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OCTOBER 17–23, 2012 I VOLUME 37 I NUMBER 42



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inside»   October 17–23, 2012 VOLUME 37 | NUMBER 42 » SEATTLEWEEKLY.COM



channel 27 SUNDAY 9PM See what’s new at the UW this fall!



up front 7 NEWS

THE DAILY WEEKLY | We get to the

bottom of The Great Bieber Caper. Plus, pot-dispensary blues and an election predictor with a surprisingly good track record.


BY RICK ANDERSON | Amid Seattle’s 2012

shooting spree, random-victim homicides— like the one that struck down young Nicole Westbrook in Pioneer Square—have hit a record high. Yet despite dogged police efforts, these crimes are among the toughest to solve, with witnesses’ refusals to cooperate being a particularly formidable roadblock.



Ballard’s newest barbecue joint desperately wants to be awesome. 36 | FIRST CALL | Vito’s ages gracefully. 37 | A LITTLE RASKIN | A green that tastes like the sea.



Different approaches to a solo career. 41 | REVERB | Whom are jazz outreach concerts supposed to benefit? Plus, Grant Olsen adjusts to parenthood, and Duff provides a clip-’n’-save acronym glossary. 42 | THE SHORT LIST | Billy Joe Shaver, “The Rolling Stones,” and more. 46 | KARAOKE KORRESPONDENT

Tequila-drenched in White Center.

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22 | OPENING NIGHTS | Authoritarian

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Laurie Anderson talks about dirt, Charles Burns burrows into The Hive, and Cary Grant goes for the kill.

with Carolyn Douglas

opera and dancing about borrowing. 24 | EAR SUPPLY | Meet the newest

Seattle Symphony members. 28 | THE FUSSY EYE | Braids of grass.



Documentaries about Detroit’s decline, Chinese orphans, the AIDS crisis, and a fashion icon.

»cover credits


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Bieber Hoax, T-Town Heist

Inside Puget Sound’s strange week with the pop superstar.


people would instantly believe his story, ast Wednesday, the day after he simply because people outside of T-Town played to a sold-out crowd at the are always more than comfortable to believe Tacoma Dome, Canadian teen senthe worst about the city? . . . Fuck you, Justin sation Justin Bieber published a Bieber. Tacoma wants an apology.” couple of tantalizing tweets (sic all around): At which point something really unex“yesterday during the snow me and my tour pected happened: We got a call from Bieber’s manager josh had some stuff stolen. really management. sucks. people should respect other’s property” According to Scooter Braun, the pop star “i had a lot of personal footage on that really did have a computer stolen from him computer and camera and that is what bothin Tacoma, and the reason no police report ers me the most.” Along with joining celebrity-news watch- could be located is that it had been filed under the name of his tour manager, Josh ers in wild speculation about what kind of Williams. (Tacoma Police spokesperson Mark footage would come out of the South Puget Fulghum confirmed that a police report was Sound heist, we in this newsroom greeted the filed online using the name Josh Williams a tweets with equal parts that’s-what-happenslittle after 9 p.m. on October 10, claiming a in-Tacoma fatalism and hometown shame. laptop had been stolen.) But that was all Bieber’s manager, irked thrown into confusion by our post, classified on Friday, when a perPRINT IS GREAT, but if you want to see the top five . . . the timing of the new son claiming responproducts that help you hide your stash, music video as “maksibility for the laptop you’ll have to check out The Daily Weekly. ing lemonade out of caper tweeted a link to SEATTLEWEEKLY.COM/DAILYWEEKLY lemons”: The video had the “stolen footage”: a already been made, but fully produced music they tweaked it to play off the theft. video featuring the Biebs and Nicki Minaj. “Regardless of anything, I don’t think a Our excitement turned to indignation as it city should be judged by one idiot’s actions,” seemed clear that Bieber had smeared the said Braun. “We had an incredible experience name of Tacoma as part of a publicity stunt at that show in Tacoma. One of our dancers for his latest offering, and we said as much in grew up in Tacoma. We’ve only heard good an expletive-laden blog post. things, and had a great experience there “Did Bieber know this stunt would make and in Seattle. And we plan on coming back a city already trying desperately to crawl out there . . . One idiot’s decision to steal a comfrom underneath years of bad headlines and puter in our offices won’t affect how we feel Hilltop drive-by shootings the butt of yet another crime joke?” we wrote. “Did he know about that city.” MATT DRISCOLL AND SW STAFF


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The DEA sent three more letters to medical-marijuana dispensaries this month, agency spokesperson Jodie Underwood confirms, strongly advising them to pay “prompt attention” to the fact that they are breaking federal law and directing them to shut down within 30 days. That makes 29 dispensaries the feds have so warned, including 23


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Ruiz says he was nonetheless surprised by the DEA letter. He says he’s measured his facility’s distance from the park, and it’s more than 50 feet clear of the prohibited 1,000-foot zone. Still, he says, “I can’t argue with the DEA.” Just because he’s closing his storefront, though, doesn’t mean he’s giving up on medical marijuana. A self-described “New Age hippie” who portrays pot as a safer alternative to conventional drugs, Ruiz says he intends to serve his patients—“lots of liver patients, people bound to wheelchairs, people with

Who will win this November’s presidential election? Spirit Halloween—a chain of Halloween-themed stores that have popped up in strip malls in 49 states—thinks it knows. The “science” behind the prediction is simple: Which candidate sells more Halloween masks at its stores? According to Spirit Halloween, mask sales have accurately predicted the next president in each election since 1996— four contests in a row. Because capitalism is a beautiful thing, the chain has attempted to humorously capitalize on this trend, naming this polling method its “Presidential Index.” In 2008, for example, people bought more Obama masks than McCain masks by 60 percent to 40 percent. In 2004, people bought more Bush masks than Kerry masks (shocker!), 65 percent to 35 percent. Way back in 1996, even before the Lewinsky scandal broke, people were buying Bill Clinton masks like they were going out of style—with the incumbent besting challenger Bob Dole by 71 percent to 29 percent. “Election years are always exciting times around Spirit Halloween, as our Presidential Index has proven to be a consistent and accurate predictor of the next president for nearly two decades,” CEO and president Steven Silverstein said in an early-September press release announcing a partnership between his company and Rock the Vote. There’s a good chance Silverstein was smiling and winking while providing the quotable line. So what will happen this year? As of Monday, according to numbers provided by Fleishman-Hillard, the PR firm that represents Spirit Halloween, people have so far purchased more Obama masks than Romney masks, 65 percent to 35 percent. The company plans to update the figures each week until Election Day, November 6. While it’s hard to argue with such “science,” it makes one wonder how presidential mask sales are faring specifically in swing states like Ohio, Colorado, Iowa, Florida, Nevada, Virginia, North Carolina, and New Hampshire. Unfortunately, the Spirit Halloween Presidential Index isn’t yet advanced enough to make such calculations. FleishmanHillard says swing-state mask sales aren’t being tracked, but does note that in 2008, Obama led in every state a Spirit Halloween store called home. MATT DRISCOLL E

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Justin Ruiz has measured his facility’s distance from the park, and it’s more than 50 feet clear of the prohibited 1,000-foot zone. Still, he says, “I can’t argue with the DEA.”

Masking Tough Questions spiri m

that got letters in late August and three a few weeks later. The most recent letters were the same as earlier ones, according to Underwood—notifying dispensaries that they had run afoul not only of the federal prohibition on marijuana but of laws that stipulate increased penalties for drug dealing within 1,000 feet of schools or other facilities catering to kids. One dispensary that got a letter is HypeHerbally Holistic Health in Lynnwood. “We’re going to comply within the 30 days,” owner Justin Ruiz tells SW, but he’s not closing the doors quite yet. “Our first concern is the patients,” he says. “We need to tell everybody first.” John Davis, chair of the Coalition for Cannabis Standards & Ethics, a year-old trade group that is trying to promote standards in the medical-marijuana industry, says he talked to the owner of another dispensary that got a letter last week, Seattle’s Greenwood Alternative Medicine. Greenwood is listed as closed on the online dispensary directory, and a message left on the facility’s voice mail was not returned. Davis says he’s having a hard time figuring out the “intent” of the letters. He is dubious that the DEA targeted the 29 dispensaries solely because of the 1,000-foot rule because, according to his calculation, other dispensaries are much closer to schools. He notes that HypeHerbally had recently aroused the ire of neighbors due to its proximity to Martha Lake Park, a controversy which made the Everett Herald, and speculates that the neighbors’ concerns may have provoked the DEA into taking action. HypeHerbally’s owner also thinks that’s a good bet.

cancer”—any way he can. Asked how, he suggests he might move into “delivery.” Otherwise, he says, his Lynnwood patients might be left without cannabis: “There’s not a lot out here as far as safe access.” NINA SHAPIRO

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

The Daily Weekly » from page 7



Seattle weekly • OCTOBER 17− 23, 2012

Nicole Westbrook (l); (r) security footage of the white sedan from which the gunshot that claimed her life was fired.

got together the next day, and had been practically inseparable since. They moved in together the following year, and began making plans for the future, including marriage. Westbrook had finally become serious about a career after dropping out of high school as a teen following her father’s death in Iraq. Army Sgt. Marshall Alan Westbrook, 43, the father of five, became the first New Mexico National Guardsman killed in combat when he was hit by shrapnel from a roadside bomb in Baghdad on October 1, 2005. “She had trouble coping,” remembers sister Marcia Westbrook, 31. “We all did. But she rebelled.” Nicole ended up in an alternative school, from which she eventually graduated, seeking a career in hairdressing. The family was then rocked by the death of Nicole’s uncle, Army Sgt. 1st Class Kenneth Westbrook, who died on October 7, 2009 from wounds suffered a month earlier in Afghanistan. He had been shot in the face and chest, but continued to fight heroically until he passed out.

“Nicole, like all of us, was shocked. But Bryant would become a stable force for her,” recalls Marcia, who lived with the couple in Albuquerque. Last fall, intrigued by the art of pastry design, Nicole had saved money to take culinary classes. She’d also become intrigued by Seattle, which seemed to her a water wonderland of music and culture. “We just kinda looked for a place that worked for me and her in terms of careers,” Griffin recalls. “She found out the Art Institute had a culinary school, and Seattle was one of the highest-paying areas for screen printers. It seemed perfect.” Westbrook enrolled at the Art Institute and Griffin put out job feelers. Online, they found the Quintessa: modern digs, with an in-unit washer/ dryer and a workout room. On March 30 this year, they arrived with a suitcase apiece and moved in. The next Monday, Westbrook went to her first cooking class. Within a couple of days, Griffin found screen work, first at D.A. Graphics in the Square, then at Inner City Empire in nearby SoDo.


Seattle we ekly • O CTO BER 17− 23, 2012



icole Westbrook and her boyfriend Bryant Griffin crossed Second Avenue and started up Yesler Way just after 2 a.m. on Sunday, April 22, surprised to see a crowd in front of their home. As many as 20 people were outside the Quintessa, a midlevel apartment with views of the waterfront and Pioneer Square. Most were moving along the sidewalk in the 50-degree night. But a knot of men stood near the Quintessa’s entrance, where three “Private Property, No Loitering” signs greeted visitors in the entryway, with six similar signs posted in an adjoining walkway. As newcomers to Seattle, the couple had leased a $750 one-bedroom unit on the fifth floor. The Quintessa billed its location as “the epicenter of downtown Seattle,” close to shops and nightlife. It was also a short walk from the SoDo screen-printing firm where the lean, lightly bearded Griffin, 29, had just landed a job, and a quick bus ride from the culinary classes at the Art Institute of Seattle where the 21-year-old Westbrook, who drew second glances for her large cat-like eyes and the dark-chocolate hair she hadn’t cut in two years, was studying to become a pastry chef. Though a nightlife magnet for tourists and sports fans headed for nearby stadiums, Pioneer Square is also populated by down-and-outers, drunks, and drug dealers. As Westbrook and Griffin walked the streets that night, they passed a hock shop across Second Avenue where, according to a clock in the window, time had stopped. It was true for that stretch of the street. Figures moved in the darkness along vacant and boarded-up storefronts. Some may have been headed for one of the local missions or low-income housing units in the area, pushing their worldly belongings in shopping carts. Westbrook and Griffin passed business after business in the Square with “Private Property” signs in their windows or doorways, with “Conditions of Entry” notices to ward off chronic lawbreakers. In one window, a shop owner had posted a photo of a customer and captioned it “Thief.” Still, it beat Albuquerque, where the pair had met in 2009. Seattle may have its seamy pockets, but it was their new frontier, full of promise. Westbrook had been raised by her Navajo family in Farmington, New Mexico, and Griffin had relocated to the desert from Maine a few years prior. Westbrook attended beauty school in Albuquerque; Griffin was a graphic artist, a silk-screener since he was 18. The two had struck up a conversation on a social-networking site and later met for a date. Griffin was smitten: Westbrook had facial features people go to surgeons to get, he thought, and her shy smile made him melt. After that first date, they



In the Way of the Gun » from pAGe 11

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Vijay Iyer Trio Cuong Vu’s Triggerfish THursday, OcTOber 18 - cHapel perfOrmance space, 7:30pm

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George Colligan Organ Trio saTurday, OcTOber 20 - seaTTle arT museum plesTcHeeff audITOrIum, 7:30pm

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y Seattle Deputy Police Chief Nick Metz’s definition, the Westbrook murder was one of five shooting deaths this year It was a whirlwind three weeks to Satthat can be classified as random. urday, April 21, a few days after Griffin “When you talk about random shootings,” had received his first paychecks from both says Metz, sitting in his office atop Seattle employers. The newcomers decided to police headquarters on Fifth Avenue, a short celebrate, leaving home around 10 p.m. and uphill walk from where Westbrook died, running into a crowd beginning to trickle “you’re referring to people out from a motocross event who are on the other end of at CenturyLink Field. They the violence for which we strolled around the Square, can’t find any reason why having a bite at a cafe and they would have been a target. a drink at a music club and They were not involved in any eyeballing the neighborhood’s kind of risky behavior that historical architecture. They would have put them in that ended the night after catchkind of position.” ing Fahim Anwar’s second The nearly 30-year veteran, set at the Comedy Undernow head of the department’s ground. Anwar, who’d recently patrol and investigative units, appeared on MTV and Comsays he can’t remember a edy Central, is a UW grad and deadlier year for such ranonetime Boeing aerospace dom acts of violence, starting engineer who prefers the with the February 5 shooting comic stage to building jetlinGregory Wayne of Navy Petty Officer Gregory ers. “You don’t do well in comAnderson Jr. Wayne Anderson Jr., 25, an edy, no one laughs, right?” he aviation ordnancetells his audiences. man from Texas “You don’t do well stationed aboard in engineering, the Everett-based thousands die.” carrier U.S.S. The couple left Nimitz. Anderson, in a high mood, the son of former feeling safe enough NBA power forto venture home ward Greg “Cadilthrough Occidenlac” Anderson, was tal Park, with its with shipmates noticeable police outside the SoDo presence out in club RepubliQ. force to moniSomeone fired tor club closings. into a crowd in the As they strolled parking lot near 2 among the latea.m., killing Andernight foot traffic on son and wounding Yesler, they were three others. There delighted to be had been a dispute in Seattle, Griffin and fighting, and would later recall. Desmond Jackson. police arrived “We had been at what they cooped up for a described as a chaotic scene. while. It was great to be out and Metz considers Anderson experience the town.” the random victim of a shooter At 2:05 a.m., with the duo who disappeared when the a few steps from their entrycrowd scattered. “There’s way, a white sedan drove past, no indication Anderson was abreast of the knot of men. A doing anything wrong,” says gun poked out a window. Three the deputy chief. Investigators shots were fired. are still sorting out details, but None were intended for witnesses have been reluctant Nicole Westbrook. But she was to come forward. the only one struck. The Navy man’s death was A bullet passed through her followed a week later by a cheek, severing her spine. She similar shooting 10 blocks fell to the sidewalk on her face. north at SoDo’s Club X, where Griffin, who had ducked at the Sherry Soth. police say Desmond Jackson, sound of the shots, thought his 22, of Seattle, was celebrating girlfriend had just been hurt by a friend’s birthday. Afterward, he and friends hitting the pavement. As he rose, he rolled were standing next to their cars when some her over and saw blood pooling. members of his party got into a dispute with “I kissed her on the forehead and told her another group around 3:30 a.m. Someone in I loved her,” he recalls, “and tried to stop the the other group fired shots, wounding Jackson bleeding.” and a friend. Jackson, hit multiple times, died Hospitalized on life support, she died later at Harborview Medical Center. three days later, never regaining conscious“He was someone who had an incredible ness. Just like that, Nicole Westbrook had life in front of him, with certainly no indicabecome an unintended target of deadly tion of criminal gang activity on his part,” Seattle gun violence. Today, she is part of says Metz. “I think sometimes it’s easier for what has become a record year of randomthe community at large that when a young victim homicides in her perfect city.

African-American man is murdered, there can be an immediate assumption on some people’s part that he must have been a gang member.” His family describes Jackson as a nice kid from a broken home who’d been raised mainly by his mother and aunts, and was finally getting his act together. “Neither Desmond nor any of his friends were in gangs,” says Jackson’s greataunt, Gazelle Williams. “He wasn’t into drugs or any kind of trouble. He was responsible. We weren’t getting those calls to come bail him out, as too many parents in our community do.” Confirms Metz: “This was a good kid. No record, not even a parking ticket. He was just out with friends and having a good time.” One friend was Sherry Soth, who, like Jackson, had attended Ingraham High School. “They were just friends, but good friends,” says Williams. And they died in similar fashion, five months apart. In a completely separate incident, Soth also became a random victim of violence when the 21-year-old cocktail waitress was shot dead while leaving a South Seattle party. The daughter of Cambodian immigrants, Soth attended the July 1 event after getting off work at Urbane, a wine bar in the Hyatt at Olive 8 hotel. She left the party near 2 a.m. when, outside, gunfire erupted, apparently the work of suspected gang members who’d been refused entry, police said. Victoria Wilson, a friend of Soth’s who witnessed the shooting, told The Seattle Times that she, Soth, and others were headed to their cars when “somebody behind us started shooting a gun into the air” and everyone ducked. When Wilson got up, a black car rolled past and “all of a sudden I see a gun out the window and they start shooting” into the crowd, she said. “It was like random, out of nowhere. They were shooting straight as they were driving off.” Five others were wounded and survived, but Soth, rushed to Harborview, died during surgery.

The Soth murder, like the others, posed an extra hurdle for investigators. Random shootings are particularly difficult to solve, says Metz. As with any drive-by shooting, suspects leave only a trail of bullets. “And when you have random victims,” says the deputy chief, “there’s even less to go on: no connection to the shooters, along with very little physical evidence. It’s not like a beating, say, where you might have DNA or something like that. They’re very complicated cases.” And typically, when gangs are involved, nobody sees anything. “I think it’s a combination of either being scared or being protective,” says Metz. “I’m not willing to accept the broad excuse of ‘I’m scared to come forward.’ I’m sure that is the case for some. But I also think that some are friends or family of that person and they’re


fifth random murder, and perhaps the most publicized, was the May 24 shooting of Zillow software engineer Justin Ferrari in the Central District. He was struck in the head by a bullet out of nowhere as he drove his white Volkswagen van along Martin Luther King Way. Ferrari was returning from the airport, where he’d picked up his parents in the late afternoon, only to die instantly a half-hour later, the van rolling to a stop after a bullet smashed through the windshield and he slumped over the steering wheel. Witnesses told the first arriving police officers they had seen a young black male with braided hair and wearing a red jacket running along the street, shooting backwards at someone. A police dog picked up a scent, then lost it. The case shaped up to be as difficult as the earlier random gun deaths. For some, that highly publicized shooting, on the heels of Westbrook’s murder, suggested that the odds of dying randomly in the Emerald City had soared. That notion was underscored further when, over Memorial Day weekend, more than 60 rounds were fired during a series of gang-related shootings around the city. Among those who escaped random death was an innocent bystander shot in the leg by a gang member in a dispute near the Space Needle, and a teenage girl who avoided getting hit by hiding behind a dresser as a hail of bullets ripped into her bedroom. Deputy Chief Metz was called in to brief the City Council the following Tuesday, but couldn’t explain the explosion of gunfire. “We’re absolutely much better than this,” he told the council. “So this is really a sad thing to see.” The next day was even sadder: Five people were shot to death at Cafe Racer in the Roosevelt District by deranged gunman Ian Stawicki, who also killed a woman on First Hill while stealing her car, before he later shot himself to death in West Seattle as police closed in. Seattleites began to ask themselves

» Continued on page 15

Seattle we ekly • O CTO BER 17− 23, 2012

"WhEn yOu havE rAndoM victims,”" Say S the dEpUty chiEf, "”thErE”'S EvEn lESS TO go on: nO cOnnEction tO ThE ShoOtERS, along with vEry little phYSical EvidEncE."”

going to be protective and not cooperate.” If they’re scared, he adds, “there are ways to come forward anonymously”—for example, through Crime Stoppers (1-800-222-TIPS or To encourage more calls on these and other cases, the department last month launched a new billboard and bus-ad campaign to publicize unsolved murders, called “Who Killed Me?” The first billboards feature the faces of Westbrook, Jackson, and Danny Vega, 58, a well-known Filipino community member and beauty-salon owner. He was beaten unconscious and robbed during an evening stroll in Rainier Valley last November 15, dying from his injuries 12 days later. Vega managed to tell a witness that three black teens had jumped him, beat him bloody, and ran off with his cell phone and keys. Mayor Mike McGinn issued a statement of condolence to Vega’s family, noting: “Some have suggested that Mr. Vega’s killers targeted him because he was an openly gay man. The police department is fully investigating this possibility.” The billboard campaign, at least initially, will focus on eight unsolved Seattle homicides of the 24 committed this year through the first two weeks in October (compared to 21 homicides for all of 2011). Of those eight, half—the slayings of Soth, Westbrook, Jackson, and Anderson—are considered random murders.


