Seattle Weekly, March 06, 2013

MARCH 6–12, 2013 I VOLUME 38 I NUMBER 10

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BY JOHN RODER ICK

B REVEkR , p. 37

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SEATTLE WEEKLY • MARCH 6 — 12, 2013

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inside» March 6–12, 2013 VOLUME 38 | NUMBER 10 » SEATTLEWEEKLY.COM

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NEWS

THE DAILY WEEKLY | Phone books

become a 1st Amendment issue— an expensive one.

10 PUNK IS BULLSHIT

BY JOHN RODERICK | What started as teenage piss-taking has morphed into a humorless doctrine of acute selfconsciousness and boring conformism.

in back Joyce Carol Oates plumbs evil in New Jersey, NWFF celebrates Charles Burnett, and class tensions erupt at the Rep.

18 ARTS

18 | STAGE | An enchanted indoor forest encourages anarchy.

19 | EAR SUPPLY | Solo duets.

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37 | PICKWICK | Following a best-seller with a DIY project.

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news»The Daily Weekly »DISPATCHES FROM OUR NEWS BLOG

The Price of Paperless Porches Taxpayers paid how much to fight phone-book companies?

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that found their way to a recycling center. A hen news first slipped out about the city of Seattle settling trade group sued, and the case went all the way to the 9th Circuit Court of Appeals. a lawsuit with the publishers Perhaps explaining his interest in the matter, of three phone books over an Reifman writes on his blog: “I believe the Court ordinance requiring the companies to allow resiof Appeals decided this case on the wrong basis dents to opt out of receiving the directories, the and issued an obtuse, narrow-minded ruling. I’d taxpayer tab was reported to be in the ballpark of personally be happy to have the city spend my $500,000. tax dollars on a broader appeal.” MATT DRISCOLL But as first uncovered by self-described “serial entrepreneur” Jeff Reifman last week, the settlement is only a portion of the costs taxpayers incurred in Seattle’s pursuit of paperless front porches.

The city has doled out $264,503 in outside counsel fees to Summit Law Group since 2011, all of it related to the lawsuit, which claimed that the 1st Amendment protected phone-book printers from the restrictions Seattle wanted to put on them.

Add this to what the City Attorney’s Office confirms was a $517,000 settlement in the case, and it brings the total cost to the city to at least $778,503.

As Reifman notes on his blog, this total does not “account for the city’s own in-house legal oversight”—meaning that the total cost, for all intents and purposes, is even more.

When contacted, the City Attorney’s Office confirmed Reifman’s findings. “The City got a good rate from Summit, compared with what the industry attorneys were paid,” says Kimberly Mills, a spokeswoman for City Attorney Pete Holmes. “This area of the 1st Amendment—commercial speech—is highly specialized, and to have the best chance possible, the city needed outside counsel with a very high degree of expertise in this field.”

Mills goes on to break down some of the costs associated with the phonebook lawsuit settlement. She says the $517,000 included $400,000 for the phone-book industry’s attorneys; the remaining $117,000 went to “reimburse the Yellow Pages folks for the 14-cents-a-book fee The Seattle School District wrapped up its the City had put in the ordinance.”

MAP testing last week, despite a boycott by In 2010, an effort spearheaded by councilteachers and students at Garfield High and sevmember Mike O’Brien eral other schools. Teachers created an opt-out syswho refused to give the tem for Seattle residents PRINT IS GREAT, but if you test, claiming it was a waste want to know . . . who didn’t want pointless of time and money, are what your wife is planning to do phone books delivered. It now waiting to hear the with that dildo, check it out on also instituted a charge consequences. Early in the The Daily Weekly. to the companies that boycott, the district warned SEATTLEWEEKLY.COM/DAILYWEEKLY deliver the phone books of a possible 10-day for unwanted directories » CONTINUED ON PAGE 9

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news» The Daily Weekly » FROM PAGE 7

Congress Plays the Hunger Games

“Have there been times in the past 12 months when you did not have enough money to buy food that you or your family needed?”

This was one of the questions posed to thousands of households across the country as part of the 2012 Gallup-Healthways WellBeing Index. The answers were compiled for the Food Research and Action Center’s report Food Hardship in America, and the findings were as alarming as you might expect for a country still climbing out of the depths of the Great Recession: 18.2 percent of respondents answered “Yes.” That equals more than one in six Americans.

Here in Washington, the results were slightly better—a rate of 16 percent, two percentage points below the national average, and good for a ranking of 38th in the country. But according to the Food Research and Action Center (FRAC), even 16 percent is too high.

FRAC says the 18.2 percent national rate in 2012 “was virtually unchanged from the rates in 2009, 2010, and 2011.” The agency attributes this sustained rate of food hardship to families’ continuing struggle with under- and unemployment, low wages, and inadequate government support—for example, a lack of funding for the federal Supplemental Nutrition Assistance Program (SNAP) and WIC (Women, Infants, and Children, another supplemental nutrition program).

“Looking ahead, there needs to be a point where we say ‘No more cuts,’ ” says FRAC spokesperson Jennifer Adach, speaking to Seattle Weekly on March 1, the day the sequestration cuts hit.

“The conversation needs to change, she says.

“I think it definitely signals that we need to start working on ways to get these numbers to move. . . . Clearly more action is needed.”

In addition to staving off even more cuts to programs for the needy—specifically, re-upping the Farm Bill, which contains essential funding for SNAP and which was extended only through September 2013 as part of the so-called fiscal cliff agreement—Adach says Congress needs to respond with “robust initiatives to boost jobs and nutrition programs.”

While it’s troubling that 16 percent of Washingtonians are struggling to feed themselves or their family, the state is faring far better than, say, Mississippi, the nation’s hungriest region, where 24.6 percent of people reported a food hardship in 2012. North Dakota was best off, with a 10.9 percent rate of reported food hardship.

Of metropolitan areas, Spokane was Washington’s most troubled, ranking 44th in the nation with a rate of 17.5 percent. Seattle/Tacoma ranks 79th, with a rate of 14 percent. MATT DRISCOLL

Nicked Snacks

Seattle grocers say they have lost thousands of dollars in merchandise in the eight months since the plastic-bag ban was enacted, because shoplifters enter stores with reusable bags, which makes it pretty darn easy to conceal the items they pilfer. “Across the United States we have seen these bag bans, and the shoplifting has always had a substantial leap,” said Jan Gee, president of the Washington Food Industry Association, “and so it was not a surprise to us.”

Although most stores have security cameras, it is difficult to tell what a customer has paid for and what they may have brought with them. A courtesy clerk at Lower Queen Anne’s Metropolitan Market—who asked not to be named—said he’s seen a number of transients “come walking in with stuff in their [reusable] bags, put a few things in there, and walk out. It happens a lot.”

The Seattle P-I reports that according to data released in January by Seattle Public Utilities, 21.1 percent of surveyed business owners said increased shoplifting, due to the plastic-bag ban, was a problem. ELLIS E. CONKLIN E

news@seattleweekly.com

SEATTLE WE EKLY • MARCH 6 — 12, 2013

suspension for “insubordinate” teachers—but that was before the protest caught fire nationally, generating support among schools from coast to coast and getting airtime on Dan Rather’s report.

Now the legislature is getting in on the action.

Rep. Mike Hope, a Republican from Snohomish County, has introduced a bill that would require school districts to annually provide parents with a host of information about the battery of standardized tests their kids are subjected to these days, including how much time each test would take, whether the test is required by the state or the federal government, the impact of test scores for students, and—perhaps most interesting of all—how much the tests cost.

Anti-testing sentiments are often voiced by activists who portray themselves as fighting business and other establishment interests, which are part of an education-reform movement that believes in rigorous testing and holding teachers “accountable” for their students’ scores. But there’s also a fiscal-prudence element to the anti-testing argument, and Hope is sounding that note in pushing HB 1293. “Knowledge will allow people to make more informed decisions about how their children are educated and how their tax dollars are spent,” the lawmaker says on his website.

Rich Wood, spokesperson for the Washington Education Association, which is supporting Hope’s bill, tells Seattle Weekly that the state teachers’ union estimates schools statewide spend $100 million a year on testing.

That’s a lot of money at a time that the legislature is desperately trying to find more school funding to comply with the state Supreme Court’s decision in McCleary, et al. v. State of Washington, which holds that the state is not meeting its constitutional duty to amply provide for eduction.

Yet Hope’s bill, which has been passed out of committee, would also cost—more than $1.2 million a year to compile and distribute the required information, according to a fiscal note.

Wood says his organization isn’t bothered by that outlay, since it would come out of the budget for the state’s Office of Superintendent of Public Instruction, not from funding that goes directly to schools. The OSPI, naturally, isn’t so sanguine.

“Without the extra funds, we would not be able to support the bill,” says OSPI spokesperson Nathan Olson. NINA SHAPIRO

9

SEATTLE WEEKLY • MARCH 6 — 12, 2013

10

ALLISON KRUMWIEDE

F

or those of us who grew up in the shadow of the baby boom, force-fed the misremembered vainglory of Woodstock long after most hippies had become coked-out, craven yuppies on their way to becoming paranoid neo-cons, punk rock provided a corrective dose of hard truth. Punk was ugly and ugly was true, no matter how many new choruses the boomers added to their song of self-praise. It was this perceived honesty that we, the nascent Generation X, feared and worshipped. But over time punk swelled into a Stalinistic doctrine of self-denial that stunted us. The yuppies kept sucking, but by clinging to punk we started to suck too.

I have friends in their mid-40s who don’t even have a savings account because “saving money” never seemed punk rock. I can’t count the number of small businesses I’ve seen fail because worrying about inventory or actually charging customers didn’t seem very punk rock. I was once chastised for playing at a private Microsoft function by a guy who worked there, so disappointed was he that I would sell out by playing a corporate gig.

Punk taught us to rebel against authority until “authority” included everything: piano lessons, fire insurance, leather shoes, and, ultimately, growing up. Punk taught us to have contempt for every institution, except Fugazi, until contempt and suspicion were the first and only reactions we had to everything.

Good news was embarrassing, success was shameful, and a happy childhood an unthinkable trans-

gression. These personality disorders were just punk in practice.

It’s time we stopped disavowing happiness and measured pride, we punk survivors, wrapping ourselves in itchy thrift-store horse blankets thinking that only discomfort is

honest. It’s time we stopped hating ourselves, our ambition, and our sincerity, guarding our integrity credentials in fear of interrogation by the secret punk police. It’s time to unmask punk rock, admit that it has done us no favors, and ban-

ish it from our minds. There is no one waiting for us at the gates of heaven with a big book of punk, ready to judge our souls and validate our credibility. Punk rock is bullshit, and was always bullshit.

Say it with me.

» CONTINUED ON PAGE 12

SEATTLE WE EKLY • MARCH 6 — 12, 2013

11

» CONTINUED FROM PAGE 10

SEATTLE WEEKLY • MARCH 6 — 12, 2013

I

12

’m not talking about punk-rock music, because I don’t believe there is such a thing.

Punk music is just rock music, and the best punk is halfway decent rock. Punk rock was nothing new in 1976, and it’s nothing new today.

The Beatles’ cover of “Roll Over Beethoven” is more punk than 90 percent of all punk rock; the Ramones were way more conservative—musically and socially—than Sha Na Na; the Sex Pistols were just dumb David Bowie; The Clash was a world-music band and the direct antecedent of the Red Hot Chili Peppers. If anything, the mantle of “punk rock” was an umbrella to describe a reactionary retro-ness, a feeling that music was best played with old-fashioned dumb energy, simple to the point of being simplistic— which not coincidentally corresponded to the period of the widest proliferation of recreational drug use in world history. It was music to validate being too wasted to think.

What I’m talking about is “punk rock” as a political stance, punk rock as a social movement, punk rock as a fashion trend, punk rock as a personal lifestyle brand, and punk rock as a lens of critical appraisal. The shadow of punk rock has eclipsed countless new dawns under its fundamental negativity and its lazy equation of rejection with action.

What started out as teenage piss-taking at baby-boomer onanism quickly morphed into a humorless doctrine characterized by acute selfconsciousness and boring conformism. We internalized its laundry list of pseudo-values—antiestablishmentarianism, anti-capitalism, libertarianism, anti-intellectualism, and self-abnegation disguised as humility—until we became merciless captors of our own lightheartedness, prisoners in a Panopticon who no longer needed a fence.

After almost four decades of gorging on punk fashion, music, art, and attitude, we still grant it permanent “outsider” status. Its tired tropes and worn-out clichés are still celebrated as edgy and anti-authoritarian, above reproach and beyond criticism. Punk-rock culture is the ultimate slow-acting venom, dulling our expectations by narrowing the aperture of “cool” and neutering our taste by sneering at new flavors until every expression of actual individualism is corralled and expunged in favor of group-think conformity.

Punk-founded doubt and fear has directly spawned the cowardly culture of modern irony.

Fear of being called out or targeted for enjoying art that doesn’t meet the stringent criteria of punkness—a criteria too ineffable to codify, but pernicious and deadly to underestimate—has given us no outlet for the vagaries of our taste but to claim that we enjoy the things we love only out of mocking disdain for the awfulness

we pre-emptively ascribe to them. The very act of loving something ironically is an admission that punk-rock groupthink has denied us our own will. Scorn has become the ouroboros, the snake eating its own tail, distancing us from joy to the point that our souls rebel. Punk has encouraged us to hate innocence until the only entertainments we can appreciate are the fake epiphanies of celebrity weight-loss porn and cynical folk-revival banjo music that borders on thoughtcrime.

Whenever I say publicly that punk rock is bullshit, I get two types of response. The first is the predictable sneer: “That’s the point!” “Punk rock knows it’s stupid, it’s trying to be stupid, it’s

Punk-founded doubt and fear has directly spawned the cowardly culture of modern irony. The very act of loving something ironically is an admission that punk-rock groupthink has denied us our own will. always been stupid.” “Punk is flaming dogshit in a bag!” This mentality accounts for the way punk rock infected us like an Andromeda strain, how it can simultaneously be an industry of cheap, mass-produced mall fashion for suburban “rebel” teen-moms and the governing aesthetic of the smartest middle-aged critics and most discerning skinny-pants fans of music and culture. We are in thrall to a fallacy of irrefutably circular logic: Punk rock only seems like a garbled, negative, ignorant, half-witted worldview because it’s actually an intentional indictment of a garbled, negative, ignorant, half-witted world.

This incredibly persuasive rationalization has proved difficult to unlearn, but it is demonstrably false. What has punk rock done for us? Did it defeat Reaganism and Thatcherism and end the Cold War? Has it brought us social justice?

Did it smash the state, prevent in any way the 12 years of the Imperial Bush dynasty, galvanize youth, subvert the dominant paradigm, or for one minute prevent the total commercialization of culture and the chemical digitalization of music that happened under its watch? Did it even produce good art beyond a few unintentionally

hilarious ’zines and the first-rate performance art of Courtney Love’s 25-year disintegration into a caricature of the exact kind of drug-addled, silicon- and Botox-enhanced, vacuous and babbling rich housewife that riot grrrls hated most? No. Unequivocally no.

In retrospect, it’s hilarious to try to tie the stoned, self-absorbed incomprehension of the world that characterized the dawn of punk to some larger narrative of a self-aware political art movement with an objective and a plan. Picture an 18-year-old Siouxsie Sioux in a topless Gestapo uniform festooned with swastikas, spitting at bands as a form of applause and compulsively posing for cameras. That’s as much sense as punk ever made, as intelligible as the message ever was, and all the academic bullshit that followed asserting that punk was a brilliant critique of itself was retroactive gibberish.

To the degree that punk has a governing philosophy, it’s a fundamentally negative one. Punk only tells us what it hates. It has never stood for anything; it stands against things. It is not an intentional indictment; it is a reactionary spasm.

The positive things that transpired in the culture of the past 40 years happened in spite of punk, not because of it. Punk didn’t end racism, sexism, or homophobia; it didn’t stop factory farming, the New World Order, or the massive success of Creed. It did not inconvenience a single one of its stated adversaries despite being on the front lines of everywhere. Needless to say, nor did it bring about “Anarchy,” thank God. People love to cite DIY as an example of punk philosophy in practice, but DIY is just a standard business model. It’s the primitive form of capitalism that every new business adopts. Punk didn’t invent DIY, it’s just too stupid and spoiled to realize that doing it yourself isn’t an innovation. The early punk pioneers now congratulate themselves endlessly in documentary after documentary (all with Flea and Dave Grohl providing color commentary) for having done it themselves. They did it themselves—just like every vacuum-cleaner salesman, Mary Kay cosmetics franchisee, landscaper, Mormon missionary, and Tupperware salesperson. DIY is punk rock’s signature achievement, its “man on the moon,” and it’s a mundane capitalist practice shared by every single new business since forever. It’s how Nike started. It’s how Amazon started.

The second response I get when I say punk rock is bullshit is the heartfelt “Punk rock saved my life.” This response is touching and emotional—and the hardest to refute, because former punk kids tie every positive aspect of their present lives to their punk identities. My generation is full of lost children, most of them now in their 40s and 50s, who were presumably living hellish suburban lives hearing their drunk parents fight through the wall, huffing Revell modeling glue and listening to Genesis 8-tracks until punk rock arrived to rescue them from their mullet-wearing, Camaro-driving futures. They are all Huck Finns.

Punk rock is their raft and their friend Jim. Admittedly, punk rock was a club that accepted all the misfits. It channeled adolescent anger and frustration into positive and inclusive feelings of belonging. This is not an insignificant achievement. Punk rock was an island of lost toys, a fantasy world where the kids made the rules and the hateful, hurtful world of drunk dads, preps, jocks, feathered-hair girls in Aerosmith baseball Ts, meathead campus police, racist cowboys, and flat-topped Korean War vets was overturned. It was a wonderful kind of sleepaway camp where the counselors and campers were all the same, huddled around a fire in the basement of an abandoned Catholic school

telling ghost stories about the time Rod Stewart had his stomach pumped and imagining a future without “The Man” that looked like Mad Max Beyond Thunderdome.

But the fact that the teachers and the students were all the same quickly produced a world where dumbasses were teaching dumbasses. Punk explained that we’d always hated the Eagles and Electric Light Orchestra and Genesis, we just hadn’t realized it. Punk made us feel that not caring was noble, that not understanding something was proof of intelligence. Punk was in favor of whatever you wanted and against everything that bugged you or got you down. Like a Libertarian Party for children, punk offered a nonsensical worldview that clarified the invisible underlying order. All the vicissitudes of teenage life were soothed by this feeling of acceptance, and all the credit of growing up and learning how to cope was awarded not to the normal progression of life, but to the enveloping family of punk. It worked, as long as you believed in it.

I remember those years well, back when

ideas, with no connective tissue or overarching worldview beyond fighting the existing order, and it was powered primarily by Cold War paranoia that the gray men in their gray suits were on a suicide mission to get rich by immolating the Third World in a mushroom cloud of mutually assured destruction. The cartoon image of Reagan with dollar signs for eyes and ICBMs for teeth, his finger on the red button, silenced all counterargument.

The Cold War made strange bedfellows of a lot of outsider cultures. Oblivious to contradiction, punkers rooted for the Sandinistas, the Red Brigade, and the Mujahideen; they shelved RE/Search volumes between Mein Kampf and books about Gein and Gacy; they protested militarism in fatigues, PLO scarves, and Che Guevara T-shirts. When the Cold War ended and the Gay/Art/Punk/Hippie/Rush Fan coalition disbanded, the idea of punk rock as a political resistance movement gradually dissolved in the smoke of a million bongs. The Reaganites were patting themselves on the back for having defeated the Evil Empire and the Clinton/ ALLISON KRUMWIEDE

Blair axis was humping bags of money; there wasn’t really a case to be made that Jello Biafra or Henry Rollins played much of a role in the transition. Punk rock as a rebellious political and social movement seemed to be withering on the vine.

Then Seattle got into the act.

Y

ou have to remember that Seattle was a dismal little shithole back then. The whole city suffered from the pimple-faced inferiority complex of an untalented kid making a lopsided pencil holder in woodshop.

