Seattle Weekly, October 16, 2013 by Sound Publishing

OCTOBER 16-22, 2013 I VOLUME 38 I NUMBER 42

SEATTLEWEEKLY.COM I FREE

THE HEAD AND THE HEART, AND PEARL JAM. PAGE 42 | ROCKCREEK REVIEWED. PAGE 23

Marketing the mayor, the GMO proxy war, Steve Ballmer and the School Board, and much, much more. Page 10

Now through November 17

THIS WEEK’S CONCERTS: Thursday, OcTOber 17 PONchO cONcerT haLL, cOrNish cOLLege, 8Pm

Dafnis Prieto Si o Si

The Cuban drummer’s breathtaking skill and imagination earned him a 2011 MacArthur Foundation “genius” award. His New York quartet features Peter Apfelbaum, sax, Robert Rodriguez, piano, and Johannes Weidenmueller, bass. Free masterclass, PONCHO Concert Hall, 12:30pm. Friday, OcTOber 18 & saTurday, OcTOber 19 TuLa’s, 7:30Pm

George Colligan Organ Trio

Internationally-known Portland keyboardist holds down Seattle’s favorite jazz hang. Friday, OcTOber 18 iLLsLey baLL NOrdsTrOm reciTaL haLL aT beNarOya, 7:30Pm

Roosevelt High School Jazz Band

Hard-swinging and fresh from its third-place victory at the prestigious Essentially Ellington competition at Lincoln Center, New York. Friday, OcTOber 18 rOyaL rOOm, 8Pm

Peggy Lee, Skerik, Wayne Horvitz Trio Steve Lehman Trio

Lee, Skerik, and Horvitz premiere their exciting new ensemble performing an all-new repertoire. Playing first, with Matt Brewer and Damion Reid, Lehman shows why his standing in the New York jazz vanguard is affirmed. $18/16/9 Friday, OcTOber 18 beNarOya haLL graNd LObby, 10Pm

[untitled] series

Seattle Symphony musicians and the Steve Lehman Trio perform Cat ‘o Nine Tails and other cutting-edge works by Lehman, John Zorn, and others. (Presented in partnership with Seattle Symphony.) saTurday, OcTOber 19 KirKLaNd PerFOrmaNce ceNTer, 8Pm

John Medeski

Renowned for the considerable legacy of Medeski Martin & Wood, the keyboardist demonstrates virtuosity and vast range on solo grand piano. suNday, OcTOber 20 TriPLe dOOr, 7Pm & 9:30Pm

The Bad Plus

As badass as highbrow gets. A rollicking and thought-provoking good time with the acclaimed Reid Anderson (bass), Ethan Iverson (piano), and David King (drums), who always go a leap ahead of the conventional jazz trio to the very edges of avant-populism. suNday, OcTOber 20 KirKLaNd PerFOrmaNce ceNTer, 8Pm

Philip Glass

A cultural and artistic giant, Glass is an iconoclast of contemporary composition – operas, symphonies, and much else. He returns to KPC for a rare solo piano performance. (Presented by Kirkland Performance Center.) Tuesday, OcTOber 22 iLLsLey baLL NOrdsTrOm reciTaL haLL aT beNarOya, 8Pm

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

SFJAZZ Collective

Stunning virtuosity and drive from the most spectacular all-star ensemble in jazz, with Miguel Zenon, David Sanchez, Warren Wolf, Avishai Cohen, Robin Eubanks, Edward Simon, Matt Penman, and Obed Calvaire.

COMING UP...

Patricia Barber, Nicole Mitchell, Bill Frisell’s Big Sur, Charles Lloyd, Naomi Siegel Quartet, Steve Treseler Group featuring Ingrid Jensen, Manhattan Transfer, Seattle Repertory Jazz Orchestra, Kneebody, Lucian Ban & Mat Maneri, NEXT Collective, Darcy James Argue, Beth Fleenor Workshop Ensemble, B’shnorkestra, and more...

More than 50 events in venues all around Seattle Buy tickets at www.earshot.org & 206-547-6763 Charles Lloyd photo by Dorothy Darr

Discover

THE ULTIMATE OUTLET EXPERIENCE DESIGNER BRANDS | OUTLET PRICES

to the grand unveiling of The Outlet Collection, formerly SuperMall, on October 17, 2013. Visit theoutletcollectionseattle.com for event details.

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

YOU’RE INVITED

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SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

SP O N S O R E D B Y S E ATTL E W E E K LY

SEATTLE’S BEST DAMN HAPPY HOUR Beer • Wine • Cocktails • Food Specials Music • Games • Prizes Oct. 17 (Third Thursday), 5pm – 8pm Seattle Center Armory • No Cover (21+)

BO-NITA Oct. 18 – Nov. 17 Seattle Repertory Theatre

RUBY ROOM FASHION SHOW Oct. 19 Fisher Pavilion

FESTÁL: TURKFEST Oct. 19 – 20 Sat. 11am – 6pm, Sun. 11am – 5pm Armory, Fisher Pavilion Rooftop, Seattle Center Pavilion • FREE

FESTÁL: DIA DE MUERTOS A MEXICAN CELEBRATION TO REMEMBER OUR DEPARTED Oct. 26 – 27 Sat. 11am – 6:30pm, Sun. 11am – 6pm Armory • FREE

DAY OF CELEBRATION MCCAW HALL CELEBRATES 10 YEARS AT SEATTLE CENTER Oct. 27, 11am – 4pm Marion Oliver McCaw Hall at Seattle Center • FREE

SEATTLE BOT BRAWL Nov. 3, 12 noon – 5:30pm Armory • FREE

IFEST – ACADEMY OF INTERACTIVE ENTERTAINMENT Nov. 9, 10am – 6pm NW Rooms • FREE

FESTÁL: HMONG NEW YEAR Nov. 9, 11am – 6pm Armory • FREE

SELENA GOMEZ WITH SPECIAL GUESTS EMBLEM3 AND CHRISTINA GRIMMIE Nov. 12 KeyArena

MICHAEL BUBLÉ Nov. 15 KeyArena

TRANS-SIBERIAN ORCHESTRA “THE LOST CHRISTMAS EVE” Nov. 23 KeyArena

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Events / dates / times subject to change • Seattle Center, 305 Harrison St., Seattle, WA 98109 • 206-684-7200 • Photo credits: © Alan Krell; © iStockphoto.com/Chris Gramly; © Seattle Repertory Theatre; © Ruby Room Fashion Show; © Staci Johnson; © Angela Sterling; © Seattle Bot Brawl; © Academy of Interactive Intertainment; © Art Institute of Seattle; © AEG Live; © Beaver Productions; © Live Nation

inside» October 16–22, 2013 VOLUME 38 | NUMBER 42

» SEATTLEWEEKLY.COM

»10

news&comment 6

FLOGGING MOLLY A dangerous drug’s connection to a musical subculture. 8 | SPORTSBALL

10 ELECTION SPECIAL! BY SW STAFF | All you need to know

about the message-makers who power the mayoral candidates; a small town’s farreaching minimum-wage battle; Seattle’s most popular socialist; what the Port Commission really does; and much more.

food&drink 23 FLYING FISH

BY NICOLE SPRINKLE | What

RockCreek’s doing with non-native seafood is reviving a stale scene. 23 23 24 25

| | | |

FOOD NEWS TEMPERATURE CHECK OYSTER ROUNDUP THE BAR CODE

arts&culture 27 TALES FROM THE CITY

BY BRIAN MILLER | Two parallel

photo shows at the Henry.

27 ARTS

dancers, Sugar Daddies, and a farce limned by darkness. 31 | PERFORMANCE

33 FILM

OPENING THIS WEEK Julian Assange

strikes back, a sassy tween in Saudi Arabia, zombies, and the abortion wars.

36 MUSIC

King Khan’s self-renewal; The Head and the Heart’s step forward; why Kanye was right all along; and more. 36 | SEVEN NIGHTS

odds&ends 45 | TOKE SIGNALS 46 | CLASSIFIEDS

»cover credits

EDITORIAL Managing Editor in Charge of News Daniel Person Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Alicia Price Contributing Writers Rick Anderson, Sean Axmaker, Sara Billups, Ma’Chell Duma LaVassar, Steve Elliott, Margaret Friedman, Zach Geballe, Andrew Gospe, Megan Hill, Robert Horton, Sara D. Jones, Isaac Kaplan-Woolner, Seth Kolloen, Sandra Kurtz, Dave Lake, Beth Maxey, Duff McKagan, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executives Terri Tinker, Krickette Wozniak Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie DISTRIBUTION Distibution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien COPYRIGHT © 2013 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

27 | THE PICK LIST 30 | OPENING NIGHTS | Prodigal

Editor-in-Chief Mark Baumgarten

ILLUSTRATION BY JOSHUA BOULET TRnewspaperWeekly2013f.indd 1

3/8/13 6:17 PM

news&comment»

The Age of Molly

As FreakNight approaches, how the Northwest is— and isn’t—dealing with the new rave order. BY KELTON SEARS

CATHERINE ANSTETT

hospital in Quincy after the festival, many of n June 3, Miley Cyrus put out the whom were suffering from Molly-induced dehyfirst single from her #twerkpopredration. At the Electric Zoo EDM festival in cord, Bangerz. New York this past September, three people died Just as many butterflies find early from the same cause, resulting in the cancellation summer the perfect time to emerge from their of the concert’s last day. chrysalis, so too did Cyrus erupt from her own The drug’s appeal is the euphoria it produces, metamorphic shell on the day “We Can’t Stop” was released unto the world. The single, and its subsequent music video/MTV Music Video Award performance, were seen as harbingers of all sorts of things: a new wave of subtextual cultural racism, a defeat in the uphill battle of third-wave feminism, and the end of American civilization. While the academic collective consciousness of Facebook A high-energy celebrant at FreakNight 2012. and the country’s leading theolowhich users often say makes the feeling of gians dissected the song’s possible eschatological togetherness and the intensity of EDM much implications, another debate was raging. Was greater at raves. The problem is, the drug is often Miley Cyrus, the United States’ official cultural cut with other substances like methamphetambassador, in fact singing about MDMA? amine, ketamine, and PMMA, a cheap cousin So la-da-di-da-di/We like to party/Dancing of MDMA with less euphoric effect but more with Molly/Doing whatever we want. of the toxicity that can result in deadly hyperOn June 3, thanks to “We Can’t Stop,” Molly thermia. went mainstream. Cyrus is not the only one who has been repTwenty-seven days later, on June 30, Molly ping the drug in the mainstream: Rihanna, was responsible for the fatal brain hemorrhage Kanye West, and Lil Wayne have all mentioned of 21-year-old Des Moines man Patrick WitMolly in their songs, and last year at a concert Miami, Madonna asked her fans “How many “These are very hyperactive in people in this crowd have seen Molly?” EDM crowds . . . Your average artist Deadmau5 took Madonna to task for the cavalier drug comments, slamming her for audience at an EDM event is perpetuating the perception that EDM is the peanut butter to Molly’s jelly: You can have one going to be spending a lot without the other, Deadmau5 says. But is that true? more energy since they tend On October 25, WaMu Theater will host to dance a lot more.” FreakNight, billed as “the largest and longestrunning electronic music festival in the Northwest” and produced by USC Events, the comkowski, a recent Washington State graduate. pany that organized the ill-fated Paradiso. It’s a He had taken Molly (the euphoria-inducing two-day Halloween bacchanal with stilt dancers, crystalline form of Ecstasy) at this year’s sold-out jugglers, flame-throwers, and of course a ton of Paradiso, a massive electronic dance music festihigh-profile dance DJs. WaMu Theater—capacval held annually at The Gorge. A common side ity 67,000—sold out in advance last year, and effect of Molly is hyperthermia—a rapid rise in Freaknight has become a body temperature—which, staple annual event in the combined with 90-degree PRINT IS GREAT, but if you EDM community. temperatures and a lack want to see . . . Organizers say they’re of water, resulted in Withow they twerk it in Bellingham, prepared to keep partiers kowski’s death. check it out on The Daily Weekly. safe this time. But in a All in all, 72 people SEATTLEWEEKLY.COM/DAILYWEEKLY were taken to the nearby » CONTINUED ON PAGE 9

NORTHGATE LINK EXTENSION

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

Construction Open Houses

Construction is underway on the Northgate Link light rail extension! Come find out how construction might affect you at Roosevelt Station and Maple Leaf Portal.

Roosevelt Station Construction Open House

Wednesday, Oct. 23, 2013 6 - 8 p.m. (presentation at 6:30 p.m.) Roosevelt High School Commons 1410 NE 66th St., Seattle

Maple Leaf Portal Construction Open House

Thursday, Oct. 24, 2013 6 - 8 p.m. (presentation at 6:30 p.m.) Olympic View Elementary School 504 NE 95th St., Seattle

For more information Contact Community Outreach at 206-398-5300 or northlink@soundtransit.org or visit soundtransit.org/northlink. To request translation services or accommodations for persons with disabilities, call 1-800-823-9230 / TTY Relay: 711.

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

With a car2go membership, you can stop thinking small. Just grab a car when you need it and park it when you’re done. Sign up at seattle.car2go.com and share your stories online with #car2golife.

GOOD BOOKSTORES A Reader’s Guide

SPOTLIGHT ON

Third Place Books

University Bookstore Something Red

A Marker to Measure Drift

by Douglas Nicholas

by Alexander Maksik

The characters in this novel have a kind of palpable humanity that makes you savor their finely-wrought internal dialogue, while resisting the urge to skip ahead to discover the increasingly dark and mythical plot developments. By the time you reach the last hundred pages, it's an action-packed gauntlet that won't let you up from your seat. Enjoy!

It is rare for a book to get you so emotionally involved so quickly. This book allows you to visit a particular locale in human loneliness that is shockingly familiar in spite of being so situationally foreign. It's a journey I won't soon forget. - Robert

Staff Picks at Third Place Books

Staff Picks at University Bookstore

Baba Yaga by Toby Barlow The Infatuations by Javier Marias Illusion of Separateness by Simon Van Booy Memories of a Marriage by Louis Begley The Thinking Woman's Guide to Real Magic by Emily Croy Barker

THE ELLIOTT BAY BOOK COMPANY CELEBRATING

The People in the Trees by Hanya Yanagihara Songs of Willow Frost by Jamie Ford Hungry: A Memoir by Darlene Barnes The Reason I Jump by Naoki Higashida Lawrence in Arabia by Scott Anderson

40 YEARS

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

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f you’re tough: Marshawn Lynch, #24

Lynch is a running back with the soul of a linebacker, dishing out bone-crunching hits on every run. He’s scored 35 TDs since 2010—three times more than any other Seahawk. If you’re flashy: Golden Tate, #81 Slippery, speedy Tate has the glittering style to match his name; his touches are usually the most exciting plays of every game. If you’re ironic: Jon Ryan, #9 Walk around with the punter’s name on your back as the ultimate middle finger to the footballindustrial complex. If your mind is in the gutter: Clinton McDonald, #69

Seahawks’ manic free safety has the fun job of diagnosing plays and hurling himself toward where he thinks the ball will go. If you’re wise: Russell Wilson, #3 The risk in dropping $100 on a player’s jersey is that he might get bad or get traded. Neither is likely to happen to star QB Wilson. Your new jersey could stay in style another 15 years—something you can’t say for $100 Warby Parker glasses.

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MIND • BODY • SPIRIT • EARTH

BY SETH KOLLOEN

If you’re improvisational: Earl Thomas, #29 The

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If you’re a student of the game: Doug Baldwin, #89 Stanford grad Baldwin doesn’t have

NFL size or speed, which is why he didn’t get drafted. Baldwin’s succeeded—he’s the Hawks’ leading receiver this year—by studying ways to find unguarded areas in NFL defenses.

TECHNICAL

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If you’re charismatic: Richard Sherman, #25

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You can feel Sherman enter a room, according to a friend who covers the Seahawks full time. Last year he outdebated ESPN’s Skip Bayless; this year he’s writing a column for Sports Illustrated; by next year he may have his own TV network.

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Wide receiver Harvin has yet to play for the Seahawks after signing the most expensive free-agent contract in Seattle sports history in March. Incredibly fast and elusive, Harvin will be wreaking havoc on the field soon; he may become the most talented receiver the Hawks have ever had. If you’re clueless: Matt Flynn, #15 Flynn lost the starting QB job to Wilson last year, but not before manufacturers had churned out boxloads of Flynn-flavored apparel. Stores have plenty of Flynn jerseys at attractive prices, but don’t be tempted—at this writing he’s on the roster of the lowly Buffalo Bills. E

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If you’re a trendsetter: Percy Harvin, #11

sportsball@seattleweekly.com

news» Molly » FROM PAGE 6 telling display of how ingrained Molly use is in EDM culture, they’re also focusing on limiting the drug’s ill effects, rather than attempting to stem use altogether. “We want to assure that everyone at our events goes home safe, that’s our ultimate goal,” says USC spokesperson Alex Fryer. First and foremost, USC is installing three new industrial-size water stations with four spigots each. They’ll be distributing pocket maps marked with the locations of the water stations and medical and security facilities. The public-information initiative that USC is about to launch isn’t merely a “Just Say No” campaign, which Fryer wisely admits is highly

@seattleweekly

CATHERINE ANSTETT

OPENING SOON

ksears@seattleweekly.com

You may qualify for a research study of an investigational cream. All study related medication and treatment will be provided at no cost. You do not need health insurance to participate. If eligible, you will be compensated for time and travel.

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

ineffective with the 18-to-24 crowd. Rather, it’s meant to remind audiences of basic safety messages, including Washington state’s Good Samaritan Law. “There is a law that states if you help someone who needs it who has taken substances, you won’t get in trouble if you get help,” Fryer says. “You come across this sometimes— where people in other venues knew someone in their group wasn’t doing well, but was afraid to get help.” USC Events are also ramping up security, increasing personnel by 152 for a total of 380 onsite. Every night, 25 to 30 volunteer “safety ambassadors” will also roam the venue with twoway radios, offering water and directing medical assistance to people in need. Coordinating, advising, and staffing those EMTs is Edwin Reyes, a paramedic from Austin, Texas, who has become the number-one safety consultant for EDM festivals, working special events since 1995. His expertise has landed him safety-supervising gigs at EDM events across the country (Nocturnal Texas, Sunset Music Festival, Sound Wave, and an event dubiously named the Something Wicked Festival) and internationally (in places like Puerto Rico and Mexico). “These are very hyperactive crowds,” Reyes says. “Your average audience at an EDM event is going to be spending a lot more energy since they tend to dance a lot more, so you have to a little more attentive to that.” Independently of USC Events, Seattle Police has announced it will deploy undercover agents at FreakNight to do drug buys. “USC Events totally supports SPD doing that,” Fryer says. “We don’t think people should be doing those drugs, especially at our events.” E

Selling the Mayor How McGinn and Murray were packaged for mass consumption.

The tunnel issue will not die. At last week’s KING-5 televised debate, a heated McGinn said he had been right to be concerned about tunnel-funding legislation. “I raised an important question,” he said. “The question remains unanswered. Sen. Murray’s position is that it’s all right for everyone to be angry at me for asking a question like that rather than just answering the question. We also know that neither [Gov. Christine] Gregoire nor Murray, despite his vaunted influence in Olympia, had the power to get it changed.” There was no political honeymoon for Mike McGinn. It didn’t help that the economy was in desperate condition and that McGinn would be forced to close a $67 million budget gap by shedding 300 city workers. Soon the perception grew that his agenda was too narrow: He was anti-car, too headstrong and combative, and didn’t listen. This perception was reinforced by his consternation with the Department of Justice for being too adversarial in settlement negotiations regarding the Seattle police department’s use of force. As Councilman Nick Licata said recently, “He doesn’t seem to have the communication skills to reach a consensus.” It was the McGinn campaign’s job to turn these negatives into positives—hence a blitz of It’s-Morning-in-Seattle optimism: Employment is up; crime is down; deep budget cuts were made, but social services were protected. Seattle was now moving in the right direction. Wyble ticks off the message points that evolved: “He’s been tested. He’s weathered snowstorms, a bad economy, a garbage strike, and protests. He is who he is, and he’s unafraid to let the chips fall where they may. When times were tough, he went out and did what he thought was right.” Recent polls showing McGinn trailing by 20-plus points would suggest that voters aren’t JOSH BOULET

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

n 1968, advertising executive Frank Shakespeare and television producer Roger Ailes famously created a political phenomenon that came to be known as “The New Nixon”: a less-cranky, cheerier, more forward-looking version of the old five-o’clock-shadowed Richard Nixon. The machinations of imagemakers—well-turned phrases, smart photo ops, memorable PR stunts—seem commonplace now, but nearly a halfcentury ago these were revolutionary concepts, centered on the notion that voters’ perceived image of a candidate is an election’s motivating force. Ideas and policy are important, but Shakespeare and Ailes argued that they are trumped by a carefully scripted, disciplined message about the candidate himself. Endless repetition of the message is key, whether it comes from the candidate or from controlled surrogates and grassroots supporters. For example: “There is no mayor’s school”— this, of course, from Mayor Mike McGinn—or state Sen. Ed Murray’s mantra, “It’s an issue of effectiveness.” McGinn’s handlers and campaign strategists know the power of staying on script, as do the political operatives Murray has enlisted. From the outset of the mayoral race, overarching themes were tested and polished, then synthesized in ways calculated to catch the public ear. When on December 12, 2012, Murray announced his candidacy at Sole Repair on Capitol Hill, he sounded a campaign message that has seen little deviation since: “Our message has been consistent from the beginning—that we need to get past the divisive, combative politics of the past, that Seattle has great potential and is doing great things in spite of what’s going on in city government,” says Sandeep Kaushik, Murray’s campaign spokesman and valued strategist. “There’s no doubt that repetition is important.” Kaushik—a former Stranger scribe who once pursued a Ph.D. at Princeton in ecclesi-

BY ELLIS E. CONKLIN

astical politics in early-17th-century England—was tasked with keeping the campaign afloat during the months in which Murray was precluded by law from raising money, on account of the legislature being in session. He also had to anticipate the ways the McGinn campaign would go after his candidate, who had never run in a city-wide election before. “We knew [the McGinn campaign] would cherry-pick [his record] to find things they could use against Ed. Of course, we looked at McGinn’s record, too. We knew, for one, that he had successfully portrayed Joe Mallahan in 2009 as a downtown tool, the establishment candidate, and would try and do it to us as well.”

place. An engaging 48-year-old, Wyble has been the chief architect of McGinn’s overall thematic messages. As the campaign’s contours began to take shape in early summer, McGinn knew he faced a big challenge in tunneling out, shall we say, of the hole he’d dug in his term’s first two years. He crusaded against the Alaskan Way Viaduct replacement during his 2009 race, then suddenly dropped his opposition to it a few weeks before the election. Later, in his early days as mayor, McGinn again questioned its worth and fiscal efficacy and forced a public referendum on the project. His hard-nosed stance angered voters, who signed off on the deep-bore tunnel in a landslide. It also alienated the City Council, and things remain frosty between the mayor and council members: A majority of the council have endorsed Murray, which council president Sally Clark called “unprecedented.”

