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Bandit’s mom says she was robbed. Also, baggage can get emotional for foster kids, and Evergreen’s sauna kerfuffle.

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Banking on the Bandit

The Barefoot Bandit’s mom is making thousands giving interviews. But she wants more.

Dan

damn time with him, and he won’t return he Barefoot Bandit’s mom is my calls or anything,” Kohler says. “I spent pissed. Pam Kohler says Orcas hours and hours talking to him.” Island–based writer Bob Friel— When Seattle Weekly e-mailed asking author of The Barefoot Bandit: about this charge, Friel responded The True Tale of Colton Harris-Moore, within the hour: “I never paid or New American Outlaw—agreed to offered to pay Pam Kohler for pay her hundreds of thousands of any of the interviews I did with dollars for the extensive interher—not for my Outside magaviews she provided. But so far zine article on Colton, and she hasn’t seen a dime. certainly not for my book,” Friel, an award-winning says Friel. “In fact, Pam travel writer and journalist Kohler told me, in front of with an extensive publisha witness: ‘You’re lucky ing history (which includes you talked to me before a story about the Barefoot I started charging Bandit for Outside people.’ ” magazine), says Kohler’s Friel also disputes claims are “ridiculous and the amount of time absolutely false.” Kohler says she spent But even if Friel is being interviewed. telling the truth—and “The span of time it should be stated over which I talked up front that to Pam was probKohler seems to ably three months have a pretty weak or so, but it’s grossly case against the misleading to say that writer—the flap has we spent three months exposed the fact that doing interviews,” says Harris-Moore’s mom is Friel, noting that he viscashing in on her son’s ited her trailer several misdeeds, thanks in Print is great, but if you times and spoke on the large part to Europeans’ want to see . . . phone with her a few more liberal approach news and analysis of election results, other times. to journalism. check it out on The Daily Weekly. Friel says he doesn’t Asking for financial SEATTLEWEEKLY.COM/DAILYWEEKLY know any U.S. journalcompensation for interists who have paid views about her famous Kohler for her time. “Unfortunately, it looks son is standard procedure for Kohler at this like some foreign magazine writers and point. The Barefoot Bandit’s mom tells Seatdocumentarians have offered her money to tle Weekly she typically charges $1,000 for cooperate, but I absolutely did not, and I off-camera interviews and $2,000 for ondon’t know of any U.S. journalist who did,” camera sit-downs. She says the price tag for says Friel. her work with Friel is a result of the “days Kohler says she wants the money from and days” the author spent interviewing her Friel to build a home for her and her son, at her home. saying she currently lives in a “dilapidated trailer” on Camano Island. The Barefoot Bandit’s As far as the book she spent time helping mom tells Seattle Weekly Friel construct, Kohler tells Seattle Weekly she typically charges she hasn’t read it and doesn’t plan to, saying “I refuse. I’m not putting any money in $1,000 for off-camera [Friel’s] pocket.” When Kohler heard interviews and $2,000 for Amazon.com’s description of the book, on-camera sit-downs. which describes Moore’s hardscrabble upbringing in a family “marred by alcohol abuse,” she said much of it is “crap.” Kohler, who called Seattle Weekly last Friel stands by his book, adamant that all week with the stated intent of letting of it is properly sourced. He chalks this dis“everybody know what a cheater [Friel] is,” pute up to a desperate attempt for publicity. says she spent three months being inter“Apparently [Kohler] feels it’s been too long viewed by him for his book. She says Friel since she’s had her name in the paper,” he told her “I should get between $100,000 and says. Matt Driscoll $300,000” for her time and the interviews, but that never happened. “So I spent all that » Continued on page 9 o

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Emotional Luggage

Luggage is hardly the first thing that comes to mind when considering a foster child’s basic needs. But when Chelsie Irish saw kids transitioning from one home to another with all their worldly possessions stuffed into a trash bag, she knew it ought to be a priority. The Vashon Island resident enlisted her church and local community to start a bag drive for children in foster care, shedding light on a hitherto unmet need. It all started in March. Irish and her husband were in a CPR training at Treehouse, a foster-care aid and education facility in South Seattle. Passing the program was one of the many prerequisites for the couple’s much-anticipated second adoption. Over the course of that day, Irish saw about 20 foster children being moved. “All but two of them had their belongings in a garbage bag,” she recalls. “I just thought that sent a really terrible message to vulnerable children.” The sad sight is unfortunate but common for transitioning children. Transfers sometimes happen so suddenly that kids leave without time to pack, and often foster parents are unable to find an adequate container for their ward’s items. Irish decided to do something about it. Though in the past she’d worked with youth groups and charities through her Latter-Day Saints church, this was the first time Irish had launched a project on her own. It was daunting, but Irish says her religious upbringing and experience with adoption fueled her

Irish is already planning a bigger and better luggage drive for next year, with more church drop-off locations and possible partnerships with Seattle-area school districts and businesses. “Every child deserves a loving home and a safe one,” Irish says. “And if that’s not available, we should do everything we can to make them as at ease as possible.” Ilona IdlIs

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In September, a transgender student at Evergreen State College, Colleen Francis— born a male, but living as a woman since 2009—was using the sauna in the women’s locker room at the college’s recreation center when members of a high-school swim team became alarmed at seeing Francis use facilities designated for females. In the aftermath, Evergreen installed screens in the locker rooms to increase privacy for all users, but that hasn’t been enough to alleviate the concerns of the Alliance Defending Freedom, an Arizona-based religious organization that last week wrote a letter to the school decrying its locker-room policy regarding transgender students. “Little girls should not be exposed to naked men, period. A college’s notions about ‘nondiscrimination’ don’t change that,” says senior legal counsel David Hacker in a press release distributed by the ADF, which says it is acting on behalf of parents concerned for their children’s safety. The drama came to the attention of campus police, who logged a police report noting that a 17-year-old Capital High School student “Little girls should not be exposed “became upset” when she to naked men, period. A college’s saw Francis’ male genitalia the sauna. The report says notions about ‘non-discrimination’ in that Tiffany Wright, a coach don’t change that,” says ADF of another youth swim team senior legal counsel David Hacker. that uses Evergreen’s pool facilities, expressed concerns that girls ranging in age from 6 to 18 use Evergreen’s locker room, and determination. “Putting your items in a gar“were not used to” encountering transbage bag is so demeaning,” she says. “Even if gender people with male genitalia in the we helped one child, it will all be worth it.” sauna. Irish contacted Stephanie Swallow, Jason Wettstein, the college’s media and the King County coordinator of Fostering community-relations manager, says the Together—a state-contracted organization matter comes down to protecting the civil that focuses on recruitment and retention of rights of everyone. “In accordance with foster parents—to make sure collected donastate law, the college cannot discriminate tions would be made accessible to those who on the basis of gender identity, and so transneeded them. They agreed on a distribution gender individuals are afforded access to plan, and Irish started organizing. the facility based on their stated gender By September, everything was ready to go. identity,” says Wettstein. “The essence of Irish wanted to time the drive to the back-toit is we’re obeying state law and trying to school season, figuring that parents shopping accommodate the privacy needs of multiple for kids’ supplies wouldn’t mind picking up an extra backpack or donating an old one. She users, and trying to ensure that we respect people’s civil rights. was right. Though the drive lasted only a few “We really worked to try to find balance days, Irish collected 116 bags, and stragglers here. Again, we have to obey the law,” he are still coming in. continues. “From our perspective, the issue She passed the haul to Swallow, who was impressed with the turnout, but even more so has been dealt with. It’s really only gained with the drive’s founder. “I wish I could clone additional interest through the actions of this one individual and this one outside-the-state her,” Swallow says. “To see the need, not agency.” Matt drIscoll E being a foster parent, and then to go out and do something about it is amazing.” news@seattleweekly.com

The

Seattle weekly • NO VE MBER 7− 13, 2012

New Cold War 10

www.seattlegoodwill.org/glittersale @glittersale_gal

he morning that Michael Risch inserted himself into the battle between a Fortune 100 company and the man known as the “father of the iPod” began like any other, with a wake-up call from his 6-year-old son. Risch, a professor of intellectual property law at Villanova University, padded to the kitchen of his suburban Philadelphia home and—in a move that his wife hated—joined his family at the table, laptop in hand.

2 1

COURTESY MICHAEL RISCH

8 9

Bellevue trolls, Metro Transit, and the fight for America’s high-tech future.

Se attle weekly • NOVEMBER 7− 13, 2012

Of interest this morning was a new message from Article One Partners. For the past three years, Risch had moonlighted as a researcher for the 34 company, which represents clients who are being sued, or are about to be sued, by someone who claims they’re infringing on a patent. Article One posts the disputed patent online for Risch and the rest of its 20,000 researchers to see. What it’s hunting for is called “prior art”: magazine articles, brochures, or other published evidence 33 that could show that the patent is invalid and therefore not worthy of a lawsuit. What it offers 32 in return are large cash rewards, sometimes as much as $50,000. Which explains why Risch’s wife tolerates the way he divides his mornings between his kids and his computer. “I’ve probably won enough to pay for a 31 year of college,” Risch says. “Though by the time they go, it’ll be half a year.” 30 For privacy’s sake, Article One doesn’t 29 provide the name of the company being sued or the company Michael Risch: A soldier in doing the suing. But the patent cold war. from the title of this message—“Controlling an HVAC system from a remote location”—it was clear to Risch that the fight was over that most mundane of household appliances: the thermostat. 28 This was right in his wheelhouse. The son of an electrical engineer, Risch grew up a tinkerer. At age 13, he took apart and rebuilt his first computer, a Commodore CBM. The ability to understand how a machine works, along with his law degree, came in handy in the early ’90s, when a booming software industry was suddenly in need of people with just such a skill set. Academic work had moved him from the courtroom to the classroom, but it hadn’t dulled his interest in patents, or in figuring out how things work. Still in his pajamas, Risch took to Google and joined the hunt. Not long after breakfast, he submitted five items that suggested that the idea of controlling a thermostat from somewhere other than home wasn’t original. At lunchtime, he submitted another. And at 3:59 p.m., moments before his two boys woke from their afternoon nap, he sent in his final submission, the one that would eventually garner him an even split of Article One’s $5,000 reward. Risch may not seem like anything more than a multitasking dad in the digital age. But he actually represents something else: He’s a player in what’s come to be known as the patent Cold War.

superpowers. And depending on the day, one, two, or all three of them are firing missiles at their competitors via patent suits or signing promisewe-won’t-shoot peace accords—sometimes both at once. And because our economy has become so 10 dependent on computers, smartphones, and the software that runs on both, the entire industry is singed by the collateral damage. To get a sense of why people like Apple CEO 11 Tim Cook think the patent system is “broken,” 12 or why Google spent $12.5 billion last August to buy 17,000 patents, take a look inside your pocket. 13 Chances are good that you own a smartphone. But what you may not know is that your phone has 250,000 other owners. That’s how many patents cover the average iPhone, Galaxy, or Droid. 14 There are patents on the semiconductors inside, the touch screens outside, and even the invis15 ible signals that allow you to check your e-mail. Sometimes hundreds of patents cover the same function. The problem begins—as it often does—with the federal government. Specifically, the United States 16 Patent and Trademark Office. The U.S. Patent Office has been a controversial 17 arbiter going all the way back to the 1800s, when 36 it required applicants to submit working models with their inventions, a practice that ended 35 37 because the office ran out of storage space—and because the attic in which the wood models were stowed kept catching fire. 18 According to Kara Swanson, a law professor at Northeastern University in Boston, the agency has 38 always been a punching bag. When the pendulum swings too far to one side, applicants claim it’s too 39 hard to get a patent, and thus it’s too difficult to protect their inventions. When it swings the other way, these same applicants claim the process is too easy, and thus it’s too hard to protect themselves 19 2 from others who claim they’ve invented the same thing. 20 Caught in the middle are the agency’s examiners, a perpetually underpaid, understaffed group 21 that is constantly being asked to choose: Grant few patents and get yelled at, or grant a lot and suffer 22 the same fate. “That’s why I love the patent office—because they have a constitutional mandate for an impossible task,” says Swanson. In the past 30 years, as our reliance on computers has grown, so have patents. Since 1980, the number of applications has tripled. It took the feds 23 more than a century to grant their millionth pat24 ent. It took only five years to go from seven million 26 25 to eight million. 27 Many factors contributed to this gold rush. The first was the creation, in 1982, of a new federal court established specifically to hear patent disputes. Unfortunately, the court was staffed by lawyers with a clear bias toward those whose patents were being challenged. A succession of rulings subsequently expanded the already-wide limits of BY CALEB HANNAN what could be protected and what couldn’t. Finally, while it might be easy to understand what’s new about a saw, it’s much harder to assess the originality of something that exists only in a line of computer code. Especially when that assessment is round the time that the original Cold War was being made by a white-haired man in a black robe. beginning to defrost, a new arms race began. But perhaps the single biggest reason for the patent This one involved billion-dollar companies, explosion is that the agency’s “impossible task” got a little many of them in the growing tech industry. less possible just when it was needed most. Rather than real nuclear warheads, the battle involved In 1991, right before the gold rush began in earnest, Conmetaphorical ones, and they came in the form of patents. gress changed how the patent office got its funding. Rather And instead of producing an unsteady detente, this litigious than being financed by taxes, the agency would now have to sequel has seen more than its fair share of mushroom clouds. fend for itself using only the fees paid by applicants. Thus In just the past year, companies have spent more than $20 lawmakers essentially gave the agency an incentive to grant billion arming themselves with stockpiles of patents. Google, Microsoft, Apple: These are the new global » CONTINUED ON PAGE 12

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claims granted that never should have been.” Bob Stoll, the former no. 3 at the agency, puts it more bluntly: “There’s a lot of crap out there.” Stoll remembers his boss’s reaction more patents—and that’s exactly what it did. one year when Congress diverted another Melissa Wasserman, a law professor at the $90 million from the office: “He ripped the University of Illinois, notes that the office phone out of the wall.” grew especially generous toward large tech But even if the agency had had enough companies, since they were the most likely to keep their patents up-to-date by paying costly examiners, that probably wouldn’t have stopped the flow. Among its many flaws, the renewal fees, and therefore brought in the office’s most fundamental is that it’s much most money. easier for an examiner to say yes than no. “Take semiconductors, for example,” says Like a prosecutor, an examiner alone bears Wasserman. “[Manufacturers] renew at a the burden of proof. He’s also under a time very high rate. Not necessarily because they crunch—while the handsomely paid lawyers make these successful commercial products, hired to persuade him have an infinite numbut because they just want this arsenal of ber of billable hours at their disposal. patents.” To calculate just what kind of absurd damage this arrangement produces, Mark Lemley, hy companies began to hoard director of the Law, Science & Technology patents became particularly program at Stanford, set out to see how many clear in the early ’90s. A people not only claimed to have invented decade earlier, Texas InstruWi-Fi, but persuaded an examiner to grant ments was headed toward bankruptcy when them a patent saying so. The final tally: 150. it decided to start suing its Asian rivals for “They can’t all be right,” says Lemley. patent infringement. When those competiSo many patents have been granted in tors agreed to pay hefty licensing royalties, the past three decades that the applying for them Bellevue’s Intellectual Ventures companies often don’t even bother to check has purchased roughly one of every what they say. When the general two U.S. patents offered for sale, counsel of Texas Instruments asked if he knew what amassing more than 30,000—the was was in each patent the comfifth-largest portfolio in the pany owned, he scoffed that to country. It’s known in the patent merely read them all would be a budget-busting world as the king of trolls. “mind-boggling, exercise.” What’s even more mindboggling is that he was telling the truth. One the company realized it was sitting on a gold Yale study found that it would cost $400 bilmine. Over the next three decades, Texas lion in lawyers’ fees merely to read each one of Instruments would make more than $5 bilthe 40,000 software patents granted each year. lion from patent royalties alone. So a shortcut was developed to avoid all To the kings of Silicon Valley, this pay-orthat pesky research. It’s known as the “ruler we’ll-sue strategy initially seemed ridiculous. methodology,” according to testimony from At a hearing in 1994, the most important tech IPotential CEO Ron Epstein during a 2009 companies of the day testified how patents Federal Trade Commission hearing. Instead were a negligible ingredient of their success. of suing each other, companies would meet in Adobe’s principal scientist noted how the a conference room, put their stacks of patents company had revolutionized the world of on a table, and, rather than reading what was printing without a single patent. A represenin each stack, they’d measure both with a tative from Cisco Systems said it had earned ruler. The one with the smaller stack would more than $1 billion in annual revenue end up paying the other for the right to not despite holding just one. get sued. Then IBM, the country’s leading patThis worked for a while—at least for coment holder, started cribbing from the Texas Instruments playbook. Suddenly, in the words panies large enough to afford a stack. When both sides are capable of unleashing enorof one software lawyer, the entire industry mous damage, trigger fingers get reluctant. embarked on a “patent anything” approach. “The best that can happen is nothing hapIn 1990, for example, Microsoft held only pens,” the general counsel of Novell once told one patent. By the start of the next decade, The Economist. that number had jumped to 800. Today it But what everyone feared was the player stands at an estimated 20,000, which doesn’t with a stash of loose nukes and no concern include the many thousands more at its for consequences. In the world of patents, disposal through licensing deals and acquisithey’re known as trolls. tions. In April, it spent $1 billion just to buy 800 patents from AOL. Still, Congress wasn’t done subverting or as long as there have been patthe patent office. In 1992, a year after lawents, there have been trolls: commakers said the agency could make money panies that use them not to make only from fees, they began diverting what something, but to take money from would amount to $750 million over the next those who do. two decades. This prevented the hiring of In the 1860s, trolls went from town to town new examiners at the very time they were demanding that farmers stop using basic tools needed most. like plows or shovels—which they claimed, “The biggest problem of all was that the often correctly, to own patents on—or pay patent office didn’t have examiners who them a tribute for the privilege. Some got knew anything about software,” says Paul their money. Some got shot at. But all were Michel, a former chief justice of the patreviled. ent court set up in 1982. “There were lots of » CoNTiNued oN page 14

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The New Cold War » from page 12 Trolls thrive when there are lots of patents lying around—and by the turn of the century, a decade into the “patent anything” age, there were more than enough for Nathan Myhrvold. Myhrvold is a former Microsoft executive and the very public face of Intellectual Ventures, a Bellevue company known derogatorily as the king of trolls. Since 2000, Intellectual Ventures has purchased roughly one of every two U.S. patents offered for sale, amassing more than 30,000—the fifth-largest portfolio in the country. Tom Ewing, an industry analyst and attorney who has followed Intellectual Ventures, says that it has more than 1,500 shell companies through which it sues and extracts hundreds of millions of dollars from the likes of Samsung, Verizon, and dozens of others—a model Ewing likens to a Mafia shakedown: “Their basic approach is to come in and say, ‘Nice product ya got there. Would be a shame if something happened to it.’ ” According to one study, patent-troll suits have doubled in the past decade—with disastrous effects on the economy at large. In the mid-’90s, a man named Martin Jones managed to convince the patent office to award him 34 patents, all of which covered variations on the same simple concept: tracking the position and progress of everything from a subway train to a UPS delivery truck. Jones’ company failed, but his patents found a second life when he began licensing them through ArrivalStar, a mysterious Luxembourg-based company. ArrivalStar has since sued more than 100 companies that deliver packages or people, including giants like Home Depot and mom-and-pops like the 11-employee EarthSearch Communications, which got squeezed for $15,000. Two years ago, ArrivalStar began to hunt slower game, targeting cash-strapped publictransit agencies that offered their customers updates on the status of buses and trains. After paying the company $80,000 to go away, a lawyer for King County said that it was the first patent lawsuit Seattle had ever seen. A few years ago, Iconfactory, an 11-person graphic-design company in Greensboro,