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In the Way of the Gun » from paGe 13

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if it was safe to go outdoors in what is supposed to be one of America’s safest cities. Police Chief John Diaz, who with Mayor McGinn in April had announced a firearms crackdown, said Seattle was experiencing a new criminal boldness. Take that shooting near the Space Needle, Diaz told the City Council in early June. There were 20 uniformed officers nearby at the Folklife festival. Yet, “Once again, even with all those officers around, the one individual [showed no reluctance] about pulling out a weapon and shooting at that individual.” Though police were momentarily focused on the Cafe Racer homicides—an openand-shut case, but one that prompted a thorough examination— they continued working the open random cases, with the Ferrari trail becoming the hottest. It would turn out to be the first, and so far only, random case to be cracked—a breakthrough example of what happens if witnesses come forward. It’s also an example of how easily a life can be lost over an almost meaningless spat when gangs are involved. Police now say the death of Ferrari, a father of two and coach of boys’ and girls’ water-polo teams at Roosevelt High, resulted from a bullet fired by a stranger involved in a dispute over cigarettes.


the deli on East Cherry Street that day when he saw four young black males—one of them later identified as Patterson—arguing. One called the suspect a “bitch!” The suspect then suddenly whipped out a silver semi-automatic handgun and began shooting and running away, firing three shots, the witness said. Police Gang Unit investigators immediately linked the shooter and the others to recent gang activity around the deli, involving a group calling itself the “31 R.A.C.K.S.”— which stands for “Running After Cash, Killin’ Suckaz.” Some members were even shown in YouTube videos standing on the deli street corner. Two of them, 20-year-old halfbrothers, lived just a few blocks away, and at


least one matched the description of those outside the deli the day Ferrari was shot. In a court affidavit outlining the case, Det. Cruise says that gang investigators, after checking with sources, learned of a young female who’d been inside the deli eating at the time of the shooting. When they contacted her, she claimed not to know much. But to show she was hiding nothing, she allowed detectives to see her cell phone and extract data from it. They discovered a text message sent the day after the Ferrari shooting: “lol too funny as i sat and saw the whole thing play out up until a innocent person got shot . . . and they still ain’t found dude they not gonna stop.” Detectives, working their sources further, tracked down another person who, it turned out, was reportedly one of the three who’d been shot at. He claimed the dispute was over a pack of more  cigarettes he’d just online bought and brought to watch tributes and other videos of the outside, where the victims, see our news three others were blog, the daily Weekly. talking. “He states they wanted his dailyweekly smoke and began to taunt him, and he berated them back,” says Cruise. “He claims he turned away and heard [a] metallic noise and ran as shots went off.” The cigarette purchaser said the shooter had cornrows and was a light-skinned African-American wearing a red-and-black North Face jacket. He thought the suspect’s name was Jones. Detectives also learned from others that the female who’d sent the text message had been on a bus with the suspect that day. They requested all Metro videos taken on buses traveling eastbound on Cherry


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t was split-second mistiming, the essence of random death. Justin Ferrari had driven from Sea-Tac International Airport toward his home in Madrona that Thursday in May. He followed an 18-mile route that put him on Martin Luther King Way passing King’s Deli at East Cherry Street around 4:30 p.m. Every turn and stop put him precisely in line with a stray bullet whistling toward his van. He never knew what hit him. Medics pronounced Ferrari dead while still sitting in his driver’s seat. His mother and father witnessed his death, as did Ferrari’s two children, ages 5 and 7, strapped in their child seats in the back. The suspected shooter and those he was shooting at had all run from sight. But thanks to what turned out to be talkative witnesses and a fast-moving investigation, including key evidence from security cameras and cellphone records, Andrew Jermain Patterson, 20, of Federal Way, was arrested in July and charged with second-degree murder. Police and prosecutors say they were able to crack the case by obtaining details from more than two dozen people who are designated as witnesses in the case, and authorities compiled more than 800 pages of testimony and investigative details to bring the charges. Though the trail seemingly had ended when the police dog lost its scent, the alleged shooter was painstakingly unmasked through details provided by witnesses, including those directly involved in the incident. According to veteran SPD homicide Detective Alan Cruise, one bystander told police he had been walking past

Vega, Westbrook, and Jackson, pictured on a Crime Stoppers billboard.


In the Way of the Gun » from paGe 15 Street on May 24. In one, they found the suspect boarding coach 4120 at Third and James, wearing a North Face jacket. When he departed about six blocks from the deli, he swiped an Orca card for payment. But after obtaining a warrant, police discovered the card had been stolen the day before in a purse theft at a Central District library. Still photos from the transit video were then distributed to officers and shown to crimescene witnesses, who confirmed that the man in the picture was the shooter. Then, almost exactly a month after the murder, the case was solved, police contend. On June 23, gang Det. Ben Huey, who had been researching associates of two “31 R.A.C.K.S.” members, discovered a matching description of the man in the photo—Patterson, who had prior arrests for assault, firearms, and burglary. Police learned he had a Federal Way address, and that he was about to appear in an Auburn courtroom for assaulting his girlfriend. Huey went to Auburn two days later and sat in the back of the courtroom, watching Patterson. The suspect walked out a free man, however, after the girlfriend failed to show for the hearing. She later fended off inquiries by gang investigators, but provided a telephone number and address for Patterson. Investigators also obtained security video footage from her apartment complex that showed Patterson, two days before the Ferrari killing, as a match to the suspect in the Metro transit video. Investigators also obtained a YouTube video that showed Patterson with others on the deli corner. In that video, he is wearing earrings and shoes that witnesses said the suspect was wearing on the day of the shooting.

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On July 13, police obtained Patterson’s cellphone records through a court order, then were able to map his path the afternoon of the shooting by tracking back on his calls through a cell tower. “As this phone is tracked in the hour before the shooting,” Det. Cruise attests, “it travels in a pattern consistent with the route of the bus ride the suspect in the red jacket took.” Police presented their case to prosecutors. Six days later, on July 19, a Seattle police SWAT team, aided by U.S. marshals and homicide detectives, arrested the boyish-looking Patterson at his Federal Way home. He is now being held on $2 million bail and faces up to 23 years in prison. Represented by public defender Aimee Sutton, he has pleaded not guilty. As of this writing, no trial date has been set, as Sutton awaits a ruling on a request that the court prohibit the media from taking photos or video of her client during pretrial hearings. She says that police, during their investigation, encountered conflicting identifications of the shooter, and that the cigarette purchaser identified a suspect other than Patterson. In a court motion, she notes that her client’s arrest “created a maelstrom of media coverage,”

arguing that limiting cameras in court would lessen any prejudicial effect on potential trial jurors and help preserve “the authentic recollections and memories” of witnesses. It was a relatively swift charging, compared to other cases, Metz admits. “We got lucky,” he says, noting that good police work and swift developments and eyewitness reports in the first 72 hours made a difference. “We had people in the community that were willing to step up and provide some important information, and they were able to get us to Mr. Ferrari’s alleged killer.”


elatives and friends of the other random victims pray for similar breakthroughs. Westbrook’s sister, Marcia, for one, says they’re “encouraged by the Ferrari arrest. We just hope there’s a break soon in her case, too.” She thinks most people in Seattle want to help if they can. “The reaction we’ve gotten,” says Westbrook, “is from so many people wanting to put up flyers and expressing sympathy, trying to keep the case alive. My sister touched a lot of people she didn’t know.” At a press conference introducing the billboard campaign, Marlo Williams, the mother of Desmond Jackson, asked that “anybody with information that can help solve Desmond’s case, please, please come forward.” But Jackson’s family, on their regularly updated Facebook page, reported a week later that “There have been no tips called in regarding who murdered Desmond, NOT ONE. That is what the family is being told. I guess we are wasting our time asking/begging for help. Well it feels like we are because people care more about the murderers than they do about the victims and the victims families.” In an interview, Jackson’s great-aunt Williams says she doesn’t like to speak critically of police, but expressed disappointment in the lack of an arrest. “The thing with Desmond’s case is that there were, like, three carloads of people who were there, who saw what happened and drove away. Some of Desmond’s friends know who they are, and we have names, and we’ve given them to police, but nothing’s happened. I worry about Desmond’s friends now.” She has taken her concerns directly to Metz, and to the public, appearing with the deputy chief on KING-TV’s New Day Northwest program on September 26. She wasn’t critical of the probe, but wondered how anyone in the community could keep quiet about such a senseless murder. Asked by host Margaret Larson to turn to the camera and appeal to those who might have information about Jackson’s slaying, Williams said: “The African-American community is very small. So people know who did this. People, their family, aunts, uncles, they know that these kids [suspects] are in trouble . . . in and out of jail, in and out of juvenile. They need to start thinking about asking their kids some questions. As a community, we need to get together, step forward, and take back our streets. We cannot have this many murderers in Seattle, in the African-American community. Gregory Wayne Anderson was murdered by an African-American. Nicole Westbrook was murdered by an African-American. Desmond Jackson was murdered by an African-American. And Danny [Vega] was murdered by an African-American. We cannot have this many murderers running our streets. They have to be connected. The south-end gang we know was involved in Desmond’s murder. The families who live in the south end—you need to collect

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ryant Griffin recalls that everyone along Yesler Way that early morning of April 22 ducked awfully fast, perhaps from experience. His girlyour family members so that we can clean up friend Nicole Westbrook went down fast too, our streets. Your kids can go to jail, but at least but from the bullet that struck her. you get to talk to them. Families in this city, in “There was no one next to us,” Griffin New Mexico, in Texas, are suffering. And we recalls in an interview from his home in need justice. We need justice.” Maine, the first time he has publicly disOn news and community websites, some cussed the night in detail. “The car had have asked why none of the cases involving passed us and the shooter was shooting back minorities have been solved as quickly as the at the group of men, it appeared.” killing of white Madrona resident Ferrari Most of the crowd quickly scattered, though apparently was. Metz says the other random one individual, a black man in a suit, stayed cases lack the witnesses who were fortubehind to assist. He came over to Griffin as he itously on the scene and willing to talk in the reached down to his prone girlfriend, shakFerrari case. But police are working them ing her, then turning her over. “I had no idea equally hard, he says. He cites the recent she was hit,” Griffin recalls. “Even if someone arrest of a suspect in the killing of Seattle was shooting, they wouldn’t be shooting at teen Quincy Coleman, shot to death behind us. Then I saw what looked at first like blood Garfield High School on Halloween 2008, as an example of the time and persistence it takes coming out of her mouth. It was from a small point of entry on her cheek.” to solve some cases. He was holding her in his D’Angelo A. Saloy, arms when the first police 20, was charged last officers—some close enough month with murto hear the shooting—arrived der and assault for within 30 seconds and began shooting Coleman, resuscitation efforts on 15, and wounding a Westbrook. Almost a dozen second teen as part officers flooded the zone in of a dispute between minutes, obtaining from the the Hoover Crips man in the suit a description and the Deuce 8, an (but no license-plate number) offshoot of the Black of the newer white four-door Gangster Disciples. sedan. Police radio helped Police arrested Saloy establish search perimeters and as he left the state broadcast a general description prison in Shelton of the car, but officers were after serving almost unable to track it down. 11 months for Griffin and Westbrook were Westbrook was rushed by a second-degree inseparable from the time they met. fire-medic unit to Harborview assault on a police and Griffin followed, riding in officer. a police car. He waited hours while she was “It took four years,” says Metz, “because people finally began giving us information, and in surgery, then put on life support. “The docs weren’t telling me much that we were corroborating it, and were finally able night, so I stayed in her room, by her bed, and to put a case together. We never dropped it. held her hand all night,” says Griffin. “Around The problem is that we have to be very care7 a.m., they ran CAT scans and all that, and ful that we don’t allow political pressure or were able to tell me her vertebrae was shatcommunity pressure to force us into making tered, and even if she did somehow wake up, an arrest that may not stick. If we put a poor she would have to be ventilated the rest of case together . . . and the case comes back not guilty, that’s it. So we’d rather err on the side of her life. She wouldn’t be able to move at all.” In three days, as her family arrived from caution, being much more methodical, much New Mexico, Westbrook was pronounced more in-depth in making sure we’ve got the brain-dead. Her organs were removed and right evidence, and that’s going to take a little donated, and she was then disconnected more time sometimes. But because we’re takfrom life support. Her funeral was May 4 in ing a little more time, that doesn’t mean it’s New Mexico; she was laid to rest next to her been put on the back burner or that we don’t father at Greenlawn Cemetery in Farmington. believe the case isn’t important.” The obituary in her hometown newspaper Random deaths, while harder to solve, get described her as “Nicole Elizabeth-Marie a special level of investigator interest simply Westbrook, 21, of Seattle, Wash.” because they are more challenging to crack. “Every day with Nicole felt like a dream,” Take the Westbrook case, Metz says. “What’s says Griffin, back working as a silk-screen artreally frustrating is the fact that she, like ist in Maine after taking some time off. “I was these others, was not the intended target. simultaneously soothed by her presence, in awe There’s no explanation as to why. There was of her beauty, in love with her heart, and dumbno indication there was any kind of disturfounded and extremely lucky that this girl felt bance or conflict or anything else involving the same towards me. It seemed like we could her or her boyfriend earlier in the evening. make it through anything, and we planned on There were a number of people on the street; the rest of our lives together. We talked about that round could have hit anybody. “We do believe there are people in the com- what our kids would be like, and Nicole would tell me of dreams that she had of ‘our two sons.’ munity who know who may be responsible I didn’t just lose Nicole, I lost our family. or know who is responsible. That’s what the “Nothing can bring her back,” Griffin adds. billboard campaign is about. We want to make “Or replace her. But I am hoping for justice— sure people know and see that these victims that someone speaks up. That’s all I can hope had family members that are grieving over for now.” E this. We want to make sure the community doesn’t forget, and that we haven’t forgotten.” courtesy of Bryant Griffin

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the»weekly»wire fri/10/19 MUSIC/FILM

Still Burning

Hard to remember now, but David Byrne and Talking Heads once helped to kill album rock and transport the ’70s New Wave scene from the Bowery to national prominence. They were briefly one of the big acts of the mid-’80s, just as MTV began its rise. Directed by Jonathan Demme, the excellent 1984 concert film Stop Making Sense represents the band’s apotheosis on its final live tour. (Talking Heads would


Eating on the Cheap

Tracie McMillan’s exposé of our food system has been repeatedly compared to Barbara Ehrenreich’s 2001 Nickel and Dimed, another book reported from inside the low-wage workforce. But The American Way of Eating:


Twisted DNA

Frank Capra’s 1944 adaptation of the hit Broadway comedy Arsenic and Old Lace con-

Undercover at Walmart, Applebee’s, Farm Fields and the Dinner Table

(Scribner, $16) belongs on the same shelf as Eric Schlosser’s Fast Food Nation, Michael Pollan’s The Omnivore’s Dilemma, and the scant few other books that consider both the food on our plates and the people who put it there. McMillan’s thickly footnoted chronicle

McMillan waited tables and picked fruit to research her book.

of cooking at Applebee’s and selling vegetables at Walmart deftly contextualizes how supermarkets fail inner-city residents; how few Americans manage to eat the recommended daily amount of fresh produce; and how industrial farms cheat their workers. McMillan famously irritated Rush Limbaugh by focusing on the connection between food and class; he called her an elitist (“What is it with all of these young single white women? Overeducated doesn’t mean intelligent . . . ”), but she was the one picking peaches in 105-degree heat. Town Hall, 1119 Eighth Ave., 652-4255, $5. 7:30 p.m. HANNA RASKIN

sat/10/20 COMICS

Going Underground

Seattle-raised cartoonist Charles Burns ended his X’ed Out with a cliffhanger two years ago. Now that hallucinatory saga continues with The Hive (Pantheon, $21.95), the second part of a projected trilogy, in which amnesiac protagonist Doug finds himself working for surly lizard people, trying to remember his past from within their strange ovoid factory, where captive women work as breeders. Somewhere between dreaming and remembering, Doug is doubly confronted with bodily horrors, the repulsion of sex, the death of his father, and

comic-book echoes of the story he keeps trying to recall. Burns fills his parallel tales with references to Tintin, pregnancy scares, and organic grotesquerie of the sort that pre-coma, punkrock Doug hoped to achieve with his spokenword performances. Perhaps it took a head wound to make him a successful artist? Coma Doug and pre-accident Doug are both intent on solving the mystery of how and where they came to be. The Hive pushes them both forward on an interior journey—like the figure of dreaming Doug on his mattress, floating down a fetid green river, covered by a pink blanket that offers no warmth or security. Burns is joined tonight by fellow artists Gabrielle Bell and Tom Kaczynski. On Sunday, from noon to 3 p.m., he’ll be sampling the Blight Pumpkin Ale—inspired by his graphic novel Black Hole—at the Elysian Brewing Company on Capitol Hill. And he also appears at Town Hall on Monday with Chris Ware (8 p.m., $5.) Fantagraphics Bookstore & Gallery, 1201 S. Vale St., 658-0110, fantagraphics. com. Free. 6 p.m. BRIAN MILLER ARTS & BEYOND

Her Back Pages

After 40 years, Laurie Anderson’s status in the avant-garde firmament is pretty well assured, but she’s more than just a performance artist. Opening Friday in the Henry’s free lobby area, her Collected Stories (through Feb. 3) exhibits the books she’s produced since the early ’70s. There you can sit and browse through more than 30 titles, including Baloney and Moccasins and The Language of the Future. Being performed tonight, Anderson’s Dirtday! is a series of monologues, some with music, that touch on health-care reform, Darwin, religion, dogs, and love. She plays a little violin, and even, in one bit,

Burns’ hero Doug tries hard to remember in The Hive.

uses a microphone that she inserts inside her mouth! Some of her signature aphorisms—“The purpose of death is the release of love”—could also be published in more of her little books. (She also appears at Kane Hall at 6:30 p.m. on Friday for a talk about technology, and participates in a panel discussion on art and civic action at Intiman Theatre, Sunday at noon.) Meany Hall, UW campus, $20–$48. 8 p.m. BRIAN MILLER

tues/10/23 STAGE

Wrecked on the Beach

Canadian choreographer Crystal Pite excels at physical extremes. Her Kidd Pivot dancers hover and fly, swooping to the floor and flipping back into the air while we blink. But the worlds they inhabit and the stories they tell are lush and terrifying. In The Tempest Replica, she starts as Shakespeare did, with a shipwreck; she uses that violence and disruption as themes to explore the playwright’s enchanted island. Her dancers’ kinetic daring is matched by their powerful theatrical presence and framed by ingenious visual design. The chaos of Shakespeare’s ocean storm should be a perfect fit for Pite’s powerful skills as a dancemaker. (Through Thurs.) On the Boards, 100 W. Roy St., 217-9888, $20. 8 p.m. SANDRA KURTZ

Seattle we ekly • O CTO BER 17− 23, 2012


cerns a pair of dotty old sisters who poison lonely old men (out of compassion, of course) and their homicidal black-sheep nephew (Raymond Massey, taking the role created onstage by Boris Karloff ), who escapes prison to compete with the old ladies in the bodycount department. Cary Grant gets top billing as the nice nephew whose plans to marry get thrown off track by his family’s shenanigans. Worrying about this strain of hereditary insanity, he makes the most of his double-takes and wide-eyed reaction shots. But he’s basically straight man to the inmates running his family asylum, often upstaged by the sweetly fussy hens (Josephine Hull and Jean Adair) and by Peter Lorre as Massey’s comically creepy sidekick. Arsenic is like Capra’s earlier eccentricfamily comedy You Can’t Take It With You, with gallows humor meeting the director’s bright, plucky sensibility. It’s minor Capra, but possibly the funniest serial-killer comedy ever made. (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, $5–$8. 6:45 p.m. SEAN AXMAKER



dissolve amid acrimony by decade’s end.) “Burning Down the House,” from Speaking in Tongues, was a top-10 hit at the time, and Demme’s tightly edited doc puts the focus on the group’s punchy, off-meter hits and Byrne’s increasingly theatrical stage presentation. His oversized white suit and kabuki dance moves make Byrne the center of attention, and he begins the film alone with a tape deck to back him on “Psycho Killer.” Still, the groove that informs “Once in a Lifetime” or “Take Me to the River” comes from bassist Tina Weymouth and her husband, drummer Chris Frantz, who met Byrne at RISD. Whatever the group’s art-school pedigree, Talking Heads’ music has a rhythmic pulse that’s always directed at the dance floor. (Through Tues.) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff. net. $5–$10. Call for showtimes. BRIAN MILLER


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Seattle weekly • OCTOBER 17− 23, 2012

David Nixon, filmmaker, musician, and philosophy professor, uses music and animation to share two true stories about his family.


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LOUDON WAINWRIGHT III & DAR WILLIAMS Illsley Ball Nordstrom Recital Hall

Singer-songwriters Loudon Wainwright III and Dar Williams take the stage for a two-night-only concert event.




The timelessness of the issue Beethoven explored in his Fidelio—freedom vs. authoritarianism—both invites updating and renders it unnecessary. (If you can watch this opera, regardless of when it’s set, without recognizing the parallels to the realities of your time, you probably shouldn’t be allowed to cross the street alone.) Beethoven apparently intended 16th-century Spain as the setting; Seattle Opera opts for today, nowhere. Of course, for some artworks, emphasizing their universality strengthens their message, but my quibble with SO’s production, which opened Saturday, is that it doesn’t go far enough. The riot-geared cops, surveillance screens, and chain-link fencing here are just decor, whereas specificity—taking the audience into a more vividly imagined and rendered dystopia—would’ve deepened the impact. The oppressed party here is Florestan, imprisoned by his enemy Pizarro. To the relatively brief but emotionally and physically draining part, Clifton Forbis brings a brilliant, plangent tenor, which cuts the air like a steel arrow. His wife Leonore, disguised as the male “Fidelio,” finds work at the prison in order to spring him; Christiane Libor’s defining moment was her Act 1 aria, in which she heroically holds her own against the three solo horns in the orchestra that seem to want to encircle and dominate her. The libretto really stacks the deck against Pizarro, giving him not even an atom of redeeming quality. All that prevents Greer Grimsley from being ideal in the role is that he’s simply so much fun to watch and listen to, with a textured, enveloping voice you want to reach out and touch. He’s arguably too charismatic—unlike Richard Paul Fink’s chilling Pizarro in SO’s 2003 production, who was a real worm. Shedding new light on Fidelio is Arthur Woodley as Rocco, the jailer—the one character who becomes a different person by the end of the opera. Woodley makes Rocco’s moral awakening and gradual rebellion against injustice more compelling than anyone else I’ve seen in the role. The libretto provides the laziest possible dénouement—a new character just pops up and proclaims everyone freed. Mission accomplished! (The moral: Absolute power is no problem as long as you’re not a dick about it.) Nevertheless, the stageful of choristers and extras that director Chris Alexander musters for this scene, released prisoners reunited with their families, makes for a tremendously moving finale. Conductor Asher Fisch, as always, makes the Seattle Symphony sound fantastic. Even with Beethoven’s comparatively small orchestra, the music explodes from the pit and fills the hall. GAVIN BORCHERT

The Most Innovative, Daring, and Original Piece of Dance/Performance You Will See This Decade VELOCITY DANCE CENTER, 1621 12TH AVE., 325-8773, VELOCITYDANCECENTER.ORG. $12–$15. 8 P.M. FRI.–SUN. ENDS OCT. 21.