It was the McGinn campaign’s job to turn negatives into positives—hence a blitz of It’s-Morning-in-Seattle optimism.

Meanwhile, helming the McGinn campaign is John Wyble, who began to learn the bones of his craft as a Democratic activist at Western Washington University in the 1980s. Wyble is McGinn’s most trusted political confidant—a one-man band compared to the deeply layered campaign infrastructure Murray has put in

currently buying into that narrative—but enough did for McGinn to survive the August 6 primary, finishing a close second, just 1,800 votes behind Murray. Any good sales job, too, demands what in the political business is known as compare and contrast. “Mike is an activist mayor,” Wyble continues, “and he doesn’t want to coast now that we’ve come out of the recession. Ed is all about coasting—‘We’ll go slower until we get a consensus.’ ” In recent weeks, McGinn—still running as an outsider, a role he revels in—has begun repeatedly to question Murray’s effectiveness in Olympia, saying that funding shortfalls for education and transportation came on his watch. Unlike McGinn, the Murray camp needed to

McGinn plays without a helmet at times, and, when in doubt, goes deep. Murray doesn’t like to get his jersey dirty, and eschews the Hail Marys for short, high-percentage passes.

One of the Murray campaign’s hallmarks has been its rapid response to any and all charges and

econklin@seattleweekly.com

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

build name recognition for their candidate, which they accomplished in part by going soft and fuzzy: One of seven children, growing up in a poor Irish household in West Seattle, inspired by the Kennedys, who would worry that being gay might prevent him from participating in the political world. “That story was hugely important to us, that Ed was someone you could relate to,” says Kaushik. The “story” laid the foundation from which Murray could press his cardinal message—that he overcame early obstacles and blossomed as an influential, albeit unshowy, 18-year veteran legislator. Equally important was to stress again and again the incremental steps Murray took to eventually win passage last year of the same-sex-marriage initiative. “We were disciplined in the delivery of our message. Ed’s approach to governance is different. He believes in consensus and compromise.” In June, Murray, in an interview with Seattle Weekly, warned that if the fall contest came down to him and McGinn, it would be “the ugliest campaign Seattle has ever seen,” clearly intimating that McGinn would be the one to make it so. It has been anything but. Dull, uninspiring, and occasionally mean-spirited, yes. But nothing like the rip-roaring brawl Murray predicted. For the most part, the race has been all about style and personality—a choice between the movement politician and the pragmatist. No policy issues divide them. For Murray, McGinn is the issue. If we boiled down the sales pitches of the two mayoral contenders—both of whom, on the political spectrum, share a deep shade of blue—and employed a football analogy to define them, it could be this: McGinn plays without a helmet at times, and, when in doubt, goes deep. Murray doesn’t like to get his jersey dirty, and eschews the Hail Marys for short, high-percentage passes.

attacks, or perceived attacks, by McGinn. Kaushik is the chief rapidresponder. He lets nothing go unchallenged. And that’s all part and parcel of the sales pitch, too: Murray may be Mr. Compromise, but when pushed he’s unafraid to flash that Irish temper he’s famous for down at the Capitol. Late last month, when McGinn implied that Murray had displayed racist tendencies by quietly supporting I-200, the 1998 anti–affirmative action law, Kaushik pounced, calling reporters to say “I’m flatly saying it’s false and it’s despicable and it’s untrue—it’s a sleazy attack.” More recently, on October 7, Kaushik quarterbacked the campaign’s response to the McGinn camp’s attempt to link Murray to “big coal.” He immediately dispatched a press release “regarding a false whispering campaign” and announced a press event, with Murray appearing at the Broad Street rail crossing “to set the record straight.” For his part, Wyble has earned a reputation for putting together a strong ground game: community outreach, phone banks, neighborhood coffees, and the like. Any effective candidate merchandizing must include trained volunteers capable of making voter-persuasion calls. The McGinn campaign made 150,000 calls before the primary and, says Wyble, plans to make at least 200,000 calls (to nearly 50 percent of all registered voters in Seattle) in the final two weeks before the November 5 election. By making countless if-the-election-were-heldtoday voter calls via autodial, McGinn’s people think they have a good grasp on which voters may be undecided—nearly 30 percent of the electorate, they say— and which may be merely leaning toward Murray and might be swayed in the other direction. “Our internal [polls] based on the autodial calls show us down by 7 percent,” Wyble insists—nowhere near the huge double-digit advantage Murray supposedly enjoys. Kaushik says his biggest problem is to guard against overconfidence among his troops. Things are sure to tighten as Election Day nears and people begin to focus on the race. As for McGinn, I spoke with him last week in an impromptu interview, just after he cut a TV spot at Wyble’s campaign studio in SoDo. After lugging his bike down three narrow flights of stairs, McGinn talked about what he calls the deeply flawed campaign narrative the media has trumpeted about his bid for a second term. “My base has expanded from what it was four years ago,” he says. “You know, four years ago, probably eight of the council members voted against me,” the mayor adds, alluding to stories that five members are publicly backing his challenger. With a tired smile, McGinn concludes, “I’ve always been behind in the polls, but I’ve never lost an election.” E

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Setting the New Liberal Bar

The Other City Council Races

A socialist candidate tests how far left Seattle is ready to go.

By Daniel Person

BY MATT DRISCOLL

A ubiquitous sign of the liberal times.

PAPARATTI

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

shama Sawant is adamant: This isn’t about her. Challenging longtime incumbent Richard Conlin for a spot on the Seattle City Council, Sawant is running as a Socialist Alternative candidate. Her platform is built on many of the hot-button issues that have erupted in Seattle over the past year: She has championed the fight for a $15-an-hour minimum wage, crusaded for rent control and affordable housing, and called for a “millionaire tax” on the wealthy to fund major improvements in mass transit and education. The part-time economics professor and Capitol Hill resident considers her candidacy part of a much broader movement of the people for social and economic justice, saying “I’m just playing one role.” True to this spirit, Sawant uses “we” instead of “I” when discussing her run. She’s also convinced her City Council target is vulnerable. First elected to the council in 1997, Conlin has served four terms and is hoping for a fifth. Having raised nearly five times as much money than the Sawant campaign, and with the name recognition that comes only from having spent nearly a quarter of your life in elected city office (he’s 66), the safe money is on Conlin besting his thirdparty challenger and keeping his bike parked outside City Hall for at least four more years. But that’s by no means guaranteed, with Sawant arguing that Conlin has lost his progressive cred. At the very least, Sawant’s candidacy is the most interesting thing on a local ballot defined by a mayor’s race void of substance and a handful of seemingly predetermined council contests. An immigrant from India who holds a Ph.D in economics and teaches at Seattle Central Community College, Sawant says she loves Seattle’s clouds, culture, and open-minded, progressive people. Politically Sawant emerged from the Occupy Seattle movement, and with the help of a vocal endorsement from The Stranger garnered almost 30 percent of the generalelection vote in challenging state House speaker Frank Chopp for his District 43 seat in 2012. This year’s City Council primary yielded an even stronger showing: Sawant captured 34.8 percent of the vote to Conlin’s 47.9, nearly 43,000 votes—more than Ed Murray or Mike McGinn received in their quests for the mayor’s office. “I think what I find so appealing about her is that she’s so different,” says Lucy Porter, a 17-year-old senior at The Northwest School who is volunteering for Sawant. According to the Sawant campaign, Porter is one of more than 200 volunteers working for the cause. “[Sawant] just seems like a very honest candidate,” Porter tells Seattle Weekly. But she admits that even her liberal parents were skeptical upon learning their daughter would

be volunteering for a socialist. Come election time, Porter thinks her mom and dad will vote for Sawant, but she’s not sure. Sawant does have detractors. The Seattle Times editorial board calls her “too hard-left for Seattle.” Socialist Workers Party spokesperson and former mayoral candidate Mary Martin says Sawant isn’t doing enough to inspire a revolution and take power away from the “bourgeois” capitalist class. PubliCola has written at least two posts critical of Sawant’s campaign, most recently calling into question the validity of her fight for the poor and working class while her personal financial disclosure reveals a husband earning $100,000 a year as Microsoft engineer. (That post, by PubliCola’s Erica Barnett, led Sawant to issue a statement in response, clarifying that she’s been separated from her husband for “close to six years,” and, while the two are still legally married, she shares in none of his income.) Conlin, meanwhile, has taken to questioning Sawant’s record of “civic engagement,” arguing that she didn’t register to vote soon enough after becoming a US citizen. He calls Sawant’s critiques of his record meritless, and insists he’s “very progressive.” In spite of all this, perhaps the biggest question Sawant faces in this year’s election is whether a candidate with socialist ties (albeit with a platform not too far to the left of many mainstream candidates) can be seen as human—and a viable electoral option—rather than just as an avatar for fringe dissent. Even in liberal Seattle, according to University of Washington political science associate professor Matt Barreto, Sawant’s strong party affiliation is likely to give many voters pause. Noting that city council races are nonpartisan and thus party affiliation won’t be listed on the ballot, Barreto says “Any candidate that makes an issue [of being

third-party] does so at their own risk.” Given Sawant’s socialist ties, her relative lack of campaign experience, and, especially, her fundraising disadvantage, Barreto says he expects Conlin to win easily in November. However, he allows that a large pool of devoted volunteers and a substantial get-out-the vote effort could have a “pretty big impact” on a down-ballot race like this. Whether it will be enough remains to be seen, but there’s no questioning Sawant’s devoted base, a progressive group drawn to her unabashedly liberal assessment of the modern economy.

Asked how she arrived at her worldview, Sawant says, “Growing up in India, the experience of seeing the deep contrast between extreme wealth in the hands of a tiny elite and massive poverty and misery on the other end, I think it was inevitable for me to ask the logical question of: ‘How can it be that we have so much poverty and misery when it’s clear that from a standpoint of wealth and technological innovation we are perfectly capable of eliminating it?’ “I think it’s a logical question that should occur to everyone, regardless of whether they consider themselves socialist or not. Just by virtue of being human you should ask that question.” Sawant has questioned the progressive record Conlin touts—a record that’s earned him endorsements from the likes of the Sierra Club, the Cascade Bicycle Club, and the Affordable Housing Council. Pointing to his lengthy list of campaign contributors, which includes plenty of real-estate and development interests, Sawant says Conlin is “doing the bidding of his corporate sponsors” and that his progressive credentials are overblown. Naturally Conlin disagrees, saying he feels unfairly attacked, that the campaign has been “kind of dispiriting.” He says it’s “ridiculous” to think he supports everything his donors do. Among other qualms, Sawant attacks Conlin’s support of the Highway 99 tunnel project and his vote against Seattle’s paid sick-leave law—the lone “no” vote the bill received, and one Sawant calls particularly “inhumane.” “I really think we have to examine what our meaning of the word ‘liberal’ is,” she continues regarding the man she’s trying to unseat. “If that’s where we set the bar for being progressive, that is a very low bar. . . . The bar for progressive values needs to be far higher than that.” E

mdriscoll@seattleweekly.com

Mike O’Brien vs. Albert Shen Challenger Albert Shen entered the August primary with a strong resume, lots of cash on hand, and a sterling endorsement from The Seattle Times. Thus the race for Council Position 8 held the promise of being an interesting one. Yet in the primary, freshman Councilman Mike O’Brien cruised to a 24-point victory, and has shown few signs of losing ground since. Shen attributes his lackluster showing to being a first-time candidate whose name still is not in wide circulation. He’s running as a candidate, he says, who’ll take on big issues—transportation, education, the Duwamish River. In turn, he faults O’Brien for addressing small issues like plastic bags and phone books. That is a reference to O’Brien’s successful sponsorship of Seattle’s plastic-bag ban and his attempt to ban phone books (which was successfully passed by the City Council but overturned in court). O’Brien says his first term shows he’s adept at getting results as an elected leader. He also points out his successful push for more affordable housing in South Lake Union and for public financing of City Council races. He also strongly supported the city’s sick-leave ordinance, which Shen argues hurts small businesses, especially those owned by minorities, part of an oftentimes clumsy attempt by Shen to highlight his Chinese heritage in the race. In the primary, Shen spent twice as much as O’Brien and continues to outraise him, leading the incumbent by more than $40,000 as of Sept. 30, suggesting he does have a base. He also, predictably, got another endorsement from the city’s only daily newspaper this week. But O’Brien says the primary results speak volumes that “Seattle is much further left than The Seattle Times would seem to imply in their endorsement of Albert.”

Sally Bagshaw vs. Sam Bellomio Sam Bellomio asserts that the members of the Seattle City Council are members of an aristocratic elite who are unwilling to change the current political order because they are thereby enriched and empowered. He is a fixture at council committee meetings, where he uses his allotted two minutes to rail against this paradigm, at times donning star-spangled costumes for patriotic effect. In September he called Tim Burgess a dick. Remembering that Cervantes’ gentleman from La Mancha is so detached from reality that he wages battles against dragons that are not actually there, Bellomio’s race against first-term councilwoman Sally Bagshaw is Quixotic in the truest sense.

Nick Licata vs. the City Fruit Initiative When I Googled “Fruit for City Council Seattle” in hopes of finding some information on candidate Edwin Fruit, who is challenging long-time councilman and poetry advocate Nick Licata, the top two results were for something called City Fruit. City Fruit is a program that seeks to better use the veritable cornucopia that Seattle presents to us every year by teaching people how to get the most out of their fruit trees. According to its website, cityfruit.org, fruit too often “goes unused because people are not sure when to harvest it, how to eat it, or they are put off by damage caused by preventable disease and pests.” Edwin Fruit, meanwhile, hasn’t mounted anything approaching a serious campaign against Licata. Were Licata running against City Fruit instead of Edwin Fruit, he may have had to actually campaign. But as it is, Licata is getting a free pass to his fifth term in office. E dperson@seattleweekly.com

The GMO Proxy War The labels will be big, but don’t ignore the fine print in I-522.

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ere’s the shame of GMO labeling Initiative 522: that all the money poured into the campaigns—nearly $22 million so far—hasn’t instead been spent on educating the public about the deeply complicated subject of genetic engineering itself. The No side, which has raised a record-setting $17 million, could have explained that the vast majority of scientists consider genetically modified foods perfectly safe to eat, and view the technology as a tool to boost productivity and tackle food-supply problems around the world. The initiative’s supporters could have made their case for why they are skeptical of scientific reassurance, and object to the predatory practices of some biotech firms involved in genetic engineering. Instead we are left with a proxy war—one in which initiative supporters utter a vague rationale about the “right to know,” and opponents look like bullies with their overspilling war chest and battery of confusing technical arguments. But this is the fight we have, and the devil, as always, is in the details. The first thing that is important to realize about I-522 is that it requires a different sort of label than those mandated by many of the 64 countries with GMO-labeling laws. Abroad, information about genetically modified ingredients is usually found on the side ingredient panel; it’s just one item of many, written in the same small type. “I won’t say you need a magnifying glass, but it would help,” says Vivian Moses, a visiting professor of biotechnology at King’s College London, about the tiny lettering. In contrast, I-522 requires that a label be put

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90 percent of U.S. and Canadian canola seed is genetically modified.

on the packaging front, with the words “genetically engineered” or “may be partially produced with genetic engineering” written “clearly and conspicuously.” Trudy Bialic, the public-affairs director of PCC Natural Markets and an author of I-522, explains the front-of-the-packaging requirement by saying that federal regulations prevent a state from adding a new mandate to the ingredient panel. Whatever the reason, it’s easy to image that the difference could be consequential. In the mid-aughts, the European Union funded Moses to do a study on how GMO labels were affecting consumers’ buying patterns. His results were startling. “We found there was no relationship between what consumers said they would do and what they actually did,” Moses says. Most interesting is that shoppers who’d claimed they wouldn’t buy genetically modified products actually had such goods on their shelves at home. But would the same hold true for shoppers in Washington state confronting much more conspicuous labels? Really, it’s anybody’s guess, as is the related question of how food manufacturers would respond to a labeling mandate. “I don’t know what’s going to happen,” says Jayson Lusk, a food economist at Oklahoma State University. “Anybody who tells you they do is lying.” Julie Caswell, a food economist based at the University of Massachusetts at Amherst, says adding a GMO label to packaging would be a “minor cost” to food companies, since they repackage their products all the time anyway. Caswell predicts that a majority of companies will take this route because it would be difficult

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» FROM PAGE 13 to find sufficient non-GMO ingredients. Unlike in Europe, where few genetically engineered products are sold, GMOs are pervasive in the U.S., particularly corn and soybeans, whose derivatives are used widely in packaged food (see graphic, page 13). Yet she speculates that at least some companies will probably avoid the GMO label, and here’s where things get tricky and potentially costly. Those companies would first have to seek alternative ingredients, and they tend to be more expensive, especially if organic (which have been certified as not using GMOs). There would also be production and distribution costs involved in ensuring that a product would be pure enough to not need a label. The initiative sets a rigorous standard: Until 2019, a product that contains 9 percent or more GMOs must carry a label. After that, a label is required for any amount of GMOs.

EV ENT S

Other Ballot Measures to Note Seattle Proposition 1 Prop 1 would levy a tiny tax on Seattle property to allow for publicly funded city council races. And by tiny, we mean a $5.76 annual tax on a house with a taxable value of $350,000. Proponents like Jake Faleschini say Prop 1 will lessen the impact major donors can have on races in the wake of the Supreme Court’s Citizens United decision, because to get access to the money, candidates would agree to limit how much they accepted in donations. They would also need to raise small amounts of money from hundreds of supporters, which would keep fringe candidates from wasting tax dollars while allowing candidates with broad support to leverage their base. Yet Faleschini admits Citizens United could limit Prop 1’s effectiveness. The ruling allows for unlimited independent expenditures in politics. Couldn’t a candidate agree to limit how much money he took, get the public dollars, then nudge donors over to an ostensibly independent group that will campaign on his behalf? “It was a dubiously and diabolically brilliant decision,” Faleschini allows. But while he acknowledges that Citizens makes limiting money’s influence in politics difficult, he says that should be a call to action, not a call to give up. “What can we do to create a system that is as fair and just as possible,” he asks. “How can we encourage lots of grassroots opportunity?”

