Seattle Weekly, October 10, 2012

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inside» October 10–16, 2012 VOLUME 37 | NUMBER 41 » SEATTLEWEEKLY.COM

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CELEBRATING ICELANDIC FOOD, MUSIC, AND CULTURE

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up front 6 NEWS

THE DAILY WEEKLY | This week in “Life Imitates Monty Python”: tales of an ex-parrot. Also: Rob McKenna’s plan for immigrant drivers and Roger Goodman’s ideas for fine-tuning I-502.

8 FEATURE

27 | CULTIVATE | Introducing UW students to the culture of dining.

28 | FIRST CALL | Mojitos a la Moscow.

29 | A LITTLE RASKIN | How a California labeling law could affect the whole country.

33 MUSIC

33 | BOB DYLAN | Our Readers Talk Back;

or, The Reviewer Reviewed.

34 | REVERB | Rodriguez’s long, strange trip

your taxes? Well, you could buy a yacht, move your basketball team, or exploit one of the other eight loopholes on our list—and leave the 99% to pick up the financial slack.

and Whitney Lyman’s solo adventure. Also: Are you on Duff’s heroes list?

37 | THE SHORT LIST | The Corin Tucker Band, Macklemore & Ryan Lewis, and more.

“Elles” opens at SAM, Earshot covers the town, and Jeffrey Toobin tells us all about the Supreme Court.

16 ARTS

16 | OPENING NIGHTS | Two history plays consider racism in the ’30s and ’40s.

18 | THE FUSSY EYE | Paint as a solid.

19 FILM

19 | SEATTLE LESBIAN & GAY FILM FESTIVAL | Docs make a splash this year.

21 | THIS WEEK’S ATTRACTIONS

Ben Affleck saves the Iran hostages, Nicole Kidman gets all slutty and Southern, and Christopher Walken does peyote in the desert.

»cover credits

ILLUSTRATION BY JUSTIN RENTERIA

other stuff

17 | PERFORMANCE 18 | VISUAL ARTS 24 | FILM CALENDAR 28 | FEATURED EATS 39 | SEVEN NIGHTS 40 | DATEGIRL 41 | TOKE SIGNALS

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epublican gubernatorial candidate Rob McKenna is wooing Hispanics as best he can. The state attorney general made his opening remarks at last week’s debate in Yakima in Spanish, something opponent Jay Inslee didn’t attempt. And he gave a surprising answer when asked whether the state should require proof of legal residency before granting driver’s licenses.

While he said the state should require such proof, in line with Republican attempts to crack down on illegal immigration, he also said he supports the idea of offering “some kind of other document that lets you drive.” It’s an interesting notion that seems aimed at staking out a middle a 2008 audit recorded that 35,000 drivers ground on immigration. had obtained privilege cards in the first three Unfortunately, McKenna’s campaign did not years they had been offered. make the candidate or anyone else available to Barón has another objection, though: “This talk about what kind of document that would be proposal would still require the Department of and how it would work. But it’s not an entirely Licensing to be in the business of figuring out new idea. In 2005, Utah created a “driver privipeople’s immigration status in order to deterlege card” that is distinct from a license and mine which kind of license/permit they could cannot be used as identification. have. This is going to create problems for everyThe card has repeatedly come under attack body in the community (since we will all have to by those who believe it’s making Utah a magnet establish our citizenship), for illegal immigration. but would also impact in When a Republican a disproportionate way legislator sponsored a Print is great, immigrant and refugee bill to repeal the policy but if you want to read . . . about a cocktail dress that actually communities, even for this spring (in the end, serves cocktails, you’ll have to check out those members who unsuccessfully), The The Daily Weekly. have lawful status: We Salt Lake Tribune stuck SEATTLEWEEKLY.COM/DAILYWEEKLY frequently see agencies up for it. Dismissing the at all levels not undermagnet theory, the paper standing immigration status issues, and theresaid of the card: “It makes the state’s roads and fore rejecting applicants incorrectly.” highways safer by encouraging people to pass Given our nation’s byzantine immigration the driver tests. It familiarizes people from laws, it’s a fair point. McKenna might not yet other nations with the rules of the road. It also have hit the sweet spot on immigration policy enables them to buy insurance.” The Tribune also mused that the “driver privilege cards make he’s looking for. NINA SHAPIRO life a bit more normal for illegal aliens. They may not fear traffic stops as much, for example.”

But the idea may not appeal to Hispanics or immigrant advocates as much as McKenna In early July The Daily Weekly told you may hope. Jorge Barón, executive director about 29-year-old Yevgeniy M. Samsonov, of the Northwest Immigrant Rights Project, a Tacoma man facing charges of attempted tells SW that his organization is opposed to theft and insurance fraud after lying about a “two-tier system.” He says he believes that the death of his cat, which never existed. many immigrants would not seek a permit Samsonov was accused—and has now been “that would essentially brand them as being convicted—of trying to swindle PEMCO undocumented.” This would lead to a lot more Insurance out of $20,000 by filing a bogus unpermitted and uninsured drivers on the road, claim, contending that his beloved feline which he says would be “bad for everyone.” (which, again, never existed—a totally fake It’s worth noting, however, that Utah’s cat) had been killed in a 2009 automobile experience suggests that thousands could opt accident. Authorities say they caught on to into such a system. According to the Tribune, Samsonov’s scheme when they discovered Dan Carino

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MATT DRISCOLL

Patching Up 502

Rep. Roger Goodman, currently running for re-election in Washington’s 45th legislative district, has been ready to end marijuana prohibition for a decade. He arrived at the conclusion back in the ’90s after witnessing the drug war’s consequences firsthand as the executive director of the Washington State Sentencing Guidelines Commission. “We were incarcerating people, particularly people of color, who were trying to cope with a difficult life with substances, for longer periods than people who’ve committed assault or molested children,” he recalls.

Remedying this injustice has been an ongoing project for Goodman ever since. Now that New Approach Washington’s Initiative 502 is not only on the ballot but could potentially pass, Goodman isn’t afraid to say I told you so. “I think it [shows] demonstrated leadership ability when you stick your neck out on a controversial topic, and within a decade the public catches up with you because they realize you were right,” he says.

Naturally, when the initiative’s campaign director, Alison Holcomb, sought Goodman for an endorsement last spring, he didn’t hesitate. But he recognizes that 502 isn’t perfect.

“There’s not a lot of clear science establishing a per se limit of nanograms per milliliter of blood,” Goodman says of the initiative’s controversial DUI provision, which places the limit at five nanograms of active THC per milliliter of blood. (See “The High Road,” SW, March 7, 2012.) “It seems like the effect of cannabis on driving differs widely from person to person, although there is an impairing effect. I am not as concerned about legions of cannabis users being pulled over to the side of the road, but I do think we need to protect authorized cannabis patients.”

“We were incarcerating people . . . who were trying to cope with a difficult life with substances, for longer periods than people who’ve committed assault or molested children.”

Moreover, the initiative makes no mention of other concerns, like how to regulate home growth of marijuana. Goodman figures that if home distilling comes with rules, pot should too.

“There’s still going to be a role for [the] legislature to play, even if 502 passes,” he says. “That’s really where the rubber will meet the road.”

If the initiative succeeds, Goodman hopes to patch up the holes this coming legislative session; his suggestions include preventing wrongful DUI convictions of medical patients by requiring an independent finding of impairment by a drug-recognition expert. If 502 flops, Goodman says he will try to better Washington’s inconsistent and vague medical-marijuana laws, anyway. “Senator Jeanne Kohl-Welles and I are committed to putting in place a more uniform statewide system for medical cannabis,” he says, “which could very well be independent from anything that happens after 502 were to pass.”

Granted, Goodman needs to be re-elected before he can help anyone. But the former attorney is confident he can win a fourth term with his education and environmental platforms and legislative record. He hopes New Approach Washington can do the same with drug-war-weary voters across the state. “[I-502] is a major step in the right direction, and it’s crafted well enough to earn my endorsement, and will certainly send the right message to the public, the Congress, and to the world: It’s time to end prohibition,” says Goodman. ILONA IDLIS E news@seattleweekly.com

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the photos he’d provided of his purported pet didn’t match, and were actually just stock photos from the Internet.

But now there’s more to the story. Representatives for the Washington State Office of the Insurance Commissioner say this isn’t the only fake-dead-animal claim Samsonov has been involved with. Rich Roesler, who handles public affairs for the Insurance Commissioner, says Samsonov tried the exact same scheme with a fictional dead parrot.

Last week, in an e-mail to the press trumpeting Samsonov’s upcoming sentencing, Roesler divulged the new, parrot-related accusations against Samsonov. The trouble, yet again, was in providing a picture. Roesler writes: “After charges were filed at the request of state Insurance Commissioner Mike Kreidler this summer, an insurance company contacted Kreidler’s office to report that Mr. Samsonov had also filed a nearly identical $20,000 claim for a dead parrot. (The photo Samsonov submitted in his dead-parrot claim is apparently of a parakeet.)”

Oops.

On Monday, Samsonov was sentenced to 45 days—15 in custody, 30 under home monitoring—for the cat fraud, the details of which bear repeating: In March 2009, Samsonov was involved in what charging documents call “a minor traffic collision” in Tacoma. PEMCO ended up paying Samsonov $3,452.28 as part of a related claim, under the condition that he not file any additional claims.

However, Samsonov did so in October 2011, claiming that his cat—white with blue eyes, and described in a letter as “like a son” to Samsonov—had been killed in the accident.

Samsonov’s letter to PEMCO, which included a photograph of the cat in question, sought $20,000 from the insurance company.

Not surprisingly, PEMCO wasn’t about to cut a check for $20,000 without doing a little research. And according to charging documents, it didn’t take long for investigators to determine something was amiss. Conducting a run-of-the-mill Google image search, investigators determined that the cat pictures— Samsonov sent the company a second photo at its request—actually originated from the Internet. Searching for white cats with blue eyes, the two images Samsonov had submitted to PEMCO both came up. Investigators were able to determine that the pictured cats were actually two different cats and, more important, that Samsonov owned neither animal.

PEMCO of course denied the claim. The charges against Samsonov soon followed.

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“The tax code is a mess,” says Congressman Chris Van Hollen (D-Maryland). “I support tax reform, but not reform that’s simply a Trojan horse for giving another round of windfall tax breaks to the very wealthy.”

And that’s the problem. President Obama and Democrats have railed against this brand of favoritism for years, only to cave like the French army at the first whiff of resistance.

Republicans are worse, prattling on about free markets while protecting just about any market-distorting loophole if the money’s right. Mitt Romney, the poster child for offshore tax schemes during his time at Bain Capital, claims he has a plan to close loopholes. He just refuses to say how he’ll do it.

But for those of us not being bought with weekend golf retreats at Augusta National, it’s easy to find giveaways we all can agree must end. Here are the 10 most corrupt breaks, designed to do nothing but pervert America’s economic strength.

Holdings, which doesn’t even publicly list an office address or a phone number. But it does have paperwork saying it’s headquartered in the Virgin Islands, where it can stockpile its income tax-free, outside the reach of the IRS. Most people associate such exhaustive moneylaundering with drug cartels. But it’s now standard practice at firms like Eli Lilly, Google, Microsoft, Pfizer, and Facebook. The only difference is that when drug dealers do it, the government shows up with Kevlar and automatic weapons instead of a refund check. Congress, meanwhile, is paid to look the other way, leaving the federal treasury to serial molestation by our most prominent citizens.

“The original sin is that we treat a wholly owned subsidiary in the Cayman Islands as if it was an arm’s-length separate entity,” says Dr. Calvin Johnson, a tax expert at the University of Texas Law School. “A pocket transfer from the U.S. to the Cayman Islands is like a transfer from your left pocket to your right.

Any system that treats a Cayman Island subsidiary as if it is a separate entity is just asking to be destroyed.”

Actually, it already has been destroyed. Despite declaring $18 billion in profits in 2010, Apple paid just 17 percent in federal taxes. It socked away another $74 billion offshore and tax-free.

Who covers the difference when Apple pretends to be Irish? That would be you.

AUSTEN HUFFORD/CREATIVES COMMONS

Seattle weekly • OCTOBER 10− 16, 2012

A

year ago Citizens for Tax Justice, a Washington, D.C., nonprofit, studied the tax returns of 280 corporations.

What it found was a Beltway version of a Mafia protection scheme.

From 2008 to 2010, at least 30 Fortune 500 companies—including PepsiCo, Verizon, Wells Fargo, and DuPont—paid more for lobbyists than they did in taxes. They collectively spent $476 million sucking up to Congress, buying protection for tax breaks, loopholes, and special subsidies.

It didn’t matter that these same 30 firms brought home a staggering $164 billion in profit during that three-year period. They not only managed to avoid paying taxes— they actually received $10.6 billion in rebates.

Welcome to the U.S. tax code, where companies like General Electric and Boeing contribute less to the federal treasury than a retired machinist living in Seattle.

Defenders of the system argue that most deductions don’t go to large corporations. That’s true. By pure dollars, the lion’s share go for mortgage interest, employer-paid health insurance, retirement plans, and Medicare benefits.

The difference is these deductions tend to benefit everyone. They’re designed for the greater good, reinforcing the pillars of selfdetermination: home ownership, savings, and health care.

But there’s another part of the tax code where 99 percent of America is barred from entry. It’s where Congress sells loopholes and subsidies to those with the wallets to pay. They not only screw the rest of the country—which is forced to cover the tab—but turn any notion of a free market into situation comedy.

Even for companies within the same industry, the disparities are alarming. From 2008 to 2010, UPS paid a tax rate of 24 percent. Rival FedEx paid less than 1 percent. Monsanto managed to pay 22 percent—well below the supposed corporate rate of 35 percent. But that’s nothing compared to DuPont, which received a $72 million rebate—despite profits of $2.1 billion.

This sleight-of-hand even extends to retail.

While Nordstrom paid 37 percent in taxes, Macy’s rate is just 12 percent.

You don’t need a Wharton MBA to see how damaging this is to the nation’s financial health. Big companies are given incentive to lard up on lobbyists, accountants, and lawyers, rather than use that money to improve products and services. And while small businesses may collectively be our largest and most stable employer, we’ve rigged the game against them, since they can’t afford to buy congressmen of their own.

9

Back in the 1970s, “hard work” wasn’t just something candidates yammered about during campaigns. It was actually embedded in the tax code. Capital gains— investment income created by things like stock dividends—were taxed at a higher rate than wage income for a very simple reason. “The theory was that it was tougher to dig a ditch than to watch somebody do it,” says Robert McIntyre, director of Citizens for Tax Justice.

Even Ronald Reagan knew that someone shouldn’t pay less for sitting on his ass. He made the capital-gains tax the same as the highest personal rate. But heavy lobbying has since whittled that notion of “hard work” down to a toothpick. George W. Bush finally hacked it to its current low of just 15 percent.

Officially, the theory is that lowering the capital-gains tax will spur investment, creating new companies, new jobs, and prosperity for all. But most economists have found it does little to spur savings and investment. What it does is deliver a fortune to investment bankers and financiers like Romney and Warren Buffett, both of whom pay lower rates than their secretaries. Over 70 percent of the $100 billion that capital-gains tax breaks cost the government each year goes to those with incomes in excess of $1 million, according the Joint Committee on Taxation. Even more shocking: The 400 highest-income Americans received 16 percent of all net capital gains in 2009, a total of $37 billion.

Congressman Sander Levin (D-Michigan) has tried to shear this golden lamb by requiring those taking capital-gains breaks to prove they actually invested. Yet Congressman Dave Camp, a Michigan Republican and chairman of the House Ways & Means Committee, has blocked the bill from ever coming to a vote.

It’s probably just coincidence that since Camp entered Congress in 1998, he’s taken a whopping $631,916 from the financial industry. Camp did not respond to repeated interview requests.

BY CHRIS PARKER

10

I’m Irish. No, really.

Apple Inc. may have made Silicon Valley famous, but it prefers to let someone else pick up the check for northern California’s freeways, bridges, and airports. How? By pretending to be Irish.

In the late 1980s, Apple decided that Ireland’s 12.5 percent corporate tax rate was a much more appealing figure than America’s 35 percent. But Steve Jobs didn’t want to move to Dublin. Fortunately, Congress allowed him to fake it.

Apple created an Irish subsidiary. Then, with a flourish of paperwork, it transferred its most valuable assets—its patents—to Ireland, comically forcing its U.S. headquarters to pay leasing fees for its own inventions.

Nothing had actually changed in the way the company operated. Apple simply had new paperwork saying it was partial to warm beer and fiddles, allowing it to dodge a substantial part of its U.S. tax bill.

But that wasn’t the end of the scam. The Irish subsidiary is partially owned by another company, Baldwin

How to lower your taxes by sitting on your ass.

7

Getting rich, Facebook style.

Sheryl Crow benefited to the tune of $2 million from a loophole put in place

by Tennessee, Kentucky, and Texas lawmakers.

with stock options. Companies expensed the giveaway without ever opening their wallets, leaving taxpayers to subsidize caviar compensation plans.

Last year, the five highest-paid CEOs collectively took home $232 million—while their companies received a tidy $81 million in tax breaks.

Before Facebook offered its first publicly sold stock in May, CEO Mark Zuckerberg grabbed 120 million shares for himself, then threw another 67 million to his employees. It may have seemed an unusual act of generosity for a man not known for his grace. That’s because it was also a multibillion-dollar My other tax scam. home’s The public paid $38 a a yacht. share for Facebook stock in initial trading. Yet via a Established in sweet little loophole created 1913, the mortgage-interest

by Congress, Zuckerberg deduction is one of the oldest claimed the shares he gave and most sacred breaks in the employees were worth just code. It’s meant to encourage six cents apiece. By law, home ownership and stabiFacebook was allowed to lize communities. It doesn’t deduct the difference—more really work, since most peothan $7 billion—as a business ple will buy homes whether expense. they receive a break or not.

In reality, the employee Countries like Australia and giveaway cost Facebook Canada have ownership Thanks to the luxurynothing. It neither expanded rates similar to ours without boating industry, taxpayers the company’s expenses offering the deduction. helped subsidize Microsoft nor increased its liabilities.

But at least congressmen co-founder Paul Allen’s $200 McIntyre compares it to an back in 1913 occasionally million yacht, Octopus. airline letting workers fly free tried to do something benein seats that would otherwise ficial for the country. Today’s have been empty. The airlines don’t receive a Washington is more interested in exploiting break because it doesn’t cost them anything. such beneficence. Take the yacht deduction.

But thanks to some inventive paper shuffling, The luxury-boating industry was able to Facebook will receive a $500 million tax buy its way into the mortgage break when refund next year.

Congress officially declared boats as homes.

A similar loophole encourages companies But not just any boat: The rules require they to offer executives those bloated compensahave sleeping quarters, a kitchen, and a toition packages. When CEO wages began to let, leaving just 3 percent of U.S. boat owners spur outrage in the early Clinton years, Conto qualify. gress decided that companies could no longer “The mortgage deduction was never tardeduct executive salaries over $1 million as a geted for that,” says Congressman Tim Walz business expense. But it also created a loop(D-Minnesota). “It was meant to make home hole that rendered its crackdown meaningownership more affordable for the middle less. Exempted were “performance-based” class.” So Walz wrote the Ending Taxpayer bonuses that surpass that $1 million threshold.

Subsidies for Yachts Act, hoping to bar the A grand new corporate giveaway was über-wealthy from sponging off the mortgage born. Suddenly, CEOs were being slathered » CONTINUED ON PAGE 11

6

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

It pays to have low friends in high places. Six years ago, legislators from Tennessee, Kentucky, and Texas wanted to reward those who provide the star power for their fundraisers: country musicians. So they passed a law allowing songwriters to avoid income taxes and sell their publishing catalogs at capital-gains rates. Suddenly, Nashville’s elite could not only avoid the taxes everyone else must pay; they could also skirt their Social Security and Medicare bills.

Three years later, Sheryl Crow sold her publishing rights to one of Australia’s largest banks for nearly $10 million. Her estimated savings courtesy of this congressional giveaway: $2 million.

The law, however, curiously omitted other creative types who weren’t hosting congressmen’s rallies. Authors, for example, still must pay standard income taxes for selling the copyrights to their books. The same goes for painters, photographers, screenwriters, and sculptors.

KEVIN W. BURKETT/CREATIVE COMMONS

8

The Sheryl Crow loophole.

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In April, 750 workers at a Kimberly-Clark paper mill in Everett lost their jobs when the company shipped them to a lower-cost facility overseas.

Steelworkers in Stevens Point, Wis., suffered the same fate. Their mill’s owner, Joerns Healthcare, took away 150 jobs last month by moving operations to Mexico.

Another 170 people making auto sensors at a Sensata Technologies plant in Freeport, Ill., will be out of work by year’s end. Their jobs are being carted off to China.

In each case, American taxpayers will subsidize the evacuation.

It’s not just cheap labor that pushes work overseas. The U.S. huge contributions from tax code allows companies to the financial sector.

Big Oil’s expense every last cost of sendWhat did it get in return?

Cadillac ing your job abroad.

Camp blocked legislation welfare. reforming the capital-gains At a time of 8 percent unemployment, one would tax rates and the ending Last month, think Congress would rush to Taxpayer Subsidies for Mitt Romney traveled to kill a loophole that actually Yachts act.

Iowa, where wind energy encourages economic misery. has become an economic One would be wrong. This force, responsible for 7,000 summer, Senate Democrats introduced the jobs and 20 percent of the state’s electricity.

Bring Jobs Home Act, which would kill the He announced that, as president, he would loophole and offer a 20 percent tax credit to kill the $3.3 billion in tax incentives that now companies that bring work back to America. go to this nascent form of electricity. In RomRepublicans filibustered the bill to death. ney’s eyes, the industry has had more than Senator Sen. Orrin Hatch (R-Utah) went so enough time to stand on its own two feet. far as to call the measure “a joke,” ensuring “He will allow the wind credit to expire, another nervous Christmas for the country’s end the stimulus boondoggles, and create blue-collar workers. a level playing field on which all sources of energy can compete on their merits,” Romney spokesman Shawn McCoy told The Des The behavingMoines Register. It’s a laughable position. like-an-asshole After all, Romney has announced no similar deduction. crackdown on a much older and larger welfare queen: Big Oil. In 1989, third mate Gregory The five largest U.S. oil companies collect Cousins was negotiating the 986-foot Exxon a spectacular $20 billion a year in tax breaks.

Valdez through Bligh Reef in Alaska while And they’d prefer that wind farms not comCaptain Joseph Hazelwood slept off a bender pete for that lucrative welfare dollar. During below deck. The vessel crashed, spilling this year’s presidential race, the industry has upward of 25 million gallons of oil into Prince paid Romney $3.4 million to ensure wind William Sound. The disaster could have goes away. been avoided if the ship’s collision-avoidance Technically, the oil giveaway is supposed radar had been working. It had broken a year to defray the cost of searching for new before, but Exxon chose not to fix it due to sources. But even George W. Bush realized the cost of repair and operation. the industry didn’t need subsidies back in Overnight, 1,300 miles of pristine shoreline 2005, when the price of a barrel was $55. “We turned to blacktop. Wildlife caked in oil looked don’t need incentives to the oil and gas comlike a Hollywood casting call for an Al Jolson panies to explore,” he said at the time. “There biopic. The remote locale made cleanup diffiare plenty of incentives.” cult. Twenty-three years later, fish stocks have These days, the price of a barrel routinely yet to return to their pre-spill levels. hovers around $100. But the five biggest A court would eventually level $5 billion in companies—BP, Chevron, ConocoPhillips, punitive damages against Exxon—equal to a ExxonMobil, and Shell—still get their breaks, single year’s profit at the time. The company despite collective record profits of $137 bilappealed, chipping away at the sanction until lion last year. the Supreme Court slashed that figure to “The oil industry is doing fine,” says $500 million in 2008. Yet through the miracle Johnson, the University of Texas tax expert. of the tax code, Exxon ended up paying only “They don’t need or deserve a dime of subabout $325 million. No matter how negligent sidy. It’s all money thrown away to make a company is, court judgments are considered shareholders richer. The private market nothing more than a business expense, and will provide any subsidies by increasing the therefore tax-deductible. price. It’s time to get the government out Last year, Senator Patrick Leahy (D-Vermont) of the business of special subsidies. It’s like introduced the Protecting American Taxpayers Cadillac welfare.” » ConTinUeD on page 13 Michael Jolley/creative coMMons

deduction. Once again, Congressman Camp refuses to let it come up for a vote.

