Seattle Weekly, December 26, 2012 by Sound Publishing

DECEMBER 26, 2012–JANUARY 1, 2013 I VOLUME 37 I NUMBER 52

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THE YEAR IN FOOD PAGE 21 | JESSE SYKES: IT’S A WONDERFUL LIFE PAGE 33

Jason Terry has won basketball championships at every level. But can Seattle’s prodigal son help an aging Celtics squad to one more?

Y T I C s ’ T JE by tony ortega

2013

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THE DAILY WEEKLY | A CWU prof unearths the Smithsonian’s dark history.

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Seattle that makes it such fertile ground for NBA stars? Here’s the story of Jason Terry’s journey from the CD to the Celtics.

in back 15 THE WEEKLY WIRE A crowd-sourced Messiah, MOHAI’s reopening, and Woody Allen’s endurance.

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Pickwick gathers their 7-inches. 36 | THE SHORT LIST | Supersuckers, Dog Shredder, Karl Blau, and many more.

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Slave-sonian

An area professor has connected the national museum to Martha Washington’s slaves.

Vernon by George Washington, Martha Cushen Central Washington tis’ second husband,” explains Auslander. University anthropology “Martha herself, it would appear, only legally professor Mark Auslander owned one slave during her lifetime. As the delved into the old ledgers widow of her first husband, Martha had ‘life at the Smithsonian, he made a discovery usage’ to one-third of her husband’s estate; that—while not completely shocking, given that wealth, in the form of land and slaves, our nation’s history—nonetheless sparked an instantaneous reaction when it was published was to revert to his heirs after her death.” Thanks to Auslander’s work, we now have last week. evidence that slaves played a role in erecting What Auslander found was that the red America’s most famed museum, much as they sandstone used to build the Smithsonian did at the U.S. Capitol and the White House. Castle (otherwise known as the Smithson“Twenty-five years ago, when I was hearian Institution Building) was quarried by ing from those elderly African-American slaves—specifically, slaves linked to Martha security guards, and I was sort of dismissive Washington’s family. Published in Southern of what they were saying—I thought it was a Spaces (a peer-reviewed journal connected nice story. But it turns out they were right,” to Emory University’s Robert W. Woodruff says Auslander, who spoke to Seneca resiLibrary) and highlighted in a recent Washington Post article, Auslander’s research once again pushes our country’s guilty history and “It really pays to listen to uncomfortable relationship with slavery to the forefront. The author of the awardmembers of the community, winning The Accidental Slaveowner: Revisitto those stories that have ing a Myth of Race and Finding an American been passed on.” Family, Auslander hopes his findings diversify our understanding of history and help us dents who confirmed his findings through move forward as a nation. stories passed down through the generaThe Central Washington professor and tions. “I guess that for me might be the bigdirector of the university’s Museum of Culgest takeaway,” he says—“It really pays to ture and Environment has worked at the listen to members of the community, to those Smithsonian twice: as a consultant at its stories that have been passed on, because National Museum of Natural History in the those raise questions for research that we ’90s, and as a senior fellow at the National need to attend to.” Museum of African Art while conducting Auslander’s findings about the origin of the research discussed here. Auslander says the Smithsonian’s sandstone have sparked an the effort was a long time in the making: “I intense reaction. While the Smithsonian has remember, even way back then in the ’90s, been supportive of his research and cooperaelderly African-American guards [at the tive throughout the process, he says, “At the Smithsonian] would say, ‘You know, we’ve highest level, the institution is still trying to always heard the Smithsonian was built by figure out how to deal with its involvement in slaves.’ The official line was that wasn’t posslavery.” sible. I finally decided to follow up on that Meanwhile, the Washington Post article with all these different leads.” has garnered (at press time) more than 700 They pointed Auslander in the direction comments, ranging from thoughtful to—well, of a quarry in the community of Seneca in not so thoughtful. Montgomery County, Maryland, where the “The work of race in America is still an sandstone used in the Smithsonian Castle originated, and which was once owned by unfinished project,” says Auslander, who has John Parke Custis Peter, worked on issues related a great-grandson of to slavery for the past Martha Washington. 12 years. “Any time you PRINT IS GREAT, but if you The hours Auslander point out the legacies want to read why guns are like fire spent poring over the of slavery, lots of people extinguishers, go to The Daily Weekly. Smithsonian ledgers get very energized, SEATTLEWEEKLY.COM/DAILYWEEKLY provided the historical and you get all sorts of evidence he was looking intense conversations. for: Slaves quarried the sandstone used for “There have been some people who I think the Smithsonian, and those slaves were conwere a little hurt or upset, even at the Smithnected to the United States’ first First Lady. sonian. I think it’s a little hard to hear that this “The legal situation was complicated for institution that you love has this particular widows under Virginia law. Strictly speakkind of history,” he continues. “But most peoing, the slaves out at Seneca, Maryland, were ple have felt it is a good thing to acknowledge descended from enslaved families that had this history, because that’s what lets us move been part of the Custis estate, which had forward. If we don’t acknowledge the way been owned by Martha Custis’ first husband, things were, we really can’t make things the and which were then administered at Mount way they’re supposed to be.” MATT DRISCOLL

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Premature? Asking for trouble? Well, that’s Terry. On his other bicep is a large tat of the trophy that he got inked before the 2010–11 season, while he was still with the Dallas Mavericks. As promises go, it seemed boneheaded. But then he made it pay off as the Mavs won their first and only championship that year. After a disappointing 2011–12 season, Terry’s free agency took him to the Celtics, and he doubled down on his tattoo caper. It got him a lot of local press, and fans seemed to enjoy how quickly Terry embraced Celtics swagger. But there’s another tattoo that’s even more visible at first glance—the one on the right side of his chest. It depicts the Seattle skyline, along with the words CENTRAL DISTRICT. That tattoo serves as a reminder that the 35-year-old is a member in good standing of the posse of NBA players from the Seattle area: Jamal Crawford and Nate Robinson (Rainier Beach High School), Martell Webster and Spencer Hawes (Seattle Prep), Isaiah Thomas (Curtis), Marvin Williams (Bremerton), Rodney Stuckey (Kentwood), Brandon Roy and Tony Wroten (Garfield), and Aaron Brooks and Terry (Franklin). There’s even another Puget Sound product in the Celtic locker room—Bellarmine Prep alum Avery Bradley, who is still recovering from shoulder surgery and hasn’t played a game yet this year. Although Boston’s season has just begun, already fans are palpably worried. Terry has been brought in to replace ex-Sonic Ray Allen, one of the greatest three-point shooters of all time, who left Boston for the Miami Heat, which defeated the Celtics in the Eastern Conference Finals last year before winning the NBA championship. Other new additions have made this a different team, even with stars Kevin Garnett, Paul Pierce, and Rajon Rondo back for another campaign. In the team’s early games, the squad’s chemistry is poor and Terry rarely touches the ball. As Rondo spins and dives into a crowded lane of defenders, he isn’t finding an open Terry standing by the three-point line. When this is pointed out to a veteran local sportswriter, he cracks, “Why do you think Ray Allen left?” But tonight, against the hapless Wizards, Boston starts to show some coordination and flash. Terry hits a perfectly arcing three-point shot early in the fourth quarter. Running back on defense, he lowers his upper body, spreads his arms, and fans cheer as he flies like a plane. After the overtime win, rookie forward Jared Sullinger tells reporters, “We finally de-iced the Jet,” referring to one of Terry’s longtime nicknames. Though Terry is unarguably one of Seattle’s most successful NBA players, his history

Jason Terry has won basketball championships at every level. But can Seattle’s prodigal son help an aging Celtics squad to one more?

by tony ortega

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

JET’s CITY

In the Boston Celtics locker room after a November 7 game against the Washington Wizards, Jason Terry is wearing a towel, the tattoos on his chest and arms easy to make out. Under his left bicep is the new one that’s kicked up all the fuss. It’s a sizable rendering of Lucky the Leprechaun, but instead of a basketball, the Celtics icon is spinning on his finger the Larry O’Brien Trophy—the NBA’s ultimate prize.

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Jet’s City » FROM PAGE 9 with the city—specifically, the University of Washington—is not untarnished. But however diminished his reputation is locally, he’s emerged time and again as one of basketball’s

Slick Watts was right there, bald head, headband, dribbling a basketball,” Terry says. “We played basketball every day. That’s why I wear the headband to this day.” Watts turned out to be more than a sartorial model for Terry: He was also a guy who, like Terry, came on gradually—a player whom nobody really gave much of a chance when

ANASTASIA DIXON

Above: Terry’s mom holds a framed photo of her son’s highlights. Right: The Jet in junior high. C

CMY

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

ndrea Cheatham lives on Mercer Island in a large house which Terry bought her, and she thinks of her third child as her boss. But when Jason was born on September 15, 1977, Cheatham had quite a few bosses. She was in her junior year at the University of Washington while working a full-time job for the city of Seattle. “We lived in Tacoma, which is like a 45-minute drive to Seattle. So it was quite hectic and Jason was very busy, even as a little boy,” she says. After returning to Tacoma at night, Cheatham worked as a janitor at a couple of different office buildings. “Then I came back to Seattle to work on the weekends as an intake worker at Providence Medical Center,” she says. “I actually worked seven days a week.” And things weren’t looking good for her son, who was underdeveloped and sickly. Terry’s older brother, Dele, had died after birth, and that worried Cheatham enough that she took Jason to a hospital to have him watched. “They called me by the third day because they couldn’t keep him in his crib. They had a net over it, but he kept climbing out of it,” she says with a laugh. Terry would be fine, if a bit undersized. (To this day, she says, he’s self-conscious about being so thin, and he wears baggy suits and extra pairs of socks to make himself look larger.) In elementary school, he had a fateful meeting with a P.E. teacher. “I walked into the third grade at Decatur Elementary School and

he signed on with the SuperSonics in 1973. But two years later he was a starter, and then became a city icon. “He just wanted to play basketball all the time, and he wanted to take me on,” Watts remembers today. “I’d say, ‘Get out of my face, boy, you can’t handle me.’ And he’d say, ‘Yes I can, Mr. Watts!’ He was always sure of himself.” Even then, Watts says, Terry was mature beyond his years. “He’s such a grown-up. It’s hard for me to say why that is. But I watched him and he’s so grown up and mature. He’s been a guy we’re all proud of. I don’t take no credit for it.” Partly, that maturity was forced on him as the young Terry continued to be a sort of missing father for Andrea Cheatham’s growing family. And that’s when tragedy struck. “It was 1990, and Jason was 13 or 14,” Cheatham remembers. The family was at Wapato Lake in Tacoma, celebrating the highschool graduation of Terry’s older sister. “Two of the kids ended up in the lake. Miguel was 3 and Caleb was 2. I wasn’t more than three feet away from the lake and my back was turned. Then people were yelling, and I saw them working on this infant, and Jason was there. He was frantic. I didn’t think for one minute that it was my child. From there we headed to the hospital. Caleb lived for eight days, and then he passed, which was very traumatic for Jason. By then it already felt like he was the man of the house.” COURTESY OF ANDREA CHEATHAM

most enduring standouts, with championships at every level. Now he’s chasing another in the most legendary pro-basketball city of them all, a prescribed shot in the arm—or from the arc—for an accomplished but aging Celtics squad whose window of opportunity is about to slam shut.

More trauma was in store for the family. “My oldest grandchild died from an accidental hanging at the age of 9, when Jason was in Dallas,” she says. Her name was Imani Horne and she died in 2006. “You know, kids play around. We don’t really know what happened. It just did.” Today, Terry’s tattoos include the names of “Dele,” “Caleb,” and, for his niece Imani, “Mani Bird.” If Terry had to grow up fast, his mother says that her son actually came to organized basketball late, at about 13. “I thought it was just something to keep him busy,” she says. “He wasn’t very good. He was all over the court. He was always laughing and happy.” In junior high school, Terry faced a setback he never forgot. Recalls Cheatham: “A counselor wrote a letter telling me that he was never going to make it in life because a teacher asked him what he wanted to do, and he said one day he wanted to be a basketball player. You’re never going to make it if that’s your dream, the letter said. He was on the verge of flunking junior high. But after that letter, it just made him even more determined to prove them wrong. And that teacher is one of his staunchest supporters today.” As he took basketball more seriously, Terry started to bump into another member of the Watts family. “We worked out together almost every day,” says Slick’s son Donald, who is the same age as Terry and competed with him in summer leagues. “It made the rivalry more intense. You didn’t want your boy to get one up on you.” Donald remembers one trip in particular that brought them closer together, and reinforced where they were from. “We played together in the summertime, and one year we went down to California together for a West Coast All-Stars camp,” he says. “We went down there really fighting for our reputation in Seattle. That was fun. It was an exciting time for us.” As they developed through their highschool years, they were making reputations for different reasons. Donald, playing for suburban Lake Washington High School, was becoming one of the most effective scorers in the state. But Terry, he says, had a more steady, less flashy style that took longer to get noticed. “I think he only averaged 13 or 14 points a game in high school,” Donald remembers. “He was young for his age, a late bloomer, a small kid. But he had lightning-quick speed. A lot of other kids had speed, but Jason had a coach in high school who really taught him discipline and defense. Jason was a top recruit because of the leadership he showed.” Today, Jason Kerr is coach of Franklin High School. But when Terry was competing for Franklin, Kerr was coaching at rival O’Dea, and remembers trying to shake up the young ball-handler. “Because of the way Jason grew up, what he’s so good at—on and off the court—is the ability to code-switch. He can turn into a ruthless competitor on the court, but as soon as it’s over he’s got the biggest

smile in the room,” says Kerr. “He had that all the way back in high school. It made him impossible to scout for. He was so mature on the floor, you could never rattle him.” Asked about Kerr’s observation, Terry smiles. “That comes from being one of 10 [children], you know. My mother was a single parent. I was the second oldest. So I had a lot of personal responsibility to make sure the others had food, to make sure they got to school every day. And for me, basketball was a relief, because I was the leader of my team. I was never, growing up, the best player, or the one that they said, ‘He’s going to make it one day.’ I had to work. And that work came from my mother.” Even then, he craved the pressure of a big shot in an important game. “That’s another thing coming from my mother. You know, month to month we didn’t know if we were going to have food on the table, if the lights were going to be on or not. I can recall my sixth-grade school year—we moved eight times in one school year within the city limits. Making a shot at the end of the game in front of 30,000 people is nothing compared to moving your kids eight times while trying to make sure food is on the table. That is real-life pressure.”

“It was my mother’s idea to change my commitment and go to the University of Arizona, and I thank her to this day.” learning that he’d changed his mind. Did he remember what he said to Terry? “Man, I thought we had this.” Slick admits that he too was disappointed. “I was upset with him for a minute. I wanted him to be a Husky so bad I could taste it,” he says. “I still have a picture over my fireplace, him and Donald and me at the press conference.” Donald then had to decide what to do. “So now, do I back out? No, I felt Washington was best for me,” he remembers thinking. “I talked to Jason after he made his commitment to Arizona. I said there were no hard feelings about it, and I wished him the best.” Donald excelled at Washington, which turned around its fortunes after his arrival and went to the NCAA tournament in his junior and senior years. (Today Donald runs basketball camps with Slick, and recently left his position as coach at West Seattle High School.) He’s asked if he remembers whether, when the Arizona Wildcats came to play in Seattle against his team, Terry was booed for his betrayal.

