Seattle Weekly, January 30, 2013 by Sound Publishing

JANUARY 30–FEBRUARY 5, 2013 I VOLUME 38 I NUMBER 5

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FILM: A NOVELIST’S BIG ZOMBIE SUCCESS PAGE 23 THE WHALE REALLY DOES WIN PAGE 29

The fight to run coal trains through Seattle holds a lot more in its balance than unseemly dust and traffic snarls in SoDo. BY DANIEL PERSON

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inside» January 30–February 5, 2013 VOLUME 38 | NUMBER 5 » SEATTLEWEEKLY.COM

»33 23 FILM

23 | PROFILE | How a local’s first novel became the zombie romance Warm Bodies. 24 | THIS WEEK’S ATTRACTIONS

Crime in Appalachia, Isabelle Huppert in South Korea, and Al Pacino on a geriatric crime spree.

29 FOOD

»9

up front 6 9

33 MUSIC

33 | DUFF MCKAGAN | We can’t all be

Jason Statham, but there’s a lot we can do. 34 | EDMUND WAYNE | Curt Krause’s

NEWS

alter ego likes playing to new people.

THE DAILY WEEKLY | An ex-dope boat

35 | TELL ME ABOUT THAT ALBUM

sinks. Also, questions about a new Vulcan development and a candidate’s family ties.

36 | THE SHORT LIST | Emeli Sandé,

FEATURE

in back 17 THE WEEKLY WIRE

We crush on Seth Meyers, laugh at Stephen Tobolowsky, and worship George Saunders.

19 ARTS

19 | OPENING NIGHTS | Severed hands

Paul Kelly, Excision, and more.

other stuff

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BY DANIEL PERSON | What’ll happen if Wyoming and Montana start ramping up their coal production—and sending it by train through Seattle?

The return of Ben Folds Five.

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and thwarted passions. 20 | EAR SUPPLY | A symphony of love.

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CORRECTION: Due to a production error, a few lines were omitted from the print version of Rick Anderson’s feature, “In Plane Sight.” The full text of the affected sentences, with the missing words in bold: For mayhem, it was highly organized. On road trips when he planned crimes, he “went dark,” erasing any electronic trail by turning off his cell phone and using cash instead of credit cards. “Things must have looked patched up. After some time, we had a new life, we had friends in the community, and we definitely looked religious. There was less tension with my parents, yet not a closeness or submission.” At one point she broke free, as Lorraine Currier had in Vermont. But Koenig too was chased and tackled by Keyes. According to an FBI account of events, Keyes drove around town, explaining he was kidnapping her for ransom.

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The Sinking of a Star

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o one seems to know much about the ship that sank Friday in Tacoma. It’s described by the Associated Press and other media as just another “abandoned ship” that now lies half-submerged in Hylebos Waterway. But old-time pot smokers surely recognized the ship’s name right off: The Helena Star was carrying a record-setting 37 tons of marijuana when the Coast Guard seized the old Dutch freighter off the Washington coast in 1978. The haul, valued then at roughly $75 million, remains the region’s (and one of the nation’s) largest dope busts ever. The ship’s crew and conspirators, 10 altogether, were indicted and convicted, two of them after fleeing to Bolivia. A key player, champion freestyle skier Mike Lund of Sequim, fled and was free for 23 years before being caught in 2001 (his fingerprints were traced back through a child-support case brought against him under his new identity, a father of two named Steven McCain). Then 65, he pleaded guilty in exchange for a three-year sentence. The impounded ship, built in the Netherlands in 1947, was docked for years at Salmon Bay in Seattle, next to the Ballard Bridge, then later sold. But it became an unwanted derelict. In October, a KOMO-TV report on abandoned ships cited the Star as one of 226 abandoned vessels that state officials were dealing with. When the Star sank early Friday, it almost took its sister derelict, the Golden West, with it. According to the KOMO report, the two were considered high priorities for the

state’s abandoned-ship removal program. The Star was rusting out and the listing West had 20,000 gallons of oil on board. The report notes that a tree was growing out from the Helena Star’s hold. A report on the Star’s history at ShipSpot, a blog that catalogs information on vessels, notes wistfully, “Someday, perhaps, someone will come to her rescue. Or she may just suffer her fate at the end of a scrapper’s torch.” The latter now seems inevitable. As for those tons of pot? They went up in some fine-smelling smoke in an industrial furnace. Or so the feds said. RICK ANDERSON

Terrace Suspect

Hang on to your hats—there’s a new Allentown on the way. The Seattle Housing Authority last week voted to enter a partnership with Vulcan Real Estate to redevelop Yesler Terrace. Yep, Vulcan is the Paul Allen company that’s turned once-sleepy South Lake Union into a bastion of high-rises and sprawling corporate campuses, igniting neighborhood ire along the way. Now Vulcan may be poised to do something similar to Yesler Terrace. It’s a redevelopment project on a whole different scale than previous SHA transformations at NewHolly, Rainier Vista, and High Point. “SHA and Vulcan are going to be under tremendous local and federal pressure to make it work,” says Ron Sims, the onetime King County executive and former deputy secretary of the federal Department of

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Housing and Urban Development. “If it does, it will drastically change existing federal housing policy.” Sims, e-mailing Seattle David Ishii, the newly announced mayoral Weekly from abroad, did not elaborate. But candidate whom The Seattle Times described presumably he’s indicating that the feds as an eccentric candidate with the ability to may follow the Yesler Terrace model. make the 2013 mayor’s race more interesting, At previous SHA projects, which turned has been doing the publicity circuit lately. public housing complexes into mixed“I’m quite the character,” Ishii tells Seattle income developments, SHA used private Weekly, much as he’s told everyone else willbuilders to create housing targeted for the ing to listen. middle class. But at Yesler Terrace, SHA However, one intriguing nugget Ishii isn’t just building the kind of “new urbanist dropped caught my attention. Dude says cottages,” as architect and mayoral candihe’s city councilman and mayoral candidate date Peter Steinbrueck calls them, that went Bruce Harrell’s cousin. up at places like NewHolly. It’s erecting Later, talking to Harrell’s campaign manhigh-rises and office towers. ager—his niece, Monisha Harrell—I found Or rather, SHA is inviting private develout I wasn’t the only person to whom Ishii opers to do so. The plan approved by the had made such a statement. city council in September calls for the orgaThing is, he’s kind of right. But he’s mostly nization to sell pieces of its 30-acre campus wrong. to developers, who will create apartments Affiliating himself with the “Kape Krusadand condo buildings as tall as 240 feet and ers Party,” this self-described artist and poet office towers as tall as 300 feet, according (assertions backed up by his totally bizarre to SHA project manager Anne Fiske Zuniga. website, papabigfoot.com, which promotes The density and commercial development an illustration-heavy, poetry-based platform seemed fitting for this centered on cleaning spot because of its up drugs and racketeerproximity to downing in Seattle) tells SW, PRINT IS GREAT, but if you want to learn . . . town, she explains. “I’m gonna win this why selling iPhones on Craigslist Zuniga adds that a thing.” But, Ishii claims, is a dumb idea, check it out on First Hill streetcar now winning Seattle’s mayThe Daily Weekly. under construction oral race will require SEATTLEWEEKLY.COM/DAILYWEEKLY will help get people to him to beat a crowded jobs—a streetcar, incifield of more estabdentally, that quite possibly will eventually lished and bankrolled contenders, including link up with the S.L.U.T., the unfortunately Harrell. His cousin. named South Lake Union streetcar. So the “It’s gonna be a family feud,” says Ishii of city may helpfully link Allentown I with squaring off against Harrell. Allentown II. Later, Ishii tells me Thanksgiving this year Will Yesler Terrace eventually look like might be particularly interesting. South Lake Union? Talks with Vulcan are Monisha Harrell has already been forced in very early stages, SHA officials stress. to research Ishii. She says the first time she Indeed, Zuniga says she doesn’t even heard about the possibility that Ishii was know exactly what Vulcan’s role will be, Harrell’s cousin was when Ishii recently or whether the real-estate company will started talking about it, and the press itself be building the private-market units. started asking about it. “It’s weird,” she Officially, Vulcan—along with a nonprofit says. “He’s the cousin of a cousin, on the adviser called Capitol Hill Housing—has opposite side of the family. He’s not related won the title of “master development partby blood . . . We can’t figure out why he ner,” and the details of the partnership are keeps contacting the media and making this still being worked out. claim.” Vulcan, in many ways, is a natural fit for At this point, Monisha says the Harrell the project, considering the transformacamp is just trying to “handle it as tastefully tion it’s been able to pull off in South Lake as possible” out of respect for Ishii’s actual Union. But Allen’s company, given its powfamily. “We’ve got a big family organizaerful owner and influence with the powtion . . . We’re totally open to it,” says the ers that be, also tends to draw suspicion. respectful but confused-sounding campaign “Inside track? . . . Friends at City Hall?” manager. “It’s just weird.” Steinbrueck mused last week after hearing His disputed family ties aside, Ishii says the news about Yesler Terrace. he’s trying to round up the 1,800 signatures “Our office had no contact with SHA he’ll need to make the ballot. He says he’s or Vulcan on this issue,” responds Aaron a simple man, like many of us, who can’t Pickus, spokesman for Mayor Mike McGinn. afford the other option—a $1,800 filing fee, Steinbrueck, who has represented neighrequired before May 18. To illustrate his bors fighting Vulcan’s plans in South Lake point, during our phone chat Ishii menUnion, says he was just speculating. Still, tions that he’s just returned from the food he raises other concerns. Will low-income bank. Last week Ishii told the Times he lives residents blend harmoniously with the in subsidized housing in West Seattle and upper-echelon occupants of “luxury” highreceives federal disability payments. rises? Who will be looking out for the public But for better or worse, Ishii isn’t lacking interest? Given the experimental nature confidence. And he’s got a strategy. of this project and Vulcan’s dominance in “I’m going to take it slow,” says Ishii. “I Allentown I, these are good questions. don’t want to peak too early.” MATT DRISCOLL E

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The fight to run coal trains through Seattle holds a lot more in its balance than unseemly dust and traffic snarls in SoDo.

DIAMONDS DOGGED BY DA NI E L PE RSON

» CONTINUED ON PAGE 11

JEFFREY HAMILTON

I took a small hike, rousted some jackrabbits from the sagebrush, and wrote a bad poem about it all. And I didn’t think about coal. Not that there wasn’t coal to think about. In fact, I had just driven straight through King Coal’s primary Western realm. I was a left turn and 15 minutes from the Decker Coal Mine—once one of the biggest surface coal mines in the country—when I decided to head home to Hardin, which itself hosts a small coal-fired power plant fed by a mine owned by another area tribe, the Crow. Geographically, King Coal’s realm is the Powder River Basin, which sits mostly in Wyoming but pokes a finger into Montana. Coal is so prevalent there that local tribes considered the land sacred, as the deposits would naturally catch fire and send smoke up from the ground. In the 1970s, major coal mining began in earnest in the area, and by 1987, Wyoming had become the

largest producer in the country. Today a full 44 percent of America’s coal comes from Wyoming and Montana; West Virginia, Kentucky, and Pennsylvania combined produce less than 20 percent. And make no mistake—in America, coal is still king: A full 45 percent of our electricity comes from the steam of burning coal pushing generator turbines. Yet until about a year ago, the fact that the heart of America’s coal-mining industry had shifted 1,500 miles closer to Seattle hardly raised an eyebrow around here; aggressive damming of the Columbia River gave residents their own energy and environmental disasters to worry about. But plans to ship millions of tons of coal through Washington and Oregon have recently become the stuff of congressional action and the daily news. Obscured by the hand-wringing over the immediate effects of coal exports, however, is the wider story Seattle’s been caught up in—a veritable drama of duplicitous billionaires and government deals, with the very viability of the American coal industry hanging in the balance.

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

was a month into my first job out of college at a tiny weekly in southeastern Montana. I was 22, bored and lonely. But I had a car, and that counted for something. To see what was out there, I drove 70 miles to Ashland, a strip of Forest Service field offices, bars, and cafes. The waitress pouring coffee at one of the diners told me she lived with her parents in a nearby Amish colony, though they weren’t Amish. She also said she was going to high school on the Northern Cheyenne Indian Reservation, though she wasn’t Indian. I thought she’d make a fine novelist someday. She didn’t make good coffee. From Ashland, I hung a right down a dirt road that followed the Tongue River. The valley was wide and flat, and the river practically folded over itself as it wound to its confluence with the Yellowstone. Custer died fighting just one valley over, and his legacy lived on, with the river forming the border of the reservation and splitting one town into two, Birney and Indian Birney—though their populations together could barely justify the ink needed to put a dot on the map.

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

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Diamonds Dogged » from page 9

spent $22.5 million to buy up the mining claims. President Clinton himself helicoptered into the area to sign the papers and get his photo taken. But a less-reported aspect of the deal lit a fuse that is still burning its way to the powder keg that now has Seattle’s attention: The federal government also granted the state of

Clint mcrae is the imposing face of rocky mountain coal opposition.

» ContinueD on page 12

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

Montana the Otter Creek coal tracts in far-off Powder River County to make up for the lost revenue it would have earned from the gold mine. The deal all but ensured that a coal mine would be coming to McRae’s backyard. “They should have had the guts to just say no to that mining company,” McRae bellows over the convention center din. Still, Otter Creek coal hasn’t been touched since, which gets us to the the candy mogul. Until now, any mining in that corner of the Powder River Basin has been staved off, thanks largely to the efforts of Forrest Mars Jr. He owns a Montana ranch in the Powder River Basin, situated squarely between the coal tracts and Wyoming, where mining companies would have traditionally shipped the coal before its ultimate destination, Midwest power plants. Using a tiny slice of the $18 billion he’d earned from America’s love of Twix and Three Musketeers bars, Mars helped successfully stall the railroad that would be needed to mine the Otter Creek coal tracts. But that all changed in 2011, in another twist in what one area rancher called the soap opera of southeast Montana: Mars suddenly informed area environmental groups that he would no longer help fund their legal fights— in fact, he’d bought a third of a stake in the proposed railroad. Over the coming months, the reason became clear to the baffled clutch of cattle ranchers: The coal would no longer cross Mars’ ranch. Instead, it was headed east to Washington. Five coal-export terminals are now in various stages of development in Oregon and Washington. The one of greatest concern to Seattle is the Gateway Pacific Terminal in Cherry Point, just north of Bellingham, which

seattle weekly • mo nth xx– xx, 2010

courtesy of HigH country news

lint McRae feels sold out. Even if he weren’t standing in full cowboy regalia on the sixth floor of the Washington State Convention Center, McRae would cut a striking figure. His father, Wally McRae, is a well-known cowboy poet in the Rocky Mountain region, and Clint possesses the same performer’s gravitas, though he stays away from verse himself. He’s also enormous, bred from folk who’d made their living contending with Angus cattle. McRae and other ranchers from southeastern Montana have been fighting coal companies for years, but this was the first time he’d had to catch a red-eye flight to Seattle to enter the ring. At the convention center, where the U.S. Corps of Engineers and the Washington Department of Ecology are hearing out proponents and opponents of a proposed coal-export terminal north of Bellingham, he stands calmly like a bull as people in color-coordinated T-shirts reading NO COAL and JOBS NOW bustle around him. McRae is downtown because before the first lump of coal reaches Puget Sound, it will likely pass through his ranch on a rail line that is still but a steely glimmer in the coal industry’s eye. The Tongue River Railroad is an idea that has cropped up time and again over the years—as McRae puts it, “Every time we think about putting up new cattle fencing, they start talking about putting in that rail.” That a railroad company could condemn a more strip of his ranch online to ship coal that isn’t even going To read documents to keep American referred to here, lights on is espeincluding studies cially galling to him. “When we on coal dust and heard they were Seattle traffic, visit going to be shipThe Daily Weekly ping to China, we (seattleweekly.com/ were like, what dailyweekly). the hell?” McRae said. But all that doesn’t get to why he feels sold out. One must go back to the first Clinton administration—or maybe even to Frank Mars’ founding of his candy empire in Tacoma—to understand that grudge. In 1989, the Canadian mining company Noranda announced its plan to develop the New World gold mine near Cooke City, Mont. Cooke City is just as deserted as Ashland, but benefits from a noteworthy neighbor, Yellowstone National Park, which sits a little way south of the tiny burg. When news of the plan got out, the national media seized on the imagery of America’s first national park being despoiled by a Canadian conglomerate’s gold mine, and it fast became the cause du jour of armchair environmentalists around the world. The United Nations declared Yellowstone “endangered,” and speaking to national media became a pastime in Cooke City. The plan was dramatically averted when the Clinton administration stepped in and

11 3

Diamonds Dogged » from page 11 would drive train traffic from Spokane Street north through Belltown, then onward to awaiting shipping barges. The export facility, if approved, would be able to handle 48 million to 54 million tons of coal a year, which pencils out to nine full trainloads of coal per day, according to a February 2012 study conducted by Gibson Traffic Consultants. That would mean 18 more trains through Seattle each day, presuming that cars emptied in Cherry Point would head back to Wyoming and Montana. Another study, commissioned by Mayor Mike McGinn, estimates that gates at railroad crossings citywide would be down an extra 96 minutes every day. The other four export terminals proposed for the Pacific Northwest would be at the Ports of Coos Bay, St. Helens, and Morrow in Oregon and the Port of Longview in Washington. Meanwhile, British Columbia has three coal-export terminals in operation: Neptune and Westshore near the border, and Ridley Terminal just south of Alaska. Proponents of coal exports warn that if Washington and Oregon pass on the proposed ports, the business will go to Canada instead. That may be, but all indications are that King Coal is willing to fight for an Amer-

