Seattle Weekly, November 14, 2012

NOVEMBER 14–20, 2012 I VOLUME 37 I NUMBER 46

SEATTLEWEEKLY.COM I FREE

TREMORS AT THE FRYE PAGE 22 | THE TOP CHEF EATING GAME PAGE 31 | DJ SHAWN KEMP PAGE 37

What would life be like without technology, especially after a week spent gorging on it?

sleepingwithSiri

By Michael A. Stusser

2

Seattle weekly • NO VE MBER 14− 20, 2012

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Seatt le w eekly • NO VEMBER 14−20, 2012

Simplicity Achieved

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Seattle weekly • NO VE MBER 14− 20, 2012

The Tri-Party Agreement agencies are seeking individuals interested in Hanford cleanup issues to fill a Public-at-Large seat on the Hanford Advisory Board. As a HAB member, you’ll work collaboratively with a diverse group of people from across the Northwest to provide input on decisions related to the cleanup of: • 9 decommissioned nuclear reactors • 5 large radioactive chemical processing facilities • 56 million gallons of radioactive and chemical tank waste • 1,700 waste sites • Over 65 square miles of contaminated groundwater Citizens interested in applying for membership on the HAB are not required to have special expertise about the Hanford site. The general requirement is to have a willingness to attend meetings and learn about the plans and activities at the Hanford Site and provide advice and recommendations from the public’s perspective.

Board members attend five annual meetings and are encouraged to participate in subcommittee work activities taking place throughout the year. Members are not paid, but are reimbursed for travel expenses, including meals and lodging.

Applications must be submitted by December 7, 2012.

4 10U.WAStateDeptEco+.32.3902 1

11/6/12 9:50:55 AM

inside» November 14-20, 2012 volume 37 | number 46 » seattleweekly.com

SAVE THE DATE. DEBUT DECEMBER 1ST.

»31

Explore www.dryflydistilling.com

»11

up front 7 News

the daily weekly | How Washington’s counties split on the election’s social-issues questions. Also, should ride-shares be regulated? And what happens now if a public school wants to charter-ize itself?

11 Feature

By Michael stusser | The absolutely true diary of a technology addict who went cold turkey and learned to love librarians and snail mail again.

»37 27 FilM

this week’s attractions

Docs about global warming, Nazi complicity, and a skateboard maverick.

31 FOOD

31 | Top Chef: SeaTTle | Eat and drink

along with the cheftestants.

33 | First call | Ballard’s railroad past.

35 | a little raskin | Shiro’s knives.

37 MusiC

37 | Jet city streaM | The locavore

approach to online radio.

39 | richard Marx | The late-’80s

in back 21 the weekly wire Foul-mouthed puppets, visiting dancers, and a Warren Miller ski movie.

22 arts

22 | Visual arts | Local tremors

at the Frye.

24 | stage | Fiddler on the Roof returns

for the holidays.

26 | ear supply | An early Verdi comedy.

COPYRIGHT © 2012 bY SeaTTle WeeklY, llC. all RIGHTS ReSeRved. RePROduCTIOn In WHOle OR In PaRT WITHOuT PeRmISSIOn IS PROHIb ITed. ISSn 0898 0845 • Seattle Weekly iS publiS hed Weekly

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reminder of her mosh-pit past.

42 | the short list | The Red Hot Chili Peppers, Japandroids, and more.

other stuff

23 | Visual arts 26 | perForMance 29 | FilM calendar 33 | Featured eats 44 | seVen nights 47 | dategirl 49 | toke signals

ad sections

48 | alternatiVe healing 50 | classiFieds

»cover credits

Photo by: MIChAEL CLINARD

Seatt le w eekly • NO VEMBER 14−20, 2012

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news»The Daily Weekly »dispatches from our news blog

Green But Not Gay

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Eastern Washington got behind legalizing pot, but gay marriage found little traction.

Courtesy of Washington seCretary of state’s offiCe

ith Referendum 74 passed, there’s plenty of marriageequality and civil-rights goodness to revel in.

But R-74’s historic popular vote was still not very popular across the proverbial Cascade Curtain.

Instead, pot-legalizing Initiative 502 was the one that crossed Washington’s east/west ideological divide.

County maps tell the stark story of how pot beat love at the rural ballot box.

Currently sitting at 53 percent approval, Referendum 74 has secured a solid lead over its opposition. While every county contributed votes to that advantage, only eight of Washington’s 39 were able to deliver a majority. Predictably, these populous giants are all crowded around Puget Sound’s progressive waters. Skagit and Pierce would have completed the gay-friendly encirclement, but fell short of achieving an approval majority by one to Counties with majority support for three points. The rest of the state didn’t even marijuana legalization (top) and come close to a green shade—with the excepsame-sex marriage (bottom) are in green. tion of Whitman, which as of Tuesday stands to narrowly reject R-74 by a 10-vote margin.

Now, those election results may not details of 1240 got lost in the shuffle. surprise most folks familiar with WashingWhile not as voluminous as the marijuanaton voting geography, but I-502’s returns legalization Initiative 502, the text of the certainly will. The marijuana-legalization charter-school measure still runs to 39 pages. measure confounded all ideological assumpThe details are so complex that even Seattle tions by winning a majority in a whopping 20 Public Schools has not yet figured out what counties all across the it all means, according state, racking up 55.47 to spokesperson Teresa percent of the popuWippel.

Print is great, lar vote at press time.

As a primer, the inibut if you want to read . . . why superhero Phoenix Jones was Clearly, voters on both tiative would create a allowed to punch a man in front of sides of the mountains maximum of 40 charter police, check out The Daily Weekly. had grown weary of the schools over five years, SEATTLEWEEKLY.COM/DAILYWEEKLY drug war. with no more than While the whole of eight such schools per Washington took a huge leap toward social year. Only non-religious nonprofits could progress on Election Day, individual counties run them, and they would have to submit tell a more complicated story. Unfortunately, an application for approval to either a local that tale seems to welcome cannabis more school board or a new, nine-member charterthan same-sex marriage. ILONA IDLIS school commission. The local board or the commission would then be responsible for monitoring the schools they approve.

All that gets especially tricky when it comes to the potential conversion of an existIf the charter-school initiative, I-1240, ing school. The initiative says that an entity passes—which is all but a sure thing now, that wants to turn a regular public school into though opponents hadn’t conceded by press a charter must “demonstrate support for the time—schools activist and blogger Melissa proposed conversion by a petition signed by a Westbrook worries about what she calls the majority of teachers assigned to the school or measure’s “poison pill.” That’s the clause that a petition signed by a majority of parents.” allows for an existing public school to con“So imagine,” Westbrook says, “18 teachers vert to a charter. in an elementary school and just 10 sign a What? You don’t know anything about that petition.” Whether that school is failing or not, clause? Don’t worry, it’s a safe bet that you’re she says, the school will then go an entirely not alone. There were so many big races and hot-button initiatives on the ballot that the » Continued on page 9

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news» The Daily Weekly » from page 7

and several similar companies that have recently started in Seattle.

California’s Public Utilities Commission has already determined that SideCar and similar startups should be following commercial regulations, and in the past few months, the agency has issued cease-anddesist notices to them.

SideCar has kept going regardless.

Transportation regulations “were created when the the big innovative technology was the telephone,” SideCar CEO Sunil Paul tells SW by way of explanation. He’s part of a new world, he contends, and those oldschool regulations don’t apply. Moreover, he asserts, “We are not a transportation company, and we don’t operate a transportation service. All we’re doing is providing the means for passengers and drivers to connect with one another.”

Technically, no fare is required, but SideCar’s app suggests a “donation” based upon what previous passengers have given for similar trips. Here’s the rub: Leisy says that

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different route, one that she says will “take a building offline” and wreak havoc on a district’s assignment and transportation system.

Marianne Bichsel, spokesperson for the “no” campaign, People for Our Public Schools, adds that California has seen a number of lawsuits over conversion attempts.

“Teachers might want to convert, but parents don’t,” she says, or vice versa.

Initiative 1240 supporter Lisa Macfarlane says there’s a lot of confusion on this issue due to the movie Won’t Back Down, in which Viola Davis and Maggie Gyllenhaal play two parents who stage a takeover of a low-performing school. Macfarlane says that wouldn’t happen here because, unlike in California, parents (or teachers) can’t force a school to convert. A school board or the charter-school commission would have to sign off on such a plan, and only after a public hearing. “It all happens in the light of day,” she says. Macfarlane also envisions that a school board itself might initiate a conWhat happens to the, version in order to try something new say, 49 percent of parents with a perpetually troubled school.

But it certainly seems within the who don’t want to send realm of possibility that a narrow their children to a charter? majority of parents or teachers might Where will their kids go? To initiate a charter conversion plan and get it approved. And then what hapneighboring schools that are pens to the, say, 49 percent of parents already maxed out? who don’t want to send their children to a charter? Where will their kids anytime compensation is involved, regulago? To neighboring schools that are already tions kick in. And he’s not buying the notion maxed out? that fares are strictly voluntary. SideCar’s app What about future years? Where will includes a way for drivers to rate passengers, upcoming kindergarteners in the charter just as passengers can rate drivers, Leisy school’s neighborhood be assigned, given notes. “I’m not sure any driver would ever that the initiative says that students can’t be take you again if you don’t pay.” assigned to a charter—they must apply?

Paul insists passengers really are free to Macfarlane says she has a hard time getpay nothing, but says that in San Francisco ting her “head around” all the hypotheticals. only about 1 percent of them have done so. He We understand. So do we. That’s why we’re chalks that up to people’s generosity. We’re more than a little queasy that 1240 likely will not talking nominal amounts: A short ride win without a general understanding of all might entail an $8 or $10 payment, about the ramifications. NINA SHAPIRO what a taxi would charge, Paul says, although he adds that long rides tend to be cheaper than a taxi fare. SideCar takes a 20 percent cut, he confirms.

San Francisco startup SideCar has brought If SideCar is judged to be a commercial its smartphone-based ride-sharing service operation, the regulations it must meet are to Seattle. It’s got a cool app and an environextensive, most of them aimed at protecting mental spin. Says the company’s website: passenger safety, according to Leisy. Drivers “SideCar is moving transportation in a big, are fingerprinted and subject to annual crimisustainable, community-driven direction.” nal background checks and examinations of Whether it’s a legal direction, given the their driving record. They undergo a physical company’s sidestepping of a host of regulaexam, several days of training, and a written tions pertaining to taxis and for-hire cars, is test. They need to carry expensive comanother question. mercial insurance, and their cars, which are Here’s how it works: Ordinary people who inspected, can only be 7 years old. want to offer rides register with SideCar. Then there’s the license they need to pay When SideCar’s drivers are available to give for, which costs $600 in Seattle, if they can get rides, their whereabouts are plugged into the one at all. The city caps the number of licenses company’s app. Would-be passengers use the it hands out, and none are now available. app to find drivers near them.

Frank Dowgwilla, general manager for the Craig Leisy, manager of Seattle’s Consumer dispatch operation that serves Yellow Cab, Affairs Unit, which regulates commercial says it wouldn’t be fair for SideCar’s drivers vehicles, says the business raises concerns to get to skip all that. “We need a level playing about public safety, and he’s asked the city’s field,” he says. NINA SHAPIRO E legal department to investigate whether his department’s regulations apply to SideCar news@seattleweekly.com

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Seattle weekly • NO VE MBER 14− 20, 2012

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sleepingwithSiri

By Michael A. Stusser

F

our of us were having a perfectly romantic evening when my friend mentioned a YouTube video he wanted to share. My objection was quickly overruled 3-1, and in an instant the viral clip was playing tableside. You’ve probably seen it: A chimp sticks a finger in his ass, smells the digit, then falls over, drunk on his own stink. Hilarious.

I lost my appetite—not because of the monkey’s manners, but because of the idiots who were now watching television in a beautiful Italian restaurant.

Let me begin by saying that I’m no Luddite. Technology’s awesome: Neil Armstrong, Google, Spotify, ATMs, online porn, MapQuest. Hell, at iTunes U you can take classes from Yale—for free. Still, something in the back of my mind makes me feel we may have jumped into our world of omnipresent media without setting up a few guidelines.

Some kids at a local high school were my inspiration to go cold turkey.

Going without Facebook, texting, or e-mail for an entire week, their “Digital Blackout” campaign was a brave step in the right direction, especially given that the average teen today deals with more than 3,700 texts a month. (How they find time to masturbate is beyond me.) I decided to join the scenesters, but not before first gorging for a week on technology.

even text?”

Cisneros runs her own social-media company, creating networking strategies for small businesses. ”Then we’ve got to set up HootSuite and PATH to manage all your accounts. You’re doing Pinterest, right? And LinkedIn? And Viddy? STUSSER!” With a billion users, Facebook is the biggest network by far, but other special-

interest sites are cropping up quickly. There’s ArtStack for arties, Heckler for sports fanatics, Pheed for the less friend-friendly, cyPop for common interests, Nextdoor for neighbors, and Luluvise for the ladies.

For the purposes of this experiment, I add a half-dozen networks to my already established Facebook and Twitter accounts, including LinkedIn, Google+, Pinterest, Reddit, and Tumblr. And that doesn’t even include MySpace and my 7,000 friends there from back in the day. Like the new kid at a high school, I’m desperately in search of

Michael clinard

irst thing you’re going to want to do, Stusser, is get an iPhone,” Hazel Cisneros says, looking at my MotoRazr. “Does that thing

friends, cheerily supporting and sharing and tagging every clique I encounter. In the last two minutes alone I’ve liked a poem by Toni Morrison, Korean BBQ, cuddling cats, Christopher Walken, Deer Tick (the band), Moulin Rouge, the National Zoo (I hate zoos!), a new song by Kasey Chambers, Elisha Cuthbert, trampolines, and a meme that said “Share if you’ve ever pushed a door that said pull.”

Without reading a word, I retweet an article because it sounds like something I’d like (“Meryl Streep Says It’s Time to Draw the Line”). And I’m trying to follow the most

popular kids in class (Lady Gaga, Kutcher, Obama, etc.), but my ratio is way out of whack: I’m following 2,187 on Twitter, while only 243 are following me.

The new iPhone 5 is the shit. I did some customization with my digital assistant, Siri, adding a nickname in my contacts. Now whenever she’s feeling particularly close, Siri will refer to me by the name “Handsome.” So I’ve got that going for me.

The vast majority of my messaging is inane.

I’m responding to people I don’t know about

» Continued on page 12

Seatt le w eekly • NO VEMBER 14−20, 2012

F

“

What would life be like without technology, especially after a week spent gorging on it?

11

Seattle weekly • NO VE MBER 14− 20, 2012

Sleeping With Siri » from page 11

12

things I don’t particularly care about, and wasting my precious life. Much of social-media interaction amounts to follow for follow, like for like. I was just asked to vote for someone’s event company so they could win “Best Wedding Planner of 2012.” Is that why we’re friends?

I meet again with Hazel, sharing my 487 new friends. “That’s great, Stusser. We’ll build on that. And I saw you sent tons of Tweets yesterday! Make sure to add photos or hashtags next time—those get twice as many people to read them,” she notes, updating her status. “Now the networking you’re doing is great, but we need to get you out there.”

“A big part of digital technology is LBS,” she continues. “Location-based services.

Like FourSquare: Every time you’re in a new location—in your case, bars—you need to ‘check in.’ Eventually you can be Mayor and get discounts! You can even check your friends in.” Sounded a bit like stalking. “We also need you live-blogging, and to find you a date at a TweetUp!” Apparently it’s time to leave the house.

Staying true to my constant online presence, I drive and text. (So do you.) Studies have shown that texting and driving is worse than drunk driving. At least when you’re drunk and driving, you’re looking out the windshield and trying to drive.

I’m using an app called Glympse that makes the predator-drone program look like Candy Land. Today I’m meeting my sister for lunch; we “Glympsed” each other and I could track her movements, and even got an ETA. A few blocks from our destination, her pin suddenly disappears. “You dropped off the map!” I scream into the phone, abandoning my vehicle and braving the last few meters on foot. “I don’t know where you . . . !”

My sister’s voice suddenly rings out: “Look up, dork.” She’s standing right in front of me.

“Oh. Hey! This says you’re in Lincoln Park.”

“Well, I’m not. And you were speeding, little brother. You need to slow down.”

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hile the average American “only” deals with about 500 texts per month, in an effort to prove I’m still as virile as a 17-year-old, I am attempting to hit the teen mean (123 per day). It’s taking a lot of folly on my part, including emoticons, ROFL and TTYL replies, and, yes, smiley faces. This one’s a guy with a mustache and a hard-on: ;{)--^<.

Having a decent camera on hand makes it a lot more likely you’ll be taking pictures.

Instagram’s 100 million users have shared more than five billion photos; at Facebook, 200 million pictures are taken and uploaded every single day. Add Flickr, PhotoBucket, Picasa, SmugMug, and WeHeartIt, and you’ve got . . . well, too many photos.

This week I’ve shot everything in sight: rusty bicycles, sunsets, sandwiches, and cats. Lots of cats.

