Seattle Weekly, September 26, 2012

SEPTEMBER 26–OCTOBER 2, 2012 I VOLUME 37 I NUMBER 39

SEATTLEWEEKLY.COM I FREE

VASHON THAIS ONE ON PAGE 29 | UNNATURAL YACHT ROCK PAGE 35

THIS WOMAN

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() Pot Mama Alison Holcomb is not your average marijuana legalization advocate.

BY NINA SHAPIRO

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inside» Sept. 26–Oct. 2, 2012 VOLUME 37 | NUMBER 39 » SEATTLEWEEKLY.COM

VOLUNTEERS NEEDED - HELP STUDENTS SUCCEED IN SCHOOL!

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The Seattle Public Library is seeking volunteers to assist students in grades 1 - 12 with homework assignments in English, history, math, science, social studies and other subjects on a drop-in basis. Volunteer applicants must have completed at least one year of college and experience with children and teens as a tutor, teacher or parent.

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up front 7 NEWS

THE DAILY WEEKLY | Bad news for vets seeking jobs, good news for Donald Fuller.

Also: SW and escorts part ways.

10 FEATURE

BY NINA SHAPIRO | Looking at

in back 19 THE WEEKLY WIRE

Sherman Alexie stays up late, Stephanie Miller mocks Mitt Romney, and Barbara Stanwyck does her noir thing.

21 ARTS

21 | OPENING NIGHTS | Cinderella, a

24 FILM

24 | PREVIEW | Looking for love at the Local Sightings Film Festival.

25 | THIS WEEK’S ATTRACTIONS

Earrings by Michael Good

Bruce Willis as a time-traveling assassin, Marion Cotillard at the beach, and indie rockers on the road.

29 FOOD

29 | MAY KITCHEN + BAR | Thai food comes to Vashon Island at last.

31 | FIRST CALL | More fun than Starbucks.

33 | A LITTLE RASKIN | How restaurants schedule around Jewish holidays (or don’t).

35 MUSIC

35 | UNNATURAL HELPERS | The

founder’s first album with an all-new crew.

36 | STRES | Pouring pain into his music.

38 | REVERB | Chats with Michael

Kiwanuka, Jon McMillion, and Garbage guitarist Duke Erikson.

40 | THE SHORT LIST | Kimbra, Orbital, and someone named “Madonna”?

Doesn’t ring a bell.

singing president, and racial conflict in song.

22 | EAR SUPPLY | A cellist’s farewell.

»cover credits

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Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

Alison Holcomb, you might not guess the “clean-cut, respectable” attorney/mom is the driving force behind I-502, which seeks to legalize marijuana in Washington state—or that her efforts have led to unprecedented turmoil within the pro-pot community.

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news»The Daily Weekly »dispatches from our news blog

An Honorable Death “

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t should count for more,” former platoon sergeant Angel Bermudez— who served six times overseas— told SW last year at a Joint Base Lewis McChord jobs fair. He was talking about the skills veterans can offer employers, as well as their service to their country. Unfortunately, veterans have a tough time competing against college graduates.

Congressional Republicans last week proved unwilling to help, and blocked a veterans’ jobs bill sponsored by Washington Senator Patty Murray.

The bill would have have allocated $1 billion to help veterans find jobs as police officers, firefighters, and conservation workers in national parks. It would have given special priority to veterans who had served in Iraq and Afghanistan, whose unemployment rate is nearly 11 percent—30 percent higher than that of the general public.

Dan Murray claimed the $1 billion total could Car ino have been paid for by cracking down on tax scofflaws, but Republicans questioned that, saying the bill violated a spending cap passed by Congress last year.

As The New York Times pointed out, the GOP speechifying on the bill turned bizarre. Arguing that the bill should be killed, Oklahoma Senator Tom Coburn asked, She also called attention to the spiraling sui“Where is our honor? Where is our valor? cide rate among veterans. We looked into one Where is our sacrifice?” such suicide last year, that of Staff Sergeant What in the world he could have been Jared Hagemann. Many thinking, given the sacfactors seem to have rifice paid most dearly contributed to Hageby veterans, is anybody’s Print is great, but if you want to see how much . . . mann’s demise, but one guess. Then again, logiincome tax Obama-lovers in Seattle pay, may have been the discal consistency isn’t the you’ll have to check out The Daily Weekly. mal job scene outside of Republicans’ strong SEATTLEWEEKLY.COM/DAILYWEEKLY the military. His widow point at the moment. said he wanted to get Witness Mitt Romney’s out, but couldn’t find a job worth leaving for. railing about half the country and their sense Hagemann’s story brought us to the JBLM of “entitlement,” as if the most outrageous job fair, where veterans who had served for sense of entitlement didn’t come from men decades were realizing that their options like himself, who think it’s their right to be in this economy were limited. Said Wayne paid tens of millions of dollars a year while Fuller, a 57-year-old Afghanistan veteran, the rest of us sacrifice our way through the referring to the wages he saw on offer: “Eight Great Recession. to 10 dollars an hour, that’s about the norm.”

It’s particularly disappointing that Arizona Senator John McCain, a former prisoner of NINA SHAPIRO war who knows more than most about the meaning of sacrifice, helped defeat Murray’s bill. Why would he and his colleagues do this, considering the support Republicans normally profess for veterans? Murray yesterday offered an explanation: “This vote is a Who says complaining doesn’t pay off? stark reminder that Sen. [Mitch] McConnell Sometimes it just takes longer than it should, and Senate Republicans are willing to do and maybe requires the help of a lawyer adaabsolutely anything to fulfill the pledge [they] mant about cleaning up what he perceives as made nearly two years ago to defeat Presirampant corruption. dent Obama,” she said in a statement. » Continued on page 9

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Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

OPA have taken measures to ensure that OPA investigators will not unilaterally intervene in criminal charging decisions against complainants in the future.”

Such is the case of Donald Fuller, who on While the City Attorney’s Office has agreed Friday learned that Pete Holmes and the Fuller’s conviction should be vacated, Holmes Seattle City Attorney’s Office will formally adamantly denies that the charges and conask a judge to vacate the 2010 conviction viction were a result of misconduct by his against him for obstruction. The decision office. “There was no prosecutorial misconcomes after Fuller, with help from his lawyer duct in this matter, and I strongly disagree James Egan, raised a serious (and justifiable) with any suggestion to the contrary,” Holmes stink about how a complaint he filed with the says in the release.

Office of Professional Accountability resulted “I am taking this action because it is crucial in charges against him that he otherwise that the public have full faith and confidence would not have faced. in both OPA and the criminal-justice system,” As we wrote in last week’s Daily Weekly Holmes said. “The CAO will continue to work (“Prosecution Payback,” Sept. 19), Fuller was to build the public’s trust in this system.” stopped by Seattle police in 2009 after an But everything isn’t hunky-dory. Now that alleged jaywalking violation. Concerned he the obstruction conviction will soon be part was being targeted and harassed because he’s of Fuller’s past, Egan has turned his attention African-American, Fuller questioned police, to righting the matter monetarily. Claiming and was in turn Tased, arrested, and held Fuller has endured multiple doctor visits, a in jail for four days. Ultimately, Fuller was slipped disc, battles with PTSD from his jail released after prosecutors concluded there stay, and difficulties finding work in the wake of his unjust conviction, “There was no prosecutorial Egan says the next step is a lawsuit damages for Fuller. misconduct in this matter, and seeking “I would do this for anybody in I strongly disagree with any this circumstance. I would stand up suggestion to the contrary.” and say they’re entitled to compensation. I think most people would agree that he’s entitled to compensation, so the only question is how much?” was insufficient evidence to charge him. says Egan. “Punitive damages are the grand A day after Fuller was released from jail he legal smackdown for this kind of outrageous filed a complaint with the OPA over the way conduct, which is appropriate in these cirhe was treated. cumstances. The city will be paying actual But instead of providing closure, docudamages, and punitive damages. And if they ments associated with the OPA investigation don’t, federal court action is appropriate to reveal that the investigator assigned to the get them to do so.” complaint, Caryn Lee, took it upon herself to As you may have guessed, while both parpersuade the City Attorney’s Office to charge ties agree that Fuller’s conviction is best Fuller. Lee ultimately prevailed, and—as a direct result of his OPA complaint—Fuller was vacated, damages are an altogether different situation. “We believe that neither actual charged with obstruction and assault, charges nor punitive damages are warranted in this he almost certainly wouldn’t have faced othinstance, so we must respectfully disagree erwise. The City Attorney’s Office, saying it with Mr. Egan,” responds Kimberly Mills, a makes its own charging decisions, contends spokesperson for the City Attorney’s Office. it went directly to the officers involved in the incident and established that there was MATT DRISCOLL enough evidence to let a jury decide Fuller’s guilt. A jury found Fuller guilty of obstruction, but the assault charge didn’t stick.

With Egan’s help, Fuller recently filed a motion seeking to dismiss the obstruction conviction on his record, arguing that it was the outcome of what’s known as a “vindictive prosecution.” In response to Fuller’s situaA group of senior managers from Village tion, the Seattle Human Rights Commission Voice Media Holdings has acquired Seattle recently called for an investigation into the Weekly and its sister papers, launching anew matter. under the name Voice Media Group.

While being careful not to admit real guilt The classified advertising site Backpage. in the matter, on Friday the City Attorney’s com will not be part of the new company, and Office announced that it agrees Fuller’s Seattle Weekly has ceased running escort ads. conviction should be vacated. “Even though “Voice Media Group will center its attenthe jury convicted Mr. Fuller of obstructing tion on the growth of the renowned weekly a law-enforcement officer and, in my view, publications and continue its expansion there was sufficient evidence presented into new and exciting mobile and online at trial to support that conviction, the fact platforms,” said Scott Tobias, who has been remains that Mr. Fuller would not have been Village Voice Media Holdings’ chief operatcharged, tried, or convicted of a crime if the ing officer and will be chief executive officer OPA sergeant had not contacted the CAO to of the new Voice Media Group. Along with urge reconsideration of the decision not to Seattle Weekly, 12 other newspapers were charge Mr. Fuller,” City Attorney Holmes said part of the sale. MIKE SEELY E in a press release. “I understand the SPD and news@seattleweekly.com

W W W . U LY S S E - N A R D I N . C O M

The Daily Weekly » from page 7

9

Alison Holcomb and son Dashiell.

MICHAEL CLINARD

POT MAMA

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

The woman behind Washington’s effort to legalize marijuana isn’t your stereotypical stoner. BY NINA SHAPIRO

10

A

lison Holcomb is standing at the Initiative 502 booth at Hempfest wearing a pencil skirt and sleeveless blouse, looking like the lawyer she is. She’s got flip-flops on, but there’s still no mistaking that the trim, stylishly coiffed 44-year-old is, as someone at another booth puts it, “a clean-cut, respectable businesswoman.”

Elsewhere, the dress code is decidedly more casual. Among the thousands of people crowding Myrtle Edwards Park on this sunny August Sunday—eating kettle corn, collecting samples of hemp soap, buying pot paraphernalia, and listening to speakers at a half-dozen stages—some women are topless, save for pasties resembling marijuana leaves.

At the booth next to Holcomb’s, a marijuana dispensary is conducting games of “bong pong”—like beer pong, except that players throw ping-pong balls along a line of bongs rather than cups of beer. You don’t have to look far, either, to find people using bongs in the way they were intended.

“Hey, stoners! My people!” someone will soon shout from a nearby stage. That won’t be Holcomb. She’s the one who will take the stage with her 4-year-old son Dashiell (named after writer Dashiell Hammett) in tow and sunnily exclaim, “Washington voters, holy cow!” Then she’ll tell the assembled crowd, spread out on the lawn before her, that they have an “opportunity to make history” by voting for an initiative that would legalize, regulate, and tax marijuana—a measure that she largely wrote and presides over as campaign director. “Please vote yes,” she says.

Her pleading tone underscores the fact that these aren’t exactly Holcomb’s people, a point also apparent from the heated debates that keep breaking out at the I-502 booth. “I’m a grower,” one person proclaims as he walks up to the booth.

He wants to know why the initiative won’t also allow him to operate a retail store. “It puts another business between me and the patient,” he says, referring to clients authorized to use marijuana for medical reasons.

Someone filming a documentary about the I-502 campaign positions a boom mike over the grower, whose voice is getting louder. A young campaign volunteer engages the grower, saying the intent is to prevent “vertical integration.” Holcomb stands back and lets the volunteer handle it. When the grower goes, the volunteers cluster around Holcomb. Is “preventing vertical integration” the right response? they want to know. Yes, she tells them, the point is to prevent marijuana businesses, which are to be licensed by the state, from unduly profiting by dominating different segments of the industry.

Holcomb seems unperturbed by the exchange, or by the people who pass by yelling “No on 502!” Smiling, she says the volunteers and campaign staffers are doing a great job. But I-502 operations assistant Jacklyn Kaul says the negativity is getting her down, as is “the amount of people wearing No-on-502 buttons without even stopping to talk to us.” The funny thing, Kaul adds, is that I-502 volunteers regularly visit mainstream venues, like the Bite of Seattle and various farmers markets, and those crowds have seemed much more enthusiastic about the initiative.

The thing you have to recognize, though, is that I-502 was deliberately crafted for a mainstream audience. From the minute Holcomb signed on to the pot-reform movement, she came to the conclusion that “to move this issue, you have to engage people who aren’t marijuana smokers—who care about this issue for some other reason.” Civil liberties, for instance, or the drug war’s disproportionate effect on minorities, or just the antidrug crusade’s waste of taxpayer money on a useless cause.

This isn’t a “pro-pot” initiative, she and campaign workers always take pains to state, it’s an “anti-prohibition” initiative.

That’s why it contains a number of restrictions, like a minimum age of 21 for consumption, a one-ounce limit on possession, a ban on pot sales outlets within 1,000 feet of schools, and—most controversial of all—a DUI provision that would result in an automatic conviction for those found to have a certain amount of THC (a chemical contained in marijuana) in their bloodstream. A tax at every level of production and distribution would add up to 40 percent of the retail price. That money would be used for public education about marijuana, including what the campaign asserts are its potential harms.

This cautious approach is unique among pot-legalization initiatives around the country. Just as unique is the ferocity of opposition that has consequently arisen within the marijuanaactivist community. “Washington state is clearly the #1 bastion of infighting,” says Rob Kampia, executive director

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Pot Mama » FROM PAGE 10

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

“

12

I

am so totally busted,” Holcomb says.

She’s at a coffee shop in lower Wallingford one afternoon in late August at a time that we’ve arranged to meet next door in the I-502 campaign office. As she waits for coffee for both her and some of her staff, she banters with the barista, displaying a fun-loving side not always apparent during her professional engagements.

Holcomb met her husband Gregg while ballroom dancing. In fact, she took a hiatus from the law profession in 1999 to move with him to California, where the two toyed with the idea of becoming professional dancers.

“That lasted six months,” she laughs, adding that she soon came to miss the intellectual stimulation of her old world.

Gregg took a crack at law school after giving up ballroom dancing, but decided it wasn’t for him. He now bartends at Capitol Hill’s Knee High Stocking Company, which ironically takes its speakeasy theme from alcohol’s Prohibition years. “He’s a real people person,” Holcomb says admiringly as she heads, coffees in hand, back to her office. “He’s great at cocktail parties.” She herself is addicted enough to the lively vibe of Capitol Hill to want to stay in their small condo there, even now that Dashiell has come into their lives.

Back at the office, Paul Holmes (son of City Attorney Pete Holmes), who’s working on the campaign before going back to school at Yale, is sitting at a desk. Someone else is posting new clippings about I-502 onto a wall. Holcomb settles into a back room with

COURTESY OF NEW APPROACH WASHINGTON

of the Washington, D.C.–based Marijuana Policy Project.

There was infighting in Colorado and Oregon, too, adds Keith Stroup, a founder of the national marijuana-reform group NORML, referring to the two other states that currently have legalization initiatives on the ballot. But he says that died down once the campaigns got underway. “For some reason, Washington went the other way,” he says.

Witness Douglas Hiatt, a leading local reformer and defense attorney working on marijuana cases. “You’re goddamned right it isn’t pro-pot,” he declares, referring to the initiative. “But it should be.” For Hiatt, who ran previous initiatives that would have lifted all criminal laws relating to marijuana, the drug isn’t merely harmless, it is “one of the safest substances on the planet” and a wonder plant that could reduce greenhouse gases.

(Industrial hemp can be used in the place of wood products, he explains.) As do other I-502 opponents, he accuses Holcomb of “pandering” to soccer moms.