Craig Hockenberry’s Iconfactory had to cough up a patent settlement to patent-troll Lodsys

N.C., made waves when it introduced Twitterific, the first—and some still say the best— Twitter app. Then Iconfactory got a ceaseand-desist letter from an infamous patent troll named Lodsys. Lodsys owns only four patents. But one seems to apply to the entire smartphone industry: a patent that it claims covers any purchase made inside of an app, such as buying a movie ticket from Fandango. Lodsys had built a toll on the busiest road in town, and now wanted a cut of every sale of Twitterific. Iconfactory had a choice: It could either spend millions it didn’t have taking Lodsys to court, or settle, as so many others had. Because of a confidentiality agreement, Iconfactory partner Craig Hockenberry can’t say how much his company eventually paid Lodsys. But the emotional toll was more harmful. Whereas Hockenberry once woke up every morning “itching to write code,” he started questioning whether he even wanted to be a software developer after the Lodsys shakedown. “Everybody focuses on the percentage of money that was spent to license the patent,” he says. “To me, that’s actually less damaging than what’s done to your spirit.” Hockenberry has watched colleagues abandon projects for fear that they could end up getting “Lodsysed.” “They know that if I’m vulnerable, they’re vulnerable,” he says, “which means we don’t know what next great thing might never get made.”

round the time that Nathan Myhrvold was creating new problems for companies, Cheryl Milone was thinking of ways to

solve them. A patent attorney in New York City, she watched from the front lines as the number of lawsuits—especially those involving trolls— exploded. She knew that it could cost a million dollars or more just to do the research necessary to invalidate one patent, which

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York Times has written about it really well.” A month later, Honeywell filed suit against Nest, claiming it infringed on seven patents. Honeywell had used the same patents to stop two previous competitors. (The company declined to comment for this article, as did Fadell.) But Nest wasn’t a typical startup. Along with its “former Apple superstars,” it also had deep pockets. Fadell soon countersued, calling Honeywell “worse than a troll.” He also got in touch with Article One. It wouldn’t be long before a still-sleepy-eyed Michael Risch would make nearly three grand from a few hours of Googling, which called into question Honeywell’s patent claims. The story might seem to point to a calmer future for the tech industry. Twitter just introduced a first-of-its-kind contract that says it will not sue a competitor for patent infringement unless the engineer who created the product signs off first, a plan that will hopefully subdue suits, given the live-and-letlive attitude of most developers. Judges inundated by massive lawsuits seem to be losing patience as well. One recently made news when she demanded that the CEOs of Apple and Samsung meet face-to-face to settle their differences. And last September, President Obama signed into law the America Invents Act, which allows the U.S. Patent Office to hang on to more of its money—and to hire more examiners. But Twitter is the exception, not the rule. The Apple/Samsung CEO sit-down solved nothing. And while the America Invents Act did make it harder for Congress to loot the Patent Office, it didn’t make it impossible. Nor did it do anything to stop the continued

is why so many big companies relied on the “ruler method” and so many small ones either settled or closed shop. Suddenly, she was struck with an idea: What if she could turn millions of amateur researchers into patent sleuths? Her idea turned out to be unoriginal. A Boston company named BountyQuest was already investigating how it could do the same thing. But despite support from Amazon founder Jeff Bezos, BountyQuest was about to become another dot-com-bubble anecdote: One day in 2001, its founders boarded a flight to meet with the company’s backers. By the time their plane landed, their funding had disappeared. In 2008, Milone decided to refashion the bones of BountyQuest into Article One. She believed that the power of large, like-minded crowds on sites like Facebook and LinkedIn could be unleashed even on something as wonky as patent law. That power was in full bloom late last year, when the world started seeing something it never had: ecstatic praise for a new thermostat. It was called Nest, and it wasn’t a coincidence that it looked like an Apple product. Nest was created by Tony Fadell, who helped make the iPod. He was building a home in Tahoe when he realized that nearly every feature in it could be as beautiful as the products he had once helped manufacture. Every one except the thermostat. “They were ugly. They were confusing. They were incredibly expensive,” Fadell told Wired last year. “I was like, ‘Why is this?’ ” Thermostats hadn’t Two years ago, ArrivalStar began to changed much in half a target cash-strapped public-transit century. Honeywell was the market leader; its agencies that offered their customers basic design had gone updates on the status of buses and untouched since the trains. After paying the company Eisenhower adminis$80,000 to go away, a lawyer for King tration. Programmable thermostats, which were County said that it was the first patent supposed to save people lawsuit the city had ever seen. money, actually did the opposite, because they flood of new patents streaming out of the were so hard to program that homeowners agency: Last year the office set a new record eventually gave up. by granting nearly 250,000. When Fadell realized the potential marThere’s also a newer, even more unsetket—everyone needs a thermostat—he contling problem: The big companies that once vinced a few former Apple colleagues to quit their jobs and join him in a garage he’d rented complained about trolls are now treating them like role models. According to The New in Palo Alto, Calif. Nest solved the problem York Times, last year was the first in which of programmable thermostats by not needing Apple and Google spent more on patent programming. The equipment itself learns lawsuits and acquisitions than they did on how to set the temperature based on the time research and development for new products. of day, season, and homeowner preference. In August, Apple won a $1 billion patentLast November, Nest sold out of its first infringement judgment against competitor batch in less than a week. The New York Times Samsung. called it “elegant” and “very smart,” and asked, Nest may have deeper pockets than most, “Can you imagine what the arrival of the Nest but they still aren’t as deep as Honeywell’s. and its team of former Apple superstars must In early October, Nest announced that six of be doing to morale at [Honeywell]?” Honeywell’s seven patents had been rejected It didn’t take long to find out. Shortly after in re-examination by the patent office. Yet Nest’s launch, a Honeywell executive told Honeywell has so far refused to budge. tech site GigaOM that the company had had Which means that, ultimately, Nest may be the ability to make a learning thermostat 20 the next to learn the most important rule of years ago but didn’t because—despite all evimodern invention: The best weapon against dence to the contrary—they figured customsomeone else’s patents is a stockpile of your ers actually enjoyed programming their own. own. E In January, a writer for Fortune made the mistake of telling Honeywell CEO Dave Cote Caleb Hannan, former managing editor of that Nest was selling really well. “Nest hasn’t Seattle Weekly, is a freelance writer living in sold really well,” Cote snapped back. “The New Denver.

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the»weekly»wire Unhappy Together, Unhappy Apart

thurs/11/8 stage

Unfashionably late post–New Waver Maurice Pialat never exactly became a household name in the States, but his 1972 We Won’t Grow Old Together is finally getting a U.S. release. The drama follows the affair—six years old and in extreme unction as the film begins—between Catherine (Marlène Jobert), a working-class 24-year-old, and Jean (Jean Yanne), a 40ish filmmaker stuck in the small time who never tires of reminding Catherine of her background while belittling her mind. The film is a procession of their breakups and reconciliations during clandestine meetings, business trips, and weekend seaside holidays—for Jean still shares an apartment with his wife, Françoise (Macha Méril), while Catherine lives with her parents. Aside from his bracing

Barrier to Entry

Most discussions about immigration to the U.S., illegal or otherwise, have centered on the people who are here. In Amarillo, a multimedia performance work by Mexican theater company Teatro Línea de Sombra, the emphasis is on those left behind, and those who leave but never get to their destination. Amarillo creates a borderland environment dominated by a wall that acts as a shelter, an obstacle, and a grave marker. Performers embrace it, deface it, and throw themselves against it. (Through Sun.) On the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $25. 8 p.m. SANDRA KURTZ

fri/11/9 Film

Lettuce Entertain You

empire/LidO FiLms

naturalism, Pialat’s stylistic signature is the ellipsis; his stories don’t sequentially flow so much as swerve around madly, leaving viewers the work of constantly orienting themselves. Pialat described Jean as “an anxious 40-year-old adolescent, unsuccessful in his occupation.” This must be taken as merciless self-deprecation, for the movie is autobiographical in the extreme, recounting one of Pialat’s failed love affairs—which he also treated as a prior novel. The constant in his characters is a compulsive bomb-throwing impulse. “No one can be happy with you,” Catherine tells Jean. “You create anxiety”—which also describes Pialat and his unpredictable saboteur’s manner of setting a scene. (Through Thurs.) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org.

MELISSA ANDERSON

sat/11/10 Books

On the Brink

Local cartoonist Ellen Forney’s new graphic novel is called Marbles: Mania, Depression, Michelangelo, & Me (Gotham, $20). The “marbles” refer to the ones she supposedly lost when diagnosed as bipolar at age 29. Forney depicts herself wildly and energetically: clutching a membership card to “Club Van Gogh” (“The true artist is a crazy artist”); ranting mid-mania about plans and parties and her artistic calling. As her drawings depict the sheer force of mental illness, her text conveys the confused, frightened thoughts racing through her mind. She poignantly describes the impact of her diagnosis: “Like I’d been covered by a heavy blanket, like a parrot.” Forney’s memoir can be difficult to read. The cycle between her ups and downs, her psychiatrist’s endless experimentation with her meds, her sketches of barren trees and a figure gripping the edge of a cliff—such vignettes are overwhelmingly sad. But your heart goes out to Forney because she comes off as such an earnest, honest character. It’s what makes you root for her when she finally discovers the things that make her feel better: Mom, yoga, Led Zeppelin, and neatly applied lipstick. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m. (Also: Elliott Bay, 7 p.m. Thurs., Nov. 29.) ERIN K. THOMPSON

sun/11/11 sports

Marked Man

When he played for USC under the tutelage of present Seahawks coach Pete Carroll, the world seemed to be Mark Sanchez’s oyster. He was a stunningly handsome, confident, and clever Latino who happened to play quarterback for Los Angeles’ best football team, which meant his path to fame—and hot Hollywood trim—was much shorter than most. When he was picked fifth overall by the New York Jets in the 2009 NFL draft, he seemed perfectly groomed for the media scrutiny that comes with playing in

New York. But Sanchez has proven a pedestrian pro signal-caller, and fans of the 3-5 Jets are calling for his head. His megawatt backup, Tim Tebow, gives Sanchez’s critics a ready-made solution to the incumbent’s ineptitude; in Tebow and Matt Flynn, respectively, the Jets and Seahawks boast the two highest-paid clipboard-wielders in the league. Whichever team loses might soon give its contingency plan a shot, as the playoffs are growing ever more elusive. CenturyLink Field, 800 Occidental Ave S., seahawks.com. $65–$425. 1:05 p.m. MIKE SEELY

tues/11/13 Books

Faith and Flesh

Long before 9/11 and and today’s FOX News alarmism about sharia law, growing up Muslim-American was still a complicated but more private struggle. American-born and raised in Wisconsin, playwright/actor/screenwriter/novelist Ayad Akhtar came of age in the ’80s, much like the young protagonist of his American Dervish (Little Brown, $14.99, new in paperback). His Pakistani immigrant father scoffs at fundamentalists, his mother endures her husband’s philandering, and teenager Hyat finds solace in memorizing verses of the Koran, prompted in part by the arrival of lovely Mina, a kind of surrogate aunt. Mina sees beauty and peace in the book, but she’s also fleeing an abusive arranged marriage back in Karachi. She inspires Hyat to visit the local mosque, where she also takes her suitor—a Jewish physician who contemplates religious conversion. What Hyat finds inside, however, is that divine verses don’t always get translated properly into real life. His hormones, Mina’s desires, his parents’ foundering marriage—the Koran provides a refuge from these conflicts, but no answers. (Faith and flesh are also opposed in the 2005 movie The War Within, which Akhtar cowrote and starred in, about a suicide bomber in New York.) And a side note: Akhtar’s new play Disgraced, a dinner-party drama about Muslim assimilation on the Upper East Side, is currently a hit off Broadway. Bookers for ACT or the Rep would be wise to buttonhole Akhtar after tonight’s reading. University Book Store, 4326 University Way N.E., 634-3400, bookstore. washington.edu. Free. 7 p.m. BRIAN MILLER

Se attle weekly • NOVEMBER 7− 13, 2012

Pialat’s We Won’t Grow Old Together finally gets its U.S. release.

Marie I and Marie II, the unholy-fool heroines of Vera Chytilová’s anarchic 1966 Czech New Wave classic Daisies , have insatiable appetites: not just for pickles, sausages, bananas, and other suggestively shaped food, but for mayhem in general. Similarly, Daisies, a dada, gaga series of hijinks, oral fixations, and aggressive regression, devours the borders between sense and nonsense. A riot of technical tricks, Daisies shifts among color, black-and-white, and tinted images, and includes a scene in which the two Maries, wielding scissors, essentially turn themselves into paper dolls. Played by non-professionals Jitka Cerhová and Ivana Karbanová, they regularly erupt in Woody Woodpecker–like laughs, their maniacal giggles belying the stealth radicals they’re portraying. Think a Laugh-In-era Goldie Hawn on a subversive mission behind the Iron Curtain, times two. When not toying with older gents, their other hobbies include pyromania, rolling down grassy hills, and amateur linguistics. Their antics, purposefully wearying, reach maximum pandemonium during a gluttonous episode that soon becomes an orgiastic food fight. These two slim, mod beauties revel in their infantile defilement before swinging from chandeliers and catwalking down the buffet table. Freewheeling and unclassifiable, banned by Czech censors, the film was dedicated “to those who get upset only over a stompedupon bed of lettuce.” (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$8. 7:15 & 9 p.m.

On The BOards

FRI: FILM

Teatro Linea’s players camped outside an elusive city.

artsÂťOpening Nights Antony and Cleopatra

An epic love story is a tall order to fill, even if youâ€™re Seattle Shakespeare Company and even if youâ€™ve cast â€œitâ€? couple Hans Altwies and Amy Thone as the famous doomed lovers. Or is it a tall order because youâ€™ve cast them? Sorry to say it, but these talented titans of the local stage (spouses in real life) bring way more brain than sensuality to the titter-prone tragedy. Likely this is director John Langsâ€™ cerebral concept, but if we donâ€™t feel the oceanic pull of libido, the story doesnâ€™t make sense. Antony and Cleopatra sacrifice their domains for impolitic love, but if youâ€™re looking for the kind of outsized, voracious, crazy-making love addiction afforded by close-ups of Elizabeth Taylor and Richard Burton, bring passion binoculars. The antithesis of beguiling, Thone routinely jumps astride Altwies cheerleader-style, clenching him in physical clichĂŠs more befitting Hermia and Helena in A Midsummer Nightâ€™s Dream than world leaders fatally obsessed and hating themselves for their own dependency. The opening scene of Eastern revels immediately signals that weâ€™re not in sterile Rome but fertile, exotic Egypt. The undulations of servants in the large sandbox at the center of Jennifer Zeylâ€™s geometric set are the last youâ€™ll see of voluptĂŠ for the duration of the enjoyable, well-acted play. Langsâ€™ more utilitarian â€œRomanâ€? vision elegantly sorts out the factionalism among co-rulers Octavius Caesar (an emotionally austere Darragh Kennan), Republic advocate Pompey (Mike Dooly), and Antony. Sea battles and long-distance diplomacy flow fairly comprehensibly as Antony floats between Rome and Egypt, though more cutting would better suit Langsâ€™ somewhat tabloidy spoof approach to the tale. Pete Rush drapes Thone in fresh wigs and Univision-glam fashions for every scene (complying literally, perhaps, with the â€œinfinite varietyâ€? the text attributes to her), but we donâ€™t viscerally smell her tidal allure. Prim Octavius does calisthenics in a track suit during a meeting with his business partner Lepidus (creaky Dan Kremer). What proves more satisfying than these clever digs at famous characters is Charles Leggettâ€™s portrayal of Antonyâ€™s friend Enobarbus, who, though radiating more carnal imagination than Altwiesâ€™ Antony, acts more politicallyâ€”with separate but equally tragic results. Damned if you do, damned if you donâ€™t. Passion or pragmatism? That was the question, and still is. MARGARET FRIEDMAN

Seattle weekly â€˘ NO VE MBER 7âˆ’ 13, 2012

P The Glass Menagerie

Seattle repertory theatre, 155 mercer St. (Seattle center), 443-2222, Seattlerep.org. $12â€“$70. runS Wed.â€“Sun. endS dec. 2.

The Glass Menagerie has become required reading for many middle-schoolers, and thatâ€™s a shame. But it does make sense: Tennessee Williamsâ€™ 1944 breakthrough seems ideally suited to expanding young minds. Itâ€™s a sexless fantasia of memory, florid with antebellum references and flights of literary fancy that offer a romanticized glimpse of prewar America. Whatâ€™s more, itâ€™s a perfect tool for explaining how stage theatricality differs from the tyranny of naturalism.

AlAn AlAbAstro

IntIman theatre, 201 mercer St., (Seattle center), 733-8222, SeattleShakeSpeare. org. $22â€“ $45. runS Wed.â€“Sun. endS nov. 18.

The Glass Menagerie: Huber as our guide into memory.

But as Seattle Repâ€™s new production ably demonstrates, itâ€™s also one hell of a fine playâ€” meant to be seen, not read. Thereâ€™s nothing remotely realistic or contemporary about Williamsâ€™ sad reminiscence of unrequited love, told through a hazy reverie by Tom Wingfield (Ben Huber). He strolls onstage, lights a cigarette, and begins to weave this tale, explaining at the outset that everything is depicted simply as he remembers it.

Theyâ€™re damaged and hopeless not because of the Great Depression, but owing to internal constraints. For those few unfamiliar with the plot, Tom is beset by his faded Southern socialite mother Amanda (Suzanne Bouchard) and tethered to a dead-end warehouse job. Heâ€™d have left home years ago were it not for his handicapped sister, Laura (Brenda Joyner). She limps from one end of their apartment to another like a purposeless pet no one has the nerve to put down. She spends her days pining after a high-schooler several social strata beyond her grasp, only to discover that one night, the coworker her brother is bringing for dinner is the dreamboat in question. Jim (Eric Riedmann) works miracles for her self-esteem. Yet when she discovers heâ€™s already engaged, she plummets back into somnambulence. Watching The Glass Menagerie now makes for a strange kind of anachronism. Generational angst and despair drip from every line, but getting to the core of these sorrows and defeats is a tricky proposition. These characters arenâ€™t drifting Dust Bowl migrants; they have jobs and families and creature comforts. Theyâ€™re damaged and hopeless not because of the Great Depression, but owing to internal constraints. Lauraâ€™s broken heart and busted glasswork are refracted through a brilliant set and lighting (by Mikiko Suzuki MacAdams and L.B. Morse, respectively). The playâ€™s final vortex of gloom mocks that old saw, which Amanda might once have endorsed: â€œ â€™Tis better to have loved and lost than never to have loved at all.â€? No, Williams insists. It isnâ€™t. KEVIN PHINNEY E stage@seattleweekly.com

David Thomson in Conversation: The Big-Picture Story of the Movies (11/ 7)  Bill McKibben & 350.org: ‘Do The Math’ on Global Warming (11/7)  Ignite Seattle! (11/8)  Allan Savory: Holistic Management Workshop & Eating Our Way to a Healthy Planet (11/9)  SPL: Luis J. Rodriguez: Imagining Peace & Community in a Time of Violence and Chaos (11/9)  LWV: Financial Reform at the Crossroads (11/10) )  Early Music Guild: Hesperion XXI (11/10)  4th Annual Hawaiian Slack Key Festival: Music from ‘The Descendants’ (11/11)  Greening for All: Creating Livable & Equitable Communities (11/12)  Seattle Architecture Foundation: Places Between Spaces: Seattle’s Pocket Parks (11/13)  Pacific Science Center: Modern Science Leads to King Tut’s Killer (11/13)  Ngugi wa Thiong’o: ‘In the House of the Interpreter’ (11/14) 16th Annual King County Mental Health & Substance Abuse Legislative Forum (11/15)  Book Club Pick: Marty Makary: What Hospitals Don’t Tell You—But Should (11/15)

townhallseattle.org

Final Two Weeks! Must Close Nov. 18

Nov. 1–18, 2012 Performed at the Playhouse

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

Se attle weekly • NOVEMBER 7− 13, 2012

By William Shakespeare | Directed by John Langs

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

CALL FOR

ARTISTS

DEADLINE: NOVEMBER 12

THE 2013 ANNUAL WASHINGTON STATE JURIED ART COMPETITION Over $7000 in Awards! Open to all Washington State artists

Stage OPENINGS & EVENTS

• AMARILLO SEE THE WIRE, PAGE 19.