Which brings me to Pinterest. Skewing heavily toward female sensibilities and visual acumen (home decor, fashion, recipes, travel, and Channing Tatum), Pinterest just passed Yahoo as the fourth biggest traffic driver on the Web. What does that mean? People go there, then buy shit. (The site has grown by 5,000 percent in one year.) Women aren’t the only visitors—the most manly man I know pins like a teenager at an American Apparel discount mall: pics of fishing lures, national parks, and Ram trucks. The place is addictive: I just lost three hours of my life pinning on boards for Art Deco, Pickling Jars, Vanity Fair, and Infinity Pools.

Hazel suggests I sign up for a service called Klout that aggregates all your social media and gives you a daily score. “It might give you a better idea of where you can be an influencer,” she explains.

Logging onto the site, my initial score is an 8.

“We can work with that,” Hazel sweetly notes.

I took some time to add my “influencers” and hone my profile: Stephen Colbert (89), the Dalai Lama (90), Bill Maher (88), Chelsea Handler (41), Bill Moyers (83).

L

ife in the clickstream is starting to heat up, and not necessarily in a good way. In an effort to respond to all incoming posts, messages, tweets, texts, and e-mails in a timely manner, I am Pavlov’s dog—without the drooling. Here’s a real-time snapshot: I arrive at Freshy’s cafe at 3:45 p.m., 15 minutes before my graphic designer. I check in on SCVNGR, a location-based game. If I make a napkin origami here, I can earn points toward a free coffee. Two new e-mails—one from an editor I need to get back to and another from Living Social letting me know that laser nail-fungus removal is now only $299 (previously $1,200). I have received an important message from OkCupid: My profile picture was flagged for being inappropriate.

(Isn’t that the point?) Turns out it doesn’t have me in it. Before being able to edit this glaring error, I must reply to three new texts, a +1 in my Google stream, and four comments on my Facebook page.

“Hello, sir. Do you know what you’d like?”

Now I am the idiot in line with my head in my phone, ignoring the human in front of me. “Oh, hi, I’m sorry. I think I have a Groupon . . . ” A friend has seen my FourSquare post and is just down the block.

Do I wish to join him?

My sister has just played “Queer” for 36 points in Words With Friends.

Fauzia has fanned me on HuffPo. “Yes, if I could have a macchiato, with a little extra . . . ” Jaimey likes your playlist on SongZa! Do you wish to share a playlist? My friend shows up. “Hey, I just texted you. Aren’t you supposed to be totally plugged in this week?” I hand my phone to the steaming (not lattes) man at the cash register. “Do you take Square?”

“After only three days, we’re probably not going to see any physiological changes,” notes my doctor, Terrill Harrington, when I

Marty rieMer

Social-media consultant Hazel Cisneros helps Stusser get an online life.

by CalorieTracker (Natalie has cheesecake, while I nibble a crumb that falls off the plate).

Every occasion requires photographic evidence, and our server obliges, even waiting for me to upload the KissCam filter. Though they won’t accept PayPal, I use the Tipulator for closing out. Walking Natalie to her car, we pull up the RU Drunk app, including the straightline test that uses the phone’s accelerometer.

Sober, Taxi Magic is not needed.

As I post pics from my evening, I am approached by a homeless man. A schizophrenic named Jerry, he and I share the same birth year, and not much else. No amount of technology is going to aid Jerry. No status update will change his profile; he’s already tried to “check in” to various shelters—to no avail. We won’t be Facebook friends, or Linked now or in the future. He won’t benefit from One Bus Away or Kayak. There isn’t a Tippr offer that will ease his hunger; no Pin of a fireplace will make him warm.

We laugh as he offers me a Canadian fiver he’s been given. I briefly ponder showing him my Converter+ app, but think better of it.

The cold truth is that he and I live in an everwidening reality, and the five dollars I give him isn’t going to close that gap.

There isn’t a Tippr offer that will ease his hunger; no Pin of a fireplace will make him warm.

I

’ve tried all kinds of advances with Siri, but she’s all business. Ask her to cozy up, and she gives me a nearby Bed Bath and Beyond. More aggressive passes lead to Web searches for escort services, or her fallback, “Now, now.” I’d be surprised if she hasn’t put Gloria Allred on my speed dial.

Regardless of Siri’s professional boundaries, I need to be constantly tethered to the phone, and have found a way to sleep with her—in a platonic kinda way. It’s an app called Sleep Time. Place the phone on the mattress and the accelerometer detects movements throughout the night; an alarm goes off when the “sleep lab” senses I’ve had

» Continued on page 14

Seatt le w eekly • NO VEMBER 14−20, 2012

confront him with my experiment. “Those can take a long time to show up. But I already see you’ve got ‘gamer’s hunch’ from sitting in front of your phone and tablets 18 hours a day.”

“My heart-rate monitor app says it’s 150,” I say. WebMD indicates this may be anxiety; they suggest Percocet or Vicodin. Which is Harrington going to prescribe?

“If you’re feeling jittery, it could be the added stimulation you’re putting yourself through,” he explains. “It used to be the only way we’d know we had a message was to come home and check your answering machine. Now it’s constant. That’ll make you anxious. Let’s check your pulse.” It’s 93.

“Wow! Well, your pulse at rest should be 60 or 70. Ninety is if you’re walking briskly. Let’s check your blood pressure.”

The look on his face tells me things aren’t good. “Your blood pressure is sky-high,” he says, putting my other arm in the device to be sure. “Yeah, it’s 183/110.” (Normal’s closer to 120/80.) “If you said you weren’t feeling well, I’d think about putting you on medication.”

Three months earlier at my annual exam, everything had been normal. “That’s fascinating. You’ve actually got some hard data. Listen, I think this is probably from all the stimulation, and that you’ll be fine, but I want you to take it easy, and come in again later this week.”

“Any chance I can get a medical-marijuana card out of this?” I inquire.

“Get out.”

I refuse to read anything on paper during my Techno-Gorge, and have instead downloaded Michael Chabon’s Telegraph Avenue on a Kindle. My plan is to read half on the e-reader, and the last half on what’s known as a “book” during my Digital Blackout. On a professional level, I don’t care what people are reading on, so long as they read. I spent 10 minutes reading today, but, through no fault of the Kindle, was repeatedly interrupted by incoming messages.

Though I have no chance in hell with her, Natalie has agreed to a date at Branzino, where I now rule as Mayor. Before I can warn her about my digital madness, she’s already knee-deep in her phone. Not wanting to appear uncool, I begin fake-swiping.

Our server offers menus, but I wave her off, as we’ll be perusing the online version.

(Showing the value of human interaction, she nonetheless recites the specials.) We use the BLUSH application to pick our wine, and proceed to photograph and rate each course on Foodspotting. Dessert is decided

13

Sleeping With Siri » FROM PAGE 13

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With the taste of stale Jägermeister on my tongue and a vague memory of singing a Tom Jones tune at Hula Hula, I ask Siri for a hangover remedy. She is completely useless: “Do enough. Since Siri won’t put out, this is the you want me to search the Web for the cure next best thing. for a hangover?”

Speaking of sleep, the National Sleep “NO! MY HEAD HURTS!” I yell at her Foundation found that more than 90 perpulsing icon. cent of Americans are regularly using their “I have found 14 hospitals very near to devices an hour before bed. That’s not a good you,” she replies. thing: Just when your noggin is getting ready Stepping out for some air, a friend Skypes. for beddy-bye, the artificial light stimulates “Did I catch you at a bad time?” In “always relaxation chemicals (melatonin). Bedon” mode, there is no bad time. A car door surfing also raises the risks for diabetes slams and I jump out of my socks; being and obesity. But this week there is no “off constantly connected is making me seriously button.” Snoozing’s for losers. jacked and jittery. The Sleep Time Lab results My desk looks like a combination of John are also ugly: I’m averaging 6 hours and 17 King’s “Magic Wall,” the stock-market ticker, minutes of sleep per night, during which 22 and the Al Jazeera newsroom. While Brian percent of the time I’m sleeping lightly, 22 Williams blathers about “radical Islamic percent I’m awake, 55 percent is Deep REM, protests in the streets” of Libya, a video feed and my efficiency rating is a lousy 78 percent. from the news platform Storyful (“Now Our There’s a reason one out of seven people Turn to Speak”) features local Libyans tellon the planet visit Facebook each month: It ing a very different story. My own “sources” has a relationship component that’s key. It go far beyond the NBC newsroom: Occupyalso giveth and taketh away: I had a falling WallStreet posts their own footage in real time, On the Commons covers breaking news, out with a friend; not a fight, but a misunderstanding—words unsaid, an uncertain FAIR fact-checks the networks themselves, next step. I recently searched for her on my and writers like Margaret Atwood shed friends list. When her name didn’t come light on “non-trending” stories like Russia’s up, I realized she’d unfriended me. My illegal gillnetting that you won’t see in the heart dropped. It’s not all virtual, it’s not all #lamestreammedia. Even when Williams is bullshit. Some of it matters. reporting a story of interest—say, the Mars The term “digital tattoo” refers to the Rover—I’m so far ahead of him after followbehavioral data that can be amassed via a ing the NASAwatch blog and live Curiosity person’s online actions. (Yes, your future feeds that I might as well be the guy in his boss will see the Burning Man photos of earpiece. As for local news, I like Dan Lewis you.) Though I’ve left a digital trail a million and all, but the West Seattle Blog has just miles long this week, Google’s data-mining posted a picture of a guy breaking into my techniques still haven’t figured me out. Just neighbor’s house. because I like looking at Victoria’s Secret Five days in, my life resembles one of those models doesn’t mean I’m buying anything annoying iPhone commercials in which from them. I’m also not picking up a pentfamous actors ask Siri what to do that day. house in Manhattan. My “real self” has But instead of being the cloyingly sweet and offline search habits (Glee and pharmaceutispacey Zooey Deschanel, I’m Samuel L. Jackcals) which will not be shared. As for those son: “Damn, I’m hungry, bitch.” cheap fares to Vegas—well, that’s more like it.

Siri’s reply: “Now, now. I found 14 restauI’ve scanned and bar-coded anything and rants fairly close to you.” The only difference everything in my path with a UPC code. My between me and the weird John Malkovich closest grocery is one of those high-end marad is that, instead of having Siri play Vivaldi, I kets with cooking kiosks and fancy cheese ask for a blow job. celebrations. Without exception, every item I “Ask nice now,” she replies. scan with my ShopSavvy app is considerably “OK, can I please have a blow job?” cheaper a block away at Safeway. The sad part?

“Michael! Your language!”

I don’t move my lazy ass an inch to save a dime.

Siri’s great on specifics (“What movies are “Congrats! You must be doing something playing?” or “Call Susan”), but not so good right, because your influence is on the rise!” when it’s more complicated (“What do you Klout exclaims. Turns out I’m a peer influthink I should buy Susan for her birthday?”). encer in the areas of yoga (thanks to a viral Luckily, the main thing cell-phone users ask about is the weather (47 percent), followed by video I did) and history (due to a book I wrote, The Dead Guy Interviews). Cats? Not local news (31 percent) and then popular videos (29 percent). Which is what I’m watching so much. By reposting my articles in trending topic areas and avoiding other as I drive to the Ben Howard networks like LinkedIn, my Klout concert. score jumped to 53 points. And Howard’s show at the Neptune apparently less is more. A study is packed, and I’m happy not to from Buddy Media suggests keepbe able to hear my phone. Half ing tweets to 100 characters or less. the crowd is filming the set, I As for the number of posts, the assume to later post on YouTube, “TweetSpot” is four per day. After which is where I first got turned that, people begin to lose . . . sorry, on to Howard. At one point I what was I saying? hold up SoundHound to see if I’m an extremely slow reader. the song-recognition software MORE How do I know that? Because works. The app brings up Tom ONLINE Want to live life in the Paperwhite Kindle’s “Time to Jones lyrics. As I exit, I notice no the click-stream?

Read” feature told me so. (Thanks, one’s buying Howard’s merchanScan this QR code Bezos. Maybe I’ll come over to dise or music. I often wonder for a directory of all your house and rip your nerdy how young musicians can make the apps the writer wardrobe.) I only got 68 pages into a living when so much of their used during his Telegraph Avenue, and the book is material is available for free. techno-gorge.

u

»

425 pages long. While I’d like to blame the Kindle’s brightness or hyperlinks or X-Ray functionality, I cannot; I was simply not able to sit down for more than five minutes at any given time. Even when I wasn’t being distracted, my mind was “anticipating the ping,” thus ruining my concentration. Perhaps I’ll have more success next week, when my only distraction will be the sound of my overcaffeinated heart.

There are certain times and places when social media is inappropriate: during sex or yoga, or at the dinner table, the theater, or a funeral. Family friend Leatrice Kraft passed away this week at the age of 83. Though Lee had a wicked sense of humor, I knew I wouldn’t be checking in on FourSquare at tonight’s memorial. Returning home, I decided it was as good a time as any to to begin my Digital Blackout. For some reason I didn’t feel like sharing my solemn mood on Facebook.

Before powering off my iPhone, I sing Siri the chorus from a Led Zeppelin tune: “I can’t quit you, baby, so I’m gonna put you down for a while.” Her purple halo spins, then she replies: “I never said you could.”

I send a final post before going dark: “Digital Blackout this week! No cell phone, no social media, no Internet. You can reach me via land line, U.S. Mail, smoke signals, or drop by for a visit! “ I group e-mail my home phone number and snail-mail address, then sit in silence for 20 minutes staring at a blank computer screen.

R

disconnected numbers, $223, and 18 minutes later, I have two tickets for the show.

Typically when I’m writing an essay, I want to look smarter than I am by tying the topic into some grandiose perspective. And that means Googling it. This week I was fucked: no Wiki, no search engines. How would I include nuggets of wisdom beyond my own? Oh, right: the library.

I often pirate music and check out DVDs at the library, so I know the lay of the land.

The Information Desk, however, is unknown territory. The librarian has that stern—and sexy—glare that makes it clear she’s aware of my outstanding fines. A “Rules of Conduct” brochure sits on her desk like a sheriff’s badge.

I manage to say a few words about my project when she directs me to the bank of library computers. “Yeah, I can’t do that. I’m on a digital blackout.”

Not looking up, she begins surfing the system’s database. “Do you know about Dick Proenneke? He went to Alaska and cut himself off from society.” Before you can say Dewey Decimal, she’s busily writing down numbers and titles; the woman makes Bing look like a beeper.

Transcendentalist poets, Amish authors, off-the-grid living, simplicity, neurological studies. I have to literally stop her brainstorming. “Please, just show me the books.”

I sit in a very tiny chair in the children’s area and lose myself for hours in Henry

In a way, my phone was a big

Seatt le w eekly • NO VEMBER 14−20, 2012

obbie Jeffreys distraction. After a while, you wasn’t one of won’t even remember your friends the kids who on Facebook or whatever. volunteered to participate in the Digital David Thoreau’s journals. I even find a quote Blackout campaign. Rather, he had his cell that might make me seem wise about my newphone ripped out of his soft teenage hands. found awareness this week: “It is not enough “Yeah, I’ve had my phone taken away a bunch of times, actually,” says the ninth-grader to be busy; so are the ants. The question is: What are we busy about?” at Scriber Lake High School in Edmonds.

On my way to checkout, I grab the librar“This last time my mom took it away because I ian’s card: Leslie Sumida, Children’s Librarian. was being super-disrespectful.” He’d been on “Good luck with your project,” she says with a a parent-mandated blackout for almost three weeks, and agreed to be my sponsor during my smile before turning back to the toddler at her arm. Google’s got nothing on her. self-imposed purge.

“Part of being bored is just being OK with it,” “My phone’s like my baby. It was in my my 15-year-old sponsor explains. “I just do stuff hands all the time. It’s how I kept in contact that keeps me busy. I cut wood or go to the gym with my friends, and lots of girlfriends,” he or draw. In a way, my phone was a big distracsays. I ask Mr. Heartthrob how he stayed sane tion. After a while, you won’t even remember while abstaining. “Well, when I think about your friends on Facebook or whatever.” my phone, it makes it worse. Try and do stuff In fact, I haven’t thought of a single Facebook to take your mind off it.” friend this entire week; only 16 of my now 527 As I leave my house going cellular com“friends” do I actually see in the real world. mando, I have dueling emotions: One is liberaI take Robbie’s advice and go to a yoga class, tion, leaving it all behind; the other is the fear where my teacher talks about something else I of being out of range, primarily in case of an emergency. I think about the times I may really haven’t thought about in a while: the sound of my own breath, moving into my chest and lungs. need my cell: if I get a flat tire, if I have a heart Dragging a journal around often brings attack, if someone in my family has a heart unwanted attention. “What is that, your diary?” attack, or if I can’t remember the name of that spits a drunken inquisitor. Whereas you might actor who was in My Left Foot. That’s about it. think a man silently jotting his thoughts down The Internet’s appeal becomes quite apparon paper would create space for the scribe to ent as I attempt to buy tickets for this weekthink, it’s now a strange odyssey, like finding end’s Bob Dylan concert. Without Craigslist or a rotary phone, a jukebox, or a leper. “Are you StubHub, I don’t have a clue how to proceed. grading a paper, or what?”

