Seattle Weekly, October 24, 2012 by Sound Publishing

OCTOBER 24–30, 2012 I VOLUME 37 I NUMBER 43

SEATTLEWEEKLY.COM I FREE

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inside» October 24–30, 2012 VOLUME 37 | NUMBER 43 » SEATTLEWEEKLY.COM

»11

»29

up front 7 NEWS

THE DAILY WEEKLY | Google is

AWESOME. Bridge tolls are out of control. Jill Stein is justifiably pissed. Did we mention that Google is AWESOME?

11 FEATURE

»35 29 FOOD

another verse for Ethan Stowell. 31 | FIRST CALL | From roses to rum. 33 | A LITTLE RASKIN | It’s pumpkin

season—except at the aqaurium.

35 MUSIC

35 | AFGHAN WHIGS | Greg Dulli on

reuniting and rethinking the band’s work.

represents one of the last closets in America still firmly shut, but Minnesota Vikings punter Chris Kluwe’s support of samesex marriage—and his no-bullshit way of expressing it—may be a game changer.

36 | REVERB | Raffi returns, but the

Fabrics at BAM, butoh at Velocity Dance Center, and new French cinema at SIFF.

19 ARTS

19 | STAGE | ACT’s monkey-filled

Funhouse says farewell. Plus, how Duff knows our economy is thriving. 39 | THE SHORT LIST | Cult of Youth, John Roderick & Friends, and more.

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Ramayana. 21 | EAR SUPPLY | Tragedy onscreen. 23 | VISUAL ARTS | All the Elles you can

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»Dispatches from our news blog

Costumes • Makeup • Wigs Tons of Accessories and Fun Party Decor!

Google Fuckıng Rocks

Not that we’re biased or anything.

nspired by The Seattle Times’ recent decision to leverage a huge chunk of its credibility in a desperate attempt to increase struggling ad revenue, Seattle Weekly announced today that it will immediately launch an expensive independentexpenditure advertising campaign promoting Google, pretty much the greatest company ever. The decision to run the Google ads without charging the company for their placement is designed to show well-to-do companies like Google and Amazon how effective their ad dollars can be when spent with Seattle Weekly. Editor-in-Chief Mike Seely said the decision to run the ads was made by the corporate side of the operation, and was “completely separate

editorial staffers were drafting a petition to the paper’s publisher, protesting the company’s controversial decision. The effort was led by Managing Web Editor Daniel Person, a known Hotmail user. MATT DRISCOLL

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Dan Carino

Our madcap universe is rife with the inexplicable. Take the softball-sized eyeball that recently washed up on a Florida beach, or the pint-swilling grouch at a British pub who doused a wailing baby with beer because the kid was disturbing his lunch. Closer to home, the 520 bridge offers yet another exquisite example of the incomprehensible. The ad was “completely Two years ago, when state transporseparate of the journalism tation officials were rubbing their little mitts together trying functions of the newspaper . . . revenue-starved to figure how they’d ever come up with though I think we can all agree the $4.65 billion needed to build a new Google is the most totally six-lane bridge to link I-405 with I-5, fucking awesome company in some toll-happy troll (God only knows had the devilish foresight to insert the history of mankind.” who) this into Washington’s Administrative Code: “Registered vehicle owners are responsible for paying tolls and the civil penof the journalism functions of the newspaper alty whether or not they received a toll bill.” . . . though I think we can all agree Google is Really? How ingenious—almost as ingethe most totally fucking awesome company in nious as tolling one bridge and not another, the history of mankind.” thus turning the I-90 bridge, several miles Shortly after Seely provided the quote, south, into a snarled nightmare. it was lifted verbatim for the first WeeklyThe inflexible rule, enacted in December funded Google ad, which can be found on 2011, goes on to state that ignorance is no page 45 of this issue. On Thursday, Seattle Weekly attempted to reassure readers that the » Continued on page 9 decision to run the Google ads will not affect the paper’s objectivity moving forward. In a statement issued to the press, a spokesperson for the Microsoft search engine Bing called the decision by Seattle Weekly “complete bullshit.” Since the pro bono campaign is not political, no official expense disclosure is required of the company. However, it’s estimated that the Google ads carry a price tag much greater than what was shelled out for booze at erstwhile staff writer Keegan Hamilton’s recent goingaway party at Mike’s Chili Parlor. While Weekly officials remain adamant that the Google ads will not impugn the paper’s integrity, many experts swiftly criticized the move, saying the decision to run free ads for Google may be as damaging to Seattle Weekly’s credibility as the time the paper said Lionel Richie would be playing the Shanty Tavern (jokes!). Also, last Thursday, several Weekly

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excuse: “It is not a defense to a toll violation and notice of civil penalty that the person did not know to pay a toll.” Lucinda Broussard, toll operations manager for the Washington Department of Transportation, recently told Seattle Times columnist Danny Westneat that the state isn’t even required to send out a bill at all—a bill is merely a courtesy notice. Hmmm. A courtesy notice. Questing for clarity, we, who religiously pay our 520 tolls during our very rare sojourns to the Eastside, spoke last week with Craig Stone, the WSDOT’s personable and engaging director of tolls. Stone said that an impressive 96.5 percent of the motorists who cross the floating bridge—where photo tolling commenced in January—dutifully pay the fiddler, a figure that includes the 81 percent armed with “Good to Go” passes. The remaining 3.5 percent are hit with late fees—$40 civil penalties that accrue after 80 days for each unpaid $3 to $5 in toll bills, resulting in a dickens of a time trying to get a license “They [Obama and Romney] agreed plate renewed. not to talk about the real issues, like Then of course there are those—the brave-hearted, poverty and crime and climate change, the justifiably outraged, or and students going broke, and the simply the serial scofflaws— skyrocketing costs of health care.” who throw themselves at the mercy of solemn-faced Acknowledging concerns that her canadministrative judges who’ve heard every didacy could play the role of spoiler if she excuse in the book, including the most popusiphons votes from Obama in battleground lar: “I never got the bill.” Stone can’t quantify states (think 2000, when Ralph Nader just how many people make up this category, collected 97,488 votes in Florida, which but there are enough, like Pam Hammond, to George Bush won by a maddening 537 rile the waters. votes over Al Gore), Stein said that’s too The Mukilteo woman told Westneat that damn bad—and tough luck, fellas. “Listen, she never got her bill for a May crossing, and, after confirming with the state that the bill had we keep hearing about how wonderful the Democrats have been. Well, they have a not reached her, figured it would be no probtrack record these past four years. They lem to appeal the $40 fine. had two years of complete and Democratic Wrong. control, and what did they do? . . . Obama “There’s a backstory here,” explained embraced Wall Street, and he’s still at the Stone, “and that’s that she had a ‘temporary service of Wall Street. He’d didn’t break away’ status with the post office. So the bill up the banks, which was mailed to her, but is what we’ll do. We’ll she wasn’t picking up break up the banks and her mail. So it’s like not Print is great, but if you want to see all the best . . . bail out students.” paying your American memes from Monday night’s presidential Stein said it was her Express card; they’re still debate, head over to The Daily Weekly. career as a doctor that going to tack on interest SEATTLEWEEKLY.COM/DAILYWEEKLY paved the route for her for a late payment if you entry into politics, by didn’t get your mail.” demonstrating how social and ecological issues Yep, it’s crazy all right—just like those can affect human health. In an interview with softball-sized eyeballs. ELLIS E. CONKLIN Mother Nature Network, Stein said, “As a doctor and as a mother, I found myself really troubled by these epidemics of disease descending on young people—cancer, asthma, learning Green Party standard-bearer Jill Stein will disabilities, diabetes, you name it . . . I felt like it not be taken lightly, and we can all be thankful wasn’t enough to hand out pills and send peofor that. Sure, her chance of victory is beyond ple back to the things that were making them remote, but she’s adding a potent, fiery voice sick. These rising rates of disease were new, to something this small-minded presidential and our genes didn’t change overnight.” campaign has sorely lacked—a discussion On Friday, Stein said she’s still practicing about big things. You know, things like poverty, medicine. “But it’s political medicine now, decaying inner cities, climate change, civil because politics is the mother of all illnesses, liberties falling by the wayside, soldiers dying and that if we want to fix what ails us, we need in an endless, pitiful war in a country whose to fix the political system.” ELLIS E. CONKLIN E leader can’t stand the sight of us. Simply put, Jill Stein is mad as hell. news@seattleweekly.com

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

She’s 62, the mother of grown children, and a candidate for president of the United States. A Harvard-trained doctor, Stein’s first campaign was for governor of Massachusetts in 2002. And yes, she lost to Mitt Romney, whom she dearly would have loved to have debated last week—and President Obama, too, for that matter—but instead she found herself in handcuffs after she tried to enter the Hofstra University debate hall and then waged an ill-fated sit-in protest on the street. “We’re on 85 percent of the ballots, and we were there to say millions of American voters deserve a choice,” Stein told The Daily Weekly by cell phone last Friday afternoon, en route to Bellingham, where she planned to speak at Western Washington University. “They [Obama and Romney] agreed not to talk about the real issues, like poverty and crime and climate change, and students going broke, and the skyrocketing costs of health care. We are at the breaking point in this country, and we [she and her running mate, anti-poverty advocate Cheri Honkala] are trying to turn that into a tipping point.”

Seattle weekly • OCTOBER 24− 30, 2012

ewKluwe ulK sirhC Chris nepo gopen niyrp si is prying s’aciremA America’s :tecloset: solc tsal last eugael-rojam major-league .strops sports.

TONY NELSON

THOUGH T HOUGH HOMOPHOBIA HOMOPHOB HOMO PHOB IS FAR FROM extinct, the tide of public opinion seems to pull inexorably against bigotry. Last year, Congress repealed “Don’t Ask, Don’t Tell,” allowing gays and lesbians to serve openly in the military. Following a sstring tring of highly publicized suicides, schools across tthe he country finally got the message and began to ttake ake an aggressive stance against gay bullying. Yet in 2012, none of the four major North American sports leagues have ever seen an active openly gay player. This is why major-league sports are often regarded as America’s last closet. “During the times when I played, if I would have came out, I felt like I would have been hurt,” says Esera Tuaolo, a former Viking who came out publicly in 2002, a few years after retirement. “You talk about bounties in New Orleans. How much do you think it would cost to take the gay guy out? To take the fag out?”

Seattle we ekly • O CTO BER 24− 30, 2012

alking across the Macalester College campus, Chris Kluwe passes unnoticed. As usual, the 30-yearold Vikings punter is dressed down: a pair of brown flip-flops, black basketball shorts, and a baggy zip-up sweatshirt. A backward World of Warcraft hat pins back his shaggy brown surfer haircut, a giveaway to the Southern California boy’s roots on this cool autumn afternoon in Minnesota. Kluwe climbs a staircase to the second floor of a glass building, where an LGBT group called “No H8”—an offshoot of the campaign against California’s Proposition 8—holds a promotional photo shoot. No one is expecting him. “Are you here to have your picture taken?” a woman asks as Kluwe approaches the check-in. He nods modestly. “I’m Chris Kluwe, by the way.” “Oh, Chris Warcraft!” she swoons, calling him by his well-followed Twitter handle. “I could fall over!” Kluwe demures bashfully, somewhere between cool and uncomfortable. Two young photographers whisk him away to a white backdrop and toss him a plain V-neck. Kluwe peels off his sweatshirt and an anime T-shirt, exposing his muscular torso, the product of a workout he calls “Operation Adrian Abs” after Vikings running back Adrian Peterson. The photographers stamp his cheek with a “No H8” logo, slap a strip “You talk about of duct tape over his bounties in New mouth, and begin posing him: Cross your Orleans. How arms. Now hold them much do you out like this. think it would As word of Kluwe’s identity spreads, cost to take the shoot becomes the gay guy a spectacle. A dozen out? To take students gawk, whisthe fag out?” pering to each other and snapping pictures with their camera phones. By the time Kluwe changes back into his own clothes, a line of more than 30 onlookers has formed behind him. “More pictures?” he says, and poses with every one of them, including the two photographers working the event. “Thank you for what you’re doing,” one says, as Kluwe heads for the door. “It means so much to so many people.”

» CONTINUED ON PAGE 13 11

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Game Changer » FROM PAGE 11 In Washington, where voters will be asked to approve or reject a law passed last winter that legalized same-sex marriage, only one athlete from Seattle’s major sports teams— Sue Bird of the Seattle Storm—has signed on as a proponent of Referendum 74, according to Washington United for Marriage, the state’s main pro-R-74 group. Indeed, when the Vikings take on the Seahawks in Seattle on Nov. 4—two days before the election—Kluwe will likely be the only player on the field who has taken a public stand on the same-sex-marriage ballot measures facing both Washington and Minnesota. He’s emerged as the unlikely spokesman for the Vote No campaign in Minnesota’s near-

Athletes. “For a long time, I equated sports and the military as sort of the two last bastions where it was OK to be antigay,” says Woog. “The military is now doing fine with the repeal of ‘Don’t Ask, Don’t Tell,’ and I think sports is headed there.”

ON A TUESDAY AFTERNOON, ON Kluwe is in a place no punter wants to be: a wheelchair. As he shovels chips and salsa into his mouth, Tiffiny Carlson, the bubbly, blonde quadriplegic woman across the table, wants to know what he’d do if football were no longer an option. “Open a tabletop-miniature store in Southern California,” he answers without hesitation. “Really?” she asks, tickled. “I never thought you’d be into that!” “I’m a huge nerd,” he concedes, paying no regard to the boom mike hovering above or the two cameramen circling like vultures. Kluwe has agreed to be the centerpiece of a documentary on spinalcord injuries, which will be used to lobby for a state law adding a surcharge to driving violations to fund curative research. His day began at 10 a.m., climbing into a wheelchair from bed, then rolling to the Courage

Kluwe participated in a NOH8 photo shoot in September.

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Center for weightlifting, followed by a trip to a specialty-care children’s hospital. Now he’s sitting with a group of young men and women who are also in wheelchairs, but not by choice. Inevitably, the conversation turns to the topic of the same-sexmarriage amendment. “It’s the same as discrimination,” says Kluwe. “I know it is!” the young woman concurs. “Fifty years from now, our kids will be like, ‘Why did we care about that?’ ” predicts Kluwe, a sci-fi aficionado. “ ‘We gotta discriminate against the robots!’ ” A punter’s chances of actually sustaining the type of injury that would permanently confine him to a wheelchair are slim. But it’s an illuminating exercise for a guy whose entire life has revolved around the excellence of his lower limbs. The son of a doctor and a chemical engineer, Kluwe grew up in the affluent Southern California town of Seal Beach. Even as a kid, Kluwe excelled at sports—both as a baseball pitcher and a soccer goalie—and spent much of his adolescence trying to decide which one he’d rather go pro in.

T nw “T “THIS “ THIS HIS IS FUCKED UP,” KLUWE K thought as he lay awake in bed one night in early September. The source of his unrest was an article he’d found earlier that evening on Profootballtalk.com, b alltalk.com, an insider site he frequents for ssports ports news. It was about a letter Maryland Delegate Emmett C. Burns Jr. wrote to Baltimore Ravens owner Steve Bisciotti regarding linebacker Brendon Ayanbadejo, who had been appearing in ads advocating same-sex marriage. Burns warned Bisciotti that it wasn’t appropriate for a player to take such a controversial political position. “I am requesting that you take the necessary action, as a National Football League Owner, to inhibit such expressions from your employees and that he be ordered to cease and desist such injurious actions,” Burns wrote.

» CONTINUED ON PAGE 14

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Seattle we ekly • O CTO BER 24− 30, 2012

deadlocked vote to constitutionally define marriage as between a man and a woman. “He’s going to save it for us, I swear it to you,” says Tracy Call, founder of Minnesotans for Equality. “And it’s going to be him alone.” Having no background in politics, Kluwe sneaked into the fight through the back door after writing a passionate and colorfully vulgar letter laying out his support of same-sex marriage, in the process telling a Maryland legislator that gays getting married wouldn’t transform him into a “lustful cock monster.” The letter blew up on Deadspin with millions of views, hurling Kluwe into the national spotlight as football’s most aggressive straight ally of the gay-rights movement. “I teared up,” says Tuaolo. “For me, it was like Martin Luther King’s ‘I Have a Dream’ speech.” In early October, Kluwe’s celebrity in the gay community crystallized when he appeared shirtless in a provocative cover story for Out magazine, which heralded Kluwe as the “unlikely face of Marriage Equality.” The Maryland General Assembly recently awarded him an official citation for his “work in standing up for the equality of all.” And The New York Times even flew a reporter to Minnesota to profile Kluwe. Beyond the same-sex-marriage debate, Kluwe’s defense of gay rights is further evidence that the culture in major-league sports is finally changing, says Dan Woog, author of Jocks: True Stories of America’s Gay Male

“The kids didn’t play football, because they were soccer and baseball players,” says his mother, Sandy. “Why would you play football? I didn’t think he knew the rules of the game, to be honest.” But in the fall of Kluwe’s freshman year at Los Alamitos High School, he decided to go out for football. A decade of pitching in baseball had caused an abnormal separation in the growth plate of his shoulder, so on the advice of an orthopedist, Kluwe tried out to be a kicker. With a little practice, Kluwe’s soccerball-kicking skills translated well to booting a football. He attended a kicking camp the following summer, where the owners advised him that he could have a future in the sport. “They told me that if I worked at it, I could pretty much almost guarantee I could get a college scholarship, and they said I’d have a pretty good shot at making it in the NFL,” recalls Kluwe. “So I was like, ‘Well, that seems like the greatest job ever, so I think I’ll practice.’ ” Kluwe’s chance to prove himself came during his senior year in a playoff game against Loyola. With less than a minute to go, Loyola kicked a field goal, putting them ahead by three points. Los Alamitos got the ball back with 37 seconds to go. They started with a hook-and-ladder play that bought them about 20 yards, then chucked a 7-yard pass and ran out of bounds to stop the clock on Loyola’s 43-yard line. The team figured they could either try a Hail Mary pass to the end zone or go for a near-impossible field goal, recalls Los Alamitos coach John Barnes. When Kluwe was sent in, the other team was so sure the kick was a fake that they called a timeout. “I remember just saying, ‘Hey, nobody’s gonna expect you to make this, but don’t miss it right or left. Kick it down the middle and see what you got,’ ” recalls Barnes. “And he boomed it.” The kick sailed 60 yards through the goalposts, breaking the league’s playoff record for distance. “The place went nuts,” Barnes says. “They started chanting his name, ‘Kluwe, Kluwe,’ the whole next three or four minutes while we got prepared for overtime.” The team came back and won the game. Kluwe was named a USA Today “All-High School” player, and his last-second heroics would forever be legend in Los Alamitos.