BALM IN GILEAD Lanford Wilson’s play is set in an all-

night cafe on NYC’s Lower East Side. Cornish College, Ninth Avenue Studios, 427 Ninth Ave. N., cornish.edu. $5–$10. 8 p.m. Wed., Nov. 7–Fri., Nov. 9; 2 & 8 p.m. Sat., Nov. 10; 2 & 7 p.m. Sun., Nov. 11. LE CINEMAGICIAN A cabaret inspired by the films of Georges Melies. Narwhal, 1118 E. Pike St., 800-838-3006, brownpapertickets.com. $10–$12. 7 p.m. Sun., Nov. 11. CLOUD NINE Caryl Churchill’s colonial Africa/contemporary London-set play. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. $5–$15. 8 p.m. Wed., Nov. 7–Fri., Nov. 9; 2 & 8 p.m. Sat., Nov. 10; 2 p.m. Sun., Nov. 11. THE CODY RIVERS SHOW Sketch comedy from

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this acclaimed duo. Annex Theatre, 1100 E. Pike St., annextheatre.org, codyrivers. com. $15. 8 p.m. Tues., Nov. 13–Wed., Nov. 14. COSTLY DESIRES Film, dance, music, and theater tell a story of sex trafficking. Presented by Drybones Theater Company. Greenwood Square, 8420 Greenwood Ave. N., 800-838-3006. $15. 8 p.m. Fri., Nov. 9–Sat., Nov. 10. FIDDLER ON THE ROOF

Based on stories by Sholem Aleichem and set in the seattleweekly.com shtetls of czarist Russia, this Broadway musical became a huge hit in the mid-1960s and has been playing ever since. Village Theatre, 303 Front St. N., Issaquah. Opens Nov. 7. Runs Wed.–Sun. plus some Tues.; see villagetheatre.org for exact schedule. Ends Dec. 30 (then moves to Everett Performing Arts Center Jan. 4–27). FOR MORE EVENTS OR VISIT

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

•

-Billboard

SATURDAY, NOVEMBER 10

Dinner 6:30 pm / Show 8 pm

BREMERTOn’s

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TICKETS

www.admiraltheatre.org 360.373.6743 515 Pacific Ave = Bremerton

ents readings by Russian writers. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10. 7 p.m. Tues., Nov. 13. INSATIABLE 7 A weekend festival of new work by Asian playwrights Maggie Lee (7:30 p.m. Thurs., 2 p.m. Sun.), Roger Tang (7:30 p.m. Fri. & Sun.), and Zheng Wang (7:30 p.m. Sat., 4:30 p.m. Sun.). Prima Vera Arts Center, 112 Fifth Ave. N., 323-9443, sis-productions.org. Pay what you can. 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. Previews Nov. 7–8, opens Nov. 9. 7:30 p.m. Wed.– Sat., 2 p.m. Sun. Ends Nov. 18. SEATTLE INTERNATIONAL COMEDY COMPETITION

Three weeks of battling stand-ups, with a winner crowned Nov. 25. See seattlecomedycompetition.com for full schedule and venue details. WHERE NO MAN HAS GONE BEFORE Seattle Experimental Theater sends up Star Trek, improv-style. Wing-It Productions, 5510 University Way N.E., 800-8383006, seattleexperimentaltheater.com. $12–$15. Opens Nov. 8. 8 p.m. Thurs.–Fri. Ends Nov. 16.

CURRENT RUNS

THE ADDAMS FAMILY Critics have been unkind, but the

familiarity of Charles Addams’ amusingly macabre clan has made this tour profitable and popular. As patriarch Gomez, Douglas Sills carries the show; Sara Gettelfinger plays his aloof Morticia. Beneath the practiced oneliners, there’s a minimally sufficient story, as teenaged Wednesday Addams (Cortney Wolfson) brings home her normy boyfriend to meet the family. TERRA SULLIVAN 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue. org. $35 and up. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Nov. 11. ANTONY AND CLEOPATRA SEE REVIEW, PAGE 20. 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., plus Mon., Nov. 12. 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.

EarSupply

» by gavin borchert

Strike Up the Bloboy

A musical innovator like no other, composer Harry Partch (1901–1974) went so far as to invent his own instruments. Unsatisfied by standard tuning (the rigid hegemony of the piano), he sought even subtler pitch nuances, preferring the sound of a scale that divides the octave into 43 separate notes rather than the usual 12. To play his music, he built an orchestral menagerie whose names suggest a collaboration between J.K. Rowling and Dr. Seuss. Among them are the bloboy, the quadrangularis reversum, and the zymo-xyl, built from “14 high-pitched oak xylophone bars, 17 tuned whisky bottles, two hubcaps, and an aluminum kettle top.” Preserving these decades-old contraptions has been the responsibility of the ensemble Newband, based at Montclair State University in New Jersey; they’re trucking the lot across the country for tonight’s Meany Hall performance. Some of Partch’s percussion instruments vaguely recall the sound of an

MIKE PETERS

Seattle weekly • NO VE MBER 7− 13, 2012

“A sonic turnstile that flips through dreamy pop, jazz and bluesy bebop.”

THE GREAT SOUL OF RUSSIA The Seagull Project pres-

Those are “cloud chamber bowls” in the upper left corner.

Indonesian gamelan, and his plucked-string inventions may bring to mind a Japanese koto, but it’s safe to say that outside of a pilgrimage to the Garden State, you’ll never hear anything like this. On top of this exoticism, Partch, a fervent populist for all his experimentation, liked to layer strong doses of what Greil Marcus dubbed “the old, weird America” of folk songs and folkways—as in his Barstow, musical settings of graffiti jottings Partch collected during his Depression-era years as a rail-riding hobo. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Wed., Nov. 7.

THEATER

RETURN TO PARADISE Teatro Zinzanni October 5 - January 27

Blast off in Teatro ZinZanni’s time machine and travel back to hippest party of the 1962 Seattle World’s Fair. Diva Gracie Hansen of Paradise ZinZanni cordially invites you back in time to an exclusive evening where Elvis Presley rocks the house, Jimi Hendrix jams with the band and Bruce Lee shows off all his moves. At this World’s Fair, the future is the past, love conquers science and the party never ends! 206.802.0015. $106 & up.

www.dreams.zinzanni.org

THE GLASS MENAGERIE

Leo K. Theatre at Seattle Rep October 26 - December 2, 2012

SOUND OF MUSIC SING-A-LONG Pantages Theater Saturday, November 24

The holidays are the perfect time to join together in song. See the original 1965 movie on the big screen and sing to your heart’s delight with the Von Trapp family. Every ticket purchase includes a complimentary participation pack. Costumes are encouraged, but not required! Costume contestants will be guided across the stage by the show host while the audience votes for the winners who will be awarded special prizes. 2pm. 253.591.5894. $24.

www.broadwaycenter.org

CARDENIO

Center Theatre November 2 - 17

Cardenio, by Shakespeare, directed by Tony Driscoll. It’s a very grave love story - A Tyrant’s cold blooded scheme to attain love is stalled when the Lady he longs for makes a grave attempt to escape his lustful desires. Gruesome and absurd acts of revenge, murder, suicide, lust, grave robbing, and necrophilia, make this romantic tragedy a Hard Bard experience you will never forget. 206.748.1551. FREE.

In Tennessee Williams’ shattering classic, an aging Southern Belle longs for her youth and dreams of a better life for her children. Her restless son Tom—a would–be poet and the story’s narrator—gets swept up in his mother’s funny and heartbreaking schemes to find his painfully shy sister, Laura, a husband. Associate www.brownpapertickets.com/event/278932 Artistic Director Braden Abraham brings an imaginative and intimate take on one of the most beautiful dramas in THE WINTER WONDERETTES American theatre. 206.443.2222. $30-$55.

www.seattlerep.org

FIDDLER ON THE ROOF Village Theatre November 7 - December 30

www.villagetheatre.org

VIDEO GAMES LIVE

Pantages Theater Wednesday, November 14

It’s Christmas 1968! Get ready for songs, songs, and more songs on a nostalgia trip when the Marvelous Wonderettes are asked to entertain at the holiday party for Harper’s Hardware. 206.938.0339. $17-$36.50.

www.artswest.org

MUSICAL PERFORMANCE JIM BRICKMAN Benaroya Hall November 14

Live @ Benaroya Hall presents Jim Brickman! Brickman’s romantic piano sound has made him the best-selling solo piano artist of our time, revolutionizing the sound of solo piano with his pop-style instrumentals. 206.215.4747. $38-$58.

www. benaroyahall.org

This immersive concert event features music from the most popular video games of all time. Tacoma Symphony Orchestra will perform along with exclusive video footage and music arrangements, synchronized lighting, solo performers, electronic percussionists, live action and unique interactive segments to create an explosive entertainment experience! It is not just a concert, but a celebration of the entire video game phenomenon that people of all ages will adore. Starting time is 7:30pm. 253.591.5894. $39-$94.

A south-of-the-border holiday romp! With their unique blend of song, dance, and campy comedy, Seattle’s OTHER holiday tradition, Seattle Men’s Chorus, heats things up this season with Baby, It’s Cold Outside, featuring television superstar, Ana Gasteyer opening weekend! Call for tickets 206.388.1400. $25+.

www.broadwaycenter.org

www.seattlemenschorus.org

BABY, IT’S COLD OUTSIDE Benaroya Hall November 30 - December 22

COMEDY

COMEDY COMPETITIONN

TOOTS & THE MAYTALS blend ska, reggae, gospel, soul, Kirkland Performance Center and rock, entertaining audiences since their first album Friday, November 23 50 years ago. Joining them is special guest Anders Osborne.$1 of every ticket goes to the Toots Foundation. Celebrating its 33rd year, Comedy Underground’s Seattle International Comedy Competition returns to 425.275.9595. $16-$41 KPC! Hundreds of comedians audition each year from www.ec4arts.org around the country to compete; only thirty-two are UNCLE BONSAI & C. LAVIN chosen. This final round of competition at Kirkland Performance Center will feature five of the best Kirkland Performance Center comedians selected from previous qualifying rounds. Saturday, December 1 7:30pm. 425.893.9900. $27. Singer, songwriter, entertainer Christine Lavin and folkwww.kpcenter.org/performances pop trio Uncle Bonsai deliver this year’s only Christmas, Hanukkah, Solstice, New Year’s concert with a grain of salt and a lot of laughter. With the spotlight on fresh, new holiday-themed songs along with those from their own repertoires Christine and Uncle Bonsai deliver CINEMA ITALIAN STYLE an exuberant concert of songs you’ll never hear in an SIFF Cinema Uptown elevator. 8pm. 425.893.9900. $32.

FESTIVALS

www.kpcenter.org/performances

EVENTS

NEW ENERGYMOVEMENT 1534 1st Avenue South Tuesday, November 20

Joel Garbon, president of the New Energy Movement, scientific consultant and clean-energy activist will present his discoveries resulting from decades-long research into exotic and conventional clean energies that are desperately needed to head off the worlds accelerating drift towards environmental collapse. 7pm. Parking may be scarce. Try to bus or use light rail. 206.634.1848.

VISUAL ARTS ELLES: POMPIDOU & ELLES: SAM

Elles: Women Artists from the Centre Pompidou, Paris at the Seattle Art Museum downtown features more than 130 artworks by 75 pioneering women artists from 1909 to 2007 offering a fresh perspective on a history of modern and contemporary art (thru Jan 11, 2013). In response to Elles:Pompidou, also on view is Elles: SAM— Singular Works by Seminal Women Artists, a series of works by women in SAM’s modern and contemporary galleries. Open Tues-Sun with special $3 off pricing on Thurs and Fri nights from 5-9pm. Buy online today! 206.654.3100. $12 – $23.

www.seattleartmuseum.org/elles

THE 2013 CVG SHOW

Collective Visions Gallery Entry deadline: Nov. 12 (11pm PST)

November 15 - 20

Join us for our annual celebration of new Italian cinema! From the touching Shun Li and the Poet, to a stunning 4K restoration of Roberto Rossellini’s Stromboli, to the Official Oscar submission Caesar Must Die, SIFF and Cinecittà Luce are proud to bring these extraordinary films to Seattle. With an array of strong comedies and an excellent selection of powerful dramas, Cinema Italian Style is da non perdere! 206.324.9996 $10-$75.

www.siff.net

DANCE NUTCRACKER Mccaw Hall December 7 - 29

Praised by The New York Times as “original and exciting”, Pacific Northwest Ballet’s marvelously imagined Nutcracker production features over 200 dancers, gigantic moving sets designed by Maurice Sendak, a snowfall every performance, and Tchaikovsky’s beloved score performed by the PNB Orchestra. 206.441.2424. $25-$125.

www.pnb.org/season/reserve/?perf=133nut01

MORE SINNER SAINT BURLESQUE Noc Noc @ 1516 2nd Ave November 8 - December 27

Sinner Saint Burlesque presents: REVOLUTION. This narrative cabaret is a forcible overthrow of repressive A state wide art juried competition for artists in all media sexual ideology. We’ll teach you the art of erotic with over $7,000 in awards. Open to all Washington resistance. Join us & establish your own liberated State Artists. 360.377.8327. $35 entry fee for up to 3 libidinal governance. Libertease & justice for all! 9pm artworks. callforentry.org every Thursday 206.223.1333. $15.

www.collectivevisions.com

www.sinnersaintburlesque.com

INTERESTED IN ADVERTISING ON THIS PAGE? EMAIL US AT GIMMECULTURE@SEATTLEWEEKLY.COM or CALL 206.467.4341

Se attle weekly • NOVEMBER 7− 13, 2012

This multi-award-winning musical has danced its way into the hearts of people all over the world for nearly 50 years. As Tevye tries to hold onto his religion, his RussianJewish customs, and his five daughters, he knows that “without tradition, our lives would be as shaky as a fiddler on the roof.” Resplendent with some of the most beloved and timeless songs in musical theatre, Fiddler on the Roof is filled with laughter, warmth, and inspiration for the whole family. 425.392.2202. $28-$63.

Artswest Playhouse & Gallery October 5 - January 27

TOOTS & THE MAYTALS

Edmonds Center for the Arts Saturday, November 17

ARTS DIRECTORY

GIMME CULTURE!

full name and address to contestsea@gmail.com for your chance to win complimentary tickets! Enter to win a TWILIGHT prize pack by texting the keyword BELLA and your ZIP CODE to 43549. THIS FILM IS RATED PG-13. Parental Guidance is suggested for those under 13. Please note: Passes received through this promotion do not guarantee you a seat at the theatre. Seating is on a first come, first served basis, except for members of the reviewing press. Theatre is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. A recipient of tickets assumes any and all risks related to use of ticket, and accepts any restrictions required by ticket provider. Paramount Pictures, The Stranger and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Tickets cannot be exchanged, transferred or redeemed for cash, in whole or in part. We are not responsible if, for any reason, recipient is unable to use his/her ticket in whole or in part. All federal and local taxes are the responsibility of the winner. Void where prohibited by law. No purchase necessary. Participating sponsors, their employees and family members and their agencies are not eligible. NO PHONE CALLS!

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IN THEATERS EVERYWHERE NOVEMBER 16

Please note: Passes received through this promotion do not guarantee you a seat at the theatre. Seating is on a first come, first served basis, except for members of the reviewing press. Theatre is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. A recipient of tickets WWW.BREAKINGDAWN-THEMOVIE.COM assumes any and all risks related to use of ticket, and accepts any restrictions required by ticket provider. Paramount Pictures, The Stranger and their affiliates accept no responsibility or liability in connecPlease note: received through this promotion doa not guarantee youbeaexchanged, seatpromotion at the theatre. isforoncash, a first come, first servedSeating is on a first come, first served tion with anyPasses loss or accident incurred in connection with use of prize. Tickets cannot transferred orSeating redeemed Please note: Passes received through this do not guarantee you ainseat at the theatre. whole or in part. are not responsible if, for anypress. reason, recipient unable usereviewing his/her ticket whole or in No part. All federal and basis, except for We members of the reviewing Theatre isisoverbooked to ensure a infull house. once screening begun. basis, except for members oftothe press. Theatre is admittance overbooked tolocal ensure a fullhas house. No admittance once screening has begun. are the responsibility ofregulations the winner. Void whereA prohibited byoflaw. No purchase necessary. Participating their employees All taxes federal, state and local apply. recipient tickets assumes any and risks sponsors, related to use of ticket, All federal, state and local regulations apply. A all recipient of tickets assumes any and and accepts all risks any related to use of ticket, and accepts any and family members and their agencies are not eligible. NO PHONE CALLS!

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beings discuss the human race’s foibles. West of Lenin, 203 N. 36th St., 800-838-3006, westoflenin.com. $12–$18. 8 p.m. Thurs.–Sat. Ends Nov. 10. The Glass menaGerie SEE REVIEW, PAGE 20. 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. oDin’s horse “Behind every sheet of paper, and within every tree, there is a story.” Ethnic Cultural Center, 3931 Brooklyn Ave. N.E., mirrorstage.org. $11–$25. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 11. 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, unexpected productions.org. $15–$18. 8 p.m. Thurs.–Sat. Ends Nov. 17. rabbiT hole David Lindsay-Abaire’s Pulitzer-winner. Freehold Theatre, 2222 Second Ave. Suite 200, 800-8383006. Pay what you can. Runs Fri.–Sat., plus Thurs., Nov. 8; see theatreverity.weebly.com for schedule. Ends Nov. 10. ramayana ACT’s adaptation of the fifth-century B.C. source material follows demigod Rama and his beloved Sita on their spiritual journey toward dharma (one’s purpose or duty), which can get pretty confusing with battles, betrayals, monkey and bear armies, and shapeshifting. The most intriguing moments occur when the production jumps with both feet into the spiritual; I wish there were more such epiphanies amid the scads of plot. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $15–$55. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Nov. 11.

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SEATTLE WEEKLY IN THEATERS NOVEMBER NOVEMBER 16 INEVERYWHERE THEATERS EVERYWHERE 16 WED: 11/7 WWW.BREAKINGDAWN-THEMOVIE.COM WWW.BREAKINGDAWN-THEMOVIE.COM 4.83” x 2.69” SS All.BD2-P.1107.SW

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arts»Performance

Now thru Nov. 17th!