» CONTINUED ON PAGE 12

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

s her son played on AAU teams and in high school, Andrea Cheatham started to wonder if basketball really could take Terry someplace. “By the time he had won his first championship as a junior, he and I both thought this could be a way he could go to college,” she recalls. “Without financial aid, that wasn’t going to happen.” After winning the first of two state highschool championships with Franklin in 1994, Terry began to be inundated with calls from college coaches. “I knew he’d be able to get a good scholarship and a degree, but we never once thought it would lead to the NBA. We were just thinking about getting to college,” Cheatham says. Then her son caught her by surprise. Going into their senior year, Donald Watts and Terry had become the two top basketball prospects in the state, and interest in their choice of colleges was high. It was Terry who first decided that he would stay local and help prop up a struggling Washington Huskies basketball team. “When he made that commitment, it was pretty simple for me,” Donald says. “We had played together and done some really great things in the AAU in the summertime. I felt that one day we could be the best backcourt in the NCAA.” Slick arranged a press conference in September 1994 to announce that his son Donald and his former student, Terry, were committing to the Huskies. The two shy, young basketball players visibly cringed as the elder Watts worked the press with his characteristic outspoken style. One reporter noted that Donald could be heard apologizing to Terry for the commotion. But just a few days later, everything changed. Cheatham says she was in the hospital, experiencing premature labor during another pregnancy, when she saw Slick Watts on television announce that the two young men had committed to the University of Washington. She was stunned: She had no idea her son had made up his mind. “He said, ‘Mom, it’s going to work out,’ ” she

says. But she was shocked that he had turned down the opportunity to play at the University of Arizona for Lute Olson. Olson was pretty surprised, too. “Once he had made that commitment to U-Dub, I did as I do with any kid that does that—I sent a letter thanking him for considering us, and wished him the best of luck at Washington and we looked forward to the competition,” Olson says. “Then his mom called me and asked, ‘Did you ever offer Jason a scholarship?’ Of course we did.” Now that it was clear there was a scholarship waiting for Terry in Tucson, Cheatham talked her son into making a visit. “She was eight months pregnant! He came down here, he loved it here and the guys he was going to be playing with,” Olson says. “His mom, from the get-go, we hit it off.” Actually, she was so pregnant that she’d already been hospitalized for premature labor, Cheatham points out. But she went anyway. “Jason realized when he got there that it was a lot better,” she says. They flew back, and within days of their return she gave birth. “We really took a risk,” she laughs. “It was my mother’s idea to change my commitment and go to the University of Arizona, and I thank her to this day,” Terry says. But in the past, he has expressed some second thoughts. “It’s not that I regret it, but you always think about what-if. The state of [the Huskies] program at that time, you know, I probably would have been a difference-maker. But I don’t know if I would have made the NBA, because when I went to Arizona there was Sean Elliott, Steve Kerr, Damon Stoudamire, Khalid Reeves. These guys would come back in the summer. They’d be competing against us, and that’s what gave us our confidence.” Donald Watts remembers waiting to hear from Jason after his trip to Tucson, and then

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Jet’s City » FROM PAGE 11 “Booed? Well, I’m in the game, so I don’t really remember that. But I’d be disappointed if my fans had done anything else,” Watts says with a laugh. “It was just a disappointment of not having a player of that caliber in the purple and gold.” Instead, it was Olson who snagged Terry. “He’s one of my all-time favorites, just like he’s a favorite of anyone who’s ever coached him. He has a great attitude toward everything,” Olson says. “He’s always so positive and upbeat. I remember when I first watched him. It was in a summer BCI league that required if you played one group of five the first quarter, you had to play another five the second quarter. And he was up there waving a towel, encouraging his teammates.” To illustrate what a team player Terry was, Olson describes what the Wildcats faced at the beginning of the 1996–97 season. Star shooting guard Miles Simon had run into academic trouble the previous year, and was suspended until he could get his grades up. “He couldn’t play in games, but he could work out with us,” recalls Olson. “Then we got him back and he played in a couple of games. JT came in to see me. ‘Coach,’ he says, ‘We’ve got to get Miles back in the starting lineup.’ ” Olson says he explained to Terry why that was going to be a problem. “I couldn’t sit Mike Bibby. That would destroy his confidence. ‘Well, I can sit. I like coming off the bench anyway,’ JT said. And there weren’t too many guys who would take that approach. He was just concerned with helping the team,” Olson says. “I think that’s typical JT. He’s always looking at the big picture, looking at the team, never looking at his own stats.” “I remember that conversation very vividly,” Terry says today. “And I was having a great year. We were ranked, we had a lot of success, but for the betterment of the team someone was going to have to come off the bench.” Meanwhile, Cheatham was becoming somewhat legendary for her loyalty to the team. During that sophomore year, when Arizona traveled to a game at Stanford, Cheatham— pregnant with her 10th child—got on a bus with her two youngest children for a 27-hour ride to the game. On the way, the bus driver tried to ditch them at a rest stop, she says. “He didn’t like the baby crying.” After seeing the game, they got right back on a bus for the ride back. “People said I was crazy,” Cheatham says. She also traveled to Indianapolis that season, as the Wildcats upset three #1 seeds on their way to winning the NCAA championship in Terry’s sophomore year. But even after winning the national championship in 1997, his pro prospects were still uncertain. By his senior year, however, Terry’s qualities were hard to deny. “Coming out of high school, he probably wasn’t someone who people thought would play as long as he has in the NBA,” explains Olson. “He just got better and better every year he was here. And there was no one who deserves his success more than JT does.” Hall of Fame coach Lenny Wilkens, who had won an NBA championship in Seattle and was now leading a weak Atlanta franchise, took Terry 10th in the 1999 draft. “Then he had five years of losing in Atlanta. That wasn’t easy for him,” Cheatham says.

hat is it about Seattle that has produced such a strong run of NBA talent? “It rains a lot, so we’re always in the gym,” says Terry. “You go to any gym in Seattle in the summertime, you’ll see 10 to 15 NBA guys and 10 to 15 guys who were this close to making it, and they’re still playing basketball in the city. And it’s competitive. I mean, this is for bragging rights. These are stories you’re going to be telling your grandkids about, these summer games and summer workouts.” “What I really liked about Seattle players is that they were coachable, and they were really interested in being part of a team,” says Olson. “The pros stick around there in the summer and work out all the time.” “For me, it was always about who came before me,” adds Terry. “So in my era, a guy like [former Rainier Beach and NBA standout] Doug Christie, he would always come back, he would talk at the camps, at Seattle University. I understood that after I made it, I would come back and do the same thing. I would come back and talk to Jamal Crawford and Martell Webster. Then we’d hold workouts at a local high school, and those guys, the younger guys, would be there watching the older guys work.” Terry also comes back because he’s still got plenty of family in town. And there’s his foundation. One of its activities: giving away turkeys at Thanksgiving, which he usually misses due to occupational scheduling conflicts. “Last year, there was the lockout. I was able to be there and give out the turkeys and stuff. And to see the community, how it was when I was there and where it is now—we got a long way to go. But the more we can do in the city, it helps,” he says. “But to see some of my

“What I really liked about Seattle players is that they were coachable, and they were really interested in being part of a team,” says Olson. old classmates from middle school, you know, coming in and being receptive of the support that I was bringing back, it was good to see.” Franklin coach Kerr says Terry isn’t looking to score public-relations points when he comes back to Seattle. “He comes into town for four days, and he says, ‘Give me four or five guys,’ ” says Kerr. “He’ll work them out two times a day, eat with them, take them bowling. He’ll give all this time to those four or five guys, and nobody asks him to do it. That’s the kind of guy he’s been.” Kerr says that’s just the Seattle way, adding that “there’s much more of a sense that we’re all in this together for the kids.” But lately there’s been considerable concern that Seattle’s rich talent pool and strong ties have been threatened by the loss of the SuperSonics. After the 2008 season, the team was moved to Oklahoma City in a slow-motion robbery that had begun two years earlier, when Starbucks chairman Howard Schultz sold the Sonics to Oklahoma businessmen who’d lied when they said they wanted to keep the team where it was. After 41 years and a world championship in Seattle, the Sonics became the Oklahoma City Thunder, who were defeated

COURTESY ANDREA CHEATHAM

Terry (circled) led some stellar Franklin teams in high school.

fter five losing seasons in Atlanta, Terry was traded to the Dallas Mavericks just before the 2004–05 campaign. Despite his personal success with the Hawks—he’d averaged more than 16 points per game—Terry wasn’t coming into an easy situation. “He probably had just about as tough a job as there is, because he had to replace Steve Nash. And he did it, really, really well,” says ESPN’s Marc Stein. “The Dirk Nowitzki/Jason Terry two-man attack became one of the most feared in the league.” In only their second season together, Nowitzki and Terry led the team to the NBA Finals, the first trip for the Mavs in franchise history. And what made it even sweeter for Terry was whom he’d be facing: his “Pops,” former Sonic legend Gary Payton, who by that point in his career had landed with the Miami Heat. “I first became aware of Jason when he was a highschool sophomore,” Payton says. “I was seeing

» CONTINUED ON PAGE 14

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

by Miami in last year’s NBA Finals. “It’s a huge blow. To not be able to see that level of basketball on the court? It’s weird to have Seattle without an NBA team,” says Donald Watts. “But Chris Hansen is taking care of that.” In February, Hansen—a Seattle native who is now a Bay Area billionaire hedge-fund manager—started purchasing land south of downtown. He worked out a deal with city and county officials, but, most important, promised to devote $300 million of his own money to the project. Finally Seattle had an arena deal that didn’t involve going to the state legislature for approval, which had sunk previous proposals. “None of the politicians could shut it down; it had too loud of a constituency. Now the pressure is on the NBA,” says Jason Reid, who directed the documentary Sonicsgate: Requiem for a Team. At the end of Reid’s film, writer Sherman Alexie bemoans the fact that if Seattle gets a new team, it will just be ripped from some other community that will hate losing its franchise. But Reid says there now seems to be another option: expansion. “As crazy as that would have sounded a couple of years ago, it is a possibility. TV revenue is increasing in the next couple of years. If the Kings don’t come here, or some other team, by 2014, I think expansion will happen.” And one person pushing for it, he thinks, will be outgoing NBA commissioner David Stern. “Seattle is a big black eye for David Stern. This could be his last act—to order a new team for Seattle.”

a kid who could play very good basketball.” Payton—whom Seattle traded for Ray Allen, the player Terry is replacing in Boston—was also aware of how much local players idolized him as he led some of the Sonics’ best teams. “They would all come—Jason Terry, Nate Robinson, Jamal Crawford. Jason was the oldest. He was really a baller. I knew he was going to be special. I watched him grow up from an immature kid to a mature adult. When you’re growing up and he’s the oldest guy in the crew, you knew these younger kids were going to be looking up to you.” By the time he and Terry faced off in the NBA Finals, Payton was at the end of his long career, having joined a Miami team that included Dwyane Wade and Shaquille O’Neal. “It was crazy. We’re always talking. He called me ‘Dad.’ That’s his thing,” Payton says of Terry. “I just told him, on the court we have to be competitors, and we just have to go at it.” Terry remembers it similarly. “He said that a championship was something he’d been fighting for his whole career, and he wasn’t going to let a friendship stand in the way.” After taking a two-game lead, the Mavs lost four straight. “At the time, I think that was seen as the worst Finals choke ever,” says ESPN’s Stein. “Because they were really nearly up 3-0. They were up by 13 points in the fourth quarter of the third game. To lose it all from there was as bad a loss as you could have.” And it was Gary Payton’s only shot in the game— with 9.3 seconds left—that broke a 95-95 tie and put the Heat ahead for good. Terry got another shot at a championship in a rematch with the Heat five years later. But in the 2011 Finals, O’Neal and Payton were gone, and Wade was now joined by LeBron James and Chris Bosh, two stars in their prime. “We talked on the phone, and I gave him advice,” Payton says. “LeBron went at him, and Jason started making big shots.” “Jason Terry is a braggadocious kind of guy,” Stein says. “He was giving the other teams billboard material. Dirk would joke about it. During the Finals in 2011, it was one game each, and Terry said something about LeBron being unable to guard him. But then he backed it up.” Stein says the satisfaction in Dallas was impossible to measure. “Mark Cuban, Dirk Nowitzki, and Jason Terry—they really got the most vengeance with the 2011 Finals victory. They were the three holdouts from the 2006 team that had lost so bad.” “It was redemption. It was sweet revenge, whatever you want to call it,” says Terry, who scored 27 points in the decisive game. “They beat us on our floor in Game 6 in 2006, and we beat them on their floor in Game 6 in 2011.” “Terry ended up being with Dirk longer than Nash was. In 2004, nobody saw that com-

Jet’s City » FROM PAGE 13

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

ing,” Stein adds. “The biggest problem for him and Dirk was that they had choked so badly in 2006. That was as bad as it could be, but they avenged it in 2011. Once they won that—and against Miami—they’re in the good books in Dallas forever.” After the championship, there would be no repeat in 2012. “[Mavs owner Mark] Cuban made the decision that he wasn’t going to bring back all the free agents. They let Tyson Chandler go,” Stein points out. Cuban was signing one-year deals with veterans, and with Terry becoming a free agent at the end of the 2012 season, that was probably the best he could get to stay in Dallas, Stein says.

his second trip to the White House. In 1997 At midnight the moment he became a free he’d met President Bill Clinton with the agent, Terry says he received a call from CeltArizona Wildcats after winning the NCAA ics coach Doc Rivers. tournament. This time he was going to meet “Terry wanted to retire a Mav. He’d said Barack Obama. something about his jersey being retired in “I had a few minutes to spend with him, and Dallas,” says Stein. “But Boston offered him a he knew a story about me that I didn’t think he three-year deal with good money”—$15.6 milwould know. It was amazlion. “There was ing,” Terry says. Obama no way Dallas was going to offer him “Terry ended up being remembered that in college was known for sleepmore than a onewith Dirk longer Terry ing in his Wildcats uniform year deal.” than Nash was. In 2004, the night before a game. Terry was visibly angry that Dallas nobody saw that coming.” “Just for him to have that dialogue with me, it was didn’t try to hold something I’ll never forget.” on to him. But (Today, Terry is known for an even stranger Stein says he’s gone to another good team, and habit: The night before a game, he sleeps in a his legacy in Dallas is already assured. pair of the opposing team’s shorts. He says he After the 2011 championship, Terry made

used his contacts to get a pair from every team in the league.) “But what made it even more special then was my grandmother, who is still living in Tacoma,” Terry adds. “I got a phone call from her—the first call I got when I left the White House. She said, ‘Wow, never in my lifetime would I say that I knew somebody from my family would meet the first black president.’ ”

erry met his wife Johnyika during high school (they attended different institutions). Cheatham offers brief descriptions of her granddaughters, Jason and Johnyika’s offspring: Jasionna (“quiet”), Jalayah (“the Joker”), Jaida (“like her dad”), and Jasa Azuré (“Joker number two”). After living in Dallas for eight years, Terry moved his family to Boston before the season started. His mother says his house has “eight bedrooms, 10 or 11 bathrooms, sitting rooms, televisions all over the place.” Cheatham doesn’t speak warmly of Jason’s father, Curtis Terry, explaining that she never had any kind of relationship with him and didn’t want one. But about three years ago, she and Curtis made an effort to be friendly for their son’s sake. Today Curtis lives with Jason’s family outside Boston and helps him run AAU teams. “It’s kind of chilly. It’s not like Seattle,” Curtis says with a laugh. He likes being close to his son’s family and gets along well with Johnyika. “I used to go to the gym with Jason and shag some balls, but I’m getting older,” he says. Curtis has run AAU teams—Isaiah Thomas was on one of his fifth-grade squads—and helps his son run the girls’ teams that Jason’s daughters play on. “I like to say I’m a coach at heart, and it’s something that I really look forward to doing after I get done with basketball,” Jason says. “I want to coach at the college level. And this is a good experience for me. I’m coaching girls and they listen to everything I tell them, so it’s a very unique situation. But my AAU program is run out of Dallas; it’s called the Lady Jets. Just being able to spend time with my daughters any way I can is a joy.” Two nights after the win over the Wizards, the Celtics lose a lackluster game to the visiting Philadelphia 76ers. Although he doesn’t start, Terry is kept in the game for long stretches by coach Doc Rivers. Coming off the bench to rain three-pointers has been the Jet’s calling card for years. After the 2008–09 season in Dallas, he was named the NBA’s Sixth Man of the Year, signifying the league’s most valuable bench player. After the loss, Rivers is asked whether he’s going to shake up his starting five. “We’ll see, I doubt it, I don’t know. We just finished this game, I’m not thinking about tomorrow,” Rivers replies, sounding irritated. “I will say this, guys: This lineup stuff you guys talk about—it lasts for four minutes, then we switch the lineups. It’s the whole game that matters. I could start everyone on our bench tomorrow. You think it’s going to matter at the end of the game? I mean, really, that’s the way I think. Clearly you guys don’t think that way, but that’s how I think. I don’t think who starts matters. It’s who plays well, who plays the most minutes, and that’s what we’re focused on. I don’t think a guy in our locker room gives a flying crap who starts.” The next night, Rivers put Terry in the starting lineup. E news@seattleweekly.com

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ALISON SNYDER

Reiter (at right) as a Pea on a mission.

P Sleeping Beauty and the Pea 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.