I could scalp tix the night of, but would preI’ve been journaling for almost 40 years; fer not to be arrested. I’m left with only one writing by hand allows me to flow in a unique choice: 1-800-TicketBastard. And that means way that a voice recorder or keyboard cannot. finding a phone book, a task akin to hunting down an abacus or an 8-track player. Three » Continued on page 16

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Sleeping With Siri » from page 15

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With only one take, you can’t go in reverse, replace the cursor, or insert parenthetical ramblings after the fact. You’ve also got to move fast, or momentum will grind to a halt.

I now realize how much time I spend popping off on my social-media platforms. While I have some tremendously witty friends, I need to turn my own satire into cash money. I may be freelance, but I can’t give it all away for free.

Uninterrupted in my efforts, I’ve had time to go back to half-finished essays and plays I haven’t touched in years. Many of these are crap, which I will wait to post on Reddit.

Focused like a laser, I am checking items off my list: bills (requiring the archaic act of check-writing), toenail clipping, revising a book pitch for my publisher, a Home Depot run, an assignment for Shambhala Sun magazine which can finally get some peaceful attention.

My realtor pulls up in his Range Rover to show me a rental property. As I get in, I hand him a Washington map and an almanac. “If you don’t mind, Kevin, I’d like to find the listings with these.” Powering down his navigational system, he mutters, “This is gonna take awhile.”

For 4,500 years or so, mapmakers have helped us navigate the world. But, lest you forget, for the first millennium cartographers thought the earth was flat. Computer mapping started in the 1960s and GPS (Global Positioning Systems) came along in the ’70s, followed

by Garmin receivers in the late ’80s, MapQuest in the ’90s, and finally, turn-by-turn navigation at the turn of the century.

“Seriously,” Kevin whines, “if this was how I had to find stuff every day, I’d quit my job.”

Even though it makes me carsick, I bravely take over navigational duties. “Whip a U-ey, man.”

“Are you kidding?” Kevin asks.

“Recalculating,” I reply, thrashing the 12-foot map in my hands. Of this there is no doubt: Voice-activated, turn-by-turn navigation is the greatest technological advancement of the Digital Age.

T

he walls of Dr. Sam Browd show an impressive array of diplomas, diplomatic schmoozing, and procreation. In addition to a lovely wife and daughter, one of his children looks like a gorilla.

“You’ve got some interesting family photos, doctor. How, uh . . . how old is that one?,” I ask, pointing at a wrinkled infant.

“That’s the baby gorilla from the [Woodland Park] zoo,” he replies. “She had a neurological problem, so we operated on her. She did great.”

Thank God. I meet with the young neurosurgeon at Seattle Children’s Hospital to see if the Techno-Gorge might have damaged my brain.

“I relate your experiment to my own life,” Browd replies. “People are constantly texting and e-mailing and paging me, 24/7. At the end of the day, that’s not healthy. My son is 18 months old—first thing he does is ask for the iPad. I’m a bit horrified by that, but also amazed. It has this innate reward. It’s something basic that resonates. It’s addict . . . I’m sorry,” he smiles, “I’ve got to take this.”

If anyone should be able to take a call mid-sentence, it’s a brain surgeon. But I have a final question about Siri: Is she making my brain soft?

“Someone asked me the other day for my own parents’ phone number,” Browd replies. “I don’t know it; it’s programmed.

You learn through experience, repetition, by doing things. If you’re relying on technology to retain memories for you, essentially, that probably isn’t good.”

Shortly thereafter, I arrange to have Robbie hauled into the principal’s office for a chat.

“Hey,” he says, clearly out of breath and probably thinking he’d been suspended (again).

“What’s up?”

I explain that I just wanted to touch base.

“I’m five days in, and everything’s so quiet. I don’t quite know what to do with myself.”

Robbie then tells me to calm the fuck down. “I mean, I understand. I have missed out on so many girls and parties—everything—because I’m not texting,” he says. “So that sucks. But you just need to relax. All the drama on Facebook or whatever, it just used to get me in trouble. I didn’t even know a lot of people who were posting on my wall. Now it’s better, ’cause if someone wants to talk to me, they have to do it in person.”

The difference between getting something via snail mail and opening an e-mail is like the difference between a visit from Kate Beckinsale or Snooki.

One of the people I like to hang out and listen to records with (in person) is my friend Michael Don Rico. Michael’s been in the restaurant business for years, and loves the way great food and wine can bring people together. He also thinks smartphones are sucking the life out of something important.

He proceeds to tell a story: “The other day I was opening a bottle of wine, and this woman mentioned an item on the menu: chanterelle mushrooms. People at the table started to discuss the word. Was it French?

Had it been the name of a movie? Before the conversation could branch out, this guy pulls up the definition on Wikipedia: ‘I know! I have the answer! Genus is Cantharellus formosus. Commonly known as chanterelle, or golden. Edible, meaty, nutty.’ And the mystery was gone. The romance of that moment never had a chance to play out.”

Instant results don’t allow our brains to flex their muscles, to recall a name or face or place. What’s worse is that we don’t get to debate or free-associate. Michael set the needle down on a Fugees album. “Where do you think the name ‘shiitake’ came from?” I inquire. The conversation that followed was neither accurate nor informative, but we laughed our asses off.

The difference between getting something via snail mail and opening an e-mail is like the difference between a visit from Kate Beckinsale or Snooki. While there are advantages to quick, easy, and disposable, First Class is, well, first class. E-mail is clearly what’s killing the post office, so, as a public service, I ask my friends to write me letters this week—and each and every person complains about what a physical hardship it would be to hand-scribe a communique. My total mail haul: eight credit-card offers, seven realtor

» Continued on page 18

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Sleeping With Siri » from page 16

Seattle weekly • NO VE MBER 14− 20, 2012

18

P

Marty rieMer

cards, 15 bills, four magazines, three ValuPacs, six nonprofit solicitations (tree-killers all!), and four personal letters (two from the same beautiful, fabulous person). I reply to each. By the end, my hand is killing me.

I ask Jenny if she’ll dine with me in the dark. While not one of those sensory events where they seat you in a pitch-black room and serve you dinner while you blindly grope your companion and silverware, a blackout would be an opportunity to get to know someone without distraction.

For Jenny, a professional recruiter and the single mother of an 11-year-old, a blackout—if only for an evening—is an unusual and risky choice. (Her babysitter had the name of the restaurant if all hell broke loose.) “This is seriously nerve-wracking,” she notes, setting her purse on the floor. “What am I supposed to do with my hands?” I keep my suggestions to myself.

During dinner, we look at each other—a lot.

We wind up talking, almost too much. Where spare moments had previously been filled with screen time, we have to—gasp—make eye contact. (Hers are a beautiful teal with a halo of amber circling like Saturn rings.)

At one point I get nervous and engage the couple next to us in conversation. (Bad idea.) I tell a story I hadn’t remembered until now. Feeling energized and liberated, we take a long walk after dinner, holding our phone-free hands and enjoying the uninterrupted intimacy.

“Would you do this with me again?” I ask.

Powering up her phone, she replies, “Text me and find out.”

eople give me crap about the fact that I still take home newspaper delivery. Yes, I realize the content is available online, and that it’s far more up-to-date than by the time I grab my soggy copy from the porch. But there’s something I like about the layout, crunching the pages back, getting inky from news that’s literally at my fingertips. Plus, I feel the need to keep a few fellow old-school journalists employed.

Books, for some reason, are a different story—I’m not able to turn the pages. I’m on page 123 of my hardback copy of Telegraph Avenue. (For those keeping score, I’ve read 66 pages on the Kindle, 55 pages in book form.) I’d like to blame all the digital distractions, but there aren’t any. I’m simply a slow reader, easily sidetracked by hunger, sleep, and my own monkey mind. Perhaps I should try books on tape.

By the time I hit the Bob Dylan concert Saturday night, I’m a million miles from my overly stimulated, Techno-Gorging self. I no longer grab for my phantom phone or feel the need to check in with anyone other than the person I’m with. The show is pleasantly low-tech.

There are no giant projection screens or psychedelic lights, and, unlike at the Ben Howard gig the week before, only a smattering of folks are shooting video. Instead of wanting to take a piece of Mr. Tambourine Man and post him on

Dr. Sam Browd can’t remember his parents’ phone number.

the Web, most of us are there to connect his live renditions with memories of the past.

Midway through Dylan’s set, I see a guy in front of me writing out a set list. I ask him the name of the previous song, a bluesy ballad I’d never heard. “That was ‘The Lonesome Death of Hattie Carroll,’ ” Hairy Garcia replies. “You can check ’em later—I post all Bob’s set lists at Boblinks.com.” The times, they are a-changin’.

I’m not staying blacked out. I’ll keep a game of Words With Friends going, if only to stave off dementia, and I’ll post some pics and links if I have a major accomplishment (Oscar), announcement (baby), or plea (bail money).

But I won’t be “liking” the photo of your dog in a Santa hat, I won’t be posting “Happy Birthday!” on your wall (if you’re a real friend, you’ll get flowers), and I won’t poke you unless we’re lovers, in which case our relationship status should be obvious. I won’t invite you into my Circle or Stream unless we’ve met in person, and I won’t follow you unless you’re a mentor or someone ahead of me on the trail. I’m not checking in, unless it’s to rehab, in which case I’m hoping you’ll see it on TMZ. I’m done Digging and Pinning and Yelping and Blogging and Tagging and Stumbling. If I’m going to be “part of the conversation,” it’ll be from across the table. I’ll still be linked in, but to my life, not my network. And my Klout score will definitely fall, but so will my blood pressure.

During my two-week experiment, I asked every person I encountered what they love about technology. My good friend Marty put things in perspective: “I was driving down to Portland with my family, and someone mentioned that Venus was going to be bright in the night sky—right above the North Star. Well, I had no clue where the North Star was, so I got this app that shows all the constellations.

I got out of the car with my kids and held up the phone, and—boom!—it pointed out exactly where the North Star was, and Venus, and all the constellations around us. That was super-cool.”

That’s the perfect balance: Let technology help point you in the right direction. Then, once you have your bearings, set the phone down, put your arm around your kids, and stare in wonder at the stars.

Indeed, “the fault, dear Brutus, is not in our stars, but in ourselves.” Who said that?

Google it. E news@seattleweekly.com

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BOOKS

No End in Sight

Now that the election is over and won, there’s the matter of two long, bloody, unfunded wars to end. Pulitzer-winning journalist Thomas E. Ricks has had much to say on those conflicts in his highly critical (and highly praised) Fiasco and The Gamble. His latest effort has a longer historical reach: The Generals: American

fri/11/16 STAGE

A Taste for the Felt

Military Command From World War II to the Present (Penguin, $32.95). Still, in discussing

Eisenhower and his khaki company, present context counts for a lot. Ike was the exceptional leader who achieved greatness in uniform and out; it was he who warned against the military-industrial complex, how the Cold War would become a self-perpetuating sinkhole for tax dollars better spent on social programs.

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Flow State skiers march into Norway.

Tanya Wideman and Donald Williams of the Dance Theatre of Harlem.

DANCE

Dancing About Politics

Dance Theatre of Harlem was founded in

1969, not long after the death of Martin Luther King, Jr., but went into a self-imposed hiatus in 2004. The company is back just in time for some pointed conversations in the dance world about the dearth of black performers in major ballet companies. Founder Arthur Mitchell, himself a principal dancer with the New York City Ballet, was bent on proving that African-Americans can dance ballet. Current director Virginia Johnson has to balance that mission with the demands of defining ballet itself in a changing cultural landscape.

FRI: FILM

Winter Soldiers

ALEX WITKOWITZ

Stuck in the middle of Flow State , the annual Warren Miller ski movie, is a welcome little history chapter on the 10th Mountain Division, whose troops learned to ski on Mt. Rainier and near Vail, Colo., where vintage color footage shows GIs training before Pearl Harbor. Their white camouflage rucksacks are bulging and they carry heavy rifles, yet some manage surprisingly graceful turns. After the war, these storied vets would create the modern ski industry—and a few of these octogenarians are still skiing, as they testify here.

Then a grandson heads into the mountains with 1940s equipment—bear-trap bindings, narrow wood skis, screw-on edges, climbing skins made of real sealskin—and discovers how tough those old soldiers really were. “The skis just don’t want to turn!” he exclaims after repeatedly crashing. How much easier the sport is now with modern gear, as documented in the rest of the snowy compendium, which travels from Japan to the Alps and Alaska.

Virtually every skier now has a GoPro camera mounted on their helmet, and the modern ski arsenal also typically includes an iPhone, a GPS, and an avalanche transceiver. Still, the simple pleasure of schussing remains the same even if, in the film’s final Norway segment, winter itself is under assault. Global warming is belatedly addressed, and Flow State asks, “If the Arctic ice is going, could the snow be next?” Not this season, we hope. McCaw Hall, 321 Mercer St. (Seattle Center), warrenmiller.com. $22.50. 8 p.m. (Repeats Sat.) BRIAN MILLER

Tonight’s three-part program includes a new work, Contested Space, by Spectrum Dance Theater director Donald Byrd, no stranger to controversial topics. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $25–$73.

8 p.m. (Repeats Sat.) SANDRA KURTZ FILM

Native Sprecher

Fleeing the Nazis, Billy Wilder arrived in the U.S. in 1933 speaking hardly a word of English; today he’s considered one of the greats of postwar American cinema. His 1950 classic Sunset Blvd. shows just how well he adjusted to the vernacular of his adopted country, boasting more great lines than an average yearful of movies. Co-written with Charles Brackett , the film is a black, venomously funny take on Hollywood—its dreams, delusions, and deceits—and probably the best movie ever made about that industry town. In it, jaded screenwriter William Holden becomes the gigolo to former silentera star Gloria Swanson, who embodies Hollywood’s faded glory. Though filled with memorable quotes (“I am big. It’s the pictures that got small”), some of the movie’s best bits are wordless: Holden’s look of disgust as he beds Swanson; his corpse floating in the pool. Then there’s the famous “waxworks” card-playing scene in which Buster Keaton speaks one of his very few lines of dialogue. Wilder gave him only one word— “Pass”—which Keaton utters with lemonlipped disgust at the fallen state of Hollywood. (Through Wed.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8. 7 p.m. BRIAN MILLER

Seatt le w eekly • NO VEMBER 14−20, 2012

If you can’t wait for The Book of Mormon to arrive in January, head over to Balagan Theatre’s staging of Avenue Q , which opens tonight. It’s the 2003 Sesame Street-foradults puppet musical that won the same big Tony Awards that Mormon would take eight years later (Best Musical, Book, and Original Score), but it’s far sweeter, funnier, and more tuneful than its cheerfully blasphemous

Fifty years after that famous White House farewell speech, we’re still trying to balance those priorities, to pay the war bills that W and the neocons would not.

In his new book, Ricks describes the cost of keeping bad generals at their command (think Douglas MacArthur), both in terms of blood and money. If you’re not willing to change military leaders, he argues, expensive wars drag on forever.

Seattle Central Library, 1000 Fourth Ave., 3864636, spl.org. Free.

7 p.m. BRIAN MILLER

EDUARDO PATINO

descendant. And the show presents a special challenge for Balagan’s actors: How to give performances without upstaging . . . themselves. Or rather, the furry monsters they’re bringing to life. Some of the puppets require two people to manipulate, but it’s often a oneperson task, which the ensemble had about seven weeks of rehearsal to master. “They’ve come in with vastly different backgrounds when it comes to working with puppets,” says assistant director Doug Willott, who himself has 13 years of puppetry experience. “Some have used them in shows, some are big fans of the Muppets, and some are getting their first real taste for the felt. Fortunately, they’re all very dedicated.” Though co-composer and -lyricist Robert Lopez, who also co-created Mormon, cited the South Park movie as a major influence, the irreverence of Avenue Q feels more, well, necessary. How better to get an audience full of jaded grown-ups to absorb life’s complexities than to send them out singing, “Everyone’s a little bit racist, all right?/Bigotry has never been exclusively whi-i-iiiite”? (Through Dec. 15.)

Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050, balagantheatre.org. $20–$25.

8 p.m. STEVE WIECKING

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P R AT T F I N E A R T S C E N T E R invites you to the

arts»Visual Arts »Review

Shaken to the Bore

The Frye’s local survey show leaves us unmoved.

By Brian Miller

N

NOVEMBER 17 – 24

p10 AM – 7 PM

1902 SOUTH MAIN STREET SEATTLE, WA 98144

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A LAUGH-OUT-LOUD MUSICAL

Arrive early for pre-show cocktails.

Stay late for a photo with Mr. Dangerous himself!

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Sarajevo in the ’90s, or Kabul today. (Or the cover of Led Zeppelin IV.) Simpson also ventured into environmental art during the ’70s, depositing china in the polluted tidewaters of Elliott Bay and beyond, then removing it 18 months later to re-fire in a kiln. The toxic abuse and degradation are thus preserved, and you could possibly eat off these dishes today—maybe even serve fish caught from Puget Sound, so much cleaner now.

Brian Miller

Eat, drink, be merry and shop !

obody wants to call a group show a group show, because that sounds too dull. If there are a dozen or more artists working in diverse media and styles, how can you possibly put a unifying rubric on the mob? Still, it has to be done. Over at SAM, we get the idea: Elles = female. Simple. The Frye’s new all-local exhibit takes the opposite tack in labeling its omnibus Mw [Moment Magnitude], “the scale used by seismologists to measure the size of earthquakes in terms of energy released.” (It’s the successor to the Richter Scale.)