Holcomb herself is “a Capitol Hill soccer mom,” asserts I-502 critic (and former Seattle Weekly staff writer) Philip Dawdy. She’s a mom, anyway—Dashiell is a little young for soccer—and hers is a voice seldom heard in the macho world of marijuana advocacy. It’s also a voice that has been extraordinarily successful: Holcomb has raised millions of dollars for her “New Approach Washington” campaign, and convinced an array of wellknown, powerful people to back it.

“My goodness,” exclaims Stroup. “You have the immediate past U.S. attorney [John McKay] and the sitting city attorney [Pete Holmes] acting as full sponsors. That has never happened in the U.S.”

Legalization advocate Rick Steves at Hempfest 2011.

» ONLINE aMORE Europe Through the Green Door: For an interactive map of European marijuana policy as told by Rick Steves, visit our news blog:

SEATTLEWEEKLY.COM/ DAILYWEEKLY

a little conference table and gamely answers questions about what led her to this point in her career.

You’d never know that Holcomb grew up in Oklahoma. That’s because she started trying to lose her accent in high school. “I associated it with not being that bright,” says Holcomb, who realized her accent problem while enrolled in a Harvard University summerschool program.

She’s the kind of person who will always remember the name of the guy who narrowly beat her in becoming valedictorian: Michael Black. That defeat, she points out, was only because she devoted one of her periods to drill team, of which she was captain, rather than another academic course. Drill team, she clarifies, was for “band nerds,” not promqueen wannabes (those were the cheerleaders) or rebel pot smokers. She says she didn’t then, nor does she now, use marijuana.

Even without being valedictorian, she got into Stanford, and then went on to law school at the University of Washington. “It was not the best experience,” she admits, adding that UW “felt like a trade school”—focused on the nuts and bolts of practicing rather than thought-provoking legal principles. She was similarly let down by her first job in her new profession, at a firm that practiced business law. Again, legal principles weren’t what animated the work. Instead, she says, it was all about “who could grind the other side down” by putting in as many hours as possible.

It was in this context that in 1995 she drifted into the small firm of Jeffrey Steinborn, hearing about the opening from a law-school friend.

“He was the marijuana defense lawyer in the state of Washington,” Holcomb says, explaining that Steinborn was focusing on such cases before even Hiatt came onto the scene.

Steinborn presented her with some of the intellectual stimulation she’d been craving. His office was then working on cases concerning whether it constituted double jeopardy for law enforcement to seize drug suspects’ assets while criminally prosecuting them. She became the firm’s go-to person on the topic, and also became an expert on the procedure for expunging a criminal record. An article she wrote about wiping records clean was so good, Steinborn recalls, that the state Criminal Guidelines Commission used it to train its members. Eventually, Holcomb and Steinborn became partners.

To those who don’t know, it could come as a shock that Holcomb once worked for

Steinborn. Her former employer has become almost as vociferous a critic of I-502 as Hiatt, who once worked alongside Holcomb in Steinborn’s office. Among other criticisms, Steinborn says the hefty taxes would raise marijuana’s price to $500 an ounce, leaving the black market—where an ounce can be had for $200—alive and well. While he insists he harbors no personal animosity towards Holcomb, he also is not speaking to her, he says, “until I have anything nice to say”—a stance Hiatt also has adopted.

While he can be blunt and caustic, Holcomb says the older lawyer also has a courtly side that matches her belief that “you catch more flies with honey.” He would bring courtroom staff bouquets of dahlias grown in his garden, and treat opposing counsel with respect. Holcomb absorbed the lesson: “When you have a case that is a loser, you don’t do your client any favors by being rude.

“He really was like a second dad,” Holcomb says of Steinborn, and not just for teaching her the ways of the courtroom. She cites a time she had to go to Yakima for a case, and he asked if she had checked her oil and packed jumper cables.

She spent seven years with Steinborn, during which time, she says, she became convinced the drug war was unjust. She recalls seeing the terror in the eyes of one young man caught transporting cocaine to Canada.

A musician about to cut a demo, he had no criminal record, yet was looking at a decade in prison. The harsh stakes seemed wrong.

In 2000, the King County Bar Association launched an innovative project examining the wisdom of the drug war. Steinborn was invited to an early meeting, but couldn’t go.

Holcomb asked if she could go in his stead.

That’s how she met Andy Ko.

K

o, now head of a drug-policy project for billionaire George Soros’ Open Society Foundations, was then leading a drug-reform effort for the ACLU of Washington. The topic was a new direction for the ACLU, but one Ko saw as consistent with the organization’s mission of protecting civil liberties. Indeed, he says, the drug war touches on countless issues dear to the ACLU: mass incarceration, racial disparity in enforcement, due process, search and seizure, forfeiture of assets, even the right to vote (because felons are denied it).

Holcomb’s work for the bar project

impressed Ko. A few years later, he had the same impression when Holcomb served on a committee formed to implement an initiative he’d drafted: Initiative 75, which made marijuana enforcement the lowest priority for Seattle police. When the local ACLU decided to break out its drug-policy work by creating a separate marijuana project, Ko recruited Holcomb to take it on.

“She just dove into it,” he says. “She’s extremely well-organized. She’s the person with the list, with the neat office.” She also proved to have a knack developing relationships, Ko notes. One of the most important turned out to be with Rick Steves, the travel-guidebook author and TV host.

Holcomb pursued Steves for a publiceducation campaign she was tasked with creating, eventually dubbed “Marijuana: It’s Time for a Conversation.” It was Holcomb’s first attempt to bring the issue before a mainstream audience, and she badly wanted Steves to host a TV spot that was to be the centerpiece of the campaign. “We obviously wanted to avoid the stereotypes,” Holcomb explains. “We wanted someone safe.” Steves had been speaking out about marijuana reform, and served on the board of NORML. But he presented himself, Holcomb thought, in a “reassuring” way.

“I kind of stalked him,” she says. She sent him a bunch of e-mails. He didn’t respond.

She found out he was speaking at a NORML conference in Los Angeles, and followed him around until she could talk to him. They went outside and sat down on a bench, and Holcomb explained that she wanted this to be a serious program, with respected community figures, that might reach what she called the “middle third”—those who opposed the nation’s drug policy but hadn’t been presented with any alternatives.

“This is for real,” Steves remembers thinking. Holcomb wasn’t just another one of those activist “bloggers” he says were forever trying to drag him into their personal crusade. He was up for the challenge.

Steves, just back from an Alaskan vacation in early September, says his travels have influenced his way of thinking about marijuana. “I’ve spent time in societies where smoking a joint is about as exciting as opening a can of beer, and it doesn’t seem to mess up those societies,” he says. He’s coy about his own marijuana use, preferring to focus on the civil-liberties aspect of the issue, but has acknowledged that he has occasionally sampled it.

He first spoke out about it in the ’80s, he recalls, and it’s instructive to note just how different the climate was then. This was the dawn of the “Just Say No” era, and the antidrug D.A.R.E. program was beginning in schools. Steves was then dating a KIRO radio producer who was working on a program about marijuana. KIRO wanted a pot smoker to take the contrarian position, and asked Steves if he would do it. Steves agreed, but felt compelled to appear on the show with a fake name. He was introduced as an “honest, churchgoing local businessman.”

About 10 years ago, he was ready to go on the record as one who endorsed marijuana legalization. “I’ve got some celebrity,” he thought, and voiced his position at an event at the University of Washington’s Kane Hall. “It was really scary,” he says. “I remember being pushed into a chair and having four cameras around me.” He says the reporters with the

cameras asked him questions like “Do you publicly admit to smoking marijuana?”

In time, he got a lot of positive feedback on his outspokenness. Yet, he says, “It was very veiled. People would say ‘I love your show, and I appreciate the other work you’re doing too.’ ” “What?” he’d think. “Say the word. Say marijuana.”

By 2007, when Holcomb was producing “Time for a Conversation,” marijuana reform was becoming less taboo. Medical marijuana, legalized by a 1998 initiative, had become increasingly common. I-75 had passed, and the King County Bar Association had concluded its project with a call to end prohibition. So a variety of what Steves approvingly calls “boring, wonkish people” agreed to participate in the televised program. The only hitch was, Steves recalls, that “the networks were too afraid to air it” in prime time, “so it ran after the ‘Girls Gone Wild’ ads at 2 in the morning.”

Holcomb remembers what one of the TV executives said to her and ACLU executive director Kathleen Taylor when they asked how they could foster a debate if they couldn’t get on TV: “If you want a debate, get something on the ballot.”

H

olcomb convened her first meeting about a potential initiative in September 2010. To understand who was—and wasn’t—invited, you have to know something about the tumultuous couple of years that had preceded it.

Marijuana was becoming a subject of interest among state legislators. Some introduced bills to try to sort out the confusing mess resulting from the state’s vague medical-marijuana law, which allows patients to use cannabis but not to access it reliably, since officials deem dispensaries, despite their widespread proliferation, to be illegal. Other legislators introduced bills that would have either decriminalized marijuana or legalized it outright.

The ACLU does not normally run initiatives. So in 2007 Holcomb turned her attention to working on legislation. Shortly afterward, Ko left the local ACLU, and Holcomb took his place as the organization’s point person on drug reform. Legislators relied heavily on her input—so much so that state Rep. Roger Goodman, who before getting elected to the legislature headed the county bar’s drug-policy project, says there was an impression among his colleagues that the various marijuana measures were “ACLU bills.” Indeed, Holcomb often edited draft after draft.

“I’ve spent time in societies That cut both ways in the legislawhere smoking a joint is about ture, depending on lawmakers’ views as exciting as opening a can of of the ACLU, Goodman says. And it beer, and it doesn’t seem to did so in the marijuana-activism world as well. “I have immense respect mess up those societies.” for Alison as a very smart, incredibly articulate spokesperson for our national activists answered Holcomb’s call cause,” says I-502 opponent Dawdy, expressfor a brainstorming session. Among those ing a typical view. “But she has a history of flying in were NORML’s Stroup, Kampia of flubbing the details.” He brings up one provithe Marijuana Policy Project, the Drug Policy sion in a medical-marijuana bill that would Alliance’s Ethan Nadelmann, and Graham have allowed law enforcement to search Boyd, an adviser to Ohio insurance magnate patients’ home grows. “The ACLU doesn’t care about the details because it doesn’t affect and drug-reform advocate Peter Lewis.

Holcomb says she knew she had to win the them,” Dawdy continues. Holcomb in parsupport of some national players to be finanticular, he says, is not “intimate” enough with cially viable, and came to the meeting armed cannabis to appreciate the fine print. with exactly what she knew they wanted to In January 2010, Dawdy, Hiatt, and Steinsee: polling. born, among others, decided to take things “I was pretty impressed,” Kampia recalls. into their own hands by filing an initiative “The polling was solid. It was done by real that would lift all state criminal laws relating to marijuana. The approach of Sensible » Continued on page 14

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Washington, the organization behind the campaign, was the opposite of Holcomb’s: There would be no details. No regulation. No taxation.

That’s when, Holcomb says, “everything went to hell.”

She was furious because the timing of the announcement happened just two days before a hearing on a decriminalization bill she had worked hard on, and which had won the endorsement of King County’s bar association and medical society. With the press turning its attention to the initiative rather than the decriminalization bill, she thought legislators would surely punt the controversial issue to voters. “There was nothing we could do but go into the hearing and smile,” she says.

The outcome was as she predicted.

Holcomb felt strongly that Sensible Washington’s initiative, without any regulation at all, would “go down in flames, and it would set back reform efforts.” She drafted a statement outlining what became the ACLU’s position opposed to the initiative, and shared it with those who asked.

“They torpedoed us,” Hiatt says of Holcomb and her ACLU colleagues. “They did lots of trash-talking about us behind our back.” He’s especially bitter about what he feels is Holcomb’s role in convincing the Service Employees International Union (SEIU) not to provide Sensible Washington with funding. The campaign ended up relying on volunteer signature-gatherers, and failed to qualify for the ballot in 2010. (Hiatt’s organization also failed in 2011, and is now trying to get on the 2013 ballot.)

“The power that Steinborn and Hiatt attribute to me is hilarious,” counters Holcomb.

She says it conveys a wrongheaded notion that organizations like the SEIU “can’t think for themselves.”

There was enough bad blood by September 2010, when the ACLU had given up on the legislative route and began talks about its own initiative, that Holcomb didn’t invite the Sensible Washington crowd, including the man who’d been a father figure to her. The exclusion, in turn, reinforced the notion in some quarters that Holcomb was an out-oftouch interloper who failed to consult with the people who’d been working on the issue the longest.

If some local activists were shut out, though, an impressive array of prominent

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Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

polling firms, with real margins of error.”

And, he says, it indicated that the number of state voters opposed to marijuana prohibition was “higher than in almost any other state.”

More than 60 percent of respondents in the ACLU-commissioned polls supported ending criminal penalties for marijuana possession.

Kampia’s organization didn’t invest any money in I-502. It saved its funding for its own initiatives, including a legalization measure in Colorado currently on the ballot. But Boyd, who knew Holcomb from his prior work as head of a national drug-reform effort for the ACLU, proved an essential conduit to Lewis. The businessman donated $250,000 for a signature drive, then later kicked in

14

another $550,000. Nadelmann’s organization contributed $600,000. In all, New Approach has raised just over $3 million, while the opposition’s fundraising total stands below $6,000 as of the most recent state Public Disclosure Commission filing.

Those in on the early discussions recall that there was an easy consensus that an initiative needed to court the mainstream, and that there was an obvious way to do that.

“It needed to look like as much like a hardalcohol model as possible,” Holcomb says.

Hence the decision to make 21, rather than 18, the minimum age for consumption; to tightly regulate where marijuana could be grown and sold; and to make the tax equivalent to the “sin tax” collected for alcohol.

Holcomb held several meetings to go over the main bullet points, and then, with the

help of a few select advisers, hammered out an intricate 64-page ballot measure. It was only after Holcomb filed the initiative in July 2011 that many of the people she had been consulting with got to see it.

O

ne thing in particular Holcomb didn’t divulge about the initiative’s text until the end: the DUI provision. It sets a so-called “per se” standard that would result in an automatic DUI conviction if a person’s bloodstream is found to contain 5 nanograms of active THC— unless that person is under 21, in which case any finding of active THC would be enough to convict. Currently, prosecutors can use evidence of THC levels in DUI cases, but there is no nanogram-based standard. A prosecutor must prove that a person’s marijuana use—no

matter how heavy—resulted in impaired driving. (See Keegan Hamilton’s “The High Road,” SW, March 7, 2012.)

For years, NORML, among others, had argued against per se marijuana laws. Paul Amentano, the organization’s point person on the issue, says the science doesn’t support a hard-and-fast rule. A few studies do show an increased risk of crashing at 5 nanograms, as the I-502 campaign has pointed out. But, he says, the effect of cannabis “varies from user to user,” with habitual pot smokers less likely to be impacted by small amounts.

For medical-marijuana patients, the issue is vital. Many say that their regular use of cannabis would make them fail any given blood test. Seattle Weekly’s “Toke Signals” columnist Steve Elliott, who also operates Voice Media Group’s Toke of the Town blog, says the initiative “effectively outlaws us from getting behind the wheel of a car and being productive members of society.”

Holcomb contends that there are no studies backing up that view. Yet she knew as she was writing the initiative that a DUI provision would be contentious, and that the ACLU itself had opposed per se provisions.

At the same time, though, survey results from California’s failed Proposition 19, a hard-fought marijuana-legalization initiative, were coming in. She says they showed that a substantial proportion of the initiative’s initial supporters had changed their minds and voted no because of concerns about stoned driving. A local poll reinforced the relevance for Washington: A full 62 percent of those surveyed said they were more likely to vote for a legalization initiation if it included a DUI provision.

“Nobody was happy about it,” says Holcomb, but “we knew it was something we had to address.”

Steinborn feels otherwise. “My choice would have been to educate the public rather than to appease their ignorance,” he says. When Holcomb asked NORML for an endorsement, he, as a board member, had an opportunity to express his feelings. The board talked it over at its annual meeting in early 2012. Steinborn, sailing off the coast of Guatemala, participated by phone. The prevailing sentiment, Steinborn recalls, was that “Washington should take one for the movement.” The DUI provision would not be as important as the “shot heard around the world” by what would likely be the first state in the country to legalize marijuana.

“It just pisses me off,” Steinborn says of that attitude. But he went along with the others and voted to endorse the measure, reasoning that he could perhaps get the board to simultaneously issue a statement listing its concerns. The board voted down such a statement. “We didn’t want to send a half-hearted message,” Stroup explains.

