Seattle Weekly, September 05, 2012

SEPTEMBER 5–11, 2012 I VOLUME 37 I NUMBER 36

SEATTLEWEEKLY.COM I FREE

RENAISSANCE FARE AT THE W? PAGE 31

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RENEE McBUMBERSHOOTER PAGE 35

The Fuzz

WILL SEATTLE’S DEAL WITH THE DEPARTMENT OF JUSTICE REALLY INCREASE POLICE TRANSPARENCY?

BY KEEGAN HAMILTON

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Seattle weekly • S E P TE MB E R 5−11, 2012

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Seattle weekly • S E P TE MB E R 5−11, 2012

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Seattle weekly • S E P TE MB E R 5−11, 2012

with very special guests

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inside» September 5–11, 2012 VOLUME 37 | NUMBER 36 » SEATTLEWEEKLY.COM

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up front 7 NEWS

THE DAILY WEEKLY | Controversy over

a gasoline tax, how library closings affected the demand for homeless shelters, and crime “hot spots” in Rainier Beach.

11 FEATURE

BY KEEGAN HAMILTON | The

SPD’s problems with accountability and transparency have earned national attention.

One West Seattle case demonstrates just how daunting the department’s DOJ-forced reform effort might prove to be.

19 THE WEEKLY WIRE We rate the presidents, celebrate Seattle Center, and get attacked by Thai pirates en route to Hollywood.

21 ARTS

STAGE | A new company forgoes costumes

and sets.

»cover credits

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25 FILM

THIS WEEK’S ATTRACTIONS

Kirsten Dunst isn’t ready to wed, Julie Delpy can’t stand her father, and Spike Lee goes back to Brooklyn.

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31 | TRACE | They say hotel restaurants

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32 | FIRST CALL | Kirkland’s fiery mojito.

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35 MUSIC

35 | BUMBERSHOOT IN PICTURES

Renee McMahon’s weekend highlights.

37 | REVERB | What Gotye’s semi-success really means, Macca steps into the 21st century, plus Blondie and Through @ 2.

39 | THE SHORT LIST | Wild Nothing, Against Me!, Blackstreet, and more.

Seattle weekly • S E P TE MB E R 5−11, 2012

in back

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Call: 206-448-2181

44 | KARAOKE KORRESPONDENT

Jeff’s soft-rock debacle.

other stuff

22 | PERFORMANCE 24 | VISUAL ARTS 28 | FILM CALENDAR 32 | FEATURED EATS 41 | SEVEN NIGHTS 47 | TOKE SIGNALS 48 | DATEGIRL

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Seattle weekly • S E P TE MB E R 5−11, 2012

Urinary Tract Infection?

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Seattle Womenʼs is currently looking for volunteers to participate in a study for Urinary Tract Infections. This 2-visit clinical research study is for women 18 years and older wtih symptoms of a bladder infection, including pain and burning.

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For more information on Current Studies contact 206-522-3330 x2 • research@seattlewomens.com

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news»The Daily Weekly »dispatches from our news blog

Crooking With Gas

I

A former justice says Washington’s tribal gas-tax deals stink.

Dan Carino

s the state helping Native American gas stations undercut their off-reservation competitors? That’s the claim of a lawsuit that got a go-ahead from the state Supreme Court last week— a case that deals not just with tribal sovereign immunity, but tens of millions of dollars in taxpayer money.

That money is paid to tribes around the state by virtue of a series of gas-tax compacts negotiated by Governor Chris Gregoire.

The governor couched these compacts as a compromise. The state had been wrestling for years with tribes over whether they are obligated to pay gas taxes.

Under the compacts, the state refunds 75 percent of such taxes paid by the tribes or reservation gas and large the tribes are spending the money stations. appropriately,” he says, although he concedes “The stench from these agreements is so that there may be exceptions. “Has every great,” claims former Supreme Court judge dollar been spent correctly? I don’t know.” and legislator Phil Talmadge, who is repOne of the thorny things about this suit resenting the plaintiff, a trade group of gas is that it names the state—not the tribes—as retailers around the state called the Automodefendants. But the tribes are clearly affected, tive United Trades Organization. as the state points out in First of all, Talits legal papers—the ones madge argues in an that will or won’t get tens interview with SW, Print is great, but if you want to read about why . . . of millions of dollars in the state doesn’t need the U.S. government is killing seagulls, funding, depending on to refund any money head over to The Daily Weekly. the outcome. at all. That’s because SEATTLEWEEKLY.COM/DAILYWEEKLY In Grays Harbor the state isn’t directly County Superior Court, taxing tribal gas stations. It’s taxing non-tribal wholesalers; tribal where the case was filed, a judge ruled that the tribes were therefore “indispensable” gas stations pay the tax when they buy, not to the proceeding. And since tribes can’t sell, gas. Talmadge says this form of taxing be sued due to sovereign immunity, he the tribes has been given the OK by the U.S. dismissed the case.

Supreme Court in a related case. So he says In last week’s divided ruling, the Supreme the governor is simply doling out money to Court reversed the lower court’s opinion. the tribes, something that in his brief he calls While the tribes are affected, the Supremes an “abuse of authority.” opined, it is the state’s conduct that is most Secondly, Talmadge says that both the at issue here, and the state has no business compacts and the state constitution require raising sovereign immunity as a defense. the money given to the tribes, since it is Asserted the ruling: “Sovereign immunity is derived from gas taxes, to be used on road meant to be raised as a shield by the tribe, not projects. Yet, he says, the tribes are not wielded as a sword by the state.” NiNa Shapiro required to provide any accounting to the state which would verify that the funds are being used correctly. And he says the very few reports there are show some funds being used incorrectly—for “trails, a police dog, a community facility.”

His theory, though, is that most of the Thanks to citywide budget cuts, the Seattle money—now more than $30 million a year, he Public Library system was shut down last says—is going to one thing: subsidizing tribal Monday through Sunday, Aug. 27–Sept. 2. gas stations so they can offer lower prices.

While the closure saved the city roughly Assistant state Attorney General Rene $613,000, it also—obviously—cramped the Tomisser asserts otherwise. “We know that by » Continued on page 9

a

Seattle weekly • S E P TE MB E R 5−11, 2012

Libraries Close, Shelters Get Booked

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news» The Daily Weekly » from page 7 style of those who frequent Seattle’s libraries.

And that includes the homeless.

While rules and security measures are in place to keep the Central Library from becoming a full-on shelter, it’s commonplace for the homeless to seek refuge at computer terminals and amid the stacks during foul weather—or even just to pass the time until real homeless shelters open in the evening.

So where do the homeless go when the library closes for a week? Anecdotal evidence suggests Seattle’s daytime social-service programs for the homeless experienced a noticeable uptick in the number of people looking for help during last week’s closure.

Ronni Gilboa, a program manager at Seattle’s Urban Rest Stop—which offers restrooms, shower and laundry facilities, referral services, and general information to the homeless and low-income individuals and families—says that during the first few days of the budget-mandated library closure, the program experienced roughly a 12 to 15 percent increase in visitors each day.

“The Urban Rest Stop is always operating at maximum capacity,” explains Gilboa via e-mail. “The impact of the library closing means longer lines, longer waiting times, and larger numbers of people being refused services, as we do not have sufficient capacity to offset the library closures.”

“The impact of the library closing means longer lines, longer waiting times, and larger numbers of people being refused services, as we do not have sufficient capacity to offset the library closures.”

Reining In Rainier

The City of Seattle has been awarded a $1 million federal grant to reduce juvenile crime in Rainier Beach, and says it will be thinking outside the box to when it comes to the city’s most crime-plagued blocks.

George Mason University previously conducted extensive research on crime trends in Seattle and found that crime concentrates in a handful of “hot spots”—street corners, alleys, parks, etc.—even if police try to crack down with arrests and traditional law-enforcement strategies. Professor David Weisburd analyzed crime data from 1989 to 2004 and found that one-third of Seattle’s juvenile crime occurred on just 86 of the city’s 30,000 individual street “segments.”

“The thing, if you read about hot spots, that is so fascinating is they tend not to change over time,” says Mariko Lockhart, director of the Seattle Youth Violence Prevention Initiative, one of the partnering groups that will work on the three-year project. “There’s a lot of common belief that if you have a lot of police presence in this one area, you’ll squeeze it like a tube of toothpaste so it goes somewhere else. You read this research that David has done, you really see it persists in specific locations over time.”

The grant money will focus specifically on reforming five to-be-determined hot spots in Rainier Beach. Lockhart says a top priority will be the intersection of Rainier Avenue South and South Henderson Street, a notorious south Seattle crime hub. During the first year, researchers at George Mason will gather additional data about crime in Seattle. After that, the stakeholders will formulate some fixes that go beyond sending cops to hassle kids on street corners.

Lockhart says it’s “a luxury” to have three years to tackle the problem (although Seattle police and city leaders have been trying for at least three decades), explaining that the project allows for a long-term solution rather than a quick fix. “So often when facing an issue like youth violence, we want to respond quickly and address the issue right now,” Lockhart says. “I think this really will give us a lot of knowledge that could potentially have a much bigger impact on juvenile crime than we’d otherwise have the opportunity to have.

“The goal is identifying what are the root causes,” Lockhart continues. “Why is juvenile crime happening on this spot and not three blocks down?” Keegan HaMilton E news@seattleweekly.com

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Seattle weekly • S E P TE MB E R 5−11, 2012

Gilboa isn’t the only person who describes such a scenario. Seattle’s Compass Housing Alliance offers a wide-ranging list of services to those battling poverty and homelessness— including shelters, transitional housing, and permanent low-income housing, along with day services like showers, laundry services, mail services, savings accounts, and warm cups of coffee.

Lindsey Lund, the communications coordinator for Compass Housing, says while it “obviously can’t directly link it to the library closure,” the agency also experienced increased demand last week, specifically pointing to a spike in those utilizing the agency’s daytime services.

At the Compass Housing Alliance Day Center on Third Avenue, the last week of a month is routinely the busiest; Lund says the center serves an average of 275–300 people a day during these times. After checking with a staff member at the Day Center, Lund reported an 11 percent increase in visitors on Monday of last week and a 28 percent increase on Tuesday (when 378 people were served), as compared to the last weeks of

June and July. “This explains why we had a lunchtime food shortage yesterday, and our consumption of regular staples (plates, coffee, creamer, cups, sugar, paper towels, t/p, etc.) has increased drastically,” wrote the Day Center staffer.

Despite the additional challenges presented by an increase in visitors—library-related or not—those driven to help people suffering from poverty and homelessness seem inclined to keep grinding for the cause. Writes this Day Center staffer, “No matter the increase[s], we welcome everyone, because this is why we are here and this is what we do!” Matt Driscoll

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Sargent, shown leaning on his grandpa’s truck in the infamous West Seattle alley.

SEATTLE’S DEAL WITH THE DEPARTMENT OF JUSTICE AIMS TO INCREASE POLICE TRANSPARENCY. BUT AFTER A BACK-ALLEY ALTERCATION WITH AN OFF-DUTY COP, EVAN SARGENT IS DUBIOUS.

BY KEEGAN HAMILTON

T

he summer of 2009 was one of Seattle’s hottest,

with temperatures soaring into the upper 90s and blistering the city for weeks. The morning of Tuesday, July 28 followed the warmest overnight low in history, and by 5 p.m. that evening, when 19-year-old Evan Sargent steered his grandfather’s gold Chevy S-10 pickup into a West Seattle alley, the daytime high had reached 97 degrees. truck. Too deep into the alley to back his way out, Waters parked and poked his head through the nearby kitchen doors to ask if restaurant employees were responsible for the holdup. No more than five minutes passed before Sargent returned with two heavy bags of laundry in tow.

No definitive video proof shows precisely how the ensuing events transpired, but what is certain is that the confrontation has led to protracted litigation and more of the sort of allegations—excessive force, impunity, and lack of transparency—that have plagued SPD in recent years. The trivial act of blocking an alley has spawned both a federal civil-rights lawsuit and a case pending before the State Supreme Court, each of which could ultimately cost taxpayers hundreds of thousands of dollars in damages and legal fees.

Sargent’s alley encounter was one of several high-profile incidents between 2008 and 2011 that prompted outrage from community groups and led the Department of Justice (DOJ) to declare that “failures to supervise patrol officer’s use of force occur at every level of SPD management.” The DOJ demanded change,

and, on the brink of a costly and ugly lawsuit with the feds, Mayor Mike McGinn begrudgingly acquiesced to a settlement agreement and Memorandum of Understanding (MOU) that requires a court-appointed monitor to oversee reforms related to SPD’s use of force, while also calling for the creation of a Community Police Commission, made up of citizens, to generate ideas for how SPD can be reformed.

But the blue-ribbon panel’s recommendations are not binding, and the possibility is very real that they could be brushed aside or hamstrung by bureaucracy. City Hall and SPD say they welcome change, but there’s cause for skepticism.

“This is not effectively done if all “This is not effecyou do is point a finger at the cops tively done if all you do and say ‘Reform yourself.’ ” is point a finger at the cops and say ‘Reform yourself,’ ” says Al Gerhardstein, a civilrights attorney who in 2002 helped spearhead air” from the first swing, but witnesses say he the successful overhaul of Cincinnati’s broken was standing several feet away, well beyond police department in conjunction with the striking distance. Waters identified himself as DOJ. “That won’t work.” a police officer, but Sargent was incredulous.

As cases like Sargent’s prove, the need “You’re not a fucking cop!” he shouted. for change is glaring. The current policeTrying to stop the fight behind his restauaccountability system was the result of a rant before any blood was shed, Odom yelled, previous crisis/reform chain reaction. Will “Not back here!” Sargent lowered the baseball things be different this time? » CONTINUED ON PAGE 12

Seattle weekly • S E P TE MB E R 5−11, 2012

Sargent was making a weekly laundry pickup from his mother’s massage-therapy business on California Avenue Southwest in the heart of the Alaska Junction. A recent West Seattle High School grad with a hefty frame, a blond buzz cut, and a laid-back demeanor, the teenager was still living with his parents, and taking care of dirty sheets for his mom was a mandatory chore.

The busy intersection was clogged with rush-hour traffic. Figuring his errand would take only a few minutes, Sargent turned right off of Southwest Alaska Street into the alley, passing a mural of the Puget Sound Mosquito Fleet and parking behind The Matador and Maharaja restaurants, where cigarette butts left behind by kitchen workers were scattered across the grimy pavement. Sargent switched on his hazard lights and hustled upstairs.

Moments after Sargent left to take care of business, off-duty Seattle Police detective Donald Waters turned down the alley headed southbound in his personal vehicle, a silver Honda SUV. Attempting to avoid the traffic jam, Waters found his shortcut blocked by Sargent’s

RENEE MCMAHON

The Fuzz

s Sargent tossed the laundry bags into the pickup bed, Waters, 47, a veteran of the SPD’s gang unit with a linebacker’s build, confronted him about blocking the alley. Tempers were running short on the scorching day, and both men accuse each other of rudeness.

“Next time you should park decent, like a normal person,” Waters allegedly told Sargent as the latter started his pickup, according to police reports. (Reached for comment via phone, Waters declined. An attempt to reach him through SPD spokesperson Sgt. Sean Whitcomb was similarly denied.)

“What business of yours is it, anyway?”

Sargent responded, according to Waters. The teenager claims he added, “You know, instead of yelling at me, you should maybe just go the other way next time.”

With that, Sargent put his car in reverse and started a three-point turn to get out of the alley. Waters, clad in cargo shorts and a polo shirt, claims it was then that he pulled out a police employee ID card (not his badge), identified himself as a cop, and asked for Sargent’s driver’s license. Sargent says he didn’t see any police ID, just a large, angry, and seemingly random guy getting in his face. He decided it was time to leave. “I don’t normally hand over my identification to strange people in alleys,” he later told police investigators.

As the teen continued in reverse, Waters pounded on the hood of the truck and started to move around to the passenger side. The detective let loose what Sargent would later describe as a “Superman lunge punch” and smashed the side-view mirror, knocking it to the ground. “All I saw was glass shattering,” Sargent recounted later.

Panicked, Sargent popped the clutch and stalled his truck. Having already locked the driver’s-side door as a safety precaution, he struggled with the latch and tumbled to the ground when it finally popped open. Waters quickly moved back around the front of the car and towered over Sargent as the younger, smaller man lay on his back.

Victor Odom, kitchen manager of The Matador, watched much of the argument unfold and was worried about Sargent. “He’s got a gentleman twice his size coming at him,” Odom told police months later. “He was probably crapping himself.”

To defend himself, Sargent reached into the truck and grabbed a 30-inch, black, aluminum Little League bat that he’d used earlier in the day in a ballgame at nearby Lincoln Park. Sargent quickly got to his feet, told Waters to step back, and took “a couple check swings” for good measure. Waters gave a sworn statement saying he could “feel the

11

The Fuzz » From page 11

Seattle weekly • S E P TE MB E R 5−11, 2012

bat and started to plead his case. Waters, meanwhile, backpedaled to his SUV and fished out his gun. Odom ducked back inside the restaurant to call 911. With his pistol in his right hand and his police badge in his left, Waters took aim at Sargent and told him to drop the bat. The command was promptly obeyed.

“I was like, ‘Hey, this isn’t the time, just put the gun away, we don’t need the gun out,’ ” Sargent later told police, making it seem as though Waters was on the verge of squeezing the trigger. “I really thought, ‘This is how I’m gonna die . . . some guy in an alley I was blocking is gonna shoot me.’ ” Waters called 911 on his cell phone. Backup arrived quickly.

“At the time, I had no idea I was in trouble,” Sargent says. “I thought he was going to get in trouble. That was until they asked me to turn around and put on the handcuffs. I’m like, ‘What is going on?’ ” Waters claimed that Sargent tried to pin him against the alley wall when backing up. The mirror somehow broke when he “jumped backward” to avoid being hit by the truck. After that, the teenager “aggressively charged” at him with the bat. A witness from a nearby retirement home told the cops he only saw Sargent swinging the bat and “acting nutty.”

Sargent, who had no prior criminal history, spent the night in jail, and police recommended to King County prosecutors that he be charged with felony assault on a police officer. After King County refused to take the

12

showing misconduct,” Preston says. “They only investigated Officer Waters for breaking the side-view mirror. Our complaint was ‘My God, the man threatened Evan Sargent with a firearm in an alley, threatened his life.’ ” If Sargent was frustrated by the outcome of his OPA complaint, he would soon be even more irked when he tried to learn more about the decision.

T

o pin down the details of Sargent’s case, his attorneys filed a publicrecords request for police reports, OPA paperwork, and other evidence. State law requires police to hand over such information after a criminal case is referred to prosecutors for a charging decision. Documents related to ongoing criminal investigations are exempt so that suspects won’t have access to the same information as detectives. Nearly everything else is public record.

But because prosecutors twice refused to press charges and referred Sargent’s case back to police, SPD claimed that their investigation was still open. Sargent was denied access to everything except the initial incident report and dash-cam video from the police cruisers that arrived on the scene shortly after the confrontation with Waters.

In August 2010, Sargent’s attorneys took SPD to court for refusing to divulge the documents. A lower court judge fined the Department $70,000 for violating the Public Records Act, a decision that was later partly overturned and is now pending before the Washington State Supreme Court. The Washington Coalition for Open Government petitioned the court in support of Sargent, arguing that SPD and other lawenforcement agencies can use “ongoing inves“I’m absolutely flabbergasted tigation” as a pretext to that rather than taking efforts suppress evidence of to expand openness and police misconduct.

“They’re allowed accountability, the Seattle Police to prevent the public Department seems to have from having access to retrenched and gone into this sort any of that information of bunker-like mentality.” simply by saying they have an investigation that can be of infinite duration,” says WCOG director Toby Nixon. case, SPD asked the City Attorney’s Office to “It makes it impossible, effectively, for the charge Sargent with reckless endangerment public to know what’s going on. “ and obstructing a law-enforcement officer.