That leaves everyday taxpayers to subsidize toys like Microsoft co-founder Paul Allen’s $200 million yacht, which comes equipped with an indoor pool, a basketball court, and its own submarine.

“It’s a loophole in the tax code that benefits a few people at the very top,” says Walz, a sergeant major in the National Guard and former teacher. “I certainly feel if they want to grab their luxury liners, I’m glad they do.

And I’m glad we have people making them. I’m just not U.S. rep. Dave Camp certain we subsidize that.” (r-michigan) has taken

A break for shipping your job to China.

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Thursday - Saturday (8pm) / Sunday (2pm) Odd Duck Studio • 1214 10th Ave Seattle, WA 98122 Tickets: 206.679.3271

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Corrupt Tax Loopholes » FROM PAGE 11 From Misconduct Act. If a court orders damages for malfeasance, U.S. taxpayers would no longer be forced to grab a piece of the tab.

Yet even in the Democratic-controlled Senate, liberals realize that exposing their corporate patrons to more tax liability will go over like a dieting booth at the county fair. Leahy’s bill never made it out of committee.

2

Delaware, the Cayman Islands of America.

1

The corporateblackmail exemption.

In 2006, Starbucks chieftain Howard Schultz sold the Seattle SuperSonics to Clay Bennett for $350 million—with the “understanding” that he would keep the team in Seattle.

Almost immediately, Bennett—who made his money by marrying the daughter of billionaire Edward Gaylord, owner of Country Music Television—asked Seattle to pony up $300 million for a new arena. The city wasn’t eager, since it had already spent $75 million renovating the existing arena a decade before.

Bennett decided to blackmail Seattle, using

Take Toyota. In 2002, it decided to build an assembly plant for its Tundra pickup, taking advantage of cheap labor in the South. Just like Oklahoma, otherwise anti-entitlement states like Alabama, Arkansas, Mississippi, Tennessee, and Texas stumbled over each other to offer monstrous welfare packages. Texas ultimately won by offering $227 million in subsidies. The state had purchased the right to host 2,000 workers at a plant in San Antonio—at a cost of $110,000 per job.

Yet for America as a whole, the deal was a spectacular loss. It wasn’t long before Toyota closed a similar plant in California, killing 4,700 jobs and shifting production to San

Antonio and Canada. The net result: Texas taxpayers forked over $227 million so America could lose 2,700 jobs. The only winner was the Japanese automaker, which walked away with a tax-free welfare package.

Still, Congress continues to offer blackmailers this lucrative break, though it provides no benefit to the country. “There isn’t one bit of improvement whether the Toyota plant goes north or south of the Tennessee/ Alabama border,” says Johnson. “Yet they will make money off the fact that there is a line between them. It’s just nonsense.”

Unfortunately, nonsense is the calling card of the tax code. Surely even Mitt Romney can see that. E Chris Parker is a freelance writer living in Cleveland. news@seattleweekly.com

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Seattle we ekly • O CTO BER 10− 16, 2012

Just outside of Philadelphia sits a tax haven so egregious the Cayman Islands complain about us. It’s called Delaware, a tiny state that allows American companies to set up fake headquarters so they can avoid taxes in their own states.

Delaware does it by asking fewer questions than a needle exchange. Like the Caymans, it doesn’t tax assets like royalties, leases, trademarks, and copyrights. So U.S. companies create shell firms in Delaware, then “sell” their intellectual property to them. By leasing their own inventions from these fake companies, corporations have dodged $9.5 billion in state taxes over the past decade.

The trailblazer for such schemes was WorldCom, the famed telecommunications company that imploded in 2002 after being caught cooking its books. In one scam, WorldCom pretended to pay its Delaware shell company $20 billion in royalties for the questionable asset of “management foresight.” Though there were no managers in Delaware, and no real money changed hands, WorldCom was able to reduce its state taxes by hundreds of millions.

Such scheming is so commonplace that Delaware is home to more corporations (945,326) than people (897,934). Even the patron saint of tax evasion, the Cayman Islands, sniffs over the state’s corrupt practices. “There should be a level playing field, and Delaware should have to comply with the same standards as the Caymans,” says Anthony Travers, chairman of the Cayman Islands Stock Exchange.

Johnson likens the Delaware strategy to the one first professed by Clyde Barrow, the Depression-era bank robber. “Near the end of Bonnie and Clyde, they’re lying around in bed after making out, and Bonnie says, ‘Anything you’d do different?’ And Clyde says, ‘I think we shoulda lived in one state and done our bank robbery in another state,’ ” says the professor. “The answer is if you’re a corporation, that’s exactly what you do.”

Oklahoma City as leverage. Oklahoma had no major sports team of its own. So its otherwise conservative legislature offered Bennett a huge welfare package: $120 million for arena renovations and a new practice facility.

Seattle balked. Oklahoma had a new basketball team.

Yet according to the tax code, not all entitlements are created equal. While a laid-off electrician still pays taxes on his $500-a-week unemployment check, Bennett didn’t pay a dime on his $120 million welfare bonanza.

This exemption only sweetens corporate incentive to blackmail states and cities whenever they consider moving.

13

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O C TO B E R H O T T IC K E T S BACH & VIVALDI October 12 & 13 at 8pm

TASTING

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SYMPHONY October 19 at 7pm This Symphony Untuxed concert features an earlier start time, pre-concert happy hour, and a shorter concert format with no intermission.

Happy Hour

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WAT C H M O R E

BILL COSBY October 21 at 3pm

Seattle weekly • OCTOBER 10− 16, 2012

Bill Cosby

14

Comedian Bill Cosby returns to Benaroya Hall for a special performance.

Performance does not include the Seattle Symphony.

TICKETS FROM: $47

SONIC EVOLUTION October 26 at 8pm 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.

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TICKETS FROM: $31

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

the»weekly»wire wed/10/10

fri/10/12

BOOKS

MUSIC

9 Against 1

One Master, Many Apprentices

CENTRE GEORGES POMPIDOU/ARTISTS RIGHTS SOCIETY

If you’ve already read his Supreme Court dispatches in The New Yorker, from John Roberts’ bungled presidential oath-giving to Citizens United to the shocking 5–4 Obamacare decision, there’s nothing new in Jeffrey Toobin’s The Oath: The Obama White House and the Supreme Court (Doubleday, $28.95).

thurs/10/11 VISUAL ARTS

Maar, Maar, Maar

famous Portrait of Dora Maar (one of several such portraits). His lover, muse, and model during the late ’30s and early ’40s, Dora Maar (1907–1997) had already earned her fame as a Surrealist-influenced photographer when they met. Her untitled 1934 juxtaposition of a snail shell and a woman’s hand is a fine example of her sensibility, both grotesque and sexual; you can see what drew Picasso to her.

After their long affair, replaced by Françoise Gilot, Maar became an art-world recluse and legend, something of a martyr to her one great love. Julianne Moore portrayed her in Surviving Picasso (opposite Anthony Hopkins), and now Gwyneth Paltrow is slated to play Maar opposite Antonio Banderas in a new Picasso biopic. Even if unlucky in love, she’s no mere victim in her own creations.

(Through Jan. 13.) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $11–$17. 10 a.m.–9 p.m. BRIAN MILLER

*

Tales of Travails

STAGE

Ma-Rama-thon

How could any playwright make sense of the Hindu epic Ramayana? With monkey gods, multiheaded deities, epic battles, seduction, and betrayal, the seven-volume text would seem impossible to condense into a single stage production. Yet given the daunting task of adaptation were Stephanie Timm and Yussef El Guindi, who says, “In general terms, it’s a lover’s torturous journey set against a backdrop of gods and war. A boy [Rama] falls in love with a girl [Sita]. The girl gets kidnapped by an evil king [Ravana], and Rama sets off to rescue his wife.” And despite the cast of thousands, says El Guindi, it’s been pruned down so that “like the Iliad, it’s fairly straightforward. In its condensed version, it’s an adventure story. It’s about someone being initiated and having to test his mettle.” And through Rama’s adventures, various ethical dilemmas are raised: “Divine principles versus greed and the flesh. Love versus duty. The

FILM

True Colors

“I have said all I need to say on film,” Krzysztof Kies´lowski proclaimed after completing his “Three Colors” trilogy in 1994. Directors are prone to such sweeping statements, but his untimely 1996 death proved him right. These films stand as his final cinematic statements.

Individually, Blue, White, and Red reflect the French flag and the ideals of the motto “liberty, equality, and fraternity” through a Kies´lowskian exploration of the human experience, but these are not hymns to patriotism or national identity. This trilogy reaches beyond national borders to become a portrait of the new post-Soviet Europe, as well as a rumination on the mysteries of his beautiful leading ladies: Juliette Binoche (a grieving widow in the hushed Blue), Julie Delpy (a frustrated ex-wife in White, a comedy of capitalism and revenge), and Irène Jacob (a model in the warm, forgiving Red). The films stand on their own as individual experiences, with Blue the most intimate and poetic of the three, and Red the most complex and densely woven. But the subtlest details weave through the trio and gather them into the same cinematic universe.

They echo with doubles and disconnected relationships that dance around one another until Red’s final scene pulls all three together into an experience greater than the sum of the parts.

(Through Thursday; exact schedule still pending.) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $5–$10. SEAN AXMAKER SAT: STAGE

Veteran character actor Stephen Tobolowsky has finally achieved the kind of fame that depends not on his familiar face but on his singular voice as a storyteller. With a long list of IMDb credits to mine (right up to The Mindy Project!), his podcast/radio show The Tobolowsky Files is rich in material—now adapted into a book, The Dangerous Animals Club (Simon & Schuster, $24). What makes Tobolowsky so appealing? I think it’s his humility and his willingness to be surprised. Starting on Texas stages in the ’70s, then moving to Hollywood, he’s met people on every rung of the showbiz ladder—moving in both directions.

Today he’s recovered from bypass surgery, which he had hoped to avert by “looking for a solution that didn’t involve not eating fried chicken,” he says in a recent podcast about his ordeal. What was the undiagnosed cause of his fatigue? “I just thought it was the apathy brought on by how bad movies had been recently.” Later in post-op, doped up on Michael Jackson–caliber meds, he’s told by a nurse that she’ll yank the catheter on the count of three. “I opened my mouth to say ‘One . . . ’ ” Tobolowsky recalls, “and then she pulled. I thought it was revealing that modern medicine was using a strategy last employed in a Mad Max movie.”

The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $27.50. 8 p.m. BRIAN MILLER

SLASHFILM.COM

Elles is coming! Elles is coming! SAM’s big fall show is actually two shows: Elles: Women Artists From the Centre Pompidou, Paris , plus a smaller companion exhibit from the museum’s own collection (call it Filles if you wish). Big Elles is a traveling exhibit featuring over 70 artists, with boldface names including Frida Kahlo, Diane Arbus, and Cindy Sherman—in other words, they’re not all Frenchwomen. But one Gallic artist among the throng will seem familiar after SAM’s 2010 Picasso show, if you remember his

Maar makes a return of sorts to SAM.

mon/10/15

Seattle we ekly • O CTO BER 10− 16, 2012

Still, with the court back in session this month and the election less than four weeks away, he should have plenty to say about two overlapping new terms. First, no matter who wins the White House, Chief Justice Roberts remains in office, for life, and he has no boss. On the docket are important cases involving samesex marriage, affirmative action and college admissions, and whether the Southern states can finally escape the Voting Rights Act of 1965. The latter of course would allow more voter-ID laws and redistricting to create safe Republican seats, further strengthening the party’s hold on Congress and state legislatures. That brings us—and we hope Toobin in his remarks tonight—to the second great clash between Obama and the court(s). Believe the polls, and he wins a second term. But Toobin and others say Obama is way behind in filling court vacancies. Ginsburg is 79, Breyer 74, and Scalia and Kennedy are 76. To fill any of those possible vacancies, and dozens more in lower courts, Obama will face a Republican Party with little incentive to compromise and every reason to filibuster. All of which will give Toobin much to write about during the next four years.

(Presented by Seattle Arts & Lectures.)

Benaroya Hall, 200 University St., 621-2230, lectures.org. $5–$70. 7:30 p.m. BRIAN MILLER

Now in its 24th year, the Earshot Jazz Festival will feature dozens of prominent local players, plus visitors ranging from Bettye LaVette to Philip Glass to Branford Marsalis. The fest offers 50 shows at venues all over the city, from small clubs to Benaroya Hall, where tonight the Garfield High School Band performs a tribute to Clarence Acox, who’s taught music at that school for 35 years. (It’s no coincidence the mayor has proclaimed today Clarence Acox Day.) He created Garfield’s now nationally renowned jazz program in 1979, and co-founded the Seattle Repertory Jazz Orchestra. As a result, just about every player in Seattle knows him or was taught by him, which means a host of special guests will be sitting in tonight with the master. (Through Nov. 4.) Benaroya Hall, 200 University St., 5476763, earshot.org. $9–$18. 7:30 p.m. BRIAN MILLER

ever-ravenous desire for power—and then that power’s demands and ultimatums. It’s also about choosing the right action, regardless if that choice might be the harder journey. It’s all that plus demons, monkeys, and battle scenes thrown into the mix.” And if you need a little more Rama-incentive: There are two intermissions in the nearly three-hour show. Kurt Beattie and Sheila Daniels direct. (Previews begin tonight. Opens Oct. 18, ends Nov. 11.)

ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$55. BRIAN MILLER

15

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-Time Out New York

Lucy

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arts»Opening Nights Hotel on the Corner of Bitter and Sweet CENTER HOUSE THEATRE, 305 HARRISON ST. (SEATTLE CENTER), 216-0833, BOOK-IT.ORG. $25– $45. ENDS OCT. 28.

Book-It’s new and successful box-office formula works like this: bestseller + local setting + underrepresented ethnicities + controversial/ long-repressed chapter of history = nearly the whole run sold out, then extended (twice) and extra performances added, but demand still outstrips ticket supply. It helps that Jamie Ford’s 2009 novel relates a Romeo and Juliet– style puppy-love story in Seattle’s International District just before World War II. It helps further that Henry and Keiko are portrayed by manga-adorable Jose Abaoag and Stephanie Kim. However, sweet as their romance may be,

ADMIRAL THEATRE

Star-crossed lovers Abaoag and Kim in Hotel on the Corner of Bitter and Sweet.

Seattle weekly • OCTOBER 10− 16, 2012

P Pullman Porter Blues

SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), 443-2222, SEATTLEREP.ORG. $15–$80. RUNS WED.–SUN. ENDS OCT. 28.

With a presidential election fast approaching, the Depression-set Pullman Porter Blues provides an ideal meditation on how far down the tracks we’ve come in dealing with race and class. FDR’s America may have been very different in 1937, but for Seattle playwright Cheryl L. West, the nation’s route to equality was pretty much the same then as now: more often improvised than planned.

West sets three generations of porters on the Panama Limited from Chicago to New Orleans; four decades after emancipation, with slavery a living memory, her characters are clearly intended as archetypes of their time. The three men of the Sykes family exemplify how blacks first embraced, then chafed at, the harsh working conditions of their day.

This particular journey has some surprises for the trio. No sooner does Grandpa Monroe (Larry Marshall) start training his grandson Cephas (Warner Miller) for the life of a porter than they discover at the last minute that the boy’s father Sylvester (Cleavant Derricks) has picked up the run, too. And union organizer Sylvester has no idea his son is considering a life other than becoming the family’s first doctor. Enter Sister Juba (E. Faye Butler), a blues singer whose volcanic sexual appetites are matched only by her skills as a songstress.

Like a chess master, West then adds a white stowaway girl (blues-harp whiz Emily Chisholm) and a bigoted conductor (Richard Ziman); they’re instrumental figures in her drama—neither completely cardboard, nor fully three-dimensional.

While not a musical per se, Pullman Porter Blues uses a live stage band to back its cast members in a baker’s-dozen spirituals, blues numbers, and work songs, several of which date back to the slave era. These tunes, forged in the fires of oppression, are rock-solid and performed with consummate skill by the sublime cast, crisply directed by Lisa Peterson.

(The onstage musical director is Jmichael.)

Stitching together a story incorporating such songs defines daring, because not a line in any of them doesn’t resonate with integrity. You either meet that challenge or you’re left at the station, baggage in hand. Everyone involved in this world premiere accepts that responsibility. It’s one hell of an enthralling ride toward equality that, West suggests, is far from over. KEVIN PHINNEY E ALAN ALABASTRO

www.admiraltheatre.org = 360.373.6743 = BREMERTON

TICKETS 515 PACIFIC AVE

16

Although the script begs for a haircut, there’s no denying its impact. Seven decades later, wartime internment and the destruction of our Japantown are still felt in Seattle, where Ford grew up (his family changed its surname from Chung). Sitting near me in an attentive full house, a gentleman sobbed openly for long stretches. Two or three generations removed, Hotel’s story still touches some local families directly. They probably won’t complain about its length. MARGARET FRIEDMAN

nearly three hours of it is just too bounteous.

Adapter/director Annie Lareau’s play treats the book’s 40-year time span like a movie, resulting in too many scenes (some very short) and restless legs. One intermission isn’t enough.

Henry, a 12-year-old Chinese-American, is granted a bit of wartime protection by the “I Am Chinese” button his protective father insists he wear to evade Japan-bashers after Pearl Harbor. Keiko, the 12-year-old American daughter of Japanese immigrant parents, has no such defense. Their school-born crush unfolds slowly over dozens of vignettes cradled in Carey Wong’s simple interiors and streetscapes, depicted on black-and-white flats. Swing music from the ’40s perks up the frequent set changes, many of which feel livelier than the scenes. Per Book-It’s custom, young Henry narrates the story and relevant political issues, sprinkled with his charming schoolboy observations.

Interspersed throughout are scenes of the grown Henry (Stan Asis) rediscovering Keiko’s things in the basement of the Panama Hotel.

Marcel Davis performs acting magic in the contrived role of Sheldon, an older streetmusician friend of Henry’s who, genie-like, accedes to Henry’s every wish, even accompanying him to Idaho when Keiko’s family is forcibly interned in the Minidoka detention camp. Back in their Seattle school, Marianne Owen invigorates the role of crabby cafeteria witch Mrs. Beatty, who later becomes a crucial ally. Asis’ low-energy delivery works nicely as the brokenhearted older Henry, a widower suddenly on the scent of long-lost love.

stage@seattleweekly.com

arts»Performance BLOODY BLOODY ANDREW JACKSON This flagrantly

BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

BLACK LODGE BURLESQUE This Portland-based

troupe offers “David Lynch-inspired burlesque, acrobatic comedy, and theater.” Re-bar, 1114 Howell St., 233-9873, rebarseattle.com. $12. 7 p.m. Fri., Oct. 12–Sat., Oct. 13.

BUTTERFLIES ARE FREE In Leonard Gershe’s dramedy, a blind man starts a romance with his neighbor. TPS Theatre 4, Seattle Center, Center House, 4th flr., local jewell.com. $15. Preview 7:30 p.m. Thurs., Oct. 11, opens Oct. 12. 8 p.m. Fri.–Sat. plus Thurs., Oct. 18. Ends Oct. 20.

CAFÉ NORDO Somethin’ Burning, “a murder mystery in four courses,” is this troupe’s new Lynchian cocktailtheater show. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, cafenordo.com. $60 Thurs. & Sun., $70 Fri.–Sat. Opens Oct. 12.

7:30 p.m. Thurs. & Sun., 8 p.m.

Fri.–Sat. Ends Nov. 18.

CAPTAIN SMARTYPANTS

SCAN

• •

CURRENT RUNS

ARSENIC AND OLD LACE Two sweet old ladies

•

share a secret in this classic comedy. The Theatre at Meydenbauer, 11100 N.E. Sixth St., 425-235-5087, bellevuecivic.org. $30. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 13.

BIG RIVER Roger Miller’s musical adaptation of Huckleberry Finn was a Broadway hit in the ’80s, and I predict it’s headed to the pantheon of beloved American musicals. Director Steve Tomkins has taken a largely unseasoned cast, trained them well, and let them rip.

The sense of ensemble is both palpable and infectious.

It’s not slickness that sells these songs, it’s heart, and this cast has that by the truckload. TKEVIN PHINNEY Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $22–$63. Runs Wed.–Sun. Ends Oct. 21 (then Everett Performing Art Center, Oct. 26–Nov. 18).

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

•

•

HOTEL ON THE CORNER OF BITTER AND SWEET

SEE REVIEW, PAGE 16.

IMPROV HAPPY HOUR Long-form and short-form improv

from Unexpected Productions. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5.

7 p.m. Sat. Ends Dec. 29.

IS HE DEAD? Mark Twain’s big, bumptious, crossdressing satire about the art racket. In the suburban Paris of 1846, Faustian creditor Bastien André menaces painter Jean-François Millet. If he can’t pay, poor Jean-François will lose his girlfriend Marie. Buddies propose that he die for a while to increase the value of his paintings—whereupon Felker transforms into Daisy, Jean-François’ far more entertaining sister.

Voilá—it’s Tootsie time. MARGARET FRIEDMAN Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends Oct. 13.

LARAMIE, EQUAL RIGHTS Leonard D. Goodisman’s play, set in 1868 Wyoming, explores the state’s history as a pioneer of women’s suffrage. Presented by the Eclectic Theater Company. Odd Duck Studio, 1214 10th Ave., 800-838-3006, eclectictheatercompany.org. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 28.

PULLMAN PORTER BLUES SEE REVIEW, PAGE 16.

SUPERIOR DONUTS Tracy Letts’ comedy-drama set on “the mean streets of Chicago.” Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. 7:30 p.m. Thurs.–Sat., 2 p.m.

Sun. Ends Oct. 21.

TEATRO ZINZANNI Their new show, “Return to Paradise,” goes populuxe, time-traveling to Seattle’s World’s-Fair past. Teatro ZinZanni, 222 Mercer St., 8020015, zinzanni.org. $106 and up. See dreams.zinzanni.org for exact schedule. Ends Jan. 27.

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Dance AGAINST THE GRAIN: MEN IN DANCE Since its 1996

launch, this biannual festival has had very few rules: The organizers were looking for dances by men or featuring men. So a typical program will run a huge gamut, from esoteric to flat-out entertaining. This edition follows in those footsteps, with hip-hop, tap, postmodern dance, and, poignantly, a work for the children’s dance group Kaleidoscope by Jesse Jaramillo, a longtime member of the Seattle dance community who died late this past summer. SANDRA KURTZ Broadway Performance Hall, 1625 Broadway, 800-838-3006, menindance.org. $20–$25.

Opens Oct. 12. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 21.

AMY O’NEAL Her new solo show, The Most Innovative, Daring, and Original Piece of Dance/Performance You Will See This Decade, will be a powerful showcase for one of Seattle’s most intense dancemakers. O’Neal is a wildly popular teacher in the community, but for this show she’s been taking lessons herself, honing her signature “Bottom Heavy Funk” style to combine modern dance expression with hip-hop rhythms. As for the title: It isn’t bragging if it’s true. SANDRA KURTZ Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter.org.

Opens Oct. 12. $12–$15. 8 p.m. Fri.–Sun. Ends Oct. 21.

TEATRO DE LA PSYCHOMACHIA Metal-percussion wizard Dean Moore collaborates with butoh dancer Vanessa Skantze, acrobalancers Dr. Calamari and Acrophelia (ex of Circus Contraption), and others.

Chapel Performance Space, 4649 Sunnyside Ave. N. $5–$15. 8 p.m. Fri., Oct. 12.

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OCTOBER 24

TICKETS FROM: $30

JAKE SHIMABUKURO S. Mark Taper Foundation Auditorium

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

Classical, Etc.

• COMPOSER SPOTLIGHT Composer/bassist John

Teske discusses and performs his recent work for his own instrument. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., Oct. 10.

UW JAZZ FACULTY SHOWCASE Showing off the department’s talents, from Big Band to improv. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, music. washington.edu. $17–$22. 7:30 p.m. Wed., Oct. 10.

