Seattle Weekly, September 19, 2012

SEPTEMBER 19–25, 2012 I VOLUME 37 I NUMBER 38

MANIC MONDAYS ON CAPITOL HILL PAGE 69

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WHO’S GOT BETTER POT: SEATTLE OR PORTLAND? PAGE 79

A season of Hindu epics, female artists, & birthday celebrations.

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inside» September 19–25, 2012 VOLUME 37 | NUMBER 38 » SEATTLEWEEKLY.COM

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THE DAILY WEEKLY | A complainant

alleges retaliation at the hands of the city, a Democrat gets optimistic, and more.

11 FEATURE

in back 46 THE WEEKLY WIRE The Fringe Festival returns, beer flows in Fremont, and David Foster Wallace is still dead.

47 ARTS

47 | OPENING NIGHTS | Mark Twain on

two different stages.

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51 FILM

THIS WEEK’S ATTRACTIONS

The Master doesn’t deserve its hype, Elizabeth Olsen plays a temptress, and Clint Eastwood acts all cranky again.

57 FOOD

57 | BISATO | The food is superb. But

there’s more to a great restaurant than that.

62 | FIRST CALL | A Cock ’n Bull story.

63 | A LITTLE RASKIN | Why fennel?

Why now?

69 MUSIC

69 | CLUB NIGHTS | Suddenly Mondays are hot on the Hill. Thank two DJs. 71 | REVERB | Obituary gets back to its roots, and Duff confronts the monster.

72 | THE SHORT LIST | The Shins, Jason Mraz, Riff Raff, and more.

77 | KARAOKE KORRESPONDENT

Hoagie helps him get his mojo back.

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48 | PERFORMANCE 49 | VISUAL ARTS 55 | FILM CALENDAR 59 | FEATURED EATS 75 | SEVEN NIGHTS 79 | TOKE SIGNALS 80 | DATEGIRL

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FALL ARTS | Our guide to the new season is packed full of birthday celebrations: for PNB, the Rep, and John Cage, among others.

We also look at Vietnamese immigration, a cinema where no one gets paid, and Seattle’s most famous (but forgotten) photographer.

And our full calendar of events through the holidays starts on page 22.

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news»The Daily Weekly »Dispatches from our news blog

Prosecution Payback

A man says his racial-profiling complaint led to him being charged with a crime. His lawyer says he’s not alone.

A

Dan Carino

Seattle man says that a complaint he made with the Seattle Police Department’s accountability office led to him being charged with a crime he had earlier been cleared of for lack of evidence—rather than determining whether he’d been a victim of excessive force and biased policing.

Now, with the help of Seattle attorney James Egan, Donald Fuller is headed to court, hoping to shine a light on a string of vindictive prosecutions that Egan classifies as “a major scandal.”

In March 2009, Fuller, a middle-aged Fuller spent a total of four days in jail, African-American man, was crossing the street all stemming from his initial confrontation at the corner of Second Avenue and Pike Street with police over jaywalking. On March 10, downtown when he was confronted by Seattle 2009, citing insufficient evidence, the Seattle Police for jaywalking.

City Attorney’s Office decided not to charge When ordered to present identification, Fuller, and he was released.

Fuller felt harassed and singled out because Shortly afterward, Fuller walked into the of his race. He refused to show the cops idenSPD’s Office of Professional Accountability— tification, and instead reached for his cell the entity in charge of investigating civilian phone—in order, he says, to call the officers’ complaints of police misconduct—and filed a supervisors regarding what he considered an complaint, contending that the entire incident obvious act of racial profiling. was a result of biased policing and that the Fuller’s acts of defiance didn’t go over force used on him was excessive. But instead well with the officers, who arrested him of finding closure, Fuller was charged with for obstruction. When one officer stepped the crimes prosecutors forward to grab Fuller, initially had concluded police reports indicate there wasn’t enough Fuller knocked the Print is great, evidence to support: officer’s hands away, at but if you want to read . . . obstruction and assault. which point the Taser the pickup lines we tried on arena developer Chris Hansen, you’ll have to A jury convicted Fuller was brought out. check out The Daily Weekly. of obstruction, but the “I thought the world SEATTLEWEEKLY.COM/DAILYWEEKLY assault charge didn’t basically had come to an stick. end at that point,” says There are many problems with the way this Fuller of being Tased. “As I’m on the ground all transpired, according to Egan. The most with both officers, as I feel the Taser, I’m litimportant: The OPA investigator tasked with erally screaming at the top of my lungs, ‘Why looking into Fuller’s complaint lobbied for, and do you keep Tasing me? This thing hurts.’ I eventually convinced, the City Attorney’s Office heard one officer say ‘You’re resisting arrest.’ to change its mind and file charges it otherwise I said, ‘What do you mean I’m resisting wouldn’t have. That action, as Egan’s motion arrest? My body is locked up!’ ” argues, represents a vindictive prosecution.

Once Fuller was subdued enough to be Indeed, a follow-up form filed by OPA handcuffed, he was booked on suspicion of Investigator Caryn Lee as part of Fuller’s OPA assault, obstruction, and resisting arrest. In complaint (one of the documents obtained by a precinct holding cell, Fuller says, thanks to Egan under a public-records request) clearly the multiple Taser shocks he’d received, he shows that the OPA did take a peculiar interstarted to feel faint and had trouble breathing, est in seeing that Fuller was charged. so he was transported to Harborview Medical Center for treatment. » Continued on page 9

Seatt le w eekly • S E P TE M B E R 19−25, 2012

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As Lee noted on May 19, 2009: “I spoke with Marc Mayo with the City Attorney’s Office.

After respectfully listening to his explanation [about why Fuller wasn’t charged], I explained I did not agree with his decision. He agreed to reconsider after determining it was a legal stop and the Officers had PC. He said at a minimum he would file Obstructing charges and [possibly] the Assault.”

Internal documents indicate that the OPA’s conduct regarding Fuller raised concerns with higher-ups. The documents also note that at least one other case, involving similar pushes for prosecution, raised red flags. But City Hall spokesman Aaron Pickus says that the memo shows not that there is a widespread scandal at the OPA, but that the office had dealt with the issue.

Pickus also says the OPA subsequently changed its policies regarding cases like Fuller’s, advising that recommendations filed by the OPA “should be reduced to writing and approved through the OPA chain of command.”

Egan, however, isn’t soothed. “I don’t think Mr. Fuller is an anomaly, by any shape or form,” says Egan. “I like Mr. Fuller. He’s my client. But do I think he’s the only person who went through this situation with Seattle Police? Not at all. And I can prove it with their own documents.” Matt Driscoll

Blue Horizons in the 8th

A Critical Look at Charters

Longtime education activist and blogger Melissa Westbrook is often a sharp critic of the school-system establishment. Now, in heading a group that will fight a state initiative that would allow for the establishment of charter schools, she will be acting as a booster of the public schools whose leaders she is often so critical of.

In a press release for the group No on 1240 (1240 is the initiative’s number), she outlined the criticism of charters, of course, including their mostly mediocre performance around the country. But she also listed roughly a dozen upbeat developments relating to schools around the state—the point being that we don’t need charters to swoop in and save us from a “failing” system, as charter-school proponents like to say.

It’s an impressive list, with some bullet items that many people might not have heard about. The White House, for instance, honored Rainier Beach High PTSA president Carlina Brown last month as a “Champion of Change.” That’s right, Rainier Beach—a school that is perpetually and dramatically underenrolled. Yet, apparently thanks in part to the PTSA’s “kick-ass” efforts—as Westbrook put it speaking to SW—the school is starting a highly regarded International Baccalaureate program.

Also, Westbrook notes, Beacon Hill’s Mercer Middle School, with three-quarters of its students poor enough to qualify for free or reduced-price lunch, is busting out on its test scores. On state tests, students perform in percentiles ranging from the upper 70s to lower 80s—on a par with middle schools in the most prosperous parts of the city.

Westbrook’s No on 1240 campaign joins another group in opposing charters, the laborbacked People for Our Public Schools. They face an astonishingly well-funded “Yes” campaign, which has so far raised more than $4 million—including $1 million from Bill Gates, whose foundation has long supported charters. Westbrook’s group, in contrast, has raised approximately $8,000. Even with the support of the powerful SEIU, People for Our Public Schools has only collected about $189,000.

Guess whose message is more likely to be heard? It would be a shame, though, if Westbrook’s got lost, because it’s good to be aware, among all the usual complaints, of what’s worth celebrating in the public schools. NiNa shapiro E news@seattleweekly.com

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The common perception is that Washington’s recently redrawn 8th Congressional District, which incumbent Republican Dave Reichert calls home, is a safe haven for the GOP by design. Given that a sizable chunk of it consists of places like Chelan, Douglas, and Kittitas counties, it’s an understandable assumption.

But Reichert’s Democratic challenger, Karen Porterfield, isn’t buying it. And apparently neither is the nonpartisan website OnTheIssues.org, which has ranked Reichert the country’s seventh most vulnerable congressman.

Saying it looks “for incumbents whose party is a mismatch with the people in that district,” OnTheIssues.org’s ranking methodology is based on a district’s voting history in presidential elections. With Obama garnering 57 percent of the vote in 2008 (to McCain’s 42 percent) in what is now the 8th, and Kerry notching 51 percent (to Bush’s 48 percent) in 2004, Reichert earned an OnTheIssues.org score of –18—which puts him in a three-way tie with New Hampshire’s Charlie Bass and Illinois’ Bobby Schilling among Republicans identified as vulnerable.

Even more promising for the Dems’ chances in the 8th, according to Porterfield, are the results of August’s primary. “We went back and wanted to look at the numbers to find out ‘What did the story tell us?’ ” she says of the results analysis. “The key is in King County he had 48.5 percent [of the primary vote] and in Pierce 48.8 percent of the vote.

The two counties make up 81 percent of the entire [primary] vote.”

In essence, Porterfield is pointing out that while Chelan, Kittitas, and Douglas counties

lean Republican, in the primary they represented only roughly 19 percent of the total votes cast. And with an especially big turnout expected in Democrat-heavy King County, math like that could spell trouble for Reichert.

Most telling, according to Porterfield, is that in the August primary Reichert collected only 50.62 percent of the vote—the worst showing of any congressional incumbent.

“He spent almost $2 million and barely cracked 50 percent,” Porterfield points out.

“He is vulnerable. He is definitely there on the cusp.” Matt Driscoll

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

The Daily Weekly » from page 7

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Seattle weekly • S E P TE MB E R 19−25, 2012

Zen-tennial

Celebrating the birth of music’s inadvertent revolutionary.

BY GAVIN BORCHERT

So Many Candles on the Cake

T

SCOTT ANDERSON

Cage prepares a piano.

Fluxus movement, Cage inspired their provocative video, film, and performance art. And Cage applied chance operations to his writings as well—as in his epigram-packed 1961 anthology Silence, where spokenword pieces brush the boundaries of theater.

This doesn’t mean Cage was opposed to beauty.

(Is a sunset or a sequoia less beautiful because no one person “made” it?) But the misconception that non-intentionality and beauty are mutually exclusive makes people wary of his music. And if silence and randomness can be dour, Cage’s embrace of surprise and humor can seem too unserious. Would Cage mind if we in the audience nervously tittered? Asked that on the ’50s game show I’ve Got a Secret, he puckishly but beneficently responded, “I prefer laughter to tears.”

T

hus it was delightful to hear that Cage’s work would, at last, storm the citadel of Benaroya Hall. An October 19 Seattle Symphony concert will commemorate both his centennial and the 50th anniversary of our World’s Fair with music from 1962. The program includes pieces by some of contemporary music’s scariest composers (Scelsi, Xenakis) alongside Cage’s Variations III “for one or any number of people performing any actions.” (Cage’s birthdate, September 5, has already been marked by the percussion quartet Pacific Rims, using among other instruments a bag of potato chips and a suitcase filled with what sounded like silverware; the multi-character solo opera Neal KosalyMeyer made out of Writing for the Second Time Through Finnegans Wake; and the Esoterics’ wacky, improv-class approach to Cage’s Songbooks.)

The Songbooks return in November in Stacey Mastrian’s show “Voicing Cage” at the Henry with Stephen F. Lilly (both are members of Washington, D.C.’s Bay Players Experimental Music Collective). An intrepid soprano, Mastrian recently told me that she relishes the scope that Cage’s music offers. “Although there are definite parameters [in Cage’s scores],” she says, “you never quite know how someone will interpret the specific things that are there.

Seatt le w eekly • S E P TE M B E R 19−25, 2012

his is a year of birthdays and anniversaries among Seattle art institutions. The Frye turns 60, and it celebrated with a summer makeover.

Pacific Northwest Ballet has aged gracefully to 40, as our critic Sandra Kurtz considers in the pages ahead. Seattle Repertory Theatre opens its 50th season with a local playwright’s new work, which our Margaret Friedman also explores. Intiman Theatre would’ve been marking its 40th birthday, only there’s no fall season to celebrate. Its reduced future looks to be as a summer festival, and its old Seattle Center home (previously the Rep’s) will likely become a Cornish/rental facility. Faring better, nearly 50, ACT Theatre is staging a new one-man show whose star tells us about the Vietnamese immigrant experience. Meanwhile, mighty SAM eases toward its ninth decade with more secure funding (its old WaMu office space has been leased) and an incoming new director. Its big fall Elles show—a traveling exhibit from France—may be safe, but safe sells tickets. (And you can be sure there’ll be a lavish gift shop.) At the opposite end of the spectrum, Sean Axmaker explains how the 42-yearold Grand Illusion Cinema survives as a nonprofit where no one gets paid and popcorn sales are crucial to the bottom line. The biggest birthday of the season belongs to onetime Cornish faculty member John Cage, whose centennial is being marked by several concerts; Gavin Borchert talks to his devotees and examines his legacy beyond music. Lastly, this is the 60th year since the death of pioneering Northwest photographer Edward S. Curtis, and Timothy Egan tells us all about the man in his new biography. Brian Miller

SW ARCHIVES

A

musician (like his mother) and an inventor (like his father), John Cage was not merely the most innovative composer of the 20th century, shaking millennium-old aesthetic assumptions to their roots. His influence also extended to other art forms like no other musician’s ever has. Yet his iconoclasm was almost inadvertent; never a bomb-thrower, he simply dropped a Zen pebble into a quietly complacent pool and watched the ripples spread beyond music to dance, literature, the visual arts, theater, and more.

Born in 1912 and raised in Los Angeles, Cage studied with Arnold Schoenberg, but soon realized he had “no feeling for harmony,” as he put it, so there was no point in emulating his teacher’s obsession with pitch and pitch relationships. What Cage did have was a fascination with time and its musical manifestation, rhythm, plus an unquenchable curiosity about sound and sound-making.

Luckily, an opportunity arose that encouraged these explorations: Bonnie Bird, head of Cornish College’s dance department, hired Cage as a piano accompanist for her classes. In just two miraculously productive years here, 1938–40, Cage made three groundbreaking discoveries. 1) In Cornish’s tiny radio studio, he experimented with a nascent form of electronic music by manipulating the speed of turntables playing a record of a pure tone, thereby making the pitch fluctuate.

2) He invented the “prepared piano” by attaching objects to the strings. (As Bird recalls it, a section of a brass fireman’s pole—intended for a dance—accidentally rolled onto the piano’s strings, and Cage was rapt by the transformation.)

3) He organized a percussion ensemble to create music concerned only with rhythm and timbre rather than pitch. One of its members was a dance student fresh from Centralia, Merce Cunningham. He and Cage began a personal and artistic partnership that lasted until Cage’s death in 1992.

Later, after leaving Seattle, Cage’s interest in Eastern philosophy led to the most far-reaching change of all, the use of randomness in composition—a challenge to the basic premises of Western art music: expressiveness, intentionality, the centrality of the composer.

Cage moved sound itself into the center, likening his compositional process not to the providing of answers, but the asking of questions: What could we hear if . . .

Making a piece became the setting-up of a situation in which sounds could “be themselves” without anything coming between them and the audience. For example, his most famous work, 4'33", is a “silent” piece in which a performer does nothing; Cage places a conceptual frame around a period of time within which any sounds that may or may not occur can be heard, contemplated, and relished for their own sake.

This is the aspect of Cage’s aesthetic that seeped into other fields—rethinking the relationship between any art and its maker. It influenced Cunningham’s choreography, often also based on chance operations like the I Ching; in his collaborations with Cage, the two created separately, thinking not in terms of one art leading and the other following, but of both arts being poured into the same “empty vessel,” a length of performance time. Cage also influenced Jasper Johns and Robert Rauschenberg, who designed sets and costumes for Cunningham’s troupe, and whose interest in erasures, found objects, and monochromatic paintings can be considered visual-art translations of Cage’s ideas about sound. The patron saint of the ’50s–’60s

» CONTINUED ON PAGE 12 11

FalLArTs>> Centennial Ripples » FROM PAGE 11

LISA KOHLER

“Most of my training has been [to] learn to do a piece a specific way, [to] get so you can produce it this way all the time . . . With Cage, I feel like there’s more opportunity for play. You just have to trust whatever is going to come out at the moment.” Plus there’s the pleasure of stepping off the Verdi/Puccini career treadmill: “[When] 50,000 people do the same opera aria, it’s nice to be able to offer something to people that can leave a lasting impression in a way that other pieces might not be able to—and you get to explore so many aspects of your voice and of your personality.”

Boston pianist Stephen Drury, also a Cage devotee, will play his Concerto for Prepared Piano and Orchestra (1950–51) with the Seattle Modern Orchestra in November. Grow-

Cage taught Drury how to listen.

ing up in Spokane, Drury told me, he discovered Cage’s music early. In seventh grade, he picked up a new-music history textbook

at his piano teacher’s home; its description of 4'33" captivated him—and led eventually to working with the composer. To know the man, he says, was to have your assumptions upended. “The only thing I’ve really learned for sure about Cage,” Drury explains, “is that as soon as you think you know something, he would explain that no, that wasn’t quite it.

Everyone who knows ‘the way it should go’ is wrong.”

Drury elaborates: “There’s such a world of listening available; [Cage] has such a way of letting you discover how to listen, in a way that a composer who tells you exactly what to listen to doesn’t give you room for. This [concerto] in particular is such a pivotal piece—he just started to use chance operations in a very basic way . . . you really feel him teetering on the cliff. [In] the big, big silences in the last movement, you can see the silent piece coming up.”

Surrounding the sonic toy box that is the prepared piano with an equally varied one-of-everything chamber orchestra, Cage allows a constellation of color to coalesce out of the randomly selected individual sounds— beguiling the ear in a way Drury takes pains to emphasize: “And it’s also just gorgeous. It’s so pretty to listen to.” E gborchert@seattleweekly.com

SEATTLE MODERN ORCHESTRA WITH STEPHEN DRURY Chapel Performance Space, 4649 Sunnyside Ave. N., seattlemodernorchestra.com. $10–$20. 7 p.m. Fri., Nov. 9.

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Following a TraIl to Ruin and Renown

How our city’s most famous photographer was lost and found.

By Brian Miller

H

e’s like Indiana Jones,” says Timothy Egan, riffling the pages to show me an image in his forthcoming book, Short Nights of the

Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis. Staring back

from an 1899 self-portrait taken in his thriving downtown-Seattle studio, the 31-year-old photographer Curtis wears his hat at a rakish angle, sports a neat and vaguely bohemian beard, and is dressed as if from the Filson catalog. (Indeed, that local company had been founded only two years prior.) He looks ready for action, ready to climb Rainier (which he did, several times), ready to go shoot some Indians—with his view camera, of course.

More than a century later, sitting in the sun outside a Seward Park coffee shop, Egan says of Curtis today, “He’s sort of a background figure—he’s everywhere!”

True. The historical photos of early Seattle, and his famous Indian portraits, make Curtis’ sepia images too ubiquitous for his own good, too romantic, almost banal. They’re on lawoffice walls and in the new Chihuly Garden at Seattle Center. Local museums are full of them. The Pioneer Square gallery Flury & Company helped create a new market for his photos in the early ’70s. Curtis photo-

Barry Wong

graphs are even sold next to the coffee cups and baseball caps in The New York Times, I mention, which brings a chuckle from Egan—that’s his employer, where he earned a Pulitzer Prize and now writes sharp, skeptical op-eds for its website.

Yet today Egan calls Curtis “a lost Seattleite . . . our almost-forgotten Michelangelo figure in some ways. He’s totally underappreciated.” How did that happen?

Though born in Wisconsin, Curtis (1868– 1952) moved to Seattle as a teen. Self-made and self-educated, he became the city’s preeminent photographer, an artist/entrepreneur “like Chihuly today,” says Egan. Short Nights relates how Curtis, married and suc-

pictorials on the front page. And Curtis, it’s fair to say, loved and used that publicity. He could show those clippings to Roosevelt and Morgan.

“He is the first real Seattle celebrity,” says Egan of Curtis. “He was as big as Bill Gates is now.” As described in the book, Curtis met Roosevelt several times (TR wrote the forward to the first volume of The North American Indian). He shot Alice Roosevelt’s wedding photos and intimate snapshots of the president’s other children—some reproduced in Short Nights. Within a short decade, thanks to his publishing success, says Egan, “He’s very well-known in and out of Seattle,” a national figure. Traveling the country, from Roosevelt’s Long Island mansion to Morgan’s Wall Street offices, “He’s a bit character, he’s Zelig-like,” says Egan. And this was heady stuff for a bootstrapping lad with a wife and young family at home. The initial acclaim for The North American Indian, and the need to keep traveling and publishing, took a toll.

It is in the second half of Short Nights, after Curtis’ swift rise, that we see “the pathos of that life.”

T

oday, Egan readily admits to two big gaps in his book (published next month by Houghton Mifflin, $28) that a fiction writer would gladly fill in. First was the collapse of Curtis’ marriage.

There’s no record of any affairs on the road.

His bitter ex-wife—who assumed control of the Seattle photo studio—later burned all her letters. Then there’s Asahel Curtis, whose Northwest images are often confused with those of his older brother. Edward sent Asahel to Alaska to cover the Gold Rush, then claimed credit for the images. They had a falling-out and never spoke again. Egan interviewed an octogenarian Curtis nephew, but to no avail. All we have is the man and his opus.

“I really do think it’s a masterpiece,” says Egan of The North American Indian.

“There’s only five sets of them in Seattle,”

Left: Curtis as a rakish young photographer.

Right: Chief Joseph in 1903.

including those at the UW and the Seattle Public Library. He’s spent considerable time with white gloves on in the archives, not just examining photos but reading the text: “The anthropological part of it is what most people don’t know about. He was never just a photographer.” From the Hopi to the Inuit to the Navajo, Curtis was taking diligent notes and later making sound and movie recordings. He hired editors and writers to work with him during the long process (1907–30, originally planned for five years).

Over time, Curtis grew more sympathetic to his subjects and their loss of land and culture, says Egan. “He becomes an advocate—goes from being a dandy to seeing the U.S. through their [Indian] eyes.” But, lacking a Ph.D. or an Ivy League pedigree, Curtis wasn’t taken seriously in academia.

That’s one reason, along with the Depression, that the photographer settled into Californian obscurity during the second half of his long life, which included minor work in Hollywood. It’s an amazing yet sad life story. Someone should organize a companion museum show to complement his book, I tell Egan. But who has time for that? Then he walks back home to write a New York Times column, and I head to the office—where, yes, two dusty old Curtis photos are in our archives. His Indians are with us still. E bmiller@seattleweekly.com TIMOTHY EGAN Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. Tues., Oct. 30.

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Today Egan calls Curtis “a lost Seattleite . . . our almostforgotten Michelangelo figure in some ways.”

cessful, became obsessed with a side project that derailed his career, destroyed his marriage, and left him destitute and forgotten. His Indian obsession began with a sad, dignified 1896 portrait of the aged Princess Angeline, the last surviving daughter of Chief Seattle, one of the few natives who ignored the prohibition against their living within the city limits (yes, their rightful home). For a $3 fee, Egan writes, Curtis captured her “as a frozen image of lost time.” He was the modern young settler on one side of the frontier, she the ancient ghost who barely registered in the chemical wash over his glass-plate negatives.

In Egan’s telling, Curtis subsequently embarked upon his 20-volume The North American Indian not out of colonial guilt or commercial greed, but from of a tangle of impulses. Like anyone who moved to Seattle before and after the Klondike Gold Rush, he wanted to get rich. But like other newcomers who explored the wilderness on expeditions with The Mountaineers, Curtis came to revere the West and its original inhabitants. He was an anthropologist, huckster, and artist. Fortuitously meeting some well-connected East Coasters on Mt. Rainier, he vaulted into the social circles of railroad magnate Edward Harriman, Gifford Pinchot— central to Egan’s 2009 book The Big Burn—and President Theodore Roosevelt. Using those connections, Curtis secured the financial backing of financier J.P. Morgan to underwrite The North American Indian.

Short Nights isn’t just a regional story, since it roams the American West and visits the tycoons and politicians back East, but it certainly starts here. After Princess Angeline, one of Curtis’ finest early portraits was of the Nez Perce Chief Joseph during a 1903 visit to Seattle—where he attended a UW football game! With the frontier closed and Indians mostly confined to reservations, it’s difficult to remember how the Old and New Wests briefly overlapped. One of the last great chiefs from a Stone Age civilization was respectfully depicted by a young man with a newfangled camera. And that encounter was news. As Egan writes, Alden J. Blethen and his new Seattle Times put Joseph and Curtis’ later EdWard S. CurtiS

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FalLA rTs>> theater

History in Song

A new musical drama looks back to the segregated ’30s.

BY MARGARET FRIEDMAN

I

jobs, to see the country, to have access to people who had all kinds of information. The Pullman porters were our cultural conduits in the South.”

Though Chicago-born and today a Seattleite, West has family roots in the Old South. Two of her grandparents were Mississippi sharecroppers; another worked on a postal train, and his stories primed her interest in African-Americans on the rails. Those stories, along with the history of the Pullman porters, inform her new play Pullman Porter Blues, commissioned by Seattle Repertory Theatre to open its 50th season. Sitting in the subterranean guts of the Bagley Wright before rehearsals, West explains how the porters’ newspapers were

NATE WATTERS

magine it’s the Great Depression and you’re black. Your grandparents might’ve been someone’s property. You are either officially or unofficially unwelcome in most establishments. Straying into the wrong neighborhood could get you killed. Economic times are worse than hard. That’s why, from the Civil War to the ’60s, one of the most coveted jobs for a black man was to be a porter for the Pullman Company, whose luxury train cars pampered affluent white travelers.

It could be a ticket to the middle class (especially after the porters formed the country’s first African-American union), and it was also a secret broadcasting network: The porters distributed Northern newspapers to towns in the rural South, advertising the jobs that spurred the Great Migration to the industrial belt (and eventually Seattle, too).

“Being a Pullman porter,” explains playwright Cheryl L. West, “afforded you a certain opportunity that most African-Americans didn’t have. This was an opportunity for black men [just] off the plantation to have good

received in the South.

“They would find someone who could read, and everyone would come, and they would read the newspaper. Otherwise they would never have gotten any information that there was a large world beyond the plantation.”

Set on a train traveling from Chicago to New Orleans in 1937, the play focuses on three generations of a Pullman “dynasty”: Monroe Sykes, who came from a plantation and doesn’t make waves; his son Sylvester, who’s secretly forming a union; and his grandson Cephas, who has tasted university life but dismays his elders by taking a Pullman job. According to West, those jobs came mainly by referral, so a new hire’s behavior reflected on his nominators. This provides ample conflict when Cephas shelters a white 17-year-old stowaway named Lutie, the daughter of a hobo.

Despite Lutie’s gratitude and attraction to Cephas, her racism pops out unwittingly, illustrating Monroe’s adage that “Sugar turns to shit in a blink.” West broadens the racial

Seattle Women’s Chorus DENNIS COLEMAN ArtIStIC DIrECtOr

context by setting the play on the night Joe Louis defeated white boxing champ James J. Braddock, a watershed moment. The play’s Braddock equivalent is a conductor named Tex. With an onstage band playing blues and gospel, the three Sykes men sing numbers including Rosetta Tharpe’s “This Train.”

Another central character, the boozy (for good reason) Billie Holiday–like lounge singer Juba, covers Bessie Smith’s “New Orleans Hop Scop Blues” and “I Need a Little Sugar in My Bowl.”

West isn’t new to musical and historical dramas. She previously wrote the libretto for the Rep’s 1998 Play On, a jazz musical set in the Harlem Renaissance, which later went to Broadway.

Theatergoers may also recall her 2000 Jar the Floor at the Rep, about four generations of black women, and Seattle Children’s Theatre’s 2007 production of her Addy: An American Girl Story, about a slave during the Civil War. Her knack for idiomatic Southern speech (e.g., knees are “prayer knockers”) came from her grandparents, she tells me. “When I listened, I heard poetry in how they talked, how they spoke, how they twisted a phrase. And I became a writer to legitimize that poetry as being just as wonderful and musical as what we have to learn in the King’s English.” E PULLMAN PORTER BLUES Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $15–$80. Runs Sept. 27–Oct. 28.

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Powerful music in a classic setting

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FalLArTs>>film

Strength in Small Numbers

How a tiny nonprofit cinema continues to survive.

BY SEAN AXMAKER

W

OCTOBER 9

TICKETS: $39

THE FLATLANDERS Illsley Ball Nordstrom Recital Hall

Forty years into their friendship, these ‘founding fathers of Americana’ — Jimmie Dale Gilmore, Joe Ely and Butch Hancock — are hitting the road again.