18 different Artist Galleries online now at www.theartstudy.com

The real insPecTor hounD & anoTher DeaD caesar Mystery one-acts by Tom Stoppard and

14-year-old Seattle playwright Frank Garland. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. Free. Runs Fri.–Sun.; see seattle publictheater.org for schedule. Ends Nov. 10. reTurn To ParaDise Teatro ZinZanni’s usual fare— a leisurely five-course dinner interspersed with songs, sophisticated circus acts, and audience-participation comedy—is here given a World’s Fair theme, set right here in 1962 Seattle. Among the circus acts, the standout is Sam Payne and Sandra Feusi’s “Vertical Tango”— exactly that, a tango performed not only on the dance floor but up a pole, with the same steamy body-wrapping and legwork in midair. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun. through Jan. 27; see dreams.zinzanni.org for exact schedule. The riTe of sol Occultist Aleister Crowley wrote his Rites of Eleusis, a cycle of seven mystery plays, in 1910, and decades later local troupe Eleusyve Productions finally figured out that they need to be staged as “Wagnerian rock operas,” with soaring ’70s melodies and acidy guitar solos. Richard Hugo House, 1634 11th Ave., eleusyve.com. $15–$20. 7 p.m. Thurs.-Sat. Ends Nov. 10. scaPin Molière updated to the era of punk. Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals.org. $12–$15. 7:30 p.m. Thurs.– Sat., plus 2 p.m. Sun., Nov. 11. Ends Nov. 11. The sKriKer Caryl Churchill’s dreamlike horror story about pregnant teens and the withered demoness (Mary Ewald) who stalks them. The girls, played with heartbreaking sincerity by Jessica Martin and Mariel Neto, survive time warps, kidnappings, and seductions. Choreographed by Pat Graney, dance helps enliven peripheral figures from the unconscious. The original music is by Paul Hansen, costumes by Eve Cohen. MARGARET FRIEDMAN Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, brownpapertickets.com. $20 and up. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 11. someThin’ burninG In Café Nordo’s fourth dinner show, you enter a simulacrum of the iconic roadside diner in Twin Peaks. In the same vein, the menu elements—camouflaged as greasy-spoon standbys, and distributed by the chatty actors—exceed expectations. Though the music creates a decent atmosphere of hep-cat cool and loopy menace, it can’t alter the sad fact that the murdermystery story doesn’t work. 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. WDeunfrol WDors One-acts on the theme of (mis-)communication. Stone Soup Theatre, 4035 Stone Way N.E., 633-1883, stonesouptheatre.com. $14–$25. 8 p.m. Thurs.–Sat., 4 p.m. Sun. Ends Nov. 11. WicKeD A reimagining of The Wizard of Oz from the viewpoint of the Wicked Witch of the West (redubbed

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Seattle weekly • NO VE MBER 7− 13, 2012

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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 more Current Runs, see seattleweekly.com.

Dance

• Pacific norThWesT balleT: all Premiere In

this wildly varied evening of four new works, Andrew Bartee builds on his own highly individual movement invention in arms that work, with impulses shifting and reverberating everywhere. His dancers literally throw themselves into the challenge, working far outside their classical training. In contrast, Margaret Mullin turns her attention to the emotional potential of ballet itself. In Lost in Light, a gently lyrical exploration of the medium, Mullin draws some exceptionally fluid performances out of her dancers. With his Sum Stravinsky, Kiyon Gaines has made a brainy version of a send-them-home-happy closing ballet for his PNB colleagues. It’s a tricky homage to Balanchine’s fiendish pattern-making, and Gaines has framed his usual high-intensity, almost breakneck movement in a classical structure. From outside the PNB fold, the most anticipated work is by Seattle native Mark Morris, his first for the company. His Kammermusik no. 3, set to Paul Hindemith, has a complex and mysterious feel. The dance is full of Morris’ blithe combinations of folkinflected movement and postmodern structural games, but he inserts a disquieting tone midstream. Dancers collapse unexpectedly—or appear to limp briefly, then “recover” and move on. It’s a suggestion of another world, but not a full view. The moment the work is complete, you want to see it again. SANDRA KURTZ McCaw Hall, Seattle Center, 441-2424. $28–$173. See pnb.org for schedule. Ends Nov. 11. aTe9 Danielle Agami’s troupe reprises their evening-length Sally Meets Stu, which premiered in August. Century Ballroom & Cafe, 915 E. Pine St., 325-8773, velocitydance center.org. $15–$20. 7:30 & 9:30 p.m. Fri., Nov. 9.

Classical, Etc.

• neWbanD SEE EAR SUPPLY, PAGE 22. • seaTTle symPhony John Adams conducts his own

sweeping Harmonielehre and Beethoven’s “Emperor” Concerto. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Nov. 8, 8 p.m. Sat., Nov. 10, 2 p.m. Sun., Nov. 11. cornish oPera TheaTer John Blow’s Venus and Adonis (c. 1683), considered the earliest surviving opera in English. Cornish College/PONCHO Concert Hall, 710 E. Roy St., 726-5066, cornish.edu. $10–$20. 8 p.m. Thurs., Nov. 8–Sat., Nov. 10, 2 p.m. Sun., Nov. 11. PuGeT sounD concerT oPera I Capuletti ed i Montecchi is Bellini’s version of Romeo & Juliet. First United Methodist Church of Bellevue, 1934 108th Ave. N.E., pugetsoundconcertopera.org. $15–$20. 7 p.m. Fri., Nov. 9. seaTTle moDern orchesTra Music by John Cage, including the Concerto for Prepared Piano. Chapel Performance Space, 4649 Sunnyside Ave. N., seattle modernorchestra.org. $10–$20. 7 p.m. Fri., Nov. 9. norThWesT sinfonieTTa Christophe Chagnard conducts the premiere of Bill Doerrfeld’s Sinfonietta. Benaroya Hall, 200 University St., 866-833-4747, nwsinfonietta.org. $19–$49. 7:30 p.m. Fri., Nov. 9. The symPhony GuilD “The Voice of Finnegan Farrell” is composer Matteo Messina’s annual benefit for Seattle Children’s Hospital. Among the guests: Thousand Foot Krutch, Seattle Firefighters Pipes & Drums, and the Northwest Symphony. Benaroya Hall, 200 University St., thesymphonyguild.org. $42–$50. 8 p.m. Fri., Nov. 9. hesPerion Xii Music from the Tudor age, led by gambist Jordi Savall. At Trinity Episcopal Church, 609 Eighth Ave., 8 p.m. Fri., Nov. 9, and Town Hall 1119 Eighth, 8 p.m. Sat., Nov. 10. $25–$40. 325-7066, earlymusicguild.org. meTroPoliTan oPera aT The movies On Nov. 10 at 10 a.m., Thomas Adès’ setting of The Tempest, one of the most acclaimed recent new operas. (Encored Nov. 28.) On Nov. 14 at 6:30 p.m., Otello, Verdi’s tragic masterpiece. $24. See metopera.org for participating theaters.

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orchesTra seaTTle/seaTTle chamber sinGers

Paul Polvnick conducts Adams, Bach, and Mozart. First Free Methodist Church, 3200 Third Ave. W., 800-838-3006, osscs.org. $10–$25. 7:30 p.m. Sat., Nov. 10. michael ParTinGTon One of Seattle’s best guitarists plays Spanish music and more. Sponsored by the Seattle Classic Guitar Society. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $25–$32. 7:30 p.m. Sat., Nov. 10.

172ECA-SeaWeekly_110712_Qtr_4C_OL.pdf

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November 8–11, 2012 Local, national and international galleries showing contemporary art priced from $100–$10,000

www.affordableartfair.com/seattle

Se attle weekly • NOVEMBER 7− 13, 2012

Seattle Center

arts»Visual Arts

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SHOWTIMES Nov 9th - 15th THE NEVERENDING STORY

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Fri - Mon @ 7:00pm

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Events

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THE MASTERS OF THE UNIVERSE HAPPY HOUR EVERYDAY 5:30pm - 6:30pm

Gherard, Michael Howard, Graham Shutt, Kimberly Trowbridge, and Margaret Watson discuss their work. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com. Wed., Nov. 7, 6:30–8 p.m. AFFORDABLE ART FAIR Thousands of original paintings, prints, sculptures, and photographs are priced from $100 and up. Art Loves Seattle benefit for Artist Trust: 5–9 p.m. Fri., Nov. 9., affordableartfair.com/ seattle. Seattle Center Exhibition Hall, 301 Mercer St., 684-7200, seattlecenter.com. $10–$12. Opens Nov. 9. Fri., noon–5 p.m.; Sat., 11 a.m.–8 p.m.; Sun., 11 a.m.–6 p.m. BELLTOWN ART WALK The neighborhood galleries (including Roq La Rue, NorthWest Woodworkers Gallery, Form/Space Atelier, Art/Not Terminal Gallery, and others) and non-galleries (Cyclops, Black Bottle, Bedlam Coffee, etc.) extend their hours so you can check out work by local artists. See belltownartwalk for details. Fri., Nov. 9, 6 p.m. BYRON BIRDSALL He unveils 27 new paintings of local landscapes. Also showing: Diana Friends’ Inside Northwest Hardwoods. Opening reception: 2–4 p.m. Sun., Nov. 11. Kirsten Gallery, 5320 Roosevelt Way N.E., 522-2011, kirstengallery.com. Opens Nov. 11. Wed.– Sun., 11 a.m.–5 p.m. Through Dec. 23.

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

A DAY IN THE LIFE: PHOTOGRAPHS BY HOMELESS YOUTH OF THEIR ANIMALS With disposable cam-

eras and some guidance from mentors, young artists document their pets. Peace for the Streets by Kids From the Streets, 1814 Summit Ave., 726-8500, psks.org. Thurs., Nov. 8, 5–8 p.m. JANET FAGAN She shows new paintings (Forest, Sea, and Sky) during the Capitol Hill Art Walk: 6–9 p.m. Thurs., Nov. 8. Blindfold Gallery, 1718 E. Olive Way, 3285100. Opens Nov. 8. Wed.–Fri., 1–7 p.m.; Sat.–Sun., 1–5 p.m. Through Dec. 2. GEORGETOWN ART ATTACK The November edition features Mark LaFalce’s Industrial Wonderland at Calamity Jane’s, a dozen open studios at Equinox, illustrator Echo Chernik at Krab Jab, cartoons by David Lasky and Noah Van Sciver at Fantagraphics, and

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

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Nichole Bowen’s Buddha Ladies at the Georgetown Arts & Cultural Center. See georgetownartattack.com for other venues and events. Afterward, you’re encouraged to continue the evening at any number of watering holes along Airport Way, including Jules Maes, 9 Lb. Hammer, and anyplace else you care to bend an elbow. Sat., Nov. 10, 6–9 p.m. ILS DISENT A dozen local male artists respond to SAM’s Elles show. Opening reception: 5–7:30 p.m. Wed., Nov. 7. Cornish Alumni Gallery, 1000 Lenora St., 726-5011, cornish.edu. Mon.–Fri., 9 a.m.–5 p.m. Through Dec. 15. KIRKLAND ART WALK Howard/Mandville and other downtown galleries are represented at this free monthly event. Sat., Nov. 10, 6–9 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. JEFFREY MITCHELL The notable local artist talks about his big career survey show. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $5–$10. Thurs., Nov. 8, 7 p.m. CYN MOORE She paints animals and other subjects. Opening reception: 6–9 p.m. Thurs., Nov. 8. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net. Opens Nov. 8. Mon., Wed.–Fri., 11 a.m.– 7 p.m.; Sat.–Sun., 10 a.m.–6 p.m. Through Dec. 7. PETITS TABLEAUX This group exhibition features small works by James Allen, Christopher Boffoli, Susan Dory, and others. Also showing: Piper O’Neill’s short film Indigo Blue and Chris Pfister’s new paintings. Opening reception: 6–8 p.m. Wed., Nov. 7. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. Mon.–Sat., 10 a.m.–5 p.m. Through Dec. 21. 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 Nov. 10 and 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. SAM REMIX On tap are a site-specific dance conceived by Ten Tiny Dances, the Department of Artistic Licensing (run by Erin Shafkind, Jennifer Zwick, and Tessa Hulls), music by Seattle Symphony Orchestra harpist Valerie Muzzolini Gordon, and dance tunes later spun by DJ Michele Myers. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $12–$25. Fri., Nov. 9, 7:30 p.m.–12:30 a.m.

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TheFussyeye » by brian miller

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My commute has been immeasurably improved—well, actually improved by $10 million—thanks to the new West Thomas Street Overpass, which connects Lower Queen Anne to Myrtle Edwards Park. Handsomely lit by LEDs at night, it vaults above Elliott and the railroad tracks, sparing pedestrians and cyclists the insanely dangerous crosswalk. (There at Elliott and Western, rush-hour drivers routinely run the red.) Proposed back in the Nickels era, the longdelayed span was originally scheduled to open this spring. While not so elegant as Amgen’s privately funded footbridge a mile north, it’s a welcome addition in all respects but one: What the hell is that Indian-kitsch cedar archway on the east side? Bad enough that cyclists comSORRY, PASSES FOR THIS ingNO down from ACCEPTED Queen Anne have to ENGAGEMENT navigate the awkward curb cut, then avoid the sidewalk smokers and large trees. Then they must duck through/swerve around the wooden doorway, which further impedes the view of the tibiabreaking bollard in the mouth of the overpass. (SDOT’s bollard obsession . . . that’s another column.) Most city projects have a one-percent-

BRIAN MILLER

Seattle weekly • NO VE MBER 7− 13, 2012

Art & Obstruction

for-art component, which I applaud. But not in the middle of the path, not if it’s unsafe. Native American artist Roger Fernandes has also inlaid some brass waves into the pavement for Snoqual, and the water motif is appropriate— SORRY, are NO PASSES that’s where most people headed. But, as FOR in Portlandia’s “Put aACCEPTED bird on it!” sketch, the THIS ENGAGEMENT time when we can simply slap a Tlingit raven on something and call it art has passed. This crowded city doesn’t need more totem poles or hazardous road furniture. The misplaced portal should be moved down to Myrtle Edwards, off the path. Elliott Ave. W. & W. Third St., seattle.gov/transportation/thomasoverpass.

film»This Week’s Attractions November 9-15 | 206.324.9996 | siff.net

The Details

November 15-20 | Uptown

OPENS FRI., NOV. 9 AT SUNDANCE AND IPIC CINEMAS. RATED R. 91 MINUTES.

BRIAN MILLER

The House I Live In OPENS FRI., NOV. 9 AT SUNDANCE CINEMAS. NOT RATED. 108 MINUTES.

the blame squarely on a capitalist system color-blind in its disdain of those on the economic margins: “If we kill the poor, we’re going to be a lot better off—that’s what the drug war’s become.” Miller articulates the process of the “chain of destruction” of the Jews in Europe and notes the similarities in the lives ruined by the war on drugs. MELISSA ANDERSON

A Late Quartet OPENS FRI., NOV. 9 AT EGYPTIAN AND LINCOLN SQUARE. RATED R. 105 MINUTES.

Woody Allen has been known to suggest that, in directing a good movie, much of the battle lies in casting. Were that entirely true, A Late Quartet—which stars Philip Seymour Hoffman, Catherine Keener, and Christopher Walken—would be phenomenal. As it is, the film about a New York City string quartet whose future is thrown into question after the cellist (Walken) is diagnosed with Parkinson’s disease and the relationship of the two married members (Keener and Hoffman) begins to unravel is a mixed bag. Always stately, occasionally stuffy, co-writer/director Yaron Zilberman’s chamber drama expresses every real-world problem via musical metaphors and is prone to occasional bouts of grandiosity not quite befitting its stripped-down scale. This tonal back-and-forth is in some ways reflective of the group’s music, but impedes us from getting a meaningful hold on what these people are feeling and why we should care. Zilberman is often too tasteful to dig into the scandal and melodrama that eventually mires A Late Quartet’s plot, but an exceptional finale bucks this trend by acting more as a catharsis than a climax, making up for prior shortcomings and fulfilling much of the film’s promise. It’s something of a relief that little is actually resolved in A Late Quartet; Zilberman is at his best when leaving narrative threads hanging rather than trying to tie them together. MICHAEL NORDINE

Tickets on sale now The Details: Don’t be tempted by her pie! Linney and Maguire.

PLincoln

OPENS FRI., NOV. 9 AT PACIFIC PLACE. RATED PG-13. 149 MINUTES.

Much has already been written about Daniel Day-Lewis’ interpretation of the 16th U.S. president in Steven Spielberg’s Lincoln, and specifically about the reedy Midwestern tenor he adopts, derived from the oftenmocking historical documentation of Lincoln’s contemporaries. A sharp contrast to the stentorian elocution actors tend to adopt for the great emancipator, it’s the most superficial and immediately apparent facet of this somehow almost 4-D character made flesh by Day-Lewis: a vivid evocation of a man no living person ever knew, and what amounts to the best guess of arguably the best actor of his generation. So that’s one of the challenges Spielberg confronts: squaring the Georgia white marble of the Lincoln Memorial with the flesh-and-blood reality we can never really know—evoking the man without diminishing the leader. The director’s other challenges include relating the complications and subtleties of political maneuvering, and the inherent suckiness of the biopic form. Spielberg solves that by lensing the portrait through a single event: the fight to pass the 13th Amendment through the House of Representatives. The film is studied and often somber, but also hugely entertaining, a bitchily fun story of political gamesmanship, influence trading, patronage, cronyism, and outright bribery. This Lincoln is quietly ironic, an indulgent storyteller, a hugely charismatic leader. A politician by turns charmingly persuasive and iron-fisted. A melancholic who suffers deeply, forced to barricade his grief behind a facade of steadiness and disarming humor. A father who sprawls on the floor

» CONTINUED ON PAGE 28

November 9–11 | Film Center

HEAD GAMES

HOW MUCH OF YOU ARE YOU WILLING TO LOSE FOR A GAME?

Also Playing at the Uptown

Argo | Liar’s Autobiography | Cloud Atlas ONE DAY ONLY! Sunday 11 | Uptown

Man with a Movie Camera Live Soundtrack by

James Wetzel ONE DAY ONLY! Tuesday 13 | Film Center

Coldplay Live 2012 ONE DAY ONLY! Wednesday 14 | Uptown

Alfred Hitchcock’s Psycho plus Special Advance Screening of

Hitchcock

Saturday 10 & Sunday 11 Uptown

The Wizard of Oz FILMS4FAMILIES $ 4 SIFF Cinema Uptown 511 Queen Anne Avenue North

SIFF Film Center

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from 6pm weekdays / 10am weekends | Parking passes available at box office

Se attle weekly • NOVEMBER 7− 13, 2012

Eugene Jarecki’s Sundance award-winning doc is an occasionally muddled disquisition on the colossal failure of the war on drugs. It rehashes much that will be familiar to even the most casual reader of newspapers: that this “war” is waged against the poor, particularly minorities. Yet what’s riveting and attention-grabbing in Jarecki’s recapitulations of failed policy are some of the talking heads he has assembled, including The Wire creator David Simon and historian Richard Lawrence Miller. The film’s impetus, Jarecki narrates, came from his pondering the troubled fate of the son (and other relatives) of Nannie Jeter, the African-American woman who worked for many years for the director’s well-to-do white family in New Haven, Conn. Jeter, a thoughtful, soft-spoken woman, singles out drugs as the source of her family’s misfortune, prompting Jarecki to set out on a 20-state “journey” to talk to those in the trenches of this 41-year-old, impossibleto-win battle. Yet with so many directorial asides that begin “I couldn’t help but notice . . . ” or “I wondered what it was . . . ”, Jarecki sounds like Carrie Bradshaw after a poli-sci lecture. More powerful are the historical footage and talking heads. Simon lays

4th annual Seattle Italian Film Festival

RADIUS/TWC

Shot in Seattle and seen at SIFF this spring, this dark comedy’s release was delayed by Harvey Weinstein’s scissors after its Sundance ’11 premiere. Is it now better or worse than the original cut? I can’t say, but marauding raccoons, a gonzo Laura Linney, and an amoral Tobey Maguire are good enough for me. Maguire plays a bland, smug doctor aggravated by the raccoons ripping up his new lawn. His wife (Elizabeth Banks) tells him to roll with it, but this Prius-driving coward must vent his passive aggression. When garden hose and floodlights fail, he lays out poison . . . at which point Linney’s neighbor gets involved. To call her a crazy cat lady doesn’t begin to describe this Earth mama/harridan/sexually needy hippie. Lila is such a force of nature that all future hurricanes should be named after her. Again, Maguire’s Dr. Jeff is a weakling when it comes to both raccoons and women (Kerry Washington has a nice turn as a comely medical colleague). Written and directed by Jacob Aaron Estes (Mean Creek), The Details has an admittedly choppy rhythm, like a Cheever story with random pages missing. But the remaining pages are good cruel fun. Man-child Jeff gets all the humiliation and comeuppance he deserves, plus a welldelivered lecture on moral consequence from Ray Liotta’s angry cuckold. Lila gets what she wants, and the raccoons get what they want (worms, grubs, etc.). But Estes isn’t rolling out a reassuring moral fable like neat new sod in the backyard. Rather, he suggests, the real animals live indoors.