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prominence in the 1970s, so did the Decker, named for the tiny Montana town nearby. It became one of the country’s biggest surface coal mines, producing 10 million tons a year. But recently, being a microcosm of the coal industry meant layoff announcements just weeks before Thanksgiving. In November, the Decker’s co-owners, Cloud Peak Energy and Ambre Energy, announced plans to lay off 75 of its 160 workers. The town of Decker is so close to Wyoming that its kids are sent to school across the border to Sheridan. Dave Kinskey, Sheridan’s Harvard-educated mayor, says the city is hardened to the booms and busts that come with mining. The recession had also stung the city’s economy. “The mood already was really somber,” Kinskey says, “and that made it all the more so.” Kinskey could be described as an economic-development agnostic: He doesn’t revere coal any more than he does yoga studios or wind farms, as long as it brings jobs to Sheridan. From his high-plains perch in the foothills of the Big Horn Mountains, he thinks America could use a little more of that kind of pragmatism. “I tell people, if we want energy, somebody’s going to have to get dirty, whether it’s mining coal or a guy drilling a well or a guy making steel for a wind turbine,” he says by phone. But he’s also not waiting for coal to come

In a strange way, environmentalists and fracking unwittingly partnered to deal the coal industry a serious blow. ican right-of-way first: In September, the industry-backed Alliance for Northwest Jobs & Exports spent $866,000 in Oregon and Washington on TV spots lauding the benefits of building coal-export terminals, according to the liberal news site ThinkProgress. “What I’m hearing from industry heads is that they have a relationship with American shippers,” says Mark Northam, director of the University of Wyoming’s School of Energy Resources. “They’d prefer to keep working with them if they can.”

n the American conscience, coal is still an Appalachian concern. That’s where miners’ wives clutch handkerchiefs on the nightly news awaiting word of coalmine collapses, and where Robert F. Kennedy Jr. gets his boots dirty fighting mountaintopremoval mining. No doubt, coal is still a major industry in West Virginia, Kentucky, and Pennsylvania. But the 1970s weren’t kind to eastern U.S. coal. That’s because the Clean Air Act of 1970 put stringent controls on how much sulfur coal-fired power plants could emit. Up to then, Wyoming coal hadn’t been attractive to utilities, since it didn’t burn particularly hot. But it also had low sulfur content, quickly making it the preferred source of cheap energy. In many ways, the Decker Mine on the Montana/Wyoming border tells the story of coal in America. As Wyoming coal rose to

back for his town’s fortunes to return, with good reason. This time last year, the Sierra Club celebrated the announcement that the Fisk and Crawford coal-fired power plants in Chicago had been slated for retirement, bringing the number of shuttered U.S. coal-fired plants to 100. Dozens more closings have since been announced. With a dearth of new plants opening, Wyoming saw coal production drop 8.7 percent in 2011 from the prior year. Another proposed rail line, from the Powder River Basin to South Dakota, was mothballed late last year due to subpar demand. One reason for the decreased domestic demand for coal is the down economy, which has reduced electricity use across the board. But some major economic forces bear down specifically on coal. Northam, whose school proudly displays the logos of major mining and drilling companies as “partners,” says America’s piecemeal regulation of the coal industry, and the specter of a carbon tax or other CO2 regulation, has a lot to do with the U.S. coal industry’s woes. But he says an equal foe is natural gas. Before Matt Damon’s Promised Land made fracking a topic of Oscar buzz, it was creating hell for coal companies by driving down the price of natural gas. Energy utilities have been opening natural gas–fired power plants instead of coalfired ones. In a strange way, environmentalists and fracking unwittingly partnered to deal the coal industry a serious blow.

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NPR even declared earlier this month that coal had lost its crown as America’s energy king, usurped by natural gas. No one will argue that point in five years, when, the government’s Energy Information Administration says, 27 gigawatts of coal-fired power will be retired from the nation’s grid—an 8.5 percent drop from 2011 levels.

» ConTinued on page 14

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ven three years ago, coal companies were fairly muted in their excitement about shipping their wares to another continent. In 2009, Arch Coal, which now has mining rights to millions of tons of coal in Montana’s Otter Creek area, would only go as far as to say that there was “growing interest” in coal exports on the West Coast. But by 2011, Arch said it intended to double its seaborne coal exports by 2020, most of which will go to Asia. Of course, that has as much to do with Asian demand as with the lack thereof in America. Most notable in this regard is China, which contains a fifth of the world’s proven coal reserves, yet in 2009 became a net importer of coal. By 2010, China was consuming nearly half the world’s coal as it continued to ramp up its blisteringly fast industrialization. But U.S. coal companies have been missing out on that party. Consider: While the U.S. creates three times the amount of coal Indonesia does, Indonesia exports three times as much as the U.S. Enter Washington and Oregon. “I just don’t see the U.S. as being a source of new demand for coal,” says Adele Morris, a Brookings Institution fellow and the policy director for the Climate and Energy Economics Project. “It just doesn’t look like a booming industry . . . You guys are bearing the brunt of this trend.” Speaking of a recent coal-industry confab in Wyoming, Northam says exports were on everyone’s mind. “Nobody at the meeting thought the coal industry would disappear, but they are facing some years of hard times if international markets don’t open up for them.” At the Decker Mine, 75 miners are still facing the prospect of losing their jobs, but in December the owners dangled the possibility

of bringing them back on, with one catch: They’ll need to send 5.5 million tons of coal to South Korea annually via the Columbia River Basin. Otter Creek, Decker, Longview, Bellingham: Through connecting rail lines, these locations and others in coal country and along the Washington and Oregon coasts could see 175 million tons of coal exported by 2022, based on permitting requests analyzed by U.S. Rep. Jim McDermott’s office. By contrast, in 2011, Oregon and Washington exported just 5.9 million tons of coal. The overarching environmental concern with shipping more coal to Asia is carbon emissions: The 1.2 billion tons of coal that could be extracted from the Otter Creek tracts alone would produce 3.12 billion tons of carbon dioxide. Yet a fairly unexamined issue—coal dust—has become the rallying point for coal-export opposition. As opponents would have it, coal trains will spew black dust into downtown Spokane and Sandpoint, Idaho; over the foot of Queen Anne Hill; and into homes in Bellingham—a galvanizing image that has united opponents across a swath of America that’s been prone to send climate-change skeptics to Congress. But is it accurate? Around the world, as coal has become more and more an international commodity, residents and government officials have grappled with contrary reports: some that show increased asthma attacks and bad air along rail corridors, others that seem to show that coal transportation has little impact. Working against the notion that coal dust is a major issue: • A study of coal dust along a major rail corridor in Tennyson, Australia, which sees 9 million tons of coal pass through it every year, found that auto emissions were responsible for twice as much particulate matter in the air than coal trains; coal dust was nearly on par with rubber particles thrown off by automobile tires. Taken all together, particulate matter along Tennyson’s rail corridor never exceeded the health threshold. • In Seward, Alaska, which houses a coalexport facility, ambient air studies investigating

seattle weekly • mo nth xx– xx, 2010

The proposed coal train’s routes and terminals.

13 5

Diamonds Dogged » from page 13 the impact of coal traffic through town, conducted by the state’s Department of Environmental Conservation, found that particulate matter never reached even a third of the level that the EPA considers unhealthy. • Even figures cited by coal-export opponents showing the huge amount of coal that can be lost during rail transit are taken from industry studies that actually indicate how easily coal dust can be controlled. For exam-

ple, a study of fugitive coal dust in Virginia— cited by the Sierra Club’s Coal Dust Fact Sheet—states that spraying coal cars with chemicals called surfactants can reduce coal dust by 95 percent. And rail company BNSF’s oft-cited figure that 500 to 2,000 pounds of coal dust can escape a coal car every trip is actually culled from a fact sheet explaining why in 2011 the rail company began to require that “crusting agents” be sprayed on all coal cars. On the other hand: • Even if particulate matter stays below EPA standards, it’s important to remember that not all dust is alike: Coal is laden with

arsenic and other toxic materials. Farmers deal with dust just as coal miners do, yet only one of these professions is associated with black lung. • Nor is all coal created alike: The Powder River Coals User Group released a study detailing how finely Powder River Basin coal breaks down, meaning it’s harder to control its dust than that of coal from other regions such as Virginia. • And coal dust isn’t the only emission to consider: More train cars mean more diesel engines pulling them. As for the Tennyson study, while it suggests that coal dust hasn’t increased particu-

late matter beyond the amount allowed by government regulations, it clearly shows that more coal traffic has led to more coal dust. In the past decade, that city has seen coal transportation triple as Aussies serve the same Asian markets that the Pacific Northwest would; the study shows that coal dust has also tripled. “If I lived next to those lines in north Seattle, I would be concerned about coal shipments going from 10 to 30 trains a day,” says Dan Jaffe, a professor of atmospheric and environmental chemistry at the University of Washington-Bothell. “Wouldn’t you?” In the past eight months, Jaffe has become a citizen scientist on coal, and with the help of a couple of students attempted last fall to gauge how much coal dust is produced by the trains that now travel through Seattle to Canadian shipping terminals. That study turned up too little data to suggest anything conclusive, Jaffe says. And in general, he adds, it’s a difficult issue to understand for the lack of strong data. “There’s very little information about coal dust measured in the air along the railroad tracks,” he says. Still, he balks at the suggestion that the coal dustup is contrived. “Do you live near a railroad track?” he asks. “I don’t think the concerns are unreasonable; the proof is in the pudding. The burden of proof to show that this is not going to damage the environment is on them.”

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

t’s a bitter irony that the largest CO2 producing industry in the United States may find salvation by the sea, considering that oceans are bearing the biggest burden of global climate change. The water that coal barges will float on is now more acidic and warmer than it was 100 years ago— not to mention that there’ll be more water, period, due to melting ice caps. Oceans also absorb the enormous amounts of mercury produced by the burning of coal, meaning that pregnant women are now told to avoid tuna. But on a rare cloudless November day, there was no coal to be seen cutting toward the Strait of Juan de Fuca. The sun shone brightly in the San Juan Islands, and in Puget Sound sailors harnessed the steady fall breeze as schooners ripped over the choppy waters and enormous barges sat moored outside the Bellingham port. After Powder River coal rolls away from the billionaire’s ranch and through Clint McRae’s fenceline, across Montana and through Spokane, past Queen Anne and by Dan Jaffe’s students, here’s where at least some of it could travel: through a port just north of Bellingham and into the Pacific Ocean. It—and whatever undisclosed “crusting agent” is applied to it to prevent dust— would be burned, the steam created by the reaction of churning turbines to keep Asian factories in operation. Eventuallly the barges would return bearing the fruits of that energy: iPhones, toothbrushes, solar panels. The goods would be unloaded onto trains, to be hauled inland through Belltown and SoDo, perhaps destined for Sheridan, where sacred ground once smoked in the heat of the high desert plains. E dperson@seattleweekly.com

Glenn Edgerton, Artistic Director

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the»weekly»wire thurs/1/31 COMEDY

Dress for Success

ANGELA STARLING

A 20-year-old friend from Australia recently told me that her celebrity crush is Seth Meyers. No way! Seth Meyers is also my celebrity crush. How does an older, slightly nerdy Jewish guy become the Pacific Ocean– spanning mutual object of desire for 20-something females? I’m not sure, exactly, but Seth— we’re on a first-name basis—falls into the same category of sexiness as Jon Stewart: smart, funny, compact, looks great in a suit. Oh, and there’s also his crazy-successful career: A head writer for Saturday Night Live for six years, he’s so good at hosting “Weekend Update” that he doesn’t even need a co-anchor. With his wideeyed, barely straight-faced delivery, it’s like he can’t believe he’s getting paid to spoof the news. Meyers clearly takes joy in his role as a comedian—that much was clear when, at Anna Wintour’s suggestion, he appeared at the CFDA Fashion Awards last June in an exact replica of the sheer black dress Marc Jacobs unironically wore to the prior Costume Institute Gala. The dress wasn’t as flattering as Meyers’ usual tailored suits, but damn, he still looked sexy. The Paramount, 911 Pine St., 877-784-4849, stg presents.org. $36. 7:30 p.m. ERIN K. THOMPSON FAMILY EVENTS

Island Life

moor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-450-1480, cirquedusoleil. com. $43.50 and up. 8 p.m. GWENDOLYN ELLIOTT

fri/2/1 DANCE

Next Stop: Passion There are all kinds of reasons to see Pacific Northwest Ballet’s Roméo et Juliette —

pnb.org. $28–$183. 7:30 p.m. SANDRA KURTZ

Nakamura and Moore as doomed lovers at PNB.

Yet beyond his sputtering, teeth-gritting, and violent finger-pointing (which is really an act), Black the playwright intends to enlighten the audience, to grant us new understanding of an absurd world. He’s an expert satirist, who with one well-crafted sentence can light up a house with laughter, frighten onlookers with rage, and convert naysayers with airtight logic. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $36–$62. 8 p.m. DANA SITAR

sat/2/2

COMEDY

BOOKS/FILM

The Ire Artist

Ever on Guard

Ever irate, Lewis Black delivers some of the sharpest commentary about our politics and culture. The Daily Show veteran is returning to Seattle after his wedding comedy One Slight Hitch ran at ACT last summer, and his new tour is appropriately called The Rant Is Due. Expect him to release all his pent-up anger and disillusionment from last year’s election. (“Hallelujah, our long national nightmare is over,” he recently declared. “Now we face a fiscal cliff. Sounds like an event from the X Games.”)

Let’s go to the source: Is the 1993 comedy Groundhog Day a cult film? “They say it’s a cult film, and I correct them,” says Stephen Tobolowsky, who plays the overly friendly Ned Ryerson (the guy whom Bill Murray punches but later befriends). “It’s not a cult film anymore. Now it is a classic film. On television here in L.A., it’s on every February 2nd. It’s the new Wizard of Oz.” With his podcast/radio show The Tobolowsky Files heard on KUOW, the veteran actor

Ave. N., 324-9996, siff.net. $10–$15. 6:30 p.m. BRIAN MILLER

STAGE

Artfully Out

Falsettos , William Finn and James Lapine’s landmark show about a married Jewish father circa 1979 who leaves his wife when he comes out of the closet, lost the 1992 Tony for Best Musical to Crazy for You, a charming crowdpleaser created out of old Gershwin tunes (Falsettos did, however, win for book and score). While there is currently on Broadway another charming crowd-pleaser that culls from the Gershwin songbook (Nice Work if You Can Get It), there is not now, nor has there been since, another musical that deals in one sung-through (i.e., no dialogue) swoop with gays, marriage, AIDS, what it means to be a family, and how a boy becomes a man. Pity, considering those subjects are as relevant as ever—more reason to check out this week’s concert staging by veteran director Victor Pappas. To give you an idea of its singularity, Falsettos begins with a song called “Four Jews in a Room Bitching” and ends with the question “How am I to face tomorrow/After being screwed out of today?” Marvin, the protagonist, is sometimes selfish in his quest to find satisfaction; his wife is understandably peeved by his attempts to welcome a lover into their clan; and his young son is prone to calling him a “homo.” This is life in all its funny, tearful, and sometimes exhausting complexity. You’ll come out of it humming and hopeful. Benaroya Recital Hall, 200 University St., 215-4747, showtunestheatre.org. $21–$46. 8 p.m. (Also 2 p.m. Sun.) STEVE WIECKING

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

Featuring characters named Miranda and Cali (as in Caliban), Cirque du Soleil’s new Amaluna is loosely inspired by Shakespeare’s The Tempest. But in place of sorcerer Prospero, the force that conjures the eponymous storm is a she: Prospera. And like the acrobatic twists and turns of Soleil’s circus troupe, Amaluna flips the familiar plot with mostly distaff casting. The action is set on a “mysterious island governed by goddesses and guided by the cycles of the moon.” There, the love of young Miranda and her shipwrecked suitor—now named Romeo— is tested. Created and directed by Diane Paulus, this touring show isn’t heavy on plot. Kids will appreciate the acrobats, juggling, and colorful costumes, and the traveling Grand Chapiteau— a climate-controlled, 2,600-seat tent—only adds to the spectacle. (Through March 24.) Mary-

Prokofiev’s landmark score, choreographer Jean-Christophe Maillot’s hybrid movement choices (combining balletic strength with contemporary expression), the stylish costumes by Jérôme Kaplan, and the scenic design of Ernest Pignon-Ernest. But among all this, the characterization of the two main roles is what really stands out. Shakespeare’s young lovers are close to us all in their passionate squirminess, reminding us of the times when our own obsessions were so powerful they made our toes wiggle. James Moore and Kaori Nakamura share the title roles with Seth Orza and Carla Körbes. And before the company departs for New York to reprise Roméo, the Saturday, Feb. 9 performance will feature PNB alums Noelani Pantastico and Lucien Postlewaite. (Through Feb. 10.) McCaw Hall, 321 Mercer St., 441-2424.