PR O M O TI O NS

A R T S A ND ENTE R TA I NM E NT

That standard, potentially violated by even a

trace amount of GMO, raises the question of contamination as goods are transported or processed. Oklahoma State’s Lusk says a company that wanted to make sure it wasn’t legally liable for failure to label would have to use different rail cars, trucks, grain elevators, production lines, and the like for non-GMO goods. (Caswell suggests that an entirely separate production line might not be necessary, but its equipment would need to be thoroughly cleaned.) A report released last week by the Washington State Academy of Sciences, which analyzed the potential impact of I-522, also concluded that “the bulk of private costs arise in segregation of products along the supply chain.” But I-522 backer Bialic contests that scenario. She points to what she calls a “safe harbor” provision in the initiative that protects growers and food producers subject to inadvertent contamination. The provision exempts those who do not “knowingly or intentionally” incorporate GMOs. A sworn statement to that effect is required. The point, Bialic says, is simply to make sure that nobody intentionally puts, say, GMO apples “in the same bin with” regular apples “and turns them all into applesauce.” (There are no GMO apples currently on the market, but one, the Arctic, is awaiting government approval.) But the safe-harbor exemption is surely open to interpretation, especially a clause in it that says it applies to foods that have been “segregated” from GMOs. As Bialic recognizes, the arbiter of such wording would be the state Department of Health, whom the initiative vests with regulatory and enforcement powers. “That will be a rigorous and spirited conversation, I’m sure,” Bialic says of the rule-making process the DOH will launch should the initiative pass. Think of the regulatory process now underway by the state Liquor Control Board, which is charged with implementing marijuanalegalization Initiative 502. In that way, I-522 will likely spark more debate even if it passes and puts Washington on the path to become the first state to implement a GMO-labeling law. Oddly, all that may happen without a real public debate on the most important questions of all. E

nshapiro@seattleweekly.com

Seattle Charter Amendment 19 Today, Seattle is one of three cities with more than 500,000 people that elects its city council members at large. The other two are Portland, Ore., and Columbus, Ohio. Columbus, like Seattle, is voting on whether to change to district races this year. The simple logic is that by electing members by district, the council will be more accessible to voters. It would also be more accessible to grassroots candidates, says Amendment 19 backer Faye Garneau, since it’s easier to campaign across a few neighborhoods than it is city-wide. Voters have rejected creating city council districts many times before, but Garneau thinks the difference this time is having the district map already drawn so voters will know what they’re signing up for. According to the amendment, seven of Seattle’s council members would be elected by district and two at large. Opponents argue the plan would give voters less say in city leadership, since most council members would be elected by another district. And they fear that district-elected council members would feel obliged to favor their constituents. “With districting, you get into pork-barrel politics,” says Marjorie Rhodes, who’s heading the very grassroots No campaign with a dialup modem and a land-line phone. “Let’s say one neighborhood wants more. Where is that going to come from? Another neighborhood? Will property taxes need to get raised?” DANIEL

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How the little city of SeaTac became a bellwether of labor politics. BY KELTON SEARS

nthony’s Restaurant in the central terminal of Sea-Tac Airport was the highest-grossing airport restaurant in the country last year. The upscale seafood joint raked in a mind-boggling $12.8 million. That’s some fancy fish. On the whole, Sea-Tac Airport has been kicking some serious ass as of late, setting a record for traveler volume for two years in a row. In 2012, some 33.2 million passengers passed through, throwing their money at all sorts of things. According to a report from Seattle Port Commissioner John Creighton, in 2012 the airport sold: • 1.7 million bottles of water • 230,000 bags of M&Ms • 90,000 neck pillows • 20,000 copies of 50 Shades of Gray • 10,000 Sleepless in Seattle nightshirt/PJs All this resulted in $180 million in airport revenue. You can think of Sea-Tac Airport as a very unique kind of mall: one full of shoppers who are literally held captive in a consumer playland. This November, when voters in the City of SeaTac pick up their ballots and decide whether or not to up the minimum wage to $15 an hour for hospitality and transportation-industry workers, there are a couple ways to look at it: On one hand, the new minimum wage would represent a whopping 63 percent jump from Washington’s $9.19 an hour, already the country’s highest. On the other hand, 11.5 percent of SeaTac residents live below the poverty line—one of the highest rates in King County. (Despite all the 50 Shades of Gray sales, mind you.) While everyone in SeaTac will vote on Proposition 1, it doesn’t apply citywide. Rather, the resolution targets a very specific group of workers at and around the airport, about 6,000 in total. The “hospitality employers” outlined in the resolution are limited to hotels with 100 or more guest rooms and 30 or more workers, as well as food service and retail operations located in a “hotel, public facility, corporate cafeteria, conference facility, or meeting facility.” The “transportation employers” cover your standard airport fare: baggage handlers, wheelchair escort services, security, etc. Not only would these employees enjoy a $15 minimum wage under Prop.1, but 6.5 days of paid sick leave as well. The proposition specifically exempts small businesses that would be hurt by the pay jump—places like two-or-three-person shoeshine operations, for instance. In sum, it’s a surgical strike aimed at the highest-grossing low-paying employers. The opposition has argued that profit margins at the airport are thin, and raising the minimum wage would force businesses to close and leave

their employees earning $0 an hour. The owner of a Quiznos franchise inside SeaTac, Brett Hebernicht, has publicly stated that the proposition would force him to close his business thanks to the Port of Seattle’s “street pricing” clause, which prevents him from raising prices higher than those of Quiznos outlets outside the airport—despite the higher rent many business owners pay for space inside.

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This claim should be taken with a slice of ham, though. A comprehensive study from UC Berkeley in 2003 on raising airport wages found that retail prices in fact did not experience a significant jump because of higher wages. In Australia, where on July 1 the national living wage was raised to a hefty A$16.37, retail prices stayed relatively close to previous prices as well. Regardless of how Prop. 1 affects the fate of travelers’ access to toasted subs, the most significant role Prop. 1 will play is as a bellwether. If SeaTac can weather the wage hike and inject more money into the economy thanks to the resulting spending increase, as proponents hope, it could encourage similar efforts in Seattle and across the country. “The fact that SeaTac is voting on this issue in November while we’re waging a campaign on very similar issues over here in Seattle does seem indicative of the direction our region is going in terms of finding new ways to get the economy moving,” says Sage Wilson, spokesperson for Working Washington, a group moving to set higher living wages for low-wage workers. “It’s a similar conceptual thing to what we’re talking about in Seattle.” Some teachers in SeaTac have been quick to point out that hotel maids might end up making as much as they do in their college-degree-requiring jobs, which often offer similar $15-an-hour entry positions. Yes for Sea-Tac spokesperson Heather Weiner sees that not as an issue, but as an opportunity. “For me, if I’m making $17, it doesn’t make sense to say the people below me shouldn’t be making $15. I’d want the people below me to make more because it would help make all boats float higher.” E ksears@seattleweekly.com

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The Hottest Race in Town Even Steve Ballmer is dialed into the campaign for School Board District 4. BY NINA SHAPIRO

edly to students throughout the year on top of state exams. The controversial district test, which has become a symbol of relentless overtesting, sparked a boycott last spring led by Garfield High School teachers. The district dropped the MAP for ninth graders as a result, but still uses it for lower grades. There’s no question, though, that the candidates have some differences. Peters, who blogs and started a group called Parents Across America, touts her grassroots credentials. Dale Estey, who recently served as economic development director for the city of Renton and previously worked in the White House (under Bill Clinton)

Dale Estey (left) and Peters.

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and the King County Executive’s office (under Ron Sims), cites her “breadth of public-affairs experience.” And how you view the candidates may largely depend on what kind of job you think the current school board is doing. Dale Estey calls the board “dysfunctional”—a term taken from the board’s own internal evaluation released in June. The dispiriting report describes relations so strained that board members can’t look each other in the eye and a culture of micromanaging that is driving away current and potential staffers. “I think we need a reset,” says Dale Estey, who says she would concentrate on big-picture policy issues and leave day-to-day management to staffers. Peters, who has been endorsed by four board members, says in contrast that she thinks it’s her job to exercise “due diligence and oversight.” She also downplays the negative sentiments expressed in the evaluations, saying that they represent the views of only “one person.” The quotes in the report are anonymous, so it’s hard to tell who said them or whether some are from the same person. But many are sounding a similar theme. While board members characterized themselves as dedicated, they admitted to what the consultants preparing the report called “trust issues.” When asked “Is the board working together effectively?”, its seven members gave themselves a 1.3 out of 4. E

nshapiro@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

uzanne Dale Estey, a government relations consultant who is running for an open seat on the Seattle School Board, makes this remark about her battle with education activist and freelance writer Sue Peters: “It’s right up there with the mayor’s race—if not hotter.” Skeptical? Down-ballot school board races don’t normally command a lot of attention. But consider this: Dale Estey’s contributors include Microsoft CEO Steve Ballmer and Jeff Raikes, head of the Bill and Melinda Gates Foundation. Prominent real-estate developer Matt Griffin, venture capitalist Nick Hanauer and others have also poured roughly $96,000 so far into a PAC that supports Dale Estey and Stephen Blanford (the leading candidate in another, nominally contested race). That’s in addition to the roughly $104,000 in Dale Estey’s own campaign fund to date, which dwarfs Peters’ $28,000. Meanwhile, Peters (a former SW arts writer) has scored a donation from Matt Gonzalez, a Green Party politician and lawyer in San Francisco who served as Ralph Nader’s running mate in his 2008 presidential campaign. She has also won the endorsement of Diane Ravitch, a former U.S. Assistant Secretary of Education who has become a searing critic of high-stakes testing and other reform trends. And both candidates, who are vying to represent a swath of northwest Seattle in District 4, accuse the other of going negative. “I think that might be unprecedented in a schools race,” Peters says of unflattering mailers about her sent out by the PAC supporting Dale Estey—mailers that claimed the activist wants to kick the Gates Foundation out of public education. As a passionate opponent of what she calls “corporate education reform,” Peters has been highly critical of the foundation’s role in schooling. But she says on her campaign website that she supports philanthropic funding as long as there are no strings attached. In contrast, Dale Estey political consultant Christian Sinderman offers this view: “The amount of insinuation and misinformation coming from Peters and her campaign has been pretty shocking.” He’s referring, for instance, to suggestions by the Peters camp that Dale Estey is a stealth charter-school supporter because some of her notable contributors are charter advocates. “Charter schools aren’t right for Seattle now, and they won’t be right for Seattle in the future,” Dale Estey responds. In fact, on a number of hot-button issues, Dale Estey and Peters are in lockstep. Both say they would vote to scrap entirely the MAP test, the district-administered assessment given repeat-

Boring, Important Things One voter’s attempt to understand the Seattle Port Commission. BY KELTON SEARS

BUFFERCHUCK

esides Amelia Earhart’s whereabouts and the location of the Ark of the Covenant, few things are as shrouded in mystery as the true nature of the position of “Seattle Port Commissioner.” Despite this, we will soon be asked by mail-in ballot who we think should be Fact: Port commissioners “Port Commissioner”: Courtney Gregoire or John Naubert? Stephanie Bow- don’t actually run the cranes. man or Michael Wolfe? Richard Pope important thing to determine is what kind of or Tom Albro? Pete Lewis or John Creighton? human you should elect to such a position. Trying to discern what a Port Commissioner The #1 criteria for electing a Port Comdoes, let alone which potential Port Commismissioner is whether or not they enjoy menial sioner to vote for on the ballot, inspires a sort of tasks, such as reviewing reports and underlining Lovecraftian cosmic horror—one rooted deeply worrisome things in those reports. Gregoire is in the human mind’s psychic inability to compre- excellent at this. When she reads something in a hend the mundanity of the political position. report she finds troubling, she asks one hundred As with most mysteries, the answer to this pointed questions until the question is answered. enigma lies behind a secret door. It is a door in She asks why the arena was considered a “private” Sea-Tac Airport that leads to a covert mezzanine project when taxpayers would fund $200 million level. This mezzanine extends for what seems like for its construction a number of times until she miles over security lines and duty-free cologne receives a satisfactory response. Tom Albro and retailers. At the end of this pathway, you will find Stephanie Bowman are also great at this. a hidden, gilded office complex. Challengers to the incumbents are a varied The first two Tuesdays of the month, the Port lot. Gregoire’s opponent Naubert wants to use Commission meets at the salaciously named Pier the position to talk about exciting, unimport69. On the last Tuesday of the month, they meet ant things that have nothing to do with freight, here, in this golden, wood-paneled complex. like freeing the Cuban Five, who were arrested As I step inside, the Port Commission is talkfor spying in Miami in 1996. Albro’s challenger ing about Chris Hansen’s proposed SoDo arena. Pope, a perennial candidate, is 0-for-11 in his They aren’t talking about fun arena stuff, like runs for various elected offices. Michael Wolfe, slam-dunking or foam fingers, but instead about running against Bowman, pledges broadly to all the stuff around the arena. The boring stuff. fight for jobs, trade, and tourism, so at least he Roads. Freight railways. How the roads might has the boring thing down. affect the freight railways, etc. The race with the best chance of heating up Commissioner Gregoire, the daughter of foris Lewis vs. Creighton. Creighton is running for mer Gov. Christine Gregoire, is clearly very upset his third term, and, like many liberal candidates, by a draft of an environmental-impact statement has gotten on the Seattle Times editorial board’s on the arena. Traffic from the arena will likely bad side. Specifically, the board takes him to task clog nearby Holgate Street, which intersects a for harassing e-mails he sent to his ex-girlfriend railway used to ship port-related cargo. in 2009, saying that reflects his confrontational Gregoire is very passionate about Holgate. nature. So that’s interesting. But he still has She’s driven on the street often, she says. She plenty of support, notably for his interest in enviasks those presenting the DEIS if they know ronmental issues, which have been ignored for how clogged and dangerous the road already is most of the port’s history. without cramming thousands of basketball fans Current Port CEO Tay Yoshitani will retire next to giant trains. next year, so the Commission race is also crucial This is the first clue as to what Seattle Port in that they will be responsible for selecting his Commissioners do: They care a lot about very replacement. The new CEO will lead the fight important, very boring things. Things like conagainst our eternal foe, Canada, where British tainer and cargo terminals, grain elevators, and Columbian ports are marginally kicking our shipping yards. butts at shipping freight. Much of this is due to Seattle’s port is the seventh largest in North those ports’ ability to handle giant new boats that America, and accounts for roughly 200,000 jobs. can hold considerably more shipping containers, They aren’t the glossy jobs Seattle likes to talk thanks to a 2015 expansion of the Panama Canal. about: tech jobs at Microsoft, soul-crushing jobs So remember, the Seattle Port Commission’s at Amazon, or socially conscious hip-hop ambas- job is to care about boring, important things, sador jobs. Rather, they are the jobs behind those so you don’t have to. When you vote, make sure jobs: stevedores and ship captains who grease to pick someone who will passionately ensure the skids of America’s dependence on cheap our boats are big enough to beat Canada’s and imported goods. our arenas don’t congest our roads. Our role in America’s consumption of cheap plastic goods depends on it. E With the general nature of the Seattle Port Commission somewhat clear now, the next ksears@seattleweekly.com

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food&drink Seafood With a Bite RockCreek brings bold flavors to far-flung fish.

ack in July, we featured the opening of Fremont newcomer RockCreek—a restaurant that, I optimistically posed, might help revive the city’s stale sea-

KAREN STEICHEN

A few less notable dishes (though not utter misses) included the hamachi entrée in a basic, overly sweet Asian peanut sauce that you’d get at any old Thai restaurant, and a chili-barbecued Alaskan octopus small plate that was too heavy on the BBQ flavor. Dungeness crab chiles rellenos with a tomatillo salsa didn’t speak heavily of crab, but they were creamy, flavorful comfort food, just like rellenos are meant to be. While the food menu is sprawling (and, fyi, does include

several local fish), the drink menu is abbreviated—a complete 180 from what most restaurants seem to be doing lately. True to Donnelly’s vision, these are predominately bright, light cocktails, featuring sparkling wines, piscos, and aquavits. I had a cocktail with Batch 206 vodka, Aperol, lemon, orange, and bubbles, while my friend went with the racier “Blister Pop”: tequila, Pür Likör blood-orange liqueur, habanero syrup, grapefruit, cilantro, and soda. Astonishingly, it worked. The wine list is a nice split between European (primarily French) and Washington and Oregon varieties, and the wait staff is very adept at helping you make the right selection, a particularly important task when you’re pairing with such varied (and brazen) flavors. RockCreek is also daring with its price points; all seafood entrées are under $20. (The exception, the Baja diver scallops, is $24.) The oyster shooters, one might argue, are steep at $10 for just one—but considering you’re getting a shot of booze too, it’s a pretty fair deal. Dessert needs work, which seems to be the case in so many otherwise top-notch restaurants these days. The Key lime pie in a jar (pies in a jar belong on the pages of Ladies’ Home Journal, not in a serious-minded restaurant) is a creamy Graham-cracker mess with not a lot of lime happening. The coconut cake tasted good, but was too tough to chew. But if the full house on both Friday nights I was there is any indication, the mediocre desserts aren’t stopping people from flocking to RockCreek—nor should they. Just under three months in, Donnelly is holding true to his conceit, and in doing so is issuing a challenge as gutsy as his food to Seattle’s seafood restaurants. E

nsprinkle@seattleweekly.com

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BY SARA BILLUPS

More than 160 area eateries are participating in Seattle Restaurant Week October 13–17 and 20–24. A full list of restaurants offering $28 three-course dinners and $15 three-course lunches is online. 2bar Spirits hosts a bourbon release party this Saturday in SoDo. 2bar is the first area distillery to produce a 100 percent local Seattle bourbon. The Broadway Farmers Market is no longer closing from January through March. The market at Pike and Broadway will run on Sundays from 11 a.m.–3 p.m. all year long. Kraken Congee is popping up at Blackboard Bistro in West Seattle this Monday, Oct. 21 from 5–9 p.m. Eats include smoked turkey congee with foraged mushrooms and cranberry and quinoa congee with roasted winter squash and kale. Triumph Bar launched in Lower Queen Anne on the ground floor of apartment complex Expo. They serve more than 300 bottles of vino and craft cocktails. Quadrato opened in West Seattle. The pizza and sandwich shop’s dessert menu includes the “Bopporino.” (That’s peanut butter smeared on top of a Hostess Ding Dong.) Ballard’s Golden Beetle doubled the size of its happy-hour menu. Bites include fried pistachios and chickpea and lemon stew. Six specialty cocktails are up for grabs for $8 as well. The new menu runs every day from 5–6 p.m. food@seattleweekly.com

Temperature Check

From Jon Christiansen, Bar manager at monsoon, monsoon east, and Ba Bar

Three-ingredient drinks. After going wild with eight-ingredient cocktails and cramming as much as possible into a single drink, bartenders are showing their skilled palates and minimizing with complex arrangements of complementary well-crafted spirits—like the good old days.

Ordering menu items that can be closely approximated at home with a recipe off the Internet. You probably don’t have an eloma combi oven, a 16,000-BTU wok, or a whiskey barrel aging a cocktail at home, so try something from that repertoire.

A table crowded with small plates. Chefs put their best foot forward on signature dishes that at the end of the day may offer better value, and likely include some variety on the plate. Go for the big-time entrées.

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

food scene. Since then, Josh Henderson’s Westward is enlivening it. So is RockCreek—a soaring twostoried space with wooden rafters, skylights, and a large glass garage door (it was a former auto-body shop)—which has been steadily winning over diners with a menu that focuses mostly on fin fish from all over the world, like Hawaiian ono, Baha black grouper, pompano, and snapper, in preparations that emphasize pronounced flavors, many of them South American. Tired of pig belly and the ever-present staples salmon and halibut, chef Eric Donnelly (formerly of Toulouse) wanted “to let people experience great fish from around the world—tropical, Mediterranean, from Fiji, South America.” And while this bucks the locavore trend, Donnelly maintains that “there are many well-managed fisheries in these places, and a lot of fin fish besides catfish and black cod that we can feel good about eating.” And, indeed, the eating here is good. RockCreek Christy Given and Eric Donnelly is taking some big risks on its plates—confronting in their new Fremont restaurant. you with bold tastes like berbere spice, Medjool date vinaigrette, and aji Amarillo—and for that alone it wins points with me, though I’ll admit there were times when I wished the assertiveness was ever so slightly checked. That, it would seem, is the biggest challenge the restaurant faces: finding the delicate balance between vibrant and explosive, and, more to the point, finding the right balance for the right kind of fish (some can hold up to big and the roasted Cinderella squash bisque with lemon bright, while others need a lighter touch). crème fraîche and warm Dungeness crab came It’s a challenge that could potentially be helped close. Bisques are always a crap shoot, often just by a tighter menu. With eight starters, 14 small indolent with cream and sherry. But this one was plates, and 10 fin-fish entrées (plus oysters on the light-bodied, with the taste of both squash and half shell, oyster shooters, and four meat or poultry main courses), the menu can feel exhausting to read crab infusing every spoonful. I’d venture a guess that a crab or fish stock was and, with so many options, used. I was glad they didn’t tough to choose from. I can » PRICE GUIDE “pumpkin spice” it up with only imagine that executCINDERELLA SQUASH BISQUE........ ........... $12 cinnamon and the other ing all of these items flawBARRON POINT OYSTERS ............................ $12 WILD MEXICAN PRAWNS .............................$14 usual suspects that tend to lessly is equally taxing. DUNGENESS CRAB CHILES RELLENOS ..$18 dominate dishes like this in That said, on my two GRILLED HAWAIIAN ONO ............................$18 BAJA BLACK GROUPER .................................$18 the fall. visits there, I was rarely My ono, also known as disappointed. Starting with wahoo and related to King mackerel, was served the cucumber-infused water (the first sip comes with a date paste on top of it that, when blended as a surprise, since there’s no cucumber floating with the extreme tartness of the lemon escarole and in the glass), I knew I was headed down an audaits broth, brought sweet and sour splendidly together. cious path. An oyster shooter (I chose one with ginger, ikura, and shiso, followed by a shot of sake), Having to orchestrate that marriage yourself, though, felt odd, and made for a few unsuccessful Sour continued the élan. Wild Mexican prawns, while heavily seasoned, found a fitting backdrop in a gar- Patch Kid puckering bites. The black grouper with its berbere (an Ethiopian spice that can hold up to lic, chili, and rosemary sauce pooled over perfectly goat) was a full-on assault on the taste buds, but the cooked heirloom grits—a ne plus ultra of sweet sweet-onion mojo softened it, and it didn’t comand savory. The oven-roasted Barron Point oysters pletely mask the taste of the fish—though it came with toasted fennel, garlic, and pastis butter made perilously close. The side of yuca frita (“Yuck-uh,” as me rethink my former distaste for baked oysters my Colombian relatives often call it), wasn’t predict(always preferring either raw or fried). These were ably fried, but was roasted well enough to keep the plump and piquant and left a mouthful of juices starchy tuber from turning stringy. It was the best to slurp from each shell. I couldn’t imagine how yuca I can recall having. anything else could possibly trump them, but