Toward the beginning of her extravagantly titled new work, dancer/choreographer Amy O’Neal makes a fundamental observation about the nature of imitation and the arts:



“We live in a sampling society. [We] imitate to learn . . . how we mix makes us original or mere imitators.” This comment, one of many in her “non-verbal lecture demonstration,” is dead-on about dance. Student dancers copy their teachers, performers emulate their choreographers, but where should dancemakers seek inspiration? In O’Neal’s case, everywhere. Her new show incorporates big hunks of current culture, from hip-hop to exotic dance, from confessional fiction to documentary film. O’Neal considers cultural appropriation, sexism, gender roles, and the ethics of sampling—a monster-sized list of topics explicated partly by text scrolling on three screens. We’re reading almost as much as we’re watching her move, and it’s still a challenge to keep up with the shifting ideas. Alongside video interviews about booty-dancing, stats from her Google search on chair dances, and her detailed song history of “Money Changes Everything” (which she performs as well), there’s also a little dancing. O’Neal offers a very intense private dance to a seated audience volunteer and performs a pole dance while costumed as a “stripper ballerina” with chaser lights in her Lucite platform heels. Her lecture covers some significant points, but her dancing is still the reason to show up. The hip-hop portion of the evening, performing choreography from Ciara and Janet Jackson videos, is crackling; and her original compositions feature the same fine-tuned isolations and powerful locomotion, combined with moments of lightness. There’s also an element of subversion to her take on Ciara’s provocative “Ride” (which was banned on BET and the BBC). There she finds the same kind of virtuosity in a pelvic shimmy that a ballerina might display in a series of fouetté turns. Though O’Neal doesn’t pursue any idea at length, she’s asking important questions about borrowing and pop culture. Everyone imitates, but what responsibility do we have to acknowledge the originators? It was disconcerting not to find Ciara’s and Jackson’s choreographers named in the program notes. In a YouTube world, we can copy or learn from anyone, anywhere, anytime. O’Neal’s titular claim to innovation is tongue-in-cheek, sure, but this decade is only three years old. We’ll need at least the next seven years to sort out all the issues she raises here. SANDRA KURTZ E

Produced by the SW Ad Department


Village Theatre September 12 - October 21

Mark Twain’s great American novel gets re-told by Huckleberry Finn himself in this Tony-award winning musical. Fearful of his Pap’s drunken rage, Huck fakes his own death and hightails it to the river to help his friend Jim escape from slavery. On the way, they’ll encounter kings, thieves, and angry mobs on this grand adventure through the South. Chock-full of bluegrass, blues, and country tunes by Roger Miller, Big River recounts Huck’s trials of considerable trouble and considerable joy. Issaquah Box Office: 425.392.2202. $44-$63.

LARAMIE, EQUAL RIGHTS Odd Duck Theater October 10 - 28

A tale of women’s history, Laramie, Equal Rights, by Leonard D. Goodisman is a stimulating play about 1868 Laramie, Wyoming, a lawless, dangerous town. The women of the town organized a vigilante action which swept through the town, killing, arresting, or driving out the rowdy element. In 1870, Wyoming became a territory with a constitution and essentially the first place in the world where women had the right to vote and serve on juries. Buy tickets from box office Wed-Sat 12-5pm or Show times: Thu-Sat at 8pm, Sun at 2pm. 1214 10th Ave. 206.679.3271. $12-$25.


Theater Off Jackson October 12 – November 17

West Of Lenin October 18 - November 10

RETURN TO PARADISE Teatro Zinzanni October 5 - January 27

Blast off in Teatro ZinZanni’s time machine and travel back to hippest party of the 1962 Seattle World’s Fair. Diva Gracie Hansen of Paradise ZinZanni cordially invites you back in time to an exclusive evening where Elvis Presley rocks the house, Jimi Hendrix jams with the band and Bruce Lee shows off all his moves. At this World’s Fair, the future is the past, love conquers science and the party never ends! 206.802.0015. $106 & up.




The Rendezvous October 23, 24

David Johnson’s chronicle of dreamers and lost souls is a collection of stories first published in 1992 and hailed as one of the best American books of the 20th century. Adapted and performed in the Book-It Style. 206.216.0833. $10.


Compassion trumps tyranny when a devoted wife poses as a man to rescue her wrongfully imprisoned husband in Beethoven’s only opera, a glorious ode to humanity. 206.386.7676. $25-$205.

SHERMAN ALEXIE Third Place Books Tuesday, October 23

BLASPHEMY: A bold and irreverent observer of life A ghostly improv. Part investigation, part exploration, and among Native Americans in the Pacific Northwest, 100% laughs. 206.587.2414. $5-$15. the daring, versatile, funny, and outrageous Alexie showcases his many talents in Blasphemy, where he unites fifteen beloved classics with fifteen new stories in one sweeping anthology for devoted fans and first-time readers. Event is free, priority signing ELLES: POMPIDOU line ticket with purchase of Blasphemy from TPB. 7pm. 206.366.3333. Free. & ELLES: SAM



Benaroya Hall Tuesday, October 23

SEATTLE ARTS & LECTURES presents renowned British-Indian author Hari Kunzru speaks about the future, Indian-Jewish culture, and UFOs. Come see what The New York Times, The New Yorker, and The Guardian are talking about! 15% off with code: 1213KUNZSW. 206.621.2230. $5-$70.

STAFF BENDA BILILI Town Hall Saturday, October 27

Staff Benda Bilili is a group of street musicians, four paraplegics and three able-bodied men, from the Democratic Republic of the Congo. “Havana cantina, Kinshasa slum, psychedelic club, or London arts centre– this crack outfit would tear the roof off anywhere.” - The Independent. 888.377.4510. $18-$25.

JAZZ EXTRAVAGANZA 2012 The Marriott Courtyard Hotel Sunday, October 21

The afternoon show begins at 1pm with a Fashion Show & Dessert $8. Then opening the Extravaganza at 2pm is Susan Pascal’s Soul Sauce, a Latin jazz tribute to Cal Tjader. Intermission with the Jose “Juicy” Gonzales Trio – followed by internationally famous Jazz Vocalist KATHY KOSINS, with Bill Anschell on Piano, Jeff Johnson on Bass and John Bishop on Drums. 425.828.9104. 11010 NE 8th Street, Bellevue. $20.


Unexpected Productions October 5 – 27

DANCE ALL PREMIERE McCaw Hall November 2 – 11

This not-to-be-missed 4-pack of world premieres is headlined by world famous choreographer Mark Morris’ first commissioned ballet for PNB. New works by three of the Company’s promising young dance-makers—Kiyon Gaines, Andrew Bartee, and Margaret Mullin—further underscore PNB’s commitment to dance innovation. 206.441.2424. $28-$173.

Seattle Art Museum

Elles: Women Artists from the Centre Pompidou, Paris features more than 130 artworks by 75 pioneering women artists from 1909 to 2007 offering a fresh perspective on a history of modern and contemporary art (thru Jan 11, 2013). Elles: SAM—Singular Works by Seminal Women Artists includes a series of exhibitions in the Modern and Contemporary Art Galleries on the Third Floor that build and react to Elles: Pompidou (thru Feb 17, 2013). 206.654.3100. $12 - $23


Ugly Baby & La Ru Saturday, October 20

Ugly Baby and La Ru have moved in to Pike Place Market. Come see Rosalie Gale’s bitingly clever and customizable Shower Art and Lauren Rudeck’s line of wearable works and original illustrations, La Ru. Also featuring exhibits of visiting local artists’ work. 1430 Western Avenue. 2- 9pm. Free.




Dance Theatre of Harlem’s first Seattle appearance in 8 years will feature the world premiere of FAR BUT CLOSE, the DTH premiere of CONTESTED SPACE, choreographed by Seattle’s own Tony Award nominee Donald Byrd, and Seattle Premiere of GLORIA. 877.784.4849. $27.50-$74.50.

A new film festival presented by SIFF celebrating extraordinary new works from international filmmakers working in the French language. Covering a broad spectrum of subjects and genres the festival will provide a comprehensive look the state of contemporary Francophone cinema. Magnifique! 206.324.9996.

The Moore Theatre November 16, 17

SIFF Cinema Uptown November 24 - 28


Seattle we ekly • O CTO BER 17− 23, 2012

In a future where humanity is mostly a memory, three demons and three immortals gather outside an ancient temple to tell stories and spit rhymes about the goodness and wickedness of the human race. Tommy Smith’s “Demon Dreams” fuses traditional Japanese story-telling with a wicked sharp aesthetic. 206.352.1777. $12-$18.


Benaroya Hall Wednesday, October 24

Seattle’s favorite pop-up cocktail theater, Cafe “Jake is taking [the ukelele] to a place that I can’t see Naked City Brewery Nordo, presents Somethin’ Burning, an immersive anybody else catching up with him.” — Eddie Vedder. October 5 – 27 dining experience featuring Craft Cocktails, Nouvelle 206.215.4747. $30-$34 Opening night of the 33rd Annual Seattle International Roadhouse Cuisine, and a deeply sincere Special Agent Comedy Competition. 17 comedians compete to win bent on finding the truth in a small town penetrated by $10,000. 310.595.5000. $15. insidious darkness. 206.579.6215. $50-$70.






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Town Hall Book Club Pick: Tracie McMillan: Going Undercover in American Food Culture (10/17) + Lit Crawl Seattle: Funny Ladies (10/18) + Lake Union Civic Orchestra: The Season ‘Overture’ (10/19) + Saturday Family Concerts: The Board of Education (10/20) + Jeff Orlowski: ‘Chasing Ice’ (10/21) + Green Party of Washington State: Presidential Candidate Dr. Jill Stein (10/21) + Douglas Smith: The Final Days of the Russian Aristocracy (10/22) + Chris Ware & Charles Burns: Building Comix (10/22) + Anat Shenker-Osorio: Economic Hype (10/23) + Craig Childs: ‘Apocalyptic Planet’ (10/23) + Pacific Science Center: The Curse of the Pharaohs (10/23) + Thomas Seeley: ‘Honeybee Democracy’ (10/24) Seattle Weekly

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cabaret show from aerial-theater troupe The Cabiri. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, $37–$100. Opens Oct. 19. 7:30 p.m. Thurs.–Sun. Ends Oct. 28. BROKEN DOG LEGS/TIGERS BE STILL New work by Emily Conbere and Kim Rosenstock, on alternating dates. See for exact schedule. Intiman Rehearsal Studio, Seattle Center. Free. 7 p.m. Oct. 18–22 & 25–27, 5 & 7 p.m. Sun., Oct. 28. A CELEBRATION OF CLAYTON CORZATTE Honor the retired actor’s 60-year career. New City Theater, 1404 18th Ave., Free. 8 p.m. Mon., Oct. 22. BILL COSBY America’s comic grandpa, in his sixth decade performing. Benaroya Hall, 200 University St., 215-4747, $57–$102. 3 p.m. Sun., Oct. 21. DANNY, KING OF THE BASEMENT David S. Craig’s play about imagination, reality, and a difficult childhood. Seattle Children’s Theatre, Seattle Center, 441-3322. $25–$36. Opens Oct. 18. Runs weekends and some Thurs.; see for exact schedule. Ends Nov. 18. DEMON DREAMS In Tommy Smith’s play, otherworldly beings discuss the human race’s foibles. West of Lenin, 203 N. 36th St., 800-838-3006, $12–$18. Presented by The Ethereal Mutt. Preview Oct. 18, opens Oct. 19. 8 p.m. Thurs.–Sat. Ends Nov. 10. 8 A reading of Dustin Lance Black’s play about California’s Perry v. Schwarzenegger, aka the gay-marriage court case. Bellevue College, 3000 Landerholm Circle S.E., Free. 7:30 p.m. Thurs., Oct. 18. FLORODORA: REIMAGINED This 1899 East-meets-West operetta is retold from the Filipino point of view. Filipino Community Center, 5740 Martin Luther King Jr Way S., Send events to,, or See for full listings. = Recommended


RIVER Roger Miller’s musical adaptation of • BIG Huckleberry Finn. Director Steve Tomkins has taken

a largely unseasoned cast, trained them well, and let them rip. KEVIN PHINNEY Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, $22–$63. Runs Wed.–Sun. Ends Oct. 21 (then Everett Performing Art Center, Oct. 26–Nov. 18).


» by gavin borchert

Clicks and Clouds

It sounds like a joke, and certainly the title is tongue-in-cheek: György Ligeti composed his Poème symphonique not for a big, colorful French Impressionist–style orchestra, as the name suggests, but for 100 metronomes. The “score” is a satirically overelaborate list of instructions, but basically you just wind them up, set them to different tempi, and let them run until they stop. One metronome can be irritating, as every music student knows, but thousands of click-clacks in a hundred separate time-grooves take on a grippingly listenable life of their own. Clustering and reclustering, converging and diverging, swooping and shape-shifting—it’s a musical lava lamp, a cloud of ticking robot gnats, the precise sonic equivalent of a school of fish or a flock of birds, making vast morphing shapes out of tiny individual elements. (Ligeti did similar things with voices and instruments, as everyone has heard who’s seen 2001: A Space Odyssey.) In what’s surely its weirdest program ever, the Seattle Symphony is presenting Poéme symphonique as part of a concert of works from the World’s Fair year of 1962, alongside music by Morton Feldman (spare, quiet, inspired by minimalist visual art), Iannis Xenakis (visceral, earthy, inspired by probability theory and other mathematical models),


Seattle weekly • OCTOBER 17− 23, 2012

Buy Show Tickets Service Charge Free at the Casino Cashier Cage



800-838-3006, $25. Dinner 6 p.m., show 7:30, Sat., Oct. 20. HELLBILLY Blood Squad’s latest improv-horror-satire salutes backwoods-mutants movies, with a different show each week. Balagan Theatre, 1117 E. Pike St., balagan $10. Opens Oct. 19. 11 p.m. Fri. Ends Nov. 2. MEDICINE BALL Playwrights and poets are paired off and given a week to collaborate, with the results presented for an audience vote. Sponsored by the Pacific Play Company as part of Arts Crush. Teatro ZinZanni, 222 Mercer St., Free. 7 p.m. Mon., Oct. 22. A MOUSE WHO KNOWS ME The premiere of an original musical set in a genetics lab. Annex Theatre, 1100 E. Pike St., 728-0933, $5–$15. Opens Oct. 19. 8 p.m. Thurs.–Sat. Ends Nov. 17. PUNK ROCK Simon Stephens’ play sounds a bit like a Brit Spring Awakening: alienated students and all that. Raisbeck Performance Hall, 2015 Boren Ave., cornish. edu. $5–$15. 8 p.m. Wed., Oct. 17–Fri., Oct. 19, 2 & 8 p.m. Sat., Oct. 20, 2 p.m. Sun., Oct. 21. RAMAYANA Dozens of gods, music, dance, and colorful costumes. ACT Theatre, 700 Union St., 292-7676. $15–$55. Opens Oct. 18. Runs Tues.–Sun.; see acttheatre. org for exact schedule. Ends Nov. 11. THE SKRIKER Pat Graney choreographed Janice Findley’s production of Caryl Churchill’s fantasy. Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, brown $20 and up. Preview Oct. 18, opens Oct. 19. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 11. UNCLE HIDEKI Jean Davies Okimoto’s play about two assimilated teens who encounter their Japanese heritage. Langston Hughes Performing Arts Center, 104 17th Ave. S., $5. 8 p.m. Mon., Oct. 22. WDEUNFROL WDORS One-acts by Shel Silverstein and David Ives on the theme of (mis-)communication. Stone Soup Theatre, 4035 Stone Way N.E., 633-1883, stonesoup $14–$25. Previews Oct. 17–18, opens Oct. 19. 8 p.m. Thurs.–Sat., 4 p.m. Sun. Ends Nov. 11.

One of the Seattle Symphony’s guest performers.

and others. It’s the launch of the SSO’s [untitled] series of informal, late-night new-music concerts in the lobby, one of music director Ludovic Morlot’s new initiatives; sprawl anywhere on the floor, and the bars will be open. Preceding the show, at 9 p.m., KEXP DJ Darek Mazzone will perform something from the recent avant-garde: the Concerto for Turntables and Orchestra by Gabriel Prokofiev (grandson of Sergei); and for those of staider tastes, the evening opens with an hour of Mozart and Haydn at 7. Benaroya Hall, Third Avenue and Union Street, 215-4747, seattle $17. 10 p.m. Fri., Oct. 19.


WHO WORE IT BEST AT THE MACKLEMORE & RYAN LEWIS CONCERT? Vote on your favorite thrift shop threads! Scan here:

Seattle we ekly • O CTO BER 17− 23, 2012


arts»Performance BLOODY BLOODY ANDREW JACKSON This musical

posits the president as a moody emo rockstar. ArtsWest, 4711 California Ave. S.W., 938-0339, $17– $36.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 20. CAFÉ NORDO Somethin’ Burning, “a murder mystery in four courses,” is this troupe’s new cocktail-theater show. Theater Off Jackson, 409 Seventh Ave. S., 800838-3006, $60 Thurs. & Sun., $70 Fri.–Sat. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends Nov. 18. THE FAIRYTALE LIVES OF RUSSIAN GIRLS Meg Miroshnik’s enchanting little tchotchke melds magic and mayhem in post-Soviet Russia, as Annie, a Russian ingenue raised in L.A., returns to her birthplace and meets a variety of alternately chilly and needy Russian women who troll the nightclubs for vodka, men, and money. KEVIN PHINNEY The Little Theatre, 608 19th Ave. E., 325-5105, washingtonensemble. org. $15–$25. 7:30 p.m. Thurs.–Mon. Ends Oct. 22.



Jamie Ford’s novel of puppy love in the ID just before WWII. Henry and Keiko’s crush unfolds over dozens of vignettes. Generations removed, Hotel’s story still touches some local families directly. MARGARET FRIEDMAN Center House Theatre, Seattle Center, 216-0833. $25–$45. See for exact schedule. Ends Oct. 28.

tuxed Symphony Un

HAYDN’S “DRUMROLL” SYMPHONY October 19 at 7pm This concert features an earlier start time, pre-concert happy hour, and a shorter concert format with no intermission.

Happy Hour


1962 Ludovic Morlot

[untitled] series

October 19 at 10pm Ludovic Morlot, conductor International Contemporary Ensemble (ICE) Seattle Symphony Musicians The inaugural concert of the [untitled] series will feature works written in 1962. Come at 9pm for pre-concert performance of Gabriel Prokofiev’s Concerto for Turntables and the Orchestra. Sponsored by


BILL COSBY October 21 at 3pm

Seattle weekly • OCTOBER 17− 23, 2012

Bill Cosby


Comedian Bill Cosby returns to Benaroya Hall for a special performance. Performance does not include the Seattle Symphony.


SONIC EVOLUTION October 26 at 8pm Ludovic Morlot, conductor Star Anna and the Laughing Dogs Alan White, percussion Celebrate Seattle’s musical legacy of innovation with brand-new symphonic compositions inspired by Alice in Chains, Blue Scholars and Yes. Sponsored by Star Anna





PULLMAN PORTER BLUES Seattle playwright

Cheryl L. West sets three generations of porters on the Panama Limited from Chicago IPHONE/ANDROID APP to New Orleans. The year is FOR MORE EVENTS OR VISIT 1937, and the three men of the Sykes family exemplify how blacks began first to embrace, then chafe at, the harsh working conditions of their day. Pullman uses a live stage band to back its cast members in a baker’s-dozen spirituals, blues numbers, and work songs. KEVIN PHINNEY Seattle Repertory Theatre, Seattle Center, 443-2222. $15–$80. Evening and matinee performances Wed.–Sun.; see for exact schedule. Ends Oct. 28. SUPERIOR DONUTS The Dodo bird of the breakfast table, non-gourmet donuts face a tough fight in the North Chicago of Tracy Letts’ smart, sad 2008 comedy, not unlike many of the ’hood’s pre-gentrification residents. Despite the arrival of Whole Foods nearby, you can smell the 1970s on every inch of the set’s donut shop, which owner Arthur keeps as a museum to his late Polish-American parents after evading the Vietnam War. Into the stasis bops Franco (irrepressible Charles Norris), whose entrepreneurial urgency, it turns out, is motivated. (Norris’ word-slanging and prancing are sheer delights.) With Franco’s leavening (and his brilliant novel on tattered legal pads), Arthur (excellently dour Kevin McKeon) starts to rise, but can he overcome his own cowardice to fight for the kid? Russ Banham bakes a beautiful batch of performances into this ensemble confection, toothsome as a well-wrought sitcom on a day you’ve played hooky. MARGARET FRIEDMAN Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 21. WICKED The first time I saw Wicked, on its 2009 tour, like everyone I was titillated by the stagecraft (“Oooh, everything’s so sparkly and green!”). This go-round—and it didn’t help that it was the exact same production—I realized just how low the show’s emotional stakes seem compared to the staging’s effortful glitz. The backstory aspect is clever and a lot of fun: a reimagining of The Wizard of Oz from the viewpoint of the Wicked Witch of the West (redubbed Elphaba, and here strongly played by Dee Roscioli), explaining how she got that way. But the story’s main conflict—something about oppressed animals—seems to have been dragged in just about the time the creators realized the show better have one, and then set aside; come in at intermission and you’ll have no clue why everyone’s chasing Elphaba around. I’d be very curious to see Wicked in a much smaller production to see if it results in a more effective balance of heart and flash. The joy of this production is Patti Murin as preppy princess Glinda. She’s a first-rate physical comedienne—the kind you usually find stealing a show in character roles—rather than a standard-issue ingenue, and she brings the part a vitalizing hint of, say, Carol Burnett’s Princess Winnifred in Once Upon a Mattress. GAVIN BORCHERT The Paramount, 911 Pine St., 877-STG-4TIX. $35–$160. Runs Tues.–Sun.; see for exact schedule. Ends Nov. 17. For many more Current Runs, see TO DOWNLOAD THE FREE



men or featuring men, with hip-hop, tap, postmodern dance, and a work for the children’s dance group Kaleidoscope. SANDRA KURTZ Broadway Performance Hall, 1625 Broadway, 800-838-3006, $20–$25. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 21. AMY O’NEAL SEE REVIEW, PAGE 22. SEATTLE BUTOH FESTIVAL 2012 Visiting companies from Sweden and Japan give performances and workshops. See for full details. Velocity Dance Center, 1621 12th Ave., 325-8773, velocitydance Oct. 22–28. THE TEMPEST REPLICA SEE THE WIRE, PAGE 21.

Classical, Etc.