Got that? Are you ready for some science? Look out, Burke Museum, the Frye is coming after you!

But this is not to be. There is no science in the show, which involves about two dozen artists and performers, and there is no math. I seriously doubt anyone involved could explain a logarithmic scale. Artists sleep through geology class because they were up late creating stuff the night before.

So get past the recondite name, ignore the word-salad wall cards purporting to explain each gallery, and you’re left to look at the art— good and bad, old and new. (For the music and performance schedule, see the Frye’s website.)

Pause before you enter the museum, and you’ll notice a robot careening around the reflecting pool. Built by Robb Kunz, gently playing music

by Jherek Bischoff, it’s like an aquatic cousin to R2-D2 and WALL•E. It’s an endearing little bit of mad science that has you wishing for more of a laboratory to follow. (There’s an easy theme for you—robots!)

Inside, one of the best and weirdest pieces hangs from the ceiling. It’s a fiberglass rendering of Saddam Hussein’s famous “spider hole,” cast from its outline like a bright yellow cocoon

by Leo Saul Berk. Negative space has been reversed, so that the gallery corresponds to the ground and the ceiling to the surface. This Spider Hole seems oddly divorced from history (has it really been nine years since the war began?), an object wrenched out of context.

All you’re left with is the bizarre form—like some historical ghost, a forgotten term of war like Maginot Line or Gulf of Tonkin. (There’s another ready-made theme—war.) I also like Berk’s glowing green light-box photos taken through the uneven brickwork of a childhood home in Illinois. They too have a subterranean aspect, like catacombs.

There’s also a desolate quality to the photographs and ceramics of Buster Simpson.

In one shot, taken in 1974 in Post Alley, he’s depicted like a peasant foraging for firewood in the rubble. The scene could be 1946 Berlin,

Kunz’s Andromeda Strained.

From the ’80s, Cris Bruch’s shopping carts and hobo camp also feel like politically engaged artifacts. (Theme alert! Consumerism and Its Discontents.) One of Bruch’s most striking carts, wrapped in steel like a miniature tank, greets you in the Frye’s rotunda entrance. Attention Shoppers would be useless at Safeway, since you can’t put anything in it, but there’s a kinship to Kunz’s Andromeda Strained floating outside. Both seem like objects that might outlive their creators and outlast civilization—or maybe it’s just Superstorm Sandy that’s got me thinking that way. (Disaster Art, anyone?)

Moment Magnitude is intended to celebrate “Seattle as a global epicenter of creative activity,” and it concludes the Frye’s series of 60th-birthday events this year. It would’ve been too obvious to do a ’52/’12 juxtaposition of art created back when and today; that approach would’ve yielded no more (or less) quality than Moment Magnitude, which feels cacophonous with too many music videos and cluttered with dull detritus.

There are no shocks here, only a few welcome tremors. E bmiller@seattleweekly.com MoMent Magnitude Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.–7 p.m. Thurs.; 11 a.m.–5 p.m. Tues.–Wed. & Fri.–Sun. Ends Jan. 20.

arts»Visual Arts

by Ma’Chell DuMa laVassar

Openings & Events

Best of the northwest Art & fine CrAft show Some 250 Northwest artists are featured.

Shop for handcrafted jewelry, clothing, paintings, and sculpture. Live music and wine tastings are also on offer. nwartalliance.com. Pier 91. $6–$8. Fri., Nov. 16, 10 a.m.–6 p.m.; Sat., Nov. 17, 10 a.m.–6 p.m.; Sun., Nov. 18, 10 a.m.–5 p.m. george Divoky In conjunction with the show Equine, Bovine, Canine, Feline . . . , he speaks about his studies of seabirds in arctic Alaska, which began in 1970.

Prographica, 3419 E. Denny Way, 322-3851, prographicadrawings.com. Thurs., Nov. 15, 7 p.m. eAfA AnnuAl open exhiBition Liana Bennett judges this diverse group show, featuring other members of the Eastside Association of Fine Arts. Opening reception: 2–4 p.m. Sat., Nov. 17. Seattle Design Center, 5701 Sixth Ave. S., 762-1200, seattledesign center.com. Mon.–Fri., 9 a.m.–5 p.m. Through Jan. 4. expo 90 Cairo promises “three nights of art, music, and excellent vibes from some of the Northwest’s brightest and most interesting creative minds.” Cairo, 507 E. Mercer St., cairocollectionseattle.com. Opens Nov. 15. Thurs.–Sat., 6 p.m. Through Nov. 17. group show The gallery presents works from shows mounted in 2012 and a preview for next year.

Featured artists include Jacqueline Barnett, Jill Bullitt, Marita Dingus, Emily Gherard, Mar Goman, Denzil Hurley, Dale Lindman, Merle Martinson, Robert Storr, Laura Thorne, and Margaret Watson. Reception 2–4 p.m. Sun., Nov. 18. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com.

Opens Nov. 16. Tues.–Sat., 11 a.m.–5 p.m.; Sun., 1–5 p.m. Through Dec. 23.

Jeffry MitChell Local subject of the Henry’s current career survey, Like a Valentine, he’ll talk about his work and practice. Cornish College, Main Campus Center, 1000 Lenora St., 726-5069, cornish.edu. Mon., Nov. 19, noon–1 p.m. kAC holiDAy reCeption Meet and mingle with local artists with works currently on view. Kirkland Arts Center, 620 Market St., Kirkland, 425-822-7161, kirklandartscenter.org. Sat., Nov. 17, 5–7 p.m. eriC MeAD & pAulA stokes In Transformation, Mead works in glass to follow the patterns of Stokes’ paintings. Artist reception, 6 p.m. Wed., Nov. 14.

Call for hours. Shift Collaborative Studio, 306 S. Washington St. (Tashiro Kaplan Building), 547-1215, shiftstudio.org. Through Dec. 1. prAtt AnnuAl holiDAy Art sAle Featuring works by local artists in all media. Pratt Fine Arts Center, 1902 S. Main St., 328-2200, pratt.org. Nov. 17–24, 10 a.m.–7 p.m. susAn roBB She will create sculptures with local, national, and international artists, using Skype video calls in this interactive performance piece. Come watch her work on Dec. 1 and 15. Cornish Alumni Gallery, 1000 Lenora St., 726-5011, cornish.edu. Mon.– Fri., noon–5 p.m.; Sat., noon–4 p.m. Through Dec. 15. sprinkles of Joy Lynnwood High School Life Skills Special Education students emulate Jackson Pollock’s drip-painting technique in this group show. Artists’ reception: 11:30 a.m.–1 p.m. Wed., Nov. 14. Schack Art Center, 2921 Hoyt Ave., Everett, 425-257-8380, schack. org. Mon.–Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.–5 p.m.; Sun., noon–5 p.m. Through Jan. 3. woMen AnD the visuAl In this special lunchtime discussion, sponsored by Cornish and SAM, a panel of Seattle artists consider the influence of critics John Berger and Laura Mulvey on women as both creators and objects of art. Cornish College, Main Campus Center, 1000 Lenora St., 726-5069, cornish. edu. Fri., Nov. 16, noon–1 p.m.

opens 11 •17 •12

open: the BAM Biennial 2012: High Fiber Diet; Modern Twist: Contemporary Japanese Bamboo Art; and Nikki McClure: Cutting Her Own Path. Come celebrate with KEXP DJs Riz & Alex Ruder, indie band Ravenna Woods, drinks, and more. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $8–$12. Fri., Nov. 16, 8 p.m.–midnight. ernesto BAzAn He shares his photographic stories and new book, Al Campo, five years of work portraying farms in Cuba. Lecture: 6 p.m. Sun., Nov. 18. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. Opens Nov. 18. Sun.–Tues., 9 a.m.–5:30 p.m. Through Nov. 20.

EMP MUSEUM

• BAMignite Three new (or newish) shows are now

•

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

•

rock royalty Featuring handwritten lyrics, personal instruments, original photographs, outrageous outfits, and rare concert footage, Hear My Train a Comin’: Hendrix Hits London celebrates the iconic musician’s 70th birthday by inviting viewers to discover how Hendrix achieved prominence across the pond.

325 5TH AVENUE N AT SEATTLE CENTER • EMPMUSEUM.ORG

Seatt le w eekly • NO VEMBER 14−20, 2012

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An Unconventional Art Gallery

arts»Stage

Signed Prints by Eileen Sorg

Jensen gets his Tevye on.

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Prints & Paintings by NW Artists

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»Review

The Wanderers

Tevye and company return for the holidays.

By MargareT FriedMan

Seattle weekly • NO VE MBER 14− 20, 2012

H

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aving avoided Fiddler on the Roof for several decades (owing to an ill-starred high-school production involving a major set mishap and paramedics), I was gratified by this sweet, solid, and occasionally stolid production of the 1964 hit. Based on Sholem Aleichem’s stories of imperiled shtetl (village) life in Czarist Russia, Fiddler mines themes that resonate not only with Jews but with any culture struggling to preserve its traditions against modernization/globalization/call it what you will.

When patriarch Tevye (the likable Eric Polani Jensen) gathers with the men of the village to determine his daughter’s matrimonial fate, is that so different from the old arranged marriages of India, Africa, Asia, or medieval Europe? Challenged by someone else’s new personal freedom, elders’ forefingers rise to the reactionary anthem “Tradition!”

Speaking of tradition, the tradition of Chagall-inspired imagery persists in gloriously whimsical, richly colored banners by Julia Franz that counterbalance Cynthia Savage’s appropriately drab peasant costumes. Rick Paulsen’s lighting casts a sepia glow on the spiritual moments, including “Sunrise, Sunset” and the touching duet “Do You Love Me?” between Tevye and his kvetching wife (the excellent Bobbi Kotula).

Harsher rays are cast on confrontations

with the career-minded constable (Daniel Reaume) and on Tevye’s lurid dream, here animated with a scary, supersized ghost puppet.

Director David Ira Goldstein nicely balances the villagers’ fatigue and the energy required for the musical numbers. (Though one expects higher kicks from the dancing Russian soldiers, considering they’re not doing physical labor all day.) As Tevye’s

Director David Ira Goldstein nicely balances the villagers’ fatigue and the energy required for the musical numbers. daughters get with the times, slipping away from his control like sand running through his fingers, so also is his familiar patch of earth yanked from beneath him. He and the remains of his community trudge away on a rotating floor, a mandala of sorts, perhaps toward better things in America—or maybe more rude awakenings. E stage@seattleweekly.com FiddleR on the RooF Village Theatre, 303 Front St. N., Issaquah, 425-392-1942, villagetheatre.org. $22–$63.

Runs Tues.–Sun. Ends Dec. 30. Moves to Everett Performing Arts Center Jan. 4–27.

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Ngũgĩ wa Thiong’o: ‘In the House of the Interpreter’ (11/14) w 16th Annual King County Mental Health & Substance Abuse Legislative Forum (11/15) w Book Club Pick: Marty Makary: What Hospitals Don’t Tell You— But Should (11/15) w The 12th Annual Bent Mentor Showcase, Featuring Mia Mingus (11/16) w Puget Sound Symphony Orchestra: Fall Concert (11/17) w The 12th Annual Bent Mentor Showcase, Featuring Mia Mingus (11/17) w Scratch Night: Blood on the Manuscript (11/18) w Jeff Speck: Creating Walkable Cities (11/19) w Peter Hoffmann: How Molecular Machines Extract Order from Chaos (11/19) w Pacific Science Center: Wrath of the Gods: Disease and Deceased in the Ancient World (11/20) w Yanis Varoufakis: Debt Crises & the Future of the World Economy (11/20)

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Final Weekend!

Closes Sun. Nov. 18

Nov. 1–18, 2012 Performed at the Playhouse

Ticket Office: 206-733-8222 www.seattleshakespeare.org

Written by Langston Hughes Directed by Jacqueline Moscou

Choreography by Jamel Gaines Musical Direction - Pastor Patrinell Wright

TickeTs on sale now!

DECEMBER 6-23, 2012 THE MOORE THEATRE STGPRESENTS.ORG

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Seatt le w eekly • NO VEMBER 14−20, 2012

By William Shakespeare | Directed by John Langs

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arts»Performance b y G av i n b o r c h e r t

Stage openings & events

Aloud Self-generated work by students in Freehold

Theatre’s after-school program. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., freeholdtheatre.org.

Donation. 4 & 7 p.m. Sat., Nov. 17.

Avenue Q SEE THE WIRE, PAGE 21.

FAllen Angels A 1925 Noel Coward comedy about two married women who discover they’re having separate affairs with the same man. Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. Preview Nov. 15, opens Nov. 16. 8 p.m. Thurs.–Sat. Ends Dec. 15.

The hAbiT All-new sketch-comedy from this quintet. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 800-838-3006, thehabitcomedy.com. $17. Opens Nov. 16. 8 p.m. Fri.–Sat., plus Thurs., Nov. 29. Ends Dec. 1. how They ATTAck us Kevin McKeon’s dark comedy about paranoia and conspiracy theories. New City Theater, 1404 18th Ave., 800-838-3006, newcitytheater.org. $16. Opens Wed., Nov. 21. 8 p.m. Thurs.–Sat. Ends Dec. 15.

The RiveRboAT Runs AgRound Wes Andrews’ solo memoir show about growing up in Alaska. Empty Sea Studios, 6300 Phinney Ave. N., emptysea.com. $12–$15.

8 p.m. Sat., Nov. 17. scRooge: The MusicAl Dickens, with Leslie Bricusse’s score. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattlemusicaltheatre.org. $35–$40.

Opens Nov. 16. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., Dec. 6. Ends Dec. 9.

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© Chris Bennion

“The Granddaddy of all holiday shows.”

– The Seattle P-I

Nov 23 – Dec 30 Bladfold & The Shelf Nov 16-17

David Nixon, filmmaker, musician, and philosophy professor, uses music and animation to share two true stories about his family.

Caught in The ACT Dec 3

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Seattle Confidential Dec 3

Seattle anonymously shares its life stories. This quarter’s theme: Ghost Stories (or the Afterlife).

Oedipus El Rey Dec 6-16

Gangs vs. The Gods. Fate collides with the barrio. eSe Teatro presents this Chicano take on Oedipus.

WI

NNER

See more and save with an ACTPass!

acttheatre.org | (206) 292-7676 700 Union Street, Downtown Seattle

popular mashup of Dickens and Conan Doyle. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $22–$37. Previews Nov. 16–17, opens Nov. 23. 7:30 p.m.

Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Dec. 29. sToRies FoR bAd childRen “Celebrating the naughty boys and girls of the fairy-tale world” via puppets, bellydance, and much more. West of Lenin, 203 N. 36th St., voxfabuli.com. $15. 8 p.m. Thurs., Nov. 15–Sat., Nov. 17.

The wizARd oF oz As that much-forwarded meme has it, a woman travels to a foreign land and kills the first person she sees, then teams up with three strangers to kill some more. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Preview Nov. 15, opens Nov. 16. Runs Thurs.–Sun., plus Wed. over the holidays; see sct.org for exact schedule. Ends Jan. 6.

current runs

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Dance coRnish dAnce TheATeR Work by Danielle Agami,

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Camille A. Brown, Pat Hon, and Wade Madsen. Broadway Performance Hall, 1625 Broadway, cornish.edu. $5–$10.

8 p.m. Fri., Nov. 16, 2 & 8 p.m. Sat., Nov. 17. cedAR lAke conTeMpoRARy bAlleT SEE THE WIRE, PAGE 21. dAnce TheATRe oF hARleM SEE THE WIRE, PAGE 21.

Classical, Etc.

• MeTRopoliTAn opeRA AT The Movies Otello,

Verdi’s tragic masterpiece. See metopera.org for participating theaters. $24. 6:30 p.m. Wed., Nov. 14. seATTle syMphony Emanuel Ax plays Brahms’ vast Piano Concerto no. 2; Ludovic Morlot also conducts Dutilleux and Strauss. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Nov. 15, 8 p.m. Sat., Nov. 17, 2 p.m. Sun., Nov. 18. kARen benTley pollick “Violin, Viola, and Video Virtuosity” is her multimedia concert of commissioned works. Chapel Performance Space, 4649 Sunnyside Ave. N., kbentley.com. $5–$15. 8 p.m. Fri., Nov. 16.

Music oF ReMeMbRAnce Ludovic Morlot conducts Viktor Ullmann’s allegorical opera The Emperor of Atlantis, composed in Terezin. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, musicofremembrance.org. $36.

8 p.m. Fri., Nov. 16, 6 p.m. Sun., Nov. 18. pugeT sound syMphony Symphonies by Haydn (#96) and Shostakovich (#5). Town Hall, 1119 Eighth Ave., psso. org. $6–$11. 7:30 p.m. Sat., Nov. 17. seATTle opeRA young ARTisTs SEE EAR SUPPLY. gAMelAn pAciFicA Cornish’s Indonesian percussion orchestra. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., Nov. 17.

JAAn deMenTyevA Piano works by Tchaikovsky and Rachmaninoff. Seattle Central Library, 1000 Fourth Ave., spl.org. Free. 2 p.m. Sun., Nov. 18. philhARMoniA noRThwesT Sean Osborn plays Jean Francaix’s Clarinet Concerto. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 675-9727, philharmonianw.org. $12–$18. 2:30 p.m. Sun., Nov. 18.