has become a regular visitor to Seattle, and tonight he’ll conduct a Q&A about the making of Groundhog Day. Of seeing himself in that film, he says, “It’s a strange experience. You get transported back to when you were in that space when you were working on it. But I’m always happy to see it. First and foremost, what a phenomenal script. Kudos to Danny Rubin. I think it’s one of the most underrated jobs of comedic direction by Harold Ramis.” Then there’s Murray—“one of the great comic performances of all time.” In a karmic comedy about the endless repetition of a single day, Tobolowsky recalls, “I’d never been involved with a movie like this ever before. Ramis . . . said we’d shoot the movie over and over and over again! Nobody had a day off. Nobody had a moment off. We were always on what you call ‘will-notify.’ This was before the day of cell phones. Everybody had to be on their toes. It created a sense that everybody was on guard. You always had to be in performance mode. We were ready for action.” Tobolowsky sounds considerably more relaxed on the audio version of his droll new memoir The Dangerous Animals Club ($7.49 on Amazon’s audible.com), and tonight he’ll also sign copies of the hardbound edition. SIFF Cinema Uptown, 511 Queen Anne

» CONTINUED ON PAGE 18 17

Weekly Wire » FROM PAGE 17

mon/2/4 BOOKS

His Kind of Cruel

February 5

TICKETS: $45

SUZANNE VEGA ILLSLEY BALL NORDSTROM RECITAL HALL

February 8

TICKETS: $26

MARK KOZELEK ILLSLEY BALL NORDSTROM RECITAL HALL

The most acclaimed short-story writer in America today, George Saunders is masterful at creating feverishly imaginative fictional worlds. He famously set “CivilWarLand in Bad Decline” in a failing Civil War theme park and “Pastoralia” in a prehistoric caveman exhibit where Neanderthal re-enactors eat goat carcasses and communicate by fax. Some of his worlds are troublingly realistic; others are bizarre yet troublingly possible. Hailed by The New York Times as “the best book you’ll read this year,” his new collection Tenth of December (Random House, $26) is a fairly harrowing read. Its characters face class conflict, dysfunctional families, and their own warped psyches. In “Escape From Spiderhead,” a ward of the state is forced to have mind-blowingly passionate sex with a series of women, which only makes him miserable. In “Al Roosten,” a businessman struggles with his self-esteem as he’s auctioned off at a community fundraiser. In “The Semplica Girl Diary,” a family hires a trio of poor foreign girls to dangle from a wire as their lawn ornaments. Yet Saunders’ most moving stories depict acts of kindness—as when, in “Victory Lap,” a 15-year-old defies his parents’ strict rules to rescue a beautiful schoolmate from kidnapping. And in the title story, a cancer victim’s suicide attempt is thwarted by a bumbling chubby kid. In Saunders’ pages, we’re surrounded as much by tenderness as by cruelty. Town Hall, 1119 Eighth Ave., 652-4255, town hallseattle.org. $5. 7:30 p.m. ERIN K. THOMPSON

AARON NEVILLE tues/2/5

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

FEBRUARY 19 & 20

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FOOD/BOOKS

Kitchen Confrontational

Food-memoir readers accustomed to Ruth Reichl’s dulcet recollections of just-plucked fruit or Julia Child’s awed descriptions of sole meunière are likely to be taken aback by the coarse, streetwise musings of Eddie Huang, who chronicles his rise from wayward thug to successful restaurant owner in Fresh Off the Boat (Spiegel & Grau, $26). Huang, who wowed New York’s culinary kingmakers with his Taiwanese bun counter, BaoHaus, references hip-hop, weed, and sneakers more frequently than his fellow kitchen memoirists, but he’s equally serious about food, race, and the ever-changing relationship between those two subjects. A proud provocateur, the 30-year-old Huang is sure to touch on family, identity, assimilation, and commerce in his chat with poet and musician Geo (of the local band Blue Scholars), another son of Asian immigrants. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. HANNA RASKIN

arts»Opening Nights A Behanding in Spokane THEATER SCHMEATER, 1500 SUMMIT AVE., 324-5801, SCHMEATER.ORG. $15–$23. 8 P.M. THURS.–SAT. ENDS FEB. 23.

CHRIS BENNION

P The Seagull

ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $15–$35. RUNS THURS.–SUN. THROUGH FEB. 10.

This particular Seagull breaks your heart for an unexpected reason: It’s a glimpse of what

theater could be like, but so rarely is. A luxurious nine-month rehearsal period (!) gives such depth to Chekhov’s populous ensemble piece, directed by John Langs, that its 13 characters seem to have known one another forever. All are so crystalline and legible, even in their downtime moments, that you can’t take your eyes off them. At a lakeside estate, mother Arkadina (Julie Briskman) and son Konstantin (Brandon J. Simmons) gather with their respective paramours— famous writer Trigorin (John Bogar) and aspiring actress Nina (Alexandra Tavares)—and other visitors for the premiere of Konstantin’s latest play. Leave it to breezily narcissistic Arkadina to eviscerate her kid with cruel dismissals and creepy reconciliations (Briskman nails each beat of her critique). Their Oedipal enmeshment and its underlying sadism shape nearly every other relationship in the play. It would be easy—

based on a novel by Michael Morpurgo • adapted by Nick Stafford in association with Handspring Puppet Company

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A garland for Nina: Simmons and Tavares.

almost inevitable—to overplay it, but the malice is judiciously contained within the production’s naturalism. Tavares, older than the traditional Nina, brings the role a flickering, appropriately unstable magic. (The title derives from Trigorin’s likening of her spirit to a seagull’s, before he squelches it.) In the world of The Seagull, nearly as capricious as that of A Midsummer Night’s Dream, everyone loves someone who doesn’t love them back—most hilariously demonstrated when Masha (Hannah Victoria Franklin) rages, mopes, dopes up, and honks like a moose to discharge her love for Konstantin. Meanwhile, her admirer-then-husband Medvedenko (the quietly sublime CT Doescher) is a meticulous portrait of wittingly humiliated devotion. The smaller Doescher makes his presence, the more anchoring it becomes—especially in scenes where tirades erupt around him. The otherwise pellucid show does get muddy in the final encounter between Nina and Konstantin. Older and devoid of her earlier magic, Nina’s agenda for returning to the estate is indecipherable. After the high-def emotional resolution of earlier scenes, this postscript seems anomalously out of focus. But it may help ease the transition back to our low-res world outside the theater. Augmented by Jennifer Zeyl’s elegantly rustic scene designs and Andrew D. Smith’s place-defining lighting, the Sorin estate is a place we can barely bear to leave. Then, all too abruptly, Chekhov kicks us out. MARGARET FRIEDMAN E stage@seattleweekly.com

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

Like Ahab seeking revenge for his lost leg, a middle-aged thug named Carmichael is obsessed with finding justice for a lost limb. Twenty-seven years earlier, some “hillbillies east of Spokane” pinned his arm down on a train track, then waved his own severed hand at him as they disappeared into the distance. Fact? Fiction? Delusion? Rationalization for violence? Does it really matter? In the grand Irish narrative tradition, filtered into Martin McDonagh’s 2010 play, the height of the tale is paramount; this is the tale Carmichael believes. Moments into Behanding, the brooding Carmichael (Gordon Carpenter) shoots a bullet into the closet of set designer Cole Hornaday’s appropriately seedy hotel room. Desperate Marilyn (Hannah Mootz) enters with a box of . . . hand. Unfortunately it’s not Carmichael’s, but a stolen museum artifact. Marilyn’s boyfriend Toby (Corey Spruill) emerges from the closet alive; Carmichael then chains them to the radiator and wicks a gas can to blow in 45 minutes while he goes to Toby’s house to look for his severed hand. Get the idea? Terror, reprieve, terror, reprieve—all rendered with macabre situational humor. (Toby and Marilyn try to disable the bomb by throwing shoes and then a trunkful of severed hands at it.) This is not major McDonagh. The droll, uneven Behanding is shallower than his The Pillowman or The Lieutenant of Inishmore. Colorful characters take precedence over plot—as in his recent movie Seven Psychopaths, whose Christopher Walken originated the role of Carmichael on Broadway. Yet McDonagh hasn’t lost his gift for endearingly weird monologues, as when hotel receptionist Mervyn (Brandon Ryan) rambles about an intimate encounter with a gibbon at a zoo and dreams about winning a “lesbian award” for protecting lesbians. In his first play set in America, the AngloIrish McDonagh scores many laughs with pure language, a profane and politically incorrect slacker nerdcool-ese. Directed by Peggy Gannon, Behanding mainly skates by on the strength of Mervyn’s bizarre musings and the comic supporting roles. Toby and Marilyn can never get on the same page with their excuses for Carmichael. Mootz plays Marilyn as mentally and physically slow, while Spruill’s Toby scrambles inventively to pick up her slack. Does the hand really matter? In McDonagh’s perverse moral code, yes, but the errant limb is mainly an excuse for nonsensical, long-winded fun. MARGARET FRIEDMAN

WarHorse NationalTheatre of Great Britain and Bob Boyett present

arts»Perfomance BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

LEWIS BLACK SEE THE WIRE, PAGE 17. •CHARLES/HIP .BANG! The former is a sketch-comedy

duo, the latter an improv troupe. Odd Duck Studio, 1214 10th Ave., eclectictheatercompany.org. $10. 10:15 p.m. Fri., Feb. 1. CIRQUE DE SOLEIL: AMALUNA SEE THE WIRE, PAGE 17. A DAY IN THE DEATH OF JOE EGG Thalia’s Umbrella debuts with Peter Nichols’ dark comedy about a couple and their disabled daughter. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$35. Preview Jan. 31, opens Feb. 1. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 17. THE EDGE Bainbridge Island’s own improv troupe. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $12–$16. 7:30 p.m. Sat., Feb. 2. FALSETTOS SEE THE WIRE, PAGE 17. INTO THE WOODS Sondheim’s fairy-tale mashup. Studio East, 11730 118th Ave. N.E. #100, Kirkland, 425-820-1800. $12–$14. Opens Feb. 1. Runs Fri.–Sun.; see studio-east. org for exact schedule. Ends Feb. 17. JEEVES IN BLOOM Wodehouse’s hapless aristocrat and his gentleman’s gentleman come to life. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. Previews Jan. 30–31, opens Feb. 1. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 2. SETH MEYERS SEE THE WIRE, PAGE 17. ONE NIGHT STAND This film follows some of New York’s top comic actors, writers, composers and directors as they are given 24 hours to write, cast, compose, rehearse. and perform four short musicals at New York City’s Gramercy Theatre. AMC Southcenter 16, 3600 Southcenter Mall, Tukwila, 888-262-4386, fathomevents. com. $12.50. 7:30 p.m. Wed., Jan. 30. THE PHALLUSOIDAL PHILTRE A bawdy, commediainspired farce. The Little Theatre, 608 19th Ave. E., littlebluepotion.com. $14–$16. Opens Jan. 30. 7:30 p.m. Wed.–Sat. Ends Feb. 9. PHOTOGRAPH 51 Anna Ziegler’s play explores the overlooked achievements of British scientist Rosalind Franklin. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$70. Previews begin Feb. 1, opens Feb. 6. Runs Tues.–Sun. plus some matinees; see seattlerep. org for exact schedule. Ends March 10.

•

January 16 February 24, 2013 Who Will Be Next?

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

EarSupply

For Tickets, Call: (425) 392-2202 or Visit: www.VillageTheatre.org

SECOND DATE Three new one-act dramas. Annex

Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. Opens Jan. 29. 8 p.m. Tues.–Wed. Ends Feb. 13. SNAKE An arts omnibus (martial arts, Chinese opera, and more) to celebrate Chinese New Year. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $20. 7 p.m. Wed., Feb. 6. SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., Feb. 1. TEATRO ZINZANNI: DINNER AT WOTAN’S Their new Norse-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Opens Jan. 31. See dreams. zinzanni.org for schedule of dinner shows and matinees. Ends May 12. TESTAMENT German performance collective She She Pop explores aging and father/daughter relationships through a Shakespearian lens. On the Boards, 100 W. Roy St., 217-9886, ontheboards.org. $12–$25. 8 p.m. Thurs., Jan. 31–Sun., Feb. 3.

CURRENT RUNS

ALADDIN JR. A children’s-theater adaptation of the

Disney film. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145, youththeatre.org. $13–$17. 7 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends Feb. 10. AMERICAN BUFFALO Putting David Mamet’s 1975 American Buffalo—a taut suspense piece about three guys plotting to steal a rare coin—on the Rep’s mainstage yields an Alice in Wonderland effect. Eugene Lee’s towering set turns Donny’s resale shop into a multilevel warehouse, and director these epic surroundings, director Wilson Milam and his actors make unconventional character choices. Charles Leggett, sporting a ducktail as Donny, flattens his speech, measuring it out punctiliously in a way that estranges him from us and from his old buddy Teach—Hans Altwies, who rules the stage every moment he’s on it. He’s wonderfully entertaining, but his bizarre, laser-precise Saturday Night Fever moves and hair-trigger reactions render him a showman/clown. But by far the weirdest choice is to have Zachary Simonson play Donny’s assistant Bobby with Asperger’s. His words emerge in a monotone so irritating that one dreads his appearances, which was surely not Mamet’s intent; worse, it undercuts the power of the ending. Staged in this existentially cavernous wasteland, this is not your typically juicy Mamet. When you’re mounting a show as widely seen and enjoyed as this one, it’s challenging to keep it surprising. This production certainly does that. MARGARET FRIEDMAN Seattle Repertory Theatre,

by the Northwest Mahler Festival gave the Seattle premiere in 2007; it’s crazy difficult.) A » by gavin borchert cathedral organist for 60 years, Messiaen was most drawn to Roman Catholicism’s mystical, theosophist side, expressed in music of explosive ecstasy. Beginning work on Turangalîla, Kaleidoscopic chaos and quiet, pointillist medihe also mixed in aspects of Eastern spiritualtativeness. Lurid and stentorian brass chorales. ism, coining the piece’s portmanteau Sanskrit Tremulous, lubricious melodies that Puccini title—”love song” is the simplest translation. If would have found a bit you don’t have a taste overripe. Instruments for the extravagant, imitating twittering bird the most over-the-top calls. A borderlinepassages might sound unplayable piano solo a little like a nun having and a central role for an orgasm, as scored the ondes Martenot, an by John Williams; if you electronic instrument do, do not miss this. For playable either by a this concert’s first half, keyboard or by a slide conductor Ludovic Mormechanism (to provide lot will walk us through “Good Vibrations”-style the piece, with an ondes swoops). Olivier MesMartenot demo from siaen poured all this and The ondes Martenot: Even the performer Cynthia Millar, music rack looks futuristic. more into his 10-movewhile Jean-Yves Thibaument, 80-minute Turandet takes the piano part. Benaroya Hall, Third galîla-symphonie, completed in 1948, which the Seattle Symphony Avenue and Union Street, 215-4747, seattlewill play this weekend for the first time. (A symphony.org. $19–$112. 7:30 p.m. Thurs., pickup orchestra, which I sat in with, organized Jan. 31, 8 p.m. Sat., Feb. 2.

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F E B R UA RY H O T T IC K E T S Thursday, January 31, at 7:30pm Saturday, February 2, at 8pm

M O R LOT C O NDUC TS M ESSIAEN’S TURANGALÎLA W YC KO F F M A S T E R W O R K S S E A S O N Ludovic Morlot, conductor Jean-Yves Thibaudet, piano Cynthia Millar, ondes Martenot The first-ever Seattle Symphony performances of this mammoth work. Ludovic Morlot

Jean-Yves Thibaudet’s performances generously underwritten by Sheila B. Noonan and Peter M. Hartley. Saturday sponsored by

Sunday, February 3, at 2pm

INTERNATIONAL GUITAR NIGHT

THE TENORS The Tenors bring their exciting blend of classical and contemporary pop to Benaroya Hall.

Wednesday | February 6 $25, $30 & $35, $15 youth/student

Performance does not include the Seattle Symphony.

Sponsored by Denny & Diane Birk and Rose McGoun

Thursday, February 14, at 7:30pm Saturday, February 16, at 8pm

Saturday | February 9 $35, $40 & $45, $15 youth/student

LOVE STO R IES The Tenors

Sponsored by Jan & Benny Teal

W YC KO F F M A S T E R W O R K S S E A S O N Ludovic Morlot, conductor Cédric Tiberghien, piano FAURE: Suite from Pelléas et Mélisande MOZART: Piano Concerto No. 21 in C major, K. 467 SZYMANOWSKI: Symphony No. 4 BIZET: Suite from Carmen

PILOBOLUS

Be swept off your feet in this Valentine’s weekend concert of sumptuous, romantic music.

Saturday | February 16 $40, $45 & $50, $15 youth/student

Cédric Tiberghien’s performance generously underwritten by Ned and Dana Laird.

Sponsored by Barclay Shelton Dance Centre, Bob & Sylvana Rinehart, and Carl Zapora & Cheryl Foster

Saturday sponsored by

10% discount for Seniors 62+ & Military on events presented by ECA!

DOWN LOA D OU R AP P!

ec4arts.org | 425.275.9595

Cédric Tiberghien

410FOURTHAVENUENORTHEDMONDSWA98020

Most tickets start at $19 2012–2013 SEASON presented by

206.215.4747 | SEATTLESYMPHONY.ORG

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

ED ASNER as FDR

arts»Performance

rious night out! A naughty and hila

A LAUGH -OUT-LOUD MUSIC AL

Arrive early for pre-show cocktails. Stay late for a photo with Mr. Dangerous himself!