Country Concerts at Benaroya Hall are sponsored by an anonymous donor.

ANDREW IMANAKA

Eight years later, Marter has left and Hoyt has scaled back his involvement, but the organization they built remains steady (with 24 volunteers and an eight-member board of directors). Last year, it paid off the last of its loans. The GI is now free and clear of all debts.

There are inevitable real-estate pressures, but Alter says he’s not too worried about being displaced by development. Gentrification is coming only fitfully to the U District, where empty storefronts are still a common sight, and the GI sits on a small, odd-shaped corner lot, not the most conducive to development. Tenants have come and gone in the cafe next door (not commercially connected to the theater), but the landlords have been supportive of the GI, says Alter.

The programming mix of offbeat indies, repertory titles, and imports generally plays to a small but dedicated audience—senior citizens, college kids, and film buffs. This year’s highlights have included the Samuel L. Jackson crime thriller The Samaritan; the restored cut of Andrzej Z·uławski’s 1981 psychodrama Possession; revivals of Cary Grant and Glenn Ford classics; and a free screening of Joe Dante’s epic B-movie celebration The Movie Orgy. (See our fall arts calendar for more coming attractions, including the annual Christmas presentation of It’s a Wonderful Life, a tradition since 1970. Tokyo Story plays this week—see the Wire, page 46.)

And the business plan is working. Ticket sales cover well more than half the operating budget—basically just the lease, rental fees on prints, and advertising. Concessions, membership fees, and special-event rentals cover the rest. The big-ticket items—equipment, upgrades, repairs—are managed with the help of grants and fundraising drives. A new air conditioning/heating unit came courtesy

of a King County 4Culture grant, and that agency also just provided primary funding to upgrade the audio system. And after that? “A new screen” tops Alter’s wish list.

While the theater projects both film and digital (the latter from DVD and Blu-ray), the GI board has no plans for an expensive digital upgrade. Whenever possible, the GI runs 35mm film prints, the preferred format for archival presentations like August’s Ernest Borgnine memorial screenings of Marty and The Wild Bunch.”It’s not so bad getting 35mm prints,” says Alter, “if it’s a pretty well-known film.” (Studios are happy to have the publicity prior to new DVD releases from their archives.)

The tricky part, he admits, is finding a good print to thread through his vintage projectors.

As for the local art-house competition for new titles, says Alter, “SIFF and NWFF won’t necessarily play the kind of film we will.” With significantly lower operating costs and fewer seats to fill, the GI “can definitely take a chance on things.” Those chances recently included a weeklong revival of Bottle Rocket, Wes Anderson’s 1996 debut feature, and the psychedelic head-trip Beyond the Black Rainbow.

Occasionally the GI even lands a national premiere. August’s Side by Side, a documentary on the digital/film divide produced and narrated by Keanu Reeves, opened exclusively in just two cities: New York and Seattle.

Here the film was even held over from its original weeklong run. The Thai hit-man thriller Headshot will also open on September 28 in NYC and at the GI. Despite the odds, there’s still room in Seattle for this little theater that could. E THE GRAND ILLUSION CINEMA 1403 N.E. 50th St., 523-3935, grandillusioncinema.org.

OCTOBER 24

TICKETS FROM: $30

JAKE SHIMABUKURO S. Mark Taper Foundation Auditorium

“Jake is taking [the ukelele] to a place that I can’t see anybody else catching up with him.” — Eddie Vedder Jake Shimabukuro’s performance is generously underwritten by Katrina Russell and Jeff Lehman.

OCTOBER 25

TICKETS: $37

CARLOS NÚñEZ Illsley Ball Nordstrom Recital Hall

Longtime Chieftains collaborator Carlos Núñez is at the heart of the Galician folk revival, with album sales surpassing the million mark worldwide.

NOVEMBER 1, 2 & 4

FLAMENCO

TICKETS: $33

FEATURING KAREN LUGO Illsley Ball Nordstrom Recital Hall

Join Fundación Conservatorio Flamenco Casa Patas for some fiery footwork and live flamenco music presented in collaboration with Seattle’s Honorary Consulate of Spain.

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

hen Brian Alter opens The Grand Illusion Cinema, the little U District theater on the corner of 50th and University Way, for its Saturday screenings, the first thing to do is flip on the popcorn machine. As the kettle warms, he turns on the house lights, unlocks the projection booth, and pulls out the change drawer. Then it’s time to drop in the canola oil and start popping the popcorn, which fills the lobby with the unmistakable perfume that defines movie theaters large and small.

As I watch, he sells tickets and chats with the larger-than-expected audience—many of them regulars—on a sunny late-summer afternoon. Then he introduces the matinee screening of Side by Side, makes a pitch for an upcoming fundraiser, runs the trailers, starts the film, and heads back into the lobby to man the concessions counter. For this Labor Day weekend matinee, Alter was a staff of one.

(His day job is in advertising.)

That’s not so unusual for a nonprofit organization. What is unusual is that there is no paid staff—not even Alter, currently the general director, manager, and lead programmer. Like everyone who pitches in to keep the theater running, from bookkeeper to projectionists to the programming team, he does so for free.

While that makes it a challenge to sustain a seven-day-a-week theater, it’s also one of the reasons it still survives in a turbulent time for cinemas and nonprofit arts organizations alike.

Named after the 1937 antiwar classic by Jean Renoir, the Grand Illusion has been around since 1970, when it was converted from a dentist’s office into the Movie House by cinema impresario Randy Finley. Then and now, it’s a strange space for a cinema: The low ceiling gives it a cavelike quality, and the rumble of traffic can often be heard in a show’s quiet moments. But it has character and a 42-year-old patina.

Finley went on to found the Seven Gables chain (later absorbed into the national Landmark chain), and the Movie House became the Grand Illusion. Under subsequent owners, it’s remained an independent theater and the smallest continuing commercial cinema in town, now with a cozy 70 seats. And it’s endured in a neighborhood that’s seen the closing of the Neptune as a film venue, the transformation of the Metro into Sundance Cinemas, and the Varsity hanging on by a thread.

The nonprofit Northwest Film Forum took over the GI from 1997 to 2004, when it consolidated operations on Capitol Hill, putting the GI back on the market. Spenser Hoyt and Guerren Marter, who’d both been projectionist/managers there, then joined two partners to form a new 501c(3) nonprofit, raise money (much of it borrowed from Marter’s father), and purchase the business—lease, projectors, seats, and all.

After some renovations, the theater reopened on April Fool’s Day 2004 with a run of Rubin and Ed, a Seattle cult favorite and GI staple.

19

FalLArTs>> theater

Let Saigon Be Saigon’s

Trieu Tran’s one-man show aims to defy Asian entertainment stereotypes.

A

fter scrambling around Hollywood for parts where few are offered to Asian actors, Trieu Tran says, “I told myself I’d give myself one year or take the LSAT and apply to law school.” That deadline passed, so he took the test and didn’t score as high as he’d hoped. “But a week afterward, I got Tropic Thunder”—which he can laugh about now.

Tran’s face doesn’t immediately spring to mind from that 2008 satire, directed by Ben Stiller. And I haven’t seen him on HBO’s The Newsroom, where he has a recurring role as Joey Phan. Tran helps refresh my memory: He was one of Stiller’s captors, he explains, “the one dancing around with coconut tits and an AK-47.” More important, besides “allowing me to spend two months in Kauai with Ben Stiller,” the role gave him a reprieve from the family expectations he addresses in his show.

LARAE LOBDELL

BY BRIAN MILLER

As a first-generation immigrant from Vietnam, says Tran, “My home was pretty much ‘Education, education, education’ . . . trying to assimilate, to make sure I got straight A’s.” Driving from college to Hollywood was not part of the program. But whether conforming to or rebelling against the pressure to be a perfect son, Tran avows, “All immigrants face the same problems.” Yet Jews, Italians, and Irish have a body of immigrant literature to show, along with memoirs and movies. The African-American experience was told later, but it was told.

This isn’t the case for Vietnamese-Americans, says Tran. “You go in a bookstore even now, is there a Vietnam section? No. Vietnam history is under American history. All the books about the Vietnam War are from the GIs’ perspective.”

There’s been no equivalent to Roots, no PBS

documentary, nothing specific to the Vietnamese experience—until Uncle Ho to Uncle Sam, a one-man show Tran wrote with the editorial guidance of Robert Egan (who directs), premiered last Thursday at ACT. (We’ll review it next week.)

Uncle Ho covers a lot of ground, beginning with Tran’s dramatic childhood escape from Vietnam. “I pretty much remember it from that night we left,” he recalls. “In the middle of the night, I’ve got my sister on my back, going through the jungle to where we’d hidden the canoe, to get to the boat. It was kind of like an adventure—we were going to freedom! Then we got on the boat and we got attacked by pirates.”

Following their father, who’d previously escaped, Tran, his mother, and two sisters then spent months in a refugee camp in Thailand.

Tran’s family was reunited in Canada, where he had to learn English in a hurry. He continues, “I came very young. I was, like, 7 1⁄2. The struggle for me was having to balance the two languages within the home. My first year in Canada, hanging out with the Caucasian kids, all I learned was the swear words. I was growing up in Saskatoon, Saskatchewan, which is pretty white. We were fresh off the boat. At my school, me and my sisters were the only Asians.”

Later settling in Boston after a family tragedy (explained in the show), the teenage Tran strayed into gang membership. He recalls, “I didn’t have any role models. I didn’t have a father figure. It was easier to look at other

examples, probably bad examples . . . criminals and thugs. There are teenagers on the street corners, drinking beer and smoking weed.

Gangster rap came out, and everyone wanted to walk around with baggy pants and a sideways baseball cap, talking shit. For me, it was all about protection, not wanting to get my butt whipped after school, so I joined [a gang]. I didn’t feel it was wrong. They were my friends.”

The same ability to fit in marked the beginning of his acting career. He also adapted to college (American University in Washington, D.C.), where he changed majors from political science to theater; then came Hollywood, where his first film bit came in the 2001 stoner comedy How High.

Hollywood’s depiction of Asians—beyond Tran’s career—is also an important part of Uncle Ho, he explains. “Being Asian-American, we had no role models” on TV or at the movies. “Hollywood has slowly opened up its doors,” says Tran. “Very slowly. They don’t write the roles for us. And the roles they do write are mostly stereotypical. We’re asexual. We know kung fu.”

In a multimedia show that Tran says will be more John Leguizamo than Spalding Gray, Uncle Ho promises to topple a few of these stereotypes.

Says Tran, “We’re not all quiet and docile.” E bmiller@seattleweekly.com UNCLE HO TO UNCLE SAM ACT Theatre, 700 Union St., 292-7676, acttheatre. org. $15–$55. Runs Tues.–Sun. Ends Oct. 7.

The Russian Chamber Music Foundation of Seattle celebrates its 5th season of great Russian Chamber Music in Seattle. Don’t miss “Autumn Evenings” and the

only appearance of the Rimsky-Korsakov String Quartet from St. Petersburg at Illsey Ball Nordstrom

Seattle weekly • S E P TE MB E R 19−25, 2012

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FalLArTs>>dance

PNB at 40

Francia Russell & Kent Stowell in the late ’70s.

Our critic traces the evolution of an institution.

October 12 – November 4

BY SANDRA KURTZ SW ARCHIVES

W

Peter Boal today.

Clarence Acox Tribute w/ Garfield Jazz Band Lorraine Feather & Russell Ferrante Danilo Perez/Andy Clausen’s Wishbone Ab Baars & Ig Henneman Luciana Souza/Dave Peck Matthew Shipp/Trio X Jon Hamar Tatsuya Nakatani Bettye LaVette Human Spirit Vijay Iyer Trio/Cuong Vu’s Triggerfish Evan Flory-Barnes, Featured Artist Nik Bärtsch’s Ronin Phil Dadson Paul de Barros George Colligan Buster Williams/Ernie Watts w/ Marc Seales Arga Bileg Lionel Loueke/Dos y Mas Gregoire Maret Bobby Previte’s Silent Way Project Royal Room Conduction Music Ensemble B’shnorkestra/Neil Welch Elina Duni w/ Colin Vallon Anat Cohen Jake Shimabukuro Tamarindo/Shuffleboil Tom Varner Philip Glass w/ Foday Musa Suso JD Allen Jaap Blonk Susan Pascal’s Soul Sauce Rupa & The April Fishes Staff Benda Bilili Chris Lightcap’s Bigmouth/Kate Olson & Naomi Siegel Sumi Tonooka Christian Scott Bandalabra Halloween Party w/ ODAT Band v.2 Mundell Lowe & Mike Magnelli Roosevelt & Ballard Jazz Bands Murl Allen Sanders w/ Warren Rand Seattle Repertory Jazz Orchestra w/ Branford Marsalis Robert Glasper Experiment

More than 50 events in venues all around Seattle

Buy tickets at www.earshot.org & 206-547-6763

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Mopey (premiered in 2005, seen last year) and William Forsythe’s One Flat Thing, reproduced (premiered in 2008) reflect that adventurous spirit.

All of which makes the coming highlights of PNB’s 40th-anniversary season seem like pictures in a family album: You can see the resemblances between child and adult, but also recognize the changes. Works like Swan Lake (next April), coming from the deep history of ballet, are programmed next to hybrids from Twyla Tharp and Ulysses Dove; a pair of neoclassical ballets by George Balanchine; and a number of new commissions—including two (by Mark Morris in November and Christopher Wheeldon in May) that promise to be significant additions to the art form. The season opens this Friday with Stowell’s Cinderella—a tribute to both Russell and him—and, after the inevitable holiday Nutcracker, returns the popular JeanChristophe Maillot Romeo and Juliet (also to be performed in New York next February).

Probably the most extraordinary thing about this year is that it’s not that unusual for the company. While the original founders had high hopes, it’s not clear that even the most ambitious and imaginative of them could’ve predicted the institution that Pacific Northwest Ballet has become. And from my seat, over three decades, I’ve seen the company grow in depth, skill, and daring. During the ’80s, in a summer series at the old Seattle Rep, I remember watching dancers attack Balanchine’s Allegro Brilliante like it was the biggest challenge they’d ever faced. At last June’s season finale, a new generation tackled David Dawson’s fiendishly tricky A Million Kisses to My Skin as though born to the task. In a constantly evolving dance world, PNB has found itself on the cutting edge of change, working in the upper-left-hand corner of the map. E

Evan Flory-Barnes photo by Daniel Sheehan

ANGELA STERLING

hen Pacific Northwest Ballet was founded in 1972, it was pretty clear what a ballet company was. The art form dates to the 16th century, and although different choreographers rang changes on its basic vocabulary, these were mostly variations on a theme. Seattle audiences had seen performances by touring ensembles (as well by our amateur and student groups), so the expectation was that a new professional company would essentially offer more of the same.

But just as the Seattle arts community took the momentum unlocked by the 1962 World’s Fair and ran with it, the dance world was on the verge of major changes. The dance boom of the 1970s was about to reconfigure our definitions of what dance could be—and who could be doing it. Performances mixed styles and genres with abandon, cross-pollinating in ways that had been unheard of before; and ballet, a dance form that had carried its aristocratic roots close to its heart, was swept along in the spirit of change. PNB may have launched from a clearly defined world, but it has morphed along with its environment.

Part of that evolution had to do with its leadership, which didn’t gel until 1977, when the board convinced Kent Stowell and Francia Russell to leave Europe and run a very young dance company. The choice was pivotal.

While Stowell and Russell had great credentials, dancing for New York City Ballet and later directing the Frankfurt Ballet, it was their determination to create an independent ensemble, not a junior version of NYCB, that put PNB on the right track. (Soon after, the company took its present name, having started as the Pacific Northwest Dance Association.)

Stowell and Russell programmed works from the heart of classical ballet and their own neoclassical heritage, but they also presented dances far outside the canon—hybrids of ballet and modern, contemporary works from Europe, and a string of commissions from across the spectrum. They built an adventurous repertory and nurtured a larger, more diverse group of dancers.

When Peter Boal assumed company leadership in 2005, the changes were more in degree than in kind. Taking a sort of Olympian point of view (“Further, faster, higher”), he added an even wider variety of works to PNB’s repertory, initially increased the number of performances, and sent dancers on tour—to New York and beyond. (And significantly, the New York press now comes to Seattle for a major opening like 2011’s Giselle or Twyla Tharp’s premieres for the company.) Boal’s choices as director here seem guided by earlier side projects, commissioning and dancing in new contemporary works—experiences even more influential than his time at NYCB. Some of the most radical dances he’s brought, like Marco Goecke’s

21

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• Ongoing–Dec. 2 Many Arrows From Rama’s

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bookstore.washington.edu •19–23 Keith Hennessy/Circo Zero The San

Francisco choreographer deals as much with politics and culture as with kinesthetics. His Turbulence (A Dance About the Economy) is the centerpiece of a discussion series about art and economics dauntingly titled “Failure.” Not to worry, though— Hennessy’s project is as much about subversive solutions as about mainstream troubles. And in the spirit of alternative economies, the discussion sessions are free. Sandra Kurtz Velocity Dance Center,

Art Museum Ongoing–Jan. 20 George Nakashima: A Master’s Furniture and Philosophy His furniture,

Arts West, artswest.org 20 Paul Auster The prize-winning novelist,

architectural drawings, sketches, and personal history are featured. Wing Luke

rock musical about an uncouth president from the woolly frontier? Sounds unlikely, and yet the show was a big Broadway hit.

Museum, wingluke.org 19 Mark Bittman Seattle Arts & Lectures

poet, and screenwriter reads from Winter Journal, a memoir about his mother’s life and death. Town Hall 20 Ivan Doig The local novelist reads from The Bartender’s Tale, about a rural Montana saloon owner and his son. University Book

lectures.org 19 The Byrd Ensemble Performing the music

Store 20 Paul Tough He’ll discuss How Children

presents the New York Times food writer and author (Food Matters). Benaroya Hall,

Parish Church, byrdensemble.com 19 Steven Johnson The Future Perfect

author makes the case that a new model of political change is on the rise, possibly transforming our society. Town Hall,

townhallseattle.org 19 Jacqui Naylor Vocalist Naylor and her

band mix jazz and rock tunes on their new album, Lucky Girl. The Triple Door,

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locals read from their much-praised new novels, Where’d You Go, Bernadette and The Revised Fundamentals of Caregiving, respectively. University Book Store,

velocitydancecenter.org 19–Oct. 20 Bloody Bloody Andrew Jackson A

of their namesake, Renaissance composer William Byrd, and contemporaries. Trinity

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seattleartmuseum.org Ongoing–Dec. 2 Women’s Paintings From the Land of Sita From the 1970s and beyond,

Indian women artists colorfully depict their rural lives and folklore. Seattle Asian

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Succeed: Grit, Curiosity, and the Hidden Power of Character. Town Hall 20–22 Seattle Symphony Ludovic Morlot conducts Respighi’s cinematic The Pines of Rome as part of SSO’s Family Connections program, which offers kids free companion tickets. Benaroya Hall, seattlesymphony.org 20–23 Jeff Lorber He fuses funk with R&B, supported by Brian Bromberg, Everett Harp, and Gary Novak. Dimitriou’s Jazz Alley, jazzalley.com 20–23 Seattle Design Festival Features

speakers, workshops, tours, and films on urban, city, and graphic design. Various

locations, seattledesignfestival.org

By Gavin Borchert, Sarah Elson, Kyle Houk, Sandra Kurtz, Brian Miller, and Allison Thomasseau

FalLArTs>>calendar 21 Dispatch The indie/roots band tours behind Circles Around the Sun. The Moore, stgpresents.org 21 Curtis Salgado The bluesy R&B singer

plays harmonica and fronts his band in support of Soul Shot. The Triple Door • 21 Hedrick Smith The Pulitzer-winning journalist discusses Who Stole the American Dream? Town Hall 21–22 Ramayana From Her Perspective This Indian dance performance tells the Ramayana from the female point of view, with companies Pratidhwani, From Within Nucleus Dance Company, and Urvashi Dance. ACT Theatre, acttheatre.org 21–23 Fremont Oktoberfest This autumn tradition includes pumpkin carving, local bands, a 5K run, and beer. Lots of beer. See the Wire, page 46. Downtown Fremont, fremontoktoberfest.com • 21–30 Cinderella Launching PNB’s 40th

season, this classic fairy tale is a perennial family favorite. McCaw Hall, pnb.org • 22 D.T. Max See the Wire, page 46. Elliott Bay Book Co., elliottbaybooks.com

• 22 The Shins Everybody loves this Portland band. With guests Washed Out. The

Paramount, stgpresents.org 22 Wheedle’s Groove A tribute to Seattle funk

and soul music c. 1965–75, featuring Acapulco Gold. The Neptune, stgpresents.org 22–23 Northwest Book Fest Local authors will include Ivan Doig, Karl Marlantes, David Guterson, Jim Lynch, Paula Becker, Alan Stein, Knute Berger, and many others.

Downtown Kirkland, nwbookfest.com 22–May 5 Click! Classic Photographs From Washington Asahel Curtis, Edward Curtis,

Darius Kinsey, Virna Haffer, and others are represented by some 40 historical images. Washington State History Museum,

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» CONTiNUED ON PAGE 25

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Schmeater, schmeater.org • 24 T.C. Boyle See the Wire, page 46. Meany Hall, lectures.org 24 Tegan & Sara The folkie duo is promoting

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FalLArTs>>calendar » FROM PAGE 23 27 Greg Palast The muckraking journalist’s

How Billionaires Steal Elections will surely mention the Koch brothers and Citizens United. Town Hall 27–30 Gob Squad’s Kitchen They send up ’60s culture by way of Andy Warhol’s film Kitchen. On the Boards, ontheboards.org 27–30 New Spanish Cinema SIFF’s weekend mini-fest offers a dozen films from the Iberian Peninsula. SIFF Cinema Uptown, siff.net 27–Oct. 28 The Cat in the Hat Dr. Seuss’ danger-

ous anarchist tract, adapted for the stage to indoctrinate your children. Seattle Chil-

dren’s Theater, sct.org 27–Oct. 28 Pullman Porter Blues Cheryl L. •

West’s coming-of-age story follows black railway workers on a 1937 journey from Chicago to New Orleans. See related story, page 17.

Seattle Repertory Theatre, seattlerep.org 27–Dec. 6 Women in the Shadows SAM’s

nwfilmforum.org 28–Oct. 21 Superior Donuts Pulitzer winner

Tracy Letts’ comedy-drama set on “the mean streets of Chicago.” Bathhouse

Theater, seattlepublictheater.org 28–Oct. 22 The Fairytale Lives of Russian Girls

An innocent American woman (Samie Spring Detzer) falls into the mire of Putin’s Russia, circa 2005, in this dark comedy by Meg Miroshnik. “Axe-wielding prostitutes” are promised.

Indigo Blue welcomes back a stellar lineup of faculty for a 10th-anniversary blowout. Odd-

fellows Building, academyofburlesque.com 29 Hahn-Bin This controversial violinist com-

bines rock-star hair and makeup with a Fritz Kreisler playing style. Kirkland Perfor-

mance Center 29 Broken Bow Ensemble Seattle composer/

bassist John Teske leads this avant-orchestra. Chapel Performance Space, johnteske music.com

Elliott Bay Book Co. 28 Patrick Wolfe His acoustic set will include piano, harp, and dulcimer. The Triple Door 28–29 Boney James The sax player’s new

record, Contact, offers soulful grooves.

Dimitriou’s Jazz Alley 28–29 Voices of Strength This contemporary-

dance festival offers female performers from South Africa, Mozambique, Côte d’Ivoire, and Morocco. The Moore • 28–Oct. 4 Local Sightings Film Festival This showcase for Northwest filmmakers, including features, shorts, and docs, is now in its 15th year. Northwest Film Forum,

29 Stephanie Miller’s Sexy Liberal Comedy Tour

The political humorist is joined by Hal Sparks and John Fugelsang. The Paramount 29 Owl City Although from Minnesota, the electro-pop band—touring behind The Midsummer Station—is known for its song “Hello Seattle.” The Neptune 29–30 Italian Festival Celebrating all things Italian with food and cooking demos, Sicilian puppetry, a grape-stomping contest, and a bocce tournament. Seattle Center,

“Little Miss Sunshine meets Rain Man . . .

Big-hearted, and very funny, and full of hope.”

—The Boston Globe

“Jonathan Evison is a gifted raconteur with a wicked sense of humor . . . His myriad talents are displayed in full bloom.” —PATRICK DEWITT, author of The Sisters Brothers

seattlecenter.com 30 Caroline Flohr The Bainbridge Island

author reads her memoir, Heaven’s Child, about her challenges as a recently divorced single parent. Eagle Harbor Book Co., eagle-

harborbooks.com 30 The Weeknd The alterna-R&B act is

known for melancholic ballads, featured on the 2011 mixtape House of Balloons.

The Paramount 30–Jan. 6 Georgy Pakin A Russian photogra-

pher based in the Pacific port of Nakhodka, his gritty images run four decades back into the Cold War era. Whatcom Museum, Bellingham, whatcommuseum.org

» CONTINUED ON PAGE 27

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Three, wrongfully imprisoned for two decades, will share from his memoir Life After Death. Town Hall 28 Looper Joseph Gordon-Levitt travels forward in time to discover he’s Bruce Willis.

Or vice versa. Opens wide.

28 Jerry Mander He’ll discuss The Capitalism Papers: Fatal Flaws of an Obsolete System.

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• 28 Damien Echols He of the West Memphis

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The Little Theatre, washingtonensemble.org 29 Academy of Burlesque Headmistress Miss

Inuit hunters in the documentary People of a Feather at the Local Sightings Film Festival.

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» FROM PAGE 25

October 1 Paul Elie The Georgetown University prof

discusses Reinventing Bach, and how today’s musicians should address his legacy. Town Hall • 1 Rufus Wainwright With Morrissey (Nov. 10) and Madge (Oct. 2–3), he forms the fall queer-fecta of pop music. And today he’s the least lazy of the three. Benaroya Hall 1–20 Photolust This big group show of contemporary photographers ends with an auction at which you can buy their work.

Photo Center NW, pcnw.org 1–31 Arts Crush Every venue in town is host-

museum.org.

• 2–3 Madonna She can’t keep going forever,

can she? The tireless pop icon is touring behind her new album, MDNA, making us love her just as much as when Holiday came out. KeyArena, keyarena.com • 3 Aimee Mann One of our favorite L.A. singer/songwriters, she’s survived the ’90s better than most. The Neptune

are open late, at the Tashiro Kaplan Building and beyond. Future dates to circle in your calendar (or key into your Google alerts): Nov. 1 and Dec. 6. Various

locations, firstthursdayseattle.com 4 Davy Rothbart Editor of Found magazine,

he’ll share more shopping lists, mash notes, and literary ephemera supplied by readers.

Town Hall 4 Lance Weller The Gig Harbor author’s

historical novel Wilderness concerns a man and his dog in the woods, 30 years after the Civil War. Eagle Harbor Book Co. • 4–6 Mark Morris Dance Group If you’re a longtime member of Seattle’s dance world, you remember seeing Morris’ first performances at OtB, back when you walked up the creaky staircase at Washington Hall. If you’re a more recent addition, you followed his development at Meany Hall and then with Seattle Theater Group.

But if you’ve just arrived, be sure to see the new work (the world premiere of A Wooden Tree) and old (1993’s Grand Duo) from one of Seattle’s famous (infamous?) native sons. SK On the Boards 4–6 Paul Taylor Dance Company The choreographer’s The Uncommitted is a West Coast premiere. With two additional works from repertory: Kith and Kin and Brandenburgs. Meany Hall, meany.org 4–Feb. 2013 Return to Paradise TZZ’s new dinner show will include many proven former performers and Seattle’s own Thaddeus Turner, playing Jimi Hendrix.

Award-winning ART in a Bottle

Teatro ZinZanni, dreams.zinzanni.org 5 Frankenweenie Back in 1984, we adored

Tim Burton’s short film about a boy who stitches together his pet dog. We’re not so sure about this new 3-D feature version.

Opens wide.

5 Alanis Morissette The singer/songwriter

is back with a new album, Havoc and Bright Lights. You decide whether it’s ’90s nostalgia or what. The Moore

» CONTINUED ON PAGE 28

PLEASE ENJOY OUR PRODUCTS AND THE OUTDOORS RESPONSIBLY

Seatt le w eekly • S E P TE M B E R 19−25, 2012

ing an event related to this interdisciplinary omnibus. Various locations, artscrush.org 2 Stacy Carlson Her first novel, Among the Wonderful, explores antebellum Manhattan through a museum owner’s account. University Book Store • 2 Emerson String Quartet It’s cellist David Finckel’s farewell season with the quartet; here they’ll play Haydn, Brahms, and The Four Quarters by Brit wunderkind Thomas Adès. Meany Hall, uwworldseries.org 2 Glen Hansard Now split from Markéta Irglová, with the Broadway musical Once a big success (following the pair’s 2007 hit indie movie), he’s taking time off from the Frames to promote his first solo album, Rhythm and Repose. The Moore 2–Nov. 11 Bill Stafford He shows photographs of Iceland. Nordic Heritage Museum, nordic

4 First Thursday All the downtown galleries

27

FalLArTs>>calendar » FROM PAGE 27

• 5 Northwest Sinfonietta Cuban musicians from the Orquesta de Cámara Concierto Sur join the NS in an unprecedented collaboration on Beethoven’s Ninth.