THE ESOTERICS “Mystikos” includes premieres of winners of this choir’s composition competition. At Queen Anne Christian Church, 1316 Third Ave. W., 7 p.m. Fri., Oct. 12 (an open dress rehearsal with a composer Q&A); St. Joseph’s Catholic Church, 732 18th Ave. E., 8 p.m. Sat., Oct. 13; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 2 p.m. Sun., Oct. 14. $10–$20. theesoterics.org.

SEATTLE SYMPHONY Ludovic Morlot conducts a mixed ensemble (playing Beethoven, Tchaikovsky, and more) of SSO players and Garfield High Orchestra members. Garfield High School, 400 23rd Ave., seattle symphony.org. Free. 7:30 p.m. Fri., Oct. 12.

MACIEJ GRZYBOWSKI Contemporary music from this Polish pianist. (He’ll also give a free masterclass at noon.) Cornish College/PONCHO Concert Hall, 710 E. Roy St., 726-5066, cornish.edu. $10–$20. 8 p.m. Fri., Oct. 12.

SEATTLE SYMPHONY The first of their “Baroque & Wine” concerts, with pre-concert tastings at 6:30 p.m. ($10 for five pours) followed by Bach and Vivaldi.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19–$76. 8 p.m. Fri., Oct. 12–Sat., Oct. 13.

SEATTLE WOMEN’S CHORUS French (Fauré, Ravel) and American music. St. Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 388-1400, flyinghouse.org. $25–$45.

8 p.m. Fri., Oct. 12 & 19, Sat., Oct. 13 & 20.

METROPOLITAN OPERA AT THE MOVIES Live in HD. The season opens with Donizetti’s Elixir of Love, starring Anna Netrebko and directed by Seattle expat Bartlett Sher. See metopera.org for participating theaters. 10 a.m. Sat., Oct. 13.

FIDELIO Seattle Opera updates, via modern dress, Beethoven’s only opera, in which love and justice triumph over tyranny. Asher Fisch conducts. McCaw Hall, Seattle Center, 389-7676. $25–$205. Opens Oct. 13, ends Oct. 27; see seattleopera.org for exact schedule.

MUSICA FICTA Renaissance music for voices and brass

by Victoria and other Spanish composers. St. James Cathedral, 804 Ninth Ave., 325-7066, earlymusicguild.org. $15–$40. 8 p.m. Sat., Oct. 13.

PHILHARMONIA NORTHWEST Julia Tai conducts drama-packed works by Beethoven and Brahms. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $12–$18. 2:30 p.m. Sun., Oct. 14.

UNIVERSITY OF TEXAS REED TRIO Music by Mozart and others for oboe, clarinet, and bassoon. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 5:30 p.m. Sun., Oct. 14.

ANDRAS SCHIFF One of the most acclaimed Bach pianists since Glenn Gould plays the 24 preludes and fugues from Book 2 of the Well-Tempered Clavier.

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $25–$119. 7:30 p.m. Mon., Oct. 15.

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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.

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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.

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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 10− 16, 2012

The comedy wing of the Seattle Men’s Chorus performs to benefit Healing the Children. Dimitriou’s Jazz Alley, 2033 Sixth Ave., 441-0729, jazzalley.com. $30. 7:30 p.m. Mon., Oct. 15.

KEEP IT UP!! Stripped Screw Burlesque celebrates T H I S CO D E its third birthday with perforTO DOWNLOAD THE FREE mances by Roxie Moxie, Iva SEATTLE WEEKLY Handfull, and others. Columbia IPHONE/ANDROID APP City Theater, 4918 Rainier Ave. FOR MORE EVENTS OR VISIT S., 800-838-3006, stripped seattleweekly.com screwburlesque.com. $22– $25. 9 p.m. Sat., Oct. 13.

LAWFULLY WEDDED This pro-I-74 play is based on couples’ true stories. At Theatre 47, 7400 Sand Point Way, Wed., Oct. 10; Kenyon Hall, 7904 35th Ave. S.W., Thurs., Oct. 11; and Odd Duck Studio, 1214 10th Ave., Wed., Oct. 17. All shows 7:30 p.m. Free. arouet.us.

NEVERMORE Emily Harvey’s Poe-inspired theatrical extravaganza 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. Opens Oct. 11.

8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat. Ends Oct. 27.

RAMAYANA SEE THE WIRE, PAGE 15..

STEPHEN TOBOLOWSKY SEE THE WIRE, PAGE 15.

TOMMY The Who’s flamboyant rock opera about a pinball wizard. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperforming arts.org. $19–$27. Opens Oct. 12. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends Oct. 28.

WANDERLUST ACT’s annual gala features international cuisine and performance. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $200. 5:30 p.m. Mon., Oct. 15.

WICKED The popular musical, a sort of negative-image version of The Wizard of Oz’s backstory, returns in a touring production. The Paramount, 911 Pine St., 877-STG-4TIX. $35–$160. Opens Oct. 10. Runs Tues.–Sun.; see stgpresents.org for exact schedule. Ends Nov. 17.

WILD WES Taproot Theatre’s Road Company presents a play about bullying, for elementary-school kids. Seattle Central Library, 1000 Fourth Ave., taproottheatre.org.

Free. 2 p.m. Sat., Oct. 13.

anachronistic musical posits our seventh president as a moody emo rockstar (capable Cody Bringman, with platinum hair, raccoon eyes, and Billy Idol snarl) who’s swept up in popular fervor against Indians, Spaniards, elites, and the corrupt government. It’s not quite satire, not outright comedy, and certainly not history; Alex Timbers and Michael Friedman’s work is both rousing and cynical, like the politics of Jackson’s day. Yet for all the topical pings that tease the brain, the heart remains unstirred.

MARGARET FRIEDMAN ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $17–$36.50. 7:30 p.m.

Wed.–Sat., 3 p.m. Sun. Ends Oct. 20.

BUMP IN THE NIGHT Improv based on the Market’s haunted past. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, wunexpectedproductions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends Oct. 27.

CAMPFIRE: A SPOOKFEST IMPROV Ghost stories become theater. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Thurs. Ends Oct. 25.

THE CAT IN THE HAT Dr. Seuss’ dangerous anarchist tract, adapted for the stage to indoctrinate your children.

Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. See sct.org for exact schedule. Ends Oct. 28.

DEAD MAN’S CELL PHONE A woman answers the title object and gets tangled in his past. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienlittletheatre.org. $7–$20. 8 p.m.

Fri.–Sat., 2 p.m. Sun. Ends Oct. 21.

THE FAIRYTALE LIVES OF RUSSIAN GIRLS Meg Miroshnik’s enchanting little tchotchke melds magic and mayhem in post-Soviet Russia, in a haze of fleshmeets-fantasy. Her fable begins in 2005 as Annie (Samie Spring Detzer), a Russian ingenue raised in L.A., returns to her birthplace with plans to lose her American accent and maybe pick up a few professional contacts. Along the way, Annie meets a variety of alternately chilly and needy Russian women who troll the nightclubs for vodka, men, and money. It’s an ensemble piece, with several of the all-female cast pulling double duty in multiple roles.

Moving scrims redirect the action from one locale to another, until, like Annie, you’re left wondering what’s real and what’s imagined; it’s an Alice in Wonderlandstyle tumble down the rabbit hole. 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. 22.

GAUDY NIGHT Based on Dorothy L. Sayers’ 1935 detective novel, this campus mystery tale feels over-quaint and under-relevant. It’s essentially like all the other old Lord Peter Wimsey mysteries from English TV. Frances Limoncelli’s recent adaptation breaks the story into dozens of mini-scenes, some just one beat long. Between them, there is indeed much rearranging of furniture in the darkness separating each vignette, accompanied by elegantly off-kilter interstitial music. Over two-anda-half hours, it’s a tedious formula for a paltry payoff.

MARGARET FRIEDMAN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$37. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 27.

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F K K! O C O I B BP LU C

arts»Visual Arts

BY MA’CHELL DUMA LAVASSAR

The

AmericAn WAy of eATing WednesdAy, ocTober 17, 2012

Seattle Antiquarian Book Fair: Andrei Codrescu (10/10) + Steven Strogatz: The Joy of X (10/10) + FREE Vice Presidential Debate Viewing Party (10/11) + Island Press: Preservation as a Sustainability Strategy (10/11) + StandWithUs NW: Irwin Cotler: The Campaign to Delegitimize Israel: A Human-Rights Perspective (10/14) + University Book Store: Jasper Fforde in Conversation with Nancy Pearl (10/15) + Pacific Science Center: The Lost City of the Pyramids: An Adventure of Discovery (10/16) + Tracie McMillan: Going Undercover in American Food Culture (10/17) + Lit Crawl Seattle: Funny Ladies (10/18) townhallseattle.org

Openings & Events MICHAEL ALM & ROBIN CROOKALL Working

together via “synthetic taxidermy,” they include a giant polar bear in their show Frozen. Also opening: P.G.I.S. (Poster Giant Is Scum) Opening reception: 6–9 p.m.

Thurs., Oct. 11. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. Opens Oct. 11. Tues.–Thurs., Sun., 4 p.m.–midnight; Fri., Sat., 4 p.m.–2 a.m. Through Nov. 3.

BELLTOWN ART WALK Every second Friday of the month, the neighborhood galleries (including Roq La Rue, NorthWest Woodworkers Gallery, Form/Space Atelier, Art/Not Terminal Gallery, and others) and nongalleries (Cyclops, Black Bottle, Bedlam Coffee, etc.) extend their hours so you can check out work by local artists. See belltownartwalk.net for details. 6 p.m. Fri., Oct. 12.

JASMINE IONA BROWN She draws inspiration from Russian Orthodox icons and the Civil Rights era in Urban Martyrs.

Open-mike event, “Victims and Offenders Sound-Off,” at 2 p.m. Sat., Oct. 20. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Through Oct. 27.

COMMUNITY NIGHT OUT For the opening of Elles: Women Artists from the Centre Pompidou, Paris, SAM offers free live performances, drop-in art-making, tours, and music by Daisy Chain and DJ Sharlese. The first 500 attendees receive free admission. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. Free.

Fri., Oct. 12, 6–9 p.m.

FLEDGLING Emma MacDuff, Ivy MacDuff, and Miranda Shook are featured with paintings, drawings, ceramics, photographs, and more. Opening reception: 6–9 p.m. Sat., Oct. 13. Blowing Sands Glass Studio, 5805 14th Ave. N.W., 783-5314, blowingsands.com. Opens Oct. 13. Sat., 10 a.m.– 6 p.m.; Sun., noon–5 p.m.; Tues.–Fri., 11 a.m.–5 p.m.

Through Nov. 7.

GEORGETOWN ART ATTACK The October edition features the group show Ouija at Krab Jab Studios. Over at Fantagraphics, check out the lurid images in The Horror: Selections from the EC Comics Library. Also look for art at American Pie, Calamity Jane’s, All City Coffee, Georgetown Liquor Company, and Nautilus Studio. See georgetownartattack.com for other venues. Afterward, you’re encouraged to continue the evening at any num-

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

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ber of watering holes along Airport Way. Second 6–9 p.m. Sat., Oct. 13.

KIRKLAND ART WALK Howard/Mandville and other downtown galleries are represented at this free monthly event. 6–9 p.m. Sat., Oct. 13.

LANDSCAPES Barbara Benedetti Newton, Randena Walsh, Karen Schroeder, and Neil Andersson show new landscape paintings in oil and pastel. Opening reception: 5:30–7:30 p.m. Thurs., Oct. 11. Jeffrey Moose Gallery, 1333 Fifth Ave., 467-6951, jeffreymoosegallery.com.

Mon.–Fri., 10 a.m.–6 p.m.; Sat., 12:30–5 p.m. Through Jan. 5.

OUTSTANDING Two dozen artworks by 16 artists including Juan Alonso-Rodriguez, Dan Corson, Michael Ehle, and others encourage dialogue and diversity in the LGBTQ community. Opening reception: 4–6 p.m. Thurs., Oct. 11. Seattle Municipal Tower Gallery, 700 Fifth Ave., 684-7171, seattle.gov/arts. Mon.–Fri., 7 a.m.–7 p.m.

Through Jan. 4.

JOSEPH PARK & MARCO MAZZONI Park’s layered paintings and Mazzoni’s dream inspired drawings are shown. Opening reception Fri., Oct., 12, 6–9 p.m. Roq La Rue, 2312 Second Ave., 374-8977, roqlarue.com. Opens Oct. 12. Wed.–Sat., 1–6 p.m. Through Nov. 3.

RESIDUE Therese Buchmiller, Paul D. McKee, and the team of Garth Amundson and Pierre Gour address “identity, gender politics, and domesticity” via sitespecific installations at KAC. Artists’ panel discussion 10 a.m.–4 p.m. Wed., Oct. 10. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org. Sat., 11 a.m.–5 p.m.; Mon.–Fri., 11 a.m.–6 p.m. Through Oct. 20.

CHRIS SHERIDAN & KATE PROTAGE The artists chronicle life in their shared home/studio during the last decade in Mine & Yours. Opening reception: 6–9 p.m. Thurs., Oct. 11. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net. Opens Oct. 11. Mon., Wed.–Fri., 11 a.m.–7 p.m.; Sat.–Sun., 10 a.m.–6 p.m.

Through Nov. 2.

LINO TAGLIAPIETRA The Italian glass maestro and his glassblowing team return to the Hot Shop for a five-day residency. Museum of Glass, 1801 E. Dock St., Tacoma, 253-284-4750, museumofglass.org. $5–$12. Wed.–Sun., 9 a.m.–5 p.m. Through Oct. 14.

HANNAH VIANO The Ballard papercut artist discusses her work and presents a series of alphabet prints inspired by Pacific Northwest flora and fauna. Seattle Public Library, Ballard Branch, 5614 22nd Ave. N.W., 684-4089, spl.org. Sat., Oct. 13, 2–3 p.m.

WEST SEATTLE ART WALK Over 60 venues showcase local art every second Thursday of the month, including Youngstown Cultural Arts Center, ArtsWest, and Twilight Artist Collective. 6–9 p.m. Thurs., Oct. 11.

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TheFussyeye

18

Poured and Formed

There’s nothing new about freeing painting from representation, but harder is to free paint itself—the fluid, sticky stuff we daub and brush on canvas—from its instrumental role.

Paint is merely a medium, a tool, not an entity of its own. But then you see it differently in Margie Livingston’s Paint Objects. Here she’s poured the acrylic goo into molds, having stirred different hues into a psychedelic mix, and allowed it to harden into solid form. Some pieces are then neatly planed and sectioned like laminated planks of wood; other strips are folded or knotted like ribbons. My favorite is almost a quilt: 90 polychromatic tiles hung on the wall, each square like a Rorschach test with squiggles and paisley swirls. The colors are grouped into families or affinities, something like the periodic table; yet each 8” x 8” tile has its own intermingled hues and a shale-like texture. They’re

GREG KUCERA GALLERY

Seattle weekly • OCTOBER 10− 16, 2012

» by brian miller

like sections of rock, sliced and quarried from some Dr. Seuss planet, congealed from a core of molten candy. Whatever the conceptual intent, Livingston sees a “dumb, empty, easy, unjustifiable beauty” in what were originally just accidental spatters in her studio. In a sense, she’s now formalized the old messy byproducts of her art, and annealed them into a lovely grid. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. Free. 10:30 a.m.– 5:30 p.m. Tues.–Sat. Ends Nov. 10.

Milagros

film»

fine mexican folk art THE BEST OF MEXICO IS HERE!

»PREVIEW

Diversity of Docs

Nonfiction stands out at this year’s lesbian and gay film fest.

E

Monday - Sunday 10am to 6pm Tuesday 10am to 7pm DOGWOOF PICTURES

Located in Historic New 2nd location: Pike Place market: 1409 First Ave Post Alley (between Pike & (just off Pine St) Union) 206.464.0490 www.MilagrosSeattle.com

Ugandan activist David Kato.

Angeles, it’s easy to be out. In the barrio, selfexpression is a more delicate matter, made in baby steps. Freest is Mexican immigrant Alex, a bootstrapping kind of guy who marvels of the city, “Nobody has time to stop and judge you”—unlike his village back home. Any young person fresh out of college, gay or straight, will identify with new graduate Brian, who can’t find a job and fritters away his time on Facebook instead of dating actual guys. Then there’s the shaven-headed, heavily tattooed Carlos, looking like a gangbanger but living at home, where he carefully takes a lint roller to his baggy jeans. Director Jonathan Menendez treats all three sympathetically, and doesn’t pretend that easy days lie ahead.

Family weighs more heavily still in Tomer Heymann’s The Queen Has No Crown (noon, Sun., Oct. 14, Egyptian). No, it’s not a drag comedy (the title refers to a pop song), but an intimate autobiographical project culled from 20 years of home movies by an Israeli family with five sons. Tomer is the gay son, with a caustic fraternal twin who takes a dim view of his constant filming. “Life is not a documentary,” he scoffs, but Tomer isn’t deterred. He takes his video camera everywhere during his time as a soldier (gazing at sleeping buff bodies) and beyond. He visits three brothers who resettle in the U.S., much to the chagrin of the divorced Mrs. Heymann, left back in Israel with no grandchildren. “Parents love their kids more than kids love their parents,” she tells Tomer, who begins bringing his boyfriends to Passover. He’s entirely out to his family, who seem loving and accepting, but then there’s the guilt—the colossal Jewish guilt. If Tomer can’t marry, can he gay-marry? And what about kids? The filmmaker interviews everyone but himself. Crucial questions are left unanswered, children grow up, parents grow old, and there’s the sad acknowledgement that no family ever remains as it was. The snapshots fade, and the home movies never run in reverse. E bmiller@seattleweekly.com SEATTLE LESBIAN & GAY FILM FESTIVAL Runs Thurs., Oct. 11–Sun., Oct. 21 at Central Cinema, Cinerama, Egyptian, Northwest Film Forum, and Pacific Place.

See threedollarbillcinema.org.

Most screenings $9–$11, passes $80–$210.

Spot What’s New

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Seattle we ekly • O CTO BER 10− 16, 2012

verybody loves Glee, which makes it almost impossible to dislike Chris Colfer, the young talent who wrote and stars in the high-school comedy Struck by Lightning. That film opens the 17th Seattle Lesbian & Gay Film Festival (7:30 p.m. Thurs., Oct. 11, Cinerama), and it plays like a cheerful gay Revenge of the Nerds. Being out isn’t the problem for precocious Carson (Colfer); his greater challenge is blackmailing fellow students into contributing to his campus literary journal—another trophy on his college app, so he can escape his hick town and fraught family (alkie mother Allison Janney, runaway dad Dermot Mulroney, prospective stepmom Christina Hendricks). However, never having seen Glee, I’ll make two observations about Colfer: 1) Yes, he’s very likable, but 2) as a writer, he’s no John Hughes. Struck by Lightning means well, but its gentle dissection of high-school cliques brings nothing new to the genre. The greater value to your $33 gala ticket is the after-party at The Social, where you can compare whose high-school days were worse.

Far from high school, far from the U.S., Uganda provides a fascinating window into the bad old days of gay rights, a kind of preStonewall parallel universe where government, media, and church still conspire to oppress.

“Kuchu” is slang for homo in Call Me Kuchu (7 p.m. Sun., Oct. 14, Egyptian), whose heroes are the small—and we mean small—band of activists being attacked by a rabid tabloid called Rolling Stone. (No relation to our Rolling Stone, whose founder Jann Wenner is, of course, gay; we hope he sues for trademark infringement.)

The paper specializes in photographic sting operations designed to shame and humiliate, as its smiling editor readily explains to directors Katherine Fairfax Wright and Malika ZouhaliWorrall. His candor is fairly shocking; it’s like Roger Ailes telling us what he really thinks.

Unfortunately, the filmmakers had less success in interviewing the white American evangelicals who are stirring up hate in Uganda. At the center of their film is David Kato, who sues the paper and leads a lobbying effort against a discriminatory bill in Parliament (one that draws condemnation from Obama and other Western leaders). He’s a soft-spoken kind of hero, pitted against a plainly evil journalist.

If you didn’t follow this recent news story, Call Me Kuchu can seem a little dry and procedural as it wades through legal hearings and press conferences. After an hour, though admiring Kato and company, I felt I knew them well enough. But there’s more: The movie’s final 30 minutes are like a kick in the stomach. A strong drink is recommended after the screening.

The three young subjects of Gay Latino Los Angeles (9:30 p.m. Wed., Oct. 17, Northwest Film Forum) don’t face anywhere near the same level of discrimination. Rather, their barriers seem to be more cultural—the smothering traditions of family and Catholicism, the lack of economic opportunity. Around them, in anything-goes Los

BY BRIAN MILLER

19

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film»This Week’s Attractions Argo Set amid the 1979–80 Iran hostage crisis, Ben Affleck’s Argo is a “gritty” historical drama overwhelmed by its love of Hollywood as an inventor of imaginary narratives with real consequences, a great generator of American bedtime stories whose magic works on suburban kids and foreign enemies alike. After an “Iranian Revolution for Dummies” prologue, the movie proper begins with the November 4, 1979 attack on the U.S. embassy in Tehran.

While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador Ken Taylor (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer Chambers pulls off the lifetime-achievement circuit to give the “production” credibility. (In real life, Chambers won an Oscar for Planet of the Apes; Siegel is a composite.) Between hokey wisecracks ribbing industry idiocy, the trio seizes on a dusty script for a Star Wars ripoff called Argo. The great movies of the period Argo depicts, even period pieces, were about the American experience in the moment they were made. Argo doesn’t reflect who we are now so much as it argues for what Hollywood can be. It’s an embodiment of the kind of quality adult film that really shouldn’t be an endangered species, and a love letter from Affleck to the industry that made him, shunned him, and—as the success of The Artist proved last year—loves nothing more than to be loved. KARINA LONGWORTH

CBS FILMS

OPENS FRI., OCT. 12 AT SIFF CINEMA UPTOWN AND OTHER THEATERS. RATED R. 120 MINUTES.

Kidman. The film was adapted by Daniels and Whidbey Island’s Pete Dexter from the latter’s 1995 novel, and seems aimed at anyone who, when young and impressionable, was treated to and weirdly turned on by a truant matinee of In the Heat of the Night. Or at least it’s hard to imagine any better primer for enjoying such minor flourishes as David Oyelowo’s deliberately brittle Poitier impression in the role of McConaughey’s reporting partner and family maid Macy Gray’s coy narration—not to mention major flourishes like the jailhouse showpiece in which Kidman and Cusack get each other off in spite of pressing journalistic questions and prohibited physical contact. Otherwise, when not contriving to get Efron out of his clothes, The Paperboy gropes for the familiar movie language of its period setting: Soul music swells excitedly over a jumble of jerky zooms, befuddling cuts, and spatial vagueness.

But sometimes hot messiness has its charms.

JONATHAN KIEFER

P Seven Psychopaths

OPENS FRI., OCT. 12 AT THORNTON PLACE AND OTHER THEATERS. RATED R. 105 MINUTES.

The Paperboy OPENS FRI., OCT. 12 AT GUILD 45TH AND PACIFIC PLACE. RATED R. 106 MINUTES.

Precious director Lee Daniels’ Southern Gothic noir pulp presents itself with the doubtful come-hither hospitality of a gator-filled swamp. Moistly set in south Florida in the ’60s, it involves corn-fed creep John Cusack, wrongfully on death row and coming to the attention of investigative journalist Matthew McConaughey, whose kid brother Zac Efron tags along for the reporting and crushes hard on the inmate’s tarty pen-pal groupie, Nicole

a good Fangoria, and the characters’ attempt to avoid the ending that a movie like Seven Psychopaths must have. The film opens up as its leads flee to the desert, becoming thoughtful, expansive, and funnier than ever, something like Pirandello or “Duck Amuck” but without ever smashing into addressing-the-author meta-fiction. Remember the shitty crime comedies every Hollywood brat tried to make after Pulp Fiction? It took an Irish playwright to get it right. ALAN SCHERSTUHL

Step Up to the Plate RUNS FRI., OCT. 12–THURS., OCT. 18 AT VARSITY. NOT RATED. 90 MINUTES.