VIP

Ticket es g Packa ble Availa

• THE MOORE 3 1 0 2 7, -1 3 1 February 54 re call (206) 315- 80 ps of 5 or mo Discounts for Grou tgpresents.org or email groups@s uh!) Mature Content (d ins t! | Conta Great girls night ou

Seattle Center, 443-2222. $12–$80. Runs Tues.–Sun. with some Wed., Sat., & Sun. matinees; see seattlerep.org for exact schedule. Ends Feb. 3. AUSTEN TRANSLATION Jet City Improv comes up with a new “novel” each night, based on your suggestions. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Feb. 8. BACH AT LEIPZIG Itamar Moses’ comedy about seven baroque composers vying for a church-organist post. E.E. Bach Theatre, McKinley Hall, 3307 Third Ave. W., 281-2959, spu.edu. $10–$12. 7:30 p.m. Thurs.–Sat., plus 2 p.m. Sat., Jan. 26. Ends Feb. 2. BEATING UP BACHMAN Wayne Rawley’s dysfunctional-family comedy. West of Lenin, 203 N. 36th St., 800-838-3006, radialtheater.org. $15–$22. 7:30 p.m. Thurs.–Sat., plus Mon., Feb. 4. Ends Feb. 16. A BEHANDING IN SPOKANE SEE REVIEW, PAGE 19. BLITHE SPIRIT The Noel Coward favorite about a man bedeviled by the ghost of his first wife. Trinity Episcopal Church, 609 Eighth Ave. Donation. 8 p.m. Fri.–Sat., plus some 2 p.m. Sat.–Sun. matinees; see theatre912.com for exact schedule. Ends Feb. 16. HAMLET Ghost Light Theatricals gender-swaps it. The Ballard Underground, 2220 N.W. Market St., ghostlight theatricals.org. $12–$15. 7:30 p.m. Thurs.–Sat., plus 7:30 p.m. Mon., Jan. 28. Ends Feb. 2. IMPROV HAPPY HOUR Early-evening spontaneous theater. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5. 7 p.m. Fri.–Sat. MAD SCIENTISTS: THE IMPROV Another improv evening from the prolific Unexpected factory. Unexpected Productions Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends Feb. 2.. THE MOUSETRAP The first rule of Agatha Christie’s The Mousetrap is: You do not talk about The Mousetrap. So successful has been this rule that the whodunit has run continually in London since its 1953 premiere. This adorable production, wittily directed by Jeff Steizer, offers further insight into its recordbreaking longevity. Five guests arrive at Monkswell Manor during a snowstorm, joining the inn’s owners, Mollie and Giles (Hanna Lass and Richard Sloniker), on Jason Phillips’ atmospheric neo-Tudor parlor set. Amid jockeying for rooms and spots by the fire, the inn’s population dwindles, and a clever inspector (Jared Michael Brown) arrives on skis to investigate possible connections to a recent murder in the area. Luminaries, including David Pichette, R. Hamilton Wright, and Ellen McLain, join first-rate younger actors to give maximum boost to this lovably loopy genre crowd-pleaser. Mum’s the word. MARGARET FRIEDMAN Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $22–$63. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends Feb. 24 (then runs in Everett March 1–24).

• Single TickeTS AvAilAble AT: STgPReSenTS.ORg (877) 784-4849

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ONE GIRL. ONE DREAM. ONE CHANCE.

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

NUMBER 2 QUÉBÉCOIS ROBOT DETECTIVE AGENCY Washington Ensemble Theatre’s kids’ show

N LIVE O E ! S TA G

APRIL 16-21 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org Priority seating and discounts for groups of 10 or more, call: 888.214.6856 Tickets available through Tickets.com and select Ticketmaster locations. Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

is a Montreal-set spoof noir with robots. The Little Theatre, 608 19th Ave. E., washingtonensemble.org. $5–$10. 11 a.m. Thurs., 11 a.m. & 1 p.m. Sat.–Sun. Ends Feb. 10. PINOCCHIO Studio East and StoryBook Theater present the tale of a wooden boy who just wants to be real. Various venues; see storybooktheater.org. $10. Sat., Feb. 2–Sun., Feb. 3 and other dates through March 10. THE REST IS SILENCE Justin Ison & Stephen Scheide send up Hamlet by making Horatio “the world’s first paranormal psychologist.” The Ballard Underground, 2220 N.W. Market St., 395-5458, ghostlighttheatricals. org. $5. 10:30 p.m. Fri.–Sat. Ends Feb. 2. THE SEAGULL SEE REVIEW, PAGE 19. SHIRLEY VALENTINE Heather Hawkins plays the working-class Liverpool housewife who finds romance in Greece. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. 7:30 p.m. Wed.–Sat., plus 3 p.m. Sun. Jan. 27 & Feb. 3. Ends Feb. 16. SPLASH Aerial performances (corde lisse, cloud swing, triple trapeze) as part of the Seattle Boat Show. CenturyLink Field Events Center, 800 Occidental Ave. S., seattleboatshow.com. $5–$12 (5-day pass $24). 6:30 p.m. Mon.–Thurs., 7 p.m. Fri., 3 p.m. Sat. & Sun. Ends Feb. 2. THE UNDERSTUDY Theresa Rebeck’s showbiz satire. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $15–$29. Preview Jan. 24, opens Jan. 25. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 17. UNDO Holly Arsenault’s new play about a very public divorce. Annex Theatre, 1100 E. Pike St., 728-0933, annex theatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends Feb. 16. YOU’RE A GOOD MAN, CHARLIE BROWN Broadway Bound Children’s Theatre brings the “Peanuts” gang to life. Shoreline Center, 18560 First Ave. N.E., 800-8383006, broadwaybound.org. $17.50. 7 p.m. Fri., 2 & 7 p.m. Sat.–Sun. Ends Feb. 10.

Dance THE BRIDGE PROJECT 2013 The results of an inten-

sive three-week workshop to make new dance works, with choreographers Elia Mrak, Amy Johnson, Britt Karhoff, and Chris McCallister. Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydancecenter.org. $12–$18. 8 p.m. Fri., Feb. 1–Sun., Feb. 3. ROMÉO ET JULIETTE SEE THE WIRE, PAGE 17. NALINI DANCE SHOW A showcase of student performance in the Bollywood, belly dance, and Russian gypsy traditions. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., nalinidance.com. $18. 4 p.m. Sun., Feb. 3. PNB NEW YORK TOUR PREVIEW In addition to Roméo et Juliette, they’re taking Balanchine’s Agon, Apollo, and Concerto Barocco on the road. Here’s a 90-minute sampling. Phelps Center, Seattle Center, 441-2424, pnb. org. $20. 5:30 p.m. Tues., Feb. 5.

•

Classical, Etc.

ST. OLAF CHOIR Anton Armstrong conducts one of the

Upper Midwest’s finest choruses, and that’s saying something. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $16–$42. 8 p.m. Wed., Jan. 30. SEATTLE SYMPHONY SEE EAR SUPPLY, PAGE 20.

•DOUGLAS DETRICK’S ANYWHEN ENSEMBLE

Playing a hybrid of jazz, chamber, free improv, and folk. Cornish College/PONCHO Concert Hall, 710 E. Roy St., 726-5066, cornish.edu. $10–$20. 8 p.m. Fri., Feb. 1. ENDINGNESS Pablo Helguera’s Haydn-inspired chamber-orchestra piece is part of his multimedia exhibit Now Here is Also Nowhere: Part II. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. Free w/ museum admission. 7 p.m. Fri., Feb. 1. UW GUITAR ENSEMBLE French music: Couperin, Faure, and more. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Fri., Feb. 1. SEATTLE SYMPHONY CHAMBER MUSIC Pianist Jean-Yves Thibaudet, here this weekend to play Messiaen’s Turangalîla with the orchestra, joins SSO players for French chamber music, including Messiaen’s Quartet for the End of Time. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, seattle symphony.org. $37. 8 p.m. Fri., Feb. 1. SEATTLE BAROQUE ORCHESTRA Three Bach cantatas (nos. 105, 155, and 134). Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $15–$40. 8 p.m. Sat., Feb. 2. MUSIC NORTHWEST Romantic chamber music by Brahms, Chopin, and Dohnanyi. Olympic Recital Hall, S. Seattle Community College, 6000 16th Ave. S.W., 9372899, musicnorthwest.org. $16–$18. 3 p.m. Sun., Feb. 3. METROPOLITAN OPERA AT THE MOVIES Opera performances live in HD. Joyce DiDonato starts as Donizetti’s doomed Maria Stuarda. See metopera.org for participating theaters. $24. 6:30 p.m. Wed., Feb. 6. JUILLIARD STRING QUARTET Mozart, Beethoven (the gnomic, unorthodox Quartet in C-sharp minor), and Elliott Carter’s Fifth Quartet (one day before the Seattle Symphony premieres Carter’s Instances). Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$38. 7:30 p.m. Wed., Feb. 6.

•

COURTESY OF SEATTLE SYMPHONY

On sale nOW

Jean-Yves Thibaudet plays music by his mystical compatriot, Olivier Messiaen, this weekend with the Seattle Symphony. Send events to stage@seattleweekly.com See seattleweekly.com for full listings = Recommended

•

film»Interview

How a local author’s first novel became a Hollywood teen romance. BY BRIAN MILLER

website (isaacmarion.com), where readers could comment on his first draft. “The short story was kind of a lark,” he recalls. “I hesitated to post it. I wondered, ‘Is this a really dumb idea?’ ” That idea, translated into movie form, goes like this: In a postapocalyptic wasteland, a zombie known as R narrates his tale of discontent. (“What’s wrong with me? I just wanna connect.”) Alienated, shuffling R can’t speak properly and feasts on flesh, but “at least I feel conflicted about it.” Not all of this interior monologue is direct from his book, Marion explains, but screenwriter/ director Jonathan Levine stayed true to its mopey-funny spirit, and even invited Marion

TIFFANY LAINE DE MOTT

“I grew up on that pulpy stuff, but always wished there were a smarter version of that.”

COMMUNITY

CIVICS

TOWN HALL

W. Patrick McCray: The Visioneers of Speculative Technologies (1/31) Suzi Eszterhas: Wildlife Conservation Photographer (2/1) Suzi Eszterhas: Living the Wild Life (2/2) Seattle Baroque Orchestra: Bach Cantatas (2/2) Short Stories Live: 19th-Century Visions of the U.S. & Europe (2/3) George Saunders: ‘Tenth of December’ (2/4) Gun Violence: A Public-Health Crisis (2/4) Eddie Huang in conversation with Geo: ‘Fresh Off the Boat’ (2/5) Nathanael Johnson: A Skeptic’s Take on the

‘All-Natural’ Approach (2/6) Salman Khan: A Call for Free, Universal, Global Education (2/6)

townhallseattle.org

Jan 31-Feb 17

A Day in the Death of Joe Egg A black comedy about love, marriage, and a kid in a wheelchair nicknamed “Joe Egg.”

(206) 292-7676 acttheatre.org

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

n one hand, with fingers left to spare, you can count the number of local authors who’ve had their books turned into movies. The youngest and newest in that elite club is Isaac Marion, a scruffy, friendly guy in his early 30s who recently sat down for a conversation at Lighthouse Roasters, with the massive roaster churning behind us. Like many writers, Marion takes his laptop to coffee shops, favoring “the energy and visual distraction” instead of playing at home with his cats. From such work habits was Warm Bodies hatched a half-dozen years ago—initially as a story he posted on his

JAN THIJS/SUMMIT ENT.

Palmer and Hoult as star-crossed lovers.

DIY application to a craft. “It’s been such a long process,” says Marion. “This actually is my fourth novel. The other three are bad.” Modesty aside, he doesn’t consider himself a zombiehorror genre writer: “I read a lot of Stephen King when I grew up. I grew up on that pulpy stuff, but always wished there were a smarter version of that. A lot of my favorite books take some kind of genre element to explore higher ideas.” And though his novel bears a glowing blurb from Stephenie Meyer, whose Twilight franchise was filmed by Summit Entertainment, the same teen-centric studio that made Warm Bodies, Marion says he’s no young-adult author, either. “There’s that misconception, mainly because of Meyer’s quote. People ask, ‘Why do you write for teenagers?’ And that’s not the case.” to give notes on the script and visit the set in Still, it’s mostly teens who’ll see the movie. Montreal. But having endured one dreadful Twilight Warm Bodies isn’t a horror tale so much installment, I can vouch that Warm Bodies as a love story, as R (English actor Nicholas is about 10 times better. Its star-crossed teen Hoult of A Single Man and the forthcoming lovers are funny and self-aware, and there’s a Jack the Giant Slayer) begins to lose his palfairy-tale sweetness to R’s gradual return to lor while crushing upon and semi-abducting life and love. With a balcony Julie (Australian scene and a magical kiss, this actress Teresa Palmer), is not a zombie movie in the daughter of a zombieGeorge A. Romero tradition. hating militia leader Nor is the gore anywhere close (John Malkovich). to warranting an R rating. He’s a hoodie-wearing Yet Marion isn’t done with emo zombie with an zombies yet. This week he’s extensive vinyl-record releasing The New Hunger, a collection back in the prequel novella to Warm Bod747 fuselage he makes ies, as an e-book on zolabooks. his home. He eventucom. In it, we’ll read how R ally lets Julie return to became infected, and possibly her walled compound, learn his old name and human by which time she’s identity. warmed to him a little— Late last month, Marion and he in turn feels a The author has a attended a Seattle press warm new sensation prequel planned. screening of Warm Bodies. pulsing in his previously There, he says, “It was really cadaverous chest. cool to see the crowd react. People were laughing harder than I did. It’s y 2010, Marion had expanded his just such a surreal experience. I can’t think story into a novel, self-publishing a of anything else in life like that—when you 500-copy run printed at Kinko’s. “I have a dream in your head and then you see sold at cost, $10 from my website,” it onscreen.” E he explains. “I wasn’t knocking on doors at bookstores. It was always with the goal of bmiller@seattleweekly.com getting real distribution.” That came with an agent—a deal with Atria Books. And the WARM BODIES movie rights sold immediately. Opens Fri., Feb. 1 at Pacific Place and All this may sound like a thunderbolt of other theaters. Rated PG-13. 97 minutes. luck for a dabbling young musician/painter/ Also note the benefit party at Fremont Abbey, novelist who didn’t train in a college 4272 Fremont Ave. N., 414-8325, fremontabbey.org. writing program (or any college, for that matRSVP recommended. $10 suggested donation. ter), but Warm Bodies is the product of hard 21 and over. 9 p.m. Fri., Feb. 1.

ARTS & CULTURE

Body Heat

SCIENCE

film»This Week’s Attractions P Consuming Spirits

Huppert and Yu dally on the beach.

radio show strays far from gardening and into darker groves of memory and guilt. Consuming Spirits plays like an old, weird folk tune (Victor and Gentian are

Walken’s Doc is the kindly, lonely codger who greets Val upon release, a .45 tucked in his waistband. Arkin is their widowed pal, barely kept alive by oxygen in an old folks’ home. What follows in this tame, fundamentally lazy comedy (call it the Best Exotic Marigold Mobster Hotel . . . or no, wait, simply OldFellas), are goldhearted hookers, car theft, the snorting of stolen prescription drugs, reconciliation with lost kin, Viagra-induced priapism, and even the rescue of a damsel in distress. Most of the drama comes from the conflict between Walken’s alarmed thatch of hair and Pacino’s dark, stealthy rug; it’s a war of rival hairlines, like the moon tugging at the tides. Then comes the inevitable bullet-flying finale, a slo-mo send-off for our noble trio of off-white knights. “Let me talk for two fucking seconds!” demands Pacino, but talk is all he does. His leering at young female flesh uncomfortably recalls Scent of a Woman; only once or twice does he relax the bantam strut to slump in the booth of the hoods’ favorite diner, looking like an older, even more exhausted Donnie Brasco—and equally aware of his fate. The few pleasures here include Walken’s proudly high beltline (almost to the nipples), CHRIS SULLIVAN

Earl keeps his secrets to himself.

also musicians), with strange harmonies of murder, madness, and incest. On the hillbilly soundtrack, Sullivan sings, “I’m too old to change/And too young to die,” which is essentially Earl’s motto. And when the sins of the past catch up with him, there will be no easy atonement. BRIAN MILLER

In Another Country RUNS FRI., FEB. 1–THURS., FEB. 7 AT GRAND ILLUSION. NOT RATED. 89 MINUTES.

South Korean director Hong Sang-soo has become such a darling on the festival circuit that, thanks to titles like Woman on the Beach, it was probably inevitable that he’d make a movie with Isabelle Huppert. In fact, she was president of the Cannes jury in 2009, when Hong’s Like You Know It All played the fest. And while both parties fully deserve their arthouse credibility, international crosspollination seldom succeeds. Though she doesn’t speak Korean, Huppert is fluent in English, so Hong has most of his native cast speak English too. The story he’s written isn’t exactly a star vehicle, but it is a vehicle nonetheless: Huppert appears in three short scenarios (a foreigner visits a beachside community) assuming three different identities (each called Anne) and has various dealings with the other actors, whose roles expand or diminish in each vignette.