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Game Changer » FROM PAGE 13 After about 20 minutes of tossing and turning, Kluwe sat in front of his computer and organized his thoughts into a rebuttal. “I find it inconceivable that you are an elected official of Maryland’s state government,” it began. “Your vitriolic hatred and bigotry make me ashamed and disgusted to think that you are in any way responsible for shaping policy at any level.” Kluwe finished the letter in a little over an hour and sent it to Deadspin, where he’d been tapped as a semi-regular contributor. Then he went back to bed and slept like a baby. When Kluwe looked at his phone the next afternoon, it was exploding with notifications from his Twitter account. “I’ll never forget it,” Kluwe says. “I kept track of the negative replies. There were probably about six of about 6,000 responses on Twitter in that first day. It was overwhelmingly positive.” Burns quickly walked back his statements a couple of days later, conceding in an interview with The Baltimore Sun that Ayanbadejo “has his First Amendment rights.” But it was too late. Kluwe’s letter went viral, and he suddenly had a national audience for his campaign in favor of same-sex marriage. Minnesota and Washington are two of the four states (with Maryland and Maine) facing a marriage vote of some kind this November. Based on how these races have played out around the country, the odds are against samesex-marriage advocates, says Matt Barreto, political science professor and poll director at the University of Washington. “It could happen, because nationally we know public opinion is moving more and more in favor of samesex rights,” says Barreto. “But historically, if we look at the data, it doesn’t look good for these initiatives in other states.” (Barreto has noted that Washington is a bit different, given that voters approved domestic-partnership rights for gay couples just three years ago.) Though the polls in Minnesota show a close race, the outlook for same-sex-marriage supporters might be bleaker than it appears, says Bill Hillsman, a political consultant best known for his work on the late Sen. Paul Wellstone’s campaigns. “I think there’s a lot of people in the state, especially Democrats, who may say one thing about what they’re going to do on this particular issue, and then do something else.” He adds, “I think what Chris Kluwe has done is opened up a potential audience that otherwise wasn’t even on the radar. That audience, I would submit, is younger, it’s male, and they probably don’t really care that much about this issue.”

THIRTY T HIRTY MINUTES OUTSIDE Minneapolis, in a spacious but modest suburban house, Kluwe takes a seat in his near-empty living room. Now that their oldest daughter is ready to start school, Kluwe aand nd his wife are selling their Minnesota home aand nd moving their permanent residence back b ack to Southern California. In the meantime, only the essentials remain: a few Xbox games, two laptops—one for writing, the other for gaming—and a bookshelf filled mostly with science fiction: Isaac Asimov, Kurt Vonnegut, and Warren Ellis. “I read super-fast,” says Kluwe, who got a perfect score on the verbal portion of the SAT. “Usually a 300-page book will take me about

COURTESY OF ESERA TUOLO

MILAGROS M ILAGROS

Former NFL defensive tackle Esera Tuaolo says he didn’t feel safe coming out while active in the league.

two-and-a-half, three hours to go through. That helped me out a lot in school, because I didn’t go to class, and the night before the test I’d be like, ‘Oh, I’m going to read the textbook.’ ” Though Kluwe is now the spokesman for a liberal cause, he doesn’t consider himself a Democrat. He favors neither Obama nor Romney, and describes the presidential race as a contest to kiss the ass of the most billionaire donors, rather than the battle of ideas it purports to be. If Kluwe had to label himself, he’d say libertarian, but that doesn’t quite sum it up either. “My ideal world is one where we don’t need a government, because people treat each other the way they want to be treated,” Kluwe says. “But until we fix human nature, that’s probably not going to happen.” Kluwe says he doesn’t see the issue of same-sex marriage as political. His philosophy on the subject goes back to the Golden Rule, and he believes that an amendment that would constitutionally criminalize same-sex marriage amounts to institutionalized segregation. “You see all these arguments against gay marriage, and they all kind of logically boil down to ‘It makes me feel icky,’ ” says Kluwe. “That’s not a valid logical argument. Like, tell me that gay people getting married is going to cause someone to steal your garage-door opener, or it’s going to cause your dog to poop in your front yard. I can argue against that.” Kluwe isn’t the only NFL player to enter the public discourse on gay rights. In 1975, three years after retiring from the Green Bay Packers, University of Washington star David Kopay became the first NFL player to publicly come out of the closet. Though he believed he was a prime candidate for a coaching spot, Kopay was turned down by the NFL, instead spending his life after football as a salesman for a floor-covering business. Kopay later said he thought he’d been shunned by the league for his sexual orientation. Though the NFL wasn’t ready for him, Kopay was an early revolutionary in the fight for equality in professional sports. He went on to become a board member of the Gay and Lesbian Athletics Foundation and an ambassador of the Federation of Gay Games. In 1986, he revealed a relationship with Jerry Smith, a former Washington Redskins player who had died—still closeted—of AIDS that year, sending a message to other gay athletes that they weren’t alone. “That was groundbreaking,” says Jose Guillermo De Los Reyes-Heredia, professor of sexuality studies at the University of Houston, of Kopay’s coming out. “I think he did it because,

Evan Flory-Barnes photo by Daniel Sheehan

THIS WEEK’S CONCERTS: Wednesday, OctOber 24 - POncHO cOncert Hall, cOrnisH cOllege, 8Pm

Anat Cohen Ensemble Wed, Oct. 24 - benarOya Hall s. mark taPer FOundatiOn auditOrium, 8Pm

Jake Shimabukuro Wednesday, OctOber 24 - rOyal rOOm, 7:30Pm

Tony Malaby’s Tamarindo Shuffleboil tHursday, OctOber 25 - POncHO cOncert Hall, cOrnisH cOllege, 8Pm

Tony Malaby’s Tamarindo Tom Varner Quartet tHursday, OctOber 25 - kirkland PerFOrmance center, 7:30Pm

Philip Glass w/ Foday Musa Suso & Adam Rudolph Friday, OctOber 26 - POncHO cOncert Hall, cOrnisH cOllege, 8Pm

JD Allen Trio Friday, OctOber 26 - cHaPel PerFOrmance sPace, 7:30Pm

Jaap Blonk Friday & saturday, OctOber 26 & 27 - tula’s, 7:30Pm

Susan Pascal’s Soul Sauce Friday, OctOber 26 - kirkland PerFOrmance center, 7:30Pm

Rupa & The April Fishes saturday, OctOber 27 - tOWn Hall seattle, 8Pm

Staff Benda Bilili sunday, OctOber 28 - seattle art museum PlestcHeeFF auditOrium, 7:30Pm

Chris Lightcap’s Bigmouth Kate Olson/Naomi Siegel: Syrinx Effect mOnday, OctOber 29 - cHaPel PerFOrmance sPace, 7:30Pm

Sumi Tonooka tuesday, OctOber 30 - triPle dOOr, 7:30Pm

Christian Scott Band tuesday, OctOber 30 - rOyal rOOm, 7:30Pm

Bandalabra Wednesday, OctOber 31 - rOyal rOOm, 8Pm

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More than 50 events in venues all around Seattle Buy tickets at www.earshot.org & 206-547-6763

Seattle we ekly • O CTO BER 24− 30, 2012

at that moment, there were a lot of gay and Blue Jays should have said ‘Go home. Take lesbian movements going on in New York, the last two weeks off,’ ” says Pallone. “What Philadelphia, and San Francisco.” he did was beyond the scope of ridiculous Despite Kopay’s bravery, football remained and beyond the scope of hurtful.” an unwelcome environment for gay people. Even with the emergence of allies like The next retired player didn’t come out until Kluwe, the final test has yet to come, says 1992—17 years later. Being gay was still the Pallone. “There’s only one thing that will greatest taboo in football, and even the whiff of knock down that wall entirely, and that will a rumor could be career-ending, says Tuaolo. be for a male athlete in one of the major During his nine years with five NFL teams, sports to come out while he’s still playing.” Tuaolo had to completely dissociate himself from his sexuality. He regularly witnessed fistfights in the locker room over players calling O NE MONTH BEFORE THE ONE each other gay, and coaches sometimes joined amendment vote, Kluwe is getting ready to in the hazing. It was enough to make him wait tables at Manny’s Steakhouse in Mincontemplate suicide. “It was part of my life,” neapolis. It’s a Monday night, and Kluwe has he says. “That was my career. Everyone makes agreed to work at a celebrity charity dinner sacrifices in their life. For me, I had to sacrifice organized by Vikings linebacker Chad Greenpart of my humanity.” way. An hour before the event begins, Kluwe By the mid-’00s, the topic of homosexuality is in a hidden VIP room with black-velvet in major-league sports became impossible to curtains and a flat-screen TV, perusing his ignore. During a single week in 2007, retired Twitter feed on his phone. NBA player John Amaechi came out as gay, and “Just checking the jabber,” he says. former Miami Heat guard Tim Hardaway came In these final weeks before the election, out as homophobic, bluntly saying in a radio Kluwe will be a blunt instrument in the “Vote interview that he wouldn’t want Amaechi on No” campaign. Minnesotans for Equality has his team. “You know, I hate gay people, so I let transformed the highlights of his now-famous it be known,” Hardaway said. “I don’t like gay letter into T-shirts that read “I Am a Lustful people and I don’t like to be around gay people. Cockmonster” and “I Am a Unique Sparkle I am homophobic. I don’t like it. It shouldn’t be Pony.” Half the proceeds will go to the camin the world or in the United States.” paign, the other half to Kluwe’s charity. The Despite Hardaway’s comments and several group is also trying to arrange a debate between death threats, Amaechi later announced that he Kluwe and any willing opponent of marriage had “underestimated America” and had been equality. So far no one has volunteered. overwhelmingly welcomed with acceptance. For fans, hearing the controversial debate played “There’s only one thing that will out so publicly in a single week knock down that wall entirely, and was unprecedented, says Cyd that will be for a male athlete in Zeigler, co-founder of Outsports. one of the major sports to come com, a gay-friendly sports website. “Professional sports took out while he’s still playing.” a jump in our culture then,” Zeigler says. “They saw both sides in that one week . . . I think ever since that No matter what happens this November, moment, the progress of gay equality in sports Kluwe is confident the country is changing has sped up a lot.” for the better. “I think the saying is, ‘History Today it’s generally agreed that sports cultends to move more toward greater equality ture is more accepting of homosexuality, and over time,’ ” Kluwe says. “Younger generathe evidence is in the headlines. Last year, then- tions grow up and learn that, hey, having a gay Phoenix Suns president Rick Welts—formerly friend or knowing someone is gay, it’s not the the Sonics’ public-relations director—came out, end of the world. It’s not going to kill you.” and former Dallas Cowboys receiver Michael Kluwe has already witnessed an evolution Irvin appeared on the cover of Out, openin the locker room, he says. When he was a ing up in an interview about his gay brother. rookie in 2005, it was commonplace to throw Former Pittsburgh Pirates owner Kevin around words like “faggot” and “gay” as McClatchy also came out as gay this year, as insults. Now that’s no longer acceptable. And did retired Seahawk Wade Davis—the fourth when he does hear slurs, Kluwe actively calls NFL player to come out after retirement. And out the other player, to set an example for teams across the professional sports gamut the rookies. “Hopefully, when they become are releasing “It Gets Better” videos with anti- seven-year or eight-year vets, they can pass gay-bullying messages. that on to the next generation,” Kluwe says. “I think the last year has seen a tipping “It doesn’t matter what your sexuality is, as point for a variety of reasons,” says Woog. long as you can play on the football field.” “Everybody was sort of waiting for an athlete When the majority of athletes accustomed to come out in one of the major sports, and to such language retire, Kluwe is confident what happened instead was a lot of activity an NFL player will finally be able to come out on the straight-ally front.” while he’s still active. It will be hard, Kluwe But the major leagues are not yet rid of concedes, but the player will have plenty of homophobia. Most recently, Toronto Blue support from people like him. Jays shortstop Yunel Escobar was suspended Asked if sexuality will ever be a non-issue for writing what translates to “You are a fagin the NFL, Kluwe nods confidently. “Yup,” got” on his eye-black patches, then playing a he says, stone-faced. “About 60 years from game. That Escobar was suspended for only now, when all the old people are dead.” E three days is evidence that the league isn’t fully committed to eradicating the problem, Andy Mannix is an award-winning sports and argues Dave Pallone, a gay former majorinvestigative news reporter for our sister paper league umpire and author of Behind the Mask: City Pages in Minneapolis. My Double Life in Baseball. “The Toronto news@seattleweekly.com

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the»weekly»wire thurs/10/25 VISUAL ARTS

Weaving for Dollars

for trepidation.” When that first great glimpse of Williams’ heart debuted on Broadway in 1945, The Glass Menagerie set him on his way to becoming one of the giants of American theater. But it also started the unfortunate assumption that everything he

The theme for this year’s BAM Biennial is “High Fiber Diet,” meaning all manner of yarn, fabrics, upholstery, embroidery, and sewing. More than 20 artists from the greater Pacific Northwest are represented in the exhibit, which opens today. Museum visitors can vote for their favorite, and the winner will receive a $5,000 prize next February (there’s a second curator’s-choice award, too, for the same amount). Some works have been seen at BAM before, like Sherry Markovitz’s beaded red bear head. Others will be created onsite: Rock Hushka will next month begin working inside a recreation of his entire studio, and you can stop by and watch while he weaves to the music from his record collection. (Through Feb. 24.) Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. 11 a.m.–5 p.m. BRIAN MILLER

STEVE WIECKING

BOOKS

COURTESY OF THE ARTIST

DANCE

All for Show

THEATER

Heart Exam

Sometime around 1940, with a few failed works behind him, Tennessee Williams jotted down a goal in his journal. “My next play will be simple,” he wrote, “a picture of my own heart . . . It will be myself without concealment or evasion and with a fearless unashamed frontal assault upon life that will leave no room

wrote was somehow florid autobiography. Yes, Menagerie is, in his own words, “a memory play,” and its characters—a melancholic narrator looking back at a grasping Southern mother, his gentle sister, and the gentleman

Not So G’Day, Mate

With only 11 days before we choose our next (or same) president, Bill Press would like to explain some of the bad feelings about the incumbent. In The Obama Hate Machine (St. Martin’s Griffin, $15.99, new in paperback), the leftie radio host explores how birther/Muslim/socialist/“He’s not one of us” memeology took root in the American consciousness. Think of that rhetoric as advertising: ads sponsored by Karl Rove and various super PACs; ads funded by all that Citizens United cash; ads promulgated on FOX News, talk radio, and conservative websites. They didn’t just coalesce out of (hot) air at Tea Party rallies; they were focusgrouped, carefully phrased, and created on an industrial scale. “It’s led by the Koch brothers,” says Press. “It’s all part of an organized campaign to take [Obama] down.” And the key is that it’s well-organized. Republicans

DANCE

Slow Progress

Butoh started as a Japanese dance form responding to the devastation of World War II. It’s since turned its attention to the fundamental qualities of the natural world and the movement possibilities of the human animal. Virtuosity in butoh doesn’t come from strength or speed so much as a willingness to be open and to work beyond the edge of the conventional world. Artists at the Seattle Butoh Festival will arrive from Sweden (SU-EN) and Japan (Atsushi Takenouchi) as well as local stages (Daipan Butoh), but all are at home in the unknown. (Through Sat.) Velocity Dance Center, 1621 12th Ave., 723-2315, daipan butoh.com. $22–$25. 8 p.m. SANDRA KURTZ FILM

Downhill Racer

Part of the French Cinema Now series, which runs Wednesday through Sunday, Ursula Meier’s Sister is a Dardenne-lite drama about a 12-year-old boy’s efforts to support himself and his older sister by stealing gear at a Swiss ski resort. Hustling is a profession for Simon (Kacey Mottet Klein), a delinquent kleptomaniac entrepreneur who peddles hot skis, gloves, and masks to kids and adults alike with the wheeler-dealer confidence and caginess of an old pro. He toils for the love of sibling

» CONTINUED ON PAGE 18

FRI: FILM

Americans who laughed at Crocodile Dundee back in 1986 had no idea what the Australian Outback was really like. Ted Kotcheff’s 1971 Wake in Fright was recently rediscovered and restored, and it’s a sun-baked, brutal revelation. Hoping to join his girlfriend back in Sydney during Christmas break, a rural schoolteacher gets waylaid in a hellhole called Bundanyabba, which looks like the set for a Sergio Leone or Sam Peckinpah western. The townsmen do nothing but drink and gamble, and the women cower in fear (or behave like slags). The handsome teacher (Gary Bond) feels superior at first, with his clean suit and paperback Plato in his luggage, but he soon blows his money and finds himself on a drunken, frenzied kangaroo hunt. (Yes, those are real ’roos being shot.) Memories of his girlfriend and civilization itself fade into the shimmering heat waves. All that’s left in his new reality are sweat, dust, and shame. He’s reduced to his lowest instincts and desires— no different than the savages he once scorned. (Before their boozy wrestling match, the alcoholic local MD, played by Donald Pleasence, tells him, “Sex is like eating—just a thing you do because

Schoolteacher Bond headed into the outback.