This Week’s Attractions » FROM PAGE 27 with his young son, and a husband whose wife’s madness is no match for his affection. Day-Lewis is just crazy good. CHRIS PACKHAM

Skyfall OPENS FRI., NOV. 9 AT CINERAMA AND OTHER THEATERS. RATED PG-13. 143 MINUTES.

If Hollywood’s rut du jour is the origin story as bid for franchise immortality, you can’t say that Skyfall isn’t on-trend. Daniel Craig’s third James Bond film aims to flesh out the spy’s backstory, with the globe-trotting terrorist hunt this time literally revisiting the site of the childhood trauma that apparently pushed Bond to seek that license to kill. Bopping from Shanghai to Macao, Bond gets up to the usual daring escapes and zipless nightcaps. The greatest gift director Sam Mendes—with cinematographer Roger Deakins—brings to the material is staging and imagery that artfully amplify the film’s ideas about the world in which all this is happening. And there are ideas, despite the fetishism and improbability native to the franchise. Bond’s world is undeniably modeled after a real one engaged in debates about transparency and obfuscation, in which established institutions find themselves crippled (and perhaps worse, rendered foolish) by stateless entities who show their power through violent interruptions of both the physical and virtual worlds. A bureaucrat played by Ralph Fiennes, trying to drag MI6 kicking and screaming into the age of Anonymous, contends that the agency “can’t keep working in the shadows—there are no shadows.” It’s a POV contested by the film’s most visually stunning action scene, a relatively simple duel in a darkened Shanghai skyscraper, with Bond and the bad guy silhouetted against the neon lights and building-enveloping video billboards outside. The shadows might have changed shape, location, and method of generation, but the conflicts seem to be as binary as they’ve ever been. KARINA LONGWORTH

Seattle weekly • NO VE MBER 7− 13, 2012

A FORMER ROCKSTAR IS hUNTING DOwN A NAZI CRIMINAL. ThIS COULD BE hIS GREATEST hIT.

sean Penn

“DAZZLING TO BEhOLD.” , ANThONY LANE

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film»This Week’s Attractions

Skyfall: Judi Dench’s M is accused of ill-treating her agents.

letting the growing distance between the couple act as its own statement on their incompatibility. There’s more speechifying than there needs to be in an otherwise low-key movie of relative brevity, but Smashed at its worst is still better than many other films of its kind at their best. MICHAEL NORDINE

P This Must Be the Place

RUNS FRI., NOV. 9–THURS., NOV. 15 AT VARSITY. NOT RATED. 118 MINUTES.

Google “Danzig shopping for cat supplies,” and you’ll find links to phone-cam shots of former Misfits singer Glenn Danzig crossing a grocerystore parking lot while wearing a Danzig T-shirt and carrying Fresh Step. The shots are humbling and humanizing. In scenes perhaps inspired by those photos, retired musician Cheyenne (Sean Penn), the subject of Paolo Sorrentino’s This Must Be the Place, wanders through a Dublin grocery store in his Robert Smith hair and makeup, all in black, peering over the tops of his old-man reading glasses. A huge pop star in the ’80s, Cheyenne retired following a tragedy, and now lives quietly and enjoys a meaningful and playful marriage to Jane (Frances McDormand). Penn plays Cheyenne with childlike fragility, delivering dialogue with a tremulous, understated affect that belies his flamboyant appearance. He often disP Smashed OPENS FRI., NOV. 9 AT SUNDANCE CINEMAS. appears into the shadows in such dark spaces RATED R. 85 MINUTES. as dimly lit bars, gargoylish and physically closed. Penn is astonishing, creating a funny, Movies about drugs and alcohol may be a guileless waif, infusing a faded celebrity figure dime(bag) a dozen, but James Ponsoldt’s with tactility and humor. Cheyenne is maybe Smashed is so beautifully shot and well-acted the least likely globe-traveling Nazi hunter as to transcend the genre. Centered on a imaginable, but when his estranged father, a 20-something alcoholic named Kate (an excelHolocaust survivor, passes away in New York, lent Mary Elizabeth Winstead), the film further Cheyenne returns home for the funeral, and distinguishes itself via an atypical arc: Kate has finds his father’s diaries document a fruitless, already hit rock bottom at film’s beginning: She decades-long search for a prison-camp guard. wets the bed, pukes in front of a classroom of To heal that estrangement, Cheyenne follows first-graders, and smokes crack within the first the journal’s clues across the U.S. in a dreamlike 10 minutes—and spends the rest of it clawing pursuit of his father’s tormentor. Sorrentino’s her way back into civilized society. Smashed is languorous photography, understated humor, as much about recovery as addiction; Ponsoldt and quiet but profound dramatic reveals coil successfully makes the case that the 12 steps together into something organic,SORRY, whole,NO andPASSES can sometimes be more difficult than whatever ACCEPTED FOR SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT achingly sweet. CHRIS PACKHAM E necessitated them. Kate’s main obstacle in her THIS ENGAGEMENT struggle isn’t her own willpower, it turns out, film@seattleweekly.com but the influence of her enabling husband Charlie (an equally good Aaron Paul, no stranger to this sort of material), who, having never hit the MORE ONLINE same lows as his wife, can’t quite see the point SEATTLEWEEKLY.COM of getting on the wagon. Ponsoldt doesn’t take See reviews of Brooklyn Castle sides in their frequent back-and-forth, instead and Head Games.

film» by brian miller

Local Film CouCh Fest Film Festival In Seattle, along with

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Scan

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universal piCtures: Celebrating 100 years The series continues with titles including

Pillow Talk, Jaws, The Sting, and High Plains Drifter. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10, Through Nov. 14. • the wizarD oF oz Family flick, gay cult movie, midnight stoner jamboree—it doesn’t really matter how you categorize The Wizard of Oz (1939). It couldn’t be sweeter or more family friendly—however your family is defined. Expect gays, straights, and kids of all derivations to sing along, misty-eyed, to the timeless songs by Harold Arlen and Yip Harburg. The Wizard of Oz has its roots in the book series begun by L. Frank Baum in 1900, but it’s really a Depression-era picture reflecting both the sadness and hope of that era. For all today’s CGI wonders, there’s nothing quite like the moment when Judy Garland wakes up in a Technicolor Oz. No DVD or giant plasma-screen TV can really do the scene justice. (G) BRIAN MILLER SIFF Cinema Uptown, $4, Sat., Nov. 10, 1 p.m.; Sun., Nov. 11, 1 p.m. • women in the shaDows The whole stinking city is on the take except for Glenn Ford’s obsessed, solitary cop and Gloria Grahame’s moll with a heart o’ gold—and painfully sensitive skin—in the 1953 noir The Big Heat. Master director Fritz Lang plays by all the paradigmatic rules in serving up this lean and brutal tale of vengeance, infusing each carefully composed shot with a wisp of cigarette smoke or a menacing shadow, a Neanderthal gangster (Lee Marvin at his oiliest) or a soothing bourbon double. A story of guns, goons, and girls balanced precisely at the intersection of traditional Hollywood morality and full-blown nihilism, Heat packs an exquisitely crafted, fantastically ferocious punch. (NR) PETER VIDITO Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 (series), $8 (individual), Thursdays, 7:30 p.m. Continues through Dec. 6. • won’t grow olD together SEE THE WIRE, PAGE 19.

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entire campfire-lit scenes registering as dances of shadow and warm flashes of skin—as she also charts the variable shades and tones of a single relationship. Within a scantily plotted, novella-style narrative, single shots become story events that mere mention would spoil. In a good relationship, you feel like you can survive anything the world throws at you. Loktev expertly trains her camera through a fissure in such a bond and reveals an unshakable vision of the terror of facing the unknown without a guide. (NR) Karina Longworth Varsity looper Early in Rian Johnson’s thriller, Joe (Joseph Gordon-Levitt) sits at a diner and chats with his self from 30 years in the future (Bruce Willis), who tells him not to worry about the particulars of time travel. Looper is more intent on the moral implications of a charged situation grounded in character, and it turns both Joes loose to make their own life-altering choices. Thrilling in its deft juggling of complex narrative elements, utterly clear in its presentation and unfolding with what feels like serious moral purpose, Looper favors the human scale over abstract philosophizing or metacinematic frippery. (R) Andrew Schenker Sundance, Lincoln Square, Meridian, Cinebarre, and others the master In admitting that Lancaster Dodd (Philip Seymour Hoffman), the figurehead of a ‘50s faith movement, was inspired by L. Ron Hubbard, Paul Thomas Anderson set up expectations of an exposé of the origins of Scientology. Instead, he has delivered a free-form work of expressionism, more room-size painting than biopic. Dodd teaches a drunk named Freddie (Joaquin Phoenix) not to apologize for who he is—”a scoundrel”—and gets him to submit to the Master’s conversion therapy. In Freddie he has a man who chewed through every leash ever clipped to his collar. Dodd repeatedly asks him, “Do your past failures bother you?” Can he change? Does he want to? Is this all vague enough for you? The film’s ambiguity could hardly be unintentional, but more interesting is Anderson’s use of sumptuous technique to tell a story defined by withholding. It’s a film of breathtaking cinematic romanticism and near-complete denial of conventional catharsis. (R) Karina Longworth Guild 45th

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

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out at the home of the 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, Cinebarre, Bainbridge, Vashon, and others Flight In this fine, melancholy character study, William “Whip” Whitaker (Denzel Washington) wakes after a bender and gets ready for work with a snort of coke. Then he swaggers into the cockpit of his passenger jet. When the plane goes into a sudden free fall, he improvises a miraculous plan that brings craft and passengers down more or less safely. Later, in order to hush up a medical report of Whip’s potent blood-alcohol level, Hugh Lang (Don Cheadle), is brought in to do damage control with union rep (Bruce Greenwood). Also “helping” is Whip’s dealer, played with dirtbag bonhomie by John Goodman. Calm and chaos commingle beautifully in the crash-landing set piece as handled by director Robert Zemeckis, making his first live-action film since 2000’s Cast Away. It is not surprising that Zemeckis’ handling of spectacle would be undiminished, but he hasn’t lost his touch with actors, either, coaching Washington into one of those rare performances that suggests much more than it shows. (R) Nick Pinkerton Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, Thornton Place, and others the loneliest planet Nica (Hani Furstenberg) and Alex (Gael García Bernal) are on a pre-marriage honeymoon in rural Georgia. Julia Loktev’s extraordinary second feature takes a painterly approach, crafting a study in colors—the vibrant green landscape,

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himself, this intricate fiscal thriller takes a dead bead on extreme privilege, with Gere’s Madoff-like billionaire fund-runner scrambling to keep his personal empire from crumbling. He has everything until he doesn’t— with the sale of his company for nine figures already jeopardized by cooked books, a car wreck, and warm corpse get him scrambling one step ahead of the cops. Director Nicholas Jarecki slices his cake and has it, too: We bizarrely empathize with the amoral hero’s stressedout tightrope walk, wanting him to get away with being an untouchable plutocratic scumbag, while the film simultaneously limns the rank injustices money can buy in bulk. (R) Michael Atkinson Kirkland Parkplace 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

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some 40 other cities worldwide, screenings are arranged in private homes and venues. See couchfestfilms.org for schedule and details. (NR) Sat., Nov. 10. Daisies SEE THE WIRE, PAGE 19. Fight Club Every lame buddy flick features a ritual fistfight that bonds its two male leads, and that clichéd meta-scene is the inspiration for David Fincher’s dark, gleefully incoherent 1999 comedy Fight Club, based on the novel by Chuck Palahniuk. Office drone Edward Norton receives his first beating from Brad Pitt, along with a whole nutty philosophy of male liberation—but just ignore it with the other manifestoes. Fincher employs an elliptical structure of multiple flashbacks and fantasy sequences, digressing frequently to prowl the sordid details with slo-mo computergenerated camera trickery. Early on, Norton compulsively t h i S co d e attends disease survivor supto download the FRee port groups—without being Seattle weekly sick himself. It’s a fresh, iPhone/andRoid aPP funny, fast-paced beginning, FoR moRe Film oR viSit and the next two acts sag seattleweekly.com by comparison. (Not unlike Norton’s buddy Meat Loaf, for that matter.) Helena Bonham Carter barely dignifies her klepto-nympho role, but Fincher makes better use of the Pixies’ “Where Is My Mind?” on the soundtrack. (R) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, Nov. 9-13, 9:30 p.m. the great esCape Steve McQueen lead an all-star cast in this 1963 yarn about World War II POWs determined to bust out of Nazi barbed wire. Other inmates memorably include Charles Bronson, James Coburn, and James Garner. (PG) Sundance Cinemas 4500 9th Ave. NE, 633-0059, sundancecinemas.com, $8-$10.50, Wed., Nov. 7, 1:15 & 7:05 p.m. heDwig anD the angry inCh John Cameron Mitchell’s 2001 adaptation of his off-Broadway show is a rollicking, funny, near-classic movie musical. Teetering on high heels, Hedwig and the Angry Inch never outruns its origins, nor does it pretend to. Born a boy in East Berlin, young Hansel grows up to suffer a botched sex-change operation and a twofold sense of loss. We learn Hedwig’s life story in stops along her band’s desultory U.S. tour as she pursues her former lover to claim songwriting royalties and reclaim a piece of her heart. In its debt to Tommy, Marc Bolan, David Bowie, Lou Reed, and Toni Tennille (believe it), the movie is almost impossible not to enjoy. Hedwig takes a simple song of hope and makes it sound like an arena-filling anthem. Movie screens at midnight. (R) BRIAN MILLER Egyptian, 805 E. Pine St., 720-4560, landmarktheatres.com, $8.25, Fri., Nov. 9; Sat., Nov. 10. hype! Back in 1996, Doug Pray’s raucous, lively grunge documentary won the Golden Space Needle Award at SIFF. Many years later, we can appreciate that moment as a pinnacle in Seattle music history. Many of the local bands portrayed—Nirvana, Soundgarden, The Gits, 7 Year Bitch—are gone. Some persist (Mudhoney, The Melvins), and the status of others is uncertain (Pearl Jam). Well-edited and containing an amazing array of concert footage, Hype! is celebratory yet skeptical; both the director and the musicians seem aware that something so suddenly inflated (i.e., grunge) is bound to burst. The film is presented by Three Imaginary Girls, who’ll also show various nostalgic shorts from the ‘90s. (NR) BRIAN MILLER Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusion cinema.org, $5-$8, Sat., Nov. 10, 8:45 p.m. the invisible war Kirby Dick’s documentary lays bare the scandalous epidemic of rape in the U.S. armed forces—the war on women who fight wars. Told through an array of talking heads—including servicewomen (and a few servicemen) who recount their attacks, military psychiatrists, NCIS agents, attorneys, journalists, and obtuse Department of Defense employees—and intertitles revealing appalling facts, Dick’s film unveils an environment that, in the words of one Army shrink, is “target rich for predators.” Interview

after interview, statistic after statistic, Dick’s advocacy project thoroughly incenses—and appears to be having results. Two days after Dick screened it for Secretary of Defense Leon Panetta, the DOD head announced plans requiring that all sexual assault complaints be handled by more-senior officers, not unit commanders—a change that will hopefully lead to more prosecutions. Discussion follows the screening. (NR) MELISSA ANDERSON SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $5-$10, Mon., Nov. 12, 7 p.m. man with a movie Camera James Wetzel will perform a live score to this ecstatic and wildly inventive silent movie from 1929, a pioneering work of cinema by Russian director Dziga Vertov. Program length is a little over an hour. (NR) SIFF Cinema Uptown, Sun., Nov. 11, 7 p.m. miami ConneCtion Ninja rock, cocaine dealing, and neon colors are promised in this 1987 artifact from the Miami Vice era. (NR) Grand Illusion, $5-$8, Thu., Nov. 8, 9 p.m. Fri., Sat., 11 p.m. seattle shorts Film Festival Two dozen works are screened in three blocks, with a limited number of tickets remaining. A wine-and-cheese reception follows the third screening. Topics include Star Wars, a global pandemic, and a teen’s effort to seduce her SAT tutor. For more information: seattleshorts.org. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), $8-$10, Sat., Nov. 10, 12, 2:15 & 4:45 p.m. symphony oF the soil Following this organic/ sustainability doc is a talk with UW professor David Montgomery, the noted author of Dirt: The Erosion of Civilizations. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Nov. 9, 7 & 9:15 p.m.

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WINTER Beer PAGES By Geoff Kaiser

I love it when the seasons change. Just like with produce and seasonal food menus at local restaurants, many local breweries embrace the seasons, creating unique offerings that are only available for a limited time. For winter, you can expect more malt-focused beers perfect for sipping next to the fire or enjoying after a day on the slopes. One of my favorite annual releases is Big Time Old Wooly, which is a barleywine. As you might figure out from the name, a barleywine is a strong beer, often similar in strength to wine. They are meant for sipping, not slamming, and the flavors can be very complex. Old Wooly has been around about as long as any other example, and the 2012 batch will be released at Big Time Brewery on Dec. 1. While most beer is meant to be drunk fresh, these high-alcohol brews typically age very well. Big Time has been breaking out vintage kegs of Old Wooly at the pub over the past few months, and if you stop by the pub on Nov. 13, you can try their next vintage release. A great way for you and your friends to sample a bunch of seasonal releases at one time is to put on a tasting party featuring winter beers. Head to your local craft-beer retailer and purchase around 10 different seasonal releases; if you go to a specialty bottle shop, like Bottleworks, Full Throttle Bottles, The Last Drop or Beer Junction, you’ll likely find someone to help you put together a good selection. With so many different styles falling under the heading of “winter beer,” you should have plenty of variety. If you want to taste the beers blind, you’ll have to find someone to pour samples for you and number each beer as they give it to you. It’s fun to keep a score and comment sheet for your beers and record what you think of them; then you can go back at the end and see which ones you liked when the lineup is revealed.