There was no Microsoft money, no Starbucksian gentrification, no post-grunge feelings of cultural inevitability—only the low-tide stench of marine oil and clams and the calcified class system of a small Western city built on lumber, Alaskan gold,

» CONTINUED ON PAGE 14

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punks and gays and artists and modern primitives and hippies and kooks and Rush fans were all part of one big unwashed underground. The game was rigged so that only rich blonde preps could ever be truly happy, while the rest of us worked three jobs, still couldn’t pay the heating bill, got glared at by cops, and traded a smoke for a food-stamp dollar. We banded together— huddled, more like—convinced that the world of normals was a club we’d never join.

Punk rock seemed really intellectual then: a pinch of pseudo-Marxism, some nucleardisarmament talk, sarcastic German army iconography that maybe wasn’t entirely sarcastic, and equal parts sophomoric Ayn Rand worship masquerading as anarchism and a hodgepodge of leftist-radical catchphrases under the banner of global revolution. It was a clearinghouse of

and B-17s.

Punk rock made sense here: an ideology that celebrated stupidity met by a landscape of soggy borderland numbskulls. The end of the Cold War had just eliminated all the political rhetoric that no one had understood anyway, making way for the fundamental Northwest innovation of uniting metalheads, private-school jocks, and feminist-theory majors in a shared love of Schmidt beer and weed. The evil forces of government, the geo-political machinations of diplomats, and the avaricious capitalistic omnipresence that is America’s true religion all seemed so removed, so outside the apprehension or effective range of these latchkey kids still naming their bands “Fart Butt” and “Barf Scarf.” On the verge of dying out, punk found a new host.

Self-indulgent screaming and narcissistically purposeful out-of-tuneness seemed like dangerous political statements to kids still experimenting with clove cigarettes in the parking lot of Skoochies and The Monastery. Seattle and Portland were so far away from places where actual culture was being produced that messages from outside came through only sporadically, like shortwave reception in Antarctica. Northwest punk bands reveled in intentional awfulness, too unsophisticated to realize that their rebellion was the most tedious brand of art-school preciousness and spoiled-kid-who-doesn’t-want-to-practice-his-instrument crybabyism. The idea that poor kids from Kitsap County, like their heroes from Southern California and northern England, were somehow immune from being pretentious by virtue of their underclass nobility was a cultural lie that had run its course elsewhere, but we never saw the second half of the telegram here.

It took us another 20 years to learn that being poor and ignorant doesn’t mean you can’t also be spoiled.

Punk rock’s anti-everything stance turned inward and personal in the Northwest. Punk became the distillation of what it was all along: a cliquish approach to a confusing world, where things were either in or out, cool or not, punk or unpunk. To be deemed insufficiently hardcore was a sweeping denunciation. The authority of the underground was paramount in the eyes of this generation of “Ave Rats” with ruined confidence, crushed by absentee parents and psychobabbling guidance counselors. There was really nothing to look forward to here, no topless Siouxsie Sioux, no Dogtown and Z-Boys, just moldy animal beer in a U District basement— maybe a bachelor’s degree in textile arts from Evergreen State.

The presumption of my generation—a presumption that spread around the world to a willing audience of disaffected suburbanites looking for an edgy trend, then passed down to the generation of emasculated indie rockers who followed—was that a punk-rock attitude kept us honest in a world made of lies. The word “integrity” became like a sacrament. Hating dishonest things was our creed, and since everything was a lie, hate was the only emotion we could express. No person or thing was so politically perfect that a flaw couldn’t be probed. The truth is, if there really was an Illuminati bent on controlling the world through a secret government, they couldn’t have done a better job of defanging the youth movement than by introducing the self-negating, lifeconsuming, ignorance-propagating, lethargycelebrating, divisive and controlling, fashionbased ideology of punk rock into the mainstream. It was basically the crack epidemic of rock culture.

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Seattle bands—even as the world flocked to laud them, shower them with untold wealth and influence, and anoint them as keepers of a hallowed flame—almost universally rejected the opportunity to celebrate and rejoice at their good fortune out of a fear of what Calvin Johnson might think. Every iconic star, with the possible exception of a baby-oiled Chris Cornell, renounced not only his success but the opportunity to say anything remotely intelligible to a world that hung on their every word, all out of a fear of being perceived as “un-punk” by an imaginary tribunal that sat in judgment somewhere in Tumwater. They blew it, massively.

Then the indie rockers came along, as much K

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Indie rock spent 15 years eating itself alive with snide fear, clinging to a punk-rock code of ethics that benefited no one in service of nothing. It was a colossal waste of time and creative energy, it was fundamentally boring, and it literally killed people.

Wilco endured the production of feature-length documentaries about themselves in which the sole discernible narrative was “We hate being looked at, leave us alone.” Indie rock spent 15 years eating itself alive with snide fear, clinging to a punk-rock code of ethics that benefited no one in service of nothing. It was a colossal waste of time and creative energy, it was fundamentally boring, and it literally killed people.

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in thrall to punk-rock culture as the grungers before them. The era of twee undersinging and clean, complicated, plinky guitars was an expression of the belief that even loudness and energy were egotistical excesses. Indie bands applied punk-rock principles to their music and culture to the point that Laotian monks were probably living more luxurious lives. Bands refused to do interviews, have their pictures taken, publish their lyrics, or in any way risk the chance that someone might accuse them of “wanting” fame or success. The path to indie greatness was to appear to loathe any but your oldest and purest fans, to blush and whimper at praise, to stand to the side of the stage or in the dark, back to the audience, renouncing attention. The desire to project egolessness was ultimately a pathology of complete self-absorption. Both Radiohead and

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ltimately, punk rock was a disease of the soul, a doctrine of projecting and amplifying feelings of insecurity and fear outward and inward until the whole world seemed like an ice cave. It wasn’t necessary to judge every new piece of art against unwinnable criteria, or ourselves against imaginary standards of altruistic correctness. It wasn’t preordained that fun, lighthearted inspiration was shallow or contemptible; nor was it true that everything sucked, that life sucked, or that the world sucked. Successful art isn’t always garbage, and lazy, shitty art isn’t always teaching us something. Why celebrate whiny millionaires and indie-snob Robespierres?

I watch kids today make music and art that’s smart and clever, with no hard lessons or Marxist undertones attached, and think: Can we finally admit to ourselves that punk rock was always bullshit, that it gave us nothing but heartache?

Can we let it go?

Shut it down. Kill the lights. It sucked. It sucked, but now it can be over.E John Roderick is the singer and songwriter responsible for Seattle’s The Long Winters.

music@seattleweekly.com

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–Doors at 6 pm, Films at 7 pm– The Paramount Theatre Featuring Jim Riggs live on the Mighty Wurlitzer Organ

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the»weekly»wire theme song), and Moonraker (the less said the better). Grand Illusion, 1403 N.E. 50th St.,

523-3935, grandillusioncinema.org. $5–$8.

6:45 & 9 p.m. BRIAN MILLER STAGE

Station to Station

FIRST THURSDAY

Lost and Found

Prefontaine Place S. (Tashiro Kaplan Building), 296-8674, galleries.4culture.org. Free. Opening reception: 6–8 p.m. BRIAN MILLER CLASSICAL

Home Movies

Bach and Handel had no idea they were “baroque” composers; our standard music-history terminology was adapted from that of painting and architecture, itself formulated not much more than a century ago. Now, though, we tend to think of all three arts as harmoniously expressing a common zeitgeist, and the superb Toronto-based period-instrument orchestra Tafelmusik has put together House of Dreams, an acclaimed multimedia concert exploring this notion. Combining music with visuals, it’s a virtual tour of five houses, and their art holdings, paired with music that very well might have been heard in them: Handel, for his house museum

Meany Hall, UW campus, 543-4880, uwworld series.org. $20–$41. 7:30 p.m. GAVIN BORCHERT

fri/3/8 FILM

Earning His License

Holy cow, did you see Shirley Bassey on the Oscars? I mean, Adele was good (and so was Skyfall), but Bassey killed it on her famous theme from Goldfinger, part of this six-film 007 retrospective (through March 28). Goldfinger runs Sunday–Thursday this week, following one of my favorite Bonds, the mean and efficient From Russia With Love , which begins the series tonight and runs through Sunday. Third in the 007 canon, 1963’s From Russia sees Sean Connery hitting his stride as the secret agent; he’s less the playboy and more the licensed killer.

His worthy adversaries include a blonde Robert Shaw and a shrewish Lotte Lenya, both representatives of a continent and culture ever contemptuous of English meddling. The Cold War feels real here, unlike the silly plots of some later Bond pictures. Following in the series are You Only Live Twice (mediocre), On Her Majesty’s Secret Service (seriously underrated, surprisingly sad), The Spy Who Loved Me (great fun, great

Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $12–$80. 7:30 p.m.

STEVE WIECKING

FILM

A New Wave After Watts

My Brother’s Wedding (1983), Charles Burnett ’s second feature, continues NWFF’s ongoing L.A. Rebellion retrospec-

tive of AfricanAmerican indie cinema. Set and shot in South Central L.A. with a largely nonprofessional cast, the drama follow a young man (Everett Silas) frustrated at his lack of prospects and bitter over his brother’s success. It offers a world of complex family dynamics and social

Charles Burnett.

Forum, 1515 12th Ave., 267-5380, nwfilm forum.org. $6–$10. 8 p.m. SEAN AXMAKER

tues/3/12 BOOKS

Big Ghost on Campus

Let’s be frank: Other, less-talented writers hold Joyce Carol Oates’ prolific publishing record against her. The jacket flap for her 700-page new paranormal tale The Accursed (Ecco, $27.99) doesn’t even mention that she’s written over 50 novels (!) since the early ’60s. A professor at Princeton, that’s the sleepy town where she unleashes a series of evil doings in 1905. Following the lynching of a black youth and the supposed abduction of a would-be bride, some kind of curse afflicts the citizens of upright Princeton.

There, Oates’ cast of characters includes ex-president Grover Cleveland, future president Woodrow Wilson (then the university’s president), Upton Sinclair, Jack London, and even Mark Twain. With vampires and ghosts flitting among them, The Accursed will surely be judged a postTwilight kind of novel—though Oates actually began it in the early ’80s, then abandoned it for 30 years. (Anne Rice might be a more obvious point of reference.) As is customary in any good gothic story, a curse implies punishment for prior sins. The privileged WASPs of Princeton evidently have a dark secret in their past—and for that they will be made to pay. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org.

Free. 7 p.m.

BRIAN MILLER

SEATTLE WE EKLY • MARCH 6 — 12, 2013

In Lost , his new series of paintings, Mark Takamichi Miller draws from a completely random source of inspiration: a disposable camera he found in the bushes. He developed the film, which had been sitting in the elements for months or even years, and the pictures weren’t pretty. It appears that some kids were horsing around with the camera in the back of a canopied pickup truck. Their framing is poor, and the view outside is mostly obscured by the truck’s interior. Peeping through the plastic canopy window is like a clouded aperture that distorts the vista outside. (The photos seem to have been taken while on vacation in the American West.) Bright light blasts in, overexposing the original film; Miller replicates that white hazy wash on his layered canvases, some portions of which are erased, in effect, by a blinding, unseen sun. (Through March 29.) Gallery 4Culture, 101

in London; Vivaldi, for a Venetian palazzo; Purcell and Sweelinck, for a modest bookshop in Delft; Marin Marais, for Cardinal Richelieu’s Palais Royal in Paris; and Bach, of course, for the composer’s own neighbor’s house in Leipzig. It’s hard for moderns to see all this opulent art other than through the lens of old Europe’s rigid class structure, thus tainting it; but as director Alison MacKay points out, goods from the New World fueled the economy that paid for it. Consider it Tafelmusik’s way of saying “You’re welcome.”

NWFF

GERRY GOODSTEIN

thurs/3/7

From left, Owen, McLaughlin, and Tewes plot their rise in Good People.

For a comedy rooted in the class politics of South Boston, Good People arrives with excellent Emerald City cred. Its award-winning 2011 Broadway run was directed by Daniel Sullivan, who formerly led the Rep. This Seattle staging is a transfer of New Jersey’s much-praised George Street Playhouse production, helmed by David Saint, who served under Sullivan at the Rep. And the cast includes supporting performances from two of this city’s deftest character actresses, Marianne Owen and Cynthia Lauren Tewes.

The play concerns struggling, middle-aged “Southie” Margie (Ellen McLaughlin, the original Angel of Angels in America), a single mother fired from her job at the dollar store. With encouragement from a couple of wisecracking sidekicks (Owen and Tewes), she decides to reach out in not-so-good ways to a “good” person, an old flame who managed to break the crippling grip of the ’hood to become a prosperous doctor (John Bolger). Trust that this will all register painfully true: Saint grew up in the Boston area, and playwright David Lindsay-Abaire—a Pulitzer winner for the devastating Rabbit Hole—is a Southie himself. As he told The New York Times, he knows how unlikely it is to escape your station in life: “We have this myth that if you work hard, you can accomplish anything. It’s not a very American thing to say, but I don’t think that’s true. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.” (Through March 31.) Seattle

relations: dominant mothers, passive fathers, unwed pregnant young women, and unfocused/ irresponsible men. Crime and violence are part of the fabric of life; citizens and shop owners keep guns for self-defense, yet neighbors are often treated like extended family. The film remained unfinished until 2007, when Milestone Films—which rescued Burnett’s landmark 1979 debut, Killer of Sheep, from distribution limbo—acquired the rights from its German financiers. The mix of naturalism and social satire gives My Brother’s Wedding a jagged quality, but it’s a vivid portrait of a very specific time, place, and culture. Burnett will attend tonight’s screening and that of Bless Their Hearts (8 p.m. Sat.) which he shot for director Billy Woodberry the next year. Saturday’s screening is preceded by a free talk (at 6 p.m.) between Burnett and UW professor Clarence Spigner. (The weekend series continues through March 24.) Northwest Film

17

GIMME CULTURE! ARTS DIRECTORY

arts»Stage

Road to Nowhere

Strangers convene in an enchanted forest, denying their past and forgoing a final destination.

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THEATER

BY KEVIN PHINNEY

5 X TENN (OR SO) Stone Soup Theatre Playing now - March 9

A

Six seldom seen short plays by Tennessee Williams that will both surprise and remind us that America’s most treasured playwright holds a place that rivals none other. Stone Soup Theatre’s intimate Downstage Theatre and Williams are a perfect match.

206.633.1883. $14-$25. www.stonesouptheatre.org/events/5x-tenn

NEXT FALL ArtsWest Playhouse & Gallery March 13 - April 6

Geoffrey Nauffts’ award winning story of two men in a committed, long-term relationship, and the family and friends that are a part of their lives. A critical car accident brings opposing views on faith, family and commitment into sharp focus. 206.938.0339. $15-$34.50. www.artswest.org

MUSICAL PERFORMANCE

The Fabulous Thunderbirds

MARCH 7

TICKETS FROM: $40

BLUES AT THE

play that challenges you to meet it on its own terms can be a thing of beauty or a vexation akin to rootcanal work. The Satori Group’s reWilding is that kind of experience. Despite its bucolic setting, Martyna Majok’s play has the loftiest of ambitions, intending to provoke as well as entertain. This is not an adventure for those who demand the comforts of relatable characters or a narrative roadmap that clearly signals where the playwright is leading her flock or what it will all mean when the curtain comes down.

CROSSROADS TWO: MUDDY AND THE WOLF

S. MARK TAPER FOUNDATION AUDITORIUM

Seattle Opera - LA BOHEME McCaw Hall Playing now - March 9

Puccini’s unmatched gift for melody adds remarkable poignancy to the simple joys and heartbreaking sorrow of a group of young Parisians. Easy to love - and impossible to forget. 206.386.7676. $25-$215. www.seattleopera.org

EARSHOT JAZZ SPRING SERIES Various venues throughout Seattle Playing now - May 16

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ANN & NANCY WILSON OF HEART

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Acoustic Concer t & Conversation with Biographer Charles R. Cross.

SEATTLE WEEKLY • MARCH 6 — 12, 2013

TRAILS, A NEW MUSICAL Village Theatre March 13 - April 21

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Two childhood friends, now in their 30s, are about to drop everything to fulfill a promise and embark upon the journey of a lifetime: a 2,175-mile trek from Georgia to Maine along the Appalachian Trail. As the challenges of the trail become increasingly difficult, ghosts from the past haunt their steps, and the woman they both cherish brings back long-kept secrets. 425.392.2202. $44-$63 (youth and senior discounts available). www.villagetheatre.org/trails.php

VISUAL ARTS Rembrandt, Van Dyck, Gainsborough: THE TREASURES OF KENWOOD HOUSE, LONDON Seattle Art Museum On View Now – May 19

Rembrandt, Van Dyck, Gainsborough features a selection of approximately 50 masterpieces from the Iveagh Bequest collection donated to Great Britain by Edward Cecil Guinness, 1st Earl of Iveagh (1847–1927) and heir to the world’s most successful brewery. Among other treasures, the exhibition provides a rare opportunity to see Rembrandt’s late Portrait of the Artist (ca. 1665), which has never left Europe before. 206.654.3210. $12$20 (free for SAM members). www.seattleartmuseum.org GIMMECULTURE@SEATTLEWEEKLY.COM

ALEX GARLAND

Coming up... Steve Kuhn Trio w/ Buster Williams and Joey Baron; Shofar (from Poland); Peter Knight (from Australia), Joel Harrison’s Spirit House featuring Brian Blade and Cuong Vu; Instant Composer’s Pool (ICP); Kocani Orkestar; Tinke Postma; Refuge Trio.

206.547.6763. $10-$28. www.earshot.org

Nancy & Ann Wilson

Lost in the woods?

Kate Sumpter as Gloria.

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APRIL 19 TICKETS FROM: $38 AN ACOUSTIC EvENING WITH

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It would be simple enough to describe reWilding as a new play (pieces of which were performed several years ago in a workshop at Yale) that describes what happens when random strangers drift together in a forest. There they embark on a social experiment based on rejecting the tenets of the world they’ve left. That’s what reWilding is, and that’s all it is. And yet it’s so much more.

For one thing, Satori has transformed its new space in the former INS Building into a 360-degree environment in which the audience is strategically placed so as to be eavesdropping voyeurs or participants in the events around them. There’s food sharing (veggie soup and bread were served soup-kitchen style), and a cooler of PBR was offered at intermission to anyone who cared to partake. The floor is a loamy mass of dirt and soft moss, the ceiling invisible for the canopy of stage trees and ropy moss augmented by stitched-together sheets and repurposed detritus from the world left behind.

It’s an instantly entrancing place, reminiscent in a strange way of the universe Peter Jackson created in his Lord of the Rings movies. Not that this is any idyllic fairytale landscape; rather, it’s

the kind of fully realized alternate reality that, even when the plot lags, is simply an intoxicating place to spend time. The scenic design (by Clare Strasser and Montana Tippett) combines with Marnie Cumings’ lights and a total-immersion soundscape by Keith White (of This Bitch Don’t Fall Off ) to abduct viewers from a play in downtown Seattle to a place where social mores are tipped sideways, relationships are fluid, trust lasts only from one small agreement to the next, and anything could happen.

Squatters come and go, and if anything resembles a plot here, it’s seeing how newcomers behave when Agnes (Greta Wilson) introduces Edith (LoraBeth Barr) into the enclave. Very quickly, Edith learns how hard it is to make friends (the process makes the Seattle Freeze seem like a family Thanksgiving) and how temporary and fragile those alliances can be. Despite a mutual agreement that no one is to speak in past tense and all that matters is what happens in the encampment, bizarre and nightmarish stories of the characters’ histories tumble out—including disappearing children, Ferris wheels set ablaze, and a series of psychosexual fumblings among the residents.

On a continuum of dystopias, you’d fix this place somewhere between a Grapes of Wrath migrant camp, a struggling commune from the Woodstock era, and the militant-separatist entrenchment at Ruby Ridge. Majok’s world seduces because she won’t let imagination drag her text too far from what’s possible. The result is a twilight realm far creepier than anything you’d find in Stephenie Meyer’s fictive Forks or David Lynch’s Twin Peaks. While not reality, reWilding is nonetheless recognizable.

Ultimately, the play wants to ask how you’d fit into this New Forest Order. What if you woke up one morning and decided that instead of going to work, you’d ditch the freeway for a dirt road and drive until you couldn’t go any farther—just to see what was there? Who would you be? What name would you choose? Whom would you meet—idealists searching for a better way to enact their vision of humanity, or sociopaths with mayhem on their minds?