You could call In Another Country an anthology film without the variety: same sets, same sand, same faces, same Huppert wandering along the shore. The mood is light, with jealous couples, stolen kisses, and gentle, drunken misunderstandings. Men and women never connect, and Huppert’s Anne remains ever the outsider. Another Country immediately announces itself as a kind of divertimento, as a young woman puts pen to paper to write the three tales we watch; but if she’s Hong’s stand-in, there’s not much authorial stamp to the project. Each episode feels like a sketch, not a fully formed idea. Hong brings an appropriately breezy touch to such light material, but it seems a waste of Huppert’s talent. When she finally connects with a handsome lifeguard (Yu Jun-sang), who lives in a tent by the beach, Hong keeps his camera discreetly outside. Even the sex is inconclusive. BRIAN MILLER SAEED ADYANI/ROADSIDE ATTRACTIONS

Feature-length animation has become a monopoly for Disney and Pixar, while basically nothing is made for adults. At a typical cartoon matinee, you buy tickets for your kids, load them up on popcorn and soda, then retreat to the lobby to check penny stocks or Facebook on your phone. Japanese anime is for teens. What’s left for us grown-ups? Created over 15 years by Chicago artist Chris Sullivan, Consuming Spirits is a handmade work, its animation rendered in three distinct styles. From above, we see the Appalachian town of Magguson as a tiny stop-motion diorama of toy cars, plastic cows, and paper-walled houses, their windows warmly glowing with candlelight. Flashbacks are black-and-white sketches, haltingly animated like the preliminary “roughs” seeking final expression. The present players are paper-cut marionettes with flapping jaws and pivot-dangling limbs. The three main characters gain personality from their voices, but there’s also a visual depth to their tale of alcoholism, adultery, and broken families, as Sullivan layers foreground and background animation on separate sheets of glass. Sullivan gives voice to newspaper layout artist Victor, who composes his pages with an X-Acto knife and blocks of text (“consuming spirits” among them, its meaning signifying both booze and ghosts). Victor’s sometime girlfriend Gentian is a bus driver who runs down a nun, whom—presumably dead—she drags into the woods. But ghosts haunt Magguson: Not just the nun, but lost mothers and sisters roam the hills—along with a bizarre figure wearing a deer hide and horns. The town’s most haunted figure is old Earl (wonderfully voiced by Robert Levy), whose

KINO LORBER

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

RUNS FRI., FEB. 1–THURS., FEB. 7 AT NORTHWEST FILM FORUM. NOT RATED. 135 MINUTES.

Stand Up Guys OPENS FRI., FEB. 1 AT PACIFIC PLACE AND OTHER THEATERS. RATED R. 100 MINUTES.

In a contest between a renowned overactor (Al Pacino) and two equally veteran underactors (Christopher Walken and Alan Arkin), who do you suppose will prevail? That’s a trick question, actually, as what happens to these three septuagenarian ex-mobsters in Stand Up Guys is never in doubt. Pacino’s Val is released from prison one morning after a stoic 28-year term, yet his vengeful old boss wants him dead.

From left: Walken, Arkin, and Pacino match acting chops.

Julianna Margulies showing up as a nurse ( just like E.R.), and English actress Lucy Punch in full Five Towns mode as a Jewish brothel owner who evidently stole Dustin Hoffman’s eyeglasses from Tootsie. Otherwise, director Fisher Stevens slogs through the pages of Noah Haidle’s mushy script. Which actor finally comes off best? Arkin, the guy with the least dialogue and screen time. In one exchange, he asks Pacino philosophically, “What makes you the arbiter of whose pants are important?” What indeed? Now there’s a scene I’d like to see expanded into a different movie: 100 minutes of Arkin, Pacino, and Walken talking about pants. BRIAN MILLER E

bmiller@seattleweekly.com

TickeTs available aT www.cinerama.com Following the terrorist attacks oF sept. 11, 2001, osama bin laden becomes one oF the most-wanted men on the planet. the worldwide manhunt For the terrorist leader occupies the resources and attention oF two u.s. presidential administrations. ultimately, it is the work oF a dedicated Female operative (Jessica chastain) that proves instrumental in Finally locating bin laden. in may 2011, elite navy seals launch a nighttime strike against bin laden’s compound in pakistan, killing him.

Zero Dark ThirTy

now showing

12:00 • 3:30 • 7:00 • 10:30 one nighT only!

ThUrs., Jan 31 - 7pm A DOCUmENTARY ON THE FAbLED RECORDING STUDIO THAT WAS LOCATED IN VAN NUYS, CALIFORNIA. Logos Director: DaviD Grohl • Screenplay: Mark Monroe StarS: trent reznor, toM petty, Mick FleetwooD SEATTLE’S WIDEST SCREEN SUPERIOR TECHNOLOGY Fresh Chocolate Popcorn, Cupcake Royale, Theo Choc & so much more

2100 4TH AVENUE, SEATTLE WA • (206) 448-6680

LUNAR NEW YEAR

with white border—used on dark backgrounds

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film» BY BRIAN MILLER

Local Film BACK TO THE FUTURE The first and best of Michael

Huppert Isabelle is

J. Fox’s star-making trilogy, Back to the Future (1985) has one of the more preposterous plotlines in movie history: Huey Lewis-listening ’80s dude Marty McFly (shown to be a badass for hitching rides on trucks while on his skateboard) has a buddy who’s inventing a time machine. Shit goes haywire and Marty finds himself stuck in 1955, fending off advances from his future mother (Lea Thompson) while coaching his future father (Crispin Glover, not looking a day older or younger than today) to assert his masculinity. The memorable performances kind of make you forget all of that, though, incredibly. Movie screens at midnight. (PG) ANDREW BONAZELLI Egyptian, 805 E. Pine St., 720-4560, landmarktheatres. com, $8.25, Fri., Feb. 1; Sat., Feb. 2. BILL & TED’S EXCELLENT ADVENTURE This 1989 time-travel comedy about two genial teenage ninnies struck an extended Reagan-era chord. Their sheer cluelessness, and affability, made them like chips off the old Gipper. Keanu Reeves and Alex Winter may be dumb American teens, but they’re dumb American teens willing to learn a bit about history (just enough to graduate high school and preserve their band, Wyld Stallyns). Meeting Lincoln and Socrates, among other historical figures, may not make them wise. But at least they cheerfully embrace the idea of wisdom, instead of sneering at it. A 1991 sequel didn’t recapture the B&T magic, yet a trilogy—said to be in development-—might work if the two characters were brought forward to early middle age, kids, wives, and mortgages. By now, they might be a little more receptive to lessons ignored in their youth. (PG) BRIAN MILLER Central Cinema, $6-$8, Feb. 1-5, 9:30 p.m. BIRTH STORY: INA MAY GASKIN AND THE FARM MIDWIVES This new doc by Sara Lamm and Mary

A film bgy-soo n Hong Sa

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Wigmore examines the early-’70s revival of the natural birth movement and concomitant resurgence of interest in midwifery. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Sun., Feb. 3, 3 p.m.; Sun., Feb. 10, 3 & 5 p.m.; Mon., Feb. 11, 7 p.m. BRIDE OF FRANKENSTEIN James Whale’s 1935 sequel to his own Frankenstein can best be understood as a comedy (Mel Brooks later ransacked the script and original sets for Young Frankenstein). Boris Karloff returns as the monster, Elsa Lanchester is his hissing, shock-haired bride. (NR) Central Cinema, $6-$8, Thu., Jan. 31, 8 p.m.

• BUTCH CASSIDY AND THE SUNDANCE KID

Paul Newman and Robert Redford star in 1969’s very enjoyable hit western, which put a somewhat countercultural spin to the infamous train robbers. William Goldman directs, from a quotable script by William Goldman. The Cinemark repertory series continues next Wednesday with Saturday Night Fever. (PG) Sundance Cinemas, 4500 9th Ave. NE, 633-0059, sundancecinemas.com, $10, Weds. Through Feb. 6. CHILDREN’S FILM FESTIVAL Now it its 8th year (and second weekend), the fest continues with selections from among 120 films from 38 countries. See nwfilmforum.org for full schedule. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, $6-$10, Through Feb. 3. CITIZEN KANE What more can you say about one of the defining masterworks of cinema? Problem is, there’s been so much said, most of it dry and academic, that people can imagine Citizen Kane as an uninviting chore to be sat through—rather than something to enjoy. Forget what the video-store clerks tell you about its historical significance; the fact is that Orson Welles’ 1941 portrait of an unscrupulous, Hearst-like newspaper tycoon’s rise and fall is fast, funny, and never ever dull. (NR) BRIAN MILLER Central Cinema, $6-$8, Feb. 1-5, 7 p.m. DJANGO Sergio Corbucci’s 1966 western was a huge influence on Quentin Tarantino and his new, Oscar-nominated Django Unchanged, in which Django’s original star, Franco Nero, appears in the ugly “mandingo” wrestling scene. In the violent and rather silly spaghetti western. Nero plays the titular gunman, a mysterious figure seeking bloody revenge on the frontier. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Wed., Jan. 30, 7:30 p.m. LAWRENCE OF ARABIA David Lean’s 1962 desert epic is being shown in a 4K digital restoration, and it’s well worth the three-plus hours to experience

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its wide-screen majesty. Peter O’Toole captures the charismatic yet flawed leader of British-sponsored pre-war Arab insurrection—heroic, weak, sadistic, and alluring at once. The winner of seven Oscars, Lawrence is deservedly renowned for Freddie Young’s cinematography, but it’s Robert Bolt’s script that elevates it above contemporary imitators. Unlike the screen-filling, eye-popping spectaculars of today, this film grounds the epic in the man—not the terrain sprawling beneath his feet. It also doesn’t hurt that in support of O’Toole are Alec Guinness, Omar Sharif, and Anthony Quinn. (NR) BRIAN MILLER SIFF Cinema Uptown, $6-$11, Fri., Feb. 1, 6 p.m.; Sat., Feb. 2, 1 p.m.; Sun., Feb. 3, 6 p.m. MEET THE FOKKENS This Dutch documentary, directed by Gabrielle Provaas and Rob Schröder, follows a pair of 69-year-old twin sisters who work as prostitutes. What happens in Amsterdam stays in Amsterdam, right? (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net, $6-$11, Fri., Feb. 1, 8 p.m.; Sat., Feb. 2, 4 & 8 p.m.; Sun., Feb. 3, 4 & 8 p.m. MY CAREER AS A JERK David Markey’s recent music doc follows the tumultuous career of the Circle Jerks. Among those interviewed are J. Mascis and Henry Rollins. (NR) Central Cinema, $10-$12, Wed., Jan. 30, 7 & 9:30 p.m. OSCAR NOMINATED SHORT FILMS 2013 All ten of the animated and live-action nominees will be screened in two blocks, at 88 and 113 minutes, respectively. Among the highlights is Maggie Simpson in “The Longest Daycare,” from The Simpsons. In it, our heroine seeks admission to the Ayn Rand Daycare Center. On the non-cartoon side, look for Matthias Schoenaerts (Rust and Bone) in the WWI drama Death of a Shadow. And next week, note that SIFF will play the same program, also adding the documentary shorts to the bill. (NR) Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $10, Feb. 1-7.

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RESPECT YOURSELF: THE STAX RECORDS STORY

This 95-minute music documentary chronicles the famous soul/R&B label that featured such important artists as Isaac Hayes and Booker T and the MGs. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $8-$12, Fri., Feb. 1, 7:30 p.m.; Fri., Feb. 8, 7:30 p.m. SLAVERY BY A DIFFERENT NAME In the spirit of Steven Spielberg’s Lincoln, this new documentary by Sam Pollard examines the Jim Crow period that followed the passage of the 13th Amendment. The film spans 1865-1945, after which the Civil Rights movement began pressing for full equality and voting rights for African-Americans. (NR) Keystone Congregational Church, 5019 Keystone Place N., 6326021, keystoneseattle.org, Free, Fri., Feb. 1, 7 p.m. THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES: “Heroes and Villains” is the theme for

various short films being screened. Ongoing is the 1939 adventure serial Zorro’s Fighting Legion. Total program length is about two hours. (NR) Grand Illusion, $5-$8, Saturdays, 2 p.m. Through March 23. TCHOUPITOULAS Three brothers explore the latenight bars and clubs of New Orleans in this documentary by Bill Ross IV and Turner Ross. (NR) SIFF Film Center, $6-$11, Fri., Feb. 1, 6 p.m.; Sat., Feb. 2, 2 & 6 p.m.; Sun., Feb. 3, 2 & 6 p.m. VIVA L’ITALIA The series continues with the 1961 comedy Divorce Italian Style, starring Marcello Mastroianni as a playboy determined to off his wife so he can marry anew. Pietro Germi directs the worthwhile farce. (NR) Seattle Art Museum, $63$68 series, $8 individual, Thurs., 7:30 p.m. Through March 7.

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Ongoing

AMOUR Hollywood generally treats aging as an enno-

bling process, a time of gauzy reflection or an opportunity to transmit sage wisdom to tow-headed grandkids. This is not a view shared by Austrian director Michael Haneke. From Funny Games to The Piano Teacher to Caché, he has specialized in an impeccably crafted cinema of cruelty, repressed passion, and dread. So it’s something of a shock for his Amour to begin as a loving portrait of a marriage between retired music teachers Georges and Anne (Jean-Louis Trintignant and Emmanuelle Riva), who remain independent in their 80s, living in a comfy, memento-filled Parisian apartment. Amour’s story is nothing if not logical and familiar: the medical crisis, doctors, the daughter’s visit, nurses, rehab, moments of resiliency and love, the “never take me back to the hospital” demand, setbacks, adult diapers, despair. That’s the way the end-of-life process works. I’ve been there, I know. And

film»

Haneke knows, too. He renders Georges and Anne’s dilemma with dispassionate, clinical observation. The camera seldom moves. There are few close-ups. Amour often plays like a Frederick Wiseman documentary. But is this a near-documentary you want to see? Well, how old and healthy are you? I found Amour to be less emotional and excruciating than expected, yet I to celebrate inlearned styleprecisely nothing from it. For Haneke, life itself awing Room. is cruel. There is no consolation, only an end. (PG-13) Brian Miller Egyptian ANNA KARENINA Tolstoy’s family epic has been smartly contoured to fit just more than two hours of screen time by Sir Tom Stoppard; Joe Wright directs. As always, wife and young mother, Anna (Keira Knightley) falls madly for a Russian officer, Vronsky (powder-puffed Aaron Taylor-Johnson). The first of this match’s tragic consequences is Vronsky’s jilting of Princess Kitty (Alicia Vikander) who, in the B story, is courted by the surly, shy, and awkward Levin (Domhnall Gleeson). Levin is the bosom friend of Anna’s philandering brother, Oblonsky (Matthew Macfadyen)—prey to the same governing passions as his sister and to none of the social and legal reproach. The most immediately striking element is the selfconscious theatricality Wright’s staging. Knightley’s 206 789 5100 emotions come through with a gasping immediacy, and Jude Law deserves special notice as Anna’s cuckolded www.volterrarestaurant.com husband. (NR) Nick Pinkerton Sundance, Kirkland Parkplace, others ARGO Ben Affleck’s third directorial effort begins with the November 4, 1979, attack on the U.S. embassy in Tehran. While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), old-school producer. Between hokey wisecracks onday - Fridayan4:30-6:30pm industry idiocy, the trio seizes on a dusty script like to featureribbing the "Best of" bug/logo for a Star Wars rip-off called Argo. Affleck’s movie is a (They won Best Southern Italianto last year.)that made him, love letter from Affleck the industry shunned him, and loves nothing more than to be loved. (R) Karina Longworth Varsity, Oak Tree, Meridian, iPic, Ark Lodge, others DJANGO UNCHAINED In Quentin Tarantino’s blood-spattered historical tent show, set in antebellum Dixieland, Jamie Foxx stars as the captured runaway slave Django. He’s given his freedom by an unlikely savior: a German-American bounty hunter (Christoph Waltz) who trains Django to become his partner. Together, they make their way toward a sprawling Mississippi plantation known as Candyland, where Django’s wife (Kerry Washington) is owned by a brutal, foppish master (Leonardo DiCaprio), abetted by his old house slave (the astonishing Samuel L. Jackson). Wagnerian hellfire ensues, though Tarantino’s true reference point is a century of Hollywood cinema’s failure to engage with the ugly realities of the “peculiar institution,” from Gone With the Wind to Spielberg’s Lincoln. Like all of the best pop art, Django Unchained is both seriously entertaining and seriously thoughtful, rattling the cage of race in America onscreen and off. (R) Scott Foundas SIFF Cinema Uptown, Varsity, Lincoln Square, Meridian, Cinebarre, Thornton Place, iPic, Bainbridge, others SILVER LININGS PLAYBOOK If you took the fighting out of The Fighter, David O. Russell’s previous movie, you’d be left with a close, fractious family like the Solitanos of his hugely appealing new Silver Linings Playbook. Instead of Boston Irish and boxing, we have Philadelphia Italian and the Eagles. The family patriarch (a fine, restrained Robert De Niro) is an OCD bookie bound by strange rituals to the team; his wide-eyed wife (Jacki Weaver) is the nervous family conciliator/enabler; and their volatile son Pat (Bradley Cooper, wired) is fresh out of the nuthouse with a restraining order from his ex. But Pat claims he’s a new—and newly positive—man. He’s looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Is another explosion near? Russell keeps the film constantly off-balance, but his pell-mell approach suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany. In that role, Jennifer Lawrence is a revelation. Silver Linings is one of the year’s best films, and Lawrence a lock for an Oscar nomination. (R) Brian Miller SIFF Cinema Uptown, Ark Lodge, Varsity, Oak Tree, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, others

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Whale of a Chicken

Has Renee Erickson opened Seattle’s best restaurant? BY HANNA RASKIN

It wouldn’t be entirely outrageous if staffers started making room in a supply closet for a scepter and crown.