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fri/12/28 FILM

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CLASSICAL/DANCE

Tinsel & Tango

Gerard Schwarz liked to pair Beethoven’s imposing Ninth, in his Seattle Symphony New Year’s concerts, with something horsd’oeuvre-y from the same Austro-German tradition: Haydn, maybe, or Humperdinck. But Ludovic Morlot, now in his second season leading the orchestra, is prefacing it this weekend with a startling choice: Astor Piazzolla’s The Four Seasons of Buenos Aires, his dashing rethinking of Vivaldi in tango style. In fact, they’re even bringing in live tango dancers, Eva Lucero and Patricio Touceda, to perform to the music. Come to think of it, maybe it’s not so odd a combination; the Friedrich Schiller text Beethoven set for the symphony’s finale does get a bit steamy: “Joy all creatures drink/At the

breasts of nature . . . Kisses she gave us, and vines.” (Also 8 p.m. Sat. and 2 p.m. Sun.; Monday’s New Year’s Eve gala, $52–$152, at 9 p.m. switches out Piazzolla for Rachmaninoff’s stirring Piano Concerto no. 2.) Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $28–$128. 8 p.m. GAVIN BORCHERT

sat/12/29 MUSEUMS

Living History

This weekend’s MOHAI Reopening celebrates its $60 million renovation and move to the 70-year-old Naval Reserve Armory, whose central atrium now features an enormous new dangling wooden sculpture, Wawona (made from the timbers of the old schooner) by John Grade. New silo-like structures house high-tech interpretive stations; MOHAI has finally entered the computer era—thanks in part to a gift from its neighbor, Jeff Bezos. The atrium looks to be an excellent party rental space (along with the rooftop deck), and the new Compass Cafe should also draw Amazon workers who want to stare at the boats bobbing outside. The permanent collection, artifacts from our civic and maritime history, sits in galleries on four levels ringing the atrium, linked by a handsome staircase. Additional new exhibits showcase video games (!), Seattle’s history at the movies, and a youth poetry/photography curriculum. Food and music are also part of the weekend festivities, and January 3 will introduce the museum’s Free First Thursdays program—another excellent chance to check out the new digs. Museum of History and Industry, 860 Terry Ave. N., 324-1126, mohai.org. $12–$14. 10 a.m.–7 p.m. BRIAN MILLER

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Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

In the chorus “For Unto Us a Child is Born” in his Messiah, Handel sets the syllable “born” to a chain of 56 rapid notes—which actually can make you sound something like a woman in labor if you don’t read ahead in the score and pace your breathing. Just a tip from someone who’s joined one of the popular sing- and playalong readings that dot the holiday season. Seattle Pro Musica director Karen P. Thomas leads University Unitarian’s 43rd annual DIY performance tonight. Bring your instrument (and a music stand) or come to sing (bring a vocal score if you have one). Though most of Messiah’s text deals with Christ’s life and death—the 1741 work was in fact intended for Easter—the radiance and sparkle of the Nativity section has made it a Christmas tradition. If the later stuff about stripes and iniquity and worms destroying this body can be a bit of a downer, it’s less so if you’re singing it yourself. University Unitarian Church, 6556 35th Ave. N.E., brown papertickets.com. $13–$18. 7 p.m. GAVIN BORCHERT

around Europe together. But the Woody Allen in the ’70s retrospective, running through January 17, harkens back to his golden decade in New York. Beginning the series is the 1977 Annie Hall, which earned four Oscars—most notably for Diane Keaton, forever associated with the title role. Back when “feminist” was considered a compliment, when Republicans supported abortion rights and birth control, Keaton’s quirky, pants-wearing heroine was an icon of the times—for both her fashion sense and independence. Keaton and Allen were past being a couple by then, though Allen based his script partly on their relationship history. Annie is an idealized, exaggerated Diane, the role a tribute to a woman who won’t be pinned down or burdened by a neurotic, unreliable boyfriend. In a sense, Annie Hall is a love letter to a woman after she’s left. Following in the series are Bananas, Everything You Always Wanted to Know About Sex but Were Afraid to Ask, Manhattan, and Love and Death. (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema. org. $5–$8. 7 and 9 p.m. BRIAN MILLER

If you ever 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. Of course, you’re welcome to treat the broad, accessible comedy as regular theater—sitting quietly, keeping your thoughts to yourself. But how often in life will you get rewarded for vociferously booing, cheering, advising, and contradicting characters? In this family-friendly production by 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 the good fairy Esmeralda (burly, mustached Simon Neale, in pink tutu and flip curls), whose rotten sister Formica (an excellent, hammy 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 (the amusingly cast, power-voiced 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, even while falling for razor-thin King Montague (Maque daVis). Some dunces and a giant two-person cow named Ophelia round out the population of the kingdoms visited. Bright, sparkly costumes and swells of music by Kiki Hood—performed by the 10-piece Fremont Philharmonic Orchestra—give solace when you can’t hear the characters’ lines over the din. In the barnlike Palladium, dressed with Reiter’s painted curtain backdrops, large gestures are necessary to conquer the poor acoustics. It’s never hard to follow the thin but endearing plot, even under the rowdiest circumstances. Ad-lib contributions, as from the kid who commanded the orchestra “I need more cowbell!”, sometimes outpaced the script in their wit. As at a sporting event, the audience is half the show. MARGARET FRIEDMAN E

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• A(N IMPROVISED) CHRISTMAS CAROL Charles

Dickens’ holiday perennial gets the Mad Libs treatment, with the Unexpected Productions improv team taking your audience suggestions. During a recent show, this meant that a newly divorced Bob Cratchit is laboring away at Ebenezer Scrooge’s gynecology factory, while Tiny Tim sits at home with a debilitating case of Restless Leg Syndrome. Scrooge meanwhile resides on a houseboat, where he nurses a pretty serious weed habit. Over at ACT, the straight version of A Christmas Carol is now in its 37th year, but this Choose Your Own Adventure–style show is a holiday tradition in its own right, first performed in 1985. It’s a practiced and funny rebuttal to the usual Yuletide redemption tale. Two different casts perform on alternating nights. During my visit, Tim Tracey’s Scrooge imparted just the right amount of contempt as that moody, tightly wound, walking heart attack of a man. Portraying the three ghosts of Christmas past, present, and future, Michael Bils vies for your attention with finely executed comic relief. TERRA SULLIVAN Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Thurs.–Sat., 7 p.m. Sun. Ends Dec. 30..

A DOLL’S HOUSE Seattle Shakespeare Company offers

a new translation of Ibsen’s pot-stirring classic. Center House Theatre, Seattle Center, 733-8222. $22–$45. Previews Jan. 2–3, opens Jan. 4. 7:30 p.m. Wed.–Sat., plus more weekend shows; see seattleshakespeare. org for exact schedule. Ends Jan. 27.

JET CITY IMPROV’S NEW YEAR’S EVE SPECTACULAR Comedy, champagne, dancing, and

the Space Needle fireworks on the big screen. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $35–$65. 8 p.m. Mon., Dec. 31. OUR TOWN Arne Zaslove (who is busy these days) directs Thornton Wilder’s classic for his new Hit and Run Theater Company. Century Ballroom & Cafe, 915 E. Pine St., 285-2881, brownpapertickets.com. Previews 7:30 p.m. Dec. 28–29 ($10–$12), opens Jan. 11 ($15–$18). 7:30 p.m. Fri.– Sat. Ends Jan. 19.

Seattle Baroque Orchestra: Baroque Celebration! (12/29) Jared Diamond: What Traditional Societies Can Teach Us (1/3)

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

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

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Daniel Pink: Selling and the Art & Science of Persuasion (1/9)

SU: Ray Suarez: The Politics of Faith in America (1/11)

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January 2–27

Center Theatre, Seattle Center

Low Priced Previews January 2 and 3 Tickets: 206-733-8222 www.seattleshakespeare.org

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POISONING PIGEONS IN THE PARK A one-night-only

reprise of the Arne-Zaslovedirected revue of the satirical songs of Tom Lehrer. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 285-2881. $20–$25. 7:30 p.m. Thurs., Dec. 27.

XTREME NEW YEARS THEATRESPORTS PARTY

Ring in the new year with a comedy improv battle. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $28–$40. 9 p.m. Mon., Dec. 31.

CURRENT RUNS

CAROL ACT’s 37th revival of A • A CHRISTMAS delivers a satisfying, traditional take

Christmas Carol on Ebenezer Scrooge’s redemption. While everyone over the age of 5 knows the Charles Dickens story, ACT is hardly coasting in this production, directed by John Langs. Having seen everyone from Mr. Magoo and Patrick Stewart to Jim Carrey play the infamous curmudgeon Scrooge, I honestly don’t think I’ve ever seen it done as well as by Jeff Steitzer, whose every “Bah, humbug” bears the sting of a real tongue-lashing. (R. Hamilton Wright shares the role in alternating performances.) As the reason for his bitterness is made clear by the visiting spirits (Sylvie Davidson and Leslie Law make for heartwarming ghosts of Christmases past and present), Scrooge’s turnaround becomes all the more magical. And if that performance isn’t enough to melt your heart, just watch Galen Joseph Osier’s Bob Cratchit grieve for his lost son, Tiny Tim. A concession stand providing Kleenex would mop up here. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676. $27–$55. Runs near daily; see acttheatre.org. for exact schedule. Ends Dec. 30. THE DINA MARTINA CHRISTMAS SHOW The incomparable entertaineress is back with an all-new show and Chris Jeffries on the keyboard. Re-bar, 1114 Howell St., 800-838-3006. $20–$25. Runs Thurs.–Sun., plus oftener over the holidays; see brownpapertickets.com for exact schedule. Ends Dec. 31. FIDDLER ON THE ROOF Based on Sholem Aleichem’s stories of imperiled Russian shtetl life. As Tevye’s daughters slip away from his control, so also is his familiar patch of earth yanked from beneath him. MARGARET FRIEDMAN Village Theatre, 303 Front St. N., Issaquah, 425-392-1942. $22–$63. Runs Wed.–Sun. plus some Tues.; see villagetheatre.org for exact schedule. Ends Dec. 30, then moves to Everett Performing Arts Center Jan. 4–27. HAM FOR THE HOLIDAYS: HAM-AGEDDON The annual sketch/music campfest from Dos Fallopia (Lisa Koch & Peggy Platt). Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, heylisa.com. $15–$35. 7:30 p.m. Wed.–Sun., 3 p.m. Sat.–Sun. Ends Dec. 30. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

LAND OF THE SWEETS: THE BURLESQUE NUTCRACKER Lily Verlaine and Jasper McCann

give the ballet a bawdy makeover. The Triple Door, 216 Union St., 838-4333, landofthesweets.com. $28–$45. Runs Tues.–Sun. plus Xmas Eve; see thetripledoor.net for exact schedule. Ends Dec. 27.

THE CASE OF THE • SHERLOCK HOLMES AND John Longenbaugh’s reflective CHRISTMAS CAROL

holiday tale interpolates the characters of Scrooge and Holmes, the latter now a lonely misanthrope who receives three Christmas Eve visitors with a mystery to solve. In the role, Terry Edward Moore has a gift for smugness, as the famed detective delivers all his quips with eyes in a permanent half-roll, nose lifted to the sky. Holmes’ bah-humbug-ery is nicely countered by Stephen Grenley’s Dr. Watson. TERRA SULLIVAN Taproot Theatre, 204 N. 85th St., 781-9707, taproot theatre.org. $22–$37. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Dec. 29. SLEEPING BEAUTY AND THE PEA SEE REVIEW, PAGE 15. TEATRO ZINZANNI: RETURN TO PARADISE Their usual fare—a leisurely five-course dinner interspersed with songs, sophisticated circus acts, and audienceparticipation comedy—is given a World’s Fair theme, set right here in 1962 Seattle. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun. through Jan. 27; see dreams.zinzanni.org for exact schedule. THE WINTER WONDERETTES Celebrate Christmas 1968 with this girl group. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $17–$36.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sat.–Sun. Ends Dec. 30. 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., plus Wed. over the holidays; see sct.org for exact schedule. Ends Jan. 6.

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Dance

NEW YEAR’S EVE TANGO BALL There’s really no rea-

son not to go—there’ll be a half-hour introductory lesson for beginners; eats, drinks, and party favors—and don’t feel obligated to bring a date. Ballard Oddfellows Hall, 1706 N.W. Market St., 781-9553, seattletango.com. $30-$40. 9 p.m. Mon., Dec. 31.

• PACIFIC NORTHWEST BALLET: NUTCRACKER

PNB’s production, with choreography by Kent Stowell and set designs by Maurice Sendak, pulls out just about every theatrical trick in the book, mixes them with nonstop dancing, and wraps them all up in Tchaikovsky’s beautiful score. SANDRA KURTZ McCaw Hall, Seattle Center, 441-2424. $25–$130. Runs near daily through Dec. 29, see pnb.org for exact schedule.

Classical, Etc.

• MESSIAH SING- AND PLAY-ALONG SEE THE WIRE, PAGE 15. SEATTLE SYMPHONY SEE THE WIRE, PAGE 15. •TUDOR CHOIR Their “Victorian Christmas” concert will probably be even more fun after the bustle is past. Blessed Sacrament Church, 5050 Eighth Ave. N.E., 3239415, tudorchoir.org. $20–$30. 7:30 p.m. Sat., Dec. 29. SEATTLE BAROQUE Festive music for trumpet and strings. Town Hall, 1119 Eighth Ave., earlymusicguild. org. $15–$40. 8 p.m. Sat., Dec. 29. CANDLELIGHT CONCERTS Holiday favorites and classics, jazzed up. University Christian Church, N.E. 50th St. & 15th Ave. N.E., 522-0169, candlelightseattle. $15–$20. 7 p.m. Sun., Dec. 30.

•

arts»Visual Arts B Y M A’ C H E L L D U M A L AVA S S A R

Ongoing KERIMA AHMED In Values and Dreams as Expressed

Through Lines, Colors and Textures, the Ethiopian artist shares the colors of her culture in abstract works. C Art Gallery, 855 Hiawatha Place S., 322-9374, cartgallery. net. Wed., 10 a.m.–3 p.m.; Thurs.–Fri., 11 a.m.–7 p.m. ANDY WARHOL’S FLOWERS FOR TACOMA When the Tacoma Dome opened in 1982, the city’s 1-percentfor-art program allocated $280,000 to decorate the arena. A panel was established to solicit five proposals; Andy Warhol was the boldface name among the finalists. What he proposed was to drape a giant orange daisy over the top of the roof. It was based on a prior appropriated image and a history of silk-screened flowers dating to 1964. TAM’s exhibit is actually a survey from Warhol’s commercial art in the ’50s to his final few flower sketches in the ’80s, when he took to copying images from Japanese ikebana floral arrangement books. Warhol returned to flowers several times during his long career, helpfully detailed in a timeline by TAM curator Rock Hushka. Background materials reveal the commercial and mechanical details behind Warhol’s proposal, and his art in general. Tacoma’s 1-percentfor-art-program was, at the time, only seven years old and uncontroversial. But the pricey pitches so angered the public that the city council repealed the measure in 1985. (And reinstated it in 2000.) Here’s a final irony: The panel and city council rejected Warhol in favor of Stephen Antonakos, a New Yorker whose neon waves—originally to be affixed to the roof—were then installed inside the dome, out of public view . . . unless you’re a Justin Bieber fan. BRIAN MILLER Tacoma Art Museum, 1701 Pacific Ave., Tacoma, 253-272-4258, tacomaartmuseum.org. $8–$10. Wed.–Sun., 10 a.m.– 5 p.m.; Thurs., 10 a.m.–8 p.m. Through Feb. 10.

•

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

•

TheFussyeye » by brian miller

•

Are you going to have sex everyday this year or better sex more often?

provide little more detail. Nor does the website, waterfrontseattle.org, provide many specifics—only pleasantries and goals and cheerfully posed stock photos. What are those massive new stairs leading down from the Market to the water? (They’re “overlook folds,” in the parlance of New York design firm James Corner Field Operations, charged with the waterfront redo.) Does Western go beneath them? Is

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Once upon a time, peons at architecture firms spent hours with X-Acto blades and white foamcore to create elaborate models for projects built and unbuilt. Today that work is done by computer. But still, if you announce you’re going to put on display a 14-foot-long model of Seattle’s most important public-works project in a century, costing more than $1 billion, couldn’t you dust off the old skills? Under glass at the downtown library (level three), we see the waterfront from roughly Broad to Royal Brougham—but you can’t be sure, because none of the cross streets are indicated. The avenues are also poorly marked, and the little white foamcore buildings are near-indistinguishable (unless you have the skyline memorized). Created by some public/private entity called Waterfront Seattle, the model is paired with brochures and maps-on-easels, but they

Tinkerbell, and other animated figures are celebrated. Gunnar Nordstrom Contemporary Fine Art, 800 Bellevue Way N.E., Bellevue, 425-827-2822, gunnar nordstrom.com. Through Jan. 6. BAD ART? Over 1,000 pieces of folk art are featured in this visiting exhibition from the Backlund & Håkansson Collection in Sweden. Most are nature scenes painted on sections of birch trees. Nordic Heritage Museum, 3014 N.W. 67th St., 789-5707, nordicmuseum.org. $4–$6. Tues.–Sat., 10 a.m.–4 p.m.; Sun., noon–4 p.m. Through March 3. BAM BIENNIAL 2012: HIGH FIBER DIET The theme for this year’s BAM Biennial is “High Fiber Diet,” meaning all manner of yarn, fabrics, upholstery, embroidery, and sewing. Over 20 artists from the greater Pacific Northwest are represented in the exhibit. Museum visitors can vote for their favorite, and the winner receives a $5,000 prize next February (there’s a second curator’s-choice award, too, for the same amount). Some works have been seen at BAM before, like Tamara Wilson’s softly drooping orange bicycle.Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. Tues.– Sun., 11 a.m.–5 p.m. Through Feb. 24. BODY LANGUAGE Marsha Burns, Kim Frohsin, Phillip Levine, and a dozen others examine the human form in a variety of media. Prographica, 3419 E. Denny Way, 322-3851, prographicadrawings.com. Wed.–Sat., 11 a.m.–5 p.m. Through Jan. 26. HARRY BONNETTE He presents colorful works in several media in Potpourri. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org. Wed.–Sat., 11 a.m.–6 p.m.; Sun., noon–5 p.m. Through Jan. 3. BOXISM This group show contemplates the myriad boxes used in modern society, starting with the iconic unit of a pizza delivery container. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Wed.–Sat., noon–5 p.m. Through Dec. 29. BUY ONE, GET NOTHING ELSE Derek Erdman, Nikki Burch, and Brittany Kusa celebrate pop culture via illustration. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. Hours vary. Through Jan. 15.

Alaskan also getting some kind of lid to the aquarium? The point to a model, like an architectural drawing, is to be clear. Instead we have a muddle, and only four years until we begin building . . . something. Seattle Central Library, 1000 Fourth Ave., 264-1120, spl.org. Open daily (hours vary). On view through Jan. 3.