(Center for Digital Arts and Experimental Media). Meany Hall, UW campus, 543-4880, $12–$20. 7:30 p.m. Wed., Oct. 17. SEATTLE SYMPHONY The premiere of Mina for winds and orchestra by Dai Fujikura—assuming the strike resolves by then. (On Fri., Haydn and Mozart, $17–$81.) Benaroya Hall, 200 University St., 215-4747, seattle $19–$112. 7:30 p.m. Thurs., Oct. 18, 7 p.m. Fri., Oct. 19, 8 p.m. Sat., Oct. 20. LAKE UNION CHAMBER ORCHESTRA Music by Rossini, Kodaly, and Schumann. Town Hall, 1119 Eighth Ave., $13–$18. 7:30 p.m. Fri., Oct. 19. SUSAN PASCAL Jazz originals and standards from this first-rate vibes player. Meany Studio Theater, UW campus, 543-4880, $12–$20. 7:30 p.m. Fri., Oct. 19. SEATTLE SYMPHONY SEE EAR SUPPLY, PAGE 24. SEATTLE WOMEN’S CHORUS French (Fauré, Ravel) and American music. St. Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 388-1400, $25–$45. 8 p.m. Fri., Oct. 19–Sat., Oct. 20. MUSIC OF REMEMBRANCE Thomas Pasatieri’s Letter to Warsaw is based on lyrics by Polish cabaret artist Pola Braun. Seattle Art Museum, 1300 First Ave., Free. 2 p.m. Sat., Oct. 20. STEVE SCRIBNER Music for piano, guitar (played by Wayne Lovegrove), and prerecorded electronics by this composer. Woodland Park Presbyterian Church, 225 N. 70th St. Donation. 7 p.m. Sat., Oct. 20. MUSIC NORTHWEST Pianists Natalya Ageyeva, Ivona Kaminska, and Jane Harty play Russian piano music. Olympic Recital Hall, S. Seattle Community College, 6000 16th Ave. S.W., 937-2899, $16–$18. 7:30 p.m. Sat., Oct. 20. KEITH EISENBREY Composer/pianist Eisenbrey plays preludes by himself and other Seattle composers. Chapel Performance Space, 4649 Sunnyside Ave. N., $5–$15. 8 p.m. Sat., Oct. 20. PACIFIC MUSICWORKS Monteverdi’s grand, pathbreakingly vast 1610 Vespers for voices and orchestra. St. James Cathedral, 804 Ninth Ave., 465-8316, $20–$40. 8 p.m. Sat., Oct. 20. JOHN CAGE AND FRIENDS Music and film to celebrate his centennial. Frye Art Museum, 704 Terry Ave., 622-9250, Free. 2 p.m. Sun., Oct. 21. SEATTLE SYMPHONY Beethoven, Gershwin, and more as part of the Seattle Center’s “Next 50” closing celebration. Ludovic Morlot conducts. Fisher Pavilion, Seattle Center, Free. 2 p.m. Sun., Oct. 21. AUBURN SYMPHONY Opening the season with an audience-choice program: Barber’s Adagio, Offenbach’s “Can-can,” and more. Auburn Performing Arts Center, 700 E. Main St., Auburn, 253-887-7777, auburnsymphony. org. $10–$34. 2:30 p.m. Sun., Oct. 21. SEATTLE PRO MUSICA A concert to celebrate this choir’s 40th anniversary. Plymouth Congregational Church, 1217 Sixth Ave., $15. 3 p.m. Sun., Oct. 21. ST. HELENS STRING QUARTET Quartets by Philip Glass to celebrate his 75th birthday. Cornish College/ PONCHO Concert Hall, 710 E. Roy St., $10–$15. 7 p.m. Sun., Oct. 21. MOSCOW SRETENSKY MONASTERY CHOIR Music in the Russian Orthodox tradition. Meany Hall, UW campus, 800-838-3006, $25–$50. 7:30 p.m. Sun., Oct. 21. SEATTLE COLLABORATIVE ORCHESTRA This new group debuts with Sarah Bassingthwaighte’s A Mountain Symphony and Rachmaninoff’s Symphonic Dances. Roosevelt High School Auditorium, 1410 N.E. 66th St. Free. 7 p.m. Tues., Oct. 23. CRAIG SHEPPARD Debussy’s 24 Préludes from this pianist. Meany Hall, UW campus, 543-4880, music. $12–$20. 7:30 p.m. Tues., Oct. 23.

• • •

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Seattle we ekly • O CTO BER 17− 23, 2012


SEATTLE BUTOOcHt 22FE-2ST8,IV20A12L @ Velocity Dance Center Info & tickets

Artist Talks Workshops & Performances FREE Artist Talk w / this ad

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Openings & Events AHN, CHENG, & GALE Sang-gyeun Ahn and Karen

Cheng present work in the East Gallery. Ann Gale’s portraits are displayed in the West Gallery. Cheng lecture: 7 p.m. Thurs., Oct. 18 (Henry Art Gallery Auditorium). Jacob Lawrence Gallery, UW campus, Art Building #132, 685-1805, Wed.–Sat., noon–4 p.m. Through Oct. 19. JASMINE IONA BROWN She draws inspiration from Russian Orthodox icons and the Civil Rights era in Urban Martyrs. Open-mike event “Victims and Offenders Sound-Off” at 2 p.m. Sat., Oct. 20. Also on view: small, semi-abstract drawings by Joan Kimura. Call for ongoing hours. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, Through Oct. 27. KAREN DEDRICKSON She shows her abstract ink paintings of birds. Artist’s receptions: 1–4 p.m. Sat., Oct. 13 & 20. Third Thursday gallery walk, 5–8 p.m. Oct. 18. Gallery North, 508 Main St., Edmonds, 425-774-0946, Mon.–Fri., 10 a.m.–6 p.m.; Sat., 11 a.m.–6 p.m.; Sun., noon–6 p.m. Through Oct. 31. SUSIE KOZAWA & ALAN LAU They recreate their collaborative piece In the American Grain, a text and audio collage originally presented at SAM in 1996. Prographica, 3419 E. Denny Way, 322-3851, prographica Thurs., Oct. 18, 7 p.m. KELDA MARTENSEN & GLENN TRAMANTANO

Martensen explores her dreams through printmaking. Tramantano’s mixed-media works reimagine The Wizard of Oz through a queer lens. Artist talk and reception: 10 a.m. Thurs., Oct. 18. South Seattle Community College, 6000 16th Ave. S.W., 764-5308, Mon.– Fri., 11:30 a.m.–5:30 p.m. Through Oct. 25. PHOTOLUST GALA AUCTION More than 50 artists, regional and national, are represented in the annual buffet that is Photolust. There’s no overarching theme to the show, since the artist-donated images will be sold at the concluding benefit auction on Sat., Oct. 20 at 7:30 p.m. (You can also make bids online.) Among the locals we like

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Walk a few hundred yards north of the swimming area at Magnuson Park, before you get to the dog beach, and you’ll find a peculiar little meadow called Kabuya. Dogs are OK, but don’t bring your goat. Kabuya is fragile, even edible, though the straw strands are brittle and bristly—not the stuff of a salad. Artists Sarah Kavage and Adria Garcia have painstakingly woven the grass into braids, a project begun in August, when the leaves were still green. The piece’s title is a Spanglish transliteration of “cabuya” (rope), reminding us that such strands were once woven of natural materials (hemp included); but no one would trust their weight to these ropey swirls. Indeed, the braids are still rooted in the ground, which makes the entire installation seem like an autumnal scalp, the close-up results of


• HECTOR ACEBES Africa 1948–1952 provides a pho-

tographic glimpse of the continent at mid-century. Also showing: small photos of domestic implements by Canh Nguyen. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, Wed.–Sat., 11 a.m.–5 p.m. Through Oct. 20. KERIMA AHMED In Values and Dreams as Expressed through Lines, Colors and Textures the Ethiopian artist shares the colors of her culture in abstract works. C Art Gallery, 855 Hiawatha Place S., 322-9374, Wed., 10 a.m.–3 p.m.; Thurs.–Fri., 11 a.m.–7 p.m. MICHAEL ALM & ROBIN CROOKALL Working together via “synthetic taxidermy,” they include a giant polar bear in their show Frozen. Also opening: P.G.I.S. (Poster Giant Is Scum). Vermillion, 1508 11th Ave., 709-9797, vermillion Tues.–Thurs., Sun., 4 p.m.–midnight; Fri.– Sat., 4 p.m.–2 a.m. Through Nov. 3. KURT E. ARMBRUSTER Armbruster’s photos in Our American Landscape consider our myths, symbols, and material conveniences. Also on view in the Subterranean Room: work by D.ita, Robin Montero, and Bradley Reed. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, Mon.–Sat., 11 a.m.–6 p.m.; Sun., noon–5 p.m. Through Nov. 1. B: AN ART SHOW TRIBUTE TO B-MOVIES Dane Ault, Crystal Barbre, Barry Blankenship, and others drawn inspiration from their favorite old horror and sci-fi flicks. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery. com. Tues.–Sun., 11 a.m.–7 p.m. Through Nov. 3.

nature’s hairdresser. Kavage and Garcia started their weaving during summer, but now it’s harvest season. Their project is emphatically feminine in that it reminds us of the seasons, fertility, the eternal cycle of birth and death. Temporary and intended to decay, something like the works of Andy Goldsworthy, Kabuya suggests waves of grass flowing gently toward Lake Washington. It might not catch your eye without the identifying


Seattle weekly • OCTOBER 17− 23, 2012

Making Hay

are Bill Finger, Eirik Johnson, Daniel Carrillo, and Annie Marie Musselman. BRIAN MILLER Photo Center NW, 900 12th Ave., 720-7222, $175. Mon.–Thurs., 11 a.m.–10 p.m.; Fri.–Sun., noon–8 p.m. Through Oct. 20. MICHAEL SCHALL Hinder offers new graphite drawings, some made on on wet paper using pencil-lead shavings and an air gun. Opening reception: 6–8 p.m. Thurs., Oct. 18. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, Opens Oct. 18. Sat., 11 a.m.–5 p.m.; Wed.–Fri., 11 a.m.–5:30 p.m. Through Nov. 24. MICHAEL SCHULTHEIS The artist merges mathematics and painting in Gardens of Archimedes. Artist walkthrough: 6 p.m. Tues., Oct. 23. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, Mon.–Sat., noon–5 p.m. Through Oct. 27.

signpost, but that’s also maybe its protection (this summer’s art installation at Carkeek Park has been repeatedly vandalized). Kabuya is more a piece of its environment, less noticeably “built,” and that low humility is part of its fleeting appeal. Magnuson Park, Northeast 65th Street and Sand Point Way Northeast, Free. 4 a.m.–11:30 p.m. Daily. Ends Oct. 31.

film»This Week’s Attractions

How to Survive a Plague OPENS FRI., OCT. 19 AT EGYPTIAN. NOT RATED. 110 MINUTES.


P Detropia

Detropia: Scenes from inside 8 Mile Road.

When it comes to cost-cutting, downsizing, and philosophical and practical compromise, how low is it possible to go before there’s nothing left to cut—and nowhere to go but up? Detropia, the evocative new documentary from Heidi Ewing and Rachel Grady (Jesus Camp), is a portrait of a city that rose on utopian dreams, settled into comfortable function, and then began a long decline to its current state of life support, all in just less than a century. In 1930 Detroit was the fastest-growing city in the world; today, a family moves away every 20 minutes. Ewing and Grady chart how it’s come to this, collaging the stories of contemporary Detroiters trying to make it through an ever-more-arid present while haunted by the past. The filmmakers’ elegy to the Detroit of the Motown era is honest about the fact that it’s not coming back. The strongest observational footage was shot at the Detroit Auto Show, where Mr. Stevens, a retired schoolteacher who runs a bar, encounters both the Chevy Volt and a new Chinese electric car. The former’s sticker price is twice the latter’s, and Stevens knows how American consumers think. Meanwhile, Detroit is increasingly attracting newcomers who assume the city is already dead—artists colonizing downtown’s dirt-cheap lofts, European tourists who admit to an attraction to “decay.” Is this the “new normal” we’ve been hearing so much about? Considering how relatively small a chunk of history it took up, why did anyone think the middle-class consumerism that marked the middle of the 20th century was “normal” to begin with? KARINA LONGWORTH

At its best, this first film by Lisa Immordino Vreeland, who’s married to her subject’s grandson Alexander, showcases D.V.’s spectacular gifts for dramatic presentation and proclamation, as are evident in her various TV interviews throughout the decades and present-day remembrances by those who worked with her. (David Bailey, who photographed frequently for Vreeland during her 1962–71 tenure as editor in chief at Vogue, recalls her dismissal of his arduous shoot of Penelope Tree: “There’s no languor in the lips!”) At its worst, the documentary further indulges its own nepotism: The director gratuitously films her young daughter reading aloud from her great-grandmother’s outré “Why Don’t You?” column from Harper’s Bazaar. But the outsize ideas, creativity, and spirit of this birdlike, unconventional-looking woman (called “my ugly little monster” by her mother, Vreeland resembles John Hurt in a jetblack wig) still dominate a project occasionally lacking the same attributes. MELISSA ANDERSON


Diana Vreeland: The Eye Has to Travel OPENS FRI., OCT. 19 AT HARVARD EXIT. RATED PG-13. 86 MINUTES.

Raconteuse, epigrammatist, and mythomaniac, peerless fashion editor Diana Vreeland (1903– 1989) might have loved words as much as she loved Balenciaga. As Harold Koda of the Met’s Costume Institute, which Vreeland served as a special consultant from 1973 until her death, memorably says in this often charming nonfiction bauble, “I don’t think she had the average person’s relationship to the English language.”


Pope John Paul II made hell briefly unfashionable, but the administration of Benedict XVI has retrieved Gehenna from metaphorical downgrade into the more familiar lake of fire and brimstone—and so the debate on final judgment continues eternally, without cease. In Hellbound?, Kevin Miller, a prolific Canadian documentarian with a preference for religious subjects, has created a forum for those who have thought long and hard on the subject of perdition to have their say. For entertainment purposes, Miller’s film incorporates sideshow visits to the more theatrical earthly interpreters of hellfire, including Fred “God Hates Fags” Phelps’ Westboro Baptist Church (in New York City picketing the 10th anniversary of 9/11), a black-metal concert, and a fundamentalist hell house. More centrally, however, Hellbound? uses extensive interview footage to frame the debate between “narrow-gate” interpreters of Scripture—mostly evangelicals, who seem always to be themselves heaven-bound—and Universalists who see heaven as (potentially,


As the documentary equivalent of a group character study, Somewhere Between isn’t as sharply focused as you might hope. Director Linda Goldstein Knowlton never delves far enough into her subjects’ stories for her film to feel more nuanced than, say, a good commercial for international child-adoption services. Its depiction of the adoption of four Chinese girls by surrogate American families is largely reliant on pat, unenlightening interviews, and much of Knowlton’s footage is arranged in such a way that her subjects raise questions but never fully consider them, especially on the vital topic of the alienation that these four orphans—who have had no contact with their birth parents—can’t help but feel among their white families and friends. Sometimes it’s


Give some points to a genre flick whose style mashup reflects uneasy relations between Asia and the West just as its fracas-intensive plot tries to dramatize them. Yuan Xiaochao stars as a young warrior with a biological oddity that turns him into a kung fu superstar, but also might be killing him. To honor his precious gift and his mother’s dying wish, he makes a pilgrimage to study at the fabled village where they do “internal martial arts,” cultivating inner strength. Problem: They don’t teach outsiders. Solution: Exceptions are possible for anyone able to fend off a steampunk invasion. Hong Kong action star Stephen Fung directs this loosey-goosey tai chi origin story with practiced abandon, delivering spurts of comic-booky or videogamey animation and introducing every major

Angelababy versus the “house-eating monster” in Tai Chi Zero.

player with onscreen resume highlights. These stars include Tony Leung Ka Fai as the elusive master, Angelababy as his fetching daughter, and Eddie Peng as her spurned suitor, the Britisheducated villain who drives a huge “houseeating monster” of an iron train that lays its own track and lays waste to the village. There’s no denying the appeal of an outsider hero who keeps asking, sometimes on behalf of the audience, “What the hell?” JONATHAN KIEFER

Seattle we ekly • O CTO BER 17− 23, 2012

In his filmmaking debut, journalist David France assembles a thoroughly reported chronicle of ACT UP’s most vital era, from its founding in 1987, six years into the AIDS epidemic, through 1995. Expertly compiled from hundreds of hours of archival footage—of fractious meetings, infamous demonstrations like 1989’s die-in at St. Patrick’s Cathedral, and hospital visits with the gravely ill—France captures the direct-action advocacy group’s fury and commitment to target those in power who did nothing to stop the disease. Present-day interviews with members who in 1987 doubted they’d live to see their 30th birthday deepen the film’s impact as an essential document of queer—and New York City—history. Dispensing with voice-over narration, How to Survive is instead a compilation of first-person remembrances, a time-toggling polyphony emphasizing both individual struggles and collective action—the we of me. His subjects reflect not only on the group’s insurrections at the FDA, the NIH, the White House, and pharmaceutical-company headquarters, but also on their much-younger selves. Yet France is always careful not to confuse tribute with nostalgia. He includes electrifying footage of Larry Kramer erupting during a meeting after a prolonged exchange between unseen, nasty cavilers: “Plague! We’re in the middle of a fucking plague, and you behave like this! ACT UP has been taken over by a lunatic fringe!” Two decades after this incident, Kramer makes another stirring claim: “Every single [treatment] drug that’s out there is because of ACT UP, I am convinced. It is the proudest achievement that the gay population of this world can ever claim.” MELISSA ANDERSON

unclear what some footage is meant to signify: What are we supposed to think when we see that the surrogate parents of Jenna, one of the film’s four subjects, have a bumper sticker that has the letters “b” and “r” in the word “abortion” crossed out and replaced, respectively, with a “d” and a “p”? Or when Jenna is teased by her friends about her ethnicity, and she nervously jokes with them that she knows that “You’re not sorry!” In too many scenes, interviewees make loaded statements that Knowlton doesn’t do enough to explore. As it is, it’s hard to know what these teens are thinking beyond the fact that they’re frustrated but aren’t able to express their frustration as well as they might like to. SIMON ABRAMS


eventually) open to all. To the atheist, the various interpretations might seem like so many angels dancing on the head of a pin, but any admirer of good talk will be impressed by the scholasticism and pulpit-trained oratory here, as well as by some choice fighting words: “Evangelicism in America is what the Pharisees were to ancient Egypt.” NICK PINKERTON




206.324.9996 | Opens Friday October 19 | Uptown

“DO NOT MISS THIS for the world.” “DARING and VIBRANT.”


English filmmaker Andrea Arnold’s atypical, impressionistic approach to Emily Brontë is her adaptation’s main hook. As with her Fish Tank and Red Road, Arnold’s new Wuthering Heights is very much about the act of looking. The novel’s tempestuous plot is thus unmercifully filtered through the eyes of Heathcliff, a freed slave and newly adopted member of the Earnshaw family, here presented as a frustrated voyeur—and not at all the white Brit of previous adaptations. When he’s not brooding, Heathcliff is quietly spying on the wild Catherine Earnshaw (Shannon Beer) through cracks in doors or from a distance that’s all the more pronounced by cinematographer Robbie Ryan’s violently jiggly camera movements. Arnold makes the act of looking feel not just forbidden but also downright ugly. Heathcliff is constantly reminded that he can’t really get what he wants because he can’t interact with the Earnshaws on an equal social level—not


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This Week’s Attractions » FROM PAGE 29


“A BRAVE AND REFRESHING DOCUMENTARY capable of lasting impact.”


–Eliza Wood, The Huffington Post


Seattle Exclusive!

“…STIMULATING DOCUMENTARY on the hot topic of eternal damnation…”

ARBITRAGE Seattle weekly • OCTOBER 17− 23, 2012


only because he’s poor and uncouth, as in earlier adaptations, but because here he’s also black. Heathcliff performs a revelatory, wanton act of animal cruelty toward the end of the film, when, now older (and played by James Howson), he can’t flatter himself into thinking that the Earnshaws are secondary characters in his own story. This tragic denouement is reliant on the too-easy bursting of Heathcliff’s narcissistic bubble. Because Arnold sympathizes with the tumultuous and finite perspective that defines her Heathcliff, she indulges rather than explores it; because she traps her viewers with Heathcliff’s murky version of events, there’s no room for enriching subtext here—all the information we need is inscribed on the film’s glassy surface. SIMON ABRAMS E

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Howson as the grown Heathcliff in Wuthering Heights.

–Justin Chang, Variety Friday 19– Friday 25

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ONLINE » SEATTLEWEEKLY.COM aMORE See reviews of Alex Cross and Paranormal Activity 4.


5030 ROOSEVELT WAY NE SEATTLE, WA 98105 (206) 524-8554 SUN.-THURS. 11am-11pm FRI. & SAT. 11am-Midnight WOMEN IN THE SHADOWS Housebound invalid

Barbara Stanwyck overhears a telephone plot for murder—her own!—in the 1948 thriller Sorry, Wrong Number, capably directed by Anatole Litvak. Burt Lancaster costars. (NR) Seattle Art Museum, 1300 First Ave., 654-3100,, $63-$68 (series), $8 (individual), Opens Oct. 18, Thursdays, 7:30 p.m. Through Dec. 6.

Local Film AMERICAN DRUG WAR Discussion about the pot-

legalization Initiative 502 follows this short documentary by Kevin Booth. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021,, Free, Fri., Oct. 19, 7 p.m. ARSENIC AND OLD LACE SEE THE WIRE, PAGE 21. AS GOES JANESVILLE This much-praised new documentary, made for PBS, looks at the aftereffects of a GM plant closing in the Wisconsin town where vice presidential candidate Paul Ryan just happens to reside. Labor unions and Republican governor Scott Walker also clash over tax breaks and workers’ rights. (NR) Frye Art Museum, 704 Terry Ave., 622-9250,, Free, Sat., Oct. 20, 2 p.m. BRAM STOKER’S DRACULA This is the so-so 1992 spin on the vampire tale, directed by Francis Ford Coppola, with Gary Oldman as the bloodsucker in chief and Winona Ryder as his intended. Tom Waits is the funniest thing about the film as Renfield. Also look for Monica Bellucci in an early English-speaking role. (R) Central Cinema, $6-$8, Thu., Oct. 18, 8 p.m.

• •


INDEPENDENT VIDEO STORE • INTERNATIONAL Contests, prizes, VHS-inspired art, and more are DAY

• •

part of this celebration at Seattle’s best and largest video rental shop, now 24 years old. Scarecrow Video, 5030 Roosevelt Way N.E., 524-8554,, Sat., Oct. 20, 11 a.m.-11:59 p.m. SEATTLE LESBIAN & GAY FILM FESTIVAL Venues for this year’s fest include Central Cinema, Cinerama, Egyptian, Northwest Film Forum, and Pacific Place. See for full schedule. Individual tickets $9-$11, passes $80-$210, Through Oct. 21. STOP MAKING SENSE SEE THE WIRE, PAGE 21.