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Oyster Merroir: Just Like Wine, “Where” Matters BY MEGAN HILL

hen Jon Rowley stood at the headwaters of the Nisqually River on the southern slopes of Mt. Rainier, he couldn’t help but think of oysters. Now it could be that Rowley, a renowned seafood expert, has oysters on the brain perpetually, but as he peered down the gash left by the river and its retreating glacier, he says he had a “poetic moment.” Rowley thought about the glacial melt, the snow and the rain, the Oysters from The Walrus and the Carpenter. microscopic flora and fauna and the only have the precipitation, but also what comes minerals steeping in the water, and the tributardownstream from the watershed. Oysters can get ies the Nisqually picks up on its way to Puget pretty bland after a heavy rain. The taste is also Sound. Everything the river flushes into the affected when the bay doesn’t get enough rain.” inlets and passages of the South Sound imparts So the same species of oyster grown in a difflavor to the oysters grown in this area. If you ferent place will have a different flavor profile, as chew on a Peale Passage Pacific oyster, for example, you’re tasting minerals that have been filtered is the case with the Shigoku. It’s the same species as the Peale Passage Pacific, but noticeably down from Rainier’s flanks. brinier. The Shigokus are also tumbled (put into It’s all part of what shellfish gurus call bags to roll around in the tide) four times a day, “merroir”—a term Rowley, who works for Taylor which helps them grow a deeper cup than their Shellfish and has consulted for many restaurants, Pacific siblings. himself coined. Just like a wine’s terroir, merTo really get a full sense of an oyster’s merroir, roir refers to the various environmental aspects Rowley suggests eating them right off the beach contributing to an oyster’s flavor. It’s a complex where they’re raised. Second to that, eat them in concept, as I learn from Rowley over half-shell an oyster bar, chewing them slowly and savoroysters and wine one recent afternoon at Taylor ing their aftertaste. And for the love of all things Shellfish in Melrose Market. true and good, forgo the mignonette and the The oysters in the tanks next to us range from cocktail sauce and the Tabasco. Taste the oyster meaty, creamy Totten Virginicas to deep-cupped, on its own merits, and maybe you’ll get a hint briny Shigokus and small, bright Kusshis. Each of mountain meadow or glacier melt along with oyster’s flavor profile and texture has a differyour sea brine. ent story to tell, and the contributing factors are quite intricate. Rowley simplifies it a bit. “If an oyster is fat [like the Tottens], you’ll taste more sweet than briny. If the oyster has not Oyster happy hours eaten well, it will be skinny and briny. A fat oysSeattle is lousy with oyster happy hours, ter will be mostly sweet,” he explains. That white with new ones popping up each year. Our fat content is glycogen, energy the oyster stores favorites include Coastal Kitchen, which up in preparation for production of reproductive serves Hama Hama oysters at its new oyster cells called gametes. It’s the reason the Totten bar. They’re just $1.25 between 10 p.m. and Virginicas are so hearty and remind me of a tenmidnight. Elliott’s Oyster House has an der, braised short rib. When oysters enter spawnastounding array of oysters—as many as 44 ing season, which is typically in summer, they’ll types grace the menu during peak season. turn soft and bitter—and you won’t enjoy eating Weekday happy hour starts at 3 p.m., when them nearly as much. the oysters are 75 cents. At 4 p.m., they’re What oysters eat matters, too: The bivalves $1.25, and $1.75 from 5 to 6. dine on microalgae, which differ in type and At Taylor Shellfish Farms in Melrose quantity from one location to another. “For Market, you’re in for a learning experience. whatever reason, Totten Inlet has a lot of types Descriptions of each oyster sit above the of microalgae and has them in abundance. tanks. There’s a $4 shucking fee, but it’s waived The oysters are fatter there than in most other Monday to Friday from 2 to 4 p.m. bays,” Rowley says. “There is a bountiful chum Oysters tumble out of wire baskets at The salmon run in Kennedy Creek at the head of Walrus and the Carpenter. The restaurant Totten Inlet. I theorize decomposing carcasses opens at 4 p.m. and serves half-price oysters that come back down into the bay in one form for an hour, Sunday through Thursday. From or another is one of the reasons everything that 5 to 6, they’re 25 percent off. grows in Totten Inlet—oysters, clams, and musCozy up to the oyster bar at Westward sels—are plump, sweet, and perky.” Salinity, pH, and Little Gull, or grab a window seat for a even rain can contribute too. Lake Union view. Happy hour brings expert “Rainfall will change the salinity [of the shucker David Leck’s choice of oyster, diswater], and along with that, the flavor of the counted from 5 to 5:30 p.m. on weekdays and oyster,” Rowley says. “Oysters like a brackish 4:30 to 5:30 p.m. on weekends. E water—salt water with influx of freshwater like food@seattleweekly.com you have in an estuary. When it rains, you not

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ne night, sitting at a bar with some colleagues, we got to talking about all the different “jobs” bartenders have to do. Besides the mechanics of actually making cocktails and serving guests, at any moment you may be called upon to act as travel guide, confidant, arbiter, psychotherapist, or encyclopedia. Still, the most challenging role is aptly summarized by a friend of mine: “We’re expected to be psychics and magicians. People think we can instantly figure out exactly what they want to be drinking, and then conjure up a totally unique and utterly delicious drink on the fly. News flash: We can’t.” While generally the rise of the craft-cocktail scene has only been good for bartenders, it’s changed the dynamic between us and guests. Where once the primary expectation was to make cocktails quickly and efficiently, now we’re expected to be able to innovate anytime we step behind the bar. Ask most bartenders: The phrase that most causes us to lose sleep is usually “Make me something.” Well, that or “double Long Island Iced Tea.” The not-so-guilty secret of almost all bartenders is that when you ask us to make something up, we’re mostly just going to look for a way to tweak an existing drink. Maybe we’ll swap out the Campari in a Negroni for a similar spirit, or make an Old Fashioned with tequila and a different kind of bitters. Throwing totally random ingredients together

may sound like a lot of fun, but it’s also a good way to have a lot of cocktails sent back. If you want a custom-made drink that actually tastes good, come a little prepared (i.e., have some sense of your tastes). What flavors do you like? What mood are you in? Do you want a strong, spirit-forward cocktail or a lighter, easydrinking one? Taking a few seconds to consider those questions will make it likelier that you’ll get a drink you enjoy. After all, you’re the one

Usually with someone’s preferred spirit. If they say they like vodka, that’ll take me in one direction (usually to the fruitier, sweeter side); if they say they like gin or whiskey, that’s a whole different track. From there, another question or two and I’ve got a basic sense of what kinds of drinks might fit. Another way I try to narrow it down is to ask which of the cocktails on our menu appeal to them, so I can make something similar. For example, let’s say I determine that they want a gin cocktail that’s citrusy and not sweet. That gets me in the ballpark, and then I just have to decide what kind of citrus (lemon, lime, grapefruit) and what else I might add. If they want a lighter drink, I’ll play around with the French 75, as the sparkling wine keeps it from being too strong. If they want a more spiritheavy drink, I’ll consider mixing grapefruit and Aperol (an excellent pairing), with maybe one other little add-on. We bartenders? We want to make you a drink you’ll love. We want you to be happy, and be willing to experiment. We’re glad to provide the mental legwork and the know-how, but your drinks will taste much better if you’re able to talk about what you like and want. There are thousands of potential cocktails, and with your cooperation we’ll find one you’ll rave about. Unless, of course, it’s a double Long Island Iced Tea. E

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Ask most bartenders: The phrase that most causes us to lose sleep is usually “Make me something.” Well, that or “double Long Island Iced Tea.”

who’ll be drinking it. That’s why I generally don’t see the point in a guest asking “What do you drink?” I’ll happily talk about my favorite cocktails, but I tend to like spiritforward gin, brandy, or whiskey drinks, often with a strong bitter or medicinal aspect. Since that’s not the flavor profile that many people are looking for, I’d rather ask you “What do you like?” So where do I start?

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arts&culture

Tales From the City

Two photographers put a different frame on our built environment.

BY BRIAN MILER

in Stray Light, which also includes a wallfilling 12-minute video bearing the same name and taken in the same Chicago office tower. There’s been a recent vogue for photographers to document crumbling old infrastructure and abandoned buildings in Detroit and other Rust Belt cities, but that’s not Hartt’s intent. A few workers are seen in his video, and his photos depict immaculately maintained offices with a very retro-chic early-’70s aesthetic, preserved in a Nixon-era time capsule. During his visit last month, Hartt explained how he got permission to photograph inside the headquarters of Johnson Publishing Company, a family-run enterprise best known for Jet and Ebony magazines. John H. Johnson founded the company in the ’40s, and 30 years later it was successful enough—with magazines also including Negro Digest, Hue, Black Stars,

Some countries have more history than others. Peru as a nation is only 192 years old, while this traveling collection of more than 300 objects spans some three millennia. That means Incan artifacts, pottery, sculpture, gold and silver jewelry, and elaborate masks from the pre-Columbian era; then even more lavish colonial artworks made with a European vocabulary (nativity scenes, saints, Madonnas, etc.); then some early ethnographic and documentary photography of an indigenous culture in decline. (These include views of Machu Picchu, rediscovered in 1911.) It’s as much an archaeology/anthropology show as an art exhibit, since these paintings and objects meant very different things to their creators. To the Spanish conquistadors, the precious metals were a vast source of wealth, tokens of their superiority over a defeated and “primitive” land. Before their arrival, however, Peru’s original inhabitants made things for religious and ritual purposes, often sealing them into tombs (whence several gold Mochica A Lambayeque pieces were ornament, circa 100recovered). Less familiar to tourists 800 A.D. and trekkers are paintings from the Cuzco School and folk-tinged, 20th-century canvases from native artists, who depict Peru’s hybrid new identity. (Through Jan. 5.) Seattle Art Museum, 1300 First Ave.,

654-3121, seattleartmuseum.org. $11–$17. 10 a.m.–9 p.m. BRIAN MILLER FRIDAY, OCT. 18

Le Bourgeois Gentilhomme

Back when Molière wrote Le Bourgeois Gentilhomme in 1670, dance was an integral part of a gentleman’s education, so that Monsieur Jourdain, our class-climbing hero, needed to know his right foot from his left—a faux pas was literally a “false step” on the dance floor. This new Cornish College production, directed by Makaela Pollock (the drama) and Stephen Stubbs (the music), presents this comédie-ballet as a baroque cabaret, bringing original period elements into a contemporary context. So baroque-dance specialist Anna Mansbridge is playing mix-and-match as well, combining 17th-century dance with a timeline of other styles, from commedia dell’arte to Bob Fosse. The fact that this comedy about raising your social station is the college’s first production in its new home—formerly Intiman, and before that Seattle Rep—just makes the lessons seem more fresh. Cornish Playhouse Theater (Seattle Center), 726-5011, cornish.edu. $10–$20. 8 p.m. (Repeats Sat.) SANDRA KURTZ

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

Hartt’s bigger color images number only four

and Tan—to duplicated the crazy rug pattern—almost like build its own that in The Shining—on the floor of the Henflagship buildry’s small video gallery. ing, designed by architect John While Hartt’s frames are depopulated, MetzMoutoussamy ker’s treat people as geometric components, with interiors accessories to his compositions. In his famous by Arthur overhead view of a kayak, taken from a bridge, Elrod. The the still kayaker is like a piece of machinery, 1972 structure with oars perfectly perpendicular to the hull. was intentionPlacing his camera on the ground in 1958 ally lavish and Chicago, he makes a scrap of cardboard into a self-validating, looming sculptural element—like something a monument Richard Serra would render in steel, 30 feet tall, to Johnson and also to dwarf us urban inhabitants. his empire. His People are subordinate to the urban patterns many magazine of Metzker’s cityscapes, and that’s where I see titles both sold a kinship to Hartt’s lonely Stray Light tabto an emerging leaux. Metzker’s postwar teachers at Chicago’s black middle Institute of Design were heirs to the Bauhaus class and also tradition. As a street photographer, he favors shaped that black the slashing geometry of sun and shadow, the middle class. unexpected diagonals and penumbras that Hartt, an Afriswallow pedestrians whole. Though a contemcan-Canadian porary of Robert Frank and Lee Friedlander, now based in he never makes passers-by central to his gaze. Chicago, came from such a family, one of milInstead he treats them like accidental intruders lions whose identity Johnson subtly influenced. in his frame. “They’re so conscious of how they’re creating In no way would I suggest that Metzker is an culture,” says Hartt. anti-humanist photographer; he’s just not lookYet by the time Hartt arrived, soon before ing for those Cartier-Bresson kind of moments. Johnson Publishing sold and vacated the Warmth or empathy are beside the point. There’s building in 2010 (five years after the founder’s a studied, almost clinical quality to his phodeath), the entire publishing industry was in tographs—which, like Hartt’s, never would’ve steep decline. (Thanks, Internet.) The 11-story made it into the pages of Jet or Ebony. E building was half empty, its opulent Lucite bmiller@seattleweekly.com modernism almost mausoleum-like. Still, it conveys pride more than kitsch. Hartt would HENRY ART GALLERY set up his video camera, he says, then walk UW campus, 543-2280, henryart.org. away, leaving it to accumulate hours of $6–$10. 11 a.m.–9 p.m. Thurs.–Fri., mundane office life among the many empty 11 a.m.–4 p.m. Wed., Sat., & Sun. Ends Jan. 5. cubicles. He later edited down the footage and commissioned a jazz score by Nicole Mitchell. The video conveys the anomie of modern office life, coupled with the sadness of a sagging industry. All the archives, file cabinets, and artifacts of traditional publishing are obsolete. Yet there’s a dusty, lingering optimism to the orange A lonely sentinel guards sofas and ’70s palette, the Johnson Publishing to the test kitchen archives. and cosmetics counter. Hartt even

Peru: Kingdoms of the Sun and the Moon

JOAQUÍN RUBIO/MUSEO TUMBAS REALES DE SIPÁN

hen two separate shows open at the same time, both centered on photography and running in the same museum, one wants to make connections. However, the Henry is currently featuring a pair of very different artists. David Hartt is in mid-career, while Ray K. Metzker has almost retired his camera at age 82. Metzker’s black-and-white urban studies are fairly well-known, though more so in the Midwest than here. (He trained in Chicago and lives in Philadelphia.) In this large traveling show, we see 101 images taken over five decades in several cities. It’s a career summation, likely an ending.

THURSDAY, OCT. 17

Metzker’s 1958 view of Chicago.

ThisWeek’s PickList

» CONTINUED ON PAGE 28 27

arts&culture» Pick List CIVICS

SCIENCE

ARTS & CULTURE

(10/16) World Affairs Council and Mercy Corps present Syria: Close-Up of a Crisis

COMMUNITY

STATE LIBRARY PHOTOGRAPH COLLECTION, WASHINGTON STATE DIGITAL ARCHIVES

GLOBAL RHYTHMS

(10/16) Jay Harman How Nature Inspires Innovation (10/17) Edwidge Danticat ‘Claire of the Sea Light’ (10/18) Global Rhythms: Quetzal (10/19) Saturday Family Concerts Charlie Hope (10/19) GambiaHELP presents West Africa Live! A Festival of Music, Food and Dance (10/20) Scratch Night Artist in Residence Ellen Forney

» FROM PAGE 27

(10/21) Caryl Stern of UNICEF Learning from the World’s Children

PCNW 20th Anniversary Benefit Gala

(10/21) Alan Weisman Our Last, Best Hope for a Future on Earth (10/22) Brad Stone Amazon & Jeff Bezos

Oct. 18

Quetzal

(10/22) Amazon Roundtable with Paul Constant

Chicano Rock, Salsa, & R&B

(10/23) Sightline@20 Mayor Julián Castro Building Sustainable Futures 11/7

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

10/23

Simon Singh

J. Craig Venter

‘The Simpsons & Their Mathematical Secrets’

The Dawn of Digital Life SCIENCE

Wednesday is your last day to see the Northwest Focus group show, and tonight’s the chance to bid on its 50 works by photographers including Edward S. Curtis, Imogen Cunningham, Jini Dellaccio, Michael Kenna, Eirik Johnson, and Charles Peterson. Not all are strictly from the Northwest, but their subjects are. Thus we see Merce Cunningham and John Cage, long past their Cornish days, in a candid by James Klosty. And there’s Jimi Hendrix playing in ’68, snapped by Jim Marshall in San Francisco. Some images are anonymous archival finds—like a Boeing space-probe design intended for Mars or a group of loggers from the ’20s, posing on a giant stump. Iconic subjects include Mt. Rainier, Nirvana, Pearl Jam, and a 757. Beyond the famous faces and monuments are quieter traces of local history, like a young woman picking raspberries in Puyallup during the Great Depression, taken by the younger, less-famous Curtis brother, Asahel, who remained in the Northwest while Edward pursued his epic North American Indian project around the U.S. (and to eventual ruin in California). Is she poor, an agricultural worker, a weekend picker intending to make jam, or a cute model Curtis has positioned before the lens? We have no way of knowing. And the scene is almost contemporary. Change her attire, and she could be harvesting organic berries today in a Wallingford garden. (Alice Wheeler, represented in the show, will also be shooting portraits during tonight’s festivities.) Photo Center NW, off-site at 415 Westlake, 720-7222, pcnw.org. Sold out. 6–10 p.m. BRIAN MILLER

TUESDAY, OCT. 22

TOWN HALL

Curtis’ berry picker in 1935.

CIVICS

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COMMUNITY

TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

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American Football

One way or another, 2013 looks like it’ll be the Sounders’ most memorable MLS season so far. Exactly how remains to be seen. Will this be the year they take it all—or the year they come closer

than ever and then implode at the last moment? At press time, both outcomes, agonizingly, look possible. (Results of their 10 most recent matches, in chronological order: five wins, two draws, three losses.) But this is also the year Scott Levy’s documentary American Football will finally appear, a close-up chronicle hugely anticipated by the fan base. The film opens with what’s arguably the team’s low point to date, the shocking 3-0 first-round playoff loss to Real Salt Lake on October 29, 2011, and follows the 2012 season through to a redemptive victory—in an amazing coincidence no scriptwriter would dare—a year later against the same team to mark the Sounders’ first playoff advance. Judging from the clips made available so far, Levy’s game footage is ravishing, but he balances it with deeply personal interviews with players and coaches. He’s said he asked himself “ ‘What would the fan want? What would I want as a fan?’ Just be closer and really be on the inside, to be on the bus, to be in a locker room sitting next to Eddie Johnson, next to Osvaldo Alonso in those moments. That’s really what the film delivers in a very naked way.”

Cinerama, 2100 Fourth Ave., 448-6880, cinerama.com. $20. 7 p.m. (Also 11 a.m. & 3:30 p.m. Sat., Oct. 28.) GAVIN BORCHERT

Junot Díaz

New in paperback, the linked story collection This Is How You Lose Her (Riverhead, $16) is my favorite book of last year that I didn’t get around to reading until this year. Most of the stories concern the author’s teenage alter ego, Yunior, a Dominican immigrant to ’80s New Jersey, trying to NINA SUBIN

TOWN HALL

OPENING PERFORMANCE 2013-2014 Season

GEOFFREY LARSON, Music Director

Stephen Jimenez

MATTHEWSHEPARD.ORG

Les nuits d’été

STRAVINSKY A Soldier’s Tale

KIM ROY, conductor • MELISSA SCHIEL, mezzo-soprano

SATURDAY, OCTOBER 26, 2:00 PM Chapel Performance Space at the Good Shepherd Center - Wallingford Tickets and more information at BrownPaperTickets.com • SeattleMetropolitanChamberOrchestra.com

Brad Stone

Though Jeff Bezos just bought The Washington Post, he’s notoriously pressaverse, favoring schmoozers like Charlie Rose over real reporters like Brad Stone of Bloomberg BusinessWeek, whose The Everything Store: Jeff Bezos and the Age of Amazon (Little Brown, $28) goes on sale this week—on Amazon, too. Stone had to do a write-around, without interviewing Bezos directly. “He definitely approved interviews with some of his friends,” says Stone, “and with his parents, Jackie and Mike. I heard he told them, ‘Just tell the story.’ While he prefers to focus on the future and not the past, he told me he was ‘rooting’ for me. That was nice to hear. I feel like I got farther with Amazon than any other journalist in the past, perhaps because I’ve covered the company for so long. I’ve spoken to Jeff about a dozen times about various product announcements over the years . . . and used some of that material [in the book].” Is Bezos any less of a hard-ass than Jobs, Gates, Ellison, or other tech billionaires? “He’s as demanding as some of those other figures. He expects the best work that his employees have to offer. While uncomfortable, it probably accounts for a good deal of Amazon’s success today.” Does Stone shop on Amazon? “I am an avid Amazon customer. I’m a Prime member, a Kindle and Kindle Fire owner, and an Amazon Video on Demand user. I love it all except Amazon’s music service. Right now I’m ready to chuck that one out the window. It’s not working on my Android phone, and I find it unnecessarily confusing.” Should Amazon employees, not to be traced, buy The Everything Store book in cash at their local bookstores? “They shouldn’t have to buy it at all! Amazon should furnish each employee with a complimentary copy, as it tells the amazing story of the company’s impossible rise against many odds. Plus, I need the sales.” Tonight, Stone will join The New York Times’ Nick Wingfield to discuss Bezos and his company. See seattleweekly.com for a fulllength interview with Stone. Town Hall, 1119

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Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. BRIAN MILLER E

THIS FILM IS RATED R FOR GRAPHIC VIOLENCE, SOME GRISLY IMAGES, STRONG SEXUAL CONTENT AND LANGUAGE. No cellular phones or electronic devices will be allowed in the screening. Please Note: Passes received through this promotion do not guarantee you a seat at the theater. Seating is on a first come, first served basis, except for the members of the reviewing press. Theater is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. A recipient of tickets assumes any and all risks related to use of ticket, and accepts any restrictions required by ticket provider. 20th Century Fox, Las Vegas City Life and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Tickets cannot be exchanged, transferred or redeemed for cash, in whole or in part. We are not responsible if, for any reason, recipient is unable to use his/her ticket in whole or in part. All federal and local taxes are the responsibility of the winner. Void where prohibited by law. No purchase necessary. Participating sponsors, their employees and family members and their agencies are not eligible. NO PHONE CALLS!