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seATTle bAch choiR/MosAic bRAss QuinTeT

Music of many centuries, from Hildegard to Janika Vandervelde and more. Trinity Episcopal Church, 609 Eighth Ave., seattlebachchoir.org. $15–$18. 3 p.m. Sun., Nov. 18.

FRench connecTions Music by Impressionist composers and those they inspired. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 4:30 p.m. Sun., Nov. 18.

AnTony And cleopATRA As the doomed lovers, Hans

Altwies and Amy Thone (spouses in real life) bring way more brain than sensuality to the titter-prone tragedy.

Likely this is director John Langs’ cerebral concept, but if we don’t feel the oceanic pull of libido, the story doesn’t make sense. Langs’ staging does elegantly sort out the factionalism among co-rulers Octavius Caesar (an emotionally austere Darragh Kennan), Republic advocate Pompey (Mike Dooly), and Antony, though more cutting would better suit this somewhat tabloid-y spoof approach to the tale. MARGARET FRIEDMAN Intiman Theatre, Seattle Center, 733-8222. $22–$45. 7:30 p.m. Wed.–Sat., plus some weekend matinees; see seattleshakespeare. org for exact schedule. Ends Nov. 18.

AudRey & nelson Bret Fetzer’s late-night puppet sex musical—“a simple story of a straight boy and girl who meet at a gay club and end up in bed together”—with songs by Dude York’s Peter Richards. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10.

11 p.m. Fri.–Sat. Ends Nov. 16. cARdenio A “Hard Bard” production, which ups the gore quotient, of this drama attributed to Shakespeare. Seattle Center Armory, 305 Harrison St., greenstage.org. Free.

Runs 7:30 p.m. Thurs.–Sun. Ends Nov. 17. dAnny, king oF The bAseMenT David S. Craig’s play about imagination, reality, and a difficult childhood.

Seattle Children’s Theatre, Seattle Center, 441-3322. $25–$36. Runs weekends and some Thurs.; see sct.org for exact schedule. Ends Nov. 18.

FiddleR on The RooF SEE REVIEW, PAGE 24.

The glAss MenAgeRie There’s nothing remotely realistic or contemporary about Tennessee Williams’ sad reminiscence of unrequited love, told through a hazy reverie by Tom Wingfield (Ben Huber), who’s beset by his faded socialite mother, Amanda (Suzanne Bouchard),

•

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

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EarSupply

» by gavin borchert

Pole to Pole

Wacky as its plot is, Verdi’s Un giorno di regno (“King for a Day”) does seem to contain a grain of actual historical truth. Apparently in 1733 King Stanislaus of Poland, exiled to France, asked someone to impersonate him while he snuck back to Warsaw to reclaim his throne.

This 1840 comic opera imagines what the impersonator, Belfiore, might have gotten up to while in disguise—arranging the marriage of two couples, one member of which is his mistress. Will Belfiore reveal his identity and betray the real king, or will he stand by as the woman he loves weds someone else? The notorious failure of Un giorno’s opening night basically put Verdi off comic opera for a half-century (until his final masterpiece, Falstaff ). What was the problem?

Probably not the music: The young composer’s bumptious, oom-pah style, which can raise unintentional laughter in his tragedies, raises intentional ones here. (Hearing the overture for the first time, I literally giggled.) More likely it was the scrappy, miscast performance—a problem we won’t have this weekend as Seattle Opera’s

ELISE BAKKETUN

Seattle weekly • NO VE MBER 14− 20, 2012

TheFilmSchool presents staged screenplay readings. Up next: How to Get to Heaven From Jacksonville, Florida by Michael Breen and Alec Whittle.

sheRlock holMes And The cAse oF The chRisTMAs cARol SW alum John Longenbaugh’s

and his handicapped sister, Laura (Brenda Joyner). She spends her days pining after a man several social strata beyond her grasp, only to discover that the co-worker her brother is bringing for dinner is the dreamboat in question, Jim (Eric Riedmann). Laura’s broken heart and busted glasswork are refracted through brilliant set and lighting design, by Mikiko Suzuki MacAdams and L.B. Morse, respectively. KEVIN PHINNEY Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$70. 7:30 p.m.

Wed.–Sun. plus select matinees; see seattlerep.org for exact schedule. Ends Dec. 2. lAndscApe oF The body In John Guare’s lurid 1977 comedy, a ghost haunts her sister, who has plenty of other problems to contend with. Meany Studio Theater, UW campus, 543-4880, depts.washington.edu/uwdrama. $10–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Nov. 18.

A Mouse who knows Me A musical set in a genetics lab. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$15. 8 p.m. Thurs.–Sat. Ends Nov. 17. ’nighT MoTheR KTO Productions presents Marsha Norman’s 1983 Pulitzer-winning drama. Odd Duck Studio, 1214 10th Ave., ktoproductions.net. $12–$15. 7:30 p.m.

Thurs.–Sat., plus Tues., Nov. 13. Ends Nov. 17. poisoning pigeons in The pARk With a gift for musical pastiche and a deadpan performing style, singer/songwriter Tom Lehrer sent every sacred cow of the 1950s straight to the abattoir, especially the big three: race, sex, and the Cold War. His satirical tunes live on in this revue. Market Theater, 1428 Post Alley, unexpectedproductions.org. $15–$18. 8 p.m. Thurs.–Sat. Ends Nov. 17. soMeThin’ buRning In Café Nordo’s fourth dinner show, you enter a simulacrum of the iconic diner in Twin Peaks. Though the music creates a decent atmosphere of hep-cat cool and loopy menace, it’s a shame the able cast doesn’t have a script to match the menu. MARGARET FRIEDMAN Theater Off Jackson, 409 Seventh Ave. S., 800838-3006, cafenordo.com. $60 Thurs. & Sun., $70 Fri.–Sat. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.-Sat. Ends Nov. 18. wicked A reimagining of The Wizard of Oz from the viewpoint of the Wicked Witch of the West (redubbed Elphaba, and here strongly played by Dee Roscioli). The joy here is Patti Murin as preppy princess Glinda. She’s a first-rate physical comedienne—the kind you usually find stealing a show in character roles. The Paramount, 911 Pine St., 877-STG-4TIX. $35–$160. Runs Tues.–Sun.; see stgpresents.org for exact schedule. Ends Nov. 17. wiTch pRison The Schoolyard presents a “mashup of women-in-prison, Satanic cheerleader. and private-eye films.” Re-bar, 1114 Howell St., 800-838-3006, brownpaper tickets.com. $15–$18. 7:30 p.m. Fri.–Sat. Ends Nov. 17.

For many more continuing runs, see seattleweekly.com.

Matthew Scollin and Colin Ramsey will convince you Verdi knew comedy.

Young Artists Program presents the opera for one night only. If anyone can convince us its obscurity is undeserved, it’d be these promising, energetic young singers. Benaroya Recital Hall, Third Avenue and Union Street, 389-7676, seattleopera.org. $25. 8 p.m. Sat., Nov. 17.

film»This Week’s Attractions Bestiaire The Parc Safari in Hemmingford, Quebec, is, per its website, home to 500 animals of 75 different species; its goal is to “protect and preserve endangered species as well as educate our visitors about them, while creating a unique city of recreation, fun, and environmental awareness for the whole family.” Shot there over several months, Bestiaire captures this mission statement in action—while gently suggesting its absurdity—with shots of a mother and her three kids atop an elephant lumbering through a copse; cars slowly drifting past grazing zebras; a woman stepping into the ursine zoo-mascot costume; a teenage employee at the Skee-Ball station. Yet the nearly wordless film is, most profoundly, about the dynamics of looking, an exercise in studying gazes that are either unidirectional or superficially reciprocated. It opens with a handful of art students sketching a taxidermied small mammal. Is it some kind of mini-antelope? That I could not identify many of the creatures in Bestiaire would seem to prove the point that critic John Berger makes about the “marginalisation” of animals in his influential 1977 essay “Why Look at Animals?”; the treatise’s title itself seems to be the starting point for Denis Côté’s film. It exposes the mechanics of a strange, multilayered voyeurism: watching animals watch—or, more accurately, look past—those who gape at them. As Berger writes: “At the most, the animal’s gaze flickers

SW file photo

Runs FRi., nov. 16–ThuRs., nov. 22 aT noRThwesT Film FoRum. noT RaTeD. 72 min.

Ornette Coleman at the 1967 Monterey Jazz Festival.

and passes on. They look sideways. They look blindly beyond. They scan mechanically. They have been immunised to encounter, because nothing can anymore occupy a central place in their attention.” MELISSA ANDERSON

Chasing Ice opens FRi., nov. 16 aT egypTian. noT RaTeD. 75 minuTes.

If you recently had a close encounter with the howling demon known as Superstorm Sandy, you might have a renewed belief in global warming. If not, consider yourself lucky, then see Jeff Orlowski’s beautiful yet sobering documentary about 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 glacier fields the size of Lower Manhattan are receding at an astonishing rate. Still and live-action footage captures the ice sliding into the sea with exquisite grace, which makes it all the more wrenching. Are such images enough to convince the naysayers that something unnatural is occurring? Doubtful.

After all, when the weatherman says a hurricane is coming, aren’t there always those who refuse to leave their cozy dens? CHUCK WILSON

during the war but resumed immediately after and for years to come. A trip to Germany reveals the depths of von Mildenstein’s complicity in the Holocaust and raises questions about truth and memory so provocative that moviegoers are likely to stand in the lobby debating them.

When Arnon meets von Mildenstein’s surviving daughter, it’s clear she knows nothing of her father’s war crimes. Or does she? In families, this fascinating film suggests, acknowledging or denying the darker truths of one’s legacy is a choice that must be made again and again, each and every day. CHUCK WILSON

P The Flat

The invaluable American independent filmmaker Shirley Clarke (1919–1997) once said: “There is no real difference between a traditional fiction film and a documentary. I’ve never made a documentary. There is no such trip.”

Her genre-blurring claim applies to all her features, of which 1985’s Ornette: Made in America is the last. A funky nonfiction tribute to the great avant-garde saxophonist Ornette Coleman and the second impeccably restored release this year from Milestone Films’ vital “Project Shirley,” Ornette upends the staid portrait-of-theartist formula and tinkers with and discards the conventions of the bio doc just as its pioneering subject exploded those of jazz. The film opens with Coleman and his band, Prime Time,

opens FRi., nov. 16 aT vaRsiTy. RaTeD R. 139 minuTes.

It begins as an ordinary, if bittersweet, family event. The 98-year-old grandmother of Israeli filmmaker Arnon Goldfinger has died, and as this superb documentary opens, Goldfinger and his mother begin packing up her apartment.

German Jews from Berlin, the Goldfingers emigrated to Palestine in 1937, and stayed in the new state of Israel for half a century. Letters and photos tucked in a cabinet reveal the bewildering news that in the early 1930s, the Goldfingers made their first trip to Palestine alongside a Nazi named Leopold von Mildenstein and his wife. Weirder still, a deep friendship grew between the two couples, one put on hold

Ornette: Made in America Runs FRi., nov. 16–ThuRs., nov. 22 aT gRanD illusion. noT RaTeD. 77 minuTes.

» COntinued On page 28

Seatt le w eekly • NO VEMBER 14−20, 2012

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returning to his hometown of Fort Worth, Texas, in September 1983 after a 25-year absence to perform twice: a nightclub set at the opening of the Caravan of Dreams cultural center, and his 1972 opus, Skies of America, with the Fort Worth Symphony at the snootier Convention Center. Clarke blurs time, space, and formats; the performance footage, expertly shot on Super 16 by Ed Lachman, and other moments (including scenes of Coleman reminiscing with old-timers about busing and segregation) form the loose through line of Clarke’s film while highlighting the legacies of racism. “Ornette has pursued what he wants to do—this got him branded as an eccentric in his youth and a genius now that he’s older,” New York Times critic John Rockwell says in the film. (Coleman, born in 1930, is still performing.) Clarke followed a similar path; more just need to discover her genius. MELISSA ANDERSON

The Sheik and I Runs FRi., nov. 16–Wed., nov. 21 at noRthWest Film FoRum. not Rated. 109 minutes.

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American filmmaker Caveh Zahedi professes to know nothing about Sharjah, one of the United Arab Emirates, when he accepts a $15,000 commission to make a movie there on the theme of “subversion” for an arts fair. He recounts the debacle in direct address, as if staring at a computer screen, but only late in the project does he bother to Google Sharjah’s strict leader and Islamic culture. Instead, with naiveté that seems willful or faked, Zahedi and crew blunder around the emirate, trying to make some kind of satire in the streets with guest workers (Palestinian, Indian, Pakistani) justifiably nervous about provoking the authorities. Zahedi, of course, is protected by his U.S. passport, and even drags his wife and small son on this very peculiar vacation. Always a confessional, solipsistic artist (see I Am a Sex Addict, his previous release), Zahedi is unable to separate his “almost religious” passion for filmmaking from actual religious sensitivities. Among the many snippets from his apparently unfinished movie, he has Indian children do a dance routine based on Islamic prayer. He films a scene about the kidnapping of Sharjah’s autocratic ruler, Sheik Sultan bin Muhammad al-Qasimi, then gets all puffy and defensive when his hosts gently tell him “That’s too much.” Though his parents are Iranian, Zahedi evinces no knowledge of Islam—other than to joke that “I don’t want to end up like Salman Rushdie.” There’s no danger of that in this movie, a shallow publicity stunt by a wouldbe jester who never even manages to mock the sheik in question. BRIAN MILLER

Skatopia: 88 Acres of Anarchy Runs FRi., nov. 16–thuRs., nov. 22 at GRand illusion. not Rated. 97 minutes.

“This is my favorite part: You pay to get out,” says the proprietor of an Ohio skate-punk festival where entry is free. Inside are various bands, many skateboard ramps and bowls, flaming trash heaps, demolition derbies in cars with the roofs sawn off, dogs and even a few children running wild, rampant drinking, nudity, and hints of crystal meth. Cheerfully lording over the annual Bowl Bash and his Skatopia com-

pound is Brewce (pronounced Bruce) Martin, a charismatic P.T. Barnum figure who surely deserves his own reality-TV show. Instead, this doc by Laurie House and Colin Powers follows Martin for most of 2006, as he scrounges for concrete money (to build more skating facilities), goes to jail for assault, and tries to hold his family together. At 40, Martin is an overgrown, heavily tattooed Peter Pan forever trying to convince his Lost Boys to put down their beers and do a little work. “Participate or beat it,” he barks at one of Skatopia’s many freeloaders.

In prior footage, we see MTV and Tony Hawk visit to praise visit this Jackass theme park; then they fly back to comfortable L.A. homes while Martin struggles to pay the electricity bills. (“I don’t understand why I’m broke . . . oh, yeah—lawyers.”) He’s a likable, hardworking entrepreneur, but unlike Hawk, he’ll never have his own video games or endorsement deals. The filmmakers go easy on Martin’s infidelities and anger issues in their affectionate portrait, leaving us to wonder what’s become of him in the past six years. Maybe the Bravo channel will tell us. BRIAN MILLER

Palette

Tales of the Night opens FRi., nov. 16 at siFF Cinema uptoWn. not Rated. 84 minutes.

Sometimes when you appropriate the storytelling modes of other cultures or time periods, the Primary result is an enormous, semi-informed embarrassment that you ultimately have to zip-a-deedoo-disavow because of the finished product’s zip-a-dee-ay-trocious racism or whatever. While Disney’s Song of the Birth of a Nation was Aryan Nation garbage, director Michel Ocelot’s pretty Tales of the Night is just really, really French, even with the English vocal track with which it has been released here. Although the film adopts, among others, Caribbean, African, and Middle Eastern idioms, it bears a certain emotional remove and coolness of affect you don’t Secondary generally find in folktales. It’s also clear that this episodic film was assembled from a French children’s TV series, as each story is prefaced with a didactic little preamble in which the three main characters have a shallow, uninformative discussion of the culture from which they’re about to appropriate it. Two young kids and an old man occupy an abandoned magical movie theater every night, and the stories they tell become movies in which they take part.

Beautifully designed, the background shapes of trees and buildings consist of cool blues that pop forward from warm red skies, lending depth to a stylish, flat art style—in sharp contrast to the ghastly Jolly Rancher color palettes of most American animation. All characters are rendered in silhouette, with only occasional glimpses of their eyes, each figure distinctively shaped and easily distinguished. The stories are Allconventints of secondary co quick, tiny surveys of a given culture’s Rotate, collage and size tions, told as monomythic, Joseph Campbell–ish pastiches and animated with a fluidity and deliberateness that nearly excuses the film’s slightness. CHRIS PACKHAM E

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film@seattleweekly.com

online » seattleweekly.com amore See reviews of 28 Hotel Rooms and The Twilight Saga: Breaking Dawn—Part 2.

film» Local Film • Cinema italian Style Fourteen films, old and

new, are included in this six-day festival. Among them are repertory favorites like Roberto Rossellini’s Stromboli (with unhappily married Ingrid Bergman) and Vittorio De Sica’s Two Women, which made a star of Sophia Loren. See siff.net for full schedule and details.

(NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, $5-$10, Nov. 15-20.