In 2009, Michel Bras decided to gradually retire from his legendary restaurant in southern France, a decision that might doom many Michelin three-star restaurants. But Bras planned to bequeath the restaurant to his son, Sébastien, just as his mother had given the restaurant to him. The turnover marks a happy new start for the kitchen, as Step Up to the Plate’s many scenes of Sébastien contemplating sunrises make clear. “I think Sébastien will be at his best when Michel actually retires,” a longtime friend says in this French documentary chronicle of the year leading up to Sébastien’s assumption of the head chef’s toque. Sébastien sometimes struggles to match his father’s innate artistry (“I don’t understand you,” he says when Bras outlines a seed-oil concoction) and headstrong attitude, but he harbors none of the unspoken resentment that pollutes the father/son relationships in Jiro Dreams of Sushi, another recent doc about a great chef nearing the end of his career. Seen at SIFF earlier this year, Paul Lacoste’s film is a sweet, leisurely paced tribute to family. Answering a typically Gallic question from an unseen French reporter, Sébastien says, “As I was saying, it’s not a revolution.” HANNA RASKIN E film@seattleweekly.com

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Seattle we ekly • O CTO BER 10− 16, 2012

MILLENNIUM ENT.

Cusack brings the crazy to The Paperboy.

Writer/director Martin McDonagh contrives to have his hero, an Irish screenwriter with the “get it” name Marty (Colin Farrell), dressed down for his inability to write women who aren’t just there to be murdered. That complaint is certainly true of Seven Psychopaths, and McDonagh’s joking about it is an old rogue’s trick: Admitting to rakish behavior in advance purchases leniency for future offenses.

So, yes, this is boys’ stuff, but of the best possible sort: A screenwriter and his somewhat-touched actor bud (Sam Rockwell, in stoned–Dana Carvey mode) find seven stories from seven psychopaths to fill out a screenplay Marty has titled—just guess—but hasn’t written. A dognapping Christopher Walken gets in bad with raging gangster Woody Harrelson and eventually does the one last great thing you can’t believe no other movie has ever thought to have Christopher Walken do: drop peyote at Joshua Tree.

(Tip for your office’s Walken impersonator: He calls the drugs “howl-loose-sen-ah-gens.”) Tom Waits shows up. There are flashbacks to absurd crime sprees, fabulist tales of murderers who might make the in-film screenplay, a serial killer on the loose, more sawn-open corpses than in

What are they waiting for? Harrelson (left) and Walken in Seven Psychopaths.

21

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John Bishop.

John Bishop.

John Bishop.

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John Bishop. $14 general/$12 Earshot members $14 general/$12 seniors/$7 Earshot students members & seniors/$7 students students Baars & John Bishop. general/$12 Earshot members &&seniors/$7 students Anat Anat Cohen Cohen Anat Ensemble Ensemble Cohen Anat Ensembl Coh A Anat Cohen Ensemb Anat C From Holland, From Holland, the 13-year From the 13-year Holland, improvising improvising the duo From ofduo aimprovising Holland, thrilling of Holland, a thrilling From the horn duo 13-year Holland, player horn ofof aimprovising player improvising and theaimprovising 13-year versatile and horn aduo versatile duo player improvising violist and thrilling violist who versatile duo who horn of aplayer player violist thrilling and who horn versatile player and violist aviolist versatile who violist Anat Coh saturday, saturday, OctOber OctOber saturday, 20who seattle 20 OctOber seattle artsaturday, museum 20 art seattle museum plestcHeeFF OctOber saturday, art plestcHeeFF museum 20 OctOber seattle auditOrium, plestcHeeFF auditOrium, art 20 seattle museum 7:30pm auditOrium, 7:30pm art plestcHeeFF museum 7:30pm plestcHeeFF auditOrium, auditOrium, 7:30pm 7:30pm From Holland, the13-year 13-year From improvising duo the 13-year athrilling thrilling horn player duo and of aaathrilling versatile horn violist player who and a versatile who From Holland, the 13-year ofof aathrilling horn and aaversatile violist who saturday, OctOber 20saturday, seattle art OctOber museum 20 seattle plestcHeeFF art museum auditOrium, plestcHeeFF 7:30pm auditOrium, 7:30pm saturday, OctOber 20 seattle art museum plestcHeeFF auditOrium, 7:30pm Conversant Conversant with modern with Conversant modern and traditional and with traditional modern jazz, Conversant and classical jazz, traditio classi wit mu C work atwork the heights at the heights of work musical of atatthe musical exploration heights exploration ofof work musical and expression. atand the exploration expression. heights work Their atand musical the Their music expression. heights music “trembles exploration of“trembles musical Their onand and the music exploration on edge expression. the “trembles ofedge revelation” and of Their on revelation” expression. the music (Signal edge “trembles of (Signal Their revelation” music the “trembles (Signal edge ofrevelation” on revelation” therevelation” edge(Signal (Signal of revelation” (Signal Conversant with modern and Conversan traditio Conversant with work the heights musical work exploration at the heights and of expression. musical exploration Their music and “trembles expression. on Their the edge music of revelation” “trembles on (Signal theof edge of (Signal work at the heights ofof musical exploration expression.

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Ndugu Opening: Chancler.

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Opening: MelodicShimabukuro Jake Jake Shimabukuro Shimabukuro Jake Rushen, swinging saxophonist Mark Gross, and in-the-groove drummer Ndugu Chancler.

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Joe LaBarbera.

Joe LaBarbera.

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Ornette Coleman’s early $22 general/$20 Earshot members $22work. general/$20 seniors/$10 Earshot students members & seniors/$10 students Jay Rosen, honor Ornette Coleman’s early work. $22 general/$20 Earshot members &&seniors/$10 students Tom Varner Varner Tom Quartet Quartet Varner Tom Quartet Varn New West New African West African jazz New from West jazz afrom African former a former sideman jazz New from sideman West ofaTerrence African of New Terrence sideman Blanchard jazz West from Blanchard African ofofaTerrence and aformer former jazz Blanchard from sideman a former Terrence sideman Blanchard of Blanchard Terrence andBlanchard and Tom Tom VarnerTom Quartet Tom VT Varn New West African jazz from New aAfrican West former African sideman jazz from Terrence aand former Blanchard sideman and of Terrence and New West jazz from sideman ofofand Terrence Blanchard and suNday, suNday, OctOber OctOber suNday, 14 tula’s, 14 OctOber tula’s, 7:30pm 7:30pm 14 suNday, OctOber 7:30pm suNday, 14 OctOber tula’s, 7:30pm 14 7:30pm tula’s, 7:30pm suNday, OctOber 14 tula’s, tula’s, suNday, 7:30pm OctOber 14 tula’s, See previous See Cuba-reared previous Tamarindo Tamarindo See listing. listing.

Opening: Tamarindo Opening: See Jazz listing. previous French Jazz Ope Fre ho Ta S suNday, OctOber 14 tula’s, 7:30pm HerbieHerbie Hancock, Hancock, who Herbie calls who Hancock, him calls “an him amazing who “an Herbie amazing calls guitarist. him Hancock, guitarist. “an He’s Herbie amazing who like He’s Hancock, calls aguitarist. like musical him a musical who “an painter.”

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Opening: Cuba-reared quartet quartet – Eric –Barber, Eric quartet Barber, Philand Sparks, –Phil Sparks, Barber, Byron Byron quartet Vannoy Phil Sparks, Vannoy –Eric celeb BB B q– JonJon Hamar Hamar Jon Quintet Hamar w/ Quintet Rich w/ JonJon Rich Hamar Perry Perry w/ Jon Rich Quintet Hamar Todd & Perry Todd DelGiudice Quintet w/& DelGiudice Rich Todd Perry w/DelGiudice Rich &Todd Perry Todd DelGiudice & Todd DelGiudice maestros maestros of piano, of piano, Elio maestros Villafranca, Elio of Villafranca, andElio percussion, maestros and Villafranca, percussion, piano, maestros and Arturo Stable, Elio percussion, Villafranca, of Stable, embrace piano, Arturo embrace Elio their and Villafranca, Stable, nation’s percussion, their embrace nation’s spiritual, and Arturo spiritual, their percussion, classical, Stable, nation’s classical, Arturo embrace and spiritual, and Stable, their classical, nation’s embrace and spiritual, their nation’s classical, spiritual, classical, and quartet –Eric Eric Barber, Philquartet Sparks, –Ba E JonQuintet Hamar Quintet Hamar w/& Rich Quintet Perry & w/ Todd Rich DelGiudice Perry & Todd DelGiudice quartet ––Eric maestros ofpiano, piano, Elio Villafranca, maestros of and piano, percussion, Elio Villafranca, Arturo Stable, and percussion, embrace their Arturo nation’s Stable, spiritual, embrace classical, their nation’s and spiritual, classical, and Jon Hamar Quintet w/ Rich Perry & DelGiudice maestros ofofArturo piano, Elio Villafranca, and percussion, Arturo Stable, embrace their nation’s spiritual, classical, andand esteemed: esteemed: Duke Duke Ellington esteemed: Ellington Duke Thelonious and Ellington Thelonious esteemed: Monk. and Monk.

Thelo Duk e$ $18 gen traditional traditional legacies. legacies. traditional legacies. traditional legacies. traditional legacies. $24 general/$22 $24 general/$22 Earshot $24 Earshot members general/$22 members & seniors/$12 Earshot &$24 seniors/$12 $24 members general/$22 students students &&seniors/$12 $24 Earshot general/$22 members students Earshot seniors/$12 members students & seniors/$12 The top-flight The top-flight SeattleThe Seattle bassist top-flight bassist explores Seattle explores new The bassist music new top-flight music explores with tenor-sax with The Seattle new tenor-sax top-flight music bassist titanbassist Rich with titan Seattle explores tenor-sax Perry Rich bassist new Perry andmusic titan music virtuoso explores andRich with virtuoso new Perry tenor-sax music and virtuoso with titan tenor-sax RichPerry Perry titan andRich virtuoso Perry and virtuoso esteemed: Duke Ellington esteemed: andDuke Thelo esteemed: traditional legacies. traditional legacies. $24 general/$22 Earshot members $24 general/$22 seniors/$12 Earshot students members & seniors/$12 students students The top-flight Seattle bassist The explores top-flight new Seattle music with tenor-sax explores new titan music Rich Perry with tenor-sax andtitan virtuoso titan Rich Perry and virtuoso traditional legacies. general/$22 Earshot members &&seniors/$12 students The top-flight Seattle bassist explores new with tenor-sax Rich and virtuoso multi-reedist multi-reedist Todd DelGiudice Todd multi-reedist DelGiudice plus Todd anplus ace DelGiudice multi-reedist an rhythm ace rhythm section plus Todd an multi-reedist section of ace DelGiudice pianist rhythm ofDelGiudice pianist John Todd section plus Hansen John DelGiudice ofof Hansen ace pianist and rhythm drummer plus and John an drummer section Hansen acesection rhythm and pianist section JohnHansen of Hansen pianist and John drummer Hansen and drummer tHursday, tHursday, OctOber OctOber tHursday, 25 kirklaNd 25 OctOber kirklaNd perFOrmaNce tHursday, 25 perFOrm kirkla Oc t multi-reedist Todd DelGiudice multi-reedist plus an ace Todd rhythm section plus pianist an ace John rhythm Hansen and ofdrummer drummer pianist John Hansen and drummer tHursday, OctOber 25 tHursda kirkla multi-reedist Todd DelGiudice plus anan ace rhythm section ofofpianist John and drummer tHursday, Oc JulianJulian MacDonough.

MacDonough.

Julian MacDonough.

Julian MacDonough.

MacDonough. $13 general/$11 $13 general/$11 Earshot $13 Earshot members general/$11 members & Julian seniors/$7 Earshot & $13 seniors/$7 $13 members students general/$11 students &&seniors/$7 $13 Earshot general/$11 members students Earshot seniors/$7 members students & seniors/$7 Julian MacDonough.

Julian MacDonough. $13 general/$11 Earshot members $13 general/$11 seniors/$7 Earshot students members & seniors/$7 students students Julian MacDonough. general/$11 Earshot members &&seniors/$7 students Philip Philip Glass Glass Philip w/ Foday w/Glass Foday Musa w/ Philip Musa Foday Suso Gla SP Philip Glass w/ Philip Foday Philip Gla mONday, mONday, OctOber OctOber mONday, 15 cHapel 15 OctOber cHapel perFOrmaNce perFOrmaNce 15 mONday, OctOber space, perFOrmaNce mONday, space, 7:30pm 15 OctOber cHapel 7:30pm space, perFOrmaNce 15 7:30pm cHapel space, 7:30pm space, 7:30pm mONday, OctOber 15 cHapel cHapel mONday, perFOrmaNce OctOber 15 cHapel space, perFOrmaNce 7:30pm perFOrmaNce space, 7:30pm One ofOne the of great the living great One living composers, ofofthe composers, great the living iconoclastic the One composers, iconoclastic thePhilip grea thtO mONday, OctOber 15 cHapel perFOrmaNce space, 7:30pm One the great living composers, One of the One ofof the great player player Foday Foday Musathe Musa Suso, player who Suso, Foday worked who Musa worked onSuso, player Glass’s on who Glass’s Foday score worke M to sc p Tatsuya Tatsuya Nakatani Tatsuya Nakatani Tatsuya Tatsuya Nakatani Nakatani player Foday Musa Suso, player who worke Fod TatsuyaNakatani Nakatani Tatsuya Nakatani player Foday Mu Northwest Northwest Film Forum Film Northwest Forum and theand Film Earshot theForum Earshot Jazz Northwest and Festival Jazz the Festival Earshot Film present Northwest Forum present Jazz their Festival and annual Film their the Forum annual Earshot present film program and film their Jazz the program annual Festival celebrating Earshot celebrating film present Jazz program the Festival their history, the celebrating annual history, present film their the program annual history, celebrating film program celebrating history, the history, Tatsuya Nakatani Northwest Film Forum and Northwest the Earshot Film Jazz Forum Festival and present the Earshot their Jazz annual Festival film program present their celebrating annual the film history, program celebrating the history, Northwest Film Forum and the Earshot Jazz Festival present their annual film program celebrating the history, $65 general $65 general (Presented (Presented $65 by general Kirkland by (Presented Kirkland Performance $65 Performance by general Kirkland Center) (Pre C P$P The intuitive, The intuitive, versatile versatile The Japanese intuitive, Japanese percussionist versatile percussionist The Japanese uses intuitive, uses percussionist versatile The drums, gongs, intuitive, Japanese gongs, cymbals, uses versatile drums, cymbals, percussionist singing gongs, Japanese singing bowls, cymbals, uses percussionist bowls, and drums, much singing and gongs, much uses bowls, drums, cymbals, and much gongs, singing cymbals, bowls, singing andmuch much bowls, and much $65 general (Presented by $65 Kirkland genera $65 general (Pres sounds, sounds, spirit and of spirit sounds, jazz ofand jazz and their and spirit intersections their ofofsounds, jazz intersections sounds, with their and cinema. spirit with intersections sounds, cinema. ofjazz jazz and and with spirit their cinema. ofintersections intersections jazz intersections and their with intersections cinema. with cinema.

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Nakatani else intense Nakatani plays create music. plays organic, else Nakatani and solo toinintense create and intense a first-time plays in organic, amusic. music. first-time solo duo and intense Nakatani improvisation in duo aafirst-time improvisation music. playsNakatani solo with duo and improvisation with inand first-time and with duo in aimprovisation improvisation first-time duowith improvisation with with with Friday, Friday, OctOber OctOber Friday, 26 pONcHO 26 OctOber pONcHO cONcert cONcert 26 Friday, pONcHO Hall, Hall OctO cOr cO F else create organic, intense else music. tosolo create Nakatani organic, plays intense solo music. and inNakatani first-time plays duo solo improvisation insolo a first-time with duo improvisation Friday, OctOber 26 pONcHO Friday, cO O else toto create organic, Nakatani plays solo and inplays aafirst-time duo Friday, OctOb OctOber OctOber 19-25, 19-25, 7pm OctOber &7pm &19-25, 9:15pm 7pm OctOber &&9:15pm 19-25, OctOber 7pm & 19-25, 9:15pm 7pm & 9:15pm specialspecial guest violist guest violist special Eyvind Eyvind guest Kang at Kang tonight’s at Eyvind special tonight’s performance.

Kang guest performance. atat violist special tonight’s Eyvind guest performance. violist KangKang atEyvind tonight’s Kang performance. at & tonight’s performance. $13 general/$11 $13 general/$11 $13 Earshot members general/$11 members seniors/$7 Earshot & $13 seniors/$7 $13 members students general/$11 students &&seniors/$7 $13 Earshot general/$11 members students Earshot seniors/$7 members students &9:15pm seniors/$7 students OctOber 19-25, 7pm 9:15pm OctOber & 9:15pm special guestviolist violist Eyvind special Kang guest tonight’s violist performance.

Eyvind at tonight’s performance. $13 general/$11 Earshot members $13 general/$11 seniors/$7 Earshot students members & seniors/$7 students OctOber 19-25,19-25, 7pm &7pm 9:15pm special guest violist Eyvind Kang atEarshot tonight’s performance. general/$11 Earshot members &&seniors/$7 students JD Allen JD Allen Trio JD Trio Allen Trio JD Allen J JD Allen Trio JD All JD Allen T tuesday, tuesday, OctOber OctOber tuesday, 16 triple 16 OctOber triple dOOr,dOOr, tuesday, 7:30pm 16 7:30pm OctOber dOOr, tuesday, 7:30pm 16 OctOber triple dOOr, 16 triple 7:30pm dOOr, 7:30pm TheThe Connection Connection The TheThe Connection The Connection tuesday, OctOber 16 triple tuesday, triple dOOr, OctOber 7:30pm 16 triple 7:30pm Tenor-sax Tenor-sax stylist stylist JD Tenor-sax Allen, JD Allen, his stylist tone hisreminiscent tone JD Tenor-sax reminiscent his of tone stylis ofre C TrJ TheConnection Connection Connection tuesday, OctOber 16 triple dOOr,dOOr, 7:30pm The Connection Tenor-sax stylist JDAllen, Allen, Tenor-sax hisJohn tone Tenor-sax stylist and drum and phenom drum phenom Rudy and drum Royston, Rudy phenom Royston, perform Rudy perform and pieces Royston, drum pieces from phen pe re a f A new A 35mm new 35mm print of A print Shirley new of 35mm Shirley Clarke’s print Clarke’s film, of A Shirley stunningly new film, 35mm Clarke’s stunningly restored print A new film, of restored 35mm Shirley by stunningly UCLA’s by print Clarke’s UCLA’s restored of famed Shirley film, famed filmby stunningly Clarke’s UCLA’s filmfilm, famed restored stunningly filmby UCLA’s restored famed by UCLA’s filmfamed filmBettye Bettye LaVette LaVette Bettye Bettye LaVette Bettye LaVette and drum phenom Rudy Royston, and drum pe A new 35mm print of Shirley A new Clarke’s 35mm film, print stunningly of Shirley restored Clarke’s by film, UCLA’s stunningly famed restored filmby UCLA’s famed filmBettyeLaVette LaVette Bettye LaVette and drum pheno A new 35mm print of Shirley Clarke’s film, stunningly restored by UCLA’s famedsimple film- simple Bettye LaVette but but dense” (NPR). simple but Also: daytime free (NPR). daytime masterclass, Also: butmaste free dens preservation preservation lab. Banned lab. preservation Banned by censors bylab. censors on Banned its preservation release, on by its censors release, thelab. provocative lab. preservation on the Banned its provocative film bylab. censors the features film Banned provocative features onbrilliant byrelease, censors brilliant film Beat features the on dialogue Beat its provocative release, dialogue brilliant and the afilm Beat and provocative features adialogue brilliant film and afeatures Beatdense” dialogue brilliant Beat and(NPR). aand dialogue and asimple The R&B The vocal R&B legend vocal The legend celebrates R&B vocal herlegend 50-year her The celebrates 50-year R&B career vocal career with her The 50-year alegend with triumphant, R&B acelebrates triumphant, career vocal mesmerizing legend with heramesmerizing celebrates triumphant, release, career her release, mesmerizing 50-year withawith atriumphant, triumphant, career withmesmerizing mesmerizing a triumphant, release, mesmerizing release, simple butdense” dense” (NPR). simple Also: free butsd preservation lab.

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Seattle weekly • OCTOBER 10− 16, 2012

Earshot Earshot Earshot Jazz Jazz Film Film Earshot Jazz Festival Festival Film Earshot Jazz Festival Film Jazz Festival Film Festival Earshot Jazz Earshot Film Festival Jazz Film Festival Earshot Jazz Film Festival

tuesday tuesday & WedNesday, & WedNesday, tuesday OctOber &&WedNesday, OctOber 16tuesday & 17 16 tula’s, OctOber &OctOber 17&tula’s, WedNesday, tuesday 7:30pm 7:30pm 17 WedNesday, OctOber 7:30pm 16 & OctOber 17 &tula’s, 16 &7:30pm 17 7:30pm tula’s, 7:30pm tuesday WedNesday, tuesday & 16 WedNesday, 16&& 17&tula’s, tula’s, OctOber 7:30pm 16 17 tula’s, tuesday & WedNesday, OctOber 16 & 17 tula’s, 7:30pm

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Seattle’s Seattle’s OriginOrigin Records, Seattle’s Records, appear Origin appear withRecords, their with Seattle’s top-flight their appear top-flight Origin with East Seattle’s Records, their Coast EastRecords, top-flight Coast collaborators, Origin appear collaborators, Records, East withCoast pianist their appear collaborators, pianist top-flight Orrin with Orrin Evans their EastEvans pianist and top-flight Coast bassist and Orrin collaborators, bassist East Evans Coastand pianist collaborators, bassist OrrinOrrin Evans pianist and Orrin bassist Friday Friday & saturday, & saturday, Friday OctOber && OctOber saturday, 26 & 27 26 Friday tula’s, OctOber &OctOber 27 tula’ & sat 7:3 2& Seattle’s Origin Records, appear Seattle’s with Origin their top-flight appear East Coast with their collaborators, top-flight pianist East Coast Orrin collaborators, Evans and bassist pianist Evans andEvans bassistand bassist Friday saturday, Friday 2F Seattle’s Origin Records, appear with their top-flight East Coast collaborators, pianist Orrin Evans and bassist Friday & satu Essiet Essiet Essiet.Essiet.

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A CD event celebrating ayear’s from last year’s festival. general/$12 members & Susan Susan Pascal’s Pascal’s Susan Soul Pascal’s Soul Sauce Sauce Susan Soul Pa S OctOber 24,7pm 7pm OctOber OctOber 24, 7pm 24, 7pm 24, 7pm Susan Pascal’s Susan Soul S Susan Pas seniors/$7 seniors/$7 students students seniors/$7 seniors/$7 students seniors/$7 seniors/$7students students seniors/$7 seniors/$7 students students students a Seattle a Seattle vibes Pascal, treasure, vibesaatreasure, Seattle tributes vibes tributes the Pascal, treasure, legendary the Seattle tribut Monktail Monktail Collective Monktail Collective Improvised Collective Monktail Improvised Improvised Monktail Music Collective Music & Collective &Improvised Music Improvised & Music & Pascal, Pascal, Seattle vibes treasure, Pascal, tribu aCaSP Monktail Monktail Improvised Collective Music Improvised &Improvised Music & Pascal, Pascal, aalegenda Seattle Monktail Collective Music &&Music WedNesday, WedNesday, OctOber WedNesday, OctOber 17 illsley 17 OctOber illsley ball WedNesday, NOrdstrOm ball 17 NOrdstrOm WedNesday, OctOber recital ball recital NOrdstrOm 17 Hall OctOber illsley Hall beNarOya recital at ball 17 beNarOya illsley NOrdstrOm Hall Hall, at Hall, ball 7:30pm beNarOya recital NOrdstrOm 7:30pm Hall, Hall recital 7:30pm at beNarOya Hall at Hall, beNarOya 7:30pm Hall, 7:30pm Collective WedNesday, OctOber WedNesday, 17 illsley illsley ball OctOber NOrdstrOm 17at illsley recital ball Hall NOrdstrOm at beNarOya recital Hall, Hall at beNarOya 7:30pm and Latin and players Latin players Fred and Hoadley Fred Latin players (piano), Fred (piano), Chuck and Hoadley Latin Chuck Deardorf playe (pian Dea a WedNesday, OctOber 17 illsley ball NOrdstrOm recital Hall at7:30pm beNarOya Hall,Hall, 7:30pm and LatinHoadley players Fred Hoadley and Latin (pia and Latin player Experimental Experimental Experimental Film Film Showcase Showcase Experimental Film Showcase Experimental Film Showcase Film Showcase Experimental Film Experimental Showcase Film Showcase Experimental Film Showcase Mark Mark Ivester Ivester (drums). (drums).