It’s clear that director Caitlin Sullivan knows how to stage a scene for maximum dramatic effect, and her cast is ferociously talented, but her reluctance to stifle creativity leaves too many loose ends and too little focus (due either to Majok’s text or to the many Satori workshoppers who helped reshape it). What’s left is a mesmerizing, elliptical presentation of a world that seems to exist simultaneously as a real place and in a parallel universe. reWilding succeeds in taking you someplace special and introducing a magical array of characters. It’s inconclusive, perhaps willfully so, but what an amazing trip. E

stage@seattleweekly.com

REWILDING The Satori Lab at Inscape, 815 Seattle Blvd. S., satori-group.com. $10–$15.

8 p.m. Fri.–Sun. Ends March 17.

arts»Performance B Y G AV I N B O R C H E R T

Stage OPENINGS & EVENTS

BOOM BOOM L’ROUX’S LATE-NIGHT REVUE Boasting

“Seattle’s hottest performers—a true spectacle de variete.” Can Can, 94 Pike St. 652-0832, thecancan.com. $12–$20. 10 p.m. Wed., March 6.

CLIFFHOUSE Macha Monkey presents Allison Gregory’s rather Hitchcockian-sounding play. Richard Hugo House, 1634 11th Ave., 800-838-3006, brownpapertickets.com.

Opens March 8. 8 p.m. Fri.–Sat. Ends March 30.

CULTUREBOT On the Boards puts critics onstage, along with the subject of their consideration, in an interactive performance/exploration of the difference between “having an opinion and having a conversation.” If the Internet gives everyone the chance to be a critic, including dogs, what is the new role of commentary? Andy Horwitz and Jeremy Barker of the commentary website Culturebot will describe their new Citizen Critic Project and their efforts to launch “public critical conversations” on a variety of subjects. SANDRA KURTZ On the Boards, 100 W. Roy St., 217-9886, ontheboards.org. $12.

8 p.m. Thurs., March 7.

DISTRACTED Lisa Loomer’s dramedy looks at a 9-year-old who may or may not have ADD. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. Opens March 8.

7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends March 24.

GOOD PEOPLE SEE THE WIRE, PAGE 17.

IMPENETRABLE In Mia McCullough’s play, a beauty ad sparks controversy and self-examination. Presented

by Mirror Stage. Ethnic Cultural Center/Theatre, 3931 Brooklyn Ave. N.E., mirrorstage.org. $8–$10. 8 p.m. Sat., March 9, 2 p.m. Sun., March 10.

NEXT FALL Adam and Luke fall in love in Geoffrey Nauffts’ play, but there’s just one problem: Adam’s an atheist, Luke is a believer. ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. $10–$34.50. Preview March 12, opens March 13. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends April 6.

ONCE IN A LIFETIME Theater Anonymous (in which the actors never rehearse together, or even meet until the single performance) presents Kaufman and Hart’s comedy about the dawn of Hollywood. Erickson Theatre Off Broadway, 1524 Harvard Ave., 1448fest.com. $30. 8 p.m.

Sat., March 9.

PAPER BULLETS John E. Ellis reworks Much Ado About Nothing for the world of tabloid journalism. The Ballard

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

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EarSupply

» by gavin borchert

Underground, 2220 N.W. Market St., 395-5458, ghost lighttheatricals.org. $12–$15. Opens March 8. 7:30 p.m,.

Thurs.–Sat. plus 7:30 p.m. Mon., March 18 and 2 p.m. Sun., March 24. Ends March 24.

YOU NEVER CAN TELL The Endangered Species Project presents a staged reading of Shaw’s comedy of manners.

Stage One Theater, 9600 College Way N., endangered speciesproject.org. Donation. 7 p.m. Mon., March 11.

YOUNG PLAYWRIGHTS FESTIVAL Eight premieres by fledgling authors. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$10. 7:30 p.m. Thurs., March 7–Fri., March 8; 1 & 4 p.m. Sat., March 9.

CURRENT RUNS

THE ADVENTURES OF GILBERT & SULLIVAN Improv

operetta: The librettist and composer themselves become characters in a Victorian fantasy (or wherever the audience decides to send them). Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15.

8 p.m. Thurs.–Fri. Ends April 19.

ALTAR BOYZ “Christian boy band”—this popular musical’s about as high-concept as it gets. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattle musicaltheatre.org. $35–$40. 7:30 p.m. Fri.–Sat., 2 p.m.

Sun., plus 7:30 p.m. Thurs., March 7. Ends March 10.

ANNIE The King’s Players take on the popular uplift-fest.

Shorecrest Performing Arts Center, 15343 25th Ave. N.E., kingsplayerstheater.org. $17–$22. 8 p.m. Fri.–Sat., 2 p.m.

Sun. Ends March 10.

CIRQUE DU SOLEIL Inspired by The Tempest, this touring show isn’t heavy on plot. Kids will appreciate the acrobats, juggling, and costumes, and the traveling Grand Chapiteau—a climate-controlled, 2,600-seat tent—adds to the spectacle. GWENDOLYN ELLIOTT Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-4501480. $43.50 and up. See cirquedusoleil.com for exact schedule. Ends March 24.

CROSSING DELANCEY Seattle Jewish Theater Company presents staged readings of Susan Sandler’s play of Manhattan romance. Eight performances through March 30; see seattlejewishtheater.com for full info.

5 X TENN A quintet of one-acts by Tennessee Williams.

Stone Soup Downstage, 4029 Stone Way, 633-1883, stone souptheatre.org. $14–$25. 8 p.m. Thurs.–Sat. Ends March 9.

FIVE WOMEN WEARING THE SAME DRESS Rogue Theatrics stages Alan (Six Feet Under) Ball’s comedy set at a Tennessee wedding reception. Theatre Puget Sound, Armory, Seattle Center, roguetheatrics.com. $15–$20.

7 p.m. Thurs.–Sat., 2 p.m. Sun. Ends March 17.

I WON’T BE IGNORED Blood Squad, Seattle’s horrorimprov troupe, takes on the crazy-stalker film genre.

Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagan theatre.org. $10. 11 p.m. Fri. Ends March 8.

JESUS CHRIST SUPERSTAR An all-female production seems a little out-there for Burien, but good for them.

Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienlittletheatre.org. $7–$20.

8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 24.

and the Croatian lullaby “Rumena si.” Not only are these true duets, with her violin doing much more than strumming along, but both it and her

ANITA NOWACKA

Operas for one singer are not unheard of (Seattle Opera’s staging one, Poulenc’s La voix humaine, in May), but the triple achievement of Hope Wechkin’s 2008 Charisma was, as far as I know, unprecedented: She composed it for herself to sing while playing violin, mandolin, thumb piano, and other curious instruments. Describing herself as “more of a frustrated singer/ songwriter/guitarist chick who never learned to play the guitar” than a traditional conservatoryproduct musician, she further explores artistic self-sufficiency in her new album, Leaning Toward the Fiddler. Wechkin’s haunting compositions and folksong arrangements for violin and voice bear a strong Eastern European flavor; most striking are “Amarilli, mia bella,” a free improvisation on an old Italian art song,

soprano cover a wide range of color from sweet and ethereal to dark and earthy. At times it seems as though there are even more than two personae participating in the music. She’ll play a few tunes at the CD release party at The Royal Room, 5000 Rainier Ave. S., hopewechkin. com. $12–$15. 7:30 p.m. Sat., March 9.

SEATTLE WE EKLY • MARCH 6 — 12, 2013

Duets for One

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INTERNATIONALLY RECOGNIZED PROGRAMS FOR PEOPLE OF ALL AGES & ABILITIES

arts»Performance

TUITION ASSISTANCE AVAILABLE

MARCH IS CABARET MONTH Saturdays in March, the

cream of local cabaret performers. Egan’s Ballard Jam House, 1707 N.W. Market St., 789-1621, ballardjamhouse. com. $15 + 2 drink min. 7 & 9 p.m. Sat., March 9, 23, 30.

THE MUSIC MAN Director Bill Berry left not a stitch out of place: The orchestra (under Joel Fram’s direction) is as crisp as a Disneyland parade; Bob Richard’s choreography innovates while also nodding to tradition; and Gregory Poplyk’s costumes continually surprise and delight. None of that would matter without a cast that can sell this canned corn, the tale of traveling salesman Harold Hill (a nimble and winning Noah Racey), who overstays his welcome after winning the heart of the town librarian (nightingale Laura Griffith. Not only are the leads spot-on, but the chorus and all the supporting roles pile on the pleasures. KEVIN PHINNEY 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $31 and up. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends March 10.

NORTH STAR VAUD K. Brian Neel curated this neovaudeville show. Stage One Theater, 9600 College Way N., 527-3600, northseattle.edu. Pay what you can. 7:30 p.m. Fri.–Sat., 2 p.m. Sun.; also noon Wed., March 6. Ends March 10.

PHOTOGRAPH 51 In chauvinistic early–’50s London, scientist Rosalind Franklin works in the shadows of James Watson and Francis Crick, who claimed all the credit for describing our DNA. The cocky young Dr. Watson begrudgingly validates her work in that shiftiest of ways—by stealing it. Braden Abraham directs the excellent production. MARGARET FRIEDMAN Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$70.

Runs Tues.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends March 10.

PUSS IN BOOTS The classic French tale. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $10. 7:30 p.m. Thurs.–Fri., 2:30 p.m.

Sat.–Sun. Ends March 17.

REWILDING SEE REVIEW, PAGE 18.

SPF VII It stands for Solo Performance Festival. Solo performers include Jennifer Jasper, Peggy Platt, Lisa Koch, and others; see theatreoffjackson.org for complete lineup and schedule. Theater Off Jackson, 409 Seventh Ave. S. $15, Ends March 23.

TEATRO ZINZANNI: DINNER AT WOTAN’S The Norse mythos may at first seem an odd fit for Teatro ZinZanni’s voluptuous red-velvet atmosphere (one thing Viking culture was not was sybaritic), but here’s how they make it work as the theme of their new dinner circus/cabaret: It’s Ragnarok eve, aka the final battle of good vs. evil, and Wotan and the rest of the Wagnerian pantheon are ready to par-tay! Geoff Hoyle plays “Dinner at Wotan’s” host—and his mother, and borscht-belt comic “Red Bottoms.” Soprano Kristin Clayton plays Brünnhilde, PNB alumna Ariana Lallone adds statuesque beauty with her dance routines, and the “Vertical Tango” team of Sam Payne and Sandra Feusi return from TZ’s previous show to earn the evening’s wildest applause. Wall-to-wall music seasons the five-course dinner spread out leisurely among the impressive acrobatic acts and nudge-nudge shtick.

Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up.

Runs Thurs.–Sun.; see dreams.zinzanni.org for exact schedule. Ends May 12.

THESE STREETS Revisiting Seattle’s grunge era through the eyes of four fictional characters, These Streets aspires to be to the ’90s what The Big Chill was to the ’60s—a vehicle that evokes the giddy rush of bygone times, revisits its pivotal players 20 years later, and finally puts the entire zeitgeist into a proper historical perspective. These Streets boasts a solid local pedigree, with its script—based on interviews with women of the grunge years—credited to Sarah Rudinoff, Elizabeth Kenny, and musician Gretta Harley. (The latter leads the stage band; Rudinoff and Kenny act in the show.) These Streets arrives with a mission: to explore how and why women were integral to the grunge scene, even while Nirvana, Soundgarden, and Pearl Jam relegated them to commercial obscurity. The play’s now-and-then structure has two actresses portraying each lead character (Dez, Ingrid, Christine, and Kyla), and all of them invest their roles with varying degrees of passion and believability.

But at issue here is whether this is a concert interrupted by dialogue or a play with music, because both vie for time and audience attention. Clearly the music is the star of These Streets, and whenever the house band is in the spotlight, the show roars to life. There’s a mosh-pit chaos to the proceedings, and director Amy Poisson seems divided about how to focus the maelstrom of energy. She simply lets the narrative slug it out with the music, and the result is a caterwauling mélange that does neither idiom justice. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$30. 8 p.m. Thurs.–Sun. Through March 10.

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Seattle Pro Musica: Fleur: Songs of Spring (3/9) Northwest Girlchoir: ‘You Sing, Too!’ at 2 pm and

‘All Together Now!’ at 7 pm (3/10) 3/11 TRIPLE feature! Three for $5

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Mark Russ Federman with Tom Douglas: Reflections & Recipes from Russ & Daughters (3/11)

Viktor Mayer-Schönberger & Kenneth Cukier: Big Data: The Next Big Thing (3/11) UW Science Now: Derya Itir Dilmen: Revenge of the Corals (3/11) Seattle Architecture Foundation: A Career of Small Spaces and Community Architecture with James Cutler (3/12) Ernest Freeberg: How Edison’s Light Bulb Changed Invention—and Us (3/13)

By William Shakespeare Directed by Jon Kretzu

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Chavisa Woods: ‘The Albino Album’ (3/13) ParentMap: Dr. Denise Pope: The Resilient Student (3/14)

March 13–April 7

Emily Anthes: ‘Frankenstein’s Cat’ & Biotech’s Other Brave New Beasts (3/14)

Center Theatre at Seattle Center

Michael Moss: How the Food Industry Hooked Us on Salt, Sugar, & Fat (3/15) TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

townhallseattle.org

Low Priced Previews March 13 &14 Ticktets: 206-733-8222 www.seattleshakespeare.org

STOP BY OUR BOOTH AT THE

SEATTLE WEEKLY • MARCH 6 — 12, 2013

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MARCH 9 & 10

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Dance FLEURS D’EGYPTE “The Dark Side of the Veil” is their

latest dance cabaret., Can Can, 94 Pike St. 652-0832, arabicbeat.com. $10–$15. 7:30 p.m. Sun., March 10.

LINGO DANCE THEATRE They present a new dance film project, Dream Brain, part of KT Niehoff’s Collision Theory project. Oddfellows Building, 915 E. Pine St. lingo dance.com. $10–$12. 7:15 & 8:45 p.m. Thurs., March 7.

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Classical, Etc.

METROPOLITAN OPERA AT THE MOVIES The Met’s

new ring-a-ding-ding Rigoletto is reset in ’60s Las Vegas.

See metopera.org for participating theaters. $24. 6:30 p.m.

Wed., March 6.

KHATIA BUNIATISHVILI Ravel and Stravinsky fingerbusters. Meany Hall, UW campus, 543-4880, uwworld series.org. $35–$39. 7:30 p.m. Wed., March 6.

LA BOHÈME From the first garbled bar, conductor Carlo Montanaro makes Seattle Opera’s production of Puccini’s classic the speediest Bohème I’ve ever heard. His haste wrought some real havoc in, unfortunately, everyone’s favorite scene— Rodolfo and Mimì’s meet-cute, over before you know it, no magic. The production’s one undeniably effective element is Erhard Rom’s set—vintage sepia-toned photographs of Paris—but a Bohème that looks better than it sounds has to be counted a misfire.

McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. 7:30 p.m. Wed., March 6, Fri., March 8, Sat., March 9; 2 p.m. Sun., March 10.

MUSIC OF NORTH INDIA Performances by Hindustani singer Srivani Jade and her students. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Wed., March 6.

TAFELMUSIK SEE THE WIRE, PAGE 17.

UW OPERA THEATER Mozart’s farcical one-act The Impresario, plus scenes from Carmen, Cosi, and other favorites. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Fri., March 8, 2 p.m. Sun., March 10.

SEATTLE SYMPHONY You love “The Four Seasons.” Your grandma loves “The Four Seasons.” Your kids love “The Four Seasons.” Here’s “The Four Seasons.” Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$81. 8 p.m. Fri., March 8–Sat., March 9.

SEATTLE CHORAL COMPANY Italian religious music by Verdi (his wonderfully weird “Ave maria”), Palestrina, and others. At Bastyr University Chapel, 14500 Juanita Drive N.E., 2 p.m. Sat., March 9, and Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 8 p.m. Sat., March 16. $10–$27. 800-838-3006, seattlechoralcompany.org.

CHOIR OF THE SOUND Britten, Barber, Gabrieli, and more. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., choirofthesound.org. $11–$22. 7 p.m. Sat., March 9.

TUDOR CHOIR Music by Tallis and other English renaissance composers, by candlelight. Blessed Sacrament Church, 5050 Eighth Ave. N.E., 323-9415, tudorchoir.org. $20–$30. 7:30 p.m. Sat., March 9.

SEATTLE PRO MUSICA Music of the season: Britten, Mendelssohn, and more. At Town Hall, 1119 Eighth Ave., 7:30 p.m. Sat., March 9, and Phinney Ridge Lutheran Church, 7500 Greenwood Ave. N., 3 p.m. Sun., March 10. $12–$35. 800-838-3006, seattlepromusica.org.

HOPE WECHKIN SEE EAR SUPPLY, PAGE 19.

UW SYMPHONIC BAND Chamber music for winds, including a premiere by Kim Rivera. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 1:30 p.m. Sun., March 10.

NORTHWEST GIRLCHOIR Their spring show. Town Hall, 1119 Eighth Ave., northwestgirlchoir.org. $8–$13. 2 & 7 p.m. Sun., March 10.

PHILHARMONIA NORTHWEST Britten’s Double Concerto for violin and viola, plus a little Haydn. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 675-9727, philharmonianw.org. 2:30 p.m. Sun., March 10.

MASTER CHORUS EASTSIDE Bach meets music from Mongolia and Australia. First Presbyterian Church of Bellevue, 1717 Bellevue Way N.E., Bellevue, 425-392-8446, masterchoruseastside.org. $15–$20. 3 p.m. Sun., March 10.

ONYX This all-Beethoven concert includes a recently published fragment for piano trio. Church of Christ-Scientist, 3500 N.E. 125th St., 800-838-3006, onyxchamberplayers. com. $10–$25. 4 p.m. Sun., March 10.

UW WIND ENSEMBLE A preview of music from their upcoming China tour. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., March 12.

QUASAR SAXOPHONE QUARTET Music by Seattle composer Donald Stewart and much more from this Montreal-based group. Part of the Washington Composers Forum’s “Transport” series. Chapel Performance Space, 4649 Sunnyside Ave. N., washington composers.org. $5–$15. 8 p.m. Wed., March 13.

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arts»Visual Arts B Y G W E N D O LY N E L L I O T T

Openings & Events JOHN ANDERSON The Vashon photographer shows

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

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the Vancouver, B.C.-based photographer’s work culled from five wilderness walks. Opening reception 7–10 p.m. Sat., March 9. Prism, 5208 Ballard Ave. N.W., Seattle, prismcollectionseattle.blogspot.com. Opens March 9. Thurs.–Sun., 11 a.m.–5 p.m. Through April 25.

MARK TAKAMICHI MILLER SEE THE WIRE, PAGE 17.

MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection, you can see John Grade’s 65-foot-tall sculpture Wawona (salvaged from the schooner of the same name). Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org. Free. 10 a.m.–8 p.m.

Thurs., March 7.

NEDDY AT CORNISH LECTURE Artists Oliver Herring and Susan Robb discuss their work with Seattle U professor Ken D. Allan. Intiman Theatre, 201 Mercer St. (Seattle Center), cornish.edu. Free. Wed., March 6, 7 p.m.

NEW SELECTIONS New work is featured from Susan Dory, Zaria Forman, Ann Gardner, Ethan Murrow, Erin Parish, James Osher, Christopher Reilly, Tracy Rocca, and Julie Speidel. Brunch opening noon–3 p.m. Sat., March 9. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. Opens March 11.

Mon.–Fri., 10 a.m.–5 p.m. Through April 5.

ONE ON ONE The site-specific, non-objective wallpaintings of Marije Vermeulen and Guido Nieuwendijk are contrasted. Aso on view: Pair/Pare, with Jason Hirata and Serrah Russell, examines food preparation and consumption. First Thursday opening reception, 6–8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Wed.–Sat., noon–5 p.m.

Through March 30.

PLACE Lori Duckstein, Saundra Fleming, and Kate Harkins examine the notion of place. In the Guest Gallery, Layers of the Hijab features work by Mary Coss with students from the Cleveland High School East African Girls Art Workshop. Artist reception, 5–8 p.m. Sat., March 9. Columbia City Gallery, 4864 Rainier Ave. S., 760-9834, columbiacitygallery.com. Wed.–Fri., noon–8 p.m. Through April 21.