Daylight SavingS Actor Goh Nakamura, director Dave Boyle, and musician Yea-Ming Chen will attend the screening. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $15, Wed., Nov. 14, 7:15 p.m.

FlooD StreetS Director Joseph Meissner will conduct a Q&A following his doc about Hurricane Katrina and rebuilding efforts in New Orleans. Call the Rendezvous for showtime. (NR) JewelBox/Rendezvous, 2322 Second Ave., 441-5823, Free, Tue., Nov. 20.

Flow State SEE THE WIRE, PAGE 21. inDiana JoneS anD the temple oF Doom

Second in the Spielberg-Lucas adventure series (between Raiders and The Last Crusade), this 1984 installment tipped too heavy on the roller-coaster stuff, with a cloying child sidekick and bloodthirsty tribal cult. Still, at this point in his career, Harrison Ford could save almost any movie. (PG) Egyptian, 805 E. Pine St., 720-4560, landmarktheatres.com, $8.25, Fri., Nov. 16, 11:59 p.m.; Sat., Nov. 17, 11:59 p.m. miami ConneCtion

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

•

through the Vietnam War, and Americans were fed up with corruption and lies. Yet the second biggest movie released in 1973 (after The Exorcist), winner of seven Oscars, was all about crime and deception. The robbers were the good guys, and they were stealing from a rich, golfing gangster (Robert Shaw) during the height of the Great Depression. It helped, of course, that the two con artists were played by Robert Redford and Paul Newman, but the success of The Sting goes beyond star power and a clever script by David S. Ward. Directed by George Roy Hill, The Sting is very much a platoon movie, a guys-on-a-mission flick.

Newman carefully assembles his crew, and they execute their long con with practiced precision. The Sting is a movie about competence and loyalty—how a bunch of small-timers pull off one great score. At the time, Detroit couldn’t make decent cars, the war was a quagmire, and Nixon had just declared, “I am not a crook.” Though set during hard times, The Sting nostalgically celebrates the old American can-do spirit. There’s a cheerful camaraderie in larceny, a partial reprise of Butch Cassidy and the Sundance Kid (also directed by Hill). And there’s a pride in living outside the law. Says Newman, “There’s no point being a grifter if it’s the same as being a citizen.” (PG) BRIAN MILLER Sundance Cinemas, 4500 9th Ave. NE, 633-0059, sundancecinemas.com, $8-$10.50, Wed., Nov. 14, 1:15 & 6:55 p.m.

SunSet BlvD. SEE THE WIRE, PAGE 21. vagaBonD In Agnés Varda’s neorealist drama, Sandrine Bonnaire gets put through the wringer as a young woman who falls through the French safety net into abuse, poverty, and despair. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum. org, $20-$23 series, $8 individual, Fri., Nov. 16, 7:30 p.m.

November 15-20 | Uptown

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• we are legion: the Story oF the

haCktiviStS “Watch the fuck out.” That simple, blunt warning is uttered by one of the many talking heads—or perhaps it was one of the talking Guy Fawkes masks—in this doc about the notorious hacker group Anonymous, and it is essentially the film’s take-home message. Namely, if you try to censor the Internet, get caught being a unconscionable hypocrite, or happen to lead a repressive regime in the midst of a democratic uprising, a swarm of angry, resourceful computer geeks will soon make your life miserable.

Director Brian Knappenberger briskly traces the evolution of the Anonymous movement from a group of flippant provocateurs on the anything-goes message boards of 4Chan to champions of freedom who challenged the Church of Scientology, helped facilitate the Arab Spring, and “scared the shit out of the powers that be.” Anonymous is many things to many people, but enough key members and experts are interviewed here that the movie deftly encapsulates who the hacktivists are and what they stand for. (NR) KEEGAN HAMILTON SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net, $5-$8, Fri., Nov. 16, 6 & 8 p.m.; Sat., Nov. 17, 8 p.m.; Sun., Nov. 18, 3 & 7 p.m. women in the ShaDowS In The Woman on the Beach (1947), Robert Ryman, Charles Bickford, and Joan Bennett are cast into a romantic triangle. Jean Renoir directs. (NR) Seattle Art Museum, $63-$68 (series), $8 (individual), Thu., Nov. 15, 7:30 p.m.

Xtro In this English sci-fi picture from 1983, an alien abductee returns home to Earth. From there, the family reunion does not go as planned. (NR) Grand Illusion, $5-$8, Thu., Nov. 15, 11 p.m.; Sat., Nov. 17, 11 p.m.

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ONGOING • 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 an embodiment of the kind of quality adult film that really shouldn’t be an endangered species, and a love letter from Affleck to the industry that made him, shunned him, and loves nothing more than to be loved. (R) Karina Longworth SIFF Cinema Uptown, Seven Gables, Kirkland Parkplace, Lincoln Square, Majestic Bay, Vashon Theatre, Meridian, Thornton Place, and others

3D

English dubbed and French subtitled versions From Academy Award Winning Director Ang Lee ®

“A SPECTACULAR WORLD OF WONDER.” –Time Friday 16–Sunday 18 Film Center

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We are Legion:

the Story of the Hacktivists HELD OVER! Uptown

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Seatt le w eekly • NO VEMBER 14−20, 2012

Can we as a culture at last retire the idea that a movie can be so “bad” that it’s good? I ask this still pleasurably punch-drunk by Miami Connection (1987), a rediscovered junkster piece of uncut electro-pop chop-socky ridiculousness that is exactly what Purple t h i S co d e Rain would have been if the to download the FRee Revolution traded Prince Seattle weekly and much of their talent for iPhone/andRoid aPP black belts in tae kwon do FoR moRe Film oR viSit and a commitment to bringseattleweekly.com ing a message of peace to the world in between brutal martial-arts street battles with a rival band of Orlando honkies. Absurd, yes, but director Richard Park and his game and guileless cast have the highest of spirits, and the nonsense bubbles like a bottle uncorked. Relish the loose, goofy dialogue, seemingly improvised, and the music, all anxious, rubbery bass snakes beneath fat slabs of synth. And the lyrics, especially in the hard rock, non–Dragon Sound tunes that underscore scenes of Miami Connection’s thin Miami connection, Dade County’s evil ninja motorcycle gang. “Bikers by day, ninjas by night!” a hard-working hair-rocker yowls.

What do those ninja bikers do? Why, “Steal all your co-caine/Along with your liiife!” Also choice are the fights. Each is appealingly sloppy, continually surprising, and never a bit believable—which is a serious clue as to why the very idea of “so bad it’s good” should have been chucked way back before Dragon Sound’s hexagonal digital drums went out of style: This movie has no interest in being “good” in that drab, competent Hollywood way. Instead, it’s going all in on awesome, and on its way, there it kicks every ass it meets. (R) ALAN SCHERSTUHL Grand Illusion, $5-$8, Sat., Nov. 17, 3 p.m.; Sun., Nov. 18, 3 p.m. pSyCho/hitChCoCk What a great double-feature.

Psycho (1960) you know: The black-and-white shocker with its famous shower scene and Anthony Perkins in drag. The fine new film Hitchcock, which opens November 30, casts Anthony Hopkins as the famous director during the making of Psycho, a period of selfdoubt when he first began to feel old and out of touch in Hollywood. Helen Mirren is excellent as his loyal wife. Also enjoyably cast are Scarlett Johansson as Janet Leigh, Jessica Biel as Vera Miles, and English actor James D’Arcy--who bears an uncanny resemblance to poor, closeted Hopkins. Perkins is barely recognizable beneath his fat suit, and he brings real poignance to the role. (PG-13) BRIAN MILLER SIFF Cinema Uptown, $10-$15, Wed., Nov. 14, 7 p.m.

Scan

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November 16-21 | 206.324.9996 | siff.net

• the Sting It was the year after Watergate, midway

by brian miller

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B

ravo aired the first episode of Top Chef: Seattle last Wednesday, but for local viewers, the fun gets rolling tonight. That’s because last week’s show hopscotched from Atlanta to Los Angeles, seemingly filming everywhere but Seattle as 21 hopefuls auditioned for a spot in the final cheftestant lineup. All but six of the competitors were invited to Seattle, where chefs will apparently try to prove their kitchen mettle by digging for clams, wrestling geoducks, and skating with the Rat City Rollergirls.

To enhance your TVwatching experience, we’ve created the Top Chef: Seattle Eating Game, giving you tasty incentive not to tune out when a contestant stridently announces his or her intention to “stand by my dish.”

Fair warning: Players last week ticked off half-a-dozen categories in the show’s first five minutes, so stockpile your buffet accordingly.

TOP CHEF Drinking Game SEATTLE

By Hanna Raskin

What you’ll need to play :

Pea purée, poached scallops, sous-vide duck, and bacon foam*. Each ingredient should be packaged in its own Rubbermaid container. Drinks are not required, but may be added at your discretion.

There’s no dessert, because Top Chefs can’t make pastry.

... . . . uses a boxed, canned, or frozen ingredient when he or she could have made the same from scratch, eat a spoonful of foam.

. . . identifies as a “single mom” or “single dad,” eat a single bite of your choosing.

. . . sweats so profusely you wouldn’t eat what he or she is preparing, eat one bite of duck.

. . . curses after a burn or knife cut, eat two bites of duck.

. . . uses the phrase “comfort food,” eat one of everything.

. . . references a long-standing dispute with a fellow cheftestant, eat two scallops.

. . . cites his or her fidelity to “Asian influences,” eat a poached scallop.

. . . describes him or herself as “tough,” eat a spoonful of pea purée.

. . . uses the phrase “I stand by my dish,” stand by your dishes.

judge...

If the

Camera ...

. . . named Padma says “mmmm,” eat half of the remaining pea purée.

. . . settles on the Space Needle, eat two bites of duck.

. . . finds an eggshell in his or her dish, eat the remaining duck.

. . . zooms in on a cheftestant’s foodrelated tattoo, eat two spoonfuls of foam.

. . . calls a dish “too salty,” eat one spoonful of foam.

. . . shows a Toyota crossing a Lake Washington bridge, eat a poached scallop.

If you have difficulty obtaining the above foods, feel free to substitute Mediterranean vegetables, grilled chicken pesto, * roasted chicken marsala, and barbecued seasoned steak from the Top Chef line of Healthy Choice Cafe Steamers.

Seatt le w eekly • NO VEMBER 14−20, 2012

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up.

These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

City of Seattle Downtown

Bayou on First 1523 First Ave., 624-2598. There’s

zydeco on the sound system, and the red beans and rice with chicken sausage will heat up a mildmannered mouth or two, but Bayou on First’s service is a bit oddly paced. Focus not on your waiter but on the ample menu, a who’s-who of Cajun classics like crawfish étouffée, gumbo, jambalaya (seafood or vegetarian), and muffaletta sandwiches. Bayou’s humble dishes have a homemade wholesomeness. $ First Hill Bar and Grill 901 Madison Ave., 623-6333. A Greek diner with the works. Customers have their pick of seats at the counter, in cozy booths, or upstairs. The FHB&G serves breakfast classics (eggs any way you want ‘em, pancakes, omelets, sausage) all day and traditional hot entrées (burgers, melts, salads, soups) later on. $ Market BaGels 1525 First Ave., 382-4297. Market’s bagels aren’t bad by any stretch. The basic flavors are all covered—onion, jalapeno, sun-dried tomatoes,

105 Mercer St, Seattle 206.284.4618

blueberry. Be sure to pick up a tub of salmon cream cheese. It is full of fat and chunks of smoked salmon. A thick schmear on a bagel of your choice makes for an ideal lazy Sunday-afternoon snack. $ okinawa teriyaki 1100 Western Ave. This bustling corner shop does a brisk business stemming neighborhood office dwellers’ cravings for something Asianish: While the ramen broth is regretfully thin and the yakisoba suffers from stickiness, there’s all the soy, sesame oil and ginger a rice-and-noodle fan could want. Okinawa offers dozens of ways for diners to get their take-out beef, chicken, pork or tofu fix, from teriyaki to katsu to teppanyaki. The kitchen’s seasoning typically requires an extra boost from the blessedly over-sized Sriracha bottle on the counter, but vegetables are firm and fresh. Office workers will also appreciate the value: Portions are huge and cheap. $ susHi kanpai 900 Eighth Ave., 588-2769. Sitting just east of I-5, Kanpai is close enough to downtown to be an easy hike from work. But because it sits on the far side of the freeway, it doesn’t draw the crowds of more central downtown establishments. Four pieces of nigiri, all at the discretion of the owner, costs you $6 during happy hour. In a city filled with $1 or even 50-cent afternoon sushi deals, it’s easy to feel this sum is too steep.

But with sushi, you very much get what you pay for.

Here the fish is perfectly tender, deliciously fresh, and ideally balanced to its small lump of rice and wasabi.

Cheaper sushi happy hours litter the city, but few can boast the consistent quality of every dish at Kanpai. $$

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FirstCall

» by keegan hamilton

Bar Car

N o v e m b e r 2 3 – 2 5 TH, 2 0 1 2

KEEGAN HAMILTON

“All drinks are bastards.”

Old Overholt rye, the French aperitif Lillet, and the Italian artichoke digestif Cynar. All three are vigorously stirred with ice, then strained into a tumbler and garnished with orange zest. The result is potent, citrusy, and nearly dry enough to absorb all the rain pouring down outside.

The Verdict: Nothing warms the soul like a stiff pour of Old Overholt, but The Sundance Kid is a tad too bitter on the finish for my taste. The Ballard Station, however, seems nice enough.

The railroad thing is relatively understated (the wood bar has railroad ties hammered into it; there are no miniature trains), and there’s a solid assortment of craft beers and a modest wine list.

“We’re just trying to make it like a community gathering space,” enthuses the other bartender, Mark P. Edwards.

No doubt that’s what the owners envisioned as well with their Ballard rail nostalgia. And with Ballard’s boom providing a seemingly endless supply of drinkers, the bar might be around long enough to see another rail line connecting Ballard to downtown. E food@seattleweekly.com

Join us for the 30th Anniversary of this unforgettable wine country tradition! More than 150 wineries and tasting rooms in Oregon’s Willamette Valley will open their doors for special tastings and holiday festivities. Barrel taste with winemakers and sample new releases. Request a map and a list of participating wineries at willamettewines.com

Seatt le w eekly • NO VEMBER 14−20, 2012

The Watering Hole: Ballard Station Public House, 2236 N.W. Market St., 906-9040, BALLARD The Atmosphere: Back before Seattle coerced Ballard into annexation by threatening to cut off its water supply, a train ferried passengers back and forth between the two towns.

Kind of: The train stopped on the south side of Salmon Bay, and commuters hoofed it across.

The people would “make their way across the creaking bridge to one of the many saloons or bars before heading to their homes in the woods on Salmon Bay.” That last whimsical bit is how the newish Ballard Station Public House puts it on its website, citing it as the inspiration for their railroad-inspired theme.

(Substitute “woods” for acres of condos and a train for a fleet of not-so-rapid buses, and things haven’t changed all that much in Ballard since the late 1800s.) Formerly the ever-empty Ballard Ave Pub, the new owners’ rebranding seems to be working.

On a soggy Tuesday night, there’s a respectable group of trivia players and a few guys playing darts and shuffleboard.

The Barkeep: With most people seated at the tables and lots of empty seats at the bar, Rog (as in Rodger) is happy to chat, but not excited to talk about his last bartending gig. He’s been at Ballard Station since the owner of Targy’s on Queen Anne and another partner opened it about two months ago. Rog sums up his cocktail philosophy thusly: “All drinks are bastards . . . like the love children of old and new ideas. Every drink I make is a bastard love child.”

The Drink: Told he can make whatever he fancies, Rog asks for a base. I tell him it is most definitely whiskey weather outside. “I like where you’re going with this,” he replies, opting for The Sundance Kid, one of several $8 specialty drinks with vaguely train-related names. It’s a blend of

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food&drink»Featured Eats

Scan

EastlakE & south lakE union

PAzzo’s 2307 Eastlake Ave. E., 329-6558. Almost

everything about Pazzo’s is no-frills. The menu, with pizzas, salads, and calzones, is as straightforward as the joint’s decor. We recommended the filling veggie calzone with fresh spinach, mushrooms, cheese, and roma tomatoes, and the caesar salad is respectable too. Loyal regulars (frat types and professionals alike) choose Pazzo’s for its sports-bar feel, and the portions will keep you fueled throughout the game you came to watch. (Heads up: It can get crowded during playoffs.) $ 13 Coins restAurAnt 125 Boren Ave. N., 682-2513.