Benaroya Hall, northwestsinfonietta.org • 5 Stephen Tobolowsky The bald veteran

character actor has become a publicradio favorite with his long stories about Hollywood and more. Now he’s written a memoir, The Dangerous Animals Club.

Town Hall 5–6 Degenerate Art Ensemble Never doubt this

avant-theater troupe’s capacity to surprise; their new multimedia show, Underbelly, is co-sponsored by Olson Kundig Architects.

Seattle Center, degenerateartensemble.com 5 & 7 Simple Measures Chamber music + dis-

cussion, designed to soothe the classically intimidated. The Pacific Rims Percussion Quartet plays Vivaldi, Cage, and Stravinsky.

Various venues, simplemeasures.org 5–7 The Jacket Seattle troupe Nanda combines

comedy, acrobatics, martial arts, and dance.

Broadway Performance Hall, nandatown.com 5–11 In the Family Patrick Wang’s 2011 drama

concerns a custody battle between two

dads. It’s like a gay Kramer Vs. Kramer.

tion six potential music directors; first up, Jeremy Briggs Roberts conducts Bach and Shostakovich. First Free Methodist

Northwest Film Forum 5–11 What Did You Expect? The Archers of Loaf

Gorman Bechard’s music doc follows the influential indie rockers. Northwest Film Forum

• 5–31 Curse of All Monsters Attack Silly/

scary movies will include John Carpenter’s The Thing, Arsenic and Old Lace, Wallace & Gromit: Curse of the Were-Rabbit, and more. See related story, page 19. Grand Illu-

sion Cinema, grandillusion.org 6 Orchestra Seattle/Seattle Chamber Singers Their six concerts this season audi-

Church, osscs.org

• 6 REVERB SW’s own all-local music festival. Various Ballard venues,

seattleweekly.com 6 Seattle Baroque Orchestra Bach violin

concertos, with soloist Ingrid Matthews.

Town Hall, earlymusicguild.org 6 Shaolin Warriors A choreographed, theatri-

cal martial-arts performance, set to music.

The Moore 6 The xx The English indie-pop band is touring behind Coexist. The Paramount 6–7 Clarinettissimo Recitals, master classes,

a community clarinet choir, vendors, and more at Sean Osborn’s annual celebration of the instrument. Seattle Pacific University,

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• 6–7, 13–14 The Esoterics “Mystikos” includes premieres of winning works from this choir’s composition competition. Various

venues, theesoterics.org 6–Feb. 16 En plein air Selections from the Hen-

ry’s permanent collection are contrasted with work by French Algerian contemporary artist Neïl Beloufa. Henry Art Gallery,

Paul Taylor Dance Company Oct 4-6

henryart.org 6–March 2013 Michael Kenna A globetrot-

Includes West Coast premiere of The Uncommitted, with live music by the Seattle Modern Orchestra.

ting English photographer now based in Seattle, he shoots lovely black-and-white travel scenes, as exhibited in Memories and Meditations. Tacoma Art Museum, tacoma

artmuseum.org 6–March 23 Pipilotti Rist The noted French

video artist will create several large and immersive installations in A la belle étoile.

Henry Art Gallery

• 8 Sherman Alexie Our city’s leading man of letters reads from his collection Blasphemy: New and Selected Stories.

University Book Store

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Emerson String Quartet • Oct 2

Laurie Anderson • Oct 20

Kathy Mattea • Oct 27

Emerson String Quartet October 2 Kevin P. Casey

Seattle weekly • S E P TE MB E R 19−25, 2012

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» CONTINUED ON PAGE 31

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in Ridgefield, WA Saturday & Sunday

October 13 & 14 th

• Sandhill Crane Tours • Refuge staff hikes & bus tours • Kayak & Big Canoe paddle tours • Audubon’s Wild Birds of Prey!

(Live Bird Show)

• Family activities tents

th

2012

TM

th

13 nual An

Join us for a wonder-filled weekend exploring wildlife and cultural heritage.

Most events are free.

• GPS lead-GeoAdventures • Birders’ Marketplace (Arts & Crafts for sale) • The Big Sit (bird-a-thon) • Traditional Native American salmon bake • And so much more!

Go to the Schedule of Events to plan your weekend. www.RidgefieldFriends.org

Seattle weekly • S E P TE MB E R 19−25, 2012

Seattle 4.83x3 Birdfest2012.indd 1

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THE

9/18/12 10:37 AM

FalLArTs>>calendar » FROM PAGE 28

• 12 Rodriguez Subject of the wonderful

9 Justin Bieber We just thought we’d tell you.

Not that you’ll go . . . right? Tacoma Dome, ticketmaster.com 9 Jennifer Worick The local author shares her

showboxonline.com 12 Wuthering Heights Andrea Arnold takes

pet peeves, including emo and man caves, in Things I Want to Punch in the Face.

University Book Store 10 Andrei Codrescu An NPR staple, the

Romanian-born writer brings his droll observations to town. Town Hall • 10 Jeffrey Toobin The CNN analyst and New Yorker staff writer discusses The Oath: The Secret Struggle for the Supreme Court.

Presented by Seattle Arts & Lectures.

Benaroya Hall 10–Nov. 17 Wicked The Tony Award–winning

musical returns in a touring production.

The Paramount 11 Kim Fay Her historical-fiction debut, The

Map of Lost Memories, is about a wannabe Seattle museum curator’s world travels.

Eagle Harbor Book Co. 11–14 Leela James The neo-soul singer

recently recorded In the Spirit of Etta James. Dimitriou’s Jazz Alley

• 11-21 Seattle Lesbian & Gay Film Festival

Chris Colfer of Glee wrote and stars in the festival-opening comedy Struck by Lightning. Other films address gay rights in Uganda and a pair of seniors (Olympia Dukakis and Brenda Fricker) looking to get gay-married in Canada. Several venues,

threedollarbillcinema.org

documentary Searching for Sugar Man, we also might see him at the Oscars next year. Showbox at the Market,

Cinema Uptown 12–13 Seattle Symphony The first of their

“Baroque & Wine” concerts, with pre-concert tastings ($10 for five pours). Benaroya Hall 12–13, 19–20 Seattle Women’s Chorus Two hundred-plus voices fill the space in this sonic spectacular. St. Mark’s Cathedral, flyinghouse.org 12–14 Amy O’Neal You can’t really say that •

she’s modest about it, but O’Neal’s new solo show, called The Most Innovative, Daring, and Original Piece of Dance/ Performance You Will See This Decade, will be a powerful showcase for one of Seattle’s most intense dancemakers.

O’Neal is a wildly popular teacher in the community, but for this show she’s been taking lessons herself, honing her signature “Bottom Heavy Funk” style to combine modern dance expression with hip-hop rhythms. And as you might say about the title of the work, it isn’t bragging if it’s true.

ticketmaster.com

Message and data rates may apply. To opt out at anytime, reply STOP to 61721. For help, text HELP to 61721, call 1-877-291-1751 or email info@phaz2.com

SK Velocity Dance Center

Dance Since its original performances in

1996, this biannual festival has had very

few rules. The organizers were looking for dances by men or featuring men—those were really the only stipulations. So a typical program will run a huge gamut, from esoteric to flat-out entertaining. This edition follows in those footsteps, with hip-hop, tap, postmodern dance, and, poignantly, a work for the children’s dance group Kaleidoscope by Jesse Jaramillo, a longtime member of the Seattle dance community who died late this past summer. SK Broadway Performance Hall, menindance.org

» CONTINUED ON PAGE 32

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Wilke, and Sonia Delaunay are among those featured in this touring mega-show, augmented by SAM’s collection and satellite events. Seattle Art Museum • 12 Argo Ben Affleck looks to have a hit with this thriller about rescuing American hostages during the 1979 embassy crisis in Tehran. Opens wide.

• 12 Patton Oswalt Patton, we love you, but do you gotta play out in the sticks? Sigh.

Maybe we’ll rent a room. Tulalip Casino,

to 61721 Text SWInsider

• 12–14 & 19–21 Against the Grain: Men in

SUZANNE VALADON/CENTRE GEORGES POMPIDOU, MUSÉE NATIONAL D’ART MODERNE, PARIS

Centre Pompidou Frida Kahlo, Hannah

prizes, Tickets, special fers! of and exclusive

a crack at Emily Brontë’s class-crossed romance, with two unknowns as her new Heathcliff and Catherine. SIFF

The Blue Room (La Chambre Bleue) from the Elles exhibit at SAM.

• 11–Jan. 13 Elles: Women Artists From the

Insider Text Alerts

31

FalLArTs>>calendar » FROM PAGE 31 12–Nov. 4 Earshot Jazz Festival More than four

dozen gigs around town will feature boldface names like Branford Marsalis, Bettye LaVette, and Jake Shimabukuro. Various

locations, earshotjazz.org • 12–Nov. 11 The Ramayana The Indian

epic features dozens of gods in a magical soap opera mounted with music, dance, and colorful costumes. Directed by Kurt Beattie and Sheila Daniels, from a script somehow distilled by Yussef El Guindi and Stephanie Timm. Look for related programs and lectures around the city. (It’s also the inspiration for this week’s cover

by Scott Anderson.) ACT Theatre 12–Nov. 18 Café Nordo Somethin’ Burning, “a

American boy’s first love. University Book Store 15 Louise Erdrich Shadow Tag is the latest novel by the prolific Midwestern author, presented by Seattle Arts & Lectures.

Meany Hall 15 Jasper Fforde He sits for conversation with

Nancy Pearl about the seventh book in his Thursday Next series, The Woman Who Died a Lot. Town Hall • 15 Andras Schiff An all-Bach recital from one of the most acclaimed Bach pianists since Glenn Gould. Benaroya Hall • 15–18 The Three Colors Trilogy Krzysztof Kie´slowski’s Red, White, and Blue are screened. SIFF Cinema Uptown 17–20 City Arts Festival Music, arts, culture, and beyond. With bands Blind Pilot, the

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Seattle weekly • S E P TE MB E R 19−25, 2012

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32

MiraMax

Contemporary Dance and Theater by Woman from Africa

Juliette Binoche in Kieslowski’s Blue, at SIFF.

murder mystery in four courses,” is this troupe’s new Lynchian cocktail-theater show. Theater Off Jackson, cafenordo.com 13 Arts Gumbo Brazilian food, dance, and music are featured. Rainier Valley Cultural Center, rainiervalleyculturalcenter.org

• 13 Bob Dylan Now touring with Mark Knop-

“We Africans exist, we think, we question, we create.”

–Ketly Nöel

(877 ) 784-4849

books, prints, maps, and photographs from book distributors across the country.

Seattle Center Exhibition Hall, seattle bookfair.com • 13–27 Fidelio Seattle Opera stages—and

updates, via modern dress—Beethoven’s only opera, in which love and justice triumph over tyranny. McCaw Hall, seattleopera.org 13–Jan. 13 Mw [Moment Magnitude] This interdisciplinary series includes visual arts, performance, readings, concerts, and more— all in celebration of the Frye’s 60th anniversary. Frye Art Museum, fryemuseum.org 14 Philharmonia Northwest Drama-packed works by Beethoven and Brahms. St.

Supported by:

STGPRESENTS.ORG

fler, he recently released Tempest. KeyArena 13–14 Seattle Antiquarian Book Fair Rare

eSt. 1907 2nd Ave & virginiA St

Stephen’s Episcopal Church, philharmonia nw.org 15 Ayad Akhtar His debut novel, American

Dervish, is about a confused Pakistani-

Dusty 45s, and Two Door Cinema Club.

Various locations, cityartsfest.com

• 18–Feb. 3 Laurie Anderson The veteran

NYC avant-gardist will install something or other in the museum’s Test Site lobby space. She also delivers a lecture on Friday the 19th. Henry Art Gallery 19 Fat Kid Rules the World This crowd favorite from SIFF, a coming-of-age tale shot in Seattle, returns for an open-ended engagement. SIFF Film Center 19 Cinda and Linea Johnson They share from their joint memoir, Perfect Chaos: A Daughter’s Journey to Survive Bipolar, A Mother’s Struggle to Save Her. University Book Store 19 Lake Union Chamber Orchestra Music by Rossini, Kodály, and Schumann. Town Hall, luco.org 19 • Seattle Symphony Their “Untitled”

series is one of the season’s most exciting innovations: contemporary chamber music, Friday at 10 p.m. First up, music from the World’s Fair year of 1962, including works by Cage (see related article, page 11), Feldman, Ligeti, and more.

Benaroya Hall

» CONTINUED ON PAGE 35

201 2 2013 A New Musical

season

Issaquah: (425) 392-2202 • Everett: (425) 257-8600 www.VillageTheatre.org

Seatt le w eekly • S E P TE M B E R 19−25, 2012

subscribe and see 5 shows For The Price of 4

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Oct 17-Nov 11 stonesouptheatre.org 206.633.1883

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Seattle weekly • S E P TE MB E R 19−25, 2012

— Seattle Weekly

34

Antony And CleopAtrA

Nov. 1–18, 2012

A doll’s House

Jan. 2–27, 2013

love’s lAbour’s lost

Mar. 13–Apr. 7, 2013

tHe tAming of tHe sHrew

Spring 2013

subsCribe todAy: www.seattleshakespeare.org | 206-733-8222

FalLArTs>>calendar » FROM PAGE 32

• 20 Pacific MusicWorks Monteverdi’s grand,

pathbreakingly vast 1610 Vespers for voices and orchestra. St. James Cathedral,

19 ¡Viva la Revolucion!

Literary Challenge Writers

pacificmusicworks.org.

21 Auburn Symphony Opening the season

Steve Almond, Matthew Zapruder, and Elaina M. Ellis and composer Daniel Spils consider what needs toppling. Richard Hugo

with an audience-choice program, details TBA. Auburn Performing Arts Center,

auburnsymphony.org.

21 St. Helens String Quartet Quartets by Philip

Glass to celebrate his 75th birthday (which was in January, but never mind). Cornish

House, hugohouse.org 19–25 Detropia Filmmakers

Heidi Ewing and Rachel Grady document the decay and disintegration of Detroit. Northwest Film

College of the Arts, cornish.edu 21 Moscow Sretensky Monastery Choir

Music in the Russian Orthodox tradition.

Meany Hall 21 Seattle Pro Musica Music by Monteverdi,

Forum 19–28 Earshot Jazz Film Festival In this cinematic

companion fest, musical titles will include The Connection and Deconstructing Dad.

Plymouth Congregational Church, seattlepromusica.org 22 Douglas Smith The local historian

Kidd Pivot, at On the Boards.

continues the hallucinatory cartoon adventures begun in 2010’s Xed Out by the former Seattle artist.

Fantagraphics Bookstore & Gallery, fantagraphics.com (On the 22nd, he joins fellow

cartoonist Chris Ware and book designer/ author Chip Kidd at Town Hall.)

• 20 Emerald City The next installment of KT Niehoff’s ongoing Collision Theory project

JORG BAUMANN

Northwest Film Forum • 20 Charles Burns The Hive

Rheinberger, and others to celebrate this choir’s 40th anniversary.

discusses his Former People: The Final Days of the Russian Aristocracy. Town Hall 23 Hari Kunzru The novelist is welcomed by Seattle Arts & Lectures. New in paperback, Gods Without Men is about UFOs and a child’s disappearance in the desert.

Benaroya Hall

is a party and a fashion show with a dance tucked inside. Niehoff is spending the year looking for new ways to involve us in her work beyond sitting in the darkened seats.

From earlier experiments like Inhabit and Lift, where she combined social interaction

with performance, she’s striving to make an audience into a community. For this episode she’s collaborating with Jill Donnelly, the owner of Baby and Co., on an “immersive party/spectacle.” Dress festively. SK Baby & Co., lingodance.com

• 23 Craig Sheppard Debussy’s 24

Préludes from this pianist, the first of two sesquicentennial recitals (the other’s April 16). Meany Hall, music. washington.edu

» CONTINUED ON PAGE 37

Think Critically Master of Fine Arts Applied Craft+Design* Collaborative Design Visual Studies Low–Residency Visual Studies

Master of Arts Critical Theory+Creative Research

*offered jointly by PNCA and OCAC

pnca.edu

Seatt le w eekly • S E P TE M B E R 19−25, 2012

MFA+MA Programs Portland, Oregon

35

Seattle weekly • S E P TE MB E R 19−25, 2012

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

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FalLArTs>>calendar

Cortney Wolfson and Patrick D. Kennedy in The Addams Family.

Voices of Strength Sept 28-29 I The Moore

Stephen Stephen Tobolowsky Tobolowsky Oct Oct 13 13 I The The Moore Moore

Seattle Theatre Group 2012 | 2013 Season

23–25 The Tempest Replica Contemporary-

dance group Kidd Pivot adapts Shakespeare’s The Tempest. On the Boards 24–28 French Cinema Now SIFF salutes all things Gallic. Titles TBA. SIFF Cinema Uptown 24–Nov. 11 The Addams Family America’s

favorite “altogether ooky” cartoon clan is now featured in a new musical, created by Marshall Brickman, Rick Elice, and composer Andrew Lippa. 5th Avenue Theatre • 25 Philip Glass The composer is joined by Foday Musa Suso and Adam Rudolph for an African-inflected performance. Kirkland Performance Center, kpcenter.org

• 25 UW Symphony Russian music, including Gubaidulina’s the rider on the white horse.

figure in this exhibit of some two dozen Northwest artists. Bellevue Arts Museum,

bellevuearts.org 26 Cloud Atlas Tom Hanks and a host of other

26–Dec. 15 Social Order: Women Photographers from Iran, India, and Afghanistan

Featured are Priya Kambli, Shadi Ghadirian, Gazelle Samizay, Annu Palakunnathu Matthew, and Manjari Sharma. Photo Center NW • 27 The Met: Live in HD Renée Fleming stars in Verdi’s greatest tragedy, Otello. Various

org 28 Thalia Symphony Dvorak, Mozart, and a

what looks like it’ll be an annual offering,

We’ve got a seat for you for 37 performances offered this season, visit STGPresents.org/Season for full listing and information.

Blessed Sacrament Chuch, tudorchoir.org 27–28 Día de Muertos This Day of the Dead

ofglass.org 26 Northwest Symphony Stirring music by

Center, northwestsymphonyorchestra.org

Our 2012-2013 Season brings Seattle contemporary and classical dance rooted in Africa, Chicago, Israel, and Harlem, local, national and international theater, Broadway musicals, comedy, family entertainment, classic silent films, local and international music, martial arts, and youth performances.

sary with Tallis’ vast and spacy Spem in alium.

celebration includes community altars, sugar skulls, special foods, candles, music, and dance. Seattle Center 27–Jan. 27 Jeffry Mitchell The gay, ex-Catholic Los Angeles artist is represented by sculpture and other media in a 25-year survey show, Like a Valentine. Henry Art Gallery 28 Seattle Philharmonic Popular stage music

by Verdi and Bizet. Meany Hall, seattlephil.

• 26 Seattle Symphony: Sonic Evolution In

The Paramount | The Moore | The Neptune

theaters, fathomevents.com 27 Tudor Choir Celebrating their 20th anniver-

talents star in this globe-spanning adaptation of the David Mitchell novel, which took two Wachowskis and one Tykwer several years to direct. Opens wide.

26 Amy Goodman & Denis Moynihan Just in time for the election, they talk about their new book The Silenced Majority. Town Hall 26 MOGtoberfest Hoist a brew and tour the exhibits at the T–Town celebration of glass and craft beers. Museum of Glass, museum Tchaikovsky (the 1812 Overture), Berlioz, and others, including Matteo Messina’s Calling the Cavalry. Highline Performing Arts

Take your seat at our 3 historic theatres for a season of performing arts experiences that revolve around you!

little something by Danish composer Niels Gade. Town Hall, thaliasymphony.org • 30 Timothy Egan His Edward S. Curtis biography is Short Nights of the Shadow Catcher. See related story, page 15. Town Hall

» CONTINUED ON PAGE 38

Experience Experience the the Beatles Beatles with with Rain Rain Jan Jan 30 30 –– Feb Feb 33 || The The Moore Moore

Dance Theatre of Harlem Nov 16 & 17 I The Moore

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Meany Hall, music.washington.edu 25–Feb. 24 BAM Biennial 2012: High Fiber Diet Textiles, weaving, fabrics, and more

Star Anna and the Laughing Dogs join the orchestra to play brand-new rock-based music. Benaroya Hall 26–Nov. 1 Out Here in the Wilds Contemporary English filmmaker Ben Rivers is treated to a retrospective of shorts and features, most made on outdated equipment on shoestring budgets. Northwest Film Forum 26–Dec. 2 The Glass Menagerie In Tennessee Williams’ durable drama, a Southern gent (Ben Huber) tries to find his shy sister (Brenda Joyner) a husband. Suzanne Bouchard plays their overbearing mother. Braden Abraham directs. Seattle Repertory Theatre

Photos: Voices of Strength: Eric Boudet; Dance Theatre of Harlem: Rachel Neville; Paramount: Bob Cerelli; Neptune: Christopher Nelson

JEREMY DANIEL

» FROM PAGE 35

Let the world revolve around you!

37

FalLArTs>>calendar

ANDY WARHOL FOUNDATION

Andy Warhol’s Daisy, at TAM.

BREW

O

AT THE ZOO

Seattle weekly • S E P TE MB E R 19−25, 2012

Beer Tasting Event presented by Union Bank

38

THURSDAY, OCTOBER 4 5:30 - 8:30 PM Sample tasty microbrews and ciders while enjoying live music, animal encounters and award-winning zoo exhibits.

TICKETS $25 at www.zoo.org/brew Tickets will not be available to purchase the day of event. Adults 21 and over only. ID required.

» FROM PAGE 37

2–22 David Lasky The local cartoonist unveils

November

Fantagraphics Bookstore & Gallery 2–March 2 Vanishing Ice: Alpine and Polar Landscapes in Art, 1775–2012 An appropriate

1 Hélène Grimaud Liszt’s finger-busting Piano

Sonata, plus Mozart, Berg, and Bartók.

Meany Hall, uwworldseries.org 1 Jens Lekman The Swede’s first full–length

pop album, Night Falls Over Kortedala, is a collection of love songs. The Neptune 1–4 Manhattan Transfer This multipleGrammy-winning vocal quartet has been performing for 40-plus years. Jazz Alley 1–18 Antony and Cleopatra Seattle Shakespeare Co. moves to a new venue to chart the doomed Egyptian romance; Hans Altwies and Amy Thone star. Intiman Theatre, seattleshakespeare.org 2 David Broza This dynamic performer brings

flamenco-flavored rhythmic and percussion techniques to a classic rock ’n’ roll sound. The Neptune 2–8 Photographic Memory Filmmaker Ross McElwee is in conflict with his Internetobsessed son, so he travels back to Brittany to retrace his own steps to adulthood to better understand and connect with his kid. Northwest Film Forum 2–11 • Pacific Northwest Ballet In “All Premiere,” Mark Morris offers a new dance set to Hindemith, Kiyon Gaines debuts Sum Stravinsky, and company members Margaret Mullin and Andrew Bartee have each created a new work. McCaw Hall 2–11 A Soldier’s Play Charles Fuller’s 1944set drama of racial tension. Broadway Performance Hall, newvoicesensemble.org

his musical saga The Carter Family.

show with Mt. Baker looming overhead, this collection of 70 works includes photos of the Shackleton expedition taken by Frank Hurley. Whatcom Museum 3 Chucho Valdés The Grammy-winning pianist combines jazz, rock, and Cuban music to create his unique sound. The Neptune

• 3–Feb. 10 Andy Warhol’s Flowers for Tacoma

Did you know Warhol made a 1982 proposal for the Tacoma Dome? It’s true, as recounted in an exhibition also to include many flower prints and paintings, plus his “Rain Machine” watering device. Tacoma Art Museum 4 Día de los Muertos Celebrate the Day of the Dead with free art-making, performances, and community altars. Tacoma Art Museum 4 Octava Chamber Orchestra Mozart’s generous and gorgeous “Gran Partita,” plus a premiere TBA. Maple Park Church, Lynnwood, octavachamberorchestra.com

• 4 Seattle Youth Symphony Saint-Saëns’

thundering “Organ” Symphony should blow off the roof, especially the way these kids dig into it. Benaroya Hall, syso.org 4 Town Music Violinist Aleksey Igudesman and pianist Hyung-ki Joo combine music and comedy. Town Hall, igudesmanandjoo.com 5 Atar Arad & Melia Watras Music—including their own works—from these composer/ violists. Meany Hall, music.washington.edu • 7 Newband This New Jersey ensemble plays music by maverick experimentalist Harry Partch (1901–74), on instruments Partch himself built. Meany Hall, music.washington.edu

» CONTINUED ON PAGE 41

Seatt le w eekly • S E P TE M B E R 19−25, 2012

39

WAT C H M O R E

channel 27channel 27 voices of the first peoples AMERICAN INDIAN FILM SERIES SUNDAY 7 PM

Seattle weekly • S E P TE MB E R 19−25, 2012

W AT C H O N C H A N N E L 2 7 O R O N L I N E A N Y T I M E

40

the northwest

chocolate festival nwchocolate.com september 29-30 FalLArTs>>calendar

Joel E. Ferris

Research Library & Archives

directs John Blow’s Venus and Adonis (c.

1683), considered the earliest surviving opera in English. Cornish College of the Arts

all from the postwar era. Also opening with the same dates, a recent survey of Olympia artist Nikki McClure’s precise, black-andwhite papercut art. Bellevue Arts Museum 14 Jim Brickman The pianist plays a mixed program of pop and classical. Benaroya Hall

A Naturalist at Work Sep. 22 – Aug. 24, 2013

Meany Hall 8–10 Cornish Opera Theater Stephen Stubbs

KeyArena 13–Feb. 3 Modern Twist: Contemporary Japanese Bamboo Art Mats, baskets, and more,

DAVID DOUGLAS:

production of John Guare’s lurid 1977 comedy, a ghost haunts her sister, who has plenty of other problems to contend with.

with the old band, in their first tour since 2004, with a new studio album, Americana.

Live 1910 today.

Village Theatre, villagetheatre.org 7–18 Landscape of the Body In this student

Center, rainiervalleyculturalcenter.org

• 10 Neil Young and Crazy Horse He’s back

Art Exhibitions

critic and author (The Big Screen) talks fall movies. Town Hall 7–Dec. 30 Fiddler on the Roof Tradition! Based on stories by Sholem Aleichem, set in the shtetls of czarist Russia, this Broadway musical became a huge hit in the mid1960s and has been playing ever since.

leader, and Britain’s foremost curmudgeonly vegetarian/nationalist, he’s got a new album out: Years of Refusal. The Moore 10 Tangabrazo Experience the sounds and flavors of Argentina with a tango workshop and food samples. Rainier Valley Cultural

Ongoing

• 7 David Thomson The eminent British film

• 10 Morrissey Gay icon, former Smiths

LASTING HERITAGE

» FROM PAgE 38

The MAC has something for everyone.

Daniel Craig in Skyfall.

2316 W First Avenue, Spokane

(509) 456-3931

www.northwestmuseum.org

An Affiliate of the Smithsonian Institution

Francois Duhamel/columbia Pictures

8–11 Amarillo Teatro Línea de Sombra, one

Jazz Alley • 8–11 Seattle Symphony John Adams con-

ducts his own sweeping Harmonielehre.

Benaroya Hall

• 9 Leonard Cohen The legendary Zen

master/singer/songwriter/poet is touring in support of his 12th studio album, Old Ideas. KeyArena • 9 Seattle Modern Orchestra Music by John Cage, including the Concerto for Prepared Piano—a stroll among the orchestra, with sounds picked up like (as Cage once described his process) “shells on a beach.”

See related article, page 11. Chapel Performance Center, seattlemodernorchestra.org 9 Skyfall Daniel Craig returns as Bond in the

latest 007 adventure. Javier Bardem plays the baddie. Opens wide.

10 Ellen Forney One of Seattle’s favorite cartoonists, she shows work from her new Marbles: Mania, Depression, Michelangelo and Me. Seattle Central Library, spl.org

15 BAMignite The museum stays open late for art, dancing, and more. Bellevue Arts Museum 15 Nathan Englander His story collection

What We Talk About When We Talk About Anne Frank has drawn excellent reviews.

Elliott Bay Book Co. 15 Red Hot Chili Peppers The aging punk/funk

legends are embarking on a world tour in support of their recently released singles collection, I’m With You. KeyArena 15–17 Battle of the Ballets On one side, a new company solely supported by Walmart (Cedar Lake Contemporary Ballet); on the other, a long-dormant group recently revived (Dance Theater of Harlem). Their overlapping performances at different venues are a fluke, but this gives Seattle audiences a chance to do a little compareand-contrast. Big-box dollars have bought some very impressive choreographers (like Crystal Pite) for Cedar Lake, while DTH has major credibility as the company founded to give African-Americans a chance to dance ballet. Both are looking to build on the noble heritage of ballet, taking it in fresh directions. SK Meany Hall and The Moore

» CONTiNuED ON PAgE 43

OCTOBER 5TH & 6TH FRI 5-9PM & SAT 12-6PM TICKETS START AT $20 GERMAN FOOD VENDORS LIVE MUSIC

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

of the most celebrated Mexican theater ensembles, will perform this story of a man who vanishes while trying to cross the border. On the Boards 8–11 Average White Band The veteran soul/ funk band’s latest release is Times Squared.