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ock 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. Chase’s tale of showbiz striving has, in its basic form, been told before: A suburban kid rebels against his stuck-in-their-ways working-class parents by endeavoring to become a star—in this case, in 1960s New Jersey. Yet Chase distinguishes his material through a careful attention to emotional rhythms, crosscutting between songs and images like a skillful maker of mixtapes. That sort of confidence is indicative of his overall craftsmanship; he subtly intertwines guitar riffs and heated passions and communicates through graceful camerawork the confusion, elation, and turmoil felt by Douglas (John Magaro), a golf-course ditch-digger who dreams of banging the skins in the band of his friends Eugene (Jack Huston) and Wells (Will Brill). Then follows band strife, plus cultural and social upheaval, which leaves everyone battered and bruised. At first, Not Fade Away focuses on Douglas’ burgeoning confidence in music and romance. Both converge during a house-party gig that—after lead singer Eugene swallows a lit joint—finds Douglas stepping into the singer role, in the process impressing coveted beauty Grace (Bella Heathcote). Her encouragement to keep singing is the impetus for Douglas’ eventual rise to frontman, which Eugene naturally resents. Douglas’ rise from wannabe-Charlie Watts to Mick Jagger-intraining is depicted with sensitivity to teens’ impressionable egos; it also results in conflict at home between Douglas and his father Pat (James Gandolfini). The latter is disgusted by his son’s poofy hair, high heels, and petulant disdain for earning a living; Douglas is defiant toward his father’s casual intolerance and status-quo attitudes. 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 both the nastiness and absurdity of the era. It’s especially smart about the way that generational clashes, and

Gandolfini (left) and Magaro during changing times.

the tragedy they sometimes inspire, are born from a joint fear and confusion over shifting tides no one quite understands how to handle. That’s most readily apparent in a somewhat shoehorned-in subplot about Grace’s out-of-control sister (Dominique McElligott) and her rift with her proto-yuppie father (Christopher McDonald), which culminates with her being committed for “beatnik” rebelliousness. However, it’s Douglas and Pat’s borderline-violent dynamic—which more than once finds Dad threatening to beat the pulp out of his son—that’s central and given the most nuance. Chase treats both characters with just the right balance of gravity and humor, respecting their sincerity and good intentions yet pricking them for their nasty prejudices and adolescent pretensions. The resulting story is reflective without being cloying, and Chase’s nostalgia—expressed with pop-culture shout-outs and Steven Van Zandt’s jam-heavy soundtrack—never succumbs to corniness. Not Fade Away has its bumpier moments, be it band friction that’s often borderline clichéd or ill-fitting narration by Douglas’ sister (Meg Guzulescu), including a final-moment misstep of gratuitous cutesiness. Still, Chase mostly maintains an authentic groove, never pressing his period details too hard and finding offhand humor in peripheral figures, especially Douglas’ exasperated mom (Molly Price). Even a late turn toward the tragic is handled with understated aplomb. For pure, understated heartbreak, nothing in Not Fade Away quite tops a quiet dinner shared by father and son that, in Pat’s melancholy recollections of past romances, beautifully conveys the film’s simultaneously sad and hopeful— and thus mature—belief that, for better and worse, some loves must be lost so that others may be found. E

alesmen are typically depicted onscreen as the quintessential American phonies. That one set of phonies are being dramatically indicted by actors is an irony that we will leave hanging. In Promised Land, ace salesman Steve (Matt Damon) travels from small town to small town to sell natural-gas fracking leases. (That’s the controversial practice of pumping toxic chemicals 8,000 feet underground to loosen natural gas.) Next on his itinerary is McKinley, Pennsylvania, where he meets his partner Sue (Frances McDormand, keeping up her end of a testy onthe-job rapport that’s a low-key pleasure). Everything is routine until a science teacher (Hal Holbrook) speaks up at a community assembly, citing reports that fracking can contaminate water supplies, which leads the assembly to set a date three weeks off to vote on allowing Steve’s company to drill. This forces Steve and Sue to stick around McKinley and gives time for environmental-agency worker Dustin (John Krasinski) to rally local opposition.

McKinley is rendered as an NPR-tithing audience’s dream of the idyllic small town. Damon and Krasinski developed their screenplay from a story by Dave Eggers, then hired Gus Van Sant to bring his deft, accessible touch to their advocacy drama. McKinley is rendered as an NPR-tithing audience’s dream of the idyllic small town, without an eyesore Walmart in sight. Oddly, it offers little sense of the hard-times desperation that Steve’s pitch assumes. While Steve and Dustin vie for a schoolteacher (Rosemarie DeWitt), their PR war is waged in McKinley’s social centers: the diner, where Dustin gets tauntingly back-slappy with the locals, and the bar, where Sue takes the stage to sing Hank Williams to win hearts and minds. Yet when Steve begins to waver in his commitment to the company line (“If you are against this, you’re for coal and oil. Period”), it seems a matter of predestination—without dramatic heft. Promised Land is a hard-sell movie because it doesn’t have the confidence in its audience to make any other outcome seem viable. What causes the scales to fall from Steve’s eyes is his discovery that his employer has been playing with a stacked deck, making sure it can’t lose. With an ending never once in doubt, Promised Land exemplifies in dramatic structure the same cheating its hero can’t stomach. E

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NOT FADE AWAY Opens Fri., Dec. 28 at Meridian. Rated R. 112 minutes.

PROMISED LAND Opens Fri., Dec. 28 at Meridian and Lincoln Square. Rated R. 106 minutes.

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film» BY BRIAN MILLER

Film • WOODY ALLEN IN THE ’70S SEE THE WIRE, PAGE 15.

DJANGO Franco Nero appears in Quentin Tarantino’s

•

SCAN

•

Ongoing

ANNA KARENINA Tolstoy’s family epic has been

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 Harvard Eixt, Lincoln Square ANY DAY NOW Any Day Now is homo history repurposed as courtroom soap opera. Director Travis Fine, greatly embellishing a script written decades ago by George Arthur Bloom—who based it on a real-life, Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended

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new Django Unchained, indicating the director’s love for this violent and rather silly spaghetti Western from 1966. Nero plays the titular gunman, a mysterious figure seeking bloody revenge on the frontier. Sergio Corbucci directs. (R) Egyptian, $8.25, Fri., Dec. 28, 11:59 p.m.; Sat., Dec. 29, 11:59 p.m. NIGHT OF THE COMET From 1984, this horror flick has two Valley Girls (Catherine Mary Stewart and Kelli Maroney) battling zombies after a California apocalypse. (PG-13) Central Cinema, $6-$8, Wed., Dec. 26, 9:30 p.m.; Dec. 28-30, 9:30 p.m.; Wed., Jan. 2, 9:30 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. Twenty-seven years later in Crystal Skull, the filmmakers filed those ruffian edges off his character. Here is Indy as we remember him: cocky, an improviser, T H I S CO D E irresponsible, but true to TO DOWNLOAD THE FREE his course. He’s a man you SEATTLE WEEKLY want to be—not the same IPHONE/ANDROID APP thing as being a role model. FOR MORE FILM OR VISIT (PG) BRIAN MILLER Central seattleweekly.com Cinema, $6-$8, Wed., Dec. 26, 7 p.m.; Dec. 28-31, 7 p.m.; Wed., Jan. 2, 7 p.m. THE ROOM Send your derisive texts to appear onscreen with this showing of the dreadful 2003 vanity project by Tommy Wiseau. (NR) Central Cinema, $6-$8, Thu., Dec. 27, 8 p.m. SHORT FILMS FOR KIDS Northwest Film Forum reprises some popular international titles from its Children’s Film Festival in this 90-minute package. (NR) Seattle Central Library, 1000 Fourth Ave., 386-4636, spl. org, Free, Thu., Dec. 27, 2 p.m.; Fri., Dec. 28, 2 p.m.

high-camp Brooklyn neighbor and the mentally challenged kid he looked after—has virtuous aims but horrible storytelling instincts. Set in 1979, Any Day Now concerns a part-time drag queen and his D.A. boyfriend fighting for custody of a teenager with Down syndrome. It’s undeniably filled with good intention, and as a reminder of the flagrant (and lingering) injustices of a not-so-distant past, the film might have some value as an earnest public service. But it’s hard to take the message seriously when Cumming is left to keen “This is a travesty of justice!” while struggling with a Queens accent and buried under a wig fished out of a dumpster after Milk wrapped. Straining for “teachable moments,” the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, kitsch is immutable. (R) Melissa Anderson Harvard Exit 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 whose names also served as film titles (Stella Dallas, Mildred Pierce). 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, known as the “Extreme Ice Survey,” assemble the footage, they discover that glaciers the size of Lower Manhattan are receding at an astonishing rate. (NR) Chuck Wilson Harvard Exit 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. Like all of the best pop art, Django Unchained is both seriously entertaining and seriously thoughtful, rattling the cage of race in America onscreen and off. (R) Scott Foundas SIFF Cinema Uptown, Varsity, Lincoln Square, Meridian, Cinebarre, Thornton Place, others

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THE MAGISTRATE

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, who hasn’t lost his touch with actors; he coaches Washington into one of those rare performances that suggests much more than it shows. (R) Nick Pinkerton Varsity, Meridian, Thornton Place, others 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 Middleearth 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 Ark Lodge Cinemas, Sundance, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, 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 Cinemas, Lincoln Square 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 Sundance, SIFF Cinema Uptown, Lynwood, others LINCOLN Our 16th president becomes an almost 4-D character made flesh by Daniel Day-Lewis. The challenge for director Steven Spielberg is to square the Georgia white marble of the Lincoln Memorial with the flesh-and-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.

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

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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, Factoria, Woodinville, Kirkland Parkplace, Lincoln Square, Pacific Place, Thornton Place, others A ROYAL AFFAIR From prostitute trysts to wild-stallion rides through the lush countryside, everything is eroticized in Nikolaj Arcel’s historical drama about the illicit affair between Caroline (Alicia Vikander)—sent from London to Denmark to marry bonkers King Christian VII (Mikkel Boe Folsgaard)—and the free-thinking doctor Struensee (Mads Mikkelsen) who serves as His Majesty’s personal physician. Bonded by progressive notions of a free press and peasant rights, their amour defies the status quo; and in the face of a religious and ruling establishment uninterested in political change, their passion and principles inevitably spell their doom. Mikkelsen embodies Struensee with a conviction colored by reckless arrogance. While Vikander comes off as a rather bland object, Folsgaard exudes royal lunacy. Director Arcel handles the material with a stately grace that compensates for the story’s predictable trajectory, though humdrum detail and monotonous pacing too often leave the proceedings feeling only partially aroused. (NR) Nick Schager Varsity 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 Sundance, Oak Tree, Lincoln Square, Pacific Place, others THIS IS 40 It’s easy to carp that This Is 40 is too long, too aimless, too alert to small resentments, and too stingy with the comic set pieces and gel-capped life lessons of Judd Apatow’s Knocked Up and The 40-Year-Old Virgin. But those resentments are sharply observed, and the many scenes of Leslie Mann and Paul Rudd as married folks pickling in each other’s presence are more familiar from life than from movies, and almost always droll if not laugh-out-loud funny. A scene of Pete (Rudd) upsetting Debbie (Mann) with his bed farts is tinged with tragic truth—what is marriage but the process of acclimating to each other’s gasses? Sometimes Apatow’s gifts for comedy and pain come together beautifully, as when Debbie and Pete laugh in bed about how much they hate each other. Much like marriage, This Is 40 is somewhat formless and sometimes frustrating, but life is improved by having the option. (R) Alan Scherstuhl Big Picture, Sundance, Kirkland Parkplace, Lincoln Square, Cinebarre, Pacific Place, Thornton Place, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-6727501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 5233935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 3249996; Sundance Cinemas, 4500 Ninth Ave NE, 6330059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

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food&drink»

Stuck to the Gut

What Seattle food trends will flourish in 2013? Here are some solid bets. BY HANNA RASKIN

would have to be a very strong reason,” he recently told Nation’s Restaurant News.

lthough it’s sometimes hard to see through the haze of butter sauces and sesame vinaigrettes that surrounds a year of eating out, we’ve reached that time when we’re compelled to reflect on what we’ve learned. Rather than cherry-pick favorites from the countless meals I documented in 2012, I’ve selected 10 contemporary local dishes which are emblematic of the Seattle food scene’s current state. While not necessarily the most delicious or interesting, each represents a developing conceptual trend which stands to blossom in 2013. If I’m reading the plates correctly, we’ll be eating very well next year.

Trend: Desirable chains Dish: Buffalo Chickin’ Wings Restaurant: Veggie Grill,

446 Terry Ave. N., 623-0336 Seattle’s progressive, sustainable mind-set is usually at odds with the chain-restaurant format. But many of the 2012 restaurant openings which occasioned the most plotzing were engineered in faraway corporate offices. The responses to Wingstop, Veggie Grill, and the forthcoming Kukai Ramen in Bellevue—the chain’s first location outside Japan—were rapturous. And Shanik, a spinoff of the legendary Vij’s in Vancouver, was easily the year’s most anticipated newcomer.

Trend: Chef collaboration Dish: Petit Paquets Restaurant: Skelly and the Bean

Trend: Institutional improvements Dish: Pastrami poutine Restaurant: Cultivate,

1218 N.E. Campus Pkwy., 685-3622 The University of Washington this year debuted Cultivate, its first sit-down, fullservice restaurant. “We wanted students to have a unique option and not have to go downtown to get it,” head chef Amy Belknap explained. But serving high-quality, nutritious, sustainable food in an institutional setting is becoming less unique citywide. In addition to Cultivate, the Seattle Center this

KEVIN P. CASEY

Trend: Tasty vegetables Dish: Spring-pea flan Restaurant: Restaurant Marché,

year swept away the last traces of the former Food Circus, booting Orange Julius to make room for concessions run by leading local restaurants. The Armory’s now home to branches of Skillet, Pie, Eltana, La Spiga, and Plum, among other smart choices. And down in SoDo, Starbucks this summer installed an open-to-the-public corporate cafe heavy on fresh produce and global preparations. Trend: Cocktails coexisting with food Dish: Niçoise salad Restaurant: Vessel,

624 Olive Way, 623-3325 Seattle was at the forefront of the craftcocktail movement, but bartenders are increasingly—and admirably—concocting drinks which don’t overshadow what’s on the menu. While an equal respect for food and booze has always informed the restaurants of Brian McCracken and Dana Tough, now readying to open a smoked-meat jubilee alongside Tavern Law, it’s heartening to see new venues such as The Innkeeper, Rumba, and Bitterroot heed pairing logic. Trend: Bitter breakups with happy endings Dish: Fried chicken Restaurant: Heaven Sent,

3427 Rainier Ave. S., 722-3229 Chefs may be in a collaborative mood, but serious philosophical fights are inevitable in the restaurant business. Fortunately, eaters are sometimes the beneficiaries of resultant breakups. At Heaven Sent, the mini-chain Ezell Stephens opened after a legal settlement prevented him from selling chicken under his own name, the peppery, thickskinned drumsticks help explain the clamor which erupted over Ezell’s when Stephens was in charge. And defectors from Ethan Stowell’s empire are responsible for Blind

Rione XIII offers a window—literally— into The Wandering Goose.