DRAFTHOUSE FILMS

fri/10/26

Sherry Markovitz’s Coral Bear, at BAM.

Industrial Invective

are nothing if not efficient at such invective; they’ve been swiftboating since before there were Swift Boats. The result, says Press, is that Obama has endured “the most personal, negative, ugly attacks that any president has had to withstand since Abraham Lincoln.” And if he’s re-elected, don’t expect the attack machine to run out of gas. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 7 p.m. BRIAN MILLER

you have to, not because you want to.”) Like another notable film released in ’71, Peckinpah’s Straw Dogs, Wake in Fright peels back the lid of social propriety to reveal something rotten inside. SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net. $5–$10. Call for showtimes. BRIAN MILLER

Seattle we ekly • O CTO BER 24− 30, 2012

Within the grim history of the Holocaust, the story of the artists in the Terezín concentration camp still has the power to make us cringe. Used by the Nazis to deflect world attention from their death factories, Terezín was presented as a model artists’ colony, a false front for their miserable business. Choreographer Donald Byrd created The Theater of Needless Talents for Spectrum Dance Theater in 2008, in his signature high-tension style, to honor those Jewish artists, but also to connect their fate to contemporary human-rights abuses. This restaging reminds us that though the inmates of Terezín are long dead, the authoritarian impulses that created their prison still exist. (Through Sun.) Madrona Dance Center, 800 Lake Washington Blvd., 325-4161, spectrum dance.org. $20-$50. 8 p.m. SANDRA KURTZ

caller whose visit brings heartbreak to all— have biographical links. Yet Williams’ supreme gift was to transform reality through the poetry of his imagination. The play still glows with the heat of his wrecked nostalgia, and its fragile embers illuminate our own aching, troubled pasts. The lovely Seattle stage veteran Suzanne Bouchard, as matriarch Amanda Wingfield, leads the Rep cast under the guiding hand of director Braden Abraham. (Previews begin tonight. Opens Oct. 31. Ends Dec. 2.) Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $30–$70. 7:30 p.m.

The Weekly Wire » FROM PAGE 17

Direct from Australia! “A high-voltage tap sensation!”

-Time Out New York

Lucy

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Klein and Seydoux as unhappy French siblings in Sister.

Louise (Léa Seydoux), a hot mess whom others assume is a whore and who can’t hold a job or resist hooking up with her abusive boyfriend. Meier uses a stripped-down, naturalistic aesthetic full of well-organized compositions that pay close attention to shifts in character mood, comportment, and behavior. Her eerily silent soundscape adds to a mood of lost souls trying to maintain balance on a dangerous precipice. A midpoint revelation hits hard, even though it’s subtly telegraphed beforehand by a look of piercing desperation from Simon to a skiing mother (Gillian Anderson) and leads to a conclusion of tumultuous disarray (and tentative, qualified hope) that makes clear that resentment and anger only breed more of the same—and, worse still, solitude. (The film also begins a regular engagement next Friday.) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 3249996, siff.net. $5–$10. 6:30 p.m. NICK SCHAGER

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Seattle weekly • OCTOBER 24− 30, 2012

BOOKS

By William Shakespeare | Directed by John Langs

Low-Priced Preview Thursday, Nov. 1

Nov. 1–18, 2012 Performed at the Playhouse

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

Thomas Seeley: ‘Honeybee Democracy’ (10/24) w Thomas Frank: The Hard-Times Paradox (10/25) w Amy Goodman & Denis Moynihan: Stories of Uprisings, Occupations, Resistance, & Hope (10/26) + UW World Series: Kathy Mattea: ‘My Coal Journey’ (10/26) w Global Rhythms: Staff Benda Bilili (10/27) w Thalia Symphony Orchestra (10/28) w Mark Z. Danielewski / Seattle Radio Theatre: ‘The Fifty Year Sword’ (10/28) w Scratch Night: Crowdsourcing Fiction with Nassim Assefi & Scholar-In-Residence Lesley Hazleton (10/28) w Bishop Gene Robinson: Straight Talk about Gay Marriage (10/29) w George Church: How Synthetic Biology Will Reinvent Nature—and Us (10/29) w Timothy Egan: The Life & Photographs of Edward Curtis (10/30) w Kevin Dutton: You Might Be a Psychopath (10/30) w Leo Panitch & Sam Gindin: The Making of Global Capitalism (10/31)

townhallseattle.org

Brother Against Brother

When we sat down to discuss his new Edward S. Curtis biography, Short Nights of the Shadow Catcher (Houghton Mifflin, $28), Timothy Egan gave me a good rule to help distinguish Edward’s photographs from those of his brother Asahel, since they’re so often confused. If the subject is Indians, it’s Edward; if it’s the growth and development of early Seattle, Asahel. (Both took many mountain photos, so it’s best not to guess about those.) The two brothers originally worked together, but had a bitter falling-out that Egan recounts in his book. Asahel, sent to the Klondike to take photos of the Gold Rush, accused Edward of claiming those images as his own. They never spoke again. Asahel remained in Seattle, running his own studio until his 1941 death. Edward became a martyr to his magnum opus, the 20-volume The North American Indian, which took him far from Seattle, ruined his marriage, and left him in Californian poverty for the final decades of his long life (1868–1952). Egan gives us a new appreciation for that life and The North American Indian, an important work of anthropology beyond its haunting photos. Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. (Also: Eagle Harbor Books, 7:30 p.m. Thurs., Nov. 1.) BRIAN MILLER

arts»Stage »REVIEW

So Many Monkeys, So Little Time

Special GueSt Star

BeBe WinanS Dec 21-23 only!

ACT’s Hindu epic is overstuffed but entertaining. BY MARGARET FRIEDMAN

Written by Langston Hughes

CHRIS BENNION

Directed by Jacqueline Moscou

Choreography by Jamel Gaines Musical Direction - Pastor Patrinell Wright

Gotta dance! Rama and Sita’s wedding is celebrated.

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

(Brandon O’Neill) and Sugreeva (Todd Jefferson Moore), and battling jealous gods and animals on Matthew Smucker’s lean sets. It’s a challenge figuring out who’s who before they turn into someone or something else, so keep tabs on the ears, tails, and headdresses designed by Melanie Burgess. The most intriguing moments occur when the production jumps with both feet into the spiritual. Seeking to lure Rama from Sita, Ravana deploys a magical deer (Belle Wolf ) to beguile the couple. Accompanied by Brendan Patrick Hogan’s spirit-pricking music, the deer dances choreography by Maureen Whiting that wordlessly alerts us to what’s at stake in the battle for dharma. Later, her dance through the battlefield feels like a breeze of truth, blowing away the lies mortals tell themselves. I wish there were more of these universal epiphanies amid the scads of plot. Protracted politicking between rival monkey brothers Vali and Sugreeva is tiring because we don’t know them and don’t care. I didn’t even realize the reason some actors wore black balaclavas was because they’d turned into bears. As for the play’s unambiguously happy ending, Rama and Sita’s triumphant return to their kingdom, maybe it’s meant as a reward for having sat through three hours of the play (with two intermissions, granted). This Ramayana gives us big, smiley dance scenes, meticulously choreographed and joyously aerobicized by the unusually buff cast. There are glimpses of divinity here, but also echoes of a Vegas floor show. E stage@seattleweekly.com RAMAYANA ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$55. Runs Tues.–Sun. Ends Nov. 11.

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Seattle we ekly • O CTO BER 24− 30, 2012

omplicated, populous, and whimsical, the Ramayana is one of the two epic literary cornerstones of Hinduism, often compared to the Odyssey and Iliad. ACT’s new attempt to dramatize it for mostly unfamiliar viewers may be variously viewed as exploitative, brave, experimental, condescending, inclusive, reductive, vibrant, or horrifying. The adjectives you choose may depend on your prior knowledge, possibly none, of the fifth-century-B.C. source material. In brief, this adaptation follows demigod Rama and his beloved Sita on their spiritual journey toward dharma (one’s purpose or duty), which can get pretty confusing with battles, betrayals, monkey and bear armies, and shape-shifting. Presented in English by a predominately Anglo cast, the play’s many vignettes can seem cartoonish. Imagine a well-meaning troupe of Indian actors taking on a quintessential American foundation story like the Revolutionary War, and you see the potential for unintended cultural affront. In the opening moments, a fragile young boy (Akhi Vadari) sings a mystical song which, though haunting, elicits a vaudevillian shrug from an old sage, Viswamithra (John Farrage). It’s as if the show’s creators were saying, “So much for the ineffable beauty of art—what’s the real story?” Directors Kurt Beattie and Sheila Daniels and playwrights Stephanie Timm and Yussef El Guindi favor a quotidian mood over a sacred one through most of the narrated tale. “Is this thing working?”, Rama’s father Dasaratha (Jim Gall) asks, shaking a mirror in which he doesn’t like the image of himself, after getting sex advice on how to produce heirs. Yet by seeking neither to offend nor seem too spiritual, the play spends most of its time in a tedious mid-gear of “This happened, then that happened.” Rama (stony Rafael Untalan) meets and wins Sita (Khanh Doan), but then accepts banishment when his father’s youngest wife Kaikeyi (Cheyenne Casebier, wonderfully intense in several roles) demands the throne for her son Bharata (Ray Tagavilla). Off our lovers go, with Rama’s other brother Lakshmana (Tim Gouran), on a journey of dodging temptations (such as Anne Allgood’s hilariously lusty goddess Soorpanaka), getting kidnapped by Soorpanaka’s brother Ravana (Farrage), allying with monkeys Hanuman

Seattle weekly • OCTOBER 24− 30, 2012

arts»Performance BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

THE ADDAMS FAMILY America’s favorite cartoon clan

in a new musical. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $35 and up. Previews Oct. 24–25, opens Oct. 25. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.– Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Nov. 11. THE BLUE HOUR Short plays by David Mamet. Cornish College, 1000 Lenora St., cornish.edu. Free. 8 p.m. Thurs., Oct. 25–Sat., Oct. 27, 2 p.m. Sat., Oct. 27–Sun., Oct. 28. FEFU AND HER FRIENDS Maria Irene Fornes’ Obiewinner about the early days of feminism. Cornish College, Ninth Avenue Studios, 427 Ninth Ave. N., cornish.edu. $5–$10. 8 p.m. Wed., Oct. 24–Sat., Oct. 27, 7 p.m. Sun., Oct. 28, 8 p.m. Mon., Oct. 29. THE GLASS MENAGERIE SEE THE WIRE, PAGE 17. THE GREGORY AWARDS Our local Tonys, presented by Theatre Puget Sound. ACT Theatre, 700 Union St., gregoryawards.org. 7:30 p.m. Mon., Oct. 29. HELLO, DOLLY! A benefit for Operation Bootstrap Africa. Microsoft Theater, 3750 163rd Ave. N.E., Building 31, Redmond. $15. Opens Oct. 25. Runs Thurs.–Sat.; see mstheater.org for exact schedule. Ends Nov. 17. JOHN RODERICK & FRIENDS SEE SHORT LIST, P. 39. LESSONS AND REFLECTIONS Observational humor from troupe The Temporary People. $15. Erickson Theatre Off Broadway, 1524 Harvard Ave., thetemporary people.com. 8 p.m. Tues., Oct. 30 & Mon., Nov. 5. A MIDSUMMER NIGHT’S DREAM Rogue Theatrics gives Shakespeare a creepy edge. TPS Theatre 4, Seattle

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

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Center, Center House, 4th flr., roguetheatrics.com. $15–$20. Opens Oct. 26. 8 p.m. Wed.–Sat. Ends Nov. 3. A NIGHTMARE ON ELM STREET Another in Ian Bell’s “Brown Derby Series,” staging and gender-bending cult films. Re-bar, 1114 Howell St., brownderbyseries.org. $18. 8 p.m. Thurs., Oct. 25–Sat., Oct. 27. ODIN’S HORSE “Behind every sheet of paper, and within every tree, there is a story...” Ethnic Cultural Center/ Theatre, 3931 Brooklyn Ave. N.E., mirrorstage.org. $11– $25. Preview 7:30 p.m. Wed., Oct. 24, opens Oct. 25. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 11. THE PHANTOM TOLLBOOTH A stage adaptation of Norman Juster’s fantasy. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Free. 7 p.m. Fri., Oct. 26, 2 & 7 p.m. Sat., Oct. 27, 2 p.m. Sun., Oct. 28. RABBIT HOLE David Lindsay-Abaire’s Pulitzer-winner. Freehold Theatre, 2222 Second Ave. Suite 200, 800-8383006. Pay what you can. Opens Oct. 26. Runs Fri.–Sat., plus Thurs., Nov. 8; see theatreverity.weebly.com for exact schedule. Ends Nov. 10. SCAPIN Moliere updated to the era of punk. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals.org. $12–$15. Opens Oct. 26. 7:30 p.m. Thurs.–Sat., plus 7:30 p.m. Mon., Nov. 5 and 2 p.m. Sun., Nov. 11. Ends Nov. 11. SEATTLE RADIO THEATRE Mark Z. Danielewski directs a live adaptation of hisThe 50-Year Sword, with Christopher O’Riley on piano. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 6:30 p.m. Sun., Oct. 28. THIS IS HALLOWEEN A burlesque cabaret inspired by The Nightmare Before Christmas. (7 p.m. shows all-ages, 10 p.m. 21 and over.) The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $20–$35. 7 & 10 p.m. Fri., Oct. 26, Sat., Oct. 27, & Wed., oct. 31; 7 p.m. Sun., Oct. 28. TRIPLE TREAT Unexpected Productions’ Halloween improv show. Market Theater, 1428 Post Alley, unexpected productions.org. $15. 8:30 p.m. Wed., Oct. 31. TUXEDO MAN Zack Hoffman channels nightclub singer “Nick Sands” in this solo show. Seattle Creative Arts Center, 2601 N.W. Market St., zackhoffman.com.$15. 8 p.m. Fri., Oct. 26–Sat., Oct. 27.

EarSupply

» by gavin borchert

The Green-Eyed Monster

Fleming plays the doomed Desdemona.

opera—when what’s happening on the surface is belied by what the music is telling us. For an example, hear the duet that closes Act 2: Iago’s planted evidence to make it appear that Desdemona is adulterous, which drives Otello to swear revenge. Iago—though it’s all his doing— joins in and pledges his support (the louse!), while the orchestra in the pit reveals the truth, with horns thrusting on the offbeats that sneer, snarl, and almost seem to laugh darkly at the way he’s manipulating everyone. Brrr. The Met’s cast includes super-diva Renée Fleming. Pacific Place, 600 Pine St., and other area theaters; see metopera.org for participating theaters and ticket prices. 10 a.m. Sat., Oct. 27.

Seattle we ekly • O CTO BER 24− 30, 2012

©DECCA/ANDREW ECCLES

One admirable thing Seattle Opera does to nurture and educate its audience is cast a remarkably wide net over the standard repertory. Operabase.com keeps statistics on the most frequently performed works, and of the top 50, I’ve seen 41 at Seattle Opera in my 18 years in town. The omission I regret most is Verdi’s Otello, not done here since ’87. In his last-but-one opera and his greatest tragedy, Verdi hit his peak both in writing gripping music and in constructing a swift (just over two hours) and taut show. Why hasn’t SO offered it lately? One reason, I’m guessing, is the killer title role, which few tenors can handle (then again, they seem to find Siegfrieds when they need them). Luckily, it’s one of the Metropolitan Opera’s HD broadcast offerings, airing Saturday, which will tide us over. Arrigo Boito, Verdi’s librettist, boiled down Shakespeare’s tale of jealousy to its intense essence (as George Bernard Shaw quipped, Shakespeare wrote it in the style of Italian opera to begin with). He provided Verdi with moments both of straightforward dramatic expression (Otello’s Act 1 triumphal entrance after having defeated the Turks; his love duet with his wife Desdemona, which is sex in sound) and wrenching irony—which no art form can drive home like

arts»Performance CURRENT RUNS

BENEATH A WING DARKENED SKY The new dessert-

FA L L H O T T IC K E T S October 26

SONIC EVOLUTION Ludovic Morlot, conductor Star Anna and the Laughing Dogs Alan White, percussion Celebrate Seattle’s musical legacy of innovation with brand-new symphonic compositions inspired by Alice in Chains, Blue Scholars and Yes. Sponsored by

October 27 Star Anna

“A LITTLE NIGHT MUSIC” FOR HALLOWEEN T H E G ILMA N FA MILY D IS COV ER MU S IC S ERIES

Explore classical inside jokes and musical surprises with Maestro Ludo through Mozart’s “A Little Night Music” and Haydn’s “Drumroll” Symphony. Costumes encouraged! Concert is 50 minutes in length. Media Sponsors:

November 1–3

NEEME JÄRVI CONDUCTS TCHAIKOVSKY’S VIOLIN CONCERTO W YC KO F F M A S T E R W O R K S S E A S O N

Seattle weekly • OCTOBER 24− 30, 2012

Arabella St einbache

Neeme Järvi, conductor Arabella Steinbacher, violin

Acclaimed conductor Neeme Järvi leads an all-Russian program, featuring one of the crown jewels of the violin repertoire. Thursday sponsored by Saturday sponsored by

November 8–11

BEETHOVEN’S “EMPEROR” CONCERTO W YC KO F F M A S T E R W O R K S S E A S O N

John Adams, conductor Jonathan Biss, piano

John Adams

Composer John Adams conducts his thrilling Harmonielehre and Beethoven’s epic “Emperor” Concerto.