Sargent was in a bind. He believed that the For good measure, Sargent was also cited for police had wronged him, but he was unable blocking the alley. Again, prosecutors refused to examine evidence held by police that to file any charges. could potentially corroborate his claims. And Aided by his attorney Pat Preston, a fambecause the OPA ruled that his complaint ily friend from the powerful Seattle law firm against Waters was “not sustained,” he and McKay Chadwell, Sargent hired former King his attorneys were also not allowed to view County detective Roger Dunn to indepenadditional documents and evidence from dently investigate. Upon review by Dunn, it the OPA investigation. (Previously, OPA case turned out that SPD had failed to interview files were released only when a complaint two other eyewitnesses—including Odom, was ruled “sustained.” Today, owing to a the original 911 caller—and relied heavily on Waters’ embellished version of events. Waters 2011 State Supreme Court ruling, partially redacted internal-affairs files can be disclosed later admitted he broke the mirror after pounding on the hood, and Odom said Waters once an investigation is complete, regardless of the outcome.) was “clearly upset and the aggressor.”

More than a year after Sargent’s attorneys Sargent filed a complaint against Waters filed suit, SPD capitulated and handed over with the SPD’s Office of Professional the files. Outside observers say their ordeal is Accountability, which handles internal invesemblematic of the larger flaws of SPD’s transtigations and discipline. On May 26, 2010, the parency and accountability processes. ruling came back “not sustained”—meaning “They absolutely don’t want to release that, officially, “the allegation of misconduct the video or audio or other records when it was neither proved nor disproved by a prewould prove police wrongdoing or exonerponderance of the evidence.” ate the person arrested,” Nixon says. “I think “We thought the evidence was very clear

that happens way more than what people think, just [judging by] the number of cases we have found where there is resistance to releasing these records and hiding behind the claim that somebody’s privacy rights might be impacted.”

Video has been a particularly thorny issue for SPD. From the infamous “Mexican piss” comment to the shooting of John T. Williams, some of the most egregious incidences of misconduct have been caught on camera (see “BrutaliTV” by Rick Anderson, SW, Feb. 23, 2011). Citing privacy issues and the advice of the City Attorney’s office, the Department refuses to release dash-cam videos to anyone other than the victim or suspect involved until three years after a recorded incident.

But by that time, SPD’s records division can legally destroy the archived footage.

“You’re supposed to weigh on the side of disclosing public records as opposed to withholding them,” says Judy Endejan, attorney for Fisher Communications, the parent company of KOMO-TV, which is suing SPD, claiming its video policy runs afoul of state law. “I’m absolutely flabbergasted that rather than taking efforts to expand openness and accountability, the Seattle Police Department seems to have retrenched and gone into this sort of bunker-like mentality.”

Other observers acknowledge that SPD has become more responsive of late to requests for dash-cam videos, and the Department itself says budget issues and technical difficulties complicate these requests. It took months to obtain the video in Sargent’s case, and the clip turned out to be useless.

Waters was driving his personal vehicle, so there’s no record of the confrontation. Dashcam footage from the car of Willie Askew, the first responding officer, shows him speeding into the alley and pulling up behind Waters’ SUV. Askew steps out of his car and approaches Waters. When the detective starts to explain his version of what happened with Sargent, Askew casually reaches up and mutes the uniform-mounted microphone.

The rest is silence.

A

fter their months-long investigation earlier this year, the DOJ identified several troubling issues with Seattle’s finest. Most notable was that SPD has engaged in “a pattern or practice” of unnecessary force. Yet the OPA, the apparatus created to discipline officers who use excessive force, was declared mostly sound.

The feds concluded that OPA investigations “are generally thorough, well-organized, well-documented, and thoughtful.”

That praise, however, was immediately followed by several massive caveats.

According to the DOJ, when SPD investigates itself, accused officers tend to be asked “an overabundance of leading questions.” The report identified “gaps in evidence collection” during OPA investigations and “a misunderstanding of the nature of (and an apparent underlying lack of training regarding) unbiased policing investigations.” There was also “a tendency to give the named officer’s testimony disproportionate weight based on credibility over that of the complainant and, even, over other third-party witnesses.”

Nearly all those flaws factored into the initial police investigation of Waters. He was allowed to wait until 27 hours after the incident to give his official statement, and the questioning he

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fact the Review Board lamented in a report they published in June. “To be effective, civilian oversight should be a simple, transparent system that is easily understood by the faced later was hardly a grilling. participants and the community at large,” the “What Mr. Sargent is alleging here is that OPA Review Board writes. “Currently, that is you intentionally damaged his property,” Detective Nathan Janes explained to Waters. not the case in Seattle; rather, the community is confused about the relationship between “Like a, you know, a crime, if you will.” the various components and the roles each is Janes then asked if Waters broke the mirror supposed to play.” intentionally.

One glaring flaw identified by the OPA “There was absolutely no time for me Review Board and other critics is that too to think, ‘Hey, I’m gonna knock this guy’s often complaints are ruled “inconclusive” or mirror,’ ” Waters answered. “It was just “not sustained,” as was Sargent’s case. McKay, like, boom, I’m slamming. The car was still who helped create the OPA, compares the moving.” outcome to a hung jury, and says it happens Waters’ colleagues took his explanation far too often. As of May 31, 12 percent of the at face value. He was never reprimanded for 190 allegations lodged with the OPA in 2012 breaking the mirror and escalating the conwere ruled inconclusive, while 13 percent frontation with Sargent. were sustained.

“It’s kind of a bellwether case for what was “It’s a punt,” McKay says. “If they’re forced to “It’s a punt,” McKay says. “If make a tough decithey’re forced to make a tough sion about other decision about other officers, they officers, they will just say it’s not sustained. will just say it’s not sustained.”

I think that’s a very troubling statistic for the Department, and it’s a great way to let their officers off the wrong with SPD during that period of time,” hook.” says Preston, Sargent’s attorney. “The DOJ is In Sargent’s case, OPA director Olson cited saying, ‘On paper, OPA looks like an organiza“contradictory testimony from the parties and tion that could or should be able to address witnesses involved,” and the fact that prosepolice-misconduct issues.’ They give them cutors did not charge either man with crimes, credit for having a process, but it’s really the as the basis for the “not sustained” ruling. execution of the process that’s flawed.”

SPD spokesman Whitcomb says the Proof that something is seriously amiss terminology used by the OPA system was with SPD’s accountability wing can be found recently simplified as part of the Departin the numbers. In 2009, SPD received 1,442 ment’s much-heralded 20/20 initiative (the total allegations of misconduct. Of those, 155 “not sustained” ruling was discarded and triggered OPA investigations, and 19 were replaced with “inconclusive,” among other sustained. As Chief John Diaz proudly noted changes), and there are good reasons why in a court filing in Sargent’s case, that means so many cases result in that verdict. “Not “a mere 2 percent” of overall misconduct sustained is ‘We don’t really know—maybe claims were deemed legitimate. By compari[the officer] did it, maybe they didn’t—it can son, the DOJ report found that force was go either way,’ ” Whitcomb explains. “That’s used unconstitutionally one out of every five when you have one person saying one thing times an officer resorted to it. and the officers saying another, and conflict“The benefit of the doubt is too frequently ing accounts from witnesses.” given to the police officer,” says Terrence CarAs for transparency, Whitcomb says there roll, a former OPA auditor and retired judge had been a “shift in philosophy” at SPD, and now serving as a Distinguished Jurist in Resipublic documents are more available now dence at the Seattle University School of Law. than ever before. “We don’t want to be asking “I don’t think it’s a system that isn’t responthe question ‘What do we have to put out?’ ” sive. Whether or not the system is as effective Whitcomb says. “We want to ask the quesas the public wants it in preventing incidents tion ‘What can’t we put out?’ We’re looking to is another question. Small incidents seem to share as much information as possible withget blown way out of proportion too often.” out jeopardizing investigations. That’s both The OPA was created in 1999 in response criminal and internal investigations.” to a much-publicized scandal during which a detective stole $10,000 cash from a crime scene. Other officers knew about the theft; ast January, Sargent’s attorneys none reported it. A panel of experts—includjoined the ACLU and 34 community ing Sargent’s co-counsel, former U.S. Attororganizations in urging the DOJ to ney Mike McKay—was selected to revamp the investigate SPD officers’ use of force. internal-affairs process.

In an eight-page letter to Seattle U.S. Attorney The group devised a three-pronged sysJenny Durkan, Preston claimed that Waters tem that includes the OPA, an auditor, and initiated “a potentially lethal incident of road the OPA Review Board. The OPA is staffed rage,” and alleged that SPD violated Sargent’s by sworn officers but led by a civilian direccivil rights. tor (currently Kathryn Olson) who reports The DOJ abided by the request, and directly to the Chief of Police—a potential issued their “pattern and practice” finding conflict of interest that has raised eyebrows. last December. With the feds threatening The civilian auditor reviews the OPA rulan unprecedented lawsuit against the city, ings for fairness, objectivity, and trends. The Mayor McGinn negotiated a compromise. A Review Board makes recommendations on settlement agreement and MOU announced how the system can be improved, but has no in late July gives the city significant leeway in real power or influence over the process—a the reform process.

L

Seattle weekly • S E P TE MB E R 5−11, 2012

When U.S. District Court Judge James As it now stands, the mayor is tasked with Robart provisionally approved the settlement appointing a “Citizens Police Commission” agreement on August 24, he remarked that consisting of representatives from “the many he was “delighted” to see that the community and diverse communities in Seattle.” The would be involved in the reforms, but also number of members is yet to be determined, expressed concerns about the “ambiguity in but should include citizens from each police the process.” precinct, police personnel, clergy, community Those who have participated in DOJorganization members, and others. The city council can veto any of the mayor’s appointees. mandated reforms in other cities suggest that the best approach lies somewhere between Once formed, the Commission is supposed Seattle’s blue-ribbon panel and the firmto meet regularly and issue a report within ness desired by SPD’s staunchest critics. a year that identifies ways to improve SPD’s Gerhardstein, the attorney at the forefront of police practices and relationship with the Cincinnati’s police restructuring, says comcommunity. The MOU does not specify how munity participation was invaluable. But, these hypothetical reforms will be implepaired with the DOJ probe, a settlement from mented, or even how many staff members a class-action civil-rights lawsuit guaranteed and resources will be available to the newly compliance. In addition to cash settlements formed Commission. that came later, a group of Cincinnati citiMcKay, the former federal and King County zens demanded an injunction and a place prosecutor, says he advocated for years on at the negotiating table during the reform behalf of law enforcement, but now believes process, as well as subpoena power for their SPD suffers from systemic problems. He is citizen-complaint authority (the equivalent concerned that, despite public pressure and of Seattle’s OPA) and access to some internal DOJ oversight, the mayor and SPD leadership police documents. will attempt to sidestep the most vital reforms.

In Seattle, mandatory changes are largely “There’s a cultural problem with the Departprecluded by collective bargaining with the ment, and it has metastasized into the rest of Police Guild and the City Charter, but the City Hall,” McKay says. “The city entered this hope is that the federal monitor and threat of agreement not because they thought it was the right thing to do, but because they were clearly further DOJ litigation will compel the mayor and city council to adopt most reforms sugadvised by their own attorneys that if they went to court, they would lose. It’s not because gested by the Community Police Commission. they want to correct the clear flaws that exist institutionally with the Seattle “The city entered this agreement Police Department.”

McGinn spokesman not because they thought it was Aaron Pickus declined to the right thing to do, but because comment for this story, they were clearly advised by their referring Seattle Weekly to comments made by the own attorneys that if they went to mayor at the July 27 press court, they would lose.” conference announcing the DOJ settlement. There, McGinn said he “placed a The MOU explicitly states that the Commishigh priority on implementing an agreement sion will only have access to public records that would continue to engage the public,” in conjunction with SPD’s 20/20 initiative and the and cannot evaluate individual cases.

A specialist in police-misconduct litigasoon-to-be-appointed federal monitor. tion, Gerhardstein says the Cincinnati police Meanwhile, in the most recent issue of overhaul has been a resounding success.

The Guardian, the newspaper published by In addition to substantial changes in police the Seattle Police Officers’ Guild (the cops’ training and supervision practices, officer disunion), the lead article cautioned that the cipline files are now searchable via an online city’s consent decree with the DOJ “does not database, and dash-cam videos are readily trump labor law,” perhaps indicating a posavailable upon request. “We have such good sible means of resistance to change. Union president Rich O’Neill did not respond to sev- video and record-keeping of what happens,” Gerhardstein says. “There isn’t much opporeral messages seeking comment for this story. tunity for rogues to go off and beat people up Speaking on behalf of Chief Diaz, Whitcomb and do stupid stuff.” also cited labor law as a consideration, but To its credit, SPD has already started to reiterated that the “philosophy and culture” clean up its act. According to the latest OPA of the Department is changing when it comes auditor’s report, use-of-force incidents in to transparency and use of force.

Seattle have gone down 37 percent since Still, McKay isn’t alone in his concerns.

2006, and SPD now receives 44 percent “The new commission can make all these fewer use-of-force complaints than do other recommendations,” says Chris Stearns, chair police departments of similar size nationof the Seattle Human Rights Commission, wide. Most critical, in conjunction with the “but there’s no requirement that anyone has 20/20 initiative announced March 27, SPD to listen to them.” created a Sergeant’s Academy that provides On the other hand, the architects of the training on “key elements of the Race and MOU and settlement agreement argue that Social Justice Initiative” and other important collaboration is the only way to restore public issues. The low-level chain of command has confidence in SPD. “It’s an opportunity for also been restructured so that, in the words the community to have a say about the overall of the OPA auditor, “sergeants have specific structure and role and responsibilities of variofficers report to them, officers have a clear ous entities, the timelines and transparency line of command, and more effective team pieces,” says Assistant U.S. Attorney Thomas Bates. “Those are all policy decisions that need building can occur.” to be made with the input of the community.” » Continued on page 16

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The Fuzz » From page 15 It is also important to note that the vast majority of Seattle police officers conduct themselves professionally and follow the rules: Roughly 85 percent have never had a complaint filed against them, and only five had three or more complaints leveled against them in 2009. A disproportionate few accounted for the majority of use-of-force incidents that year.

But the OPA, designed to discipline the handful of officers who do behave badly, has remained largely unchanged. And that’s cause for concern among those who have been through the OPA ringer and emerged frustrated on the other side.

“That piece of [the] puzzle is a little up-inthe-air,” Preston says of possible changes to the OPA. “What are they going to do with, for lack of a better word, the bad cops?”

W

hen the Community Police Commission convenes for the first time later this year, changes to the OPA may not be at the top of their agenda. Activists and community leaders say the more pressing issues are biased policing and policy issues within SPD that lead officers to use excessive force.

“Officers are put in a position in which they’ve been instructed to do things which then become the subject of complaints,” says public defender Lisa Daugaard, supervisor of the Racial Disparity Project. “That is never scrutinized. It’s only individual officer actions that are ever scrutinized.”

Daugaard expects the Community Police Commission to deal with big-picture issues, which the OPA loses sight of when it isolates complaints and puts them under a microscope. “We are asking [the OPA] to do something it is inherently not capable of,” she says.

“At bottom, it is an employee-rights and discipline system. It’s not about shedding light on what happened and looking at policy.”

Nevertheless, the public perception that cops can flout the rules with impunity does not sit well with several key elected officials.

City Councilmember Tim Burgess, a former SPD detective, says he knows from experience that cops are held accountable, but even he has his doubts about the OPA process.

“The police department does discipline employees,” he says. “But if you ask people on the street ‘Hey, do you think the police department holds officers accountable?’, the response is ‘I don’t know’ or ‘I don’t think so.’

“There definitely needs to be changes to OPA,” he adds. “I’ve got ideas about what those changes might be, but I do want to allow the Citizen Commission to weigh in on those. I don’t want to prejudge that.”

Councilman Bruce Harrell, by contrast, has no qualms about taking matters into his own hands in the immediate future: He plans to introduce legislation to empower the OPA review board by making it a sort of appellate court for citizens dissatisfied with their initial OPA ruling. “I don’t see the Commission as being that strong of an organization,” he says. “It’s merely an advisory group . . . Let’s not tout that as all of a sudden we achieved a great win.”

Critics of the OPA hope for a few specific changes, including distancing the director from the SPD command staff and hiring independent investigators—ex-cops from other

agencies—to examine cases instead of current SPD officers. But the most forward-thinking request is for more training and supervision, to prevent excessive force and misconduct before it occurs. The DOJ deal requires greatly expanded training and oversight regarding use-of-force issues, which community advocates say is crucial going forward.

Beyond the OPA, improving access to SPD’s dash-cam and officer-mounted cameras is perhaps the most immediate concern.

Serious questions loom about protecting the privacy rights of innocent bystanders (perhaps by digitally blurring their faces) and the cost of storing and managing several thousand of hours of footage. Currently, SPD is unable to accommodate detailed searches for video of specific types of incidents.

“It really does thwart transparency when you have records management that is archaic, or when some functions are not used to the advantage of the public,” says Jennifer Shaw, deputy director of the Washington ACLU. “We live in the land of Microsoft. Why can’t we come up with records management that allows for those kind of searches?”

The mayor’s 20/20 initiative calls for SPD to “convene a working group of stakeholders to consider and propose legislation in the next session to overcome obstacles to release of information, including body and dash-cam video.” But Whitcomb says that the cost of making SPD’s video database as reliable as its records-management and 911 systems would be “a massive financial burden to residents of the city.”

In March, Burgess and Councilman Nick Licata sent a letter to McGinn suggesting that the city tap its second-quarter supplemental budget to devise both technical and operational fixes for SPD’s video system. The letter, Burgess says, was ignored. “We said, ‘Let’s get going, begin the research, retain the necessary consultants, and figure what the solution is rather than keep kicking it off to the future,” he says. “Apparently, [the mayor] continues to kick it down the road.”

Pickus says McGinn did not receive the letter from Burgess and Licata in time to modify the second-quarter supplemental budget, but the mayor informed the council at the beginning of August that the video proposal will be incorporated into the next supplemental budget.

As for Sargent, in July his attorneys filed a federal civil-rights complaint against Waters and the city. He claims he suffered “emotional distress” as a result of the confrontation with Waters, and now seeks “special and general damages in an amount to be proven at trial.” The city formally responded to the complaint on August 17, requesting a jury trial, which will likely be scheduled in the coming months.

Still living with his parents but no longer picking up his mom’s commercial laundry (he is now a machine operator for a sheet-metal manufacturer), the 23-year-old says he mostly wants all this to be over with. He hasn’t been back to the Alaska Junction alley since that sweltering day in July 2009, but he’ll never forget what happened there.

“Before this, I was thinking about being a cop,” Sargent says. “I always thought of the police as our friends. I really looked up to them a lot, and still do. But this definitely opened up my eyes about the way things in the world work.” E khamilton@seattleweekly.com

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Seattle weekly • S E P TE MB E R 5−11, 2012

the»weekly»wire FIRST THURSDAY

After the doldrums of August, when galleries trim their hours and many artists are out of town, the new fall season begins with tonight’s First Thursday art walk. Besides the usual stops in Pioneer Square and at the Tashiro Kaplan Building, first hike up the hill to City Hall, where local artists Olivia Pendergast, Robert L. Horton, and Eric D. Salisbury are showing separate works in Remember Haiti.

In three dozen paintings displayed on two levels (take the elevator down to L-2 to find the Anne Focke Gallery), they consider that impoverished nation and its people before and after the devastating 2010 earthquake. Pendergast offers visions of the before; Horton and Salisbury ponder the after, when one million Haitians became homeless and over 200,000 died. The artists are expected to attend. You can buy their paintings or make a donation to local nonprofit Of One Body (ofonebody.org), whose relief efforts brought Horton and Salisbury to Haiti last year. (Through Nov. 2.)

City Hall, 600 Fourth Ave., 684-7171, seattle. gov/arts. Free. Reception 4-6 p.m. BRIAN MILLER

fri/9/7 FILM

Glorious Rot

Bill Morrison’s short symphony of decaying

Pendergast’s Red Jumper Orphanage, at City Hall Lobby Gallery.

movies are now going digital. To watch Decasia is to watch time, to see entropy in effect. From the early blossoming of cinema to its final senescence, each rotting frame of Decasia looks like a glorious flower. (Through Wed.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5–$8.