Also coming up is the Big Wood Festival, kicking off at Brouwer’s Cafe on Dec. 6. This festival is dedicated to the art of wood-aged beers and features special brews from around the world. At Big Wood, you can expect to see stouts, sour beer, barleywines, and more. This is a truly unique event, where you can

Since I live on the other side of town, it hurts a bit that Ballard has become a hotbed for craft beer and new local breweries. For all of you who do live on that side of town, count yourself blessed by the beer gods, and add a few more places to the list of neighborhood breweries. Peddler Brewing Company and Populuxe Brewing are coming in January, and it sounds like a place called Bad Jimmy’s Brewery just signed a lease in the neighborhood as well. Along with the addition of a brewing system to Urban Family Public House, that brings the total number of breweries in Ballard to a whopping nine by my count, more than any other neighborhood in the city and more than some major cities have in total. I wish you’d all share with those of us in the likes of Beacon Hill and Columbia City (hint, hint … to any potential new brewery owners). Populuxe, a small nanobrewery opening at 826 N.W. 49th St., will serve the majority of their beer out of their tasting room, and also will fill growlers. Peddler, brewing on a 7 bbl system, will be in the warehouse where Maritime Pacific was originally located, with a tasting room in the front of the warehouse open five days a week. To encourage bicyclists to stop by, they’ll have indoor bike parking and a work stand with bike tools for simple repairs and maintenance. Just don’t drink too much before biking home! Two of Seattle’s breweries are finishing expansions to their existing spaces. Schooner Exact Brewing has added a kitchen and new seating area to the pub at their SoDo brewery. Warren Peterson, formerly a sous chef and the official Beer Czar for Tom Douglas Restaurants, will head up the kitchen, including a selection of sandwiches, salads and more. They start serving food on Nov. 10, and will be open seven days a week, from 11 a.m. to 9 p.m. Due to increased demand, Fremont Brewing has moved to a seven-day-a-week brewing schedule, made possible by moving the Urban Beer Garden from inside the brewing space to a separate area on the other side of the building. They’ve expanded the number of Fremont beers on tap, have a rotating guestbrewery tap, and are open seven days a week (check fremontbrewing.com for hours). Geoff Kaiser enjoys writing about and drinking beer in Seattle. Check out his website at seattlebeernews.com.

Se attle weekly • NOVEMBER 7− 13, 2012

Indoor winter beer festivals have a completely different vibe than their warmerweather outdoor counterparts, but if you’re a fan of winter seasonals you shouldn’t miss the Winter Beer Festival at Hale’s Palladium, Dec. 7 and 8. This festival is perfect for both the casual drinker looking to just grab some local beers with friends, and more adventurous drinkers seeking out what’s new and exciting in the beer world. A variety of seasonal beers from more than 30 Washington breweries will be available, including many one-time special releases and vintage beers from years past.

find some exceptional gems being poured. This year, the organizers bought five whiskey barrels from Spokane’s Dry Fly Distillery and distributed them to five local breweries. The beer they’re aging in will then be poured at the festival.

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food&drink»

Make It a Double

Two food-forward bars help Seattle’s craft-cocktail scene ditch its pretentiousness.

By Hanna RaskIn

Kevin P. Casey

Essex’s charming pressed-tin ceiling. s recently as five years ago, While such provincialism is the enemy of drinkers could judge a cocktail a well-balanced cocktail, it doesn’t detract den’s gravity by the length of its from the shotgun room’s winningly cozy bartender’s handlebar mustache. ambience. With its With housemade tincmarble-topped tables— tures, fresh fruit juices, scrunched together so suspenders, and secret closely that there’s no passwords all bound up space for the pedestrian in the same pre-Prohibirabble of handbags and tion bear hug, dapperness winter coats—and whitewas briefly a pretty relitile backsplash behind able indicator of where to the bar, Essex has the get a giggle-water fix. romantic feel of a New But the principles Orleans oyster house or a of capable cocktailing Paris Métro station. Lots proved more sustainof flickering candles and able than silly fashions, wallpaper printed with so it’s now possible to Essex is perhaps the beer-boiled soft pretzels, a stylized whale crest order a north-of-decent soulful dough twisted into fat protest ribbons underscore the Old World mixed drink from a guy and served with a frisky whole-grain mustard. vibe, a welcome antidote who shops at Macy’s. I ran into a friend at Essex who’s patronized to dark, sodden nights. Once-precious bars are the neighborhood joint frequently enough to When the weather’s sloughing off their affecknow my drinks that evening were prepared by wet, drinkers’ eyes are tations, and longtime an understudy bartender. When she stopped likely to gravitate toward beer-and-wine joints are by my table, her party was in the midst of relothe appealingly named fiddling with spirits, makcating to Delancey, a reliable source of impecAutumn Sweater, featuring the stirred rye Mancable pies. They had the right idea: Although ing somber, bitter notes hattan—along with more Essex may eventually become a worthwhile that can typically stand up imaginative beverages—an stand-alone experience, it’s currently a terrific to storm clouds and Irish increasingly attainable red-wine-and-pretzel anteroom for Delancey. poetry. The cocktail’s made prize. Gratifyingly, cockAnd as the many eaters who’ve been forced to with bourbon, Averna (a tail history has reached its wait for a table at that popular restaurant know, caramely amaro that’s middle-grounding period. that’s a splendid addition. sometimes compared to a The convergence is light port), allspice dram, especially evident in candied blood orange, and Seattle, lately blessed by certain breed of cocktail nerd will Essex’s own cherry brandy the arrival of two bars immediately notice Vessel’s iceTop, Vessel’s Cane Old Fashioned. which originated on hoisting system (described in an Bottom, Essex’s Autumn Sweater. and cherry bitters. Sadly, the proportions were opposite ends of the fussy accompanying First Call column askew the night I tried it, spectrum. Former Esquire on p. 37), but customers not especially interso the drink tasted medicinally sweet. A Red “best bar” Vessel, which famously denied its ested in the machinations and magic needed Medicine—house-aged rye, Delancey fernet, to create a cocktail that makes keeping a home patrons vodka, is back downtown after a twoRachel’s Ginger Beer, and rhubarb—was also bar feel like folly will probably never wander year sabbatical rooted in a lease dispute. And badly out of whack: The into “The Lab,” a windowed over in Ballard, acclaimed wood-fired-pizza highly carbonated drink back room stocked with saws salon Delancey has opened an adjunct cocktail » essex bore no trace of whiskey. and foam-making equipment. bar in a space vacated by an umbrella-rental Autumn SweAter �� $10 And if there was any syrup Vessel, which in its first incarshop. While the restaurant could previously mAple piSco Sour �� $10 pretzelS �� $6 in a maple pisco sour, it was nation earned a reputation for be counted on to scare up a martini made with pickle plAte ��$8/$14 drowned out by egg froth. rigidity—and counts a veritable microdistilled gin, its spawn, Essex, keeps a cArrotS�� $7 pork Shoulder �� $10/$18 Maple is used to far cityful of talented bartenders gin-and-elderflower spritzer on tap. » vessel better effect on a plate of (Canon’s Jamie Boudreau, Rob Vessel and Essex are very different bars, zeuS’ wrAth ��$12 oven-roasted carrots, one Roy’s Anu Apte, Liberty’s Keith but they convey the same triumphant mescAne old FAShioned ��$12 hummuS�� $7 of a dozen or so dishes on a Waldbauer) among its alumni sage: It’s a great time to drink in Seattle. niÇoiSe SAlAd ��$14 snacky menu that stresses as a result—feels downright French dip ��$13 bread, cured meats, and relaxed. t’s instructive to note how the glasses, pickles. (Fair warning to That doesn’t mean Vessel is bottles, and jars on Essex’s five-ledge brine fans: The signature pickle plate includes the kind of bar in which you’ll be tempted to wooden back bar are arranged. The only carrots, fennel, and cucumbers, so order put your feet up on the leather couches. The crowning shelf is reserved for pickles a la carte if you’re curious about red onion, angular, red-and-black room, with lighting and other homemade concoctions. That’s celery root, and other oddities.) The slender sufficiently dimmed to discourage downtown largely a logistical choice, since no bartender sugared carrots, nestled in a scrape of textured workers from making the bar a second office, wants to climb a ladder every time he needs a ricotta, are surely preferable to a hunk of pork has the generic swank of a jazzy watering hole jigger of rum. But the setup fairly represents shoulder that traded its moisture for a heavy in Charlotte or Phoenix. Whereas Essex is all the hierarchy of flavors at this Delancey offdose of smoke; a limp scallop crudo; and a character, Vessel has nearly none. shoot. Whether a drink’s base spirit is tequila, greasy assemblage of prosciutto and deeply But the small plates and cocktails easily bourbon, or gin, it usually ends up tasting caramelized pears. But the very best order at make up for the bland ambience. Sustenance like whatever was blended or aged beneath

is an important consideration during multipledrink sessions, particularly at lunchtime. Vessel deserves credit for trying to restore the midday hard-liquor habit with its menu of light, food-friendly cocktails: The Pimm’s Cup is superb, with enough pep to goad a drinker through the afternoon. The menu includes an elegant white bean-and-sunchoke hummus, with citric overtones that mesh well with rum, and a gorgeous deconstructed Niçoise salad, featuring fleshy fingerling potatoes, two perfectly poached slabs of salmon, and a shiny sous-vide orb of egg yolk supporting two crisscrossed white anchovies. An excellent French dip demonstrates a command of lamb rarely encountered outside curry houses. The evening cocktails change constantly, since Vessel employs a rotating stable of 25 bartenders, each of whom writes his or her own drink menu. Regular patrons have their favorites: When I once asked for an off-list drink, my server explained that the bartender whose drinks weren’t selling as well that evening would be in charge of creating it for me. Yet I never had a dud drink at Vessel: Every cocktail I sampled was clean, balanced, and brave. Michael Bertrand’s Zeus’ Wrath, made with rum, cognac, lime, honey, and Greek yogurt, momentarily knocked me cockeyed. It had the consistency of a post-workout smoothie, but thrust forth flavors not usually associated with healthy living. By giving barkeeps a chance to tinker with ideas—and drinkers a venue in which to enjoy them— Vessel had already made itself essential. E hraskin@seattleweekly.com EssEx 1421 N.W. 70th St., 838-1960, essexbarseattle. com. 4:30 p.m.–close Wed.–Sat. VEssEl 624 Olive Way, 623-3325, vesselseattle.com. 11 a.m.–close Mon.–Fri., 5 p.m.–close Sat.–Sun.

Se attle weekly • NOVEMBER 7− 13, 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 Ballard

Scandinavian cafe at Scandinavian SpecialtieS 6719 15th Ave. N.W., 784-7020. Ozzie

Kvithammer and Anne-Lise Berger’s Scandinavian food shop and cafe provides a pleasant alternative for those who’ve grown sick of Thai takeout. Who needs it when there’s fish pudding, pickled herring, sauerkraut, salmon quiche, Scandinavian cold cuts, and traditional sweets for dessert? The impressive open-faced sandwich selection includes smoked salmon and egg, shrimp and fish pudding, and rullepolse, a Danish luncheon meat. $ vietnam ReStauRant

7040 15th Ave. N.W., 783-4310. Offered in some 15 iterations, Vietnam Restaurant’s pho is as traditional and tasty as anything this side t h i S co d e to download the FRee of Saigon. The delicious Seattle weekly seafood pho is colorful, with red splashes of prawns iPhone/andRoid aPP FoR moRe ReStauRantS oR viSit bobbing amid the noodles, seattleweekly.com scallions, and sprouts. The spring rolls are especially notable, prepared with tender beef, pork, carrots, jicama, and glass noodles. Nothing goes better with a steaming bowl of broth. $

Scan

Belltown

poRtfolio ReStauRant 2600 Alaskan Way, fifth

floor, 239-2363. The food at the Art Institute of Seattle’s culinary program, whose students cook in the restaurant, ranges from serviceable to sublime. The menus include such items as butter lettuce drizzled with sweet honey-truffle dressing, toasted almonds, and

lumps of chevre. You might be lucky enough to enjoy pork loin with a just-sweet pile of braised red cabbage, or a stunning pan-roasted steelhead trout served on a bed of spinach and white beans with a tangy fennel sauce. Be sure to check out the very moderately priced list of West Coast wines. $ tutta Bella neapolitan pizzeRia 2200 Westlake Ave. Suite 112, 624-4422. This establishment has high ambitions for its Neapolitan-style pizza, which carries certification by the Italian government. The requisite thin crust, floppy-centered and almost translucent at the center, tastes of the wood fire it was baked over and will leave some more jazzed than others. The pizzas come topped with classy items like pancetta, goat cheese, and kalamata olives. Dessert includes gelato and tiramisu. In this eclectic establishment, kids are well-treated, and you might find a jazz band playing in the corner.

Capitol Hill

Kanapé 700 Broadway E., 708-1210. The originality

and obvious love for generally unloved things defines Kanapé. The menu spouts such typically undesirable fare as chicken-liver pate or vegetable caponata. Kanapé balances the menu with a long list of crepes, both sweet and savory, and Turkish coffee from the bar. Eastern European food is still a relative rarity in Seattle, and you should trust a place that takes as its inspiration the homesickness and melancholy of someone far from their native soil. $ Kimchi BiStRo 219 Broadway Ave. E., 323-4472. Hidden so far back in the “Alley” mini-mall that no one would ever stumble upon it, Kimchi Bistro hides its charms. Its prices are more than fair, and the menu is built around Korean favorites—not just bulgogi and kalbi (Korean barbecue), but spicy softtofu soups; crisp, enormous seafood pancakes; and dol sot bibimbop, rice and vegetables that crackle away in an oven-hot stone bowl. The waiters only deliver a half-dozen pickles and other side dishes, far less than tonier places, but they’ll refill your saucer of kimchi as many times as you can stand. $ victRola coffee & aRt 411 15th Ave. E., 325-6520. Looking for tranquility? Try Victrola’s Beacon Hill location. The menu is the same—artisanal roasts and espresso blends coupled with a smattering of pastries. The difference is size. This room, one of Victrola’s two Capitol Hill sites, is significantly more spacious than its Beacon Hill cousin, and is usually crowded with Capitol

The Bartender: Michael Bertrand worked at the former Vessel for about three years before it irst all closed. He started his career at Flowers in the » by tiffany ran U District, and later slung drinks at Mistral Kitchen. A cocktail at the new Vessel bears Bertrand’s name. The Drink: Bertrand’s Knife in the Water consists of Tanqueray, Cocchi Torino, peach bitters (in mine he used rhubarb), and apple-cider vinegar. The Watering Hole: Bertrand usually arranges Vessel, 624 Olive Way, his menu to offer a sweeter 623-3325, DOWNTOWN “girly” drink, a stronger The Atmosphere: Vessel, “manly” drink, and a sour; but which formerly glowed white the Knife and the mysterious and yellow on Fifth Avenue, Zeus’ Wrath are among what has gone dark at its new locaBertrand describes as his tion on Olive and Seventh. “special drinks,” in which he Today Vessel is a broody can creatively dabble in unique lair where geometric forms, ingredients like bitters and gleaming metals, industrial even Greek yogurt. Of these concrete pillars, and polished two, the Knife comes with the pipes frame a black room ice-cracking experience that accented with red walls. More makes a Vessel drink all the Vessel’s ace knife-wielder. ominous is the giant hook more thrilling. The Verdict: With its balhanging near its kitchen. But ance of sour and sweet, the before your mind runs wild Knife in the Water cuts through with thoughts of BDSM, the staff is quick to remind you about their ice program: Vessel’s meat-filled bar menu. Complexly flaThe hook is for lifting 300-pound blocks of ice made vored and gentle to the touch, a Knife in the Water may sound dangerous, but is actually a specifically for Vessel’s drinks. Bartenders can be safe bet. E seen hacking off hunks of this crystal-clear, slowfood@seattleweekly.com melting ice to top off your cocktails.

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food&drink»Featured Eats Hill residents whiling away the time as they have done since coffeehouse culture was new. It makes for good people-watching, but not peace and quiet. But it’s just about the coffee, right? Sure it is. $

Central DistriCt

El Gallito 1700 20th Ave. E., 329-8088. Fans like to

make a big deal about their margaritas, and with good reason; El Gallito stocks good tequilas, and they serve them up as well as anyone around. But there are many things to love about this place besides the booze. There’s the mole, for one, and for two, the guacamole. The enchiladas are the best in town, so order a combo of one guac and one mole and you’ll be in heaven. Bonus: the best old-school signage in town. $

ALittLeRAskin » by hanna raskin

The Woman Whom TASTE Forgot

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1660. Stellar offers a warm-hued, romantically nostalgic mood for loft-dwellers and young families alike. The ceilings are so high they almost evoke the hangars down the street at Boeing, but the space has such a lived-in and loved-in feeling that it’s never cold or impersonal. And the food—pastas, salads, and sandwiches as well as the pizza—tastes like someone with a true love for red sauce is working toward some vision in the back. Inventive offerings like the Corson Classic (Yukon Gold potatoes, sweet white onions, and piles of Gorgonzola cheese) are spicy, well sauced, and cooked to cheesebubbling perfection. $

the House’s operation costs—and sales kept it afloat for nine years. “Although considered one of the most successful fundraising cookbooks in American history, The Settlement Cook Book emanated from Kander’s efforts to Americanize Russian immigrant women through cooking classes,” Angela Fritz wrote in a 2004 article for Wisconsin Magazine of History. To Kander, Americanization meant eating more red meat than fish, using brand-name processed foods, giving up Jewish dietary laws, garnishing plates with lettuce leaves and carved tomatoes, measuring ingredients in a scientific manner, and keeping an orderly kitchen. It also called for cocktails and truffles. “The Settlement Cook Book tried to bring elegance and decorum to the Jewish home through haute cuisine,” Fritz writes. “[It] served as a manual for the dramatization of middle-class values at the Jewish table with the inclusion of cocktails such as Manhattans, Mint Juleps, and Champagne Punch. Kander had been greatly influenced by French cuisine, including recipes for Delmonico Salad Dressing with chopped truffles, Water Lily Salad, and pate de foie gras.” Although many of the dishes Kander promoted may have seemed frivolous in a tenement context, she firmly believed the kitchen was the entryway to successful society. And her recipes were good: “If I consult a cookbook at all, it is likely to be by one of these sensible, flat-heeled authors like the famous Mrs. Kander,” James Beard told The New Yorker when asked to name his favorite cookbook (which later became the first inductee into the Beard Foundation’s Cookbook Hall of Fame). Despite The Settlement Cook Book’s original title, pleasing men was never chief among Kander’s aims: The word “husband” doesn’t appear once in her text. Kander’s full-throated defense of assimilation seems less heroic today, when diversity and individualism are conventionally prized. Her transformation of her pupils’ beloved gefilte fish into an elegant “herring salad” would likely strike many contemporary cooks as disrespectful and misguided. But a philosophical shift doesn’t retroactively weaken Kander’s leadership or culinary sense. Like many of the women showcased in SAM’s galleries, she was subservient only to her values and vision. E hraskin@seattleweekly.com

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Seattle Art Museum’s current exhibit— Elles: Women Artists From the Centre Pompidou—is a boisterous celebration of female painters, photographers, sculptors, and installation artists. But downstairs at TASTE, the museum’s restaurant, a woman representing a folksier strain of female creativity is getting disappointingly short shrift. In conjunction with the show, executive chef Craig Hetherington has created a menu based on Lizzie Black Kander’s 1903 The Way to a Man’s Heart, a cookbook first issued for immigrant clients of the Milwaukee Settlement House (SAM press materials identify the author only by her byline of Mrs. Simon Kander). “I knew using some of these ‘man-serving’ recipes would be a cool contrast to the strong women artists featured in the show,” Hetherington is quoted as saying in a release, which claims his versions of braised short ribs and grilled lamb “subvert the cookbook’s subservient ethos from a more repressed time.” The Way to a Man’s Heart, renamed The Settlement Cook Book in later printings, wasn’t a radical feminist document. An early edition included ads for corsets and high-heeled shoes, neither of which were likely compatible with the fire-building, dusting, and dishwashing outlined in the book’s first chapter. But to offer Kander as the antithesis of “strong women” is unfair. In 1878, 42 years before women won the right to vote, Kander’s valedictory address at Milwaukee’s East Side High School graduation was entitled “When I Become President.” The daughter of a dry-goods shopkeeper and a talented home cook, Kander joined an immigrant-aid society soon after graduation. Her position took her into the city’s meanest slums, where she urged newly arrived Russian Jews to “Americanize” and keep their small homes clean. Her commitment to cleanliness—a preoccupation of the Progressive movement, forged alongside a growing acceptance of germ theory—led her to establish a bathhouse attached to the Schlitz Brewery, with water piped in from the bottle-sanitizing room. In 1900, Kander helped establish the Settlement House, where she taught cooking classes. The cookbook was conceived as a way to underwrite

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music» »ESSAY

Restless Burning

Finding harmony and stillness in a breakdown in Iowa. BY JESSE SYKES

For a period, I remember needing to be everywhere all at once—which meant being somewhere else, even when I was home in Seattle. Sometimes I’d fall asleep to the memory of hotel rooms that I could vaguely recollect: Their emptiness, which at times horrified me, was now comforting. For so many years I longed for that feeling of being lost. I needed to be gone, jarred and uncomfortable, not in my element, to feel like I was growing. I began to love this feeling of waking up in what felt like someone else’s dream. I learned to see the beauty in being lost—until it became my own dream. And I started to wonder if a few bad tour experiences and being in a van all the time had stripped me of my ability to dream another life.