Stroup also recognizes something else: Without a DUI provision, I-502 likely wouldn’t have gotten its jaw-dropping list of sponsors.

Steves, who had worked with Holcomb, was an easy sell. As Holcomb wrote the initiative, she sounded out some other people. She sent a few drafts to Pete Holmes. The new city attorney had run on a platform that included stopping prosecution of simple possession cases, and he had also worked hard with Holcomb on behalf of a 2011 medical-marijuana bill that would have legalized dispensaries. (The bill passed, but Gov. Chris Gregoire ended up

Tonia Winchester smilingly informs Holcomb of the latest coup: the backing of a majority of the Whatcom County Council and Bellingham Mayor Kelli Linville.

“That’s a big deal!” Holcomb enthuses, explaining that Linville, a former legislator elected mayor after a tough race, had not previously been “gung-ho about the issue.”

Meanwhile, the campaign is driving home its mainstream message with a TV advertising blitz that features a middle-aged mother of four earnestly proclaiming that she personally doesn’t like marijuana, but sees the need for “a conversation.” Holcomb makes no bones about the fact that it is a direct appeal to women voters, who historically have been far less strident on the issue than men. Lest anybody miss the point, there is Holcomb herself at campaign events, with Gregg likely nearby, their son slung over his shoulders.

T

o opponents, Holcomb is the devil.

Ben Livingston, long affiliated with the Cannabis Defense Coalition, describes one debate held at City Hall in April. Given the volatility of marijuana activists, Livingston explains, the CDC has adopted hand signals from the Occupy movement so that people can express themselves without interrupting speakers. A “twinkling” of hands held high, for instance, conveys agreement; twinkling with fingers down, disagreement. As Holcomb spoke, though, Livingston noticed a new hand signal from a few members of the crowd: devil’s horns.

Livingston says he’s getting “more and more offended” by the animosity he sees spreading over I-502, some of which he says has been directed at him. Months ago, the CDC’s board fired Livingston as its executive director. While the board gave various reasons, including decisions he made about a new office without board approval, he contends that the real reason is that he is sympathetic to I-502, while most board members are vehemently opposed.

The divisiveness reached farcical proportions shortly before Hempfest, at a press conference Dawdy held to announce a new group of medical-marijuana activists opposed to I-502—where he ended up being fired by group president Kurt Boehl within earshot of reporters. Boehl, an attorney, said Dawdy misrepresented the group, which Boehl portrayed as a trade organization whose mission was not just about attacking I-502.

Steve Sarich, who runs a medical-marijuana “collective garden” (allowed by the state instead of dispensaries) and is one of the brashest local pot activists, is heading the official No on I-502 groups. He says he plans to appeal to the mainstream too. “We’ll be speaking at PTA meetings around the state so that mothers know what happens if their kids smoke a joint,” he says, meaning a DUI conviction “on their permanent record.”

Responds Holcomb: “I can’t imagine that there are moms who want their children to be driving under the influence.”

Still, Sarich calls I-502 a “Trojan horse,” suggesting that its backers’ true agenda is to nail marijuana users with the DUI provision.

Others have suggested that Holcomb and her ilk are in league with the federal Drug Enforcement Administration to trap marijuana providers, since the initiative instructs the state to cooperate with federal law enforcement and would result in licensing records that could identify business owners. Steinborn

» Continued on page 17

Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

vetoing much of it.) Holmes was so supportive of Holcomb’s initiative that he asked her if she wanted him to sponsor it.

“Can you do that?” Holcomb asked. He checked. He could.

Holmes says he would never have agreed without the DUI provision, which he calls a matter of “public safety.” It was so important to him that at the same time he was lobbying for the medical-marijuana bill, he proposed another bill (later sponsored by Goodman) that would have established a per se standard.

After all, he points out, “We have a per se standard for alcohol.”

The city attorney then sought the support of McKay, a fellow Catholic parishioner who had already spoken publicly about his growing conviction that the drug war is a failure, largely because of the violent gangs that have taken over the market. He too says he was willing to make the leap into supporting a legalization initiative because of regulations like the DUI provision. “Most people, I among them, don’t want impaired drivers on the roads with them and their families,” he says.

Similarly, fellow sponsor Roger Roffman, a University of Washington professor emeritus of social work, says “I wouldn’t have wanted to be connected to an initiative that didn’t take into account the dangers of driving while stoned.” Even so, Roffman says he had to wrestle with the idea for some time, and his decision to sign on says a lot about the broader approach of I-502. The UW academic has been researching marijuana use ever since he served as a social worker in the Army during the Vietnam War. He has come to the conclusion that marijuana use, while relatively harmless for some people, carries risks for others: teens, whose cognitive development can be affected; heavy users, who may find themselves dependent on the drug; and schizophrenics, who increase their chances of having a psychotic episode.

Holcomb had recruited Roffman to help her draft pieces of the initiative, and it reflects his viewpoint. Pot’s potential dangers are recognized in money set aside for education, treatment, and research. He says he realized that this was the public-health approach he had always advocated.

Bill Clapp, a retired businessman and philanthropist focusing on Latin America, says he was moved to donate $25,000 when he saw that “serious people” were backing the initiative. A self-described “very centrist person,” he, like McKay, developed an antipathy to the drug war because of the violent black market it fostered.

Every week, it seems, another big name is endorsing the initiative: former Seattle FBI agent Charlie Mandigo, Seattle City Council member Tim Burgess, former U.S. Attorney Kate Pflaumer, and philanthropist Harriet Bullitt, who contributed $100,000. A concentrated effort to reach out to AfricanAmericans, including a couple of luncheons with speakers who highlighted the drug war’s impact on black families, resulted in the support of several prominent pastors and the regional conference of the NAACP. The statewide Children’s Alliance, also saying it was concerned about racial bias in drug enforcement and the effect on minority children, endorsed the initiative earlier this month. The ACLU of Washington—which still employs Holcomb despite the separate campaign office, reporting her salary as an “in-kind” contribution—is another backer.

On a recent day in I-502’s campaign office, outreach director and former Seattle prosecutor

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has called the initiative “a law-enforcement sting in plain sight.”

“Really?” Holcomb asks, flushing just a little at the outlandish charge. She notes that dispensaries are advertising in newspapers, putting sandwich boards in front of their businesses, and listing themselves on the website WeedMaps.com. In other words, the feds don’t need her help to figure out who’s selling pot.

As if to prove her point, a short time later Associated Press reporter Gene Johnson calls Holcomb. That morning, the DEA sent letters to 23 western Washington dispensaries located within 1,000 feet of a school or playground, telling them to shut down, and Johnson wants a comment. Holcomb tells Johnson she’ll call him back. Putting down the phone, she says, referring to the federal crackdown, “So it’s already happening.” The action also reinforces her reasoning behind putting a 1,000-foot clause in the initiative. She says the idea was not to provoke the feds any more than necessary.

Just as endorsements of I-502 keep coming, the vitriol against it hits an ever higher pitch.

Jodie Emery, wife of imprisoned marijuanaseed distributor Marc Emery—both of whom support I-502—says that people have written on her Facebook page that they hope her husband gets raped in prison. Stroup says that while he was standing at NORML’s booth at Hempfest, he heard someone call his name.

He looked up. “Fuck you!” the person yelled. A local NORML member identified the person as Sarich, who denies it.

No on I-502 volunteer Poppy Sidhu has a different Stroup story to tell. As she was

delivering literature around Hempfest, she says Stroup yelled at her: “We don’t want your fucking shit here.”

“Not my style,” responds Stroup, who says he spent Hempfest trying to defuse, not fuel, the tension. Indeed, participating in a debate on the initiative, Stroup pleads with the audience: “The debate in Washington state needs to be toned down a little. Let’s not demonize each other.”

At the same debate, Holcomb acknowledges the fractiousness but betrays little anxiety about it. “This is the year we all need to hold our breath, cross our heart, pray to God, or whatever, and lean forward,” she says in her upbeat way. While some hostile questions are coming from the audience, and a smattering of people are walking out of the Hempfest tent in seeming disgust, Holcomb calmly delves into facts and arguments. “Here’s what you need to know,” she says, proceeding to explain the ins and outs of marijuana DUI policy, present and proposed.

Critics of I-502, like Dawdy, suggest that the backlash from the marijuana community might doom the initiative. Holcomb, however, says “We’re trying to figure out if it’s actually helping.” She explains: “What research tells us is that while an overwhelming majority of Washington voters agree that treating marijuana as a crime has failed, there’s also a large majority of voters who don’t like marijuana.” What’s more, she says, the public increasingly sees medical marijuana as an “industry,” rife with “potrepreneurs” looking to make money as much as to help the chronically ill and pain-stricken.

So if dispensary owners aren’t happy and marijuana users feel the initiative is too restrictive, that’s OK, Holcomb suggests. That might make soccer moms all the more likely to vote for it. E

17

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W A T C H O N C H A N N E L 2 7 O R O N L I N E U W T V. O R G

the»weekly»wire thurs/9/27 FILM

She Done Him Wrong

This fall’s noir series at SAM is called Women in the Shadows, and that category certainly includes Barbara Stanwyck in tonight’s Double Indemnity. Her double-crossing Phyllis is perhaps the genre’s iconic femme fatale—a sultry schemer who, in Billy Wilder’s superior 1944 adaptation of James M. Cain’s crime novel, seduces a sap (Fred MacMurray) and tricks him into murdering her husband.

Walter’s pal and fellow insurance investigator (Edward G. Robinson) is the only figure of decency in the movie. And he warns Walter about what will inevitably follow the fatal train “accident” that Phyllis orchestrates: “Murder’s never perfect. Always comes apart sooner or later. And when two people are involved, it’s usually sooner.” Stick around after the screening, when Top Pot will offer special noir donuts and TASTE restaurant will serve custom cocktails. (The Big Heat and Fargo are among eight more titles screening Thursdays through Dec. 9.) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $63–$68 series pass, $8 individual. 7:30 p.m. BRIAN MILLER

sat/9/29 COMEDY

Ballot Vox

FILM

Man Out of Time

The shorthand for No Rest for the Wicked, which opens this weekend’s Festival of New Spanish Cinema, would be Bad Lieutenant in Madrid. But Inspector Santos Trinidad (José Coronado) isn’t all bad. Sure, he’s a dissolute drinker who guns down three people in a bar fight, yet his cover-up leads to the discovery of some even worse characters. In the new, multiethnic Spain, Trinidad looks something like a disco-era dinosaur with his handlebar mustache and aviator shades. His revolver also makes him a relic, but it leaves no shell

*

Late-Night Literature

CHASE JARVIS

Alexie offers stories both new and old.

BOOKS/CLASSICAL

Bach of Ages

Paul Elie’s book Reinventing Bach (Farrar, Straus and Giroux, $30) is structured not unlike one of his subject’s fugues. The recurring theme is Bach’s music and its continuing relationship, especially in the 20th century, to technological breakthroughs: pioneering recordings by Bachian high priests Albert Schweitzer and Pablo Casals; Leopold Stokowski’s appearance in Fantasia, conducting his own sumptuous orchestral transcription; Glenn Gould’s 1982 rerecording of his signature work, the Goldberg Variations, in the game-changing digital format. The countersubject is Bach’s own life— which also touched a techno-musical watershed moment when the composer was summoned to test Frederick the Great’s just-invented piano. Intercalary episodes bring in more cameos than the cover of Sgt. Pepper’s cubed: biologist James Watson and bluesman Robert Johnson, Judy Collins and The Baroque Beatles Book, Yo-Yo Ma playing at Steve Jobs’ funeral, all embellishing Elie’s encyclopedic assemblage of nearly every appearance of Bach in high and low culture over the past century. (Nearly: He omitted what was my second-grade introduction

MON: BOOKS

Since Sherman Alexie burst onto the literary scene in the early ’90s, he’s been so productive as a poet, short-story writer, novelist, and even film director that you still picture him as the laughing, long-haired young man on the book jacket. It’s a bit of a shock to realize that our city’s pre-eminent fiction writer is now at mid-career, a man in his mid-40s with wife and kids. He still plays basketball, but maybe a step slower—like the rest of us graying jocks. Alexie’s new anthology, Blasphemy (Grove Press, $27), spans some 20 years, adding 15 new stories to favorites like “The Lone Ranger and Tonto Fistfight in Heaven.” In the new “Basic Training,” he describes the carnival attraction/sport of donkey basketball (new to me, at least), in which players ride donkeys around the court. As father and son ply the family trade, the story is initially comic and full of funny asides. (On the Blackfeet reservation, a woman explains how “Mormons are the superstars of trying to save Indians,” and one of the donkey wranglers frets how his herd sport has “suddenly become a nearly exclusive Republican tradition.”) But then the tone shifts: The son wants to leave the business, there’s a wreck, and the donkeys assume a tragic grandeur (there’s your artistry for you: From humble materials and plain language, Alexie builds to poignant effect). Why do the reading at midnight? Blasphemy’s official publication date is tomorrow, Tuesday, so the typically energetic Alexie wants to get an early start on things. Maybe he hasn’t slowed down at all. (Events follow on Oct. 8 at University Book Store and Oct. 23 at Third Place Books.) Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. Midnight. BRIAN MILLER

Musselman’s Spruce in the Trees, at Photolust.

PHOTOGRAPHY

Over the Fence

More than 50 artists, regional and national, are represented in the annual buffet that is Photolust. There’s no overarching theme to the show, since the artist-donated images will be sold at the concluding benefit auction on Saturday, Oct. 20. (You can also make bids online.) Among the locals we like are Bill Finger, Eirik Johnson, Daniel Carrillo, and Annie Marie Musselman, who’s shot for us in the past. She’s previously documented rehabilitation efforts at the Sarvey Wildlife Care Center in Arlington; in a new series, taken at Wolf Haven International (near Tenino), she profiles those top-line predators being bred in captivity before their introduction to new habitats. “I photograph through very small holes in an incredibly strong fence, which protects me,” Musselman writes, “but barely keeps me from falling in love with these highly intelligent, beautiful beings.”

Other subjects in Photolust include children, landscapes, and nudes—also all beautiful, but none with such sharp teeth. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. Free.

11 a.m.–10 p.m. BRIAN MILLER

Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

Even as we’re dying for the election season to be over already, no matter how much we’re sick of it, each new week brings a fresh gaffe or face-palm moment to savor. Especially in our blue-state bastion of liberal smugness, the Romney/Ryan antics—from false marathon times to those lazy, entitled 47 percenters— have made for endless indignant clicks on Wonkette, Gawker, and The Huffington Post.

Serving the same market is the progressive radio host now visiting from L.A. with her Stephanie Miller’s Sexy Liberal Comedy Tour.

Miller is a regular among cable-TV pundits, but not a voice of strident attack. Liberals tend to flop on the radio (see: Air America), so Miller adapts a more chiding, big-sisterly approach to her adversaries. Let others rant; she prefers to be reasonable. Appearing here with her frequent radio guests John Fugelsang and Hal Sparks, Miller will likely be the calmest person on stage. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $25–$150. 8 p.m. BRIAN MILLER

mon/10/1

to Bach, and possibly yours—Apollo 100’s flower-power hit “Joy,” which synths up “Jesu, Joy of Man’s Desiring” to a caffeinated shuffle beat and hit #6 on the pop singles chart in 1972.) Addicted to metaphor, Elie’s descriptions of music can be sharp and tantalizing (in the Prelude of Bach’s G-major Cello Suite, “the melody is let out like a kite on a string”). If elsewhere he piles strained allegorical readings onto unremarkable facts a tad too high, that only shows his exuberant, bottomless fascination with his subject.

Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. GAVIN BORCHERT

ANNIE MARIE MUSSELMAN

casings behind as evidence. Considerably more modern is Ana Chacón (Helena Miquel), whose investigation as a judge—more like a prosecutor in our legal terminology—goes beyond Trinidad to drug-smuggling Colombians and finally a citywide bomb plot. She’s the principled, honest agent of an overburdened criminal-justice system, and Trinidad her dark double. Yet both turn out to be pursuing the same ultimate foe, she with a computer and he with a shotgun. (Six other features run through Sun.) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. Opening reception $20–$25; other screenings $5–$10. 8 p.m.

(Repeats 3:30 p.m. Sat.) BRIAN MILLER

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arts»Opening Nights Bloody Bloody Andrew Jackson ARTSWEST, 4711 CALIFORNIA AVE. S.W., 938-0339, ARTSWEST.ORG. $17–$36.50.