9 p.m. BRIAN MILLER STAGE

Fresh Off the Boat

If you’re a fan of The Newsroom, you may know the character of Joey Phan, played by Vietnamese-American actor Trieu Tran. With his TV gig on summer hiatus, the Los Angeles actor is premiering an autobiographical oneman show here in Seattle, Uncle Ho to Uncle Sam (co-written and directed by Robert Egan).

In outline, Tran’s life story certainly sounds dramatic: He and his family were on the losing side when the Vietnam War ended. Fleeing by boat (and attacked by pirates), they became refugees in Thailand and Canada, where Tran’s father led a violent gang. Displaced again to Boston, Tran discovered hip-hop, hung out with black kids, and listened obsessively to Michael Jackson. He resolves, “I want to be the King of Pop”—or the next best thing, an actor. (Opens Sept. 13, runs through Oct. 7.)

ACT Theatre, 700 Union St., 292-7676, act theatre.org. $15–$55. 8 p.m. BRIAN MILLER

sat/9/8 FESTIVALS

After the ’Shoot

The crumbs and debris of Bumbershoot have been swept away, but Seattle Center isn’t yet done with our (Indian) summer.

*

Welcome to the Laser Dome!

R. Buckminster Fuller (1895–1983) fell out of fashion, as did his geodesic domes, with the waning of the ’60s.

The self-described “citizen of the world” was a futurist and optimist who naturally appealed to idealistic hippies and young boomers. But, like The Whole Earth Catalog, who reads him today? Bay Area filmmaker Sam Green went to the archives at Stanford to help make Fuller topical again, and he’ll narrate his new documentary The Love Song of R. Buckminster Fuller while Yo La Tengo plays a score

commissioned especially for the film. (Some may recall YLT’s similar accompaniment to an anthology of short films by Jean Painlevé, called The Sounds of Science.) There will also be an unlikely, Seattle-specific aspect to the performance. Green discovered

mon/9/10 BOOKS/POLITICS

What’s His Number?

Now that the Republican and Democratic conventions are over, and before we swap 44 for 45 in November (or keep 44 for a second term), Robert Merry wants to crunch some other numbers. The Gig Harbor–born, UW-educated journalist casts his eye all the way back to president number 1 in Where They Stand: The American Presidents in the Eyes of Voters and Historians (Simon

& Schuster, $28). Washington, Lincoln, and FDR top his list—in part because they were wartime leaders. (Say what you will about Vietnam and LBJ.) Two-termers always rate better than one-shot presidents, and a crisis tends to bring out the best in a White House occupant. (Say what you will about W and 9/11.) Having covered politics for three decades in Washington, D.C., Merry picks Reagan over Clinton among recent presidents. In general, he weights the opinion of the electorate—its collective wisdom— over that of the pundits. And the worst presidents? Merry cites James Buchanan (“a wispy weak reed”) and Franklin Pierce (“a flawed character”). One wonders if Romney or Obama is bending back pages now in Where They Stand, imagining themselves near the top of the scale. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle. org. $5. 7:30 p.m. BRIAN MILLER

Fuller at the 1967 World’s Fair in Montreal.

that a former student of Fuller’s built a hemispheric “Spacearium” for our 1962 World’s Fair. It was later repurposed as Pacific Science Center’s Laser Dome (not coincidentally a favorite of the hallucinogenic set), and Green intends to use it somehow tonight at the Moore. The program is expected to last an hour. If we’re lucky, maybe YLT will play a short set afterward—with lasers! The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $25.

8 p.m. BRIAN MILLER

Seattle weekly • S E P TE MB E R 5−11, 2012

celluloid is both one of the worst and best films of 2002. By worst we mean the medium’s fragile physicality, as Morrison created Decasia with the archival clips from the nitrate-stock, silent-film era that were most damaged and decomposed. By best we mean the drama he’s created: Instead of characters in opposition within some story, we have the very medium of film in opposition to narrative. These black-and-white snippets of story, some a century old, are disappearing right before our eyes—even as we try to make sense of whirling dervishes, dancing women, camel caravans, boxing pugilists, parachuting troops, and praying nuns. Scored by Michael Gordon in Glassian-atonal style, Decasia is a profoundly beautiful film for those who don’t mind watching an image lapse into complete mottled, bubbled, blotchy abstraction. It surges and subsides from the nickelodeon to Stan Brakhage and back. The tension, which the score reflects, is how that erosional cycle becomes an analogue both to seeing and filming. Photons of light striking the retina—or a silver-halide film strip—are fundamentally impermanent; they decay and subside. Film, too, is evanescent. Just as nitrate was replaced by less flammable “safety film” in the ’50s, the

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Today’s Big Birthday Bash continues the 50th-anniversary commemoration of our World’s Fair with a host of family and children’s activities: food, entertainment, games, facepainting, and the like, with tents and stations set up all around campus. Among the attractions you shouldn’t miss, all part of the Next 50 celebration, are a brick wall made of Jell-O (!) by artists Lisa Hein and Robert Seng; a special room full of vintage video games at the Center House (yes, you can play them—though your kids may be confounded by those 8-bit displays); an exhibit of work from the Pilchuck Glass School; music by jazz vocalist George A. Santino; and MOHAI’s display of Century 21 memorabilia at the International Fountain Pavilion. Get to the Center early, and you can attend the celebration of J.P. Patches at McCaw Hall (11 a.m., $5). Then, after shedding a few tears, go have some fun with the kids. It’s what J.P. would’ve wanted. Seattle Center, 684-7200, seattlecenter.com. Free.

11 a.m.–3 p.m. BRIAN MILLER

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arts»Stage »PREVIEW

Acting Without Theater

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A staged-reading series eschews everything but the text and talent.

M

but loved, regardless of past popularity.

“Some of these texts look dusty on the page,” said Paulsen, who last November hilariously read the title role of George Kelly’s 1924 The Show-Off with a laugh that would have made hyenas jealous or horny or both. “But the virtue of this [reading] situation is that we put as little as possible between the audience and the play”—meaning sets, costumes, or an anachronistic/intrusive directorial agenda.

Without those filters, the audience is left with pure story. And in the case of The Show-Off, with history, too: The reading was directed by ESP core member Clayton Corzatte, who had played the central role opposite Helen Hayes on Broadway in the 1960s!

Remarkably, ESP only rehearses a play twice—a week before and day of show. The key is “inviting highly skilled actors who can arrive at decisions that make sense quickly,” said Paulsen. Guest artists have included local luminaries like Anne Allgood, John Aylward, and Suzy Hunt, plus newcomers including Christine Marie Brown and Shawn Law. Actors need to budget about 12 hours per reading for rehearsals, some independent study, and the public performance.

Steitzer avows that “reading a play and seeing its potential is a skill unto itself”—and an end unto itself, unlike theaters that use staged readings as a way to “audition” plays to see whether the material warrants producing. Still, Paulsen concedes that some plays don’t work as mere readings—like farces, which rely on action and sight gags. When ESP read 17thcentury playwright Aphra Behn’s The Lucky Chance at the Rep last April (in conjunction with the Rep’s production of a play about Behn, titled Or,), it was relevant, but maybe not loved.

Such compromises won’t be a problem in ESP’s new home at North Seattle Community College. First up in the new space is Hobson’s Choice, a 1915 comedy by Harold Brighouse about a tyrannical Lancashire cobbler and his three unmarried daughters. Anders describes it as “incredibly funny, and deeper than you think . . . darker than the Charles Laughton movie based on it.”

Performances are scheduled monthly on Mondays, the theater’s traditional “dark night.” After each reading, you’re encouraged to hang out with the cast to discuss the play.

Due to copyright issues, ESP can’t charge admission, but welcomes donations. It’s money well spent to see some of the best acting in town. E HOBSON’S CHOICE North Seattle Community College, Stage One Theater (Library Building, Room 1236), 9600 College Way N., endangeredspeciesproject.org.

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y introduction to the extraordinary Endangered Species Project play-reading series came in a whisper. “Don’t tell anybody,” my informant warned. “The theater’s tiny, and they’re at capacity. But you can come.” Anyone familiar with theater marketing knows how rare it is to be told not to talk about something. Still, picturing a stuffy little black box with folding metal chairs, no set or costumes, and overdone oration, I quickly forgot about it. The series was bouncing nomadically among larger venues, but why go to a bare-bones reading instead of a full theatrical production? Plus, ESP was picking pretty obscure plays, which seemed to pile more risk on an already grim-sounding proposition.

The series started in February 2011, but my first visit came four months later—by accident.

I was walking around Green Lake with a friend and saw signs for Chekhov’s The Wood Demon at Seattle Public Theater at the Bathhouse. This little-known play about environmental preservation was dismissed even by the playwright himself, so naturally I was curious to see exactly how awful it was. The reading was already underway as I slipped in, yet I was instantly transported by a quality of acting I rarely see on professional stages. The text was indeed lackluster (an anomaly for ESP), but the immediacy and openness cast a spell. The actors roamed the stage as their characters’ urgencies dictated.

Without scenery, their inner desires became the landscape. When Peter Jacobs’ character shot himself, he simply closed his eyes, the life draining from his face—infinitely more affecting than a big, staggering death scene. Some of the actors barely glanced at their scripts. It was a revelation of what a reading could be.

The following month, I caught Sidney Howard’s strange, disturbing, and sweet They Knew What They Wanted, riveting despite its dated 1924 dialogue. How did ESP transform the tale of an April/November mail-order romance into a meaningful redefinition of love?

I wasn’t sure, but it felt quietly revolutionary.

A few years ago, actor Jeff Steitzer returned from New York to Seattle with a vision: He yearned to resurrect his favorite old plays using top-notch local actors. He and co-founder Larry Paulsen adored and missed the populous big plays of the past that cost too much for most modern theaters to mount. Solo shows masquerading as drama are cheap, but ESP sought to revive the umpteen-handers of yore, like Juno and the Paycock and Three Men on a Horse. Word of the concept spread among other actors, including Leslie Law and Mark Anders, thus forming ESP’s core company of 11 (plus occasional guests). Soon they had a list of more than 50 plays that were—not liked, not admired,

BY MARGARET FRIEDMAN

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Stage OPENINGS & EVENTS

ELECTION SHOW Wing-It Productions presents a

presidential campaign in microcosm, all improvised on audience suggestions. Wing-It Productions, 5510 University Way N.E., 781-3879, wingitpresents.com. $12–$15. Opens Sept. 6. 8 p.m. Thurs.–Fri. Ends Sept. 21.

AN EVENING WITH ARNALDO! & FRIENDS A cabaret/

buffet dinner fundraiser for the Filipino Community Center, starring “drag chanteuse” extraordinaire Arnaldo.

Filipino Community Center, 5740 Martin Luther King Jr Way S., dragchanteuse.com. $25. 6 p.m. dinner seating, show 7:30 p.m., Fri., Sept. 7.

14/48 Another weekend of plays invented on the spot in “The World’s Quickest Theatre Festival”—held outdoors at Seattle Center as part of its 50thanniversary celebrations. Seattle Repertory Theatre, Seattle Center, 800-838-3006, 1448fest.com. $20–$25. 8 & 10:30 p.m. Fri., Sept. 7–Sat., Sept. 8.

GREASE Jim Jacobs and Warren Casey’s classic musical about ’50s high-school love. With poodle skirts and soda fountains, of course. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater. org. $20–$25. Opens Sept. 7. 7:30 p.m. Thurs., 8 p.m.

Fri.–Sat., 2 p.m. Sun. Ends Sept. 22.

HOBSON’S CHOICE SEE ARTICLE, PAGE 21.

IMPROMPTU: AN IMPROV WITH MUSIC Jazz as theater, theater as jazz: music and dialogue are both improvised. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. Opens Sept. 6. 8:30 p.m. Thurs. Ends Sept. 27.

NUEVO Y SOLO eSe Teatro’s showcase of new and solo work from local Latino theater artists.ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $12–$15. 8 p.m. Fri., Sept.

7–Sat., Sept. 8, 5 p.m. Sun., Sept. 9.

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Star An n a

Seattle weekly • S E P TE MB E R 5−11, 2012

OCTOBER 21

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FINAL FANTASY Unexpected Productions’ new

RPG-based improv show. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15.

8:30 p.m. Fri.–Sat. Ends Sept. 29.

IMPROV HAPPY HOUR Long-form and short-form improv. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5.

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

THE LAST LEPER OF CHARENTON The Schoolyard premieres Todd van der Ark’s 1671-set play about a French asylum. The Ballard Underground, 2220 N.W. Market

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Dissecting election season IPHONE/ANDROID APP through stand-up. Broadway FOR MORE EVENTS OR VISIT Performance Hall, 1625 seattleweekly.com Broadway, 800-838-3006, brownpapertickets.com. $15–$25. 8 p.m. Sun., Sept. 9.

SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. September’s show includes “long-eared burlesque,” “trashy, delicious drive-thru smut,” Shaw’s St. Joan in 10 minutes, and plenty more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., Sept. 7.

THIS LAND/WOODY GUTHRIE Strawberry Theatre Workshop presents a show based on Guthrie’s music, drawing, and writing. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, strawshop.org. $10–$30. Opens Sept. 6. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 6.

TITUS ANDRONICUS Shakespeare’s gruesomest play (rape, cannibalism, and tongue-ectomies) done by an all-female cast. Lee Center for the Arts Seattle University, 901 12th Ave., upstartcrowcollective. blogspot.com. $20. Opens Sept. 6. 7:30 p.m. Thurs.– Sat., 4:30 p.m. Sun. Ends Oct. 7.

UNCLE HO TO UNCLE SAM SEE THE WIRE, PAGE 19.

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

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Actor Trieu Tran recounts his journey from the fall of Saigon to the American stage in his solo show Uncle Ho to Uncle Sam. See the Wire, page 19.

St., 800-838-3006, facebook.com/TheSchoolyardSeattle. $15–$18. 8 p.m. Fri.–Sat. Ends Sept. 8.

RIVER ICE Playwrights Theatre premieres a play about a daring Czech assassination raid during WWII. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 800-838-3006, playwrights-theatre.org. $8–$15. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Sept. 16.

TEATRO ZINZANNI In Gangsters in Love, Frank Ferrante is back as Caesar, who has gambled away the tent to Big Sam Kinkaid (a zoot-suited mob boss also played

by Ferrante). Surrounded by over-the-top minions and molls, the reluctant reunion of Kinkaid with his longlost amore Myrna (Dietrich-like beauty Dreya Weber) loosely binds about half the scenes of the “story.” The music’s by Francine Reed and the witty and spontaneous Orchestra DeVille. At a little over three hours, it’s a leisurely evening, with plenty of pauses to chat between acts. And if the menu doesn’t delight, think of the food premium as protection money: We pay that price to let the show go on. MARGARET FRIEDMANT eatro ZinZanni, 222 Mercer St., 802-0015. $106 and up.

Ends Sept. 30; see zinzanni.org for exact schedule.

Classical, Etc.

RIMS Two works by John Cage, Credo in US • PACIFIC Four4, on his 100th. Chapel Performance Space,

and 4649 Sunnyside Ave. N., 789-1939, waywardmusic. blogspot.com. $5–$15. 7:30 p.m. Wed., Sept. 5.

SEATTLE COMPOSERS’ SALON This monthly new-music open-mike night includes music by John Teske, Keith Eisenbrey, and Matthew James Briggs, plus a performance in honor of John Cage’s centennial.

Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., Sept. 7.

THE ESOTERICS Seattle’s John Cage week continues with a generous selection from his vocal, choral, and theatrical improv works. At All Pilgrims Christian Church, 500 Broadway E., 8 p.m. Fri., Sept. 7; Queen Anne Christian Church, 1316 Third Ave. W., 8 p.m. Sat., Sept. 8; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 3 p.m. Sun., Sept. 9. $10–$20. theesoterics.org.

MARKET STREET SINGERS Vocal pops from this choral group: music by Gilbert & Sullivan & Lerner & Loewe.

First Lutheran Church Ballard, 2006 N.W. 65th St., marketstreetsingers.org. Donation. 7:30 p.m. Sat., Sept. 8.

COMPOSER SPOTLIGHT Composer N F Chase, a mentee of Pauline Oliveros, Morton Subotnick, and others, discusses his latest work. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m.

Wed., Sept. 12.

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SEPTEMBER

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arts»Visual Arts

BY MA’CHELL DUMA LAVASSAR

Openings & Events • HECTOR ACEBES Africa 1948–1952 provides a photo-

TICKETS - online at Ticketmaster.com or at the following locations: KeyArena Box Office Mountain Hardwear Evo 312 1st Ave. N. 290 Pine St. 122 NW 36th St. 800.745.3000 206.441.2639 206.973.4470

graphic glimpse at continent midcentury. Also showing: small photos of domestic implements by Canh Nguyen.

First Thursday reception, Sept. 6, 6–8 p.m. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. Opens Sept. 6. Wed.–Sat., 11 a.m.–5 p.m. Through Sept. 29.

KREE ARVANITAS She shows mixed-media paintings and digital collages in Secret Signs & Rebel Angels.

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

BAM’S FREE FIRST FRIDAY Strapped for cash? BAM offers free admission every first Friday of the month.

Here’s your chance to check out the museum’s current exhibits, including Shaker crafts and African-American quilts. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, 425-519-0770, bellevuearts.org. Free. 11 a.m.– 5 p.m. Fri., Sept. 7.

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. Sat., Sept. 8.

ANNIE BISSETT In the color woodcuts of Loaded, she explores the language and iconography of money and our U.S. legal tender. First Thursday reception, 6–8 p.m.

Following is an artist printing demo and discussion about money, 5 p.m. Sat., Sept. 8. Cullom Gallery, 603 S. Main St., 919-8278, cullomgallery.com. Opens Sept. 6. Wed.– Sat., noon–6 p.m. Through Oct. 27.

DANIEL CARRILLO Seattle photographer Carrillo uses vintage wet-plate technique for his local portraits, rendering contemporary subjects like Matthew Brady’s contemporaries. Also on view, wooden sculpture by Dan Webb in Destroyer. First Thursday reception, 6–8 p.m.

Walking tour with the artists: Sat., Sept. 8 at noon. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera. com. Tues.–Sat., 10:30 a.m.–5:30 p.m. Through Oct. 4.

A CLOSER LOOK Paul Cunningham, Chuck Lopez, Janusz Pozniak, Kait Rhoads, and Boyd Sugiki show their work in glass, metal, ceramics, and other materials. First Thursday reception, 5–8 p.m. Pratt Gallery at Tashiro Kaplan Studios, 312 S. Washington St., Ste. 1A, 328-2200, pratt.org. Opens Sept. 6. Wed.–Sat., noon–5 p.m. Through Sept. 29.

ERIC ELEY Drogue employs drawings and sculptures to tell stories of grand feats and unfamiliar situations. The artist explains, “A drogue is an apparatus employed to slow and stabilize descent, whether through the atmosphere or down the face of a wave.” First Thursday reception, 6–8 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com.

Opens Sept. 6. Wed.–Fri., 11 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Through Oct. 13.

JOE MAX EMMINGER & JULIE PASCHKIS They show separate new works in Feast. First Thursday reception, 6–8 p.m. Conversation and potluck with the artists, 1 p.m.

Sat., Sept. 29. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston.com. Opens Sept. 6. Tues.–Sat., 11 a.m.–5 p.m. Through Sept. 29.

BILL FINGER In Ground Control, he uses miniatures and models to consider a possible mission to Mars.

First Thursday reception, 6–8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Opens Sept. 6. Thurs.–Sat., noon–5 p.m.

Through Sept. 29.

FREMONT ART WALK Venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffé Vita, and Fremont Abbey. See fremontfirstfriday. com for participating artists. 6–9 p.m. Fri., Sept. 7.

GEORGETOWN ART ATTACK The September edition features Mickey Williams’ vintage photos at American Pie, Melanie Reed’s collage work at Calamity Jane’s, and cartoons by Gary Panter at Fantagraphics. See georgetownartattack.com for a guide to other venues, including All City Coffee, Georgetown Liquor Company, and Nautilus Studio. Afterward, you’re encouraged to continue the evening at any number of watering holes along Airport Way, including Jules Maes, 9 Lb. Hammer, and anyplace else you care to bend an elbow. 6–9 p.m.

