a hemp-based clothing company, Fweedom made waves in early 2011 with a canned-food benefit drive, and quickly gained a reputation for its exceptional selection of cannabis flowers, edibles, tinctures, and concentrates. Things are going great at the new location, formerly the home of Green Medical Society, according to Tyler.

One reason patients enjoy their visits to Fweedom is that there are two identically stocked bud rooms, which means patients have a shorter wait. Fweedom’s top-shelf flowers go for $13 a gram. But in the bud room, I was pleasantly surprised to find several strains included in an $8 per gram, $25 per eighth “Stimulus” sale. These weren’t the sad-looking dribs and drabs you find for $8 at some shops, but rather top-shelf medicine on genuine sale.

Among the Stimulus bargains was the sativa-dominant AK-47, the 90 percent sativa Noble, and the 80 percent indica Purple Mr. Nice. The AK was spectacularly pretty, with huge, hard flowers sporting fuzzy calyxes

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