Most ticket s start at $19! 206.215.4747 | SEATTLESYMPHONY.ORG

cabaret show from aerial-theater troupe The Cabiri. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, cabiri.org. $37–$100. 7:30 p.m. Thurs.–Sun. Ends Oct. 28. BROKEN DOG LEGS/TIGERS BE STILL New work by Emily Conbere and Kim Rosenstock, on alternating dates. See catapulttheatre.com for exact schedule. Intiman Rehearsal Studio, Seattle Center. Free. 7 p.m. Wed., Oct. 24–Sat., Oct. 27, 5 & 7 p.m. Sun., Oct. 28. CAFÉ NORDO Somethin’ Burning, “a murder mystery in four courses,” is this troupe’s new cocktail-theater show. Theater Off Jackson, 409 Seventh Ave. S., 800-8383006, cafenordo.com. $60 Thurs. & Sun., $70 Fri.–Sat. 7:30 p.m. Thurs. & Sun., 8 p.m. T H I S CO D E Fri.–Sat. Ends Nov. 18. TO DOWNLOAD THE FREE THE CAT IN THE HAT Dr. SEATTLE WEEKLY Seuss’ dangerous anarchist IPHONE/ANDROID APP tract. Seattle Children’s FOR MORE EVENTS OR VISIT Theatre, Seattle Center, 441seattleweekly.com 3322. $20–$36. See sct.org for exact schedule. Ends Oct. 28. THE FAIRYTALE LIVES OF RUSSIAN GIRLS Meg Miroshnik’s enchanting little tchotchke melds magic and mayhem in post-Soviet Russia, as Annie, a Russian ingenue raised in L.A., returns to her birthplace. KEVIN PHINNEY washingtonensemble.org. The Little Theatre, 608 19th Ave. E., 325-5105, washingtonensemble.org. $15–$25. 7:30 p.m. Thurs.–Mon. Ends Oct. 27. GAUDY NIGHT Based on Dorothy L. Sayers’ 1935 detective novel, this campus mystery tale feels over-quaint and under-relevant. Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $15–$37. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 27.

SCAN

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HOTEL ON THE CORNER OF BITTER AND SWEET

Jamie Ford’s novel of puppy love in the ID just before WWII. Generations removed, Hotel’s story still touches some local families directly. MARGARET FRIEDMAN Center House Theatre, Seattle Center, 216-0833. $25–$45. See book-it.org for exact schedule. Ends Oct. 28. LARAMIE, EQUAL RIGHTS Wyoming’s history as a pioneer of women’s suffrage. Presented by the Eclectic Theater Company. Odd Duck Studio, 1214 10th Ave., 800838-3006, eclectictheatercompany.org. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 28. NEVERMORE This Poe-inspired show promises “drugs, sex, nudity, violence, loud noises, small spaces, and”— scariest of all—”experimental music.” Blood Ensemble, 226 Summit Ave. E., bloodensemble.blogspot.com. $10. 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat. Ends Oct. 27. PULLMAN PORTER BLUES Seattle playwright Cheryl L. West sets three generations of porters on the Panama Limited from Chicago to New Orleans in 1937, and uses a live band to back its cast in a baker’s-dozen spirituals, blues numbers, and work songs. KEVIN PHINNEY Seattle Repertory Theatre, Seattle Center, 443-2222. $15–$80. Evening and matinee performances Wed.–Sun.; see seattlerep.org for exact schedule. Ends Oct. 28. RAMAYANA SEE REVIEW, PAGE 19. THE SKRIKER Mary Ewald heads the fine cast of Caryl Churchill’s dreamlike horror story, directed by Janice Findley, about pregnant teens and the withered demoness (Ewald) who stalks them. As in Beckett, the emphasis here is on the slipperiness of language, its excesses and inadequacies, the psychodramatic images that fill the spaces between words. However, despite Ewald’s virtuosity, the epic opening monologue—rich with repetitions, ellipses, and Freudian slips—will test all but hardcore linguists’ patience. It’s a relief when the story gets underway, ethereal though it may be. The girls, played with heartbreaking sincerity by Jessica Martin and Mariel Neto, survive time warps, kidnappings, and seductions by Ewald’s chimeric Skriker. Choreographed by Pat Graney, interpretive dance helps enliven peripheral figures from the unconscious; thus we meet mystical animals, an eerie bride and groom, and a tanguera-harpy and scarecrow. Staging Churchill’s seldom-mounted 1994 play, which requires original music (here provided by Paul Hansen), choreography, and costume design (Eve Cohen) for each production, is a labor of love. This version is both taxing and rewarding, not unlike pregnancy. MARGARET FRIEDMAN Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, brownpapertickets.com. $20 and up. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 11. TEATRO ZINZANNI Their new show, “Return to Paradise,” time-travels to Seattle’s World’s Fair past. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. See dreams.zinzanni.org for schedule. Ends Jan. 27.

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WICKED A reimagining of The Wizard of Oz from the

viewpoint of the Wicked Witch of the West (redubbed Elphaba, and here strongly played by Dee Roscioli). The joy of this production is Patti Murin as preppy princess Glinda. She’s a first-rate physical comedienne—the kind you usually find stealing a show in character roles. GAVIN BORCHERT The Paramount, 911 Pine St., 877-STG-4TIX. $35–$160. Runs Tues.–Sun.; see stg presents.org for exact schedule. Ends Nov. 17. For many more Current Runs, see seattleweekly.com.

Dance

SEATTLE BUTOH FESTIVAL SEE THE WIRE, PAGE 17. •CARMONA FLAMENCO Traditional music and dance.

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Cafe Solstice, 4116 University Way N.E., 932-4067. $15–$20. 8 & 9:30 p.m. Sat., Oct. 27. THE TEMPEST REPLICA Canadian choreographer Crystal Pite excels at physical extremes. Her Kidd Pivot dancers hover and fly, swooping to the floor and flipping back into the air, but the worlds they inhabit and the stories they tell are lush and terrifying. In The Tempest Replica, she starts as Shakespeare did, with a shipwreck; and she uses that violence and disruption as themes to explore the playwright’s enchanted island. The chaos of Shakespeare’s ocean storm should be a perfect fit for Pite’s powerful skills as a dancemaker. SANDRA KURTZ On the Boards, 100 W. Roy St., 217-9886, on theboards.org. $20. 8 p.m. Wed., Oct. 24–Thurs., Oct. 25. THE THEATER OF NEEDLESS TALENTS SEE THE WIRE, PAGE 17.

Classical, Etc.

FIDELIO Seattle Opera modernizes, but does not intensify,

Beethoven’s only opera, in which love and justice triumph over tyranny. Asher Fisch conducts. McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25–$205. 7:30 p.m. Wed., Oct. 24 & Sat., Oct. 27. PHILIP GLASS The composer is joined by Foday Musa Suso and Adam Rudolph. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $65–$150. 7:30 p.m. Thurs., Oct. 25. UW SYMPHONY Russian music, including Gubaidulina’s the rider on the white horse. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Thurs., Oct. 25. SEATTLE SYMPHONY Ludovic Morlot conducts Haydn and Mozart, with violinist Gil Shaham. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$76. 7:30 p.m. Thurs., Oct. 25, 8 p.m. Fri., Oct. 26. BRIAN CHIN This new-music-friendly trumpeter plays new works for himself and string quartet. The Tasting Room, 1924 Post Alley. $15–$25. 7 p.m. Fri., Oct. 26. NORTHWEST SYMPHONY Stirring music by Tchaikovsky, Berlioz, Matteo Messina, and others. Highline Performing Arts Center, 401 S. 152nd St., Des Moines, 628-0888, northwestsymphonyorchestra.org. $12–$15. 7:30 p.m. Fri., Oct. 26.

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SEATTLE MEN’S AND WOMEN’S CHORUSES

Combining for a performance to benefit Referendum 74. Center for Spiritual Living, 5801 Sand Point Way N.E., flyinghouse.org. Free. 8 p.m. Fri., Oct. 26. SEATTLE SYMPHONY Star Anna and the Laughing Dogs join the orchestra to play brand-new rock-based music. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$51. 8 p.m. Fri., Oct. 26. MET AT THE MOVIES SEE EAR SUPPLY, PAGE 21. HALLOWEEN ORGAN CONCERT An annual tradition for students of Carole Terry: Bach’s Toccata and Fugue in D Minor and more. Kane Hall, UW campus, 685-8384, music.washington.edu. $15. 7:30 p.m. Sat., Oct. 27. TUDOR CHOIR Tallis’ vast and spacy Spem in alium for 40 voices and other music from the Tudor era. Blessed Sacrament Church, 5041 Ninth Ave. N.E., 323-9415, tudor choir.org. $20–$30. 7:30 p.m. Sat., Oct. 27. BUGALLO-WILLIAMS PIANO DUO On his 100th birthday, music for two pianos by iconoclastic composer Conlon Nancarrow. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., Oct. 27.

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SEATTLE METROPOLITAN CHAMBER ORCHESTRA

Kim Roy conducts Tchaikovsky, Vaughan-Williams, and more. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006. $10–$15. 8 p.m. Sat., Oct. 27. ENSEMBLE ELECTRA German and Italian baroque music from this trio. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts.org. $15–$30. 7:30 p.m. Sat., Oct. 27, 3 p.m. Sun., Oct. 28. THALIA SYMPHONY Dvorak, Mozart, and Danish composer Niels Gade. Town Hall, 1119 Eighth Ave., thalia symphony.org. $13–$18. 2 p.m. Sun., Oct. 28. SEATTLE PHILHARMONIC Popular stage music by Verdi and Bizet. Meany Hall, UW campus, seattlephil.org. $10–$18. 3 p.m. Sun., Oct. 28.

arts»Visual Arts »REVIEW

The Forest for the Shes SAM’s all-women show makes it hard for any one artist to stand out. BY BRIAN MILLER

CENTRE GEORGES POMPIDOU

TONIGHT!

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.

NOVEMBER 1, 2 & 4

TICKETS: $33

FLAMENCO

FEATURING KAREN LUGO Illsley Ball Nordstrom Recital Hall

Join Fundación Conservatorio Flamenco Casa Patas for some fiery footwork and live flamenco music presented in collaboration with Seattle’s Honorary Consulate of Spain.

NOVEMBER 14

TICKETS FROM: $38

JIM BRICKMAN

S. Mark Taper Foundation Auditorium

Brickman’s romantic piano sound has made him the best-selling solo piano ar tist of our time. Don’ t miss this one-night concert event.

JANUARY 11 & 12

TICKETS: $39

LOUDON WAINWRIGHT III & DAR WILLIAMS Illsley Ball Nordstrom Recital Hall

Singer-songwriters Loudon Wainwright III and Dar Williams take the stage for a two-night-only concert event.

FOR TICKETS:

206.215.4747

BENAROYAHALL.ORG

Seattle we ekly • O CTO BER 24− 30, 2012

ho’s trying harder to appeal Things improve further with the arrival of (or pander?) to women— the dreaded F-word, feminism. The Henry Obama, Romney, or SAM? hosted an important Carolee Schneemann Women are crucial at the retrospective last fall, and her carnivalesque ballot box this year, but at SAM and the rest of Meat Joy video is just as weirdly, wonderfully the world’s museums, they’ve always been an pagan/transgressive as before. Following her underrepresented group. The worthwhile big are Cindy Sherman (whose current big MoMA survey show Elles: Women Artists From the show will eventually travel here, we hope), Jenny Holzer, the Guerrilla Girls, Barbara Centre Pompidou, Paris, augmented by SAM’s own collection and a few loans, covers a recent Kruger, and others who directly address gender politics—how women are depicted not only century of art. The notion that before 1909 outside the museum, but inside the art world, women painted, sketched, did needlework, or too (see Andrea Fraser’s deadpan parody video maybe even carved idols in Paleolithic times of a museum docent’s lecture). is beyond the exhibit’s parameters. What about embroidery, fashion, or other aspects Still, the lurking danger here is tokenism, an of “the domestic arts” to which women were objection I made to Tacoma Art Museum’s allhistorically confined? Well, 1909 is where gay “Hide/Seek” show this spring. (Germaine the Pompidou begins (it’s a modern-art Greer likewise called the Pompidou’s original collection), and so that is 2009 Elles show a where Elles must begin. “sampler,” and argued The circulation patagainst a separate, reductern and individual tive category of women’s galleries are essentially art.) Again, you want to historical as you wander see more from each indithrough some 130 pieces vidual artist: more than by 75 women (not all of one Kahlo, more than two them French, of course). Shermans, etc. You start with the conBut it gets boring to temporaries of Picasso— make the same argument, figures like Sonia so I was delighted to find Delaunay and Suzanne an entire gallery devoted Valadon, who first broke to 83-year-old Yayoi into Paris salons and Kusama (her first appeargalleries. From there, ance at SAM). I’d read perhaps unavoidably, a lot about the woman, it’s like leafing through but was unprepared for Domestic surrealism: Dorothea an art-history text. Here the fecund power of Tanning’s 1954 Portrait of a Family. comes Surrealism, the her swirling, spotted, Bauhaus movement, obsessive patterns, the Dada, the Constructivists, a bit of realist intense dots and clusters of color, the yellow photography from the WPA era, the Abstract seeds scattered across the orange firmament Expressionism of the postwar years, then of I Want to Live Forever. Yellow tentacles finally the women’s lib of the ’60s and beyond. erupt from the floor, fibrous tumors grow on My bias is always toward the modern, and mundane objects, a lifeboat is made of silvereverything at Elles seems more interesting as painted work gloves. (Some of her spirit-ofyou move from “in the style of” to “in our own the-’60s videos are also screened in a separate style and voice.” There is a growing autonomy gallery.) Hers is germinal art—spores, spots, of imagination and subject. It’s not until you get and sprouts—as if spilled from a Petri dish and to early-modern painters like Frida Kahlo and left to grow in a laboratory clean room. Georgia O’Keeffe that the path begins to veer And here’s a local root: After correspondfrom prior male footprints. (Note: I’m treating ing with Kenneth Callahan, Kusama moved the Pompidou and SAM sections, presented from Japan to Seattle for a year in 1957. on different floors, as one.) With Kahlo, repreBefore her famous decade in Manhattan, she sented by only one small self-portrait, there’s had her first solo show at our pioneering Zoë the declaration that her life and biography are Dusanne Gallery (later razed to make way for inherently worthy of artistic treatment. With I-5). For me, 55 years later, she’s first among O’Keeffe’s skulls and flowers, flanked by the Elles, finally earning a room of her own. E photos of UW-trained Imogen Cunningham, bmiller@seattleweekly.com interiority and the organic become essential topics. Their art seems fundamentally different ELLES: WOMEN ARTISTS FROM THE from that of their male contemporaries in the CENTRE POMPIDOU way that, say, Helen Frankenthaler’s does not. Seattle Art Museum, 1300 First Ave., Much as I love Margaret Bourke-White, she’s 654-3100, seattleartmuseum.org. $11–$17. just another photojournalist competing with 10 a.m.–9 p.m. Thurs.–Fri., 10 a.m.–5 p.m. the guys in to get published in LIFE. Wed., Sat., & Sun. Ends Jan. 13.

arts»Visual Arts Openings & Events • BAM BIENNIAL 2012: HIGH FIBER DIET SEE THE WIRE, PAGE 17.

DIA DE LOS MUERTOS FESTIVAL TAM is partnering

with Centro Latino and Proyecto MoLE to present a Day of the Dead celebration that includes traditional art, live music performances, food, and hands-on artmaking activities. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. Thurs., Oct. 25, 5:30 p.m. HAITI AFTERSHOTS Several photographers show images of that country following its devastating 2010 earthquake. Artist reception: 1 p.m. Sun., Oct. 28. C Art Gallery, 855 Hiawatha Place S., 322-9374, cartgallery.net. Sun., 1–5 p.m., Wed., 10 a.m.–2 p.m. Through Nov. 11. HENRY OPEN HOUSE Come see the new fall shows, including “Now Here Is Also Nowhere,” sculptor Jeffry Mitchell, and Pipilotti Rist. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $10–$15. Fri., Oct. 26, 7–10 p.m. HOMAGE TO ELLES Gala Bent, Julie Blackmon, Nealy Blau, Diem Chau, Laurie Danial, and others contribute to this rotating selection of works. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. Opens Oct. 25. Wed.–Sat., 11 a.m.– 5 p.m. Through Dec. 22. LIKE A ROLLING STONE Twenty artists will create more than 100 works during the 24-hour period before COCA’s annual fundraiser banquet/auction on Saturday ($40–$50, tables start at $240). Seattle Design Center, 5701 Sixth Ave. S., cocaseattle.org. Fri., Oct. 26, 5 p.m.; Sat., Oct. 27, 7–10 p.m. MAKING PLACE Susan Gans, David Traylor, Clint Ceder, and Yun Hong Chang collaboratively explore ideas that refer to landscape and place. Opening reception: 5 p.m.

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

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Thurs., Oct. 25. Call for ongoing hours. Mithun Threshold Gallery, 1201 Alaskan Way, Seattle, Opens Oct. 25. Mon.–Fri. Through Dec. 4. MONSTER APOCALYPSE Joe Nix, Crystal Barbre, and others show festively frightening pieces with a Halloween theme. The Piranha Shop, 1022 First Ave. S. $3. Fri., Oct. 26, 7 p.m.–midnight. PROOF THAT IT REALLY EXISTED Kyle Johnson, Lauren Max, Robin Stein, and Jim Newberry show their photos in this Seattle Storefronts space. Opening reception: 7 p.m. Thurs., Oct. 25. International House of Paintings, 666 S. Jackson St., storefrontsseattle.word press.com. Opens Oct. 25. Wed.–Sat. Through Nov. 8. REDUX Kirkland Arts Center celebtrates its 50th anniversary with a Deco-themed gala. Art, wine, and more will be auctioned. Retro attire encouraged. RSVP: kirkland artscenter.org. Meydenbauer Center, 11100 N.E. Sixth St., Bellevue. $150–$250. Sat., Oct. 27, 5 p.m. SUSAN ROBB She will create sculptures with local, national, and international artists, using Skype video calls in this interactive work. The first session, leading up to the opening reception (5 p.m. Wed., Oct. 24) involves conversations with Chauney Peck, Whiting Tennis, and Reed Anderson. Similar sessions of artmaking can be viewed on Nov. 3 and 10 and Dec. 1 and 15. Cornish Alumni Gallery, 1000 Lenora St., 726-5011, cornish.edu. Mon.–Fri., noon–5 p.m., Sat., noon–4 p.m. Through Dec. 15. SAMUEL WILDMAN He shows two new bodies of mixedmedia work including the title piece, Everyman, a handmodeled skull approximately six times human size, made out of foundry wax. Opening reception: 6 p.m. Wed., Oct. 24. Pratt Gallery at Tashiro Kaplan Studios, 312 S. Washington St., Ste. 1A, 328-2200, pratt.org. Wed.–Sat., noon–5 p.m. Through Oct. 28. WOMEN TAKE OVER In conjunction with SAM’s big Elles exhibit, this satellite show presents a survey of Northwest women artists including Deborah Ball, Molly Landreth, and Yuki Nakamura. Opening reception: 5 p.m. Thurs., Oct. 25. SAM Gallery, 1220 Third Ave., 343-1101, seattleartmuseum.org. $12–$23. Opens Oct. 25. Thurs., Fri., 10 a.m.–9 p.m.; Tues., Wed., Sat., Sun., 10 a.m.– 5 p.m. Through Dec. 1.