Sat., Sept. 8.

Escape Outdoors (three locations): 817 Southcenter Mall 163 Bellevue Square 877.977.2732 425.453.7406

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

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SOL HASHEMI Everyday objects including aluminum

cans, color charts, and bar codes figure in new paintings, photos, and collages by the local artist. His show is called Industry Standard. First Thursday reception, 6–8 p.m. James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com. Opens Sept. 6.

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

TED HIEBERT The local artist again poses in a wolf skin in the large photos of Hunting Orange Rabbits.

First Thursday reception, 5–8 p.m. Also see Hiebert’s Noxious Sector window display on the south side of the TK Building. Shift Collaborative Studio, 306 S. Washington St. (Tashiro Kaplan Building), 547-1215, shiftstudio.org. Opens Sept. 7. Fri., Sat., noon–5 p.m.

Through Sept. 29.

CHRISTOPHER MARTIN HOFF A transplant from Georgia, Hoff arrived in Seattle a decade ago, and soon began to learn about his new home by painting it. Until his untimely death in March at age 39, Hoff specialized in plein-air painting—setting up shop on the sidewalk and documenting our viaducts, Dumpsters, and cranes at the port. In his streetscape oils, emptied of people, we see the vacant alleys of Pioneer Square, parking lots filled only with graffiti, construction sites lying dormant beneath tarps and waiting for the recession to end. Hoff is here represented by early work from his first four years in Seattle. BRIAN MILLER Fountainhead Gallery, 625 W. McGraw St., 285-4467, fountainheadgallery.com.

Free. Opens Sept. 8. Sat., Sept. 8, 5–7 p.m.; Sat., Sun., noon–5 p.m.; Thurs., Fri., 11 a.m.–6 p.m. Through Sept. 30.

I’M THINKING HOW HAPPY I AM In the SoDo warehouse’s last show, Lutz Bacher, Walead Beshty, and Euan Macdonald deploy large-scale installation art. Western Bridge, 3412 Fourth Ave. S., 838-7444, westernbridge.org. Opens Sept. 8. Thurs.–Sat., noon– 6 p.m. Through Oct. 20.

ICON This juried group show will feature a wide array of artists interpreting the titular theme. First Thursday opening reception 5–8 p.m. Awards reception 5 p.m.

Sat., Sept. 22. Hanson Scott Gallery, 121 Prefontaine Place S, Tues.–Sat., 11 a.m.–5 p.m. Through Sept. 29.

INNER FABRIC Eight Northwest artists work with fiber and fabric, striving to blur the line between art and craft.

Notable among them is Suzanne Tidwell, who’s been wrapping Pioneer Square trees in colorful yarn. First Thursday reception, 5–8 p.m. Friesen Abmeyer Fine Art, 1210 2nd Ave., 628-9501, friesenabmeyer.com. Tues.–Sat., 11 a.m.–5:30 p.m.; Sun., noon–5 p.m. Through Sept. 30.

DIANE JACOBS & SHU-JU WANG Digest This addresses “food and implements of consumption” with Jacobs’ small objects and Wang’s colorful paintings.

Also showing: Maylee Noah’s photos of other artists’ studios. First Thursday reception, 6–8 p.m. Artist reception, 5–8 p.m., Sat., Sept. 8. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com.

Opens Sept. 6. Wed.–Sat., noon–5 p.m. Through Sept. 29.

ALEXANDER KROLL He shows new abstract paintings in Blue or Both. First Thursday reception, 6– 8 p.m.

James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com. Opens Sept. 6. Thurs.–Sat., 11 a.m.–5 p.m. Through Sept. 29.

PATRICK LOCICERO The local painter continues his bird portrait series. First Thursday reception, 6–8 p.m.

Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Opens Sept. 6. Tues.–Sat., 10:30 a.m.–5 p.m. Through Sept. 29.

CURTIS MARTIN Seattle painter Martin explores his boyhood fascination with Godzilla movies and more Japanese sci-fi in Toho Noir. First Thursday reception, 6–8 p.m. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. Opens Sept. 6. Mon.–Fri., 6 a.m.–7 p.m.; Sat., 7 a.m.–7 p.m.; Sun., 8 a.m.–7 p.m.

Through Oct. 3.

ANNE MORRIS & WENDY THON Morris creates canoe-shaped objects out of natural materials in Crossings. Thon’s African Dreams was inspired by her travels on that continent. First Thursday reception, 6–8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com. Opens Sept. 6. Mon.–Sat., 10:30 a.m.–5:30 p.m.; Sun., 11 a.m.–4 p.m. Through Sept. 30.

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OLD GHOST RANGES, SUNKEN RIVERS, COME AGAIN Vaughn Bell, Gretchen Bennett, Zack Bent,

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Matthew Browning, and others reflect on our complicated relationship with nature. Opening reception, 5–8 p.m. Wed., Sept. 5. Cornish Alumni Gallery, 1000 Lenora St., 726-5011, cornish.edu. Mon.–Fri., noon–5 p.m.

Through Oct. 12.

ONE HOT NIGHT At Pratt’s annual open house, see artist demos, meet instructors, and mingle with the student artists and staff. Pratt Fine Arts Center, 1902 S. Main St., 328-2200, pratt.org. Sat., Sept. 8, 6–9 p.m.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingford artwalk.org for details. 6–9 p.m. Wed., Sept. 5.

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film»This Week’s Attractions Sept 6–13 | 206.324.9996 | siff.net Uptown

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OPENS FRI., SEPT. 7 AT SIFF FILM CENTER. NOT RATED. 97 MINUTES.

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SEATTLE EXCLUSIVE The new Spike Lee joint

Saturday 8 | 9:30 | Uptown

Paradise Lost 3: Purgatory Academy Award®-nominated documentary with subject, Jason Baldwin, in person!

Bachelorette OPENS FRI., SEPT. 7 AT PACIFIC PLACE. RATED R. 94 MINUTES.

In Leslye Headland’s Bachelorette, the bride’s wedding dress is in terrible danger, and you know it the second that Regan (Kirsten Dunst) suggests that her two high-school BFFs, Gena (Lizzy Caplan) and Katie (Isla

The Ballad of Genesis and Lady Jaye RUNS FRI., SEPT. 7–THURS., SEPT. 13 AT NORTHWEST FILM FORUM. NOT RATED. 72 MINUTES.

Marie Losier’s doc chronicles Psychic TV and Throbbing Gristle founder Genesis Breyer P-Orridge’s recent career and second

Brügger heads upriver in The Ambassador.

Uptown

marriage, both defined by P-Orridge’s surgically aided transformation from a man who occasionally liked to dress as a girl into a “pandrogynous being” who shared physical characteristics (including a blond bob, artificially plumped lips, and breast implants) with wife Jacqueline Breyer, aka Lady Jaye. The defining aesthetic of P-Orridge’s work comes out of the cut-up techniques of William S. Burroughs and Brion Gysin, whose mentorship of Genesis is documented in Ballad.

P-Orridge’s deep romantic and creative bond with Jaye became both the site and the subject of his most elaborate radical collage, and Ballad is an homage to that collage, a nonlinear patchwork of Losier’s intimate 16mm footage of the couple’s home life (all of it captured without sync sound), threaded with archival material and documentation of art and music performances, glued together by Genesis’s narration. This impressionistic approach eschews traditional biography, instead giving the viewer the feeling of being inside a moment—without necessarily providing all the information we might need to contextualize what we’re seeing. Just as in her previous shorts (collaborations with Guy Maddin and the Kuchar brothers), Losier borrows stylistic signatures of her subject’s work but always circles back to her own signature interest in the mutability of gender and sexuality. KARINA LONGWORTH

P The Inbetweeners

old goats

THIRD SMASH WEEK! Film Center

The Ambassador

Film Center

Marina Abramovic The Artist is Present

Tuesday 11 | 7:00 Film Center

One Flew Over the Cuckoo’s Nest Saturday 8 & Sunday 9 Film Center

ALL SEATS $

Monday 10 | 6:30 | Film Center BALLET

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Command Performance in HD!

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Films4Families:

March of the Penguins Thursday September 13 | 7:00 | Uptown

Deconstructing the Beatles: Sgt. Pepper

A mind-blowing live multimedia journey through the creation of one of the most influential albums of our time.

Plus, Sgt. Pepper’s Lonely Hearts Club Band: The Movie!

OPENS FRI., SEPT. 7 AT PACIFIC PLACE. RATED R. 95 MINUTES.

Teen Sex Comedies Without Borders could be an NGO, for there is something perversely hopeful in the way Ben Palmer’s The Inbetweeners slips across boundaries of taste and geography. Done with high school, four differently adorable English geeks decamp for a two-week holiday in

» CONTINUED ON PAGE 26

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Seattle weekly • S E P TE MB E R 5−11, 2012

Fisher), drag it out for their coke-enabled bachelorette afterparty. Headland has a fondness for stringing up all kinds of swords of Damocles above the characters—and the dress—and just letting them hang there. Over the course of the night, the women indulge in drugs, alcohol, and sex (though not a lot of food, strangely, despite the proliferation of weed), through a plot that recalls the “into the night” genre of the 1980s, like After Hours, Something Wild, and, um, Into the Night: old-school picaresques in which humble figures like your Griffin Dunne (or your C-3PO) are swept into the gulf stream of an unstoppable event—the event in this case being the wedding, and the women’s frantic attempts to repair the dress before morning. Dunst’s Regan is a quad-core, hyper-threaded event planner who parallel-tasks career execution and employee terrorization with stylized bitchiness. In accordance with cinematic rules about likability in commercial films, Regan’s tough-ass persona is just a masky ol’ facade hiding a vulnerable, funny charmer who never found the right dude. As the planner for Becky’s wedding, she gets some big damn hero moments during the climax. Meanwhile, Caplan, whose unfortunate abdomen you might remember exploding in Cloverfield, steals all her scenes, takes them to the Target returns desk for illicit refunds, and spends all the money on whatever unicorn sweat gives you big, dewy eyes like Mary-Louise Parker. CHRIS PACKHAM RADIUS/WEINSTEIN CO.

From left, BFFs Caplan, Dunst, and Fisher in Bachelorette.

Red Hook Summer

DRAFTHOUSE FILMS

It’s hard to imagine an experimental Danish documentary siphoning off too much Best Actor attention. But make no mistake: In The Ambassador, Mads Brügger—who, as both featured performer in and auteur of films that seek to capture reality through fiction, is sort of the Euro film-festival equivalent of Sacha Baron Cohen, when Cohen was interesting—gives what has to be one of the year’s riskiest and most committed performances.

A document of a lie created in order to tell the truth, The Ambassador begins with Brügger purchasing a diplomatic title on the black market in order to travel to the Central African Republic (CAR) in the guise of an ambassador to Liberia. To his title brokers and his new African associates, Brügger claims his goal is to use his perceived position (and bribes, secretly funded by the Danish Film Institute) to go into business with blood-diamond miners and move the gems out of the country under the cover of diplomatic immunity. Because he needs a business front, Brügger also claims to be building a match factory in the incredibly disadvantaged region—one staffed by Pygmies. As Brügger tells it, the CAR is “a Jurassic Park for people who long for the Africa of the 1970s,” making it “a magnet for white men with hidden agendas.” The Ambassador bursts out of the gate and then slows into an endurance exercise for Brügger and the viewer: How long will he be able to pull this off? You watch both fearing that something spectacularly tragic could happen, and knowing that if this film exists, it probably didn’t. The magic of Brügger’s performance is that it earns that suspension of disbelief. KARINA LONGWORTH

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This Week’s Attractions » FROM PAGE 25 Crete, and try hard to play down their resemblance to “the world’s shittiest boy band” so as to partake of “sun, sea, sex, sand, booze, sex, minge, fanny, and tits. And booze. And sex.” There follows a cascade of largely selfimposed humiliations, and even some pathos, but not too much. Britishly, the movie has a knack for inflating little sap bubbles as if mostly for the joy of popping them. That the movie demands no prior knowledge of the UK sitcom that spawned it, nor of the forthcoming MTV remake, isn’t a dumbingdown, necessarily; and to say it’s basically a British Superbad or American Pie doesn’t allow for the real and nearly surreal comic possibilities of poise and genteel wit applied to randy scatological hijinks. You can’t blame it for being episodic, but you can see how its leads—Simon Bird, James Buckley, Blake Harrison, and Joe Thomas—have flourished in one another’s funny company and in writers Damon Beesley and Iain Morris’s custodial care. (As the intellectual of the bunch, and with stinging sarcasm worthy of Peep Show’s David Mitchell, Bird also narrates.) Impressive, too, that the lads’ conveniently available shag interests, played

by Lydia Rose Bewley, Laura Haddock, Tamla Kari, and Jessica Knappett, seem human and worth winning. JONATHAN KIEFER

Marina Abramovic: The Artist Is Present OPENS FRI., SEPT. 7 AT SIFF FILM CENTER. NOT RATED. 105 MINUTES.

206.324.9996 | siff.net

“A

BRAVE AND ACCOMPLISHED FILM.” Seattle weekly • S E P TE MB E R 5−11, 2012

– Richard Brody, THE NEW YORKER

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/REDHOOKSUMMER

Uptown | 511 Queen Anne Ave N FREE VALIDATED PARKING from 6pm weekdays / 10am weekends | Parking passes available at box office

For three months in 2010, Serbian-born performance artist Marina Abramovic sat in a chair in a gallery at New York’s Museum of Modern Art and directed her full, silent attention toward individual visitors seated across from her, seven hours a day, six days a week, without eating or drinking. Matthew Akers’ invaluable film, named for the exhibition, documents the show’s preparation and execution. Abramovic is now in her 60s, and her persona’s harder edges, apparent in old footage, have softened. She’s a striking and seductive figure, and the Hard Day’s Night-esque stampedes into the exhibit each morning testify to her charisma.

Throughout the 1970s, Abramovic collaborated with her partner, the West German performance artist known as Ulay. In their final, most epic work, The Lovers, they walked toward each other from opposite ends of the Great Wall of China over three months.

They broke up afterward due to Ulay’s infidelity and did not see each other again for 23 years, until shortly before the MOMA show’s opening, their reunion filmed by Akers. Ulay is among the first to sit at the table across from Abramovic, and the moment they share, informed by their history, is moving. Other striking incidents involve an encounter with David Blaine, whose douchesmithery includes crunching and swallowing a chunk of his wineglass, and the re-creation of earlier Abramovic pieces, which inspire FOX News anchor Megyn Kelly to question whether or not this “Yugoslavian-born provocateur” can even be considered an artist. CHRIS PACKHAM

CINEMA GUILD

Events

Planet of Snail

Planet of Snail: The happy central couple.

RUNS FRI., SEPT. 7–THURS., SEPT. 13 AT VARSITY. NOT RATED. 87 MINUTES.

An unadorned, unsentimental portrait of a marriage, Yi Seung-jun’s documentary celebrates the daily life of an exceptionally collaborative couple. Young-chan is deaf and blind; his wife, Soon-ho, possesses all five senses but is afflicted with a spinal disorder that has stunted her growth. The top of her head comes to just below her beanpole spouse’s heart; the physical proximity of these two body parts aptly suggests their insoluble emotional connection. Although Young-chan can speak—he lost his sight and hearing as a child—Soon-ho communicates with him primarily through finger Braille: She taps words onto his hand, and he responds verbally. Young-chan and Soon-ho are two people very much alive. They toboggan in the winter, swim in the summer, and seem happiest when walking through the woods close to home, just one of their blissful shared rituals. “What I can’t see in reality, I can’t see in my dreams,” Young-chan tells a group of actors who have solicited his advice on how a deaf-blind person moves for a production they’re mounting.

What he can always sense all around him, though, whether awake or sleeping, is love.

MELISSA ANDERSON

Red Hook Summer OPENS FRI., SEPT. 7 AT SIFF CINEMA UPTOWN. RATED R. 121 MINUTES.

Spike Lee returns to the Brooklyn of his most famous early works. There, a sustained single take—tracking his protagonists as they navigate a courtyard in the projects—suggests that this trip home has reinvigorated the director. That early moment of formal inspiration, however, isn’t wholly indicative of the remainder of his film, an alternately evocative and lumbering portrait of a multifaceted community that focuses on Flik (Jules Brown), a prep-school 13-year-old Atlanta native sent by his mother to spend the summer in the titular neighborhood with his grandfather Bishop Enoch (Clarke Peters). Lee defines these and many other players in quick, sharp snapshots that enhance Red Hook Summer’s genuineness, creating an air of roiling passions, tensions, and desires that seem to grow less out of melodramatic contrivances than out of the real, pressing experiences

of everyday people trying to carve paths for themselves. That naturalness, unfortunately, is mitigated by a script whose theatrical speechifying becomes an increasing drag. And yet, in its messy mix of authenticity and awkwardness, bluntness and elegance, the film also proves to be just like its adolescent protagonist: striving, in its own clumsy but earnest way, toward romantic, spiritual, and philosophical maturity. NICK SCHAGER

2 Days in New York OPENS FRI., SEPT. 7 AT GUILD 45TH. RATED R. 121 MINUTES.

Julie Delpy’s sequel to her 2007 2 Days in Paris calls back many of the same characters and more than a few of the same jokes. Her alter ego, Marion, returns as a mother, 40ish and cohabiting in Manhattan with Mingus (Chris Rock), who’s not the father of her kid.

Mingus has his own radio call-in show, while Marion is preparing for a gallery exhibition of her photographs—double portraits of couples in bed—co-starring herself. The defining theme is “relationships fading over time,” underlining the precarious state of her domestic situation, while foreboding is ramped up into crisis as Marion’s family— ex-hippie father, sluttish sister, and sister’s scuzzy boyfriend—arrive from France for a visit. Delpy’s project of stripping the makeup from her charismatic screen persona extends, unfortunately, to a general slovenliness of technique. The director’s guiding principle seems to be that people, especially her heroine, are imperfect, and that life is messy. But unflatteringly inverting the ideal—feminine or otherwise—is a shabby method for seeking higher truth, and if life is a jumble, that doesn’t mean art necessarily should be.

2DNY’s slapdash construction can’t elevate the personal to the universal, can’t turn solipsism into communion. NICK PINKERTON E film@seattleweekly.com

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BY BRIAN MILLER

Local Film ADDAMS FAMILY VALUES From 1993, Barry

Sonnenfeld’s update on the famous cartoon clan lacks the wit of the prior 1991 film. However, it returns most of the amusing original cast, including Raul Julia, Anjelica Huston, and Christina Ricci. Call for showtimes. (PG-13) Central Cinema, $6-$8, Through Sept. 5.

APOCALYPSE: A BILL CALLAHAN TOUR FILM This hour-long music doc follows the musician and his band on tour. (NR) Grand Illusion, $5-$8, Sept. 7-13, 7:30 p.m.

DECASIA SEE THE WIRE, PAGE 19.

DOCTOR ZHIVAGO David Lean’s 1965 adaptation of Boris Pasternak’s Russian history novel stars Omar Sharif and Julie Christie. Adjusted for inflation, it’s still one of the biggest hits in film history. Call for showtimes. (PG) Sundance Cinemas, $8-$10.50, Thu., Sept. 6.

FANTASTIC MR. FOX In this 2009 stop-motion adaptation, Wes Anderson has added an existential layer to the protagonist of Roald Dahl’s 1970 children’s novel. Mr. Fox (voiced by George Clooney) is no longer just a devoted husband and father trying to put food on the table, but instead a gentleman bandit who walks upright and steals not out of necessity but because he’s good at it. Having given up his life of crime at the behest of Mrs. Fox (Meryl Streep), Mr. Fox remains, in his heart, footloose, fancyfree, and looking to make one last score. Where Dahl’s book was essentially a survival story, Anderson’s film has become a non-conformist fable about that wildness of spirit we are encouraged to tame as we get older and “settle down.” Call for showtimes. (PG) SCOTT FOUNDAS Central Cinema, $6-$8, Sept.