41

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Seattle weekly • S E P TE MB E R 19−25, 2012

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september 29-30 FalLArTs>>calendar » FROM PAGE 41

Meeting Place by Donald Byrd, and something new and untitled by Olivier Wevers. Spectrum

• 15–18 Music of Remembrance Viktor

Dance Studio, spectrumdance.org 30–Dec. 22 Seattle Men’s Chorus On their

MARK KITAOKA

Ullmann’s opera The Emperor of Atlantis was composed in Terezín in 1943. The production will be conducted by Ludovic Morlot and directed by Erich Parce, with a chamber ensemble of Seattle Symphony players. Benaroya Recital Hall 15–Dec. 29 Gregory Blackstock The local artist shows new drawings. Greg Kucera

Gallery, gregkucera.com 15–Jan. 6 The Wizard of Oz The classic

story adapted into a heartwarming play.

Seattle Children’s Theatre, sct.org 16 . . . Hear My Train A-Coming: Hendrix Hits London This new

16 The Twilight Saga: Breaking Dawn—Part 2

Jesus Christ! Are they not done with these movies already? R-Pat and K-Stew finally bid adieu to Forks, and not a moment too soon. Opens wide.

• 16 Ya Gotta Believe! Erstwhile SW writerturned-memoirist Claire Dederer (Poser) joins local novelist Ryan Boudinot and others in a consideration of faith. Richard Hugo House 16–17 Bladfold & The Shelf Filmmaker David

Nixon uses music and animation to tell two stories about his family. ACT Theatre 16–17 Warren Miller’s Flow State Ski and snowboard action, from peaks in Japan to Norway, Austria, and beyond. McCaw Hall, seattlecenter.com 16–17 Dance Theatre of Harlem Their program

includes a work by Seattle’s Donald Byrd.

The Moore 16–21 Bestiaire Denis Côté’s latest examines

Northwest Film Forum 16–25 Taj Mahal Trio Their latest release is Maestro. Jazz Alley 16–Dec. 15 Fallen Angels A 1925 Noël Coward

comedy about two married women who discover they’re having separate affairs with the same man. Scandalous!

Theater Schmeater 17 Meet the Mammals See, touch, and learn about our furry cousins. Burke Museum, burkemuseum.org • 17 Seattle Opera Young Artists After Verdi’s

second opera, Un giorno di regno (“King for a Day”), failed, he abandoned comic opera for over 50 years. The right decision? Hear and judge for yourself. Benaroya Recital

Hall, seattleopera.org 21 Red Dawn This remake of a perfectly

good paranoid 1984 invasion yarn has

The Paramount 2–3 12 Minutes Max Dance, theater, comedy,

Matt Owen in Elf at the 5th Avenue Theatre.

been hugely delayed and re-edited so that teenagers can now protect the U.S. from . . . North Korea (instead of China)?

North Korea may not even exist by November. Opens wide.

21 Life of Pi The movie adaptation of onehit-wonder novelist Yann Martel’s parable looks to be way too late and way too CG-ified. But director Ang Lee has done more with less. Opens wide.

23–25 Brandi Carlile The local songstress once again combines her folk-rock sound with the Seattle Symphony. Benaroya Hall 23–Dec. 23 Inspecting Carol This quirky detective comedy riffs on ACT’s rival Dickens production. Seattle Repertory Theatre • 23–Dec. 24 A Christmas Carol Dickens’ classic holiday story is an annual family A scene from event. ACT Theatre

and more from local artists, who often expand their pieces later. So it’s kind of a preview for 2013. On the Boards 5 Miranda July Seattle Arts & Lectures welcomes the writer, film director (The Future), and former shoplifter. Benaroya Hall 5–9 Loss Machine Kyle Loven usess puppets and other stage machinery to explore grief, absence, and where he misplaced his keys.

On the Boards 6–10 Summer Brave “I have written before

that I never completely fulfilled my original intentions in writing Picnic,” said William Inge of his 1953 Pulitzer Prize– winning play about an attractive young drifter who rolls into a small Kansas town and stirs up the womenfolk on Labor Day weekend. So he rewrote it as Summer Brave and died a happy man. Who knew?

Cornish College, cornish.edu

The a cappella group’s latest release is With a Twist. McCaw Hall 28–29 Celtic Thunder Take your mom to see their traditional Irish hoofing. McCaw Hall 29 Simon Winchester He tackles a morbid subject in Skulls. Town Hall

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last year’s Nutcracker at PNB.

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• 29–Dec. 1 Seattle

Symphony Berg’s

heady, Bach-quoting Violin Concerto. (SW’s Gavin Borchert provides the preconcert lecture.) Benaroya Hall 30 Killing Them Softly Brad Pitt plays a hit man during the financial crisis.

The movie has good buzz from the festival circuit. Opens wide.

30 & Dec. 2 UW Opera Theater Great to see the School of Music back in the opera biz after a couple seasons in which they weren’t able to mount a production. Johann Strauss’ fizzy Die Fledermaus is their fall choice. Meany Studio Theater, music.washington.edu 30–Dec. 9 Fall Studio Series Three works by local

choreographers: Only You by Crispin Spaeth, A

6–23 Black Nativity This holiday favorite

usually plays to a packed house, often coming straight from church. The Moore 7–8 New Moves Check out the up-and-comers of dance in these performances by Cornish students. Erickson Theater, cornish.edu 7–17 Ballard House Duet Paul Mullin’s play about two spinster/hoarder sisters not unlike Edith Macefield. The Little Theatre, washingtonensemble.org

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

the animal kingdom from a sacred Hindu perspective. Northwest Film Forum 16–21 The Sheik and I American filmmaker Caveh Zahedi was commissioned to create a movie about “art as a subversive act.” Naturally it was banned, and Zahedi was threatened with arrest and fatwa.

versus the conservative radio personality.

Plus your questions from the cheap seats.

ANGELA STERLING

vampires, directed by Steven Spielberg, written by Tony Kushner, and starring Daniel Day-Lewis as our principled, depressive 16th president. Again, no vampires! Opens wide.

December 1 Adam Carolla & Dennis Prager The comedian

exhibit, with no set end date, celebrates the life of Jimi Hendrix. Who else?

EMP, empmuseum.org 16 Lincoln This is the Lincoln movie without

annual holiday extrava-gaynza, music evoking warmer climes. Benaroya Hall, flyinghouse.org 30–Dec. 31 Elf—The Musical This stage adaptation of the hit Will Ferrell movie follows Buddy on his adventures from the North Pole to big, bad New York City. Now with songs! 5th Avenue Theatre

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Seattle weekly • S E P TE MB E R 19−25, 2012

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WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

DINING

WEEKLY

MUSIC

EVENT S

PR OMO TI ONS

EVENT S NEW SLETTER A weekly calendar of the city’s best offerings.

FalLArTs>>calendar » fROM PAGe 43 7–24 A Child’s Christmas in Wales Dylan

Thomas’ holiday favorite is directed by Leslie Spero. Stone Soup Theatre, stone souptheatre.com

• 7–29 Nutcracker PNB’s holiday perennial

features the Maurice Sendak sets, the Kent Stowell choreography, and the Tchaikovsky music. Better still are the legion of little girls parading across Mercer Street in their party dresses. The show is synonymous with the holidays. McCaw Hall 9 Popovich Comedy Pet Theater See a cat ride a dog in this vaudeville-style exhibition. Or see a dog dress like a fireman. Plus trained geese! Kirkland Performance Center 10 • Calvin Trillin The peerless New Yorker

her cheatin’ man. The Neptune 18 An Irish Christmas Eileen Ivers and her

raucous fiddle band put a Celtic touch to the Christmas classics. Benaroya Hall 19 Les Misérables Singing! Dancing! The French Revolution! And . . . Russell Crowe?

He plays Inspector Javert, tracking down Jean Valjean (Hugh Jackman) in this adaptation of the Broadway favorite. Opens wide.

19 Zero Dark Thirty The team behind The Hurt Locker, Kathryn Bigelow and Mark Boal, now dramatize the hunt for Osama bin Laden. Opens wide.

• 20–21 Louis C.K. Now successfully directselling his videos over the Internet, the evercandid comic and TV star plays two shows guaranteed to sell out early. The Paramount 20–May 27 Plastics Unwrapped Now that we’re rid of the scourge of plastic shopping bags, this environmental exhibit considers other ways to reduce and recycle that petroleumderived material.

Along with the release of his live album “Thoughtful Beginnings”,

Sheldon Botler will be taking another bold step, moving to Los Angeles.

Besides a few suit cases he’ll be taking his soulful voice, powerful lyrics and outstanding stage presence into the industry hub of the West Coast.

See this young gem and other amazing local talents at his Farewell Concert / Fundraiser.

Paramount Pictures

humorist considers politics and the recent elections—in verse! This is a do-over for the 2011 appearance he missed owing to health reasons. Do not miss it, no matter who’s won the White House. Town Hall 14 The Baltimore Consort A Yule-themed program. Town Hall, earlymusicguild.org 14 The Hobbit: An Unexpected Journey How many movies is Peter Jackson going to make of the first Tolkien book? Never mind. Sign up. Opens wide.

14 The Vinyl Cafe with Stuart McLean A longrunning public radio staple both here and north of the border (where the program originates), The Vinyl Cafe is bringing its Christmas-themed show to Seattle. The Paramount 15 David Bazan Band Founder of Pedro the

Lion, he’ll perform Pedro’s 2002 concept album, Control, about a woman who kills

Bowling

Dodgeball

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• 21–31 It’s a Wonderful

Life The dates may change, but the GI will reprise Frank Capra’s Christmas classic. Let’s all boo Lionel Barrymore!

Grand Illusion Cinema 25 Django Unchained Rape, violence, mayhem,

and slavery? Sounds like a Quentin Tarantino Christmas all right, set during the bloody aftermath of the Civil War. Leonardo DiCaprio and Samuel L. Jackson are among the large cast. Opens wide.

28–31 Seattle Symphony The annual Beethoven’s Ninth rounds out the year, combined with tango (Eva Lucero and Patricio Touceda dance to Piazzolla’s Four Seasons). Benaroya Hall • 29 MOHAI Reopening The museum ended its 50 years in Montlake this summer, forced to make way for a planned widening of SR 520. Today, in its refurbished old armory in South Lake Union, it swings open the doors to a 50,000-square-foot facility with sundry free activities. Exhibitions also open to commemorate Seattle’s maritime history and its legacy on film. Museum of History & Industry, seattlehistory.org E

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

Donna Reed and James Stewart in the GI’s 42nd annual screening of It’s a Wonderful Life.

Th

Bowling

7-10:30pm Sep. 22nd, 2012

Burke Museum, burkemuseum.org 21 Jack Reacher

Between the time you read this and the time you actually see Tom Cruise’s latest action movie, based on the Lee Child detective series, we predict he’ll already have married . . . wait for it . . . Courtney Stodden! Opens wide.

21 This Is 40 Paul Rudd enters a midlife crisis in Judd Apatow’s latest bro-com.

Everyone will see it, then go home and eat a quart of Ben & Jerry’s. Opens wide.

LL!L! FA is F Th L A is

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the»weekly»wire STAGE

Walking Between Stages

As Intiman has shown us, theater companies and festivals are not fixed, permanent things.

And suddenly the Seattle Fringe Festival, last seen in 2003, is back with us, miraculously revived. More than 20 different performance troupes will appear during five days at multiple venues (helpfully concentrated on Cap Hill).

Selections were made not by snooty jurors or pretentious critics; a lottery determined the lineup, resulting in an enjoyably random menu: improv from New Orleans, sci-fi karaoke, amputation-fetish dating, plotting by tarot card, Christian rockers, police procedurals, and more. If you don’t like one show, you’re a fiveminute walk from the next, making a festival pass a worthwhile investment. With so much to see, just remember to wear comfortable shoes. (Through Sun.) Annex Theatre, Century Ballroom, Odd Duck Studio, and Northwest Film Forum, seattlefringefestival.org. $10 (individual), $125 (pass). Showtimes vary. BRIAN MILLER

fri/9/21 FILM

Family Trials

46

An older (but not elderly) mother and father travel from their distant rural home to Tokyo.

There they visit one married son (a doctor) and a married daughter (a beauty-shop proprietor).

The widow of another son, Noriko (wonderful Setsuko Hara, Ozu’s favorite actress), also helps look after the couple during their stay. Their grandkids have no interest in the visitors, and

Hops to It

Notwithstanding this week’s Fall Arts Guide, autumn doesn’t have to to be so august, does it? Among museums, author readings, and ballet performances, we also need to make time for beer, to trade culture for fermentation. That’s one of the chief draws of the annual Fremont Oktoberfest, with a halfdozen Northwest breweries pouring in the beer garden ($15 and up). But more than suds are on tap. Live music starts at 7 p.m. tonight (and noon this weekend); Sunday offers a 5K and a “Dogtoberfest” canine pageant; and there are children’s activities. Sunday’s 5K— yes, wear costumes—and scavenger hunt both require entrance fees. Then, after you’ve run and scavenged, it’s back to the beer garden.

Fine arts can wait until after the weekend— and the end of your hangover. (Through Sun.) Downtown Fremont, fremontoktoberfest.com.

Free. 5 p.m.–midnight. BRIAN MILLER

*

SPENCER BOYLE

Seattle weekly • S E P TE MB E R 19−25, 2012

Yasujirô Ozu’s great and mournful 1953 Tokyo Story considers the passing of a generation.

FESTIVALS

Boyle works close to home.

A scene from last year’s Oktoberfest.

EMMA MCGRAW

wed/9/19

their grown children are too busy to be good hosts. (Their idea of a favor is to send their parents to a noisy, rowdy spa—anything to get the old folks out of their hair.) “I’m surprised how children change,” marvels the father.

“We should consider ourselves lucky,” his wife replies. Amid Japan’s fast-rebuilding postwar economy, at least their ungrateful offspring have jobs, spouses, and roofs overhead. Neither visitor is surprised by their kids’ busy indifference. In Ozu’s world, this is the price for seeing one’s children get ahead: being left behind.

Yet not all among the harried younger generation are so hard-hearted toward their elders.

The youngest daughter lashes out at her siblings, then confesses to Noriko, “Isn’t life disappointing?” The response is sad, not bitter: “Yes, it is.” She, like her in-laws, is content with what basic human decency can be summoned— or salvaged—out of the relentless new urban order. Ozu periodically frames smokestacks and electrical wires looming overhead: This is progress, he says, and no amount of pining can turn it back. (Through Wed.) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusion cinema.org. $5–$8. 7:30 p.m. BRIAN MILLER

sat/9/22 BOOKS

The Crackup

D.T. Max has expanded his 2008 New Yorker postmortem into Every Love Story Is a Ghost Story: A Life of David Foster Wallace (Viking,

$27.95). He uncovered more than 700 letters from Wallace to friends, family, and fellow writers (including Don DeLillo and Jonathan Franzen), and interviewed more than 200 friends and acquaintances. During a recent sit-down, we asked how he compressed all that into 300 pages. “It’s actually longer than the biography I anticipated doing,” says Max. “My intuition was that I wanted to tell a story.

I wanted the story to be very alive, just as he was recently very alive. I didn’t want it to feel in amber. I wanted it to feel like he could walk into the room the minute you put the book down.” What is it about Infinite Jest that caused it to be so influential, even today?

“It’s a brilliant piece of work. A brilliant way to write a novel. A brilliant way to capture fragility, anxiety, our messed-up media, saturated environment. David’s moral progression was such that he becomes someone of whom people care, and people feel

MON: BOOKS

Island Lives

Again T.C. Boyle has turned to the Channel Islands, a hazy view west of his Santa Barbara home, for a history-inspired novel. Two families attempt to settle on the islands in San Miguel (Viking, $27.95), one in 1888, the other in 1930. Where the islands (and invasive species) created political turmoil in his When the Killing’s Done, San Miguel is more of a domestic novel, closely concerned with family routines and tensions. For both families, charged with raising sheep for their tenancy, the isolation first seems like a place of refuge and healing. In Part One, our heroine has tuberculosis. And both husbands are recovering from battlefield trauma (in the Civil War and World War I, respectively). But no island is a paradise. There are mice, there’s filth and boredom, and the livestock don’t offer much entertainment. One teenage daughter seeks to escape what she considers a prison. Children are born, and men are driven to self-destruction. In the novel’s second half, the new matriarch—alone with her husband and baby—ponders her distance from Mussolini, Roosevelt, and the hubbub back on shore: “As if it mattered. And it didn’t. All that mattered was the three of them and the way the seasons turned and the ewes dropped their lambs.” (Presented by Seattle Arts & Lectures.) Meany Hall (UW Campus), 621-2230, lectures.org. $5–$70. 7:30 p.m. BRIAN MILLER

that he cared about them. Once you have that key, Infinite Jest becomes an even more rewarding work, because you’re able to imagine yourself as somebody on whom David has lavished a similar amount of care and attention as he lavishes on Infinite Jest characters Don Gately or Hal.” In a Q&A for The New Yorker following his original article, Max wrote, “Some suicides seemed destined, but I never felt this was true of Wallace.” Does he still believe that? “I believe it less. His decision to be a writer comes out of a breakdown, and it was always tied closely to his mental health.” Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 2 p.m.

ERIC SUNDERMANN

mon/9/24 SPORTS

Out Like Flynn

When football analysts look back on Pete Carroll’s career as the Seahawks’ head coach, be that two or 12 years from now, his decision to start undersized rookie quarterback Russell Wilson over mega-million-dollar free agent Matt Flynn will surely prove a pivotal one. Wilson had a spectacular preseason, to be sure, but Flynn, like Matt Hasselbeck before him, had put in valuable time as the understudy to a Pro Bowl quarterback (in Hasselbeck’s case, Brett Favre; in Flynn’s, Aaron Rodgers), and acquitted himself nicely during the same preseason in which his competitor excelled. But preseason, as the Seahawks learned in a lackluster week-one loss to Arizona, rarely means much, thus making Carroll’s decision to cast his lot with a talented but untested rookie look all the more curious in tonight’s contest with the Green Bay Packers. Regardless, what could’ve been Flynn’s chance to show his former employers—and a national Monday-night audience—what they’re missing is now merely an opportunity to be less reliant on Icy Hot when holding a clipboard at home.

CenturyLink Field, 800 Occidental Ave. S., seahawks.com. $64–$425. 5:30 p.m. MIKE SEELY

arts»Opening Nights City of Auburn

bravo

P Is He Dead?

THEATER SCHMEATER, 1500 SUMMIT AVE., 324-5801, SCHMEATER.ORG. $15– $23.

8 P.M. THURS.–SAT. ENDS OCT. 13.

2012-2013 Performing Arts Season

Now through Oct 7

Hell’s Belles – all female tribute to AC/DC October 5, 7:30 pm

A beautiful and powerful story about becoming a man and becoming an American.

Glenn Miller Orchestra October 12, 7:30 pm Willy Wonka October 19, 20, 26 & 27, 7:30 pm October 20 & 28, 2 pm

© LaRae Lobdell

D. HASTINGS

Seattle International Comedy Competition November 2 & 9 7:30 pm The Craig Terrill Band November 3 7:30 pm Sweet Swing: Andrew Sisters Tribute November 10, 6 pm Ted Vigil: John Denver Tribute November 16 & 17 7:30 pm

Oct 12 – Nov 11

One of the world’s most beloved and enduring legends, brought spectacularly to life.

Ramayana Across Time and Space Sep 29

Professor V. Narayana Rao offers a look at how the story of Ramayana has traveled through different cultures and eras.

WI

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See it all with an ACTPass!

acttheatre.org | (206) 292-7676 700 Union Street, downtown Seattle

An Inspirational Christmas with Elvis December 15, 7:30 pm December 16, 2 pm

www.auburnwa.gov/arts 253-931-3043 Performances held at either Auburn Avenue Theater or Auburn Performing Arts Center.

Additional offerings include several film series, a kids performing arts series, & monthly comedy

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Mark Twain wrote this big, bumptious, cross-dressing satire about the art racket Some classics can take decades to establish while himself burdened with onerous debts their reputations. Roger Miller’s adaptation he hoped to settle with the success of the play. of Mark Twain’s Huckleberry Finn was a But selling unflattering spoofery to its very Broadway hit in the ’80s, and I predict targets, art connoisseurs, proved probit’s headed to the pantheon of beloved lematic, and the 1898 comedy was American musicals. not produced. Yet when excaDirector Steve Tomkins has vated from archival oblivion taken a largely unseasoned in 2002, it flourished on cast, trained them well, Broadway under the and let them rip. Some scalpel of playwright of the performers are David Ives (Venus in surefooted and ready Fur). On the Schmee’s for professional gigs, shallow stage, arrayed others hit a bum note

by Al Angel in artfully here or there, but splattered dropit’s all part of a team cloths, Is He Dead? effort; the sense of retains plenty of ensemble is both nuttiness—so much palpable and infecthat you don’t mind tious. It’s not slickness that sells these its lack of depth. songs, it’s heart, and From the suburban this cast has that by Paris of 1846, Twain the truckload. has appropriated William Hauptman’s the figure of real-life economical book keeps painter Jean-François Twain’s story zipping Millet (who died a few along at a pace J.K. Rowling decades before the play would envy, which puts the was written). In his busy focus squarely on Miller’s atelier, exuberant fellow mastery of American artists carouse, ladies call, musical styles. The score, and Faustian creditor Lisa Branham as a sultan who rendered expertly by Tim Bastien André (J.D. Lloyd) might buy one of Millet’s works Symons, includes country menaces the artist. If he in Is He Dead? ballads, spirituals, bluecan’t pay, poor Jeangrass sing-alongs, BroadFrançois (improv’er way showstoppers, and a pair of anthems.

Brandon Felker) will lose his girlfriend Marie Miller’s Tony Award–winning numbers are (Brittany Cox) to Bastien. Buddies propose simple and tuneful, and they’re also sturdy. If that he die for a while to increase the value of as Huck Randy Scholz occasionally tilts toward his paintings—whereupon Felker transforms an American Idol-ish sales approach, hitting into Daisy, Jean-François’ far more entertainnotes not required by the score—well, fine. ing sister. Felker’s cherubic face springs into (It’s a marked contrast to his ensemble singing action as complications compound. An inspecand aw-shucks acting.) As Jim, Rodney Hicks tor, a cop, a reporter, admirers, a collector, and has a voice that could fill a cathedral. “Free at heads of state swarm to the now-rich Daisy’s Last” is one of the great show tunes of the past swankier Paris digs. It’s Tootsie time, and even 30 years, and for Hicks it’s the perfect vehiMarie’s bourgeois papa (a nicely understated cle—crisp and gorgeous even in its soft early Buddy Mahoney) falls for the Susan Boyle–like moments. Likewise, David Anthony Lewis Daisy. Director Doug Staley effectively varies makes a loopy and wonderful Pap, and John the pacing between frenzy and languor, and David Scott puts just the right spin of nimble while the characters are all stereotypes, the joie physicality on his role as Tom Sawyer. de jouer proves infectious, even with groaners Scott Fyfe’s set work is both original like “We’ll take him to The Gleaners” (the title and seamless, and Melanie Taylor Burgess’ of the real Millet’s most famous work). costumes are a sight to behold, from the If this sounds like the humor of desperaragtag to the perfectly prim. My only comtion, know that two years prior to writing this plaint, especially compared to the New York play, Twain was too broke to attend his dying version I saw nearly three decades ago, is daughter’s bedside. Is He Dead? offers no plot Daniel Cruz’s too-broad choreography— surprises, but delight abounds in this producespecially for the slaves who shove their tion. Mike Jones covers four small roles with shackles in our faces. Their dance moves are memorable aplomb. Images of Jean-François’ more Lion King than antebellum. suddenly salable paintings appear—poof!—on Big River will always be revived because projector screens. Sight gags, well-timed physTwain’s source tale is so powerful (and again ical comedy, and simple costumes (by Angela timely in this election season). Huck grows Flowers) communicate with the frugality of into a man because he comes to understand— cartoon lines. Even as Jean-François schemes despite his segregated upbringing—that the to strike it rich, this production succeeds with similarities among Americans are far greater thoughtful thrift. MARGARET FRIEDMAN E than our differences. KEVIN PHINNEY stage@seattleweekly.com

w ORl d PREMI E R E !

© Himalayan Academy Dinodia

VILLAGE THEATRE, 303 FRONT ST. N., 425-3922202, VILLAGETHEATRE.ORG. $22–$63. RUNS WED.–SUN. THROUGH OCT. 21 (THEN EVERETT PERFORMING ARTS CENTER, OCT. 26–NOV. 18).

© Himalayan Academy Dinodia

P Big River

47

arts»Performance

MIND UNWIND • Gallery installations • Special showings • Art Classes for both • Event space rentals adults & kids Saturday, Sept. 22nd 1-4pm, Using Your Face As a Canvas w/ Stila Cosmetics Saturday, October 27th 7-11pm, “Spirits & Monsters” Closing Reception (costumes encouraged)

BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

THE BETTY PLAYS Four playwrights (including Scot

2206A California Ave SW • 206-849-7222 • MindUnwind.org

249

$

Augustson and Paul Mullin) wrote four short plays for actor Betty Campbell. Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $10–$15. Opens Sept. 23.

4 p.m. Sun. Ends Oct. 7.

BLOODY BLOODY ANDREW JACKSON A rock musical based on the life of a colorful and controversial president. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $17–$36.50. Opens Sept. 19.

7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 20.

DISCO PIGS In Enda Walsh’s play, “teenagers Pig and Runt share everything: a birthday, secrets, and a darkness in their souls.” The Ballard Underground, 2220 N.W. Market St., 800-838-3006, giantprojects.org. $10–$15.

Preview Sept. 20, opens Sept.

21. Runs Thurs.–Sat. plus Mon., Sept. 24. Ends Oct. 6.

FORECLOSURE A workshop production of Vincent Delaney’s play, in which the battle of the sexes is complicated by the economy.

Penthouse Theatre, UW campus, 800-838-3006, newcenturytheatrecompany.

T H I S CO D E org. $20. 8 p.m. Thurs., Sept.

TO DOWNLOAD THE FREE 20–Sat., Sept. 22; 7 p.m. Sun., SEATTLE WEEKLY Sept. 23.

IPHONE/ANDROID APP GAUDY NIGHT Based FOR MORE EVENTS OR VISIT on Dorothy L. Sayers’ mystery seattleweekly.com novel starring Lord Peter Wimsey. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$37.

Previews Sept. 19–20, opens Sept. 21. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 20.

SCAN

Seattle weekly • S E P TE MB E R 19−25, 2012

400 North 43rd Street Seattle, Wa 98103

48

HOTEL ON THE CORNER OF BITTER AND SWEET

Book-It’s already had to extend this show’s run due to demand, even before it starts. Jamie Ford’s novel is set in the 1940s (and beyond) in Seattle’s Chinatown.

Center House Theatre, Seattle Center, 216-0833. $25–$45.

Previews Sept. 19 & 21, opens Sept. 22. See book-it.org for exact schedule. Ends Oct. 21.

IN TENTS Teatro ZinZanni’s kid-friendly spinoff cabaret.

Teatro ZinZanni, 222 Mercer St., 802-0015, dreams. zinzanni.org. $19–$22. 11 a.m. Sun., Sept. 23.

NERDZ! An evening of burlesque starring Miss Violet Deville, Scarlett O’Hairdye, and many more. JewelBox/ Rendezvous, 2322 Second Ave., violetdeville.com. $15–$18. 7 p.m. Sat., Sept. 22, 6:30 p.m.; Sun., Sept. 23.

SEATTLE FRINGE FESTIVAL SEE THE WIRE, PAGE 46.

TINY KUSHNER An omnibus of five one-acts by Tony Kushner, including the searing “Only We Who Guard the Mystery Shall Be Unhappy,” in which Laura Bush reads from The Brothers Karamazov to three dead Iraqi children. New City Theater, 1404 18th Ave., 271-4430, newcitytheater.org. $15–$20. Opens Sept. 20. 8 p.m.

Thurs.–Sat. Ends Oct. 6.

THE ZANIAC A solo show by physical comedian Alex Zerbe. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145, youththeatre.org. $10–$13. 7 p.m.

Fri., Sept. 21; 2 & 7 p.m. Sat., Sept. 22; 2 p.m. Sun., Sept. 23.

CLASSES PERFORMANCES PARTIES & EVENTS

CURRENT RUNS

BIG RIVER SEE REVIEW, PAGE 47.

•ELECTION SHOW A presidential campaign in microcosm,

all improvised on audience suggestions. Wing-It Productions, 5510 University Way N.E., 781-3879, wingit presents.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Sept. 21.

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

IS HE DEAD? SEE REVIEW, PAGE 47.

LEGALLY BLONDE A musical version of the Reese Witherspoon vehicle about a ditz who turns into a law-school whiz. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattlemusicaltheatre. org. $35–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., Oct. 4. Ends Oct. 7.

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652-4433

SANCASEATTLE.ORG 674 S. Orcas St. Seattle

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

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TEATRO ZINZANNI In Gangsters in Love, Frank Ferrante

plays mob boss Big Sam Kinkaid, whose reunion with his long-lost amore Myrna (Dreya Weber) loosely binds the show. The music’s by Francine Reed and the witty and spontaneous Orchestra DeVille. MARGARET FRIEDMAN Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up.