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MARCH H O T T IC K E T S Friday, March 8, at 8pm Saturday, March 9, at 8pm

VIVALDI’S FOUR SEASONS BAROQUE & WINE SERIES Emma McGrath, violin & leader Hear Vivaldi’s beloved Four Seasons led by the Seattle Symphony’s own Emma McGrath.

Wolfgang Puck Catering wine tasting events in the Grand Lobby before each concert from 6:30 to 7:45pm. $10 for 4 pours.

Emma McGrath

Emma McGrath’s performance generously underwritten by Sue and Robert Collett.

Friday sponsored by

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THE POSTERS: GUERILLA GIRLS ON TOUR

Coinciding with International Women’s Day, posters by the renowned feminist artists cover a period between 1985–2000, representing nearly 100 women.

Opening reception: 6–8 p.m. Sat., March 8 coincides with Belltown Art Walk. Form/Space Atelier, 2407 First Ave., 349-2509, formspaceatelier.com. Opens March 8.

Wed.–Sat., noon–4 p.m. Through May 4.

PSYCHONAUTIC PORTAL Bill Gaylord and other artists work in several media to explore notions of travel through the mind and space. First Thursday opening reception, 6–8 p.m. SRG Gallery, 110 Union St., 9731700, srgpartnership.com/gallery, Opens March 7.

Mon.–Fri., 9 a.m.–5 p.m. Through April 3.

SAM REMIX Talks, tours, performances, and dancing celebrate Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London. Yes, feathers.

Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $12–$25. Fri., March 8, 8 p.m.–midnight.

PETER SERKO Inspired by Japanese art and aesthetics, East Meets West is the photographer’s collection of images aiming to evoke a sense of “mono no aware,” or fleeting beauty. First Thursday opening reception, 6–8 p.m. Artist reception 5–8 p.m. Sat., March 9.

Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Opens March 7. Wed.–Sat., noon–5 p.m. Through March 30.

JOHN SMITHER 4 Yards: Recordings and Meditations features paintings, woodcuts, and video inspired by the groundskeeping of his friends. First Thursday opening reception, 6–9 p.m. Core Gallery, 117 Prefontaine Place S., 467-4444. Wed.–Sat., noon–6 p.m. Through March 30.

HENY STEINBERG He shows urban-inspired abstractions in New Works. First Thursday opening reception, 6–8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. Opens March 7. Tues.–Sat., 10:30 a.m.–5:30 p.m. Through March 30.

JOANN VERBURG Present Tenseis the contemporary photographer’s mid-career survey. First Thursday artist reception, 6–8 p.m. Also: lecture at the Henry Art Gallery 7 p.m. Fri., March 8. G. Gibson Gallery, 300 S. Washington St., 587-4033, ggibsongallery.com. Wed.– Sat., 11 a.m.–5 p.m. Through March 23.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org for full roster of attractions.

6–9 p.m. Wed. March 6.

TAL WALTON On view are new landscapes. First Thursday reception, 6–8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Opens March 7, Mon.–Sun., 11 a.m.–5 p.m. Through March 31.

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

BR UC H’S VIO LIN C O NC ERTO NO. 1 W YC KO F F M A S T E R W O R KS S E A S O N Michael Francis, conductor / Vadim Gluzman, violin Hear why the The Washington Post calls Vadim Gluzman “one of today’s top violinists,” when he performs Bruch’s popular Violin Concerto No. 1.

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Thursday sponsored by

Michael Francis

Thursday, March 21, at 7:30pm Friday, March 22, at 12 noon Saturday, March 23, at 8pm

BEETHOVEN’S SY M PHO NY NO. 5 WYCKOFF MASTERWORKS SEASON / WOLFGANG SERIES David Afkham, conductor / Gautier Capuçon, cello One of the most popular works on the classical stage, the Fifth is also deeply embedded in our popular culture, from cellphone ringtones to an unforgettable disco adaptation in Saturday Night Fever.

Gautier Capuçon’s performance generously underwritten by Jane and David R. Davis.

Gautier Capuçon

Friday sponsored by

Most tickets start at $19 206.215.4747 | SEATTLESYMPHONY.ORG

SEATTLE WE EKLY • MARCH 6 — 12, 2013

landscape scenes. Also on view: Peggy Washburn adds other media to her photos. First Thursday opening reception, 6–8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Opens March 7.

Tues.–Sat., 10:30 a.m.–5 p.m. Through March 30.

HOWARD AND LORRAINE BARLOW The Eastern Washington artists consider love, loss, death, and ritual in xoxo. First Thursday opening reception, 6-–8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Opens March 7. Thurs.–Sat., noon–5 p.m. Through March 30.

DEBORAH BELL AND KENNA MOSER They present new work in a variety of media. First Thursday opening reception, 6–8 p.m. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston.com. Opens March 7, Tues.–Sat., 11 a.m.–5 p.m. Through March 30.

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

WILLIAM BURTON BINNIE Drawings and Paintings collects his recent work. First Thursday reception, 6–8 p.m. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. Opens March 7, Tues.–Sat., 10:30 a.m.–5:30 p.m. Through March 30.

SARAH DILLON Things May Have Shifted in Flight contains abstract works that “explore clips of narrative or events.” First Thursday opening, 6–8 p.m. Artist reception 5–8 p.m. Sat., March 9. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110. com. Opens March 7, Wed.–Sat., noon–5 p.m. Through March 30.

ROBERT R. DOZONO He exhibits scenes inspired by the Oregon landscape in Clackamas River Series. Also on view: paintings by Juan Alonso. Opening reception 2–4 p.m. Sun., March 10. Francine Seders Gallery, 6701 Greenwood Ave. N., 782-0355, sedersgallery.com.

Opens March 8, Tues.–Sat., 11 a.m.–5 p.m.; Sun., 1–5 p.m. Through March 31.

ADAM EKBERG From the Outskirts shows his new photographs. Artist reception on First Thursday, 6–8 p.m.

Also note his lecture at Photo Center NW, 6:30 p.m. Fri., March 8 ($8–$10). Platform Gallery, 114 Third Ave. S., 323-2808, platformgallery.com. Wed.–Fri., 11 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Through March 23.

GEORGETOWN ART ATTACK March’s showcase features resident artists Syd Shera and Stacy Rosevear at Equinox Studios, Susceptible book signing and art show by Geneviève Castrée at Fantagraphics, surrealist pop art from Javier S Ortega at Calamity Jane’s, and much more. 6–9 p.m. Sat., March 9.

GREEN GOTHIC Featuring Gretchen Bennett, Frank Correa, Lisa Radon, Serrah Russell, and Rodrigo Valenzuela, this Amanda Manitach-curated show was inspired by Matt Offenbacher’s notion of the “Green Gothic” idiom in the Pacific Northwest. First Friday opening, 6–8 p.m. Hedreen Gallery, 901 12th Ave., 3239405, seattleu.edu. Opens March 8. Wed.–Sat., 1:30–6 p.m. Through March 24.

HANZ/HAUS Shannon Perry and Lelah Maupin show drawings of cats, tattoo designs, and sculptures of hands. Opening reception 7–10 p.m. Fri., March 8.

Cairo, 507 E. Mercer St., cairocollectionseattle.com.

March 8–April 9.

TOM HAUSKEN This survey of his paintings, mostly black-and-white abstract compositions. spans 2007 to 2012. First Thursday opening reception, 5–7 p.m. Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer. com. Opens March 7. Mon.–Sat., 11 a.m.–6 p.m.

Through March 30.

ROY KAUFFMAN What we know: “He plays with abstraction, motion, and light.” First Thursday opening reception, 5–7 p.m. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. March 7–April 3.

WAYNE LEVIN Underworld features his underwater photography in the Pacific Ocean. First Thursday opening reception, 6–8 p.m. M.I.A. Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com. Opens March 7. Tues.–Fri., 11 a.m.–6 p.m.; Sat., noon–6 p.m. Through April 13.

NICH HANCE MCELROY Advice from a Pilgrim features

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SEATTLE WEEKLY • MARCH 6 — 12, 2013

film»This Week’s Attractions Emperor

Greedy Lying Bastards OPENS FRI., MARCH 8 AT VARSITY. RATED PG-13. 95 MINUTES.

Throughout most of this new eco-agit-doc, I was dubious of what good it could do. Greedy Lying Bastards effectively describes (again) the global warming caused by greenhouse gases and how (again) political donors from the energy sector

have prevented any real policy debate on the matter in Washington, D.C. Filmmaker Craig Rosebraugh’s telling of the interplay among Koch Industries, Oklahoma Senator James Inhofe, and a cadre of climate-change-denying think tanks is strongly told, if not revelatory. And Greedy Lying Bastards smartly forgoes anything that might smack of strident liberalism or conspiracy theories. Many of Rosebraugh’s interview subjects are rural Americans living in red states and dealing with severe drought and massive forest fires. Al Gore’s wayward polar bear is nowhere to be found.

Still, the question remains: Americans have already ignored the evidence of global warming for a long time. An Inconvenient Truth came out in 2006. What’s another 95-minute doc going to change? Perhaps understanding this, Rosebraugh devotes the final minutes of his film to a four-point strategy for beating the “bastards”: consumer boycotts, pressuring your congressional representative, curbing corporate spending in politics (Super PACs, Citizens United, etc.), and ending tax subsidies to oil companies. The film’s shift from measured argument to a populist howto on beating oil companies is jarring, but my only real quibble is that it comes too late.

barks bitter reprisals. Both prepare for their inevitable capture by the Allies. Neighbors want nothing to do with the five kids. Strangers are potential predators, ready to rob or use the family’s new baby as a prop for begging food. The children duck Allied patrols and fellow refugees en route to Grandmother’s house. And they find the unlikeliest of protectors in a young concentration-camp survivor, Thomas (Kai Malina), with a startlingly clear-headed survival instinct and an instant grasp of the complicated new politics of postwar Germany.

Shortland directs with an almost hypnotic focus, favoring Lore’s immediate experience over the big picture. She uses a woozy handheld camera to make everything unmoored and tipsy; her edits blur the days into one another. Lore and her four younger siblings trek through an

RUNS FRI.–SUN. AT SIFF FILM CENTER, THEN MON.–THURS. AT SIFF CINEMA UPTOWN. RATED PG-13. 101 MINUTES.

ATO PICTURES

Lore The plot here doesn’t initially seem promising: Children of Nazis fend for themselves in desperate, defeated, Allied-occupied Germany.

But Lore doesn’t seek your sympathy for the forgotten innocents of war. Which is not to say that Australian director Cate Shortland (Somersault) is unsympathetic to these Germans. She simply reminds us how Nazi culture still defines them, especially fresh-faced teenager Lore (Saskia Rosendahl), the very picture of Aryan maidenhood.

Lore’s privileged life comes crashing down as she sees her SS officer father hurriedly burn the evidence of his war crimes, while her mother

children. (Even Thomas and Lore’s relationship skirts expectations, leaving us more questions than answers.) If Lore is never quite gripping, its danger and loss more instructive than felt, it’s consistently involving, often surprising, and always thoughtful.

The misty landscape of forests and fields and rivers is lovely, but Lore’s real odyssey is through a dead, deluded culture holding tight to its bigotry, nationalism, and grief for the fallen Führer.

“Don’t be ashamed of your parents,” lectures her grandmother, but Lore learns to see differently.

And from that—perhaps a new Lore and a new Germany. SEAN AXMAKER

The Monk

DAN PERSON

OPENS FRI., MARCH 8 AT HARVARD EXIT. NOT RATED. 108 MINUTES.

In Greedy Lying Bastards, did global warming contribute to Superstorm Sandy’s devastation of the Jersey shore?

Cassel’s cleric falls into temptation.

ever-present now, a series of negotiations and confrontations for a 14-year-old growing up fast. She’s no innocent Riefenstahl mountain girl standing tall against evil; she’s not even particularly likable. Lore is alternately scared, angry, frustrated, and torn—especially about the Jewish “inferior” who time and again saves these

French actor Vincent Cassel has an excellent, muscular squint. With just the faint narrowing of his eyes, you feel his silent menace and disapproval in films like Black Swan or Eastern Promises. His squint is almost Clint Eastwood–quality, possibly rivaling Lee Van Cleef ’s. It’s something he must work on for hours a day. His squint does yoga. His squint does Pilates. Sometimes his squint even goes to the gym by itself, while Cassel sleeps late or checks his e-mail. And The Monk might’ve been better starring just his squint, not Cassel, here playing a dissolute monk in early-17th-century Spain. The story, based on a popular 1796 novel by Matthew Lewis, has been filmed at least three times before. It’s a Gothic tale of sin and the supernatural, praised by Byron in its day and (later) by the Marquis de Sade.

Foundling infant Ambrosio is raised by monks and grows to be a strict yet charismatic church leader. Afflicted by intense headaches, causing women to swoon during his sermons,

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SEATTLE WE EKLY • MARCH 6 — 12, 2013

Tommy Lee Jones has been supremely adept at playing grumpy old men since he was in his 40s. The Fugitive, Men in Black, and his recent Oscar-nominated turn in Lincoln have baked his crustiness to a perfect crust. If there were a movie that consisted of nothing but Jones glowering and shouting “You damn kids get off my lawn!”, people would pay to see it. Fewer people, however, will line up to see Jones as Gen. Douglas MacArthur—a towering, egotistical commander during World War II, a political flop after the war, once one of the most famous men in the world. Yet some 50 years after his death, he’s largely forgotten, and Jones is relegated mostly to the periphery of a movie that ought to be about MacArthur.

Based on a Japanese historical account set in postwar Tokyo, Emperor is mostly narrated through the figure of young Gen. Bonner Fellers (Matthew Fox), an actual assistant to the smugly regal MacArthur, supreme commander of defeated Japan. The title Emperor refers as much to MacArthur as to Hirohito, whose fate Fellers is charged with deciding. Should the weak, reclusive emperor be charged as a war criminal? And would such a shocking trial cause the people to revolt, as several Japanese characters tell Fellers, and possibly turn the country Communist?

Complicating matters—and here’s your historical embellishment—is Fellers’ lost Japanese love from college, a former exchange student named Aya (Eriko Hatsune), whom he’s trying to find in the rubble.

Despite its two American stars and English director, Peter Webber (Girl With a Pearl Earring), Emperor is very much a Japanese production. From the very first archival images of the Enola Gay’s ominous flight, it’s apparent this will be a “balanced” movie. The following scenes are stilted and didactic, as Fellers is lectured about the U.S. fuel embargo that preceded Pearl Harbor, our own shameful colonial history, and the innocents killed in Hiroshima, Nagasaki, and the Tokyo firebombing raids. Seven decades later, such arguments should certainly be aired—especially for those who’ve never heard of MacArthur. But here those arguments are deathly dull and declarative. It’s as if the entire cast, Japanese and American, is reading from cue cards. Fox does little more than listen (or look moony in awkward college flashbacks); much of the Japanese characters’ English sounds phonetic (subtitles are random); and Jones, again, has too little screen time to paint his khaki prima donna.

In one scene, Aya draped over his shoulders, Fellers attempts to type a report on the Japanese national character. The camera noses close to the paper on the platen. Clack, clack, clack. What’s his conclusion? The keys swat out the word “mysterious.” About Hirohito’s war guilt or why this movie was made, the same word applies. BRIAN MILLER

GREEDYLYINGBASTARDS.COM/ANDREW MILLS/THE STAR-LEDGER

OPENS FRI., MARCH 8 AT GUILD 45TH. RATED PG-13. 106 MINUTES.

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he’s a Romantic vision of thwarted passion—a monk who can’t get laid. Introduced in a confessional, listening to a suave serial rapist describe his misdeeds, Ambrosio insists, “Satan has only the power we give him.” Yet a dark impulse has been planted in this chaste monk’s mind. Cassel’s cleric looks down upon his flock, virginal beauties among them, with new appreciation.

Unfortunately, bodice-ripping and soft-core Euro-orgies do not ensue. Nor is this some Almodóvarian camp exercise or a Ken Russell romp through the rectory. Director Dominik Moll treats the material seriously, which is a serious mistake. As a novel, The Monk once might’ve scandalized like Frankenstein, but who reads it today? Ambrosio has only one way to go, and that is down to the sulfurous depths. En route, we encounter a masked succubus, incest, demonic possession, poisonous centipedes, matricide, hidden identities, ghosts, graveyard sex, and an appearance by the devil. Also, there are not one but two dark-and-stormy-night scenes.

And Geraldine Chaplin plays a fanatical nun.

Any movie with Geraldine Chaplin can’t be all bad, can it? Perhaps The Monk is the exception that proves that rule. Sin and damnation were never so dreary. BRIAN MILLER

Only the Young RUNS FRI., MARCH 8–THURS., MARCH 14 AT NORTHWEST FILM FORUM. NOT RATED. 72 MINUTES.

SEATTLE WEEKLY • MARCH 6 — 12, 2013

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THE MONK ABC’S OF DEATH

The glut of reality TV has made us rightfully wary of those who crave the camera. Teens get more than their share of media scrutiny, and any coming-of-age tale—documentary or scripted—suffers from overfamiliarity.

Small town, bored teenagers, and maybe a girl between them? Haven’t we seen it all before?

Such are the challenges for this intimate little profile of friendship in Santa Clarita, a sunbaked exurb northwest of L.A., past Burbank but not yet Bakersfield. High schoolers Kevin, Garrison, and Skye never visit L.A. in this uneventful doc, never see the ocean; they never even mention wanting to see the ocean. Their vistas—and prospects beyond high school— are even more limited. Kevin might move to Tennessee with his family. His best friend Garrison wants to buy a car. And apparently orphaned Skye, who’s dating Garrison, lives with her grandparents in a house that might be foreclosed by the bank. (Parents hardly figure in the film.)

None of these three kids are going to be stars, and they have an endearingly innocent candor before the camera. Filmmakers Elizabeth Mims and Jason Tippet are in their 20s, and Tippet is from Santa Clarita. They don’t question their young subjects, and any expectation of drama— like an Arizona skateboard competition—is quickly subsumed into the ordinary business of being teenagers. (Contrast this with the 2008 doc American Teen or any John Hughes movie.) Kevin and Garrison make a clubhouse in an abandoned home, but they never build a half-pipe. Skye and Garrison change their hairstyles; then they change partners. False drama or conflict isn’t forced upon them. There’s no mention of drugs or booze or sex. That the three

are members of an evangelical youth group—in which Christ, skateboarding, and tacos form the Holy Trinity—matters not at all.

Again, Mims and Tippet don’t judge their subjects, choosing instead to document them with emo, blue-collar lyricism. Inarticulate Garrison and Kevin are at their best when in motion—skating through a backlit sewer pipe, jumping off a tin roof, attempting new tricks that will never get them into the X Games, never make them Shaun White. What do we learn from watching them? It’s good to be young, with ankles strong enough to jump off the roof. But Skye’s complicated family turns out to be the only story worth following here, and the filmmakers introduce it too late. You’re left wondering where these teens will be in 10 years. Even in the short framework of this doc, what happened to those big plans for building a half-pipe? “I guess time slips,” says Kevin. He has no idea. BRIAN MILLER

Yossi OPENS FRI., MARCH 8 AT EGYPTIAN. NOT RATED. 84 MINUTES.

Ten years after Yossi and Jagger, Eytan Fox’s drama about two Israeli soldiers in a clandestine love affair on the Lebanese border, Fox checks back in with Yossi (again Ohad Knoller), now a heart surgeon who has closed off his own heart since the death of his lover. Yossi hasn’t come out to his co-workers (though there are rumors), and he lives like a self-imposed exile in Tel Aviv, convinced he’s neither desirable nor deserving.

A sad teddy bear of a man, the likable but distant Yossi spends his evenings numbing himself with TV or Internet porn. The script walks us through his anxieties and fears in episodic snapshots more intent on making a point than illuminating his character. Then Yossi gives a ride to a quartet of young soldiers and his eyes lock with the fit, funny, and handsome Tom (Oz Zehavi). Instantly attracted, he books a room at the beachside resort where the soldiers are on leave. He’s not stalking him, really (he can’t even make a pass), but it’s no coincidence that Yossi’s vacation reading is Death in Venice: another old man lusting for youthful beauty.