Pig Bistro, one of the best restaurants in the city. Trend: Permanent niches Dish: Peanut-butter-cup molten chocolate

150 Madrone Lane N., Bainbridge Island, 842-1633 Doing right by vegetables isn’t a purely Seattle concern: Chefs across the country, including those sequestered in meat-centric regions, are paying more attention to their herbivorous obligations. But happening upon vegetable dishes which outshine their meaty counterparts on a menu is a trend so pervasive and rewarding that it deserves mention.

cake

Trend: Pioneer Square planning Dish: Spaghettini with anchovies, chili,

Restaurant: Hot Cakes Molten Chocolate Cakery, 5427 Ballard Ave. N.W., 420-3431

Restaurant: Il Corvo

Food trucks don’t have the luxury of offering lengthy menus, but the wisdom of specialization is thankfully migrating indoors. Amber Martin’s new chocolate parlor, which takes jarred cakes as its theme, presents a model for focused restaurants beyond the ice-cream, cupcake, and pizza categories. Trend: Unbridled expansion Dish: Fried artichoke Restaurant: Rione XIII,

401 15th Ave. E., 838-2878 Three was the new two this year, with Maria Hines adding Agrodolce to her tworestaurant portfolio, Renee Erickson opening The Whale Wins, and Scott Staples rejoining the three-location club with the return of Restaurant Zoë. In a culinary culture led by newly minted James Beard Outstanding Restaurateur Tom Douglas, who’s making plans for his 13th edible endeavor, no stigma is attached to stretching oneself thin. But the most intriguing 2012 expansions landed Seattle names on the opposite coast: Via Tribunali and Beecher’s Handmade Cheese both opened New York City outposts. Which chef will next move beyond the city’s boundaries? The smart money’s on Ethan Stowell, who popped out two projects this year: “We have talked about moving out of Seattle, but there

and olive oil

(in the process of moving) If you’d struck it rich in the Klondike Gold Rush, you might have celebrated with an opulent meal at a restaurant in Pioneer Square. But the neighborhood long ago shrugged off its gourmet reputation, catering primarily to lunching tourists and thirsty sports fans. That could change under the leadership of Mike Easton, who’s in the process of relocating his Il Corvo lunch counter from the Pike Street hill climb to the address previously occupied by Built Burger, and reigning James Beard Best Chef in the Northwest, Matt Dillon, who’s imminently debuting Bar Sajor at the corner of Jackson Street and Occidental Avenue South. Trend: National love for Seattle Dish: Crispy fish skins Restaurant: The Walrus and the Carpenter,

4743 Ballard Ave. N.W., 395-9227 Of the “industry experts” polled last week by Eater, a full 25 percent named Seattle as the world’s best dining city. “Portland’s totally played,” sniffed Eater co-founder Lockhart Steele. Although most of the Seattle fans cited only Sitka & Spruce and The Walrus and the Carpenter, the attention bodes well for the entire food scene. E hraskin@seattleweekly.com

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

(now closed) Zephyr Paquette’s ambitious “kitchen incubator,” a ready-made Capitol Hill restaurant for chefs looking to test menu items and gauge diner sentiments before signing their names to expensive lease agreements, opened and closed in 2012. But Paquette contends the project’s legacy was the success of Kedai Makan, the Malaysian food stand which plates nasi lemak for farmersmarket shoppers; 314 Pie, an Australian meat-pie truck; and the forthcoming Miyabi on 45th. Paquette, whose local cooking career dates back a decade, isn’t adverse to community collaborations: She relied on friends to supply the tables and chairs which furnished Skelly, and asked former customers to buy gift certificates to underwrite her opening costs. But her support of fellow chefs pointed toward a trend more promising than the Kickstarter campaigns which last year seemingly advanced every cookbook, video, and food truck. While Seattle chefs have always cooperated, the philosophy this year reached new heights with pop-up juicery JuiceBox inhabiting La Bête during off-hours; Joule and The Whale Wins sharing space at the Fremont Collective, an arrangement which betters the Kolstrand Building’s setup; and Ethan Stowell and Heather Earnhardt erecting a windowed wall between Rione XIII and The Wandering Goose, their new Capitol Hill restaurants.

food&drink»Featured Eats City of Seattle BALLARD

HONORE ARTISAN BAKERY 1413 N.W. 70th St., 706-

4035. Opening a tiny French bakery within easy biking distance of Cafe Besalu seems like madness, but Franz Gilbertson has made a success of his small Ballard shop. Honore’s croissants may not top the competitor’s, but his eggy, caramelized canalés are unrivaled in this town, as are his airy French macarons—particularly the coffee, pistachio, and coconut-caramel. The kouign (pronounced queen) amman, a buttery pastry with a salty caramel top, is one of the city’s great indulgences. $ LITTLE CONEY 8003 Seaview Ave. N.W., 782-6598. The chili cheese fries or the fish and chips are always reliable and quickly served up at this Shilshole Bay Marina fav. There’s limited seating but a fulfilling menu—take out a burger or grab a trademark swirl cone. $

MR. GYROS 5522 20th Ave. N.W., 782-7777. In a city

where there are Falafel Kings, this sandwich shop seems downright humble. The guys slicing the meat for Mr. Gyros’ pita-stuffed creations are happy to let their customers spread the good word of mouth. After getting big love in Greenwood, this mister decided to expand to the so-hip-it-hurts Ballard. The not-so-secret technique that sets Mr. Gyros apart from competitors is the final sear on the grill after the meat is sliced. If you would rather play at being a sandwich artist, opt for the sharwarma plate. All the components are there, so you can stuff it the way you like. $ SAM’S SUSHI BAR & GRILL 5506 22nd Ave. N.W., 783-2262. There are nights when you want to eat sushi, and nights when you want to blow a ton of money on dinner, and since the former nights are more common than the latter, there’s Sam’s. The service and decor at Sam’s aren’t too different from what you’d encounter at a roadside pancake house, but the raw fish is of surprisingly high quality for the price. $

FirstCall

» by kyle houk

The Watering Hole: The Innkeeper, 2510 First Ave., 728-2403, BELLTOWN The Atmosphere: Cozy and dimly lit, The Innkeeper is reminiscent of a nice, warm, lowceilinged cave. It provides the fetal comforts of curling up inside the womb, a feeling I imagine is recreated in the deepest, darkest mines, lit by a torch on the wall with firelight flickering and shadows dancing all around, playing tricks on Guided by Stenson. the mind. Once I climbed up and snuggled my bum down onto the last remaining stool, there was no vacancy left at The Innkeeper’s bar. It “He was one of my mentors,” Roberson said. was 4:30 p.m., and the gray light that filtered Following a nine-year stint at Wild Ginger, through the thick clouds above was quickly fadRoberson has mixed drinks at The Innkeeper ing to black. Though I had taken the last barstool, since it opened just over a year ago (the space several tables remained available until around previously housed Marco’s Supper Club). After I 5:30, when the Friday after-work crowd began to perused the food menu and made a few selecfill the room. tions, he brought out a delicious plate of heirloom An impressive stockpile of liquor fills the tomatoes and mango with mint-curry pesto and shelves behind the bar, many varieties of which queso fresco. Three or four long, oval slices of I had never seen before. Young professionals grilled bread were stacked pyramid-style, like constituted the majority of the bar’s patronage, campfire kindling. Each supported a few wedges and at one point, a group of 10 or so lawyerly looking young men in black suits filed in one after of crunchy, tangy green tomato, slices of mango, chunks of mild queso, and generous dollops of another and filled the standing-room-only space pesto. Biting down through all the freshness that remained. made me long for the farmers markets of sumAn amiable fellow sat to my left. His sleeve mertime. tattoo, trendy glasses, and flat cap made him The Drink: Roberson mixed me a Shark, a blend into the half-hipster, half-yuppie crowd, but drink Stenson passed down to him. Its ingredihis story made him stand out through the haze ents included Kahlúa, two ounces of brandy, and of foggy remembrance. He regaled me with a Grand Marnier, shaken with ice and strained. A tale of an odyssey, beginning with his youth in an dollop of whipped cream topped it off. It was a upstate New York trailer park with his biker-gang good, warming, sweet drink for a wintry evening, father. He recalled how as an innocent child he but my one complaint rests with the whipped would sit with his father as they listened to Dark cream. It was much too firm a dollop, for it did not Side of the Moon and Black Sabbath’s Paranoid, music that gave him nightmares. His father would melt away and blend into the rest of the booze. At drink’s end, there it sat, in nearly the same shape ask him questions about abstract subjects like as at drink’s beginning—a firm, white mountain the meaning of life. Only later, as a young adult, chilling at the bottom of my glass. did he realize his father was merely stoned. The Barkeep: The tutelage of the great SeatThe Verdict: The Innkeeper has a deep food tle barkeep Murray Stenson is well in evidence in and booze menu. I sampled several cocktails the dignified, professional manner of Tom Rober- that evening, each one delicious and thoughtson. At Daniel’s Broiler in Leschi, Roberson was provoking. One had an egg white in it. The food is guided by Stenson, named the best bartender in very good, and staff and patrons alike are friendly America in 2010 by a group of his peers at New and fun to talk to. Don’t get carried away, though: Orleans’ “Tales of the Cocktail” festival—which, This party of one left with a $90 bar tab. E khouk@seattleweekly.com from what I gather, is a very prestigious honor.

KYLE HOUK

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

Shark Tank

food&drink»Featured Eats SHIKU 5310 Ballard Ave. N.W., 588-2151. There are

neighborhoods that count dry cleaners and gas stations as necessary amenities. In Ballard, the list of must-haves includes a cozy sushi den, a niche neatly filled by Shiku. The brick-walled lounge is fond of embossing its menu and website with adjectives like “inventive” and “innovative,” but there’s nothing really mind-blowing here. The quasi-izakaya’s won fans with its pert cocktails and fairly-priced spicy tuna rolls, not its omakase. No matter: the fish is fresh, the vibe is homey and the restaurant saves Ballardites the trouble of straying too far from the ‘hood. $$ VERACI PIZZA 500 N.W. Market St., 525-1813. Graduating up from a fleet of mobile clay ovens that make the rounds of the farmers markets, Veraci Pizza in Ballard has reclaimed (redeemed, really) a hideous former Domino’s building, redecorating it in pea-green walls and Italian prints. Owners Marshall Jett and Errin Byrd-Jett sell their thin-crust pizzas by the slice and for takeout, but to capture their pies at their finest, brave the wait for a table and eat in house. That’s because the thin, practically see-through crust, which picks up a whiff of applewood smoke from the logs heating the oven, tastes best when it’s barely cool enough to touch. $ ZAYDA BUDDY’S PIZZA 5405 Leary Ave. N.W., 7837777. Instead of Tabasco or Sriracha, Zayda Buddy’s in Ballard serves squeeze bottles of Secret Aardvark hot sauce, a Portland product with a distinct habanero tang. The menu could be classified as “enlightened cafeteria.” Think of the food you associated with a day of the week in elementary school: burgers, sloppy joes, Tater Tot casseroles. Substitute real ingredients instead of glop from No. 10 cans, and you’ve got a lock on the chefs’ style. But if the sauce on the signature thin-crust pizzas is bland and the beer cheese soup is under-seasoned, nobody at this good-natured beer joint is complaining. So long as the Vikings are on the television and the Leinenkugel’s flowing, it doesn’t much matter whether the hot dish is short on cream of mushroom soup: After all, there’s nothing Secret Aardvark can’t fix. $

ALittLeRAskin » by hanna raskin

BELLTOWN

SPUR GASTROPUB 113 Blanchard St., 728-6706. The

problem with so many of today’s flailing attempts at modernist cuisine and molecular gastronomy is that, in their breathless fascination with all the goop, gear, and gadgetry involved in turning cheese into pasta and fish into foam, many chefs forget that they’re still being paid to make people dinner. That means that the food itself still has to be a recognizable part of the “dining experience” and not get completely lost amid the chemicals and lasers. This, then, is the strength of Spur in Belltown—a kitchen where a grounding in locality, seasonality, and recognizable ingredients (hedgehog mushrooms, salmon, potatoes, leeks, bacon) balances the impulse toward abstract gastronomic modernism, always elevating the trout above the almond foam and the sockeye salmon and house-made mascarpone above pure gimmickry. Because Spur’s crew can manage this (at prices considerably lower than those at many of the country’s other temples of molecular gastronomy), dinner here can be an event and an eyeopening indulgence without ever slipping over the line into a piece of egotistical performance art staged by cooks solely for their own enjoyment. $$$ VIRGINIA INN 1937 First Ave., 728-1937. Twice its original size, but with barely a seam between the old and new sections, the century-old Virginia Inn has managed to stay timeless while allowing diners to stretch their legs. The bar’s approach to food is still fresh takes on American standards, given that in the new millennium tradition encompasses mussels and fries and pasta alfredo as well as Dungeness crab cakes. There aren’t many better two-hour lunches than relaxing on the outside patio, with a pint of Manny’s and a French dip, looking out over the Market while you down housemade potato chips. $ YELLOW LEAF CUPCAKE 2209 4th Ave., 441-4240. In the Miss Seattle Cupcake pagent, Belltown’s Yellow Leaf would be voted “Most Likely to Take Chances.” The signature cake’s tomato soup—basically a spice cake from a wacky Depression-era recipe—and the bakers regularly feature flavors like white chocolate

Match Point

Marijuana legalization may foster more tolerant attitudes toward smoking, an activity which over the past decade or so has acquired significant social stigma. But the head of the American Matchcover Club isn’t holding out any hope that bars and restaurants will again start issuing commemorative matchbooks. At the height of the matchbook era, roughly from the Korean War to the late 1960s, “everything in America had a matchbook attached to it,” Bill Retskin says. For collecting purposes, matchbooks are segmented into 600 different categories, from airplanes to zoos. But the field was always dominated by the food-andbeverage industry: According to Retskin, matchbooks associated with restaurants, hotels, motels, banks, and supermarkets accounted for 95 percent of the matchbooks issued in the U.S. Supermarket matchbooks are typically the least attractive of the bunch, featuring “Draw this picture” come-ons for studying art through the mail and ads for shoe-salesman training. Restaurant and bar matchbooks, by

contrast, were often beautifully designed, with images printed on the matches and covers executed in four-color printing. Yet Retskin says very few collectors focus on matchbooks from restaurants and bars. “They want trucks, they want girls, they want politics,” he says. When matchbooks were profitable, there were 15 matchbook manufacturers nationwide. Now there’s one, desperately attempting to stay relevant with gimmicks such as pillowed matchboxes with curved edges which fit discreetly into pockets. “They’re making them sexier for the modern woman and modern man,” Retskin says. “They’re trying everything, but eventually it will be a thing of the past.” What killed the restaurant-matchbook tradition wasn’t antismoking laws or the Surgeon General’s warning on tobacco. Rather, matches couldn’t compete with the plastic BiC lighter, launched in 1973. Retskin suspects that’s what most smokers who take advantage of I-502’s provisions will use. “I would hope [matchbooks] have a minor resurgence, but you can light anything with a BiC or a Zippo,” he laments. E hraskin@seattleweekly.com

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» CONTINUED ON PAGE 24

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Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

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food&drink»Featured Eats » FROM PAGE 23 pretzel (good), vanilla toffee (order two), and root beer float (skip). The distinctive element of these cupcakes is their silky, gossamer Italian buttercream. $

CAPITOL HILL

AYUTTHAYA 727 E. Pike St., 324-8833. Ayutthuya is the

quintessential neighborhood Thai restaurant. The decor is undistinguished, and five-star spicy dishes won’t wow any taste buds accustomed to Tabasco sauce, but the food is cheap and the service is kind. There are trade-offs for the low prices—frozen broccoli is a recurring motif—but the curries are silky and the rice dishes are surprisingly elegant. $ CAFE LAGO 2305 24th Ave. E., 329-8005. From the regulars cozied up to the counter to the black-and-white checkered floor, Cafe Lago is like an Italian Cheers blended with Mayberry’s barbershop. It’s welcoming, unhurried, and neighborhoody, with the waitstaff dispensing good-natured barbs and advice as easily as Chianti and antipasti. The cooks make each and every noodle by hand: fresh fettuccine, tossed with sautéed pancetta and asparagus in a spicy tomato sauce; a delicate, creamy lasagna marred only by a standard red sauce; and tender potato gnocchi served in an electric-orange sauce of tomatoes, cream, and vodka. Other popular items include a Gorgonzola-topped New York steak and a handful of wood-fired pizza pies. $$ GENKI SUSHI 1620 Broadway, 257-4418. When Genki Sushi first debuted down the block from the wildly popular Sushi Land, its stylish dining room was often empty. But then they slashed prices to compete with their neighbor and the place has been packed ever since. The extensive menu goes beyond traditional nigiri and sushi rolls stuffed with everything from spicy tuna to hot dogs. Yes, there is a hot dog roll. Daily specials are listed on a chalkboard near the kitchen. The kitchen does a fine job frying croquettes and fish. It even offers a fried pupu platter, a nod to its deep roots in the Hawaiian Islands. (There are more than 180 locations worldwide, but a huge cluster in the 50th state. The Queen Anne location is the first on the mainland. There’s also one on Capitol Hill and in Renton). Sushi

enthusiasts will find the usual suspects on the conveyor belt. One way Genki stands out is its selection of unusual desserts. Green tea tiramisu, eclairs and fresh fruit? They’ve got ‘em. $ HOMEGROWN 1531 Melrose Ave. E., 682-0935. The second location for this wildly popular casual cafe carries on its mission of sourcing great ingredients for its lineup of clever creations. The BLT Meatloaf, a signature sammie, is made with grass-fed Thundering Hooves ground chuck. The Reuben Revised stacks Zoe’s pastrami, red-wine kraut and Beecher’s Flagship on toasted onion rye. Oh my. The fried catfish po’ boy is like a trip down South. A selection of seasonal sandwiches focuses sharply on what’s fresh. $ HOT MAMA’S PIZZA 700 E. Pine St., 322-6444. Too few Seattleites have eaten Hot Mama’s when sober enough to give the Pine Street corner store its due. If there’s any pizzeria in town that delivers the pizza by the slice, it’s Hot Mama’s, where the thin-crust pies are only at the best when they’re reheated (something about the double-cooking gives the floury crusts an extra snap). They’re so good that no one minds the grease that drips onto their plates, covering the paper with orange dots. The late-night eavesdropping is priceless. $ IN THE BOWL 1554 E. Olive Way, 568-2343. To eat at In the Bowl is to be overwhelmed by the menu. There’s also the tricky internal debate you’ll likely have over whether or not to pony up extra cash for the faux duck. Does it actually taste like duck? Being a vegetarian, do you even know what duck is supposed to taste like? How will it improve your spicy eggplant and udon noodle stir-fry? Why would you pay more for something that is just aspiring to be meat? If this happens, relax and visit the bathroom. One of Seattle’s finest, the restroom at this venerable Capitol Hill vegetarian noodle house is as soothing as a meditation hall in a Buddhist monastery, only it’s painted Technicolor blue. But above all, remember that meat substitutes are not why you’re here. You’ve come to pick from a vast selection of cheap stir-fry options, each of which can be altered spiciness-wise depending on your tolerance for feeling as if your insides are being slow-cooked. Just in case the fire down below gets too intense, a small dessert of rice pudding and milk accompanies every order. $

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Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

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Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

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Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

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NEW YEAR’S EVE GUIDE All events take place on December 31 unless otherwise noted. Listings compiled by SW ad department