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It’s been 15 years to the month since a dying Matthew Shepard was found tied to a fencepost outside Laramie, Wyoming. The narrative that quickly emerged— which Stephen Jimenez The young martyr. spends 360 pages debunking in The Book of Matt (Steerforth, $26)—was that Shepard had told two strangers he was gay, provoking the savage attack. His death created a national call for stronger protections against hate crimes and prompted a fraught debate about lingering homophobia in America. (Also, there were books, a play, and a movie.) Yet Jimenez argues that the beating had nothing to do with Shepard’s sexuality and everything to do with Laramie’s drug underworld. As he put forth in a 20/20 episode he produced in 2004, Shepard was heavily involved with meth and wasn’t actually a stranger to his attackers—at least not to Aaron McKinney, said to be bisexual by new sources Jimenez has uncovered. It’s also suggested he slept with Shepard. Why were these revelations suppressed or ignored? Jimenez’s answers are speculative, but compelling. Perhaps McKinney and his co-defendant Russell Henderson wanted to protect their drug contacts, and so downplayed the role of drugs in their crime.

Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. Free. 7 p.m. (Also: Third Place Books, 7 p.m. Wed.) DANIEL PERSON

BERLIOZ

130), reserve tickets via grad.washington.edu. $5. 6:30 p.m. BRIAN MILLER

Perhaps the prosecution wanted to keep secret a drug trade that some Laramie police officers were allegedly involved in. Perhaps there was pressure from the Clinton administration, then pushing for a federal hate-crime law. Jimenez acknowledges that the national revulsion to Shepard’s murder actually helped the gay community, creating more awareness, legal protections, and a trend toward true equality. But The Book of Matt finds nothing positive in the media’s handling of that case. University Book

BRAD STONE

navigate his way through money problems, domestic squabbles, family illnesses, sex, and the dawning awareness that he’s smarter than his public-housing surroundings. These are down-and-dirty tales of cheating and sex on the sly, yet they’re tempered by a library-going self-awareness. In “The Pura Principle,” for example, Yunior’s cancer-stricken older brother is a notorious player until he gets played by a woman fresh off the boat from the DR. When emaciated Rafa scraps with his friends, Díaz writes, “The bruises he gave himself fighting us were purple buzz saws, infant hurricanes.” Meanwhile, their mother’s fear about Rafa is “written across her face in 112-point Tupac Gothic.” Still, as in most of Díaz’s stories, Yunior can’t change the fates and strong passions of those around him. Even the simple Pura, who believes there are only three continents, is shrewd and powerful enough to steal Rafa away from his family—and also boost their car, TV, and bed. And when she’s done with Rafa, she even comes back to borrow money. “The girl really was a genius,” Yunior decides. “I would’ve clapped if I’d had the strength, but I was too depressed.” Díaz has won a MacArthur “genius” award and a Pulitzer for his novel The Brief Wondrous Life of Oscar Wao. Preregistering for tickets is strongly recommended. UW Kane Hall (Room

arts&culture» Stage

CHRIS BENNION

Walworth’s Kennan in comic mode, in the play-within-the-play.

Opening Nights PSpectrum Dance Theater

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

800 LAKE WASHINGTON BLVD., 325-4161, SPECTRUMDANCE.ORG. $20–$25. 8 P.M. FRI.–SAT., 6 P.M. SUN. ENDS OCT. 20.

STGPRESENTS.ORG (877) 784-4849

The Oldest New Theatre in Town EST. 1907 • 2ND & VIRGINIA

GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

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The Oldest New Theatre in Town EST. 1907 • 2ND & VIRGINIA

Donald Byrd glories in pushing our buttons. In branding Spectrum’s new season “America: Sex, Race & Religion,” he almost twinkled while calling it a conversation about “three of the quintessential American preoccupations.” But despite his zest for controversy, the first program in the series is more thoughtful than inflammatory. Byrd makes the most of Spectrum’s repertory, but he does open the door to outside choreographers. Cyrus Khambatta, who runs the Seattle International Dance Festival as well as his own company, has worked with Spectrum before. His Truth and Betrayal is laced with moments of trust broken and relationships gone awry; throughout the dance for five, partnerships fail and attention wanders. Khambatta brings his experience with the weighted fluidity of contact improvisation to his work. This sinuous, grounded quality is a good addition to Spectrum’s high-tension virtuosity, and its dancers bring an intense focus on details. Early in the work, Jade Solomon Curtis and Alex Crozier approach and pull away from each other over and over again. The clarity of gesture— hands are repeatedly offered and rejected—makes the image as vivid as it is painful. In restaging his 1990 Prodigal, Byrd hits the religion and sex buttons. The dance is a grand mixture of multiple images: a revival meeting, a trial, a commentary on 20th-century dance styles, and an exploration of sibling rivalry and adolescent rebellion. Byrd himself plays the father, carrying a Bible and a handkerchief as he opens the work with a passage from Luke. His congregation, crisp in three-piece suits, waves handkerchiefs as Byrd exhorts them to “be merry.” They resemble the gospel chorus in the finale of Alvin Ailey’s Revelations, but the son, crawling across the stage to his father, mirrors George Balanchine’s choreography for The Prodigal Son. Byrd has salted references to Balanchine’s version of the story throughout his own, especially in a deadpan recapitulation of the Siren seducing the

Prodigal. Curtis recites the alphabet as she moves from image to image, echoing the Balanchine, until she arrives at Z—a slow-motion split suspended between a chair and a wheelchair. Jacob Jonas is both sullen and repentant as the Prodigal, while Daniel Wilkins, as both the older brother and an attorney defending the Siren, incorporates martial arts with contemporary dance to powerful affect. His solo, in which he admits resenting his younger brother, is a study in barely controlled violence. Despite these frustrations, Byrd repeats the main theme of love and redemption throughout the work: “My son was dead and is alive again. He was lost, and now he is found.” SANDRA KURTZ

Sugar Daddies ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $41 AND UP. RUNS TUES.–SUN. ENDS NOV. 3.

ACT, building on a tradition of producing Sir Alan Ayckbourn’s plays that goes back to 1976, has for the past few months hosted the prodigious Tony-winning playwright as an artist in residence. The offspring of the shack-up is the American premiere of his dark 2003 comedy Sugar Daddies, which takes a familiar premise— a Faustian bargain between a worldly, wealthy older man with a shady past and a provincial, susceptible young woman—and rides it, well, nowhere terribly interesting. Directed by the author, this innocuous, good-natured fairy tale-gone-wrong features some terrific actors. Yet since the slightly ominous setup promises a conflict Ayckbourn doesn’t deliver, the nearly three-hour evening (including intermission) mostly feels like waiting in a sailboat for a breeze: pleasant enough to be on the water, but little significant movement. Fortunately for the drifting vessel, an energetic cast and crew provide the paddles. Emily Chisholm plays innocent, dowdy Sasha, who brings home hit-and-run victim Val (Séan G. Griffin, in Santa suit), and right quickly confesses to coming from a family of believers (in Santa, that is). In the course of this clunky Q&A (in which the characters ask and readily answer a battery of questions about each other and themselves), Val recognizes in Sasha the kitten he will spoil rotten. In an interesting departure from the expected quid pro quo, he desires nothing in return but her joy—no sex, no strings. But Ayckbourn systemically saps

arts&culture» Performance potential menaces as soon as they appear. Sasha thinks her rent is going up (which might bind her to Val’s largesse), but then it’s not. When neighbor Ashley ( John Patrick Lowrie) tries to warn Sasha about the possibly dangerous Val, with whom there is implied history, she implausibly refuses to let him tell. Such unswallowable details spring from Ayckbourn’s comic craftsmanship, not from believable characters. Yet Sugar Daddies scores its moments, even while paddling in place. Sasha does a hilariously unself-conscious Mrs. Piggle-Wiggle walk in high heels. Anne Allgood does an extraordinary turn as an intimidated past consort of Val’s. And Elinor Gunn brings perennial freshness to the thankless role of Sasha’s sister Chloe, whose boyfriend problems—with a guy we never meet—exist solely to provide every crisis in the story. Little wonder it took 10 years for this small craft to blow across the pond. MARGARET FRIEDMAN

PThe Walworth Farce NEW CITY THEATER, 1404 18TH AVE., 271-4430, WEARENCTC.ORG. $20–$30. 8 P.M. WED.–SUN. ENDS OCT. 27.

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Stage OPENINGS & EVENTS

ANIMAL CRUELTY Scot Augustson’s “shadow puppet noir”

tells of Chicken Jenny’s brush with the law. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, printersdevil. org. $15–$18. Opens Oct. 17. 8 p.m. Thurs.–Sat. Ends Nov. 9. BETTER READ THAN RED Naked Girls Reading, Seattle’s nude literary salon, explores Russian history and culture. Cretins Clubhouse, 3600 E. Marginal Way S., 800-8383006, brownpapertickets.com. $20. 7 p.m. Sun., Oct. 20. BLACKHEART BURLESQUE TOUR SuicideGirls’ altmusic-burlesque show. El Corazon, 109 Eastlake Ave. E., cascadetickets.com. $20–$45. 8:15 p.m. Tues., Oct. 22. BO-NITA Hannah Mootz stars in Elizabeth Heffron’s solo show, which explores Midwest working-class life with a touch of magical realism. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$65. Previews begin Oct. 18, opens Oct. 23. 7:30 p.m. Wed.–Sun., plus some matinees 2 p.m. Wed., Sat., & Sun.; see seattlerep.org for exact schedule. Ends Nov. 17. FAMILY AFFAIR Jennifer Jasper’s monthly cabaret. JewelBox/Rendezvous, 2322 Second Ave., jennifer jasperperforms.com. $10. 7:30 p.m. Wed., Oct. 16. THE HOBBIT Studio East and StoryBook Theater present Tolkien. Studio East, 11730 118th Ave. N.E. #100, Kirkland, 425-820-1800, studio-east.org. $12–$14. Opens Oct. 18. 7:30 p.m. Fri.–Sat., 2:30 p.m. Sat.–Sun. Ends Nov. 3. NIGHT OF THE LIVING DEAD One of the creepiest movies ever made becomes children’s theater. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $15. Opens Oct. 19. 7, 8, & 9:30 p.m. Fri.–Sat. Ends Nov. 2. THE REAL INSPECTOR HOUND Tom Stoppard’s murdermystery parody. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, depts.washington.edu/uwdrama. $10–$20. Previews Oct. 16–17, opens Oct. 18. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Oct. 27. THE SPELL OF LOVE A realization, with new music, of Sam Shepard’s text Savage/Love. Smith Tower, 506 Second Ave., 800-838-3006, brownpapertickets.com. $25. 8 p.m. Mon., Oct. 21. TEATRO ZINZANNI: TAMBOURINE SUBMARINE

Recess Monkey stars in TZ’s nautical-themed family show. Teatro ZinZanni, 222 Mercer St., 802-0015. $19–$25. Opens Oct. 19. Runs 11 a.m. selected Sat. & Sun.; see dreams.zinzanni.org for exact schedule. Ends Dec. 15. THE UNDERNEATH Kelleen Conway Blanchard’s horrormovie sendup is set in a seaside town. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$20. Opens Oct. 18. 8 p.m. Thurs.–Sat. plus Mon., Nov. 4. Ends Nov. 16.

CURRENT RUNS

ANNIE Lyric Light Opera presents the Depression-set fave.

Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-893-9900, kpcenter.org. $24–$34. 7:30 p.m. Sat., 2 p.m. Sun., plus 7:30 p.m. Fri., Oct. 18. Ends Oct. 20. ANYTHING GOES In this redo of the 1934 Wodehouse/ Porter musical, set on a posh London-bound steamship, are a gaggle of gangsters, socialites, deadbeats, gold-diggers, swells, and the unstoppable evangelistturned-songstress Reno Sweeney (Rachel York). Do these characters behave like careworn denizens of the Great Depression? Of course not. Porter’s bubbling tunes defy those hard times. And as we stand uncertainly on the far edge of a recession, it feels good to celebrate. BRIAN MILLER. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $29 and up. Preview Oct. 16, opens Oct. 17. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends Nov. 3. THE BACCHAE GreenStage’s “Hard Bard” series (classics with the gore turned up to 11) presents Euripides’ tragedy. Stage One Theater, 9600 College Way N., 800-838-3006, greenstage.org. Free. 7:30 p.m. Thurs.–Sun. Ends Nov. 2.. BLAK CLOUD The Crucible meets improv. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcity improv.com. $12–$15. 8 p.m. Thurs.–Fri., Oct. 17–18 and Oct. 31–Nov. 22. BROKE-OLOGY An ill, aging parent determined to stay in the old family home. Two grown sons pulled in opposite directions—one to stay close (with a pregnant girlfriend), the other hoping to stay away. The King household happens to be black in Nathan Louis Jackson’s ghosthaunted 2008 family drama, set in Kansas City, Kansas, though the pressures felt inside are universal. The con-

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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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flicts and characters here aren’t terribly fresh, though director Valerie Curtis-Newton and her likable cast do their best. Written at Juilliard, Broke-ology feels very much like a first-time effort, which it is. BRIAN MILLER Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. $10–$30. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 20. CAFE NORDO Reprising their inaugural dinner-plus-theater show, “The Modern American Chicken.” Washington Hall, 153 14th Ave., cafenordo.com. 7:30 p.m. Thurs. & Sun. ($65–$80), 8 p.m. Fri.–Sat. ($75–$90). Ends Nov. 24. CAMPFIRE Spooky stories, improvised. Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $10. 8:30 p.m. Thurs. Ends Halloween. CANNIBAL! THE MUSICAL! The tale of Alferd Packer, written by those South Park guys. Unexpected Productions Market Theater, 1428 Post Alley, 800-8383006, unexpectedproductions.org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Nov. 2. CARRIE: THE MUSICAL For a teen still best remembered for being drenched in pig blood, Stephen King’s telekinetic heroine is now quite the queen of the prom. Carrie: The Musical was a notorious 1988 Broadway flop, with an amateurish book by screenwriter Lawrence D. Cohen. Still, the show has an adolescent urgency, if not selfawareness. Here, Tony-winning Alice Ripley plays mom to Keaton Whittaker’s Carrie; Ripley can really tear it up in the right role. STEVE WIECKING The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $17.50–$50. 8 pm. Thurs.–Sat., 2 & 7 p.m. Sun. Ends Oct. 26. AN EVENING OF CHRISTOPHER DURANG Four short plays. JewelBox/Rendezvous, 2322 Second Ave., 800-8383006, fantasticz.org. $15–$20. 7 p.m. Wed. Ends Oct. 30. 5TH OF JULY Lanford Wilson’s play about a post-Vietnam reunion of Berkeley alums. West of Lenin, 203 N. 36th St., theatre22.org. $10–$20. 8 p.m. Thurs.–Sat. Ends Oct. 26. FLAME IN THE MIRROR John Ruoff’s exploration of the Irish experience in America. Eclectic Theater, 1214 10th Ave., S., 800-838-3006, eclectictheatercompany.org. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 3. HELLO DARLIN’S: MOM’S GOT SOMETHING TO TELL YOU! Josephine Howell’s solo show channels comedian

“Moms” Mabley. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006, langstoninstitute.org. $10–$25. 7 p.m. Thurs.–Sun., 2 p.m. Sat.–Sun. Ends Oct. 26. THE MATCHMAKER The great aims of Thornton Wilder’s classic 1954 farce, set in the 1880s, are embodied by widowed marriage broker Dolly Levi Gallagher (played boldly and joyfully by Pam Nolte). With a thick Irish brogue and twinkling eye, she encourages the ridiculous adventures of the tale’s naive working-class adventurers. Wilder peppers his hit play with expertly crafted dialogue, but the cast generally fails to deliver; Wilder’s subtle strokes are skipped over as setups for broad laughs. Thankfully, those laughs land consistently. MARK BAUMGARTEN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Extended through Oct. 26. MIRROR IMAGES The premiere of Scott Timmons’ mother/ daughter drama. DownStage Theatre, 4029 Stone Way N., 800-838-3006, playwrights-theatre.org. $16. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 26. THE MYSTERY OF IRMA VEP Two actors play all the characters in Charles Ludlam’s horror-melodrama spoof. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $22–$27. 8 p.m. Thurs.–Sat., plus 2 p.m. Oct. 19 & 20. Ends Oct. 20. REWIRED The Phoenix and The Frog present an “immersive performance project” on the theme of “mental health and life on the periphery.” Teatro de la Psychomachia, 1534 First Ave. S., 800-838-3006, brownpapertickets.com. $18. 8 p.m Fri.–Sat. plus Thurs., Oct. 31. Ends Nov. 2. THE SERVANT OF TWO MASTERS In Carlo Goldoni’s 1753 romp, the plot exists mostly as an excuse to get a bunch of toy-like commedia dell’arte characters together to let rip. And since commedia dell’arte allows for improvisation, the performers ad-lib local and contemporary references. There’s much to admire here, but the two-and-ahalf-hour show still drags. MARGARET FRIEDMAN Seattle Repertory Theatre, Seattle Center, 443-2222. $12-$80. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends Oct. 20. SHREK, THE MUSICAL “Everything you liked about the movie plus more.” Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridge performingarts.org. $19–$27. 7:30 p.m. Fri.–Sat., 3 p.m. Sun., plus 3 p.m. Sat., Oct. 19 & 26. Ends Oct. 27. SUGAR DADDIES SEE REVIEW, PAGE 30. THE TAMING Riffing on Shakespeare, playwright Lauren Gunderson has created a rare specimen: a political comedy that’s fair-handed and funny. When Republican senate staffer Patricia wakes up in a hotel room with Bianca, a liberal blogger, we expect a familiar hostage plot. But both have been captured by Miss Georgia contestant Katherine, whose aspirations go way beyond shaking

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her peaches. Two whole acts would be too long for the hotel room, but the three get catapulted back to 1787, where they’re forced into historical characters from the other side of the political fence. MARGARET FRIEDMAN ArtsWest, 4711 California Ave. S.W., 938-0339, artswest. org. $15–$34. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 26.

TEATRO ZINZANNI: HAIL CAESAR: FORBIDDEN OASIS Frank Ferrante returns as the flamboyant, omni-

sexual chef Caesar. Slinky Dreya Weber, equally skilled as an aerialist and singer, plays a resurrected Cleopatra. You pay a lot more at TZZ than you might for a show at Re-Bar or the Pink Door—though you’re not just buying dinner and a show, but a lavish evening-length party. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $108 and up. Runs Wed.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Jan. 26. THE WALWORTH FARCE SEE REVIEW, PAGE 30. XANADU What makes this production spring to life are the two perfect leads. Dane Stokinger plays Sonny Malone, Venice Beach’s resident chalk artist/bandanna’d lunkhead/roller-disco visionary. Like, say, Brendan Fraser, Stokinger is more adorable the dimmer he gets. Kira, the muse who descends to Earth to inspire him, is played by Jessica Skerritt, aglow with charisma. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $30–$65. 7:30 p.m. Tues.–Thurs., 8 p.m. Fri.–Sat., 7 p.m. Sun., plus some 2 p.m. weekend matinees. Ends Oct. 20; moves to Everett Oct. 25–Nov. 17. YOUNG FRANKENSTEIN Mel Brooks’ follow-up to his The Producers. Burien Actors Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienactors theatre.org. $7–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 27.

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Dance

SPECTRUM DANCE THEATER SEE REVIEW, PAGE 30. ROYAL OPERA HOUSE BALLET A broadcast of Petipa’s

Don Quixote. See fathomevents.com for participating theaters. 7 p.m. Wed., Oct. 16. • LE BOURGEOIS GENTILHOMME SEE THE PICK LIST, PAGE 27. FISHBOWL 3rd Shift Dance’s new performance series promises “Dance+Drag+Burlesque+Fine Art,” but threatens “No costume, no admittance.” The location will be announced the morning of the show. 800-838-3006, brown papertickets.com. Donation. 7 p.m. Fri., Oct. 18. THREADS: A JOURNEY OF BOYS THAT DANCE

Timothy Lynch’s lecture/performance relates his career teaching ballet at the Pacific Northwest Ballet School. Broadway Performance Hall, 1625 Broadway, 800-8383006, brownpapertickets.com. $15–$20. 5 p.m. Sun., Oct. 20. 12 MINUTES MAX OTB’s periodic showcase of new short works. On the Boards, 100 W. Roy St., 217-9886, onthe boards.org. $8. 7 p.m. Sun., Oct. 20–Mon., Oct. 21.

Classical, Etc.