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• ARBITRAGE Slick and grown-up as Richard Gere

himself, this intricate fiscal thriller takes a dead bead on extreme privilege, with Gere’s Madoff-like billionaire fund-runner scrambling to keep his personal empire from crumbling like crackers. He has everything until he doesn’t—with the sale of his company for nine figures already jeopardized by cooked books, a car wreck, and warm corpse get him scrambling one step ahead of the cops. We bizarrely empathize with the amoral hero’s stressed-out tightrope walk, wanting him to get away with being an untouchable plutocratic scumbag, while the film simultaneously limns the rank injustices money can buy in bulk. (R) Michael Atkinson SIFF Cinema Uptown, Kirkland Parkplace ARGO Ben Affleck’s third directorial effort begins with the November 4, 1979, attack on the U.S. embassy in Tehran. While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer. Between hokey wisecracks ribbing industry idiocy, the trio seizes on a dusty script for a Star Wars rip-off. Affleck’s movie doesn’t reflect who we are now so much as it argues for what Hollywood can be. It’s an embodiment of the kind of quality adult film that really shouldn’t be an endangered species. (R) Karina Longworth SIFF Cinema Uptown, Seven Gables, Kirkland Parkplace, Lincoln Square, Majestic Bay, Meridian, Thornton Place, and others BEASTS OF THE SOUTHERN WILD A zealous gumbo of regionalism, magical realism, post-Katrina allegory, myth, and ecological parable, this Louisiana-set debut feature by 29-year-old Benh Zeitlin rests, often cloyingly, on the tiny shoulders of Quvenzhané Wallis. Beasts strains to remind us of Hushpuppy’s wisdom and courage beyond her years. He and Hushpuppy live in a grassy, overgrown expanse in a fictional bayou area called the Bathtub. Stomping around her ramshackle, squalid domain in white plastic rain boots, dirty T-shirt, and orange Underoos, this peewee heroine confidently wields a blowtorch. But in trying through incessant narration to make a 6-year-old a prolix sage, Zeitlin can’t avoid falling into sticky sentimentality. (PG-13) Melissa Anderson Varsity THE INTOUCHABLES An unlikely friendship develops between multimillionaire quadriplegic Philippe (François Cluzet) and his live-in caretaker, Driss (Omar Sy), a Senegalese-born son of the banlieue. Moving into Philippe’s gilded Parisian palace, Driss blows the dust off the place, prescribing his employer hash for his phantom pains, funking up a tuxedoed white folks’ party, and dealing tough advice to Philippe’s daughter. With his ghetto striver’s preference for the shiny and new, Driss also liberates Philippe from the straightjacket of musty high culture. The leads’ charisma goes some small way towards softening the script’s cudgeling sentimentality. (R) Nick Pinkerton Sundance Cinemas LOOPER Early in Rian Johnson’s thriller, Joe (Joseph Gordon-Levitt) sits at a diner and chats with his self from 30 years in the future (Bruce Willis), who tells him not to worry about the particulars of time travel. Looper is more intent on the moral implications of a charged situation grounded in character, and it turns both Joes loose to make their own life-altering choices. Thrilling in its deft juggling of complex narrative elements, utterly clear in its presentation and unfolding with what feels like serious moral purpose, Looper favors the human scale over abstract philosophizing or meta-cinematic frippery. For Johnson, the inveterate pasticheur, it qualifies as a significant step forward. (R) Andrew Schenker Sundance, Kirkland, Lincoln Square, Meridian, Cinebarre, Thornton Place, others THE MASTER In admitting that Lancaster Dodd (Philip Seymour Hoffman), the figurehead of a growing faith movement in 1950s America, was inspired by L. Ron Hubbard, Paul Thomas Anderson set up expectations of an exposé of the origins of Scientology. Instead, he has delivered a free-form work of expressionism, more room-size painting than biopic. Anderson has never made a film so coded, so opaque. Dodd teaches a drunk



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Seattle we ekly • O CTO BER 17− 23, 2012

Liesl Clark, Bryan Gunnar Cole, and Laurance Price discuss their adventures in indie film. Bainbridge Public Library, 1270 Madison Ave. N., bainbridgeartshumanities. org, Free, Fri., Oct. 19, 6 p.m. THE CONNECTION Part of the ongoing citywide Earshot Jazz Festival (through Nov. 4), this week’s Earshot Jazz Film Festival features four titles including Shirley Clarke’s 1961 The Connection, based on Jack Gelber’s play. A fine retro offering in the cinematic season of scag, The Connection centers around a doofus documentarian filming a bunch of junkies waiting for their fix in a decrepit Manhattan loft. What’s most radical about Clarke’s movie isn’t the depiction of the needle and the damage done but her critique of the burgeoning American cinema vérité movement and its claims of capturing “the truth.” Among the supporting cast are actual jazz musicians including Jackie McLean. (NR) MELISSA ANDERSON Northwest Film Forum, $6-$10, Oct. 19-25, 7 & 9:15 p.m. CURSE OF ALL MONSTERS ATTACK! See the GI’s website for a full schedule of scary titles. Among the third week highlights are 1943’s Phantom of the Opera, with Claude Rains as the disfigured ghoul (no, he doesn’t sing); and The Burning, a 1981 slasher flick about a summer camp terrorized by its groundskeeper. (R) Grand Illusion, $5-$8, Through Oct. 31. DUNE Yakima-born Kyle MacLachlan stars in David Lynch’s 1984 take on the Frank Herbert sci-fi novel. Some parts are great, others silly. (PG-13) Central Cinema, $6-$8, Sun., Oct. 21, 7 p.m. ETERNAL SUNSHINE OF THE SPOTLESS MIND Jim Carrey plays Joel, an office-worker drone so stifled by his routine that the last two years of his cartoon journal/diary are blank. Kate Winslet plays Clementine, a flighty, mercurial bookstore-clerk drone from the same LIE exit. They meet cute at the beach. So—is this movie a simple opposites-attract formula job? Not at all; the Oscar-winning 2004 collaboration between French director Michel Gondry and screenwriter Charlie Kaufman is a heart-trip and a head-trip all at the same time. Joel opts to have the memory of Clementine removed from his brain by some shady operators (Mark Ruffalo, Elijah Wood, and Kirsten Dunst among them). Naturally the low-tech procedure goes very, very wrong. Movie screens at midnight. (R) BRIAN MILLER Egyptian, $8.25, Fri., Oct. 19; Sat., Oct. 20. FILMS4FAMILIES: ANIMAL KINGDOMS See the SIFF website for full list of titles in this squee-tastic weekend series, which includes March of the Penguins, Babe, Fantastic Mr. Fox, and other barnyard faves. (G) SIFF Cinema Uptown, $4, Sat., Sun., 1 p.m. Through Oct. 28.

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Seattle weekly • OCTOBER 17− 23, 2012



1. Title of publication: Seattle Weekly. 2. Publication number: 306-730. 3. Date of filing: 10/01/2012 4. Frequency of issue: Weekly. 5. Number of issues published annually: 52. 6. Annual subscription price: $189.00 7. Complete mailing address of known office of publication: Seattle Weekly, 1008 Western Ave., Suite 300, Seattle, WA 98104-1006. 8. Complete mailing address of the headquarters of general business offices of the publisher: Same. 9. Full names and addresses of Publisher, Editor, and Managing Editor: Publisher- Ken Stocker, c/o Seattle Weekly, 1008 Western Ave., Suite 300, Seattle, WA 98104-1006; Editor-Mike Seely, c/o Seattle Weekly, 1008 Western Ave., Suite 300, Seattle, WA 98104-1006; Managing Editor-Daniel Person, c/o Seattle Weekly, 1008 Western Ave., Suite 300, Seattle, WA 98104-1006 10. Stockholders owning or holding 1 percent or more of total amount of stock: Seattle Weekly Media, LLC, 1008 Western Ave., Suite 300, Seattle, WA 981041006; Voice Media Group, LLC, 1201 E. Jefferson, Phoenix, AZ 85034. 11. Known bondholders, mortgagees, and other security holders: none. 12. N/A. 13. Publication name: Seattle Weekly. 15A. Average number of copies during preceeding 12 months (pressrun) 65,135. B1 Average individual paid or requested mail subscriptions: 100 B3. Average sales through dealers and carriers, street vendors, counter sales, and other paid and/or requested distribution: 64,945. C. Average total paid and/or requested circulation: 65,045. E. Average total nonrequested distribution: 0. F. Average total distribution: 65,045. G. Average copies not distributed: 90. H. Average total: 65,135. I. Average percent paid and/or requested circulation: 100. Actual number of copies for single issue published nearest to filing date. 14. Issue Date: 09/12/2012. 15A. Actual total number of copies (pressrun): 64,000. B1. Actual individual paid/requested mail subscriptions: 99. B3 Actual sales through dealers and carriers, street vendors, counter sales and other paid or requested distribution: 63,811. C. Actual total paid and/or requested circulation: 63,910. E. Actual total nonrequested distribution: 0. F. Actual total distribution: 63,910. G. Actual copies not distributed: 90. H. Actual total: 64,000. I. Actual percent paid and/or requested circulation: 100. 17. I certify that the statements made by me, above, are correct and complete (signed) Pamela E. Dunning, General Manager.


The inside scoop on openings, hotspots and offers.



Rodriguez, a Mexican-American balladeer from Detroit who cut a couple of tepidly received LPs in the early ‘70s, vanished, and subsequently became an Elvis-sized rock god in South Africa, the Swedish filmmaker sidesteps arthritic VH1-style “where are they now” antics in favor of a more equivocal interrogation of celebrity culture. Bendjelloul interviews pertinent parties in standard rockdoc style, as well as the singer-songwriter’s charming, touchingly loyal grown daughters. It’s no huge surprise when Rodriguez himself turns up, still living the same modest existence as before his brush with micro-fame. Better still, Rodriguez’s casual disinterest in PR-blitzing his resurrection and apparent contentment with an ordinary working life lets Searching for Sugar Man hold up a mirror to what we’ve come to expect—and cynically refuse to accept—from artists in an age of pervasive, entitled notoriety. (PG-13) Mark Holcomb Varsity Theatre SEVEN PSYCHOPATHS Writer/director McDonagh has his Irish screenwriter hero (named Marty, played by Colin Farrell) and a somewhat-touched actor pal (Sam Rockwell) find seven stories from seven psychopaths to fill out Marty’s planned screenplay. From there, a dog-napping Christopher Walken gets in bad with raging gangster Woody Harrelson and drops peyote at Joshua Tree. Tom Waits shows up. There are flashbacks to absurd crime sprees, fabulist tales of murderers who might make the in-film screenplay, a serial killer on the loose, and the characters’ attempt to avoid the ending that a movie like Seven Psychopaths must have. The film opens up as its leads flee to the desert, becoming thoughtful, expansive, and funnier than ever, something like Pirandello or Duck Amuck. (R) Alan Scherstuhl Sundance, Big Picture, Lincoln Square , Meridian, Thornton Place, others SINISTER In a neat bit of poaching, Sinister uses a premise borrowed from anti-horror pundits—the idea that some images can’t be unseen once seen—as the basis of a proficient, rattling horror story. Blocked writer Oswalt (Ethan Hawke) moves his wife (Juliet Rylance) and two young’uns into a house whose previous tenants were mysteriously slaughtered. A trove of profane 8mm home movies that Oswalt discovers links the events he’s investigating to a series of occult murders; and the addictive snuff imagery infects the house with mischievous spirits who scamper through the halls. Hawke’s taut performance—lightly parodying his own career doldrums—is totally credible. Vincent D’Onofrio and James Ransone contribute excellent supporting bits, the latter as a comic-relief deputy; yet they scarcely dilute the film’s sickish sense of a horror that begins at home. (R) Nick Pinkerton Alderwood 16, Regal Cinemas Stadium 14, AMC Southcenter 16, Factoria Cinemas, Woodinville Cinemas, Lincoln Square, Bella Bottega Cinemas, Crossroads Stadium 8, Issaquah, Meridian, Cinebarre, iPic Theaters, Thornton Place SLEEPWALK WITH ME Smart, funny stand-up comic Mike Birbiglia has already based a book and a touring show on his biographical woes, as heard on This American Life. Here calling himself Matt, Birbiglia plays a mediocre Brooklyn comic pushing 30 with a wonderful girlfriend (Lauren Ambrose) and some very impatient parents (Carol Kane and James Rebhorn). Lacking confidence or compellingly personal material onstage, Matt also has a sleeping disorder and an aversion to marriage. Told to to use his own life for joke material, Matt hits the Northeastern college comedy circuit, neglecting his health and girlfriend. Birbiglia’s Matt is a flawed yet sympathetic fellow reflecting on his youth during the flip-phone ‘90s. But the mature comic is more compelling than the tyro, and you’d rather see Birbiglia onstage today than Matt way back when. (NR) Brian Miller Guild 45th



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“A beautiful valentine.” –Indiewire

Seattle we ekly • O CTO BER 17− 23, 2012

named Freddie (Joaquin Phoenix) not to apologize for who he is—”a scoundrel”—and gets him to submit to the Master’s conversion therapy (this includes accessing memories from past lives). In Freddie he has a man who chewed through every leash ever clipped to his collar. Dodd repeatedly asks him, “Do your past failures bother you?” Can he change? Does he want to? Is this all vague enough for you? The film’s ambiguity could hardly be unintentional, but more interesting is Anderson’s use of sumptuous technique to tell a story defined by withholding. It’s a film of breathtaking cinematic romanticism and near-complete denial of conventional catharsis. (R) Karina Longworth Guild 45th, Cinerama MOONRISE KINGDOM It’s 1965, the rainy end of summer on the rocky coast of a fictional New England isle. Twelve-year-old Sam (Jared Gilman) disappears from the Scout camp run by Randy Ward (Edward Norton). Also 12, bad-seed Suzy (Kara Hayward) flees her distracted lawyer parents (Frances McDormand and Bill Murray). Aided by what remains of Ward’s troop (“It’s a chance to do some first-class scouting!”), the grownups, including Bruce Willis’ Captain Sharp, mobilize to find the fugitive young lovers. Moonrise takes the form of old-fashioned preteen literature, but, as everything made by Wes Anderson, does so knowingly. The escape Sam engineers for the pair is dangerous and crazy, but it’s also a way for him to exercise control. Suzy doesn’t have it so bad at home, but Sam’s flattering gaze gives her something she isn’t getting, and now won’t easily be able to live without. This utopian romance is thrown into relief by the quiet despair of the adults. (PG-13) Karina Longworth Crest THE PAPERBOY Lee Daniels’ Southern Gothic noir pulp is moistly set in South Florida in the ‘60s, where cornfed creep John Cusack is wrongfully on death row. Investigative journalist Matthew McConaughey and kid brother Zac Efron then encounter Cusack’s tarty pen pal groupie, Nicole Kidman. The Paperboy seems aimed at anyone who, when young and impressionable, was treated to and weirdly turned on by a truant matinee of In the Heat of the Night. (Family maid Macy Gray provides coy narration) When not contriving to get Efron out of his clothes, The Paperboy gropes for familiar movie language of its period setting: Soul music swells up excitedly over a jumble of jerky zooms, befuddling cuts, and spatial vagueness. But sometimes hot messiness has its charms. (R) Jonathan Kiefer Guild 45th, Pacific Place PERKS OF BEING A WALLFLOWER Perks, written and directed by Stephen Chbosky from his 1999 youngadult novel, is set in 1991. But period particulars seem secondary on Chbosky’s list of priorities. Charlie (Logan Lerman), a shy-fox 14-year-old with a history of depression, makes it through his freshman year by clinging to the alterna-clique spearheaded by Edie-esque Sam (Emma Watson) and her swish stepbrother Patrick (Ezra Miller). Charlie loves Sam, who is sorta spoken for by a boho college douche. Chbosky plays this CW serial stuff for maximum earnestness. And then comes the plot twist, which recasts the film’s plaintive portrait of Charlie’s free-floating anxiety and sexual weirdness as Not His Fault. (PG-13) Karina Longworth Lincoln Square, Harvard Exit RUBY SPARKS Ruby (Zoe Kazan) is the fictional invention of one-hit novelist Calvin (Paul Dano) miraculously made flesh, exactly the sort of preciously troubled, whimsical, impractical, thrift-store chic, just feasibly girlfriendable little kook that Zooey Deschanel has made a career of. In fact, It’s a parody of the type. At first, all is harmonious between Calvin and custom-fit Ruby. When inevitable incompatibilities arise, however, Calvin violates his own rule by returning to the typewriter where he discovers that he can “edit” his creation, inadvertently rewriting her as codependent, dippily elated, and bipolar—license for screenwriter Kazan to run amok, with a winning lack of self-consciousness. Still, the direction, from Jonathan Dayton and Valerie Faris (Little Miss Sunshine), is never more than workmanlike. (R) Nick Pinkerton Sundance SAMSARA Directed by Ron Fricke, this New Age follow-up to 1992’s Baraka zigzags through 25 countries in ravishing Super Panavision 70. Samsara plumbs its conceit—the Buddhist/Hindu notion of cosmic cyclicity and earthly suffering—with a visual panache that short-circuits the need for narrative discipline. From corporeal subjects in an Ethiopian village and a São Paulo cathedral to inanimate relics on Turkey’s Mount Nemrut and the devastated Ninth Ward of New Orleans, the film’s imagery is epic and trance-inducing. However, while civilization’s hyper-mechanized Malthusian horror show is captured with inventive flare (a mass dance sequence in a Filipino prison is a stunning highlight), but Samsara is undercut by an underlying smugness and complementary mush-brained Eastern fetishism. (NR) Mark Holcomb Sundance SEARCHING FOR SUGAR MAN Malik Bendjelloul’s documentary is such a gift. In telling the tale of Sixto

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

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


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Seattle weekly • OCTOBER 17− 23, 2012

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Raise the Steaks

Ballard gets more barbecue, when what it could really use is an upscale sports bar.

Seattle fans deserve a restaurant where they can simultaneously dine well and spectate comfortably. its impending awesomeness so relentlessly that everyone I took to eat there remarked on the smallness of the space. Although the highceilinged dining room could hardly be classified as cozy, indoor seating for 50 feels modest in a restaurant which has been boasting about the size of its spread since long before renovations on downtown Ballard’s Henry Gowan Whyte Building were completed. I expected a second floor and a mechanical bull.

Instead, Kickin’ Boot has gone corporate country, eschewing any decor elements that might indicate a real hillbilly was associated with the enterprise. If your favorite examples of interior design are found in Las Vegas casinos and upscale shopping malls, you’ll be smitten by the deeply grained wooden tables, massive steel halos suspended from the exposed rafters, and an impressive sixshelf pyramid of whiskey bottles, backlit by a sweeping window overlooking the Ship Canal.


any of the hallmarks of the affluent sports den are in evidence at Kickin’ Boot, including valet parking. The dining room’s noisy, but service is crisp, and the bar’s bracketed with six high-def TVs, which counts as ample by local standards. Most important, the kitchen—helmed by Bo Maisano of Bo Ramen pop-up fame—makes a mean steak.

While the red-meat sandwiches on Kickin’ The best part of the Boot. Boot’s lunch menu are memorable mostly for their gently griddled potato buns, the T-bone I tried was terrific. Cooked to a textbook have already annoyed at least a few Ballardites. medium rare, the beef’s hearty flavor was “Kickin’ Boot is spewing toxic burnt-wood locked in by a fast, hot sear on a grill fueled smoke fumes into the Old Historic Ballard by mesquite and punctuated by a thin crust of neighborhood,” the writer of a letter to the salt. The steak wore its smoke like a Gore-Tex Ballard News-Tribune complained this sumjacket, a subtle reminder of the outdoors and mer. “They have decided to ignore the pleas misty ranch mornings. Kickin’ Boot keeps of nearby residents and continue to burn firemore than a dozen items wood in their giant meat on its sides menu, but smokers day and night.” the steak is appropriately Sadly, the payoff is » PRICE GUIDE WINGS .................................................$8 accompanied by a fine small. Like an accordion, KICKIN’ SHRIMP ............................. $11 SMOKED SIRLOIN SANDWICH ... $12 baked potato and perhaps a Bewley is a beautiful SMOKE MASTER PLATTER....... $35 a bottle of red wine from instrument that can’t just FRIED CHICKEN ............................. $16 SHRIMP AND GRITS ..................... $16 the restaurant’s Washingbe picked up and played. T-BONE ............................................$40 ton-heavy list. It demands practice— At $40, the steak’s possibly years of it. For likely to wipe out the budgets of many dinnow, the meats emerging from Kickin’ Boot’s ers, who may not be accustomed to dropping pit are tough, dry, and overly smoked. The a day’s wages on a restaurant that drops its restaurant provides a lineup of six sauces, g’s. But if there’s call for a starter, a few of the atypically forgoing secrecy and listing the side dishes—notably the sturdy cheddar-andsauces’ ingredients (hope you like cider grits sticks, the cheese-drenched mac, and vinegar). The caddy functions as a chemistry the stinging horseradish slaw—are decent set for condiment hounds, who may find choices. My shrimp-and-grits entrée was that a dab of mayonnaise-based White sauce a mess of butter, bland shrimp, and thick, mixed with a dash of mustard-based Gold pasty grits that congealed in odd places, but sauce makes an upstanding fried-chicken dip, the seafood appetizers were unobjectionbut it can’t salvage the underwhelming meats. able, including a stack of three peel-and-eat Low-and-slow devotees are probably better shrimp balanced on a slice of Texas toast and off at nearby Bitterroot, which offers a similar showered with a sharp vinegar-pepper sauce. barbecue-and-bourbon formula, but adds Vinegar is a constant at Kickin’ Boot, stupendous buffalo livers instead of hype to sometimes to the dishes’ detriment. Collards the equation. are ruined by too much of the stuff, and the Yet even in Ballard these days, there’s more potato chips’ salt-to-vinegar ratio leaned too to life than barbecue. There’s baseball. And far toward vinegar on one occasion. But at football. And a steak dinner with a whiskey another meal, the chips tasted balanced and neat at its end. Beyond the haze emanating cleanly fried. For all its sleek professionalism, from its smokers, that’s what Kickin’ Boot has Kickin’ Boot hasn’t yet mastered consistency: to offer. E Smoked chicken wings veered from excellent to nearly inedible over the course of two visits. Smoking is the source of Kickin’ Boot’s most KICKIN’ BOOT WHISKEY KITCHEN serious culinary missteps. The restaurant uses 5309 22nd Ave. N.W., 783-2668, a pair of custom-built Bewley smokers, which 11 a.m.–midnight Sun.–Thurs., command respect in the barbecue industry but 11 a.m.–1 a.m. Fri.–Sat. 35

Seattle we ekly • O CTO BER 17− 23, 2012

“A generous helping of Southern hospitality.”