We’re not talking creepy May/December romance here, but at 34, Yossi lives like a senior citizen, out of touch with a culture that has moved beyond the closeted days of his youth.

It’s left to the dynamic Tom, out and confident about his sexuality, to make all the moves. This does makes Yossi an awfully familiar fantasy—for gays and straights alike—about an emotionally repressed older man saved by a young beauty who sees the kind soul and intelligence under the frumpy surface. Only the Israeli setting and gay characters —along with a pleasing self-awareness and observational acuity—differentiate Yossi from a Hollywood treatment of the same story. Which might be enough for the right audience.

This is an oddly passive character study—less a story than a portrait of stunted self-esteem.

Why hasn’t Yossi noticed how the culture has changed around him? Fox doesn’t say. Still, it’s inspiring to watch Yossi break out of his blinkered perspective and finally grasp that he can let the world see him as he really is. Yossi and Jagger ended in tragedy. Ten years later, his world is more accepting. SEAN AXMAKER E

film@seattleweekly.com

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

Seattle Presenting Sponsor

Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English, 1727–1788, oil on canvas, 95 3/4 x 60 3/4 in., Kenwood House, English Heritage; Iveagh Bequest (88028783), Photo courtesy American Federation of Arts.

Seattle Presenting Sponsor

Image credit: Mary, Countess Howe (detail), ca. 1764, Thomas Gainsborough, English,

SEATTLE WE EKLY • MARCH 6 — 12, 2013

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

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Local Film • 007: SIX CLASSIC JAMES BOND FILMS SEE THE WIRE, PAGE 17.

THE ABCS OF DEATH This alphabetical new horror

anthology boasts no less than 26 directors (!), with short segments helmed by Ti West (The House of the Devil) and others. Note: the film moves to SIFF Cinema Uptown on Monday. (NR) SIFF Film Center, $6-$11, March 8-14.

• THE COOK, THE THIEF, HIS WIFE & HER LOVER

Helen Mirren enjoys sweet bloody revenge in Peter Greenaway highly aesthetic shocker from 1989. Sex, violence, and gastronomy has seldom been so closely linked on screen. (NC-17) Central Cinema, March 8-11, 9:30 p.m.

–STEVE ZEITCHIK, LOS ANGELES TIMES

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This new music documentary follows Filipino singer Arnel Pineda and his unlikely quest to replace Steve Perry as lead singer of Journey. Which actually happened. Call for showtimes. (NR) SIFF Cinema Uptown, $6-$11, March 8-14.

ECO WARRIORS Producer Jennifer Pickford will introduce this hour-long doc about Portland’s Tre Arrow, who sought refuge in Canada after being pursued by the FBI. (NR) Northwest Film Forum, $6-$10, Tue., March 12, 7 p.m.

FUTURE WEATHER Jenny Deller’s new drama carries a backdrop of concerns about global warming. In the foreground are a young teen (newcomer Perla HaneyJardine), her wayward mother (Lili Taylor), and alcoholic grandmother (Amy Madigan). Discussion about climate change precedes the movie. (NR) SIFF Cinema Uptown, Free, Mon., March 11, 7 p.m.

GIRL RISING Paul Allen, owner of the Cinerama, is among the producers of this new doc about education and empowerment of girls around the world. Lending their voice talent to the nine vignettes—from Cambodia to Haiti and beyond—are Meryl Streep, Anne Hathaway, Salma Hayek, and others. Director Richard E. Robbins and special guests will conduct a Q&A following the screening. The film will be made available via on-demand today as well. (PG-13) Cinerama, $25, Thu., March 7, 7 p.m.

GROUNDHOG DAY The 20/20 Awards is honoring this wonderful karmic comedy from 1993, starring Bill Murray as the peevish weatherman sentenced to relive the same day over and over again. Is 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 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.” 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.” We couldn’t agree more.

Andie MacDowell and Chris Elliott costar along with Murray and Tobolowsky. (PG-13) BRIAN MILLER. Grand Illusion, $5-$8, Thu., March 7, 9 p.m.

JOEL HODGSON: RIFFING MYSELF Famed former host of Mystery Science Theater 3000, he appears in a live stage show about the origins of that beloved nerd favorite (which ran from 1988-99). Following is a new, one-off rep screening featuring his and voices from Seattle talent made the day before. (NR) SIFF Cinema Uptown, $10-$45, Fri., March 8, 8 p.m.

L.A. REBELLION SEE THE WIRE, PAGE 17.

MIDNIGHT HORROR Call the tavern, or just drop by, to see what random gore flicks are playing in this ongoing series. Plus drink specials! (NR) Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com, Free, Thurs.-Sun. MURDER, MY SWEET Based on a Raymond Chandler novel, this 1944 noir stars Dick Powell as detective Philip Marlowe, here hired by a mobster to find his ex (Claire Trevor). (NR) Central Cinema, $6-$8, Wed., March 6, 7 & 9:30 p.m.

SEATTLE JEWISH FILM FESTIVAL The Seattle Jewish Film Festival is not, strictly speaking, just about film. Among its various venues (including SIFF Cinema Uptown) and events are a a Sunday brunch screening with pre-show klezmer music (tomorrow), a senior

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

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lunch and screening (Weds., March 6 at the Stroum Jewish Community Center), and a panel discussion on “What is Jewish Art?” (Sun., March 10, venue pending). Still, movies are the main draw, and 21 titles will be screened through March 10. See seattlejewishfilmfestival.org for schedule. (NR) $9-$12 (passes $72 and up), SHIFT CHANGE Filmmakers Melissa Young and Mark Dworkin will be on hand to discuss their new labor documentary. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., March 8, 7 p.m.

SILENT MOVIE MONDAYS Lillian Gish gets knocked up in Victor Sjöström’s 1926 adaptation of Nathaniel Hawthorne’s The Scarlett Letter. Organist Jim Riggs provides live accompaniment. (NR) The Paramount, 911 Pine St., 877-784-4849, stgpresents.org, $10, Mondays, 7 p.m.; Sun., March 10, 2 p.m. Through March 25.

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THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES “Alien Encounters” is the March 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.

TRIPLE FISHER: THE LETHAL LOLITAS OF LONG ISLAND Inspired by early-’90s tabloid staple Amy

Fisher, a teen who shot the wife of her much older lover (Joey Buttafuoco), three TV movies were subsequently produced. The best known starred Drew Barrymore. Now, filmmaker Dan Kapelovitz has edited together a mashup of all three. (NR) Grand Illusion, $5-$8, Wed., March 6, 9 p.m.

THE TRIPLETS OF BELLEVILLE Who needs modern CGI animation? This charming 2003 French throwback takes its cues from the past. Sylvain Chômet’s warm, wiggy first feature boasts great line drawings with offbeat, collectable sounds and music: part Django Reinhardt, part scat-singing, part Stomp. Blissfully, there’s no dialogue. Set in ’50s France, Triplets centers around a cyclist’s kidnapping by Mafioso, who transport him across the ocean to Belleville, tracked by his grandmother and faithful dog in a rescue mission rather like Finding Nemo. Belleville looks suspiciously like a Frenchman’s view of Manhattan. It has a Boterosized Statue of Liberty clutching a hamburger, an entirely overweight populace, and the Triplets—three old crones who were once music-hall stars of the ’30s.

There’s never quite time enough to absorb Triplets’ décor, allusions, and sumptuous drawing, which Chômet is too cool to underline. The result is a fabulous mélange that makes even splendid Nemo seem overlit, simplistic, and a touch preachy. (PG-13) SHEILA BENSON Central Cinema, $6-$8, March 8-11, 7 p.m.

VIVA L’ITALIA Concluding the series is Vittorio De Sica’s very enjoyable 1964 comedy Marriage, Italian Style, in which Sophia Loren gets the best of Marcello Mastroianni. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, 7:30 p.m. Thurs., March 7.

WILLOW From 1988, Ron Howard’s fantasy picture stars Val Kilmer, Joanne Whalley, and Warwick Davis. (PG) Egyptian, $8.25, Fri., March 8, 11:59 p.m.; Sat., March 9, 11:59 p.m.

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Ongoing AMOUR Hollywood generally treats aging as an

ennobling 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 (Funny Games, Caché), who has specialized in an impeccably crafted cinema of cruelty, repressed passion, and dread. So it’s something of a shock for 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. 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.

Haneke renders Georges and Anne’s dilemma with dispassionate, clinical observation. Amour often plays like a Frederick Wiseman documentary. For Haneke, life itself is cruel. There is no consolation, only an end.

(PG-13) Brian Miller Kirkland Parkplace, Vashon ARGO Ben Affleck’s Oscar winner 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)

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same script, with the same enjoyable plot twists. Side Effects ultimately feels like a remake. And if that’s the way Soderbergh chooses to end his career, fine. Side Effects embodies the pleasures of the familiar, if not the discoveries of his past. (R) Brian Miller Lincoln Square, Majestic Bay, Cinebarre, 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 is looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Russell’s pell-mell approach perfectly suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany (the Oscar-winning Jennifer Lawrence), who’s even more titanic in her instability than Pat. (R) Brian Miller Seven Gables, Oak Tree, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, Bainbridge, others SNITCH This solid little B-movie has an actual issue involved. Dwayne “The Rock” Johnson plays Matthews, whose 18-year-old son accepts FedEx delivery of ecstasy pills from a pal. Then comes the bust. Because of mandatory minimum sentencing guidelines, Matthews is told, his kid is going away for 10 years. Matthews then pitches an unlikely deal to the stern, childless, politically ambitious federal prosecutor (Susan Sarandon!). Let me do a drug deal for you in place of my son, he says, then he can get off on probation and go to college. Because this is a movie, the prosecutor agrees, meaning that upright family man Matthews has to penetrate the criminal underworld he knows nothing about. By the time he hooks up with a scary dealer (Michael K. Williams), Matthews realizes he’s in way over his head. The dealer leads to an even more frightening Mexican drug cartel, whose leader (Benjamin Bratt) is a whole different magnitude of scary. There’s much less action than you expect in Snitch (the script was inspired by a Frontline report), and the car crashes and gunshots feel plausibly weighted by gravity. (PG-13) Brian Miller Lincoln Square, Meridian, Thornton Place, others ZERO DARK THIRTY Director Kathryn Bigelow and screenwriter Mark Boal dramatize the manhunt for Osama bin Laden. From the major details to the smallest ones, the reporting is so good you scarcely question a beat. Jessica Chastain gives a sensational performances as Maya, a young CIA officer obsessed with bin Laden. Waterboarding and starvation are depicted, without any of the moral outrage some might expect from a Hollywood treatment of this subject. Rather, Bigelow and Boal come not to judge but to show, leaving the rest up to us. This is superb journalism and even better filmmaking, culminating in an electrifying re-enactment of the raid on bin Laden’s Pakistan hideout. But what impresses most about Zero Dark Thirty is the long time it spends in the middle distance, immersing us in the workaday lives of agents and analysts who sacrifice much in the name of something bigger than themselves. (R) Scott Foundas Oak Tree, Lincoln Square, Meridian, others

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enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer. Between hokey wisecracks ribbing industry idiocy, the trio seizes on a dusty script for a Star Wars rip-off called Argo. Affleck’s movie doesn’t reflect who we are now so much as it argues for what Hollywood can be. It’s a love letter from Affleck to the industry that made him, shunned him, and loves nothing more than to be loved. (R) Karina Longworth Varsity, Oak Tree, Lincoln Square, Meridian, others 56 UP In Michael Apted’s ongoing documentary series, well-off barrister Andrew declares, “There is still a class system, but it’s based on financial success. It’s been ever thus, and I don’t think it’s ever going to change.” Echoing him is Lynn, a working-class East Ender who’s been made redundant. The Labor Party has failed, she says, and others from her circle share that view, criticizing Thatcher and David Cameron for weakening the welfare state. 56 Up’s subjects seem rather pessimistic, if not quite bitter, about the UK’s enduring inequalities. Apted is a sympathetic, off-camera presence, yet he resists any overview or analysis. Each individual story subsumes the issue of class. Apted is more interested in coping than social advancement, how his subjects—rich and poor— adapt to their circumstances. He and his subjects are all on a friendly first-name basis by now. In a real sense, they’re our friends, too. And what do we do when reuniting with old friends—fill out questionnaires and filter the results in a computer? No, we trade stories. (NR) Brian Miller Guild 45th LINCOLN Our 16th president becomes an almost 4-D character made flesh by Daniel Day-Lewis, arguably the best actor of his generation. The challenge for director Steven Spielberg is to square the Georgia white marble of the Lincoln Memorial with the fleshand-blood reality we can never really know—evoking the man without diminishing the leader. His other challenges include relating the complications and subtleties of political maneuvering, and the inherent suckiness of the biopic form. Spielberg solves that by lensing the portrait through a single event: the fight to pass the 13th Amendment. The film is studied and often somber, but it is also hugely entertaining, a bitchingly fun story of political gamesmanship, influence trading, patronage, cronyism, and outright bribery. This Lincoln is quietly ironic, an indulgent storyteller, a hugely charismatic leader. Day-Lewis deservedly won an Oscar for the role. (PG-13) Chris Packham Pacific Place, Thornton Place, others A PLACE AT THE TABLE This well-intentioned doc by Kristi Jacobson and Lori Silverbush is really best suited for the children of Seattle’s overeducated foodies, something that ought to be screened in middle school.

With subjects including food deserts, corn-syrup subsidies, and the obesity/poverty paradox, A Place at the Table attempts to enliven the talking heads (Marion Nestle, etc.) with real-life vignettes featuring sympathetic poor folk from Philadelphia to rural Colorado to the Mississippi Delta. As you’d expect, there are no Whole Foods from which to purchase fruits and veggies; more to the point, they couldn’t afford such healthy fare even if it were convenient.

Among other non-surprises here are the thwarted efforts in Washington, D.C., to increase the purchasing power of food stamps and decrease the lobbying power of big agribusiness. For a little stardust, concerned citizen Jeff Bridges adds his comments—and they’re entirely intelligent. (“It’s a problem people are ashamed of acknowledging,” says the Dude of poverty and malnutrition.) Like others in the doc, he wants to see increased federal spending to fight hunger. Where might such funding come from? “We’re spending $20 billion a year in agricultural subsidies for the wrong foods,” says Nestle. Well, tell that to the congressional representatives from red-voting farm states. That’s where Place needs to be screened. (PG) Brian Miller Varsity SIDE EFFECTS Steven Soderbergh is a total filmmaker who handles his own camera, but is only as good as his script. And this big pharma/crime tale by Scott Z. Burns is not a great script. Yet it starts out smartly enough, as Emily (Rooney Mara) waits for her husband Martin (Channing Tatum) to be released from jail after a four-year term for insider trading.

Understandably, Emily is depressed, and she’s on a lot of pills. Her new shrink, Dr. Banks (Jude Law), provides suicidal Emily with modest meds and a sympathetic ear. Then he enrolls her in a clinical trial that will, conveniently, provide him some much-needed extra income. Disaster follows. As Side Effects becomes a medical-legal procedural, with lawyers, courtroom testimony, and flashbacks, you could imagine a different set of actors—perhaps Fred MacMurray and Barbara Stanwyck—in an older, black-and-white version of the

29

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SEATTLE WEEKLY • MARCH 6 — 12, 2013

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food&drink»

The Slurping Spectrum The joys of ramen, fast or slow.

BY HANNA RASKIN

PHOTOGRAPHY BY JOSHUA HUSTON

L

ike the buffoon at the center of Moliere’s Le Bourgeois gentilhomme, who learns he’s been speaking in prose for 40 years without intending to do anything so lofty, American eaters have lately discovered that they were tapping into an ancient culinary tradition when they boiled blocks of Top Ramen noodles instead of lunching in the college cafeteria. Ramen, as the nation’s food curious now know, is a Japanese art, practiced by masters who hand-pick pork bones for their broth and lose sleep over how much kansui to add to their noodles.

But what’s sometimes forgotten in the current ramen hubbub—which may have reached its peak when David Chang devoted the first issue of his single-subject food journal, Lucky Peach, to the dish—is that while housemade ramen may be extraordinary, it’s also ubiquitous. The iconic noodles are the Japanese equivalent of burgers in the U.S.: cheap, comforting, and all over the quality map.

Seattle diners can catch a glimpse of ramen diversity at a pair of restaurants that opened late last year. Kukai Ramen’s Bellevue shop is the first U.S. outpost of a small Japanese chain best known for its salty tonkotsu broth and Tokyo airport location. In burger terms, think Fatburger.

And, over in Wallingford, 4649 Yoroshiku Japanese Restaurant is the creation of a former electrician who so missed the soups and snacks of his native Sapporo during a yearlong Seattle stay that he went home to apprentice in its izakayas, acquiring the skills he’d need to correct the situation. To use another burger analogy, if you’ve ever eaten a patty of grass-fed, house-ground beef on rosemary focaccia at a pop-up restaurant, you have a good sense of where 4649 falls on the ramen spectrum.

Kukai and 4649 are very different restaurants.

But both are worth a visit by eaters wanting to better understand ramen, fast and slow.

Top: 4649’s excellent shio ramen.

Bottom: Shoyu ramen explains Kukai’s success in Bellevue.

F

W

Sapporo-trained Keisuke Kobayashi, owner of 4649 Yoroshiku.

hen Keisuke Kobayashi in 2007 spent a year studying at North Seattle Community College, he could only find three kinds of Japanese restaurants: teriyaki joints, sushi bars, and restaurants “owned by another person who is not Japanese.” Determined to show the city that Japanese food isn’t merely grilled chicken and raw fish, he started working in commercial kitchens after returning to Sapporo to take care of his mother.

The iconic noodles are the Japanese equivalent of burgers in the U.S.: cheap, comforting, and all over the quality map.

Since opening 4649 in the former Joule location last November, Kobayashi has had to repeatedly explain his vision to befuddled patrons who’ve wandered into his unadorned dining room. “Sometimes they ask for [sushi],” Kobayashi says. “And sometimes they leave.”

Diners who stick around will find plenty to savor on Kobayashi’s snacky menu, which is faithful to Sapporo’s culinary habits. There are bright housemade pickles; tightly curled grilled shrimp drifting in a pool of shio butter sauce; primly crisped cubes of agedashi tofu with creamy white centers and agedashi tomatoes smeared with tuna mayonnaise; barbecued lamb; deep-fried chicken and eggy okonomiyaki, savory pancakes knitted with tofu and stuffed with seafood, meat, or vegetables.

The list of yakitori is a kilometer long, give or take a few grilled skewers, with beef, pork

belly, vegetables, and nearly every important free-range chicken part represented. While the beef had a sadly weather-beaten bent, the fatty chicken skin and thighs seasoned with tare were terrific. But Kobyasahi says nothing outshines his salads, and he’s right: A bowlful of snow peas, bell peppers, broccoli, and celery strewn with peanut dressing is a chromatic celebration of health, freshness, and crunch.

Kobayashi’s excellent shio ramen, garnished with strips of roasted pork, is wonderfully substantial and as unabashedly chickeny as matzoh ball soup. The crimped noodles are the rare ingredient that doesn’t originate in 4649’s kitchen. “I think 98 percent of the food we are making every day,” estimates Kobayashi, who’s now working to perfect the ramen for which his hometown’s best known.

“I’m always studying miso ramen,” Kobayashi says, explaining his struggles to match the flavors of Washington-state chicken bones to the misos sold in Seattle. “It’s very close. Maybe we can serve miso ramen in two weeks.”

Still, Kobayashi worries about who will try his ramen. “To be honest, it’s pretty slow,” he says. “If you write an article, please say we will not disappoint you.”

Done. E

hraskin@seattleweekly.com

KUKAI RAMEN 14855 Main St., Bellevue, 425-243-7527, kukai-ramen.com. 11 a.m.–2:30 p.m. & 5–9:30 p.m.

Mon.–Thurs.; 11 a.m.–9:30 p.m. Sat.–Sun.

4649 YOROSHIKU JAPANESE RESTAURANT 1913 N. 45th St., 547-4649, 4649seattle.com.

5–10 p.m. Tues.–Thurs.; 5–11 p.m. Fri.–Sat.; 5–9 p.m. Sun.