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

THIS LAND/WOODY GUTHRIE What’s good about Greg Carter’s show remains good: It blends a variety of media, including live singers and a crackerjack band who perform Guthrie’s anthemic songs, plus films and animated projections. It would all add up to a memorable night of theater if only Carter would develop a through-line in his historical ramble. It’s a multivehicle pileup, a roughly stenciled valentine to Guthrie and his politics. If you’re on board with those politics, fine, but if you’re not, God help you, because there’s nothing else to latch onto.

KEVIN PHINNEY Erickson Theatre Off Broadway, 1524 Harvard Ave., 800-838-3006, strawshop.org. $10–$30.

8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 6.

TITUS ANDRONICUS The all-female Upstart Crow’s game stab at Shakespeare’s early revenge play has many merits—first among them a riveting actress named Nike Imoru as the “villain” Aaron. However, to enable Imoru to pop, director Rosa Joshi stultifies many of the other roles. Yet despite the spotty text, Upstart Crow manages to wring a surprising degree of pathos from this gory pie. MARGARET FRIEDMAN Seattle University, Lee Center for the Arts, 901 12th Ave., upstartcrowcollective.blogspot.com. $20. 7:30 p.m.

Thurs.–Sat., 4:30 p.m. Sun. Ends Oct. 7.

UNCLE HO TO UNCLE SAM Vietnamese refugee Trieu Tran’s solo show. SEE ARTICLE, PAGE 20. ACT Theatre, 700 Union St., 292-7676. $15–$55. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Oct. 7.

Dance

• CINDERELLA Kent Stowell’s fairy tale, to Prokofiev’s

score, opens PNB’s 40th season. SEE ARTICLE, PAGE 21. McCaw Hall, Seattle Center, 441-2424, pnb.org. $28–$173. Opens Sept. 21. 7:30 p.m. Thurs.–Sat., plus 1 p.m. Sept. 22, 29, 30. Ends Sept. 20.

KEITH HENNESSY/CIRCO ZERO These dance artists present Turbulence (a dance about the economy)— ”a bodily response to economic crisis, engaging the frictions between disaster capitalism, debt, precarity, propaganda, torture, war, magic, and queer identity.”

(See velocitydancecenter.org for related workshops and roundtables.) Velocity Dance Center, 1621 12th Ave., 325-8773. $12–$20. 8 p.m. Fri., Sept. 21–Sat., Sept. 22.

Classical, Etc.

ROVA SAXOPHONE QUARTET New music from

this eclectic group. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, waywardmusic. blogspot.com. $5–$15. 8 p.m. Thurs., Sept. 20.

SEATTLE SYMPHONY Ludovic Morlot conducts Respighi’s splashy Pines of Rome and other orchestral showpieces by Berlioz, Debussy, and Martinu. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Sept. 20, noon Fri., Sept. 21, 8 p.m. Sat., Sept. 22.

BAROQUE NORTHWEST Music from Spain and France’s New World colonies. Trinity Episcopal Church, 609 Eighth Ave., 920-3822, baroquenorthwest.com. $10–$25.

7:30 p.m. Sat., Sept. 22.

THE BYRD ENSEMBLE Performing the choral music of their namesake William Byrd and his contemporaries.

Trinity Episcopal Church, 609 Eighth Ave., byrdensemble. com. $10–$20. 7:30 p.m. Sat., Sept. 22.

POLARITY TASKMASTERS Improv from this L.A. flute/ piano/percussion trio. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939,waywardmusic. blogspot.com. $5–$15. 8 p.m. Sat., Sept. 22.

BPA CHAMBER MUSIC Dance-inspired music for winds and brass. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridge performingarts.org. $12–$16. 3 p.m. Sun., Sept. 23.

OCTAVA CHAMBER ORCHESTRA Jorge Sarmientos’ Marimba Concerto, plus Beethoven and Mendelssohn.

Maple Park Church, 17620 60th Ave. W., Lynnwood, octava chamberorchestra.com. $5–$15. 6 p.m. Sun., Sept. 23.

CORNISH CHAMBER MUSIC New music by Gabriela Lena Frank, Sofia Gubaidulina, and others. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish. edu. $10–$20. 7 p.m. Sun., Sept. 23.

OPERA ON TAP Celebrating their first birthday with a people’s-choice program (visit their Facebook page to vote). Conor Byrne, 5140 Ballard Ave. N.W., operaontap. org/seattle. $5. 8:30 p.m. Mon., Sept. 24.

FABIO CIOFINI Renaissance and baroque organ music.

Kane Hall, UW campus, 685-8384, music.washington. edu. $15. 7:30 p.m. Tues., Sept. 25.

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arts»Visual Arts

BY MA’CHELL DUMA LAVASSAR

Openings & Events FAMILY AND EDUCATOR DAY Events include tours,

postcard printmaking, poetry, and performances by Seattle Youth Symphony Orchestra. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Sat., Sept. 22, 11 a.m.–3 p.m.

GET CRAFTY! BOLD EXPRESSION WITH PUZZLES

Explore a variety of quilting techniques in the Bold Expressions exhibit then create your own patterns with wooden puzzles., Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. Sat., Sept. 22, 1–3 p.m.

MARITA HOLDAWAY The Getting Your Art Out There author gives advice on how artists can reach an audience. Related workshops follow over the weekend.

Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. $8–$10. Fri., Sept. 21, 6:30 p.m.

SHERRY LOESER She photographs people and scenes from around the Northwest. Also on view: Sarah Fansler Lavin’s sculpture using found materials. Artist reception Sat., Sept. 22, 5–7 p.m. Core Gallery, 117 Prefontaine Place S. (Tashiro Kaplan Building), 467-4444, coregallery. org. Wed.–Sat., noon–6 p.m. Through Sept. 29.

PAULA PARKS & GAYLE FRANKLIN Parks’ works in colored pencil are shown with Franklin’s fused-glass pieces. Third Thursday reception 5 p.m. Thurs., Sept.

20. Gallery North, 508 Main St., Edmonds, 425-774-0946, gallery-north.com. Sat., 10 a.m.–6 p.m.; Sun., noon– 6 p.m.; Mon.–Fri., 11 a.m.–6 p.m.

RED HOT PARTY & AUCTION This annual museum fundraiser includes entertainment, food and drinks, and charity auction. Museum of Glass, 1801 E. Dock St., Tacoma, 253-284-4750, museumofglass.org. $250–$500.

Sat., Sept. 22, 5–11 p.m.

MELANIE REED She explores emotional landscapes through collage in Strange Attractors. Artist reception Friday, Sept. 21, 6–9 p.m. U-Studios, 4326 University Way N.E., 512-699-8982, seattleustudios.com. Sept.

21–Oct. 21.

THE SPACE BETWEEN THINGS Marsha Burns, Eric Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended

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Elliott, Ann Gale, Caroline Kapp and others ponder the relationship between space and objects. Opening reception Saturday, Sept. 22, 2–4 p.m. Prographica, 3419 E. Denny Way, 322-3851, prographicadrawings.com. Opens Sept. 22. Wed.–Sat., 11 a.m.–5 p.m. Through Oct. 27.

Museums

BOLD EXPRESSIONS: AFRICAN AMERICAN QUILTS FROM THE COLLECTION OF CORRINE RILEY

There’s a humble, colorful ethos of recycling to this exhibit of some 50 quilts made by mostly rural AfricanAmericans. Their materials include flour sacks, blue jeans, work clothes, and fabric scraps. Riley’s collection is mostly culled from the South, with examples ranging from 1910 to the ’70s, when she began her scholarship.

That timespan means some of these bedspreads once might’ve covered the slumbering bodies of ex-slaves.

There’s a lot of history sleeping here, and the ingenious scrimping and reusing of textiles also speaks to poverty and self-reliance. Each bright square or triangle was salvaged as a thing of value. Castoffs become folk art.

BRIAN MILLER Bellevue Arts Museum. $7–$10. Tues.– Sun., 11 a.m.–5 p.m. Through Oct. 7.

DALE CHIHULY Celebrating the museum’s 10th anniversary and the 50th anniversary of the Studio Glass movement, Origins: Early Works by Dale Chihuly features early works including Persian Seaforms, a 33-piece installation recently added to the museum’s permanent collection.

Museum of Glass, 1801 E. Dock St., Tacoma, 253-284-4750, museumofglass.org. Wed.–Sat., 10 a.m.–5 p.m.; every third Thursday, 10 a.m.–8 p.m. Through Oct. 21.

WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

LAURA DE SANTILLANA AND ALESSANDRO DIAZ DE SANTILLANA The de Santillana siblings, who

come from a family known in the glass tradition, are showing off their work created during their 2010 visiting artist residencies. Museum of Glass. Through Jan. 1.

DINING

THE ANDREWS • GATHER UP THE FRAGMENTS: When it comes to reducing SHAKER COLLECTION

things to their simplest form and function, that rural sect of technology-averse dissenters helped shape our modern world. Looking at the various artifacts here, you’re struck by the relentless editing. It’s not just the frivolity and fanciness that have been excised, nor the cost of extra materials. The Shaker ethos takes an eraser to the grown-up’s blueprint, humbles the ambition toward what we call, today, extra features. There are no extras in Shaker design—just onlys. BRIAN MILLER Bellevue Arts Museum. Through Oct. 28.

W EEKLY WEEKLY NEW SLETTER The inside scoop on features, columns and reviews.

MEET THE AUTHOR! JOHN EDWARD FALLEN MASTERS (Tor)

TheFussyeye » by brian miller

Guns and Gays

EVENTS

SUNDAY, SEPTEMBER 23 AT 5PM

Tickets are required to attend. Receive your complimentary ticket with the purchase of Fallen Masters at Third Place Books. Books go on sale 9.18.12

The costumes mix the John Deere-trucker’s-cap present with bygone frontier formality. The mood is by turns menacing and tender. In his statement, Miller cites the influence of William S. Burroughs and Jean Genet. These are ritualistic mini-dramas of the subconscious—an “imperfect Utopia,” he calls it. Wild Boys is the name of the larger series of photos, which gain power from the open skies and landscape of harsh liberation. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 2648061, soilart.org, Free. Noon–5 p.m. Wed.–Sat. Ends Sept. 29.

In Fallen Masters, internationally renowned psychic John Edward has written a riveting novel of metaphysical suspense, a final confrontation between good and evil as it unfolds on both the Earthly plane and the Other Side.

The author of The Sharper Your Knife tells the inspiring story of how she helped nine others find their inner cook and provides practical, healthy tips that boost readers' culinary selfconfidence, plus simple recipes that get readers cooking.

GRETCHEN RUBIN

TUESDAY, OCTOBER 2 AT 7PM

HAPPIER AT HOME: KISS MORE, JUMP MORE, ABANDON A PROJECT, READ SAMUEL JACKSON, AND MY OTHER EXPERIMENTS IN THE PRACTICE OF EVERY (Crown)

SIGNING LINE TICKETS GIVEN WITH PURCHASE OF HAPPIER AT HOME AT THIRD PLACE BOOKS. NO TICKET REQUIRED TO ATTEND THE PRESENTATION

In The Happiness Project, Gretchen Rubin worked out general theories of happiness. Here she goes deeper on factors that matter for home, such as possessions, marriage, and parenthood. Reading just a few chapters of this book will inspire readers to find more happiness in their own lives.

GOOD BOOKS, GREAT EVENTS

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

KATHLEEN FLINN WEDNESDAY, SEPTEMBER 26 AT 7PM THE KITCHEN COOKING SCHOOL: HOW A FEW SIMPLE LESSONS TRANSFORMED NINE CULINARY NOVICES INTO FEARLESS HOME COOKS (Viking)

STEVEN MILLER

In the group show Beyond the Western Lands, also featuring Brian Britigan, Adrain Chesser, and Jeffry Mitchell, the real standout is a series of photos by Steven Miller (no relation to me). Taken over in eastern Washington, they suggest the movie set for a gay Western/snuff film being jointly directed by John Waters, Andy Warhol, and John Ford. Sex and violence are everywhere implicit, seemingly the product of a hostile, unforgiving environment and tribal rites we don’t understand. The large color scenes are like gang wars among gun-totin’ redneck gays on crystal meth. Everyone’s riled up. Their blood is up. Lust seems uncomfortably close to anger. Yet there are more static, posed images that recall 19thcentury photography.

PROM

EVENTS

MUSIC

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arts»Visual Arts MANY ARROWS FROM RAMA’S BOW: PAINTINGS OF THE RAMAYANA The epic narratives of the

Ramayana chronicle the mortal and superhuman struggles of kings, warriors, and gods in 44 works that span four centuries. Seattle Asian Art Museum, Volunteer Park. $5–$7. Fri.–Sat., 10 a.m.–9 p.m.; Wed.– Sat., 10 a.m.–5 p.m. Through Dec. 2.

THE MARIONI FAMILY Paul Marioni and his children, Dante and Marina, are featured in this ongoing exhibit of 140 works. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, 253-272-4258, tacomaartmuseum.org. Wed.– Sun., 10 a.m.–5 p.m. Through Sept. 23.

ADRIAN PACI Some downtown office workers may feel deterred from merely browsing at SAM because of, well, the ticket price. If there’s not some big marquee show to see, wandering at random through the galleries doesn’t seem a good value. But for the cost of absolutely nothing, if you have 45 minutes to spare, walk past the ticket desk to the museum’s southwest corner and plunk yourself down on the comfortable leather sofas. There you can watch six videos by Albanian-born artist Adrian Paci (now living in exile in Italy). His works are durational— about time and waiting. In Turn On, for instance, a bunch of grizzled Italian villagers sit on what appear to be old church steps, doing nothing in particular. After a while, gas-powered generators are fired up, and you realize they’re all holding lightbulbs in the gloom, one per man.

The bulbs flare against the dusk, their faces cast into glowing detail. Then Paci stops down the lens, and the figures fade back into blackness, leaving only a screen full of stars. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. Free. Wed., Sat.–Sun., 10 a.m.–5 p.m.; Thurs.–Fri., 10 a.m.–9 p.m.

• THE RECORD: CONTEMPORARY ART AND VINYL

This exactly the kind of accessible, summery, and even tourist-friendly exhibit—featuring 40 artists and some 100 works—that ought to be showing over at EMP. There are even listening stations with headphones and turntables.

It’s not deep, but it’s fun. Upon entering, in the first gallery on your right, a giant record arm bobs and skips over the grooves on a record. It’s a video, Christian Marclay’s Looking for Love, and you could sit there for its entire 32-minute duration—if there was a bench—to pick out

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the tuneful fragments Marclay toggles between. The constant interruption prevents you or the music from ever settling into a groove. And yet your ear demands a pattern, some kind of continuity, just as the eye is forever seeking to make order of the world. It’s both frustrating and hypnotic. Recording is an inherent form of nostalgia, and The Record is a very nostalgic celebration of vinyl and turntables. (CDs barely figure, there’s not a cassette in sight, and forget about mp3s. MTV and YouTube don’t even exist.) The visual interest of a record is much more straightforward. But instead of presenting iconic covers by famous designers, curator Trevor Schoonmaker mostly goes outside the industry. A welcome example is the personal mythology illustrated by Washington, D.C., outsider artist Mingering Mike, who imagined a pop star career for himself during the 1960s and ’70s with handmade sleeves, liner notes, and cardboard discs with grooves drawn in ink. There’s something sad, silly, and noble about them; and they’re utterly silent. BRIAN MILLER Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $6–$10. Wed., Sat.–Sun., 11 a.m.–4 p.m.; Thurs.–Fri., 11 a.m.–9 p.m. Through Oct. 7.

JAMES TURRELL: SKYSPACE Skyspace stands on two concrete pillars in the Henry’s erstwhile sculpture courtyard. On the exterior, thousands of LED fixtures under the structure’s frosted glass skin create slowly shifting colors, making the pavilion a spectacular piece of public art every night. Inside, the ellipse of sky seen through the chamber’s ceiling suddenly appears to be very, very close, a thin membrane bulging into the room.

Wispy bits of cirrus clouds passing by appear to be features on the slowly rotating surface of a luminous, egg-shaped blue planet suspended just overhead.

Emerging from Skyspace, I find the night wind and the light in the clouds come to me through freshly awakened senses. A dreamy, happy feeling follows me home like the moon outside my car window.

DAVID STOESZ Henry Art Gallery

WOMEN’S PAINTINGS FROM THE LAND OF SITA

The narrative works on view in The Land of Sita refer to both the artists’ regional heritage, and to the large sphere of Hindu women for whom Sita is held up as the female ideal. Seattle Asian Art Museum. Through Dec. 2.

Seattle weekly • S E P TE MB E R 19−25, 2012

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Your gift now ends the drive earlier, returning your regular programs sooner.

Make your pledge today, visit kuow.org or call 206-221-2501.

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Seattle, WA 98105 9/14/12 4:35 PM

film»This Week’s Attractions An Encounter With Simone Weil

of a model “casting” they hope will change their lives or, in the case of an elongated blonde named Nadya, build her family a home. Presiding over this casual degradation is Ashley, a self-loathing former model and current Japanese agency scout. Nadya is sent to Tokyo, where countless indifferences await her; Ashley mourns her tenure in a baffling hall of refracted beauty ideals. The radiant sadness of its two subjects— one a soulfully impassive stripling, one a symmetrical husk—forms the center of Girl Model, and that is enough.

RUNS MON., SEPT. 24–THURS., SEPT. 27 AT VARSITY. NOT RATED. 85 MINUTES.

In the abbreviated life of French philosopher and sociopolitical activist Simone Weil (1909–1943), the daughter of agnostic Jews went to workers’-movement meetings as a child, later fought in the Spanish Civil War, experienced three Christian mystical episodes, and filled 15 meaty volumes—some published posthumously with the help of her intellectual admirer Albert Camus.

Julia Haslett’s absorbing if patchy ode to Weil, an advocate for the rights of the disadvantaged, confronts her subject’s ideas of moral responsibility through surprisingly personal and experimental means. Weil’s author niece and 97-year-old cousin share remembrances (as do theologians, literary critics, and one of her students), but Haslett also turns the camera on her own brother Tim, a black-studies scholar struggling with severe depression since the suicide of their father. The link is a stretch, though suffering and self-sacrifice were themes of Weil’s career and ultimate demise: Diagnosed with tuberculosis, Weil died after refusing to eat more than the rations offered to soldiers in occupied France. Further trying to resurrect the spirits, Haslett supplements her running commentary by hiring an actress to conjure Weil while she interviews her. The effect isn’t as visceral as the director might believe, but her teary-eyed curiosity feels sincere.

Hello I Must Be Going OPENS FRI., SEPT. 21 AT MERIDIAN. RATED R. 95 MINUTES.

AARON HILLIS

Girl Model RUNS FRI., SEPT. 21–THURS., SEPT. 27 AT VARSITY. NOT RATED. 77 MINUTES.

Although the title of directors David Redmon and Ashley Sabin’s dual portrait of two players in the underage-modeling world might suggest an industry smackdown in the familiar mode of high-documentary dudgeon, Girl Model proves unsettling in any but the usual ways. Redmon and Sabin don’t need statistics and cautionary talking heads to support a case against sending impoverished 13-year-olds across the world to be exploited by fashion grotesques without the protection of a guardian, much less a developed sense of self. They opt instead for a story well-told, and let the other stuff tell itself. That story begins in small-town Siberia, where dozens of pale, pubescent girls align in bikinis, part

Kate Winslet we know, but whatever happened to Melanie Lynskey, her co-star in Peter Jackson’s 1994 Heavenly Creatures? The New Zealand–born actress has actually been working steadily in Hollywood, mostly in TV, and she gets a nice leading role in this indie divorce-com from writer Sarah Koskoff and director Todd Louiso. Amy, 35, has refused alimony and is now broke and despondent back in the waterfront Connecticut home of her affluent boomer parents (Blythe Danner and John Rubinstein, both fine). Her father, an attorney, is entertaining clients at home; they bring along a college-age son (Christopher Abbott), an actor, whom all presume to be gay. He’s not. Amy embarks on an impulsive summertime romance that’s equal parts liberating, comical, and shameful. Doors burst open at inconvenient times, there are several bouts of vomiting, and Amy is treated to a particularly humiliating upside-down POV of her horrified parents. Danner and Lynskey are the best thing about the film with their mother/daughter sparring. Koskoff, a former actress, has an acute feeling for their “I let you down”/“I told you so” dynamic of disappointment and recrimination. The young actor Jeremy, whose age isn’t revealed until late, is more of a prop—and Abbott suitably bland—in Amy’s gradual recovery from the wreckage of her life. You could build a sitcom around Amy and her parents, and I mean that as a compliment. BRIAN MILLER

Liberal Arts OPENS FRI., SEPT. 21 AT SIFF CINEMA UPTOWN. RATED R. 98 MINUTES.

Taking all three jobs as writer/director/star, it shouldn’t be surprising that Josh Radnor is way too kind with his 35-year-old character, Jesse, who falls for a college girl during a trip back to his Ohio alma mater. He’s there to celebrate the retirement of his “second favorite professor” (Richard Jenkins); the first favorite is played by Allison Janney.

Upping the talent ante even further is Martha Marcy May Marlene star Elizabeth Olsen as the crush object, Zibby, but Radnor/

Jesse is concerned only with himself. The bookish Brooklynite needs to grow up, you see, to leave behind his collegiate obsessions (David Foster Wallace chief among them) and self-image. This means Yoda-esque counsel from a campus stoner (Zac Efron, way too broad) and an epistolary romance with Zibby, because Facebook and cell phones don’t exist. There’s even a suicidal bookworm who reminds Jesse exactly of himself at that age! (Double the Jesses, double the salvation?) Radnor, from TV’s How I Met Your Mother, isn’t entirely dismissive of those in Jesse’s concentric orbit; but he gives each one of them a generous scene, then lets them spin away, forgotten. Liberal Arts is all about Jesse all of the time, but he’s not flawed or neurotic enough to be genuinely interesting. The movie’s funniest scene has him doing the numbers on a sheet of paper: 35 – 19 = 16 years of age difference. No way, dude! But then he varies the calculation: 50 – 34 doesn’t sound so creepy! Woody Allen wouldn’t even bother with the math. Behaving worse would’ve made Liberal Arts a better comedy. BRIAN MILLER

The Master OPENS FRI., SEPT. 21 AT CINERAMA AND GUILD 45TH. RATED R. 137 MINUTES.

In admitting that “Master” Lancaster Dodd (Philip Seymour Hoffman, offering a new twist on the roiling vulnerability Anderson has always highlighted in their collaborations), 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’s delivered a freeform work of expressionism, more room-size painting than biopic, star vehicle, or traditional character study, mirroring Hubbard’s story when convenient while strenuously avoiding direct representation. As with Boogie Nights and There Will Be Blood, Anderson takes what he needs from history to recast his own story, yet he has never made a film so coded, so opaque. Dodd

Neighboring Sounds: Listening to sounds of distress?

teaches a drunk named Freddie (Joaquin Phoenix) not to apologize for who he is—“a scoundrel”—and gets him to submit to the Master’s conversion therapy. His teachings are mostly designed to help followers control their emotions by accessing past experiences, either in their current or previous lives. In Freddie, he has a man who chewed through every leash ever clipped to his collar, who attempts to seduce adult women by passing notes (“Do you want to fuck?”), who has never encountered a household or industrial chemical that he hasn’t tried to drink. In their first “processing” session, Dodd repeatedly asks Freddie “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 a near-complete denial of conventional catharsis. MICHAEL ATKINSON

Neighboring Sounds OPENS FRI., SEPT. 21 AT SIFF CINEMA UPTOWN. NOT RATED. 124 MINUTES.

A single affluent block in the oceanfront city of Recife, Brazil, and its residents are the subject of Neighboring Sounds, writer/ director Kleber Mendonça Filho’s arresting, energetically oblique debut. A Recife native, Filho has taken what he knows about lives lived in the shadow of fading sugar dynasties and translated it into a film that marries classical gloss and omnibus scope with an invigorated, keenly sensory approach. Security is of premium concern on this block: Housewife Bia (Maeve Jinkings) is driven to an existential torment by a neighbor dog’s ceaseless barking; courtly playboy João (Gustavo Jahn) is mortified when his new girlfriend’s (Irma Brown) car is burgled

Seatt le w eekly • S E P TE M B E R 19−25, 2012

LINE STREET PRODUCTIONS

The late French philosopher Simone Weil.

CINEMASCÓPIO

MICHELLE ORANGE

» CONTINUED ON PAGE 52 51

film»

STRAND RELEASING

Five of the said 17 Girls.

This Week’s Attractions » FROM PAGE 51 outside his home; and a pop-up homesecurity outfit led by a working-class hustler (Irandhir Santos) sets up an overnight watch to keep a paranoid community “safe.”

A host of characters (including a former sugar baron played by W.J. Solha) is more layered than interwoven, each one revealed only in sidelong fragments. A tightening of the two-hour-plus running time might have enhanced the balance between Filho’s epic, evocative style and his smaller story about a certain mode of modern life, its lonely confrontations, and the stubborn legacies of the past. MICHELLE ORANGE

17 Girls

Seattle weekly • S E P TE MB E R 19−25, 2012

OPENS FRI., SEPT. 21 AT SIFF CINEMA UPTOWN. NOT RATED. 90 MINUTES.

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Set in the small, depressed French seaside town of Lorient, 17 Girls makes a big deal about having been inspired by a true story that took place in the small, depressed American seaside town of Gloucester, Massachusetts, in 2008: Eighteen highschool girls all turned up pregnant at the same time in a supposed “pregnancy pact.”

One of the girls even appeared on Good Morning America, and the story not surprisingly served as fodder for a Law & Order: Special Victims Unit episode and a Lifetime movie. So what does 17 Girls, the debut feature film from sisters Delphine and Muriel Coulin, add to the “pregnancy pact” canon? A lot of style, but not much substance. Camille (Louise Grinberg), the ringleader of her friendship group, accidentally gets pregnant and suggests that her friends join in the fun.

She reasons that there will now be someone who will love each of them forever, that the girls can all live and raise the babies together, that at least they will have done something with their lives, and because . . . you know . . . friendship. At times reminiscent of Sofia Coppola’s The Virgin Suicides, 17 Girls relies on pubescent bodies and pouty pink lips to titillate. It never achieves the subtlety or consistency of Coppola’s work, but it does have its impressive moments and imagery.

Still, we never learn what these girls are

thinking or how the vague concept of friendship turns into the hypnotic and life-altering yoke of peer pressure that these girls suffer beneath. THEMBI FORD

Trouble With the Curve OPENS FRI., SEPT. 21 AT WOODINVILLE AND OTHER THEATERS. RATED PG-13. 111 MINUTES.

What a strange thing for an actor to have been rehearsing one’s decline and death for so very long! Eastwood is 82; he was wasting away from TB as early as Honkytonk Man (1982); had officially entered his “I’m getting too old for this shit” magic hour with The Rookie (1990); and memorably fumbled getting back into the saddle in Unforgiven (1992).

In Trouble—as in Unforgiven—Eastwood’s Gus communes with his wife’s grave, while instead of waxing his Gran Torino he now bangs up his ’65 Mustang while pulling it out of the garage. The rather cautious, ploddingly professional Trouble is not, however, an Eastwood film, but the directorial debut of Eastwood’s longtime producer and assistant director, Robert Lorenz. He’s working from a script by rookie Randy Brown, who digested the requisite bookshelf’s worth of screenwriting how-tos and has turned in a narrative that never risks making a point in any way that might puzzle the slowest audience member.

There are things, all the same, to admire here. It’s the first baseball movie since The Bad News Bears to deal so explicitly with the father/daughter sports bond—Eastwood’s scout is joined on a work trip, against his will, by his daughter, Mickey (as in “Mantle”), played by Amy Adams—and it upends a scene in last year’s Moneyball in which Brad Pitt’s Billy Beane is confronted by a long conference table of dreary-looking, uncomprehending, stick-in-the-mud veteran scouts. Trouble With the Curve is those scouts’ revenge, casting the Sabermetrics nerds as nemeses.

NICK PINKERTON E

film@seattleweekly.com

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

The Master

53

Yasujiro Ozu's INVITE YOU TO AN ADVANCE SCREENING OF

"…one of the greatest films of all time." Roger Ebert

TOKYO STORY

SEPT ��–��

LATE NIGHTS SEPT ��, ��, ��, & �� Visit WWW.GOFOBO.COM/RSVP and enter the code SWEEK8KSU for your pass!

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THIS FILM IS RATED PG-13. PARENTS STRONGLY CAUTIONED. Some Material May Be Inappropriate For Children Under 13.