(OK, so the back bar’s pretty neat, no matter which way your tastes run.) It all adds up to an aesthetic so carefully engineered that some customers have mistakenly assumed the team behind Bastille and Poquitos is responsible for it. In fact, the pair associated with Kickin’ Boot is another local glossy-restaurant success story. In 2004, down the street in Ballard, Nathan Opper and Zak Melang opened the first of seven Matador locations in the Pacific Northwest. It’s a trajectory the owners seem determined to repeat: Southland Whiskey Kitchen, a carbon copy of its northern neighbor, is set to open this month in Portland. According to many press releases, the Whiskey Kitchen concept revolves around barbecue, brown liquor, and “a generous helping of Southern hospitality.” What’s unfortunate is that a better, more original (at least for Seattle) concept is buried beneath the restaurant’s adopted Dixie swagger: If Kickin’ Boot weren’t so distracted by its own smoked-meat tomfoolery, it could be the region’s finest upscale sports bar. In well-paved cities where men wear threepiece suits to NBA games, it’s not uncommon to encounter “sports lounges” with steaks measured in vertical inches and flat-screen televisions measured in feet. Avidly patronized by Cigar Aficionado subscribers and Ferrari drivers, such restaurants probably wouldn’t transfer seamlessly to the Puget Sound area, which has an admirably low tolerance for long martini lists and servers in stiletto heels. The near-total banishment of televisions from Seattle’s best restaurants is a godsend for eaters, who deserve to enjoy their meals—and one another’s company—without the interference of broadcast chatter. But it’s kind of a drag when you’re hungry during important sports months, such as October. While there are plenty of respectable sports bars around town, Seattle fans deserve a restaurant where they can simultaneously dine well and spectate comfortably. Whether by accident or design, Kickin’ Boot comes very close to being that kind of restaurant. KEVIN P. CASEY


he wreckage of our midday meal at Kickin’ Boot Whiskey Kitchen, the newest contestant in Ballard’s ongoing barbecue pageant, was staggering. A good 20 minutes after a cheery server dropped off our plates, the table was landscaped with derelict jointed chicken wings, pointing their saucy tips toward the sky; a pile of grease-ridden potato chips; multiple sauce bottles uncapped in a fruitless search for something to invigorate flagging slices of tri-tip; and rugged hunks of cornbread so sweet it could double as dessert. The manager who surveyed the scene was unfazed. “Food’s awesome,” he said, the question mark apparently sticking in his throat. Kickin’ Boot desperately wants to be awesome. The 2-month-old restaurant promoted






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


CAFE BESALU 5909 24th Ave. N.W., 789-1463. Is there a


Seattle’s Best Sushi 2207 1st Ave • BELLTOWN 206.956.9329 OHANABELLTOWN.COM


Seattle weekly • OCTOBER 17− 23, 2012





Kids eat Free Sundays till 6pm


BUFFALO DELI 2123B First Ave., 728-8759. Kathleen

Haggerty has created the ultimate sandwich, “beef on weck”: a kimmelweck roll brushed with butter, toasted with caraway seeds and kosher salt, slathered with horseradish mayo, and covered with roast beef au jus. Her delicious, homemade green bean, garlic, and portobello salad deserves mention, and the deli also features New York penicillin, aka matzo-ball soup. $ MARRAKESH 2334 Second Ave., 956-0500. Enter a room that resembles a tent, recline on regal pillows, and watch course after luscious course emerge from the hidden kitchen. Couscous, eaten with the hands, is the humble star of Moroccan cuisine; here you can get it topped with chicken, lamb, or vegetables. The latter two choices are best, since b’steeya royale is a must: A buttery pastry (not unlike phyllo) is wrapped around delicately spiced chicken and toasted almonds. The plate is ringed with powdered sugar, begging the question: sweet or savory? $



723-5123. The south end outpost of Jeff Eagan’s chain of good-food-with-good-beer establishments. Expect fine domestic and imported microbrews on draft and simple, hearty food made from fresh seasonal local ingredients. Menu changes weekly. $ COLUMBIA CITY BAKERY 4865 Rainier Ave. S., 723-6023. This airy bakery offers the perfect croissant: flaky, buttery and served with raspberry jam on the side.


» by hannah levin

Tom Terrific

The Watering Hole: Vito’s, 927 Ninth Ave., 397-4053, FIRST HILL The Atmosphere: “The Sopranos crash the set of Swingers” would be the easy shorthand, given Vito’s original incarnation as a gangster haunt in the early ’50s and its 2010 resurrection as a cool-kids’ cocktail lounge. However, the precisely calibrated balance between old and new struck by current owners Greg Lundgren and Jeff Scott (co-proprietors of The Hideout, located just around the corner) saves Vito’s from losing its sense of history (wood paneling and a saucy Sicilian menu remain), while improving upon what wasn’t working (the dance floor has been repurposed as a home for a grand piano). Tattooed 20-something lovebirds now canoodle over Vito’s legendary cannelloni, but lifelong regulars keep their space at the bar with deserved dignity. The Barkeep: A smoldering brunette brandishing fresh-faced beauty and an unaffected, engaging demeanor that suits Vito’s perfectly, Kristen Naranjo is a veteran of the Seattle bar business. She accumulated serious trench time slinging tequila and Tecate at the Cha Cha (both new and old locales) and shouting over crowds swarming the bar at Neumos, but then moved away from high volume—literally and figuratively—and began working for Lundgren and Scott. After four years of tending bar at The Hideout, she started managing her bosses’ whole operation; her duties now include supervising the bar at Vito’s, hiring several new staff members, and revamping the cocktail menu. The Drink: The Tom Handy. “It’s a take on the Sazerac,” explains Naranjo, deftly rinsing a



better quiche in Seattle than the ones at this hole-in-thewall on a leafy street in Ballard? If you need incentives to drag yourself out of bed (and wait in line outside the door), you won’t find many better than this. Baker James Miller’s apple Danishes and pains au chocolat are good— and his croissants and brioches are outstanding. $ HATTIE’S HAT 5231 Ballard Ave. N.W., 784-0175. Homey and comforting, Hattie’s and its finest accomplishments—the Guinness-moistened meat loaf and the chicken-fried chicken—are the stuff of good dreams. And as soon as you wake up from those dreams, c’mon back, because Hattie’s does breakfast right, too. Sloppy, fried, and sauced with melted cheese and gravy, the breakfast menu reads like an antihangover handbook, with all the regulars and a crazy-good smoked salmon Benedict. Slurp it all down with a few of the best Bloody Marys in town. $ THE OTHER COAST CAFE 5315 Ballard Ave. N.W., 789-0936. The secret to a superlative sandwich, as any East Coaster will confidently tell you, is Boar’s Head brand meats and cheeses. Sandwiches at The Other Coast are loaded with plenty of both, and nostalgic transplants stand in line for messy lunches of sliced roast beef, turkey and ham slathered with mustard and mayonnaise. There’s no artistry here—the sandwiches only work because they’re made with such high-quality ingredients—and the sandwiches don’t come cheap: A

six-inch turkey Reuben costs $7.50, and it’s a dollar more if you’d like it toasted. Still, few storefronts do a better job of stemming cravings for straight-up sandwiches. $

A smoldering brunette!

chilled double rocks glass with absinthe before swirling a long-handled spoon around rough-cut ice cubes and two parts rye whiskey, one part cognac, a whisper of simple syrup, and a brisk sprinkling of Creole bitters. “It’s a really simple preparation and a totally stunning cocktail,” she continues, confidently placing the finished product in front of me with a generous swath of lemon peel kissing the frosty glass rim. The Verdict: The wheel has not been reinvented, and that’s a good thing. This is the perfect whiskey cocktail to usher in fall’s chill. It warms initially via the obvious effects of cognac, but then unexpectedly refreshes, thanks to the beautiful harmony of dry rye and the slight anise flavor that comes through the absinthe. E


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There are chocolate and almond varieties, as well as an array of cookies, breads and seasonal specials like Valentine’s Day chocolate truffles. Come after school lets out, or on weekend mornings, and you will find half of the neighborhood here with their kids. $


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

aren’t too thick at downtown Seattle’s premier emporium of imported candies, teas, and cocoa mixes, so when you’re done ringing up your $12 ultra-bittersweet bar and tin of cherry-vanilla tea, sit down with a scoop of gelato, a petit four, a lemon bar, or something else yummy from their dessert case. $ HARRIED AND HUNGRY 1415 Third Ave., 264-7900. At H&H, each box lunch comes with a beverage, a bag of Tim’s Cascade chips, and a cookie. The falafel sandwich puts excellent, disc-shaped patties in a French roll rather than a pita, then covers them with enough hummus, feta cheese, and cucumber and tomato slices to distract you from the strange choice of bread. While the hot salami and provolone is popular, the caprese’s fresh mozzarella and flavorful tomatoes (not enough basil, though) justify making a perfectly reasonable salad into a sandwich. $ LE PICHET 1933 First Ave., 256-1499. If you’re taking it up a notch for lunch, miss the coziness of the pre-renovation Virginia Inn next door, or really can pronounce French dishes, Le Pichet is right up your alley. Intimate and sophisticated in a casual way, it’s right out of Paris, though located at the nexus of the Market and the good end of Post Alley (Pink Door, White Horse). Devotees of this echt-French cafe insist that it is, dollar for dollar, the biggest restaurant bargain in Seattle. It’s hard to argue with them. The wine list is a dream, and the whole meal costs about half what a similarly splendid one at most venues elsewhere would run. $ POST ALLEY PIZZA 1123 Post Ave., 382-8475. Regular 9-to-5ers from every demographic can be found hunkering down over a slice or two of Post Alley’s New York-style street pizza, thin-crusted and bedecked with vegetables and meats. The staff have an understated air of friendliness; niceties may be unknown, but they’ll remember what you like to order on Wednesdays when it’s raining. $ SPECIALTY’S CAFE & BAKERY 1023 Third Ave., 264-0887. The smell of sinfully rich chocolate-chip cookies may lure you in, but Specialty’s is at heart a utilitarian lunch place. Sandwiches and salads come out quick, even if you don’t order ahead online. It’s quite a few notches above Subway, though; sandwiches come on homemade bread and are enlivened with ingredients like pesto, avocado and cranberries. $ TULIO RISTORANTE 1100 Fifth Ave. (in the Hotel Vintage Park), 624-5500. A fedora, or maybe even spats, wouldn’t look out of place in Tulio’s handsome 1920s-

ALittLeRAskin » by hanna raskin

A specialty farm in Portland is helping to popularize a green in shellfish’s clothing. The oyster leaf—which has appeared locally at The Walrus & the Carpenter, Harvest Vine, and Mistral Kitchen— is a taste doppelganger for a freshly shucked oyster. “It just tastes like the sea,” says Leslie Recio of Viridian Farms. Smooth and green as mint ice cream, the thick leaf grows along the Scottish coast. Recio and her husband, Manuel, first encountered it at a three-star Michelin restaurant in Spain, and remade its acquaintance at least year’s Madrid Fusion, a high-powered gathering devoted to new culinary trends and technology. They then began cultivating the plant at their Oregon farm, which Recio says is “extremely difficult . . . I don’t think a home gardener could do it. It would have to be an incredible home

Fresh o! in Branz

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ZEEK’S PIZZA 7900 E. Greenlake Ave. N., 285-8646. This

GREENWOOD & PHINNEY RIDGE BETH’S CAFE 7311 Aurora Ave. N., 782-5588. Beth’s is the

archetypal greasy spoon—a Peter Pan restaurant that opened in 1954 and never grew up. Nearly 60 years in business means that, if you’ve got some generational history in the area, your grandmother probably behaved badly at Beth’s back in her day—tooled up on corn mash, running with a rough crowd, climbing on the tables and showing bikers her lady business. It survived a fire 13 years ago. Every night is like a riot on the floor. Nothing will ever kill Beth’s, despite the fact that the menu (full of 12-egg omelets, huge plates of hash browns and pancakes the size of placemats) seems, in certain places, custom-made to kill you. $ FRESH FLOURS 6015 Phinney Ave. N., 297-3300. Given that Seattle, Bellevue, and Everett have the second-largest concentration of coffee shops in the country, cafes are smart to surprise customers with something new and

gardener with a horticulture degree.” Most of Viridian’s oyster leaves are shipped to the East Coast; according to Tasting Table, Grant Achatz and Sean Brock are fans of the leaf’s intense brine, which it saps from the soil for protection from freezing temperatures. Since the leaf loses its distinctive flavor when cooked, it’s typically served fresh in a raw oyster’s stead. At Ox in Portland, it’s laid atop halibut. And last year at Alinea, Achatz served the leaf tucked into an oyster shell and garnished with a mignonette. While it’s thrilling for oyster lovers to encounter a green that tastes like their favorite food, the leaf might be a bigger hit with oyster detractors: “It tastes remarkably like the bivalve,” the Guardian reported this summer. “It’s a lot less likely to give you food poisoning too.” E




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is pizza Seattle style, pillowy and chewy. You can get traditional topping combos, but Zeek’s specializes in agreeably off-the-wall items like broccoli and spinach (the Treehugger), peanut sauce (Thai One On), or heaps of feta, kalamata olives, and red onions (the Jimmie the Greek). If you like jalapeños, that’s about all you’ll be able to taste on the Dragon, though it features pepperoni and sausage as well. Check out the website for bargain specials Monday through Wednesday. With five locations north of downtown and one in West Seattle, Zeek’s can deliver a hot pizza with ease. $

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm If you have a DUI or Traffic Infraction(s), you need representation immediately. 20% Discount for Veterans 10% Discount for College Students with I.D. IF YOU ARE STOPPED FOR A DUI, HAND THIS CUTOUT TO THE OFFICER.

Officer, • I wish to contact my Attorney, Casey Jason at 425-223-7701 now. • I will provide my drivers license, registration, and proof of insurance. • I will sign a citation, if any, then I want to leave immediately. • I will not answer any questions without an attorney present. • I do not have to do “Field Sobriety Tests” and I refuse to do them. • I do not consent to or want to be recorded. • I do not consent to my person, car, or other property being searched. • I do not waive my rights. If you want me to take a breath or blood test, I want to talk to Casey Jason at 425-223-7701, first.

Seattle we ekly • O CTO BER 17− 23, 2012

A New Leaf

era dining room. The food is far more contemporary. An Italian eyebrow might tilt at smoked salmon ravioli with lemon cream or grilled calamari with spicy Tuscan Rice beans and a parsley aioli, but chef Walter Pisano treats his ingredients harmoniously. Meats may come out overcooked; pastas and risottos, never. This is food even society matrons would unclench their jaws for, served in a room that makes its guests feel like they’re richer than their bank accounts would attest. $$$ WILD GINGER ASIAN RESTAURANT 1401 Third Ave., 623-4450. Wild Ginger, perched on the bustling corner of Third and Union streets, was for many years located at the vanguard of Asian fusion cookery. But the kitchen’s unwillingness to tinker with once-daring dishes has robbed the glitzy dining room of its vitality. The ossified menu recalls not the glamor and gall of 1990s pan-Asian experimentation, but the clumsiness of 1950s global cuisine. Popular post-war proteins of beef, lamb and duck are skewered, grilled, mollified with sweet sauces and served with airy pads of bao, white and bland as Wonder Bread. Still, the restaurant’s tremendously popular with local eaters and visiting conventioneers: Expect to wait for a table. $$


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food&drink»Featured Eats different. Fresh Flours does it by fusing a variety of standard pastry recipes with Japanese culinary traditions. Soft, fluffy kabocha muffins accent the flavor of Japanese pumpkin with pumpkin seeds and white chocolate. Azuki brioches marry butter-soft rolls with a filling of subtly sweet Japanese red beans. And don’t forget your coffee. $ RAZZIS PIZZERIA 8523 Greenwood Ave. N., 782-9005. A family place in a city of hipper-than-thou hot spots. It’s a great place to take large groups or rowdy kids. The food’s great for sharing, too—the deep-dish pizzas are hearty, and the popular calzones are colossal. And, for the lactose-intolerant in your group: soy cheese pizza! $ SANTA FE CAFE 5910 Phinney Ave. N., 783-9755. The Santa Fe has kept doing the same wonderful things since arriving first in Ravenna in 1981 (now closed), and then expanding to this location near the Woodland Park Zoo in 1987. The red chile sauces are still fragrant; the posole continues to be a fun, spicy alternative to rice; and the blue corn tortillas look fabulous and taste even better. $$ STUMBLING GOAT BISTRO 6722 Greenwood Ave. N., 784-3535. This unassuming little bistro has made the reputation of three sustainability-minded chefs (Crow and Betty’s Craig Serbousek, the Corson Building’s Matt Dillon, and Emmer & Rye’s Seth Caswell), and under chef Joshua Theilen it’s poised to stay the course. The room still looks like it was decorated by recent college grads, and the menu is still small and inspired by seasonal, local ingredients (check the website for the list of purveyors). Typical entreés might include pappardelle ribbons with a deep tomatorabbit ragu and seared salmon with glazed beets. The laid-back atmosphere is fostered by service that is friendly and attentive without being cloying. $$






Ave. N., 527-5973. On your next trip to Strip City (aka FOR MORE RESTAURANTS OR VISIT Aurora North), stop off for some of the best pho north of the International District. Bowls of the traditional Vietnamese rice noodle soupchicken, meatball, and several varieties of beef-are huge, cheap, steaming, and fragrant. Order a Godzillasized extra-large only if you dare. If you can hold off eating your complimentary cream puff before the soup begins, you’re several steps closer to enlightenment than the rest of us. $



MAD PIZZA 4021 E. Madison St., 329-7037. Excuse the

groan-worthy tag (Seattle’s source for insanely great pizza) and focus on the fact that they do by-the-slice and delivery. (Even if you’ll spend $20-plus for a good-sized pie.) Especially noteworthy is their embrace of pesto, the green-headed stepchild of tomato sauce. It serves as the base for almost half the menu, including the Rastaman Jamaican jerk chicken and yellow pepper. $

CHEN’S VILLAGE 544 Elliott Ave. W., 281-8838. It’s no

surprise this Chinese restaurant is still going strong, despite its shabby exterior and sparsely filled parking lot. While some restaurants spend money glamming up their image, Chen’s does brisk takeout business dishing up meals that don’t taste like they’ve been sitting under a heat lamp all afternoon. It features mirror-lined walls, pool tables, and a bar serving $2 Bud for happy hour. The only thing that’s missing is karaoke. On the menu, the Dinner for Two is perfect for couples unable to make a decision from the never-ending options Chen’s offers. The meal comes with two egg rolls, a choice of soup (either Hot & Sour or Egg Flower), a heaping plate of broccoli beef, and sweet & sour pork—all served with jasmine rice for $20.95. If you choose to dine in, you’ll be treated to an unlimited supply of green tea. $ LITTLE CHINOOK’S FISH & CHIPS 1900 Nickerson St. (Fisherman’s Terminal), 283-4665. Little Chinook’s is cavernous and noisy, but that doesn’t deter those in search of fresh oysters in the winter and wild blackberry cobbler year round. The staff promptly appears with baby booster chairs and Red Hook pours alike. An extensive menu with fishermen’s cioppino, five variations on the Caesar, crab cakes, and (of course) fish ‘n’ chips will have your relatives from Milwaukee enthused. Treat yourself afterward to the delectable desserts, such as bread pudding or Bailey’s chocolate mousse. Maybe you’ll share—then again, maybe you won’t. $$


CAFÉ BENGODI 700 First Ave., 381-0705. Is this restau-

rant Mediterranean, Italian, or North African? However you choose to label its cuisine, Bengodi’s menu is mouthwatering. Try the vongole, clams in a white wine-basil sauce over long pasta; the pescatore risotto with shellfish and tuna; or the pasta puttanesca. Bengodi translates as “to enjoy good,” and between its intimate red walls and high ceilings, you shouldn’t have a problem with that. $ CAFÉ PALOMA 93 Yesler Way, 405-1920. Finding a reasonably priced casual restaurant in which to while away an hour or two is surprisingly difficult in downtown Seattle. Café Paloma is one of the lone exceptions to that frustrating rule. This intimate little nook is maybe the size of a big garage, and that’s counting the tiny patio, a perfectly charming place to sit on a sunny day so long as you’re good at ignoring Pioneer Square’s gaggle of transients. Even though the atmosphere is casual, everything about Café Paloma exudes understated class without succumbing to the exasperating pretension that plagues so many of downtown’s pricier establishments. More important, Paloma is one of those rare places where you can open the menu, close your eyes, point at something, and order it with confidence. Every single item is a study in the kind of balanced flavors that can only be consistently attained with careful attention. The panini sandwiches contain perfectly proportioned layers of filling; it’s just the right amount not to be overwhelmed by the thick foccacia, and it’s hard not to resist the urge to lick the last bits of hummus and red-pepper dip from the meze platter. $ CHUCK’S HOLE IN THE WALL BBQ 215 James St., 6228717. Chuck Forsyth, founder of this tiny lunch spot, was a championship smoker who earned a long row of prize ribbons. Though Chuck passed away a few years back, his son John still recreates those recipes, smoking the brisket nice and slow over hickory, making the chili easy on the black beans and heavy on the ground beef, and blending up Chuck’s trademark Bullwhacker sauce—not too sweet, just deep and rich, with some secret Seattle magic: coffee. $


BAMBOO GARDEN 364 Roy St., 282-6616. Conveniently

located for the theatergoing crowd, this one-room Chinese restaurant serves two main dining constituencies (vegetarians and people who keep kosher) with a wide array of dishes featuring delicious fake meat. Yet carnivores who don’t know from kosher seem to enjoy it just as much. Though almost anything tastes great deep-fried and glazed with sweet-and-sour sauce (e.g. sweet-and-sour “pork”), favorites like kung pao “chicken” are tasty, too (but be emphatic if you want them spicy, since the Garden errs on the mild side). Speaking of which: Avoid the bland soups, the menu’s only real lowlight. $ CAFFÈ ZINGARO 127 Mercer St., 352-2861. Spelling its name Gypsy style (Caffè Zingaro), this cute and convenient Lower Queen Anne coffee joint has quite the following among nearby artists. PNB, Seattle Rep, Intiman, McCaw Hall, and Teatro ZinZanni are all steps away, which means you may end up sharing your table or couch with a clown, ballerina, or thespian. (Don’t worry, they don’t bite.) If you’re pressed for time before a show, Caffè Zingaro is a great quick stop for a pastry with tea or coffee (the latter are also sold in bulk). It’s one of the few little spots in LQA that we wouldn’t mind increasing in size and menu. $ 5 SPOT 1502 Queen Anne Ave. N., 285-7768. The culinary focus of this Americana tribute restaurant changes every three months, so don’t get too hooked on the chicken-fried steak. But while the menu and decor sway with the season’s theme, the quality of the upscale diner fare at 5 Spot is remarkably consistent. While the burgers and ice-cream sundaes make the most sense at lunchtime, Queen Anne residents’ adoration for the cheery restaurant is so intense that they queue for brunch, dinner, and a seat at the circular bar. $$ OLYMPIA PIZZA AND SPAGHETTI HOUSE 1500 Queen Anne Ave. N., 285-5550. This cozy, if not divey, eatery comes complete with takeout counter, comfortable seating and a small outdoor dining area. Their pizzas are thick, cheesy, Greek-style, and made to order, though there are 39 recommended combos. If you are superhuman, try the desserts, made with Oreos, ice cream, and lots of sinful sauces. $ SPORT RESTAURANT AND BAR 140 Fourth Ave. N., 404-7767. If you couldn’t guess from the name, Sport has more flat-screen TVs than strictly necessary and a menu limited to steaks, burgers, fries, and cracker-crust pizza. The juicy burgers feature Kobe-style beef from Idaho, and there’s almost as much meat in the bold, Texas-style chili. The bar is set up for serious drinking and gameviewing, but the restaurant proper is family-friendly. $

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Seattle we ekly • O CTO BER 17− 23, 2012


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Ben Gibbard, Noel Gallagher, and the many roads to a solo career. BY DAVE LAKE

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Noel Gallagher (left) and Ben Gibbard (below) are sharing their solo material with Seattle this week.