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by Live from @$30 Benaroya (Presented Hall)by LiveHall) @ Benaroya Hall) Halloween Halloween Party w/Party Naomi w/& Naomi The Halloween ODAT Band Party Band ODAT The ODAT (Presented by Live @ Benaroya Halloween The Naomi Band & v.

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Prizes Thione best Prizes Halloween Senegalese forPrizes best costumes.

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Senegalese drummer Thione Diop.

Prizes for best Halloween costumes.

Tamarindo Malaby’s Tamarindo Tamarindo ynd fblend jazz and jazz and Tony Malaby’s dna zzaj fo dnelb ynnacn$13 u sgeneral/$11 iht semoc $13 ,aEarshot ilogeneral/$11 gnoM$13 , r a t a a b n a a l U m o r f y a w e h t l l A members Earshot &$13 seniors/$6 members &$13 seniors/$6 $13 students general/$11 $13 general/$11 Earshot members Earshot members & seniors/$6 & seniors/$6 students students general/$11 Earshotstudents members general/$11 & seniors/$6 Earshot students members & seniors/$6 general/$11 Earshot members & seniors/$6 students mp0 3 :7 ,students mui rOt idua FFeeHct s elp muesum t r a el t ta es 41 rebOtcO ,yadNus Shuffleboil Shuffleboil lioShuffleboil beflfuhSShuffleboil Shuffleboil Shuffleboil -erus A .stnemurtsni lacisum nrettHursday, usical struments. instruments.

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Tim Horvitz (keys), Young Joe (keys), (guitar).

Doria Joe (Hammond Doria (Hammond B3), and B3), Tim and Young Tim (guitar).

Young (guitar).

The Evan Flory-Barnes The Evan Folks, Flory-Barnes a new project Folks, of a new our festival-featured project The of Evan our The festival-featured Flory-Barnes bassist, Evan Flory-Barnes with Folks, trumpeter bassist, a Folks, new with Owour project a trumpeter new Arunga of project our Owour festival-featured of our Arunga festival-featured bassist, with bassist, trumpeter with trumpeter Owour Owour .gnidna(guitar). tsrednU lautuM rThe of tsEvan urT ehThe t moEvan rf gnFlory-Barnes idnuFolks, fThe rojaEvan ma new Wayne Horvitz (drums), JoeWayne Doria Horvitz (Hammond (keys), B3),Joeand Doria Tim Young (guitar).

B3), and Tim)Young Flory-Barnes Flory-Barnes project of project our Folks, festival-featured newfestival-featured projectbassist, of festival-featured (drums), Wayne(keys), Horvitz (keys), Joe Doria (Hammond B3),(Hammond and Tim Young (guitar).

Folks, a new ofa our bassist, eopen, lband tour taeHughes Swith tLangston iwtrumpeter ,ppiwith hjazz-education S Hughes wtrumpeter eOwour hbassist, tworkshop taM Arunga tsiwith nOwour aiwith p trumpeter cinArunga otcwith eband T :sOwour tthe nataiLangston gband zzArunga ajatevLangston isHughes sergorp Hughes fo gnineve nA $18 utsgeneral/$16 9$/auditOrium, sroines$18 &Earshot srgeneral/$16 ebm7:30pm e$18 members m togeneral/$16 hsEarshot raE&$18 6seniors/$9 1$general/$16 /members lEarshot arenegstudents 8members & 1$$18 seniors/$9 $18 students general/$16 $18 general/$16 Earshot members Earshot members & seniors/$9 &Oseniors/$9 students students (Macklemore).

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Includes free, open, Includes afternoon free, open, jazz-education afternoon (Macklemore). jazz-education workshop (Macklemore).

Includes with workshop the Includes band free,afternoon open, at with Langston free, the afternoon afternoon athjazz-education workshop the general/$16 & seniors/$9 Earshot students members & seniors/$9 students (Macklemore).

Includes free, (Macklemore). open, afternoon Includes jazz-education free, open, workshop jazz-education with the band at workshop Langston with Hughes the band at Langston Hughes Earshot members & seniors/$9 students (Macklemore).

Includes free, open, afternoon jazz-education workshop with the band at Langston Hughes uditOrium, eeFF 7:30pm m p 0 3 : 7 , m u i r t i d u a F F e e H c t s e l p m u e s u m t r a e l t t a e s 1 2 r e b O t c O , y a d N u s r i e h T . s t c e p s A c i t s a l E t n e c e r r i e h t m o r f c i s u m m r o f r e p , y e k c i D t i h W r e m m u r d l a i t n e r r o t d n a , o i s i B l e a h c i M eca ssab rium, 7:30pm at cOrNisH 5pm.

Students at8pm 5pm. who attend Students workshop who attend get free workshop admission getattend atStudents free to 5pm. evening admission Students atwho 5pm. concert.

Students towho evening attend who concert. workshop attend workshop get freeconcert. admission get free admission to evening to evening concert. concert. tHursday, r ecNO c OH OctOber c tHursday, NOp 5 2tHursday, 25 reOctOber b pONcHO OtcO ,y cONcert a25 dsr pONcHO uHt25 Hall, cONcert cOrNisH tHursday, Hall, tHursday, cOllege, OctOber cOrNisH OctOber 8pm 25 cOllege, pONcHO 25 pONcHO 8pm cONcert cONcert Hall, cOrNisH Hall, cOllege, at8pm who attend at who 5pm. workshop get admission workshop get free ate 5pm.

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OctOber tHursday, pONcHO OctOber Hall, 25 pONcHO cOrNisH cONcert cOllege, Hall, 8pm cOrNisH 8pmcOllege, :workshop w o$12 Nfree sgeneral/$10 I kattend rEarshot oget Y wfree eNmembers :to llibevening ehmembers t&noseniors/$5 sevening lAadmission .sseniors/$5 rastudents ey 02to nievening smubla concert. zzaj tseb eht fo tsil s’cisumllA no saw resivorpmI eht fo trA tHursday, OctOber 25 cONcert pONcHO cONcert Hall, cOrNisH cOllege, 8pmcOllege, o i5pm. rgeneral/$10 TEarshot eStudents u o L l e n o i L $12 general/$10 $12 Earshot general/$10 members &k seniors/$5 members students & seniors/$5 $12 students general/$10 Earshot & students $12 Earshot members $12 general/$10 & seniors/$5 Earshot students members & seniors/$5 students $12 general/$10 Earshot membersts& inoseniors/$5 issucrep dstudents na lavuD cinimoD tsissab ,tseb zzaj-tuo eht fo owt htiw eehPcM eoJ namnrohitlum dnik-a-fo-eno Tony odn Malaby’s iraTony maTTony Malaby’s s’Tamarindo ybaMalaby’s laM Tamarindo yMalaby’s noTTony Tony Tony Malaby’s Malaby’s Tamarindo Tamarindo Tamarindo Malaby’s Tamarindo Tony Tamarindo tHursday & tHursday Friday,tHursday NOvember & Friday, &M 2 tula’s, 7:30pm & 2tHursday tula’s, tHursday 7:30pm & Friday, & 1m&to2hstula’s, s1Friday, aNOvember y&NOvember sFriday, o1D & tHursday 1&&Friday, 2 tula’s, NOvember st2ne7:30pm duFriday, tsNOvember 01$/s17:30pm ro&NOvember in2estula’s, &1 & sre2bmtula’s, e7:30pm r7:30pm aE 02$/la7:30pm reneg 22$ .krow ylrae s’nameloC ettenrO ronoh ,nesoR yaJ tHursday NOvember 1& tula’s, Tom etraQuartet uVarner Q reVarner nTom rQuartet aV Varner mQuartet oTTomQuartet Tom Tom Varner Varner Quartet Quartetdna drahcnalB ecnMundell dlanchard and Varner andtTom erreT fo namedMundell iLowe/Mike s remrof a morLowe/Mike f zzaj nMagnelli acirfA tseW wMagnelli eQuartet N Mundell Tom Varner Quartet Mundell Quartet Lowe/Mike Lowe/Mike Magnelli Magnelli Quartet Quartet mp03:7 ,s’alut 41 rebOtcO ,yadNus Mundell Lowe/Mike Mundell Magnelli Lowe/Mike Quartet Magnelli Quartet Mundell Lowe/Mike Magnelli Quartet See z z previous a J : g n i n e Tamarindo p See O . g previous n i t s i l o listing. d n Tamarindo i r a m Opening: a T s u o listing. i v e Jazz r p e e Opening: French S horn See Jazz master previous French See Tom previous horn Tamarindo Varner master Tamarindo and listing.

Tom his Varner Seattle Opening: listing. and Opening: Jazz his Seattle French Jazz horn French master horn Tom master Varner Tom and Varner his Seattle and his Seattle ike sical a musical painter.” painter.”

Opening: Opening: Cuba-reared Cuba-reared d e r a e r a b u C : g n i n e p O ” . r e t n i a p l a c i s u m a e k i l s ’ e H . t s i r a t i u g g n i z a m a n a “ m i h s l l a c o h w , k c o c n a H e i b r e H See previous Tamarindo listing.

See previous Opening: Tamarindo Jazz French listing. horn Opening: master Tom Jazz French Varner and horn his master Seattle Tom Varner and his Seattle Seattle inter.”

Opening: Cuba-reared See previous Tamarindo listing. Opening: Jazz French horn master Tom Varner and his g:ared Two of the world’s Two great of the jazz world’s guitarists: great jazz Lowe guitarists: recorded Lowe early Two recorded of inguitarists: the his Twocareer world’s of early the with great world’s in guitarists: his Lester jazz career great with jazz Lester guitarists: Charlie Lowe Young, Parker, recorded Lowe Charlie Parker, in Young, his early career inCharlie hiswith Lester Young, Young, Parker, theoTwo great Two of world’s Lowe great recorded jazz early inguitarists: his Lowe career recorded with Lester early Young, inrecorded his Charlie with Parker, Lester Charlie quartet nCuba-reared nanation’s Vembrace n–oEric ryBnation’s Barber, quartet ,stheir krapSnation’s –Phil lclassical, iquartet Eric hP Sparks, ,reBarber, bclassical, r–aand Bquartet Byron ciPhil rBarber, Eclassical, ––Sparks, tVannoy eEric traPhil uqBarber, Byron –Sparks, celebrate quartet –aquartet –Vannoy legacies Eric ofVannoy Barber, Sparks, of Steve Byron two Vannoy –two –otwo legacies of Lacy Lacy two and masters two masters he of jazz Lowe recorded early in his career with Lester Parker, eled cYoung, iahas d u idistinguished G eperformance.

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film» October 12–18 | 206.324.9996 | siff.net

Ongoing

TBY BRIAN MILLER

Local Film

• ARBITRAGE Slick and grown-up as Richard Gere

• CURSE OF ALL MONSTERS ATTACK! See the GI’s

• Opens Friday October 12 Uptown

WALK THE RED CARPET IN OUR MOCK PREMIERE!

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Krzysztof Kieslowski’s

THREE COLORS

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Uptown Blue | Oct. 15 White | Oct. 16 Red | Oct. 17

FILMS4FAMILIES: ANIMAL KINGDOMS See

SCAN

Trilogy Marathon

on the Giant Screen | Oct. 18

T H I S CO D E

TO DOWNLOAD THE FREE

HELD OVER!

SEATTLE WEEKLY

Film Center

IPHONE/ANDROID APP FOR MORE FILM OR VISIT

KEEP THE LIGHTS ON

seattleweekly.com

ARBITRAGE Monday October 15 | 6:30 | Film Center

Seattle weekly • OCTOBER 10− 16, 2012

Does Hell Exist?

Hellbound?

Director in attendance!!

Saturday 13 & Sunday 14 Film Center BALLET

La Sylphide

Monday 17 | Uptown

SIFF Cinema Uptown 511 Queen Anne Avenue North

SIFF Film Center

Seattle Center | Northwest Rooms

FREE VALIDATED PARKING

made an unlikely icon out of the dream-invading Freddie Krueger (again played by Robert Englund in several sequels). Look sharp and you’ll spot Johnny Depp in an early film role. Call for showtimes. (R) Central Cinema, $6-$8, Oct. 12-17.

SEATTLE LATINO FILM FESTIVAL Playing at several venues around town, this year’s fest has a Brazilian theme. See slff.org for full schedule, ticket prices, and other details. (NR) Various locations, Through Oct. 14.

SEATTLE POLISH FILM FESTIVAL This 20th-annual fest will offer features, docs, shorts, and related programs.

Opening night is Letters to Santa, a romantic comedy set on Christmas Eve, directed by Mitja Okorn, who’ll attend the screening along with actress Roma Gasiorowska.

See polishfilms.org for full schedule, including different venues following the first weekend. (NR) SIFF Cinema Uptown, $5-$10 (individual), $60 (pass), Oct. 12-21.

YOUNG FRANKENSTEIN Mel Brooks’ inspired 1974 spoof is probably his best movie, affectionately rooted in the James Whale originals (particularly Bride of Frankenstein) yet knowingly updated with innuendo and vaudeville. Gene Wilder stars as the reluctant mad scientist who’s determined not to follow in his grandfather’s footsteps. The great Madeline Kahn plays his fiancée, destined to end up with quite another man (er, monster, played by Peter Boyle). Marty Feldman is the goggle-eyed hunchback. Wilder and Brooks are both credited with the script, which includes countless classic gags—from “What knockers!” to “It could be worse; it could be raining”—and much horse whinnying at the mention of Frau Blücher (Cloris Leachman). Brooks was able to reuse portions of the original Frankenstein laboratory sets that Universal had saved; and that period integrity is one reason the comedy holds up so well. In a way, the Borscht Belt is as timeless as Transylvania.

Call for showtimes. (PG) BRIAN MILLER Central Cinema, $6-$8, Oct. 12-16.

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Monday October 15 | Film Center Command Performance in HD!

FILMS4FAMILIES $4

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KRZYSZTOF KIESLOWSKI’S THREE COLORS TRILOGY SEE

THE WIRE, PAGE 15.

HELD OVER! Uptown

Fantastic Mr Fox

siff.net for full list of titles in this squee-tastic weekend series, which includes Fantastic Mr. Fox and other barnyard faves. (G) SIFF Cinema Uptown, $4, Sat., Sun., 1 p.m. Through Oct. 28.

A NIGHTMARE ON ELM STREET This 1984 ghoul movie

a film by Ira Sachs

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website for a full schedule of scary titles programmed through Halloween. Among the second week highlights are 1963’s The Raven, with Peter Lorre battling Vincent Prince, and The Comedy of Terrors, a horror-comedyquickie with the same duo also produced that year. Also look for Boris Karloff and Basil Rathbone in the latter. (R) Grand Illusion, $5-$8, Through Oct. 31.

DOUBLE INDEMNITY Barbara Stanwyck’s doublecrossing Phyllis is perhaps the iconic femme fatale of film noir—a sultry schemer who, in Billy Wilder’s superior 1944 adaptation of the James M. Cain crime novel, seduces a sap (Fred MacMurray) and tricks him into murdering her husband. Walter’s pal and fellow insurance investigator (Edward G. Robinson) is the only figure of decency in the movie. And he warns Walter about what will inevitably follow the fatal train “accident” that Phyllis orchestrated: “Murder’s never perfect. Always comes apart sooner or later. And when two people are involved, it’s usually sooner.” (NR) BRIAN MILLER Central Cinema, $6-$8, Wed., Oct. 10, 9:30 p.m.

THE EVIL DEAD Sam Raimi’s wildly influential and ultra-violent 1981 underground hit helped make him a future Hollywood star and also brought Bruce Campbell’s chin to a grateful world. Nobody will ever go to a cabin the remote woods again without thinking of the film, nor will filmmakers ever be able to make a movie about kids going to a cabin in the remote woods without thinking of what Raimi would do there.

(R) BRIAN MILLER Grand Illusion, $5-$8, Fri., Oct. 12, 11 p.m.; Sat., Oct. 13, 11 p.m.

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

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

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himself, this intricate fiscal thriller takes a dead bead on extreme privilege, with Gere’s Madoff-like billionaire fund-runner scrambling to keep his personal empire from crumbling like crackers. He has everything until he doesn’t—with the sale of his company for nine figures already jeopardized by cooked books, a car wreck, and warm corpse get him scrambling one step ahead of the cops. Director Nicholas Jarecki slices his cake and has it, too: We bizarrely empathize with the amoral hero’s stressed-out tightrope walk, wanting him to get away with being an untouchable plutocratic scumbag, while the film simultaneously limns the rank injustices money can buy in bulk. (R) Michael Atkinson SIFF Cinema Uptown, Kirkland Parkplace BEASTS OF THE SOUTHERN WILD A zealous gumbo of regionalism, magical realism, post-Katrina allegory, myth, and ecological parable, this Louisiana-set debut feature by 29-year-old Benh Zeitlin rests, often cloyingly, on the tiny shoulders of Quvenzhané Wallis. Beasts strains to remind us of Hushpuppy’s wisdom and courage beyond her years. She is a motherless child: “She swam away,”explains her drunken father of Mom’s absence.

He and Hushpuppy live in a grassy, overgrown expanse in a fictional bayou area called the Bathtub. Stomping around her ramshackle, squalid domain in white plastic rain boots, dirty T-shirt, and orange Underoos, this peewee heroine confidently wields a blowtorch. But in trying through incessant narration to make a six-year-old a prolix sage, Zeitlin can’t avoid falling into sticky sentimentality. (PG-13) Melissa Anderson Varsity BUTTER Broad-stereotype comedy is slathered in shameless bathos in Jim Field Smith’s tale of a heated Iowa butter-carving competition between former renowned champion Bob’s (Ty Burrell) ball-busting wife, Laura (Jennifer Garner), and young African-American orphan Destiny (Yara Shahidi), who now lives with kindly foster parents (Rob Corddry and Alicia Silverstone). This showdown is marked by cartoon characters popping up at every turn, from a hooker (Olivia Wilde) to whom Bob owes money to Bob’s daughter (Ashley Greene), who’s in love with Wilde’s working girl, to a car dealer (Hugh Jackman) still pining for Laura. Garner embodies her villainess, all steely ambition and unconcealed racism, with a robot smile that turns her into a grating Sarah Palin–style cretin. Jason A. Micallef’s script is humorless, but worse is its attempt to tug at heartstrings via Destiny triumphantly discovering her talent and finding a home—a maudlin subplot pockmarked by the girl musing “White people are weirdos” and “Are these crackers for real?” At least initially, a rowdy Wilde kick-starts some comedic commotion. Finally, though, she’s just another casualty of this inert dramedy, which plays like one long, slow descent into cloying moralizing and uplift that’s well past its expiration date. (R) Nick Schager Sundance Cinemas END OF WATCH In David Ayer’s End of Watch, one gets the sense of a skilled craftsman who has learned everything he knows about the ‘hood not from firsthand experience but from going to the movies. And so it is that the daily routine of two street cops (Jake Gyllenhaal and Michael Peña) includes encounters with drug-addled parents, a nightgown-clad black mother screaming “My babies! My babies!” in front of her burning house, and Latina gang girls who cackle as they kill. As social insight, End of Watch is useless, but as engrossing entertainment, it’s irresistible. (R) Chuck Wilson Big Picture, Sundance Cinemas, Lincoln Square, Pacific Place FRANKENWEENIE Ever since Mars Attacks!, Tim Burton has mostly been in the adaptation business, rendering dark and becurlicued Sleepy Hollows and the like. With Frankenweenie, he adapts his own work—the first animated short he ever produced for a major film studio, and the one which semi-famously got him fired from Disney back in ’84. Working for “the man” generally entails a minimum of originality, yet—for all of his faults—Burton’s vision is still unlike any other filmmaker’s. In his films, introverts have access to bat caves, wonderlands, and the surprisingly comfortable interiors of giant peaches, all of which become the inner worlds of lonely people.

It’s remarkable that this entire sensibility sprang so fully formed in that original short. It’s here, too. When his weenie dog Sparky is killed by a car, young Victor Frankenstein is inspired by his new science teacher to generate some impressive innovations in the untapped field of reanimation. Victor, voiced by Charlie Tahan, intends to submit his reassembled and electrically resurrected dog at his school’s science fair, but he’s actually motivated by a broken heart. The dog is great. Sparky isn’t a cartoon character as much as a behaviorally accurate little canine, which is 10 times cuter than if the script had

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gone in a Dreamworks Animation direction, with, like, Ben Stiller voicing the dog, and then a song by Smash Mouth; the script by Lenny Ripps from Burton’s original story, is tight and brief, hitting all the marks you’d expect from an animated kid’s film, and it’s all enlivened by Burton’s visual style. The man should make more small movies like this one. (PG) Chris Packham Varsity, Kirkland Parkplace, Cinebarre, Bainbridge Cinemas, Majestic Bay, Lincoln Square, and others KEEP THE LIGHTS ON Exhibiting great specificity about gay sexual mores while also rooting its story in tumultuous universal emotions, Keep the Lights On details a long-term romance fraught with turmoil. Like his prior Forty Shades of Blue and Married Life, director Ira Sachs’ latest boasts a riveting attention to troubled characters, in this case, documentary filmmaker Erik (Thure Lindhardt) and Paul (Zachary Booth), who meet for anonymous sex in 1998 and spend the next decade struggling to stay together amid Paul’s increasingly destructive drug addiction and Erik’s consuming need to save Paul from himself. Shooting with acute attention to shifting relationship dynamics and cutting in and out of scenes with a graceful fleetness that’s attuned to the rhythms of Erik and Paul’s up-and-down affair, Sachs creates an intensely intimate stew of fear, anger, longing, and regret. He’s aided in this by a sterling Lindhardt, whose unaffected expression of confused, desperate need is both charming and pitiful, and does much to further illuminate the story’s portrait of maturation and the unpleasant —and yet unavoidable—reality that, no matter how ardent, love ultimately can’t survive without trust. (NR) Nick Schager SIFF Film Center LOOPER Early in Rian Johnson’s thriller, Joe (Joseph Gordon-Levitt) sits at a diner and chats with his self from 30 years in the future (Bruce Willis), who tells him not to worry about the particulars of time travel. Looper is more intent on the moral implications of a charged situation grounded in character, and it turns both Joes loose to make their own life-altering choices. Thrilling in its deft juggling of complex narrative elements, utterly clear in its presentation and unfolding with what feels like serious moral purpose, Looper favors the human scale over abstract philosophizing or meta-cinematic frippery. For Johnson, the inveterate pasticheur, it qualifies as a significant step forward. (R) Andrew Schenker Sundance Cinemas, Kirkland Parkplace, Lincoln Square, Meridian, Cinebarre, Thornton Place, and others THE MASTER In admitting that Lancaster Dodd (Philip Seymour Hoffman), the figurehead of a growing faith movement in 1950s America, was inspired by L. Ron Hubbard, Paul Thomas Anderson set up expectations of an exposé of the origins of Scientology. Instead, he has delivered a free-form work of expressionism, more room-size painting than biopic. Anderson has never made a film so coded, so opaque. Dodd teaches a drunk named Freddie (Joaquin Phoenix) not to apologize for who he is—”a scoundrel”—and gets him to submit to the Master’s conversion therapy (this includes accessing memories from past lives). In Freddie he has a man who chewed through every leash ever clipped to his collar. Dodd repeatedly asks him, “Do your past failures bother you?” Can he change? Does he want to?

Is this all vague enough for you? The film’s ambiguity could hardly be unintentional, but more interesting is Anderson’s use of sumptuous technique to tell a story defined by withholding. It’s a film of breathtaking cinematic romanticism and near-complete denial of conventional catharsis. (R) Karina Longworth Guild 45th, Cinerama, and others MOONRISE KINGDOM It’s 1965, the rainy end of summer on the rocky coast of a fictional New England isle.

Twelve-year-old Sam (Jared Gilman) disappears from the Scout camp run by Randy Ward (Edward Norton).