M. SHULTZ

“My love for you is not contemporary/Modern days just seem a bit too scary/And like the grasses creeping ’cross the prairie/I ran away with all that I could carry.” —J. Sykes, 1995

The author at home in Iowa.

played. We slept there a time or two, and got fuel. But it was just a milepost that meant two nights in a hotel and six tanks of gas to get back to Seattle. I’ve always hated that touring can taint a perfectly beautiful state that way, turning it into a disposable window of time that one must simply “get through” to be somewhere else—eroding much of its magic. Anywhere can seem tiny when unfairly judged from the vantage point of a rest stop and a broken scope. Iowa seemed too far east for my internal barometer. HeadI started to wonder if a few bad tour ing east reminded me of a past experiences had stripped me of my I’d struggled to leave behind ability to dream another life. 20 years before. My move to Seattle from New York seemed so epic in 1991. It wasn’t soulmate, I was at least being filled up in other the easiest transition, and it took almost a ways. And, I thought, you can’t have it all. decade for me to feel like I belonged here. The Phil Wandscher, my musical comrade and thought of ever moving away was a terrifying musical soulmate, had been my boyfriend for a prospect, and all other states felt like a threat— decade, but in time our relationship morphed contenders for a future that deep in my gut I into more of a familial love than a romantic feared remained open and unresolved. one. But we were able to figure out how to be in Although vast cornfields as seen from the each other’s lives and create music. I think we vantage point of a highway didn’t hold much both felt that the band was our child and could mystery for me anymore, if I could view them provide us with enough nourishment without at night, as I often did on a vacant stretch of the emotional intimacy of a romantic relationroad in the wee hours, I’d get that pang in my ship, as long as we held on tight and kept the heart. I never forgot that first sense of wonder wheels rolling. Had we stopped long enough to when I was introduced to what I now realize look, we would have seen it wasn’t working. was some sort of strange metaphysical pheThe danger of living life in record cycles nomenon, a premonition, where an internal (writing, recording, touring) is that life is allobar was being set: the wonder and mystery bar, cated into three- and four-year chunks, much and the clarion call. » CONTINUED ON PAGE 42

Se attle weekly • NOVEMBER 7− 13, 2012

’ve always believed in the notion that everything exists all at once, that everything that has happened before is happening now. Light is eternal, light bends, and everything is connected. This concept of entanglement leaves me with the sense that sometimes we are living a life in reverse, trying to understand in our conscious mind what our subconscious has always known and understood, because on some level it’s seen it happen before. I’ve been on this earth long enough to feel like I’m living various dreams at once. Slowly I’m beginning to understand these dreams as they unfold into one another. For most of my life, I would not fly on airplanes. For many years after moving to Seattle, I’d ride Amtrak to visit family back East. I even took the train out to our band’s first East Coast appearance—a one-off in New York City— using the excuse that I’d stop over in Boston to visit my brother’s family. My very first crosscountry trip aboard Amtrak was back in the 1980s. My mother and I were en route to Colorado from Penn Station, and she turned my phobia into an opportunity. A three-day train ride is no picnic, especially riding in coach, but “It’s a great way to see the country,” she said. It was far more than that for me. The train rolled south and serpentined through the Eastern hills and hidden rural gullies behind ramshackle homes before branching off to the west. It was clear we’d left the cities

behind, and were being given access to hidden worlds seen only from a train’s vantage point. Somewhere around West Virginia, a group of young boys mooned us off a steep hillside. I’m sure this must have been a daily after-school ritual—tribes of bandit kids defending their territories by the tracks, unafraid of the metal fortress that intruded on their kingdom. I remember the first state we rode across that made me feel truly far from home, far enough away from my comfort zone to wonder what it would be like to “be from here.” “Here” seemed like nowhere, just a small cluster of lights—sometimes just a single light shining like a lantern on the horizon. Every few minutes these lights would reappear, flickering, before they’d evaporate like tiny vapor dots, always in sync with the train’s rhythm. “Here” it was dark, vast, and lonely, and I couldn’t peel my face away from that window. I wanted to know what those lights were. I loved how they made me feel, awakening this wondrous sense of dislocation within me. The train was an invisible whistling force, and it was just the two of us— inside the darkness—passing through Iowa. Had you told me in that moment that I would someday live there, I would have been thrilled. All that distance and space would have set well with me then—far from home, the mystery, and my God, you had to cross the great Mississippi to get there. It was the only state we passed through at night that I was awake for, so I didn’t really see it as much as intuit it. But I liked what I thought I saw. By the time I was touring with my band, The Sweet Hereafter, Iowa had been relegated to the state we passed through but never

here is a lot to be said about the silly games we play in our heads as kids. Even in my 20s and 30s I played those games constantly, visualizing myself in one place or another. But this gets harder to do later in life, when you actually find yourself in a place or time where you can’t visualize yourself anywhere else because you are home—even if home is temporary on a physical level, you are home both internally and externally wherever you are. I felt “home” in Seattle in many ways, and my time there was magical once the 2000s rolled in. But as time rode on, one element remained lacking. A deeper part of what I wanted and needed to be truly fulfilled had been put on hold for my musical path. I’d talked myself into the notion that it was a necessary sacrifice to create and pull off a musical journey beyond my own living room. Personal happiness often does need to be on the back burner, and sacrifices do need to be made when one pursues any career path they are passionate about. But as the years went on, I whittled away the ability to distinguish between sacrifice and a pathological inability to allow myself to be happy. Music has always made me happy beyond measure. Happiness isn’t even a word to describe it: It saved me, and continues to. I loved my life, my friends, my community. So I thought that even though I may never find my

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like dog years, and time becomes compressed, leaving little chance to reflect. I moved to Iowa because I fell in love. Before MySpace or Facebook existed for me, I received a short e-mail to congratulate our band on its second album. I had no idea who he was or what he looked like, but that e-mail blossomed into a friendship that lasted for many years before we ever met in real time. I know it sounds crazy, but I didn’t need to know what he looked like. I just knew I loved how he made me feel. I loved the stories he told, the things he’d seen and done, and the way he “saw” and interpreted these things. A wildlife biologist, he’d soon be leaving his life in Alaska to pursue

working hard to change this perception, to open myself to develop a new relationship with each state, this state, and, most important, my state of mind. It was working, and in time this anxiety began to feel more like a nip on the heel. And I knew that before long I’d be back on the road. But then something changed abruptly. We had a loss of stability within the band, causing us to lose some momentum as well as some of our internal and external machinery. I had thought I could come to Iowa and keep everything “musical” on track, but now I felt like I was stuck, with my limbs severed and my heart broken. All of a sudden “here” felt like that nowhere I’d seen from the train years before, but this time it was less intoxicating. “Here” felt like two nights in a hotel and six tanks of gas to Seattle—where I was supposed Phil Wandscher and Jesse Sykes: The Sweet Hereafter.

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a Ph.D. in Iowa. It was for him that I was able to get on a plane by myself for the first time. Less strange than the letting-go of the terror of flying was the reconciliation with how flying makes the world feel small. Distance becomes something tangible, less epic, and for me there was a sadness in losing that sense of magnitude and mystery. At the same time it made moving to Iowa less scary. My brain interpreted it as an eight-hour journey from Seattle, not six tanks of gas and two nights in a motel. Seattle represents for me the epicenter of movement and possibility. Iowa was a place of repose, where I’d come between the craziness of touring and recording. When I was in Seattle, I’d long for the quiet of Iowa. There were times I was torn and begged the universe to give me only the peace and quiet I felt I needed and had forgone for so many years. When in Iowa, I’d revel in the stillness . . . at least most of the time. Before the move, I’d have intensely anxious moments when I visited my boyfriend. If we were at a filling station or saw a Culver’s, I’d feel like I was being pulled in the wrong direction. I’d long for the “real” road, the band, Seattle. It was very confusing because I wanted nothing more than to be with him. There’s a comfort that comes with being on tour and having the constant ability to re-create the day or the moment, the never-ending end, the never-ending beginning. I associated everything with this mercurial state of being. I was

to be. All of a sudden home meant something else. Iowa equaled panic, a lack of forward momentum—everything I was primed for. When the band’s brief hiatus was forced upon me, it felt more like a blow from a blunt object. It was like being kicked out of a speeding van on the highway—plunked down here without any say in the matter, like waking up from amnesia. I felt I was losing the machinery of my heart and soul, and in that window I began to associate everything that reminded me of being on tour with stagnation and loss. There were no distractions to hide behind. The noise was gone. The quiet I had wished for and coveted closed in on me while I convalesced and picked myself up. I’ve cringed reading interviews with artists speaking from the “later in life” vantage point. But I’ve come to understand that when you reach a certain age and are still in the rock’n’-roll trenches, as I am, one needs at least to acknowledge and do some assessing as to what’s working and what isn’t. This doesn’t mean quitting or even slowing down; it just means taking a step back, and for a moment allowing for the possibility that the machinery may go on without you. I had created for myself a sanctuary in Iowa—that place I’d always visualized externally, and, more important, the place my heart wanted to go. But nothing had prepared me to accept the possibility that I might someday get what I wished for—the music path and the

love—and that I would be able to recognize it when it presented itself, to not see it as being stranded in a state I’d driven through so many times, almost purposefully dismissing while looking for that clarion call elsewhere.

t’s funny: Anyone who travels the roads of America knows there are at least a handful of towns called Clarion. Iowa has its Clarion, too. The state with almost no wilderness to be had, but endless space—space that forces you to find the wilderness within—the state that you need to get down inside of to see and appreciate for its incredible pockets of beauty. When I decided to move in with my boyfriend (now fiance), he tried to console me about leaving my beloved mountains and water behind. He said that he was skeptical of people who needed a dramatic landscape to feel fulfilled. It takes creativity and a deep connection to your internal world to see Iowa as a blank canvas for the psyche, rather than a boring landscape. Another friend from Nebraska said that the straight lines and flatness of the midwest had a power that allowed the imagination to thrive, a power that could divine all sorts of forces. She felt unchallenged by the Northwest’s “obvious beauty.” I love that about her. My whole life has been about expectation and movement, feeling unsettled. But now I am still, or at least it appears so outwardly. It has taken a lot of doing to let go of that feeling of being kidnapped from my band and former life—to realize that now I’m able to see life as more than a series of record cycles, and that it doesn’t mean that everything I worked hard for isn’t moving forward. It is. It’s just a different form of movement—the kind that can look like stillness, because behind the veils of consciousness things have been evolving faster than ever, and the conscious mind is racing to catch up.

It takes creativity and a deep connection to your internal world to see Iowa as a blank canvas for the psyche, rather than a boring landscape. Sometimes when I drive down the highway here in Iowa, or when I’m walking my dogs on some prairie remnant, or I stumble upon a road, I still feel like I’m passing by. When I see a hotel, I still wonder if the trailer will fit in the parking lot. And I find myself looking for the band’s white Chevy Gladiator van. I imagine they’ll pull over and throw open the door and I’ll jump in, apologizing for ever abandoning them. Then I remember that soon enough I will be in that van again. E Jesse Sykes is a singer and songwriter with The Sweet Hereafter. music@seattleweekly.com JESSE SYKES AND THE SWEET HEREAFTER With Rose Windows. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. $10. 21 and over. 9 p.m. Thurs., Nov. 8.

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»TELL ME ABOUT THAT ALBUM

The New Pornographers’ A.C. Newman has a kid, finds a vision. BY DAVE LAKE

SW: Did you think about lyrical themes and sonic ideas before the writing of Shut Down the Streets even began? Newman: I knew that the things I was writing about on this record were inescapable. I would have felt completely full of shit after losing my mom and the birth of my son if I didn’t express it. I felt like I had to do that. I didn’t go into it saying, “That’s what I’m going to write about,” but when I started writing, that’s what made sense and that’s what came out. But do you start with a vision and then drive toward it? Only recently have I started thinking I should do that. Making a record like [New Pornographers’] Twin Cinema, there was absolutely no vision. We just went into the studio and started working. A lot of our records have been like that. It was only on this last one that I thought, “Let’s make a certain kind of record.” And now I find myself trying to write a New Pornographers record thinking, “What is this record going to sound like? I’ve got have a vision for it.” But I’ve never

»THROUGH @ 2

Seattle Nude Chastity Belt’s strippeddown, post-grad rock. BY ERIN K. THOMPSON THE SITUATION I’m spending a recent Monday

been big on vision. I’ve always just written songs. When talking about the New Pornographers, you once said, “Once your band hits the public eye, I figure you’re allowed to make three albums that sound the same. And then after that you have to move on.” What’s wrong with just staying the course, as the Ramones or Motörhead have done? I think I phrased it like that’s what everybody should do, but I was just talking about my own band. We’d made the first three Pornographers records, and after that I felt like, “Where do we go from here?” I think it was restlessness. It’s the kind of thing that makes you want to write TV theme songs and soundtracks. It’s the thing that made me want to make this record. E music@seattleweekly.com A.C. NEWMAN With Harriet. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. $15 adv. All ages. 8 p.m. Fri., Nov. 9.

jokey musical group was eventually formed, one that performed covers of hip-hop songs like Soulja Boy’s “Kiss Me Thru the Phone,” before the current incarnation of Chastity Belt—tough, raucous punk rock—was finally settled upon. SHOP TALK The move to Seattle has already changed the band. The girls say they’re transitioning from the sarcastic joke songs found on their first EP, Fuck Chastity Belt, to slightly more straight-faced lyrical content. “I think part of it is the audience we’re playing for, because before we were playing for drunk college kids, so it was like ‘Let’s just yell as many swear words as we can,’ ” says Shapiro. They enthuse about a new song they just wrote, “Seattle Party.” Says Truscott: “It captures the immediate post-graduation feeling, like ‘What do I really want to be doing right now?’ ” BTW: Chastity Belt’s most notable quality might be its members’ adventurous spirits. A couple of months ago, the girls went on a band retreat down in the Key Peninsula, where they spent time picking blackberries and plums, rowboating, and drinking wine. “We went skinny-dipping in the phosphorescence [in the Sound],” says Lund. “It looks like you’re swimming in stars.” “It’s not the only time we’ve done things naked together,” says Shapiro, slyly. Last year, Chastity Belt set up in the middle of Whitman’s quad during the school’s annual naked Beer Mile and played a show completely in the nude. The runners rushed the quad and started a naked dance party; one reveler had to be pushed away for thrusting his crotch too enthusiastically in Grimm’s face. “When I’m really depressed, and I remember that we did that,” says Lund, “I instantly feel better about my life.” E

ALLISON FELT

CHASTITY BELT Vera Project, Wed., Nov. 7; Blue Moon Tavern, Sat., Nov. 10.

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evening at Captain Black’s on Capitol Hill sharing drinks and fried cheese curds with the girls of the punk quartet Chastity Belt—guitarist and lead singer Julia Shapiro, guitarist Lydia Lund, bassist Annie Truscott, and drummer Gretchen Grimm. The four met at Whitman College in Walla Walla, where they all graduated last spring before moving to Seattle. Things they miss about Walla Walla: cheap booze, cheap rent, house parties, the record store Hot Poop, and a townie scene with “the kind of dudes who take their pants off at shows and always have a water bottle full of rum and Coke,” says Lund. HOW THEY GOT HERE Chastity Belt was an attitude before it was an actual band. “[It] started with me and Lydia just wanting to fuck shit up,” says Shapiro, who looks like a Girls Just Want to Have Fun–era Helen Hunt with permed hair. “So we’d go to frat houses and flip over tables and yell ‘CHASTITY BELT!’ ” A

CALEB BEYERS

Shut Down the Streets

music»TheShortList Kid Koala WEDNESDAY, NOVEMBER 7

WED/NOVEMBER 7 • 7:30PM

grand hallway

w/ alice in the river & owl pussycat THU/NOVEMBER 8 • 8PM

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Zammuto WEDNESDAY, NOVEMBER 7

After releasing four critically acclaimed albums over 10 years, cellist Paul de Jong and guitarist Nick Zammuto announced the split of their experimental sound-collagist duo The Books this past January. In an interview with Pitchfork, Zammuto declined to go into

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COURTESY OF LEONARD COHEN

Seattle weekly • NO VE MBER 7− 13, 2012

optical : reprise orcas & loscil

PLEASE ARRIVE EARLY

LEONARD COHEN

Sylvie Simmons’ wonderfully thorough new biography of Leonard Cohen, I’m Your Man, could be read as a tragic tale. Cohen always disliked the rigors of touring, but because his records were rarely commercial successes, touring was his most profitable musical activity. In 2005, a 71-year-old legend who’d socked away (so he thought) more than enough to retire on, he discovered his manager had robbed him of more than $5 million; Cohen found himself forced to hit the road again to rebuild his bank account. It’s tempting to see a sorrowful picture of a tired and persecuted old man, but Simmons writes that Cohen found new life and inspiration in traveling: He’s continued to tour even after amply restocking his retirement account, and his 12th album, this year’s Old Ideas, became the highest-charting record of his career. It’s a resurgence that makes the words to his most famous song seem almost prophetic: “And even though it all went wrong/I’ll stand before the Lord of Song/With nothing on my tongue but Hallelujah.” KeyArena, 305 Harrison

SUN/NOVEMBER 11 • 7:30PM DECIBEL FESTIVAL PRESENTS

• 11/7 aaron zimmer (ny) / joe doria • 11/8 katy bourne / hardcoretet • 11/9 ranger and the re-arrangers / jason sees • 11/10 felsen • 11/11 kareem kandi • 11/12 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 11/13 closed for a private event

EDITOR’S PICK

EMMA GUTTERIDGE

dinner & show

A master turntablist and sample magician, Kid Koala has been quietly releasing witty instrumental hip-hop for over a decade. From his early oddball classic Carpal Tunnel Syndrome to his scratch-work on Deltron 3030’s lone, self-titled opus, Koala (Canada’s Eric San) has made an art out of chopping and looping bizarre snippets with old-school equipment, and has cut-and-pasted his way to underground glory. His new album, 12 Bit Blues, relies on the manipulation of old American blues samples to make his point, which, live, is often furthered by dancing-lady-types, costumes, and puppet shows. With Adira

details, stating “It’s been an extraordinarily painful year coming to the realization that there was no way forward for the band.” Zammuto jumped right into a new project, though, a quartet that took his surname and released a self-titled record in April. You can sense Zammuto’s nervous anxiety in churning numbers like “F U C-3PO” (a few tracks have punny titles—“Too Late to Topologize,” “Idiom Wind”), but it’s a focused and direct record, with notably less sampling than The Books’ material. Zammuto’s smoothly pulsing vocals float like shiny bubbles atop the placid pools of instrumentation. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $10. ERIN K. THOMPSON

Generationals

Kid Koala spins at Neumos on Wednesday.