7-9; Wed., Sept. 12.

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FERRIS BUELLER’S DAY OFF John Hughes’

oft-quoted 1986 teen comedy makes excellent use of Matthew Broderick’s slightly corrupt charm (and a certain 1961 Ferrari 250GT T H I S CO D E California). Without rising TO DOWNLOAD THE FREE to the ’80s-defining level of SEATTLE WEEKLY Sixteen Candles, this is the IPHONE/ANDROID APP thoroughly enjoyable Hughes FOR MORE FILM OR VISIT flick that also made Ben seattleweekly.com Stein’s career. “Anyone?

Anyone?” Call or see theater Web site for showtimes. (PG-13) BRIAN MILLER Central Cinema, $6-$8, Sept. 7-10.

FILMS4FAMILIES: ANIMAL KINGDOMS See the SIFF website for full list of titles in this squee-tastic weekend series, which includes March of the Penguins, Babe, Fantastic Mr. Fox, and other barnyard faves. (G) SIFF Cinema Uptown, $4, Opens Sept. 8, Saturdays, Sundays, 1 p.m. Through Oct. 28.

SCAN

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Seattle weekly • S E P TE MB E R 5−11, 2012

• THE LOVE SONG OF R. BUCKMINSTER FULLER SEE THE WIRE, PAGE 19.

• ONE FLEW OVER THE CUCKOO’S NEST SIFF’s

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VIF PASS

Miloš Forman retrospective continues with his hugely successful, Oscar-winning adaptation of the Ken Kesey novel, set inside an Oregon mental ward. With Jack Nicholson starring in the 1975 picture, playing the rebellious Randle Patrick McMurphy, the film became a deserved classic of the counterculture. (R) SIFF Film Center, $5-$10, Tue., Sept. 11, 7 p.m.

PARADISE LOST 3: PURGATORY SW music writer (and KEXP DJ) Hannah Levin will host this benefit screening of the final installment of Joe Berlinger and Bruce Sinofsky documentary series on the West Memphis Three—one of whom, Jason Baldwin, now resides in Seattle and is expected to attend the screening. (NR) SIFF Cinema Uptown, $12, Sat., Sept. 8, 9:30 p.m.

[REC] 3: GENESIS “This is my day!” a Spanish bride declares at her wedding reception, and she will not have it spoiled by zombies crashing the party. By the time she gets all Buffy on their undead asses, half her family has been turned into flesh-eating ghouls, but the horror isn’t treated too seriously in the third [REC] installment. This time only half the original filmmaking duo, Paco Plaza, is back; also returning is the video diary/shaky-cam format—for the first 20 minutes, at least, until the zombies appear. [REC] 3 then alternates between conventional filming and surveillance cameras, while the action is as old as D.W. Griffith: run from the zombies, hide from the zombies, retreat to the next

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

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room when the zombies knock down the door, repeat.

The chainsaw-wielding bride (Leticia Dolera) is made of tougher stuff than her new husband (Diego Martín), essentially Jell-O poured into a Colin Firth mold. None of the wedding party registers enough for us to care about the jugular chomps and bursting arteries, and the slow, spastic zombies are too familiar to be frightening. It’s an enjoyable if ordinary fright flick, and one wishes the Catholic jokes had been more worked out. The zombies are stymied by crucifixes, scripture, and holy water, but no one thinks to load up a Super Soaker from the baptismal font. The tagline should have been “Kill them with prayer!” (R) BRIAN MILLER Grand Illusion, Opens Sept. 7, Fri., Sat., 11 p.m. Through Sept. 15.

THE ROYAL TENENBAUMS All happy families are alike, but unhappy families are unhappy in their own locked-in-amber mid-’70s fashion. Such is the case with Manhattan’s Tenenbaum clan, whose parents (Gene Hackman and Anjelica Huston) raised three child prodigies—financier (Ben Stiller), playwright (Gwyneth Paltrow), and tennis star (Luke Wilson). But the team has fallen on hard times, explains our narrator (Alec Baldwin). The whole movie feels constructed as if from old New Yorker cartoons or museum dioramas. Director Wes Anderson fetishizes the details like so many Joseph Cornell boxes; each scene is a chapter, a specimen, really. The 2001 Tenenbaums never amounts to more than the sum of its often inspired parts. (R) BRIAN MILLER Egyptian, Fri., Sept. 7, 11:59 p.m.; Sat., Sept. 8, 11:59 p.m.

THE STORY OF FILM: AN ODYSSEY Made for British television, this 15-hour survey of cinema history by Irish scholar Mark Cousins will run in repeating blocks of three episodes (three hours) each. In an Ulster brogue, Cousins narrates, alternating between stabs at lilting poetry (“the spinning, winning brilliance of Soviet editing”) and calculated down-to-earth matey-ness.

(Luis Buñuel’s Viridiana is “a knee in the balls to Franco”; a scene from Vera Chytilová’s Daisies is “like the Lumière Brothers on acid.”) The tapestry of imagery alternates between excerpted clips from hundreds of films and new, ugly interview footage with a curious scattering of personalities—first film historians, then survivors of the eras under discussion (Stanley Donen, Claudia Cardinale, Norman Lloyd, Baz Luhrmann) that the narrative often extravagantly detours to accommodate. (NR) NICK PINKERTON SIFF Film Center, $5-$10, Thursdays, 7 p.m.

Through Oct. 4.

Ongoing

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 Guild 45, Kirkland Parkplace, SIFF Cinema Uptown, Vashon Theatre CELESTE AND JESSE FOREVER Co-written by and starring Parks and Rec straight-woman Rashida Jones, Forever is a notably lo-fi entry into the recent trend of romantic comedies that think acknowledging the genre’s cliches is as good as subverting them. L.A. thirtysomethings Celeste (Rashida Jones) and Jesse (Andy Samberg) are in the middle of history’s most amicable divorce. When Jesse moves on to a new girl, Celeste travels down a rabbit hole of self-pity, and director Lee Toland Krieger turns the subjectivity knob up. Celeste’s increasingly clouded mental state seems to dictate the edit, but there’s a difference between stoner logic and a scattered narrative in which characters smoke pot a lot.

(R) Karina Longworth Pacific Place, Sundance Cinemas FOR A GOOD TIME, CALL... The sweet, funny comedy, directed by Jamie Travis, is a funny dude-bro movie in which the funny dude-bros are women. You do have to get past the high-concept premise: Lauren (Lauren Anne Miller) and Katie (Ari Graynor), two young New York women with a long-standing mutual loathing, start a phone sex service. Sure, there’s a proliferation of dildos, splooge jokes, and simulated orgasms, but this actually is a vehicle for genuine sweetness and depth of character, and the film’s beats are deliberately matched with those of standard boy-meets-girl stories.

But instead of romantic love, the whole metaphor-forhuman-actualization thing is discovering your best

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attuned to issues of acceptance and self-reflection than actual suspense, and Sarsgaard’s vocal performance deftly colors his preprogrammed remoteness with hints of human curiosity and deviousness. It’s Langella, however, who ultimately props up this borderlineschmaltzy character study, exhibiting a heartbreaking sense of destabilization and confusion. (PG-13) Nick Schager Egyptian 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 Kirkland Parkplace, Sundance Cinemas 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, Samsara is undercut by an underlying smugness and complementary mush-brained Eastern fetishism. (NR) Mark Holcomb Cinerama 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 is Rodriguez’s casual disinterest in PR-blitzing his resurrection and apparent contentment with an ordinary working life. (PG-13) Mark Holcomb Harvard Exit 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

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THEATERS: Admiral, 2343 California Ave. SW, 938-3456;

Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-6365601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 2675380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

Seattle weekly • S E P TE MB E R 5−11, 2012

bud. Lauren and Katie aren’t defined by their attitudes toward men; they’re defined by being fucking funny and awesome. (R) Chris Packham Pacific Place HOPE SPRINGS This studio comedy is atypically concerned with an older couple’s marriage problems. Meryl Streep and Tommy Lee Jones play Kay and Arnold, a couple with marriage problems that only Kay is willing to acknowledge. However, screenwriter Vanessa Taylor and director David Frankel (The Devil Wears Prada) unfairly use Dr. Feld (Steve Carell) to preach tolerance to Arnold while otherwise pushing the audience to blame him for the couple’s problems. Jones and Streep give likable enough performances as a caricatures of a humane monster and a human victim. But their characters never become more than that. And for a rom-com that’s trying to impress viewers with its progressive, sensitive sexual politics, that’s pretty deadly. (PG-13) Simon Abrams Seven Gables THE IMPOSTER This deft, atmospheric Errol Morris– style tour through the phenomenon that is “serial imposter” Frédéric Bourdin homes in on one brief episode from the man’s berserk career: the period in 1997 when the 23-year-old Frenchman convinced a Texas family he was their disappeared teenage son. The story still harbors queasy mysteries at its center, as director Bart Layton micro-analyzes every step of the case, via interviews with the Texans, Bourdin, and the FBI. How Bourdin manages to pull off this charade is the first conundrum, but the question of how credulous this wounded American family really is eventually becomes subsumed by others—as in, what really happened to the vanished boy? Thick with re-enactments and cute cutaways, the movie evolves into a cultural inquisition, following this stranger through the strange land of bad-news America, where the truth is still waiting to be exhumed. (R) Michael Atkinson Sundance Cinemas KILLER JOE Down in a Texas trailer park, in debt to some bad men, Chris (Emile Hirsch) enlists his father Ansel (Thomas Haden Church) in a plan: Kill Momma and collect on the life insurance policy she has made over to teenage daughter Dottie (Juno Temple). They enlist the services of “Killer Joe” Cooper (Matthew McConaughey), a detective who moonlights as a hired killer. The Smiths don’t have money for a down payment, but they have something more precious: Dottie is a virgin. In William Friedkin’s adaptation of Tracy Letts’ hideously funny play, McConaughey shows new depths “His eyes hurt,” says Dottie of Joe, and indeed they do.

And the click of Joe’s Zippo sounds like an unsheathed dagger. (NC-17) Nick Pinkerton Varsity 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 grown-ups, including Bruce Willis’ Captain Sharp, mobilize to find the fugitive young lovers. Moonrise takes the form of old-fashioned pre-teen 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 Varsity OLD GOATS Taylor Guterson, son of the local novelist David Guterson, turns an affectionate eye on Northwest geezer-dom in this gentle comedy about the indignities of aging. Meeting at a weekly coffee klatch for Bainbridge’s over-70 set (no girls allowed!), three old goats from different social strata develop an unlikely friendship. One’s a married, golf-playing, sportscardriving businessman recently forced into retirement.

Another is a salty octogenarian World War II vet and (still) devoted womanizer. The third is a shy bachelor car mechanic, just fired, who lives on a squalid sailboat in Eagle Harbor. There’s talk of sailing adventures, online dating, and a condo in Palm Springs, but these three live in common terror of the question, “What’s next for you?” (NR) Brian Miller Lynwood Theater, SIFF Cinema Uptown ROBOT & FRANK In the near future, retired cat burglar Frank (Frank Langella) is suffering memory loss. He’s attended by a robot (voiced by Peter Sarsgaard), which he discovers can be trained as a thieving accomplice.

Jake Schreier’s film charts their burgeoning friendship and heists with an attention to its protagonist’s need for a companion who’ll listen to and acknowledge him for who he is. Even with regards to a nicely underplayed climactic revelation, the sentimental drama is more

29

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Seattle weekly • S E P TE MB E R 5−11, 2012

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food&drink»

Trace Evidence

The W’s new restaurant will do little to convince skeptics of a hotel-food renaissance. dining to my right appeared to be doing, I’d have been embarrassed.

The food served at Trace is on the right side of decent, with a few dishes succeeding admirably. But the consistently clunky service and overwrought decor detract mightily from the overall experience, which has to be doubly good to assuage local diners’ doubts.

Hotels have consciously spiffed up their restaurants in recent years, but if the genre’s in the throes of a full-fledged renaissance, Trace isn’t evidence of it.

T

A sushi bar can’t win by trying to keep down costs, which might be the motivation for laying the chives on thickly and stocking suboptimal seafood. Trace’s salmon, likely the fish that attracts the most interest from out-of-towners, was meaty and muscular, but the tuna was stringy and the mackerel bland. Meanwhile, flavorless shrimp were tooth-achingly cold.

There are blips on the kitchen menu, too. A charcuterie board’s charms are undermined by greasy prosciutto and an overly peppery coppa. The jagged cubes of ice in a comely chilled soup, with interlocking crescents of puréed cucumber and tomato, made for treacherous eating. And a lovely Caesar graced with radish discs and fat white anchovies would have been much better without the intrusive hunks of supremely rich pork belly.

But tucked among the disappointments and the buzzwords printed along the menu’s bottom edge (“farmed, foraged, crafted, hunted, shared”) are a few terrific finds.

Braised beef and peas served over wide saffron-scented noodles—a dish that seems designed to assure hardened carnivores that it’s OK to dine in a restaurant with a sushi bar—is a hearty stew of warming flavors.

Beef also has a strong showing on Trace’s

Roasted halibut is Trace’s finest dish.

steak plate, featuring an espresso-charged sauce and delicate enoki mushrooms. Other “farmed and foraged” triumphs include a salad of capably cut beets and oranges atop a rough road of crushed hazelnuts.

The very best dish at Trace is a crusty roasted halibut, afloat in a leek nage speckled with fennel. The fish tingles with the bright tones of preserved kumquats. The entrée is everything the restaurant isn’t: lively, organized, and satisfying. It’s funny that Trace’s lengthy mission statement doesn’t include the verb “fished”; perhaps if it took more inspiration from Seattle’s watery environs instead of a Portland architecture outfit, it might stand a chance of drawing diners who don’t intend to spend the night. E hraskin@seattleweekly.com TRACE 1112 Fourth Ave., 264-6060, traceseattle.com.

6:30–10:30 a.m., 11 a.m.–2 p.m., and 5–10 p.m.

Mon.–Thurs. 6:30–10:30 a.m., 11 a.m.–2 p.m., and 5–10:30 p.m. Fri. 7 a.m.–2 p.m. and 5–10:30 p.m. Sat. 7 a.m.–2 p.m. Sun.

Seattle weekly • S E P TE MB E R 5−11, 2012

race’s service problems start at the bar, which sometimes operates as a pseudo-host stand for a restaurant which desperately needs a functional one. Upon entering the hotel, prospective diners are thrust into a fray of corporate nomads, seated on couches with plates of sliders balanced on their laps and pint glasses in their hands. But the proper dining room beyond the post– happy hour scrum was completely deserted both times I visited for dinner, which—to put a positive spin on it—meant no mere The obstreperously employee was going to stop me from sitting sleek space comes across anywhere I pleased. as a caricature A server finally showed up several minutes of upscale dining. after my guest and I had decided Trace was running on a plop-yourself-down system.

“Will this table work for you guys?” she asked, gesturing toward the table at which we The flooring planks and tables are made were seated. from beige wood, but the metal chairs are The sense that Trace has lost the beat is upholstered in a ridged gold fabric that perpetuated by its dual menus: one lists the could have been cut from the same bolt dishes prepared by chef Steven Ariel, the used for sewing Star Trek uniforms. There other the sushi bar’s offerings. (Confusingly, are silver globes and internally lit white ellipsoids suspended above the main dining if you order omakase—a Japanese term used to indicate you’re deferring food choices room; walls padded with crimped white to the sushi chef—you only get dishes from acoustical tiles; and a sushi-bar alcove set Ariel’s kitchen.) The arrangement led me to off by gleaming onyx columnar tubes that wonder if two high-ranking execs couldn’t hover overhead. You don’t need to check agree on a concept for the restaurant, since the menu to know you’re not getting out of the menus aren’t remotely complementary. here cheaply.

Surely nobody really wants a roll with eel, Diners at Trace have plenty of time to cucumber, and miso sauce followed by a absorb their surroundings, because service is roasted chicken breast with mascarpone far from snappy. At a recent weekday lunch, ravioli and prosciutto. when only three of the room’s 21 tables were Unlike the staffers on the floor, Trace’s occupied, seven minutes elapsed before sushi chefs are confident and a staffer approached my attentive, but sushi is still the table. Seven minutes may restaurant’s weaker half. How not sound like an unbear» PRICE GUIDE CUCUMBER SOUP ���������� $16 can a restaurant screw up able stretch, but it’s hardly BEET SALAD ����������������������� $9 edamame? Trace parries that pocket change. If you read STEAK���������������������������������$28 HALIBUT ���������������������������$26 usually rhetorical question with at an average pace, it should EDAMAME ��������������������������� $5 puny pods that taste as though take you fewer than seven TRACE ROLL �������������������� $18 they hadn’t been fully defrosted minutes to read this column before being doused with too from top to bottom—and much chili sauce. The sushi bar traffics mostly that includes breaks to scan ads on the oppoin rolls—“You guys really like the nigiri!” a site page. I was dining alone, so waiting seven chef exclaimed after we ordered a third minutes to have my water glass filled wasn’t variety of fish over rice—and prepares them a terrible inconvenience. But if I were on my in slightly stingy fashion. The signature way to the airport, as were the men at a table Trace roll of Dungeness crab and spicy tuna, near mine, I’d have been annoyed. If I’d been for instance, was overloaded with chives. entertaining a business client, as the woman

JOSHUA HUSTON

I

f coal miners or biochemists were asked to imagine the kind of restaurant in which food critics spend most of their time, they’d probably visualize a dining room much like the one at Trace. Then they’d probably snicker.

This spring, Trace opened on the hallowed ground floor of downtown Seattle’s W Hotel, where Earth and Ocean had incubated the careers of such notable Seattle culinary talents as John Sundstrom (Lark), Maria Hines (Tilth, Golden Beetle), and Dana Tough and Brian McCracken (Spur Gastropub, Tavern Law, The Coterie Room). And while a months-long renovation process and the involvement of Portland’s Skylab Design Group—a firm with a reputation for building hip and green—would seem to guarantee a modicum of modernity, the obstreperously sleek space comes across as a caricature of upscale dining. With its soaring ceiling and sci-fi touches, the restaurant looks like a meeting place for lovers on The Young and the Restless circa 1996.

BY HANNA RASKIN

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

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

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There’s a kids’ play gym next door (Gymboree) which can be handy or noisy, depending on your need or mood.