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TheFussyeye » by brian miller

Small Worlds

There’s a rigorous, not to say slavish, formalism to the work of Michael Kenna, an English-born photographer now living in Seattle. Every image in Memories and Meditations is printed in the same small, square size. All are black-and-white, and most are self-conscious “travel” photos of

MICHAEL KENNA

BY MA’CHELL DUMA LAVASSAR

places far from home. So we see Easter Island moai, the pyramids, Stonehenge, China’s famous Huangshan Mountains, Russia’s Hermitage, etc. Then there are the snowy landscape studies—exercises in composition, quite elegant, also requiring a passport stamp. (Kenna must have had extra pages added to his.) In a career extending back to the ’70s, Kenna adheres to traditional rules and formats, shooting on film through a Hasselblad, printing his own stuff. He’s a model of refinement and consistency, which oddly works against him when these 96 shots are presented en masse. (Kenna will rotate in another 96 in January.) One is overwhelmed by the sameness, the lack of people or context, the reduction of so many varied sights and locations by Kenna’s formidable technique. Absent is the surprise of travel, any sense of accidental discovery—not the same thing as a mistake. “I want people to be quiet, to calm down,” said Kenna during a preview talk, and his work has a strongly contemplative, Zen vibe to it. One image is calming to study. One hundred has you looking for the exit. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $8–$10. 10 a.m.–8 p.m. Thurs., 10 a.m.–5 p.m. Wed. & Fri.–Sun. Ends March 24.

TickeTs available aT www.cinerama.com

OPENS THIS FRIDAY, 10/26

MAMA TITS

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Seattle weekly • OCTOBER 24− 30, 2012

SPECIAL HALLOWEEN EDITION! SUN 10/28!

314 Broadway Ave E IN THE HEART OF CAPITOL HILL

“a beautiful film… it’s one of the best surprises that i’ve had in a theatre this year.” dan schindel, Screen Picks

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Two families divided by fate United by understanding

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film»This Week’s Attractions

Wysocki as reluctant punk rocker in Fat Kid Rules the World.

WHIPPANY PARK PRODS./WHITEWATER FILMS OPENS FRI., OCT. 26 AT SIFF CINEMA UPTOWN. RATED R. 98 MINUTES.

The trailer for this gargantuan adaptation of David Mitchell’s 2004 novel, directed by two Wachowski siblings and Tom Tykwer, looks less like a preview than a whole slate of coming attractions, so many and varied are the times and places in which it touches down. The success of Inception makes this sort of busy, “difficult” blockbuster suddenly viable. More than anything in the contemporary multiplex, however, Cloud Atlas resembles D.W. Griffith’s 1916 Intolerance, with its four parallel narratives. What does it say about studio moneymen when the innovations of a century ago still look risky? Like Mitchell’s book, Cloud Atlas contains six narratives set in parallel motion, each coming in and out of view regularly like figures in a carousel. The same voices and faces—that is, actors—recur in different roles along the timeline, even playing against racial type and gender: Jim Sturgess dons epicanthic folds and Kyle MacLachlan’s hair in Neo Korea; Halle Berry wears whiteface as the wife of World War II–era Jim Broadbent, etc. It’s tempting to pull for a formally ambitious, queer-friendly, R-rated blockbuster that uses the word “amanuensis” and seems designed to drag viewers into uncomfortable new idioms. There is, however, a viewing experience to consider. Each segment feels more like an extended trailer for itself than like a sound narrative unit. Maybe this incompletion is purposeful, but it’s a problem when what’s invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe. There is a great deal of humbug about art and love in Cloud Atlas, but it is decidedly unlovable, and if you want to learn something about feeling, you’re at the wrong movie. NICK PINKERTON

In his first directing gig, adapting the 2003 young-adult coming-of-age novel by K.L. Going, actor Matthew Lillard (Scream, The Descendants) does a nice job. He’s got a generous touch with the performers (led by Jacob Wysocki, the chubby star of Terri), whom he sends hurtling around various Seattle locations. Fat Kid is partly about the formation of a rock band, and Lillard gives the movie plenty of punk energy. (Pearl Jam’s Mike McCready supplies the score.) Teenagers will surely relate to 17-year-old Troy, an underconfident outsider who lives with a gruff but loving single father (Billy Campbell) and younger brother. Into his miserable life comes Marcus (the hyperactive but endearing Matt O’Leary), a teen street addict who challenges Troy to form a band with him. Fat Kid is a straightforward, peppy, pleasing movie that’s been updated just enough for the age of Facebook. (Troy vomiting onstage becomes a YouTube viral sensation and great publicity for the band.) Adults will find Going’s story too simple, of course, which is why we call them young-adult books. But the simplicity works. If Marcus can say, “Don’t disappoint me, Troy,” you can be sure he won’t. BRIAN MILLER

Fun Size OPENS FRI., OCT. 26 AT MERIDIAN AND OTHER THEATERS. RATED PG-13. 78 MINUTES.

Gossip Girl and The O.C., Josh Schwartz’s teen TV shows, are sly bait-and-switches. Both are easily marketable for their hot (-mess) fashionplate stars, wide-eyed luxury fetishism, soapy season arcs, and savvy self-reference, but both are also old-fashioned in the primacy they put on the family. Fun Size, which Schwartz directed and produced from a screenplay by Max Werner, lacks both the glossy finish of his prime-time serials (the setting is

OPENS FRI., OCT. 26 AT GUILD 45TH. NOT RATED. 91 MINUTES.

In 1992, Lithuania participated in its first Olympics as a sovereign country. Its basketball team featured a number of marquee players from the old Soviet team that had defeated the U.S. in ’88, but had very little money for the Barcelona games. Having defected a few years earlier to play for the Golden State Warriors, star Lithuanian guard and ex-Sonic Šaru-nas Marcˇiulionis helped convince The Grateful Dead to finance his team’s journey. The band’s generosity extended to the creation of tie-dye warmup shirts that the Lithuanians wore on the (bronze) medal stand, upstaging the gold won by America’s “dream team.” Featuring interviews with the likes of Bill Walton, Mickey Hart, and David Remnick, Marius Markevicˇius’ Sundance-selected documentary has all the makings of a stellar addition to

LIONSGATE

Fat Kid Rules the World

OPENS FRI., OCT. 26 AT CINERAMA AND OTHER THEATERS. RATED R. 172 MINUTES.

The Other Dream Team

The Other Dream Team: Lithuania’s finest hoops stars in their ‘90s finery.

ESPN’s 30 for 30 series, and that’s where it may end up. But the film, seen at SIFF this spring, could use a fresh edit first: While Lithuania’s struggle for emancipation is critical to the story, Markevicˇius spends far too long recounting it, and his baffling decision to incorporate current

basketball prospect Jonas Valancˇiu-nas into the picture eats up even more screen time that would have been better devoted to the games themselves, a section that seems hurried in the current cut. MIKE SEELY

The Other Son OPENS FRI., OCT. 26 AT EGYPTIAN. RATED PG-13. 105 MINUTES.

Ham-fisted dialogue and clichéd characterizations trump genuine chemistry in this contrived Franco-Israeli drama about two 18-yearolds, an Israeli and a Palestinian, accidentally switched at birth. Joseph Silberg (Jules Sitruk), a wannabe singer, and Yacine Al Bezaaz (Mehdi Dehbi), an aspiring med student, seemingly both assured of their identities, must now adapt to the knowledge that they are not who they thought they were. Director Lorraine Levy makes the most of a canned hypothetical situation whenever she lets her actors’ body language talk louder than her and co-writer Nathalie Saugeon’s overwrought scenario, as when Yacine’s birth mother, Orith (French siren Emmanuelle Devos), quietly takes her agitated husband Alon’s (Pascal Elbé) drink away from him when he first meets Yacine. But Levy and Saugeon often overtax their already tense drama with loaded plot developments and indelicate dialogue, as when Yacine unconvincingly explains his feelings to Joseph: “I am my worst enemy, but I also must love myself.” A consistently strong cast can’t salvage the scene where Joseph breaks the ice with his biological family by singing with them at dinner. The shocked look on the face of Saïd Al Bezaaz (Khalifa Natour) when Joseph lustily starts in on the song proves how hard Levy and Saugeon worked to force macro-significance out of a micro-story. SIMON ABRAMS

Pusher OPENS FRI., OCT. 26 AT SUNDANCE CINEMAS. RATED R. 87 MINUTES.

Less a bastardization than simply a watereddown and superfluous redo, Pusher faithfully mimics Nicolas Winding Refn’s 1996 Danish crime saga while missing its nasty, grungy spirit. Luis Prieto’s London-set remake substitutes techno sleaze for Refn’s heavy-metal grime in retelling the tale of Frank (Richard Coyle), a low-level drug dealer who finds himself deep in debt to kingpin Milo (Zlatko Buric') after a deal goes wrong and he winds up with neither coke nor cash. It’s a frenzied descent into direness that Prieto handles with considerable flash and affection for his characters, who here have had their sharp edges sanded smooth. That’s truest of Frank, altered from an amoral cretin to a cockier and sympathetic antihero, as well as of his best friend Tony (Bronson Webb), reimagined as a spastic wild man who pales in comparison to Mads Mikkelsen’s original head-tattooed psychopath. That shift doesn’t detract from the full-throttle intensity of Prieto’s direction so much as sap the material of its primal ugliness—except in the case of the outstanding Buric', who, reprising his role from Refn’s film, remains a figure of hilarious, terrifying beastliness. NICK SCHAGER

Seattle we ekly • O CTO BER 24− 30, 2012

Cloud Atlas

Cleveland, the dress code is bargain-store Halloween chic) and the razor-sharpness of the dialogue. But the Schwartz touch applies: In the guise of a narrowly targeted tween flick, he has delivered a smart and emotionally satisfying slice of wish fulfillment. Played by Victoria Justice, whose coltish stature and wide-featured beauty recalls a graphic-novel rendition of Winnie Cooper, Wren is a senior with her sights set on skipping town for NYU, the alma mater of her recently deceased dad. Wren is forced to patrol her gluttonous brother Albert’s (Jackson Nicoll) night of trick-or-treating, but loses him in a haunted house; Roosevelt (Thomas Mann), a debate captain with a crush, agrees to chauffeur the search party. Cruising, bruising, first kisses, and life lessons follow. The influence of John Hughes movies is felt everywhere, and like its inspirations, Fun Size revolves around what is in essence an allegorical battle for the family’s soul: Will they stand proud as the lovable freaks that they are? The presiding spirit is that of the Beastie Boys song that plays at a crucial moment, “Fight for Your Right to Party,” a raunchy yet innocent celebration of harmless rebellion. KARINA LONGWORTH

» CONTINUED ON PAGE 26 25

film»

Oct 26 – Nov 1 206.324.9996 siff.net

This Week’s Attractions » FROM PAGE 25

P Two Years at Sea

RUNS FRI., OCT. 26–THURS., NOV. 1 AT NORTHWEST FILM FORUM. NOT RATED. 88 MINUTES.

French Cinema Now

Du Cinéma Français Maintenant

A SKYPE Q& IRECTO WITH D

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Opens October 26 | Uptown

“POWERFUL, GENUINELY SHOCKING & RATHER AMAZING.” - ROGER EBERT, CHICAGO SUN-TIMES

“IT LEFT ME SPEECHLESS!” Seattle weekly • OCTOBER 24− 30, 2012

- MARTIN SCORSESE

October 30 & 31 | Uptown October 30 & 31 | Uptown

Ghostbusters

The Mad Magician

November 1 | Uptown

What Ever Happened

3D to Baby Jane?

Monday October 22 | Film Center

The Last of the Haussmans Uptown | 511 Queen Anne Ave N

SIFF Film Center | Seattle Center | Northwest Rooms

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

It is difficult for residents of these sprawling United States to regard anything within the snug British Isles as truly remote, but Ben Rivers’ debut feature, set adrift in the foggy Scottish Highlands, establishes a real sense of getting lost. As with his prior shorts (being screened at 5 p.m. Sat. and Sun.), Two Years was shot with a hand-cranked 16mm Bolex camera, then developed and processed by hand. The hand-cranking accounts for the wavering of light and shifting tempo of motion within shots; the homemade processing accounts for the amoeba-like chemical puckers that dapple the image. The lone, almost expeditionary nature of Rivers’ operation matches his involuted subjects, for his is a cinema of privileged moments and stubbornly private people, preoccupations epitomized in Two Years, based on his 2006 documentary short, This Land Is Mine. Jake Williams, a man of indeterminate middle age with a knotty briar patch of a beard, lives in the mountains in a rambling, dilapidated farmhouseand-barn complex with a camper trailer out front. Williams is introduced trudging across a snowy landscape, past frostrimmed trees. After 80-odd minutes have passed, snow will settle on the ground again. The film takes place between two winters, in a succession of scenes through which Williams silently wanders, going about his daily itinerary over the course of a calendar year: morning ablutions, pulling down trees, sorting through the contents of a box of unlabeled old photos that hint at a remote personal history. There is little in the way of incident, though at one point, Williams nods off in the trailer on his property rather than in his own bed—one gets the sense that he gets much of his amusement from such for-theirown-sake acts of novelty—and as he sleeps, the trailer floats skyward, settling to nest atop a tree. This bit of faerie mischief, neither explained nor really investigated, is the first and only intervention of the supernatural in a film that is otherwise quite content to ruminate on natural phenomena: A cloud enters the frame and passes at its leisure; a mizzly rain falls; Williams sprawls out under the open sky, his William Cullen Bryant facial bush at one with the undergrowth.

War of the Buttons RUNS FRI., OCT. 26–THURS., NOV. 1 AT VARSITY. RATED PG-13. 90 MINUTES.

After The Chorus and Paris 36, Christophe Barratier—one of France’s least interesting living directors—offers another gooey slice of Gallic nostalgia, this reboot of Yves Roberts’ 1962 original. (In a bizarre industry twist, a second Buttons remake was released in France just one week before Barratier’s.) Barratier

DAVID KOKAS/WEINSTEIN CO.

OCTOBER 24–28 UPTOWN

Two shots of particular duration stand out: In one, Williams rigs up a makeshift raft and paddles into the shallows of a loch, the ripples slowing and speeding according to a mysterious rhythm; in the other, the camera holds on his face as illuminated by the flicker of a slow-dying fire, his sagging slits of eyes going dark, soon followed by the rest of his visage sinking into a lacquered pool of black. As his subject has gone back to the basics, so has the artist returned to the childhood of the photographic miracle. (Note: Rivers will introduce Friday’s screenings and conduct a Q&A.) NICK PINKERTON

ONLINE » SEATTLEWEEKLY.COM aMORE See reviews of Chasing Mavericks and Silent Hill: Revelation.

Once again, French patriots (Canet and Casta) defeat the Nazis in War of the Buttons.

and screenwriter Thomas Langmann have set the story of warring preteen boy gangs against the sinister backdrop of 1944 Vichy France; the village in which the action unfolds is under threat of Nazi occupation, and a Jewish girl (Ilona Bachelier) is in hiding, protected by a kindhearted local beauty and a dashing schoolteacher (played in noble-eye-candy mode by Laetitia Casta and Guillaume Canet). But despite its darker themes, Barratier coats Buttons in his typical gloss, draining it of any sense of danger, authentic emotion, or spontaneous humor with his blandly composed images, cookie-cutter period detail (berets and baguettes galore), and pandering score. Of course, everyone in the film—aside from one or two conspicuous villains—turns out to be a resistant, making an otherwise harmlessly corny movie something more bothersome: a revisionist fantasy of French heroism. As one non-critic friend wondered aloud upon seeing the film: “When will the French stop jerking off to their own history?” A good question— especially since France’s present, rich in diversity and roiling with tensions, has so many stories yet to be told onscreen. JON FROSCH E film@seattleweekly.com

film»

Scarecrow video presents

• THE GRIFTERS English director Stephen Frears scored

BY BRIAN MILLER

Local Film •

CLÉO FROM 5 TO 7 In Agnés Varda’s 1961 take on the

New Wave’s girl-in-Paris scenario, the imperially named Cléopatre Victoire (Corinne Marchand) lounges on a girly bed strewn with kittens, dollish wiglet perched atop her coif, as her stocky maid fusses. A pampered chanteuse who tells herself that “ugliness is a kind of death,” Cléo is a frilly basket case of bad faith: capricious, vain, and superstitious, an existentialist critique of the modern self as narcissistic pop star. She’s the kind of deeply superficial character Sofia Coppola thinks she makes movies about. Varda portrays a slice of Cléo’s life in faux real time, but this stretch from 5 to 7 p.m. is a far from random choice: It’s the last two hours Cléo must wait until hearing the results of a test for cancer. At first facing her mortality with pouty petulance, the singer wends her way through the city (Varda’s photojournalistic eye picking up vérité bits en route), eventually achieving a last-minute epiphany. With this, a more mature response to Breathless (Godard and Anna Karina make cameos as silent-movie actors), Varda transforms the typical French cinema gamine into a complex, tragic figure: the girl who’s all too good at playing plaything, forced to face the hollowness of her youth. The film begins a series of three Varda titles connected with SAM’s ongoing Elles show. (NR) ED HALTER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum. org, $20-$23 series, $8 individual, Fri., Oct. 26, 7:30 p.m.