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Jazz Alley is a Supper Club


et’s get this out of the way: Ben Gibbard isn’t going solo. Just because the Death Cab for Cutie frontman is releasing Former Lives, his first collection of solo material, does not mean the Bremertonborn singer/guitarist wants to be Sting or Phil Collins or Fergie. He merely wanted to present the songs he’s accumulated over the past few years that hadn’t fit onto Death Cab albums. That’s it. Noel Gallagher has gone solo. When Oasis split up in 2009, Gallagher’s brother Liam formed Beady Eye with the remaining members, leaving Noel, the band’s primary songwriter, to become the frontman of his own group, High Flying Birds, whose self-titled debut was released last year and which hit #1 in the UK. But where Gibbard’s solo debut (out Tuesday) strays from his famous band’s signature sound, Gallagher (who plays WaMu Theatre on the 24th) sticks with what has resonated with Oasis fans. “Do you know what the enemy of music is?” Gallagher said in a recent phone interview. “Interesting. Elvis wasn’t interesting. The Sex Pistols weren’t interesting. The Beatles weren’t interesting. They had something that was fucking real and dealt with emotion. Do you know who’s interesting? Björk. Interesting is fucking ridiculous. It annoys me.” With Death Cab still together, Gibbard’s decision to make an album that explores the boundaries of his songwriting comes without risk. A badly received solo record isn’t going to tank the band’s reputation—but Gallagher isn’t afforded the same luxury. With Oasis kaput, the 45-year-old musician risks everything should he decide to go the way of Blur’s Damon Albarn instead of staying the course. Albarn has been a musical chameleon since cooling things with Blur, but seeking a new identity is not something Gallagher is particularly interested in. Rather, he wants to make the kind of music his fans have come to expect: stadium-ready Britpop anthems built on the foundation used


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on the same shows. Unlike Gibbard’s, however, Miller’s solo records mine territory similar to that of his band work, resulting in albums that sound like the Old 97’s without the twang— which isn’t necessarily a bad thing, though it doesn’t do much to expand Miller’s brand. The appeal of a solo career isn’t just about artistic control. It’s about not having to battle egos; about keeping more of the money; about operating as a dictatorship instead of a democracy. During a No Doubt hiatus, Gwen Stefani made a pair of multiplatinum records that turned her into a superstar and promoted her clothing label. Bon Jovi guitarist Richie Sambora recently released a solo album on hip L.A. indie Dangerbird Records, home to Fitz and the Tantrums, Silversun Pickups, and (ahem) Beady Eye. Even Gibbard’s Death Cab bandmate Chris Walla released a solo record in 2008, though neither his project or Gibbard’s was intended to be some big commercial endeavor. “If making money and chasing success was my sole reason for doing music,” Gibbard countered, “I probably would be doing The Postal Service right now.” In a sense, however, Gibbard has gone solo, even if he’s not chasing success or focusing on a solo career full time. He’s mounting a monthlong tour to support Former Lives in conjunction with a major publicity campaign, which is no different from what Gallagher is up to. The prolific Gibbard has stayed busy with musical pursuits throughout his career, from The Postal Service to ¡All-Time Quarterback! and his 2009 collaboration with Son Volt’s Jay Farrar. His moves may not be calculated, but Gibbard has plenty to say musically—as he does frequently, even if this is the first album to bear his name alone.

by his famous Manchester group. “I think people that make challenging music are given too much credibility,” Gallagher says. “Write a fucking song that means something to someone, never mind leaving yourself chewing a carrot at 4 o’clock in the morning.” Gibbard’s Former Lives utilizes an expanded palette, including a pedal steel guitar, a mariachi band, and three-part harmonies, but it’s not only instrumentation and arrangements that set the album apart from Death Cab’s. Gibbard and producer Aaron Espinoza of the band “Do you know what the enemy of music is? Earlimart holed up Interesting. Elvis wasn’t interesting. in Los Angeles, 1,000 miles from rainy Seattle; The Beatles weren’t interesting. the city’s sun and sea Do you know who’s interesting? Björk.” leached into Gibbard’s usual melancholia. Even “Teardrop Windows,” a song about the recedDespite the differences between the two ing splendor of Seattle’s Smith Tower, sounds songwriters, Gibbard and Gallagher may not downright hopeful with its Big Star–inspired be as opposite as they seem on the surface. chords and melody. When was the last time you Maybe the pair could get even together and thought of Alex Chilton while listening to Plans? write a song for that second Postal Service album still owed to Sub Pop. “When we’re putting together a record,” “He’s a smart guy,” Gibbard said about the Gibbard said about his work with Death Cab, former Oasis guitarist. “Noel Gallagher knows “we tend to be playing to a certain mood what Noel Gallagher is good at. He knows lyrically or musically, and sometimes what what people expect from him and he’s playing I would consider a perfectly good song goes to that.” homeless for a while. A lot of these songs are You could say the same about Gibbard, even more indicative of my record collection than if what’s expected isn’t as easy to predict. E [of ] the mission statement of the band. Some of it sounds like ELO and the Beatles, and that’s just not what Death Cab does.” Noel Gallagher’s High Flying Birds plays Rhett Miller, the primary songwriter of the WaMu Theater with Snow Patrol on Wed., Dallas alt-country band the Old 97’s, has been Oct. 24. releasing solo albums in parallel to his band’s Ben Gibbard’s Former Lives is out now. career for a decade, touring as both a successHe plays the Showbox on Fri., Nov. 16 and ful solo act and as a band member, sometimes Washington Hall on Sat., Nov. 17.

music»Reverb »



Shukes & Leaves


The Outreachification of Jazz

Grant Olsen’s no fool. But he’ll do your dirty work. BY ERIN K. THOMPSON

If the establishment wants a larger audience, it has to change. BY CHRIS KORNELIS


PIR! TYF! EARSHOT JAZZ FESTIVAL: VIJAY IYER With Cuong Vu’s Triggerfish. Benaroya Hall, 200 University St., 215-4800, $11–$22. 7:30 p.m. Wed., Oct. 17.

BY DUFF MCKAGAN TTYL (Talk to Ya Later) Self-explanatory.

Now for the slang!

Swag Short for swagger; often used as an

adjective/noun thingy. As in “That dude is so chill, swag.” Trill A mixture of true and chill, as in Person 1: “Hey, we are hanging out Saturday.” Person 2: “Trill.” KK SWAQ Somehow means “OK, cool.” With all this new lingo, I decided to hit my daughter back a few acronyms of my own. Somehow she and her friends think they are funny. I am pretty sure that them laughing at my acronyms is equal to patting an old man on the head as you help him down the hallway. But maybe not. Maybe somehow they think these are cool! TSCC That’s So Cray-Cray THIR That’s How I Roll

I am a grown man, and suffer the same frustrations many working adults go through, like plane travel. Airlines should just go ahead and use these acronyms: GOTPC (Get on the Plane, Cattle) Selfexplanatory. TYF (Tame Your Flatulence) You know, that guy on the plane who keeps looking around at everybody else at the obscene smell. And here are some others for general life . . . and I understand the kids are using this one too (right?!?!). Sometimes we all feel this one: IWICJPYFS (I Wish I Could Just Punch Your Face Sometimes) For those angry times in life.

Or the sweeter version:

IWICJKYFS (I Wish I Could Just Kiss Your Face Sometimes)

I know, or am pretty sure, that many of you out there could fairly add to this list . . . this should be fun. So for now, G2G BRB. Your all yung taco swaq. Trill, you is my peeps, and I’m youses peep. Weez all peeps together. E

Duff McKagan is the founding bassist of Guns N’ Roses. GOLD LEAVES With Kay Kay and His Weathered Underground, Throw Me the Statue, Tomten. The Crocodile, 2200 Second Ave., 441-4618. $10. 7 p.m. Thurs., Oct. 18.

Seattle we ekly • O CTO BER 17− 23, 2012


rock, pop, R&B, and rap. If there is a problem— and the jazz establishment’s obsession with “outreach” and building its base suggests it believes there is—it isn’t with the audience or its access to the music. It’s with the artists. If they want to be heard by a larger audience, then they need to bring their music closer to what that audience likes. That’s going to take a different kind of album than Accelerando. E

CITR Chillin’ in the Ride

Your teenager’s secret language decoded!

ow that my kids are older, I get to enjoy the behind-the-scenes onslaught of teenage slang and acronyms. Of course, we all know the tired (OG) LOL, which eventually got augmented to LMFAO (Laughing My Fudging Ass Off ). Since AWOL acronyms have been a popular part of how we communicate in the English language, here are a few more that I have learned, having kids . . . PIR (Parent in Room) Used by a teenager while texting or video-chatting at home to warn another when an unknowing parent suddenly enters the room. G2G (Got to Go) Self-explanatory. BRB (Be Right Back) Used when having to leave the text conversation for a moment. ROFL (Rolling on the Floor, Laughing) Used to express wondrous joy, I suppose.

The Vijay Iyer Trio: the most celebrated band in jazz today.


listeners can whistle along to. That’s not a knock on mainstream audiences, but an acknowledgment of the fact that Iyer incorporates few of what Branford Marsalis once called the “things that normal people like about music.” Accelerando, like many jazz records made today, is jazz for people who already like jazz. Exposing audiences and young people to a variety of music is a noble endeavor, but there is something condescending, institutional, and even self-righteous about the outreachifaction of jazz. If a school has a music program, it’s as disproportionately likely to offer jazz over rock as a person in the U.S. is to buy a rock record over a jazz album. And when jazz is brought to schools and places “off the beaten path of the arts-going public,” the outreachers are employing one of the genres that Iyer argues “are worth investing in and preserving in a different way that’s not about simply what’s the most popular thing”— but they’re not employing the genres most likely to inspire young people to pursue music. In fact, it could be having the opposite effect: If elementary and junior-high students are listening to hip-hop and rock, do you think they’d be more likely to participate in school music programs if they addressed the beats of Duke Ellington, or of Jay-Z? The truth is that jazz is a wonderful, nuanced genre that, like world music, inherently has a smaller potential audience than


ijay Iyer and his March release, Accelerando, brought home a record five awards in Downbeat’s annual critics’ poll, which earned him a spot on the magazine’s cover. Among people who follow jazz, the New York–based piano player is huge right now. To everyone else—and considering that according to Soundscan, Accelerando has sold a mere 5,000 copies, we’re talking about most people—he’s a complete unknown. So are his peers. Five million jazz records have sold so far this year, compared to 80 million in rock. It’s not a stretch to say jazz devotees are on the fringe. This is why Vijay Iyer spends a few weeks a year giving clinics in schools and doing jazz “outreach” as an artist in residence at Bay Area nonprofit San Francisco Performances. The intent of the outreach, Iyer told me over the phone recently, is for the organization to gain “deeper roots in the communities in the Bay Area that they can [use to] cultivate new audiences and just a larger appreciation for the arts over the years. I’ve also done small concerts in community centers, places sort of off the beaten path of the arts-going public.” The irony, of course, is that jazz lacks broad appreciation outside academia because of artists like Iyer and albums like Accelerando. The album is fascinating, richly textured, adventurous, and full of ideas. But it’s completely inaccessible to listeners not predisposed to appreciate jazz. There are few well-structured, tangible melodies—an unmistakable cover of Michael Jackson’s “Human Nature” being one exception—and little that casual

THE SITUATION I’m spending the evening drinking at Al’s Tavern in Wallingford with Grant Olsen, the singer/songwriter who fronts Gold Leaves. Olsen lives in an Eastlake apartment with his wife and their newborn girl, Francesca Lee—“Frankie,” as he likes to call her. It’s Olsen’s first night out drinking since her birth four weeks ago. HOW HE GOT HERE When he’s not on the road, Olsen supports his family by bartending at a catering company, a job he says offers an entertaining people-watching perk. “Everybody confides in you,” he says. “[At a wedding] a guy told me that the groom tried to have sex with him on a rooftop on his 18th birthday. He was like, ‘But we’re not gay.’ ” At another wedding, Olsen discovered the groom, wasted, and his groomsmen worriedly gathered in the bathroom. “The groom had definitely shuked—like shit and puked at the same time,” he says, teaching me a new word. “You could see the trajectory of it. We cleaned it up and charged them a biohazard fee.” SHOP TALK It’s been more than a year since Gold Leaves’ genial debut, The Ornament, was released on Hardly Art, and Olsen says the new songs he’s writing are much livelier, more suited to the fleshed-out fivepiece that the project has become. “I’ve been really interested in collecting beats,” he says. “Not beatz with a Z, but, like, grooves. I want to make a groove-oriented record.” The band recently recorded a cover of Lee Hazlewood’s “Won’t You Tell Your Dreams” that will be released on a Light in the Attic 7-inch this winter. Olsen’s also planning to release several countrified songs under his own name. “I’m not really going to be in the indie-rock camps. I’m getting too old,” says the 35-year-old. “But I’m really young in the country/whiskey/surly bastard thing. That’s kind of more of what I’ve always liked—just grumpy old men.” BTW: Fewer nights on the town aren’t the only adjustment Olsen’s had to make since becoming a parent. His in-home studio has been converted into a nursery, and he changed his first diaper at the hospital. “My first diaper became two right away. As I was doing it, more came,” he recalls. “I was very fascinated by the shits for a long time. They’re losing their luster, though, pretty quickly.” But he’s happy with and adjusting to his new role as father. “I enjoy it,” he says. “I’m finally coming out of the clouds.” E


music»TheShortList Billy Joe Shaver WEDNESDAY, OCTOBER 17

If you approach Texas honky-tonk legend Billy Joe Shaver at any point during this show, please be on your best behavior. In 2007, he shot a random dude named Billy Coker in the face outside a bar near Waco when the latter showed Shaver some ’tude. Shaver was ultimately acquitted, even though he testified that to have walked away from the altercation with Coker would have been “chicken shit.” But, really, don’t let an isolated incident scare you away: Shaver, now 73, is still one of country music’s most brilliant lyricists and energetic performers, and the Treehouse’s backwoods location will make you feel like you’re seeing country’s ultimate outlaw in the sort of place where freedom reigns. Treehouse Café, 4569 Lynwood Center

Waiting for the quiet to come: Flying Lotus.

Rd. N.E., Bainbridge Island, 842-2814. 8 p.m. Sold out. MIKE SEELY


In the late ’00s, Seattle Times jazz critic Paul de Barros took two years off from his gig, decamped for Long Island, and spent five months interviewing and thumbing through the archives of Marian McPartland, jazz pianist and host of NPR’s Piano Jazz. The result of his sabbatical is the biography Shall We Play That One Together?, which St. His range—from punk to dub to mindMartin’s Press released this week. “She is blowing metallic prog to glitchy studio-geek white, British, and female. And she became electro-sorcery—has amazed many and the most important spokesperson for jazz,” baffled many more, and he’s only getting de Barros told me. “How did that happen? weirder. Earlier this year, when his influenThat’s the story.” De tial ’90s punk outfit At Barros extrapolates in a the Drive-In reunited, reading tonight as part of Rodríguez-López told LA Tune in to 97.3 KIRO FM every Saturday at 7 p.m. the Earshot Jazz Festival. Weekly that “something to hear music editor Chris Kornelis has to change drastically” Elliott Bay Book Co., 7:30 on Seattle Sounds. for The Mars Volta to p.m. Free. CHRIS KORNELIS continue to create. And all the while, his solo output has gushed forth at Omar Rodríguez-López FRIDAY, OCTOBER 19 its usual impressive pace. With Crypts. Triple Possibly the most prolific musician of our Door, 216 Union St., 838-4333. 8 p.m. $15 generation (with well over 20 solo albums adv./$20 DOS/$25 VIP. All ages. TODD HAMM and nearly as many group recordings and full-length collaborations), Rodríguez“The Rolling Stones” SATURDAY, OCTOBER 20 López—guitarist, producer, and the driving creative force behind The Mars Volta—is This power booking showcases the diverse also, I’m convinced, one of history’s most and interesting spectrum of rock ’n’ roll our imaginative, forward-thinking composers. city has to offer. Dark and dreamy upstarts



709-9467. 7 p.m. $10. MA’CHELL DUMA LAVASSAR


Oregon singer/guitarist Zsuzsanna Ward creates songs best described as blues-pop: snappy melodies that she strums and sings in a creaky, smoky, soulful voice. Ward’s debut album, this month’s Til the Casket Drops, features such worldly tracks as “Put the Gun Down”—a modern-day “Jolene”—and a paean to sexy nerds, “Move Like U Stole It.”




Seattle weekly • OCTOBER 17− 23, 2012


Stephanie are just what the doctor New Ordered. Hobosexual provides bliss of the ear-bleeding variety. The only problem with Hounds of the Wild Hunt is that their evolution is so constant, you rarely get to revisit their great back catalog live. Then we have “The Rolling Stones,” who audaciously take on the ballsiest band of all time with the swagger of Mick and Keith and the spirit of Brian Jones combined. Barboza, 925 E. Pike St.,

The musical marriage of 60-year-old David Byrne and St. Vincent, exactly half his age, came as a surprise, but the result turned out to be a lot more palatable and less creepy than the last time an old dude named David collaborated with an indie-rock chick (that would be “Pinky’s Dream,” Karen O’s contribution to David Lynch’s Crazy Clown Time). Byrne and St. Vincent’s Love This Giant is a boldly joyous affair, all quirky pop songs written around bright horn arrangements, and St. Vincent’s sprite-like voice is a sweet counterpart to Byrne’s bellowing, boisterous one. Live, the pair has also been playing selected songs from their solo catalogs, giving fans the bonus of seeing St. Vincent riffing along to “Burning Down the House” and Byrne bopping around in the background to a brassy version of “Cruel.” 5th Avenue Theatre, 1308 Fifth Ave., 625-1418. 8:30 p.m. Sold out. All ages. ERIN K. THOMPSON

It also features collaborations with Freddie Gibbs and Kendrick Lamar. Ward’s hip-hop influences were first made clear on her mixtape Eleven Roses, for which she commandeered a few very masculine rap songs, singing her own words over the original beats. Wiz Khalifa’s “Rooftops” became Ward’s “Morphine”; Tyler, the Creator’s “Yonkers” became “Better Off Dead”; and Childish Gambino’s “You Know Me” was morphed into the steely “OVERdue,” on which Ward accuses, “I can smell the bullshit on your breath/Got it written from your toes to your neck.” With Yellow Red Sparks. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. All ages. ERIN K. THOMPSON

Flying Lotus TUESDAY, OCTOBER 23

FlyLo’s 2010 masterpiece Cosmogramma marked his transition from lo-fi sample chopper to rhythmic-experience creator, and helped Los Angeles’ masses of headnodding beat junkies become seekers of sonic journeys. In his new jewel, Until the Quiet Comes, Lotus—aka Steven Ellison— ventures even further into the unknown, where the once-dominant “beat” aesthetic isn’t so much done away with as contorted and draped across the dreamy fixtures that populate his subconscious. It’s extremely easy listening in most places, and in many ways more accessible than his earlier records, which is part of its genius: The pieces are pulled together so seamlessly that you often won’t even register the complexity of what you’re listening to. He’s also been known to mix in a large percentage of amped-up club tracks in concert, making his live show a crowd-pleaser across the board. With Teebs, Jeremiah Jae. The Neptune, 1303 N.E. 45th St., 877-784-4849. 8 p.m. $24. All ages. TODD HAMM

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

All genres Friday & Saturday nights 8pm to the end

315 2nd Ave, Seattle 206.839.1300

Call or Scan QR Code for reservations!


5213 BALLARD AVE. NW  789-3599 Times listed are show times. Doors open 30-60 minutes before Wed, Oct 17 • 7pm ~ $16adv/$18dos



Thur, Oct 18 & Fri, Oct 19 • 9pm ~ $20


Sat, Oct. 20 • 9:30pm ~ $22.50adv/$25dos

TIL THE CASKET DROPS featuring PUT THE GUN DOWN TIL THE CASKET DROPS BLUE EYES BLIND and LAST LOVE SONG Available at Amazon, and the logo are registered trademarks of, Inc. or its affiliates.