SEATTLE SYMPHONY Lots of Mozart, plus a concerto for

an odd pair: viola and bass. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Oct. 17, noon Fri., Oct. 18, 8 p.m. Sat., Oct. 19. STEVE KORN Originals and standards from this faculty jazz drummer. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Fri., Oct. 18. SEATTLE SYMPHONY The [untitled] series, latenight new-music concerts (the best idea the SSO’s had in years), opens with music by John Zorn and more. Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $20. 10 p.m. Fri., Oct. 18. SEATTLE WOMEN’S CHORUS For Halloween, Bach and Wicked. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., flyinghouse.org. $25–$45. 8 p.m. Fri., Oct. 18, Sat., Oct. 19, Fri., Oct. 25; 2 p.m. Sat., Oct. 26. SEATTLE OPERA Donizetti’s comedy The Daughter of the Regiment is a fave vehicle for an acrobatic tenor— here Lawrence Brownlee and Andrew Stenson. McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. Opens Oct. 19. Runs 7:30 p.m. Wed. & Sat., plus 2 p.m. Sun., Oct. 20 and 7:30 p.m. Fri., Nov. 1. Ends Nov. 2. WELLADAY! WELLADAY! New songs on Joyce texts from the exquisitely off-kilter mind of composer Byron AuYong. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, waywardmusic.blogspot.com. $5–$15. 8 p.m. Sat., Oct. 19. PHILIP GLASS SEE SEVEN NIGHTS, PAGE 38. PHILHARMONIA NORTHWEST Mozart, Mendelssohn, and Prokofiev’s “Classical” Symphony. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 675-9727, philharmonianw.org. $15–$20. 2:30 p.m. Sun., Oct. 20. ENSIGN SYMPHONY The debut of this LDS-based chorus and orchestra. Benaroya Hall, 200 University St., seattleensign.org. $16–$36. 7:30 p.m. Mon., Oct. 21. GARTH KNOX New music for viola, alone and with ensemble. Meany Hall, UW campus, 543-4880, music. washington.edu. $12–$20. 7:30 p.m. Tues., Oct. 22.

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

Twenty minutes into New Century Theatre Company’s production of The Walworth Farce, it looks like things might devolve into shapeless absurdity. But as it slowly unwinds, the ridiculousness begins to make sense. And the more sense it makes, the more terrifying the play becomes. In a distressed London flat, Dinny (Peter Crook) and his adult sons Sean (Darragh Kennan) and Blake (Peter Dylan O’Connor) are engaged in their daily performance of the titular farce. It’s a zany comedy of errors, triggered by the wake of a family matriarch, executed with wigs, a mustache, and a couple of cardboard caskets. If someone misses a line, the playwithin-the-play halts for Dinny to berate his boys’ lackluster performance. The sons try again, and the farce resumes at a frantic pace, the little family—or rather the actors playing the family— executing a complex litany of gags for big laughs. But those laughs are uneasy; there’s an ominous undercurrent to this 2006 work by Irish playwright Enda Walsh. During each interruption, we gradually learn why Sean and Blake have been kept close to the nest by a father who fears outsiders. When one of those outsiders, Hayley (Allison Strickland), makes an unexpected house call, the dark origin of the family’s ritual performance is revealed. Still, this is a farce, expertly directed by John Kazanjian, that never succumbs to the darkness. And the NCTC cast lands every beat. Crook in particular is a tempest of focused energy, both hilarious in his secondary role— the scheming son at his mother’s wake—and chilling in his primary role as the fear-mongering stage father Dinny. This isn’t an easy play to pull off anywhere, and the tiny New City Theater space presents a challenge for a production requiring multiple areas of audience focus. Yet Kazanjian turns that spatial liability into a strength. The two-act play was originally written for a proscenium, with all the action in a single enclosure. Here we look past trembling Hayley, trapped in the downstage kitchen, to see the shenanigans upstage. The farce is endlessly amusing, but it’s also framed with fear. MARK BAUMGARTEN E

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Opening ThisWeek After Tiller RUNS FRI., OCT. 18–THURS., OCT. 24 AT SIFF FILM CENTER. RATED PG-13. 87 MINUTES.

Birth of the Living Dead RUNS FRI., OCT. 18–THURS., OCT. 24 AT GRAND ILLUSION. NOT RATED. 76 MINUTES.

George A. Romero’s 1968 zombie classic Night of the Living Dead—also being screened at 10 p.m. Friday and Saturday—is a one-off, DIY indie phenomenon with dozens of more profitable heirs. Without it there would be no 28 Days Later, no Walking Dead, no cheerful zombie walks or costume parties. Rob Kuhns’ affectionate new tribute documentary makes all those points and then some, prominently featuring Romero and praising his Pittsburgh collaborators, though it’s weaker on legacy than on the grainy origin story. Romero came out of commercials and industrial films, and I’d like to see more of the cheeky TV spots shown here. Only 27 when he gathered local investors—many of them doubling as crew and cast—to shoot the film, he was both an

WEEKLY

entrepreneur and a product of charged political times. One of the inspirations for his script turns out to have been Richard Matheson’s dystopic sci-fi novel I Am Legend, which totally makes sense. “There was a good deal of anger,” he says today. “Mostly that the ’60s didn’t work. We thought we had changed the world. And all of a sudden, it wasn’t any better.” Work on the film began in 1967, and Romero could never have predicted that its October ’68 release would so closely follow the Tet Offensive and the assassinations of Martin Luther King and Robert F. Kennedy. Truly it seemed the world was going to hell, which made Night of the Living Dead a movie for its times. Kuhns is a veteran editor, and he expertly stitches together TV and newsreel footage from the era, Romero’s recollections, clips and stills from NLD, and plaudits from today’s zombie masters (including Walking Dead producer Gale Anne Hurd). However, these encomiums pile up like cordwood, and Kuhns gets sidetracked by a visit to a Bronx middle school where the teacher uses NLD as a teaching aid to . . . well, maybe he didn’t have a lesson plan that day, but the kids love it. Former New York Times critic Elvis Mitchell here compares NLD’s mood to Beckett, and I think that’s apt. Helplessness and despair were not the qualities one usually associated with midnight movies. NLD’s terror is self-aware (“They’re coming to get you, Barbara . . . ”), but the squirming and laughter eventually give way to blank horror and an ending Mitchell correctly calls “honest.” I wish Birth of the Living Dead delved more into Hollywood’s new zombie economics (like how Romero lost the copyright with a retitling of NLD), but this is a film that all Romero’s fans will want to see. BRIAN MILLER

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“There’s absolutely no reason why this should work,” claims Michael Mayer at the start of this making-of doc about the musical American Idiot, which he directed and wrote the book for. But he’s being disingenuous: The conversion of Green Day’s acclaimed 2004 concept album of the same name into a stage show was as near an artistic sure thing as a musical can be. Its success transcends its presold audience; Green Day’s music—almost peerlessly among rock bands of the past couple decades—has an adhesive tunefulness, punk directness with a touch of glam. It’s an ideal conduit for delivering emotion straight into a listener’s head and keeping it lodged there. A ballad like “Wake Me Up When September Ends” is cousin—no, closer than that: incestuous step-sibling—to the score for Hedwig and the Angry Inch. (And of course Hedwig’s composer, Stephen Trask, came from the same outlaw-pop world.) So we needn’t be surprised as Broadway Idiot chronicles American Idiot ’s upward journey from the Berkeley Rep to West 44th Street’s storied St. James Theatre. Director Doug Hamilton combines lots of starry-eyed this-is-my-dream-come-true confessions from the actors (the Broadway production shipped in the Berkeley cast largely unchanged) with some interesting nuts-and-bolts details of how music director Tom Kitt converted the album’s solo songs into stage duets and choruses. Even

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

As legislatures in Nebraska, Kansas, and other red states seek to close their few remaining abortion clinics, this is a timely, sympathetic look at those doctors practicing at the least popular extreme of the pro-choice camp. At the time of filming, only four physicians in the U.S. offer late-term abortions in their three separate clinics. One is located in liberal Boulder, Colo., which makes sense. The other two are in New Mexico and Nebraska, which makes no sense. Is the need greater there? Are there more birth defects, more poverty? And why, apart from the possibility of being assassinated (as was Dr. George Tiller in 2009), aren’t more than four doctors offering this service? Surely medical schools have something to say on the subject. First-time documentary filmmakers Lana Wilson and Martha Shane never address such issues. Nor, apart from scenes of a few evangelical protestors, do they provide much political context. They’re not journalists, and their intent is only to humanize four aging physicians as people—not as demons subject to sidewalk screaming, fiery sermons, political denunciations, and the occasional bullet. (“You don’t give in to terrorists,” says one stubborn physician.) I can applaud them for doing just that: This is a partisan, pro-choice doc given amazing access to doctor/patient consultations, and most of these conversations are heartbreaking. “I would rather her not suffer,” says a woman carrying a fetus with half a brain. Abortion is never a casual decision; and the longer a woman waits, be it for economic or medical reasons, the greater the cost and the fewer the providers. Hence all the desperate calls and e-mails fielded in the clinics. Imagine going to work each day—never mind the medical procedures—and simply listening to such sad stories over and over again. That these four physicians are brave and compassionate is beyond dispute. Now where is the documentary about how the health-care system has forced them into that lonely position? BRIAN MILLER

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Opening This Week » FROM PAGE 33 more fun is watching the gradual seduction of Green Day frontman Billie Joe Armstrong from rocker to Broadway baby, from silent-partner encouragement to actually taking a role in the show for part of its run. (His character, in a cute coincidence, is named St. Jimmy.) Armstrong’s well-known Green Day angry-brat persona, the film reveals, is just that; in real life he’s become an affable, game-for-anything theater maven, more Neil Patrick Harris than Sid Vicious. But maybe that was inside him all along; the one true shock in Broadway Idiot lies in a home-movie clip of a cherubic, prepubescent Armstrong singing, of all things, “Send In the Clowns.” GAVIN BORCHERT

The Fifth Estate OPENS FRI., OCT. 18 AT MAJESTIC BAY AND OTHER THEATERS. RATED R. 124 MINUTES.

Say what you want about Julian Assange, the guy is a talented blurb writer. Since reading an early screenplay draft about his WikiLeaks adventures, Assange has fired off a series of withering oneliners about the project. One recent declaration: “The result is a geriatric snooze-fest that only the U.S. government could love.” The adjective there is particularly cruel. Accuse the movie of distortions, or demonization, or of aligning itself with the CIA—fine. But “geriatric” is the kiss of death in Hollywood. What’s worse, Assange actually has a point. The object of Assange’s displeasure does indeed carry the whiff of, if not old age, at least a pre-millennial’s attempt to understand this newfangled Wiki-world. Whenever director Bill Condon (Kinsey, Dreamgirls) wants to convey the Wild West reach of what can happen with information on the Internet, he uses cornball visualizations: hundreds of wired desks manned by hundreds of Assanges in a warehouse with no end, or fireballs exploding across the same space. The invention looks trite, but the effort is understandable. In some ways, The Fifth Estate lines up as a movie about people sitting at laptops. Sometimes they type. Josh Singer’s script is culled from a couple of books about the WikiLeaks phenomenon, including a memoir by Daniel Domscheit-Berg—Assange’s right-hand man before they acrimoniously split. We mostly get Daniel’s perspective as the Nick Carraway to Assange’s mystifying Gatsby, a committed observer who becomes less enchanted with his white-haired hero the more he gets to know him. Daniel is played by Daniel Brühl, of the current Rush; Assange is a juicy role for Benedict Cumberbatch, the erudite scarecrow equally at ease playing classical parts or Star Trek villains. The actors are strong, if somewhat hemmed in by the real-life limitations of recent history. For much of its first half, The Fifth Estate cranks up a well-paced chronicle of WikiLeaks and its rise to prominence. Condon aims for the vibe of a ’70s political thriller of the kind directed by Alan J. Pakula, like All the President’s Men. That’s a fine goal, but the tricky part is that Assange is here both tireless crusader and paranoid control freak—Woodward and Nixon in the same person. Issues like the future of journalism and public responsibility are duti-

fully stirred, but the movie keeps coming back to Assange as monster/martyr. (The film barely alludes to Assange’s alleged sexual misconduct, a discreet but curious omission explored in Alex Gibney’s recent documentary We Steal Secrets.) That obsession with personality would seem to go against the original idea of WikiLeaks as an anonymous, free-to-all resource; it’s an indication of how far The Fifth Estate is stuck in the pre-cyber mode of information. ROBERT HORTON

PThe Institute RUNS FRI., OCT. 18–THURS., OCT. 24 AT NORTHWEST FILM FORUM. NOT RATED. 92 MINUTES.

If you’ve ever thought, “Man, I need to step away from the computer, get out of the house, and be with actual people,” The Institute is a caution against the new meet-up culture among strangers. It’s both a documentary and a bit of a put-on, delaying key factual points well past the point of good conscience. The film chronicles a street theater/fantasy/role-playing game that encouraged Bay Area participants to resist a malign thinktank organization (something like the Dharma Initiative on Lost) and its charismatic leader. To us, it’s obvious within minutes that the Jejune Institute is a hoax and its chairman merely an actor; and what director Spencer McCall never clarifies here is whether he’s part of the elaborate ruse, in league with its orchestrators. Rather, what matters to The Institute is how the eager gamers were so readily drawn in, willingly surrendering their disbelief. Here was interactive entertainment that combined treasure hunts, geocaching, and “Who killed Laura Palmer?”– style sleuthing. “I was looking for clues,” says one participant. (Most interviewees, now embarrassed, offer only their first names.) You can see how players got swept up in this engrossing pursuit. There’s a fascination for us, too, as they decipher an urban code, locating Easter eggs in the city’s hidden, enchanted fabric. Prompted by pay-phone calls and paper flyers, they trace hieroglyphics and invented folklore, probe the storm sewers with GPS units in hand, even break into spontaneous sidewalk dancing with a costumed Sasquatch. That hilarious latter episode was set up for McCall’s camera by his anonymous employers, who hired him via Craigslist in 2008. Over the next three years, some 10,000 players would—at different times—participate on, or at least follow, the madcap game online, with McCall often tagging along. Later he went back to do interviews, including with the game’s producer, Jeff Hull, who sort of comes clean. “There should be this kind of play suffused in the architecture of the real world,” says Hull, who also talks of “giving permission to be an agent.” At that point, you’re unsure if he’s a Werner Erhard–style huckster or a Silicon Alley tub-thumper about to do a product launch. That uncertainty mirrors the players’ nervous yet giddy involvement. For all parties, there’s a fine line between being swindled and being entertained. BRIAN MILLER

Muscle Shoals OPENS FRI., OCT. 18 AT HARVARD EXIT. RATED PG. 111 MINUTES.

“When a Man Loves a Woman.” “I’ll Take You There.” “Mustang Sally.” “Tell Mama.” What do these hit songs have in common? All were made

LY. C O M / S I G N U P D ININGW W W. S E AT T L E W EWE KEEK LY

in the same small clutch of recording studios, using the same cadre of musicians, in a backwater Alabama town. Greg Camalier’s very ear-friendly doc provides a generous jukebox selection of such tunes, plus testimonials from the famous artists who visited Muscle Shoals. (These include Aretha Franklin, Percy Sledge, Gregg Allman, Mick Jagger, and the inevitable Bono.) But it’s the background players who deservedly get the main focus. Chief among them is Rick Hall, whose Fame Studios put together a house band of humble white boys—some just teenagers—in the early ’60s. Profit was foremost in Hall’s mind. Hits were treated like product, and the stars were the labeling on the can. Inside were the anonymous studio men and their producers. (Hall would periodically alienate his band, dubbed the Swampers, resulting in rival studios and new session players.) The music, of course, is great, falling in the sweet spot of baby-boomer nostalgia. However, the fawning tributes quickly grow tedious, as does the mystical mumbo-jumbo about the power of the river and lingering Indian magic. (What’s the phrase—Shut up and play the hits?) “Music can reflect landscapes,” says Steve Winwood. Well, maybe. Musicology aside, it’s the smaller details of industry and process that deserve more of Camalier’s attention. A few stills show the Rolling Stones—dressed to make an entrance—descending from their chartered helicopter to record three tracks in three days (including “Brown Sugar”). But even at the height of their 1969 fame, there was no place grander than the local motel to stay in Muscle Shoals. And there are snaps of Aretha waiting for the Swampers’ pianist, Spooner Oldham, to come up with an organ riff for “I Never Loved a Man (The Way I Love You).” It took him about 15 minutes to find the notes that will last 100 years. BRIAN MILLER

PWadjda OPENS FRI., OCT. 18 AT HARVARD EXIT. RATED PG. 97 MINUTES.

Let us assemble the elements of a formulaic story: Spunky pre-adolescent girl, patriarchal society, girl’s dream of owning a bicycle, school contest with cash prize allowing for bipedal purchase. Oh, and there’s domestic unrest in the girl’s home, which helps account for her acting

out. It would be easy to suggest that this formula is redeemed through the sheer novelty of this film’s setting, Saudi Arabia. The stakes are higher, the patriarchy crazier, and the tale of the movie’s making an added value. (Wadjda is the first feature directed by a Saudi woman.) But I think the film is better than its formula and better than its backstory. In fact, it’s pretty awesome. Writer/director Haifaa Al-Mansour studied cinema overseas and produced her film with international funding. She shot some of the exterior scenes from the inside of a van, because a woman working with men in public is not looked on with favor in Riyadh. Her struggles are more than good journalistic copy; they explain the controlled ferocity of the movie’s storytelling, which is a coded version of the making of the film itself. Our first glimpse of Wadjda energizes the movie. She’s a smart and innately rebellious 10-year-old—a stock character, perhaps, but not in Waad Mohammed’s performance. Her insolent body language and exasperated eyerolling mark Wadjda as a hilariously recognizable 21st-century child, even if the society around her seems more 16th-century. Wadjda’s father has left their home because her mother (Reem Abdullah) is unable to supply more children, which means no male heir. This creepy system explains why Wadjda could be inspired to revolt and buy a bicycle, even though everybody keeps telling her girls shouldn’t ride bikes (because their virginity might be compromised). Al-Mansour makes her points without caricaturing her characters; the father (Sultan alAssaf ), for instance, is warm and kind, if weak. Her film could not exist if it were a screed, but even the casual depiction of inequality is infuriating. Like the great generation of Iranian filmmakers in the ’90s, she uses a childhood story as a way of smuggling in her concerns. If she hadn’t used such subterfuge, it’s unlikely Saudi Arabia would have offered Wadjda as the country’s firstever submission to the Academy Awards. (This is a big deal for a country with no movie theaters.) Al-Mansour plays it careful even during the expected happy ending. Something has been achieved in the sun-baked scene, but the shadow of “What next?” continues through the fade-out. ROBERT HORTON E

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arts&culture» Music

Return of the King

SevenNights E D I T E D B Y G W E N D O LY N E L L I O T T

Dark days and a transcontinental bender inspired King Khan’s latest, Idle No More.

Wednesday, Oct. 16

BY GWENDOLYN ELLIOTT

HALIE LOREN Look up “jazz singer” in the dictionary,

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

“I decided to accept their help and get my mind soaked in psychiatric drugs,” Khan says. “That’s why it took so long to finish this record.” On the phone from his home in Berlin, Khan explains the gap: “About three years ago, I went pretty crazy”—a fairly strong statement for someone who famously mooned Lindsay Lohan. But it aptly describes the globe-trotting bender the artist took up during a dark time in his life. He continues: “I spent a night in jail in Barcelona, [and] I befriended a homeless aboriginal guy in Australia and introduced him to Lou Reed.” After that, he says, he shaved his head at a Buddhist monastery in Korea and told his family he was quitting music and becoming a monk. “One of the reasons I went as far as I did with the craziness was that I lost three friends in a few years and I didn’t grieve properly,” he says. One of those friends was garage punk-rocker Jay Reatard, who started to come into his own just as Khan’s star was rising, and was found dead of a cocaine overdose while Khan was on tour. Another, Khan remembers, was an old

friend from Montreal, where Khan grew up. “He was Mohawk, you know, Native American,” he says. He later found out the friend passed away the same day he decided to shave his head—he wore a mohawk at the time—thousands of miles away, in Korea. “My head was in a crazy spin,” he says. Such synchronicity and symbolism mark Khan’s downward spiral, an experience he says made him feel like “I was protected by something, even when I was going crazy.” Looking out for him was family, including his wife, two daughters, and sister-in-law Rose McGowan, who eventually intervened and asked him to check into a mental hospital. “Rose . . . was one person who actually was writing to me a lot at that point and saying, ‘Arish, your e-mails are insane. Go to the fucking mental hospital because you are losing your shit. Don’t be embarrassed about it. This happens to people, especially artists.’ ” “I decided to accept their help and get my mind soaked in psychiatric drugs,” he says. “That’s why it took so long to finish this record. There were two or three years of just me fixing myself.” Now back on track, the 36-year-old Khan released Idle No More last month, his fourth album with the Shrines and his first on Merge Records. “There is definitely a more serious kind of feel to the new record,” he says, and tracks like “Born to Die” and “So Wild,” which was written for Reatard, reflect Khan’s new existential trip. Yet even after a journey to hell and back, the psych-tinged R&B groove Shrines fans crave— what Khan calls “make-love music”—remains wholly intact: proof that Khan isn’t ready to step down as king anytime soon. (Read the full Q & A with Khan at seattleweekly.com/music/ reverb.) With Hell Shovel, Spaceneedles.

Neumos, 925 E. Pike St., 709-9951, neumos. com. 8 p.m. $15 adv. E gelliott@seattleweekly.com

Thursday, Oct. 17

MELT BANANA The shred levels are absolutely off the

charts for this show tonight, which is code for “You should definitely attend.” Since the early ’90s, Melt Banana has been making laser and siren sounds with its guitars on top of a thick layer of punky grindcore and vocalist Yasuko O’s shrieks. The group’s new album, Fetch, is a 1000-bpm clustercuss that sounds like a Gundam ascending into the sky to charge up its destructo-beams. (Fans of Lightning Bolt, take note.) Joining Melt Banana are locals Kinski and Monogamy Party, who deal in their own unique kinds of din. Kinski takes things the grungier route, belting out classic riffs of a triumphant Northwestern heaviness that will make you want to hike to the top of a mountain and plant a flag. Monogamy Party, on the other hand, is anything but triumphant, cranking out maelstroms of diseased guitar and bruise-inducing bass riffage while Kennedy Carda screams things like “OH I MADE A TERRIBLE

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

DORON GILD

t hasn’t been long since Arish Ahmad “King” Khan stopped through Seattle— that would be last year at Bumbershoot— but it has been some time since the garage rocker and his psychedelic soul band the Shrines dropped an album—six years, in fact. Khan is a wild card, known for the feathered headdresses and donkey-teeth necklaces he wears in his fevered, belly-baring performances; erratic behavior is all part of the show. But something deeper and darker was at work during Khan’s off years with the band, whose last release was 2007’s What Is?