7:30 P.M. WED.–SAT., 3 P.M. SUN. ENDS OCT. 20.

Körbes before Cinderella’s transformation.

P Memphis

5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1418, 5THAVENUE.ORG. $29 AND UP. RUNS TUES.–SUN. THROUGH OCT. 7.

© LINDSAY THOMAS

MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28– $173.

7:30 P.M. THURS.–SAT., PLUS 1 P.M. SEPT. 29 & 30. ENDS SEPT. 30.

Pacific Northwest Ballet opened its 40thanniversary season with a program designed to develop an audience for the next 40 years.

Cinderella tells a familiar fairy tale, and though Kent Stowell’s 1994 adaptation added some backstory to the plot, it’s still an eminently family-friendly work. Audiences last weekend were full of little princes and princesses in party clothes, and with 20-plus children in the cast, they saw versions of themselves onstage, as well as more grown-up characters.

One of the virtues of this Cinderella is its large number of roles. On opening night, Carla Körbes was a charming Cinderella, with Karel Cruz as her gallant prince, building on their partnership from last year’s Don Quixote.

Carrie Imler was regal and tender as the godmother, while Laura Gilbreath was the nasty equivalent as the stepmother. Both Jonathan Porretta and Benjamin Griffiths displayed their best tricks as the Jester—Porretta throwing a hop into the middle of a grueling series of turns on opening night; Griffiths taking out the hop but adding an aerial flip to the end of the sequence during Saturday’s matinee.

Most roles are shared, and Lesley Rausch’s Cinderella demonstrated well-thought-out acting choices, adding depth to the part she last performed two years ago. Kiyon Gaines danced Harlequin with great zest. Having spent more time as a choreographer than a dancer recently, his appearance was particularly welcome.

Alongside this fairy tale, the opening-night audience saw Jerome Robbins’ Circus Polka, with special guest ringmistress Patricia Barker and a slide show drawn from 40 years of PNB history. But there was a sad element amid all this sweetness—a memorial to PNB designer Martin Pakledinaz, who died this July. His costumes for Cinderella were some of his loveliest, especially

OCTOBER 9

TICKETS: $39

THE FLATLANDERS Illsley Ball Nordstrom Recital Hall

Forty years into their friendship, these ‘founding fathers of Americana’ — Jimmie Dale Gilmore, Joe Ely and Butch Hancock — are hitting the road again.

Country Concerts at Benaroya Hall are sponsored by an anonymous donor.

OCTOBER 24

TICKETS FROM: $30

JAKE SHIMABUKURO S. Mark Taper Foundation Auditorium

“Jake is taking [the ukelele] to a place that I can’t see anybody else catching up with him.” — Eddie Vedder Jake Shimabukuro’s performance is generously underwritten by Katrina Russell and Jeff Lehman.

OCTOBER 25

TICKETS: $37

CARLOS NÚñEZ Illsley Ball Nordstrom Recital Hall

Longtime Chieftains collaborator Carlos Núñez is at the heart of the Galician folk revival, with album sales surpassing the million mark worldwide.

PAUL KOLNIK

P Cinderella

Memphis is all grown up now. The musical that debuted here in 2009 now returns from Broadway in a sparkling bus-and-truck showcase that bears none of the flaws of its early incarnation. As such, it’s slick and surefooted, but it also sheds much of the grit and grits so vital to its story. Set in the segregated South at the dawn of rock ’n’ roll, with an interracial romance at its center, this mainstreamed Memphis has snipped off anything extraneous that might cause an audience to think too much. What’s left is plenty of skittering grease-on-a-hot-skillet soul music, little in the way of historical context.

The plot is loosely based on the life of disc jockey and “race music” promoter Dewey Phillips, here called Huey Calhoun (Bryan Fenkart). Huey falls in love not only with the sounds he hears roiling up from an underground Beale Street bar, but their personification, Felicia Farrell (Felicia Boswell). His passion sets him on a collision course with both fame and the race lines of their day.

The songs, by Bon Jovi keyboardist David Bryan and lyricist Joe DiPietro, provide a survey of musical styles from the period.

There’s gospel (brilliantly expressed in “Make Me Stronger”), gossamer pop, and the kind of R&B that slips in through the ear and quickly seduces the lower extremities. The music has so much swagger—so much heat and beat—that the auditorium needs seat belts.

Boswell puts the heat into Memphis.

Replacing a Broadway cast that helped the show earn four Tonys, including best musical, this ensemble delivers a baker’s-dozen thrilling performances under Christopher Ashley’s direction. Yet compared to three years ago, when everyone who wasn’t Huey or Felicia seemed a bigot, the racial divisions are now more muted. When the dread prospect of miscegenation is raised, some in the cast only appear perplexed, not aghast.

Bottom line: This ain’t the Memphis that spawned rock ’n’ roll. At all. But Memphis is one hell of a fine musical, and it does both Seattle and the 5th Avenue proud. KEVIN PHINNEY E stage@seattleweekly.com

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The problem with writing drama about disaffection is that—who cares? It’s just not that interesting to watch characters complain, dither, and cop out, regardless of how much they might resemble, well, us. The flagrantly anachronistic musical Bloody Bloody Andrew Jackson, which played briefly on Broadway in 2010, posits our seventh president as a moody emo rock star (capable Kody Bringman, with platinum hair, raccoon eyes, and a Billy Idol snarl) who’s swept up in popular fervor against Indians, Spaniards, elites, and the corrupt government.

While easy laughs come from the “boing” of arrows (code-named “cholera”) killing Andrew’s family and political rivals Henry Clay, John Calhoun, and Marty Van Buren strutting on a catwalk, the show never finds a consistent tone. It’s not quite satire, not outright comedy, and certainly not history.

Created by Alex Timbers and Michael Friedman, BBAJ is an ambivalent work— both rousing and cynical, like the politics of Jackson’s day. With a palpable lack of energy in the opening number, “Populism, Yea, Yea!”, it’s hard for the audience to care much about these frontier shenanigans.

Though outrageously un-PC and funny in some parts, the show is off-putting in others.

Native Americans are hated like Muslims after 9/11. Jackson must choose between the real will of the people (disposing of those Indians) versus what the people claim to want (a feel-good solution). But Bringman’s Andrew, whether due to Christopher Zinovitch’s direction or his own limitations, barely musters the gravitas of a boy-band member facing a breakup. All the genuine sadness of the situation is distilled into one gorgeous song, “Ten Little Indians,” a rare moment of sincere feeling in the show.

Also laudable are several devices used to tell the story. In multiple roles, Mandy Price’s passionate nerdiness makes big blurbs of historical exposition tolerable (as a woman on a mobility scooter, she blabs until assassinated). Video screens show historical images drenched with blood. The scaffold-like set,

by Zinovitch and Jill Beasley, allows the cast to perform all manner of gonzo stunts.

Yet for all the topical pings that tease your brain (Spaniards as World Cup soccer thugs, the executive seat is a toilet, etc.), the heart remains unstirred. Various subplots get lost faster than you can riffle through a tabloid magazine in the supermarket checkout line.

It’s as though BBAJ were allergic to real feeling; but without feeling, the show vanishes like smoke signals. MARGARET FRIEDMAN

the variegated gowns for the “Four Seasons” divertissement in Act II. He would have been very gratified by the oohs and ahhs from the audience as Cinderella makes her appearance at the Prince’s ball, shimmering just like a ballerina on a young girl’s music box. SANDRA KURTZ

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Stage OPENINGS & EVENTS

ACADEMY OF BURLESQUE’S 10TH ANNIVERSARY

Performances by a who’s-who of Seattle burlesque: Waxie Moon, Inga Ingenue, Miss Indigo Blue, and many more. Oddfellows Hall, 915 E. Pike St., 47-TWIRL, academyofburlesque.com. $20–$40. 8 p.m. Sat., Sept. 29.

THE CAT IN THE HAT Dr. Seuss’ dangerous anarchist tract. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Previews Sept. 27–28, opens Sept. 29. See sct.org for exact schedule. Ends Oct. 28.

DEAD MAN’S CELL PHONE A woman answers the title object and gets tangled in his past. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienlittletheatre.org. $7–$20. Opens Sept. 28.

8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 21.

THE FAIRYTALE LIVES OF RUSSIAN GIRLS An innocent American woman falls into the mire of Putin’s Russia in this dark comedy. “Axe-wielding prostitutes” are promised. The Little Theatre, 608 19th Ave. E., washingtonensemble.org. $15–$25. Preview Sept. 27, opens Sept. 28. 7:30 p.m. Thurs.–Mon. Ends Oct. 22.

JEFF GARLIN It took the success of Curb Your Enthusiasm to make Garlin a household name, and he and Larry David are the best comic duo on television.

But then there are the fat jokes. Garlin put food in the title of his sweet, little-seen 2006 rom-com I Want Someone to Eat Cheese With, and even wrote a 2010 memoir about the serious consequences of obesity.

Tonight, expect him to make jokes about his ongoing diet battles, the inanities of Hollywood, and the indignities of middle age. BRIAN MILLER The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $30. 8 p.m. Sat., Sept. 29.

I CAN HEAR YOU . . . BUT I’M NOT LISTENING An encore performance of Jennifer Jasper’s comic memoir/ monologue. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, brownpapertickets.com. $15–$18. 8 p.m.

Thurs., Sept. 27–Sat., Sept. 29.

STEPHANIE MILLER SEE THE WIRE, PAGE 19.

PROTEGES TAKE STAGE! ECTA students perform.

Emerald City Trapeze Arts, 2702 Sixth Ave. S., 906-9442, emeraldcitytrapeze.com. $12–$15. 8 p.m. Fri., Sept. 28.

PULLMAN PORTER BLUES Cheryl L. West’s play follows black railway workers on a 1937 journey from Chicago to New Orleans. Seattle Repertory Theatre, Seattle Center, 443-2222. $15–$80. Previews begin Sept. 27; opens Oct. 3. Evening and matinee performances Wed.–Sun.; see seattlerep.org for exact schedule. Ends Oct. 28.

•

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

•

EarSupply

» by gavin borchert

Transcendentalists It’s not only for their excellence that the Emerson String Quartet is acclaimed, but their longevity as well—the same four musicians (Eugene Drucker, Philip Setzer, Lawrence Dutton, and David Finckel) have been together since the group’s founding in 1976. Though not for long: Cellist Finckel is moving on after this season, and this Meany Hall appearance will be his last of the ESQ’s annual Seattle visits. No current quartet is as reliably fantastic, playing with infallible firmness and presence, expressive subtlety, searing intensity (when necessary), and remarkable clarity; you can hear everything that happens in everything they play. Brahms’ dense Quartet in A minor—What’s the opposite

SKETCHFEST Comedy troupes (including favorites like the

Cody Rivers Show and the Pork Filled Players) gather for the 14th annual festival. See sketchfest.org for full lineup, venue, and price info. 7 p.m. Fri., Sept. 28, Sat., Sept. 29, Thurs., Oct. 4; 7 & 9 p.m. Fri., Oct. 5, Sat., Oct. 6.

SOMETHING WICKED THIS WAY Short plays and other spoken-word art. West of Lenin, 203 N. 36th St., 800-838-3006, thesandboxac.org. $10. 8 p.m. Mon., Oct. 1.

SUPERIOR DONUTS Tracy Letts’ comedy-drama set on “the mean streets of Chicago.” Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Preview Sept. 27, opens Sept.

28. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 21.

A SWEET & SAUCY SOIREE Karen Gruber Ryan’s hotjazz cabaret show. Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $10–$15. 7:30 p.m. Sun., Sept. 30–Mon., Oct. 1.

CURRENT RUNS

BLOODY BLOODY ANDREW JACKSON SEE REVIEW,

PAGE 21.

SEE REVIEW, PAGE 21.

•ForMEMPHIS many more Current Runs, see seattleweekly.com.

Dance

CINDERELLA SEE REVIEW, PAGE 21.

•WOMEN FROM AFRICA “Voices of Strength” is this

troupe’s dance/theater show exploring contemporary African life (with a different program each night)., The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $30. 8 p.m. Fri., Sept. 28–Sat., Sept. 29.

CARMONA FLAMENCO Traditional music and dance.

Cafe Solstice, 4116 University Way N.E., 932-4067. $15–$20. 8 & 9:30 p.m. Sat., Sept. 29.

BATTLE FOR THE DANCE BELT BadmarmarDANCE, SerenDIP Modern Dance Company, and many more troupes compete. The audience-vote winners get $100!

Velocity Dance Center, 1621 12th Ave., 800-838-3006, facebook.com/3rdshiftdance. $8–$10. 6 p.m. Sun., Sept. 30.

Classical, Etc.

• SEATTLE SYMPHONY “The Cocktail Hour: Music of

the Mad Men Era.” Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$95. 7:30 p.m. Thurs., Sept. 27, 8 p.m. Fri., Sept. 28, 2 & 8 p.m. Sat., Sept. 29, 2 p.m. Sun., Sept. 30.

XUEFEI YANG Spanish music and Bach from this guitarist. Sponsored by the Seattle Classic Guitar Society. Benaroya Recital Hall, Third Ave. and Union St., 297-8788. $25–$32. 7:30 p.m. Sat., Sept. 29.

BROKEN BOW ENSEMBLE Seattle composer/bassist John Teske leads this all-star avant-orchestra.

Chapel Performance Space, 4649 Sunnyside Ave. N., johnteskemusic.com. $5–$15. 8 p.m. Sat., Sept. 29.

FLUTE CELEBRATION DAY Workshops and a recital. Seattle Pacific University, 3307 Third Ave. W., seattleflutesociety.org. Free. 2–5 p.m. Sun., Sept. 30.

EMERSON STRING QUARTET SEE EAR SUPPLY, BELOW.

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of sparkling? This piece is it—will benefit greatly from such an approach. Also on this end-of-anera concert will be Haydn’s quartet op. 20 no. 4 and The Four Quarters (2010) by British composer Thomas Adès, which portrays the course of a day as Vivaldi’s Four Seasons does a year. Meany Hall, UW campus, 543-4880, uwworldseries. org. $20–$41. 7:30 p.m. Tues., Oct. 2.

J. HENRY FAIR

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

B IL L C OSBY Performance does not include the Seattle Symphony.

BY GAVIN BORCHERT

Finckel, left, bids Seattle farewell with Brahms.

BY MA’CHELL DUMA LAVASSAR

KERIMA AHMED In Values and Dreams as Expressed

through Lines, Colors and Textures the Ethiopian artist shares the colors of her culture in abstract works. C Art Gallery, 855 Hiawatha Place S., 322-9374, cartgallery.net.

Wed., 10 a.m.–3 p.m.; Thurs.–Fri., 11 a.m.–7 p.m.

Openings & Events KREE ARVANITAS She shows mixed-media paintings

and digital collages in Secret Signs & Rebel Angels.

Reception with Greek and Balkan music from 3–6 p.m.

Sun., Sept. 30. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org. Mon.–Sat., 11 a.m.–6 p.m.; Sun., noon–5 p.m. Through Oct. 3.

DEAD ROCKSTARS Gum Ball, Isaac Bidwell, Barry Blankenship, and others pay tribute to the immortal gods of sound in this collection of silk-screen prints showcasing the artists’ favorite dead rock stars.

Opening reception: 7 p.m. Fri., Sept. 28. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery.com. Opens Sept.

28. Fri.–Sun., 11 a.m.–7 p.m. Through Sept. 30.

GROUP SHOW Guest jurors Sabah Al-Dhaher, Miguel Guillén, and Nancy Guppy selected 44 pieces out of 430 submitted works for this diverse show. Artist reception & awards ceremony: 5–8 p.m. Sat., Sept. 29. Columbia City Gallery, 4864 Rainier Ave. S., 760-9834, columbia citygallery.com. Wed.–Fri., noon–8 p.m.; Sat.–Sun., 10 a.m.–6 p.m. Through Nov. 11.

MUSEUM DAY LIVE! Admission is free to see exhibits including sculpture by Marie Watt and glass by the Marioni Family. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. Sat., Sept. 29, 10 a.m.–5 p.m.

•

Ongoing

• HECTOR ACEBES Africa 1948–1952 contains striking

black-and-white images. Also showing: small photos by Canh Nguyen. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com.

Wed.–Sat., 11 a.m.–5 p.m. Through Sept. 29.

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

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ART/NOT TERMINAL GALLERY MEMBERS GROUP SHOW Paintings, sculpture, photos, and prints from

over 30 locals are shown. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org. Mon.–Sat., 11 a.m.–6 p.m.; Sun., noon–5 p.m. Through Oct. 3.