But it’s a cozy coffeehouse atmosphere, with reliable sandwiches and tasty pastries. $ SCOOTER’S BURGERS AND SHAKES 5802 24th Ave. N.W., 782-2966. This burger bar serves mountainous burgers, crispy fries, and more than a dozen different shakes. Like the legendary joints of the 1950s and ’60s, the service is quick and friendly, and the prices reasonable. The blue-cheese chicken sandwich and mushroom veggie burger are scrumptious. $

BELLTOWN

THE YELLOW LEAF CUPCAKE CO. 2209 Fourth Ave.,

441-4240. In the Miss Seattle Cupcake pagent, Yellow Leaf would be voted “Most Likely to Take Chances.” The signature cake’s tomato soup—basically a spice cake from a wacky Depression-era recipe—and the bakers regularly feature flavors like white chocolate pretzel (good), vanilla toffee (order two), and root beer float (skip). The distinctive element of these cupcakes is their silky, gossamer Italian buttercream. $

CAPITOL HILL

BALLET RESTAURANT 914 E. Pike St., 328-7983. Ballet’s

atmosphere is dull, but don’t let the decor or the linoleum dissuade you. Try the satay soup; the kitchen skips the wooden stick and tosses its chicken satay into coconut milk soup with vegetables and ground peanuts. The mock chicken (soy protein) is also tangy and dependable. $ CAFE LAGO 2305 24th Ave. E., 329-8005. From the regulars cozied up to the counter to the black-and-white checkered floor, Cafe Lago is like an Italian Cheers blended with Mayberry’s barbershop. It’s welcoming,

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DOM POLSKI ZAPRASZA/POLISH HOME ASSOCIATION 1714 18th Ave., 322-3020. On Friday

nights and special occasions, the Old Polish Home members and guests (who pay a buck at the door for a one-day pass) crowd into the facility’s gymnasium/ theater for a rollicking, cheap meal. Skinny girls with lip piercings wait at the bar for a table next to stout men in tucked-in sweaters. The beers are cheap (and wickedly potent), the pickle soup is simultaneously tangy and creamy, and the pierogis come drenched in melted butter. Dom Polski’s cult dish is the foot-long ham hock, braised until the skin and fat pull away with the push of a fork, unveiling a half-pound of pink, succulent meat. $-$$ MONSOON 615 19th Ave. E., 325-2111. Sophie and Eric Banh seem undaunted by change. Monsoon remains a crisp, tidy place to dine: The hybrid Vietnamese cuisine is never too fussy, nor does it try to cram too many ingredients or flavors into one dish. The vibe is clean and minimalist, like the room. Enduring favorites on the menu include a caramelized Idaho catfish, an Asian pear salad, and prawns in yellow curry. Portions aren’t huge, which encourages you to order more dishes; and a surprisingly deep wine list can do some damage to your wallet. The weekend brunch menu shows the Francophone influence on Southeast Asia: Belgian waffles and French toast coexist nicely with banh xeo crepes and bok choy. Plan to wait if you don’t have a reservation. On sunny weekend mornings, it takes some luck to get a seat on the small patio. $$$ OSTERIA LA SPIGA 1429 12th Ave. E., 388-4121. When this 9-year-old neighborhood favorite scaled up, it risked losing its cred and its customers. But surrounded by the trappings of serious dining—rich raw wood, dark steel,

FirstCall

» by sarah elson

Manic Monday

The Watering Hole: The Lodge Sports Grille, 107 Lake St., 425-202-7663, KIRKLAND The Atmosphere: Mukilteo Lodge Sports Grille recently opened a second location in the heart of downtown Kirkland. The new watering hole, amid Kirkland’s numerous coffee shops and fro-yo spots, ought to make professionals seeking a place to chill out in the evening rejoice. The long, narrow interior is divided in half with booths lining one side and the bar running the length of the opposite side, showcasing the 55 beers on tap behind it. Floor-to-ceiling front windows open completely, making the dark space much more inviting on a summer evening. On a Monday night the place is packed with 30-something professionals, with about half the booths taken and no open seats at the bar.

The Barkeep: Andre Noel tended bar at the Tap House Grill in Bellevue for six years before becoming manager at The Lodge. Despite his years of experience, he seemed pretty stressedout by the surprisingly large Monday-night crowd, and firmly told me he didn’t have time to chat.

The Drink: With 55 beers on tap, obviously this sports bar specializes in beer, but Noel whipped up something from their cocktail menu instead: a Dragon Fire Mojito. He muddled lime

SARAH ELSON

Seattle weekly • S E P TE MB E R 5−11, 2012

Hours MONDAY - THURSDAY 11:30AM TO 10:30PM Friday 11:30am to 11:30pm Saturday 12pm - 11:30pm Sunday - 12pm to 10pm

unhurried, and neighborhoody, with the waitstaff dispensing good-natured barbs and advice as easily as Chianti and antipasti. The cooks make each and every noodle by hand: fresh fettuccine, tossed with sautéed pancetta and asparagus in a spicy tomato sauce; a delicate, creamy lasagna marred only by a standard red sauce; and tender potato gnocchi served in an electricorange sauce of tomatoes, cream, and vodka. Other popular items include a Gorgonzola-topped New York steak and a handful of wood-fired pizza pies. $$

At least he had time to smile.

wedges and jalapeño peppers with ice, then added Dragon Berry Bacardi Rum and topped it off with a dash of Sprite, sticking in a few sprigs of mint and a lime wedge on the rim.

This cocktail has a kick; my eyes were watering and my mouth burning after the first few sips. If I enjoyed jalapeños, this drink would be delicious, but my aversion to anything spicy forced me to hand it to a friend.

The Verdict: The cocktails are well-crafted and the beer selection impressive. Judging by the large Monday-night crowd, this new establishment is well on its way to becoming a local favorite. E selson@seattleweekly.com

food&drink»Featured Eats airy space—the restaurant’s Emilia-Romagna cuisine has finally gotten the showcase it merits. The service hasn’t caught up to the expansion, but the piedine (house-made bread) is still as fabulous. Dishes like the fresh tagliatelle in truffle butter and tiny gnocchi in a sausage-laced cream sauce confirm Italians’ assertion that pasta dishes should be about the pasta, not the dressing. And the tiramisu will make you realize that every other version you ever tried was a cakey, bland mess. $$

COLUMBIA CITY

FULL TILT ICE CREAM 5041 Rainier Ave. S. #101, 226-2740.

Go for the handmade ice cream, of which there is a rotating menu of flavors, from vegan vanilla bean to Sweet Potato Pecan Praline. Stay to geek out with the vintage video games, of which there are an abundance. $

FREMONT

KWANJAI THAI 469 N. 36th St., 632-3656. Always-busy

Kwanjai is both overpopulated and overrated. With bamboo bits vastly outnumbering other vegetables, Garden Delight is a total disappointment. The peanut sauce tastes more of curry than anything else but is too thin to hold much flavor. Phad see iew nearly redeems the others: Piled with crisp carrots and broccoli, soft noodles, and large slices of tender beef, it is luscious. $

GREENWOOD & PHINNEY RIDGE EVA RESTAURANT AND WINE BAR 2227 N. 56th St.,

633-3538. “Chef’s home cooking” isn’t quite a cuisine category, but it should be. Eva specializes in the kind of food that a really good chef might make at home.

Rabbit appears pretty regularly, as do seasonal salads that come to the table like little baroque sculptures.

The restaurant’s two dining areas support this idea by

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restaurants in the metro area,” he wrote.

Russell was less impressed with Szechuan Chef, which he reviewed August 24. He faulted the spicing and compared the restaurant’s greens to dishwater, but charitably concluded, “Still, Szechuan Chef is more interesting and ambitious than 90 percent of the Chinese restaurants in Portland. If you’ve ever bemoaned Portland’s lack of good Chinese food, it appears someone has been listening.

And they live in Washington.”

Although Schimmel and Zhong have succeeded in Beaverton, Schimmel doesn’t think many more of Seattle’s Chinese restaurateurs will follow them down I-5. Although he describes Beaverton as demographically similar to Bellevue, he isn’t sure how many Sichuanese restaurants it can support. “Too many places open, you’re going to reach a saturation point and one of them is going to go down,” Schimmel says.

The menus at Bamboo Garden and Taste of Sichuan are nearly identical, but Schimmel says the restaurants’ chefs have slightly different seasoning styles. And since Taste of Sichuan is located in a former Marie Callender’s, there’s room for xiao long bao production.

Xiao long bao is flypaper for food lovers, but Schimmel says Beaverton diners were enthusiastic about the restaurant even before they knew it would serve Chinese food. “It was a really unique experience because when we started renovating, people were coming by to ask when we’d open,” Schimmel says. “The whole area is under-served.” E

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Seattle weekly • S E P TE MB E R 5−11, 2012

A new front has opened in Bellevue’s ongoing battle to win over fans of Sichuanese cooking: Three of the city’s leading restaurants have established Portland locations in the past year.

“The Portland area is really lacking in more authentic Chinese,” says Dietmar Schimmel, who owns Bamboo Garden with his wife, Stacy Zhong. “So if you focus on authentic, you can really attract a following.”

Last September, Schimmel and Zhong opened Taste of Sichuan in the Portland suburb of Beaverton; they opted not to reuse the name they’d chosen in 2007 as a reference to the restaurant’s decorative bamboo (not realizing a Lower Queen Anne restaurant was already operating under the same name). “We thought about Bamboo Sprout, like an offshoot, but we said ‘This is too silly’,” Schimmel recalls.

But there wasn’t anything silly about tapping a new market. Soon after Taste of Sichuan opened, Spiced moved into Beaverton and Szechuan Chef opened a location in Portland proper.

“The Chinese community is pretty close-knit, so nothing stays a secret,” Schimmel says.

“A delegation from Spiced was there to check us out on opening day.”

The Oregonian’s Michael Russell raved about Taste of Sichuan in a May review, calling the restaurant “a tiny bit of heaven.” “Taste of Sichuan has quickly become one of the most exciting, satisfying, and best Chinese

offering living room vs. family room seating—one room with white tablecloths and candlelight, the other with big wooden tables and a bar. If there’s a custard on hand (blue-cheese flan, chorizo bread pudding), go for it. Complementing the food is James Hondros’ eclectic wine list, chosen for the wines’ food-friendliness. $$ GORGEOUS GEORGE’S 7719 Greenwood Ave. N., 783-0116.

Israeli chef George Rached (who is not the famed pro wrestler, but really does call himself “Gorgeous George”) spends his days and nights in the kitchen of his shoebox restaurant, grilling up peppery lamb shawarma and pureeing hummus into the texture of thick custard. What he comes up with is the best hummus you’ll find anywhere in the city, but this doesn’t leave him too fatigued to occasionally serenade one of his regulars or walk the dining room to check in on his many guests. Dinner is priced upscale, but worth it, and there are some deals at lunch. $-$$ RED MILL BURGERS 312 N. 67th St., 783-6362. At Red Mill, you can get great traditional burgers, a smoky grilled chicken sandwich, or a veggie alternative with a roasted Anaheim pepper. A good many sandwiches come with the zesty Mill sauce. The milkshakes are thick, and the cooks will even make them malted. Potatoes and onions are fried up fine and crispy in fresh peanut oil. $

33

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IL TERRAZZO CARMINE 411 First Ave. S., 467-7797.

Gourmet Mexico City Tortas LaBarrigaLlena.com (206) 782-1220

Hidden away in an alley off First Ave. is one of Seattle’s secret bastions of fine dining. Or perhaps just fine dressing. The baroque wooden chandeliers and ornate hand-painted ceramics that decorate this terrace-like restaurant bespeak money, the kind wielded by opera board chairs and Madrona mansion owners. For almost a quarter-century, Carmine Smeraldo has run his restaurant in the Italian manner, with gracious formality and properly trained waiters. Are dishes like his veal scaloppine and chicken breast stuffed with ricotta and spinach butter out of step with the hipper Italianesque fare of Tavolata and Cafe Juanita? Perhaps. But doing justice to the classics, decade after decade, is what makes Smeraldo’s restaurant so beloved by the members of Seattle’s boardroom class. $$$

RAVENNA & WEDGWOOD

MARCELLO RISTORANTE 7115 Roosevelt Way N.E.,

527-4778. This humble Italian eatery is a former garage, like pretty much every other place on Roosevelt Way. You’ll savor ultra-traditional fare such as spaghetti puttanesca and fettuccini with clam sauce, and the insalata caprese (tomato, mozzarella, basil) is more a party platter than a salad, while vitello all’aranciata (veal in orange sauce) is more New World than Old. $

RESTAURANT

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Seattle weekly • S E P TE MB E R 5−11, 2012

EAT, DRINK, MUSIC, DANCE!

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9/5- ALOHA WEDNESDAY- “THE ETHAN TUCKER BAND!” FREE, 21+, LATE NITE HAPPY HOUR STARTS AT 9 & BAND AT 10!!

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SODO

ELO’S PHILLY GRILL 3431 Airport Way S., 467-8989.

With an awesome, humongous marquee and honestto-Pete blue-collar location, it’s really a shame that the steak sandwiches here aren’t mouthwatering. But they’re serviceable, anyway, and in this part of SoDo, any place that beats the gut truck or brown bag is going to ring it in at the register. $

UNIVERSITY DISTRICT

KOREAN TOFU HOUSE 4142 Brooklyn Ave. N.E.,

632-3119. Korean Tofu House (alternate name: Myung Dong), housed in a below-ground-level storefront around the corner from University Way, is one of very few Korean restaurants in the city limits worth hitting.

While the panchan and seafood pancake are decent, and the gruff pack of women who run the place get sweeter each time you return, you’ll want to stick to the restaurant’s specialty: soondubu, or soft tofu stew. Huge on flavor, the stew comes to the table boiling away in a clay pot, and the server cracks an egg into the bright-red bubbles, which you stab with your chopsticks and stir into soft, golden clouds. Reminder: blowing on your spoon will only cool the heat, not the chile burn. $ TEMPERO DO BRASIL 5628 University Way N.E., 523-6229. Seattle’s first Brazilian restaurant. Known primarily for its seafood, Bahian cuisine is a marriage of tastes: ginger, lime, coconut milk, and the orange palm oil, dende. Order a caipirinha (Brazil’s national drink), a handful of the tira-gustos (appetizers), and relax to the strains of bossa nova. $$

WALLINGFORD

KABUL 2301 N. 45th St., 545-9000. Lovers favor Kabul’s

softly lit interior, carnivores love its chicken kabobs, and pretty much everyone agrees that the kitchen has a way with eggplant, simmered in a spicy tomato sauce and dressed with yogurt and mint. Kabul isn’t cheap: Kabobs with Kabuli palaw (pilaf) can top $20.

But there are are enough layers of flavor in the ashakpasta half-moons stuffed with leeks, scallions and cilantro, then topped with ground beef, yogurt, and mint-to justify its bistro price. $$ SUTRA 1605 N. 45th St., 547-1348. As you might deduce from its name, Sutra is a vegetarian restaurant. A mostly vegan, mostly organic restaurant connected to a yoga studio, no less, with its own garden and worm composting bins and communal tables arranged in a circle (cue the Lion King theme song). Meals take the form of four-course prix-fixe dinners that change every couple of days, and sweet-natured chef Colin Patterson builds up his dishes by piling flavor on flavor, claiming the world’s pantry as his own. His knack for texture is spotty—undercooked vegetables can be a little hard to chew—but salads (say, mixed greens with grilled peaches and slivered chiles) and whole-grain desserts like a blueberry tart with graham crust and vanilla glaze come through on the restaurant’s promise of healthful, creative food in a serene setting. $$-$$$

WEST SEATTLE

EATS MARKET CAFE 2600 S.W. Barton St. #B13,

933-1200. Chef-owners Evan Handler and Toby Matasar have estimable butcher and baker backgrounds, respectively, so don’t be dissuaded by their eatery’s somewhat strange strip mall locale. At lunch, the

Reuben sandwich is the thing; at dinner, try the slowbraised brisket and a homemade ice-cream sandwich afterward. For West Seattle shoppers, Eats is a real treat. What’s perhaps surprising is that it’s a worthy destination for outsiders, too. $ HUSKY DELICATESSEN 4721 California Ave. S.W., 937-2810. Families congregate here for scoops of homemade ice cream, aspiring cooks scan the shelves for paella fixings, and little kids with Swedish fish in their fists careen through aisles. It’s a corner deli, candy store, ice cream shop, and gourmet specialty grocery all rolled into one. $ LA RUSTICA 4100 Beach Drive S.W., 932-3020. Located a fair distance from the bustle of Alki Point, La Rustica isn’t the sort of restaurant you’re likely to just happen upon, unless you just happen to be taking a leisurely, aimless drive along the beach’s sleepy residential side. But by all means do, if only for the opportunity to scarf down basket after basket of free, (usually) freshly baked focaccia before dinner at this intimate, family-run Italian restaurant. Even the menu items that cost money offer tremendous value— mouthwatering dishes like the sausage and saffron risotto can be had in the $15 range. And waiting isn’t even a drag (they take no reservations for parties of fewer than six); there’s a cave-like back waiting area where cocktails and wine can be proffered. But they really should turn it into a focaccia bar, for the sake of serious freeloaders. $ SPIRO’S 3401 California Ave. S.W., 932-5100. Spiro’s, a Greek-leaning pizza and pasta joint, is the restaurant that children who get dragged to nicer digs would undoubtedly prefer. While epicureans might scoff, kids will appreciate a frozen fried chicken breast layered with cheddar cheese and microwaved (then passed off as chicken parmigiana); white-crusted pizzas; plain noodles with under-seasoned tomato sauce and the popular blue cheese-and-ranch blend that graces green salads. The peppy family-run restaurant is extraordinarily friendly, too. No wonder the walls are adorned with children’s crayon drawings celebrating Spiro’s. $ THAN BROTHERS PHO 4822 California Ave. S.W., 937-6264. Stop off for some of the best pho outside the International District. Bowls of the traditional Vietnamese rice noodle soup—chicken, meatball, and several varieties of beef—are huge, cheap, steaming, and fragrant. Order a Godzilla-sized extra-large only if you dare. If you can hold off eating your complimentary cream puff before the soup begins, you’re several steps closer to enlightenment than the rest of us. $

WHITE CENTER

COMPANY BAR 9608 16th Ave. S.W., 257-1162. A good

martini goes down like ice-cold quicksilver. Brittle shards of ice melt against the roof of your mouth.

At Company Bar, the bartenders make a simple but mean vodka martini—Polish potato vodka and three olives impaled upon a toothpick—that is refreshing, with a vague briny draft in the finish from the olives.

If you require more sustenance, you can order from a modest-sized menu that includes bacon-wrapped dates, sweet potato fries, and salt cod fritters. Wash your order down with another martini and you’ve had yourself a decent, albeit tipsy, meal. $-$$

Eastside NEWCASTLE

YEA’S WOK 6969 Coal Creek Pkwy. S.E., 425-644-5546.

Yea’s Wok is beloved by Eastsiders, but for different reasons. People who can’t read Chinese think its hotand-sour soup, Mongolian beef, and clams with black bean sauce are darn tasty (and they are!). People who can read Chinese are luckier, because they get access to the Chinese menu stocked with Taiwanese regional specialties: three-cup chicken with ginger and basil, tofu noodles with mustard greens and fresh soybeans, and dozens of other dishes that you will never get a chance to taste unless you make nice with the perfectly bilingual waiters and get them to translate. $

BELLEVUE

BOOM NOODLE 504 Bellevue Square, 425-453-6094.

Like its big sister on Capitol Hill, this homage to Japan’s favorite casual fare has been gaining converts since it opened. Fans slurp up Boom’s hot noodles and soup, cold noodles, wok-fried noodles. It’s also a good plan to go large with the small plates: pureed edamame, miso rice cakes, salmon tataki, ahi tacos and more. Creative cocktails feature fresh-squeezed juices, but Boom’s also got one of the best booze-free drink menus around.

The cucumber-mint fizz and yuzu lemonade are as refreshing as a plunge in the Shimanto River. $$

music» » online pmore

seattleweekly.com

Skrillex

Keane

»photos

This Was Happening

A look back at Bumbershoot 2012 through the lens of Renee McMaHon.

Jane’s Addiction

The Heavy

Seattle weekly • S E P TE MB E R 5−11, 2012

The Vaselines (with Krist Novoselic)

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Seattle weekly • S E P TE MB E R 5−11, 2012 S O M E T H I N G

36 F O R E V E R Y O N E

music» Reverb»

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM/REVERB

»INDUSTRIAL NOISE

Paul Heads Back Upstream

BY CHRIS KORNELIS

Float On

highest-profile defection from the services yet. At the time, his label, Concord, said this wasn’t because McCartney was antistreaming, but because there were inconsistencies across providers (some services had more than others, and they weren’t all organized optimally) and his managers wanted to have a proper unveiling of the entire catalog to streaming customers. “They want, more than anything, to make it an event,” Phillip Bailey, Concord’s director of digital and mobile sales, said at the time.

McCartney’s spokesperson declined comment, and Concord has not responded for requests for comment.

Several acts—from Led Zeppelin to AC/DC—continue to hold their catalogs back from streaming services—none bigger, of course, than the Beatles. E

Alessandra Rose wants you to know that You Are Gold.

BY ERIN K. THOMPSON

RACHEL SUMNER

Paul McCartney is back in the streamingmusic business after a high-profile defection in February. Ram, McCartney’s 1971 solo album, was quietly added to Spotify at the end of May, and remains the former Beatle’s only record on the streaming service. Several more albums—including this year’s Kisses on the Bottom and 2007’s

Memory Almost Full—are streaming on the Seattlebased Rhapsody service. Rhapsody spokesperson Jaimee Minney says she expects McCartney’s full solo catalog to be available next month.

“McCartney’s catalog has historically performed very well on Rhapsody, and it’s great to see him recognize the value that a premium music service can deliver to catalog artists in particular,” Minney says. “We’re happy to be able to bring his music back to our subscribers.”