TIGER LILLY

Arish Ahmad Khan

and no doubt you’ll see Halie Loren’s picture. The Oregon-based songbird has the quintessential jazzclub voice: equal parts smooth and smoky, especially when she dips into a lower register. Her seventh studio album, Simply Love, was released last month. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $20.50. All ages. AZARIA C. PODPLESKY FEEZABLE THE GERM This Chicago-born MC celebrates the release of his EP, The Successor of Victor Von Doom. Now a Seattle resident, the supervillain’s chill flow and clever wordplay (“Food for thought be your head as the main course”) recounts the story of his evil apprenticeship, complete with tales of Stoli, seduction, and retribution. With PROPS!, Adam Nystrom, and Keezy. Nectar Lounge, 412 N. 36th St., 632-2020, nectar lounge.com. 8 p.m. $8. MICHAEL F. BERRY KT TUNSTALL The melancholy first half of Tunstall’s new album, Invisible Empire/Crescent Moon, finds her working through the pain of her father’s death and her own divorce. The second half turns optimistic, but remains mellow as she comes to grips with her losses. With Brian Lopez. The Neptune, 1303 N.E. 45th St. 682-1414, stgpresents.org/neptune. 8 p.m. $26.50/$29 DOS. MFB MEHLIANA Pianist Brad Mehldau and drummer Mark Guiliana have combined their talents in a way that’s pretty novel for a couple of jazz pros: They dabble in electronic music. Their extemporaneous live performances, which find Mehldau behind an array of synths, range from Rhodes-driven jazz-rock to noisy drum ’n’ bass. Triple Door, 216 Union St., 838-4333, thetripledoor. com. 7 p.m. (all ages) & 9:30 p.m. (21 and over). $25 adv./$27 DOS. ANDREW GOSPE

MISTAKE!”—as he does on the band’s new album, False Dancers. It’s a unique kind of terror, one that you can revel in as it punches you in the face. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $15. 21 and over. KELTON SEARS WAVVES This triple bill offers three takes on scuzzy garage-rock. Headlining is Wavves, the bratty surfpop project of music-blog firebrand Nathan Williams; rounding out the undercard is Hardly Art–signed Miami punks Jacuzzi Boys. The best bet, however, is King Tuff, whose schmaltzy classic-rock throwbacks are even more overblown live. The Neptune. 8 p.m. $19.50. All ages. AG EUGENIE JONES Hearing Eugenie Jones sing, it becomes almost impossible to believe she’s been doing it professionally for only two years. The businesswoman turned jazz chanteuse, who as a child sang in the church choir her father directed, has so much control over her voice, handling both high and low notes with immense care, that she’s nothing short of a seasoned pro. New Orleans Restaurant, 114 First Ave S., 622-2563, neworleanscreolerestaurant.com. 7 p.m. (tonight; through Sat. at other venues). Free. ACP DAFNIS PRIETO SI O SI Perhaps the most remarkable thing about Cuban jazz percussionist Dafnis Prieto is how little energy he expends while playing. His drumming is polyrhythmic, nuanced, and incredibly complex, but from the chest up he looks like he could be watching TV. This is a performance with his Si o Si Quartet. PONCHO Concert Hall, Cornish College of the Arts, 710 E. Roy St., 726-5112, earshot.org/festival. 8 p.m. $22. All ages. AG EVAN FLORY-BARNES is one of the city’s most talented musicians, and observing him magically pluck insane rhythms on his upright bass with his eyes closed is a joy, even if you don’t have your head in the jazz world. Seamonster Lounge, 2202 N. 45th St., 992-1120, seamonsterlounge.com. 10 p.m. Free. 21 and over. KS PHANTOGRAM Ethereal vocals, synthy production, and great vibes make this duo’s live show feel like you’re in the midst of a dreamy, drug-induced coma even if you haven’t taken mind-altering substances (though doing so would add to the experience). To sum it up: fuzzy dance beats like whoa. With Giraffage. Showbox at the Market, 1426 First Ave., 628-3151, showboxpresents.com. 8 p.m. SOLD OUT. All ages/ bar with ID. KEEGAN PROSSER JAMES MCMURTRY Few writers capture the losses and triumphs of life in the middle states as well as James McMurtry does in his songs—like his methfueled, incestuous moonshining epic “Choctaw Bingo,” which you should listen to right now, and which belongs in any anthology attempting to capture the modern American experience. With Gerald Collier. Tractor Tavern, 5213 Ballard Ave. N.W., 786-3599, tractortavern.com. 8 p.m. $20. DANIEL PERSON

Friday, Oct. 18

HUNX & HIS PUNX Hunx’s new release, Street Punk,

is the brattiest spitwad of an album I’ve heard in a long time. According to the band, the record is apparently intended for “women and gay guys.” Songs like “Everyone’s a Pussy” and “Rat Bag” are beautifully crass thrashers that demand moshery, so make sure you bring your elbow pads. With Wimps, Coconut Coolouts. Chop Suey. 9 p.m. $10 adv./$12 DOS. 21 and over. KS

Phantogram

» CONTINUED ON PAGE 36

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arts&culture» Music

MACY GRAY You know a song is special when listen-

ing to it takes you back to the first time you heard it. It was early 2000, and I was a 9-year-old girl awash in the music of Mickey Mouse Club alums, gazing out the window of our sky-blue minivan. Just then, “I Try,” the second single from Gray’s debut On How Life Is, came on, and I recall snapping my head toward the unfamiliar voice, loving that smoky rasp, and thinking “I didn’t know a girl could sound like that.” Gray’s now-iconic vocals struck a lot of people that way; she won a Grammy for “I Try,” and her debut remains her best-selling album. Her latest is Covered, last year’s collection of covers, but it’s On How Life Is that Gray is performing in its entirety on this tour. The album turns 14 this year—14 years since Gray changed the way I think about music. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $35 adv. All ages. ACP THE STAXX BROTHERS Mixing elements of funk, R&B, country, and rock, the Staxx Brothers may very well be one of the most eclectic musical acts in the area. This intimate show will provide a number of opportunities to dance to old favorites as well as hear a few new tunes. With Breaks & Swells. High Dive, 513 N. 36th St., 632-0212. 9:30 p.m. $10 adv./$12 DOS. KP THE AVETT BROTHERS This family affair has been making lush, country-inspired folk since 2000, but it’s possible 2013 may be their most prolific yet. In fact, the “brothers”—Seth and Scott Avett and bassist Bob Crawford—actually recorded enough material for two albums (last year’s The Carpenter and the just-released Magpie and the Dandelion) in under 12 months. Course that might have everything to do with Rick Rubin, who’s produced their last three albums, but nevertheless, expect lots of the bros’ trademark tender feelings on display tonight. With

Kanye West

Saturday, October 19

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

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large chunk of America, middle and otherwise, cares more about Kanye West’s antics than about his music. This is partially self-inflicted—marrying a Kardashian comes with a tanker load of PR baggage, and Kanye embraces and manufactures controversy like few celebrities can. It’s also a shame, because it shows how much of the population refuses to interface with perhaps the most influential artist of the past 10 years. Ye’s recent tiff with Jimmy Kimmel is where this sort of sentiment comes to a head. To briefly recap: Kanye gave an interview with BBC1’s Zane Lowe where he discussed, among many other things, his place in music and popular culture. Kimmel, as talk-show hosts sometimes do, played the incident for laughs, dismissing West’s claim that “rappers are the new rock stars” and enlisting child actors to re-enact and “decipher” the interview. To many viewers, Kimmel’s takedown seemed horribly out of touch. Rappers have been rock stars “for a minute now,” as Lowe dryly puts it during the interview, and Kanye’s responses were largely lucid and self-aware. But for Kimmel’s intended audience, Kanye’s words don’t really matter; these jokes were tailored for people who still simply associate rap with overblown egos and can’t accept that in 2013 a rapper could reasonably consider himself the world’s most important musician. Kanye’s detractors likely haven’t heard Yeezus, and if they did, it wouldn’t do much to change their minds. His sixth album is easily his most challenging work, inaccessible and jar-

Nicholas David. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 7:30 p.m. $45. KP GOBLIN You likely know these prog-rocking Italians for their classic soundtracks to George A. Romero’s Dawn of the Dead and Dario Argento’s Suspiria. If you’ve ever wanted to feel what it’s like inside a classic ’70s horror film, now’s your chance. It’s almost Halloween, after all. With Secret Chiefs 3. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. SOLD OUT. 21 and over. KS

Sunday, Oct. 20

CHRIS CORNELL Of all the great vocalists to come out

of Seattle in the early ’90s, Soundgarden frontman Chris Cornell was hands down the most talented. Sure, Kurt Cobain was enigmatic and could scream like a banshee; Layne Staley was about as versatile as they come; and no one could touch Eddie Vedder for sheer tone; but Cornell remains a vocal acrobat who can hit just about every note known to man. In classic-rock terms, if Kurt was Iggy Pop, Eddie was Jim Morrison, and Layne was Roger Daltrey, that would make Cornell something akin to the offspring of Robert Plant and Freddie Mercury. With a body of work that includes his solo career in addition to his years with Soundgarden and Audioslave, it will be interesting to see how Cornell renders his rockingest material in this solo acoustic setting—much like Vedder did in 2011—but you can bet it’s going to sound great. With Bhi Bhiman. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. 7:30 p.m. SOLD OUT. CORBIN REIFF PHILIP GLASS re-upped his “controversial” credentials earlier this year when the Teatro Real, Madrid, premiered The Perfect American, an unflattering (and reportedly somewhat fictionalized) musical account of Walt Disney’s final days, for which Glass wrote the music. The opera has received mixed reviews, but its

» CONTINUED ON PAGE 40

ring not just in the context of mainstream pop, but of rap in general. It’s a sonic departure as extreme as the one he took five years ago on 808s & Heartbreak. Considering that album’s considerable influence (hi, Drake!), it wouldn’t be surprising to see more rappers experiment with dissonant synths and industrial drum sounds in the coming years.

COURTESY OF THE ARTIST

Seven Nights » FROM PAGE 36

That’s the irony for traditionalists—and the clueless—who don’t like West’s music. The artist reinvents himself and pushes back against the mainstream in a way that was and is expected (and accepted) from rock greats like the Beatles, Bowie, and Radiohead. The rapper is among the world’s biggest rock stars, whether we accept it or not. With Kendrick Lamar. KeyArena, 305 Harrison St., 684-7200, seattlecenter.com/ events/concerts. 8 p.m. $50–$194. All ages. ANDREW GOSPE

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109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482

THURSDAY, OCTOBER 17

OUT ON THE STREETS with Autumn Electric, Eagle Teeth, and Those Red Heels Lounge Show. Doors at 8 / Show at 8:30PM 21+. $5 ADV / $7 DOS

FRIDAY, OCTOBER 18

Take Warning Presents:

(Of The Meltdown in L.A.) Doors at 7:30 / Show at 8:30PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

FRIDAY, OCTOBER 18

PAINTED WINDOW with Moms Rocket, Bexley Heathans,

and Captain Algebra Lounge Show. Doors at 9:30 / Show at 10PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS

SATURDAY, OCTOBER 19

Fully TOURqued: Presented by Degenerate Clothing featuring:

MONSTERS SCARE YOU with We The Audience, Victory Heights, Lion I Am, Never Met A Dead Man, We Move Mountains, and Esoteric. Doors at 5:30 / Show at 6PM

ALL AGES/BAR W/ID. $10 ADV / $12 DOS

El Corazon Presents The Monsters Scare You Aftershow Party Featuring Live Music From:

UK ROCKERS “ROOK AND THE RAVENS”

FREE. Music begins immediately after the Monsters Scare You show in the main showroom

MONDAY, OCTOBER 21 El Corazon & Mike Thrasher Present:

EARTHLESS with The Icarus Line, Joy, Mystery Ship, plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS

TUESDAY, OCTOBER 22 Inked Magazine & Mike Thrasher Present:

SUICIDE GIRLS: BLACKHEART BURLESQUE Doors at 8 / Show at 8:15PM 18+. $20 ADV / $25 DOS VIP Table: $45 ADV / $50 DOS

FRIDAY, OCTOBER 25

ELECTRIC CHILDREN

with WMD, Mechlo, Glooms, Seatrash, and Tonight We Launch Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

JUST ANNOUNCED 11/18 RAIN LIGHT FADE 11/27 EGO LIKENESS 12/1 BIG B 12/18 CAPSULA 2/25 LOUNGE DAVE HAUSE

UP & COMING 10/26 MONETA 10/26 LOUNGE INTO THE FLOOD 10/27 LOUNGE HIKES 10/28 OUTLAW NATION 11/1 DWARVES / POISON IDEA 11/2 THE STORY SO FAR 11/4 LOUNGE THE BALCONIES 11/5 KILL DEVIL HILL 11/5 LOUNGE THE CONDITIONZ 11/7 MAYDAY PARADE 11/8 LOUNGE MEGA RAN WITH K-MURDOCK 11/9 LOUNGE RARE MONK 11/12 OVERKILL 11/13 TONIGHT ALIVE 11/14 THE FLESHTONES 11/15 ANTHONY GREEN 11/15 LOUNGE EZRA FURMAN 11/16 ALESTORM 11/17 THE CASUALTIES / NEGATIVE APPROACH

Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

A NIGHT WITH JONAH RAY & KUMAIL NANJIANI

SATURDAY, OCTOBER 19

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

JAZZ ALLEY IS A SUPPER CLUB

FOURPLAY THURS, OCT 17 - SUN, OCT 20

Bob James, Harvey Mason, Ntahan East and Chuck Loeb - formidable contemporary jazz quartet

NORTHWEST FAMILY LIFE BENEFIT SHOW MON, OCT 21 Advocate and Celebrate

GINGER BAKER’S JAZZ CONFUSION FEATURING PEE WEE ELLIS, ALEC DANKWORTH, ABASS DODOO TUES, OCT 22 - WED, OCT 23

Legendary rock drummer renowned for his work with Cream and Blind Faith leads formidable quartet with funk and jazz giants.

ROY HARGROVE QUINTET THURS, OCT 24 - SUN, OCT 27

Grammy Award winning acclaimed trumpeter, composer and bandleader

ROBERTA GAMBARINI QUARTET TUES, OCT 29 - WED, OCT 30

“The true successor to Ella Fitzgerald, Sarah Vaughan, and Carmen McRae.” - The Boston Globe

all ages | free parking full schedule at jazzalley.com

arts&culture» Music Seven Nights » FROM PAGE 38 existence alone is yet another in the long list of confirmations that Glass is the most inventive, influential, and, at 76, nervy composer this country has. This rare performance (part of the Earshot Jazz Festival) will feature the artist on his own, making more bold choices with only a piano to work with. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 425-828-0422, kpcenter.org. 8 p.m. $75. MARK S. BAUMGARTEN THE BAD PLUS After coming to our attention 10 years ago for its populist take on jazz (read: playing jazz versions of really popular rock songs), The Bad Plus finally put down the late-American songbook after 2009’s cover-filled album, For All I Care. On two albums since, the trio has thankfully been expanding on its own ideas while pleasingly, on last year’s Made Possible, experimenting with electronic instrumentation. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7 & 9:30 p.m. $25 adv./$12 student. MSB

Monday, Oct. 21

DRESSES It doesn’t seem very seasonal to release such

bright and poppy tunes just when the leaves are putting on their colorful coats, but Sun Shy, the latest from indie-pop duo Dresses, sounds just like summertime. The harmonizing of Timothy Heller’s lovely lilt and Jared Ryan Maldonado’s more soulful voice and bright guitar work create that extra bit of sunshine you’ve been craving. With Limousines and Mona. Chop Suey. 7 p.m. $12 adv./$15 DOS. All ages. ACP THE BLOW Last month’s self-titled release offers Khaela Maricich and Melissa Dyne’s first new material in seven years. That break has done little to change the group’s sound: thoroughly enjoyable, carefully constructed electro-pop whose sometimes-cloying cuteness is buoyed by Maricich’s plainspoken songwriting. With Kisses. Neumos. 8 p.m. $15 adv. AG

The Body

Saturday, Oct. 19

NTw.RlittleYreMdhUenS.coIC LIVE COUww m THURSDAY OCTOBER 17TH

JUKEHOUSE HOUNDS 9PM - $3 COVER

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

SUNDAY OCTOBER 20TH

JUKEHOUSE HOUNDS 9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BODACIOUS BILLY TUESDAY OCTOBER 22ND

TEQUILA ROSE BAND 9PM - NO COVER

MONDAY AND WEDNESDAY

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

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

HAPPY HOUR 9AM-NOON & 4-7 PM • MON-FRI

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

he last time I saw The Body, the duo literally blew the hat off the guy in front of me. Portlanders Chip King and Lee Buford make a hell of a lot of noise for just two humans. Guitarist King creates a barricade of amps for live performances, shrieking like a banshee with his tongue outstretched as Buford pounds apocalyptic, gut-wrenching dirges on his drums. It isn’t metal, and it isn’t really noise rock either. The Body is its own entity, a duo of traveling doomsayers who pelt audiences with heavy sonic tidings of misanthropy, tidings that often manifest themselves in avant-garde song structures mixing choral music, musique concrète, and doomy sludge. And they’re really into Jonestown, Jim Jones’ ill-fated communal compound. “I think it was really cool when it started off,” Buford says. “You know, it was this left-leaning thing full of people who felt like they really didn’t fit in with this world, so they just moved . . . to make a new world. Then they decided, ‘Ehhh, we’ve had enough,’ and they just killed themselves. I can definitely relate to that; living in today’s society is really tough, it gets tougher every day.” The Body’s

earworm “Little Games” may spell its name as our neighbors across the border do, but this band is from the sunny state of California—something that comes across in the music, full of warm melodies and poptinged guitar riffs. Their four-track EP, Lido, is out now. With The Naked and Famous. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 8 p.m. $25 adv./$28 DOS. All ages. ACP

Tuesday, Oct. 22

GINGER BAKER’S JAZZ CONFUSION With Cream,

Ginger Baker undoubtedly innovated the way people approached rock drumming— double kick, anybody? In the meantime, he also picked up and kicked a heroin habit oftener than the Yankees won the World Series. Marvel at both his instrumental acumen and the fact that he’s still around for this two-night stint with his jazz quartet. Through Wednesday. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 7:30 p.m. $30.50. CR DEER TICK found success by taking a mid-career departure from the gentle acoustic balladry of its 2007 debut album in favor of more-raucous material. September’s Negativity is a twangy, electric guitar–led collection of alt-country songs that could be a companion to this summer’s Adios, I’m a Ghost by locals Moondoggies, who would have been a great choice to open this show. With Robert Ellis. Neumos. 8 p.m. $20 adv. AG JOE SATRIANI is a guitarist’s guitarist, which is a subtler way of saying that his raison d’être is showing off how fucking good he is. (The answer: really fucking good.) If you need further proof, let this sink in: He taught Metallica’s Kirk Hammett and virtuoso Steve Vai how to play. His latest album, Unstoppable Momentum, delivers the sort of proggy instrumental rock fans have come to expect. With Living Colour. The Paramount, 911 Pine St., 682-1414, stgpresents.org/paramount. 7:30 p.m. $31.25–$61.25. All ages. AG/CR

new album, Christs, Redeemers, out this week, is an incredible aural assault that plunges deep into familiar territory for the band—a palpable disdain for humanity. Lines like “the pain of living holds no victory” and song titles like “Denial of the Species” spell out the kind of antihuman message The Body has built its fascinating career on. The band’s shirts all feature images of humans getting their comeuppance: people decapitated with a sword, a man devoured by a ghastly demon. The eerie music videos take it even further; “An Altar or a Grave” consists of five minutes of blurry footage of a tied-up body drowning in a lake. “I like to hope there’s a reason for how shitty the world is,” Buford says. “It would be great if there was a God who would come back and wreak revenge on all the people in the world; I think that would be great. In the world today I feel like there’s no consequence for people’s actions. Our shows are like tantrums; it’s like us just being personally fed up with the way things are.” With The New Trust, MTNS, Where My Bones Rest Easy. The Highline, 210 Broadway E., 3787837, 8 p.m. $7. 21 and over. KELTON SEARS MEGAN HOLMES

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

FRIDAY OCTOBER 18TH & SATURDAY OCTOBER 19TH

THE COLOURIST The indie-rock quartet behind the

dinner & show

mainstage WED/OCTOBER 16 • 7PM & 9:30PM EARSHOT JAZZ FESTIVAL & 91.3 KBCS WELCOMES

mehliana featuring brad mehldau and mark guiliana THU/OCTOBER 17 • 5:30PM - NO COVER!!

thursday night football

seattle seahawks v. arizona cardinals FRI/OCTOBER 18 • 8PM

carbon leaf w/ brian wright SUN/OCTOBER 20 • 7PM & 9:30PM EARSHOT JAZZ FESTIVAL & KBCS 91.3 WELCOMES

the bad plus

MON/OCTOBER 21 • 7:30PM - KBCS 91.3 WELCOMES

savoy brown

THU/OCTOBER 24 - THU/OCTOBER 31 - SHOW TIMES VARY THE CAN CAN PRESENTS

this is halloween!