BEYOND THE WESTERN LANDS In this group show, also featuring Brian Britigan, Adrain Chesser, and Jeffry Mitchell, the real standout is a series of photos by Steven Miller (no relation to me). Taken over in eastern Washington, they suggest the movie set for a gay Western/snuff film jointly directed by John Waters, Andy Warhol, and John Ford. Sex and violence are everywhere implicit, seemingly the product of a hostile, unforgiving environment and tribal rites we don’t understand. The large color scenes are like gang wars among gun-totin’ redneck gays on crystal meth.

Everyone’s riled up. Their blood is up. Yet there are more static, posed images that recall 19th-century photography. The costumes mix the John Deere trucker’s-cap present with bygone frontier formality.

BRIAN MILLER Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Free. Wed.–Sat., noon–5 p.m. Through Sept. 29.

ANNIE BISSETT In the color woodcuts of Loaded, she explores the language and iconography of our U.S. legal tender. Cullom Gallery, 603 S. Main St., 919-8278, cullom gallery.com. Wed.–Sat., noon–6 p.m. Through Oct. 27.

DANIEL CARRILLO The local photographer uses vintage wet-plate technique for his local portraits, rendering contemporary subjects like Matthew Brady’s contemporaries. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. Tues.–Sat., 10:30 a.m.– 5:30 p.m. Through Oct. 4.

A CLOSER LOOK Paul Cunningham, Chuck Lopez, Janusz Pozniak, Kait Rhoads, and Boyd Sugiki show their work. Pratt Gallery at Tashiro Kaplan Studios, 312 S. Washington St., Ste. 1A, 328-2200, pratt.org. Wed.–Sat., noon–5 p.m. Through Sept. 29.

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film» »PREVIEW

Native Celluloid

A celebration of local cinema . . . from Argentina to L.A.?

BY BRIAN MILLER

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

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BOULEVARD PICTURES

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etermined to fight my usual documentary bias, in the mood for love, I opted to watch three of the features in this year’s Local Sightings Film Festival. Never mind the facts; let’s look for romance!

Opening the festival (8 p.m. Friday, with after-party), The International Sign for Choking takes place all the way down in Argentina, which would seem beyond the fest’s regional boundaries. Yet director Zach Weintraub hails from Olympia, and his two main characters are Americans visiting Buenos Aires: one a photographer on assignment, the other a pretty student staying in the same boarding house. Josh (Weintraub) first seems like a lost, procrastination-prone hipster. He’s got functional Spanish, though we hear more of him making excuses via Skype to an impatient editor back home. Anna (Sophia Takal) takes a liking to her neighbor, but he proves elusive.

Rather than working, he sets out looking for the girl he met during a prior visit— withholding that crucial bit of information from both Anna and his female editor.

Commitment-phobe or passive/aggressive jerk? Choking takes a slow, patient approach to this question. That means not a lot of plot and much time moping against an incongruous backdrop of cheerful yellow wallpaper.

Weintraub also employs a curious approach to cropping, with figures half out of frame, as if someone had sawed off the legs of his tripod.

There’s a trip to the beach, but the movie otherwise abstains from tourist scenery. During one call, Josh protests to his editor that can’t find any inspiration in the city. He’s not the only one.

Re-enactors (7:15 p.m Saturday) wears its influences on its sleeve—or both sleeves, really, and possibly its pant legs, too. Directed by brothers Nathan and Zach Hamer in Mount Vernon, this comedy about rival Civil War buffs plays like Christopher Guest on training wheels; it even concludes with a mini-stage musical much like the one in Waiting for Guffman. Looking like Matthew Broderick’s meek country cousin, Jedidiah (Nathan Hamer) is obsessed with the past, trying to chase down pedestrians for free history tours no one wants to take. Desperate for a job at Milltown Pioneer Village, with a film crew following him, he enlists the help of frenemy Douglas (Doug Zwick), a more successful Civil War re-enactor. Both, of course, have an uncertain grasp of history. But that doesn’t stop their strident lecturing. When they do land a trial gig as camp counselors, Jedidiah tells his befuddled guests, “Technically, women weren’t allowed to talk back then” in the 1860s.

Unsurprisingly, their insistence on historical accuracy goes way too far. Food runs short when no one’s willing to slaughter a turkey, terrified campers try to flee, and our two heroes vie for the affection of the camp’s comely manager (Emily Lester)—first by

Hale plays against type in Not That Funny.

dueling with ukeleles, then with knife and hatchet. Re-enactors earns a steady stream of chuckles, though without a Guest-caliber improv ensemble. The best lines feel planted, as when Jedidiah explodes at the guests, “Little House on the Prairie was bullshit!”

Equally funny, in the final credits, is the historical consultant: Wikipedia.

Those waiting for the Arrested Development movie, currently filming, can get their Buster Bluth fix in Not That Funny (7 p.m.

Monday)—which at first glance appears to be Not That Local, since the gentle midlife romance was clearly filmed in California.

Among other familiar TV faces, Tony Hale plays a meek CPA named Stefan who lives as the tenant/informal caregiver for an elderly widow (K Callan) in a small town. He’s the sort of doormat who does everyone’s taxes, eats takeout by himself, and unhappily jogs through the empty streets at midnight. Arriving for a visit is the widow’s granddaughter Hayley (Brigid Brannagh), seeking refuge from her stressful job and horrid boss. There’s never any doubt where things are headed, nor any complication to character, but Not That Funny benefits from Hale’s dweeby decency and a generous depiction of aging in place.

What’s the local connection? I had to check IMDb: Seeking to learn what makes women laugh, Stefan takes lessons from a scruffy young comedian played by Nick Thune, a Northwest native now based in L.A. Finally, nonfiction fans will be reassured to know that Local Sightings also offers documentaries on the pharmaceutical industry, West Coast modernist architecture, medical marijuana, the Portland Trail Blazers, and Inuit bird hunters. What’s not to love about that? E bmiller@seattleweekly.com LOCAL SIGHTINGS FILM FESTIVAL Northwest Film Forum, 1515 12th Ave., 829-7863, localsightings.org. $6–$10 (individual), $60–$100 (pass). Runs Fri., Sept. 30–Thurs., Oct.

film»This Week’s Attractions Sept 28-Oct 4 | 206.324.9996 | siff.net

Four days of the best Spanish cinema of the year.

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Brooklyn Brothers Beat the Best OPENS FRI., SEPT. 28 AT SIFF CINEMA UPTOWN. NOT RATED. 97 MINUTES.

Headshot RUNS FRI., SEPT. 28–THURS., OCT. 4 AT GRAND ILLUSION. NOT RATED. 105 MINUTES.

Thailand’s Pen-ek Ratanaruang made his reputation with a series of stylish, violent, and oddly contemplative crime thrillers including 6ixtynin9 and Last Life in the Universe. He returns to his strengths with this self-styled “Buddhist film noir,” seen at SIFF this spring. Shuffling crime-genre elements with

philosophical musings (“Justice does not exist in nature,” ponders our tormented hero) and a quest for truth in a world of lies and manipulations, Ratanaruang comes up with a twisty, enigmatic tale about a contract killer with a complicated backstory and a unique perspective. Thanks to a bullet in the head ( just one of the many head wounds in the film), he sees everything upside down, which puts him at a real disadvantage in a getaway but doesn’t faze his accuracy. Headshot is designed to obfuscate, slipping back and forth through flashbacks and enigmatic visions, often shuffled out of order. This keeps us guessing as to what’s really happening to the enigmatic, oddly passive Tul (Nopporn Chaiyanam). Filled with assassins, patsies, and philosophical detours, Headshot is either a very violent Buddhist parable or an almosttoo-clever conspiracy tale. Perhaps confusion is the path to enlightenment. SEAN AXMAKER

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OPENS FRI., SEPT. 28 AT EGYPTIAN. NOT RATED. 154 MINUTES.

This bloated spin on The Big Chill follows a septet of grating, mostly Gen-X Parisians as they half-guiltily decide to proceed with their summer-holiday plans in Cap Ferret after one of their clique (The Artist’s Jean Dujardin) lies in intensive care following a motorcycle accident.

How these friends met is never made clear; the women in the group, save for the ethnologist played by Marion Cotillard (the real-life romantic partner of writer/director Guillaume Canet, best known for 2006’s overrated Tell No One), appear to have no roles other than scolds, weepers, and/or sexually unsatisfied helpmeets.

The din of this crew’s constant caviling and passive-aggressive insulting is further intensified by the puzzling, nonstop boomer soundtrack (I guess the rights to songs by CCR and the Isley Brothers are cheaper than those

by Oasis and the Fugees). By the fifth scene of everyone climbing onto the yacht owned by high-strung hotelier Max (François Cluzet), you might as well be watching someone else’s unedited, logorrheic vacation footage—which you will soon be doing when the gang gathers round the TV to coo and laugh at a compilation of their

» CONTINUED ON PAGE 26

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Everything right about this indie-rocker road movie has to do with the music. Everything wrong with it has to do with the script. Ryan O’Nan is responsible for both, plus the directing and acting in the lead role. Dumped by his band, girlfriend, and employer, Alex is reduced to playing for special-ed schoolkids while wearing a pink moose costume. Then he’s kidnapped/ befriended by Pupkinesque musician Jim (Michael Weston), who drags him out on tour.

With a sound that somebody calls “the Shins meets Sesame Street,” the Brooklyn Brothers road-rehearse in Jim’s old orange Rabbit, and their music immediately clicks. Sun flares in the windows, Jim plays keyboard on the dash, lovelorn Alex suddenly finds his footing as a songwriter—none of this is believable, but it’s very enjoyable, and their first few club audiences share in the thrill of discovery. To Alex’s mopey guitar ballads, Jim adds a cornucopia of vintage children’s instruments—even old Atari game controllers—to help create a charmingly homemade sound: Michel Gondry meets Flight of the Conchords. Jim and Alex also have a nice slapstick chemistry, as if two of the Three Stooges were musicians. Things fall apart for the Brothers—and us—with the arrival of a bubblegum-sexy club booker (Arielle Kebbel) who climbs into their VW, declaring her intent to manage the band. O’Nan muddies this straightforward bro-com with half-baked romance and family melodrama in San Diego (featuring a nice turn by Andrew McCarthy).

There’s no ending, but the movie never loses your goodwill. (Note: O’Nan and Weston will play at 9 p.m. Wednesday at Capitol Hill’s Porchlight Coffee & Records.) BRIAN MILLER

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Brooklyn Brothers Beat the Best: O’Nan wears the moose suit of shame.

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film»

past beach sojourns. Of sole interest is Benoît Magimel’s Vincent, who sheepishly confesses a same-sex attraction to one in the cabal; his moments onscreen provide the only break from this slog. MELISSA ANDERSON

P Looper

OPENS FRI., SEPT. 28 AT PACIFIC PLACE AND OTHER THEATERS. RATED R. 118 MINUTES.

Early in Rian Johnson’s time-travel thriller, Joe (Joseph Gordon-Levitt) sits at a diner and chats with his self from 30 years in the future (Bruce Willis). When the younger Joe asks the older one about the specifics of temporal displacement, the latter dismisses the question, telling his interlocutor what a waste of time it would be to sit there all day drawing “diagrams with straws.” Johnson would agree. A mindfuck movie less interested in geeking out on the details of time travel

than in investigating the moral implications of a charged situation grounded in character, Looper no sooner lays out the ground of its setup (in almost didactically precise voice-overs) than it turns its characters loose to make their own life-altering choices.

Johnson’s borrowings are obvious, whether in the plotting (recent sci-fi mindfuckers like Primer and Timecrimes vie with elements of noir and Bad Seed–style bad-toddler behavior), the settings (the dystopian city of the future is drawn from countless cinematic models), or specific touches (the hired thugs of 2072 dress like spaghetti-Western bandits). But Looper nonetheless satisfies wholly on the level of dramatic necessity. 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 meta-cinematic frippery. For Johnson, an inveterate pasticheur, it qualifies as a significant step forward. ANDREW SCHENKER

The Perks of Being a Wallflower OPENS FRI., SEPT. 28 AT HARVARD EXIT AND OTHER THEATERS. RATED PG-13. 103 MINUTES.

As someone who was in college when Napster happened, I’d love to see a period piece re-creating teen life during the last moments before technology began to change media consumption, communication, and the whole of social ritual. I wish Perks, written and directed by Stephen Chbosky from his 1999 young-adult novel, was it. Set in 1991, the film is an incidental time capsule of a pre-Internet adolescence spent discovering the Smiths via mixtapes, when suburban teens realistically could get their first taste of gender subversion via a midnight screening of The Rocky Horror Picture Show. But period particulars seem secondary on Chbosky’s priorities list. Charlie (Logan Lerman), a shy-fox 14-year-old with a history of depression, makes it through his freshman year by clinging to the alterna-clique spearheaded by Edie-esque Sam (Emma Watson) and her swish stepbrother Patrick

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This Week’s Attractions » FROM PAGE 25

Troubled teens Lerman and Watson in The Perks of Being a Wallflower.

(Ezra Miller). Charlie loves Sam, who is sorta spoken for by a boho college douche, so instead he dates her overbearing friend (Mae Whitman). Chbosky plays this CW-serial stuff for maximum earnestness, stressing the teenage tendency to assume that every new thing they’re feeling is unprecedented in human history, keeping the tone just-moist-eyed throughout. And then comes the plot twist, which recasts the film’s plaintive portrait of Charlie’s free-floating anxiety and sexual weirdness as Not His Fault. Good for him; what about the rest of us? KARINA LONGWORTH

Stars in Shorts

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

RUNS FRI., SEPT. 28–THURS., OCT. 4 AT VARSITY. NOT RATED. 113 MINUTES.

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Unlike most anthology films, Stars in Shorts is composed of pre-existing short films that weren’t originally intended to be viewed together. As a result, there’s no consistent theme to the seven segments other than “starring famous people,” hence the winkwink title. Five of the seven directors have never made a feature film, with one of the regrettable exceptions being Neil LaBute, whose tired men-are-dogs-and-bitches-becrazy worldview makes the dramas Sexting and After-School Special (which he wrote but did not direct) just as unpleasant as any of his full-length dramas. But at least they’re short, less than 10 minutes each; the sci-fi Prodigal and musical comedy Not Your Time both clock in at 25 minutes, and neither earn their running time in spite of their higher budgets and/or cameos by Hollywood insiders. (Your enjoyment of Not Your Time might be proportional to your familiarity with Joe Roth and Stuart Cornfeld.) Sequencing is crucial to any anthology, and Stars in Shorts wisely opens with two of the strongest films, the comedy The Procession and the neo-kitchen-sink drama Steve, and it ends with the touching Friend Request Pending, in which Judi Dench out-acts all the stars of the previous six. And best of all, she’s not speaking LaBute’s words.

Now we eagerly await the sequel, Stars in Spanx. SHERILYNN CONNELLY E film@seattleweekly.com

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film» SOAPDISH Sally Field, Kevin Kline, and Robert Downey

BY BRIAN MILLER

Local Film • THE AFRICAN QUEEN In The African Queen, you get

Katharine Hepburn, Humphrey Bogart, their little boat, and a very hokey—but very enjoyable—mismatched romance as they careen downriver toward a German gunship. World War I has broken out in Europe, and Hepburn’s spinster is determined to strike a blow for England. Bogart’s drunken river captain wants nothing to do with heroics—he’s like Casablanca’s Rick gone to seed (the part earned him an Oscar). But wouldn’t you know he gradually softens to Hepburn and embraces her cause? Director John Huston shot the 1951 Technicolor picture on location in Africa, where Hepburn got very sick while Huston and Bogart got very drunk. Call for showtimes. (PG) BRIAN MILLER Sundance Cinemas, 4500 9th Ave. NE, 633-0059, sundancecinemas.com, $8-$10.50, Thu., Sept. 27.

FESTIVAL OF NEW SPANISH CINEMA SEE THE WIRE, PAGE 19.

FOR MY WIFE Marriage equality is the subject of this hourlong doc by Charlene Strong, whose wife tragically died in a Seattle flood. She will attend and discuss the movie.

(NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Sept.

28, 7 p.m.

IRISH REELS FILM FESTIVAL Six features are screened during this weekend festival, beginning with A Kiss for Jed, about a singer performing American country music in Ireland. Look for actors including Stephen Rea, Martin Sheen, and Ciarán Hinds in the lineup. See irishreels.org for full details. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), $10 (individual), $45-$50 (pass), Sept. 28-30.