•

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See the GI’s website for a full schedule of scary titles programmed through Halloween. Among the final highlights are Jack the Giant Killer, a 1962 kiddie matinee; a package of kung-fu movies (7 p.m. Fri.); Scarecrow Video’s compendium The VCR That Dripped Blood (9 p.m. Sat.); and the Sprocket Society’s “Secret Vault of Horrors” program (7 & 9 p.m. Halloween eve). (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grand illusioncinema.org, $5-$8, Through Oct. 31.

EVENINGS WITH AI WEIWEI In Smith Hall, Room 102, several short films

•

by the Chinese artist and dissident will be screened. See washington.edu/aiweiwei for more info. (NR) UW Campus, Free, Mon., Oct. 29, 7 p.m.; Fri., Nov. 2, 7 p.m. FILMS4FAMILIES: ANIMAL KINGDOMS See the SIFF website for full list of titles in this squee-tastic weekend series, which includes March of the Penguins, Babe, Fantastic Mr. Fox, and other barnyard faves. (G) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $4, Sat., Sun., 1 p.m. Ends Oct. 28. FRENCH CINEMA NOW SEE THE WIRE, PAGE 17.

•FUNKJAZZ KAFÉ: DIARY OF A DECADE (THE

STORY OF A MOVEMENT) Jason Orr’s new docu-

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

•

SHOWTIMES Oct 26 - Nov 1

THE LOST BOYS Fri - Mon @ 7:00pm

•

SCREAM Fri - Mon @ 9:30pm TV DINNER

HALLOWEEN TV SPECIALS Tues @ 7:00pm & 9:30pm

BadMovieArt Double Feature!

OCT 27

CHOPPING MALL & MAXIMUM OVERDRIVE Wed @ 7:00pm

9pm

GRANDILLUSIONCINEMA.ORG NE TH STREET | -

•

• WALLACE & GROMIT: CURSE OF THE • Nick Park’s claymation-animated

stff

WERE-RABBIT

heroes, cheese-addicted inventor Wallace (voiced by Peter Sallis, to the mild manner born) and his mute genius dog, must contend with rabbits. Many hungry rabbits, threatening the North England vegetablegrowing community led by Lady Tottington (Helena Bonham Carter). Wallace’s hubristic attempt to brainwash rabbits out of their veggie sweet tooth backfires, unleashing a mysterious giant beast, the Were-Rabbit, who stalks the village by night. There’s also a dandy subplot about Wallace’s rival as rabbit-hunter and candidate for Lady Totty’s dainty hand, the vain, wicked, toupeed, bunnicidal Victor Quartermaine (Ralph Fiennes). The 2005 Curse has a far better story than Park’s Chicken Run, with superior pacing, the thrill of the chase, and the existential joys of a werewolf identity crisis. The ever-silent Gromit remains incorruptible, and Wallace lovably clueless. They may have hit the big time, but they haven’t gone Hollywood. (G) TIM APPELO Grand Illusion, $5-$8, Sat., Oct. 27, 5 & 7 p.m.; Sun., Oct. 28, 5 & 7 p.m.; Mon., Oct. 29, 7 & 9 p.m.; Tue., Oct. 30, 7 & 9 p.m. WOMEN IN THE SHADOWS Yvonne De Carlo gets caught between Burt Lancaster and Dan Duryea in the 1949 thriller Criss Cross, directed by Robert Siodmak. (NR) Seattle Art Museum, $63-$68 (series), $8 (individual), Thursdays, 7:30 p.m. Through Dec. 6.

SEATTLE TURKISH FILM FESTIVAL NOV 2-4 2012 SIFF CINEMA & PACIFIC PLACE For schedule and tickets visit http://stff.org

STFF is made possible with support from Turkish Ministry of Culture and Tourism

Seattle we ekly • O CTO BER 24− 30, 2012

•

mentary about the neo-soul movement includes Cee Lo, Dick Gregory, George Clinton, Erykah Badu, Chuck D, Andre 3000, and others. Screened as part of the Earshot Film Festival. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10, Sat., Oct. 27, 5 p.m.; Sun., Oct. 28, 5 p.m. GHOSTBUSTERS Who you gonna call? I think we all know the answer: the top-grossing film of 1984, Ghostbusters! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy, which inspired only one so-so sequel and a surprising number of video games. It was, of course, a simpler time back then, when special effects weren’t quite so seamless, and the greatest threat facing New York City was the Stay Puft Marshmallow Man. The movie was a total star turn for Murray, playing the loosest and least professional academic on campus. Using Aykroyd as his uptight foil, with well-timed sideline zingers from the wonky Ramis (who co-wrote the script with Aykroyd), Murray is freed to embrace his inner, off-kilter leading man—he’s like Cary Grant on mescaline, utterly assured in everything he says, even when nothing he says makes the slightest bit of sense. Call for showtimes. (PG) BRIAN MILLER SIFF Cinema Uptown, $5-$10, Tue., Oct. 30; Wed., Oct. 31.

a deserved hit with this suitably unsentimental 1990 adaptation of the Jim Thompson novel, with weakling con man John Cusack caught between his mommy (Anjelica Huston) and girl (Annette Bening). (R) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com, $6-$8, Wed., Oct. 24, 9:30 p.m. HALLOWEEN Donald Pleasence and Jamie Lee Curtis star in the hugely influential 1978 slasher flick directed by John Carpenter. (R) Harvard Exit, 807 E. Roy St., 3230587, landmarktheatres.com, $10, Tue., Oct. 30, 9:30 p.m. THE HOUSE I LIVE IN Eugene Jarecki’s occasionally muddled documentary disquisition on the colossal failure of the war on drugs rehashes much that will be familiar to even the most casual reader of newspapers: that this “war” is waged against the poor, particularly minorities. Yet what’s riveting and attention-grabbing in Jarecki’s recapitulations of failed policy are some of the talking heads he has assembled, including The Wire creator David Simon and historian Richard Lawrence Miller. The film’s impetus, Jarecki narrates, came from his pondering the troubled fate of the son (and other relatives) of Nannie Jeter, the African-American woman who worked for many years for the director’s well-to-do white family in New Haven, Conn. Jeter, a thoughtful, soft-spoken woman, singles out drugs as the source of her family’s misfortune, prompting Jarecki to set out on a 20-state “journey” to talk to those in the trenches of this 41-year-old, impossible-to-win battle. Simon lays the blame squarely on a capitalist system color-blind in its disdain of those on the economic margins: “If we kill the poor, we’re going to be a lot better off—that’s what the drug war’s become.” The film opens Nov. 16. (NR) MELISSA ANDERSON Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Oct. 26, 7 p.m. LET THE RIGHT ONE IN This lucid Swedish indie gem from 2008, adapted for the screen by John Ajvide Lindqvist from his novel and directed with imagination and restraint by Tomas Alfredson, releases the vampire movie from overwrought conventions, like close-ups on trembling bosoms and bloody fangs, offering instead a coolly balanced and utterly compelling examination of alienation and love. Let the Right One In follows the burgeoning relationship between Oskar, a pale 12-year-old tormented by bullies and ignored by adults, and his new neighbor, Eli, who is “more or less” 12 years old and, though less pale, a vampire. Eli enters the friendship reluctantly, but it becomes apparent that each offers what the other lacks. The film is lit like a Renaissance painting. Wise performances infuse the film with a low-key naturalism that allows for maximum believability. Movie screens at midnight. (R) ELENA OUMANO Egyptian, 805 E. Pine St., 720-4560, landmarktheatres. com, $8.25, Fri., Oct. 26; Sat., Oct. 27. THE LOST BOYS/SCREAM Jason Patric battles California vampires in this enjoyable 1987 horror-com, capably directed by Joel Schumacher. Despite the marquee attraction of Corey Feldman and Corey Haim, the film earns a solid B rating thanks to Edward Herrmann, Dianne Wiest, and Kiefer Sutherland. Following at 9:30 is the often amusing 1996 Scream, directed by Wes Craven from Kevin Williamson’s self-reflexive slasher script. (R) Central Cinema, $6-$8, Oct. 26-29, 7 & 9:30 p.m. SILVER BULLET Stephen King directs his own material in this 1985 fright flick, starring Gary Busey and Corey Haim. (R) Central Cinema, $6-$8, Wed., Oct. 24, 7-10 p.m. WAKE IN FRIGHT SEE THE WIRE, PAGE 17.

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food&drink»

Same New Italy

Ethan Stowell’s latest restaurant is a lot like his older ones.

BY HANNA RASKIN

KEVIN P. CASEY

Look familiar? It should.

read, but asking staffers for help deciphering it is like seeking travel advice from someone who’s watched a Rick Steves show about the region. When we asked our capable server to describe the three wines from Puglia, she quickly recruited a more knowledgeable coworker who sold us on an aglianico that was supposed to be firm and full-bodied. There was nothing wrong with the wine he poured, but it was light-bodied and soft.

mong the regionalisms at Rione XIII is a mozzarella menu. Diners struggling to cope with the semi-nude pizzas can order a $25 plateful of smoked mozzarella, burrata, buffalo mozzarella, and fresh mozzarella, which our server described as “a lot of cheese.” While the cheese has an appealing tang, it doesn’t have the stretchy milkiness that distinguishes the best examples of homemade mozz. Other small disappointments at the front end of the meal included a mixed green salad clobbered with salt and the phenomenally popular fried artichokes, which tasted like nothing or garlic, depending on how much aioli had been applied. Yet the misses are mostly eclipsed by more successful starters. A treviso salad probably shouldn’t be attempted by anyone finicky about bitterness, but radicchio fans will fall for the crisp, purplish-red leaves, tossed with chile and topped with a mound of snowy white Parmesan. Perhaps the finest dish anywhere on the menu is a pan of braised tripe, fleshy and clean, commingled with fat white beans. While trippa alla Romano is often a slop of tomato sauce, the staccato of mint is at least as important to Rione XIII’s superlative version of the rich stew as its brisk tomato trundle bed. The tripe raised expectations for an entrée

order of veal sweetbreads, but here the offal was texturally askew. Served with a lemon caper sauce and artichoke wedges, the buxom sweetbreads were all curves and no corners. Much better were a sharp chicken cacciatore and a wonderfully tender rib-eye. Many diners will likely make a meal of pasta, an established Stowell specialty. There are six varieties, including an assertive bucatini amatriciana and a too-bright fettucini carciofi that recalls dishwashing detergent. There are also a pair of grails for pasta devotees: cacio e pepe and carbonara, two sauces sought and scrutinized as energetically as burgers and barbecue. Both preparations are too heavy, too murky, and too salty,

Tavolàta is much like Anchovies & Olives, which isn’t that different from How to Cook a Wolf, which has plenty in common with Staple & Fancy. although cacio e pepe partisans are bound to be sadder. The simple dish ought to feature sheep’s cheese suspended in mid-melt and a peppery warmth, not a muck of acidic oil. Still, Rione XIII’s brawny noodles are quite good. Stowell’s noodles are always good. But I hope the next time I encounter them, it’s in a restaurant which pushes Stowell’s brand into territory he hasn’t already claimed. E hraskin@seattleweekly.com RIONE XIII 401 15th Ave. E., 838-2878, ethanstowellrestaurants.com/rionexiii. 11:30 a.m.–2:30 p.m. Mon.–Fri., 5–11 p.m. Mon.–Sun.

Seattle we ekly • O CTO BER 24− 30, 2012

here are 64 Taco Times in and around Seattle. I know this because they’re listed in the Yellow Pages, under the name “Taco Time.” When the Mexi-Fry honchos decide to open a new slapdash burrito citadel, they don’t focus-group names like “Señor Pinto” or “Enchiladas Etc.” They just order up another Taco Time sign. This is not fashionable practice in highend restaurant circles. Culinary dilettantes are mildly forgiving of secondary Vegas or Hong Kong locations, but the notion that the dinner for which you just plunked down $150 is readily available elsewhere is a serious buzzkill in a culture that celebrates originality. So chefs with multiple restaurants tend to play up the differences among them, handing out unique names with the confidence of Adam. Sometimes, though, the restaurants newly opened Wandering Goose. Opposite the in an upscale chainlet aren’t as dissimilar as bar, black-leather bench seating lines a soaring their nomenclature implies. brick wall. Following the same shotgun format Ethan Stowell’s newest restaurant, Rione as Staple & Fancy, a row of two-person booths XIII, is named for a trendy section of Rome, serves as the room’s dividing line. Stop me if but it might as well have been named for you’ve heard this one before, but the floors the Seattle street on which it sits. Stowell’s portfolio is rapidly becoming a blur: Tavolàta is are polished concrete, and pendant lights are hung in bunches from exposed rafters. much like Anchovies & Olives, which isn’t that The menu has a familiar ring, too, although different from How to Cook a Wolf, which has it’s adorned with Roman touches, including plenty in common with Staple & Fancy. That’s a section devoted to pizza. When in Rome, not a swipe at Stowell, whose restaurants are pizzas aren’t treated with tomato sauce, so reliable sources of thoughtful, seasonal, and what Rione XIII calls a “Roman street pizza” adept cooking. But unlike Tom Douglas, Seatis what most Americans would call flatbread. tle’s other resident restaurant baron, Stowell— Roughly the shape of a Roman soldier’s sanwho’s deeply attached to a highly specific dal, the slightly puffed-up pizza is attractively vision of “new Italian,” as his 2010 cookbook landscaped with bronzed bubbles of dough, termed it—has extended only a clammy handbut its undercarriage is pallid. Toppings are shake toward themed cuisine. While Douglas’ deliberately scanty, so the dough’s bland, dry kitchens turn out Greek kebabs and German chew is doubly difficult to ignore. I much pretzels, Stowell’s kitchens serve beet salad preferred a well-oiled pizza with a dainty and spaghetti with anchovies. layer of translucent potato discs to a parched Naturally, Rione XIII feels more Stowellian pie stingily garnished with mushrooms, than Roman, which means its arrival is a much strong roasted garlic, bigger deal for Capitol Hill and squares of shaved residents than for folks pecorino, although it was who already have a » PRICE GUIDE POTATO PIZZA ........................... $14 hard to taste past the salty Stowell outlet close to FRIED ARTICHOKE .....................$9 anchovies dotting the home. Although the restauTREVISO SALAD ......................... $11 TRIPPA ALLA ROMANA .......... $12 potato preparation. rant’s sufficiently lovely to CACIO E PEPE ............................. $14 Still, the rustic pies have warrant 15th Avenue East’s SWEETBREADS ..........................$22 the advantage of being unbridled excitement, eatsafely sophisticated (other ers who pass older Stowell preset topping collections feature squash restaurants on their way to dinner at Rione blossoms and manila clams), tidy, and easily XIII may be perplexed by all the fuss. shareable, which makes them great first-date According to a Rione bartender, neighbors food. Match.com account holders would do account for more than half the restaurant’s well to bookmark Rione XIII’s reservations perpetually thick traffic. The most desirpage: Stowell likes his music lively, and the able reservations are snatched up weeks in cocktails are straightforwardly correct. advance, although diners who turn up early A Negroni or Apparent Sour may be a better can vie for a seat at the bar, which faces a bet here than wine, depending on your familcurtain of interior latticed windows that the iarity with Italian varietals. The list is a great restaurant shares with Heather Earnhardt’s

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up. These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

BEACON HILL

EL DELICIOSO 2500 Beacon Ave. S., 322-1307. The coun-

ter in the southern end of the ABC Market, Beacon Hill’s Chinese-Mexican grocery store, advertises tacos, empanadas, and tortas. Most customers are eating pupusas, the cornmeal cakes stuffed with your choice of fillings, patted out and fried to order. Each costs less than $2, and they come with a hefty dose of oreganospiked, tart cabbage slaw. The only downside is that you have to cut them apart with plastic knives and sporks. $

CAPITOL HILL

HOT MAMA’S PIZZA 700 E. Pine St., 322-6444. Too few Seattleites have eaten Hot Mama’s when sober enough to give the Pine Street corner store its due. If there’s any pizzeria in town that delivers the pizza by the slice, it’s Hot Mama’s, where the T H I S CO D E thin-crust pies are only at the TO DOWNLOAD THE FREE best when they’re reheated SEATTLE WEEKLY (something about the doubleIPHONE/ANDROID APP cooking gives the floury FOR MORE RESTAURANTS OR VISIT crusts an extra snap). They’re seattleweekly.com so good that no one minds the grease that drips onto their plates, covering the paper with orange dots. The late-night eavesdropping is priceless. $ JAI THAI 235 Broadway E., 322-5781. Jai Thai is bustling with action in the early-morning hours, owing to its being the only Thai restaurant in the city that remains open until 2 a.m. The later it gets, the more jaded hipsters, drunken clubbers, and smitten couples can be seen digging into favorites like pad see ew,

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pumpkin curry, and swimming rama. A word of advice: Dishes are made using a 1-to-4 scale of hotness, but the cooks are conservative with the spice. Adjust your preference accordingly. $ LARK 926 12th Ave., 323-5275. Lark’s artistic spirit is reflected in everything about the restaurant, from the First Thursday regulars who make up its clientele to the poetry on its menu. One is tempted to scan the meter of lines like “Skagit River Ranch beef tongue with horseradish and wild watercress,” “Spanish mackerel with fennel, olives, and preserved-lemon tapenade,” and “naturally raised veal sweetbreads with spinach, bacon, and grain mustard.” James Beard Award-winning chef John Sundstrom’s food, served up as a swarm of small, composed plates, inspires customers to twirl each bite around the plate to catch the right amount of sauce, breathing in while they graze to catch all the aromatic nuances of the food. That level of attention, from both cooks and diners, is what makes the atmosphere seem so much like a gallery. $$$ OSTERIA LA SPIGA 1429 12th Ave., 323-8881. When this neighborhood favorite scaled up, it risked losing its cred and its customers. But surrounded by the trappings of serious dining—rich raw wood, dark steel, airy space— the restaurant’s Emilia-Romagna cuisine has finally gotten the showcase it merits. The piedine (house-made bread) is fabulous, and dishes like the fresh tagliatelle in truffle butter and tiny gnocchi in a sausage-laced cream sauce confirm Italians’ assertion that pasta dishes should be about the pasta, not the dressing. And the tiramisu will make you realize that every other version you ever tried was a cakey, bland mess. $$ PALERMO PIZZA & PASTA 350 15th Ave. E., 322-3875. In a perfect world, every neighborhood would have a cozy Italian restaurant to call its own. Palermo is homey enough with the food, though it doesn’t exude an especially friendly vibe. Linguini tossed with prawns in a lemony cream sauce is rich in flavor without sinking like a brick in your stomach, a friend of ours swears by the chicken parm sandwich, and ranch is among your saladdressing choices. This is an easygoing Italian-American place in Capitol Hill’s most laid-back dining district, the kind of place you only visit when—you guessed it— you’re already in the neighborhood. $

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my favorite to make people,” Cooper says as she mixes a Maiden’s Prayer. She muddles lemon wedges and adds white rum, triple sec, and apricot brandy, shaking and straining the concoction before pouring it into a cocktail glass. At first sip, the drink is a refreshing combination of tangy and sweet, and tastes less strong then expected based on the amount of booze in it. The Verdict: The lemony cocktail is ideal for an unusually warm October evening. But when the weather gets cooler, Flowers’ cozy atmosphere will make it the perfect place for college kids to curl up with a beer and chat with old friends. E selson@seattleweekly.com

• I will sign a citation, if any, then I want to leave immediately. • I will not answer any questions without an attorney present. • I do not have to do “Field Sobriety Tests” and I refuse to do them. • I do not consent to or want to be recorded. • I do not consent to my person, car, or other property being searched. • I do not waive my rights. If you want me to take a breath or blood test, I want to talk to Casey Jason at 425-223-7701, first.