The cocktail’s name and featured brandy reference the restaurant’s rustic French leanings, which Erickson has explored to terrific effect at Lower Queen Anne’s Boat Street Cafe. It’s reductive to describe The Whale Wins as a hybrid of Boat Street and Walrus, but it draws on the best elements of both, fusing Boat Street’s Provençal look, signature pickles, and gracious service with Walrus’ conviviality, trendiness, and reverence for shellfish.

JOSHUA HUSTON

ishes appear in haphazard fashion at Fremont’s The Whale Wins, where a meal’s rhythms are determined by the kitchen’s pace rather than a preset program. A pile of lettuce might show up after a platter of roasted carrots has come and gone, and bread and butter may suddenly arrive just after a pair of “on toast” delicacies has been delivered by a server clad in a striped denim bib apron. The herky-jerky schedule means the latest restaurant from Renee Erickson, who endeared herself to the culinary sphere’s savoir fairest with Ballard’s The Walrus and the Carpenter, is in many ways more sport than theater: Highlights are apt to occur at any moment, with little warning to preface the crescendos. When presented in this manner, a roasted half chicken—which would be merely breathtaking accompanied by entrée-course pomp—can quite nearly provoke a respiratory incident. At the mercy of the kitchen’s timetable, it’s impossible to prepare adequately for the chicken’s overwhelming greatness, although diners who’ve spied the licking flames within The Whale’s marble-encased, wood-fired oven likely suspect they ought to steel for it.

and not just about roads and eggs. To eat The Whale Wins’ roasted chicken is to ask: Is this the best restaurant in Seattle? While it’s perhaps slightly premature to arrange a coronation for the 3-month-old restaurant, it wouldn’t be entirely outrageous if staffers started making room in a supply closet for a scepter and crown. The Whale Wins is already serving astonishingly wonderful food in a setting which feels very reflective of the city around it.

front room. It’s become tiresome to gripe about communal seating, but the arrangement felt especially unfortunate in a restaurant that gets most everything right. Since a packed house is a certainty, staffers don’t try to space out parties of strangers early in the evening, instead stacking them Tetris-style, one against

JOSHUA HUSTON

Poultry that’s impossible to prepare for.

another. During my first visit, the attentiveness of a quiet couple inches away precluded personal conversation, while my second visit was repeatedly disrupted by a young boy refusing to eat anything but bread and whining about his homework. Such are the moments which lead a diner to pine for a cocktail list. The menu of house specialties is short, but the drinks are doozies: A controlled mix of Scotch, applejack, lemon, and cinnamon syrup, sold as a Freightliner, is as calming as the room’s soft lighting, and a Normandy Old Fashioned tweaked with Calvados tastes like an alcoholic apple-bobbing session.

hraskin@seattleweekly.com THE WHALE WINS 3506 Stone Way N., 632-9425, thewhalewins.com. 11 a.m.–10 p.m. Wed.–Sat., 11 a.m.–9 p.m. Sun.

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

he Whale Wins shares the Fremont Collective with the relocated Joule, but the two If there’s a better end to the chicken, it’s restaurants have about as much improbably the breast, since the fattier hindin common as most neighbors. While Joule quarter could stand a touch more rendering. has cultivated a mildly frenetic, modern But we may as well quibble over the relative vibe across the hall, Erickson has repeatedly merits of Michelangelo’s David’s left and referenced cottages when describing the right foot, as the whole bird’s a master class ambience she sought to create. She’s sucin texture, tenderness, and moisture. Blessed ceeded admirably, assembling a space which with a fine upbringing at Mad Hatcher Farms feels like the summery backdrop for a fabricin Ephrata, the chicken responds extraordisoftener ad, even in the darkest depths of narily well to a thrust of sea salt and a gust winter. The L-shaped room is done up in of wood smoke. The regimen produces a white; outward-facing cubbyholes, stocked glossy, crisp skin that’s alluringly blackish with aesthetically correct preserve jars and and brittle in spots, and wine bottles, are tucked meat so juicy it wouldn’t beneath the hostess table be much of a stretch to and kitchen bar, where » PRICE GUIDE BEETS ........................................... $10 classify it as refreshing. well-scrubbed cooks GREENS ..........................................$8 The half chicken is seated arrange their prep stations SARDINES .....................................$8 SPOT PRAWNS .......................... $16 in an oval of oiled parsnipto photo-shoot perfection. HALF CHICKEN ......................... $18 and-rutabaga purée and There are 15 coveted MARROW BONES ...................... $12 ornamented with a few bar seats at the nodark-green caper shoots reservations restaurant, but and bright-yellow curls of preserved lemon. the majority of diners are assigned to ShakerIt’s such a wonderful dish that you may catch blue Windsor chairs at butcher-papered yourself glancing toward the open kitchen, tables pressed together so tightly that I didn’t eyeing the next chicken being readied and realize they detached until I saw them picenvying the table about to encounter its magtured online. Both times I dined at The Whale nificence. Wins, my guest and I were granted seats at a Chickens have a way of inspiring questions, boardinghouse table toward the rear of the

Where amazing happens.

et the food at The Whale Wins tends to be sturdier and sassier than the food served at its predecessors. If France is represented on the plate, it’s the France of Jerry Lewis—more giddy than refined. Servers are constantly being called upon to replace tasting plates so the strong flavors of saucy dishes don’t inadvertently commingle. But appropriately for a restaurant that’s so highly localized, the menu also reflects the influence of a colder corner of the old country: Seattleites will be happy to find beets, horseradish, and herring. The herring is served as a buttery salad, spread across toast and topped with ticklish pickled ribbons of fennel. But the roly-poly sardines, napping on toasts slathered with a whipped flurry of curry powder and tomato paste, are somehow a shade more irresistible. Yet the standout of the seafood section— which also features a fine whole roasted trout nestled in a forthright lemon-walnut paste— are the richly sweet spot prawns in a sheer gravy of anchovy butter and garlic. The fat, shell-on shrimp are served with their roe, a pixelated scarlet sash of salt. Abstemious eaters will nibble around it, but shellfish obsessives will slurp down every microscopic egg. The menu abounds with loveliness. The Whale Wins wrings novelty from supple roasted beets and crunchy hazelnuts, paired with a tablet of feta and a bravely bitter parsley relish, and from a clump of braised greens dressed up with Moroccan spices. Three charred, columnar marrow bones are packed with marvelous fat that’s just shy of greasy; a thick, pink wedge of filet mignon blitzed with grated horseradish rivals the beef served in any local steakhouse. For dessert, there’s a dense molasses spice cake poised in a puddle of tart lemon curd, or a crusted slice of moist zucchini cake shimmering with salt. The knowledgeable servers can be trusted to recommend the right dessert wine to match. The question of The Whale Wins’ position in Seattle’s restaurant pantheon may not have been conclusively settled by the time the final course reaches the table, but it’s sure to linger long after it’s been cleared away. E

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

City of Seattle INTERNATIONAL DISTRICT GYRO HOUSE 212 Fifth Ave. S., 624-7266. Most of

America’s gyro meat comes from Chicago, so telling most local gyro shops apart simply entails finding out which Midwestern firm supplies them. That said, this friendly cafe on the edge of the ID sets itself apart by doing the most it can with a standardized product: swaddling the strips of beef-lamb (blam?) in thick, soft pita; tenderly piling on fresh lettuce and tomato; and drizzling on tangy yogurt. If you’re a fan of more local fare, the chicken and lamb shawarma are juicy and justly seasoned, and the flaky-gooey baklava varieties are worth a splurge. Or figure out which of the trays on the counter has come out of the oven the most recently, and order that one. $ SUB SAND 419 Sixth Ave. S., 682-1267. A tiny sandwich shop that combines the elaborate toppings and soft rolls of an American sub (do take a few moments to admire the giant submarine mural on the wall) and the pickled vegetables and marinated meats of Vietnamese banh mi. The culinary fusion leads to $4 ham-and-cheese sandwiches with lettuce, tomato, red onions, and daikon, as well as one of the best veggie subs in town: marinated tofu with both Western and Vietnamese fixings, cilantro, and green chiles. Should you be eating in rather than running back to the desk, paper-wrapped oval in hand, the right side of the sandwich board lists Chinese-Vietnamese specials like spicy beef noodles. $ SZECHUAN NOODLE BOWL 420 Eighth Ave. S., 6234198. An ID staple, tiny Szechuan Noodle Bowl specializes in . . . wait for it . . . bowls of spicy noodle soup. There’s a subtle anise-tinged sweetness to the broth of the beef noodle soup, and it softens you up so the chile kick hurts all the more deliciously; the bowl is topped with beef stewed so long it can barely remember to hold its shape. Forget the cold sesame noodles and stick to the soups and SNB’s two cult dishes: the dumplings and the fried green-onion pancake. $

MAGNOLIA & INTERBAY

MAGGIE BLUFFS MARINA GRILL 2601 W. Marina

Pl., 283-8322. With all due respect to Palisade, its downstairs neighbor, Maggie Bluffs, is a more affordable, family-friendly endeavor. Sure, the view’s not as majestic, but the water’s still right there, and the fish tastes as though it jumped straight out of Puget Sound and into the fryer. $

NORTH SEATTLE

MEHAK INDIAN CUISINE 12327 Roosevelt Way N.E.,

632-5307. This modest Punjabi restaurant in North Seattle is run by a couple who fuss over their customers as if they’re a band of in-laws who’ve just arrived after a six-hour road trip. The chefs’ skill with the tandoor is more sure when it comes to baking blistery, soft breads than (over-)roasting meats, but curries like rogan josh and mushroom matar are as honest and straightforward as the decor suggests. $ OLD VILLAGE KOREAN RESTAURANT 15200 Aurora Ave. N. Ste. D, 365-6679. Since its latest change of ownership, this place looks as though HGTV sent over a squad to repaint the walls and re-cover the grill tables in mica-flecked granite. With the exception of spicy pork (and who doesn’t love spicy pork?), Old Village’s DIY barbecue, grilled over wood charcoal, has taken a dip in quality. Fortunately, the cold noodles, bibimbap, and other stews are still worth a drive. $$ PLAZA LATINA 17034 Aurora Ave. N., 533-9440. Located past rows of pawn shops, strip clubs, casinos, car dealerships, and ‘70s-era hotels, it’s not the most glamorous of shopping strips, but this massive Latin American market warrants a trip north. The spacious shop is stocked with everything you’d need to make a meal of empanadas, arepas, enchiladas, and more. Shelves are lined with jars of chiles and chili paste from Central and South America, bags of achiote and yerba mate, cans of chimichurri and dulce de leche, dried beans in every shape and size. A couple of freezers to the left as you walk in carry frozen ingredients too tropical to carry fresh, plus a few items, like those arepas, that just need to be heated before eating. There are Costco-sized birthday cakes and a meat case holding chorizo and longanitsa sausages. Fluorescent colored piñatas hang overhead, creating a disjointed party atmosphere. $

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food are similar to Smith’s. When she’s not mixing drinks, McManus acts, having just completed her » by sara billups first voice-over project on a teen-novel audiobook. The Drink: Asked to mix a cocktail of her choosing, McManus heads straight for Blue Curaçao. Adding Bacardi The Watering Hole: Bait light rum, Cointreau, Shop, 606 Broadway E., 420pineapple and lime juices, 8742, CAPITOL HILL and a splash of soda, The Atmosphere: Even she makes her take on a Blue Hawaiian. Before though it’s the new kid on the garnishing it with a pineblock, Bait Shop already feels apple wedge, a brandied perfectly worn in. The Linda cherry, and a plastic Derschang–owned bar serves spider monkey, she and water in plastic pizza-parlor another employee insert cups. Stackable bingo-parlor fresh straws to sample its chairs circle tables, and misproportions until they get matched captain’s wheels are things just right. mounted on the wall. On a lazy The Verdict: There’s January Sunday, staff handed not a trace of a seasonalout fresh blueberries that when ity in the Blue Hawaiian. chewed, exploded like pop A trusted Derschang deputy. It tastes like an elevated rocks—an experiment from version of what’s typically Bait Shop’s carbonator. The Barkeep: Carlee found inside red plastic McManus worked at the Derschang-owned cups at house parties. But there’s something Oddfellows and Smith for the past few years, and about drinking a kitschy yet refined drink out of a helped open Bait Shop in December. She says the pint glass on a rainy winter Sunday that’s pretty bar has the creature comforts of Linda’s, while damn terrific. E food@seattleweekly.com its high-end cocktails and thoughtfully sourced

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away an hour or two is surprisingly difficult in downtown Seattle. Café Paloma is one of the lone exceptions to that frustrating rule. This intimate nook is maybe the size of a big garage, and that’s counting the tiny patio, a perfectly charming place to sit on a sunny day so long as you’re good at ignoring Pioneer Square’s gaggle of transients. Even though the atmosphere is casual, everything about Café Paloma exudes understated class without succumbing to the exasperating pretension that plagues so many of downtown’s pricier establishments. More important, Paloma is one of those rare places where you can open the menu, close your eyes, point at something, and order it with confidence. Every single item is a study in the kind of balanced flavors that can only be consistently attained with careful attention. The panini sandwiches contain perfectly proportioned layers of filling; it’s just the right amount not to be overwhelmed by the thick foccacia, and it’s hard not to resist the urge to lick the last bits of hummus and red-pepper dip from the meze platter. $

QUEEN ANNE

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takes pride in offering a full page of grub on its bar menu, promoting $2 off during happy hour. Its fare is described as “fine Mexican fusion” that throws in some seafood dishes like seared scallops and crab cakes and tops them with salsa. There’s even a fancied-up version of a grilled cheese sandwich. Without any traditional Mexican decor, it’s hard to tell what La Luna is all about without glancing at its menu. If

ALittLeRAskin » by hanna raskin

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Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

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The guest judges assembled for Top Chef: Seattle’s fried-chicken feast included a Korean-American, an Austrian immigrant, and a Jewish Latina, but conspicuously absent was a representative of the cultural group which historians say deserve credit for perfecting fried chicken in the U.S. “I was really annoyed that an appropriately diverse table of judges didn’t include one African-American,” says Adrian Miller, author of the forthcoming Soul Food: The Surprising Story of an American Cuisine, One Plate at a Time. “Fried chicken is an example of African-American cultural artistry. I want African-Americans to reclaim their contributions to the dish.” Compounding Miller’s annoyance is the ease with which producers could have located an African-American fried-chicken expert in Seattle: As he points out, even Oprah has blessed Ezell Stephens’ chicken. And since the show has repeatedly demonstrated its willingness to import guest judges—much to Seattleites’ chagrin—Miller says the omission was “needlessly lazy.” Miller recognizes the racial baggage which accompanies every bucket of fried chicken, although he believes the stereotypical associations fostered by minstrel shows and propelled by Jim Crow–era fears are rapidly fading as fried chicken becomes increasingly ubiquitous. “I think if you ask someone under 25, they’ll be like, ‘What are you talking about, dude?’ I don’t think it resonates with the younger generation,” he says. Still, he imagines a white casting director might flinch at calling up an African-American chef just because fried chicken’s on the menu. “I see how a casting director would be nervous, but I think you can defend it,” he says. Marché’s Jamaican-born chef, Daisley Gordon, has previously appeared on Top Chef, but Miller says that if producers weren’t keen on casting locally, they also could have saved

anything, the lounge offers a more professional atmosphere for Queen Anne-ites who are tired of having to dodge the partiers at Pesos in order to get a taco. $$ LA PALMA RESTAURANT 3456 15th Ave. W., 284-1001. One of the city’s most durable family-owned greasyMex restaurants. The entire restaurant feels like a hole-in-the-wall cantina. There’s an upper-deck area where customers can gaze at sports on a wall-embedded TV (or into the kitchen, where they can watch their food being prepped), and an employee-only utility bar adjacent to the kitchen where jumbo margaritas are mixed. As for the food, it ranges from merely OK to pretty good. The Steak La Palma was tough but generously apportioned, the beef taco was too juicy for its shell, and the cheese enchilada and tostada were solid. Service is cheerful and attentive, the perfect end-of-day pick-me-up for the Interbay grinder. $ PESO’S KITCHEN AND LOUNGE 605 Queen Anne Ave. N., 283-9353. While many of Peso’s patrons are busier feasting on the sexy singles opportunities than on the nuevo-Mexican fare, the Queen Anne mainstay doesn’t coast on atmosphere and well-mixed margaritas alone. The crowd, heavy on the preternaturally tan post-Greek system contingent, goes for the carnitas (tender sautéed pork cubes in a sauce only Seattleites would deem spicy) and scrumptious grilled prawn fajitas, while the spicy ahi tuna and cucumber tostada is a perennial favorite. It ain’t down-home Gordito’s, and it’s certainly not the place to go for muy auténtico menudo, but Peso’s is sure to satisfy those who want a savory something to go with their cocktail. $$

a seat at Tom Colicchio’s picnic table for either Leonard Thomas, author of Cooking With the Chicken Man; New York’s legendary chicken fryer Charles Gabriel; African-American foodways authority Jessica Harris; restaurateur B. Smith; or Leah Chase, the “Queen of Creole Cuisine” who recently celebrated her 90th birthday. “[Chase] would have had a great back-and-forth with Emeril, I’m sure,” Miller says. Fried chicken was once considered an exclusively Southern preoccupation. In Fried Chicken: An American Story, John T. Edge quotes North Carolina’s Jim Villas as saying, “To know about fried chicken, you have to have been weaned and reared on it in the South. Period.” That 1982 pronouncement has become irrelevant in a food landscape contoured with fried chickens from Asia, Latin America, and—as judge Wolfgang Puck reminded viewers—Europe. Miller doesn’t claim fried chicken belongs solely to his community. “But, indisputably, African-Americans had a role” in creating the fried-chicken style imitated by fast-food restaurants such as Popeye’s, Bojangles’, and KFC, he says. “African-American chefs were the standardbearers for American cooking worldwide,” he adds. “Fried chicken and terrapin, those were their one-two punches.” Fried chicken wasn’t the only dish featured on last week’s episode with strong connections to a single culture. In the Quickfire Challenge, the chefs were tasked with making sushi for the Okinawan-born Katsuya Uechi. All the chefs expressed their reverence for the genre, and many of them worried about meeting Uechi’s expectations. By contrast, the Americans in the group—none of whom claim African-American heritage—felt extraordinarily comfortable with fried chicken. “And then they found out fried chicken’s not so easy,” Miller says. E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

music»

How to Be a Man

Monogamy, evolution, and eye contact. BY DUFF MCKAGAN

wish I had the answer. There’s never been an adequate manual for instruction on how to be a man. Images of put-together, suitwearing studs drinking whiskey on TV commercials are just not real life. As much as we fellas want to be like Jason Statham, kicking ass at will—well, good luck with that. I don’t look as good as Statham does when I wear a tuxedo with my bow tie a bit loosened. My kung fu will never be as fluid as what I see in movies. My hair will never be cut to perfection, and top-shelf cologne can’t make everything else in my life perfect and well-kept. All that said, I have made some observations so that I may help the man-traveller in these current and confusing times:

Lead by example. Men are fixers. It gets frustrating for us fellas if we can’t mend a situation, or if others don’t adhere to what we think is righteous and forthright. All you can do is be the best you can be at that moment. Forge ahead in your own light, feet firmly planted, chest out, shoulders back. It will be noticed when you lead by example. Listen to your girl. We men sometimes get frustrated when our ladies talk. We will try to actually converse when she is deep into a story about the boss being a dick, or some other friend of hers doing your girl wrong. Do not even try to fix this situation! Your sweetie just wants you to listen. Hell, you don’t even have to agree. Just listen. This is black-belt-level man stuff. Do the dishes. Hell, take it one level further: Cook the dinner and do the dishes. Doing laundry is man’s work too, as well as

To be a man also means to be a man of your word. In this day and age, being

JEREMY EATON

Keeping calm is an art form perfected only by the manliest of men.