SEATTLE WE EKLY • MARCH 6 — 12, 2013

as you want,” a server said apologetically when he delivered a forgotten order of agedashi tofu after dropping off the check. But Ayindel says the restaurant’s sorting out its service issues, and he recently repaired a heating problem that forced diners seated in the front half of the restaurant to eat with their coats on.

According to Ayindel, wait times have been extended by ramen neophytes who haven’t adapted to the slurping pace that predominates in Japan. Kukai’s shotgun dining room has a corporate sleekness that fits its strip-mall setting, yet—unfortunately for those congregated around the host stand—the open kitchen, warm lighting, and wooden tables set with husky brown leather chairs make it a pleasant ifteen minutes after Kukai opened on a chilly December day, every table place to linger when the thermostat’s working.

Kukai is drawing many Japanese diners, too, was taken. What initially seemed but Ayindel says they’re coming mostly for sake like a surge of first-day enthusiasm and izakaya items, such as grilled bacon-wrapped has morphed into routine, co-owner Nuri asparagus and takoyaki. I Aydinel reports. “There wasn’t taken with the bar hasn’t been a lunch or din» PRICE GUIDE snacks I tried: The tardy ner without a wait line,” KUKAI agedashi was served so hot says Aydinel, a Turkish SHOYU RAMEN ..............................$9 that the tofu melted into a businessman who partnered 4649 soybean puddle (it quite likely with a Taiwanese groceryOKONOMIYAKI........................$10.95 BARBECUE LAMB....................$12.95 had waited out our meal store manager on the VEGETABLE SALAD.................$4.95 SHIO RAMEN.............................$9.50 under a heat lamp), and citproject. “When we opened, CHICKEN SKIN YAKITORI.....$1.95 rusy fried-chicken wings were we weren’t expecting the unduly greasy. demand. It’s just been But the restaurant’s shoyu amazing.” ramen helped make sense of the chain’s success: A torrent of customers was probably high Uncomplicated and salty, the dish was distinon the pair’s wish list back when they regularly guished by chewy noodles slick with pork fat. met on Wednesdays to trade entrepreneurial Ayindel says it took a year to clear a California ideas, but Kukai has had trouble coping with factory’s noodle formulation with Kukai’s home the unanticipated crush. Six weeks after openoffice: “There have been a lot of shipments back ing, the young crew of friendly staffers still and forth,” he says. seemed frantic. “You can eat as much of this

The curly noodles share the bowl with a slightly overcooked hard-boiled egg, leafy greens, scallions, and a flap of smoky pork. The cloudy, buttercup-yellow broth is thick with fat and tweaked with pepper, though it’s tough to taste past the punch of the soy sauce and “special salt mix” that’s a Kukai signature.

“We were making it the same way as Japan,” Ayindel explains. Now, he adds, customers can request their ramen “light,” i.e., made with less oil and salt. But the traditional version’s still available for diners who care less about the cult of ramen and more about getting a meal that’s hot, quick, and salty.

31

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There’s a kids’ play gym next door (Gymboree) which can be handy or noisy, depending on your need or mood. But it’s a cozy coffeehouse atmosphere, with reliable sandwiches and tasty pastries. $ WILD MOUNTAIN CAFE 1408 N.W. 85th St., 297-9453.

This woman-owned restaurant was built with love and a social conscience, and is about as homey as they get. All of its charmingly eclectic furniture, kitchen equipment, and dishes are secondhand, and all kitchen scraps and coffee grounds are composted. On top of being environmentally friendly, the home-style comfort food tastes great, too. Irresistible entrées include the honey-kissed, oven-fried chicken with roasted garlic mashed potatoes. $

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CAPITOL HILL

DINETTE 1514 E. Olive Way, 328-2282. Dinette’s menu has

a whole section devoted to toast. Theirs is made on Columbia City Bakery’s bread; though toppings change weekly or so with the rest of the menu, they usually include a spreadable cheese, a smoked or cured fish or meat, and some sort of seasonal herb or vegetable.

The rest of the menu is similarly rustic, comfortably at home between homey and haute, and missteps are rare.

Service and atmosphere are both top-notch, making this a can’t-miss spot for Hillsters and visiting foodies.

(Get on the mailing list and you can vie for a seat at the restaurant’s bimonthly Sunday Suppers.) $$ FUEL COFFEE 610 19th Ave. E., 329-4700. This scrappy little Capitol Hill coffee shop’s patrons are as loyal as the atmosphere is laid-back. Fuel represents the middle ground in Seattle coffee culture: it’s a place for folks who are neither Stumptown nor Starbucks, aficionado or layman. But if ever a roast tastes familiar, it’s because Fuel buys its beans from local roaster Caffe Vita. $ GARAGE 1130 Broadway Ave., 322-2296. Fancy some beef medallions or grilled wasabi prawns with your pool game? You got it. The liquor-absorbing standbys (fries, pizza) haven’t been forgotten, they’re just augmented with some additions you wouldn’t expect from any place that charges by the hour, like a bell pepper stuffed with Israeli couscous. The atmosphere has the raucous mix of jukebox, television, clacking balls, and tipsy chatter. $ HOMEGROWN 1531 Melrose Ave. E., 682-0935. The Capitol Hill location for this wildly popular casual cafe/ sandwich shop carries on its mission of sourcing great

FirstCall

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Post Alley at Pike Place Market • We open at 9 AM serving breakfast all week long!

• Now serving breakfast burritos & huevos rancheros • Gluten free options

1514 Pike Place Market Location #7 www.losagaves.net Call 206-504-0202 to place your order to go.

Provost’s Office

The Watering Hole: Über Tavern, 7517 Aurora Ave. N., 782-2337, GREEN LAKE The Atmosphere: There are plenty of places to try a new brew in Seattle, but all beer geeks should make the trek to Über Tavern at least once. Just don’t count on getting a seat. The tiny bar is the size of a large living room and only has four tables and a few stools at the curved bar, all of which were occupied on a recent Saturday night.

The Barkeep: Ken Provost’s easygoing nature matches Über’s mellow vibe, and when he’s not serving customers, he chats amiably with the regulars who line the bar. Provost has been in the booze business awhile, pulling pints at Über since it opened six-and-a-half years ago; prior to that he was a buyer for PCC and worked for a wine distributor.

The Drink: Provost is brimming with knowledge about beer and eager to impart his wisdom.

Asked to pull his favorite pint, he carefully considers his options before bringing me a Chuckanut Pilsner. “They do a really good job of making authentic German beer,” Provost explains. “They focus on one kind of beer, and as a result it really

SARAH ELSON

SEATTLE WEEKLY • MARCH 6 — 12, 2013

$3.00 SUSHI, $3.99 PUPUS, SUSHI & HANDROLLS $4.00 COCKTAIL SPECIALS & WINE $15.00 SAKE MARGARITA PITCHERS MON & TUES ALL NIGHT, WED & THURS & FRI 5-7PM LATE NIGHT: SUN-THURS 9-11:30PM HEATED DECK IS OPEN!!!

13,500 FANS AND COUNTING

Cutters Bayhouse was located anywhere other than the edge of Pike Place Market, it would probably emerge as a choice lunch spot. Unfortunately, its tame menu of soups and salads can’t compete with what Tom Douglas is smoking across the street or vendors are offering over at the market. But the expansive dining room is sunny and comfortable, and the kitchen’s a veritable crab meat canteen: there’s sweet meat afloat in a winning miso soup, atop an open-faced avocado melt, and mixed into a warm cheesy dip that’s designed to sate tourists’ cravings. $$ MARRAKESH 2334 Second Ave., 956-0500. Enter a room that resembles a tent, recline on regal pillows, and watch course after luscious course emerge from the hidden kitchen. Couscous, eaten with the hands, is the humble star of Moroccan cuisine; here you can get it topped with chicken, lamb, or vegetables. The latter two choices are best, since b’steeya royale is a must: a buttery pastry (not unlike phyllo) is wrapped around delicately spiced chicken and toasted almonds. The

plate is ringed with powdered sugar, begging the question: sweet or savory? $ PORTFOLIO RESTAURANT 2600 Alaskan Way, Fifth Floor, 239-2363. Instructors at the Art Institute of Seattle are justly proud of their training kitchen, which—unlike most culinary school cafes—keeps evening hours. But what’s even more unique about Portfolio is the stupendous location: Situated on the sixth floor of an Alaskan Way building, the dining room overlooks the Sound, meaning diners are treated to downtown’s most affordable scenic meal. While the food quality varies depending on how many weeks of study the student chefs have completed, the ingredient quality is excellent, and a brawny pork chop rarely disappoints. $

Ken I have another?

stands out from the rest.” Another plus that Provost pointed out: The pilsner is light and goes down smooth, so those looking to drink a lot can do so easily.

The Verdict: The Bellingham-brewed pilsner is crisp and sharp, just as it should be. Über’s endlessly rotating selection of craft brews is sure to impress beer lovers; those who are less impressed with the tiny bar can take home a bottle, or even a full keg, to enjoy in the comfort of their own home. E food@seattleweekly.com

food&drink»Featured Eats ingredients for its lineup of clever creations. The BLT Meatloaf, a signature sammie, is made with grass-fed Thundering Hooves ground chuck. The Reuben Revised stacks Zoe’s pastrami, red wine kraut, and Beecher’s Flagship on toasted onion rye. Oh my. Homegrown’s fried catfish po’ boy is like a trip down South. A selection of seasonal sandwiches focuses sharply on what’s fresh. $ KIMCHI BISTRO 219 Broadway Ave. E., 323-4472. Hidden so far back in the “Alley” mini-mall that no one would ever stumble upon it, Kimchi Bistro hides its charms away. Its prices are more than fair, and the menu is built around Korean favorites—not just bulgogi and kalbi (Korean barbecue), but spicy soft-tofu soups, crisp, enormous seafood pancakes, and dol sot bibimbop, rice and vegetables that crackle away in an ovenhot stone bowl. The waiters only deliver a half-dozen pickles and other side dishes, far less than tonier places, but they’ll refill your saucer of kimchi as many times as you can stand. $ QUEEN SHEBA 916 E. John St., 322-0852. Sheba is as hidden a gem as you’ll find around Broadway. This intimate spot ladles out solid renditions of Ethiopian cuisine’s most wanted. The requisite vegetable platter is flavorful and generously portioned, while the chicken falls off the bone with ease. Nothing beats hand-feeding your newfound crush before catching a show on the Hill. $

CENTRAL DISTRICT

MESKEL 2605 E. Cherry St., 860-1724. Meskel’s big ter-

race was made for warm summer nights, and the waiters are content to let you while away a few hours over glasses of Harar beer and honey wine. Being rained

out is no loss, though, because this Central District restaurant’s warm interior is the perfect place to fortify yourself against the damp with braised meats and spices. Meskel’s kitfo (beef mixed with spiced butter) may not be the city’s best, but the yebeg tibbs (lamb sautéed with onions and chiles) is, and the red lentils and pureed chickpeas on the vegetable combo will leave both vegetarians and omnivores agog. $ MOONLIGHT CAFE 1919 S. Jackson St., 322-3378. There are two menus at this Vietnamese restaurant, one with meat entrées, the other with fake-meat entrées. The vegan menu lists its offerings as though they contained real meat, so bring a steak lover, hide the meat menu, and order the “sesame beef” and wonton soup. The combo appetizer platter shouldn’t be used to trick anyone (although the egg rolls that come on it sure could), the “pork” skewers are fantastic, and the roll-your-own fresh spring rolls are a delicious adventure. $

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COLUMBIA CITY

COLUMBIA CITY ALE HOUSE 4914 Rainier Ave. S.,

723-5123. The south end outpost of Jeff Eagan’s chain of good-food-with-good-beer establishments. Expect fine domestic and imported microbrews on draft and simple, hearty food made from fresh seasonal local ingredients. Menu changes weekly. $ FULL TILT ICE CREAM 5041 Rainier Ave. S. #101, 2262740. With its pinball machines and live music, Full Tilt, the handcrafted ice cream parlor that started in White Center and now has locations in the U-District, Ballard, and Columbia City, may be the coolest place to see a show in all of Seattle. You can regularly catch Seattle luminaries like Damien Jurado and Thee Emergency here—check the venue’s MySpace for the

VoraciousNews

something creative.” Hattie’s put Bonache on its tables and the clientele responded with great » by chason gordon interest, often asking where they could buy it.

Bonache (pronounced bone-atch) comes in three flavors: Hatch, Habanero, and Socorro.

Hatch is a green sauce featuring Hatch chiles You tend to take a look at the sauce bottles and tomatillo; Habanero mixes its namesake on a bar when there’s a lull in the conversation. chile with carrot; and the Socorro finishes the But proactively taking stock of sauces would be three-piece band with dried New Mexican wise at Hattie’s Hat, because sitting between the chiles, yellow chiles, and radishes. All three ketchup and Tabasco is something wonderful are fresh and citrusy, and do not overwhelm called Bonache. your precious food. The Hatch in particular has I first noticed the sauce when a friend grabbed an addictiveness which momentarily causes it immediately upon sitting down at Hattie’s. “You you to consider drinking it (not that I would). have to try this,” he said, leading me to believe he “Hatch went through a stretch where was one of those covert promoters. But I comeverybody was raving over it,” says Olsen, pletely understood his enthusi“and then I think when asm after we sopped up a fifth the weather got crappier, of a bottle with a plate of fries. people switched over to the The sauce is the creation of Habanero.”

Marc Olsen, a longtime local Olsen now makes large musician (Sky Cries Mary) and batches in the commercial Hattie’s bartender who’s lived in kitchen at Hattie’s, wearing Ballard for years. (He sounded a respirator mask to handle a little tired when I spoke to the rampant chile vapors. him, understandable consider- Sauced at Hattie’s.

Bonache is currently for sale ing that he’s launching a sauce at Hattie’s Hat and Lock & business, working late nights, Keel and through bonacheand seeing a 4-year-old through kindergarten.) sauce.com. He hopes to get it into restaurants “It’s one of those things I’ve been playing and grocery stores throughout Seattle, and around with for ages,” says Olsen, “and then from there, who knows? some friends returned from Belize and were ravThe name was made up by Olsen’s son. ing about the style of hot sauces down there. The “We still don’t know what it means; it’s kind of carrot, lime, haberno . . . all bright, fruity sauces.” become derogatory,” says Olsen. “He’ll just Combining these influences with his New call someone a ‘bonache.’ ” That may catch on Mexico upbringing, Olsen began experimenttoo, though I have a little more confidence in ing with various ingredients. “I learned about the sauce. E food@seattleweekly.com textures and colors and flavors . . . My wife definitely endured a lot of recipe ideas.”

There’s clearly a big distinction between making a great sauce at home and deciding to bottle BLOG ON FOOD it. “I just figured why the hell not,” says Olsen.

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DOWNTOWN

CHOCOLATE BOX 108 Pine St., 443-3900. Tourists usu-

ally aren’t too thick at downtown Seattle’s premier emporium of imported candies, teas, and cocoa mixes, so when you’re done ringing up your $12 ultrabittersweet bar and tin of cherry-vanilla tea, sit down with a scoop of gelato, a petit four, a lemon bar, or something else yummy from their dessert case. $ ELEPHANT & CASTLE 1415 Fifth Ave., 624-9977. It’s refreshing sometimes to pretend you’re in town on a business meeting, and too spent at day’s end to venture outside of the hotel. That said, you don’t want to let the fact that you’re away from the wife and kids for two days go to waste entirely; and besides, you’ve got an expense account to burn through. If this is your predicament, you can do far worse than to ingest some shepherd’s pie and microbrews at the downtown Red Lion’s sprawling, British-themed pub. $$ FALAFEL KING 1509 First Ave., 381-0857. This tiny spot’s namesake sandwich contains several extremely wellseasoned patties; if you like them well dressed, you’ll want to ask for extra sauce. The chicken shawarma is full of excellent marinated chicken, lemony and peppery, while the spanakopita is covered in creamy garlic sauce. On a platter of vegetarian stuffed grape leaves, hummus, turmeric rice, and salad, the tahini-rich hummus is buttery, not greasy; the bright yellow rice is flavorful and expertly cooked; and the leaves are nice and citrusy. Whatever you order, don’t be surprised if it’s spicy; the flirty guys at the counter go as heavy on the paprika as they do on the compliments. $ GALLERY CAFE AT THE FRYE ART MUSEUM 704 Terry Ave., 622-9250. The Frye’s cafe attracts more neighborhood residents and hospital workers than patrons. The outsiders may cast a few glances over the exhibits (entrance is free, after all), but they’re there to pass the lunch hour in the cafe’s serene white rooms, absorbing whatever sunlight Seattle deigns to accept that day and all the seasonal, fresh fare the chef cooks up: daily soups, mixed green salads with house-pickled vegetables, hot sausage or Brie sandwiches on fresh-baked rolls, and toffee bars and Caffe Vita cappuccinos for dessert. $ GEORGE’S SAUSAGE AND DELICATESSEN 907 Madison St., 622-1491. For more than 25 years, Janet Lidzbarski and her crew, Polish women in starched whites and fantastic lipstick, have been smoking several types of meats in-house, among them kielbasa, Canadian bacon, three kinds of ham, and kabanosy, a handheld snacking sausage. Aside from the housemade salads and five-mushroom soup, almost everything else that’s on offer inside the immaculate deli case is imported from Germany or Poland. $ HARRIED AND HUNGRY 1415 Third Ave., 264-7900. At H&H, each box lunch comes with a beverage, a bag of Tim’s Cascade chips, and a cookie. The falafel sandwich puts excellent, disc-shaped patties in a French roll rather than a pita, then covers them with enough hummus, feta cheese, and cucumber and tomato slices to distract you from the strange choice of bread. While the hot salami and provolone is popular, the caprese’s fresh mozzarella and flavorful tomatoes (not enough basil, though) justify making a perfectly reasonable salad into a sandwich. $ THE HUNT CLUB 900 Madison St., 343-6156. The Sorrento Hotel is world class, and its restaurant is a magnet in itself. Dishes like duckling served with braised endive, grilled peaches, and figs are inspired, and the bread pudding is worth a try. The dim lights, upholstered chairs, and white tablecloths make this restaurant magical. A martini or three is a must for dinner. $$$ SHUCKERS 411 University St. (in the Fairmont Olympic Hotel), 621-1984. Popular with out-of-towners, this restaurant’s menu amounts to a crash course in Pacific Northwest dining. Oysters are baked with Dungeness crab, and morels served alongside the halibut. But it doesn’t take a tourist to appreciate the extraordinarily high quality of food and service here.

If your schedule or budget doesn’t permit a full meal, you can shortcut your way by ordering a martini and a half-dozen house-smoked oysters at the classy wood-paneled bar. $$$ WOLFGANG PUCK CATERING 200 University St., 7487801. Located in Benaroya Hall, this cafe mostly serves lunch to downtown workers on the go, but Puck’s also offers dinner two hours before Benaroya performances on the weekends. Try Puck’s “cream of” soups, especially the mushroom soup with large chunks of shiitake mushrooms, steaming milky broth, and a hint of sherry.