Seattle we ekly • O CTO BER 24− 30, 2012

SARAH ELSON

The Watering Hole: Flowers Bar and Restaurant, 4247 University Way N.E., 633-1903, U DISTRICT The Atmosphere: Judging by the dilapidated sign out front, newcomers often mistake Flowers for an abandoned building or a place to buy plants, understandable given that it was a flower shop before being resurrected as a restaurant 20 years ago. Owner Fadi Hamebe kept a sense of history by saving the sign and most of the original woodwork inside. Christmas lights strung above the worn bar give the place the quirky, cozy feeling of a college kid’s living room. On a Thursday evening it’s pleasantly packed with tattooed 20-something students sipping PBR. The Barkeep: Blonde and ethereal, Laurel Cooper’s warm, serene demeanor fits the feel of Flowers perfectly. She flits around the room, smiling sweetly as she serves pints. Pulling a beer, she tells me that she worked at The Slip in Kirkland for a “painful minute.” Cooper says Flowers suits her better, and she’s been working there about a year. The Drink: “It’s not my favorite to drink, but it’s

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food&drink»Featured Eats ALittLeRAskin » by hanna raskin

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In October, it often seems as if everything edible is available in pumpkin flavor. Shoppers this month can buy pumpkin vodka, pumpkin wine, pumpkin lattes, pumpkin beer, pumpkin ice cream, pumpkin doughnuts, pumpkin yogurt, and pumpkin pancakes. But you know who’s completely uninterested in the pumpkin frenzy? Sea critters. The Seattle Aquarium exposes select residents to pumpkin, but spokesperson Laura Austin says none of them have developed a taste for the autumnal treat. “They just play with them,” Austin says of the carved pumpkins delivered in conjunction with Halloween. “The river otters, for some reason, they’ll

actually put the pumpkins on their heads and swim around.” Volunteer divers who compete in the underwater pumpkin-carving contest—”Divers just love doing things underwater,” Austin says of the long-standing tradition which a few years ago became a fixed entry on the aquarium’s holiday calendar—leave their completed creations in the display tank. “The fish might nibble, but it’s not their preferred feed,” Austin says. Still, Halloween is considered an eating holiday at the aquarium. “We do freeze squid parts in cake pans,” Austin says of the treats prepared for marine mammals. No pumpkin flavoring is added to the mix. E hraskin@seattleweekly.com

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»QUESTIONS/ANSWERS

After Midnight

The hard-livin’ Afghan Whigs reunite and rediscover their soul. BY HANNAH LEVIN

SW: Why did you break up? Dulli: Probably because we had been

together for about 12 or 13 years, six albums, and 1,400 shows. We were a hard-livin’ bunch. I think we just reached our saturation point. We all moved away from each other. One of us had kids, one fell in love, one of us went crazy. We had gone as far as we could go. Who went crazy?

One of us did—and might still be . . . it had to happen. Things that have to happen, happen. That’s the best way I can answer that.

While you’ve been in rehearsals and going through your back catalog, are you finding there are songs you want to do differently?

We’ve adjusted five or six of them. There are several differences to the songs—they are just reimagined, in a way. We always kind of did that anyway. We’d sometimes cover our own material, if you will. Sometimes you just decide an intro is way too long, or that you wrote that intro when you were 14 and you don’t feel that way anymore. You’ve always had a fondness for covering other artists. What made you recently decide to cover Frank Ocean’s “LoveCrimes”?

A girl I knew played it for me while we

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were driving around in her car. I fell in love with that record, and kept getting drawn to that song and the little mini-dramatic arc that it contained. I loved the “murder-murder” hook. So I started playing around with it with the fellows when we reconvened this year, and we put our thing on it. Can you tell me your first memory of falling in love with soul music?

I think I loved it before I even knew it was a genre. I just kind of liked the unrestrained joy, the unrestrained emotion and healing that came from that style of music. Hearing people sing like that—with that depth of feeling— really captivated me and my fragile little mind. The first record that I really remember being taken by was “I Want You Back” by the Jackson 5. There’ve been few singers before or since who can bring it like Michael Jackson, especially young Michael Jackson. My mom was a teenager when I was born, so we liked a lot of the same records. I loved the Motown records she played me. I remember hearing Al Green and Sam Cooke and William Bell . . . Marvin Gaye became my favorite guy. Still might be my favorite guy. I just have always had a great affection toward soul music. I don’t anticipate that ever changing. Reflecting on your years here in Seattle and with Sub Pop, what do you look back at with the most fondness or regret? What memories jump out most vividly?

Before I lived in Seattle, I came there in ’89, the first time just to play. We played Squid Row on Capitol Hill. [Sub Pop cofounder] Jonathan [Poneman] came, and

Dulli (center): legendarily lecherous and fond of Gaye.

maybe 11 other people, and we had a great gig. When we came back—we came back to record Up In It—we played with The Fluid at Washington Hall. That’s when I started living in Jonathan’s apartment on Queen Anne. When the rest of the band split, I stayed to mix the record with [producer] Jack [Endino] in Ballard at Reciprocal. That’s when I started to get to know the town. My first few times being here were mid-spring and early fall, so I hadn’t gotten rained on yet, so it seemed like a magical place to me. [It was] physically very beautiful and had progressive culture. I became really good friends with Jonathan, Megan Jasper, and Bruce Pavitt. I moved there in ’94 and left in ’99. So you eventually got rained on and had to leave?

I bought a house in Magnolia, and I realized I had commitment issues. As soon as I bought the house I felt trapped. I immediately moved to New Orleans after that. Are you and the Whigs talking about recording new material?

Not really; we’re trying to stay in the moment. We jam at sound check, and there’s one song that’s organically evolved that we’ve been playing . . . something’s going on. I don’t know what it is, but I’m just going to let it be what it is. I really have no plans outside of having lunch today and going to the beach. E music@seattleweekly.com AFGHAN WHIGS Showbox at the Market. Sat., Nov. 3. Sold out.

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once had a boyfriend who told me the only person he trusted for romantic advice was his friend Greg Dulli, the legendarily lecherous frontman for the Afghan Whigs. I should have taken that as a warning shot and run for the door right there. While it is certainly true that the Whigs’ 1993 modern-rock masterpiece Gentlemen was crafted with equally important contributions from guitarist Rick McCollum and bassist John Curley, Dulli’s self-cultivated Lothario persona lives in that album’s dark heart. His affection for all things hedonistic (less now than in his younger years) and an oddly bright streak of optimistic romanticism mix into one hot mess and set the conflicted spiritual tone for nearly all the Whigs’ material, whether the sardonic paeans to sexual voraciousness that characterize Gentlemen or the midnight blue-eyed soul that colors 1998’s swan song, 1965. The band’s announcement, in late 2011, that it would reunite was welcome news to both fans and, evidently, Dulli himself. The former Seattle resident and Sub Pop signee seemed in especially good spirits when I got him on the phone.

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Raffi returns after a decade at large. BY JOSH KERNS & CHRIS KORNELIS

At the same time, I’ve always arranged and produced my music such that it’s pleasant to the adult ear as well. But that doesn’t mean you need to stray outside the child’s frame of reference to do so.

Kerns: You’ve talked a lot about not licensing your music to advertising or taking sponsorships. How important is that to you?

I think it’s wrong to advertise directly to children. I’ve never done it and I never will. I also think—you mentioned Shrek a little while ago, they wanted to do a “Baby Beluga” movie. The conversation didn’t last too long, because when we asked “Would you market this film to children?”, they said “Of course we would.” We said we think that’s wrong. We think it’s unethical to market directly toward young children. Kornelis: You haven’t been as active onstage in the past few years. Why are you getting back on tour now?

What I’m excited about now is that we have over 10 million people who grew up with my music who are now adults, and I call them, affectionately, “Beluga Grads.” And they’re going to be in the audience bringing their own children to the show. Kornelis: Are you writing new music?

Stone Free

BY DUFF MCKAGAN

rugs are a funny thing. Rarely will someone do bumps of cocaine or hits of crystal meth on his own. There’d be no one to jabber and talk mad nonsense with. Rock and roll definitely has the stereotype of being connected to drug use. The cliché has been earned. But it seems like drugs have finally lost the status of being a mystical and romantic part of the rock persona. Maybe we’ve seen too many people implode, with public meltdowns or, worst of all, death. I played three shows last week. One was a musical-esque version of the book I wrote about my dive into addiction and my way out. If you are buying a ticket to this particular

But the Funhouse’s home of nearly a decade will. BY MA’CHELL DUMA LAVASSAR

affi Cavoukian, one of the world’s most famous purveyors of music and songs for children, recently launched his first tour of familycentric shows since he hung up his banana phone in Seattle in 2002. Here, the B.C.-based singer/songwriter/activist talks about Shrek, hockey moms, and Beluga Grads.

Kornelis: Are you focusing just on children, or do you have parents in mind when you write music? Raffi: I certainly focus on the young child.

Hardcore Will Never Die

Recently I’ve issued two new CDs for older audiences—Beluga Grads. They’re CDs of what I call motivational songs for all of us to participate in making peaceful and sustainable societies. I want to tell you about a new song. I wrote a song about hockey. When I was younger, I enjoyed hockey very much, and loved watching it on TV. Still do: I’m a big Vancouver Canucks fan. So I thought I’d write a song especially for the hockey moms and dads who take their kids to the rink once a week or twice a week all through the winter. So the song’s called “On Hockey Days,” and you can buy it on iTunes. Kornelis: Would you mind sharing a verse with us, or a chorus?

Well, the line in the chorus is [singing] “Off to the hockey rink we go!” [laughs]. E SW music editor Chris Kornelis and KIRO Radio’s Josh Kerns co-host Seattle Sounds, Saturdays at 7 p.m. on 97.3 KIRO FM. ckornelis@seattleweekly.com RAFFI The Moore Theatre, 1932 Second Ave., 1-877-STG-4TIX, stgpresents.org. $24–$32.50. 2 p.m. Sat., Oct. 27.

show, it’s a fair assumption that you probably know I don’t do drugs. Right? Apparently not. Your columnist went into the men’s room at The Viper Room in L.A. Your columnist is nervous for the show, as he patiently waits his turn for the urinal. Your columnist gets offered a bump of cocaine right there—dick in hand and everything! I played a standard rock show the next night, and the same thing happened—except this time with weed! I find no fault with the people who offer me such things, it’s just fuckin’ odd sometimes. If I were in my “heyday” of getting fucked up, these people would have offered me free drugs only once. Guys like me aren’t dainty in their usage. All the drugs in that men’s room would have been gone in an instant. My point with this column is how it all relates to our recent presidential debates: With all this sharing of drugs, the economy must be on the mend. Now let’s focus on getting our troops out of Afghanistan! E askduff@seattleweekly.com

Duff McKagan is the founding bassist of Guns N’ Roses.

As with many an institution founded on liquor and a punk-rock ethos, if you remember too much about your time at the Funhouse, you probably weren’t really there. Since Halloween night 2003, the Funhouse’s demented-clown marquee—not to mention the unmistakable smell of industrial-grade cleaner and stale Rainier—have greeted Seattle’s rock-’n’-roll faithful and more than a few confused tourists on Fifth Avenue North. The Funhouse’s location helped make it a magnet for all things punk. It’s just outside Seattle Center, one of the few areas in town easily accessible via public transit from Capitol Hill and Ballard alike. Such accessibility—a dreamy catch for a developer—ultimately led to its demise. When news hit that the space currently home to the Funhouse would soon be replaced by posh condos, everyone was sad, but no one was surprised. In a town full of clubs that come and go, what the Funhouse provided for nine years was a near-nightly stellar roster of local and touring acts that explored punk and all its subgenres. But even more impressive was the club’s service as a training ground for upstart bands with promise. These baby bands had a place—usually 10 p.m. on a Tuesday—to work things out in front of a live audience when the stakes were low. Whether launching local notables like

Out-of-towners often heralded the Funhouse as exactly what they imagined Seattle to be: laid-back, charming, grungy without affectation. Grave Babies or burgeoning acts like San Francisco’s Nobunny, genius booking agent Brian Foss (host of KEXP’s Sonic Reducer) brought his encyclopedic knowledge of punk in all its forms and the keen foresight to see the fledgling diamond sparkling in many large, rough lumps of musical coal. Out-of-towners often heralded the Funhouse as exactly what they imagined Seattle to be: laid-back, charming, grungy without affectation. Rumors surrounding a new home abound, but the Funhouse, as it stands now until October 31, will be sorely and eternally missed. Via Facebook, Foss assures patrons that the search for a new location is underway. On November 1, as a parting gift, I hope the Funhouse crew leaves behind a vat of industrial cleaner for the owners of those fancypants condos, as their sure-to-be pristine glass entry will make one hell of a loogie target for us pissed-off rock fans for years to come. E music@seattleweekly.com GLENN OR GLENNDA? (MISFITS COVERS) Featuring Poop Attack, Last Gasp, Blood Orange Paradise, the Downstrokes, Tight Lies, CCAA. The Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com. $8. 21 and over. 7 p.m. Wed., Oct. 31.

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Live music with Olivia Lombardi from New Mexico and Seattle’s own Earl Brooks. $5 cover.

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Origin Records Night with Rick Mandyck, John Bishop, Paul Gabrielson. No cover.

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FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN

Moonspinners and Charles Wicklander Band. $5 cover.

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A NIGHT OF TRIBUTES

THE OUTLAWS WAYLON JENNINGS TRIBUTE

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11/2 Square Peg presents CASH’D OUT ~ premier Johnny Cash tribute band, SIDE SADDLE 11/3 THE REVEREND PEYTON’S BIG DAMN BAND, RATS IN THE GRASS, BLVD PARK 11/4 LUKAS NELSON & THE PROMISE OF THE REAL, AYRON JONES AND THE WAY 11/5 Second Ascent proudly presents WASHINGTON PASS CLIMBING book release party 11/6 SUNNY LEDFURD, MATT BORDEN, LUKE KAUFMAN 11/7 MARK EITZEL, J. WONG

Seattle we ekly • O CTO BER 24− 30, 2012

THE BRAMBLES

Sun, Oct. 28 • This show is currently sold out

Seattle weekly • OCTOBER 24− 30, 2012

music»TheShortList 1303 NE 45TH ST

Converge Converge does not make music that’s “easy” to understand. Their brutal metalcore statements shoot out in many different directions on the way to their crushing finales, and pack as much noise into their often abbreviated confines, it seems, as humanly possible. As such, vocalist Jacob Bannon recently shared his admiration for their fans’ ever-progressing taste in music, telling Pitchfork “It’s like being around an unfamiliar language long enough that it eventually begins to make sense.” It’s through this forward-thinking approach that Converge has become one of the most definitive hardcore bands of the past 20 years. Their new album, All We Love We Leave Behind, only builds upon that reputation. With Torche, Kvelertak, Nails, Heiress. El Corazon, 109 Eastlake Ave. E., 381-3094. 8 p.m. $15 adv./$17 DOS. All ages. TODD HAMM

Nacho Picasso & Blue Sky Black Death WEDNESDAY, OCTOBER 24

Enough superlatives have been spilled about Nacho P’s sociopathic funny-guy rasp and BSBD’s gauzy electro-slappers to choke any rap-hating prude, but the truth is these guys are one of local hip-hop’s most complete packages. With three next-level full-lengths to their credit—all released in the past year (more or less), all available online for free download—the team has thumbed their nose at traditional release philosophies, choosing to embrace their creative moment rather than take the time to let the mainstream hype cycle catch up to them. Though their talent has been sporadically noted on a national level, they’ve yet to garner the consistent praise they deserve, which may still leave them on the industry’s periphery—but perhaps they’re best experienced while they’re still lurking in the shadows. With Key Nyata, Skull & Bones, DJ Tigerbeat. Chop Suey, 1325 E. Madison St., 324-8005. 9 p.m. $10. All ages. TODD HAMM

Other Lives

The Country Lips posse.