88 Keys Dueling Piano & Sports Bar

The ivory ticklers at 88 Keys thrive on crowd participation and encourage you to challenge their skills with song requests, cheers, jeers and jokes. Food and drink specials compliment the fun this NYE. 206.839.1300. PIONEER SQUARE

Backdoor at Roxy’s

by Pork Chop Express Jazz Trio. The festivities continue all year long with Seattle’s best oysters, jazz & booze in our favorite Capitol Hill Fish House & Oyster Bar every Monday night. 9:30p-close. 206.322.1145. CAPITOL HILL

Comedy Underground

Since 1981, the Comedy Underground has featured the very best in comedy. Hometown hero and swiftly rising star Drew Barth headlines two shows (8:15p & 10p) this NYE. $15 ADV; $20 DOS. 206.628.0303. PIONEER SQUARE

3-course meal with a cocktail of your choice and mellow entertainment offered from 5-8:30p. At 9p, the food becomes a little more mobile, cocktails become a little more discounted and performances get a little more raucous. Spirited St. Germain champagne toast at midnight. 206.632.7322. FREMONT

Dragonfish Asian Cafe

Ballard Loft

20 bowling lanes, 25 pool tables, lounge, cocktail & music areas, the list goes on … No, we’re not talking about the contents of YOUR garage, but of THE Garage. Your garage probably doesn’t include performances by DJ Killa B and champagne toasts at midnight, but on NYE The Garage most certainly will! No cover. 206.322.2296. CAPITOL HILL

Located in a former machine shop, Ballard Loft now specializes in the manufacture of nothing but fun. And with the recently-opened second bar on the upper deck, there’s double the reason to raise a glass! With flat screens, shuffleboard, pool tables, steel-tipped darts, video games, great music, dancing and drink specials all night long, this is the spot on Ballard Avenue to bring your fun-loving friends this NYE. Call now to book your group’s party. 206.420.2737. BALLARD

Center for Spiritual Living

Rev. Kathianne Lewis’ service, themed “Shining Brightly,” will focus on intention setting, celebration and spiritual grounding for your New Year. 2013 could be the year you finally evoke the change you’ve envisioned for years. 7-8p. Free. 206.527.8801. UNIVERSITY VILLAGE

Central Cinema

Chihuly Garden & Glass

It’s crystal clear who has the best ticket in town. Big Band-style dancing, noshes from the seafood, appetizer and a dessert bar, party favors, complimentary champagne toast at midnight, admission to the Chihuly Garden and Glass Exhibition from 8-10p, complimentary parking and the extraordinary view of Seattle’s iconic fireworks display through the ceiling of the Glasshouse all included in your ticket. 8p-1:30a. $175. 21+. 206.753.4940. SEATTLE CENTER

Club Sapphire

Wear your sexiest clothing and flaunt your style at the Glamour and Glitz Ball. It will be a night to explore your boundaries and still behave (at least a little). Doors at 7p. Buffet dinner at 8p. Register for the party online thesapphire.net. 206.451.7398 TACOMA

Coastal Kitchen

December 31st marks Coastal Kitchen’s inaugural “Oysters, Jazz & Booze” Monday night special. The first event will feature live music

Garage

The Grill On Broadway

Ever notice that many NYE parties end up being a total drag? At The Grill on Broadway, the party starts as a total drag and honey, that’s a wonderful thing! Enjoy Seattle’s inimitable Robbie Turner delivering performances you won’t soon forget! Drink and food specials all throughout the night. 7p-2a. No cover. 206.328.7000. CAPITOL HILL

Il Bistro

Close your eyes and picture a candlelit restaurant nestled in a cavern in the foothills of Tuscany. Classic Italian dishes are served alongside glasses of the best vintages from Italy, the Northwest and California. Your after-dinner single-malt scotch, bourbon or grappa completes your dining experince. Now open your eyes. If you are looking at Il Bistro, your dream has come true. Taking reservations for a special NYE’s 4-course, prix fixe supper. $85 per person (excludes beverages). 206.682.3049. PIKE PLACE MARKET

In the Red Wine Bar

Nothing goes better with a glass of wine than scrumptious small bites. Except for maybe another glass of wine! And a glass of champagne! All of this is included with entry to the party. Cheers! $45 single, $75 couple adv. (exclude tax & gratuity). 206.420.8992. PHINNEY RIDGE

The INDULGENCE NYE Bash

The biggest NYE Bash in the Northwest – literally! 3,000 guests will fill the ginormous 140,000-square-foot party space. Keeping the mammoth party going will be: 25 bars, 4 performance stages (Brand X!, You Spin Me Right Round ’80s Party Mix and MOViN’ 92.5 Party Stage and a Comedy Lounge), 2 VIP areas and countless other perks and surprises. Tickets from $59. For more details including VIP ticketing options visit seattlebash.com. Doors at 8p. 21+. 206.297.1738. EMP @ SEATTLE CENTER

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

Screening a carefully curated selection of the best (and WORST) music videos from the ’80s and ’90s to which you, the audience, are invited to singalong. Beer, wine, and good grub available to be brought to your table in the theater. The party kicks off at 9:30p. $12 ADV; $14 DOS. 206.686.6684. CENTRAL DISTRICT

Back by popular demand is the New Year’s Eve all-you-can-eat dinner! From noon-10p, you are invited to sample the flavors of an entire continent for just $28 per person + tax and gratuity. Bar service until 2a. 467.7777. DOWNTOWN

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

NEW YEAR’S EVE GUIDE All events take place on December 31 unless otherwise noted. Listings compiled by SW ad department

Ivar’s Salmon House

Salmon-Chanted Evening … you will meet a stranger. The NYE party at Ivar’s Salmon House just may be the evening that was sung about in South Pacific. Dine your way down their legendary buffet from 9p-midnight and stay for entertainment and dancing until 1a. Your ticket includes noshes, two drinks, half-price bottles of select sparkling wine all night long, party favors, a champagne toast at midnight and a view of the fireworks at the Space Needle. Enchanted, it is. Enchanted, you will be. $75 per person. 206.632.0767. UNIVERSITY DISTRICT

Jazz Alley

Back by popular demand comes the Grammywinning master Conguero, Poncho Sanchez and his Latin Jazz Band. Choose from two shows at four different package levels. Options include early cocktails, dinner or latenight dessert & coffee. $60.50-$175.50. 206.441.9729. DOWNTOWN

Laughs Comedy Spot

The hilarious Lachlan Patterson headlines two shows on NYE with Brett Hamil at 7p (18+) and 10p (21+). A $25 ticket gains you entry to either show as well as a champagne toast at midnight (age permitting) and party favors. 425.823.6306. KIRKLAND

Little Red Hen

Lunchbox Laboratory

Weird science never tasted so good! NYE specials at the laboratory include $19.99 for 2 Burger Experiments & 2 glasses of champagne, as well as $4 champagne specials (make it an Astronaut Mimosa with the addition of Tang!) all night. Complimentary party favors and champagne toast at midnight for all. Accepting reservations for parties large and small. Food service until 12 midnight, bar service until 1a. 206.621.1090. SOUTH LAKE UNION. 425.505.2676. BELLEVUE

Maximilien in the Market

Bonjour 2013! The prix fixe menu will include Foie Gras, Seared Painted Hill Filet Mignon, Lobster Tail, Gâteau au Chocolat and fromage, fromage, fromage! Live European cabaret music by Rouge and the incomparably lovely view will also leave you feeling tres magnifique. $94 ($115 with wine pairing). 206.682.7270. PIKE PLACE MARKET

Melting Pot

Celebrate NYE with the three F’s: friends, family and . . . fondue! Each of the three Melting Pot locations will feature a 5-course

Celebrate 2013 with the taste of fondue. Featuring a special 5- course celebration menu on New Year’s Eve Open NewYear’s Day

Moisture Festival

Features the talented Moisture Festival performers (Big Boys with Pois, Caela & The Dangerous Flares, Fyodor Karamazov, Godfrey Daniels, Ron W. Bailey, Sally Pepper, Vic & Nick), music by Circus Tramps Band, dancing and extreme merrymaking, all presided over by emcee Bill Robinson. Resident eccentric Godfrey Daniels will fill the room with giant, red balloons when the clock strikes 2013. 206.297.1405. Hale’s Palladium. FREMONT

Neighborhood Grills

Prefer to keep your celebration close to home? No matter where you live, there’s a Neighborhood Grill waiting to serve you. On NYE each will feature a special NYE dinner menu, live music, party favors and a champagne toast at midnight. Taking reservations for groups large and small. 206.729.6179. GREENLAKE. 206.957.7777. EASTLAKE. 425.457.7905. CROSSROADS

Neptune Theatre

As the saying goes, the future is now. As attendees at the Neptune’s NYE party will discover, the future is indeed now… and there are f#%king lazers everywhere! In addition to lazerpalooza, the stage will be rocked by the darlings of KEXP, Fresh Espresso, Grynch, Keyboard Kid & Metal Chocolates. Doors at 8p; show at 9p. $20 + fees. 21+. 877.STG-4TIX. UNIVERSITY DISTRICT

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Ohana

Hau’oli Makahiki Hou! Have a Hawaiian holiday and ring in the New Year at Ohana’s party, emceed by DJ Estylz. The evening’s specials will include $3 Bud Lights & Pacificos and a Happy Hour Menu offered night long! The spectacular view of the fireworks you’ll enjoy from the deck is the umbrella in your Mai Tai. No cover. 206.956.9329. BELLTOWN

Outlander Brewery & Pub

Forget micro-brewing. Over at The Outlander, Nigel and Dragan are nano-brewing. They celebrate experimentation and you’ll taste that in their ever-changing tap list. Releases currently slated for the NYE party are “Braggot” (12% honey beer), a German rye going by the name “Roggenbier,” a Cherry Belgian and the “Rauch ’n Maple” which has real Vermont maple syrup added in the brewing process. How sweet it is. 21+. 206.486.4088. FREMONT

Parlor Live Comedy Club

Jon Reep, winner of NBC’s Last Comic Standing: Season 5, headlines the 4th Annual NYE Comedy Classic. Tickets include all of Parlor’s NYE offerings: comedy extravaganza, DJ, dancing and champagne toast at midnight. Doors at 6p. 7:30 or 10p comedy show. $50 and up. 21+. 425.289.7000. BELLEVUE

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Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

Green Lake’s favorite honky-tonk hideout presents one of their favorites, Knut Bell & The Blue Collars, on stage for a hootin’, hollerin’ NYE. $10 cover gets you in to see the show and includes party favors, champagne at midnight and all the stompin’ your boots can handle. Wranglers optional. 206.522.1168. GREEN LAKE

fondue feast, as well as wine and cocktail specials. Book your reservation between 3-5p and receive a complimentary glass of bubbly, along with $100 in Melting Pot gift certificates to use throughout 2013! Take the plunge into the New Year (and into the cheese and chocolate!) in style. 206.378.1208. LOWER QUEEN ANNE 425.646.2744. BELLEVUE 253.535.3939. TACOMA

Paramount Theatre

Acclaimed experimental world fusion and electronic music trio Beats Antique come to the historic Paramount Theatre this NYE in celebration of their fourth full-length album, Elektrafone, released on the band’s own label, Antique Records. Joined onstage by Y La Bamba and Lynx. Doors at 7:30p; show at 8:30p. Tickets $36.25 and up. 877.STG-4TIX. 21+. DOWNTOWN

Seattle Center

Winterfest continues with a NYE party featuring The Rhythm Nation. From 8:15-11:45p in the Armory (formerly the Center House), The Rhythm Nation will play a diverse mix of hit dance, R&B, rock, and old-school tunes. After the show, head outside for an incomparable view of the fireworks display from the Space Needle. Free. All ages. 206.684.7200. SEATTLE CENTER

Seattle Symphony at Benaroya Hall

Ring in the New Year with a concert of classical music blockbusters, followed by a countdown to midnight and post-concert celebration. From Rachmaninoff’s famous Second Piano Concerto to Beethoven’s monumental Ninth Symphony with its inspiring “Ode to Joy” finale, it promises to be a classy night. 9p. Tickets $45 and up. 206.215.4747. DOWNTOWN

See Sound Lounge

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

Performances by Wesley Holmes, Stereo Medics, Gene Lee, and Triple Nine will

NEW YEAR’S EVE GUIDE All events take place on December 31 unless otherwise noted. Listings compiled by SW ad department

keep the beat going all night long. Countless extras (red-carpet photos, broadcasts of the countdown to the Space Needle fireworks, accompanied by a balloon drop and champagne toast at midnight) will have your head swimming. $30 ADV; $40 DOS. 206.979.3733. BELLTOWN

Shorty’s

While many opt to go the black-tie route on New Year’s, others among us prefer to stick with our black Chucks and metal-band tees. We go to Shorty’s. We fill up on strong cocktails, frosty beers, hot dogs topped with myriad badass toppings (including the infamous “cheese drizzle”) and TV dinners. Video and pinball games are all the noisemakers we need. Trust us, the flashing light spectacular you’ll see when you ace a shot on the AC/DC Let There Be Rock machine is more beautiful than any fireworks display. 206.441.5449. BELLTOWN

Showbox at the Market

In 2011, KEXP listeners voted Pickwick’s the Myths #9 record of the year. They are currently finishing up work on a debut LP and writing new material they’ll likely preview. Other bands on stage this NYE are Radiation City and Tomten. Doors at 8p; show at 9p. $21.50 ADV; $25 DOS. 21+. DOWNTOWN

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

NEW YEAR’S EVE GUIDE All events take place on December 31 unless otherwise noted. Listings compiled by SW ad department

The New Year’s Eve party is at Ozzie’s featuring DJ Phil Stylez 206.284.4618

105 Mercer St, Seattle

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Sunset Tavern

Back in the swinging ’70s, the Sunset Tavern took over the space formerly filled by The Chung Sun, Ballard’s first Chinese restaurant. Many an old timer in Ballard will tell you that The Chung Sun was a hopping place to be. This NYE, continue your voyage down memory lane with Rewind, Seattle’s high energy hit cover band, rockin’ out the best of the ’80s. As ever, The Sunset is a hopping place to be. $20. Doors at 8:30p; show at 9:30p. 21+. 206.784.4880. BALLARD

Tia Lou’s

Def Jam’s recording superstar J HOLIDAY comes to Tia Lou’s on NYE to perform his hits “Bed” and “Suffocate” along with other jams live with special guests. Amir Azer (PAK PROS) hosts the evening that will also include DJs, confetti drop at midnight and many more surprises. 8p-2a. $30 ADV; $50 VIP (includes express entry and hors d’ oeuvres). 206.733.8226. BELLTOWN

Tractor Tavern

It’s time to fly the finger at the old year and ring in the new one with Supersuckers. While predominantly a rock band, the Supersuckers take the occasional foray down a country road or two. Prepare yourself for the most awesome show of NYE featuring the word “suck” in the headline. 9:30p. $25 online or at Sonic Boom Records. 21+. 206.789.2599. BALLARD

Seattle weekly • DECEM BER 26, 2012−JA NUA RY 1, 2013

Triple Door – Main Stage

@seattleweekly

The Dudley Manlove Quartet impresses crowds with covers from the Swinging ’60s, high-energy ’70s pop, disco hits, romantic ’80s synth-pop and smooth-as-scotch lounge standards. Choose from the 7p show and dinner package ($100; all ages) or the 10:30p show and dessert ($70; 21+). 206.838.4333. DOWNTOWN

Triple Door – Musicquarium

Junior on the Prowl will keep your twinkle toes tapping with all the hits you know and love from decades past to present. Grab your “American Girl,” “Honky Tonk Woman” or call “867-5309 [for] Jenny, Jenny” and show at 10p. No cover. 21+. 206.838.4333. DOWNTOWN

Volterra – Ballard & Kirkland

Ring in 2013 at Volterra with an inspired, 4- or 5-course, prix fixe Tuscan menu, crafted by Chef Don Curtiss. Prosecco toast at midnight. All guests will take home a jar of Volterra’s famous Fennel Salt as a party favor to help spice up 2013. 206.789.5100. BALLARD. 425.202.7201. KIRKLAND

Zayda Buddy’s

As Minnesota’s crown Prince once suggested in song, “Tonight we’re gonna party like it’s 1999.” Fellow Minnesotans-cum-Ballardites, Zayda Buddy’s plan to do just that this NYE 2013. Raise a can of one of the Midwest’s finest (Old Milwaukee, Blatz, Leinenkugel, Grain Belt Premium) to the New Year. With a plate of Fried Cheese Curds, Tater Tots and pizzas like Erik the Red and the Ka-Spam! before you, you are assured of a Happy New Year indeed. 206.783.7777. BALLARD