Please note: Passes are limited and will be distributed on a fi rst come, fi rst served basis while supplies last. No phone calls, please. Limit two passes per person. Each pass admits one. Seating is not guaranteed. Arrive early. Theatre is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theatre (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theatre, forfeiture, and may subject you tocriminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

IN THEATERS SEPTEMBER 28 perks-of-being-a-wallflower.com

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HHHHH” “Revealing”

SEATTLE WEEKLY – Amy Biancolli, SAn FrAnciSco chronicle

WED: 9/19 (4.83” X 2.69”) ALL.PBW-P.0919.SW

Seattle weekly • S E P TE MB E R 19−25, 2012

Trailer: www.FirstRunFeatures.com

54

– Anna Klassen, The DAilY BeAST

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film»

BY BRIAN MILLER

September 21–27 206.324.9996 siff.net THE STORY OF FILM: AN ODYSSEY Made for British

Local Film BATTLE FOR BROOKLYN Michael Galinsky and Suki

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

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Ongoing •

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. Jarecki slices his cake and has it, too: 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 Bainbridge Cinemas, Kirkland Parkplace, Seven Gables BACHELORETTE In Bachelorette, directed by Leslye Headland, the bride’s wedding dress is in terrible danger, and you know it the second that Regan (Kirsten Dunst) suggests that her two high school BFFs, Gena (Lizzy Caplan) and Katie (Isla Fisher), drag it out for their coke-enabled bachelorette after-party. Over the course of the night, the women indulge in drugs, alcohol, and sex. Dunst’s Regan is a quad-core, hyper-threaded event planner, but in accordance with cinematic rules about likability in commercial films, her tough-ass persona is just a masky ol’ facade hiding a vulnerable, funny charmer who never found the right dude. Meanwhile, Caplan steals all of her scenes. (R) Chris Packham Sundance Cinemas BEASTS OF THE SOUTHERN WILD A zealous gumbo of regionalism, magical realism, post-Katrina allegory, myth, and ecological parable, this Louisiana-set debut feature by 29-year-old Benh Zeitlin rests, often cloyingly, on the tiny shoulders of Quvenzhané Wallis. Beasts strains to remind us of Hushpuppy’s wisdom and courage beyond her years. She is a motherless child: “She swam away,”explains her drunken father of Mom’s absence.

He and Hushpuppy live in a grassy, overgrown expanse in a fictional bayou area called the Bathtub. Stomping around her ramshackle, squalid domain in white plastic rain boots, dirty T-shirt, and orange Underoos, this peewee heroine confidently wields a blowtorch. But in trying through incessant narration to make a six-yearold a prolix sage, Zeitlin can’t avoid falling into sticky sentimentality. (PG-13) Melissa Anderson Varsity, Bainbridge, Kirkland Parkplace HOPE SPRINGS This studio comedy is atypically concerned with an older couple’s marriage problems. Meryl Streep and Tommy Lee Jones play Kay and Arnold, a couple with marriage problems that only Kay is willing to acknowledge. However, screenwriter Vanessa Taylor and director David Frankel (The Devil Wears Prada) unfairly use Dr. Feld (Steve Carell) to preach tolerance to Arnold while otherwise pushing the audience to blame him for the couple’s problems. Jones and Streep give likable enough performances as a caricatures of a humane monster and a human victim. But their characters never become more than that. And for a rom-com that’s trying to impress viewers with its progressive, sensitive sexual politics, that’s pretty deadly. (PG-13) Simon Abrams Vashon, Kirkland THE IMPOSTER This deft, atmospheric Errol Morris– style tour through the phenomenon that is “serial imposter” Frédéric Bourdin homes in on one brief episode from the man’s berserk career: the period in 1997 when the 23-year-old Frenchman convinced a Texas family he was their disappeared teenage son.

The story still harbors queasy mysteries at its center, as director Bart Layton micro-analyzes every step of the case, via interviews with the Texans, Bourdin, and the FBI. How Bourdin manages to pull off this charade is the first conundrum, but the question of how credulous this wounded American family really is eventually becomes subsumed by others—as in, what really happened to the vanished boy? Thick with reenactments and cute cutaways, the movie evolves into a cultural inquisition, following this stranger through the strange land of bad-news America, where the truth is still waiting to be exhumed. (R) Michael Atkinson Sundance Cinemas LAWLESS During Prohibition, foremost among rural Virginia moonshiners are the Bondurant brothers: Eldest Howard (Jason Clarke), a half-crazed WWI vet; middle

OPENS FRIDAY 21 | UPTOWN

A WINNER

‘‘

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A WITTY EARLY-MID-LIFE-CRISIS COMEDY.’’

Opens Friday 21 | Uptown

Chris Vognar, DALLAS MORNING NEWS

DRYLY AFFECTIONATE AND SUPER-SHARP.

“Stunning”

‘‘

–Village Voice

“A thrilling discovery”

LIBERAL ARTS IS THE BEST MOVIE ABOUT COLLEGE I’VE SEEN SINCE I DON’T KNOW WHAT.’’

–Film Comment

“Revelatory”

Owen Gleiberman, ENTERTAINMENT WEEKLY

–NY Times

Sometimes students make the best teachers.

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SEATTLE DESIGN FESTIVAL

FILMS ON ARQUITECTURE AND DESIGN Friday 21–Sunday 23 | Film Center

Opens Friday 21 Uptown

Producer of the Opening Night film, No Rest for the Wicked, in attendance!

Tickets on Sale Now!

“GRAND AND VIBRANT” –A.O. Scott, The New York Times “MAGNIFICENT” –Roger Ebert, Chicago Sun-Times “IT MUST BE EXPERIENCED ON THE BIG SCREEN” –Christopher Campbell, Movies.com

Saturday 22 | Film Center

Saturday 22 & Sunday 23 | Uptown Films4Families:

Charlotte’s Web

ALL SEATS $

4

Monday 24 | Film Center

The movie production challenge!

Tuesday 25 | Film Center

The Films of Milos Forman

MAN ON THE MOON

BALLET

Move to Move

Command Performance in HD! Thursday 27 | Film Center

Wednesday 26 Film Center

Opens September 21 | Uptown

Stunning 4K presentation on the giant screen

Revenge of the The Story of Film Chapters 10–12

Electric Car FILM SERIES

Uptown | 511 Queen Anne Ave N

SIFF Film Center | Seattle Center | Northwest Rooms

FREE VALIDATED PARKING from 6pm weekdays / 10am weekends | Parking passes available at box office

Seatt le w eekly • S E P TE M B E R 19−25, 2012

Hawley’s documentary recounts the tireless anti–Atlantic Yards efforts of Develop Don’t Destroy Brooklyn cofounder Daniel Goldstein. The film opens with a title-card definition of “eminent domain” and a scene of lastholdout Goldstein standing up to the goons patrolling his condo building’s rooftop. Instances of project-proponent doublespeak follow, as podium-banging Nets owner/ AY developer Bruce Ratner invokes “the royal ‘I’ “ and U.S. Senator Chuck Schumer says that job creation “enervates” [sic] him. Goldstein and friends propose less invasive alternative footprints, and then contest the legality of the state’s seizure of their “blighted” property during seven years of rallies and hearings. Battle for Brooklyn provides a useful primer on the opposition to Atlantic Yards, but ignores figures who might have made more compelling documentary subjects than the always on-message Goldstein. (NR) BENJAMIN MERCER Northwest Film Forum, $6-$10, Tue., Sept. 25, 7 p.m.

THE BRIDGE ON THE RIVER KWAI David Lean’s 1957 CinemaScope classic earned seven Oscars. Alec Guinness creates an indelible portrait of a British officer whose obsession with martial order leads him to unwittingly help his Japanese captors in a World War II prison camp. No one who sees it can forget the famous whistling march or Guinness’ “What have I done?” moment of realization. William Holden, Jack Hawkins, and Sessue Hayakawa costar. They don’t make movies much better than this. Call for showtimes. (NR) BRIAN MILLER Sundance Cinemas, $8-$10.50, Thu., Sept. 20.

THE CROW Brandon Lee famously died on the set of this 1994 comic book adaptation, which has little to recommend. Call for showtimes. (R) Central Cinema, $6-$8, Sept. 21-26.

T H I S CO D E EVIL DEAD 2 From 1987, TO DOWNLOAD THE FREE the second of Sam Raimi’s SEATTLE WEEKLY Evil Dead gore-coms stars IPHONE/ANDROID APP Bruce Campbell. It’s the FOR MORE FILM OR VISIT weakest of the trilogy and seattleweekly.com basically a remake of 1981’s The Evil Dead, but still enjoyable in its own right. (NR) Egyptian, $8.25, Fri., Sept. 21, 11:59 p.m.; Sat., Sept. 22, 11:59 p.m.

FILMS4FAMILIES: ANIMAL KINGDOMS See siff.net 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. Fhrough Oct. 28.

JOYSTICKS Jon Gries and other youngsters fight preserve the local video arcade in this teen-com from 1983. (R).

Grand Illusion, $5-$8, Opens Sept. 21, Fri., Sat., 11 p.m.

Through Sept. 29.

MANNEQUIN A young and handsome Andrew McCarthy stars in this 1987 romance. Kim Cattrall plays the mannequin come to life. Look for James Spader lurking on the periphery. (PG-13) Central Cinema, $6-$8, Thu., Sept. 20, 8 p.m.

MEMENTO In Chris Nolan’s smart, surprising 2000 indie breakthrough, a man bent on avenging his wife’s murder is hindered by short-term memory loss incurred during the assault. His pockets full of Polaroids and Post-it notes, his skin covered with mnemonic tattoos, Leonard (Guy Pearce) becomes the unwitting agent of predetermined retribution. Ingeniously, Memento employs a backwards narrative structure. Each scene begins with a missing context supplied by the one that follows (for us)—the one that precedes it (for Leonard). Storytelling is as much the film’s subject as vengeance. Moreover, Leonard’s unreliable narration, though often funny and affecting, leads the spectator astray. Among those involved in Leonard’s unpredictable investigation are Carrie-Anne Moss’ Natalie (whom he believes) and Joe Pantoliano’ Teddy (whom he doubts). (R) BRIAN MILLER Central Cinema, $6-$8, Wed., Sept. 19, 9:30 p.m.

ROMEO + JULIET Leonardo DiCaprio and Claire Danes are the star-crossed lovers in Baz Luhrmann’s 1996 take on Shakespeare’s tragic love story, rendered with a lot of style but an uncertain grasp of the language. Call for showtimes. (PG-13) Central Cinema, $6-$8, Sept. 21-26.

television, this 15-hour survey of cinema history by Irish scholar Mark Cousins will run in repeating blocks of three episodes (three hours) each. In an Ulster brogue, Cousins narrates, alternating between stabs at lilting poetry and calculated down-to-earth matey-ness. This Story, for all its claims of rewriting, is too reliant on received film-buff wisdom. See the SIFF website for exact schedule. (NR) NICK PINKERTON SIFF Film Center, $5-$10, Thursdays, 7 p.m. Through Oct. 4.

TOKYO STORY SEE THE WIRE, PAGE 46.

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film» child Forrest (Tom Hardy), the functioning ringleader; and the callow youngest, Jack (Shia LaBeouf). The status quo is upset as outsiders roll in: First, Maggie (Jessica Chastain), an ex-chorus girl from Chicago; headline-news gangster Floyd Banner (Gary Oldman) stops in just long enough to empty a tommy gun into a pursuing automobile and to win the idolatry of Jack, who has ambitions beyond his brothers’ big-fish, small-pond setup; and Federal Special Deputy Charlie Rakes (Guy Pearce), a citified dandy shipped down from Chicago to bust stills and heads. Director John Hillcoat achieves some indelible moments, but the narrative trudges when it should be striding toward the climax. (R) Nick Pinkerton Lincoln Square, Cinebarre MOONRISE KINGDOM It’s 1965, the rainy end of summer on the rocky coast of a fictional New England isle.

Twelve-year-old Sam (Jared Gilman) disappears from the Scout camp run by Randy Ward (Edward Norton). Also 12, bad-seed Suzy (Kara Hayward) flees her distracted lawyer parents (Frances McDormand and Bill Murray).

Aided by what remains of Ward’s troop (“It’s a chance to do some first-class scouting!”), the grown-ups, including Bruce Willis’ Captain Sharp, mobilize to find the fugitive young lovers. Moonrise takes the form of old-fashioned 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, and to show off to a receptive audience. Suzy doesn’t have it so bad at home, but Sam’s flattering gaze gives her something she isn’t getting, and now won’t easily be able to live without. (PG13) Karina Longworth Varsity Theatre, Majestic Bay PREMIUM RUSH After picking up a valuable envelope, Joseph Gordon-Levitt’s NYC fixed-gear messenger is tailed by a psychopath in a Mazda trying to run him down. Michael Shannon’s crooked cop falls right in with the movie’s cartoon-chase concept, popping out his eyes while displaying an undervalued comic ability between moments of genuine pathos. Writer-director David Koepp follows the action up and down the length of Manhattan and—with a sinuously mobile camera— through rush-hour traffic, while showing a respectful know-how of the city’s geography. There is a lot of silly bike-is-life philosophy, but I do have an abiding fondness for compact and coherent action movies, and this is surely one. (PG-13) Nick Pinkerton Pacific Place ROBOT & FRANK In the near future, retired cat burglar Frank (Frank Langella) is suffering memory loss. He’s attended by a robot (voiced by Peter Sarsgaard), which he discovers can be trained as a thieving accomplice.

Jake Schreier’s film charts their burgeoning friendship and heists with an attention to its protagonist’s need for a companion who’ll listen to and acknowledge him for who he is. Even with regards to a nicely underplayed climactic revelation, the sentimental drama is more attuned to issues of acceptance and self-reflection than actual suspense, and Sarsgaard’s vocal performance deftly colors his preprogrammed remoteness with hints of human curiosity and deviousness. It’s Langella, however, who ultimately props up this borderline-schmaltzy character study, exhibiting a heartbreaking sense of destabilization and confusion. (PG-13) Nick Schager Egyptian, Lincoln Square 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 Cinemas SAFETY NOT GUARANTEED This road-trip rom-com (with a light sci-fi spin) is both the first big starring role for Aubrey Plaza and also the first movie to acknowledge her hotness. Reporter Jeff (Jake Johnson), on assignment to write an exposé on a guy searching for a timetravel partner, suggests that his intern Darius (Plaza) use the fact that she’s a “beautiful woman” to get the story.

A typical Plaza tough cookie (though patly softened), Darius calls Jeff out for “dangling my vagina out there like bait.” And then she does what she’s told to gain entry into the weird world of Kenneth (Mark Duplass), a hermit loner who claims to have built a time machine. Plaza and Duplass have an easy, charming chemistry, and plot contrivances aside, as indie-film nerd-mances go, this one is genuinely sweet. (R) Karina Longworth Sundance Cinemas, Bainbridge, Crest

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Seattle weekly • S E P TE MB E R 19−25, 2012

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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 shortcircuits 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 Lincoln Square, SIFF Cinema Uptown SEARCHING FOR SUGAR MAN Malik Bendjelloul’s documentary is such a gift. In telling the tale of Sixto Rodriguez, a Mexican-American balladeer from Detroit who cut a couple of tepidly received LPs in the early ‘70s, vanished, and subsequently became an Elvis-sized rock god in South Africa, the Swedish filmmaker sidesteps arthritic VH1-style “where are they now” antics in favor of a more equivocal interrogation of celebrity culture. Bendjelloul interviews pertinent parties in standard rock-doc 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 Harvard Exit SLEEPWALK WITH ME Smart, funny stand-up comic Mike Birbiglia has already based a book and a touring show on his biographical woes, as heard on This American Life. Here calling himself Matt, Birbiglia plays a mediocre Brooklyn comic pushing 30 with a wonderful girlfriend (Lauren Ambrose) and some very impatient parents (Carol Kane and James Rebhorn). Lacking confidence or compellingly personal material onstage, Matt also has a sleeping disorder and an aversion to marriage. Told to to use his own life for joke material, Matt hits the Northeastern college comedy circuit, neglecting his health and girlfriend. Birbiglia’s Matt is a flawed yet sympathetic fellow reflecting on his youth during the flip-phone ‘90s. But the mature comic is more compelling than the tyro, and you’d rather see Birbiglia onstage today than Matt way back when. (NR) Brian Miller Harvard Exit TO ROME WITH LOVE In Woody Allen’s latest, a Love Boat’s worth of stars—Alec Baldwin, Roberto Benigni, Penélope Cruz, Judy Davis, Jesse Eisenberg, Greta Gerwig, Ellen Page, and Allen himself—breeze through four Roman tales that include farces involving prostitutes and opera singers, as well as one Zelig-style fantasy and an artful exploration of memory. Allen deserves credit for his continued ability to stage absurd set pieces, and his Rome—shot by Darius Khondji—is luminous. Still, in the same way that old men’s ears and noses develop into exaggerated, cartilaginous bulbs, his problematic portrayals of women have become more pronounced over the years: Women throw themselves in groups into the married Benigni’s bed, and Allen the screenwriter overtly states that wives understand that they have to “share” their famous husbands, and goddammit, Woody Allen, you don’t have to articulate every gross idea that goes through your head. (R) Chris Packham Kirkland Parkplace, Majestic Bay

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

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

food&drink»

Just Eat It

If food were all that mattered in a restaurant, Bisato would be great.

Such achievements are undeniably impressive: If the velouté was produced by a cooking-show competitor, it would be a shooin for a prize. But there’s more to a successful restaurant than hard-to-make dishes, and Bisato is sadly lacking in those non-edible categories. There’s great food to be found at Bisato, but Bisato’s hardly a great restaurant.

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tweetable dishes here, starting with four dryrubbed slices of fleshy pork loin, arranged in a precise compass pattern. Each two-bite piece of meat is topped with a piped cap of salty tuna sauce and a single segment of candied fruit— cherries to the north and south, citrus east and west—bearing three capers. Even more stunning is the spongy, magenta-hued red-beet blini, supporting three flaps of cured salmon and an orb of Easter egg–pink crème fraiche.

The blini is extraordinarily soft, which is a recurring theme at Bisato (as are the orbs: Chocolate-caramel mousse is molded into the same shape, and the wrinkly morels sharing a bowl with chicken liver mounded into hollowed-out figs are fairly orb-like). It takes four or five plates to make a meal, and you’re bound to notice halfway through your dish tour that you’re doing very little chewing, as most everything is produced in the key of soft.

If that’s not your thing, you have very little recourse, other than perhaps

Carsberg’s dishes are sensational.

His waitstaff, not so much.

avoiding the ill-advised soft fava beans trapped in soft gelée and slopped with a soft squash velouté. Even the schnitzel is oddly smooth, inside and out. The few textural deviations are inadvertent, such as the undercooked sheet of housemade pasta shrouding a salty octopus puttanesca, and an overcooked trout quivering with lemon.

But at Bisato, your preferences are far from paramount anyhow. You’re here to marvel at Carsberg’s culinary coups. And whether or not you love the experience, you’ll have lots of colorful pictures to show for it. E hraskin@seattleweekly.com BISATO 2400 First Ave., 443-3301, bisato.com.

5–10:30 p.m. Tues.–Sun.

Seatt le w eekly • S E P TE M B E R 19−25, 2012

ampreia, long considered one of Seattle’s top dining destinations, closed in early 2010 (before I moved to Seattle, so I never had the chance to eat there). Although Carsberg initially toyed with the idea of relocating his upscale restaurant, he instead decided to reinvent the space at the corner of First Avenue and Battery Street. Now the concrete floor is bare save for a reddish Turkish rug positioned in front of the door like a Many of the dishes at welcome mat, and the decoration comprises Bisato are excellent, a few modernish paintings featuring polychromatic scrawls. distinguished by vivid A semicircular wooden bar—set with flavors bent into far more wooden bar stools than customer unexpected shapes and traffic would seem to require—dominates textures. the dining room. The ruddier wooden tables pressed against the windowed blue-gray walls were also mostly vacant on the nights I visited.

When after 18 years Carsberg stepped off Bisato can’t be entirely blamed for its drab the fine-dining treadmill, its pitch steepened ambience, since I strongly suspect the room by the recession, he might have chosen a would feel more fun with more people in it. more modest course. But a series of recent But the restaurant’s servers—who, to a man, visits to Bisato suggests that the James have a vaguely menacing demeanor—do very Beard Award winner hasn’t allowed a lick of little to compensate for the leaden atmoeconomic reality to dim his surety that he’s sphere. Rather than conspiratorially enthuse serving some of the best dishes in the city. about the menu, making guests feel as if every Carsberg may have stripped the linens off other Seattle eater is missing out, my servhis tables and shaved the prices of his pastas, ers settled for blanket “Everything is good” but his cooking is bumptiously undaunted: endorsements and struggled to answer basic There’s a palpable arrogance surging through menu questions. his staggeringly beautiful small plates, exeOn my first visit, a server told us that what cuted in colors usually reserved for the covers made a chicken schnitzel so special was soba. of paperback romances. It’s flat-out nervy to He meant saba. It’s an easy mistake to make, cloak cow’s-milk gnocchi in supremely rich but saba has been a signature Carsberg ingreramp butter, or to whip up a bowl of yogurtdient at least since 1992, when the Seattle like strawberry risotto, pink as amoxicillin, native made Lampreia a stage for the tricks and call it a main course. Even in a studiously he’d picked up during an Italian apprencasual setting, Carsberg wears his culinary ticeship. That sloppiness convictions proudly. extends to the printed The payoff for the specials menu, marred by customer is significant. » PRICE GUIDE BLINI .............................................. $10 eye-catching typos on two Many of the dishes at PUTTANESCA ....................... $10.50 occasions, and the wine Bisato are excellent, GNOCCHI ................................. $11.50 TROUT ..................................... $14.50 list, clumsily marked with distinguished by vivid SCHNITZEL.................................. $14 ungainly green stickers flavors bent into unexCHOCOLATE MOUSSE ............... $7 meant to indicate inventory pected shapes and textures. outages. Petty quibbles?

While a lesser chef keen to Maybe, but when dinner for two costs $150, pair sockeye salmon with corn might settle guests deserve to feel cared for. That’s the for a grilled salsa or thick fritter, Carsberg difference between a food showcase and a calls on his deep knowledge of classical techrestaurant. nique to fashion a satiny white corn velouté For eaters seeking the former—and a multiin which the strip of fish sits like an anchored plying breed of diners would rather Instagram canoe. The chilled sauce, flush with the burrata than strike up a conversation—Bisato sweet aura of late summer, will make you is no doubt a splendid spot. There are scads of wish you had a flask to fill.

JOSHUA HUSTON

I

f Dolly Parton came to town, she probably wouldn’t patronize Bisato, which is everything the curvaceous country star isn’t. The mood in the Belltown restaurant’s blandly contemporary dining room is forever calm, refined, and unsmiling. But Dolly’s oeuvre is packed with wisdom, and her lyrics go a long way toward explaining the dynamic at Bisato, the 2-year-old successor to chef Scott Carsberg’s much-lauded Lampreia.

Parton’s “Coat of Many Colors” is the story of a penniless mother who stitches together brightly colored patches so her little girl has something to wear come winter. According to the song, “It was made only of rags, but [she] wore it so proudly.” She doesn’t cower before her fancier classmates, or try to obscure the essential weirdness of her outerwear.

BY HANNA RASKIN

57

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

BEACON HILL

EL DELICIOSO 2500 Beacon Ave. S., 322-1307. The counter

in the southern end of the ABC Market, Beacon Hill’s Chinese-Mexican grocery store, advertises tacos, empanadas, and tortas. Most customers are eating pupusas, the cornmeal cakes stuffed with your choice of fillings, patted out and fried to order. Each costs less than $2, and they come with a hefty dose of oregano-spiked, tart cabbage slaw. The only downside is that you have to cut them apart with plastic knives and sporks. $ EL QUETZAL 3209 Beacon Ave. S., 329-2970. You can get all your favorite tacos and tostadas here, and they’ll be good and cheap. What distinguishes this favorite, perhaps Seattle’s only taqueria speT H I S CO D E cializing in Mexico City–style TO DOWNLOAD THE FREE street food, are its overSEATTLE WEEKLY stuffed tortas (sandwiches) IPHONE/ANDROID APP and the huarache gigante, FOR MORE RESTAURANTS OR VISIT a sort of Mexican pizza that seattleweekly.com all but defies explanation.

The chicken quesadilla isn’t a greasy flour tortilla dripping with melted cheese, it’s a hoagie-sized turnover stuffed with smoky chipotlebraised meat and a smattering of queso fresco. At this friendly, family-run place, kids are definitely welcome. $

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PORTFOLIO RESTAURANT 2600 Alaskan Way, Fifth

Floor, 239-2363. The food at the Art Institute of Seattle’s culinary program, whose students cook in the restau-

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rant, ranges from serviceable to sublime. The menus include such items as butter lettuce drizzled with sweet honey-truffle dressing, toasted almonds, and lumps of chevre. You might be lucky enough to enjoy pork loin with a just-sweet pile of braised red cabbage, or a stunning pan-roasted steelhead trout served on a bed of spinach and white beans with a tangy fennel sauce. Be sure to check out the very moderately priced list of West Coast wines. $

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CAPITOL HILL

ELTANA 1538 12th Ave., 724-0660. The bagels are labori-

ously fashioned by hand. A gigantic oven with visible flames bakes Eltana’s bagels to a char, and the steaming wood makes the spacious, high-ceilinged cafe smell like a sauna. Hard and tiny, these are known as Montreal bagels. But it’s the motion in the ocean that counts, and Eltana’s bagels go down swimmingly, with a generous amount of cream cheese heaped on. $ KANAPÉ 700 Broadway E., 708-1210. The originality and obvious love for generally unloved things defines Kanapé. The menu spouts such typical undesirables as chicken-liver pate and vegetable caponata. Kanapé balances the menu with a long list of crepes, both sweet and savory, and Turkish coffee from the bar.

Eastern European food is still a relative rarity in the West, and you should trust a place that takes as its inspiration the homesickness and melancholy of someone far from their native soil. $ THE KINGFISH CAFE 602 19th Ave. E., 320-8757.

Seattle is peppered with inventive and quirky dishes featuring delicate flavors. But sometimes a girl just wants a piece of deep-fried chicken with a side of butter-soaked collard greens and sweet potatoes. The Kingfish Cafe offers food inspired by owners Laurie and Leslie Coaston’s Alabama ancestors. The key to good Southern food is fat, a notion that Kingfish embraces with aplomb. Even the menu’s veggie options—macaroni and cheese and griddlejacks (a fried black-eyed-pea-and-veggie cake)—comprise enough dairy fat to make you gain 20 pounds just by inhaling the fumes. To tide you over at the bar while you wait, Kingfish offers the city’s stiffest mint julep—

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food&drink»Featured Eats adorably served in a Mason jar. And whatever you do, order dessert, even if you don’t think you have room for it. Kingfish is so famous for its cakes, people have been known to order a slice with brunch. If ever there was a reason to own pants with an elastic waistband, Kingfish is it. $$

FREMONT

THE ESSENTIAL BAKING COMPANY 1604 N. 34th

St., 545-0444. If you think hearty organic breads, sandwiches, and soups when you think of the Essential Baking Company Café, it’s time to expand your ideas to include decadent desserts. The tartlets are grand: Fresh fruit toppings, fabulous custard, and a sugary pastry crust are what make a perfect tart, but pure fluid chocolate and lemon curd are not to be sneezed at. A white-chocolate cheesecake and chocolate mousse pyramid help round out the dessert menu.

Stop by after dinner and see for yourself what fresh ingredients and a whole lot of butter can do. $

GEORGETOWN

THE CORSON BUILDING 5609 Corson Ave. S., 762-3330.

Over the course of 18 months, Sitka & Spruce founder Matt Dillon and Wylie Bush gutted a gorgeous Spanish revival building under a highway overpass to create a urban-rustic restaurant that aspires to be a center for Seattle’s food community. The communal dinners that fund their enterprise range from $30 picnics to $140, four-hour, eight-course meals with multiple wine pairings (check thecorsonbuilding.com for a schedule, and don’t think about showing up without reservations). Dillon’s food is ultra-local, replete with homemade conserves and cured meats as well as finds from his frequent farmers-market runs. Like many garden-oriented chefs, he can get so dazzled by his ingredients that he forgets to do enough to them, but when it comes to seafood, meats, and other savory dishes that require careful cooking, the chef’s amazing technique shines. $$-$$$ TWO TARTES BAKERY 5629 Airport Way S., 767-8012.

Free of both hipsters and yuppies, this bakery, with its unstylish and simple décor, is the real deal. Just

about everything is made fresh: Of the sandwiches, the curried chicken and tuna niçoise are the best, and the cookies, chocolaty indulgences, and cakes make it impossible to say no to dessert. So say yes to the toffee-topped brownie or a no-bake cookie, as dense and delicious as the ones Mom used to make. They might even be a little better. $

GREENWOOD & PHINNEY RIDGE

MARINATION MOBILE locations vary, Seattle. Seattle’s

office workers, foodistas, and drunks all love this roving Korean-Hawaiian taco truck. The kalbi (beef short rib) and pork tacos—soft corn tortillas loaded up with tender grilled meat soaked in classic Korean marinades, frilly cabbage-carrot-sesame-cilantro slaw, and a smear of sriracha mayonnaise—may be the best street-food treat to hit Seattle since the taco buses rolled into town, dispensing carnitas and salsa roja. Not far behind the tacos is the Aloha slider, a tiny sweet-roll bun with smoky, oven-roasted kalua pork and the bright crunch of the slaw. And no bar food soaks up the last two beers quite like Marination’s kimchi fried rice with a sunny-side-up egg on top. $ YANNI’S GREEK RESTAURANT 7419 Greenwood Ave. N., 783-6945. A tidy blue-and-white restaurant with many great versions of Greek favorites. The baked feta dish, rich with red onions, olives, and tomatoes and served with warm pita, is a perfect snack; keftedes, or Greek meatballs, are just right; spanakopita will fix any Popeye types; and the chicken saganaki is enough for two. And, of course, there are good gyros. Attention to fresh ingredients and old-world preparations takes precedent over the clock’s second hand—some things are worth the wait. $

INTERNATIONAL DISTRICT

MIKE’S NOODLE HOUSE 418 Maynard Ave. S., 389-7099.