JOYSTICKS Jon Gries and other youngsters fight to preserve the local video arcade in this teen-com from 1983. (R) Grand Illusion, 1403 N.E. 50th T H I S CO D E St., 523-3935, grandillusion TO DOWNLOAD THE FREE cinema.org, $5-$8, Fri., Sat., SEATTLE WEEKLY 11 p.m. Through Sept. 29.

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• ARBITRAGE Slick and grown-up as Richard Gere

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 like crackers. 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 stressed-out 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 Seven Gables, Kirkland Parkplace, Majestic Bay BACHELORETTE In Bachelorette, directed by Leslye Headland, the bride’s wedding dress is in terrible danger, and you know it the second that Regan (Kirsten Dunst) suggests that her two high school BFFs, Gena (Lizzy Caplan) and Katie (Isla Fisher), drag it out for their coke-enabled bachelorette after-party. Over the course of the night, the women indulge in drugs, alcohol, and sex. Dunst’s Regan is a quad-core, hyper-threaded event planner, but in accordance with cinematic rules about likability in commercial films, her tough-ass persona is just a masky ol’ facade hiding a vulnerable, funny charmer who never found the right dude. Meanwhile, Caplan steals all of her scenes. (R) Chris Packham Sundance Cinemas BEASTS OF THE SOUTHERN WILD A zealous gumbo of regionalism, magical realism, post-Katrina allegory, myth, and ecological parable, this Louisiana-set debut feature by 29-year-old Benh Zeitlin rests, often cloyingly, on the tiny shoulders of Quvenzhané Wallis.

Beasts strains to remind us of Hushpuppy’s wisdom and courage beyond her years. She is a motherless child: “She swam away,”explains her drunken father of Mom’s absence. He and Hushpuppy live in a fictional bayou area called the Bathtub. Stomping around her ramshackle, squalid domain in white plastic rain boots, dirty T-shirt, and orange Underoos, this peewee heroine confidently wields a blowtorch. But in trying through incessant narration to make a six-year-old a prolix sage, Zeitlin can’t avoid falling into sticky sentimentality.

(PG-13) Melissa Anderson Varsity

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Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

audience will vote their favorites among 10 titles from countries including Norway, The Netherlands, Russia, England, Ireland, Peru, France, Romania, Spain, and the U.S. Program repeats Sunday at the Admiral ($10).

(NR) Kirkland Performance Center, 350 Kirkland Ave., manhattanshort.com. , $12, Fri., Sept. 28, 7 & 9 p.m.; Sun., Sept. 30, 4 p.m.

MYSTERIUM COSMOGRAPHICUM Video artist Brent Coughenour will introduce and orchestrate a 90-minute program of found footage, apparently mixed on the fly like a DJ, using video game controllers and other tools.

(NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10, Wed., Sept. 26, 8 p.m.

RAIDERS OF THE LOST ARK Unlike the ill-advised Kingdom of the Crystal Skull, the 1981 Raiders is a movie freed from the responsibility of fatherhood, much less adulthood. Then 39, Harrison Ford was more like the embodiment of the boyish dreams of producer George Lucas and director Steven Spielberg. Sure, he makes manly eyes at Karen Allen, but the lust—like the violence, in which movie Nazis can be killed like flies—is only as real as in the movie serials that inspired the Indy franchise. In a thoroughly satisfying, always kinetic way, this first Jones flick lives inside its own archetypes, and Ford is too disciplined an actor to wink at the artifice.

He always seems sincerely, physically invested in this iconic role, whether he’s outrunning boulders, being dragged under trucks, or recoiling from snakes. He’s a moonlighting, grave-robbing, rogue scholar, nobody’s hero. Twenty-seven years later in Crystal Skull, the filmmakers filed those ruffian edges off his character.

(And also smoothed his voice: Is there some computer process for removing the effects of 40 years of Marlboro smoking?) Here is Indy as we remember him: cocky, an improviser, irresponsible, but true to his course. He’s a man you want to be—not the same thing as being a role model. Movie screens at midnight. (PG) BRIAN MILLER Egyptian, 805 E. Pine St., 720-4560, landmarktheatres. com, $8.25, Fri., Sept. 28; Sat., Sept. 29.

Jr. are among the stars of this 1991 comedy about the backstage doings on an afternoon TV show. Call for showtimes. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, Sept. 28-Oct. 3.

THE STORY OF FILM: AN ODYSSEY Made for British television, this 15-hour survey of cinema history by Irish scholar Mark Cousins will run in repeating blocks of three episodes (three hours) each. In an Ulster brogue, Cousins narrates, alternating between stabs at lilting poetry and calculated down-to-earth matey-ness. This Story, for all its claims of rewriting, is too reliant on received film-buff wisdom. See the SIFF website for exact schedule. (NR) NICK PINKERTON SIFF Film Center, $5-$10, Thurs., 7 p.m. Through Oct. 4.

TIME OF THE ROBOTS Local director Erik Hammen raided the archives, using old movies and serials with copyrights now expired, to create this new/old silent adventure film. Prominent faces include Buster Crabbe and Bela Lugosi; and Hammen’s fellow film buffs will recognize snippets from The Lost World, Tarzan, The Bat, Flash Gordon, and so on, though the movie seems more homage than trivia exercise. With footage ranging from the pre-WWI era to the 1950s, Hammen has stripped out the dialogue and created a new scenario using silent-movie intertitles. The plot owes a little to Metropolis, as robots threaten insurrection against a corrupt regime, but Time of the Robots is mainly a loving pastiche. Too loving, perhaps, and certainly too long (the run time is listed variously as 74 and 87 minutes). Beyond the self-indulgent pleasure of writing phrases like “the ghastly shores of Lake Doom,” there’s little point to the proceedings. (Think of how Guy Maddin places modern sexual neuroses in silent-movie trappings.) Just because you can piece together a patchwork adventure with Final Cut Pro doesn’t mean you should. The best moments here are fleeting: quaint special effects, bizarre faces, and a forgotten actress cowering on the tracks as a train passes over her. They don’t make movies like that anymore. (NR) BRIAN MILLER Grand Illusion $5-$8, Sat., Sept. 29, 7 p.m.

WEIRD SCIENCE Anthony Michael Hall and sidekick concoct the perfect woman (Kelly LeBrock) in this fondly remembered teen-com from 1985, written and directed

by John Hughes. Look for John Cusack and Bill Paxton in funny supporting roles. Call for showtimes. (PG-13) Central Cinema, $6-$8, Sept. 28-Oct. 3.

WOMEN IN THE SHADOWS SEE THE WIRE, PAGE 19.

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May Flowers

Vashon’s awakening restaurant scene gets its Thai void filled.

t a restaurant where the signature dish is called metmamuanghimmaphan, first-time diners are sure to have a few questions. The spirited servers at May Kitchen + Bar, May Chaleoy’s highly anticipated Vashon Island foray, are perpetually untangling foreign phrases, matching pandan leaf and Siamese watercress razzle-dazzle spied on neighboring tables to their menu descriptions, and assuring patrons that, yes, they really are allowed to wander into the kitchen.

The back door leading to Chaleoy’s genuinely open kitchen is the entryway likely to garner the most attention. Designed to mitigate customer traffic once the restaurant adds takeout to its repertoire, the door is now available to anyone who wants to peer at the tidy line and absorb the hushed rhythms of sauce-stirring and noodle-garnishing. And May’s cooks won’t mind if your admiration for a meticulous rear-wall pantry arrangement of fish-sauce bottles and coconut-milk cans inspires you to reach for your camera.

Still, the most interesting scenes unfold at the restaurant’s front door. It is here where Vashon Islanders, who’ve anxiously waited a year for May to open, get their first glimpse of

the lemongrass-scented refuge that Chaleoy has created. They inevitably swing their gaze around the 60-seat room, cloaked in rich teak and mahogany panels that make the space feel as special and secure as a ship captain’s quarters, perhaps alighting first on the central U-shaped bar that serves all manner of alcohol. Then their eyes might be drawn upward to the exposed rafters, or dart toward the candlelit tables surrounded by longtime friends who are similarly sick of boarding a ferry every time they want pad thai. And once they’ve completed their visual tour, they grin.

May serves outstanding versions of central Thai classics. But, more compellingly, May serves a community. The restaurant’s tremendous success—although reservations aren’t formally required, they’re a wise idea at any restaurant where half the tables are filled by 4:30 p.m.—is a gratifying reminder of how much a restaurant can mean to the eaters who live nearby.

“People are pretty much losing their minds,” says Vashon resident Shauna James Ahern, the

cookbook author and blogger known to her fans as Gluten-Free Girl. “If it had been mediocre, I would have been fine with it. But we’re in New York right now, and I cast no aspersions on New York, but I haven’t found anything here as good as May.” Although Vashon has a reputation as an edible wonderland, where heirloom pigs run free and clammers effortlessly pry massive geoducks from the shore, the town’s restaurant scene has long been abysmal. Ahern senses that situation changing with the recent openings of Zamorana, an offshoot of a Mexican food truck helmed by Jorge Garnica, and May, the first Thai restaurant on Vashon since the early 1990s, when Wok in Takeout was in business. Even Zombiez, the island’s living-dead-themed burger joint, has started serving tomato salads.

“Vashon is a pretty urbane place, if not urban,” says Ahern. “Most of us escape to the city once a week to Sitka & Spruce or The Walrus and the Carpenter or Delancey.

Frankly, I’m much happier going to May.”

I

n 2010, Chaleoy’s business partner, Tom Schwaegler, invited the Bangkok native to open a restaurant on Vashon. Before being recruited by Schwaegler, Chaleoy had run May Thai in Wallingford. Fans of that restaurant will recognize many of the dishes served at May Kitchen + Bar, although the latter’s menu is considerably slimmer. May Kitchen offers just 10 entrées, a puny figure by American-Thai standards. There isn’t any fish, duck, or seafood other than shrimp, and the only dessert is crème brûlée, but Chaleoy has said she plans to grow the dish lineup slowly.

Yet with so many terrific dishes already on the menu, it’s silly to grump about what’s not available. While you pine for larb and massaman curry, I’ll be eating gai haw bai

thoey, a gleefully tactile starter of three tender An interior fit for grinning. chicken bits, each bandaged in an untrimmed emerald-green pandan leaf, its forearm-long ends jutting skyward like especially perky beef were tough every time they appeared, onion tops. The marinated chicken bundles whether in soups, noodles, or fantastically are seated in a slick of sesame oil, ginger, and velvety curries. But the shrimp—in an arrestsyrupy pineapple chunks, so they’re sweetly ing pra ram loang soang, a stir-fry of baby corn sticky both inside and out. The perpendicular and bean sprouts swamped with a sunset-hued dish is a sugary southeast-Asian spectacle, peanut sauce—were perfectly cooked. something like what you hope to get when you Asking an accomplished Thai cook to tackle order food at a tiki bar. phad see iew is probably akin to asking Gabby Preparations that don’t literally rise above Douglas to turn a cartwheel, but the dish their plates still manage to transcend expecdoesn’t suffer for its simplicity or ubiquity. The tations. Eaters who’ve soured on moo satay dusky, soy-soaked sprawl of yielding wide rice will appreciate May’s cliché-wrecking vernoodles, Thai broccoli, and scrambled eggs sion of grilled pork skewers, supple and rich has a ridiculously good garlicky char. Like from a swim in a curry propped up by cocomost of May’s dishes, it’s not spicy, but diners nut milk. Green papaya salad, tossed with a who want to add heat can request a caddy of bracing amount of lime juice and a squirt of pickled peppers and chili sauce. As the menu palm sugar, is a graduate thesis on the primal patiently explains, “authentic Thai menu items importance of crunch, its shredded starring are not served on a star system.” fruit joined by crisp roasted peanuts and green Vashon eaters have uncomplainingly beans which aren’t shy about snapping. adapted to the DIY spicing method. But Nearly half of the appetizers are fried (in Nadine Edelstein, a tile artist who’s lived gluten-free-friendly rice on Vashon for 20 years, flour, Ahern points out), says they weren’t so with the yum phak boong deferential during May’s » PRICE GUIDE MOO SATAY ...................................$8 drawing the most appreciafirst test meals. “I went SOM THUM ....................................$8 tive ogles. The flash-fried to one of the pre-opening THOM KA ..................................... $12 PHAD SEE IEW............................ $12 watercress looks like a openings, and we were told PRA RAM LOANG SOANG....... $15 futurist’s idea of healthy to pretend like it was a real eating, its stiff stalks and restaurant and to stay in leaves bound in cryogenic-like suspension, but our seats,” she recalls. “But it was really hard, it was the only dish I sampled which came up because we’d want to talk to people at other short on flavor. While the accompanying thick tables. We told them, ‘This is what it’s really tamarind dressing was a tangy partner, the going to be like.’ ” watercress tasted bland and wet.

And Islanders couldn’t be happier about it. E Consolation awaits in a bowl of thom ka hraskin@seattleweekly.com soup, enticingly smooth and vaguely butterscotchy. The hot soup helps soften the chicken, MAY KITCHEN + BAR which was brutally overcooked. Although 17614 Vashon Hwy. S.W., 408-7196, thick sauces lessened the blow, chicken and maykitchen.com. 4–9 p.m. Wed.–Sun.

Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

“We’re in New York right now, and I cast no aspersions on New York, but I haven’t found anything here as good as May.”

JOSHUA HUSTON

A

BY HANNA RASKIN

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Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

food&drink»Featured Eats FirstCall

» by ma’chell duma lavassar

The Pleasants Ride

MA’CHELL DUMA LAVASSAR

The Watering Hole: The Skylark Cafe & Club, 3803 Delridge Way S.W., 935-2111, WEST SEATTLE The Atmosphere: Though by day it’s your stereotypical dark bar, you never escape the feeling this place was made for nightlife. Beer signs, random knickknacks, and the small stage remind you that the Skylark serves some of the best times in West Seattle to be had after 9 p.m. The harsh light of morning reveals the Skylark to be clean enough that you needn’t fear their food service.

The Barkeep: Matthew Pleasant is an East Coast transplant who’s been in the Northwest only a few months. You can find him pouring in the a.m. on weekends at the Skylark, where his server sister Laura— also new to the Northwest—will be happy to take your breakfast order. (You can also find Mr. Pleasant, whose name is more than fitting, tending during the week at the Springhill Suites in South Lake Union.)

The Drink: Though the Bloody Empress (Absolut Peppar or 1800 Reposado; muddled olives, lemons, and limes; and housemade Bloody

Mary mix) is the most popular drink among early risers, the Morning Mariachi (Kahlua, tequila, coffee, whipped cream, and cinnamon) provides a jolt of caffeine, and is surprisingly less sweet and definitely more fun than some Starbucks concoction.

The Verdict: Even though the exterior would never let you in on it, this is a top-notch cocktail

joint. With drinks like the Bearskin Reynolds (Jim Beam, muddled cucumber, Aperol bitter-orange liqueur, and Drambuie), which have been thoughtfully crafted with care and humor, the Skylark is completely worthy of a pilgrimage west. E food@seattleweekly.com

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ALittLeRAskin » by hanna raskin

Mazel Tough

Wrestling with scheduling conflicts during the 10-day stretch between Rosh Hashanah and Yom Kippur known as the Days of Awe is such an iconic Jewish-American ritual that a few years ago children’s-book author Steven Schnur wrote one called The Koufax Dilemma, about the Dodger pitcher’s legendary decision to sit out the first game of the 1965 World Series.

Yom Kippur is tricky for baseball players and their fans, who are in the thick of pennant races when the Tenth of Tishrei rolls around.

The Chicago White Sox switched the start time of last night’s game so third baseman Kevin Youkilis, who’s reportedly never played on Yom Kippur, could get off the field before sundown.

While the Torah doesn’t explicitly reference sports, work is prohibited during the Day of Atonement, as is eating—which means folks in the food industry have to make tough decisions too.

As American Muslims are reminded during Ramadan, it can be difficult to fast when everyone else is eating. And in Seattle, the eating doesn’t stop. Firefly Kitchens is hosting a “Fermented Happy Hour” just as Yom Kippur begins, and Marination is hosting its Ma Kai preview party just before it ends. Neither operation deliberately chose the date to annoy Jewish patrons; it appears organizers were unaware of its significance.

WE HAVE

When I pointed out the timing to a Marination publicist, she responded “Happy Yom Kippur!”, which suggests a fundamental misunderstanding of the holiest date on the Jewish calendar: In the most traditional congregations, services include a lengthy confession of sins accompanied by chest raps and prayers recited from a prostrate position.

Even in synagogues without the body language, it’s a seriously somber occasion.