The soup pairs perfectly with the mozzarella and white cheddar grilled sourdough sandwich. $

EASTLAKE & SOUTH LAKE UNION POMODORO 2366 Eastlake Ave. E., 324-3160. This

Eastlake hideaway serves Italian entrées and Spanishstyle tapas. The kitchen juts into the dining room, filling it with a sumptuous garlic aroma. Given the restaurant’s scale, service is incongruously formal: Your waitperson places the napkin in your lap, and palate-cleansing sorbet arrives unbidden between courses. The kitchen doesn’t have the lightest touch with entrées, but tapas like the shiitake and portobello mushrooms sautéed in olive oil and garlic are simple and good. $$

FREMONT

CHISO 3520 Fremont Ave. N., 632-3430. Fremont’s Chiso

does that one thing that most sushi bars seem to find most daunting: It excels at the basics: perfectly cooked rice, perfectly sliced fish, an evenly wrapped strip of nori and perfect, cloudy bowls of miso soup. From there, the kitchen branches out into more complex presentations. The ippin menu is Japanese small plates, and can be anything from deep-fried shrimp heads to a mixed-green salad topped with crunchy salmon skin, a plain bowl of edamame or plate of yakitori to a composed dish of barely-seared duck breast. No matter the style, everything at Chiso seems crafted with the same careful attention to detail. $$

GEORGETOWN

HANGAR CAFE 6261 13th Ave. S., 762-0204. In a nonde-

script house located on the edge of Georgetown sits the Hangar Cafe. It exists, and therefore the person or persons behind it win. Why? Because of the simplicity of the concept: make crepes. Make good crepes. And they do. But for all the care put into ensuring that the fillings, both savory and sweet, are fresh, the folks behind the place know that the success of the crepe depends on the tastiness of the pancake itself. And it is light without being insubstantial, and sweet without being cloying. $ SMARTY PANTS 6017 Airport Way S., 762-4777. The sandwiches, soups, and salads here deserve your full consideration. The gringa, with pulled pork, lime, and mayo generously slathered on a pillowy roll, is as dependable as the Reuben, sturdy and slightly sloppy with sauerkraut. Everything on the menu can be easily transformed into vegetarian fare at no extra cost with a substitution of grain-based Field Roast. Daily soups are inventive twists on old favorites, and the homemade salad—tuna, potato, and egg—are available as a trio sampler. $ TWO TARTES BAKERY 5629 Airport Way S., 767-8012.

Free of both hipsters and yuppies, this bakery, with its unstylish and simple décor, is the real deal. Just about everything is made fresh: Of the sandwiches, the curried chicken and tuna niçoise are the best, and the cookies, chocolaty indulgences, and cakes make it impossible to say no to dessert. So say yes to the toffee-topped brownie or a no-bake cookie, as dense and delicious as the ones Mom used to make. They might even be a little better. $

GREEN LAKE

KISAKU SUSHI RESTAURANT 2101 N. 55th St. #100,

545-9050. Even on Monday nights, this Wallingford sushi restaurant is constantly hopping; after a couple visits, you learn to always call ahead for a reservation. Kisaku’s relatively short menu is something of a surprise, which is why those who normally order standard sushi rolls as a more economical alternative to nigiri should resist the urge here. Kisaku’s nigiri comes in super-sized proportions: Thick slabs of fish blanket handfuls of sticky rice so big it takes four bites to eat one piece. Specific notables include the buttery, flawless albacore and silky wild salmon, but the consistently superior quality of the fish makes Kisaku the perfect place to get adventurous and try things like geoduck. Because if you don’t like the giant clam’s raw-carrot crunch at Kisaku, you probably won’t like it anywhere else either. $

GREENWOOD & PHINNEY RIDGE

FRESH FLOURS 6015 Phinney Ave. N., 297-3300. Given

that Bellevue, and Everett have the second-largest concentration of coffee shops in the country, cafes are smart to surprise customers with something new and different. Fresh Flours does it by fusing a variety of standard pastry recipes with Japanese culinary traditions. Soft, fluffy kabocha muffins accent the flavor of Japanese pumpkin with pumpkin seeds and white chocolate. Azuki brioches marry butter-soft rolls with a filling of subtly sweet Japanese red beans. And don’t forget your coffee. $

food&drink»

MUTUAL FISH COMPANY Family owned & operated since 1947

GORGEOUS GEORGE’S 7719 Greenwood Ave. N., 783-

0116. Israeli chef George Rached (who is not the famed pro wrestler, but really does call himself “Gorgeous George”) spends his days and nights in the kitchen of his Mediterranean shoebox-sized Gorgeous George’s, grilling up Greenwood some peppery lamb shawarma and pureeing hummus into the texture of thick custard.

What he comes up with is the best hummus you’ll find anywhere in the city, but this doesn’t leave him too fatigued to occasionally serenade one of his regulars or walk the dining room to check in on his many guests. Dinner is priced upscale, but worth it, and there are some deals at lunch. $-$$

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INTERNATIONAL DISTRICT GREEN LEAF 418 Eighth Ave. S., 340-1388. Perched

next to the I-5 overpass that divides the International District, Green Leaf delivers a quick meal that will fill you up. Across the board, the dishes are presented beautifully, and there’s no scrimping on size. Regulars here are often fiercely loyal to their dish of choice, whether that’s the pho (with perfectly spiced broth that some say is the city’s best), the remarkably large vermicelli noodle bowls that teem with meat and veggies, or the Seven Special Courses of Beef for Two. I’m partial to the specialty fried-duck noodle soup, which comes with fresh veggies and egg noodles. Those in the know also revel in Green Leaf’s hole-in-the-wall anonymity, touting it as a Tamarind Tree without the hype. If you can, try to get a table upstairs: The natural light and kitschy wagon-wheel benches make for a better environment than the dim, crowded-feeling dining room on the lower floor. $ SICHUANESE CUISINE RESTAURANT 1048 S. Jackson St., 720-1690. The food at Sichuanese Cuisine is pleasantly spicy in the tradition of this region of China, renowned for its hot peppers and fiery, independent tempers. There’s no fusion here, just modest, homestyle Chinese food, oil and all (the same could be said of the decor). Kung pao shrimp and fish with pickled peppers are favorites. Diners who want to pass a few leisurely hours around the table should order the Sichuan hot pot (tip: pay $2 per person extra for the lamb). There are two sides to the dented pot you’ll be simmering your selection of raw meats and veggies in: a hearty but mild beef broth bubbles away in one half, while in the other, a layer of bright red chile oil promises something more . . . exciting. $ TAI TUNG 655 S. King St., 622-7372. Seattle’s oldest Chinese restaurant attracts many diners for its sheer time-worn atmosphere: You get the feeling the menu hasn’t been changed since 1930. The place puts others off for precisely the same reason. $

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MADISON VALLEY & MADISON PARK

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MAGNOLIA & INTERBAY

NIKO’S GYROS 2231 32nd Ave. W., 285-4778. The aromas

from Nikos’ grill fill the small shop with anticipation, because this Greek joint serves some of the best gyros in town. The souvlaki sandwiches—served, like the gyros, in a warm pita with plenty of tzatziki, lettuce, tomato, and onion—are flavorful and packed tight with juicy meat. Side orders of Greek fries (potato medallions seasoned with oregano, lemon juice, and feta), hummus and pita, and spanakopita make it onto many tables, and the specials chalkboard to the right of the counter should not be ignored. $

NORTH SEATTLE

HAE-NAM KALBI & CALAMARI 15001 Aurora Ave.

N., 367-7843. What do pork ribs and squid have in common, you may ask? At this bustling, shiny branch of a Seoul restaurant, you can simmer the two meats together at the table in the oh-bul-sah (house special hot pot), which is seasoned with sweet-spicy chile paste. Other dishes are worth ordering, too: the laciest onion-seafood pancake you may see in flavorful bean-paste soups, tender barbecued meats, and to accompany it all, a dozen side dishes, all of good quality. $$

SEATTLE WE EKLY • MARCH 6 — 12, 2013

first glance, Voilà seems like an unbelievable find.

Located in the heart of prosperous Madison Valley, Voilà exudes simple classiness with wooden tables and French posters, and its menu tantalizes. Be aware: Most dishes arrive without sides, so a full meal is not the bargain you might have been hoping for. Once you accept that, you can enjoy the classic French menu, which includes coq au vin, boeuf Bourguignonne, and grilled sausage with fries. The richer sauces—like the bacon-and-wild-mushroom sauce that accompanies the coq au vin—are particularly good. $

35

mainstage

dinner & show

THU/MARCH 7 • 7:30PM

mason jennings solo

America's Greatest Big Band Musical Show

w/ friendly gomez

FRI/MARCH 8 • 8PM

roy rogers &

the delta rhythm kings

SAT/MARCH 9 • 6:30PM & 9:30PM

masters of tradition on tour w/ martin hayes MON/MARCH 11 • 7:30PM

the james hunter six TUE/MARCH 12 • 7:30PM - SQUARE PEG PRESENTS

edwin mccain

THU/MARCH 14 • 7PM FRI/MARCH 15 & SAT/MARCH 16 • 7PM & 10PM - THE CAN CAN PRESENTS

diamonds - heavenly spies 10th anniversary gala SUN/MARCH 17 • 7:30PM

SEATTLE WEEKLY • MARCH 6 — 12, 2013

merita halili & the raif hyseni orchestra

36

next • 3/20 anais mitchell and jefferson hamer • 3/22 gypsy soul • 3/23 iris dement • 3/24 the kinsey sicks • 3/27 kings: a boylesque extravaganza • 3/28 cahalen and eli w/ brittany haas • 3/29 gimme shelter: the dusty 45s, star anna, shane tutmarc • 3/30 the english beat • 4/2 battlefield band • 4/4 my goodness • 4/5 steep canyon rangers • 4/6 janis ian • 4/11 eddie jobson “four decades” • 4/12 super jam plays squeeze • 4/13 massy ferguson w/ the bgp

happy hour every day • 3/6 flip and fly / jargon • 3/7 sxsw send-off show: in cahoots • 3/8 josh philpott / vunt foom • 3/9 4 outta 5 • 3/10 ari shine and adrienne pierce • 3/11 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 3/12 singer-songwriter showcase with jabi shriki, willow scrivner and the embers and natalie quist • 3/13 istvan and farko / black river blues TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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House Music Making one of the most anticipated records of the year, Pickwick decided that to be themselves, they had to do it themselves.

BY DAVE LAKE

are Michael Parker, Garrett Parker, Cassady Lillstrom, and Alex Westcoast—have always had a strong sense of where the band was headed, and after slowly building a local following, they gained the confidence to remain in control of their career. Though fellow Seattle indie act Macklemore had incredible success in 2012 with a self-released album, Pickwick says that wasn’t a motivation for them to do the same. It was more a matter of feeling as though they could continue to build things as they have been, on their own terms, transitioning to a label when it feels right.

“They are really measured and they think things through and they’re not impulsive,” said manager Ben Dickey, whose Constant Artists also manages Spoon and Okkervil River.

Though Dickey doesn’t generally get involved

with unsigned acts, Pickwick felt special to him. Besides falling in love with their sound, Dickey was struck by the band’s patience. “It felt like one of those traditional, regionally grown success stories. It was growing the way bands used to grow, which is unusual now.”

Pickwick isn’t doing things entirely alone, however. Can’t Talk Medicine will be distributed through CIMS, the Coalition of Independent Music Stores, which will get the record into key indie record shops across the country. The band also has management, a publicist, and a well-established booking agent in their corner to continue the band’s growth in several key markets.

In addition to business savvy, Pickwick also had a strong vision for their first proper LP. They began in 2008 sounding like many of the folk-rock revival groups this town has recently birthed, but didn’t begin to pick up momentum until they moved away from folk and alt-country and closer to the soul-based music they were partial to.

“We have so many sounds coming out of Seattle,” said John Richards, host of KEXP’s popular morning show. “I was trying to remember the last time I heard a band that sounded like [Pickwick], which was another band that we broke, Fitz and the Tantrums.”

Richards says response to the band was instant: Myths racked up interest from many of the station’s DJs, which boosted airplay as well as attendance at the band’s gigs, both in town

and on tour, thanks to the station’s large online audience. A big supporter of Myths, Richards nevertheless thinks Can’t Talk Medicine better encapsulates what Pickwick has evolved into.

“They shouldn’t get pigeonholed as a soul band because they are rocking dudes,” he says. “It’d be easy to just throw them on the road and have them open for Fitz everywhere, but that band can play with anyone, in my opinion.”

W

hereas Myths showcased a band in transition, mixing the modernity of The Walkmen with the retro sounds of Motown, Pickwick comes alive onstage, where its power can be fully experienced and where its danceable, soulful songs can bend and stretch to accommodate the waves of crowd energy. It is this spirit, as well as more than a year of evolution as songwriters and musicians, that Pickwick was hoping to capture on Medicine. It took several tries, at least two producers, and an entire house.

The band’s first crack at making Medicine involved a dozen days in Oregon working with producer Richard Swift (Damien Jurado, the Mynabirds). They scrapped these sessions. Though the band says the Swift sessions played a vital role in arriving at Medicine’s final version, they felt like the album needed to better capture whom they had become as a band.

After another false start and a drummer change, the band realized that to achieve the

Pickwick self-releases Can’t Talk Medicine on March 12.

album they envisioned, they’d have to produce it themselves, with Kruckenberg—who picked up a Grammy in 2010 for the year’s bestengineered classical album—overseeing the process.

Rather than shell out more cash for more expensive studio time, the band turned the house where several band members lived into a makeshift recording studio. “Having the time to change things and tweak things to our liking, that’s the difference,” said Kruckenberg of the new approach. “We tried to make a record that was dirty and different and interestingsounding” —achieved through non-traditional recording techniques, like doing all the drum parts in the home’s carpeted living room.

With Can’t Talk Medicine done, the band is about to head out on tour for their biggest run of shows to date, a month-long trek to the East Coast and Canada. And while the new album will be important in recruiting new fans, so too will be their live show, to which audiences have responded just as enthusiastically.

“They are a fantastic live band,” says Richards. “They made a good record, and if they back that up with successful trips on the road and festivals, then they have all the cards.” E

music@seattleweekly.com

SEATTLE WE EKLY • MARCH 6 — 12, 2013

“They made a good record, and if they back that up with successful trips on the road and festivals, then they have all the cards.”

KYLE JOHNSON

T

here are plenty of establishments where it makes sense that Galen Disston, lead singer of the popular Seattle band Pickwick, would be recognized: browsing bins at Sonic Boom or taking in a show at Neumos, perhaps. But hanging with his kiddo at a bouncy house play space is not one of them, which is why a recent interaction caught him completely off guard.

“Another parent sent her kid as an ambassador,” the big-haired, bespectacled crooner says of the recent recognition. “This kid shows up next to me and looks at me totally timid and says, ‘We love your band and good luck on tour.’ ” Pickwick’s following has grown steadily since 2012’s Myths, one of the year’s best-selling local releases, propelling the blue-eyed soul group to its status as one of the city’s highestprofile unsigned acts, culminating with a soldout New Year’s Eve show at The Showbox at the Market.

Considering its success, it was a surprise when the band announced it would self-release its highly anticipated follow-up, Can’t Talk Medicine, out March 12. Several labels had courted Pickwick, but the band felt that none of the deals were exactly right. “We felt like it would be better to grow into one of those relationships with a little more time,” says multiinstrumentalist Kory Kruckenberg. “Each of the offers had a different feel and a different reason why it wasn’t the right fit. Ultimately that’s what we were looking for, a perfect fit.”

The members of Pickwick—the other four

37

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Live jazz with the Fu Kun Wu Trio featuring Jon Alberts, Jeff Johnson and Tad Britton. No cover.

FRIDAY, MARCH 1, 8PM Caleb n Walter. No cover.

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Saint John and the Revelation, plus Judd Wasserman. $5 cover.

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Kellee Bradley Band and Jessica Lynne and the Cousins. $5 cover.

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SATURDAY, MARCH 23, 8-10PM

An Intimate Evening with The Resets. $5 cover.

WEDNESDAY, MARCH 27, 8PM

“That Thing” (an open mic of all sorts) with host Andy Roo Forest. $3 cover donated to charity of the month.

FRIDAY, MARCH 29, 8PM

Terri Tarantula, Jon Hyde and Levi Fuller. $5 cover.

SATURDAY, MARCH 30, 8PM

Holly Figueroa Album Benefit. $5 cover.

SUNDAY, MARCH 31, 8PM

Singer/songwriter showcase with host kubby c. No cover.

Happy hour! Every day · 5-7pm Plus, $6 Aquavit (“water of life”) shots all year!

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released, soundcloud.com/onlyonedice/sets/ reflections-in-broken-glass): Lyrically tired, hook-reliant tracks like “Celebration” and “Dollars & Sense” aren’t home runs, but well-crafted songs like the opener “All I See” and the relaxed dance single “Best Is Yet to Come” are good listens. TODD HAMM (Fri., Mar. 8, Lucid)

Cascadia ’10, Song of Nehemes (out now, self-

released, cascadio10.com): The nine-piece world group’s latest tune is an instrumental Afrobeat slow jam, with horns blowing like a gust through the mountains and the rhythm section providing a swayable foundation. It’s up-tempo enough to move to, but slow enough to catch your breath.

DAVE LAKE

Hannalee, Brassica (3/1, self-released, hannal-

SEATTLE WEEKLY • MARCH 6 — 12, 2013

eesong.com): Inspired by the Methow Valley in winter, this six-song follow-up to the fall-themed Curbita EP is full of folky melodies and gentle harmonies, perfect for cross-country skiing across the valley’s snow-covered fields.

Yes, Hannalee (led by Motopony’s Michael Harley) has spring- and summer-themed releases planned. GWENDOLYN

38

Authentic and earnest, singer Allan Boothe sings of lost love and rounds out the picture with hopeful melodies and funky sounds that complete the story. MARTHA TESEMA (Sat., March 2, Northern, Tacoma) Shake Some Action!, Full Fathom Five (3/5,

self-released, shakesomeaction.bandcamp.com): Shake Some Action! mastermind James Hall was inspired to write songs for his band’s first album since 2009 after buying a Rickenbacker guitar.

So it’s unsurprising that the final product takes cues from the timeless jangle of R.E.M. and the Kinks. Professional, unabashed pop-rock classicism. ANDREW GOSPE

Karuna, Regret (out now, self-released, karunaon-

line.com): This two-song release from this synthheavy duo mixes contemporary alt-rock with ’80s pop, especially in the breathy vocal delivery and retro synth patches. DL Swamp Meat, Swamp Meat

ELLIOTT

Family Force 5, The Third

(3/12, Tooth & Nail, familyforce5.com): Back to take the title of America’s favorite crunk-rock band, Family Force 5 continue to offer their signature ATL hip-hop-rock feel. Tracks like “Wobble,” “Cray Button,” and “Paycheck” emphasize the band’s commitment to upbeat, in-your-face madness. JOE WILLIAMS

Humble Cub, Telegram From Your Future Life

(out now, self-released, humblecub.bandcamp. com): Little but significant moments flit across the second release from these Tacoma veterans.

*Yeah, every release

*

7-inch (out now, self-released, swampmeat.bandcamp.com): Swampy is an apt descriptor for this trio’s latest, given their penchant for muddy, lo-fi production values and love of large-room reverb. The B-side, “Filling Up the Void,” is particularly thick and languid, with both a male and female vocal buried in the marshy mix. DL

Rose Windows, “Native Dreams” (out

now, Sub Pop, facebook.com/rosewindows): This tasty little piece of grunge psychedelia is a teaser for Rose Windows’ forthcoming debut LP, The Sun Dogs ( June 25). Actually, I take that back. There’s nothing little about this cut: It’s an expansive, futuristic, long-playing howler, and the most recent reason why 2013 already sounds better than its predecessor.

CHRIS KORNELIS E

It is our intention to review every release issued by Seattle bands and local labels. We try to run reviews as close to release dates as possible. If your LP, EP, single, or mixtape has slipped through the cracks—or you wish to alert us to an upcoming release—please e-mail reverbreviews@seattleweekly.com.

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Reverb»The Short List

Mariachi El Bronx joins Flogging Molly at the Paramount.

LISA JOHNSON

Morrissey

Mason Jennings

Joe Ely

Mariachi El Bronx

WEDNESDAY, MARCH 6

THURSDAY, MARCH 7

SUNDAY, MARCH 10

TUESDAY, MARCH 12

Quick, you better catch Morrissey before more cancellations befall the indie icon. His Seattle date in November was canceled when his mother fell ill, and he canceled several dates last month after being diagnosed with a bleeding ulcer.