THURSDAY, OCTOBER 25

Following the breakout success of their second LP, 2011’s Tamer Animals, this exquisite Stillwater, Okla., quintet just released the EP Mind the Gap. These songs were written on the road—one was recorded in their van, on a laptop—and finds the band exploring a gauzier, more electronic-based sound than the intricate folk-rock of Tamer Animals. “Take Us Alive,” with its mesmerizing violin loop and ghostly piano and vocal melodies, bears a resemblance to the music of Other Lives’ patron saint, Thom Yorke, whose work makes an appearance on the EP via the sparse, pattering Atoms for Peace remix of “Tamer Animals.” Indians, the transcendent pop project of Copenhagen’s Søren Løkke Juul, which recently signed to 4AD Records, will open. The Neptune, 1303 N.E. 45th St., 877-

ensemble, but what they lack in cohesiveness— and sometimes, vocal ability—they make up for with the buoyant enthusiasm they bring to their brand of jangly, road-worn tunes. Besides, with whiskey a third of their name, the oftunpredictable Waylon would surely approve. With Lumpkins, Julie Neumark. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640. 9 p.m. $7. GWENDOLYN ELLIOTT

Country Lips SATURDAY, OCTOBER 27

784-4849. 8 p.m. $15. All ages. ERIN K. THOMPSON

Weatherside Whiskey Band FRIDAY, OCTOBER 26

This five-piece country bluegrass group’s 7-track EP, Pickin’ the Pines, jumps from boot-stomping anthems saddled with 20-something worries (“26”) to rollicking Waylonesque ballads (“Oklahoma”). They might not be Seattle’s most practiced string

If the Maldives are the Band of Seattle’s thriving Americana scene, then Country Lips are its Byrds. True to their forerunners, these scruffy musicians look as though they could consume a fifth of Jack in one sitting, not recommend a juice cleanse instead. If the two bands toured together, they’d need a train (a la Festival Express) to fit their combined 39 members (only a slight exaggeration), and if they decided to team up onstage for an encore, they’d need another stage. Challenging logistics be damned, this colossal local pairing really needs to happen. Meantime, you could do far worse than to catch the Lips alone at a bar the Byrds probably hung out in once or twice. With Contraband Countryband. Blue Moon, 712 N.E. 45th St. $6. 9:30 p.m. MIKE SEELY

EDITOR’S PICK

CULT OF YOUTH

John Roderick & Friends

WEDNESDAY, OCTOBER 24

MONDAY, OCTOBER 29

Sean Ragon’s Gothic punk-folk outfit Cult of Youth released its third full-length record, Love Will Prevail, to much acclaim in September. It was recorded in a studio Ragon built himself in the back of his own record store (Brooklyn’s Heaven Street Records), and features his hard, snarling vocals bolstered by a rich instrumentation of guitar, trumpet, and synthesizer alongside darkly thudding drums and a swirling violin. The songs deal with such weighty subject matter as human consciousness and the heavenly struggle between devils and angels, but there’s a consistent optimism and light that shines through—in the album’s hopeful title, and in the poetic words of “To Lay With the Wolves”: “I fell in love/In love with the world . . . That’s when it hit me/That the future was bright.” With King Dude, Perpetual Ritual. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $10. ERIN K. THOMPSON

TAYLOR REBECCA

If you ever wanted to know if your favorite tweeters are as witty, funny, and selfdeprecating in person as they are inside 140 characters, here is your night to find out. SW columnist John Roderick has corralled some of his music- and comedy-inclined friends— industry-slaying songwriter Jonathan Coulton, Comedy Central contributor John Hodgman, etc.—for a night of cultural debauchery. “It’s going to be like Sammy, Frank, and Dean at the Sands in ’63,” Roderick says, “except with more classy dames, more roulette, more Lincoln Continentals, hotter tunes, funnier jokes, and better suits.” If you can’t make the show, follow @johnroderick, sure to include myriad updates. Note: Roderick and Hodgman are collaborating on a piece for Reverb Monthly’s Election Special, which you can find tucked inside Seattle Weekly on October 31. With Merlin Mann, John Hodgman, Scott Simpson, and Jonathan Coulton. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline. com. $20 adv./$25 DOS. CHRIS KORNELIS

Seattle we ekly • O CTO BER 24− 30, 2012

J CLIFFORD PHOTOGRAPHY

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seven»nights Wednesday, October 24 ARMY NAVY Justin Kennedy, the frontman of this Los

Angeles–based rock group, is a former bandmate of Ben Gibbard; the pair played together in the short-lived Pinwheel in the mid-’00s. With Gavin Guss. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern. com. 7:30 p.m. $8. THE ASTEROIDS GALAXY TOUR This Denmark duo (producer Lars Iverson and vocalist Mette Lindberg) released Out of Frequency in January. It’s an allover-the-place sophomore album of freewheeling psychedelic pop, club-ready beats, and disco horn sections. With Millionyoung, Gold Wolf Galaxy. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $13. HOPSIN After gaining a following through YouTube, MC Marcus Hopson is set to release his third album next year on Funk Volume, the record label he founded after an acrimonious split with Ruth Records. With Jarren Benton, Dizzy Wright, SwizZz, George Zelaya. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $16. All ages. SNOW PATROL Outside of Coldplay, it’s hard to think of a bigger alternative rock band to come out of the UK in the past decade than this Scottish four-piece. Since 2003, which saw the release of the multiplatinum Final Straw, the group has quietly sold more than 10 million albums. With Noel Gallagher’s High Flying Birds, Jake Bugg. WaMu Theater, 800 Occidental Ave. S., 381-7555, wamutheater.com. 6:30 p.m. $29.50–$70. All ages.

Thursday, October 25 blends country, bluegrass, and Americana. With Kristen Ward, Jackrabbit. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $8. CRYSTAL CASTLES Alice Glass and Ethan Katz are touring behind their forthcoming eponymous album, the third for the Toronto electronic duo. With HEALTH, Kontravoid. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 7 p.m. $28 adv./$32 DOS. All ages. CURTIS ELLER With his nimble finger-picking, hyperactive stage presence, and ample mustache, this New York City banjoist cuts quite the figure onstage. With Chicarra Conjunto, Miss Mamie Lavona and Her White Boy Band. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $10 adv./$12 DOS. TONY LUCCA As a tweenager, this Michigan native shared the Disney stage with Britney Spears, Christina Aguilera, and Justin Timberlake on The Mickey Mouse Club. As a contestant on season two of NBC’s The Voice, he sang suave and dynamic covers of songs by Spears and Jay-Z, and was famously and bizarrely maligned by Aguilera. He was the competition’s most creative and electrifying performer, but ultimately finished third—although he still T H I S CO D E ended up landing a record TO DOWNLOAD THE FREE deal with Adam Levine’s SEATTLE WEEKLY 222 Records. With Justin IPHONE/ANDROID APP Hopkins, Daniel Kirkpatrick FOR MORE CONCERTS OR VISIT and the Bayonets. Barboza, seattleweekly.com 925 E. Pike St., 709-9467, the barboza.com. 8 p.m. $12. ANDREW NORSWORTHY Norsworthy’s tender guitar picking and soft vocals bring to mind Jose Gonzalez, Sam Beam, and Nick Drake, but his Seattle-by-wayof-Alaska-and-Texas backstory is as singular as the hushed and slightly off-kilter folk he peddles. With Sam Smith, Rob Lundsgaard, Leanne Wilkins. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conorbyrnepub.com. 9 p.m. $8.

Seattle weekly • OCTOBER 24− 30, 2012

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rock is informed by the landscape of the American southwest. With Ghosts I’ve Met. Columbia City Theater. 9 p.m. $10. BILLY IDOL Not including a 2006 Christmas album, it’s been seven years since Idol’s last release, Devil’s Playground, but the ’80s rock icon continues to tour heavily with his original guitarist, Steve Stevens. Showbox SoDo. 8 p.m. $40 adv./$45 DOS. All ages. FREAKNIGHT Other shows this month may be more significant locally (Macklemore at WaMu) or nationally (David

MIKE MOJICA

THE BRAMBLES Active since 2010, this local quartet

Byrne and St. Vincent at the 5th Avenue), but nothing captures the youth-cultural zeitgeist quite like this EDMcentered concert, more popular than ever in its 16th year. With Armin van Buuren, Morgan Page, Nicky Romero, Noisia. WaMu Theater. 6:30 p.m. $65. All ages.

Saturday, October 27 THE ALL-AMERICAN REJECTS This Oklahoma pop-

punk band supported Blink-182 on its 20th-anniversary tour earlier this year. With Boys Like Girls, Parachute, Dylan Jakobsen. Showbox SoDo. 7 p.m. $25 adv./ $30 DOS. All ages. CON BRO CHILL Professional lacrosse player Connor Martin fronts this party-rock quartet. With the Unibroz. Vera Project. 7:30. $11. All ages. HE WHOSE OX IS GORED This local band’s synthlaced hard-rock songs fall somewhere around the intersection of doom metal, shoegaze, and post-hardcore. With InAeona, Lo’ There Do I See My Brother. Comet Tavern, 922 E. Pike St., 322-9272, comettavern. com. 9 p.m. $7.

Sunday, October 28 BAMBU Originally a member of L.A. hip-hop collective

Native Guns, Bambu’s solo material sticks largely to social commentary, often centering on the hardships he encountered growing up in Watts. With Kixxie Siete, Rey Resurrection, Nam Nice. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 7 p.m. $12. All ages. BOWERBIRDS The latest from these North Carolinians is the hushed and orchestral The Clearing. With Strand of Oaks, Prypyat. Neumos. 8 p.m. $12 adv. HUSKY Fronted by the memorably named Husky Gawenda, this Australian band released its folkinformed debut album Forever So on Sub Pop this past July. With Hannah Georgas. Tractor Tavern. 8 p.m. $12. OPERA ON TAP The notion that opera performers consider themselves too haughty to sing anywhere but the most palatial halls has found a splendid counterweight in Opera on Tap, a sort of highbrow/lowbrow pickup Send events to music@seattleweekly.com See seattleweekly.com for full listings.

Tony Lucca headlines Barboza on Thursday, October 25. game regularly staged in the U District’s most wellworn dive. The Blue Moon, 712 N.E. 45th St. 8 p.m. $5. WITCH GARDENS This DIY pop group (and the owners of the most entertaining local-band Twitter feed, bar none) headlines an early Halloween show. With Dude York, FF. Comet Tavern. 9 p.m. $5.

Monday, October 29 DARK DARK DARK On the recently released Who

Needs Who, this Minneapolis five-piece deals in fastidious, piano-driven folk-pop. With Emily Wells, Eternal Fair. The Crocodile. 8 p.m. $12. All ages. SIOUX CITY PETE & THE BEGGARS For almost 10 years, the Funhouse was a grimy dive bar, an intimate live-music venue, and the epicenter of Seattle’s punk scene. Two days after this show, it closes for good. This Iowa blues-punk band headlines an employee benefit show for the people who made it happen. With Aimlows, Antique Scream, the Unemployables, Blue Ribbon Boys, the Piniellas, the Hook-Ups, Lisa Dank, Ronald McFondle & Friends. Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com. 7 p.m. $10 donation requested.

Tuesday, October 30 BROKAW At its best, this Good to Die Records–signed

band recalls Rage Against the Machine forced through a lo-fi filter: sludgy, politically charged punk songs that are surprisingly danceable. With The Grindylow, No World, Brain Hornet, The Holy. Funhouse. 9 p.m. $5. MATT & KIM This relentlessly smiley and upbeat Brooklyn duo—longtime lovebirds Matt Johnson and Kim Schifino—are touring on the back of their chipper, recently released fourth album, Lightning. With Oberhofer. The Neptune, 1303 N.E. 45th St., 877-7844849, stgpresents.org. 8 p.m. $22 adv./$25 DOS. All ages. SAD FACE On March’s Cheer Yourself Up EP, this five-piece plays brooding, post-punk-tinged art rock. With Ghost Town Riot, San Francesca. Sunset Tavern. 7:30 p.m. $6.

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dategirl»By Judy McGuire Is the Missionary Position Out of Style? Dear Dategirl, I haven’t had sex in the missionary position for at least a year. That’s not for lack of asking, either. Doggy-style, forward and reverse cowgirl—even sidesaddle, I’ve done them all. But then when I ask for a little missionary action, they either grunt and ignore me or, in one case, tell me that’s boring. Not the way I do it! This always leads to that soul-destroying moment when your face is smashed so hard into a pillow you can’t breathe, and you feel totally degraded. While they have a blast. —Sick of Acrobatics

Jesus freaking Christ! Are you kidding me? Yet another reason to stick with my boyfriend—not only are single ladies expected to remove every follicle of cooter hair (front and back), now missionary is no more? What kind of crazy world are we living in? If we ever break up, I’m obviously going to die alone, since I’m not ripping my pubes out for any man and the missionary po’ is my favorite. But since I’ve been banging the same piece for something like eight years, I’m not exactly hep to the latest trends. So I took to the streets to find out if it’s true. My buddy Daphne pointed out that missionary is “pressure, power, positioning, and straightforward fun.” Her thought—which I agree with—is that men have been “watching too much porn and adding excessive shenanigans to the act.” I also blame porn for the jackhammer method that so many of the youngsters employ. Stop the madness! Even my buddy Lux, who owns the porn site Fleshbot, is fond of the mish. “It’s

MEDICAL CANNABIS DIRECTORY

actually my preferred position,” he says, adding “Oh, hi, I’m lazy.” Amelia, editor of TheFrisky.com (and my ex-editor), agrees that it’s the lazy girl’s go-to. And really, after doing all that hair removal, who has the energy for much more complicated maneuvering? It’s not just the ladies who love it. Most of the men I spoke with agree it’s a classic. As my radio co-host Mike Edison wrote in I Have Fun Everywhere I Go: “Some things, no matter how many times they have been done—Beethoven’s Fifth Symphony, fried chicken, and the missionary position leap to mind—still provide near-universal satisfaction when done right.” Several gentlemen pointed out its value as a “finishing move” after all the gymnastics are dispensed with. One sweetie—whom my friend Marika is lucky enough to have married—says missionary isn’t over at all, “not if you love the person you’re with. It’s all intimate and shit.” Now I’m certainly not advocating you hold out until you fall in love, but you need to avoid these selfish fuckers. They’re not hard to spot. They’re fond of the one-sided approach to conversation—as in they talk, you listen. Their idea of a girl with a good sense of humor is someone who laughs at their jokes and never tells one of their own. They’re often shitty to service professionals. Jackasses like this don’t deserve to have sex with you—or anyone else, for that matter. So just say no and hold out for a nice guy. E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets@DailyDategirl, visit dategirl.net, or buy her new book, The Official Book of Sex, Drugs and Rock ’n’ Roll Lists.

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’d already heard great things about the Seattle medical-marijuana access point Canna Rx before I ever visited. The buzz was that this Fremont shop was one of the most professional and knowledgeable around. Always one to decide for myself, I showed up last weekend and found the buzz to be true. Not only that, but all cannabis flowers are just $10 a gram. If you’re a first-time patient at Canna Rx, you’ll be given an orientation, including a very informative look at six major cannabinoids, the compounds in marijuana that have healing and psychoactive effects. I was lucky enough to get the talk from budtender Tony, whose spiel is so effective that it was adopted as the official Canna Rx orientation. The talk is so complete, in fact, that some patients may

the shelves at Canna Rx. After being given at least six open jars to sniff and inspect with Tony’s assistance, I decided to try two strains I’d never had: Holland and Wonder Woman. Canna Rx doesn’t emphasize whether strains are conventionally considered sativa or indica varieties. They go for a much more numbers-based approach: Every bud jar is labeled with that strain’s lab-test numbers for six top cannabinoids, including the high-producing THC and the pain-fighting CBD. These guys believe that if you look at the THC, CBD, and other numbers, you can figure out for yourself whether a strain is going to be energetic or sleepy. And if you were listening during the informational spiel, maybe you can. The world of cannabis genetics is so incestuous and mixed-up at this point that there are damn few pure sativas and indicas left, anyway. At best, the indica/sativa dichotomy is a sort of New Hours: M-F 12:00 – 7:00 mental shorthand. Saturday 10:00of – 5:00 The world cannabis Holland (18.5 percent THC, 1 percent CBD) Sunday 12:00 – 5:00 is a spicy-smelling strain with a nice onset, genetics is so incestuous Bring this ad for an extra 10% off but it also seems to tail off a little more rapidly and mixed-up that there For weekly specials, follow us on Facebook than expected. It does produce effective pain are damn few pure sativas relief, and thus makes a good non-debilitating 4023 Aurora Ave. N. Seattle, WA 98103 and indicas left, anyway. daytime strain. Wonder Woman’s delicious, www.samcollective.org chunky buds (15.5 percent THC, 1 percent (206) 632-4023 CBD) are a pleasure to behold and sweetly A non-profi t organization ingetting accordancefidgety with chapter 69.51A delicious to toke. In a case of “You can’t always find themselves if RCW their goal weekly specials, follow usbyon go strictly theFacebook lab numbers,” I got subjecwas just to walk inFor and buy some medication tively higher on WW than I did on Holland; rather than to learn a few things about their 4023 Aurora N.ISeattle, WA 98103 recommend this strain for nausea control favorite herb. I was in no hurry myselfAve. on and appetite stimulation.E the Saturday I visited; I rather enjoyed the www.samcollective.org information Tony presented, and in fact tokesignals@seattleweekly.com learned a couple of things myself. Steve Elliott edits Toke of the Town, Once that was over, I was bedazzled by the Village Voice Media’s site of cannabis news, 37 varieties—remember, all at $10 a gram—on views, rumor, and humor.

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