Hand,” as well as a thoughtful ode to an icon in “Springsteen.” He and his band have copped to drinking a prodigious amount of Jack Daniel’s on the road, yet Church is also a family man. If he worked out, tanned, and waxed himself, he could look like Tim McGraw. But Church, who wears his sunglasses at night, is too cool for that shit, and never hesitates to call out peers—Rascal Flatts, for instance—whom he perceives as pissing in the purity pot. He’s also notorious for putting on an especially kick-ass live show. With Justin Moore, Kip Moore. Comcast Arena, 2000 Hewitt Ave., Everett, 866-332-8499. 7 p.m. $37.50–$47.50. All ages. MIKE SEELY

FRIDAY, NOVEMBER 9

Known the world over as the wellspring of jazz, blues, and swamp rock, New Orleans Jon Spencer Blues Explosion TUESDAY, NOVEMBER 13 recently has also managed to export a fine young indie rock band. The duo GenerationIn the early ’90s, the word “swagger” was als calls the Big Easy home, but, in Creedence woefully underused, but it described Jon Clearwater Revival terms, their music’s vibe Spencer’s sexy, dirty rock perfectly—particuis more “Down on the larly 1994’s Orange. CrackCorner” than “Born on ling with a raw, electric the Bayou.” The band’s punk boogie, the album set Tune in to 97.3 KIRO FM every Saturday at 2 p.m. 2011 release Actor-Caster the tone for the indie rock to hear music editor Chris Kornelis is full of clever little pop that followed (the White on Seattle Sounds. songs, with catchy choStripes come to mind). ruses and jangly riffs, that The record’s brassy chops sound like the pair should hail instead from stemmed from Spencer’s garbled white-boy the sunny shores of California, or perhaps wail, but Judah Bauer’s righteous axe and one of the hipper stretches of Brooklyn. Note: Russell Simins’ maniacal drumming made Unlike John Fogerty—born in Berkeley, not it the lasting clincher it is. Orange has long on the bayou—these dudes really are from been deemed their finest work, though the Louisiana. With Races. Tractor Tavern, new album Meat + Bone is poised to challenge that ranking. Both Bauer and Spencer 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. have been consumed with side projects (Cat $10 adv./$12 DOS. KEEGAN HAMILTON Power and Heavy Trash, respectively), but, as Spencer says, “We still have that psychic Eric Church TUESDAY, NOVEMBER 13 glue that allows us to create music together.” The singer has a newfound Jagger-like snarl, Eric Church is a righteous redneck who and “Bag of Bones” is a fine tribute to Sticky wears his country credibility on the tattooed Fingers-era Stones. With Quasi. The Crocodile, arm where his sleeve would otherwise be if he weren’t wearing a muscle T. He’s got 2200 Second Ave., 441-4618. 8 p.m. $15. All ages. a cash cow in the can with “Drink in My GWENDOLYN ELLIOTT

Se attle weekly • NOVEMBER 7− 13, 2012

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seven»nights Wednesday, Nov. 7

Omaha’s the Mynabirds play the Sunset on Saturday.

Clayton Brothers Quintet John

and Jeff Clayton’s project has been active since 1977, a period that has seen John (bass) serve as artistic director of jazz for the Los Angeles Philharmonic and Jeff (saxophone) work as a session musician for Stevie Wonder, Gladys Knight, and Michael Jackson. Jazz Alley, 2033 Sixth Ave., 4419729, jazzalley.com. 5:30 p.m. $24.50. All ages. Fruiting Bodies This local quintet plays pulverizing, feedback-laced instrumental rock. With Terminal Fuzz Terror, Child Bite. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10 p.m. $5. grand hallway Fronted by singer and multi-instrumentalist Tomo Nakayama, Grand Hallway balances stately folk songs and sweeping, orchestral arrangements. With Alice in the River, Owl Pussycat. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $10. All ages.

Thursday, Nov. 8 ComeBaCk kid The latest from this Victory

SHERVIN LAINEz

Records–signed metalcore band is 2010’s Symptoms + Cures. With Backtrack, Expire, Ill Intent. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 6:30 p.m. $13. All ages. neutral Boy Since 1992, this three-piece has been shelling out bratty punk songs with titles like “Portland Poser Hipster” and “Nice Guys Suck in Bed.” With Phantom Talk, Piss Drunks, Olallaholics. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $7. stars This Canadian group’s ornamented indie pop feels refreshed on September’s The North, their best album since 2007’s acclaimed In Our Bedroom After the War. With Jets Overhead. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7:30 p.m. $26 adv./$30 DOS. All ages.

Friday, Nov. 9

laborations with the usual EDM suspects (Diplo, Rusko, Bassnectar, et al.), DJ and producer Troy Beetles released his debut album, Vitamin D, in April. With Terravita, xKore, Getter. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 8 p.m. $25 adv./ $30 DOS. All ages. the loCal strangers This boy/girl Americana duo will release their Kickstarter-funded debut, Left for Better, at this show. With Carson Henley, the Dimes. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 9 p.m. $10 adv./$12 DOS. PoliCe teeth Songs like “Bellingham Media Blackout” and “Emmanuelle of Renton,” from this local punk group’s recent eponymous album, show the trio at its aggressive, raucous best. With Joel RL Phelps and the Downer Trio, Glose. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $8. PsyChiC tV/PtV3 Experimental-rock luminary Neil Andrew Megson (stage name Genesis P-Orridge) curates the ever-shifting lineup and sound of Psychic TV, which has seen dozens of members, name changes, and albums since the mid-’80s. With King Dude, Dangerous Boys Club. Chop Suey. 9 p.m. $18.

Sunday, Nov. 11 Ben Von wildenhaus This Seattle-by-way-of-New

York guitarist’s works are more sound collages than songs. His music, almost all down-tempo, features

Saturday, Nov. 10

The Hold Steady expat Franz Nicolay plays the Comet on Saturday.

BlaCk whales This local group’s progressive take on

garage rock made them fitting Seattle openers earlier this year for Divine Fits, the new project from Dan Boeckner (Wolf Parade) and Britt Daniel (Spoon). With Black Apples. Vera Project. 7:30 p.m. $7. All ages. Franz niColay Although most know him as The Hold Steady’s former keyboardist, Nicolay is an accomplished solo artist in his own right. He’s put out three full-length albums since 2009, all of which venture into more straight-up punk territory than his work with Craig Finn did. With the Bad Things, Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

MILES KERR

Seattle weekly • NO VE MBER 7− 13, 2012

datsik After several years of singles, remixes, and col-

Exohoxo. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $10. gwar This show will take place almost exactly a year after guitarist Cory Smoot’s sudden death on tour. Luckily for the metal band’s fans, GWAR’s notoriously gory live shows have largely remained unchanged. Bonus points if you show up at 3 p.m. to see the entirety of the eight-band undercard. With DevilDriver, Municipal Waste, Napalm Death, Cancer Bats, Exhumed, Attitude Adjustment, Martha’s Revenge, Legacy of Disorder. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. $25 adv./$30 DOS. All ages. the mynaBirds When she’s not playing in Bright Eyes’ touring band, songwriter Laura Burhenn fronts this Omaha-based band, whose sound veers between tUnE-yArDs-esque freak folk and bluesy rock. With Legendary Oaks, River Giant. Sunset Tavern. 9 p.m. $8. neil young & Crazy horse For the recently released Psychedelic Pill, the iconic artist reunited with his old pals in Crazy Horse. This fall Young also published his first memoir, Waging Heavy Peace: A Hippie Dream. With Los Lobos, Everest. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 7:30 p.m. $55–$180. All ages.

snippets of guitar with discordant weirdness—tape hiss, sine-wave generators, and radio transmissions. With Billy Horist, Ilyas Ahmed. JewelBox/Rendezvous. 9 p.m. $6. orCas Rafael Irisarri and Thomas Meluch’s ponderous electro-acoustic compositions bridge the gap between pop and ambient music. With Loscil. Triple Door. 7:30 p.m. $15 adv./$18 DOS. All ages. roomrunner Part of Baltimore’s fertile art-rock scene, this noise-pop band is touring behind its self-titled EP. With Stuperhero. Comet Tavern. 9 p.m. $7.

Monday, Nov. 12 BlowFly Clarence Reid got his start as a writer and

producer of soul and R&B songs in the 1960s, but his alter ego—the raunchy, sequined-superhero-costumed, party-funk MC Blowfly—is something else entirely. With King Dro, Seattle Houserockers, Cyrus Alexander. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $10 adv./$12 DOS. oCtoBer rage This Australian hard-rock four-piece gained notoriety in its home country by besting hundreds of other bands in a radio contest to win an opening slot for a Bon Jovi concert in Sydney. They’ve since toured stateside with the likes of Steel Panther and Sevendust. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 7:30 p.m. $10 adv./ $12 DOS. All ages. oddisee The most recent release from this prolific East Coast MC and producer (born Amir Mohamed el Khalifa) is the thoughtful and organic People Hear What They See, his first solo non-instrumental album. With JusMoni, DJ WD4D, DJ 100proof. Barboza, 925 E. Pike St., 709-9467, thebarboza.com. 7 p.m. $12.

Tuesday, Nov. 13 k’naan When K’Naan isn’t manufacturing predictably

boring pop, he can be an effective social critic and an intriguing cross-cultural spokesperson. With City of the Sun. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $22. All ages. graham deChter Quartet This prodigious jazz guitarist recently released Takin’ It There, his sophomore album. Dechter, 26, is young as jazz masters go, but his best work is likely ahead of him. Jazz Alley. 5:30 p.m. $18.50. All ages. the green This Hawaiian roots-reggae act saw its 2010 debut end the year as one of Billboard’s top-10 reggae albums. With Natural Vibrations, Billy Van. Showbox at the Market. 8 p.m. $20 adv./$24 DOS. All ages.

music»Karaoke KATE’S PUB 309 N.E. 45th St., 547-6832. Free.

Karaoke Listings

Wednesdays, 10 p.m.

OHANA BELLTOWN 2207 First Ave., 956-9329,

BOXCAR ALEHOUSE 3407 Gilman Ave. W., 286-6000.

ohanabelltown.com. Free. Sundays, 10 p.m.

SCARLET TREE 801 N.E. 65th St. C, 523-8888,

Free. Thursdays, Saturdays, 9 p.m. BUSH GARDEN 614 Maynard Ave. S., 682-6830, bushgarden.net. Free. Sundays, 5 p.m.; Mondays– Thursdays & Saturdays, 9:30 p.m. CHANGES BAR & GRILL 2103 N. 45th St., 545-8363, changesinwallingford.com. Free. Wednesdays, Thursdays, Sundays, 9 p.m.

scarlettree.com. Free. Tuesdays, 9:30 p.m.

SPECTATOR 529 Queen Anne Ave. N., 599-4263,

thespectatorsports.com. Free. Thursdays– Saturdays, 9:30 p.m. WHITE RABBIT 513 N. 36th St., 588-0155, fremontwhiterabbit.com. Free. Wednesdays, 9 p.m.

KaraoKeKorrespondent » by jeff roman

Let’s Go Bulling

rotations at the Mandarin Gate. I got to hang with Joel for a bit, and am very excited to report the Rickshaw finally reopened last Friday, after six months of repair owing to a grease fire that burned down their kitchen in March. I didn’t expect much out of this crowd at first. It didn’t seem like anyone was there to sing, but as soon as the show kicked off, the sports fans proved me wrong. The first singer was a skinny guy in a Calvin Johnson jersey who delivered a super-fired-up rendition of Cypress Hill’s “How I Could Just Kill a Man” as his buddy in a Matt Stafford jersey cheered him on. Not to be outdone, someone on the Bears side sang a rock-solid version of Elvis Presley’s “Love Me.” Then the happiest man in the room, this guy in a San Francisco Giants cap, did Lady Gaga’s “The Edge of Glory” to celebrate his team’s being on the brink of its second World Series championship in three years. Around the second rotation, a group of five who looked to be in their mid-20s appeared at the long, narrow table to my left and took over the show. Their selections were so good, it made me stick around to see what they were going to break out next. They also had a ringer: Scott, who had a voice like Bobby Darin and looked like Ezra Klein. He performed the best “New York, New York” I’ve ever heard by anyone who wasn’t Filipino or over 50. E

DUELING PIANO PARTY Adult Language and Themes A little bit naughty, a little bit nice You can say dirty words and we don’t care Discretion is advised

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Se attle weekly • NOVEMBER 7− 13, 2012

Autumn is my favorite time of year to karaoke, for the simple reason that all major sports collide in this season, and most every night there is something good to watch at the bar while waiting for the singing to begin. The Iron Bull in Wallingford has karaoke every Monday. I checked things out the night the Bears beat the Lions on Monday Night Football and the Giants skunked the Cardinals to take game seven of the NLCS. This has always been a great venue to catch a game. The Bull used to be Goldie’s on 45th, and was one of the first bars I frequented regularly, back in the mid-’90s. When I walked in, the big, wide-open area still reminded me of the old place, but the addition of rows upon rows of LCDs in the back has transformed it into a true sports bar. Around 25 people were there the Monday I went, but everyone was spread out, so the place looked more barren than it actually was. Front and center where the stage was located sat a table of Bears fans, and another contained Lions fans, each group wearing their team’s jerseys. In the game area on the entrance side, a couple dudes were shooting pool, and on the other side in the TV section, four ladies were hanging out. I grabbed a seat at a tall table near the bar, where all the regulars were bellied up. After football concluded, the KJs started setting up, and I was happy to see Joel Harvey from the Rickshaw. His host that night was a seasoned KJ named Ken who used to call

dategirl»By Judy McGuire Rim Jobs and Painful Peckers Dear Dategirl, After a long dry spell, I’m back on the market. While it’s great to fuck someone other than my jerkoff exhusband, I’m finding the game has changed a lot since the last time I had casual sex. For example, last night a guy segued out of traditional oral and slid his tongue right on down to my butthole! While not wholly unpleasant, it was unnerving. He said I had “a sweet ass made for eating.” I am usually a fan of reciprocating what I’m getting, but I have no desire at all to put my tongue in his asshole. Is this expected now? To be fair, he didn’t seem to expect anything in return, but I’m polite enough to feel a little guilty. —Prudish or Prudent

Seattle weekly • NO VE MBER 7− 13, 2012

Congrats on finally getting some. It’s always good to have a palate-cleanser after a long dry spell, and yes, though I have only anecdotal evidence to back it up, salad-tossing does seem to be on the rise among even the normally vanilla hetero set. But(t) no, you’re under no obligation to reciprocate. However, if he brings it up and asks for a little tongue-on-tush action, you may need to decide whether or not you want to go there. If you choose to, make sure you’re safe, by using some sort of barrier method. Though the chances of catching the Big A through analingus are slim, ingesting fecal matter— even trace amounts—can cause all sorts of repulsive stomach issues, and nothing’s less sexy than explosive diarrhea.

find dategirl » every week at aonline seattleweekly.com

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I have a problem with my dick. The mushroom head is hypersensitive and blow jobs hurt. When my girl tried again last night, I thought I was going to pee, and I made her stop. Today it’s red. It hurts, so I tried some lotion I found in the bathroom, but that made it worse. I can’t tell my mom. Do you think my girl gave me something? —Dick Hurtz

I can advise you on what to do when your date stiffs the bartender, when your mother-in-law hates your guts, or even how to become completely irresistible to everyone in your path. What I can’t do is diagnose a painful penis. Because you mention your mom, I’m assuming you’re pretty young and still living at home. And yes, as embarrassing as it may be, I’m going to advise you either to tell one of your parents that you need to see a doctor or take matters into your own hands and make an appointment yourself. FYI, despite what the rabid right wing might lead you to believe, Planned Parenthood offers health care to men too, and they see patients on a slidingscale basis, so even a high-school student can afford a visit. Which is not to say that your willy worries are definitely of a sexually transmitted variety. As you get older, you’ll see that all sorts of things can go wrong with your parts. Another thing you’ll learn is that unless you want to make a bad thing worse, don’t go around smearing random lotions on your junk. Get thee to a doctor, stat. E dategirl@seattleweekly.com Want more? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets@DailyDategirl, visit dategirl.net, or buy her new book, The Official Book of Sex, Drugs and Rock ’n’ Roll Lists.

column»Toke Signals

Truly Helpful Collective: Is It?

ruly Helpful Collective (THC, get it?), a medical-marijuana access point open for four months in Wallingford, sets a high (pun intended) standard for itself with its name. By calling attention to the quality of its customer service in its very name, the Collective is either clueing patients in or setting them up for disappointment. I investigated on a recent Sunday. I found a couple of pluses and a couple of minuses at Truly Helpful. The first minus didn’t take long to discover. The shop’s tiny reception area/waiting room didn’t have adequate seating to accommodate me, as a couple of other patients were already waiting, and THC allows only one patient in the budroom at any given time. So rather than sitting to fill out my paperwork, I had to stand at the counter. That wouldn’t be much of an issue by itself, but the wait stretched to about 30 minutes, most of it standing, which could be a problem for many patients. Upon entering the budroom and meeting budtender Scott, I simultaneously discovered another minus—top-shelf strains are $14 a gram at Truly Helpful, which doesn’t live up to the name—and a big plus: Scott’s abundant cannabis knowledge and friendly demeanor, which definitely does. Fourteen bucks a gram is simply too much for legal medicine, when numerous shops around town sell top-shelf meds for $10. The $40 eighths, however—just $5 higher than the $35 eighths available practically everywhere else—take a little of the sting off.

by STeve ellIoTT

Once I started exploring Truly Helpful’s flower menu with Scott’s assistance, I discovered the second big plus: It has good cannabis. First to catch my eye was a spectacular 50/50 indica/sativa hybrid called “Now’N’Later,” no doubt because its genetic heritage makes it a good choice for both daytime and nighttime medication. Now’N’Later is one of the stickiest, most heavily trichomed strains I have ever seen. I had to practically peel the stuff off my fingers after crumbling it to roll a joint (it’s sticky enough to actually bog down some grinders). The effects are exactly what you’d expect from a half-and-half strain: rapid onset of mental effects, followed by increasingly pain-relieving body high with continued toking. The flowers have a spicy taste when toked, with just a hint of licorice. For some good bedtime smoke, I selected the 80-percent-indica strain Querkle. Its 20 percent sativa helps keep one more alert, focused, and creative than many powerful indicas do, yet very soothing pain relief and muscle relaxation requires only a few tokes. An herbal, piney taste predominates, with hints of grape sweetness lingering in the mouth after a toke. The 70-percent-sativa-dominant strain Hawaiian Dream was just as pleasant as its evocative name. With a floral bouquet reminiscent of a stroll through a tropical garden, this Dream results in powerful munchies and a soaring, euphoric high. E

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