It’s hard to imagine an eatery more enduring than this 24-hour joint a block off Denny Way. 13 Coins now has a remodeled lounge that is sure to please the Friday-after-work crowd of Seattle Times staffers and others from South Lake Union offices, but the rest of the place is intact: the decades-old menu of steak, pasta, and seafood; the dining-room counter with high-back swivel stools in front of the grill; the ceiling-high booths where ordinary folks out past bedtime and the occasional pro jock can find a dis-

ALittLeRAskin » by hanna raskin

Slicing Left

FrEmont

Pie 3515 Fremont Ave. N. Ste. B, 436-8590. This super-

busy shop offers big and small pies, in both sweet and savory flavors: cherry swimming with bright-red juice and pieces of fruit; scratch lemon meringue with whipped-egg-fluff-sweating syrup; steak with nicely browned meat and roasted potatoes. Stay clear of the mac-and-cheese pie, which sounds a lot better than it actually tastes. That said, the crust here is always excellent, and most concoctions trump those sold by competing pie shops. $ roxy’s diner 462 N. 36th St., 632-3963. At Roxy’s, the Reuben has enough meat for about nine of its kind, plus piles of kraut and just the right amount of sweet dressing and tangy cheese. Grab a stack of napkins, roll up your sleeves, and get to eating. Roxy’s Reuben is impossible to eat without dropping half of it on your shirt, so wear something that goes well with Thousand Island. And get something to drink with that sandwich—there’s a full bar, and mimosas and peach bellinis are $2. $

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big

MAneki 304 Sixth Ave. S., 622-2631. Sometimes you

love a restaurant for a particular dish, or because the fry cook is a genius, or one of the bartenders is hot, or because the kitchen always seems to make your riblets just right. Once in a while, though, a restaurant comes along that you love because it defines an entire neighborhood or city. Maneki is one of those—a place that’s transcended mere goodness and become a kind of culinary landmark, woven indelibly into the genetics of the Seattle restaurant scene. Open for more than a hundred years, Maneki offers certain plates and presentations obtainable nowhere else in the entire area.

It’s an idiosyncratic place, and tends to inspire strong feelings in those who either love it for the weight of its history and the talent in its kitchen, or hate it simply because they don’t get what the big deal is about just another Japanese restaurant in a city bursting with them. We are firmly in the former camp, and can see Maneki acting like church—a place to be absolved of certain culinary sins by eating as close to the root of one of the world’s great mother cuisines as you can get without a passport and a plane ticket. $$

ES

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hybrid knives with straight edges, slim cutting angles, and blades which can be sharpened on both sides. The stainless-steel “Westernstyle” knives have garnered positive reviews, but Olympia’s Bob Kramer—one of 120 master bladesmiths in the world—says he hasn’t seen any evidence of an industry-wide shift. “I have been to several very high-end sushi places in Tokyo where I know the house has been given Western-style stainless knives in the hopes that they would use them on a regular basis,” Kramer says. “But when I visited, they were using their traditional highcarbon sushi knives.”

Kramer, who sells his knives through Kramer Knives, adds that it’s not only Japanese-trained chefs who are sticking to carbon. “Lots of American chefs have moved to using mostly high-carbon blades, so go figure,” he says.

Whether their blades are made from carbon or steel, knives remain the most important tool in a sushi chef’s arsenal.

“This is part of my hand,” Kashiba says of the knife he uses while demonstrating how to slice a mackerel. E hraskin@seattleweekly.com

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Seatt le w eekly • NO VEMBER 14−20, 2012

Shiro Kashiba is typically faithful to Japanese traditions, but lately he’s taken to using Western-style knives for slicing fish and vegetables.

“We have to sharpen every day, but I’m getting lazy,” the septuagenarian Kashiba confessed to a crowd gathered at the Nagomi Tea House for a recent sushi lesson. “So if ever I feel it down, then I sharpen.”

The problem, Kashiba continued, is that one-sided Japanese knives can only be sharpened with a stone, which he described as a more laborious process than sharpening knives with a honing steel. As a result, he says, “We’re using lots of Western-style.”

Japanese knives are made of hard carbon steel to support their extremely thin edges. The design is consistent with the Japanese belief “that cutting food without any crushing is essential to retaining its natural flavor,” as Cook’s Illustrated explains it.

Over the past few years, though, an increasing number of high-end knife producers in the East and West have started to manufacture

creet place to eat at any hour. After midnight, it’s the nicest place in town. $$

YA ’L L

623-4450. Wild Ginger, perched on the bustling corner of Third and Union, was for many years the vanguard of Asian fusion. But the kitchen’s unwillingness to tinker with once-daring dishes has robbed the glitzy dining room of its vitality. The ossified menu recalls not the glamor and gall of 1990s pan-Asian experimentation, but the clumsiness of 1950s global cuisine. Popular postwar proteins of beef, lamb and duck are skewered, grilled, mollified with sweet sauces and served with airy pads of bao, white and t h i S co d e bland as Wonder Bread. to downLoad the FRee Still, the restaurant’s treSeattLe weekLy mendously popular with iPhone/andRoid aPP local eaters and visiting FoR moRe ReStauRantS oR viSit conventioneers: Expect to seattleweekly.com wait for a table. $$

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Seattle weekly • NO VE MBER 14− 20, 2012

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music» »profile

Small-Batch Radio

Jet City Stream brings locally sourced music to Georgetown and the World Wide Web.

By Gwendolyn elliott

“We believe we can mix genres the way they used to in pop radio in the ’60s and ’70s. If it’s from Seattle and I like it, I can play it.”

Perhaps not words you’d expect to hear from a radio executive, but Raley, who entered radio sales at L.A.’s KIIS-FM (a job that eventually led him to Clear Channel) was a music lover and member of Seattle bands The Next Exit and Gas Station Diner long before he saw the other side of radio—a side he eventually soured on.

People are increasingly tuning in to the regional flavor of their communities—from

handcrafted beers to locally sourced veggies—as a way to promote the sustainability of their ’hood. Jet City content director Shawn Stewart—former program director for The Mountain and producer of nationally syndicated show The World Cafe—feels that Seattle is “the absolute right city” for the station to flourish. “We have this extraordinary music scene that has such history,” she says. “People from this area are so appreciative of the music that’s here, and that’s what we’re counting on: That people love Seattle and things that are small-batch and locally sourced.”

Jet City has a local thumbprint similar to KEXP’s, but where KEXP is largely listenersupported, with programming geared toward buzzing indie bands regardless of origin, Jet City is financed by revenue from local advertisers and capital from private investors. And unlike most commercial playlists these days, its programming runs the gamut from Heart to The Head and the Heart, from Hendrix to My Goodness, back to back. “We believe we can mix genres the way they used to in pop radio in the ’60s and ’70s,” says Stewart. “If it’s from Seattle and I like it, I can play it.

“When I left The Mountain,” Stewart continues, “I didn’t want to be a broadcaster, I wanted to be a micro-caster; I felt like I was better suited for that kind of work. I did not want to go back to commercial radio. Then Michael approached me with this idea, and I liked the idea of doing something on a small scale, something hyper-local, and being involved in a startup from the ground floor of something I hope will grow—but not too big, I hope. It’s recharged my batteries.”

David Einmo, of Seattle-based bands Head Like a Kite and Daydream Vacation, whose new single “The Mirage” was recently added in rotation at the station, finds value in what the startup offers. “Services like Jet City Stream are the future of the music-listening experience,” he says. “It’s not just a passive, one-way channel like traditional radio. Online radio allows you to be an active participant in what you hear and watch. As a business model, it allows its marketing to reach a specific demographic that can be positive if it results in a person getting info about shows, clubs, restaurants, stores, etc., that are relevant to that listener.”

That’s what Raley hopes Jet City will do.

“Look at one of our sponsors, Oh Boy! Oberto,” he says. “They’ve been a locally owned, familyrun business for nearly a century. They employ over 200 members of the community. By talking about its business and saying ‘That block of music was sponsored by Oh Boy! Oberto,’ it encourages listeners to make a local choice.”

Speaking of local voices, Sonics legend Shawn Kemp recently joined the team to host Wednesday night’s Off the Record, and former Santana drummer Michael Shrieve is hosting Notes From the Field on Sundays.

Marco Collins, the End DJ who was the first to spin tracks

by Pearl Jam and Beck, among othmore ers, is on board online as music director.

See more behindthe-scenes photos of “For me,” says Jet City Stream at Collins, “it bridges Seattleweekly.Com/ the gap between SlideShow the old Seattle

p

»

(clockwise from top) Shawn Kemp, Anthony Adams, and Melle Montana of Jet City Stream’s Off the Record.

sound and what’s happening now. We can play Super Deluxe next to Hey Marseilles, and that’s what’s exciting to me.”

T

he new venture is not without its hiccups. With Jet City’s servers based in New York City, Superstorm Sandy wrought havoc on the stream, making service unreliably spotty. An old rap beef between Jake One and Sir Mixa-Lot prevented Mix from appearing at the station’s official launch party. And early on, it was unclear whether the station had enough funding to move forward; at that point, Raley took out his “PowerPoint notebook” and brought more investors into the fold. “I asked enough people and showed enough passion, and now more and more people are starting to come on board,” he says.

In the future, City Stream Inc. plans to build 25 networks to showcase local music in cities where, as in Seattle, they’ll be building a following and a station from the ground up.

“A couple staff members brought some people into the bathroom to introduce me as I scrubbed the toilet,” Collins says with a laugh. “I just smiled and said, ‘Hello, nice to meetcha.’ There’s no shame in that game.

This ain’t Clear Channel where you do your time and clock out at 4:59 p.m. Sometimes you gotta go the extra mile.” E

Seatt le w eekly • NO VEMBER 14−20, 2012

Reformed radio DJ Shawn Stewart.

photos by AnAstAsiA Dixon

W

hen Michael Raley was a senior account executive at Clear Channel Seattle, everyone in the office wanted to play a song called “Two More Minutes” by an artist named Jaymes McFarland. Everyone except the people who controlled and audience-tested what made it onto the air.

“Well, a DJ did end up playing it,” Raley says. “Then it got played on KEXP and The End, and eventually McFarland came out here and played a concert for The End. At Jet City Stream we do the same thing . . . we’re taking that chance.”

Taking a chance, indeed. Taking on Pandora, Spotify, Rhapsody, and the myriad other online music options, Raley is the founder and CEO of Seattle’s Jet City Stream, an online “radio” station that spins local music and tunes by artists on their way into town. It is, Raley says, what radio was intended to be. “When you think about what a radio station is, every traditional radio station is local, as in, it’s located somewhere,” he says from his office at Jet City Stream headquarters in the old Rainier Brewery. “Back in the ’50s, if you had a record you wanted to hear, you could call your local station and request it. If you were a band with music to drop off, it was an actual place you could go to. But these days terrestrial radio has a tough road. A lot of it is driven by Wall Street and stock prices, and I thought, what if we stopped trying to sell shit and just let people know that we’re all in this together?”

gelliott@seattleweekly.com

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music»

DUELING PIANO PARTY Adult Language and Themes

»questions/answers

Marx Brother

Richard gets the last laugh.

R

SW: Why do a Christmas record?

Marx: My grandmother, who was sort of a

third parent to me and was an integral part of raising me, she wanted me to do it, and she used to ask me about it. I was in the middle of my second tour, and things were going gangbusters for me. But I was resistant to it, because I was like, “That’s what old people do.

That’s what you do when you run out of shit to do.” So my joke now is, “So here I am doing a Christmas album!” At the time it was not interesting to me musically or time well spent.

You’ve come full circle, having started as a writer and producer before returning to it after a decade as a pop star. Was that always the dream, or did you think perhaps you’d just write and produce for other people?

I would have been just as happy being a musician, I think. But I’m so glad I got to have that experience, 10 years of all those hits and touring, because I probably would have always wondered what that was like. And when that hit a wall and I fell out of favor with the radio—along with all the other white males who were singer/songwriters in the ’90s—luckily I had a way to make new music and have new hits; it just wasn’t me singing.

What makes for a good writing collaboration?

The more organic the relationship, the better the experience. Most of the people I continue to work with are people that I’ve just run into that were either a fan of mine or I was a fan of theirs.

At 49, Marx is finally mature enough to release a Christmas album.

Sara Bareilles and I, we became friends on Twitter, and I’m a huge fan of her singing and songwriting. She came out to my house for a few days and we wrote songs. Keith Urban and I met when he was just cutting his first record in Nashville and a friend of ours said, “You guys should write together.” And that was very fruitful. Same thing with just about everybody.

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Does that mean you’re getting lots of calls from managers who are looking for hits for their artists?

Last summer I had another #1 country song with Keith Urban called “Long Hot Summer.” That’s our second #1 hit together.

And I received a total of zero phone calls from Nashville on the basis of that. [Nashville’s] Music Row—not the musicians at all, but the suits, the A&R people, the executives—are all very frightened. They’re very afraid of something coming in that is going to dilute what they think is a pure thing. Everybody feels so threatened.

Do you remember the first time you played Seattle?

My first show there was in the summer of ’87. I opened for REO Speedwagon. I remember that was one of the nights where I felt like there were more people there to see me than wherever we played the night before. In Seattle, my record had been doing so well that it was kind of like a 50/50 show.

I remember that crowd making me say “I can’t wait to come back to Seattle.” And so every tour we would play it at least once if not twice, and I’ve had nothing but great experiences there. E music@seattleweekly.com richard Marx The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. $20 adv./$32 DOS. All ages. 8 p.m. Fri., Nov. 16.

Seatt le w eekly • NO VEMBER 14−20, 2012

“When I fell out of favor with the radio . . . luckily I had a way to make new music and have new hits; it just wasn’t me singing.”

courtesy Marleah leslie & associates

ichard Marx may not have had loads of street cred in the late ’80s and early ’90s, but he had more hits than almost anybody else (“Right Here Waiting,” “Don’t Mean Nothing,” “Endless Summer Nights”), not to mention one of rock’s all-time great mullets. Though his career as a pop star has slowed in recent years, his career as a writer and producer hasn’t.

The 49-year-old singer/ songwriter has continued to churn out chart-topping hits for artists from Josh Groban to Luther Vandross and Daughtry. He’s also just issued Christmas Spirit, a holiday album 20 years in the making.

We caught up with Marx before his set at the Neptune.

By dave lake

A little bit naughty, a little bit nice You can say dirty words and we don’t care Discretion is advised

39

music»Reverb»

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Still a Tramp

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By Rachel Belle

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I

was about to step into the shower recently when I caught a glimpse of my bare back in the mirror. Sigh. There it still was: my tramp stamp.

Seeing it, conveniently placed beyond my easy gaze, is like running into that neighbor you accidentally had a one-night stand with.

I thought to myself, “Self? How long have you had this regrettable tattoo, anyway?” It took more than both my hands to count the years.

Gasp! I realized, down to the month, I was celebrating my 15th Tramp-Stampiversary.

Happy Tramp-Stampiversary to me!

Not long ago an old friend engaged me in a game of reminiscing over the long-distance telephone. She said, “OK. Let’s do 2002. What were your ‘things’ that year? What band were you obsessed with? Who were you dating?

What was your favorite taco truck?” That day in the bathroom, having just calculated the age of my teenage tattoo, I began to play that game. What were my “things” in 1997?

I wore Pantera and Metallica T-shirts and had yet to discover taco trucks. I was obsessed with Jared Leto, like only a teenage girl can be, and (nerd alert) wrote multiple letters to ABC after My So-Called Life was cancelled, begging them to add just one more season. I was only 17. I loved going to live shows.

It’s November 2012, and Rachel Belle is into tacos (not tramp stamps).

Thursday night in a mosh pit, and Saturday night with Wayne “the Train” Hancock. I collected ticket stubs like Honey Boo Boo’s momma collects coupons, and happily stood for hours, pressed against a vibrating speaker, trying to get closer to my bands.

But about two years ago, something changed. I no longer felt the need to see every band I remotely liked, and when I did go to shows, I just really wanted to sit down. Is it just me or do the Avett Brothers sound best on a scratched CD from the inside of a ’94 Geo Prism? In general, standing is overrated.

Take me to see Sharon Jones and the DapKings and I’ll happily stand and shake it. But at an indie show? Where we all stand motionless, arms crossed, somber-faced? I say: Give grandma (i.e., me) her chair!

Sometimes I feel ashamed of my newfound ornery ways, and shake my fists at the sky screaming, “I’m only 32 and three-quarters!

Why is this happening to me?” But then I wrench my neck to look back at the moon and star forever imprinted on the small of my back, and remember that the girl in the mosh pit is no longer me. But there are benefits to being a slightly ornery 32 (and three-quarters)Sometimes I shake my fists at the year-old who likes to sit sky screaming, “I’m only 32 and down. To start, current me three-quarters! Why is this happening would never get a regrettattoo! Current me to me?” But then I look back at the table finally has enough courage moon and star forever imprinted on to ask for a raise and get my back, and remember that the girl one. Which means current can actually afford in the mosh pit is no longer me. me seats at a show. Best of all, unlike 17-year-old me, current me has a favorite taco truck. Jared As the years passed and my tramp stamp Leto? If you’re reading this, you can find me lightly faded, the Pantera shirts got pushed at La Fondita #2 in White Center. Tacos are to the back of the closet, but I still loved live on me. E music. I started writing concert reviews for an independent weekly, and, in a single week, Rachel Belle is a contributor to the Ron & Don could spend Monday night trying to figure out Show on KIRO Radio 97.3 FM. new adjectives to describe reggae (impossible), music@seattleweekly.com

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41

music»TheShortList Chris Smither Wednesday, november 14

The world has a good many unheralded living artists, and folky bluesman Chris Smither is a prime example. While his friends Bonnie Raitt and Dr. John have become household names, Smither, at 68, is ever on the sidelines. Whether because of his achingly poignant lyrics or his tender, acoustic coffeehouse style, the musician has yet to breach the mainstream. Recording with a full band, he’s sometimes reminiscent of a laid-back JJ Cale, but his fine output in the ’90s—especially stripped-down albums like Another Way to Find You and Small Revelations —show Smither is an instinctual guitar man at ease with himself, in or out of the spotlight.

Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 7 p.m. $25. GWENDOLYN ELLIOTT

Rebirth Brass Band Band nerds? Ha! Not in New Orleans, where picking up a horn is every bit as cool as catching a touchdown pass. If jazz evangelists were serious about spreading their goodness to the youth of America, they’d be well-served to capture hearts and ears with the Big Easy’s party-animal, stylistic-gumbo version than to take the more highfalutin’ paths trod by musicians-in-residence and such. Ain’t no party like a Rebirth party ’cause a Rebirth party don’t stop, and considering the boys are playing back-to-back gigs on Ballard Avenue— as close to a Bourbon Street as Seattle’s got—this weekend, it won’t. With Tubaluba.

Sunset Tavern, 5433 Ballard Ave. N.W., 7844880. 9:30 p.m. $15. (Also opening for the

42

Red Hot Chili Peppers earlier in the night at KeyArena, and playing the Tractor Tavern on Friday at 10 p.m.) MIKE SEELY

EDITOR’S PICK

JAPANDROIDS Thursday, november 15

Celebration Rock is the perfect title for Japandroids’ second album, a record of overwhelmingly noisy exuberance. The occasion for celebration may be that the Vancouver duo is even still together: Their 2009 debut Post-Nothing was supposed to be their last hurrah, but then it sparked in a big way, things kept moving, and Celebration Rock was made. It’s an affirmation of Japandroids’ existence. And that’s a great thing: The bombast and bedlam of their sound—the fresh spirit of their shouty melodies and forever-young mantras—make for definitive rock-and-roll. The video for “The House That Heaven Built” is an accurate portrait of a Japandroids show: sweaty hair, crowdsurfing, tongues lolling, fist-pumping. It’s a scene that matches their go-for-broke lyrics, as on “Younger Us”: “Remember saying things like ‘We’ll sleep when we’re dead?’/And thinking this feeling was never gonna end?” With Bleached.

Neumos, 925 E. Pike St., 709-9467. 8 p.m. $16. All ages. ERIN K. THOMPSON

LEIGH RIGHTON

Seattle weekly • NO VE MBER 14− 20, 2012

*

JEffREy DupuIs

Thursday, november 15

Red Hot Chili Peppers

The New Orleans gentlemen of Rebirth Brass Band.

Thursday, november 15

When guitar genius John Frusciante left RHCP a few years back, the music world lost one of its most complete pairings.

Frusciante’s fantastical guitar licks danced with Flea’s impossible slap bass across their records like shooting stars caught in a freak binary system. New axeman Josh Klinghoffer blends in well enough, but the band’s new album, I’m With You, is soft. Singer Anthony Kiedis can be especially annoying when he’s trying to carry too much of the weight, and the (still great) Flea/Chad Smith rhythm section can do only so much in this setting. They’ve been hit-and-miss for a while, sure, but the fire has now officially dulled, and the funk is less funky.

Thank God for the hits. With Rebirth Brass

includes several newer names worth getting acquainted with: notably, the droney grunge-punk of FF; Jeff Johnson’s intriguingly disjointed twitch-pop project the Numbs, which recently released its debut cassette People on Couple Skate Records; and the all-female surf-pop quartet La Luz, fronted by former Curious Mystery frontwoman Shana Cleveland. With Dream Salon, Hair & Space Museum, Brain Fruit, Baby Guns.

Cairo, 507 E. Mercer St. 6 p.m. Fri., 5 p.m. Sat. $7 each night. All ages. ERIN K. THOMPSON

Fearce & BeanOne saTurday, november 17

Fearce Villain has more than earned his stripes in the brag-rap arena as a vital member of three-headed local outfit Dyme TODD HAMM Def, but dig deeper and you’ll find tracks that delve into the mind of a man who Expo 90 Festival Friday, november 16—saTurday, came up hard. Many of his verses seem november 17 therapeutic in their disclosure, but they’re also delivered in a strong tone that empowIf you’ve been to shows at Cairo before, ers the listener. Behind the boards on their then you’re already familiar with bands like recent collaborative Stephanie, Witch Garalbum, There Goes the dens, USF, and Hausu, Tune in to 97.3 KIRO FM Neighborhood, Seattle all of whom will perform every Saturday at 7 p.m. beat veteran (and priat the art space/vintage to hear music editor Chris Kornelis mary Dyme Def proshop’s fifth annual Expo on Seattle Sounds. ducer) BeanOne brings Festival (which also out the best in Fearce— includes a day of phofrom punch lines to introspection—with his tography shows and performance art on nostalgic, sample-reliant production. With Thurs., Nov. 15, no cover). But the curators at Cairo excel at simultaneously staying the Bad Tenants, Irukandji Physics of Fusion, loyal to the old and introducing the fresh Global Heat. Nectar Lounge, 412 N. 36th St., and new, and this year’s festival lineup 632-2020. 8 p.m. $6 adv./$8 DOS. TODD HAMM Band. KeyArena, 305 Harrison St., 6847200. 7:30 p.m. $50– $80. All ages.

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seven»nights Austin’s Octopus Project plays Chop Suey on Wednesday, November 14.

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Seattle weekly • NO VE MBER 14− 20, 2012

tet’s hyperactive instrumental pop songs have their share of experimental qualities; its 2010 album Hexadecagon is the recording of an art installation where the band played through a surround-sound ring of eight speakers while being accompanied by eight video projectors. With the Torn ACLs, Shotty.

Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 8 p.m. $10. sTreeTlighT ManifesTO Despite postponing the release of their fifth album, The Hands That Thieve (originally scheduled for earlier this month), this seven-piece is still taking its melange of ska, funk, and Latin music on tour. With Hostage Calm, Lionize.

The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 7 p.m. $18.50 adv./$21 DOS. All ages.

The Vespers Comprising the Cryar sisters (ukulele, banjo) and the Jones brothers (bass, drums), the Vespers’ ebullient folk-pop is about as cutesy—or as cloying—as it gets. With Zach Fleury. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 6 p.m. $15.

All ages.

44

Thursday, Nov. 15

DiaMOnD rings John O’Regan’s glossy electro-pop

has drawn very justified comparisons to that of Robyn, both for its futuristic Top-40-style production and its themes of empowerment and self-actualization.

With Gold Fields, Ononos. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $10. All ages.

The pOlish aMbassaDOr Breakbeat-happy producer and self-described “Polish ambassador to the universe” David Sugalski is currently allowing free downloads of his entire discography—as high-quality FLAC files, no less. With Unlimited Gravity, Elfkowitz.

Barboza, 925 E. Pike St., 709-9951, thebarboza.com.

8 p.m. $12. prisM TaTs Rising from the ashes of Koko and the Sweetmeats, singer/guitarist Garett van der Spek’s current creative outlet is Prism Tats, whose strippeddown garage-rock songs are keyed by his nonchalant tenor vocals. With Baltic Cousins, Bigfoot Wallace & His Wicked Sons. Chop Suey. 8 p.m. $8.

ThiOne DiOp At this show, the local Senegalese musician curates a showcase of traditional African and Afro-jazz music. Triple Door. 6 p.m. $20. All ages.

Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

to have some mindless, unpretentious fun? DJs Swervewon and Indica Jones do battle this night with a big-time ’80s vs. ’90s music showdown. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com.

9 p.m. $5 before 11 p.m., $7 after. linDsey sTirling Best known as America’s Got Talent’s “hip-hop violinist,” Stirling performs choreographed covers, often of hip-hop, dubstep, and mainstream pop. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. $13 adv./$15 DOS. All ages.

Scan t h i S co d e

snOw buD anD The flOwer peOple

This stoner psychedelic rock band’s latest is the Jack Endino–produced Flashback. With the to download the FRee F-Holes, DJ Dark Justice.

Seattle weekly Columbia City Theater, 4918 iPhone/andRoid aPP Rainier Ave. S., 723-0088, FoR moRe conceRtS oR viSit columbiacitytheater.com. seattleweekly.com 9 p.m. $6 adv./$8 DOS. Onuinu Portland resident Dorian Duvall makes electro-pop with warped samples, disco beats, and crystal-clear (read non-chillwave) production. With Gems. Barboza. 7 p.m. $10. rachel yaMagaTa The soulful pop-rock songstress—a cross between Fiona Apple and Norah Jones—returns to Seattle in support of 2011’s laidback, easy-rolling Chesapeake. With Ed Romanoff, Adrien Reju. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 6:30 p.m. $16 adv./$18 DOS. raTs in The grass From their clean bluegrass sound, you’d never guess Rats in the Grass is the sum of two punk bands, one called Poop Attack. Man, are those fun words to string together. With Hillstomp. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern. com. 9 p.m. $8.

Saturday, Nov. 17 beaT cOnnecTiOn The local electro-pop quartet

recently followed their full-length debut, The Palace Garden, with The Garden of Forking Paths, a free digital collection of rarities, old demos, and solo tracks from each member. With Sorne, ODESZA, Lila Rose.

Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $12. All ages.

The Coup Melding the live instrumentation of a rock

KATARINA DAHLSTRöM

show with unabashedly political hip-hop, this Oakland collective has been active since 1991, and is responsible for cult-classic rap records like 1998’s Steal This Album. With Hi-Life Soundsystem, Kung Foo Grip. The Crocodile. 8 p.m. $15. All ages.

Tender hips Hailing from Walla Walla (like Chastity Belt, the band they’re opening for), Tender Hips play ramshackle, few-chord rock. With Boat Party.

JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10 p.m. $5.

Tokyoidaho On their meandering, self-titled September release, this local group crafts synthheavy space-rock tracks. With BOAT, Soft Hills, Kingdom of the Holy Sun. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8.

Terrible Feelings plays the Highline on Sunday, November 18. youngblood hawke Named for a 1962 novel about

Sunday, Nov. 18 Q doT This Federal Way hip-hop artist and producer was

named Tacoma Weekly’s rap artist of the year in 2011.

With Fictitious, Prince R.O.B., Ethos. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6. roger Clyne duo Earlier this month, classic-rocker Clyne played a virtual concert to raise Red Cross funding for victims of Hurricane Sandy. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com.

8:30 p.m. $25 adv./$30 DOS. Terrible Feelings Touring behind April’s Shadows LP, this Swedish quartet plays buttoned-up, barfriendly classic rock. With Red Liquid, Crime Wave, Hexane. Highline, 210 Broadway Ave. E., 328-7837, highlineseattle.com. 9 p.m. $8.

Monday, Nov. 19 sad liTTle Men To form this rock duo, former jazz

saxophonist Dusty York teamed with his cousin Aaron Linn, whose muscular drumming is the highlight of their music. With Not From Brooklyn, I Like Science, Children of Kids. Comet Tavern. 9 p.m. $6.

a struggling writer, Simon Katz and Sam Martin’s pop-rock project recently supported Passion Pit on tour. The Neptune. 8 p.m. $12.27 adv./$15 DOS. All ages.

Tuesday, Nov. 20 asking alexandria It should come as little surprise

that this is a metalcore band; the gerund in its name practically screams it. Its Reckless & Relentless, from 2011, earned a top-10 Billboard debut. With As I Lay Dying, Suicide Silence, Memphis May Fire, Attila.

Showbox SoDo, 1700 First Ave. S., 652-0444, showbox online.com. 5 p.m. $28 adv./$30 DOS. All ages.

The breakliTes Internet station Juice Radio hosts a weekly contest in which two upstart MCs vie for the chance to get an interview, decided by popular vote.

This show, with Tacoma rap five-piece the BreakLites topping the bill, will see the release of a mixtape featuring the contest’s winners. With Brainstorm, John Crown, Nu Era, DJ Swervewon. The Crocodile. 8 p.m. $10. deliCaTe sTeve A skilled guitarist and composer of largely instrumental, vaguely tropical rock songs on July’s Positive Force, Steve Marion signed to David Byrne’s Luaka Bop label. With Dana Buoy. Vera Project. 7:30 p.m. $9. All ages.

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dategirl»By Judy McGuire Help Me Stay in My Crap Marriage!

Dear Dategirl, My husband isn’t abusive, but I don’t love him. I don’t even like or respect him. He’s a Republican (which I knew getting into things) and not very smart, to put it mildly. We have a 7-year-old on whom he dotes, while ignoring the 5-year-old. I try to make up for the difference as best I can, but the little one knows his daddy doesn’t care. I suspect my husband has a girlfriend and I am not bothered by it, because at least that means I don’t have to feign interest in his tiny pecker.

I’m staying married because I know that the alternative is worse. My single girlfriends are either lonely, fat, or dating one unsuitable jerk after another. I can’t do that. I must have been a serial killer in a past life, and this marriage is my karmic comeuppance. Any suggestions for making it more bearable?

—Bitchy Bride

Dear Buzzkill, I’m still trying to decide whether your letter depressed the fuck out of me or actually managed to piss me off. I’m torn, but I think you managed to accomplish both in two short paragraphs. For one thing, this whole tragic-single-lady line of thinking is bullshit. My single girlfriends are pretty much all amazing, successful, and fun. In fact, my friend Diane Mapes was just named one of Seattle’s most fascinating singles by Seattle Magazine. So yeah, you sound like you’re doing much better than her.

a

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I’ve been lonely in a relationship and lonely out of a relationship, and I can tell you firsthand that being lonely in a relationship is far worse than being single. Because when you’re unencumbered and feeling forsaken, there’s always the possibility that you’ll meet someone. You’re going out, you’re making things happen. You can call a friend or try online dating. You go to the movies or pet your dog until the feeling passes, which it always does.

And even though you don’t have anyone to call “Smoochy,” at least you’re not sitting home with some ballscratching schmo you loathe who mistreats one of your children and furtively texts his girlfriend behind your back. You’re not stuck sleeping next to someone who repulses you, counting the hours until he goes back to the office or mistress. You have self-respect.

Then there are your kids. Not only are you modeling pretty much the exact opposite of a healthy marriage, one of them gets coddled by Daddy, the other ignored. Do you plan on paying their therapy bills for the rest of their lives?

Because someone should. I’m sure you’ve told your husband that his behavior is completely fucked, but the fact that he continues playing favorites means Daddy should be done-zo.

I don’t see the point of staying in your shitty marriage for one more second. It’s hurting you and fucking up your children.

And when your main reason for staying is that you’re afraid you’ll get fat if you leave, you need more help than an advice columnist can offer. You need therapy, possibly some prescription medication, and a big dose of perspective and reality. E

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column»Toke Signals

A Sticky Sapling

By Steve elliott

I

t wasn’t hard to tell that Trees Collective had been open only one day when I stopped by on a recent Saturday.

While complimentary snacks and water were available, the reception area had a distinctly unfinished feel. The space was functional, but not yet fully decorated.

The same was true of the budroom: Trees didn’t yet have any medibles in stock on their second day of business. But what they did have was 15 strains of cannabis flowers and three helpful guys—Ross, Sam, and Brandon—who guided me through the marijuana menu. Most of Trees’ strains go for either $11 or $12 a gram, with a couple of $7 bargain strains, a $9 hybrid (Dairy Queen), and a $15 indica (Grand Daddy Purple) rounding out the selection.

After eyeballing and smelling nearly every strain in the place— and approvingly noting the knowledge Ross, Sam, and Brandon had about each—I finally selected a $12 sativa, Lemon Cream; Amsterdam Indica for $10; a $12 hybrid, Reserve Arrow; and a bargain strain, the $7 hybrid Affy Skunk.

Lemon Cream—I’m guessing Lemon Skunk x Ice Cream—is a comely strain of cannabis. Its refreshing, citrusy bouquet and alert, functional high make it desirable morning medicine if you plan on accomplishing shit, and the tart taste makes it a pleasure to toke.

Amsterdam Indica represents the other end of the scale: Unless you have a herculean tolerance, you want to save these sweet-

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10 a.m.–9 p.m. Mon.–Sat., 11 a.m.–7 p.m. Sun.

Seatt le w eekly • NO VEMBER 14−20, 2012

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smelling, pillowy flowers for your last smoke of the night. Budtender Sam put it aptly: “Don’t smoke this if you plan on staying awake until the end of the movie.”

Amsterdam is effective against pain, as well as being a great sleep aid.

Reserve Arrow, as a hybrid, is suitable for both daytime and nighttime medicating. Its beautiful, heavily trichomed flowers have a subtle essence of lilac and curry, and provide quick appetite stimulation as well as long-lasting pain relief. For what it’s worth, I ran out of this strain first, because I found myself going back to it again and again.

Then there was the bargain strain, Affy Skunk. The first part of its name had me wondering if any Afgoo genetics were in the mix, but the dense, tight flowers didn’t appear at all similar to Afgoo. Rather than possessing that strain’s oversized sugar leaves and sweet bouquet, Affy Skunk was all calyxes, with just a hint of skunky smell. The bottom line: It’s worth $7 a gram, but certainly not up to the standards of the $11 and $12 stuff.

If you’re a concentrates fan, don’t miss a great deal on “The Void” hash oil, available for just $25 a gram. And there’s a good selection of glass pipes in a display case of their own. There are only three parking spaces in front of Trees Collective’s Greenwood storefront, but there’s additional parking in back. E

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