FRI/NOVEMBER 1 - SUN/NOVEMBER 3 • 7PM & 9:30PM

the manhattan transfer

happy hour every day • 10/16 the eric hullander group • 10/17 hot mcghandis • 10/18 rippin’ chicken • 10/19 dj daps1• 10/20 kane mathis: kasata sound • 10/21 monday night jazz w/ synthesis • 10/22 singer-songwriter showcase featuring: annie ford, mozo and strange jerome • 10/23 closed for a private event TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

next • 11/5 garland jeffreys w/ lincoln barr • 11/6 garfield high school jazz band • 11/7 wesley stace w/ casey neill • 11/8 & 9 leroy bell & his only friends • 11/10 vanessa carlton • 11/13 - 11/16 the atomic bombshells...lost in space! • 11/17 michael kaeshammer • 11/19 rokia traore • 11/22 the dusty 45s • 11/23 brett dennen • 11/24 chris hillman & herb pedersen • 11/27 the buckaroos • 11/29 & 30 the paperboys • 12/1 abbey arts presents winter round • 12/2 2nd annual dammit liz holiday special • 12/3 ed kowalczyk “i alone acoustic” • 12/5 david bromberg quintet • 12/6 vaden todd lewis

arts&culture» Music

Over the Threshold

LocaLReLeases

The Head and the Heart leave simplicity behind and take a big step forward for Let’s Be Still. BY MARK BAUMGARTEN

SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

n “Down in the Valley,” the rousing stomp-along hit from The Head and the Heart’s debut full-length album, Jon Russell sang unabashedly about the places he hasn’t been; there was California and Oklahoma and the mythical Whiskey River. That self-titled collection, released in 2011 by Sub Pop, was a fantasy album, the songwriting an exercise in imagination that explored the idea that there is a better life out there somewhere, set to an insistent 4/4 beat and filled with harmony. The band’s primary songwriters, Russell and Josiah Johnson, penned songs somewhat reliant on cliché and preoccupied with leaving behind the comforts of home to strike out into the world of possibility. It was naive, but it was honest to the young band’s place at that time and joyful in a way that made the songs easy to sing along with. And many did, to the tune of a quartermillion albums sold. The band has been touring ever since, and has checked California and Oklahoma off its list, along with just about every other U.S. state and multiple continents. The circumstances surrounding the followup, Let’s Be Still, then, are very different, and the music reflects it. Where the debut was wide-eyed and innocent, this album is by turns weary and nostalgic. Where the largely acoustic instrumentation on its first effort was simplistic and somewhat clumsy in its enthusiasm, here it is nuanced and delivered with the grace of self-awareness. There are more tools at the band’s disposal on Let’s Be Still—in particular, electric guitars are a fresh and quietly charged presence—but there’s more to it than that. The stomping and shuffling beats are gone, replaced by tasteful fills from drummer Tyler Williams and loping, playful bass lines by Chris Zasche. Keyboard player Kenny Hensley, freed from mashing chords in time, is integral to shaping the songs’ dramatic arcs. Likewise, the group that once relied on three-part harmonies to telegraph emotion has largely abandoned such tricks this go-round, tending instead to rely on sophisticated composition and individual vocal performances by Johnson, Russell, and Charity Rose Thielen to carry that weight. The band does stumble in this new terrain, but overall it works, making this release a significant, and certainly not inevitable, step forward.

CURTIS WAYNE MILLARD

The Head and the Heart (l-r): Russell, Johnson, Williams, Thielen, Zasche, and Hensley.

Russell in particular has grown. The album opens with two of his most powerful musical statements, the songwriter presenting a more complex worldview than before, one that commingles larger societal concerns with the personal frustrations about the life that awaited him beyond his doorstep. “I see a world,” he sings in his rough baritone on “Another Story.” “A world turning in on itself. Are we just like hungry wolves howling in the night? I don’t want no music tonight.” The album takes a jarring, and somewhat off-putting, left turn from there, with Thielen’s playful and synth-laden “Summertime” and Johnson’s sentimental ballad “Josh McBride” recalling the more cloying aspects of the band’s early sound. Both might have found better placement on an interstitial EP. But the album rights itself with a collection of songs that display the strength achieved when the three singers weave their vocals and songwriting together. On “Cruel,” Johnson echoes Russell’s lead to chilling effect, while the title track benefits from a charming back-and-forth between Russell and Thielen. “My Friends” finds the bandmates in full-throated, glorious harmony. Overdone, that three-part harmony can get a bit tiresome, but delivered here, sparingly, at just the right moment, it reminds us of the band’s core appeal. Just as it opened, the album closes with a series of individual performances, but on these latter tracks, each singer logs his or her strongest performances. On “Fear/Fire,” Johnson turns his inherent sentimentality into woeful wonder at the lost spark of love, while Thielen sings beautifully about death on the uncharacteristically dark “These Days are Numbered.” Russell closes the album with “Gone,” and the band collectively swells and explodes with an emotional farewell worthy of the theaters it’s now filling. The subject is, once again, moving on. But the result is more complicated and charged. Russell and his bandmates seem to have a better idea of what they are leaving behind and a greater understanding of what awaits them out in the wider world. Let’s Be Still is out now. The

Head and the Heart will play the Deck the Hall Ball at KeyArena on Dec. 3. E mbaumgarten@seattleweekly.com

The Lonely Forest, Adding Up the Wasted Hours (out now, Trans-, thelonelyforest.com) John Van Deusen is an uncommonly honest songwriter. As leader of The Lonely Forest, his willingness to expressively grapple with ambivalence over love and politics, paired with his band’s ability to capture the attendant highs and lows in tightly wound pop songs, has resulted in a body of work that twists and turns around pressing questions before exploding with feeling. This powerful yet complicated sound landed the band on a major label for 2011’s Arrows—and likely led to its subsequent split from that label. On the follow-up, Adding Up the Wasted Hours, Van Deusen doesn’t let up, using his band’s recent struggles to create some of its strongest songs yet, rich with feeling and meticulous, layered, urgent instrumentation. It’s there from the start on opener “Pull the Pin,” where, over a vacillating, tense synthesizer line, the singer insists that “I try keeping my mind off things,” until the song bursts with Braydn Krueger’s drums, Eric Sturgeon’s steady bass, and Tony Ruland’s

wending guitar as Van Deusen sings, “It feels great to admit that I just want to sit as the royalists stand.” Later, on “Warm, Happy,” the band states, in chorus, “We’re done waiting, we’re done hiding, we are ever reaching toward the end.” But the band isn’t obsessed. Relationships still dominate on the brilliant “Left Hand Man” and the bopping title track, which isn’t about contractual wrangling, exactly, but about the domestic squabbles and life obligations that get in the way of love. It’s endlessly complicated stuff the band is dealing with here. Thankfully, they are still willing to share. (Sat., Nov. 9, Neptune) MARK BAUMGARTEN Pearl Jam, Lightning Bolt (out now, Monkeywrench/Republic Records, pearljam.com) As a band matures, its catalog assumes a life of its own—and Pearl Jam’s 10th studio entry marks middle age’s comfortable yet itchy peak with layers of caution and enthusiasm. After 23 years together, Eddie Vedder and co. (with producer Brendan O’Brien) are as compelling and driven as ever, performing with palpable emotional intensity. While introspection and political antipathy fueled previous efforts, Lightning Bolt is powered by profound love, the fear of loss, and a disdain for hypocrisy. (Surely figuring into this equation is the fact that Vedder and guitarists Mike McCready and Stone Gossard are now dads.) The album opens with an appropriate

» CONTINUED ON PAGE 44

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SE ATTLE WEEKLY • O CTOBER 16 — 22, 2013

, Good selection Fun shop, Fair prices.

SEATTLE WEEKLY PROMOTIONS WIN TICKETS TO WALK ThE MOON!

arts&culture» Music Local Releases » FROM PAGE 42

Walk the Moon have been described by SPIN Magazine as a “poppy, art-rock quartet.” Performing at Showbox with Smallpools.

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Fronted by indie rock babe Alisa Zayalith and hot off their new single “Hearts Like Ours” The Naked and Famous are set to hit the Showbox stage.

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The Australian band is touring in support of its new album, Ice On The Dune (Astralwerks) at The Paramount Theatre.

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SEATTLE WEEKLY • OCTOBER 16 — 22, 2013

Garage Sale

Friday

Nov 1

& Nov 2

Saturdaynd

jolt: chunky chords propel defiant “Getaway;” “Mind Your Manners” sizzles at a frenetic pace; “My Father’s Son” rails against terrible parenting. Through each, Matt Cameron and Jeff Ament’s rhythm section drives surprising tempo changes while Vedder’s verses sprint, rat-a-tat, and soar. There’s more exploration here than in 2009’s brief, seesawing Backspacer. “Let the Records Play” is a raucous, dirty, blues-dipped bouncer. Vedder’s own “Sleeping By Myself ” gets a curious near-country cover. Vocal layers (“Infallible”) and hollow guitar wah (“Pendulum”) add atmosphere and depth. As is their trademark, Pearl Jam counterpunches fierceness with elegant balladry. “Future Days” recalls The Who’s “Love, Reign O’er Me.” And the majestic love song “Sirens” rivals their best work. (When Vedder sings “I study your face/The fear goes away,” you will be moved.) Lightning Bolt is equal parts adrenaline and oxytocin, a balance befitting midlife’s precarious perspective. It catches Pearl Jam looking both behind and beyond. And if the band’s return to music-video production and its upcoming soundtrack for the World Series is any indication, the view must be inspiring and rejuvenating. CLINT BROWNLEE Recess Monkey, Desert Island Disc (out now, self-released, recessmonkeytown.com) With quirky, kid-friendly titles like “Coconut Radio,” “Hide and Seek,” and “Getting a Sunburn,” Recess Monkey’s Desert Island Disc—the 10th release for the “acclaimed children’s music band”—would really like to enchant youngsters. But its hard-to-hear lyrics and soft, ukulele-heavy music isn’t quite catchy enough to do that. In the words of Nina, my 6-yearold, “It’s too slow” and “The words don’t make sense to me” (though she did enjoy the line “Don’t be a peeker” in “Hide and Seek” and the clearly enunciated rhymes about finding sea glass in “My Treasure”). As a parent, I appreciate the Beach Boys-esque melodies (with a smattering of Grateful Dead and the Beatles) as well as the addition of violins, cellos, clarinet, and flugelhorn. But I’m with my daughter on this one. The songs all sort of sound alike, none of them hooky enough to appeal to little people. Parents, on the other hand, might have some fun pitting “Shrimp” next to G. Love’s “Cold Beverages”—they share a similar musicality. (Select weekends Oct. 19–Dec. 15, Teatro Zinzanni) NICOLE SPRINKLE

Smokey Brights, Beg, Borrow, and Steal 7˝ (out

now, self-released, smokeybrights.com) This Seattle-based act describes its music as warm, vintage pop with a rock edge—and for good reason. You’ll feel this from the opening notes of the title track. In the same vein as Fleet Foxes and The Head and the Heart, the five-piece creates stuff that just screams autumn in the Pacific Northwest. Much like Smokey Brights’ previous releases, “Beg, Borrow, and Steal” and its flip side, “Exotic Pets,” are full of orchestral arrangements, flowing melodies, good stories, and impeccable harmonies. Heavily rooted in folk-rock and Americana, this release is a small taste of what fans can expect from the band’s upcoming full-length, which they plan to record this winter. And while the band admits they’re looking to develop a more cohesive rock sound, the folk undertones—shaped heavily by Ryan Devlin and Kim West’s harmonies and guitarist Mike Kalnoky’s intricate blues stylings—continue to be an integral part of the band’s sound. And we really, really like it. (Fri., Oct. 18, Tractor) KEEGAN PROSSER

Shannon Stephens, Something Good (selfreleased, out now) The four tracks of this digital-only EP were recorded on a bit of a lark. Noting her live band’s chemistry, Shannon Stephens decided to experiment and allow the band—drummer Andrew Rudd, upright bass player Terry Mattson, and pianist BC Campbell—to create its own arrangements for her to sing over. Two of the songs are covers: The slinking rendition of Depeche Mode’s “World in My Eyes” benefits from Mattson’s sinuous bass lines, while the Stevie Wonder–penned funk classic “Tell Me Something Good” is given a more playful, twangy treatment, proving the band’s good humor as well as Stephens’ vocal command. On the other two tracks, we get to hear Stephens revisit a couple songs from her 2000 self-titled debut; these originals reveal her band’s understanding of its leader. On “My Feeble Heart,” Rudd provides a syncopated beat that drives the song forward even as Stephens is falling apart, singing that the “selfconfidence I had is dwindling rapidly.” Campbell’s playful piano lines buoy the song even as its lyric dips. Campbell uses the keys again to set the mood on “So Gentle, Your Arms,” creating a spacious place—somewhere near Radiohead’s “Pyramid Song”—where Stephens’ intoxicating voice can tell the heartbreaking story of a time now long passed. (Fri., Oct. 18, Fremont Abbey) MARK BAUMGARTEN

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ast fall during the political battle over Initiative 502—the recreationalmarijuana legalization measure which ended up being approved by Washington state voters—proponents of the measure repeated, early and often, that medical marijuana would remain separate from and unaffected by recreational legalization. Luminaries such as I-502’s chief author, Alison Holcomb, and Keith Henson of Washington NORML assured the patient community that patients had nothing to worry about—the safe access of patients, which was ensured by a dual system of home grows (of up to 15 plants) and storefront access points, would not be impacted. Now, in a textbook case of just how disingenuous political statements can be, both Holcomb and Henson are shamelessly engaging in doublespeak. Now they claim medical-marijuana dispensaries were always illegal to begin with, so the plans of former narcotics cop Rep. Christopher Hurst to shut down all shops really don’t represent a “change” for medicalmarijuana patients. Umm . . . OK. Try explaining that to the patients who will no longer be able to safely access the particular medicinal strains they need—or to afford the overtaxed pot which will be offered in state 502 stores. (Do you really think stores aiming at the lowest-commondenominator recreational market will stock, say, high-CBD weed, which is great for pain and inflammation but doesn’t get you high? Dream on.) From some of the rhetoric heard lately, both in our legislature from Rep. Hurst and even from Gov. Jay Inslee, you’d think that the entire medical-marijuana thing was a black-market enterprise. You’d have trouble even discerning that a medical-marijuana law—approved by an overwhelming majority of voters—has been in

place and functional for 15 years now in this Evening and Weekend Appointments state. And you’d have Available! a really difficult time Call 206.682.3015 for an appointment finding out that RCW www.choicewellnesswa.com 69.51A.085 clearly allows the exchange of money for medical cannabis. The real reason that the Washington State Liquor Control Board is being given authority over medical marijuana is to eliminate the competition. Yep, it seems the medical-marijuana law— which has been working just fine for 15 years— suddenly needs to be “appropriately regulated.” And here’s the real reason: “If relatively easy access to medical cannabis continues, the goals and potential of Initiative 502 will be undermined,” last week’s letter from the Seattle City Council to Gov. Inslee reads. That echoes “Goal 1,” as outlined in a leaked official document: Celebrating our New Low Prices “De-incentivize and New Summer Clinic Hours medical marijuana to ** Starting June 28, 2011 ** Celebrating our New Low Prices ensure recreational New Clinic Times: Tues 4–6 Fri 12-2 users are appropriSat **starting JULY Clinic 2ND ** 10–2 and New Summer Hours ately funneled into Bring this ad and receive the I-502 model ** Starting June 28, 2011 ** rather than the median additional $25.00 OFF cal market.” New4021 Clinic Times: Tues 4–6 Fri 12-2 Aurora Ave N. Seattle, WA 98103 How are they going seattlealt@yahoo.com Sat206-632-4021 **starting •JULY 2ND ** 10–2 to “de-incentivize medical marijuana”? By reducing allowed patient possession amounts from the current 24 ounces; by removing the affirmative defense of medical necessity for possession above the legal limit; 4021 Aurora Ave N. Seattle, WA 98103 and by “eliminat[ing] or reduc[ing] home grows.” Home grows are the only way many seriously ill and low-income patients can afford to use cannabis—and cannabis is the only relief they Now accepting all major can find. To “eliminate or reduce home grows” credit/debit cards! sounds antiseptic on paper, but what it means in the real world is that some very ill patients won’t have safe access anymore—to the only medicine that works. E

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SEATTLE Public Auction/ Landlord Lien Foreclosure Sale 10/25/13 at 9 AM. 1973 KIRK 65/14 mobile home, Halcyon Mobile Home Park Sp. 34, 12200 Stone Ave N Ph: 206-243-6562

Auto Events/ Auctions Abandoned Vehicle Auction City Wide Towing 14045 Midvale Ave. N. Seattle, WA 98133 October 19th, 2013 11AM Preview 3 Hours Before 1995 Saturn LS 4dr 1994 BMW 530i 1991 Honda Civic (206) 364-7070 Stanâ€™s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 10/23/13 Gates Open 9AM, Auction 12 PM 206-767-4848

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Employment Computer/Technology Adobe Systems, Inc. seeks applicants for the following F/T position at its Seattle, WA worksite: SaaS Systems Engineer (Job Code #23967). Plan and execute prod releases. Build and maintain a large-scale devâ€™t lab. Troubleshoot and resolve issues escalated from prod environments, and dev tools and auto solutions in conjunction with apps dev. Serve as liaison between IT Ops and prod eng teams. Troubleshoot performance, reliability, and scalability issues; and draft deployment plans and best practices procedures. MS in CS, EE or rel and 3 yrs exp in a largescale SaaS application environment. Alt acceptable requirement is a BS in CS, EE, or rel and 5 yrs exp in a large-scale SaaS application environment. For detailed job description and job-specific education and experience requirements, please contact abatten@adobe.com and provide Job Code. To apply, applicants must indicate Job Code of position sought, and mail resume and cover letter to: Adobe Systems, Attn: Arlene Batten, 345 Park Avenue, San Jose, CA 95110. Principals only. EOE

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44â€? SAMSUNG TV, stand, DVD Player $300. Complete queen bed $250. Ask about small kitchen appliances. 206444-0852. Flea Market

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Marysville Globe Arlington Times Newspaper Delivery Routes Available

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Employment General

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ADVERTISING & MARKETING COORDINATOR Seattle Weekly, one of Seattleâ€™s most respected publications and a division of Sound Publishing, Inc. is seeking an Advertising and Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, event sponsorships and glossy publications. Responsibilities include but are not limited to management of digital inventory in DFP, social media, contesting, events, house marketing, newsletters and coordinating with staff as it relates to these duties. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match). If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com

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Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

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Classified @ 206-623-6231, to place an ad

Employment General

MARKETING COORDINATOR

HELP WANTED!! Make up to $1000 A Week Mailing Brochures From Home! Helping home workers since 2001! Genuine Opportunity! No experience required. Start Immediately! www.needmailers.com

The Daily Herald, Snohomish Countyâ€™s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please. Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Check out our website to find out more about us! www.soundpublishing.com

DOG LOVER??? Will you welcome a neighborâ€™s dog into your home while the ownerâ€™s away? Home FT? (not 24/7) Become a Sleepover Rover host! $20/day & up.

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Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

Home Services Excavations

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Are you suicidal, but resisting harming yourself? We want to hear from you! The Behavioral Research and Therapy Clinics at the UW is looking for participants for a study on suicidal thoughts, feelings and behaviors. For more information, call 206-543-2505.

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HAPPYHAULER.com Debris Removal â€˘ 206-784-0313 â€˘ Credit Cards Accepted! Hood River Harvest Fest October 18-20

This traditional event shows off the best of the spectacular Columbia Gorge along the scenic byway. Visitors to Harvest Fest will find fresh, local produce, over 100 booths, local beer, wine, and hard cider, a variety of food carts, live entertainment, a kidâ€™s zone with a petting zoo, even a pie-eating contest! Harvest Fest is held on the Hood River waterfront overlooking the beautiful Columbia River.

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One of the Northwestâ€™s greatest beer destinations invites beer enthusiasts to join the fun with two weekends of sudsy events, Oct. 18-20 and 25-27. Taste and help name the specially-crafted beer brewed for the occasion by Astoria Brewing Company, Fort George Brewery, Seaside Brewing Company and Billâ€™s Tavern & Brewhouse. Meet brewers and beer icons, learn about Oregonâ€™s brewing history, enjoy beer dinners and get outstanding lodging deals.

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My one reason for donating plasma?

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>> tokesignals.com

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Need frequent rescue from your controlled ASTHMA? Local doctors are looking for patients with uncontrolled asthma to help evaluate an investigational drug. Local doctors are currently conducting the LAVOLTA I research study for patients who are unable to control their asthma, despite the use of conventional asthma controller medications. They want to evaluate an investigational asthma drug to see if it can help better control asthma symptoms. If youâ€™ve been medically diagnosed with asthma and are having difficulty controlling your symptoms, even with conventional asthma controller medications, please consider learning more about this study. To be considered for a screening visit, you must: â€˘ Be between 18 and 75 years of age â€˘ Have received an asthma diagnosis at least 1 year ago â€˘ Be taking an Inhaled Corticosteroid and a second asthma controller medication for the last 6 months, with no dose changes to these medications in the 4 weeks prior to the study To learn more, please contact: â€˘ Have asthma that is not controlled by these medications ASTHMA Inc Clinical Research Center All study-related visits, tests and investigational drugs will be provided at no cost. 206.525.5520 â€˘ studies@asthmainc.org In addition, reimbursement for time and travel may be provided. www.asthmainc.org

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