One of the many noodle houses now en vogue in the ID, Mike’s attracts Chinese and Vietnamese noodle aficionados for its Hong Kong-style wheat noodles—hair-thin, elegantly springy filaments—served in a clear chicken

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CLAIRE’S PANTRY 12360 Lake City Way N.E., 365-4542.

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The Watering Hole: Showa, 701 N. 36th St. #200, 388-3913, FREMONT The Atmosphere: Just finding Showa is a bit of a trick. “Look up,” instructs a sign on Fremont Avenue, directing your eyes to the neon “Open” sign on the second story. The entrance to the restaurant is around the corner in what looks like an apartment building.

As you walk in, wooden sliding doors and bulbous paper lanterns affirm that Showa is an Asian restaurant of some sort, despite the Ghostbusters art, vintage Wham! poster behind the bar, and the sounds of a-ha wailing “ . . . in a day or twoooooooo!”

Showa, which opened nearly two years ago, isn’t overly concerned with tradition.

The menu features a selection of Japanese small plates; plan your visit for Tuesday or Wednesday, when fresh-made gyoza, aka pot stickers, are available. But you can also get a serving of macaroni bacon gratin, and the house cocktail list includes something called a “Presbyterian”—not exactly a religious tradition one associates with the Far East. The three guys working the open kitchen behind the bar are also an ethnic and cultural mix.

The Barkeep: The only two other patrons at Showa on this particular Tuesday night are into their third round of Risa Rubys (a grapefruit-themed drink) mixed by Fabian Ramos. “It’s awesome!” one of them gushes.

Ramos, who has been tending bar at Showa for a little over a year and a half, appears to blush a bit.

LAURA ONSTOT

Seattle weekly • S E P TE MB E R 19−25, 2012

young coconut juice and colorful puddings, and tables stocked with 101 plastic-wrapped delights: fried chicken legs, spring rolls, pale-green sticky rice flavored with pandan. What’s distinctive is the excellence of its sandwiches and its signature banh cuon (pronounced something like bang kuhn): slippery, translucent rice-flour crepes wrapped around ground pork, mushrooms, and fried shallots. $ TENOCH MEXICAN GRILL 208 Fifth Ave. S., 381-8994. The reddish walls and orange floors of this bustling taqueria, named for an Aztec leader, are as spicy as the food.

Tenoch’s menu brags that the cooks use no lard and opt for long preparation methods. You won’t spot their richly flavored chipotle-spiced potatoes and meats (puerco en pasilla, pollo en pipian) at your local taco truck. Just ask the person making your plate to cut down on the lettuce, rice, and other healthful stuff, which can bulk out your tacos and rice bowls without adding flavor. $ TSUKUSHINBO 515 S. Main St., 467-4004. With seven little tables, seven seats at the bar, and faux wood paneling, Tsukushinbo’s got a worn but tidy feeling that some might find wanting in chic but will strike others as auspicious. Sit down at the bar. Joke with the sushi chef. Receive your little paper with its list of sushi and its pencil, and mark as much as you want. You’re not going to break the bank here. Mark the Tsukushinbo roll: imitation crab (which works beautifully in this roll, for some reason), cucumber, avocado, tobiko, and a mysterious spice mix. $

» by laura onstot

Kids eat Free Sundays till 6pm

62

broth with a few yellow chives floating on top. If you want to take your noodles one step further, order the wontons, sui kau (sort of a cross between siu mai and wontons), or the squid balls, whose hollow centers contain a gush of coral-colored, sweet shrimp roe. $ PHNOM PENH NOODLE HOUSE 660 S. King St., 748-9825. When Seattle eaters can’t face one more bowl of pho, but desperately need a steaming hot bowl of broth to see them through yet another chilly day, they tend to turn up at Sam Ung’s outpost of Cambodian cooking. Phnom Penh serves upstanding noodle soups, but eaters who stick around will also discover the sticky chicken wings, grilled short ribs and mee katang, which benefits immensely from a dollop of the house hot sauce of roasted chiles, garlic and dried shrimp paste. (A quarter buys an extra serving if you’re taking your Phnom Penh to go.) Like many Asian restaurant owners, Ung has a harrowing life story. More unusually, he’s written his memoirs in English. The slim book’s sold at the restaurant. $ SAMURAI NOODLE 605 Fifth Ave. S., 624-9321. An all-ramen restaurant with no plastic packets? Yup, Samurai Noodle does it all in-house, serving huge, redolent bowls of broth that took much longer than 90 seconds to concoct (but still make for cheap eats).

The house specialty, tonkotsu ramen, rivals a bowl of gravy in its richness. Though the recipe is subject to a nondisclosure agreement with a Japanese ramen company, Samurai’s chef simmers pork bones for hours, creating an oinky liquor with the color and creaminess of a good cafe au lait. There are other ramens at Samurai, including versions with chicken, soy, seasonal yuzu, and cold-fish broths, but none come so bundled with memories of Christmas dinner. $ TAN DINH DELI 1212 S. Main St., 726-9990. The decor at this Vietnamese deli, like so many others in the ID, is 100 percent functional: a steam table filled with stews and stir-fries, a cooler stocked with cans of

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Wham! Ramos is a ginger-beer aficionado.

The Drink: Like many a barkeep, Ramos barely needs to look at the shelf to find his liquor of choice: Maker’s Mark. Down comes the bourbon bottle, and he briefly disappears before arriving with a golden, fizzy drink garnished with a lemon wedge and cocktail straws. “I’m into my Maker’s and ginger beer,” he explains.

Ramos, it turns out, is a ginger-beer connoisseur. This instantiation is mixed with Cock ’n Bull. But he’s also a fan of Rachel’s, a local brew that “has more of a bite.” He rapidly lists several more ginger-beer varieties and their flavor profiles.

The Verdict: Maker’s and ginger beer is fizzy, refreshing, and dangerously drinkable. With the lemon wedge, it’s the perfect toast to a fading summer. Yet it isn’t seasonally limited. Ramos mixes a second round subbing nutmeg for lemon—a favorite of one of his co-workers. Just like that, the drink is redressed for the holidays. E food@seattleweekly.com

food&drink»Featured Eats FU MAN DUMPLING HOUSE 14314 Greenwood Ave. N.,

364-0681. If there’s one thing that you should order at Fu Man Dumpling House, a six-table hole in the wall in the northern stretches of Greenwood Avenue, it’s the boiled dumplings. Avoid the mushy chow mein, pass over the ho-hum stir-fried entrees. The lumpy, pinched dumplings, plumped out with pork and vegetables, are the thing here. You’ll see families hunched over a couple dozen of them at a time, dead to everything but the slipperiness of the casing, the kick of the garlic sauce they dredge the dumplings through. If your tablemates demand more variety, maybe branch out with a plate of cold roasted chicken or the “hamburger” (a pan-fried, hockey-puckshaped dumpling filled with ground beef). $ HT OAKTREE MARKET 10008 Aurora Ave. N., 527-5333.

Where most businesses strive for excellence, HT Oaktree Market revels in its mediocrity. The floors are dirty and littered with buckets to catch the drips from the ceiling when it rains. Service is regularly surly, and the produce is wilted more often than not. Yet somehow, HT is greater than the sum of its parts. Perhaps it’s the variety of goods available—an international sampling that covers most of Asia, the Mediterranean, Russia, and Latin America. $

PIKE PLACE MARKET

COPACABANA 1520-1/2 Pike Place, 622-6359. The

Bolivian food at this little cafe is so good that former Mariner Omar Vizquel valiantly tried to get Copacabana’s recipe for sopa de camarones and picante de pollo after being traded to Cleveland in 1993; but the owners keep the family secrets, well, in the family. One recipe you may want to go to the altar for (any available Copacabana cousins?) is the tres leches, a white cake covered in cream. Only the view out the window can rival its lusciousness. $$ THE MEXICAN GROCERY 1914 Pike Place, 441-1147.

Tamales are the biggest reason people head to the Mexican Grocery. The price alone grabs your attention: a paper-wrapped fat nugget of meat in a thin layer of masa for under two bucks. But one bite of any of the three varieties focuses your attention on greater matters than price—the pork filling is merely darn good, while the chunky beef is better than most homemade, and the chicken, finely chopped and hotly spicy, is flat-out delectable. Vegetarians like the Mexican Grocery, too. $

ALittLeRAskin » by hanna raskin

Fashionable Fennel

LA LUNA 2 Boston St. (between Queen Anne Avenue

North and First Avenue North), 282-2511. The Mexican lounge takes pride in offering a full page of grub on its bar menu, promoting $2 off during happy hour. Its fare is described as “fine Mexican fusion” that throws in some seafood dishes like seared scallops and crab cakes and tops them with salsa. There’s even a fancied-up version of a grilled cheese sandwich.

Without any traditional Mexican decor, it’s hard to tell what La Luna is all about without glancing at its menu.

If anything, the lounge offers a more professional atmosphere for Queen Anne-ites who are tired of having to dodge the partiers at Pesos in order to get a taco. $$

on

RAINIER VALLEY

FANA’S CUISINE 3621 33rd Ave. S. (Suites C5 and

C6), 708-7417. Eritrean and Mediterranean cuisines naturally go together—the Italians colonized Eritrea for decades—so it’s no surprise to find both doro wot and pasta with marinara sauce on the menu. There’s also a Fan burger, a Fan burrito, and hummus, which do take the eclectic neighborhood-cafe thing a tad too far. Put your hand over that side of the menu and keep your eyes focused on the Eritrean food: a stew, some sauteed beef tibbs, and a vegetable combo will get you a platter the size of a Formula 400 tire decorated with a colorful, symmetrical pattern of dabs of highly spiced things to eat with your fingers. $ HOANG LAN 7119 Martin Luther King Jr. Way, 722-3876.

Hoang Lan is everything a noodle house should be: tiny and marginally clean, with Vietnamese variety shows on the TV and a few families intent on vacuuming noodles out of bowls of red broth. It’s the house specialty, bun bo hue or Hue-style beef noodle soup, and it may be the best version you’ll taste outside Vietnam.

You have to dump everything on the plate that comes with your order—shredded cabbage and bean sprouts, all of the different herbs—into your bowl, squeeze lime over top, and mix in a little of the housemade chile sauce. As the vegetables and herbs melt down, start slurping the rice noodles, lacy slices of steamed pork, jiggly cubes of congealed blood, long-braised beef, a pork hock added for good luck. The bun rieu, or crab noodles in a spicy broth, also has its fans. $

plant, Friedman says. “It’s like a vegetable with a lot of waste, so restaurants find it challenging to use,” he says. “We’ve put fronds into aioli, and we’ve marinated it in grapefruit juice. It’s definitely being widely used in ways it wasn’t before.”

Friedman theorizes the increased demand for fennel might be stoked by the fennel pollen added to housemade salamis. Fennel pollen isn’t cheap—Friedman calls it “the saffron of the Northwest”—but the yellowish dust is an excellent foil for pork, and it’s hip (The Huffington Post earlier this year ran a story headlined “Fennel Pollen: Be a Step Ahead of the Foodies.”) Friedman suspects the fennel pollen now on charcuterie plates could be acclimating taste buds to fennel’s distinctive flavors.

Kristin Thompson of Vashon Island’s Sea Breeze Farm, which sells its charcuterie at farmers markets and La Boucherie, doesn’t dispute Friedman’s premise. But she wonders whether eaters really needed much convincing. “Maybe fennel is being more widely used and therefore more widely accepted, but I didn’t ever sense there was an earlier fennel rejection to overcome,” she says.

As Friedman says, “Most cooks I know use a lot of it.” E hraskin@seattleweekly.com

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

Seattle’s long-standing passion for fennel seems to have become more pronounced lately, a phenomenon that one restaurateur thinks might have something to do with the current popularity of charcuterie.

Unlike dairy farmers and grape growers, fennel producers don’t have a fancy trade association that conducts consumer studies, so there’s no reliable figure for what percentage of Americans say they can’t live without fennel. But if researchers polled my recent meal companions, I’d wager the number would be in the ballpark of 90 percent. In the past few months, I’ve had multiple dining partners insist we order every dish featuring fennel (and in Seattle, there are many), loudly proclaiming their devotion to the plant.

“People love that they can eat a fresh, raw vegetable,” says Homegrown co-founder Ben Friedman. “Fennel is such a Washington thing.”

Homegrown’s top-selling salad features roasted beets, shaved fennel, and lavender vinaigrette. The restaurant this spring also sold a leek-and-fennel grilled-cheese sandwich that Friedman described as “a great seller.” Since chefs tend to be infatuated with fennel’s flavor, usually likened to licorice or anise, they’re forced to find uses for every part of the oft-expensive

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Fall Into Craft Beer

By Geoff Kaiser

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long with the shorter, cooler days of fall come a whole new slate of seasonal beer releases to help make up for less fun in the sun.

Breweries can go in many different directions for their fall seasonals, but popular styles include traditional German-style Oktoberfest/Märzen, Pumpkin Beers, Harvest Ales, Fresh Hop beers, and just about any darker ale, such as brown ales and porters.

Pike Brewing joins in the pumpkin fun this year with their new Harlot’s Harvest Pumpkin Ale. Pike did a great job of combining rich malt flavors

Personally, my absolute favorite thing about this time of year (in addition to football and playoff baseball) is freshhop beers. Around 75 percent of our country’s hops are harvested in the Yakima Valley. The large majority of hops are dried for use throughout the year, but many breweries these days make beers using fresh, wet hops pulled straight off the vine (technically called a “bine”). Using fresh hops can give a beer unique, earthy, and “green” hop flavors that many of us have come to crave. Keep your eye out for releases from local breweries on draft, and you’ll even be able to find some of these in bottles at local retailers (Two Beers Brewing already has theirs out). The Yakima Fresh Hop Ale Festival on Oct. 6 is a great experience, but closer to home is the Fresh Hop Throwdown at The Noble Fir on Saturday, Sept. 29.

The Throwdown will feature up to 16 fresh-hop beers from Washington and

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

One of the most polarizing styles of the season is pumpkin beer. Some people see them as gimmicks, while others applaud them as one of the true indications that fall is arriving in the Northwest. No conversation about pumpkin beers is complete without mentioning Seattle’s Elysian Brewing.

Their most popular pumpkin beer is their Night Owl, but head brewer Dick Cantwell and his team are well-known for creating a plethora of pumpkin beers each year. At Elysian’s Great Pumpkin Beer Festival on Oct. 19 and 20, you’ll be able to try 60 (yes, SIXTY) pumpkin beers from breweries across the country and a few from other countries. Elysian will have 13 of their own pumpkin beers pouring, including a pumpkin malt liquor and a pumpkin version of their popular Men’s Room Original Red. Other breweries attending include Black Raven (Redmond), Russian River (Santa Rosa, Calif.), Jolly Pumpkin (Ann Arbor, Mich.), and Nøgne Ø (Arendal, Norway). Note that you MUST purchase tickets in advance, either at one of Elysian’s three pubs or online at Brown Paper Tickets.

with subtle spices and pumpkin. Dark fruit and brown sugar flavors balance well with the spices and pumpkin, and a good dose of alcohol adds a nice warming effect. Harlot’s is available at the Pike Pub on draft as well as in 22 oz. bottles at local retailers.

If pumpkin beers just aren’t your thing, maybe you’re more interested in a traditional Oktoberfest. The actual name of the style of beer traditionally served at Munich’s Oktoberfest is Märzen. This flavorful lager is typically amber in color with a smooth, but complex, German malt profile. Two of my favorite local examples of the style this year are from Silver City Brewery in Silverdale and Big Time Brewery in Seattle. If you want to try a true German Oktoberfest, seek out the fantastic Ayinger Oktober Fest-Märzen.

This beer is a perfect example of how a beer doesn’t have to be 10 percent ABV or full of hops in order to have flavor.

29TH ANNUAL

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Anticipated throughout the Fall and released on December 1st each year, Old Wooly is Time's biggest and rarest beer. Only 7 barrels are brewed in late June. It is aged in our cellar until the 1st day of December and then put on tap at the pub until it's gone. It will also be available in a limited number of 22 oz. bottles.

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Oregon. The doors open to the public at 4 p.m,. but there will be a private judging earlier in the day and the top beers will be announced at the event.

Also, hopheads shouldn’t miss Hopfest at Brouwer’s Cafe in Fremont, starting on Sept. 27 and running through the weekend. They’ll have more than 50 hoppy beers on tap, including some fresh-hop beers.

Ballard has become one of the most popular neighborhoods in Seattle for good food and drink, and craft beer is no exception. One of the newest members of the Ballard brewing community is Reuben’s Brews, located at 1406 N.W. 53rd St. Reuben’s is a small-production brewery offering a wide selection of styles, including a German-style Roggenbier featuring rye malt, a robust porter, and an imperial IPA. The best, and currently only, place to find their beer is at their taproom, which is open Thursdays to Sundays.

In mid-October they release their Pumpkin Rye, which uses rye malt, pureed pumpkin, molasses and toasted pumpkin seeds. Also look for Roasted

Rye IPA, Latte Stout (using Lighthouse Coffee) and a Russian Imperial Stout in the next few months. Some of the stout is being aged in barrels from Woodinville Whiskey, and for a limited time customers will be able to try a vertical of the non-barrel-aged stout, the barrel-aged stout, and a selected blend of the two.

I’d like to finish by welcoming the new Tippe and Drague Alehouse to the Beacon Hill neighborhood.

Most residents of north Seattle neighborhoods like Fremont and Ballard barely blink an eye when a new bar opens, but Beacon Hill is rejoicing at what is its first true bar with good draft beer since the Beacon Pub closed a couple of years ago. Tippe and Drague (pronounced “Tip and Drag”), located at 3315 Beacon Ave. S., has 16 rotating taps of craft beer and cider, with a concentration on local Northwest breweries.

Geoff Kaiser enjoys writing about and drinking beer in Seattle. Check out his website at http://seattlebeernews.com.

Monday Night Fall Events Seattle weekly • S E P TE MB E R 19−25, 2012

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Find us wherever quality craft beer is sold throughout Oregon and Washington, or visit us at one of our pub locations.

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Seatt le w eekly • S E P TE M B E R 19−25, 2012

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Seattle weekly • S E P TE MB E R 19−25, 2012

music»

Manic Mondays

How an unlikely night became a lucrative nightclub prize on Capitol Hill.

M

By Eric Grandy

a “TINY bit of stereotyping” at play, and that Tigerbeat’s fans should “not support a place like Barboza that doesn’t respect diversity.”

Trap music refers to a strain of mostly Southern hiphop marked by slurred tempos, stark 808-drummachine beats, and pitcheddown samples.

Lyrically, trap focuses on the drug trade and slums (“the trap”), and has been popularized by the likes of UGK, Gucci Mane, Waka Flocka Flame, and (Academy Award winners) Three 6 Mafia, and in crossover hits like Nicki Minaj’s “Beez in the Trap.”

Severin concedes that Neumos asked Tigerbeat to tone down the music temporarily. “No matter what I say about this, it’s going to make me sound like the man,” says Severin.

“We asked them to chill on the trap music a bit for a couple of as the crowd “[There’s] a bunch of sexy-looking people weeks, was getting a bit all wanting to dance and have a good time. rougher since they We got a ton of ballplayers. started playing way trap. We wanted Felix Hernandez was in there two nights more it to continue to stay before he threw his perfect game.” fun and make sure everybody was cool and safe—nothing like fights to ruin a night.”

“If you don’t have to get up at the crack o’ But Severin insists that wasn’t what killed dawn, it’s the place to be on Monday,” says the night. “They quit, simple as that,” he says.

Neumos co-owner Steven Severin. “[There’s] “Basically, they wanted more money than was a bunch of sexy-looking people all wanting to possible. They were already our best-paid DJs dance and have a good time. We got a ton of ballplayers. Felix Hernandez was in there two of any night, and they said we had to more than double it or they were walking. I don’t nights before he threw his perfect game.” think they’re getting that at Chop, but what do I know? I’m not there. But, yeah, it was o with such a successful, longabout money.” running night, why did Neumos “I’ve never played just rap or trap music and Tigerbeat part ways? on Mondays,” says Tigerbeat. “But I always On August 3, Tigerbeat want to be able to play everything I’m feelannounced via Facebook that his Moe Bar/ ing and to express myself to the crowd. I Barboza residency was moving to Chop Suey was being dictated to as to what I could and following a week off. One of Tigerbeat’s couldn’t play. With the lack of pay for such partners, hypeman Mikey McClarron, posted a statement claiming that “Barboza doesn’t like the crowd or the music on Tigerbeat Monday . . . they didn’t want us to play ‘trap more online music’ ” anymore because “the crowd was too Seattleweekly.com dangerous.” He went on to say that he’d never To see scenes from Barboza and Chop Suey witnessed a fight on Mondays, that there was from Monday night, visit the slideshow section.

AnAstAsiA Dixon

inutes before midnight on a Monday in August, more than 100 people are getting down at the 500-person capacity Capitol Hill club Chop Suey. Two girls gyrate listlessly on a raised platform while a party photographer wanders the crowd. Onstage, Josh Saenz—aka DJ Tigerbeat—is doing what he’s been doing every Monday for the past five years: getting a party started on one of the week’s least likely nights.

Down the street at his old haunt Neumos, though, the scene is even crazier. For at least an hour, a lively line has been stretching down the block to get into the venue’s side-bar Moe Bar and its basement venue, Barboza (combined capacity: 300), and cars blasting hip-hop are circling the street in search of parking.

“It’s been like this for the past year,” says Dave Hughes, Neumos’ head of security.

From Moe Bar’s earliest days in 2007 until last month, this was Tigerbeat’s gig—and his crowd. But Hughes says there hasn’t been any slowdown since he left. “It’d be nice if there was,” Hughes adds.

Monday nights aren’t typically busy at nightclubs. Along with Sundays, they’re often promoted as “industry nights,” with discounts for service employees on reprieve from work. But at Moe Bar and Barboza, and now at Chop Suey, Mondays have become a lucrative prize.

p

»

Left: DJ Tigerbeat.

Right: Blue Eyed Soul.

building this night before,” Sheffield says. “I would feel the same way. To me, it’s blown over now.”

B

ack at Chop Suey, Tigerbeat seems to be in equally magnanimous spirits, both on the decks and greeting friends in front of the club.

He offers another reason for taking his show up the road: “So many people would come to [Barboza] and wait in line for so long to get in that the parking lot was turning into a party. That’s a big reason why we moved to Chop Suey: We had just outgrown the venue.

Now it’s a bigger dance floor and no line.”

“So far our nights with Tigerbeat have been solid,” says Chop Suey talent buyer Devin Floyd. “It’s hard to book a show on Mondays and have a high turnout, but Josh has established a really strong night in Seattle. We’re still in a transition stage, working on getting the word out that Tigerbeat has moved up the hill to Chop Suey. But as of now we’re really happy with what we’ve seen, and we look forward to seeing how it grows. Neumos still has a great Monday night, and now we do as well.”

And what does Tigerbeat think of the new Monday crew at Barboza? “No comment.” E music@seattleweekly.com Minted Mondays With DJ Swervewon, 100proof, Sean Cee, Blue Eyed Soul. Barboza/Moe Bar, 925 E. Pike St., 709-9467. 9 p.m. Free. tigerbeat Mondays Chop Suey, 1325 E. Madison St., 324-8005. 10 p.m. Free.

Seatt le w eekly • S E P TE M B E R 19−25, 2012

S

a successful night combined with the lack of appreciation and respect, that’s when I decided it was time to go.”

Tigerbeat’s replacement at Moe and Barboza is Ben Sheffield—along with DJ partners Swervewon and 100proof—who DJs under the name Blue Eyed Soul and also books nights at nearby club The Woods.

Blond, blue-eyed, and clean-cut, Sheffield looks like the opposite of Tigerbeat, whose sprawling tattoos—including an oversized gun-in-holster on his torso—can usually be seen spilling out of his tank top.

“When we sat down with Steven [Severin], he never told us to change the format of music or what to play,” says Sheffield. “We never got any of that. The only message was to keep the party going. I think it’s funny that people were saying they were discriminating against trap music, and yet Neumos booked [Three 6 Mafia rapper] Juicy J very recently.

I think of Neumos as a place that’s pretty diverse, musically speaking.

“We want it to be a cool neighborhood thing,” he adds. “The crowd has changed a little bit each week. The first week, I walked in here and, as someone who’s lived on Capitol Hill for five years, didn’t recognize anybody.

Last week, I saw a ton of people I knew.”

One constant, though, is that the venue is consistently filled to capacity. “It’s steady packed, without fail,” says Sheffield. “I mean, a lot of work was put in in the last five years to building up Monday nights here, and I would be a liar if I said that everything that’s happening now is because of us. But what I do believe is that it will continue to happen and stay here because of the efforts of our combined group.”

Has he sensed any tension since taking over the night? “I think it was definitely a sensitive subject for people who were involved in

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Enjoy the 28th annual Water Music Festival

Seattle weekly • S E P TE MB E R 19−25, 2012

October 12-14 SW WA –Long Beach Peninsula

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Featuring 4 concerts & artists’ reception: • Miramont Trio • Renowned classical guitarist Scott Kritzer • GoldenFlute Chamber Trio • SF septet Swing Fever • Excellent B & B accommodations • Children (6-18) & active military admitted free • High-quality, affordable & accessible concerts for more info visit watermusicfestival.com or call (360) 665-4466

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»TELL ME ABOUT THAT ALBUM

Metal Memories

Obituary’s John Tardy on his band’s retrospective tour.

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

BY DAVE LAKE

idea to let some kids come out and choose some songs themselves. I think we’re going to stick to the first three albums, and I think The End Complete is coming up on 20 years now. I sat in the studio the other day and put on the first three records and started listening to them, and I haven’t done that in a while.

Some of these songs we’ve never even played live. It’s a challenge for us too, because we’re going to have to go back and learn some of these songs ourselves.

How have the records held up for you? Is it enjoyable to go back and listen to them again, or is it painful?

Especially the first two records, we were so young and we had no idea what we were

Visit us Online!

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SW: Can you talk a bit about the genesis of this tour and the fan-chosen set list?

Tardy: We just thought it might be a cool

doing. It’s kind of like having some friends of yours going into your parents’ house where there’s old pictures of you up on the wall with braces and a strange haircut. Sometimes when I listen to it, it feels a little like that. But at the same time, Slowly We Rot is what it is.

You’ve kind of got to live with it. But it’ll be nice to go back and pick some of these songs that we haven’t played for a while.

Do you do anything to take care of your voice—vocal exercises or anything?

A lot of kids will ask “How do you do that?” And I tell them to treat it like any other muscle in your body. Start off slow, build up strength slowly, and rest in between. In my case, it can be pretty easy to get into some

Dwele

Grammy-Nominated Urban Groove Master

Obituary, in a quieter place.

hard partying every night, but I’ve got to lay back on some of that and get into a quiet place. E music@seattleweekly.com OBITUARY With Broken Hope, Decrepit Birth, Jungle Rot, Encrust, Phalgeron, Beyond Theory.

Studio Seven, 110 S. Horton St., 286-1312. $17 adv./$20 DOS. All ages. 5:45 p.m. Sun., Sept. 23.

September 19

Jeff Lorber Superband featuring Brian Bromberg, Everette Harp and Gary Novak Groundbreaking Contemporary Keyboardist and All Star Band touring in Support of New Release – Galaxy

September 20 - 23

Catherine Russell

»COLUMN

Depression Ain’t No Joke

Dealing with the downward spiral.

BY DUFF MCKAGAN

O

e

askduff@seattleweekly.com

September 25 - 26

The Kora Band

World Music Ensemble, COMPLIMENTARY SHOW, Reservations Required September 27

Boney James

Urban Jazz Saxophonist

September 28 - 29

The Legendary Count Basie Orchestra with Special Guest Carmen Bradford

Legendary Big Band – 17 Grammy Awards – 20 Downbeat and Jazz Times polls September 30 - October 1

ON SALE NOW Leela James

October 11 – 14

Manhattan Transfer November 1 – 4

Taj Mahal Trio

November 16 – 18 & 20 – 25

Walk-ins Always Welcome!

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Jazz Alley is a Supper Club

Seatt le w eekly • S E P TE M B E R 19−25, 2012

inputs can stack nce in a while, life can kick up against someour asses. Some of us have the chemical makeup that can rise one . . . way beyond the “Just snap out of to the occasion of these asskickings. Some of us have a great network it!” realm. of family and friends who somehow help us And then September 11, 2001 through. Others of us perhaps have neither of those favorable winds at our back. happened.

The world seemed Depression often will make us isolated from to be in upheaval, others and run from life in general. Being alone with one’s own thoughts can and will be and all fronts were under attack. Everything was suddenly the most terrifying and dangerous place for fearful, and my own place on this earth the sufferer of most types of depression.

Some of us are born with the trait. Some of seemed muddy and without bedrock. My daughters were 4 and 1, and suddenly my us go through something early or later in life idealistic vision of being the perfect dad was (or both early and later) that can suddenly trigger a downward spiral. acutely obscured by movements beyond my ability to control. I sunk into a thick, black I had never experienced real depression state of being. Depression for the first time. in my childhood or early adulthood. I had plenty of friends who Ah-hah. Yep. I get it.

Depression IS in fact a did, but still I would real thing. scratch my head . . . and Tune in to 97.3 KIRO FM every Sunday at 3 p.m.