Sun, Oct. 21 • 7pm ~ $15 • Seated Show






Mon, Oct. 22 • 7:30pm ~ $6



Tues, Oct. 23 • 7pm ~ $4adv/$8dos



Wed, Oct. 24 • 8pm ~ $12adv/$15dos



THE BRAMBLES, KRISTEN WARD album release party, JACKRABBIT Up & Coming: 10/25 album release party 10/26 REWIND 10/27 HALLOQUEEN ~ Queen tribute band, POWDERED WATER 10/28 10/28 ~ early KEXP’s Halloween Kids Dance 10/28 HUSKY (AU), HANNAH GEORGAS 10/29 Monqui presents NNEKA 10/31 THE OUTLAWS (Waylon Jennings tribute), Top Of The Pops a Tribute To The Kinks feat. members of THE TRUE SPOKES, FLOWMOTION, ANDREW VAIT & M. BISON 11/1 SEA WOLF, GREAT WILDERNESS 11/2 Square Peg presents CASH’D OUT ~ premier Johnny Cash tribute band, SIDE SADDLE 11/3 THE REVEREND PEYTON’S BIG DAMN BAND, RATS IN THE GRASS, BLVD PARK11/4 LUKAS NELSON & THE PROMISE OF THE REAL 

Seattle we ekly • O CTO BER 17− 23, 2012


Sun, Oct. 21 • 8pm ~ $15



seven»nights 1303 NE 45TH ST

Wednesday, October 17 BROTHER ALI One of the more enduring Midwest

“conscious” MCs, Ali has been an indie-rap favorite since his 2003 Rhymesayers debut Shadows on the Sun. His new album Mourning in America and Dreaming in Color (produced by Seattle beat god Jake One) provides the political fire his fans are used to. With Blank Tape Beloved, Homeboy Sandman, DJ Sosa, Grynch, the Reminders. Neumos, 925 E. Pike St., 709-9467. 7 p.m. $15. All ages. POSSE On its self-titled January full-length, this local trio plays hard-edged power pop with dual lead vocals. With Wishbeard, Brothers. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewel 9 p.m. $5. T H I S CO D E

Brother Ali is at Neumos on Wednesday, October 17.





upcoming EP, Drunctional Funk, this soul/funk sextet crowdsourced the name of a song through a social media–based contest. With Sunshine Junkies, Patrick Foster and the Locomotive. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, 7:30 p.m. $6. STEPHEN KELLOGG & THE SIXERS On last year’s Gift Horse, Kellogg and his band pen winsome, country-tinged Americana. With the Local Strangers, Miggs. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, 7 p.m. $16 adv./$18 DOS.


Thursday, October 18


members Michael Travis and Jason Hann, this duo blends EDM with the jam-band sensibilities of its parent band by creating improvised, bass-centric electronic music using loops and live instrumentation. With The New Law, Michael Manahan, novaTRON. Neumos, 925 E. Pike St., 709-9442, 7 p.m. $15. GAELIC STORM This veteran Celtic-rock five-piece is touring behind its ninth album, July’s Chicken Boxer. Tractor Tavern. 9 p.m. $20. (Also Fri., Oct. 19). JOSHUA RADIN A well-known television trope is the playing of a slow, wistful, often acoustic song near the end of an episode to signal a dramatic climax. Perhaps no one knows this better than Radin, whose music has appeared in more than 75 TV shows and movies, including Scrubs, Gossip Girl, and (the worst offender) Grey’s Anatomy. With A Fine Frenzy, Lucy Schwartz. Moore Theatre, 1931 Second Ave., 467-5510, stg 7 p.m. $25 adv./$30 DOS. All ages. YASIIN BEY For the MC formerly known as Mos Def, it’s been an eventful 12 months: He announced his name change, and that Black Star (his project with Talib Kweli) would release its first album since 1998. With the Physics, Larry Hawkins, Thaddeus David, DJ Swervewon. Showbox SoDo, 1700 First Ave. S., 652-0444, 7 p.m. $30 adv./$33 DOS. All ages.

act Slowdive, but now he writes somber acoustic-folk tracks in the vein of Nick Drake. With Tiny Vipers, Case Studies, Kevin Long. JewelBox/Rendezvous. 7 p.m. $15. SWITCHFOOT This San Diego rock group boasts something few other bands that play El Corazon can: a Grammy for Best Gospel Rock Album for 2009’s Hello Hurricane. With Paper Route, Alabaster. El Corazon, 109 Eastlake Ave. E., 381-3094, 8 p.m. $24 adv./$29 DOS. All ages.

Sunday, October 21 A$AP ROCKY The most audible voice in the current

Saturday, October 20 COLLIE BUDDZ This Bermudan reggae-fusion artist

scored a hit in Europe and Jamaica with 2007’s “Come Around.” With New Kingston, Zion I, Los Rakas, Diego’s Umbrella, The Holdup, Vokab Kompany. Showbox at the Market. 7 p.m. $25 adv./$28 DOS. All ages. DEVOTCHKA In 2011 this Denver band released their sixth album, 100 Lovers, on which they continue to put a modern spin on Old World folk tunes. With Seattle Rock Orchestra. The Moore. 7 p.m. $22 adv./$25 DOS. All ages. THE DUSTY 45S On this bill packed with twangy treasures are two of the best throwback artists you’ll ever come across. The raucous rockabilly of the Dusty 45s and the retro country romance of Vince Mira make this show worth the cost of your wristband alone. With

wave of syrupy drug rap, A$AP has done as much as any other national-scale artist over the past year and change to recalibrate the bearing of popular rap. With A$AP Mob, ScHoolboy Q, Danny Brown. Showbox SoDo, 1700 First Ave. S., 652-0444. 8 p.m. Sold out. All ages. BITCH MAGNET This post-hardcore band was active for just five tumultuous years in the late ’80s, but its wide-open, visceral brand of proto-post-rock (think Slint, one of the group’s contemporaries), influenced bands from Mogwai to Battles. Neumos. 8 p.m. $15. FREELANCE WHALES This Brooklyn indie-pop act is including a digital version of its new album, Diluvia, with this show’s admission price. With Geographer. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 8 p.m. $17.50. SPECIAL EXPLOSION This youthful local quintet (they were Sound Off! finalists earlier this year) plays fuzzy guitar pop with a distinctly Northwest flavor. With Sun Valley Gun Club, The Hague. Comet Tavern, 922 E. Pike St., 322-9292, 9 p.m. $6. SUN AIRWAY The textured, ambient synth-pop project of Philadelphia musician Jon Barthmus just finished a stint opening for M83, and is now touring on the back of their second Dead Oceans album, Soft Fall. With Pure Bathing Culture. The Crocodile, 2200 Second Ave., 441-4618, 8 p.m. $7. All ages.

Friday, October 19

Monday, October 22

BLIND PILOT The latest from this Portland

ALESANA This Epitaph Records–signed metalcore

folk sextet is last year’s We Are the Tide, the gentle follow-up to its critically successful debut, 2009’s 3 Rounds and a Sound. With Point Juncture, WA; Tom Eddy; the Soft Hills. Showbox at the Market, 1426 First Ave., 628-3151, 8 p.m. $20 adv./$25 DOS. All ages. DEAD WINTER CARPENTERS Hailing from North Lake Tahoe, Calif., this bluegrassinfused Americana group is touring behind May’s Ain’t It Strange. With Fruition, Spare Rib &The Bluegrass Sauce. Nectar Lounge, 412 N. 36th St., 632-2020, 8 p.m. $7 adv./$10 DOS. NEIL HALSTEAD It’s not unheard of for an artist to have a midcareer stylistic do-over, but Halstead’s was more drastic than most. The British songwriter got his start as a founding member of seminal shoegaze Send events to See for full listings = Recommended, NC = no charge, AA = all ages.


Seattle weekly • OCTOBER 17− 23, 2012

EOTO Originally a side project of String Cheese Incident



Sun Airway plays the Crocodile on Sunday, October 21. Legendary Oaks, Song Sparrow Research. Barboza, 925 E. Pike St., 709-9467, $15. 7 p.m. TWO DOOR CINEMA CLUB Beacon, the sophomore album from this Northern Ireland electropop band, debuted at #1 on the Irish charts in September. With Friends, Motopony. Showbox SoDo. 7 p.m. $25 adv./ $28 DOS. All ages.

band apparently has a T.S. Eliot wannabe naming its albums—On Frail Wings of Vanity and Wax and A Place Where the Sun Is Silent are among the titles in its discography. With In Fear and Faith, Vampires Everywhere!, Glamour of the Kill, All Human. El Corazon. 6:30 p.m. $18 adv./$20 DOS. All ages. LUCABRAZZI Active since 2005, this San Francisco trio plays heavy, no-frills punk rock. With Daughters of the Dead Sea, Coloffs, Jori and the Push. Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattlecom. 9:30 p.m. $5.

Tuesday, October 23 CARS & TRAINS Portland multi-instrumentalist Tom

Filepp will release his new album, We Are All Fire, at this show. With Serengeti, IG88. Chop Suey. 8 p.m. $6. MARK MALLMAN Besides his solo work, which draws inspiration from ’70s piano rock, Mallman is also an accomplished jazz pianist and film composer. With The Awfully Sudden Death of Martha G, Carousel. Sunset Tavern. 7:30 p.m. $8.



dinner & show






aaron freeman












omar rodriguez lopez w/ the crypts SAT/OCTOBER 20 • 8PM

poi dog pondering




sonny landreth

RUSTED ROOT Lauren Mann & The Fairly Odd Folk, Kate Lynne Logan

21+ ONLY

Tickets available @ - 8:30 PM

THIS WEEKEND! Wed. Nov 14 @ Neptune Theater


All Ages (bar w/ id) Tickest available @ - 7:00 PM

• 10/17 bakelite 78 / paul benoit band • 10/18 michael gotz / the side project • 10/19 danny godinez / lincoln’s beard • 10/20 how now brown cow • 10/21 wes weddell band • 10/22 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 10/23 singer-songwriter showcase w/ norman baker, jessica lynne and caleb & walter • 10/24 the paul hemmings uketet / kasata sound TO ENSURE THE BEST EXPERIENCE




Presented in association with

and YES magazine

Seattle we ekly • O CTO BER 17− 23, 2012

Sat. October 20 @ Tractor Tavern

next • 10/22 bobby previte’s silent way project • 10/24 holly near • 10/25 el vez for prez! • 10/26 - 10/28 this is halloween! • 10/29 robyn hitchcock w/ young fresh fellows • 10/30 christian scott band • 10/31 this is halloween! • 11/1 david wilcox • 11/2 berlin featuring terri nunn • 11/3 steve forbert (solo) • 11/4 robert glasper experiment





Karaoke Listings

The inside scoop on upcoming shows and the latest reviews.

88 KEYS 315 Second Ave. S., 839-1300, ilove88keys.

com. Free. Mondays & Tuesdays, 8 p.m.–2 a.m.

ATLANTIC CROSSING 6508 Roosevelt Way N.E., 729-




6266, theatlanticcrossing. com. Free. Mondays, 9 p.m. BLARNEY STONE 1909 Third Ave., 448-8439, Free. Saturdays, 9 p.m.



BOGART’S AIRPORT WAY 3924 Airport Way S.,



622-1119, bogartsairport Free. Mondays, Wednesdays–Saturdays, 9 p.m.

BOXCAR ALEHOUSE RED JACKET 3407 Gilman Ave. W., 286SEATTLE WEEKLY 6000, Free. Thursdays & IPHONE/ANDROID APP MINE Saturdays, 9 p.m. BUSH GARDEN 614 E VE NT S “AMY” Maynard Ave. S., 682-6830, Free. Sundays, 5 p.m.; Mondays– DIGITAL Thursdays & Saturdays, 9:30 p.m. CHANGES BAR & GRILL 2103 N. 45th St., 545-8363, SINGLE Free. Wednesdays, Thursdays, Sundays, 9 p.m. AVAILABLE CRESCENT LOUNGE 1413 E. Olive Way, 324-5358. Free. Daily, 9 p.m. NOW FOUR SEAS RESTAURANT 714 S. King St., 682-4900, Free. Thursdays–Saturdays, ON 9 p.m. TO DOWNLOAD THE FREE


Send events to


Way N.E., 729-5195. Free. Tuesdays, 10 p.m.

HULA HULA 106 First Ave. N., 284-5003,

Free. Daily, 4 p.m.–2 a.m.

INDUSTRY LOUNGE 6601 E. Marginal Way S., 762-

3453, Free. Sundays, 9 p.m. JABU’S PUB 174 Roy St., 284-9093, Free. Fridays & Saturdays, 9:30 p.m. KATE’S PUB 309 N.E. 45th St., 547-6832, Free. Wednesdays, 10 p.m. LITTLE RED HEN 7115 Woodlawn Ave. N.E., 522-1168, Free. Mondays & Wednesdays, 9 p.m. MARCO POLO BAR & GRILL 5613 Fourth Ave. S., 762-3964, Free. Fridays & Saturdays, 9 p.m. R PLACE 619 E. Pine St., 322-8828, Free. Mondays, Tuesdays, Sundays, 9 p.m. ROCK BOX 1603 Nagle Place, 302-7625, rockboxseattle. com. Daily, 4 p.m.–2 a.m. SPECTATOR 529 Queen Anne Ave. N., 599-4263, Free. Thursdays–Saturdays, 9:30 p.m. TALARICO’S 4718 California Ave. S.W., 937-3463, Free. Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m. TARASCO MEXICAN RESTAURANT 1452 N.W. 70th St., 782-1485, Free. Saturdays, 9 p.m. THE CUFF 1533 13th Ave., 323-1525, Free. Thursdays, 8 p.m. VENUS KARAOKE 601 S. King St., 264-1779. Varies. Daily, 2:30 p.m.–2 a.m. WATERWHEEL LOUNGE 7034 15th Ave. N.W., 784-5701, Free. Tuesdays, Fridays, Saturdays, 8:30 p.m. YEN WOR VILLAGE RESTAURANT 2300 California Ave. S.W., 932-1455, Free. Daily, 9 p.m.

KaraoKeKorrespondent » by jeff roman

Seattle weekly • OCTOBER 17− 23, 2012

Company Man


On the first Wednesday of every month in White Center, Ivan Terrazas, the man recently deemed Seattle’s best KJ, brings his Baby Ketten karaoke show to Company Bar. On a night when my buddy Mochi and I assumed we were going to take it easy, sing a song or two, and be done in an hour, we ended up enjoying one of the most tequila-drenched karaoke missions of the year. From the moment we arrived at 9:30, I knew we were goners—we walked into a buzzsaw of unavoidable fun. The place was packed with a trendy young crowd and the music was blasting. Within the first five minutes, a good-looking brunette asked me if we’d met before. Mochi and I were expecting a mellow weeknight south of the city limit, but it turned out to be a full-on Capitol Hill–type scene. The bar itself already looks like it belongs on the Hill. It reminded me a lot of Ketten’s other oncea-month venue, The Hideout, with its long bar, dim lighting, and artwork covering every wall. All the other times I’ve written about the Baby Ketten karaoke experience, I’ve focused mostly on Terrazas’ songbook, which I believe to be second to none. But after the night we just had, it’s time to acknowledge the following Terrazas has built for himself. As hip as the venue is, there’s no way it gets this kind of action without a top-notch host drawing the singers in. The knock on Terrazas is that he doesn’t have that classic strip-club-announcer’s delivery

when calling up performers. He’s just an easygoing guy, and after taking a closer look at his laid-back style, I realized KJs don’t have to have zany shtick to run an energetic karaoke show. Then I thought about the hosts I know who are like that, and it all seems pretty dorky to me now. No wonder karaoke still has the cheesy reputation it does. Terrazas is cool, and his show mirrors his personality. Most of the singers were seasoned karaoke pros and took full advantage of the obscure selections in the Baby Ketten book—the Smiths, Siouxsie and the Banshees, Flight of the Conchords, and Tina Turner. This dude named Mike sang an awesome rendition of “Given to Fly” by Pearl Jam. Aside from Mochi’s awesome offering of Dire Straits’ “Tunnel of Love,” Mike’s was the best male performance of the night. My best number was “Never Surrender” by Corey Hart. Late in the night, Terrazas put himself in the mix and turned in a solid performance “Is There Something I Should Know?” by Duran Duran. At around 11, a bunch of Rat City Rollergirls took over the place, and this one gal delivered one of the smoothest hip-hop performances I’ve ever seen: “Doin It” by LL Cool J. It was totally hot and blew me away, much like hook girl LeShaun’s lips would if they were affixed to my dong. E COMPANY BAR 9608 16th Ave. S.W., 257-1162, WHITE CENTER

dategirl»By Judy McGuire Better Late Than Never? Dear Dategirl, My best friend in high school was a girl I always liked, but never made a move on because I didn’t want to mess up our friendship. But I took her to prom, and we hung out constantly. She always wanted us to get together romantically up until the end of high school, when she changed her mind because she was going away to college. Of course, this was exactly when I realized the depth of my feelings for her. I told her, and she said she felt the same, but that it was too late because she was moving. One of the many things we had in common was sports. She got a soccer scholarship to college, but in my senior season I hurt my knee and had to stop playing baseball. She encouraged me to work on my knee and try to keep playing ball, because she knew how much it meant to me.

Perhaps her torch is still lit, and she uses that fond prom memory for jill-off fodder. Who knows? Just nut up and tell her!

High-school and college “relationships” are notorious for their fumbling, bad timing, and general cluelessness, which is probably for the best, because otherwise we’d all be babied up and divorced by 20. I still remember when Randy Eisenbud (FAKE NAME!) leaned over and kissed me during what I, until that time, had thought was a friendly outing between two friends who’d graduated from the same hellish high school. After all, he had remained steadfast in his lack of interest the entire two years I’d spent pining for him. But now, a year and a half later, he was getting all romantico just as I was finally getting over him. Sigh. But maybe this isn’t the case with your ladyfriend. Perhaps her torch is still lit, and she uses that fond prom memory for jill-off fodder. Who knows? Certainly not I, and certainly not your idiot friends. Just nut up and tell her! However, before you make your declaration of extreme-serious-like, you need to figure out if it’s her you adore, or if you’re just enamored with her feelings for you. For example, I recall being strung along by this crush who told me that “we” would probably happen at some point because one of the things he looked for in a woman was someone who really liked him. Ouch. Don’t be that guy. E WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets@DailyDategirl, visit, or buy her new book, The Official Book of Sex, Drugs and Rock ’n’ Roll Lists.


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I blew it off for a while, but then started rehabbing and playing again just because it made me feel reconnected with her. Since I have been playing again, professional scouts want to sign me. I told her I owed it all to her, and I’m realizing that she’s the only person that’s ever really cared about me. I care about her more than myself or any other

person. The only problem is that she’s 1,000 miles away. I was wondering if you had any advice or guidance? My idiot friends all say to try to move on or get over it, but that’s not an option. —Too Late?






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Seattle weekly • OCTOBER 17− 23, 2012

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TOWN .com cannabis news | views rumors | humor

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he owners of Cannabis Outreach Services, a medical-marijuana

access point in Lacey, aren’t easily discouraged. In February, Denny Coughlin, 69, and Jami Bisi, 50, were each charged with 25 counts related to allegations of selling marijuana at the medicinal-cannabis collective they operate on Lacey Boulevard, in the aftermath of raids last November on five Thurston County dispensaries. This was after they’d been denied a business license by the city of Lacey, despite operating strictly according to Washington’s state medical-marijuana law. Long story short, none of that stopped them: They’re still open. I stopped by Cannabis Outreach Services twice in the past month, and both times received top-notch service. And COS’ entire flower menu is available for $10 a gram—a second compelling reason to visit this shop. On my most recent trip, budtender Katreena (“Just remember the hurricane,” she told me, “except with two e’s”) expertly guided me through the selections of flowers and medibles. Upon her recommendations, I decided to try the sativa-dominant Jillybean and the indicadominant Strawberry Skunk. Jillybean is a delightful strain of cannabis from famed breeder Subcool. Its mostly sativa genetic heritage makes it an uplifting option for depression, anxiety, and migraines, and its citrusy taste makes it a joy to toke. It has noticeably energetic sativa effects, yet with an underlying mellowness that keeps you from being anywhere near jittery. If you take more than a couple of tokes, you may find yourself in an enjoyably

trance-like state, way into music you didn’t even know you liked. Hybrid Strawberry Skunk’s small but gorgeous flowers sport a thick forest of sticky trichomes; the buds are downright fuzzy with gooey goodness. The bouquet leans more to the Strawberry than to the Skunk side of things, and the taste can occasionally, albeit faintly, remind one of strawberry Jolly Ranchers. The strain is useful for pain, but be aware that it also can result in a disinclination to move if more than a few tokes are taken; accomplishment-oriented activity suddenly seems far less crucial than before. COS’ respectably stocked medibles case includes chocolate bars, brownies, cereal bars, and tinctures. Tinctures containing other herbs are available for specific purposes such as pain and relaxation, but I prefer cannabis-only tinctures, due to possible complications with my impaired liver function. If this is your preference, just ask for the “herbal” tincture, which contains only marijuana. For patients who want to grow their own medicine, Cannabis Outreach Services usually has a few clones in stock for $20 apiece. On my most recent visit, well-rooted Afgoo cuttings were ready to go; I couldn’t resist bringing one of these cuties home with me. Parking is limited in front of Cannabis Outreach Services’ location in a small office park. No outside signage indicates that this is a marijuana dispensary, but a sign discreetly reading “Outreach Services” has an arrow pointing to the correct door. E

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Rummage Sale at Grace Gospel Chapel on the corner of 64th and 22nd in Ballard. THIS Saturday, Oct. 20th from 9am to 4:30pm. Items include a Beautiful Headboard Set and a working Vintage Television Console. See you there!

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Seattle we ekly • O CTO BER 17− 23, 2012

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Men are needed to participate in a study looking at the effects of testosterone on the prostate gland. This study will be conducted at the University of Washington, Seattle. It involves the use of two investigational drugs and a prostate biopsy. The study involves 9 visits over a period of 5 months. To be eligible you must be:

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Mt. Hood Independent Film Festival October 26-28

Columbia Center for the Arts will present the inaugural Mt. Hood Independent Film Festival in Hood River, featuring over 60 films from all across the United States and around the world! The Festival kicks off Friday, October 26th 6pm with an opening reception for fans and filmmakers. Festival will include screenings, discussions with filmmakers and workshops. WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201 20 ACRES FREE. Buy 40-Get 60 acres. $0-Down, $168/month. Money back guarantee. NO CREDIT CHECKS. Beautiful views. Roads/surveyed. Near El Paso, Texas. 1-800-843-7537

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Living Elements Landscaping

Living Elements Landscaping cares about the communities we work, live and play in. We're all about locals helping locals. Encouraging our neighbors to live sustainable lives is something we enjoy doing everyday. That's why special consideration is given to the natural shapes and forms of your landscape to ensure a balanced job that delicately weighs the relationship between well-kept and naturally lush. We take pride in our holistic, permacultural based approach. Some of the other services we offer include planting, fence building and clean up. Our expert staff is professional, hard working and always on-time. Operating out of the Eastside and in West Seattle. Call Today (425) 466-5981

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Hood River Valley 30th Annual Harvest Fest

On October 19-21, 2012, Hood River County hosts the 30th Annual Harvest Fest in Hood River, Oregon. Here visitors can taste fresh, local produce, get a jump start on their holiday shopping, enter a pie-eating contest, watch the world-record-holder carve a pumpkin, visit the kid's zone and petting zoo, and fully experience an authentic autumn festival on the Hood River waterfront overlooking the beautiful Columbia River.


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Seattle Weekly, October 17, 2012  

October 17, 2012 edition of the Seattle Weekly

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