McCartney pulled his catalog from streaming services in February on the same day he released Kisses on the Bottom, in the MJK IM

The cute Beatle returns to Rhapsody and Spotify.

»THROUGH @ 2

ckornelis@seattleweekly.com

»BUMBERSHOOT

The Gotye Phenom

Six thousand people left after “Somebody That I Used to Know.”

Welcome to the age of “trending.”

»SEATTLE SOUNDS

Politics Sucks!

“

BY DEBBIE HARRY

Debbie Harry is the lead singer of Blondie.

Josh Kerns and Chris Kornelis host Seattle Sounds every Saturday at 7 p.m. on 97.3 KIRO FM. ckornelis@seattleweekly.com BLONDIE With Devo. Chateau Ste. Michelle, 14111 N.E. 145th St., Woodinville, 425-488-1133, wineryconcerts.com. $49.50–$95. All ages. 7 p.m. Fri., Sept. 7.

Jepsen (“Call Me Maybe”), hire a single band, and run through their singles in 25 minutes, like they do on those doo-wop specials on PBS. A single here is not an entry point into an artist’s canon—it’s an anecdote, an mp3, a video, a hashtag. It’s not important to get invested in the artist, it’s important to know what’s trending today, which will inevitably be something different tomorrow. This is why Gotye and Skrillex—or fairy tales and “slacktivism,” which were among the popular cultural fixations discussed at the festival last weekend— make perfect sense as festival headliners in 2012: They’re dominating the conversation.

It used to take years—or at least a couple of flops—for artists to become has-beens.

Gotye has only four minutes and four seconds before his fans move on. E ckornelis@seattleweekly.com

ALESSANDRA ROSE With Smokey Brights, Jason Dodson.

Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. $10. 9:30 p.m. Sat., Sept. 8.

Seattle weekly • S E P TE MB E R 5−11, 2012

TO JOSH KERNS AND CHRIS KORNELIS E

desperate to carve out their own negligibly unique angle; more conversations about the same popular topics instead of aggressive investigation and dissection of the new.

This is why everyone knows “Somebody That I Used to Know,” but nobody gives a crap about any of Gotye’s other songs. It’s why there’s no need for him to play an entire set.

It would make more sense for Gotye to hook up with fun. (“We Are Young”) and Carly Rae

RENEE MCMAHON

Politics sucks! It’s deplorable, you know? Why don’t they just get guns and shoot each other? It’s horrible what [the candidates] do. It’s character assassination constantly. It’s all a pack of lies. I sort of get to the point where, who can you believe? I wish it was funnier. It doesn’t strike me as being funny anymore.

I do think that even though it looks like, you know, Obama hasn’t done much for the economy . . . we are still here and we are still surviving. And people in this country live very well, very, very well, compared to the rest of the world. I think that most people in this country don’t really realize that. Even people that are in deep financial trouble live better than most people in other countries.” AS TOLD

T

hat an Australian pop singer who was a complete unknown to U.S. listeners a year ago was able to coax more than 12,000 Seattleites into KeyArena on a rare perfect day (Saturday) at the end of a truncated summer is a clear retort to the notion that the Internet has sacrificed mass appeal on the altar of niche marketing. But that half of Gotye’s capacity audience left after he sang his ubiquitous hit, “Somebody That I Used to Know,” demonstrates the crowd fickleness that’s been fueled by our cultural obsession with “trending.”

It’s true that the Internet’s massive media offerings, diversity of opinion, and capacity for socializing has fragmented our society.

Because the masses have become hard to corral—because there’s less consistency across large groups—when a wide-scale hit arises, everyone wants a piece of it. Such is the story of “Somebody That I Used to Know.”

It’s not only that it’s a cross-format hit that’s been played on at least a half-dozen Seattle radio stations. It’s that it’s spun and referenced everywhere. Constantly. It’s in elevators, grocery stores, and Safeco Field.

And thanks to its oft-parodied music video, it’s the summer’s go-to cultural reference— the reason the song isn’t just being played to death, but also talked to death.

The Gotye phenomenon—or, more accurately, the “Somebody That I Used to Know” phenom—is part of our culture’s larger fixation with “trending.” Readers, tweeters, editors, and reporters all want to be part of the most popular conversations online: the flareups, debates, pop songs, and other phenomena that have found a large audience on a medium that is not supposed to have large audiences anymore. The result is an expanding gallery of voices shouting about the same thing, each

BY CHRIS KORNELIS

THE SITUATION It’s a Friday evening and I’m at re:public in South Lake Union sharing plates of pork belly and pommes frites with 26-year-old singer/songwriter Alessandra Rose. She sports bright-red lipstick and a number of tattoos—the date her husband proposed on her wrist; “I ♥ MY SISTER” in a large font on her forearm (“We’re best friends,” she says); “thank you” in lowercase letters on the nape of her neck. “I’m thankful for myself. I’m thankful for the water molecules that keep me alive,” she says of that one. “And then I have a secret love tattoo on my butt for my other best friend.”

HOW SHE GOT HERE Rose had long been a Seattle resident, but she and her husband—who celebrated their first anniversary last week—just moved down to Portland for a job opportunity he couldn’t pass up. “I did make a little sacrifice,” says Rose, who quit her job in March and now does music fulltime. “I don’t want people to get the wrong idea, that I didn’t like this place!”

SHOP TALK Despite the move, Rose has still been spending a lot of time in Seattle working on the recording and release of her first solo album, You Are Gold, a collection of nine stately folk-pop songs. The recordrelease show at the Tractor will be only her second show with her current backing band; the first, at the Triple Door in April, sold out. You Are Gold is the first work Rose has put out since the dissolution two years ago of her band The Kindness Kind—something she speaks about briskly, in a manner that indicates she’s moved on. “When you let go of toxic,” she says, “good will come in your life.”

BTW: Rose has a particular approach to alone time: She and her husband are enthusiasts of sensory-deprivation tanks, floating in body-temperature water loaded with 850 pounds of Epsom salt. The shortest amount of time she’s done is 45 minutes, the longest three and a half hours. “That really helps, letting everything go,” she says. “Literally nothing can get to you, for, like, seven days after.”

Rose says she wrote the empathy anthem “The Good It Goes Around” after floating.

“My friends call it my woo-woo song!” E

37

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Seattle weekly • S E P TE MB E R 5−11, 2012

music»TheShortList

presents at

DIMITRIOU’S

Against Me! THURSDAY, SEPTEMBER 6

With Andrew Jackson Jihad, Joyce Manor.

El Corazon, 109 Eastlake Ave. E., 262-0482.

8 p.m. $15 adv./$18 DOS. All ages. ERIC GRANDY

2033 6th Avenue (206) 441-9729 j a z z a l l e y. c o m Visit us Online!

Halie Loren

Rising Jazz Singer – Deep, Warm, Graceful and Somehow Earthy and Ethereal at Once September 5

RYAN RUSSELL

When the news broke earlier this year that Against Me! singer Tom Gabel was undergoing gender-reassignment therapy to live as a woman and taking the name Laura Jane Grace, it came as a surprise (lyrics of “The Ocean” notwithstanding)—but not exactly as a shock. That’s because Against Me!’s punkrock songs—whether hoarse screaming over scrappy acoustic guitar and bucket drums or backed by a slick, full pop-punk band—have always come from an anarcho-punk perspective that inseparably ties personal liberation and self-discovery to larger political aims and concerns; within the often macho world of punk rock, Gabel/Grace stood out as a thoughtful, self-critical seeker. It’s going to be thrilling to see where the band goes next.

Blondie & Devo FRIDAY, SEPTEMBER 7

While they’ve never been amorously linked, it’s romantic to think of Devo frontman Mark Mothersbaugh and Blondie’s Deborah Harry as the first couple of American New Wave: he the Midwestern dork who made extraterrestrial compu-geekiness cool; she the ultra-chic jaw-dropper who defied her shut-up-andjust-look-hot looks by exhibiting phenomenal performing talent. That first couple is now 62 and 67 respectively, old enough to collect their AARP cards, buy a fifth wheel, and tour the country. They’re doing that, with a catch: Wherever they stop, they play a rock show before thousands of adoring fans. Chateau Ste. Michelle, 14111 N.E. 145th St., Woodinville, 425-415-3300. 7 p.m. $49.50–$95. MIKE SEELY

Blackstreet SATURDAY, SEPTEMBER 8

*

Sandoval, Po Boxx. ShoWare Center, 625 W. James St., Kent, 253-856-6999. 7:30 p.m. $32–$99. All ages. TODD HAMM

Fucked Up & Lightning Bolt SATURDAY, SEPTEMBER 8

Fucked Up and Lightning Bolt are two amazing bands—especially live—who stretch the possibilities of punk and hardcore to opposite ends. Providence, R.I./Fort Thunder–based noise duo Lightning Bolt strips away everything except Brian Gibson’s massive bass riffs, amplified through his impressive effects chain and amp rig, and Brian Chippendale’s impossibly hard and frenetic drumming (as well as some unintelligible vocals gargled through a toy mike hidden in his patchwork stuffedanimal monster masks). In contrast, Canadian hardcore crew Fucked Up piles things on: three guitars (multitracked to sound like 100), vocal harmonies underpinning Damian Abraham’s guttural screaming, and epic punkrock-opera lyrics meant for close reading.

Some key things unite the two groups, though:

Punk powerhouse Against Me!

Bela Fleck and the Marcus Roberts Trio Inventive Grammy – Winning Banjoist Joins Trio of Classic Jazz Tradition

hugeness of sound, seek-and-destroy riffs, and not-to-be-missed live shows. Plus, it’s only a punk-rock $10. With Ceremony. Showbox at

September 6 - 9

the Market, 1426 First Ave., 628-3151. 6 p.m. $10. All ages. ERIC GRANDY

Nite Jewel SUNDAY, SEPTEMBER 9

Los Angeles electro-pop artist Ramona Gonzalez released Good Evening, her wellreceived debut as Nite Jewel, in 2009 and followed it with a series of attention-grabbing moves: contributing to the James Murphy– curated Greenberg soundtrack; creating a sleek remix of Caribou’s “Odessa”; touring with James Blake; performing a concert of Kraftwerk’s entire Computer World album. Label Secretly Canadian promptly snapped her up and earlier this year released her second LP, One Second of Love. It’s a more sensual affair than her debut; Gonzalez has long professed to be an “R&B junkie,” and the influence of her favorite artists of the genre (Aaliyah, TLC) is apparent, from the cool balladry of “In the Dark” to the slinky dance beat of the title track.

Speaking of R&B, Gonzalez’s cover of Frank Ocean’s “Thinking About You” with her bandmate Nicholas Krgovich is also worth a listen.

With Golden Gardens, Terabyte and the Battery Eaters. Crocodile, 2200 Second Ave., 4414618. 8 p.m. $10. All ages. ERIN K. THOMPSON

Curtis Stigers

Cool on the Sax, Pop-Jazz Hipster, and Seasoned Crooner

September 11 - 12

Pat Metheny Unity Band feat. Ben Williams, Chris Potter and Antonio Sanchez

World Renowned Guitarist/ composer with Specially HandSelected Ensemble September 13 – 16

Dwele

September 18 – 19

WILD NOTHING

ON SALE NOW

SUNDAY, SEPTEMBER 9

Jeff Lorber Superband featuring Brian Bromberg, Everette Harp and Gary Novak

Sept 20 – 23

Catherine Russell Sept 25 – 26

Boney James Sept 28 – 29

DANIEL MCMAHON

709-9442. 8 p.m. $15. All ages. ERIN K. THOMPSON

Combining New Orleans Rhythms, the Simplicity of Memphis Music and the Rawness of the Blues September 10

5x Grammy Nominee - Soulful Hip Hop, R&B and Urban Jazz Groove Master

EDITOR’S PICK

It’s a heartening thing when a band you like releases a second album that’s as good—or even better—than the debut that made you fall in love with them. Wild Nothing, the dream-pop project of young Southern native Jack Tatum, has done just that. Nocturne, the follow-up to his beautifully shimmering 2010 debut Gemini, is a deeper, more expansive effort, filled with silky-soft textures, tranquil, polished melodies, and gently driving drumbeats. Tatum’s vocals are so slight and graceful that they almost sound girlish, and the lovesick lyrics (“Dancer in the night/Playing with my eyes/ Velvet tongue so sweet/Say anything you like”) make the music’s haze more romantic than melancholy. In a touring match made in heaven, Wild Nothing’s Captured Tracks labelmates, the gauzy, Nirvana-loving Brooklyn four-piece DIIV, will open the show. Neumos, 925 E. Pike St.,

The Lloyd Jones Struggle with Special Guest LaRhonda Steele

Walk-ins Always Welcome!

All Ages • Free Parking • Gift Certificates Military, Senior and Student Discounts

Jazz Alley is a Supper Club

Seattle weekly • S E P TE MB E R 5−11, 2012

Though this isn’t technically billed as a middleschool dance, you will probably find—or be one of the—many 20- or 30-somethings at Kent’s ShoWare Center bumping and grinding as though they’d never left junior high.

Headliner Blackstreet was one of the most prominent mid/late-era “new jack swing” vocal groups (a hip-hop-tinged R&B style characterized by extremely popping hi-hats, the occasional horn, and dancing—always dancing)

who followed the genre through its crossover heyday with guest verses from Dr. Dre (“No Diggity”), Ja Rule, Eve, etc., to become a force on the contemporary R&B scene. Top to bottom, this lineup is packed with blockbuster ’90s hit-makers (112: HOLY SHIT! Color Me Badd: GTFOH! Next: WHAAAAT?!?!) that all have one thing in common: They almost literally make love to the masses through their speakers. Get sexy. With After 7, Rocky

39

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Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm

dinner & show

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

WED/SEPTEMBER 5 • 7:30PM TRUE WEST PRESENTS

al stewart

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

THU/SEPTEMBER 6 • 7:30PM

lucy wainwright roche & lindsay fuller FRI/SEPTEMBER 7 • 7:30PM

craig terrill band

performing bruce springsteen’s born to run SAT/SEPTEMBER 8 • 6PM

2012 raise the roof

a benefit for the looking out foundation - an evening with brandi carlile SUN/SEPTEMBER 9 • 7:30PM

dawns, j. wong,

Seattle weekly • S E P TE MB E R 5−11, 2012

widower and kevin long

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next • 9/10 buffy-sainte-marie • 9/11 gregory alan isakov w/ jeffrey foucault • 9/12 - 9/15 through the looking glass: the burlesque alice in wonderland • 9/16 choklate • 9/17 saul williams • 9/18 night of the 206 • 9/19 jacqui naylor • 9/20 black prairie • 9/21 curtis salgado

• 9/5 katy bourne / dani gurgel & debora gurgel • 9/6 first thursday art opening w/ cameron nagashima / thione diop (senegal) • 9/7 lonesome shack / spyn reset • 9/8 joe doria trio • 9/9 si limon • 9/10 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 9/11 singer-songwriter showcase w/ whitney monge, neva and naomi • 9/12 istvan and farko / quantonium 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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seven»nights

SEBASTIAN MLYNARSKI

Wednesday, September 5 LINKIN PARK Despite being associated with nu-metal,

one of the most universally maligned musical movements in recent memory, Linkin Park endures—at least among the dwindling “people who pay for music” demographic: June’s Living Things edged out a Maroon 5 album for #1 its first week on the charts.

With Incubus, Mutemath. Tacoma Dome, 2727 E. D St., Tacoma, 253-272-3663, tacomadome.org. 6:30 p.m. $39.50–$65.50. All ages.

PURITY RING This sharp synth-pop duo, young Canadians Megan James and Corin Roddick, are touring in support of their intricate, mark-making debut album Shrines, which charted on the Billboard 200 when it was released in late July. With Evian Christ, Headaches. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. Sold out. All ages.

THESE UNITED STATES

SCAN

Thursday, September 6 BOBBY BARE JR. Country musician Bare is the subject

of an upcoming documentary, Don’t Follow Me (I’m Lost), which details the triumphs and travails of his life as a touring musician. With Jackrabbit. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9 p.m. $12.

CRISTINA BAUTISTA Formerly the bassist of longtime power-pop band Visqueen, Bautista pens caustic pop songs about past relationships. With Corner Kick, Normandie Wilson, Zebra Hunt. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com.

10 p.m. $5.

CRYSTAL ANTLERS These Southern California garage rockers blend punk and noise with ’60s psych rock.

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

•

With The Curious Mystery. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $10.

MELVINS LITE Veteran scuzz-rockers the Melvins might be touring with their “lite” lineup (a trio, with bassist Trevor Dunn), but bandmates Big Business are still opening, and anyway their Seattle stop is part of a breakneck, Guinness-record-attempting tour of all 50 states in only 51 days. DAMN. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 8 p.m. $18 adv./$20 DOS. SLOAN This seminal Canadian alt-rock band will perform its 1994 album Twice Removed in its entirety tonight.

Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $15.

Friday, September 7 THE HIVES Known for their energetic live show, these

Swedes return to the road behind Lex Hives, their first album in five years. With FIDLAR. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com.

8:30 p.m. $25 adv./$28 DOS. All ages.

MOONFACE The solo project of Wolf Parade’s Spencer Krug is touring with Siinai, the Finnish prog-rock band with whom Krug recorded his latest album, Heartbreaking Bravery. With Sad Baby Wolf. Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 6 p.m. $12. All ages.

MY MORNING JACKET At first glance, Jim James and co. make a strange pairing with opener Shabazz Palaces. But despite their bands’ radically different genres, both James and Shabazz mastermind Ishmael Butler are united in iconoclasm. Case in point: MMJ fans will be able to curate this show’s set list via Twitter. Marymoor Park. 6:30 p.m. $39.50. All ages.

POWERMAN 5000 I thought Powerman 5000 was the nu-metal band with the funny haircut, but that’s Static-X (also playing Seattle this week). Powerman 5000 is Rob Zombie’s little brother wearing some proto-steampunk goggles. With Peratus, Sanction VIII, Whiskey LaBido, No Buffer. El Corazon, 109 Eastlake Ave. E, 262-0482, elcorazonseattle.com. 8 p.m. $18 adv./$20 DOS. All ages.

TRUST After a series of blog-worthy singles, this Torontobased duo’s dense, goth-tinged electro-pop came full circle earlier this year on TRST, its vowelless debut.

With DZ Deathrays. Barboza. 7 p.m. $12.

Saturday, September 8 BIG EYES This Seattle-by-way-of-New York trio’s

scrappy garage rock boasts a clear pop streak on latest single “Back from the Moon.” With Something Fierce, Shakes. JewelBox/Rendezvous. 10 p.m. $5.

ETERNAL SUMMERS This Roanoke, Va., trio plays bouncy, distortion-free guitar pop. With Bleeding Heart Rainbow, Zebra Hunt. Sunset Tavern. 10 p.m. $10.

Seattle weekly • S E P TE MB E R 5−11, 2012

This hard-touring Brooklyn band (more than 800 shows in five years) released its self-titled fourth album in June. With Mike Coykendall.

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

8 p.m. $10.

T H I S CO D E 311 Further cementing TO DOWNLOAD THE FREE their reputation as one of SEATTLE WEEKLY the world’s chillest bands, IPHONE/ANDROID APP these reggae-rockers FOR MORE CONCERTS OR VISIT seattleweekly.com recently announced a set of early March dates on a private Caribbean cruise.

With Slightly Stoopid. Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 628-0888, concerts atmarymoor.com. 6 p.m. $49.50. All ages.

Purity Ring plays Neumos on Wednesday, September 5.

41

Seattle weekly • S E P TE MB E R 5−11, 2012

50+ BANDS • 8 VENUES SATURDAY OCTOBER 6TH • TICKETS ON SALE NOW

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SEATTLE WEEKLY’S LOCAL MUSIC FESTIVAL

SEATTLEWEEKLY.COM/REVERBFESTIVAL 21+ $10 ADV $15 DOOR • ALL AGES $5 ADV $10 DOOR SPONSORED BY

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seven»nights DON OMAR A huge star in Latin America, this Puerto

Rican rapper and reggaeton artist hit #3 in August on Billboard’s Social 50 chart, which tracks popularity based on social-media presence and activity. Showbox SoDo. 8 p.m. $46.50. All ages.