It’s surely unfair to expect restaurants and food producers to honor every religious observance involving a fast. And the idea that Jews would show up to eat Link Lab sausage at Firefly’s party or Spam at Marination’s shindig is perhaps silly (although far more Jews observe Yom Kippur than keep kosher, myself included). Still, most spiritual leaders agree that no harm can come from a general awareness of other people’s dietary restrictions.

“It would be wonderful if more event planners consulted a calendar of major religious holidays,” says Rabbi Jason Miller, a Michigan-based educator who has frequently returned to the Koufax question on his blog (blog.rabbijason.com). But he adds that it’s not secular society’s responsibility to schedule around religious fasts: “We shouldn’t judge others’ choices and we shouldn’t expect that there won’t be events that we can’t attend because we observe Jewish law.” E hraskin@seattleweekly.com

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Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

music»

presents at

DIMITRIOU’S

Yacht Rock

UH brings punk-pop to the poop deck.

Unnatural Helpers set sail and talk Land Grab.

n the first chilly day after weeks of heat and sunshine, the four members of the local punk-pop band Unnatural Helpers board their bassist Andrew Sullivan’s sailboat, the USS Malagueña—named after the Trashmen’s surfy version of the traditional Mexican folk song—and set sail from Lakewood Moorage in Seward Park. It’s the first time the band has voyaged together, an event meant to celebrate the last blast of summer, but the weather’s not cooperating. Sullivan mans the wheel and calls out orders to his bandmates: drummer/vocalist Dean Whitmore and guitarists Andrew Greager and Johnnie Heinz.

Within minutes, a gust of wind abruptly blows the boom over, knocking over Whitmore’s can of beer and conking Heinz in the head.

“That’s my first bonk on this boat. I was hoping for a bonkless season,” says Sullivan.

“But if anyone can take it, it’s Haymaker Heinz.” They decline to explain the nickname. “That’s a really ugly story,” is all Heinz will disclose. On his left leg, the red-headed guitarist has tattoos of a slug, a puzzle piece, a log, and a Modern Lovers heart. His bandmates refer to him as “Merch Table Johnnie”: Heinz doesn’t have a driver’s license, so he’s made to man the merch table to make up for skimping on driving duties on tour.

Also on board is Whitmore’s 9-year-old daughter, Cassidy, who goes by Cass and calls her dad “Dude.” She sports a Hello Kitty bikini

and a bright-orange-and-yellow hair extension that she got a couple weeks ago at Bumbershoot after watching her father play. “Yeah, I think it’s pretty cool,” she says of her dad’s music, then goes back to playing with his iPhone.

Whitmore, the singing drummer, is the band’s founder. He originally played with lineups that included Kimberly Morrison of The Duchess and the Duke, ex-Catheters Charles Leo Gebhardt IV and Brian Standeford, and Chris Martin of Kinski. But around the time that Unnatural Helpers’ 2010 Hardly Art debut Cracked Love & Other Drugs came out, all Whitmore’s bandmates left the group to focus on other bands or careers, and he quickly assembled the current lineup.

“It’s changed,” he says. “I used to be the authoritarian. I used to be the guy, I wrote all the songs. It’s gotten a lot looser.” Case in point: Three songs—“Hate Your Teachers,”

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“Toil,” and “You’re Right”—on the band’s new album, Land Grab, were conceived not by Whitmore but by Greager and Heinz. “[Having] three other songwriting influences was a big deal and both energizing and scary to me,” says Whitmore. “I had to let go of a lot of control after eight years of having my way.”

Greager and Heinz sit next to Whitmore, sipping Olympias, while Sullivan steadies the wheel with one hand and grips his beer with the other. “We’re more into pop-punk; the last guitarists were more into psychedelic, good stuff,” he says.

“Do you wish one of us would quit?”

Greager asks Whitmore.

“No, I don’t!” he answers sincerely.

L

and Grab was written and recorded during one session in late 2010, and another nine months later after Whitmore had taken some time off.

The songs are spastic and lively, but a pop mind-set shows in tracks like the opener, “Medication,” which ends with a series of peppy “Ooo!”s, and “Over You,” which chugs steadily as Whitmore proclaims, “The sun shines warm/The air breathes rare/Since we’ve been through.” Much was made of Cracked Love’s brevity—just 25 minutes.

Clocking in at 30 minutes, 35 seconds, Land Grab is longer, but just barely. Ten of the 13 songs are under two minutes, and two are under three. “I Trust It Hurts” bursts in and out at 1:01. It’s like riding a fast roller coaster that stops at the apex of its highest drop.

“We could play another chorus and write a bridge and another verse, but I think we’d all get bored. I find myself watching bands and being like, ‘Ooo, that would’ve been the sweet spot, the height of involvement, to end it,’ ” says Whitmore. “We’re pop fans. Nobody was asking Buddy Holly or the Beatles or the Kinks why their songs were only 1:48.”

Boney James

Urban Jazz Saxophonist

“And they’re the best songs ever,” adds Greager.

There is one epic song on Land Grab: “Julie Jewel,” the nine-minute, 45-second tale of dying love (“I’m concerned we’re permanent mates”) that closes the album, but Whitmore says it was meant to be an anomaly. “That’s just . . . we’re just fucking off and jamming,” he says.

I

t’s the golden hour on Lake Washington. The sun is dipping down and the wind is whipping a little colder. Greager, Heinz, and Sullivan strip down, put a white captain’s hat on Whitmore’s head, and jump into the water. Heinz claims the water is warm, but he was hit in the head with an aluminum spar not too long ago.

He, Greager, and Sullivan ignore Whitmore’s protests and splash water up at him.

“Every day there’s a certain point where they want to pull over and get into a body of water,” says Whitmore, the band patriarch—not only the founder, he’s also a good 15 years older than his three bandmates. “I started hanging out with these guys when they were in their early 20s, so by now they seem old to me!” he laughs.

“I don’t really think about it,” he says of their age difference. “They’re mature enough and I’m immature enough that it works.

When you get to be 43, there aren’t a lot of guys playing rock music anymore.”

Cass tugs at his sleeve, interrupting him.

“Dad, you’re 44.”

He pauses, considers his daughter’s interjection, and then laughs again. “Oh yeah, I am!” E ethompson@seattleweekly.com UNNATURAL HELPERS With Wimps, Survival Knife, Stickers.

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“We’re pop fans.

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music»B-sides »PROFILE

Band of Brother

Stres pours pain into his music, and gets love in return.

BY TODD HAMM

J

osh Bolof won’t sit down. He talks in long run-on sentences. His muted clothing offsets his sharp corners, free-spirited teeth, and well-groomed hair. His brand of hip-hop is somber and strangely soothing; given the nervous energy he exhibits in person, you get the feeling it’s his musical therapy. Standing in a quiet corner of Cal Anderson Park, he seems genuinely happy—a sharp contrast, he says, from the

“We never really had anything—and still don’t, really,” he says. “The thing that we identified with about hip-hop is the themes. I listened to [Nas’] Illmatic, and I don’t have to be from Queensbridge to be like, ‘Oh yeah, sometimes shit is fucked up, and sometimes life is “parallel to hell.” You “must maintain.” ’ ” But things have been looking up for Bolof these days. He regularly plays cool happenings around town at places like Vermillion Art Gallery (this Thursday), the Comet, and Black Lodge, and is scheduled to record an EP later this fall with one of Seattle’s foremost innovators of sound, producer/ engineer Erik Blood (Shabazz Palaces, THEESatisfaction, Crypts). This comes after years of kicking around indierock outfits as a guitarist/ songwriter, then reinventing himself under the stage name Stres, the multifaceted electronic artist/beat-head.

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ANDREW IMANAKA

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

“We never really had anything— and still don’t, really.

The thing that we identified with about hip-hop is the themes.”

time he spent writing and recording his debut album, AlgoRhythms, which he self-released last September.

It’s been three years since the death of his older brother Daniel. A part-time local MC who rapped under the name Nino No Dapz, Daniel was gunned down outside a North Seattle hotel in an apparent money hand-off gone bad in August 2009.

“If he was alive now, he’d probably be [finding success like] most of the [local] hiphop people are doing right now,” he says.

“I guess it makes me kind of bitter in a way, because I feel like if he would have gotten obsessed with music, that probably would have saved his life.”

Bolof’s family fled from Romania to the U.S. during their native country’s 1989 revolution. Bolof and his twin brother, Jesse, are the first members of their family to be born here.

Rap music’s tales of struggle struck a chord with the young Bolof, and it became a vital part of his—and his brother’s—socialization.

His emergence as Stres in AlgoRhythms was a defining moment both artistically and personally. Though the album’s reception was quiet, it’s musically accomplished, and serves as a symbolic last note to a grim chapter of his life. The open echo on the recording and the repetitive exploration of melody on each track gives the impression of solitary rumination, a coming-to-grips with life and death.

Blood, Bolof’s new studio sensei, says that his new material has plenty of darkness, but that “There’s a nice weight to it . . . a dark simplicity to it that I find arresting. His melodies are effectively minimal.”

Though Bolof’s music is mainly instrumental, it conveys an audible angst, although he says the new EP, entitled Old Lives (which he estimates will be available early next year), comes from a slightly lighter place. “I’m definitely in a better place then when I wrote AlgoRhythms,” he says. “But I feel every Stres song is going to be slightly melancholic anyway. It just comes naturally.” E STRES Vermillion Art Gallery, 1508 11th Ave., 709-9797, vermillionseattle.com.

Free. 21 and over. 8 p.m. Thurs., Sept. 27.

Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

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music»Reverb 1303 NE 45TH ST

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM/REVERB

» PREVIEW

Wandering Homebody Michael Kiwanuka’s musical Zoloft.

BY CHRIS KORNELIS

Slow Groover

the prestigious Mercury Prize in January— and is about to pay Seattle his first visit. His debut album, Home Again, is a collection of R&B and soul melodies backed by an acoustic guitar, sparse drums, and a handful of orchestral enhancements. Its defining characteristic is one of rock and roll’s most underappreciated virtues: tranquility. It’s aurally soothing and lyrically calming, touching on themes of loneliness, depression, and Kiwanuka’s own struggles with anxiety.

Songwriting, Kiwanuka says, is something he turns to when he “might be wanting to get something off of my chest [or] might need to give myself a pat on the back . . . It’s sort of therapeutic to me. I used to worry about all sorts of things.”

Melodically and lyrically, the album is packed with a sense of realistic optimism. “So I’ll close my eyes, and the tears will clear,” he sings on the album’s title track.

“Then I’ll feel no fear.”

The songs’ palpable sense of peaceful reassurance does as much for listeners as for their author. “There’s always something to release,” he says, “and express.” E

Jon McMillion is a wallflower with a hard-on for disco.

BY ERIN K. THOMPSON

COURTESY OF THE ARTIST

W

ckornelis@seattleweekly.com MICHAEL KIWANUKA With Nathaniel Rateliff and Foy Vance. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. $15 adv./$20 DOS. All ages.

8 p.m. Fri., Oct. 5.

SAM BUTT

hen Michael Kiwanuka’s father was employed, he worked as an electrical engineer, while Michael’s mother often babysat and cleaned homes around London. When she bought her son his first guitar, at age 12, Kiwanuka was the only musician in the family.

The sons of hardworking, struggling Ugandan immigrants, Michael Kiwanuka and his brother Robert were responsible for bringing music into their modest home.

Michael started by picking up Jamiroquai’s Travelling Without Moving. Records from Nirvana and the Strokes soon followed, as did a few from Kings of Leon and the Rolling Stones. Then when Kiwanuka was 14 or 15, he heard Otis Redding for the first time. “I realized that was the kind of music I was going to make,” Kiwanuka told me in a recent phone call. “Emotionally, it did a powerful thing to me.”

Now 25, Kiwanuka is a rising star in Britain—he won

»THROUGH @ 2

»TELL ME ABOUT THAT ALBUM

Seattle weekly • S E P TE MB E R 26− OC TO B E R 2, 2012

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Garbage guitarist Duke Erikson talks about the band’s first albums since the Bush years.

BY DAVE LAKE SW: You haven’t made a record in seven years, and styles and trends in music have changed since then. Does that make things more challenging, or do you guys not pay so much attention to what’s current and what’s not?

Duke Erikson: The whole approach to this album was not really giving a damn about what was going on. We came together with really no idea of what we were going to do, and just sort of let things flow. After making the last few records, we were maybe paying a little bit too much attention to what was going on and let it affect how we work.

I think we felt pressure from record labels [to meet] a certain way records were sounding at the time. I think that crept in now and then. I don’t think we completely changed the Garbage sound or how we write exactly, but I think that maybe in the production, we allowed some of that pressure, some of that influence to creep in. And I think that was unhealthy for us. This time we set up our own label and just went in like we did on our first record, not really knowing what we were going to do. We just started working. We put our heads down and just

COURTESY BB GUN PRESS

Not Your Kind of People

started working, and I enjoyed it immensely.

How was the process different this time?

When we first got together after this long hiatus, we all showed up at the studio and sat in the lounge and drank wine for a couple hours. We laughed and settled back in and reminisced. We didn’t even talk about music, really. Then we went downstairs where all our gear was set up and just started playing.

Somebody would just start a riff or an idea or a chord progression, and Shirley had some lyrics that she’d been keeping over the years, and it was just a jam.

That first day, I think we wrote “Battle in Me” from beginning to end.

You always seem to book a very ambitious run of dates. Do you enjoy the time on the road as much as the time at home, and how grueling is it for you at age 61 as opposed to 31?

We’re trying to do it in a much more civilized way. E GARBAGE Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. $40. All ages. 7 p.m. Wed., Sept. 26.

THE SITUATION I’m spending a recent Wednesday evening at Oddfellows on Capitol Hill with experimental house producer Jon McMillion, who is tall, casual, and wears black-rimmed glasses. He’s eating a plate of mussels and assuring me that McMillion is his real last name. “I used to work at Microsoft a long time ago, so everybody was like, ‘You’re going to fulfill your last name.’ Sadly, I didn’t,” he laughs.

HOW HE GOT HERE McMillion’s transformation into an electronic artist was gradual.

He was born and raised in the Tri-Cities, where one can’t imagine there’s much of a dance-music scene. “I mean, there is a dance scene,” he says. “It’s line-dancing.”

Ten years ago, McMillion was playing guitar in a band he describes as “The Fall meets Miles Davis” when a friend introduced him to some computer software “where you could sequence and make this music on your own,” he recalls. “So I was like, ‘Fuck these guys.’ I could see my vision for myself.”

SHOP TALK It’s been two years since McMillion released his eclectic, much raved-about Jon McMillion LP. He tells me he is working on another album to be released in 2013, describing his new songs as having a stronger song structure rather than “dance meandering—meaning more guitars, more vocals. McMillion often starts a song with a mood, sometimes brought on by walking around and being struck by certain stimuli.

BTW: McMillion’s presence matches his music—low-key, unassuming. When he’s at a club—not for work, but play—he says, “I’m a little bit of a wallflower. I like to sit back and hear the music, but sometimes you can’t help but get into the vibe. The music that gets me dancing, more than anything, is disco.” (Don’t think Donna Summer: He’s got a prized collection of hundreds of obscure European “under-, under-, UNDERground disco” albums.) I ask if he has a signature move. “I’m not out there doing any spins or anything like that. I’m just a slow groover,” he says. “I’ve got a pretty damn good head bob.” E JON MCMILLION Decibel Festival and Resident Advisor After Hours: Ostgut Ton. With DVS-1, Peter Van Hoesen.

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10/5 Square Peg presents HOUSE OF FLOYD ~ Pink Floyd tribute 10/6 Seattle Weekly’s REVERB 10/7 FRED EAGLESMITH, THE GINN SISTERS 10/8 MONDAY SQUARE DANCE with THE Fest 2012 10/9 THE MILK CARTON KIDS, LESLIE STEVENS 10/10 GIANT GIANT SAND 10/11 TALLBOYS 10/12 THE SHEEPDOGS, BLACK BOX REVELATION Monqui presents ADMIRAL FALLOW, YOUNG BUFFALO 10/13 THE HACKENSAW BOYS, HEELS TO THE HARDWOOD 10/15 RADNEY FOSTER, JESSICA LYNNE 10/16 TIFT MERRITT, AMY COOK 10/17 STEPHEN KELLOGG & THE SIXERS, THE LOCAL STRANGERS, MIGGS 10/18 & 10/19 GAELIC STORM 10/20 Take Warning presents RUSTED ROOT, LAUREN MANN AND 10/21 PETER MULVEY, KRIS DELMHORST 10/21 The Tractor THE FAIRLY ODD FOLK, KATE LYNNE LOGAN presents at The Sunset THE HOBART BROTHERS feat. Freedy Johnston, Jon Dee Graham and Susan Cowsill

music»TheShortList Decibel Festival runs September 26-30 at various venues throughout the city. See dbfestival.com for schedule and ticket information.