And once the door was think to myself “Just to hear music editor Chris Kornelis opened to depression snap out of it!” when on Seattle Sounds. in my case, the monster friends did tell me of became a living thing in their issues regardmy life. I could look at it and examine it after ing depression. But I HAVE suffered panic time, but in that initial instant, I did not see a attacks for most of my life, and I do underlight at the end of the tunnel. stand that chemical imbalances and other

The world seems to get scarier by the day. Bad jobs reports. Some asshole making an indie movie decrying another people’s belief. The failing of our Republicans and Democrats to act in actual Congress.

People getting hurt and killed in places like Afghanistan . . . and on . . . and on. But what I have found in fighting thoughts and feelings of depression is to actually talk and get out—face the day head-on if you can. “Today is going to be the best day in my history” is not a bad place to start. Share your “stuff” with others. Don’t be afraid to do it. You may just be surprised by how many like-minded people there are out there. Depression and anxiety have touched most of us to some degree or another.

And some types of depression do need medical treatment.

Last week, there was a brave essay shared by a man on the Internet. He has suffered a horrible fight with some serious depression, and decided to write about his journey thus far. I back this kind of guts and fortitude.

As you will see, Andrew Lawes has come through a ton of darkness, and has had the gift of a new baby to help him sort through his “stuff.” Mr. Lawes was probably overwhelmed by the huge response he got back from fellow sufferers. You are not alone, my friend. Thanks for letting us in.

Again, THIS space is a forum for us all to exchange ideas. The world may seem dark and fucked-up and overwhelming, but we are the ones who will effect change, if there is change to be had.

There is a way out of depression—you just got to get to a place to examine the monster. E

Classy, Lusty, Pure – A Terrific Jazz Vocalist!

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music»TheShortList The Evaporators FRIDAY, SEPTEMBER 21

Veteran Vancouver, B.C., punk band the Evaporators (formed 1986) labors under a unique blessing/curse: Their frontman and founding member Nardwuar the Human Serviette is more famous for his extracurricular activities than the band is for its tunes. Specifically, Nardwuar is maybe the world’s greatest interviewer of other musicians, a goofy and genial yet maddeningly well-informed interlocutor who has a freakishly high success rate for winning over subjects from Skrillex to Jay-Z to Nirvana. All of which is to say: Though I once saw them, I could not tell you what the Evaporators actually sound like. Oh—it’s really fun pop punk, I just looked it up. With The Primate 5, the

James Mercer’s new family.

Tranzmitors, Zack Static Sect, Thee Goblins. Funhouse, 206 Fifth Ave. N., 374-8400. 9:30 p.m. $7. ERIC GRANDY

Gucci Mane You probably know Gucci Mane as “that guy who got an ice-cream cone tattooed on his face (BRRRRR)” or possibly “that guy who occasionally has a diamondencrusted Bart Simpson medallion” or “Didn’t that guy go to jail for a minute?”

You’re on the right track, but you should also know him as a hilariously and awesomely mush-mouthed, slow-drawling rapper, whose gummed-up, syrupy slow beats have helped inspire the current deplorable “trap” trend in productions well beyond the realms of hip-hop. Live rap shows are always a bit of a gamble, and Gucci Mane doesn’t necessarily seem like the type to be overly concerned with punctuality or effortful showmanship, but I bet he still throws a good-kind-of-weird party. Showbox SoDo, 1700 First Ave. S., 652-0444. 8:30 p.m. $39 adv./$49 DOS. All ages. ERIC GRANDY

Jason Mraz

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Jason Mraz is like the elite athlete who always makes the playoffs but never wins it all. In the Caucasian jambrosphere, he rates fourth behind Dave Mathews, John Mayer, and the insurgent Zac Brown

(Matthews’ country carbon). While he’s consistently reinvented himself aesthetically (let’s hope his current “Scruffy Christ” look gets the heave-ho soon), Mraz’s sound has remained largely the same—sometimes annoying, occasionally heartfelt, and always perfect fodder for the inevitable “Look, they’re falling in love!” montage in a Drew Barrymore/ Adam Sandler film. That Mraz is headlining the Gorge gives voice to the notion that if success is measured in terms of middlebrow saturation, he’s Andy Fucking Murray. With Christina Perri. Gorge Amphitheater, 754 Silica Road N.W., Quincy, 509-785-6262, thegorgeonline.com. 7:30 p.m. $29– $54.50.

MIKE SEELY

*

The Shins

Tenenbaums–reminiscent video for “Simple Song,” in which he plays a deceased patriarch who gleefully sends a wrecking ball through a house full of his inheritance-greedy children (played by his bandmates) while singing this mantra of sorts: “I know that things can really get rough/When you go it alone/Don’t go thinking you gotta be tough/And play like a stone.” With Washed Out. The Paramount, 911

SATURDAY, SEPTEMBER 22

All intrapersonal band drama aside, James Mercer’s decision to revamp the Shins’ lineup appears to have been a positive one. Port of Morrow, the band’s first album since adding new members Richard Swift, Yuuki Matthews, Joe Plummer, and Seattle shredder Jessica Dobson, is leagues more pleasant and cohesive than its predecessor, 2007’s Wincing the Night Away (and doubly more so than Mercer’s forgettable Danger Mouse collaboration Broken Bells). It’s a return to form, to the simple but incisive pop songs that made the Shins so appealing in the first place. And it’s nice to see the generally sedate-seeming Mercer loosen up and have some fun, as in the Royal

Pine St., 877-784-4849. 8 p.m. $31.25. All ages.

ERIN K. THOMPSON

Riff Raff MONDAY, SEPTEMBER 24

EDITOR’S PICK

FATHER JOHN MISTY FRIDAY, SEPTEMBER 21

Back in July, one-time Seattleite Josh Tillman gave one of the most entertaining performances of this year’s Capitol Hill Block Party, during which he quipped, “I think I’ve probably washed everyone in this audience’s dishes at some point in my life.” Tillman’s kitchen-boy duties are a distant thing of the past: Father John Misty’s current tour is selling out dates across the country; in December he’ll board a Caribbean-bound ocean liner to perform on the USS Coachella cruise; and he’s made such high-profile fans as Glee’s Dianna Agron, who recently tweeted a photo of Misty’s Fear Fun album with the caption “Father John Misty. Making me happy.” between tweets of cute cat pictures and a birthday message to Lea Michele. There’s a divide between those who find Misty’s public persona irritating and those who find it hilarious, but the artfulness of Fear Fun is undeniable, and the true highlight of his live performances isn’t the now-infamous hip-shaking but his strikingly beautiful singing voice. With Jenny O. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $16. ERIN K. THOMPSON

EMMA GARR

Seattle weekly • S E P TE MB E R 19−25, 2012

SATURDAY, SEPTEMBER 22

ANNIE BEEDY

FRIDAY, SEPTEMBER 21

Regarding the rise of Houston rapper Riff Raff, Action Bronson may have said it best when he famously answered confounded Twitter followers after releasing his “Bird on a Wire” collaboration with Sir Raff: “RIFF RAFF IS MORE ENTERTAINING THAN YOU.” Raff’s eccentric style is such an overblown performance in itself that the obvious question, “Is he joking?”, has become nearly irrelevant. From being a reality-show washout (see season two of MTV’s From G’s to Gents—or don’t, really) to dropping post-lyrical YouTube-captured gems like “Swang a motorcycle/Leanin’ like the Eiffel” (from “Marc Jacobs”) to actually signing with Diplo’s Mad Decent label, the guy has somehow parlayed a bizarre slice of notoriety into a tangible career, making him not only more entertaining but also more successful— and in a strange, cruel joke of a way, just plain smarter—than any of us. With Slow Dance, Billy the Fridge, Peta Tosh, and Bryce Bowden; hosted by Neema. Nectar, 412 N. 36th St., 6322020. 7 p.m. $7. All ages. TODD HAMM

YEAR OF THE SEAHAWKS FAN HERE’S TO ALL YOU SEAHAWKS FANS. FOR WATCHING EVERY GAME IN YOUR LUCKY SEATS. FOR NEVER WASHING YOUR LUCKY JERSEYS, AND FOR PUTTING UP WITH THE SMELL OF THOSE JERSEYS. HERE’S TO ALL THE FANS AND ALL THEY DO.

ENJOY RESPONSIBLY ©2012 Anheuser-Busch, Bud Light® Beer, St. Louis, MO

Seatt le w eekly • S E P TE M B E R 19−25, 2012

facebook.com/BudLight

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Closing Date: 9/14/12 QC: CS Publication: Seattle Weekly

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Seattle weekly • S E P TE MB E R 19−25, 2012

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9/27 WE SAY BANG!, SUNDRIES, ROAMING HERDS OF BUFFALO 9/28 MIKE WATT + THE MISSINGMEN, 9/29 KEXP 90.3 presents the 25th annual and final Shake the Shack HOUNDS OF THE WILD HUNT Rockabilly Ball! feat. THE MODERN SOUNDS, JOHNNY AND THE BLADES, BLOODSHOT BILL, DAVE STUCKEY 9/30 WILLY PORTER, JANET ROBIN 10/1 AND THE RHYTHM GANG, ANGELATINI & THE TREBLEMAKER 10/3 DRY THE & 10/2 PATTERSON HOOD AND THE DOWNTOWN RUMBLERS, HOPE FOR AGOLDENSUMMER 10/4 SEAN HAYES, BIRDS OF CHICAGO 10/5 Square Peg presents HOUSE OF RIVER, HOUNDMOUTH 10/6 Seattle Weekly’s REVERB Fest 2012 10/7 FRED EAGLESMITH, THE FLOYD ~ Pink Floyd tribute 10/8 MONDAY SQUARE DANCE with THE TALLBOYS 10/9 THE MILK CARTON KIDS, LESLIE GINN SISTERS 10/10 GIANT GIANT SAND 10/11 Monqui presents ADMIRAL FALLOW, YOUNG BUFFALO STEVENS

seven»nights interesting, and hopefully will involve some fabulously greased-out costumes. With The Gnu Deal, Graves 33, Specs One, DJ Able, DJ Modul8r. Nectar, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $8.

Sunday, September 23 FRIENDS AND FAMILY This family-sized group (eight

LADYHAWKE Four years after Pip Brown’s self-titled

debut as Ladyhawke led to a New Zealand Music Award for Breakthrough Artist, her synth-pop act released Anxiety in May. With American Royalty.

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

8 p.m. $15.

SYAS This Seattle quartet’s churning, atmospheric tunes bear a distinct post-rock influence. With the Last Temptations, Sea of Misinformation. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6.

YOGOMAN BURNING BAND Named after a comicbook character and inspired by the music of Jamaica, this Bellingham ska group has performed with artists as disparate as Iron and Wine and Blue Scholars. With Mts. & Tunnels, Day Laborers, and Petty Intellectuals.

Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $7.

Thursday, September 20 BLACK PRAIRIE This Portland progressive string

DON’T TALK TO THE COPS This eclectic hip-

SCAN

T H I S CO D E

TO DOWNLOAD THE FREE

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IPHONE/ANDROID APP FOR MORE CONCERTS OR VISIT

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hop/b-boy group headlines a diverse bill of local hip-hop, with Cloud Nice MC Jarv Dee and thoroughly blunted beat-maker Keyboard Kid on the undercard. With ShowYouSuck, Ronnie Voice.

Vera Project, 305 Harrison St., 956-8372, theveraproject. org. 7:30 p.m. $8. All ages.

THE STAXX BROTHERS

This local seven-piece blends hip-hop, funk, and Motown on Jungle Cat, its third album. With Radio Raheem. Barboza. 8 p.m. $12.

Friday, September 21 DISPATCH True to its egalitarian principles, this roots-

rock three-piece is offering concertgoers a free download of the live audio from this show. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 8 p.m. $41. All ages.

Zavala, Ozzborn quietly recently created one of the year’s best local hip-hop albums as Dark Time Sunshine. ANX, the duo’s sophomore effort, abounds with heady beats and spacey flourishes. This show will give him the opportunity to display his equally solid solo material. With Rob Castro, Wolf Hotel, Mr. Hill, JFK, Smoke, Gash, Bishop I, Destro, Azrael, Lojique, Audio Dose Crew. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $7 adv./$10 DOS. PICOSO Growing from a group of street performers into a seven-piece band, Picoso blends Afro-Latin jazz with reggaeton and salsa. With Thione Diop’s Afro Groove, DJ Chilly. The Crocodile, 2200 Second Ave., 441-7416, thecrocodile.com. 8 p.m. $8.

SERJ TANKIAN Best known as the frontman of nu-metal act System of a Down, Tankian is also a published author: He’s released two books of poetry, most recently last year’s Glaring Through Oblivion. With Viza, The Mother’s Anger. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxonline.com. 8 p.m. $25 adv./$30 DOS. All ages.

Saturday, September 22 BRENT AMAKER & THE RODEO The latest from the

steely-voiced Amaker and his self-styled “country new-wave” band is Please Stand By. With Fox and the Law, NighTrain. Columbia City Theater. 9 p.m. $8 adv./$10 DOS. CASE STUDIES This new project from Jesse Lortz (The Duchess and the Duke) released its debut, The World Is Just a Void to Fill the Space, last year on venerable indie label Sacred Bones. With Hume. Vera Project.

7:30 p.m. $9. All ages.

THE PHARMACY It’s been a big 2012 for this local garage-pop trio, which has played Bumbershoot, been written up in The New Yorker, and released the excellent Dig Your Grave EP earlier this year. With Natural Child, Warm Soda, Dude York. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8.

THE RAVEONETTES Earlier this month, the dark Danish duo of Sune Rose Wagner and Sharin Foo released their sixth album, Observator, a collection of songs inspired by a drug-and-alcohol bender that Wagner fell into after after suffering a back injury and a bout of depression. With Melody’s Echo Chamber. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $18.

TULSI Though Tulsi’s most recent project—a concept EP called Burn Me Down, released under the pseudonym Daydream Johnny—isn’t overly adventurous past its multimedia concept, its presentation should be

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

•

dinner & show

WED/SEPTEMBER 19 • 7:30PM

jacqui naylor

THU/SEPTEMBER 20 • 7:30PM

black prairie

w/ shelley short & darren hanlon FRI/SEPTEMBER 21 • 8PM

curtis salgado SAT/SEPTEMBER 22 • 8PM

under a blood red sky – the u2 tribute A clean-shaven Matisyahu will appear at the Moore on September 23.

Monday, September 24 BLICKY This local trio plays tightly wound post-punk

with a tinge of electronica. With Blackpool Astronomy, XY Beautiful. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $7.

CUCHILLO The latest from this Spanish psychedelic band is January’s Encanto EP. With Magic Mirror, Guitars. Comet Tavern. 9 p.m. $7.

TEGAN & SARA The Calgary indie-rocking twins have recently been dipping into electronic music, appearing on songs with Morgan Page and David Guetta; they’re currently touring in support of their Juno Award–nominated concert DVD, Get Along. With SPEAK. The Neptune, 1303 N.E. 45th St., 877-784-4849. 8 p.m. $35. All ages.

Tuesday, September 25 COMMUNIST DAUGHTER Hailing from the Midwest

and sharing its name with a Neutral Milk Hotel song, this group plays harmony-rich folk music. With Terrible Buttons, Tuktu. Sunset Tavern. 9 p.m. $6.

ZACH FLEURY An accomplished local session player who has collaborated with the likes of Macklemore, Fences, and Allen Stone, acoustic songwriter Fleury will release his debut album, Be Still, Neverland, Egypt, at this show. With Le Wrens, Amanda Sue Winterhalter.

Triple Door. 7:30 p.m. $12 adv./$15 DOS. All ages.

FURTHUR: PHIL LESH & BOB WEIR Are you grateful that Washington Mutual is dead? Then this show will leave you conflicted, as the “theater” south of CenturyLink inexplicably still bears the failed bank’s name. Either way, Phil’s still got perfect pitch. WaMu Theater, 800 Occidental Ave. S., 800-745-3000, wamu theater.com. 7:30 p.m. $59.50 adv./$65 DOS. All ages.

SUN/SEPTEMBER 23 • 7:30PM

coyote grace

w/ the washover fans next • 9/25 zach fleury w/ le wrens & amanda sue winterhalter • 9/26 optical 1 : ghost in the shadows • 9/27 optical 2 : ascension • 9/28 patrick wolf (acoustic) w/ woodpigeon • 9/29 jeff garlin • 9/30 optical 5 : undercurrent • 10/1 & 10/2 arrival: the music of abba • 10/3 & 10/4 bebel gilberto • 10/5 star anna & the laughing dogs • 10/6 the bad plus • 10/7 greg brown • 10/8 marcus miller • 10/9 little green cars • 10/10 tom rush w/ jim page • 10/11 j. von stratton designs fall fashion presentation

• 9/19 cynthia marie / tim “too slim” langford • 9/20 nathaniel talbot / red jacket mine • 9/21 danny godinez / black river blues • 9/22 barrett martin group • 9/23 wes weddell band • 9/24 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 9/25 singer-songwriter showcase w/ sofia talvik (sweden), pepper proud and annie ford TO ENSURE THE BEST EXPERIENCE

PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW ALL-AGES (BEFORE 9:30PM)

thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

Seatt le w eekly • S E P TE M B E R 19−25, 2012

band has more star power than your average bluegrass act—60 percent of its members play in the Decemberists. With Shelley Short, Darren Hanlon. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $15. All ages.

ONRY OZZBORN Along with Chicago producer Alex

MARK SQUIRES

Wednesday, September 19

CAT STEVENS

Ladyhawke plays Barboza on September 19.

members, if its press photo is to be believed) plays quirky, theatrical indie pop. With the Hoot Hoots, Yet. The Crocodile. 8 p.m. $8. All ages.

MATISYAHU & THE DIRTY HEADS Everyone’s favorite Hasidic Jewish reggae artist recently caused a minor controversy by filming a promotional video for a new single in which he appears clean-shaven and without a yarmulke. July’s Spark Seeker is his first album under the new aesthetic. With Pacific Dub. The Moore. 7:30 p.m. $27.50 adv./$37.50 DOS. All ages.

RINGO DEATHSTARR Bands who brand themselves “shoegaze” are as common as Wayfarers at a music festival, but this Austin, Texas, four-piece stands out from the pack with its droning, abrasive take on the genre. With Black Nite Crash, Vibragun, Jetman Jet Team. Comet Tavern. 9 p.m. $8.

ZAMBRI This duo’s steady aggregation of blog hype is hardly surprising, as it has a near-perfect formula: a semi-gimmicky band setup (twin sisters Cristi Jo and Jessica Zambri) coupled with a post-chillwave sound that lends itself to mp3 embeds. April’s House of Baasa is gothic-tinged electropop anchored by the Zambri sisters’ sultry vocals. With Song Sparrow Research, Hooves and Beak. Tractor Tavern. 8 p.m. $8 adv./$10 DOS.

75

Events FRI - SUN, SEPT 21 - 23

FREMONT OKTOBERFEST

Events SAT, SEPT 22 Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

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Seattle weekly • S E P TE MB E R 19−25, 2012

WELCOME TO BAINBRIDGE ISLAND’S PREMIER SPOT FOR LIVE MUSIC!

76

SEPTEMBER 29 The Wired! Band

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music»Karaoke Karaoke Listings ATLANTIC CROSSING 6508 Roosevelt Way N.E.,

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

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

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

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

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

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

CRESCENT LOUNGE 1413 E. Olive Way, 324-5358. Free.

Daily, 9 p.m.

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

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

Free. Daily, 4 p.m.-2 a.m.

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

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

Wednesdays, 10 p.m.

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

Send events to karaoke@seattleweekly.com

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

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

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

Mondays, Tuesdays, Sundays, 9 p.m.

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

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

ROOSEVELT ALE HOUSE 8824 Roosevelt Way, 527-5480, rooseveltalehouse.com. Free. Thursdays, 9 p.m.

SCARLET TREE 801 N.E. 65th St. C, 523-8888, scarlet-tree. com. Free. Tuesdays, 9:30 p.m.

SPECTATOR 529 Queen Anne Ave. N., 599-4263, the spectatorsports.com. Free. Thursdays–Saturdays, 9:30 p.m.

TALARICO’S 4718 California Ave. S.W., 937-3463, talaricos west.com. Free. Sundays–Tuesdays, Thursdays, 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, cuffcomplex.com.

Free. Tuesdays, Thursdays, 8 p.m.

T-BIRD TAVERN 7515 15th Ave. N.W., 706-4973. Free.

Saturdays, 9 p.m.

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

TUG INN 2216 S.W. Orchard St., 768-8852, tuginn.com.

Free. Sundays, Wednesdays, 8 p.m.

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

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

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

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

TRY MUSIomC LIVE COUN ww w.littleredhen.c

» by jeff roman

Hoagie’s Corner

INDUSTRY NIGHT EVERY MONDAY All night happy hour for service industry, 5pm-close

Every Tuesday, 8-11pm

Jazzgrind with the Suffering Fuckheads,

THURSDAY SEPTEMBER 20TH

featuring Ron Weinstein and Mike Peterson. No cover.

JUKEHOUSE HOUNDS 9PM - $3 COVER

Every Thursday, 8-11pm

FRIDAY & SATURDAY SEPTEMBER 21ST & 22ND

LATIGO LACE 9PM - $5 COVER

SUNDAY SEPTEMBER 23RD

Live jazz with the Fu Kun Wu Trio. No cover.

SEPT. 20: featuring Jon Alberts, Tad Britton and Brazilian guitarist Marco de Carvalho.

SEPT. 27 + OCT. 4: featuring Jon Alberts, Tad Britton and Dean Schmidt.

sunday, sept. 23rd, 8-11pm

JUKEHOUSE HOUNDS 9PM - $3 COVER

Singer/songwriter showcase featuring local musicians, with host kubby c. No cover.

4PM OPEN MIC/ACOUSTIC JAM W/ BILLY BODACIOUS

Wednesday, sept. 26th, 8pm “That Thing” (an open mike of sorts),

TUESDAY SEPTEMBER 25TH

with host Andy Roo Forest. $3 cover donated to charity of the month.

9PM

SAVE THE DATE

ROY KAY TRIO

All month celebration in October!

EVERY MONDAY AND WEDNESDAY

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

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN

KaraoKeKorrespondent

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AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM

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Happy hour! Every day · 5-7pm 6301 24th Ave. NW in uptown Ballard · 206.706.3292 Events subject to change – get the latest info at thecoppergate.com

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Grand Re-Opening Celebration!

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Sept. 22nd 2pm – Close 602 North 105th Street

206-789-9005

Seatt le w eekly • S E P TE M B E R 19−25, 2012

people in their 20s and 30s, others deep into Every other Friday in the heart of Lake City, the their 60s and 70s. I loved seeing the older crowd, lounge at Claire’s Pantry hosts the best karaoke because my most proven numbers are hits from party on the northeast side. I use the term “party” the golden age of rock ’n’ roll, and I was champing because when I checked things out for the first at the bit to deliver. time last week, I felt like I was crashing one.

Overall, the performances were solid. Everyone The 25 or so people there (a low turnout by their sang to their strengths and came through with standards) all seemed to know each other. some great numbers I hadn’t heard a million People were mingling from table to times, which covered the songbook’s table, hugging and high-fiving, gamut: “Emotion” by the Bee Gees, cheering as familiar faces walked “Why Don’t We Get Drunk” by Jimmy in, and joining to sing duets. This Buffett, “Three Times a Lady” by the was exactly the crowd I’d been Commodores, and “Sharp Dressed needing to get my confidence Man” by ZZ Top, to name a few. back on track.

I didn’t even have to think about Tim’s Tavern Grand Re-Opening Celebration!

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hich is the best pot festival?

Local favorite Hempfest is a strong contender, often cited as the biggest and best protestival in the world. Portland’s Hempstalk, on the other hand, has only been around eight years. In contrast to Hempfest’s three big stages, Hempstalk, held each September in Kelley Point Park, has just one major stage, and draws a much smaller throng than the estimated 200,000 who crowd the Seattle event.

How do the two pot festivals compare? Must Seattle continue with its weird inferiority complex regarding our hippie neighbors in Oregon?

Let’s take a look: The Music: Hempfest’s musical performers have increasingly gained a certain air of anonymity, despite its proclaimed “six stages of world-class music.” Whereas past Hempfests boasted such major musical

Must Seattle continue with its weird inferiority complex regarding our hippie neighbors in Oregon?

BY STEVE ELLIOTT

elbow-to-elbow crowd to see them all.

Advantage: Hempstalk.

The Access: While at Hempfest there’s

plenty of room for improvement when it comes to access for those with limited mobility, at least there are sidewalks leading to the fest from both ends. On the downside, those miles to cover from end to end won’t do you any favors if you have physical issues.

Parking is a big problem; many attendees have to park miles away, adding even more ambulatory challenges.

Hempstalk, though, makes you appreciate the ease of getting into Hempfest, if not so much getting around inside once you’re there. There’s available parking, but it’s a real challenge to get from your car to the event if you have mobility issues. Fortunately, golf carts are available to shuttle you from the gate to the festival and back, but their service is spotty, unreliable, and prone to giving priority to attractive young ladies rather than the people who actually need the help. Advantage: Hempfest.

The Vibe: Hempfest remains an over-

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whelmingly friendly event, but when you get that many people together in a limited space, some stress is inevitably going to be produced. Still, the festival is generally peaceful and mellow, other than a few frenetic kids.

Hempstalk is by far the mellower of the two events, owing to the much smaller crowd, a bucolic natural setting way the hell out in the woods, and some hard-to-define factor of hippie Zen which envelops it. There is the occasional belligerent drunk, but they are almost always quickly escorted out.

names as Snoop Dogg, the Kottonmouth Kings, and Bone Thugs-n-Harmony, there has been a drastic tailing-off in the fame level of Hempfest performers.

Hempstalk, on the other hand, features mid-level but solid musical talent such as Los Marijuanos and The Human Solution— the important logistical difference being that you don’t have to fight through an

Therefore you must attend both events in 2013 to decide for yourself! E

BLOG ON » POT TOKEOFTHETOWN.COM

Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor.

S.A.M

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dategirl»By Judy McGuire What About Two Lips on an Organ?

Dear Dategirl, Tonight my friend Lola’s ex told her that if a guy comes on your chest, he respects you; on your face, he loves you? I’ve never heard this “guy code” before. What’s your opinion?

—Wannabe Code Cracker

Ah, yes . . . what kind of philistine would opt for silly words like “I love you” when a splattered spoonful of baby batter does the job so much more elegantly?

And naturally, the titty trophy signifies a deep and abiding respect. I mean, hello, pearl necklace? You don’t give one of those to just anybody. So yes, I totally agree with Lola’s ex. I’m certain he wasn’t just angling to give a girl a facial.

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Dear Dategirl, I just found out that my best friend was cheating on her husband and lying to me about it. The way I heard it first, she’d had a onetime lesbian fling with a client (my friend is a trainer), and my friend’s husband found out and beat the crap out of her. Her husband has been cheating on her since before they were married—he even hit on me once—and the beating, I hate him. Always have, always will.

But now I’m mad at my friend too, because I found out this “one night stand” has actually been going on for over a year, and she’s been

80

lying to me about it the entire time. She’d been acting strange, so I even asked if she had someone on the side, and she vehemently denied it. My friend’s excuse was that she thought I’d be “weird” because she was sleeping with a woman. I’m not buying this because my sister’s gay (and we’re very close), as are many of our friends. I’m furious and I feel like I don’t even know her anymore.

And not because she’s fucking a woman! What do I tell her?

—Don’t Care If She’s Gay

What do you tell her? I’d start with “Liar, liar, pants on fire” and work from there.

That’s the funny thing about cheaters—we never expect them to lie to us, but so often they do. Like somehow our friendship means more than a pledge to remain faithful and a wedding they paid $40k for.

Normally friends don’t let on that they’re cheating because they feel like their friends will disapprove and give them shit, but in this case you already knew what a dirtbag she’d married. So I’m going to go out on a limb and say it just sounds like some sort of dumbass defense mechanism. Resist the temptation to be drawn into defending yourself.

In her defense, she seems to be in a pretty crappy place, married to a guy who cheats on her and hits her, so trust probably isn’t a concept she’s very comfortable with. If she doesn’t normally lie—and I’m assuming she doesn’t, or why would you be friends?—I’d let this slide. Considering her regular life, it was probably nice for her to have a safe loving secret for a while. E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets@DailyDategirl, visit dategirl.net, or buy her new book, The Official Book of Sex, Drugs and Rock ’n’ Roll Lists.

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University of Washington researchers are looking for active people with asthma to participate in a study about the causes of asthma.

There will be up to seven visits at the medical center involving diagnostic tests for asthma, three exercise tests and two medical procedures called a bronchoscopy. Compensation is provided for time and inconvenience. To qualify you must be: 18 - 59 years old Available for study visits on a Tuesday or Thursday Have a doctor diagnosis of asthma Be in good physical condition with no other major health problems Be a non-smoker Able to exercise vigorously on a treadmill

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The University of Washington is conducting a research study involving a drug called fluconazole, commonly used to treat yeast infections, and an experimental drug called MGCD290, that is being developed by MethylGene Inc. The purpose of the study is to find out whether fluconazole works better to treat moderate to severe vaginal yeast infection when it is given in combination with the new drug MGCD290, or when it is given alone. The study will also look at the safety of both drugs.

You may be eligible if you are: • At least 18 years old and premenopausal • Able to provide informed consent • Not currently pregnant • Currently using birth control Compensation: • Participants will receive compensation for this study If you are interested in learning more about the study, call us at 206.685.5092