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music» »2012

It’s a Wonderful Life

Sparklehorse and the symphony of sadness. wasn’t all bad. This was before ubiquitous GPS, gadgets, and smartphones, before bands and fans felt the need to be plugged into the constant digital drip. You could walk into a dressing room and people would be talking instead of Twittering away. It was before Facebook “likes,” before Spotify. Before there were a billion bands on Facebook, there were only millions on MySpace. It was also the tour year that we realized we were playing to bigger crowds than we had when we supported our previous album—2004’s Oh, My Girl—but selling fewer albums. It marked the grand entrance dismantled from the vehicle you’ve relied on to where we now find ourselves perched, to get you where you need to go. It’s hard to unable to visualize what the future will distinguish where you stop and the machinbring in terms of sustainability and stability ery begins, and it would be impossible not in a business that has only ever been as relito associate losing “it” with your self-worth able as your van’s transmission. As much as our band was tested on the tour, and be left reeling. Even though it was Mark Linkous who with more than its fair share of internal and was being dropped by his label, I felt that external friction, it was nothing compared emptiness too, because it affected the morale to the bomb dropped on the Sparklehorse of all involved; all of a sudden there was this camp—most critically on Mark Linkous. feeling of abandonment, like we were on the We were playing Los Angeles’ Fonda TheIsland of Misfit Toys, souls adrift. I tried to atre on the eighth day when Linkous got the reflect on the good things that were happennews that Sparklehorse was being “let go” by ing. The audiences loved his music, and, for their label. I’ve often wondered why it can’t better or worse, whether or not the system wait till someone is in a safe place before behind it was intact was of no immediate unleashing this sort of news, especially on a consequence to them. person known to have a propensity for severe depression. But as with any business, record labels make choices based on projected sales, ne of the not what is best for the most viral spirit and soul. music It’s hard to visualize Linkous was already conversayourself dismantled tions of the year was part of the cultural lexicon when he was from the vehicle you’ve in regards to an antidropped. He was able to relied on to get you piracy essay written by fill concert halls coast Van where you need to go. Cracker/Camper to coast. He was an “artBeethoven frontman ist’s artist”—respected David Lowery. Its most by cutting-edge colleagues in film and music. contentious point was his implication that a He had worked with Danger Mouse, David contributing factor to the suicides of Linkous Lynch, and Tom Waits, and had toured with and Vic Chesnutt—both his “dear friends,” Radiohead. He was still vital, still creating and two artists with a history of mental illwith some of the most coveted artists of our ness—was their careers caving and ensuing time. Yet his label apparently could not see a impoverishment due to declining record place for him in the new shifting paradigm of sales, thanks to illegal file-sharing. I am in no the music industry. position to say why Mark Linkous took his Mark was fragile when the tour began, own life in 2010, but having witnessed part but he was engaged—spending time with of the narrative firsthand, I am certain that fans and signing CDs at the the merchandise being dropped from his label was a major table. After the news, he seemed broken, blow to his fragile state of being. quickly disappearing, becoming recluAnyone who’s suffered a severe and debilisive—not leaving his bus until he had to get tating depression knows that everything is up to perform. For a few days it was critiamplified, yet the world becomes smaller— cally bleak. The tour seemed doomed. He much smaller. Your palette, once rich with developed the flu as we headed east, and sounds, color, light, and touch, becomes rigid by Detroit he looked green. The tour was and monochromatic. You become more aware “maybe going to be cancelled,” we were told. of mundane noises such as pipes and settling I remember thinking how awful it must walls, your breath, your bones. You become have been to have to process the news in more aware of the unseen corners of exispublic. It may seem small in comparison to tence, because you find yourself constantly something catastrophic—like a death or an staring at ceilings from the bed you lie awake accident—but it’s hard to visualize yourself in, or corners of floors which you view from COURTESY SPARKLEHORSE

Mark Linkous, aka Sparklehorse, took his own life in 2010.

the bed you’ve fallen from—but chose not to go back to. You see a new world in these forgotten spaces—in the cracks between existence. You stop eating, and welcome discomfort and cold, because comfort reminds you too much of the possibility you no longer feel you have. You choose to be down on the same level as the dust bunnies beneath the furniture— square one, ground zero for the soul, where being at the same level as a wad of dust, a forgotten clump of particulate matter, can provide a helpful reminder of what the last vestiges of a breakdown in the physical world can look like—the very last barrier the naked eye can still manage to see. Witnessing this unseen world grants a new vantage point that you might be able to rise above. There is hope embedded inside these ephemeral non-objects collectively giving you something to work with: “Today I am one up from this clump of dust. I can do this. I can evolve beyond this dark cavity of nothingness.” Sadness and depression are not the same. Sadness can be beautiful, and there is hope in sadness. But there is no beauty or hope in depression, because of its brutal capability of whisking you far beyond feeling anything except pain and anxiety—an X-ray of what once was. It is only after depression subsides that hints of beauty can be found. Small traces of that residual shrapnel, embedded, start to reveal themselves as lessons taking on the shape of growth. Depression is a journey. You don’t just end up there. It is part of a vast spectrum, a wide array of the machinery of your soul and the chemicals of your brain. And each person’s machine is different. There is no blueprint or manual equipped to deal with their nuances. It’s hard to say where sadness ends and depression begins, but in those grey areas that hover on the edge of the spectrum, there is still plenty of sweet meat on the bone that is prime for picking, and deserving of much examination later

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

ur transmission expired in Ashland, Oregon, on Feb. 13, 2007 while we were pulling out of a coffee-shop parking lot. There wasn’t a rentable vehicle large enough for us within 100 miles, and we found ourselves reluctantly leaving our van and trailer behind and piling into two midsize cars to take the six of us—and our dog, Ruby—to the next gig in Portland, while a kindhearted mechanic attempted to fix it—fast. Meanwhile, I was dealing with a severe staph infection that landed me in the ER. The doctor advised me to cancel the next week of the tour, as he couldn’t be sure the antibiotic would work. Plus, he said, “It gets worse before it gets better.” Stubbornness and heavy painkillers kept me on course. While florists, with their monopoly on vans, geared up for the biggest delivery day of the year, we limped along on a U.S. tour that started in Texas and would not end before the loss of another transmission in North Carolina. Though the journey was marred with vehicle breakdowns, emotional collapses, and severe illnesses, I have mostly positive associations with many of the memories, all these years later. What seems on paper like a dark time had a lot of magic. When you extract the momentary fuckery, the turmoil, the pain, you start to realize how much beauty there was inside the various realities that were being played out. Whether viewed from the distance of time or space, the gentle essence of everyone involved with that tour is what stays with me to this day. My band, Jesse Sykes and The Sweet Hereafter, had just put out its third album on Barsuk Records, Like, Love, Lust, & the Open Halls of the Soul, and was invited to support Sparklehorse, touring behind their latest, Dreamt for Light Years in the Belly of a Mountain. It would be the band’s first tour in five years, and 10 years after Mark Linkous (aka Sparklehorse) almost died in a hotel room in Europe due to some complications with drugs, which for a time left him partially paralyzed. I had been aware of his mythology and the darkness that surrounded it, as well as his battles with depression. I was intrigued, and assumed he was going to be an intense and interesting person, which resonated well with me. I’d been a fan of the band, and it was an honor to have passed muster and been chosen to share this journey. He and I had the same booking agent, and I asked the agent to find out if it would be all right to bring Ruby along. When I heard back that Linkous was fine with that, it spoke volumes to me about his character. I liked him right out of the gate. In many ways, the tour was both the last gasp of an old-school music business and our brutal introduction to the new one. It

BY JESSE SYKES

» CONTINUED ON PAGE 34 33

music» It’s a Wonderful Life » FROM PAGE 33

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He was a big fan of the actress Sarah Polley, and wanted to know if we’d named the band after The Sweet Hereafter, a movie on when it subsides. This is where sadshe had been in about loss, but also about ness can be your friend. It is the barometer transcendence and grace. Always a comthat lets you know, in its absence or its reemergence, if you are too far gone or coming plex question, as there are a few answers intertwined, I told him what I tell most: It home. was first and foremost about a dream I’d If you could hear sadness on a cellular had, a beautiful flying dream, with a narlevel, this is the sound of Mark Linkous’ rator I never got to see but whom I could music: a voice that hovers so close to your clearly hear behind my left shoulder. He ear—too close for some, familiar to many. took me over ancient cities, across oceans, Everything feels closer, hyper-realized, slow, and finally over a pine forest where a and unapologetic. It is a beautiful place if small cemetery rested. Under the brightyou let it be. It is the space Mark Linkous est moonlight we hovered, and I could occupied. hear music that appeared to be coming up through the ground where the graves were hen our transmission died nestled. He said to me, “Do you know what for the second time, we you are hearing?” and I asked “What?” He made it to an exit lane off answered, “That’s the sound we make after the busy highway that luckwe die. It’s what our souls sound like.” It ily had a rest stop. Our van has a way of was the gentlest music I’d ever heard, and doing that—dying in a safe harbor. We were the most beautiful, as it swirled up from, there for five hours before a flatbed came and beyond, the dirt. for us. Along the back roads of North CaroWe continued to fly past, and the music lina somewhere outside Durham, we got faded back into the ground and tucked lost. The mother of our guitarist, Phil, lived itself away. When I woke up, I felt as if I’d in the area and gave us directions via cell been kissed by a divine spirit, a kiss with an phone which we called out to the driver. essence that’s lasted for a decade. I told this Bill and Eric—our rhythm section—rode to Mark, and I told him that the movie had in the van on top of the flatbed, which was been an inspiration, too. And then I told him, pulling the trailer as well. When we arrived “But it also means death.” We both laughed: at the venue, we were 10 minutes into our “Jesse Sykes and Death.” designated set, and the Sparklehorse folks We continued our journey without Sparall came rushing out, Mark included, and klehorse, crossing Lake Pontchartrain, headhelped us load directly onto the stage. ing to South by Southwest. While we were In that brief moment I remember feelhaving lunch in Baton Rouge, our trailer got ing embraced by them, feeling like we had bonded with them all, and I knew I was going rear-ended by a huge delivery truck, making it impossible to tow. During all our breakto miss them when the tour ended a few days downs, I’d been quite the trooper. Now I was later. The show that night was raw and vivid, tired. I curled up in the back of the van and one of the best we’ve ever played. just cried. I cried . . . and cried. Hours later What I loved about Sparklehorse as a colwe found a kindhearted fellow at an RV sales lective was that their vibe onstage embodied lot willing to weld on a new hitch for 25 a pure reverence for life and for music. They bucks, and quickly. looked like characters Once again, we were out of a Tim Burton film, and Linkous We are the sum of many allowed to stay on was Edward Scismoving parts, a cosmic course. We are the sum of sorhands—the perfect orchestra, but sometimes many moving parts, a manifestation of two worlds colliding—a we stop hearing the music. cosmic orchestra, but sometimes we stop tender soul created hearing the music. from a machine’s soul, Sometimes the smallest particles of the his creator dying before having completed universe that make us who we are lose the his vision. ability to find the necessary balance and Mark would take his thick glasses off symmetry to sustain an elegant path, sendwhen he sang, and his eyes were always ing us into a state of panic where we no closed. All the band members possessed that longer belong to the flow. This banishment stoic yet undeniable quality reminiscent of is friction, a slow burn of opposition, which forgotten toys, injured souls wearing their over time erodes, leaving us stripped to our dignified suits of armor cloaking their vulcore foundation, to where we no longer nerability. “Here come the pain birds,” he’d resemble the person we remember oursing. Each night I’d watch them, listening selves being. rapt in the sorrowful beauty of the songs. People who’ve taken their destiny into “It’s OK to be sad,” I’d think to myself, “just their own hands clearly do not possess—if don’t fall too far. When this is all over, you only for a brief moment—the mechanism have to go home.” Home, where sadness that keeps us here, on track. All one can do ends and the darkness can overcome if you is always listen for that music, but more are not careful. important, believe in the possibility of For much of the tour, Mark was too ill to always hearing the music—again and again. hang out. But as he re-emerged, we were able to have an intimate moment that I’ll E always remember. During our last converJesse Sykes is a singer and songwriter. sation, he asked me about my band’s name. music@seattleweekly.com

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Pickwick plays the Showbox at the Market on December 31.

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mainstage WED/DECEMBER 26 - THU/DECEMBER 27 • SHOW TIMES VARY

COURTESY OF PICKWICK

»TELL ME ABOUT THAT ALBUM

Pickwick’s Myths A best-selling “demo” paves the way for a 2013 debut. BY DAVE LAKE

“I

SW: As you were releasing the series of 7-inches, did you know you’d end up compiling them onto a single record? Parker: That was just an idea that we came

up with as a way to have everything consolidated. The one problem we had with the 7-inches is we did all of that on our own, and the manufacturing and the cost was expensive, and logistically it was tough to get them as quickly as we needed. Compiling them into one thing seemed like a nice way to give everybody those songs all at once.

Because you want people to come to their own conclusions?

Disston: Yeah, but also the songs are each about something specific, and I just prefer when people are able to discover that on their own. I think that that kind of journey has added to my appreciation of music, and I think that when people stumble upon the meaning of some of the songs, it adds to the listening experience. Will some of the songs from Myths end up on the new record?

Parker: There’s 13 songs on the new record, and we re-recorded three.

“When people stumble upon the meaning of some of the songs, it adds to the listening experience.” So you really think of your upcoming record as your first full-length?

Parker: Yes. It’s safer to say that we as a band think of Myths as like our demo tape. What do you have you planned for the New Year’s Eve show? Have you played the Showbox before?

Parker: No, and it’ll be the biggest venue we’ve played in Seattle. We’ve played the Neptune twice. We’re going to play a couple new songs Parker: Yeah. I think that people haven’t heard, we sold our first 7-inch Tune in to 97.3 KIRO FM every Saturday at 7 p.m. and we’re really excited at the Sunset, and by to hear music editor Chris Kornelis to play with Tomten and the time they were all on Seattle Sounds. Radiation City. I saw Radireleased, we were playing ation City just got listed as at the Neptune. It all hapone of NPR’s bands that you should know in pened pretty fast, and it was pretty weird. 2012. We’re really excited about the show. E It was surprising to us that people bought 7-inches. We thought that we were the only music@seattleweekly.com ones who would be into it, so that was pretty cool. PICKWICK In lieu of continuing to press more copies of each 7-inch, you mean?

Why the title Myths?

Disston: I don’t like to reveal too much about the content of the songs, but it relates to the content of the songs.

With Tomten, Radiation City. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. $21.50 adv./ $25 DOS. 21 and over. 8 p.m. Mon., Dec. 31.

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t’s funny that we’re talking about Myths,” says Pickwick guitarist Michael Parker, “because all of us on some level are embarrassed of those recordings, because we don’t really feel like they represent what we do all that well.” Maybe so, but the album, a compilation of several self-released 7-inches, put the Seattle six-piece on the map in a major way in 2012. It also got the attention of professional management, which helped the band get label interest for their first proper record, due out in 2013 (details forthcoming). Pickwick will celebrate their year with a New Year’s Eve gig at Showbox at the Market. I talked to Parker and singer Galen Disston about Myths and their banner year.

land of the sweets: the burlesque nutcracker

music»TheShortList 1303 NE 45TH ST

Paper Machete First off: Great band name, right? Secondly: Singer/guitarist/keyboardist Nate Stone and bassist/drummer Guthrie Scarr have a genuinely interesting take on indie pop. They play slow-tempo songs that toe the line between upbeat and remorseful, giving their presentation a divided realism that mirrors the complex nature of our relationships. Over carefree guitar lines, Stone spills downtrodden narratives that occasionally venture into the hopeful, but are always delivered in a dramatic wail that absolutely makes you feel his emotion right along with him. The group exercises restraint in much of their instrumentation, but when Stone lets his guitar run with the same angst he sings with (as he does at the end of “Don’t Mean Shit”), it’s extraordinarily fulfilling. With Ironwood Run, Charles Wicklander Band. Blue Moon Tavern, 712 N.E. 45th St., 675 9116. 9 p.m. $5. TODD HAMM

SANDRA LINDQUIST

THURSDAY, DECEMBER 27

ings,” the most recent of which was September’s KLAPS #32, the rhythmic, flute-tooting FRIDAY, DECEMBER 28 Songles. Of course, Blau also keeps busy with his constant collaborations; tonight he’ll Did you know that one of the most exciting be joined by the latest incarnation of Clyde and explosive progressive metal acts in the Petersen’s broad-based, ever-fluctuating business happens to hail from our humble indie-rock collective Your Heart Breaks. In northern neighbor, Bellingham? If you like the spring, the band released a mischievous screaming thrash attacks and breakneck new album called Harsh switchbacks played with Tokes and Bong Jokes; pinpoint precision (um, Blau played guitar and yes, please), then get the Tune in to 97.3 KIRO FM saxophone on it, and hell with it. Not a band to every Saturday at 7 p.m. also recorded it in three simply substitute volume to hear music editor Chris Kornelis days on a four-track reelfor substance, the gods in on Seattle Sounds. to-reel at his Anacortes Dog Shredder bend your studio. With Nana Grizol, mind with incomprehensible timing and linear song structures that Jordan O’Jordan. Vera Project, 305 Harrison keep you on the edge of your seat till the St., 956-8372. 7:30 p.m. $8. All ages. ERIN K. very end. It’s controlled chaos, and it’s fiery THOMPSON as hell. With Caligula, Old Iron. Chop Suey,

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MONDAY, DECEMBER 31

Karl Blau SATURDAY, DECEMBER 29

It’s been three years since Karl Blau released his most recent proper album on K Records, 2009’s Afrocentric Zebra, but he’s continued to maintain a steady output of new music via his Kelp Lunacy Advanced Plagiarism Society series: collections of Blau’s “songs and sounds, orchestrations, and field record-

If somehow we survive the zombie apocalypse and find ourselves faced with yet another brand-new year, we might have the innovative sounds of our youngsters to thank for it. In the midst of eschatological Mayan prophecies and ever-more-frequent school shootings, looking to the creative youth in our communities is a good way to offset any holiday and/or existential blues you may be feeling. Smart rhymes, buzzy beats, and

a blisteringly sharp social awareness unite this eve’s bill of local hip-hop acts, and from the first few lines spewed from Fresh Espresso’s “Green Windows”—“In search of a rebirth . . . everything I see is a reflection of me”—it looks like we’d do well to usher in the new year in the company of such open hearts. With Grynch, Keyboard Kid, Metal Chocolates. The Neptune, 1303 N.E. 45th St., 682-1414. 9 p.m. $20. GWENDOLYN ELLIOTT

Supersuckers MONDAY, DECEMBER 31

New Year’s Eve is—and rightfully should be—a good measure sloppier than any other night of the year, a time to bury regrets and ascend to an unprecedented inebriated climax when the slate’s wiped clean at midnight. The venerable Seattle punkabilly act Supersuckers are the perfect house band for such an evening, particularly at a sharp-spurred honky-tonk like the Tractor. If you don’t fall down drunk during Eddie Spaghetti & co.’s set, you haven’t given it your all. This is a blood-on-the-tracks kind of night, and the Supersuckers are a fucking locomotive. With Acid Angels, The Valley. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $25. MIKE SEELY

EDITOR’S PICK

RADIATION CITY

MONDAY, DECEMBER 31

The Showbox curated a lineup of Northwest pop bands for its New Year’s Eve blowout; the first one you’ll hear is the Portland quintet Radiation City, recently named one of NPR’s “10 Artists You Should Have Known in 2012.” In April, the band released an EP called Cool Nightmare (the follow-up to their 2011 debut, The Hands That Take You), a collection of seven songs inspired by an old, falling-apart upright piano in drummer Randy Bemrose’s basement. They played it, slammed its lid, banged on its body, and then took an ax and a baseball bat to it in the video for “Find It of Use.” That song, accordingly, plays like a sparkling funeral dirge, carried along by Lizzy Ellison’s exquisitely swooning vocals. It’s a lovely sense of magic and finesse that trademarks the rest of their catalog. With Pickwick, Tomten. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. $21.50 adv./$25 DOS. ERIN K. THOMPSON

PARKER FITZGERALD

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band, who recently had their equipment stolen. With Sweet Pups, Killshot, the Deceptives, DJ Madmax. High Dive, 513 N. 36th St., 632-0212, highdiveseattle. com. 8 p.m. $7. KARRIN ALLYSON Nineteen years after her 1992 debut, jazz vocalist Allyson released ’Round Midnight last year, earning a Grammy nomination and displaying her deft, personal transformations of jazz standards. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 5:30 p.m. $24.50. All ages.