Shows marked with the in this issue are Decibel events.

dead prez

Wonky, their first album after an eight-year lull—a return to form equally nostalgic and triumphant. With Paul Chambers. The Paramount, 911 Pine St., 877-784-4849.

8 p.m. $40. All ages. ERIC GRANDY

Dead prez’s MC stic.man rightly pegged DP “somewhere in between N.W.A. and P.E.” on the thumping “I’m a African” from their turn-of-the-millenium classic Let’s Get Free. The duo (completed by fellow lyricist M1) took the street-level rage of N.W.A., filtered it through the sociopolitical lens of Public Enemy, and finished it with a touch of Native Tongues– crew Afrohumanism. Later their message became less focused (both lyrically and musically) and perhaps less powerful than on Let’s Get Free (stic.man’s newer material, for example, mainly consists of him talking about staying clean and hitting the gym), but dead prez still stands as one of the most effective and intelligent groups to emerge from the East Coast conscious-rap renaissance of the late ’90s/early ’00s. Look forward to hearing well-known material alongside newer joints off their upcoming Information Age LP. With Project Lionheart, Fatal Lucciauno.

Orbital, getting wonky.

dinner & show

John Talabot

WEDNESDAY, SEPTEMBER 26

SATURDAY, SEPTEMBER 30

In the long line of anonymous, or at least semi-mysterious, electronic-music producers—from Burial to Rex the Dog to Zomby to probably half the roster at Rephlex Records—Barcelona’s John Talabot is hardly a Da Vinci Code-level secret—maybe more like a Scooby Doo villain. Basically, nobody cares about your secret identity, bro. Of more concern to electronic-music connoisseurs are the deeply moody and spooked-out house tracks of Talabot’s excellent debut album ƒin and the recently released outtakes “Tragediel”/“Mai Mes.” Tonight, Talabot—unmasked! It’s some Spanish dude!—performs live with collaborator Pional, whose murky but soulful vocals haunt many of Talabot’s finest tunes. With Public Lover, Pezzner. Neumos, 925 E. Pike St., 709-9442. 9 p.m. $18. ERIC GRANDY

Nectar, 412 N. 36th St., 632-2020. 8 p.m. $14.

TUESDAY, OCTOBER 2–WEDNESDAY, OCTOBER 3

Madonna has made a career out of shocking people (swastikas, anyone?), to the point where there’s not much she could do that would surprise anybody anymore. She could lasso a champion Thoroughbred, choke it with her bare hands, quarter it with a samurai sword, and eat it raw on live television, and the world would shrug. In fact, the only card Madonna might still have up her sleeve is to strip her compositions down to spare acoustic arrangements, as she did (for one song, “Don’t Tell Me”) on Letterman in 2007. She’s not currently touring behind such a concept, but maybe next time. KeyArena, 305 Harrison St., 733-9200.

Ave., 628-3151. 9 p.m. $20 adv./$25 DOS. All ages. ERIN K. THOMPSON

Orbital THURSDAY, SEPTEMBER 27

COURTESY OF DECIBEL FESTIVAL

JULIANNA BARWICK

julianna barwick, maria minerva, anenon, lulacruza

windy & carl, christina vantzou and loscil FRI/SEPTEMBER 28 • 8PM STG PRESENTS

patrick wolf (acoustic) w/ woodpigeon

SAT/SEPTEMBER 29 • 8PM

jeff garlin

arrival: the music of abba

THURSDAY, SEPTEMBER 27

Decibel Fest’s Optical showcases, of which there are five this year, are designed to interweave visual elements into musical performances (for example, on Wed., Sept. 26 at Broadway Performance Hall, ambient British duo Demdike Stare will perform a live rescoring of the 1970 cult horror film La Vampire Nue).

Tonight’s event, ASCENSION, will feature projected visuals by filmmaker and illustrator Christina Vantzou (also a musician, she released her debut solo album Nº1 late last year) to accompany singular New York vocalist Julianna Barwick. Barwick released her exquisite album The Magic Place in 2011, then formed OMBRE, a duo with her Asthmatic Kitty labelmate Helado Negro; they released their fleecy Believe You Me in August.

For a showcase called ASCENSION, Barwick’s angelic, vertiginous vocals are the perfect fit. With Maria Minerva, Anenon, Lulacruza. Triple Door, 206 Union St., 838-4333. 7 p.m. $30. All ages. ERIN K. THOMPSON

optical 2 : ascension

MON/OCTOBER 1 & TUE/OCTOBER 2 • 7:30PM

EDITOR’S PICK

• 9/26 decibel dj lounge w/ dj honore & kelly wyse • 9/27 decibel dj lounge w/ playnetwork dj’s • 9/28 stand by the boat / ben union • 9/29 scrumptious and the backbeat • 9/30 decibel dj lounge w/ dj dials & jimi jaxon • 10/1 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 10/2 singer-songwriter showcase w/ jeff waggoner (japhy ryder), daniel blue (motopony) and will cremin (torn acls) • 10/3 daniel rapport trio TO ENSURE THE BEST EXPERIENCE

PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW ALL-AGES (BEFORE 9:30PM) JODY ROGAC

In the world of electronic music, and especially at this year’s Decibel Festival, UK duo Orbital are nothing short of titans.

Brothers Paul and Phil Hartnoll went in a matter of years from recording their first hit, “Chime,” on their father’s home stereo in 1989 to being one of the biggest acts of the ’90s “electronica” breakthrough in America (a precursor to the current “EDM” craze), along with the likes of Daft Punk, the Chemical Brothers, and The Prodigy. Orbital doesn’t sound quite like any of those peers, though; instead, they expanded the rarefied, uplifting UK rave sounds of the early ’90s until they took on almost classical heft, scoring songs whose melodic strands intricately unfold and reconfigure even as a house pulse anchors them to physical dance-floor functionality. They return this year with

8 p.m. $45–$355. All ages. MIKE SEELY

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The inclusion of Kimbra in the electrocentric Decibel Festival lineup is a bit puzzling: The 22-year-old New Zealander, best known as the female counterpart in Gotye’s hit single “Somebody That I Used to Know,” generally plays with a full live band, and her debut album, Vows, has a jazzy pop flavor. Categorizations aside, Kimbra is an effervescent, compelling performer with expressive, smoky vocals, and her funky songs show a flair for eclecticism.

Connecticut trio the Stepkids, who released their self-titled debut late last year, will open, playing their trippy, psychedelic-fusion songs against a backdrop of kaleidoscopic visual projections. Showbox at the Market, 1426 First

robert henke, brock van wey, dalot and more

optical 5 : undercurrent

TODD HAMM

Kimbra

optical 1 : ghost in the shadows

SUN/SEPTEMBER 30 • 7PM

Madonna

WEDNESDAY, SEPTEMBER 26

WED/SEPTEMBER 26 • 7PM 2012 DECIBEL FESTIVAL PRESENTS

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ALTERNATIVE HEALING

Wednesday, September 26 DABRYE Signed to trendsetting label Ghostly

Thursday, September 27 BALAM ACAB Producer Alec Koone is often lumped in

with witch-house acts like Salem, which isn’t entirely fair. Yes, Koone’s compositions as Balam Acab are requisitely dark, replete with pitched-down vocal samples and gothic ambience. Last year’s Wander/ Wonder, however, goes beyond flimsy genre constructs, making for an album that’s incredibly self-contained but with a profound sense of space. With Devonwho, Natash Kmeto, DJAO. Barboza. 10 p.m. $12.

JOYFIELD This female-fronted local rock group headlines a benefit concert for the Rain City Rock Camp for Girls.

With Alabaster, Out Like Pluto, Acelyn. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 7 p.m. $6. All ages.

NUDE BEACH Nude Beach II, the no-frills title of this Brooklyn trio’s recent LP, fits the group’s easygoing blend of punk and Americana. Sonic Boom Records, 2209 N.W. Market St., 297-266, sonicboomrecords.com. 6 p.m. Free. All ages.

Friday, September 28 ARIEL PINK It’s been a strange trip for Los Angeles–

Saturday, September 29 THE AFTER PARTY Hailing from Manhattan, Kan., this

band’s mewling pop-rock wouldn’t sound out of place on a mid-’00s MTV2 rotation between Fallout Boy and Panic! at the Disco. With Hollywood Ending, Letters & Lights, Blue Like Jazz, Dylan Jakobsen. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7 p.m. $10. All ages.

BLOOD ORANGE PARADISE On its May-released self-titled album, this group channels the taut posthardcore sound of Dischord Records. With Love Battery, Baltic Cousins, Walter & Perry. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7.

ETERNAL TAPESTRY On A World Out of Time, its second full-length of 2012, this Portland quintet plays sprawling Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

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Dragonette headlines Showbox at the Market on September 28. psychedelic rock that’s equally ambitious and noisy. With Terminal Fuzz Terror, Stenskogen, Baby Guns. Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com. 9:30 p.m. $6.

ROMAN FLÜGEL Probably best known for two big, unstoppable, peak-hour choons—his own goofy, synthsquiggling “Geht’s Noch?” and his duo Alter Ego’s snarling “Rocker”—but his tastes and prowess run deeper than that, from techno to jazz to unexpected points in between. With Max Cooper, Matt Tolfrey. Neumos, 925 E. Pike St., 709-9442, neumos.com. 9 p.m. $20.

THE MODERN SOUNDS This Chicago trio headlines the 25th and final edition of the Rockabilly Ball, hosted by Leon Berman of KEXP’s Shake the Shack. With Johnny and the Blades, Bloodshot Bill, Dave Stuckey and The Rhythm Game, Angelatini & the Treblemakers. Tractor Tavern. 9 p.m. $20.

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EMANCIPATOR This Portland producer has made a

name for himself within the EDM community, where his sample-heavy trip-hop has led to opening stints for scene stalwarts like Bassnectar and Pretty Lights. With Yppah, The Great Mundane, Anomie Belle. The Crocodile. 9 p.m. $20. All ages.

OPTICAL 5: UNDERCURRENT The finale of Decibel Fest’s Optical series features three artists representing the Chicago indie experimental label Kranky Records: husbandand-wife space-rock duo Windy & Carl, multimedia artist Christina Vantzou, and British Columbian ambient artist Scott Morgan, who dubs himself Loscil. Triple Door, 206 Union St., 838-4333, thetripledoor.net. 7 p.m. $30. All ages.

THE WEEKND Is there room for The Weeknd in a postChannel Orange world? Can sad-sack indie dudes make room on their shelves for two token R&B records? Abel Tesfaye will croon the answers to these questions and more tonight. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. 8 p.m. $39.95 adv./$45 DOS. All ages.

Monday, October 1 PATTERSON HOOD AND THE DOWNTOWN RUMBLERS

The founding member of seminal Southern-rock act Drive-By Truckers, Hood is touring in support of this month’s Heat Lightning Rumbles in the Distance. With Hope for Agoldensummer. Tractor Tavern. 8 p.m. $20 adv./$22 DOS. NIGHTWISH One of the most commercially successful Finnish bands ever, this symphonic-metal group released Imaginaerum, a concept album about a dying composer, last year. With Kamelot. Showbox SoDo. 8:30 p.m. $35 adv./$40 DOS. All ages.

Tuesday, October 2 BEN HOWARD Though he’s also a former surfer who plays

acoustic guitar, Howard luckily has little else in common with Jack Johnson. Instead, the British songwriter’s music is hushed and agilely finger-picked, and features his decidedly accented singing voice. With Marcus Foster. The Neptune. 8 p.m. $20 adv./$23 DOS. All ages.

JOE JACKSON Best known for late-’70s/early-’80s hits “Is She Really Going Out With Him?” and “Steppin’ Out,” the 58-year-old keyboardist and saxophonist pays tribute to Duke Ellington on his latest album, The Duke. The Moore. 7:30 p.m. $42.50–$62.50. All ages.

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based solo artist Pink, who has gone from oddball, lo-fi tape recordings to classic-pop revivalism in the course of his decade-long career. His latest, Mature Themes, has some solid tunes, but this Decibel Festival set might be worth checking out for his infamously mercurial stage presence alone. With Da-M-FunK, BODYGUARD. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile. com. 9 p.m. $22. All ages.

DRAGONETTE In 2010, this Ontarian trio made a splash with their spacey hit single “Hello,” a collaboration with French DJ Martin Solveig. The band is currently touring in support of their third album, the recently released Bodyparts. With the Knocks, Icona Pop, Kids & Explosions. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 9 p.m. $23.50. All ages.

MIKE WATT AND THE MISSINGMEN Watt, an iconic punk bassist, has played in fIREHOSE, the Stooges, and most notably the Minutemen over his 30-plus-year career.

The Missingmen has been his main project since 2005.

With Hounds of the Wild Hunt. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $15.

SEATTLEWEEKLY.COM

KRISTIN VICARI

International, this Detroit producer’s hip-hoplaced instrumentals have earned praise from the likes of XLR8R. With Katie Kate, Keyboard Kid. Barboza, 925 E. Pike St., 709-9951, thebarboza. com. 10 p.m. $12.

GROUPLOVE Appropriately, this fast-rising Los Angeles pop-rock group played on the Southern California leg of the similarly schlock-minded Mumford & Sons’ “Gentlemen of the Road” tour. With Alt-J. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 7:30 p.m. $20 adv./ $22 DOS. All ages.

PLATEAU This Enumclaw-based three-piece plays classic-sounding power pop. With Devilwood, String Theory. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com.

9 p.m. $5.

43

column»Toke Signals

S.A.M. COLLECTIVE

Seed for Yourself

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olland House Wellness Group, a

Cleaner’s fat, sugary buds had a pleasantly Lynnwood medical-marijuana citrusy lemon bouquet with hints of pepper. access point open for close to Its light-green, sticky calyxes are crowded two years now, has one of the with ultra-white trichomes, giving the flownicer reception areas I’ve ever seen at a ers a gooey appearance. Toking reveals a dispensary. But having followed my usual crisp, heavy taste of lemon oiliness that coats practice of learning all I could about a place the sinuses with citrus; it’s a bit harsher than New Hours: M-F 12:00 – 7:00 before visiting, I felt a little disconcerted average, at least for the first couple of hits Saturday 10:00 – 5:00 by the mixed reviews they got until the very cerebral buzz sets in.

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For weekly specials, follow us on Facebook through a quick verification of Toking produced a comforting my Washington state medicaltwo-hour buzz which effectively 4023before Aurora Ave. N. Seattle, WA 98103 marijuana authorization treated abdominal pain while recenterushering me into a well-stocked buding one’s thoughts in a very pleasant way. www.samcollective.org room with about 10 strains priced at $12 a As an indica dominant, Sand Widow has gram, eight strains at $10, and one bargaina more soporific, sleepy buzz than Jack’s basement strain at $8. Also featured was a Cleaner, and makes a good bedtime smoke. solid but limited selection of medicated ediMy experience showed me that the online A non-profit organization in accordance with chapter RCW 69.51A bles (priced at $4, $7, and $8); some CO2 hash reviews were right about Holland House’s oil at $60 a gram; Vita Verde cannabis topicals priced between $12 and $20; and Ganje Roast The well-appointed cannabis-infused coffee from $12 to $36. New patients receive a free prerolled joint with a office was not, as one $20 minimum donation for other items. online review claimed, One practice I saw at Holland House that all that Holland House I haven’t elsewhere is that everything is prebagged into single grams and quarter-ounces; had going for it. if it’s an eighth of cannabis you want, you’ll have to get either three or four grams. But despite this, you can at least still smell the nice facility, but I experienced none of the buds when one of the bud jars is cracked open, staff rudeness that a few others claimed they so you aren’t totally cut off from experiencing ran into. If you live in north Seattle (or north the medicine before making your selections. of Seattle), this place is worth checking out. E In considerable pain on the day I visited, tokesignals@seattleweekly.com I was in no mood for anything less than Steve Elliott edits Toke of the Town, top-shelf medicine, so I selected two of the Village Voice Media’s site of cannabis news, $12 strains: the sativa Jack’s Cleaner and views, rumor, and humor. the indica-dominant Sand Widow. Jack’s

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OF THE

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Seatt le w ee kly • S E P TE M B E R 26− OC TO B E R 2, 2012

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