Also 12, bad seed Suzy (Kara Hayward) flees her distracted lawyer parents (Frances McDormand and Bill Murray). Aided by what remains of Ward’s troop (“It’s a chance to do some first-class scouting!”), the grownups, including Bruce Willis’ Captain Sharp, mobilize to find the fugitive young lovers. Moonrise takes the form of old-fashioned preteen literature, but, as everything made by Wes Anderson, does so knowingly. The escape Sam engineers for the pair is dangerous and crazy, but it’s also a way for him to exercise control, and to show off to a receptive audience. Suzy doesn’t have it so bad at home, but Sam’s flattering gaze gives her something she isn’t getting, and now won’t easily be able to live without. This utopian romance is thrown into relief by the quiet despair of the adults in Moonrise. (PG-13) Karina Longworth Crest, Admiral THE ORANGES Yeah, all right already, we get it about suburbia—it’s a topography of middle-age despair hidden under a sunny façade. Also: Suburbia’s dark underbelly—it’s so dark! Probably a lot of secrets buried there. The Oranges, an extremely dry comedy directed by Julian Farino, is kind of like a takedown of

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TICKETS AVAILABLE AT WWW.CINERAMA.COM

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a stunning highlight), but Samsara is undercut by an underlying smugness and complementary mush-brained Eastern fetishism. (NR) Mark Holcomb Sundance SEARCHING FOR SUGAR MAN Malik Bendjelloul’s documentary is such a gift. In telling the tale of Sixto Rodriguez, a Mexican-American balladeer from Detroit who cut a couple of tepidly received LPs in the early ‘70s, vanished, and subsequently became an Elvis-sized rock god in South Africa, the Swedish filmmaker sidesteps arthritic VH1-style “where are they now” antics in favor of a more equivocal interrogation of celebrity culture.

Bendjelloul interviews pertinent parties in standard rockdoc style, as well as the singer-songwriter’s charming, touchingly loyal grown daughters. It’s no huge surprise when Rodriguez himself turns up, still living the same modest existence as before his brush with micro-fame.

Better still, Rodriguez’s casual disinterest in PR-blitzing his resurrection and apparent contentment with an ordinary working life lets Searching for Sugar Man hold up a mirror to what we’ve come to expect—and cynically refuse to accept—from artists in an age of pervasive, entitled notoriety. (PG-13) Mark Holcomb Varsity SLEEPWALK WITH ME Smart, funny stand-up comic Mike Birbiglia has already based a book and a touring show on his biographical woes, as heard on This American Life. Here calling himself Matt, Birbiglia plays a mediocre Brooklyn comic pushing 30 with a wonderful girlfriend (Lauren Ambrose) and some very impatient parents (Carol Kane and James Rebhorn). Lacking confidence or compellingly personal material onstage, Matt also has a sleeping disorder and an aversion to marriage. Told to to use his own life for joke material, Matt hits the Northeastern college comedy circuit, neglecting his health and girlfriend. Birbiglia’s Matt is a flawed yet sympathetic fellow reflecting on his youth during the flip-phone ‘90s. But the mature comic is more compelling than the tyro, and you’d rather see Birbiglia onstage today than Matt way back when. (NR) Brian Miller Harvard Exit TAKEN 2 The one surefire punchline in Taken 2 is unintended, a bitter laugh. Ex-CIA operative Bryan Mills (Liam Neeson), delivering his trademark crisis-control cell phone coaching to his much-imperiled daughter (Maggie Grace), commands: “I want you to go to the U.S. embassy. You’ll be safe there.” Wrapped before recent embassy sieges spurred by the trailer for Innocence of Muslims—film is a battleground!—this sequel to 2008’s sleeper hit, which had Neeson eliminating a passel of Albanian white slavers, takes the reunited Mills family on vacation to Istanbul and the heart of the caliphate. Here, Mills will lecture on the city’s role in the history of EastWest conflict, which continues unabated as the families of the first film’s casualties (led by mourning father Rade Serbedzija) lay in wait, planning to kill daughter, Dad, and reconciled ex-wife Famke Janssen. This cross-cultural family feud leads Mills to compose an airtight, warwithout-end response to the dove logic that War on Terror intervention only creates more terrorists: “Then I will kill them, too.” It’s all in the family at co-writer/ producer Luc Besson’s EuropaCorp, with Olivier Megaton (Columbiana) replacing Taken director Pierre Morel, working in headlong house style. While fetishizing the precise effectiveness of its hero’s “very particular set of skills”—the bullet-exchange ratio between Islamo thugs and Mills must be 50:1—Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills’ father-knows-best infallibility. (PG-13) Nick Pinkerton Sundance, Kirkland, Lincoln Square, Majestic Bay, Cinebarre, Bainbridge, and others

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The Master PROJECTED IN 70 MM

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the suburbs written by the people who designed the menu at Olive Garden—it’s inoffensive, forgettable, and you don’t actually have to chew anything. The prodigal 24-year-old Nina Ostroff (Leighton Meester) returns home to West Orange, New Jersey, to visit her family for the holidays and embarks on an unsteamy affair with her dad’s best friend, David Walling (Hugh Laurie), who lives right across the street with his wife and daughter. All of which rips away suburbia’s beige duvet and basically reveals another beige, high-threadcount duvet beneath. It’s all really suburbs-affirming, ultimately. Which is fine! But then why make so much watered-down fun of life in the sprawl? The Oranges, a/k/a John Updike’s Christmas Vacation, makes such a big honkin’ deal about Nina’s exodus from Jersey after high school, and the failure of David’s daughter Vanessa (the awesome Alia Shawkat) to achieve escape velocity, and then—following the climactic destruction of a holiday lawn display as boring, limp-dick protest against the status quo—decides that all the tract housing is OK after all. (R) Chris Packham Sundance PITCH PERFECT As Pitch Perfect opens, its lead group of lady nerds, the Bellas, botch their lackluster performance at an a capella championship with neurotic perfectionist Aubrey’s (the always on-point Anna Camp) projectile vomiting. Literally. Like, all over the audience. Flash forward several months to a new school year, when most of the Bellas have either graduated or quit the group in vomit-induced shame, and Aubrey and the only other remaining Bella, Chloe (an adorable Brittany Snow), are tasked with building a new team from scratch. Enter the weirdos, led by a hilarious Rebel Wilson (self-named Fat Amy) and a brooding Anna Kendrick as Beca, a sarcastic spitfire who just wants to apply more eyeliner and hop a bus to L.A. to become a DJ. A host of interesting characters round out the group, some more fully realized than others—you’ve got a black lesbian (That’s it. That’s her personality), a quiet Asian girl (who, granted, might be a serial killer), a slutty slut, and some girls who you literally forget are there (until the movie points out that you literally forgot they were there). It’s these clever winks at the usual tropes that Pitch Perfect does best, acknowledging its genre and then often blasting away expectations. The movie works because even though there’s an awkward and unnecessary romantic subplot, some lazy stereotypes and not enough singing (never enough singing!), the girls, for the most part, are genuinely funny, weird, real, and, most excitingly, confident. NERDS! NERDS! NERDS! (PG-13) Laura Beck Sundance, Bainbridge, Lincoln Square, and others RUBY SPARKS Ruby (Zoe Kazan) is the fictional invention of one-hit novelist Calvin (Paul Dano) miraculously made flesh, exactly the sort of preciously troubled, whimsical, impractical, thrift-store chic, just feasibly girlfriendable little kook that Zooey Deschanel has made a career of. In fact, It’s a parody of the type.

At first, all is harmonious between Calvin and customfit Ruby. When inevitable incompatibilities arise, however, Calvin violates his own rule by returning to the typewriter where he discovers that he can “edit” his creation, inadvertently rewriting her as codependent, dippily elated, and bipolar—license for screenwriter Kazan to run amok, with a winning lack of selfconsciousness. Still, the direction, from Jonathan Dayton and Valerie Faris (Little Miss Sunshine), is never more than workmanlike. (R) Nick Pinkerton Sundance SAFETY NOT GUARANTEED This road-trip rom-com (with a light sci-fi spin) is both the first big starring role for Aubrey Plaza and also the first movie to acknowledge her hotness. Reporter Jeff (Jake Johnson), on assignment to write an exposé on a guy searching for a time-travel partner, suggests that his intern Darius (Plaza) use the fact that she’s a “beautiful woman” to get the story. A typical Plaza tough cookie (though patly softened), Darius calls Jeff out for “dangling my vagina out there like bait.” And then she does what she’s told to gain entry into the weird world of Kenneth (Mark Duplass), a hermit loner who claims to have built a time machine. Plaza and Duplass have an easy, charming chemistry, and plot contrivances aside, as indie-film nerd-mances go, this one is genuinely sweet. (R) Karina Longworth Crest SAMSARA Directed by Ron Fricke, this New Age follow-up to 1992’s Baraka zigzags through 25 countries in ravishing Super Panavision 70. Samsara plumbs its conceit—the Buddhist/Hindu notion of cosmic cyclicity and earthly suffering—with a visual panache that short-circuits the need for narrative discipline.

From corporeal subjects in an Ethiopian village and a São Paulo cathedral to inanimate relics on Turkey’s Mount Nemrut and the devastated Ninth Ward of New Orleans, the film’s imagery is epic and trance-inducing.

However, while civilization’s hyper-mechanized Malthusian horror show is captured with inventive flare (a mass dance sequence in a Filipino prison is

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food&drink»

Lunchbox Laboratory

UW’s Cultivate lays waste to the stigmatization of collegiate dining halls.

T

BY HANNA RASKIN

JOSHUA HUSTON

too-many-cooks probhe newest addition to the lem that a bureaucracy University of Washington’s netinevitably presents. work of dining facilities was “There was much designed for students who don’t debate about including want to fuss with takeout boxes and trays. certain foods. But that’s Alone among the school’s sponsored eating really what they love to alternatives—which include a gourmet burger eat, so what we try to do joint, a food-truck pod, espresso bars, and is elevate it.”

Pagliacci Pizza—Cultivate offers table serThe mac-and-cheese vice. While the menu’s rougher edges slightly is plated in a fashionoverlap with the offerings at humbler campus able oval cast-iron dish, eateries, students have to come to Cultivate if its floppy orecchiette they want a uniformed server to deliver their noodles sunk in a mild bacon cheeseburger and Mr. Pibb. well of Cheddar, Gru“We looked at the inventory and said, yère, jack, and Velveeta ‘The one thing we’re missing is a sit-down cheeses. Selecting restaurant,’ ” says Storm Hodge, UW’s from a list of nine addassistant dining director. Hodge says Elm ins, students can transform the mac into an Hall’s Cultivate is for students who “want to entrée worthy of its sophisticated surroundtreat themselves.” But since the public pays ings, gussying it up with feta or goat cheese. the same prices as students, the restaurant’s Or they might request bacon and blue cheese likely to be equally appreciated by faculty and for a $9 approximation of the $15 truffle-andcommunity members who need a venue to duck-ham mac-and-cheese served in The justify unfurling stories about how hard they Coterie Room’s cast-iron pots. had it when they were collegians. For adults “We’re kind of riding a trend,” Belknap who didn’t have to trudge long barefoot miles admits. “And we sell a lot of them.” to school or keep the coal box filled, crummy But the local establishment which beef Stroganoff and flavorless Jell-O parfaits may be the next best tribulations about which Cultivate most closely resembles is Skillet to moan retroactively. And at Cultivate, nearly Diner. As at the Capitol Hill restaurant, the gray-walled and generously windowed every dish is a reminder of how times have dining room is configured around an changed. Ginger beer–glazed pork-belly L-shaped counter, with partially bald buns? Grilled pork porterhouse with frizzled light bulbs hung above each place setting. greens? Shrimp and grits with smoked white Cultivate has a similarly industrial aesthetic, gouda and andouille gravy? Even better for with columns and an exposed floor. kvetchers, they’re all remarkably good.

Unlike buzzier Seattle restaurants, “We wanted students to have a unique Cultivate is dry. While it makes sense that option and not have to go downtown to get an on-campus restaurant catering to underit,” explains head chef Amy Belknap, who graduates wouldn’t have a spent the past five years booze program, it’s jarring in the school’s catering to encounter a 30-minute department. “We’re trying » PRICE GUIDE POUTINE .................................. $7.50 wait (Cultivate also accepts to feature things they don’t GREEN SALAD ..............................$5 reservations) without a even know are out there, BURGER ....................................$9.50 MAC-N-CHEESE ..................... $7.50 bar in which to bide it. The and push their comfort PORK PORTERHOUSE ............. $10 absence of alcohol has also level past chicken fingers made it difficult to replicate and pizza.”

Belknap says her servers are fielding plenty perfectly the ordering patterns which naturally emerge in restaurants where most of the of questions about ingredients from students, patrons don’t have homework to do. some of whom have just moved here from hometowns where the fanciest restaurants serve spaghetti and meatballs. Poutine, she ultivate’s menu includes an array says, is a puzzler. Still, she adds, “They’re of “smallish plates,” including a willing to try stuff.” $4 olive tray and a “daily slather During the restaurant’s three-year developwith crisps and crackers.” But ment, students’ culinary bravery became an Belknap says students have been slow to ongoing discussion. Despite Belknap’s confiwarm to snacks which are typically paired dence, skeptics prevailed upon the dining team with cocktails or used to prolong meals. to make room on Cultivate’s menu for burgers, “Rather than order multiple things, which mac-and-cheese, tater tots, and fried chicken they’re not really comfortable doing, they tenders. “We can say, ‘Here’s what we want want bang for their buck,” Belknap says. to offer,’ and marketing may say, ‘You need to “We’ve got our service staff encouraging make a quesadilla,’ ” Belknap says, citing the people to share.”

The server is the only one who must endure this line.

with an eight-day brine, the garnet-hued pastrami tastes of Old World spices and smoke.

It’s sliced thickly, so you can’t miss its marvels even when it’s ordered as a poutine topping.

The cycle of brining, drying, smoking, and braising is constant, Belknap says. “We can barely keep up,” she adds, explaining why the sandwich, served with a housemade half-sour pickle, is available only at lunch. “I have some people, I almost worry about how much pastrami they’re eating.”

Like the rich wedges of pork belly seated on soft steamed buns, the pastrami isn’t especially healthy. But in an era when so much conversation about institutional eating

“We’re trying to feature things they don’t even know are out there, and push their comfort level past chicken fingers and pizza.” centers on fat grams and sodium counts, Cultivate has chosen to focus instead on introducing young eaters to the culture of dining.

“It’s important to be able to come somewhere beautiful and be served,” Belknap says.

“Part of my hope is the students will sit down, touch a linen napkin, and talk to the person next to them. It’s part of their personal development, cultural literacy, and well-being.” E hraskin@seattleweekly.com CULTIVATE 1218 N.E. Campus Pkwy., 685-3622, hfs.washington.edu/cultivate.

11 a.m.–2 p.m. & 4:30–8 p.m. Mon.–Fri.

Seattle we ekly • O CTO BER 10− 16, 2012

C

The concept of coursing and sharing is equally new to the servers, who have an unfortunate tendency to bring every dish at once. When I ate at Cultivate, the table was so crowded that a Caesar salad ended up perched on its edge, and landed on the floor when I put a fork to it. (Never hurts to take in a physics lesson while visiting a university.) But Belknap suspects her crew of first-time servers will soon master their roles, even though the ban on state employees accepting tips eliminates any financial incentive. “They’re really into providing service to their community,” she says. “They’re not jaded pros.”

By contrast, the kitchen staff includes veterans of other campus dining facilities where the cocktail sauce and salad dressings aren’t made from scratch. “It’s kind of been a journey for my staff,” Belknap says. “Many of them were picked up from where they were serving the masses and taking advantage of shortcuts.

Sometimes they still groan about it, because they know the products are out there.”

The crowds at Cultivate have forced a few concessions. At an astounding daily rate of 450 covers, Belknap doesn’t try to hand-cut fries or hand-bread chicken. But the burgers are hand-pressed, and the tots are formed in-house with lots of garlic.

Belknap’s insistence on working with fresh ingredients has produced a few wonderful dishes. Cultivate’s salads are gorgeous: It’s impossible to face down the “simple green”— a patchwork of bright-red cherry tomatoes, pink-skinned radish slices, and yellow carrot discs—and not feel compelled to shop at farmers markets more frequently. Elegant black-eyed pea and quinoa cakes were slightly overcooked the night I tried them, but the accompanying green-tomato relish had a terrific punch.

Yet no menu item at Cultivate can rival its extraordinary pastrami, which is at least the equal of any pastrami I’ve sampled in Seattle.

Made from Painted Hills brisket that’s gifted

27

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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 QUETZAL 3209 Beacon Ave. S., 329-2970. You can get

all your favorite tacos and tostadas here, and they’ll be good and cheap. What distinguishes the Beacon Hill favorite, perhaps Seattle’s only taqueria specializing in Mexico City-style street food, are its overstuffed tortas (sandwiches) and the huarache gigante, a sort of Mexican pizza that all but defies explanation. The chicken quesadilla isn’t a greasy flour tortilla dripping with melted cheese, it’s a hoagie-sized turnover stuffed with smoky chipotle-braised meat and a smattering of queso fresco. At this friendly, family-run place, kids are definitely welcome. $

CAPITOL HILL

ELTANA 1538 12th Ave., 724-0660. The bagels are labori-

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ously fashioned by hand. A gigantic oven with visible flames bakes Eltana’s bagels to a char, and the steaming wood makes the spacious, high-ceilinged cafe smell like a sauna. Hard and tiny, these are known as Montreal bagels. But it’s the motion in the ocean that counts, and Eltana’s bagels go down swimmingly, with a generous amount of cream cheese heaped on. $ MOLI BENTO 316 15th Ave. E., 325-8630. Join young families, scrubbed doctors, and various Capitol Hill strays at this shoebox of a Japanese joint. Photos of dishes are displayed on the wall like portraits: teriyaki

shrimp, veggie yakisoba, California rolls. The weekday specials knock a couple quarters off the regular price and are good square deals. $ RANCHO BRAVO TACOS 1001 E. Pine St., 322-9399.

Wallingford’s popular taco truck, which has captured the affections of every UW student and late-night drinker, has expanded to an old KFC in Capitol Hill.

Fond memories of your sketched 2 a.m. cravings for the Colonel’s Extra Crispy may haunt you when you’re sitting on those plastic swivel chairs, downing a plate of tacos. Their fillings vary in quality (pork of any kind always rules here, but tongue is tough and chicken bland), and the loosely rolled burritos are a wardrobe malfunction wrapped in tinfoil. Even so, the food’s a huge step up from any other taqueria in the neighborhood. And Rancho Bravo’s carnitas torta—lightly griddled, appointed with lettuce, tomatoes, and pickled jalapenos—is one of the best in town. $ TANGO 1100 Pike St., 583-0382. This Latin tapas restaurant is known for its desserts, but the nightly happy hour (4:30 to 6 p.m., and all night Tuesday) make it an especially popular spot for the after-work crowd, and the big windows make it a good place to watch the Cap Hill–climbing foot traffic go by. The tenders mix up good cocktails like pomegranate Margaritas and Greek Sidecars. The menu lists pan-Latin tapas, such as green beans sautéed with harissa and crab ceviche with shiitakes. Cold dishes come off more successfully than the up-and-down hot entrées, but no one can resist the lure of El Diablo, a devilish dessert involving chocolate mousse, burnt meringue, caramel tequila sauce, and chiles. While the dining room closes at 10:30, the lounge stays open until midnight (every night). And on Monday nights, the cozy, candlelit

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» by kyle houk

Cool & the Gang

The Watering Hole: Belltown Pub, 2322 First Ave., 448-6210, BELLTOWN The Atmosphere: Stopping to enjoy some of the last rays of sunshine before a long, gray autumn sets in, I glanced up at the gnarled trees on the hanging sign suspended above the sidewalk and stepped through the door into the Belltown Pub. Greeted by a few waitresses, I grabbed a seat at the bar and promptly downed a glass of happy-hour pinot noir, followed that with another glass of vino, and—alcohol receptors properly lubed—got down to business.

The crowd was small but lively for happy hour. Folks chatted eagerly over cheap food and drinks. The warm late-summer sun floated serenely in the sky before disappearing behind the buildings of First Avenue. Sunlight flooded in through floor-to-ceiling windows and bathed patrons in vitamin D. It must have been 80 degrees outside. Inside, Belltown Pub is lofty and woody, decorated with taxidermy, Jamesonbottle light fixtures, and a mounted single-barrel shotgun. The copper-colored ducting, hanging exposed from the whitewashed ceiling, and the red brick walls make for a clean, industrial space. So often, very old buildings just seem like nice places to be.

The Barkeep: Lisa Raybell has a friendly smile and easy-come laugh. She’s tended bar here for two years. From down the bar, a waitress yelled, “Hey, Lisa! Do we have a potato vodka?”

“Luksusowa!” she yelled back, hinting that she knows her booze.

The Drink: Asked to make a concoction of her choosing, Raybell crushed, poured,

KYLE HOUK

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Raybell knows her potato vodka.

and mixed expertly, creating a light and bubbly Moscow Mojito. Served in a sweaty copper cup, it’s a mix of a Moscow Mule and a mojito. Ginger beer and gin make a refreshing combination, sweetened with simple syrup and soured with fresh-squeezed lime. I drank mine through a straw, sucking up morsels of muddled mint with every sip. “It’s crispy,” said Raybell.

“I like to give people a good mojito, because they are kind of hard to find in this city of ours.”

Suddenly I was whisked away to an island world of sugar-sand beaches, turquoise water, and classic cars. “Hey, Mr. Hemingway! You have to try this drink!”

The Verdict: The Belltown Pub is calm and cool, and you feel comfortable and happy while drinking expertly crafted libations and chatting with the friendly staff and customers.

Everyone seems to have a nice time, and that can be infectious. The food is good. The drinks are delicious. Next time, Luksusowa is on the to-try list. E khouk@seattleweekly.com

105 Mercer St, Seattle 206.284.4618 booths are that much easier to settle into with a half-priced bottle of wine. $$ ZAW ARTISAN PIZZA 1424 E. Pine St., 325-5528. The pitch: take-and-bake pizzas made with local, largely organic ingredients and given cutesy names (the “Vietzawm”). The procedure: Preheat your oven, then slide the pizza, laid out on a piece of parchment paper, onto the rack, and bake until the crust is brown and the cheese is bubbly. The ultra-thin crust gets crackly just at the point the toppings are cooked. The trick, when picking a ‘zaw, is to avoid all innovation—the caramelized onions and huge sage leaves on a “Savory Savary” unite in cloying sychronicity, for example, but a Chicago deli with bacon, prosciutto, salami, and pickled pepperoncini is a decent pie. $

CENTRAL DISTRICT

R & L HOME OF GOOD BAR-B-Q 1816 E. Yesler Way,

322-0271. Nothing fancy here; the soda comes out of a vending machine in the corner, and they don’t take plastic.

But R & L sure makes a mean pulled-pork sandwich and fine plate of ribs. The Southern hospitality exhibited by the mother/daughter team who run the joint couldn’t be more welcoming, even if the food didn’t call you back, the atmosphere—or wonderful lack thereof—would. $

ALittLeRAskin » by hanna raskin

Natural Election

is equal parts all-American mini-mart, Ethiopian grocery supplier, and restaurant offering large plates of Ethiopian dishes alongside manhole cover-sized discs of sour, crepe-like injera. The beef tibs, a typical Ethiopian stew, are made with sliced beef, onions, jalapenos, and a ton of berbere (a common Ethiopian spice mixture typically containing fenugreek, basil, garlic, ginger, and a healthy dose of heat in the form of chili peppers). These dishes are made for two (or four) to share and are around $13. $

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is a great democratizer, appealing to both snobs and dudes (no matter their gender). Same with the food at this slick German pub, located in the bottom of a condo complex and painted the color of a ketchup bottle. There are plump, grilled bratwurst to be eaten, as well as jägerschnitzel, thinly pounded pork loins smothered in a creamy mushroom sauce. Or drink your weissbier with just-baked soft pretzels; light, eggy spaetzle smothered in cheese; and currywurst, the ultimate Berliner street food. $ SKILLET STREET FOOD Locations vary. Nothing more than an Airstream trailer found weekdays in

for a vote; PCC is donating $100,000 to the signature drive.