BONNIE RAITT It’s challenging enough for a white guy to earn acceptance into the Delta blues fraternity; can you imagine how tough it was for Bonnie Raitt?

She is positively peerless, her mid-career surge giving hope to the likes of Lucinda Williams. With Mavis Staples. Chateau Ste. Michelle, 14111 N.E. 145th St., Woodinville, 425-415-3300. 7 p.m. Sold out.

TRAMPLED BY TURTLES This Minnesota folk and bluegrass group took on a somewhat unlikely cover recently, trying its hand at “Open All Night” for a 30thanniversary tribute to Bruce Springsteen’s Nebraska.

With Erik Koskinen, Dead Man Winter. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents.org. 9 p.m. $20 adv./$23 DOS. All ages.

WEDNESDAY 9/05

THE GHOST OF KYLE BRADFORD ALICE IN THE RIVER THE SEBASTIANS OF BREMEN 9PM • $6 THURSDAY 9/06

BOBBY BARE JR. JACKRABBIT 9PM • $12

Sunday, September 9

FRIDAY 9/07

DEFEATER Call it hardcore with a concept: This

Massachusetts band’s entire discography centers on a narrative about a working-class family living on the post-WWII Jersey shore. With Cowardice, A Hope Not Forgotten, To the Wind. Vera Project, 305 Harrison St., 9568372, theveraproject.org. 6 p.m. $10 adv./$12 DOS. All ages.

THE TALLEST MAN ON EARTH Kristian Matsson, the (average-sized) man behind solo acoustic-folk act The Tallest Man on Earth, used to front a punk band, which is evident in the way he performs. He struts, he stomps, he howls his Dylanesque howls with abandon. Seattle’s would-be folk stars would be wise to take note. With Strand of Oaks. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 7 p.m. $20 adv./$22.50 DOS. All ages.

THE SOFT HILLS

JAMES APOLLO • HELLO ECHO 10PM • $8 SATURDAY 9/08

ETERNAL SUMMERS BLEEDING RAINBOW ZEBRA HUNT 10PM • $10 SUNDAY 9/09

VERBAL TIP

COTTON MAYER 9PM • $6

FOR FULL CALENDAR AND BOOKING INFO: SUNSETTAVERN.COM

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RAINIEROS9PM WITH JAMES SASSER - $3 COVER FRIDAY & SATURDAY SEPTEMBER 7TH & 8TH

KNUT BELL & THE BLUE COLLARS 9PM - $5 COVER

Monday, September 10 THE LLOYD JONES STRUGGLE This veteran blues

guitarist and R&B songwriter released Doin’ What It Takes in July. With LaRhonda Steele. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $18.50.

All ages.

BUFFY SAINTE-MARIE Still performing at age 71, this country artist rose to fame in the ’70s for her songs about issues affecting Native Americans. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 8 p.m. $30 adv./$35 DOS. All ages.

Tuesday, September 11 CURTIS STIGERS Though hardly a household name, this

jazz vocalist and saxophonist had a minor hit in 1991: “I Wonder Why,” which hit #9 on the Billboard charts.

Jazz Alley. 7:30 p.m. $24.50. All ages.

TOWN MOUNTAIN Recently featured on a PBS series about Americana, this bluegrass group is touring behind Leave the Bottle, released Sept. 4. With the Warren G. Hardings. Tractor Tavern. $10. 8 p.m.

SUNDAY SEPTEMBER 9TH

JUKEHOUSE HOUNDS

9PM - $3 COVER 4PM OPEN MIC/ACOUSTIC JAM W/ BILLY BODACIOUS TUESDAY SEPTEMBER 11TH

T&D REVUE 9PM

EVERY MONDAY AND WEDNESDAY

KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM

WELL DRINKS & DOMESTIC BOTTLED BEER $2 16 OZ. MICROS $3.50 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168

Seattle weekly • S E P TE MB E R 5−11, 2012

The Tallest Man on Earth hits the Moore on Sunday, September 9.

THURSDAY SEPTEMBER 6TH

43

music»Karaoke

WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

MUSIC NEW SLETTER

Karaoke Listings

The inside scoop on upcoming shows and the latest reviews.

D IN I NG

W EEKLY

ATLANTIC CROSSING 6508 Roosevelt Way N.E.,

MU SIC

729-6266, theatlanticcrossing.com, Free, Mondays, 9 p.m.

BOGART’S AIRPORT WAY 3924 Airport Way S., 622-1119, bogartsairportway.com, Free, Mondays, Wednesdays-Saturdays, 9 p.m.

BOXCAR ALEHOUSE 3407 Gilman Ave. W., 286-6000, Free, Thursdays, Saturdays, 9 p.m.

BUSH GARDEN 614 Maynard Ave. S., 682-6830, bushgarden.net, Free, Sundays, 5 p.m.; MondaysThursdays, Saturdays, 9:30 p.m.

CHANGES BAR & GRILL 2103 N. 45th St., 545-8363, changesinwallingford.com, Free, Wednesdays, Thursdays, Sundays, 9 p.m.

CITRUS 1001 Fairview Ave. N., 402-6364, citruslakeunion. com, Free, Mondays, 10 p.m.

CRESCENT LOUNGE 1413 E. Olive Way, 324-5358, Free, Daily, 9 p.m.

DANTE’S 5300 Roosevelt Way N.E., 525-1300, dantesseattle.com, Free, Mondays, 9 p.m.

HULA HULA 106 First Ave. N., 284-5003, hulahula.org, Free, Daily, 4 p.m.-2 a.m.

INDUSTRY LOUNGE 6601 E. Marginal Way S., 762-3453, myspace.com/206industrylounge, Free, Sundays, 9 p.m.

KATE’S PUB 309 N.E. 45th St., 547-6832, Free, Wednesdays, 10 p.m.

LITTLE RED HEN 7115 Woodlawn Ave. N.E., 522-1168, littleredhen.com, Free, Mondays, Wednesdays, 9 p.m.

E VE NT S

PR O MO TIONS

E VE NT S

Send events to karaoke@seattleweekly.com

MOLLY MAGUIRE’S 610 N.W. 65th St., 789-9643, seattle

irishpubs.com/mollys/index.htm, Free, Thursdays, 9 p.m.

R PLACE 619 E. Pine St., 322-8828, rplaceseattle.com, Free,

Mondays, Tuesdays, Sundays, 9 p.m.

ROCK BOX 1603 Nagle Place, 302-7625, rockboxseattle.

com, $7 per person per hour, Daily, 4 p.m.-2 a.m.

ROOSEVELT ALE HOUSE 8824 Roosevelt Way, 527-5480,

rooseveltalehouse.com, Free, Thursdays, 9 p.m.

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

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

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

spectatorsports.com, Free, Thursdays-Saturdays, 9:30 p.m.

TALARICO’S 4718 California Ave. S.W., 937-3463, talari-

coswest.com, Free, Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m.

TARASCO MEXICAN RESTAURANT 1452 NW 70th St., 782-1485, Free, Saturdays, 9 p.m.

THE CUFF 1533 13th Ave., 323-1525, cuffcomplex.com, Free, Thursdays, 8 p.m.

THERMO’S TAVERN 7515 15th Ave. NW, 706-4973, Free, Saturdays, 9 p.m.

TIM’S TAVERN 602 N. 105th St., 789-9005, Free, TuesdaysThursdays, 9 p.m.

TUG INN 2216 SW Orchard St., 768-8852, tuginn.com, Free, Sundays, 8 p.m.; Wednesdays, 8 p.m.

VENUS KARAOKE 601 S. King St., 264-1779, Varies, Daily, 2:30 p.m.-2 a.m.

WATERWHEEL LOUNGE 7034 15th Ave. N.W., 784-5701, thewaterwheellounge.com, Free, Tuesdays, Fridays, Saturdays, 8:30 p.m.

WHITE RABBIT 513 N. 36th St., 588-0155, fremontwhite rabbit.com, Free, Wednesdays, 9 p.m.

YEN WOR VILLAGE RESTAURANT 2300 California Ave. SW, 932-1455, yenworseattle.com, Free, Daily, 9 p.m.

KaraoKeKorrespondent » by jeff roman

Between Soft Rock and a Hard Place

tractor www.tractortavern.com

5213 BALLARD AVE. NW • 789-3599

WED, SEP 5 • 8PM ~ $23 ADV / $25 DOS AMERICANA SINGER / SONGWRITER FROM AUSTIN, TX

Seattle weekly • S E P TE MB E R 5−11, 2012

SLAID CLEAVES

44

SAT, SEP 8 • 9PM ~ $19 ADV / $22 DOS THE TRACTOR & STG PRESENT AT THE NEPTUNE THEATER

TRAMPLED BY TURTLES ERIK KOSKINEN

ELIZA GILKYSON (SEATED SHOW)

THE NEPTUNE - 1303 NE 45TH ST

THU, SEP 6 • 9PM ~ $15

SUN, SEP 9 • 7PM ~ $12 THE TRACTOR & KEXP 90.3FM PRESENT INDIE POP

MONQUI PRESENTS AN EVENING WITH

SLOAN

PERFORMING ‘TWICE REMOVED’ IN ITS ENTIRETY ALONG WITH OTHER HITS. PLAYING TWO SETS! FRI, SEP 7 • 9:30PM ~ $10 DREAMY POP FROM LOS ANGELES

SUPERHUMANOIDS

HAZEL REUNION SHOW PETE KREBS

MON, SEP 10 • 7:30PM ~ $6

MONDAY SQUARE DANCE FEAT. MUSIC BY

JJAMZ

THE TALLBOYS

SAT, SEP 8 • 9:30PM ~ $10

TUE, SEP 11 • 8PM ~ $10

ALESSANDRA ROSE ALBUM RELEASE PARTY

TOWN MOUNTAINS

NOUELA

THE TRACTOR & DEBRA HEESCH PRESENT SINGER / SONGWRITER

SMOKEY BRIGHTS, JASON DODSON

HELLACIOUS SQUARE DANCING STARTS AT 8PM!

BLUEGRASS & ACOUSTIC MUSIC

THE WARREN G. HARDINGS

TIMES LISTED ARE SHOW TIMES. DOORS OPEN 30-60 MINUTES BEFORE

U& PMING: COMIN

9/12 IAN TYSON, RACHEL MAE 9/13 Monarch Review fundraiser with CORESPONDENTS, LONESOME 9/14 DECEPTION PAST, LEGENDARY OAKS album SHACK, JON PONTRELLO & special guest readings 9/15 ROSE WINDOWS, RIVER GIANT, OLE TINDER, BETSY release party, 1 UPPERS album release party 9/16 LOST LANDER, ROYAL CANOE, BRIGHT WHITE LIGHTNING 9/18 The Tractor & STG present OLSON 9/19 YOGOMAN BURNING BAND, MTS. & TUNNELS at the Neptune Theater JAMES McMURTRY, THE GOURDS 9/20 SCOTT H. BIRAM, RESTAVRANT album release party, DAY LABORERS AND PETTY INTELLECTUALS 9/22 9/21 LOS STRAITJACKETS, MISS MAMIE LAVONA THE EXOTIC MULATTA AND HER WHITE BOY BAND Square Peg presents ZEPPARELLA - All Female Led Zeppelin Review, GRAND ROYALE - A Tribute To The Beastie 9/23 ZAMBRI, SONG SPARROW RESEARCH 9/24 MONDAY SQUARE DANCE with THE TALLBOYS Boys

On a recent weeknight, I headed north to see if I could track down displaced Rickshaw KJ Joel Harvey at Marco’s Lounge, a place where for many years he has also hosted karaoke. I wanted to learn more about the setbacks (burglary and vandalism) that have delayed the Rickshaw’s reopening, but he wasn’t there. His associate, Jen, was running the show. It was a pretty busy night, though, so I was happy to stick around.

Marco’s is a big rectangular room with a long horseshoe bar at one end, an intimately lit stage at the other, and tables in between.

They do karaoke from Monday to Thursday starting at 9 p.m., and have live music on the weekends. It was an older crowd—lots of regulars well into their 50s and 60s—but there were a few folks under 40 like me. Just about every seat at the bar was taken, and three groups were sitting at the tables near the stage.

A tall, blonde bartender named Helen introduced herself as soon as I sat down, and made me feel at home right away.

The first three performers were middle-aged ladies. Judging by their stage presence, it was clear they had been singing horribly and loving it for a very long time. One of them delivered an excruciatingly off-key version of “The Rose” by Bette Midler, but she wasn’t fazed at all by how bad she was, and everyone gave her a warm round of applause.

That gave me the courage to try something

out of my natural range, so I decided to request the soft-rock classic “Biggest Part of Me” by Ambrosia. A couple singers before me, this guy in his early 30s named Justin had been called in from the smokers’ patio and gave an OK performance of “Basket Case” by Green Day. After he was done, he went straight back outside. At first it annoyed me that he didn’t stick around to allow other performers the opportunity to show him up, but after my offering I was relieved he hadn’t seen it.

It was easily my most horrific performance since I tried to sing Van Halen’s “Panama” at Frances Farmer Organ Karaoke a year and a half ago. That time I could at least blame the lack of a lyrics monitor for my failure, but on this night I made the mistake of tangling with a song that was way too much for my voice to handle. I was in trouble from the first line. The microphone was turned up really loud, so I could hear every crack as I fought to sing high. Things got even worse when I retreated to my lower register.

I didn’t know the song as well as I thought, so I stuttered through every other verse. I looked out at the audience and saw people wincing in embarrassment for me.

Thankfully, Helen quickly brought things back to life with an awesome rendition of the Eagles’ “Seven Bridges Road” that got everybody singing along. Note to self: Never sing anything from Ambrosia again. E karaoke@seattleweekly.com MARCO’S LOUNGE 17525 Hwy. 99, 425-743-6627, LYNNWOOD

TOMORROW NIGHT!

SEPTEMBER 6 8PM DOORS • 21+ SHOWBOX AT THE MARKET

“lite”

with trevor dunn and big business

SHOWBOX AT THE MARKET 1426 1ST AVENUE :: SHOWBOXONLINE.COM

Seattle weekly • S E P TE MB E R 5−11, 2012

45

Non-profit collective providing quality dry meds ranging from $7 to $10 a gram and a full range of mmj products.

All top shelf (price includes tax) Free Joint for New Patients 206-722-4954 3216 Rainier Ave S, Seattle, WA 98144

Seattle weekly • S E P TE MB E R 5−11, 2012

253-472-0192 8236 Pacific Ave, Tacoma, WA 98408

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column»Toke Signals

Hawaiian Punch

T

he Green Collar Club, a medical-marijuana access point in Tacoma, has good cannabis, as well as a donation rate of $10 a gram for all strains.

Friendly budtenders help you pick exactly the right flowers. What the Club doesn’t offer, though, is a welcoming experience to patients who’ve just walked in the door.

The first thing I encountered upon entering the lobby was a mirrored glass window with a tiny slot under it. There was no visible human being with whom to interact, just this mirrored glass and a disembodied voice instructing me to slide my paperwork through the slot. It was very disconcerting, the one weak spot in the Green Collar Club’s patient experience.

Once I got through that unnerving introductory ordeal and actually entered the bud room, skilled budtender Jonathan gave me a

I was reminded of a great-looking woman who, sadly, turns out to be a subpar conversationalist. tour of the available strains—about five each of indica, sativa, and hybrid varieties.

Liberated by the flat $10 rate to pick whichever strains I wanted, I selected Hi-Tek, a sativa, and Afgoo, which Green Collar considers an indica but I consider a hybrid (it has Hawaiian sativa in its genetic heritage).

I also donated $5 a gram for some mixed flowers from jar bottoms, because I can’t resist a bargain.

BY STEVE ELLIOTT

The Hi-Tek sativa had quite beautiful flowers, thickly encrusted with trichomes, and gave off an alluring citrusy scent. But the high wasn’t as spectacular as its looks seemed to suggest. I was reminded of a great-looking woman who, sadly, turns out to be a subpar conversationalist. That said, Hi-Tek does get you medicated and hungry, and quells nausea quite effectively.

The Afgoo, on the other hand, was much more satisfying. There’s a reason this is one of my favorite strains, and these flowers were plenty good enough to remind me of it: the satisfying, solid oomph of very potent marijuana and the quick pain relief it brings. Afgoo always seems to produce an inner-body glow which perfectly complements the delicious head sensations which come courtesy of the Hawaiian portion of its heritage.

The $5/gram mixed flowers would be perfect for cooking purposes, but were only so-so for toking; the potency wasn’t quite where it needed to be for my medicating needs. I always know that’s the case when I get to the end of a joint and feel like rolling another. Then again, that’s probably why it’s just $5 a gram.

Green Collar also has a good selection of edibles, including cannabis-infused butter, peanut butter, honey, vegetable oil, barbecue sauce, chicken broth, salsa, brownie mix, candy bars, cookies, and muffins. Chronic Tonic cannabis drinks are available in four flavors: Super Lemonade, Berry Blaze, Orange, and Grape. E

Cheech & Chong &Torch Refillable Lighter (with coupon & donation)

Expires Sunday, Sept. 2nd ’12.

While supplies last. One offer per patient, no combining offers.

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10422 Pacific Ave. S., Suite B, Tacoma, 253-267-0675, greencollarclub.com.

11 a.m.–9 p.m. daily.

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Seattle weekly • S E P TE MB E R 5−11, 2012

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Dear Dategirl, I recently hooked up with a hot guy who’s obviously never been told—by any of the hundreds of women he’s bedded—that despite some decent moves and a fair-sized penis, he can’t make a woman climax. (At least not this woman.) Not only did I not even attempt to fake it, but he didn’t notice or seem to care. Yet afterward I found myself telling him what a wonderful job he’d done. Is it better to compliment the guy and build his ego, or should I have said something—or better yet, given him some instruction?

—Total Frustration

I was ready to thank you on behalf of The Women of the Universe for not faking it, but then unfortunately I had to rescind our collective gratitude upon learning you’d reinforced this man’s feeble fuckery with your lies and insincere praise. Because when you tell someone who’s bad in bed that he’s good, that just makes the next woman’s job more difficult. Sigh.

Why, woman, why?!? Why did you lie?

Imagine I was a giver of “toothy” beejs. Do you think that some dude—let’s pretend it’s this dude, but it could be any dude—would pat me on the head and tell me what a great giver of head I was if I’d spent the prior halfhour snapping at his sac? Gnawing his knob?

I’m thinking probably not. Because men don’t have that stupid polite-at-all-costs gene that so many of us ladies develop.

Granted, this guy didn’t actually give you clitburn, but he still shouldn’t be rewarded with kudos for a lackluster job. Especially because he sounds like kind of a jerk. Hopefully you won’t be flexing your kegels for this turd anytime soon, but here are some tips for the next time you end up between the sheets with a dud stud.

• Instructions. You don’t need to be bossy (unless that’s your thing), but gently guiding someone’s hand toward the parts you want them to touch can save everyone a lot of aggravation. Simple, easy-to-follow directives like “Softer,” “Harder,” and “I said my clit, not my tit!” go a long way toward getting the job done.

• Positive reinforcement. When someone does something right, don’t just lay there, be enthusiastic! Make some noise! Who doesn’t like a round of applause for a job well done? (You don’t actually have to clap, but a little moaning goes a long way.)

• Be selfish! If he finishes before you (as is often the case), give him some ideas about what he can do to help you. Gently nudge his hand or mouth down south. Whip out your vibrator and show him how to work it.

Whatever you do, don’t play sexual martyr and just lay there with blue labia.

• Screen, please. Even if it’s just a one-night stand you’re looking for, you don’t want to sleep with a creep, so before you get naked, look for tells that forecast how he’ll be in bed.

Doesn’t ask you any questions about yourself? Selfish in the sack. Bad tipper? Ditto.

Sloppy eater? Probably fun, but messy and unfocused. Gassy? Dutch oven-er. Neatnik?

Will get mad if you wind up getting period blood on his sheets. Capisce?

Bad sex shouldn’t happen to good people. 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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