Be the man. Be a good example, even if you’ve got to fake it. Your kids observe everything you do. And though it may not seem like it at the time, your kids want to be like

you. They want to be proud of you and brag about their dad at school and to their friends. Be observant of your own actions around those kids.

cleaning up after the dogs and cuddling your kids. Having a home life where you get the opportunity to be a family man and partake in all these things is a very good thing. It means that you have matriculated your man thing to the very top level. Keep it up. Don’t be a pussy. Don’t shy away from a situation just because it’s tough. If it is protecting the one you love, or things are tough at work . . . pin those ears back and remember who the fuck you are. Get smart. Educate yourself on what is going on in culture and politics. Read some books about history. Don’t be a pawn, be a scholar. Evolve. Our dads and granddads grew up in a different time. Communication and tenderness were not neccesarily components of their age groups’ makeup. You don’t have to be exactly like them. Even though we saw good examples of man-stuff in them, the times, they are a-changing. So you see, there are no real tips for how to look like a male model with perfectly hewn facial hair. There are no fitness guidelines on how to get that perfect six-pack. I’ll let you know about all that stuff once I figure out how to unwrap this P90X DVD and get my wax on. E Duff McKagan is the founding bassist of Guns N’ Roses. His column runs every Thursday at seattleweekly.com/reverb. askduff@seattleweekly.com

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

straight-up with others is almost a foreign tactic. A completely new and strange phenomenon has surfaced because of text conversations between men and women (I have been made to understand). In the song “Say My Name,” the girl wants her man to say her name out loud in a phone conversation—because she suspects her dude is with another woman. Now that texting is the main mode of conversation, apparently, suspicious ladies are now asking for a picture from their beaus. As in: Show me that you aren’t with some chick. Man up. Don’t commit to a girl unless you are done being the carouser. If you feel solid in your relationship but your girl still asks for a picture, it may be time to move on. Learn how to fight. Yep, go box or learn some style of martial art or mixed martial art. It’ll actually have the opposite effect on us fellas. Instead of being threatened out there at a bar or whatever, having skill in some fighting discipline will calm that dumb machismo that all us dudes are born with, and those previously thought threats from some dumbass will suddenly seem silly. Fighting skill and conditioning will give you confidence in many areas of your life. Save it for your girl. The “it” I am speaking of actually acts as glue for a relationship. Monogamy is key. If you can’t be honest with your lady, it proves that you aren’t being honest at all, and that is a loser’s game. Get a cause. A good friend of mine with a wife, three kids, and a full-time job still finds time to volunteer at Ronald McDonald House. Guys like this are a true inspiration for the rest of us fellas. Don’t road-rage. See #2. Keeping calm is an art form perfected only by the manliest of men. See people in person. Or at the very least, call. The art of conversation is a dying thing. Man up and sit down for coffee with that person you usually text with. That’s right . . . and look them in the eyes (this may seem totally weird to anyone under 30, I understand).

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Apple-Polisher

Curt Krause has an orchard and works till he’s sore. BY LEAH SOTTILE

urt Krause prefers a strange face to a familiar one. It’s not that he doesn’t appreciate the regular fans who come to all his shows, those family members who’ve cheered him along as he’s walked the unlikely path of a musician, or the artists who’ve harmonized alongside him in recording sessions. But a thrill comes from playing a room of faces he’s never seen—people whose names he doesn’t know, and who probably don’t know his. “You want to be taken seriously,” he says. “But when you play out of town, even though there might only be 15 people there, that’s 15 people who don’t know you and are strictly there because they want to hear your music. Or maybe because you have a pretty girl in your band.” That’s why the 27-year-old Snohomish songwriter—who spends his days working on his family’s farm and nights performing as Edmund Wayne—keeps his show on the road more often than not. He plays big cities, sure. And in Seattle and San Francisco, buzz has been building: a “Song of the Day” nod from KEXP in November, a “Beard of the Day”

RICK OPPEGAARD

1303 NE 45TH ST

Krause, looking sharp as Edmund Wayne.

ness and moments of humble humanity. He sings about praying in the morning and cussing at night, eating when you’re fat and begging God when you’re lean. He takes his ex-bandmates Sean Knox and Tiffany Harms on tour with him, along with drummer Luke Knezevich, to make his recorded material and live performances sing. But the songs on the Edmund Wayne EP are written by Krause, all about the people he’s notice from an L.A. DJ. But it’s in small towns met through the years. Friends he’s watched filled with folks he doesn’t know that Krause divorce. An uncle. An ex-lover. Another family is most comfortable, places like Ashland, who, like his, runs a farm nearby. Ore., Cottage Grove, Ore., and Pullman. Even Most people have no idea he’s written a if such comfort carries risks. song about them. “Yohanna,” for example, is “We played a show and we went out afterabout a man named Sergio who works on his ward with a bunch of people from the show,” family farm, and whom he recently worked he says of a trip to Pendleton, Ore., with his side-by-side with to build trellises in their previous band, Buffalo Death Beam. “There apple orchard. “I hear him on the phone in were a bunch of cowboys his room most days, that were trying to pick talking to his mother fights with us. ‘You longthat he hasn’t seen in 16 Tune in to 97.3 KIRO FM hair, get out of our fucking years,” Krause says. “He every Saturday at 7 p.m. town!’ ” is a humble and beautito hear music editor Chris Kornelis But those places leave a ful man. He has no idea on Seattle Sounds. mark on Krause’s music, that I wrote a song about too—a sense that it can him.” speak to any regular old folks. He says, Krause realizes he doesn’t always need peothough, that Edmund Wayne’s music too ple to know that these stories are about them. commonly gets lumped in with indie folk, a They don’t need to be in the crowd, swaying label he thinks gets attached to bands who to his songs, for them to matter. But he also don’t yell and have a few slow songs. “Before knows he’d have nothing without them. E the Fleet Foxes,” he says, “folk was, like, an music@seattleweekly.com easy brand on anybody who was an American and who wrote a song about himself or someEDMUND WAYNE body else.” With Dearborn, The Singing Mechanic. Krause and his band stray from folk, Fremont Abbey, 4272 Fremont Ave. N., instead producing songs rife with solitary 414-8325, fremontabbey.org. imagery and deep with sentiments of loneliAll ages. $8–$14. 8 p.m. Tues., Feb. 12.

Krause sings about praying in the morning and cussing at night, eating when you’re fat and begging God when you’re lean.

music» »TELL ME ABOUT THAT ALBUM

BFF, Vol. II

Ben Folds Five returns for The Sound of the Life of the Mind.

fter a dozen years apart, Ben Folds Five, one of the ’90s’ most surprising success stories, reformed last year, inspired by their 2011 greatest-hits record, which combined group work with material from Folds’ solo pursuits. The new album, The Sound of the Life of the Mind, offers 10 new tracks of Folds’ signature piano-fueled pop, including one with lyrics by author Nick Hornby. We talked to Folds about the band’s reunion, Miles Davis, and Weird Al.

SW: Were you at all constrained by feeling like you needed to make a record that Ben Folds Five fans would enjoy, and not stray too far from the sound of the three records you made together? Folds: I don’t know what most artists say,

I’d be thrilled if we could make a Miles record! In our world, we’d be like, “Man, this is radical, we made the record Miles never made.” And then about a year later, it would sink in that we’d just made another one of our records, because that’s who we are. Where did the idea for “On Being Frank” come from, which imagines Sinatra’s tour manager after his death, and which is kind of sad?

It was based on something my tour manager said, which was that when he quits this job, he’s not going to know where to set the thermostat for himself. I thought, OK,

Can you talk about the Eric Joyner paintings that accompany the package—specifically, the one on the cover with the robot underwater?

It has humor, it’s absurd, and it’s also isolating. It’s called “Submerged,” which is perfect. It speaks to responsibility, contemplation, sensory deprivation. I think it’s awesome. I just feel it. I don’t know shit about art. I’ve always liked his paintings because they’re absurd and very heavy, so I like that. The only problem for me was the fact that the album cover is a marketing tool, and I doubt Charles Dickens gave a shit what was on his covers—I mean, look at the “White Album.” My only concern with the marketing tool was that the indie kids have been digging some robots for quite a while. If I was aware that maybe it was eight years too late in terms of stylistic, on-the-edge coolness, then oh, well. But I think it has something that will last—kind of like the cover of “Bitches Ain’t Shit” that I did. I always felt like that version had a lot of heart, and that’s why I was into it. I would see criticism pop up and someone say, “Ah, white guys doing an ironic cover of a gangsta rapper again,” but my feeling on those things is, is it moving me and does it have heart? Weird Al Yankovic stands up because he’s always played by feel and doesn’t try to be anybody he’s not. E music@seattleweekly.com

BEN FOLDS FIVE Showbox at the Market, Mon., Feb. 4. Sold out.

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shawn mullins w/ max gomez MON/FEBRUARY 11 • 7:30PM

hot tuna - acoustic next • 2/13 victor wooten • 2/14 - 2/16 the atomic bombshells “j’adore! a burlesque valentine” • 2/17 dark divas • 2/19 habib koite and eric bibb – brothers in bamako • 2/21 ari hest • 2/22 zach fleury •2/26 led kaapana • 2/27 robben ford • 3/1 freddypink • 3/2 tyrone wells • 3/3 carrie clark & the lonsesome lovers • 3/4 boy • 3/5 rhett miller w/ shelby earl • 3/7 mason jennings • 3/8 roy rogers & the delta rhythm kings • 3/9 masters of tradition with martin hayes • 3/11 the james hunter six • 3/12 edwin mccain • 3/14 - 3/16 diamonds - heavenly spies 10th anniversary gala • 3/17 merita halili & the raif hyseni orchestra • 3/20 anais mitchell and jefferson hamer w/ frank fairfield • 3/22 gypsy soul • 3/23 iris dement • 3/28 cahalen and eli w/ brittany haas • 3/29 gimme shelter: the dusty 45s, star anna, shane tutmarc

happy hour every day • 1/30 how now brown cow • 1/31 peace/pereira duo / singles • 2/1 danny godinez / jason sees • 2/2 rai • 2/3 super bowl sunday • 2/4 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 2/5 singer-songwriter showcase w/ kara hesse, susy sun and acadia slideshow • 2/6 flip and fly / rippin chicken TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

It would be pretty amazing if Ben Folds Five tried to make a Miles Davis–sounding record.

well, this is in fact literally what you would call an identity crisis—you don’t know who you are and what your story is. It’s that quandary of “What do I do next?” My next step is not going to be determined by who I thought I was. So that’s what the song is. And this is exactly what happens when you’re in a longterm marriage, and then it’s over and you no longer know how to make your coffee or what you like, because you’ve only defined yourself in this way. Using the tour manager was a way of lightening up that subject matter for me.

AUTUMN DE WILDE

but I can’t imagine having this agenda in your head about what it should be. The best thing to do is to play by feel and do things that are exciting to you. Our records are radically spiritually different from each other, yet they sound very similar. You’ll have one person saying, “I love that record,” and they’ll hate the other record. But they sound very similar and they have similar themes. I think that’s really what we do. It’s three guys—piano, bass, and drums. I’m not saying you can’t have some The three make Five. diversity of sound in that, but it is what it is. It took quite a while and a lot of different kinds of players and decades for Miles Davis to really start sounding different, too. You can hear him play and say, “Well, that’s Miles, there’s his trumpet.”

BY DAVE LAKE

music»TheShortList Juice Radio’s Seventh Anniversary

prophetically reflects our recent misty weather: “Fog hides the stars in Seattle.”

THURSDAY, JANUARY 31

With the Maldives, Curtains for You. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $15 adv./$17 DOS.

Created by Tacoma rapper/producer Q Dot, streaming web-station Juice Radio has now been pumping hip-hop and R&B outward from the South Sound region for seven years. The station’s founder tops the bill of this anniversary show, but the undercard holds the firepower. Tacoma heavyweight Bruce Leroy brings a bounty of choice tough-guy bars, and Seattle’s bubbling punch-line artist Mega Evers will keep the audience’s juices flowing. Throw in one of the Town’s finest selectors in DJ Swervewon, and you’ve got yourself a party. With Da Association. Barboza, 925 E.

GWENDOLYN ELLIOTT

Excision SATURDAY, FEBRUARY 2

Canadian dubstep DJ Jeff Abel, better known as Excision, has gained quite a following in the U.S. thanks to his milder aggressive dubstep. His heavy, beatblasting mashups join morphed drumand-bass lines with aggressive metal and hip-hop vibes, a combination meant to make listeners dance—with plenty of classic “wub-wub”s to keep any dubstep enthusiast satisfied. Free recordings from performances over the past five years at the annual Shambhala Music Festival in Salmo, B.C., have earned Excision millions of downloads. Too bad fellow B.C. dubstepper Datsik won’t be by his side tonight to perform their collabos “Swagga” and “Calypso.” With Paper Diamond, VASKI.

Pike St., 709-9467. 7 p.m. $5 adv./$8 DOS. TODD HAMM

Paul Kelly THURSDAY, JANUARY 31

Indisputably one of the world’s most underappreciated songwriters, this Australian’s sense of romanticism might creep up on you, but it’s rich in perseverance. A Paul Kelly tune doesn’t thump its listener in the heart so much as it evokes profound memories of a rainy night, a look, or an article of clothing that will forever retain significance. Not all of us can pretend-fly on the bow of the Titanic with DiCaprio’s arms around our hips. Such grand flourishes are the stuff of short-lived trysts, whereas Kelly’s candid tales speak to the peaks and valleys of unconditional commitment, and err toward affirmation. With Kail Baxley.