Most recently, The Pope of Mope, a vegan and longtime animal activist, canceled an appearance on Jimmy Kimmel Live after discovering the cast of the reality series Duck Dynasty would also be guests. But alas, no “animal serial killers,” as he called them, are slated to be in town this week, so the show should go off without a hitch. The

When Mason Jennings opened for Modest Not too many performers can boast that Mouse a few years ago in Seattle, Isaac Brock they’ve played with both The Clash and Bruce told the crowd that Jennings made him “fuckSpringsteen, but Joe Ely isn’t most performing cry every time.” Brock has been known to ers. For 40 years, his honky-tonk sound, both be overwrought like that, as a solo act and with the but Jennings rarely lets his Flatlanders, has captivated emotions get away from country and rock fans with Tune in to 97.3 KIRO FM every Saturday at 7 p.m. him: He covers early Bob rich storytelling and comto hear music editor Chris Kornelis Dylan wonderfully because plicated characters. Ely’s on Seattle Sounds. he possesses early Dylan’s latest LP, 2011’s Satisfied matter-of-fact coolness— at Last, offered more of especially when joined only by his guitar, as he the same, but with four decades of material to will be at this show. The prolific Jennings has pull from, he has plenty of songs up his sleeve cut 16 records since 1997, and is now touring beyond those—at least for those lucky enough on that catalogue. Nothing to cry about at all. to get stuffed into the Tractor for the gig. With

Moore, 1932 Second Ave., 877-784-4849. 7:30 p.m. $62.50–$82.50. DAVE LAKE

TUESDAY, MARCH 12–WEDNESDAY, MARCH 13

Most guitarists who sit onstage solo in front of a microphone are quickly swept into the catchall singer/songwriter bin. Kottke, on the other hand, has created, if not a genre all his own, at least a unique, surprisingly winning stage show that he happily brings to any theater, club, or high-school gymnasium that will have him. He rarely sings (and when he does, the reviews aren’t good), but when he puts his hands on the guitar, it excites the fiercest music geeks and ordinary citizens alike. Between displays of finger-picking wizardry, he tells stories. No, the tales he tells with nothing but a sore thoat and a microphone aren’t quite as compelling as those he weaves with two hands and an axe (not many are), but they’re good for a few chuckles, and they break up the monotonous concert format that 90 percent of performers adhere to. Jazz Alley, 2033

Sixth Ave., 441-9729, jazzalley.com. $35. All ages. CHRIS KORNELIS

With Friendly Gomez. The Triple Door, 216 Union St., 838-4333. 7:30 p.m. $25. All ages.

DANIEL PERSON

*

THE FAME RIOT

Joe Pug. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $20 adv./$25 DOS. 21 and over. DAVE LAKE

EDITOR’S PICK

THURSDAY, MARCH 7

The Fame Riot is such an eye-catching act that they’re not even headlining this show, yet they have somehow made themselves the focus of this preview. Nothing against headliners Shout Out Out Out Out —their blippy vocoder dance is . . . cute enough—but TFM grabbed me during their recent Sound Off ! (EMP’s annual 21-and-under battle of the bands) semifinal victory (which, disclosure, I helped judge). The impossibly lanky co-singers, brothers Liz Scarlett & Shazam Watkins, take their glam shtick to the nth power onstage, teasing every last bit of excitement out of each electro-funk number (think MGMT jamming in fur coats on the beach). No, they didn’t win Sound Off ! (congrats, Dave B), but they will put on an entertaining-ass show tonight. With Shout Out Out

Out Out, Glass Notes. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $8. 21 and over. TODD HAMM

mount, 911 Pine St, 902-5500. 7:30 p.m. $29.25.

All ages. TODD HAMM

SEATTLE WE EKLY • MARCH 6 — 12, 2013

Leo Kottke

e

The Bronx is not a bad band; a little Against Me! politico, a little fiery Los Angeles pop punk.

The decision, then, for this mostly white group of SoCal rockers to go completely mariachi for a full-blown side project, risking their reputation in the punk scene, is a bit of a strange turn.

But their convenient association with guitarrón strummer Vincent Hidalgo (son of Los Lobos frontman David Hidalgo), and bassist Brad Magers’ handy trumpet background, proved that they were really just two steps away from being a mariachi band all along. While their choice of über-authentic mariachi regalia threatens to turn their seemingly respectful tribute into cultural mockery, I’d say they still wind up on the good side of that line. With Flogging Molly. Para-

41

Reverb»Seven Nights 1303 NE 45TH ST

Saturday, March 9 BALL OF WAX #31 RELEASE SHOW Ball of

COURTESY GROUND CONTROL

Richard Buckner brings Our Blood to the Tractor on Thursday night.

Wednesday, March 6

Friday, March 8

AXE MURDER BOYZ Like Insane Clown Posse, this

FRIGHTENED RABBIT’s fourth album, Pedestrian

Denver duo makes “horrorcore” hip-hop, a rap-rock hybrid that hearkens back to the post-grunge of the early aughts. With Mindshot, Dirty D, CON-CRETE, Enasnimi, Dezlooca, KST Blunt Trauma, Chancelor K. Hoodrich. El Corazon, 109 Eastlake Ave. E., 381-3094, elcorazonseattle.com. 7 p.m. $12 adv./$15 DOS. All ages.

KHATIA BUNIATISHVILI This Georgian classical pianist’s star is rising; she’ll play works by Chopin, Ravel, and Stravinsky at this performance at UW’s Meany Hall. UW campus, 543-4880, uwworldseries.org. 7:30 p.m. $39. All ages.

Thursday, March 7

SEATTLE WEEKLY • MARCH 6 — 12, 2013

AUTRE NE VEUT A reductive but fair reference point

42

for the warped soul music Arthur Ashin makes as Autre Ne Veut is the nouveau-R&B of someone like How to Dress Well. But unlike his more inward-looking contemporaries, Ashin doesn’t hesitate to hit the big payoff: Songs like “Play By Play” boast massive hooks, perhaps owing to his past career as a jingle writer.

With Majical Cloudz. Barboza, 925 E. Pike, 709-9951, thebarboza.com. 7 p.m. $10 adv.

BENOIT PIOULARD A record-release and tour-kickoff show, this performance will showcase Pioulard’s effects-laden electro-acoustic songwriting. With Tiny Vipers, Ghosts I’ve Met. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com.

8 p.m. $10 adv./$12 DOS. DOOKIE LIVE: A GREEN DAY TRIBUTE Members of local rockers The Good Hurt and Yours pay tribute to Green Day’s hugely successful 1994 album. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile. com. 8 p.m. $5 DOS. All ages.

ALICIA KEYS Between singing at the Inaugural Ball and the Superbowl and dropping another #1 record, Keys has been, as her latest album title suggests, a Girl on Fire. With Miguel. WaMu Theater, 800 Occidental Ave. S., 381-7555. 7:30 p.m. $91.90.

POOR FOLKS, LIVE WELL The most recent release from this Wenatchee-based melodic-rock trio was last year’s 40 Years of Famine EP. With Simon the Leper, Incanus. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $5.

RICHARD BUCKNER After a brief detour into more abstract sounds, alt-country troubadour Richard Buckner returned to the acoustic approach he became famous for on 2011’s Our Blood. He’ll issue his 11th album later this year, which you’ll likely get to preview tonight. With Kevin Murphy of the Moondoggies.

Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9 p.m. $15 DOS. 21 and over.

Verse, lives up to the Scottish band’s penchant for confessional, bombastic songwriting, but with more instrumental variation. With The Twilight Sad. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7 p.m. $17 adv./$20 DOS. All ages.

HORACE PICKETT Contrary to the solo act that the

name suggests, Horace Pickett is actually a fivepiece whose wide-ranging rock sound incorporates ’80s-sounding synthesizers and quirky, They Might Be Giants–esque lyrics. With he Torn ACLs, the Gems, Friends and Family. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 10 p.m. $5 DOS.

MARCUS FOSTER This UK songwriter is touring

behind the pretty, blustery tunes from The Last House EP, the live versions of which will be augmented by a full band. With Sean Rowe, Ruston Kelly. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $16. All ages.

Wax is a quarterly compilation of unreleased music from up-and-coming artists. The theme of the 31st edition is covers, featuring music by the Foghorns, Led to Sea, and Shenandoah Davis, who all will appear at this show. With Brad Dunn, Emiko Blalock, Colin J. Nelson, Alicia Amiri, Bret Alain Phillips, Jeremy Burke, Robb Benson, The Music of Grayface, Caitlin Sherman, Norman Baker, Virgin of the Birds, Levi Fuller.

Columbia City Theater. 8 p.m. $8 adv./$10 DOS. EMANCIPATOR Portland electronic musician Douglas Appling’s productions lie at the heady intersection of instrumental hip-hop, downtempo, and free jazz. His newest endeavor, Dusk to Dawn, came out in January.

With Little People, Odesza.

Neumos. 8 p.m. $15 adv.

TOWNES VAN ZANDT TRIBUTE A varied group of

Seattle musicians—including members of Hounds of the Wild Hunt, Big Sur, and St. Paul de Vence—put their own spin on the legendary folk musician’s classics. With Courtney Marie Andrews, Jake Hemming, Ryan Devlin, Andrew Anderson, Benjamin Doerr, Ben Fisher. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 9 p.m. $8.

Sunday, March 10 TRUST is Toronto’s Robert Alfons, a producer of dark,

chilly electronic pop. With ERAAS, Nightmare Fortress.

Barboza. 8 p.m. $12 adv.

UW MEN’S GLEE CLUB Usually found singing at basketball or football games, the UW Men’s Glee Club finds a more comfortable U District venue (read: booze) tonight, performing a mix of traditional and barbershop songs. With The Six Appeal Vocal Band. Neptune Theatre, 1303 N.E. 45th St., 784-4849, stgpresents.org. $10–$16 adv./$12–$18 DOS. All ages.

VINCE STAPLES This rising L.A. rapper is associated with the Odd Future crew (he’s collaborated with Earl Sweatshirt, and apparently Tyler the Creator dislikes him), but he’s released a great deal of music on his own, most notably 2011’s Shyne Coldchain Vol. 1. Vera Project. 7:30 p.m. $10 adv./$12 DOS. All ages.

Monday, March 11 BLACK PLASTIC CLOUDS This local quintet blends

straightforward rock songs with funk-inspired horns.

With Amelia Circle. Comet Tavern, 922 E. Pike St., 3229272, comettavern.com. 9 p.m.

MAROON 5 One of the world’s most popular bands (but, as their detractors would likely point out, not one of its biggest—or even legitimate), Maroon 5 is in the midst of its yearlong Overexposed tour, in support of its platinum album of the same name. With Neon Trees, Owl City. Key Arena, 305 Harrison St., 684-7200, keyarena. com. 7:30 p.m. $26.50–$76.50. All ages.

PANAMA GOLD These bouncy Seattle rockers headline a strong bill, which also features scene veterans Kinski. With Display, Mass Games. Chop Suey, 1325 E. Madison St., 324-8005. 9 p.m. $8. 21 and over.

NACHO PICASSO For those who only know of

Seattle hip-hop because of Macklemore (i.e., nearly everyone not from Seattle), this show is a good introduction to the scene’s darker side, from selfmythologizing bad boy Picasso to chopped and screwed–inspired MC Key Nyata and cloud-rap producer Keyboard Kid. With Jarv Dee, Moor Gang.

Neumos, 925 E. Pike St., 709-9442, neumos.com.

8 p.m. $12 adv.

Tuesday, March 12 AM INTERSTATE is a country-rock band from Redmond,

Ore., whose psychedelia-tinged music is as wide-open as the eastern Oregon landscape they hail from. With Past Impending, City Bear. Comet Tavern. 9 p.m.

WAX A YouTube celebrity and former Def Jam signee, this Los Angeles–based rapper released Continue, his fourth album, in January. The Crocodile. 8 p.m. $13 adv. All ages.

2033 6th Avenue (206) 441-9729 jazzalley.com

Creativity was never meant to be kept in a

Jazz Alley is a Supper Club

DUELING PIANO PARTY A little bit naughty, a little bit nice... a whole lotta fun.

Call or Scan QR Code for reservations!

Lydia Pense and Cold Blood The band Tower of Power was born from!

March 7 - 10

Leo Kottke

Acoustic Guitar Virtuoso who draws from Blues, Jazz & Folk with his Innovative Finger-Picking Style

March 12 - 13

Jakie Ryan Sophisticated jazz singer with recent release at #1 third week in a row

March 11

An Evening with

Brian McKnight

Grammy-nominated, multi-platinum selling multiinstrumentalist debuts at Jazz Alley!

March 14 - 17

Kyle Eastwood Arturo Sandoval Band Multi Grammy-Winning

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March 21 - 24

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SEATTLE WE EKLY • MARCH 6 — 12, 2013

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dategirl»By Judy McGuire contempt: because such relationships are plucked straight from the pages of the midlife-crisis handbook.

Instead of comforting yourself with the idea that these are bitter biddies seething with jealousy, try pulling your head out of your toned little hiney-hole and look at things from their angle. You are the second trade-in this guy has brought around. They might still feel loyalty toward the discarded ex (or the one before her), or perhaps worry that their husbands might be infected by the same cliché-itis and dump them for a winsome young co-worker. Then again, perhaps they feel like they don’t have anything in common with the young hottie with a chip on her shoulder.

Who knows?

It might interest you to know that most of the women I’ve come across who blame their lack of female friends on jealousy are women who are far more comfortable basking in the adoring glow of the male gaze than with dealing with the ins and outs of actual friendships that require more than looking cute.

The most effective way to deal with these ladies is kindness.

Maybe try to get to know one or two of them. Ask questions. Listen to the answers. You love your husband, so it would make sense that his friends would be interesting people, right? By simply hanging back and being nice, I made some fantastic friends who long outlasted my relationship. You might be much younger today, but when you’re 40, a couple years won’t make a bit of difference. And by that time your husband will probably be onto a new youngster, so it’ll be good to have friends around to pass the tissues and ply you with wine. E

Why Do His Female Friends Hate Me? Dear Dategirl, I am my husband’s third wife, and I am sick of all the garbage I constantly get from his female friends. I understand that it’s threatening to them that I’m a lot younger and in great shape, while they’re all over 40 and tend to be not thin, to put it nicely. Even his bitchy ex-wives are nicer than the friends’ wives. For a while I tried to ignore them, but his job demands he be very social, and I’m inevitably expected to hang out with the women, even though his guy friends are much more interesting to me.

His last marriage was awful—and I was not the cause of it ending, btw. We knew each other from work, but nothing happened until they separated.

Why would it have been better to stay in a loveless marriage? He’s lost 30 pounds since we hooked up and looks fantastic. Shouldn’t these bitches put aside their jealousies and be glad that he’s happy?

—NOT a Trophy Wife

Well, bless your heart. Aren’t you something!

I was once the much younger partner of a much older man. And like you I found the women in his circle wary of me in the beginning. However, unlike you, I was fairly humble, had a modicum of empathy, and was able to understand why a 40-year-old woman might look upon her contemporary’s new 25-year-old piece with a combination of bemusement and

dategirl@seattleweekly.com

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

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access point located in a fun, funky, artsy section of Tacoma, has been in operation about a year. They have fair prices, an excellent budtender, and a pretty good selection. The only real issue I had with the place was the lack of convenient parking.

When I pulled in beside the building, I was at first excited to see parking signs with “Kind Help” on them . . . until I read them more closely and realized they said “No Kind Help Parking.” A few minutes of searching the surrounding blocks for a parking space ensued.

After that, though, it was smooth sailing. With “Kind Help” clearly marked on the plateglass window, the storefront has a welcoming vibe. Budtender Selig showed me through a menu of two $9 strains, three top-shelf $12 strains, and about half a dozen $10 varieties.

At Kind Help, this is done with little sample containers of each available strain.

Since their bouquet tends to diminish with time—and the flowers themselves get a little too dry and crackly—they are always willing to order an actual bud jar from “the back” (it comes through an opening in the wall) so that you can peruse flowers that are in the condition you’ll be receiving them.

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At home, the Mendo Afgoo revealed itself as a pleasing mix of sativa and indica char-

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acteristics; a few tokes resulted in euphoric, pleasant contemplation. Continuing beyond four tokes or so resulted in a heavier body stone and a deeply relaxed buzz, with noticeable pain and nausea relief. It’s a powerful high—strong medicine for those struggling with pain issues. It will also immediately, and powerfully, awaken your appetite. And though it’s an indica/sativa hybrid, Mendo Afgoo will make you sleepy if you smoke very much of it.

White Kush is a great strain for stress and anxiety.

This dank, spicy indica has appealingly skunky undertones in the bouquet and a rich piney taste on the exhale.

The flowers are so heavily frosted with trichomes, they actually do have a fuzzy whiteness; you should crumble these buds with your fingers, instead of using a grinder, just for the challenging, sticky fun of it. White Kush has quite effective pain-relieving properties, and is also great for insomnia, anxiety, and appetite. I recommend it for nighttime smoking, unless you are able to handle heavy indicas during the day. My tolerance is higher than most, yet it made me quite sleepy.

A limited selection of medibles, including some potent $5 truffles and Chex mix, is available. Note: Don’t depend on Kind Help’s THC Finder menu online; it hasn’t been updated since March 2012. E

Event SUN, MARCH 24

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VORACIOUS TASTING & FOOD AWARDS

S.A.M. COLLE S.A.M. COLLECTIVE

tokesignals@seattleweekly.com

Steve Elliott edits Toke Signals (tokesignals.com), an irreverent, independent blog of cannabis news, views, and information.

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Volunteers: Hepatitis C Support Groups: Seattle and Tacoma Meetings held on Wednesdays 6:00-7:30pm Please contact the Hepatitis Education Project for details 206-732-0311 / support@hepeducation.org

Associate, Data Support Engineer sought by BlackRock Financial Management Inc. in Seattle, WA to provide applic support, including the analysis & identification of data flow issues & debugging Informatica mappings & workflows, for a range of the web content of eCommerce products & services through applying knowl of data warehousing & data Extract, Transform & Load.

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Employers

Employment Professional Vice President-Survey Research for digital marketing company. Requires a Bachelor of Arts degree and two (2) years experience overseeing the planning, coordinating, operational efficiency & strategic vision of online digital marketing research survey projects for marketing research company consumer and business to business clients including establishing research strategies and objectives; using SPSS to design and deliver segmentation, customer satisfaction, brand tracking & product concept development studies; developing & implementing research best practices; managing strategic business development initiatives for new and existing clients; setting performance goals & supervising staff.

The position is located in Seattle, WA with 40% travel.

Send resume to comScore Inc., Attn: Demiko Groom, 11950 Democracy Drive, Suite 600, Reston, VA 20190.

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ARAMARK Housekeeping Job Fair ARAMARK @ SAFECO FIELD March 11th and 12th 10am-1pm. Ellis Pavillion located on 1st Ave next to the Mariner’s Home Plate Entrance.

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Enter to Win a Winter Getaway in Hood River OR Redeems: March 13-15, 2013; 2 Nights @ Columbia Cliff Villas; $50 Gift Certificate @ Waucoma Books; Dinner for 2 @ Full Sail Brewmaster’s Dinner on 3/14/12 (with Jenny & Muir Cohen); 2 Movie Tickets @ Andrew’s Skylight Theater; 2 Tickets to Western Antique Aeroplane and Auto Museum; Gift Basket of Local Goodies. HoodRiver.org *Adopt:* Adoring Couple, Architect & Internet Exec. yearn for precious baby to LOVE FOREVER! Expenses paid. *1-800-990-7667*

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The University of Washington Virology Research Clinic, located at Harborview Medical Center, is conducting a study to learn more about primary CMV infection. You may be eligible if you are: • A woman between the ages of 18 and 40 • In good health and • The primary caregiver of a child < 4 years of age who is attending a daycare facility or • A teacher at a daycare facility who has direct contact with children < 4 years of age or • Had 3 or more sexual partners in the last 12 months The study will last for 6 months and involve weekly visits. Weekly visits are expected to take about 20 minutes. Each visit will include a blood draw and the collection of a saliva, urine, and vaginal sample.

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The UW and the Seattle VA are looking for people ages 18 and over who use alcohol frequently, have problems with it, and want to stop using it.

Non-veterans are welcome! Study is evaluating whether an investigational medication is effective at reducing alcohol craving and use. Study takes 16 weeks. Volunteers will be compensated.

Call Ian at 206-277-4872.

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Seattle’s True Independent Film Festival (STIFF) May 3rd-11th

Hailed as “Seattle’s premier showcase for regional filmmakers.” - James Keblas, City of Seattle Office of Film & Music. All-access pass includes entry to all film screenings as well as entry to all parties, mixers and special events including meet-and-greets and pub crawls.

Screening over 100 of the top picks from over 500 submissions. Multi-venue celebration of alternative film, music & comedy. Films encompass all genres and budgets.

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