Thursday, Dec. 27 BE HONEST, RUTH BRYAN! Formed in a Seattle Pacific

SCAN

Piece of mind presents ISAAC BLANKENSMITH

University dormitory (band members even played the SPU talent show in 2010), this five-piece offers warm, baroque folk music. With Vocal Few, Cynthia Alexander. Conor Byrne, 5140 Ballard Ave. N.W., 7843640, conorbyrnepub.com. 9 p.m. $7. MGA EVERS There’s a good assortment of up-andcoming local MCs on this bill; the headliner and Raz, especially, are two to watch. With Kush Gang Global, Mac Shine. Chop Suey, 1325 E. Madison St., 324-8005, chop suey.com. 8 p.m. $8. All ages. THE SATELLITE 4 On Street Food, their latest fullT H I S CO D E TO DOWNLOAD THE FREE length, this quartet’s soulSEATTLE WEEKLY and smooth jazz–inspired IPHONE/ANDROID APP instrumentals are satisfying FOR MORE CONCERTS OR VISIT enough on their own merits. seattleweekly.com They really shine, however, with help from guests, like on “Soul in It,” which features local funk magnate Eldridge Gravy. With Moonshiners, Los Perros Olvidados. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $6.

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DUSTY 45S If you want to spend 2012’s waning days

Friday, Dec. 28 ALESSO Swedish DJ/producer Alessandro Lindblad is

just 21, but has already collaborated with the likes of Ryan Tedder, David Guetta, and Usher. His 2012 single “Calling (Losing My Mind)” went to #1 on the Billboard Dance charts. With Johnny Monsoon, Loch Stimpson. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 9 p.m. $41.50. ANNAMERCURY This local five-piece plays risk-averse hard rock with righteously growled vocals. With Joyfield, gannGGreen. Barboza, 925 E. Pike, 709-9951, thebarboza.com. 7 p.m. $10. Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

SHABAZZ PALACES & THEESATISFACTION

Seattle’s steamiest rap groups join for a bill infused with their unique brands of astral-planing hip-hop and “funk-psychedelic feminista,” respectively. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. 9 p.m. $21.50 adv./$25 DOS. All ages.

Saturday, Dec. 29 BRAINSTORM One of the three MCs in local hip-hop

group Dyme Def, Brainstorm takes a break from his main project to headline this loaded rap bill. With E & DAE, L.A.C.O.S.A., Produktive, Dl xVagrance, News Team, J to tha E, Reklez, Just Cos, King Bishop B.A.R.S., Green Thumbs. Columbia City Theater. 8 p.m. $10 adv./$15 DOS. FEEZABLE THE GERM Specializing in gritty, club-ready rap, this Chicago MC will release Along Came a

Land of Pines headlines Neumos on Friday, December 28. Germ at this show. With Fearce Villain & Bean One, Knucklehead Banga, Donte Peace. 7 p.m. $7. POLYRHYTHMICS On last year’s Labrador, this local funk octet blends stout grooves and sharp horn melodies with Afrobeat and free jazz influences. With Polecat, DJ Leopold Bloom. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $12.

Sunday, Dec. 30

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CLASSIXX Mostly known for their remixes of usual-

suspect indie rock (Passion Pit, Phoenix), this L.A. production duo’s original material (glossy electro-funk) isn’t particularly novel, either, but it’ll at least make for a mild-mannered dance party. With Miracles Club, the Tempers. Neumos. 8 p.m. $12. NINJA TURTLE NINJA TIGER It’s a shame this show wasn’t scheduled a day later, as this Portland band’s high-definition dance-rock, combined with celebratory, sing-songy lyrics, all but begs to be played on New Year’s Eve. With Jar, Finish Ticket, Koruscant Weekend. El Corazon. 6:30 p.m. $8. All ages.

Monday, Dec. 31 AYRON JONES AND THE WAY It’s painful to read the

bios of blues or rock bands who talk about “getting back to basics,” spurning electronics, or other such rockist clichés, but for a musician like Jones, that philosophy works. Seattle’s most electrifying bluesman needs little more than a mike, a guitar, and some light support from his backing band to captivate an audience. With Scrumptious & The Backbeat, Boxcar Rebellion. High Dive. 9 p.m. $10 adv./$12 DOS. MONOGAMY PARTY This show offers a nice crosssection of the scuzzier side of Seattle’s punk scene, from the headliners’ post-post-post-grunge sound to Haunted Horses’ full-blast gothic sludge. With Wimps, Ubu Roi. Comet Tavern. 9 p.m. $7. MYSTERY SHIP Tasty Seattle psych-rockers Mystery Ship have caught the ear of a number of storied rock engineers like Jack Endino and Dave Hillis, and for good reason. They’ll be ringing in the new year in wicked fashion. With Daughters of the Dead Sea, Bad Love Sessions. Blue Moon Tavern, 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 9:30 p.m. $6. RESOLUTION 2013 The headliners at this year’s edition of the annual EDM-a-thon span dubstep (Rusko, Doctor P) and trance (Cosmic Gate). There are also two themed stages (“Time Capsule” and “Enchanted Forest”), presumably to further ward off anyone over 30. With Dieselboy, FuntCase, Mord Fustang, LA Riots, Johnny Monsoon, Wheelz. WaMu Theater, 800 Occidental Ave. S., 381-7555, wamutheater.com. 8:30 p.m. $55. 18 and over. REWIND Workmanlike covers of ’80s classics like “Safety Dance,” “Time After Time,” and “99 Red Balloons.” Sunset Tavern. 8:30 p.m. $20.

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KANGAROO SUE

pretending you’re a drunk in a small Midwestern town with a river, pitch a tent along the shipping canal in Ballard and spend two nights at the Tractor with one of the Northwest’s most reliably effective rockabilly acts. With Redneck Girlfriend, Side Saddle, the Rainieros. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $12 adv./$15 DOS. (Also on Fri., Dec. 29 with the Roy Kay Trio, the Black Crabs, and the Western Bluebirds). DYLAN JAKOBSEN Prolific, hyper-poppy, and meticulously coiffed, Jakobsen ventures into surprisingly folksy territory on Long Way Home, which he’ll release at this show. With Striking Back, Saving Sunsets, The Bard and the Liar, Hatters for Hire. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 6:30 p.m. $10 adv./$15 DOS. All ages. LAND OF PINES are currently prepping the fourth and final EP in a series that’s been in the works since early 2011, and its lead single “Dead Feathers” crystallizes the band’s strengths: up-tempo indie rock with a pop brain and an electric backbone. With Dude York, Heavy Petting. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $8. MORAL CRUX Hailing from the eastern wilds of Ephrata, Wash., this fourpiece has been playing politically tinged pop-punk since before it was cool: 1983, to be exact. With Piniellas, Less Than Equals. Feezable the Germ plays Columbia City Theater, 4918 a record-release show Rainier Ave. S., 723-0088, at Barboza on Saturday, columbiacitytheater.com. 9 p.m. $8. December 29.

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dategirl»By Judy McGuire Because those are about as funny as rape jokes, which is to say they aren’t. I realize that it can be hard to blow off Dear Dategirl, family on holidays, but nobody should be By the time you get this, I’ll have wasted expected to spend an entire week with their another holiday with my in-laws. I’ll have lisin-laws, unless those in-laws are springing for tened to their racist and homophobic jokes, a fabulous vacation for the entire clan. And fought with them when they told my daugheven then, you should get your own room. ter that she’s fat, and watched my fatherI’m assuming you’ve broached the topic, in-law reach down into his pants, adjust but if you haven’t, the time to start his nuts, and then continue carving discussions with your husband is the turkey without washing his now, while the pain of this visit hands. I love my husband, but still reeks of scrotumy goodI hate his family. Mine are ness and your daughter’s either dead or on the other tears have yet to dry. side of the country, so it’s There are several not like I have an alternadifferent solutions: tive, but can I just bow 1) He can go by himself, out next year? I used but that’s not very fun to love Christmas and for you or your daughter. New Year’s, but having Or, presumably, your husspent the past five years band. (You can’t send your trapped in a cabin for a daughter there without you week, “celebrating” with because it sounds like you’re a group of dysfunctional, her only protector, which is so awful people, I start dreading fucking wrong.) the holidays by August. It’s too 2) You guys can all go for one late for this year, but what can I night only, and stay in a hotel. But do next year? Divorce? warn the in-laws that you’re outta there at —Scrooge of Circumstance the first N-bomb or fat joke. 3) Since you’re grown-ass adults with Along with all the downsides (droopy boobs, your own damn family, you can start a new paying bills, creaky knees, etc.), there are holiday tradition that takes place in your many upsides to getting older—one of them house. You can being that you no invite them over for longer have to hang Since you’re grown-ass Christmas dinner, out with people who and while you’ll still repulse you. A week adults, you can start a new have to breathe the in a cabin even with holiday tradition. same air, at least it’ll the nicest people be on your terms. would be pushing This way you can also guarantee that your it, but with racist nut-rubbers? No, thanks. turkey remains a pubes-free zone. Next year, you have to ovary up and put an 4) Better yet, start a new holiday tradition end to Christmas with the Clampetts. that involves doing something your in-laws While you mention that you love your won’t be tempted to join in on. Like stuffing husband, where is he when his family’s envelopes for the NAACP, making a “Yay, telling your kid she’s fat? He needs to shut Marriage Equality!” banner, or simply readthem down, and if he doesn’t, you two need ing books without sounding out the hard to talk (meaning he has to listen). Does he words. E find their racist/homophobic “jokes” funny?

Holiday Blues

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Humboldt of Light

the event. (According to lab results posted on Facebook by The Emerald Cup, ChemDawg contains 18.4 percent THC and 0.9 percent CBD.) Growers Leonard Bell and Elenah Elston, who together run the company Cannabis Aficionado, won an all-expenses-paid trip to Jamaica for seven days and nights. A white-robed Swami (that’s what everyone calls him) served as co-emcee for the awards presentations, along with his girlfriend, Nikki. The Swami spoke about some pretty entertaining things, including this interesting clash in stoner culture: “I want to talk a moment about trimming your flowers for Emerald Cup entries. Now, ‘grower trims’ are fine at home, but we don’t want your Colorado cut; we don’t need your Oregon trim or your medical trim. We want the California club cut, trimmed tight,” the Swami said. “If it’s not trimmed like that, the clubs won’t buy it.” I was slightly discomfited to learn that commercial considerations—such as whatever trim is currently the fad in California shops—are a factor in the “appearance” part of the judging process; but then again, without grower and dispensary money, this event almost certainly couldn’t happen. In any event, I was gratified to note that almost every one of the top-10 entrants who spoke onstage appeared to be humble, centered, and focused on growing good cannabis—not on ego-feeding. I prefer to like the people who grow my medicine! E

OF THE

TOWN.com cannabis news | views | rumors | humor

S.A.M. COLLE S.A.M. COLLECTIVE

MEDICINE MAN MEDICINE MAN WELLNESS CENTER Walk-ins Welcome WELLNESS CENTER

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Steve Elliott edits Toke of the Town, Voice Media Group’s site of cannabis news, views, rumor, and humor.

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Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

ne of the best ways to see your own cultural surroundings clearly is to drive down the road a ways and find something to which you can compare them. So I leapt at the chance to attend the ninth annual Emerald Cup in marijuana mecca Humboldt County, California. One of the cool and unique things about this medical-cannabis competition—fittingly, given the Emerald Triangle’s deep hippie roots—is that only outdoor, organic, sun- and soilgrown marijuana is allowed. Arriving around 4 p.m. to an event which had been going strong since high noon, I saw cannabis-bumpersticker-festooned vehicles and happy hippies unhurriedly making their way to the Mateel Community Center in Redway, California. I ended up parking about half a mile down the road and hoofing it back to the center. It was easy to find my way—I just followed the steady stream of hippies and the sound of music. Two hundred strains of marijuana were entered, compared to last year’s 108, as well as a couple dozen concentrates. Simply placing in the top 20 among such elevated competition is quite an accomplishment. Entrants were judged on high, appearance, smell, taste, and potency, with the high (rightly) counting twice as much as the other components. ChemDawg Special Reserve was named the top strain of

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Tree & Shrub Consultation Representative We are expanding our Marketing Team by Hiring Additional Reps to Generate Free Tree & Shrub Consultations Appointments for our Arborists. With almost 30% Sales Growth this year we need people immediately. We provide Training, Marketing materials & Company Apparel Allowances Offered: * Travel *Cell Phone *Medical Allowance

Requirements:

*Vehicle & Valid DL *Cell Phone *Internet Access

Apply Online at www.evergreentlc.com

Questions Call: 800-684-8733 Jasmine Ext. 3434 or Heather Ext. 3321

365 Comm Rentals

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DINING NEWSLETTER

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NTHLY O M IC S U M B R E V and RE are Now Available le Fire! on Kindle and Kind TRY IT NOW FREE FOR TWO WEEKS!

Se attle weekly • DECEMBER 26, 2012− JANU ARY 1, 2013

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PLACE YOUR AD TODAY • 206-623-6231 FREE ONLINE ADS AND PHOTOS AT WWW.BACKPAGE.COM

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t offerings.

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Open Monday, Wednesday, Friday, and Saturday - 9am-5:30pm

Accepts Most Insurances

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New! Increased Compensation For Egg Donors! Get paid for giving infertile couples the chance to have a baby. Women 21-31 and in good health are encouraged to apply. $5,000 compensation. Email Amy.Smith@integramed.com or call (206)301-5000

Singing Lessons FreeTheVoiceWithin.com Janet Kidder 206-781-5062 Donate Your Car, Truck or Motorcycle!

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GIVE TO SUPPORT A FAMILY THIS SEASON The holiday season can be a very difficult time of year for

Southend Room For Rent...$130 a week w/no deposit! Includes Cleaning and Util. 206-762-2757

individuals who are homeless or unemployed—and the difficulties are compounded for those supporting children. Nearly one in five workers in our programs is supporting a family. You can help make the difference between a bleak holiday season and a hopeful one. Make a gift to the Millionair Club Charity today: millionairclub.org

DONATE YOUR CAR! Tax Write-off/Fast Pickup Running or not. Cancer Fund Of America. (888) 269-6482

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BECOME A BARTENDER!

Up to $300 a day. No exp necessary. Training Courses Available. 1-800-965-6520 x 309. REACH 5 MILLION hip, forward-thinking consumers across the U.S. When you advertise in alternative newspapers, you become part of the local scene and gain access to an audience you won't reach anywhere else. www.altweeklies.com/ads AIRLINE CAREERS - Become an Aviation Maintenance Tech. FAA approved training. Financial aid if qualified Housing available. Job placement assistance. CALL Aviation Institute of Maintenance 877-492-3059

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Debt relief agency for bankruptcy. 206-625-0460

Ear Candling a non-invasive cleansing and detoxifying of the ears.

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