The Paramount, 911 Pine St., 877-784-4849. 7 p.m. $21.25– $36.25. All ages. ASHLEY ROE

Ellie Goulding MONDAY, FEBRUARY 4

Triple Door, 216 Union St., 838-4333, thetripledoor.net. 8 p.m. $22 adv./ $25 DOS. All ages. MIKE SEELY

Dubstep diva Ellie Goulding.

is wonderfully evident in Stringfellow’s latest release, Danzig in the Moonlight. Traversing a range of genres, the songwriter flourishes under the label’s partnership, pitting existential pop anthems (“Super-

wise”) next to ’70s rock (“History Buff ”) without losing a regional edge: You can’t help but think Seattle’s passive-aggressive streak is the subject in “Shittalkers!”, while the loose, folky jangle of “You’re the Gold”

Lucia. Showbox SoDo, 1700 First Ave. S., 652-0444. 7 p.m. Sold out. All ages. ERIN K. THOMPSON

EDITOR’S PICK

Big Freedia

EMELI SANDÉ

TUESDAY, FEBRUARY 5

FRIDAY, FEBRUARY 1

The 25-year-old Scottish soul singer Emeli Sandé’s given first name is Adele, but she chose to start going by her middle name after that other UK soul singer began to hit it big. Names and nationalities aside, Sandé differs from Adele in her steely songwriting, much grittier stuff than Adele’s highly polished pop. Her version of soul has caught on in a big way in Britain: Her debut album, Our Version of Events, won the BRIT Awards’ prestigious Critic’s Choice Award in 2012 and became the UK’s bestselling album of the year. The record—which contains a song co-written by Alicia Keys, the U.S. artist she most resembles—splits the difference between bluesy ballads that show off her powerfully elastic vocals (“Suitcase,” “Clown”) and sweeping, rhythmic numbers, like the skittering opener “Heaven” and the authoritative “My Kind of Love,” which stands out as one of the fiercest love songs written in recent memory. With Emily King, Jenna Andrews. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $14. ERIN K. THOMPSON

KATE DAVIS-MCLEOD

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

FRIDAY, FEBRUARY 1

You’ve gotta love local label Spark & Shine: It boasts one of Seattle’s only insurance-salesman/urban-cowboy acts (Brent Amaker and The Rodeo), a fiercely homegrown supergroup (the Tripwires), and Ken Stringfellow, who co-founded the Bellingham-based power-pop band the Posies. The imprint’s reverence for the pioneering rock sounds that started here

SIMON PROCTOR

Ken Stringfellow

British pop artist Ellie Goulding became known in the U.S. first for singing at Prince William and Kate Middleton’s wedding, then for dating Skrillex and rocking the same half-shaved hairdo, and then, finally, for her music. Her pulsating dance single “Lights” became a smash hit a year after it was released, bringing more attention to her solid 2010 debut album of that name. Lights’ follow-up, last year’s Halcyon, is darker and dubbier; while it’s performed well commercially and has spawned a minor radio hit—the dreamy, down-tempo “Anything Could Happen”—it doesn’t match the bright energy of her debut. Goulding is a precociously talented musician blessed with a unique and interesting voice; her next step is to get back to writing songs that allow her sublime vocals and breezy youth to shine forward. With St.

Big Freedia (the Queen Diva/”dick eata,” etc.) is currently New Orleans’ most visible “bounce” artist, one who ups the bar for entertainment in any genre. Her ultra-flyness of style, sassy baritone call-and-response tactics, and overall triumphant flamboyance will, by all accounts, make this show impossible not to enjoy. She will cause more ass-shaking than your standard tectonic hiccup, and get things steamier than that one sex spa in the U District that got shut down. (OK, well, almost as steamy, but really.) Plus, feverish hometown dance/rap team Don’t Talk to the Cops! will have you all limbered up by the time it’s time to dance all nasty, so you won’t cramp up when you’re getting grimy. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $15. TODD HAMM

DUELING PIANO PARTY Too much fun! Lots of song and laughter in our rockin’ piano shows. Doors open at 5 - Be sure to try out the food from our great kitchen!

315 2nd Ave, Seattle • 206.839.1300 • ilove88keys.com

tractor www.tractortavern.com

5213 BALLARD AVE. NW  789-3599 Times listed are show times. Doors open 30-60 minutes before Wed, Jan. 30 • 8pm ~ $6

JANGLE-RICH BREED OF ROCK ‘N ROLL

LAST GREAT FIRE JON PONTRELLO Thur, Jan. 31 • 8:30pm ~ $15

THE TRACTOR & KBCS 91.3FM PRESENT FOLK & BLUEGRASS FROM PORTLAND

BLACK PRAIRIE CAHALEN MORRISON & ELI WEST

Fri, Feb. 1 • 9:30pm ~ $15 adv / $17 dos

SPARK & SHINE SHOWCASE WITH

KEN STRINGFELLOW THE MALDIVES CURTAINS FOR YOU

Sat, Feb. 2 • 9:30pm ~ $15 adv / $17 dos

SPARK & SHINE SHOWCASE WITH

THE MALDIVES KEN STRINGFELLOW STAR ANNA

ALICE IN THE RIVER DAY LABORERS AND PETTY INTELLECTUALS TBA

Thur, Feb. 7 • 9pm ~ $6 SEATTLE-BASED LOUNGE BALLADRY BAND

COLT KRAFT BAND JACK WILSON JASON DODSON SUSIE PHILIPSEN

Fri, Feb. 8 • 9:30pm ~ $25 TEAM UP FOR NONPROFITS PRESENTS

JOSIAH JOHNSON & CHARITY ROSE THIELEN OF THE HEAD AND T THE HEART U O SMOKEY BRIGHTS SOLD RIVER GIANT Sat, Feb. 9 • 9:30pm ~ $10 adv / 12 dos

FUNK, SOUL & R&B

ELDRIDGE GRAVY & THE COURT SUPREME

THE JEFFERSON ROSE BAND SCOTT PEMBERTON

2/10 3rd annual Sweethearts Serenade feat.JESSICA LYNNE, RICKY Up & Coming: GENE POWELL & THE HONKY TONKERS,JOY MILLS BAND, KENDL

WINTER & THE SUMMER GOLD,RACHEL MAE  2/11 MONDAY SQUARE DANCE with THE TALLBOYS  2/12 TUBALUBA, THE BRAXMATICS, FUNKY 2 DEATH  2/13 The Tractor Tavern & KCBS 91.3FM Presents NORTH MISSISSIPPI ALLSTARS, THE LONDON SOULS  2/14 ACES UP, GUNS OF NEVADA, JESSICA LYNNE  2/15 Al Parisi & Dead Nation present a Mardi Gras Celebration with THE HOT 8 BRASS BAND, KISSING POTION  2/16 RADIATION CITY, BLACK WHALES, THE COMETTES  2/17 KRIS ALLEN, JILLETTE JOHNSON  2/21 MIKE COOLEY of Drive-By Truckers 

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

DESERT NOISES

Wed, Feb. 6 • 8pm ~ $6

SINGER/SONGWRITER

Event SAT, FEBRUARY 9TH

VALENTINE’S DAY DASH GREEN LAKE PARK

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

Event SAT, FEBRUARY 16TH

PUSAFEST 2013

SHOWBOX AT THE MARKET

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

206-441-5449

seven»nights Saturday, Feb. 2 BLACK BREATH This Seattle-via-Bellingham black-

ANNA KNOWLDEN

Kristen Ward plays the Triple Door on Friday, February 1.

Wednesday, Jan. 30

Friday, Feb. 1

DEAD MAN The latest release from this local guitar-

BRITE LINES Both these headliners and their openers,

C’EST LA MORT The eclectic lineup for this show reads

like a warped version of the ’80s underground, from hazy C86 guitar pop (the headliners) to four-on-the-floor new wave (Jupe Jupe) to gothic synth-pop (Golden Gardens). With Blue Light Curtain. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $7. THOUSANDS Formerly a duo—Kristian Garrard and Luke Bergman, who played gentle acoustic folk— Thousands is now a four-piece rock band. They’ll record their first album in this new configuration in February. With Neighbors, Lori Goldston. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbia citytheater.com. 8 p.m. $8. TOMTEN This sunny sepia-pop quartet will make you long for those few T-shirt-and-shorts days on the other side of the year, and keep you as warm as your fondest memories. With Shenandoah Davis, Seven Colors. Barboza, 925 E. Pike St., 709-9467, thebarboza.com. 8 p.m. $8. WOW & FLUTTER Occasionally, life imitates Portlandia: This Portland psych-pop duo recently released the EP Double Deuce, which can be purchased only by buying a 22-ounce microbrew of the same name from the Alameda Brewing Company. With Scriptures, Steradian. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $6.

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

ALY TADROS This up-and-coming singer/songwriter/

guitarist is touring behind The Fits, a collection of wistful, winsome folk songs bolstered by Tadros’ classical-inspired picking style. With Irvin Dally, J Wong. Sunset Tavern. 7:30 p.m. $8. NONPOINT This Chicago alt-metal band is touring behind an eponymous album, its ninth, which includes contributions from three new band members. With Candlelight Red, Digital Summer. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazon seattle.com. 7 p.m. $13 adv./$15 DOS. All ages. RIZ ROLLINS A 20-plus-year veteran of KEXP’s airwaves, Rollins spins a far-ranging variety of tracks during his meticulously prepared DJ sets. Q. 3 p.m. Free.

Pocket Panda, play electronica-inflected folk rock, so it’s fitting that the two bands will release a split 7-inch at this show. With James Apollo. Columbia City Theater. 9 p.m. $8 adv./$10 DOS. FLASH, an electronic-music showcase curated by Decibel Festival and Shameless Productions, will run weekly through the end of February. This first installment features producers John Tejada (I’m Not a Gun) and Pezzner (Jacob London). With Nordic Soul, Recess. Q, 1426 Broadway, 432-9306, qcapitolhill.com. 9 p.m. $7. THE GRIZZLED MIGHTY This duo plays an energetic brand of blues with crunchy guitars and echoey BEN FOLDS FIVE It had been 13 years since Ben vocals. Tonight is the release show for their new EP Thick Hand Grip; they top a great all-local bill. With Folds had released an album with his inaccurately Kithkin, Rose Windows, River Giant. Neumos, 925 named trio, but that changed with September’s The Sound of the Life of the Mind, another set of Folds’ E. Pike St., 709-9442, neumos.com. 8 p.m. $10. KRISTEN WARD Why an artist as beautiful (those trademark witty piano-pop tunes. With Nataly Dawn. cheekbones!) and talented as Kristen Ward isn’t ruling Showbox at the Market. 7 p.m. Sold out. I WISH WE WERE ROBOTS Melodic metalcore from Seattle’s roots-rock scene is an ongoing mystery. Her Sacramento with all the usual signifiers: alternatdeep, rich voice separates Ward from the latest crop ing screamed and “clean” of reedy female vocalists vocals, chugging breakaround town; she sounds downs, and a healthy dose just . . . like . . . a woman. of puerility (“Influences: With the Blue Tracks. Your mom”). El Corazon. Triple Door, 216 Union St., 7 p.m. $8 adv./$10 DOS. 838-4333, thetripledoor. All ages. net. 8 p.m. $15 adv./ $18 DOS. All ages. MUSE At this point in their nearly 20-year career, Muse’s massive popularity has more than caught up to the band’s unbriSUZANNE VEGA Among dled ambition. Last fall’s Muse headlines The 2nd Law earned a this singer/guitarist’s KeyArena on #2 Billboard debut—the best-known work is “Tom’s Friday, February 1. band’s highest ever Diner,” a simple a cappella and one worthy of pop tune that isn’t all that their outsized neo-prog notable on its own, but epics, which draw on which played a significant everything from King Crimson to Skrillex. KeyArena, part in the history of digital audio when it was used 305 Harrison St., 684-7200, seattlecenter.com. 7 p.m. in the first tests of the mp3 file format. Benaroya $32–$62. All ages. Hall, 200 University St., 215-4747, seattlesymphony. TAPWATER is a six-piece roots/country ensemble (or, org/benaroya. 7:30 p.m. $45. All ages. TARA STONECIPHER & THE TALL GRASS Eugene per their website, a “world twang experience”) from songwriter Stonecipher and her three-piece backing Portland whose pleasant folk songs show an eclectic band craft pretty, placid folk songs. With Sincerely set of influences. With Tumbleweed Wanderers, Val, Matthew O’Toole. High Dive, 513 N. 36th St., Heels to the Hardwood. Nectar Lounge. 8 p.m. 632-0212, highdiveseattle.com. 8 p.m. $6. $7 adv./$10 DOS.

Monday, Feb. 4

Tuesday, Feb. 5

GAVIN BOND

Thursday, Jan. 31

Sunday, Feb. 3

Se attle weekly • JAN UARY 30−FEBRUARY 5, 2013

and-drums duo is the aptly named Filthy Blues. With Glossary, Lincoln Barr. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m. $5. EARPHUNK This New Orleans–based funk group is currently in the midst of an extended national tour that includes dates with like-minded jam band Shmeeans & The Expanded Consciousness. With Groovesession, Brothers Gow. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $5 adv./$8 DOS. PRINCESS In an uncommon move for a metal band, this four-piece released in December an album-length remix of its Welcome Winter EP, featuring contributions from both electronic and metal musicians. With Giza. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $8.

metal outfit has spent much of the past year touring in support of their second LP, the heavy-hitting, Southern Lord-released Sentenced to Life. With Sandrider, Occult SS, Nite Nurse. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $10. All ages. HEY OCEAN! This Canadian group epitomizes cutesy folk-pop, from the superfluous exclamation point in their name to their boy/girl harmonies. But they also have a stranger claim to fame: their popularity among fans of My Little Pony, due to singer Ashleigh Ball’s work as a voice actor on the show. With The Ninth Step, Man Without Wax. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $8 adv./$10 DOS. All ages. MAYORS OF LIBERTY Operatic-voiced songwriter Kirt Debique fronts this local folk-rock trio, whose debut album, Another Day in the Dream Factory, came out in October. JewelBox/Rendezvous. 10 p.m. $5. THE SONICS It’s not every day that a show features two progenitors of the Northwest sound, but this one does, pairing the proto-garage-rock headliners with trailblazing grunge band (but don’t call them that) Mudhoney. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7 p.m. Sold out. STAR ANNA The Ellensburg-born country crooner closes the second night of Spark & Shine Records’ showcase with the Maldives and Ken Stringfellow. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $15 adv./$17 DOS.

dategirl»By Judy McGuire SAT FEB 16 & SUN FEB 17 • SHOWBOX AT THE MARKET

letting guys go down on me because I get too anxious about what he might be smelling or tasting. I’m fine with blow jobs, I’m just kinda uptight about receiving. This is starting to be a problem, because my new boyfriend really wants to. How can I know? —What if I Taste Like Spoiled Tuna?

Problem Penises and Pudenda

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Dear Dategirl, I recently began dating a man I’ve had a crush on since college. Fast-forward 10 years—I’m finally getting my wish. We had several chaste dates, and then last night, I went home with him. But while we were “getting acquainted” with each other’s bodies, I noticed his penis was covered in bumps. They weren’t oozing, like pimples or herpes, but they were very pronounced. Prior to noticing this, I had been intending to put it in my mouth. But the bumps . . . I just didn’t want to risk anything. I asked him about them, very politely, and his whole demeanor shifted. He said everyone’s body is different and then got dressed quickly. I tried to talk to him about it, but he made it clear the conversation was over. Was I wrong? I’ve seen many penises (and have one of my own), but never one like this. Was I wrong to ask? I don’t think so, but what can I do? —Picky About Penises

How do I know that I taste good? I haven’t had many sex partners, and tend to avoid

Here’s a quick way to figure this out: Jam a finger in there and taste it yourself. Vagina juice isn’t exactly a hot-fudge sundae, but unless you’ve got some rancid infection down there, it’s pretty inoffensive. Besides, people don’t go down on each other because they’re hungry, they do it to give each other pleasure. Why do you think nobody’s marketed Semen Soda or frozen Vagina Poppers yet? Another thing to keep in mind is the typical male diet. Let’s use my Large Greek as an example. He eats intestines and lamb brains (on Easter), and, until he found out the owner was a reprehensible pig, used to crave Papa John’s disgusting pizza. He regularly enjoys Marmite. Do I think he “minds” the taste of my ladyparts? Never even crossed my mind. So loosen up there, my frigid friend. If you like this guy, take a shower before you see him. Better yet, take a shower with him when you see him. Won’t you feel a little more confident once you’re positive there’s no poo residue or pesky TP cling-ons? Have a glass or two of wine if that relaxes you. Or maybe enjoy a relaxing toke off a newly legal joint. Recall that you’ve guzzled his man essence (which is not exactly Dom Pérignon), and realize that turnabout is fair play. E

FIND DATEGIRL » EVERY WEEK AT aONLINE

Want more? Listen to Judy on The Mike & Judy Show, follow her tweets @HitOrMiss Judy, or buy her new book, The Official Book of Sex, Drugs, and Rock ’n’ Roll Lists.

Seattle weekly • JANUARY 30− FEBRU ARY 5, 2013

While it’s true that bodies have all kinds of quirks, weird hairs, lumps, and bumps, it makes sense to avoid the kind of cooties that might possibly be transmitted between partners. You were correct to inquire as to their origin, and he was kind of a jerk to shut you down. I’d say you dodged a bullet. And probably a case of venereal warts too.

dategirl@seattleweekly.com

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MEDICAL CANNABIS DIRECTORY CONNECTING QUALIFIED PATIENTS

high THC level of Blue Dream will likely lead you down some quite introspective mental paths, especially if you toke alone. (Relax; as long as you like yourself, you have nothing to fear.) Selecting the GDP for my second sample (they don’t call it Grand Daddy Purple, just GDP, presumably because it has the genetics but not the purple color) accomplished two objectives at once: It allowed me to check out the indica side of things while sampling a $6 strain. It was great to get effective cannabis for just $30 a quarterounce—so great, in fact, that I didn’t get bent out of shape because these flowers had, to all appearances, been tumbled: a process through which some of the trichomes, which contain the psychoactive cannabinoids, are removed through agitation, forming a potent, powdery, hash-like substance called kief. While smoking the flowers (clearly not top-shelf, but still medicinal), I realized that this is how kiefed buds should always be priced. To charge full price for buds which have had part of the medicine removed would be borderline unethical. On the recent Saturday I visited USC, no concentrates or tinctures were available; the medibles selection was also quite minimal. But if you’re looking for marijuana flowers, you won’t find a better selection in town at these low prices. E tokesignals@seattleweekly.com

Steve Elliott edits Toke Signals (tokesignals. com), an irreverent, independent blog of cannabis news, views, and information. USC 5303 Rainier Ave. S., Suite D, 453-3623. 10 a.m.– 9 p.m. Mon.–Thurs.; 10 a.m.–10 p.m. Fri.–Sat.

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