“Since the Food and Drug Administration says we must know if our orange juice is fresh or from concentrate, doesn’t it make sense that foods engineered with foreign bacteria, viruses, [or] insect, plant, or animal genes should be labeled, too?” Bialic writes in PCC’s latest newsletter.

But I-522 is opposed by the Northwest Food Processors Association, which claims the expense associated with compliance could prove crippling.

Michael Steel, a San Francisco attorney whose client list includes food retailers, says Washington producers of all sizes will have to deal with the financial consequences of Prop 37 if it passes. Prop 37 doesn’t apply to meat, cheese, or alcohol, so the state’s distilleries and winemakers wouldn’t be affected by its provisions. But bakeries which use sugar made from genetically modified sugar beets or sauce producers who use corn syrup made from genetically modified corn “have to worry about labels,” Steel says. And those Washington producers who avoid GMO ingredients won’t be in the clear: They’ll have to provide paperwork every three years showing their foods are GMO-free, and the burden will be on producers to prove they’re exempt from the labeling requirement. Furthermore, since anyone would be allowed to bring a lawsuit against a producer, opponents of Prop 37 argue the law could result in frivolous and costly claims against small businesses.

Finally, the proposed law’s provisions bar the use of the word “natural” on any food which has undergone dehydrating, pressing, smoking, or other processing. So if a Washington-made trail mix includes prunes, it would no longer be “natural” in California.

“This is not a California story,” food policy writer Barry Estabrook told Association of Food Journalists members last month. “This is a national story.” E hraskin@seattleweekly.com

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PCC Natural Markets recently joined the charge to put genetically modified food labeling on Washington state’s 2013 ballot, but it’s unclear whether such a measure will be necessary after the projected passage of California’s Prop 37. A recent Los Angeles Times/USC Dornsife poll found that supporters of the mandatory GMO labeling law outnumbered opponents 2 to 1 statewide, despite a huge influx of cash from agribusiness giants including Monsanto, DuPont, and Dow AgroSciences.

Although the law would apply only to food sold in California, experts say the state’s standing as the world’s eighth-largest economy makes it difficult for producers to segregate their California-bound stock. That means many major companies may opt to reformulate their products, rather than create a dedicated California supply chain.

Backers of the proposition say producers are unlikely to “label their products as genetically engineered when sold in California, but not when sold in other states. Doing so would be a costly PR disaster.” Nor are companies likely to want to release GMO labels in states where legislation doesn’t require it, so ridding their products of GMOs could be an attractive strategy despite the ubiquity of GMOs in U.S. soybeans and corn.

“We really don’t know how the big food companies will react if they lose this fight,” Food Safety News’ Helena Bottemiller says. “I think that’s why all eyes are on California right now.”

Trudy Bialic, PCC’s director of public affairs, says California’s law requiring the labeling of goods containing carcinogens and hormone inhibitors provides a useful precedent. “Consider that California’s Prop 65 passed 25 years ago (1986), and still it’s just California that has such labeling on foods,” Bialic says. “No other state has labeling on such high risk ‘foods.’ We will need more than just California to get nationwide labeling.” Launched by a vegan couple from Tacoma, I-522 needs 320,000 signatures to qualify

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food&drink»Featured Eats various curbsides, alleyways, and parking lots, Skillet is undoubtedly Seattle’s best restaurant on wheels, attracting a cult following of neighborhood foodies. On the gourmet end, there’s really no better burger around than their $11 offering, touting grass-fed beef they grind and salt-cure themselves, arugula, and bacon jam. The steal is the poutine, that Canadian delicacy of thick fries smothered in gravy and cheese curds—a delicious way to stretch your stomach. No matter what the options on their chalkboard are (many of which will be crossed out if you return to Skillet for a later lunch), the ingredients are in-season, fresh, and locally sourced. With not much space in the trailer to prepare their food, there’s no room for bullshit. And though the servers hang out the door of a trailer, Skillet boasts impeccable service. $

INTERNATIONAL DISTRICT

MIKE’S NOODLE HOUSE 418 Maynard Ave. S., 389-7099.

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NORTH SEATTLE

FU MAN DUMPLING HOUSE 14314 Greenwood Ave.

N., 364-0681. If there’s one thing that you should order at Fu Man Dumpling House, a six-table hole in the wall in the northern stretches of Greenwood Avenue, it’s the boiled dumplings. Avoid the mushy chow mein, pass over the ho-hum stir-fried entrees. The lumpy, pinched little dumplings, plumped out with pork and vegetables, are the thing here. You’ll see families hunched over a couple dozen of them at a time, dead to everything but the slipperiness of the casing, the kick of the garlic sauce they dredge the dumplings through. If your tablemates demand more variety, maybe branch out with a plate of cold roasted chicken or the “hamburger” (a pan-fried, hockey-puck-shaped dumpling filled with ground beef). $

RAINIER VALLEY

FANA’S CUISINE 3621 33rd Ave. S., 708-7417. Eritrean

and Mediterranean cuisines naturally go together—the Italians colonized Eritrea for decades—so it’s no surprise to find both doro wot and pasta with marinara sauce on the menu. There’s also a Fan burger, a Fan burrito, and hummus, which take the eclectic neighborhood-cafe thing a tad too far. Put your hand over that side of the menu and keep your eyes focused on the Eritrean food: a stew, some sauteed beef tibbs, and a vegetable combo will get you a platter the size of a Formula 400 tire decorated with a colorful, symmetrical pattern of dabs of highly spiced things to eat with your fingers. $ TACOS EL ASADERO 3517 Rainier Ave. S., 760-9903.

There are many taco trucks around the city, but for South Enders there is only one taco bus: Tacos El Asadero. Yes, it has a tattered metal exterior, but unlike many taco trucks, you can actually walk inside, see the kitchen, and eat while sitting on stools that come out of a ‘50s diner. Over on one side, by the kitchen, there are trays loaded with radishes, limes, and spicy carrots and peppers. Then there are the main courses. El Asadero’s tongue and al pastor (spicy pork) tacos are unbeatable.

Four-inch-round tortillas topped with salsa, onions, and cilantro, they produce a contained explosion of flavor.

Get over your ridiculous “roach coach” fears and top off your order with a ceviche taco, which positively sparkles with lime juice and herbs. $ WILLIE’S TASTE OF SOUL BAR-B-QUE 3427 Rainier Ave. S., 722-3229. Willie Turner cooks Louisiana-style barbecue, not to be confused with Texas style, Kansas City style, or any other style. His generous (an extreme understatement) servings of brisket, wings, ribs, chicken, and links, are exhaustively rubbed, thoroughly smoked, and comprehensively doused in Willie’s own sweet-spicy mop sauce. Whereas once he was housed in a small Beacon Hill storefront with rabbit-eared TVs and very few dine-in surfaces, Turner’s Rainier Ave. digs now feature plasma-screen tubes and ample seating.

His soda cooler might be the only one in town to feature an extensive array of Faygo pop. $

UNIVERSITY DISTRICT

GUANACO’S TACOS PUPUSERIA 4106 Brooklyn Ave.,

Ste. 102A, 547-2369. Housed in a bright-green, orange, and purple building off the Ave, Guanaco’s shack-like feel, servers, and menu come straight from the heart of Central America. Guanaco’s is famous for its pupusas— a traditional Salvadoran dish made of corn or flour tortillas stuffed with meat, cheese, and veggies—but it’s the lunch combos that make eating here special.

All the tacos, burritos, empanadas, tamales, and soups are light, but the combination of any of these with a traditional pupusa totally satisfies. And their Fresco de Ensalada, a mix of juice and freshly minced fruit, is a refreshing and sweet finish. $

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One of the many noodle houses now en vogue in the ID, Mike’s attracts Chinese and Vietnamese noodle aficionados for its Hong Kong-style wheat noodles—hair-thin, elegantly springy filaments— served in a clear chicken broth with a few yellow chives floating on top. If you want to take your noodles one step further, order the wontons, sui kau (sort of a cross between siu mai and wontons), or the squid balls, whose hollow centers contain a gush of coral-colored, T H I S CO D E sweet shrimp roe. $ TO DOWNLOAD THE FREE PURPLE DOT CAFE 515 SEATTLE WEEKLY Maynard Ave. S., 622-0288.

IPHONE/ANDROID APP Purple Dot Cafe looks like FOR MORE RESTAURANTS OR VISIT a cross between Space seattleweekly.com Mountain and a casino buffet. The walls are bright purple and yellow and the tables iridescent silver, and the food—well, there’s a lot of it. Purple Dot serves Hong Kong-style cuisine, meaning it’s influenced by everything. The wacky menu includes chow mein and honey-walnut prawns, baked spaghetti and pork chops, even French toast and banana pancakes. It’s a hugely popular spot with clubgoers, who come in gaggles after the bars close. (Owner Sindy Chan actually doubles her staff on weekends.) It’s the International District’s ultimate greasy spoon—you don’t necessarily want to have dim sum here, but boy, does that chow mein hit the spot at 3 a.m. $ SAMURAI NOODLE 606 Fifth Ave. S, 624-9321. An all-ramen restaurant with no plastic packets? Yup, Samurai Noodle does it all in-house, serving huge, redolent bowls of broth that took much longer than 90 seconds to concoct (but still make for cheap eats).

The house specialty, tonkotsu ramen, rivals a bowl of gravy in its richness. Though the recipe is subject to a nondisclosure agreement with a Japanese ramen company, Samurai’s chef simmers pork bones for hours, creating an oinky liquor with the color and creaminess of a good cafe au lait. There are other ramens at Samurai, including versions with chicken, soy, seasonal yuzu, and cold-fish broths, but none come so bundled with memories of Christmas dinner. $ SEATTLE DELI 225 12th Ave. S., 328-0106. At this squeakyclean (sometimes literally, since the owners regularly come out to mop around you) Vietnamese deli, it’s hard to narrow down your choices. Should you paw through the stacks of sticky-rice desserts and fresh spring rolls on the counter, or ask the counterpeople to dish up a glass of sweet beans and warm coconut milk? Should you add to your order a puffy fried bread or some toasted-coconut macaroons? It’s easy to fill up a grocery bag with snacks, and for less than $10. But to leave without ordering one of Seattle’s best banh mi—the barbecued pork or the xiu mai (meatball)—stuffed with pickled vegetables and herbs into a warm, crackly roll, you should consider your entire visit a wash. $ TAN DINH DELI 1212 S. Main St., 726-9990. The decor at this Vietnamese deli, like so many others in the ID, is 100 percent functional: a steam table filled with stews and stir-fries, a cooler stocked with cans of young coconut juice and colorful puddings, and tables stocked with 101 plastic-wrapped delights: fried chicken legs, spring rolls, pale-green sticky rice flavored with pandan. What’s distinctive is the excellence of its sandwiches and its signature banh cuon (pronounced something like bang kuhn): slippery, translucent riceflour crepes wrapped around ground pork, mushrooms, and fried shallots. $ TENOCH MEXICAN GRILL 208 Fifth Ave. S., 381-8994.

The reddish walls and orange floors of this bustling taqueria, named for an Aztec leader, are as spicy as

the food. Tenoch’s menu brags that the cooks use no lard and opt for long preparation methods. You won’t spot their richly flavored chipotle-spiced potatoes and meats (puerco en pasilla, pollo en pipian) at your local taco truck. Just ask the person making your plate to cut down on the lettuce, rice, and other healthful stuff, which can bulk out your tacos and rice bowls without adding flavor. $ THANH VI 1046 S. Jackson St., 329-0208. Tucked into the “Asian Plaza” at the intersection of 12th Avenue and Jackson Street, Thanh Vi is hidden in plain sight.

Decorated with a casino owner’s eye for color, this unpretentious spot is crowded with families working their way through enormous platters and bowls. The best dishes require some assembly. You can braise raw seafood, fish balls, and veggies at the table in a hot-and-sour hot pot, which has a fragrant, tamarindpineapple broth. Or make your own spring rolls with charbroiled pork, pickled vegetables, herbs, and rice paper. $

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Seattle weekly • OCTOBER 10− 16, 2012

music»

Greatest Bob, Vol. 2012

What to expect if you’re expecting Dylan to echo Greatest Hits Vol. 1 at KeyArena.

BY CHRIS KORNELIS

B

COMMENTS:

ob Dylan’s set at Bumbershoot 2010 was—for many reasons, as I point out in the review below—one of the best concerts I’ve ever seen. I’d seen Dylan numerous times before. This wasn’t just the best Dylan set, it was everything I wanted out of a concert. As I wrote at the time, Dylan’s reinvention of his catalog made the set a one-of-a-kind experience, and the perfect foil to the nostalgia that so many of his contemporaries peddle.

The review was met with a hail of comments spread across the board from “He sounds terrible! And different!” to “That’s the point!”

So to prepare those of you attending your first Dylan show Saturday at KeyArena, I thought it would be a good idea to warn you, for better or for worse, what you can expect to expect (but, really, expect the unexpected) when Dylan takes the stage. Here’s my take on Dylan’s last Seattle stop, plus the perspectives of some commenters.

Michael H.: Did we go to the same show? “Held the sold-out audience in the palm of his hand?” I’ve never seen so many people walk out in the middle of a Bumbershoot headlining act. It’s very sad that Bob Dylan’s best live performing days are behind him.

Anonymous: Dylan was a rare joy and unexpected pleasure. To see someone of his legendary caliber still enjoying his music and charming the crowd with his extraordinary musicianship was such a treat. No one goes to Dylan for his voice—they go for his total artistry.

And he’s still pretty hot for a guy his age. Thanks for the epic show (and career) Bob. Davod: It took two-and-a-half verses for me to realize he was “singing” one of my favorite Dylan songs, “Tangled Up in Blue.” His voice is shot. Elton John can’t hit the high notes anymore, but he does his songs as faithfully as possible. I saw three Steely Dan shows in L.A. and two in Seattle, and they did their songs from the ’70s almost exactly like the records, which is what fans want to hear. Dylan destroyed his old songs. I saw

BUMBERSHOOT 2010 REVIEW:

“It took two-and-a-half verses for me to realize he was ‘singing’ one of my favorite Dylan songs.”

Dylan does onstage what he could not or did not do with the songs in the studio. songs on the road and flesh them out, something that’s apparent in their dynamic live sets. And while there was none of the aforementioned sense of musical journey and experimentation exhibited by Case or the Decemberists, it was the cornerstone of Dylan’s set.

Sure, it’d be easy to scoff and say, “Yes, but Dylan has

‘Just Like a Woman’ and a host of other hits and crowdpleasers in his artillery.” But it’s not the fact that he plays the hits and classics, it’s how he plays them. He reimagines them. He does onstage what he could not or did not do with the songs in the studio. For example, it seemed for more than a few moments that “Just Like a Woman” was going to be an instrumental. And the gorgeous arrangement wouldn’t have been a letdown had Dylan not interjected with his gruff howl.

Saturday night, in addition to reviving some of the most heavily consumed songs of the past five decades, Dylan, the stoic recluse, was downright flirtatious. The man grinned down the audience from the opener, “Rainy Day Women,” straight through to the final encore, an erupting rendition of “Like a Rolling Stone.”

Through it all, Dylan crooned, cooed, rotated between guitar and keys, made love to his harmonica, and held the sold-out audience in the palm of his hand. Yes, he would have had a rapt audience had he showed up, played bland renditions of songs the entire crowd knew, and walked off the stage. But that’s not good enough for Dylan. He has to be the most engaged person onstage and in the room.

Last night he was. But there were more than a few thousand fans in the audience doing everything they could to keep up.

ckornelis@seattleweekly.com BOB DYLAN With Mark Knopfler. KeyArena, 305 Harrison St., 684-7200, keyarena.com. $60–$105. All ages. 7:30 p.m. Sat., Oct. 13.

Seattle we ekly • O CTO BER 10− 16, 2012

There are a hundred reasons people go to shows—from beer and camaraderie to an excuse to get out of the house— that have nothing to do with music (and there’s nothing wrong with that). But if you’re going out and you’re gonna see a show, you’re probably not in it for the discovery: You want to hear songs you know and love; to hear the songs of memory performed accurately, as they were on record.

Toss in a gem of a voice, and it’s a great show.

Of the three acts on the mainstage lineup Saturday night—the Decemberists, Neko Case, Bob Dylan—the latter is easily the largest draw in the “He could just play it straight” fan constituency. And yet of the three, his renditions of fan favorites came the furthest away from the originals. And his set was easily the most inspired of the evening. It wasn’t even close.

Case in particular was characteristically rote, and at times glib. Was her voice angelic? Of course. But she’s offering few—if any—unforeseen turns in her canon.

Last week The National’s Matt Berninger told me that after the band puts a record to rest, they get to know the

Bob Dylan live in 1966 just after he went electric. I’ll remember that show, and try to forget this one.

Wayne Michaels: Giving this concert accolades simply because it was Dylan on stage demeans the music as an art form. Maybe Dylan’s next concert tour should be the river-boat casinos with all the other has-been performers of long ago. However, I hope that he does not further degrade his image and retires for good.

Anon2: I’m 55 and maybe it’s cuz I took a small toke of the joint being passed around me (something I do on rare occasion) but I was blown away by the heart/soul/spirit of Dylan.

Al Corwin: I’ve seen Dylan a few dozen times going back to 1965. I thought last night’s show was one of the best ever. It rocked right from the start, and it was earthy and sensual.

Random Comment: Sad, sad hippies. Dylan is singing to you and your thwarted lust for musical Viagra. You built him up as an artist and now turn on him when he dares to deliver something other than the warmed-over leftovers you long to gum. It’s amazing to hear someone of his stature who still dares to play from the heart. I can’t think of anyone else from his generation who has the balls.

From what I saw, almost all those who left were Boomers and most of those who stayed and rocked on were young. That should tell you something.

Mister Loach: For all the comments about Bob’s deteriorating voice, do you wonder if folks cracked jokes about Shakespeare in his later years, as he muttered and mumbled to himself as he shuffled back and forth between the Globe Theatre and the corner pub? Give Dylan the respect he deserves and realize that achieving your expectations has never been his goal. Artists create because they must, and suggesting that Dylan hang it up and retire is ludicrous. Dylan has provided me with a soundtrack for my life and I look forward to the opportunity to see him again. E COURTESY ROBERT ZIMMERMAN

The Fact That Bob Dylan Owned the Show Last Night Had Little to Do With His Songwriting

33

music»Reverb »

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM/REVERB

»TELL ME ABOUT THAT SONG

Dream Girl

A mysterious hit, a Seattle label, and a simple question about sex.

Whitney Lyman is ready to poison herself to slay her predators.

Rodriguez’s “I Wonder”

BY JOE WILLIAMS SW: How were you first introduced to Rodriguez?

Sullivan: There was a compilation that

Seattle weekly • OCTOBER 10− 16, 2012

34

»COLUMN

Rockers Single moms, students, Upton Sinclair.

I

BY DUFF MCKAGAN

love the term “ROCKER.” The word is imbued with a ton of imagery and romance. But I don’t think a rocker needs to have AC/DC and Metallica and the Black Keys rumbling through their car speakers speeding headlong into the night.

Words and titles can be used as dictums and guides for all of us. A certain word can suddenly snap us back to a good place.

“Rocker” works for me.

Prince is a rocker.

David Holmes put out, the producer who did the Ocean’s Eleven soundtrack. One of the songs was “Sugar Man” by Rodriguez.

I bought the CD at Jam Records in Seattle and loved it, and that’s when I started trying to find out more about him and the record.

So were you talking with Rodriguez at the same time the documentary was being put together?

We had already been working on the reissues [Cold Fact, Coming From Reality] for a couple years. The movie was put together by Malik Bendjelloul, who’s from Sweden. He was coincidentally in South Africa looking for stories to do a movie about, and then he met the South Africans [who were looking for Rodriguez]. Our thing was totally separate from the movie. It’s a very odd coincidence.

What about Cold Fact made you realize it was worth reissuing?

There are just so many elements about it that stand out. The lyrics, production, his vocals, the songwriting—lyrically, it’s just as relevant today as it was then. I was floored.

It’s my favorite thing we’ve ever released.

We’ve done about 100 records in 10 years, and for me I think it’s my personal favorite.

What about “I Wonder”? What does the song mean to you?

“I Wonder” is a big part of the film. It had a lot to do with the people in South Africa being so in love with his music. It got banned from the radio because of the line that says, “I wonder how many times you’ve had sex.”

Once it got banned, people wanted to hear it. It’s not like he was a shock-value guy. He’s a guy that was writing poetry about what he saw on the streets of Detroit.

Upton Sinclair is a rocker. He exposed all kinds of wrong in the American workplace 100 years ago.

That person who stops a blind person from crossing the street into traffic is a rocker.

That single mother of a child with special needs who works hard to make ends meet is a fucking rocker.

Yes, for sure, rockers like Jack White and the Refused embody more of the pigeonholed idea of what we think rockers are. But after living and observing this rock world, I think the ethos of rock is so much more farreaching than guitars and Marshall stacks.

Have you ever observed those people who seem to strive to be truthful and honest more often than the norm? Or someone who seems to be searching for the “truth” in life? Those people who are more calm, and are not racing to some sort of nonexistent finish line?

Henry Rollins is a rocker.

Lemmy Kilmeister is most certainly a rocker.

SW: How did you first find out about Cold Fact’s success in South Africa?

Rodriguez: When Sugar [South African

record-store owner Stephen “Sugar” Segerman] came in 1996 and showed me the CD and told me about this “fan base,” and told me some of the story. He went back to South Africa, and then two years later, 1998, I went there for my first tour. I’ve been there four times now. [On] one tour, I did 12 cities.

Was the line “I wonder how many times you’ve had sex” written about someone in particular?

No, it’s not autobiographical. It’s just a song. I’m a writer. I take things from the world and I put them on paper . . . It’s very much just questions about the war. I describe myself as musical-political. I use satire and a thesaurus when I write. I try to write a good piece. I’ve only written 30 songs, so it’s not like I’ve written a lot. I didn’t know I was going to succeed.

Does any certain performance of “I Wonder” stand out as your favorite?

Each night is the best night. I was doing a Dylan song, and somebody asked me, “Are you doing Dylan?” . . . No, I was doing Shakespeare. Dylan is Shakespeare to me.

I do a lot of covers.

What do you hope fans take away from “I Wonder” and your music as a whole?

What I really want for them to take away, if I could have my own way, I really want to give more than hope and inspiration. I want to give them something tangible. Like if it’s a job, they should have that job. If it’s a student, then they should have that education. They should be able to do that. They should give youngbloods in America a better chance for life than the war. E music@seattleweekly.com

We can talk about politics and Second Amendment rights and illegal downloading and bad TV and “provocative” entertainment news all we want, but as long as we just want to spell out what is wrong with other people or how they feel about certain subjects—without first making sure “our side of the street” is as clean as possible—we cannot be rockers.

Being a rocker, to me, is equal to living as much of the truth as possible.

When you don’t fight with your loved ones, you are a rocker.

I don’t think all this traffic-revision crap in Seattle is very rock.

Crack in Belltown is not rock.

John Cage was a rocker, as was his partner Merce Cunningham. Being openly gay way before it was condoned like it is somewhat now in 2012: THAT is a rock-and-roll lifestyle.

Blind hate does not rock. E Read Duff ’s full column at seattleweekly. com/reverb. askduff@seattleweekly.com

BY ERIN K. THOMPSON THE SITUATION I’m sitting in the back of The Stumbling Monk on Capitol Hill with 24-year-old songwriter and multi-instrumentalist Whitney Lyman. She lives a block away in a house she shares with an accordionist and an enigmatic calico cat named Josephine, owner unknown, who comes in through her bedroom window and sleeps with her every night. Lyman has blue eyes and a tattoo of a snake eating its own tail—an ouroboros, symbol of eternity—on her wrist. The image came to her in a dream she had of an eagle flying above a snake; the snake poisoned itself by eating its tail so that when the eagle ate it, it would die too. Lyman considers both the snake and the eagle her spirit animals.

HANNA BENN

LIGHT IN THE ATTIC’S 10TH-ANNIVERSARY CELEBRATION With Rodriguez, Donnie & Joe Emerson, Michael Chapman. Showbox at the Market, Fri., Oct. 12. Sold out.

COURTESY TINY HUMAN

T

hanks to a batch of South African bootlegs, a MexicanAmerican artist named Sixto Rodriguez became a platinumselling star in that country without even knowing it—as recounted in the new documentary, Searching for Sugar Man. And thanks to a crate-digging Seattle record label, Rodriguez, 70, now has a stateside home for his albums, reissue label Light in the Attic.

Looking ahead to LITA’s 10thanniversary celebration this Friday featuring Rodriguez and a handful of other label personalities, label founder Matt Sullivan talks about discovering a lost classic, and Rodriguez goes on the record about his song “I Wonder” being banned in apartheid-era South Africa yet finding a legion of underground fans.

»THROUGH @ 2

HOW SHE GOT HERE Lyman teaches music lessons for a living. She also sings and plays the synthesizer and various percussion instruments in the polyrhythmic pop band Pollens.

She and the band’s five other members met while attending Cornish College of the Arts, where they played in the school’s traditional Indonesian metal-percussion ensemble, Gamelan Pacifica. Earlier this year, Lyman completed Wandering, Wondering, which she calls her first solo album “besides the things that I never want anyone to hear.” Lyman played guitar, piano, banjo, and vibraphone on the record and had a host of musician friends (on violin, cello, trumpet, trombone, and clarinet) play on the tracks, giving the songs an eclectically orchestral sound.

SHOP TALK In June, Pollens signed with Germany’s Tapete Records, and they’ll tour that country in December. After the two-week stint is done, Lyman’s planning to hang around Europe for another couple of weeks, including over the holidays, even though she doesn’t know anyone there. “I’m a big fan of solo adventures,” she says. “Like my album title is Wandering, Wondering, and it comes from that. I enjoy going for walks at night, with no direction.”

BTW: Next to the snake tattoo and the spirit animals, Lyman admits to being “pretty New Agey.” She reads animal tarot cards and is also interested in gems and crystals. When I ask about a large ring on her left ring finger, she demurs, “It just feels comfortable on that finger,” but eventually explains, “This particular ring is a moonstone—it’s an inspirational stone, it’s got a good feminine energy. And the left hand is viewed as the receiving hand, so if you hold a stone in that hand, I think you’re more likely to feel its energy.” E WHITNEY LYMAN With Yards. Comet Tavern, 922 E. Pike St., 322-9272. $6. 9 p.m. Tues., Oct. 16.

Seattle we ekly • O CTO BER 10− 16, 2012

35

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Raw and Fiery Neo-Soul Singer Touring in Support of her New Release “In the Spirit of Etta James”

October 11 - 14

Captain Smartypants: A Benefit for Healing the Children Seattle Men’s Chorus Ensemble Performance October 15

Candido 91st B’day Bash featuring Larry Harlow, Pete Escovedo, Frankie Figueroa & more!

Salsa, Mambo and Afro-Cuban Beats

October 18 - 21

Bill Charlap Trio

One of the World’s Premiere Jazz Pianists

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

Seattle weekly • OCTOBER 10− 16, 2012

October 23 - 24

36

Eliane Elias

Smoldering Brazilian Jazz Pianist, Vocalist and Songwriter

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music»TheShortList FRIDAY, OCTOBER 12–SUNDAY, NOVEMBER 4

The area’s largest jazz festival gets started Friday with a tribute to drummer and Garfield High bandleader Clarence Acox [see the Wire, page 15] and ends with the Seattle Repertory Jazz Orchestra backing saxophonist/ troublemaker Branford Marsalis in the same room (Nov. 3) and at the Kirkland Performance Center (Nov. 4). In the three weeks in between, Earshot brass have brought together a wide selection of generations, traditions, and instrumentations, from the culture-crossing musings of inventive pianist Danilo Perez (Sat., Benaroya Recital Hall) to the plucking of ukulele master Jake Shimabukuro (Oct. 24, Benaroya Hall). The Oct. 17 set from Vijay Iyer—whose most recent record, Accelerando, has been one of the year’s buzziest—is bound to be a highlight of the fest. Various venues, earshot.org CHRIS KORNELIS

Macklemore & Ryan Lewis FRIDAY, OCTOBER 12

Macklemore and Ryan Lewis have built up some considerable goodwill going into new album The Heist—not just with the 7,000 fans attending this sold-out show at WaMu Theater, but also with onetime haters like myself. “Same Love” applied Mack’s

*

righteously sincere oratory to the worthy cause of marriage equality, then “Thrift Shop” reminded us he could be incredibly charming and convincing while just having fun rapping.

But for all his nimble, breathless raps and Lewis’ beautiful, dark, but not-quite-twisted productions on The Heist, much of it falls into the same old sanctimonious traps.

There’s the preachy false dilemma between Christianity and alcohol on “Neon Cathedral” with Allen Stone, the rehashed syrup-tosobriety struggle of “Starting Over” with Ben Bridwell. The latter includes some interesting internal wrangling about motivations— exploiting one’s backstory versus sharing it to help others?—but better is when Mack confronts his rap-cred demons and his richesto-riches triumph head-on and with good humor, as in “Thrift Shop” or the Cadillaccruising “White Walls.” With DEE-1, Xperience.

WaMu Theater, 800 Occidental Ave. S., 3817555. 8 p.m. Sold out. All ages. ERIC GRANDY

Mount Eerie FRIDAY, OCTOBER 12

Mount Eerie released two albums this year— like Death Grips, only without a penis on either cover!—both of which further explore Anacortes singer/songwriter Phil Elverum’s well-established and particularly Pacific

Northwest sense of place. The first, Clear Moon, with its ambient synth parts and songs like “House Shape” and “The Place I Live,” is a misty and meditative ode to the feeling of home, the small wonders and soft dread of belonging to somewhere. The second, Ocean Roar, with its darker and more black-metal-inspired atmospheres, seems to embody the forces which tug and tear at that feeling: the dark, existential waves that crash at the shore, the winds that blow and howl at the windows.

Together, they represent as eloquent and persuasive a rendering of Elverum’s hyperlocal/ internal worldview as anything he’s done since the Microphones. With Bouquet, Ever Ending Kicks (7 p.m.), Hungry Cloud Darkening (9 p.m.) Cairo, 507 E. Mercer St. $10. All ages.

EDITOR’S PICK

THE CORIN TUCKER BAND

ERIC GRANDY

FRIDAY, OCTOBER 12

“Groundhog Day,” the opening track of Corin Tucker’s fierce second solo album, Kill My Blues, tears off with all the brawl and aggression of Sleater-Kinney’s most memorable material. The song recalls Tucker’s riot-grrrl rage in its lyrical content as well: Calling herself “Rip Van Winkle in a denim miniskirt,” she references the time off she took to get married and have children (“Did I lay down, did I fall asleep?/On the backs of the women who have come before me?”), then rallies herself back to her role as rock star and feminist icon (“What does it mean now, why can’t I wake up?/Is our generation stuck in a deep rut?”). Love songs, a eulogy, and a tribute to Joey Ramone follow, but “Groundhog Day” showcases Tucker at her best and strongest—getting political, taking it personally, and using her strikingly forceful voice to take up the torch for modern womankind. With Houndstooth, Dude York. The

Kendrick Lamar hits the Neptune on October 14.

DAN MONICK

Earshot Jazz Festival

Light in the Attic Records’ 10th Anniversary FRIDAY, OCTOBER 12

Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $15. All ages. ERIN K. THOMPSON

With DJ Suspence. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. Sold out.

All ages. ERIN K. THOMPSON

Kendrick Lamar SUNDAY, OCTOBER 14 JOHN CLARK

Pointlessly crowned Compton’s New Favorite Son by most every hyperbole-seller inside and outside the city’s boundaries, Kendrick Lamar is one of those all-too-rare young rap stars who

With Fly Union, Stalley, Jay Rock, Ab-Soul.

Neptune, 1303 N.E. 45th St., 877-784-4849.

9 p.m. $35. All ages. TODD HAMM

Tift Merritt TUESDAY, OCTOBER 16

Tift Merritt’s new album, Traveling Alone, is leisurely and ethereal—characteristics often ascribed to the music of Emmylou Harris.

But unlike Harris, the ultimate hired gun, the pretty, diminutive Merritt is best cast center stage, where her instrumental dexterity can be appreciated to its fullest. When she played the Tractor in 2010, the enthralled crowd included Zoe Muth, KEXP’s Greg Vandy, No Depression’s Kyla Fairchild, and Chris Zasche of The Head and the Heart. If a musician’s talent can measured by the credibility of those who come to hear her, then Merritt’s is of the highest caliber. With Amy Cook. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $18. MIKE SEELY

Seattle we ekly • O CTO BER 10− 16, 2012

Local label Light in the Attic Records was instrumental in launching the careers of the Black Angels, the Saturday Knights, and the Blakes, but it’s even better known for curating—with masterful taste—and reissuing obscure, forgotten, and underrated records from a mishmash of ’50s, ’60s, and ’70s artists like Serge Gainsbourg, Jane Birkin, and Kris Kristofferson, and compilations themed around everything from Motown and international reggae to South Korean psychedelia and revolutionary Cuban funk. This year’s acclaimed documentary Searching for Sugar Man has revived the career of MexicanAmerican folk artist Rodriguez, whose remastered back catalog LITA started re-releasing in 2008. The colorful Rodriguez, now 70, is headlining LITA’s 10th-anniversary party, which will feature performances by two other acts rediscovered by the label: British singer/ songwriter Michael Chapman (age 71) and brothers Donnie and Joe Emerson, who hail from Fruitland, Wash., and who only now, in their early 50s, are making their Seattle debut.

actually live up to the hype. Obviously he’s not perfect, and his stream of consciousness is occasionally hard to follow, but few among the current crop of sophomores can touch his style. His bars contain effortlessly clever jabs and calmly delivered ’hood observations that link his experimental production of choice back to the streets that have so defined his region’s rap output. He’s a master of the stoned observation, and his finishing rasp tells jaded stories of Cali life with perfect cadence.

Though he’s currently surrounded by rap royalty (his new album, good kid, m.A.A.d. city, drops Oct. 22 on Dr. Dre’s Aftermath imprint), he’s already shown he can swim on his own.

37

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seven»nights Bassnectar on his 2012 spring tour. With Opiuo, Supervision, Pressha. Chop Suey. 9 p.m. $15.

Sunday, October 14

Com Truise appears at Chop Suey on Friday, October 12.

LUCIANA SOUZA DUO Brazilian jazz singer Souza, a

four-time Grammy nominee, headlines this Earshot Jazz Festival show. With the Dave Peck Trio. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 5:30 p.m. $22.

All ages.

THE SPRINGBOARDS This local four-piece plays sloppy blues rock, buoyed by frontman Seth Swift’s howling vocals. With The Fame Riot, Teeter Totter. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com.

8 p.m. $5.

WOODS This Brooklyn group released Bend Beyond last month, its seventh album in as many years, which expands on the band’s sturdy foundation of psychtinged folk pop. With Night Beats. Barboza. 8 p.m. $10.

CHARLES BERGQUIST

Wednesday, October 10 FINK A former DJ and producer whose clients included

John Legend and Amy Winehouse, Fin Greenall currently devotes his attention to this solo songwriting project. With Joshua Morrison. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $12.

NORMAN BAKER AND THE BACKROADS This local alt-country four-piece headlines a tribute to legendary singer/songwriter John Prine, whose self-titled debut album turned 41 this year. With Kate Lynne Logan, Drew and Donnian. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 7:30 p.m. $7.

SMASHING PUMPKINS Billy Corgan’s seminal alternative rock band’s latest project is its most ambitious yet: Teargarden by Kaleidyscope, an ongoing 44-track concept “album within an album.” The band released Oceania, a full-length comprising tracks 11 to 23 of Kaleidyscope, in June. Comcast Arena, 2000 Hewitt Ave., Everett, 425-322-2600, comcast arenaeverett.com. 7:30 p.m. $39.50–$49.50. All ages.

Thursday, October 11 ADVENTURE CLUB One of this EDM production duo’s

Friday, October 12 APPARAT ORGAN QUARTET There’s a lot more to

Icelandic music than Björk and Sigur Rós, and this “Reykjavik Calling” showcase displays the country’s musical diversity, from the headliners, an analogonly electronic group that is actually a five-piece, to 20-year-old pop songwriter Ásgeir Trausti. Local musicians and authors will join the bands onstage.

With Sudden Weather Change. Neumos. 8 p.m. Free.

tom rush w/ jim page

fifth album from this decorated British songwriter, was recorded in Portland and features collaborations with M. Ward and Tom Rowlands of the Chemical Brothers, plus three bonus tracks: beautifully rendered covers of Neil Young, Carole King, and Jonathan Richman songs. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $25.50 adv./$27 DOS. FAUST This show is one of just six U.S. dates, all on the West Coast, that these German krautrock legends will play this year. With Midday Veil, Dull Knife, DJ Mamma Casserole. Comet Tavern. 9 p.m. $15.

THE ISOTOPES This Rochester, N.Y., band is arguably known more for its ostentatious live show (go-go dancers, a light show, matching scientist uniforms) than for its Ventures-esque instrumental surf rock.

With the Piniellas. Funhouse, 206 Fifth Ave. N., 3748400, thefunhouseseattle.com. 9 p.m. $6 adv./ $8 DOS.

THU/OCTOBER 11 • 8PM

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the be good tanyas w/ huck notari

FALLING IN REVERSE

This Las Vegas metalcore band saw its debut album, 2011’s The Drug in Me Is You, peak at a surprising #19 on the Billboard charts. With I See Stars, Letlive, Matt Toka. Showbox SoDo. 6:30 p.m. $17.50 adv./ $20 DOS. All ages.

SAT/OCTOBER 13 • 7PM & 10PM

“PIECES WE ARE” EP RELEASE SHOW

kris orlowski & andrew joslyn

WHITING TENNIS

Besides his melancholy solo folk songs, Tennis is also an accomplished visual artist whose work is in the collections of the Seattle, Tacoma, and Portland art museums.

This show, a showcase for local label Fin Records, will also feature its most recent signee, psychedelic band Low Hums. With Gavin Guss. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conor byrnepub.com. 9 p.m. $7.

Saturday, October 13 ANTIQUE SCREAM This local guitar-and-drums

duo plays punchy, blues-tinged punk. With Pouch, Scorpion Child. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10 p.m. $5.

BLVD PARK The latest from this Seattle-by-way-ofSacramento bluegrass sextet is this year’s The Sound, its sophomore album. With Buster Blue, Strange Jerome. Conor Byrne. 9 p.m. $8.

BOB DYLAN AND HIS BAND Dylan is touring behind September’s Tempest, his 35th studio album. With Mark Knopfler. KeyArena, 305 Harrison St., 684-7200, seattle center.com/events/concerts. 7:30 p.m. $47–$86.50. All ages.

JEFF THE BROTHERHOOD This shaggy Nashville rock duo, brothers Jake and Jamin Orrall, made their major-label (Warner Bros.) debut this year with the Dan Auerbach–produced Hypnotic Nights, a hard-partying album that shows strong evidence of the band’s Weezer love. With Diarrhea Planet. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $12. All ages.

VIBESQUAD This Denver EDM DJ (real name Aaron Holstein) opened for American bass-music mainstay

Beth Orton plays Showbox at the Market on Monday, October 15.

SUN/OCTOBER 14 • 7PM

EARSHOT JAZZ FESTIVAL PRESENTS

luciana souza duo w/ dave peck trio

next • 10/15 frightened rabbit w/ arc in round • 10/16 bettye lavette • 10/17 an evening with aaron freeman • 10/18 lemolo

JESSICA LYNNE Though the two share a hair color,

Jessica Lynne’s brand of country is nothing like Neko Case’s. Rather, Lynne trades in the sort of twang Nashville’s more commercial kingmakers might endorse, which makes her something of a rarity up north. With Radney Foster. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $15.

Tuesday, October 16 KATE BORKOWSKI Songwriter/pianist Borkowski is

touring behind the unreleased Beautiful Little Fools, mastered by Greg Calbi, who remastered Paul Simon’s Graceland in 2011. With Danny Godinez, PK & What Army? JewelBox/Rendezvous. 9 p.m. $8.

THE FABULOUS PARTY BOYS This group of UW School of Music veterans lives up to its name (or at least the last two words) with its eminently danceable, funk-based grooves. With The Mark Sexton Band, the Fat Kids. Nectar Lounge. 8 p.m. $5.

Send events to music@seattleweekly.com See seattleweekly.com for full listings

• 10/10 istvan and farko / gin creek • 10/11 j. von stratton official happy hour pre-party / thione diop (senegal) • 10/12 beso negro • 10/13 melissa ivey • 10/14 kareem kandi • 10/15 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 10/16 singer-songwriter showcase w/ scarlet parke, vividal and anthony disparte • 10/17 bakelite 78 / paul benoit band TO ENSURE THE BEST EXPERIENCE

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

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Seattle we ekly • O CTO BER 10− 16, 2012

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hard-edged, distorted rock with an upbeat feel better over the years than Dinosaur Jr., and their latest album, I Bet on Sky, delivers once again on this promise. With Shearwater. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. 9 p.m. $24. All ages.

COM TRUISE One would struggle to describe New Jersey producer Seth Haley’s sound as well and succinctly as the title of 2011’s Galactic Melt; the record is equal parts smeared, bass-heavy ’80s synth sounds and off-kilter psychedelia. With PoolSide, Bonde Do Role. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com.

9 p.m. $13.

WED/OCTOBER 10 • 7:30PM

BETH ORTON Sugaring Season, the delicate, folksy

JO METSON SCOTT

specialties is dubstep-flavored remixes of emo and hardcore music, as evidenced by their mixes of songs

by Brand New, Chevelle, and Alexisonfire. With Big Gigantic, GRIZ. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline. com. 8 p.m. $17.50 adv./ $20 DOS. All ages.

BATTLEME Matt Drenik’s folk-rock solo act got its first break in 2009, when his song “Burn This Town” appeared in an episode of FX’s motorcycle-gang drama Sons of Anarchy. With Keaton Collective, Timothy T H I S CO D E Robert Graham. Sunset TO DOWNLOAD THE FREE Tavern. 8:30 p.m. $8.

SEATTLE WEEKLY PAC DIV This old-schoolIPHONE/ANDROID APP influenced Southern FOR MORE CONCERTS OR VISIT California hip-hop trio has seattleweekly.com collaborated with bro-rap favorites like Mac Miller and Asher Roth. With Mikey Rocks, Eighty4 Fly, AyeLogics, DJ Swervewon. Neumos, 925 E. Pike St., 709-9442, neumos.com. 7 p.m. $15. All ages.

DINOSAUR JR. Few bands have been able to create

Monday, October 15

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39

dategirl »By Judy McGuire S.A.M. COLLECTIVE S.A.M. COLLECTIVE Beejs and Backsies

She is a beautiful, vibrant person, but also extremely self-centered. I knew this about her—she even knows this about her! And so Dear Dategirl, when the going got tough, she left.

How can I convince my boyfriend to go We hadn’t spoken in most of that time, but down on me? He thinks it’s gross. In every last week we met at a mediation session to other way, he’s awesome. He is superfinalize our divorce. Her leaving kicked my squeamish about a lot of things. Like he ass into high gear, so in the interim I’ve gone won’t eat calamari. He loves beejs, BTW. vegan, started working out, quit my job —Unlapped for a better one, and even started therapy—something I’d always He’s content to let you been reluctant to do. I can say New Hours: M-F 12:00 – 7:00 tongue his peehole10:00 and guzzle without a doubt that at 38, I Saturday – 5:00 his salty Sunday semen, but won’t look better than I did at 28.

12:00 – 5:00 return the favor? Sigh.

She obviously thinks so too Bring this ad are for battles an extra 10% off My dear, there now, because she e-mailed For weekly specials, follow us on Facebook worth fighting in the me last night asking to meet bedroom (“Please kiss me WA 98103 to see if we could give our 4023 Aurora Ave. N. Seattle, differently,” “How about marriage another try. www.samcollective.org a little assplay?”, etc.), and I’m torn. I know she’s been (206) 632-4023 then there is this. Sadly, seeing someone almost the A non-profit organization in accordance with chapter RCW 69.51A there is no “trick” to get entire time we’ve been apart.

For weekly specials, follow us onEither Facebook your boyfriend to stop being he dumped her or she’s an uptight jerk and start eathaving second thoughts because I ing puss. He considers an integral look so much better. I haven’t dated pleasure center on your body “gross.” at all, because I’m still in love with her.

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There is no “trick” to get your boyfriend to stop being an uptight jerk and start eating puss.

He considers an integral pleasure center on your body “gross.” This man does not only not deserve “beejs,” he does not deserve you.

Dear Dategirl, My wife left me over a year ago when I was in the midst of a terrible situation. Both of my parents had died within a few weeks of each other, I’d had a pay cut at work, my dog was hit by a car (she lived, but lost a leg), and I was extremely depressed. I’d also gained some weight, and I admit that I was rather shut-down, emotionally.

You don’t just look better, you are better.

The last time she saw you, you were a shut-down, sad-sack fattie with a threelegged dog. Now you’re lean, handsome, healthy, and happy—who wouldn’t want to go out with you?

There’s something to be said for sticking it out with someone going through a rough time, but there’s also something to be said for taking care of yourself if your partner shows no signs of wanting to improve his or her lot.

You’re still in love with her, so go meet her for coffee. Maybe you guys can work things out, maybe you can’t. But don’t let your pride keep you from finding out. 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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(MMPN) in Mukilteo. Formerly located in Everett, but ousted from that burg by a city council insensitive to the needs of patients, MMPN keeps on keepin’ on since it was forced to move about a year ago. When Mukilteo’s city council last year fell one vote short of the supermajority needed to impose a medical-marijuana dispensary moratorium, safe access for patients was, albeit precariously, preserved for at least the time being.

Rather than following the practice of most shops, where the reception area is separated from the bud room, once you walk into MMPN you’re in the bud room, with a big pane of bulletproof glass separating you from the budtender and the product. It’s necessary to speak a little louder than usual in order to be heard, and of course the setting keeps MMPN from feeling as laid-back as most other shops. Atmosphere-wise, the glass engenders an unfortunate but inevitable feeling of separation from the budtender and flowers, which makes customer service even more important; fortunately, budtender Jay had that covered on the Saturday I visited. Paperwork and payments are slipped through a slot at the bottom of the glass, and meds are dispensed through an interesting little revolving-door apparatus.

MMPN’s cannabis strains are $12 a gram for top-shelf, with a few $11 and (usually) $10 varieties, and $7 jar-ends shake mix is available for the bargain hunter. On the day I visited, they were sold out of $10 strains, but Jay assured me they were almost always

TOKE

BY STEVE ELLIOTT

available. Upon Jay’s recommendation of the best strains in the house, I got Dutch Treat, a sativa, and Headband Kush, an indicadominant, both at $12 a gram.

Dutch Treat is a great first smoke of the day, with its clear, head-ringing high accompanying potent nausea relief. Have a bowl with a cup of coffee, and you’re off on a cloud of cannabinated creativity for a couple of hours. These flowers are incredibly covered with a thick, alluring forest of sticky trichomes and abundant red hairs. The Treat has a bouquet of citrus and pine, and toking reveals a taste a little like eucalyptus.

Headband Kush’s runaway popularity at West Coast access points becomes entirely understandable once one samples some of this potent indica-dominant hybrid strain. A combination of the indicas Master Kush and OG Kush with the sativa Sour Diesel, these flowers lean toward the Diesel with their pungent smell.

Just a few tokes in, noticeable pain relief manifests itself, along with, for what is an indica-dominant strain, a very uplifting high.

Relaxation and stress relief complement Headband’s pain-relieving properties, making it a good choice for anxiety as well.

MMPN has a small selection of cannabis medibles priced at $8 and $10, with Ganje Roast medicated coffee available in regular ($6) and double-strength ($8) versions for the four-ounce bag. Available concentrates include butane hash oil (BHO) of several different strains for $50 a gram and bubble hash for $30 a gram. E tokesignals@seattleweekly.com

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

MEDICAL MARIJUANA PATIENTS NETWORK 4204 Russell Rd., Suite A, Mukilteo, 425-346-4533, medicalmarijuanapatientsnetwork.com.

11 a.m.–7 p.m. Mon.–Sat.; closed Sun.

OF THE

TOWN .com cannabis news | views rumors | humor

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